SPRING AUCTION 2014 TAIPEI
羅芙奧台北 2014 春季拍賣會 亞洲現代與當代藝術
RAVENEL SPRING AUCTION 2014 TAIPEI Modern and Contemporary Asian Art 拍賣日期
地點
2014年6月1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5月10日（六）下午 1:00 至下午 6:00 2014年5月11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5月23日（五）下午 2:00 至下午 7:00 2014 年5月24日（六）上午 10:00 至下午 7:00 香港四季酒店（四季大禮堂） 香港中環金融街8號 台北 2014年5月30日（五）至5月31日（六）上午 10:00 至下午 7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
AUCTION Sunday, June 1, 2014, 2:30pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan
PREVIEWS Taichung
Saturday, May 10, 2014, 1:00pm – 6:00pm Sunday, May 11, 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, May 23, 2014, 2:00pm - 7:00pm Saturday, May 24, 2014, 10:00am - 7:00pm Four Seasons Hotel Hong Kong - Four Seasons Grand Ballroom 8 Finance Street, Central, Hong Kong
Taipei
Friday, May 30 - Saturday, May 31, 2014, 10:00am - 7:00pm 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 春季拍賣會服務部門及連絡人
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目次 / Contents
6
羅芙奧春季拍賣會
Sale Information 8
羅芙奧之服務
Ravenel Services 11
藝術家索引
Index 12
亞洲現代與當代藝術
Modern and Contemporary Asian Art 303
委託競投表格
Absentee Bid Form 305
業務規則
Transaction Agreement
藝術家索引 / Index
A
Yoshitaka AMANO
天野喜孝
271
C
CHANG Wan-chuan Chang-Ling George CHANN CHEN Cheng-po CHEN Chieh-jen CHEN Ching-jung CHEN Chun-hao CHEN Ke CHEN Liu CHEN Yin-Wei Zeno CHEN CHIU Ya-tsai CHU Teh-chun
張萬傳 常陵 陳蔭羆 陳澄波 陳界仁 陳景容 陳浚豪 陳可 陳流 陳英偉 陳志駒 邱亞才 朱德群
CHUA Hu CHUANG Che
蔡雲程 莊喆
119, 129, 172 101, 110 117, 255 188 246 173 179 252 236 260 204 104, 131, 139, 184 189, 193, 194, 196 202, 221, 229 125, 175, 181 135, 177
D
DAI Ze DU Xi
戴澤 杜溪
170, 206, 208 234, 235
F
Alixe FU
傅慶豊
122, 180
G
GAO Xingjian
高行健
230
H
HANTOO ART GROUP Yuhi HASEGAWA HE Juan HONG Ling Maki HOSOKAWA HSIAO Chin HSIEH Hsiao-De HSIEH Tong-liang HUA Chienchiang HUA Qing HUANG Po-Ren HUNG Yi Michell HWANG
悍圖社 長谷川雄飛 賀娟 洪凌 細川真希 蕭勤 謝孝德 謝棟樑 華建強 華慶 黃柏仁 洪易 黃銘哲
138 264 233 247, 249 267 114 203 291 263 240 289, 290 292 174, 283
J
JAN Chin-shui JU Ming
詹金水 朱銘
124, 126 198, 199, 201, 297
K
KANG Kai KING Fen-hwa Masao KINOSHITA Hiroto KITAGAWA J. C. KUO Yayoi KUSAMA KWON Ki Soo
康凱 金芬華 木下雅雄 北川宏人 郭振昌 草間彌生 權奇秀
228 210 277 274, 276 296 273, 278, 279, 280 272
L
LEE Kyoung Mi LI Chen LI Chun-shan LI Jikai LIAO Chi-chun LIEN Chien-hsing LIM Kac-keong Michael LIN LIN Wen-chiang Max LIU LIU Keng-I LIU Kuo-sung LIU Shih-tung LO Chan-peng LU Guoying
李慶美 李真 李仲生 李繼開 廖繼春 連建興 林克恭 林明弘 林文強 劉其偉 劉耿一 劉國松 劉時棟 羅展鵬 陸國英
265 200 227 241 192, 195 130, 134 111 183 116 108, 109, 123 121 218, 219 261, 262 102 205
LU Hsien-ming LUO Dan LUO Quanmu
陸先銘 羅丹 羅荃木
118, 176 242 248
M
MA Pai-sui Takashi MURAKAMI
馬白水 村上隆
231 266, 275
N
Yoshitomo NARA
奈良美智
281, 282
P
PANG Jiun PENG Si
龐均 彭斯
132, 250 254
S
Rieko SAKURAI Masaru SCHICHINOHE SHEN Che-tsai SHENG Qi SHIY De-jinn
櫻井理惠子 七戶優 沈哲哉 盛奇 席德進
SHUAI Mei SU Wong-shen
帥梅 蘇旺伸
268 270 120 239 141, 142, 143, 144 145, 146, 147, 148 149, 150, 151, 152 153, 154, 155, 156 157, 158, 159, 160 161, 162, 163, 164 165, 166, 167, 220 243 127, 128
TAI Hoi Ying T’ANG Haywen Walasse TING
戴海鷹 唐海文 丁雄泉
Tomoya TSUKAMOTO TU Wei-cheng
塚本智也 涂維政
107 222, 223, 224, 225 105, 106, 112, 113 137, 140, 186, 190 191 269 294, 295
W
John WAY A-sun WU WU Dechun
魏樂唐 吳炫三 武德淳
103, 115 171 288
X
XIA Junna XIONG Lijun XU Jiang
夏俊娜 熊莉鈞 許江
251 245 256
Y
Bob YAN YANG Chihung YANG Chi-tung YANG Din YANG San-lang Yuyu YANG Tzu-chi YEH YIN Kun Heshi YU YU Cheng-yao
閻博 楊識宏 楊啟東 楊登雄 楊三郎 楊英風 葉子奇 尹坤 于兆漪 余承堯
YUAN Shu-jen
袁樞真
237 178, 182 168 244 133, 185 284, 285, 286, 287 136, 187 238 209 211, 212, 213, 214 215, 216, 217 169
ZAO Wou-ki ZHOU Chunya
趙無極 周春芽
ZHU Shijie
朱士傑
T
Z
197, 226, 232 253, 257, 258, 259 293 207
101 Chang-Ling
(Taiwanese, b. 1975 )
Pork Belly Series – Flesh Weapons – Flowers and Weapons 2006 Oil on canvas 65 x 53 cm Signed on the reverse Chang-Ling, titiled Pork Belly Series – Flesh Weapons – Flowers and Weapons in Chinese and dated 2006
NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-4,000
12
常陵 五花肉系列—肉兵器—花與兵器 2006 油彩 畫布 65 x 53 cm 簽名畫背：五花肉系列—肉兵器—花與兵器 常陵 2006
102 LO Chan-peng (Taiwanese, b. 1983)
Journal of Strawberry Generation 21 2009 Oil on canvas 91 x 116.5 cm Signed on stretcher bar LO Chan-peng and titled Journal of Strawberry Generation 21 in Chinese, inscribed 50F, 116.5 x 91 cm and dated 2009 EXHIBITED: Strawberry Generation Studio-Lo Chan-Peng, Aki Gallery, Taipei, June 1-21, 2009 ILLUSTRATED: Journal of Strawberry Generation, Aki Gallery, Taipei, 2009, color illustrated, pp. 70-71 This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,300-10,600
羅展鵬 草莓族青春日誌 21 2009 油彩 畫布 91 x 116.5 cm 簽名畫背框條：50F 草莓族青春日誌 21 116.5 x 91 cm 羅展鵬 2009 展覽： 「草莓族工作室入侵」，也趣藝廊，台北，展期自2009年6月1日至21日 圖錄： 《草莓族青春日誌》，也趣藝廊，台北，2009，彩色圖版 ，頁70-71 附藝術家親筆簽名之原作保證書
103 John WAY
(Chinese-American, 1921-2012)
Abstract in Yellow 1975 Oil on paper 50 x 61 cm Signed lower left John Way in English and dated '75
NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600
魏樂唐 黃色抽象 1975 油彩 紙本 50 x 61 cm 簽名左下：John Way '75
14
104 CHIU Ya-tsai
邱亞才
(Taiwanese, 1949-2013)
書商
Bookseller
1990 油彩 畫布 55 x 47 cm 簽名左下：邱亞才
1990 Oil on canvas 55 x 47 cm Signed lower left Chiu Ya-tsai in Chinese This painting is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
附梵藝術中心開立之原作保證書
105 Walasse TING
(Chinese-American, 1929-2010)
Blonde Woman with Flowers in Mouth Acrylic on paper 22 x 31 cm With one seal of the artist PROVENANCE: Private collection, Europe
NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,300-7,300
丁雄泉 金髮美人銜花 壓克力 紙本 22 x 31 cm 鈐印右下：採花大盜 來源： 私人收藏，歐洲
16
106 Walasse TING
(Chinese-American, 1929-2010)
Beautiful Woman and Red Horse Acrylic on paper 24.5 x 39 cm With one seal of the artist PROVENANCE: Pirvate collection, Europe
NT$ 140,000-240,000 HK$ 36,000-61,000 US$ 4,600-7,900
丁雄泉 美人與紅馬 壓克力 紙本 24.5 x 39 cm 鈐印右下：採花大盜 來源： 私人收藏，歐洲
107 TAI Hoi Ying
(Chinese-French, b. 1946)
Intérieur, Paris 1981 Oil on wooden board 52 x 75 cm Signed lower right Tai in English and dated 81 PROVENANCE: Galerie Moderne, Silkeborg, Denmark
NT$ 140,000-220,000 HK$ 36,000-56,000 US$ 4,600-7,300
戴海鷹 巴黎．室內 1981 油彩 木板 52 x 75 cm 簽名右下：Tai 81 來源： 現代畫廊，西克堡，丹麥
18
108 Max LIU
(LIU Chi-wei) (Taiwanese, 1912-2002)
Little Miss Black 1997 Mixed media on canvas mounted onto cardboard 51.5 x 39.5 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 1997 (Chinese numerals)
NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,300-8,600
劉其偉 小黑貓 1997 綜合媒材 畫布裱於紙本 51.5 x 39.5 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〩〧
109 Max LIU
(LIU Chi-wei) (Taiwanese, 1912-2002)
Owls 2000 Mixed media on canvas mounted onto paper 39.5 x 55 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 2000 (Chinese numerals)
NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,300-8,600
劉其偉 貓頭鷹 2000 綜合媒材 畫布裱於紙本 39.5 x 55 cm 簽名左下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〢000
20
110 Chang-Ling
(Taiwanese, b. 1975)
Pork Belly Series – Flesh Flowers and Birds – Rhino
常陵 五花肉系列—肉花鳥—犀牛圖
2007 Oil on canvas 117 x 91 cm Signed on the reverse Chang-Ling and titled Pork Belly Series – Flesh, Flowers and Birds – Rhino in Chinese, dated 2007
2007 油彩 畫布 117 x 91 cm 簽名畫背：五花肉系列—肉花鳥—犀牛圖 常陵 2007
EXHIBITED: Streaky Pork Series: Epoch-Making, Aki Gallery, Taipei, December 8-31, 2007
展覽： 「五花肉系列—開天闢地」，常陵個展，也趣藝廊，台北，展期自2007 年12月8日至31日
ILLUSTRATED: Chang-Ling, Insian Gallery, Taipei, 2008, color illustrated, p.32 Artist Magazine, issue No. 427, Artist Publishing, Taipei, December 2010, p. 266
圖錄： 《印象當代2—常陵》，印象畫廊當代館，台北，2008，彩色圖版 頁32 《藝術家》427期，藝術家出版社，台北，2010/12，頁266
NT$ 170,000-280,000 HK$ 43,000-72,000 US$ 5,600-9,200
111 LIM Kac-keong (Taiwanese, 1901-1992)
Alley c. 1950's or early 1960's Oil on wooden panel 32 x 40.5 cm Signed lower left K.K. Lim in English PROVENANCE: Pirvate collection, USA
NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,200
22
林克恭 小巷風情 1950年代或1960年代初期 油彩 木板 32 x 40.5 cm 簽名左下：K.K. Lim 來源： 私人收藏，美國
112 Walasse TING
丁雄泉
(Chinese-American, 1929-2010)
藍髮美人銜花
Blue-Haired Woman with Flowers in Mouth
壓克力 紙本 58 x 43 cm 鈐印左下：採花大盜
Acrylic on paper 58 x 43 cm With one seal of the artist PROVENANCE: Pirvate collection, Europe
NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
來源： 私人收藏，歐洲
113 Walasse TING
(Chinese-American, 1929-2010)
Two Parrots Acrylic on paper 68 x 48 cm With one seal of the artist PROVENANCE: Pirvate collection, Europe
NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
丁雄泉 鸚鵡 壓克力 紙本 68 x 48 cm 鈐印左上：採花大盜 來源： 私人收藏，歐洲
24
114 HSIAO Chin
(Taiwanese, b. 1935)
Vortice Cosmico - 7 Acrylic on canvas 70 x 60 cm Signed on the reverse Hsiao in English and Chin in Chinese, titled Vortice Cosmico - 7 in Chinese and Italian, inscribed 70 x 60 cm Acrylic on canvas in Chinese
NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
蕭勤 宇宙漩渦-7 壓克力 畫布 70 x 60 cm 簽名畫背：Hsiao 勤 "宇宙漩渦-7" (Vortice Cosmico - 7) 70 x 60公分 布上壓克力
115 John WAY
(Chinese-American, 1921-2012)
Chopin in Midnight 1998 Acrylic on cardboard 76 x 56 cm Signed lower right John Way in English and dated 98 ILLUSTRATED:
The Pioneer of Chinese Abstract - Anthology of John Way, William Art Center, Taipei, 2007, color illustrated, pp. 116-117 NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
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魏樂唐 午夜的蕭邦 1998 壓克力 紙板 76 x 56 cm 簽名右下：John Way 98 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116-117
116 LIN Wen-chiang (Taiwanese, b. 1943)
Still Life 1989 Oil on canvas 72.5 x 91 cm Signed lower left Chiang in Chinese and Wen Chiang in English ILLUSTRATED: Wen Chiang Lin - 1974-1990, Galerie Elegance Taipei, 1990, color illustraed, pp. 76-77
NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
林文強 窗前靜物 1989 油彩 畫布 72.5 x 91 cm 簽名左下：強 Wen Chiang 圖錄： 《林文強作品集1974-1990》，愛力根畫廊，台北，1990年4月出 版，彩色圖版，頁76-77
117 George CHANN
(Chinese-American, 1913-1995)
Ballet Dancers Oil on canvas 46 x 36 cm Signed lower right GEO.CHANN in English PROVENANCE: Private collection, Los Angeles
NT$ 260,000-460,000 HK$ 66,000-118,000 US$ 8,600-15,200
陳蔭羆 芭蕾舞女孩 油彩 畫布 46 x 36 cm 簽名右下：GEO.CHANN 來源： 私人收藏，洛杉磯
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118 LU Hsien-ming (Taiwanese, b. 1959)
Taipei Landscape III 1995 Oil on canvas 80 x 116 cm Signed on the reverse Lu Hsien-ming and titled Taipei Landscape III, dated 1995 all in Chinese
NT$ 240,000-460,000 HK$ 61,000-118,000 US$ 7,900-15,200
陸先銘 台北法相 Ⅲ 1995 油彩 畫布 80 x 116 cm 簽名畫背：陸先銘 台北法相 Ⅲ 一九九五
119 CHANG Wan-chuan (Taiwanese, 1909-2003)
Self-portrait – Reading Newspaper 1989 Oil on canvas 54 x 46 cm Signed lower left CHANG in English and Wan in Simplified Chinese Signed on the reverse CHANG in English, Wan in Simplified Chinese, titled Reading Newspaper in Chinese, and dated 1989
NT$ 260,000-460,000 HK$ 66,000-118,000 US$ 8,600-15,200
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張萬傳 自畫像—看報 1989 油彩 畫布 54 x 46 cm 簽名左下：CHANG. 万. 簽名畫背：看報 1989 - CHANG. 万.
120 SHEN Che-tsai (Taiwanese, b. 1926)
Ballet Dancer Waiting in the Wings 1993 Oil on canvas 44 x 36.5 cm Signed lower right Che-tsai in Chinese and dated 1993 Titled on the reverse Ballet Dancer Waiting in the Wings in Chinese and inscribed 8F
NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,600-11,900
沈哲哉 等候上場的芭蕾舞女 1993 油彩 畫布 44 x 36.5 cm 簽名右下：1993 哲哉 題識畫背：等候上場的芭蕾舞女 8F
121 LIU Keng-I
(Taiwanese, b. 1938)
Twilight on the River Arno 1988 Oil on canvas 61 x 72.5 cm Signed lower right Keng-I in Chinese and dated 88
NT$ 260,000-400,000 HK$ 66,000-102,000 US$ 8,600-13,200
劉耿一 阿諾河餘暉 1988 油彩 畫布 61 x 72.5 cm 簽名右下：耿一 88
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122 Alixe FU
(FU Qingli, Ching-Fong) (Chinese-French, b. 1961)
Un jeu de train 1990-1991 Oil on canvas 116 x 89 cm Signed lower right Alixe Fu in English and dated 91 Signed on the reverse Alixe Fu in Chinese and English, titled un jeu de train in Chinese, inscribed 116 x 89 cm (50F), dated 1991.11.1 ILLUSTRATED: Alixe Fu, Taipei, 1992, color illustrated, pp. 44-45 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.
NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,600-11,900
傅慶豊 小火車 1990–1991 油彩 畫布 116 x 89 cm 簽名右下：Alixe Fu 91 簽名畫背：傅慶豊 Alixe Fu 1991.11.1 畫題：小火車 116 x 89cm (50F) 圖錄： 《傅慶豊》，台北，1992，彩色圖版，頁44–45 附日升月鴻畫廊開立之原作保證書
123 Max LIU
(LIU Chi-wei) (Taiwanese, 1912-2002)
Red Arowana 1989 Mixed media on paper 48.5 x 69 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 1989 (Chinese numerals) This painting is to be sold with a certificate of authenticity issued by Apollo Art Gallery, Taipei.
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
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劉其偉 紅龍魚 1989 綜合媒材 紙本 48.5 x 69 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〩 附阿波羅畫廊開立之原作保證書
124 JAN Chin-shui (Taiwanese, b. 1953)
Abstract Atmosphere 2012 Mixed media on canvas 130 x 162.5 cm Signed lower right Chin-shui in Chinese and dated 2012 Signed on the reverse Jan Chin-shui, titled Abstract Atmosphere in Chinese, inscribed 100F and dated 2012
NT$ 320,000-550,000 HK$ 82,000-141,000 US$ 10,600-18,100
詹金水 大氣無象 2012 綜合媒材 畫布 130 x 162.5 cm 簽名右下：金水 2012 簽名畫背：詹金水 2012年 100F 大氣無象
125 CHUA Hu
(TSAI Yun-cheng) (Chinese-Philipino, 1929-2009)
Iron Bridge Series Oil on canvas mounted onto board 61 x 91.5 cm Signed upper left Yun-cheng in Chinese ILLUSTRATED: Chua Hu: Voyages of Discovery, William Art International, Taipei, 2007, color illustrated, pp. 44-45 This painting is to be sold with a certificate of authenticity issued by William Art International, Taipei.
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
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蔡雲程 鐵橋系列—城市律動 油彩 畫布 裱於木板 61 x 91.5 cm 簽名左上：云呈 圖錄： 《蔡雲程四海遊蹤畫集》，威廉國際藝術，台北，2007，彩色圖版， 頁44-45 附威廉藝術中心開立之原作保證書
126 JAN Chin-shui
詹金水
(Taiwanese, b. 1953)
妙境
Wonderland
2012 綜合媒材 畫布 130 x 162.5 cm 簽名右下：金水 2012 簽名畫背：2012年 詹金水 100F 妙境
2012 Mixed media on canvas 130 x 162.5 cm Signed lower right Chin-shui and titled Wonderland in Chinese, inscribed 100F dated 2012 Signed on the reverse Jan Chin-shui, titled Wonderland in Chinese, inscribed 100F and dated 2012
NT$ 320,000-550,000 HK$ 82,000-141,000 US$ 10,600-18,100
127 SU Wong-shen (Taiwanese, b. 1956)
Platform of Old Taipei City 1991 Oil on paper 52 x 39.5 cm Signed lower right shen in Chinese and dated 1991
NT$ 180,000-300,000 HK$ 46,000-77,000 US$ 5,900-9,900
蘇旺伸 大稻埕戲台 1991 油彩 紙 52 x 39.5 cm 簽名右下：伸 1991
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128 SU Wong-shen (Taiwanese, b. 1956)
Campus in Spring 1994 Oil on canvas 50 x 65.5 cm Signed on the reverse Su Wong-shen, titled Campus in Spring in Chinese and dated 1994 ILLUSTRATED: Su Wong-Shen – Between the Clouds, Eslite Gallery, Taipei, 2008, color illustrated, p. 235
NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,500
蘇旺伸 校園春景 1994 油彩 畫布 50 x 65.5 cm 簽名畫背：校園春景 蘇旺伸 1994 圖錄： 《蘇旺伸—雲與雲之間》，誠品畫廊，台北，2008，彩色圖版，頁235
129 CHANG Wan-chuan (Taiwanese, 1909-2003)
Nude Oil on carton 61 x 74 cm Signed lower right CHANG. in English and Wan in simplified Chinese
NT$ 360,000-550,000 HK$ 92,000-141,000 US$ 11,900-18,100
張萬傳 裸女 油彩 紙板 61 x 74 cm 簽名右下：CHANG. 万
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130 LIEN Chien-hsing (Taiwanese, b. 1962)
The Beginning of a Legend I Oil on canvas 55 x 91 cm Signed lower right LIEN Chien-hsing and dated 1991 in Chinese Signed on the reverse LIEN Chien-hsing, titled The Beginning of a Legend I in Chinese, inscribed The Beginning of a Legend I in Chinese and dated 1991 ILLUSTRATED: Lien Chien-hsing Works 1976-1993, Eslite Gallery, Taipei, 1993, color illustrated, no. 21, pp. 48-51
NT$ 360,000-500,000 HK$ 92,000-128,000 US$ 11,900-16,500
連建興 傳說的開始（一） 油彩 畫布 55 x 91 cm 簽名右下：連建興 一九九一 簽名畫背：連建興 1991 傳說的開始（一）林布蘭 顏料 林xx 筆跡媒劑 圖錄： 《連建興》，誠品畫廊，台北，1993，彩色圖版，編號21，頁48-51
131 CHIU Ya-tsai
(Taiwanese, 1949-2013)
Young Man Oil on canvas 143 x 57 cm Signed lower left Chiu Ya-tsai in Chinese ILLUSTRATED: Chiu Ya-Tsai, Goethe Art Center, Taipei, 2006, color illustrated, p.125 This painting is to be sold with a certificate of authenticity issued by Pata Gallery, Taipei.
NT$ 650,000-850,000 HK$ 166,000-217,000 US$ 21,400-28,000
邱亞才 青年 油彩 畫布 143 x 57 cm 簽名左下：邱亞才 圖錄： 《邱亞才》，哥德藝術中心，台北，2006，彩色圖 版，頁125 附八大畫廊開立之原作保證書
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132 PANG Jiun
(Chinese, b. 1936)
Far View of Jioufen 2006 Oil on canvas 61 x 73 cm Signed lower right Pang Jiun in Chinese and dated 2006 Signed on the reverse PANG JIUN in Chinese and English, titled Far View of Jioufen in Chinese With one painted seal of the artist EXHIBITED: The Art of Pang Jiun, Der Horng Art Gallery, Tainan, December 1 - 23, 2012 This painting is to be sold with a certificate of authenticity issued by GSR Gallery, Taichung. The process of creating this painting is recored in the DVD albums of Pang Jiun's Paintings, Vol. 7 No. 2, published by HotSound Ltd. Taipei in 2007.
NT$ 650,000-850,000 HK$ 166,000-217,000 US$ 21,400-28,000
龐均 九份遠眺 2006 油彩 畫布 61 x 73 cm 簽名右下：龐均 2006 手繪鈐印：均 簽名畫背：龐均 PANG JIUN <九份遠眺>
展覽： 「龐均—無盡的藝術」，德鴻畫廊，台南， 展期自2012年12月1日至23日 附由鉅藝術中心開立之原作保證書 本作品作畫過程影片收錄於《龐均油畫 DVD》，第七集第二章，赫聲行事業有限公 司發行 產品規格：全套11片DVD（11集） 時長：56分鐘 / 每集 節目型態：藝術教育 製作發行：赫聲行 出版年：2007 第七集 風景（二） 第一章、寫生經驗 第二章、鳥瞰基隆嶼 第三章、磺港寫生 第四章、漁船
133 YANG San-lang (Taiwanese, 1907-1995)
Landscape Oil on canvas 50 x 60.5 cm Signed lower right S.Yang in English
NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 23,100-29,700
楊三郎 風景 油彩 畫布 50 x 60.5 cm 簽名右下：S.Yang
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134 LIEN Chien-hsing
連建興
(Taiwanese, b. 1962)
淨心池畔Ⅱ
Water's Edge
1995 油彩 畫布 89.5 x 145.5 cm 簽名右下：連建興 1995 簽名畫背：1995 80M 連建興 歡喜浴佛
1995 Oil on canvas 89.5 x 145.5 cm Signed lower right Lien Chien-hsing in Chinese and dated 1995 Dated on the reverse 1995, size 80M, signed Lien Chien-hsing in Chinese and inscribed Buddha Day Celebration in Chinese ILLUSTRATED: C.H. Lien, Cherng Piin Gallery, Taipei, 1995, color illustrated, p. 43
NT$ 850,000-1,000,000 HK$ 217,000-256,000 US$ 28,000-33,000
圖錄： 《連建興》，誠品畫廊，台北，1995，彩色圖版，頁43
135 CHUANG Che (Taiwanese, b. 1934)
Sunset Ridge 1979 Oil and acrylic on canvas 125 x 98.5 cm Signed lower left Chuang Che in Chinese and dated 79 Inscribed on the reverse 79-136 PROVENANCE: Asia Art Center, Taipei EXHIBITED: CHUANG Che – Deep Ridge, Remote Way, National Art Museum of China, August 27-September 4, 2007 ILLUSTRATED: CHUANG Che – Deep Ridge, Remote Way, Asia Art Center, Taipei, color illustrated, 2007, p. 30 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
NT$ 850,000-1,200,000 HK$ 217,000-307,000 US$ 28,000-39,600
莊喆 霞飛秀嶺 1979 油彩 壓克力 畫布 125 x 98.5 cm 簽名左下：莊喆79 簽名畫背：79-136 來源： 亞洲藝術中心，台北 展覽： 「莊喆：嶺深道遠」，中國美術館，北京，展期自2007年8月27日至9月4日 圖錄： 《莊喆：嶺深道遠》，亞洲藝術中心，台北，2007，彩色圖版，頁30 附亞洲藝術中心開立之原作保證書
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136 Tzu-chi YEH
(Taiwanese, b. 1957)
Superposition 1989 Tempera and oil on canvas 97 x 107 cm Signed lower right Tzu-chi Yeh in Chinese and dated 1989 PROVENANCE: Ja Art Gallery, Taipei
NT$ 850,000-1,200,000 HK$ 217,000-307,000 US$ 28,000-39,600
葉子奇 疊 1989 卵彩 油彩 畫布 97 x 107 cm 簽名右下：葉子奇 1989 來源： 家畫廊，台北
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137 Walasse TING
(Chinese-American, 1929-2010)
Beauty with Blue Hair Acrylic on paper mounted onto canvas 123 x 154 cm With one seal of the artist PROVENANCE: Private collection, Europe
NT$ 950,000-1,800,000 HK$ 243,000-460,000 US$ 31,300-59,400
丁雄泉 藍色綺麗 壓克力 紙本 裱於畫布 123 x 154 cm 釳印左上：採花大盜 來源： 私人收藏，歐洲
138 Hantoo Art Group (Taiwanese, b.1998)
Painting On-Site, Ku-Kuan (a set of 14) 2010 1. LI Ming-chung, oil on canvas, 38 x 45.5 cm 2. LIEN Chien-hsing, Ku-Kuan Manpo, oil on canvas, 41 x 53 cm Signed lower right Lien Chien-hsing in Chinese and dated 2010 Signed on the reverse Lien Chien-hsing, titled Ku-Kuan Manpo in Chinese and dated 2010 3. WU Tien-chang, mixed media on canvas, 45.5 x 61 cm 4. TU Wei-cheng, oil on canvas, 45.5 x 52.5 cm 5. Chang-Ling, Far View Cabin and Me, oil on canvas, 45.3 x 53 cm Signed on the reverse Chang-Ling and titled Far View Cabin and Me in Chinese, dated 2010 6. LU Hsien-ming, Deep Valley, oil on canvas, 41 x 53 cm Signed lower left Hsien-ming in Chinese and dated 2010 Signed on the reverse Lu Hsien-ming, titled Deep Valley in Chinese and dated 2011.1 7. KUO Wei-kuo, Falling Flowers in the Night Sky, oil on canvas, 45.5 x 53 cm Signed lower left Kuo in English and dated 2010.12 Signed on the reverse Kuo Wei-kuo, titled Falling Flowers in the Night Sky in Chinese and dated 2010 Winter 8. CHU Shu-Shyan, oil on canvas, 41 x 53 cm Signed on the reverse Chu Shu-shyan in Chinese 9. CHEN Ching-yao, digital print on photographic paper, edition no. AP, 41 x 60.5 cm Signed upper left Chen Ching-yao in Chinese and numbered AP 10. TANG Tang-fa, oil on canvas, 45.5 x 53 cm Signed lower left Tang-fa and dated 2010.9 in Chinese 11. DENG Wen-chen, oil on canvas, collage, 53 x 45.5 cm Signed lower right Wen-chen in Chinese 12. YANG Jen-ming, Over the River and Through the Woods, acrylic and oil on canvas, 130.2 x 97 cm Signed on the reverse Over the River and Through the Woods, inscribed 97 x 130 cm arcylic and oil on canvas in Chinese and dated 2010 13. LAI Hsin-lung, Painting On-Site, oil on canvas, 53 x 46 cm Signed lower right Hsin-Lung in English and dated 2010 Signed on the reverse Lai Hsin-lung, inscribed Painting On-site in Chinese, and dated 2010 14. YANG Mao-lin, Monroe's Puppy, stainless steel, edition no. AP1, 42(L) x 13(W) x 7.5(H) cm
NT$ 1,100,000-2,000,000 HK$ 281,000-512,000 US$ 36,300-66,000
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悍圖社 谷關寫生（14件1組） 2010 1. 李民中 油彩 畫布 38 x 45.5 cm 2. 連建興《谷關曼波》油彩 畫布 41 x 53 cm 簽名右下：連建興 2010 簽名畫背：2010谷關曼波（悍圖社寫生 活動紀念作品）連建興 3. 吳天章 綜合媒材 畫布 45.5 x 61 cm 4. 涂維政 油彩 畫布 45.5 x 53 cm 5. 常陵《我遠眺小屋》油彩 畫布 45.5 x 53 cm 簽名畫背：我遠眺小屋 常陵 2010 6. 陸先銘《山幽》油彩 畫布 41 x 53 cm 簽名左下：先銘 二◯◯一 簽名畫框背板：陸先銘 2011.1 山幽 7. 郭維國《夜空花落時》油彩 畫布 45.5 x 53 cm 簽名左下：Kuo 2010.12 簽名畫背：<夜空花落時> 郭維國 2010 冬 8. 朱書賢 油彩 畫布 45.5 x 52.5 cm 簽名畫背：朱書賢 9. 陳擎耀 數位輸出 相紙 AP 41 x 60.5 cm 簽名左上：AP 陳擎耀 10. 唐唐發 油彩 畫布 45.5 x 53 cm 簽名左下：唐發 二◯一◯、九 11. 鄧文貞 油彩 畫布 拼貼 53 x 45.5 cm 簽名右下：文貞 12. 楊仁明《溪上之林》壓克力 油 彩 畫布 130.2 x 97 cm 簽名畫背：溪上之林 2010 97x130cm 壓克力 油彩 布 13. 賴新龍《寫生作品》油彩 畫布 53 x 46 cm 簽名右下：Hsin-Lung 2010 簽名畫框背板：賴新龍 寫生作品 2010 14. 楊茂林《小夢露的小狗》不鏽鋼 AP1 42(長) x 13(寬) x7.5(高) cm
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谷關寫生 Painting On-Site, Ku-Kuan
1990年代，裝置藝術盛行，國內外大型展覽上，多是以裝置作品為主軸，平面藝術相對不受重視。1998年9月， 皇冠藝文中心舉辦「悍圖錄」展覽，目的即為復興平面繪畫藝術。同時，由李民中、吳天章、郭維國、陸先銘、 陳瑞文、連建興、楊仁明、楊茂林及盧怡仲等藝術家共同宣布成立「悍圖社」，悍圖兩字即「捍衛本土平面藝 術、捍衛畫圖」的意味，台灣當代藝術發展中最重要的創作團體就此誕生。目前成員為：楊茂林、吳天章、陸先 銘、郭維國、李民中、連建興、楊仁明、賴新龍、唐唐發、鄧文貞、涂維政、朱書賢、陳擎耀、常陵、林鉅。 悍圖社首次展覽文宣中便強調創作中的「社會性格」：隨社會脈動反映時代樣貌，創造新的台灣主體藝術。創立 之初，雖以倡導平面藝術為主，隨著新成員陸續加入，表現形式也愈趨多元，包括影像輸出、複合媒體、影像裝 置…等等。各自以不同角度與面向，表現出跨世代的創作語言。 創設至今，悍圖社每年都固定舉辦聯展，藝術家們在創作路上相互砥礪與較勁，締結兄弟姊妹般的情誼。2010 年，悍圖社也以團體形式，參加互有深刻交情的視覺藝術聯盟十周年年度藝術博覽會「藝想ten開－See U Next 10」，而趁著此展於台中佈展之際，規劃了一趟谷關、溪頭的三天兩夜寫生之旅，一方面重溫台灣地貌豐富的山 林之美，一方面以新鮮的心情，體會前輩藝術家們面對大自然寫生的經驗。《谷關寫生》這十四件藝術創作，不 僅是十四位台灣最活躍的藝術團體的作品，也是台灣藝壇一次藝術「事件」全紀錄，具有其史料意義及特殊的收 藏價值。 Installation art was very popular during the 1990's with most major local and overseas exhibitions focusing on installation art and giving little notice to two dimensional art. In September, 1998, the "Hantoo Art Group Exhibition", hosted by the Crown Art Center, had the goal of bringing about a revival in the two dimensional art. At the time, artists such as Lee Ming-chung, Wu Tien-chang, Kuo Wei-kuo, Lu Hsien-ming, Chen Jui-wen, Lien Chien-hsing, Yang Jen-ming, Yang Maolin and Lu Yi-chung announced the formation of the "Hantoo Art Group". "Hantoo" itself implied the "aggressive defense of homegrown two dimensional art and drawing". This was how the most important creative group in the development of Taiwanese contemporary art came to be born. Current members include Yang Mao-lin, Wu Tien-chang, Lu Hsien-ming, Kuo Wei-kuo, Lee Ming-chung, Lien Chien-hsing, Yang Jen-ming, Lai Hsin-lung, Tang Tang-fa, Deng Wen-chen, Tu Weicheng, Chu Shu-shyan, Chen Chin-yao, Chang-Ling and Lin Ju. In the pamphlet for their first exhibition, the Hantoo Art Group emphasized the "social character" of creative work to reflect the social trends of the time and create a new body of Taiwanese art. The group initially promoted two dimensional art but new members also led to the forms of expression diversifying into digital print, composite media and imaging devices. All used different angles and dimensions to express the creative language that spanned different generations. Since its founding, the Hantoo Art Group has held regular joint exhibitions each year. The artists have also built up a strong sense of camaraderie by challenging and supporting each other on the path of art. In 2010, the Hantoo Art Group took part as a group in "See U Next 10", the 10th anniversary art expo of the Association of the Visual Arts in Taiwan, a sister organization. A 3-day plein-air painting trip to Ku-Kuan and Hsitou was organized while the exhibition was being set up in Taichung. The trip not only reviewed the natural beauty of Taiwan's rich geography but also allowed artists to follow the example of their predecessors in painting from nature. The 14 artworks of “Painting On-site, Ku-Kuan” are not just works by 14 artists in Taiwan's most active art group, they are also a complete record of an "event" in the Taiwanese art community, giving them tremendous historical significance and unique collecting value.
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139 CHIU Ya-tsai
(Taiwanese, 1949-2013)
Insouciant Feeling 1996 Oil on canvas 117 x 90.5 cm Signed lower right Chiu Ya-tsai in Chinese ILLUSTRATED: Chiu Ya-Tsai, Goethe Art Center, Taipei, 2006, color illustrated, pp. 116-117 This painting is to be sold with a certificate of authenticity issued by Goethe Art Center, Taipei.
NT$ 1,100,000-2,200,000 HK$ 281,000-563,000 US$ 36,300-72,600
邱亞才 閒情 1996 油彩 畫布 117 x 90.5 cm 簽名右下：邱亞才 圖錄： 《邱亞才》，哥德藝術中心，台北，2006，彩色圖版，頁116-117 附哥德藝術中心開立之原作保證書
畢卡索《自畫像》1901 油彩 畫布 81 x 60 cm Pablo Picasso, Self Portrait 1901, oil on canvas, 81 x 60 cm
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140 Walasse TING
丁雄泉
(Chinese-American, 1929-2010)
粉紅盛放
Pink Blossom
1989 壓克力 紙本 144.5 x 276 cm 鈐印左上：採花大盜
1989 Acrylic on paper 144.5 x 276 cm With one seal of the artist
NT$ 1,100,000-2,200,000 HK$ 281,000-563,000 US$ 36,300-72,600 早在1950年代，丁雄泉初至巴黎發展即嶄露頭角，與眼鏡蛇畫派成員如：阿雷欽斯基 （Pierre Alechinsky）、喬恩（Asger Jorn）等藝術家共同舉辦聯展，並活躍於歐洲畫 壇。1958年，他毅然前往紐約，紐約艷燦的城市風景豐富了他畫裡的顏色，自由奔放的 風氣，激盪出更多的創作靈感，女人、花、鳥、動物等生活所見，都化為他創作的一部 份。 丁雄泉最大的個人特色，即以光輝明亮、活潑新鮮的色彩描述大自然中的美麗動物、花 及女人。他誘人的、夢幻的世界是感官享受之一，吸引觀眾分享他對自然界的熱情。 在身兼畫家和詩人的丁雄泉眼中，花花世界不會是那麼輕浮沒有份量，因為具慧眼和善 解人意的心靈，一直以來，他用鮮麗高彩的顏色，卻未奪去他靜若止水的心，亂了遊花 花世界的腳步。愛花、賞花、畫花；愛女人、欣賞女人、畫女人都和他愛山、賞山、畫 山一樣地自在歡喜。 此幅作品是他1989年創作的，粉色的花瓣綴着柳條鋪滿了整個畫面，似是珠廉一般，透 着天空的顏色並隨風輕輕搖曳。原先的豪氣奔放轉變為溫和內斂。生活的歷練，心境的 變遷，這些隨著線條、色彩沁入紙上，映入眼簾，描繪着大自然的粉紅花兒盛放，春 天，又是春天，丁雄泉的世界似乎沒有四季，只剩下一片春意盎然的景象。 Walasse Ting first came to prominence in the 1950s, shortly after arriving in Paris. Ting's works were shown in joint exhibitions with members of the CoBrA avant-garde art group, such as Pierre Alechinsky and Asger Jorn, and he became an active member of the European art scene. In 1958, Ting relocated to New York, urban landscape enriched the colors of his works, and the freewheeling, liberal atmosphere was an important source of creative inspiration for him. The women, flowers, birds, animals, etc. that he saw all around him were transformed into elements in his creative art. Ting’s most prominent feature is the use of bright, vivid, fresh color to depict nature’s beautiful animals, flowers, and women. His alluring, glamorous world draws in the audience to share his passion for nature while offering a feast for the senses. In the eye of the visual artist and poet, Ting knew that this fascinating world is not all about frivolous vanity. With perceptive insight and understanding, using many flamboyant colors has never disturbed his peace of mind and tempo to appreciate the world. Loving flowers, adoring flowers, drawing flowers; loving women, adoring women, drawing women; loving mountains, adoring mountains, drawing mountains—he found such pleasures equally joyful. Ting painted this piece in 1989. The weeping willows studded with pink petals that sift through the color of the sky spread over the whole panel like a pearl curtain wavering in the wind. The past bold and unstrained enthusiasm turns into a meek and demure manner today. The lines and colors sink into the paper depicting the pink flowers in blossom just as the trials and transformations in life. Spring—again, it is spring. Ting’s world left no cycle of seasons, only an exuberant image of spring.
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席德進《自畫像》1951 油彩 畫布 裱於木板 羅芙奧台北2013春季拍賣會，成交價：TWD 22,800,000 SHIY De-jinn, Self-portrait, 1951, oil on canvas, mounted onto board, 51.5 x 43 cm, Ravenel Spring Auction 2013 Taipei, US$ 761,777 sold
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
席德進摯友珍藏專拍最終場：生如夏花之絢爛 文 / 陳惠黛 2013年適逢席德進九十歲冥誕，羅芙奧連續在春秋兩季推出兩場席德進藝術專題拍賣，畫家摯友L 君所珍藏逾三十多年的畫作，喚起無數收藏愛好的記憶，曾經在1960、1970年代起在畫壇如明星般 為人注目的藝術大師，終於在數十年之後，再次受到收藏家與傳媒的大量關注。2014年春拍，羅芙 奧推出「席德進摯友珍藏專拍最終場」，為摯友L君收藏的最後一場席德進藝術專拍。這宛如「三 部曲」形式的發表，除了見證兩人的深厚情誼，亦將席德進大師的精湛藝術完美呈現。 第三場，也是最終場的摯友珍藏拍賣，徵集到席德進的8幅漂亮花卉畫、4幅動物畫、15幅山水寫生 畫，以及袁樞真等人創作的3幅小畫。從 Lot 141 到 Lot 171，每幅畫寄寓著L君滿滿的往事與回憶， 多幅畫作還是席德進到他台中家中作客，或在他服務的學校校園內所畫，作為一同出遊寫生的紀 念。 出生於四川，求藝於杭州藝專，遊學於美國、法國，然而席德進的大半人生在充滿南國風情的台灣 渡過，他的畫也是獻給台灣的土地。他畫台灣山水、花卉、動物，畫台灣的建築，純樸率真的風 情。花卉畫、山水畫作為席德進最生命後期主要創作主題，在此次專拍中有極為精彩的代表作首度 曝光，殊為難得。
亦師亦友亦家人！席德進與摯友 L 君 在席德進病故前一個月，摯友L君曾在報上發表〈生如夏花之絢爛―祝福席德進〉（刊載1981年7 月5日的《台灣日報》）的文章，談及與畫家長年過從友好的情誼。他發現席德進有善於發現美的 眼睛，總能從平庸中所發現不平凡的偉大。在此節錄L君所寫的幾段文字，回憶那些彷彿「看見台 灣」的美好記憶。 「首先，要指出的是他熱愛臺灣，甚至是在一切生活中實踐這份深厚的愛心，他愛吃臺灣式的路邊 攤子，有一位青年畫家曾對我說：『臺灣的小吃攤，哪兒最好吃，席德進最清楚』。他喜歡臺灣的 樹林、農村、舊厝、小廟、水牛、鷺鷥、山脈、水田、花卉，乃至水果，而這一切越是習見平庸， 越能贏得他的熱愛。」 「當年少不更事的畫家，抱怨臺灣的相思樹長得太亂，水田太單調，山脈座落得太近，水牛樣子太 笨，小廟色彩造型太庸俗，榕樹看不出四季變化，木棉花也顯得稀疏……之際。可是，啃著埔里甘 蔗，喝著臺南虱目魚湯，蹲在通霄海邊寫生的席德進，用他對臺灣寬厚深沉的愛情，透過誠實虔敬 的漫長生活歷練，終於，體會出這周遭看來『平庸』的景象中，所蘊含的偉大美感部分。」
席德進摯友珍藏專拍最終場
「他畫沙灘的野矮樹，街頭的木棉花、野外的水牛、稻田中的農舍、山坡上的相思樹……。他在這些『平庸』的題材中，找到了臺灣畫家猶豫 不決，難以肯定的強烈美感，直到了讓人驚心動魄的地步。」 近距離的觀察，L君能深刻體會席德進藝術的成功原因，他敬重畫家對於土地的熱情，以及專注固執的奉獻精神。L君是席德進長期的贊助人， 而每逢年節常常南北往返，與畫家相聚共享如天倫之樂。L君是最後目睹席德進離開人世的好友，他為畫家奔走後事，還聯合幾位友人成立共同 基金會。這段長年往還的情誼，永誌不忘。
用現代眼看花，歌頌生命與力量。 在最終場的拍品中，除了介紹席德進擅長的山 水畫，值得一提的是多幅生機勃勃、嬌豔美 好、姿態各異的花卉畫，處處有畫家的不凡巧 思與創意。 席德進認為，「純以『花』為繪畫的主題，只 有在中國畫中獨有。西方人畫花，是插在瓶 中，已加上了人工的改變，而中國人尊重自 然，追求天趣。」席德進立志以改前人作風， 給予花以新的生命，用現代的眼睛觀察，不同 的材質表現，他所創作的花卉畫，已賦與新的 意義。他捨棄了中國古畫裡常見的梅花、牡 丹，創先選擇在地的花卉題材，鳳凰木、水 仙、羊蹄甲花、美人蕉、刺桐花、仙客來、一 串紅、聖誕紅，甚至平凡的絲瓜花在他的筆 下，都顯露出無與倫比的美麗。 作家席慕蓉曾為席德進的花所折服，他如此形容：「要用什麼樣的形容詞才能形容他畫的花呢？白色的蘭、紅色的鳳凰木，都在一種柔陰裡， 深綠淺綠的葉都好像是沁在畫紙上的一種溫柔的夢境。而白色的花那樣秀美，那樣芬芳，紅色的細碎的花瓣又那樣厚重，那樣莊嚴。畫家是用 一種酣暢的歡樂在歌頌生命，用大自然裡怒放的一切來表達他自己的力量。那一種收放自如渾厚飽滿的力量。」 席德進曾將泰戈爾（Tagore）的詩句「生如夏花之絢爛，死若秋葉之靜美」寫入他的彩墨畫裡。這詩句宛如是席德進精采的人生寫照，生命非 常地短暫，人的青春期錯過不再來，藝術家卻自許在不斷修鍊中，反覆回到青春季，透過藝術讓生命的花朵開在最燦爛的季節。
你整個一生的作品，就是一件作品。 南國台灣是席德進的另一個故鄉，他充分欣賞這座島嶼的多變面貌，他在晚年階段留下膾炙人口的山水圖畫，席德進式的山水，他曾說過「人 家作過的，我不必作」勉勵自己的創作。於是，他嘔心瀝血地用創新精神，去表現屬於他的藝術。美學家蔣勳曾說：「席德進把台灣畫進中國 的山水。」正說明他不可忽視的重要成就。 年少時席德進歷經過傳統工藝、西洋素描、油畫、粉彩、水彩等技藝磨練，在華人畫壇佔有一席之地。前期他以肖像畫、鄉土畫展現生命熱 情，而在生命的後期，他關懷改革中國畫，建立獨樹一格的水彩畫風格，總結出一生藝術追求的結果，在美術史上留下璀璨的篇章。 席德進曾說：「你整個一生的作品，就是一件作品。」回顧畫家59歲不到的人生，雖然並不漫長，但留下的豐富的美學思辯與創作觀念，令人 欽佩。他的藝術紀錄了心路歷程的軌跡，一生的作品都在為他寫傳記。「席德進摯友三十年珍藏」三部曲，也像是一部精彩的短篇小說，豐富 地詮釋了畫家與摯友之間美好而真摯的情誼。
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
Let Life Be Beautiful Like Summer Flowers
Written by Odile Chen
2013 marked the 90th birthday anniversary of the late artist, Shiy De-jinn. To commemorate the artist, Ravenel held two special auctions of work by Shiy De-jinn in the Spring and Fall drawn from an extensive collection of his work—spanning over three decades—amassed by his close friend, Mr. L, calling to mind the memories of countless collectors. Shiy, an artist with an almost celebrity-like status during the 1960s and 1970s, was thrust back into the limelight once more, capturing the attention of collectors and the mass media. This spring, the Finale of Special Auction of Works by Shiy De-jinn: His Close Friend's Collection of 30 Years, will offer one last opportunity for collectors to acquire work from the collection of Shiy De-jinn’s close friend, Mr. L. In addition to witnessing the lifelong friendship of these two special men, the auction—presented in a special three-part format—also underscores the consummate mastery of artist Shiy De-jinn. The third and final auction features eight beautiful flower paintings, four animal paintings, and fifteen Chinese landscape paintings, along with three small works by Yuan Shu-zhen and others. From Lot 141 to 171, each painting is replete with the reminiscence of Mr. L, and many pieces were created when Shiy stayed at Mr. L’s home in Taichung overnight or on the campus where he worked, representing artistic mementos of the pair’s excursions. While Shiy was born in Sichuan province, studied in Hangzhou Art Academy, and studied abroad in America and France, he spent more than half of his life in Taiwan, an island full of unique southern scenery. His paintings were also dedicated to Taiwan, where he depicted mountains, flora, fauna, architecture, and its pristine and candid characteristics. The last stage of Shiy De-jinn’s career as an artist is marked by a strong focus on flowers and Chinese landscape paintings. This final auction presents a rare opportunity for collectors to own a piece of some of Shiy’s most magnificent works from an exceedingly unique period in the artist’s life.
Shiy De-jinn: Mr. L’s Long-Time Mentor and Trusted Friend One month before Shiy De-jinn passed away, his close friend Mr. L wrote an article, Born as Bright and Dazzling as a Summer Blossom: My Best Wishes to Shiy De-jinn, which was published in the Taiwan Daily News on July 5, 1981. The article illustrated his lifelong friendship with the artist Shiy De-jinn, who was like family to him. In Shiy, Mr. L saw a great passion for beauty, and he emphasized how Shiy could always discover “something extraordinary from the ordinary”. Several excerpts from Mr. L’s article recall those wonderful memories and offer a window to Taiwan’s past: “The first thing should be mentioned is his love for Taiwan; and even more, the amazing passion he has for every small aspect of daily life. He loves frequenting Taiwan’s famed food stalls. A young artist used to tell me, ‘If someone wants to know which food stand has the best street food, Shiy is the man to talk to!’ His love for Taiwan ranges from its forests, villages, old courtyard houses, quaint temples, water buffaloes, egrets, mountains, rice fields, flora, to its countless fruits. The more ordinary something is, the more appreciates it.”
席德進摯友珍藏專拍最終場
“Artists back then were young and naïve. They complained that the branches of Taiwanese acacia were too disheveled; rice field looked too dull; the mountains were situated too close to each other; water buffaloes looked dumb; the colors and designs of temples were too gaudy; banyan trees always looked the same year round; kapok trees appeared to be too sparse, and so on. Meanwhile, Shiy De-jinn was chewing on sugar cane from Puli, eating Tainan milkfish soup, and lying out on the beach all night to create art. At last, he came to a realization through his unbridled love for Taiwan and down-toearth attitude that, in fact, a majestic aesthetic was hidden within this ‘ordinary’ scenery all along. “He portrays the wild groves on the beaches, the kapok on the streets, wild water buffaloes, cottages in the middle of rice fields, Taiwanese acacia on the hillsides, and more. Not only did he find rich aesthetics in these ‘ordinary’ subjects that Taiwanese artists hesitated to acknowledge, he even captured their unique astonishing quality.” In taking a closer look, Mr. L could identify the reason behind Shiy De-jinn’s success with deep understanding. He highly regarded the artist’s love for the land and his intense, unyielding commitment and dedication. Mr. L, Shiy’s long-term patron, often traveled back and forth between the north and south to spend time with the artist, whom he considered like family. Mr. L was a treasured friend who was at Shiy’s side the day he passed, helped carry out necessary funeral arrangements, and later established a charitable fund with several friends. Their lifelong friendship shall never be forgotten.
Seeing Flowers through Modern Eyes: Extolling Life and Power In the lots of the final sale, in addition to Shiy’s masterful Chinese landscape paintings, it is worth noting the artist’s ingenious and creative ideas that are seen everywhere in the floral paintings which are full of vivacious images that are pleasing and charming. In his opinion, “Paintings that purely focus on the floral theme only can be found in Chinese paintings. In western paintings, the flowers in the vase have been altered and arranged by man. However, Chinese respect nature and enjoy pursuing the beauty of it.” Shiy determined to transform the practices of his predecessors and give the flower a new life through a pair of modern spectacles with different materials through which the floral paintings were bestowed a new meaning. He stepped away from what classical Chinese paintings usually depict—such as plum blossoms and peonies—and instead chose local flora as his subjects, such as flame trees, Chinese sacred lily bauhinia, canna, coral bean flowers, cyclamen, salvia, poinsettia, and even the ordinary luffa flower, all of which show unparalleled beauty. The author, Shiy Mu-rong, was entranced by Shiy De-jinn’s flower and commented, “What adjectives could I use to describe the flowers he portrays? The white orchard and red flame tree are presented with a kind of femininity; the dark and light green leaves feel like a kind of tender dream in which they
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
seep into the paper. While the white flowers are graceful and fragrant, the red fine petals are heavy and solemn. The artist extols life with a merry ease and verve and articulates this sense of dynamism through everything roaring in nature with just the right amount of power.” Shiy De-jinn once included a line from a poem by Tagore into his colored ink painting: “Let life be beautiful like summer flowers and death like autumn leaves.” This line resembles a snapshot of Shiy’s life. Life is short, and youth is not eternal. However, by cultivating himself, the artist constantly revisited the spring of life and, through art, made the flower of life blossom in its most splendid season.
The Entire Creation of Your Life Is One Big Piece of Art Taiwan is Shiy De-jinn’s other hometown, and he appreciated the myriad changes of this island. He created many widely acclaimed landscape paintings in the later stage of his career. Shiy De-jinn once described his style of landscape painting thusly: “I don’t need to recreate what others have already attempted.” Instead, Shiy fully expressed his own art in a painstaking and innovative fashion. The aesthetician Chiang Hsun’s comment “Shiy De-jinn painted Taiwan into China’s tradition of landscape paintings” speaks clearly for his important accomplishment that cannot be overlooked. In his youth, Shiy De-jinn received training for traditional works of art, western sketching, oil painting, pastel, and watercolor painting, and he deservedly earned his place in the Chinese art circle. Early on in his career, he focused on portraits and paintings of local landscape to show his passion for life, and he also began shifting his attention to reform Chinese painting. Later, he established a unique style of watercolor painting that underscores the accomplishments of his lifelong pursuit in art, leaving behind a splendid chapter in art history. Shiy De-jinn used to say, “The entire creation of your life is one big piece of art.” In retrospect, it is admirable that the artist left abundant aesthetic thinking and creative insight behind during his 59 years of life. His art left behind a path that traces his artistic journey, and his work wrote his biography. The three-part series of the Special Auction of Works by Shiy De-jinn: His Close Friend's Collection of 30 Years is like a carefully crafted short novel that marks the wonderful and sincere friendship between the artist and his dear friend.
席德進摯友珍藏專拍最終場
141 SHIY De-jinn
(Taiwanese, 1923-1981)
Group of Ducks 1980 Ink and color on paper 61 x 87.5 cm Signed lower right Shiy De-jinn in Chinese and dated 1980 With three seals of the artist
NT$ 400,000-700,000 HK$ 102,000-179,000 US$ 13,200-23,100
席德進 群鴨圖 1980 彩墨 紙本 61 x 87.5 cm 簽名右下：席德進 1980 鈐印右下：席德進印 鈐印右上：席氏書畫 鈐印左下：四川南部縣人
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詩人羅青評介席德進的群鴨題材：「他畫鴿子，水 鴨，基本上是受了白石老人的啟發，然畫成之後，完 全沒有白石的影子，這也是拜細心寫生之賜。在空白 的紙上，用鳥雀本身來佈局並不補景討好，以為裝 飾，而其結果卻能直指人心，一新耳目，為花鳥畫， 打開一面奇異的窗子。」 （羅青，〈繁華落盡見真純〉， 《席德進紀念全集I水彩畫》，席德進基金會，台中，1993，頁9）
The Chinese poet Lo Ching once said of this theme in Shiy’s works, “Pigeons and teals as themes are basically inspired by the work of the old master Qi Baishi, but after being transmitted through Shiy’s brush and into his paintings, they lose all contact with the old master’s work, although the careful attention to the form of the subject may still be said to be Shiy’s gift to Qi. Set on a field, the ducks in this picture are not complemented with any fawning additions or decorations. However empty the canvas, these ducks are still able to touch people’s hearts with newness. In terms of flower-and-bird paintings, Shiy’s work opens a new window to the exotic.” (Lo Ching, ‘Purity Come Out After the Vanity’, “The Commemorative Collection of Shiy De-jinn Vol I, Watercolor”, Shiy De-jinn Foundation, Taichung, 1993, p. 9)
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
142 SHIY De-jinn
(Taiwanese, 1923-1981)
Mountain Scene 1980 Ink and color on paper 52 x 69 cm Signed lower right Shiy De-jinn in Chinese and dated 1980 With two seals of the artist
NT$ 550,000-850,000 HK$ 141,000-217,000 US$ 18,100-28,000
席德進 藍色山景 1980 彩墨 紙本 52 x 69 cm 簽名右下：席德進 1980 鈐印右下：席德進印 鈐印左上：席氏書畫
席德進曾說，「假如我們不是那麼狹義地解釋水彩 畫，我們何嘗不可以視中國宋代的潑墨畫法不也是水 彩畫嗎？」 「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。 Shiy De-jinn once said, “If we don’t explain watercolor painting in such a narrow way, will it enable us to see Chinese ink painting of the Song Dynasty as a kind of watercolor painting?” 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.
席德進摯友珍藏專拍最終場
143 SHIY De-jinn
(Taiwanese, 1923-1981)
Bauchinia 1976 Watercolor on paper 56.5 x 76.5 cm Signed upper left Shiy De-jinn in Chinese and dated 1976
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 羊蹄甲花 1976 水彩 紙本 56.5 x 76.5 cm 簽名左上：席德進
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席德進在〈我畫‧我想‧我說〉一文中提及畫花卉的心得： 「把墨韻轉為色韻，重新建立設色的方法，再經過自己的思 索，來把佈局、空間安排處理。不以水墨自動技法花招而撩 人。應以沉著穩健的筆勢達到內涵的充實。」作品《羊蹄甲 花》雖採水彩素材，卻表現出國畫才有的濃烈墨韻，樸拙大 器，亦古亦今，十足席德進風格的水彩佳作。 In “I Paint, I Think, I Speak”, Shiy De-jinn speaks of painting flowers: “To take the subtly of ink and transform it into subtly in color I had to come up with a new method of coloring. I would consider the problem deeply before making the layout and setting up the space. One should not take the automated movements of ink painting and use them in color like some trick, instead one should use a careful and firm brush stroke to reach the inner meaning of the subject.” Here in Shiy’s “Bauchinia,” though made in color, still contains much of the subtly of traditional ink paintings. It is a genuine and skilled work, mixing aspects of the traditional with the modern, and is a strong representation of Shiy’s style in watercolor.
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
144 SHIY De-jinn
(Taiwanese, 1923-1981)
Red Flowers 1975 Watercolor on paper 56.5 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1975
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 一串紅 1975 水彩 紙本 56.5 x 76.5 cm 簽名左下：席德進 1975
一串紅，因花形似串串爆竹垂掛，又名爆竹紅。一串紅，花 期始於春季。嬌豔的一串紅偶而可見諸席德進的水彩畫中。 席德進認為人的一生僅有一季青春期，透過藝術的修練，畫 花、寫花，不斷返回青春季，將自然的春天永久留存。此幅 水彩畫《一串紅》採用清柔淡雅的暈染，用以詮釋象徵節慶 意象的花卉，不會過於張揚的用色，洋溢自然又清爽的氣 息。 The stems and petals of these flowers resemble a string of firecrackers, hence their name in Chinese, “firecracker flowers.” In every human life, there is only one period of “springtime”; Shiy De-jinn used his artistic skill to paint and draw flowers in a constant return to spring, so that spring as it occurs in nature can be preserved eternally. These beautiful strings of red are occasional fixtures in Shiy’s works. “Red Flowers” is set in a mild coloring to symbolize the festive flowers without being too showy. Overall it is a work both natural and fresh in mood.
席德進摯友珍藏專拍最終場
145 SHIY De-jinn
(Taiwanese, 1923-1981)
Flamboyant 1975 Watercolor on paper 76.5 x 57 cm Signed lower left Shiy De-jinn in Chinese and dated 1975
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 鳳凰木花 1975 水彩 紙本 76.5 x 57 cm 簽名左下：席德進1975
席德進曾寫道：「臺灣沒有梅花、牡丹，可是畫梅花牡丹的畫到處可見。為甚麼住在臺灣二卅年就不敢去畫鳳凰木花？或本地的花卉呢？難道 只是因為古人沒有畫過，就無從著手？」因此，席德進特別鍾愛描繪臺灣的花卉，鳳凰木花常見於台灣各地，尤其是學校校園。鳳凰木花開的 時候，就是盛夏到來的季節。 鳳凰木花是席德進最喜愛的樹木之一，生前他曾經告訴摯友L君，未來他的墳上要多種一些長春藤、木棉花、杜鵑、和鳳凰木，這是四種他最 喜歡的草木，畫它們也畫的最多。《鳳凰木花》描繪盛開的鳳凰木開，襯著水氣淋漓的綠葉，極富詩意，也顯露充滿生氣蓬勃的姿態。 Shiy De-jinn once wrote, “Taiwan has no plum blossoms or peonies, but you can see paintings of them everywhere. I’ve lived in Taiwan for nearly 30 years, how could I not paint flamboyants or other local flowers? Might it be because the old masters never painted them?” So, Shiy came to love painting local Taiwanese flowers. The flamboyant is a common flower in Taiwan that blooms in the summer, and is seen especially on school campuses. The flamboyant is one of Shiy’s most beloved trees. He once told his friend “L” that after he dies, he wants there to be ivy, cotton trees, rhododendrons, and flamboyants, his favorite plants. They were also his most painted plants. In “Flamboyant” the flower is shown in full bloom and is poetically and vigorously set against the wetness of the leaves.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
146 SHIY De-jinn
(Taiwanese, 1923-1981)
Luffa Flowers 1977 Watercolor on paper 57 x 76 cm Signed lower left Shiy De-jinn in Chinese and dated 1977
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 絲瓜花 1977 水彩 紙本 57 x 76 cm 簽名左下：席德進 1977
絲瓜是可食用的作物，常見於台灣農家，或植於菜園，或搭 成棚架，可說是非常在地的植物。絲瓜花，朝開暮萎，喜於 陽光下綻放。在《絲瓜花》水彩作品中，席德進將貌不驚人 的絲瓜花表現得十分高雅大方。背景的留白不僅作白色之 用，而可視為一種空間、顏色，突顯前景的絲瓜花、葉。而 渲染的綠葉、線條被柔化的花莖、卷鬚，也同時舒緩了黃花 邊緣的鋸齒感，使得整體作品呈現和諧無比的美感。 Luffa flowers are edible plants that are often seen on the Taiwanese farm, garden, or the scaffolding of a building, and are very local symbols. Luffa bloom at sunrise under the bright sun and close near dusk. Here, in Shiy De-jinn’s watercolor “Luffa Flowers,” he takes the unassuming Luffa flower and paints it in grace and boldness, while the white backdrop serves as a foil to the brightly colored Luffa. The rendering of the leaves and the softened stems and tendrils ease the harshness of yellow against green of the petals and leaves.
席德進摯友珍藏專拍最終場
147 SHIY De-jinn
(Taiwanese, 1923-1981)
Cyclamen 1977 Watercolor on paper 57 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1977
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 仙客來 1977 水彩 紙本 57 x 76.5 cm 簽名左下：席德進 1977
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席德進發現西方的水彩畫，與中國水墨畫、沒骨花鳥畫有非常相似之處，特別是水彩 墨色的流動、層次，以及偶然的即興、自動性效果。華人素來不重視水彩，席德進卻 對水彩畫有濃厚的興趣，1950年前後即投入水彩畫的創作。詩人羅青認為，席德進是 所有台灣水彩畫家中風格最多變的一位，席德進的水彩畫可看出台灣三十年的繪畫思 潮變遷。 水彩畫《仙客來》為席德進晚期所作，有別於早期的線條感強烈，陽剛太過，晚期的 線條融入書法概念，富有彈性，剛中帶柔，色彩淋漓，生命力充沛，抓住花卉的高雅 姿態，令人讚嘆。 From his experience, Shiy discovered that Western watercolor and Chinese inks shared some techniques: of painting without an underlying skeleton of the subject, especially in the expression of movement and layering, occasional improvisation, and automatism effects. Chinese painters never very much favored watercolors, though Shiy himself found them endlessly interesting. Around 1950, he began to involve himself in watercolors. The Chinese poet Lo Ching believes that Shiy’s style is the most varied among Taiwanese watercolorists, and that one could see from his works the thirty years of evolution of the art in Taiwan. “Cyclamen” is a watercolor from Shiy’s later period, and it differs from his earlier works in the force of his lines. Line in his later works incorporated calligraphy concepts that added flexibility to lines that were much more rigid in earlier works. Now they were strong but yielding, full of life and the natural elegance of the flower.
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
148 SHIY De-jinn
(Taiwanese, 1923-1981)
Tropical Blossom 1981 Ink and color on paper 44.5 x 68 cm Signed lower left SHIY De-jinn, titled Tropical Blossom and dated 1981 in Chinese With one seal of the artist
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 熱帶花開 1981 彩墨 紙本 44.5 x 68 cm 簽名左下：熱帶花開 席德進 一九八一 鈐印左下：席德進印
《熱帶花開》作品創作於1981年，為席德進到台 中大明中學校園寫生。畫中描繪的熱帶花卉就是 「珊瑚刺桐」，花形如火鳥一般，適合開在熱帶 或屬於夏季的時節。珊瑚刺桐在畫家的巧妙經 營，無比纖巧可愛，也顯現朝氣蓬勃的姿態。 “Tropical Blossom” was born of a sketch Shiy did while at the Ta Ming Senior High School in Taichung in 1981. The “tropical flower” here is specifically the phoenix-like flower of the coral bean tree that blooms in tropical areas and during the summer months. Delicate and dainty, the coral bean tree flower in Shiy’s vision is shown in a state that gives the painting the youthful energy of growth.
席德進摯友珍藏專拍最終場
149 SHIY De-jinn
(Taiwanese, 1923-1981)
Black Cattle in a Landscape 1980 Ink and color on paper 69 x 45 cm Signed center left Shiy De-jinn in Chinese With three seals of the artist
NT$ 600,000-1,000,000 HK$ 153,000-256,000 US$ 19,800-33,000
席德進 墨牛 1980 彩墨 紙本 69 x 45 cm 簽名左方：席德進 鈐印左方：席德進印 鈐印右上：席氏書畫 鈐印右下：四川南部縣人
席德進關懷台灣的風土人情，描繪農家題材 的時間很早。在水墨畫的創作，1960-1970 年前後偶而可見到墨黑色的牛隻，以及農夫 的圖像。此幅《墨牛》作於1980年，難得出 現在晚期的題材中，天地蒼茫，晚霞餘暉 中，墨黑的牛低首獨立，畫家以孤寂的心境 看待台灣的山水，呈現廓然無私的胸懷。 Greatly concerned for Taiwan’s land and its people through much of his life, Shiy De-jinn began painting farming scenes in his early works. Among Shiy’s ink paintings in the years 1960 to 1970, we find the occasional bovine done in black ink or a picture of a farmer. “Black Cattle in a Landscape” was finished in 1980 and is a rare instance among his lateperiod themes. A lone head of cattle dips his head set against the boundless haze of earth and the lingering light of dusk. Here the artist looks at Taiwan’s landscape from a lonely state of mind, conveying to the viewer a vast selfless cherishing of nature.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
150 SHIY De-jinn
(Taiwanese, 1923-1981)
Old House under the Mountains 1980 Watercolor on paper 56.5 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1980
NT$ 700,000-1,200,000 HK$ 179,000-307,000 US$ 23,100-39,600
席德進 山中古厝 1980 水彩 紙本 56.5 x 76.5 cm 簽名左下：席德進 1980
席德進偏愛風景寫生，他曾經寫道：「我堅持直接面對自然作畫。是因為自然的千變 萬化莫測。那種氣候，那種微妙的彩色，非呆在畫室中用一套公式來界限自然，反覆 製造風景的畫家所能夢想得到。」 畫家以寫生展開其「發現台灣」的生命旅程，上山下鄉遊歷創作，不感倦怠。《山中 古厝》是完成於1980年左右的創作，以青綠和紫色為主調。畫中描繪高山原野，有三 兩老屋座落其間，悠閒靜謐，綠意盎然。 Shiy De-jinn favored landscape painting. He once wrote, "The reason I insist on painting in the face of nature is because of the changes that occur there. In that kind of atmosphere, magical colors exist that can never be painted or confined as in a studio; it can never be dreamt of by painters who recreate nature." Shiy went to many places—mountains, rural areas—to create the landscape paintings and sketches of his life journey “Discovering Taiwan.” He never tired from his artistic journey. Completed around 1980, “Old Houses under the Mountains” is tinted primarily in hues of green and purple. The painting illustrates well a couple of quiet and graceful houses located in green high mountains and on the lush green plain.
席德進摯友珍藏專拍最終場
151 SHIY De-jinn
(Taiwanese, 1923-1981)
Yellow Cattle and Tree in a Seascape 1980 Ink and color on paper 68.5 x 44 cm Signed upper left Shiy De-jinn in Chinese With three seals of the artist
NT$ 700,000-1,200,000 HK$ 179,000-307,000 US$ 23,100-39,600
席德進 黃樹與牛 1980 彩墨 紙本 68.5 x 44 cm 簽名左上：席德進 鈐印左上：席德進印 鈐印左下：四川南部縣人 鈐印右上：席氏書畫 席德進用現代的眼睛去看山水，賦予全新的造 型，他擺脫慣有的思想、習慣，用自然去感受 一切。《黃樹與牛》呈現席德進對土地的關 懷，海邊的台灣黃牛，搭配東北海岸的美麗風 光，以及充滿生命力的黃樹。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。 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. “Yellow Cattle and Tree in a Seascape” 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 tree 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.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
152 SHIY De-jinn
(Taiwanese, 1923-1981)
House in the Woods 1980 Ink and color on paper 69.5 x 102 cm Signed lower right Shiy De-jinn and dated 1980 in Chinese With two seals of the artist
NT$ 900,000-1,500,000 HK$ 230,000-384,000 US$ 29,700-49,500
席德進 林間木屋 1980 彩墨 紙本 69.5 x 102 cm 簽名右下：席德進 一九八○年 鈐印右下：席德進印 鈐印左上：席氏書畫
「常常，我渴望著海――嚮往那海邊，去舒展我鬱結的心懷。」「一片藍色的波 紋，那似靜止又盪漾的海」感性的畫家席德進常常寫文抒情，文字中透露著心中想 望，想一親海與風的芳澤。 《林間木屋》創作於1980年，憑藉對海風的印象所作。當時席德進在摯友家中養 病，仍舊創作不懈。海邊的樹、草、泥土，都是席德進非常熟悉的景物。他的藝術 需要自然，靈魂也託付給自然，對於土地的熱愛，不斷地反饋在他的繪畫中，蘊藏 著無比澎湃的情感。 “I often find myself longing for the sea – longing to be at the seaside, where I can find relief from the gloom and despondency that overwhelms me.” “That expanse of blue ripples, the sea that is both still and turbulent.” An artist of great sensibility, Shiy De-jinn often resorted to writing as a means of achieving emotional release, expressing in textual form his hopes and desires, such as a wish to experience the balm offered by proximity to the sea and the ocean breeze. “House in the Woods” was created in 1980 from an image Shiy De-jinn had of the sea breeze. At the time, Shiy was convalescing at a friend’s house, though he would not let illness stop his brush. Trees, grasses, and mud are very familiar landscape elements for Shiy. His art required nature, and his spirit gave back to nature; his love for the soil was an ever-present element in his paintings and produced an incomparable outpouring of feeling.
席德進摯友珍藏專拍最終場
153 SHIY De-jinn
(Taiwanese, 1923-1981)
Christmas Flowers 1976 Watercolor on paper 66 x 111 cm Signed lower left Shiy De-jinn in Chinese and dated 1976
NT$ 900,000-1,500,000 HK$ 230,000-384,000 US$ 29,700-49,500
席德進 聖誕紅 1976 水彩 紙本 66 x 111 cm 簽名左下：席德進 1976
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花卉畫與山水畫為席德進水彩類作品中最重要的兩大題材，描繪的花卉以 台灣日常可見的花種為主，聖誕紅亦是席德進經常創作的對象。此幅《聖 誕紅》線條非常精簡，更強調渲染效果，來達到整體畫面的氣氛。席德進 十分通透西畫的技法與精神，晚期作品融入國畫的改革與創新。水彩畫綜 合了油畫、水彩、水墨、素描等技法，更融入書法的筆勢與力度，為水彩 畫帶入新的視野，因此其水彩畫的成就與評價甚高。 Flowers and mountains are the two most important themes in Shiy De-jinn’s watercolors; for his flowers, Shiy chose primarily from the most common of Taiwan-indigenous flowers. Christmas flowers are one such subject. Here in “Christmas Flowers” Shiy’s use of line is extremely subtle, which stresses his rendering of color and produces the entire mood of the work. Shiy is very comfortable with Western techniques and spirit, and in his later work these became innovative, revolutionary elements in Chinese painting. His watercolor paintings incorporate techniques specific to oil, watercolor, ink, and sketching. Further, it even uses the brush strokes and force he learned from Chinese calligraphy. These changes brought a revolutionary new vision to watercolors, which is one of the reasons Shiy’s watercolors are so highly praised for their value and achievement.
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
154 SHIY De-jinn
(Taiwanese, 1923-1981)
Canas 1976 Watercolor on paper 66 x 111 cm Signed lower left Shiy De-jinn in Chinese and dated 1976
NT$ 900,000-1,500,000 HK$ 230,000-384,000 US$ 29,700-49,500
席德進 美人蕉 1976 水彩 紙本 66 x 111 cm 簽名左下：席德進 1976
席德進的一生的創作深入民間，在造型與色彩都有民間的特色，尤其在油畫 作品與水彩作品有決定性的表現。他的水彩畫融入水墨的敷彩，餘味無窮。 水彩作品《美人蕉》既有民俗的審美，亦有文人畫的墨韻，花莖挺秀俐落， 碧翠綠葉水氣淋漓，烘托宛如美人之姿的花容，煞是娟麗大方。席德進的花 卉畫充滿柔美浪漫的氣息，精湛的畫功處處可見大師痕跡。 Shiy’s work was deeply imbedded in the common people. His themes commonly expressed a familiarity with the form and colors of Taiwanese folk. This is especially true for his oils and watercolors, where folk-inspired elements were a constant. Shiy’s watercolors often incorporated the inking methods of ink paintings, giving his works a lasting significance. “Canas”, done in watercolor, judges beauty from the folk perspective while also bringing in the cultured subtly of inking from the Southern School. Each flower stem stands out with sharpness; the deep jade leaves bead with water. The work is so beautifully done as to be compared to the manner of a woman, extremely beautiful and mild. Shiy’s flower still life is filled with a soft, romantic beauty, and one can see the success of the painting in all of the master’s strokes.
席德進摯友珍藏專拍最終場
155 SHIY De-jinn
(Taiwanese, 1923-1981)
Tamshui Riverside Landscape 1980 Watercolor on paper 67 x 111 cm Signed lower left Shiy De-jinn in Chinese and dated 1980
NT$ 1,200,000-2,200,000 HK$ 307,000-563,000 US$ 39,600-72,600
席德進 江畔風光（淡水） 1980 水彩 紙本 67 x 111 cm 簽名左下：席德進 1980 席德進偏愛風景寫生，他曾經寫道：「我堅持直接面對自然作畫。 是因為自然的千變萬化莫測。那種氣候，那種微妙的彩色，非呆 在畫室中用一套公式來界限自然，反覆製造風景的畫家所能夢想得 到。」 畫家以寫生展開其「發現台灣」的生命旅程，上山下鄉遊歷創作， 不感倦怠。《江畔風光》是完成於1980年左右的創作，以青綠和紫 色為主調，為典型席氏水彩山水畫。 Shiy De-jinn favored landscape painting. He once wrote, "The reason I insist on painting in the face of nature is because of the changes that occur there. In that kind of atmosphere, magical colors exist that can never be painted or confined as in a studio; it can never be dreamt of by painters who recreate nature." Shiy went to many places—mountains, rural areas—to create the landscape paintings and sketches of his life journey “Discovering Taiwan.” He never tired from his artistic journey. Completed around 1980, “Tamshui Riverside Landscape” is tinted primarily in hues of green and purple, a classic style of Shiy's watercolor painting.
席德進《水邊歸舟》1979 水彩 紙本 56.5 x 76.5 cm 羅芙奧台北2013春季拍賣會 編號686 台幣336萬元成交 SHIY De-jinn, Boats by the Riverbank 1979, mounted scroll, watercolor on paper, 56.5 x 76.5 cm Ravenel Spring Auction 2013 Taipei, lot 686, USD 113,552 sold
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
156 SHIY De-jinn
(Taiwanese, 1923-1981)
Morning Scenery in Puli 1980; Watercolor on paper; 65 x 102 cm Signed lower left Shiy De-jinn in Chinese and dated 1980
NT$ 1,200,000-2,200,000 HK$ 307,000-563,000 US$ 39,600-72,600
席德進 埔里晨曦 1980 水彩 紙本；65 x 102 cm 簽名左下：席德進 1980 席德進一向非常重視色彩的表現，而紫色是他特別偏愛的顏色。從1960年 代的水彩或油畫作品，經常選擇紫色為背景或為主調。對紫色的偏好其實 亦透露其個人同志情懷的傾向，以及性格中敏感、陰柔、纖細的特質。 《埔里晨曦》是一幅神秘迷人的水彩圖畫，描繪雲霧豐沛的山野景色。埔 里位於台灣中部，四季溫和、好山好水、物產豐饒，有「小洛陽」的美 名。此幅畫作傳達出席氏的唯美主義美學，畫中採用大片渲染的技法，山 光水色相互輝映。雖是水彩畫卻融入中國文人畫的豐富墨韻，為席德進典 型的台灣水彩風景畫特色。 Shiy De-jinn always paid strong attention to his expression of color, and purple was his favorite shade. In the 1960s, he often chose purple as the color of his background or the main tone in his watercolor or oil painting. His preference for purple also revealed his homosexual orientation and his quality of being sensitive, feminine, and delicate. “Morning Scenery in Puli” is a watercolor with a mysterious and enchanting tone depicting a mist-shrouded country landscape. Located in the middle of Taiwan, with mild climate, beautiful mountains, clean water, and abundant produce, Puli has earned the name of “Small Luoyang.” This painting expresses Shiy’s particular aestheticism. The artist washed large pieces of objects on the paper, making the mountains and the water reflect each other. As a watercolor, it is also blended with the rich tone of ink of Chinese classical painting. This is a typical feature of Shiy’s Taiwanese watercolor landscape.
席德進《埔里山色》1981 水彩 紙本 56 x 75 cm 羅芙奧台北2013秋季拍賣會 編號683 台幣480萬元成交 SHIY De-jinn, Mist Over Pu-li 1981, watercolor on paper, 56 x 75 cm Ravenel Autumn Auction 2013 Taipei, lot 683, USD 162,217 sold
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
157 SHIY De-jinn
(Taiwanese, 1923-1981)
Old House, Wuchi 1978 Watercolor on paper 65.5 x 110 cm Signed lower right Shiy De-jinn in Chinese and dated 1978
NT$ 1,200,000-2,200,000 HK$ 307,000-563,000 US$ 39,600-72,600
席德進 梧棲古厝 1978 水彩 紙本 65.5 x 110 cm 簽名右下：席德進 1978 席德進認為應效法五代和宋朝畫家，面對真實的山水 來創作。他曾說：「只有自己重新去看自然，體會生 活，從眼睛、心靈出發，才能拓展一個新的中國畫 風。」 在生命的後半階段，他潛心於體悟自然山林，鑽研中 國書法、繪畫、民間藝術與傳統建築。雖然席德進熱 愛亞熱帶台灣的自然美景，但沒忘記自己是四川蜀 人，透過中國的胸懷去看待「台灣山水」，在熱情樸 真之外，他的畫裡亦帶有溫文儒雅的生命領悟。 Shiy believed one should learn from the painters in the Five Dynasties and the Song Period, creating paintings by confronting real landscape. He said: “Only by seeing nature in a whole new way and experiencing life from the eyes and the heart can one create a new Chinese painting style.” In his later years, he immersed himself into nature, studying Chinese calligraphy, painting, folk art and traditional architecture. Although Shiy had a passion for the tropical, natural beauty of Taiwan, he never forgot that he came from Sichuan. He observed “Taiwan’s landscape” through Chinese eyes. Besides his passion and truthfulness, his paintings also carry a kind of refined comprehension of life.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
158 SHIY De-jinn
(Taiwanese, 1923-1981)
Tamsui Riverside 1980 Ink and color on paper 69.5 x 106 cm Signed lower left Shiy De-jinn in Chinese and dated 1980 With three seals of the artist
NT$ 1,300,000-2,200,000 HK$ 332,000-563,000 US$ 42,900-72,600
席德進 淡江河畔 1980 彩墨 紙本 69.5 x 106 cm 簽名左下：席德進 1980 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
「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。」席德進讓自己的藝術在泥土扎 根，作品中帶有濃厚的民族情感，情感豐沛令人動容。 作品《淡江河畔》雖為彩墨畫作，但其實也揉合了水彩的 渲染力，以及油彩的光線感。水光構圖的安排，可看出恩 師林風眠的影響，但筆墨與色彩的運用，仍是十足的席德 進個人特色。 "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." Shiy De-jinn rooted his art in the soil of his native land, bringing rich and touching national sentiment into his works. “Tamsui Riverside,” although done in color and ink, marries the rendering of watercolor with the vibrant lighting of oil. Here in the layout of the water we can see the influence of his teacher Lin Fengmian, though the application of ink with color remains Shiy De-jinn’s own personal style.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
159 SHIY De-jinn
(Taiwanese, 1923-1981)
Ducks under Taro Leaves c. 1980 Ink and color on paper 69.5 x 136.5 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist
NT$ 1,500,000-2,600,000 HK$ 384,000-665,000 US$ 49,500-85,800
席德進 芋葉群鴨 約1980 彩墨 紙本 69.5 x 136.5 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
席德進《雙鴨》約1977-1978 彩墨 紙本 73 x 140.5 cm 羅芙奧台北2013春季拍賣會 編號636 台幣432萬元成交 SHIY De-jinn, Ducks in the Pond 1977-1978, mounted scroll, ink and color on paper, 73 x 140.5 cm Ravenel Spring Auction 2013 Taipei, lot 636, USD 144,337 sold
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
席德進出生於四川省南部縣富裕農家，自幼顯露藝術天分，花鳥山水刺繡都能掌握得生動有趣。移居台灣之後，他亦頗能融入農 家恬適的生活，經常描繪農家的純樸景象。1956年曾以油畫《賣鵝者》選送參加第四屆巴西聖保羅國際雙年展，可見其樸實、淳 厚的個性取向。 1970年代後期轉向中國水墨畫的探索，席德進仍常以當年台灣農村隨處可見的芋葉、群鴨等農村題材入畫。此幅《芋葉群鴨》作 品用色飽滿，表現生機旺盛的芋葉，雙鴨在其間戲水，怡然自在，畫家向來關懷土地及熱情真摯的個性表露無遺。 Born in a rich farm family of the southern county in Sichuan, Shiy De-jinn recognized his artistic talent at a young age. He could easily grasp the spirit of flowers, birds, landscape, and embroidery. After moving to Taiwan, he was also content with the tranquil farm life and often depicted the simple and rustic landscape of the countryside. His “The Goose Seller” was selected to participate in the 4th San Paulo Biennale in 1956. We may see his pure and honest personality from the subjects he chose in his paintings. Later in the 1970s, Shiy turned to explore Chinese ink wash, but still, he used taro leaves and ducks, two common objects in Taiwan’s rural villages, as the subjects of his painting. The use of color in “Ducks under Taro Leaves” is vibrant and full. Two swimming ducks are naturally placed beneath lively taro leaves, showing the artist’s concern for the land as well as his passionate and truthful personality.
席德進摯友珍藏專拍最終場
160 SHIY De-jinn
(Taiwanese, 1923-1981)
Seashore Landscape of Orchid Island 1979 Ink and color on paper 69 x 136 cm Signed upper left Shiy De-jinn and dated 1979 in Chinese With three seals of the artist
NT$ 1,700,000-2,600,000 HK$ 435,000-665,000 US$ 56,100-85,800
席德進 蘭嶼風景 1979 彩墨 紙本 69 x 136 cm 簽名左上：席德進一九七九 鈐印左上：席德進印 席氏書畫 鈐印右上：四川南部縣人
在一次與建築師李祖原的對話中，席德進曾提到：「中國畫總是要等到畫 家七、八十歲時，才能產生最傑出的爐火純青之作。尤其是書法藝術，更 是非到老年，無法達到『人書俱老』的高峰，這是西方畫家的作品之間所 沒有的現象。我想中國畫著重的是個人的修練與提昇，它的境界太高了， 最後要達到的渾厚、古樸、蒼勁、藏而不露和平實，給人突然的震撼和短 暫的刺激。」 席德進在生命最後階段側重於水墨畫的探索，個人風格強烈。年少時他歷 經過傳統工藝、西洋素描、油畫、粉彩、水彩等技藝磨練，在畫壇佔有一 席之地，隨著年歲的增長，感悟到須以生命體驗為終極關懷。 他尊重中國筆墨的優越性，努力探求自己的風格，苦練書法，後期作品以 渲染的墨法為重。在他的水墨畫中不是採取傳統的皴法，而是墨氣淋漓的 大地，再創藝術成就的另一高峰。 席德進《蘭嶼風景》1979 彩墨 紙本 70 x 137 cm 羅芙奧台北2013春季拍賣會 編號634 台幣288萬元成交 SHIY De-jinn, Landscape of Lan-yu 1979, mounted scroll, ink and color on paper, 70 x 137 cm Ravenel Spring Auction 2013 Taipei, lot 634, USD 96,225 sold
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作品《蘭嶼風景》並非全然的墨色，畫家將不同的色料調和到接近灰色， 然後再上色，於是灰色透出不同調性的色彩。濃淡變化的墨韻染出遠近的 層次，再用筆寫出山形、礁石的結構，筆刷掠過的留白形成明暗光影的效 果，表現席大師老辣自信的風采。
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
In a conversation with the architect C. Y. Lee, Shiy De-jinn said, “In Chinese painting, artists must reach their seventies or eighties in order to produce their most outstanding piece of work. This is particularly true for the art of calligraphy, that one can never reach one’s peak until ‘the person and the work are both in maturity’. This is something that does not exist in the work of Western artists. I think Chinese people value personal cultivation and exaltation, which is an extremely sublime state. Lastly, one has to be immense, humble, vigorous, hidden and modest, giving the viewer a sudden shock and a transient stimulus.” At the last stage of his life, Shiy focused on exploring ink wash with his strong personal style. He had received training in traditional craft, Western sketches, oil painting, pastel, and watercolor when he was young, creating a place for himself in the art scene. As he got older, he began to realize that his ultimate concern should be his own life experience. He respected the excellence of Chinese ink and tried hard to explore his own style by diligently practicing calligraphy, paying attention to the skill of ink wash in his later works. He did not adopt traditional texture strokes but painted vast lands with a powerful application of ink. His bold innovation in ink wash painting helped him reach another pinnacle in his artistic achievement. “Seashore Landscape of Orchid Island” is not completely an ink wash. Shiy mixed colors into the shades of gray before applying the pigment on the canvas. This way, the gray shades may reveal colors with various tones, while different gradations of ink may wash into the various layers. The artist then used his brush to sketch the structure of the mountains and the rocks. The white space that the brush passes creates the effect of light and shadow, brilliantly showing Master Shiy’s mature and confident demeanor.
席德進摯友珍藏專拍最終場
161 SHIY De-jinn
(Taiwanese, 1923-1981)
Casuarina Trees 1980 Ink and color on paper 69 x 136.5 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist
NT$ 1,700,000-2,600,000 HK$ 435,000-665,000 US$ 56,100-85,800
席德進 木麻黃風景 1980 彩墨 紙本 69 x 136.5 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
面對風景時，席德進總是傾注無比的熱情，要與描繪對象產生感情，有了感動才作 畫，情緒像是初戀般的激情。此時，席德進把自己化成一座山，一片水，一棵樹， 或是輕輕飄過的雲彩。他的風景畫追求最接近真實的情感，在寂靜之中彷彿讓觀者 可以進入其中沉思、冥想。 木麻黃是台灣常見的樹木，多生長在海邊沙洲貧瘠的土地上，儘管海風強勁吹襲， 木麻黃依舊挺立成長茁壯。《木麻黃風景》作品逸筆草草，快筆的速感感，呼應強 風的意象。青綠色茂密的樹葉，色調豐富有層次，樹木姿態挺立堅毅，展現畫家對 生命的熱愛。
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
Shiy always faced landscapes with an incomparable passion that was meant to produce an emotion through the depiction of the scene. Only after such an emotional state had been reached would Shiy begin the painting proper. This mood is almost like the fervor one possesses in the inklings of a first love. During this period Shiy painted himself into the mountain, the water, the trees, the lightly floating clouds. His landscapes most closely pursue the feelings of reality, allowing the audience to sit and meditate within its silence. Casuarina trees are common to Taiwan and often grow on the otherwise barren sandbars next to the ocean. Even in strong winds, these hardy trees will continue to thrive and grow stronger. Shiy De-jinn’s leisurely touches and fast brush work mimic the effect of the wind in this work, “Casuarina Trees.” Dense bunches of leaves are presented in a number of colors, which gives them a deeply layered appearance. The trees themselves are rigid and stalwart, a clear expression of the artist’s love for life.
席德進摯友珍藏專拍最終場
162 SHIY De-jinn
(Taiwanese, 1923-1981)
Jioujiou Peaks, Caotun 1980 Ink and color on paper 69.5 x 137 cm Signed lower right Shiy De-jinn in Chinese With three seals of the artist
NT$ 1,700,000-2,600,000 HK$ 435,000-665,000 US$ 56,100-85,800
席德進 草屯九九峰 1980 彩墨 紙本 69.5 x 137 cm 簽名右下：席德進 鈐印右下：席德進印 鈐印右下：四川南部縣人 鈐印左上：席氏書畫
席德進曾說：「我經由中國人含蓄溫儒的生命態度 中，將絢爛轉為平淡，並且經由無限延伸的水平線 中，體悟到台灣平凡山水魅力。我的水彩追求撲拙， 意圖拋棄文明虛飾的外衣，同時也追求現代美，在 墨分五色的微妙變化中，顯出盎然的生趣與無窮的變 化。」 九九峰是台灣南投縣境內的名山，據說有九十九座壯 麗山峰，因而得名。席德進在山谷間眺望九九峰，以 寫生方式完成《草屯九九峰》彩墨畫，簡筆揮灑，水 氣淋漓，表現飄逸秀麗的山水風光。 Shiy once said, "I turn glamour into plainness through the gentle attitude of Chinese culture. Moreover, I understand the simple allure of nature in Taiwan through its endlessly extending horizons. My watercolors aim at plainness, pursuing modernity while abandoning the fake exterior of civilization. Endless change and joyful spirit are then born from the wondrous interaction of the five techniques of coloring." Jioujiou (99) Peaks is a famous mountain in Nantou County, Taiwan. It came by its name from its 99 magnificent peaks. Shiy De-jinn painted his "Jioujiou Peaks, Caotun" ink wash painting while viewing the peaks from a distant valley. The detached and graceful scenery is illustrated by simple, easy brushwork and the quality of the water in the scene.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
163 SHIY De-jinn
Purple Landscape
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》）
c. 1980-1981 Ink and color on paper 137 x 69.5 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist
「筆墨是中國，構圖是現代，情感是民族，生活是台灣。」有人曾以這 四句話概括出席德進的創作理念。彩墨作品《紫色山水》則是席氏創作 理念的實現，他以中國彩墨畫描繪台灣地方色彩濃厚的山水景色，風格 古雅又富現代感。
(Taiwanese, 1923-1981)
NT$ 1,800,000-2,800,000 HK$ 460,000-716,000 US$ 59,400-92,400
席德進 紫色山水 約1980-1981 彩墨 紙本 137 x 69.5 cm 簽名左下：席德進 鈐印右上：席氏書畫 鈐印左下：席德進印
作品《紫色山水》特別先以紅色作底，再敷加藍顏色，形成多層次的紫 色調。紫色為席德進特別鍾愛的色彩，浪漫、詩意，顯現與其同志的傾 向。儘管用色極其現代感，長軸的構圖形制則為晚期向傳統回歸的代表 特色。 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)
“His brushwork and ink are Chinese, his composition is modern, his emotion resides in his people, and his life is in Taiwan.” Some summarize Shiy’s concept of artistic creation in these four sentences, while the colored ink of “Sandbank at the Shore” is the exact realization of such an interpretation. He depicts Taiwan’s local landscape with Chinese colored ink and a classic, elegant and modern style. “Purple Landscape” was produced through applying blue over a primary base of red, creating a multi-layered effect in the resulting purple color scheme. In fact, romantic, poetic purple was one of Shiy’s favorite colors to use in his works, as it fit with his homosexuality. Modern in feel, the vertical length of the work is a return to the traditional style in Chinese painting that Shiy often used in his later works.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
164 SHIY De-jinn
(Taiwanese, 1923-1981)
A Delightful Contrast of Sea and Mountain 1980 Ink and color on paper 136.5 x 69 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist
NT$ 1,800,000-2,800,000 HK$ 460,000-716,000 US$ 59,400-92,400
席德進 海山相照 1980 彩墨 紙本 136.5 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
水墨畫是席德進的終極關懷，他的前半生學習西洋素描與油畫，遠離文人及傳統，晚年時他 曾自言：「年齡越大，我越喜歡起書法和中國文人山水畫來。」他苦練書法，發表文章倡言 改革現代水墨畫，回歸到中國美學的文化認同。 1979年時席德進在遊歷過山城九份之後，創作了一系列「海山相照」的水墨畫。他在此系列 其中一幅上題寫著：「遊九份，得此景，始知臺灣山水不能以傳統皴法寫之，蜀人席德進客 居寶島卅又二年矣。」他捨棄傳統國畫的皴法，選擇以墨法取勝，濕潤飽滿的色感，巧妙運 用畫中留白，將空白當作一種色、光、空間，重新和諧墨與色的相互和諧關係。 此幅《海山相照》為席德進作客摯友的家中所作，非實景寫生，而為憶寫之作。濃重的用 色，凸顯山的宏偉，深淺不一的墨藍，富有層次，令人回味無窮。表現山水畫裡群山聳立的 蒼鬱宏遠，用色濃重，大塊塗抹，有幾分向前輩李可染致敬之意。長形立軸的形制，接近正 統文人書畫的結構，為席德進晚年山水圖繪的特色。然而他以現代的眼睛看山水，創造出新 的造型與意志。 Ink wash painting was Shiy De-jinn’s ultimate concern. He spent the first half of his life studying Western sketches and oil painting, which distanced himself from classical and traditional art. In his later years, he maintained: “As I get older, I have become fonder of calligraphy and classic Chinese landscape painting.” He worked hard to develop his calligraphy skills and published articles on the reform of modern ink wash painting as a return to the cultural identity of Chinese aestheticism. In 1979, on a visit to the northern, mountain town of Jiufen, Shiy painted “A Delightful Contrast of Sea and Mountain,” a series of ink wash paintings. On one of the paints, he inscribed: “Traveling to Jioufen to capture this landscape finally made me realize that Taiwanese scenery cannot be depicted using traditional techniques. Shiy De-jiin of Sichuan, a guest in Taiwan for thirty-two years.” He abandoned the distinctive texture strokes of traditional Chinese painting and chose ink as his primary medium. Damp brushwork and a keen sense of color, the white space in his paintings becomes a shade of color, light, and emptiness to rebalance the harmonious relationship between ink and color. This work, “A Delightful Contrast of Sea and Mountain” is not modeled on actual scenery but is instead a product of Shiy De-jinn’s imagination, completed while Shiy stayed with a close friend. In “A Delightful Contrast of Sea and Mountain,” Shiy uses thick color to highlight the grandeur of the mountains in various shades of blue, adding rich layers that the viewer will never forget. He abandoned the distinctive texture strokes of traditional Chinese painting and chose ink as his primary medium. Damp brushwork and a keen sense of color, the white space in his paintings becomes a shade of color, light, and emptiness to rebalance the harmonious relationship between ink and color. Vertically long, this work is closer to the traditional size and structure of a Chinese painting, which is characteristic of Shiy’s later landscapes.
席德進《海山相照》約1980-1981 彩墨 紙本 115.5 x 105.5 cm 羅芙奧台北2013秋季拍賣會 編號695 台幣600萬元成交 SHIY De-jinn, A Delightful Contrast of Sea and Mountain 1980-1981, mounted scroll, ink and color on paper, 115.5 x 105.5 cm Ravenel Autumn Auction 2013 Taipei, lot 695, USD 202,771 sold
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席德進《海山相照》約1980-1981 彩墨 紙本 69.5 x 136.5 cm 羅芙奧台北2013春季拍賣會 編號641 台幣360萬元成交 SHIY De-jinn, A Delightful Contrast of Sea and Mountain 1980-1981, mounted scroll, ink and color on paper, 69.5 x 136.5 cm Ravenel Spring Auction 2013 Taipei, lot 641, USD 120,281 sold
Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
165 SHIY De-jinn
(Taiwanese, 1923-1981)
The Landscape of Wu-Ling c. 1979-1980 Ink and color on paper 89 x 239.5 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist
NT$ 1,800,000-2,800,000 HK$ 460,000-716,000 US$ 59,400-92,400
席德進 武陵勝境 約1979~1980 彩墨 紙本 89 x 239.5 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
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。 席德進完成四幅長約240公分長的武陵風景，長137公分的中型作品大約有兩幅左右。 In the middle of Taiwan, Wuling is located in the high-altitude region of Syue Mountain. Surrounded by the mountains and valleys, Wuling has four distinct seasons, with red maple trees that are particularly captivating in autumn and winter. The elegant landscape of Wuling can be compared to poet Tao Yuanming’s Peach Blossom Spring. Shiy and his friends often came here to enjoy the beauty. Four 240 cm long paintings of the scenery of Wu-ling were produced, along with an estimated two mid-sized (137 cm) works.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
席德進《武陵》1979 彩墨 紙本 90.5 x 248 cm 羅芙奧台北2013春季拍賣會 編號638 台幣780萬元成交 SHIY De-jinn, Wu-ling, 1979 Mounted scroll, ink and color on paper, 90.5 x 248 cm Ravenel Autumn Auction 2013 Taipei, lot 638, USD 260,608 sold
席德進《武陵勝境》1979 彩墨 紙本 88.5 x 240 cm 羅芙奧台北2013秋季拍賣會 編號699 台幣456萬元成交 SHIY De-jinn, The Landscape of Wu-Ling, 1979 Mounted scroll, ink and color on paper, 88.5 x 240 cm Ravenel Autumn Auction 2013 Taipei, lot 699, USD 154,106 sold
席德進《武陵勝景》1979 彩墨 紙本 68 x 137 cm 羅芙奧台北2011春季拍賣會 編號142 台幣264萬元成交 SHIY De-jinn, The Scenic Beauty of Wu-ling, 1979 Ink and color on paper, 68 x 137 cm Ravenel Spring Auction 2011 Taipei, lot 142 USD 92,082 sold
席德進摯友珍藏專拍最終場
166 SHIY De-jinn
(Taiwanese, 1923-1981)
Golden Landscape 1976 Ink and color on paper 69.5 x 128.5 cm Signed lower right Shiy De-jinn in Chinese and dated 1976 With two seals of the artist
NT$ 1,800,000-2,800,000 HK$ 460,000-716,000 US$ 59,400-92,400
席德進 金色山水 1976 彩墨 紙本 69.5 x 128.5 cm 簽名右下：席德進 1976 鈐印右下：席德進印 鈐印左上：席氏書畫
山水畫表現了席德進的理想與人生觀。在後期的自然寫生，他創作出一幅幅融合油彩、水 彩、水墨等多元特色的山水圖畫，既有詩意婉轉，也有豪情萬丈。他在中國山水畫的創新中 佔有一席之地，為台灣美術史留下美麗的篇章。毫無疑問地，這是他的藝術成就。 席德進曾說：「我的山水是用西方的水彩工具傳達了東方人的深邃的情操，對自然賦以新的 詮釋，我的色彩也變為中國水墨的趣味，賦予清新氣息與生命的活力。多年來我一直致力於 中西繪畫的相互影響與溝通的途徑，今天我總算已走出自己的路！」走出自己的路，應該是 藝術家一生奉行的態度，席德進無愧於自己。 「筆墨是中國、構圖是現代、情感是民族、生活是台灣。」席德進見證了台灣由農業社會轉 變為工商社會的劇變，在他的繪畫裡交融了台灣民間藝術的活水，以及藝術家對歷史文化的 深情，他的山水畫充滿飽滿的力量。 席德進在《金色山水》作品中採用大膽的色彩，突破舊有的框架。粗黑線條的勾勒，仍可見 其早年油畫創作時期，受表現主義畫家畢費（Bernard Buffet）的影響。台灣的山水被約簡成 極具現代造型，乾濕筆交錯下，陡峭奇石的書墨皴法顯得氣勢不凡，富有生機。山谷間的微 小扁舟，凸顯山脈的巍峨，作品呈現現藝術家的自信與孤芳自賞的特質。 From his landscapes, we can catch a glimpse of his ideals and outlook on life. When sketching and painting scenery from life in his late years, Shiy would combine oil paint, watercolor, and ink wash to produce pictures of an amazing richness and diversity, full of both subtle poesy and sweeping grandeur. One of the important innovators and modernizers of the Chinese “shanshui” genre, Shiy has certainly more than earned his place in the history of art in Taiwan. Shiy once said, “Through Western-style watercolor, my landscapes convey the profound values of the East, and nature is thus interpreted in a wholly new way. My colors also hold a special charm in terms of Chinese ink painting, injecting this classic genre with fresh vitality. For many years, I devoted myself to exploring the mutual influence, and possible channels of communication, between Eastern and Western painting. Now I have finally found my way!” Finding your way—this is what an artist’s life is really about, and Shiy certainly succeeded in this department. “His brushwork is Chinese, his composition modern; his mood is ethnic and his life rooted in Taiwan.” Shiy De-jinn witnessed Taiwan’s rapid transformation from an agrarian into an industrial society, and in his work he strove to blend the lively traditions of folk art with his personal sense of history and culture, a powerful mix that is particularly evident in his landscape paintings.
席德進《火炎山景》1979 彩墨 紙本 69 x 137 cm 羅芙奧台北2013秋季拍賣會 編號697 台幣900萬元成交 SHIY De-jinn, Landscape of Mountain Houyan, 1979 Mounted scroll, ink and color on paper, 69 x 137 cm Ravenel Autumn Auction 2013 Taipei, lot 697, USD 304,157 sold
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Shiy De-jinn’s “Golden Landscape” uses bold colors that burst out of the old picture frame. Thick black outlines recall his earlier period of oil paintings and the influence of the French Expressionist painter Bernard Buffet. Taiwan’s landscape has been reduced to an extreme modern form; the textural effects of the precipitous peaks reach an uncommon level in force and vitality. As we look into the gorge, we catch a glimpse of a small canoe that makes the surrounding peaks tower even higher. Overall, these effects show Shiy’s confidence and admiration of his own ability.
Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
167 SHIY De-jinn
(Taiwanese, 1923-1981)
Landscape of Mountain Houyan in Miaoli 1979 Ink and color on paper 69.5 x 139 cm Signed lower right Shiy De-jinn in Chinese and dated 1979 With two seals of the artist
席德進 苗栗火炎山景 1979 彩墨 紙本 69.5 x 139 cm 簽名右下：席德進 1979 鈐印右下：席德進印 鈐印左上：席氏書畫
NT$ 1,800,000-2,800,000 HK$ 460,000-716,000 US$ 59,400-92,400 1970年代之後，席德進取材台灣山水，將台灣的山水帶入中國水墨 畫。席德進認為中國山水畫沒有臨場感，倡導直接面對自然作畫， 寫生之必要，他曾經說道：「我從不閉門作畫，所畫的必是眼前的 山水。」他自期創作能顯現現代感的圖畫，而要超越國界的現代 感，則必須從現實生活取得。他的台灣山水畫與人文圖繪，傳達出 對土地的濃厚情感。 火炎山位於台灣苗栗，因山形地貌特殊，酷似火焰而得名，屬於世 界奇景之一。此幅《苗栗火炎山景》點染出特殊的地貌，渲染的群 山，煙雲繚繞其間，富有詩意。山水間的留白，巧妙有意趣，可見 席德進後期創作回歸、向傳統致敬的特色。 In the 1970s, Shiy De-jinn began taking Taiwanese landscapes as subjectmatter for his paintings, applying traditional Chinese ink-brush painting techniques to the depiction of these landscapes. Shiy felt that conventional Chinese landscape painting lacked a sense of presence; he advocated a direct contact with nature, and the need to paint from life. Shiy once commented that “I have never shut myself away in a room to paint; what I paint is the landscapes that I see before me.” Shiy sought to create landscape paintings that would have a modern feel to them, a sense of modernity that would transcend national boundaries, and he felt that this could only be achieved by painting directly from life. Both Shiy’s Taiwanese landscapes and his paintings of human scenes reflect a strong attachment to Taiwan. Mountain Houyan is located in Miaoli County, Taiwan. The hills take their name “Landscape of Mountain Houyan in Miaoli” from their distinctive appearance, resembling tongues of flame rising up into the air. This painting, the “Landscape of Mountain Houyan in Miaoli” is a uniquely detailed nature scene full of poetic feeling produced from the smoke snaking through the feet of the mountains. Especially note-worthy here are the white spaces, a respectful nod to the older traditions as the master entered his later stage.
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Finale of Special Auction of Works by Shiy De-jinn From His Close Friendâ&#x20AC;&#x2122;s Collection of 30 Years
席德進摯友珍藏專拍最終場
168 YANG Chi-tung (Taiwanese, 1906-2003)
Landscape with a Carriage 1981 Oil on canvas 41 x 53 cm Signed lower right Chi-tung in Chinese EXHIBITED: A Retrospective of Yang Chi-tung, Taichung County Cultural Center, Taichung, Feb. 2 – March 12, 1989 ILLUSTRATED: A Retrospective of Yang Chi-tung, Taichung County Cultural Center, Taichung, 1989, color illustrated, pp. 132-133
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
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楊啟東 有馬車的風景 1981 油彩 畫布 41 x 53 cm 簽名右下：啟東 展覽： 「楊啟東回顧展」，台中縣立文化中心二樓畫廊，台中，展期自 1989年2月24日至3月12日 圖錄： 《楊啟東回顧展》，台中縣立文化中心，台中，1989，彩色圖版， 頁132-133
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
169 YUAN Shu-jen
(Taiwanese, 1912-1999)
Scenery of Yangmingshan 1953 Oil on canvas 45.5 x 61 cm Signed lower right Shu-jen in Chinese and dated 1953
NT$ 140,000-240,000 HK$ 36,000-61,000 US$ 4,600-7,900
袁樞真 陽明山風景 1953 油彩 畫布 45.5 x 61 cm 簽名右下：樞真 1953
席德進摯友珍藏專拍最終場
170 DAI Ze
戴澤
(Chinese, b. 1922)
水仙
Narcissus
1984 油彩 畫布 裱於紙板 56 x 53 cm 簽名右上：戴澤 八四
1984 Oil on canvas mounted onto paper 56 x 53 cm Signed upper right DAI Ze and dated 84 in Chinese This painting is to be sold with a certificate of authenticity issued by Caves Art Gallery, Taipei.
NT$ 140,000-240,000 HK$ 36,000-61,000 US$ 4,600-7,900
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附敦煌藝術中心開立的原作保證書
Finale of Special Auction of Works by Shiy De-jinn From His Close Friend’s Collection of 30 Years
171 A-Sun WU
(WU Shiuan Shan) (Taiwanese, b. 1942)
Cathedral in Spain Oil on canvas 80 x 60.5 cm Signed lower right Shiuan Shan in Chinese and English
NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,600
吳炫三 西班牙教堂 油彩 畫布 80 x 60.5 cm 簽名右下：炫三 Wu Shiuan Shan
172 CHANG Wan-chuan (Taiwanese, 1909-2003)
Sunosaki Lighthouse 1983 Oil on canvas 32 x 40.5 com Signed lower right CHANG in English Wan in Chinese This painting is to be sold with a certificate with authenticity issued by Insian Gallery, Taipei
NT$ 380,000-500,000 HK$ 97,000-128,000 US$ 12,500-16,500
張萬傳 洲崎燈塔（長崎燈塔） 1983 油彩 畫布 32 x 40.5 cm 簽名右下：CHANG. 万 附印象畫廊開立之原作保證書
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173 CHEN Ching-jung (Taiwanese, b. 1934)
Girl in Blue 1986 Oil on canvas 73 x 61 cm Signed lower left CHING-JUNG in Chinese and CHEN, CHING-JUNG in English, dated 1986
NT$ 400,000-600,000 HK$ 102,000-153,000 US$ 13,200-19,800
陳景容 青衣少女 1986 油彩 畫布 73 x 61 cm 簽名左下：景容 1986 CHEN, CHING-JUNG
174 Michell HWANG (Taiwanese, b. 1948)
Time's Face 1994-1995 Oil on wooden board 77 x 79 cm Signed lower right Che in Chinese and dated 1994 Signed on the reverse Che in Chinese and dated 1995
NT$ 400,000-600,000 HK$ 102,000-153,000 US$ 13,200-19,800
黃銘哲 時代的臉譜 1994-1995 油彩 木板 77 x 79 cm 簽名右下：1994 哲 簽名畫背：哲 1995
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175 CHUA Hu
(TSAI Yun-cheng) (Chinese-Philipino, 1929-2009)
Landscape 2004 Oil on canvas 100 x 72.5 cm Signed lower right CHUA HU in English and Cheng in Chinese, dated 2004 This painting is to be sold with a certificate of authenticity issued by Tempo Art Center, Hsinchu.
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
蔡雲程 風景 2004 油彩 畫布 100 x 72.5 cm 簽名右下：CHUA HU 呈 2004 附天寶藝術中心開立之原作保證書
176 LU Hsien-ming
陸先銘
(Taiwanese, b. 1959)
釀—I
Brew – I
1993 油彩 畫布 120 x 120 cm 簽名中下：先銘 93 簽名畫背：釀—I 1993 陸先銘
1993 Oil on canvas 120 x 120 cm Signed lower centre Hsien-ming in Chinese, dated 93 Signed on the reverse Lu Hsien-ming and titled Brew - I in Chinese, dated 1993 ILLUSTRATED: Hantoo Impressions, Impressions Contemporary Space, Taipei, 2008, color illuetrated, p. 36 The Empire Strikes Back Episode II Surprise Attack, Impression Contemporary Space, 2008, color illustrated, p. 30
NT$ 420,000-600,000 HK$ 107,000-153,000 US$ 13,900-19,800
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圖錄： 《2008悍圖社聯展：`悍圖‧印象》，印象畫廊當代館，台北，2008，彩 色圖版，頁36 《帝國大反擊二部曲—長驅直入》，印象畫廊當代館，台北，2008，彩 色圖版，頁30
177 CHUANG Che
莊喆
(Taiwanese, b. 1934)
煙雲山石
The Rocks and Mist
綜合媒材 畫布 120 x 90 cm 簽名右下：莊喆 簽名畫背：THE ROCKS AND MIST CHUANG CHE.
Mixed media on canvas 120 x 90 cm Signed lower right Chuang Che in Chinese Signed on the reverse Chuang Che and titled THE ROCKS AND MIST in English
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
178 YANG Chihung (Taiwanese, b. 1947)
The Wages of Life 1984 Mixed media on paper 96.5 x 127 cm Signed lower right C.Yang in English and dated 84.
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
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楊識宏 生命的代價 1984 綜合媒材 紙本 96.5 x 127 cm 簽名左下：C.Yang 84.
179 CHEN Chun-hao (Taiwanese, b. 1971)
Imitating the Painting of Chang-Jiang Piled Snow by Wang-Wei, Sung 2010 Mosquito nail, canvas, wooden board 97 x 117 cm Signed lower right Chun-hao in Chinese and dated 2010
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
陳浚豪 臨摹北宋王維長江積雪圖局部二 2010 不鏽鋼蚊釘 畫布 木板 97 x 117 cm 簽名右下：浚豪 2010
180 Alixe FU (Qingli, Ching-Fong) (Chinese-French, b. 1961)
Who Ate the Candy? 2008 Oil on canvas 130 x 194 cm Signed lower left Alixe Fu in English and dated 08 Signed on the reverse Alixe Fu in English twice, Fu Qingli in Chinese, titled Who Ate the Candy? in Chinese, inscribed 130 x 193.5 and dated 2008
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
傅慶豊 誰偷吃糖 2008 油彩 畫布 130 x 194 cm 簽名左下：Alixe Fu '08 簽名畫背：Alixe FU 傅慶豊 誰偷吃糖 130 x 193.5 2008 Alixe Fu '08
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181 CHUA Hu
(TSAI Yun-cheng) (Chinese-Philipino, 1929-2009)
Memory of China: Stairway to Heaven 1977 Oil on canvas 138 x 83 cm Signed lower left CHUA in English, Cheng in Chinese and dated 77 Signed on the reverse MEMORY OF CHINA Stairway To Heaven in English
NT$ 600,000-800,000 HK$ 153,000-205,000 US$ 19,800-26,400
蔡雲程 中國的記憶—天國的階梯 1977 油彩 畫布 138 x 83 cm 簽名左下：CHUA 77 呈 簽名畫背：MEMORY OF CHINA Stairway to Heaven
182 YANG Chihung (Taiwanese, b. 1947)
Plus & Minus 1982 Acrylic and charcoal on canvas 153 x 198 cm Signed on the reverse Chihung Yang, titled Plus & Minus in English and dated 1982
NT$ 1,100,000-2,200,000 HK$ 281,000-563,000 US$ 36,300-72,600
楊識宏 加與減 1982 壓克力 碳筆 畫布 153 x 198 cm 簽名畫背：Plus & Minus 1982 Chihung Yang
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183 Michael LIN 159-5389-8835
林明弘生於日本，青少年時期僅在台灣短暫住過兩年，求學時多數時間在美國，而後往來於 歐洲、上海、台灣，旅居世界各國的經驗，讓他對環境脈絡特別敏感。1996年，林明弘在台 灣的第二次個展－「室內」，畫中有兩個阿嬤的花布枕頭，特別引起觀展者的討論；至今約 莫過了二十個年頭，提及藝術家林明弘，隨即浮現既常民又時尚的花布圖樣。
2006 Acrylic on canvas 136 x 230 cm Initialed on the reverse M, inscribed For Hugo Liao, titled 159-5389-8855 in Engish and dated 2006
從1950年代開始，台灣傳統花布被廣泛的使用，家家戶戶帳中被褥、堂室簾幕，各色吉祥多 彩花樣，不一而足。如此貼近生活的元素，與觀者產生緊密的互動性，也正是林明弘選擇 使用它做為創作媒介最初也是最重要的原因。無論是以身分認同、傳統與現代的衝突、空間 轉換的對話、全球化與在地化的討論…等等，這些藝評家最常切入的角度來解讀他的花布創 作，終究，藝術來自於生活，也因此動人。
(Taiwanese, b. 1964)
EXHIBITED: Island Life - Michael Lin Solo Exhibition, Eslite Gallery, Taipei, November 4-26, 2006
NT$ 1,300,000-2,200,000 HK$ 332,000-563,000 US$ 42,900-72,600
林明弘 159-5389-8835 2006 壓克力 畫布 136 x 230 cm 簽名畫背：For Hugo Liao 159-5389-8855 M 2006 展覽： 「島嶼生活―林明弘個展」，誠品畫廊，台 北，展期自2006年11月4日至11月26日
這幅作於2006年的《159-5389-8835》，源於他挑選的新疆及西藏地區的地毯花卉圖案紋樣， 充滿了邊疆民族的風味情調；各式盛開花卉與帶有象徵意味的物件以平面帶有趣味性的呈 現，桃、粉、橘、黃…鮮豔紛陳，溫暖的亮彩與對稱性的結構，穩定而愉悅。然而卻是林明 弘少有的、政治意涵明顯的作品。作品首度發表於2006年誠品畫廊個展「島嶼生活」，並曾 參與2010年義大利佩奇當代藝術中心林明弘首次大型回顧展「色彩是亮的，美是慷慨的」。 展場中，三組畫作並列牆面，除了新疆、西藏花色的地毯，另一幅為尺寸放大的台胞證，此 系列作品題名皆為一連串11位數字，仿似大陸行動電話號碼，將台灣的處境做了一番值得玩 味的演繹。 Born in Japan, Michael Lin stayed in Taiwan for two years during his teenage years but lived in America for the majority of his schooling. His later experiences while living and traveling around Europe, Shanghai, and Taiwan made him especially sensitive to his surroundings. In Michael Lin’s second solo exhibition, Indoors, which was held in Taiwan in 1996, an embroidered pillow with two grandmotherly figures attracted an especially lively discussion among viewers. To this day, after about twenty years, the quaint yet fashionable embroidery pattern comes to mind when discussing artist Michael Lin. Since the 1950s, traditional Taiwanese embroidery fabric has been widely used in quilts in nearly every household, window curtains, auspicious emblems of all kinds of colors and patterns, and more. Michael Lin’s main reason for choosing to use traditional Taiwanese embroidery as the medium at the outset is because it represents a material used in everyday life that resonates with viewers. The most common interpretation of art critics of his embroidery pieces stem from issues such as identity, conflicts between tradition and modernity, dialogues between different dimensions, globalization, and localization. In the end, what makes art so appealing—and moving—is that it is deeply rooted in our lives. This piece, “159-5389-8835”, painted in 2006, was inspired by the floral patterns of carpets Lin picked from Xinjiang and Tibet, areas filled with borderland ethnic cultures and characteristics. Various kinds of flowers in full blossom and articles with symbolic meanings are displayed in many bright, captivating colors including peach, pink, orange, and yellow. While the warm, brilliant colors and symmetric composition yield a steady and pleasant presentation, this kind of work—which contains clear political connotations—is relatively rare in Michael Lin’s repertoire. This work made its début in Lin’s solo exhibition Island Life at the Eslite Gallery in 2006 and was showcased in Michael Lin’s first retrospective exhibition, The Color is Bright the Beauty is Generous, in Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy, in 2010. In each venue, three sets of paintings were hung on a wall including the floral pattern carpets from Xinjiang and Tibet along with an enlarged print of a Mainland Travel Permit for Taiwanese Residents. The series is titled with strings of elevendigit numbers, which is a nod to Chinese cell phone numbers and a suggestive reminder of Taiwan’s plight for people to ponder over.
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184 CHIU Ya-tsai
(Taiwanese, 1949-2013)
Man in Blue Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese
NT$ 1,800,000-2,800,000 HK$ 460,000-716,000 US$ 59,400-92,400
邱亞才 藍衣男子 油彩 畫布 130 x 97 cm 簽名左下：邱亞才
邱亞才是一位富有文采的畫家， 著有多本小說 ，並曾經獲得文學獎。從連 環圖畫走入繪畫世界。三十歲開始懂得繪畫，三十五歲開始寫作。他從觀察 人開始，再完成於在紙上及畫布上，無論是小說或繪畫，主題幾乎都圍繞在 人物。 邱亞才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，主題為藍衣男子，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。線條與用色 的簡約，則營造了孤寂憂鬱的氛圍。藝術家藉此描繪出這些孤獨心靈在面對 理想和現實相悖時，選擇默然以對，不流俗的風骨氣節和脫俗的凝重優雅， 傳神地顯露於作品中。 Chiu Ya-tsai was a painter of great literary talent who wrote several novels and also received a literary award. His artistic life began with comic strips; he learned to paint at thirty, and began writing at the age of thirty-five. In his works on paper and canvas, he began by observing people. The subjects of both his novels and paintings almost invariably revolve around people. 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 "Man in Blue". The subject possesses a slim, elongated figure, with a sense of melancholy and detachment visible in his eyes. His expression is composed and self-possessed, exuding the graceful tranquility of Eastern literati, while the simplicity in lines and color create a sense of pensiveness and solitude. The artist thus depicted the silence of solitary souls in facing conflicts between ideals and realities, the subjects’ moral integrity and dignified elegance evident in his paintings.
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185 YANG San-lang (Taiwanese, 1907-1995)
Green Shade 1982 Oil on canvas 91 x 116.5 cm Signed lower right S. Yang in English
NT$ 3,000,000-4,000,000 HK$ 767,000-1,023,000 US$ 99,000-132,000
楊三郎 綠蔭 1982 油彩 畫布 91 x 116.5 cm 簽名右下：S. Yang
楊三郎一生奉行印象派，注重戶外寫生、注重日光、 時序下的光影變化，在直接面對自然的關照下，為了 加強筆觸在畫面上所呈現的肌理，藝術家經常筆、刀 並用，以豐富筆觸的繪畫機能，凸顯質感、量感，具 畫龍點睛之效，活化整幅作品。 此幅《綠蔭》為楊三郎少見的大幅作品之一，畫面中 橘紅色與綠色形成強烈對比，大筆大筆的紅橙色系、 深重褐黃、斑駁的筆調，堅實、硬厚、淳樸，正是藝 術家用筆的心境。代表著不只是一張楊三郎的畫，而 是其一生過程與堅持追求自我繪畫風格的成果。 Yang San-lang always pursued impressionism, focusing on open-air painting and the change of shadows under sunlight as well as timing sequence. Apart from his emphasis on nature and the strength of the texture carried by the brushwork, the artist often used both brushes and palette knives to enrich the brushwork and reinforce the quality of and the paint's volume. Often, this one final touch highlighted the sense of reality and made the whole work alive. This precious piece "Green Shade" is one of Yang Sanlang's rare large paintings. The red and green colors at the center of the painting are in stark contrast with each other. The prodigious use of red-orange, deep brown-yellow and mixed colors as well as firm, hard touches and homelike feelings reflect the artist's state of mind. Therefore, this painting with its strong local flavor represents not just an artwork of Yang San-lang's, but also his life's pursuit of an independent painting style.
186 Walasse TING
(Chinese-American, 1929-2010)
Catch Me If You Can 1977 Acrylic on canvas 76.5 x 101.5 cm Signed on the reverese Ting, titled catch me if you can in English and dated 77 PROVENANCE: Galerie Birch, Copenhagen
NT$ 3,400,000-5,000,000 HK$ 870,000-1,279,000 US$ 112,200-165,000
丁雄泉 擁抱我好嗎？ 1977 壓克力 畫布 76.5 x 101.5 cm 簽名畫背：Catch me if you can Ting 77 來源： Birch畫廊，哥本哈根
丁雄泉原為抽象畫家，1970年代起專注於人體的題材，當時他生活在紐約十多年，結識美 國普普藝術之父安迪．沃荷、湯姆．衛塞爾曼以及羅伊．李奇登斯坦等好友，丁雄泉和他 們都創造了真實反映自我人生的標誌性主題：一為女體，另一則為花卉。對丁雄泉而言， 花與女人是無法分割的，終其一生，都在探索女性媚惑之美，他擅長描寫女性柔和、吸引 人的一面，畫家筆下的女人，要有花，要有鳥，要有貓，要有鮮活美麗的事物。 他曾說過：「無論何時當我見到一位動人的女人或是一朵漂亮的花，總能啟發我難以捉摸 的感性。看見她們使我充滿能量與活力，帶給我有不曾有過的感覺，讓我彷彿有重生的感 覺。我用許多不同調性的色彩，讓能量與愛意在畫布上爆發。」丁雄泉旅居巴黎期間，鍾 情於亨利．馬諦斯的作品並受其影響，在畫裡亦追求馬諦斯畫作中同樣具有的純粹感與飽 滿度。 這件作品創作於1977年，當時畫家已然完成從抽象到具象的演變，對於壓克力顏料色彩高 飽和度的利用手法更為自如和豐富多變，揮、灑、描線、涓滴、潑灑、平塗，酣暢淋漓。 畫面中裸女不著痕跡地精心選用同色系的長筒襪搭配湖藍色的眼妝，在花叢中擺出撩人的 姿態。《擁抱我好嗎？》她慵懶地說出她的訴求，眼眸半闔，曖昧而略帶挑逗地望著你。 Walasse Ting started out as an abstract painter and later began focusing on the human form in the 1970s. After living in New York City for more than a decade, he became well-acquainted with many celebrated American pop artists, such as Andy Warhol, Tom Wesselmann, and Roy Lichtenstein. Ting and these other artists often created works centering on a topic that reflected truthfully their lives: the female body and flowers. To Ting, flowers and women are inseparable. He spent his whole life exploring the seductive beauty of women, and he was an expert at depicting their inherent softness and attractiveness. On the artist’s canvas, women are invariably accompanied by flowers, birds, cats—any objects of vivid beauty. Ting once said, “Whenever I see an attractive woman or a beautiful flower, they always trigger my elusive sensitivity. Appreciating them makes me feel alive and active. They give me feelings I never had before, as if I were reborn out of those beautiful things. I use colors of various tones to ignite energy and love on the canvas.” While residing in Paris, Ting was fascinated and influenced by Henri Matisse’s works. He pursued the same purity and fullness as Matisse did in his paintings.
亨利・馬蒂斯《粉紅裸女》1935年怍 Henri Matisse, The Pink Nude, 1935
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This particular piece, Catch Me If You Can, was painted in 1977 at a time when the artist had already transformed his style from abstract presentation to figurative depiction. He makes adroit use of saturated acrylic paints, skillfully changing his techniques from swaying and spreading to tracing, dropping, and applying. He cleverly chooses the same watery blue for the color of the woman’s stockings to match her eye shadow, conjuring a seductive pose among the flowers. With a subtle perfection, Catch Me If You Can depicts a woman gazing at the viewer with provocatively flirtatious eyes, hinting at a careful and languid expression that reveals her demands.
187 Tzu-chi YEH
(Taiwanese, b. 1957)
Yan-Ming Mountain in June 2009-2010 Tempera and oil on linen 122 x 224 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2009-2010
NT$ 4,800,000-6,000,000 HK$ 1,228,000-1,535,000 US$ 158,400-198,000
葉子奇 六月．陽明山（III） 2009-2010 卵彩 油彩 亞麻布 122 x 224 cm 簽名右下：葉子奇 2009-2010
萬水千山縱橫─看葉子奇的風景 年輕時的葉子奇常哼唱一首歌，是當年港劇「天龍八部」裡的主題曲：「萬水千山縱橫，豈 懼風急雨翻，豪氣吞吐風雷，飲下霜杯雪盞」。當時他正身處台灣80年代新藝術革命的領 軍陣營，卻在革命浪頭過後，決心千山獨行，走一條屬於他自己極度個人化的道路。爾後多 年，葉子奇以他個人的情感和美學與自然展開了長遠的對話，從「獨白」的靜物到「心象」 的風景。 生長在台灣後山中的後山—花蓮縣玉里鎮，葉子奇有他特立獨行的人生價值觀，「山」是一 個鑲嵌在葉子奇生命成長中難以磨滅、也難以取代的心靈圖像，是他追憶成長軌跡的一種自 然圖騰。許多人因為看了葉子奇的「山」而學會了方法去欣賞台灣的「山」。從十多年前的 「台北邊緣」、「山在花蓮」，到後來的「紗帽山」、「陽明山」、以及太魯閣的「霧在山 間」，葉子奇開啟了台灣山林前所未見的美與精神。 葉子奇十五歲那年，離開了縱谷玉里的家到花蓮唸高中，獨自在外租屋、覓食、初嚐鄉愁的 苦澀。從縱谷的深處到海口開闊的太平洋，大海不但慰藉了他年少離家的孤獨，也激發了他 潛藏的熱情。海的神秘，澎湃出他對生命探索的好奇，山的屹立，則回應了他對成長已知與 未知的期待。 在山、海、雲、樹之間，葉子奇逐漸淬鍊出屬於他個人獨特的詮釋語彙，創造出一種既寫實 又包含隱喻手法的「心象風景」，我們看見他縱橫於萬水千山之間的創作能量，也感受到他 隱身其間那富涵寓意的執著與深情。 文／張金催（東華大學民族藝術研究所助理教授兼代理所長）
CROSSING OVER MOUNTAINS AND RIVERS-APPRECIATING TZU-CHI YEH’S LANDSCAPES In his youth, Tzu-chi Yeh often sang the theme song of a Hong Kong drama, “Demi-Gods and SemiDevils”: “After the long and arduous journey, I fear not the strong wind and heavy rain. My pride swallows thunder and lightning, and drinks from the frosty, snowy cup.” At the time, he was at the forefront of Taiwan’s new art movement in the 1980s. However, after the artistic revolution had settled down, he decided to move on alone, to walk a path that belonged completely to him alone. Years later, from his still lifes “in soliloquy” to his landscapes reflecting “the mind,” Yeh called upon his sentiment and aesthetics to launch a lengthy dialogue with nature. Born in Yuli, Hualien, hidden in the mountains of Taiwan, Yeh holds his own unique view of life. The mountains are an indelible and irreplaceable spiritual image engraved in his life, a natural map for the memories of his growth and development. Many people learn how to appreciate Taiwan’s mountains by seeing Yeh’s mountains. From “The Fringe of Taipei” and “Mountain in Hualien” he created decades ago to the later “Mt Shamao,” “Yang-Ming Mountain” and “The Fog in the Mountains” of Taroko, Yeh shows the hitherto unseen beauty and spirit of Taiwan’s mountains. At the age of 15, Yeh left his home in the rift valley of Yuli for Hualien to attend high school. He had to rent a house and learn to take care of himself, experiencing for the first time the bitterness of being away from home. He traveled from the depths of the rift valley to the wide open Pacific, and not only did the ocean relieve his loneliness but also ignited his inner passion. The mystery of the ocean stimulated his curiosity toward life while the tall, steadfast mountains responded to his expectations for the known and the unknown as he grew up. Yeh’s unique language in interpreting nature was gradually derived from the mountains, the ocean, the clouds, and the trees, creating a sort of “mind landscape” that is both realistic and metaphorical. We see the creative energy through his brushes passing over mountains and rivers, experiencing the fabled persistence and passion hidden in his works. Written by Chang Chin-tsui Assistant professor and acting director of Graduate Institute of the Indigenous Art, National Dong Hwa University
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188 CHEN Cheng-po (Taiwanese, 1895-1947)
Zhongshan Park at West Lake 1929-1934 Oil on wooden board 33 x 24 cm Signed lower left po in Chinese Signed on the reverse Zhongshan Park at West Lake for Yiyuan Painting Research Institute Chen Cheng-po dedicates in Chinese ILLUSTRATED: Chen Cheng-po Centennial Memorial Exhibition, Chia Yi Municipal Cultural Center, Chia Yi, 1994, color illustrated, p.92
NT$ 3,600,000-4,600,000 HK$ 921,000-1,176,000 US$ 118,800-151,800
陳澄波 西湖中山公園 1929-1934 油彩 櫻桃木板 33 x 24 cm 簽名左下：波 簽名畫背：上海西門林蔭路藝苑 陳澄波 贈 西門中山公園 圖錄： 《陳澄波百年紀念展》，嘉義市立文化中心， 1994年出版，頁92
杭州西湖，向來是文人墨客詠嘆的對象，亦為皇室達官流連忘返之所。陳澄波對西湖美景的 喜愛，洋溢在數幅傑出的作品中。 1929至1933年，陳澄波受聘赴上海新華藝專與昌明藝專任教，為日治時代台籍畫家中極少數 於大陸大專院校美術學系擔任教職且成就卓越者之一。旅滬期間，以描繪江南名勝的風景畫 創作為數最多。此幅曾於「陳澄波百年紀念展」展出的《西湖中山公園》，畫背識題：上海 西門林蔭路藝苑。「藝苑」（藝苑繪畫研究所）為1928年由引領陳澄波到上海發展的關鍵人 物－王濟遠發起主持的綜合性繪畫研究社團，重要成員有：朱屺瞻、潘玉良、張大千、徐悲 鴻…等知名藝術家，陳澄波當時也在此擔任指導教授，與這些中國藝術家多有接觸。醇厚的 學術風氣與和睦的自由探討，使「藝苑」在上海西畫界產生了良好的影響和聲譽。父親為前 清秀才的陳澄波，自幼即對中國書畫特別有興趣，在上海居住的這幾年，他積極地吸收傳統 文化的養分，內化融會到自己的創作中。 此幅《西湖中山公園》，空間深淺有致，前景的樹叢與圍籬構成的弧線引人尋幽訪勝，左方 羅列的枝幹與右方茂密的林葉虛實呼應，伸向天空的植物與上揚的飛簷再將視線延伸；動感 強烈的線條顯現出豐沛的生命力，蜷曲的筆觸與色彩的熱度似與梵谷爭輝。石川欽一郎肯定 陳澄波畫風「純真、不賣弄技巧、有獨特個性的筆法」實對其人與其創作有深刻了解。 Hangzhou’s West Lake has long been a popular subject of eulogy among poets and scholars and a magnet that once attracted royalty and dignitaries to linger and relax. The numerous masterpieces of Chen Cheng-po also overflow with his affection toward West Lake. From 1929 to 1933, Chen Cheng-po was appointed at Shanghai Xinhua and Changming School of Art—very few Taiwanese artists, also with distinguished accomplishment, was able to get to teach in art school from Mainland China during the era of Japanese rule in Taiwan. During Chen’s time residing in Shanghai, he chose to depict the landscape of the famous scenery in Jiangnan for most of his works. This particular piece, Zhongshan Park at West Lake, was showcased at the “Chen Cheng-po Centennial Memorial Exhibition”, and is inscribed with “Shanghai West Gate Linyin Road Yiyuan” on the reverse. “Yiyuan” (Yiyuan Painting Research Institute) was a comprehensive painting research association founded in 1928 by Wang Ji Yuan, who recommended Chen to work in Shanghai. Other important members included well-known artists, Zhu Qizhan, Pan Yu-liang, Zhang Daqian, and Xu Beihong, and Chen, an advisor professor, was in close communication with them. “Yiyuan” had a positive influence and reputation in Shanghai’s western fine art world with its pure academic atmosphere and amiable intellectual exchange. Chen, whose scholarly father took part in the imperial examination during the Qing Dynasty, was especially interested in Chinese paintings since his childhood. During his years in Shanghai, he heavily absorbed himself in the traditional culture of the region and internalized these qualities in his works. This particular piece, “Zhongshan Park at West Lake”, manifests a depth by the curved line formed by the foreground grove and hedge which invites people to delve in and explore the painting. Branches spread out on the left seem to respond to the thick foliage on the right as plants reaching up to the sky and flying eaves extend the view. The dynamic movement of the artist’s strokes reveals a vibrant vitality, with curved strokes and warm colors reminiscent of Van Gogh. Kinichiro Ishikawa, who knew Chen and his work very well, once described his strokes as being “pure and distinctive in style without any hint of excess”.
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189 CHU Teh-chun
(Chinese-French, 1920-2014)
Composition no.125 1962 Gouache and pastel on paper 57 x 38 cm Signed lower left CHU TEH-CHUN in Chinese and English This paintaing is to be sold with a certificate of authenticity issued by Chu Teh-chun Studio.
NT$ 3,800,000-5,500,000 HK$ 972,000-1,407,000 US$ 125,400-181,500
朱德群 構圖第125號 1962 水粉 粉彩 紙本 57 x 38 cm 簽名左下：朱德群 CHU TEH-CHUN 附朱德群工作室開立之原作保證書
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190 Walasse TING
(Chinese-American, 1929-2010)
I Want My Lips to be Delicious 1974 Acrylic on canvas 76 x 112 cm Signed on the reverse Ting and titled I want my lips to be delicious in English, dated 74
NT$ 4,200,000-6,000,000 HK$ 1,074,000-1,535,000 US$ 138,600-198,000
1929年出生於上海的丁雄泉，是自學畫家，只受過中國書法及素描的訓練，卻執著創作了數 十年。他自食其力，曾在上海街頭作畫，十九歲那年帶了五塊美金離鄉遠赴非洲再轉到法 國。雖然完全不熟稔法文，歐洲的藝術殿堂卻深刻地震撼了他，尤其是馬蒂斯的繪畫帶給他 的影響，使他的創作中開始盈滿鮮豔的色彩。1960年丁雄泉移民紐約，與多位知名抽象表現 畫家、普普藝術家結為好友，成為美國當代藝術界活躍的一份子。他敏銳地從生活中尋求靈 感，用太陽給的顏色作畫，流利的線條，誇大的造型，色彩淋漓繽紛，成為他獨有的繪畫語 言，女人、花、鳥、動物等生活所見，都化為他創作的一部分。就在紐約蘇荷這個當代藝術 起源地，丁雄泉到達了自己第一個創作巔峰，創作出諸多充滿感官愉悅、迴腸盪氣的優秀作 品。他以色寫形，彷彿一位「色彩的魔術師」，「畫中的女人，各色皮膚、頭髮、眼影、衣 服、絲襪，變化多端，耀眼迷人。鮮黃、鮮紅、鮮紫、鮮綠...全混在一起，不刺眼也不雜亂， 好像大自然四季的變換，繽紛有序、活潑美麗。」（參閱黃于玲<有情人碰上有情人>一文，《台灣畫》， 台北，1993年 9月號，頁15)
《我想雙唇鮮美》為畫家1974年代的油畫代表作品，它延續早年抽象主義滴流潑灑的風格， 優雅閒適的裸女婀娜而感官的形體呈現出美好的律動，如水一般婉轉動人。
丁雄泉 我想雙唇鮮美 1974 壓克力 畫布 76 x 112 cm 簽名畫背：I want my lips to be delicious Ting 74
Born in Shanghai in 1929, Walasse Ting was a largely self-taught artist, whose only formal training was in Chinese calligraphy and sketching, but who succeeded in building an artistic career that extended over several decades. Supporting himself by his art, he painted on the streets of Shanghai before leaving China at the age of 19 (with just US$5 in his pocket) to travel to Africa, and from there to France. Despite not speaking a word of French when he arrived, Ting was deeply impressed by the “artistic capital of Europe,” and was particularly influenced by the paintings of Matisse, which led him to start filling his own works with bright colors. In 1960, Ting left France for New York, where he became close friends with a number of leading abstract artists and Pop artists, and established himself as one of the most active figures on the contemporary U.S. art scene. Ting excelled at drawing inspiration from daily life, using the colors of the sun in his paintings, and developing his own unique artistic lexicon of smooth lines, exaggerated forms and spectacular colors. Women, flowers, birds and animals – whatever he saw around him was potential subject matter for Ting’s paintings. While living in the Soho district of New York – a hotbed of American avant-garde art – Wallace Ting reached his own peak of creative achievement, producing a large number of works that were full of sensual joy and which had a dramatic impact on the viewer; Ting seemed to be a veritable “magician of color.” “The women portrayed in Ting’s paintings, which display considerable variation in terms of skin color, hair, eye-shadow, clothing and hosiery, all exude an entrancing allure. The bright yellow, red, purple and green tones meld together harmoniously without seeming in any way gaudy, like the changing of the seasons – colorful, lively and beautiful” (Huang Yu-ling, “An Encounter between Two Sensitive People,” taiwanschool, Taipei, September 1993 issue, p. 15).
“I Want My Lips to be Delicious,” one of Walasse Ting’s finest oil paintings, was created in 1974. It represents a continuation of the abstract, drip-painting style seen in Ting’s early work; the elegant, languorous female nude’s graceful, sensual form exudes a beautiful sense of rhythmic vitality, seeming almost to flow like water.
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191 Walasse TING
(Chinese-American, 1929-2010)
Do You Like My Green Eyes? 1979 Acrylic on canvas 105.5 x 150 cm Signed on the reverse Ting, titled do you like my green eyes? in English and dated 79 PROVENANCE: Galerie Birch, Copenhagen
NT$ 6,500,000-8,500,000 HK$ 1,662,000-2,174,000 US$ 214,500-280,400
丁雄泉 你喜歡我的碧綠眼睛嗎？ 1979 壓克力 畫布 105.5 x 150 cm 簽名畫背：Ting 79 do you like my gren eyes? 來源： Birch 畫廊，哥本哈根
上世紀初，許多藝術家遠赴重洋學習西洋藝術，並在藝壇取得斐然成績，名揚海內外。留日 藝術家有陳澄波，王悅之；留法的有趙無極，朱德群；陳蔭羆和丁雄泉則是美國知名華裔藝 術家的代表。 丁雄泉1929年生於上海，青年時代在上海接受基礎的美術教育。其後輾轉香港，於1950年 代初期在巴黎開始自己的藝術家生涯。巴黎自由的文化氛圍和活躍的藝術運動使他大開眼 界。而時表現主義運動如火如荼的進程深深影響了他日後的創作。1950年代末期，移居美國 紐約，抽象表現主義此時正在盛行，在時代洪流中取諸家之長，逐漸形成自己獨特的藝術風 格。 女人、花卉、動物是他多年來最鍾愛的題材，清新，活潑的色彩，歡愉略帶情色意味的畫風 已然成為丁雄泉的風格標籤。也自詡為「採花大盜」、「風流先生」，毫不掩飾自己對情色 和美人的熱愛，著實可愛。 早年的巴黎創作時期，表現主義繪畫帶給他很大影響。尤其是馬蒂斯和畢卡索等人的作品， 使他偏愛亮麗的色彩與強烈的對比。此外，中國民間彩繪的影響，亦使他對瓷土的淨白、設 色後的自然與營造出的透明感情有獨鍾。1970年代後期，他在創作中融入中國傳統書法運筆 手法及狂草的律動。汲取民間年畫製作手法中的勾線結合單色平塗的技法，營造出自然優美 又瀟灑暢快的氛圍。正是這樣兼收並蓄的研習模式，加上他個人的藝術才情，使他精通各家 之法，並兼取各派所長，最終跳出所有畫派之外，自成一家。 《你喜歡我碧綠的眼睛嗎？》作於1979年，作品完整的體現了丁雄泉在1970年代繪畫風格。 畫面描繪了一位慵懶地倚臥的妙齡少女。側臥的姿勢最能表現女性尤其是裸女的優美曲線， 也是古今大師多用的一種姿勢，上至提香，下至馬內。汲取大師經驗，以自己獨有方式寥寥 數筆勾勒出少女的曼妙臥姿，五官和衣著也使用極簡的線條處理，大面積的平塗使得畫面被 分割成數個塊面。裙子的綠色和臥鋪的紅色形成強烈的對比，身體的粉白和牆面的淡綠有效 地調節畫面的節奏。少女的頭髮則使用了非自然的寶藍色，在頭髮映襯下，皮膚更顯白皙。 在完成背景和人物之後，他又在畫面上刷上了不規則的紅色，綠色，黃色的色塊，甚至採用 了美國抽象表現主義大師波洛克的潑灑顏料的方式，在作品上留下了許多彩色的點。無規則 的小色塊和滴流的顏料營造出 視覺的酣暢感，也令畫面充滿 裝飾趣味。 另外，丁雄泉的作品名稱亦非 常有特點。親昵淺白，有如情 人耳語，呢喃，真切又滿溢的 情感。例如這一件《你喜歡我 碧綠的眼睛嗎？》，抑或《你 喜歡我的紅頭髮麼？》等等。 為觀者提供豐富的想像空間， 分享他眷愛的感官世界。他認 為，女人的身上沒有直線，全 是美麗的線條。藝術家用創作 垂涎生命的青春，希望藉此攫 取生命最風光的時刻。
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馬內《奧林匹亞》巴黎奧塞美術館藏 Edouard MANET, Olympia, 1863, oil on canvas, 130.5 x 190 cm Collection Musée d’Orsay, Paris
During the early half of the twentieth century, numerous artists traveled abroad to study Western art, and many achieved distinguished success and became renowned both at home and abroad. Such artists included Chen Cheng-po and Wang Yueh-chih, who studied in Japan; Zao Wou-ki and Chu Teh-chun, who studied in France; and Chen Yinpi and Walasse Ting, who were highly influential Chinese artists in America. Walasse Ting was born in Shanghai in 1929, where he later received his basic art education as a youth. After a stopover in Hong Kong, he began his career as an artist while in Paris in the early 1950s. The free atmosphere of Parisian culture and active art movements broadened Ting’s horizon. This was a time when the Expressionist movement was at its peak, and it profoundly influenced his later work. Toward the end of the 1950s, Ting immigrated to New York at the height of the Abstract Expressionist movement. Ting incorporated characteristics from different schools in this era and developed his own unique artistic style. 提香《烏比諾的維納斯》佛羅倫斯烏菲茲美術館藏 Tiziano Vecellio (TITIAN), Venus of Urbino, 1538, oil on canvas, 119 x 165 cm Collection Galleria degli Uffizi, Florence
Women, flowers, and animals have long been his favored themes for many years depicted in fresh, vivid colors. Joie de vivre with a tint of eroticism is Ting’s personal artistic signature. Ting provocatively referred to himself by the sobriquets “the Flower Thief” and “Mr. Romantic”, and these monikers are no hyperbole—his love for amorousness and beautiful women are clear in his work, a trait for which one cannot help but feel a strong sense of affection. In the early stage of his career in Paris, Expressionism influenced his work tremendously, especially the works of Matisse and Picasso, which made him have a penchant for using bright color and sharp contrast. In addition, under the influence of Chinese folk colored drawing, he was especially fond of the whiteness and the natural and translucent feelings the coloring brings. In the latter half of 1970, he blended Chinese calligraphic wielding and the rhythm of the wild cursive style into his work. Deriving from the technique of the folk Chinese New Year painting that combines sketch and primary color filling, his work depicts a natural, graceful, and unrestrained milieu. It is precisely this kind of practicing and studying of different techniques and cultures, combined with his own artistic talent, that enabled him to fully master and integrate the essence of each school and finally develop his own distinctive style. “Do You Like My Green Eyes?”, a piece painted in 1979, epitomizes Ting’s artistic manner of the 1970s. The picture portrays a young lady reclining in a relaxed posture. Reclining on one side can best illustrate the curves of the female form, especially in the case of a nude, which also has been a typical choice for masters of all-time, from Titian to E. Manet. Learning from masters, Ting sketches the young girl’s alluring pose with a few strokes and the facial features and clothes with several crude lines in his style. The color filling divides a great area into several slabs. The green skirt and red furniture create a marked contrast while the young woman’s powdery white figure is accented by a light green wall, modulating the rhythm of the drawing. The girl’s complexion becomes even fairer by using the unnatural sapphire on the hair. After finishing the background and figure, he spills red, green, and yellow in irregular blocks and even uses the signature splashing technique of Jackson Pollock, the renowned American Abstract Expressionist, to create many colorful dots on the canvas. The visual verve and ease that the irregular blocks and colorful drops embellish add another savory layer to the piece. Furthermore, his work titles are always characterized by an intimacy and plainness, as if harkening to murmurs between lovers, each word vivid and overflowing with affection. Pieces such as “Do You Like My Green Eyes?” or “Do You Like My Red Hair?”, for example, offer a platform for the viewer to imagine and share his sensual world. In his opinion, there are no linear lines on the female body—only beautiful curves. Artists use their talents to create works which extend and capture the light of youth, forever hoping to capture the most sumptuous moments of life.
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192 LIAO Chi-chun (Taiwanese, 1902-1976)
Greek Historic Site 1962-1968 Oil on canvas 38 x 45.5 cm Signed lower left Chi-chun in Chinese ILLUSTRATED: Liao Chu-chun, Pacific Cultural Foundation 1981, color illustrated p. 125; black-and-white illustrated, p. 200 (wrongly dated 1973) Lin Hsin-yue, Liao Chi-chun (Taiwan Fine Arts Seriesv No. 4), Artist Publishing Co., Taipei, July 1992, color illustrated no. 60, p. 103
NT$ 6,500,000-8,500,000 HK$ 1,662,000-2,174,000 US$ 214,500-280,400
廖繼春 希臘古蹟 1962-1968 油彩 畫布 38 x 45.5 cm 簽名左下：繼春 圖錄： 《廖繼春畫集》，國泰美術館，台北，1981年 3月出版，彩色圖版，頁125，以及黑白圖版， 頁200（創作年代誤植為1973年） 林惺嶽，《台灣美術全集4：廖繼春》，藝 術家出版社，台北，1992年7月出版，彩色圖 版，編號60，頁103
廖繼春一生的作畫題材，經常取材日常生活的點滴。1947年當他們舉家遷居台北之後，寫生 對象遍佈北部名勝，1950年代開始，海港或河畔風景畫於是成為廖繼春表現最豐富的題材。 淡水、觀音山，皆是他流連的寫生地點。1962年遊歷美國、歐洲數月之後，眼界大開，用色 大膽，更內在的繪畫潛能被激發出來。巴黎、威尼斯、希臘、西班牙等地名景，也是他作畫 的對象。 畫家陳銀輝曾如此撰述描寫廖繼春的作品《希臘古蹟》，文中寫道：「此幅雅典的衛城，可 能是從對面的布尼克斯小丘畫過來的。右上建築物是萬神殿，左上是衛城的進門市羅比萊 亞，下面土黃色的建築物是音樂堂。由上面兩個白建築物及丘陵下橫長的土黃色建築物所構 成的這幅畫，以灰色調統一畫面。調子雖然柔和，但山上的兩個白建築物成為此畫重點，再 加上畫面的草綠色與紅的筆觸，使畫面活潑而不致於單調。本來古蹟現場色彩並不強烈，而 近乎灰色調，作者可能為了表現現場的氣氛而使用灰調的吧！構圖上作者以一條白的小徑連 繫上下橫長的建築物，確是得當的主意」。（陳銀輝，〈希臘古蹟〉（作品介紹），《廖繼春畫集》，國泰 美術館，台北，1981年3月出版，頁200）
Throughout his life, Liao Chi-chun often put details of daily life on canvas. When his family moved to Taipei in 1947, he made all the places of interest throughout the north of Taiwan objects of his sketches. From the 1950s, seaports or riverside landscapes became the most constant themes expressed by Liao. Danshui and Kwan-yin Mountain were both his favorite sketching venues. Traveling in America and Europe for a number of months in 1962 opened new horizons for him, and he became more adventurous in his use of colors. His inner painting potential was thus stimulated. Paris, Venice, Greece, Spain, all the landscapes of those places became his painting objects. The artist Chen Yin-huei described Liao Chi-chun’s “Greek Historic Site” in the following terms: “This view of the Acropolis in Athens may have been painted from the nearby Pnyx Hill. The building on the right is the Parthenon; that on the left is the Propylaea, the monumental gateway to the Parthenon. The brownish-yellow building below is the ancient auditorium. This composition, with its main elements consisting of the white buildings in the upper half of the canvas and the brownishyellow building below, is unified by the gray tones. While the overall effect is soft and harmonious, the way the two white buildings stand out, and the use of green and red, ensure that the painting also has a lively aspect to it that eliminates any hint of monotony. Ancient monuments always tend to have muted coloration, which is often grayish in tone; the use of gray here may well have been a deliberate choice on the part of the artist in order to bring across the atmosphere of the scene! The inclusion of the white path, which links the long buildings in the upper and lower sections of the canvas, is highly effective.” Chen Yin-huei, “Greek Historic Site” (Description), in “The Paintings of Liao Chi-chun,” Taipei: Cathay Art Museum, March 1981, p. 200
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193 CHU Teh-chun
(Chinese-French, 1920-2014)
Fête Nocturne 1999 Oil on canvas 73 x 92 cm Signed lower right Chu Teh-chun in Chinese and CHU TEH-CHUN in English, dated 99 Titled on the reverse Fête nocturne in French, signed CHU TEH-CHUN in English and Chu Teh-chun in Chinese, dated 1999 EXHIBITED: Chu The-chun 88 Retrospective, National Museum of History, Taipei, September 19 - November 23, 2008 ILLUSTRATED: Solo Exibition of Chu Teh-chun, The Ueno Royal Museum (cataloue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illuetrated, p. 314 (hard back edition) Solo Exibition of Chu Teh-chun, The Ueno Royal Museum (cataloue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illuetrated, p. 37 (brochure) Chu Teh-chun, 88 Retrospective, National Museum of History, taipei; Thin Chang Corporation, Taipei, 2008, color illuetrated, p. 170 (hard back edition) Chu Teh-chun, 88 Retrospective, National Museum of History, taipei; Thin Chang Corporation, Taipei, 2008, color illuetrated, p. 74 (brochure)
NT$ 8,000,000-12,000,000 HK$ 2,046,000-3,069,000 US$ 263,900-395,900
朱德群 夜之饗宴 1999 油彩 畫布 73 x 92 cm 簽名右下：朱德群 CHU TEH-CHUN 99 簽名畫背：“Fête nocturne＂CHU TEH-CHUN 朱德群 1999 Signature on the reverse 展覽： 「朱德群88回顧展」，國立歷史博物館，台北，展期自2008年9月19日至11月23日 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314（精裝本） 《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37（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170（精裝本） 《朱德群八十八回顧展》，台北，馨昌股份有限公司，台北，2008，彩色圖版，頁74（簡冊）
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194 CHU Teh-chun
(Chinese-French, 1920-2014)
Douce Méditation 1997 Oil on canvas 80 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 97 Titled on the reverse "Douce MÉDiTATioN" in French, signed CHU TEH-CHUN in English and Chinese, dated 1997
NT$ 12,000,000-22,000,000 HK$ 3,069,000-5,627,000 US$ 395,900-725,800
朱德群 溫柔的沉思 1997 油彩 畫布 80 x 100 cm 簽名右下：朱德群 CHU TEH-CHUN 97 簽名畫背："Douce MÉdi-TATioN "CHU TEHCHUN 朱德群 1997
朱德群早期有過二十年的具象創作經驗，從青少年時期在杭州藝專習畫開始，即感染了當時 的大時代氣息，也因此對於中國傳統文化藝術的因子與西方藝術風潮的灌溉，產生了相互融 溶的包容性。中國傳統書畫、歐洲古典繪畫和現代抽象藝術，都從不同方面影響了朱德群至 今的藝術道路。在朱德群的抽象畫當中，音樂、色彩、書法、光源等等都是不可或缺的表現 元素，他熟練的將這些元素以巧妙的方式結合，從中國詩畫的視覺觀點，彌補西方色彩理論 的生硬，演繹出一幅又一幅滿溢中國文人情思、內涵豐富的畫作，不只是風景或一個抽象形 式，而是賦予蓬勃生命力並具有神秘內涵的一個嶄新的藝術領域。朱德群對抽象表現主義繪 畫的貢獻，在於加入了優雅、舒暢、灑脫的筆致，表現了大自然的生命流動，他將中國文化 精神貫注於個性化的繪畫語言之中，為中國繪畫傳統增添了活力。 《溫柔的沈思》創作於1997年，朱德群使用令人心服的線條從不精確中畫出性格來，使幻想 變成完美無缺，很驚奇的是在他的畫面沒有西方線條的透視，而從遠處看主題，出現好幾個 定點，相疊相重替換著，配置在不同階度的平面上，靈活的把書法水墨詩意融會起來的那份 流暢寄放移植於畫布上，賦予色光，使畫面淋漓地耀動璀璨起來。 Back in the early days, Chu Teh-chun had about twenty years of figurative creation experiences, When he was learning in Hangzhou National Academy of Art, he was affected by the atmosphere of that era, with the elements from Chinese traditional arts and the irrigation from western art trends , he lined both. Traditional Chinese paintings, classic European paintings and contemporary abstract arts all have affection on Chu's art. Music, colors, calligraphy, and lights are essential elements in his abstract paintings, he skillfully merged all these elements, from traditional Chinese poetic point of view, atoning the stiffness from western art theories, and further creates several cultural and cultivated paintings, not just a picture of a landscape or a form of abstract, Chu pushed art to a brand new region that is lively and mystic. His contributions on abstract expressionism paintings is his using graceful, mild and degage brush strokes, which brings up the life and force of nature, he poured Chinese culture spirits in his own characteristic painting language, vitalized the Chinese painting tradition. "Douce Méditation" was created in 1997; Chu adopted convincing lines to paint characteristics from uncertainty, makes illusions perfect, we cannot see western transparency in the picture, but if we view from afar, we may discover certain still spots replacing each other, arranged on a plane of different degrees, Chu cleverly blended the feel of calligraphy onto the canvas, with lights and colors given, made the whole picture look alive.
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195 LIAO Chi-chun (Taiwanese, 1902-1976)
Country 1962 Oil on canvas 60.5 x 73 cm Signed lower left Chi-chun in Chinese, and dated 1962.5 Inscription on the reverse: Country 1962 60.5 x 73 cm owned by Liao Mei-hui PROVENANCE: Ancient collection of the artist's first daughter, Liao Mei-hui ILLUSTRATED: Ho Cheng Kuang, Chi Chun Liao's Paintings, Artist Publishing Co., Taipei, May 1976, color illustrated, p. 44 Ho Cheng Kuang, Chi Chun Liao's Paintings, Artist Publishing Co., Taipei, March 1981, color illustrated, p. 48 Lin Hsin-yue, Liao Chi-chun (Taiwan Fine Arts Seriesv No. 4), Artist Publishing Co., Taipei, July 1992, color illustrated no. 48, p. 90 Li Chin-shian, Colors-Harmony, Liao Chi-chun, Hsiung Shih Art Book, Taipei, 1997, color illustrated, p. 98
NT$ 18,000,000-26,000,000 HK$ 4,604,000-6,650,000 US$ 593,900-857,800
廖繼春 鄉村 1962 油彩 畫布 60.5 x 73 cm 簽名左下：繼春 1962.5 畫背文字：鄉村 1962 60.5 x 73 cm 廖美惠留 來源： 藝術家長女廖美惠舊藏 圖錄： 何政廣主編，《廖繼春油畫集》（藝術家叢刊21），藝術家出版社，台北，1976年5月出版，彩色圖版，頁44 何政廣主編，《廖繼春油畫集》（藝術家叢刊21），藝術家出版社，台北，1981年3月出版，彩色圖版，頁48 《台灣美術全集4—廖繼春》，藝術家出版社，台北，1992年7月出版，彩色圖版48，頁90 李欽賢，《色彩・合諧・廖繼春》，雄獅圖書股份有限公司，台北，1997，彩色圖版，頁98
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The question of modern paintings is not whether they [the paintings] are abstract or figurative or whether they have form or not. It is the content and the expression of beauty that counts.
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「色彩的魔術師」廖繼春，他那迷人又大膽的色彩魅力，不 僅成型於他求學時期的深究及師承，更多來自他天性中的浪 漫與自由因子。 廖繼春於1924年入東京美術學校就讀，促成他渡海求學其中 一個重要因素，是他愛上了同鄉的名門閨秀林瓊仙女士。林 瓊仙女士是一位有智慧、性格果斷的新女性，在學校的成績 相當優異，其父為豐原地方仕紳，相對於家境較貧困的廖繼 春，兩人懸殊的身世在一般人眼中是無法匹配的，然而，她 也有意將終身委於用天真及專注的熱情打動芳心的廖繼春， 於是開出婚姻的條件－廖繼春必須東渡日本留學，拿到比她 更高的學歷，才可以結婚。如此一段極有故事性的才子佳 人、打破門戶之見的軼事，可說是廖繼春藝術生涯的轉機。 當時的日本畫壇，以印象派、外光派以至野獸派為主流風 格，而留學歐洲的教授們帶進藝 術學府的自由朝氣與開放作風， 更深深影響獨立思想與人格的培 養。 廖繼春回到故鄉後，深受亞熱帶 陽光下鮮明的光影景象鼓舞，以 色彩為基調，捕捉台灣的風土特 色；色彩發揮了主宰畫面的作 用，線條與造型，因而更加揮 灑開來，畫風自由寫意，奔放不 羈。他日益主觀化的畫面，出現 重疊的變形、透明的空間以及色 彩的韻律之美。廖繼春的個人畫 風，顯見其能夠從學院訓練的起 點，悠然遊走於自由創新的藝術 境界。
掃藝壇。1962年5月，在廖繼春與席德進於台北美國新聞處 舉辦的聯合畫展中，廖繼春已經展出幾件純粹由點、線、面 組合變化構成的作品。這件作品《鄉村》即創作於1962年5 月，在廖繼春那敏感而可塑的畫面上，出現了飄然的線形與 不拘泥於物的唯美色塊，客觀的形體，在抽象表現下，巧妙 地融於色彩的對比與呼應之中。 同年6月份他受到美國國務院邀請，赴美參觀訪問，此等殊 榮，不僅使同儕難以望其項背，博覽歐美當代美術的經歷， 也使新生代畫家對其敬仰不已。這趟美國行，廖繼春停留了 四個月，遍訪美國各大都市重要美術館，翌年再取道歐洲， 參觀各地重要名勝、文物與藝術，於1963年3月返回台灣。 他在返國後曾發表了這趟旅程的感想：「如夏卡爾所說，他 之前來到巴黎，並非學習那裡的畫，而是接受那裡的刺激而 已。」也曾強調：「現代畫的 問題，並不在抽象或具象，不論 有形或無形，最重要的是要有內 容與表現性，能予人以美的感 受。」時年六十歲的前輩畫家， 早已經歷過數度新舊勢力、歐美 藝術思潮的洗禮，心中自有定 見，而他的此番言論，也證明禁 得住時間的考驗。
1965年廖繼春繪製了《西班牙 古城》，與此件1962年的《鄉 村》，同樣以鮮明的白、黃、藍 等色塊為主導，廖繼春曾說： 「中華民族有強烈的色彩感覺， 廖繼春《西班牙古城》1965 油彩 畫布 72.5 x 91 cm 例如：明朝的瓷器，在白色的底 2010年10月4日 HK$ 14,100,000 成交於香港 子下，畫下藍色的、紅色的、綠 LIAO Chi-chun, Ancient Castle In Spain, 1965, oil on canvas, 72.5 x 91 cm 色的圖案，這種強烈、優雅的色 October 4, 2010, US$ 1,817,000 sold in Hong Kong 廖繼春對於色彩有其天賦且獨到 彩感覺是在別的民族藝術中較難 的敏銳度，後人難出其右，而他與追隨野獸主義的梅原龍三 發現的。」畫面中的景物以細線條輕快勾勒輪廓，色彩之間 郎特別親近，兩人都是外表拘謹害羞，實則感性而熱情，也 的比重，在抽象化的變形中，形成結構完美的韻律。一為地 更因著兩人對於藝術創作上的共通愛好。廖繼春雖未曾受教 中海情調高聳白牆的歐洲歷史古城，一為沐浴在台灣南國豔 於梅原，但自1933年起，梅原幾度來台旅遊，擔任評審，都 陽下熟悉的矮房屋瓦鄉村風光，廖繼春用相似的手法創作了 由廖繼春招待到台南寫生。梅原對廖繼春的精神啟迪，是絕 這兩幅充滿個人特色的作品，卻能精巧地以構圖的視角、彩 對而深遠的。然而從作品風格上來看，梅原的筆調細膩，層 度的轉換，完全地掌握並表現出兩地的環境氛圍，使觀者亦 次多，色彩也較凝重沈鬱，富有中國文人緣情寫意的內涵； 如臨其境。 廖繼春則是憑藉直覺與感性，筆調粗放、簡潔，色彩也較鮮 細細品味《鄉村》一作，在用色的深淺中，錯置的透視，充 麗明朗，頗具赤子般讚美頌唱的快意。 滿創作的樂趣與對技巧的熟捻；拉高的地平線，俯瞰房舍間 隨著抽象主義在世界藝壇的狂飆，1960年代的台灣亦經歷一 巷弄、河道與樹木，親切如掬手可得。廖繼春作畫時對土地 場繪畫現代化運動，對於抽象藝術的鼓吹，呈現席捲之勢橫 的情感與恣意揮灑的才氣，發揮的淋漓盡致。
Liao Chi-chun is known as the “color magician.” His attractive and bold use of color originates not only from his studies as a student but also from his romantic and carefree nature. Liao was admitted to the Tokyo Fine Arts School in 1924. One important factor that lead to him studying abroad was his falling in love with Lin Qiong-xin. The daughter of an illustrious family, Lin was a wise and decisive young woman with outstanding academic performance. Her father was a local man of substance in Fengyuan. Coming from a relatively poor family, Liao was not considered a good match for Lin. However, she intended to wed this innocent, devoted and passionate young man, so she proposed a condition of marriage—Liao had to study in Japan and receive a higher degree in order to marry her. This intriguing agreement broke down the class barrier between them and was a turning point in Liao’s artistic life. During that period, impressionism, pleinairism and fauvism were the mainstream of the Japanese art scene. Professors studying in Europe introduced these liberal fashions to Japan, deeply influencing the development of independent thinking. Returning to his hometown, Liao was deeply inspired by the vivid play of light and shadow in the tropical sun. He used colors as his basic tone, capturing Taiwan’s local landscape. Colors dominated his canvas, allowing lines and shapes to fully exercise their power. His free and poetic style was bold and wild. The composition of his paintings became more and more personal, showing overlapping blocks and transparent space as well as the rhythm of colors. Liao’s artistic style started from academic training but moved into more unfettered artistic realms.
Liao Chi-chun and Shiy De-jinn at the Taipei office of the U.S. Information Service, Liao had several artworks constructed purely from dots, lines and planes on display. “Countryside” was created at that time. Floating lines and aesthetic color blocks that are not restricted by the shapes of objects appear on Liao’s canvas. He ingeniously designed the contrast of colors through abstract expression. The U.S. State Council invited him to visit the U.S. in June of the same year. His visit to the U.S. was not only an honor setting him apart from other contemporary artists, but also gave him the opportunity to feast on European and U.S. contemporary art. The artist was deeply impressed. Liao stayed in the U.S. for four months, visiting all the major museums in U.S. cities. He then travelled to Europe the next year, visiting many tourist attractions, cultural relics and artworks. In March 1963, he returned to Taiwan and shared his thoughts about the trip, “As Marc Chagall said, he didn’t come to Paris to learn how to paint but to be inspired by the city.” Liao also emphasized that “the question of modern paintings is not whether they [the paintings] are abstract or figurative or whether they have form or not. It is the content and the expression of beauty that counts.” Reaching his sixties, the senior artist has experienced the impact of the old and the new as well as the influence of Euro-American artistic movements. He has established his own views. This statement, moreover, has stood the test of time.
Liao painted “Ancient Castle in Spain” in 1965, and he used the same vivid white, yellow and blue color blocks as he did in “Countryside” to dominate the picture. Liao once said, “Chinese people have a strong sense of color, like Ming porcelain. Over a white background, they paint blue, Liao had a special talent characterized by red and green patterns. It can be difficult to 廖繼春《淡江風景》1960 油彩 畫布 65 x 80 cm an extreme sensitivity to colors. Even artists 羅芙奧台北2011春季拍賣會 編號155 台幣2640萬元成交 find such a powerful and elegant sensitivity LIAO Chi-chun, Tamkang Scenery, 1960, oil on canvas, 65 x 80 cm who came later struggle to emulate his to color in other cultures.” The landscape Ravenel Spring Auction 2011 Taipei, lot 155, USD 920,823 sold achievements in the use of color. He was and objects in the painting are outlined very close with Umehara Ryuusaburou, an with delicate lines. The ratio of color use and the abstract metamorphosis artist who pursued fauvism. Sharing the same interest in art, they were form a perfect artistic rhythm. One is a historic European town with both shy and cautious in appearance but in fact sensitive and passionate Mediterranean white walls, and the other is a rural landscape of Taiwanese inside. Liao was never Umehara’s student. However, when Umehara houses in the shining sun. Liao employed similar techniques to create visited Taiwan in 1933, Liao was Umehara’s guide, taking him to draw these two works with clever composition and brilliant changes of tone. He nature sketches in Tainan several times. No doubt Umehara had a profound fully grasps and expresses the atmosphere of these two places, immersing spiritual inspiration on Liao. However, in terms of artistic style, Umehara viewers in an artistic realm. tended to use delicate strokes, diverse gradation and thick and melancholic When scrutinizing the composition of “Countryside,” we see the gradation tones. His works reveal a sort of lyrical artistic conception of Chinese of color and overlapping transparent images. The whole presentation literati. On the other hand, Liao is more intuitive and sensitive. His shows the artist’s mature skill, filled with the joy of creation. From the brush strokes are direct and naive, and his colors are vivid and sharp. His raised horizon, viewers overlook the lanes, canals and trees between the paintings, moreover, manifest a kind of willful delight as expressed by an country houses. They are so close that they seem to be within reach. Liao innocent child. gave full rein to his artistic talents and expressed his deep attachment to In the 1960s as abstractionism swept the art world, an art movement of the land while working on this painting. modernization engulfed Taiwan. In May 1962, in the joint exhibition of
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196 CHU Teh-chun
(Chinese-French, 1920-2014)
Composition No. 51 - Mille vies se cachent dans le bois 1960 Oil on canvas 120 x 100 cm Signed lower left CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and English, titled No. 51, Mille vies se cachent dans le bois in Chinese and French and dated 1960 EXHIBITED: Chu Teh-chun 88 Retrospective, National Museum of History, Taipei, September 19-November 23, 2008 ILLUSTRATED: Chu Teh-chun 88 Retrospective, National Museum of History, Taipei; Thin Chang Corporation, Taipei, 2008, color illustrated, p. 99 (hard back edition) Chu Teh-chun 88 Retrospective, National Museum of History, Taipei; Thin Chang Corporation, Taipei, 2008, color illustrated, p. 50 (brochure)
NT$ 78,000,000-95,000,000 HK$ 19,949,000-24,297,000 US$ 2,573,400-3,134,300
朱德群 構圖51號─萬家掩映翠微間 1960 油彩 畫布 120 x 100 cm 簽名左下：朱德群 CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN 朱德群 1960 No. 51 萬家掩映翠微間 Mille vies se cachent dans le bois 展覽： 「朱德群八十八回顧展」，國立歷史博物館，台北，展期自2008年9月19日至11月23日 圖錄： 《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99（精裝本） 《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50（簡冊）
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《萬家掩映翠微間》，朱德群為他的第51號抽象畫所題寫的品名， 其文字的本身即富有詩意的空間。原文出自於北宋隱士詩人潘閬的 〈酒泉子〉十首詩之一，又名〈憶餘杭〉，追憶杭州的美好勝景。
黎國立現代美術館的史塔耶爾（Nicolas de Staël）遺作回顧展，畫中 熱情奔放的意念遊走，大大震撼了朱德群的視覺經驗，激勵他逐漸 擺脫有形化的約束。開始嘗試抽象畫。
詩詞原是如此寫道：「長憶錢塘，不是人寰是天上。萬家掩映翠微 間，處處水潺潺。異花四季當窗放，出入分明在屏障。別來垂柳幾 經秋，何日得重遊？」錢塘是杭州的舊稱，而杭州是宋朝偏安時的 國都。祖籍江蘇的朱德群青年時期入國立杭州藝專學習，可以說杭 州說是他藝術上的原鄉。
1960年朱德群以帶有中國書畫意象的油畫作品獲邀參加「巴黎畫 派」聯展，晉升為新一代巴黎畫派的成員之一。書法性的強烈線 條與色塊結構，沉穩中帶有律動感，尤其受到西方藝術評論家的注 意。法國詩人兼藝評家于伯．阮（Hubert Juin）是朱德群第一位忠 實的西方評論家，讚美他的風格轉變：「這位中國畫家在接觸了巴 黎畫派之後，似乎重新體認中國傳統書法中特 有的書寫性的長處。我們知道他之前畫過受野 獸派影響很深的作品，但是在短短的幾年之 中，他找到了屬於自己的書寫方式，透過這一 系列的作品，朱德群帶給我們強烈而生動的意 象。」
杭州何其美麗！所謂「上有天堂，下有蘇 杭」，黛綠掩映的山林幽微處，萬戶人家鱗次 櫛比，景象華麗而壯觀。湖光山色相伴，每戶 人家的窗前，都盛開著奼紫嫣紅的四季花卉， 竹引清澗，流水潺潺，人們進進出出，彷彿於 錦屏中游動。楊柳垂蔭、風兒捲動青翠的簾 幕，無處不是回憶。旅人離去多年，何時能再 重遊杭州？這首詩詞所描寫的情境，不正是畫 家心中的衷曲？
位於巴黎的亨利葉．勒讓特畫廊（Galerie Henriette Legendre）是朱德群在法國第一間簽 約的畫廊，從1958年起開始合作，時間持續有 六年。在勒讓特畫廊的運籌栽培之下，朱德群 能躋身巴黎畫派之列，也打開國際畫壇的知名 度。1960年前後是他抽象畫轉型的重要階段， 尤其變化無窮的書法性線條成為他個人的一大 特色。他偏愛在單色的繪畫背景，運用水墨的 渲染效果，營造出迷人的韻味。而在錯綜複雜 的線條之間，濃厚的小方塊明亮的形體如凝結 寶石，分布在畫面中，而光線在其中轉折、變 化，形成光源，穿過煙雲向外湧出。
宋代是中國繪畫全面發展的朝代，人文藝術名 家燦如繁星，文學詩詞、繪畫思想、創作精 神均見璀璨的成就。巴黎知名藝評家夏布朗 （Jean-François Chabrun）於1960年曾評價朱 德群是「二十世紀的宋代畫家」，讚許他的現 代繪畫接近於古典大師的精神境界，既包含中 西又超越中西。若非對中國書畫藝術的歷程有 所了解，若非親身經歷二十世紀現代藝術的運 動，不能恰如其分地詮釋此一稱謂。 1935年朱德群於進入中國現代美術家林風眠創 辦的杭州藝專學習，當時正值學校蓬勃發展的 時期，六年的學習打下根基，教授國畫的潘天 壽與西畫的吳大羽，對於朱德群後來藝術發展 影響最為深遠。潘天壽承襲自中國文人畫的傳 統，亦有古典文學與唐宋詩詞的修養。而留學 法國的吳大羽才華橫溢，一位非凡的色彩畫 家，具有宏偉的創造力。在杭州藝專名師的指 導下，養成朱德群閱讀唐宋詩詞的習慣，崇拜 現代繪畫之父塞尚的藝術。他確認讀通了塞 尚，宛如取得通往現代藝術的鑰匙。朱德群的 抽象繪畫是詩與畫的結合，日後能一再突破、 再創個人藝術的高峰。
北宋畫家范寬《谿山行旅圖》 絹本‧淺設色 畫軸，206.3 x 103.3 cm 現藏於台北國立故宮博物院 FAN K'uan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm Collection National Palace Museum, Taipei
1948年從大陸轉赴台灣教書，八仙山的山林寫生經驗，雲海勝景使 畫家體悟到中國繪畫的根源，日後當他在法國從事抽象畫研究時， 自然能融入中國山水畫的意境。1950年代巴黎蓬勃的抽象表現主義 浪潮，激勵朱德群從寫實畫轉向抽象畫的道路。而1956年參觀了巴
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朱德群的抽象構圖第51號的《萬家掩映翠微 間》，以及知名的第53號的《紅雨村．白雲 舍》，先後完成於1960年，皆是畫家懷念江南 故舊、從具象到抽象轉型的重要代表作。它們 原本皆為亨利葉．勒讓特畫廊所有，為藝術家 早期難得一尋的較大尺幅畫作。它們的創作 靈感就如同該畫廊的藝術主任巴聶（Maurice Panier）曾有的精闢分析：「朱德群的作品很 難列入目前眾多繪畫傾向的派別名目之內。他 繪畫的出發點往往是追念一個記憶中的風景， 或來自一句詩詞的啟發。然後用畫筆把它譯成 有創造性及想像力的繪畫語言。」
在東方評論家的眼中，朱德群是用油彩畫出中 國水墨畫精神的大師，他掌握住山水畫的精 髓，大筆揮掃時，表現山峰疊嶂之勢；細筆飛動時，傳達俊逸娟秀 之律。作品《構圖51號―萬家掩映翠微間》是一極佳的範例，畫家 將杭州煙雲朦朧的天上人間，和諧地繪成一幅瀟灑的抽象構成，詩 中有畫、畫中有詩的意境在此詮釋得淋漓盡致。
The title "Mille vies se cachent dans le bois" (A thousand lives hidden in the forest), which Chu Teh-chun assigned to his abstract Composition No. 51, is itself imbued with a rich poetic space. The passage comes from one of the ten poems in the collection "Fountain of Wine" by Northern Song dynasty poet Pan Lang. Also entitled "Memories of Hangzhou", the poem recalls the beautiful landscape of that ancient city. The original text of the poem is: "In the memory, Qiantang is not of this earth but of divine provenance. A thousand lives hidden in the forest, the murmuring of streams at every turn. Different flowers are placed in windows according to the season, clearly seen through the paper screens. The weeping willows have seen many autumns since I departed. When will the day come that I can wander beneath them again?" Qiantang is the old name for the city of Hangzhou, which was the national capital for the then divided nation. A native of Jiangsu Province, Chu Teh-chun studied at the Hangzhou National College of Art in his youth. One could say that Hangzhou is his artistic hometown. How beautiful is Hangzhou! They say that "up above, there is heaven, down on earth, there are Suzhou and Hangzhou." Lush green forests cover the hills, with interlocking rows of houses, forming a majestic and alluring landscape. The lake reflects the colors of the mountains, and all the windows are decorated with the riotous purples and reds of various seasonal flowers. Burbling streams weave between stands of luxuriant green bamboo, and the movements of people in the houses cast visible shadows on the window screens. Under the shade of willow trees, a gentle breeze ripples through the weeping branches. Every corner of this town provides unforgettable memories. After leaving for so long, when can he finally return to wander this city? Is this poem not describing the very thoughts of the artist? The Song dynasty was an era of great development for Chinese painting, when masters of art and literature shone like stars, making great achievements in poetry and painting. In 1960, famous Parisian art critic Jean-François Chabrun called Chu a "20th century Song dynasty painter (Peintre Song du XXe
朱德群《紅雨村．白雲舍》1960 油彩 畫布 2006年5月28日 HK$25,880,000成交於香港 CHU Teh-chun, Rouge, la pluie de petales sur le village. Blanc, le nuage au-dessus de la maison, no. 53, 1960, oil on canvas 195 x 130 cm, US$ 3,351,331, sold on May 28, 2006 in Hong Kong
朱德群《無題》1963 油彩 畫布 2013年11月23日 HK$70,680,000 成交於香港 CHU Teh-chun, Untitled, 1963, oil on canvas, 195x243.5 cm, US$$9,162,538 sold on November 23, 2013 in Hong Kong
siècle)," praising him for approaching, with his modern painting, the spiritual realm of the ancient masters, encompassing East and West while transcending both. Such an appellation is impossible to fully understand without knowing the history of Chinese painting and having experienced the modern art movements of the 20th century. In 1935, Chu Teh-chun entered into the Hangzhou National College of Art, which was founded by Chinese modern artist Lin Fengmian. It was a time of great development for the school, and six years of study laid down a solid foundation for the artist, with Pan Tianshou, a professor of Chinese painting, and Wu Dayu, a professor of Western painting, having the greatest influence over Chu's artistic development. Pan Tianshou continued in the literati painting tradition, richly steeped in classical literature and the poetry of the Tang and Song dynasties. Wu Dayu, who had studied abroad in France, was an immensely talented and creative painter. Under the tutelage of these famous masters at the Hangzhou College, Chu picked up the habit of reading Tang and Song poetry and grew to admire Cézanne, the father of modern art. His grasp of Cézanne's art became the key to unlocking modern art. Chu's abstract painting was a composite of poetry and visual art; it would soon break through to reach new artistic heights for the artist. The artist moved to Taiwan to teach painting in 1948, and his experience of painting the forested mountains and roiling seas of the island helped further root the artist in Chinese painting. When he later travelled to France to research abstract painting, he was naturally able to infuse it with the unique imagery of Chinese landscapes. The wave of abstract expressionism in 1950s Paris ignited a passion in the artist that led him down the path of abstract painting. At a visit to a retrospective on Nicolas de Staël at the Paris Museum of Modern Art in 1956, he was swept up by the passionate imagery and released from the fetters of figurative art. Soon after, he began his own experiments with abstract creation. In 1960, Chu Teh-chun was invited to participate in the Ecole de Paris Exhibition with an oil painting marked by Chinese conceptual imagery, cementing his reputation in the Paris art scene. The painting, with its strong, calligraphic line structure and rich sense of movement, was well received by Western art critics. French poet Hubert Juin was Chu's first ardent critical supporter. He writes: "A Native of Jiangsu Province steeped in the arts of Hangzhou, this member of the phenomenon that is the Ecole de Paris has eschewed the figurative arts, rediscovering (perhaps inventing) an emergent style based on the written form. We know that he was heavily influenced by Fauvism at first, but he quickly found his own syntax and personal style, presenting us with a powerful and vibrant imagery." (Natif de la province de Kiang-Sou, étudiant aux beaux arts de Hang-Tchéou, membre de plein droit de ce fantasme qu'est l'Ecole de Paris, vite dédaigneux de la voie figurative, Chu Teh-chun redécouvre (inventant ce qui est) les qualitiés d'écriture qui sont nécessaires au surgissement. Le fauvism le requite un moment. L'envie qu'il avait (le souci) d'explorer l'espace lui permit sans trop attendre de se créer un vocabulaire et une syntaxe personnelle.)
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Galerie Henriette Legendre in Paris was the first gallery to sign with the artist. Their collaboration began in 1958 and lasted for six years. Carefully nurtured at this gallery, Chu was able to solidify his position in the Ecole de Paris and make a name for himself in the international art scene. The year 1960 marked an important phase in his abstract transition, and he developed a style marked by his rich calligraphic lines. He would use calligraphic brushing techniques over a monochrome background to create an alluring atmosphere. Between these complex lines, numerous geometric shapes of various hues emerged like crystallizing gems while shafts of light were refracted and transformed within, as if bursting out from behind the clouds. Chu created "Composition No. 51, Mille vies se cachent dans le bois (A thousand lives hidden in the forest)" and "Composition No. 53, Red Raindrops on the Village, White Clouds over the Hut" in 1960. Both paintings, which paid homage to his hometown along the Yangtze River, were important representative works in his abstract transition. Both were originally collected by the Galerie Henriette Legendre, and are rare specimens of the artist's early work. The striking nature of these works is embodied in the analysis provided by Maurice Panier, then art director of the gallery: "Chu Teh-chun's work is difficult to classify according to the art trends prevalent today. Its starting point is often nostalgia for the landscapes of his memory, catalyzed by a line of classic poetry. He then translates this through his brush into a creative and imaginative language of painting." (L'oeuvres de Chu est difficilement classable dans les divers termes génériques servant à définer les multiples tendances de la peinture actuelle. Son point de départ est le plus souvent des paysage ou les strophes d'un poème qu'il traduit en language plastique.) In the eyes of Eastern art theorists, Chu Teh-chun is a master in the use of oil to convey the spirit of Chinese ink wash painting. With sweeping brushstrokes, he expresses the power of the towering mountains; with smaller touches, he evokes a graceful, refined rhythm. "Composition No. 51, A Thousand Lives Hidden in the Forest", is a prime example of his mastery, where the artist has deftly transformed the smoky landscape of Hangzhou into a beautiful abstract composition. Here we see the perfect embodiment of the unity between poetry and the visual arts.
197 ZAO Wou-ki
(Chinese-French, 1921-2013)
爭榮競秀．趙無極抽象藝術的東方轉向
Plantes tortillées
文／陳惠黛
1954 Oil on canvas 115 x 147 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 54 Signed on the reverse ZAO Wou-ki, titled Plantes tortillées in French and dated 12.54
趙無極是二十世紀華人藝壇的最重要的代表人物之一，他是法蘭西美術學院院士，2002年法 國政府將象徵法國最崇高美術成就的權杖頒佈給來自遠東的趙無極，披上墨綠色金線繡花 的燕尾服榮耀終生。在中國現代美術史，他更是一個時代的巨人，抽象表現主義藝術的先行 者，帶領許多後來者跟隨他的腳步，在美術的道路上進行無窮的探索，其影響力並未隨著 2013年離世而停止，他一生所創作的瑰麗圖畫早已登上世界博物館的殿堂，永誌留存。
PROVENANCE: Kleemann Galleries, New York
家學淵源與藝術啟蒙
ILLUSTRATED: Zao Wou-ki, Couleurs et mots, Le ChercheMidi editeur, Paris, 1998, color illustrated, no. 21, p. 28
Estimat on request 估價待詢
趙無極 爭榮競秀 1954 油彩 畫布 115 x 147 cm 簽名右下：無極 ZAO 54 簽名畫背：Plantes tortillées ZAO Wou-ki 12.54 來源： 克里曼畫廊，紐約 圖錄： 《趙無極—色彩與文字》，南國探索出版社， 巴黎，1998，彩色圖版，圖版21，頁28
1921年出生於北京，祖父趙紹甫為前清秀才，作風開明，有反清復漢的革命傾向，曾加入同 盟會；父親趙漢生，喜於收藏，還是一位業餘西畫家。趙氏家族亦儒亦道，博覽詩書，崇尚 道義、超然自得，以道家的「無」字為孫輩排名，最受寵愛的長孫，起名為「無極」。無極 半歲時即跟著任職銀行的父親返回江蘇南通定居。父親出外工作，祖父將常陪他一起讀書寫 字。除了家學淵源，他們身上還流著宋朝皇族遺留的高貴血液，蘊藏的文化傳承，在後半生 漂浪的藝術追尋旅途不時召喚。趙氏家族有不少書畫收藏，其中一幅米芾的真蹟最令趙無極 感興趣。叔父從巴黎帶回西洋名畫明信片，布荷東（Breton）的寓意畫和米勒（Millet）的 《晚禱》則是他最早接觸西方藝術思潮的啟蒙。1935年14歲早慧的年紀考進國立杭州藝術專 科學校（簡稱杭州藝專）就讀，師從林風眠、吳大羽、潘天壽，在思想開放的美術搖籃裡， 西畫、國畫並行學習。 杭州藝專校長林風眠與西畫系主任吳大羽早年曾呼應勤工儉學政策，留學法國、德國，返國 後引進新藝術的思潮，給予學生開放與包容的學習態度，鼓勵創新求變與中西藝術的融合。 在學期間，趙無極傾心於印象派藝術的明朗、清快風格，藉由閱讀國外雜誌，認識了塞尚 （Paul Cézanne）、馬蒂斯（Henri Matisse）和畢卡索（Pablo Picasso）等現代藝術。當時他 認為自己更接近現代藝術大師們的藝術，拋開傳統的國畫或歐洲學院式的繪畫，以自己的方 式創作風景與肖像畫。在杭州藝專的求學階段，適逢中日戰爭，於艱辛困難的環境中潛心學 習，六年後風光畢業並留校擔任助教，舉辦個展。後來在林風眠的鼓勵下，前往法國深造， 原本計畫兩年之後返國，因緣際會遇上時代的巨變，後來決定在巴黎定居，從此與故鄉道 別。
融入巴黎主流藝文圈 1948年2月從上海出發，經過三個月的漫長海上航行，郵輪在馬賽泊岸，抵達巴黎後趙無極立 即奔向羅浮宮，飽覽嚮往已久的世界名作。他與妻子謝景蘭（Lalan, 1921-1995）落腳於巴黎 蒙巴納斯區，那是世紀初巴黎畫派的發源地，藝文圈群聚的區域。瑞士知名雕塑家傑克梅第 （Alberto Giacometti）和他比鄰而居，互為友好。從遙遠的中國來的趙無極，後來也成為新巴 黎畫派的成員。初來乍到，有長達一年多的時間，趙無極大半花在學法語，參觀美術館、逛 畫廊，聽音樂會，鮮少動筆畫畫，只零星地畫了一些素描及版畫。後來則經常出入常玉、龐 薰琹、吳大羽前輩學習過的大茅屋美術學院（Académie de la Grand Chaumière），結識許多畫 家同好，不少畫家後來都成了當代藝術大師，包括哈同（Hans Hartung）、史塔耶爾（Nicolas de Staël）、蘇拉吉（Pierre Soulages）、薇拉．達．西爾瓦（Vieira de Silva）、法蘭西斯 （Sam Francis）等。抵達巴黎後的第二年，趙無極的畫受到巴黎克茲畫廊（Galerie Creuze） 的青睞，得以舉辦個展，立即獲得成功，聲名漸漸打開。 在歐洲探索繪畫道路之初，趙無極認真地研究西洋大師們的作品，心中暗自決定要揚棄擅長 的水墨畫，不想為人譏諷為取巧，陷入狹隘的所謂「中國趣味」。一次偶然的機會裡，他製 作了一批石版畫，因考量到經濟的因素，使用極少的顏色，添入大量的水分，原以為結果應 是失敗，沒有想到作品完成後，水墨渲染般的中國情意躍然紙上，意外得到大詩人亨利‧米 修的激賞。他為這些畫作配上詩文，印行出版，得到廣大的喜愛。
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不是風景而是自然 趙無極抵達法國後的創作多以具象風景或人物圖畫為主，萬萬沒想 到，起初刻意逃避的「中國趣味」，竟意外成為他在歐洲藝壇起 步的重要踏板。亨利‧米修曾指出趙無極的畫不是「風景」，而是 「自然」，他的講評相當契合藝術家自身的心境。於是透過米修的 引薦，趙無極很快融入風雲際會的巴黎藝文圈，逐漸走向抽象表現 主義繪畫之路。 「抽象表現主義」，一種通過非具象的形式表達感情和想法的藝 術，又稱為「非具象」， 為第二次世界大戰後新興的一支藝術主 流 ，其觀念在於透過形式和色彩的使用，純粹表達藝術家自我的 一種藝術形式。從康丁斯基以降，抽象藝術成為二十世紀中葉一個 重大的美術現象；而表現主義起源自塞尚、梵谷的繪畫，此時更因 戰爭的衝擊而重新崛起，兩股藝術匯聚成一風靡紐約的潮流，成員 間彼此的風格儘管分歧，但仍然各領風騷。在這股潮流之下有兩派 群體，一是「行動繪畫」，如帕洛克、德庫寧、克萊因、賈斯東等 人；另一類是「色域繪畫」，以羅斯科、諾拉德、馬哲威爾等為代 表。而戰後歐洲藝術同時也受到美國藝術的啟發，幾乎同時在歐陸 開創出「非形象」的藝術潮流，代表人物包括哈同、施奈德、蘇拉 吉等人。而趙無極就是這股藝術潮流中的一員，有抒情抽象畫家的 美稱。 趙無極從保羅．克利（Paul Klee）的小畫裡發現蘊藏著無比豐富的 詩意空間，克利的藝術一直有東方的影響。透過克利的提示，19511952年間，趙無極找回壁畫、建築等古老符號、線條所潛藏的神秘 魅力，以二度空間的線條來表現色彩。而後，趙無極也從線條、符 號的結構，過渡到中國的甲骨文字的探索。甲骨文字的象形文，乃 是以圖畫符號作為書寫的系統，其造型的原則本是取材自大自然， 它們是人類智慧的結晶，甲骨文字與繪畫造形原理形成饒富意趣的 連結。起初，趙無極先在畫中勾勒一些有具體形體的花草樹石等， 後來漸漸轉向宇宙間的火水風土等看不見的自然現象，個人風格越 顯強烈。1954年前後，於是成為趙無極轉向抽象繪畫至為關鍵的轉 型階段，他從敘事性、情節性的描寫，過渡至抒發物象之外純粹的 象徵意義。「甲骨文時期」使趙無極逐漸擺脫具象，轉為抽象藝 術，其東方的轉向予人深刻的印象。
甲骨文時期 1954年趙無極漸漸拋開具象 繪畫，從過去克利的影響 中掙脫開來，他認為「繪畫 應讓人以另外一種眼光看 事物，以繪畫的觀點看事 物」，所以他努力地「創 造一種不受題材限制的語 言」。終於，趙無極回溯文 化的傳承，從中國甲骨文字 的靈感找到通往抽象繪畫世 界的道路，真正屬於趙無極 個人藝術的面格，至此終於 產生。趙無極說：「符號成 了形體，背景形成空間，因 為一再重畫、毀棄、再重新 來過，在我心裡的東西好像 開始浮現出來了。」
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圖：達志影像 Photo: Top Photo Shop
法國藝評家儒瓦在1955年巴黎的《藝術》雜誌上評論趙無極此時的繪畫特色：「趙無極 的作品清楚地顯示出中國人的宇宙觀：朦朧和深遠反映著靜觀的精神狀態，而不是靜觀 的對象，這已經是一種當今現代全球性的視覺觀點。」顯示趙無極繪畫中的當代性及藝 術內涵。 中國自古以來的宇宙觀相信天人合一，形氣相感而能化生萬物，因此人與自然乃是和 諧為一體的。北宋畫家郭熙的《早春圖》即傳達出中國人的宇宙觀：S形的山體為畫面 主軸，經營出不斷迴旋、氣脈相通、虛實相生的空間，雅好文藝的乾隆皇帝以詩詞讚 譽《早春圖》中山石草木間空氣的流動感：「樹纔發葉溪開凍，樓閣仙居最上層，不 藉柳桃閑點綴，春山早見氣如蒸。」巴黎龐畢度中心收藏有一幅趙無極1954年起名為 《風》的油畫，法國政府於1985年向藝術家購入此畫，藉以研究其抽象藝術之演進。作 品《風》淋漓表現樹葉飄揚的意象，迴旋、氣脈、虛實相生的空間，呼應了北宋畫家郭 熙所詮釋的山水空間。
《爭榮競秀》展現生命韌性 趙無極曾在自傳裡思考︰「要看的是空間，空間的伸展、扭轉，我常在心裡揣摩的是︰ 如何畫風？怎樣表現空白？表現光的明朗、純淨？」多年間歷經西方美學的洗禮，然而 自小熟悉的東方傳統繪畫知識，仍不時召喚，此時他只能任由繪畫的興趣帶領著他。以 中國的哲學觀詮釋風土水火等自然現象，探索抽象畫的無窮宇宙，甲骨文時期作品尤其 顯得獨特玄奇。 若對照巴黎龐畢度中心藏品《風》，用以表現樹葉的飄揚輕盈，同為龐畢度中心的同期 代表作《火災》（Incendie），則是表現「火」的灼灼熱切的意象。國家博物館對趙無 極甲骨文時期作品情有獨鍾，可想見其稀有難得。另一幅繪於1954年紅黑色調、張力十 足的油畫《爭榮競秀》，則可視為畫家展現「土」的能量之作，符合「動中有靜、靜中 有動」的禪學精神，追尋太極的真義。
保羅．克利《魚兒上鉤》 1920，油彩 水彩 紙本 ，31 x 32.5 cm，倫敦泰德美術館藏 Paul KLEE, They're Biting, 1920, drawing and oil on paper, 31 x 32.5 cm Collection of Tate Gallery, London
凡草木樹石萬物皆受大地乾坤的滋養與負載，土地的蘊藏何其浩大深厚，孕育無數的生 機。在作品《爭榮競秀》裡，趙無極完美地展現自然界「土」的豐富意象。畫背上有藝 術家親筆題寫的法文標題「Plantes tortillées」，字面意思為「扭曲的植物」。植物何以 扭曲？畫家所欲展現的是即使面臨環境的困境，也要頑強對抗，無懼地向上生長，象徵 生命的韌性。 趙無極生前熱愛大自然，每回在外見到綠色的花草樹木，總讓他心情大好，有時還會向 家人開玩笑說道：「這花好看，是不是可以偷一朵？」而在巴黎每天清晨早餐時，總是 一邊啜茶，一邊細心呵護屋裡的橘樹、蘭花盆景。回想起當年在故鄉時，與自然共處也 是他每日生活的部份。1930年代時他在上海的家，房子很大，有清泉、魚池，精緻的花 園及大片的草坪，那是一段幸福的日子。他曾在自傳裡寫道：「園藝是中國人心目中的 雅事，它讓我想起父親。」 少年時在上海的家中作畫時，父親趙漢生會站在一旁觀看，有時要他陪同蒔花剪草。父 親是個性溫暖的人，當14歲的趙無極決定放棄在銀行服務的機會，立志作為一位畫家 時，投入藝術的創作時，獲得父親全然的支持。崇尚道家思想的家風，以及積極開明的 父愛，皆是心靈原鄉的滋養沃土，激勵他一生的藝術拓展。這位開明大器的父親將兩位 愛子送出國深造，一位去美國，一位到法國，對於過往歷史飽受異族壓迫的中國，離家 的孩子就是叛徒。後來他的父親在文化大革命經歷諸多磨難，1966年離開人世。令人遺 憾地，趙無極從1948年之後竟無緣再見到他生命中無可替代的溫暖力量來源。 伴隨著對於故鄉的思念，或文化的依戀，畫家在《爭榮競秀》傳達出東方的情思，也意 圖展現自然裡無窮的生命力，盤曲、糾結的植物化為暗黑的符號、線條，在幽微的大地 中翻騰、顫動著。溫暖天光在黑色調的大地閃耀，儘管面臨著未知的考驗，在黑夜襲 來，仍賦予其光輝正向的期待。畫布裡張揚、錯綜的符號，如古老而遙遠的謎，有畫家 賦予的暗示力量，療癒著他自己，也同時激勵觀者，令人低迴不已。
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
Plantes tortillées: The Shift Toward Orientalism in Zao Wou-ki’s Abstract Art Text / Odile Chen Zao Wou-ki was one of the leading Chinese artists of the 20th century and a member of the Académie des Beaux-Arts. In 2002, Zao received a lifetime achievement award from the French government, conferral of a baton representing the highest honor of fine art in France and the famous green habit. He was also a giant of his generation in the history of Chinese modern art, a pioneer of abstract expressionism with many successors following in his steps to continue to explore the realm of fine art. His influence did not cease with his passing in 2013. The fabulous works he created continue to be treasured in world-class museums.
Family influences and artistic enlightenment Zao Wou-ki was born in Beijing in 1921. His grandfather, Zao Shao-fu, was a liberal scholar in the Qing Dynasty and once a member of the League of Common Alliance, a revolutionary group bent on overthrowing the dynasty. His father, Zao Han-seng, was an art collector and amateur painter. The Zao family embraced the tenants of both Confucianism and Taoism, and comprised knowledgeable scholars pursuing righteousness and inner peace. The family chose names for each of their grandchildren that contained the word “wou” (meaning “emptiness”), the spirit of Taoism, from which the eldest grandchild Wou-ki’s name was derived. When he was six months old, Wou-ki moved with his father back to their hometown in Jiangsu Province. When his father went to work, his grandfather accompanied him in studying. As a descendent of the Song Dynasty’s royal family, Wou-ki was also influenced by the family’s rich cultural heritage, especially on his wandering artistic adventures during the second half of his life. Among the family’s art collection, an authentic calligraphy of Mi-Fu particularly caught Wou-ki’s eye. In addition, his uncle brought home western painting postcards from Paris. Jules Breton’s allegorical paintings and the "The Angelus" by JeanFrançois Millet, in particular, introduced him to modern western art for the first time. In 1935, at age 14, he was admitted to the Hangzhou National College of Art. He began to study both western and Chinese paintings under Lin Fengmian, Wu Dayu, and Pan Tianshou. Lin Fengmian, the President of the China Academy of Art, and Wu Dayu, the Dean of the Western Painting Department, had studied in France and Germany, respectively. They returned to China with new artistic concepts and created an open and tolerant environment that encouraged students to be innovative and blend Chinese styles with western art. During his years at the academy, Zao Wou-ki showed special interest in the bright and clear style of Impressionism. He learned about the art of Paul Cézanne, Henri Matisse, and Pablo Picasso by reading magazines from abroad and identified with those modern art masters. Abandoning the traditional Chinese art and European academic styles, he began to create landscape paintings and portraits in his own way. As the Second Sino-Japanese War broke out, he studied hard under difficult circumstances and graduated with honors six years later. He then stayed on at the academy as a teaching assistant, during which time he held his own art exhibitions. Later, with Lin’s encouragement, he travelled to France to pursue advanced studies. He originally only intended to stay in Paris for two years, but with the sudden upheaval taking place in China, Zao decided to remain in France permanently, and he never went home again.
Joining mainstream literary circles in Paris Departing from Shanghai in February 1948, Zao travelled by sea for three months before he finally reached Marseille. Upon arriving in Paris, he rushed to the Louvre to feast his eyes on the masterpieces which he had long aspired to see. He and his wife, Lalan (1921–1995), settled in Montparnasse, where the School of Paris was born and literary circles gathered. He made friends with his neighbor, renowned Swiss sculptor Alberto Giacometti, and later became a member of the new School of Paris. Zao spent over a year learning French, visiting museums and art galleries, attending concerts, and making occasional sketches and prints. Then he frequented Académie de la Grand Chaumière, in which Sanyu, Pang Xunqin, and Wu Dayu had studied, and became acquainted with many fellow artists. Quite a few became masters of contemporary art, including Hans Hartung, Nicolas de Staël, Pierre Soulages, Vieira de Silva, and Sam Francis. During Zao’s second year in Paris, Galerie Creuze recognized his artistic skill and held an exhibition of his paintings which turned out to be a major success. Thereafter, Zao became increasingly renowned.
北宋畫家范寬《谿山行旅圖》 絹本 淺設色 畫軸，206.3 x 103.3 cm 現藏於台北國立故宮博物院 FAN K'uan, Travelers among Mountains and Streams Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm Collection of National Palace Museum, Taipei
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Zao Wou-ki began a serious study of the works created by western masters, and he secretly decided to abandon ink printing, which he was good at, to avoid becoming narrow-minded "chinoiserie". Once it happened, he produced a batch of lithograph with minimal use of colors and a great deal of water, due to the budget. These paintings were thought to be a failure by the studio host, but after he finished these works, these ink exaggerated paintings showing on the paper with Chinese affection were unexpectedly appreciated highly by Henri Michaux (1899-1984), the great poet, who wrote the poems as the description of these works and printed them for publication, which were favored by most people.
Not "Landscape", But "Nature" Zao Wou-ki's early works are mostly figurative landscape or portraits. He has never dreamed of the fact that his initial intention of avoiding the "chinoiserie" turned out to be his first significant step on the European artistic stage. Henri Michaux pointed out that Zao Wou-ki's paintings were not "landscape", but "nature", and his assessment of the paintings pleased the artist mood. Through the introduction of Henri Michaux, Zao Wou-ki quickly entered the literary circles in Paris, and gradually tended toward the path of abstract expressionism painting. "Abstract Expressionism", also known as "Non- Figurative", was a new form of mainstream art that flourished after the Second World War. Their beliefs lie in the use of form and color in an art form that wholly express the artist's concept of self. Starting from Kandinsky onwards, abstract art turned into an important art phenomenon during the mid twentieth century, while Expressionism, which began from the paintings of Cézanne and van Gogh, reemerged again during this time due to the impact of war. The two streams of art combined to form a trend that mesmerized New York. Despite the differences in style among the members, they still dominated in their own respective domains. Two groups emerged from the trends, one of which was "Action Paintings" such as the likes of Jackson Pollock, William de Kooning, Franz Kline and Philip Guston; the other group was "Color Field Painting", represented by the likes of Mark Rothko, Kenneth Noland and Robert Motherwell. After the war, European art was also simultaneously inspired by the American art, initiating the artistic trend "l'art informel" on the European continent at nearly the same time. Representative figures include Hans Hartung, Gérard Schneider, Pierre Soulages etc., and Zao Wou-ki in precise, was one of the members from this artistic trend, favorably known as the lyric abstract painter. Zao Wou-ki found bountiful poetry in Paul Klee’s small paintings, which were heavily influenced by oriental aesthetics. Inspired by Klee’s art, Zao rediscovered the charm hidden in the ancient symbols and lines of wall art and architecture, and began to express colors with two-dimensional lines in 1951–1952. He then transitioned from structured symbols and lines to explore oracle bone inscriptions. The pictographs used in the inscriptions comprise a writing system of pictorial symbols resembling natural objects which embody human wisdom, and interesting connections can be found between the symbols and drawing shapes. Initially, Zao outlined physical objects such as plants and stones. He then gradually turned to invisible natural phenomena such as fire, water, wind, and earth, and began to shape a distinctive style of his own. The period around 1954 was truly a time of transition for Zao— from narrative depiction to abstract lyricism. During this time—Zao’s “oracle bone period”— he gradually abandoned figurative art to embrace abstraction with an impressive shift toward Orientalism.
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
The Oracle Bone Period Klee's oeuvre was instrumental in pushing the artist towards abandoning figural and objective painting, but at the same time Zao's embracing of abstractionism also meant that he was leaving behind the influence of Klee's lyricism, stating that "painting should allow people to see the world in a different way, to see it from the perspective of a painter." Consequently, Zao strove to "create an artistic vocabulary that is not dependant on my subject." By tracing the Chinese cultural tradition back to one of its origins, the oracle bone inscriptions, Zao learned to grasp the role of "line" (in itself an abstraction), which enabled him to simplify and generalize all those objects and images he had before represented in a more "objective" fashion. With this, the artist's unique and much admired individual style was truly born. As Zao put it, "Suddenly, motifs began to take on shapes, while their backgrounds began to take on spatial depth, and as I repainted them again and again, discarding previous work and starting over many times, things that had been hidden in the deepest recesses of my mind began to surface." In an article about Zao Wou-ki's paintings from this period that was published in the Parisian art journal "Arts" in 1955, the French art critic Alain Jouffroy outlined what it was that made Zao's work from this era so special: "In Zao Wou-ki's work one can see how the Chinese vision of the universe, where flow and distance reflect the spirit of contemplation more than the object of contemplation, has been transformed into a modern vision of universal
趙無極 《火災》1954-55 油彩 畫布 巴黎現代美術館收藏 ZAO Wou-ki, Incendie, 1954-55, oil on canvas, 130x195 cm Collection of Centre George Pompidou, Musée National d’Art Moderne, Paris
蘇拉吉《繪畫》1956 油彩 畫布 130.2 x 162.5 cm Pierre Soulages, Peinture, 1956, oil on canvas, 130.2 x 162.5 cm
圖：達志影像 Photo: Top Photo Shop
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relevance." The modernity and artistic significance of Zao's oeuvre could hardly be summed up any better. In the Chinese view of the world, man and heaven form an organic whole, and all things and creatures in the universe come about through the merging of matter and essence. The upshot of this is that man and nature are one, each forming an integral part of the other. This harmonious view of the cosmos is evident in Northern Song painter Kuo Hsi's "Early Spring": the softly zigzagging mountains form the painting's central axis, and S-shaped rock structures help to create a sense of circular motion and make the landscape throb with currents of energy that can be felt if not actually seen. Qing Emperor Qianlong, a great friend and patron of the arts, wrote a poem to praise the merits of Early Spring: "Budding trees and thawing rivers, a hermit's residence at lofty heights; a landscape dotted with willows and peaches, and mist rising in the valleys." One of Zao Wou-ki's works from 1954 titled "Vent" is currently in the collection of the Centre Pompidou in Paris. The French government bought the oil painting from a collector in 1985 for a research project examining the development of Zao's abstract style of painting. "Vent" offers an abstracted yet perfectly vivid and expressive image of tree leaves fluttering in the wind, circling, blowing and wavering in a constant interplay of air and matter, mover and moved—a poignant modern echo of the atmosphere permeating Kuo Hsi's classical landscape painting.
stillness” and a quest for the truth of Tai-Chi. With her vast deposits of nutrient, Mother Earth breeds innumerable lives and nourishes all things in nature. In this work, “Plantes tortillées”, Zao Wou-ki offers a perfect and abundant imagery of earth. On the back of the painting, the artist inscribed its title in French, which is literally translated as “twined plants.” Why are the plants twined? It is the artist’s intention to express the plants struggling to grow upwards in extreme environment, symbolizing the resilience of life. Zao Wou-ki loved nature. Seeing green plants outdoors always pleased him. Sometimes he said jokingly, “These flowers are beautiful. Can I steal one?” When living in Paris, each morning at breakfast, he would take care of his miniature orange trees and orchids while having tea. Spending time in nature had been part of his daily life back in China. During the 1930’s, he had a big house in Shanghai, with a flowing stream, a fish pond, an exquisite garden, and a large lawn. Those were happy days. He wrote in his autobiography, "Gardening is a noble pastime among the Chinese, and it reminds me of my father" (Jardinier, pour un Chinois, est un passe-temps noble et me rappelle mon père.)
“Plantes tortillées” represents resilience in life Zao Wou-ki contemplated in his autobiography, “I look at space—the stretching, twisting nature of space. I ponder how to paint wind, depict void, and express clarity and purity.” Despite the western artistic training he received for many years, he also continued to hear the call of the oriental traditions he had been exposed to in his childhood. To reconcile the conflict, Zao decided to follow his interest in art—to interpret natural phenomena from the perspectives of Chinese philosophy and to explore the infinity of abstract art. The works created during his oracle bone period are particularly unique and even cryptic.
趙無極《風》1954 油彩畫布 195 x 96.5 cm 巴黎龐畢度中心收藏 ZAO Wou-ki, Vent, 1954, oil on canvas, 195 x 96.5 cm Collection of Centre George Pompidou, Musée National d’Art Moderne, Paris
Take the pair of two contrasting works that are both in the collection of the Centre Pompidou in Paris as an example—"Vent" expresses fluttering and lithe tree leaves; "Incendie" represents an image of burning flame. The national museum has a special affinity for Zao Wou-ki’s works from the oracle bone period, indicating how truly rare and precious these works are. Another red and black toned powerful canvas titled "Plantes tortillées" was created in 1954. It can be seen as the artist’s expression of the energy of earth, which corresponds to the Zen’s spirit of “still moves and moving
At their home in Shanghai, his father, Zao Hanseng, often watched him paint. Sometimes, Hanseng asked his son to help him tend the garden. Hanseng was a warm person. When he was 14, Wou-ki decided to pursue his passion as an artist, a decision which his father fully supported. The family’s Taoist traditions and his father’s love both served as Zao’s spiritual home and offered fertile ground for cultivating a lifetime of artistic pursuits. Having experienced political oppression by foreign countries for many generations, the Chinese used to consider children who went abroad as traitors. However, this open-minded father sent both of his sons abroad— one to the United States and the other to France. However, Wou-ki’s father suffered greatly during the Great Cultural Revolution in China and died in 1966. After 1948, the artist never had another chance to see his father—an irreplaceable source of strength throughout his life.
With an attachment to his hometown, or cultural nostalgia, the artist revealed in his work "Plantes tortillées" an oriental sentiment as well as the enormous vitality of nature. Coiled, intertwined plants, expressed in the form of somber colored symbols and lines, roll and tremble across a chaotic earth while warm rays of sunlight shine upon the dark toned earth, suggesting a hopeful and bright future in the face of unpredictable challenges. Like ancient mysteries, the exaggerated and complicated symbols on the canvas possess a suggestive power bestowed by the artist; this power not only helped to heal his mind, but also continues to inspire deep reflection in viewers.
198 JU Ming
(Taiwanese, b. 1938)
In One Heart 1976 Bronze, edition no. 2/4 161.5(L) x 44.6(W) x 75.2(H) cm Engraved on the bottom Ju Ming in Chinese, numbered 2/4 and dated '76 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.
NT$ 4,800,000-6,000,000 HK$ 1,228,000-1,535,000 US$ 158,400-198,000
朱銘 同心協力 1976 銅雕 2/4 161.5(長) x 44.6(寬) x 75.2(高) cm 簽名雕刻底部：朱銘 '76 2/4 附財團法人朱銘文教基金會開立之作品鑑定報告書
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1976年朱銘因國立歷史博物館的個展而一鳴驚人。此展期間，台灣社會正面臨一連串政經情 勢的挑戰，為了自我的肯定和對未來的理想，此時社會氣氛都在找尋一種屬於台灣獨有的 特性，藝文界也因此發展出「鄉土文化運動」。在這樣的背景之下，朱銘當時展出的《同心 協力》作品引起了廣大共鳴並成為當時環境下人們情感投射的對象。農人、水牛散發著台灣 氣息，造形與題材在時代意義的解讀下，象徵著齊心共渡難關的精神，並呈顯出豐沛的生命 力。朱銘自此時起，將創作的刀痕刻意地保留下來，著重情感及動作的刻劃，以豐富的肌理 語彙，塑造出神態生動富有力量的藝術形象。 Ju Ming became a household name after his personal exhibition at the National Museum of History in 1976. During the exhibition, Taiwanese society was faced with a series of political-economic challenges. The society at the time was engaged in the search for a unique Taiwanese identity as part of the push towards self-affirmation and a vision for the future. As a result, the "Vernacular Movement" emerged from the art & cultural community. Due to this backdrop, Ju Ming's sculpture of “In One Heart” resonated with the public’s consciousness and became a popular symbol at the time. The Taiwanese identity, shape and theme radiated by the farmer and water buffalo acquired the contemporary interpretation of unity in adversity and expressed a strong sense of vitality. From then on, Ju Ming retained the marks of his carving knife. The lines of emotion and action employed a rich textural lexicon to create an artistic symbol filled with life and energy.
199 JU Ming
(Taiwanese, b. 1938)
Taichi Series – Underarm Strike 1982 Wooden sculpture 29(L) x 15(W) x 31(H) cm Engraved on the bottom JU Ming in Chinese and dated 82 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.
NT$ 2,800,000-4,000,000 HK$ 716,000-1,023,000 US$ 92,400-132,000
朱銘 太極系列—十字手 1982 木雕 29(長) x 15(寬) x 31(高) cm 簽名雕刻底部：朱銘 '82 附真善美畫廊所開立之原作保證書
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200 LI Chen
(Taiwanese, b. 1963)
Daemon II 1998 Bronze, edition no. 1/6 46(L) x 22(W) x 63(H) cm Engraved on the lower back LI Chen in Chinese, numbered 1/6 and dated 1998 With two seals of the artist PROVENANCE: Chen Ting-Shih, Fifth Month, Ton-Fan and Best Friend Unique Auctions – For Collecting Founds of Chen Ting-Shih Modern Art Foundation, Ching Shiun International Auctions, Taichung, December 29, 2002, Lot 27
NT$ 1,200,000-2,200,000 HK$ 307,000-563,000 US$ 39,600-72,600
李真 守護神Ⅱ 1998 銅雕 1/6 46(長) x 22(寬) x 63(高) cm 簽名雕刻底座後方：李真 1998 1/6 雕刻鈐印 來源： 「陳庭詩暨五月東方及好友專拍—為籌陳庭詩現代藝術基金會基金」，景薰樓，台中，2002年12月29日，編號27
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201 JU Ming
(Taiwanese, b. 1938)
Taichi Series 1991 Bronze, edition no. AP 9/10 47(L) x 31(W) x 61(H) cm Engraved on the back Ju Ming in Chinese, numbered 9/10 and dated 91 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery and signed by the artist.
NT$ 2,800,000-4,000,000 HK$ 716,000-1,023,000 US$ 92,400-132,000
朱銘 太極系列 1991 銅雕 自9/10 47(長) x 31(寬) x 61(高) cm 簽名雕刻背後：朱銘自 9/10 91 附雋永藝術開立之藝術家親筆簽名原作保證書
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202 CHU Teh-chun
(Chinese-French, 1920-2014)
Untitled 2003 Porcelain, edition no. 37/40 54 cm (diameter) x 4.5 cm (depth) Signed lower center CHU TEH-CHUN in Chinese and English, dated 03 ILLUSTRATED: Chu Teh-Chun's Journey, William Art Salon, Taipei, 2013, color illustrated, pp. 66-67
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
朱德群 無題 2003 陶瓷 37/40 54 cm（直徑）x 4.5 cm（厚度） 簽名下方：朱德群 CHU TEH-CHUN 03 圖錄： 《朱德群的畫路》，威廉藝術沙龍，台北，2013，彩色圖版，頁66-67
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203 HSIEH Hsiao-De (Taiwanese, b. 1940)
Nature morte Oil on canvas 64.5 x 53 cm Signed lower right HSIEH HSIAO DE in English With one painted seal of the artist
NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600
謝孝德 靜物 油彩 畫布 64.5 x 53 cm 簽名右下：HSIEH HSIAO DE 手繪鈐印：德
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204 Zeno CHEN
(Taiwanese, b. 1962)
Steed 2011 Digital print on photographic paper (unique) 75 x 111.5 cm Signed lower left Zeno Chen in English, numbered single and dated 2011 This art work is to be sold with a certificate of authenticity issued by the artist.
NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,300
陳志駒 駒 2011 數位輸出 相紙（單一版） 75 x 111.5 cm 簽名左下：Zeno Chen single 2011 附藝術家開立之作品保證書
藝術家陳志駒從事影像創作長達三十餘年，此件《駒》之創作本 質，已跳脫傳統具象攝影表現，呈現另一種多層次視覺感受。本 作品不僅止於單純物象的形體描繪，而是透過更多的影像細節， 構築了如律動般肌理力量，動靜之間似乎微妙且平衡了觀者自由 想像空間，其意念更貫穿了古往今來對於名駒駿馬的觀想。 Zeno Chen has been creating his distinctive images for over three decades. This particular work “Steed” represents a break from traditional, representational photography, with its multi-layered visual effects. Rather than merely depicting the objective physical form of the subject, the work takes a more detailed, intricate approach, building a sense of rhythmic texture and energy; the fine balance between active and static seems to create a similar sense of equilibrium in the viewer’s own imagination, while at the same time the work embodies the connotations that fine steeds have had throughout history.
205 LU Guoying (Chinese, b. 1925)
Vase of Flowers 1992 Oil on canvas 72.5 x 60.5 cm Signed lower right Lu Guo Ying in English and dated 1992 Signed on the reverse Lu Guo Ying in Chinese
NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,300
180
陸國英 瓶花 1992 油彩 畫布 72.5 x 60.5 cm 簽名右下：Lu Guo Ying 1992 簽名畫背：陸國英
206 DAI Ze
(Chinese, b. 1922)
Trees 1979 Oil on paper 48 x 40 cm Signed lower right Dai Ze in Chinese and dated 1979
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
戴澤 樹木 1979 油彩 紙本 48 x 40 cm 簽名右下：戴澤 1979
207 ZHU Shijie
(Chinese, 1900-1990)
Landscape 1934 Oil on canvas 28.5 x 17.5 cm Signed lower right Shijie in Chinese
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
朱士傑 風景 1934 油彩 畫布 28.5 x 17.5 cm 簽名右下：N.Y 士傑
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208 DAI Ze
(Chinese, b. 1922)
Summer Palace, Beijing 1987 Oil on paper 40 x 55 cm Signed lower right Dai Ze in Chinese and dated 1987 Signed on the reverse Dai Ze and inscribed Summer Palace Rear Hill Area in Chinese and dated 1979
NT$ 140,000-240,000 HK$ 36,000-61,000 US$ 4,600-7,900
戴澤 頤和園後山 1987 油彩 紙本 40 x 55 cm 簽名右下：戴澤 1987 簽名畫背：1979年 頤和園后山 戴澤
209 Heshi YU
(Chinese-American, b. 1935)
Woman with a Cat 1993 Acrylic on canvas 51 x 60.5 cm Signed lower right Yu in English and Zhao-yi in Chinese, dated 93
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
于兆漪 女人與貓 1993 壓克力 畫布 51 x 60.5 cm 簽名右下： Yu 93 兆漪
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210 KING Fen-hwa (JING Fen-hua) (Taiwanese, b. 1955)
Woman with a Cat 1990 Oil on canvas 73 x 100 cm Signed lower left King Fen-hwa in Chinese and F. H. KING in English, dated 90
NT$ 170,000-240,000 HK$ 43,000-61,000 US$ 5,600-7,900
金芬華 女人與貓 1990 油彩 畫布 73 x 100 cm 簽名左下：金芳華 F. H. KING 90
重要私人收藏：余承堯的藝術
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An Important Private Collection: Works by Yu Cheng-yao
華人畫壇傳奇─千古絕調余承堯
在眾聲喧嘩的1980年代裡，一位曾被鑑賞家王季遷（C. C. Wang）譽為「可能是王蒙第二」的書畫大師，隱遁鬧市默默創作數十載而罕為人知。 國際知名中國藝術史學者徐小虎（Joan Stanley-Baker），花費許久時間透過多位畫家友人的協助，尋覓訪查，終於在1983年找到「將軍畫家」 余承堯老先生。後來於《自由中國評論》（Free China Review）發表〈余承堯的才華與靈視〉（Old Mr. Yu: Talent & Vision）專文，才重新引起 畫壇的重視。 1986年台北的雄獅畫廊（Hsiung Shih Gallery）為余承堯舉辦在台灣的首次個展，此時老畫家已高齡88歲，在此之前他其實已默默地畫了整整 三十年了。原本許多人以為雄獅畫廊舉辦的是他生平第一次畫展，但其實在此之前，他已經在美國與法國有過個展或聯展的發表，最早的發 表可追溯到1966年時由李鑄晉（Chu-tsing Li）、羅覃（Thomas Lawton）合力籌辦「中國山水畫的新傳統」(The New Chinese Landscape: Six Contemporary Chinese Artists) 盛大聯展。當時李鑄晉選定了余承堯的四件彩墨、參展，連同王季遷、陳其寬、劉國松、莊喆、馮鍾睿共六位水 墨畫家，透過洛克斐勒基金會的贊助，在美國堪薩斯市立尼爾遜畫廊、巴爾的摩藝術博物館以及愛荷華、明尼蘇達、奧瑞岡各州大學藝廊巡迴 展覽兩年。該展覽被公認為替台灣的現代美術史開創新局，建立了現代水墨畫的基礎。 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。 儘管受到鑑賞家與評論家的注意，余承堯卻始 終恬淡以對，他的個性孤獨沉靜，簡樸自然， 潛居寫詩、作畫、熱心投入研究推廣中國古典 雅樂―南管文化。他出生於閩南，南管是閩南 唯一的音樂。來到台灣之後，他非常懷念鄉音，於是致力於推廣這魏晉南北朝以來傳承的精緻弦管古樂。所謂南管，南音也，係千古以來的絕 唱。音樂的興趣，影響所及，在他的繪畫上也表現在畫面的結構及色彩，山勢起伏迴轉，如同樂曲的旋律及節奏。余承堯自言：「我畫的山水 確實蘊藏著舞動的力量」。 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。」 羅芙奧台北2014春拍徵集到七件精彩的作品，包括1970年代稀有水墨、彩墨作品，以及後期的書法作品，推出「重要私人收藏：余承堯的藝 術」專題。作品的收藏者出身文藝界，因為音樂結緣，與畫家之間有深厚如家人的情誼，作品都得自畫家本人的贈與，收藏時間至少有二、 三十年。其中《青山四面》（Green Mountains）與《翠山秀水》（Green Valleys）為1970年代時期作品，為市場上難得稀有的題材；後者與水墨 《重巖繞清流》、彩墨《翠色重重》曾參加余承堯在海外畫展，或有出版圖錄。三件書法大作中，《歸去來辭．陶潛》瀟灑草書創作採冊頁形 制，還有兩幅詩詞書法橫軸，內容皆為余承堯所寫的七言律詩絕句，文字如畫，個性十足。余承堯曾說：「寫字貴有個人風格，不因襲別人， 像我的字就有多種樣態。」 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。 放眼整個華人世界的現代水墨畫家，余承堯無疑仍是一位異數與傳奇，縱使已有重量級評論家給予好評與讚揚，博物館亦曾經舉辦回顧展紀念 其貢獻。然就其學術或市場的評價，他的藝術還未被全面充分發掘，仍有待後代美術評論家繼續努力。據聞，台北的國立歷史博物館正在籌畫 余承堯的回顧展，海峽兩岸的學者也愈來愈多人關注余老的影響力，且讓我們拭目以待。 （文 / 陳惠黛）
重要私人收藏：余承堯的藝術
In the chaotic 1980’s, praised by the connoisseur C. C. Wang as “Wang Meng the second”, a master of Chinese painting and calligraphy hidden in downtown and quietly created artworks for decades with little known. The international well-known Chinese art historian Joan Stanley-Baker found the “General artist” Yu Cheng-yao in 1983 under the help of many artists friends after searching for a long time. Only the article “Old Mr. Yu: Talent & Vision” published in Free China Review did he regain the art circle’s attention. When Taipei Hsiung Shih Gallery held his first solo exhibition in Taiwan in 1986, Yu Cheng-yao was already 88 years old and has been creating for 30 years. Many people thought that the exhibition held by Hsiung Shih Gallery was his first exhibition, as in fact he has had solo and group exhibitions in America and France, and the earliest one can be traced back to 1966 which was a grand exhibition “The New Chinese Landscape: Six Contemporary Chinese Artists” held by Chu-tsing Li and Thomas Lawton. Chu-tsing Li selected four pieces of color ink painted by Yu Cheng-yao, together with artworks of other six ink painters: C. C. Wang, Chen Qikuan, Liu Guosong, Zhuang Zhe, Feng Zhongrui etc., sponsored by the Rockefeller Foundation in Kansas City, held exhibition tour for two years from Nelson Gallery, Baltimore Museum of art to art galleries of state universities in Iowa, Minnesota and Oregon. This exhibition was considered as a ground breaking one for the Taiwan modern art history, established its foundation of modern ink painting. He 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 selftaught 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. Yu Cheng-yao always indifferent to the attentions received from connoisseurs and critics, his personality is lonely, quiet, simple and natural. He threw himself into writing poets, painting, and enthusiastically researching and promoting Chinese classical music – Nanguan, a southern China music culture. He was born in southern Fujian, and Nanguan was the only music there. After coming to Taiwan, he missed the local accent, so he committed to the promotion of the fine chord music which inherited since Wei, Jin, Southern and Northern Dynasties. The so-called Nanguan, named as Nanyin as well, is a unique music through the ages. The interest in music and its influence was also reflected in the structures, colors and the rolling hills in his paintings, like the melody and rhythm of a song. Yu Cheng-yao said: “My landscape painting indeed contains the power of rhythmic movement.” 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
188
An Important Private Collection: Works by Yu Cheng-yao
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.” The seven pieces of outstanding works that Ravenel Spring Auction 2014 Taipei collected, including his 1970's rare ink works, ink and color paintings, and the later works of calligraphy. The feature Ravenel launched is “An Important Private Collections: Works by Yu Cheng-yao”. The collector was from the literary circle. Because of music, he attached to and shared a deep friendship as family with the artist; the collection were all from the latter as presents, and were all be preserved at least two or three decades. The 1970s works “Green Mountains” and “Green Valleys” are rare themes to the market; the latter with two ink pieces of Landscape and ink and color paintings joined in overseas exhibitions of Yu Cheng-yao, or published in catalogues. Three great pieces of calligraphy works, “Calligraphy – Tao Yuan-ming's The Poem Returning Home’s” cursive script adopted the form of album, other two pieces of poetry calligraphy scrolls content seven words poetry written by Yu Cheng-yao. His text is picturesque with personality. Yu Cheng-yao once said: “It is rare that you write in your personal styles which do not copy from others, for example, my characters have a variety of art forms.” 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. Look to modern ink painters in the Chinese world, Yu Cheng-yao is an anomaly and a legend without any doubts, despite the praises given by important critics, the retrospective organized by museums to mark his contributions. However, his academic value or market evaluation implied that his art has not been fully excavated, and still remains to be continuously worked on for art critics. Reportedly, the National Museum of History in Taipei is planning a retrospective exhibition of Yu Cheng-yao, scholars from the mainland and Taiwan paid more and more attention to the influence of Yu. Let’s wait and see. (Written by Odile Chen)
重要私人收藏：余承堯的藝術
211 YU Cheng-yao
(Taiwanese, 1898-1993)
Chinese Script Calligraphy Hanging Scroll 1990 Ink on paper 37 x 205.5 cm Signed left center Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Private collection, Taipei (acquired directly from the artist)
NT$ 260,000-460,000 HK$ 66,000-118,000 US$ 8,600-15,200
余承堯 登華山千尺幢、老君犁溝二絕句 1990 水墨 紙本 37 x 205.5 cm 簽名左方：余承堯 鈐印左方：余承堯印 來源： 私人收藏，台北（直接得自藝術家贈與）
190
釋文： 積石為雄鑿石攀 迴心天路見愁顏 登臨方訝西來峻 三晉雲隨一鳥還 笑向天梯最上頭 黃河山斷入中州 蒼雲冉冉歸瀛海 且聽松濤颯颯秋 登華山千尺幢 老君犁溝二絕句
An Important Private Collection: Works by Yu Cheng-yao
212 YU Cheng-yao
(Taiwanese, 1898-1993)
Calligraphy 1990 Ink on paper 76 x 163 cm Signed left center Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Private collection, Taipei (acquired directly from the artist)
NT$ 260,000-460,000 HK$ 66,000-118,000 US$ 8,600-15,200
余承堯 東江舟中作律詩 1990 水墨 紙本 76 x 163 cm 簽名左方：余承堯 鈐印左方：余承堯印 來源： 私人收藏，台北（直接得自藝術家贈與）
釋文： 瓜皮萬感雨聲痠 白蓋生風插羽翰 未上羅浮心轉怯 但經滄海眼多寬 雄城需向蹉跎擲 大事偷尚苟且安 戰地負纓人欲老 冀收片石阻頹瀾 庚午夏日書舊作 東江舟中作律一首
重要私人收藏：余承堯的藝術
213 YU Cheng-yao
(Taiwanese, 1898-1993)
Calligraphy – Tao Yuan-ming's The Poem Returning Home c. 1970s Ink on paper 34 x 21.5 cm (x8) 49.5 x 275 cm PROVENANCE: Private collection, Taipei (acquired directly from the artist)
NT$ 350,000-550,000 HK$ 90,000-141,000 US$ 11,500-18,100
余承堯 歸去來辭•陶潛 約1970年代 水墨 紙本 34 x 21.5 cm (x8) 49.5 x 275 cm 綾布 來源： 私人收藏，台北（直接得自藝術家贈與）
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An Important Private Collection: Works by Yu Cheng-yao
釋文： 歸去來辭 陶潛 歸去來兮。田園將蕪胡不歸。既自以心為形役。奚惆悵而獨悲。悟已往之 不諫。知來者之可追。實迷途其未遠。覺今是而昨非。舟遙遙以輕颺。風 飄飄而吹衣。 問征夫以前路。恨晨光之熹微。乃瞻衡宇。載欣載奔。僮僕歡迎。稚子候 門。三徑就荒。松菊猶存。攜幼入室。有酒盈樽。引壺觴以自酌。眄庭柯 以怡顏。倚南窗以寄傲。審容膝之易安。 園日涉以成趣。門雖設而常關。策扶老以流憩。時矯首而遐觀。雲無心以 出岫。鳥倦飛而知還。景翳翳以將入。撫孤松而盤桓。 歸去來兮。請息交以絕遊。世與我而相違。復駕言兮焉求。悅親戚之情 話。樂琴書以消憂。農人告于以春及。將有事於西疇。或命巾車。或棹孤 舟。既窈窕以尋壑。亦崎嶇而經丘。木欣欣以向榮。泉涓涓而始流。羨萬 物之得時。感吾生之行休。 已矣乎！寓形宇內復幾時。曷不委心任去留。胡為乎遑遑欲何之。富貴非 吾願。帝鄉不可期。懷良辰以孤往。或植杖而耘耔。登東皋以舒嘯。臨清 （流而賦詩。聊乘化以歸盡。樂夫天命復奚疑。）
重要私人收藏：余承堯的藝術
214 YU Cheng-yao
(Taiwanese, 1898-1993)
Landscape c. 1980s Ink and color on paper 61 x 34 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Private collection, Taipei (acquired directly from the artist) EXHIBITED: Opening Exhibition, China Museum for Fujian Taiwan Kinship, Chuanzhou, Fujian, May 2006
NT$ 480,000-650,000 HK$ 123,000-166,000 US$ 15,800-21,400
余承堯 翠色重重 約1980年代 彩墨 紙本 61 x 34 cm 簽名左上：余承堯作 鈐印左上：余承堯印 來源： 私人收藏，台北（直接得自藝術家贈與） 展覽： 「閩台緣博物館開館畫家聯展」，閔台緣博物館， 福建泉州，展期自2006年5月
「我一直認為山水是真正自然的代表，而且是非 常的豐富，形狀、走勢從沒有相同的，也是永遠 也表現不完的題材。在中國的繪畫史上，我認為 山水這一脈是最主要的。我的畫注重山石的結構 和峰巒的層次，山要有山那種實實在在的感覺才 好。如果畫霧或是很多雲，就沒有意思了，失去 我所要的那種趣味。所以我最多也只在山頂畫少 少的雲。最要緊的是結構要完整，層次要分明。 所以必須要小心地處理景物的高低、遠近、深淺 明暗……等等。由於有光源，立體的東西每一部 份的受光度自然不相同，把明暗利用筆墨的深淺 交待出來，同時也表現山石的硬實感。山是有生 命、有變化的。如果不用亂筆，而採用規規矩矩 的筆墨線條和皴法，山勢容易變成呆板線條的堆 積，不符合自然。」（余承堯） "I've always felt that landscapes are the true representatives of nature. They also have tremendous depth because no shape or trend is alike, making them a subject matter that can be truly expressed in full. In terms of China's painting history, I think the landscape tradition is the most important. My paintings emphasize the structure of the rocks and the layers of the peaks. Mountains should feel like mountains. Painting mists or lots of clouds is therefore quite pointless and does not contain the kind of interest that I look for. That's why I paint at most a small amount of clouds at the peak. What really matters is the integrity of the structure and well-defined layers. The height, distance, light and shadow of the scenery must therefore be treated with care. Since there is a light source, the amount of light received by each part of a three-dimensional object will vary as well. The intensity of the ink is therefore used to represent light and shadow as well as the strength of the rock. The mountain is a living and changing presence. If text book lines and wrinkling are used instead of the wild brush, the mountain can easily turn into a collection of boring lines that are out of place with nature." –Yu Cheng-yao
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An Important Private Collection: Works by Yu Cheng-yao
215 YU Cheng-yao
(Taiwanese, 1898-1993)
Landscape c. 1970s Ink on paper 60 x 38.5 cm Signed upper right Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Private collection, Taipei (acquired directly from the artist) EXHIBITED: Opening Exhibition, China Museum for Fujian - Taiwan Kinship, Chuanzhou, Fujian, May 2006
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
余承堯 重巖繞清流 約1979 水墨 紙本 60 x 38.5 cm 簽名左上：余承堯作 鈐印左上：余承堯印 來源： 私人收藏，台北（直接得自藝術家贈與） 展覽： 「閩台緣博物館開館畫家聯展」，閔台緣博物 館，福建泉州，展期自2006年5月
作品中《重巖繞清流》有余承堯細心堆疊的 團團墨塊，層層疊嶂，散發出一種穩重且靜 謐的風格。山巖起伏峻奇，形體越形豐富， 層次越顯複雜，營造迷濛的空氣感，抒發出 畫家的寄情懷想。濃鬱的山谷間，淙淙的清 泉聲，彷彿一曲優雅的樂音，一片舒朗而宜 人的山水世界。 “Landscape” contains stacks of ink blocks carefully arranged by Yu Cheng-yao that radiate a sense of stability and tranquility. The rise and fall of the mountain range creates even more complex shapes and layers. The result is a subtle atmosphere that expresses the painter's nostalgia. The verdant valleys and burbling springs seem to become an elegant melody in a hospital landscape.
重要私人收藏：余承堯的藝術
216 YU Cheng-yao
(Taiwanese, 1898-1993)
Green Valleys c. 1979 Ink and color on paper 47.5 x 73.5 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Private collection, Taipei (acquired directly from the artist) EXHIBITED: The Musical Landscape : Yu Cheng-yao (1898-1993), McGraw-Hill Building, Taipei Gallery, New York, May 12-June 23, 1995 ILLUSTRATED: The Musical Landscape : Yu Cheng-yao (1898-1993), Han Tang Arts & Culture Center, Taipei, 1995, color illustrated, p. 145
NT$ 1,500,000-2,200,000 HK$ 384,000-563,000 US$ 49,500-72,600
余承堯 翠山秀水 約1979 彩墨 紙本 47.5 x 73.5 cm 簽名左上：余承堯作 鈐印左上：余承堯印 來源： 私人收藏，台北 (直接得自藝術家贈與) 展覽： 「樂之山水―余承堯畫展」，紐約新聞文化中心台北藝廊，紐約，展期 自1995年5月12日至6月23日 圖錄： 《樂之山水―余承堯畫展》，漢唐樂府藝術文化中心，台北，1995，彩 色圖版，頁145
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余承堯說：「亂筆是我所用來表現形體的方式，近看雖亂，遠看卻 能看出山的生命力。」他一生未受傳統的繪畫訓練，全然憑藉與生 俱來的不凡才情。他澹泊名利，自在創作。隨意揀選紙筆，把記憶 中曾經千山萬水跋涉的山水景致，透過一種混雜、交融與堆疊的亂 筆，先畫以淡墨，勾勒山形岩石，再層層逐步加深，累積出他心中 最接近真實的自然。 余承堯的山水畫，山石遠比樹林多，呈現出某種地形圖的趣味性。 藝術家自己認為：「好的山是由石頭造成的，岩石賦予它們特色和 生命。」彩墨作品《翠山秀水》展現青綠山岩的魅力，其獨特的層 次感呈現一種迷人的風格。畫中的筆墨以近乎本能、原始、素樸的 表現，無法計數的，誠誠懇懇的線條，塑造出具有質量感的山水圖 畫，而其中單純的力量所堆疊出的真摯，及其舒展的能量，最為動 人。 Yu Cheng-yao said: "The wild brush technique is my method of expression. It may look like a mess up close, but it conveys the vitality of the mountain from a distance." Yu received no traditional training in painting at all in his life and drew exclusively upon his inborn talents. He cared little for fame and fortune, preferring to follow his own creative instincts. Using whatever brush and paper was at hand, he mixed, blended and layered with the wild brush technique to first outline the mountain rock in light ink and then gradually increased the depth. The memories of countless landscapes gradually come together to form his own vision of nature itself. In Yu's landscape paintings the rocks always outnumber the trees and so present an intriguing look at the topography. The painter himself felt that: "Good mountains are formed by rocks. The rock gives them their character and life." The colored ink painting “Green Valleys” expresses the allure of green mountain rock. The unique sense of layers create a captivating style. In the painting, the almost raw, primitive and rustic expression of the ink use countless, simple lines to create a landscaping painting with depth and presence. The sincerity built by layers of simplicity, as well as the energy they contain, touches the audience.
An Important Private Collection: Works by Yu Cheng-yao
重要私人收藏：余承堯的藝術
217 YU Cheng-yao
(Taiwanese, 1898-1993)
Green Mountains c. 1970s Ink and color on paper 56 x 117 cm Signed upper right Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Private collection, Taipei (acquired directly from the artist)
NT$ 1,700,000-2,400,000 HK$ 435,000-614,000 US$ 56,100-79,200
余承堯 青山四面 約1970年代 彩墨 紙本 56 x 117 cm 簽名右上：余承堯 鈐印右上：余承堯印 來源： 私人收藏，台北（直接 得自藝術家贈與） 題識： 青山四面水○○ 翡翠岩遙捲釣鈎 ○餘搖江○樹暗 折花倚○樂魚游
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如同余承堯在〈創作自述〉所言：「遊觀之詠，均有畫意 存在。」他喜歡寫詩，在年輕時候行軍至一地，每每用新 觀察當地景色與風土人情，作為賦詩寫詞的素材。而他所 寫的律詩、絕句或者題寫入畫，或者變成行草書法。那些 詩句本身已經畫意俱足，充滿想像，彷彿山水風景，呼之 欲出。 《青山四面》為1970年代的佳作，余承堯以靈活的筆觸皴 擦，堆疊出畫中一塊塊奇異山石，以及一叢叢色彩明亮的 茂密樹林。整體結構密實，構圖講求層次，空間起伏多 變，細膩的線條中提煉出抽象質感的山水精神。余老的繪 畫如同詩賦，以及他鍾情的南管音樂，節奏細膩高雅文 靜。情到深處自然獨妙，充滿新意。 As Yu Cheng-yao said in his “Creative Narrative”, "the painting exists in the poetry of one's travels." Yu enjoyed writing poetry and in his youth, he often observed the local scenery, people and culture from a new perspective wherever he traveled and used them as the inspiration for his poetry. His regulated verses and quatrains often found their way into his paintings or transformed into running cursive. As the verses themselves were already very descriptive and filled with imagination, the symbols of the landscape seemed to leap out at the audience. “Green Mountains” was an exceptional work from the 1970's in which Yu used the wrinkling and rubbing technique with a nimble brush to stack together the strange boulders and dense green forests in the painting. The solid, dense structure and layered composition featured changing spaces where fine lines picked out the abstract spirit of the landscape. Like his poetry and the Nanguan music Yu was so found of, his paintings had their own fine, elegant and tranquil rhythm. The depth of emotion creates a unique, natural touch that is filled with novel interest.
An Important Private Collection: Works by Yu Cheng-yao
218 LIU Kuo-sung (Taiwanese, b. 1932)
Season of Blossoms 2006 Ink and color on paper 61 x 91 cm Signed center left Liu Kuo-sung and dated 2006 in Chinese With one seal of the artist ILLUSTRATED: Liu Kuo-sung 60 Years of Paintings, Chan Liu Art Museum, Taoyuan, 2007, color illustrated, pp. 274-275 This painting is to be sold with a certificate of authenticity issued by Chan Liu Art Museum, Taoyuan.
NT$ 1,600,000-2,800,000 HK$ 409,000-716,000 US$ 52,800-92,400
劉國松 飛花的季節 2006 彩墨 紙本 61 x 91 cm 簽名左方：劉國松 二○○六 鈐印左方：劉國松 圖錄： 《劉國松繪畫一甲子》，長流美術館，桃園， 2007，彩色圖版，頁274-275 （原畫題為《洒 落的山音》） 附長流藝術開立之原作保證書
200
二次大戰後台灣現代繪畫運動風起雲湧，當時滿腔熱血的年輕藝術家劉國松，加入五月畫會， 雖學西畫出身，但有感於不應一味附麗於西方、盲目創新，對傳統文化萌生使命感，於是積極 推動水墨的現代化，走一條中西合璧的道路。他堅持水墨與抽象的原則，提出「革筆的命」、 「革中鋒的命」等大膽論述，不拘泥於筆法，探索紙張媒材、創造皴法的實驗精神，其觀念創 新不惟影響台灣美術界，1970年代影響香港，1980年代後甚至在水墨畫原鄉中國大陸獲得迴 響。 基於對水墨畫的熱愛，劉國松投入畢生精神研究，創造出四種水墨技法，分別為「抽筋剝皮 皴」（1960年代）、「漬墨法」（1961-63年）、「拓墨法」（1973年）及「水拓法」（1973 年）。劉國松曾說：「中國畫從宋朝以後就沒有發明任何的技法，我發明了四種不同的皴法， 這些都是我實驗所發明出來的一些新的技法。」而創作取材雖然來自於生活，然其視野宏觀宇 宙，探討自然對於心靈的影響，劉國松的圖畫從具體的山川樹林泉石的描繪，轉向抽象且莊嚴 的意象，深獲國內外學術機構與收藏家的喜愛。 After WWII, modernist painting began to take off in Taiwan, with many young and enthusiastic artists joining a new wave of creative expression. One of them was Liu Kuo-sung, who joinedthe Fifth Moon Group and, although coming from a background of Western-style painting, soon felt that he did not wish to be restricted to one particular school or style. Instead of focusing exclusively on Western techniques, he developed an interest in traditional Chinese culture and art, and made it his mission to promote the “modernization” of conventional ink and wash styles, mostly by blending Western elements into Eastern genres. Two parameters are cardinal to Liu’s work”: ink wash and abstractionism. Inventing new concepts such as “revolutionizing the brush (strokes)” and “revolutionizing the upright brush (strokes)” allowed him to experiment with new forms of expression and explore a variety of media, untrammeled by the limitations of conventional techniques. He developed new ways of employing traditional strokes and methods, such as the “cun” technique, to imbue his works with a fresh sense of structure and texture. His influence reached far beyond Taiwan’s art scene, making a powerful impact in Hong Kong (1970s) and the root of ink and wash paintings Mainland China (since 1980) as well. Liu Kuo-sung has stayed invested in the research of, and intriguing experimentation with, ink wash painting throughout his entire life, developing four distinct techniques in the process: the “reductionist cun” technique (1960s), the “ink blot” or “steeped ink” technique (1961-63), the “ink rubbing” technique (1973), and the “water rubbing” technique (1973). Liu once said, “No new methods or techniques have been developed in Chinese painting since the Song Dynasty. I have come up with four different new types of ‘cun’ technique, all of which were born out of practical experimentation and application.” While the subjects of his paintings are largely taken from everyday life, Liu yet manages to infuse his works with a broad, even universal, perspective that probes deep into the fabric of nature and spirit. Starting out with concrete depictions of mountains and rivers, forests and rocks, he soon turned to abstract imagery that captures the solemn essence of such landscapes, and has won him global recognition from the academia, as well as the appreciation and support of collectors around the world.
219 LIU Kuo-sung (Taiwanese, b. 1932)
Tibet Series, No.67–Glacier 2005 Ink and color on paper 92 x 92 cm Signed lower right Liu Kuo-sung and dated 2005 in Chinese With one seal of the artist ILLUSTRATED: 21st Century, Latest Works of Liu Kuo-sung, Chung Hua University Arts Center, Hsin-chu, 2006, color illustrated, p. 48 The Universe in the Mind - A Retrospective of Liu Kuo-sung, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan, 2007, color illustrated, p. 81 This painting is to be sold with a certificate of authenticity signed by the artist, and a picture of the artist.
NT$ 2,800,000-4,000,000 HK$ 716,000-1,023,000 US$ 92,400-132,000
劉國松 西藏系列之六十七—冰川 2005 彩墨 紙本 92 x 92 cm 簽名右下：劉國松 二○○五 鈐印右下：劉國松印 圖錄： 《21世紀 劉國松 新作集》，中華大學藝文中 心，新竹，2006，彩色圖版，頁48 《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81 附藝術家親筆簽名之原作保證書及藝術家與本 拍品之合影照片
202
中國現代水墨畫大師劉國松自1956年成立五月畫會以來，持續開創新技法及繪畫題材，將中 國傳統的山水畫特色及宇宙觀與西方繪畫的抽象概念作了完美的融合，開創出一種全新的、 形而上的現代水墨山水畫，深受國內外藝術愛好者的喜愛。東西方各大美術、博物館共八十 餘所皆先後收藏他的作品。同時，他的藝術觀念及創作力也經由著作、展覽、演說、教學等 途徑，影響力日漸擴大，並受到學者、藝評家、收藏家等各界的推崇與好評。尤其山東省博 物館於2013年特別開闢了一個約300坪的展覽空間，成立「劉國松現代水墨藝術館」，長期展 示他不同創作時期之佳作。以一個在台灣成長、養成的水墨畫家非常難得的幾乎就站上了中 國現代水墨畫壇的至高地位。觀察其近年拍賣成交行情趨勢，實為繼趙無極、朱德群之後， 不可錯過之收藏標的。 劉國松先生於2000年赴西藏珠穆朗瑪峰時，被眼前所見的雪山奇景所震撼而耽誤了回屋避寒 的準確時刻，導致他左耳耳膜被凍傷從此失聰。所幸，此行卻萌發了他創作出氣韻生動，氣 勢磅礡的西藏組曲系列，也算有失有得。《西藏系列之六十七－冰川》一圖，作於2005年， 當時已值該系列創作技法及構圖上的成熟階段；畫作細節講究，精緻細膩處頗有傳統工筆畫 作之功；而畫面上黑、灰、白三色交互穿插浮動，宛若迂迴閃爍的電光般迷幻動人。另外， 畫面上風起雲湧的氣場流動亦令人激賞不已，頗能引起觀賞者蕩氣迴腸的感動。若隨意取局 部放大觀賞，則一張畫可延伸為無數張不同的畫作，令人感到十分驚喜而可以一再玩味。 《西藏系列之六十七－冰川》絕對是現代水墨山水畫的上品佳作。 Ever since his involvement in the establishment of the Fifth Moon Group art association in 1956, leading modern Chinese landscape painter Liu Kuo-sung has continued to develop innovative new techniques and new subject matter. Liu has succeeded in creating a perfect fusion of the key characteristics of traditional Chinese landscape painting and traditional Chinese cosmology with Western abstract art; in doing so, he has developed a brand-new, metaphysical modern landscape painting style which has proved immensely popular with art-lovers both in Taiwan and overseas; Liu’s work can now be found in the collections of more than 80 leading art museums and galleries throughout the world. The influence of Liu’s artistic vision and creative ethos has gradually spread through his writings, exhibitions, lectures and teaching, winning plaudits from academics, art critics and collectors alike. In 2013, Shandong Provincial Museum established a Liu Kuo-sung Modern Ink Brush Painting Gallery with a display area of approximately 1,000 square meters, which hosts permanent exhibitions of works from different periods in Liu’s career. It is noteworthy that an ink brush artist who grew up and trained in Taiwan now stands at the pinnacle of the modern Chinese ink brush painting scene. Examination of the performance of Liu’s works at auction in recent years suggests that Liu is following in the footsteps of Zao Wou-ki and Chu Teh-chun by emerging as an important target for collectors. In 2000, Liu Kuo-sung visited Mt. Everest; he was so entranced by the snow-scapes that he failed to take refuge in time as the weather turned colder, and suffered damage to his eardrums and consequent hearing loss as a result. However, this unfortunate experience did also provide Mr. Liu with creative inspiration, encouraging him to produce his “Tibet Series.” This particular work, “Tibet Series No. 67 – Glacier,” was painted in 2005. By that point, Liu Kuo-sung had already brought this series of paintings to maturity in terms of both technique and composition. The painting displays immense attention to detail; the precise brushwork evokes the Elaborated Style of traditional Chinese painting, while the “floating” effect achieved by the skilful combination of black, gray and white tones has the same magical impact as flickering rays of light. The impression of swirling clouds driven by strong winds also has a powerful impact on the viewer’s senses. If one focuses on a particular section of the canvas, it begins to seem as though this work is actually many paintings merged into one, with something new to admire every time one views it. “Tibet Series No. 67 – Glacier” is without doubt a masterpiece of modern ink brush landscape painting.
220 SHIY De-jinn
(Taiwanese, 1923-1981)
Shimending 1967 Oil on canvas 61.5 x 61.5 cm Signed lower right Shiy in English and dated 67 PROVENANCE: Collection of John Richard Rohrbough (lived in Taiwan in 1960s, acquired directly from the artist), Australia Private collection, Australia (inherited from the above, 2002)
NT$ 1,200,000-2,200,000 HK$ 307,000-563,000 US$ 39,600-72,600
席德進 西門町 1967 油彩 畫布 61.5 x 61.5 cm 簽名右下：Shiy 67 來源： 約翰李察‧羅博爾（1960年代住在台灣，直接 購自藝術家本人），澳洲 私人收藏，澳洲（2002年繼承自上述來源）
204
西門町的地名來自日據時代，1895年日本人將這區域規劃成高尚娛樂商業圈及日人宿舍區， 而當時的居民大多居住於台北城內，西門區域就是他們的休憩場所。1949年國民政府遷台 後，大量資金湧入此處，尤以上海人在西門町投入大量資金經營百貨公司為最，繁華氣息造 就歌廳、舞廳、咖啡廳、委託行到處林立、戲院前後達37家，如雨後春筍般湧現的空前景 況。1961年中華商場完工，西門町與城中區連成一氣，經濟發展如日中天，西門町一躍成為 全國的商業娛樂中心。 席德進這幅油畫作品《西門町》創作於1967年，正值西門町最耀眼的年代，畫面上漸入夜色 的熱鬧街市，行人摩肩擦踵穿梭於攤商小販前；旅社、理容院、當鋪、小吃店、食品行… 店家招牌層疊林立。席德進著名的黑線條，在街景的表現上再合適不過了，而他用色的渾然 天成，前景以筆刷色塊帶出夜色朦朧、人聲鼎沸的氛圍，實在精彩。若想就此畫按圖索驥找 出席德進作畫的地點，也許有些難度，畫面中央遠方的建築物應為總統府，而以地理位置判 斷，席德進應是依構圖需求將景物重組。愛美的席德進，以美為出發，記錄下他心目中最美 的西門町一景。 Ximending was named during the Japanese occupation. In 1895, under an initiative by the Japanese government, the area was transformed into a high class entertainment and commercial district and also contained living quarters for Japanese citizens. Most residents at that time lived within the city limits of Taipei, and Ximending was where they spent their leisure time. In 1949, as the Chinese Nationalist (Kuomintang) government retreated to Taiwan during the Chinese Civil War, a large influx of capital was also brought into the area. Many wealthy Shanghainese refugees, in particular, invested large amounts of funds to open department stores. Nightclubs, disco halls, cafés, brokerages, and 37 movie theaters sprang up in the area, creating a thriving, lively atmosphere like never before. Completion of the Zhonghua Commercial district project in 1961 linked businesses together in Ximending and Taipei’s midtown, ushering in the area’s peak stage of development. In a short span of time, Ximending quickly rose to become the nation’s premier business center and heart of entertainment. Shiy De-jinn painted this piece, Shimending, in 1967, which was when Ximending was in its prime. The artist craftily captures the bustling streets at nightfall as pedestrians intermingle with vendors and a sea of towering signs of various hotels, barber shops, pawn shops, snack stands, and grocers hang overhead. Shiy De-jinn’s characteristic black contour lines are the perfect style to depict the busy street scene. His superb choice of color brilliantly accents the vivacious crowd in the foreground while capturing the dim glow of the night sky in blotches of scarlet. Perhaps it would be difficult to locate the exact location of where this painting takes place on a map. The building in the distant center is likely the Presidential Building. According to the relative geographical location, Shiy must have rearranged the elements in the scene to achieve this unique composition. Shiy De-jinn, a great admirer of all things beautiful, clearly set out to capture beauty in this piece—and in doing so, he recorded his own vision of the most beautiful likeness of Ximending.
221 CHU Teh-chun
(Chinese-French, 1920-2014)
Abstract Composition 1980 Ink on paper 44 x 35 cm Signed lower right CHU Teh-chun in Chinese and English This painting is to be sold with a certificate of authenticity issued by Galerie Hus, Paris.
NT$ 950,000-1,200,000 HK$ 243,000-307,000 US$ 31,300-39,600
朱德群 抽象構成 1980 水墨 紙本 44 x 35 cm 簽名右下：朱德群 CHU Teh-chun 附巴黎 Galerie Hus 畫廊開立之原作保證書
206
222 T'ANG Haywen
(Chinese-French, 1927-1991)
Still Life (Chrysanthemum) Watercolor on ricepaper 31 x 42 cm Signed upper right Haywen in Chinese Signed lower right TANG in English
NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600
唐海文 靜物（採菊） 水彩 宣紙 31 x 42 cm 簽名右上：海文 簽名右下：TANG
208
223 T'ANG Haywen
(Chinese-French, 1927-1991)
Still Life (Flowers and Fruits) 1957 Watercolor on ricepaper 31.5 x 45.5 cm Signed lower left T'ANG in English and Haywen in Chinese, dated 57
NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600
唐海文 靜物（瓶花與果） 1957 水彩 宣紙 31.5 x 45.5 cm 簽名左下：TANG 海文57
224 T'ANG Haywen
(Chinese-French, 1927-1991)
Untitled 1972 Ink and color on paper 70 x 50 cm Signed lower right T'ang in English and Haywen in Chinese
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
210
唐海文 無題 1972 彩墨 紙本 70 x 50 cm 簽名右下：T'ang 海文
1 2 3
225 T'ANG Haywen
唐海文
(Chinese-French, 1927-1991)
花與樹（4件1組）
Flowers and Trees (a set of 4 pieces)
1957 水彩 紙本 8.5 x 16 cm（1） 8 x 17 cm（2） 8 x 17 cm（3） 16 x 8 cm（4） 簽名左下：TANG 海文（1） 簽名右下：TANG 海文（2） 簽名左下：TANG 海文（3） 簽名右下：TANG 海文（4）
1957 Watercolor on paper 8.5 x 16 cm (1) 8 x 17 cm (2) 8 x 17 cm (3) 16 x 8 cm (4) Signed lower left TANG in English and Haywen in Chinese (1) Signed lower right TANG in English and Haywen in Chinese (2) Signed lower left TANG in English and Haywen in Chinese (3) Signed lower right TANG in English and Haywen in Chinese (4)
NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,300-7,300
4
226 ZAO Wou-ki
(Chinese-French, 1921-2013)
Saint-Jeoire-en-Faucigny 1950: Soleil rouge (Red Sun); Montagnes embrumées (Misty Mountains) Created in 1950 and published in 2006 Serigraph; edition no. 47/99; 49/99 27.7 x 19.8 cm (upper) 27.5 x 20.7 cm (lower) Signed lower right Wou-ki in Chinese and Zao in French Numbered lower left 47/99 (upper) Signed lower right Wou-ki in Chinese and Zao in French Numbered lower left 49/99 (lower) ILLUSTRATED: Albin Michelle, Zao Wou-ki – Carnets de voyages 1948-1952, Albin Michel Editions, Paris, 2006, color illustrated, p. 100 & p. 95
NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,300-7,900
趙無極 聖茹瓦爾的旅行：紅色太陽；霧色風景 構思於1950；發行於2006 彩色絹版畫 47/99；49/99 27.7 x 19.8 cm（上） 27.5 x 20.7 cm （下） 簽名右下：無極ZAO 版次左下：47/99（上） 簽名右下：無極ZAO 版次左下：49/99（下） 圖錄： 《趙無極旅行圖文手記1948-1952》，阿爾班‧米歇出版社，巴黎，2006， 彩色圖版，頁100與頁95
212
227 LI Chun-shan
(Taiwanese, 1912-1984)
Abstract 1965 Watercolor and ink on paper 39 x 54.5 cm Signed lower right Chun Shan in English and dated 1965
NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,600
李仲生 抽象 1965 水彩 水墨 紙本 39 x 54.5 cm 簽名右下：Chun Shan 1965
228 KANG Kai
康凱
(Chinese, b. 1979)
泊岸煙雲
Scene in Mist
2007 彩墨 紙本 58.5 x 121.5 cm 簽名左下：凱 鈐印：懷善、五月軒、狀元文章、天子、執古
2007 Ink and color on paper 58.5 x 121.5 cm Signed lower left Kai in Chinese With five seals of the artist EXHIBITED: The Ink World: The Art Monthly Invitational Exhibition of the 70's, Nanjing, December 24, 2008 - January 4, 2009 ILLUSTRATED: The Ink World: The Art Monthly Invitational Exhibition of the 70's, Jiangsu Fine Art Publishing house, 2008 Kang Kai Art Works, My Humble House Co. Ltd., Taipei, 2009, color illustrated, pp. 46-47
NT$ 280,000-380,000 HK$ 72,000-97,000 US$ 9,200-12,500
214
展覽： 「70後水墨邀請展」，鳳凰美術館，南京，展期自2008年12月24日至2009年 1月4日 圖錄： 《70's水墨報告》，江蘇美術出版社，2008 《棲雲問道：康凱作品集》，寒舍股份有限公司，台北，2009，彩色圖版， 頁46–47
229 CHU Teh-chun
(Chinese-French, 1920-2014)
Saison bleue (a set of 7) 2006 Lithographs, calligraphy of poems, edition no. 13/20 41 x 30.5 (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 13/20 With three seals of the artist (calligraphy)
NT$ 360,000-550,000 HK$ 92,000-141,000 US$ 11,900-18,100
朱德群 藍季（七件一組） 2006 石版畫 紙本 13/20（內含六件石版畫，一件書法集） 41 x 30 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：13/20
230 GAO Xingjian
(Chinese-French, b. 1940)
Enlightenment 2000 Ink on paper 65 x 58 cm Signed lower left Gao Xingjian in English and dated 2000 PROVENANCE: Asia Art Center, Taipei This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
NT$ 420,000-650,000 HK$ 107,000-166,000 US$ 13,900-21,400
高行健 悟 2000 水墨 紙本 65 x 58 cm 簽名左下：Gao Xingjian 2000 來源： 亞洲藝術中心，台北 附亞洲藝術中心開立之原作保證書
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231 MA Pai-sui
(Taiwanese, 1909-2003)
Lake of Flushing 1994 Ink and color on paper 60 x 90 cm Signed lower right Pai-sui in Chinese and dated 1994 With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
NT$ 460,000-600,000 HK$ 118,000-153,000 US$ 15,200-19,800
馬白水 法拉盛公園湖景 1994 彩墨 紙本 60 x 90 cm 簽名右下：白水 1994 鈐印右下：M PAI SUI 附亞洲藝術中心開立之原作保證書
218
232 ZAO Wou-ki
趙無極
(Chinese-French, 1921-2013)
比薩詩章（八件一組）
Canto Pisan (a set of 8)
1972 蝕刻版畫 H.C. XXIII/XXX 40.7 x 25.6 cm 40.7 x 25.7 cm 32.7 x 26.7 cm (x2) 31.7 x 25.7 cm (x2) 32.9 x 26.8 cm 40.9 x 25.8 cm 簽名右下：無極ZAO 版次左下：H.C. XXIII/XXX
1972 Etching, edition no. H.C. XXIII/XXX 40.7 x 25.6 cm 40.7 x 25.7 cm 32.7 x 26.7 cm (x2) 31.7 x 25.7 cm (x2) 32.9 x 26.8 cm 40.9 x 25.8 cm Signed lower right Wou-ki in Chinese and Zao in French; numbered lower left H.C. XXIII/XXX (each) ILLUSTRATED: Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 218-225, pp. 130-131
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
圖錄： 喬詹．阿格魯普，《趙無極版畫集1937-1995》，黑德與莫斯特魯普出版 社，哥本哈根，1994，彩色圖版，編號218-225，頁130-131
233 HAE Juan
(Chinese, b. 1985)
Chinese Zodiac Series – Horse I 2013 Oil on canvas 60 cm (diameter) Signed lower right HAE Juan in English
NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,300
220
賀娟 生肖系列之馬 1 2013 油彩 畫布 60 cm（直徑） 簽名右下：HAE Juan
234 DU Xi
(Chinese, b. 1980)
Dragon in the Clouds 2012 Oil on canvas 100 cm (diameter) Signed lower left Du Xi and dated 2012 both in Chinese
NT$ 140,000-220,000 HK$ 36,000-56,000 US$ 4,600-7,300
杜溪 入雲龍 2012 油彩 畫布 100 cm（直徑） 簽名左下：杜溪 二零一二
235 DU Xi
杜溪
(Chinese, b. 1980)
已覺春心動
Already Feeling the Spring Heartbeat
2010 油彩 畫布 100 x 100 cm 簽名左下：杜溪 2010
2010 Oil on canvas 100 x 100 cm Signed lower left Du Xi and dated 2010
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
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236 CHEN Liu
(Chinese, b. 1973)
The Celestial Series – the Chrysanthemum 2007 Oil on canvas 140 x 80 cm Signed lower right Chen Liu in Chinese and dated 2007.8.1 ILLUSTRATED: Eminent Chinese Artist: Chen Liu – The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, p. 87, p. 173
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
陳流 天空界之踢花 2007 油彩 畫布 140 x 80 cm 簽名右下：陳流 2007.8.1 圖錄： 《中國當代名家系列：陳流—天降大 任》，藏新藝術有限公司，台北， 2008，彩色圖版，頁87、頁173
237 Bob YAN (YAN Bo) (Chinese, b. 1970)
Waking Up at Midnight and Chewing Shoes 2004 Oil on canvas 97 x 145.5 cm Signed lower center YAN 2004 Signed on the reverse Yan in English, titled Waking Up at Midnight and Chewing Shoes in Chinese and dated 2004
NT$ 140,000-240,000 HK$ 36,000-61,000 US$ 4,600-7,900
閻博 夜半醒來咬咬鞋 2004 油彩 畫布 97 x 145.5 cm 簽名中下：YAN 2004 簽名畫背：夜半醒來咬咬鞋 Yan 2004
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238 YIN Kun
(Chinese, b. 1969)
Chinese Fairy Tale 2005 Oil on canvas 120 x 100 cm Signed lower right Yin Kun in Chinese and dated 2005.10
NT$ 150,000-260,000 HK$ 38,000-66,000 US$ 4,900-8,600
尹坤 中國童話 2005 油彩 畫布 120 x 100 cm 簽名右下：尹堃 2005. 10
239 SHENG Qi
(Chinese, b. 1965)
China Jam (a set of 2) 2007 Acrylic on canvas 70 x 90 cm (x2) Signed on the reverse Sheng Qi in Chinese and English, dated 2007
NT$ 160,000-360,000 HK$ 41,000-92,000 US$ 5,300-11,900
盛奇 中國交通擁擠（2件1組） 2007 壓克力 畫布 70 x 90 cm (x2) 簽名畫背：盛奇 Sheng Qi 2007
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240 HUA Qing
華慶
(Chinese, b. 1962)
人的寓言－道 No. 5
Allegory of Human Beings – Tao No. 5
2006 油彩 畫布 162 x 130 cm 簽名右上：華慶 2006
2006 Oil on canvas 162 x 130 cm Signed upper right Hua Qing in Chinese and dated 2006 EXHIBITED: The Upanishad of Human Beings – Hua Qing Solo Exhibition, Asian Art Center, Beijing, March 22 - April 20, 2008 ILLUSTRATED: The Upanishad of Human Beings: Paintings by Hua Qing, Asia Art Center, Beijing, 2008, color illustrated, pp.76-77
NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,600-11,900
展覽： 「人的奧義書―華慶個展」，亞洲藝術中心，北京，展期自2008年 3月22日至4月20日 圖錄： 《人的奧義書：華慶作品集》，亞洲藝術中心，北京，2008，彩色 圖版，頁76-77
241 LI Jikai
(Chinese, b. 1975)
Eggs 2007 Acrylic on canvas 80 x 60 cm Signed lower right Li Jikai in English and dated 07 Signed on the reverse LI Jikai in English and Chinese, titled Eggs in Chinese, inscribed 60 x 80 cm and dated 2007
NT$ 260,000-460,000 HK$ 66,000-118,000 US$ 8,600-15,200
李繼開 蛋 2007 壓克力 畫布 80 x 60 cm 簽名右下：Li Jikai 07 簽名畫背：60 x 80 cm 《蛋》 LI Jikai 李繼開 2007
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242 LUO Dan
羅丹
(Chinese, b. 1981)
七里香2
Orange Jasmine
2011 油彩 畫布 119.5 x 100 cm 簽名右下：Luo Dan 簽名畫背：Luo Dan 羅丹
2011 Oil on canvas 119.5 x 100 cm Signed lower right Luo Dan in English Signed on the reverse Luo Dan in English and Chinese EXHIBITED: As Free as the Wild – 2011 Exhibition oe Luo Dan Oil Painting, Ever Harvest Art Gallery, Taipei, September 17-October 9, 2011 As Free as the Wild – 2011 Exhibition oe Luo Dan Oil Painting, Longmen Art Projects, Shanghai, August 20-October 30, 2011
NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,500
展覽： 「就像風一樣自由：羅丹油畫個展」，日升月鴻畫廊，台北，展期自 2011年9月17日至10月9日 「就像風一樣自由：羅丹油畫個展」，龍門雅集，上海，展期自2011年 8月20日至10月30日
243 SHUAI Mei
(Chinese, b. 1969)
Light Reading 2001 Tempera on canvas 80 x 60 cm Signed lower right Shuai Mei in Chinese and dated 2001.08 This painting is to be sold with a certificate of authenticity issued by Schoeni Art Gallery, Hong Kong.
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
230
帥梅 閱讀 2001 卵彩 畫布 80 x 60 cm 簽名右下：帥梅 2001.08 附香港少厲畫廊開立之原作保證書
244 YANG Din
(Chinese, b. 1958)
Fête de melon (Melon Festival) 1995 Oil on canvas 196 x 130 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, dated 1995.8 and 196 x 130 cm, and titled "Fête de melon" in French ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, pp. 58-59
NT$ 380,000-500,000 HK$ 97,000-128,000 US$ 12,500-16,500
楊登雄 瓜節 1995 油彩 畫布 196 x 130 cm 簽名右下：Yang Din 簽名畫背：Yang Din 1995.8 196 x 130 cm "Fête de melon" 圖錄： 《楊登雄》，季豐軒畫廊，香港，2002，彩色 圖版，頁58-59
245 XIONG Lijun
可愛
Cute
2004 油彩 畫布 200 x 160 cm 簽名左下：熊莉鈞 Li Jun 2004.3 簽名畫背：NAME: Cute!! SIZE: 200 cm x 160 cm 2004.3 熊莉鈞 Li Jun
2004 Oil on canvas 200 x 160 cm Signed lower left Xiong Lijun in Chinese and Lijun in English, dated 2004 Signed on the reverse Xiong Lijun in Chinese and Lijun in English, titled Cute!! in English, inscribed 200 cm x 160 cm, dated 2004.3
NT$ 480,000-650,000 HK$ 123,000-166,000 US$ 15,800-21,400
232
熊莉鈞
(Chinese, b. 1975)
246 CHEN Chieh-jen (Taiwanese, b. 1960)
The Image of Identical Twins 1998 Digital print on photographic paper, edtion no. 2/10 112 x 150 cm EXHIBITED: Taipei Biennial: Site of Desire, Taipei Fine Arts Museum, Taipei, 1998 Routes, Routes, Routes, Routes, Routes, Routes, Routes, XXIV Bienal de São Paulo, 1997 48th International Art Exhibition - Venice Biennale, Palazzo delle Prigioni, Venice, 1999 International Photography Biennale, Centrode la Imagen, Mexico City, 1999 Man & Space - Art & Human Rights, Gwangju Biennale 2000, Gwangju, 2000 The 31st Rencontres Internationale de la Photographie, Abbaye de Montmajour, Arles, 2000 The Mind on the Edge of the New Centres, Photo Espaoa 2000, Circulo de Bellas Artes, Madrid, 2000 5e Biennale de Lyon - Partage d'exotismes, Halle Tony Garnier, Lyon, 2000 Le soleil se lève à l'Est, Hanlim Museum, Seoul, 2000 From Iconoclasm to Neo Iconolatry, Eslite Gallery, Taipei, 2001 Floating Chimeras - Contemporary Asian Art, Edsvik konst och kultur, Sollentuna, 2001 A Strange Heaven - Contemporary Chinese Photography, Rudolinum Museum, Prague, 2003 The artwork is to be sold with a certificate of authenticity signed by the artist.
NT$ 350,000-550,000 HK$ 90,000-141,000 US$ 11,500-18,100
陳界仁 連體魂（魂魄暴亂系列） 1998 數位輸出 相紙 2/10 112 x 150 cm 展覽： 「1998台北雙年展：欲望場域」，台北巿立美術館，台北，1998 「第二十四屆聖保羅雙年展―路線，路線，路線，路線，路線，路線，路 線」，聖保羅，1998 「第四十八屆威尼斯雙年展台灣館：意亂情迷―台灣藝術三線路」，普里奇 歐尼宮， 威尼斯，1999 「墨西哥國際攝影雙年展」，墨西哥影像中心，墨西哥市，1999 「2000年光州雙年展：人＋間―藝術與人權」，雙年展大樓，光州，2000 「第三十一屆阿爾國際攝影節」，蒙馬日修道院，阿爾，2000 「2000年西班牙攝影節：邊緣之心―新中心」，環形美術館，馬德里，2000 「第五屆里昂雙年展：分享的異國情調」，東尼．賈尼耶廳，里昂，2000 「太陽自東方昇起：亞洲當代藝術風貌攝影展」，翰林美術館，首爾，2000 「從反聖像到新聖像」，誠品畫廊，台北，2001 「飄浮的噴火獸：亞洲當代藝術」，愛德維克藝術文化館，索蘭特納，2001 「幻影天堂―中華當代攝影展」，魯道夫美術館，布拉格，2003 附藝術家親筆簽名之原作保證書
247 HONG Ling
洪凌
(Chinese, b. 1955)
春雪
Spring Snow
1991 油彩 畫布 61 x 73 cm 簽名左方：洪凌 91 簽名畫背：春雪 61 x 73 洪凌
1991 Oil on canvas 61 x 73 cm Signed left Hong Ling in Chinese and dated 91 Signed on the reverse Hong Ling and titled Spring Snow in Chinese, inscribed 61 x 73
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
234
248 LUO Quanmu (Chinese, b. 1965)
The Shadow 2 2001 Oil on canvas 150 x 150 cm
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
羅荃木 影之二 2001 油彩 畫布 150 x 150 cm
249 HONG Ling (Chinese, b. 1955)
Autumn Landscape 2001 Oil on canvas 50.5 x 60 cm Signed lower left Hong Ling in Chinese and dated 2001.10
NT$ 550,000-750,000 HK$ 141,000-192,000 US$ 18,100-24,700
洪凌 秋景 2001 油彩 畫布 50.5 x 60 cm 簽名左下：洪凌 2001.10
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250 PANG Jiun
(Chinese, b. 1936)
Vase of Flowers 2011 Oil on canvas 60.5 x 72.5 cm Signed lower right Pang Jun in Chinese, dated 2011 With one painted seal of the artist
NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 23,100-29,700
龐均 瓶花 2011 油彩 畫布 60.5 x 72.5 cm 簽名右下：龐均 2011 手繪鈐印：均
251 XIA Junna
(Chinese, b. 1971)
Summer Time 2012 Oil on canvas 80.5 x 60.3 cm Initialed lower right XJN and dated 2012 This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 1,200,000-2,200,000 HK$ 307,000-563,000 US$ 39,600-72,600
夏俊娜 夏日進行曲 2012 油彩 畫布 80.5 x 60.3 cm 簽名右下：XJN 2012 附藝術家親筆簽名之原作保證書
在當今中國藝壇中，女性藝術家是一股不容忽視的強大力量。青年成名的夏俊娜便是其中的 翹楚。她的畫作多以女孩與花為題，在其他藝術家不斷求變強調人物或主題的個性化差異 時，夏選擇了截然不同的道路。她筆下的人物，往往外表比較模糊，與背景融合緊密。在一 次訪談中，她曾言及自己的創作初衷：「跟寫實派不同的是，我的畫沒有主題性。我整個是 烘托一種氣氛、一種幻覺、一種遐思、一種飛馳天外的飄忽不定的思緒，你說這人怎麼跟這 人一樣？但她又不一樣。你再對比她們，會發現氣氛還是比較一致的：潮潮的、濕濕的、暖 暖的，憂憂鬱鬱，模模糊糊，似夢似幻。」而夏俊娜所描繪的也幾乎全是她理想中的生活場 景，近乎完美，精緻且帶有貴族氣質。 《夏日進行曲》描繪了女孩與花的經典主題。長裙女孩立於畫面左側，花叢鋪滿了剩餘的畫 布空間。藝術家精心描繪的人物與花卉，在亦真亦幻的灼灼光影中，漫不經心地搖移舞動 著，飄忽空靈，純淨恬淡，詩意迷人。夏俊娜的作品常以系列出現，這件作於2012年的作品 與同年創作的《四季》系列有異曲同工之妙，又充滿神秘感覺。 In the contemporary realm of Chinese art, female artists are a powerful force that cannot be underestimated—and within this wave of artists, the young and talented Xia Junna is especially significant. While other artists constantly pursue changes and stress the differences of personality or individuality between their characters or themes, she chooses a quite different path, a path in which most of her themes incorporate young girls and flowers. One of Xia’s trademarks is to softly blur the appearance of her characters in a way that subtly fuses them with the background. Once, while being interviewed, she mentioned her original aspirations behind painting, “The difference between realist paintings and my work is that I do not focus around a thematic pursuit in my paintings. My work stresses particular kinds of atmospheres, illusions, reverie, or thoughts that erratically waft around the sky. You might ask, ‘How come this person looks identical to this person— but yet the two also seem so different?’ But when you take a closer look, you will find that the aura of the subject remains constant—always a little bit damp, misty, warm, with a melancholic, fuzzy, dreamlike mood.” Indeed, the majority of scenes Xia Junna portrays revolve around her own idyllic scenes of life, forever flirting with perfection, while altogether delicate and exuding a sense of noble, refined temperament. “Summer Time” portrays a classic theme—a girl and flowers—in which a girl in a long skirt stands on the left while flowers stretch out over the rest of the canvas. The young girl and flower meticulously depicted by the artist sway with ease and drift without aim, revealing a sense of mellow purity and poetic mood that is lightly alluring. Xia’s work usually appears in series. Full of mystery, this piece, painted in 2012, and another piece created in the same year, Four Seasons, feature entirely different approaches while achieving equally remarkable effects.
238
252 CHEN Ke
(Chinese, b. 1978)
The Family of Button 2003 Oil on canvas 150 x 150 cm Signed lower right ke in Chinese and dated 2003 Signed on the reverse Chen Ke, titled The Family of Button, inscribed Oil on Canvas 150 x 150 cm all in Chinese and English, dated 2003 EXHIBITED: Next Station Cartoon?, Star Gallery, Beijing, April 1-12, 2005; He Xiangning Art Museum, Shenzhen, June 2005 ILLUSTRATED: Next Station Cartoon?, China Water & Power Press, Beijing, 2005, color illustrated, p. 28
NT$ 1,500,000-2,400,000 HK$ 384,000-614,000 US$ 49,500-79,200
陳可 鈕扣之家 2003 油彩 畫布 150 x 150 cm 簽名右下：可 2003 簽名畫背：陳可 《鈕扣之家》 重慶四川美術學院 2002組研究生 150 X 150 cm 油畫 2003 "The Family of Button" OiL on Canvas 150 x 150 cm CHEN KE 2003 展覽： 「下一站：卡通嗎？」，星空間藝術中心，北京，展期自2005年4月1日至4月 12日；何香凝美術館，深圳，2005年6月 圖錄： 《下一站：卡通嗎？》，中國水利水電出版社；智慧財產權出版社，北京， 2005，彩色圖錄，頁28
並不熱愛漫畫和卡通的70後藝術家陳可，以卡漫風格開啟了自己的藝術之路，同時亦被譽為中國「卡通一代」的代表人物。其早期作品多以卡 漫人物或者擬人的形象為主要描繪對象。在鮮豔明快的色調中，透露著女性細膩的情感。她的作品多帶有強烈的敘事風格。 作於2003年的作品《鈕扣之家》乃藝術家早期創作中的佳品。正方形的畫布上佈滿了形色各異的鈕扣，紅線穿過鈕扣，連接彼此，同時將觀者 的目光引向畫面上方的遠景處。隨著景深深入，鈕扣變得越來越密集，交纏在一起。背景中白色的葫蘆型輪廓仿佛一個女人影，糾纏的鈕扣則 像是一件華服。近景處的幾枚鈕扣有著擬人的神態，針線穿過鈕扣的眼口，紅色的絲線如血淚流淌。中景處藍色的鈕扣和掛著血滴的針說明這 一切。色彩明快的畫面因此憑添了幾分憂傷。作品的名字《鈕扣之家》和背景中隱約的女人影也不禁讓人聯想起挪威劇作家易卜生《玩偶之 家》中出走的娜拉。在獨立的背後也許有不為人知的艱辛與傷懷。 Though not especially keen on comic strips and cartoons, Chen Ke, an artist who came into her own on the heels of the 1970s, first embarked on her career with a focus on a comics and animation style, and she was even praised as the spokeswoman of the Chinese “Cartoon Generation.” Cartoon characters or personified images are the main subjects in most of her early works. The bright and brilliant tones divulge her delicate feminine emotions. Her works often express in a strong narrative style. Executed in 2003, "The Family of Button" is a fine piece from the collection of her early work. Buttons with various shapes and colors spread out over the square canvas. A red thread runs throughout the piece, connecting each button and drawing the attention of the viewer to the distant upper part of the painting. In following the movement of the depth of field, the buttons become denser and become interlaced. The white gourd shape in the background resembles a woman’s figure and the tangled buttons seem to allude to fine clothes. Several buttons in the foreground appear to have personified manners in which the red thread running through the eyes of the buttons alludes to bloody tears streaming down. The blue button in the middle with a needle hung through and dripping blood speaks clearly and adds a trace of sorrow to the bright colorful painting. The title, "The Family of Button", along with the amorphous female figure in the background call to mind the character Nora, who runs away in A Doll’s House by the Norwegian playwright Henrik Johan Ibsen. Perhaps, behind that veil of independence, a sense of difficulty and sadness still lurks, unbeknownst to us all.
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253 ZHOU Chunya (Chinese, b. 1955)
Hei Gen 1995 Oil on canvas 73 x 60 cm Signed lower right Zhou Chunya in Chinese and dated 1995
NT$ 2,000,000-3,500,000 HK$ 512,000-895,000 US$ 66,000-115,500
周春芽 黑根 1995 油彩 畫布 73 x 60 cm 簽名右下：1995周春芽
1993年，周春芽剛從德國返國，在忘年之交岑學恭（著名國畫家、三峽畫派創始人）那裡看 到了岑老養的大黑貝，一隻德國牧羊犬。周春芽被這隻狗展現的「姿態」所深深地吸引了， 一身「鐵包金」的毛，在陽光下反射出金屬般的光澤。透過岑老的介紹，周春芽從真正的狗 主人家抱回了一隻小狗仔，起名「黑根」。從此，藝術家不但與狗結下不解之緣，更是因此 獲得了藝術上的高峰。 黑根是德國名字，為了紀念早年在卡塞爾的留學時光，還有另外一個因緣是，當年的成都岷 山飯店附近有家名氣響亮的黑根啤酒館，他跟朋友經常去小酌，有種熟悉的親近感。在遇到 黑根之前，周春芽並不太喜歡狗，而黑根之後，他迷上了所有狗，在他看來，狗是世界上最 忠誠和最可愛的動物。 周春芽常常以寥寥數筆勾勒出生機盎然的狗，對狗的寵愛展露無遺。用黑色描繪的黑根，承 接了周春芽1990年代在山石與花卉題材的探索，也更像是書寫畫家的一篇生活日記。散開的 筆鋒皴擦、拖曳，交替著順筆、逆鋒、側鋒，使整幅畫面生機勃勃，呈現出藝術家心境上的 輕鬆愉快。「黑根很聰明，那時我開的是老北京吉普，發動機聲音很大，牠從幾條街之外就 可以辨認出我車的聲音，知道我要回來了就興奮地在家中狂吠。」即使多年過去，每次回想 起黑根，周春芽仍掩飾不住思念和鍾愛。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。 In 1993, Zhou Chunya, recently returned from Germany, saw a German shepherd dog at the house of his old friend, Cen Xuegong (famous Chinese ink painter and founder of the Three Gorges School). Zhou was drawn in by this dog's strong sense of form, with its black and gold fur that glowed in the sunlight. Cen introduced him to the dog's owner, where Zhou picked up a puppy, which he named Heigen. This encounter solidified Zhou's relationship with dogs, and set him on the path to dizzying artistic heights. Heigen is a German name, a nod to the artist's days studying abroad. Zhou studied art at Kassel. There is another reason for the name: there was a famous bar in Chengdu in those days, near the Minshan Hotel, called Heigen Tavern. Zhou would often go there for a drink with his friends. It was a familiar and close setting. Before meeting Heigen, Zhou Chunya didn't really like dogs. But afterwards, Zhou fell in love with all dogs. In his eyes, dogs are the most faithful and lovable animals in the world. Zhou Chunya would often evoke the vivaciousness of this dog, and his doting love for it, with a few scant brushstrokes. His black paintings of Heigen were a continuation of his 1990s explorations of the stone and flower themes, and were more like a living diary of a painter. The chapped, rugged strokes of the brush tip are interspersed with smooth strokes, creating a sense of vitality and evoking the artist's relaxed and happy demeanor. "Heigen was very smart. At the time, I was driving an old Beijing Jeep, and the engine was really loud. Heigen could pick out the sound of my car from several blocks away, and he would bark in excited anticipation." After all these years, when he thinks of Heigen, Zhou Chunya can't conceal his fondness for his old companion. Though they were only together for about six years, Heigen has become an eternal symbol of Zhou's artistic progression.
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254 PENG Si
彭斯
(Chinese, b. 1980)
蝶無語
Silence
2005 油彩 畫布 150 x 150 cm 簽名右下：PENG SI 2005.10
2005 Oil on canvas 150 x 150 cm Signed lower right PENG SI in English and dated 2005.10 EXHIBITED: Style – Oil Painting Exhibition of Pengsi, Poly Art Museum, Beijing, January 5 - 12, 2008 Representation Of Realistic Art – The Fifth Chengdu Biennale, Century City New International Conreutial & Exhibition Center, July 24-August 21, 2011 Cai Mo Si Wen Painting Art Exhibition, Luyin Art Museum, Jinan, Shangdong, May 25 - 30, 2013
展覽： 「風—彭斯個展」，保利藝術博物館，北京，展期自2008年1月5日 至12日 「再現寫實—2011成都雙年展」，世紀城新國際會展中心，成都， 展期自2011年7月24日至8月21日 「彩墨斯文–彭斯、孫文韜繪畫藝術展」，魯銀美術館，山東濟南， 展期自2013年5月25日至30日
ILLUSTRATED: Style – Oil Painting Exhibition of Pengsi, Poly Art Museum, Hanno Art Gallery, Triumph Art Space, Beijing, 2005-2007, color illustrated, pp. 50-51
圖錄： 《風—彭斯》，保利藝術博物館，世紀翰墨畫廊，藝．凱旋藝術空 間共同出版，北京，2005-2007，彩色圖版，頁50-51
NT$ 2,200,000-3,200,000 HK$ 563,000-818,000 US$ 72,600-105,600
彭斯，1980年生於湖南衡陽。2004年中央美術學院版畫系畢業。與「八五新潮」，乃至其後的當代藝術作品中多見的激烈、追求衝擊力，甚至 有些聒噪的風格不同，彭斯作為新生代藝術家，開始走向沉靜、平和，用淡然冷靜的語言表達他的認識與困惑。這位80後的藝術家從小練習書 法，而魏晉風骨，這也無意中造就了彭斯靈動的運筆，同時魏晉時期特有的雋永、渾然天成的氣度也對他的作品產生了深切的影響。中央美院 版畫系的四年訓練讓藝術家擁有了扎實而精準的造型能力；畢業前在峨眉山旅行途中與一位法王的機緣，讓他開始從更深的層次反思自己的人 生和創作，心態亦日趨平和。這些所有體現在畫面上，便表現出一種沉靜、略帶憂鬱，又引人深思的氣質。 這件作品創作於2005年，屬於彭斯代表性的男性肖像作品。畫面中的男子面容清秀，一隻蝴蝶環繞在側，另一隻則安然落定在他肩上，他視線 卻直直地投向畫面外的觀者，眼神中透著一股讓人無法忽視的堅定。畫家無疑深諳對比在藝術中的力量，在這樣的一張一弛間，讓原本穩定、 淡雅甚至有些混沌的畫面變得有力鮮明起來，畫家準確有力地傳達出畫中男子對於畫面外世界的冷眼旁觀下的思索與反詰。 Born in Hengyang, Hunan in 1980, Peng Si graduated from the Department of Printmaking at the China Central Academy of Fine Arts in 2004. Unlike other contemporary artists of the ‘85 New Wave and those from after this period—who tend to adopt an intense, rowdy, even noisy style—Peng Si, as a young artist, is more inclined to present a quiet and peaceful tone to express his convictions and plights with a calmer, more collected artistic language. Born in the 1980s, the artist practiced Chinese calligraphy since a young age, and the styles of the Wei and the Jin Dynasties in particular have left an indelible mark on how he forms his clever strokes. The natural and timeless demeanor of that period commands a clear influence on his work. Four years of academic training, moreover, helped the artist lay a solid foundation which shapes his art. Before graduation, an encounter with a Buddhist leader on his way to Mount Emei prompted him to ponder the deep meanings in life and artistic creation. Over time, Peng Si realized the soothing nature of art; he finds that making art is a path to achieving peace of mind. His encounters and experiences are transformed into a silent, melancholic, and reflective ambiance that enshrouds his canvas. Painted in 2005, this piece is considered a highly representative male portrait by Peng Si. With a clean and handsome look, the man has one butterfly flies around him while another perches calmly on his shoulder as his companions. He gazes directly outside the canvas and looks at the viewers, projecting a persistent look that cannot be ignored. No doubt, the artist is skillful at contrasting different forces. Between a relaxed and intense situation, he brings life to this calm, elegant, and even slightly ambiguous painting. The artist precisely depicts how the man contemplates and questions the world as he coldly gazes outside the canvas.
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255 George CHANN
(Chinese-American, 1913-1995)
Abstract Composition Oil on canvas 130 x 175 cm Signed lower right GEO. CHANN in English
NT$ 4,800,000-6,000,000 HK$ 1,228,000-1,535,000 US$ 158,400-198,000
陳蔭羆 抽象構成 油彩 畫布 130 x 175 cm 簽名右下：GEO. CHANN
美國收藏家麥可・布朗曾經在1995年1月號的台灣《雄獅美術》中以〈藝術世界中的清教徒陳 蔭羆〉（楊芳芷譯）一文，首度向台灣美術界介紹這位的華裔抽象畫先鋒人物； 同年9月，舊 金山州立大學以新觀點重新省視美國西岸亞裔美國藝術家的歷史定位，陳蔭羆和朱沅芷在77 位參展畫家之列。世人在二十世紀末之前，重新發掘這些二十世紀中期活躍海外的亞裔前輩 畫家，為他找回應有的榮耀。中國抽象畫發展的先行者行列裡，在法國有趙無極和朱德群， 在美國則首推更年長的陳蔭羆為代表。 早年以最難表現的人像畫走紅美國藝壇，陳蔭羆的繪畫成就斐然。1947年他應邀回到中國寫 生，前後近三年之久，期間主要居住香港，並與嶺南畫派名家趙少昂、黃君璧交遊，期間 創作百幅以上的油畫、水彩，也在上海、廣州、香港等地舉辦展覽。返回美國之後，他開始 從具象畫轉向抽象畫的試驗。晚年他曾接受南加州學者的口述歷史專訪，一段文字記錄著這 段期間風格轉變的因由：「早年學習西畫，他喜歡描繪窮苦人家、老人、小孩。自中國訪美 之後，他發現美國藝術已走向現代化之路，為迎頭趕上，於是，透過閱讀書籍，致力使自己 的畫風由傳統邁向現代。」畫家所提的這波現代化風潮，正是1950年代達到全盛時期的美國 「抽象表現主義」。受到帕洛、克萊和托等人繪畫中東方精神的感召，陳蔭羆逐漸發展出一 種中國式的抽象畫，加入美國戰後抽象藝術發展運動。 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。 作品《抽象構成》屬陳蔭羆的晚期作品，乃難得一見的大幅創作。一方面具有托比白色書寫 的神祕多義性，內涵本質更貼近東方；而另一方面又帶有帕洛克自由線條的表現性演出， 強化形色變奏後的壯麗效果。《抽象構成》在材質上採用油彩、拼貼完成，緊密厚實、色彩 斑斕，交織成一首雄渾的交響樂曲，讚頌歷史文明的輝煌燦爛。畫家將甲骨、鐘鼎、碑刻、 篆銘的各種漢字書體，變體為具有現代意涵的抽象圖式，尤其畫家在後期作品融合繽紛的色 彩、線條，豐富的肌理、宛如織錦的形式益加自由圓熟，乃為表現性強的抽象繪畫。
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Pioneering Chinese abstract painter in the US - George Chann American art collector Michael Brown introduced George Chann for the first time ever to Taiwanese art world in 1995 in an article "Geroge Chann: the Protestant of the Art World"from Hsiung Shih Art Monthly (translated by Yang Fang-Chih). In September of the same year, SFSU examined and evaluated this pioneering figure among West coast Chinese artists in the art history. Chann and Yun Gee were among the 77 artists participating in the exhibition. Before the end of the 20th century, people around the world reflected upon history, re-evaluated and then gave back glory to these pioneering artists that have been popular in mid-20th century. Among the fellow abstract painters, Zao Wou-ki and Chu Teh-chun were the representatives of those in France while Chann, who was senior of age, maintained the first person in the USA. Chann excelled and had an outstanding artistic achievement with portraits, the considered most difficult sort of painting. In 1947, he was invited back to China and stayed for about 3 years, during which he mainly lived in HK and became friends with prominent figures of the "Lingnan school" such as Chao Shao-an and Huang Chun-pi. He had hundreds of oil and water color paintings during this period of time and held exhibitions in Shanghai, Guangzhou and Hong Kong. It was after he returned to the USA that he started the experiment going from concrete to abstract art. In the latter stages of his life, he used to have interviews taken for oral history by scholars in south California. One excerpt recorded the reason for this change; that, "He started to learn western paintings in the beginning. In the early years, he liked to paint poor people, old people and children. After he came back from China he found the art work was changed. It was modernized. He tried to read the books and make his paintings change from old fashioned to modern."The modernization referred to by the artist was the Abstract Expressionism, which culminated in the 1950s in the USA. Motivated by the Oriental spirit in Jackson Pollock, Franz Kline and Mark Tobey's works, Chann gradually developed a Chinese-style abstract painting of which he used to join the postwar abstract art movement in the USA. 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, cut-and-paste, paper-pasting effects. The expression during this period of time was substantial and sturdy, implying some traces 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. "Abstract Composition" was created in George Chann's late period; it's a large rare piece of work. "Abstract Composition" has the mystic multivocality of Tobey's "write writing", its essence is closer to eastern culture; it also possesses Pollock's unrestrained line structures, enhancing magnificence of the whole picture. "Abstract Composition" materially adapted oil paints, and finished with collage. The patterns are close and tight; the colors are variegated, composing an epic symphony to praise glorious history and civilization. The artist transformed the Chinese characters on bones, shells, vessels, bells, stone inscriptions, and Chinese characters into abstract patterns with modern signiicances; Especially paintings from the artist's late collections, blend lourishing colors and lines, rich in muscle, its woven form having more freedom and maturity; it's a very expressive abstract painting.
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256 XU Jiang
許江
(Chinese, b. 1955)
水鄉金秋印象
Water Village Golden Autumn
1999 油彩 畫布 110 x 190 cm 簽名右下：X、J 簽名畫背：許江 1999年9月 《水鄉金秋印象》
1999 Oil on canvas 110 x 190 cm Initialed lower right X.J Signed on the reverse Xu Jiang, titled Water Village Golden Autumn in Chinese and dated September 1999 ILLUSTRATED: China Paintings Moving Into A New Century, The Suang Lan Art Center; Zhejiang Painting Academy, 1999, color illustred, cover & p. 11
圖錄： 《邁向新世紀—中國油畫選》，香港雙蘭國際藝術發展中心；浙江畫院 藝術事務所，1999，彩色圖版，封面，頁11
NT$ 6,000,000-8,000,000 HK$ 1,535,000-2,046,000 US$ 198,000-263,900
1980年代末期，許江曾到德國公費留學。歸國後，他潛心創作，致力於融匯東西藝術精髓的創作語言探索。許曾用「返鄉的遠遊者」來形容自 己，在其藝術創作上也曾經歷了雙重變化的歷程：從早期的繪畫到裝置新媒體的實踐，再重歸，加上繪畫；從西方的藝術思維到東方古典詩意 繪畫的雙重回歸。 許江的作品充滿宏大的敘事力量。城市與大地風景在他的創作中佔有重要地位。作品《水鄉金秋印象》便是融合大地風景與城市主題的一件佳 作。畫面中，藝術家採用金黃為主色調，奠定畫面基礎，營造出瑰麗燦爛的「金秋印象」；參差點染的白色和黑色色塊增加了構圖的層次感。 中國江南水鄉所特有的黑瓦白牆的民居被簡化成黑白色塊，畫面頂部和下方看似隨意的白色顏料創造出中國傳統山水畫中留白的意境，宛若環 繞水鄉民居的行雲與流水。藝術家的筆觸在畫面上任意揮灑，畫面在半抽象的氛圍中顯得別具詩情畫意。 During the last few years of the 1980s, Xu Jiang studied abroad in Germany on a state sponsored scholarship. After he returned, he concentrated on painting and devoted himself to searching for the art language by extracting and integrating the essence from Eastern and Western art. Xu Jiang used to describe himself as “a returning traveler” which implied the dual transitions he experienced—from early painting to putting the installation art with new medium into practice and back to painting; from the mindset of Western art back to that of Eastern classical poetic drawing. Xu Jiang’s works resound with a grand narrative power. City and landscape scenes are two of the most prominent themes in his work. This particular piece, “Water Village Golden Autumn”, is a masterpiece that incorporates elements from both landscape and city scenes. In the painting, the artist adopts golden yellow as the main tone to set up the foundation of the image and create a magnificent, dazzling “impression of golden autumn”. The characteristic black roof tiles and white walls in the Jiangnan water towns in China are simplified to black and white blotches made of uneven dots, adding a sense of dimension to the composition, while white dye seemingly laid down by a casual brush on the top and bottom of the piece creates blank space reminiscent of traditional Chinese paintings, as if a floating cloud and flowing water encircle the residents of the water town. The artist’s brushstrokes reveal a refreshing lack of restraint, leaving behind a poetic and artistic sentiment in a semi-abstract milieu.
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257 ZHOU Chunya (Chinese, b. 1955)
Year after Year the Flowers Bloom 2009 Oil on canvas 200 x 150 cm Signed lower right Zhou Chunya in Chinese and English, dated 2009 ILLUSTRATED: Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, pp. 544-545
NT$ 16,000,000-22,000,000 HK$ 4,092,000-5,627,000 US$ 527,900-725,800
周春芽 桃花系列—花落花開年復年 2009 油彩 畫布 200 x 150 cm 簽名右下：2009 周春芽 Zhou Chunya 圖錄： 《周春芽》，東方時區，香港，2010，彩色圖 版，頁544－545
2000年以後，周春芽從草草的「綠狗」滑向抽象，在不同的抽象作品中，可以看到早期「石 頭」、「人體」以及「風景」的影子，畫家再次處於實驗與轉變的時期。漸漸，粉紅色的桃 花一朵一朵地出現了。最初（1997年），桃花是陪襯，花以她給人的溫和與美麗同作為主體 的狼狗形成強烈的對比，畫家說，他對此非常著迷。對中國傳統文化有知識的人完全可以理 解，花具有色情的象徵功能，不過，周春芽講述色情故事所採取的方法是，通過「溫和」來 反襯剛性的對象，以表達色情如豔的吸引力。紅色的人體是周春芽不時出現的色情母體，但 是，為了使充滿魅力的情慾濃豔之致，周春芽再次貫通古人的氣質：在溫情中隱含暴力，或 者在暴力的實施中突出作為目的的溫情—暴力從來是針對溫情的。畫家自己說：「由狼狗到 桃花又開始了一次由暴力到溫和的轉換。」而實際的情況是，畫家借用了傳統的精緻態度： 用盡可能的溫和強化美好的暴力。（參閱呂澎《新繪畫的「桃月」―周春芽的藝術歷程》） 周春芽十分喜歡植物和動物的純潔，「桃花」系列作品的靈感，就是來源於在成都看桃花的 經歷。「我喜歡生命旺盛的東西。有一年春天在成都附近的桃花山看桃花時，那滿山遍野的 鮮紅色，讓我感到原始生命力量的律動。從那時開始，我開始構思『桃花』系列作品。」 花卉原本是中國繪畫的傳統題材，在周春芽的畫布上，桃花的身姿間依稀可見中國傳統繪畫 的影子。但畫家那些富於變幻的色彩，卻為桃園增添了放縱、妖冶的色彩。桃花的圖像象 徵著春天的開始，並可以延伸為象徵愛情和性。桃花明亮的紅色在畫家筆下代表著性愛的本 質。它帶有完全的文化意味，將原始到甚至野蠻的性愛活力轉化為非常高雅且複雜的外觀。 桃花描繪著畫家的心境，在不斷展開的桃花和樹枝的世界裡，心境也在不斷地展開。雖然傳 統文化中的桃花意象對性愛和生殖不無暗示，但卻隱諱而曲折，但畫家筆下的桃花除了本身 充滿放縱和妖嬈的姿態外，有時他還在桃樹下加上性交的紅色男女，「我描繪的就是色和 情。這人類與生俱來的慾望—絢爛的桃花與野合的男女人物奇異地並置，這種組合消融了人 類與自然的阻隔，也模糊了罪惡與道德的邊界，在一種流動的色彩情緒中放縱著真誠而本能 的幻想，在一種宏大的場景中將人的自然屬性徹底地釋放、引爆—溫和而暴力！」畫中的桃 花怒放，表現出了一種介於放縱與凋謝的不安。正如歲月流逝，我們遭遇身體的衰老，伴生 著與日俱增的怨恨與悔憾。 周春芽的桃花系列介於現代和傳統之間，他把微妙西方的藝術和細膩的東方文化相結合，最 後通過一種自然的方式，把這種矛盾表現出來。 作品《桃花系列—花落花開年復年》選取了桃林的一瞥，前景處盛放的分紅花朵與點綴其間 的綠葉相映成趣，中景肥 沃的土地和依稀漸遠的桃 林構成了悅動的春景。值 得注意的是，畫家卓越的 色彩掌控能力在這幅作品 中表現的淋漓盡致。大片 粉紅和飽和度極高的綠色 形成了強烈的色調對比， 桃樹主幹的黑色平衡了畫 面。表現土地的黃色與天 空透明的藍色又增強了畫 面的色彩律動。周近年來 熱衷明清詩畫研究，傳統 美學潛移默化的影響則在 畫面中對桃樹枝杆曲直和 清 李鱓《海棠圖》（局部） 南京博物院藏 Li Shan, Chinese Flowering Crabapple (detail), collection of Nanjing Museum, Nanjing 動勢的表現上體現出來。
252
周春芽《大喬．小喬》2010 254 x 360 cm 羅芙奧香港2013春季拍賣會，編號528，港幣1016萬元成交 ZHOU Chunya, Sister Flower, 2010
周春芽《桃花風景系列 2006—湖上艷色》2007 200 x 250 cm 羅芙奧台北2012秋季拍賣會，編號698，台幣3120萬元成交 ZHOU Chunya, Peach Blossoms Series 2006 – Glamorous Lake, 2006
Ravenel Spring Auction 2013 Hong Kong, Lot 528, Estimate: US$ 1,309,278 sold
Ravenel Autumn Auction 2012 Taipei, Lot 698, USD 1,073,641 sold
After 2000, Zhou Chunya, who was best-known for his colorful "green dog" series of paintings at that time, began to pursue the style of abstraction art. His paintings of abstract art echoed his early works such as his "Stone" series, "Body" series and "Landscape" series. Zhou entered a phase of pursuing new artistic experiment and transformation. Gradually, the peach blossoms became an important or even dominant element of his paintings. At the beginning (1997), in Zhou's works the peach blossoms were rendered as the symbol of tenderness and beauty, creating a strong visual impact when juxtaposed with the subject of the paintings, the wolfdog. Zhou said he was much fascinated by this experiment. Any one who has some understanding of Chinese traditional culture knows in the Chinese symbolic world, the followers have some erotic symbolic meaning. But Zhou has his own way to tell erotic stories, namely using feminine "tenderness" as a foil to the masculine subject so as to express the attractiveness of sexual scenes. In Zhou's works, the red human body is a recurring erotic motif. To maximize the attractiveness of sexual scenes, Zhou retuned to the Chinese ancient tradition of conveying erotic scenes, namely fusing tender feeling with violence, or highlighting tender feeling as an end in the exercise of violence, as violence is always a counter motif of tender feeling. In Zhou's own words, "the change of the subject of his paintings from the wolf-dog to peach blossoms relects a transformation from 'violence' to 'tenderness'". Actually, Zhou tries to use maximum "tenderness" to reinforce beautiful "violence" by borrowing the images of Chinese traditional paintings. ('Peach Blossoms and Moon of New Paintings-Zhou Chunya's Art Career' by Lu Peng) Zhou likes the purity of plants and animals very much. His inspiration to create the "Peach Blossoms" series of paintings is sourced from his personal experience of watching peach blossoms in Chengdu. "I do love things with strong vitality. One spring when I went to a flower mountain near Chengdu to watch peach blossoms, I was much impressed by the sea of pink peach blossoms full of a primitive life force. From that moment I decided to create my "Peach Blossoms" series of works." said Zhou.
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The flowers are common painting objects of Chinese traditional paintings. In Zhou's "Peach Blossoms" series of paintings we can ind some trace of Chinese traditional lower paintings. But by employing ever-changing colors Zhou presents the peach blossoms on his canvas in a more dissolute and coquettish image. The image of peach blossoms symbolizes the coming of the spring season; in a broad sense, it also symbolizes love and sex. In Zhou's works, the light red color of the peach blossoms represents the very nature of erotic love. These works are filled with cultural meanings, transiguring the primitive or even savage sex impulse to a very elegant and complicated image. The peach blossoms also represent the painter's mood. In a world full of blossoming peach trees, the painter's mood becomes totally liberated. The images of peach blossoms in Chinese traditional culture have some hidden allusions to sex and reproduction, but in Zhou's works, the image of peach blossoms as the symbol of erotic love is presented in a more bold and apparent manner. In addition to a dissolute and coquettish image of peach blossoms, Zhou usually adds the image of men and women in red who are making love under the peach trees into his paintings. "What I paint is 'sex and love', the instincts of human beings. The blossoming peach lowers are strangely juxtaposed with the men and women who are making love under the peach trees. This juxtaposition destroys the obstruction between human beings and nature as well as obscuring the boundary between moral and evil. In loating colors a world of fantasy has been created where the instincts and nature of human beings are fully liberated and released in a tender and also violent manner." Zhou said. The image of blossoming peach lowers expresses an unrestful mood between lourishing and withering. As time passes, we grow old with increasingly growing regret and resentment. Zhou's "Peach Blossoms" series of works demonstrate an artistic style between the traditional and the avant-garde. He displays the tension between tradition and modern in a natural way by incorporating the form of western art and the spirit of oriental culture. In this piece, Peach Blossoms Series – Year after Year the Flowers Bloom, the artist presents a fleeting glimpse of a peach blossom grove. The pink flowers in the foreground and green leaves dotted in between form a pleasing contrast while rich soil depicted in the center of the work and vaguely visible peach trees in the distance create a delightful spring scene. This particular piece is noteworthy because it exemplifies the artist’s mastery of color; a wide swathe of pink and highly saturated green combine to form a sharp tonal contrast, with the artist’s carefully crafted black trunk of the peach tree serving as an anchor to balance the picture. The yellow that manifests the soil and transparent blue of the sky together aggrandize the rhythm of the color on the canvas. In recent years, Zhou has become increasingly interested in studying poetry and paintings from the Ming and Qing dynasties. Indeed, the subtle influences of traditional aesthetics on his work are especially discernible in the way the artist portrays the rustling movement of the tree’s branches.
258 ZHOU Chunya (Chinese, b. 1955)
Green Dog 2006 Bronze, edition no. 6/8 50(L) x 66(W) x 118(H) cm Engraved on the bottom ZHOU CHUNYA in English, numbered 6/8 and dated 2006
NT$ 2,600,000-3,600,000 HK$ 665,000-921,000 US$ 85,800-118,800
周春芽 綠狗 2006 銅雕 6/8 50(長) x 66(寬) x 118(高) cm 簽名雕刻底部：2006 ZHOU CHUNYA 6/8
256
259 ZHOU Chunya (Chinese, b. 1955)
Green Dog 2005 Bronze, edition no. 8/8 68(L) x 18(W) x 31.5(H) cm Engrared on the base Zhou Chunya in Chinese, numbered 8/8 and dated 05 This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Corporation, Taipei.
NT$ 1,900,000-3,200,000 HK$ 486,000-818,000 US$ 62,700-105,600
周春芽 綠狗 2005 銅雕 8/8 68(長) x 18(寬) x 31.5(高) cm 簽名底座：周春芽 05 8/8 附北莊文化藝術中心開立之原作保證書
258
260 CHEN Yin-wei
陳英偉
(Taiwanese, b. 1960)
莊周啟示錄（十二）
Revelation of Zhuangzi
2013 綜合媒材 畫布 紙板 40.5 x 50.5 cm 簽名右下：歲次2013 陳英偉 手繪鈐印：ART 1 by 1 御覽之寶
2013 Mixed media on canvas mounted onto cardboard 40.5 x 50.5 cm Signed lower right Chen Yin-wei in Chineae and dated 2013 With one painted seal of the artist
NT$ 70,000-120,000 HK$ 18,000-31,000 US$ 2,300-4,000
260
261 LIU Shih-tung (Taiwanese, b. 1970)
Kaleidoscope; The Bird and the Sky (a set of 2) 2007 Acrylic on canvas, collage 65 x 65 cm (each) Signed on the reverse Liu Shih-tung in Chinese and dated 2007 (each) This painting is to be sold with a certificate of authenticity issued by Main Trend Gallery, Taipei.
NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900
劉時棟 萬花筒；鳥與天空（兩件一組） 2007 壓克力 畫布 拼貼 65 x 65 cm（每件） 簽名畫背：劉時棟 2007（每件） 附大趨勢畫廊開立之原作保證書
262 LIU Shih-tung (Taiwanese, b. 1970)
Floral Encounters No. 1 2004-2005 Acrylic on canvas, collage 140 x 80 cm Signed on the reverse Liu Shih-tung in Chinese and dated 2004-2005 This painting is to be sold with a certificate of authenticity issued by Main Trend Gallery, Taipei.
NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900
劉時棟 遇見花之一 2004-2005 壓克力 畫布 拼貼 140 x 80 cm 簽名畫背：劉時棟 2004-2005 附大趨勢畫廊開立之原作保證書
262
263 HUA Chien-chiang
華建強
(Taiwanese, b. 1975)
幸運符：一種甜蜜的負擔
Charm: A Sweet Burden
2007 壓克力 畫布 60.5 x 91 cm
2007 Acrylic on canvas 60.5 x 91 cm EXHIBITED: Marginality, Gallery J. Chen, Taipei, June 14-29, 2008 ILLUSTRATED: Marginality, Gallery J. Chen, Taipei, 2008, color illustrated
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
展覽： 「邊緣」聯展，J. Chen 畫廊，台北，展期自2008年6月14日至6月29日 圖錄： 《邊緣》，J. Chen 畫廊，台北，2008，彩色圖版
264 Yuhi HASEGAWA (Japanese, b. 1980)
Hero 2008 Oil on canvas 71 x 61 cm EXHIBITED: Weak Painting, Kuandu Museum of Fine Arts, Taipei, August 14 - September 20, 2009 ILLUSTRATED: Weak Painting, Kuandu Museum of Fine Arts, Taipei, 2009, color illustrated, p. 9
NT$ 80,000-120,000 HK$ 20,000-31,000 US$ 2,600-4,000
264
長谷川雄飛 英雄 2008 油彩 畫布 71 x 61 cm 展覽： 「弱繪畫」，關渡美術館，台北，展期自2009年8月14日 至9月20日 圖錄： 《弱繪畫》，關渡美術館，台北，2009，彩色圖版，頁9
265 LEE Kyoung Mi
李慶美
(Korean b. 1977)
老街上的娜娜
Nana on the Old Street
2009 油彩 木板 90(長) x 90(寬) x 6(厚) cm 簽名右側下：Lee Kyoung Mi 2009
2009 Oil on wooden board 90(L) x 90(W) x 6(D) cm Signed lower right edge Lee Kyoung Mi in English and dated 2009 This painting is to be sold with a certficate of authenticity issued by Cais Gallery, Seoul.
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
附韓國 Cais Gallery 開立之原作保證書
266 Takashi MURAKAMI
村上隆
And Then - Black; Ichimatsu Pattern; Blue; Red
2005（黑）1999（藍）2006（特殊銀）（紅） 限量版畫 37/300；217/300；218/300；217/300 68 x 68 cm（每件） 簽名版次右下：M 37/300（黑） 簽名版次右下：M 217/300（特殊銀） 簽名版次右下：M 218/300（藍） 簽名版次右下：M 217/300（紅）
(Japanese, b. 1962)
2005 (black); 1999 (blue); 2006 (Ichimatsu pattern)(red) Limited print, edition no. 37/300 (black); 217/300 (Ichimatsu pattern); 218/300 (blue); 217/300 (red) 68 x 68 cm (each) Initialed lower right M and numbered 37/300 (black) Initialed lower right M and numbered 217/300 (Ichimatsu pattern) Initialed lower right M and numbered 218/300 (blue) Initialed lower right M and numbered 217/300 (red)
NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 4,000-7,300
266
然後（黑）；然後（特殊銀） 然後（藍）；然後（紅）
267 Maki HOSOKAWA (Japanese b.1980)
Daily Tossing Banzai 2010 Acrylic on canvas 130.5 x 162 cm Signed on the reverse maki in English, titled Daily Tossing Banzai in han characters and dated 2010
NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,600-11,900
細川真希 日常的翻弄萬歲繪圖 2010 壓克力 畫布 130.5 x 162 cm 簽名畫背：2010 「日常的翻弄万歲繪圖」 maki
268 Rieko SAKURAI
櫻井理惠子
(Japanese, b. 1977)
我們都愛她
We Love Her
2009 油彩 畫布 122 x 110 cm 簽名背板：We love her 2009.1.10 Rieko Sakurai
2009 Oil on canvas 122 x 110 cm Signed on the back board Rieko Sakurai, titled We love her in English and dated 2009.1.10 EXHIBITED: Instinct – Group Show of Japanese Contemporary Art, Mizuma & One Gallery, Beijing, February 14-March 22, 2009
NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,500
268
展覽： 「天欲—日本當代藝術五人展」，草場地藝術區三瀦畫廊，北京，展期 自2009年2月14日至3月22日
269 Tomoya TSUKAMOTO
塚本智也
(Japanese, b. 1982)
藍色反射
Reflection Blue
2008 油彩 畫布 145 x 112 cm 簽名畫背： 2008 T. Tsukamoto
2008 Oil on canvas 145 x 112 cm Signed on the reverse T. Tsu Kamoto in English and dated 2008
NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
270 Masaru SHICHINOHE
七戶優
(Japanese, b. 1959)
星
Hustler
2010 壓克力 木板 36 x 28 cm 簽名右下：Shichinohe 簽名背板："Hustler" 26, April, 2010 M. Shichinohe acrylic on board finishi: Golden Artist Colours, Inc Gross Vanish 七戶優
2010 Acrylic on wooden board 36 x 28 cm Signed lower right Shichinohe in English Signed on the reverse M Shichinohe in English and Japenese, titled "Hustler", inscribed acrylic on board finishi: Golden Artist Colours, Inc Gross Vanish, dated 26, April, 2010 ILLUSTRATED: Black Angel, Ping Art Space, Taipei, 2010, color illustrated, pp. 24-25 & p. 205
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
270
圖錄： 《月下紫羅蘭》，藏新藝術有限公司，台北，2010，彩色圖版， 頁24-25與頁205
271 Yoshitaka AMANO (Japanese, b. 1952)
Candy Girl S-39 2010 Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed lower right edge Y. Amano in English
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
天野喜孝 糖果女孩 S-39 2010 汽車漆 鋁板 50(長) x 50(寬) x 10(厚) cm 簽名右下側：Y. Amano
272 KWON Ki Soo (Korean, b. 1972)
White Forest 2006 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Korean, Han characters and English, dated 2006
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
權奇秀 白色森林 2006 壓克力 畫布 130 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2006
272
273 Yayoi KUSAMA (Taiwanese, b. 1929)
Pumpkin (a set of 5) 2002 Porcelain, edtion no. 63/130 10.5(L) x 9(W) x 9(H) cm Signed on base Yayoi Kusama in English, numbered 63/130 and inscribed LIMOGES FRANCE (each), dated 2002 Signed under the box cover Yayoi Kusama in English (each)
NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,300-10,600
草間彌生 南瓜（五件一組） 2002 瓷器 63/130 10.5(長) x 9(寬) x 9(高) cm 簽名底部：Yayoi Kusama 2002 63/130 LIMOGES FRANCE（每件） 簽名盒蓋底：Yayoi Kusama 2002（每件）
274
274 Hiroto KITAGAWA (Japanese, b. 1967)
Miyu Kanno 2009 Acrylic on terracotta 18(L) x 18(W) x 48(H) cm Engraved on the back Hiroto in Engilsh and dated 09
NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,200
北川宏人 菅野美優 2009 壓克力 赤陶 18(長) x 18(寬) x 48(高) cm 簽名雕刻後背：09 Hiroto
275 Takashi MURAKAMI (Japanese, b. 1962)
Project Ko2 1999 Resin, limited edition of 200 15(L) x 24(W) x 50(H) cm
NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,600-11,900
村上隆 Ko2 美少女計劃 1999 玻璃纖維 限量200件 15(長) x 24(寬) x 50(高) cm
276
276 Hiroto KITAGAWA (Japanese, b. 1967)
Saki Hanafusa: Blue and Red (a set of 2) 2008,2009 Terracotta, acrylic 18(L) x 18(W) x 51(H) cm (blue) 22(L) x 22(W) x 71(H) cm (red) Engraved on the back Hiroto in English and dated '08 (blue) Engraved on the back Hiroto in English and dated '09 (red)
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
北川宏人 房美咲：藍與紅（兩件一組） 2008、2009 赤陶 壓克力 18(長) x 18(寬) x 51(高) cm（藍） 22(長) x 22(寬) x 71(高) cm（紅） 簽名雕刻背後：'08 Hiroto（藍） 簽名雕刻背後：'09 Hiroto（紅）
277 Masao KINOSHITA (Japanese, b. 1971)
Maenad Muscle 2008 Fiberglass, crayon, edititon no. 2/7 35(L) x 35(W) x 64(H) cm Signed on the right foot bottom Masao Kinoshita and titled MAENAD in English, numbered 2/7, dated 2008 EXHIBITED: Masao Kinoshita Solo Exhibition, Eslite Gallery, Taipei, October 11-November 2, 2008 Next New Generation Artist in Nagano 2010, Nagano Prefectural Ina Culture Hall, Nagano Prefectural Culture Hall, Nagano February 4-13, February 18-27, 2011
NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,600-16,500
木下雅雄 酒神的女祭司 2008 玻璃纖維 蠟筆 2/7 35(長) x 35(寬) x 64(高) cm 簽名右腳底：MAENAD 2008 2/7 Masao Kinoshita 展覽： 「木下雅雄個展」，誠品畫廊，台北，展期 2008年10月11日至11月2日 「長野新世代藝術家聯展」，長野縣伊那文 化會館、長野縣縣民文化會館，長野，展期 2011年2月4日至2月13日、2月18日至2月27日
278
278 Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin 1983 Acrylic, mixed media, unique 6(L) x 6(W) x 5.3(H) cm Signed on the bottome YAYOI KUSAMA in English, titled Pumpkin in Han characters and dated 1983 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.
NT$ 420,000-600,000 HK$ 107,000-153,000 US$ 13,900-19,800
草間彌生 南瓜 1983 綜合媒材（單一件） 6(長) x 6(寬) x 5.3(高) cm 簽名底部：YAYOI KUSAMA 1983 南瓜 附草間彌生工作室開立之原作登錄卡
279 Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin 1985 Acrylic, mixed media, unique 8(L) x 8(W) x 8(H) cm Signed on the bottom KUSAMA in English and dated '85 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.
NT$ 600,000-800,000 HK$ 153,000-205,000 US$ 19,800-26,400
草間彌生 南瓜 1985 綜合媒材（單一件） 8(長) x 8(寬) x 8(高) cm 簽名底部：KUSAMA '85 附草間彌生工作室開立之原作登錄
280
280 Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin 1984 Acrylic, mixed media, unique 9.5(L) x 9.5(W) x 8.3(H) cm Signed on the bottom YAYOI KUSAMA 1984 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.
NT$ 600,000-800,000 HK$ 153,000-205,000 US$ 19,800-26,400
草間彌生 南瓜 1984 綜合媒材（單一件） 9.5(長) x 9.5(寬) x 8.3(高) cm 簽名下方：YAYOI KUAMA 1984 附草間彌生工作室開立之原作登錄
281 Yoshitomo NARA (Japanese, b. 1959)
Your Dog 2000 Acrylic and oil on fiberglass, edition no. 7/15 41.5(L) x 23(W) x 29.5(H) cm Signed left hind paw the character of Na in Japanese and dated 2000, numbered 7/15 PROVENANCE: Private collection, New York (acquired from Yoshitomo Nara directly by exchanging his sculpture) Acquired from the above by the present owner EXHIBITED: Your Dog - A Sculptural Pavillion, Thompkins Square Park, New York, July - August 2002 (larger version) Yoshitomo Nara: Nothing Ever Happens, Cleveland, Museum of Contemporary Art, September 2003 - January 2004, (larger version) Yoshitomo Nara: Your Dog, Orange County Museum of Art, Newport Beach, November 2003 - June 2004 (larger version) Yoshitomo Nara: Nothing Ever Happens, San Jose Museum of Art, San Jose, July - October 2004 (larger version) Yoshitomo Nara: Your Dog Sculptural Pavillion, Art Basel Miami, Miami, December 2004 Museum of Art, Fort Lauderdale, extended loan, October 2004 - March 2005 (larger version) Yoshitomo Nara: Nobody’s Fool, Asia Society Museum, New York, September 9, 2010 - January 2, 2010 (larger version) ILLUSTRATED: S. Mizota, "Little Triggers", Metro: Silicon Valley's Weekly Newspaper, July 2004 (larger version) K. Chun, "Killer Cute: Yoshitomo Nara's work bites back at the San Jose Museum of Art", The San Francisco Bay Guardian, September 2004, vol. 38, no. 51 (larger version) Yoshitomo Nara: Nobody's Fool, Harry N. Abrams, New York, 2010
NT$ 850,000-1,200,000 HK$ 217,000-307,000 US$ 28,000-39,600
奈良美智 你的狗 2000 玻璃纖維 壓克力 油彩 7/15 41.5(長) x 23(寬) x 29.5(高) cm 簽名左後腳底：7/15 な 2000 來源： 私人收藏，紐約（與奈良美智交換作品） 現有收藏者得自上述來源 展覽： 「奈良美智：雕塑營」，湯普金廣場公園，紐約，展期自2002年7月至8月（較大版本） 「奈良美智：甚麼事都沒發生過」，當代藝術館，克里夫蘭，展期自2003年9月至2004年1月（較大版本） 「奈良美智：你的狗」，橘郡美術館，紐波特海灘，展期自2003年11月至2004年6月（較大版本） 「奈良美智：你的狗」，聖荷西美術館，聖荷西，展期自2004年7月至10月（較大版本） 「奈良美智：你的狗雕塑營」，邁阿密巴塞爾藝術博覽會，邁阿密，2004（較大版本） 羅德岱堡美術館，延續展，展期自2004年10月至2005年3月（較大版本） 「奈良美智：大智若愚」，亞洲協會美術館，紐約，展期自2010年9月9日至2011年1月2日（較大尺寸版本） 圖錄： S. 溝田，〈小觸發器〉，《地鐵：矽谷周報》，2004年7月（較大尺寸版本） K. Chun, 〈可愛殺手：聖荷西美術館奈良美智作品咬一口〉，《舊金山灣紀事報》，2004年9月號，38卷51期（較大尺寸版本） 《奈良美智：大智若愚》，哈利‧阿布拉姆斯出版社，紐約，2010（較大尺寸版本）
282
282 Yoshitomo NARA (Japanese, b. 1959)
Sleepless Night Sitting 2007 Fiberglass, edition no. 172/300 36(L) x 26(W) x 24(H) cm (box) 15(L) x 19(W) x 28(H) cm (sculpture) This sculpture is to be sold with a certificate of authenticity and a wooden box.
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
奈良美智 失眠夜坐著 2007 玻璃纖維 172/300 36(長) x 26(寬) x 24(高) cm（箱子） 15(長) x 19(寬) x 28(高) cm（人物） 附原作保證書及木盒
284
283 Michell HWANG (Taiwanese, b. 1948)
The Light of Life Stainless steel, edition no. 94/100 28.5(L) x 28.5(W) x 268(H) cm Signed on the base Chi in Chinese and numbered 100-94
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
黃銘哲 生命之光 不銹鋼 94/100 28.5(長) x 28.5(寬) x 268(高) cm 簽名底座：哲 100-094
286
284 Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926 - 1997)
The East and West Gates 1973 Stainless steel, edition no. 10/20 89(L) x 89(W) x 52.5(H) cm Signed Ying-feng in Chinese, dated '73 and numbered 10/20 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
楊英風 東西門 1973 不銹鋼 10/20 89(長) x 89(寬) x 52.5(高) cm 簽名：英風'73 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
285 Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
Taichi II 1972 Bronze, edition no. 13/20 97(L) x 50(W) x 65(H) cm Engraved lower left Ying-feng in Chinese, Yu Yu Yang in English, numbered 13/20 and dated '72 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
楊英風 太極二 1972 銅雕 13/20 97(長) x 50(寬) x 65(高) cm 簽名左下：英風'72 YUYU YANG 13/20 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
288
286 Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
Phoenix Rising 1981 Bronze, edition no. 12/20 87.5(L) x 27.5(W) x 74(H) cm This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
楊英風 神采飛揚 1981 銅雕 12/20 87.5(長) x 27.5(寬) x 74(高) cm 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
287 Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
The Information Century 1997 Stainless steel, edition no. 6/10 54(L) x 43(W) x 98(H) cm This sculpture is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.
NT$ 120,000-320,000 HK$ 31,000-82,000 US$ 4,000-10,600
楊英風 資訊世紀 1997 不鏽鋼 6/10 54(長) x 43 (寬) x 98(高) cm 附梵藝術中心開立之原作保證書
290
288 WU Dechun
(Taiwanese, b. 1953)
Orator 2006 Iron (unique) 23(L) x 37(W) x 76(H) cm Engraved on the base 04, 12, 2006, PIECE UNIQUE WU DECHUN WU
NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,300-13,900
武德淳 演說家 2006 鐵雕（單一件） 23(長) x 37(寬) x 76(高) cm 簽名底座：04, 12, 2006 PIECE UNIQUE WU DECHUN WU
289 HUANG Po-ren (Taiwanese, b. 1970)
What the Heck ! 2010 Stainless steel, edition no. 10/12 28(L) x 28(W) x 31(H) cm Engraved on the base PR in English, numbered 12-10 and dated 2010 EXHIBITED: ART TAIPEI 2010 ART TAIWAN 2012
NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,300-10,600
黃柏仁 哇靠 2010 不鏽鋼 10/12 28(長) x 28(寬) x 31(高) cm 簽名底座：2010.12-10 PR 展覽： 台北藝術博覽會：黃敏俊、黃柏仁、林家弘新 作特展，台北世貿一館，台北，展期2010年8 月20至24日 府城藝術博覽會，台南大億麗緻酒店，台南， 展期自2012年1月6日至8日
292
290 HUANG Po-ren (Taiwanese, b. 1970)
Dog's Note - Friends 2008 Bronze, edition no.15/30 31(L) x 22(W) x 36(H) cm Engraved on the back PR in English Engraved lower back PR in English, numbered 3015 and dated 2008 EXHIBITED: Huang Po-ren, Art Taipei, Taipei, 2008 Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 Huang Po-ren, Ming Art Gallery, Beijing, 2008 This sculpture is to be sold with a certificate of authenticity issued by Fish Art Center, Taipei.
NT$ 240,000-360,000 HK$ 61,000-92,000 US$ 7,900-11,900
黃柏仁 狗札記—世界那麼大 2008 銅雕 15/30 31(長) x 22(寬) x 36(高) cm 簽名雕刻臀部：PR 簽名雕刻腿部後方：2008.30-15.PR 展覽： 「黃柏仁個展」，台北國際藝術博覽會，台北， 2008 「黃柏仁個展」，上海國際藝術博覽會，上海， 2008 「黃柏仁個展」，旻谷畫廊，北京，2008 附秋刀魚藝術中心開立之作品保證書
291 HSIEH Tong-liang (Taiwanese, b. 1949)
Look Forward 1984 Bronze; edition no. 2/10 16(L) x 17.5(W) x 87(H) cm Engraved on the base Tong-liang and dated 1984 in Chinese, numbered 2/10 EXHIBITED: Hsieh Tong-liang First Solo Exhibition: Metamorphosis Series, Taipei Fine Arts Museum, Taipei, March 1985 Hsieh Tong-liang Solo Show, Shanghai Art Museum, Shanghai, May 15-27, 2012 ILLUSTRATED: Hsieh Tong-liang Sculpture No. 1, 02 Sculpture Space & TaiChi, Taichung, 1985, color illustrated, p. 16; black and white illustrated, p. 17 Hiseh Tong-liang, 02 Sculpture Space & TaiChi, Taichung, black and white illustrated, p. 20 Hsieh Tong-liang Sculpture Exhibition, Chan Liu Art Museum, Taoyuan, 2007, color illustrated, p. 38 Taiwan Artists 100 Years: Hsieh Tong-liang at Shanghai Art Museum, Taipei, 2012, color illustrated, p. 19
謝棟樑 瞻 1984 銅雕 2/10 16(長) x 17.5(寬) x 87(高) cm 簽名雕刻底座：棟樑作 一九八四 2/10 展覽： 「謝棟樑首次個展：變形系列」，台北市立美術館，台北，展期1985年3月 「台灣藝術家―謝棟樑雕塑演繹展」，上海美術館，上海，展期自2012年5月15 日至5月27日 圖錄： 《謝棟樑雕塑集（一）》，02雕塑空間，台中，1985，彩色圖版，頁16；黑白圖 版，頁17 《親入雕塑的藝想世界--謝棟樑的創作心路歷程》，02 雕塑空間，台中，2002， 黑白圖版，頁20 《謝棟樑雕塑大觀》，長流美術館，桃園，2007，黑白圖版，頁38 《台灣名家美術TAIWAN ARTISTS 100 YEARS雕塑—謝棟樑2012年上海美術館 個展專輯》，台灣名家美術編輯委員會，台北，2012，彩色圖版，頁19 附藝術家簽名原作保證書
This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 260,000-400,000 HK$ 66,000-102,000 US$ 8,600-13,200 台灣雕塑與太極拳大師謝棟樑是首位獲得全省美展永久免審查資格的雕塑家，當代知名雕刻家李真早年曾在他的門下學習人體雕塑。 潘顯仁先生對謝棟樑的創作給如此予評價：「謝棟樑早期從傳統寫實雕塑起步，以精準的造形掌握及生動刻畫備受肯定。他從不耽溺於單一風 格，總在不斷變化中尋求創造力的解放，逐步發展半抽象與抽象的多樣雕塑語彙。謝棟樑的創作生涯反映了台灣雕塑界自傳統接軌現代藝術的轉 變歷程，同時他對台灣雕塑媒材的改良與人才培育更有深刻的影響。」（潘顯仁，《台灣美術家刺客列傳三年級生1941-1950》，國立台灣美術館，台中，2013，頁11） 《瞻》是謝棟樑重要創作「變形系列」代表作之一，台北市立美術館購藏大件，並置於戶外長期展示。該系列代表作尚有《獨行》（Walk Alone）（台北市立美術館藏）和《呼喚》（高雄市立美館藏）等。而「變形系列」（1981-1985）的訴求，追求美的本質「改弦易轍的人物變 體」；美的意涵「傳統人物雕塑造形的顛覆和解放」；美的形式「軀體刻意拉長、壓扁、扭曲，與人體常態迥異；人物表情大都輕描淡寫，重 在肢體表情」。 Master sculptor Hsieh Tong-liang was the first artist in Taiwan to receive the privilege of not having to be examined in the National Art Exhibition. One of his students was the illustrious modern sculptor Li Chen, whom he taught how to sculpt the human body. Pan Hsien-jen, in giving his assessment of Hsieh Tong-liang’s sculpture, said, “Hsieh began with traditional realism in his sculptures. His skill in controlling precision in his forms and vividness in portrayal are well recognized. However, he never lingered with one single style. In his continuous pursuit of liberation of creativity through change, Hsieh built a widely diversified vocabulary of half-abstraction and abstraction step by step. His career as a sculptor reflected the transition of Taiwanese sculpture from traditional to modern art. He also contributed profoundly to improving the materials and training of new talent in sculpture in Taiwan.” (PAN, Hsien-jen, “The Pioneers of Taiwanese Artists, 1941-1950”, National Taiwan Fine Arts Museum, Taichung, 2013, p. 11) “Look Forward” is one of the most important works from Hsieh’s “Metamorphosis” series. The Taipei Fine Arts Museum acquired the large-sized piece and has put it on long-term outdoor display. The series also includes “Walk Alone” (in the collection of the Taipei Fine Arts Museum) and “Calling” (in the collection of the Kaohsiung Fine Arts Museum). The “Metamorphosis” series (1981-1985) seeks to explore the nature of beauty through “distortion of human figures”; the connotation of beauty through “overturning and liberation of traditional portrait forms”; as well as the form of beauty through “intentionally elongated, flattened, or distorted human figures with plainly sculpted faces to emphasize bodily expressions.”
294
292 HUNG Yi
(Taiwanese, b. 1970)
Cat 2008 Baked enamel on steel plate 157(L) x 67(W) x 124(H) cm Signed right fornt foot Hung Yi in Chinese and dated 2008
NT$ 400,000-600,000 HK$ 102,000-153,000 US$ 13,200-19,800
洪易 貓 2008 鋼板烤漆 157(長) x 67(寬) x 124(高) cm 簽名右前足：洪易 2008
296
293 ZHOU Chunya + Jaime Hayon (Chinese, b. 1955)
Alive 2012 Epoxy resins, lacquer, edition no. 11/88 (sculpture) Lacquered wood, edition no. 11/88 (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 11/88 (each sculpture) Signed on bottom Jaime Hayon in English and numbered 11/88 (Vitrine) EXHIBITED: Alive & Kicking, Museum of Contemporary Art Chengdu, Sichuan, Oct. 24 - Nov. 3, 2012 This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
周春芽 + Jaime Hayon 綠狗 2012 環氧樹脂 亮面漆 11/88（雕塑） 亮面漆木 11/88（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 11/88（每件雕塑） 簽名底部：Jaime Hayon, numbered 11/88（玻璃櫃） 展覽： 「Alive and Kicking 爆發的生命力：周春芽＋亞米。海因 」，成都 當代美術館，四川，展期自2012年10月24日至11月3日 附藝術家簽名之原作保證書
294 TU Wei-cheng (Taiwanese, b. 1969)
Bu-Num Civilization: Stone No. BG6560 2003 Kua-shih, gold foil, edition no. AP1 39(L) x 12(W) x 93.5(H) cm Engraved on the reverse Tu Wei-Cheng in Chinese and English, titled BG6560, Numbered AP1 PROVENANCE: Lin & Keng Gallery, Taipei EXHIBITED: The Beauty and Mystery of Bu Num Civilization Revealed: Tu Wei-cheng Solo Exhibition, MoCA, Taipei, August 8-September 28, 2003 ILLUSTRATED: The Beauty and Mystery of Bu Num Civilizaiton Revealed, Tu Wei-cheng published, 2003, color illustrated This sculpture is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
NT$ 400,000-600,000 HK$ 102,000-153,000 US$ 13,200-19,800
涂維政 卜湳文明遺跡：BG6560號石 2003 夸石 金箔（人造石）AP1 39(長) x 12(寬) x 93.5(高) cm 簽名雕刻背後：BG6560 AP1 涂維政 Tu Wei Cheng 來源： 大未來畫廊，台北 展覽： 「出世神韻―神秘卜湳文明遺跡特展：涂維政個展」，台北當代藝術館， 展期自2003年8月8日至9 月28日 圖錄： 《出世神韻―神秘卜湳文明遺跡特展》，涂維政藝術文化基金會，台北， 2003 附大未來畫廊開立之原作保證書
仍是祭典儀式，人屘站立在神秘的祭儀器物上。此件石刻為出土文 物中，鮮少以正面刻劃這個祭典儀式的作品。右下方為戈歍翁觥神 幻化的動物形象。戈歍翁觥神相傳為人頭虺身之神。性溫和，是掌 管濦霵祇神族動力能量的神祇。（摘自展覽畫冊） This fragment of sculpture depicts part of a religious ceremony, with a human figure standing on a mysterious piece of ceremonial apparatus. It is one of very few remains to be unearthed that show a frontal view of a ceremonial scene. The creature shown in the bottom right hand corner is a depiction of the deity Gewuwenggong embodied in animal form. According to legend, Gewuwenggong is a god with the head of a human being and the body of a snake. Peaceful and gentle, this deity controls the life-force of the Yinjizhi sacred beings. (The description given above is an excerpt from the exhibition catalog)
298
295 Tu Wei-cheng (Taiwanese, b. 1969)
Bu Num Civilization: Stele No. BM10 2003; kua-shih, edition no. 3/3; 55(L) x 13(W) x 113(H) cm Engraved on the reverse Tu Wei-Cheng in Chinese and English, titled Stele No. BM10, numbered 3/3 PROVENANCE: Lin & Keng Gallery, Taipei EXHIBITED: The Beauty and Mystery of Bu Num Civilization Revealed: Tu Wei-cheng Solo Exhibition, MoCA, Taipei, August 8-September 28, 2003 ILLUSTRATED: The Beauty and Mystery of Bu Num Civilizaiton Revealed, Tu Wei-cheng published, 2003, color illustrated This sculpture is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,500-23,100
涂維政 卜湳文明遺跡：BM10號碑─千屘朝聖 2003；夸石（人造石）3/3；55(長) x 13(寬) x 113(高) cm 簽名雕刻背後：BM10 碑 3/3 涂維政 Tu Wei Cheng 來源：大未來畫廊，台北 展覽：「出世神韻―神秘卜湳文明遺跡特展：涂維政個展」，台北當代藝 術館，展期自2003年8月8日至9 月28日 圖錄：《出世神韻―神秘卜湳文明遺跡特展》，涂維政藝術文化基金會， 台北，2003 附大未來畫廊開立之原作保證書 石碑正面橫作十九行，行十六龕，龕內皆有一盤坐抱著神秘器物的人 屘，碑正面上端居中作一大神龕，內作扥拉蒂克神及其他濦霵祇神族的 神祇，分別是覝嵞、榷榫工、奃呿扑、希羽安啎、祆覡、嫿奩。這是一 個眾多人屘朝聖的情景，這種滿目整齊的構圖，會讓您的視覺產生錯覺 當人們注視著他時一種夢幻般的靈國之景便油然而生。（摘自展覽畫冊） 自創卜湳文化，偽考古，類似羅塞塔石碑 (大英博物館藏) 人類文字新起 源電腦亂碼 This stone stele has had nineteen rows of sixteen niches each carved into it. In each niche, there is a human figure holding a mysterious object. In the uppermiddle portion of the stele there is a larger niche, which contains images of the deity Tuoladike and a number of other Yinjizhi sacred beings, including Liantu, Quegugong, Diqupu, Xiyuanwu, Xianxi and Hualian. This scene, depicting a large number of human figures at worship in a neatly-arranged composition, creates a kind of optical illusion; if the viewer stares at continuously for some time, they have the sense of being transported to a dreamlike mystical realm. (The description given above is an excerpt from the exhibition catalog)
The Bu Num Civilization is a pseudo-civilization created by Tu Wei-cheng, with “artifacts” presented as being archeological findings, including artifacts similar to the Rosetta Stone (in the British Museum) that show human written language as having developed from the kind of unreadable characters that appear on a computer screen.
296 J. C. KUO
(Taiwanese, b. 1949)
Image of Taiwan 1994 Mixed media, wooden sculpture 63(L) x 24(W) x 31(H) cm Engraved top J. C. Kuo in Chinese and English, dated 94 ILLUSTRATED: J.C. Kuo Icons and Images of Taiwan 1994, Galerie Elegance, Taipei, 1994, color illustrated
NT$ 320,000-550,000 HK$ 82,000-141,000 US$ 10,600-18,100
300
郭振昌 台灣印象 1994 綜合媒材 台灣檜木 63(長) x 24(寬) x 31(高) cm 簽名雕刻上方：郭振昌 J. C. Kuo 94 圖錄： 《郭振昌1994台灣圖像與影像》，愛力根畫廊，台北，1994，彩色圖版
297 JU Ming
(Taiwanese, b. 1938)
Living World Series 1996 Unsaturated polyester resin, calcium carbonate, environmentally-friendly water based mineral paint, edition no. 229/300 97(L) x 10.5(W) x 18(H) cm Numbered on the bottom 229/300 This sculpture is to be sold with a certificate of limited reproduction issued by Juming Museum, Taipei.
NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600
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 229/300 97(長) x 10.5(寬) x 18(高) cm 版次底部：229/300 附朱銘美術館限量複製品保證書
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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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