Ravenel Spring Auction 2010 Hong Kong 羅芙奧香港2010春季拍賣會

SPRING AUCTION 2010 HONG KONG

RAVENEL SPRING AUCTION 2010 HONG KONG Modern and Contemporary Art

羅芙奧香港 2010 春季拍賣會 現代與當代藝術

AUCTION

拍賣日期/地點

Monday, May 31, 2010, 11:30am – 1:00pm

2010年5月31日（一）上午 11:30 至 下午 1:00

Grand Hyatt Hong Kong – Grand Ballroom

香港君悅酒店（宴會大禮堂）

1 Harbour Road, Wanchai, Hong Kong

香港灣仔港灣道1號

PREVIEWS

預展日期/地點

Taichung

台中

Saturday, May 8 – Sunday, May 9, 2010, 1:00pm – 7:00pm

2010年5月8日（六）至 5月9日（日）下午 1:00 至 下午 7:00

GSR Gallery

由鉅藝術中心（月光流域大樓）

1F, No. 83, Gong Zheng Road, Taichung, Taiwan

台中市公正路83號1樓

Taipei

台北

Saturday, May 15 – Sunday, May 16, 2010, 10:00am – 7:00pm

2010年5月15日（六）至 5月16日（日）上午 10:00 至 下午 7:00

Fubon National Conference Center

富邦人壽大樓國際會議中心

B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

台北市敦化南路一段108號B2

Hong Kong

香港

Saturday, May 29, 2010, 1:30pm – 7:00pm

2010年5月29日（六）下午 1:30 至 7:00

Sunday, May 30, 2010, 10:00am – 7:00pm

5月30日（日）上午 10:00 至 下午 7:00

Grand Hyatt Hong Kong – Grand Ballroom

香港君悅酒店（宴會大禮堂）

1 Harbour Road, Wanchai, Hong Kong

香港灣仔港灣道1號

MODERN

&

CONTEMPORARY

ART

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: HK$ 300 per copy

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS Vice President Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: flora_fu@ravenelart.com

Vice President Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com

Executive Director, Hong Kong Elaine Holt Tel: +852 2889 0859 Email: elaine_holt@ravenelart.com

Senior Manager Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggie_lin@ravenelart.com

Manager China Lydia Li Tel: +86 10 5820 6251/52 Email: lydia_li@ravenelart.com

PHONE BIDS AND WRITTEN BIDS Taiwan Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggie_lin@ravenelart.com

Hong Kong Elaine Holt Tel: +852 2889 0859 Mobile: +852 9381 1886 Email: elaine_holt@ravenelart.com

China

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the bidding forms attached at the back of the auction catalogue to tender your bid.

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

CATALOGUE SUBSCRIPTION Taiwan Natsuki Wang Tel: +886 2 2708 9868 ext. 881 Email: natsuki_wang@ravenelart.com

Hong Kong Shirley Fong Tel: +852 2889 0859 Email: shirley_fong@ravenelart.com

China Judy Xie Tel: +86 10 5820 6151/52 Email: judy_xie@ravenelart.com

International Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: kate_lin@ravenelart.com The catalogues are available for subscription.

For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

PAYMENT

Dina Zhang Tel: +86 10 5820 6151/52 Email: dina_zhang@ravenelart.com

Mei Chan Tel: +886 2 2708 9868 ext. 682 Email: mei_chan@ravenelart.com

International

Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com

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COLLECTION AND SHIPPING Taiwan Tommy Wu Tel: +886 2 2708 9868 ext. 885 Email: tommy_wu@ravenelart.com

Hong Kong Shirley Fong Tel: +852 2889 0859 Email: shirley_fong@ravenelart.com

China Dina Zhang Tel: +86 10 5820 6151/52 Email: dina_zhang@ravenelart.com

International Enzo Jiang Tel: +886 2 2708 9868 ext. 904 Email: enzo_jiang@ravenelart.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of credit cards and traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

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

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

羅芙奧香港 2010 春季拍賣會服務部門及連絡人

藝術品諮詢專家 副總經理 傅斐郡 電話：+886 2 2708 9868 轉 888 電子信箱：flora_fu@ravenelart.com

副總經理

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目錄訂閱

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香港總監

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其它地區

台灣

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目次 / Contents

藝術家索引 / Index

2

A

羅芙奧秋季拍賣會

Sale Information 3

Yoshitaka AMANO Dipo ANDY CAO Jingping CHEN Ke CHU Teh-chun Heri DONO

現代與當代藝術

藝術家簡歷

059

方力鈞

039

高惠君 郭晉 郭偉

051 050 049

何森

054

季大純 焦興濤 朱銘

008 031 012, 013, 014, 020

草間彌生

007

李真 李山 李占洋 林風眠 盧昊

033 044 029 021, 024 011

馬雲飛 毛旭輝

057 037, 047

小木曾誠 大槻透

005 003

白南準 潘德海 哈里斯．普爾諾莫

006 035 056

仇曉飛 瞿廣慈

053 030

六角彩子

002

常玉 盛奇

019 052

唐志剛 丁雄泉 辻井宏明

048 060 004

王廣義 王魯炎

043 028

H HE Sen

J

委託競投表格

JI Dachun JIAO Xingtao JU Ming

Absentee Bid Form 397

赫利．多諾

G GAO Huijun GUO Jin GUO Wei

Artist Biographies 395

026 036 015, 016

F FANG Lijun

Modern and Contemporary Art 130

曹靜萍 陳可 朱德群

D

藝術家索引

Index 7

001 058

C

羅芙奧之服務

Ravenel Services 5

天野喜孝 狄波．安迪

K

業務規則

Yayoi KUSAMA

Transaction Agreement

L LI Chen LI Shan LI Zhanyang LIN Fengmian LU Hao

M MA Yunfei MAO Xuhui

O Makoto OGISO Toul OTSUKI

P Nam Jun PAIK PAN Dehai Haris PURNOMO

Q QIU Xiaofei QU Guangci

R Ayako ROKKAKU

S SANYU SHENG Qi

T TANG Zhigang Walasse TING Hiroaki TSUJII

W 5

WANG Guangyi WANG Luyan

W WANG Mai WU Guanzhong

王邁 吳冠中

010 022

向京 忻海洲 徐冰

034 027 045

楊靜 葉劍青 尹朝陽 岳敏君

009 023 046 042

趙無極 曾梵志 張東紅 鍾飆 周春芽

017, 018 038 025 055 032, 040, 041

X XIANG Jing XIN Haizhou XU Bing

Y YANG Jing YE Jianqing YIN Zhaoyang YUE Minjun

Z ZAO Wou-ki ZENG Fanzhi ZHANG Donghong ZHONG Biao ZHOU Chunya

6

001

Yoshitaka AMANO (Japanese, b. 1952)

Red Quartz Girl 2008 Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed on side Y. Amano in English

HK$ 120,000-180,000 NT$ 490,000-740,000 US$ 15,700-23,600

天野喜孝 紅石英女孩 2008 汽車漆 鋁板 50(長) x 50(寬) x 10(厚) cm 簽名側面：Y. Amano

002

Ayako ROKKAKU (Japanese, b. 1982)

Blue Car and Girl 2008 Acrylic on canvas 100 x 100 cm Signed lower right Ayako Rokkaku in Japanese and dated 2008

HK$ 85,000-130,000 NT$ 350,000-530,000 US$ 11,200-17,100

8

六角彩子 藍汽車與女孩 2008 壓克力 畫布 100 x 100 cm 簽名右下：2008 ロッカクアヤコ

003

Toul OTSUKI (Japanese, b. 1973)

Pond Shinobazu – Summer 1 2006 Oil, watercolor, tempera on canvas with gold leaf, cloth, rhinestone collage 180 x 70 cm EXHIBITED: Toul Otsuki Solo Exhibition, Usui Department Store, Koriyama, Japan, May 24-29, 2007

HK$ 40,000-60,000 NT$ 160,000-250,000 US$ 5,200-7,900

大槻透 不忍池－夏之一 2006 油彩 水彩 蛋彩 畫布 金箔 花布 萊茵石 拼貼 180 x 70 cm 展覽： 「大槻透個展」，薄井百貨，郡山市， 日本，展期自2007年5月24日至5月29日

004

辻井宏明

Hiroaki TSUJII

思考中的女孩

(Japanese, b. 1975)

Thinking Girl 2006 Oil pastel and acrylic resin on wood panel 146 x 141 cm Signed on the reverse Hiroaki Tsujii in English, dated 2006

10

EXHIBITED: Hiroaki Tsujii Exhibition, Gallery ES, Tokyo, Nov 14 - Nov 19, 2006

2006 油粉彩 壓克力 木板 146 x 141 cm 簽名畫背 : Hiroaki Tsujii 2006

HK$ 45,000-75,000 NT$ 180,000-310,000 US$ 5,900-9,800

展覽： 「辻井宏明展」，E S畫廊，東京，展期 2006年11月14日至11月19日

005

Makoto OGISO (Japanese, b. 1975)

Invisible Moment 2006 Oil and acrylic on cotton cloth, wood 162 x 162 cm Titled on the reverse Invisible Moment in Japanese, dated Nov 2006, oil and acrylic on cotton cloth, wood, signed Makoto Ogiso in Japanese

HK$ 110,000-170,000 NT$ 450,000-700,000 US$ 14,400-22,300

小木曾誠 看不到的時光 2006 油彩 壓克力 綿布 木板 162 x 162 cm 簽名畫背 : 「見えない刻のなか」2006.11 木版に綿布 白亜地 油絵具 テンペラ絵具 小木曾誠

006

Nam June PAIK

(Korean-American, 1932-2006)

MT-TV 1994 4 inch TV monitor, electrical wire and mixed media, edition of 20 T/P (trial proof) 32.7(L) x 34.8(W) x 38(H) cm Signed Paik in English Numbered on the back T/P

HK$ 200,000-300,000 NT$ 820,000-1,230,000 US$ 26,200-39,400

Nam June Paik, a Korean-born American artist, is known as "The Father of Video Art". He played a very important role in leading the video and multi media arts; combining technology and video art together. His impact on the visual art world can be compared to that of 20th century artists such as Joseph Boyce, Marc Duchamps and Andy Warhol.

In the 1950's, Nam June Paik was educated in Japan and Germany in music and philosophy. During his studies in Germany, he was influenced by the American avant-garde music composer John Cage, with whom he began his path in the electronic arts. In 1963, he used black and white TV as a media to create his first video installation. He is truly an international artist, a mixture of Eastern and Western cultures, born in Seoul, Korea, enlightened in classical music and philosophy in Japan, active in German avant-garde art circles and finally settling down in New York. He travelled the world participating in many exhibitions.

MT-TV

韓裔美國藝術家白南準被譽為「錄像藝術之父」，他不僅是影像藝術、多媒體藝術的先驅， 開創科技與藝術結合的先河，其影響力可與20世紀藝術家波依斯（Joseph Boyce）、杜象 （Marc Duchamps）、安迪沃荷（Andy Warhol）齊名。

1994 4吋電視螢幕 電線 綜合媒材 限量20 版次 T/P（試版） 32.7(長) x 34.8(寬) x 38(高) cm 簽名正面 : PAIK 編號背面 : T/P

白南準1950年代留學日本及德國，修習音樂及哲學。在德國期間受到美國前衛音樂家約翰． 凱吉（John Cage）的影響至深，啟發他往電子科技藝術之路發展。1963年白南準首度以黑白 電視作為媒材，經過藝術改造完成首件電視裝置藝術。白南準是一位跨越文化的藝術家，兼 容東西文化的特質，他出生於韓國首爾，在日本接受古典音樂與哲學啟蒙，後來又活躍於德 國前衛藝術圈，定居於紐約後，往來於世界參與美術展覽。

白南準

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007

Yayoi KUSAMA (Japanese, b. 1929)

Vegetables 1989 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama in English, dated 1989, titled Vegetables in Han characters This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

HK$ 150,000-250,000 NT$ 620,000-1,030,000 US$ 19,700-32,800

草間彌生 野菜 1989 壓克力 畫布 38 x 45.5 cm 簽名畫背 : Yayoi Kusama 1989 野菜 附草間彌生工作室開立之作品登錄卡

14

008

JI Dachun

(Chinese, b. 1968)

Still Life 2003 Oil on canvas 149 x 109 cm

16

季大純 ILLUSTRATED: Ji Dachun, Soka Art Centre, Taipei, 2004, color illustrated, pp.126-127

HK$ 160,000-260,000 NT$ 660,000-1,070,000 US$ 21,000-34,100

靜物 2003 油彩 畫布 149 x 109 cm 圖錄： 《季大純》，索卡藝術中心，台北，2004， 彩色圖版，頁126-127

009

YANG Jing

(Chinese, b. 1976)

Me No. 4 2007 Oil on canvas 130 x 80 cm Titled on the reverse Me No. 4 in Chinese, signed Yang Jing in Chinese, size 130 x 80 and dated 2007

HK$ 75,000-100,000 NT$ 310,000-410,000 US$ 9,800-13,100

楊靜 伍至肆（我之四） 2007 油彩 畫布 130 x 80 cm 簽名畫背：《伍至肆》楊靜 130 x 80 2007

010

WANG Mai

(Chinese, b. 1972)

The Brilliance of Capitalism No. 1 2006 Mixed media on canvas 160 x 80 cm (x3) Ti t l e d o n t h e r e v e r s e T h e B r i l l i a n c e o f Capitalism No. 1 left (A set of 3) in Chinese, dated 2006, size 160 x 80cm, signed Wang Mai in Chinese and English Ti t l e d o n t h e r e v e r s e T h e B r i l l i a n c e o f Capitalism No. 1 center (A set of 3) in Chinese, dated 2006, size 160 x 80cm, signed Wang Mai in Chinese and English Ti t l e d o n t h e r e v e r s e T h e B r i l l i a n c e o f Capitalism No. 1 Right (A set of 3) in Chinese, dated 2006, size 160 x 88cm, signed Wang Mai in Chinese and English ILLUSTRATED: Wang Mai, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, pp. 28-29

HK$ 200,000-350,000 NT$ 820,000-1,440,000 US$ 26,200-45,900

王邁 資本的光輝 No. 1 2006 綜合媒材 畫布 160 x 80 cm (x3) 簽名畫背 : 資本的光輝 No. 1 左 (三聯之一) 2006 160 x 80 cm 王邁 Wang Mai 簽名畫背 : 資本的光輝 No. 1 中 (三聯之一) 2006 160 x 80 cm 王邁 Wang Mai 簽名畫背 : 資本的光輝 No. 1 右 (三聯之一) 2006 160 x 88 cm 王邁 Wang Mai 圖錄： 《王邁》，季豐美術出版社，香港，2007， 彩色圖版，頁28-29

18

011

LU Hao

(Chinese, b. 1969)

The Flower, Bird, Insect & Fish Series - Flower Vase 1992 Plexiglass, edition no. 2/4 112(L) x 75(W) x 25(H) cm EXHIBITED: The 48th Venice Biennale, Venice, 1999 China Gaudy Art, Tianjin Taida Art Gallery, Tianjin, 1999 The 5th Lyon Biennale of Contemporary Art, Lyon, 2000 The Second-Hand Reality, Modern Art Exhibition, Today Art Museum, Beijing, 2003 ILLUSTRATED: Mahjong - Contemporary Chinese Art from the Sigg Collection, Hatje Cantz-Verlag, Germany, 2005, color illustrated, p. 224 Always to the Front, China Contemporary Art, Kuandu Museum of Fine Arts, Taipei, 2005, color illustrated, p. 128 Lu Hao: Vanishing Homes, Sichuan Fine Arts Publishing House, Chengdu, 2006, color illustrated, p. 196

HK$ 250,000-350,000 NT$ 1,030,000-1,440,000 US$ 32,800-45,900

20

盧昊 花鳥蟲魚之花盆 1992 有機玻璃 2/4 112(長) x 75(寬) x 25(高) cm 展覽： 「第48屆威尼斯雙年展」，義大利，1999 「跨世紀彩虹—艷俗藝術展」，泰達美術 館，天津，1999 「里昂當代藝術雙年展」，法國，2000 「二手現實」，今日美術館，北京，2003

圖錄： 《麻將—希克收藏的中國當代藝術》，哈 耶．卡恩茨出版社，德國，2005，彩色圖 版，頁224 《明日不回眸》，關渡美術館，台北， 2005，彩色圖版，頁128 《盧昊：消失的家園》，四川美術出版社， 成都，2006，彩色圖版，頁196

Lu Hao grew up in a traditional courtyard house south of Beijing. His fondest memories of his youth were pond fish, blooming flowers, chirping birds and the tranquil atmosphere.

scaled-down architectural models of important cultural and historical sites in Beijing. He titled them "Flower, Bird, Insect, Fish". This lot, the "Flower Vase", is one of the four works in this series.

The artist employed plexiglas, a translucent and fragile medium to construct his miniature architectural models. This work is the Great Hall of the People which symbolizes Beijing's central political power. He has distorted the ideological features of the structure and filled it with animate and organic subjects such as goldfish, crickets and flowers. Perhaps, the artist is trying to comment on the absurd changes with Chinese modernization.

盧昊成長於北京城南的一個傳統四合院家 庭。池塘裡的魚、盛開的鮮花、嘰嘰喳喳叫 著的小鳥，以及寧靜的氛圍，都是他童年最 美好的記憶。 在現代化建設和改革的推動下，城市結構發 生變化。和大多數北京人一樣，盧昊驚詫地 親身目睹了北京舊城的變遷。

With modernization and the changes in the urban structures under the reform process, it's a shocking experience for most Beijing natives, including Lu, to see the demolition of the old cityscape.

驚異於城市的巨變，藝術家愈來愈喜歡表達 對傳統建築的懷舊情結。盧昊極具渲染力的 單色調胡同畫就是一個代表。此外，他還製 作一系列精緻的北京重要歷史文化遺址的精 細模型。把這些模型命名為花、鳥、蟲、 魚。作品「花盆」就是這個系列的作品之 一。

Struck by how the city was changing, Lu became increasingly interested in expressing his nostalgia for traditional architecture. This can be seen in his powerful monochromatic paintings of the city's small alleyways. In addition, Lu has produced a series of installations of exquisitely

藝術家使用透明易碎的有機玻璃材質，製成 了象徵北京政治中心的建築模型作品「人民 大會堂」。而他一改建築原有的形象，在裡 面融入了金魚、蟋蟀、花朵等充滿生命力的 自然素材。或許，藝術家想用這種荒誕的變 化來提及中國社會的現代化反思。

012

JU Ming

(Taiwanese, b. 1938)

Living World Series - Skirt Story 2006 Bronze, edition no. 1/4 56.5(L) x 36.8(W) x 77.5(H) cm Engraved on the base Ju Ming in Chinese, numbered 1/4, dated 2006 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, and a certificate of authenticity issued

by Opera Gallery, Hong Kong.

HK$ 300,000-400,000 NT$ 1,230,000-1,640,000 US$ 39,400-52,500

朱銘 人間系列—裙的故事 2006 銅雕 1/4 56.5(長) x 36.8(寬) x 77.5(高) cm 簽名雕刻台座：朱銘 1/4 2006 附雋永藝術畫廊開立之原作保證書 附香港歌劇美術館開立之原作保證書

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013

JU Ming

(Taiwanese, b. 1938)

Taichi Boxer

with subdued force, while the left shoulder is turning forward to create a forward movement.

The defense has a bearing of offense as the hand gestures in a cloud-like floating manner and naturally pushes forward. From these defense and possession, forward and backward movements arise the Taichi concept of yin and yang and continuity. Ju Ming has fully expressed the underlying essence of Taichi in his creations.

As the renowned art historian Michael Sullivan said: "In his Taichi Series, this conflict of forces is explicit, in the dualism of the figures who thrust and retreat, give and take, in a dynamic relationship with one each other. An invisible electric current seems to flow between them".

1991 Bronze, edition no. 1/20 50.8(L) x 38.3(W) x 75(H) cm Engraved Ju Ming in Chinese, numbered 1/20

This sculpture is to be sold with a certificate of authenticity issued by Buschlen Mowatt Gallery, Vancouver, Canada.

HK$ 800,000-1,200,000 NT$ 3,280,000-4,920,000 US$ 105,000-157,500

朱銘 太極 1991 銅雕 1/20 50.8(長) x 38.3(寬) x 75(高) cm 簽名雕刻 : 朱銘 1/20 附加拿大溫哥華布許倫．莫瓦特畫廊開立之 原作保證書

The "Taichi" Series by Ju Ming took on a whole new dimension when the artist started to produce works involving twin-sparringfigures. With the single Taichi figures, through the bodily movement, the force and rhythm of Taichi were expressed. However the nature of Taichi is such that there are two chi to begin with: the yin and the yang. These two entities have a mutual reciprocating relationship and are embodied as one, creating a harmonious and powerful movement.

This lot, the "Taichi boxer", poses with a defensive gesture but suggests motion within a still stance. It does not lose its dynamic quality as compared to the attack gesture. Both legs are slightly bent to create a form endowed

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從雙人對打雕塑開始，朱銘的「太極」系列 進入一個全新的層次。在單一人物的太極雕 塑中，太極的力量和節奏通過身體的運動來 表達。但太極在本質上，可說是兩極相生： 陰和陽。這兩極相互關聯，循環往復合為一 體，構成剛柔相濟的太極運動。 本件作品《太極》呈防禦姿態、靜中有動。 與進攻招式相比，它的動態力量毫不遜色。 雙腿微曲，蓄勢待發，而左肩向前。雙手作 雲手狀前推，防禦之中蘊含攻勢。通過這些 防禦和控制，向前和向後運動表現了陰陽的 雙極理念和連續性。朱銘的作品充分表現了 太極拳的內涵。著名的藝術歷史學家麥可． 蘇立文說：「在他（朱銘）的『太極』系列 中，力量的衝突通 過雕塑的進退和得失得到 了明確的體現。它們之間似乎有一種無形的 電流在流動。」

014

JU Ming

(Taiwanese, b. 1938)

Taichi - Golden Rooster Standing 1995 Bronze, edition no. 4/10 66(L) x 40.6W) x 72.4(H) cm Engraved Ju Ming in Chinese, dated 95, numbered 4/10 This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Hong Kong.

HK$ 800,000-1,200,000 NT$ 3,280,000-4,920,000 US$ 105,000-157,500

朱銘 太極系列—金雞獨立 1995 銅雕 4/10 66(長) x 40.6(寬) x 72.4(高) cm 簽名雕刻：朱銘 95 4/10 附香港漢雅軒 開立之原作保證書

In March 1976, Ju Ming held his first solo exhibition at Taiwan's National Museum of History under an arrangement by his mentor Yuyu Yang. Most of the works exhibited were wooden sculptures of subjects taken from Taiwanese folklore and folk life such as Kuan Kung (Guangong), Lu Chih Shan (Lu Zhisen) and animal subjects like buffalos.

Having attained fame for his Nativist Series in his premier exhibition, Ju Ming moved to his Taichi style the same year. His original series was called "Kung-Fu" and he completed works including his famous "Single Whip", "Cloud Hands", "Advancing Step Barricade Moving Punch", "Shoulder Through Arm" among others.

"Golden Rooster Standing" is from these early works. These works were exhibited in Ju's first overseas exhibition in the Tokyo Central Museum in January 1977.

"Golden Rooster Standing" is clean and simple in form but voluminous in its presence.

The artist has made use of clean and precise sculptural cutting to mold the voluminous surface area. From the waist to the shoulder runs an astonishingly bold cutting mark that vividly models the energy and sense of speed of a kick from the right leg. Art critic Chang Tsong-zung has said: "In the sculptural art of Ju Ming the signature cutting strokes are attuned by their usage in sculpting figurative form, where spirit and likeness should be captured with minimal strokes". Ju Ming's Taichi sculptures depict diverse movements expressing a delicate balance between movement and immobility.

1976年3月，在導師楊英風的精心安排下， 朱銘在台灣國立歷史博物館舉辦首次個展。 展出作品多是木作雕塑，取材於關公、魯智 深等台灣民間傳說，以及水牛等一些動物等 民間生活場景。 首次個展就以鄉土系列成名，朱銘在同年轉 而創作「太極」風格作品。最初此系列稱為 「功夫」。1976年，朱銘繼續以「功夫」為 主題，完成一系列作品。這其中包括著名 的「單鞭下勢」， 「雲手」， 「進步搬攔 捶」和「扇通臂」。 「金雞獨立」是朱銘 創作的早期作品。其實，同樣作品於1977年 1月東京中央美術館，朱銘的海外首展也曾 展示過。 《金雞獨立》形式上清新、簡樸、氣勢磅 礡。藝術家精準的雕塑工藝形塑出渾厚的作 品表面。從雕塑的肩膀到腰部，採用非常粗 狂的切割痕跡，生動地傳遞了力量以及速度 感。張頌仁評論道：「朱銘的雕塑藝術將形 象描繪與象徵手法相結合，以最細微的筆觸 捕捉作品的神似與形似。」朱銘的太極雕塑 描繪了不同的運動，表達了運動和靜止之間 的微妙平衡。

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015

CHU Teh-chun

(Chinese-French, b. 1920)

Le souffle qui libére la matière 2006 Oil on canvas 130 x 97 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 2006 Titled on the reverse Le souffle qui libére la matière in French, CHU TEH-CHUN in Chinese and English, dated 2006 EXHIBITED: Chu Teh-chun: Peintures Récentes, Galerie Patrice Trigano, Paris, Sept. 13 - Oct. 14, 2006

HK$ 850,000-1,300,000 NT$ 3,490,000-5,330,000 US$ 111,500-170,600

朱德群 氣騰於形 2006 油彩 畫布 130 x 97 cm 簽名右下：朱德群 CHU TEH-CHUN 2006 簽名畫背："Le souffle qui libére la matière" CHU TEH-CHUN 朱德群 2006 展覽： 「朱德群近作展」，帕帝斯．提卡諾畫廊， 巴黎，展期自2006年9月13日至10月14日

28

016

CHU Teh-chun

(Chinese-French, b. 1920)

Paysage Hivernal (Winter Landscape) 1985-1986 Oil on canvas 116.5 x 89 cm Signed lower right CHU TEH-CHUN in English and Chinese and dated 86 Signed on the reverse CHU TEH-CHUN in English and Chinese and dated 1985-86 PROVENANCE: Galerie Septentrion, Marcq-en-Baroeul, France, 1988 Acquired from the above by the previous owner, France

Chinese-French artist Chu Teh-chun has never been satisfied to stand-still with his work, and has throughout his life constantly challenged himself to find new creative forms of expression.

This is evident in his later paintings which have a distinctly broader scope and are larger in size than his earlier works. His unique style of depicting traditional Chinese-influenced landscapes in abstract form without losing a romantic appeal has long been acknowledged and even in his later years, he continues to surprise his admirers with every painting. The much praised "Snow Scenes" series completed between 1985 and 1989 comprises about 20 pieces and this rarity has made it one of Chu’s most sought after series.

EXHIBITED: Chu Teh Chun, Galerie Septentrion, Marcq-en Baroeul, France, 1988, no. 10/88

HK$ 2,000,000-2,800,000 NT$ 8,200,000-11,480,000 US$ 262,500-367,500

朱德群 雪景系列—冬景 1985-1986 油彩 畫布 116.5 x 89 cm 簽名右下：朱德群 CHU TEH-CHUN 86 簽名畫背：CHU TEH-CHUN 朱德群 1985-86 來源： 席普丹提庸畫廊，馬爾克昂巴勒勒，法國， 1988 私人收藏，法國（得自上述來源） 展覽： 「朱德群」，席普丹提庸畫廊，馬爾克昂巴 勒勒，法國，1988，編號10/88

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Chu Teh-chun’s major influence for the exquisite series was from time he spent in Geneva in 1985. He told Taiwanese art critic Chu Ko during an interview: "I have done many paintings with various shades of white, inspired by the snow-capped mountains I saw in the Alps while traveling in Geneva. On a cloudy day, the white from the sea of clouds and the white of the snow were clearly discernible and changing

constantly. This phenomenon filled my mind with images of clouds continuously floating on a bed of white. My spirit felt as though it was floating up and down in concert with the changes in the shade and density of that scene and in a flash, many of the familiar images portrayed in the Tang poems rushed into my head. I simply could not wait to go home and put these images on canvas. I wanted to capture in paint my feelings in that moment..."(Liao Chiung-fang, Overseas Chinese Fine Arts Series II: Chu Teh-chun, Artist Publishing Co., Taipei, January 1999, p. 56)

In their pursuit towards excellence and bringing forth new ideas, many contemporary artists rely on external influences. However, Chu Tehchun, heavily influenced by his Chinese culture, is a firm believer in Fan K'uan's statement, "I will rather not rely on external beings but turn to my inner most feelings." Chu Teh-chun, in true Chinese fashion, relies on his inner feelings, and this has enabled him to open new frontiers in expressing his aesthetic sense of judgment. When he first arrived in France, Chu continued to read the "Complete Collection of Tang Poetry" and the "Complete Collection of Song Poetry" For many years, as his spirit wandered among Chinese classical poetry and prose seeking to enhance his appreciation of beauty and make it a more joyful process, his inspiration was often ignited, and he poured forth his inner most feelings in his paintings.

He also listen extensively to Western classical music, and the influence of this is also seen in his works. Many Western commentators have noted that his paintings are poetic pieces of abstract art. In the "Snow Scenes" one cannot help but wonder if the artist was thinking of the magnificent winter scene described by the Tang poet Li Po "in the bitter cold, the snow keeps falling like a giant hand smothering the snow-covered ground" or the flurry of activity in

another poet Tu Fu's "under the low lying clouds, the snow flakes dance merrily in the wind."

Imagine a scene of snow flakes floating gently from the sky and dancing in the cold wind, a breathtaking sight indeed.

Chu Ko, commented, "Chu Teh-chun is a master who used oil painting to depict the Chinese spirit of water brush paintings‌. Chu Teh-chun employs oil painting to display the Chinese spirit of water brush paintings and the strokes and lines with variations of darkness and depth and the rendering effect in the space contain the joy of brush ink that amazes everyone." (Chu Ko, 'Cloud Emerge and Sunset Beauty: Attempt to Examine Chu Teh-chun's art significance', Chu Teh-chun Painting Collection, Jingling Arts Center, Taipei, August 1989, p. 9; p. 11) The beauty of art can transcend time and integrate West and East, and Chu Teh-chun reveals the beauty of this great rapport. He once said, "The blending of East into West isn't the combination of East and West, but the integration of philosophies. I was educated in China, so my paintings convey the abstract art of Chinese poetry with the artistic mentality of the Tang and Song."

Pierre Cabanne, the famous French art critic once wrote: "A real painting results from memory." The lyric paintings of Chu Tehchun are also pictures from his memory. His paintings reflect the spirit of traditional Chinese mountain–water paintings. They guide us to a brand-new world. From his brushwork, and use of color and structure, viewers can enjoy a spiritual journey. The present lot, "Paysage Hivernal"(Winter Landscape), created in 1985-1986, possesses a grand beauty as Chu elegantly presents a cold winter scene with profound connotations, expressed romantically and with freedom of imagination. As a Chinese abstract painter seeking to integrate both poetry

32

and painting, his work possesses a spiritually refreshing concept which leaves the audience with a sense that their soul has undergone a thorough baptism.

"Paysage Hivernal" (Winter Landscape), imbued with a poetic lair and aesthetic image, is like the playing of an impromptu musical episode. Its free-style brush strokes, dabs and daubs being dimly visible are reminiscent of traditional Chinese techniques. The falling night occupies the center of the canvas, as a snowstorm creates a flurry of what seem like pearls, sleek lines twist and turn forming nets, while a grey curtain descends speckled with stars, as the world becomes a silverish grey. A sense of warmth is somewhat created by the use of light yellow hues.

His fellow artist Wu Guanzhong believed that Chu Teh-chun's snow scenery reflected his inner life experience and wrote, "Painting according to his whims and desires, the painter painted diversified, varied, surreal dreams, happiness and anger looming..., this all equates to the luck and sorrow in one's life experience, a gauze that breaks through the innermost feelings, showcasing path and marks in the author's long artistic life." (Please refer to Zhu Wei, Chu Teh-chun Biography, HoKe Art, Taipei, 1st Aug 2003, 1st Edition, pp.

225-226.)

華裔藝術大師朱德群對創作始終秉持著旺盛 的企圖，力求各個階段皆能有創新精神，後 期仍舊創作不懈，不斷挑戰自我。其筆下特 有的中國詩情抽象山水，在耳順之年再造藝 術的光輝。1985至1989年之間他所發展出漂 亮的「雪景系列」，即是評價極高的巔峰之 作，藝術媒體曾報導此系列作品數量不到20 幅，因其藝術性與稀有性，「雪景系列」一 直是朱德群迷亟欲找尋的標的之一。

朱德群的「雪景系列」起始於1985年，靈感 最初來自歐洲旅行途中所見。他曾經對台灣 藝評家楚戈細細描述靈光乍現時的內心悸 動：「我曾畫過好幾個白色調子的畫，那是 我在日內瓦的途中，看到阿爾卑斯山覆滿了 白雪，當雲霧瀰漫之時，雲霧的白和雪白的 白層次分明而充滿了變化，此時我心中只有 雲霧在白地上移動的景象以及湧現的層次， 心靈似乎也跟著那深淺濃淡的變動而若浮若 沈，一下子浮現了很多唐詩的意象。回來就 忍不住想作畫。…我要畫的是『我』對她那 一剎那的感受。…」 （廖瓊芳，《華裔美術選集 II：朱德群》，藝術家出版社，台北，1999 年1月，頁56 ）

現代藝術家的藝術求變求新，多需求助於 外在事物。然而受中國文化影響甚深的朱 德群，並未選擇師法於物的道路，信奉范寬 「吾與其師於物者，未若師諸心」的信念。 朱德群希望從內心的審美感動開拓新的繪畫 世界。朱德群從台灣遷居巴黎之後，除了每 日瀏覽法國知識界喜歡閱讀的《世界報》， 投入最多的閱讀便是《全唐詩》和《全宋 詞》。多年來他神遊於中國古典詩詞的世 界，追求審美的愉悅畫，往往能點燃他的靈 思，轉化為畫面裡美麗的形形色色。 朱德群既喜愛閱讀中國詩詞，也聆聽西方古 典音樂，它們自然而然漸漸融入他的藝術之 中。西方評論家認為朱德群的繪畫是詩意的 抽象畫，絕非偶然。而當畫家在畫架前描繪 雪景的感動，是否曾聯想起唐朝大詩人李白 「地白風色寒，雪花大如手」的豪壯，或是 杜甫「亂雲低薄暮，急雪舞迴風」詩句裡動 勢十足的絕美情境？

月，頁9、頁11）對於東西方藝術的融合，朱德 群自言：「東西融合不是東西拼湊，而是思 想的融合。我是在中國受的教育，所以我的 油畫是具有中國詩意的抽象畫。我比較傾向 於唐宋時代的藝術意境。」

「真實的繪畫來自回憶！」 （藝評家皮耶．卡班 語）朱德群以自身回憶譜寫出一幅抒情的圖 畫，而這些繪畫具有中國傳統山水的精神， 可以將人帶入一個新的世界。觀者藉由他的 筆法、用色和結構，也展開一趟精神遨遊。 朱德群創作於1985-1986年間的作品《雪景 系列－冬景》，有畫家所欲表達的優雅與寒 凝之美，內涵深邃，動人心絃，他兼顧了藝 術本身浪漫的抒發與想像的自由。作為一位 出身講求詩畫合一的中國抽象畫家，他的繪 畫有高靈空妙的意境，令觀者感受到靈魂清 澈的洗禮。 此作《雪景系列－冬景》的確是飽含詩意的 圖畫，意境唯美清遠，如同演奏一首即興的 樂章。畫家將冬賞寒林景致描寫得細膩，行 草般錯落的線條，充滿律動感。霜雪飛撒， 如串串珍珠抖落，輕快悠揚，灰藍的簾幕裡 映照出大地的雪白顏色。幽幽的淡黃色，為 寒色雪景增添些許溫情。 吳冠中認為，朱德群的雪景其實反映了自身 的生命體驗，他寫道：「畫家任性揮灑，繪 出了繁雜多樣、虛實夢幻、喜怒奔放……， 這一切均係人生經歷中所積澱的哀怨與幸 運，一朝衝破內心深處的幕紗，展示出作者 漫長藝術生涯的軌跡與烙印。」 （參閱祖慰著 《朱德群傳》，霍克國際藝術，台北，2003年8月1日首 版，頁 225─226）

台灣藝評家楚戈認為：「朱德群是用油畫 畫出中國水墨畫精神的大師。……朱德群 不但用油彩畫中國水墨的精神；而且畫中的 線條，在輕重濃淡，甚至有渲染效果的空間 中，居然有筆墨的趣味，就不得不使人欽 服了。」（楚戈〈雲興霞蔚：試為朱德群先生的藝術定 位〉，《朱德群畫集》，金陵藝術中心，台北，1989年8

017

ZAO Wou-ki

(Chinese-French, b. 1921) tones. The overall effect is intensely emotive and expressive – an exploration of the soul's wanderings in the cosmos. The stronger color tones that appear here and there in the paintings seem like a memory of the artist's youth. 15.7.93, painted in 1993, is one of Zao Wou-ki's finest recent works. A painting full of refined, elegant colors, it is not large in size, and yet offers unlimited scope for the imagination. Despite Zao's advancing years, his paintings seem as young and fresh as ever.

Zao has succeeded in retaining the passionate enthusiasm of his youth. As he himself puts it, art "has no clear-cut ending." Zao feels impelled to continue painting; one cannot but admire his spirit and his commitment to his art.

15.7.93 1993 Oil on canvas 65 x 81 cm Signed lower right Wou-Ki in Chinese and ZAO in French Signed on the reverse Zao Wou-Ki in French, titled 15.7.93 and size 65 x 81 cm

HK$ 1,200,000-1,800,000 NT$ 4,920,000-7,380,000 US$ 157,500-236,200

趙無極 15.7.93 1993 油彩 畫布 65 x 81 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 15.7.93 65 x 81 cm

Jonathan Hay, Ailsa Mellon Bruce Professor of Fine Arts at New York University, wrote an article for the catalog for an exhibition of works

by Zao Wou-ki that was held in New York in 2003, in which he commented on the change in Zao's oil painting style in his later work: "In the course of 1979 Zao abandoned his older approach altogether and devoted himself entirely to the new stylistic direction that he had traced out for himself in a few key paintings of the 1970s. Out of this shift came a decade of work that attains a state of grace: a quality of gesture that is stripped of all hurriedness and creates a more powerful "bone-structure" (to use a term from Chinese calligraphy and painting), a luminosity extending from infinite softness to enveloping darkness, a topography of form that opens itself to stillness and silence." Jonathan Hay, 'Recent Works by Zao Wou-ki', 2003 Zao Wou-ki's paintings from the 1980s and 1990s embody a high degree of spirituality. The technique is effortless and mature. The intense, almost manic lines of some of Zao's earlier work are no longer to be seen; instead, there is spatial arrangement of great depth and meaning, with lighter, brighter and more lustrous color

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美國紐約大學美術史講座教授喬迅 （Jonathan Hay），為趙無極2003年紐約個 展目錄寫過一篇評論文章，提及畫家後期油 畫作品的轉變︰「1979年前後趙無極完全捨 棄早年的方法，全心投入1970年代有些重要 作品即已勾勒出的新風格走向，這樣的轉變 延續了十年，達到一種優雅的狀態：卸下急 躁，創造出更強勁『繪畫骨法』（中國書畫 用詞）的筆勢特質，光線從無窮溫柔底處慢 慢湧現擴大，將黑暗圍繞，某種圖誌形式開 啟了寂靜與靜默。」 趙無極1980、1990年代的繪畫提昇至幽緲的 心靈視界，技法自然爐火純青，早期激昂、 澎湃的纖維性線條不再，轉以沈潛高妙的空 間佈局，色彩傾向於輕盈、華麗、潤澤，整 體營造出迷濛的抒情美感，追尋心靈可遨遊 其間的宇宙。偶然也會見到高色調的色彩， 那是畫家對於青春的恆久記憶。創作於1993 年的《15.7.93》是趙無極近期佳作之一， 色彩清雅娟秀，尺幅不巨大，寓藏的想像 空間卻是無窮。即使年齡近黃昏，趙無極的 繪畫卻更顯得年輕。他始終懷抱兒年的創作 熱情，他曾說繪畫之於他是「沒有純粹的終 局」，別無他途，唯有不斷地畫，其精神令 人感佩。

018

ZAO Wou-ki

(Chinese-French, b. 1921)

Ville Chinoise (Chinese Village) 1955 Oil on canvas 54 x 65 cm Signed lower right Wou-ki in Chinese, ZAO in French, dated 55 Signed on the reverse Wou-ki in Chinese, ZAO in French, titled Ville Chinoise in French, dated 1955.

PROVENANCE: Galerie Jean-Louis Roque, Paris Acquired directly from the above by the previous owner in the mid 1970s

"Ville Chinoise" (Chinese Village) is an oil painting that Zao Wou-ki created in 1955, during the period in which he was moving away from non-figurative art towards abstract art, a period which also saw Zao at his most creatively fertile.

Today, most of the world's leading modern art museums have at least one painting by Zao Wou-ki that dates from 1955 in their collections; the Tate Gallery in the U.K. has "Avant l'Orage" (Before the Storm), the Musée National d'Art Moderne, Center Georges Pompidou in Paris has "L'incendie", the Guggenheim in New York

This painting is to be sold with a certificate of authenticity issued by Jean-Louis Roque in 1978, and a certificate of authenticity signed by the artist.

HK$ 2,600,000-4,500,000 NT$ 10,660,000-18,450,000 US$ 341,200-590,600

趙無極 中國城 1955 油彩 畫布 54 x 65 cm 簽名右下：無極 ZAO 55 簽名畫背：無極 ZAO Ville Chinoise 1955 來源： 尚路易．羅克畫廊，巴黎 原收藏者1970年代中期直接得自上述來源 附巴黎尚路易．羅克畫廊於1978年開立之原 作保證書 附藝術家親筆簽名之原作保證書

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趙無極《火災》 1954-1955，油彩 畫布，130 x 195 cm 巴黎國立現代美術館龐畢度中心收藏 ZAO Wou-ki, L’incendie 1954-1955, oil on canvas, 130 x 195 cm Centre Georges Pompidou, Musée national d’art moderne, Paris

has Mistral, among others. "Hommage à Tou Fu", which commanded a higher price at auction than any other work by Zao Wou-ki to date, was also painted in 1955.

"Ville Chinoise" can be thought of as forming a pair with "Petit pont et l'eau coule" (Small Bridge over the Stream), which was sold at auction by Ravenel in the autumn of 2009.

They were painted during the same period, and both feature nostalgic subject matter, with a

poetic depiction of the scenery of the Chiang Nan region of China; both feature a broadly rectangular arrangement and a largely blue color scheme, although "Ville Chinoise" is a slightly larger painting.

Zao Wou-ki was born into a refined, literati family that claimed descent from the Sung Dynasty imperial house. Although Zao Wouki himself was born in Beijing, he grew up in Central and South China; Shanghai and Hangzhou were the scenes of most of his childhood and teenage memories. Since time immemorial, Chinese literati have been praising the beauties of the Chiangnan region in poetry and in paintings. Although Zao Wou-ki, who moved to France before the age of 30, gradually succeeded in making a name for himself in European art circles, he was often beset by homesickness and nostalgia. He missed his father's garden, rivers running under little bridges, and the excitement of village festivals.

Zao Wou-ki's works from the early 1950s often have an inscription in French on the back of the canvas. On the back of this particular painting, Zao Wou-ki wrote the name "Ville chinoise" (Chinese Village).

In his autobiography, Zao Wou-ki describes his recollections of West Lake in Hangzhou: "This was a place where all the Chinese poets gathered to recite their works. As a teenager, I would come here every day, walking along the banks of the lake without ever getting tired, enraptured by the spectacle of nature changing constantly according to the time of day and with the changing of the seasons. I was fascinated by the diversity of the space on the surface of the water, by the weightlessness of the light and by how thin it seemed to be between the lake and the sky. I would spend hours watching the effect

of the wind on the calm waters, the breezes that disturbed the leaves of the birch and maple trees.

My vision of this world did not encompass any ornate bridges (although they certainly existed) or bamboo leaves fluttering down onto the surface of the clear water; what I wanted to see was the space, the way it stretched and contorted itself, and the infinite complexity of the blue in the tiny reflection of a leaf on the water." (Zao

《中國城》是趙無極1955年所創作的油畫， 正值他從非具象畫進入抽象畫的關鍵階段， 同時也是一段創造力豐沛的時期。目前世界 主要現代美術館都有珍藏趙無極1955年的油 畫︰例如英國泰德畫廊的《暴風雨前夕》、 巴黎國立現代美術館龐畢度中心的《火 災》、紐約古根漢美術館的《強風》等等。 而至今趙無極拍賣市場最高價的《向杜甫致 敬》也是這一年的作品。

Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions

在畫家的自傳裡，描述了一段他對杭州西湖 的回憶：「許多中國詩人都曾在此徜徉、吟 詠。少年時代，我每天都在湖邊流連，從不 厭倦。大自然隨著時辰的推衍、季節的嬗遞 而變化無窮。水波的瀲豔、光的靈動，水天 之間的煙嵐都使我出神入迷。我常在湖邊， 一坐數小時，守候空氣漾過平靜的湖面，風 輕搖樺樹和槭樹葉，我眼中所見不是精雕細 琢的小橋亭台、水面映照的竹葉，我要看的 是空間：空間的伸展、扭轉，和一片樹葉 在水中倒影幻化出的無窮的藍。」 （參閱趙無

Fayard, 1988 p. 26)

Zao Wou-ki's aim in his close observation of nature was not to try to copy or replicate nature, but rather to feel nature, and the spiritual space that it created. It was this urge that gave his romantic, abstract art its own unique style. The art critic Jean Leymarie suggested that Zao Wou-ki's paintings from the 1950s embodied a sense of "Chuang-tzu's Dream."

The fine tracery in his paintings displays immense variation, sometimes heavy and thick, sometimes sharp, sometimes elegant; refinement and firmness of will co-exist with one another. After the symbolic exploration of his Klee period, Zao's art entered a more poetic era, in which he found a way to fuse Chinese and Western art effectively. Inspiration from the abstract aspect of the ancient Chinese "oracle bone script" encouraged him to incorporate a more Asian spirit into his art. "Ville Chinoise", this painting from the mid-1950s, also incorporates the romantic sensibility that Zao had acquired from living in Paris; it is perhaps the gentlest, most peaceful work by Zao dating from this period. The pulsing lines threading their way through the canvas hint at the serried rows of houses, while the layers of soft colors in different shades create the effect of a "dream city," embodying Zao's beautiful memories of a distant China.

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人喜愛以詩畫歌詠江南之美好，三十歲不到 遷居法國的趙無極，在歐洲藝壇逐漸受人矚 目。然而，思鄉的情緒不免常常縈繞心頭， 他最懷念父親的花園，小橋流水，或是節慶 的村鎮。1950年代初期的作品，畫家常會在 畫背上題寫法文標題。趙無極也會這幅畫起 了一個法文畫名：Ville chinoise，意思即是 「中國的城鎮」。

極、梵思娃著、劉俐譯《趙無極自畫像》，藝術家出版 社，台北，1992初版，頁15） 趙無極《小橋流水》 羅芙奧2009秋季拍賣會，編號039，1560萬台幣成交 ZAO Wou-ki, Petit pont et l'eau coule (Small Bridge over the Stream) 1955, oil on canvas, 46 x 55 cm Ravenel Autumn Auction 2009, lot 039, US$ 485,075 sold

此次的拍品《中國城》與羅芙奧2009年秋季 拍賣的《小橋流水》，兩者堪稱姊妹之作， 年代相同，主題皆在抒發對懷鄉的情懷，憶 寫江南的旖旎風光，而且都屬於方形格局的 藍色調作品，不過《中國城》的尺幅略大一 些。 趙無極身上流有宋代皇族的血液，家族有雅 好文藝的傳統。雖然趙無極出生地在北京， 然而成長的背景都在中國南方。上海，杭 州，是他留下最多青春回憶的地方。自古文

趙無極親炙大自然、觀察大自然之餘，並非 想要忠實去呈現自然，或是複製自然，而是 以情思去感受自然，及自然所營造的心靈空 間，這是他以抒情抽象藝術見長的風格。藝 評家雷馬利（Jean Leymarie）認為，1950年 代的趙無極繪畫出傳達出莊子《逍遙遊》的 自在意境。他的纖細線條帶有多變的效果， 或濃重、或尖銳或優雅，精緻與堅毅可同時 存在。在歷經過克利時期（Klee Period）的 符號性探索，趙無極的作品進入詩的境界， 找到中西藝術融合的捷徑。而甲骨文字的抽 象啟發，開擴了他畫中的東方精神。在1950 年代中期的《中國城》一作中，趙無極添加 了巴黎帶來的浪漫感知，可謂同一年份作品 中最柔美的表現。顫動的線條，穿梭在畫布 間，暗示著櫛次鱗比的屋舍，層層的淡色暈 染，宛如夢幻的城堡，那是他對遙遠中國美 好的記憶空間。

019

SANYU (CHANG Yu)

(Chinese-French, 1901 - 1966)

Chrysanthemums with Green Leaves 1929 Oil on canvas 81 x 45 cm Signed lower right Yu in Chinese, SANYU in French and dated 1929 PROVENANCE: Henri-Pierre Roché, Paris Jean-Claude Riedel, Paris Home Gallery, Taipei Sotheby’s Taipei, April 16, 1994, lot 80 Private collection, Taipei EXHIBITED: The Exhibition of Sanyu, National Museum of History, Taipei, Oct. 14 - Nov. 26, 1995 In Search of a Homeland – The Art of San Yu, National Museum of History, Taipei, Oct. 13 Dec. 2, 2001 ILLUSTRATED: Home Collection, Home Gallery, Taipei, 1992 Antoine Chen, Overseas Chinese Fine Arts Series – Sanyu, Artist Publishing Company, Taipei, 1995, color illustrated, no. 45, p. 101 The Art of Sanyu, National Museum of History, Taipei, 1995, color illustrated, no. 8, p. 17 Masters of Chinese Painting – Sanyu, Chin Hsiu Publishing Company, Taipei, 1997, p. 26 Rita Wong ed., Sanyu: Catalogue Raisonné Oil Painting, Yageo Foundation, Lin & Keng Art Publications, Taipei, 2001, color illustrated, no. 139, p. 253 In Search of a Homeland – The Art of San Yu, National Museum of History, Taipei, Oct. 2001, color illustrated, no. 43, p. 90

HK$ 12,500,000-17,000,000 NT$ 51,250,000-69,700,000 US$ 1,640,400-2,231,000

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常玉 綠葉盆菊 1929 油彩 畫布 81 x 45 cm 簽名右下：玉 SANYU 1929 來源： 昂利．皮耶．侯謝，巴黎 尚．克勞德．希耶戴，巴黎 家畫廊，台北 蘇富比拍賣，台北，1994年4月16日，編號80 私人收藏，台北 展覽： 「雙玉爭輝」，國立歷史博物館，台北，展 期自1995年10月14日至11月26日 「鄉關何處－常玉的繪畫藝術」，國立歷史 博物館，台北，展期自2001年10月13日至12 月2日 圖錄： 《家藏》，家畫廊，台北，1992，彩色圖版 陳炎峰，《華裔美術選集─常玉》，藝術家 出版社，台北，1995，彩色圖版，編號45， 頁101 《常玉畫集》，國立歷史博物館，台北， 1995，彩色圖版，編號8，頁17 《中國巨匠美術周刊─常玉》，錦繡出版 社，台北，1997，頁26 衣淑凡編，《常玉油畫全集》，國巨基金 會、大未來藝術出版社，台北，2001，彩色 圖版，編號139，頁253 《鄉關何處－常玉的繪畫藝術》，國立歷史 博物館，台北，2001年10月出版，彩色圖 版，編號43，頁90

Sanyu was one of the first generation of outstanding Chinese artists going to France to study and pursue a career as a painter.

His elegant yet unrestrained style made him particularly stand out among his many talented peers. His works were shown in numerous important salon exhibitions in France, and he was counted as one of the Ecole de Paris ("School of Paris").

In 1932, Sanyu's name even appeared in the third volume of preeminent arts publisher Art et Editions' "Dictionnaire biographique des artistes contemporains 1910-1930". In a time and age when racial prejudice was still very widespread, it was no small feat for a Chinese painter to make it into a biographical encyclopedia of internationally acclaimed artists-Sanyu was in fact the first Chinese artist to be thus honored, and this was certainly no accident.

Many other Eastern artists who came to France with the first wave of foreign students described Sanyu as already having the air and reputation of a great master, even in his early years. But at the same time, his rather reckless and dissolute character, and his unwillingness to break his back to do something as "trivial" as earning his daily bread, meant that in the end he died a poor man in a foreign country. Wu Guanzhong, one of the doyens of modern Chinese painting, met Sanyu once in Paris. He has words of high praise for his fellow painter, calling him a "true artist," and rating him much higher than, say, Pan Yu-liang or Xu Beihong. Wu on Sanyu, "His paintings are quite good, really. They have style, and they have character. I'd say that among all the Chinese oil painters who developed their career in the West, Sanyu deserves the place of honor."

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常玉《雙裸女》羅芙奧台北2010春季拍賣會，編號149 SANYU, Two Pink Nudes, 1929, oil on canvas, 81 x 55 cm Ravenel Spring Auction 2010 - Taipei, lot 149

In Wu's opinion, Sanyu's brushwork is similar to the traditional Chinese "freehand" style, but his sense of shape and color, and the general structure of his compositions, are largely rooted in modern Western concepts.

Today, there is no doubt that Sanyu is one of the most distinguished members of the first generation of modern Chinese-origin oil

painters. The aesthetic appeal of his work surpasses the boundaries of time and space, and to this day his paintings remain among the favorite objects of many collectors' d e s i r e . I n c i d e n t a l l y, S a n y u ' s aesthetics are clearly indebted to the Chinese cultural tradition, even though most of his output has been in Western genres and formats, in particular oil painting, watercolor, sketch/ drawings and prints. Born in Nanchong in Sichuan Province, China, he was first instructed in calligraphy and painting by his father, Chang Shu-fang. At about the age of 12, Sanyu began to display his extraordinary talent, much influenced and inspired by his father's work. Chang Shu-fang had quite a reputation for his exquisite animal painting, especially his depictions of lions and horses. Possibly as a result of this, and a subtle form of paying respect to his father, landscape compositions featuring horses as the dominant theme run through Sanyu's entire oeuvre. The seeds of traditional Eastern art would continue to sprout and bear fruit throughout his whole life, even though he spent most of it as a stranger in strange lands. Although he roamed in the Western world, the basics of his art are unmistakably pervaded by a Zen-like rhythm, an almost mystical vibrancy that shows in his lines, brushwork, compositional and spatial arrangements, as well as his use of color. Though he chose to make Europe his permanent abode, the core of his work is yet brimming with the essence of Chinese culture.

When he was still a young man, his father arranged for Sanyu to study calligraphy under the famous Sichuan master Zhao Xi (18771938). Zhao Xi's poetry, calligraphy, and painting (the three of which were considered to be an integral unit in classical Chinese art) enjoyed wide renown across the country, and some of his art (mostly calligraphy) is preserved in the temples, steles, and other historical relics of Sichuan Province. Under the tutelage of this master, the foundations of Sanyu's aesthetical education were laid, with a strong emphasis on grace, elegance and beauty. With the blessing and encouragement of his father, Sanyu embarked on his journey as an aspiring artist. Moving to Shanghai, he received much visual stimulation from the folk art designs of the advertising billboards, posters, and calendars one could encounter everywhere in the big city.

Another influence on Sanyu were the flower painting styles of the Shanghai and Jinshi schools, and the artist in particular absorbed the classical tradition of artists like Shi Tao (16421718) and Chu Ta (1626-1705) and incorporated them in his own stylistic repertoire.

Between 1918 and 1919, Sanyu visited his second brother in Tokyo, where he spend more than a year and managed to have some of his calligraphy published in Japanese art magazines—an indication that at this point in his career, he had already reached a considerable degree of skill and maturity in the traditional Chinese genres. While not many of Sanyu's calligraphic works are extant today, one can catch more than a glimpse of his fluid brushwork and assured elegance in his early Paris nude female sketches: his technique is impeccable, his compositions all of a piece, done in one go without later corrections or changes. This near perfection, praised and envied by many of his contemporaries, also became a hallmark of his

oil paintings, where he employed the lively yet abstract lines of calligraphy to draw the contours of human bodies, animal shapes, still lifes, and flowers.

Sanyu's preferred motifs were female nudes, lowers and other still lifes, animals, and a small number of landscape paintings. He never tired of these themes, and especially pictures of flowers and plants make up a large portion of his oeuvre. His favorites were the classical subjects of Chinese painting, plum blossoms, bamboo, lotus, and chrysanthemums. Among these, he particularly loved chrysanthemums, and consequently they frequently appear in his flower painting, messengers of a deeply felt nostalgia that is yet never more than hinted at with subtle restraint. In the Chinese tradition, chrysanthemums are symbols of a reclusive life, signifying a hermit or a poet. They stand for a spontaneous, independent spirit that has probably been best captured in Tao Yuanming's famous lines from one of his Wine Poems, "Chrysanthemums I was picking under the east hedge / When the South Range met my tranquil eyes … The soul of nature was here revealed / Too subtle it was for words." We can be sure that Sanyu shares these sentiments on a very profound level, because he reveals his views on life and genuine beauty through his depictions of lowers, using them as an outlet for metaphorically expressing the sadness and forlornness lurking immediately under the surface of his merry Paris life.

As Wu Guanzhong writes, "Sanyu was a great painter of flower stills and potted plants, and they are always blossoming in the most exquisite shapes and colors, brimming with life. Yet in truth, lowers in a vase are but beautiful blooms on stalks or branches already severed from the true sap of life— lingering on for a short

while, but doomed to fade and wither quickly.

It is a mournful sight, really, the sadness only enhanced by the sheer splendour of the subject.

The overwhelming visual density is but the result of cutting and arrangement, an effect produced by squeezing thick clusters of lowers into too small a vase or pot, thus losing all sense of natural proportions. When this happens, some have plaintively observed, one forces these delicate plants to subsist on a little water or a few crumbs of soil, cutting them off from the generous nourishment of Mother Earth. Why would Sanyu be so sensitive to these truths?

Why, his compassion and sympathy clearly derive from the fact that he was in a similar situation himself! I think he was a 'potted plant,' a 'lower in a vase,' too, a bonsai from the East transplanted to the huge garden that is Paris."

(From Wu Guanzhong, 'About Sanyu'.) Scholar-painter and writer Chiang Hsun expressed a similar

約翰．法蘭寇與常玉合照 Johan Franco and Sanyu

impression when he said that "Sanyu's life was like the flowers he painted." Looking at the lowers and their graceful yet lonely poise, we can get some idea of what the artist's inner life must have been like.

opportunity to make a name for himself in the art market. This lot, "Chrysanthemums with Green Leaves", is one of the paintings that formerly belonged to the Henri-Pierre Roché collection.

If life is indeed like a flower, then Sanyu’s career was one of the most brilliant blossoms you are likely to find. In 1928, when he was 27 years old and had already spent seven years in the City of Light, He decided that he wanted to stay here and continue to enjoy the free Bohemian lifestyle. He married Marcelle Charlotte Guyot de la Hardrouyère (born 1904), whom he had first met at the Académie de Grande Chaumière and been seeing for three years. Their marriage lasted only three years, yet they spent some happy times together. When reminiscing on their relationship more than 60 years later, Marcelle wrote about their rich spiritual and intellectual lives, "We were always with friends, and we were never bored. There were always nice things to see." She also said, "I miss Sanyu." (Rita Wong, 'Chronology,’

"Chrysanthemums with Green Leaves" is dated by the artist ("1929" in the painting’s bottom right corner) and belongs to Sanyu’s earliest batch of flower stills. In fact, records show that the artist only began to try his hand at canvas painting in that same year—whereas he previously had focused primarily on pencil and charcoal sketches of persons, Chinese ink-and-wash paintings, and sometimes watercolors. Since the early twenties, Sanyu was considered to be a member of the École de Paris, and his work was regularly displayed at various salon exhibitions. Sanyu was a free spirit who mingled effortlessly, and struck up many friendships with the artists and intellectuals he met in the numerous cafés and bistros of Paris. A romantic at heart, he was never one to let his creative urges be stifled by formalism or conventions. Yet while he gave free rein to his artistic impulses and predilections, he also observed the styles and techniques of other artists, and incorporated anything that he found useful or appealing into his own approach. The 1920s are known as the "Roaring Twenties" (or, in France, "les années folles"), but the exhilarating wildness and bohemian decadence of the era were tempered by the spirit of Greek classicism and humanism, which pervaded everything and exerted a subtle influence on some of Sanyu’s work. Examples of this can be seen in decorative

Sanyu: Catalogue Raisonné Oil Painting)

In 1929, Sanyu made the acquaintance of renowned art dealer and collector Henri-Pierre Roché, who was also a respected journalist and novelist. In his capacity as a connoisseur and patron of the arts, Roché had previously helped to discover the likes of Marie Laurencin, Georges Braque, Constantin Brancusi, Marcel Duchamp, and Ebihara Kinosuke. He was immediately enamored of Sanyu’s work, and although their cooperation

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常玉《青花盆與菊》 3482萬港元（約1億4624萬台幣）成交 SANYU, Potted Flowers in a Blue and White Jardiniere c. 1950s, oil on masonite, 91 x 62 cm, HK$ 34,820,000 sold

was comparatively short-lived, there can be no doubt that Roché saw great potential in his latest protégé. He bought a number of Sanyu’s paintings for his own collection, treasuring them all his life. In economic terms, the late twenties were hard times, and Sanyu was fortunate in finding a sponsor who could give him an

patterns the artist sometimes employs, or his penchant for two-dimensional compositions.

Generally, Sanyu’s oeuvre shows a marked tendency towards simplicity and conciseness.

He usually limits his palette to relatively few colors. Around 1930, his oil paintings exhibit an affinity for shades of white and pink, with the occasional dash of black, a combination often regarded as a typically Parisian "romantic style." For all the much-praised terseness of his approach, Sanyu’s paintings are not devoid of grandeur and elegance. Quite the contrary! Flippancy is not Sanyu’s style, and his flamboyance is never carried to gaudy extremes. Coming from a distinguished and wealthy family, he had something of a playboy about him, and he certainly knew how to have a good time. But there was another side to this bon vivant: deep down inside, Sanyu was a devoted artist, and in the final consequence, he was not overly concerned with fame and riches. "Chrysanthemums with Green Leaves" is a representative piece from the artist’s late twenties to early thirties period. The background is mostly kept in pastel whites, with hints of blue intimating space and depth.

The chrysanthemums, executed with particular care, are brimming with an understated beauty that is both refined and down-to-earth: an impression that is further enhanced by the lush green leaves and stalks, standing out particularly vividly against the white backdrop and the pink-and-white blossoms. As a whole, this lot is overflowing with a sense of serene happiness blended with inspirational vigor, as epitomized by the pastel chrysanthemums reaching right to the top of the painting.

Sanyu’s character is clearly mirrored in his flower stills, a unique mixture of aloofness and indulgence, of dynamic individualism and a touch of intellectual pride—all in all, a miniature reflection of his experiences in Paris, a city steeped in artistic and cultural traditions. We should not forget that for a Chinese painter in the early 20th century, it was by no means a small feat to not only survive, but also succeed and prosper in a strange land far away from home.

However, Sanyu certainly rose to the challenge, and the splendor of his creative genius was

such that even when he was painting "just a few flowers" in gentle pastel hues, the result was a picture sparkling with joie de vivre and brilliant poise.

常玉是中國第一代留法的傑出美術家，優 雅、自由的繪畫風格，在同代藝術家中顯 得十分突出，作品曾多次入選法國重要沙 龍展，被視為「巴黎畫派」的成員之一。 1932年時，常玉的名字還曾被刊載於巴黎藝 術出版社所發行的《1910－1930當代藝術家 生平辭典》第三卷。在種族偏見仍深的年 代，中國人的名字首度登錄國際性的美術家 生平辭典，絕非僥倖可獲致。 早年多位留法的藝術家提起常玉，直言他 當年已有大師級的名氣，只是放蕩不羈的 性格，拒絕為五斗米折腰，晚年窮困客死異 鄉。曾在巴黎與常玉有一面之雅的老畫家吳 冠中，讚揚常玉是真正的藝術家，認為其藝 術遠在潘玉良、徐悲鴻等人之上，他曾說 道：「常玉的畫相當不錯，有格調，有性 格，我覺得中國人畫油畫到西方去的，常玉 是第一個。」在他的觀察，常玉的油畫近乎 寫意，但形與色的構成仍本於西方現代造型 觀念。

常玉《藍底瓶花》 羅芙奧2009秋季拍賣會，編號102，5984萬台幣成交 SANYU, Vase of Flower with Blue Ground 1956, oil on canvas, 72.4 x 46.4 cm Ravenel Autumn Auction 2009, lot 102, US$ 1,860,697 sold

在第一代中國油畫家行列裡，常玉無疑是非 常突出的一位，具有超越時空的美學魅力。 至今，他仍是許多藝術收藏者的最愛。儘管 今日常玉留世的作品以油畫、水彩、素描、 版畫等西方創作形式為主，但他的的美學內 涵與中國文化其實深不可分。出生於中國四 川南充的他，受到父親常書舫的書畫啟蒙， 12歲即展露藝術的才華。常書舫以獅、馬等 動物繪畫聞名南充，潛移默化了常玉。在常 玉從早期到晚期的作品中，經常以風景畫中

的馬為創作主題，頗有幾分向父親致敬之 意。傳統藝術的因子，一直藏在飄浪性格藝 術家常玉的創作血液之中，不論是線條、筆 法、構成空間、色彩運用，還有繪畫中透露 的禪意與神韻，雖然身在歐洲，但筆下的靈 魂，滿溢著中華文化的影響。 少年常玉在父親的安排下，曾跟隨四川名書 法家趙熙（1877-1938）習字。趙熙的詩書 畫名聞遐邇，墨跡存於四 川名勝古蹟間。在其優雅 的藝術涵養與尚美的情操 薰陶下，常玉頗受感召， 得到父兄的許可與鼓勵之 下，走上藝術之路。他轉 赴上海生活，接收了廣告 月份牌和宣傳海報圖式的 民間藝術的視覺刺激， 當時盛行的海上畫派、金 石畫派等花卉的表現技 法，傳承自石濤、八大山 人等藝術古風，對後來常 玉的繪畫思維起了一定的 影響，奠定藝術養分之基 礎。 1918至1919年間，常玉到 東京探望二哥，停留一年 餘，期間傳有其書法作品 刊載於日本藝術雜誌，足 見當時常玉已有中國書藝 之相當基礎。雖然後來存世的常玉書藝創作 不多，但寫得一手好字的常玉，在巴黎時初 期以毛筆速寫裸女，功力一流，經常一氣呵 成，不需太多思索，往往引起其他畫家的讚 嘆。後來他也透過油畫，也把書法的功力展 現於人體、動物、靜物、花卉姿態等線條 上。 就創作的主題來看，常玉多選擇女體、花 卉、靜物、動物及少數的風景，並樂此不

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疲。其中「花卉」的題材在常玉一生創作中 佔有極大的比重，多以描寫中國傳統書畫中 常見的梅、竹、荷、菊，其中尤其偏愛畫 菊。「菊」，經常出現在他的花卉畫裡，隱 藏著濃濃的鄉愁記憶。菊是花中隱士，也是 詩人的象徵。陶淵明的「採菊東籬下」的優 雅，想必在常玉心裡有深刻的了解。他的生 命價值觀與美學思考，透過花卉畫的描寫抒 發，彷彿也想藉由花的姿態暗寓自己漂泊異

得常玉自己就是盆景，巴黎花圃裡的東方盆 景。」 （節錄自吳冠中〈說常玉〉一文） 美學家蔣 勳也從常玉的花卉畫裡讀出「此生如花」的 聯想，認為花卉的姿態反映出藝術家的自我 人生。 此生如花的聯想，回顧常玉的一生確實已是 一則傳奇。1928年常玉27歲，來到巴黎已有 7年光陰，他非常享受巴黎自由的人生，打 算常駐於此。那一年他與 大茅屋工作室（Académie de Grande Chaumière）結 識而交往三年的法籍女 同學—瑪素．哈祖尼耶 （Marcelle Charlotte Guyot de la Hardrouyère, 1904） 結婚，雖然後來婚姻僅維 繫三年，但兩人的確渡過 一段快樂的日子。60多年 後，瑪素回憶起那段精神 生活充實的時光，她曾寫 道：「我們總是跟朋友們 在一起，從不感到沈悶。 身邊永遠有美好的事物可 供欣賞。」「我懷念常 玉。」 （參閱衣淑凡著《常玉油 畫全集》生平年表）

常玉（右前）與法國友人聚會合影，約1925年 Sanyu (right, front row) and his French friends, c. 1925

鄉的身軀。 吳冠中曾寫道：「常玉畫了那麼多盆景，盆 景裡開出綺麗的繁花，生意盎然；盆景裡芶 延著凋零的殘枝，悽悽切切，卻鋒芒畢露。 由於剪裁形式構成的完整飽滿，濃密豐厚的 枝葉花朵往往種植於顯然不成比例的極小花 盆裡，有人慨嘆那是由於失去大地，只依靠 一點點土壤成活的悲哀。這敏銳的感觸，這 意味深長的慨嘆緣於同命運的相憐吧！我覺

1929年常玉結識了巴黎重 要的藝術收藏家與畫商侯 謝（Henri-Pierre Roché）， 侯謝同時也是一位知名的小說家兼畫商， 曾經慧眼發掘羅蘭珊（Marie Laurencin）、 布拉克（G e o r g e s B r a q u e）、布朗庫西 （Constantin Brancusi）、杜象（Marcel D u c h a m p）、海老原喜之助（E b i h a r a Kinosuke）等現代藝術家。侯謝對常玉的畫 作一見傾心，合作時間雖不長，但他的確把 常玉視為潛力藝術家，並收藏一批畫作直至 晚年。當時歐洲經濟仍艱困的年代裡，常玉 的繪畫得以進入藝術市場，可說是難得的機

會。而此幅《綠葉盆菊》油畫過去也曾是侯 謝的收藏品之一。 《綠葉盆菊》的畫面右下方有常玉題具的 1929字樣，是常玉最早出現的一批花卉油 畫。根據文獻資料，1929年常玉才首度以帆 布（canvas）來作畫。在此之前，多數為鉛 筆、炭筆、毛筆速寫的人物素描，以及數量 不甚多見的水彩畫。整個1920年代，常玉也 是巴黎畫派（Ecole de Paris）的成員之一， 經常參選藝術沙龍展，平日出入咖啡廳、酒 吧，與巴黎藝文圈人士交誼。天生的藝術家 流浪性格，想像與創作不受拘束，他也觀察 當時各家各派的繪畫風格，1920瘋狂年代古 典風格復辟，對於他的繪畫也產生若干的影 響，如裝飾性圖紋、構圖平面化形式等。 大抵而言，常玉的繪畫傾向於極簡主義， 用色不多，1930年代前後他的油畫作品多 採白色、粉紅淺色調，偶而加上黑色，屬於 巴黎特有的浪漫風情。不過雖然畫面的構成 簡單，然而常玉表現出來的氣息卻是富貴而 華麗的，沒有輕挑俗氣之感。他出身富庶家 庭，出入流露紈褲子弟的習性，卻又淡泊名 利。以《綠葉盆菊》作品為例，粉白的背景 裡，藍色暗示出地面的空間，常玉仔仔細細 地畫上許多粉菊，姿態優雅娟秀，花間襯著 茂密的綠枝、綠葉，整幅作品洋溢幸福的氣 氛，粉菊向上生長延展，給人生機勃勃的感 受。 常玉的花卉靜物畫顯現出他的性格，不媚世 俗，我行我素，有幾分文人的傲氣，反映出 他在巴黎的人生經驗。20世紀初，華人生活 在異鄉的土地，何其不容易，當然要綻放光 華，即使是粉色的小花，也要開得艷燦、自 信。

020

JU Ming

(Taiwanese, b. 1938)

Single Whip 1988 Bronze, edition no. 4/6 265(L) x 118(W) x 157(H) cm Engraved on the back Ju Ming in Chinese and English, dated 88 and numbered 4/6 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation Juming Museum.

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HK$ 9,500,000-15,000,000 NT$ 38,950,000-61,500,000 US$ 1,246,700-1,968,500

朱銘 單鞭下勢 1988 銅雕 4/6 265(長) x 118(寬) x 157 (高)cm 簽名雕刻背面：朱銘 Ju Ming '88 4/6 附財團法人朱銘文教基金會 朱銘美術館作品鑑定報告書

Ju Ming was born in 1938 in Tunghsiao, Miaoli County, which is a center of wood carving in Taiwan. He received very little formal education in the arts, and at the age of 15, he was apprenticed to Lee Chin-chuan, a famous traditional master woodcarver. When he was 30, he decided to give up a well-paid position as a chief craftsman in a large woodcarving factory. He left Miaoli to study sculpture with the master sculptor Yuyu Yang with whom he studied for eight years. Yang suggested to Ju Ming that he take up Taichi boxing, the traditional Chinese boxing, as he had a frail constitution, and it would help him to improve his health.

Ju Ming soon discovered that practicing the ancient 'martial art' did more than just make him stronger: it gave him much food for thought and opened up profound new vistas for his creative work. Ju gained firsthand experience of the aweinspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his Taichi series, a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and to pour it into his creations that transcend language and geographical barriers.

In 1978, Ju Ming had his second exhibition at the Central Art Museum in Tokyo, and his "Taichi Series" attracted international attention for the first time. A monumental bronze "Single Whip" was collected by the Hakone Open-Air Museum, which features works from worldrenowned artists including Henri Moore and Picasso. His "Taichi Series" began a new direction in his creativity. A forerunner of the series, a woodcarving of a Kung Fu fighter

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graphic arts, the "Taichi Series" is very ‘urban' but its energy and force is from nature. The works visual effect is of the dynamic conquering the static material, creating an excitement that is immediately apparent to the viewer.

The sculptures are totally modern yet imbued with primitive life forces.

漢查森藝廊，紐約

Max Hutchinson Gallery, New York

had been shown in the 1976 exhibition in Taipei which launched his fame. This carving displayed the basic pose of the "Single Whip" series.

For Ju Ming, the "Taichi Series" is the starting point of his own unique style. He expresses the vital inner force discovered in Taichi boxing in a form that immediately resonates with a profound understanding of the energy within. In the "Taichi Series", Ju creates a tension between geometric abstract forms which bring forth the active and forceful postures of the figures. This, along with the contrast between the dynamic poses and the static material, and the rough and terse finishes create a rich rhythm in the works. The sculptures also play with a colorful effect of change between light and shadow. In "Single Whip", Ju Ming found his own voice and creates works of tremendous vitality and irresistible power as he explores the pure energy of traditional Taichi boxing.

The "Taichi Series" integrates the traditional concepts of sculpture with a new an exciting ‘capturing' of nature and energy. The works are created for public display in a public space and bring a very humanistic prospect to urban life.

With its unique visual symbols and sculptural

"Single Whip" is internationally the most well known of Ju's "Taichi Series". Taichi boxing seems to be quiet and powerless, however it combines the many contradictions of life. It is the Yin and Yang of traditional Chinese thinking. As a response to reality it involves activity and quietness, rigidity and fluidity. The posture causes the body to balance between both action and stillness, bringing quietness and peace to the practitioner.

Ju Ming created many pieces of the "Single Whip" which all have the same name. However, each piece is unique as it captures a different manner and imposing appearance. Taichi boxing stresses uniform, slow, soft, and round movements, creating very aesthetic poses, but these poses will all have different dynamics with different people practicing them. So, each individual work has a unique vitality imbued with its own life force.

The present piece, "Single Whip" made in 1988, is an early work from the series and was made in a limited edition of 6, measuring 265cm long and 157cm high, similar in size to the piece collected by the Hakone Open-Air Museum in Japan. This is an extremely rare opportunity to have it offered in auction.

Currently, monumental bronzes of "Single Whip" can be found in many museums and public collections, including Japan's Hakone Open-Air Museum (created in 19771978, around 150cm high), Bank of China

in Central Hong Kong, Exchange Square in Hong Kong (created in 1986, 280cm high), and Taiwan's Juming Museum (created in 1986, 467x188x267cm; created in 1999, 185.5x94x123cm).

朱銘1938年出生於台灣的苗栗縣通宵 鎮，早年未接受完善的美術教育，15歲時 跟隨李金川師傅學習傳統木雕技藝。30歲 時，他放棄在大雕刻廠首席師傅的高薪， 離開故鄉，向雕刻大師楊英風學藝術現代 雕塑，為期八年。當年朱銘身體瘦弱，楊 英風建議他修習太極拳養身。練太極拳原 本僅為了強身，然而領悟力極強的朱銘， 卻從中體會到思想與心靈 上的奧妙。

在朱銘眼中，「太極系列」才是他個人風 格的代表，而他所要表達的那份生命力， 是由內而外，而非由外而內。太極拳看似 柔軟無力，實則陰陽相生、柔中寓剛、剛 柔並濟、動靜相隨，它以架勢誘導身體產 生調和動作的均衡，氣體運行，而達平與 靜的效果。太極拳講究勻、慢、柔、圓， 充分體現美學思想，宛如同不同的人練太 極同一招式時，會展現不同的力度。因 此，當朱銘在雕塑每一件太極時，也賦予 他們獨特的生命力。 朱銘在「太極系列」創作同時參照、融合 架上雕塑與空間環境雕塑，引進現代雕塑 的新觀念。朱銘的雕塑作品為現代化的公

以太極拳調養與修行期 間，朱銘體會到自然萬 物、大氣運作的能量與蘊 涵，內化為個人思想體系 後，漸表諸於雕刻創作 上。於是，氣勢磅礡的快 意大作「太極」系列，便 在朱銘的領悟與體會下以 藝術創作成形，「太極系 列」雕塑的抽象意涵，將 中國文化傳統化為超越語 言、國界的藝術創作。 1978年，朱銘二度赴日 本東京中央美術館舉辦展 覽，他的「太極系列」也 首度在國外發表。其中一 件高150公分左右的《單鞭下勢》銅雕， 後來為日本箱根雕刻之森美術館典藏，它 是日本第一座戶外美術館，以展出並收藏 二十世紀藝術大師如畢卡索與亨利摩爾等 人傑作聞名國際。「太極系列」也為朱銘 的創作生涯開闢了另一個旅程。其實在此 之前，朱銘曾在1976年台灣國立歷史博 物館的個展中發表一件名為《功夫》的木 雕，它可說是「太極系列」的真正發端， 而《功夫》木雕人像所採取的姿態正是 「單鞭下勢」。

漢查森藝廊，紐約

Max Hutchinson Gallery, New York

共空間賦予廣闊的視覺創造以及經典人文 圖景。其中尤以「太極系列」之獨特的視 覺符號和雕塑形態，成為都市生活的互補 和自然造化的延伸。作品形成以靜制動的 視覺張力，震撼人心的體量感，具有特定 的時代感召力，富有當代審美精神的想像 和陶冶。 連結了幾何化抽象體面以及人物動勢造 型，「太極系列」雕塑在三度空間語言中 動與靜、粗放與簡潔的對比，形成豐富有

致的節奏變化；雕塑在光線和陰影之中形 成有層次的變化效果。而在巨型《單鞭下 勢》銅雕中，朱銘憑藉著自身的閱歷與判 斷，將人們熟知的太極文化，以及相關的 拳術套路轉化為一種藝術形式，從以往的 意象架構中脫離出來，讓人生動地感覺出 單鞭即下的大器、力沉與勢不可擋。 「單鞭下勢」，無疑是朱銘「太極系列」 作品中最為人熟知的造型。從1970年代 後期開始，朱銘雕刻過多件《單鞭下勢》 銅雕，名稱雖然相同，但其神態、氣勢不 同，各有千秋，極具視覺張力及造型美 感。不過，如同此件1988年的戶外大型 《單鞭下勢》，數量無多，該版次僅限 量六件，寬度有 265公分，高度 157公分左右， 接近日本雕刻之 森美術館所收藏 的朱銘銅雕規 格。造型姿態漂 亮，在拍賣市場 稀有少見。 類似戶外型「單 鞭下勢」銅雕鑄 件已廣獲博物館 與基金會機構收 藏，例如最早的 日本雕刻之森美 術館（約19771978年作，高 150公分）、香 港中國銀行大 樓、香港交易廣場（1986年作，高280 公分）及台北縣的朱銘美術館（1986 年作，467x188x267公分；1999年作， 185.5x94x123公分）等，為世人熟知的 公共空間收藏範例。

021

LIN Fengmian (Chinese, 1900-1991)

Oriental Beauty with Fan c. 1950s, ink and color on paper, 70 x 67 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist ILLUSTRATED: Lin Fengmian, Shanghai Fine Arts Publishing House, Shanghai, May 1997, color illustrated, p. 23, (titled "Lady") EXHIBITED: Exhibition for Celebration of the Reunification of Hong Kong with China, National Art Museum of China, Beijing, 1997

HK$ 2,000,000-2,800,000 NT$ 8,200,000-11,480,000 US$ 262,500-367,500

林風眠 東方美人 約1950年代 彩墨 紙本 70 x 67 cm 簽名右下：林風眠 鈐印右下：林風瞑印 圖錄： 中國藝術大展組織委員會編，《中國藝術大 展作品全集—林風眠卷》，上海書畫出版 社，上海，1997年5月，彩色圖版，頁23， （畫題為《仕女》） 展覽： 「慶祝中國政府恢復對香港行使主權；中國 藝術大展：林風眠作品展」，中國美術館， 北京，1997

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"Oriental Beauty with Fan" is a 1950s belle painting by Lin Fengmian. Utilizing symmetrical composition, a court lady with a topknot sits in the center of the picture. Painted in rich and harmonious colors, the background is decorated with flowers and floral patterns.

Lin Fengmian's paintings combine Chinese and Western styles. Impressionist colors and lighting, Modigliani's figures, and Matisse's fauvist decorative style all influenced his figure paintings to some extent, while Han dynasty tombstone carvings, porcelains, lacquerware, murals, shadow puppetry and other folk arts of ancient China silently nourished him. It is truly a rare achievement that Lin's early belle paintings closely followed the traditional, yet remain distinct from the works of other Chinese or Western painters while retaining his own unique aesthetic style.

The sketching and coloring of "Oriental Beauty with Fan" emphasizes a strict symmetry. The court lady looks dignified and demure; the way she lowers her head and holds the fan reminds us of the elegance of Guan Yin. The dark coloring of the figure appears to have been influenced by the Dunhuang murals. His use of layered colors and meticulous application together create the splendid texture of an ancient mural. Art critic Lang Shaojun believes that Lin may have seen Chang Dai-chien's copies of the Dunhuang murals when he took refuge in Chongqing in the 1940s. During the 1940s and 1950s, Lin did several figure paintings relating to Dunhuang and gradually developed the classic form featured in his later belle paintings.

Lin Fengmian once wrote in a letter to his student, "If you have the chance to view the murals in the Dunhuang Grottoes, you will witness the greatest artworks of the East. They are an ideal that many European masters, like Gaugin, pursued but failed to attain. I have been pursuing this ideal for so long, one that seems very easy but is actually difficult to attain.

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The flat color application between two lines and the gradation of mid-tone colors are a feat almost unachievable by human hands. I dream of achieving this when I paint the human form."

Lin's romanticism and ideals are expressed in his belle paintings, and the "Oriental Beauty with Fan" represents Lin's pursuit of classic beauty and eternal art.

《東方美人》為林風眠1950年代仕女畫，採 均衡式構圖，梳髻仕女端立畫面中央，背景 左右有花卉、圖紋等裝飾，色彩濃郁、和 諧。林風眠的繪畫兼容中西，西方印象派的 色彩光影，莫迪里亞尼（Modigliani）的人 物造型、野獸派馬蒂斯（Matisse）的裝飾風 格，對其人物畫形塑有一定的啟發；而古老 中國的漢碑、瓷器、漆器、壁畫、皮影戲等 民間藝術則默默滋養了他。林風眠的早期仕 女畫接近傳統，卻又不類同於任一位中西畫 家，保有自己獨特的美學風格，殊為難得。 《東方美人》的勾勒填色講求嚴謹對稱， 仕女造型端莊嫻靜，低首、持扇的姿態， 令人聯想起白衣大士的優雅。人物黝黑的色 彩處理，應是受到敦煌壁畫的影響，層層敷 色細細描塗，營造出古壁畫的斑斕質感。藝 評家郎紹君認為，1940年代林風眠避居重慶 時可能看過張大千臨摹的敦煌壁畫。後來 1940-50年代左右林風眠繪過幾幅與敦煌相 關的人物畫，逐漸探索出後期仕女畫的典 型。 林風眠在一次寫給學生的信中提及：「你偶 然見到敦煌石室的壁畫，那是東方最好的美 術品，許多歐洲大畫家理想中所追求而沒有 得到的東西，高更（Gaugin），就是最明顯 的例子．我追求這東西好久了，看起來很簡 單，但是畫起來真不容易，兩線之間的平 塗，中間色的度數，幾乎是人手不能畫出來 的。畫人體時，我就夢想這種東西。」《東 方美人》表現出林風眠對美人典型與永恆藝 術的追求，藉由仕女畫創作亦抒發出其浪漫 情懷與理想。

022

WU Guanzhong (Chinese, b. 1919)

Hometown 1980s Ink and color on paper 44 x 68 cm With two seals of the artist ILLUSTRATED: WU Guanzhong Collection, Der-Yi Art Company, Hong Kong, 1988, color illustrated, pp. 98-99

HK$ 1,100,000-1,700,000 NT$ 4,510,000-6,970,000 US$ 144,400-223,100

吳冠中

"Hometown" created in the 1980s, is a superb example of Wu Guanzhong's "Hometown" series. Portraying a typical village in the south of China, the houses are depicted with black tiles and white walls, reminiscent of Chinese calligraphy, and with water flowing under willow trees in spring, it is highly evocative of Chinese traditional painting.

故鄉 1980年代 彩墨 紙本 44 x 68 cm 鈐印右上：八十年代 鈐印左下：吳冠中印 圖錄： 《吳冠中畫集》，德藝藝術公司， 香港，1988，彩色圖版，頁98-99

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Wu Guanzhong, throughout his life, painted wonderfully expressive images of his hometown. And especially from 1981, after he had returned to his hometown of Yixing in Jiangsu Province, where he spent a month sketching his old haunts. From the series, a very clear and deep feeling of nostalgia emanates from every brushstroke. In our present work "Hometown", Wu's deep connections with his childhood village are wonderfully captured in every brushstroke of the black tiles and white walls, the little bridge over the flowing stream, the spring willows and the soaring swallows.

All of these beautiful scenes are captured and depicted gracefully. We can imagine that Wu had a wonderful childhood in the countryside, which left him with such unforgettable and

lifelong memories. We are also fortunate that he chose to share these memories with us in such an evocative and emotional way, creating for us a cherished picture of a village in Southern China.

創作於80年代的《故鄉》是一幅典型的「故 鄉」系列作品。白牆黑瓦、春柳流水，上鈐 「吳冠中印」一方。 有哪個藝術家像吳冠中一樣孜孜不倦地表現 兒時的故鄉。這股鄉愁被他轉化成畫筆下的 白牆黑瓦、小橋流水和春柳飛燕等美景，被 他抒發成文筆下的曼妙文字。很難想像，一 個人的童年要過得多麼美好，才至於如此不 願意忘懷。也正因為他的不願意忘懷，成就 了其個人藝術創作的亮點，也成全了無數藝 術愛好者的欣賞點。 「故鄉」是吳冠中作品中最常被表現的題材 之一。早在1981年，吳冠中就回到江蘇宜興 老家開始為期一個月的寫生，目的是「表現 童年最親切的故鄉情調」。在此之後，吳冠 中創作了一系列懷鄉作品。這個系列的作品 如此經典，以至於一想到江南和故鄉，吳冠 中創作的「故鄉」形象便躍然心上。

023

YE Jianqing (Chinese, b. 1972)

Snow Scene II 2004 Oil on canvas 180 x 95 cm Signed on the reverse Ye Jianqing in Chinese, dated 2004 PROVENANCE: iPreciation Gallery, Singapore This painting is to be sold with a certificate of authenticity signed by the artist.

HK$ 60,000-100,000 NT$ 250,000-410,000 US$ 7,900-13,100

葉劍青 雪景 II 2004 油彩 畫布 180 x 95 cm 簽名畫背 : 葉劍青 於2004年 來源： 誰先覺畫廊，新加坡 附藝術家親筆簽名之原作保證書

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024

LIN Fengmian (Chinese, 1900-1991)

Lady Ink and color on paper 33 x 33 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist

HK$ 120,000-200,000 NT$ 490,000-820,000 US$ 15,700-26,200

林風眠 仕女 彩墨 紙本 33 x 33 cm 簽名右下：林風眠 鈐印：林

025

ZHANG Donghong

張東紅 花

(Chinese, b. 1967)

Flower 2005 Oil on canvas 150 x 110 cm Signed lower center Donghong in Chinese and dated 2005

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ILLUSTRATED: Zhang Donghong, Yan Club Arts Center, Beijing, 2005, color illustrated

2005 油彩 畫布 150 x 110 cm 簽名中下：東紅 2005

HK$ 55,000-95,000 NT$ 230,000-390,000 US$ 7,200-12,500

圖錄： 《張東紅》，仁藝術中心，北京，2005，彩 色圖版

026

CAO Jingping (Chinese, b. 1972)

Rust 2005 Acrylic on canvas 180 x 150 cm Signed lower left Jingping in Chinese, dated 2005

HK$ 70,000-100,000 NT$ 290,000-410,000 US$ 9,200-13,100

曹靜萍 鏽蝕 2005 壓克力 畫布 180 x 150 cm 簽名左下 : 靜萍 2005

027

Xin Haizhou (Chinese, b. 1966)

Sleep Series 1996-1997 Oil, charcoal, tempera on canvas 180 x 150 cm Signed lower right Hai Zhou Xin in English and dated 96-97.10

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Titled on the reverse Sleep in Chinese, size 180 x 150 cm, media oil, charcoal, tempera, on canvas, signed Xin Haizhou in Chinese, and dated 1996.1-1997.10, Chongqing China in Chinese

HK$ 150,000-220,000 NT$ 620,000-900,000 US$ 19,700-28,900

忻海洲 睡眠 (4人) 1996-1997 油彩 炭鉛筆 膠 畫布 180 x 150 cm 簽名左下：Hai Zhou Xin 96-97.10 簽名畫背：標題：《睡眠》180 x 150 cm 材 料：布面油畫，炭鉛筆，膠 作者：忻海洲 創作時間：1996.1-1997.10. 地點：中國．重慶

028

WANG Luyan (Chinese, b. 1956)

Bird Cage 2004 Acrylic on canvas 220 x 110 cm Signed lower center WANG Luyan in English

HK$ 200,000-280,000 NT$ 820,000-1,150,000 US$ 26,200-36,700

王魯炎 鳥籠 2004 壓克力 畫布 220 x 110 cm 簽名中下 : WANG Luyan

029

LI Zhanyang (Chinese, b. 1969)

Phenomenon of the World (V) 1999 Bronze, edtion no. 3/3 28(L) x 20(W) x 25(H) cm This sclpture is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery, Hong Kong.

HK$ 42,000-60,000 NT$ 170,000-250,000 US$ 5,500-7,900

李占洋 人間萬象之五 1999 銅雕 3/3 28(長) x 20(寬) x 25(高) cm 附香港季豐軒畫廊開立之原作保證書

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030

QU Guangci (Chinese, b. 1969)

City Lovers - Spring 2000 Bronze, edition no. 6/7 30(L) x 18(W) x 74(H) cm

This sclpture is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery, Hong Kong.

HK$ 60,000-100,000 NT$ 250,000-410,000 US$ 7,900-13,100

瞿廣慈 都市戀人—春 2000 銅雕 6/7 30(長) x 18(寬) x 74(高) cm 附香港季豐軒畫廊開立之原作保證書

031

JIAO Xingtao (Chinese, b. 1970)

Green Bust 2006 Enamel paint on bronze, edition no. 5/6 63.5(L) x 38.1(W) x 73.6(H) cm Signed Jiao Xingtao in Chinese and numbered 5/6 EXHIBITED: Face East: Contemporary Chinese Art, Robinson Gallery, Denver, January 10 to March 1, 2008 This sculpture is to be sold with a certificate of authenticity issued by Robinson Gallery, USA, and a certificate of authenticity signed by the artist.

HK$ 120,000-180,000 NT$ 490,000-740,000 US$ 15,700-23,600

焦興濤 綠胸像 2006 瓷漆 銅雕 5/6 63.5(長) x 38.1(寬) x 73.6(高) cm 簽名：焦興濤 5/6 展覽： 「面對東方：中國當代藝術」，羅賓森畫 廊，美國丹佛，展期2008年1月10至3月1日 附美國羅賓森畫廊開立之原作保證書 附藝術家親筆簽名之原作保證書

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032

ZHOU Chunya (Chinese, b. 1955)

Excited Heigen 2005 Bronze, edition no. 3/8 27(L) x 20(W) x 33(H) cm (including the base) Engraved Zhou Chunya in Chinese Signed on the base: ZHOU CHUNYA in English, dated 2005 and numbered 3/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 120-121

HK$ 100,000-150,000 NT$ 410,000-620,000 US$ 13,100-19,700

周春芽 興奮的黑根 2005 銅雕 3/8 27(長) x 20(寬) x 33(高) cm (含台座) 簽名雕刻：周春芽 簽名台座：2005 ZHOU CHUNYA No: 3/8 圖錄： 《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁120-121

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033

LI Chen

(Taiwanese, b. 1963)

Shambala 1998 Bronze, edtion no. 1/8, 47(L) x 13(W) x 25(H) cm Engraved on the reverse Li Chen in Chinese, dated 1998 and dated 2542 in Buddhist Calendar This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 130,000-200,000 NT$ 530,000-820,000 US$ 17,100-26,200

李真 無憂 1998 銅雕 1/8 47(長) x 13(寬) x 25(高) cm 簽名雕刻背面：李真 1998 二五四二（佛曆） 附藝術家親筆簽名之原作保證書

034

XIANG Jing (Chinese, b. 1968)

Smoking Girl 2007 Bronze, edition no. 3/7 20(L) x 34(W) x 78(H) cm Signed on the base Xiang Jing in Chinese, dated 2007, numbered 7-3

HK$ 150,000-250,000 NT$ 620,000-1,030,000 US$ 19,700-32,800

向京 抽煙的女孩 2007 銅雕 3/7 20(長) x 34(寬) x 78(高) cm 簽名台座：向京 2007 7-3

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Xiang Jing graduated in 1988 from the affiliated high school of the Central China Academy of Fine Art (CAFA) then went on to graduate from the CAFA's Department of Sculpture in 1995. She is currently teaching at the Fine Arts College of the Shanghai Normal University's sculpture workshop. Her graduation project "Lucky Charm", now in the collection of the CAFA, was given the first class award at the CAFA graduates exhibition and from Japan's Matsuoka Family Foundation. Her work "Empty Room" was selected for China's most important annual art exhibition the '9th National Exhibition of Fine Art' where it received a commendation; she has entered works in many domestic/foreign joint exhibitions, solo exhibitions such as "Daydream", "The Works of Xiang Jing", "The Woman in the Mirror", "Keeping Silent" and "Your Body". Her artworks are now in several internationally renowned collections such as those of the Beijing Contemporary Art Gallery, the Shanghai Art Museum and the Saatchi Gallery. Today Xiang Jing is one of the leading representatives of China's younger generation of sculptors.

向京，1988年畢業於中央美術學院附中，1995年畢業於中央美術學院雕塑系，現任上海師範 大學美術學院雕塑工作室教師。畢業作品《護身符》等獲中央美術學院畢業生作品展一等獎 及日本松岡家族基金會一等獎，作品被中央美術學院收藏。其作品《空房間》入選中國最具 權威性的年度美術大展「第九屆全國美展」並獲優秀獎；多次參加國內外聯展，目前已舉辦 「白日夢」、「向京作品」、「鏡子裡的女人」、「保持沈默」、「你的身體」等個展，作 品被北京當代美術館、中國美術館、上海美術館以及英國薩奇畫廊等全球著名收藏機構和個 人關注並收藏。目前已成為中國當代年輕一代雕塑家的代表。

035

PAN Dehai

(Chinese, b. 1956)

Life is Still Good 2008 Oil on canvas 170 x 200 cm Signed on the reverse Pan Dehai in Chinese, dated 2008

HK$ 320,000-480,000 NT$ 1,310,000-1,970,000 US$ 42,000-63,000

潘德海 人生還是美好的 2008 油彩 畫布 170 x 200 cm 簽名畫背：潘德海 2008

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036

CHEN Ke

(Chinese, b. 1978)

Storm is Coming 2006 Oil on canvas 160 x 160 cm Signed lower left Ke in Chinese and dated 2006 Titled on the reverse Storm is Coming in Chinese and English, media oil on canvas in Chinese and English, size 160 x 160 cm, signed Chen Ke in Chinese and English, dated 2006 PROVENENCE: Marella Gallery, Milan ILLUSTRATED: Claudia Albertini, Avatars and Antiheroes A Guide to Contemporary Chinese Artists, Kodansha International, Tokyo, 2008, color illustrated, p. 25

HK$ 420,000-650,000 NT$ 1,720,000-2,670,000 US$ 55,100-85,300

陳可 暴雨將至 2006 油彩 畫布 160 x 160 cm 簽名左下：可 2006 簽名畫背：暴雨將至 布上塑形膏 油畫 160 x 160 cm 陳可 2006 Storm is Coming oil on canvas 160 x 160 cm Chen Ke 2006 來源： 瑪蕊樂畫廊，米蘭 圖錄： 克勞蒂雅．安伯提尼，《阿凡達與反英雄─ 導讀中國當代藝術家》，講談社，東京， 2008，彩色圖版，頁25

037

MAO Xuhui (Chinese, b. 1956)

The Cross 2005 Oil on canvas 195 x 175 cm

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 52,500-78,700

毛旭輝 十字形剪刀 2005 油彩 畫布 195 x 175 cm

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038

ZENG Fanzhi (Chinese, b. 1964)

Landscape 2006 Oil on canvas 70 x 200 cm Signed lower right Zeng Fan Zhi in Chinese and English, dated 2006

HK$ 1,800,000-2,800,000 NT$ 7,380,000-11,480,000 US$ 236,200-367,500

曾梵志 風景 2006 油彩 畫布 70 x 200 cm 簽名右下：曾梵志 2006 Zeng Fan Zhi

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While still in Wuhan, he produced his first two to German Expressionism at the Hubei Zeng Fanzhi stands out in many ways from his series of works "Hospital" and "Meat" both of Academy of Fine Arts, and his studies were peers in contemporary Chinese art, displaying which were directly influenced by horrifying to have a life-long influence on his works and an uncommon maturity both in terms of early experiences for the young introvert. In techniques. Wild strokes, fleshy colors and expression and technique. Primarily concerned the 1960's most homes in China didn't have brooding expressions were to become part of with the inner world, his body of work reflects a bathroom. The young Zeng had to use the his hallmarks and were to allow him to express his deep psychological unease and search for one in the local hospital. His sensitivities were his angst and alienation in apocalyptic imagery meaning in a bewildering new world. While traumatized by the chaotic scenes he witnessed and colors. However, such introspection his contemporaries mostly focused on political there on a daily basis. His resulting "Hospital" and expressionistic tendencies found little and social issues in a newly open and emerging series typically depicts uncaring doctors and acceptance in his native Wuhan and so in 1994 China, Zeng from the beginning of his career terrified patients. "Meat", his second series, Zeng moved to Beijing. Here, he suffered the focused on the alienation and detachment of the results from his experience of passing by his full trauma of alienation and disconnection. individual in a frightening new environment. local butchers on his way to and from school Zeng is not just unique in his themes, he has everyday. In the heat of also been an experimental summer, the only way for technician in painting the workers to cool down methods and particularly was to lie on the frozen in the great Chinese carcasses which resulted tradition of brush strokes in them being covered and use of space. Both in blood. For the highly his universal themes of sensitive Zeng, this was the pain of alienation deeply disturbing. and detachment and his masterful use of On moving to Beijing the paintbrush have Zeng was hoping to brought him worldwide 曾梵志《無題No. 7》羅芙奧2008台北秋季拍賣會，編號287，401萬台幣成交 find acceptance and recognition and made him ZENG Fanzhi, Untitled No. 7, 2004, oil on canvas, 50 x 150 cm understanding of his art. one of the most important Ravenel Autumn Auction 2008 Taipei, lot 287, US$ 119,618 sold Instead he found himself of Chinese contemporary isolated and cut off artists. from the mainstream. Faced with loneliness, Zeng's body of work is a detailed expression detachment and alienation, he produced his of his psychological state at each period in his Zeng Fanzhi was born in Wuhan in Hubei "Mask" series for which he has become most life. Unlike most of his contemporaries who are Province in 1964. As a child, he was introverted famous. The face of each of his protagonists happy to stick with winning formulas in their and was deeply affected by the chaos and is hidden by a flat mask which sublimates artwork, Zeng has consistently introduced new irrationality in the society of his youth. His all expression and feeling. Well-dressed, series of works, and pushed the boundaries psyche was deeply traumatized by what it professional, young urbanites mask their true of his artistic style to constantly create new observed and art was the only outlet for his inner selves subjugating their feelings and and arresting expressions of his inner-state. inner turmoil. He was immediately attracted

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emotions, and negating their lives. After the "Mask" series, Zeng started to move to more abstract forms. In 2000, he began to depict figures without masks. These figures may have regressed even more than his masked characters as their vacant and expressionless eyes are empty and hauntingly portray the loneliness and isolation of the individual. As in all Zeng's works the depicted persons have very large hands in strong poses seemingly emphasizing that although we can hide our inner most feelings most carefully behind an expressionless face our agitated hands will always betray our true inner turmoil.

The "Unmask the Mask" series also marks a deeper connection for Zeng with traditional Chinese painting techniques. Combining expressionism with the abstractness of traditional Chinese water and ink painting, The figures often float suspended in an empty background while any details are portrayed in a very minimalist way, allowing Zeng to emphasize the isolation and detachment of his character. This very forceful effect is taken directly from traditional Chinese paintings.

Zeng's brush strokes are also strongly influenced by traditional Chinese water and ink brush strokes. Large single strokes with wide brushes create an abstract feeling while narrow brush strokes are used to create strong, emphatic lines reminiscent of Chinese calligraphy.

In 2004, Zeng began to produce landscapes, and figures isolated in landscapes. The present work comes from this period. While the paintings

with figures continue his theme of detachment, loneliness and alienation, the landscape pictures seem to offer some sort of redemption. Wild and chaotic strokes depict strong and vibrant grasses growing around mountains and blowing freely in the wind. It's as if Zeng is finally beginning to accept that his deep emotional inner turmoil and perturbations are something natural and part of nature, something not to be afraid of, something to be let loose and freed no matter how frightening, to be unconstrained and ultimately to be unmasked.

This lot "Landscape" depicts wild grasses growing luxuriantly around a dark brooding mountain set against a white sky splashed with red at dusk. Zeng has moved away from his earlier expressionism and has moved closer to the abstractness and spiritualism of traditional Chinese art. The grasses are strong and chaotic in dark colors, almost net like, or a wild plant in our nightmares entangling and ensnaring us.

The dark colors of the brooding mountain add further to a sense of uneasiness. However, the white and reds of the sky bring a sense of peace and calmness. While our emotions and feelings as represented by the grasses are chaotic and frightening, they are not something we need to repress or run away from. As night falls, the grasses are strong, vigorous and vibrant perhaps like our deepest emotions and thoughts.

Zeng's masterful brush strokes add to the heightened sense of power and emotion.

They are indicative of his free flowing and subconscious painting style, allowing his moods and emotions to flow onto the canvas.

Zeng uses two brushes held in one hand between different fingers to create his chaotic, wild strokes. Just as with a pair of chopsticks, one brush is held firmly with three fingers while the second one moves freely between two fingers. The first one creates deliberate thought out strokes, the second follows, freely creating whatever lines it wants. The first stroke is like our conscious, controlled thoughts, the second stroke like our wild, uncontrolled emotions allowing Zeng to create an abstract landscape of our inner psychological state. This psychological state is further represented by the peaceful and calm sky juxtaposed with the dark, mysterious hill covered in wild vigorous grasses. Calmness and turmoil are wonderfully rendered.

Zeng's brush technique has created a new representational language combining the logical and irrational. The logical mind sits side by side with the unconscious, intuitive and emotional mind, just as the two brushes sit side by side in the hand. The deep linear marks stroked into the surface of the painting draw attention to the surface of the painting and the chaotic nature of the grasses. This is highly reminiscent of the abstract calligraphic representational techniques of ancient Chinese art.

Zeng Fanzhi's oeuvre charts a major exploration of the emotional and psychological state of the artist in an alienating and chaotic society.

Zeng's unique voice is the true voice of an artist as he expresses his innermost turmoil and deep emotional disturbances.

在中國當代藝術領域，從不同角度看曾梵 志，都在同行中脫穎而出，顯示出他在表現 手法和技法上罕見的成熟度。作品主要關注 內心世界，反映強烈的心裡不安，及尋求混 亂新世界的意義。與他同時期的藝術家，大 多在表現開放與崛起中的中國大環境下的政 治與社會問題，而曾梵志卻將目光集中在這 可怕的新環境中，個體的異化和冷漠。他的 作品不僅主題獨特，對中國偉大的傳統筆觸 和空間使用等技法也有所研究。他永恆的主 題——異化與冷漠的痛楚，與他嫻 熟的畫筆運用，使全世界認可他是 位中國當代最重要的藝術家之一。

和情緒，否定他們的生活。《面具》系列之 後，曾梵志開始轉向更抽象的表現形式。在 2000年，他開始描繪不帶面具的人物。這些 人物形象比之前帶著面具的人物更加畏縮， 空洞而目無表情的眼睛，深刻的描繪個體的 孤獨與孤立。曾梵志作品中的人物，都有一 雙姿態有力的碩大雙手，在在顯示：儘管我 們可以將內心感受小心翼翼地藏在面無表情 的臉孔下，激動的雙手卻總是出賣了我們最 真實的內心感受。

曾梵志於1964年生於湖北省武漢 市。兒時內向，青年時期受當時社 會混亂和不理性的影響，被所觀察 到的事物深深地傷害，而藝術是他 唯一的宣洩方式。在湖北美術學 院，他被德國印象主義吸引，也進 而影響了他的作品和技法。筆法粗 獷，色調飽滿、以及沉重的表現形 式成為他的標誌，用具啟發性的圖 像和色彩，表現憤怒與孤立。 曾梵志的作品，詳盡表現生活中每 個時期的心理狀態。與其他藝術家 在作品中堅持的獲勝法則不同，曾 梵志不斷創造表現他內心狀態的新 表現形式。在武漢時期，他創造了 兩個早期系列作品：《協和醫院》 和《肉聯》。這兩部系列的創作， 都是直接受到這位年輕內向藝術家 早期的可怕經歷所影響。20世紀60 年代，中國大多數家庭都沒有浴 室。年輕的曾梵志不得不使用當地 醫院的浴室。他每天目睹醫院裡混 亂的景象，感覺情感受到創傷。他 因此創作的《協和醫院》系列，反 映出漠不關心的醫生與驚嚇不安的 病人。《肉聯》是他第二個系列， 源自他每日上下學途中經過販肉攤 的經歷。在炎熱的夏季裡，工人們唯一的降 溫方式就是躺在凍肉上，使他們渾身都沾滿 鮮血。對於極其感性的曾梵志而言，這個景 象讓他感到非常不安。 搬到北京後，曾梵志希望他的藝術能夠被接 受和理解。但是，他發現他自己與主流脫 節。面對這種孤獨、冷漠和分離，他創作了 他的成名作《面具》系列。作品中每個角色 都隱藏在平面面具之後，昇華了所有的表現 方式和感覺。穿著入時的都市年輕白領，掩 飾了他們內心真實的自我，抑制他們的感情

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孤立 在風景畫中。雖然人物的描繪繼承了孤 獨的主題，而風景畫看上去像是在表現一種 贖罪感。狂放不羈的線條描繪出頑強而充滿 活力的野草，在高山峻嶺間生長，在風中自 由搖曳。這說明曾梵志承認他內心深處的騷 動與混亂是自然的一部分，無須害怕，無論 多麼恐懼，都應該得以放鬆並釋放，得到自 由，最終擺脫掩飾。 此幅《風景》作品描繪在黑暗陰沉的山谷 周圍，茂密生長的野草，與薄暮中 漸漸染紅的白色天空形成鮮明的對 比。曾梵志脫離他早期的表現主 義，而更逼近中國傳統藝術的抽象 與精神。以暗色調描繪狂放不羈的 野草，就像一張網，或者一種我們 在夢魘中糾纏我們的野生植物。陰 沉的山谷更增添一種不安的感覺。 雖然我們的情緒與情感正如這些野 草所表現般混亂而恐懼，但這並不 是我們需要抑制或逃避的。當夜幕 降臨時，這些草是狂放，活力而戰 慄的，正如人們最深處的情緒與想 法一般。 曾梵志嫻熟的筆觸增強了力量和情 感。這是他自由隨性與潛意識作畫 風格的象徵，使他的心情和情緒流 淌在畫布上。藝術家一手上抓著兩 把筆刷，創造出混亂野性的線條。 正如使用筷子，一把刷子用手指緊 緊夾住，而另外一把刷子則在兩手 指間自由移動。第一把刷子構造的 第一根線條，像我們被抑制的意識 與思想，第二把刷子構造的第二根 線條就像我們不受控制的情緒。曾 梵志創造出人們內心狀態的抽象風 景。這種心理狀態，以黑暗神秘的 山谷與充滿活力的野草，加上平寧 靜的天空來詮釋，平靜與混亂得到 了完美的平衡。

《假面》系列也傳達出曾梵志與中國傳統水 墨畫之間的聯繫。曾梵志將表現主義與中國 傳統水墨畫結合，作品中人物通常懸浮在空 蕩的背景中，突顯藝術家的孤僻與冷靜。這 種極其強烈的效果直接取自中國傳統的畫 法。他的技法筆觸也深受傳統水墨的影響。 寬筆刷繪出的長單筆劃構造出抽象的感覺， 而細筆刷用於畫出強健有力的線條，與中國 的書法十分相似。 2004年，曾梵志開始創作風景畫，並將人物

曾梵志的技法創造出一種結合邏輯與不理性 的新式語言。邏輯的思維與無意識、直覺及 感性相聯繫，正如手中兩支筆刷一樣。畫作 表面勾勒的深線條加強了畫作表面的注意力 以及野草混亂的本性。這像極了中國古代藝 術中抽象的書法再現技術。 曾梵志的作品表達出生活在孤立混亂的社會 中，藝術家的情感和心理狀態。曾梵志獨特 的心聲是一個藝術家真實的聲音，表現了他 內心深處的騷動和情感憂慮。

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FANG Lijun (Chinese, b. 1963)

2001.7.31 2001 Acrylic on canvas 180.5 x 80 cm Signed upper right Fang Lijun in Chinese Signed on the reverse Fang Lijun in Chinese and titled 2001.7.31 PROVENANCE: Max Protech Gallery, New York

Fang Lijun is one of the major leaders of the Cynical Realist movement which was born after the traumatic events of 1989. He was born in 1963 in Hebei Province and after the Cultural Revolution he studied the ancient Chinese art of print making at the Central Institute of Fine Arts.

While recognized as a master in woodblock printing, he has become a household name for his unrelenting portrayal of the disenchantment and disillusionment of the youth of China post1989 both in his prints and his paintings.

ILLUSTRATED: C h i n e s e A r t i s t s o f To d a y : F a n g L i j u n Documentation Library of Today Art Museum, Hebei Education Press, Hebei, China, 2006, color illustrated, p. 415

Fang Lijun along with the rest of the art world retreated into a silence and isolation which was to last two years. Artists were being watched and it was dangerous for them to associate with each other. During the silence, they brooded and contemplated and slowly in the early 1990s new art movements began to emerge. Fang was to be the main protagonist in one of the most important of these movements Cynical Realism, a new, cold, detached and ironical view of society. The bald headed youth of his paintings has become an iconic image of the Chinese contemporary art world, and a symbol of disillusionment, mockery and rebellion, the prevailing moods after the events of 1989.

This painting is to be sold with a certificate of authenticity issued by Max Protetch Gallery, New York.

HK$ 1,800,000-2,800,000 NT$ 7,380,000-11,480,000 US$ 236,200-367,500

方力鈞 2001.7.31 2001 壓克力 畫布 180.5 x 80 cm 簽名右上：方力鈞 簽名畫背：方力鈞 2001.7.31 來源： 馬克斯．波太奇畫廊，紐約 圖錄： 《今日中國藝術家─方力鈞─今日美術館書 庫》，河北教育出版社，河北，2006，彩色 圖版，頁415 附紐約馬克斯．波太奇畫廊開立之原作保證書

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on its first day after one artist fired a gun at her installation. The authorities became reactionary and warned artists that works criticizing the government or society would not be tolerated.

The events of Tiananmen Square were to be the final nail in the coffin for the art world. Many artists passionately supported the democratic movement and they along with society were appalled at the events which unfolded. Ten years of unbridled optimism and idealism had come to an end.

1989 was a watershed year in China’s modern history, and particularly for the avant garde art world. With China’s opening to the world in the 1970s artists of Fang’s generation had their first exposure to Western art. They were initially mesmerized at the possibilities of expression, especially as during the Cultural Revolution they were forced to paint only Socialist Realist propaganda posters. Coming together primarily in Beijing, there was a great sense of community, idealism and hope in the art world.

However, these were shattered by two events.

The first exhibition of avant garde art was held at the National Art Museum of China in Beijing in 1989. This was the first official recognition of modern art and the first acceptance for the New Wave artists. The Exhibition was closed down

Fang’s bald headed youth is invariably depicted in an aggressive way often with a lost or oblivious look on his face. Often there are multiple representations of the youth, as if representing the de-personified, manipulated masses of the repressed as they suffer in their angst and disquietude. It seems that Fang, is exploring the plight of the individual in a meaningless and uncaring system.

Fang’s painting is deeply expressive and he conveys his meaning not just in his angst ridden youth, but also in his painting style. At first glance his works seem to follow the flat style of pop art with strong primary colors. But on closer inspection the faces of his youth, are depicted with great use of light and shadow heightening

and adding to their disenchantment. Fang, also often depicts the background, clouds, sky, or sea in a hyper-realistic and detailed way. Clearly the ability to render these details so expertly comes from his mastery of woodblock printing.

Fang Lijun is one of the most recognized and most appreciated contemporary Chinese artists. He has held many solo exhibitions in Europe, the USA and Japan and his works are often included in group exhibitions such as at The 48th Venice Biennale in 1999.

His works are in the permanent collections of major museums worldwide such as the Museum of Contemporary Art, Tokyo, the San Francisco Museum of Modern Art, the Shanghai Art Museum and the Singapore Art Museum. One of the most famous images of Chinese contemporary art, is from his painting “November 2, 1992”, in the Ludwig Museum in Cologne, Germany.

Our present lot “2001.7.31”, is a major Fang Lijun piece. The large face of the main protagonist dominates the lower center of the picture. The face seems to have a serene and calm expression as the light from the sun bathes it in a soft warm glow. However, the painting in contrast to this serenity is loudly proclaiming turmoil and disturbance. The cast of characters in the lower half of the picture is strongly reminiscent of Western scenes of hell where the condemned plead and beg for mercy from a detached and uncaring god. But as usual with Fang, it’s not clear-cut exactly what the actions of his characters are. Are they begging for mercy, or are they in fact worshipping? It is this contrast and ambiguity which brings so much appeal to Fang’s paintings. The faces look very disturbed and anxious, yet they are also bathed in the soft, warm light. The sense of turmoil is further added to by the menacing, and threatening sky. It seems as if a storm is about to break lose. It’s almost as if the funneling tempestuous cloud will devour the supplicants.

Fang Lijun has achieved his fame for portraying the true psychological state of the Chinese youth post-1989. His ability to portray characters that can seem both serene and calm as they mindlessly obey the authorities, and at the

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same time are crying out in pain and anguish have assured him of his place with the giants of contemporary Chinese art. His portrayal of his bald headed youth seems to be saying that the only way to experience calmness and peace is to rely on yourself as an individual, and not in mindlessly following dictates from an uncaring authority.

方力鈞是1989學潮之後玩世現實主義的代表 人物之一。1963年出生於河北省，文革結束 後就讀於中央美術學院版畫系。方力鈞不僅 是圈內公認的版畫大師，他對於中國後89年 輕一代的醒悟與幻滅，以版畫和油畫極其真 實的描述，使其成了家喻戶曉的藝術家。 1989年可說是中國當代史，特別是先鋒藝術 界的一道分水嶺。隨著1970年代中國改革開 放，方力鈞和他的同代藝術家開始接觸西方 藝術。首先是自我的藝術表達成為可能，這 對於在文革時期，無奈被迫創作宣揚社會主 義寫實宣傳畫的藝術家們而言，是個極富吸 引力的轉變。北京作為最初的藝術聚集地， 凝聚了藝術世界的理想主義與希望。但此種 凝聚力被接下來發生的兩件事擊得粉碎。第 一屆先鋒藝術展於1989年在北京中國美術館 舉行，當代藝術及新浪潮藝術家首次被接受 和認可。但藝展僅開幕一天，就在一位女畫 家朝自己的裝置作品開槍後落幕。當局者的 態度開始轉向保守，並向藝術家發出了將嚴 懲反動作品的警告。天安門事件是對藝術界 最後的致命一擊。不少熱血藝術家都竭力支 持這場民主運動，他們以及整個社會，卻為 後來所發生的暴力鎮壓驚駭不已。持續了十 年的樂觀精神與理想主義就此壽終正寢。 方力鈞與同代藝術家隨即選擇孤身隱退，這 一隱退便是兩年。當時，藝術家們被暗中監 視，彼此的來往也成了危險的舉動。在這段 沉寂的時期裡，他們冥思深慮，1990年代初 新藝術運動逐漸浮現。在諸多運動中，以玩 世現實主義為首，它以全新、冷酷、漠然且 嘲諷的姿態審視社會，而方力鈞便是玩世現 實主義的領導者。他筆下的光頭青年，成了 中國當代藝術界的代表形象，象徵89學潮事 件後盛行在社會中那股幻滅、輕視和反叛的 主流情緒。 方力鈞筆下的光頭青年不乏攻擊性，並時常 以迷失或是健忘的神態出現在畫中。這些人

物總以多重表徵呈現，彷彿是在告知世人， 壓抑的 大眾已被焦慮與不安折磨得失去了人 性，可隨意操控。如此看來，畫家本人正是 在一個毫無意義可言的冷漠社會體系中，探 究個人的苦境。 方力鈞的畫風極富表現力，無論是畫中焦慮 深重的青年，抑或畫作風格本身，無不透露 畫家欲表達的意義。乍看之下，他的作品所 遵循的，是原色濃重的波普風格。但仔細觀 察，會發現畫家正是利用明暗對比，來突出 青年們幻滅的神情。方力鈞也常採用超現實 及細膩的手法描繪背景─浮雲、天空、大 海。顯然，方力鈞能以高超的技藝詮釋這些 細節，全得益於深厚的版畫功底。 作為廣受認可和讚許的中國當代藝術家，方 力鈞在歐洲、美國和日本多次舉行個展，他 的作品，不但曾參展1999年第48屆威尼斯雙 年展群展，還被世界各主要博物館（東京都 現代美術館、舊金山現代美術館、上海美術 館以及新加坡美術館）永久珍藏。中國當代 藝術最具代表性的肖像，來自方力鈞的油畫 《系列2 之2》，該作品現收藏於德國科隆 路德維希博物館。 此次的拍品是方力鈞 的名作《2001.7.31》。 一群光頭嬉皮擁簇在畫布下方，陽光灑下， 淡淡地溫暖著那一張張平靜而安詳的臉。與 這種安詳形成對比的，是畫作所彰顯的躁動 與不安，擁擠在畫布下方的人物，不禁教人 想起那些受困在地獄的囚犯，正向冷漠的神 明哀求寬恕的場景。但這畫中的人們到底是 哀求寬恕，還是正在崇拜神靈？我們無法道 明，這便是方力鈞塑造筆下人物的一貫手 法。也正是運用了此種對比鮮明卻又模棱兩 可的手法─不安而焦慮的臉；沐浴在暖和柔 光裡的臉，讓方力鈞的作品深受喜愛。預示 著暴風雨即將來臨的天空下更增添畫面的躁 動感，盤繞的雲層彷彿隨時隨地會吞噬下方 的乞求者。 方力鈞成功地塑造了中國後89一代的真實精 神面貌：木訥地屈從於統治時的那份安詳與 平靜，木訥地屈從於統治時聲聲悲苦從心底 吶喊。對於這種雙重特徵到位地拿捏，使方 力鈞無疑成為中國當代藝術大師。他筆下的 光頭嬉皮給人們的啟示是：唯有依靠自己， 而非愚昧地順從於冷漠的當權者，方能體會 到安寧與平和。

040

ZHOU Chunya (Chinese, b. 1955)

Peach Blossoms Series - Flower Blooms, Flower Fades, Year after Year 2009 Oil on canvas 200 x 150 cm Signed lower right Zhou Chunya in Chinese and English, dated 2009

HK$ 1,800,000-2,800,000 NT$ 7,380,000-11,480,000 US$ 236,200-367,500

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

Zhou Chunya has become well known for three series of works: Mountain Stones, Green Dog, and Peach Blossoms. Zhou returned to China in the early 1990s from his studies in Germany where he had been influenced by German expressionism. In 1991, he began his mountain stone series, re-interpreting famous natural stones with abstract and complex elements. He painted the rocks using different shades and hues to create textures and form. Then through the influence of Chinese ink and water brush strokes he used short and powerful strokes to suggest the natural shape of the stones. A major critic Yin Shuangxi says, "In the early 1990s, after Zhou Chunya returned to China from his studies in Germany, he began painting strange Chinese scenery."

Zhou's strong attraction to expressionism is also seen in his "Green Dog" series which he began in 1997.

The subject of the paintings was his beloved Haigen, a German Shepherd and his closest and most

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trusted companion. The green dog floating on a large white canvas is imbued with an arresting visual and emotional strength. Zhou has said that "the green dog is a sign, a symbol, indicating the loneliness of man and the emotional danger between people". Then in 2000 Zhou began his "Peach Blossoms" series further extending his artistic language and expression. This series, more than the others shows the deep influence of traditional Chinese brushwork and themes of the great Chinese masters.

The "Peach Blossoms" series resonates with bright greens, pinks and reds, which are worked with free and flowing brush strokes creating a vivid and enticing scene. Although reminiscent of traditional Chinese paintings the energetic and vivid strokes set the works apart from the soft and elegant images traditionally rendered.

Both the colors and the compositions have a bold and unrestrained expression as if emotions have been set free. Zhou is considered the greatest master in the use of colors in Chinese contemporary painting.

In the Peach Blossoms series, the peach flowers bloom luxuriantly and enticingly. The strong and vibrant colors add to the luxury and enchantment of the peach garden. In the garden, peach blossoms, traditional symbols of fertility and lust in Chinese culture, wave and glisten in the sun. Under the blossoms entwined lovers caress, embrace, copulate, or sometimes gaze, seemingly perplexed. The lush and resplendent peach blossoms create a harmony with the passionate lovers, as the painting expresses the full vigor and spontaneity of life. However, the blossoms are also transitory representing the fleeting nature of life. The peach blossoms in full bloom will be short-lived heralding the shortness of life for all living things. The blooming of the peaches represents the ecstasy of life; while the falling of the peach blossoms brings unstoppable sorrow. The flamboyant yet fleeting peach blossoms represent passionate, unbounded yet fleeting love. The paintings can also be understood as representing the acquisition of the thing most desired at a particular moment, and the failure to possess that forever. Between the desires of the flesh and the soul, a tragedy is unfolding, as we grasp at beauty and love and contemplate life's journey we are always faced with inevitability of death.

(Interpreting "Peach Blossoms and Lovers" Series of Zhou Chunya (excerpt), Liu Lice, Wen Yi Zheng Ming, 2008, Issue 05)

周春芽主要的創作系列有「山石」、「綠 狗」和「桃花」等。1991年周春芽開始以 抽象而混沌的元素重新詮釋山石，他把山石 埋藏在凹凸起伏的顏料中，善用皴擦的短線 和隨意交叉的劃痕勾勒山石模糊的天然形 態。殷雙喜先生說：「90年代初，周春芽從 德國留學回國後，創作了一批頗為怪異的中 國風景。」1994年，朋友送給周春芽一隻叫 做「黑根」的德國牧羊犬，這條狗與畫家一 同吃飯、一床睡覺、一起散步，成為了畫家 在90年代重要的精神伴侶和繪畫對象。1997 年周春芽改用綠色描畫「黑根」，巨大而空 曠的白色畫布上，漂泊著一隻大狗，綠色的 身影、充實的質感和強烈的視覺感，令人不 能忘懷。不久之後畫家和他的「綠狗」一起 揚名國際藝術界。畫家曾經詮釋道：「《綠 狗》是一個符號，一種象徵，暗示了現在人 的孤獨，和人與人之間的危險。」 2000年 之後，周春芽再次處於語言實驗與變轉時 期，相比而言，更具有中國文人色彩的桃花 系列便在這個時候出現了。 「桃花系列」以油綠與粉紅為主，潑辣生 動，筆觸自由、色彩絢麗，打破了中國傳統 繪畫的淡雅形象，從色彩到構圖均給人鬼魅 奔放之感，畫家也因此被認為是中國當代繪 畫界中對色彩把握最好的畫家之一。 引述一段關於「桃花」系列的評論：「在 『桃花』系列中，桃花濃烈而妖豔地盛 開，姿色寫意，富於變幻的散漫色彩為桃 園增添了妖嬈和放縱。桃樹花團錦簇，異 常明媚燦爛，一對對紅色男女情人的裸 體，或忘情親昵，或緊緊相擁，或翻雲覆 雨，或凝視觀眾，或混沌迷茫，或眼望別 處，體現出情色意味。畫家放縱恣意地表 現絢爛的桃花與激情的紅色男女人物，兩 者奇異地呼應，充分象徵了生命的旺盛和 衝動。但花期短暫則暗喻生命的輪回與稍 縱即逝，桃花怒放，隱含凋謝的不安，揭 示萬物自然的自由與限制。桃花開，人生 的極樂；桃花落，不可阻止的傷悲。怒放 而短暫的桃花隱喻愛情的轟轟烈烈和轉眼 即逝，也可理解為瞬間的獲得與無法永恆 擁有的失落，在靈與肉的對撞中，悲劇的 意味呈現:對精彩的生命旅程的無限留戀與 肉身必死的矛盾。」（解讀周春芽「桃花紅人」系 列作品（節選）劉立策《文藝爭鳴》 2008年第05期）

041

ZHOU Chunya (Chinese, b. 1955)

Green Dog 2002 Oil on canvas 250 x 200 cm Signed on lower right ZHOU CHUN YA in Chinese and English, dated 2002 ILLUSTRATED: Michel Nuridsay, China Art Now, Edition Flammarion, Baker & Taylor Books, Paris, 2004, p. 105

HK$ 2,500,000-4,500,000 NT$ 10,250,000-18,450,000 US$ 328,100-590,600

周春芽 綠狗 2002 油彩 畫布 250 x 200 cm 簽名右下 : 2002 周春芽 ZHOU CHUN YA 圖錄： 米歇．紐里薩尼，《中國當代藝術》，出版 社：貝克及泰勒圖書公司，巴黎，2004，彩 色圖版，頁105

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Zhou sees the green dog as a symbol, a sign.

'Green' represents tranquility, romanticism, lyricism, a state of quietness before an outburst of energy. Such a symbol makes sense when it is understood to represent the image of Heigen, his beloved dog. In 1999, the death of Heigen from illness caused Zhou great pain and he stopped painting green dogs. Then, in early 2001, once he had come to terms with his loss, he began to paint again his green dog. Almost in celebration of Heigen, he painted very big green dogs and the images produced were much more striking and exciting than before. This present painting, created in 2002, is an early work of this big green dog series.

周春芽《綠狗》 羅芙奧2007春季拍賣會，編號137，920萬台幣成交 ZHOU Chunya, Green Dog 1998, oil on canvas, 150 x 120 cm Ravenel Spring Auction 2007, lot 137, US$ 278,698 sold

The "Green Dog" series is immediately identifiable as one of Zhou Chunya's most recognized group of works. It has been described as "sculpture on canvas". The art critic Lu Peng says in Narrating the Green Dog, "His dog was a big responsibility in the artist's life more so than human being. A dog as a companion has become an unconscious desire of many people living in cities and urban areas as they have become divorced and separated from nature. The loyalty and dependability of a dog is a comfort to people, and adds a depth of meaning, bringing color and feeling to an otherwise dull and meaningless life."

Zhou's green dog was inspired by Heigen, his close companion during many years. He presented the "Green Dog" series for the first time in 1997. Why a 'green' dog? Even Zhou has no answer for this, other than green is his favorite color. Perhaps the color just flowed from his unconsciousness. His paintings are imbued with a strong subjective expression, which is enhanced by the non-realistic use of 'green' and the realistic representation of a dog. This contrast creates a great energy both on the canvas and in feeling. This use of 'green' has also allowed Zhou to explore different poses and expressions of emotions with his 'dog sculptures'.

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Taking a more expressionist viewpoint, Zhou placed the big green dog in the visual center of his canvases. The silhouette of the green dog against a huge white backdrop, the luxuriant texture of the paintwork and the heightened emotional displays of the dog, leave a deep impression on the viewer. The dog is brought into being through color and brush strokes. The pure existence of the subject is not so important anymore, the essence, the spirit of the subject is now express in the brush strokes. Whether the dog is standing, rolling, jumping or walking, its energy is so vividly captured and rendered that it seems the dog will respond immediately to our call, almost ready to bound from the canvas. The big green dog is a true expression of the artists understanding of the meaning of a great friend that he was lucky to encounter in his life.

是非常偶然的出現。正因為現實中的無，對 比著創作中的有，而顯得「綠狗」更刺激， 主觀的表現更強烈。反自然色彩的運用，使 擁有各種各樣姿勢的狗有著不同的情緒。 周春芽說，綠狗是一個符號，一種象徵， 重複畫一隻風格化的狗，變成一種符號， 甚至，一隻狗就是一幅畫。在周春芽看來， 綠色是寧靜的、浪漫的、抒情的，包含了爆 發前的寧靜意境。但是這種象徵只在表現黑 根時才有具體的意義。1999年，黑根突然病 死，周春芽極度痛苦，暫停畫「綠狗」。 2001年初，在心情平復後，周春芽開始新的 綠狗創作，則變成了「大綠狗」，圖像更加 醒目刺激。此幅創作於2002年的《綠狗》即 是此系列較早期的創作。 在「大綠狗」系列中，畫家進一步放棄對形 體的追求，且直接將綠狗置於視覺中心，巨 大而空曠的白色畫布上，綠色的身影、充實 的質感和強烈的攻略性，令人久久無法忘 懷。狗被色彩和筆觸虛擬化了，對象的存在 與特徵只是通過不同的筆法提示著。綠狗或 站立，或打滾，或跳躍，或行走，在畫面中 呼之欲出。另一方面，新綠狗已不實在，牠 已經轉變成狗的姿態、畫面結構和畫家態度 的完整整合。

綠狗系列是周春芽最負盛名的代表作，被形 容為「畫布上的雕塑」。 藝術評論家呂澎 在〈綠狗敘事〉一文中評述：「狗在畫家的 生活中是潛在的需要，這樣與人相比看來似 乎無意識的生命成為逐漸減少自然性的都市 環境中人的一種渴望。事實上，只有一種通 情理的、具有依附性的生命也許可以讓人感 受到慰藉，使你在枯燥和空乏的社會環境裡 沾染一點自然與淳樸的氣息。」 綠狗的創作來自「黑根」，畫家飼養的一隻 德國牧羊犬。1997年，周春芽首次將黑根畫 成綠色，推出「綠狗」系列。現實中的狗有 很多種顏色，卻獨獨沒有綠色。綠色是怎麼 出現在畫布上的？周春芽自己也說不清楚 了，只是綠色是他最喜歡的顏色。或許，只

周春芽《綠狗》 羅芙奧2008春季拍賣會，編號111，755萬台幣成交 ZHOU Chunya, Green Dog 1998, oil on canvas, 150 x 120 cm Ravenel Spring Auction 2008, lot 111, US$ 248,380 sold

042

YUE Minjun (Chinese, b. 1962)

Maze 4 2006 Acrylic on canvas 220 x 334 cm Signed lower right Yue Minjun in English, dated 2006 PROVENANCE: Arario Gallery, Beijing ExhibitED: Looking For Terrorists, Beijing, June 9 - July 29, 2006

HK$ 1,500,000-2,500,000 NT$ 6,150,000-10,250,000 US$ 196,900-328,100

岳敏君 迷宮 4 2006 壓克力 畫布 220 x 334 cm 簽名右下：Yue Minjun 2006 來源： 阿拉里奧畫廊，北京 展覽： 「尋找恐怖主義者—岳敏君個展」，北京公 社，北京，展期自2006年6月9日至7月29日

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Yue Minjun is one of the leading players in the post-1989 "Cynical Realist' movement, one of the major artistic movements in contemporary Chinese art that arose after a silence of two years following the traumatic events of 1989, the closure on the opening day of the first avantgarde art exhibition in the National Art Museum of China in Beijing, and then the events of Tiananmen Square in June. The trauma and pain of these two events had a deep and profound effect on the artistic world and were to have a major influence on the new art which was to emerge in the early 1990s. It was clear that open questioning of the regime, or exploration of a corrupt society in art, would not be tolerated by the authorities. In fact, after the events of 1989, artists were particularly vulnerable as a nervous government was determined to stamp out all dissent.

For Yue Minjun and his contemporaries this was a period of terrible pain. Having grown up in the chaos of the Cultural Revolution, they had embraced the opening of China to the West and explored all the new art forms they discovered both in terms of style and substance.

Having been forced to paint only propaganda posters, they reveled in the newfound freedom of expression, and delved into the world of individualism representing their angst, anger and puzzlement in their artworks. 1989 brought this new world crashing down. Two years of profound silence, deep thought and complete isolation followed. And then a very Chinese answer to their conundrum emerged. The way to deal with the absurdities of society was to employ humor or irony. Humor became the great weapon of "Cynical Realism', and Yue Minjun one of its greatest proponents.

Yue was born in 1962 to parents working in the oil industry, and who constantly migrated throughout the oil fields of China. He grew up in closed communities in oil companies and had almost no contact with the outside world. His education consisted of being told what to do and what to think. He became an electrician in the oil fields for five years and spent much of this time in isolated places even on offshore oil platforms often alone for long periods of time.

His only solace was his art, it was his only outlet

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for expressing his inner-self. He enrolled in Hebei Normal University to study oil painting and on graduating received a secure job as an art teacher. However, he was unable to contain an energy flowing within, and quit his job, moving to a very run down artists village in the outskirts of Beijing. His parents were appalled, but Yue was deeply attracted by his newfound freedom.

He could suddenly decide his own life, how to spend a whole day and even how long to grow his hair. It was a major shock for him to discover that the life he had been leading was not the real world and that something vital and vibrant had been lost.

Laugh or cry? Yue was faced with the eternal question when faced with the absurdities of life. In true Chinese style, he chose to laugh, and thus created one of the most recognizable images or indeed icons of contemporary Chinese art, his laughing self-image, an exaggerated self. In Chinese tradition things shouldn't be said directly, especially criticism. These things should be hidden behind a veil, which in Yue's case was ridiculous, absurd laughter. Painting multiple laughing images of himself against backdrops of serious major events allowed Yue to express his feelings about things such as revolutions and killings. The exuberant laughter hides the real pain and trauma of Yue's confusion at terrible human actions and also at the constantly changing world.

In the mid 2000s Yue began to experiment with different styles, and in 2006 he started his "Maze" series and within that a sub-series "Searching for Terrorist", our present work comes from this period. In the "Maze" series the most important theme is "searching'.

According to Yue, we are always searching for things we cannot find, and invariably become more and more lost in a maze, unable to find an exit and ultimately confusion reigns. Painted in his favored, bright colors, and employing cartoonish images, the "Maze" pictures seem to exude warm, happy, everyday scenes. However, with Yue there is always a darker, more sinister undertone, that we are really lost, and engaging in absurd behavior.

Maze 4

"Maze 4" presents what at first seems like a happy, everyday, normal scene, a crowd of shoppers in a well-stocked supermarket.

However, we soon notice the figures all have wild crazy grins. Animated and excited, they all seem to be having a good time going about their business. But they are also eyeless, and therefore are not aware of what is around them, in this case figures dressed as Arabs. As part of the "Searching for Terrorist" series the painting is mocking our inability to see, let alone find, what we should be looking for. Once again Yue is employing mockery to point our human fallibility.

岳敏君是1989後「玩世現實主義」成員之 一。「玩世現實主義」於1989年創傷性事 件（北京中國美術館舉辦的首屆先鋒藝術展 開幕日當天即宣告結束，及隨後在6月發生 天安門廣場事件）的兩年後產生的，是中國 當代的主要藝術運動之一。兩次事件的創傷 與痛苦對藝術界具深遠影響，同時更影響了 1990年代初產生的新藝術。由於中國政府當 局不能容忍藝術中對政體進行公開的質疑， 藝術家們成為了特別易受攻擊的對象。 對岳敏君和他同時代的人而言，這是一段極 度痛苦的時期。他們在文化大革命的混亂中 長大，隨即接受中國向西方世界的開放，並 探索所有他們在風格和內容上發現的新的藝 術形式。他們曾被迫為宣傳海報作畫，因此 非常雀躍於自由的表現形式，並在作品中探 求代表不安，憤怒和困惑的個人主義世界。 1989年新世界轟然倒塌，隨後兩年是全然的 沉默及被孤立。後來，他們找到了一個極具 中國特色的答案。解決這種社會荒誕性的途 徑是採用幽默與諷刺。幽默成為了「玩世現 實主義」的利器，而岳敏君是最重要的支持 者之一。 岳敏君出生於1962年，他的父母在石油業工 作，不斷地在全中國的油田間遷移。他在石 油公司的封閉環境中長大，幾乎與外界沒有 聯繫。他被教育該做什麼以及如何思考。他 在油田中做了5年電工，在與世隔絕的環境 中唯一的慰藉就是他的藝術。他就讀河北師 範大學，主修油畫，畢業後得到一份穩定的 工作：美術教師。然而，他無法從中獲得 動力，所以他辭職，搬到北京近郊破舊的畫

家村。他的父母對此感到十分震驚，然而岳 敏君被他新發現的自由所深深吸引。他突然 間可以決定自己的生活，如何度過一天的時 間，甚至可以留多長的頭髮。 大笑還是哭泣？當他面臨生活的荒誕時，岳 敏君開始面對了這個永恆的問題。在真實的 中國風格中，他選擇了大笑，從而創造了一 個最成功的形象，甚至是中國當代藝術的象 徵，他大笑的自我形象極具誇張意味。在中 國的傳統觀念中，許多事不能直接說出口， 尤其是在 批判時。這些事應該帶一層神秘的 面紗。對岳敏君而言，這層面紗就是滑稽荒 唐的大笑。他在嚴肅的重大事件背景下，畫 了多種大笑形象，表達他對革命和殺戮的感 覺。誇張的笑聲隱藏了岳敏君在可怕的人類 活動以及持續的世界變化中，他的困惑與真 正的痛苦和創傷。 2000年代中期，岳敏君開始嘗試不同的風 格。2006年，他開始創作《迷宮》系列。 在《迷宮》系列中，最重要的主題就是「尋 找」。據岳敏君所言，我們總在尋找我們不 能發現的事情，總在迷宮中迷失，無法找到 出路，最終被困惑統治。採用他最喜歡的亮 麗顏色，以及卡通形象進行繪畫，《迷宮》 系列的作品似乎流露出激動與高興的日常情 景。然而，對岳敏君而言，總有一種更黑暗 更不祥的潛在含義，致使我們真正迷失並陷 入荒謬的行為中。 迷宮4 作品《迷宮4》描繪了乍看是歡樂的日常生 活情景——一群在貨源充足超市中採購的顧 客。然而，我們很快注意到這些人物都有著 失控而瘋狂的微笑。卡通化的喜悅表情彷彿 正享受 著。但他們也很盲目，對周圍的事物 漠不關心，在這種情況下，人物穿著打扮如 阿拉伯人一樣。作為《尋找恐怖主義者》的 一部分，這幅畫嘲笑著我們對本來應該尋 找，但是卻無法看見，更不用說發現的無能 為力。又一次，岳敏君採用嘲笑指出了我們 人類的不可靠。

043

WANG Guangyi (Chinese, b. 1957)

Great Criticism Series - Art Nation 2005 Oil on canvas 140 x 180 cm Signed on the reverse Wang Guang Yi in English and Chinese, dated 2005, size 140 x 180 cm PROVENANCE: Private collection, USA Aquired from the above This painting is to be sold with a certificate of authenticity signed by the artist.

HK$ 1,200,000-2,000,000 NT$ 4,920,000-8,200,000 US$ 157,500-262,500

王廣義 大批判系列—藝術國族 2005 油彩 畫布 140 x 180 cm 簽名畫背 : 2005年Wang Guang Yi 王廣義 140 x 180cm 來源： 私人收藏，美國 現有收藏者得自上述來源 附藝術家親筆簽名之原作保證書

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Wang Guangyi's works are some of the most recognizable and most appreciated in the Chinese contemporary art world. Lauded as the leader of the post-1989 "Political Pop" movement, his works, while reflecting the "flat style" of American "Pop Art", resonate with a power and energy immediately identifiable with the New China. Juxtaposing iconic images from the Cultural Revolution with iconic images of Western consumerism, Wang's works are saturated in irony as he explores the absurdity of images.

Wang was born in 1956 in Harbin, Heilongjiang Province, and like many of his contemporaries he grew up in the chaos of the Cultural Revolution and witnessed at first-hand the power and absurdity of the cult-like worship of heroic icons. He was denied any education until 1977 when he entered the Zhejiang Academy of Art. This was the period when China first opened its doors to the West and Wang was immediately captivated by the "Pop Art" of urban American culture. He began to produce studies of ordinary people in everyday activities depicting them in,

what were to become hallmarks of his oeuvre, monochromatic colors and a flat style.

During this first period of opening outwards there was a tremendous energy and excitement in the contemporary art scene especially in Beijing. All types of avant-garde art was embraced by artists, however the authorities remained very suspicious and were openly hostile to something so spontaneous and uncontrolled. 1989 was a watershed year.

Two events were to have profound longlasting effects on the Chinese art world. The first exhibition of avant-garde art was allowed at the National Art Museum in Beijing. This was a major event in such a traditional and conservative bound society. The exhibition was closed down at its opening when one artist fired a gun at her installation. The authorities warned artists that open criticism would not be tolerated and that examining society and the regime in art would be dealt with harshly. Then in June, the Tiananmen crackdown happened. For the next two years society became very quiet, and for the art world a realization dawned that "new

produces a hugely ironic effect, as cultural icons from two different systems sit side by side in their absurdity. Wang calls this "anatomic structuralism", which destroys the original intention of the image and instead reduces it to absurdity.

王廣義《大批判系列－Channel V》 羅芙奧2009秋季拍賣會，編號157，504萬台幣成交 WANG Guangyi, Great Criticism Series - Channel V 2002, oil on canvas, 120 x 150 cm Ravenel Autumn Auction 2009, lot 157, US$ 156,716 sold

art" would bring a fierce backlash from the authorities.

"Art Nation" is a classic representation of Wang's "Great Criticism" series. The work is filled with great tension and drama as an armed group of peasants and soldiers are placed in the centre. The serious expressions on their faces as they wield guns, bayonets and the little red book, and their forward movement create a sense of fear and latent violence. The background of red flags and black sky add to the sinister atmosphere. Then in a superbly ironic statement, "Art Nation" is blazoned across the top of the painting in the purity of the color "white". Wang has juxtaposed two human activities which could not be more removed from each other, war and art. The white arrow on the bottom right-hand corner in the same style as "Art Nation" seems to be suggesting which

中國對外開放初期，當代藝術界充滿了活力 及興奮感，尤其是北京。各種先鋒藝術被藝 術家們接受，但當局仍心存疑慮，對一些自 發且無法控制的事情加以反對。1989年是一 個分水嶺。兩個事件對中國藝術界有著深遠 影響。先鋒派藝術首展獲准在北京中國美術 館展出。這對於一個深受傳統和保守約束的 社會而言，是一次重要的事件。這次展覽因 一名女性藝術家朝著她的作品開槍，因此在 開幕當天就宣告結束了。當局警告藝術家， 這種公開批判是不被允許的，在藝術作品中 評論社會和政治將被嚴格處理。同年6月， 天安門事件爆發。隨後兩年內，社會變得十 分安靜，藝術界出現「新藝術」也將帶來政 府當局強烈反彈。 1990年代初期，當代藝術重新出現，公開評 論社會與對腐敗系統的苦悶，憤怒以及批判 表現卻消失了。藝術家們發現一種具有中國 特色的探索社會方式；諷刺與幽默。「政治 波普」吸納了諷刺，而這一行動的先驅就是 王廣義。儘管在作品和表現形式上看來十分 簡單，但由於藝術家們採用文化大革命時期 的肖像，因此「政治波普」實際上是當代中 國社會的深刻反映。

In the early 1990s contemporary art began to reappear, but gone was the open examination of society and the open expression of anguish, anger and criticism of a corrupt system.

Instead artists found a profoundly Chinese way of exploring society; irony and humor. Irony was to be embraced by 我們今天看到的就是王廣 "Political Pop" and its 義從此時開始創作的「大 leading adherent was to be 批判」系列。以軍人，農 Wang Guangyi. Although 民和工人的肖像宣傳畫進 seemingly simple in 行描繪，將政治宣傳符號 composition and execution, 與西方品牌結合，這個系 as artists employed iconic 列成為全世界最知名的作 images from the Cultural 王廣義《可口可樂》（三聯幅），羅芙奧2009秋季拍賣會，編號158，1440萬台幣成交 品之一，將王廣義推上中 WANG Guangyi, Coca Cola (triptych), 2005, oil on canvas, 120 x 450 cm Revolution, "Political 國當代藝術運動的前沿。 Ravenel Autumn Auction 2009, lot 158, US$ 447,761 sold Pop" was in fact a deep 政治宣傳的無產階級形象 reflection on the realities of 取自文化大革命的宣傳海 contemporary Chinese society. activity is the way forward. 報，用筆替代槍和其它武器。背景通常為紅 Wang Guangyi began producing his "Great Criticism" Series from which our present work comes. Characterized by the use of iconic propaganda images of soldiers, peasants and workers, the great proletariat, juxtaposed with iconic Western brand names, this series has become one of the most recognizable worldwide and brought Wang to the forefront of the Chinese contemporary art movement. Idealized images of the proletariat are taken directly from the propaganda posters of the Cultural Revolution, but with guns and other weapons often replaced by pens. Often the figures are painted against a red background powerfully evocative of both communism and spilt blood.

Then, blazoned across the canvas is usually a Western consumerist brand name, which

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王廣義的作品是中國當代藝術界最被認可， 最受賞識者之一。他被稱為後1989「政治波 普」先驅，反映出美國「波普藝術」的「平 面風格」，並與新中國類似的動力與活力產 生共鳴。王廣義一直在探索圖片的荒誕性， 他將文化大革命時的宣傳圖片與西方的消費 主義符號相結合，作品極具諷刺意味。 王廣義於1956年生於黑龍江省哈爾濱市，他 與同時期的人一樣，也生長在文化大革命的 混亂中，親眼目睹邪教般的英雄崇拜主義之 力量和荒誕。直到1977年，他才接受教育， 進入浙江美術學院。這時中國開始向西方敞 開國門，王廣義很快就被美國城市文化的 「波普藝術」吸引。他開始研究日常中尋常 百姓的活動，將它們以單色平面風格繪製下 來，成為他作品的標誌。

色，表現共產主義與鮮血。加上西方消費主 義品牌，將表面上不同的兩種體制相結合， 產生強烈的諷刺效果。王廣義稱此為「解構 主義」，將背後涵義看似荒誕但極其真實的 表現出來。 藝術國族是王廣義「大批判」系列中的經典 代表作。這幅作品中央是一群武裝的農民和 員警，充滿極大的緊張感和戲劇感。他們手 持槍，刺刀和一本小紅手冊，臉上凝重的表 情以及他們挺進的動作構成恐懼和潛伏的暴 力感。紅旗和黑色的天空烘托了這種不祥的 氛圍。然後，在這極富諷刺意味的場景中， 「藝術國族」的畫面上部以象徵純潔的「白 色」繪製。王廣義將戰爭與藝術這兩種不能 相互脫離的人類活 動相結合。底部右手邊相 同風格的白色箭頭似乎在預示著前進的方 向。

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044

LI Shan

(Chinese, b. 1944)

Rouge Series - Mao 2007 Oil on canvas 120 x 180 cm Signed on the reverse Li Shan in Chinese, dated 2007 New York in Chinese

HK$ 800,000-1,200,000 NT$ 3,280,000-4,920,000 US$ 105,000-157,500

李山 胭脂系列—毛澤東 2007 油彩 畫布 120 x 180 cm 簽名畫背 : 李山 2007 紐約

About 2500 years ago, when Sakyamuni was sermonizing his disciples, he suddenly quieted down and picked up a flower, smiling to them.

The saints looked in wonder at each other, with the exception of Kassapa Thera, who responded by nodding and smiling back at Sakyamuni.

This is the famous story of Sakyamuni "Twist Flower Smile". In the Buddhism practice, the preaching of Zen has no form yet with pure intention, and the receiver received the message without even knowing. Li Shan's Rouge series has used images of Chairman Mao, with the artistic conception of "Twist Flower Smile" nothing is said, but all is expressed.

This artwork is a good representation of Li Shan's popular Rouge series (title has been used from 1989 to 1993). The portrait of Mao in the most handsome period in Yan'an with the mouth holding a rose. Normally the use of Chairman Mao's image has a political association.

The painting of the leader in a jesting and humorous way has also reminded us the Mao painted by Andy Warhol.

The real intention of Li Shan is the same as in the story of "Twist Flower Smile" - The Artist means nothing political. Instead, he believes that the society has placed too heavy a responsibility on the shoulder of art; in his opinion, art is art itself. His painting of Comrade Mao's is only a comical reflection of history, to relieve the heavy burden of art and to say farewell to the history by using the once sacred object or image.

At the China Modern Art Exhibition held in 1989 at Beijing-National Art Museum, Li Shan became famous for his performance art "Washing Feet". Prior to that, Li once participated in the planning and exhibition

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of "the First Shanghai Concave – Convex Exhibition" in 1986 and "the Second Shanghai Concave – Convex Exhibition – The Last Supper" in 1988. His Rouge series was recognized as an important symbol of Political Pop Art in the 1990s. The New Art from China: Post-1989, Venice Biennale in 1993, and Sao Paulo Art Biennial in Brazil in 1994 were the key exhibitions where Li Shan's Rouge series gain increasing influence. Different from Li Shan's own expression about his art, the art critic Lu Peng believes that "Li Shan attempts to express his opposed political differences by taking a stance of keeping away from the direct ideology and political confrontation; he obscures his political view through using metaphorical rhetoric. However, in the 1990s of China, within the historical context of political pop art, Li Shan's explanation was largely considered credible. The i ro n y, m e t o n y m y, m e t a p h o r, jeer, indication, and analogy, which originally belong in the category of artistic rhetoric, were actually a political discourse and an ideological stance. It is in this sense that Li Shan's art is an important part of the political pop art. At a stage of historical transition, Li Shan has sent out the last reminder, with his art, to those who are on the brink of forgetting the history".

大約2500年前，釋迦牟尼與眾聖講法，忽 然沉寂下來，捻起一枝花，對著眾弟子微 笑。眾聖不解其意，面面相覷，惟迦葉尊者 有感於心，點頭回應，與佛祖相視一笑。這 個典故的意思是：最好的佛門正道就是不需 語言文字直接可以悟道。正因為如此，釋迦 牟尼日後將衣缽交給了大弟子迦葉。這就是 著名的「捻花一笑」。所謂傳遞禪意，傳者

無心，得者無心。李山的胭脂系列中有不少 以「毛澤東」的形象，卻同樣具有「捻花一 笑」的意境。什麼都不必說，已表達了所 有。 李山的《胭脂》系列（自1989年至1993年一 直沿用此「名稱」創作）流傳極廣。此件作 品即是其中最具代表性的樣式：將毛澤東在 延安時期最英俊的肖像上，含上了一朵玫瑰 花。對毛形象的使用，很容易產生作品「政 治化」的聯想。以調侃的方式畫領袖，也很 容易聯想到安迪．沃荷所畫的毛澤東肖像。 而李山的真實用意恰恰是「捻花一笑」。他 沒有別的意思，只是認為社會賦予藝術的責 任太重，藝術就是藝術，他畫毛澤東肖像不 過是開歷史的玩笑，解除藝術的重負，拿曾 經最為神聖的東西去向「歷史告別」是一種 非常好的方式。 1989年在北京中國美術館舉辦的「中國現 代藝術展」上，李山以行為藝術「洗腳」 聞名。在此之前，李山曾經策劃和參與了 1986年的「上海第一屆凹凸展」和1988年底 的「上海第二屆凹凸展——最後的晚餐」。 李山的《胭脂》被視為二十世紀90年代政治 波普的重要象徵。「後八九中國新藝術」、 1993年的「威尼斯雙年展」和1994年「巴西 聖保羅雙年展」是李山「胭脂」形象產生影 響的關鍵性展覽。同李山對自己藝術的表述 不同，評論家呂澎認為：「李山的表述儘量 追求一種遠離意識形態和政治對抗的姿態， 他將藝術的目的用一種隱喻性的修辭遮蔽掉 了。可是，在90年代的中國，在政治波普的 歷史語境中，李山的這種說法在多大程度上 能夠被視為可信。那些看來是屬於藝術修辭 層面的反諷、揶揄、隱喻、嘲笑、暗示、比 喻，實際上也是一種政治的話語，一種意識 形態立場的選擇。正是從這個意義上講，李 山的藝術是『政治波普』中的重要部分。在 一個歷史轉型時期，李山用自己的藝術對即 將忘卻歷史的人們做了最後的提醒。」

045

XU Bing

(Chinese, b. 1955)

Make the Past Serve the Present, Make the Foreign Things Serve China (a pair) 2004 Ink on Paper 135 x 34.5 cm (x2) Signed XU BING in English With one seal of the artist Quotation Content : Chairman Mao Said Make the Past Serve the Present Make the Foreign Things Serve China Xu Bing

HK$ 350,000-550,000 NT$ 1,440,000-2,260,000 US$ 45,900-72,200

徐冰 古為今用．洋為中用（一對） 2004 水墨 紙本 135 x 34.5 cm (x2) 簽名右方 : XU BING 鈐印 : XU BING 引文翻譯： 毛主席語錄 古為今用 洋為中用 徐冰

In the letter to the students of the the Central Conservatory of Music in Feb 1964, Chairman Mao Zedong wrote, "Make the past serve the present, and make the foreign things serve China". All culture and arts are inherited; the evolution is based on predecessors' contributions. To learn the essence from predecessors and use it to serve current circumstances, this is the definition of "making the past serve the present"; and to "make the foreign things serve China" is to adopt good qualities of foreign cultures to enrich Chinese culture. It was Mao's belief to be discriminating in learning, we must absorb the good and reject the rest. Xu Bing has applied the aphorism of learning from his predecessors in his artistic expression by writing English words using typical Chinese character forms and making them into couplets. Such an act is also a reflection of the essence of "making the foreign things serve China, and making the past serve the present".

Xu Bing's artworks are stern and disciplined, and yet there is often a childlike sense of humor within his works. It is a great delight to see a presentation of neat and tidy English words composed into couplets similar to those in ancient Chinese traditional writing. According to Xu Bing art itself is a language. "It is my belief, an ultimate goal of a successful artist is to illustrate their expressions and thoughts through an unprecedented technique with specific vocabulary. Artists must have a powerful mind. History has well documented the contribution to those artists possessing the ability in artistic language." (Dialogue: Hu Jiujiu vs. Xu Bing, Jan 30, 2010)

1964年2月在中央音樂學院學生的一封信上，毛澤東批示了「古為今用，洋為中用」的理論。 一切文化藝術都是在繼承、借鑒前人的貢獻基礎之上發展而來，要汲取前人的精華，而為現 實情況服務，此即是「古為今用」；「洋為中用」則是也可學習外國優秀文化的營養，以豐 富中華文化。吸收其精華，剔除其糟粕，是為我所用的。今天徐冰將前人的警句成為他的藝 術表現內容，英語的詞句以中文典型的方塊字以毛筆撰寫成對子。這樣的詮釋也是一種「古 為今用，洋為中用」。 徐冰做作品的態度已經到了「較真」的程度。但是嚴謹的藝術語言中，又時常帶有童趣的幽 默。一副字跡工整，對仗貌似傳統中國古代的對聯，竟然是用英文單詞拼寫而成。他認為藝 術的本質就是語言：「我總想藝術家，他最終的本事還是在於，你必須把你的思想，用一種 前所未有的，而且是具體的語彙表達出來。藝術家都必須是思維能力很強的人。但所有嚴肅 的藝術史都是記載在藝術語言上有貢獻的人。」 〈胡赳赳對話徐冰，2010年1月30日〉

108

046

YIN Zhaoyang (Chinese, b. 1970)

Red Mao 2006 Oil on canvas 100 x 80 cm Signed lower center Zhaoyang in Chinese and dated 2006.8 PROVENANCE: Aura Gallery, Hong Kong Private collection, Asia (acquired from the above in 2007)

HK$ 300,000-500,000 NT$ 1,230,000-2,050,000 US$ 39,400-65,600

尹朝陽 紅色毛澤東 2006 油彩 畫布 100 x 80 cm 簽名下方：朝陽 2006年8月 來源： 亦安畫廊，香港 私人收藏，亞洲（2007年購自上述來源）

110

047

MAO Xuhui (Chinese, b. 1956)

Black and White Inverted Scissors 2007 Oil on canvas 180 x 140 cm Titled on the reverse Black and White Inverted Scissors in Chinese, size 180 x 140 cm, signed Mao Xuhai in Chinese and dated 2007

HK$ 200,000-350,000 NT$ 820,000-1,440,000 US$ 26,200-45,900

毛旭輝 黑白剪刀．倒立 2007 油彩 畫布 180 x 140 cm 簽名畫背：<黑白剪刀倒立> 180 x 140 cm 毛旭輝 2007

A pair of scissor has become synonymous with Mao Xuhui and the most recognizable symbol in his paintings, almost as if he were the creator. Often referred to as the "scissorpainter", Mao first began to paint scissors after a serious illness in the early 1990s. Alone and isolated in hospital, he was surrounded only by ordinary and mundane objects such as scissors. Slowly his mind became engaged with the ordinary and mundane and he saw new and extraordinary possibilities and meaning in the everyday. Rather than present everyday objects in a realistic way, Mao chose an artistic language of graphical representation. His series of works with scissors or chairs evoke a strong psychological reaction as they play with such themes as social power and the inner-mind.

Believing that "works with vivid imagery have greater impact on people", Mao uses chairs as symbols of social power, while scissors represent psychological states. Each pair of sharp scissors is open or closed, complete or broken; and each position represents a calm yet undetermined and restless emotion immediately picked up by the viewer.

Although scissors, often used in dressmaking or sewing are sometimes associated with a feminine quality, Mao's scissors are strongly masculine representations of male power.

112

According to the art critic Wang Lin, "Chairs and scissors in Mao's works are a symbol of social power. His chairs represent the social relationship, while his scissors represent his psychological qualities. These are consistent with his expressionism style and pursuit for the inner soul and spirit."

剪刀並非毛旭輝的發明，更非他所創造。這 一形象鮮明的造型，在畫家畫了十年後，卻 儼然成為畫家的代表。有時，他甚至被稱為 「剪刀畫家」。90年代毛旭輝生了一場病 後，創作轉向對日常生活的關注，同時，在 具體藝術語言上，重點經營圖形，而不再強 調場景。創作椅子、剪刀這類熟悉的日常物 件，畫家的觀點是：「形象鮮明的作品，對 人的影響比較大。」 在畫面中，每一把剪 刀都尖利，或打開，或合攏，或完整，或殘 缺，但每一種狀態都表達著既冷靜又令人躁 動不安的情緒。 剪刀因為具有女性縫縫補補的原始形象，往 往被理解成傾向女性的藝術想像力。事實 上，毛旭輝的剪刀更具有男性權利的表達。 評論家王林認為：「他的椅子和剪刀都象徵 著權力關係，他的椅子更社會性一些，而他 的剪刀更具心理性，但這些與他的作品都帶 著表現主義的傾向、關注內心、關注精神層 面的追求是一脈相承的。」

048

TANG Zhigang (Chinese, b. 1959)

A Woman's Portrait 1993 Oil on canvas 81.5 x 75 cm Signed lower right Tang Zhigang in English and dated 93

HK$ 250,000-350,000 NT$ 1,030,000-1,440,000 US$ 32,800-45,900

唐志剛 女子肖像 1993 油彩 畫布 81.5 x 75 cm 簽名右下：93 Tang Zhigang

114

049

GUO Wei

(Chinese, b. 1960)

Mosquito Season No. 15 2001 Acrylic on canvas 100 x 80 cm Signed lower left Guo Wei in English Titled on the reverse Mosquito Season No. 15 in English, media acrylic, dated 2001, size 100 x 80 cm and signed GUO WEI in English

HK$ 75,000-110,000 NT$ 310,000-450,000 US$ 9,800-14,400

郭偉 蚊子系列之十五 2001 壓克力 畫布 100 x 80 cm 簽名左下 : Guo Wei 簽名畫背 : Mosquito Season No. 15, Acrylic 2001 100 x 80 cm, GUO WEI

116

050

GUO Jin

(Chinese, b. 1964)

Children No. 1 2007 Oil on canvas 225 x 100 cm Signed lower right Guo Jin in English, dated 2007 ILLUSTRATED: Guo Jin, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, cover page and p. 25

HK$ 180,000-260,000 NT$ 740,000-1,070,000 US$ 23,600-34,100

郭晉 孩子肖像（一） 2007 油彩 畫布 225 x 100 cm 簽名右下 : Guo Jin 2007 圖錄： 《郭晉》，季豐美術出版社，香港，2007， 彩色圖版，封面及頁25

051

GAO Huijun

高惠君 偷閒（天安門）

(Chinese, b. 1966)

Stolen Leisure (Tiananmen) 1997 Oil on canvas 105 x 170 cm Signed lower left G. Huijun in English and dated 97

118

ILLUSTRATED: Gao Huijun's Catalogue, China Blue Gallery, Beijing, color illustrated, p. 20

1997 油彩 畫布 105 x 170 cm 簽名左下：G. Huijun 97

HK$ 70,000-100,000 NT$ 290,000-410,000 US$ 9,200-13,100

圖錄： 《高惠君畫冊》，環碧堂畫廊，北京，彩色 圖版，頁20

052

SHENG Qi

盛奇

(Chinese, b. 1965)

History of Red and Black - Mao (diptych) 2007 Oil on canvas 100 x 80 cm (x2) Signed on the reverse Sheng Qi in Chinese and English, dated 2007

紅黑歷史—毛澤東（二聯幅） EXHIBITED: History in Black and Red - Sheng Qi, 798 Red Gate Gallery, Beijing, Oct. 20 - Nov. 11, 2007

2007 油彩 畫布 100 x 80 cm (x2) 簽名畫背：盛奇 Sheng Qi 2007

HK$ 80,000-120,000 NT$ 330,000-490,000 US$ 10,500-15,700

展覽： 「紅黑歷史－盛奇作品展」，798紅門畫 廊，北京 ，展期2007年10月20日至11月11日

053

QIU Xiaofei (Chinese, b. 1977)

Workwomen & Machine (a set of 2) 2007 Acrylic on canvas 30 x 40 cm (x2) Titled on the reverse workwomen (1) in Chinese and English, media acrylic on canvas in Chinese and English, size 40 x 30 cm, dated 2007 and signed Qiu Xiaofei in Chinese and English Titled on the reverse machine (2) in Chinese and English, media acrylic on canvas in Chinese and English, size 40 x 30 cm, dated 2007 and signed Qiu Xiaofei in Chinese and English

HK$ 55,000-85,000 NT$ 230,000-350,000 US$ 7,200-11,200

仇曉飛 女工與機器（二件一組） 2007 壓克力 畫布 30 x 40 cm (x2) 簽名畫背： 女工(1) workwomen (1) 布面丙烯 acrylic on canvas 40 x 30 cm 2007 仇曉飛 Qiu Xiaofei 機器(2) machine (2) 布面丙烯 acrylic on canvas 40 x 30 cm 2007 仇曉飛 Qiu Xiaofei

120

054

HE Sen

(Chinese, b. 1968)

Girl Calling 1999 Oil on canvas 149 x 119 cm Signed lower left He sen in English and Chinese, dated 1999 Signed on the reverse He Sen in English and size 149 x 119 cm

HK$ 120,000-220,000 NT$ 490,000-900,000 US$ 15,700-28,900

何森 女孩通話 1999 油彩 畫布 149 x 119 cm 簽名左下：HE SEN 1999 何森 簽名畫背：He Sen 149 x 119 cm

055

ZHONG Biao (Chinese, b. 1968)

Face of the Setting Sun 2001 Acrylic and charcoal on canvas 130 x 96.5 cm Signed lower right Zhong Biao in Chinese Titled on the reverse Face of the Setting Sun in Chinese and English, Zhong Biao in English and Chinese, dated 2001

HK$ 200,000-300,000 NT$ 820,000-1,230,000 US$ 26,200-39,400

鐘飆 夕陽的臉 2001 壓克力 炭筆 畫布 130 x 96.5 cm 簽名右下：鐘飆 簽名畫背：夕陽的臉 Face of the Setting Sun ZHONG Biao 鐘飆 2001

122

124

056

Haris PURNOMO (Indonesian, b. 1956)

Alienated Baby 2008 Oil on canvas 180 x 200 cm Signed lower right HARIS PURNOMO in English and dated 2008

HK$ 250,000-350,000 NT$ 1,030,000-1,440,000 US$ 32,800-45,900

哈里斯．普爾諾莫 疏離的嬰兒 2008 油彩 畫布 180 x 200 cm 簽名右下：HARIS PURNOMO 2008

057

MA Yunfei

(Chinese, b. 1960)

100, 000 Whys 2006-2007 Oil on canvas 27 x 27 cm (x4) Signed on reverse Ma Yunfei in Chinese and dated 07.1.4, numbered 1 (upper left) Signed on reverse Ma Yunfei in Chinese and dated 06.12.29, numbered 2 (upper right) Signed on reverse Ma Yunfei in Chinese and

126

馬雲飛 dated 2006.12.28, numbered 3 (lower left) Signed on reverse Ma Yunfei in Chinese and dated 2006.12.26, numbered 4 (lower right)

HK$ 20,000-35,000 NT$ 80,000-140,000 US$ 2,600-4,600

十萬個為什麼 2006-2007 油彩 畫布 27 x 27 cm (x4) 簽名畫背 : 1 馬雲飛 07.1.4（左上） 簽名畫背 : 2 馬雲飛 06.12.29（右上） 簽名畫背 : 3 馬雲飛 2006.12.28（左下） 簽名畫背 : 4 馬雲飛 2006.12.26（右下）

058

Dipo Andy

(Indonesian, b. 1975)

Symbol 1999 Acrylic on canvas 190 x 145 cm Signed upper right Dipo Andy in English and dated 1999

HK$ 75,000-120,000 NT$ 310,000-490,000 US$ 9,800-15,700

狄波．安迪 符號 1999 壓克力 畫布 190 x 145 cm 簽名右上：Dipo Andy 1999

059

Heri Dono

(Indonesian, b. 1960)

Cinderella 2006 Acrylic and collage on canvas 150 x 150 cm Signed lower center heri dono in English and dated 2006 Titled on the reverse "CINDERELLA" in English, dated 2006, size 150 x 150 cm, media Acrylic and collage on canvas and signed heri dono in English

HK$ 100,000-160,000 NT$ 410,000-660,000 US$ 13,100-21,000

128

赫利．多諾 灰姑娘 2006 壓克力 畫布 拼貼 150 x 150 cm 簽名中下：heri dono 2006 簽名畫背： Title: "CINDERELLA" year: 2006 size: 150 x 150cm technique: Acrylic and collage on canvas heri dono

060

Walasse TING

(Chinese-American, b. 1929)

Femmes aux capelines Ink and color on paper, mounted 65 x 96 cm With one seal of the artist

丁雄泉 PROVENANCE: Galerie Moderne, Bruxelles Acquired directly from the above by the present owner

HK$ 100,000-166,000 NT$ 410,000-680,000 US$ 13,100-21,800

戴帽的女人 彩墨 紙本 畫布 65 x 96 cm 鈐印左上：採花大盜 來源： 現代畫廊，布魯塞爾 現有收藏者購自上述來源

Lot 001

Lot 002

Lot 003

Yoshitaka AMANO (Japanese, b. 1952)

Ayako ROKKAKU (Japanese, b. 1982)

Toul OTSUKI (Japanese, b. 1973)

Born in 1952 in Shizuoka, Japan, he joined the early Japanese anime movement in 1967, working on character design for a number of Japanese TV programs, including the series "Time Bokan", "Tekkaman", "Gatchaman" and "Honey Bee". Amano has won several prestigious awards including the Seiun Award in 19831986 and the Dragon Con Award and the Eisner Award in 2000. Amano has exhibited his art in prestigious museums and galleries worldwide since 1989, including the Orlean Museum of Art in France, Tokyo’s Uenonomori Museum, The Angel Orensanz Foundation in New York, and the Barbican Centre in London.

Born in 1982 in Chiba, Japan, Ayako Rokkaku has never received any academic art education but learned to paint on her own. She started her career in painting in 2002, and her works are already common in many art fairs in Japan. Rokkaku has mastered her own painting technique. She applies acrylic paint on cardboard sheets with her bare hands. Adolescent children are the main subjects in her work, and are mostly illustrated from close-up. Rokkaku has won the prestigious Akio Goto Prize at Geisai # 9. Her works appeared in many solo exhibitions like shows held by Gallery Delaive (2007, Holland); by Gallerie Moderne (2007, Denmark); by Galerie Teo (2007, Tokyo); by Gallerie Wild (2008, Germany); Juliana Gallery (2008, Korea). And she has joined several international art fairs such as "Art Cologne" (2007, Holland); "Shanghai Art Fair 2007"; "Art Singapore 2007"; "Art Fair Tokyo 2008"; "Art Amsterdam" (2008); "Art Taipei 2008".

Born in 1973 in Fukushima, Japan. Otsuki Toul graduated from the painting department of the Tokyo University of the Arts in 2002, and afterwards completed his master’s program in 2004. He has held various solo exhibitions including "Tokyo Wonder Wall Awards 2003 Jury Presidents Award" (2004, Tokyo); "Happiness Bird " (2004, Tokyo); "Nazeka Shanghai" (2009, Tokyo); "My Precious Girl" (2009, Tokyo); and group exhibitions include "The Artists of Tokyo Wonder Wall 2000-2003" (2004, Tokyo); "Tokyo Designers Week 2004 Container Exhibition" (2004, Tokyo); "Toul Otsuki & Naoko Fukui Exhibition" (2006, Tokyo); "Game Girl Toul Otsuki & Naoko Fukui" (2007, Tokyo); "0×100 = Hyakunin Ten" (2008 Tokyo); "New Contemporary Art Fair 101 Tokyo" (2008, Tokyo); "Shanghai Art Fair " (2008, Shanghai); "Young Artists Japan Vol.2" (2009, Tokyo).

天野喜孝 (日本，1952年生)

六角彩子 (日本，1982年生)

大槻透 (日本，1973年生)

1952年出生於日本靜岡縣。1967年開始從事日本早期動 畫製作，為日本電視節目設計角色，包括《救難小英 雄》及《宇宙騎士》、《科學小飛俠》及1983到1986年 連續四屆的星雲賞《小蜜蜂》等。其優異表現也讓他得 到許多知名的獎項：2000年的惡龍多媒體大會獎及艾斯 納獎。1989年起，多次在國際藝術機構舉辦個展，例 如：法國奧荷朗美術館、東京上野之森美術館、紐約安 琪．奧倫桑基金會、倫敦巴比肯中心。

1982年出生於日本千葉，六角彩子從未上過任何藝術學 校，其畫作技巧與本領皆為自學，並從2002年起正式開 啟其繪畫創作之路，目前已在日本的許多藝術節上展出 了作品。六角彩子的繪畫技巧上已自成一派。她空手運 用丙烯酸樹脂漆在紙板上作畫；其畫作的主題是青少 年兒童，大部分從近距離進行描繪。 六角彩子曾在日 本「第9屆藝祭藝術節」上獲頒極具聲望的「後藤明男 賞」獎。於2007年分別在荷蘭（德萊夫畫廊）、丹麥 （現代繪畫畫廊）、日本（Teo畫廊）等地舉辦個展， 2008年則在德國（Wild畫廊）、韓國（朱莉亞娜畫廊） 舉辦個展。另外也參加過許多重要的國際藝術展，如 2007年的「科隆國際藝術展」（荷蘭）、上海、新加坡 藝術博覽會；2008年的東京、阿姆斯特丹、台北藝術博 覽會。

1973年出生於日本福島縣，2002年畢業於日本美術學 校油畫科，並於2004年取得碩士學位。舉辦過多次個 展如「東京奇蹟牆2003審察委員長賞受賞展」(2004， 東京)、「幸福之鳥」(2004，東京)、「回億」(2008， 東京)、「為什麼上海」(2009，東京)、「我的小公主」 (2009，東京)。以及群展如「東京奇蹟牆藝術家展覽 2000-2003」(2004，東京)、「東京設計師週2004年集 裝箱」(2004，東京)、「大槻透&福井直子展」(2006， 東京)、「遊戲女孩 大槻透&福井直子」(2007，東京) 「0×100＝百人展」(2008，東京)、「東京101新當代藝 術博覽會」(2008，東京)、「上海藝術博覽會」(2008， 上海)、「日本年輕藝術家Vol.2」(2009，東京)。

130

Lot 004

Lot 005

Lot 006

Hiroaki TSUJII (Japanese, b. 1975)

Makoto OGISO (Japanese, b. 1975)

Nam June PAIK (Korean-American, 1932-2006)

Born in 1975, Kobe City, Japan. Tsujii Hiroaki graduated from the Kyoto University of Art and Design. He has participated in a number of group exhibitions including "Mutsumi Harima & Hiroaki Tsujii Exhibition" by TOR Gallery (2003, Kobe City); "Attention!" sponsored by Artalive Co., Ltd (2006, Tokyo); "Hiroaki Tsujii & Ryoji Nakajima – Art Exhibition" by Starbucks Coffee, Ginza Maronie Street (2007, Toyko). He also held several solo exhibitions such as "Hiroaki Tsujii Exhibition"

by Gallery ES, (2004 & 2006, Tokyo); "Viva Baby!

Boomers!" by Casper’s Gallery (2007, Tokyo).

Born in 1975, Nara, Japan. He graduated with a Master Degree from the Tokyo University of the Arts. He works and lives in Tokyo. He is a lecturer at the Saga University and Sokei Academy of Fine Arts & Design.

He received the 41st Showa-kai prize in 2006. He held his solo exhibitions at the Galerie Nichido in 2007 & 2009.

He was born in Seoul in 1932, he received B.A. in art history at Tokyo National University, Japan in 1956.

Afterwards he went to Germany and majored in music history at Munich University in 1958. Since 1963 he participated in Fluxus movement, and had his solo exhibition at Galeria Bonino, New York in 1965. Since then, he had his retrospective exhibition at Whitney Museum, New York (1982) and produced "The More the Better" for 1988 Seoul Olympics. He exhibited at Venice Biennale 1993 in German section and won the Golden lion, and was awarded the Asian Culture prize in Fukuoka, Japan in 1995. He was included in the "World’s Top 100 Artists" selected by the German magazine Focus in 1996, and "Top 100 Artists" by Germany’s Capital in 1997.

辻井宏明 (日本，1975年生)

小木曾誠 (日本，1975年生)

白南準 (韓裔美籍，1932-2006)

生於神戶，畢業於京都大學藝術設計系。他的作品曾參 與於多次聯展，包括2003年在神戶TOR畫廊舉辦的「張 間睦美和辻井宏明聯展」、2006年由Art Alive有限公司 贊助在東京舉辦的「注意了！」、2007年於東京銀座星 巴克咖啡舉辦的「辻井宏明和中島良二藝術展」。另 外，他亦曾舉辦個展，如2004年及2006年於東京ES畫廊 舉辦的「辻井宏明展覽」、2007年於東京Casper ’s舉辦

生於日本奈良縣。2005年修畢東京藝術大學美術研究科 大學院博士課程，現為日本佐賀大學油畫科之講師及日 本創形美術學校美術系講師。2006年獲得第41屆昭和作 品展之獎項。2007及 2009年在東京日動畫廊舉辦「小木 曾誠展」。

白南準出生於1932年首爾市。他於1956年畢業於東京國 立大學的藝術史系，兩年後前往德國幕尼黑大學主修音 樂史。從1963年起開始參加福魯克薩斯運動，於1965年 於紐約波尼諾畫廊舉辦個展、1982年紐約惠尼美術館 舉辦回顧展、1988年為首爾奧林匹克製作了《越多越 好》。他於1993年在威尼斯雙年展的德國館中參展並 獲得金獅獎，並於1995年獲日本福岡的亞洲文化獎。 1996年他被德國雜誌《聚焦》選為「世界前一百大藝術 家」，於1997年被德國首都選為「前一百大藝術家」。

的「萬歲！嬰兒潮！」。

131

Lot 007 Lot 008

Lot 009

Yayoi KUSAMA (Japanese, b. 1929)

JI Dachun (Chinese, b. 1968)

Yang Jing (Chinese, b. 1976)

Born on 22nd, March, 1929. She was called the classic artist still alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-garde artistic creation which takes a dominant place. She once held exhibition with some current brillant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, he got acousma and heteroptics because she was ill. When she was in America, it was the period of radicalness.

And from then on her arts stayed in the state of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work "Endless Mirror Room" reveals the endless and the uncontrollable of life.

Born in Jiangsu, China, 1968. In 1993, Ji Dachun graduated from the Central Academy of Fine Arts with a B.A. (Oil Painting). He was invited to participate in "the First Oil Painting Biennial of China" and later took part in Chinese Contemporary Union Show in 1998, Shanghai. At the same time, his instinctive style engaged the attention of overseas market. In 1997, he attended "Exceptional Realism" Show in the House of World Cultures, Berlin, Germany. In 1999, BASE gallery in Tokyo held his first solo exhibition. Among young Chinese artists, he has an obviously unique style. Not withstanding the multiplicity of art world, Ji Dachun’s work combines an intuitive understanding of human nature with a strong technique.

Born in Beijing, China. Yang graduated from the attached school of Central Academy of Fine Arts in 1996 and graduated from Mural department of Central Academy of Fine Arts in 2000. She has taken part in distinguished collective shows "N12" at the Gallery of Central Academy of Fine Arts in Beijing in 2003 and 2004. Her works participated in "Chinese Modern Art Exhibition of Fresh Artists", Beijing Sanhe Arts in 2004, and "Get It Louder" tour exhibitions in Shenzhen, Beijing and Shanghai in 2005. Her work "Puppet Carnival" participated in "Fiction@Love" exhibition, Seoul, Korea in 2006.

草間彌生 (日本，1929年生)

季大純 (中國，1968年生)

楊靜 (中國，1976年生)

草間彌生被稱為日本現存的經典藝術家，出生於日本長 野縣松本市，在1956年移居美國紐約市，並開始展露她 佔有領導地位的前衛藝術創作。曾與當代卓越的藝術家 如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊斯一起 聯展。現居住在日本東京。她的藝術實踐非常廣泛：繪 畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和 音樂。她十歲患病導致幻聽幻視。在美期間正值激進主 義時期，此後她的藝術停留在激進、商業和反思的層面 上。她認為網狀結構象徵富有生機的生命本質。1966年 的充滿神秘感的《無限鏡屋》的裝置作品反映了一種生 命力的無限廣博以及不可把握性。她對自己的藝術經歷 描述為：分解和積聚，增值和破碎，是對自己的湮沒和 對無形宇宙的回想。返日後用多種形式和材料探索無止 境的網狀結構。她的藝術中所蘊含的獨特的感知經驗和 不可觸摸的神秘。

1968年生於江蘇，1993年畢業於中央美術學院，翌年受 邀參加「首屆中國油畫雙年展」，1998年參加上海劉海 栗美術館之「中國當代畫家聯展」。除了來自國內的肯 定，其特立風格同樣引起海外市場的注目，1997年季大 純於德國柏林世界文化宮「其他的現代藝術展」中展 出，1999年則在東京BASE畫廊舉行個展。新一代華人 藝術家群中，季大純以紮實技法的基礎堅持自我風格， 在瞬息萬變的藝術領域中，更顯其穩健無華，簡練大度 的寬厚風範。2001年應邀參加成都國際藝術雙年展。

出生於中國北京，1996年畢業於中央美術學院附中， 2000年畢業於中央美術學院壁畫系。2003年及2004年參 加北京中央美術學院畫廊「N12」展覽，2004年北京三 合藝術中心「中國當代藝術新人展」，2005年參加「大 聲展」深圳、北京、上海巡迴展，2006年作品《偶的嘉 年華》參加韓國首爾「虛擬@愛」展覽。

132

Lot 010 Lots 012, 013, 014, 020 Lot 011

WANG Mai (Chinese, b. 1972)

LU Hao (Chinese, b. 1969)

JU Ming (Taiwanese, b. 1938)

Born in 1972, Heilonjiang Province, China and now lives and works in Beijing. He is considered as a selftaught artist as he has not received any formal art training in the academy. He was among the first group of artists that converged in the Yuan Ming Yuan and also experienced the remarkable phases of "County Tong" and "798 Art District". In 2002, he won the Contemporary Art Prize from American Asia Culture Council (ACC), U.S.A. His works are a combination of realism and science fiction, characterized with traditional symbols. He has exhibited his works in China, Taipei, Hong Kong, Singapore, Seoul, Japan, Israel, Switzerland, U.K., U.S.A, Germany, France, Italy, Spain etc. He has held numerous solo exhibitions in Hong Kong & Beijing include "Spring Festival Show 1999, Beijing Design Museum, Beijing 1 May International Labor Day, Self-owned Studio, Beijing" (1999, Beijing); "Gateway of Infinite Wonders" (2004, Beijing); "Solo Exhibition of Wang Mai" (2006, Beijing); "Brilliance of Capitalism" (2007, Hong Kong).

Born on February 9, 1969 in Beijing, China. 1992, Graduated from the Central Academy of Fine Arts, Beijing, China. Solo Exhibitions: 2006 Xin Dong Cheng Space for Contemporary Art, Beijing; Arario gallery, Seoul, South Korea. He Xiangning Art Museum, Shenzhen, China; Kwai Fung Hin Art Gallery, Hong Kong, China; 2005, Goedhuis Contemporary, New York, U.S.A; Beijing Art Now Gallery, Beijing, China; Tokyo Gallery, Tokyo, Japan; 1996, "Experimental Inks", Yun Feng Art Gallery, Beijing, China; 1995, "Experimental Inks", International Art Gallery, Holiday Inn Crown Plaza, Beijing, China; Joint Exhibitions: 2006, "Mahjong China Contemporary Art from the Sigg Collection", Museum of Contemporary Art, Hamburg, Germany; Pusan Biennale, South Korea.

Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Yang (1926-1997), a master sculptor, from 1968 to 1976. Ju was chosen as one of the Ten Outstanding Young Persons in Taiwan in 1976, a recognition given each year to ten young men and women in any field of endeavor. He was presented with a National Cultural Award in recognition of his artistic accomplishments.

His most famous Series are the "Nativist", the "Taichi" and the "Living World". In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in Chin-shan, Taipei County in 1999. Ju Ming's work can be found in major public collections at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts and Juming Museum.

王邁 (中國，1972年生)

盧昊 (中國，1969年生)

朱銘 (台灣，1938年生)

出生於黑龍江省，現於北京生活及創作。他未曾進入學 院接受教育，是位自學的藝術家。他是早期聚集在北 京圓明園藝術群中的藝術家之一，經歷過「通縣」、 「798藝術區」三個中國當代藝術歷史上標誌性的階 段，憑著自我奮鬥及從現實社會汲取經驗，得以在藝術 界闖出成就，並於在2002年獲得美國亞洲文化委員會頒 發的當代藝術獎。他的作品揉合現實與科幻，作品中的 傳統符號亦成為他的獨特標誌。在中國、台北、香港、 新加坡、漢城、日本、以色列、瑞士、英國、美國、德 國、法國、義大利、西班牙等地均辦過展覽。他曾在香 港及北京等地舉辦個展，如「1999年春節聯歡會 五一國 際勞動節大合唱」(1999，北京)、「眾妙之門」(2004， 北京)、「王邁個展」(2006，北京)、「資本的光輝」 (2007，香港)。

出生於中國北京。1992年畢業於中國中央美術學院。個 展：2006年 「盧昊個展」，程昕東國際當代藝術空間， 北京，中國；「盧昊個展」，阿拉里奧畫廊，首爾，韓 國；何香凝美術館，深圳，中國；季豐軒畫廊，香港， 中國；2005年，個展，古德豪斯當代畫廊，紐約，美 國；個展，北京現在畫廊，北京，中國；個展，東京畫 廊，東京，日本；1996年「個人實驗水墨畫展」，北京 雲峰畫廊，中國；1995年「個人實驗水墨畫展」，北京 國際藝苑美術館，中國；群展：2006年「麻將—中國當 代藝術席克收藏展」，漢堡當代美術館，德國；「釜山 雙年展」，釜山，韓國。

出生於台灣苗栗。1953-1957年從李金川學習木刻， 1968-1976年從楊英風（1926-1997）學習現代雕塑，以 純樸的天性、卓越的才華，將過去賴以維生的木雕工 藝，逐次提升為富有生命意味的藝術創作。作品廣泛而 深切地感動了國人，已漸受西方社會矚目。曾獲選十大 傑出青年，獲頒國家文藝獎章。著名的作品有鄉土系 列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵 登廣場盛大展出其著名的太極系列。1999年於朱銘美術 館成立於台北縣金山鄉。主要收藏機構：台北市立美術 館、國立台灣美術館、高雄市立美術館、朱銘美術館 等。

133

Lots 017, 018 Lots 015, 016

Lot 019

SANYU (Chinese-French, 1901-1966)

CHU Teh-chun (Chinese-French, b. 1920)

ZAO Wou-ki (Chinese-French, b. 1921)

Born in 1920 in Jiangsu, China. In 1935, he passed the examination for Hangzhou National College of Art, which at the time had Lin Fengmian as his director.

In 1949, he came to Taiwan. In 1951. he taught at the Taiwan Normal University. In 1954, he held his first solo exhibition at the Taipei Chung Shan Hall. In 1955, he went to France to further his studies. In 1957, he won the Silver Award at the Paris Salon du Printemps.

In 1969, he entered the Tenth Sao Paolo Biennial International Exhibition in Brazil. In 1982, he held a solo exhibition at the André Moreau Contemporary Art Studio in le Havre in France. In 1987, the National Museum of History held a solo exhibition of his works, his first one in Taiwan since leaving thirty-two years before. In 1997, he was inducted into the prestigious L’Institute de France, as a member of the Beaux-Arts.

Born in Beijing, China. Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). After his graduation in 1941, he remained at the College to teach. He held his first solo exhibition in Chongqing in the same year. He emigrated to Paris in 1948. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. Taipei Fine Arts Museum and the Kaohsiung Museum of Fine Arts organized an exhibition of his works in 1993 and 1995 respectively.

In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing’s China Art Gallery. Zao’s compelling abstract paintings have won him international fame and his paintings are much sought after. His work is found in major public collections such as the Musée d’art moderne in Paris.

Born in 1901, Sichuan. Sanyu attended Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first wave of Chinese artists to study there. Unlike most of his contemporaries, Sanyu decided to remain in Paris. Since 1925, Sanyu exhibited his work regularly at the Paris salons and in local galleries. Before World War II, Sanyu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an exhibition of his work. Since Sanyu's death in Paris in 1966, the National Museum of History in Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of Sanyu, the National Museum of History held a grand exhibition of over 129 oil paintings. In 2004, the Musée National des Arts Asiatiques-Guimet held a restrospective show of Sanyu's 60 works.

朱德群 (華裔法籍，1920年生)

趙無極 (華裔法籍，1921年生)

常玉 (華裔法籍，1901-1966)

生於江蘇省，1935年考入國立杭州藝專，當時林風眠任 校長。1949年來台。1951年任教於台灣師範學院。1954 年於台北中山堂舉辦首次個展。1955年赴法國深造。 1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第 十屆雙年展。1982年於法國勒哈佛之昂特馬侯現代美術 館舉辦個展。1987年國立歷史博物館舉辦個展，亦為他 離台十二年後第一次畫展。1997年當選法蘭西學院藝術 院士。他的繪畫充滿詩意的氣質，用色兼容沈穩奔放， 線條飛騰有如狂草，具有東方藝術的細膩與西方繪畫濃 厚而重的色彩，極具中國水墨山水與書法的逸趣。他的 抽象繪畫是一種自然的流露，顫動的、熱情的，是一種 抒情的奉獻，低聲傾訴生命的奧祕。

生於北京，趙無極在國立杭州藝專師承林風眠（19001991）與吳大羽（1903-1988），於1941年畢業於杭州 藝專，同年在重慶舉行首次畫展，並留校任助教。1948 年往巴黎深造，並結交不少歐洲藝術界人士。從1959至 1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年 代時趙無極成為巴黎最傑出的中國畫家。於1993和1995 年應邀在台北及高雄市立美術館展覽。1994年獲得日本 天皇美術獎。1998年更經由法國文化部策劃其回到中國 上海博物館、北京中國美術館、廣東美術館舉辦回顧 展；2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在 中國現代藝術家中首推趙無極在西方的藝術成就最高， 而其作品更廣為世界著名的博物館，如法國國家現代美 術館、舊金山現代美術館等美術館及私人企業機構所珍 藏。

生於四川，少年時就讀上海美術學校，1919年至日本 留學，1920年轉赴法國留學，成為中國最早期的留法 學生之一，之後留居巴黎。1925年起，其作品屢見於巴 黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後 轉至紐約生活兩年。1948年，紐約現代美術館替他舉辦 個展。在其1966年於巴黎逝世後，台北國立歷史博物館 曾分別於1978、1984、1990年共舉辦三次他的回顧展， 2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀 念大展，2004年6月巴黎國立居美東方美術館舉辦常玉 回顧展，展出60餘件作品。足見其作為海外華人藝術家 在中國畫壇的重要性。主要收藏機構有：台北國立歷史 博物館、中國美術館等。

134

Lot 022

Lots 021, 024

Lot 023

LIN Fengmian (Chinese, 1900-1991)

WU Guanzhong (Chinese, b. 1919)

YE Jianqing (Chinese, b. 1972)

Born in Guangdong, China. Lin Fengmian went to France to study painting in 1918. During his 4-year stay, he studied in Dijon and Paris. Upon Cai Yuanpei's invitation, Lin returned to China in 1926 and became president of the Beijing Academy of Fine Arts. He was also responsible for setting up the Hangzhou National Academy of Art (formely known as Hangzhou National College of Art). Lin is one of the most influential artists and teachers of that time. In 1952, Lin retired from teaching and devoted his energies to painting. In 1977, he moved to Hong Kong where he lived until his death.

His ninety years retrospective exhibition was held in the National Museum of History, Taipei in 1989. In 2000, Shanghai Art Museum and Sun Yat Sen Memorial Hall of Taipei both held a commemorative exhibition of Lin's 100th year.

Born in Yixing, Jiangsu. Wu Guanzhong’s training in Western art began at the Hangzhou National College of Art in 1936 under Lin Fengmian (1900-1991). After his graduation in 1942, he obtained a teaching position at the National Chung-ching University. He then traveled to France where he spent the next four years studying oil painting under Professor Jean Souverbie (1891-1981) at the Ecole Nationale Supérieure des Beaux Arts and the ateliers of André Lhote (1885-1962) and Othon Frieze (1879-1949). He is currently a professor at the Central Academy of Fine Arts and Crafts. He has painted in oil since 1950, even during the Cultural Revolution. His international fame is evident in two recent exhibitions of his traditional oil paintings at the Chinese Culture Foundation of San Francisco (1989-90) and the British Museum in London (1993). Hong Kong Museum of Art and National Museum of History in Taipei held solo exhibitions of Wu’s work in 1995 and in 1997 respectively.

Born in Zhejiang Province, China. Studied in the Central Academy of Fine Arts in Beijing from 1994 and has received his PHD in 2007. He’s now a teacher at the Wall Painting Department in the academy. YE studied Chinese painting in his early years, subjects of his works are rich in traditional Chinese culture. He is adept in using western oil painting techniques and concepts to the Chinese traditional painting themes and spirit. His artworks are like old black and white photographs, not only capturing the image but also the spirit of nature.

The layer of oil in his works is light and thin and also extremely blurry. Ye would like to bring out the theme – the contradiction of history and reality; old culture is fading out in the face of modernization and urbanization.

He has participated in various exhibitions at home and aboard, including: "Ye Jianqing Artworks Exhibition", iPreciation Gallery, Singapore, 2004 & 2005; "China’s Emerging – Ye Jianqing Works Exhibition" in Hong Kong and "Beijing International Art Biennale Show", Beijing in 2007,"Hutong Memory", iPreciation Gallery, Hong Kong, 2009.

林風眠 (中國，1900-1991)

吳冠中 (中國，1919年生)

葉劍青 (中國，1972年生)

廣東梅縣人。1918年參加政府勤工儉學政策赴法留學， 分別在第戎及巴黎習畫。1926年應蔡元培之邀回國任國 立北平藝專校長。1928年在杭州創辦國立藝術院，後來 改名杭州藝專，經常撰文宣傳中西藝術結合的創作經驗 及理論，是當時中國最有影響力的畫家及美術教育家， 趙無極、吳冠中、席德進等人皆為其學生。1952年自教 職退休專事繪畫，文革期間被貶抑為黑畫家，被拘入獄 達四年之久。1977年後旅居香港，繼續創作不輟，直至 1991年病逝。1989年，國立歷史博物館為其舉行九十回 顧展。自1999年上海美術館、台北國父紀念館分別舉辦 「林風眠百歲誕辰紀念展」。

生於江蘇。1936年進入國立杭州藝專，在林風眠的指導 下開始研習繪畫。1942年畢業後，在國立重慶大學執 教。1946年獲教育部獎學金赴法國留學。在法國四年期 間，曾就讀於巴黎的國立高等美術學校，師從蘇弗爾比 （1891-1981）教授學習油畫，並入洛特（1885-1962） 和佛里茲（1879-1949）畫室進修。同時在羅浮宮研習 美術史。1950年回到中國後，先後在中央美術學院，清 華大學及北京藝術學院任教，現為中央工藝美術學院教 授。吳氏數十年間持續進行油畫創作，即使在文化革命 中亦未曾中斷。1989年三藩市中華文化基金會舉辦個展 及1992年在倫敦大英博物館舉辦個展，其作品受到世界 的重視，1995年香港藝術館以及1997年台北國立歷史博 物館亦為其舉辦講座及個展。

生於浙江省，1994年起就讀北京中央美術學院，並於 2007年取得博士學位，現於母校壁畫系任教。他早年曾 學國畫，作品的主題帶有濃郁的中國傳統文化氣息。他 善於以西方油畫的技巧和概念，表達中國傳統繪畫題材 和精神；以油彩配合中國傳統水墨的技巧，透過細膩模 糊的筆觸，畫出一幅幅像黑白照片似的油畫。他的作品 充滿朦朧、虛幻的感覺，喜歡以淺薄的色彩帶出作品主 題–歷史與現實的矛盾。令讀者反思以往的歷史文化特 色，將會在工業化急速發展的情況下逐漸消逝。他曾參 與多次國內外的展出，其中包括2004及2005年於新加坡 誰先覺畫廊舉辦的「葉劍青作品展」、 2007年香港舉辦 的「中國的浮現-葉劍青作品展」、同年於北京舉辦的 「北京國際藝術雙年展」、2009年香港誰先覺畫廊舉辦 的「胡同記憶」。

135

Lot 025

Lot 026

Lot 027

ZHANG Donghong (Chinese, b. 1967)

CAO Jingping (Chinese, b. 1972)

XIN Haizhou (Chinese, b. 1966)

Born in Jiling, China in 1967, graduated with BA from the Department of Art, Jiling Institute of Fine Arts in 1992, taught in the Department of Art, Jiling Institute of Technology the same year, established an art workshop in Beijing in 1995, and currently a professional painter.

Starting attending international exhibitions since 1994, including "the Chinese Modern Art Exhibition" in Holland in 1994, "the Contemporary Art Exhibition" in Berlin Germany in 1995, "the Chinese Modern Art Exhibition" in Singapore in 1997, "the China Youth Artists Joint Exhibition" in Milan Italy in 1998, "the Contemporary Art Exhibition" in London UK in 2000, "the Chinese Modern Art Exhibition" in Houston US in 2001 & 2002, "the Chinese Artist Collection Exhibition" in London UK in 2004, "the International Modern Art Exhibition" in Italy in 2005, and the "Classic Decade" Modern Art Exhibition held by Beijing China Museum of Art in 2006. Solo exhibitions have also been held in galleries in Hong Kong, Shanghai, Beijing and Singapore.

Cao Jingping was born in Chongqing, China, graduated from the Affiliated High School of Sichuan Art Institute in 1992, 1996 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired bachelor degree. During 1997-1998, Cao went to Germany Kassel Academy of Fine Arts to pursue advanced studies, in 1999 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired master degree. In 2001, Cao participated the "Sweet Illusions" six-artist joint exhibition in Shanghai museum of Fine Arts, China; "Chongqing Chilies" in Kulturbahnhof, Germany; and "Post-Politics" in The Bloxham Galleries, London, UK.

Born in 1966, Chengdu, China, he graduated in 1989 from Department of Printmaking, Sichuan Fine Arts Institute and now teaches there. He has attended the following major exhibitions: 1989 "Exhibition of China’s Modern Art", Beijing; 1991 "I Don’t Want to Play Cards with Cézanne", California; 1992 " The First Biennale Exhibition of Art in 1990s", Guangzhou; 1993 "Post 1989 - New Art Exhibition of China", Hong Kong; 1994 "Oil Painting Exhibition of Contemporary China", Beijing; 1995 "From Realism to Postmodernism - Oil Painting Exhibition of Contemporary China", Brussels; 1997 "Mirage of Reality - Exhibition of Xin Haizhou Sketch", Hong Kong; 1979-1999 Chinese Art Invitation Exhibition", Chengdu; 1999 "1999 Exhibition of China's Contempory Art", 2000 "Gate of the Century: 19791999 Chinese Art Invitation Exhibition", Chengdu; 2001 "Chongqing Chilies", Kassel.

張東紅 (中國，1967年生)

曹靜萍 (中國，1972年生)

忻海洲 (中國，1966年生)

1967年生於中國吉林，1992年畢業於吉林藝術學院美術 系，獲學士學位，同年任教於吉林工學院美術系，1995 年在北京建立藝術工作室，現為職業畫家。自1994年開 始參與國際性展覽，包括1994年荷蘭的「中國現代藝術 展」、1995年德國柏林的「當代藝術展」、1997年新加 坡的「中國現代藝術展」、1998年義大利米蘭的「中國 青年藝術家聯合展」、2000年英國倫敦的「當代藝術 展」、2001年及2002年於美國休斯頓舉行的「中國當代 藝術展」、2004年英國倫敦的「中國藝術家收藏展」、 2005年義大利「國際當代藝術展」、2006年北京中國美 術館舉行的「經典十年」當代藝術展等。其個人展覽亦 曾於香港、上海、北京及新加坡等地畫廊舉行。

出生於重慶。1992年畢業於四川美術學院附中，1996年 畢業於四川美術學院油畫系並獲學士學位，1997-1998 年赴德國卡塞爾美術學院學習，1999年畢業於四川美術 學院油畫系並獲碩士學位。2001年「甜蜜的幻覺」當代 藝術六人作品展中國上海美術館。「重慶辣椒」展於德 國卡塞爾文化車站。「後政治」藝術作品展於英國倫敦 的布洛克斯翰畫廊。

1966年生於成都。1989年畢業於四川美術學院版畫系， 現任教於四川美術學院 。參加的主要展覽有：1989 年「中國現代藝術展」，北京；1991年「不與塞尚玩 牌」，美國加州；1992年「廣州首屆九十年代藝術雙年 展」，廣州；1993年「後89中國新藝術展」，香港； 1994年「中國當代油畫展」，北京；1995年「從現實 主義到後現代主義－中國當代油畫展」，布魯塞爾； 1997年「現實的幻影－忻海州素描展」，香港。1999 年「1999中國當代藝術展」，舊金山；2000年「世紀 之門：1979-1999年中國藝術邀請展」，成都；2001年 「重慶辣椒」，德國卡塞爾。

136

Lot 029 Lot 028

Lot 030

WANG Luyan (Chinese, b. 1956)

LI Zhangyan (Chinese, b. 1969)

QU Guangci (Chinese, b. 1969)

Born in 1956, Beijing, China and now lives and works there. In 1970s, introduced by Huang Rui, WANG became the member of Star Group. During 1988 to 1995, Wang was deeply involved with the New Measurement Group, a three-member party initiated by Wang Luyan, Gu Dexin & Chen Shaoping. Wang has considered as one of the initiation of conceptual artists and also the initiation of Beijing "Apartment Art" in terms of the sentiment of self criticism of the avant-garde mainstream. He has participated in various exhibitions such as "Star Group Exhibition" (1979, Beijing); "Contemporary Chinese Art Exhibition" (1989, Beijing); "China Avant-garde Artists Exhibition – Exit" (1991, Fukuoka); "Silent Energy : New Art from China" (1993, Oxford); He has returned to the art worlds until 2007 when he held a solo exhibition – "Sawing or Being Sawed" (by OCT Contemporary Art Terminal, Shenzhen). In 2008, He held another solo exhibition "Wang Luyan: The Other side of Totality" (by Joy Art, Beijing).

Born in Changchun, Jilin Province, China. He graduated from the Sculpture Department of the Central Academy of Fine Arts, Beijing in 1999. He works and lives in Chongqing and teaches at the Sculpture Department of the Sichuan Fine Arts Institute, Chongqing. His artworks are originated from everyday life observations as his inspiration. Through sculpting the physical environment and scenes, his artworks revealed mutual disregard and alienation among people in the society but yet they are close in proximity. His works could be seen in many joint exhibitions such as 2005, 2006 & 2007 "Mahjong – Contemporary Chinese Art from the Sigg Collection", Sweden, Germany & Austria; 2003 "An Opening Era – Celebration of the 40th Anniversary of Founding of the Natinal Art Museum of China", Beijing; 2005 "Grounding Reality", Seoul; 2007 "Grassroots Humanism : 21 Cases of Contemporary Art", Beijing; 2007 "Urban Mirroring – Contemporary Art Exhibition", Shenzhen. He also held various solo exhibitions such as 1998 "LI Zhangyan Solo Sculpture Exhibition", Beijing; 2003 "Life Myraid", Beijing; 2006 "Scenes", Lucerne, Switzerland; 2008 "Rent", Beijing.

A native of Shanghai, China, he graduated from the Affiliated High School of the Zhejiang Academy of Fine Art in 1989. In 1994 he received his bachelor’s degree from the Department of Sculpture at the Central Art Academy, then a master’s degree in 1997. The artist is currently a teacher in the Sculpture Studio at the School of Fine Art, Shanghai Normal University.

His 1993 piece "Mother" was entered in the "National Commemoration of Comrade Mao’s Lecture at the Yanan Art and Literature Workshop - 65th Anniversary Art Exhibition" where it won an outstanding work award.

The 1994 piece "Street" participated in the "1994 Central Art Academy Graduate Exhibition" organized by the Central Art Academy display gallery and won a second rank award and was added to the academy’s collection. His work "Wang Family Well" won the gold medal for the Beijing district in the "8th National Art Exhibition", then went on to win the grand prize at the "8th National Outstanding Artwork Exhibition".

王魯炎 (中國，1956年生)

李占洋 (中國，1969年生)

瞿廣慈 (中國，1969年生)

生於北京，現於北京生活及創作。1970年代由黃銳 介紹加入「星星畫會」。1988-1995年跟顧德新、陳 少平組成「新刻度小組」，是中國最早期的觀念藝 術家之一，亦是北京「公寓藝術」的發端。他曾參 與過多次重要展覽，包括1979年於北京中國美術館 外舉辦的第一屆「星星畫展」；1989年北京中國美 術館舉辦的「中國現代藝術展」；1991年在日本福 岡由新刻度小組舉辦的「中國前衛藝術家展（非常 口）」；1993年在英國牛津現代藝術館舉辦的「沉 默力量的中國–中國當代藝術展」。2007年高調復 出，並於同年在北京阿拉里奧和深圳何香凝美術館 O C AT當代藝術中心舉辦個展「被鋸的鋸」。更於 2008年北京卓越藝術舉辦個展「王魯炎–整體的背 面」。

生於吉林長春市。1999年畢業於北京中央美術學院雕塑 系，現任教於重慶四川美術學院雕塑系。擅長場景雕 塑，喜歡以日常生活的體驗作為作品主題。透過塑造車 站、酒吧、按摩室等場景雕塑，記錄當時當刻他想回味 的生活細節，表達人與人之間雖然近在咫尺，卻又漠不 關心的社會現象。作品曾參與多次國內外的展覽，如 2005、2006及2007分別在瑞士、德國及奧地利舉辦的 「麻將－中國當代藝術希克收藏展」；2003年在北京中 國美術館舉辦的「開放的時代－紀念中國美術館建館40 周年展」；2005年在韓國首爾舉辦的「著陸現實」； 2007年在北京原創藝術博展中心舉辦的「底層人文－當 代藝術的21個案例」；同年在深圳美術館舉辦的「都市 鏡像－當代藝術邀請展」。另外，他亦舉辦了多次個人 展覽，包括1998年在北京中央美術學院通道畫廊舉辦的 「李占洋雕塑作品展」；2003年在北京藝術文件倉庫舉 辦的「人間萬象」；2006年在瑞士盧森麥勒畫廊（北京 －盧森）舉辦的「場景」及2008年在北京麥勒畫廊（北 京－盧森）舉辦的「租－收租院」等。

出生於上海。1989年畢業於浙江美術學院附中，1994年 畢業於中央美術學院雕塑系，獲學士學位。1997年畢業 於中央美術學院雕塑系，獲碩士學位，現為上海師範大 學藝術學院雕塑工作室教師。1993年作品《母》參加中 國美術館舉辦的「全國紀念毛澤東同志在延安文藝座談 會上的講話—六十五周年美術作品展」，並獲優秀作品 獎。1994年作品《街道》參加中央美術學院陳列館舉辦 的「94中央美術學院畢業生作品展」獲二等獎，並被中 央美術學院收藏。作品《王府井》獲「第八屆全國美 展」北京地區金獎，並入選「第八屆全國美展優秀作品 展」獲大獎。1995年作品《黃昏》、《姿態》參加當代 美術館舉辦的「95國際青年美術家交流展」。1997年研 究生畢業作品《西藏組雕》獲「97中央美術學院畢業生 作品展」二等獎及日本岡松家族基金會二等獎，作品為 中央美術學院收藏。1999年作品《天路》參加中國美術 館舉辦的「第九屆全國美展」，獲頒銅獎。

137

Lot 033

Lot 031

Lots 032, 040, 041

JIAO Xingtao (Chinese, b. 1970)

ZHOU Chunya (Chinese, b. 1955)

LI Chen (Taiwanese, b. 1963)

Born in Chengdu, Sichuan in 1970, Jiao graduated from Sichuan Academy of Fine Arts in 1996. Now works and lives in Chongqing. He participated in various exhibitions, including: "Shanghai Jingwen Art Exhibition", Shanghai; "Beijing International Urban Sculpture Exhibition", China National Museum, Beijing, 2002; "Chongqing Art Museum opening exhibition - Intensely Interesting Arts", Chongqing; "Beijing 1st International Art Biannual Exhibition", China National Museum, Beijing, 2003; "10 Art Academy joint Exhibition", Academy of Fine Arts, Tsinghua University, Beijing, 2003; "Japan Oita International Sculpture Exhibition", Japan, 2004; "The 2nd Chengdu Biannual Exhibition", Chengdu Modern Art Gallery, Chengdu, 2005; "Contemporary Art Almanac Exhibition of China", The Art Museum of the China Millennium, Beijing, 2006; "New South-West Contemporary Painting Exhibition 1985-2007", Guangdong Museum of Art, Guangzhou, 2007.

Born in 1955 in Chengdu, Sichuan Province, China.

Zhou Chunya graduated from the Department of Oil Painting of the Sichuan Institute of Fine Arts in 1982.

Zhou also graduated from the Fine Arts College of German Kassel University. He currently works as an artist at the Chengdu Academy of Painting in Sichuan.

Zhou's works have been shown at "The Documentary Exhibition of Chinese Contemporary Art" (Beijing, 1991), "China Experience" (Chengdu, 1993), "China's New Art - Post '89" (Hong Kong, 1993), "The Annual Exhibition of Art Critics Nomination" (Beijing, 1994), "China!" (Bonn, 1996) and "The Shanghai Biennial" (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum.

L i C h e n w a s b o r n i n Ta i w a n , i n 1 9 6 3 . H e h a s extraordinary performance in molding the traditional Buddhist sculptures. Later he infused emotion of the heart into the works and studied a variety of Confucian, Buddhist, and Taoist scriptures, and even instilled new contemporary thoughts, which provided a new creativity to Li Chen’s sculptures. Solo Exhibitions:2007 "52nd International Art Exhibition – La Biennale di Venezia", Venice, Italy (Asia Art Center), 2005 "Li Chen Sculpture" Taipei Art Fair, Taiwan (Asia Art Center), 2003 Series of "Spiritual Journey Through The Great Ether" Michael Goedhuis Gallery, New York, U.S.A; International Group Exhibitions: 2004 "OPENASIA" 7th International Exhibition of Sculptures and Installations, Venice, Italy. 2007 "A Truth Beyond the Real – 14 Chinese Contemporary Artists" Doosan Art Center, Seoul, Korea.

焦興濤 (中國，1970年生)

周春芽 (中國，1955年生)

李真 (台灣，1963年生)

1970年出生於四川成都，1996年畢業於四川美術學院。 現工作、生活於重慶。曾參與的展覽有：「上海精文 藝術大展」，上海；2002年「北京國際城市雕塑邀請 展」，北京；「重慶美術館開館系列展之—耐人尋味的 藝術」，重慶；2003年「北京首屆國際美術雙年展」， 中國美術館，北京；「全國十所美術院校作品展」，清 華大學美術學院，北京；2004年日本大分國際雕塑展 「日本朝蒼文夫紀念館」，日本；2005年「第二屆成都 雙年展」，成都現代藝術館，成都；2006 年「首屆中 國當代藝術年鑒展」，中華世紀壇現代藝術館，北京； 2007 年「從西南出發—西南當代藝術展1985-2007」， 廣東美術館，廣州等。

四川成都人。1982年畢業於四川美術學院油畫系。1988 年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現 在為成都畫院專職畫家。1980年作品入選第二屆全國青 年美展獲二等獎。1982年參加紐約中國當代油畫展， 1984年參加香港四川油畫展，同年參加前進中的中國青 年畫展。1987年舉辦個人畫展於德國杜塞道夫，1988年 於奧地利林茨舉辦個人畫展，同年參加德國比勒費爾德 國際五人作品展。1992年入選「廣州九十年代藝術雙年 展」獲學術獎。1993年參加香港「後八九中國新藝術 展」，同年與葉永青、張曉剛等舉辦中國新經驗展。 1996年應邀參加第一屆上海雙年展。作品為奧地利林茨 美術館典藏。

雕塑家李真，早期製作傳統佛像就有特殊表現。其後李 真融入自我攝心之情感，涉略佛學、道家等經典，更結 合當代思維使其雕塑作品上有著創新的突破，呈現既古 典又現代的面貌。個展：2007受邀於「第52屆威尼斯雙 年展 – 虛空中的能量」個展；2006年台北國際藝術博覽 會 「李真雕塑展」(亞洲藝術中心)；2005年台北國際藝 術博覽會 「李真雕塑展」(亞洲藝術中心)；2003 美國紐 約古豪士畫廊「大氣神遊」。國際大型展覽：2004 義大 利威尼斯第七屆國際雕塑及裝置大展-「OPENASIA」； 2007年韓國首爾「世事而非–14位中國藝術家對真實形 象的變異及探索」韓國斗山藝術中心策劃。

138

Lot 035 Lot 036

Lot 034

XIANG Jing (Chinese, b. 1968)

PAN Dehai (Chinese, b. 1956)

CHEN Ke (Chinese, b. 1978)

Born in Beijing, China. Xiang was graduated from the Affiliated Senior High School of Central Academy of Fine Arts in 1988. In 1995, she got her Master Degree from the department of sculpture of Central Academy of Fine Art in 1995. She has participated in a fourartist joint art exhibition held by Beijing Contemporary Art Museum in March the same year. Her graduation portfolio "Amulet" had won the 1st prize from Central Academy of Fine Art graduation portfolio exhibition and also from Japan Matsuoka Foundation, her work has been collected by Central Academy of Fine Art. In the same year, she participated the exhibition of Chinese Female Artists held by China National Museum of Art, also the "Century: A Female Art Exhibition" and "Subaudition: An Art Exhibition" at the same place in 1998. The next year, she participated the 2nd "Artistic tour before the end of the century" exhibition held by The New Dimension–the Only Place for Art, her work was chosen by the 9th "National Art Exhibition" and had won the award of excellence.

Born in Jilin City, Liaoning Province, China, he graduated from the Fine Art Department, Northeast Normal University. In 1989, Pan won an award in the 7th National Art Exhibition. From 2002, he has worked for the Fine Arts College, Yunnan Arts University as a lecturer. His important exhibitions include "China Contemporary Art Exhibition" (1988, Chengdu); "From Mao to Pop Art" (1993, Melbourne); "Reality, Today, and Tomorrow" (1996, Beijing); "Asian Contemporary Art Exhibition" (2000, London); "International Art Exposition" (2006, Beijing); "Pan Dehai Solo Exhibition" (2007, Beijing).

Born in Tongjiang, Sichuan Province, China, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and an MFA in 2005.

Chen Ke is currently working and living in Beijing.

She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001. In 2007, She held the exhibition "With you, I will never feel lonely" at Beijing Star Gallery and Milano Marella Gallery. Chen Ke is a representative artist. Her artworks derive aesthetics from animation and cartoons, closely connecting the affection in the virtual world with real life. The digital images from her painting demonstrates bright and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.

向京 (中國，1968年生)

潘德海 (中國，1956年生)

陳可 (中國，1978年生)

出生於北京。1988年畢業於中央美術學院附中。1995年 畢業於中央美術學院雕塑系。1995年參加北京當代美術 館舉辦的三月四人展。畢業作品《護身符》等獲中央美 院畢業生作品展一等獎及日本松岡家族基金會一等獎， 作品被中央美院收藏。同年參加中國美術館舉辦的中華 女畫家邀請展。1998年參加中國美術館「世紀．女性藝 術展」、「弦外之音畫展」。1999年作品參加北京新 時空－ART專遞空間舉辦的「世紀末藝術之旅．第二回 展」，作品入選「第九屆全國美展」並獲優秀獎，作品 《一杯冰水》等五件作品參加成都現代藝術館舉辦的 「中國當代雕塑邀請展」，作品《我的娃娃》等九件作 品參加劉海粟美術館舉辦的「海平線－2000繪畫雕塑邀 請展」。2001年，作品《禁閉》、《冰涼的水》等四件 作品參加在成都現代藝術館舉辦的 「架上樣板－第一屆 成都雙年展」。作品曾在《當代藝術：女性與藝術的生 態自述》、《藝術家》、《典藏》等刊物發表，並被海 內外機構及私人收藏。

生於吉林省四平市。1982年7月畢業於東北師範大學美 術系油畫專業。1989年，曾獲得「第七屆全國美展」的 獎項。2002年調入雲南藝術學院美術學院任教，現任雲 南藝術學院美術學院講師。重要展覽包括「88年中國現 代藝術展」（1988，成都）；「走向波普」（1993， 墨爾本）；「現實、今天和明天」（1996，北京）; 「亞洲當代藝術展」（2000，倫敦）；「國際藝術博覽 會」（2006，北京）；「潘德海個人畫展」（2007，北 京）。

生於四川省通江。2002年畢業於四川美術學院油畫系。 2005年畢業於四川美術學院油畫系碩士學位。現工作生 活於北京。2001年獲第一屆成都雙年展學生特展「新秀 獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂 畫廊舉辦「和你在一起，永遠不孤單」個展。陳可是一 位很有代表性的藝術家，她的作品由動畫、漫畫帶動美 學，從虛擬世界裡的情愛和真實人生的情感密切互動， 由數位影像呈現的鮮亮色光，構成變換多端的視覺造 型。她用繽紛炫奇的想像營造一個大眾的卡通新世界。

139

Lot 038

Lot 039

Lots 037, 047

MAO Xuhui (Chinese, b. 1956)

ZENG Fanzhi (Chinese, b. 1964)

FANG Lijun (Chinese, b. 1963)

Born in Chongqing City, China, Mao Xuhui graduated in 1982 from the Yunnan Arts University, Art Department, majoring in oil painting, where he stayed teaching after graduation since 1996; and he is now a member of the Yunnan Oil Painting Association, and Vice-Chairman of the Yunnan Oil Painting Society. Since the opening up of China’s reformation, modern and contemporary Western art has taken root in China, and Mao Xuhui is one of the artists that has most assimilated and manifested Western art to its utmost, which makes him unique among his fellow artists.

Born in Wuhan, Hubei, China, Zeng Fanzhi graduated from the oil painting department of the Hubei Fine Arts Institute in 1991. Presently lives in Beijing as a painter.

He conducted many important exhibitions, including the "Zeng Fanzhi Art Exhibition" held in Hubei Fine Arts Museum in 1990, the "80's China Fine Arts (oil paintings) Biannual Exhibition" held in Guangzhou in 1992, "Post-'89 China New Art Exhibition" held in Hong Kong in 1993, "Walk Away from National Ideology- China New Art" held in Hamburg international avant-grade cultural center in Germany in 1995, "Zeng Fanzhi: False Face" held in the Barcelona Contemporary Art Museum in Spain and Hanart T Z Gallery in Hong Kong, "The Future" held in the Macao Contemporary Art Center in 2000, "Behind the Mask" held in Shanghai Shangrila Gallery in 2001, "ParisBeijing" held in the Pierre Cardin Center in France and "The 1st Session Guangzhou 3 Years Exhibition" in the Guangdong Art Museum in 2002, and "I, We" held in the Shanghai Art Museum in 2003.

Born in Handan, Hebei Province, he graduated from the Print Dept of the Central Institute of Fine Arts in 1989, Current: Lives and Works in Beijing. Group Exhibitions: 1989 "China Avant-Garde Art Exhibi- tion, National Art Museum", China; 1993 "China Avant-garde", Germany; 1994 "The 22nd Interna- tional Biennale of San Paulo", Brazil; 1995 "The 1st Kwangju Biennale", Korea; 1999, "Open Boundary: the 48th Venice Biennale", Italy; 2002 "The Power of Image", China. Solo Exhibitions: 1995, "Fang Lijun", France; 1998 "Fang Lijun", the Netherlands; "Fang Lijun", USA; 2000 "Fang Lijun", Singapore; 2001 "Fang Lijun, Asian Fine Arts", Germany; 2004 "Fang Lijun", Germany.

毛旭輝 (中國，1956年生)

曾梵志 (中國，1964年生)

方力鈞 (中國，1963年生)

出生於中國西南地區的重慶市，1982年畢業於雲南藝術 學院美術系油畫專業，1996年在母校同系任教，現為雲 南油畫藝術委員會委員及雲南油畫學會副主席。中國改 革開放以來，隨著西方現當代藝術在中國的本土化，他 是眾多藝術家中將西方現當代藝術吸收消化得最徹底的 一位，也是行進得最深遠的一位，在同一代藝術家中是 絕無僅有的。

生於湖北武漢，1991年畢業於湖北美術學院油畫系。現 居北京，職業畫家。舉辦的重要展覽包括，1990年湖北 美術院美術館「曾梵志作品展」1992年廣州「九十年代 中國美術（油畫）雙年展」，1993年香港藝術中心「後

生於河北邯鄲，1989年畢業於中央美術學院，現居於北 京。其作品多次參加國內外重要展覽：1989年「中國現 代藝術大展」，北京；1993 年「中國前衛藝術展」， 柏林；1994年「聖保羅雙年展」，巴西；1995年「光州 雙年展」，韓國； 1999年「開放的邊界第48屆威尼斯 雙年展」，義大利；2002年「圖像就是力量展」，何香 凝美術館，深圳。並曾在法國巴黎、荷蘭阿姆斯特丹、 美國紐約、日本東京等地舉辦了多次個人展： 1995年 「方力鈞作品展」，巴黎；1998年「方力鈞作品展」， 荷蘭；「方力鈞作品展」，美國； 2000 年「方力鈞作 品展」，新加坡；2001年 「方力鈞亞洲當代藝術」，德 國；2004年「方力鈞」，德國。

89’ 中國新藝術展」，1995年德國漢堡國際前衛文化中 心「從國家意識形態出走－中國新藝術」，西班牙巴賽 隆納現代藝術博物館，以及香港漢雅軒畫廊「曾梵志： 假面」，2000年澳門當代藝術中心「未來」，2001年上 海香格納畫廊「面具之後」，2002年法國皮爾卡登中心 「巴黎－北京」，廣東美術館「首屆廣州三年展」， 2003年上海美術館「我、我們」等。

140

Lot 044

Lot 042 Lot 043

YUE Minjun (Chinese, b. 1962)

WANG Guangyi (Chinese, b. 1957)

LI Shan (Chinese, b. 1942)

Yue Minjun was born in Heilongjiang province, China.

He studied in the Fine Arts Department of Hebei Normal University in 1985. He joined "S Plastic Art Exhibition" in Hebei Provincial Exhibition Hall in 1987; "Summer Palace Painters Exhibition" in 1992, "China Oil Painting Exhibition-From Realism to Post-Realism" in Belgium, 1995; "China" in Germany and "Basel Art Fair" in Switzerland, 1996; "5000+10 Chinese Art" in Spain, London, Berlin, 1998; "48th Venice Biennial" and "Fourteen Chinese Artists Exhibition" in France, 1999; "Red Ocean" sponsored by the China Modem Art Gallery in London, Britain, 2000.

Born in Harbin, Heilongjiang, China in 1957, Wang Guangyi graduated from the Zhejiang Academy of Fine Arts in 1984. He is currently a full-time artist in Beijing and his works were shown at "The 1st Biennale Art Exhibition" (Guangzhou, 1992), "China’s New Art Post-1989" (Hong Kong, 1993), "Passaggio a Oriente The 45th Venice Biennial" (1993), "22nd International Biennial of Sao Paulo" (Brazil, 1994) "New Asian Art" (Tokyo and Fukuoka, 1995), "China!" (Bonn, 1996), "The Asia-Pacific Contemporary Art Triennial" (Queensland, 1996), "Inside Out" (New York and San Francisco, 1998-99), "20th Century Chinese Oil Painting Exhibition" (Beijing, 2000) and "New Images: 20 Years of Chinese Contemporary Art" (Beijing and Shanghai, 2000-01). His paintings have been collected by the Kunst Museum, Ludwig, Germany and the Asia & Pacific Art Museum, U.S.A.

Li Shan graduated in 1968 from the Shanghai Drama Academy. His paintings have demonstrated a strong Expressionist vocabulary since the 1970s, and since then have shown increasingly Primitivist tendencies, including the incorporation of sexual imagery - a taboo subject in Maoist era painting. His Primal Beginnings series are intense expressions of the emotional turmoil, In 1988 Li Shan created his Mona Lisa series, a combination of lotus flower imagery from popular paintings and images of the Mona Lisa, which seeks to demonstrate the expressive power of allegorical symbols embedded in vulgarized images. This theme becomes stronger and clearer in his recent Rouge Series, in which the artist uses huge canvases, finely detailed airbrush technique and hermaphroditic images to create a climate of emotional unease and to express the sense that people have been "neutered" by the combined social effects of knowledge, language and authority. Li Shan is one member of "New Art From China: Post-1989" and become internationally known as his Political Pop style.

岳敏君 (中國，1962年生)

王廣義 (中國，1957年生)

李山 (中國，1942年生)

生於黑龍江。1985年就讀於河北師範大學美術系，1987 年參加河北省展覽館舉辦的「S造型藝術展」；1992年 參與「圓明園畫家作品展」；1995年參加在比利時舉辦 的「中國油畫展－從現實主義到後現實主義」；1996年 參與在德國舉辦的「中國展」及參加瑞士舉行的「巴塞 爾藝術博覽會」；1998年參與在西班牙、倫敦、柏林舉 辦的「5000+10中國藝術展」；1999年參加「48屆威尼 斯雙年展」及參加在法國舉辦的「十四位中國藝術家 展」；2000年參加英國倫敦中國當代藝術畫廊所舉辦的 「紅色的海洋」展覽。

中國哈爾濱人，是中國波普藝術最早的實驗者之一。 1984年畢業於浙江美術學院（今中國美術學院）油畫 系，現居北京，職業畫家。作品曾展出於1992年廣州第 一屆雙年展、1993年香港「後八九中國前衛藝術」、 1993年第45屆威尼斯雙年展、1994年巴西聖保羅國際雙 年展、1995年日本福岡亞洲新藝術展、1996年德國波昂 藝術館「中國展」、1996年澳洲亞太當代藝術三年展、 1998-99年紐約亞洲文化中心與舊金山現代美術館「蛻 變突破：中國新藝術」巡迴展、2000年北京「20世紀中 國油畫展」及「新形象：當代繪畫20年」巡迴展等。主 要作品收藏機構有美國加州亞太藝術博物館、德國路德 維美術館、馬德里蒂森美術館、成都上河美術館、舊金 山現代美術館、瀋陽東寧美術館等。

生於黑龍江。1968年畢業於上海戲劇學院。1970年代以 來，其繪畫顯示了一種強烈的表現語彙，自此持續展現 樸素主義的傾向，包括在毛澤東時代仍為繪畫禁忌的性 圖像拼組。他的「初始」系列描寫深藏人類內心的情感 波動。1988年李山創造「蒙娜麗莎」系列，從通俗圖畫 擷取蓮花圖樣，再結合蒙娜麗莎的影像，尋求揭露出寓 言象徵嵌入粗俗圖像時的表現張力。這個主題在「胭脂 帝國」系列表現得更強烈，他使用巨大畫布、細膩的筆 法以及雌雄同體的影像，創造出一種情緒不安氛圍，藉 以表達面對知識、語言和權力合而為一的社會效應，人 們的中性特質。李山也是中國藝壇「後九八中國新藝 術」的成員之一，以政治波普風格走紅國際，目前定居 上海。

141

Lot 045

Lot 046

Lot 048

XU Bing (Chinese, b. 1955)

YIN Zhaoyang (Chinese, b. 1970)

TANG Zhigang (Chinese, b. 1959)

Born in Chongqing, China, grew up in Beijing. Xu Bing graduated from the Central Fine Arts Institute Print Department in 1981, and stay teaching in school, attained the Master of Arts degree from central fine arts institute in 1987. Went to America in 1990, and settled down in New York. Participates in many important international contemporary fine arts display several times, like the 45th Venice Biennale, Museum of Modern Art in New York, the San Francisco Museum of Modern art, the Tokyo International Vision Transmission Center, New York PS1 and so on. In 1999 he obtained the American cultural circle highest prize-MacArthur Fellow.

Born in Henan, China, graduated from the Central Institute of Fine Arts in Beijing, Department of The Printmaking, now resides in Beijing. Yin is an artist who selects the pulse of an era as his subject. His solo exhibitions include "Myth" (2001, Beijing Art Museum) and "Utopia" (2004, Beijing Central Art Museum).

Group exhibition he had participated includes "Gruelty of Youth Painting" (2002, Shanghai DDM Warehouse and Beijing Yan Huang Art Museum), "Images Image Exhibition" (2003, Shenzhen Art Museum), and "The Power of Personality - a travelling exhibition of progressive art".

Ta n g Z h i g a n g w a s b o r n i n K u n M i n g S h i , Yu n Nan Province, China. He was graduated from the Department of Fine Arts in PLA Art Academy, Beijing in 1989. Same year, he participated in the 7th National Art Exhibitions in Nanjing. In 1995, he participated in the "Current State" exhibition in Columbia University in US; 1999, participated in the "The New Artist from Kun ming" in Hong Kong; 2000, participated in Asia Contemporary Art Exhibition in London; and 2001, participated the Vasl International Artists Workshop.

徐冰 (中國，1955年生)

尹朝陽 (中國，1970年生)

唐志剛 (中國，1959年生)

重慶人。長於北京。1981年畢業於中央美術學院版畫 系，留校任教。1987年獲中央美術學院文學碩士學位。 1990年赴美，並定居紐約。多次參加許多重要國際當代 美術展覽，如第45屆威尼斯雙年展、紐約現代美術館、 舊金山現代美術館、東京國際視覺傳達中心，紐約PS1 等。1999年獲得美國文化界最高獎－麥克阿瑟獎。

生於河南，畢業於北京中央美術學院版畫系，現居北 京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的 個展有2001年「神話」（北京藝術博物館）和2004年 「烏托邦」（北京中央美術館）。曾參加的群展有： 2001年成都雙年展、 2002年上海東大名藝術創庫和北 京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美術館 的「圖像的圖像展」及「個性力量－新銳藝術巡迴展」 等。

生於雲南省昆明市。1989年 畢業於解放軍藝術學院美 術系（北京）。1989年參加第七屆全國美術作品展（南 京）。1995年 參加美國哥倫比亞大學美中文化交流 《現在狀態》展。1999年參加漢雅軒《來自昆明的新藝 術家》展（香港）。2000年參加亞洲當代藝術展（倫 敦）。2001年 參加「Vasl 國際藝術家工作室」 。

142

Lot 051

Lot 049

Lot 050

GUO Wei (Chinese, b. 1960)

GUO Jin (Chinese, b. 1964)

GAO Huijun (Chinese, b. 1966)

Guo Wei graduated from Sichuan Academy of Fine Arts in 1989, and currently lives and works in Sichuan Province, China. Since 1992, the artist’s works have been shown in numerous national and international exhibitions, including his first solo exhibition "Bound States Guo Wei’s Works" in 1999, Kaoshiung; Guo Wei’s solo exhibition in 2001, Los Angeles & San Francisco; "Indoor With Mosquitoes and Moths" (2004, Barcelona); and group exhibitions such as "Dream. 2001 Chinese Contemporary Art" (London); "Face to Face.

Six Artists and One Time" (2004, Taiwan); "Biennale del’art contemporain Chinois" (2005, France); "Unclear and Clearness" (2006, South Korea); "Brothers" (2006, Beijing); "Figurative Possibilities" (2007, New York).

Born in Chengdu, Sichuan, China, he graduated in 1990 from the School of Oil Painting at the Sichuan Academy of Fine Arts, stayed on as a teacher and currently resides in Chongqing. Since entering his work in the Guangzhou’s "First Nineties Guangzhou Biennial Exhibition" in 1992, Guo has been involved in many major exhibitions locally and overseas such as: the 1994 "Exhibition of Chinese Oil Paintings-From Realism to Post-Modernism" in Brussels, the 1997 "Sharing of Dreams - Five Artists from China" in New York, "The Faces and Bodies from the Middle Kingdom - An Exhibition of Chinese Art" at the Rudolfinum Gallery in Belgrade and the 2001 "Guo Jin Exhibition" in London.

Guo’s artworks are widely collected today.

Born in Baoding, Hebei, China, Gao Huijun graduated from the Hebei Light Industry School in 1986, graduated from the Central Industrial Art Institute in 1992. He became a professional painter since 1994.

He attended the Beijing China art exhibition and won the outstanding works prize in 1995. In the same year she also participated in the German China modern art exhibition. After 1996, he held solo exhibitions in Beijing and Singapore; his works are also collected by Teda Contemporary Art Museum in Tianjin.

郭偉 (中國，1960年生)

郭晉 (中國，1964年生)

高惠君 (中國，1966年生)

生於四川成都，1989年畢業於四川美術學院版畫系， 現居成都。其作品自1992年起參加過無數個海內外展 覽，如1999年舉辦的首次個展「包紮狀態」(高雄)、 「郭偉個人畫展」(2001，洛杉磯、舊金山)、「室內、 蚊子與飛蛾」(2004，巴塞隆納)；以及豐富的聯展經 驗，如「夢：2001中國當代藝術」(倫敦)、「面對面– 六個畫家和一個時代」(2004，台南)、「中國藝術雙年 展」(2005，法國)、「虛虛實實–亞洲當代藝術的再發 現」(2006，韓國)、「兄弟」(2006，北京)、「交疊」 (2007，紐約)。

生於四川成都。1990年畢業於四川美院油畫系，並留校 任教。現居重慶。收藏機構：澳門東印度公司總裁官邸 東方基金會、新加坡博物館、上海美術館、成都上河美 術館、瀋陽東宇美術館、德國波昂藝術文化基金會、日 內瓦奧蘭斯卡基金會、深圳美術館。

生於河北保定。1986年畢業于河北輕工業學校，1992畢 業於中央工藝美術學院。1994年成為職業畫家。1995年 參加北京中國藝術博覽會，獲優秀作品獎，同年也參與 德國中國現代藝術展。1996年起先後在北京、新加坡舉 辦個人畫展，其作品也為天津泰達當代藝術博物館收 藏。

143

Lot 052 Lot 053

Lot 054

SHENG Qi (Chinese, b. 1965)

QIU Xiaofei (Chinese, b. 1977)

HE Sen (Chinese, b. 1968)

Sheng Qi was born in Hefei, China and graduated from the Central Academy of Art and Design, Beijing, in 1988. From 1989 to 1992, he was lived and worked in Italy. In 1998, he received MFA from Central Saint Martin’s College of Art and Design London. He currently lives and works as a professional artist in Beijing. Solo Exhibitions: "Are You Willing to Shake My Hand?" (Tokyo, 1998); "Melbourne Fringe Festival", (Melbourne, 2000); "Madness and Appropriation", (Beijing, 2004); "Confidential", (Beijing, 2006); "Zhu Yi!", (Spain, 2007).

Born in Harbin, Heilongjiang Province, China. From 1994 to 1998, he studied at the Central Academy of Fine Arts Subsidiary School, Beijing. In 2002, he graduated from No.3 Oil Painting Studio of the Oil Painting Department of the Central Academy of Fine Arts, Beijing. Important Exhibitions: "The Second Factory Time" (2000, Beijing); "Back" (2001, Beijing); "N12 New Painting-No.2" (2003, Beijing); "Feeling Memory" (2004, Shanghai); "Together" (2004, Beijing); "Welcome, Welcome" (2005, Tokyo); "Huge Steamship" (2005, Beijing); "Expression" (2005, Luoyang,); "Mahjong - Wuly Heak Collection Exhibition" (2005, Switzerland); "Naughty Kids" (2005, Beijing).

Born in 1968 in Yunnan, China, He Sen graduated from Sichuan Academy of Fine Arts in 1989. He now lives and works in Chengdu, China. His works were shown in many international exhibitions, including solo exhibitions held by the Piltzer Gallery (2002, Paris); by Marella Contermporary Art (2003, Milan); "Shadow" (2004, Beijing). He also participated in group shows such as "New York Asia International Art Fair" (2002); "China Avant Garde" (2004, Jakarta, Indonesia); "New Perspectives in Chinese Painting"(2004, Milan); "Beijing, Chongqing, Shanghai - Painting and Photography" (2004, Munich).

盛奇 (中國，1965年生)

仇曉飛 (中國，1977年生)

何森 (中國，1968年生)

出生於合肥，1988年畢業於中央工藝美術學院，1989至 1992年工作於義大利，1998年畢業於英國倫敦聖馬丁藝 術設計學院，獲藝術碩士學位。目前，在北京生活工 作。重要個展： 1998年「您願意與我握手嗎？」，東 京；2000年「墨爾本國際邊緣藝術節」，墨爾本；2004 年「瘋狂的竊取—盛奇作品展」，北京； 2006年「機密 檔案」，北京；2007年「注意！」，西班牙。

生於哈爾濱。1994至1998年就讀於中央美術學院附屬 中學，2002年畢業於中央美術學院油畫系三畫室。重 要畫展：「二廠時代」（2000，北京）；「向後退」 （2001，北京）；「n12 第一回展」（2003，北京）； 「感覺記憶」（2004，上海）；「在一起」（2004， 北京）；「歡迎歡迎」（2005，東京）；「大輪船」 （2005，北京）；「表達」（2005，洛陽）；「麻將」 （2005，瑞士）；「壞孩子的天空」（2005，北京）。

生於中國雲南，1989年畢業自四川美術學院師範系，現 定居與工作於成都。其作品曾於海內外個展展出，如皮 爾策畫廊舉辦的「何森個人作品展」（2002，巴黎）、 米蘭馬蕊樂畫廊個展 （2003）、「如影隨形」（2004， 北京）。另外，其參加過的聯展有紐約國際亞洲藝術博 覽會（2002）、「中國前衛藝術展」（2004，印尼雅加 達）、「中國繪畫新景觀」（2004，米蘭）、「北京、 重慶、上海—繪畫與攝影」（2004，德國慕尼黑）等展 覽。

144

Lot 055

Lot 056

Lot 057

ZHONG Biao (Chinese, b. 1968)

Haris Purnomo (Indonesian, b. 1956)

MA Yunfei (Chinese, b. 1960)

Born in 1968 in Chongqing, China, Zhong Biao graduated from the China Academy of Art, majoring in the Oil Painting Department in 1991; and he is now Associate Professor of the Sichuan Fine Arts Institute. He has shown his works in many exhibitions including "The First Chinese Oil Painting Biennial Exhibition"(1993, Beijing), "The Art Asia Expo 1995" (1995, Hong Kong); "Art Taipei 1995" (1995, Taipei); "At the New Century, 1997-1999: Chinese Contemporary Art Works" (2000, Chengdu); "China Art Now" (2001, Singapore); "SF4 - San Francisco International Art Exposition" (2001, California); and solo exhibitions "The Fable of Life" (1996, China; 1997, Hong Kong); "A Chance Existence" (2001, Hong Kong).

Born in Delanggu, Klaten (Central Java), Indonesia, Haris Purnomo graduated from Sekolah Seni Rupa Indonesia Art School, Yogyakarta in 1975, and Sekolah Tinggi Seni Rupa Indonesia Asri Colleage of Fine Art in 1984. Purnomo has participated in various solo or group exhibitions since 1978, such as "Art Singapore 2007", "Shanghai Art Fair 2007". He also won the "Sovereign Asian Award" in 2007.

Born in 1960, Yanji, Jilin Province, China. Ma graduated from the Department of Fine Arts of Northwest Normal University in 1983. He participated in various exhibitions, including: 1998 "It’s me", Taimiao, Beijing; 1999 "Fortune Forum Art Exhibition", Jinmao Plaza, Shanghai, 2002 "Run, Jump, Climb, Walk", Yuanyang Art Center, Beijing; 2003 "CONTROL-Z", Taikang Top Space, Beijing; 2004 "Art Exhibition", Taikang Top Space, Beijing; 2004 "Asian Workshop", Bolunniya Modern Gallery, Italy; 2005 "Group Space", La Art Space, Hong Kong; 2007 "Chen Linghui Contemporary Space", Hong Kong; 2008 "Valencia 55 Days", Spain.

鐘飆 (中國，1968年生)

哈里斯．普爾諾莫 (印尼，1956年生)

馬雲飛 (中國，1960年生)

生於中國重慶，於1991年畢業於中國美術學院油畫系， 現任教於四川美術學院。 其作品曾參加「首屆中國油 畫雙年展」（1993，北京）、「香港亞洲藝術博覽會」 （1995）、「台北國際藝術博覽會」（1995）、「世 紀之門–1979-1999中國藝術邀請展」（2000，成都）、 「2001中國當代藝術展」（新加坡）、「舊金山藝術博 覽會」（2001）；並舉辦個展「生命預言」（1996，中 國；1997，香港）、「偶然存在」（2001，香港）。

出生於印尼中爪哇省克拉登得郎古，普爾諾莫1975年從 爪哇日惹市的印尼藝術學院畢業，1984年畢業於汀吉藝 術大學；1978年起，他參加了無數的個展及聯展，如 2007年的「新加坡藝博會」及「上海藝術博覽會」； 2007年，他曾獲得「傑出亞洲藝術獎」。

生於中國吉林省延吉市，1983年畢業於西北師範大學 美術 系。曾參與的展 覽包括 19 98 年 北京 太廟 舉 辦 的 「是我」、1999年於上海金茂大廈舉辦的「財富論壇 畫展」、2002年於北京遠洋藝術中心舉辦的「跑跳爬 走」、2003年於北京泰康頂層空間舉辦的「CONTROLZ」、2004年於北京泰康頂層空間舉辦的「畫展」、同 年於意大利波倫尼亞現代館舉辦的「亞洲工廠」、2005 年於香港LA藝術空間舉辦的「集體空間」、2007年於 北京舉辦的「陳綾蕙當代空間」、2008年於西班牙舉辦 的「瓦倫西亞55天」。

145

Lot 060

Lot 058

Lot 059

Dipo ANDY (Indonesian, b. 1975)

Heri DONO (Indonesian, b. 1960)

Born in 1975, Sumbawa, Indonesia. Dipo Andy was graduated from the Indonesia Institute of the Arts, Yogyakarta. In 1995 & 1998, he won the Finalist Indonesia Art Award in Jakarta. In 1999 he was one of the "Top 5 Winner" of Indonesia Art Award in Jakarta.

His works has been exhibited in Jakarta, Yogyakarta, Bangladesh, Kuala Lumpur, Bandung etc. He has held numerous solo exhibitions including "Voice of Nation", Intaran gallery Bandung, 1999; "Muka-kamu-amukmuak (Serigraph of 500 face of Indonesia Parliament Member 1999-2004)", Nasional Museum Jakarta, 2001; "Bolart : Choreography of Soccer (Serigraph of 750 face – World Cup Player 2002)", Sport Museum, TMII Jakarta, 2002; "Mirror : Masters Revisited", Vanessa Art Link, Jakarta, 2006.

Born in Jakarta, Heri Dono studied at the Indonesian Arts Institute in Yogyakarta and also in Basel, Switzerland and Wales. Besides painting, he is known for his controversial installations and is known to adapt from the traditional wayang subjects to create his signature caricatured wayang figures on the canvas.

The artist has exhibited extensively in Southeast Asia, Europe and in the United States of America.

Born in Wuxi, Jiangsu, China, but raised in Shanghai where, by his own account, he first began painting on sidewalks. Ting ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he formed close relationships with members of the CoBra group. In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists.

He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

狄波．安迪 (印尼，1975年生)

赫利．多諾 (印尼，1960年生)

丁雄泉 (華裔美籍，1929年生)

生於印尼松巴瓦，畢業於日惹印尼藝術學院。1995年及 1998年，於雅加達獲得印尼藝術獎。1999年於雅加達獲 得印尼藝術獎之首五名。他曾參與多地聯展，包括雅加 達、日惹、孟加拉、吉隆坡、萬隆等。另外，他亦曾舉 辦個展，如1999年於庫萬隆舉辦的「民族聲音」、2001 年於日惹舉辦的「Muka-kamu-amuk-muak – 1999至2004 年500位印尼國會議員的版畫」、2002年於雅加達舉辦 的「Bolart – 足球的舞蹈 – 2002年750位世界盃參與者 的版畫」、2006年於雅加達舉辦的「鏡子–大師再訪」 等。

出生於印尼雅加達，他曾就讀於位於日惹的印尼藝術學 院、瑞士巴塞爾及威爾斯。除了繪畫以外，他最有名的 創作就是具爭議性的裝置作品，以及受印尼古典玩偶劇 《哇揚戲》影響的、誇張化的哇揚偶形象創作。赫利． 多諾的展覽遍及東南亞、歐洲以及美國。

江蘇無錫人。成長背景在上海，自食其力，在街頭作 畫。曾入上海美術專科學校學習，1946年遷居香港。 1952年前往巴黎，期間和眼鏡蛇畫派成員結為好友。 1960年移居紐約，發展出新畫風，成為美國普普藝術家 一員。出版一本名為《一分人生》的詩集，內容並包括 了多位美國及歐洲藝術家的版畫原作。1977年獲得古根 漢紀念基金會的獎助學金，並出版了一本以女性為題材 的情色素描與繪畫書籍，名為《紅唇》。丁雄泉的展覽 遍及世界各地，同時亦出版許多著作與畫冊。2001年起 定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物 館收藏，包括美國大都會美術館，紐約現代美術館及古 根漢美術館等。

146

Walasse TING (Chinese-American, b. 1929)

PARTICIPATING GALLERIES 10 Chancery Lane Gallery, Hong Kong / 100 Tonson Gallery, Bangkok / Galerie313, Seoul / acb Contemporary Art Gallery, Budapest / Galeriá Álvaro Alcázar, Madrid / Alisan Fine Arts, Hong Kong / Galerie Anhava, Helsinki / Arario Gallery, Cheonan/Beijing/Seoul/New York / ARATANIURANO, Tokyo / Ark Galerie, Jakarta / ARNDT, Berlin / Art Beatus Gallery, Hong Kong/Vancouver / ART ISSUE PROJECTS, Beijing / aye gallery, Beijing / Aye • Eastation Gallery, Beijing / Ayyam Gallery, Beirut/Damascus/Dubai / Beck & Eggeling International Fine Art, Dusseldorf / Beijing Art Now Gallery, Beijing / Beijing Commune, Beijing / Bernier/Eliades Gallery, Athens / Boers-Li Gallery, Beijing / Marianne Boesky Gallery, New York / BREENSPACE, Sydney / Ben Brown Fine Arts, Hong Kong/London / CAIS Gallery, Hong Kong/Seoul / Leo Castelli Gallery, New York / The Cat Street Gallery, Hong Kong / Charest-Weinberg Gallery, Miami / James Cohan Gallery, New York/Shanghai / The Columns Gallery, Seoul / CONTEMPORARY BY ANGELA LI, Hong Kong / Galleria Continua, Beijing/ Le Moulin/San Gimignano / Contrasts Gallery, Shanghai / Conny Dietzschold Gallery, Cologne/Sydney / DNA, Berlin / The Drawing Room, Manila / Eastlink Gallery, Beijing/ Shanghai / Thomas Erben Gallery, New York / Eslite Gallery, Taipei / F2 Gallery, Beijing/ Los Angeles / Faurschou, Beijing/Copenhagen / Galerie Forsblom, Helsinki / Frey Norris Gallery, San Francisco / Gagosian Gallery, Athens/Hong Kong/London/Los Angeles/New York/Rome / GALERIST, Istanbul / Gana Art, Busan/New York/Seoul / Gandhara-Art, Hong Kong/Karachi / gdm, Paris / Robert Goff Gallery, New York / Galerie Grand Siècle, Taipei / GRANTPIRRIE, Sydney / Green Cardamom, London / Greenberg Van Doren Gallery, New York / Grotto Fine Art, Hong Kong / Hakgojae, Seoul / Hanart TZ Gallery, Hong Kong / Hauser & Wirth, London/New York/Zurich / Galerie Kashya Hildebrand, Zurich / Galerie Ernst Hilger, Vienna / Michael Hoppen Gallery, London / Galerie Caprice Horn, Berlin / Hwa's Gallery, Shanghai / GALLERY HYUNDAI, Seoul / Gallery IHN, Seoul / Ingleby Gallery, Edinburgh / Taka Ishii Gallery, Kyoto/Tokyo / Galerie Michael Janssen, Berlin / JGM. Galerie, Paris / Amelia Johnson Contemporary, Hong Kong / Paul Kasmin Gallery, New York / gbk Gallery Barry Keldoulis, Sydney / Keumsan Gallery, Beijing/Seoul/Tokyo / Tomio Koyama Gallery, Kyoto/Tokyo / Kukje Gallery, Seoul / Kwai Fung Hin Art Gallery, Hong Kong / L.A. Galerie Lothar Albrecht, Frankfurt / Langgeng Gallery, Central Java / Lehmann Maupin Gallery, New York / Galerie Lelong, New York/Paris / LEVY, Berlin/Hamburg / Lisson Gallery, London / Long March Space, Beijing / m97 Gallery, Shanghai / Galerie Urs Meile, Beijing/ Lucerne / MEM, Osaka / Mizuma Art Gallery, Tokyo / The Modern Institute/Toby Webster Ltd, Glasgow / Mori Gallery, Sydney / Nadi Gallery, Jakarta / NANZUKA UNDERGROUND, Tokyo / Anna Ning Fine Art, Hong Kong / ONE AND J. Gallery, Seoul / Osage Gallery, Hong Kong/Beijing/Singapore/Shanghai / Ota Fine Arts, Tokyo / Other Criteria, London / Roslyn Oxley9 Gallery, Sydney / Pace Beijing, Beijing / Galerie Paris-Beijing, Beijing/Paris / PARK RYU SOOK GALLERY, Jeju/Seoul/Shanghai / PARKETT Editions, Zurich/New York / The Peak Suite, Hong Kong / Pékin Fine Arts, Beijing / Galerie Emmanuel Perrotin, Miami/Paris / Platform China, Beijing / Plum Blossoms Gallery, Hong Kong / Primo Marella Gallery, Beijing/Milan / Max Protetch Gallery, New York / PYO Gallery, Beijing/Los Angeles/Seoul / Galerie Quynh, Ho Chi Minh City / ALMINE RECH GALLERY, Brussels/Paris / Red Bridge Gallery, Shanghai / Red Gate Gallery, Beijing / Röntgenwerke AG, Tokyo / Galerie Stefan Röpke, Cologne/Madrid / Rossi + Rossi, London / Sakshi Gallery, Mumbai/Taipei / SCAI THE BATHHOUSE, Tokyo / Schoeni Art Gallery, Hong Kong / SCHUEBBE PROJECTS, Dusseldorf / Michael Schultz Gallery, Beijing/Berlin/Seoul / ShanghART Gallery, Beijing/ Shanghai / ShugoArts, Tokyo / Silverlens Gallery, Manila / Singapore Tyler Print Institute, Singapore / Soka Art Center, Beijing/Tainan/Taipei / Sperone Westwater, New York / Star Gallery, Beijing / Starkwhite, Auckland / Sullivan+Strumpf Fine Art, Sydney / Sutton Gallery, Melbourne / Tang Contemporary Art, Bangkok/Beijing/Hong Kong / Tokyo Gallery + BTAP, Beijing/Tokyo / Tolarno Galleries, Melbourne / WAKO WORKS OF ART, Tokyo / White Cube, London / x-ist, Istanbul / YAMAMOTO GENDAI, Tokyo / Galerie Zink, Berlin/Munich

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ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins. The bid forms may be faxed to: Customer Service Department Tel: +852 2889 0859 Fax: +852 2889 0850

Auction

Date

RAVENEL SPRING AUCTION 2010 HONG KONG Modern and Contemporary Art Monday 31 May 2010, 11:30am-1:00pm

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Grand Hyatt Hong Kong â&#x20AC;&#x201C; Grand Ballroom

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It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

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If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 5,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

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Transaction Agreement

The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company.

I. The Buyer 1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction.

We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the wristwatches on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact.

Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use.

Please note: The restoration of the items on auction may have resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts.

All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. d. 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.

3. In the auction a. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the

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bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. c. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed.

The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. f. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions.

The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HK dollars.

The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. g. 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. h. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. i. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement.

4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 5,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax, any commodity or service taxes or any other value added taxes.

The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date.

The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees.

The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hongkong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full.

The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Hongkong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due.

(3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim.

(6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions.

(7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected. i. Export permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days; nor does it affect the Company's right to impose interest on delayed payments.

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.

6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyerâ&#x20AC;&#x2122;s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day.

(3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim.

Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests.

The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction.

The aforementioned does not apply to coins, medals, jewelry and paintings.

II. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company.

2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail.

3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law.

4. Jurisdiction The Transaction Agreement are governed under the Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong.

The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.

Please refer to our website for sellerâ&#x20AC;&#x2122;s transaction agreement. http://www.ravenelart.com

5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item.

The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein.

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業務規則

下述規則，為本公司作為拍賣公司與賣家訂立合約，亦作為賣家之代理人 與買家訂立合約之條款。買家及賣家務須細讀各項規則。買家請特別留意 第5條，其對本公司之法律責任作了限定。

c. 競投者為買家 除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人 為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。

Ⅰ.買家

d. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡 適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司 就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價 乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之 人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使 本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之 免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家 如希望確保競投成功，應親自出席競投。

1. 羅芙奧(以下稱本公司)作為代理人 作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在本 公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成 之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物 品。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作出之證明外，不 對買家作任何保證。 b. 拍品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已 提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。羅芙奧恕無保證 任何拍賣腕錶處於良好運作狀態，同時目錄中任何拍賣品之描述皆不應視 為如此。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不 應視作對拍賣品狀態或保存情況的陳述。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態、運作正常或可享有免費 修復或更換機件。 本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況 應經由親自檢閱，如果準買家無法對拍品進行檢閱，本公司基於服務至上 的原則，將非常樂於應客戶之要求提供拍品特性與狀況之意見，惟本公司 並不是專業鐘錶修復者，因此任何在目錄中所列出的陳述是為純粹本公司 的主觀意見。 務請注意，多數防水錶的錶殼已被開啟並檢查其運轉狀態及類型，因此不 應假定其仍為防水狀態。建議買家應在使用前安排經由具資格的鐘錶匠檢 查該等手錶。 務請注意，拍買品早前的修復工作或許已經導致原廠零件的更換，因此我 們不保證任何拍賣品的單一組成零件之確實性。所有的拍品一致以「現 狀」售出。本公司對於任何拍出之狀態不作代表或保證，除非另有註明， 否則將不提供保單。 c. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年代、 尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行 對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實 之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目之依據，藉 以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應依據為拍賣 品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明 或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引 而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述 特定缺陷，亦不表示並無其他缺陷。 d. 買家之責任 有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清楚並確使自 己感到滿意。 3. 拍賣時 a. 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。 b. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證 明。準買家應注意，本公司通常會要求對買家作出信用核查。

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e. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者， 使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或 任何準買家均不負任何責任。 f. 匯率轉換顯示板 在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開 市時向本公司報出之一個月期貨匯率計算。然而競投仍會以港幣進行。 匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是港幣 競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤差。 買家因依賴匯率轉換顯示板（而非因以港幣競投）所導致而蒙受之任何損 失，本公司概不負責。 g. 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。 h. 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。 i. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買 家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 （1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於港幣伍 佰萬元以下者含港幣伍佰萬元以20％計算。 （2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬元以20％ 計算，超過港幣伍佰萬元之部份以12％計算。 b. 稅項 買家應付予本公司之所有款項均不包括任何國家或地區稅賦、 貨物或服務稅或其他增值稅。如有任何此等稅項適用，買家須負責按有關 法律所規定之稅率及時間繳付此稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提 供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落 槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即 使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為港幣以外 之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費與 兌換貨幣之規費及匯差。以港幣以外之貨幣付款予本公司之匯率，依拍賣 日現場公佈之匯率（香港匯豐銀行），並以本公司就此兌換率而發出之憑 證為準。

d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣 項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間， 由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領 取，則受保至領取時為止。七天期滿後或自領取時起（以較早者為準）， 拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買家 承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要求 下本公司可介紹承運人，但本公司在此方面不負任何法律責任。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救 辦法： （1）在拍賣日期後超過七天仍未付款，則按不超過香港匯豐銀行基本利 率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣 價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷本公司或 其他附屬公司在任何其他交易中欠下買家之款項。 （2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置 權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出售並 將收益用以清償該未付之欠款。 （3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用 以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用以清償 該筆款項。 （4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或 在接受其任何競投之前先收取買家一筆保證金。如買家未有在三十五天內 付款，本公司除上述者外，另有權： （5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數 賠償為基準之法律程序之訴訟費。 （6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予 買家之拍賣品之交易。 （7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同 因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款，本 公司將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬運、保 險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購 拍賣項目。 i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買 家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請 有關之付出款項及零碎開支連同任何有關之增值稅。 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。

專家普遍接納之意見，或清楚表明意見有抵通告符合當時學者或專家普 遍接納之意見，或清楚表明意見有牴觸之處，或b.證明拍賣品為膺品之方 法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在 拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程 序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述 條件下方可獲得退款： （1）買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關 拍賣品乃膺品； （2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況與拍賣當 日相同；及 （3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃 膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人之 索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣 品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身分， 而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學 程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用 或已在使用。 本條件不適用於硬幣、獎牌、珠寶及畫。 II.買家與賣家均適用之條件 1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於本 公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。 2. 通知 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付 郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後 第五個工作天。 3. 可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執 行，則該部分可不予理會，而本業務規則之其他部份在法律許可之最大範 圍內須繼續有效及可強制執行。 4. 法律及管轄權 本業務規則受香港法律規限，本業務規則之解釋與效力均適用香港法律。 為本公司之利益而言，賣家與買家須服從香港法院之排他性管轄權。

賣方業務規則請參閱羅芙奧藝術網站 http://www.ravenelart.com

5. 本公司之法律責任 本公司有責任在第6條所列之情況下退還款項予買家。除此之外，不論賣 家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、 日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何 拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之 僱員或代理人，均無就任何拍賣品作出任何保證。任何種類之任何擔保， 均不包含在本條之內。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付之款項則退還 予買家。但如：a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者或

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