Ravenel Spring Auction 2010 Taipei 羅芙奧台北2010春季拍賣會

SPRING AUCTION 2010 TAIPEI

羅芙奧台北 2010 春季拍賣會 亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2010 TAIPEI Modern and Contemporary Asian Art

AUCTION

拍賣日期／地點 2010年6月6日（日）下午 2:30 至 7:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

Sunday, June 6, 2010, 2:30pm – 7:30pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

預展日期／地點

PREVIEWS

台中 2010年5月8日（六）至 5月9日（日）下午 1:00 至 7:00 由鉅藝術中心（月光流域大樓） 台中市公正路83號1樓

Taichung

香港 2010年5月29日（六）下午1:30 至 7:00

Hong Kong

5月30日（日）上午 10:00 至 下午 7:00

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

香港君悅酒店（宴會大禮堂）

Grand Hyatt Hong Kong – Grand Ballroom

香港灣仔港灣道1號

1 Harbour Road, Wanchai, Hong Kong

Saturday, May 8 – Sunday, May 9, 2010, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

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

Taipei

台北 2010年6月4日（五）至 6月5日（六）上午 10:00 至 下午 7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

MODERN

&

CONTEMPORARY

Friday, June 4 – Saturday, June 5, 2010, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

ART

拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

2

羅芙奧台北 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

註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之書 面標單競投。 註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。

取貨及運輸事宜 台灣 吳博峯 電話：+886 2 2708 9868 轉 885 電子信箱：tommy_wu@ravenelart.com

香港

陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odile_chen@ravenelart.com

目錄訂閱

方詩媛 電話：+852 2889 0859 電子信箱：shirley_fong@ravenelart.com

香港總監

台灣

中國

何杏淇 電話：+852 2889 0859 電子信箱：elaine_holt@ravenelart.com

王靖雅 電話：+886 2 2708 9868 轉 881 電子信箱：natsuki_wang@ravenelart.com

張丹丹 電話：+86 10 5820 6151/52 電子信箱：dina_zhang@ravenelart.com

業務協理

香港

其它地區

林慧菁 電話：+886 2 2708 9868 轉 886 電子信箱：maggie_lin@ravenelart.com

方詩媛 電話：+852 2889 0859 電子信箱：shirley_fong@ravenelart.com

姜耀偉 電話：+886 2 2708 9868 轉 904 電子信箱：enzo_jiang@ravenelart.com

業務經理

中國

李冬莉 電話：+86 10 5820 6151/52 電子信箱：lydia_li@ravenelart.com

謝冷玉 電話：+86 10 5820 6151/52 電子信箱：judy_xie@ravenelart.com

註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受信用卡和旅行支票付款。其他各項貨 品可在羅芙奧辦公室提領，上班時間為週一 至週五上午9:30至下午6:30。

其它地區

台灣

林依潔 電話：+886 2 2708 9868 轉 182 電子信箱：kate_lin@ravenelart.com

林慧菁 電話：+886 2 2708 9868 轉 886 電子信箱：maggie_lin@ravenelart.com

本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。

電話書面競標聯絡人

香港 何杏淇 電話：+852 2889 0859 手機：+852 93811886 電子信箱：elaine_holt@ravenelart.com

中國 張丹丹 電話：+86 10 5820 6151/52 電子信箱：dina_zhang@ravenelart.com

付款事宜 詹美芳 電話：+886 2 2708 9868 轉 682 電子信箱：mei_chan@ravenelart.com 有關付款詳細事宜，說明於本目錄後，如您 需要更進一步的諮詢，請洽上述聯絡人。

其它地區 陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odile_chen@ravenelart.com

3

註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。 羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況說明書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。

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 93811886 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

4

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”.

目次 / Contents 2

藝術家索引 / Index A

羅芙奧春季拍賣會

Yoshitaka AMANO

Sale Information 3

羅芙奧之服務

藝術家索引

亞洲現代與當代藝術

Modern and Contemporary Asian Art

221

常陵 陳蔭羆 趙春翔 陳流 邱亞才 朱德群 莊喆 崔岫聞

118, 166 175 127, 138 194, 210 167 143, 180 105, 123, 129, 164, 174 231

戴澤

156

榎本耕一

115

傅慶豊

154

朱沅芷

145

灰岩愛 洪凌 侯俊明 蕭勤 蕭如松 許唐瑋 黃鋼 洪易 黃楫 黃銘哲

222 214 198 158, 168 135 110, 112 206, 211, 219 188, 199 170 125, 157

詹金水 池龍虎 賈剛 蔣朔 焦興濤 朱銘

119, 163 223 193 202 200 152, 153, 183, 184, 185

鎌谷徹太郎 金炳真 金南杓 金昌烈 木下雅雄 小林浩 郭振昌 草間彌生 權奇秀

239 224, 226 227 230 220 241, 247 162 244, 248 225, 228

李在孝 李承玟 李真 李繼森

205 236 140, 141 215

D DAI Ze

252

蓋伯瑞．博瑞多

C Chang-Ling George CHANN CHAO Chung-hsiang CHEN Liu CHIU Ya-tsai CHU Teh-chun CHUANG Che CUI Xiuwen

Index 7

240

B Gabriel BARREDO

Ravenel Services 5

天野喜孝

E

藝術家簡歷

Artist Biographies

Koichi ENOMOTO

委託競投表格

Alixe FU

F 285

G

Absentee Bid Form 287

Yun GEE

H

業務規則

Ai HAIBAR HONG Ling HOU Chun-ming HSIAO Chin HSIAO Ju-sung HSU Tang-wei HUANG Gang HUNG Yi HWANG Jyi Michell HWANG

Transaction Agreement

J JAN Chin-shui JI Yong Ho JIA Gang JIANG Shuo JIAO Xingtao JU Ming

K Tetsutaro KAMATANI KIM Byung Jin KIM Nam Pyo KIM Tschang-yeul Masao KINOSHITA Hiroshi KOBAYASHI J. C. KUO Yayoi KUSAMA KWON Ki Soo

L LEE Jae-hyo LEE Seung Min LI Chen LI Jisen

5

藝術家索引 / Index Tzu-chi YEH YIN Qi YOON Jongseok YU Shenghao

L LI Shih-chiao LIANG Ping-cheng LIAO Chi-chun LIEN Chien-hsing LIN Fangmian LIN Ju LIU Baomin LIU Kuo-sung

李石樵 梁平正 廖繼春 連建興 林風眠 林鉅 劉保民 劉國松

136 187, 189 146, 182 108, 122, 130 142, 178, 179 169 212 159

松浦浩之 苗景昌 繆曉春

245 134 232

奈良美智 蜷川實花 西澤千晴

250 233 238

秦宣夫 仇曉飛

160, 165 197

六角彩子

235, 237

櫻井理惠子 常玉 真珠子 席德進 蘇旺伸 孫立沙 鈴木良治 司徒強

246 104, 149 242 102, 128 132, 133 195 109, 111, 113 234

戴海鷹 高木まどか 屠宏濤

106, 107 249 192

王懷慶 王琨 渡邊聰 魏樂唐 伍步雲 吳昊 吳天章

148 196 114 117 155 116 172

熊宇 薛松

209 191

山本麻友香 楊識宏 楊登雄 楊茂林 楊仁明 楊三郎 楊英風 葉仲卿

243 120, 171 101, 207, 208 124, 203 173 137, 139,161, 181 186, 204 103

N Yoshitomo NARA Mika NINAGAWA Chiharu NISHIZAWA

Q QIN Xuanfu QIU Xiaofei

R Ayako ROKKAKU

S Rieko SAKURAI SANYU Shinjyuko SHIY De-jinn SU Wong-shen SUN Lisha Ryoji SUZUKI SZETO Keung

T TAI Hoi Ying Madoka TAKAGI TU Hongtao

W WANG Huaiqing WANG Kun Satoshi WATANABE John WAY WU Bu Yun WU Hao WU Tien-chang

X XIONG Yu XUE Song

Y Mayuka YAMAMOTO YANG Chihung YANG Din YANG Mao-lin YANG Ren-ming YANG San-lang Yuyu YANG YEH Chung-ching

121, 126, 131 216 229 190

趙無極 張小濤 周春芽

144, 147, 150, 151 213 176, 177, 201, 217, 218

Z ZAO Wou-ki ZHANG Xiaotao ZHOU Chunya

M Hiroyuki MATSUURA MIAO Jingchang MIAO Xiaochun

葉子奇 尹齊 尹鍾錫 俞成浩

6

101

YANG Din

(Chinese, b. 1958)

Wine Glasses 1993 Oil on canvas 46.5 x 38.5 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English and dated 1993 VI in English

NT$ 70,000-90,000 US$ 2,200-2,800 HK$ 17,000-21,000

楊登雄 酒杯 1993 油彩 畫布 46.5 x 38.5 cm 簽名右下：Yang Din 簽名畫背：Yang Din 1993 VI

102

SHIY De-jinn

(Taiwanese, 1923-1981)

A Female Portrait 1969 Fineliner on paper 25 x 34 cm Signed lower left Shiy De-jinn in Chinese and dated 69

NT$ 70,000-100,000 US$ 2,200-3,100 HK$ 17,000-24,000

席德進 女子畫像 1969 簽字筆 紙本 25 x 34 cm 簽名左下：席德進 69

8

103

YEH Chung-ching (Taiwanese, b. 1945)

Tracks of the Years 1999 Oil on canvas 65 x 53 cm Signed Chung-ching in Chinese and dated 1999

NT$ 90,000-160,000 US$ 2,800-5,000 HK$ 21,000-38,000

葉仲卿 歲月的痕跡 1999 油彩 畫布 65 x 53 cm 簽名：仲卿 1999

104

SANYU (CHANG Yu)

(Chinese-French, 1901-1966)

Nudes (A set of 2) 1932 Lithograph print on paper 12 x 21 cm (upper); 20.5 x 13 cm (lower) Signed lower right SANYU in French in pencil and marked lower left Epreuvre d'essai (upper) Signed lower left Yu in Chinese and SANYU in French in pencil, numbered lower right 1/10 (lower) Inscription lower right: A mon cher Johan, Ton Yu, Paris mai 1932 PROVENANCE: Collection of Johan Franco, Holland (acquired directly from the artist in 1932) Sotheby's sale, Taipei, Oct. 15, 1995, lot 3

NT$ 100,000-200,000 US$ 3,100-6,300 HK$ 24,000-48,000

常玉 裸女 1932 石版畫 紙本 一件為試版 一件 1/10 12 x 21 cm（上）; 20.5 x 13 cm（下） 簽名右下：Epreuvre d'essai SANYU 簽名左下：玉 SANYU 1/10 題獻右下：A mon cher Johan Ton Yu Paris mai 1932 （致我親愛的約翰 玉 1932年5月於巴黎） 來源： 約翰．法蘭寇收藏，荷蘭（1932年直接得自藝術家） 蘇富比拍賣，台北，1995年10月15日，編號3

10

105

CHUANG Che (Taiwanese, b. 1934)

Abstract (A set of 2) 1989 Oil on canvas, collage 44 x 60 cm (x2) Signed lower left Chuang Che in Chinese and dated 89 (upper) Signed on the reverse Chuang Che in Chinese and dated 89 (lower)

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

莊喆 抽象（二件一組） 1989 油彩 拼貼 44 x 60 cm (x2) 簽名左下：莊喆 89（上） 簽名畫背：89 莊喆（下）

106

TAI Hoi Ying

(Chinese-French, b. 1946)

La fenêtre ouverte (Open Window) 1987 Tempera and oil on canvas, mounted onto board 60 x 81 cm Signed lower right Tai in English and dated 87 PROVENANCE: Galerie Moderne, Silkeborg, Denmark

NT$ 100,000﹣200,000 US$ 3,100﹣6,300 HK$ 24,000﹣48,000

戴海鷹 窗開了 1987 卵彩 油彩 畫布裱於薄板 60 x 81 cm 簽名右下：Tai 87 來源： 現代畫廊，西克堡，丹麥

107

TAI Hoi Ying

(Chinese-French, b. 1946)

Nature morte sous escalier (Still Life Under Stairs) 1985-86 Tempera and oil on canvas, mounted onto board 60 x 81 cm Signed lower right Tai in English and dated 85-86 PROVENANCE: Galerie Moderne, Silkeborg, Denmark

NT$ 100,000﹣200,000 US$ 3,100﹣6,300 HK$ 24,000﹣48,000

戴海鷹 樓梯下的靜物 1985-86 卵彩 油彩 畫布裱於薄板 60 x 81 cm 簽名右下：Tai 85-86 來源： 現代畫廊，西克堡，丹麥

12

108

LIEN Chien-hsing (Taiwanese, b. 1962)

Spring Tides 1992 Oil on canvas 52 x 72 cm Signed lower left Lien Chien-hsing in Chinese and dated 1992.2 Titled on the reverse Spring Tides in Chinese, dated 1992 and signed Lien Chien-hsing in Chinese

NT$ 160,000-260,000 US$ 5,000﹣8,100 HK$ 38,000﹣62,000

連建興 春潮 1992 油彩 畫布 52 x 72 cm 簽名左下：連建興 1992.2 簽名畫背：春潮 1992 連建興

109

Ryoji SUZUKI (Japanese, b. 1973)

Candy and Pot (A set of 2) 2008; 2008-2009 Oil on canvas 24 x 33.5 cm (upper) 33 x 24.5 cm (lower) Signed lower right Ryoji Suzuki in English and dated lower left 2008 (upper) Titled on the reverse Chupa Chupas in Japanese, signed Ryoji Suzuki in English and dated 2009 (upper) Signed lower right Ryoji Suzuki in English and dated 2008 (lower) Titled on the reverse Pot in Japanese, Ryoji Suzuki in English and dated 2008 (lower)

NT$ 50,000-80,000 US$ 1,600-2,500 HK$ 12,000-19,000

鈴木良治 糖果與罐子（二件一組） 2008; 2008-2009 油彩 畫布 24 x 33.5 cm (上) 33 x 24.5 cm (下) 簽名右下：Ryoji Suzuki 標示年代左下：2008（上） 簽名畫背：チョパチャプス C a n d y Ry o j i Suzuki 2009 (上) 簽名右下：Ryoji Suzuki 2008 (下) 簽名畫背：ポッド Ryoji Suzuki 2008 (下)

14

110

HSU Tang-wei (Taiwanese, b. 1980)

Quasar Series 2006 Acrylic on canvas 117 x 91 cm

NT$ 100,000-180,000 US$ 3,100-5,600 HK$ 24,000-43,000

許唐瑋 類星體系列 2006 壓克力 畫布 117 x 91 cm

111

Ryoji SUZUKI (Japanese, b. 1973)

Beef Jerky 2009 Oil on canvas 91 x 73 cm Signed lower right Ryoji Suzuki in English and dated 2009 Titled on the reverse Beef Jerky in Japanese, signed Ryoji Suzuki in English and dated 2009

NT$ 140,000-200,000 US$ 4,400-6,300 HK$ 33,000-48,000

鈴木良治 牛肉乾 2009 油彩 畫布 91 x 73 cm 簽名右下：Ryoji Suzuki 2009 簽名畫背：ビーフ ジャーキー Ryoji Suzuki 2009

16

112

HSU Tang-wei (Taiwanese, b. 1980)

Celestial Bodies (A set of 2) 2006 Acrylic on wooden board 40 x 120 cm (black) 30 x 80 cm (pink) Signed on the reverse Hsu Tang-wei in Chinese and TANG-WEI in English, dated 2006 (black) Signed on side TANG-WEI in Chinese and English, dated 2006 (pink)

NT$ 180,000-260,000 US$ 5,600-8,100 HK$ 43,000-62,000

許唐瑋 星體（二件一組） 2006 壓克力 木板 40 x 120 cm (黑) 30 x 80 cm (粉紅) 簽名畫背：許唐瑋 TANG-WEI 2006 (黑) 簽名側面：唐瑋 TANG-WEI 2006 (粉紅)

113

Ryoji SUZUKI (Japanese, b. 1973)

Bull Terrier 2006 Oil on canvas 53 x 65.5 cm Signed on the reverse Ryoji Suzuki in English and dated 2006

NT$ 70,000-90,000 US$ 2,200-2,800 HK$ 17,000-21,000

鈴木良治 牛頭梗 2006 油彩 畫布 53 x 65.5 cm 簽名畫背：Ryoji Suzuki 2006

114

Satoshi Watanabe (Japanese, b. 1967)

Avebury 2000 Oil on canvas, mounted onto board 30 x 40 cm Titled on the reverse Avebury in English, dated 2000 and signed Satoshi Watanabe in English

NT$ 70,000-90,000 US$ 2,200-2,800 HK$ 17,000-21,000

渡邊聰 艾夫佰里巨石群 2000 油彩 畫布裱於木板 30 x 40 cm 簽名畫背：'Avebury' 2000 Satoshi Watanabe

18

115

Koichi Enomoto (Japanese, b. 1977)

Untitled 2007 Oil on canvas 61(L) x 50(W) x 6(D) cm Signed on the reverse Koichi Enomoto in English and dated 2007

NT$ 200,000-350,000 US$ 6,300-10,900 HK$ 48,000-83,000

榎本耕一 無題 2007 油彩 畫布 61(長) x 50(寬) x 6(厚) cm 簽名畫背：2007 Koichi Enomoto

116

WU Hao

(Taiwanese, b. 1931)

Flowers 1990 Oil on canvas 72.5 x 60.5 cm Signed upper left Wu Hao in Chinese and dated 1990

NT$ 200,000-300,000 US$ 6,300-9,400 HK$ 48,000-71,000

20

吳昊 花 1990 油彩 畫布 72.5 x 60.5 cm 簽名左上：吳昊 1990

117

John WAY

魏樂唐 抽象

(Chinese-American, b. 1921)

Abstract 1995 Oil on canvas 75 x 60 cm Signed lower left John Way in English and dated 95

Illustrated: An Overview Of John Way's 80 Years, Shanghai Art Museum, Shanghai, Aug. 2001, p. 211

1995 油彩 畫布 75 x 60 cm 簽名左下：John Way 95

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

圖錄： 《魏樂唐八十回顧》，上海美術館， 上海，2001年8月出版，頁211

118

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds - Flying Dragon 2008 Oil on canvas 145 x 200 cm Titled on the reverse Pork Belly Series - Flesh, Flowers and Birds - Dragon in Chinese, signed Chang-Ling in Chinese and dated 2008

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 83,000-107,000

常陵 五花肉系列—肉花鳥．龍昇圖 2008 油彩 畫布 145 x 200 cm 簽名畫背：五花肉系列—肉花鳥龍昇圖 常 陵 2008

常陵，1975年出生於台灣花蓮。自進入法 國布爾吉國立藝術學院（École Nationale Beaux-art de Bourges）求學後，開始接觸歐 洲當代藝術。2000年轉入巴黎國立高等藝術 學院，師事波坦斯基、維姆斯及巴斯塔特 曼。他曾說：「『肉』是我對藝術的代名 詞，並以肉為出發點提出五種議題，即是 《五花肉》系列」。藝術家以肉塊作為構成 畫面的元素，組成山水或兵器的圖像。紅色 顏料如同血水，並非藝術家想表現殘酷或暴 力，而是把肉跟血轉換成華美的感受與豐沛 的慾望。肉塊有著隱晦的性暗示，代表橫流 的肉慾。畫面上鮮豔的色彩，強烈的刺激著 感官，也是一種另類暴力。常陵說：「我們 的山與水早被人性的私慾剝奪，我只是將殘 存的現實，平鋪直述出來罷了。」 作品《肉花鳥．龍昇圖》藉由龍的形象與 創作的居間性為主軸，轉而探討、反思個 人繪畫創作中的身分認同議題。透過遠古傳 說中的聖獸，轉化形式變成語彙上的居間性 意象，拓展個人在繪畫上的精神層面探究。 常陵的「五花肉系列」企圖詮釋與建構出介

22

於西方與東方藝術板塊交會、摩擦下併發出 屬於台灣當代藝術的文化、身份、認同的境 遇，及個人文化記憶底層下混雜曖昧的原鄉 情懷。

Born in 1975 in Hualien, Taiwan, Chang -Ling entered École Nationale de Beauxart in Bourges and began to study European contemporary art. In 2000, he transferred to École Nationale Superieure de Beaux-arts in Paris, and followed Christian Boltanski, JeanLuc Vilmouth and Jean-Marc Bustamante.

He said: "'Meat' is my pronoun of art, and I extended 5 topics for discussion from the angle of meat, which is the Pork Belly series". He used meat as the element to compose sceneries or weapons in the picture, where the red pigment looks like blood. But he doesn't want to manifest cruelty or violence; while instead, he changes meat and blood into luxury feelings and abundant desires. The flesh lumps implicate carnal desires, and make the vivid colors in the picture intensely irritate your sense organs and show the hidden dark violence and blood sense.

Chang-Ling said: "Our mountains and rivers have already been robbed by human selfish desires, and I just used a simple way to express the relic facts."

Picture of "Flesh, Flowers and Birds - Flying Dragon" has the dragon image and inbetweenness of creation as the chief axis and probes into and reflects on identity subject during individual artistic creation. By the experiment of transferring the holy beast of ancient legends into in-betweenness image in formal lexicon and developing the discussion of individual spiritual layer in painting, ChangLing tries to connect "western and eastern"; and the artistic in-betweenness between "representationalism and imagism". ChangLing's Pork Belly series intend to interpret the connection of western and eastern arts, and thus create the modern art culture, status and identity of Taiwan as well as the complicated and vague homeland feelings deep in his personal cultural memories.

119

JAN Chin-shui (Taiwanese, b. 1953)

Landscape within Sky and Mountain 2008 Mixed media on canvas 130 x 162 cm Signed lower right Jan Chin-shui in Chinese and dated 2008 Signed on the reverse Jan Chin-shui in Chinese, dated 2008, size 100F and titled Landscape within Sky and Mountain in Chinese

NT$ 300,000-500,000 US$ 9,400-15,600 HK$ 71,000-119,000

詹金水 天山風雲 2008 綜合媒材 畫布 130 x 162 cm 簽名右下：詹金水 2008 簽名畫背：詹金水 2008年 100F 天山風雲

24

120

YANG Chihung (YANG Chihong) (Taiwanese, b. 1947)

December 2009 Acrylic on canvas 188 x 128 cm Signed on the reverse Chihung Yang in English, titled December in English and dated 2009

NT$ 850,000﹣1,000,000 US$ 26,600﹣31,300 HK$ 202,000﹣238,000

楊識宏 十二月 2009 壓克力 畫布 188 x 128 cm 簽名畫背：Chihung Yang December 2009

楊識宏1947年生於桃園，學生時期師事廖 繼春、楊三郎等前輩名師，1979移居美國 與來自全世界當紅的當代藝術家在紐約發 展，1984年更獲得首位美國國家P.S. I大獎 的華人藝術家。楊識宏在紐約畫室種了大 片植物，如同是個小宇宙；展現生命在不 同階段的榮枯。楊識宏在每天例行性的照 顧植物中，不只看到植物的繁榮與破敗， 更看到植物在每個階段中，生命體所留下 的超脫與想像性，使他的藝術有時間流動 影子，也在流動的過程裡，讓人感受到溫 度。 楊識宏致力於光線與氣氛的追求。作品高 雅、層次分明、筆觸靈動間取法於自然， 這是畫家面對自然無窮造化下最直接的反 應，也是畫家個人對周遭萬物的體會與美 感要求，大自然中一草一木、人世間的悲 歡離合、種種情緒反射……楊識宏希望透 過畫筆傳遞對流逝時光的捕捉。此幅作品 《十二月》，有著楊識宏昔日抒情、低緩 的味道。此作品不再以量化的植物作為訴 求，葉片與枝幹都顯得纖細、瘦弱。利用 壓克力顏料的淋漓，表現冬天的冷瑟淒 風，挾帶霜雪似的飛粒，整件作品充滿動 作、韻律，及隱隱約約的不安全感。楊識 宏將自己的感情調得很低，但畫面上零星 細葉、霜雨、被冷風吹得都站不住腳的枝 幹，在在象徵生命無法保有沉靜原樣的 「意外」。

Yang Chihung (1947~) comes from Taoyuan.

He learned from famous senior masters such as Liao Chi-chun and Yang San-lang among others. He moved to America in 1979 to develop his talents with famous modern artists from all over the world, and became the first Chinese artist to attain the American National P. S. I award in 1984. Yang has a cloud of

26

plants in his atelier in New York, which are like a small universe; they show the vicissitude of life in different phases. Ordinary people might think taking care of plants is just taking care of plants, but what Yang gets from this daily routine is not only prosperity and decay of plants, still further, he sees how a life breaks out and the imagination left behind from appearance of plants in every stage, which render moving of time to his art that feels lively and vivid during the course of time lapsing.

Yang has been devoted to pursuit of light and atmosphere. His works are very elegant with clear arrangements and flexible, natural touches, which counts as a direct reaction of an artist who faces infinite creatures of the Great Nature and also his personal feelings and aesthetic requirement on myriads of things around, every single blade of grass and plant; reflections on all human emotions, and Yang hopes to impress his observation of the lapsing time and engrave it with his paintbrush. From this piece of work "December" we seem to feel the lyric and low-key style of Yang. It doesn't have quantized plant images, but portrays slim and slight blades and branches, in which Yang used the dripping wet of acryl pigment to express the cold wind of winter, the flying snow in the air. The whole piece of work is full of motions, rhythms and a touch of insecurity.

Yang made his emotions so low in there and wanted to show no evidences of personal feelings, however, the scattered blades, snow and rain, branches that seem falling down in the wind all represent "an accident" that makes life fail to remain its original tranquil state. For all that, Yang depicted the situation in a very moving way, so sweet poetic feelings pervade there.

28

121

Tzu-chi YEH

(Taiwanese, b. 1957)

Nostalgia from the Bathroom 1991-1994 Oil on canvas 82 x 219 cm Signed lower right Tzu-chi in Chinese and dated 1991-94

NT$ 950,000﹣1,300,000 US$ 29,700﹣40,600 HK$ 226,000﹣310,000

葉子奇 浴室裡的鄉愁系列 1991-1994 油彩 畫布 82 x 219 cm 簽名右下：子奇 1991-94

122

LIEN Chien-hsing (Taiwanese, b. 1962)

Fantasy of the Sky Pool 2002-2004 Oil on canvas 97 x 194 cm Signed lower left Lien Chien-hsing in Chinese and dated 2004 Titled on the reverse Fantasy of the Sky Pool in Chinese, dated 2002, signed Lien Chien-hsing in Chinese and size 120M ILLUSTRATED: Lien Chien-hsing, Eslite Gallery, Taipei, color illustrated, p. 23 This painting is to be sold with a certificate of authenticity issued by Eslite Gallery, Taipei.

NT$ 1,000,000-2,000,000 US$ 31,300﹣62,500 HK$ 238,000﹣476,000

連建興 天池之夢幻舞曲 2002-2004 油彩 畫布 97 x 194 cm 簽名左下：2004 連建興 簽名畫背：2002 連建興 120M 天池之夢幻 舞曲 圖錄： 《連建興》，誠品畫廊，台北，2004，彩色 圖版，頁23 附誠品畫廊開立之原作保證書

30

123

CHUANG Che (Taiwanese, b. 1934)

Steep Cliff and Deep Valley 1996 Acrylic and oil on canvas 167.5 x 127 cm Signed lower left Chuang Che in Chinese and dated 96 ILLUSTRATED: Chuang Che, Deep Ridge - Remote Way, Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, pp. 92-93

NT$ 1,000,000-2,000,000 US$ 31,300﹣62,500 HK$ 238,000﹣476,000

莊喆 絕壁飛塹 1996 壓克力 油彩 畫布 167.5 x 127 cm 簽名左下：96 莊喆 圖錄： 《莊喆．嶺深道遠—2007北京中國美術館個 展》，亞洲藝術中心，台北，2007，彩色圖 版，頁92-23

32

124

YANG Mao-lin (Taiwanese, b. 1953)

Lily Memorandum L9305 1993 Oil, acrylic on canvas 194 x 112 cm Inscribed lower center MADE IN TAIWAN in English ILLUSTRATED: Inviting the Immortals - Culture, Intercourse, Tayouan History: Yang Mao-lin, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 82

NT$ 1,200,000-2,000,000 US$ 37,500-62,500 HK$ 286,000-476,000

楊茂林 百合紀事 L9305 1993 油彩 壓克力 畫布 194 x 112 cm 款識下方：MADE IN TAIWAN 圖錄： 《請眾仙—文化交配大圓誌：楊茂林》，大 未來畫廊，1999，台北，彩色圖版，頁82

34

125

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

Campaign (Facing Beijing) 2007 Oil on canvas 182 x 182 cm Titled on the reverse Campaign (Facing Beijing) in Chinese, size 182 x 182, media oil, dated 2007 and signed Che in Chinese

NT$ 1,600,000-2,400,000 US$ 50,000-75,000 HK$ 381,000-571,000

黃銘哲 出征（面對北京） 2007 油彩 畫布 182 x 182 cm 簽名畫背：面對北京 182 x 182 油畫 2007 哲

36

38

126

Tzu-chi YEH

(Taiwanese, b. 1957)

Yan-Ming Mountain in June 2009-2010 Tempera and oil on linen 122 x 224 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2009-2010

NT$ 1,600,000-2,400,000 US$ 50,000-75,000 HK$ 381,000-571,000

葉子奇 六月．陽明山 (III) 2009-2010 卵彩 油彩 亞麻布 122 x 224 cm 簽名右下：葉子奇 2009-2010

127

CHAO Chung-hsiang (Taiwanses, 1910-1991)

Bird 1976 Ink on paper 49 x 45 cm With one seal of the artist

NT$ 160,000-220,000 US$ 5,000-6,900 HK$ 38,000-52,000

40

趙春翔 鳥 1976 水墨 紙本 49 x 45 cm 鈐印右下：Chao

128

SHIY De-jinn

(Taiwanese, 1923-1981)

Portrait of Wu Hao 1969 Pastel on paper 36 x 25 cm Signed lower left Shiy De-jinn in Chinese and dated 1969 PROVENANCE: Sotheby's sale, Taipei, April 13, 1997, lot 39

NT$ 240,000-350,000 US$ 7,500-10,900 HK$ 57,000-83,000

席德進 畫家吳昊像 1969 粉彩 紙本 36 x 25 cm 簽名左下：席德進 1969 來源： 蘇富比拍賣，台北，1997年4月13日，編號39

129

CHUANG Che (Taiwanese, b. 1934)

Landscape 1972 Acrylic on canvas 60 x 86 cm Signed upper left Chuang Che in Chinese and dated 1972 Titled on the reverse Landscape in English and signed Chuang Che in English, dated 1972

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

42

莊喆 風景 1972 壓克力 畫布 60 x 86 cm 簽名左上：1972 莊喆 簽名畫背：Landscape Chuang Che 1972

130

LIEN Chien-hsing (Taiwanese, b. 1962)

Rocking Horse from Childhood 2001 Oil on canvas 65 x 91 cm Signed lower right Lien Chien-hsing in Chinese and dated 2001 EXHIBITED: Lonely Wonder Land, Eslite Gallery, Taipei, Sept. 15 - Oct. 7, 2001 ILLUSTRATED: Lonely Wonder Land, Eslite Gallery, Taipei, 2001, color illustrated

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 83,000-131,000

連建興 童年搖馬 2001 油彩 畫布 65 x 91 cm 簽名右下：連建興 2001 展覽： 「寂寞樂土」，誠品畫廊， 台北，展期自2001年9月15日至10月7日 圖錄： 《寂寞樂土》，誠品畫廊， 台北，2001，彩色圖版

131

Tzu-chi YEH

(Taiwanese, b. 1957)

Trees in the Mountain 1998-2002 Tempera and oil on linen 55 x 75.5 cm Signed lower right Tzu-chi in Chinese and dated 1998-2002

44

葉子奇 This painting is to be sold with a certificate of authenticity issued by Dimensions Center, Taipei.

NT$ 350,000-500,000 US$ 10,900-15,600 HK$ 83,000-119,000

山中樹 1998-2002 卵彩 油彩 亞麻布 55 x 75.5 cm 簽名右下：子奇 1998-2002 附帝門藝術中心開立之原作保証書

132

SU Wong-shen (SU Wang-shen) (Taiwanese, b. 1956)

Spring Campus Scenery 1994 Oil on canvas 80 x 80 cm Titled on the reverse Spring Campus Scenery in Chinese, signed Su Wong-shen in Chinese and dated 1994

NT$ 400,000-600,000 US$ 12,500-18,800 HK$ 95,000-143,000

蘇旺伸 校園春景 1994 油彩 畫布 80 x 80 cm 簽名畫背：校園春景 蘇旺伸 1994

校園春景 關於'94年文化大學美術系所發生的事件 學生跟一群王八混蛋學校任職者對抗著 在'94年春天可憐的教育消費者 蘇旺伸 1994

133

SU Wong-shen (SU Wang-shen) (Taiwanese, b. 1956)

Adult Game - A Round Trip 1991 Oil on canvas 91 x 117 cm Signed on the reverse Su Wong-shen in Chinese and dated 1991

46

蘇旺伸 成人遊戲—來回 ILLUSTRATED: Su Wong-shen - Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated, plate 118, p. 232

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 83,000-131,000

1991 油彩 畫布 91 x 117 cm 簽名畫背：蘇旺伸 1991 圖錄： 《蘇旺伸：雲與雲之間》，誠品股份有限 公司，台北，2008，彩色圖版，圖版118， 頁232

134

MIAO Jingchang (Chinese, b. 1966)

Childhood 1992 Oil on canvas 97 x 145.5 cm Signed lower right Jingchang in Chinese and dated 92.5 Titled on the reverse Childhood in Chinese, size 145.5 x 97 cm, signed Miao Jingchang in Chinese ILLUSTRATED: Miao Jing-chang, Jeff Hsu's Art, Taipei, 2006, color illustrated, p. 13 This painting is to be sold with a certificate of authenticity issued by Jeff Hsu's Art, Taipei.

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 83,000-131,000

苗景昌 童年 1992 油彩 畫布 97 x 145.5 cm 簽名右下：景昌 92.5 簽名畫背：《童年》145.5 x 97 cm 苗景昌 圖錄： 《苗景昌作品集》，觀想藝術有限公司， 台北，2006，彩色圖版，頁13 附觀想藝術有限公司開立之原作保證書

135

HSIAO Ju-sung (Taiwanese, 1922-1992)

Young Girl Watercolor on paper 71 x 51 cm Signed lower left JS in English ILLUSTRATED: Hsiao Ju-sung Commemorate Catalogue, Cultural Affairs Bureau of Hsinchu County Government, Hsinchu, 1997, color illustrated, p. 26

NT$ 900,000-1,500,000 US$ 28,100-46,900 HK$ 214,000-357,000

蕭如松 少女 水彩 紙本 71 x 51 cm 簽名左下：-JS圖錄： 《蕭如松紀念畫集》，新竹縣文化局，新 竹，1997，彩色圖版，頁26

48

136

LI Shih-chiao

(Taiwanese, 1908-1995)

Roses 1989 Oil on canvas 45 x 53 cm Signed lower right Shih-chiao in Chinese and dated 1989 EXHIBITED: LI Shih-chiao and his Students Group Exhibition at Apolo, Apolo Art Gallery, Taipei, Nov. 4 - 22, 1995 ILLUSTRATED: The Collection of Li Shih-chiao Vol. I, Li Shihchiao Museum, Taipei, 1996, color illustrated, p. 393 2000 Taiwan Art (Part II), Southern Taiwan Art Collectors Association, Tainan, 2000, color illustrated, pp. 114-115 This painting is to be sold with a certificate of authenticity issued by Apolo Art Gallery, Taipei.

50

NT$ 1,200,000-2,000,000 US$ 37,500-62,500 HK$ 286,000-476,000

李石樵 玫瑰花 1989 油彩 畫布 45 x 53 cm 簽名右下：1989 石樵 展覽： 「李石樵暨門生阿波羅聯展」，阿波羅畫 廊，台北，展期自1995年11月4日至11月22日 圖錄： 《李石樵畫集I》，李石樵美術館，台北， 1996，彩色圖版，頁393 《台灣美術典藏》第二輯，南台灣美術 收藏聯誼會，台南，2000，彩色圖版， 頁114-115 附阿波羅畫廊開立之原作保證書

137

YANG San-lang (Taiwanese, 1907-1995)

Holidays in Lake Towada Oil on canvas 61 x 73 cm Signed lower left S. Yang in English

NT$ 1,900,000-2,300,000 US$ 59,400-71,900 HK$ 452,000-548,000

楊三郎 十和田湖假日 油彩 畫布 61 x 73 cm 簽名左下：S. Yang

楊三郎奉行印象派，注重戶外寫生、留心光 影變化，直接關照自然，為加強筆觸在畫面 上所呈現的肌理，藝術家經常筆、刀並用， 豐富筆觸凸顯質感、量感，活化整幅作品的 氣韻，收畫龍點睛之效。 十和田湖，位於日本青森縣和秋田縣的邊 界，為海拔四百公尺高的火口湖。十和田 湖畔風景優美秀麗，春來一片新綠，秋時滿 山紅葉，冬有北國雪景。碧綠清澈的湖水， 映出四季分明的自然景致。楊三郎畫中描寫 倘徉自然山水間的人們，面對靜謐的青綠湖 光。遠而小的白帆點點，似乎拉近人與山的 距離，楓紅、湖水、及遠山，完整構圖出 前、中、遠景的層次感。自然的秋色也象徵 人們生命的循環、自然的韻律。 楊三郎一生以創作為志業，為求實景寫生， 其足跡遍及國內外，以一顆熱愛藝術的心， 不畏爬山涉水之苦，勇於向大自然挑戰，晚 年獲頒象徵藝術最高榮耀的「國家文化勳 章」，其精神值得後人感念。

Ya n g S a n - l a n g p u r s u e d i m p r e s s i o n i s m , focusing on open-air painting and the change of shadows under sunlight as well as timing sequence. Apart from his emphasis on nature and the strength of the texture carried by the brushwork, the artist often used both brushes

52

and knives to enrich the brushwork and reinforce the quality of and the paint's volume.

Often, this one final touch highlighted the sense of reality and made the whole work alive.

Located at the border of Aomori Prefecture and Akita Prefecture, Lake Towada is a crater lake, 400-meter above sea level. The lakeside scenery is beautiful, with verdant tender shoots in the spring, red maple leaves in the fall, and magnificent snowfall in the winter. The natural landscape in four distinct seasons is reflected in the clear waters of the lake. Yang describes people strolling among the natural landscape beside the tranquil bluish lake. Little white sails in the distance seem to bridge the gap between men and mountains, while red maple leaves, lakes and mountains map out the front, middle and distant settings. Autumn is also a symbol of people's natural cycle of life and natural rhythms.

Yang devoted his whole life to the creation of art. In order to paint from real landscapes, he traveled across mountains and rivers both in China and abroad with an ardent love for art.

In his later years, he was awarded "National Cultural Medal", the highest honor for symbolic art. His spirit deserves remembrance from the later generations.

138

CHAO Chung-hsiang (Taiwanese, 1910-1991)

Maternal Love 1978 Acrylic, ink and color on paper 147 x 89 cm Signed lower left Chung-hsiang in Chinese and Chao in English ILLUSTRATED: The Works of Chao Chung-hsing, Taiwan Museum of Art, Taichung, 1994, color illustrated, p. 124

NT$ 2,000,000-3,000,000 US$ 62,500-93,800 HK$ 476,000-714,000

趙春翔 慈暉 1978 壓克力 彩墨 紙本 147 x 89 cm 簽名左上：春翔 Chao 圖錄： 《趙春翔遺作展》，台灣省立美術館， 台中，1994，彩色圖版，頁 124（原題《媽 媽歸來》）

54

139

YANG San-lang (Taiwanese, 1907-1995)

Lily Pond Oil on canvas 91 x 72 cm Signed lower right S. Yang in English EXHIBITED: The Exhibition of Yang San-lang's Works, National Dr. Sun Yat-sen Memorial Hall, Taipei, March 12-29, 1995 ILLUSTRAED: Yang San-lang Portfolio 1986-1995, National Dr. Sun Yat-sen Memorial Hall, 1995, Taipei, color illustrated, p. 93

NT$ 2,800,000-3,600,000 US$ 87,500-112,500 HK$ 667,000-857,000

楊三郎 睡蓮池 油彩 畫布 91 x 72 cm 簽名右下：S. Yang 展覽： 「楊三郎作品展」，國立國父紀念館， 台北，展期自1995年3月12日至3月29日 圖錄： 《楊三郎作品集1986─1995》，國立國父紀 念館，台北，1995，彩色圖版，頁93

56

140

LI Chen

(Taiwanese, b. 1963)

Float to Sukhavati 2002 Bronze, edition no. 7/8 81(L) x 46(W) x 61(H) cm Signed Li Chen in Chinese and English, numbered 7/8 EXHIBITED: Shanghai International Biennial Urban Sculpture Exhibition, Shanghai, China, Nov 18, 2005 - Mar. 17, 2006 The Contemporary Road of Media and Tradition - TOP 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 - May 6, 2007 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 95 The Contemporary Road of Media and Tradition - TOP 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 51 Li Chen in Venice 52 nd Venice Biennale – Energy of Emptiness, Asia Art Center, 2007, color illustrated, p. 144 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 76-83; black-and-white illustrated, p. 197

NT$ 2,800,000-3,800,000 US$ 87,500-118,800 HK$ 667,000-905,000

李真 飛行樂土 2002 銅雕 7/8 81(長) x 46(寬) x 61(高) cm 簽名：李真 Li Chen 7/8

58

展覽： 「上海國際城市雕塑雙年展」，上海，展期 自2005年11月18日至2006年3月17日 「媒介和傳統的當代道路－中國當代雕塑十 人展」，亞洲藝術中心，北京，展期自2007 年4月7日至5月6日 圖錄： 《李真雕塑1992－2002》，亞洲藝術中心， 2004，彩色圖版，頁95 《媒介和傳統的當代道路－中國當代雕塑十 人展》，亞洲藝術中心，2007，彩色圖版， 頁51 《李真第52屆威尼斯年展－虛空中的能量》， 亞洲藝術中心，2007，彩色圖版，頁144 《李真：中國美術館個展—尋找精神的空 間》，亞洲藝術中心，台北，2008，彩色圖 版，頁76-83；黑白圖版，頁197 《飛行樂土》為李真「大氣神遊」系列創作 中的重要作品，將當代雕塑造型引入東方藝 術的空間意識。陰陽、虛實節奏中流盪著氣 韻，其雕塑作品之靈氣如皎月映雪、水照雲 天，似「超以像外」所直接領悟的神態天 趣，養空而遊，展現活潑的生命泉源。 《飛行樂土》完成於2002年，李真曾這樣描 述此件作品「仙者先者忘境而幽悠，天行自 然化作祥雲，依然了得。」李真極擅長處理 量體輕重對應的關係，作品充滿著神仙般的 浪漫情懷、又似孩童的天真逗趣、無憂無慮 飄然躺臥雲端，形態自若愜意，雲朵竟如此 地輕巧飄然、如此地安穩，彷彿能載你到任 何想去的地方，觀之讓人沉浸在一種心靈清 淨的狀態，不自覺地會心一笑。李真作品中 的心靈理想世界，加上幽默感與寬闊內韻之 造化，一種虛幻清淨之氣質，這就是李真獨 特的風格。

"Float to Sukhavati" is an important creation in Li Chen's series of "Free Wandering Spirits".

He infuses the design of contemporary sculpture into the oriental artistic characteristic of spatial sense. Between yin and yan, between emptiness and reality, flows the "qi". The spiritual sense emitted out from the sculpture is so clean and fresh, it is like standing in the snow under the bright full moon or looking at the reflection of blue sky and white clouds in the water. The artist has come to realize the inner soul of the object and understood the wisdom beyond the physical world. While his imagination traveling in the sky, he brings to his audience a lively spirit of life.

"Float to Sukhavati" was completed in 2002. Li Chen once described this work: "Immortals are those who enjoy tranquility and freedom and forget where they are. Through the operation of nature, harmonious clouds can be naturally made to carry them. Following the way of nature, they always keep well." Li Chen is very good at tackling the contrasted relation between the lightness and heaviness of massive objects.

His works are full of fairy-like imagination, of children's innocence and amusement, and of carefree floating on the top of the clouds. Their looks and gestures give people a self-assured and relaxed sense. The clouds are so light yet safe to bring you anywhere you would like to go. When looking at his works, the viewer will indulge in a spiritual journey so that their minds and hearts can become crystal clear and will unconsciously make an insinuating smile. The ideal spiritual world of Li Chen's works, the sense of humor and the broad internal transformation, as well as a clear and tranquil temperament constitute the unique style of Li Chen.

141

LI Chen

(Taiwanese, b. 1963)

Avalokitesvara 1998 Bronze, edition no. 8/8 53(L) x 33(W) x 51(H) cm Engraved Li Chen in English and numbered 8/8 With two seals of the artist ILLUSTRATED: Li Chen Sculpture, Asia Art Center, Taipei, 2004, color illustrated, p. 37 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 76-83; black-and-white illustrated, p. 197

NT$ 2,300,000-3,200,000 US$ 71,900-100,000 HK$ 548,000-762,000

李真 南海 1998 青銅 8/8 53(長) x 33(寬) x 51(高) cm 簽名雕刻：Li Chen 8/8 鈐印：李真 李真 圖錄： 《李真雕塑1992-2002》，亞洲藝術中心， 台北，2004，彩色圖版，頁37 《李真：中國美術館個展—尋找精神的空 間》，亞洲藝術中心，台北，2008，黑白圖 版，頁194

60

142

LIN Fengmian (Chinese, 1900-1991)

Mountain Sunset 1960s Ink and color on paper 68 x 68 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTATED: Chinese Art Collection - Lin Fengmian, Shanghai Fine Arts Publisher, Shanghai, May 1997 (First Edition), color illustrated, p. 35 Zhou Weiming ed., Collection of Art Garden Studio No.72, Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no.

16, p. 11 Private Collection of Chinese Calligraphy & Painting - Album of Varied Masterpieces I, Hebei Educational Publishing House, Hebei, May 2005, color illustrated, p. 86

NT$ 4,000,000-6,000,000 US$ 125,000-187,500 HK$ 952,000-1,429,000

林風眠 山林暮色圖 1960年代 彩墨 紙本 68 x 68 cm 簽名左下：林風眠 鈐印左下：林風瞑印 來源： 香港三槐堂舊藏 圖錄： 《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月第一版，彩 色圖版，頁35 周衛明編，《藝苑掇英第七十二期：三槐堂 藏現代書畫專輯》，上海人民美術出版社， 上海，2004，彩色圖版，編號16，頁11 《私家藏中國書畫－散珍集成（壹）》， 河北教育出版社，河北，2005，彩色圖 版，頁86

62

林風眠的眾多作品從外觀上看更像西方畫， 從而被誤解為不傳統。縱使是山林這類中國 文人和傳統繪畫最為青睞的題材，在他的筆 下仍是中西兼備的形神俱在。但是從作品的 內涵來看，強調意境深遠，又情思無盡使之 更為鍥合中國畫「心畫」的純粹性，更加體 現了獨具一格的林氏畫風。 簡單地說，林風眠中西融合的藝術風格更多 地呈現在觀念上，他由學習西方自然主義轉 而服膺於印象主義、野獸派、立體主義等西 方現代藝術的思潮，因而他一直主張並實踐 著用西方現代藝術運動觀念切入中國繪畫。 這一點在其山林作品系列中尤為突出。

as Impressionism, Fauvism and Cubism etc.

As a result, he has been an advocate and practicer for the concept of using modern Western art movement into Chinese painting.

This is particularly prominent in a series of his mountains and forests works.

This "Mountain Sunset" picture is a classic demonstration of this proposition. The keynote is ink, the artistic conception comes down in one continuous line with tradition paintings too. But the tones, natural lights, characteristic that emphasizing the surface rather than the

這幅《山林暮色圖》可謂是這一主張的經 典證者。它的基調是水墨，意境也和傳統 繪畫一脈相通。但它的色調、自然光、強調 面而不強調線的特點，都和西畫有著密切的 聯繫。中國畫賴以生存的骨線被抽去了「筆 墨」的特質，用以重筆表現樹林的黑色在他 的作品中被當作一種色彩來看待而失去了在 傳統中國畫中具有的特殊意義。《山林暮色 圖》構圖飽滿，濃淡的對比使畫面層次清晰 又渾然—體。面的強調使整個畫面飽滿，密 而通透，同時又不板不塞，山巒的起伏與天 際的交匯，山的層次對應林的濃密，疏密虛 實的處理上，畫家尤具苦心，實處密不透 風，虛處中疏通透，使得作品疏密得當、虛 實相生，暮色在此間不見暗淡，只覺溫暖。

Many of Lin Fengmian's works look more like Western painting from exterior view, thus be misinterpreted as not traditional. Even mountains and forests, the most favored subjects

by Chinese literati and traditional pictures, he still at the controls of both Chinese and Western form and spirit on hand. But from the meaning of works, they stressed profound moods, endless feelings, make them more tally with the pure of Chinese painting "Pictures of the heart", and reflected distinctive Lin's painting style.

In short, Lin Fengmian's integration of Chinese and Western art styles embodies more on its concept. He turns from studying Western Naturalism to have sincere belief in Western modern art trend of thoughts such

line are closely linked with Western paintings.

The lines which Chinese painting rely for existence are draw out the "ink" character, the heavy black color used in his works to present the forests are viewed as a color and lose the special significance in traditional Chinese paintings. "Mountain Sunset" had plump composition, contrast of light and shades clear the picture level and make it an integrated mass.

The emphasize of surface plumped the whole picture, thick but transparent, not stiff and blocked, the undulating hills and the intersection of sky and horizon, the lever of mountain corresponding to the dense forests, painter made painstaking efforts on the sparse or thick and false or true, airtight in true part, transparent in the false part, make the work sparse or thick properly and become complementary, the sunset here not dim but warm.

143

CHU Teh-chun

(Chinese-French, b. 1920)

Fantasia 1958 Oil on canvas 92 x 73 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and English, dated 1958 EXHIBITED: Solo Exhibition of Chu Teh-chun, The Ueno Royal Museum, Tokyo, June 23 - July 10, 2007 ILLUSTRATED: Solo Exhibition of Chu Teh-chun, Thin Chang Corporation, Taipei, 2007, color illustrated, p. 97 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 5,800,000-7,500,000 US$ 181,300-234,400 HK$ 1,381,000-1,786,000

朱德群 幻想曲 1958 油彩 畫布 92 x 73 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN 1958 朱德群 展覽： 「大象無形—朱德群作品展」，上野之森美 術館，東京，展期2007年6月23日至7月10日 圖錄： 《大象無形—朱德群作品展》，台灣馨昌株 式會社，台北，2007，彩色圖版，頁97 附藝術家親筆簽名之原作保證書

64

朱德群的繪畫風格依時間來分，可分為：大 陸與台灣時期、巴黎初期、70年代和80年 代及90年代後等五個時期。其中，巴黎初期 是其繪畫風格由具象轉為抽象的關鍵時刻。 1955年朱德群從台灣搭船前往法國，一圓留 學巴黎的多年夙願。1950 年代美國、歐洲 的抽象表現主義達到了全盛時期，初抵巴黎 的朱德群，漸漸由早期後印象派畫風，思索 解放創作的束縛。1956年巴黎國立現代美術 館舉辦史塔耶爾遺作回顧展，讓朱德群內心 受到極大震撼。這位一年前自殺身亡的俄國 貴族後裔，繪畫風格熱情而奔放，從有形到 無形，具象到非具象之間自由遊走，正符合 朱德群亟欲追尋的道路。 於是，這一年也成為朱德群開始嘗試抽象畫 的起始。抽象畫給予他一種自由感，這段時 間他的畫作常以建築與都市景觀為題材。他 簡化形體，使用色面及線條，自信而暢快。 1958年朱德群在巴黎舉辦首次個展，法國 第一大報《世界報》對畫展中他的線條、構 圖運用自如給予好評。同年，風評甚佳的勒 讓特畫廊在丹麥一家美術館策劃「巴黎畫派 畫展」，朱德群以唯一遠東藝術家的身分參

展；兩年後，資深的夏邦提耶畫廊在巴黎的 「1960年巴黎畫派」抽象畫展中，也將朱德 群納入展覽名單，奠定他在「巴黎畫派」成 員中的定位。 此次拍賣的1958年《幻想曲》為藝術家早 期典型抽象繪畫。在筆觸和線條簡化後， 他以大色塊的表現方式，選擇具有內醞性 格的單純色彩，來詮釋內心對於外界環境 的觀察和描述。另外，粗黑褐色的線條 ， 及色塊邊界的暈染，和其自小所受的中國 文化傳統養分密不可分。法國文學權威及 藝術評論家余伯．阮盛讚：「朱德群以精 湛技巧開發了繪畫的空間」。另一位知音 也是最早的經紀人莫里斯．巴聶也認為： 「朱德群的空間不屬於古典的透視；我們 可以說它是一多次元種空間…。繪畫中色 彩的靈活選擇，及小方塊的佈局，產生光 線掃過的細微變化。這些繪畫既是空間也 是結構。」成功絕非偶然，朱德群開創了 一個新的當代繪畫空間，從其早期畫作可 見端倪。畫家結合自身中國書法的涵養， 加以感染自西方抽象畫的奔放自在，不斷 為現代詩情山水再造新意，精神值得敬 佩。

66

The painting style of Chu Teh-chun falls into 5 periods according to time: the period in Mainland China and Taiwan, the early period in Paris, 70s, 80s and late 90s. Among which, the early period in Paris was the key stage where his painting style changed from representationalism to tachism. To realize his long-cherished dream of studying in Paris, Chu Teh-chun went on a ship from Taiwan to France in 1955. In the 1950s, Abstract Expressionism was at its peak in the US and Europe. After arriving in Paris, Chu Teh-chun began to ponder about how to get loose from the restraint in artistic creation under the influence of the early post-impressionistic style. In 1956, the posthumous retrospective exhibition of Nicolas de Staël's work gave Chu Teh-chun a great shock. The passionate, bold and unrestrained painting style of this descendant of Russian nobility, who committed suicide one year before, changed freely between tangible and intangible, representational and non-representational, which just complied with the path that Chu Teh-chun had urgently pursued.

Therefore, it was in the same year when Chu Teh-chun began to try tachism, which made him feel free, and he used to have architecture and urban sceneries as his painting subjects. He simplified forms and structures with color fields and lines that looked confident and smooth. In 1958, his first solo exhibition was held in Paris, and Chu Teh-chun's smooth lines and composition got good appraisal from Le Monde, France's largest national newspaper. While in the same year, Chu Teh-chun participated in ‘l'École de Paris' in an art gallery in Denmark planned by the well-acknowledged Galerie Legendre as a Far-East artist; 2 years later, Chu Teh-chun's works were also listed in an exhibition of ‘1960 l'École de Paris' held by the senior Gustave Charpentier in Paris, which laid his position among members of ‘l'École de Paris'.

The "Fantasia" painted in 1958 for sale now is a classic painting in the early period of the artist. After simplifying touches and lines, he used large color fields and selected pure colors with connotations to interpret his observation and expression of the outside surroundings. Besides, the bold dark brown lines on the border of color fields have everything to do with traditional Chinese cultivation he received since he was a child. Hubert Juin, a French art critic as well as a critic for French Literature highly praised, "Chu Teh-chun has opened up another artistic field with his virtuosity". Morris Barnet, his another bosom friend and also the earliest agent, deemed that "Chu Teh-chun's field doesn't belong to classic perceptive; we might say that it is multi-dimensional…Flexible selection of colors and layout of small dices show the subtle changes of moving light. These paintings are both spaces and structures." Success is by no means a contingency. Chu Teh-chun has created a new painting space of the contemporary era, which we can see from his early works. By combining his own cultivation in Chinese calligraphy and riot and free style of western abstract art, the artist keeps creating new expressions of modern poetic sceneries, and such a spirit is absolutely admirable.

144

ZAO Wou-ki

(Chinese-French, b. 1921)

31.3.63 1963 Oil on canvas 46 x 50 cm Signed lower right Wou-ki in Chinese and Zao in French Signed on the reverse Zao Wou-Ki in French, titled 31.3.63 and size 50 x 46 cm ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 343, p. 326

NT$ 9,000,000-12,000,000 US$ 281,300-375,000 HK$ 2,143,000-2,857,000

趙無極 31.3.63 1963 油彩 畫布 46 x 50 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 31.3.63 50 x 46 cm 圖錄： 尚．雷馬利，《趙無極》，藝術圈出版社， 巴黎，1986，黑白圖版，編號 343，頁326

1980年前後，留義畫家蕭勤曾寫過一篇文章，名為〈趙無極，第一個將中國傳統美術帶入世 界畫壇的畫家〉，讚揚趙無極的國際藝壇地位。他認為，中國、日本的書法藝術決定了1950 至1960年間大部分西方抽象畫的演變，而其中集大成者，就是趙無極。 早期趙無極的抽象畫從學習克利（Paul Klee）的神祕詩意，到凝聚甲骨文式符號，一直在抽 象畫的道路上探索。1958年後揚棄了符號，轉而從不同色調的組合，發掘心靈空間的深度。 他尋求透過色彩與線條表現內在的情感，而後來其顫動的線條筆觸愈來愈接近隸書或狂草書 的動勢。作品《31.3.63》完成於1963年春季，褐紅色的天地裡畫家的思緒隨筆鋒昂揚，快意 揮灑自信酣暢，光芒從畫中綻放，這幅作品展現了1960年代趙無極的深邃華麗風格。 法國藝評家雷馬利（Leymarie）曾指出，1960年代初期趙無極偏愛以刮刀技法表現畫面的肌 理層次︰「從1961年起的數年間，他有時會借助於刮刀，庫爾貝與塞尚最早運用刮刀築砌筆 觸，畫家們的筆勢如挑選器械一般，在收與放之間，以求顏料觸擊的速度，並直接塗敷，在 收與放之間。」（ 摘自雷馬利編《趙無極》1986年目錄，頁36-37）因此，色彩透過畫家的手勢，馳走的 痕跡，或者呈現動感，或者展現迂迴纏綿，融入情感並賦予畫布新的生命。

68

Around 1980, Hsiao Chin (who was painting in Italy at that time) wrote an article entitled ' Z a o Wo u - k i – t h e F i r s t P a i n t e r t o t a k e Traditional Chinese Art onto the Global Stage,' in which he noted the international acclaim that Zao Wou-ki had achieved.

Hsiao suggested that Chinese and Japanese calligraphy and brush painting had exerted a major influence over the way that Western abstract art developed in the 1950s and 1960s, and that Zao Wou-ki had played the single most important role in bringing this about.

70

From the early days, when his paintings had the mysterious, poetic quality of works by Paul Klee, to his later use of symbols from the ancient Chinese oracle bone script, Zao Wou-ki was constantly exploring new avenues along which abstract paintings could develop. From 1958 onwards, Zao abandoned the use of symbols, and switched over to using c o m b i n a t i o n s o f d i ff e r e n t c o l o r t o n e s , which gave greater spiritual depth to his work. Zao sought to use color and line

to portray his inner emotions; over time, his pulsating brushstrokes took on an ever stronger resemblance to traditional Chinese calligraphy in the "clerical script" or "wild cursive script." In this particular painting, "31.3.63" (which was completed in the spring of 1963), the artist's thoughts and feelings are expressed through brushstrokes that seem to rise up out of the canvas, against a reddishbrown background. The painting exudes joy and self-assurance, as well as a bright

radiance. This work is a classic example o f Z a o Wo u - k i ' s w o r k f r o m t h e 1 9 6 0 s , which combines elegance and beauty with great depth of meaning.

The French art critic Jean Leymarie has noted that, in the early 1960s, Zao Wouki made extensive use of palette knife techniques to give greater texture to his paintings: "Starting in 1961, for several years he sometimes employed a palette knife. The palette knife had first been used

in painting by Courbet and Cézanne to apply paint more thickly; it subsequently became the painting implement of choice for artists who preferred a more active style of painting, because of the speed with which paint could be applied, and because of the way it enabled the artist to make particular elements within a painting either stand out or withdraw back into the canvas." ("À partir de 1961, et durant quelques années, il a parfois recours au c o u t e a u à p a l e t t e , u t i l i s é d ' a b o rd p a r

Courbet et par Cézanne pour maçonner la touche et que les peintres de geste ont choisi comme moyen instrumental pour sa rapidité d'attaque et sa prise directe sur la matières, qu'il étale ou retire.") (Jean Leymarie (ed.), Zao Wou-ki (Catalog), 1986, pp. 36-37) Zao's use of a palette knife enabled the color to flow with the movement of his hand, whether vigorous or circumlocutory, adding greater emotional force to the work and giving it new vitality.

145

明的風格受到矚目，但畫家早已離世近三十 年了。

Yun GEE

(Chinese-American, 1906-1963)

此幅《紐約中央公園》雖然並無標示年代， 推測約為1940年左右的創作。當時畫家正值 三十多歲壯年期，甫自巴黎返回紐約，有半 年時間住在曼哈頓區東67街，近麥迪遜大道 交口的一間高級公寓。兩個街廓外即是中央 公園，他經常到中央公園散步，1940年代也 繪了幾幅寫生圖畫，此幅《紐約中央公園》 可能即是完成於此一時期。畫面中央為知名 的「天鵝湖」，畫家也曾以相同視角畫過另 一幅蕭瑟的藍色冬景。

Central Park (New York) c. 1940 Oil on canvas 63.5 x 80 cm Signed lower right Yun Gee in English EXHIBITED: Yu n G e e , L i n & K e n g G a l l e r y, Ta i p e i , November 14 – December 1, 1998 ILLUSTRATED: Yun Gee, Lin & Keng Gallery Inc., Taipei, 1998, color illustrated, p. 41

NT$ 9,500,000-13,500,000 US$ 296,900-421,900 HK$ 2,262,000-3,214,000

朱沅芷 紐約中央公園 約1940 油彩 畫布 63.5 x 80 cm 簽名右下：Yun Gee 展覽： 「朱沅芷」，大未來畫廊，台北，展期自 1998年11月14日至12月1日 圖錄： 《朱沅芷》，大未來藝術有限公司，台北， 1998，彩色圖版，頁41

72

朱沅芷是早期海外華人藝術家的先驅之一， 其藝術具有創造力、想像力及豐富色感，亦 擅長音樂與詩詞，與另一旅法畫家常玉齊 名。1921年15歲時赴美國依親，父親是舊金 山的華工。20世紀初期美國歧視華人的觀念 仍重，在排華法案之下發展受限。不過，朱 沅芷仍舊進入正規的學院體制，學習西洋美 術的專業。後來轉往風氣先進的巴黎，親身 參與現代美術運動，曾與莫迪里亞尼、德安 等巴黎畫派知名畫家的作品並列展出，參選 重要沙龍展與畫廊發表，獲得收藏家青睞， 本可有更多發展機會。無奈1930年代因美國 經濟大蕭條、歐洲戰爭爆發之故，朱沅芷先 後被迫避走紐約、巴黎，企求延續已萌芽的 藝術事業。 1930年代初期，朱沅芷的作品曾發表於紐約 布魯克林美術館、現代美術館）。後來，多 所國家博物館包括法國龐畢度中心在內收藏 有他的作品，這些成就對於任何時代的畫家 無疑都是卓越的成就。然而，他的藝術一直 到20世紀後期才傳回東方。1992年台北市立 美術館舉辦「朱沅芷作品展」，才首度大規 模地將他的藝術介紹到華人世界，獨特而鮮

朱禮銀的〈歸鄉〉一文有一段對父親的回 憶：「有時候，我們會暫別畫架而到紐約市 區逛街。他帶我到動物園，植物園和我們最 喜愛的中央公園去。在30和40年代，他曾畫 了公園裡的風景，每當我們一起在那裡時， 他會租一艘划船並帶我到湖中遊玩。每憶起 那段和父親共處的特殊時光，總讓我久久不 能釋懷，他對語言、音樂、色彩、繪畫和戶 外活動是那麼熱愛。」 （摘自台北市立美術館《朱 沅芷作品展》目錄）顯示中央公園應是畫家偏愛 的主題之一。 此幅《紐約中央公園》畫中的樹葉茂密，綠 意盎然，筆觸顯得輕快顫動，有流動感，他 的紐約時期作品色彩較為深鬱，偏愛墨綠色 調，傾向於表現主義的風格。後景可見城市 建築高聳矗立，與前景的三棵樹木連成一 氣；嬉戲的人們，飛翔的鳥兒，皆展現藝術 家的童心與嚮往，但濃重的用色，仍舊透出 憂鬱失志的感嘆。面臨社會、文化與經濟的 多重壓力，朱沅芷的繪畫之路走得孤獨，促 使他人格上的疏離感。朱沅芷的風景畫呈現 出純熟的技藝與心緒轉折，悲劇性格為他的 繪畫增添神秘感，後期的作品數量因健康因 素銳減，57歲時在因病抑鬱而終長眠紐約， 但是留下的藝術作品已為他在現代藝術史上 留有一席之地。

With works of great vitality, imagination and richness of color, Yun Gee was a forerunner of early Overseas Chinese artists, and also a gifted musician and poet, whose renown equaled that of Sanyu, another Overseas Chinese painter based in France. In 1921, the 15-yearold Yun Gee went to the United States to be with his father, a laborer in San Francisco. At that time in the U.S., there was wide-spread discrimination against Chinese, and Yun Gee's path in life was rather restricted under the influence of the Chinese Exclusion Act. Nevertheless, he was able to enter a formal institution to receive training in Western art. Soon, he would travel to Paris to immerse himself in the more progressive atmosphere and become involved in the modern art movements.

He exhibited alongside Modigliani, Derain and other famous artists of the École de Paris, was selected to show his paintings in the major Salons and galleries, and caught the attention of collectors. Just when real opportunities beckoned, first the Great Depression and then World War 2 forced him to flee New York and Paris respectively, in attempts to continue his budding career.

In the early 1930s, Yun Gee's works were exhibited at the Brooklyn Museum and the Museum of Modern Art (MoMA) in New York, and later acquired by many other museums in different countries, such as the Pompidou Centre in France. These feats should have propelled any artist of any era to exceptional fame, but it was not until the end of the 20th century that Yun Gee was noticed in the East. "The Art of Yun Gee," held at the Taipei Fine Arts Museum in 1992, was the first comprehensive showcase of the artist in the Chinese world. While Yun Gee's distinctively idiosyncratic style was immediately admired,

74

the recognition came somewhat too late for the artist, as he had passed away almost thirty years ago.

The undated "Central Park (New York)" was probably completed around 1940, when the artist was in his thirties at the height of creativity. Having recently returned to New York from Paris, he lived for six months at an upscale apartment on East 67th Street near Madison Avenue, two blocks from Central

朱沅芷《紐約中央公園天鵝湖》 約1940-1950 油彩 畫布 72.5 x 91 cm Yun GEE, Swan Lake in Central Park, New York c. 1940-1950, oil on canvas, 72.5 x 91 cm

Park, where he took frequent walks. There are several sketches of the park from the 1940s by Yun Gee, hence the dating of this painting. The body of water in the center is the famous Pond, which was portrayed by the artist in another painting, a blue-colored bleak winter scene.

In her essay, 'A Journey Home', Li-lan revealed the following memory of her father, which indicates that Central Park was one of the artist's favorite subjects: "Sometimes we would

leave our easels behind and go on outings around New York City. He took me to the Zoo, the Botanical Gardens, and our favorite, Central Park. He painted many scenes of the park in the 1930s and 40s, but when we were there together he would rent a rowboat and take me out on the lake. I cherish the memories of those special times in which my father shared with me his love of language, music, color, painting and the out-of-doors." (Extracted from The Art of Yun Gee, exhibition catalog, Taipei Fine Arts Museum).

Here, the trees are leafy and luxuriant, and an overall fluidity is achieved from light, trembling brush strokes. Yun Gee's New York works are marked by a preference for dark, gloomy colors, especially shades of deep green, and a leaning towards Expressionism.

The city's high-rises looming in the background form a connection with the three trees in the foreground; the human figures playing and the birds in flight reveal the artist's childlike spirit and longing, but the dense, heavy colors still hint at his melancholic discontent. Faced with social, cultural and economic pressures, Yun Gee's artistic journey was a lonely struggle, and he felt highly alienated. In his landscapes, the variances of mood and ideas are portrayed with mature artistry, and their tragic nature instills in them a sense of mystery. In later years, his output decreased radically due to poor health and he passed away from illness in New York at the age of 57, largely unfulfilled. Yet, it could be said that the works he leaves behind are already sufficient to ensure him a significant place in the history of modern art.

146

LIAO Chi-chun (Taiwanese, 1902-1976)

Guanyin Mountain 1974 Oil on canvas 46 x 53 cm Inscribed and signed on the reverse "To my beloved son, Shu-chung, as a souvenir, painting by Liao Chi-chun 1974" With an inscription on the reverse written

by Liao Shu-chung: "20 2/4 x 18 Shu-chung Liao, Chi Chun Liao's son, Liao C. C. original painting, certified by his son 53 x 46 cm" PROVENANCE: Collection of Liao Shu-chung, the forth son of the artist This painting is to be sold with a certificate of authenticity and a picture of the artist's family.

NT$ 11,000,000-20,000,000 US$ 343,800-625,000 HK$ 2,619,000-4,762,000

廖繼春 觀音山 1974 油彩 畫布 46 x 53 cm 簽名畫背：留給愛兒 述忠留念 一九七四年 廖繼春畫 畫背文字：20 2/4 x 18 Shu-chung Liao, Chi Chun Liao's son, Liao C. C. original painting, certified by his son 53x46cm （廖述忠題寫 並保證此畫為廖繼春原作） 來源： 藝術家四子廖述忠舊藏 附家屬合照及保證書

觀音山位於台北縣淡水河出海口處，舊時即 是台灣名勝之一，早年畫家們喜愛到淡水山 上寫生，鳥瞰小鎮與河景，與觀音山隔江對 望。 此幅1974年的《觀音山》為廖繼春晚期巔峰 階段的創作，用色鮮麗繽紛、奔放明快，完 成此畫之後，他將畫作攜至美國，親自送給 旅居海外的四子廖述忠。此幅畫作的背後仍 保有「留給愛兒．述忠留念．一九七四年． 廖繼春畫」的親筆題字。畫家疼愛家人常贈 與風景畫留念，1975年的鉅作《西班牙特麗 羅》也曾經是廖述忠的舊藏，1988年後才轉 為台北市立美術館購藏，為該館重要典藏作 品之一。 廖繼春 以其獨特的視角，大膽使用鮮豔原 色，曾被譽為是色彩的魔法師。他將《觀音 山》描繪成一幅華美燦爛的河景，尺幅雖不 大，但畫風自信給人豐盈盛大之感。由上而 下，淺藍的天空襯著湛藍色觀音山，悠悠的 淡水河，緊密相接的小鎮屋舍，將畫面三分 切割，疏密有致，有和諧平衡之美。而亮黃 的船帆、豔紅的教堂尖頂，粉白的牆，嫩綠 的樹，繽紛的顏色將畫面粧點得活潑生動， 頗具童心，賞心悅目。

Located near the mouth of the Tamsui River in Taipei County, Guanyin Mountain has always been a key scenic spot in Taiwan. In earlier times, painters liked to sketch in the hills above Tamsui, looking down on the township

76

and its river views from above, with Guanyin Mountain across the river in the distance.

With bright and expressive colors, Guanyin Mountain was finished in 1974, at the peak of Liao's later career. After finishing this painting, he even took it with him to the United States, as a gift to his fourth son, Liao Shu-chung's, who lived abroad. The artist loved his family dearly and offered them his landscape paintings as keepsakes. His 1975 masterpiece "Toledo in Spain" was part of Liao Shu-chung's collection until 1988, when it was purchased by the Taipei Fine Arts Museum and became an important part of their collection.

Liao Chi-chun was praised as the magician of colors for his unique perspective and bold use of vivid, primary colors. His depiction of Guanyin Mountain is a magnificent river scene.

Though not huge in size, the painting impresses its viewers with its confident grandeur. From the top to the bottom, the picture is divided into three sections – the pale blue sky presenting the azure Guanyin Mountain, the Tamsui River flowing slowly, and the houses sitting tightly next to each other – all artistically spaced, and presents a harmonious and balanced whole. And the riotous colors of the bright yellow sailboat, the brilliant red church spire, the chalk-white walls, and the verdant trees decorate the picture with a vigorous playfulness, making it a feast for the viewer's eyes.

147

ZAO Wou-ki

(Chinese-French, b. 1921)

30.11.67 1967 Oil on canvas 65 x 100 cm Signed lower right ZAO in French and Wou-ki in Chinese Signed on the reverse ZAO in French and titled 30.11.67 PROVENANCE: Collection of E. Steven and Nancy W. Bauer (acquired directly from the artist) Private collection, Asia EXHIBITED: Paintings by Zao Wou-ki, San Francisco Museum of Art, San Francisco, May 8 - June 16, 1968

NT$ 20,000,000-40,000,000 US$ 625,000-1,250,000 HK$ 4,762,000-9,524,000

趙無極 30.11.67 1967 油彩 畫布 65 x 100 cm 簽名右下：ZAO無極 簽名畫背：ZAO 30.11.67 來源： 史提夫與南西．鮑爾收藏（直接得自藝術家 本人） 私人收藏，亞洲 展覽： 「趙無極繪畫展」，舊金山美術館，舊金 山，展期自1968年5月8日至6月16日

78

1970年趙無極的首部傳記在法國正式出版， 這項消息標誌出畫家的藝術成就已獲得肯 定。在此之前，法國電視台剛剛於1969年製 播了趙無極的藝術專輯，受日本國立現代美 術館邀請舉辦展覽，加拿大蒙特婁當代美 術館亦剛剛舉辦生平的第二次回顧展，此間 各地的展覽邀約不斷。趙無極認為從1960到 1970年十年間的創作已見到具體的成果。而 許多藝術評論家也對趙無極1960年代的抽象 畫給予佳評，他的知名度達到前所未有的佳 境。 法國美術史學家索里耶—趙無極首部傳記的 作者，當年問起趙無極對色彩的品味，趙無 極的回答是：「我喜歡所有的顏色！」接著 又問：「哪些是主色?」「都沒有。我沒有 偏愛的顏色，我對顫動特別有感受力。」此 一簡短的回答說明了趙無極其繪畫風釆的祕 訣。色彩不必然是他畫裡的主旨，光的躍動 才是。他更關注畫裡的空間，而顫動的光與 色，確立了1960年代趙無極的抒情抽象繪畫 面貌。中國山水畫有上述的傳統，趙無極意 識到東方繪畫的精要，以及巴黎古典繪畫與 當代抽象表現主義所帶來的影響，因此他說 別人服膺於一種傳統，他服膺兩種傳統。

對精神的苦悶，內心的恐懼與糾葛，趙無極 的畫作大抵都是洋溢著和諧、自由與向上升 揚的精神。他寫道：「1960年代的作品，是 以黃褐色為主調，散發著一種金銅色的光 芒，一些細膩、尖銳、又帶點神經質的纖維 般線條，在晝面土自由的揮灑、組合，擺脫 題材、法則的限制，一切遵從內在的要求。 趙無極呈顯一個深邃，富有動力、荒原中透 露著華麗的世界。」 （節錄自《中國巨匠美術週邗 －趙無極》，錦繡出版，台北，1992，頁18）

異鄉耕耘的辛勞挫折，情感的波折苦悶，種 種生命上的試煉實在難以與外人道。只有在 面對自己的藝術，面對畫室的畫布時，才肯 暢所欲言，直接地表達，因此1960年代趙無 極的繪畫洋溢強烈、澎湃的情感，帶有濃濃 的哲學思考。 同窗老友吳冠中曾經說，趙無極抽象畫之面 貌給他的印象如鯤鵬展翅，也正是流星出現 在天空中的幻覺。「……說是薑老的辣， 七十年代前後趙無極的畫面一變早期的秀 麗，潑辣了起來；濃郁中透射出神異的光， 滄茫中闖入了 巨人的腳印……」 （吳冠中， 〈趙無極的畫〉，《望盡天涯路：吳冠中回憶錄》，萬象 圖書，台北，1992年3月初版，頁223）

台灣藝評家蕭瓊瑞則從情感發抒來看待趙 無極的繪畫，他認為趙無極的作品記錄了 生命的起伏，以及生活中的種種情感變化。 他指出趙無極在1960年代特有的「纖維般線 條」，形成此階段的特色之一。儘管有時面

楚戈觀察趙無極的作品，令他聯想到荒寒的 野趣，也有一些開放的花朵浮雕在重疊的深 林一般的平面空間。「翻讀他的畫頁，只 見：曠野寂寥，河海翻浪，山泉奔溢，衰草

低徘，懸宕生苔，古壁斑駁，春花泛紫，夕 暉嗽金，無處不是自然的情境。」（摘自楚戈 〈自然之真相〉一文）

趙無極融合了中西藝術精粹，他的藝術無論 就東西方藝評家的觀點，皆能認可他不凡的 才情。而一位在國際藝壇能享盛譽的藝術 家，他的成功絕非僥倖，偶然。 此幅油畫《30.11.67》完成於1967年秋冬之 交，此時趙無極在巴黎發展已近20年，個人 風格已然成熟確立。該作品雖是抽象畫，然 而就其採用的色彩與構成形制來看，令人聯 想起大自然的景色－江海的聯想。近景刷 過深棕色，其中層層疊加不同的色調：墨 綠、深藍、淡紫、粉紅，富有變化感，交錯 著許多纖細的線條，表達著畫家深藏內在的 情緒。左方的藍色，成為整幅畫的視覺焦 點，提示出那彷若海洋的象徵，大面積的粉 白色像是捲起的海浪，與深棕色相互輝映， 一柔一剛，陰陽調和。畫家運用熟練的色彩 鋪陳，細膩而有節奏性的組合，使觀者欣賞 之餘，彷彿聆聽潮音迴盪，予人開闊悠遠之 感，此畫為趙無極196 0年代少有的寧靜之 作。

趙無極《30.11.74》 羅芙奧2009秋季拍賣會，編號099，1560萬台幣成交 ZAO Wou-ki, 30.11.74, 1974, oil on canvas, 60 x 73 cm Ravenel Autumn Auction 2009, lot 099, US$ 485,075 sold

In 1970, Zao Wou-ki's first autobiography published in France, it indicates that the artist's accomplishment was generally acknowledged by then. Before that, French television station had just produced and broadcasted a special series of Zao's art in 1969. Earlier, He was invited by Japan National Museum of Modern

80

Art for exhibition, held his second retrospective exhibition in his life in Musée d'Art Contemporain, Montreal, there were as well countless invitations from all over the world.

Zao thinks that his paintings created during 1960-1970 have received fruitful results. Many art critics also praised his abstract paintings from that period; he acquired enormous fame that he had never expected during that time.

French art historian René de Solier once asked Zao about his taste on colors, Zao answered: "I like all kind of colors!" Solier followed "Which of them is the base color?" "None, I have no preference on colors, I have better reception on trembles." This short conversation explained Zao's secret in his paintings. Colors aren't necessary to be the subject in his paintings, trembles of lights are, and he has more concern on the space inside the picture. Trembling lights and colors established the look of Zao's lyrical and abstract paintings during the 1960's.

Traditional Chinese landscape paintings possessed above features, and Zao not only is conscious of the essences in eastern paintings, but also carries the influences from Paris classical paintings as well as contemporary abstracts, therefore he said other artists learned one tradition by heart, he learned two.

Taiwanes are critic Hsiao Chiung-jui sees Zao's paintings in an emotional point of view; he thinks that Zao's works is a record of rise and fall in life, and various emotional changes from living. He pointed out that Zao's works during the '60s features "lines as thin as fibers".

Although he suffered from depression, fear and emotional entanglements, his paintings remain harmonic, uplifting, unrestrained and rising. "Sienna is the base color in his works from the '60s, they shines golden bronze flames, exquisite, sharp and paranoid fiberlike lines freely splashed, combines in the picture following his heart, he got rid of restrains of themes and rules . Zao Wouki presented a deep, dynamic, and glorious world of wilderness."(Masters of Chinese Painting: Zao Wou-ki, Chin Hsiu Publications, Taipei, 1992, p. 18) The frustrations from working in a foreign land,

depressions, and endurances in life was hard to express. Only when facing the canvas in his studio he could talk freely to his art. Therefore Zao's 1960's paintings were full of strong and intense emotions with great philosophies with on.

His old classmate Wu Guanzhong once said, Zao Wou-ki's abstract paintings was like a wing spread Kun-Peng to him, that is an illusion when a shooting star across the sky. "…the older, the wiser, Zao's pictures turned to be

趙無極《1.12.68 (13.2.77)》 羅芙奧2008春季拍賣會，編號063，7340萬台幣成交 ZAO Wou-ki, 1.12.68 (13.2.77) 1968, oil on canvas, 162 x 114 cm Ravenel Spring Auction 2008, lot 063, US$ 2,414,077 sold

spicy around 1970. There are bizarre lights penetrates through thickness and richness, wandering into giant's footsteps……" (Wu Guanzhong, 'Zao Wou-ki's paintings', Memories of Wu Guanzhong, WanXiang publishing, Taipei, 1st edition Mar. 1992, p. 223)

Chu Ko thought about field pleasures in the wilderness when he looked at Zao's paintings; there are also two dimensional spaces like sculptures of flowers overlaid on the forest.

"All I can see in his pictures are: wilderness and loneliness, rivers, oceans and waves, springs flowing, grasses waving up and down, mosses on rocks, mottled rocks, spring flowers turning purple, and golden sunshine, nature is everywhere in his paintings." (Chu Ko, The Truth of Nature) Zao combined the essences from eastern and western arts, In the eyes of no matter eastern or western critics, his paintings is unique and extraordinary. As a world famed artist, his success is never by chance or accidental.

This oil painting, "30.11.67", was completed sometime in the late fall or early winter of 1967, at a point in Zao’s career when he had lived in Paris for 20 years and found his mature individual style as a painter. While an abstract work, the color and compositional structure of "30.11.67" immediately put the viewer in mind of a dramatic ocean view. The foreground is kept in dark shades of brown, interspersed with subtly blended hues of jasper, Prussian blue, lilac and pink, all applied in layers of delicate strokes that intermingle to form a shifting kaleidoscope of color – a reflection of the artist’s complex mood and innermost emotions. The blue in the left area dominates the canvas with its purer tones and intimations of turquoise and lapis lazuli, drawing the observer’s eye involuntarily to this visual focal point. This only serves, however, to immerse us in the larger image that is fed by the contrast between the blue, white, and brownish areas, each representing different aspects of the sea: its brilliant colors, its foaming waves, and its unfathomable depth. The overall effect is that of a strangely muted and peaceful amalgam of yin and yang—of harsh force and gentle softness—coming to life through Zao’s masterfully applied brushstrokes and expert use of color. Brimming with the powerful rhythm of Mother Nature, "30.11.67" conjures up the sound of the surf in our ears. Our heart opens up, and we experience a sense of calmness in the face of the ocean’s vastness: a glimpse of eternity. Among Zao’s work from the 1960s, this piece stands out as one of his more tranquil pieces.

148

WANG Huaiqing (Chinese, b. 1944)

House in a House - Bed of Han Xizai (Han Xizai's Night Revels 3) 2002 Oil on canvas, collage 200 x 300 cm Signed lower left Wang Huaiqing in Chinese EXHIBITED: An Open Era – Celebration of 40th Anniversary of Founding of National Art Museum of China, National Art Museum of China, Beijing, 2003 China International Gallery Exposition, Beijing, 2003 Art Singapore, 2005 Traces of Nature - Art of Wang Huaiqing, Shanghai Art Museum, Shanghai, December 3-12, 2007 ILLUSTRATED: An Open Era, People's Art Publishing House, 2003, color illustrated, p. 165 Wang Huaiqing, Wang Huaiqing published, Beijing, 2004, color illustrated, p. 148 Wang Huaiqing: Traces of Nature, (draft of House in a House), Yan Gallery, Hong Kong, 2005, color illustrated, p. 92 Traces of Nature - Art of Wang Huaiqing, catalogue of Shanghai Art Museum, Lin & Keng Gallery, Taipei, 2007, color illustrated, pp. 112-113 & p. 191

NT$ 44,000,000-58,000,000 US$ 1,375,000-1,812,500 HK$ 10,476,000-13,810,000

82

王懷慶 房中房—韓熙載之床（夜宴圖系列之三） 2002 油彩 畫布 拼貼 200 x 300 cm 簽名左下：王懷慶

中國悠久文化的經典與傳承，一直是滋養畫 家王懷慶繪畫探索的主要源泉。他生活於歷 史古都—北京，民間藝術與文化智慧遺跡在 生活間俯拾皆是，但隨著時代的急速變遷， 歷史遺跡正逐漸消逝中，常令他感到無比遺 憾與惋惜。1980年，王懷慶即援引春秋時 代知名歷史典故，創作出《伯樂相馬》的油 畫，作品為北京中國美術館收藏，成為他的 成名作。

展覽： 「開放的時代—慶祝中國美術館建館40年 展」，中國美術館，北京，2003 中國國際畫廊博覽會，北京，2003 新加坡國際藝術博覽會，2005 「王懷慶藝術展」，上海美術館，上海，展 期自2007年12月3日至12月12日

後來，從江南民居古建築、明式家具，以及 科技工藝典籍的「天工開物」等探索，王懷 慶不斷歌頌為人漠視的工藝文化傳承。畢業 自中央工藝美術學院的出身，自然使王懷慶 對精湛工藝之美有著更深刻入微的觀察。

圖錄： 《開放的時代》，中國美術館展覽畫冊，人 民美術出版社，2003，彩色圖版，頁165 《王懷慶畫集》，王懷慶出版，北京， 2004，彩色圖版，頁148 《王懷慶—天工開物》，仁畫廊，香港， 2005，頁92（房中房草圖） 《王懷慶藝術展》，上海美術館展覽畫冊， 大未來畫廊，台北，2007，彩色圖版， 頁112-113與頁191

1996年王懷慶開始創作「夜宴圖系列」作 品，向五代時期顧閎中的歷史名畫《韓熙載 夜宴圖》致敬。此畫真蹟已佚失，只留存在 歷史典籍的傳頌，今日人們所見的圖畫是宋 代摹本，珍藏於北京故宮博物院，據了解此 一版本最為接近顧閎中的原畫精髓。在中國 歷代繪畫史上，顧閎中的名畫《韓熙載夜宴 圖》早已經成為文化美學典範，它所留存下 來的價值成就，涵蓋了繪畫、戲劇、舞蹈、 服飾、設計、政治與經濟 多重領域。

形式在中國現代畫壇已有定位。王懷慶的 「夜宴圖系列」繪畫至今共創作有四幅， 年代分別為1996、1998、2002以及2006， 花費十年時間完成此一系列鉅作。前二者 皆為黑白單色畫，一為雙聯橫幅、一為單 作直幅；後二者則以中國紅取代留白，構 圖也採取一雙聯橫幅、一單作直幅的形 制。

《房中房－韓熙載之床》草圖 A sketch for the "House in a House – Bed of Han Xizai"

此次羅芙奧的拍品《房中房—韓熙載之 床》乃是屬於「夜宴圖系列之三」，尺幅 巨大，為兩公尺乘以三公尺的雙拼聯幅。 畫中以具強烈民族色彩的中國紅鋪底，黑 色粗獷的線條結構，形塑酒宴主人韓熙載 所坐臥的床榻，氣勢力度十足，可與王懷 慶1998年的經典三聯幅《金石為開》相 比擬，其經營佈局皆具有書法的意識，冷 峻理性、大開大合。《房中房—韓熙載之 床》一作曾入選參加2003年北京中國美術 館慶祝建館四十週年的「開放的時代」展 覽中展出，恢弘的繪畫形式頗受佳評。

顧閎中為宮廷的畫師，奉南唐後主李煜（ 961-975）之命，前去打探韓熙載的生活概 況，藉以了解是否適任宰相。畫家暗地窺 視之後，以其驚人的記憶力，生動細膩的畫 筆，翔實記錄宴會主人所刻意展現歌舞昇華 的淫奢景況，人物舉止、情節刻畫，非常生 動，在在表露韓熙載對李後主的失望，無意 仕途的心跡。畫家當年完成一幅具有豐富 「敘事性空間」的長卷，其人物、景物的巧 心鋪陳，在中國繪畫藝術史具有極為崇高的 地位。

「夜宴圖系列」之一與之二兩幅作品，皆 以黑白單色是描寫漂浮於歷史遺跡的樂 器，畫面構圖彷若一劇場空間，然而人 物此時早已退場，抽象化的琴桌、家具、 手套、手杖等物件，取代夜宴上的男男女 女，躍為畫中的主角。王懷慶在面對時代 劇烈的變遷時，發出了「物近人遠，物是 人非」的喟嘆。歷史洪流裡人事物或有更 迭變化，但是文化價值與美學精神應該是 亙久綿長，需後人繼續傳承與延續。畫面 中拆解後的幾何圖形，是飛揚於空間中的 樂器。

王懷慶挪借此一古典題材重新賦予新義， 詮釋方式充滿解構主義的現代抽象語彙。 1998年旅美策展人沈揆一策劃的紐約古根漢 美術館「中國藝術五千年」展覽，被視為掀 起中國熱的風潮先端。王懷慶的《夜宴圖之 一》，與北京故宮珍藏的《韓熙載夜宴圖》 摹本比鄰展出，古典美學與當代思惟相映 襯，王懷慶的藝術也得以在紐約藝術殿堂大 放異彩，為人津津樂道。

「夜宴圖系列」之一與之二，因其極簡的 色彩與造型，形成現代交響樂章的簡潔趣 味。而「夜宴圖系列」之三的《房中房— 韓熙載之床》則有別於其他，畫家擷取更 單純的元素，完整保留床榻造型，簡化的 黑色剛性線條在紅色空間中交錯，彷彿一 場民俗節慶的盛會，倒也營造出獨特雄渾 的霸氣，此一特色無論在此一系列抑或王 懷慶歷年繪畫創作中實屬罕有。

古畫新詮並非容易之事，然而王懷慶融入個 人風格，其黑白紅等單色結構，抽象繪畫

古人韓熙載坐臥的床，所謂「房中房」， 其實屬於傳統精緻的房式家具，為一種全

84

木作的床榻結構。到了明清兩代時，發展出 一種「拔步床」（或稱八步床），乃是大床 頂有覆蓋，床型宛如一間房屋，故名之。漢 朝以前中國人皆席地而坐，生活起居常常圍 繞在睡臥之地。久而久之，待客的區域也在 主人的睡臥四周。接待貴賓的最高層級是在 床榻上或炕上，這可謂是中國古代獨特的禮 儀。所以，韓熙載飲酒作樂時使用的高型床 榻，自然也是他的迎賓特區。當時的床榻無 頂棚覆蓋覆，但床的四方可見傳統建築的樑 架結構，邊緣架設有欄杆。這類床榻當時可 安設於書齋、亭榭或庭院內，或接待賓客或 主人休憩，為當時生活起居或社交時的重要 場合。五代時期的家具不追求花飾，樸實秀 麗，仍保留唐代的遺風。這些文化的特點自 然也是王懷慶會有興趣深入研究探索。 王懷慶的《房中房—韓熙載之床》作品，呼 應他早年為明式太師椅為肖像的《大明風 度》一作，文化傳承的載體在此縮影，具有 造型美感的床榻，透過中國畫的平面化傾 向，將家具抽離了原有的木質顏色，賦予為 單一的「黑色」。放大的床榻不再是現實中 的物件，結構幾乎盈滿整個空間，有壯大之 勢，紅色背景有薰染的層次，既古雅又前 衛，令人產生時空錯置之感。平面化、簡約 化的黑色線條與色塊結構，此為中國文字圖 像特有的抽象意涵。王懷慶筆下的墨色縱 橫，交會出幽微的東方空間，亦接近法國抽 象畫家蘇拉吉的形式美感。

As a painter, Wang Huaiqing has always been firmly rooted in China's long cultural tradition, eagerly absorbing its essence and plumbing its depths for inspiration. Living in Beijing, a capital steeped in history where one used to virtually stumble across folk art, handicrafts and cultural remains at every step, Wang is painfully aware of, and deeply regrets, how much of this precious heritage is currently disappearing as a result of China's fast-paced transformation. Wang has been reaching back to history to buck this trend ever since he first established his reputation with the oil painting Bo Le Choosing a Horse in 1980, the title being an allusion to a famous story from the

Warring States period. This piece is currently in the collection of the National Art Museum of China.

Later, Wang drew his inspiration from a wide range of sources, including Jiangnan residential architecture, Ming dynasty furniture, and the encyclopedic late Ming work on science and technology, "Traces of Nature".

Being a graduate of the Central Academy of Craft Art (now The Central Academy of Arts and Design of Tsinghua University), Wang has a keen eye for, and profound understanding of, China's exquisite traditional handicraft and manufacturing techniques, and one of his paramount objectives has always been to rescue this fine tradition from oblivion.

painting and aesthetics.

Often cited as an epitome o f c l a s s i c a l b e a u t y, t h e painting is permeated with, and representative of, the dominant values in many areas of Chinese art and society, including painting, drama, dance, fashion, design, and even politics and economics.

王懷慶《金石為開》 羅芙奧2007秋季拍賣會，編號069，8796萬台幣成交 WANG Huaiqing, Gold Stone 1998, oil on canvas, 200 x 480 cm

Ravenel Autumn Auction 2007, lot 069, US$ 2,726,174 sold The painting was commissioned by the last emperor of the ingenious in its lifelike representation of Southern Tang dynasty, Li Yu (reigning from setting, furniture and human figures.

961-975), who sent his court painter to Han Xizai's mansion under a pretext, ordering him Taking his cue from this classical subject to produce a detailed picture of Han's life and matter, Wang Huaiqing set out to impart environment. Han was up for the post of prime Wang Huaiqing began work on the series of n e w m e a n i n g t o t r ad i t i o n a l t h e m e s a n d minister, and the emperor wished to learn more paintings titled "Han Xizai's Night Revels" in motifs. Employing an expressionistic, about the man before appointing him to such 1996. These pieces can be seen as an homage deconstructionist approach, he began to an important position. Gu did not fall short of to the renowned 10th-century scroll painting reinterpret "Han Xizai's Night Revels" from the task: relying on his astounding memory, of the same title by Southern Tang dynasty a modern perspective. In 1998, Shen Kuiyi, he recorded faithfully and in consummate court painter Gu Hongzhong. The original American-based curator of Chinese descent, detail the scenes of excessive merriment and of Gu's painting, much praised and admired organized an exhibition titled "China 5000 deliberate debauchery he witnessed at Han's in historical writings, is lost, and all we have Years" at the Guggenheim Museum New York, dinner party. The composition, which consists today is a Song dynasty copy, which is part an event that is widely considered to have of five sections, is brimming with vivid of the collection at the Palace Museum in served as a catalyst for the "China Fever" in depictions of people engaging in a variety Beijing. Other copies were made, but the the arts market. One of the exhibits was "Night of activities, such as eating and drinking, general consensus is that the one on display Revels - Han Xizai's Night Revels 1", which dancing and playing instruments, talking at the Palace Museum probably best captures was on display right next to the Beijing Palace and listening to music, or strolling about the the spirit of the original, which occupies Museum's copy of Gu Hongzhong's Han mansion. Gu shows that he is particularly a principal place in the history of Chinese "Xizai's Night Revels", allowing audiences to expert at portraying appreciate classical beauty in direct contrast postures, gestures, and facial with modern art and thinking. This also expressions. Through the marked Wang's first appearance in New York scenes of merrymaking, art circles, and his debut on this prestigious however, speaks Han Xizai's stage met with an enthusiastic response. disappointment with Li Yu, and the whole banquet serves Reinterpreting classical paintings is by no as a symbolic expression means an easy undertaking, but by infusing of the host's disinterest in the canvas with a very personal style, marked a c a r e e r a t c o u r t . To t h i s by monochromatic patterns in black, white, d a y, H a n X i z a i ' s N i g h t 顧閎中《韓熙載夜宴圖》 and red, Wang Huaiqing managed to firmly Revels remains one of the 宋代摹本（局部），北京故宮博物院收藏 establish and define the abstract mode of most celebrated large scroll GU Hongzhong, The Night Revels of Han Xizai Song Dynasty to imitate (detail), collection of The Palace Museum, Beijing painting as a fixture of modern Chinese art. As paintings of Chinese history,

王懷慶《伯樂相馬》 1980，油彩 畫布，155 x 200 cm北京中國美術館收藏 WANG Huaiqing, Bo Le Choosing a Horse 1980, oil on canvas, 155 x 200 cm Collection of National Art Museum of China

of today, Wang's "Night Revels" series consists of four paintings, completed in 1996, 1998, 2002 and 2006, respectively. The first two of the series are kept in plain black and white tones, one of them a double horizontal scroll, the other a simple vertical stroll painting. The latter two pieces replace the liubai ("blank space") background with intense Chinese red.

Again, one of them is a double horizontal scroll, the other a simple vertical stroll painting.

This lot, House in a "House – Bed of Han Xizai", is the third piece in the series, a 200x300cm double horizontal scroll painting.

The bright vermilion background with its strong ethnic connotations ("China red") sets off the bold, thick strokes of the black structure that represents the bed of the banquet's host, Han Xizai. The painting's immense visual impact takes no backseat to that of Wang's 1998 triptych masterpiece "Golden Stone", and its compositional structure and organic abstraction are reminiscent of Chinese calligraphy: cool and rational, sweeping yet economical. In 2003, House in a "House – Bed of Han Xizai" was shown at the National Art Museum of China's 40th anniversary exhibition called "An Open Era," and received many positive critiques for its expansive and forceful style. 

86

The first and second piece of the "Night Revels" series employ black and white shades to depict an assortment of musical instruments suspended above historical remains, and both pictures somehow convey the impression of a theatrical space, a stage that has long since been deserted by the actors. We are left with abstracted images of lute tables, furniture, gloves and canes that have taken the place of the human figures in the classical painting

by Gu. One might say that Wang Huaiqing is bemoaning, in an emlematic manner, the fact that "things are more important than people" in our times of rapid change, that materialism is conquering everything. Even so, one also senses that in spite of all the inevitable change and constant evolution, certain cultural values and aesthetical ideals breathe the spirit of eternity. Throughout the march of history, these values and ideals need to be passed on from generation to generation by artists and idealists like Wang. These two pieces require a bit of "deconstructive" work from the viewer to recognize that the geometric shapes floating across the canvas are mostly musical instruments.

house," an elegant piece of traditional Chinese furniture made entirely of wood and usually considerably larger than your average modern bed. During the Ming and Qing dynasties, these beds became even larger and were furnished with a canopy, giving them the appearance of a separate room or small house—hence the term "house in a house," although they are more commonly referred to as "babu bed," a play either on the fact that you have to "climb" onto to them, or just on their sheer size. Up to the Han dynasty, the Chinese generally sat on the ground, and much of domestic life revolved around people's sleeping places. At some point, it became custom to also receive one's visitors in the immediate vicinity of, or even on the

reception areas or a place where the master of the house could rest, or both. In other words, they were more than just "beds": they provided a space for social intercourse and were the setting for much of a household's everyday life. During the period of the Five Dynasties and Ten Kingdoms, one of which was the Southern Tang, beds were kept in a plain but handsome style without excessive trimmings or decorations, very much in the manner of the Tang dynasty. We can be certain that Wang Huaiqing is not only aware of such important details, but positively enjoys delving into these cultural and social specifics.

In terms of technique and approach, "House in a House – Bed of Han Xizai" echoes Wang's early painting The Great Ming Manner, which depicted a Ming-style taishi wooden armchair. In both works, pieces of traditional furniture function as conveyors and archetypes of cultural heritage. Chinese painting often tends to favor a reductionist or two-dimensional approach, and this is reflected in the bed with its aesthetically pleasing abstract design. Even its color, a uniform hue of black instead of a natural shade of wood, supports this process of The extreme chromatic simplicity and 王懷慶《夜宴圖－I》 sublimation, as does its size: filling compositional succinctness of the first 1996年作品，美國紐約古根漢美術館「中國五千年展」參展作品 the entire canvas (reaching beyond it WANG Huaiqing, Night Revels 1 two pieces in the "Night Revels" series Shown at "China: 5,000 Years" of Solomon R. Guggenheim Museum, New York, 1998 in fact), the bed is larger than life, is generate a delightfully snappy appeal more of a metaphysical object than an not unlike that of a modern symphony. actual piece of furniture. The loud China red host's bed/couch. In the old days, the highest Meanwhile, the third piece, "House in a of the background strikes one as emanating honor one could bestow upon one's guests was House – Bed of Han Xizai", takes a different both classical elegance and avant-garde daring. to invite them to sit on the bed or, especially in approach. Here, the artist chooses elements Together with the patches of vermilion, the northern China, kang (a brick bed or platform that are even plainer and more basic to thick black lines, flat and concise, merge into warmed by a fire underneath). Therefore, construct the bed's shape. The few simple but a larger structure of abstract, calligraphic it was perfectly natural for Han Xizai to sit bold lines give the painting a powerful energy, design and sublime meaning, quite befitting with his guests on elevated beds to drink, talk making it vibrate with all the festiveness and of a painter firmly grounded in the Chinese and have a good time. While the beds and gaiety of a popular traditional holiday, while at tradition. Wang Huaiqing's intersecting black couches at that time did not feature a canopy, the same time overwhelming the observer with beams and lines create a decidedly Oriental they did have the wooden beam structures its ruthless impetus—a quality that is rather feel and flair, not altogether alien to the formal and "walling" typical of traditional Chinese rarely found in the paintings of this series, or aesthetics of French abstract painter Pierre architecture. Another common feature were even Wang Huaiqing's entire oeuvre.

Soulages. balustrades or railings at the sides. These beds could be installed in studies, pavilions, garden The type of bed, or couch, Han Xizai slept houses and patios, serving either as visitor in and sat on, was a so-called "house in a

149

SANYU (CHANG Yu)

(Chinese-French, 1901-1966)

Two Pink Nudes

代」的階段，蒙巴納斯區齊聚來自世界各地 的頂尖藝術家，掀起藝術、人文與時尚的一 波波浪潮。咖啡廳正是這些藝術家交流的場 所，大茅屋工作室提供模特兒素描，許多現 代藝術大師都曾在此逗留。因此經常穿梭於 兩處地方的常玉，其實比起其他中國藝術家 更前衛、更有革命性。

1929, oil on canvas, 81 x 55 cm Signed lower right Yu in Chinese, SANYU in French and dated 1929 PROVENANCE: Hotel Drouot, Paris, April 21, 1985, lot 43 ILLUSTRATED: Rita Wong ed., Sanyu Catalogue Raisonné Oil Paintings, Yageo Foundation, Lin & Keng Art Publications, Taipei, 2001, color illustrated, no. 17, p. 116 Gu Yao ed., A Complete Collection of World Famous Paintings - Sanyu, Hebei Education Press, Shijiazhuang, November 2007, color illustrated, p. 23

NT$ 52,000,000-68,000,000 US$ 1,625,000-2,125,000 HK$ 12,381,000-16,190,000

常玉 雙裸女 1929 油彩 畫布 81 x 55 cm 簽名右下：玉 SANYU 1929 來源： 德福奧拍賣，巴黎，1985年4月21日，編號43 圖錄： 衣淑凡編，《常玉油畫全集》，台北，國巨 基金會，大未來藝術出版社，台北，2001， 彩色圖版，編號17，頁116 顧躍編著，《世界名畫家全集－常玉》，河 北教育出版社，石家莊，2007年11月出版， 彩色圖版，頁23

88

常玉1901年出生於四川省南充，1966年因瓦 斯意外卒於巴黎。他是中國二十世紀第一代 留學法國的藝術家，當時正值五四運動過後 不久，時代正處於轉型階段，知識份子紛紛 發起改革之鳴。北京大學校長蔡元培早年即 力推「勤工儉學」計畫，提倡學生應到西方 學習他國專長。於是在因應此留學計畫而分 批出國者，美術領域有林風眠、徐悲鴻於 1920年抵達法國，而常玉則是晚一年啟程。 這三位藝術家後來都成為華人藝術界中的佼 佼者，風格大不相同但各領風騷。 當年前往法國學習藝術的留學生，無不懷 抱著理想，多數通常先進入知名藝術家的 畫室，作為申請正規藝術學院的準備，林風 眠與徐悲鴻都是循此模式。然而，喜愛自由 的常玉，則是選擇蒙巴納斯區的咖啡廳和大 茅屋工作室，消磨他在巴黎的大部分時間。 然而1920年代巴黎剛結束戰爭不久，瀰漫著 頹廢卻又思重生的氣氛，那是所謂「瘋狂年

中國美術留學生利用七年或八年的時間完 成藝術的學習，多數選擇回國投身教育， 一則貢獻所長一則謀生。而天生率性、不 羈，在中國時常玉本就是一位貴公子，家境 優渥的他到了巴黎根本無須擔憂生計，過著 波希米亞式的藝術家生活。巴黎的 浪漫自 由、蓬勃的街頭文化讓他如魚得水，於是他 沒有回到中國，而是選擇在巴黎常住下來， 成為「巴黎畫派」的一份子，見證巴黎璀璨 的現代藝術發展。1920年代，常玉的作品以 水墨素描為多，還有部份水彩畫，他以鉛 筆、炭筆或毛筆在咖啡廳速寫，或是在大茅 屋工作室速寫裸女與同學，快速的作畫與流 暢的線條經常讓圍觀者驚艷。當時他的繪 畫長才也表現在沙龍展覽中：例如曾入選 1925年、1928年的「秋季沙龍展」（Salon d ' A u t o m n e），1930年「杜樂麗沙龍展」 （Salon des Tuileries），1931年的「獨立沙 龍展」（Salon des Indépendants）等等，沙 龍展參選一直持續到1956年。 1929年，常玉的才氣為藝術收藏家亨利—皮 耶．侯謝（Henri-Pierre Roché）青睞，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 （Georges Braque）、布朗庫西（Constantin Brancusi）、杜象（Marcel Duchamp）、海 老原喜之助（Ebihara Kinosuke）等畫家。 在當時經濟艱困的年代裡，常玉的繪畫得 以進入藝術市場，可說是非常難得的機 會。1930年常玉還因為法文版的《陶潛詩 選》繪製三幅插畫而成名。後來，常玉的

名字還因此被刊載於1932年巴黎藝術出版 社的 《1910-1930當代藝術家生平字典第三 冊》（Dictionnaire biographique des artistes contemporains 1910-1930, tome III），這項 榮耀在當時的華人藝術家中應是絕無僅有。 常玉於1921年抵達巴黎，風度翩翩貴公子 的形象，生活過得頗為愜意舒適，也偶而 作畫、參加畫展。但是，直至1929年才首度 嘗試於帆布上作油畫，同時他已經十分熟稔 巴黎藝文圈，同時他的油畫也受到收藏家侯 謝的青睞。法國知名詩人兼藝術評論家馬克 斯．賈克伯（Max Jacob）曾如此形容常玉 的作品：「…多麼精準而純淨的一股力量。 兼具智慧及技巧！」

面容似乎沒有呈現太多情緒，在常玉的裸女 畫中，表情很少是他所要訴求的焦點，曲線 才是。而常玉的裸女像令人不禁聯想到布朗 庫西（Brancusi）、極簡抽象化的的雕塑， 以及畢卡索（Picasso）「古典時期」壯碩如 女神雕像的人體肖像，都有古希臘藝術的餘 韻，而這正是1920年代巴黎藝術的人文風潮 影響。

此幅《雙裸女》應該是常玉最早的一批油畫 作品，畫面的右下方簽有中文「玉」字加上 方框，結合法文拼音SANYU的雙語簽名， 甚至少有地標示出1929年的創作年代。早年 流暢的人體素描、水彩畫打下基礎，描繪裸 女可說是常玉最得心應手的主題。《雙裸 女》整幅作品呈現粉白、粉紅色調，洋溢著 巴黎特有的情調，屬於他的「粉紅時期」。 《雙裸女》畫中的裸女有常玉最典型的人物 造型原則——誇張變形、巨大龐然的女體。 由於他個人偏愛體型高大的女性，進而也常 常誇大畫中女性腿部的比例。常玉的詩人好 友徐志摩看到他的畫作，也不禁讚嘆他特有 的造型美感，驚呼「宇宙大腿」。裸女的手 部呈梳齒狀，足部則有如蹼，多重曲線勾勒 出形體，構成講究極簡，也顯示常玉曾研究 如何利用幾何圖形使人物抽象化。 除用色單純之外，《雙裸女》的背景裝飾 亦處理得十分精簡，兩片垂掛的粉紅布幔 分割出畫面的空間，畫中兩位裸女宛如自舞 台走出。常玉向來不喜於研究透視的觀念， 佈局趨向平面化，而輪廓線勾勒、色彩的拼 裝組合，形成他個人獨特的繪畫語彙。兩位 裸女幾乎佔據了畫面的大部分空間，裸女的

90

值得留意地是兩位裸女的打扮一模一樣，有 男孩般的時尚短髮，張著烏黑的大眼睛，口 紅塗得艷燦，風情猶如同蒙巴納斯區的傳奇 人物—姬姬（Kiki, Alice Prin, 1901-1953）。 姬姬，是巴黎畫派藝術家經常聘用的人體模 特兒，1920年代活躍於蒙巴納斯區的藝文 圈。據了解，姬姬在她的日記中寫過曾經學 習中文，或許她與同年紀的常玉經常在咖啡 館或大茅屋工作室碰面，而常玉的確也畫過 過姬姬的素描畫。此幅《雙裸女》的人物造 型和她的打扮頗為類似。《雙裸女》作品呈 現出常玉個人的美學觀點，更是將一個瘋狂 年代與巴黎藝術文化縮影於畫面之間。

Sanyu, who was born in Nanchong, Sichuan Province, in 1901, and died in Paris of accidental gas asphyxiation in 1966, belonged to the first generation of 20th-century Chinese painters who studied art in France. It was a time of political upheaval and social change; China had only just seen the May Fourth Movement, and intellectuals were calling for a whole range of reforms. Cai Yuanpei, the chancellor of Peking University, had always been a staunch supporter and promoter of the governments p o n s o r e d " Wo r k - S t u d y M o v e m e n t " (mouvement travail-études), which allowed Chinese students to go abroad and study at a number of French universities. Among those chosen for this program were Lin Fengmian and Xu Beihong, who arrived in France in 1920. Sanyu followed in their footsteps one year later. All three of them went on to become giants of modern Chinese art, each developing his own distinctive style.

Full of ideals and lofty goals, most of the young Chinese art students in France set out by joining the studio of a renowned painter, where they pursued preparatory studies to facilitate their application at a regular academy or university.

This was the path taken, among others, by Lin Fengmian and Xu Beihong. But Sanyu, always a free spirit fond of exploring things in his own fashion, elected to spend his time in the cafés of the Montparnasse art district, or at the Académie de Grande Chaumière, also in Montparnasse. In this way, he frittered away much of his time, quickly becoming immersed in the postwar spirit of the Roaring Twenties, or "les années folles," as the French like to call them: an exhilarating mixture of decadence and new departures. Paris, and the Montparnasse district in particular, attracted the crème de la crème of international artists and writers, giving birth to many new ideas and movements

in painting and sculpture, literature, music and haute couture. And it were the cafés and bistros of the Montparnasse and the Latin Quarter where most of these artists and intellectuals met on a regular basis to exchange ideas and talk about their work. At the same time, the Académie de Grande Chaumière provided both students and accomplished masters with a regular supply of models for sketching and painting from life—many doyens of modern art had studied and worked here. In a way, then, by dividing his time between the Grande Chaumière and the cafés, Sanyu was in fact much closer to the pulse of his time, and more avant-garde and revolutionary in his approach, than most other Chinese artists.

The majority of Chinese art students who went to study abroad at that time spent some seven or eight years to complete their studies, and then opted to return to China to share their knowledge and skill with their compatriots, and make a living as teachers and educators. Sanyu, however, was not about to let himself be tied down like that. A freewheeling and adventurous character, and something of a gallant even back in China, he had the good fortune to come from a well-off family. Not having to worry about how to finance his rather libertine lifestyle, he spent his days in Paris very much in the fashion of the bohemian artist. Feeling right at home in the City of Light's vibrant street culture, with its romantic yet robust joie de vivre, Sanyu felt very little inclination to return to his native country. Instead, he stayed on and soon became associated with the École de Paris, as both a member of and a witness to one of the most productive and brilliant periods in the development of modern art. In the 1920s, most of Sanyu's works were ink-and-wash paintings, but he also did some watercolors.

Sitting in some café or other, he would do

quick sketches in pencil, charcoal, or Chinese brush. At other times, he could be found doing sketches of naked female models, or sketching fellow students from life, at the Académie de Grande Chaumière, impressing onlookers with the sheer speed of his work and the smooth

畢卡索 《大浴女》 1921 巴黎橘園美術館收藏 Picasso, Large Bather, 1921 Collection Musée de l'Orangerie, Paris

elegance of his lines. Within several years, his great talent as a painter came to the fore as well, and his work was displayed in a variety of salon exhibitions, such as the 1925 and 1928 Salon d'Automne, the 1930 Salon des Tuileries,

and the 1931 Salon des Indépendants. Sanyu's work continued to make regular appearances at salon exhibitions until 1956.

In 1929, Sanyu found a generous patron in the collector Henri-Pierre Roché, a man of many interests and talents—he was also a renowned author, journalist, and art dealer.

Before discovering Sanyu, Roché had already befriended and sponsored the likes of Marie Laurencin, Constantin Brancusi, Georges Braque, Marcel Duchamp, and Ebihara Kinosuke. Economically speaking, the late twenties were hard times, and the Great Depression was looming large. Therefore Sanyu was lucky to be given ample opportunities for making inroads in the art market. In 1930, Sanyu also made a splash as illustrator of a French edition of the poems of Tao Yuanming, titled Les Poèmes de Tao Ts'ien, for which he produced three landscape engravings. Thanks to this kind of positive public exposure, in 1932 Sanyu's name even appeared in the third volume of Paris arts publisher Art Et Editions' Dictionnaire Biographique Des Artistes Contemporains 1910-1930—a rare honor for a Chinese artist at that time.

When Sanyu first arrived in Paris in 1921, a sophisticated young man and enthusiastic bon vivant, he immediately felt like a fish in water.

Here he could lead the comfortable and colorful life of a true bohemian, while occasionally— whenever the mood struck him—working on his art and taking part in exhibitions. It was in fact not before 1929 that Sanyu first tried his hand at oil painting on canvas. At this point in his career, he was already very familiar with Parisian art circles, and before long his oil paintings attracted the attention of aficionados and collectors such as Roché. Another admirer was the French poet and art critic Max Jacob,

who described Sanyu as "a formidable force working with precision and purity," adding, "And what intelligence! What technique!"

This lot, Two Pink Nudes, certainly belongs to Sanyu's earliest oil paintings. It is signed in the lower right in both Chinese (the second character of his Chinese name, "Yu," enclosed by a square) and "Sanyu", and even dated (1929), which few of Sanyu's paintings are.

Ever since his early practice sketches and watercolors with their free-flowing lines and simple elegance, female nudes were one of Sanyu's favorite motifs. Two Pink Nudes is kept entirely in tones of white and pink, belonging to the artist's pink period, and the composition is brimming with the air and mood of Paris in the twenties.

The two nudes in this lot show all the typical features of Sanyu's compositions of naked human figures, in particular exaggerated distortions of shape and size. Sanyu was fond of big and tall women, a predilection that goes a long way in explaining why his nudes generally seem "larger than life," and why their legs often appear disproportionally large and bulky. Upon seeing Sanyu's nudes, his good friend, the Chinese poet Xu Zhimo, praised their exceptional aesthetic appeal, especially acknowledging the deep impression the legs made on him when he described them as "cosmic thighs." The two women's hands are suggestive of a comb, with the fingers as its teeth, while their feet seem to be equipped with webs like those of some aquatic animals. The contours of their bodies are traced with multiple overlapping lines. The picture's overall design is straightforward and deceptively simple,

92

showing that Sanyu must have spent some time exploring ways of representing human bodies through abstraction and transmuted geometrical shapes.

Both the use of color and the structure of the background are marked by extreme economy.

What can be interpreted as pink drapes divide up and at the same time frame the canvas' space, making it appear as if the two nudes in the center of the composition are walking through curtains onto a stage. The intricacies of perspective painting never interested Sanyu much, and most of his works tend to take a more two-dimensional approach, with lively lines and colors blending to create his own

unique style and artistic language. The two women seem to take up the larger part of the painting, yet their faces are relatively small and do not betray much emotion of any kind.

This is not very surprising, since in his nudes Sanyu rarely focuses on facial expressions: his emphasis lies on contours, lines and curves.

This is why his female nudes are so reminiscent of Brancusi's abstract sculptures, or the statues of plump goddesses from Picasso's classical period. In all these works one faintly senses the lingering residue of Greek classicism and humanism that gently pervaded the artistic circles of Paris in the twenties.

It is worth noting the identical outward appearance of the two nudes: both wear their hair in a fashionable short bob, both wear generously applied red lipstick and look at the viewer with jet-black eyes—almost the spitting image of the legendary Kiki de Montparnasse (Alice Prin, 1901-1953). Kiki was one of the defining figures of the 1920s art and culture of Paris. She frequently worked as a paid model for artists of the École de Paris, but was also a nightclub singer and a painter in her own right.

In her memoirs she mentions that at one point she had been considering to learn Chinese, and it is very likely that she often ran into Sanyu in one of the many cafés of Montparnasse, or at the Académie de Grande Chaumière. Kiki sat model for Sanyu on at least one occasion, for there is one sketched painting of her among the artist's works. And the two women of Two Pink Nudes also bear quite a resemblance to Kiki.

Epitomizing Sanyu's visual aesthetics, this painting very much captures the artistic and cultural spirit of les années folles in Paris.

150

ZAO Wou-ki

(Chinese-French, b. 1921)

19.7.63 1963 Oil on canvas 114 x 75 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki in French and titled 19.7.63 PROVENANCE: Kootz Gallery, New York

NT$ 45,000,000-60,000,000 US$ 1,406,300-1,875,000 HK$ 10,714,000-14,286,000

趙無極 19.7.63 1963 油彩 畫布 114 x 75 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 19.7.63 來源： 庫茲畫廊，紐約

94

在趙無極的個人回憶錄裡，有一段記述他買 下位於巴黎中貴街寓所的點滴。在他幾本大 畫冊的插圖照片裡，常常留下他在畫室或庭 院過往的剪影和蹤跡。這間小樓在他精心規 劃下，1961年修竣完工，他和妻子美琴隨之 遷入，他們對房子的設計十分滿意。趙無極 說他的樓上規劃成畫室，一樓外有小花園， 引水進來砌成小池塘，養幾尾金魚。他的畫 室不對街開窗，大片水泥牆把屋內一切遮掩 起來，外人看不到畫室，它像是個隱密的盒 子。光線只會從北方來，帶點灰色調，永遠 穩定，使他能精確掌握每個色彩的密度，不 至於讓日光扭曲了色彩的細緻變化。 在新的畫室裡作畫，趙無極能感到完全自 在，他可以把自己關閉在樓上畫室，不見任 何人，當然有時也包括親密的家人。這間畫 室幫助他創作無數色彩細膩的作品，直至今 日此處仍是藝術家的生活與工作所在。新畫 室容許他創作大幅的作品，當然除此之外， 有一個人對他產生關鍵性的影響。 「我的新畫室讓我能畫很大的畫：有足夠的 向後退和搬畫的空間，可以毫無困難的拉前 或退後畫架。我發現了畫筆可以大啟大闔的 酣暢。庫茲喜歡大畫，很鼓勵我作大畫，這 在畫商中是很少見的，因為大畫既難展覽也 難…賣！大筆塗抹讓我感到一種極大的肉體 的暢快，到了幾乎只想作大畫的地步！庫 茲塊頭高大，出生於美國維吉尼亞州，帶 著濃重南方口音，曾當過律師，是位傑出的 鑑賞家，但除了畢卡索和杜布菲，他只喜歡 抽象畫。1947年，他在紐約開第一家畫廊， 後來關閉一個時期，1955到1956年間又重新 開張，第一次展覽就展出了帕洛克（19121956）、馬哲威爾（1915-1991）、羅斯科 （1980-1966）、德庫寧（1904-1997）、紐 曼（1905-1970）和克萊恩（1910-1962）等 人的作品。當時他們那時都還是年輕畫家。 庫茲對他們就像一個父親，他為人極為慷

慨，常花許多時間帶我們這批年輕畫家上飯 館、通過他，我認識了很多美國藝術家和美 術館主管，像蒙德里安的大收藏家史威尼就 是其中之一。」 （趙無極、梵思娃．馬凱著，劉俐 譯，《趙無極自畫像》，藝術家出版社，台北，1993年初 版，1996年再版，頁134）

趙無極自傳裡念念不忘的傑出鑑賞家—山 姆．庫茲（Samuel Kootz, 1899-1982）， 從1950年代起即贊助馬哲威爾、霍夫曼 （1980-1966）、葛特列柏（1903-1974）、 羅斯科和德庫寧等一流抽象表現主義大師。 1966年的《時代雜誌》以「抽象表現主義者 的總部」形容庫茲畫廊，在此之前，庫茲也 是畢卡索在美國最重要的經紀商，人脈很 廣。庫茲對來自法國的趙無極的藝術賞識有 加，曾經在1958、1959、1960、1964幾年為 他舉辦四次個展，又在1958、1959、1962、 1963、1965年舉辦五次聯展。庫茲不僅為趙 無極成功地打開美國的知名度，因為有庫茲 的鼓勵和推薦，後人才得以看到1960年代之 後趙無極暢快淋漓的大幅創作，因為他的慧 眼，使得趙無極的畫進入許多美國美術館和 大收藏家之手。傳奇性的庫茲畫廊，1966年 因庫茲夫人的去世而宣佈停業，此後庫茲專 注於寫作，把他的藝術經歷集結成冊。1982 年8月23日《時代雜誌》庫茲的訃告上，他 被稱譽為「美國有真知灼見的藝術經紀商、 抽象表現主義的聖騎士」。 完成於1963年的油畫作品《19.7.63》，曾 是庫茲畫廊經紀的藝術品，庫茲的眼光與 專業早已建立口碑，他和其他畫商不同，鼓 勵年輕的趙無極儘可能去創作，無須顧忌畫 作的尺幅囿限，此一時期作品風格才得以呈 現飛揚、奔放的動勢。在整幅《19.7.63》整 幅作品裡，趙無極飛快的筆鋒，首先吸引了 觀者的目光，這幅充滿文字揮毫的軌跡，乃 是來自中國書法的傳統。趙無極出身書香 世家， 自幼景仰米芾（1051-1107）的書法

及繪畫，他認為米芾是最偉大的書法家。 他也推崇范寬（c. 990-1030）的自然觀。 在他的眼中，他們的字或畫裡的空間都有 塞尚的味道。法國藝術評論家雷馬利（Jean Leymarie），則指出趙無極此時畫作「結合 了書法的鋒利與繪畫的風味」 畫家蕭勤曾讚揚趙無極是「第一個將中國傳 統美術帶入世界畫壇的畫家」，他認為美國 的托比、克萊恩，法國的馬修，和許多行動 繪畫及非形象主義的藝術家們，都從中、日 書法中汲取養分，甚至中、日書法決定了

1950至1960年間大部分西方抽象畫的演變， 而其中集大成者，就是趙無極。（參閱袁德星 編，《趙無極》，源成出版有限公司，台北，1980，頁 7）

台灣知名的美術史學者蕭瓊瑞在《中國巨匠 美術週刊—趙無極》一書也指出趙無極此階 段的特色：「1960年代的作品，是以黃褐色 為主調，散發著一種金銅般的光芒，一些細 膩、尖銳、又帶點神經質的纖維性線條，在 畫面上自由的揮灑、組合，擺脫題材、法則 的限制，一切遵從內在的需求。趙無極呈顯 一個深邃、富有動力、荒原中透露著華麗的 世界。」這段文字也凸顯出《19.7.63》的某 些特色。 1950年代趙無極曾在中國甲骨、青銅器中發 現中國文字的造型形式美，金銅色象徵神 聖、古典與文明，華麗世界表現了藝術家揚 升中的成就及生活幸福感，而神經質的纖維 性線條，有著狂亂的內心糾葛和苦悶，應是 畫家對罹病妻子美琴的隱性擔憂及壓力。趙 無極用大筆揮灑，他說有時會用畫刀把顏料 壓進畫布，像是使顏料能更穿透到空間去， 在紛亂的色彩和重重疊加的筆觸間，他感到 從容自在。他還在自傳裡寫道：「強烈的和 喧囂的，對我的吸引力遠過於靜默。征服空 間成了我腦中裡日夜縈繞的問題。」1960年 代對趙無極繪畫像是一場新的戰鬥，這是他 進入感覺與空間的時期。因為充滿生命力與 創造力，無怪乎，西方的評論家和畫商經紀 人都要為此時的創作所折服，他秉持奮發直 追的信念，亦激起觀者無比飛揚的意志。

趙無極《5.12.1969》 羅芙奧2006秋季拍賣會，編號060 9093萬台幣成交 ZAO Wou-ki, 5.12.1969 Ravenel Autumn Auction 2006, lot 060 NT$ 90,930,000 sold 1969, oil on canvas, 194 x 96 cm

96

In his personal memoirs, there is a passage in which Zao Wou-ki looks back on how he acquired his house in the Rue Jonquoy in Paris, a place that frequently appears in the photographs inserted in several of his big picture albums, showing past scenes and impressions from his studio or the yard. Zao and his wife, May, moved into the little house in 1961, after it had been renovated according to the painter's own meticulous blueprints, and they were both very happy with the design and layout of the house. Zao recalls how he had

米芾《書法》 Calligrapfy of Mi Fei (1051-1107)

made the entire second floor into an atelier, with a small garden outside and a little fishpond with some goldfish in it. He never opened the studio's windows on to the street, and the entire interior of the house was shaded off from the outside world by a large concrete wall, ensuring that noone could look inside. So the atelier was like a well-concealed little "box", into which daylight fell only from the north, creating a stable, grayish kind of lighting that formed the backdrop for Zao's work. It allowed him a firm grasp of his colors' intensity without having to worry that the quality of their most subtle shades and nuances might be distorted by the irregular play of sunlight.

When painting in his new studio, Zao felt completely at ease. He would shut himself in his second-floor atelier and refuse to see anybody, sometimes including even close family members. It was here that he created countless of his must most delicately hued pieces, and the place remains his studio and living room to this very day. Its spaciousness also allowed him to work in large formats, something he was encouraged to do by Sam Kootz.

"In my new atelier I could work in large formats: there was enough space to take several steps back from the painting, or to move it around the room a bit, or to adjust the easel as required. I discovered the pleasures of big, sweeping strokes, their verve and beauty. Kootz was very fond of big paintings, and encouraged me a lot to work in big formats, which was very unusual for an art dealer. After all, large paintings are both difficult to put on show and difficult to…sell! I experienced intense physical joy from painting in large brushstrokes on large surfaces, and I reached a point where I virtually didn't want to paint anything but large format pictures. Kootz was a big fellow who originally came from Virginia in the United States. He spoke with a heavy southern drawl and had once been a lawyer, but he was also a true connoisseur of art, and quite an expert on painting. It has to be said, though, that apart from Picasso and Dubuffet, he was only interested in abstract painting. In 1947, he opened his first gallery in New York, which he later closed down for a while before reopening it between 1955 and 1956. His inaugural exhibition featured works by Jackson Pollock (1912-1956), Robert Motherwell (1915-1991), Mark Rothko (1903-1970), William de Kooning (1904-1977), Barnett Newman (1905-1970), and Franz Kline (1910-1962). At the time, all of them were still young painters at the beginning of their careers, and Sam was like a father to them. He was extremely generous with his time and money, and would often take us young folks to restaurants or concerts. Through him, we made the acquaintance of numerous American artists, as well as museum directors and curators. One of them was James Sweeney, the great Mondrian collector."

"Ce nouvel atelier me permettait enfin de peindre des grands formats. Il m'offrait de l'espace pour avoir du recul et déplacer les tableaux. Je pouvais à ma guise avancer et reculer le chevalet sans trébucher. Je découvrais l'amplitude des gestes. Sam Kootz aimait les grands tableaux et m'y encouragea,

ce qui est peu commun pour un marchand, car difficile à exposer, et... à vendre ! J'éprouvais une grande joe phsique à tartiner de très grandes surfaces, au point d'en devenir obsédé et de ne faire plus que cela! De taille immense, avec un fort accent du sud, Sam Kootz était avocat. Originaire du Virginie, grand amateur de peinture, il ne s'intéressait qu'à l'abstraction, en dehors de Picasso et de Dubuffet. Il eut une première galerie a New York, en 1947, fermée puis réouverte en 1955-1956, où il exposa pour la première fois Pollock, Motherwell, Rothko, De Kooning, Newman, Kline. Ils étaient tous bien sûr de jeune peintres et permettaient à Sam de jouer le rôle d'un pere. Sam était d'une grande générosité, il nous consacrait son temps en nous emmenant au restaurant ou au concerte. Grâce à lui j'ai recontré beaucoup d'artiste américains ou de conservateurs de musées comme James Sweeney, grand collectionneur de Mondrian." (Zao Wou-ki &

also the one who kept encouraging the ChineseFrench painter to try his hand at large formats.

If it hadn't been for this farsighted art dealer from Virginia, the richly expressive, freeflowing compositions on large canvas that Zao began to paint from the 1960s onwards might never have come into existence. Thanks to Kootz's discerning eye and tireless promotion, Zao's paintings soon found their way into the collections of many museums, galleries and private collectors in the United States.

Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 136137)

In the 1950s, Sam Kootz (1899-1982), the accomplished art dealer and collector who Zao Wou-ki remembers so fondly in his autobiography, became a sponsor of a number of first-rate abstract expressionist artists, including Motherwell, Hans Hofman (1880-1966), Adolph Gottlieb (1903-1974), Rothko, and de Kooning. His importance for the movement was such that in 1966 Time Magazine described the Sam Kootz Gallery as the "headquarters of the abstract-expressionist school". Before that, Kootz had already been Picasso's number one agent for the US market, and generally was very well connected. From the beginning, he was deeply impressed with France-based Zao Wou-ki's art, and he organized as many as four solo exhibitions of his work in 1958, 1959, 1960 and 1964, respectively. In addition, Kootz featured Zao's works in a total of five joint exhibitions in the years 1958, 1959, 1962, 1963 and 1965.

Kootz not only helped Zao to make a name for himself on the Amercian art market, he was

北宋畫家范寬《谿山行旅圖》 絹本、淺設色畫、軸，206.3 x 103.3 cm 現藏於台北國立故宮博物院 Fan Kuan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk 206.3 x 103.3 cm Collection National Palace Museum, Taipei

The legendary Kootz Gallery was closed permanently in 1966 due to the death of Mrs. Kootz, after which her husband devoted his energies to writing, putting to paper his many observations and experiences in the world of art. The obituary in Time Magazine on August 23, 1982, praised Kootz's achievements and called him a "foresighted art dealer and paladin of abstract expressionism in America".

with action painting and non-objective representation, all derived much inspiration from Chinese and Japanese calligraphy. He even goes so far as to claim that much of the evolution of abstract painting between 1950 and 1960 was determined by the influx of calligraphic concepts from China and Japan, and that Zao Wou-ki was the epitome of this new direction in art. (cf. Yuan Teh-hsing, ed., Zao Wouki, Taipei: Yuan Cheng Publishers, 1980, p. 7)

This lot, Zao Wou-ki's "19.7.63", was also once on sale in the Kootz Gallery when the art dealer's professionalism and discriminating eye were already widely known. Unlike most other gallery owners, Kootz encouraged the young Zao to follow his inspiration and paint whatever he liked, without regard for size or format. This shows in Zao's output of that time, as he began to develop his typical unrestrained and dynamic style. These are the bold, sweeping bushstrokes that first attract the observer's eye in "19.7.63", and at a closer look one finds that the interconnected powerful lines that dominate the picture are very reminiscent of traditional Chinese calligraphy. Zao originally came from old literati family, and from his early childhood he was a great admirer of the painting and calligraphy of Song Dynasty literati artist Mi Fu (10511107), whom he considered as the most outstanding calligrapher in Chinese history. Another painter he held in high esteem was Fan Kuan (c. 990-1030), particularly admiring his conception of nature. In Zao's view, the use of space in both Mi's calligraphy and Fan's landscape paintings has a lot in common with the work of Paul Cézanne. As for Zao's own work, French art critic Jean Leymarie describes it as "combining the poignancy of calligraphy with the flavor of painting."

Chinese-born painter Hsiao Chin once praised Zao as "the first painter to introduce the aesthetics of traditional Chinese art into the world of international painting". Hsiao also feels that painters such as America's Marc Tobey and Franz Kline, or France's Georges Mathieu, as well as numerous artists involved

98

In his book Masters of Chinese Painting: Zao Wou-ki, renowned Taiwanese art historian Hsiao Chiung-jui analyses the characteristics of Zao's style in the 1960s: "Brown and yellow

趙無極《17.4.64》 羅芙奧2009秋季拍賣會，編號103，1億5840萬台幣成交 ZAO Wou-ki, 17.4.64, 1964, oil on canvas, 114 x 162 cm Ravenel Autumn Auction 2009, lot 103, US$ 4,925,373 sold

tones dominate in Zao's work from the 60s, colors emanating a bronze-golden glow that are applied across the canvas with vigorous abandon to form lines and shapes of both refined subtlety and keen intensity—filamentary and just a touch frantic in quality. These lines are assembled in a free fashion without any concern for motif or preconceived notions. Zao shakes off all formal restraints and follows his inner vision, thereby revealing a profound and rich imagination that fills his compositions with primal energy and creates a world where the most dazzling beauty bursts from a wasteland."

Undoubtedly, these words also capture many of the qualities of "19.7.63".

During the 1950s, Zao discovered the visual appeal and formative beauty of Chinese oracle bone and bronze inscriptions. There is some symbolism in the golden hues of bronze, suggesting the sacred, classical and cultured, as well as an atmosphere of bliss and prosperity. But in Zao's work, things are more complex than that: while the immediately appreciable aesthetic charm of his paintings speaks of the artist's success in sublimating his inner life, the somewhat frenzied fibrous lines responsible for much of the dynamic impetus also reveal a darker side dominated by ravaging turmoil and gloomy inner conflict. Some of this may be explained as an indirect expression of Zao's worries about the health of his wife, May. The pressure and melancholy he probably felt because of her sickness can be guessed from the way Zao, as he himself explains, frequently uses the palette knife to squeeze the paint firmly into the canvas, as if this would create a n e v e n m o r e p l a s t i c e ff e c t o f depth. But mostly, so the artist, the uninhibited application of color in sweeping strokes and spattered dabs, overlapping and chaotic, makes him feel calm and at ease. As he writes in his autobiography, "The fierce and intense, the clamorous and passionate have always attracted me much more than the quiet and the stationary. How to conquer space, how to shape and enliven it is a problem that is constantly on my mind." In the 1960s, for Zao painting meant meeting new challenges. It was a struggle to find his voice, his way of getting "inside space" and exploring his emotions. Since his 60s paintings are particularly brimming with vitality and creative energy, it is not surprising that Western art critics and dealers find Zao's output from this period among the most impressive in his entire oeuvre. It was a time of departure for the artist, of embarking on the pursuit of his ideals without looking back. This new hope and determination is communicated to the observer with almost painful poignancy, uplifting to heart and mind.

151

ZAO Wou-ki

(Chinese-French, b. 1921)

Paysage Abstrait (Abstract Landscape) 1954 Oil on canvas 65 x 81 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 54

EXHIBITED: Zao Wou-ki, Lin & Keng Gallery, Taipei, March 15 - April 1, 1997 ILLUSTRATED: Zao Wou-ki, Lin & Keng Gallery, Taipei, 1997, color illustrated, pp. 28-29 Gérard de Cortanze & Yves Bonnefy, Zao Wouki, La Différence / Enrico Navarra, Paris, 1998, color illustrated, p. 92

NT$ 20,000,000-40,000,000 US$ 625,000-1,250,000 HK$ 4,762,000-9,524,000

趙無極

展覽： 「趙無極個展」，大未來畫廊，台北，展期 自1997年3月15日至4月1日

從1948年至1953年間，趙無極的繪畫仍有形 象可辨識，也可看出他在中國期間所受的美 術訓練。1951年到瑞士參觀克利的畫展，令 他感到目眩神迷。喜愛東方藝術的克利，繪 畫中運筆的自由和洋溢的輕盈靈動，使小小 的畫面顯得遼闊無比。趙無極於是追隨克 利，探索以二度空間的符號表現色彩，以詩 意的聯想，趙無極透過克利的啟發，及後來 旅行歐洲參觀建築、壁畫的心得，慢慢地進 入一個抒情的自我宇宙。

圖錄： 《趙無極作品展目錄》，大未來畫廊，台 北，1997，彩色圖版，頁28-29 傑哈．德．康坦茲與伊夫．波納菲合著， 《趙無極》，拉迪佛羅斯／安利哥．納瓦 哈，巴黎，1998，彩色圖版，頁92

後來的兩年間，趙無極畫了許多以靜物、 花卉、船隻、風景、動物等元素的小幅繪 畫，研究它們的組合與佈局，營造一種詩意 的空間。漸漸地，他畫裡的具體的形象消 失，不再是敘事性的圖畫，以難以辨讀的符 號取代，表現畫家自我的想像，此時的繪畫

抽象風景 1954 油彩 畫布 65 x 81 cm 簽名右下：無極 ZAO 54

100

趙無極於1921出生於北京一書香世家，自幼 學習書法，喜愛圖畫。14歲在家人支持下進 入杭州藝專學習藝術，接受林風眠、吳大羽 與潘天壽等教授指導，兼學西畫與國畫。在 學期間，藉由塞尚、馬蒂斯、畢卡索等人的 繪畫探索自然的視界。而1948年當中國局勢 處於紛亂之際，他選擇離開，前往巴黎深 造，邁向日後抽象繪畫的道路。

幾乎都採單色調的背景。「然後，慢慢地， 符號成了形體，背景形成空間，因為一再重 畫、毀棄、再重新來過，再我心裡的東西好 像開始浮現出來了，我的畫開始動了起來， 湧現了形體，我開始敢用一些以前害怕的顏 色。」趙無極在自傳中回憶這一段轉折的 過程。 （參閱趙無極、梵思娃著、劉俐譯《趙無極自畫

exploring the way in which they viewed the natural world. In 1948, when China was descending into the chaos of civil war, he decided to travel to Paris to undertake further study; it was this decision that set him on the road towards his future development as an abstract artist.

像》，藝術家出版社，台北，1992初版，頁104）

1954年趙無極徹底地拋開具象繪畫，從克利 的影響中掙脫出來，以其自由而獨特的方 式，投身抽象繪畫的世界。可以說真正屬於 趙無極個人面貌的作品，此時終於產生了！ 此幅《抽象風景》即是創作於1954年，屬 於趙無極最早的抽象繪畫之一。畫中看不見 任何具體的物件，類似古老文字的符號、形 象，穿梭在佈局中。那是來自遙遠的 殷商甲骨文、青銅時代的鐘鼎文所召 喚的神祕，貫穿古今，幻化出顫動的 生命力。符號的背景是層層暈染細膩 變化的色彩，含蓄優雅帶有東方水墨 的意境，而豐富的色感與光感卻又得 自於西畫的薰陶。

In Zao's paintings from the period 1948 – 1953, residual forms can still be made out; the influence of the artistic training that Zao had received in China is also very obvious. A visit to an exhibition of works by Paul Klee in Switzerland in 1951 was a revelation to him. Klee, who was fascinated by Asian art, displayed a freedom and lightness of touch

Subsequently, for a period of about two years, Zao Wou-ki painted large numbers of small canvases that featured still lifes, flowers, boats, scenic views, animals, etc., studying their composition and layout, and in doing so creating a kind of poetic space of his own.

Gradually, the recognizable forms in his paintings began to disappear; he was no longer painting in a descriptive or representative manner, having turned instead to the use of symbols that were often difficult to decode, to express his own imagination. Almost all of Zao's works from this period have a monochromatic background. "Then, gradually, the symbols became forms, and the forms turned into space. As I painted, re-painted, gave up and started again, something was starting to emerge. It seemed as though my paintings were starting to move, to come to life. Forms burst out of the canvasses, and I found that I now dared to use colors that I had previously been nervous about using." (Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions

法國藝評家儒瓦在1955年巴黎的《藝 術》（Arts）雜誌上評論趙無極此時 的繪畫特色：「趙無極的作品清楚地 顯示出中國人的宇宙觀：朦朧和深遠 反映著靜觀的精神狀態，而不是靜觀 的對象，這已經是一種當今現代全球 性的視覺觀點。」1950年代歐美抽象 繪畫運動蓬勃發展，趙無極也是其中 一員，他將現代性帶入了中國傳統的 藝術，融合東西文化的潛質，揭發了 兩者的共通性，締造出一種新的抽象 視覺，其成就在藝術史其地位已然確 立。

Zao Wou-ki was born in 1921 into a literati family in Beijing; he studied calligraphy from a young age, and developed a passion for painting. At the age of 14, he enrolled at Hangzhou National College of Art, where he studied both Western and Chinese painting under noted artists such as Lin Fengmian, Wu Dayu and Pan Tianshou. During his time at the College, Zao studied the works of Paul Cézanne, Henri Matisse and Pablo Picasso,

102

Fayard, Paris, 1988 p. 105)

趙無極《處處聞啼鳥》 羅芙奧2009秋季拍賣會，編號055，6320萬台幣成交 ZAO Wou-ki, Oiseaux volent partout (Birds Fly Everywhere), 1952, oil on canvas, 81 x 100 cm Ravenel Autumn Auction 2009, lot 055, US$ 1,965,174 sold

in his paintings that made even the smallest canvas seem to embody vast, boundless spaces.

Following Klee's example, Zao Wou-ki began to explore the utilization of two-dimensional symbols to represent color, and the use of poetic association. Benefiting from the inspiration that Klee's work had given him, and from his own travels around Europe to view famous buildings and murals, Zao began to move slowly towards his own emotive "universe of the self."

In 1954, Zao Wou-ki began to create art that was wholly abstract, throwing off Klee's influence and developing his own, highly personal form of abstract painting. This is the period in which one starts to see paintings that could clearly be by no-one other than Zao Wou-ki! This particular work, "Paysage Abstrait" (Abstract Landscape), dates from 1954, making it one of Zao's earliest fully-abstract paintings. There are no recognizable physical objects in the painting, which is shot through with symbols and images that resemble some ancient script. These symbols in fact derive from the ancient "oracle bone script" of the Shang Dynasty; they recall the mystery of the inscriptions on bronze vessels from China's Bronze Age. Linking the past with the present, these symbols create a pulsating sense of vitality and energy. The background to the symbols is formed from multiple washes that display delicate variation in tone. The overall

effect is restrained and elegant, with echoes of East Asian ink brush painting, although the rich colors and sense of light derive from the Western painting tradition.

In an article about Zao Wou-ki's paintings from this period that was published in the Parisian art journal Arts in 1955, the French art critic Alain Jouffroy outlined what it was that made Zao's work from this era so special: "In Zao Wou-ki's work one can see how the Chinese vision of the universe, where flow and distance reflect the spirit of contemplation more than the object of contemplation, has been transformed into a modern vision of universal relevance."

Zao Wou-ki played a significant role in the abstract art movement that flourished in the 1950s in Europe and North America. He brought modernism into traditional Chinese art, and created a fusion of the essential elements of Asian and Western culture that spurred the development of those cultural elements that the two traditions had in common, creating a kind of new abstract vision in the process. Zao's success in this endeavor has earned him an important place in the history of art.

保羅．克利《魚兒上鉤》 1920，油彩 水彩 紙本，31 x 32.5 cm，倫敦泰德美術館藏 Paul Klee, They’re Biting 1920, drawing and oil on paper, 31 x 32.5 cm Collection of Tate Gallery, London

104

152

JU Ming

(Taiwanese, b. 1938)

Single Whip 1991 Wooden sculpture 53(L) x 33(W) x 35(H) cm Engraved Ju Ming in Chinese and dated '91 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 9,000,000-13,000,000 US$ 281,300﹣406,300 HK$ 2,143,000﹣3,095,000

朱銘 單鞭下勢 1991 木雕 53(長) x 33(寬) x 35(高) cm 簽名雕刻：'91 朱銘 附藝術家親筆簽名之原作保證書

1978年朱銘二度赴日本展出，這也是他的 「太極系列」首次受到矚目的一次展覽，其 中「單鞭下勢」系列作品從此矗立在日本的 「雕刻之森」美術館。「太極系列」也為他 的創作生涯開闢了另一個旅程。其實在此之 前，就在1976年他成名的那次個展中，朱銘 就已展出一尊題為《功夫》的木雕，可以說 是「太極系列」的發端。在朱銘眼中，「太 極系列」才是他自己風格的起點，而他所要 表達的那份生命力，是由內而外，而非由外 而內。 「太極系列」雕塑之中，幾何化抽象體面與 人物動勢造型的聯繫，以及三度空間語言中 動靜與粗放簡潔的對比，形成了作品豐富有 致的節奏變化；雕塑在陽光和陰影之中形成 極為豐富的變化效果。在此件《單鞭下勢》 中，朱銘憑藉著自己的經驗、閱歷和判斷， 將人們熟知的太極文化以及相關的拳術套路 加以藝術處理，從以往相關的意象架構中脫 離出來，讓人生動地感覺出單鞭即下的勢 大、力沉與勢不可擋。 朱銘的「太極系列」創作，將架上雕塑和環 境雕塑相互參照和融合，引入現代雕塑的新 理念，在現代的公共空間之中，賦予了更為 廣闊的視覺創造和人文圖景。《太極系列》 以其獨特的視覺符號和雕塑形態，成為都市 生活的互補和自然造化的延伸。作品形成了 以靜制動的視覺張力和震撼人心的體量感， 具有特定的時代感召力，富有無盡的當代審 美精神的想像和陶冶。

In 1978, Ju Ming went to Japan for exhibitions twice. That was the first time his "Taichi Series" attracted attention, among which, "Single Whip" has, since then, found its foothold in Japanese "Chokoku no mori".

"Taichi Series" opened another foreground of his creation also. Actually, before then, in the exhibition of 1976 through which he found fame, Ju Ming had exhibited a woodcarving with the topic of Kong Fu, which could be considered as the origin of the "Taichi Series".

But, in the view of Ju Ming, it is the "Taichi Series" that is the starting point of his own style. He expresses the vital force from inside to outside rather than from outside to inside.

In the sculptures of the "Taichi Series", the relations between the geometric abstraction and active posture of the figures, as well as the contrast between the dynamic and static, the rough and terse in tridimensionality form a rich rhythmic change in the works. The sculpture presents a very colorful effect of change between light and shadow. In "Single Whip", relying on his own experience and judgment, Ju Ming made artistic treatment of the familiar Taichi culture and relevant boxing skills, having broken away from previous and relevant frame, giving out a kind of vitality and irresistible power.

Ju Ming's creation of the "Taichi Series" has made mutual reference and integration of the sculpture on a shelf and the environmental sculpture and introduced a new concept of modern sculpture, endowing modern public space with a wider visual creation and humanistic prospect. With its unique visual symbol and sculptural graphic arts, the "Taichi Series" has become a complementation of an urban life and an extension of natural creation.

The works have shaped a visual effect of conquering the dynamic by static and exciting touch sense, being provided with a specific impelling force of the age and teemed with endless imagination and edification of a contemporary aesthetic spirit.

153

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1991 Wooden sculpture 38(L) x 30.5(W) x 43(H) cm Engraved Ju Ming in Chinese and dated '91 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 5,800,000-7,000,000 US$ 181,300-218,800 HK$ 1,381,000-1,667,000

朱銘 太極系列 1991 木雕 38(長) x 30.5(寬) x 43(高) cm 簽名雕刻：'91 朱銘 附真善美畫廊所開立之原作保證書

106

154

Alixe FU

(Taiwanese, b. 1961)

Dreamland 1990 Oil on canvas 81 x 100 cm Signed lower right Alixe Fu in English and dated 90 Signed on the reverse Alixe Fu in Chinese and English, size 40F and dated 90

NT$ 160,000-260,000 US$ 5,000-8,100 HK$ 38,000-62,000

108

傅慶豊 夢境 1990 油彩 畫布 81 x 100 cm 簽名右下：Alixe Fu 90 簽名畫背：40F 傅慶豊 90 Alixe Fu

155

WU Bu Yun

(Chinese, 1905-2001)

Ocean 1963 Oil on canvas 64 x 80 cm Signed lower left Wu Bu Yun in Chinese and dated 6/1963

NT$ 300,000-400,000 US$ 9,400-12,500 HK$ 71,000-95,000

伍步雲 海 1963 油彩 畫布 64 x 80 cm 簽名左下：伍步雲 6/1963

156

DAI Ze

(Chinese, b. 1922)

Chrysanthemum 1995, oil on canvas, 80 x 100.5 cm Signed lower right Dai Ze in Chinese and dated 1995 Beijing in Chinese Titled on the reverse Chrysanthemum in Chinese, dated 1995 and signed Dai Ze in Chinese

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

戴澤

157

Michell HWANG (HWANG Ming-che)

(Taiwanese, b. 1948)

The King 1992, oil on canvas, 90 x 65 cm Signed lower right Che in Chinese and dated 1992 Titled on the reverse The King in Chinese, Che in Chinese and dated 1992

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

黃銘哲 國王

靜物 1995 油彩 畫布 80 x 100.5 cm 簽名右下：戴澤 1995. 北京 簽名畫背：菊花（橫幅）1995 戴澤

110

1992 油彩 畫布 90 x 65 cm 簽名右下：哲 1992 簽名畫背：哲 1992 國王

157

158

HSIAO Chin (Chinese, b. 1935)

蕭勤

Il Nuovo Mondo - 4

1997 壓克力 畫布 97 x 130 cm 簽名畫背：Il Nuovo Mondo - 4 Hsiao 勤 97 x 130 cm acrylic

新世界 - 4

1997 Acrylic on canvas 97 x 130 cm Titled on the reverse Il Nuovo Mondo-4 in English, signed Hsiao in English and Chin in Chinese, size 97 x 130 cm, media acrylic EXHIBITED: Hsiao Chin 1954-2004 - A Journey Back to the Source, Guangdong Museum of Art, Guangdong, Aug 2005 ILLUSTRATED: Maurizio Vanni, Hsiao Chin: Percorsi di Autocoscienza Nell'Anima, Carlo Cambi Editore, Siena, Luglio, 2005, color illustrated, pp. 22-23

112

Glory to the Source Hsiao Chin 1955-2005, Lin & Ken Gallery, Taipei, 2006, color illustrated, p. 107 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 300,000-500,000 US$ 9,400-15,600 HK$ 71,000-119,000

展覽： 「蕭勤1954-2004歸源回顧展」，廣東美術 館，廣州，2005年8月 圖錄： 莫里斯．伐尼，《蕭勤：心靈自覺之道 路》，卡爾洛．坎比出版，西耶納，2005年 7月，彩色圖版，頁22-23 《榮源：蕭勤七十回顧展1955-2005》目 錄，大未來畫廊，台北，2006年4月出版， 彩色圖版，頁107 附大未來畫廊開立之原作保證書

159

LIU Kuo-sung (Taiwanese, b. 1932)

Which is Earth No. 7 1969 Ink and color on paper 109.5 x 59 cm Signed upper right Liu Kuo-sung and dated 1969 in Chinese Titled on the reverse Which is Earth No. 7 and dated 1969, size 109.5 x 59 cm With one seal of the artist

NT$ 400,000-600,000 US$ 12,500-18,800 HK$ 95,000-143,000

劉國松 地球何許之七 1969 彩墨 紙本 109.5 x 59 cm 簽名右上：劉國松 一九六九 鈐印右上：益都劉國松印 簽名畫背：地球何許之七 1969 109.5 x 59 cm

160

QIN Xuanfu

(Chinese, 1906-1998)

The Bund, Shanghai Oil on canvas 47 x 35 cm Signed lower left Xuanfu in Chinese Titled and signed on the reverse Viewing the Bund from Thirteen Layers by Qin Xuanfu

114

This painting is to be sold with a certificate of authenticity signed by Qin Zhiyan, Qin Xuanfu's daughter.

NT$ 300,000-500,000 US$ 9,400-15,600 HK$ 71,000-119,000

秦宣夫 上海灘 油彩 畫布 47 x 35 cm 簽名左下：宣夫 簽名畫背：「十三層」上遠望外灘 秦宣夫作 附秦宣夫之女秦志燕開立之原作保證書

161

YANG San-lang (Taiwanese, 1907-1995)

楊三郎

Fog in the Forest Oil on canvas 53 x 57.5 cm Signed lower right S. Yang in English ILLUSTRATED: Collection of Taiwan National Treasures Impressions Classical VIII Yang San-lang V.S. Li Shih-chiao, Impressions Art Gallery, Taipei, 2003, color illustrated, pp. 33-34

樹間霧色

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

NT$ 450,000-600,000 US$ 14,100-18,800 HK$ 107,000-143,000

油彩 畫布 53 x 57.5 cm 簽名右下：S. Yang 圖錄： 《典藏台灣國寶 印象經典 VIII 楊三郎V.S.李 石樵》，印象畫廊，台北，2003，彩色圖 版，頁33-34 附印象畫廊開立之原作保證書

162

J. C. KUO

(Taiwanese, b. 1949)

Complex 1994 Acrylic and wood, canvas 120 x 69 cm Signed lower center Kuo Jen-chang Kuo in Chinese, J-C-KUO in English, dated '94 ILLUSTRATED: J. C. Kuo's Picturing Taiwan 1995, Galerie Elegance, Taipei, 1995, color illustrated, p. 24

NT$ 400,000-600,000 US$ 12,500﹣18,800 HK$ 95,000﹣143,000

郭振昌 情結 1994 壓克力 台灣檜木 畫布 120 x 69 cm 簽名下方：郭振昌 '94 J-C-KUO 圖錄： 《郭振昌1995台灣造相》，愛力根 畫廊，台北，1995，彩色圖版， 頁24

116

163

JAN Chin-shui (Taiwanese, b. 1953)

Icy Peak 2005 Mixed media on canvas 97 x 130 cm Signed lower right Chin-shui in Chinese and dated 2005 Signed on the reverse Jan Chin-shui in Chinese, dated 2005, size 60F and titled Icy Peak in Chinese

NT$ 400,000-600,000 US$ 12,500﹣18,800 HK$ 95,000﹣143,000

詹金水 冰峯 2005 綜合媒材 畫布 97 x 130 cm 簽名右下：金水 2005 簽名畫背：詹金水 2005 60F 冰峯

164

CHUANG Che (Taiwanese, b. 1934)

莊喆

Landscape 1979 Oil on canvas 88 x 126 cm Signed lower right Chuang Che in Chinese and dated 79 Titled on th reverse Landscape in English, dated 1979 and signed Chuang Che in English

118

秋水行吟 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 450,000-650,000 US$ 14,100-20,300 HK$ 107,000-155,000

1979 油彩 畫布 88 x 126 cm 簽名右下：莊喆 79 簽名畫背：Landscape 1979 Chuang Che 附亞洲藝術中心開立之原作保證書

165

QIN Xuanfu

(Chinese, 1906-1998)

The Bridge of Shaoxing Oil on canvas 40 x 60 cm Titled on the reverse The Bridge of Shaoxing and signed Xuanfu in Chinese

NT$ 550,000-850,000 US$ 17,200-26,600 HK$ 131,000-202,000

秦宣夫 紹興八字橋 油彩 畫布 40 x 60 cm 簽名畫背：紹興八字橋 宣夫作

166

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds - Spring Water 2007 Oil on canvas 162 x 130 cm Titled on the reverse Pork Belly Series - Flesh, Flowers and Birds - Spring Water in Chinese, signed Chang-Ling in Chinese and dated 2007 ILLUSTRATED: Impressions Contemporary, Impressions Gallery, Taipei, October 2007, color illustrated, p. 75 Chang-Ling, Impressions Gallery, Taipei, 2008, color illustrated, p. 51 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

常陵 五花肉系列—肉花鳥—泉水小語圖 2007 油彩 畫布 162 x 130 cm 簽名畫背：五花肉系列─肉花鳥 泉水小語 圖 常陵 2007 圖錄： 《印象當代》，印象畫廊，台北，2007年10 月出版，彩色圖版，頁75 《常陵》，印象畫廊當代館，台北，2008， 彩色圖版，頁51 附藝術家簽名之原作保證書

120

167

CHIU Ya-tsai

(Taiwanese, b. 1949)

Intellectual Oil on canvas 117 x 91 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

邱亞才 書生 油彩 畫布 117 x 91 cm 簽名左下：邱亞才

122

168

HSIAO Chin (Chinese, b. 1935)

Wisdom Heart 2006 Acrylic on canvas 110 x 170 cm Signed on the reverse Hsiao in English and Chin in Chinese, dated 2006, media acrylic in Chinese, titled Wisdom heart in Chinese and English EXHIBITED: The Heart of Hsiao Chin, Lin & Keng Gallery, Taipei, June 3-25, 2006 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

蕭勤 智慧心 2006 壓克力 畫布 110 x 170 cm 簽名畫背：Hsiao 勤 2006 壓克力畫 「智慧 心」(Wisdom heart) 展覽： 「蕭勤的心」，大未來畫廊，台北，2006年 6月3日至6月25日 附藝術家簽名之原作保證書

124

169

林鉅

(Taiwanese, b. 1959)

1995 油彩 畫布 162 x 130 cm

聖家族

LIN Ju

Holy Family 1995 Oil on canvas 162 x 130 cm EXHIBITED: 1996 Taipei Biennial – The Quest for Identity, Taipei Fine Arts Museum, Taipei, October 1996 Lin Ju: The Sighted Flesh, Lin & Keng Gallery, Taipei, Sept. 13 - Oct. 7, 1997

126

ILLUSTRATED: 1996 Taipei Biennial – The Quest for Identity II, Taipei Fine Arts Museum, Taipei, October 1996, color Illustrated, p. 241 Lin Ju: The Sighted Flesh, Lin & Keng Gallery, Taipei, 1997, color illustrated, cover page and pp. 28-29

NT$ 550,000-750,000 US$ 17,200-23,400 HK$ 131,000-179,000

展覽： 「1996雙年展：台灣藝術主體性」，台北市 立美術館，台北，1996 「林鉅個展：視肉」，大未來畫廊，台北， 展期自1997年9月13日至10月7日 圖錄： 《1996雙年展：台灣藝術主體性II》，台北 市立美術館，台北，1996年10月出版，彩色 圖版，頁241 《林鉅：視肉》，大未來畫廊，台北， 1997，彩色圖版，封面及頁28-29

170

HWANG Jyi

(Taiwanese, b. 1953)

A Girl in a Gallery 1994-1999 Oil on canvas 162 x 130 cm Signed upper left Jyi in Chinese and dated 1994-99 Titled on the reverse A Girl in a Gallery in Chinese, signed Hwang Jyi in Chinese and dated 1994-99

黃楫 ILLUSTRATED: The Empire Strikes Back - Episode I : The Return of the King, Impressions Contemporary, Taipei, 2008, color illustrated, p. 48 This painting is to be sold with a certificate of authenticity issued by Impressions Gallery, Taipei.

NT$ 550,000-750,000 US$ 17,200-23,400 HK$ 131,000-179,000

畫廊之女 1994-1999 油彩 畫布 162 x 130 cm 簽名左上：楫 1994-99 簽名畫背：畫廊之女(女人的雕塑) 黃楫 1994-99 圖錄： 《大國大反擊：首部曲─王者再現》，印象 畫廊當代館，台北，2008，彩色圖版，頁48 附印象畫廊開立之原作保證書

171

YANG Chihung (Taiwanese, b. 1947)

Days 2006 Acrylic on canvas 102 x 145 cm Titled on the reverse Days in English, signed Chihung Yang in English and dated 2006 ILLUSTRATED: Inner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museum of China, Beijing, 2007, color illustrated, pp. 122-123

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

楊識宏 日子 2006 壓克力 畫布 102 x 145 cm 簽名畫背：Chihung Yang Days 2006 圖錄： 《心象情境：2007楊識宏北京中國美術館個 展》，亞洲藝術中心，北京，2007，彩色圖 版，頁122-123

128

172

WU Tien-chang (Taiwanese, b. 1956)

Thinking about the Japanese Colonial Period 1991 Oil on canvas 53 x 45 cm

NT$ 600,000-900,000 US$ 18,800-28,100 HK$ 143,000-214,000

吳天章 關於日據時代的聯想 1991 油彩 畫布 53 x 45 cm

130

173

YANG Ren-ming (Taiwanese, b. 1962)

Pretending Moonlight - Night Snack 2007 Oil on canvas 182 x 227 cm Titled on the reverse Pretending Moonlight Night Snack in Chinese, media oil on canvas, dated 2007.06 and size 227 x 182 cm

NT$ 750,000-850,000 US$ 23,400-26,600 HK$ 179,000-202,000

楊仁明 裝月光：有一個月的夜是這樣的 2007 油彩 畫布 182 x 227 cm 簽名畫背：有一個月的夜，是這樣的 油/布 2007.06 227 x 182 cm

132

「裝月光系列」是楊仁明繼2000年「不 安定的連結系列」之後的整合與創作概 念。「裝月光」系列的誕生，成因於藝術 家夜半漫步到畫室外空地，仰首看見無垠 夜空的月光異常明亮，而觸動了他的靈 感。此後，藝術家在重金屬搖滾、另類音 樂，或激昂或低喃的樂音伴隨之下，開始 在紙上塗寫勾勒繪畫的靈感；然後拿起畫 筆，將自己投身於議題內，尋找衝破框架 的多樣性可能。楊仁明說：「我喜歡在看 來相似的構圖裡頭，挑戰各種因為創作與 生活經驗而碰撞激發出的不可預料的結 果。」無論是從早期的「從黑水長出來的 新植物」系列（1992年），先前「不安 定的連結」系列（2000年）至今，這樣 的想法一直縈繞在楊仁明的創作中。 此件作品《裝月光：有一個月的夜是這樣 的》一方面在畫面層次上顯得更為隱晦； 另一方面也在作品命題上提供觀者得以 「進入」的線索，邀請觀者去感受其繪畫 語言矛盾的差異，又或者是，差異的矛 盾。如此一來才可能體會到所謂「沒有任 何一種文字是不想被他人閱讀的」。楊仁 明的裝月光在不同的燈光照射下會反照出 不同層次的細微變化，藍色中夾雜紫色， 靛青及隱約的銀色光，好似藝術家將整個 宇宙萬象包容入作品當中，令人印象深 刻。

"Pretending Moonlight Series" is the transcendence in integration and creation conceptions after Yang Ren-ming's "Unstable Ties Series" in the year 2000.

"Pretending Moonlight Series" drew inspiration from the artist's midnight outdoor stroll in the open air when he saw the vast and exceedingly bright moonlight. Later, the artist began to scribble on paper his drawing inspiration to the accompaniment of heavy metal rock and alternative music either passionate or muttering. He then picked up the brush, committed himself to the theme and began to look for diversified possibilities for breakthrough.

Yang Ren-ming said: "I like to seek from the seemingly similar pictures the unexpected results activated by creation and life experience." This idea has been present both in his early "New Vegetation from Black Water Series" (1992), the previous "Unstable Ties Series" (2000) and works of today.

On the one hand, the artwork "Pretending Moonlight - Night Snack" appears more obscure and veiled. On the other hand, it also provides audiences with clues to look into the painting and feel the drawing language's differences of the contradiction, or, the contradiction of the differences. Therefore one can understand the saying that "No writing wants to be withheld from the public." All want to make public appearance without being too intruding.

174

CHUANG Che (Taiwanese, b. 1934)

Light with Shadow 2002 Acrylic and oil on canvas 202.5 x 168 cm Signed lower right Chuang Che in Chinese and dated 2002 Ti t l e d o n t h e r e v e r s e L i g h t w i t h Shadow, dated 2002, signed Chuang Che in Chinese and media acrylic oil ILLUSTRATED: Chuang Che, Deep Ridge - Remote Way, Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, pp. 136137

NT$ 1,200,000-2,200,000 US$ 37,500-68,800 HK$ 286,000-524,000

莊喆 歛影含光 2002 壓克力 油彩 畫布 202.5 x 168 cm 簽名右下：2002 莊喆 簽名畫背：歛影含光 2002 莊喆 acrylic oil 圖錄： 《莊喆．嶺深道遠—2007北京中國 美術館個展》，亞洲藝術中心，台 北，2007，彩色圖版，頁136-137

134

175

George CHANN

(Chinese-American, 1913-1995)

Abstract Oil on canvas, collage 134 x 134 cm Signed lower left GEO. CHANN in English

NT$ 1,500,000-2,500,000 US$ 46,900-78,100 HK$ 357,000-595,000

陳蔭羆 大傲若謙 油彩 畫布 拼貼 134 x 134 cm 簽名左下：GEO. CHANN

陳蔭羆的抽象富有東方旨趣，自然和他的出身背景有極大關連。1952年他在洛杉磯開設一間 「農夫市場藝廊」小店，店鋪內不賣自己的繪畫，而是販售玉石珠寶、骨董字畫等中華文 物，藉此糊口。雖然他終日與文物為伍，每天仍作畫7個小時。不願與畫商打交道，他的後期 創作少見發表，作畫的目的不為市場考量，純粹是潛心研究抽象藝術，仿如古人的大隱隱於 市，一直延續到1995年病逝為止，歷時超過40年。 綜觀陳蔭羆的抽象畫發展，依年代分為幾個階段，首先是1950年代的黑白系列抽象作品，漢 文字、碑帖入畫，而後漸融入色彩；1960年代文字符號仍在，佐以破碎、揉合、拼貼、糊裱 等材質變化，表現肌理厚實，透露出人文湮滅的神祕痕跡；1970年代之後發展出另一種色彩 繽紛、線條奔放如織錦般的抽象圖畫，融入都會景觀的現代感受，洋溢著古文明與現代的華 麗融合，藉由行動繪畫的滴流、潑灑方式盡情展現。 Chann's abstract paintings are rich in oriental atmosphere, which is indeed related to his background. In 1952 he ran a store "Farmer's Market Art Gallery" in Los Angeles, in which he did not sell his own works but Chinese artifacts such as jewelries and antiques just to earn a living. Running a business as an antique dealer, he still managed to paint for 7 hours a day. His later works were hardly seen owing to his unwillingness to work with art dealers. He refused to work on market-oriented paintings: pure abstract art was the only objective he had. Until he passed away in 1995, he has been exploring abstract art while running the small business for over 40 years.

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

136

176

ZHOU Chunya (Chinese, b. 1955)

Eros 1997 Oil on canvas 60 x 72 cm Signed lower right Zhou Chunya in Chinese and dated 1997, signed ZHOU in English

NT$ 1,800,000-2,800,000 US$ 56,300-87,500 HK$ 429,000-667,000

周春芽 情慾 1997 油彩 畫布 60 x 72 cm 簽名右下：1997 周春芽 ZHOU

138

177

ZHOU Chunya (Chinese, b. 1955)

Mountain Rock Series 1995 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1995

NT$ 3,000,000-5,000,000 US$ 93,800-156,300 HK$ 714,000-1,190,000

周春芽 山石系列 1995 油彩 畫布 100 x 80 cm 簽名右下：1995 周春芽

140

很多中國藝術家都想把油畫中國化，周春芽 的嘗試頗具代表性。依周春芽看來，在古人 傳統的藝術中，仍然能夠感受到永久不變的 精神內容。從德國留學回來後，他借用國際 化的新表現主義語言技巧，將宋元明清古典 山水的意象與西方繪畫的框式取景奇特地組 合起來，創作的「山石」系列，不但對其質 感、體積、紋脈肌理和形狀用不尋常的油彩 表現，同時繁複錯落的體積結構改變了文人 繪畫扁平的視覺特性。 在《山石系列》此幅作品中，畫面中的顏料 結成硬殼覆蓋，不再平整，而呈現凹凸起伏 狀。畫面中呈現的結構與現實的存在並無直 接的聯繫，風格傾向抽象卻又融入眾多實際 的細節。

shape and the complicated volume structure have been handle very differently from the traditional literate style, which is normally plain in visual characteristics.

事實上，周春芽不但在創作理念上融匯古代 傳統文人繪畫方式，在具體的運筆創作上， 同樣如此。畫筆穩健直接，一氣呵成，沒有 修改的餘地，如畫於宣紙的傳統水墨畫。有 些筆觸具有書法 式的「飛白」；有時又厚重 如積墨。正因為此，周春芽被認為是中國當 代藝術家中對色彩把握最好的畫家之一。

This painting is encrusted with color pigment and has made an uneven surface on the canvas.

The image does not have any direct connection with its original existence in real life; the painting style tends to be more abstract, but merging with numerous actual details.

Many Chinese artists attempt to localize western oil painting, among them Zhou Chunya is the most representational one. From his perspective, the permanent spirit can still be felt in the ancient traditional art. After returned from studying in Germany, he adopted an international new expressionism technique. He combines the non-representation style from the Song, Yuan, Ming and Qing dynasties with the western representation style and created his unique Stone series. In the "Mountain Rock" series, the oil painting is executed in an extraordinary way; the texture, volume, veins,

As a matter of fact, Zhou Chunya has not only integrated the ancient traditional literate painting style in his creative philosophy, but also in the specific brush techniques. His prudent and coherence strokes has made no allowance for any changes, just as the traditional ink painting on the rice paper.

Sometimes the brush style is just as the hollow strokes in calligraphy and sometimes as powerful as ink accumulation. This is why Zhou Chunya is considered to be one of the best artists who have a strong ability to master the color among the contemporary artists in China.

178

"Bird" series can be said to be the most capable of spreading series of Lin Fengmian's works, various printed copies often appeared in all kinds of publications and magazines. Even in 1960s, when China leftwing ideas prevail, barely you can see Lin Fengmian's originals and print, according to Wu Guanzhong's recall, in those days the only time he saw Principal Lin's work was appeared in a publication called Children. He sighed with emotion, but suddenly realized that, "It actually published in the most appropriate place. Young at heart VS childlike innocence!" (Wu Guanzhong: To Teacher Lin Fengmian –

LIN Fengmian (Chinese, 1900-1991)

Great View 1960s Ink on paper 47 x 35 cm; 35 x 35 cm (image) Signed lower right Lin Fengmian in Chinese With one seal of the artist With an inscription by fellow artist Zhu Jizhan, Great View-A marvelous work by Fengmian PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No.72: Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 2, p. 1

NT$ 2,000,000-3,000,000 US$ 62,500-93,800 HK$ 476,000-714,000

林風眠 雄視圖 1960年代 水墨 紙本 47 x 35 cm；35 x 35 cm（圖） 簽名右下：林風眠 鈐印右下：林風瞑印 款識：雄視 風眠妙筆 屺瞻題 鈐印：朱屺瞻 來源： 香港三槐堂收藏 圖錄： 周衛明編，《藝苑掇英第七十二期：三槐堂 藏現代書畫專輯》，上海人民美術出版社， 上海，2004，彩色圖版，編號2，頁1

142

Recalling Gardener in Flower Garden, No. 33, Artist)

「小鳥」系列可以說是林風眠最為人熟知 的作品系列之一，各類圖像經常出現在各 類刊物雜誌上。甚至1960年代中國極左思潮 占上風，大陸基本上看不到林風眠的原作和 印刷品的時候，據吳冠中的回憶，他在當年 唯一一次看到林校長的作品出現在一本名叫 《小朋友》的刊物上。他有些感慨，但忽然 又領悟到，「其實發表在最合適的場所了， 童心對童心！」 （美術家第33期吳冠中《百花園裡憶 園丁—寄林風眠老師》）。 林風眠常以輕鬆的筆墨畫一隻立在枝頭上孤 零零的小鳥，有些研究者認為這些作品更多 的只是一幅普普通通的畫，有些則認為是表 現畫家獨立不羈，悲憤厭世的內心世界。事 實上，有不少名家都創作過《雄視圖》的題 材，其中齊白石的《雄視圖》以雄鷹為主 角，筆道老辣，勾畫出雄鷹居高臨下，孤傲 而不可侵犯的神態，在畫面上造成一種「岌 岌乎危哉」的險局。而林風眠的《雄視圖》 則以貓頭鷹為題材，飽滿豐富又層次分明的 畫面佈局，處於畫面正中的主角，看起來倔 強堅持，但十分的具有人情，作品創作於20 世紀60年代，藝術家處在動亂的生活中，命 運波折。該幅作品一方面表現了藝術家慣有 的社會立場和當時的心境，同時以貓頭鷹童 真趣味的形態表現突顯了藝術家患難中不變 的真性情。 該作品藏家來自於早年上海美術館的收藏， 當時的藏家請了著名的書法家朱屺瞻題字： 「雄視」。書法的力度和渾厚給了作品另一 種輝映和情趣。

Lin Fengmian's bird pictures usually adopt light lines to draw a solitary bird up in the branch. Some researchers think these works are more like ordinary paintings, some think they represent the independence, unruliness, grief and indignation, pessimist inward world of the artist.

In fact, there are many famous experts have produced pictures themed Great View, in which Qi Baishi's Great View as a tribute to Eagle, experienced touches draw the outline of Eagle's commanding, aloof and proud inviolability manner, create a "imminent danger" dangerous situation on the picture. But Lin Fengmian's Great View is themed at owl through painting, plump, rich and layered picture composition make the protagonist at the center of the picture appear perversely, but with lots of human emotions, the work was created in 1960s when the artist lived in convulsion, ups and downs.

This work not only presents the artist's usual social stand and feelings of the time, but also highlights the artist's unchanged true nature in the adversity through the form of childhood fun performance of an owl.

The collector got this work from an old gentleman who once worked for Shanghai Museum. The old gentleman received this work as a gift from Lin Fengmian, and then he invited the painter Zhu Jizhan who returned from Japan to inscribe: "Great View".

The intensity and abundance of calligraphy presented another kind of reflection and spice on the work.

144

179

LIN Fengmian (Chinese, 1900-1991)

Flowers in Vase c. 1970s Ink and color on paper 67 x 65 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Christie's sale, Hong Kong, May 28, 2007, lot 1191

NT$ 4,200,000-5,800,000 US$ 131,300-181,300 HK$ 1,000,000-1,381,000

林風眠 瓶花圖 約1970年代 彩墨 紙本 67 x 65 cm 簽名左下：林風眠 鈐印：林風瞑印 來源： 佳士得拍賣，香港，2007 年5月28日，編號1191

不論什麼時候，只要接觸自然花卉形象，無不令人為其欣欣向榮的生命所感染和陶 醉，一切生活的苦和命運的波折在這絢爛之前都失了蹤。林風眠一生坎坷，對於花 和自然卻無比熱愛，很多人在林風眠的花卉畫面前無不由自主的發出讚嘆聲。同 樣，濃烈的情感裡也存在著寒冷和諧的情緒主宰時刻。 此幅《瓶花圖》中背景線條簡約，畫家在畫面中力保中國傳統美學的筆墨趣味與深 邃意境，素瓶插飾典雅黃玫瑰，予人詩意的聯想，因構圖的形式或佈局，都可見西 畫的取向。在色彩方面，水墨、水粉和水彩的結合，複合的表現形式豐富了中國畫 的表現，尤其敷以白粉勾勒，使得畫面充滿光線的印象，傳統美學中融入現代感， 林風眠的作品在近代中國藝術家中風格獨樹一格。

Whenever we are close to the image of natural flowers, we are moved and fascinated by their thriving vitality, and have all our sufferings and twist and turns of life removed in the face of this splendor. Lin Fengmian led a tough life, yet had an ardent love for flowers and nature. His painting of flowers made a great many people gasp in admiration. Of course, there are also times when a calm and peaceful mood overwhelms.

The painting "Flowers in Vase" uses simple background lines to retain a sense of traditional Chinese ink impressions and a profound aesthetic prospect. The plain vase with elegant yellow roses raises people's poetic imaginations, while the composition of the picture's form and layout shows influences from western painting. As for the color, the artist uses a combination of ink, gouache and watercolor to enrich the expressiveness of Chinese painting. The white gouache outline in particular, adds a sense of luminous effect to the painting. By integrating modernity into traditional aesthetics, Lin's artwork is unique among modern Chinese artists.

180

CHU Teh-chun

(Chinese-French, b. 1920)

Aux sources de la nuit 2004 Oil on canvas 195 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 04 Titled on the reverse "AUX SOURCES dE LA NUiT" in French and signed CHU TEH-CHUN in Chinese and English, dated 2004 EXHIBITED: Chu Teh-chun: Painting World, Impressions Art Gallery, Taipei, June 2005 ILLUSTRATED: Impressions Classics IX: Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 079, p. 116 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 7,500,000-8,800,000 US$ 234,400-275,000 HK$ 1,786,000-2,095,000

朱德群

朱德群一幅2003年完成的巨幅油畫《復興的氣韻》（430x730cm）同年剛被上海大劇院永久典 藏。畫家以豐富的色彩及變化萬千的形式，表現出如交響詩般節奏輕快的歡宴氣氛。 藝術評論家以「夢的風景畫」一詞解析朱德群的繪畫風格，尤其他的近作，形式與色彩益加 奔放。朱德群和趙無極皆為海內外知名的華裔抽象畫家，不過不同於趙無極以完成日期為 題，朱德群經常賦予作品具有詩意的畫題，其繪畫更易於領會。此幅2004年創作的《夜之 泉》是他近期的經典作品之一。 畫面中各種色階的紅色、黃色和藍色，映襯著黑色，佈滿畫 面，鮮明、豐富、大膽而又諸多變化。彩色的點塊如同跳躍的音符，又如繁花，透出明亮清 澈的光線，勾勒出藏於畫家內心深處的生命中的愉悅記憶。

夜之泉 2004 油彩 畫布 195 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 04 簽名畫背："AUX SOURCES DE LA NUIT" CHU TEH-CHUN 朱德群 2004 展覽： 「朱德群的繪畫世界」，印象畫廊，台北， 展期2005年6月 圖錄： 《印象經典I X：朱德群》，印象畫廊， 台北，2005，彩色圖版，編號079，頁116 附亞洲藝術中心開立之原作保證書

146

Chu Teh-chun's mural-sized oil painting "Symphonie Festive" (430x730cm) was completed in 2003 and snatched up in the same year to become part of the Shanghai Grand Theater's permanent collection. Through vivid colours and a great variety of shifting patterns, the artist conveys a merry atmosphere with a brisk and relaxed rhythm reminiscent of a symphonic poem.

"Paysagisme des songes" describe Chu Teh-chun's painting style. His more recent work in particular displays a natural and uninhibited release of form and color. Together with Zao Wou-ki, Chu Teh-chun is one of the most famous abstract painters of Chinese descent, both in China and internationally. But unlike Zao, who tends to simply name his works after the date of completion, Chu usually devises poetic titles, which point the beholder towards deeper appreciation of the painting. This painting from 2004 titled "Aux sources de la nuit" is one of his recent masterpieces. Numerous shades of red, yellow and blue are set off with particular intensity and luster against the black background. The bold composition and rich hues dazzle the viewer with multifaceted layers of space and color. The dotted slabs of paint seem to be dancing like musical notes on the surface of the painting, metamorphosing into blossoming flowers or bright, lucid rays of light the next moment, ever communicating the multitude of pleasant recollections of a long life effusing from the depth of the artist's heart.

181

YANG San-lang (Taiwanese, 1907-1995)

Chih Shan Yen Oil on canvas 91 x 116.5 cm Signed lower right S. Yang in English EXHIBITION: Exhibition for Yang San-lang's Top 10 Pieces: Country Landscape and Seascape, Fine Art Center, Tainan, 1997 ILLUSTRATED: Exhibition for Yang San-lang's Top 10 Pieces: Country Landscape and Seascape, Fine Art Center, Tainan, 1997, color illustrated, pp. 14-15 2000 Taiwan Art (Part II), Southern Taiwan Art Collectors Association, Taiwan, 2000, color illustrated, pp. 92-93

楊三郎 芝山岩

This painting is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.

油彩 畫布 91 x 116.5 cm 簽名右下：S. Yang

NT$ 4,600,000-5,600,000 US$ 143,800-175,000 HK$ 1,095,000-1,333,000

展覽： 「珍藏楊三郎十大力作特展－鄉土情 V.S. 海 之戀」，梵藝術中心，台南，1997 圖錄： 《珍藏楊三郎十大力作特展－鄉土情 VS 海 之戀》，梵藝術中心，台南，1997.1，彩色 圖版，頁14-15 《台灣美術典藏》第二輯，南台灣美術收 藏聯誼會，台南，2000年12月出版，彩色圖 版，頁92-93 附梵藝術中心開立之原作保證書

楊三郎一生奉行印象派，注重戶外寫生、注 重日光、時序下的光影變化，在直接面對自 然的關照下，為了加強筆觸在畫面上所呈現 的肌理，藝術家經常筆、刀並用，以豐富筆 觸的繪畫機能，凸顯質感、量感，以畫龍點 睛之姿，活化整幅作品。 此幅《芝山岩》為楊三郎少見的大幅作品之 一，畫面中正紅和綠色形成強烈對比，大筆 大筆的紅橙色系、深重褐黃、斑駁的筆調，

148

堅實、硬厚、淳樸，又帶家園溫馨之感，正 是藝術家用筆的心境，更顯出古屋的尊貴高 雅。所以此件具有強烈鄉土色彩的作品，代 表著不只是一張楊三郎的畫，而是其一生過 程與堅持追求自我繪畫風格的成果。

Yang San-lang always pursued impressionism, focusing on open-air painting and the change of shadows under sunlight as well as timing sequence. Apart from his emphasis on nature and the strength of the texture carried by the brushwork, the artist often used both brushes and palette knives to enrich the brushwork and reinforce the quality of and the paint's volume.

Often, this one final touch highlighted the sense of reality and made the whole work alive.

This precious piece of "Chih Shan Yen" is one of Yang San-lang's rare huge paintings.

The red and green colors at the center of the painting are in stark contrast with each other. The prodigious use of red-orange, deep brown-yellow and mixed colors as well as firm, hard touches and homelike feelings reflect the author's state of mind as well as the nobleness and elegance of the ancient houses.

Therefore, this painting with its strong local flavor represents not just an artwork of Yang San-lang's, but also his life's pursuit of an independent painting style.

182

LIAO Chi-chun (Taiwanese, 1902-1976)

Guanyin Mountain and Tamsui River 1974 Oil on canvas 31 x 41 cm With an inscription on the reverse written by Liao Shu-chung: This is my father's original oil painting 41x31cm certified by Shu-chung Liao, Chi chun Liao's son at Ann Arbor MI, March 22, 1992 PROVENANCE: Collection of Liao Shu-chung, the forth son of the artist This painting is to be sold with a certificate of authenticity and a picture of the artist's family.

NT$ 6,000,000-8,000,000 US$ 187,500-250,000 HK$ 1,429,000-1,905,000

廖繼春 淡水觀音山 1974 油彩 畫布 31 x 41 cm 畫背文字：此為我父親的油畫原作 41x31cm 廖繼春之子廖述忠鑑定，1992年3月22日於 密西根州安娜堡 來源： 藝術家四子廖述忠舊藏 附家屬合照及原作保證書

廖繼春最引人稱頌的繪畫風格就是色彩的表 現，美術史學者以「色彩的魔術師」來讚揚 廖繼春的繪畫。畫家曾說過他的色彩是騙人 的，不忠於自然的。此無異於顛覆中國繪畫 師法自然的固有傳統，而服膺西方野獸派、 表現主義的美學觀念。他隨心所欲的賦予景 物主觀的色彩，卻能夠讓變化萬千的色彩互 相調和，同時追求造型的自由，產生愉悅的 感受。

"I use simple, intense colors and the contrast to bring up more colors, in the mean time, I pay attention to the aesthetic delight between lines when shaping. It is not about my impressions in a specific time; it's simply about representing the colors that I wanted to represent." (Lin Hsing

對於色彩與造型的運用，廖繼春有其看法， 他曾說：「我利用簡潔強烈的色彩，以對比 和強調來賦予更多的色感，同時在線條的構 成中注意造形的趣味。不是寫某一個時間 內的印象，而是把希望表現的色彩表現出 來。」 （參閱林惺嶽，〈跨越時代鴻溝的彩虹-記廖繼

In the 1960s when he returned from his visit to Europe and the United States, he was quite impressed with American abstract art and European civilization. Between the 1960s and 1970s, Liao Chi-chun's paintings reached their peak. In particular, the splendid scenery of Venice, the busy shuttles on the water and the free atmosphere for creation affected Liao so much that upon his return to Taiwan, he quickly found his own intuition. Fresh water, love, Venice, wild willows or East Port, the last leg of his life's journey, all these famous attractions of water takes on a lively outlook under his brush.

春的繪畫生涯〉，《廖繼春畫集》，國泰美術館，台北， 1981年3月出版，頁230-231）

1960年代歐美考察回國，途中見聞大開眼 界，美國抽象畫的風潮以及歐洲文明，皆使 廖繼春的內心受到極大的憾動。1960-1970 年代廖繼春的繪畫創作達到巔峰。尤其見 識到威尼斯的水色天光，舟楫穿梭水間的繁 忙景象，自由和諧的創作氣氛，使得他回到 台灣以後，將接收到的刺激，轉化為推動的 力量，快速地找到自己的方法。無論淡水、 愛河、威尼斯、野柳，或生命最後一站的東 港，這些以水聞名的名勝景點，在他的筆下 呈現出一種近似的繽紛、活潑的氣氛。 此幅1974年創作的《淡水觀音山》是經典作 品之一。藉著巧妙的點畫處理，天景與水影 色彩流暢的浮動著，漁船忙碌的穿梭在繽紛 的色彩裡，船隻的佈局並未因繁複而顯出凌 亂，卻因色彩的鮮活將原本小小的漁港朝著 遠天無限的擴散延伸。

What is most praised about Liao Chi-chun's paintings is his use of colors; art critics praised him as "the magician of colors". The artist said that his colors are deceivable, untrue to nature. However, it has no difference from overthrowing the "nature is the mentor" tradition of Chinese painters; he took up the aesthetic concepts from Fauvism and Expressionism. He willfully gave the scenery colors from his subjective point of view, and he harmonized, blended those colors together, and shaped the scenery freely at the same time, to achieve a joyful and cheerful feeling.

As for the use of colors and shapes, Liao Chichun had his own point of view, he once said:

150

Yueh The Rainbow Across the Gap Between Generations Liao Chi-chun's artistic life by Lin Hsing-yueh, Cathay Art Museum, Taipei, published on March, 1981, pp. 230 - 231)

Created in 1974, this lot "Guanyin Mountain and Tamsui River" is one of his classics.

Adopting a dotting technique, the color of the sky and the water floats smoothly, while fishing boats shuttle back and forth in bright colors.

The layout of the vessels does not become messy because of the complexity of the colors.

Instead, the freshness of the colors helps to extend the little fishing port to the skyline in the distance.

183

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Single Whip 1981 Bronze, edition no. 13/20 75(L) x 40(W) x 44.5(H) cm Engraved Ju Ming in Chinese, numbered 13/20 and dated '81 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 9,000,000-12,000,000 US$ 281,300﹣375,000 HK$ 2,143,000﹣2,857,000

朱銘 太極系列─單鞭下勢 1981 銅雕 13/20 75(長) x 40(寬) x 44.5(高) cm 簽名雕刻：朱銘 13/20 '81 附藝術家親筆簽名之原作保證書

152

太極拳是朱銘跟隨楊英風期間每日的健身活 動，久而久之，從中體會出太極的精義，乃 至於萌生雕刻太極的意念，為他的創作生涯 開闢了第一種現代雕塑的語言「太極」。朱 銘說道：『太極拳是古代中國人所創造的一 種健身術，它是我所知道的一個「個人與自 然結合」的最好例子』。它用人的自身來接 觸和模仿宇宙中的自然現象。朱銘追求自然 的協調，透過練習太極，由內而外，落實於 身體與技法的結合，以樸拙未加修飾的手法 雕刻太極，達成「人與自然的結合」。 朱銘刀下的「單鞭下勢」，本身具有力度與 造型的美感，在動靜之間，讓人感到綿綿不 絕的形意流轉，因其式有起伏，不拘泥於外 在形態的雕琢，只追求意識流轉的完整呈 現，誠如太極拳宗師王宗岳所強調的「力由 脊發，步隨身換。收即是放，斷而復連，往 復須有折疊，進退須有轉換」，於單鞭下勢 中可獲得最好的詮釋。 細看「單鞭下勢」的動作，其根在腳，發於 腿，主宰於腰，形於手，周身節節貫串，完 整一氣。力量由下而上地傳遞 ，由腳而腿而 腰，武者進退靈活、得機得勢。其次，武者 沒有面目神態，但作品依然傳神。靠的是以 氣傳神。太極系列凝固的不僅是武者的動 作、呼吸，還有武者的意識。朱銘匠 心獨具只見輪廓不見五官呈現出武 者內斂的神情。所謂「氣宜鼓 蕩，神宜內斂」的武術家用 語來形容朱銘的作品似 乎比一般的藝術風格 論更貼切。

When studying under Yuyu Yang, the doyen of Taiwanese sculpture, Ju practised Taichi Chuan on a daily basis. In addition to staying healthy, he soon grasped the essence of this ancient sport and began to ponder conveying his insights through works of sculpture. Taichi became the 'language' in which his sculpture was 'written'.

As Ju Ming explains, 'Taichi Chuan is a method of maintaining your health through regular soft exercise. At the same time, it is the best example of "achieving oneness between individual and nature" that I am aware of.' Taichi Chuan is a way of directly experiencing and emulating the natural phenomena that make up our universe.

Ju Ming is devoted to the pursuit of this 'natural harmony', both in his life and his art. Having internalized taichi's principles, he strives to reveal them to others in his work, melding taichi and artistic skills into straightforward, unembellished manifestations of 'man's oneness with nature'.

Ju Ming's Single Whip epitomizes the fascinating tension between inner tranquility and outward action characteristic of most taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focussing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigourous momentum of the low single whip move. In doing so, he gives us a hint of how taichi allows the life force to circulate freely through the adept's body, just as taichi grandmaster Wang Zongyue put it, 'The energy originates in the spine, and flows as the feet follow where the trunk leads. Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats.'

Taking a closer look at the low single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept's movements and breathing, but reveal his very mind. Ju Ming does not bother—does not need to bother—with a detailed depiction of facial features, because his concern is the performer's 'inner expression', the face of his soul as seen through the movements. 'The chi should flow freely and the mind be calm': nothing could describe the art of Ju Ming better than this old Taichi adage.

184

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1995 Bronze, edition no. 6/10 43(L) x 36.5(W) x 56.5(H) cm Engraved Ju Ming in Chinese, numbered 6/10 and dated '95 This painting is to be sold with a certificate of authenticity signed by the artist.

154

NT$ 3,200,000-4,200,000 US$ 100,000﹣131,300 HK$ 762,000﹣1,000,000

朱銘 太極系列 1995 銅雕 43(長) x 36.5(寬) x 56.5(高) cm 簽名雕刻：朱銘 6/10 '95 附藝術家親筆簽名之原作保證書

156

185

JU Ming

(Taiwanese, b. 1938)

Buffalo 1990 Wooden sculpture 106(L) x 24(W) x 40(H) cm Engraved Ju Ming in Chinese and dated '90 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,600,000-2,800,000 US$ 50,000-87,500 HK$ 381,000-667,000

朱銘 耕牛 1990 木雕 106(長) x 24(寬) x 40(高) cm 簽名雕刻：朱銘 '90 附藝術家親筆簽名之原作保證書

186

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

Advent of the Phoenix 1970 Stainless steel, edition no. 8/20 63(L) x 53(W) x 68(H) cm Engraved on the base Yuyu YANG in Chinese and English, Yang YF in English, dated '70 and numbered 8/20 This sculpture is to be sold with a certificate of authenticity issued by the Yuyu Yang Foundation, Taipei.

NT$ 950,000-1,500,000 US$ 29,700-46,900 HK$ 226,000-357,000

楊英風 鳳凰來儀 (三) 1970 不鏽鋼 8/20 63(長) x 53(寬) x 68(高) cm 簽名雕刻台座：'70 呦呦楊英風 Yuyu YANG Yang YF, 8/20 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證書

158

187

LIANG Pin-cheng (Taiwanese, b. 1958)

Golden Mask 703 2007, gold leaf, Taiwan Yew 60(L) x 19(W) x 175(H) cm (including the base) Signed on the back Liang Pin-cheng in Chinese and dated 2007

NT$ 400,000-450,000 US$ 12,500-14,100 HK$ 95,000-107,000

梁平正 黃金面具 703 2007 金箔 紅豆杉 60(長) x 19(寬) x 175(高) cm (含底座) 簽名背面：梁平正 2007

梁平正的「黃金面具」系列，顛覆傳統木雕的形體描繪，有別於西方雕塑的原型理 論，以一種寫意及觀念中的轉換作為表達形式。梁平正作品中的記號與圖騰都是在微 觀下呈現有秩序的排列，表面上的乳凸好似觸碰在春秋銅幣上浮紋，藝術家藉由作品 傳達出其所追求的是正、負零點一的微妙情感。 《黃金面具703》是以台灣特有的紅豆杉為材質，木理均勻、結構綿密、堅硬具有光 澤。整體造型採中國碑文的柱狀體，透過藝術家穿鑿、細琢傳遞手感。強調「雙重視 域」的正負空間表現方式，交雜編織出看變體的具體形式。《黃金面具703》其藝術 表現力求追思歷史文化，並建構當代藝術新面貌。 黃金面具，可以視為個人對舊時代的告別、及對新世代的渴望；也能被看作是偽裝內 在的真實。梁平正隱居於山林，其創作素材完全轉借於自然界，然而他其實透過創作 也在表明心跡、記憶、救贖、冀求，而大自然則是他的演出平台。

Liang Pin-cheng's "Golden Mask 703" series subverted the traditional form and structural depiction of wooden sculptures, and is different from the western sculpture prototype theory.

It uses freehand brushwork and conversion of concepts as a form of expression. Extended from natural plants, pupa cocoons and kernels, the angles and wings in the mask are mainly taken from the plants' sprouting in the real world or the new life after bio-transformation.

The overall form of the sculpture adopts the column form of Chinese inscriptions and expresses feeling through the artist's exquisite cutting and carving. A "dual vision" of positive and negative space is emphasized to create a concrete form for viewing the variant. "Golden Mask" seeks to review history and culture as well as to construct a new face of contemporary art "Golden Mask 703" can be regarded as a farewell to the old days and a desire for a new era. It can also be seen as disguised reality. Living in secluded mountains, Liang Pin-cheng's source materials are completely taken from nature. However, his mood, memory, salvation and hope are also expressed through his works via nature.

160

188

Hung Yi

(Taiwanese, b. 1958)

Male Tree - Middle 2009 Lacquered steel (unique) 97(L) x 55(W) x 168(H) cm Signed Hung Yi in Chinese and dated 2009

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 107,000-131,000

洪易 公樹—中型 2009 鋼板烤漆（單一件） 97(長) x 55(寬) x 168(高) cm 簽名：洪易 2009

162

洪易的作品一向是入世的。每天被攪拌在生 活裡的小人物們，在他的筆下永遠有令人會 心一笑的喜怒哀樂。觀看洪易的作品，像是 一篇篇情節豐富、曲折神奇、又平易近人的 民間故事。故事內容很精彩，有溫暖，有傷 感，有世故而諧趣的狡詰，也有童稚與純真 的夢幻；有你我身邊的人與事，也有社會百 態的眾生相。什麼都有，就是沒有矯揉作態 的故作高深，沒有聲嘶力竭的批判撻伐。即 使是揭開世間醜惡，也是引人莞爾地以丑代 醜。洪易作品裡，有著鮮活、不受框架限 制、豐沛旺盛的無盡生命力，與源源不盡的 巧思。 洪易作品《公樹》有著可愛的純樸台灣味， 可以感受到強烈十足的鄉土味道。作品上交 互層疊著俗民文化的圖騰及象徵，充分表現 藝術家對於生活事物的幽默風趣，來自民間 文化與日常生活的轉化，將藝術家對於土地 的觀察與情感，揉合於造形之中，那些看來 有些粗野卻絕對可愛的事物，正是洪易傳達 「藝術生活化」理想的使者。洪易認為人間 可愛，而台灣更是一座不折不扣的樂園。

Hung Yi's works are always secular. The little characters who are involved in everyday life can always show joy, anger, grief and happiness in his works that arouse a sympathetic laugh.

Appreciating Hung Yi's works, you are reading an amazing and common folk story which has magic arcs and abundant plots. His stories have rich contents, everything like warmth, sadness, sophisticated and humorous crafty, childish and naïve dreams, people and affairs that may happen to anybody among us, image of all human beings in the diverse society. But there is no hoity-toity, fake profoundness or shouting criticism, and he might use metonymy that makes you laugh to disclose the dark side of the society. Hung Yi is alive and free from any restraints in his work, which is so exuberant and abundant that there seems to be infinite vital creative ideas and inexhaustible artful thoughts.

Hung Yi's work "Male Tree" shows lovely style of Taiwan, from which you can feel full native sense. The work Male Tree has sophisticated folk cultural totems and symbols which fully show the artist's sense of humor towards life and everything. The avatars of folk culture and everyday life mix the artist's observation and feelings of land into the image, and the barbaric-looking but absolutely lovely things are messengers through which Hung Yi communicates the ideal of "Art Your Life".

Hung Yi thinks the human world is adorable while Taiwan is absolutely a Fairland.

189

LIANG Pin-cheng (Taiwanese, b. 1958)

Platinum Fertile Soil 2008 Stainless steel, edition no. 2/6 184(L) x 88(W) x 46(H) cm Signed Liang Pin-cheng in Chinese and dated 2008, numbered 2/6

NT$ 450,000-500,000 US$ 14,100-15,600 HK$ 107,000-119,000

梁平正 白金三角沃土 2008 不鏽鋼 2/6 184(長) x 88(寬) x 46(高) cm 簽名：梁平正 2008 2/6

164

1958年生於台灣屏東的梁平正，1983年獲 雄獅美術新人獎首獎，1985年畢業於文化 大學美術系西畫組。後遠赴美國紐約大學 進修，返台後除繪畫之外，以「即興新表 現裝置」創作具有寫意特色的雕塑。在梁 平正認為，材質是藝術作品內涵呈現之過 程。「東西外表的形象並不真實，真實的 是東西內在的本質，藉此重新尋找雕塑面 對當代文化下的一種新的可能性。」 梁平正的作品造型具有獨特辨識度，不鏽

鋼的素材特性追求平衡的美感，細膩、冷 峻的質地。作品線條、筆觸刻畫，流暢精 準，是隨性揮灑後理性收斂的表現，在作 品《白金三角沃土》展現張力的延伸，內 側的雕刻手法細膩、飽滿，兩者間形成強 烈對比，梁平正摒除傳統的操作慣性，透 過破壞、重建，予人以翻轉、倒置與挖空 心思的想法，在鑿痕表現上回到視覺的線 性律動，有著水墨藝術的性鋪展與收放， 梁平正以異相及變體的概念開啟雕塑的新 視界。

Born in Pingtung, Taiwan, in 1958, Liang Pin-cheng won the first Hsiung-shih New Artist Award in 1983, and graduated from the Western Painting Group at the Chinese Cultural University in 1985. Later, he went to the United States to study at New York University, and returned to Taiwan with impressionistic sculptures besides his paintings, using an improvisation performance. Liang Pin-cheng thinks that materials are the media through which the connotation of art can be revealed.

"The outward appearance is usually false.

The real thing lies within. We should seek to find a new possibility for sculpture under contemporary culture."

Liang Pin-cheng's works are unique. The stainless steel material renders the sculptures a balanced beauty and delicate and cold texture.

The lines of the works are smooth and accurate, a good combination of ease and restraint. In

the work "Platinum Fertile Soil", there is an extension of tension in stark contrast with the inside exquisiteness and plumpness of the sculptures. Liang pin-cheng got rid of the common practice of tradition and provided people impressions of inversion and sense of wonder through destruction and reconstruction.

From the depiction of cutting to visual linear rhythm, the artist is adept in dealing with the art of ink and opens a new vision for sculpture with his conception of out-phase and variant.

190

YU Shenghao (Chinese, b. 1973)

Courtyard House 1998 Oil on canvas 80 x 65 cm Signed lower right YSH in English Titled on the reverse Courtyard House in Chinese, size 80 x 65 and dated 98-6-02

166

俞成浩 This painting is to be sold with a certificate of authenticity issued by Shoreman Art International, Taipei.

NT$ 120,000-220,000 US$ 3,800-6,900 HK$ 29,000-52,000

四合院 1998 油彩 畫布 80 x 65 cm 簽名右下：YSH 簽名畫背：《四合院》 size 80 x 65 98-6-02 附協民畫廊開立之原作保證書

191

XUE Song

(Chinese, b. 1965)

Coca Cola 2006 Mixed media on canvas, collage, 80 x 60 cm Signed lower right Xue Song in Chinese Titled on the reverse Coca Cola in Chinese, size 80 cm x 60 cm, signed Xue Song in Chinese and English, dated 2006

NT$ 240,000-350,000 US$ 7,500-10,900 HK$ 57,000-83,000

薛松 可口可樂 2006 綜合媒材 畫布 拼貼 80 x 60 cm 簽名右下：薛松 簽名畫背：《可口可樂》 80 cm x 60 cm 薛松 Xue Song 2006

192

TU Hongtao (Chinese, b. 1976)

Illusion 2004 Oil on canvas 60 x 40 cm Signed lower left Tutu in English and dated 2004 Titled on the reverse Illusion in Chinese, dated 2004, signed Tu Hongtao Chengdu Sichuan China in Chinese and size 60 x 40 cm

NT$ 120,000-220,000 US$ 3,800-6,900 HK$ 29,000-52,000

屠宏濤 夢幻 2004 油彩 畫布 60 x 40 cm 簽名左下：Tutu 2004 簽名畫背：夢幻 2004 屠宏濤 中國 四川 成都 60 x 40 cm

168

193

JIA Gang

(Chinese, b. 1974)

賈剛

Which Gift Is Mine

2003 油彩 畫布 100 x 120 cm 簽名右下：2003 賈剛

2003 Oil on canvas 100 x 120 cm Signed lower right Jia Gang in Chinese and dated 2003 EXHIBITED: 2004 Mood of the Youth - Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists, He Xiang Ning Art Museum, Shenzhen, 2004

哪個禮物是我的？

ILLUSTRATED: 2004 Mood of the Youth - Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists, He Xiang Ning Art Museum, Shenzhen, 2004, color illustrated, p. 70

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

展覽： 「2004年少年心氣展覽中國新銳」，何香凝 美術館，深圳，2004 圖錄： 《2004年少年心氣展覽中國新銳》，何香凝 美術館，深圳，2004，彩色圖版，頁70

194

CHEN Liu

(Chinese, b. 1973)

The Segmented Series (A pair) 2005 Watercolor on paper 58 x 38 cm (x2) Signed lower center Chen Liu in Chinese and dated 2005.6 (left) Signed lower center Chen Liu in Chinese and dated 2005.5 (right)

NT$ 120,000-220,000 US$ 3,800-6,900 HK$ 29,000-52,000

170

陳流 破碎天空（兩件一組） 2005 水彩 紙本 58 x 38 cm (x2) 簽名下方：陳流 2005.6（左） 簽名下方：陳流 2005.5（右）

195

SUN Lisha

(Chinese, b. 1984)

Sleepless Night 2008 Oil on canvas 160 x 120 cm Signed lower left Sun Lisha in Chinese and dated 2008.2.19

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

孫立沙 夜無眠 2008 油彩 畫布 160 x 120 cm 簽名左下：孫立沙 2008.2.19

196

Wang Kun (Chinese, b. 1958)

Highland Symphony IV 1998 Oil on canvas 90 x 115.7 cm Signed lower left Kun in Chinese and dated 1998.4

172

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

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

高原交響四 1998 油彩 畫布 90 x 115.7 cm 簽名左下：1998.4 昆 附雅逸藝術中心開立之原作保證書

197

QIU Xiaofei (Chinese, b. 1977)

Classroom 1 ﹠ Classroom 2 2007 Acrylic on canvas 30 x 40 cm (x2) Titled on the reverse Classroom (1) in Chinese and English, media arcylic on canvas in Chinese and English, size 40 x 30 cm, dated 2007 and signed Qiu Xiaofei in Chinese and English (upper) Titled on the reverse Classroom (2) in Chinese and English, media arcylic on canvas in Chinese and English, size 40 x 30 cm, dated 2007 and signed Qiu Xiaofei in Chinese and English (lower) PROVENANCE: Art Seasons Gallery, Zurich

NT$ 240,000-350,000 US$ 7,500-10,900 HK$ 57,000-83,000

仇曉飛 課堂1與課堂2 2007 壓克力 畫布 30 x 40 cm (x2) 簽名畫背： 課堂(1) Classroom (1) 布面丙烯 arcylic on canvas 40 x 30 cm 2007 仇曉飛 Qiu Xiaofei（上） 課堂(2) Classroom (2) 布面丙烯 arcylic on canvas 40 x 30 cm 2007 仇曉飛 Qiu Xiaofei（下） 來源： 季節畫廊，蘇黎世

198

HOU Chun-ming (Taiwanese, b. 1963)

Taiwan Squirrel 2007 Mixed media, painted (unique) 38(L) x 55(W) x 68(H) cm Signed on the reverse Liuchiao Studio, Hou of Liuchiao Township in Chinese and dated 2007, Mt. Flame

NT$ 180,000-260,000 US$ 5,600-8,100 HK$ 43,000-62,000

侯俊明 蕾絲鼠（台灣松鼠） 2007 綜合媒材 手繪上色 （單一件） 38(長) x 55(寬) x 68(高) cm 簽名背面：六腳創造社 六腳侯氏 2007 年 火焰山

174

199

Hung Yi

(Taiwanese, b. 1970)

Great Duck 2008 Lacquered steel (unique) 140(L) x 73(W) x 135(H) cm Signed Hung Yi in Chinese and dated 2008

NT$ 300,000-500,000 US$ 9,400-15,600 HK$ 71,000-119,000

洪易 鴨子 2008 鋼板烤漆（單一件） 140(長) x 73(寬) x 135(高) cm 簽名：洪易 2008

200

JIAO Xingtao (Chinese, b. 1970)

Metamorphosis Gate 2006 Fiberglass, edition no. 1/6 113(L) x 42(W) x 45(H) cm Signed on the base Jiao Xingtao in Chinese and numbered 1/6

176

焦興濤 ILLUSTRATED: Matter Morphosis by Jiao Xingtao 20042007, Art Seasons Gallery, Jakarta, 2007, color illustrated, p. 88

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 83,000-131,000

變形記：門 2006 玻璃纖維 1/6 113(長) x 42(寬) x 45(高) cm 簽名底座：焦興濤 1/6 圖錄： 《物語－焦興濤雕塑作品集2004-2007》， 季節畫廊，雅加達，2007，彩色圖版，頁88

201

周春芽

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Bulldog 2007 Bronze, edition no. 2/8 23(L) x 16(W) x 15.5(H) cm Signed Zhou Chunya in Chinese

牛頭斯波特肖像 ILLUSTRATED: Blooming Stories, Sichuan Fine Arts' Publishing House, Chengdu, 2007, color illustrated, p. 102

2007 銅雕 2/8 23(長) x 16(寬) x 15.5(高) cm 簽名：周春芽

NT$ 450,000-650,000 US$ 14,100-20,300 HK$ 107,000-155,000

圖錄 《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁102

202

JIANG Shuo (Chinese, b. 1958)

Red Guard with Fish Bronze, limited edition of 6 43(L) x 24(W) x 55(H) cm Signed Shuo in Chinese and Jiang in English

NT$ 650,000-750,000 US$ 20,300﹣23,400 HK$ 155,000﹣179,000

蔣朔 紅衛兵系列－錢進有餘 青銅原件（限量發行6件） 43(長) x 24(寬) x 55(高) cm 簽名：朔 Jiang

178

203

YANG Mao-lin (Taiwanese, b. 1953)

Astro Bodhisattva 2003 Bronze, AP1 64(L) x 35(W) x 133.5(H) cm Signed Yang Mao-lin in Chinese, dated 2003, and numbered AP1 ILLUSTRATED: Canonization of the Gods - the Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, p. 36

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

楊茂林 原子小菩薩 2003 銅雕 AP1 64(長) x 35(寬) x 133.5(高) cm 簽名：2003 AP1 楊茂林 圖錄： 《封神演義—摩訶—極樂世界》， 大未來畫廊，台北，2006，彩色圖 版，頁36

180

204

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

The East and West Gates 1973 Stainless steel, edition no. 10/20 89(L) x 89(W) x 52.5(H) cm (including the base) Signed Ying-feng in Chinese, dated '73 and numbered 10/20 ILLUSTRATED: Yuyu Yang Corpus, Artist Publishing Co., Tapei, 2005, p. 258 This scupture is to be sold with a certificate of authenticity issued by the Yuyu Yang Foundation, Taipei.

NT$ 550,000-700,000 US$ 17,200-21,900 HK$ 131,000-167,000

182

楊英風 東西門 1973 不鏽鋼 10/20 89(長) x 89(寬) x 52.5(高) cm （含底座） 簽名：英風 '73 10/20 圖錄： 《楊英風全集第一卷》，藝術家出版社， 台北，2005，頁258 附財團法人楊英風藝術教育基金會開立之原 作保證書

205

LEE Jae-hyo (Korean, b. 1970)

0121-1110=10908 2009 Wood, stainless steel bolts, nails 120(L) x 40(W) x 120(H) cm Titled 0121-1110=10908

李在孝 0121-1110=10908

ILLUSTRATED： Return to Nature: Lee Jae-Hyo, Ever Harvest Art Gallery, Taipei, 2009, color illustrated, pp. 27

2009 木雕 不鏽鋼螺釘 120(長) x 40(寬) x 120(高) cm 題款：0121-1110=10908

NT$ 700,000-800,000 US$ 21,900-25,000 HK$ 167,000-190,000

圖錄： 《李在孝─反璞歸真》，日升月鴻畫廊， 台北，2009，彩色圖版，頁27

206

黃鋼

HUANG Gang (Chinese, b. 1961)

Red Triangle Tower 2001 Mixed media on board 80 x 80 cm Signed lower right Huang Gang in English and Chinese, dated 2001

184

紅色三角塔 ILLUSTRATED: Eminent Chinese Artist - Huang Gang: Revolve Golden Imprint, Pin Art Space, Taipei, 2008, color illustrated, p. 6 and pp. 72-73

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 83,000-131,000

2001 綜合媒材 木板 80 x 80 cm 簽名右下：Huang Gang 黃鋼 2001 圖錄： 《中國當代名家系列—黃鋼：轉動黃金印 記》，藏新藝術有限公司，台北，2008，彩 色圖版，頁6與頁72-73

207

YANG Din

楊登雄

(Chinese, b. 1958)

比利牛斯山的靈感

Inspiration des Pyrénnés 1996 Oil on canvas 195 x 130 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Inspiration des Pyrénnés in French, dated 1996.10 and size 195 x 130 cm

ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, pp. 60-61

NT$ 550,000-750,000 US$ 17,200-23,400 HK$ 131,000-179,000

1996 油彩 畫布 195 x 130 cm 簽名右下：Yang Din 簽名畫背：Yang Din "Inspiration des Pyrénnés" 1996.10 195 x 130 cm 圖錄： 《楊登雄》，季豐軒畫廊，香港，2002，彩 色圖版，頁60-61

208

YANG Din

(Chinese, b. 1958)

Purple Landscape 1998 Oil on canvas 110 x 190 cm Signed lower right Yang Din in French Signed on the reverse Yang Din in French, size 110 x 190 cm and dated 1998.4

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

186

楊登雄 紫色風景 1998 油彩 畫布 110 x 190 cm 簽名右下：Yang Din 簽名畫背：Yang Din 110 x 190 cm 1998.4

209

XIONG Yu

(Chinese, b. 1975)

Rushing Rivers 2005 Oil on canvas 200 x 150 cm Signed lower right Xiong Yu in Chinese and dated 2005

熊宇 Titled on the reverse Rushing Rivers and signed Xiong Yu in Chinese, dated 2005, size 200 cm x 150 cm, media oil on canvas in Chinese

NT$ 500,000-800,000 US$ 15,600-25,000 HK$ 119,000-190,000

湧動的水流 2005 油彩 畫布 200 x 150 cm 簽名右下：熊宇 2005 簽名畫背：《湧動的水流》 熊宇 2005年 200 cm x 150 cm 布上油畫

210

CHEN Liu

(Chinese, b. 1973)

Door Gods (diptych) 2006 Oil on canvas 140 x 80 cm (x2) Signed lower left Chen Liu in Chinese and dated 2006. 10. 20 (left) Signed lower right Chen Liu in Chinese and dated 2006. 11. 8 (right) ILLUSTRATED: Chen Liu - The Celestial, printed by Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 56-57

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 107,000-131,000

陳流 天空界之一增尾天王 天空界之二廣目天王（二聯作） 2006 油彩 畫布 140 x 80 cm (x2) 簽名左下：陳流 2006.10.20（左） 簽名右下：陳流 2006.11.8（右） 圖錄： 《天降大人王》，藏新藝術有限公 司，台北，2008，彩色圖版，頁56-57

188

211

HUANG Gang (Chinese, b. 1961)

Calligraphy Series (polyptych) Mixed media on panel 110 x 20 cm (x4) Signed lower right Huang Gang in English and Chinese on each panel

190

黃鋼 ILLUSTRATED: Eminent Chinese Artist-Huang Gang: Revolving Golden Imprint, Pin Art Space, Taipei, 2008, color illustrated, pp. 36-39

NT$ 450,000-750,000 US$ 14,100-23,400 HK$ 107,000-179,000

書法系列（四聯幅） 綜合媒材 木板 110 x 20 cm (x4) 簽名右下：Huang Gang 黃鋼（四幅皆有） 圖錄： 《中國當代名家系列-黃鋼：轉動黃金印 記》，藏新藝術有限公司，台北，2008，彩 色圖版，頁36-39

212

LIU Baomin (Chinese, b. 1968)

劉保民

Landscape of Illusion 2007 Acrylic on canvas 100 x 249.5 cm Signed lower right Liu Baomin in Chinese and English, dated 2007.5 Titled on the reverse Landscape of Illusion in Chinese, signed Liu Baomin in Chinese, size 100 x 249.5 cm and dated 2007

至幻─有風景的頭像 This painting is to be sold with a certificate of authenticity issued by Yan Club Arts Center, Beijing.

NT$ 450,000-750,000 US$ 14,100-23,400 HK$ 107,000-179,000

2007 壓克力 畫布 100 x 249.5 cm 簽名右下：劉保民 Liu Baomin 2007.5 簽名畫背：劉保民 至幻 有風景的頭像 100 x 249.5 cm 2007年 附仁藝術中心開立之原作保証書

213

Zhang Xiaotao (Chinese, b. 1970)

The Decay of Landscape: Cloud and Mist 2006 Oil on canvas 150 x 120 cm Titled on the reverse The Decay of Landscape: Cloud and Mist in Chinese, size 150 x 120 cm, media oil on canvas, signed Zhang Xiaotao and dated 2006.4 in Beijing 798

NT$ 700,000-900,000 US$ 21,900-28,100 HK$ 167,000-214,000

張小濤 潰爛的山水—雲煙 2006 油彩 畫布 150 x 120 cm 簽名畫背：潰爛山水 雲煙 150 x 120 cm 亞麻油彩 張小濤 2006 4月於北京798

192

214

HONG Ling (Chinese, b. 1955)

The Pond in a Tranquil Valley 2001 Oil on canvas 80 x 100 cm Signed upper left Hong Ling in Chinese and dated 2001 Titled on the reverse The Pond in a Tranquil Valley in Chinese, size 100 x 80 cm, dated 2001 and signed Hong Ling in Chinese This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 550,000-750,000 US$ 17,200-23,400 HK$ 131,000-179,000

洪凌 淺塘幽谷 2001 油彩 畫布 80 x 100 cm 簽名左上：洪凌 2001年 簽名畫背：《淺塘幽谷》100 x 80 cm 作於 2001年 洪凌 附藝術家親筆簽名之原作保證書

194

215

LI Jisen

(Chinese, b. 1970)

Chess: East vs West (diptych) 2007 Oil on canvas 150 x 150 cm (x2) Signed lower right Li Jisen in Chinese and dated 2007.6 Titled on the reverse Chess: East vs West in Chinese, size 150 cm x 150 cm x 2, signed Li Jisen in Chinese and dated 2007.6 ILLUSTRATED: Eminent Chinese Artist: Li Jisen - Great Ambition, Ping Art Space, Taipei, 2008, color illustrated, pp. 88-89

NT$ 800,000-900,000 US$ 25,000-28,100 HK$ 190,000-214,000

李繼森 對弈中西（二聯幅） 2007 油彩 畫布 150 x 150 cm (x2) 簽名右下：李繼森 2007.6 簽名畫背：《對弈中西》 150 cm x 150 cm x 2 李繼森 2007.6 圖錄： 《中國當代名家系列：李繼森 ─志在千里》，藏新藝術有限 公司，台北，2008，彩色圖 版，頁88-89

196

216

YIN Qi

(Chinese, b. 1962)

Interior No. 16 2003 Oil on canvas 210 x 180 cm Titled on the reverse Interior in Chinese, signed Yin Qi in Chinese and English, dated 2003, size 210 x 180 cm and media oil on canvas

NT$ 850,000-1,000,000 US$ 26,600-31,300 HK$ 202,000-238,000

尹齊 室內 No. 16 2003 油彩 畫布 210 x 180 cm 簽名畫背：室內 尹齊 YIN QI 2003 210 x 180 cm 布上油畫

198

在這件作品 中，畫家將自己置身於畫面中 央，與《黑根一家》構成更完整的「一 家」。觀者可以通過這幅畫面想像當時畫家 的心情，以及下筆時的具體狀態。

Heigen is the most important dog in Chinese contemporary art history. It came into Zhou Chunya's life in 1994. He is playful and hyper. At that time, Zhou was still living with his ex-wife and had no children, he used to call the dog Heigen his "son". This shepherd dog, which had been with Zhou for more than five years, was not only his companion, but also played an important part of the artistic inspiration in his creations.

217

ZHOU Chunya (Chinese, b. 1955)

The Heigen Family 1996, oil on canvas, 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1996

NT$ 3,200,000﹣4,200,000 US$ 100,000﹣131,300 HK$ 762,000﹣1,000,000

周春芽 黑根一家 1996 油彩 畫布 100 x 80 cm 簽名右下：1996 周春芽

200

「黑根」是中國當代藝術史上最重要的一 條狗。1994年，「黑根」來到周春芽的生 活中。牠調皮，精神旺盛，喜歡和人撲過去 撲過來的玩耍。周春芽當時還和前妻一起生 活，還沒有小孩，習慣地把「黑根」喚成兒 子。這條跟著周春芽五年多的狼狗，不但是 他生活的夥伴，也成全了他新的藝術生命。 「黑根」給了周春芽心情的愉悅，並成為他 的特別伴侶和畫面的主角。周春芽說，畫 《黑根一家》這組畫是他在藝術上的一個重 要的轉型期。「之前，我畫了幾年以石頭、 人體和花作為題材的畫，那時經常在看一些 中國傳統的繪畫。從這幅畫，我開始關注我 身邊的東西，但是在手法上我還是延用了以 前的語言。」《黑根一家》是一個重要轉型 期的作品，受中西影響的痕跡被內合融化。 如同畫家的日記，畫面的構成表明了畫家的 一種狀態：自然樸實，輕鬆愉快。

Heigen delights Zhou Chunya and further became his special companion and the main character in his paintings. The creation of the series of painting - "The Heigen's Family" - was an important transition of his art life.

Zhou Chunya said. "Previously, I have painted subjects based on stone, human body and flower, and often I read books of Chinese traditional paintings at that time. From then on, I began to pay close attention to things around me, but still carried on with my previous drawing style." "The Heigen's Family" was an important artwork in his transformation which has integrated the traces of influence both from the east and the west. Just as the artist mentioned in his diary, the composition of the painting showed his state of mind: it is natural and simple, happy and relaxed.

This painting, the artist placed himself in the center of the picture to construct a more complete family with the Heigen's family. From the layout of it, the viewers could imagine the mood as well as the state of mind when he created this work.

218

ZHOU Chunya (Chinese, b. 1955)

Flower 1997 Oil on canvas 100 x 80 cm Signed lower right ZHOU CHUNYA in Chinese and English, dated 1997

NT$ 3,600,000-4,600,000 US$ 112,500﹣143,800 HK$ 857,000﹣1,095,000

周春芽

1990年代起，周春芽開始「花卉」系列 的創作。花卉題材一直是中國傳統文人樂 於表現的內容，而在周春芽的手法下有了 嶄新詮釋。此幅《花》的作品，周春芽以 西方的寫生方法將中國傳統繪畫語言融入 其中，最重要的是採用完全不同的技巧， 即以大筆觸的表現手法，充分展示率性、 粗獷的表現主義風格。在周春芽的畫中， 傳統的中國主題—花卉在西方繪畫技巧的 光環下折射出迷人光彩，實現了中西兩種 繪畫語言的完美融合。此外，周春芽的大 膽用色與其大筆觸的表現手法更是相得益 彰，色彩與構圖均給人奔放神秘之感，這 種新穎、大膽的藝術創作達到了奇異的效 果。在周春芽看來，這種「離經叛道」的 作品形態正好契合了他的天性，並以他的 放肆詮釋了傳統文人繪畫的溫和內斂。

花 1997 油彩 畫布 100 x 80 cm 簽名右下：1997 周春芽 ZHOU CHUNYA

202

As early as the beginning of 1990, Zhou Chunya had begun the creation of his "Flower" series.

Flowers have been a traditional motif for Chinese artists to express in their works. Zhou Chunya recreates this concept in his “Flower” series. In the work "Flower", Zhou Chunya has integrated the language of traditional Chinese painting with western sketching. Most importantly is that he has adopted a totally different technique. He has used the expression technique of liberal strokes, fully demonstrating his bold and broad style of expressionism. In Zhou Chunya's painting, flowers, the traditional Chinese theme, presents charming glory under the aura of Western painting skill, realizing a perfect integration of Chinese and Western painting languages. Additionally, Zhou Chunya's bold color application and his expression mode of liberal strokes complete each other. Both color and composition present a bold and mysterious sense. Such innovative and bold artistic creation has reached an extraordinary effect. In Zhou Chunya's view, form and color of such nonmainstream works align with his disposition.

With his uninhibited traits he constructs traditional humanistic paintings that are "warm and introvert".

219

HUANG Gang (Chinese, b. 1961)

Sky & Land (diptych) 2009 Mixed media on board 220 x 220 cm Signed lower left Huang Gang in English and Chinese, dated 2009

NT$ 3,200,000﹣4,600,000 US$ 100,000﹣143,800 HK$ 762,000﹣1,095,000

單純，大氣和強烈的視覺衝擊力，形成藝 術家黃鋼獨特的繪畫風格。作品《天空興 大地》表現了藝術家對自然和心靈的讚美。 強烈的橫向構圖象徵天空，大地與人心靈之 間既抽象又可讓人感知的空間想像。古老的 皮箱，木刻佛經，溫暖的色調，天然的虎皮 豹皮，隱喻了大自然中生命的溫情與野性， 表現了人們信仰的虔誠與純淨。作品氣勢磅 礡，是人與自然的和諧樂章。 藝術家運用現代藝術的表現手法，並尊重東 方人的美學理想與欣賞趣味，保留了這些古 老皮箱，木刻經版的表面質感和自然色彩。 而透過藝術家的重新結構、裝置和繪畫，使 作品具有了穿越時空的美感，充滿了詩意與 人文關懷。

黃鋼 天空與大地（二聯幅） 2009 綜合媒材 木板 220 x 220 cm 簽名左下：Huang Gang 黃鋼 2009

Simplicity, gracefulness and strong visual impact form the unique painting style of artist Huang Gang. This lot has demonstrated the artist's praise of the nature and the soul. The powerful horizontal composition symbolizes the abstract but perceivable imagination among the sky, the earth and the human soul. The old suitcase, the wooden Sutra, the use of warm colors and the natural tiger and leopard skins epitomize the warmth and the wild sides of nature. It represents the purity and faith of ones' beliefs. This is a magnificent piece of work showing the perfect harmony of man and nature.

Huang Gang has executed the piece in a contemporary way but with the respect of Asian taste, he has kept the old suitcase and the wooden Sutra and has preserved the original textures and colors. With the artist's restructuring, decorating and painting, the work has endowed a sense of beauty across time and space, with poetic and humanistic care permeating the whole piece.

204

220

Masao KINOSHITA (Japanese, b. 1971)

Ganesha 2006 Painted fiberglass and crayon, edition no. 2/3 60(L) x 57(W) x 161(H) cm (including the base) ILLUSTRATED: Masao Kinoshita, Eslite Gallery, Taipei, October 2008, color illustrated, cover page and pp. 6-7

NT$ 950,000-1,200,000 US$ 29,700﹣37,500 HK$ 226,000﹣286,000

木下雅雄 象頭神 2006 玻璃纖維 蠟筆 2/3 60(長) x 57(寬) x 161(高) cm（含底座） 圖錄： 《木下雅雄》，誠品畫廊，台北，2008年10 月，彩色圖版，封面與頁6-7

206

221

Gabriel BARREDO (Filipino, b. 1957)

Innocence Lost 2008 Rubber, fiberglass, aluminum, metal with electrical installation (unique) 54(L) x 14(W) x 69(H) cm

NT$ 700,000-900,000 US$ 21,900-28,100 HK$ 167,000-214,000

蓋伯瑞．博瑞多 失去的純真 2008 玻璃纖維 電動裝置（單一件） 54(長) x 14(寬) x 69(高) cm

208

222

Ai HAIBARA (Japanese, b. 1981)

Castle Painted wooden sculpture (unique) 42(L) x 31(W) x 55(H) cm

NT$ 160,000-280,000 US$ 5,000-8,800 HK$ 38,000-67,000

灰原愛 城堡 木雕 上色（單一件） 42(長) x 31(寬) x 55(高) cm

210

池龍虎

223

野豬頭 4

JI Yong Ho

2009 舊輪胎 鋼 木 聚苯乙烯（單一件） 85(長) x 40(寬) x 60(高) cm 簽名右眼：JYH

(Korean, b. 1978)

Wild Boar Head 4 2009 Used tire, steel, wood, styrofoam (unique) 85(L) x 40(W) x 60(H) cm Signed back of right eyeball JYH in English

ILLUSTRATED: Ji Yong Ho - Mutant Colour, Soka Art Center, Taipei, color illustrated, pp. 33-34

EXHIBITED: Ji Yong Ho - Mutant Colour, Soka Art Center, Taipei, August 28 - September 20, 2009

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

展覽： 「池龍虎個展—突變．繽紛」，索卡藝術中 心，台北，展期自2009年8月28日至2009年9 月20日 圖錄： 《池龍虎個展—突變．繽紛》，索卡當代藝 術有限公司，台北，2009，彩色圖版，頁 33-34

224

KIM Byung Jin (Korean, b. 1974)

Red Blossom Steel wire (unique) 154 x 79 cm

金炳真 NT$ 120,000-220,000 US$ 3,800-6,900 HK$ 29,000-52,000

212

紅花開 鐵 金屬線（單一件） 154 x 79 cm

225

KWON Ki Soo (Korean, b. 1972)

Butterflies Mixed media, computer print 130 x 104 cm

權奇秀 NT$ 200,000﹣300,000 US$ 6,300﹣9,400 HK$ 48,000﹣71,000

蝴蝶 綜合媒材 影像輸出 130 x 104 cm

226

KIM Byung Jin (Korean, b. 1974)

Pine Tree Steel wire 110 x 90 cm

NT$ 140,000﹣240,000 US$ 4,400﹣7,500 HK$ 33,000﹣57,000

金炳真 松樹 鐵 110 x 90 cm

214

227

KIM Nampyo (Korean, b. 1973)

Instant Landscape – Machine 2 2009 Acrylic and charcoal on canvas, artificial fur 118 x 91 cm Titled on the reverse instant landscape machine 2 in English, signed nampyo kim in English and dated 2009

NT$ 220,000-350,000 US$ 6,900-10,900 HK$ 52,000-83,000

金南杓 即刻風景－機器之二 2009 壓克力 炭筆 畫布 人造毛皮 118 x 91 cm 簽名畫背：instant landscape - machine 2 nampyo kim 2009

228

KWON Ki Soo (Korean, b. 1972)

Four Seasons - White 2007 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2007

NT$ 550,000-750,000 US$ 17,200-23,400 HK$ 131,000-179,000

權奇秀 四季─白 2007 壓克力 畫布 130 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2007

216

229

YOON Jongseok (Korean, b. 1970)

Power 2009 Acrylic on canvas 227 x 182 cm Signed on side Yoon Jongseok in English and dated 2009 EXHIBITED: Yoon Jong Seok Camouflage, Gallery Artiside Seoul, Oct.7 - 26, 2009 ILLUSTRATED: Yoon Jong Seok Camouflage, Gallery Artside Seoul, 2009, color illustrated, p. 51

NT$ 900,000-1,200,000 US$ 28,100-37,500 HK$ 214,000-286,000

尹鍾錫 力量 2009 壓克力 畫布 227 x 182 cm 簽名側邊：Yoon Jongseok 2009 展覽： 「尹鍾錫—偽裝」，阿特塞帝畫廊，首爾， 展期自2009年10月7日至10月26日 圖錄： 《尹鍾錫—偽裝》，阿特塞帝畫廊，首爾， 2009，彩色圖版，頁 51

218

230

KIM Tschang-yeul (Korean, b. 1929)

Words in the Water 2007 Oil on canvas 115 x 160 cm Signed right edge Kim Tschang-yeul in Han characters and T. Kim in English, numbered PA0700H2-05

NT$ 2,200,000-3,400,000 US$ 68,800-106,300 HK$ 524,000-810,000

金昌烈 水中字 2007 油彩 畫布 115 x 160 cm 簽名側面：PA 0700H2-05 T. Kim 金昌烈

220

231

CUI Xiuwen (Chinese, b. 1970)

Angel No. 5 2006 Digital print on photographic paper, edition no. 6/8 100 x 150 cm Signed on the reverse "Angel" No. 5 in English, numbered 6/8, signed Cui Xiuwen in Chinese and Xiu wen in English, dated 2006.11

NT$ 200,000-300,000 US$ 6,300-9,400 HK$ 48,000-71,000

222

崔岫聞 天使 No. 5 2006 數位輸出 相紙 6/8 100 x 150 cm 簽名畫背："Angel" No. 5 6/8 崔岫聞 XIU WEN 2006年11月

232

MIAO Xiaochun (Chinese, b. 1964)

The Last Judgement in CyberspaceThe Rear View 2006 Type-C print, edition no. 3/9 197 x 170 cm (image) 218 x 182 cm (photographic paper) Titled The Last Judgement in CyberspaceThe rear view in English and Chinese, signed MIAO XIAOCHUN in English and Xiaochun in Chinese, numbered 3/9 and dated 2006

NT$ 200,000-300,000 US$ 6,300-9,400 HK$ 48,000-71,000

繆曉春 虛擬最後審判－後視圖 2006 數位輸出 相紙 3/9 197 x 170 cm (影像) 211 x 182 cm (相紙) 簽名：3/9 The Last Judgement in CyberspaceThe rear view 虛擬最後審判—後視圖 MIAO XIAOCHUN 曉春 2006

233

Mika NINAGAWA (Japanese, b. 1972)

蜷川實花

Fish Series 2003 C-print mounted on plexiglas 26 x 36 cm (x4) Signed on the reverse Mika Ninagawa in English, dated 2003 and numbered 1/10 (upper left) Signed on the reverse Mika Ninagawa in English, dated 2003 and numbered 2/10 (upper right) Signed on the reverse Mika Ninagawa in English, dated 2003 and numbered 4/10 (lower left) Signed on the reverse Mika Ninagawa in English, dated 2003 and numbered 2/10 (lower right)

224

魚系列

ILLUSTRATED： Ninagawa Mika - Liquid Dreams, Kawade Shobo Shinsha, Tokyo, 2003, color illustrated

2003 彩色照片 26 x 36 cm (x4) 簽名畫背： Mika Ninagawa 2003 1/10 (左上) Mika Ninagawa 2003 2/10 (右上) Mika Ninagawa 2003 4/10 (左下) Mika Ninagawa 2003 2/10 (右上)

NT$ 120,000-180,000 US$ 3,800-5,600 HK$ 29,000-43,000

圖錄： 《蜷川實花—液態夢境》，河出書房新社， 東京，2003，彩色圖版

234

SZETO Keung (Chinese, b. 1948)

Fine Arts Forever 1984, acrylic on paper, 66 x 46 cm Signed lower left SZETO in English

司徒強

NT$ 90,000-180,000 US$ 2,800-5,600 HK$ 21,000-43,000

1984 壓克力 紙本 66 x 46 cm 簽名左下：SZETO

永遠

235

Ayako ROKKAKU

六角彩子

(Japanese, b. 1982)

Napping 2007 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2007

226

打盹兒 PROVENANCE: Gallery Beniya, Tokyo Gallery Teo, Tokyo

2007 壓克力 畫布 38 x 45.5 cm 簽名畫背：2007 ロッカクアヤコ

NT$ 70,000-90,000 US$ 2,200-2,800 HK$ 17,000-21,000

來源： 紅屋畫廊，東京 太兒畫廊，東京

236

Lee Seung Min

李承玟

(Korean, b. 1978)

The Positive Conspirator 2008 Oil on canvas 194 x 130 cm Signed on the reverse Lee S.M. in English and dated 2008

正向的密謀者 EXHIBITED: Shanghai Art Fair 2008, Shanghai, 2008

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 83,000-107,000

2008 油彩 畫布 194 x 130 cm 簽名畫背：Lee S.M. 2008 展覽： 「2008上海藝術博覽會」，上海，2008

237

Ayako ROKKAKU

六角彩子

(Japanese, b. 1982)

尖叫

Shriek 2008 Acrylic on canvas 22 x 27 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2008

228

PROVENANCE: Gallery Beniya, Tokyo

NT$ 50,000-70,000 US$ 1,600-2,200 HK$ 12,000-17,000

2008 壓克力 畫布 22 x 27 cm 簽名畫背：2008 ロッカクアヤコ 來源： 紅屋畫廊，東京

238

Chiharu NISHIZAWA (Japanese, b. 1970)

Dreamy Farm - e 2007 Acrylic on canvas 240 x 25 cm Signed on side Chiharu in English and dated '07 This painting is to be sold with a certificate of authenticity issued

by Tokyo Gallery +BTAP.

NT$ 200,000-300,000 US$ 6,300-9,400 HK$ 48,000-71,000

西澤千晴 夢想家系列 e 2007 壓克力 畫布 240 x 25 cm 簽名側邊：Chiharu '07 附東京畫廊開立之原作保證書

239

Tetsutaro KAMATANI (Japanese, b. 1979)

Human Paradise 17 2008 Oil and mixed media on canvas 45.5 x 121 cm Signed on the reverse Kamatani Tetsutaro in English, titled Human Paradise #17 in English EXHIBITED: Kingdom of the Images, Gallery Cellar, Nagoya, Japan, October 2008

NT$ 300,000-500,000 US$ 9,400-15,600 HK$ 71,000-119,000

鎌谷徹太郎 人間天堂 2008 油彩 綜合媒材 畫布 45.5 x 121 cm 簽名畫背：Kamatani Tetsutaro 「Human Paradise #17」 展覽： 「影像王國」，窖藏藝術館，名古屋， 日本，展期2008年10月

230

240

Yoshitaka AMANO (Japanese, b. 1952)

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

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 119,000-167,000

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

232

241

Hiroshi KOBAYASHI (Japanese, b. 1967)

Sense of Balance 2002 Acrylic on canvas 45.5 x 53 cm Titled on the reverse Sense of Balance in Japanese, dated 2002 and signed hiroshi kobayashi in English EXHIBITED: Wada Fine Arts, Tokyo, 2005

NT$ 450,000-650,000 US$ 14,100-20,300 HK$ 107,000-155,000

小林浩 平衡感 2002 壓克力 畫布 45.5 x 53 cm 簽名畫背：バランス感覺 2002 hiroshi kobayashi 展覽： 和田友美惠畫廊，東京，2005

234

242

Shinjuko

(Japanese, b. 1968)

Yo. That's in Blossom, Cordyceps Sinensis (polyptych) 2006 Acrylic on paper 180 x 356 cm Signed on the reverse Shinjuko in English and dated 2006 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 155,000-202,000

真珠子 櫻花開了（四聯幅） 2006 壓克力 紙本 180 x 356 cm 簽名畫背：2006 Shinjuko 附藝術家親筆簽名之原作保證書

236

243

Mayuka YAMAMOTO (Japanese, b. 1964)

Monster Arms 2008 Oil on canvas 145.5 x 112 cm Titled on the reverse monster arms in English, signed Mayuka Yamamoto in English and dated 2008 EXHIBITED: Mayuka Yamamoto Solo Show, Gallery Tsubaki, Tokyo, Nov. 8 - Nov. 29, 2008

NT$ 700,000-800,000 US$ 21,900-25,000 HK$ 167,000-190,000

山本麻友香 怪物手臂 2008 油彩 畫布 145.5 x 112 cm 簽名畫背：monster arms Mayuka Yamamoto 2008 展覽： 「山本麻友香」個展，樁畫廊，東京，展期 自2008年11月8日至11月29日

238

244

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin No. 1055 1990 Acrylic on canvas 38 x 45 cm Signed on the reverse Yayoi Kusama in English and dated 1990 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 900,000-1,200,000 US$ 28,100-37,500 HK$ 214,000-286,000

草間彌生 南瓜 No. 1055 1990 壓克力 畫布 38 x 45 cm 簽名畫背：Yayoi Kusama 1990 附草間彌生工作室所開立之原作登錄卡

240

245

Hiroyuki MATSUURA (Japanese, b. 1964)

Bambi Boy 2007 Acrylic on canvas 91 x 91 cm Signed on the reverse Hiroyuki Matsuura in English PROVENANCE: Canvas International Art, Amsterdam

NT$ 1,000,000-2,000,000 US$ 31,300-62,500 HK$ 238,000-476,000

松浦浩之 斑比男孩 2007 壓克力 畫布 91 x 91 cm 簽名畫背：Hiroyuki Matsuura 來源： 畫布國際畫廊，阿姆斯特丹

242

246

Rieko SAKURAI (Japanese, b. 1977)

Just After the Rain 2007 Acrylic on board 183 x 46 cm Titled on the reverse Just after the rain in English, dated 2007 and signed Reiko Sakurai in English ILLUSTRATED: Rieko Sakurai, Unseal Contemporary Art, Tokyo, March 2008

NT$ 1,500,000-2,200,000 US$ 46,900-68,800 HK$ 357,000-524,000

櫻井理惠子 雨後彩虹 2007 壓克力 木板 183 x 46 cm 簽名畫背：Just after the rain 2007 Reiko Sakurai 圖錄： 《櫻井理惠子作品集》，Unseal當代藝術， 東京，2008年3月出版

244

247

Hiroshi KOBAYASHI (Japanese, b. 1967)

Super Nova 2005 Acrylic on canvas 145.5 x 145.5 cm Titled on the reverse Supernova in English, dated 2005 and signed hiroshi kobayashi in English

NT$ 1,500,000-2,500,000 US$ 46,900-78,100 HK$ 357,000-595,000

小林浩 超級新星 2005 壓克力 畫布 145.5 x 145.5 cm 簽名畫背：Supernova 2005 hiroshi kobayashi

246

248

Yayoi KUSAMA (Japanese b. 1929)

Grapes 1989 Acrylic on canvas 91 x 72.7 cm Titled on the reverse Grapes in Japanese, signed Yayoi Kusama in English and dated 1989

NT$ 2,600,000-3,600,000 US$ 81,300-112,500 HK$ 619,000-857,000

草間彌生 葡萄 1989 壓克力 畫布 91 x 72.7 cm 簽名畫背：ぶどう Yayoi Kusama 1989

248

249

Madoka TAKAGI (Japanese, b. 1983)

Elittle - 003 2003 Acrylic, clay, papier-mache 22(L) x 24(W) x 62(H) cm Titled on the reverse Elittle 003, signed Madoka in English EXHIBITED: Marginality, Gallery J Chen, Taipei, June 14-29, 2008

NT$ 160,000-260,000 US$ 5,000-8,100 HK$ 38,000-62,000

高木まどか 小人偶 2003 壓克力 黏土 混凝紙漿 22(長) x 24(寬) x 62(高) cm 簽名背面：Elittle 003 Madoka 展覽： 「邊緣」聯展，J. Chen畫廊，台北， 展期自2008年6月14日至29日

250

250

Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 248/300 36(L) x 26(W) x 24(H) cm (box) 15(L) x 19(W) x 28(H) cm (sculpture) This sculpture is to be sold with a certificate of authenticity.

NT$ 240,000-400,000 US$ 7,500-12,500 HK$ 57,000-95,000

奈良美智 失眠夜坐著 2007 玻璃纖維 248/300 36(長) x 26(寬) x 24(高) cm (箱子) 15(長) x 19(寬) x 28(高) cm (人物) 附原作保證書與木盒

Lots 101, 207, 208

Lots 102, 128

Lot 103

YANG Din (Chinese-French, b. 1958)

SHIY De-jinn (Taiwanese, 1923-1981)

YEH Chung-ching (Taiwanese, b. 1945)

Born in Shantou (Guangzhou), China. He lives and works in Paris since 1980. He graduated from L'Ecole Nationale Superieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He was a professor at ASDASCS center in Clairvaux, France. Since 1990, he has held solo exhibitions in France, Belgium, the Netherlands, Taipei, Hong Kong and Macau. Awarded First Prize at the Aube Art Fair organized in Troyes, France.

Born in 1923, Sichuan, China. At the age of five, he began learning to draw. In 1948, he graduated from the Hangzhou National College of Art. He carried on from his teacher Lin Fengmian. After graduation, he moved to Taiwan to teach at the provincial Chiayi High School. In 1957, he held his first solo exhibition. In 1962, together with Liao Chi-chun, he accepted an invitation of the U.S. State Department to visit the United States. Afterward, he went to France to study in Paris for three years.

After his return to Taiwan, he taught at the Tamkang University architecture department and National Taiwan Normal University. In1975, he won the Chungshan Literary Prize Award. Shiy De-jinn was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art. His favorite subject matter was old-style traditional Taiwan architecture. He traveled all over the villages and counties of Taiwan seeking inspiration. His works richly display Taiwan's folk scenes and customs.

YEH Chung-ching was born in 1945, Ping Tung. He graduated from Kaohsiung Industrial and Technological Junior College. He records the beauty of nature from his inner view, expressing the abstract beauty physically. He had a solo exhibition in Taipower Art Center. Important group exhibitions include: group shows in Nan-Phon Art Association from 1999-2010, Kaohsiung City Family Love Art Exhibition. Important awards include: awarded Chrestomathy in "Pingtung Fine Arts Exhibition", nominated for "South Taiwan Fine Arts Exhibition", nominated for "Artist of Kaohsiung" in 2009.

楊登雄 (華裔法籍，1958年生)

席德進 (台灣，1923-1981)

葉仲卿 (台灣，1945年生)

出生於中國廣東汕頭市。1980年起定居法國巴黎。1987 年畢業於巴黎國家高等藝術學院。1993-94年於克雷佛 教育中心擔任美術老師。自1990年起，曾於法國、比利 時、荷蘭、台北、香港、澳門等地舉行個展。1987年獲 法國特羅瓦省歐柏藝術藝術沙龍獎。

生於四川，五歲開始習畫。1948年畢業於杭州藝專，師 承林風眠。畢業後遷台任教於省立嘉義中學。1957年舉 辦首次個展。1962年與廖繼春同應美國國務院之邀訪 美，之後赴法國巴黎進修三年，回台後任教於淡江大學 建築系及師範大學。1975年獲中山文藝創作獎。席德進 以抒情風格的水彩畫著稱，並受到普普，歐普等現代藝 術思潮的影響。他最喜歡的題材是老式的傳統台灣建 築，曾遍遊台灣各鄉鎮尋找靈感，其畫作充分表現台灣 的風土民情。

葉仲卿於1945年出生於屏東，高雄工專畢業。他將大自 然的美景以內心的靈感透過畫筆記錄下來，把意象的美 具體表現出來。曾於台電藝文發表個展，重要聯展有 1999-2010南風畫會聯展、高雄市親情美展。主要獲獎 有：屏東美展佳作、台灣南部美展入選、2009年入選高 雄市美術家。

252

Lots 106, 107

Lots 104, 142, 149

Lots 105, 123, 129, 164, 174

SANYU (Chinese-French, 1901-1966)

CHUANG Che (Taiwanese, b. 1934)

TAI Hoi Ying (Chinese-French, b. 1946)

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.

Born in Beijing, Chuang's father was a great calligrapher, who was the vice-director of the National Palace Museum in Beijing, Chuang was introduced to art by his father when he was little. He moved to Taiwan in 1948. After graduating from Taiwan National Normal University in 1958, Chuang taught at Tunghai University. He joined the Fifth Moon Group and actively pushed the modernization of Chinese painting.

On receiving a scholarship from the Rockefeller Foundation, he left Taiwan and settled in Ann Arbor, Michigan. In 1988, he moved to New York, concentrated on his abstract paintings, and was invited by the Taipei Fine Arts Museum to hold a solo exhibition in 1992.

Chuang's works have been exhibited widely and housed by many local and foreign museums and private collectors.

Born in Guangdong and immigrated to Hong Kong in 1962. He went to France in the autumn of 1970 and was educated in Ecole Superieure des Arts Appliques for 2 years. In 1975 he had the first individual exhibition and then was constantly invited to various art shows.

After 1990s when new art form keeps on changing and confuses the idea and notion of beauty, Tai's personal insistence to people for its sincerity.

常玉 (華裔法籍，1901-1966)

莊喆 (台灣，1934年生)

戴海鷹 (華裔法籍，1946年生)

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。

生於北京，其父親莊嚴為已故名書法家暨前北京故宮博 物院副院長，莊自小培養出熱愛中國藝術興趣。1948年 遷居台灣，1958年畢業於國立師範大學美術系，加入五 月畫會，積極參與中國繪畫現代畫運動。1966年獲美國 洛克斐勒基金會的贊助，赴美考察國際當代藝術之發 展，後返台任教於東海大學。1973年移居美國密西根 州，於1988年遷居紐約，專注於抽象繪畫之創作，1992 年應台北市立美術館邀請回國舉辦個展，也曾多次在國 際展覽中出現，作品廣為國內外美術館及私人珍藏。

廣東人，1962年移居香港，1970年秋天抵達法國，戴海 鷹在巴黎藝術學院修習了二年，並進入七七版畫工作 室；1975年舉辦第一次個展，此後不斷獲邀參加各類展 出。1990年代後期當新的藝術形式不斷地改變，割裂著 人們對美的看法，戴海鷹的「堅持」自然流露了真誠的 芳香。

253

Lots 110, 112

Lots 108, 122, 130

Lots 109, 111, 113

LIEN Chien-hsing (Taiwanese, b. 1962)

Ryoji SUZUKI (Japanese, b. 1973)

HSU Tang-wei (Taiwanese, b. 1980)

Born in 1962 in Keelung, Taiwan. He graduated from the Western Painting Section of the Art Department of the Chinese Culture University, Taiwan. In 1984, he was selected for the first annual Republic of China Modern Painting Outlook Exhibition. In 1987, he joined the group exhibition of the award-winners of the Shiy De-jinn Award. In 1989, he joined a largescale exhibition of the Taipei Painting Association organized by the Taipei Fine Arts Museum. In 1992, he became the representative artist of Cherng Pin Gallery (Eslite Gallery). Lien Chien-hsing first came to prominence in the 80s with his superb Realistic technique. In the 90s, using different pictures, he has created Realistic works recalling images from his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism, combined with a subconscious, mysterious shadow to become a unique kind of "magical realism".

Born in 1973 in Chiba Prefecture, Japan. Ryoji Suzuki graduated from the Department of Print of Tama Art University in 1999. His solo exhibition history as below: Gallery Jinguen (2006, Tokyo); Artis Kagurazaka Gallery (2008, Tokyo); Bihoh Gallery (2009, Tokushima); "Box Series" (2009, Vienna) ; and group shows in "Hitotohito" (2006, Osaka); "Hitobito" (2008, Tokushima); "Art Osaka 2008" (2008, Osaka); "Geisai 2008" (2008, Tokyo).

HSU Tang-wei graduated from Institute of Plastic Arts, Tainan National University of the Arts. Now living and working in Taipei. Selected solo exhibitions include "Evolutionism-Hsu Tangwei" (2008, Gallery J. Chen), "Dredging Up the Drift" (2006, IT Park Gallery, Taipei), "Follower" (2004, Sly Art, Taipei). Selected group exhibitions include "Searching for the Ma-Wei-Du" (2008, Mot Arts Home Deluxe, Taipei), "Art is Now2008 Busan Biennale Side Show" (2008, Busan, Korea).

連建興 (台灣，1962年生)

鈴木良治 (日本，1973年生)

許唐瑋 (台灣，1980年生)

台灣基隆人。中國文化大學美術系西畫組畢業。1984年 獲得第一屆中華民國現代繪畫新展望入選。1987年席德 進繪畫大獎得獎畫家聯展。1989年參加台北市立美術館 舉辦之台北畫派大展。1992年起為誠品畫廊代理畫家。 連建興在1980年代以超寫實技巧嶄露頭角，1990年代藉 不同的既成圖像，並置合成出屬於他個人童年生活記憶 幻景的寫實作品，個人色彩濃厚。他的作品畫面中隱隱 自然滲出的思愁，融合著潛意識的神秘陰影，反省轉化 成獨具一格的「魔幻寫實主義」 。

鈴木良治，1973年出生於日本千葉縣，1999年畢業於日 本多摩美術大學版畫系。其作品曾參與過的個展如下： 神宮苑畫廊（2006，東京）；Artis神樂坂畫廊（2008， 東京）；德島眉峰畫廊（2009，德島）；「箱子系列」 （2009，維也納）。以及群展「人與人展」（2006，大 阪）、「人人展」（2008，德島）、「大阪藝術博覽 會2008」（2008，大阪）、「藝祭2008」（2008，東 京）。

畢業於實踐空間設計系、台南藝術學院造形藝術研究 所，現工作生活於台北。主要個展有：「進化論-許唐 瑋」（2008，Gallery J.Chen，台北）、「返式歷程」 （ 2006 ，伊通公園 藝術 空間， 台北 ） 、「 召喚 獸 」 （2004，新樂園藝術空間個展，台北）。主要聯展有 「尋找馬緯度-圓轉中的相對靜止」（2008，MOT ART/ 弘第，台北）、「藝術是現在」（2008，釜山雙年展外 圍展，釜山）。

254

Lot 114

Lot 115

Lot 116

Satoshi WATANABE (Japanese, b. 1967)

Koichi Enomoto (Japanese, b. 1977)

WU Hao (Taiwanese, b. 1931)

Born in 1967 in Hyoko Prefecture, Japan. Satoshi Watanabe graduated from the painting department of the Kyoto Seika University in 1991 and received his master's degree at Glasgow School of Art in 1995. His solo exhibitions as below: Mitaka City Arts Center (2001, Tokyo) ; Taro Nasu Gallery (1999 & 2001 & 2004, Tokyo); "Sense through Mind, Body, and Spirit" (2008, Tokyo); and group shows in "Maru -Circle and Sphere-" (2004, Gunma); "My Cup of Tea -Private Luxury" (2006, Tokyo); "Magical Art Life: A Collector's World" (2006, Tokyo); "Opening Exhibition II" (2008, Tokyo); "450" (2008, Osaka).

Koichi was born in Osaka, got the MA in Fine Art, Kanazawa College of Art, Japan. Selected solo exhibitions include: 2009 in Grieder Contemporary, Zürich, "Surrogate Picture" (2007, Tokyo), "Pigeon's Riot" (2006, Tokyo), "Rest of?" (2006, Tokyo). Selected group exhibitions include: "Echo"(2008, Yokohama), " Vi v a L o l i t a " ( 2 0 0 8 , M a d d o x A r t s , L o n d o n ) , "Portrait Session" (2007, Hiroshima City Museum of Contemporary Art, Hiroshima), "After The Reality" (2006, New York).

A painter, graphic and woodcut artist, and sculptor, Wu has been at the forefront of Taiwan's art scene since the 50's. In 1956, Wu was one of the founders of the Tom Fan Group, which along with the Fifth Moon Art Group, was one of the most vocal associations of young artists in the 60's. One of the most internationally recognized contemporary Taiwanese artists. Wu has participated in numerous exhibitions overseas, including the International Artists' Show in Italy, and the International Graphic Show in England. Wu's paintings often combine Western technique with Chinese Folk art.

渡邊聰 (日本，1967年生)

榎本耕一 (日本，1977年生)

吳昊 (台灣，1931年生)

渡邊聰，1967年出生於日本兵庫縣，1991年畢業於京都 精華大學油畫系，1995年於格拉斯哥美術學院取得碩士 學位。其作品曾參與過的個展如下：三鷹市藝術文化中 心(2001，東京)；Taro Nasu畫廊 (1999、2001、2004， 東京)；「心、身體、精神」(2008，東京)；以及群展 如：「小孩與大人的美術入門─圓」(2004，群馬)、 「我的茶─私人的奢華享受」(2006，東京)、「迷人的 藝術生活展─某位藏家的世界」(2006，東京)、「開幕 展II」(2008，東京) 、「450」(2008，大阪)。

出生於大阪，擁有金澤藝術學院美術碩士學位。近期 重要個展除了2009年於蘇黎世葛德畫廊舉辦外，還包 括「代理者圖像」〈2007，東京〉、「鴿子的狂歡」 〈2006，東京〉、「剩下的？」〈2006，東京〉。近期 重要聯展有「回音」〈2008，橫濱〉、「羅莉塔的勝 利」〈2008，瑪多士畫廊，倫敦〉、「肖像的章節」 〈2007，廣島市立當代美術館，廣島〉、「現實之後」 〈2006，紐約〉。

東方畫會創辦人之一。中國現代版畫會會員、版畫學會 理事、全國美展及全省美展評審委員，曾參加巴黎雙年 國際青年藝展、第八屆國際版畫展、義大利國際藝術家 展、義大利國際版畫展、英國第六屆國際雙年版畫展、 香港大會堂中國版畫家聯展、米蘭中國現代畫家十人 展，獲1972年中國學會版畫金爵獎，1980年版畫學會版 畫金爵獎，英國第六屆國際雙年版畫展獎。多年來在國 內外舉行多次個人畫展。

255

Lots 119, 163 Lot 117

Lots 118, 166

John WAY (Chinese-American, b. 1921)

Chang-Ling (Taiwanese, b. 1975)

JAN Chin-shui (Taiwanese, b. 1953)

Born in Shanghai. Way has held his own shows in Shanghai since 1937. From 1951 his works have been selected to show at the Hong Kong Art Club Annual Exhibition for five consecutive years. Way settled down in Boston in 1956, where he studied abstract painting in the West. Throughout the 1960s Way had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT's Art Museum in 1968. In 1965, his work was showed alongside other well-acclaimed contemporary artists including Hans Hartung and Andy Warhol, in a joint exhibition "Painting Without a Brush" held at the Accademia del Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum.

Born in Hualien County, Taiwan. Chang-Ling graduated from L'Ecole Nationale des Beaux-Art de Bourge in 2000, in which year he was admitted into the Ecole Nationale Superieure des Beaux-Art de Paris and studied under Christian Boltansky, Jean-Luc Vilmout and Jean-Marc Bustamant. In 2004, he held art group "COLOCOLOC" in Paris and established an art publication "Le Couteau de Paris". His major solo exhibitions are as follow: "Unnatural Exhibition" (2004, Hsinchu, Taiwan); "The First Flower of the Streaky Pork" (2005, Taipei); "Hair Follicle" (2005, Taipei); "Streaky Pork Series: Epoch-Making" (2007,Taipei); "Flesh Landscape in Garden" (2007, Geneva, Switzerland); "Pork Belly Flesh Series - Flesh Weapons" (2007, Taipei).

Born in Miao-li, Taiwan. Jan Chin-shui graduated from the Fine Arts Department of the National Taiwan Academy of Arts. He was awarded first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published four exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today's Taipei University of the Arts).

魏樂唐 (華裔美籍，1921年生)

常陵 (台灣，1975年生)

詹金水 (台灣，1953年生)

出生於上海，1937年起即於上海畫廊展出，1951年起連 續5次入選香港美術協會年展。1956年移居美國，並專 心投入抽象繪畫，為當代華人藝術家中最早專研抽象繪 畫者之一。1960年代起曾在波士頓舉行多項展覽，包括 1960年在納思畫廊及1968年在麻省學院藝術館之個展， 並入選1965年波士頓現代美術館之「不用畫筆的畫作」 聯展，參展畫家包括國際著名的當代畫大師如哈同及安 迪沃荷等。其作品為美國史丹佛美術館及舊金山美術館 等典藏。

常陵生於台灣花蓮，2000年畢業於法國國立步矩藝術學 院，同年進入法國國立巴黎高等藝術學院，師事波坦斯 基，韋勒蒙及布斯塔蒙，2004年畢業於法國國立巴黎高 等藝術學院。2003年成立COLOCOLOC藝術團體於巴 黎，2004年創辦《巴黎小刀藝術報》於巴黎。個展： 2004年，「非自然個展」於台灣國立交通大學藝文空 間，新竹；2005年「五花肉之第一花」個展，一票票人 畫廊，台北；「毛囊展」個展於關渡自強284，台北； 2007年「五花肉系列－開天闢地」，也趣畫廊，台北； 「肉－花園一遊」，蕾達畫廊邀請個展，日內瓦，瑞 士；「五花肉系列－肉兵器」，關渡美術館，台北。

台灣苗栗人。專業畫家，擅長油畫。1986年國立藝專美 術科畢業。1987年曾獲第十一屆全國油畫展金牌獎， 1989年獲教育部文藝創作獎油畫金牌獎。1997年參加上 海舉辦之中國當代藝術大展。出版有四本個人畫集。作 品收藏機構有國立藝術學院（今國立台北藝術大學）。

256

Lots 121, 126, 131

Lots 120, 171

YANG Chihung (Taiwanese, b. 1947)

Lots 124, 203

Tzu-chi YEH (Taiwanese, b. 1957)

YANG Mao-lin (Taiwanese, b. 1953)

Born in Taoyuan, Taiwan, Yang Chihung graduated from the fine arts department of the National Taiwan College of Arts in 1968. In 1976, he traveled to the United States, where he studied at Pratt Institute. From 1978 to 1979 he taught at the Taiwan Art College. He emigrated to the United States in 1979. His art was exclusively represented by Siegel Contemporary Art in New York between 1984 and 1987 and in 1987 by Michael Wallis.

More than twenty one-man exhibitions were held for his works in the United States, Taiwan and Hong Kong.

In addition, he was participated in many important exhibitions in Taiwan and abroad.

Born in Yuli, Hualien, Taiwan in 1957, Yeh held his undergraduate study at the National Taiwan Academy of Arts in 1977 and graduated from the Fine Arts Department, Chinese Culture University in 1981. He acquired his master's degree from Fine Arts Graduate School, Brooklyn, City University of New York, USA in 1989. His works were often seen in local and foreign personal and joint exhibitions, including personal exhibitions held at the Taipei American Culture Center in 1987 and the Westbeth Gallery, NY in 1989. He attended the Asian Youth Art Exhibition in Hong Kong in 1980 and was invited by Alternative Museum to attend the Invitational Joint Exhibition "The Day of Death" in 1989 and 1990.

Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first solo exhibition at the Taipei Fine Arts Museum; in 1990 he participated in the Taiwan Art Museum Exhibition "300 years of Taiwan Art"; in 1995 his works were included in the "Exhibition of Taiwanese Art" in Rome. Yang Maolin's works represent a segment of Taiwanese history and build up time/space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since the 1990s, he has criticized Taiwanese social phenomena under the long-term influence of American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and was well received by international art critics and collectors.

楊識宏 (台灣，1947年生)

葉子奇 (台灣，1957年生)

楊茂林 (台灣，1953年生)

出生於台灣桃園，楊識宏於1968年畢業於國立藝專美術 科。1976年赴美國，並進入紐約普拉特版畫中心研究版 畫。1978至1979年在國立藝專美術科任教，隨後於1979 移居美國。自1984至1987年他是紐約西葛畫廊的專屬畫 家。楊氏在美國、台灣及香港舉行二十多次個展，並數 次參加海內外重要美術展覽。

1957年生於台灣花蓮玉里，1977年國立藝專肄業，1981 年中國文化大學美術系西畫組畢業。1989年獲美國紐約 市立大學布魯克林藝術研究所碩士。作品多次參加國內 外個展及聯展。包括1987年於台北美國文化中心、1989 年於紐約衛斯貝斯畫廊個展。1980年參加香港舉行的亞 洲青年畫展。1989及1990年均獲邀參加紐約替代美術館 「死亡之日」邀請展。

1953年生於台灣彰化。1979畢業於台北文化大學美 術系，1985年為台北畫派創始成員並推選為第一任 會長。1991年榮獲第一屆雄獅美術創作新人獎。展 覽紀錄豐富，如：1987年第一次個展於台北市立美 術館，1990參加台灣省立美術館舉辦的「台灣三百 年作品展」，1995年於義大利羅馬舉行的「台灣當 代藝術展」等。於楊茂林的作品中，我們可以看到 對台灣歷史的片斷及多元時空的交錯，其作品以批 判，顛覆的手法對台灣歷史事件作一另類省思。 1990年代之後，從美國、日本文化影響，創作「文 化篇」系列作品，嘗試多媒體與裝置創作，掌握時 代脈動，呈現今日社會文化面向。1990年代獲國際 邀展不斷，1999年以《熱蘭遮紀事》等早期作品參 加第四十八屆威尼斯國際藝術雙年展，受到國際藝 評家與收藏家的注意。

257

Lots 125, 157

Lots 127, 138

Lots 132, 133

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

CHAO Chung-hsiang (Taiwanese, 1910-1991)

SU Wong-shen (SU Wang-shen) (Taiwanese, b. 1956)

B o r n i n Ta i w a n . F i r s t s o l o e x h i b i t i o n , Ta i w a n Provincial Museum: Pursued advance study in Europe and USA, 1976 to 1980. Solo exhibition "The King's Dream", National Taiwan Museum of Fine Arts, Taipei; "Nightmare", Taipei Fine Arts Museum, "Dignified Symbol" collected by the Museum, 1995.

Established Hwang Ming-che 3-D Art Workshop, 1996. "From Construction to Deconstruction and Back to Construction: Hwang Ming-che Solo Exhibition", Forum of Creativity in Art held by Kaoshiung Museum of Fine Arts, 1998. Hwang's 3-D artwork collected by the Museum. Solo Exhibition, "Shanghai-Taipei", Shanghai Fine Arts Museum, "A Group of Women in East Taipei" collected by the Museum, 2001.

"Construction of Belief," Solo 3-D Artwork Exhibition, Taipei Fine Arts Museum, Taipei, 2001. "The Multiform Nineties: Taiwan's Art Branches Out", Taipei Fine Arts Museum, 2004. Arario Beijing, 2006, Solo Exhibition, National Art Museum of China, Beijing; 798 Beijing Art Center, Beijing, 2007; "Flower and Hammer", Main Trend Gallery, Taipei; Commercial spokesperson of Volkswagen Phaeton Series, designed gifts for VW's new car owners.

From 1932 to 1939, Chao studied at Henan Normal School followed by the Hangzhou National Academy of Art where he was awarded 16 prizes. Chao's early work has been collected by his tea-chers Lin Fengmian and Teng Gu. In 1939, his works were exhibited in the first National Art Exhibition where he won a prize in watercolor. In 1956, Chao received a scholarship to Spain where he later became a permanent member of the National Art Association of Spain. He moved to USA in 1958 and devoted the next three decades to exploring and developing his own artistic style. While living in USA, Chao met his American contemporaries such as Roy Lichtenstein (1923-1997) and Mark Rothko (19031970). In 1965, he held a solo exhibition and lecture at the Guggenheim Museum. In 1980, he returned to Taipei for a solo exhibition and 4 years later, decided to establish an art studio there. From 1984 to his death in 1991, Chao traveled frequently between New York, Taipei, China and Hong Kong in his search for artistic fulfillment.

Born in Chiayi, Taiwan. Su Wong-shen currently works and lives in Kaohsiung. He graduated from the Fine Arts Department of Chinese Culture University. Su's first solo exhibition was held in the American Culture Center in Taipei. He held another solo exhibition in the Taipei Fine Arts Museum in 1988 and continued to exhibit extensively thereafter in both solo and group exhibitions. Su's early work in the 1980s was abstract and it was only in the 1990s that he moved to more realist work. Most of his recent work uses dogs as a metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

黃銘哲 (台灣，1948年生)

趙春翔 (台灣，1910-1991)

蘇旺伸 (台灣，1956年生)

1948年生於台灣，1976年至1980年首度油畫個展於台灣 省立博物館，同年遊學於歐美。1992年應邀於國立美術 館舉行個展—「國王的夢」，並典藏作品。1995年台北 市立美術館個展—「夢魘」，並典藏作品《尊嚴的符 號》。1996年成立「黃銘哲立體作品工作室」。1998年 高雄市立美術館「創作論壇」—「從結構、解構、再結 構的黃銘哲」個展，並典藏立體作品。2001年上海美術 館新館，「上海—台北風華再現」個展，並典藏作品 《東區的一群女人》；台北市立美術館，「信仰的打 造」黃銘哲立體作品個展。2004年「立異—九○年代台 灣美術發展」台北市立美術館。2006年「本位．面對， 第一接觸在北京，李錫奇 V S 黃銘哲」；「超驗的中 國」阿拉里奧開幕聯展，阿拉里奧北京藝術空間。2007 年北京中國美術館個展；北京798亞洲藝術中心個展 。 2008年黃銘哲個展《花與鐵鎚》台北大趨勢畫廊；為福 斯汽車旗艦車款Phaeton廣告代言；並為福斯汽車打造藝 術品作為其交車禮。

1932至1939年間就讀於河南省第一師範學校藝術系及國 立杭州藝專，期間曾經榮獲16項獎項，其作品亦被林風 眠（1900-1991）與滕固兩任校長收藏，1939年參加南 京第一屆全國美展，並獲人物水彩畫獎。1956年因獲西 班牙皇家美術協會會員而遷居西班牙。趙春翔於1958年 移居美國，往後三十年中探索並發展新的繪畫風格，並 結識同時期美國藝術家如李奇登斯坦（1923-1997）與 羅斯科（1903-1970）等人。1963年，代表中華民國參 加紐約古根漢美術館舉行個展及演講。往後數年，趙春 翔在美國各家畫廊及博物館等地舉行展覽及演講活動； 1980年返台舉行個展，並於1984年成立個人畫室。1991 年病逝於台灣。作品廣受各地私人與美術館收藏，如古 根漢美術館、紐約大都會美術館及台北市立美術等。

台灣嘉義人，目前居住於高雄。1979年畢業於文化大學 美術系。1985年首次個展於美國文化中心，1988年台北 市立美術館個展，歷年舉辦多次個展及聯展。其作品從 早期切割畫面的構成，至近期以「狗」為隱喻手法，表 現當今社會現象。收藏機構：台北市立美術館、國立台 灣美術館等。

258

Lot 134

Lot 136 Lot 135

MIAO Jingchang (Chinese, b. 1966)

HSIAO Ju-sung (Taiwanese, 1922-1992)

LI Shih-chiao (Taiwanese, 1908-1995)

Miao was born in the Hebei province of China. In 1990, he graduated from the Fine Arts Department of Inner Mongolia Normal University, specialized in oil painting.

He served as the first-class teacher in Baogang Normal College and Sports College in Baotou, Inner Mongolia.

His work White Villous Themeda entered the 2nd Chinese Annual Oil Painting Exhibition; A Clear Lake With Only One Fish was selected in "the 8th National Art Exhibition"; Western Landscape was selected in "Chinese Landscape Painting and Oil Painting Exhibition"; No Wind In The Past and Flat Landscape With No Sound entered "the Oil Painting Exhibition by Chinese Young Artist"s; A Warm Afternoon won "the Bronze Award in the 9th National Art Exhibition".

Born in Kaohsiung. A graduate of Hsinchu Normal College, Hsiao has won a series of awards including the Excellent Work Prize at the Taiyang Show, the Literary Award and the Chairman Award presented by the Fine Arts Exhibition of Taiwan Province, the Art by the Rotary Club of West Taipei, and the Golden Belt Award given by the Art Society of China in 1972 for the most excellent watercolourist. He has been invited to participate in the Seibum Show, the Exchange Exhibition of Fine Arts between China and Japan, the Jointed Exhibition of Contemporary Chinese Artists in Newport, Rhode Island, U. S. A. as well as in the Chinese Culture Show in Philadelphia. A member of the Art Society of China, the Taiyang Fine Arts Association, and the Blue Cloud Fine Arts Association, he serves as supervisor of the Fine Art evaluation member in Hsin Chu County, the teacher at the East Hsin Chu High School, and jury of the Fine Arts Show in Hsin Chu County.

Born in Taipei, studied at Taipei Normal School under Ishikawa Kinichiro at the age 16. He moved to Japan in 1929 and studied Western painting at Tokyo Fine Arts Institute. He won the highest honours at the Imperial Exhibition and was selected to the Exhibition in the next three years. LI was one of the co-founders of Taiyang Fine Arts Association. He returned to Taiwan in 1994 and settled down in Taichung. He taught painting at his private studio and was later invited to teach at the Fine Arts Department of National Taiwan Normal University in 1963. Since his retirement from teaching in 1974, Li has devoted himself to painting. He died in 1995 in United States, Li was one of the National Master of paintings in Taiwan.

苗景昌 (中國，1966年生)

蕭如松 (台灣，1922-1992)

李石樵 (台灣，1908-1995)

生於中國河北。1990年畢業於內蒙古師範大學美術系， 擅長油畫，任內蒙古包頭市包鋼師範學校、體育學校一 級教師。作品《白菅草》入選中國第二屆油畫展；《僅 有一條魚的清湖》入選全國第八屆美展；《西部風景》 入選中國山水畫、油畫風景畫展，《過去沒有風》、 《沒有聲音的平坦風景》入選中國青年油畫展；《暖暖 的下午》獲第九屆全國美展銅獎。

台灣高雄人。新竹師範學校（今國立新竹教育大學）演 習科畢業，其作品曾獲台陽展佳作獎、全省美展文協獎 及主席獎、台北西區扶輪社美術展、中國學會1972年度 最優水彩畫家金爵獎。應邀參加青文展、中日交換展、 美國羅德島新港中國當代畫家聯展、費城中國文化展， 現任中國會學會、台陽美術協會會員，新竹縣美術視導 員、青雪美術會會員，竹東中學美術教員，新竹縣展審 查委員。1992年台北市立美術館舉辦「蕭如松紀念畫 展」，展出蕭如松遺作。

生於台北。16歲進入台北師範就讀，從石川欽一郎習 畫。1929年赴日，1931年進入東京美術學校西畫科並入 選帝展，其後連續三回入選，而獲帝展免審查資格。年 曾參與「赤島社」，為台陽美術協會八位創始人之一， 1994年返回台北成立「李石樵畫室」免費授畫，並於 1963年授無聘為國立師範大學美術系主任。自1974年退 休後致力於繪畫創作，為台灣國家級畫家之一，於1995 年病逝美國。

259

Lots 137, 139, 161, 181 Lots 142, 178, 179

Lots 140, 141

YANG San-lang (Taiwanese, 1907-1995)

LI Chen (Taiwanese, b. 1963)

LIN Fengmian (Chinese, 1900-1991)

Born in Taipei, Taiwan. Yang moved to Japan in 1923 where he studied at the school of Fine Arts and Crafts in Kyoto. He was then transferred to the Western Painting Programme in the Kansai Art Academy. He returned to Taiwan in 1927, and founded the Ruddy Island Association together with Ni Chiang-huai and Liao Chi-chun. In 1929, he won the first prize of the Taiwan Exhibition. Yang went to France in 1931 where he studied European paintings in the museums.

In the following year, his works were selected for the Autumn Salon in Paris. In 1934, he together with Chen Cheng-po, and Liao Chi-chun established the Taiyang Art Association. Yang had numerous solo shows and received many awards from important art exhibitions including : "Fifty Years of Studying Art" at the Provincial Museum in 1973 and "Oil Paintings by Yang San-lang" in 1979, and "Retrospective Exhibition of Yang San-lang's Paintings" in 1983 at the National Museum of History. Yang received a special national art award in 1986 for his great contribution to the Taiwanese art world.

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 sculptures, 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 & 2006 "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.

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.

楊三郎 (台灣，1907-1995)

李真 (台灣，1963年生)

林風眠 (中國，1900-1991)

生於台北，1923年赴日本留學，首先進入京都美術工藝 學校。後轉入關西美術學院西洋畫科，受嚴格的學院派 教育。1927年回台灣，和倪蔣懷、廖繼春創辦「赤島 社」。1929年榮獲台灣美術展覽會特選第一名。楊氏於 1931年赴法國留學，並潛心研究歐洲諸大博物館所藏名 畫，次年他的作品入選法國秋季沙龍。1934年返台，並 在教育會館舉行個展，同年秋季與陳澄波、廖繼春等人 組成「台陽美術協會」。楊氏舉行過多次個展，並多次 在台灣美術展上獲獎。其中比較重要的展覽有1973年和 1983年分別在國立歷史博物館舉行的「楊三郎油畫個 展」和「楊三郎油畫回顧展」。1995年，國父紀念館舉 行「楊三郎近作展」楊氏以其在畫壇上卓越的成就，曾 於1986年榮獲國家文藝特別貢獻獎。

雕塑家李真，1963年出生，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。

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」。

260

Lots 144, 147, 150, 151 Lot 145 Lots 143, 180

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

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

Yun GEE (Chinese-American, 1906-1963)

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 its 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, 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 Guangdong, China. Yun Gee enrolled in the San Francisco Art Institute when he moved to San Francisco in 1921. In 1925, he studied at the California School of Fine Art under Gottardo Piazzoni and Otis Oldfield.

He had his first solo exhibition in 1926, where he met his first patrons, the Prince & Princess Achilles Murat, who encouraged him to go to France. Gee had several solo exhibitions during his stay in Paris. In 1932, Gee was invited to participate in the exhibition "Murals by American Painters and Photographers". He spent the next phase of his life traveling between New York City and Paris before he passed away at the age of 57. In 1968, the Robert Scholkopf Gallery in New York held a retrospective of his works, reviving Gee's memory after he had been forgotten for many years.

朱德群 (華裔法籍，1920年生)

趙無極 (華裔法籍，1921年生)

朱沅芷 (華裔美籍，1906-1963)

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。

生於廣東。15歲時赴美依親，不久便進入舊金山藝術學 院，1925年進入加州美術學校習畫，受教於皮亞佐尼與 歐特斯·歐菲德，並與後者成為好友。1926年協助華人在 舊金山成立現代藝廊，同時舉行首次個展。其才華也因 此獲得法國親王穆哈特夫婦的賞識，而鼓勵他前往巴黎 發展，駐巴黎期間舉行多次個展，1932年應邀參加紐約 現代美術館的壁畫展。1963年病逝於紐約。1968年紐約 羅博·蕭柯夫畫廊為其舉行遺作展，使其藝術再度受到世 人矚目。至今，世界各地已舉行過多次回顧展，其中包 括台北市立美術館。朱沅芷的繪畫受亦師亦友的歐菲德 影響甚大，如立體派、未來派及達達主義，而其作品表 現共色主義的風格，並被認為是一位現代主義的畫家。

261

Lot 148 Lots 146, 182

Lots 152, 153, 183,184, 185

LIAO Chi-chun (Taiwanese, 1902-1976)

WANG Huaiqing (Chinese, b. 1944)

JU Ming (Taiwanese, b. 1938)

Born in Taichung. After graduating from Taipei Normal School in 1922, Liao Chi-chun studied in Japan at the Tokyo Fine Arts School. While in Japan, Liao was strongly influenced by contemporary developments in Western art. Liao was a co-founder of both the Ruddy Island Association and the Taiyang Fine Arts Association. He was also an art professor at National Taiwan Normal University until his retirement in 1973.

In 1957, he encouraged his students to form the Fifth Moon Group in Taiwan. In 1962 he toured Europe and the United States at the invitation of the USA State Department. Later, he changed to a new art style in pink color and his distinguishing characteristic became mature. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yat Sen Foundation's Literary Awards. He passed away in Taipei in 1976. The Liao family donated several of Liao's paintings to the Taipei Fine Arts Museum.

Born in Beijing, he entered the Central Academy of Arts and Crafts in 1964 to study interior design and while there, he studied painting under Wu Guanzhong.

In 1970, during the Cultural Revolution, Wang was assigned to the countryside for rehabilitation through labour and studied painting with Wu Guanzhong. In 1980, Wang formed the Contemporary Painting Society with his fellow classmates; organized an exhibition at the China National Museum of Fine Arts and joined the National Chinese Artist Association. He received a Master's degree a year later. Wang's work has been selected for exhibitions worldwide including the recent major exhibition at the Guggenheim Museum, New York, entitled "5000 Years of Chinese Art" in addition to the Asian Art Fair at the Armory. His paintings are sought after by major museums and private collectors.

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.

廖繼春 (台灣，1902-1976)

王懷慶 (中國，1944年生)

朱銘 (台灣，1938年生)

生於豐原，1922年台北師範學校畢業，後赴日本就讀於 東京美術學校，1927年畢業後返台。深受當時西方美術 風潮所影響，活躍於各項展覽及多個組織，為「赤島 社」及「台陽美協」的發起人之一。並任教於國立台灣 師範大學及中國文化大學美術系。1957年鼓勵支持學生 成立「五月畫會」，為台灣現代藝術催生。1962年應邀 赴歐美考察，此後畫風真淳，色彩活潑華麗卻和諧適 意，粉紅色大量出現，發展出特殊個人風格。其作品曾 獲中山學術文藝創作獎及中國畫金爵獎。1976年病逝台 北。1997年廖氏家屬為體現廖繼春畢生奉獻美術教育之 精神，於1997年捐贈一批代表作與台北市立美術館，同 時由民間企業贊助設置廖繼春紀念獎助金，以鼓勵從事 油畫創作與藝術理論研究之後進，遺愛在人間。

生於北京，1964年入中央工藝美術學院裝璜繪畫系，於 1970年文化大革命期間，下放農村勞動改造，並隨吳冠 中先生學習繪畫。1980年籌辦策劃「同代人畫會」於中 國美術館聯展，並於同年加入中國美術家協會，次年獲 得碩士學位。王氏作品頻頻於國內外重要大展中獲獎， 極獲重視。並於1998年參加紐約古根漢美術館「中國藝 術5000年展」及紐約軍械庫「亞洲藝術博覽會」。其作 品廣為海內外重要美術館及企業收藏。

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。

262

Lot 154

Lot 155

Lot 156

Alixe FU (Taiwanese, b. 1961)

wu Bu Yun (Chinese, 1905-2001)

DAI Ze (Chinese, b. 1922)

Born in Yunlin, Taiwan in 1961, he graduated from the Chinese Culture University in Taipei. Since his first individual exhibition in 1983 in Taipei, he has had many individual shows in Taiwan, France, Japan and New York. He has been living and working in France since 1987. In 1991, he was given a studio in Auverssur-Oise by the French Ministry of Culture. His solo exhibitions include: 2002, "Vegetable Man, Animal Man I", Miyabi Gallery, Nagoya (Japan); 2003, "XVI Nagoya Contemporary Art Fair", Gallery Miyabi, Nagoya, Japan; 2004, "Vegetable Man, Animal Man III" in Blois Chateau and Museum, Blois, France.

Wu whose father is Filipino-Chinese, was born in Taishan, Guangdong in 1905 and studied art in the 1920's. He returned to Hong Kong in 1936 and began his art and writing career there. In 1946, he taught painting at Ying Wa College, Hong Kong. During his early years, he wrote many works about the beauty of Hong Kong and expressed a vivid life in his works. In the early 1980's, he was invited to teach as a guest professor by Ministry of Culture and Central Academy of Fine Arts, so he had more opportunities to travel around China and painted more landscape paintings. Then he settled down in Canada, devoting himself to diverse cultures, and presented with his painting brushes the natural beauty of lakes and mountains, the scenery of different seasons, and people of all ethnic groups. In the past few years, he had held a 90 Year's Retrospective Exhibition in Taiwan and was highly praised.

Born in Kyoto Japan, grew up in Yunyang Sichuan, graduated from Central University, Department of Fine Arts. He was Xu Beihong's favorite student, and followed after Xu to teach in Central Academy of Fine Arts. The style of his work is mainly realistic, with extensive themes. During his artistic career for over 50 years, he had participated in many national and international exhibitions.

傅慶豊 (台灣，1961年生)

伍步雲 (中國，1905-2001)

戴澤 (中國，1922年生)

1961年出生台灣雲林，畢業於中國文化大學美術系。 1983年在台北首次個人畫展，隨後在巴黎、紐約、北 京、法國、日本、台灣等地個展。1987年以藝術家身份 旅居法國， 1991年獲法國巴黎西北郊三十公里梵谷村國 家永久畫室。 傅慶豊曾舉辦過的個人展覽包括：2002 年「植物人、動物人I」，美雅畫廊，名古屋，日本； 2003年「X V I屆名古屋當代藝術博覽會個展」美雅畫 廊，日本； 2004年「植物人、動物人III」布洛斯古堡美 術館，布洛斯市，法國。

生於廣東台山，父親為菲律賓華僑。20年代於菲律賓大 學修讀美術。1936年返香港，正式開始從事美術寫作生 涯。1946年於香港英華書院教畫。早期居住於香港，寫 盡了香江風貌，作品中有強烈的生活氣息。80年代初 期，應中國文化部和中央美術學院邀請，出任客座教 授，更遊遍中國名山大川，山河風貌盡入畫圖中。其後 定居加拿大，致力多元文化，在加國廣闊的土地上，從 西到東縱橫萬里，湖光山色、四秀風光與各族人民，都 呈現在畫筆下，曾在台灣展出九十回顧展，甚獲好評。

生於日本京都，四川雲陽人，畢業於南京中央大學美術 系。為徐悲鴻最得意的弟子，並隨徐至北京中央美院任 教。作品風格以寫實為主，題材廣泛。在近五十年的藝 術生涯中有許多重要的全國性和國際性的展覽。

263

Lots 158, 168

HSIAO Chin (Taiwanese, b. 1935)

Lot 159

Lots 160, 165

LIU Kuo-sung (Taiwanese, b. 1932)

Qin Xuanfu (Chinese, 1906-1998)

Hsiao Chin was born in Shanghai. His father, Hsiao Yumei, was an important composer in modern music in China. Hsiao grew up in an artistic environment and his childhood remains an important influence on his work.

After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei.

He also studied drawing under Chu Teh-chun. After his graduation, he learned modern art with Li Chun-shan.

He then went to Spain to study but changed his mind as he was not inclined towards the conservative style practiced by the Spanish art colleges. Hsiao founded the Ton Fan Art Group in 1956, and was instrumental in bringing modern Taiwanese painting into international exhibitions. In 1959, he moved to Milan, Italy. He then traveled and worked in Paris, London and New York.

Since 1966 he is the director of Graduate Institute of Plastic Arts of Tainan National College of Arts.

Born in Chinchou, Shandong, he graduated from the National Normal University art department, and initiated the Fifth Moon Group, arduously promoting the Taiwan modern art movement. When he was twenty seven years old, he deeply felt the importance of national characteristics and cultural traditions, he was like a man on a mission, to find for twentieth century Chiniese drawing a new tradition to be spared no effort, and gave brush ink in traditional Chinese paintings a new definition, and promoted the theory of "texture with the brush". This kind of Chinese traditional painting doesn't need a pen to be painted, although receiving criticism at the time, at present, including mainland painters, critics as well as art historians, have all accepted this idea. Liu Kuo-sung also puts to this kind of theory the implemention with, in his individual practices, innovating with the color and ink techniques for more than 30 years, creating many kinds of different forms and individual styles.

Qin Xuanfu (1906-1998) was born in Guilin, Guangxi.

Graduate of Tsinghua University, Foreign Language Department, admitted by Ecole des Beaux Arts in Paris in 1930. He taught in Beijing Art College, Tsinghua University and National Art College. He was the Dean of Department of Western Paintings in National Art College, an editor of Ci Hai, Chinese Encyclopedia of Art, deputy director of Chinese Art Education Research Society, deputy chair of Chinese Artist Association, Jiangsu branch. Solo exhibitions nationwide in 1945, 1963, and 1985. He went abroad to Minnesota University's art department in July, 1988.

蕭勤 (台灣，1935年生)

劉國松 (台灣，1932年生)

秦宣夫 (中國，1906-1998)

生於上海。父親蕭友梅是中國現代音樂的重要啟蒙者。 受其影響，童年在濃厚藝文氣息環境下成長。1949年來 台，1951年入台北師範學校藝術科系，曾隨朱德群學習 素描，1952年入李仲生畫室研究現代藝術。1956年後與 畫室成員創「東方畫會」，為「八大響馬」成員之一， 作品多次參加過全國性及國際性展覽。1955年獲西班牙 政府獎學金，次年啟程赴歐留學。1959年遷居義大利米 蘭，先後工作於巴黎、倫敦及紐約等地。1961年發起 「龐圖（又譯作「點」，PUNTO）國際藝術運動」， 1978年再創辦「太陽（SURYA）國際藝術運動」，1989 年發起「國際無（SHAKTI）藝術運動」活躍於國際藝 壇。1996年起，應聘於國立台南藝術學院造型藝術研究 所，擔任繪畫專任教授。2000年應邀參加第七屆義大利 威尼斯建築雙年展。主要收藏機構包括：紐約現代美術 館、大都會博物館、費城藝術館，義大利羅馬國立現代 美術館、德國司圖加斯特美術館、西班牙巴塞隆納現代 美術館、台北國立歷史博物館、台北市立美術館等。

山東青州人，國立台灣師範大學藝術系畢業，為五月畫 會創始之一，倡導台灣現代藝術運動不遺餘力。劉國松 自14歲開始學習傳統國畫，大學二年級後轉為專心研究 西洋近代繪畫及現代藝術理論，27歲時深感民族性及民 族文化傳統之重要，一種使命感與責任心促使他為創建 廿世紀中國繪畫的新傳統不遺餘力，給予國畫傳統中的 皴法及「筆墨」一種新的意義，並倡導「革筆的命」的 理論，這種畫國畫不一定要用筆的見解，當時雖受到批 判，但到現在，包括大陸在內的畫家，評論家以及美術 史家都已接受此一觀念。劉國松並將此種理論付諸實 行，在其個人創作實踐中，創新水墨的皴法和技巧， 三十餘年來，已創造了多種不同形式的個人風格。現任 東海大學美術系所專任教授。

秦宣夫生於廣西桂林。1929年畢業於清華大學外語系， 1930年在巴黎考入法國高等美術學校及呂西安.西蒙教授 工作室，巴黎大學藝術考古研究所及魯佛學校。曾在北 平藝專、清華大學、國立藝專任教。曾任國立藝專西畫 系主任、南師院美術系主任，《辭海》編委、《中國大 百科全書．美術卷》編委、全國美術教育研究會副理事 長，中國美術家協會江蘇分會副主席。在國內曾於1945 年、1963年、1985年舉辦三次個展。並於1988年7月在 美國明尼蘇達大學美術系舉辦個人畫展。

264

Lot 162

Lot 167

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

Lot 169

CHIU Ya-tsai (Taiwanese, b. 1949)

LIN Ju (Taiwanese, b. 1959)

Kuo born in Lukuang, Changhua, Taiwan in 1949, graduated from the Department of Fine Arts, Chinese Culture University in 1973 and learned how to paint at the Li Chun-shan Studio during 1968-73. Sponsored

by Asia Foundation, USA during 1974-79, he devoted himself to researching Taiwan folk arts and participated in practical fieldwork. Influenced by Pop Art in the 70's, he formed an unique personal creative style in the 80's-the combination of Han-Tang figures and totems or symbols of Chinese folk arts as well as a strong western vocabulary. In the 90's he expanded to landscape paintings and Chinese classical fairytales. His works are collected by the Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, and the Hara Museum of Contemporary Art, Japan.

Chiu was born in 1949 in Yi-lan on the east coast of Taiwan. A loner and an underachiever in school, he began his mandatory military service and at the same time began to read. Beginning with Chinese history and progressing to the classics of Western literature in translation for example the masterpieces of Shakespeare and Dostevsky, he was inspired by tales of heroes and began to write and paint. Chiu's portraits of Taiwan's modern-day literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almond-shaped eyes. Elegant androgynous-looking men and women with elongated, oval faces are shown seated or standing in partial profile.

The subjects appear to be lonely, even melancholic, but controlled and self-possessed. In the 1980s, Chiu persevered with his literary and artistic works in a wellknown cultural salon "Wisteria" in Taipei. His paintings have been widely exhibited in Spring Gallery (Taipei), the National Museum of History and the Taiwan Museum of Art.

LIN Ju was born in 1959, Yi-lan, Taiwan. His selected solo exhibitions include "The Interior: Utopia of a Survivor" (2008, Lin & Keng Gallery, Taipei), "Appearances" (2006, Lin & Keng Gallery, Taipei).

Selected group exhibitions include "Reason's Clue" (2008, Lin & Keng Gallery, Beijing; Queen's Museum of Art, New York), "Surrealists in Taiwan" (2007, Taipei Fine Art Museum, Taipei)."Options within Realism"(2007, Lin &Keng Gallery, Beijing)

郭振昌 (台灣，1949年生)

邱亞才 (台灣，1949年生)

林鉅 (台灣，1959年生)

1949年生於台灣彰化鹿港，1973年中國文化大學美術系 畢業。1968~73年入李仲生畫室習畫。1947~79年間曾 獲美國亞洲基金會贊助，投入台灣民俗藝術研究，並實 際參與民間田野調查工作。1970年代因受到普普藝術影 響，1980年代出現擷取中國漢唐時期人物造型及中國民 間藝術圖騰符號結合強烈的西方語彙，形成獨特的個人 創作風格。而後1990年代擴大至山水風景及中國古典神 話。其作品獲台北市立美術館、高雄市立美術館、國立 台灣美術館及日本原美術館等收藏。

1949年生於台灣宜蘭，非學院派畫家，自幼對正規學業 不感興趣，退伍後才開展對文字藝術的追求，以及對人 性的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基 等大師巨著的閱讀經驗，豐富其往後繪畫中的人物深 度。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影 響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖 瘦，雌雄莫辯，主題上傾向於孤寂、憂鬱、內斂而沈 靜。1980年代他經常於台北知名文化沙龍「紫藤廬」一 隅創作，以成無數畫作及小說。作品曾於台北春之藝 廊、歷史博物館及省立美術館等處展出。以肖像畫著 稱，藉由畫筆直嘆身埋人類理性面具下的卑微、傲慢、 頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的頹靡氛 圍。

林鉅於1959年出生於台灣宜蘭。近期主要各展有「體 內─依個倖存者的烏托邦」（2008，大未來畫廊，台 北）、「相」（2006，大未來畫廊，台北）。近期主要 聯展有「執古御今」（2008，大未來畫廊，北京；皇后 美術館，紐約）、「台灣超現實」（2007，台北市立美 術館，台北）、「寫實主義中的選擇」（2007，傑森麥

265

考利畫廊，紐約）。

Lot 173 Lot 170

Lot 172

HWANG Jyi (Taiwanese, b. 1953)

WU Tien-chang (Taiwanese, b. 1956)

YANG Ren-ming (Taiwanese, b. 1962)

Born in Chiayi in 1974. Works by Hwang Jyi were shown in the 1989 L'Ecole Nationale Supérieures des Beaux-Arts exhibition in Paris, and he later won first prize in the National Fine Arts Exhibition. Hwang Jyi's works, often in the nature of surrealist epics, can be seen as a kind of personal creative journal, with strong sensory impact created through presentation of multilayered dimensions. They stand as unique stylistic achievements in modern Taiwanese art.

Born in Taipei, Taiwan. He graduated from Chinese Culture University in 1980 and was one of the founding members of the "Taipei Painting Association." The style he has changed from irony to black humor. In the late 1980s, Wu started to create the Trauma series that reflected the social issues of concern. All the elements in the painting are scars and violence, implying the age at that time. In 1990s, Wu employed image into his creation. In addtion to photography, he also pays special heed to the frame and material used. He often used artificial flower, sequins, velvet, cord and leather, imitating the "Salon photography" which was popular in Taiwan in the 1950s. These techniques and materials present the main theme of the works of this period, Pretence. In recent years, he participated in the Venice Biennale and that of Fukuoka Asian Art Museum in Japan and became a well-known figure.

Born in Kaohsiung, Taiwan, Yang graduated from the Department of Fine Art Oil Paintings, Chinese Culture University in 1985; he also received the Hsiung Shih New Artist award in the same year. In 1988 he studied abroad in France. After his return in 1994 he held the "New Plants Grown from Black Water" exhibition in Galerie Pierre, Taichung. He had a solo exhibition in the Grigny Culture Center in France, held "Between Imagination and Reality" exhibition in the American Cultural Center, Taipei; Triennial exhibition in Daejeon, Korea; Biannual exhibition in Taipei Fine Arts Museum; "The Educated Man" dual solo exhibition in Chicago Gallery; and "New Plants Grown from Black Water", the 8th Fukuoka Asian Art Museum international art exhibition.

黃楫 (台灣，1953年生)

吳天章 (台灣，1956年生)

楊仁明 (台灣，1962年生)

生於台灣嘉義。其作品曾入選1989年巴黎高等美術學院 美展，而後又獲得第七屆全國美展首獎。其作品可謂是 一種個人的日記形式創作，畫中帶有超現實史詩的內 涵，充滿多層次時空交替的感官接觸，為台灣當代藝術 中別樹一格的風格。

台灣台北人。1980年畢業於文化大學美術系，為「台北 畫派」創始成員之一，乃台灣前衛藝術最出色的人物之 一。他的繪畫風格經過了從政治反諷向黑色幽默的轉 變。1980年代末吳天章開始製作「傷害症候群」，以社 會性題材關心時代議題，繪畫裡所有的元素都是受傷 的、暴動的，以表現當時台灣所處的時代。1990年代， 吳天章開始以影像作為創作手法，除了攝影，他也特別 著重在畫框與材質的選用，他常用人造花、亮片、金蔥 布、絨布、皮料、雷射的亮帶等材質，以及仿製50年代 流行於台灣「沙龍攝影」的場景，以表現這時期的創作 主題—「虛假」特質。近年曾參加義大利威尼斯雙年 展、日本福岡亞洲美術館等重要國際大展，聲名大噪。

台灣高雄人，1985畢業於文化大學美術系西畫組，同年 獲選雄獅新人獎。1988 赴法研習。回台後1994年於臻 品藝術中心舉辦個展「從黑水長出來的新植物」，期間 舉辦法國葛里尼文化中心個展、台北美國文化中心個展 「在想像與現實之間」、韓國大田三年展、台北市立美 術館雙年展、芝加哥畫廊博覽會雙個展「知識份子」、 日本第八屆福岡亞細亞國際美展「從黑水長出來的新植 物」等。

266

Lot 175

Lots 176, 177, 201, 217, 218

Lots 186, 204

George CHANN (Chinese-American, 1913-1995)

ZHOU Chunya (Chinese, b. 1955)

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master's degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles. More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

Born in 1955 in Chengdu, Sichuan Province. 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.

Born in I-lan, Taiwan. Yang studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibitions in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d'Arte e Cultura Abano Terme in 1966. He was also awarded the World Peace Prize for Culture and Arts by the ROC's Literature and Arts Society. In 1991 Yang held a Stainless Steel Sculpture Exhibition in the National Museum of Singapore.

陳蔭羆 (華裔美籍，1913-1995)

周春芽 (中國，1955年生)

楊英風 (台灣，1926-1997)

生於廣東，12歲中學畢業，1934年進入美國洛杉磯奧蒂 斯藝術學院就讀，師事布魯克及維色卡。就學期間因成 績優異獲全額獎學金，並於1940年取得美術碩士學位， 次年於洛杉磯加州藝術俱樂部舉行首次個展。19421946年間陸續於美國各大城市舉辦展覽。1947-1949年 返回中國，個展於廣州市文獻館及上海。1950年返美， 並開始研究抽象畫，於1969-1973年間應南加州帕撒狄 納美術館之邀舉行個展，展出50件抽象作品，其作品被 聖地牙哥博物館及美國數個市立美術館永久珍藏。

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。

生於台灣宜蘭縣，曾進修於日本東京美術學校建築系， 北平輔仁大學美術系及國立台灣師範大學藝術系，其後 又習雕塑於義大利羅馬藝術學院。1964至1966年間於義 大利各大城市舉辦巡迴個展。1966年曾獲義大利奧林匹 克繪畫金章獎及雕塑銀章獎。其後又獲頒第二屆世界和 平文化藝術大獎。1991年應新加坡之邀作個人展覽。

267

Lot 190 Lots 187, 189

Lots 188, 199

LIANG Ping-cheng (Lan Mo) (Taiwanese, b. 1958)

HUNG Yi (Taiwanese, b. 1970)

YU Shenghao (Chinese, b. 1973)

Born in Pingtung, Taiwan. In 1983, he won the 8th Hsiung Shih New Artist Prize. Graduated from the Fine Arts Department of Chinese Culture University. Past exhibitions include: "Deep-Consciousness Series oil painting individual exhibition" (American Institute, Taiwan, 1987), "Flying-Land Series, individual exhibition" (Galerie Pierre, Taichung, 2002), "FertileLand Series, individual exhibition" (Herb 24 home Museum, Eslite Bookstore, Xinyi, Taipei, 2006)

Born in 1970, Taichung, Taiwan. He was once an owner of 9 restaurants, and at the age of 30, decided to live his life as an artist when he was nominated as the artist of "Stock 20 in Taichung Railway Station" (2002). His work is inspired by his surroundings and life experiences. The artist uses a lot of bright primary colors. His works are bold and lively, which clearly represent the local Taiwanese culture. Hung Yi's major solo exhibitions include the "Art in Taiwan, Interesting Taiwan" (2004, Taipei), "Life in the World" (2002, Taipei), and "Meet Hung Yi" (2008, Taipei). Besides works shown in exhibitions, his works can also be seen in many public art locations.

Graduated from the Yanbian art academy in 1995, he took advanced courses in the oil painting department in the Central Fine Arts Institute in 1996, and participated in the "English Winter Union Exhibition" in 1997. He graduated from the print department of the Central Fine Arts Institute in 1998 and attended "the Chinese International Exhibition", "Four Persons of Oils Art Exhibitions", and conducted his solo exhibition in the Gallery at Shoreman Art International in Taiwan in 2000, his work nearly sold out, those sold pieces went to collectors in Japan, the US, Canada and France among others. He conducted his solo exhibition in the Revives Art Center in Singapore, and made brilliant achievements, participated in the "Taipei International Art Exposition 01". Yu's works are widely collected by Taiwan high level enterprises, and his reputation grew within a night. He also participated in the "Artistic Richness" exhibition conducted by Shoreman Art International in the Beijing International Art exhibition.

梁平正 (藍墨) (台灣，1958年生)

洪易 (台灣，1970年生)

俞成浩 (中國，1973年生)

出生於台灣屏東，1982年參與創立「笨馬藝術團體」， 1983年獲第八屆雄獅美術新人獎。1985年畢業於文化美 術系。歷年展覽有：「深意識系列油畫個展」（美國在 台協會，台灣，1987年）；「飛行系列雕塑個展」（臻 品藝術中心，台中，2002年）；「沃土系列個展」（信 義誠品草本24 Home Museum，台北，2006年）。

1970年生於台灣台中，曾開設九間風格獨特的餐廳，在 他三十歲那年，毅然走向藝術家這條路。2000年獲選為 「20號倉庫—鐵道藝術網絡台中站」駐站藝術家。洪易 的作品風格、靈感皆來自他的週遭環境與生活經驗，從 廟宇文化探掘台灣的原生色彩，大膽活潑並充滿愉悅 感。他的雕塑作品經常使用紅黃藍綠等強烈的原色；自 發性以及原生性的創作風格十分具有台灣獨特的視覺意 象。流暢的線條、奔放的色彩、充滿活力的快樂感及敘 述式構圖是洪易作品的特定標誌。他的重要個展包括 「普羅眾生」(2002，台北)、「台灣有藝術，台灣有意 思」(2004，台北)、「偶遇洪易」(2008，台北)。除多 次參與國內外展覽之外，更能在許多公共藝術中，看見 洪易深具絢麗活力的作品。

1995年畢業於延邊藝術學院。於1996年中央美術學院油 畫系進修，1997年參加「英國冬日聯合參展」，1998年 畢業中央美術學院版畫系研修班，參加「中國國際展覽 會」、「四人油畫展」、2000年在協民國際藝術畫廊舉 辦在台灣第一次個展，作品幾乎售馨，其藏家分佈到日 本、美國、加拿大、法國等。在新加坡復興藝術館舉行 個展，成績斐然，參加2001年台北國際藝術博覽會，近 年來俞氏作品廣為台灣高層企業界收藏，知名度一夕之 間上升，在2002年參加協民國際藝術在北京國際藝苑策 展之《藝氣豐發》大展。

268

Lot 193

Lots 194, 210 Lot 192

TU Hongtao (Chinese, b. 1976)

CHEN Liu (Chinese, b. 1973)

JIA Gang (Chinese, b. 1974)

Born in Chengdu, Sichuan, Tu Hongtao graduated from the Sichuan Art Academy attached middle school in 1995. In 1998 he attained an outstanding prize from the Li Chun-shan art foundation in Taiwan. He graduated from the oil painting department of the China Art Academy in 1999, and teaches in the art design department in Chengdu University. In 2006, he participated in the "Fiction@Love" exhibition tour held by the Museum of Contemporary Art Shanghai.

Born in 1973 in Kunming, Chen Liu graduated from the Central Art & Crafts College in 1996, in which year he won the first prize of Ikuo Hirayama Award, and is now a professor in the Yunnan Academy of Fine Arts. His works have been published in Chenliu Water Color Paintings (2001) and Segment, Chenliu Art Works (2004); and he has shown his works in several exhibitions such as his solo exhibitions "Watercolor Paintings of Chen Liu" (2004, Kunming) and "Segments—Oil Paintings of Chen Liu" (2004, Kunming); "Contemporary Tradition—Invitational Exhibition of Chinese Artists" (2006, Milan); "International Contemporary Art Fair 2007" (Hong Kong); "Asian Contemporary Art Fair 2007" (New York); and in the recent group exhibition "I'm Ready" (2008, Taipei).

Born in Liaoning, China, Jia graduated from the Academy of Arts and Design in Tsinghua University in 2001, and participated in the "Young and Bold – Exhibition of the new acts in the China art scene"; 2007, "Gestures", Beijing New Age Gallery; "The Age of Pluralism, Being Persistent", New Age Gallery, Beijing and Taichung.

屠宏濤 (中國，1976年生)

陳流 (中國，1973年生)

賈剛 (中國，1974年生)

出生於四川成都。1995年畢業於四川美院附中。1998年 獲台灣李仲生基金會優秀獎。1999年畢業於中國美院油 畫系，現任教於成都大學設計藝術系。2006年曾應邀參 加上海當代藝術館舉辦的《虛擬＠愛》巡展。

1973年生於中國昆明，1996畢業於中央工藝美術學院裝 飾藝術系裝飾繪畫專業，於1996榮獲中央工藝美術學 院「平山鬱夫獎」一等獎，目前則是任教於雲南藝術 學院美術學院油畫系。出版過多本畫冊，如《陳流水 彩畫集》(2001)、《片斷——破碎的天空陳流作品集》 (2004)。繼2004在雲南昆明舉辦的個展「陳流水彩畫 展」、「片斷—陳流油畫作品展」，另參加多次國際 展覽，如「當代的傳統—中國畫家邀請展」(2006，米 蘭)；「2007國際當代藝術博覽會」(2007，香港)；「亞 洲當代藝術展覽2007」(2007，紐約)；「我準備好了」 (2008，台北)。

出生於中國遼寧，2001年畢業於清華大學美術學院， 2004年「少年心氣—中國新銳繪畫展」；2007年，「姿 態」，北京新時代畫廊；「多元世代，固執己見」，新 時代畫廊，北京、台中。

269

Lot 196 Lot 191

Lot 195

XUE Song (Chinese, b. 1965)

SUN Lisha (Chinese, b. 1984)

WANG Kun (Chinese, b. 1958)

Born in Anhui Province. In 1988, he graduated from the Shanghai Drama institute. He now lives and works in Shanghai. His solo exhibitions include the British Embassy in Beijing in 1992, the Shanghai Art Museum in Shanghai in 1966, "Standing on the Shoulder of Giants", Shangh Art, Shanghai in 2000, "Xue Song Solo Show" at the Chinese Contemporary Art Gallery in London in 2001; "Ver Da Ga-Xue Song Fashion Series" at Shanghai Art in 2002; Xue Song solo shows at the Walsh Gallery in Chicago, Gallery de Monde in HK and Shanghai Art Gallery in Shanghai. Shanghai in 2003, Group exhibitions included "Shanghai 2000" at Walsh Gallery in Chicago; Shanghai Art Fair in Shanghai, "Transcending Boundaries" at MSU Art Gallery at Montclair State University, "Future Chinese Contemporary Art" in Macau in 2000; "Metaphysics 2001" at the Shanghai Art Museum, "As Long As They Catch Mice", Munkeruphus Gallery in Denmark, "Crossing Over" at Walsh Gallery in Chicago; "Initial Image" at Yibo Gallery in Shanghai; "Ost + West at Ausstellung zeitgenoesischer kunst aus China" in Vienna, Austria; "Metaphysics 2002" at the Shanghai Art Museum in 2002 and "Paris-Beijing" at Espace Cardin in Paris in 2002.

Born in Shijiazhuang, Hebei, She entered into Central Academy of Fine Arts in 2004. Her major exhibitions are: 2007 "Gathering Sandcastles - Chinese New Generation Artists Award Exhibition", Beijing; 2006 "On the Road - Oil Painting Exhibition", Beijing; 2004 "Beijing Impression So Wonderful - New Year's Art Exhibition of Young Artists", Beijing. In 2005 her photographic work won the Award of Excellence in Epson International Imaging Contest.

Wang Kun was born in July, 1958, Tianjin. He studied in Tianjin Academy of Fine Arts from 1978 to 1982 and received a bachelor's degree. From 1989 to 1991, he purchased his further study in the field of oil painting at the Central Academy of Fine Arts. And he currently is the executive editor of Chinese Oil Painting magazine, the membership of China Artists Association, the councilor of China Oil Painting Society and Tianjin Artists Association, the vice chairman of Tianjin Oil Painting Society, specially invited as professor by Tianjin Academy of Fine Arts, modern art college and postgraduate school of Chinese National Academy of Art.

薛松 (中國，1965年生)

孫立沙 (中國，1984年生)

王琨 (中國，1958年生)

出生於安徽省，1988年畢業於上海戲劇學院舞臺美術 系，現居於上海。曾多次舉辦個展，當中有1992年北京 英國大使館「薛松畫展」、1996年上海美術館「薛松個 人展」、2002年，上海香格納畫廊「站在巨人的肩膀 上」、2001年，英國倫敦中國當代畫廊「薛松個展」、 2002年，上海香格納畫廊「不搭界」、2003年於多國舉 行個展。而他多次參加國際群展，當中有1996年，德國 波恩現代藝術博物館「覺醒的中國」、1997年，維也 納、哥本哈根等地巡迴展出「中國！」現代藝術展、 2002年，法國巴黎皮爾卡登空間「巴黎－北京」；澳門 「未來－中國當代藝術展」等。

中國河北石家莊人，女性藝術家。2004年考入中央美術 學院。主要展覽有：2004年「北京印象」；2006年「在 路上油畫作品展」，北京；2006年「太美好－青年藝術 家新年作品鑒賞展」，北京； 2007 年「聚沙塔－中國 新銳繪畫展」，北京。2005年攝影作品參加愛普生國際 影像大賽獲優秀獎。

1958年7月生，天津人。1978-1982年入天津美術學院學 習，獲學士學位。1989-1991年在中央美院油畫創作研 修班深造。現任《中國油畫》雜誌執行主編，中國美術 家協會會員，中國油畫學會理事，天津美協理事，天津 油畫學會副主席，天津美院現代藝術學院特聘教授，中 國藝術研究院研究生院特聘教授。

270

Lot 197

Lot 200 Lot 198

QIU Xiaofei (Chinese, b. 1977)

HOU Chun-ming (Taiwanese, b. 1963)

JIAO Xingtao (Chinese, b. 1970)

1977, born in Harbin, Heilongjiang Province. 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); "Feeling Memory" (2004, Shanghai); "Together" (2004, Beijing); "N12 New Painting-No.2" (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 Chiayi, Taiwan in 1963, he graduated from the Department of Fine Arts, National Institute of the Arts in 1987. He created a series of Construction Site Show works in 1985 and held his personal exhibition "Paradise" in 1990. His "World Sacrifice" and other woodcuts were published in 1994. Since 1988, he has held a series of solo exhibitions and was selected to participate in Italy's Venice Biennale on behalf of Taiwan many times. His works are widely collected by local and foreign art museums and individuals.

Born in Chengdu, Sichuan in 1970, Jiao graduated from the Sichuan Academy of Fine Arts in 1996. He 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; "10 Art Academy joint Exhibition", Academy of Fine Arts, Tsinghua University, Beijing; "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.

仇曉飛 (中國，1977年生)

侯俊明 (台灣，1963年生)

焦興濤 (中國，1970年生)

1977年生於哈爾濱。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）。

1963年生於台灣嘉義，1987年畢業於國立藝術學院美術 系。1985年創作「工地秀」作品系列，1990年發表個展 「極樂圖懺」、1994年發表「世祭圖」等版畫。1988年 起陸續舉辦個展及多次入選代表台灣參加義大利威尼斯 雙年展。其作品廣為國內外人士、美術館及私人藏家收 藏。

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。

271

Lot 202

Lot 205

Lots 206, 211, 219

JIANG Shuo (Chinese, b. 1958)

LEE Jae-hyo (Korean, b. 1970)

HUANG Gang (Chinese, b. 1961)

From Beijing, graduated from the Department of Decorative Sculpting, Central Academy of Fine Arts in 1982, graduated with an MA in Sculpting from the Central Academy of Fine Arts in 1985, and stayed behind as a lecturer. From 1982 to 1987, she designed trophies for a series of National Film Awards such as "Best Drama". Her works were displayed in "the National Art Exhibition" in China Museum of Art many times. She moved to Austria in 1989 where she became a professional artist. Her works are often on display in Austria, Germany, Canada and Hong Kong, and widely collected by overseas collectors.

Born in 1970, Korea. Lee Jae-hyo graduated from Hongik University as a BFA in Plastic Arts in 1992.

He received numerous awards including, "Grand Prize Winner of Osaka Triennial" (1998, Japan), "Kim SaeJung Young Artist Prize" (2000, Korea), "Sculpture in Woodland Award" (2002, Ireland), "Pize of Excellence of Hyogo International Competition of Painting" (2005, Korea), and "Prize of Excellence of 2008 Olympic Landscape Sculpture Contest" (2008, Beijing). His works has been shown in several solo exhibitions in Seoul, Tokyo, Beijing, and New York. The artist also participated in various group exhibitions, such as the "Young Korean Artist Exhibition" (2000, Korea), "Association of Asian Contemporary Sculpture" (2001, Korea), "Out of Wood" (2003, Korea), "Vibration" (2005, Korea), "Art Canal" (2006, Switzerland), "Art Basel" (2006, USA), "Five Space & I" (2007, Korea), and "Opening of the 10th Municipal Museum of Art" (2008, Korea).

Born in Beijing in 1961, he graduated from the Central Industrial Art Institute. During the 80's, paintings with a Tibet theme were extremely popular; people loved the pureness, the mystery, and the nature of Tibet, which is not yet polluted by civilization. Huang Gang became interested in the culture, religion, and art of Tibet, and started his own Tibet classical drawing artware collection, studies society, religion, philosophy background which this kind of art produced. He created the Tibet writing series work afterwards, but he is a different artist, he used an unprecedented artistic way to carry on the creation. Huang Gang’s works were exhibited many times in the world. Solo exhibitions were held in Germany, France, Switzerland, the US and Hong Kong, and had enormous success. He obtained different cultural contextual views from different countries and high praise.

蔣朔 (中國，1958年生)

李在孝 (韓國，1970年生)

黃鋼 (中國，1961年生)

北京人。1982年畢業於中央工藝美院裝飾雕塑系。1985 年中央工藝美院雕塑研究生，畢業並獲碩士學位。後留 任講師。1982年至1987年間，為中國文化部設計創作 《最佳故事片》等一系列國家電影獎獎碑。作品曾多次 在中國美術館參加「全國美展」。1989年定居奧地利成 為職業藝術家。作品常在奧地利、德國、加拿大、香港 等地展出，並廣為海外收藏家收藏。

1992畢業於韓國弘益大學造型藝術專業，獲得藝術學士 學位。他榮獲許多獎項，其中包括「大阪三年展大獎」 （1998，日本）、「金大中青年藝術家獎」（2000，韓 國）、「林地雕塑大獎」（2002，愛爾蘭）、「兵庫縣 國際繪畫競賽優勝獎」（2002，日本）、「2008奧林匹 克景觀雕塑競賽優勝獎」（2008，北京）。於 1996開 始在東京、紐約、首爾、北京等地舉辦過12次個展，也 參加過多次群展，包括「韓國青年藝術家展」（2000， 韓國）、「亞洲當代雕塑聯展」（2001，韓國）、「運 河藝術博覽會」（2006，瑞士）、「五個空間&我， Moran美術館」（2007，韓國）、「第10屆釜山市立美 術館開幕展」（2008，韓國）。

1961年出生中國北京，畢業於中央工藝美術學院。1980 年代在中國內地以西藏題材創作藝術作品十分流行，人 們大都熱衷於表現這裡神奇而未被現代文明污染的壯美 的自然環境、獨特的風土人情，黃鋼於那時開始對西藏 文化、宗教、藝術產生濃厚興趣，開始了西藏古典繪畫 藝術品的收藏，研究這種藝術產生的社會、宗教、哲學 背景。之後創作了西藏文字系列作品，但他是以一種不 同於其他藝術家，前所未有的藝術方式進行創作。黃鋼 的藝術作品在世界各地多次展覽。在德國、法國、瑞 士、美國等國家及香港舉辦過個人展覽，並獲得極大成 功。得到了不同國家不同文化背景的關注、認同和高度 評價。

272

Lot 212

Lot 209

Lot 213

XIONG Yu (Chinese, b. 1975)

LIU Baomin (Chinese, b. 1968)

ZHANG Xiaotao (Chinese, b. 1970)

Born in Chengdu, Sichuan, Xiong Yu graduated from the attached middle school of the Sichuan Academy of Fine Arts in 1995, and rose up into the oil painting department of the Sichuan Academy of Fine Arts. In 1999, he graduated from the oil painting department of the Sichuan Academy of Fine Arts and was admitted to the plastic arts department of the Sichuan Academy of Fine Arts as a professional graduate student of oil painting in the same year.

In 2002, he obtained the Sichuan Art Academy oil painting master's degree and began to teach at the artistic academy of Sichuan University. Xiong is a new talent of Chinese oil painting from the "Sichuan School of Painting", after Luo Zhongli, He Duo-Ling and Zhang Xiaogang. His work participated in and was awarded in "Youth Art Exhibition of Sichuan Province" in Chengdu. In 2004, his works received a Bronze Prize in "Mood of the Youth-Exhibition of Reworded Paintings of Chinese Newly Emerging Artists" in Shenzhen.

Born in 1968 in Xi'an city, Shaanxi province. In 1989 he graduated from the Xi'an Academy of Fine Arts with a degree in oil painting. Currently he is a member of the Shaanxi Oil Painting Artists Association and a professional painter. Exhibitions: 1999 "The Capital Art Exposition", Beijing; 2001 "Solo Exhibition", Beijing; 2001 "Shanghai Art Exposition", Shanghai; 2002 "China Art Exposition", Beijing; 2003 "Solo Exhibition", Hong Kong; "The Third Shaanxi Oil Painting Exhibition", Xian; "The Third China Oil Painting Exhibition", Beijing; "Solo Exhibition", Beiijng; 2004 "Touring Exhibition of Oil Paintings", Beijing; "Group Exhibition of Freedom of Touching the Body and Soul", Beijing; 2005 "Spring Art Salon", Hong Kong.

Born in Hechuan, Sichuan Province, China. Zhang Xiaotao graduated from the Oil Painting Department of Sichuan Academy of Fine Arts. Solo exhibitions: "Flowers in the Dream" at the Tokyo Gallery, Japan, 2001; "The Blown-up Property", Beijing, 2001; "Desire" at the Kunst Akademie Muenster in Germany, 2002; "The Erosion of Materialism", Paris, 2003; "Dream Factory and Refuse Dump", Beijing, 2004 and Tokyo, 2005; "Illusion", Norway and Lithuania. His group exhibitions have included: "Between the Dream and Painting—Vienna from 1900 to 2000", Germany, 2000; "Dream: Chinese Contemporary Art Exhibition" at the London Pacific Gallery, 2001 and Manchester, 2002; "The Left Hand-Right Hand" at the China and Germany Art Communication Exhibition, Beijing, 2003; "Madrid International Art Exhibition", Spain, 2004; "Chinese Current Painting" at the INFELD Culture House, Vienna, 2004; "New Viewpoint of Chinese Painting" at Marella Arte Contemporanea, Italy, 2004; "Paris International Art Exhibition", 2004; "Chinese Current Painting", Italy and "The 2nd Prague Biennale", Czechoslovakia, 2005.

熊宇 (中國，1975年生)

劉保民 (中國，1968年生)

張小濤 (中國，1970年生)

出生於四川成都，1995年畢業於四川美術學院附 中，升入四川美術學院油畫系，1999年畢業於四川 美術學院油畫系，同年考取四川美術學院造型藝術 系油畫專業研究生，2002年獲四川美術學院油畫系 碩士學位並任教於四川大學藝術學院。熊宇是繼羅 中立、何多苓、張曉剛等人之後，中國油畫「四川 畫派」的新秀。2002年作品參加成都「四川省青年 美展」並獲獎，2004年作品參加深圳「少年心氣－ 中國新銳繪畫獎作品展」獲頒銅獎。

1968年生於陝西省西安市。1989年畢業於西安美院油畫 系。現為陝西省油畫學會會員，職業畫家。重要展覽： 1999年「藝術博覽會」，北京； 2001年「劉保民個人 油畫作品展」，北京；「上海藝術博覽會」上海；2002 年「中國藝術博覽會」，北京；2003年「劉保民個人 油畫作品展」，香港、「陝西第三屆油畫展」，西安； 「第三屆中國油畫展」，北京；「劉保民個人油畫作品 展」，北京；2004年「北京油畫巡展」，北京；「觸摸 身心的自由群展」，北京。2005年「春季沙龍展」，香 港。

生於四川合川。1996年 畢業於四川美術學院油畫系。 個展： 2001年，「夢裡的花兒」，日本，東京畫廊。 2002年「欲望」，德國明斯特藝術設計學院。2003年 「唯物主義的糜爛」，法國巴黎阿基阿妮基畫廊 。2004 年「夢工廠和垃圾場」，北京東京藝術工程。2005年 「幻景」，挪威，卑爾更3，14國際藝術基金會。2005 年「夢工廠和垃圾場」，日本，東京畫廊。2005年「幻 景」M.K.修爾里奧尼斯國立藝術博物館，立陶宛。聯 展： 2004年「中國繪畫中的新視點」，瑪蕊樂畫廊， 義大利米蘭。2004年巴黎國際藝術博覽會，法國巴黎。 2005年「中國當代繪畫」，義大利波洛尼亞銀行基金 會。2005年「第二屆布拉格雙年展」，捷克布拉格。

273

Lot 215

Lot 214 Lot 216

HONG Ling (Chinese, b. 1955)

LI Jisen (Chinese, b. 1970)

YIN Qi (Chinese, b. 1962)

Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there.

His oil paintings have been exhibited in the first and second annual exhibition of "Chinese Oil Paintings" and the "1994 Critics Nomination Exhibitions." Hong has won many awards for his art. A solo exhibition was held in Hong Kong in 1995. He also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.

Born in 1970, Tianjin, China, Li Jisen graduated from the Tianjin Academy of Fine Arts, and studied in the Central Academy of Fine Arts in 1994, specializing in oil painting. The artist has shown his works in numerous exhibitions, among which are the "Third China National Oil Painting Exhibition" (2003, Beijing); "The Art of Time—Movado Touring Exhibition in 10 cities in China" (2005); "The Flying Moth" (2005) and "Power of Faith" (2006) solo exhibitions; the "Extraordinary Men – Group Exhibition of Contemporary Chinese Art" (2006, Beijing); the "Touched by the Color" solo exhibition (2007, Beijing); the "Asian Contemporary Art Fair 2007" (New York); the "Symbol & Metapho" solo exhibition (2008, Korea); and the group exhibition "I'm Ready" in Taipei (2008).

Born in 1962 in Beijing, China, Yin Qi graduated from the Central Academy of Fine Arts in 1987, and taught at the affiliate high school after graduation. He later resumed his studies of art at the Ecole National Superieur des Beaux Arts in Paris in 1989 - 1991 and at the Institute de Haute Etude en Arts Plastiques in 1996 – 1997. He now resides and works in Beijing and Paris.

His solo exhibitions were common both in China and many places in Europe such as Spain (2004, Barcelona); France, Issodum Museum and Meymac Contemporary Art Center (2004); and Beijing, Soka Contemporary Space (2005). He also participated in group shows " The 10th National Art Exhibition" (2004, Beijing); " Beijing Biennal" (2005); "Spreading Realism" (2006, Taipei).

洪凌 (中國，1955年生)

李繼森 (中國，1970年生)

尹齊 (中國，1962年生)

雲南白族人，1955年生於北京。1979年畢業於北京首都 師範學院美術系，專長油畫。1985年入中央美術學院油 畫系研習班，目前為中央美術學院油畫系副教授。油畫 作品曾參加第七屆全國美展、首屆中國油畫展、第一與 第二屆中國油畫年展，以及1994美術批評家年度提名展 等展覽，並多次獲獎，1995年在香港舉辦個人展覽。 1997年參加第47屆義大利威尼斯雙年展。作品《秋草》 為中國美術館收藏。

1970年生於天津，畢業於天津美術學院，於1994年繼續 在中央美術學院油畫系進修。曾參加無數展覽，如「攜 手新世紀—中國第三屆油畫展」（2003，北京）；「瑞 士摩凡陀時間的藝術—中國十城市巡展」（2005）； 「飛蛾的故事」個人油畫作品展（2005）；「中國國際 畫廊博覽會」（2006）；「觸及心色」個展 （2007，北 京）；「2007亞洲當代藝術博覽會」（紐約）；「象徵 與隱喻」油畫作品展 （2008，韓國）；以及「我準備好 了」台北聯展 （2008）。

1962年出生於北京，1987年畢業自中央美術學院後，於 該校附屬中學任職。尹齊於1989-1991年赴巴黎美術學 院深造，於1996–1997期間就讀巴黎高等藝術造型研究 所。目前於北京與巴黎定居和工作。其作品曾於中國 與歐洲多處舉行個展，如光2004年就在西班牙巴塞隆 納、法國依蘇登博物館、法國眉馬克當代藝術中心等地 舉辦個展，2005年也在北京個展展出。而參加的聯展 有「第十屆全國美展」(2004，北京)、「北京雙年展」 (2005)、「展開的現實主義」(2006，台北)。

274

Lot 220

Lot 221

Lot 222

Masao KINOSHITA (Japanese, b. 1971)

Gabriel BARREDO (Philipino, b. 1957)

Ai HAIBAR (Japanese, b. 1981)

Born in 1971 in Nagano Prefecture, Japan. Kinoshita Masao graduated from the Department of Sculpture of Tokyo Zokei University in 1993. His works have joined various exhibitions such as "Geisai Museum" (2003, Tokyo); "Geisai 5" (2004, Tokyo); "Geisai 7—Exhibition of Geisai Medalists" (2005, Tokyo); "Exhibition of Teruhisa Kitahara's Collection" (2006, Tokyo); "The Exhibition of International Sculpture Masterpiece" (2007, Taiwan); "Masao Kinoshita" (2008, Taiwan) "Art Fair Tokyo 2009" (2009, Tokyo).

Born in 1957 in Manila, Philippines, Gabriel Barredo now resides in Manila. He has held solo exhibitions as Philippine Representative to the "Sao Paolo Biennale" (1993, Singapore); "Anima & Persona" (1999, Manila); and group exhibitions "Soka's view" Southeast Asian Contemporary Art (2007, Taipei); "13th Asian International Art Exhibition" (1998, Kuala Lumpur). In addition, the artist is awarded for "1994 Ten Outstanding Artists – Diwa Ng Sining Awards" ; and "Art Association of the Philippines Annual Competition for Sculpture", Gold medal, in 1981.

Ai Haibara was born in 1981 in Okayama Prefecture, Japan. She graduated from Craft Course of Faculty of Fine Arts and Music, Tokyo National University of Fine Arts and Music in 2004. After that, she got the MD in Craft Course of Faculty of Fine Arts, Tokyo National University of Fine Arts and Music in 2006. Her selected solo exhibition include: "Memories Journey" (2006, Okayama), "A stir in my heart" (2007, Tokyo). Selected group exhibition include: "Four persons' exhibition" (2003, Tokyo), "Space with Sculpture - Four persons' exhibition of sculpture" (2004, Tokyo), "Descendants of Atelier or of it future" (2006, Tokyo), "Descendants of Atelier or of it future" (2007, Tokyo).

木下雅雄 (日本，1971年生)

蓋伯瑞．博瑞多 (菲律賓，1957年生)

灰原愛 (日本，1981年生)

1971年出生於日本長野縣，1993年畢業於東京造形大 學雕刻系。其作品曾參加多項展覽，如「藝祭 美術 館」(2003，東京)、「藝祭5」(2004，東京)、「藝祭 7-藝祭得獎者展覽」(2005，東京)、「北原照久收藏 展」(2006，東京)、「花蓮國際石雕藝術季」(2007，台 灣)、「木下雅雄」(2008，台灣) 、「2009東京藝術博覽 會」(2009，東京)。

1957年生於菲律賓馬尼拉，現定居於馬尼拉。曾舉辦多 次個人展，如「聖保羅雙年展」菲律賓代表 （1993，新 加坡）、「生命與角色」（1999，馬尼拉）；以及團體 展「索卡新觀點」東南亞當代藝術展 （2007，台北）、 「13屆亞洲國際藝術展」（1998，吉隆坡）；並曾榮獲 「十大傑出藝術家之一Diwa Ng Sining獎」（1994）、 「菲律賓藝術協會雕刻藝術年度競賽」（1981） 金獎等 多項殊榮。

1981年出生於日本岡山縣，2004年畢業於東京藝術大 學美術系，主修雕刻，並於2006年取得碩士學位。其 作品參加過的個展如「記憶的旅程」(2006，岡山)、 「悸動」(2007，東京)。以及聯展「四人聯展」(2003， 東京)、「東京藝術大學雕刻四人聯展－雕刻的空間」 (2004，東京)、「畫室的後裔或未來展」(2006，東 京)、「畫室的後裔或未來展」(2007，東京)。

275

Lot 223 Lots 224, 226 Lots 225, 228

JI Yong Ho（Korean, b. 1978）

KIM Byung Jin (Korean, b. 1974)

KWON Ki Soo (Korean, b. 1972)

1978 Born in Korea. He graduated from Hongik University, South Korea in 2005, received a bachelor's degree. In 2008 graduated from New York University, received a master's degree. Solo Exhibitions: 2007 "Mutant", Seoul; 2008 "Mutant Mythos", New York; 2009 "Mutant Colour", Taipei. Important group Exhibitions: 2004 "10 Different Views of Environment",Seoul; 2005 "Between", Stuttgart; 2006 "Khaos", Seoul; 2007 "I Love New York", New York; 2008 "Sevilla Biennale", Spain; 2009 "Chocolate Box", GyeongGi-Do.

Born in 1974, Seoul. Kim Byung Jin graduated from the Sculpture Department and proceeded his MFA studies in Sculpture at the Suwon University College of Arts.

He held his two solo exhibitions, "Drawing a Space" in Korea in year 2008 and 2009. The artist also participated in various group exhibitions, including "KoreaChina Contemporary Sculpture Exchange" (2007, China), "Korea's Enterprising Artists' Speaking-Out" (2007, Korea), "Commemorating Exhibition Opening Cheonggyecheon Art Studio" (2007, Korea), "Korea International Art Fair" (2008, Korea), "Seoul Open Art Fair" (2008, Korea), and "Living Design Fair" (2009, Korea).

Kwon Ki Soo was born in 1972 in Young-ju, Korea.

He attained his B.F.A. and M.F.A. from Hongik University, Seoul, in 1996 and 1998 respectively. He has held various solo exhibitions including "The Show 1998" at Kwan Hoon Gallery (1998) and "A Red Fountain" at Gallery Fish (2004) in Seoul. He has also participated in numerous notable group exhibitions, including throughout Seoul, such as "Pleasure Factory" at the Seoul Museum" of Art (2003), "The Elegance of Silence: Contemporary Art From East Asia at the Mori Art Museum in Japan (2004), "Traveling Art Museum" at the National Museum of Contemporary Art in Korea (2004), as well as "Listening 2004 N.Y". at the Jacob Javits Convention Center in New York (2004).

池龍虎 (韓國，1978年生)

金炳真 (韓國，1974年生)

權奇秀 (韓國，1972年生)

1978生於韓國。2005年畢業於韓國弘益大學，獲學士 學位。2008年畢業於紐約大學，獲碩士學位。個人展 覽有：2007年「突變神話」，首爾；2008年「突變神 話」，紐約；2009年「突變繽紛」，台北。重要群展 有：2004年「10種對環境的觀點」，首爾；2005年「之 間」，斯圖嘉特；2006年「渾沌」，首爾；2007年「我 愛紐約」，紐約；2008年「賽維爾雙年展」，西班牙； 2009年「巧克力盒」，韓國。

1974年生於韓國首爾，畢業於水原大學美術學院雕刻 專業學士和碩士學位。分別在2008年和2009年，在韓 國舉辦過2次個展「繪畫空間」，另參加過多次群展， 如 「中韓當代雕刻交流」 (2007，中國)、「韓國進取藝 術家」(2007，韓國)、「清溪川藝術工作室開幕展覽」 (2007，韓國)、「韓國國際藝術展」(2008，韓國)、 「首爾藝術展」(2008，韓國)；「生活設計展」(2008， 韓國)。

1972年生於韓國。1996年於弘益大學獲得美術文學士學 位，1998年在本校獲得美術碩士學位。他舉辦過的個展 包括1998年首爾寬勳美術館畫廊舉辦的「展覽1998」和 2004年魚畫廊的「紅色水泉」。他參與過的重要團體 展，當中包括2003韓國美術館的「快樂工廠」、2004年 森美術館的「沉默的優雅－東亞近代美術」、2004韓國 國立近代美術館的「遊歷美術博物館」和2004年美國紐 約賈維茲會議中心的「傾聽紐約2004」等。

276

Lot 230 Lot 227 Lot 229

KIM Nampyo (Korean, b. 1973)

YOON Jongseok (Korean, b. 1970)

KIM Tschang-yeul (Korean, b. 1929)

He has his BFA in Painting, Seoul National University, Seoul in 1998, and got a MFA in Painting, Seoul National University, Seoul in 2006. Selected solo exhibitions include: "Instant Landscape" (2008, Gallery IHN, Seoul), "Instant Landscape" (2005 Canvas International Gallery, Amsterdam). Selected group exhibitions include: "From Korea" (2007, LM Gallery, Seoul), "Art Amsterdam 2007" (2007, Amsterdam), "Tomorrow-The Collaborations" (2006, Soma Museum, Seoul). He was awarded at Arts Council Foundation Award, Gold Medal in National University Art Exhibition, Gold Medal in Creative Art association.

Born in 1970 in Seo-cheon Chung-nam, Korea, Yoon Jongseok graduated from Hannam University in 2000. Solo exhibitions: "Firing of Aerial Time" (1998, Seoul); "Pure Contradiction" (Seoul, 2002); "Drawing" (2006, Italy).He has also shown his works in many group exhibitions including "Korean Youth Artists Art Festival" (2001, Seoul); "Exchange Exhibition between Korea and Japan" (2001, Japan); "Korean Dream" (2002, France); "International Art Fair in China" (2005, Beijing).

Kim Tschang-yeul was born in 1929, Korea, and graduated from the College of Fine Arts at Seoul National University in 1950. The artist has an extensive exhibition history in major galleries, museum and art fairs all over the world. He has held solo exhibitions at the Chicago international Art Exposition (1989), the National Museum of Contemporary Art in Korea (1993), the Sakamoto Zenzo Museum of Art in Japan (1998) and his very first solo show in China at the National Museum of China (2005). Group exhibitions include "Painting in Korea: Yesterday and Today" at the Seoul Museum of Art (2004), and "Poem of Indian Ink" at the Guimet Museum of Asian Art in Paris (2005). Kim's works are vastly collected by art institutions such as the National Museum of Contemporary Art in Korea, the National Museum of Modern Art in Tokyo, the Museum of Fine Arts in Boston and the Museum of Oriental Art in Germany.

金南杓 (韓國，1973年生)

尹鍾錫 (韓國，1970年生)

金昌烈 (韓國，1929年生)

金南杓在1998獲得首爾國立大學繪畫學士，於2006年 於首爾國立大學獲繪畫碩士學位。近期重要個展有： 「即刻的風景」（2008，IHN畫廊，首爾）、「即刻的 風景」（2005，帆布國際畫廊，阿姆斯特丹）。近期重 要聯展有：「來自韓國」（2007，LM畫廊，首爾）、 「2007阿姆斯特丹藝術」（2007，阿姆斯特丹）、 「 明日 ─ 結 合 」（2 0 06， 首爾 奧林匹 克 美術 館 ， 首 爾）。曾獲獎：藝術局文化基金會獎、國立大學美術獎 金牌，創作藝術協會金牌。

1970年生於韓國舒川忠南。2000年畢業於韓南大學美 術學院。尹鍾錫舉辦過多次個展，如「飄忽飛行時 的火焰」（1998，首爾）、「純然的對比」（2002， 首爾）、「繪畫」（2006，義大利）。他的作品也曾 參加過多次聯展，包括：「韓國青年藝術家藝術節」 （2001，首爾）、「韓日交流展」（2001，日本）、 「韓國 夢」（2002 ，法國）、 「中國國際 藝 術節 」 (2005年，北京)。

1929年生於韓國，1950年畢業於漢城國立大學美術學 院。金昌烈具有廣泛的國際展史，舉行個展的地方包括 芝加哥國際藝術展覽、國立現代美術館、日本的板本善 造博物館，和2005年在中國第一次舉辦「金昌烈個展」 的北京中國國家博物館。團體展包括2004年漢城市立美 術館的「韓國繪畫：過去與現今」，和2005居美亞洲藝 術博物館的「水墨的詩」。金昌烈的作品為無數的藝術 館所珍藏，包括韓國國立現代藝術館、東京國立近代美 術館、波士頓美術館與德國的東方藝術館。

277

Lot 231

Lot 233

Lot 232

CUI Xiuwen (Chinese, b. 1970)

MIAO Xiaochun (Chinese, b. 1964)

Mika NINAGAWA (Japanese, b. 1972)

Born in 1970 in Harbin, China, Cui graduated from the Fine Arts Department of Northeast Normal University in 1990 and afterwards from the Oil Painting Department of the Central Academy of Fine Arts in 1996. Her works appeared in solo exhibitions like "Cui Xiuwen" (2005, Italy; China & 2006, Los Angeles); "Angel: Cui Xiuwen's Solo Exhibition" (2007, Milan); "Quarter: Cui Xiuwen's Solo Exhibition" (2007, Florence Museum, Italy). She also attended numerous group exhibitions like "Between Past and Future: New Photography and Video from China" (2005, London); "Women in A Society of Double-sexuality" (2006, Bangkok, Thailand); "Today's Documents" (2007, Beijing); "China - Facing Reality" (2007, Vienna, Austria); "China Comes" (2007, Naples, Italy).

Born in Wuxi, Jiangsu province. Miao received his B.A. from Nanjing University in 1986 and then an M. A. from the Central Academy of Fine Arts in 1989. He went to study at the Kunsthochschule Kassel, Germany from 1995 to 1999 and received another M. A. degree.

Since 2000, he has been teaching at the Department of Photography and Digital Media of the Central Academy of Fine Arts. He held solo exhibitions at the Gallery of the Central Academy of Fine Arts (1988); Beijing Art Museum (1991); National Museum of Chinese History (1992); Beijing Art Museum and Shanghai Art Museum (1994); "Kulturbegegnungen" held by Stellwerk Gallery (1999, Kassel, Germany); "From East to West and back to East" (Beijing, 2001); "Linger" (2002, Lucerne, Switzerland). Group exhibitions he participated in include: "Urban creation – Shanghai Biennale" (2002, Shanghai); "The 2nd Seoul international media art Biennale" (2002, Korea); "China-Tradition and Modern" (2002, Germany); "Golden HarvestChinese Contemporary Art" (2002, Croatia); "Me and More" (2003, Switzerland); "Art Fair Zurich" (2003, Switzerland).

Born in 1972 in Tokyo. Ninagawa graduated from Tama Art University in Tokyo, majoring in Graphic Design.

She is a Japanese photographer known for her vibrant and brightly colored photographs of flowers, goldfish, and landscapes. She has enjoyed significant commercial success in fashion and advertising. Ninagawa has been awarded numerous prizes such as the Grand Prize at "7th Shashin Hitotsubo Ten (3.3m2 photography)" (1996); "13th New Cosmos of Photography" (1996); Encouragement Award at "9th Konica Award"(1998); "The 26th Kimura Ihei Award"(2001); "Ohara Museum of Art Prize"(2006). She has held various solo exhibitions including; "Liquid Dreams" (2003, Tokyo/ Nagoya); "Mika over the Rainbow" (2004, Nagoya/ Tokyo/Osaka/Hiroshima/Hukuoka); "Mika Ninagawa Photo Exhibition In London 2005" (2005, London); "Floating Yesterday" (2005, Tokyo); "The Vision Of Co ntemporary Art 2006" (2006, Tokyo); "Mika Ninagawa Exhibition" (2007, Berlin); " Mika's Daydreaming Theater" (2008, Tokyo/Sapporo/Nagoya/Kochi/Sendai) ; "Mika Ninagawa: Earthly Flowers, Heavenly Colors" (2005, Tokyo/Iwate/Kagoshima/Hyoko).

崔岫聞 (中國，1970年生)

繆曉春 (中國，1964生 )

蜷川實花 (日本，1972年生)

1970年出生於哈爾濱，1990年畢業於吉林長春東北師 大美術系，1996年畢業於中央美術學院第八屆油畫研 修班。其作品曾參加「崔岫聞個展」(2005，義大利、 北京；2006，洛杉磯)、「天使：崔岫聞個展」(2007， 米蘭)、「一刻鐘：崔岫聞個展」(2007，佛羅倫斯博物 館，義大利)。另外，參加過的聯展則有「在過去和未 來之間–來自中國的新圖片和影像」(2005，倫敦)、「雙 性社會中的女性」(2006，泰國曼谷)、「今日文獻展」 (2007，北京)、「中國–面向現實」(2007，奧地利維也 納)、「中國來了」(2007，義大利拿坡里)。

生於 江蘇無錫 。1986 年畢 業於南京大 學，獲 學 士學 位。1986-1989年畢業於中央美術學院，獲碩士學位， 1995-1999年畢業於德國卡塞爾美術學院，獲碩士學 位。2000至今任教於中央美術學院攝影與數碼媒體工作 室。個展有：中央美術學院畫廊(1988)、北京藝術博物 館(1991)、中國歷史博物館(1992)、北京藝術博物館和 上海美術館(1994)、斯特維克畫廊舉辦的「文化碰撞」 (1999，德國卡塞爾)、中央美術學院展覽館的「從東到 西，從西到東」(2001)、麥勒畫廊的「盤桓」(2002，瑞 士盧塞恩) 等。主要聯展：「第二屆韓國漢城媒體藝術 雙年展」(2002年，韓國)、「我和更多」(2003年，瑞 士) 等。

1972年出生於日本東京，畢業於多摩美術大學平面設計 學系，是一位以明亮且具生命力的花、金魚及風景的 照片而聞名的日本攝影師，在時尚和廣告界都獲得顯 著的成功，2007年首部執導的電影「惡女花魁」更於 日本上映。蜷川得獎無數，如「第7屆寫真3.3平方米展 金獎」(1996)、「第13屆寫真新世紀優秀賞」(1996) 、 「第9屆柯達寫真獎勵賞」(1998)、「木村伊兵衛攝影 獎」(2001)、「大原美術館獎」(2006)。蜷川實花舉辦 過多次個展，包括「液體夢想」(2003，東京/名古屋)、 「實花在彩虹之上」(2004，名古屋/東京/大阪/廣島/福 岡)、「蜷川實花倫敦攝影展」(2005，倫敦)、「漂浮 的昨天」(2005，東京)、「V O C A展2006」(2006，東 京)、「蜷川實花展」(2007，柏林)、「蜷川妄想劇場」 (2008，東京/札幌/名古屋/仙台)、「蜷川實花展─地上 的花，天上的色─」(2009，東京/岩手/鹿兒島/高知/兵 庫)。

278

Lots 235, 237 Lot 234

Lot 236

SZETO Keung (Chinese, b. 1948)

Ayako ROKKAKU (Japanese, b. 1982)

LEE Seung Min (Korean, b. 1978)

Szeto Keung was born in Canton, China, and currently lives and works in New York. He graduated from the Department of Fine Arts of the National Taiwan Normal University in 1973. He obtained his Master in Fine Arts from the Pratt Institute in New York in 1979. Solo exhibition: 1991, Eslite Gallery; 1996, Hanart Gallery; 1999, O. K. Harris Gallery; 2005, Eslite Gallery. Group shows: 2003, "Pop and Illusionism: Contemporary Works from The Frederick R. Weisman Art Foundation", Contemporary Art Center of Virginia, Virginia Beach, USA; 2004, "Contemporary American Realism VII", M.A. Doran Gallery, Tulsa, USA..., etc.

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".

Lee seungmin got a BFA degree of Painting in College of Fine Art, Hong-ik University in 2007, and got a MFA degree of Painting in College of Fine Art, Hongik University in 2009. Selected solo exhibitions include "Lee Seung Min ILLUSIVE"(2008, Art Space H, Seoul), selected group exhibitions include "IYAP 2009 - Against Interpretation" (2009, Seoul), "Korean Eye Moon Generation" (2009, Phillips de Pury & Company, London).

司徒強 (中國，1948年生)

六角彩子 (日本，1982年生)

李承玟 (韓國，1978年生)

司徒強1948年生於廣東，目前居住於紐約。1973年國立 台灣師範大學美術系畢業，1979年紐約普拉特藝術與設 計學院美術碩士。個展：1991年台北誠品畫廊；1996年 漢雅軒畫廊；1999年紐約OK哈里斯畫廊；2005台北誠 品畫廊等。聯展：2003年「普普與幻象：費德利克．魏 斯曼藝術基金會當代作品展」，美國維吉尼亞海灘， 維吉尼亞當代藝術中心；2004年「美國當代寫實主義 VII」，美國奧克拉荷馬州突沙市，M.A. 朵蘭畫廊等。

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。

李承玟在2007年於宏益大學美術系獲學士學位、2009 年於宏益大學美術系獲碩士學位。近期重要個展包括 「李承玟—幻影」〈2008，H藝術空間，首爾〉。近 期重要聯展有「2009 IYAP─與釋意對抗」〈2009，首 爾〉、「韓國之眼─月亮世代」〈2009，菲利普公司， 倫敦〉。

279

Lot 239

Lot 240

Lot 238

Chiharu NISHIZAWA (Japanese, b. 1970)

Tetsutaro KAMATANI (Japanese, b. 1979)

Yoshitaka AMANO (Japanese, b. 1952)

Born in 1970 in Nagano Prefecture, Japan. Chiharu Nishizawa graduated from the Department of Fine Arts (Art and Design) of Tokyo Zokei University in 1993, and completed Post-Graduate Course in Printing in 1995. Nishizawa continued to work in the medium of printing, but moved to painting as he felt it was quicker at giving form to his thoughts. In 2004 he won an award at VOCA. His work is known for its detailed, model-like depiction of crowds of people wearing suits or aprons against flat, unreal backgrounds, and became critically acclaimed for its combined expression of unease towards society with its dark humor. His works have been shown in solo exhibitions "Project N" (2003, Tokyo); "Happy Garden" (2005, Tokyo); "Enjoy Car Life" (2006, Hong Kong); "Dream House" (2006, Seoul ); "For Beautiful Human Life" (2007, Tokyo ); and group shows in "Play not play" (2003, Beijing); "The Vision of Contemporary Art 2004" (2004, Tokyo); "Joy of Spring Light" (2006, Tokyo); "Zokei Contemporary Artists" (2007, Tokyo); "Art Lan@Asia? New Asian Contemporary Art!" (2007, Tokyo); "Thermocline of Art? New Asian Waves" (2007, Germany).

Born in 1979 in Osaka, Japan. Tetsutaro Kamatani now works and lives in Tokyo. His works have joined solo exhibitions "Tetsu" (2005, Nagoya); "Human Paradise" (2007, Nagoya); "The Kingdom of Images" (2008, Nagoya); and group exhibitions such as "Art Fair Tokyo" (2006-2008, Tokyo); "Wonderland-Japanese Contemporary Art Exhibition" (2008, Hong Kong); "Masked Portrait" (2008, New York).

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.

西澤千晴 (日本，1970年生)

鎌谷徹太郎 (日本，1979年生)

天野喜孝 (日本，1952年生)

1970年出生於日本長野縣，1992年畢業於東京造形大學 藝術系，並於1995年取得該校版畫課程的碩士學位。西 澤千晴畢業後持續創作版畫，但因覺得繪畫能較快速傳 達他的思想而轉往繪畫界發展，並於2004年西澤千晴獲 得VOCA獎，他的作品因深刻地描寫在單調與不真實的 背景中穿著衣服與圍裙的擁擠人群而廣為人知，並因以 黑色幽默表達對社會的不舒服而大受好評。其作品參加 過多次個展如「N計劃」(2003，東京)、「快樂花園」 (2005，東京)、「夢想屋」(2006，香港)、「享受汽車 生活」(2006，首爾)。以及群展如「玩並非玩」(2003， 北京)、「VOCA展2004」(2004，東京)、「春彩融融」 (2006，東京) 、「造形現代藝術家展」(2007，東京)、 「藝術連線@亞洲~亞洲的新☆現代美術！」(2007，東 京) 、「藝術的變溫層-新亞洲浪潮」(2007，德國)。

1979年出生於日本大阪，現於東京工作與生活。其作 品 曾參加個展 「徹」（2 005，名古屋 ）、「 人 間樂 土」（2007，名古屋）、「影像王國」（2008，名古 屋）；並參加聯展「東京藝術博覽會」（2006-2008， 東京）、「仙境－日本現代藝術展」（2008，香港）、 「戴面具的肖像」（2008，紐約）。

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《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，及1983到1986年連續四 屆的星雲賞。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。

280

藝術家簡歷

Lot 242

Lots 241, 247 Lot 243

Hiroshi KOBAYASHI (Japanese, b. 1967)

Shinjyuko (Japan, b. 1968)

Mayuka YAMAMOTO (Japanese, b. 1964)

Born in 1967 in Fukushima prefecture, Japan. Kobyashi Hiroshi graduated from the Tokyo National University of Fine Arts & Music in 1995, and received his master's degree from Brooklyn College of the City University of New York. He has been holding solo exhibitions in Gallery Natsuka since 2000 (20002005, Tokyo); and other solo exhibitions such as "Blue/ blue" (2004, Washington D.C.); "Works on paper" (2005, Tokyo); "Project" (2006, Tokyo); "and group shows in "VOCA Exhibition 2003" (2003,Tokyo); "Revolving Door: ISCP<->Asia" (2003,New York); "Japan: Rising" (2003,Tokyo); "Depredation" (destroy) (2003,Tokyo); "Shell Art Award 2004" (2004,Tokyo); "New Spirits Fukushima" (2005, Fukushima); "BlendGroup Exhibition of China, Japan, Korea and Taiwan Contemporary" (2007, Taiwan).

Shinjyuko was born in Kumamoto Prefecture in 1968.

She graduated from Osaka Seikei University, majored in Art & Design. Recent selected solo exhibitions include: "The concubine, beautiful princess" (2006, Lap Net Ship, Japan), "Ready for Lady" (2007, Contemporary Art Museum, Kumamoto, Kumamoto city). Selected group exhibitions include: "The Concept of Japan" (2005, Germany), "Eyes Wide Open" (2006, Mizuma auction, Tokyo).

Born in 1964 in Okayama, Japan, Yamamoto received her master degree at Masashino Art University in Tokyo in 1990, and joined the Japanese Government Overseas Study Program for Artist to continue her studies in London until 1999. Her works have been shown in several solo shows held by Gallery Tsubaki, Japan since 1993–2006, and her recent solo show "Deer Boy and Other infants" was held by Canvas International Arts gallery in Amsterdam (2007). She also participated in group shows as "Korean International Art Fair" (2004– 2007); "Young Japanese Painting" (2007, Amsterdam).

小林浩 (日本，1967年生)

真珠子 (日本，1968年生)

山本麻友香 (日本，1964年生)

1967年出生於日本福島縣，1991年畢業於東京藝術大學 油畫科，並於1995年取得紐約市立大學Brooklyn College 美術學部碩士學位。小林浩自2000年起，陸續在Natsuka 畫廊舉辦多次個展(2000-2005，東京)，其它個展如 「Blue/Blue」(2004，華盛頓)、「紙上作品」(2005， 東京)、「計劃」(2006，東京)。以及群展如「V O C A 展2003」(2003，東京)、「旋轉之門：ISCP<->Asia」 (2003，紐約)、「日本：上升」(2003，東京)、「破 壞」(2003，東京) 、「Shell美術賞展2004」(2004，東 京)、「新精神 福島」(2005，福島) 、「交融-中日韓台 當代藝術聯展」(2007，台灣)。

生於1968年日本熊本縣。1997年畢業於前大阪成蹊女子 短期大學 設計美術科（現大阪成蹊大學）。主要個展 有：「寵妃 花形姬」（2006，膝網船，東京）、「為 淑女而準備」（2007，熊本市現代美術館，熊本市）； 主要聯展有：「日本概念」（2005，德國）、「大開眼 界」（2006，三渚拍賣，東京）。

1964年出生於日本岡山縣，於1990年於武藏野美術大學 碩士畢業後，以日本文化廳藝術家研究員身分赴英國研 修至1999年返回日本。其作品自1993年起定期於日本椿 畫廊舉辦多場個展（1993-2006），近期也在荷蘭畫布 國際藝術畫廊舉辦個展「鹿男孩與其他孩童」（2007， 阿姆斯特丹）。較近期的聯展則是參加過「韓國國 際藝術博覽會」（2004-2007）、「日本年青畫作」 （2007，阿姆斯特丹）。

281

Lots 244, 248

Lot 245

Lot 246

Yayoi KUSAMA (Japanese, b. 1929)

Hiroyuki MATSUURA (Japanese, b. 1964)

Rieko SAKURAI (Japanese, b. 1977)

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 Tokyo, Japan. He started to work as a graphic designer: advertising, packaging, binding and logo design in 1984. And the artist started to produce "Poster+Package+Skateboard" designs using "Character Illustration" themes. Exhibitions: 2007, "Ani Manga", VIA07 Festival international, France. 2007, "Ultra New Visions": Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, Taiwan. 2006, "Super Acrylic Skin, Mirai Projects" solo exhibition, Stockholm, Sweden.

2006, "Japanimation!", Beijing Tokyo Art Projects, Beijing, China. 2005, "Super Acrylic Skin", Hiroyuki Matsuura Solo Exhibition, Tokyo Gallery, Tokyo, Japan.

Born in Ibaragi Prefecture, Rieko Sakurai graduated from the Painting Department of the Nagoya Art University in 1999. Selected exhibitions include: Expression in OOs at Zumi Gallery in Mito City in 2002; Small Works Exhibition at Art Work Gallery in Mito City in 2003; Tokyo GG Night which is directed

by KaiKai Kiki in 2006; and Funny Fever at Bunkyo Art Gallery in 2007.

草間彌生 (日本，1929年生)

松浦浩之 (日本，1964年生)

櫻井理惠子 (日本，1977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。她對自己的藝術經曆 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。

出生於日本東京，松浦浩之自1984年開始從事平面設計 師的工作，設計廣告、出版、包裝、裝訂等事項，從 1999年起，開始創作以「角色圖案」為題材的「海報 ＋包裝＋滑板」設計。展覽：2007年「動漫展」，VIA 07 國際影城，法國；2007年，「新異術」，松浦浩之 個展，誠品畫廊，台北，台灣；2006年，「超級丙烯外 衣」個展，「未來計畫」個展，斯德哥爾摩，瑞典； 2006年，「日本動漫！」，北京東京藝術工程，北京， 中國；「超級丙烯外衣」，松浦浩之個展，東京畫廊， 東京，日本。

生於茨城縣，1999年櫻井理惠子畢業於名古屋藝術大學 繪畫系。重要展覽包括：2002年水井市泉畫廊推出的 「00世代的表達 」，2003年水井市ArtWork Gallery推 出的「小型作品展覽 」、2006年由KaiKai Kiki策劃的 「東京GG夜 」及2007年文京藝術畫廊推出的「甜蜜狂 熱」。

282

Lot 249

Lot 250

Madoka TAKAGI (Japanese, b. 1983)

Yoshitomo NARA (Japanese, b. 1959)

Born in 1983 in Tokushima, Japan. IIDA Kiriko graduated from Printmaking Course, Department of Painting, Tama Art University, M.A in 2008. She has shown her works in many exhibitions including "Gallery Tsubaki GT2" (2007, Tokyo); "Marginality" (2008, Taipei).

Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artist is infatuated with subjects with big heads and big eyes; he is wellknown in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create threedimensional works, and implemented different media into his artworks. Today, his works are in collections of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other well-known museums in the world.

高木まどか (日本，1983年生)

奈良美智 (日本，1959年生)

1983年出生於日本德島縣，2008年畢業於多摩美術大 學繪畫系版畫專業。其作品參加過多次展覽，例如樁 畫廊「G T2」（2007，東京）、也趣畫廊「邊緣性」 （2008，台北）等。

生於日本青森縣弘前市，現居住於東京。早期的作品以 插畫性質為多，但在1980年代後期即發展出他以小人頭 像為主的風格；奈良美智對於大頭和大眼型的小人相當 著迷，他的特色在於塑造各種帶有情感的眼神，其中最 知名的是斜視的眼神（有人說是代表憤怒、有人則說是 代表了邪惡）。在1990年代後期，他也開始創作立體作 品，並採用不同媒材拼組的方式。今日他的作品已被許 多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝 術博物館等。

283

委託競投表格 委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真

拍 賣 名 稱：羅芙奧台北2010春季拍賣會 亞洲現代與當代藝術

至： 客戶服務部：

台北拍賣日期：

電話：+886-2-2708 9868

2010年6月6日（星期日）下午2:30至7:30

傳真：+886-2-2701 3306

富邦人壽大樓地下二樓 國際會議中心 台北市敦化南路一段108號B2

投標者資料 客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真 簽名 （本公司在取得閣下之簽名後方才接受競標） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服 務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公 司，落槌價於新台幣貳仟萬元以下者含貳仟萬元以20％計算；（2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳仟萬元以20％計 算，超過新台幣貳仟萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

競投價（新台幣） （服務費不計在內）

稱

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 MODERN

銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

&

CONTEMPORARY

ART

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Tun-Hwa S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 - Fax : +886 2 2701 3306 www.ravenelart.com

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: +886 2 2708 9868 Fax: +886 2 2701 3306

Auction

Date

RAVENEL SPRING AUCTION 2010 TAIPEI Modern and Contemporary Asian Art Sunday 6 June 2010 at 2:30pm-7:30pm

Location

Fubon National Conference Center

Address

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

Taipei, Taiwan

Bidderâ&#x20AC;&#x2122;s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax Signature (We must have your signature to execute this bid.)

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

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid.

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

I understand that if my bid is successful, I shall pay the final hammer price together with the 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 NT$ 20,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 20,000,000, the first NT$ 20,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the transaction agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Bid price (NT$) (excluding service fee)

Title

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank MODERN

Name of the account Account number Contact of the bank Tel. No.

&

CONTEMPORARY

ART

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Tun-Hwa S Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 - Fax: +886 2 2701 3306 www.ravenelart.com

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。 Ⅰ.買家 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. 買方應繳之營業稅 依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交 「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符 號之編號者），若係於中華民國境外交付買方，並由羅芙奧處理相關之運 貨事宜，則買方無須支付營業稅。買方若欲於中華民國境外取貨，應於拍 賣日後兩個工作天內以書面通知本公司。 b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須

287

以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當 日匯率，折合所繳付之等值貨幣計算。 c. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行， 本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍 賣。 d. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證 明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家 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。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡 適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司 就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價 乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之 人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使 本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之 免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家 如希望確保競投成功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者， 使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或 任何準買家均不負任何責任。 h. 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。然而競投仍會以新台幣進行。 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新台 幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤 差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之 任何損失，本公司概不負責。 i. 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。 j. 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。 k. 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，落槌價於新台幣 貳仟萬元以下者含貳仟萬元以20％計算。 （2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳仟萬元以 20％計算，超過新台幣貳仟萬元之部份以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貨物或服務稅或其他增值稅 （不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家須負責 按有關法律所規定之稅率及時間繳付此稅款。

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新台幣以 外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費 與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率，依 拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑 證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣 項目，直至欠本公司之款項已悉數支付為正。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，則按不超過台灣銀行基本利率加 10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依 賣價（含佣金）1％計算之違約金。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。

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 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 本業務規則受中華民國法律規限，本業務規則之解釋與效力均適用台灣法 律。為本公司之利益而言，賣家與買家須服從台灣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

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。

288

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 Sales Tax Payable by the Buyer a. The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel in writing within two business days following the auction day if he desires to

289

collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. e. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission bids The Company will make 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. g. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. h. 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 NT 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. i. 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. j. 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. k. 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 NT$ 20,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 20,000,000, the first NT$ 20,000,000 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

commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information 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 NT 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 NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the 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 Bank of Taiwan 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.

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.

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 Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit.

(2) The Buyer must return the Lot to the Company within the following 14 days 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 ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.

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

290

MODERN

&

CONTEMPORARY

ART