RAVENEL SPRING AUCTION 2011 TAIPEI 羅芙奧台北2011春季拍賣會

SPRING AUCTION 2011 TAIPEI

MODERN

3

&

CONTEMPORARY

ART

羅芙奧台北 2011 春季拍賣會 亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2011 TAIPEI Modern and Contemporary Asian Art

AUCTION

拍賣日期／地點 2011年6月5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 5, 2011, 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 2011年5月7日（六）至5月8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

北京 2011年5月21日（六）至5月22日（日）上午 10:00 至下午 7:00

Beijing

北京君悅酒店（君府廳）

Grand Hyatt Beijing – The Residence

北京市東長安街1號

1 East Chang An Avenue, Beijing

香港 2011年5月28日（六）至5月29日（日）上午 10:00 至下午 7:00

Hong Kong

香港君悅酒店（君寓）

Grand Hyatt Hong Kong – Salons

香港灣仔港灣道1號

1 Harbour Road, Wanchai, Hong Kong

Saturday, May 7 – Sunday, May 8, 2011, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Saturday, May 21 – Sunday, May 22, 2011, 10:00am – 7:00pm

Saturday, May 28 – Sunday, May 29, 2011, 10:00am – 7:00pm

Taipei

台北 2011年6月3日（五）至6月4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 3 – Saturday, June 4, 2011, 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

4

羅芙奧台北 2011 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：florafu@ravenel.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委 託競投表格。 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：tommywu@ravenel.com

香港

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目錄訂閱

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香港總監

台灣

中國

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業務協理

香港

其它地區

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業務經理

中國

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

謝冷玉 電話：+86 10 5820 6151/52 電子信箱：judyxie@ravenel.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：katelin@ravenel.com

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

本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。

電話書面競標聯絡人

香港 何杏淇 電話：+852 2889 0859 手機：+852 9381 1886 電子信箱：elaineholt@ravenel.com

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

付款事宜 林慧玲 電話：+886 2 2708 9868 轉 685 電子信箱：tinalin@ravenel.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：odilechen@ravenel.com

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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 品的狀況報告書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。

RAVENEL STAFF AND SERVICES FOR THIS SALE

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

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

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

COLLECTION AND SHIPPING

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.

Hong Kong

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

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

Manager China Dina Zhang Tel: +86 10 5820 6151/52 Email: dinazhang@ravenel.com

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

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

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

International Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

Taiwan Tommy Wu Tel: +886 2 2708 9868 ext. 885 Email: tommywu@ravenel.com

Jackal Yiu Tel: +852 2889 0859 Email: jackalyiu@ravenel.com

China CATALOGUE SUBSCRIPTION Taiwan Natsuki Wang Tel: +886 2 2708 9868 ext. 881 Email: natsukiwang@ravenel.com

Hong Kong Miyuki Wai Tel: +852 2889 0859 Email: miyukiwai@ravenel.com

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

International Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: katelin@ravenel.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 Tina Lin Tel: +886 2 2708 9868 ext. 685 Email: tinalin@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

6

Judy Xie Tel: +86 10 5820 6151/52 Email: judyxie@ravenel.com

International Stella Huang Tel: +886 2 2708 9868 ext. 883 Email: stellahuang@ravenel.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

Gabriel BARREDO

羅芙奧之服務

CAI Guo-Qiang CAO Jingping CHANG Taihe Chang-Ling CHAO Chung-hsiang Carrie CHAU CHEN Bo CHEN Cheng-po Howard CHEN CHEN Ke CHEN Li CHEN Liu CHEN Shuxia CHEN Ting-shih CHENG Kuang-pai CHENG Tsai-tung CHIU Ya-tsai CHU Teh-chun CHUANG Che

藝術家索引

Index 7

亞洲現代與當代藝術

Modern and Contemporary Asian Art 228

藝術家簡歷

Artist Biographies 261

委託競投表格

Absentee Bid Form 263

168

蓋伯瑞．博瑞多

241

蔡國強 曹靜萍 常太和 常陵 趙春翔 鄒蘊盈 陳波 陳澄波 陳浚豪 陳可 陳李 陳流 陳淑霞 陳庭詩 乘光白 鄭在東 邱亞才 朱德群 莊喆

154 222 229 110, 176, 182, 228 144 199 194 146 231 115 181 186 227 223 234 113, 177 117, 134 123, 131, 151 121, 137

費以復 傅慶豊

183 104

高瑀 顧德新

197 174

灰原愛 韓磊 洪凌 華慶 黃鋼 洪易 黃銘哲

163 173 216, 218 213 201, 203. 225 208, 235 107, 111

詹金水 季大純 焦興濤 朱銘

108, 217 226 233 149, 150, 205, 206, 207

狩野宏明 鎌谷徹太郎 KEA 北川宏人 權奇秀

171 166 230 164 169, 170

李在孝 李民中 李明則 李真 李仲生 李繼森

172 127 126 140, 141 103 215

C

Ravenel Services 5

天野喜孝

B

F

業務規則

FEI Yifu Alixe FU

Transaction Agreement

G GAO Yu GU Dexin

H Ai HAIBAR HAN Lei HONG Ling HUA Qing HUANG Gang HUNG Yi Michell HWANG

J JAN Chin-shui JI Dachun JIAO Xingtao JU Ming

K Hiroaki KANO Tetsutaro KAMATANI KEA Hiroto KITAGAWA KWON Ki Soo

L LEE Jae-hyo LEE Ming-chung LEE Ming-tse LI Chen LI Chun-shan LI Jisen

7

藝術家索引 / Index Z

L LI Xinping LIAO Chi-chun LIAO Yu-an LIEN Chien-hsing LIU Kuo-song LU Hao LUO Fahui

李新平 廖繼春 廖堉安 連建興 劉國松 盧昊 羅發輝

220 148, 155 105 109, 120, 136 118 200 212

毛懷清 村上隆

214 160, 162

龐均 朴勝模 蘇達那．普托

128 238 165

瞿廣慈

236

任哲 六角彩子

232 167

櫻井理惠子 常玉 沙耆 席德進

114 129, 130 193 101, 125, 132, 142

唐海文 丁雄泉 曾清淦 莊普 屠宏濤

190, 191, 219 102, 112, 133, 139 175, 211 224 188

王懷慶 王凱 魏樂唐 吳大羽

153 221 106, 138 192

夏俊娜 夏陽 熊宇 許江 許那 薛松

202 178 187, 196 145 209 185, 210

山本麻友香 楊識宏 楊茂林 楊三郎 陽太陽 楊英風 姚瑞中 葉子奇 尹齊 于彭

161 119, 189 135, 242 124, 143 184 237, 239, 240 180 116, 122 195 179

ZAO Wou-ki ZHAN Wang ZHOU Chunya

M MAO Huaiqing Takashi MURAKAMI

P PANG Jiun PARK Seung Mo I Wayan Sudarna PUTRA

Q QU Guangci

R REN Zhe Ayako ROKKAKU

S Rieko SAKURAI SANYU SHA Qi SHIY De-jinn

T T’ANG Haywen Walasse TING TSENG Ching-kan TSONG Pu TU Hongtao

W WANG Huaiqing WANG Kai John WAY WU Dayu

X XIA Junna XIA Yang XIONG Yu XU Jiang XU Na XUE Song

Y Mayuka YAMAMOTO YANG Chihung YANG Mao-lin YANG San-lang YANG Taiyang Yuyu YANG YAO Jui-chung Tzu-chi YEH YIN Qi YU Peng

8

趙無極 展望 周春芽

147, 152, 156 159 157, 158, 198, 204

101

SHIY De-jinn

席德進 大篆橫批

(Taiwanese, 1923-1981)

Calligraphy in Great Seal 1980 Ink on paper 61 x 122 cm Signed center left Shiy De-jinn in Chinese Dated center right 1/10 1980 With one seal of the artist

PROVENANCE: Concorde Fine Art Auctioneers, Taipei, Spring 1995, lot 119

NT$ 100,000-200,000 US$ 3,300-6,700 HK$ 26,000-53,000

1980 水墨 紙本 61 x 122 cm 簽名左方：席德進 題識右方：1/10 1980 鈐印右方：席德進印 來源： 購自標竿藝術1995年台北春拍，編號119

102

Walasse TING

(Chinese-American, 1929-2010)

Women with Parrots and Horse Acrylic on paper 29 x 37.5 cm With one seal of the artist

NT$ 180,000-280,000 US$ 6,000-9,300 HK$ 47,000-74,000

10

丁雄泉 女人．鸚鵡與馬 壓克力 紙本 29 x 37.5 cm 鈐印右下：採花大盜

103

LI Chun-shan

(Taiwanese, 1912-1984)

Abstract 1960 Water color on paper 24 x 35 cm

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 58,000-92,000

李仲生 抽象 1960 水彩 紙本 24 x 35 cm

104

Alixe FU

(Taiwanese, b. 1961)

Jeune Vierge 1990 Oil on canvas 100 x 81 cm Signed upper left Alixe Fu in English and dated 90 Signed on the reverse Alixe Fu in Chinese and English, titled Junne Vierge in Chinese and English, inscribed 40F, 100 x 81 cm, and dated 90

NT$ 180,000-300,000 US$ 6,000-10,000 HK$ 47,000-79,000

傅慶豊 聖母的畫像 1990 油彩 畫布 100 x 81 cm 簽名左上：Alixe Fu 90 簽名畫背：40F 傅慶豊 Alixe Fu 90 100 x 81 cm 畫題：聖母 Junne Vierge

12

105

LIAO Yu-an

(Taiwanese, b. 1979)

Kiss Mark No. 4

廖堉安

2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Liao Yu-an in Chinese and English, titled Kiss Mark No. 4 in Chinese and dated 2007

2007 壓克力 畫布 162 x 130 cm 簽名畫背：廖堉安 Liao Yu-an 2007 種草莓 4

ILLUSTRATED: 3L4D-3rd Life 4th Dimension, Metaphysical Art Gallery, Taipei, 2007, p. 62

種草莓４

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

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 58,000-92,000

圖錄： 《3L4D動漫美學新世紀》，形而上畫廊， 台北，2007，頁62 附藝術家簽名之原作保證書

106

John WAY

(Chinese, b. 1921)

Abstract 1990 Oil on canvas 74 x 56 cm Signed lower center John Way in English and dated 90

NT$ 220,000-400,000 US$ 7,300-13,300 HK$ 58,000-105,000

魏樂唐 抽象 1990 油彩 畫布 74 x 56 cm 簽名下方：John Way 90

14

107

Michell HWANG (Taiwanese, b. 1948)

Time's Face 1994-1995 Oil on panel 77 x 79 cm Signed lower right Che in Chinese and dated 1994 Signed on the reverse Che in Chinese and dated 1995

NT$ 220,000-400,000 US$ 7,300-13,300 HK$ 58,000-105,000

黃銘哲 時代的臉譜 1994-1995 油彩 木板 77 x 79 cm 簽名右下：1994 哲 簽名畫背：哲 1995

108

JAN Chin-shui (Taiwanese, b. 1953)

Dawn Spring 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, titled Dawn Spring in Chinese, inscribed 60F and dated 2005

NT$ 240,000-400,000 US$ 8,000-13,300 HK$ 63,000-105,000

16

詹金水 曉春 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年 60F 曉春

109

LIEN Chien-hsing (Taiwanese, b. 1962)

Treasure Island I

連建興 金銀島 I

2004-2006 Oil on canvas 90 x 90 cm Signed lower left Lien Chien-hsing in Chinese and dated 2004-2006 Signed on the reverse Lien Chien-hsing and titled Treasure Island I in Chinese, inscribed 90 x 90 cm and dated 2006

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

ILLUSTRATED: Lien Chien-hsing, Eslite Gallery, Taipei, 2006, color illustrated, p. 45

NT$ 300,000-400,000 US$ 10,000-13,300 HK$ 79,000-105,000

2004-2006 油彩 畫布 90 x 90 cm 簽名左下：2004-2006 連建興 簽名畫背：連建興 招財米老鼠 2006 90 x 90 cm 圖錄： 《連建興》，誠品畫廊，台北，2006，彩色 圖版，頁45 附藝術家簽名之原作保證書

110

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh Landscape 2007 Oil on canvas 158 x 223 cm Signed on the reverse Chang-Ling, titled Pork Belly Series - Flesh Landscape in Chinese, and dated 2007

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 79,000-132,000

18

常陵 五花肉系列─肉山水─觀海大愚圖 2007 油彩 畫布 158 x 223 cm 簽名畫背：五花肉系列─肉山水─觀海大愚 圖 常陵 2007

111

Michell HWANG (Taiwanese, b. 1948)

Woman 1995 Oil on canvas 122 x 92 cm Signed lower left Che in Chinese and dated 1995 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

黃銘哲 女人 1995 油彩 畫布 122 x 92 cm 簽名左下：哲 1995 附藝術家簽名之原作保證書

112

Walasse TING

(Chinese-American, 1929-2010)

Ladies with Fan Acrylic on paper 52 x 70 cm With one seal of the artist

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 79,000-132,000

20

丁雄泉 持扇美人 壓克力 紙本 52 x 70 cm 鈐印：採花大盜

113

CHENG Tsai-tung (Taiwanese, b. 1953)

At the Seaside, Long Ago 1989 Oil on paper 124 x 70 cm Signed upper right Cheng Tsai-tung in Chinese

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

鄭在東 昔日的海邊 1989 油彩 紙本 124 x 70 cm 簽名右上：鄭在東

《昔日的海邊》描繪畫家與妻子在海邊的 留影。海灘與岸邊連成一氣，連畫家的衣 服，都是海天一色的蔚藍，呈現一種安靜、 祥和、天長地久的氣氛。畫中妻子攬著丈夫 的臂彎，兩人面向前方，親密、自在而又悠 閒，見證了一段愉悅而難忘的戀情。海岸盡 頭有灰綠色山巒連綿到天邊，強化了景深效 果，遠處中有一團紅色火焰，裊裊煙火飄向 天際，十分醒目，又引人遐思，或許是有人 在海邊生火露營。 （劉素玉）

“At the Seaside, Long Ago” is a painting of the artist and his wife by the seaside. The beach and the sea are joined as one; this coupled with the blue coloration of the artist’s clothing, creates a sense of peace and serenity, of harmony, and of permanence. Cheng’s wife is depicted holding his arm; both figures are shown facing forwards, relaxed, carefree, and engrossed in one another, making the painting a record of a joyous, unforgettable relationship.

The gray-green mountains behind the beach extend far into the distance, strengthening the sense of depth that the painting creates. The patch of red flame in the middle distance, with smoke rising up into the heavens, is a striking touch that draws the viewer’s attention, and brings to mind the idea that someone may be camping on the beach. (Elaine SY Lia)

114

櫻井理惠子

Rieko SAKURAI

我想 我想 我想

(Japanese, b. 1977)

2009 壓克力 畫布裱於木板 114 x 91 cm 簽名畫背：I wanna be I wanna be I wanna be 2009. Dec Rieko Sakurai

I wanna be I wanna be I wanna be 2009 Acrylic on canvas, mounted onto wooden board 114 x 91 cm Signed on the reverse Rieko Sakurai in English, titled on the reverse I wanna be I wanna be I wanna be in English, dated 2009. Dec EXHIBITED: Animamix Biennial-Visual Attract & Attack, Museum of Contemporary Art Taipei, Taipei, December 5, 2009 - January 31, 2010

22

ILLUSTRATED: Animamix Biennial-Visual Attract & Attack, Museum of Contemporary Art Taipei, Taipei, 2009-2010, color illustrated, p. 43

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

展覽： 「動漫美學雙年展─視覺突擊動漫特攻」， 台北當代藝術館，台北，展期自2009年12月 5日至2010年1月31日 圖錄： 《動漫美學雙年展─視覺突擊動漫特攻》， 台北當代藝術館，台北，2009-2010，彩色 圖版，頁43

115

CHEN Ke

(Chinese, b. 1978)

Birds, Boston Ivy, Wooden House 2010 Oil on canvas 30 x 25 cm (x1) 25 x 30 cm (x2) Signed on the reverse Chenke, titled Bird, inscribed oil on canvas in Chinese and English, dated 2010 Signed on the reverse Chenke, titled Bosto, Ivy, inscribed oil on canvas in Chinese and English, dated 2010 Signed on the reverse Chenke, titled Wooden House, inscribed oil on canvas in Chinese and English, dated 2010

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

陳可 鳥、爬山虎、木屋 2010 油彩 畫布 30 x 25 cm (x1) 25 x 30 cm (x2) 簽名背面：鳥 Bird 布上油畫 Oil on canvas 陳可 Chenke 2010 簽名背面：爬山虎 Boston Ivy 布上油畫 Oil on canvas 陳可 Chenke 2010 簽名背面：木屋 Wooden House 布上油畫 Oil on Canvas 陳可 Chenke 2010

116

Tzu-chi YEH

(Taiwanese, b. 1957)

Camellia in Lantern Festival 2010-2011 Tempera and oil on linen 76 x 51 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2010-11

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

葉子奇 元宵節的茶花 2010-2011 卵彩 油彩 亞麻布 76 x 51 cm 簽名右下：葉子奇 2010-11

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117

CHIU Ya-tsai

(Taiwanese, b. 1949)

A Decent Man 1993 Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 132,000-184,000

邱亞才 性情中人 1993 油彩 畫布 130 x 97 cm 簽名右下：邱亞才

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118

LIU Kuo-sung (Taiwanese, b. 1932)

Rotation 1965-1997 Ink and color on paper 72 x 72 cm Signed lower right Liu Kuo-sung and dated 1965-97 in Chinese With one seal of the artist ILLUSTRATED: Universe in the Mind, A Retrospective of Liu Kuo-sung's Seventy Years, CPCity Living World, Taipei, 2002, color illustrated, p. 17 Modern Impulse–Liu Kuo-sung, Soka Association, Taipei, 2005, color illustrated, p. 12

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 158,000-211,000

這是1965年的畫作，仍維持抽離紙筋的技 法，但是結構較過去更加嚴密，書法線條更 加流暢，情境更為幽遠。整幅作品氣勢藉著 飛躍的墨線，搭配著流暢柔細的灰白紙筋， 從上方如疾風馳騁，臨流直下。在染墨設色 上將四周色調變暗，讓焦聚集中光亮清明之 域。其造境如余光中貼切的形容：「那是水 的感覺、靈的感覺、風的感覺，有限對無限 的嚮往，剎那對永恆的追求。」 （劉素玉）

劉國松 迴 1965-1997 彩墨 紙本 72 x 72 cm 簽名右下：劉國松 一九六五─九七 鈐印右下：劉國松 圖錄： 《宇宙心印—劉國松七十回顧展之京華城特 展》，京華城，台北，2002，彩色圖版，頁17 《現代的衝擊—劉國松》，日本創價學會， 台北，2005，彩色圖版，頁12

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In this work dating from 1965, Liu Kuo-sung is still using an eruptive painting technique that exploits the texture of the material on which it is painted, but the structure is more tightly controlled, and the calligraphic brushstrokes are smoother and more flowing, creating a sense of serenity and remoteness.

The overall effect of the painting is created by the combination of soaring black lines and the soft, grayish-white texture of the paper, cascading downwards from top to bottom. The use of darker color tones towards the edge of the canvas draws the eye of the viewer to focus on the brighter patches. In Yu Kuang-Chung’s apt description, “It is the feeling of water, the feeling of the ethereal spirit, the feeling of the wind; it is the longing of the constrained for the unbounded, the search of the momentary for the eternal.” (Elaine SY Lia)

119

YANG Chihung (Taiwanese, b. 1950)

Passionate Fire 2007 Acrylic on canvas 130 x 192 cm Signed on the reverse Chihung Yang and titled Passionate Fire in English, dated 2007 ILLUSTRATED: Inner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museum of China, Beijing, 2007, color illustrated, pp. 154-155

NT$ 750,000-1,000,000 US$ 25,000-33,300 HK$ 197,000-263,000

楊識宏 燃燒的荊棘 2007 壓克力 畫布 130 x 192 cm 簽名畫背：Chihung Yang Passionate Fire 2007 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154-155

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120

LIEN Chien-hsing (Taiwanese, b. 1962)

Exploration in Lost Golden City 2004 Oil on canvas 97 x 162 cm Signed lower left Lien Chien-hsing in Chinese and dated 2004 Signed on the reverse Lien Chien-hsing and titled Exploration in Lost Golden City in Chinese, inscribed 100M and dated 2004 ILLUSTRATED: Lien Chien-hsing, Eslite Gallery, Taipei, 2004, color illustrated, p. 21 Lien Chien-hsing, Keelung City Cultural Affairs Bureau, Keelung, 2004, color illustrated, p. 61 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 900,000-1,800,000 US$ 30,000-60,000 HK$ 237,000-474,000

連建興 失落金城的探索 2004 油彩 畫布 97 x 162 cm 簽名左下：2004 連建興 簽名畫背：失落金城的探索 2004 100M 連 建興 圖錄： 《連建興》，誠品畫廊，台北，2004，彩色 圖版，頁21 《抽象與寫實的對話—連建興作品集》，基 隆市立文化中心，基隆，2004，彩色圖版， 頁61 附藝術家簽名之原作保證書

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121

CHUANG Che (Taiwanese, b. 1934)

Pole 2002 Oil on canvas 128 x 167 cm Signed lower right Chuang Che in Chinese and dated 02 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 316,000-579,000

莊喆 極地 2002 油彩 畫布 128 x 167 cm 簽名右下：02 莊喆 附亞洲藝術中心開立之原作保證書

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122

Tzu-chi YEH

(Taiwanese, b. 1957)

Hutoupi Coast in Tainan 2010-2011 Tempera and oil on linen 102 x 152 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2010-11

NT$ 1,600,000-2,400,000 US$ 53,300-80,000 HK$ 421,000-632,000

葉子奇 虎頭埤的水岸．台南 2010-2011 卵彩 油彩 亞麻布 102 x 152 cm 簽名右下：葉子奇 2010-11

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123

CHU Teh-chun

(Chinese-French, b. 1920)

Hong Kong No. 24 1997 Oil on paper, mounted onto board 57 x 76 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 97 ILLUSTRATED: Solo Exhibition of Chu Teh-chun, Thin Chang Corporation, Tapei, 2007, color illustrated, p. 298

NT$ 1,700,000-2,800,000 US$ 56,700-93,300 HK$ 447,000-737,000

朱德群 香港 No. 24（大地的希望） 1997 油彩 紙本 裱於木板 57 x 76 cm 簽名右下：朱德群 CHU TEH-CHUN 97 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298

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124

YANG San-lang (Taiwanese, 1907-1995)

By the Lake 1982 Oil on canvas 60.5 x 72 cm Signed lower left S. Yang in English ILLUSTRATED： Yang San-lang Portfolio 1986-1995, National Dr. Sun Yat-sen Memorial Hall, Taipei, 1995, color illustrated, p. 19

NT$ 1,800,000-2,600,000 US$ 60,000-86,700 HK$ 474,000-684,000

楊三郎 湖畔殘雪 1982 油彩 畫布 60.5 x 72 cm 簽名左下：S. Yang 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19

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125

SHIY De-jinn

(Taiwanese, 1923-1981)

Cattle 1974 Watercolor on paper 32.5 x 48.5 cm Signed lower right Shiy De-jinn and dated 1974 in Chinese

NT$ 220,000-400,000 US$ 7,300-13,300 HK$ 58,000-105,000

42

席德進 牛 1974 水彩 紙本 32.5 x 48.5 cm 簽名右下：席德進 一九七四

126

LEE Ming-tse (Taiwanese, b. 1957)

Rangers 2007 Acrylic on canvas 90.5 x 145.5 cm Signed lower left Tse in Chinese and dated 2007 Signed on stretcher bar Lee Ming-tse, titled Rangers in Chinese, inscribed 182 x 72.5 cm, acrylic on canvas in Chinese and dated 2007

NT$ 240,000-400,000 US$ 8,000-13,300 HK$ 63,000-105,000

李明則 遊俠 2007 壓克力 畫布 90.5 x 145.5 cm 簽名左下：則 2007 簽名框條：李明則 遊俠 182 x 72.5公分 壓克力 畫布 2007

127

LEE Ming-chung (Taiwanese, b. 1961)

Cat Watching Fish 1992 Oil on canvas 196 x 130 cm Signed on the reverse Lee Ming-chung and titled Cat Watching Fish in Chinese, inscribed 120F, 130 x 196 cm and dated 1992

NT$ 240,000-400,000 US$ 8,000-13,300 HK$ 63,000-105,000

李民中 看魚的貓 1992 油彩 畫布 196 x 130 cm 簽名畫背：看魚的貓 1992 120F 130 x 196 cm

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128

PANG Jiun

(Chinese, b. 1936)

Freehand in Powder Blue 2005 Oil on canvas 72 x 60 cm Signed lower left Pang Jiun in Chinese and dated 2005 With one seal of the artist

Signed on the back of frame board PANG JIUN in Chinese and English, titled Freehand in Powder Blue in Chinese, inscribed 20F and dated 2005

NT$ 260,000-400,000 US$ 8,700-13,300 HK$ 68,000-105,000

龐均 灰藍色之寫意 2005 油彩 畫布 72 x 60 cm 簽名左下：龐均 2005 鈐印右下：均 簽名畫框背板：龐均 PANG JIUN 《灰藍色 之寫意》2005 20F

129

SANYU

(Chinese-French, 1901-1966)

Figure Ink on paper 45 x 28 cm With one seal of the artist EXHIBITED: A Legacy of Centuries - Exhibition of Sketches

by Chinese Masters, Dimensions Art Center, Taipei, June 18 - July 9, 2005

NT$ 260,000-400,000 US$ 8,700-13,300 HK$ 68,000-105,000

常玉 人物 水墨 紙本 45 x 28 cm 鈐印右下：常玉 展覽： 「百年遺存—中國名家素描展」，帝門藝術 中心，台北，展期自2005年6月18日至7月9日

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130

SANYU

(Chinese-French, 1901-1966)

Baby 1930 Watercolor on paper 26 x 20 cm Singed lower left Yu in Chinese, Sanyu in French and dated 1930 PROVENANCE: Collection of Johan Franco, Holland Sotheby's sale, Taipei, Oct. 15, 1995, lot 6

NT$ 350,000-600,000 US$ 11,700-20,000 HK$ 92,000-158,000

常玉 嬰孩 1930 水彩 紙本 26 x 20 cm 簽名左下：玉 SANYU 1930 來源： 約翰．法蘭寇收藏，荷蘭 蘇富比拍賣，台北， 1995年10月15日，編號6

131

CHU Teh-chun

(Chinese-French, b. 1920)

Abstract Composition c. 1980 Ink on paper 44 x 35 cm Signed lower right CHU Teh-chun in Chinese and English

48

朱德群 This painting is to be sold with a certificate of authenticity issued by Galerie HUS, Paris.

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

抽象構成 約1980 水墨 紙本 44 x 35 cm 簽名右下：朱德群 CHU TEH-CHUN 附巴黎Galerie HUS畫廊開立之原作保證書

132

SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape 1975 Ink and color on paper 58 x 78 cm Signed lower left Shiy De-jinn in Chinese and dated 1975

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 118,00-171,000

席德進 風景 1975 彩墨 紙本 58 x 78 cm 簽名左下：席德進 1975

133

Walasse TING

(Chinese-American, 1929-2010)

Peacock Acrylic on paper mounted onto canvas 124 x 193 cm With one seal of the artist

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 132,000-184,000

50

丁雄泉 孔雀開屏 壓克力 紙 裱於畫布 124 x 193 cm 鈐印左下：採花大盜

134

CHIU Ya-tsai

(Taiwanese, b. 1949)

Gentleman 1992 Oil on canvas 98 x 79 cm Signed lower right Chiu Ya-tsai in Chinese and dated 92

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 132,000-184,000

邱亞才 紳士 1992 油彩 畫布 98 x 79 cm 簽名右下：92 邱亞才

135

YANG Mao-lin (Taiwanese, b. 1953)

Florescent Formosa L9601 1996 Acrylic on canvas 116.5 x 160 cm Inscribed lower center MADE IN TAIWAN in English EXHIBITED: Inviting the Immortals: Culture, Intercourse, Tayouan History, Lin & Keng Gallery, Taipei, 1999 ILLUSTRATED: Inviting the Immortals: Culture, Intercourse, Tayouan History, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 69 Ceremonies before Rewarding-Inviting the Immortals III, Yang Mao-lin, Lin & Keng Gallery, Taipei, 2003, color illustrated, p. 58

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 158,000-211,000

楊茂林 寶島花開 L9601 1996 壓克力 畫布 116.5 x 160 cm 題識中下：MADE IN TAIWAN 展覽： 「文化交配大圓誌─請眾仙」，大未來畫 廊，台北，1999 圖錄： 《文化交配大圓誌─請眾仙》，大未來畫 廊，台北，1999，彩色圖版，頁69 《封神之前戲─請眾仙III．楊茂林》，大未 來畫廊，台北，2003，彩色圖版，頁58

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台灣當代畫家畫風的時代性與社會性非常強 烈，1987年台灣解嚴對台灣當代文化的發展 是一個非常重要的轉捩點，由此導致的上世 紀90年代初至90年代中期的台灣當代藝術發 展，和這一股大潮流並肩同在，批判政治與 社會的藝術作品充份反映了這個時期的社會 狀況。 楊茂林以探討社會及地域歷史為出發點，搭 配其獨具的繪畫模式，塑造出楊氏1990年代 「圓山紀事」、「百合紀事」、「熱蘭遮紀 事」及「大員紀事」等重要歷史篇系列。有 別於早期率直的顛覆批判，這些系列化為內 省的調性，而其表現方式，讓觀者彷彿閱讀 文獻史料一般。

Taiwan contemporary artistic style is extremely strong with the temporal spirit and sociality.

The lifting of martial law in Taiwan in 1987 is a very important turning point for the development of contemporary culture in Taiwan and it led to the development of contemporary art in Taiwan in the early 1990s to the mid 1990s. Together with this trend of development, critical political and social artistic works have fully reflected the social situation at that period.

Yang Mao-lin produced a number of works that addressed social and historical issues using his unique painting style. Major paintings and historical series of this type that Yang created during the 1990s included: "Yun Mountain Memorandum", "Lily Memorandum", "Zeelandia Memorandum", and "Tayouan Memorandum". Unlike the frank, direct criticism of his early works, these later pieces are more reflective; the way in which the works are presented gives the viewer a sense that they are reading a historical document.

136

LIEN Chien-hsing (Taiwanese, b. 1962)

The Waves II 1984 Oil on canvas 89 x 129 cm Signed lower left Lien Chien-hsing in Chinese and dated 1984.3 Signed on the reverse Lien Chien-hsing and titled The Waves in Chinese, dated 1984.3 ILLUSTRATED: Lien Chien-hsing, Eslite Gallery, Taipei, 1993, color illustrated, p. 98

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 158,000-211,000

連建興 浪（二） 1984 油彩 畫布 89 x 129 cm 簽名左下：連建興 1984.3 簽名畫背：題目：浪 連建興 1984.3 圖錄： 《連建興》，誠品畫廊，台北，1993，彩色 圖版，頁98

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137

CHUANG Che (Chinese, b. 1934)

Aggregation 1999 Acrylic on canvas 127 x 167 cm Signed lower right Chuang Che in Chinese and dated 99 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 900,000-1,800,000 US$ 30,000-60,000 HK$ 237,000-474,000

莊喆 聚合 1999 壓克力 畫布 127 x 167 cm 簽名右下：99 莊喆 附亞洲藝術中心開立之原作保證書

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138

John WAY

(Chinese, b. 1921)

Scarlet Square on Orange 2000 Oil on canvas 127 x 152 cm Signed lower right John Way in English and dated 2000 Signed on the reverse John Way in English, titled RETITED AS SCARLET SQUARE IN ORANGE in English, inscribed 50" x 60", 127 x 152 cm, and dated JULY NO.1 2000 in English

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 316,000-579,000

魏樂唐 橙色中的紅色方塊 2000 油彩 畫布 127 x 152 cm 簽名右下：John Way 2000 簽名畫背：J U LY N O.1 2000 50" x 60" 127 x 152 cm RETITED AS SCARLET SQUARE IN ORANGE John Way

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139

Walasse TING

(Chinese-American, 1929-2010)

I Think of You 1985 Acrylic on canvas 76 x 102 cm Signed on the reverse Ting and titled I Think of You in English, dated 1985

PROVENANCE: Galerie Asbæk, Copenhagen, Denmark NT$ 1,400,000-2,400,000 US$ 46,700-80,000 HK$ 368,000-632,000

丁雄泉 我想你 1985 壓克力 畫布 76 x 102 cm 簽名畫背：I Think of You Ting 1985 來源： 阿斯巴克畫廊，哥本哈根，丹麥

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140

LI Chen

(Taiwanese, b. 1963)

Amitabha 1998 Bronze, edition no. 1/8 38(L) x 46(W) x 56(H) cm Engraved on the back Li Chen in Chinese Engraved Li Chen in Chinese and English, numbered 1/8, dated 1998 and dated 2542 in Buddhist Calendar EXHIBITED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, 2007 Li Chen - In Search of Spiritual Space, National Art Museum of China, Beijing, April 29 - May 11, 2008

ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 44-45 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 52-53; black-and-white illustrated, p.

216 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and-white illustrated, p. 194 This sculpture is to be sold with a certificate of authenticity signed by the artists.

NT$ 1,300,000-2,500,000 US$ 43,300-83,300 HK$ 342,000-658,000

李真 西來 1998 銅雕 1/8 38(長) x 46(寬) x 56(高) cm 簽名雕刻背面：李真 簽名雕刻：李真 Li Chen 1/8 1998 二五四二 展覽： 「第52屆威尼斯雙年展──李真：虛空的能量」，威尼斯，2007 「李真：尋找精神的空間」，中國美術館，北京，展期自2008年4月 29日至5月11日 圖錄： 《李真雕塑1992-2002》，亞洲藝術中心，台北，2004，彩色圖版， 頁44-45 《李真第52展威尼斯雙年展─虛空中的能量》，亞洲藝術中心，台 北，2007，彩色圖版，頁52-53；黑白圖版，頁216 《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 附藝術家簽名之原作保證書

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141

LI Chen

(Taiwanese, b. 1963)

Cloud Glider 2000 Bronze, edition no. 3/8 29(L) x 30(W) x 88(H) cm Engraved Li Chen in Chinese and English, numbered 3/8 and dated 2000 EXHIBITED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, 2007 Li Chen - In Search of Spiritual Space, National Art Museum of China, Beijing, April 29 – May 11, 2008 ILLUSTRATED： Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 70-71 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 88-91 Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 52 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and white illustrated, p. 196

NT$ 2,700,000-3,600,000 US$ 90,000-120,000 HK$ 711,00-947,000

64

李真 乘雲氣 2000 銅雕 3/8 29(長) x 30(寬) x 88(高) cm 簽名雕刻：李真 Li Chen 3/8 2000 展覽： 「第52屆威尼斯雙年展─李真：虛空的能 量」，威尼斯，2007 「李真：尋找精神的空間」，中國美術館， 北京，展期自2008年4月29日至5月11日 圖錄： 《李真雕塑1992-2002》，亞洲藝術中心， 台北，2004，彩色圖版，頁70-71 《李真第52屆威尼斯年展─虛空中的能 量》，亞洲藝術中心，台北，2007，彩色圖 版，頁88-91 《中國當代雕塑十人展》，亞洲藝術中心， 北京，2007，彩色圖版，頁52 《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196

142

SHIY De-jinn

The President of the Shiy De-jinn Foundation, Dang-ho Liu, wrote: “Mr. Shiy De-jinn was born in Szechwan, and educated there and Hangchow in Mainland China. Then, he moved to Taiwan. At the beginning he lived in Chia-Yi and later in Taipei. Shiy had visited the United States and lived in France for three years. In August 1981, he died in Taipei. Shiy De-jinn's painting style went through several stages.

While Shiy was studying at the Hangchow Academy of Arts, his style was influenced

by Lin Fengmian. His paintings of that time showed a sensation of elegancy and softness.

He brings out rhythm and movement from the tranquility, with slightly curved lines.

(Taiwanese, 1923-1981)

The Scenic Beauty of Wu-ling c. 1970s Ink and color on paper 68 x 137 cm Signed upper left Shiy De-jinn and titled The Scenic Beauty of Wu-ling and inscribed dedicated to Chao Peng in Chinese With two seals of the artist ILLUSTRATED: Diagram of Commotion and Desire-Towards a Bright Start From the Deep Forest, Taiwan Museum of Art, Taichung, 1995, color illustrated, p. 337

NT$ 1,300,000-2,300,000 US$ 43,300-76,700 HK$ 342,000-605,000

席德進 武陵勝景 約1970年代 彩墨 紙本 68 x 137 cm 題識左上：武陵勝景 趙鵬大兄 雅正 簽名左上：席德進寫 鈐印右下、左上：席德進 圖錄： 《席德進紀念全集III水墨畫》，台灣省立美 術館，台中，1995，彩色圖版，頁337

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財團法人席德進基金會董事長劉欓河先生寫 到：「席德進先生出生於四川，求學於四川 與杭州，到台灣後，初住嘉義，後居台北， 曾赴美考察，旅居法國三年，民國七十年八 月在台北因病辭世。席德進先生在杭州藝專 求學時，受到林風眠的影響，作品風貌幽雅 而柔，線條略帶曲度，率皆屬於謀定而後動 的理知，畫面呈現節奏和律動，頗有餘味。 有段時期，作品風貌轉而為乾冷而硬，線條 強烈直黑，帶著明顯的嘗試性的修改，有很 濃的草圖作用的成份，不過，他都以完整而 獨立的作品予以處理，理念知性，經過一段 多元嘗試，畫面轉趨細膩，調子柔細綿密， 顯現中國山水畫的內質，與趙無極的抽象畫 一樣，共同獲取中國繪畫的內涵。

For a period of time, Shiy's style changed and became cold and hard, Works of that period are similar to the works of Buffet. They are characterized by dark straight lines; they might look like rough drafts, composed of experimental sketches. However, each subject he depicts is complete. After several changes of style, Shiy's works evoked the motive and inner spirit of Chinese ink colors. His paintings of that time are characterized by softness and denseness. This change made his works very similar to the abstract paintings of Zao Wu-ki in the way that they both create from the spirit of Chinese ink paintings, this period is known as Shiy's abstract period.

從席德進先生執著、奮進的繪畫精神加以追 索，他實在私淑許多世界名家，也從波旦且 里、高爾培、林布蘭、艾爾葛雷哥等畫家作 品中，擷取柔美調子的經營理念；從野獸派 的畫家作品中，吸納了原始性的粗礦和簡 練；從畢卡索的作品中，接收了原始色彩和 造形：從保羅克利的作品中，延進了寧靜的 形式；從硬邊藝術昀作品中，移植了強烈而 無個性的色塊安排。」 (參閱《席德進紀念全集III

Shiy's works derived from a mixed style of world masters. For example one can detect the elegancy of Botticelli, Courbet, Rembrandt and El Greco in his works. Shiy also absorbed the use of primitive color, simplicity and boldness of the Fauvists. He also learned to use Picasso's use of primitive color and shapes.

From Klee's works, he added to his own works a sense of tranquility. From Hard-Edge works, he transplanted the flat colors and defined forms.” (The Commemorative Collections of Shiy De-jinn III

水墨畫》，台灣省立美術館，台中，1995，頁1)

Ink Painting, Taiwan Museum of Art, Taichung, 1995, p.1)

143

YANG San-lang (Taiwanese, 1907-1995)

Looking into the Distance from the Jokul Oil on canvas 60 x 73 cm Signed lower left S. Yang in English

NT$ 1,800,000-2,600,000 US$ 60,000-86,700 HK$ 474,000-684,000

楊三郎 雪山遠眺 油彩 畫布 60 x 73 cm 簽名左下：S.Yang

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144

CHAO Chung-hsiang (Chinese, 1910-1991)

Gossiping Ink and acrylic on paper 92.5 x 61 cm Signed lower left Chung-hsiang in Chinese and Chao in English ILLUSTRATED: Chao Chung-hsiang Collection, Alisan Fine Arts Gallery, Hong Kong, 1992, color illustrated, no. 111, pp. 227-228

NT$ 2,500,000-3,500,000 US$ 83,300-116,700 HK$ 658,000-921,000

趙春翔 竊竊私語 水墨 壓克力 紙本 92.5 x 61 cm 簽名左下：春翔 Chao 圖錄： 《趙春翔》，藝倡畫廊，香港，1992，彩色 圖版，編號111，頁227-228

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趙春翔的繪畫奉行中西合璧，各取其精髓， 揉合成獨特的視覺風格。他對東方的「墨」 情有獨鍾，認為中國民族的創新藝術之道在 於發揚其獨有的傳統精華，即水墨繪畫。 1950年代末期旅居紐約期間，正值西方抽象 藝術蓬勃發展。他看到歐美抽象表現主義大 師從東方書法、水墨意境中發展新的創作形 式，促發他開始在作品中進行墨韻的研究。 中國自古以來的潑墨、破墨，以及帕洛克的 潑灑、滴流表現，對於趙春翔起了一定的影 響。1980年代後他的畫風更為自由、奔放， 展現純粹抽象藝術的精神性。

Chao was residing abroad in New York in late 1950, western abstract art was in full bloom. He saw western masters of Abstract Expressionism innovate their works by gaining inspiration from eastern calligraphy and ink painting. This prompted his studies on ink and applying ink to his art. Chinese splash-ink painting, broken ink, and Pollock's drip and splash had certain influence on Chao.

After the 80s, his style become more free and unrestrained, expressing the spirit of pure abstract art.

趙春翔的繪畫主軸不離道教神祕主義及人道 哲學觀，從畫題、圖案、色彩等構成元素， 可看出他的終極關懷。此次拍品《竊竊私 語》畫作結合深鬱的中國墨與瑰麗的壓克力 彩，應用西方抽象繪畫即興技法，也似中國 傳統畫中自由率性的潑墨，而畫面中排列的 鮮豔螢光色的綠圓圈，宛如開出朵朵玫瑰， 產生眩目的躍動感，既古典又具有現代感， 超越時代與文化隔閡，予人以審美的感受也 為趙春翔典型繪畫風格。

The pivot of Chao's artwork does not deviate from mystical Taoism and philosophies of humanitarianism. From the elements of topics, images, and color, we can discern Chao's compassion. This work, "Gossiping", combines somber Chinese ink with bright acrylics, a drip-painting technique of the type used in Western abstract painting has been employed for the background; this technique is also similar to the "ink-splashing" free painting method sometimes used in traditional Chinese painting. The luminous green spirals, arranged in a line running down the picture, are like a string of pearls made up from individual roses. The effect is simultaneously classical and modern; its aesthetic appeal surpasses temporal or cultural boundaries.

This is also the typical painting style of Chao.

Chao retains the essence of western and eastern art in his artworks, forming a unique visual style. He has special emotions for "ink" in eastern art and believes that innovating Chinese art should be in promoting the core of tradition, that is, the ink painting. When

145

XU Jiang

(Chinese, b. 1955)

Autumn Rock 1993 Oil on canvas 100 x 160 cm Signed on the reverse Xu Jiang and titled Autumn Rock in Chinese, inscribed China Academy of Art in Chinese, 160x100 cm EXHIBITED: 12 Contemporary Chinese Oil Painters, New York and Los Angeles, 1995 ILLUSTRATED: Selected Works of 12 Contemporary Chinese Oil Painters, Tianjin People's Fine Arts Publishing House, Tianjin, 1995, color illustrated, p. 69

NT$ 6,200,000-7,800,000 US$ 206,700-260,000 HK$ 1,632,000-2,053,000

許江 秋石 1993 油彩 畫布 100 x 160 cm 簽名畫背：秋石 160x100 許江 中國美 術學院 展覽： 「中國當代油畫家12人展」，紐約及 洛杉磯，美國，1995 年 圖錄： 《中國當代油畫12人作品選》，天津 人民美術出版社，天津，1995，彩色 圖版，頁69

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146

CHEN Cheng-po

的熱情奔放；第二個階段「上海時期」， 他擔任藝術學校的西畫教師，為中國水 墨大家所折服，此時以中西合璧的方式探 索繪畫，融入元代書畫家倪雲林（13061374）的線條動能，以及清代八大山人 （1624/1626-1705）的皴法擦筆技藝，意 境上追求中國的東方情趣，更恣意發展其 「反透視」的構圖觀，然而加上南方熱帶 人的開朗明快，而形成其怪異有趣、樸拙 獨特的繪畫；1933年回到台灣之後所發展 出的「回歸鄉土時期」，陳澄波訪察台灣 各地風土民情，完成淡水、嘉義等地的風 景寫生，為藝術家的繪畫生命再創巔峰。

(Taiwanese, 1895-1947)

The New Building in Tainan 1932 Oil on canvas 45 x 52.5 cm Signed lower left Cheng-po and dated 1932 in Chinese Titled on the reverse The New Building in Tainan in Chinese, inscribed 10F and dated 1932 ILLUSTRATED: Taiwan Fine Arts Series I: Chen Cheng Po, Artist Publishing Co. Ltd., Taipei, 1992, color illustrated, p. 93

NT$ 5,600,000-6,400,000 US$ 186,700-213,300 HK$ 1,474,000-1,684,000

陳澄波 台南新樓 1932 油彩 畫布 45 x 52.5 cm 簽名左下：一九三二 澄波 簽名畫背：台南新樓 10F 1932 圖錄： 《台灣美術全集第1卷：陳澄波》，藝術家 出版社，台北，1992，彩色圖版，頁93

陳澄波是第一位入選日本「帝國美術展覽 會」（簡稱「帝展」）的台灣西畫家，他 以家鄉的風景圖畫，贏得當時日本、台灣 兩地美術界最高榮譽象徵的肯定。自此， 陳澄波專心致力於風景寫生，樸實而富有 拙趣的繪畫風格，成為早期台灣美術史上 首屈一指的西畫家之一，他是《台灣美術 全集》第一位介紹的畫家，也是2003年公 共電視《台灣百年人物誌》的三十一位影 響人物中唯一的畫家。 他的美術養成起步算是相當晚的，然而在 學習西洋美術之前，陳澄波已有漢學與書 法的薰陶。1913年，他開始接受日本水彩 畫家石川欽一郎（1871-1945）的指導，對 西洋美術獲得初步的認識，當時他已經19 歲，且於30歲時突破生活的艱難，考入東 京美術學校。因此，也促使他努力不懈， 一心希望能在繪畫上能有一番作為，四度 獲選競爭激烈的「帝展」。目前文獻上所 載陳澄波最早的作品為1924年，根據顏娟 英女士在《勇者的畫像—陳澄波》一文， 我們將他的一生繪畫創作大致分為三大階 段：「東京時期」（1924-1929）、「上海 時期」（1929-1933）以及「回歸鄉土時 期」（1933-1947）。 第一個階段「東京時期」陳澄波遵循學院 式的訓練，也追求自我的探索，受到後印 象派畫家梵谷的影響，畫風傾向於野獸派

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林育淳女士為雄獅圖書出版的《油彩熱 情—陳澄波》一書中，指出1930年代是 「陳澄波個人繪畫創作的高峰，也是整個 台灣美術蓬勃發展的時期」。她認為因為 陳澄波的個性熱情、進取，他能夠不斷地 突破各種有形、無形的阻礙，堅持自我理 想的實踐。而陳澄波不但是日本在台灣殖 民地推展西洋繪畫教育以來，第一位入選 最具權威的「帝國美術展覽會」的台灣畫 家，也是1930年代到中國大陸交流有所成 就的台灣畫家，除此之外，他最為人稱道 的即是永不放棄、不妥協的浪漫情懷，全 心全意所挖掘出的台灣風土特色。 1932年所作《台南新樓》，畫中陽光充 足，色彩鮮豔，景物精簡而造型別致，前 後次序分明，清晰可讀，是一件能代表藝 術家風格的佳作。

Chen Cheng-po was the first Taiwanese Western Painter to be selected for Japan's Imperial Fine Arts Exhibition. With landscape paintings of his hometown, he won the highest accolades from the art scenes of Japan and Taiwan during that period, symbolizing the affirmation of his work. From then onwards, Chen Cheng-po concentrated on painting landscapes with his simple yet humorous painting style and became one of the leaders of Western style painting in the history of early Taiwanese

The cultivation of Chen’s art started relatively late, but prior to learning western art, Chen Cheng-po had already been nurtured m the influences of Sinology and calligraphy. In 1913, he began receiving instruction from the Japanese watercolorist, Kinichiro Ishikawa (1871-1945)and gained the dimentary knowledge about west art. He was then already 19 years of age and at the age of 30 years; he overcame the hardships in lift to gain admission into the Tokyo Fine Arts School. This, as a result, made him put in a greater and more unremitting efforts in a wholehearted wish to achieve some accomplishments in the field of painting and saw him being selected into the highly competitive Imperial Fine Arts Exhibition for four times.

Currently, first records show that Chen Cheng-po's earliest works were in 1924.

According to the article by Madam Yen Chuan-ying, A Courageous Painter - Chen Cheng-po, we broadly categorized the paintings in his lifetime of creation into three stages: "The Tokyo Period" (1924-1929), "The Shanghai Period" (1929-1933) as well as "The Return to Native Soil Period" (19331947).

In the first stage of "The Tokyo Period", Chen Cheng-po adhered to an institutional style of training while pursuing self-exploration as well. Influenced by the Post-Impressionist, Vincent van Gogh, his painting style include towards the bubbling passion and enthusiasm found in Fauvism. During the second stage of "The Shanghai Period", he became a teacher

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of western style painting in an art school.

Overcame with admiration for masters of Chinese ink and wash painting, the manner of his painting explorations in this period was a combination of both the Chinese and Western style, infusing with the energetic lines alike those of Ni Yun-lin (1306-1374), a painter cum calligrapher in the Yuan Dynasty, as well the texturing method and brushing (touch) technique of Ching Dynasty's Pa-ta-shan-jen

台南新樓醫院舊照 The old photo of the New Building, Tainan

(Chu Ta, 1624/1626-1705), and pursuing moods containing eastern appeals of China as well as developing his "reverse perspective" concept of composition in a more wanton, self-willed manner. However, coupled with the sanguine and lively disposition of tropical southerners, he formulated a strange yet fascinating, simple yet unique painting style. In "The Return to Native Soil Period", that developed upon returning to Taiwan in 1933, Chen Cheng-po visited and observed the local customs and conditions in all of Taiwan. Completing his landscape paintings of such places as Tamsui and Chiayi, another

peak was created in the artist's painting career.

Madam Lin Yu-chun pointed out for, PaintPassion-Chen Cheng-po, the book published

by Hsiung Shih, that the 1930s was the peak for Chen Cheng-po's personal painting creations and it was also a flourishing period of development for the whole of Taiwanese Art. She believed that Chen Cheng-po's progressive and passionate disposition was the very the reason why Chen Cheng-po was able to continuously overcome every sort of obstacle, whether tangible or otherwise, and keep true to the implementation of his self-ideals. Chen Cheng-po was not merely the first Taiwanese painter to be admitted into the most authoritative Imperial Fine Arts Exhibition, he was also the Taiwanese painter in the 1930s to come away with accomplishments in exchanges to Mainland China. Besides this, his non-yielding, nonforsaking romantic sentiments and the distinctive Taiwanese local features that he discovered wholeheartedly were aspects most admired of him by others.

“The New Building in Tainan” was created in 1932. The painting is full of sunshine, the color seems fresh with unique features w i t h s t re a ml i n e d s h a p e s . T h e p a i n t i n g appearance is clear and legible. It’s a vintage painting which is full of the unique style of the artist.

147

ZAO Wou-ki

the beginning of a long partnership. The year 1950 also marked the beginning of a tradition that saw Zao's paintings exhibited at the Salon de Mai on a regular basis for the next twenty something years. It was from here that Zao's artistic voyage truly took off.

(Chinese-French, b. 1921)

23.6.50 1950 Oil on canvas 47.5 x 38 cm Signed lower right Wou-ki in Chinese, ZAO in French Titled and dated on the reverse 23.Juin.50 in French PROVENANCE: Estate of Patti Cadby Birch, New York

NT$ 7,000,000-9,000,000 US$ 233,300-300,000 HK$ 1,842,000-2,368,000

趙無極 23.6.50 1950 油彩 畫布 47.5 x 38 cm 簽名右下：無極 ZAO 簽名畫背：23.Juin.50 來源： 帕蒂．嘉德比．伯奇遺產，紐約

1949年在法國舉辦的青年畫家素描比賽中獲 得首獎，鼓舞了仍在繪畫道路中摸索的趙無 極 。同年5月舉辦在巴黎的首次個展，大獲 成功。1950年巴黎有一位宣稱不代理中國畫 家、展過無數大師的知名畫商皮耶．洛布， 在藝評家米修的引薦後，竟意外買下趙無 極11幅作品，從此展開多年的合作。同時從 1950年開始的二十多年，趙無極的畫作經常 入選「五月沙龍」，自此展開藝術航行的探 索。 1950年當趙無極創作《23.6.50》油畫時，尚 未發現克利的繪畫（1951年），但他獨有的 線條、符號已隱隱躍動著。米修在他此時的

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繪畫裡發現了詩的存在，特別寫詩歌頌他的 作品。趙無極從小讀古詩，對詩畫意境有一 定的研究，況且在中國詩與畫本就合一。透 過畫裡簡單的形體與色彩，趙無極吸引了當 時藝術家的關注，如杜布菲。而雕塑家傑克 梅第則說過，特別喜歡趙無極畫中具象的部 份。 1950年趙無極已決心朝油畫的方向前進，受 到教堂壁畫的影響，他花了很多時間精心研 究，如何採用平面的透視來表現空間，以及 如何為物象佈局等等。藝評家馬歇索認為， 「他找到一種東方纖細筆劃和西方古典建築 結構相結合的畫路」 （參閱《趙無極繪畫六十年回 顧》展覽目錄，上海三聯書店，1998，頁22）。這種線 條結構風格在1950至1951年成形，對於後來 的抒情抽象發展，具有啟發的意義。

In 1949, Zao Wou-ki won the first prize in a sketch competition for young artists in France, a great encouragement for him, who was still finding his way and direction in the world of painting. By May of the same year, he was able to hold his first solo exhibition in Paris, which was a big success. In 1950, Pierre Loeb, an eminent art dealer who had exhibited the paintings of countless grandmasters, and had famously declared to never act as an agent for Chinese painters, decided at the recommendation of the art critic Henri Michaux to buy as many as eleven of Zao's pieces. It was

When Zao was working on his 1950 oil painting "23.6.50" he had yet to discover the oeuvre of Paul Klee (which he would in 1951), yet the piece already displayed the first inklings of his own characteristic lines and vibrant symbolism. It was during that period that Henri Michaux spotted the existence of a latent lyricism in Zao's paintings, which inspired him to write poems in their praise.

Zao, an avid reader of classical Chinese poetry since his early childhood, naturally had a deep understanding of vistas and imagery in both poems and pictures, in particular since in Chinese art poetry and painting often tend to melt into one. This affinity helped Zao to use uncomplicated forms and colors to attract the attention of his peers, such as Jean Dubuffet.

And it was the sculptor Alberto Giacometti who once said that he particularly enjoyed the concrete, unveiled elements in Zao's paintings.

As early as 1950 Zao had decided to focus his efforts on oil painting. Largely influenced by the mural paintings in churches and cathedrals, he spent much time on studying carefully how to employ a two-dimensional medium to produce a three-dimensional effect. He also explored different ways of composition and arrangement of objects in his paintings.

The art critic Daniel Marchesseau expressed his appreciation this way: "Il retrouve alors une voie pour son pinceau, entre délés orientalisants et architectures classiques." (cf. p.22 of the exhibition catalogue Zao Wou-ki 60 ans de peintures, published in Chinese by Sanlian Publishers,

Zao developed this particular style in the formative years of 1950 and 1951, and it would become the basis for his later artistic development towards an "abstract expressionism".

Shanghai, 1998).

148

LIAO Chi-chun (Taiwanese, 1902-1976)

Gueishan Island 1960 Oil on canvas 27 x 40.5 cm Signed on the reverse Liao Chi-chun in Chinese, inscribed for Lin Chao-chu as a souvenir and dated 1960 in Chinese PROVENANCE: Ancient collection of Lin Chao-chu, the artist’s brother-in-law (a memory gift from the artist for Lin’s immigration to Japan in the 1960s) ILLUSTRATED: The Precusory Artists Masterpieces of Taiwan (III), Respectable Art Center, Taipei, 2000, color illustrated, pp. 54-55

NT$ 7,200,000-9,000,000 US$ 240,000-300,000 HK$ 1,895,000-2,368,000

廖繼春 龜山島 1960 油彩 畫布 27 x 40.5 cm 簽名畫背：留給林朝楚保藏 一九六○年 廖繼春畫 來源： 藝術家妻舅林朝楚舊藏（林朝楚為藝術家妻 子林瓊仙之弟，1960年代移民日本前得自藝 術家贈與，作為留念） 圖錄： 《台灣前輩畫家的藏寶圖—參》，尊彩國際 藝術有限公司，台北，2000，彩色圖版，頁 54-55

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廖繼春是台灣第一代西畫家，早在日本研習 時，就曾多次入選「帝展」。他不僅擁有可 觀的繪畫資歷與創作成就，更以常春的創作 活力，贏得後輩的敬重。他在台灣畫壇能夠 持續昂首闊步半個多世紀，憑仗的還是個人 創作上的實力和表現。 藝評家林惺嶽說，「廖繼春的繪畫天賦，猶 如一股噴湧不息的泉流，順乎其然的隨著時 代變動的起伏與曲折，潺潺地暢流著。在承 先啟後的意義上，展示了富有啟發性的楷 模。」因而讚賞廖繼春的藝術是跨越時代鴻 溝的彩虹。 他不僅擅長用色，也用色大膽，這件《龜山 島》全畫籠罩在濃烈的廖繼春的粉紅色調 中，讓人激賞不已。觀畫的同時，彷彿聽得 見他作畫時，沙沙作響的急促筆觸，他的心 跳和血液也都好像還存在在畫面裡似的。

Liao Chi-chun was one of the first generation of Western artists in Taiwan. When he was studying in Japan, his works were repeatedly selected for the "Empire Exhibition". He boasted not only his rich experience and creative achievements in painting, but also his everlasting vitality of innovative concepts, which was adored by the younger generation.

Thanks to Liao's performance and competence in painting, he remained quite famous in Taiwan's art circle for more than half a century.

Lin Hsin-yueh, an art critic, said that "Liao's genius for painting is just like flowing spring water. It flows naturally with the ups and downs of his times, continuously. During the transitional period, Liao acted as an inspiring model." Because of that, he regarded Liao's works of art as a rainbow bridging the gap of the era.

Liao was not only good at mastering colors, but also used some rare colors. This art piece, "Gueishan Island" with the strong Liao-pink is spread in the whole painting, which was really exciting. When people see the picture, they might hear the sound of his strokes rustling during the painting. Liao's heartbeat and blood also seem to be contained in the drawing.

149

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1992 Wooden sculpture (Shorea philippinensis Brandis) 50(L) x 32(W) x 48.2(H) cm Engraved Ju Ming in Chinese and dated '92 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.

NT$ 6,000,000-8,000,000 US$ 200,000-266,700 HK$ 1,579,000-2,105,000

朱銘 太極系列─起勢 1992 木雕 黃柳桉 50(長) x 32(寬) x 48.2(高) cm 簽名雕刻：朱銘 '92 附財團法人朱銘文教基金會所開立之作品鑑 定報告書

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JU Ming

(Taiwanese, b. 1938)

Taichi Series - Shadow Boxing 1982 Wooden sculpture 45(L) x 23(W) x 56(H) cm (left) 30(L) x 24(W) x 53(H) cm (right) Engraved Ju Ming in Chinese and dated '82 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 9,200,000-12,000,000 US$ 306,700-400,000 HK$ 2,421,000-3,158,000

朱銘 太極系列─對招 1982 木雕 45(長) x 23(寬) x 56(高) cm (左) 30(長) x 24(寬) x 53(高) cm (右) 簽名雕刻：朱銘 '82 附真善美畫廊開立之原作保證書

朱銘1938年出生於台灣的苗栗縣通宵鎮，早 年未接受完善的美術教育，15歲時跟隨李金 川師傅學習傳統木雕技藝。30歲時，他放棄 在大雕刻廠首席師傅的高薪，離開故鄉，向 雕刻大師楊英風學藝術現代雕塑，為期八 年。當年朱銘身體瘦弱，楊英風建議他修習 太極拳養身。練太極拳原本僅為了強身，然 而領悟力極強的朱銘，卻從中體會到思想與 心靈上的奧妙。以太極拳調養與修行期間， 朱銘體會到自然萬物、大氣運作的能量與蘊 涵，內化為個人思想體系後，漸表諸於雕刻 創作上。

移動，他（較少是她）得以勝過自己。古代 的軍事分析師孫子寫道：知己知彼，百戰百 勝。」（參閱《朱銘太極系列雕塑》，漢雅軒，香港， 1993）

法國藝評家尚律克．夏綠莫讚譽：「朱銘在 三度空間中以線條、形式，解決銅雕向來存 在的笨重感問題，熟練地呈現太極的律動， 使中國武術藝術的不安定狀態取得和諧、平 衡。他認為朱銘的『太極旋踢』和『太極對 招』似乎重現了希臘雕像的神奇發現，大塊 量體中竟然隱藏著矯捷的形式。」 （參閱尚律 克．夏綠莫著《朱銘》， Editions Cercle d'Art出版社，巴

在朱銘眼中，「太極系列」才是他個人風格 的代表，而他所要表達的那份生命力，是由 內而外，而非由外而內。太極拳看似柔軟無 力，實則陰陽相生、柔中寓剛、剛柔並濟、 動靜相隨，它以架勢誘導身體產生調和動作 的均衡，氣體運行，而達平與靜的效果。太 極拳講究勻、慢、柔、圓，充分體現美學思 想，宛如不同的人練太極同一招式時，會展 現不同的力度。因此，當朱銘在雕塑每一件 太極時，也賦予他們獨特的生 命力。 可以說是一種出自本能的結合吧！朱銘創作 「太極系列」時的大刀闊斧在作品中呈現出 來的人體造型，正好跟現代雕塑的抽象理念 不謀而合。「太極系列」的每件作品，都流 露出抽象的運動性，非但不受限於太極拳分 解圖的運動公式，甚至還改造了我們對運動 空間的認知習慣，讓作品與空間的關係都抽 象了起來。特別是當這種抽象關係發生之 後，我們發現，每個作品都允許我們從不同 的視點去看，而且各個視點下的塊面也都能 夠跟作品整體處於有機的呼應關係之中。 朱銘的太極系列大致分為兩大類，一類展現 個體的技巧與姿態，另一類則講求兩股力量 之間的對立關係，也就是雙人對打。在單一 人物的太極雕塑中，太極的力量和節奏透過 身體的運動和姿勢來表達。但太極在本質上 可謂兩極相生，即「陰」與「陽」，兩極相 互關聯，循環往復合而為一，構成和諧而有 力的運動。此件《太極系列—對招》動靜、 虛實之間，將太極拳隨屈就伸、人剛我柔、 借人之力、順人之勢的精義顯露無疑。 牛津 大學美術史學家蘇立文曾說：「太極 同時也是一種儀式性的格鬥形式，兩個形 體相互對峙。在太極對招中，藉由參與者的

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黎，2002， p. 79）

Ju Ming was born in 1938 in Tunghsiao, Miaoli County, which is a center of wood carving in Taiwan. He received very little formal education in the arts, and at the age of 15, he was apprenticed to Lee Chin-chuan, a famous traditional master wood-carver. When he was 30, he decided to give up a well-paid position as a chief craftsman in a large woodcarving factory. He left Miaoli to study sculpture with the master sculptor Yuyu Yang with whom he studied for eight years. Yang suggested to Ju Ming that he take up Taichi boxing, the traditional Chinese boxing, as he had a frail constitution, and it would help him to improve his health. Ju Ming soon discovered that practicing the ancient 'martial art' did more than just make him stronger: it gave him much food for thought and opened up profound new vistas for his creative work. Ju gained firsthand experience of the awe-inspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art.

For Ju Ming, the "Taichi Series" is the starting point of his own unique style. He expresses the vital inner force discovered in Taichi boxing in a form that immediately resonates with a profound understanding of the energy within.

In the "Taichi Series", Ju creates a tension between geometric abstract forms which bring forth the active and forceful postures of the figures. This, along with the contrast between

the dynamic poses and the static material, and the rough and terse finishes create a rich rhythm in the works. The sculptures also play with a colorful effect of change between light and shadow. In "Single Whip", Ju Ming found his own voice and creates works of tremendous vitality and irresistible power as he explores the pure energy of traditional Taichi boxing.

In a sense it is an instinctive combination. In creation of "Taichi Series", the profile of body presented by Ju Ming through bold and resolute strokes in the works just coincide with the abstract ideology of modern sculpture. Every piece of work in "Taichi Series" emanates the abstract mobility. Besides emancipation f rom formula of shadowboxing, he has also remolded our cognition habit about mobile space, so that relationship between the works and the space become abstract. Especially, after occurrence of such abstract relationship, we find that every works allows us to view in different angle, and the patches under each angle of view can be in an organic echo with the overall works.

The Taichi Series by Ju Ming can be broadly divided into two categories: those depicting individuals demonstrating their skills and postures, and those that examine the contradictory relationship between opposing forces - the twin sparring figures. With the single Taichi figures, the force and rhythm of Taichi are expressed through body movements and postures. However the nature of Taichi is such that there are two types of chi: the Yin and the Yang. These two entities share a reciprocal relationship and are united as one, creating a harmonious and powerful movement.In this "Taichi Series - Boxing", he has given ultimate presentation the pith of shadowboxing yielding to dissolve attacking force, treating rigidity with suppleness, borrowing external force and complying with external orientation.

The scholar of art history in Oxford University, Michael Sullivan, said: "Taichi is also a form of ritual combat in which two figures actively oppose each other. In Taichi boxing, the participant moves so that he (more rarely she) extends beyond himself. Know your enemy as

well as yourself, wrote the ancient military strategist Sun Zi, and you will be invincible!"

(Ju Ming Taichi Sculptures, Hanart T Z Gallery, Hong Kong, 1993)

The French art critic, Jean-Luc Chalumeau, ever praised Ju Ming's art: "However, that was referring to lines, or forms worked upon in the third dimension, whereas Ju Ming has to solve the constant problem of extricating, from the massiveness of a block of bronze, the sensation of a Taichi Art in which balance must be kept in the midst of disequilibrium. "Taichi Spin Kick� and "Taichi Shadow Boxing� seem to revive the miraculous discoveries of Greek statuary, hidden in the mass of these strangely agile forms" (Jean-Luc Chalumeau, Ju Ming, Editions Cercle d'Art, 2002, p. 79)

151

CHU Teh-chun

(Chinese-French, b. 1920)

Composition No. 116 1962 Oil on canvas 60 x 81 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in English and Chinese, titled No. 116 and dated 1962

NT$ 9,800,000-16,000,000 US$ 326,700-533,300 HK$ 2,579,000-4,211,000

朱德群 構圖 No. 116 1962 油彩 畫布 60 x 81 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN 朱德群 1962 No. 116

朱德群自1956年開始嘗試抽象畫，結合自 身中國書法的涵養，加之感染西方抽象畫 的奔放自在，朱德群在很短的時間內完成了 具象到抽象的過渡。到了1960年代，朱德群 已在巴黎確立了他的地位，正值盛年的他， 創造生涯也正邁向顛峰。美國堪薩斯大學美 術史系名譽教授李鑄晉先生曾如是描述朱德 群1960年代的作品：「那時的畫，他多以單 一色做背景，畫面四周多用闊筆和快筆構成 種種方向，有時略似天空的雲彩，有時像山 上的瀑布，有時像山石和荒野，而在其中他 用較細的筆，用靈活變化的線條及厚重的色 彩，點出許多動作，有時還有點德施代爾的 風格，但多數都是中國書法和山水的意味， 整個的畫面已顯示了個人的特質與風格，直 至如今，都還保持著」。 （參閱李鑄晉〈朱德群 的抽象世界〉，《朱德群近作展1985-1996》，台北市立 美術館，1997年11月，頁26）

1960年代初期的油畫，朱德群借用東方水墨 畫的靈感。詩人楚戈認為：「朱德群60年代 以後的畫，全可視為東方文化中的山水（不 是『國畫山水』）。」宋朝范寬、郭熙二人 氣勢磅礡的山水畫，對於朱德群有一定的影 響。古人「師於心」的概念，已具抽象的理 念，在藝術家的認知裡，中國繪畫和抽象畫 的想法其實不謀而合。 受到宋朝山水畫家的的啟發，朱德群給予 山水一種新的風貌。由於畫家的個性較為 內斂，畫風表現他的性格，大面積濃郁的低 調色彩或迴旋、或顫動、或舒展，在早期畫 作中經常蘊藏著東方式的寧靜、細膩含蓄的 詩情。他不故意以留白的取巧詮釋中國山水 的空靈，畫面幾乎填滿深鬱的色彩，他以自 身的修為，對中國文化體認，沈澱之後的表 現，氣宇果然不凡。 《構圖 No. 116》是朱德群第116號抽象畫作 品，抽象藝術家通常不為作品命題，避免給 觀者先入為主的影響，因此常採取編號或創 作日期代替畫題。1958-59年起，朱德群除 了取法文畫題之外，也為油畫作品編號，後 來連題目都省去，直接以編號取代。不過大 約到了1970年前後，因編號排序太多，自己 也不易記得，他開始為畫作再取一個極富詩 意的題目，畢竟詩詞文字也是抽象的，他認 為應該不會妨礙觀者的自由解讀，反而更能 親近畫家所欲營造的空間。 此幅1962年創作的《構圖 No. 116》，色系 沉穩，筆力優厚，狂放有勁，錯綜糾結的線 條產生動感，構出一種強勁的氣勢，宛如醇 厚有力的交響詩，在展現自然韻味的同時， 更可體味到畫家本人的熾烈情感，實為朱德 群早年油畫創作裡不可多得的佳作。

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I t w a s i n 1 9 5 6 t h a t C h u Te h chun began to try his hand at abstract painting, melding his great skill and cultivation in Chinese calligraphy with the uninhibited i m p e t u o u s n e s s o f We s t e r n abstract art. Chu's transition from objective representation to abstract composition took place in a very short period of time. By the 1960s, Chu had firmly established his position as an artist in Paris, a man in his best years who was rapidly approaching the acme of his creative career. Chu-tsing Li, Professor Emeritus at the Fine Arts Dept. of the University of Kansas, described Chu Teh-chun's work of the 1960s in the following way: "At that time most of his paintings consisted of monochromatic backgrounds with borders that were painted using wet, rapidly done brush strokes that moved in different directions. Sometimes they look like colored clouds, other times like water flowing in mountain cataracts, and then again like boulders amid wide open spaces. Among these apparitions he added very fine brush strokes using various and lively line work, along with vivid points of color that activated the picture plane, possibly reflecting the influence of de Stael. His strongest influences, however, were derived from Chinese landscape painting technique and calligraphy. Every aspect of Chu's painting retained very personal characteristics, and today he still maintains a strongly individualistic style."(cf. Chu-tsing Li, 'The Abstract World of Chu Teh-chun', Exhibition of Chu Teh-chun's Recent Works 1985-1996, Taipei Fine Arts Museum, Nov. 1997, p. 26)

In the oil paintings from the early 1960s, Chu borrowed inspiration from Asian calligraphy.

Poet Chu Ko said, "Chu Teh-chun's paintings after 1960s can be seen as the landscape in

appreciation of Chinese painting techniques and their far-reaching implications. After long years of absorption and sedimentation, this cultural heritage erupts, sublimated and modified by Chu's strong individuality and keen artistic intuition, to find expression in paintings of magnificent force and momentum.

朱德群《構圖 No. 116》1964 油彩 畫布 90 x 146 cm 羅芙奧台北2009秋季拍賣會，編號040， 1680萬台幣成交 CHU Teh-chun Composition No. 166, 1964, oil on canvas, 90 x 146 cm Ravenel Autumn Auction 2009 Taipei, lot 040 US$ 522,388 sold

Asian culture (not Chinese landscape)."Painters from Song Dynasty, Fan Kuan and Kuo Hsi who produced majestic landscapes had definite influence on Chu. The ancient concept that "the heart is the ultimate teacher "reflects the soul of abstract expressionism. In the mind of the artist, traditional Chinese painting and abstract painting found common grounds.

Inspired by Song Dynasty landscape painters, Chu Teh-chun reinvented the structure of his panoramas. Chu's rather introverted, reflective character is echoed in his painting style with its dense yet subdued and darkish colours spread out over large sections of the canvas, segueing imperceptibly into gyrating vortices, vibrating surfaces or gradually unfolding expanses. The artist's earlier works are suffused with the quiet repose and understated, refined poesy of Chinese landscapes. Yet Chu does not resort to the traditional Chinese technique of liubai (representing features such as water and skies by leaving parts of the painting blank), but rather activates the whole plane of the canvas with deep, muted shades to create a unique atmosphere that mirrors every facet of the artist's character-including his sublime

"Composition No.116" was Chu Teh-chun's 116th abstract painting.

Abstract artists usually leave their works without a title to avoid preconceived understandings of their art. They give their compositions numbers or dates of creation. From 1958-59, Chu Teh-chun gave his oil paintings numbers and French names. Then later, he simply omitted titles and replaced them entirely with numbers. Around 1970 he found himself puzzled by so many numbers, so he started to use poetic titles since, after all, poetic verses were also abstract. He believed poetic names wouldn't obstruct viewers' freedom of understanding. On the contrary, a good title may help viewers to get closer to the atmosphere which he as a painter had tried to create.

This lot from 1962, "Composition No. 116" is showing placid yet profound colors liberally applied with a firm brush that exerts an unbridled energy and strength. Intersecting lines create an urgent sense of vitality that has all the irresistible momentum of a mellow, melodious symphonic poem. Through the delicately sublimated rhythms of nature we can also discover the artist's fiery enthusiasm and deep emotion, truly making this one of his most valuable early oil paintings.

152

ZAO Wou-ki

(Chinese-French, b. 1921)

25.11.71 1971 Oil on canvas 55 x 65 cm Signed lower right Wou-ki in Chinese, ZAO in French Signed on the reverse ZAO WOU-Ki in French and titled 25.11.71

NT$ 9,800,000-16,000,000 US$ 326,700-533,300 HK$ 2,579,000-4,211,000

趙無極 25.11.71 1971 油彩 畫布 55 x 65 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-Ki 25.11.71

在趙無極抵達巴黎的第一次個展時，藝評家 就已經看出他是一位天生的畫家，後來他確 立自己的風格，在國際藝壇佔有一席之地， 更成為中國抽象畫的先行人。法國藝評家馬 歇索說趙無極的畫是「兩個獨特世界的融 合」，是一個「巴黎的中國人，中國的中國 人」，讚譽他兼容中西傳統精華而開創當代 的新局面。趙無極靈活地運用繪畫媒材，把 他的視覺擴大到整個宇宙，以豐富的想像力 和巧妙的佈局，完成一幅一幅充滿靈思的抒 情作品。他曾經以狂草筆勢繪寫油彩，也以 潑墨技法表現西方抽象格局，在藝壇揚起的 火花像一顆明星，照耀了東、西方的夜空。 趙無極對藝術充滿熱愛，他說繪畫是「沒有 純粹的終局」，因此他會不停地畫下去，直 到生命的終極為止。 藝評家喬迅說過，趙無極最喜愛的顏色是 「 黑色」。趙無極令人印象深刻的黑色運 用，是一幅叫做《向馬蒂斯致敬》的作品， 這幅完成於1986年的繪畫，以簡單的藍、 黑、紅、黃的顏色組成水墨一般，其中黑色 是最關鍵的色彩，那是心靈窗扉之外的想像 世界，充滿著神祕與詩意。 1970年代轉入水墨畫的嘗試，賦予趙無極晚 期作品更多的豐富性，他從「墨」之中看到 無限的色彩變化，空間的自由寬廣。別人服 膺於一個傳統，「服膺於兩個傳統」的趙無 極，在晚期的繪畫表現更加從容、自在，所 欲發抒的情感在畫面中擴張開來。「即使是 小畫，趙無極的水墨畫能召喚宇宙的維度， 回到油畫，彷彿無法阻擋地，畫家運用的尺 寸愈來愈大，此乃後期作品特有的一種啟 發。」 （參閱程抱一，〈在那裡東方與西方〉，《趙無 極》，網球場國家畫廊，巴黎，2003，頁21）因此，在 近期趙無極的作品可見較年輕時期更大的連 作或巨幅作品，色彩的選擇也更青春舒緩。

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soulful pieces of works. He used fierce brush strokes and the splash ink techniques to paint the western abstract paintings, his sparks splashed in the art world are as bright as a star, lightened up the eastern and western night skies. Zao Wou-ki loves art with his life, he once said that paintings are "suite sans fin", therefore he will not stop, he will paint until his life ends.

趙無極《30.11.74》1964 油彩 畫布 60 x 73 cm 羅芙奧台北2009年秋季拍賣會，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 Taipei, lot 099, US$ 485,075 sold

在《25.11.71》作品中，趙無極運用黑色的 皴法，如豐饒而美好的原野，如幽靜的夜。 而雅緻的淡藍、淡紫色，充滿神秘、優美的 情調，如冬盡春來的天雲，如輕柔舒緩的微 風。喬迅在趙無極2003年紐約的個展目錄中 寫道：「相對地，某些作品是言有盡而意 無窮的，色彩展現沈靜的和諧。...這些作品 表面刻意減低塗刷的作工，筆觸尤其顯得輕 巧，在兩個極端之間，是趙無極多樣的風 貌，他試圖在飽和的顏色—硃砂、酸黃中尋 找平衡，並以更沈靜的和諧處理黑／灰／棕 ／白 ，圖像隱身於筆觸間。」 （摘譯自喬迅， 〈趙無極，近來〉一文，《趙無極近作展》目錄 ，瑪勃洛 畫廊，紐約，2003，頁7）

When Zao Wou-ki held his first solo exhibition in Paris, art critics have already considered him as a genius painter, later, Zao established his own style and consolidated his position in the international art circle. He is also the senior abstract painter in China. French art critic Marchesseau described Zao's paintings as "the fusion of two unique worlds", Zao as "a Chinese in Paris, a Chinese in China", and praised his blending the essences from both Chinese and western traditions and his breakthrough. Zao made use of painting mediums proficiently, he enlarged his view to the whole universe, arranged the elements with rich imaginations and his talents proficiently, successfully created

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Art critic Jonathan Hay once remarked that Zao Wou-ki's favourite colour is black. One painting in which his use of this colour is indeed impressive is “Hommage to Henri Matisse”, which was finished in 1986.

Shades of blue, black, yellow and a little bit of red are applied in a manner strongly reminiscent of Chinese ink-and-wash. Black is clearly the crucial colour that holds together this imaginary panorama of the artist's soul, brimming with a mysterious and poetic quality.

In the 1970s, Zao began to experiment with ink-and-wash, which added a lot of variety and depth to the works of his later period.

Zao was able to express chromatic variation and uninhibited spatial expansion employing nothing but shades of grey and black. While others were restrained by their strict adherence to only a single tradition, Zao, who was 'at home in two tradition' displayed in his later oeuvre a calm confidence and unbridled creativity that communicates the artist's emotions with a natural ease. “M ême de petit format, les encres de Chine de Zao Wou-ki évoquent la dimension cosmique. Revenantà l'hule, le peinture use, comme irr?istiblement, des formats de plus en plus grands.

C'est la un trait caract?istique de cette derniêre periode.” (cf. François

In "25.11.71" Zao Wou-ki employs the socalled cunfa (a Chinese painting technique for representing irregular surfaces, most frequently used to show the shades and texture of rocks and mountains in landscape painting by light ink strokes). His use of the method proves to be highly effective in expressing the vast expanses of unlimited visionary vistas, like the touching beauty of a fertile plain, or the tranquility of a silent night. The refined light yellow of a gosling's feather and a pastel shade of violet embrace the mysterious, sophisticated mood of the painting, redolent of delicate wisps of light clouds announcing the arrival of spring, or the gentle caress of a soft breeze. In the catalogue of Zao's solo exhibition in New York in 2003, Jonathan Hay wrote: “Contrastingly, several other works favor understatement, with muted harmonies that are sometimes pointed up by a touch of more intense color.... Here the surfaces tend to be less worked and there is a particular lightness of touch. Between these two poles are situated all manner of hybrids in which Zao searches for an equilibrium between a saturated hue-a vermilion, an acid yellow-and more muted harmonies of color built around black/grey/brown/white brush traces that hint at an image.” (cf. Jonathan Hay, 'Zao Wou-ki, Lately' Zao Wou-ki Recent Works, Marlborough Gallery, New York, 2003, p. 7)

Cheng, Par-delà l'Est et l l'Quest', Zao Wou-ki, Galerie nationale du Jeu de Paume, Paris, 2003, p.

Therefore, when compared to the artist's earlier periods, we find a lot more large-scale or triptych paintings, also distinguished by their more brisk and sanguine use of colour, in his recent works.

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趙無極《17.4.64》1964 油彩 畫布 114 x 162 cm 羅芙奧台北2009年秋季拍賣會，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 Taipei, lot 103 US$ 4,925,373 sold

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WANG Huaiqing (Chinese, b. 1944)

Imperial Porcelains 2009-2010 Oil and mixed media on canvas 200 x 120 cm Signed lower right Wang Huaiqing in Chinese Titled on stretcher bar Imperial Porcelains in Chinese and dated 2009

NT$ 18,000,000-26,000,000 US$ 600,000-866,700 HK$ 4,737,000-6,842,000

王懷慶 官窯 2009-2010 綜合媒材 200 x 120 cm 簽名右下：王懷慶 題識框條：官窯 2009

王懷慶的藝術內斂而寧靜，性格中帶有堅 毅及開創的特質。年輕時擁有絕佳的寫實 功力，卻偏偏往抽象、觀念性的繪畫過渡， 1980年代在中國大陸畫壇社會寫實風為主 流，往抽象領域發展的畫家實為異數。王懷 慶在繪畫本體上總是不斷實驗，嘗試各種材 質媒介，創作的類型包含油畫、水墨、拼 貼、金石、版畫、雕塑、裝置等，執著中國 文化與現代藝術形式之兩端，並行往前邁 進。 他出生於北京，畢業自北京的中央美術學 院，但藝術傾向卻較接近江南，帶有文人 畫細膩的風格，屬於林風眠、吳大羽、吳冠 中的文脈。作為文革之後第一批中央美院的 研究生，王懷慶曾體驗過社會發展的過程， 他的藝術可謂承先啟後，繼承前人改革中國 畫的理想，又能了解當代中國藝術，他這一 代人銜接起這巨大的轉變。無論平日生活或 繪畫世界裡，他細細品味江南民居、明式家 具、書法、文物器皿等工藝美學經典，從中 表現當代人的感受。他既是當代藝術的創作 者，也是老家具文物的鑑賞家。 王懷慶經常流連呂家營、潘家園等北京古 家具集散地，找尋繁華歷史的文化遺跡， 見到精美的古瓶老罐、窗花雕板，愛不釋 手，每回總要帶一二件回去。後來有些破脆 的零件甚至成為他繪畫創作的元素，讓逝去 的歷史轉以更美好的形式留存。回顧他的歷 年代表作，從早期描寫紹興老屋的《故園》 （1986-1989）、明式家具開端的的《大 明風度》（1990）、文字藝術的《金石為 開》（1998）、古畫新詮的《夜宴圖》系列 （1996、1998、2002、2006）、敦煌壁畫的 《飛天》（2006）等等，王懷慶選擇描繪對 象幾乎都為歷史文化的載體，他將具象的符 號轉化為象徵意義，抒發他的細膩觀察與思 考。而其中「古瓶」也是王懷慶始終喜愛的 造形對象，從1991年開始就曾經出現於他的 畫面中。「瓶」音同「平」，擺置花瓶即有 「平安」之意，自古是中國人喜愛的吉祥寓 意。 直至近期，古瓶的描繪依然在王懷慶的繪畫 中佔有重要位置，例如2010年11月起王懷慶 在美國西雅圖亞洲藝術博物館舉辦為期五個 月的大型回顧展，展覽同時，王懷慶將一幅 以瓶為主題的近作《平安－7》捐予博物館 典藏，傳為佳話。而從2009-2010年間，王

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懷慶以油彩和綜合煤材完成《官窯》作品， 畫面中安置了11只形制不同的古瓶，有別於 過往的單色繪畫，多彩的瓶瓶罐罐立即奪人 目光，想要趨前一探究竟。 初看王懷慶的油畫作品《官窯》像是一件描 繪精緻的「多寶格」，或是「博物架」，陳 列有形款各異的古瓶，瓶身上的七彩顏色， 宛如瑪瑙螺鈿一般鑲嵌於古雅的家具上。然 而走近仔細端詳，原來展示著所謂的七彩瓷 瓶，其實是一張張印刷物的剪紙拼貼，有辛 辣的雜誌評論報導，有艷彩的廣告文宣，也 有隱藏養眼的美女圖片。看似古雅拙趣的瓷 瓶瓷罐，原來大有文章，拼接當代文化的符 號，整幅作品的風格既古雅又新潮。 《官窯 》畫面中的背景與線條仍是採黑與白 的應合，佈局簡約單純，刻意凸顯繪畫中心 的主體對象。多寶格或博物架的造型，王懷 慶則是延續明代家具系列的榫接解構，帶有 中國抽象的語境。瓶與瓶的博古蒐奇，宛如 舞台空間的佈局，具有敘事性的特色。 北京，既是中國文物古董集散地，其實也是 中國當代藝術的競技場，不時推出各種畫 廊、拍賣行、博覽會或雙年展等藝文活動， 也聚集了最多的文化媒體傳播，現代人每天 都要接觸蜂擁而至的印刷物與信息。有時 所謂信息、傳媒也有「官方壟斷」、「標準 設定」、「標準驗收」的特色，似乎頗能呼 應所謂「官窯」的弦外之音。王懷慶的《官 窯》以除了展現對美好文化的召喚，也藉此 反映出區域文化、歷史片段與記憶，以及當 代傳媒的特性，實為一幅饒富意義的當代藝 術佳作。

Wang Huaiqing’s art is reserved and peaceful, and his personality is marked by tenacity and initiative. As a youth, he displayed remarkable realist depictive abilities, but then he began a transition towards abstract and conceptual painting. As realism occupied the mainstream of mainland Chinese art in the 1980s, few painters were moving towards abstract art. Wang Huaiqing constantly experimented in painting itself, and tried out different mediums, creating works in the various fields of oil painting, ink wash, collage, metal work, printmaking, sculpture and installation, simultaneously

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pushing forward the two extremes of Chinese culture and modernist artistic forms.

Wang was born in Beijing and graduated from the Central Academy of Fine Arts, also located in the capital, but his art has often been closer to that of the south, imbued with the refined style of literati painting along the lines of Lin Fengmian, Wu Dayu and Wu Guanzhong. As a member of the first class of graduate students to enter the Central Academy of Fine Arts after the Cultural Revolution, Wang experienced the process of social development, his art straddling the divide between the past and what was to follow.

He carried his predecessors’ ideals of reforming Chinese painting, but also understood contemporary Chinese art. His generation was the link in a chain of major transformation.

Whether in life or in the world of painting, Wang thoroughly savored classical crafting of the home designs of the south, Ming furniture, calligraphy and literary tools, and through them expressed the perceptions of contemporary man. He was both a creator of contemporary art and an admirer of antiquities.

Wang often frequents Lujia Ying and Panjia Yuan, Beijing’s antiques markets, seeking relics of China’s historical splendor. When he finds an exquisite vase or window carving, he can’t put it down, and he always returns from these trips with one or two items. Some of these objects will later become creative elements in his paintings, preserving lost history in a more beautiful form. When we look back over the most representative paintings in his career, such as “Hometown” (1986-1989), a depiction of an old home in Shaoxing, “Great Ming Manner” (1990), his first depiction of Ming furniture, “Gold Stone” (1998), a Chinese character-based work, “Han Xiazi’s Night Revels” series (1996,

1998, 2002, 2006), a new take on an ancient theme, or “Flying Apsaras” (2006), based on the Dunhuang grottoes, we can see that Wang’s subjects are often carriers of historic culture. He turns concrete signs into symbols of meaning, releasing his refined observations and ideas.

The “vase” has been Wang’s most beloved symbol and shape, and it began appearing in his works in 1991. In Chinese, “vase” rhymes with “peace”, so the placement of a painted vase alludes to peace, making it one of China’s most cherished auspicious symbols since ancient times.

王懷慶《金石為開》1998 油彩 畫布 220 x 480 cm 羅芙奧台北2007秋季拍賣會，編號069，8796萬新台幣成交 WANG Huaiqing, Gold Stone, 1998, oil on canvas, collage, 220 x 480 cm Ravenel Autumn Auction 2007 Taipei, lot 069 US$ 2,726,174 sold

Even in recent times, the vase has continued to hold an important position in Wang Huaiqing’s painting. For instance, at his five-month retrospective exhibition held at the Seattle Asian Art Museum beginning in November 2010, Wang donated a highly regarded vasethemed work, “Ping An – Peace No. 7”, to the museum’s collection. From 2009-2010, Wang created “Imperial Porcelains” in oil and mixed media. Eleven different vases were attached to the work. Standing out from his previously monochrome painting, the colorful vases have a dazzling, enticing effect.

When one first sees the oil painting “Imperial Porcelains”, it looks like an intricately depicted “curio cabinet” or “display chest”, with all

manner of different, colorful vases laid out like mother of pearl in an exquisite piece of furniture. When you move closer, you discover that these so called vases are actually pieces of paper from various print publications. There are scathing cultural commentaries, colorful advertisements and alluring beautiful women.

What appear to be elegant porcelain vases are actually profound symbols of contemporary culture. The style of the artwork is both antique and new wave.

The background and lines in “Imperial Porcelains” are still black and white, with a simple and pure layout, intentionally highlighting the main subject. The form off the curio cabinet or display chest is a continuation and deconstruction of Wang’s Ming furniture series with a Chinese abstract context. The displaylike layout of the vases is like that of a stage, creating narrative undertones.

Beijing is a collection and distribution center for Chinese cultural antiquities, as well as the arena for Chinese contemporary art, with new galleries, auction houses, expos, biennials and artistic events emerging all the time. The city is also home to the nation’s highest concentration of cultural media, where modern people come face to face with printed material and information on a day to day basis. So called information and media are often marked by “official monopoly”, “standard design” and “standard examination”, things that seem to resonate with the overtones of “Official Porcelain”.

Aside from presenting a beautiful cultural call, “Imperial Porcelains” also reflects regional culture, fragments of history and memory, as well as the traits of contemporary media. It is truly a great contemporary artwork rich with meaning.

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CAI Guo-Qiang (Chinese, b. 1957)

Study for Sunflower 2010 Gunpowder on paper 200 x 300 cm Signed lower right Cai Guo-Qiang in English, Cai in Chinese and dated 2010 CHARITY AUCTION ANNOUNCEMENT: Lot 154 was consigned by the artist, All money raised by the charity auction will be donated to Cloud Gate Dance Theatre as the construction funds for Cloud Gate House.

NT$ 16,500,000-22,000,000 US$ 550,000-733,300 HK$ 4,342,000-5,789,000

雲門舞集《風．影》攝影 劉振祥

Cloud Gate, Wind Shadow, Photo: LIU Chen-hsiang

溫婉的因緣 寫在蔡國強《向日葵速寫》拍賣之前

蔡國強

林懷民

向日葵速寫 2010 火藥爆破 紙本 200 x 300 cm 簽名右下：Cai Guo Qiang 蔡 2010 義賣聲明︰ 本拍品Lot 154為藝術家提供，拍賣所得 全數金額將捐贈予雲門舞集作為「雲門之 家」建築經費。

2005年，蔡國強到台北邀我參加北京奧運創 意小組。因為預排的行程滿檔，我只能婉 謝。就在他離去時，我臨機一動，唐突地邀 他和雲門合作一齣作品。 國強想了一下，說：好！ 國強無限的創意，無畏的勇氣和嚴謹的執 行，在在令我嘆服。 我告訴他，這個合作，我希望用他的眼睛 看，用他的頭腦思考。 我捕風捉影，把他天馬行空的意念具象化； 第二年，編出迥異於雲門以往風格的「風． 影」。台北首演後，「風．影」到紐約古根 漢美術館演出，也成為倫敦舞蹈節，新加坡 藝術節的揭幕舞作，獲得很好的評價。 西方藝術界成名多年的國強，骨子裡依然是

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千年古都泉州人氏，傳統中國的溫良恭儉彷 彿都匯聚他身上。多年交往合作，沒見過他 焦慮急躁，沒聽過他提高嗓門，對所有的 人，所有的事，永遠和藹，冷靜，溫婉。 2008年，一把無名火燒毀雲門租賃的八里排 練場。社會各界的捐款陸續湧現，希望雲門 能有自己的家。經過三年的努力，雲門從新 北巿取得淡水高爾夫球場與滬尾砲台之間的 淡水文化教育中心，五十年的使用權。 2013年竣成後，雲門由此出發，到全球公 演，也要把國際藝術的精品在這裡呈現。雲 門之家也將成為創意，生活和教育的基地， 與其他藝術家和廣大民眾共享。 大火之後，國強來信慰問，表示希望「做些 什麼」。在雲門之家動工前夕，他捐出《向 日葵速寫》拍賣，充實建築的基金。 我期盼這次的拍賣的款項可以大幅度彌補目 前建築經費不足的差額，也將面對國強與各 界捐款人的期待，竭力讓雲門淡水新家成為 社會珍愛的精神空間，讓溫婉美好的因緣可 以一代代地永續。

Gracious Karma Written Prior to the Auction of Cai Guo-Qiang's "Study for Sunflower" Lin Hwai-min

In 2005, while visiting Taipei, Cai Guo-Qiang invited me to join the creative team for the Beijing Olympics. As I already had a very full schedule of rehearsals, I was forced to refuse his kind invitation. However, just as he was leaving, I had a sudden inspiration; I asked him if he would like to collaborate with the Cloud Gate Dance Theatre on a joint work.

Cai thought about it for a minute, then said “OK!” I have always been deeply impressed by Cai Guo-Qiang’s boundless creativity, dauntless courage and rigorous execution.

I told him that, for this collaborative work, I hoped to see using his eyes, and think using his brain.

I did my best to put Cai’s ideas, which reflected his soaring imagination, into concrete form.

By the following year, I had written Wind Shadow, a work that was very different from the Cloud Gate Dance Theatre’s traditional style. Following the Taipei premiere, Wind Shadow was also performed at the Guggenheim Museum in New York, and was the opening work at both London’s Dance Umbrella dance festival and the Singapore Arts Festival; in every case, it was very well received.

Despite the fame that he has enjoyed in Western art circles for many years now, Cai GuoQiang remains very much a son of his native Quanzhou (one of China’s most historic cities), and embodies the traditional Chinese virtues of kindness and modesty. In all the years that I have collaborated with Cai, I have never seen him get flustered or irritable, or heard him

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raise his voice. He is always affable, calm, and gracious to everybody he meets.

In 2008, a fire destroyed the rehearsal hall in Pali, Taipei County that the Cloud Gate Dance Theatre had been using. Donations flooded in from people who wanted to help the Cloud Gate Dance Theatre acquire a new home base. After three years of effort, we will now be able to move into new premises (with a 50-year lease) at the Tanshui Cultural and Education Center, which is located between Tanshui Golf Club and Huwei Fort in New Taipei City (formerly Taipei County).

Once the new facility is up and running, by 2013 the Cloud Gate Dance Theatre will be ready to start touring again in earnest, performing all over the world while also bringing masterpieces of international dance to Taiwan. “Cloud Gate House” will become a fountainhead of creativity, life and education, which we will share with other artists and with the general public.

After the fire at our old rehearsal hall, Cai Guo-Qiang sent his condolences, and expressed the hope that he could “do something to help.”

Shortly before work began on construction of “Cloud Gate House,” Cai donated his “Study for Sunflower” to be auctioned off to provide funds for the building of our new facility.

It is my earnest hope that the money raised by the auctioning of this painting will help to make up for the current shortfall in construction funds. I will do my best to live up to this demonstration of confidence by Cai GuoQiang and the many other people who have given us donations, by working to build the new “Cloud Gate House” into a place of spiritual nourishment that society as a whole will treasure, so that the kind of “gracious karma” that has helped to fund our new home can continue to exist down through the generations.

蔡國強創作了《向日葵速寫》，履行了自己 向雲門老友許下的諾 言。一旦瞭解了其創作 背景，這部作品便有了特殊的意義。作品中 怒放的向日葵，真正代表了雲門舞者新生的 喜悅和歡樂。向日葵的莖細長而曲折，宛如 舞者，始終面向著太陽。蔡國強以恢弘的氣 勢，捕捉到了向日葵的溫暖、力量、華麗， 及其代表的力量和機會。 蔡國強與台灣的關係源遠流長，在這裡他廣 受歡迎，幾乎被認為是土生土長的本地人。 蔡國強來自中國大陸的福建泉州，與紮根福 建省的台灣傳統文化有著難以割捨的情緣。 台灣強烈的民俗氣息和充斥著的道教混沌的 能量，在蔡國強的身上體現出來，造就了一 個藝術英雄。這種深厚的文化紐帶讓蔡國強 和雲門舞集的藝術總監林懷民一起攜手共同 合作。

攝影：林毅，蔡工作室提供 Photo by Lin Yi, courtesy Cai Studio

向日葵已成為世界各地大部分文化的標誌性 符號。它們以其華麗的黃色花瓣而聞名，常 常象徵著歡樂、溫馨、幸福、健康，也代表 好運、財富、機會和抱負。在中華文化中， 它們尤其是滋養和長壽的象徵。它們高大強 壯，每天不停地轉動腦袋朝向太陽的方向， 它們也代表了靈活和機會。蔡國強在此作品 中，巧妙地捕捉並浸滲了這些特性。 我們說「巧妙」，是因為蔡國強發自內心創 造了這部作品，慶祝他在台灣最親密的朋友 和合作人，迎接新的開始、新的生命和新的 曙光。2008年初，一場大火摧毀了位於台北 世界著名的雲門舞集工作室，不僅他們的家 園，而且所有的服裝、道具和創作檔案都付 之一炬。國際知名的舞蹈團落得無家可歸， 這一悲劇觸動了整個台灣。幸運的是，雲門 有很多的朋友，幫助和捐贈蜂擁而至，對於 雲門而言，沒有比蔡國強更偉大的朋友。他 承諾捐獻他的一件藝術作品，用於拍賣籌集 資金，建造雲門新的家園。

雲門從中國民俗、神話和傳說中獲得靈感， 就像蔡國強的作品也需要從相同的源泉汲取 靈感一樣。雲門的表演，充滿了活力、太極 的行雲流水、沉思和武術，這些也同樣是蔡 國強的創意和作品的能量來源。在雲門膾炙 人口的《風．影》表演中，蔡國強與林懷民 首度合作。這一節目在紐約古根漢 美術館及 其他海外主要城市進行表演。蔡國強和林懷 民空靈的民俗意識和不羈的創造力讓他們成 為絕佳的合作夥伴。 無論是在他的繪畫還是煙花表演中，蔡國強 將火藥作為其創意的重要媒介。具有諷刺意 味的是，火這一媒介，成就《向日葵速寫》 的創作，也摧毀雲門最初的家園。然而，正 是火或火藥的本質主體讓蔡國強如癡如醉， 在創作的同時也蘊藏著毀滅的力量。鳳凰在 火中涅磐，但也浴火重生。這一基本的二元 論對於根植於道教和福建民俗的大腦，極具 吸引力。陰和陽、顯和隱、已知和未知、死 亡和出生，都是基本的二元和真理，等待創 造性和善思考的頭腦去探索。 蔡國強在早年曾努力地去尋找一種合適的媒 介來表達其心聲。起初，他嘗試採用多種不

同的能夠利用自然力量的繪畫技法。他用風 扇作畫來創造颱風效果，用火來渲染，讓鴿 子在濕的顏料上行走。這些方法沒有一種能 足夠讓他釋放內心的創造力。然而，他的家 鄉泉州作為某種產業的中心卻為他提供了完 美的媒介。泉州曾是中國的煙花爆竹中心， 在那裡火藥隨處可見。蔡國強立刻察覺到火 藥的自然本質，那種強烈的能量釋放及其帶 來的未知結果。這正是釋放他那不羈創造力 的完美媒介。 蔡 國強在一個「雙重」家庭長大。 撫養他成人的祖母和母親深受當地 民俗文化的影響，尤其是在福建占 主導地位的宗教或心靈運動—道 教。蔡國強在迷信、神話和宇宙論 的環境中成長。每次去廟宇，他都 能看到鳳凰、龍和其他神話象徵的 宏偉雕刻。與這種能量和精神的理 想世界相對比，他還生活在父親的 儒家世界。儒家的中庸和個人責任 思想對年輕的蔡國強造成了巨大束 縛，讓他感到沉悶無比。 要獲得真正的自由，蔡國強需要脫 離他的社會就讀於上海戲劇學院。 作為新的前衛運動的一部分，他的 早期作品圍繞深刻的主題，往往含 有政治評論和憂慮，這也成為其藝 術的核心。1986年的日本之行是他 第一次有機會接觸新的世界。來自 嚴控社會的他，接受了西方社會知識份子的 開放和討論。然而，日本是個編織緊密的社 會，蔡國強只是一個局外人，一個在新土地 上的外國人。那時他開始探索室外大型火藥 活動的特性，並將其廣泛用於藝術創作。 由於其巨大的能量，破壞將隨之而來，催生 新的美好事物。他首先在這裡開始了爆炸項 目，在「外星人計劃」系列中達到高潮。這 些爆炸計劃規模宏大，試圖讓觀賞者感受他 們周圍更大宇宙。 1995年，他移居紐約，延續用火藥繪畫記錄 他的爆炸事件。起初，這些繪畫抽象、概 念，旨在容納爆炸釋放的無限能量。他繼續 對炸藥進行實驗，隨著對材料理解的加深， 他極大完善了其繪畫作品。隨後，他開始創 造表現巨大力量與美感的單幅作品。年復一 年，他對火藥的知識和理解不斷深化，培養

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了一種幾乎超自然的能力，創造出驚人、刺 激的作品。 2010年《向日葵速寫》是在蔡國強的能力和 創意達到巔峰的時候創作的。花朵充滿了力 量和榮耀，花瓣迸發光芒，流露出歡樂和極 具傳染力的能量，在敬慕中高昂著頭。作品 恰如其分地闡釋了雲門舞集的堅韌、精神和 希望。火創造了這件美麗、強大、輝煌的作 品，預示著雲門的未來也將會浴火重生。

of his closest artistic friends and collaborators in Taiwan. In early 2008, a fire destroyed the studio of the world-renowned Taipei based Cloud Gate Dance Theatre, consuming not only their home but all their costumes, props and production archives. The internationally acclaimed dance troupe was left homeless, and the entire Taiwanese nation was shaken by the tragedy. Fortunately, Cloud Gate has many friends, and offers of help and donations flooded in. And no one is a greater friend to Cloud Gate than Cai Guo-Qiang who promised to donate one of his works of art to put in auction to raise funds for the completion of Cloud Gate’s new home.

Cai created “Study for Sunflower” to fulfill his promise to his old friends in Cloud Gate, and the work takes on special significance when the circumstances of its creation are understood.

The sunflowers bursting forth in the work truly represent 為美國休士頓美術館創作火藥草圖《遠行》的爆破瞬間，2010年 攝影：李依樺，蔡工作室版權所有 a new jubilation and new The moment of explosion, creating gunpowder drawing Odyssey for MFAH, 2010 joy for the dancers of Cloud Photo by I-Hua Lee, courtesy Cai Studio Gate. With their long sinuous stems, sunflowers are themselves like dancers, Sunflowers have become iconic symbols in moving their heads in time with the sun. Cai most cultures around the world. Famed for has magnificently captured the warmth, power the flamboyance of their yellow petals, they and flamboyance of the sunflowers, along with most often symbolize joy, warmth, happiness, the power and opportunity they represent. and wellbeing. They can also represent good luck, wealth, opportunity and ambition, and Cai Guo-Qiang has a long association with in Chinese culture especially they have come Taiwan, where he has been embraced almost to symbolize nourishment and longevity. as a local hometown boy. Hailing from Growing tall and strong, turning their heads to Quanzhou in Fujian province of Mainland follow the sun’s path throughout the day, they China, Cai has a close affiliation with also stand for flexibility, and opportunity. Cai traditional Taiwanese culture which itself hails Guo-Qiang has aptly captured and instilled from Fujian province. Heavily folkloric, and all of these qualities of the sunflower in the imbued with the chaotic energy of Taoism, present work.

Taiwan has found an artistic hero in Cai, whose works and symbols speak to the heart We say “aptly”, because Cai has created this and soul of every Taiwanese. This deep work from his heart to help celebrate a new cultural bond brought Cai and Lin Hwai-min, beginning, a new life, a new dawn for some

the artistic director of Cloud Gate Theatre, to collaborate together.

Cloud Gate takes its inspiration from Chinese folklore, mythology, and legends, just as many of Cai’s works also take their inspiration from the same sources. Cloud Gate’s performances are imbued with the energy and flow of Tai chi, meditation, and martial arts, as is the energy of Cai’s creativity and creations. Cai first collaborated with Lin Hwai-min on Cloud Gate’s lauded show “Wind Shadow” which was performed in the Guggenheim Museum in New York and in other major cities overseas. Both Cai’s and Lin’s folk sense of otherworldliness and their untamed and untethered creativity have made them natural partners over many years.

Cai has embraced gunpowder as the principal medium of his creativity, both in his paintings and his firework displays. It is ironic that the method of creation of “Study of Sunflowers”, fire, is exactly the same medium that destroyed Cloud Gate’s original home. But it is this essential principal of fire or gunpowder that has captivated Cai so much, it is both destructive and creative at the same time. It is in a fire that the phoenix dies, so that it can be reborn anew from the same fire. This fundamental dualism is highly appealing to a mind raised in the Taoism and folklore of Fujian province. The yin and the yang, the seen and unseen, the known and the unknown, death and birth, are basic dualities and truths waiting to be explored by the creative and thinking mind.

In his early years Cai struggled to find a suitable medium to express his inner voice. At first, he experimented with different painting techniques that could harness natural forces. He used an electric fan on paint to create typhoon effects, fire to blister it, and used a dove to walk on wet paint. None of these methods satisfied his need to unleash his inner creativity.

However, his local town of Quanzhou was the center of an industry that was to provide Cai with the perfect medium. Quanzhou uesd to be the center of the fireworks and

firecrackers industry in China. Gunpowder was everywhere around him. He immediately saw the spontaneity that it offered him, the powerful release of energy, and the unknown result of using it. It was the ideal medium to give reign to his unbridled creative energy.

Cai grew up in a “dual” family. His grandmother and mother who raised him were both immersed in the local folk culture and especially in

文生．梵谷《向日葵》，阿姆斯特丹梵谷美術館 Vincent Willem van Gogh, Sunflowers, 1889, oil on canvas 95 x 73 cm, Van Gogh Museum, Amsterdam

Taoism the dominant religious or spiritual movement in Fujian. Cai was surrounded by superstition, mythology and cosmology. Every time he went to a temple he was surrounded by magnificent carvings of phoenixes, dragons and other mythological figures. In contrast to this otherworldliness of energy and spirit, he also lived in his father’s Confucius world. This world of moderation and personal responsibility was a major constraint on the young Cai, who found it stifling.

To be truly free, Cai needed to escape from his society. Rejecting the idea of going to a traditional art school, he enrolled in the Shanghai Drama Institute. As part of the new avant-garde movement his early works dealt

with profound subjects and often contained political comments and concerns that have remained central to his art. His first opportunity to encounter a new world was in 1986 when he went to Japan. Coming from a tightly controlled society, he embraced its intellectual openness and discussion of the Western world.

However, Japanese society is tightly woven and Cai was an outsider, an alien in his new land.

He started to explored the properties of outdoor, large-scale gunpower events and started using it extensively in his art. Through its tremendous energy, destruction would ensue, from which something new and wonderful would be created. He first began his explosion projects here culminating in his series Projects for Extraterrestrials. These were explosion events on a grand scale, which were an attempt to engage viewers with the larger universe around them.

On moving to New York in 1995 he continued to document his explosion events in gunpowder drawings. At first the drawings were abstract, conceptual pieces aimed at encapsulating the unbounded energy of his explosions. He continued to experiment with explosives and as his understanding of his material grew, he brought greater refinement to his drawings.

He then started creating individual works of enormous power and beauty. As his knowledge and understanding of gunpowder has grown over the years, he has acquired an almost supernatural ability to coax it to create startling and provocative works.

“Study for Sunflower” from 2010 has been created at the height of Cai’s abilities and creativity. The flowers are imbued with power and glory, as their petals shine forth, and they exude a joyous and contagious energy, holding their heads high in adoration. The work is a fitting testament to the resilience, spirit and hope for Cloud Gate Dance Theatre. And as a magnificently beautiful and powerful work created from fire, suggests that Cloud Gate’s future will also be one of new life after the fire.

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LIAO Chi-chun

要作品。 他身為「台灣省美術展覽會」（簡 稱省展）的審查委員（1946-1972年任審查 委員，1973-1975為評議委員），每年必然 送出最滿意之作參加展出。1960年的第十五 屆全省美展中，《淡江風景》是廖繼春唯一 的參展畫作，該作品圖片還刊印在當年的展 覽畫冊內。

(Taiwanese, 1902-1976)

Tamkang Scenery 1960 Oil on canvas 65 x 80 cm Signed lower right Chi-chun in Chinese and dated 1960 EXHIBITED: T h e 1 5 t h Ta i w a n P ro v i n c i a l F i n e A r t s Exhibition, Taiwan Provincial Museum, Taipei, December 17-25, 1960; Tainan Social Education Center, Tainan, January 11-15, 1961; Taichung Library, Taichung, January 21-25, 1961 ILLUSTRATED: 15th Taiwan Art Exhibition Pictorial, 15th Taiwan Art Exhibition Preparatory Committee, Taipei, 1960, black and white illustrated, p. 49

NT$ 22,000,000-30,000,000 US$ 733,300-1,000,000 HK$ 5,789,000-7,895,000

廖繼春 淡江風景 1960 油彩 畫布 65 x 80 cm 簽名右下：繼春 1960 展覽： 「台灣省第十五屆全省美術展覽會」，台灣 省立博物館，台北，展期自1960年12月17日 至12月25日；台南社會教育館，台南，展期 自1961年1月11日至1月15日；台中市立圖書 館，台中，展期自1961年1月21日至1月25日 圖錄： 《台灣省第十五屆全省美術展覽會畫刊》， 台灣省第十五屆全省美術展覽會籌備委員 會，台北，1960，黑白圖版，頁49

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研究廖繼春藝術多年的台灣藝評家王素峰 女士，曾如此評論過《淡江風景》：「… 其實，廖繼春作畫速度，一向是思想久動 手快，而這類表現早在出國以前，參加第 十四、十五屆省展中的《窗外風景》、《淡 江風景》即見雛形…」（《中國巨匠美術週刊—廖 繼春》，錦繡出版社，台北，1995年2月4日出版，頁18）

廖繼春是觀念先進且勤於耕耘創新的台灣第 一代油畫家，曾被譽為色彩的魔術師。1927 年畢業於日本東京美術學校圖畫師範科，汲 取來自歐洲印象派與後印象畫派等現代繪畫 觀念。從《有香蕉樹的院子》、《有椰子樹 的風景》兩幅作品先後入選1928、1931年日 本帝國美術院展覽會（簡稱帝展）以來，廖 繼春即以不斷創新的風景畫形式表現台灣自 然人文景觀，或歐洲名景也在畫筆下綻放光 彩，其藝術成就在台灣美術界備受推崇。 留學返台之後投入美術教育，廖繼春自己以 身作則走在時代前端，每年參加各式的美術 展覽會，繼續創新琢磨畫藝，力求成為學生 的楷模。1950年代時，美國藝壇因歐洲戰爭 遷入大量避難的各國藝術家，而出現了抽象 表現主義運動的風潮，抽象的繪畫風格蔚為 主流。人在台灣的廖繼春，在資訊傳遞不易 的舊年代裡，尚能從三子述宗及學生從海外 寄來的畫集書刊，掌握到歐美的最新藝術趨 勢。這段時期他對於抽象藝術極為嚮往，並 且默默研究、試驗，在1957年前後開始發表 獨到的抽象繪畫，此項成果在當時可說是非 常前衛，廖繼春甚至鼓勵學生創辦「五月畫 會」，交換創作的心得，為台灣抽象藝術的 奠基作出不凡的貢獻。 1950年代末到1960年代初，乃是廖繼春創作 轉型的關鍵時期，不僅為過去三十多年的繪 畫作一總結，也開啟了一個新的藝術階段， 創作於1960年的《淡江風景》即是此時的重

「…而1956-1960年參加第十四、十五屆省 展的作品，《窗外風景》及《淡江風景》， 則已捐棄具象之描寫，代之以大部分的色面 組織，但仍間有線條強調重點，比較像是樂 章大小間奏的抒情表現。…」(同上註，頁14) 《淡江風景》描寫台北北部淡水鎮的自然人 文美景，類似的取景角度也曾出現於陳澄波 等藝術家的畫作中。從山間鳥瞰淡水河景， 遙望對岸八里的觀音山，前景淡水小鎮高高 低低、閩式紅瓦、日式官舍、洋樓相間的豐 富人文特色。藝術家少見地以繁複抽象語彙 的方式描繪淡水及觀音山景，大量的粉白色 色塊鋪陳，紅、黃、青、黑等對比顏色，極 富韻律地穿插其中。廖繼春將此技法也運用 在1962年、1965年兩幅知名的《西班牙古 城》作品，以白色支配著畫面裡的構圖與律 動感。 因靈思泉湧之故，《淡江風景》表現簡潔俐 落的視覺形式，而其豐富的色感卻宛如斑斕 的山水織錦圖繪，帶有裝飾性的風格。藝術 家此時放棄形象的追求，將描繪的景物簡化 為主觀性的線條或色塊，傳達抽象的概念。 而樸實奔放的色彩仍可見其畫家向來擅長之 野獸派風格，明亮和諧的色調則傳達其率真 個性及樂觀向上的人格特質。

Liao Chi-chun was one of the most forwardlooking and innovative of Taiwan’s first generation of oil painters; he has been described as a “magician of color”. He graduated from

the art education section of the Tokyo School of Fine Arts – where he was exposed to the influence of European impressionism and post-impressionism – in 1927. Beginning with “Courtyard with Banana Trees” and “A View with a Coconut Palm”, two works that were exhibited at Japan’s Imperial Exhibition in 1928 and 1931 respectively, Liao continued to innovate constantly in his depictions of daily life and nature in Taiwan, while also creating spectacular paintings of famous sights in Europe. His artistic achievements won Liao widespread plaudits in art circles in Taiwan.

After returning to Taiwan, Liao worked as an art teacher. Seeking to set an example to his students, Liao positioned himself at the forefront of the new developments in art, continuing to innovate, and exhibiting regularly. The 1950s saw the rise of the abstract expressionist movement in the U.S. (influenced partly by the many European artists who had sought refuge in the U.S. before and during the Second World War).

Despite living in an era when information traveled more slowly than it does today, Liao Chi-chun was still able to keep abreast of the new trends in art through books and magazines that his third son Liao Shutsung and his students sent back from overseas.

Liao developed a deep interest in abstract art, and quietly began to undertake research and experimentation in this area. By 1957 he was starting to exhibit abstract paintings created in a unique style, which put him at the cutting edge of the avant-garde in the Taiwanese art world of the time. Liao encouraged his students to form the Fifth Moon Group art association, as a vehicle for the exchange of ideas. Through these activities, Liao Chi-chun played an important part in laying the foundations for the successful development of abstract art in Taiwan.

The period from the late 1950s to the early 1960s saw a major transformation in Liao Chichun’s art. He stopped producing the types of work that he had been painting for the previous

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three decades, and embarked on a radically different stage in his artistic career. “Tamkang Scenery”, which Liao painted in 1960, is one of his most important works from this era. As a member of the appraisal committee of the Taiwan Provincial Fine Arts Exhibition from 1946 to 1972, and a jury member from 1973 – 1975, Liao always submitted one of his own works with which he was particularly pleased for inclusion in the Exhibition. “Tamkang S c en e ry ” w a s t h e o n l y w o rk t h a t L i a o submitted for the 15th Taiwan Provincial Fine Arts Exhibition in 1960; a photo of the work was included in the Exhibition catalog.

廖繼春《西班牙古城》1965 72.5 x 91 cm LIAO Chi-chun, Ancient Castle In Spain, 1965, oil on canvas, 72.5 x 91 cm

The Taiwanese art critic Wang Su-feng, who has studied Liao Chi-chun’s art for many years, offers the following comment on “Tamkang Scenery”: “…in point of fact, Liao Chichun tended to spend a long time thinking about paintings, and a relatively short time actually executing them. The beginnings of this approach can be seen in Scene from the Window, which Liao submitted to the 14th Taiwan Provincial Fine Arts Exhibition, and in “Tamkang Scenery”, which was shown at the 15th Provincial Exhibition…” (Wang Su-Feng, Master of Chinese Painting – Liao Chi-chun, Taipei: Chin Hsiu Publishing, Feb. 4, 1995, p. 18).

Wang goes on to say that: "…in paintings such as “Scene from the Window” and “Tamkang Scenery”, which

Liao showed at the 14th and 15th Provincial Exhibitions during the period 1956 – 1960, he had already abandoned representational techniques, and moved over to the use of color patches, although continuing to use line for emphasis. The effect is similar to the expressive power of a musical coda …" (Wang, Op. cit., p. 14).

“Tamkang Scenery”depicts a beautiful scene from the town of Tamsui, to the north of Taipei. One can see similar viewing angles in the paintings of Chen Cheng-po. We are looking down at the Tamsui River from the mountains, with the township of Pali and Mt. Kuanyin visible in the distance on the far bank. In the foreground, the little town of Tamsui sprawls up and down the hills, with its mélange of traditional Fukienesestyle houses with red tiled roofs, Japanesestyle officials’ residences, and modern buildings in the Western style. Liao’s use of an abstract artistic lexicon to depict Tamsui and Mt. Kuanyin was almost unprecedented.

With the many patches of pink, contrasting with red, yellow, blue and black, the picture has a strong sense of rhythm. Liao employed a similar technique in two famous paintings, both entitled “Ancient Castle in Spain”, that he produced in 1962 and 1965; both works feature a strong sense of dynamism created through the effective integration of the color white into the structure of the painting.

Reflecting the spiritual fount from which it sprang, “Tamkang Scenery” has a visual form that is smooth and clean. At the same time, its strong color tones and decorative style give it the feel of a richly embroidered landscape.

Liao has cast off any striving for perfection in form, simplifying the scene that he depicts so that all that remains is subjective line and color that transmit the abstract essence of the subject matter. The wild and yet down-to-earth use of color reflects the influence of fauvist art, a style at which Liao excelled; the bright, harmonious color tones bring across the artist’s integrity, frankness and optimism.

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ZAO Wou-ki

(Chinese-French, b. 1921)

8.10.84 1984 Oil on canvas 200 x 162 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reveres ZAO WOU-KI in French, titled 8.10.84 and inscribed 200 x 162 cm

的水墨韻味，表現出水墨難以企求的豐富色 感，即使在淺色的留白間，也是富有層次肌 理變化，這是趙無極繪畫的成就之一。 趙無極透過作畫記錄生活、追求夢想，也藉 由繪畫傳遞各時期的心境轉折。1980年代之 後著隨閱歷與年歲的增長，多了靈逸與溫 情，激情或衝突已漸漸如雲淡風輕。此時的 趙無極必然更能體悟老子《道德經》中「致 虛極，守靜篤」的虛空思想。遊走於東方與 西方之間，來自中國文人之子的趙無極，不 否認祖國文化的孕育，但他也是得利於法國 巴黎的薈萃養成，以抒情抽象表現主義形式 綻放光芒。追憶年華似水的寂靜，默默地揮 灑筆下五彩煙雲，化為無窮想像的空間。

EXHIBITED: Zao Wou-ki, Fuji Television Gallery, Tokyo, October 6-31, 1987 ILLUSTRATED : Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 574, p. 355 Zao Wou-ki, Fuji Television Gallery Co., Tokyo, 1987, illustrated, no. 5 Pierre Daix, Zao Wou-ki, l'oeuve 1935-1993, Ides et Calendes, Berne, 1994, color illustrated, p. 144

NT$ 68,000,000-88,000,000 US$ 2,266,700-2,933,300 HK$ 17,895,000-23,158,000

趙無極 8.10.84 1984 油彩 畫布 200 x 162 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 200 x 162 cm 8.10.84 展覽： 「趙無極」，富士電視畫廊，東京，展期自 1987 年 10月6日至10月31日 圖錄： 尚．雷馬利，《趙無極》，藝術圈出版社， 巴黎，1986，黑白圖版，編號574，頁355 《趙無極》，富士電視畫廊，東京，1987， 圖版5 皮耶．戴，《趙無極：1935-1993作品》， 意得與卡蘭德，伯恩，1994，彩色圖版，頁 144

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「我希望我的畫面能夠簡單一點，能夠多 一點的空間的感覺，我一直都在找這種空 間的感覺。」當藝術生命進入成熟階段，面 對繪畫的態度更加從容優雅，從事繪畫工作 數十年之後，趙無極的藝術道路也愈走愈形 寬闊。從「感覺的畫」逐漸進入「空間的 畫」，可約簡出趙無極進入1980年代後的主 要油畫風貌。 詩人葉維廉與趙無極曾有過精彩對話，當他 指出畫家後期作品裡的空靈趨向時，趙無極 回答道：「但這個『空』，在我的畫裡最累 人。畫滿容易畫空難。在傳統中國畫裡，中 國宣紙幫了很多的忙，空就是不用著墨就可 以。但油畫裡的『空』，起碼在我的油畫中 的『空』，是要『做』出來的，要慢慢的建 造，越大張越累人。有些人也像中國畫一 樣，留空便了。但我覺得油畫中的空，是一 種生活的空間，要生活在裡頭，要在裡面經 歷。實與空要相連。空實是同一空間的不同 的層面。不是空的真是空了的意思。」 （參 閱葉維廉，〈反虛入渾，積健為雄—與趙無極談他的抽

對於趙無極1980年代後的繪畫，法國知名藝 評家雷馬利有如是的觀察：「趙無極繼承祖 習後的映照、協調的如夢空間，他邀請我們 重新體驗自然，那也是中國繪畫的召喚，真 實感受宛如江河湧現，奇峰拔地於前，抑或 置身園林深處，微宇宙的顫動。」 （尚．雷馬 利，《趙無極》，藝術圈出版社，巴黎，1986，頁48）

雷馬利十分熟稔趙無極歷年的創作風格， 曾編纂過畫家生平最重要的油畫編年目錄， 他肯定其繪畫探索物質的輝煌與精神的豐盈 之間，各種無窮盡的可能性，馳騁於中西之 間，作品蘊藏著能量與冥想的精神。 1970、1980年代之後趙無極的油畫帶有山水 精神，其空間佈局也令法國歷史學家喬治． 杜比頗為傾心，他曾經寫道：「我覺得，正 是在創造空間這一點上，他與中國的聯繫最 緊密。擷取宇宙的一片土地，然而它卻包容 了整個宇宙；把它圈進於畫框內，然而畫框 卻不曾關住它。就像在一座庭園裡！…」 （同上註）鏗鏘的字句是給予趙無極極高的讚 譽，而自古詩人王維即有「咫尺之圖，寫 百千里之景，東南西北，宛在目前，春夏秋 冬，生於筆下」的佳句，表現的即是中國山 水畫的意境。

象畫〉，《與當代藝術家的對話-中國現代畫的生成》， 東大圖書股份有限公司， 台北，1987年12月初版，1996 年2月再版，頁13） 趙無極多年繪藝琢磨出油彩

法國另一位藝評家賈可柏在1986年紐約皮 耶．馬蒂斯畫廊《趙無極個展：1980年到

1985年作品》展覽目錄序文，對於1980年代 前期創作作了適切的評論：「眼光仍然開向 所有的可能，是一個在世界形成之前的渾 沌，是一條路，不通向終點，卻溯至起源， 在有形無形之間，這就是趙無極的畫領我們 去的所在，一個未完全定形的世界，仍在懸 盪，在遲疑，是在形成秩序前最後一刻的翱 翔。…趙無極的畫恆在對宇宙提出疑問，恆 在戮力重造。有些畫顯示太初的勃然之氣， 能量摩盪，景物成形成象前的翻騰，還有些 畫展現星雲的桀驁，或光的誕生或水的發 明，或第一個清晨，或在物質的動盪之外， 呈現生命，在隱約中，湧現。」 （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167）

完成於1984年的油畫作品 《8.10.84》，曾刊印於1986年 藝評家 雷馬利 所著作 的趙 無 極編年目錄之中，即是一幅難 得的美麗鉅作。整幅畫面帶有 壯嚴優雅的橙色調，此為趙無 極1980年代初期偏愛的主調。 用色十分簡潔洗鍊，卻有恢弘 巨大之 感，色 彩深與 淺的 對 話，轉為虛實相生的空間感。 以作品《8.10.84》的尺幅與形 制來看，它的確是一幅壯麗盛 大的圖畫。早在1960年代自美 國旅行回來，受到畫商庫茲的 鼓勵，趙無極開始繪製大尺幅 的油畫作品。繪製大尺幅作品 在當時的歐洲其實尚不風行，也多受限制， 但當畫家面對大幅畫布時，身體需投入的專 注、氣力，所經歷的感受尤其暢快淋漓，也 讓他此後不時喜愛展現大空間的佈局探索。 1980年代中期，除了《8.10.84》（1984） 之外，還有《4.4.85》（1985）與《向馬蒂 斯致敬》（1986）都屬尺幅較大的作品， 這些創作傳達了單純以色彩走向無限的可 能性，為藝術家的生涯立下新的里程碑。 《8.10.84》的佈局如氣象變化萬千的蒼穹， 深棕色的屏幕籠罩大地，天光浮現後幻化成 層次豐富的五彩，峰頂雲浪緩緩躍昇。深淺

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不一的顏色都被和諧成陽光般的橙色調，呈 現天人合一的理想，中國人的宇宙觀與人生 觀。

“I want my compositions to be pure and simple, with an emphasis on space and spatial relations. It is this kind of lucid quality I’m looking for.” This quote by the artist is one piece of evidence that as he matured as a painter, Zao Wou-ki’s attitude mellowed considerably—his later works are permeated with a relaxed elegance, reflecting a broadness of mind and spontaneity of approach that only come with decades of painterly experience.

ink and rice paper. He can leave certain spaces blank by simply not applying any ink, or diluting it a lot, and the paper’s texture does the rest. But in oil paintings—at least in my oil paintings—a substantial effort is necessary to achieve the same effect. You have to build this ‘emptiness,’ construct every ‘void’ with careful deliberation, and the bigger the canvas, the more difficult the task. Some modern painters use the traditional Chinese liubai approach I just mentioned: just leave blank spaces and be done with it. To me, however, the empty spaces need to be alive, not just ‘blank.’ I have to animate them with my spirit and live in them, if you like; they have to breathe my innermost experiences. Emptiness and substance are just two sides of the same coin, are intricately interwoven planes of what we call existence. They need each other, and therefore this ‘emptiness’ never means a hollow void. Rather, it’s the essence of our universe.” (Wailim Yip, Dialogues With Contemporary Artists - Birth and Growth of Chinese Modern Oil Paintings, Tung Ta Book Company, Taipei, December 1987 [first

趙無極《4.4.85》1985 油彩 畫布 97 x 195 cm 羅芙奧2007春季拍賣會，編號068，1億1820萬台幣成交 ZAO Wou-ki, 4.4.85, 1985, oil on canvas, 97 x 195 cm Ravenel Sping Auction 2007, lot 068, NT$ 118,200,000 sold

Zao’s prevailing style since the 1980s, put in a nutshell, is marked by the gradual transition from emotiveness to spatiality.

During a highly illuminating dialogue with the artist, the prominent poet and academic Wailim Yip noted how Zao’s late work showed a marked tendency towards the unrestrained and abstracted beauty of “emptiness.” Zao replied, “Yes, but this ‘emptiness’ is the result of much hard work. It’s easy to fill up the canvas, but hard to empty it. In traditional Chinese painting, the artist is helped by the medium,

edition], February 1996 [second edition],

Over his long career, Zao has perfected the process of filling emptiness with import, and his oil paintings are brimming with the undulating rhythms and many-layered textures of ink-and-wash drawings, while at the same time achieving an outstanding splendor and richness of color and light, even and especially in the “empty” spaces of his compositions, that lie beyond the reach of pure ink-and-wash work. This combination of Chinese space and Western color is undoubtedly one of Zao’s greatest achievements. p. 13)

Through his ceuvre, Zao records his life and dreams, and communicates the ideals

he pursues. And from his paintings we can also learn much about his emotional and psychological transformations. Since 1980, one finds that age and experience have softened his hard edges and added a note of tranquility and ease to much of his work. The unbridled passion and confrontational impetus of his earlier periods have given way to a placid poise that chimes well with the philosophical lines from Laozi’s Daode Jing, “Emptying your mind of all thoughts, you will embrace peaceful harmony.” Coming from a literati family, Zao has never denied his Chinese heritage. Yet he is constantly wandering between two worlds, combining Eastern subtlety and restraint with Western boldness and artistic innovation, being especially partial to the dynamic verve of abstract expressionism. Now, however, in his later years he has reached yet another level of aesthetic articulation, with nostalgic contemplation of the transience of things dominating his output. Wielding his brush with a mastery that is both accomplished and intuitive, these days Zao captures the inner beauty of our floating world in expansive and esoteric images that leave endless room for our imagination.

Renowned French art historian and critic Jean Leymarie made the following observations about Zao Wou-ki’s post-1980 work, “Steeped in tradition yet stunningly original, Zao blends seemingly discordant elements into perfectly cohesive vistas, primeval and dreamlike, that invite us to reconnect with nature (particularly as portrayed in Chinese landscape painting), to once again feel the furious flow of wild rivers, and catch our breath in awe of towering mountain ranges—or to focus our attention on the microcosmos of a little garden, letting ourselves be touched by slightest tremors of existence.” (“Devant l’espace onirique que Zao Wou-ki projette et coordone ataviquement, il nous invite à revivre sur nature, et c’est la vocation même de la peinture chinoise,

les sensations éprouvées vraiment devant la coulée des fleuves, le surgissement des collines ou bien à l’intérieur des jardins, frémissants microcosmes.”) (Jean Leymarie, Zao Wou -ki, Editions Cercle d'Art, Paris, 1986, p. 48) Being exceptionally familiar with Zao’s style, Leymarie compiled a comprehensive catalogue of his most important oil paintings. In this catalogue raisonné, he praises the artist for exploring both the magnificent beauty of matter and the profound sophistication of the human spirit, presenting the viewer with myriads of possibilities that all emanate from his perpetual oscillation between

趙無極《向馬諦斯致敬》1986 油彩 畫布 162 x 130 cm ZAO Wou-ki, Hommage à Henri Matisse 1986, oil on canvas, 162 x 130 cm

East and West. Leymarie also describes Zao’s works as sparkling with energy and mystic potential.

Between 1970 and 1980, much of Zao’s output had a distinctively panoramic feel about it, and the spatial arrangement of these landscapes won the appreciation of the late French historian Georges Duby, who wrote, “I feel that nowhere is Zao more intimately connected with his Chinese roots than in his ability to create

captivating spaces. Portraying just a small corner of our wide world, he yet manages to encompass the entire universe. By extracting the essential qualities of everything, he is able to accommodate the whole cosmos within the frame of one painting—but of course the frame cannot permanently confine such vastitude. It is like sitting in a yard looking up at the sky! …"

(Or, dit-il, c’est bien en ce point, s’agissant de la creation de l’espace, qu’il me semble saisir le lien le plus étroit avec la Chine. Extraire de l’univers une parcelle, et qui pourtant contient l’entire de l’univers, enserrer celui-ci dans un cadre, et qui pourtant ne l’enferme pas. Comme en un jardin….) (ibid) High praise for Zao! One is reminded of what the great Chinese poet and painter Wang Wei once wrote in his poem on the knacks of landscape painting, “A wide vista captured on a small scroll, one picture comprising north, south, east and west. The brush makes the four seasons come alive with enchanting authenticity.”

During the 1986 New York exhibition “Zao Wou-ki Paintings from 1980 – 1985” held at the Pierre Matisse Gallery, French art critic François Jacob passed an apt comment on that period’s creations, “An outlook that continues to regard all possibilities, it is the origin that existed before the world was formed, it is a road, leading not to the end, but back to its sources, confined within tangibles and intangibles; this is where the paintings by Zao Wou-ki leads us to, a world that has yet to determine its form, still in suspension, hesitating, in its last flight prior to the birth of order … The perpetuality of Zao’s paintings lies in their questioning of the world, in their efforts to recreate. Certain paintings depict the furor of origin, the ripples of energy clashing abrasively and the turbulence that occurs before the scenery takes form and shape.

Some other paintings display the obstinacy of nebulas, or the birth of light, the invention of water, the first dawn, or beyond the turbulent

upheavals of matter, present life indistinctly emerging.” (Zao Wou-ki & Françoise Marquet, translated

by Liu Li, Autoportrait, Artists' Publications, Taipei, First print 1993, 2nd edition 1996, p. 167) "Un regard encore ouvert à tous les possibles. Un état qui précède le monde. Une route quiconduit, non à l'achèvement, mais à l'origine, aux confines de ce qui n'est pas encore. C'est là que nous entraîne la peinture de Zao Wou-ki, vers un espace qui n'est pas encore déterminé, mais reste en suspens, hésite, plane un dernier instant avant de basculer dans ce qui, plus tard, deviendra un ordre.... Il y a dans la peinture de Zao Wou-ki, une perpétuelle mise en question du monde. Un acharnement à le re-créer. Certaines de ses toiles évoquent la fureur des origins, l'enfantement de la matière par l'énergie, les derniers soubresauts des explosions créatrices. D'autres déploient l'indocilité moqueuse des nébuleuses. Ou la naissance de la lumière. Ou l'invention de l'eau.

Ou le premier matin, comme ce merveilleux petit triptyque aux blancs rosés. Et en filigrane, par-delà les convulsions de la matière, comme prête à sourdre, la vie." (Zao Wou-ki & Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 186-187)

Completed in 1984, “8.10.84” is an impressive large painting that was also reproduced in Jean Leymarie’s 1986 Zao Wou-ki catalogue raisonné. Subdued orange tones, typical of much of the artist’s work from the early 1980s, give the composition an air of sublime grandeur.

The pastelly palette is applied with succinct skill and precision, and the contrasting darker and lighter shades, engaging each other—as well as the observer—in an absorbing aesthetic dialogue, create an almost eerie sense of roiling spaces, teeming with infinite possibilities. In terms of shape, size and structure, “8.10.84” is one of Zao’s most magnificent and successful

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large-scale oil paintings. As early back as the 1960s, art dealer Sam Kootz had encouraged the artist to try his hand “grand tableaux,” and upon returning from the United States, Zao indeed began to experiment with larger formats, even though these were not very popular in Europe at the time. But Zao loved the new challenges posed by working on a super-sized canvas, the additional demands on physical stamina, mental concentration and painterly focus, and he cherished the opportunity to give rein to his creative urges on such a grand scale.

From that time onwards, occasional forays into outsized formats became a fixed part of his artistic MO. This lot, “8.10.84” (1984), belongs to a string of large format oil paintings that also includes “4.4.85” (1985) and “Hommage à Matisse” (1986), all of which are milestones in the artist’s development, excelling at the use of deliberately clean yet evocative palettes to suggest a sea of potentialities. In “8.10.84”, the viewer encounters a firmament of truly meteorological proportions, a kaleidoscope of metamorphoses under an ominously lowering cloud of deep shades of brown and black—yet the dark colors do not overwhelm the bright phantasmagoria below, bursting as it is into a multifaceted image of intricately colored and subtly textured bluish peaks swathed in billowing wafts of orange-tinted mists, incessantly rising from the earth. It are the ingeniously applied orange and ginger tones that pull the whole composition together.

Redolent of sunlight and cosmic energy, they are delicate intimations of the ancient Chinese view of the universe: we are reminded that we, too, are an integral part of nature, and that all things are essentially one.

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ZHOU Chunya (Chinese, b. 1955)

Green Dog 2009 Oil on canvas 150 x 120 cm Signed lower right Zhou Chunya in Chinese and English, dated 2009

NT$ 7,000,000-9,000,000 US$ 233,300-300,000 HK$ 1,842,000-2,368,000

周春芽 綠狗 2009 油彩 畫布 150 x 120 cm 簽名右下：2009 周春芽 Zhou Chunya

到2009年的時候，綠狗已經不再侷限於早年 的黑根，甚至是否是周春芽養的狗都不再重 要，牠早已變成了藝術史上的一個圖樣，藝 術家的藝術名片，以及未來藝術創作的無限 可能。甚至，凡是跟狗有關的創作，很難不 令人想起周春芽的黑根和綠狗。這種排他性 證實了藝術家在此系列上所獲得的一個高 度。甚至，綠狗也已經不需要更多作品名字 的注腳，一個簡單的形象和顏色的呈現已表 達了所有的內容。

中國人喜歡紅色，也喜歡綠色。綠色代表 希望和向上的力量。白羊座的周春芽精力 充 沛，熱心助人。他對後輩不遺餘力地提 攜，有目共睹。獲得大獎後，周春芽並未第 一時間返回成都，他還要參加吉磊在北京的 個展，為這位成都藍頂的新銳藝術家「紮 起」。此外，周春芽還在今日美術館敲定了 一個重要的展覽，那就是他已經為之付出了 兩年的努力，為五彩基金的孩子們做一次大 型的展覽。

近年來，畫面中的綠狗不再是獨立的存在， 更多的背景或者說藝術家借助於綠狗的存在 進行生活、社會和藝術主張的表達更趨強 烈。原本獨立於藝術語言的綠狗具有了代言 人的形態和身份。這些變化也跟藝術家自身 的人生定位一脈相承。

周春芽說：「這個展覽就是我們五彩基金孩 子們在北京的聯展，地點已經定在今日美術 館了，但時間還沒定。五彩基金迄今為止已 經幫助了包括四川地震災區在內的全國上百 位殘疾孩子，兩年時間內，我們組織藝術家 和美術老師教他們畫畫，其中還有很多順利 考上了藝術高校，這次展覽就是他們兩年來 的學畫總結，屆時100多個殘疾孩子的作品 都會入選參展。如此大規模的殘疾小孩的美 術展，這在全國都是第一次。」如此熱愛生 活，樂於奉獻，又忠於藝術的藝術家，未來 的可能只會是無限，而不會有盡頭的一天。

2010年年底，周春芽和馮小剛、孟京輝、 何訓田等在上海同獲「國家精神造就者」 大獎；2011年2月2 1日，周春芽再次獲得 「2010年中國當代藝術權力榜」的年度藝術 家大獎。去年，這個獎項被授予了張曉剛。 頒獎主辦單位給的獲獎理由：一、去年六月 在上海美術館舉行的「周春芽藝術四十年回 顧展」是去年最好的中國藝術家個展；二、 周春芽從512地震之後投身慈善事業，他一 手創辦的成都市殘疾人福利基金會─五彩基 金會在短短兩年時間內，幫助上百位災區殘 疾少年用藝術實現自己的夢想。 周春芽在接受記者專訪時說：「我是第一次 在『當代藝術權力榜』上得獎，記得去年的 年度藝術家獲得者是張曉剛，之前我根本沒 想過自己會得獎，所以比較意外和激動。」 據周春芽介紹，「當代藝術權力榜」的評選 每年都有100位藝術界和收藏界人士入選， 去年他的名次是20多位，今年躍升到第6 位。「今年這個榜的頒獎口號是『向上』， 主辦單位可能認為我是去年中國當代藝術家 中最『天天向上』的吧。」

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slogan is ‘moving up’. I guess they decided that I was ‘moving up’ the most.”

By 2009, the green dog was no longer limited to just Heigen, like the early days. In fact, it didn’t even matter anymore whether or not it was Zhou Chunya’s dog. It had become a schema of art history, the artist’s calling card, and a mark of unlimited possibilities for future artistic creations. It had reached the point that any artistic creations involving dogs would raise associations with Zhou Chunya’s Heigen and Green Dog. This exclusivity is testament to the heights that the artist reached with this series. These artworks no longer needed titles or footnotes; a simple form and some color were enough to express all of the content.

In recent years, the dog in the picture is no longer an independent existence. Now, there is more background, which is to say that the artist was increasingly leaning towards using the green dog’s existence to express his views on life, society and art. The green dog, which had originally existed independent of artistic language, took on the form and identity of a spokesperson.

In late 2010, Zhou Chunya, along with Feng Xiaogang, Meng Jinghui and He Xuntian, won the National Spirit Achievers Award in Shanghai. On February 21, 2010, Zhou Chunya again won Artist of the Year at the 2010 Art Power Awards. The previous year, that award was won by Zhang Xiaogang.

The event organizers explained their reasoning behind the decision: “the Zhou Chunya 40 Year Retrospective Exhibition held at the Shanghai Museum of Art last year was that year’s best Chinese solo exhibition. Secondly, Zhou Chunya has dedicated himself to philanthropy

周春芽《我們是TT 我們是憤青》 2008 油彩 畫布 250 x 200 cm 羅芙奧香港2010秋季拍賣會，編號059，432萬港幣成交 ZHOU Chunya, We are TT, We are Angry Youth 2008, oil on canvas, 250 x 200 cm Ravenel Autumn Auction 2010 Hong Kong Lot 059, US$ 556,701 sold

since the Sichuan earthquake. The Five Colors Foundation, a charitable foundation he founded for the handicapped of Chengdu, has in a mere two year’s time helped nearly one hundred children crippled by the earthquake to realize their dreams through art.”

In an interview, Zhou told a reporter: “This is my first time winning an award at the Art Power Awards. I remember that Zhang Xiaogang won last year, and I never imagined that I would win it myself. I’m quite surprised and elated.”

According to Zhou, each year 100 art figures and collectors are nominated for the list. The previous year, he had ranked 20th, and this year, he ranked 6th. As he sees it, “This year’s

The Chinese like the color red, as well as the color green. Green represents hope and upward momentum. Mr. Zhou, an Aries, is full of vitality, and has a zeal for helping others. His tireless efforts to lead the next generation are there for all to see. Upon winning the award, Zhou didn’t rush right back to Chengdu; he still had to attend Ji Lei’s solo exhibition in Beijing, showing support for this cutting-edge artist from Blue Roof in Chengdu. He also had to make arrangements for an exhibition at the Today Art Museum. This exhibition was the result of two years of effort: an exhibition of artworks by the children of his Five Colors Foundation.

Zhou says, “This is a group exhibition for our Five Colors kids. The location has been set for the Today Art Museum, but we haven’t set the time. To date, the Five Colors Foundation has helped roughly one hundred handicapped children, including victims of the Sichuan earthquake. Over the past two years, we have organized artists and art teachers to teach these children how to paint. Many of the children have successfully tested into art colleges. This exhibition is the sum of their two years learning painting. Artworks by every single child will be featured in this exhibition. This is the first time for such a large exhibition of artworks by handicapped children to be held in China.”

For an artist with such passion for life, joy in giving and devotion to art, the future holds only limitless possibilities.

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ZHOU Chunya (Chinese, b. 1955)

Peach Blossoms 2008 Oil on canvas 120 x 150 cm Signed lower right Zhou Chun Ya in Chinese and English, dated 2008

NT$ 6,000,000-8,000,000 US$ 200,000-266,700 HK$ 1,579,000-2,105,000

周春芽 桃花 2008 油彩 畫布 120 x 150 cm 簽名右下：2008 周春芽 Zhou Chun Ya

引述一段關於「桃花」系列的評論：「在 『桃花』系列中，桃花濃烈而妖豔地盛開， 姿色寫意，富於變幻的散漫色彩為桃園增添 了妖嬈和放縱。桃樹花團錦簇，異常明媚燦 爛，一對對紅色男女情人的裸體，或忘情 親暱，或緊緊相擁，或翻雲覆雨，或凝視觀 眾，或混沌迷茫，或眼望別處，體現出情色 意味。畫家放縱恣意地表現絢爛的桃花與激 情的紅色男女人物，兩者奇異地呼應，充分 象徵了生命的旺盛和衝動。但花期短暫則暗 喻生命的輪迴與稍縱即逝，桃花怒放，隱含 凋謝的不安，揭示萬物自然的自由與限制。 桃花開，人生的極樂；桃花落，不可阻止的 傷悲。怒放而短暫的桃花隱喻愛情的轟轟烈 烈和轉眼即逝，也可理解為瞬間的獲得與無 法永恆擁有的失落，在靈與肉的對撞中，悲 劇的意味呈現：對精彩的生命旅程的無限留 戀與肉身必死的矛盾。」 （劉立策，＜解讀周春

“In the Peach Blossoms series, the peach flowers bloom luxuriantly and enticingly. The strong and vibrant colors add to the luxury and enchantment of the peach garden. In the garden, peach blossoms, traditional symbols of fertility and lust in Chinese culture, wave and glisten in the sun. Under the blossoms entwined lovers caress, embrace, copulate, or sometimes gaze, seemingly perplexed. The lush and resplendent peach blossoms create a harmony with the passionate lovers, as the painting expresses the full vigor and spontaneity of life. However, the blossoms are also transitory representing the fleeting nature of life. The peach blossoms in full bloom will be short-lived heralding the shortness of life for all living things. The blooming of the peaches represents the ecstasy of life; while the falling of the peach blossoms brings unstoppable sorrow.

The flamboyant yet fleeting peach blossoms represent passionate, unbounded yet fleeting love. The paintings can also be understood as representing the acquisition of the thing most desired at a particular moment, and the failure to possess that forever. Between the desires of the flesh and the soul, a tragedy is unfolding, as we grasp at beauty and love and contemplate life's journey we are always faced with inevitability of death.” (Interpreting "Peach Blossoms

芽「桃花紅人」系列作品＞（節選），《文藝爭鳴》，

and Lovers" Series of Zhou Chunya (excerpt), Liu Lice, Wen

2008年第05期）

Yi Zheng Ming, 2008, Issue 05)

「桃花系列」以油綠與粉紅為主色，潑辣生 動，筆觸自由、色彩絢麗，打破了中國傳統 繪畫的淡雅形象，從色彩到構圖均給人嬌豔 奔放之感，畫家也因此被認為是中國當代繪 畫界中對色彩把握最好的畫家之一。

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

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

159

ZHAN Wang (Chinese, b. 1962)

Artificial Garden Rock 2006 Stainless steel, edition no. 1/4 54(L) x 32(W) x 84(H) cm (include base) Engraved Zhan Wang in Chinese, numbered 1/4 and dated 2006

NT$ 2,600,000-4,000,000 US$ 86,700-133,300 HK$ 684,000-1,053,000

展望 假山石 2006 不鏽鋼 1/4 54(長) x 32(寬) x 84(高) cm （含底座） 簽名雕刻：展望 2006 1/4

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160

Takashi MURAKAMI (Japanese, b. 1963)

Kansei: Korin Red Stream; Kansei: Korin Gold (a set of 2) Limited Print 70 cm (diameter) Signed lower right M and numbered 54/300 (upper) Signed lower right M and numbered 160/300 (lower) With one seal of the artist (both)

NT$ 50,000-80,000 US$ 1,700-2,700 HK$ 13,000-21,000

村上隆 澗聲系列（2件1組） 限量版畫 70 cm（直徑） 簽名右下：M 54/300 (上) 簽名右下：M 160/300 (下) 鈐印左下：澗聲

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161

Mayuka YAMAMOTO (Japanese, b. 1964)

Penguin March & Monster Boy (a set of 2) 2010 Watercolor on paper 31.5 x 34 cm (penguin) 34 x 31 cm (boy) Signed lower right Mayuka, titled Penguin march in English and dated '10 Signed lower right Mayuka, titled monster boy in English and dated '10

NT$ 70,000-100,000 US$ 2,300-3,300 HK$ 18,000-26,000

山本麻友香 企鵝與男孩（2件1組） 2010 水彩 紙本 31.5 x 34 cm （企鵝） 34 x 31 cm （男孩） 簽名右下：Penguin march Mayuka '10（企鵝） 簽名右下：monster boy Mayuka '10（男孩）

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162

Takashi MURAKAMI (Japanese, b. 1963)

Maiden in the Yellow Straw Hat; Me and Mr. DOB; Flowerball (3D), From the Realm of the Dead; Flowerball Limited Print (a set of 4) 60 x 60 cm (top-left) 68 x 68 cm (lower-left) 70 cm (diameter) (x2) Signed lower right M and numbered 100/300 (top-left) Signed lower right M and numbered 19/300 (lower-left) Signed lower right M and numbered 76/300 (top-right) Signed lower right M and numbered 53/300 (lower-right)

NT$ 100,000-160,000 US$ 3,300-5,300 HK$ 26,000-42,000

村上隆 黃草帽少女；DOB君與我； 小花球（3D）魔笛；小花球（4件1組） 限量版畫 60 x 60 cm（左上） 68 x 68 cm（左下） 70 cm（圓形直徑）(x2) 簽名右下：M 100/300 (左上) 簽名右下：M 19/300 (左下) 簽名右下：M 76/300 (右上) 簽名右下：M 53/300 (右下)

163

Ai HAIBARA (Japanese, b. 1981)

Mandragora 2009 Wooden sculpture 16.5(L) x 16.5(W) x 63(H) cm Signed on the base AI Haibara in English, titled Mandragora in Japanese and dated 2009.4.13

NT$ 100,000-200,000 US$ 3,300-6,700 HK$ 26,000-53,000

灰原愛 曼陀羅 2009 木雕 16.5(長) x 16.5(寬) x 63(高) cm 簽名底部：AI Haibara 2009.4.13 まんどらごら

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164

Hiroto KITAGAWA (Japanese, b. 1967)

Doll 2001 Terracotta, acrylic 20(L) x 16(W) x 64(H) cm Engraved Hiroto in English and dated '01

NT$ 200,000-300,000 US$ 6,700-10,000 HK$ 53,000-79,000

北川宏人 人偶 2001 陶土 壓克力 20(長) x 16(寬) x 64(高) cm 簽名雕刻：Hiroto '01

165

I Wayan Sudarna PUTRA (Indonesian, b. 1976)

Made in Bali 2007 Oil on canvas 180 x 130 cm Inscribed on the center made in bali in English Signed on the reverse I WAYAN SUDARNA PUTRA in Indonesian, titled "MADE IN BALI" in English, inscribed Bali, Sudarna and dated 2007

NT$ 220,000-400,000 US$ 7,300-13,300 HK$ 58,000-105,000

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蘇達那．普托 峇里島製造 2007 油彩 畫布 180 x 130 cm 題識中間：made in bali 簽名畫背：I WAYAN SUDARNA PUTRA "MADE IN BALI" Bali, 2007 Sudarna

166

Tetsutaro KAMATANI (Japanese, b. 1979)

Doing Whatever, Whether Dead or Alive 2007 Oil on canvas 117 x 91 cm Signed on the reverse Kamatani Tetsutaro in English, titled Doing Whatever, Whether Dead or Alive in Japanese and dated 2007

NT$ 240,000-400,000 US$ 8,000-13,300 HK$ 63,000-105,000

鎌谷徹太郎 無論生或死、無論做什麼 2007 油彩 畫布 117 x 91 cm 簽名畫背：「死んていても 生きていても 何をしていても」 Kamatani Tetsutaro 2007

167

Ayako ROKKAKU

六角彩子

(Japanese, b. 1982)

Dream World 2008 Acrylic on canvas 162 x 130.5 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2008

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夢世界 PROVENANCE: Gallery Beniya, Tokyo

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 132,000-184,000

2008 壓克力 畫布 162 x 130.5 cm 簽名畫背：2008 ロッカクアヤコ 來源： 紅屋畫廊，東京

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Yoshitaka AMANO (Japanese, b. 1952)

Candy 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$ 16,700-23,300 HK$ 132,000-184,000

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

169

KWON Ki Soo (Korean, b. 1972)

Golden River 2009 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Han character and English, dated 2009 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 145,000-197,000

權奇秀 金川 2009 壓克力 畫布 130 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2009 附藝術家簽名之原作保證書

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170

KWON Ki Soo (Korean, b. 1972)

Time - White River 2009 Acrylic on canvas 130 x 194 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2009 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 650,000-850,000 US$ 21,700-28,300 HK$ 171,000-224,000

權奇秀 時光─白河 2009 壓克力 畫布 130 x 194 cm 簽名畫背：權奇秀 Kwon Ki Soo 2009 附藝術家簽名之原作保證書

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171

Hiroaki KANO (Japanese, b. 1983)

狩野宏明

Garden

花園（五聯幅）

2005 Oil on canvas 227 x 650 cm Signed on the reverse Hiroaki Kano in Japanese, titled garden in English and dated 2005 EXHIBITED: The 2nd Doctoral Course Exhibition, Tsukuba Museum of Art, Tsukuba, Jan. 2 - 9, 2006

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This painting is to be sold with a certificate of authenticity issued by Gallery Hirota Bijutsu, Tokyo.

NT$ 750,000-950,000 US$ 25,000-31,700 HK$ 197,000-250,000

2005 油彩 畫布 227 x 650 cm 簽名畫背：狩野宏明 「garden」 2005 展覽： 「第二回DC展」，茨城縣筑波美術館，日本 茨城縣筑波市，展期2006年1月2日至1月9日 附東京廣田美術畫廊開立之原作保證書

172

LEE Jae-hyo (Korean, b. 1965)

0121-1110=110 2010 Olive wood 110(L) x 110(W) x 50(H) cm Engraved 0121-1110=110

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 118,000-145,000

李在孝 0121-1110=110 2010 橄欖木 110(長) x 110(寬) x 50(高) cm 簽名雕刻：0121-1110=110

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173

HAN Lei

(Chinese, b. 1967)

Pagoda 2005 Color photograph, edition no. 5/9 41.5 x 84.5 cm Signed lower right Han Lei in Chinese, titled Pagoda in English, numbered 5/9 and dated 2005

NT$ 50,000-80,000 US$ 1,700-2,700 HK$ 13,000-21,000

韓磊 寶塔 2005 攝影 相紙 5/9 41.5 x 84.5 cm 簽名右下：Pagoda 5/9 2005 韓磊

174

GU Dexin

(Chinese, b. 1962)

Aliens c. 1983 Watercolor and acrylic on Japanese paper 17 x 21.5 cm

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顧德新 PROVENANCE: Acquired directly from the artist by the current owner around 1985

NT$ 60,000-100,000 US$ 2,000-3,300 HK$ 16,000-26,000

乳房異形人 約1983 水彩 壓克力 紙本 17 x 21.5 cm 來源： 1985年左右現有收藏者直接購自藝術家本人

175

TSENG Ching-kan (Taiwanese, b. 1958)

曾清淦

Indoor, Yellow Monster and Green Vase 1987 Oil on canvas 91 x 86 cm Signed lower left Kan in Chinese Signed on the reverse Ching-kan, titled Indoor, Yellow Monster and Green Vase in Chinese, dated 1987

室內、黃色怪物、綠花瓶 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 90,000-160,000 US$ 3,000-5,300 HK$ 24,000-42,000

1987 油彩 畫布 91 x 86 cm 簽名左下：阿淦 簽名畫背：室內、黃色怪物、綠花瓶 1987 清淦 附藝術家簽名之原作保證書

176

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds - Cranes and Bamboos 2007 Oil on canvas 69 x 69 cm Signed on the reverse Chang-Ling and titled Pork Belly Series - Flesh, Flowers and Birds Cranes and Bamboos in Chinese, dated 2007 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 60,000-100,000 US$ 2,000-3,300 HK$ 16,000-26,000

常陵 五花肉系列─肉花鳥─雙鶴竹幽圖 2007 油彩 畫布 69 x 69 cm 簽名畫背：五花肉系列─肉花鳥─雙鶴竹幽 圖 常陵 2007 附印象畫廊開立之原作保證書

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CHENG Tsai-tung (Taiwanese, b. 1953)

Purple Cat 1983 Oil on paper 53 x 79 cm Signed lower right Cheng Tsaitung in Chinese and dated 83

NT$ 60,000-100,000 US$ 2,000-3,300 HK$ 16,000-26,000

鄭在東 紫貓 1983 油彩 紙本 53 x 79 cm 簽名右下：鄭在東 83

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178

HSIA Yan (XIA Yang)

(Taiwanese, b. 1932)

Cham for Protecting the Home 1990 Drawing, ink and color on paper 62 x 46 cm Initialed lower right HY in English and dated 90

NT$ 100,000-180,000 US$ 3,300-6,000 HK$ 26,000-47,000

夏陽 鎮宅光明 1990 素描 彩墨 紙本 62 x 46 cm 簽名右下：HY 90

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YU Peng

(Taiwanese, b. 1955)

Portraits for Little Chuan and Little Yu 1988 Ink and color on paper 135.5 x 69 cm Signed lower left Yu Peng, titled Portraits for Little Chuan and Little Yu and dated 1988.4.24 in Chinese EXHIBITED: Yu Peng Solo Exhibition, Hanart TZ Gallery, Hong Kong, 1989

NT$ 100,000-180,000 US$ 3,300-6,000 HK$ 26,000-47,000

于彭 為小犬、小魚兒造像 1988 彩墨 紙本 135.5 x 69 cm 簽名左下：一九八八年四月二十四日 于彭 為小犬、小魚兒造像 以茲紀念 展覽： 「于彭個展」，漢雅軒，香港，1989

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180

YAO Jui-chung (Taiwanese, b. 1969)

Wonderful - I Will Be Back 2008 Ink and color, hand made paper and gold foil 140 x 46 cm This painting is to be sold with a certificate of authenticity issued by IT Park Gallery & Photo Studio, Taipei.

NT$ 140,000-260,000 US$ 4,700-8,700 HK$ 37,000-68,000

姚瑞中 忘德賦─我將再起 （臨吳彬《千岩萬壑圖》） 2008 手工紙本 設色金箔 140 x 46 cm 附伊通公園藝術中心開立之原作保證書

181

陳李

CHEN Li

(Chinese, b. 1975)

The Bridal Chamber 2002 Oil on canvas 100 x 80 cm Signed lower right Chen Li in Chinese

148

EXHIBITED： The Chen Family Exhibition, Paintings by Yu Chen, Chen Yu and Chen Li, Schoeni Gallery, Hong Kong, 2006

NT$ 180,000-280,000 US$ 6,000-9,300 HK$ 47,000-74,000

新房 2002 油彩 畫布 100 x 80 cm 簽名右下：陳李 展覽： 「我們仨：余陳、陳餘、陳李聯展」」，少 勵畫廊，香港，2006

182

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds - Spreading Fragrance at Dawn 2008 Oil on canvas 130 x 130 cm Signed on the reverse Chang-Ling, titled Pork Belly Series - Flesh, Flowers and Birds Spreading Fragrance at Dawn in Chinese and dated 2008

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

NT$ 200,000-400,000 US$ 6,700-13,300 HK$ 53,000-105,000

五花肉系列─肉花鳥─寅時吐芬芳 2008 油彩 畫布 130 x 130 cm 簽名畫背：五花肉系列─肉花鳥─寅時吐芬 芳 常陵 2008 附印象畫廊開立之原作保證書

183

FEI Yifu

(Chinese, 1913-1982)

Fishing Break Oil on canvas 56 x 77 cm Titled on the reverse Fishing Break in Chinese With two seals of the artist

NT$ 220,000-400,000 US$ 7,300-13,300 HK$ 58,000-105,000

150

費以復 休魚期 油彩 畫布 56 x 77 cm 鈐印左下：以復 簽名畫背：休魚期 鈐印畫背：費以復印

184

YANG Taiyang

陽太陽

(Chinese, 1909-2009)

Miao Girl 1975 Oil on canvas 54.5 x 37 cm Signed lower right Taiyang in Chinese and dated 75

PROVENANCE: Acquired directly from son of the artist by the current owner

NT$ 260,000-400,000 US$ 8,700-13,300 HK$ 68,000-105,000

苗族少女 1975 油彩 畫布 54.5 x 37 cm 簽名右下：75年 太陽 來源： 現有收藏者直接購自藝術家之子

185

XUE Song

薛松

(Chinese, b. 1965)

與弘仁對話二 2006 綜合媒材 畫布 拼貼 50 x 100 cm 簽名右下：薛松 簽名畫背：《與弘仁對話》100 x 50 cm 薛 松 Xue Song 2006

Dialogue with Hong Ren 2 2006 Mixed media on canvas, collage 50 x 100 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Dialogue with Hong Ren in Chinese, inscribed 100 x 50 cm and dated 2006 EXHIBITED: Picking the Pieces: Xue Song Solo Exhibition, Linda Gallery, Singapore, 2007

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ILLUSTRATED: Xue Song, Linda Gallery, Jakarta, 2007, color illustrated, pp. 38-39

展覽： 「回古，薛松個人展」，林大畫廊，新加 坡，2007

NT$ 260,000-400,000 US$ 8,700-13,300 HK$ 68,000-105,000

圖錄： 《薛松》，林大畫廊，雅加達，2007，彩色 圖版，頁38-39

186

CHEN Liu

(Chinese, b. 1973)

The Segmented Series - Aftermath 2006 Watercolor on paper 140 x 80 cm Signed lower right Chen Liu in Chinese and dated 2006.10.10 ILLUSTRATED: Eminent Chinese Artist Chen Liu - The Celestial, Ping Art Space, Taipei, 2008, color illustrated, p. 37

NT$ 260,000-400,000 US$ 8,700-13,300 HK$ 68,000-105,000

陳流 破碎的天空─強爆之後 2006 水彩 紙本 140 x 80 cm 簽名右下：陳流 2006.10.10 圖錄： 《中國當代名家系列：陳流─天降大 任》，藏新藝術有限公司，台北，2008， 彩色圖版，頁37

187

XIONG Yu

(Chinese, b. 1975)

Light 2009 Oil on canvas 110 x 80 cm Signed lower right Xiong Yu in Chinese and dated 2009

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

熊宇 燈光 2009 油彩 畫布 110 x 80 cm 簽名右下：熊宇 2009

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188

TU Hongtao (Chinese, b. 1976)

Illusion 3 2004 Oil on canvas 70 x 110 cm Signed lower left Tutu in English and dated 2004 Signed on the reverse Tu Hongtao and titled Illusion in Chinese, inscribed 110 x 70 cm, Chengdu, Sichuan, China in Chinese and dated 2004

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

屠宏濤 夢幻 3 2004 油彩 畫布 70 x 110 cm 簽名左下：Tutu 2004 簽名畫背：《夢幻》屠宏濤 2004 110 x 70 cm 中國 四川 成都

189

YANG Chihung (Taiwanese, b. 1950)

Magic Mountain 2007 Acrylic on canvas 70.5 x 160.5 cm Signed on the reverse Chihung Yang, titled Magic Mountain in English and dated 2007 EXHIBITED: Chinese Tradition Representation, Amy Simon Fine Art, Pennsylvania USA, 2008

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

楊識宏 奇峰 2007 壓克力 畫布 70.5 x 160.5 cm 簽名畫背：Chihung Yang Magic Mountain 2007 展覽： 「中國傳統再現」，艾美西門畫廊，美國賓 州，2008年

楊識宏的畫作在1980年代末期與1990年代初 期稱之為「植物的美學」，運用宇宙和諧結 構與抒情的視覺圖像思維，表現出一種理性 內化之後的浪漫氣氛。九○年後多以漂浮蔓 生的植物為主題，表現上融合水墨筆法及西 畫著重之色彩及光線，意圖在二度空間中表 現出時間及速度的視覺感。楊識宏的作品以 油彩、壓克力、版畫、水墨為主體，除了遊 走於抽象與具象之間，更兼具粗獷與優美、 原始與文明、意識與潛意識的多重特性。他 的作品技法高超、層次豐富、「色彩」與 「光芒」合一，在游離的空間中，捕捉精神 的本質。面對時間的課題，他使用色彩與造 形將那些從視覺與心靈中流動經過的線索 一一呈現在畫布中；也透過構圖與運動，把 思想轉化為一種非視覺性的精神深度；透過 意象與韻律，使他的精神深度無須經由邏輯 說教而經由詩學的感動傳達。從1998年以 後，他開始從事內在世界 的精神性探討，在

156

生命體會日漸深刻豁達下，整個造形思維從 物象轉成心象，再從心象轉成意象，予人以 更自由、縱放的感受。 2003年楊識宏展開「意識流」水墨系列的 創作，透過東方的水墨媒材，以及他對中 國書法美學傳統的接觸與體會，楊識宏對於 展現內在世界的精神性探討，以壓克力顏料 媒材，揉合了水墨創作的技法和內涵，發揮 於「意識流」系列作品中。《奇鋒》即是這 一時期的經典代表作品，透過繪畫的語言， 表現出時間在風、雲霧、山嵐大自然變化下 的軌跡，讓觀者感受到自然的氣勢與東方美 學的神祕。其抽象澎湃的線條揮霍，蘊含 「勾」、「皴」、「擦」、「染」、「點」 等傳統水墨技法，以及留白美學與抽象色彩 線條情感的交融，呈現沉穩的多情氛圍，散 發東西融合的當代浪漫詩意。

Yang Chihung’s paintings from the late 1980s and early 1990s have been described as embodying a kind of “plant aesthetics.” In these works, Yang uses the harmonious structure of the universe and expressive visual imagery to present a romantic atmosphere that possesses its own internal rationality. From the late 1990s onwards, Yang’s paintings usually have waving, spreading plants as their subject matter, in a fusion of the brushwork techniques of Chinese ink brush painting with Western art’s emphasis on color and light. Here, Yang is seeking to portray a visual sense of time and speed within a two-dimensional space. Yang Chihung has used oils, acrylics, woodblock prints and ink brush painting as his main media. His work has a multi-faceted character, straddling the border between the abstract and the realist, while also containing elements of both the rough-

edged and the refined, the primitive and the civilized, the conscious and the sub-conscious.

Yang’s paintings are multi-layered works that demonstrate great technical expertise, including an impressive unity of color and light; within a freewheeling space, they succeed in capturing the spiritual essence of the subject matter.

When approaching the issue of time, Yang uses color and shape to portray on the canvas each individual trace of visual and spiritual flow. At the same time, he employs composition and dynamic motion to transform his thought into a kind of non-visual spiritual depth; through imagery and rhythm, he is able to express his own spiritual contemplation through poetic emotion rather than through didactic, logical exposition. Starting in 1998, Yang embarked on a process of spiritual exploration of his own inner world. As he achieved ever greater

understanding of life, his attitude towards form was transformed from a material to a largely psychological approach, and then from a psychological approach to one based on imagery. The overall effect of these works is one of freedom and release.

In 2003, Yang began work on his “Stream of Consciousness” series of ink brush paintings, in which he combined the medium of ink brush painting with his own understanding of the aesthetic tradition of Chinese calligraphy to undertake a spiritual exploration of his inner world. In these paintings, Yang integrated the use of acrylic paints with the techniques and essence of ink brush painting. “Magic Mountain” is one of the most representative works from Yang’s “Stream of Consciousness” series. Using the artistic lexicon of painting,

Yang portrays the passage of time within the process of natural change as it affects the wind, the mist, and the mountain peaks.

Viewers are struck by the power of nature, and by the mysterious depth of East Asian aesthetics. Yang’s sweeping use of abstract line somehow embodies the key techniques of traditional ink brush painting – “contouring”, “wrinkling”, “rubbing”, “dyeing”, and “dotting” – together with the effective use of blank space and the emotive force of abstract color and line. The overall effect is one of great depth and emotional richness; the painting exudes a romantic, poetic feel that is highly contemporary while also embodying a fusion of Asian and Western styles.

190

T'ANG Haywen (T'ANG Then Phuoc) (Chinese, 1927-1991)

A Couple Ink and color on paper 70 x 50 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

唐海文 伴侶 彩墨 紙本 70 x 50 cm 簽名右下：T'ang 海文

158

191

T'ANG Haywen (T'ANG Then Phuoc) (Chinese, 1927-1991)

Portrait of a Man 1965 Ink and color on paper 70 x 50 cm Signed lower right T'ang in English, Haywen in Chinese and dated 65

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

唐海文 人物像 1965 彩墨 紙本 70 x 50 cm 簽名右下：T'ang 海文 65

192

WU Dayu

(Chinese, 1903-1988)

Untitled 1930 Crayon on paper 14.5 x 10 cm (x3)

160

吳大羽 PROVENANCE: Tina Keng Gallery, Taipei

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

無題 1930 蠟筆 紙本 14.5 x 10 cm (x3) 來源： 大未來耿畫廊，台北

193

SHA Qi

(Chinese, 1914-1997)

Female Country Teacher Oil on canvas 36 x 26 cm Signed lower right Sha Qi in Chinese

This painting is to be sold with a picture of the artist holding the painting.

NT$ 500,000-800,000 US$ 16,700-26,700 HK$ 132,000-211,000

沙耆 鄉村女老師 油彩 畫布 36 x 26 cm 簽名右下：沙耆 附藝術家與作品合影照片

194

CHEN Bo

(Chinese, b. 1973)

Bruce Lee 2008 Oil on canvas 200 x 300 cm Signed upper right Chen Bo in Chinese and dated 2008 PROVENANCE: Chinablue Gallery, Beijing

NT$ 700,000-900,000 US$ 23,300-30,000 HK$ 184,000-237,000

陳波 李小龍 2008 油彩 畫布 200 x 300 cm 簽名右上：陳波 2008 來源： 環碧堂畫廊，北京

162

195

YIN Qi

(Chinese, b. 1962)

An Armchair and A Chair 2007 Oil on canvas 210 x 180 cm Signed on the reverse YIN QI in Chinese and English, titled An Armchair and A Chair in Chinese and dated 2007

NT$ 700,000-900,000 US$ 23,300-30,000 HK$ 184,000-237,000

尹齊 椅子和椅子 2007 油彩 畫布 210 x 180 cm 簽名畫背：椅子和椅子 2007 尹齊 YIN QI

164

196

XIONG Yu

(Chinese, b. 1975)

Falling Flesh 2004 Oil on canvas 200 x 100 cm Signed lower right Xiong Yu in Chinese and dated 2004 Signed on the reverse Xiong Yu and titled Falling Flesh in Chinese, inscribed 200 x 100 cm and dated 2004

NT$ 950,000-1,500,000 US$ 31,700-50,000 HK$ 250,000-395,000

熊宇 沉沒的肉體 2004 油彩 畫布 200 x 100 cm 簽名右下：熊宇 2004 簽名畫背：《沉沒的肉體》熊宇 2004 200 x 100 cm

166

197

GAO Yu

(Chinese, b. 1981)

Singing Stars 2009 Acrylic on canvas 100 x 100 cm Signed on the reverse Gao Yu and titled Singing Stars in Chinese, inscribed acrylic on canvas in Chinese, 100 x 100 cm, and dated 2009

EXHIBITED: Gao Yu - Singing Stars, Primo Marella Gallery, Milan, April 4 - May 23, 2009 NT$ 950,000-1,700,000 US$ 31,700-56,700 HK$ 250,000-447,000

高瑀 會唱歌的星星 2009 壓克力 畫布 100 x 100 cm 簽名畫背：《會唱歌的星星》 100 x 100 布面丙烯 2009 高瑀 展覽： 「高瑀：會唱歌的星星」，瑪蕊樂畫廊，米 蘭，展期自2009年4月4日至5月23日

168

198

ZHOU Chunya (Chinese, b. 1955)

The Flower Beside the Rock

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。

1998 Oil on canvas 53 x 46 cm Signed lower right Zhou Chunya in Chinese and dated 1998 ILLUSTRATED: Zhou Chunya, Timezone 8, Hong Kong, May 2010, color illustrated, p. 275

NT$ 1,000,000-2,000,000 US$ 33,300-66,700 HK$ 263,000-526,000

周春芽 岩邊花 1998 油彩 畫布 53 x 46 cm 簽名右下：1998 周春芽 圖錄： 《周春芽》，東八時區，香港，2010年5 月，彩色圖版，頁275

170

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《岩邊花》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

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 "The Flower Beside the Rock", 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”.

199

Carrie CHAU (Wun-Ying CHAU)

(Hong Kong, b. 1979)

Totem Pillar 2008 Acrylic on canvas 105 x 50 cm (x3) Signed lower right chau, titled Love Tree in English and dated 08 oct (left) Signed lower right chau and titled The Heart in English and dated 2008 (center) Signed lower right chau and titled The Planet in English and dated 2008 (right)

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 316,000-579,000

鄒蘊盈 圖騰柱 2008 壓克力 畫布 105 x 50 cm (x3) 簽名右下：Love Tree chau 08 oct. (左) 簽名右下：The Heart chau c. 2008 (中) 簽名右下：The Planet chau c 2008 (右) Indigo Child 聽起來很怪啊! 您會在想，那是一個擁有水漾漾藍色大眼 睛的小孩，還是吃錯東西中了毒的小孩 呢？ 其實，這個小孩，是一個關於外星人的傳 說，話說外星文明為了挽救因人類損耗過 度而患上重病的地球，研究了一項軟件。 他們紛紛自七十年代後期，來到地球，悄 悄把這軟件PLUG-IN入人類BB腦袋中，令 BB長大後擁有新的思維，從而改變人類舊 有的生活模式和思考態度。令地球漸趨美 好，因此得救。

172

這群深藍色小孩，都有著些共同特徵，他 們滿腦子白日夢，古靈精怪，機靈敏感， 愛大自然花草樹木小動物，擁有一雙大而 清澈的眼睛和高貴的深藍色光環。最重要 的，他們都是人類通往未來的橋樑。 今天，這群小孩散佈世界，已經長大成人 了。 如果您相信這個傳說，有沒有想過，您也 可能是深藍色小孩，身負重任，只是您一 直未察覺？（鄒蘊盈） “Indigo Child”- It sounds so weird!

You would probably think that this is a child with beautiful indigo-blue eyes or a child who got poisoned?!

In fact, “Indigo Child” is the legend from another planet. The alien came to save the earth in late 70s by plugging-in a new programme into the brains of human babies. This was a programme to bring in a new set of thinking and values of human beings to the earth. When the babies grow up, they become indigo children and they are here to mash down old systems that no longer serve us, make the world into a safer and more secure place.

All Indigo children share some commonalities, they love to dream, highly sensitive and clairvoyant. They love their environment and little animals. They all have large and penetrating eyes and an elegant indigo-blue aura around them. The most important is they have connected human beings to the future.

Today, these children have grown up and lived all over the world.

If you believe in this legend, you may be one of them. You may just not be aware of the great responsibility awaiting for you. (Carrie Chau)

200

LU Hao

(Chinese, b. 1969)

Landscape Series No. 17 2007 Ink and color on silk 118 x 120 cm Signed right side Lu Hao in Chinese and dated 2007 EXHIBITED: Langscape: Lu Hao, Beijing Commune, Beijing, March 1 - April 15, 2008

NT$ 1,500,000-2,500,000 US$ 50,000-83,300 HK$ 395,000-658,000

盧昊 風景系列之十七 2007 彩墨 絹 118 x 120 cm 簽名右側：盧昊 2007年 展覽： 「風景：盧昊個展」，北京公社，北京，展 期自2008年3月1日至4月15日

174

201

HUANG Gang (Chinese, b. 1961)

Beijing Memory No. 2 2007 Mixed media on board 108 x 246.5 cm Signed lower right Huang Gang in English and Chinese, dated 2007 ILLUSTRATED: Huang Gang: Revolving Golden Imprint, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 110-111

NT$ 2,200,000-3,200,000 US$ 73,300-106,700 HK$ 579,000-842,000

黃鋼 北京記憶 No. 2 2007 綜合媒材 木板 108 x 246.5 cm 簽名右下：Huang Gang 黃鋼 2007 圖錄： 《黃鋼─轉動黃金印記》，藏新藝術有限 公司，台北，2008，彩色圖版，頁110-111

176

202

XIA Junna

(Chinese, b. 1971)

Flowers Talk 1999 Oil on canvas 160 x 130 cm Signed lower right XJN in English and dated 99

NT$ 2,300,000-3,300,000 US$ 76,700-110,000 HK$ 605,000-868,000

夏俊娜 花解語 1999 油彩 畫布 160 x 130 cm 簽名右下：XJN 99

178

203

HUANG Gang (Chinese, b. 1961)

Golden Mandara 1999 Mixed media on board 182 x 182 cm Signed lower right Huang Gang in English and Chinese, inscribed Beijing in Chinese

NT$ 2,400,000-3,600,000 US$ 80,000-120,000 HK$ 632,000-947,000

黃鋼 金色曼陀羅 1999 綜合媒材 木板 182 x 182 cm 簽名右下：Huang Gang 黃鋼 北京

180

204

ZHOU Chunya

如溫潤祥和的血脈。畫家用薄塗的鮮豔色 彩，加上浮雕一般的筆觸，賦予了石頭生 命，以及一種靈性的感覺。畫面背離古典 趣味的優雅與文弱，反映了畫家對傳統難 以言喻的複雜心智。

(Chinese, b. 1955)

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

NT$ 2,600,000-3,600,000 US$ 86,700-120,000 HK$ 684,000-947,000

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

山石一直都是中國繪畫的傳統題材。從 1990年開始，周春芽借助新的繪畫技巧 詮釋中國的山石，即創作出一系列的「山 石」作品。與傳統繪畫不同的是周春芽畫 筆下的山石表面總是被一層奇怪的增生組 織覆蓋。石頭的顏色很特殊，與自然有所 不同。周春芽的一段創作自述，說明他的 石頭主題：「我畫石頭並不是出於圖像或 符號的考慮，完全是由於趣味。我喜歡古 典文人筆下石頭的形態，但不滿足於那種 過於溫和、內向的性格，我想到一種張揚 而冒險的嘗試—借助這種典雅的形態去傳 達一種暴力甚至是色情的意味。」 作品用玫瑰紅和黑色網底烘托，其表面籠 罩一種混沌莫辨的氛圍，呈現繁複多變的 視覺因素的混合，恍惚之間感覺像肉身，

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Rock has always been a traditional subject in Chinese painting. In 1990, Zhou Chunya began using new painting techniques for Chinese stones, creating the "Rock Series".The colors of these rocks were very unique, a departure from the colors seen in nature. The artist says, “I’m not painting rocks out of consideration for images or icons; it is out of interest. I liked the forms of rocks from the brushes of the literati, but wasn’t satisfied with that overly moderate, introspective character, so I thought up a bold and risky experiment – to use that elegant form to convey violent, even erotic overtones.”

The work uses rose red with black shading, with the surface shrouded in a murky haze, creating a complex and dynamic mixture of visual elements. Sometimes it looks like a chunk of flesh or warm, delightful blood vessels. The artist has used light coatings of fresh bright colors, along with relief-style brushstrokes, breathing life into the rock and the sense of a soul. The picture is a departure from the elegance and delicacy of classical tastes, a reflection of the artist’s complex ideas regarding tradition.

205

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Underarm Strike 1996 Stone (unique) 26(L) x 13(W) x 31.5(H) cm Engraved Ju Ming in Chinese and dated '96 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 1,800,000-2,600,000 US$ 60,000-86,700 HK$ 474,000-684,000

朱銘 太極系列─十字手 1996 石雕（單一件） 26(長) x 13(寬) x 31.5(高) cm 簽名雕刻：朱銘 '96 附真善美畫廊開立之原作保證書

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206

JU Ming

(Taiwanese, b. 1938)

Chess (32 pieces) 1988 Bronze, edition of 50 6.9(L) x 3.9(W) x 9(H) cm (Chess) 73(L) x 89(W) x 7(H) cm (Chess board) Engraved Ju Ming in Chinese (all pieces) EXHIBITED: Chess, organized by China Times in association with Howard Hotel, Howard Hotel, Taipei, 1988 This sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 316,000-579,000

朱銘 歷史人物象棋（一套32件） 1988 銅雕 限量版次50 6.9(長) x 3.9(寬) x 9(高) cm （棋子） 73(長) x 89(寬) x 7(高) cm （棋盤） 簽名雕刻：朱銘（每件皆有） 展覽： 「象棋大展」，中國時報主辦，福華飯店協 辦，福華飯店，台北，1988 附敦煌畫廊開立之原作保證書

186

207

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Arch 1996 Bronze, edition no. 43/50 23(L) x 12(W) x 11.5(H) cm Engraved Ju Ming in Chinese and numbered 43/50 This sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 145,000-197,000

朱銘 太極系列─健康之門 1996 銅雕 43/50 23(長) x 12(寬) x 11.5(高) cm 簽名雕刻：朱銘 43/50 附敦煌畫廊開立之原作保證書

188

208

HUNG Yi

(Taiwanese, b. 1970)

Lucky Tiger 2009 Baked enamel on steel plate, edition no. 1/6 100(L) x 153(W) x 124(H) cm Signed Hung Yi in Chinese, numbered 1/6 and dated 2009

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 145,000-197,000

洪易 福虎 2009 鋼板烤漆 1/6 100(長) x 153(寬) x 124(高) cm 簽名：洪易1/6 2009

190

209

XU Na

(Chinese, b. 1968)

Teapot and Pipe (double-sided) Oil on board 40 x 40 cm Signed lower right Na in English

NT$ 200,000-300,000 US$ 6,700-10,000 HK$ 53,000-79,000

許那 壺與煙斗（雙面畫） 油彩 木板 40 x 40 cm 簽名右下：Na

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210

XUE Song

(Chinese, b. 1965)

Star-Beauty 2006 Mixed media on canvas, collage 60 x 60 cm Signed lower right Xue Song in English Signed on the reverse Xue Song in Chinese and English, titled Star-Beauty in Chinese, inscribed 60 cm x 60 cm and dated 2006

NT$ 200,000-400,000 US$ 6,700-13,300 HK$ 53,000-105,000

薛松 星美人 2006 綜合媒材 畫布 拼貼 60 x 60 cm 簽名右下：Xue Song 簽名畫背：《星美人》60cm x 60cm 薛松 Xue Song 2006

211

TSENG Ching-kan (Taiwanese, b. 1958)

曾清淦

Indoor, Small Animals 1992-1993 Oil on canvas 115 x 91 cm Signed lower center Kan in Chinese Signed on the reverse Tseng Ching-kan and titled Indoor, Small Animals in Chinese and dated 1992-1993

194

室內，一些小動物 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 200,000-400,000 US$ 6,700-13,300 HK$ 53,000-105,000

1992-1993 油彩 畫布 115 x 91 cm 簽名中下：阿淦 簽名畫背：曾清淦 1992-1993 室內，一些小 動物 附印象畫廊開立之原作保證書

212

LUO Fahui

(Chinese, b. 1961)

Big Flower 2006 Oil on canvas 150 x 159 cm Signed lower right LUO Fahui in English and dated 2006

NT$ 220,000-400,000 US$ 7,300-13,300 HK$ 58,000-105,000

羅發輝 花 2006 油彩 畫布 150 x 159 cm 簽名右下：2006 LUO Fahui

213

HUA Qing

(Chinese, b. 1962)

Communication 2008 Oil on canvas 162 x 145 cm Signed center right Hua Qing in Chinese and dated 2008

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 79,000-132,000

2008 油彩 畫布 162 x 145 cm 簽名中右：華慶 2008

196

華慶 交流

214

MAO Huaiqing

毛懷清 木偶

(Chinese, b. 1964)

Puppet 1999 Oil on canvas 162 x 130 cm Signed lower right Huaiqing in Chinese and dated 99.5 PROVENANCE: Cetus Gallery, Shanghai

EXHIBITED: Shanghai Art Fair, Shaghai, September 9-13, 2009

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

1999 油彩 畫布 162 x 130 cm 簽名右下：懷清 99.5 來源： 海鯨畫廊，上海 展覽： 「上海藝術博覽會」，上海，展期自2009年 9月9日至9月13日

215

LI Jisen

(Chinese, b. 1970)

Moths' Story No. 18 2004 Oil on canvas 160 x 104 cm Signed lower right Li Jisen in Chinese and dated 2004 This painting is to be sold with a certificate of authenticity issued by Wan Fung Art Gallery, Beijing.

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 79,000-132,000

李繼森 飛蛾的故事 No. 18 2004 油彩 畫布 160 x 104 cm 簽名右下：李繼森 2004 附雲峰畫苑開立之原作保證書

198

216

HONG Ling

洪凌 蓮

(Chinese, b. 1955)

Lotus 1989 Oil on canvas 100 x 100 cm Signed lower left Ling in Chinese and dated 89.7

PROVENANCE: Private collection, UK (acquired directly from the artist in 1989 by the owner’s late father)

1989 油彩 畫布 100 x 100 cm 簽名左下：凌 89.7

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 79,000-132,000

來源： 私人收藏，英國（現有收藏者的父親於1989 年直接得自藝術家）

217

JAN Chin-shui (Taiwanese, b. 1953)

Fall Scenery 2007 Mixed media on canvas 97 x 130 cm Signed lower right Chin-shui in Chinese and dated 2007 Signed on the reverse Jan Chin-shui and titled Fall Scenery in Chinese, inscribed 60F and dated 2007

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

200

詹金水 高原秋色 2007 綜合媒材 畫布 97 x 130 cm 簽名右下：金水 2007 簽名畫背：詹金水 2007年 60F 高原秋色

218

HONG Ling

洪凌 抽象

(Chinese, b. 1955)

Abstract 1989 Oil on canvas 87 x 204 cm Signed lower right Hong Ling in Chinese and dated 89.5

PROVENANCE: Private collection, UK (acquired directly from the artist in 1989 by the owner’s late father)

1989 油彩 畫布 87 x 204 cm 簽名右下：洪凌 89.5

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

來源： 私人收藏，英國（現有收藏者的父親於1989 年直接`得自藝術家）

219

T'ANG Haywen (T'ANG Then Phuoc)

(Chinese-French, 1927-1991)

Abstraction Ink and color on paper 70 x 100 cm

唐海文 NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

202

抽象 彩墨 紙本 70 x 100 cm

220

LI Xinping

(Chinese, b. 1973)

Basking in the Wind 2008 Oil on canvas 150 x 95 cm Signed lower right XIN PING in English

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 118,000-171,000

李新平 沉醉在風中 2008 油彩 畫布 150 x 95 cm 簽名右下：XIN PING

221

WANG Kai

(Chinese, b. 1980)

Beauty 2007 Oil on canvas 150 x 200 cm With one seal of the artist Signed on the reverse Wang Kai, titled Beauty in Chinese, inscribed oil on canvas in Chinese, 150 x 200 cm and dated 2007

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

204

王凱 美人 2007 油彩 畫布 150 x 200 cm 鈐印右下：王 簽名畫背：《美人》 王凱 2007年 布面油畫 150 x 200 cm

222

CAO Jingping (Chinese, b. 1972)

Lover 2 1996 Acrylic on canvas 180 x 150 cm Signed lower left Cao Jingping in Chinese and dated 96.5

Signed on the reverse Cao Jingping and titled Lover 2 in Chinese

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

曹靜萍 情人之二 1996 壓克力 畫布 180 x 150 cm 簽名左下：曹靜萍 96.5 簽名畫背：《情人之二》曹靜萍

223

CHEN Ting-shih (Taiwanese, 1916-2002)

Abstract 1977 Acrylic on paper 144 x 72 cm Signed lower left CHEN Ting-shih in Chinese and English, dated 1977 in Chinese With one seal of the artist

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 118,000-171,000

陳庭詩 抽象 1977 壓克力 紙本 144 x 72 cm 簽名左下：陳庭詩 一九七七年 CHEN Ting-shih 鈐印左下：陳

206

224

TSONG Pu

(Chinese, b. 1947)

Untitled 1990 Oil on paper 35 x 25 cm (x10)

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 118,000-171,000

莊普 無題 1990 油彩 紙本 35 x 25 cm (x10)

225

HUANG Gang (Chinese, b. 1961)

Fortune, Prosperity, Longevity and Happiness 2007 Mixed media on board 124 x 88 cm Signed lower right Huang Gang in English and Chinese

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 145,000-197,000

黃鋼 福祿壽喜 2007 綜合媒材 木板 124 x 88 cm 簽名右下：Huang Gang 黃鋼

208

226

JI Dachun

(Chinese, b. 1968)

Exit 2001 Oil on canvas 110 x 110 cm Signed upper center Dachun in Chinese ILLUSTRATED: I've Seen it All: Jidachun, Aura Gallery, Shanghai, 2002, color illustrated, p. 4

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 158,000-211,000

季大純 出口 2001 油彩 畫布 110 x 110 cm 簽名上方：大純 圖錄： 《我全都看見了：季大純》，亦安藝術，上 海，2002，彩色圖版，頁4

227

CHEN Shuxia (Chinese, b. 1963)

Vibration 2005 Oil on canavs 190 x 120 cm Signed upper left Shuxia in Chinese and dated 2005 Signed on the reverse Chen Shuxia, titled Vibration in Chinese, inscribed oil on canvas in Chinese, 190 x 120 cm and dated 2005 EXHIBITED: The Virtual and the Actual: Chen Shuxia Oil Paintings Exhibition, National Art Museum of China, Beijing; Shanghai Art Museum, Shanghai, 2006 China International Gallery Exposition, Beijing, 2006

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 158,000-211,000

陳淑霞 迴盪 2005 油彩 畫布 190 x 120 cm 簽名左上：淑霞 2005 簽名畫背：回蕩 190 x 120 c m 布面油畫 2005 陳淑霞 展覽： 「虛實兩境—陳淑霞油畫展」，中國美術 館，北京、上海美術館，上海，2006 「中國國際畫廊博覽會」，北京，2006

210

228

Chang-Ling

(Taiwanese, b. 1975)

Shout from Asia 2008 Bronze, edition no. 9/12 25(L) x 25(W) x 54(H) cm Engraved CL in English, numbered 9/12 and dated 2008 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 80,000-160,000 US$ 2,700-5,300 HK$ 21,000-42,000

常陵 黃孩子的吶喊 2008 銅雕 9/12 25(長) x 25(寬) x 54(高) cm 簽名雕刻：CL 2008 9/12 附印象畫廊開立之原作保證書

212

229

CHANG Tai-he (Chinese, b. 1963)

Red Series 2007 Painted fiberglass, edition no. 7/8 35(L) x 18(W) x 64.5(H) cm Signed Chang tai he in Chinese and English, numbered 7/8

NT$ 80,000-120,000 US$ 2,700-4,000 HK$ 21,000-32,000

常太和 紅色系列 2007 玻璃纖維 烤漆 7/8 35(長) x 18(寬) x 64.5(高) cm 簽名：常太和 Chang tai he 7/8

230

KEA

(Taiwanese, b. 1980)

Punk Penguin 2010 Bronze, edition no. 7/8 42(L) x 36(W) x 67(H) cm Signed KEA in English, numbered 7/8 and dated 2010 EXHIBITED: S t a y R e a l F o r e v e r, M u s e u m o f Contemporary Art, Shanghai, June 10 July 12, 2010

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 32,000-58,000

KEA 傻瓜龐克 2010 銅雕 7/8 42(長) x 36(寬) x 67(高) cm 簽名：KEA 7/8 2010 展覽： 「純真年代」，上海當代藝術館，上 海，展期自2010年6月10日至7月12日

214

231

Howard CHEN (Taiwanese, b. 1971)

Dog in Tacks No. 1 2009 Thumbtacks on resin, edition no. 1/8 84(L) x 44(W) x 86(H) cm Signed Howard Chen and titled Dog in Tacks in Chinese, numbered 01 and dated 2009 This sculpture is to be sold with a certificate of authenticity issued by the artist.

NT$ 140,000-280,000 US$ 4,700-9,300 HK$ 37,000-74,000

陳浚豪 大刺獸 No. 1 2009 圖釘 樹脂 烤漆 1/8 84(長) x 44(寬) x 86(高) cm 簽名：陳浚豪 大刺獸 #01 2009 附藝術家開立之原作保證書

232

REN Zhe

(Chinese, b. 1983)

Drive Straight 2005-2008 Bronze, edition no. 9/12 65(L) x 35(W) x 56(H) cm Engraved Ren in Chinese, RZ Zhe in English and numbered 9/12

NT$ 180,000-280,000 US$ 6,000-9,300 HK$ 47,000-74,000

任哲 長驅直入 2005-2008 銅雕 9/12 65(長) x 35(寬) x 56(高) cm 簽名雕刻：9/12 任 RZ Zhe

216

233

JIAO Xingtao (Chinese, b. 1970)

焦興濤

Yellow Arrow

2005 玻璃纖維 8/10 29(長) x 28(寬) x 32(高) cm 簽名底部：焦興濤 8/10

2005 Fiberglass, edition no. 8/10 29(L) x 28(W) x 32(H) cm Signed at the bottom Jiao Xingtao in Chinese and numbered 8/10 EXHIBITED： Matter Morphosis - Jiao Xing Tao Solo Sculpture Exhibition, Art Seasons Beijing, Beijing, 2007 (another edition) Jiao Xing Tao Solo Exhibition, Hongkong Arts Centre, Hong Kong, 2007 (another edition)

黃箭

ILLUSTRATED: Matter Morphosis By Jiao Xingtao, Art Seasons Beijing, Beijing, 2007, color illustrated, p. 71

展覽： 「物語：焦興濤雕塑作品展」，季節畫廊， 北京，2007（其他版次） 「焦興濤個展」，香港藝術中心，2007（其 他版次）

NT$ 200,000-300,000 US$ 6,700-10,000 HK$ 53,000-79,000

圖錄： 《焦興濤雕塑作品集》，季節畫廊，北京， 2007，彩色圖版，頁71

234

CHENG Kuang-pai (Taiwanese, b. 1962)

Forest of Blazing Trees 2010 LED light installation with pure copper and Liuli 166 x 100 cm Signed Cheng Kuang-pai in Chinese

NT$ 300,000-400,000 US$ 10,000-13,300 HK$ 79,000-105,000

乘光白 火樹森林 2010 純紅銅 琉璃 LED光源 166 x 100 cm 簽名：乘光白 銅身火樹森林有古岩的縐褶 正唱著豐富的情感起伏 收斂的燃燒力度 在奔放中仍保有靜謐 光螢如紗籠星雲似閃綢 —乘光白

The bronze blazing forest bears the ripples of ancient stone Rising in song rich with emotion.

The reserved power of the blaze Maintains poise in its galloping rush The light is like a sash, the stars like glittering silk -Cheng Kuang-pai

218

235

HUNG Yi

(Taiwanese, b. 1970)

The Tortoise and the Hare 2009 Baked enamel on steel plate and granite, edition no. 2/9 70(L) x 86(W) x 119(H) cm Signed on the hare's foot Hung Yi in Chinese, numbered 2/9 and dated 2009 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 92,000-118,000

洪易 龜兔賽跑 2009 鋼板烤漆 花崗岩 2/9 70(長) x 86(寬) x 119(高) cm 簽名兔腳：洪易 2/9 2009 附藝術家簽名之原作保證書

220

236

QU Guangci (Chinese, b. 1969)

Even Pets Ascend to Heaven with Taoist Immortal 2006 Bronze, edition no. 6/7 56(L) x 56(W) x 83(H) cm Signed on the base Guangci in Chinese, numbered 7-6 and dated 2006 Provenance: Aura Gallery, Hong Kong

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

瞿廣慈 雞犬升天 2006 銅雕 6/7 56(長) x 56(寬) x 83(高) cm 簽名底座：7-6 廣慈 2006 來源： 亦安畫廊，香港

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237

Yuyu YANG

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

Landscape 1972 Bronze, edition no. 19/20 96(L) x 22(W) x 25.5(H) cm Engraved Yuyu YANG in English, Ying-feng in Chinese, inscribed Taipei in Chinese, numbered 19/20 and dated '72 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 92,000-145,000

楊英風 山水 1972 銅雕 19/20 96(長) x 22(寬) x 25.5(高) cm 簽名雕刻：Yu y u YA N G 英風作 '72 台北 19/20 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

238

PARK Seung Mo (Korean, b. 1969)

Venus 2004 Fiberglass, mold, aluminum wire 38(L) x 40(W) x 110(H) cm

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 118,000-145,000

朴勝模 維納斯 2004 玻璃纖維 鑄模 鋁線 38(長) x 40(寬) x 110(高) cm

224

239

Yuyu YANG

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

Moving Sleeve 1972 Bronze, edition no. 26/30 38(L) x 17(W) x 50(H) cm Engraved Ying-feng in Chinese, dated '72, inscribed Taipei in Chinese and numbered 26/30 ILLUSTRATED: Exhibition of Yuyu Yang's Art from 1961~1977, National History Museum, Taipei, 2000, color illustrated, pp. 94-95 (different sized version illustrated) Yuyu Yang Corpus, Artist Publishing Co., Taipei, 2005, color illustrated, p. 230 (different sized version illustrated) Yuyu Yang Vanguard on Native Soil, Kaohsiung Museum of Fine Arts, Kaohsiung; Yuyu Yang Artistic and Educational, Taipei, 2006, color illustrated, p. 147 (different sized version illustrated) This sculpture is to be sold with a certificate of authenticity issued by the Yuyu Yang Foundation, Taipei.

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

楊英風 水袖 1972 銅雕 26/30 38(長) x 17(寬) x 50(高) cm 簽名雕刻：英風 '72 台北 26/30 圖錄： 《楊英風六一至七七年創作特展》，國立歷 史博物館，台北，2000，彩色圖版，頁9495 （圖版為另一尺寸版本） 《楊英風全集第一卷》，藝術家出版社，台 北，2005，彩色圖版，頁230 （圖版為另一尺寸版本） 《楊英風：站在鄉土上的前衛》，高雄市立 美術館，高雄；財團法人楊英風藝術教育基 金會，台北，2006，彩色圖版，頁147 （圖版為另一尺寸版本） 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

240

Yuyu YANG

(YANG Ying-feng) (Tiawanese, 1926-1997)

Advent of the Phoenix III 1991 Stainless steel, edition no. 3/10 94(L) x 79(W) x 102(H) cm Engraved on the base Yuyu YANG in Chinese and English, Yang YF in English, numbered 3/10 and dated '91 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 118,000-171,000

楊英風 鳳凰來儀（三） 1991 不鏽鋼 3/10 94(長) x 79(寬) x 102(高) cm 簽名雕刻底座：'91 呦呦楊英風 Yuyu YANG Yang YF 3/10 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

226

241

Gabriel BARREDO (Philipino, b. 1957)

The Flock 2008 Rubber, fiberglass, aluminum, metal with electrical installation 83(L) x 45(W) x 95(H) cm This sculpture is to be sold with a certificate of authenticity issued by Soka Art Center, Taipei.

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 105,000-158,000

蓋伯瑞．博瑞多 聚集 2008 玻璃纖維 鋁 金屬 電動裝置 83(長) x 45(寬) x 95(高) cm 附索卡藝術中心開立之原作保證書

228

242

YANG Mao-lin (Taiwanese, b. 1953)

Black Ox Bodhisattva in Pure Land of Maha 2005 Bronze with gold foil, edition no. 3/6 68(L) x 44(W) x 132.5(H) cm Engraved Yang Mao-lin in Chinese, numbered 3/6 and dated 2005 ILLUSTRATED: Canonization of the Gods - The Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, pp. 34-35

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 132,000-184,000

楊茂林 摩訶極樂世界的黑牛菩薩 2005 銅雕 金箔 3/6 68(長) x 44(寬) x 132.5(高) cm 簽名雕刻：3/6 2005 楊茂林 圖錄： 《封神演義．摩柯．極樂世界》，大未來畫 廊，台北，2006，彩色圖版，頁34-35

229

Lots 101, 125, 132, 142

Lot 103

Lots 102, 112, 133, 139

SHIY De-jinn (Taiwanese, 1923-1981)

Walasse TING (Chinese-American, 1929-2010)

LI Chun-shan (Taiwanese, 1912-1984)

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. In 1975, 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.

Born in Wuxi, Jiangsu, China, raised in Shanghai where, he started as a street painter. Ting ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he formed close relationships with members of the CoBra group.

In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists.

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

Born in 1912, graduated from Tokyo University Department of Fine Arts, Western Paintings branch, Li joined a Japan progressive art group in Tokyo called the “Black Western Painting Society”, compiled and written the “The Paintings In The 20th Century” at the same year.

He taught at Hangzhou National Academy of Art from 1943 to 1946. In 1945, Li and Zao Wou-ki, Ding Yanyong, Guan Liang, Lin Fengmian, and Pang Xunqin attended the “Group Exhibition of Modern Paintings” in Chongqing. He came to Taiwan in 1949, taught at Taipei Chongshan Girls High School and National Changhua Girls Senior High School in order. He is also the founder of the “Progressive Art Research Group” in Taipei 1951; his student founded the “Ton Fan Group” in 1957. He attended the “China Modern Art Exhibition” in Italy, 1965, and acquired the golden duke award in the “Painting Educational category” presented by Taiwan Painting Society in 1982.

席德進 (台灣，1923-1981)

丁雄泉 (華裔美籍，1929-2010)

李仲生 (台灣，1912-1984)

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。

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

生於廣東，畢業於東京大學美術系西洋畫科。1935年加 入日本前衛美術團體-東京「黑色洋畫會」，並於同年 編寫《二十世紀繪畫總論》。1943至1946年間任教於杭 州藝專。1945年與趙無極、丁衍庸、關良、林風眠及龐 薰等畫家參加重慶「現代繪畫聯展」。1949年來台，先 後任教於台北第二女子中學及彰化女中。李氏於1951年 在台北開辦「前衛藝術研究室」，其學生於1957年組成 「東方畫會」。1965年參加義大利舉辦的「中國現代畫 展」。李氏於1982年獲台灣畫學會的「繪畫教育類」金 爵獎。

230

Lot 104

Lot 105

Lots 106, 138

Alixe FU (Taiwanese, b. 1961)

Liao Yu-an (Taiwanese, b. 1979)

John WAY (Chinese-American, b. 1921)

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 Auvers-sur-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.

Born in Taipei in 1979 and won the “Taipei Arts Award” in 2003, Liao Yu-an is a promising young artist in contemporary art. The making of his art is a deeply personal one, and the theme of alienation and isolation is beautifully described in his artworks. Liao has set about making art that begans as a voyage of self-exploration and self-discovery and is now a comment on the society in which he lives. He made for himself a theater of possibilities that has embraced deeply personal moments of his life and his insecurities, as well as some astute observation on the society in which he finds himself as a young artist. Being an emerging artist, Lao Yu-an already had several solo exhibitions., which including “I think what I am” ( Shin Leh Yu-an Art Space,Taipei , 2003) “Perplexity” (Absolutely SPP, Kaohsiung, 2004), “Drowse” (Butchart International Contemporary Art Space, Taipei, 2007), “Death Pretentious” (IT Park, Taipei, 2007), “Fondle Without Tenderness” (Asia Art Center, Taipei, 2008) .

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 with other wellacclaimed 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.

傅慶豊 (台灣，1961年生)

廖堉安 (台灣，1979年出生)

魏樂唐 (華裔美籍，1921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。

廖堉安生於台北市。2005年畢業於國立台南藝術大學造 形藝術研究所。廖的作品以自身形象與心理狀態為創作 題材，對都會人群的生活型態和人際互動關係的進行一 系列的描摹。他畫作中的人物之間瀰漫著濃稠的「疲憊 感」，溝通成為一種艱澀的行動，軟弱地再一次去嘗試 接觸與對話，而疲憊彷彿是個共通的經歷，凝聚著矛盾 而疏離的情感，靜靜的發散。儘管是一位藝術界的新 秀，但是廖堉安已經舉辦過多場個展，2003年的「自以 為是…」於台北的新樂園藝術空間；2004年的「不知所 措」於高雄的新濱碼頭舉辦。2007年「假寐」在台北的 布查國際當代藝術空間以及「活殺自在之術？」於伊通 公園舉辦。2008年「不溫柔的愛撫」於亞洲藝術中心。

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。

231

Lots 108, 217

Lots 107, 111

Lots 109, 120, 136

Michell HWANG (Taiwanese, b. 1948)

JAN Chin-shui (Taiwanese, b. 1953)

LIEN Chien-hsing (Taiwanese, b. 1962)

Born in Taiwan. First solo exhibition, Taiwan 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.

Born in Miao-li, Taiwan. Jan Chin-shui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the 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 exhi-bition of Chinese contemporary art in Shanghai in 1997. He has published four exhibition cat-alogues 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).

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 Dejinn 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".

黃銘哲 (台灣，1948年生)

詹金水 (台灣，1953年生)

連建興 (台灣，1962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。

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。出版有三本個人畫集。作 品收藏機構有國立藝術學院（今國立台北藝術大學）。

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」 。

232

Lots 110, 176, 182, 228

Lots 113, 177

Lot 114

Chang-Ling (Taiwanese, b. 1975)

CHENG Tsai-tung (Taiwanese, b. 1953)

Rieko SAKURAI (Japanese, b. 1977)

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 Taipei, and graduated from the World College of Journalism and Communications in Taipei. Active in the Taiwan art world during the 1980’s and the 1990’s, he created gloomy and reminiscent oil paintings. He held many exhibitions in Taiwan and abroad at places like the American Cultural Center, Taipei Fine Arts Museum, National Museum of History and received the Hsiung-Shih Award for Creativity in 1992. After the turn of the century, Cheng Tsai-tung relocated his studio to Shanghai to view the sights of Jiangnan and to capture their eternal beauty on canvas, and in turn became the first Taiwanese artist to formally develop his career in Shanghai.

Born in Ibaragi Prefecture, Rieko Sakurai graduated from the Painting Department of the Nagoya Art University in 1999. Selected exhibitions include: Expression in 00s 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.

常陵 (台灣，1975年生)

鄭在東 (台灣，1953年生)

櫻井理惠子 (日本，1977年生)

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。

台灣台北人。台北世界新聞專科學校畢業，活躍於二十 世紀80、90年代的台灣藝壇，以惆悵的傷逝與懷舊的文 人油畫，創作一系列膾炙人口的作品。1980年多次在海 內外舉辦個展及聯展：包括美國文化中心、台北市立美 術館、歷史博物館等。1992年榮獲雄獅美術創作獎。新 世紀之後，他將工作室遷往上海，親臨記憶中的江南， 繪寫亙古的千山萬水，成為台灣藝術家正式轉往上海發 展的第一位。

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」。

233

Lots 116, 122

Lot 115

Lots 117, 134

CHEN Ke (Chinese, b. 1978)

Tzu-chi YEH (Taiwanese, b. 1957)

CHIU Ya-tsai (Taiwanese, b. 1949)

Born in Tongjiang, Sichuan Province, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with an MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001.

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

Native of Meixian, Guangdong, Tzu-chi Yeh was born 1957 in Yuli, Hualien county, Taiwan. He 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 in the Institute of Fine Arts, City University of New York, Brooklyn, USA in 1989. After living in New York for nineteen years, he returned to settle in Hualien in 2006. Works have been participated in varies solo and group exhibitions at home and abroad, including the 1980 Asian Youth Art Exhibition held in Hong Kong, the Taipei American Cultural Center and the Westbeth Gallery in NY in 1987 and 1989 respectively. He was invited by the NY Choice Art Gallery to attend the joint exhibition named “The Day of Death” in 1989 and 1990. His recent solo exhibitions include the 2004 “Monologue – the Near and Far Away from Home” Eslite Gallery; 2007 “Through the Landscape of the Mind” Eslite Gallery; 2009 “Landscape Taiwan” Eslite Gallery. Yeh’s still life subjects from the “Soliloquy” series to the “Landscape Taiwan” series are the records of his inner feelings, realistic with symbolic metaphors, paintings are filled with personal touch, strong and unique in style.

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 modernday 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 androgynouslooking 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 well-known 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.

陳可 (中國，1978年生)

葉子奇 (台灣，1957年生)

邱亞才 (台灣，1949年生)

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

祖籍廣東梅縣，1957年生於台灣花蓮縣玉里鎮。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藝 術創作碩士。旅居紐約十九年，2006年返回花蓮定居。 作品多次參加國內外個展及聯展，包括1980年參加香港 舉行的亞洲青年畫展、1987年台北美國文化中心及1989 年紐約衛斯貝斯畫廊個展、1989與1990年均獲邀參加紐 約「抉擇美術館」之「死亡之日」邀請展。近期主要 個展：2004 年「獨白─離鄉之遠近」(誠品畫廊)；2007 年「走過風景的心情」(誠品畫廊)；2009年「風景�台 灣」(誠品畫廊)。葉子奇作品從靜物主題的「獨白」系 列至「風景�台灣」，都是他心情的記錄，寫實而帶有 隱喻的象徵，充滿了一種豐富的個人情懷，風格強烈而 獨特。

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。

234

Lots 119, 189 Lots 121, 137

Lot 118

LIU Kuo-sung (Taiwanese, b. 1932)

YANG Chihung (Taiwanese, b. 1947)

CHUANG Che (Taiwanese, b. 1934)

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.

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 immigrated 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. 2010 “Year, Time-YANG Chihung 40 Years of Painting” National Taiwan Museum of Fine Arts, Taichung; 2009 “Sculpting in time: YANG Chihung Solo Exhibition” National Dr. Sun Yatsen Memorial Hall, Taipei.

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.

劉國松 (台灣，1932年生)

楊識宏 (台灣，1947年生)

莊喆 (台灣，1934年生)

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。

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。曾在美國、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。2010年「歲月．流光—楊識 宏創作歷程40年回顧展」國立台灣美術館，台中 ; 2009 年「雕刻時光：楊識宏個展」國父紀念館，台北。

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。

235

Lot 126 Lots 123, 131, 151 Lots 124, 143

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

YANG San-lang (Taiwanese, 1907-1995)

LEE Ming-tse (Taiwanese, b. 1957)

Born in 1920 in Jiangsu, China. In 1935, Chu 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 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 Chichun 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.

Born in Kaohsiung, Lee was awarded the “Young Talent Award” by Hsiung Shih Art. The word “Changes”is a simple yet comprehensive word, can be often discovered in Lee’s paintings, like an unreality stun, without compulsive stresses, just a mild and free scurrility.

Neither Lee himself nor his paintings are complicated; there are no great philosophies in them, just a heart of innocence and the quietism, freedom from the “unobstructed mind” of Buddhism.

朱德群 (華裔法籍，1920年生)

楊三郎 (台灣，1907-1995)

李明則 (台灣，1957年生)

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 離台三十二年後第一次畫展。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。

生於高雄岡山，1969年開始接觸漫畫，進而學習繪畫， 1977年昆山中學高職部美工科畢業。1981年獲雄獅美術 「新人獎」。言簡意賅的「變」，在李明則的作品中， 經常不按邏輯地出現，一種跳脫現實的錯愕，卻沒有太 強迫性的壓力，而是溫和而自在的「超現實」。李明則 的人，李明則的畫，沒有諱莫如深的大道理，有的只是 一份單純的赤子之情和佛家「心無窒礙」的淡泊與自 在。

236

Lots 129, 130

Lot 127

Lot 128

LEE Ming-chung (Taiwanese, b. 1961)

PANG Jiun (Chinese, b. 1936)

SANYU (Chinese-French, 1901-1966)

Born in Taipei. he was studied in the Fine Arts Department of Chinese Culture University from 1981 to 1985.

In 2006, he graduated from Taipei National University of the Arts, Graduate School of Fine Arts, MFA. From 1994-2005, his artworks,”The Ant with Diamond Eyes”, “Please Stop Playing Tricks on Fool’s Day” and “An Evening just after Raining”, were collected by the Taipei Fine Arts Museum, DEOA and National Taiwan Museum of Fine Arts. Selected Group Exhibitions: “Hometowns and Flowing - Three Generations of Taiwanese Art” (2004,USA); “Scylla and Charybdis in Love: The Challenges Facing Contemporary Taiwanese Artist” (2005, Taipei, Taichung, Korea); “Macro Vision, Micro Analysis, Multiple Reflections - Contemporary Art in Taiwan since 1987” (2006, Taichung); he has held many solo exhibitions in Taiwan.

Born in Shanghai, Pang graduated from the Beijing Central Art Institute. For the next sixteen years, Pang’s works were widely exhibited in China. He has held solo exhibitions in Hong Kong Arts Centre since 1980 and also participated in the Biennial Exhibition of Contemporary Chinese Art in Hong Kong. Pang has also been a strong force in promoting fine arts education and has published books such as “Techniques for Oil Painting.”

Pang’s name has been included in several major publications of Who’s Who in the Contemporary Art World.

Pang’s works are held in numerous private and museum collections, including the Chinese Art Museum and Chinese History Museum in China, the Museum of Art in Mexico and the Taipei Fine Arts Museum, Taiwan.

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.

李民中（台灣，1961年生）

龐均 (中國，1936年生)

常玉 (華裔法籍，1901-1966)

生於台北。1981-1985年就讀中國文化大學美術系。 2006年畢業於台北藝術大學美術創作研究所碩士班。 1994-2005，其作品《有鑽石眼睛的螞蟻》、《在魚仁 結請時停止胡鬧》和《一個下雨後的傍晚》分別被台 北市立美術館、帝門教育基金會和國立台灣美術館收 藏。聯展：「原鄉與流轉─台灣三代美術」（2004， 美國）；「愛之維穀─台灣當代繪畫的迴旋曲式」 （2005，韓國）；「巨視．微觀．多重鏡反─台灣當代 藝術特展」（2006，台中）。並多次在台灣舉辦個人展 覽。

出生於上海。畢業於北京中央美術學院。1954-1980年 間參加七次全國美術展覽，八次北京美術展覽。80年代 起在香港藝術中心舉行個展，及「當代香港藝術雙年 展」，深獲好評。龐氏於藝術創作之餘，並積極推廣藝 術教育，著作《油畫技法哲學》等。1994年納入大陸出 版之《中國當代藝術界名人錄》，次年並列入《英國劍 橋世界名人錄》。龐氏作品廣為海內外美術館及私人珍 藏，包括：中國美術館、中國歷史博物館、墨西哥博物 館、台北市立美術館等。

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。

237

Lots 135, 242

Lots 140, 141

Lot 144

YANG Mao-lin (Taiwanese, b. 1953)

LI Chen (Taiwanese, b. 1963)

CHAO Chung-hsiang (Taiwanese, 1910-1991)

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 Mao-lin’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.

Li Chen was born in 1963. He has 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, Taoist scriptures, and even instills new contemporary thoughts, which provided a new creativity to Li Chen’s sculptures. Exhibitions: 2009 “Li Chen: Mind Body Spirit” Singapore Art Museum; 2008 “In Search of Spiritual Space” The National Art Museum of China in Beijing; 2007 “52nd International Art Exhibition – La Biennale di Venezia”, Venice, Italy; 2006 “Li Chen Sculpture” Taipei Art Fair, Taiwan.

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 teachers 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.

楊茂林 (台灣，1953年生)

李真 (台灣，1963年生)

趙春翔 (台灣，1910-1991)

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。

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。展覽：2009年新加坡國 家美術館戶外雕塑大展「李真：精神．身體．靈魂」 2008年北京中國美術館「尋找精神的空間」；2007年 「第52屆威尼斯雙年展─虛空中的能量」；2006年台北 國際藝術博覽會 「李真雕塑展」。

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館等。

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Lot 145

Lots 147, 152, 156

Lot 146

XU Jiang (Chinese, b. 1955)

CHEN Cheng-po (Taiwanese, 1895-1947)

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

Born in Fujian Province. Xu graduated from the Oil Painting Department of China Academy of Fine Arts in 1982 and attended advanced class in Hamburg Art Institute in Germany in 1988. His painting was selected into “6th National Fine Arts Exhibition”, “2nd China Oil Painting Exhibition” and attended “The First Shanghai Biennial Art Exhibition” in 1996. Xu held his first major solo exhibition “Vistas: The Art of Xu Jiang” at the National Art Museum of China in 2006. At the same year, the work “Black and White Tiles” attended 10th Venice Architecture Biennale. His selected exhibitions: 2009 “Sprint of Cultural Tradition – China Version”, Nanjing; 2010 “Construction Dimension - 2010 Chinese Contemporary Art Invitation Exhibition”, Beijing; 2011 “Deep Song of the Sunflower Garden - the Artworks of Xu Jiang”, Taipei.

After graduating from the Teaching Department of the Taipei Japanese School in 1917, he worked as primary school teacher. In 1923, Chen went to Japan and studied at the Tokyo Fine Arts Institute. While he was a student, Chen’s works were selected by the Imperial College of Fine Arts. Chen was sponsored by the Japanese government to study in France in 1897. Chen was in Mainland China from 1929 to 1933 and taught at several schools.

After returning to Taiwan. He co-founded the Taiyang Fine Arts Association. Chen devoted himself to painting until his death in 1947.

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.

許江 (中國，1955年生)

陳澄波 (台灣，1895-1947)

趙無極 (華裔法籍，1921年生)

出生於福建。1982年中國美術學院油畫系畢業，1988年 西德漢堡美術學院自由藝術系研修。作品曾入選「第六 屆全國美展」及「第二屆中國油畫展」，1996年參加首 屆上海雙年展。2006年在中國美術館舉辦首次大型個展 「遠望：許江的繪畫」，同年，作品《黑瓦．白瓦》 系列參加「威尼斯雙年展第10屆國際建築展」。其他 展覽：2009年「文脈精神．中國版本─2009當代藝術 展」，南京；2010年「建構之維─2010年中國當代藝術 邀請展」，北京；2011年「葵園深歌─許江作品展」， 台北。

自台北師範學校畢業後，在家鄉曾擔任小學教員的工 作。至1923年才赴日留學，並進入東京美術學校就讀習 畫，爾後又進入研究科專攻西畫。在日求學期間，作品 曾入選帝展，並於1929至1933年間居留於中國大陸，並 擔任多項職位。1933年，因台陽美術協會的籌備工作， 而決定返國。1947年遭遇「228事件」之政治迫害，而 被槍決。

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。

239

Lots 148, 155 Lots 149, 150, 205, 206, 207

Lot 153

LIAO Chi-chun (Taiwanese, 1902-1976)

JU Ming (Taiwanese, b. 1938)

WANG Huaiqing (Chinese, b. 1944)

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 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.

Born in Beijing, 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 Culture 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. A retrospective exhibition at Seattle Asian Art Museum was held in 2010. His paintings are sought after by major museums and private collectors.

廖繼春 (台灣，1902-1976)

朱銘 (台灣，1938年生)

王懷慶 (中國，1944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。

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。

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

240

得碩士學位。王懷慶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」。 2010年在美國西雅圖亞洲藝術博物館舉辦大型回顧展。 其作品廣為海內外重要美術館及企業收藏。

Lot 154

Lots 157, 158, 198, 204

Lot 159

CAI Guo-Qiang (Chinese, b. 1957)

ZHOU Chunya (Chinese, b. 1955)

ZHAN Wang (Chinese, b. 1962)

Born in 1957 in Quanzhou, Fujian, China. Cai graduated from the Shanghai Drama Institute in 1985, specializing in Stage Design. Cai now lives in New York. Cai is highly recognized by the international art world for his achievement in art. He was awarded the Golden Lyon Prize at “The 48th Venice Biennial” (1999); “Hiroshima Art Award” (2007, Japan); and he was appointed as committee member for the creativity of the Opening and Closing Ceremonies of the Beijing 2008 Olympic Games and chief visual designer. His works are in collections of world-famous art institutions and enterprises, such as Guggenheim Museum in New York, Metropolitan Museum of Art (New York), Venice Naval History Museum (Italy), Deutsche Bank collections (Germany) and Issey Miyake (Tokyo). The long list of Cai’s exhibitions includes the traveling exhibition “Inside Out: New Chinese Art” (1998), “International Currents in Contemporary Art” (1999, Spain); Whitney Museum of American Art “Biennial Exhibition” (2000, N.Y.); and he held solo exhibitions at world-wide famous art institutions such as Smithsonian Institute (2004, Washington D.C.); Metropolitan Museum of Art (2006, N.Y.); Deutsche Guggenheim (2006, Berlin).

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. In June 2010, he held his first retrospective in Shanghai Art Museum and also founded his new studio (incorporating a research institute and residential studios for visiting artists) in Shanghai. In the same year, he was named one of “Martell’s 2010 Artists of the Year”.

Born in Beijing, Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. In 1990, he started creating sculptures of Pure Realism. In 1991, he participated in the New Generation Art Exhibition. In 1992, he participated in Exhibition of Contemporary Young Sculptors. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics.

In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in “Moving Cities” Asian Contemporary Art Exhibition Tour. His works were published in World Sculptures: Eastern Section, 50 Years of Chinese Fine Arts, The Complete Treasury of Chinese Fine Arts, etc. He has issued an academic dissertation, Conceptual Sculpture - The Idea of Materialization. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore, etc.

蔡國強 (中國，1957年生)

周春芽 (中國，1955年生)

展望（中國，1962年生）

1957年生於中國福建泉州，1985年畢業於上海戲劇學院 舞台設計系。曾旅居日本多年，後於紐約定居至今。其 藝術成就備受國際藝壇重視，名聲斐然，屢獲殊榮包括 威尼斯第48屆雙年展「國際榮譽－金獅獎」（1999）、 「廣島藝術獎」（2007，日本廣島），並受委任為2008 年奧運開幕與閉幕儀的核心創意小組成員暨視覺設計總 監。其作品廣為國際知名藝術機構及藏家所收藏，如紐 約古根漢美術館、紐約大都會美術館、義大利威尼斯海 軍歷史博物館、德意志銀行藏館以及日本東京三宅一生 等企業。蔡國強參加過的展覽不計其數，如全球巡迴展 出的「蛻變與突破：中國新藝術」（1998）、「當代藝 術的國際新潮」（1999，西班牙）、惠特尼美國藝術雙 年展（2000，紐約）；也曾多次在國際知名藝術機構舉 辦個展，如華盛頓史密松博物館聯辦的「蔡國強–旅行 者」（2004）、紐約大都會美術館 （2006）、德國柏林 古根漢美術館（2006）。

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。2010年6月在上海美術館舉辦個人首次回 顧展，並於上海成立「周春芽藝術研究院」獲至成功與 好評。同年，在中國獲得「2010馬爹利非凡藝術人物」 的榮譽。

生於北京。1988年畢業於中央美術學院雕塑系， 1995年中央美術學院研究生班結業。1990年開始從 事超寫實主義雕塑創作，1991年參加新生代藝術 展，1992年參加當代青年雕塑家邀請展，1995年參 加北京─柏林藝術交流展，批評家年度提名入選， 1997年參加東京97中國當代藝術展，同年參加「移 動的城市」亞洲當代藝術巡迴展。作品曾被收入 《世界雕塑全集．東方部分》、《中國美術五十 年》、《中國美術全集》等，發表學術論文《觀念 性雕塑─物質化的觀念》。作品收藏於國內數家美 術館及美國芝加哥大學博物館，及瑞士、德國、美 國、新加坡等私人收藏。

241

Lots 160, 162

Lot 161

Lot 163

Takashi MURAKAMI (Japanese, b. 1962)

Mayuka YAMAMOTO (Japanese, b. 1964)

Ai HAIBARA (Japanese, b. 1981)

Born in Tokyo, Japan. Takashi Murakami received his P.h.D from Tokyo National University of Fine Arts and Music in 1993. His work is diverse and prolific; ranging from the coordination of GEISAI, collaborations with Roppongi Hills, Louis Vuitton, and Yuzu. Main solo shows: 2001 “Summon monsters? Open the door?

Heal? Or die?”, Museum of Contemporary Art, Tokyo; 2002“Kaikai Kiki: Takashi Murakami”, fondation Cartier, Paris. In 2007 he held a large-scale retrospective installation “©MURAKAMI” at the Museum of Contemporary Art, Los Angeles, CA; Brooklyn Museum, Brooklyn, NY; Museum für Moderne Kunst, Frankfurt, Germany. In September 2010, Murakami exhibited some of his works at the Palace of Versailles in France, filling 15 rooms with his sculptures.

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).

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).

村上隆 (日本，1962年生)

山本麻友香 (日本，1964年生)

灰原愛 (日本，1981年生)

出生於日本東京，1993年東京藝術大學大學院美術研究 科博士後期課程修了。村上隆作品豐富而多元，主辦藝 術活動「藝祭」，設計六本木之丘的公仔，並與LV及 柚子等企業合作。其主要的展覽包括：2001年「召喚或 開門或回復或全滅」，東京都現代美術館，東京；2002 年「Kaikai Kiki：村上隆」，卡地亞現代美術財團，巴 黎。以及2007年以洛杉磯現代美術館為始，巡迴布魯克 林美術館、法蘭克福現代藝術美術館、畢爾包古根漢 美術館等世界美術館舉辦大規模回顧展「©MURAKAMI」。並於2010年9月在法國凡爾賽宮舉辦個展，15個 房間內擺滿了村上隆的雕塑作品。

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）。

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）。

242

Lot 164

Lot 165

Lot 166

Hiroto KITAGAWA (Japanese, b. 1967)

I Wayan Sudarna PUTRA (Indonesian, b. 1976)

Tetsutaro KAMATANI (Japanese, b. 1979)

Born in 1967 in Otsu city, Shiga prefecture, Japan. Hiroto Kitagawa graduated from the Kanazawa College of Art in 1989 and Academy of fine Arts, Carrara, Italy in 1998, majoring in Sculpture. His works were presented in solo exhibitions held by Yoshiaki Inoue Gallery (2003; 2004; 2006; 2008, Osaka); by Spazio Consolo (Marella Arte Contemporanea) (2002, Milan); by Shinjuku Takashimaya Art Gallery (2007, Tokyo); by Tokyo Gallery + BTAP (2008, Tokyo) ; by Eslite Gallery (2009, Taipei). Some of the group shows he joined are: “Alternative Paradise” (2005, 21st Century Museum of Contemporary Art, Kanazawa); “ Art Fair Tokyo” (2005; 2007; 2008; 2009; 2010, Tokyo); “Japanimation” (2006, Tokyo Gallery + BTAP, Beijing); “Japanese Contemporary Arts” (2007, Gallery Sun Contemporary, Seoul); “Works in progress” (2007, Tokyo Gallery + BTAP, Beijing); “Figurative : Personified Shapes” (2008, Tsukuba Museum, Ibaraki); “Milestones” (2008, Tokyo Gallery + BTAP, Beijing); “Collection II shell – shelter” (2008, 21st Century Museum of Contemporary Art, Kanazawa).

Sudarna Putra was born in Ubud, Bali. He studied art from 1994 to 2004 in ISI Yogyakarta. He was awarded the prize for Best Painting at Dies Natalis ISI Yogyakarta and has been given the Phillip Morris award in 1999 in Jakarta. Solo exhibitions: 2010 “Unsung Hero” ,Yogyakarta ; 2006 “Metaphors About Space and Time” , Bali. Group shows: 2009 “Bali Spirit Festival”, Ubud; 2008 “Silence Celebration” , Ubud; 2007 “1+” , Jakarta.

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).

北川宏人 (日本，1967年生)

蘇達那．普托 (印尼，1976年生)

鎌谷徹太郎 (日本，1979年生)

北川宏人，1967年出生於日本滋賀縣大津市，1989年於 金澤美術工藝大學雕塑科畢業，1998年於義大利卡拉 拉藝術學院雕塑組畢業。其作品參加過多次個展，如 井上佳昭畫廊（2003、2004、2006、2008，大阪）、 舒適空間《瑪芮拉當代藝術》（2002，米蘭）、新宿 高島屋美術畫廊（2007，東京）、東京畫廊（2008， 東京）、誠品畫廊（2009，台北）。參加過的聯展有： 「另一個天堂」（2005，金澤21世紀美術館，金澤）、 「東京藝術博覽會」（2005、2007、2008、2009、 2010，東京）、「日本動漫」（2006，東京畫廊，北 京）、「日本當代藝術」（2007，S U N當代畫廊，首 爾）、「進行中之作」（2007，東京畫廊，北京）、 「魅惑之像」（2008，筑波美術館，日本茨城）、「里 程碑」（2008，東京畫廊，北京）、「典藏展II─殼」 （2008，金澤21世紀美術館，金澤）。

出生於峇里島烏布。1994年至2004年就讀爪哇日惹 市的印尼藝術大學。2004年獲選日惹印尼藝術大學 「誕生日」最佳畫作獎，1999年於雅加達獲頒菲 利浦．摩裡斯藝術獎。曾舉辦個展：2010「無名 英雄」，日惹；2006「時間與空間的隱喻」，日 惹。參加過的聯展有：2009「峇裡島性靈瑜伽音 樂節」，烏布；2008「沉默慶典」，烏布；2007 「1+」，雅加達。

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」 （2005 ，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）。

243

Lot 167

Lot 168

Lots 169, 170

Ayako ROKKAKU (Japanese, b. 1982)

Yoshitaka AMANO (Japanese, b. 1952)

KWON Ki Soo (Korean, b. 1972)

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 closeup. Rokkaku has won the prestigious Akio Goto Prize at Geisai # 9. Her works appeared in many solo exhibitions like shows held by Gallery Delaive (2007, Holland);

by Gallerie Moderne (2007, Denmark); by Galerie Teo (2007, Tokyo); by Gallerie Wild (2008, Germany); Juliana Gallery (2008, Korea). And she has joined several international art fairs such as “Art Cologne” (2007, Holland); “Shanghai Art Fair 2007”; “Art Singapore 2007”; “Art Fair Tokyo 2008”; “Art Amsterdam” (2008); “Art Taipei 2008”.

Born in 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.

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).

六角彩子 (日本，1982年生)

天野喜孝 (日本，1952年生)

權奇秀 (韓國，1972年生)

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。

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。

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年韓國美術館的「快樂工廠」、2004 年森美術館的「沉默的優雅－東亞近代美術」、2004年 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。

244

Lot 171 Lot 173 Lot 172

Hiroaki KANO (Japanese, b. 1983)

LEE Jae-hyo (Korean, b. 1970)

HAN Lei (Chinese, b. 1967)

Born in Yamagata prefecture, Japan. Hiroaki Kano graduated from the Art specialized study course at Tsukuba University, and received his P.h.D in 2010. His works have been shown in various exhibitions such as “Tokyo Wonder Seed” (2006, Tokyo); “Tokyo Wonder Wall” (2007, Museum of Contemporary Art Tokyo, Tokyo); “Hiroaki Kano’s works-garden-” (2008, Art Space Rashin, Tokyo); “Art Taipei” (2008, Taipei); “Tokyo Contemporary Art Fair” (2008, Tokyo); “Art Fair Tokyo” (2009, Tokyo); “Hiroaki Kano” (2010, Gallery Hirota Fine Art, Tokyo).

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).

Han Lei was born in Kaifeng, Henan Province in 1967, and graduated from the Book Arts Department of Central Academy of Fine Arts in 1989. The important largescale exhibitions he has attended and held include: 2008 “Photography by Han Lei”, Dusseldorf; 2007 “Renaissance of Photography by Han Lei”, Taiwan; 2006 “where is China? Photography by Han Lei”, Beijing; 2005 “Portraits: Han Lei” , Paris; 2004 “Photography

by Han Lei” , Shanghai; 2003 “strangeness: Photography by Han Lei”, Shanghai; 2002 “Dialogue, Beautiful And Tragic – Capital Museum” , Beijing; 2001 “Art Forum Berlin” , Berlin; 2000 “The City in 21st Century - Siemens Culture Project”, Frankfurt, Tokyo and New York; 1999 “Heartfelt: Contemporary Chinese Photography” , New York; 1998 “Railway And People”, San Francisco; 1996 “Alienation: Photography by Han Lei”, Beijing, Berlin and Helsinki; 1994 “The First Brussels Art Festival” , Belgium.

狩野宏明 (日本，1983年生)

李在孝 (韓國，1970年生)

韓磊 (中國，1967年生)

1983年出生於日本山形縣，2005年畢業於筑波大學藝術 專科，2010年博士後期課程修了。其作品參加過多次展 覽，如「東京奇蹟種子」（2006，東京）、「東京奇蹟 牆」（2007，東京都現代美術館，東京）、「狩野宏明 作品展－花園－」（2008，藝術空間指南針，東京）、 「台北國際藝術博覽會」（2008，台北）、「東京當代 藝術博覽會」（2008，東京）、「東京藝術博覽會」 （2009，東京）、「狩野宏明個展」（2010，廣田美術 畫廊，東京）。

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）、「五個空間與我， Moran美術館」（2007，韓國）、「第10屆釜山市立美 術館開幕展」（2008，韓國）。

1967年出生於河南開封。1989年畢業於中央工藝美術學 院書籍藝術系。參加和舉辦的重要大型展覽有：2008年 「韓磊攝影展」，杜塞爾多夫；2007年「2007 影像復 興：韓磊攝影展」，台灣；2006年「中國在哪裡？韓磊 攝影展」，北京；2005年「肖像：韓磊」，巴黎；2004 年「韓磊攝影展」，上海；2003年「 陌生：韓磊攝影 展」，上海； 2002年「對話，淒豔 首都博物館」，北 京；2001年「柏林藝術博覽會」， 柏林；2000年「21 世界的城市─西門子文化項目」， 法蘭克福 、東京、 紐約；1999年「心聲：當代中國攝影」，紐約；1998年 「鐵路與人」，舊金山1996年「疏離：韓磊攝影展」， 北京、柏林、赫爾辛基；1994年「第一屆布魯塞爾藝術 節」，比利時。

245

Lot 174 Lots 175, 211

Lot 178

GU Dexin (Chinese, b. 1962)

TSENG Ching-kan (Taiwanese, b. 1958)

XIA Yang (Chinese, b. 1932)

Born in Beijing, established the “Tactile Sensation Group” in 1987. He then suspended the activities of the “Tactile Sensation Group” and formed the “New Analysts Group” in 1988 with Chen Shaoping and Wang Luyan. Gu Dexin is an important member of New Analysts Group, the early conceptualism group in China. He is one of the artists from China participated in the First International Exhibition - Earth Magic in the Pompidou Center, Paris in 1989 accepted by the West. His art is centralized in a very pure way. Solo Exhibitions had been hold in Beijing and Shanghai in China; Switzerland and France.

Born in Taipei, Taiwan, Tseng graduated from Department of Fine Art oil paintings, Chinese Culture University in 1981; acquired master degree from Department of Fine Art, University of Michigan in 1989. Held “Life, Architecture, Order” solo exhibition in Dimensions Art Center in 1991. In 1992, his work was collected by Taipei Fine Arts Museum, held joint and solo exhibitions in Taiwan gallery, IT Park Gallery, Apartment #2 Taipei, Up Gallery and New Phase art gallery in the same year.

In 1994 exhibited “Discovering New Energy” in Hanart; TZ Gallery; “Persistence and Continuation” in Galerie Pierre, 1997; “The Worrier, The Bull and The Horse” solo exhibition in Dimension Endowment or Art in 1998; “Sketches of Attractions: Shadow Play” in Eslite Gallery, 2000; “Sounds of Silence” exhibition in HongGah Museum, 2001.

Born in rich family in Xiangxiang city, Hunan province in 1932. He grew up in Nanjing as an entrusted orphan due to the early death of his parents. He graduated from Nanjing Normal University in 1948, went to Taiwan in 1949 and started learning drawing under Professor Li Zhongsheng from 1951. In 1955, together with his painting friend, in total eight people, he created Eastern Arts Association in Taipei. In 1965, entered Ecole des BeauxArts de Paris for two years of further study, before moving to New York, US in 1968. In 1973, he joined O. K. Harris Works of Art and became its exclusive painter.

In 1992, he returned to Beitou of Taipei, and then has settled in Shanghai since 2002. In 1950’s, he took part in Sao Paulo Biennial, and then he got Taiwan National Literary Award, known as a pioneer for development of modern art of Taiwan. From 1965 to 2005, he has held, more than once, his solo painting exhibitions in Paris, New York, Taiwan and Shanghai.

顧德新（中國，1962年生）

曾清淦 (台灣，1958年生)

夏陽 (中國，1932年生)

生於北京。1987年成立觸覺藝術小組，並於1988年停止 觸覺藝術小組活動，與陳少平、王魯炎組建新刻度小 組，但於1995年新刻度小組解散。顧德新是中國早期概 念主義團體新刻度小組的重要成員，也是其中之一個中 國藝術家。參展：1989年參加當代法國龐畢度中心第一 個國際展覽「大地魔術師」，巴黎。當時已是被西方接 納的中國藝術家，他的藝術創作較集中以極為純粹的方 式來表達。

台灣台北人，1981年畢業於文化大學美術系西畫組， 1989美國密西根大學藝術系碩士。1991年於帝門藝術中 心舉辦個展「生命、建築、秩序」。1992年作品獲台北 市立美術館典藏，並於台灣畫廊、伊通畫廊、台北「2 號公寓」、阿普畫廊，及新生態藝術中心舉辦聯展及個 展，1994漢雅軒展「發現新能量」、1997臻品藝術中心 展「堅持與延續」、1998帝門文教基金會個展「武士， 野牛，馬」、2000誠品畫廊展「魅力素描展－捉影」、 2001鳳甲美術館展「大音希聲」等。

1932年生於湖南湘鄉的富裕之家，雙親早逝，被托孤並 成長於南京。1948年畢業於南京師範大學，1949年到台 灣，1951年隨李仲生教授習畫。1955年和畫友八人在台 北創立東方畫會。1965年進巴黎高等美術學校進修兩 年，1968年移居美國紐約。1973年入紐約O.K.哈里斯畫 廊成為其專屬畫家。1992年回北投，2002年定居上海。 他在50年代就參加了聖保羅雙年展，後來還得了台灣國 家文藝獎，被稱為台灣現代藝術發展先驅。1965年至 2005年間，在巴黎、紐約、台灣、上海舉辦多次個人畫 展。

246

Lot 179

Lot 180

Lot 181

YU Peng (Taiwanese, b. 1955)

YAO Jui-chung (Taiwanese, b. 1969)

CHEN Li (Chinese, b. 1975)

Yu did not enter to any art college and he did not want to submit himself to a formal artistic training. Yu learned painting under Chen Yi-keng, Teng Kuo-ching, and Li Chi-mao. Other inluences on Yu’s painting, include his woek in clay sculpting and puppetry, both interests since childhood. Yu held his solo and joint exhibition in Taipei in 1980 and since then he has held over twenty solo and joint exhibition in Taiwan and overseas. His works are in the collections of major museums and art galleries in Asia and the West, including the British Museum in London.

Yao Jui-chung was born in 1969 in Taipei. He graduated from The National Institute of The Arts (Taipei National University of the Arts) with a degree in Art Theory. In 1997, he represented Taiwan in “Facing Faces - Taiwan” at the Venice Biennale and took part in the International Triennale of Contemporary Art Yokohama in 2005. He also participated in numerous other large international exhibitions. Apart from working in the fields of theatre and film, he has taught art history, wrote art criticisms and curated exhibitions. He held solo exhibitions, “Wonderful” (2008, Geneva); “Everything will Fall into Ruin” (2006, Taipei); ”Elysium” (2003, UK). His works have been collected by the Taipei Fine Arts Museum, Taipei, Taiwan; the Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan; the National Taiwan Museum of Fine Arts, Taichung, Taiwan; Queensland Art Gallery, Brisbane, Australia; Herbert F. Johnson Museum of Art Collection, Cornell University, USA; Bibliothèque National de France, Paris (French National Library, Paris), and many private collectors.

Born in Guizhou Province, China, graduated from the Guizhou Art Institute, Guizhou in 1995; Graduated from the Fresco Department of the Central Academy of Fine Art, Beijing in 2000. Important Group Exhibitions: 2011 “Image of Women IX”, Hong Kong; 2010 “Supreme Ideals – Chen Brothers Exhibition”, Hong Kong; “SH Contemporary 10”, Shanghai; “Art HK 10 – Hong Kong International Art Fair”, Hong Kong; 2008 “The Chen Family”, Beijing; 2007 “Art Beijing”, Beijing; “Art London”, London; 2006 “MiArt, 11th International Modern and Contemporary Art Fair”, Milan, Italy; 2000 participated the designing of the fresco for the National Museum of Military, Beijing; Awards & Collections: 2007 “30 Top Finalists”, The Sovereign Art Foundation; 2005 “30 Top Finalists”, The Sovereign Art Foundation; 2000 Oil Painting “Civilization and Degradation” received Golden Academic prize, Central Academy of Fine Art, Beijing; 1999 Fresco “Human History” received the Golden Prize of the National Art Fair of Graduate Students, Beijing; 1998 Fresco work “Thirst for Peace” received the Excellence Prize and was collected by the Central Academy of Fine Art, Beijing; 1994 Drawing was collected by the Central Academy of Fine Art, Beijing.

于彭 (台灣，1955年生)

姚瑞中 (台灣，1969年生)

陳李 (中國，1975年生)

自小就對泥塑及傳統皮影戲產生濃厚興趣，對其日後畫 作構成極大的影響。由於不甘被傳統學院派所囿限，故 從未曾接受正統學院美術教育。于氏先後隨陳亦耕、鄧 國清及李其茂等老師學畫，1980年舉辦首次個展於台 北，之後於國內外參加展覽達二十多次。作品為東西方 主要美術館及畫廊收藏，包括大英博物館。

1969年生於台灣台北，1994年國立藝術學院（國立台北 藝術大學）美術系理論組畢業，曾代表台灣參加1997年 威尼斯雙年展、2005年橫濱三年展以及2009年亞太三年 展，海內外聯展百餘次，也曾從事過小劇場、電影、美 術史教學、藝術評論、策展等工作。個展：「忘德賦」 （2008，日內瓦）；「所有一切都將成為未來的廢墟」 （2006，台北）；「極樂天堂」（2003，英國）。作品 曾被台北市立美術館、高雄市立美術館、國立台灣美術 館、澳洲昆士蘭美術館、美國康乃爾大學美術館、法國 國家圖書館以及許多國內外私人單位典藏。

1975年生於貴州省。1995年畢業於貴州省藝術專科學 校；2000年畢業於中央美術學院壁畫系。重要聯展： 2011年「第九屆女性形象展」，香港；2010年「理想 至上—陳氏兄弟聯展」，香港；「上海藝術博覽會國 際當代藝術展」，上海；「A RT H K10 —香港國際藝 術展」，香港；「我們仨—余陳、陳餘和陳李三人聯 展」，北京；2007年藝術北京博覽會，北京；「藝術倫 敦博覽會」，倫敦；「MiArt—第十一屆米蘭國際當代 藝術博覽會」，米蘭，義大利；2000年參與北京軍事博 物館浮雕壁畫設計，北京。所獲獎項與作品收藏：2007 年傑出藝術基金會首三十名入圍獎；2005年傑出藝術基 金會首三十名入圍獎；2000年大型油畫創作《文明與倒 退》獲中央美術學院學院獎一等獎；1999年創作《歷史 的進程》獲全國大學生藝術節繪畫展一等獎和北京市大 學生藝術節繪畫展一等獎；1998年創作《渴望和平》獲 中央美術學院創作學社第一年度創作競賽優秀獎，並被 學院收藏；1994年作品人像素描獲貴州省藝術專科學校 素描展銀獎，並被學校收藏。

247

Lot 183

Lot 184

Lots 185, 210

FEI Yifu (Chinese, 1913-1982)

YANG Taiyang (Chinese, 1909-2009)

XUE Song (Chinese, b. 1965)

Born in Jiangsu, China, studied in Suchou Art Institute, Department of Western Painting, Fei’s talent is appreciated by the headmaster Yen Wenliang, and was taught by Lu Sibai in person. Associated with Xu Beihong in 1940 and studied a great deal of Fung You-Lan’s philosophy, Zuh Guang-Qian’s aesthetics and classical poetry, and especially fond of Chuang Tsu’s philosophy. Taught at Central Art Academia in 1953, and was appointed to the director of the Zhejiang Art Association, the consultant of the Oil Paintings Research Society and the member of the China Art Association. Traveled to Dunhuang, Xinjiang to sketch, and unfortunately passed away due to sickness. “The Art of Fei Yifu” was published at Taipei Cave Gallery in 1995.

Born in Guilin, Guangxi province, he is also named Yang Xuewu. In his late year, he is known as Ludi shanweng.

He graduated from the Shanghai Arts College in 1931 and further his studies in Nihon University in Japan in 1935.

In 1937, he abandoned his plan to Paris to become an artist and returned home to participate in the war against Japan. He published poetry and painted a large number of paintings reflecting the struggles of life. He then established a magazine. In 1957 Yang Taiyang and Fu Baoshi led the Chinese artists to countries in Eastern Europe including Romania, Czechoslovakia and the Soviet Union for exchange visits. He was invited to Japan, the United States and Canada for holding solo exhibitions and was invited to have a 100-day cultural visit to Taiwan , and held 7 solo exhibitions. Yang Taiyang is a Chinese artist and art educator, specializing in Chinese and Western paintings, calligraphy and poetry, and is a highly respected, outstanding artists. Yang Taiyang is the pioneer, standard-bearer and leader of Lijiang River School of Painting.

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 du 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.

費以復 (中國，1913-1982)

陽太陽 (中國，1909-2009)

薛松 (中國，1965年生)

生於江蘇省，1933-1936年入蘇州美專西畫科學習，深 得校長顏文樑先生賞識，並由呂斯白親授。1940年與徐 悲鴻交往，大量閱讀馮友蘭的哲學、朱光潛的美學和古 典詩詞，愛好莊子的思想。1953年任教於中央美院，並 任浙江美協理事、油畫研究會顧問及中國美術協會工 員。1982年赴敦煌、新疆寫生，創作一系列敦煌風景 畫，在返校途中不幸病逝。1995年於台北敦煌藝術中心 發表，出版《費以復畫集》。

生於廣西桂林，又名陽雪塢；晚號蘆笛山翁，80歲後稱 畫童。1931年畢業於上海藝專，1935年入日本大學研究 各國繪畫藝術並積極創作。1937年放棄去巴黎進入世界 畫壇的計畫回國，投入抗戰，發表詩文，創作大批繪畫 作品，反映鬥爭生活，創編《詩創作》雜誌。1957年陽 太陽與傅抱石率中國美術家代表團赴東歐羅馬尼亞、捷 克斯洛伐克、蘇聯等國訪問交流，並多次應邀赴日本、 美國、加拿大等國舉辦個人畫展，並應邀在臺灣文化交 流訪問100天，舉辦巡迴個展7次。1980年任廣西首屆研 究生碩士導師。陽太陽是中國美術家和藝術教育家，擅 長中西繪畫、書法和詩文，是一位德高望重、成就傑出 的藝術家。陽太陽是灕江畫派的開拓者、旗手和領軍人 物。

出生於安徽省，1988年畢業於上海戲劇學院舞台美術 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。

248

Lot 188

Lot 186

Lots 187, 196

CHEN Liu (Chinese, b. 1973)

XIONG Yu (Chinese, b. 1975)

TU Hongtao (Chinese, b. 1976)

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 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 Chengdu, Sichuan, Tu Hongtao graduated from the affiliated middle school to Sichuan Fine Arts Institute 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.

陳流 (中國，1973年生)

熊宇 (中國，1975年生)

屠宏濤 (中國，1976年生)

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。

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。

249

Lots 190, 191, 219

T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927-1991)

Lot 192

Lot 193

WU Dayu (Chinese, 1903-1988)

SHA Qi (Chinese, 1914-2005)

Born in Amoy, Fujian. T’ang studied Chinese calligraphy under the instruction of his grandfather. In 1937, T’ang moved irst to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T’ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled “The Tao of Painting.” From June to September 2002 the Musée des Arts Asiatiques-Guimet in Paris has presented a retrospective of T’ang works entitled “Paths of Ink” In August 2002 the Shiseido Foundation in Tokyo has also exhibited the work of T’ang. T’ang’s work is either held privately or in the collections of several museums in Europe and America. Among them are The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d’Art Moderne de la Ville de Paris.

Born in Yixing, Jiangsu. Consultant of China Artist Association, managing councilman of Shanghai Branch of China Artist Association. In 1922, he went to study abroad in France. And he once studied in the Studio of Border, a famous French sculptor. In 1927, he came back to China and started teaching in Public Hangzhou Junior College of Fine Arts. He once acted as Vice President of Shanghai Academy of Oil Painting and art consultant of Shanghai Academy of Chinese Painting and Shanghai Academy of Oil Painting and Sculpture. He is an expert at oil panting. His early painting included “Triumph”.

His oil painting “Red Flowers” was exhibited in the “3rd National Art Exhibition” and has been collected by National Art Museum of China. His “Colorful Grass” won the “Honor Award” of the “6th National Art Museum”.

Originally named Sha Yinnian, Sha was born in Zhejiang, and in 1932 began studies at the Shanghai Arts School, later entering the art department of the Central University of China. In 1937 he entered the Belgium Royal Academy of Arts, and in 1942 his “Flautist” was shown at the Petite Galerie and acquired by the royal family. In 1978, he donated all his works from the period in Belgium to the Zhejiang Provincial Museum. In 1983, at touring exhibition of his works organized by the Zhejiang Provincial Museum, the Zhejiang Institute of Fine Art and the Chinese Association of Artists was shown in Beijing, Shanghai, and Zhejiang. In1984 he was engaged as a fellow at the Shanghai Cultural-Historical Research Society. In 1985, he exhibited throughout China and created a series of landscapes.

唐海文 (華裔法籍，1927-1991)

吳大羽 (中國，1903-1988)

沙耆 (中國，1914-2005)

生於福建廈門，自幼跟隨祖父習寫書法，1937年舉家遷 居越南，因其對藝術的執著，於1948年赴藝術之都巴黎 遊學，他以自修的方式遊覽巴黎各大美術館，而於1955 年首次舉辦展覽，之後陸續於歐美各國展出，1997年8 月台北市立美術館為其舉辦「作品回顧展」。於2002年 9月法國巴黎的亞洲藝術館舉行大型的回顧展，並於同 年日本東京資生堂基金會也舉行了唐海文個展。完整地 呈現其繪畫風貌，作品為多所法國現代美術館及私人收 藏。

江蘇宜興人。少時從張聿光學習西畫。17歲就職於上海 《申報》，任插圖編輯，後就讀於上海美術專門學校。 1922年去法國留學，曾在法國雕塑大師波爾代爾工作室 學習 。1927年回國，在國立杭州藝術專科學校任教。 五十年代以來，曾任上海畫院副院長，上海中國畫院、 上海油畫雕塑院藝術顧問。中國美術家協會顧問，美協 上海分會常務理事。擅長油畫。作品有早期繪畫《凱旋 圖》; 油畫《紅花》參加第三屆全國美展，為中國美術 館收藏；《色草》獲第六屆全國美展榮譽獎，為中國美 術館收藏。

生於浙江。原名沙引年，1932年就讀於上海美專，而後 進入中央大學藝術系。1937年進入比利時皇家美術學 院。1942年其作品《吹笛女》，於柏蒂畫廊美術館展 覽，並獲皇室所收藏。1978年，將由比利時創作的作 品，全數捐贈浙江省博物館，浙江美術學院及中國美術 家協會共同籌辦沙耆個展，於上海、浙江、北京等地巡 迴展出。1984年，授聘為上海文史研究館館員，1985年 後，遊覽中國各地，創作了一系列風景畫。

250

Lot 194

Lot 197

Lot 195

CHEN Bo (Chinese, b. 1973)

YIN Qi (Chinese, b. 1962)

GAO Yu (Chinese, b. 1981)

Born in Yunnan, China, graduated from the Oil Painting Department of the Central University for Minorities, Beijing in 1997. Since 1997, Chen Bo has been teaching in the Art Academy of Hanjiang University, Wuhan. Solo Exhibitions: 2008 “CIGE 2008 Mapping Asia: 32 Young Asian Artists Solo Shows”, Beijing; 2007 “Hard Work”, Beijing. Group Exhibitions: 2009 “The Big World: Recent Art from China”, U.S.A.; 2008 “ARTHK08 Hong Kong Art Fair”; 2007 “The Detached Generation”, Beijing; “Chinablue in Berlin”, Berlin Art Centre, Germany; 2006 “Chen Bo and Li Jikai – New works”, Fine Arts Literature Art Museum, Wuhan; “New Force – China”, Shanghai; 2005 “Post 1970 Art: The Generation Changed by the Market”, Beijing; 2003 “Individual Strength Young Dynamic Artists Travelling Exhibition”, Beijing, Shanghai, Wuhan, Guangzhou; 2001 “Dialogue”, Modern Art Museum, Italy.

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).

Born in Guizhou, Gao Yu graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor’s degree. In 2006, he held “Specimen” a solo exhibition in Beijing; and in 2007, a solo exhibition “Five Elements Mountain” in Beijing. He attended the exhibition known as “Ideal of A New Generation–the Chinese New Generation” in He Xiangning Art Museum, Shenzhen in 2004; in 2005 he took part in “The Self-Made Generation - A Retrospective of New Chinese Painting” exhibition in Zendai Moma, Shanghai, “Post 70s - The Generation Changed By the Market” exhibition co-organized by Shanghai Mingyuan Art Center and Beijing Today Art Museum and “Next Station, Cartoon?” exhibition coorganized by Star Gallery and Shenzhen He Xiangning Art Museum; in 2006 he attended “Beyond Experience: New China” exhibition held by Beijing Arario Gallery and Star Gallery’s “Naughty Kids” exhibition; he participated in Nokia’s art works creation known as “Fashion! The Top One is Prism!” .

陳波 (中國，1973年生)

尹齊 (中國，1962年生)

高瑀 (中國，1981年生)

1973年生於雲南省，1997年畢業於中央民族大學美術 系油畫專業，1997年至今任武漢漢江大學藝術學院教 師。個展：2008年「CIGE2008 整合亞洲：32位亞洲年 輕藝術家個展」，北京；2007年「功夫」，北京。聯 展：2009年「大千世界—中國當代藝術近作展」，芝加 哥文化中心，美國；2008年「ARTHK08香港國際藝術 展」；2007年「抽離中心的一代—70後藝術展」，北 京；「環碧堂在柏林」，德國柏林藝術中心；2006年 「陳波＋李繼開」美術文獻美術館，武漢；「自我造 境—中國當代藝術邀請展」，上海；2005年「70後藝 術：市場改變中國之後的一代」，北京；2003年，「個 性力量新銳藝術巡迴展」，北京，上海，武漢，廣州； 2001年「對話—中國當代藝術展」義大利現代藝術館。

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)。

生於中國貴州。2003年畢業於四川美術學院，獲學士學 位。2006年在北京舉辦個展「標本」，2007年在北京舉 辦個展「五行山」。2004年參加深圳何香凝美術館舉辦 的「少年心氣—中國新銳繪畫」展；2005年參加上海證 大現代藝術館舉辦的「自我造局—中國當代繪畫」展、 上海明園藝術中心聯合北京今日美術館舉辦的「70後藝 術：市場改變中國之後的一代」畫展、北京星空間聯合 深圳何香凝美術館舉辦的「下一站，卡通嗎？」畫展； 2006年參加北京阿拉里奧畫廊舉辦的「超驗的中國」畫 展、北京星空間舉辦的「壞孩子的天空」畫展；2007參 加諾基亞「時尚，角度至上」主題創作。

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Lot 199

Lot 200

Carrie CHAU (Wun-Ying CHAU) (Hong Kong, b. 1979)

Lots 201, 203, 225

LU Hao (Chinese, b. 1969)

HUANG Gang (Chinese, b. 1961)

Born in Hong Kong, Chau credits her university life to the Polytechnic University of Hong Kong and UK's Kent Institute of Art & Design where she studied Design. She had finally realized her childhood dream of becoming a painter as her professional in 2003. Her first exhibition “Blind Fly” was hold in 2004. In 2007, her fourth exhibition “Black Sheep” was well received by the public. Besides creating her own works, she had cooperated with different brands such as Nokia, Fendi, Google, Levis, Media Asia, Nike, Samsung etc in these few years. In 2007, her "Wun Ying Collection Gallery” was opened in Hong Kong, providing a platform for her to showcase her masterpieces to the public. Now, her dream is to paint more artworks that can really touch the people, not because of the fame of the painter or the colors of the artwork itself. She wants to show the inner beauty of the world.

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

Born in 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 internationally. 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.

鄒蘊盈 (香港，1979年生)

盧昊 (中國，1969年生)

黃鋼 (中國，1961年生)

生於香港，早年於香港理工大學及英國肯特設計學院修 讀視覺藝術。2003年達成小時候成為畫家的夢想；2004 年，首開第一個畫展「盲頭烏蠅」；2007年，在生平第 四個個人畫展「黑羊」嶄露頭角。除了個人創作外，她 在數年間與許多不同知名品牌異業合作，如諾基亞、芬 迪、谷歌、李維斯、互動傳媒亞洲、耐克、三星…等。 2007年，在香港正式開設「蘊盈創作個人畫廊」，提供 與大眾直接交流的空間，同時展示她心愛的原作。現 在，她最希望達成的願望，便是畫出能觸動人心的作 品，她認為感人的作品，不是來自作者的名氣有多大、 畫工有多細膩、顏色有多明媚，而是可以透過畫作，讓 觀者看見世間的真、善、美。

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

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。

252

Lot 202

Lots 208, 235

Lot 209

XIA Junna (Chinese, b. 1971)

HUNG Yi (Taiwanese, b. 1970)

XU Na (Chinese, b. 1968)

Born in Inner Mongolia, 1971. In 1984, she attended Weihai No.2 Middle School and studied portrait painting with Cong Jian Zi, who introduced her to a certain field of art. She graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts. Her work “Autumn” won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Her works were also shown at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, she joined “China Young Oil Painting” Exhibition in Beijing. In 1998, she joined “Century-Female Art Exhibition” and won a collector award. In 2000, she joined “Twentieth Century China Oil Painting Exhibition”, “Youngs Series Exhibition”. Beijing Evening News used “Six Main Courses in Grant Banquet of Centurial Oil Painting” as the title and commend her as the most representative painter in China. Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize Xia’s historic significance in inheriting from centurial oil painting. Her paintings are collected by private collectors at home and abroad in recent years.

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.

Born in Jilin Province, graduated from Beijing Broadcasting Institute (Communication University of China), majoring in Art Director as an undergraduate. She participated in the China Art Exhibition held at Ministry of Culture of the People’s Republic of China in 1997. In the same year, her work had won the award of “Towards a New Century – Young Chinese Artists Oil Painting”.

Xu Na, a Falun Gong practitionner was arrested because she left other practitioners stay in her apartment.

夏俊娜 (中國，1971年生)

洪易 (台灣，1970年生)

許那 (中國，1968年生)

出生於內蒙古，1984年就讀於威海市第二中學，師從美 術啟蒙老師叢建子先生學習國畫人物，初步接觸繪畫藝 術。1995年畢業於中央美術學院油畫系，畢業創作獲 得中央美術學院優秀獎和日本岡松家族獎學金。作品 《秋》獲「95第三屆中國油畫年展」銀獎。1996年參加 「上海美術雙年展」，「北京中國當代藝術展」。1997 年參加「中國青年油畫展」及「中國藝術大展」。1998 年參加「世紀－女性」藝術展，獲收藏家獎。2000年參 加「二十世紀中國油畫展」，北京晚報也以「百年油畫 盛宴的六道大菜」為題，把夏俊娜提為中國最有時代代 表性的畫家。台北的《藝術新聞》雜誌以「從李鐵夫到 夏俊娜」來概括百年油畫的歷史承繼性，其作品被海內 外私人廣為收藏。

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。

1968年生於吉林，1991年畢業於北京廣播學院（現中國 傳媒大學）文藝編導。1997年參加中華人民共和國文化 部主辦的中國藝術大展，同年作品參加中國美術館舉辦

253

的「走向新世紀—中國青年油畫展」獲嘉獎。許那為法 輪功學員，原生活於北京，因援助外地來北京的學員， 被補入獄。因崇尚歐洲中古時期宗教畫，其作品重視精 神性及永恆價值。主題以煙斗、瓶、花等靜物為多，具 有詩意。

Lot 212

Lot 213

Lot 214

LUO Fahui (Chinese, b. 1961)

HUA Qing (Chinese, b. 1962)

MAO Huaiqing (Chinese, b. 1964)

Born in Chongqing, China, Luo graduated from the Affiliated High School to Sichuan Academy of Fine Arts in 1981 and from the Oil Painting Department of Sichuan Academy of Fine Arts in 1985. From 1990 to 2003, he has held several solo exhibitions in Seattle, London, Beijing, Chengdu, Taiwan and Hong Kong. In 2006, he participated in “Imagery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours, China and Germany”. He also held “Floating Desire - Luo Fahui’s Oil Painting Exhibition” in the gallery of Chinese Institute of Fine Arts in Hangzhou.

Born in Anhui, China, graduated from Anhui College of Art and Central Academy of Arts and Design in 1981 and 1986 respectively. Over the years, he had resided in many different places with diverse culture, such as Vienna, Yugoslavia, Slovakia, Taiwan, and China. The artist has experienced the vast difference between Western and Eastern culture. Solo Exhibitions: 2010 “I Think, Therefore I Am” – 2010 Exhibition of Recent Works by Hua Qing, Taipei; 2009 “Magic of Thinking”, Beijing; “Hua Qing Solo Exhibition”, Hong Kong; 2008 “The Upanishad of Human Beings”, Beijing ; 2007 Art Space of Life Science Library ACADEMIA SINCA, Taipei; “Hua Qing–human fable”, Singapore. Important group exhibitions: 2010 “Art Beijing”, Beijing; 2009 “ART HK 09”, Hong Kong; 2008 “Art Taipei 2008”, Taipei; “Art Singapore 2008”, Singapore; “Bridge Art Fair”, New York, U.S.A; “Blue Dot Asia” Art Fair, Seoul Art Center, Seoul, Korea; “China Now Now 2”, Amsterdam, Holland; 2007 “The Power of The Universe-An Exhibition of the Frontier of Contemporary “Chinese Art”, Beijing; “Wild Beast”, Beijing; 2006 “The Moving Socialism”, Beijing.

Born in Beijing, graduated from the department of Mural Painting, China Central Academy of Fine Arts in 1990.

He is currently Associate Professor of the Fine Arts department in Beijing Film Academy. 2002 oil painting “Scene” is selected into “Chinese Art Today”. Important Exhibitions: 2010 “Trace & Qualitative Leap – Beijing Film Academy’s 60th Anniversary Exhibition”, Beijing; 2008 “20 30 40 – Three Artists Exhibition”, Shanghai; “Daydreaming Mao Huaiqing Solo Exhibition”, Shanghai; 2007 “Alternative Insight” , Shanghai; 2001 “A Powerful and Unconstrained Style Mao Huaiqing Solo Oil Painting Exhibition”, Singapore; 1998 “The 3rd Fine Art Exhibition of Chinese Broadcasting, Film and Television Industries, China People’s Revolution Military Museum”, Beijing; 1996 “Connect Painting Exhibition, the Exhibition Hall of China Central Academy of Fine Arts”, Beijing.

羅發輝 (中國，1961年生)

華慶 (中國，1962年生)

毛懷清 (中國，1964年生)

生於中國重慶，1981年畢業於四川美術學院附中，1985 年畢業於四川美術學院油畫系。自1990年至2003年陸續 於美國西雅圖、英國倫敦、北京、成都、台灣、香港等 地舉辦個人展覽，於2006年參加「意象武夷—中德兩國 藝術家首次面對面互動創作國際巡迴展」（中國、德 國），並於杭州中國美術學院美術館舉辦「飄浮的欲 望—羅發輝油畫作品展」。

1962年出生於安徽，於1981年及1986年取得安徽省藝術 學校與中央工藝美術學院學位，後入駐圓明園，從事前 衛藝術活動。他曾旅居過維也納、南斯拉夫、斯洛伐 克、台灣、中國等地，對東西方文化有個著非常深刻 的體驗，個展：2010年「我思故我在—2010華慶新作 展」，臺北；2009年「思維的魔力—華慶2009」，北 京；「華慶個展」，香港；2008年「人的奧義書」，北 京； 2007年中央研究院生命科學所美學空間，臺北； 「華慶—人的寓言」，新加坡。重要群展：2010年「藝 術北京博覽會」，北京；2009年「香港國際藝術展」香 港；2008年「臺北國際藝術博覽會」，臺北；「新加坡 藝術博覽會」，新加坡；「Bridge Art Fair」，紐約， 美國；「Blue Dot Asia」，首爾，韓國；「China Now Now 2」，阿姆斯特丹，荷蘭；「天行健—中國當代藝

生於北京，1990年畢業於中央美術學院壁畫系，現任北 京電影學院美術系副教授。2002年油畫作品《情景》被 編入《今日中國美術》一書。重要展覽：2010年「軌跡 與質變—北京電影學院60周年院慶當代藝術邀請展」， 北京；2008年「二十 三十 四十」，上海；「臆想—毛 懷清個展」，上海；2007年「別樣目光」，上海；2001 年「天馬行空—毛懷清個人油畫系列展」，新加坡； 1998年「軍事博物館的中國廣播影視界第三屆美術展 覽」，北京；1996年「中央美術學院陳列館『聯結』畫 展」，北京。

術前沿展」，北京；「動物兇猛」，北京；2006年「移 動的社會主義」，北京。

254

Lot 215

Lots 216, 218

Lot 220

LI Jisen (Chinese, b. 1970)

HONG Ling (Chinese, b. 1955)

LI Xinping (Chinese, b. 1959)

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 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 Beijing, 1959. He pursued a degree in Fine Arts at Henan University and graduated in 1982 with top honors. Li took up post graduate studies in 1985 at the Central Academy of Fine Arts in Beijing. In 1993, he attended St. Petersburg Art Academy in Russia for further post graduate studies. Li has been a member of the China Artists Association in Beijing since 1994. Li’s painterly style has always carried a unique stand within Chinese contemporary art today as it encompasses the perimeters of decorative art and various mythological and philosophical discourses concerning the ancient history and culture of China. Solo exhibitions: 2010 “Li Xinping”, Hong Kong; “Li Xinping: A Symbolic Logic”, Shanghai; 2008 “Li Xinping: Trans + Fusion”, Shanghai; 2007 “Li Xingping: Chinese Synthesism”, Hong Kong; “Li Xinping: Beijing Studio Exhibition”, Beijing. Group exhibition: 2008 “Invitation Exhibition of Contemporary Art in Shenzhen”, Shenzhen; 2007 “Resetting, Suo Jia Village Modern Art Exhibition”, Beijing; 2006 “SUSI: Key to Chinese Art Today – Exploration & Discovery”, National Museum, Manila.

李繼森 (中國，1970年生)

洪凌 (中國，1955年生)

李新平 (中國，1959年生)

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）。

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。

生於北京，1982年於河南大學美術系高院畢業。1985年 於中央美術學院進修，並於1993年到俄羅斯聖彼德堡美 術學院再度深造。自1994年起為中國美術家協會北京會 員。李氏的繪畫風格在中國當代藝術中一直佔著一種獨 特的位置；它被歸納為裝飾藝術的同時也包含著對中國 古代歷史和文化中不同哲學和神話的理解。李氏的繪畫 以西方符號學和理想主義中常見的元素來探索和審視東 西方美學兩者之間的無限可能性。個展：2010年「李 新平個展」，香港；「符號邏輯—李新平個展」，上 海；2008年「『導+化』李新平油畫展」，上海；2007 年「中國構成」，香港；「李新平：北京工作室展」， 北京。群展：2008年「深圳當代藝術邀請展」，深圳； 2007年「『重啟•索家村』國際藝術營展」，北京； 2006年「匙—開創當今中國藝術之門」，馬尼拉國家博 物館，菲律賓。曾於2004年和1994年代表北京入選全國 美展。

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Lot 223

WANG Kai (Chinese, b. 1980)

CAO Jingping (Chinese, b. 1972)

CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916-2002)

Born in 1980, Shandong, China, he graduated from Oil Painting Department, Central Academy of Fine Arts in 2003. His major solo exhibitions are: 2008 “Salad Days”, SOKA Art Center, Taipei; 2006 “The Chinese Mona Lisa”, Paris; 2001 “Wang Kai, Shandong Institute of Fine Arts”, Shandong. His joint exhibitions include: 2008 “Flowery Spring”, Hebei, The “Third Beijing International Art Biennale”, Beijing; 2007 “China’s Atmosphere”, Beijing, “Gathering Sandcastles, 2007 Chinese New Generation Artists Award Exhibition”, Beijing; 2006 “The Art Exhibition of Modern China”, Japan; 2005 “The Second Beijing International Art Biennale”, Beijing, “Exhibition of China’s Modern Art”, Korea.He has won the “Excellence Award” in National Art Exhibition of 2004 and the Award of Mary Art.

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

Born in Fujian, China. Chen lost his hearing at an early age but this did not handicap his artistic abilities. On the contrary, he managed to focus on his art and has come to be known, fittingly, as a “complete artist”. Chen left China for Taiwan in 1948 and has participated in various artistic circles such as Fifth Moon, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the Salon de Mai, on top of regular solo shows. In 1970, Chen was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. Chen’s lithographs, iron sculptures, calligraphy and acrylic paintings are influenced by the Chinese literati’s school of thought and have left a lasting impression on 20th-century Chinese modern art. His works found in major museums like the Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts. They have also been collected by corporate institutions such as the Chase Manhattan Bank (Hong Kong), the Citibank and IBM.

王凱 (中國，1980年生)

曹靜萍 (中國，1972年生)

陳庭詩 (台灣，1916-2002)

1980年生於中國山東，2003年畢業於中央美術學院油畫 系。主要個展有：2001年「王凱」，山東美術學院； 2006年「中國的蒙娜麗莎」，巴黎；2008年「一場青 春」，台北索卡藝術中心。主要群展有：2005年「中國 美術之今日展」，韓國、「第二屆北京國際美術雙年 展」，北京；2006年「現代中國美術展」，日本；2007 年「中國氣氛」，北京、「聚沙塔—2007中國新銳繪畫 展」，北京；2008年「Flowery Spring」，河北、「第三 屆北京國際雙年展」，北京。曾獲得2004年第十屆全國 美展優秀獎、馬利藝術獎。

出生於重慶。1992年畢業於四川美術學院附中，1996年 畢業於四川美術學院油畫系並獲學士學位，1997—1998 赴德國卡塞爾美術學院學習，1999年畢業於四川美術學 院油畫系並獲碩士學位。2001 《甜蜜的幻覺》當代藝術 六人作品展中國上海美術館 。《重慶辣椒》展於德國卡 塞爾文化火車站 。《後政治》藝術作品展於英國倫敦的 布洛斯罕畫廊。

1916年生於福建，1948年來台。年幼失聰，不但未減少 他對藝術之靈敏度，反而使其更專注於藝術創作，為多 才多藝的創作者。三十餘歲活躍於多個美術團體，諸如 五月畫會、現代版畫會及現代眼畫會等。陳庭詩曾多次 參與歐美亞等地海外聯展，並定期參與五月畫會展覽以 及多項個人展覽。作品《蟄》曾獲1970年之韓國國際版 畫雙年展「東亞日報大獎」。陳庭詩的版畫，鐵雕，書 法及壓克力畫皆具備中國文人思想，為台灣現代藝術的 發展具有相當的影響力。陳庭詩之版畫作品廣受海內外 美術館及私人團體所購藏，包括洛克菲勒基金會、辛辛 那提美術館、國立台灣美術館等，以及私人機構如香港 大通銀行、台北花旗銀行和IBM電腦公司等等。

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Lot 227

TSONG Pu (Chinses, b. 1947)

JI Dachun (Chinese, b. 1968)

CHEN Shuxia (Chinese, b. 1963)

Born in Shanghai in 1947 and graduated from Universidad Complutense de Madrid in 1978. He won the Taipei Mayor's Award of the Chinese Modern Painting New Prospect show in 1984 and the Taipei Modern Art Biennale Award in 1992. Since 1970 he has held many personal and joint exhibitions domestically and abroad.

He used small imprints to constitute big units in composition in his early years and compared those small mechanical-like grids to his own worldview. His works were collected by the Taipei Fine Arts Museum, Hara Museum of Contemporary Art, Japan, Portside Gallery, Yokohama, Japan, and National Taiwan Museum of Fine Arts.

Born in Jiangsu, China, 1968. In 1993, Ji Dachun graduated from the Central Academy of Fine Arts with a B.A. (Oil Painting). He was invited to participate in “the First Oil Painting Biennial of China” and later took part in Chinese Contemporary Union Show in 1998, Shanghai.

At the same time, his instinctive style engaged the attention of overseas market. In 1997, he attended “Exceptional Realism” Show in the House of World Cultures, Berlin, Germany. In 1999, BASE gallery in Tokyo held his first solo exhibition. Among young Chinese artists, he has an obviously unique style. Not withstanding the multiplicity of art world, Ji Dachun’s work combines an intuitive understanding of human nature with a strong technique.

Born in Zhejiang Province, Chen was graduated from the Central Academy of Fine Arts in 1987, currently is the associate professor of art education department of Central Academy of Fine Arts. She had won the silver award in the China Annual Oil Painting exhibition and 3rd place in the 9th national art exhibition; her works are collected by National Art Museum of China, Hong Kong University Museum and Art Gallery, Shenzhen Art Museum, Tianjin Teda Museum of Fine Arts and International Yi Yuan Art Museum. She started to held exhibitions nationally and internationally since 1991 and received great feedbacks, this year, she hard “The Virtual and the Actual: Chen Shuxia Oil Paintings Exhibition” in Shanghai Art Museum and in the National Art Museum of China in Beijing, she also participated in the “Imagery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours”.

莊普 (中國，1947年生)

季大純 (中國，1968年生)

陳淑霞 (中國，1963年生)

1947年生於上海，1978年畢業於西班牙馬德里大學。 1984年獲中國現代繪畫新展望台北市長獎。1992年獲台 北現代美術雙年展獎。1970年起於國內外舉辦過多次個 展及聯展。早期以慣用的印記小單元，組構成畫面的大 單元。看似機械的小方格印記，莊普拿來與他自己的宇 宙觀相印證。其作品獲台北市立美術館、日本原美術 館、日本橫濱港邊畫廊、國立台灣美術館等典藏。

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

生於中國浙江省，1987年畢業於中央美術學院，現任北 京藝術設計學院副教授，曾獲中國油畫年展銀獎及第九 屆全國美展銅獎，在中國美術館、香港大學美術館、深 圳美術館、天津泰達美術館及國際藝苑美術館均有其畫 作收藏。1991年起即陸續於國內、外舉辦展覽，屢獲好 評，今年除了在上海美術館、北京中國美術館舉辦虛實 兩境－陳淑霞油畫展，也參加中、德國舉辦「意象武夷 －中德兩國藝術家首次面對面互動創作」國際巡迴展。

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Lot 229

Lot 230

Lot 231

CHANG Taihe (Chinese, b. 1963)

KEA (TSAI Mengda) (Taiwanese, b. 1980)

Howard CHEN (CHEN Chun-hao) （Taiwanese, b. 1971）

Chang Taihe was born in Chongqing in1963. From 1993 to 1997, he worked as a senior sculpture designer of development department in Dongguan Kuaimeijia Gift Factory (Hong Kong). He graduated from the undergraduate course in the Department of Art Design of Sichuan Fine Arts Institute in September 2001. In 2004, his sculpture “Mother and Son” was collected by Oriental Academy of Fine Art. In 2005, he studied in seminar in the Department of Sculpture of Central Academy of Fine Arts. In 2006, he helped several well-known artists making sculpture works in international art camp of Suojia Village, Chaoyang district, Beijing. In 2007, he made his own sculpture works “Red Game” series to take part in “100 Artists Exhibition” at Songzhuang in late October. In March 2008, his works “Red Game” series was shown on “Peak Heat - Contemporary Masters’ Oil Painting, Sculpture, Root Carving and Seal Cutting Art Exhibition” held by CITIC Guoan Group and China International Classical Painting and Calligraphy Institute. In April 2008, his works “Red Game” series was shown on “Hot Land - 100 Artists Large Exhibition” held on land No. 1 at Hezhuang, Beijing.

KEA received the diploma at Graduate School of Plastic Arts M.F.A. Program, Taipei National University of the Arts and had entered the fine art realm with two entities: one as the elite stencil graffiti artist and the other as a creative designer. The creative vision extends from trendy fashion visuals, stencil graffiti, sculpture, and public art. He has held the exhibitions such as 2010 “Stay Real Forever”, Shanghai; 2009 “Travesty Paragon”, Taipei; 2009 “Trickle-down Theory”, Helsinki.

Born in 1971 in Nantou, Chen graduated from College of Fine Arts, National Taiwan University of Arts in 1996, and received the master’s degree from Graduate Institute of Plastic Arts, Tainan National University of the Arts in 1998. Chen specializes in using tacks as the medium for his installation works. The structures are put together with dots, lines, surfaces, and masses, and through the inspecting perspectives and optical concepts in the transformation of brightness and darkness, the observer can experience a visual transformation with the changing light waves. The works join various exhibitions including “A solo show by Chen, Chun-hao – The way of nailing” Exhibition (VT Art Salon, Taipei, 2010), “Taipei 23” (Taipei Fine Arts Museum, 2006) etc..

常太和 (中國，1963年生)

KEA (蔡孟達) (台灣，1980年生)

陳浚豪 (台灣，1971年生)

生於重慶。1993年至1997年在廣東東莞快美加禮品廠 （香港）開發部任高級雕塑設計師。2001年9月在四川 美術學院藝術設計系本科畢業。2004年雕塑作品《母與 子》被東方美術學院收藏。2005年在中央美術學院雕塑 系研修班進修。2006年在北京朝陽區索家村國際藝術營 幫幾位元知名藝術家做雕塑作品。2007年自己做雕塑作 品《紅色遊戲》系列，10月下旬參加宋莊「百名藝術家 聯展」。2008年3月作品《紅色遊戲》系列參加中信國 安集團和中國國際精典書畫院承辦的「巔峰熱度─當代 名家油畫、雕塑、根雕、篆刻藝術展」。2008年4月作 品《紅色遊戲》系列參加北京荷莊一號地「熱土─百名 藝術家大聯展」。

畢業於台北藝術大學造形研究所，以新銳藝術家身分跨 足街頭藝術並嶄露頭角，是一個自由創作且衝突血液串 流全身的藝術家。創作範圍涉及流行時尚視覺設計、範 本塗鴉藝術、立體雕塑與公共藝術等。重要展覽有： 2010年「純真年代」，上海；2009年「美哉．崔芙絲 蒂」，台北；2009年「涓滴理論」，赫爾辛基。

生於南投，1996年畢業於國立藝術學院美術系，並於 1998年國立台南藝術學院造型藝術研究所碩士學位。把 圖釘裝置視為個人象徵的創作媒材，將大量複製堆疊的 圖釘藉由點、線、面的造型排列，透過光影與觀看角度 的移轉，運用圖釘反射的金屬光感呈現出若隱若現的量 體視覺美感。曾參加過2010年台北非常廟藝文空間「陳 浚豪個展—之乎者也」、2006年台北市立美術館的「台 北23」聯展等。

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Lot 232

Lot 233

Lot 234

REN Zhe (Chinese, b. 1983)

JIAO Xingtao (Chinese, b. 1970)

CHENG Kuang-pai (Taiwanese, b. 1962)

Born in 1983, Ren Zhe graduated in 2005 from the Academy of Arts & Design of Tsinghua University, China, majoring in Sculpture. He won third prize of the Ikuo Hirayama Award in 2003, and although a young artist in China, since 2005, his works could be seen in many international exhibitions such as “The First 798 Biennale” (Beijing); “Crossovers - beyond art & design” (2006, Shanghai); “The 10th Art Exposition of Shanghai” (2006); “International Circuit Exhibition of Landscape Artwork Show of the 2008 Olympic Games” (2007); “International Contemporary Art Fair 2007” (Hong Kong); “Asian Contemporary Art Fair” (2007, New York); and the recent group exhibition “I’m Ready” (2008, Taipei).

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.

Born in Taipei, she is a graduate of the Fu-Hsin Trade and Arts School. In 1982, she went to study overseas in Japan at the Musashino Art University. In 1986, she practiced art at the David Wilson Arts Studio. Between 1982~1993 she toured countries in Europe and Central Asia, participating in short-term art workshops before finally settling back in Taiwan in 1993. Her artwork has always been known for its fusion of sparkling glass with ironwork to express the beauty of light. Through the study of theology, philosophy, religion and participation in spiritual programs, she has gradually come to realize the sacred power of light on the inspiration of spirituality. This epiphany led to Cheng Kuang-pai deciding to use light as a creative medium. The love she holds within her heart means that a child’s smile, the hands of an old man, sunlight after the rain and the water droplets on a leaf all give off their own unique radiance in her eyes.

She converts these into creative elements, letting her passion and creativity issue forth like an eternal flame.

任哲 (中國，1983年生)

焦興濤 (中國，1970年生)

乘光白 (台灣，1962年生)

生於北京，畢業於清華大學美術學院雕塑系獲學士學 位。曾於2003年獲得2003 年日本「平山鬱夫」三等獎， 2005年畢業於清華大學美術學院雕塑系。雖為中國年輕 的新一代畫家，卻也參加過多次國內外展覽，從2005 年起的「首屆798雙年展」（北京）、「跨越：當代藝 術與設計展」（2006，上海）、「上海第十屆藝術博 覽會」（2006）、「2008北京奧運景觀國際巡迴展」 （2007）、「香港國際藝術博覽會」（2007）、「亞洲 當代藝術博覽會」（2007，紐約）、以及近期的台北聯 展「我準備好了」（2008）。

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 藝術年鑑展」，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。

生於台北，復興美工畢業。1982赴日，武藏野美術大學 選讀實習。1986赴美，大衛．威爾森藝術工作室研習。 1982－1993年間遊走歐洲、中亞…等國，參加短期藝術 工作坊，1993年回國定居。其創作向以璀燦的玻璃搭配 鐵器呈現光線之美聞名，其透過研讀神學、哲學、宗教 學並參與心靈課程，逐漸體悟光對靈性的神聖力量，實 際置身其中，讓乘光白決定用光來表現創作概念，因為 心中有愛，因此孩子的笑容、老人的雙手、雨後的陽 光、樹葉上的水滴，在她眼中都看見不同的光輝，並轉 化成創作元素，並成為無窮盡的熱情，不斷湧現燃燒。

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Lot 236

Lots 237, 239, 240

Lot 238

QU Guangci (Chinese, b. 1969)

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

PARK Seung Mo (Korean, b. 1969)

A native of Shanghai, China, he graduated from the Affiliated High School of the Zhejiang Academy of Fine Art in 1989. In 1994 he received his bachelor’s degree from the Department of Sculpture at the Central Art Academy, then a master’s degree in 1997. The artist is currently a teacher in the Sculpture Studio at the School of Fine Art, Shanghai Normal University. His 1993 piece "Mother" was entered in the "National Commemoration of Comrade Mao’s Lecture at the Yan-an Art and Literature Workshop - 65th Anniversary Art Exhibition" where it won an outstanding work award.

The 1994 piece "Street" participated in the "1994 Central Art Academy Graduate Exhibition" organized by the Central Art Academy display gallery and won a second rank award and was added to the academy’s collection.

His work "Wang Family Well" won the gold medal for the Beijing district in the "8th National Art Exhibition", then went on to win the grand prize at the "8th National Outstanding Artwork Exhibition".

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.

Born in Korea. PARK Seung Mo received his BFA at Dong – A University in 1998. Solo Exhibitions: 2010 “Linear Utmost: Park Seung Mo Solo Exhibition”, Taipei; 2008 “Park Seung Mo Solo Exhibition”, Seoul.

Group Exhibitions: 2009 “Korean Eye Moon Generation”, London; 2007 “ACAF”, New York; “Lines in Space”, Kyunggi Gyeonggi-do; 2006 “Shanghai Art Fair”, Shanghai.

瞿廣慈 (中國，1969年生)

楊英風 (台灣，1926-1997)

朴勝模 (韓國，1969年生)

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

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。

1969年出生於韓國。1998年畢業於韓國東亞大學，獲學 士學位。個人展覽有：2010年「極線：朴勝模個展」， 台北；2008年「朴勝模個展」，首爾。曾參加聯展： 2009年「韓國之眼：月亮世代」，倫敦；2007年「亞洲 當代藝術展」，紐約；2007年「空間中的線條」，京畿 道；2006年「上海藝術博覽會」，上海。

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Lot 241

Gabriel BARREDO (Philipino, b. 1957) 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.

蓋伯瑞．博瑞多 (菲律賓，1957年生) 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。

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b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須 以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當 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 參仟貳佰萬元以下者含參仟貳佰萬元以20％計算。 （2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳 佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以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：

如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買 家因此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司有責任在第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）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。

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網站 http://www.ravenel.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。

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Transaction Agreement

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

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

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

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

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

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

All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ď˝?Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full service fee. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

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

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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 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$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 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.

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 seller’s Transaction Agreement. http://www.ravenel.com

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.

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