Ravenel Spring Auction 2012 Hong Kong 羅芙奧香港2012春季拍賣會

SPRING AUCTION 2012 HONG KONG

RAVENEL SPRING AUCTION 2012 HONG KONG Modern and Contemporary Art

羅芙奧香港 2012 春季拍賣會 現代與當代藝術

AUCTION

拍賣日期／地點

Monday, May 28, 2012, 11:30am – 2:00pm Four Seasons Hotel Hong Kong – Grand Ballroom 8 Finance Street Central, Hong Kong

2012年5月28日（一） 上午 11:30 至下午 2:00 香港四季酒店（四季大禮堂） 香港中環金融街8號

PREVIEWS

預展日期／地點

Taichung

台中 2012年4月28日（六）至4月29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

Taipei

台北 2012年5月5日（六）至5月6日（日）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

Beijing

北京 2012年5月19日（六）至5月20日（日）上午 10:00 至下午 7:00 國貿大酒店—國貿三期（群賢廳62） 北京市建國門外大街 1 號

Hong Kong

香港 2012年5月26日（六）至5月27日（日）上午 10:00 至下午 7:00 香港君悅酒店（M樓茶園） 香港灣仔港灣道1號

Saturday, April 28 – Sunday, April 29, 2012, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Saturday, May 5 – Sunday, May 6, 2012, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

Saturday, May 19 – Sunday, May 20, 2012, 10:00am – 7:00pm China World Summit Wing – Summit Ballroom 62 1 Jianguomenwai Avenue, Beijing

Saturday, May 26 – Sunday, May 27, 2012, 10:00am – 7:00pm Grand Hyatt Hong Kong – Tiffin Lounge 1 Harbour Road, Wanchai, Hong Kong

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

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

傅斐郡 Flora Fu

林佳樺 Michelle Lin

陳惠黛 Odile Chen

藝術拍賣部總經理 Art Auction Division President

行政資源部總經理 Administration Division President

業務拓展部總經理 Chief Specialist

林慧菁 Maggie Lin

何杏淇 Elaine Holt

業務副總經理 Vice President, Sales Department, Taipei

業務副總經理 Vice President, Sales Department, Hong Kong

黃詩涵 Stella Huang

張淳茹 Sabrina Chang

北京辦公室經理 Head of Beijing

國貿處副理 Assistant Manager, International Trade Unit

吳博峯 Tommy Wu

總務部協理 Senior Manager, General Affairs, Taipei

RAVENEL STAFF AND SERVICES FOR THIS SALE

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

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

Vice President Sales Department, Taipei Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Vice President Sales Department, Hong Kong Elaine Holt Tel: +852 2889 0859 Email: elaineholt@ravenel.com

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

Hong Kong

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. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information.

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

China

Taiwan

International

Carrie Chen Tel: +886 2 2708 9868 ext. 881 Email: carriechen@ravenel.com

Sabrina Chang Tel: +886 2 2708 9868 ext. 882 Email: sabrinachang@ravenel.com

Hong Kong

Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored.

We apologize for no acceptance of 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.

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

China Helen Zhang Tel: +86 10 8587 8099 Email: helenzhang@ravenel.com

China

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

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CATALOGUE SUBSCRIPTION

International

International

Taiwan

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

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COLLECTION AND SHIPPING

Vicky Liao Tel: +886 2 2708 9868 ext. 687 Email: vickyliao@ravenel.com

PAYMENT Rachel Chuang Tel: +886 2 2708 9868 ext. 682 Email: rachelchuang@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

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

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

羅芙奧香港 2012 春季拍賣會服務部門及連絡人

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業務副總經理

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目次 / Contents 2

羅芙奧春季拍賣會

Sale Information 3

羅芙奧之服務

Ravenel Services 5

藝術家索引

Index 8

現代與當代藝術

Modern and Contemporary Art 155

委託競投表格

Absentee Bid Form 157

業務規則

Transaction Agreement

藝術家索引 / Index A Yoshitaka AMANO Fernandez ARMAN

S 天野喜孝 費爾戴儂．阿曼

054 014

B Catur BINAPRASETYO 卡圖爾．賓納帕西優 Fernando BOTERO 費爾南多．波特羅 James BROWN 詹姆斯．布朗

069 017 015

朱德群

033, 035

克里斯迪安．達利貝爾

016

D Christian DALIBERT

F Alixe FU

傅慶豊

001

G GUAN Yong GUO Wei

管勇 郭偉

047 059

謝德慶 華慶 黃鋼

025 062 049

朱銘

010, 026, 028, 029, 030 040

草間彌生 郭維國

019, 020, 021 011

賴致成 李真 李繼開 李磊 廖曼 林風眠 林明弘 連建興 羅中立 盧昊

064 027, 050 060 067 066 009, 031 013 007 038 057

馬斯瑞爾 村上隆

070 072

奈良美智

018

瞿廣慈

061

龐均

004

任靜 任哲

065 068

H Tehching HSIEH HUA Qing HUANG Gang

J JU Ming

K Yayoi KUSAMA KUO Wei-kuo

L LAI Zhicheng LI Chen LI Jikai LI Lei LIAO Man LIN Fengmian Michael LIN LIEN Chien-hsing LUO Zhongli LU Hao

M Masriel Takashi MURAKAMI

N Yoshitomo NARA

Q QU Guangci

P PANG Jiun

R REN Jing REN Zhe

沈敬東 杉本博司 蘇旺伸

063 024 012

丁雄泉

002, 008, 037, 052

王子衛 安迪．沃荷 吳冠中

055, 056 022 032

向京 熊宇

051 058

嚴培明 楊登雄 姚瑞中 葉永青 尹朝陽

023 003, 006 005 053 048

趙無極 曾梵志 張曉剛 周春芽

034, 036 043, 045 044, 046, 071 039, 041, 042

T Walasse TING

W

C CHU Teh-chun

SHEN Jingdong Hiroshi SUGIMOTO SU Wong-shen

WANG Ziwei Andy WARHOL WU Guanzhong

X XIANG Jing XIONG Yu

Y YAN Pei Ming YANG Din YAO Jui-chung YE Yongqing YIN Zhaoyang

Z ZAO Wou-ki ZENG Fanzhi ZHANG Xiaogang ZHOU Chunya

001

Alixe FU

傅慶豊

(Taiwanese, b. 1961)

祈福

Bless

1993 油彩 畫布 65 x 81 cm 簽名右下：Alixe FU 93 簽名畫背：傅慶豊 祈福 Alixe FU 1993 65 x 81 cm (25)

1993 Oil on canvas 65 x 81 cm Signed lower right Alixe FU in English and dated 93 Signed on the reverse Alixe FU and titled Bless in Chinese, inscribed 65 x 81 cm (25) and dated 1993

ILLUSTRATED: Alixe Fu, Taiwan Gallery, Taipei, 1994, color illustrated, p. 49

展覽： 「傅慶豊個展—誕生的過程」，東之畫廊， 台中，展期1994年10月15日至10月30日

EXHIBITED: Alixe Fu-The Arrival at the World, East Gallery, Taichung, October 10 - 30, 1994

HK$ 30,000-60,000 NT$ 120,000-230,000 US$ 3,800-7,600

圖錄： 《傅慶豊》，台灣畫廊，台北，1994，彩色 圖版，頁49

8

002

Walasse TING

(Chinese-American, 1929-2010)

Lady in Pink 1992 Acrylic on rice paper mounted onto canvas 84 x 53 cm With one seal of the artist

HK$ 60,000-90,000 NT$ 230,000-350,000 US$ 7,600-11,500

丁雄泉 粉紅佳人 1992 壓克力 宣紙裱於畫布 84 x 53 cm 鈐印右上：採花大盜

003

YANG Din

(Chinese, b. 1958)

Champignon de Paris 1996 Acrylic on canvas 130 x 130 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Champignon de Paris in French, inscribed 130 x 130 cm and dated 1996.11

HK$ 80,000-100,000 NT$ 310,000-390,000 US$ 10,200-12,700

10

楊登雄 巴黎蘑菇 1996 壓克力 畫布 130 x 130 cm 簽名右下：Yang Din 簽名畫背：Yang Din Champignon de Paris 1996.11 130 x 130 cm

004

PANG Jiun

(Chinese, b. 1936)

龐均

Faraway Mountain 2010 Oil on canvas 72.7 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2010 With one seal of the artist PROVENANCE: Der-Horng Art Gallery, Tainan

青山隱隱水迢迢

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

HK$ 220,000-300,000 NT$ 850,000-1,160,000 US$ 28,000-38,200

2010 油彩 畫布 72.7 x 91 cm 簽名右下：龐均 2010 鈐印右下：均 附藝術家簽名之原作保證書 來源： 德鴻畫廊，台南

005

YAO Jui-chung (Taiwanese, b. 1969)

姚瑞中

Wonderful - Making Love in We-go Motel

忘德賦—薇閣敦倫 臨甘肅敦煌莫高窟 一百零三窟壁畫「維摩詰圖」

2007 Ink and color, gold leaf on handmade paper 100 x 70 cm EXHIBITED: Wonderful - Solo Exhibition by Yao Jui-Chung, IT Park, Taipei, November 3 - December 8, 2007

12

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

HK$ 35,000-55,000 NT$ 130,000-210,000 US$ 4,500-7,000

2007 手工 紙本 設色 金箔 100 x 70 cm 展覽： 「忘德賦—姚瑞中個展」，伊通公園，台 北，展期2007年11月3日至12月8日 附伊通公園藝術中心開立之原作保證書

006

YANG Din

楊登雄

(Chinese, b. 1958)

紅土地

La Terre Rouge 1996 Acrylic on canvas 130 x 195 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled La Terre Rouge in French, inscribed 195 x 130 cm and dated 1996.9

PROVENANCE: Willy d'Huysser Gallery, Brussels

HK$ 120,000-180,000 NT$ 460,000-690,000 US$ 15,300-22,900

1996 壓克力 畫布 130 x 195 cm 簽名右下：Yang Din 簽名畫背：Yang Din La Terre Rouge 195 x 130 cm 1996.9 來源： 威利凱撒畫廊，布魯塞爾

14

007

LIEN Chien-hsing (Taiwanese, b. 1962)

Regenerate Paradise II 2004 Oil on canvas 97 x 162 cm Signed lower right Lien Chien-Hsing in Chinese and dated 2004 Signed on the reverse Lien Chien-hsing, titled Regenerate Paradise II in Chinese, inscribed 100M and dated 2004 ILLUSTRATED: Lien Chien-Hsing, Eslite Gallery, Taipei, 2004, color illustrated, p. 31

HK$ 250,000-500,000 NT$ 960,000-1,930,000 US$ 31,800-63,700

連建興 再生樂園II 2004 油彩 畫布 97 x 162 cm 簽名右下：2004 連建興 簽名畫背：100M 再生樂園 II 2004 連建興 圖錄： 《連建興》，誠品畫廊，台北，2004，彩色 圖版，頁31

連建興以具有人文省思，及沈靜內斂的魔幻 寫實風格著稱。荒廢地景和動物圖像，是常 見的題材表現，並透過象徵、隱喻的繪畫語 彙及元素組合，揭示後工業時代、產業結構 的變遷。連建興擔憂生態環境之中的種種危 機，這既是藝術家的人文關懷，也是他反省 人類文明未來走向的命題。在這幅畫當中， 連建興身上棲著蜥蜴和大冠鳩，一旁是兀自 吃麵包的鸚鵡，身後更有一池清澈的泉水和 躺在青草上的慵懶花豹，在此，連建興儼然 是一個守護者，捍衛著廢棄空間中的秘密花 園。而少見的自畫像，也看得出藝術家年輕 時的樣貌。然而這愉快而無憂的樂園卻岌岌 可危，因為和諧的畫面與遠方的工廠和受到 重度污染的空氣形成強烈對比，顯示出藝術 家對工業高度發展抱持的隱憂。

Lien Chien Hsing’s magic realism paintings reveal the artist’s sentimentality towards the lost of traditional values, humanity and nature.

Lien’s works are often set against a background of ruins and he imbues them with symbols, metaphors, elements in order to hint the motives and purpose behind their creation. His works show his concern for the degradation of the natural environment and reflect his ruminations about civilization and humanity. In this painting, a lizard and a crested serpent eagle are perching on the artist, and next to him is a parrot pecking away on its food. Behind the artist are a pool of spring water and a leopard idly basking under the sun. It seems as though the artist is a guardian of the secret garden in the ruins. A rare self-portrait, the artist appears to be in his youthful years. The paradise, however, is not without threats, as the harmonic scene stands in stark contrast to the factory billowing smoke into the heavily polluted air in the far distance.

From the unsettling image one can easily sense the artist’s anxiety over the potential disasters brought about by industrial development.

二十世紀1970年代可謂美藉華裔藝術家丁雄泉創作生涯的成熟期，當時他移居紐約已超過十 年時間。他經歷了美國近代藝術史上最激動人心的時期，包括抽象表現主義和普普藝術的興 起。沉醉在紐約藝術圈中，安迪．沃荷和湯姆．衛塞爾曼成了丁雄泉的好友，而李奇登斯坦 就住在他的隔壁。

008

Walasse TING

(Chinese-American, 1929-2010)

I Bring You Lots, Lots of Flowers 1976 Acrylic on canvas 76 x 101 cm Signed on the reverse Ting and titled I Bring You Lots, Lots of Flowers in English, dated 76

HK$ 450,000-600,000 NT$ 1,730,000-2,310,000 US$ 57,300-76,400

丁雄泉 我帶給你許多花 1976 壓克力 畫布 76 x 101 cm 簽名畫背：I Bring You Lots, Lots of Flowers Ting 76

丁雄泉早期的作品多為抽象風格，自1970年代才專注於人體描繪。《我帶給你許多花》創作 於1976年，屬丁雄泉以裸女為創作主題的典型作品。畫中袒胸的女子看來豐姿秀麗，態韻娉 婷，白皙的臉上抹上濃脂卻掛著憂鬱的神韻，半睜的眼睛，沒有對觀者作出注視。半裸女側 躺著，佔據畫面超過一半面積，她手擁著一籃子的鮮花，同時亦被艷麗的繁花圍繞著，女人 和花互相輝映，令人目眩神迷。 丁雄泉創作的靈感大部份來自女人，更不諱言自己對女人的喜愛，嫵媚的女人往往成為他畫 中的主角。對他而言，鮮花和女人似乎是不可割裂的。他曾經說過：「每一次我看見美麗的 女人就會聯想到鮮花，鮮花的美使我愛，使我新鮮。」丁雄泉的作品盡是歡愉的情色畫面， 給觀者強烈的視覺沖擊和感官快感，這種作風在華人畫家中是少見的，同時亦體現了一種開 放性的西方精神及文化。 丁雄泉1929年出生於中國，先後移居過香港、巴黎，之後定居紐約和阿姆斯特丹，2010年病 逝於紐約，享年80歲 。

The creative career of Chinese-American artist Walasse Ting could be said to have matured during the 1970s. By that time, he had already lived in New York for more than a decade. He experienced the most exciting periods of modern American art history, including the rise of abstract expressionism and pop art. While immersing himself in the New York art scene, Ting befriended Andy Warhol and Tom Wesselmann, and Roy Lichtenstein lived just next door to him.

Ting’s early paintings are abstract. He did not start focusing on the human figure until the seventies. “I Bring You Lots, Lots of Flowers”, painted in 1976, is one of Ting’s classic works on the theme of the female nude. In the painting, the woman with her chest bared looks shapely and graceful. Her face is fair-skinned and heavily made up, yet she reveals a sullen expression of melancholy. With her eyes only slightly opened, she averts her gaze from the viewer. The woman rests on her side, occupying more than half of the canvas, and holds a basket of flowers in her arm while being surrounded by colorfull fresh flowers at the same time. The alluring beauty of the woman and the lavish flowers around her seem to complement each other in a scintillating infinity that enraptures the viewer.

Ting draws inspiration for the majority of his work from women, and his unabashed love for them is certainly no secret. Coquettish women are often the main subjects of his paintings. To him, flowers and women are inseparable. He once said, “Every time I see a beautiful woman, I think of vivid, fresh flowers. The beauty of fresh flowers allows me to love. They invigorate me.” Ting’s paintings are awash in delectable erotic imagery and deliver a strong visual impact that ignites a sensual array of pleasure and delight in the viewer. This kind of style is rarely seen among works of Chinese painters and reflects a type of open Western ethos and culture.

Walasse Ting was born in China in 1929. He lived in Hong Kong and Paris, and, during the later years of his life, in New York and Amsterdam. He died of illness in 2010 at the age of 80.

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中國現代繪畫史上，力主國畫革新又兼收西方現代派繪畫之長的大師當首推林風眠。林風眠 在革新和融合方面走了一條比同代人更前衛的路，他主張中西融合而再造一個新的品類：「西

009

LIN Fengmian (Chinese, 1900-1991)

The Forest in Autumn Ink and color on paper 54 x 44 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist With one seal of the Shanghai Museum

HK$ 450,000-750,000 NT$ 1,730,000-2,890,000 US$ 57,300-95,500

林風眠 秋林 彩墨 紙本 54 x 44 cm 簽名左下：林風眠 鈐印左下：林風瞑印 鈐印右下：上海市博物館書畫鑑定章

方藝術，形式上之構成傾於客觀一方面，常常因為形式之過於發達，而缺少情緒之表現，把自身變 為機械，把藝術變為印刷物……東方藝術，形式上之構成，傾於主觀一方面。常常因為形式過於不 發達，反而不能表現情緒上之所需求，把藝術變為無聊時消倦的戲筆，因此竟使藝術在社會上失去 其相當的地位『如中國現代』。其實西方藝術上之所短正是東方藝術之所長；東方藝術之所短，正 是西方藝術之所長。短長互補，世界新藝術之產生，正在目前，惟視吾人努力之方針耳。」綜觀他

的藝術歷程，表現手法單純，筆墨簡練卻內涵豐富，西式的筆調中處處流露著東方詩意。 《秋林》採用畫家最常用正方構圖，色彩濃重沉鬱，用筆洗練率真。前景處，黑墨勾勒出高 坡上高聳的林木，林中白牆屋舍與中景處山腳下村落相映成趣。遠處山巒則以黑色勾勒山 體，赭色與青色漸次暈染，墨與色在方寸紙間躍動，進而使得畫面空間層次分明。

In the history of modern Chinese painting, among all the artists, who seek innovation of Chinese traditional painting and meanwhile catch the spirit of western modernist paintings, Lin Fengmian is considered as a master. Lin is a pioneer in the path of art innovation and integration in his generation, he deems to fuse Chinese and Western art to emerge a new artistic form: “Western art cares more about the objectivity in the constitution of forms, which often leads to the case of too much emphasis on forms but lack of communication of emotion; hence the art becomes mechanical, paintings become prints…

In comparison, oriental art cares more about the subjectivity in the constitution of forms, which often leads to the case of the emotional power cannot be delivered through the weak form; therefore art falls to a pastime of meaningless brushstrokes, it no longer has the social attribute it deserves “ as in modern China”. As the matter of fact, what western art is short of is exactly what oriental art is good at, while the shortage of oriental art is the very advantage of western art. The two artistic forms can perfectly be the complement for each other. The rising of a new art of our world is happening now - all depends on how we approach it.” Throughout Lin’s artistic career, he insisted on a simple means of artistic expression; his pithy brushstrokes bear profound connotations, while a sense of oriental poetry is flowing everywhere in his works completed in western painting style.

The piece “The Forest in Autumn” uses the typical squared composition which appears very often in Lin’s works, the color of this painting is rich and deep while the brushstrokes are sophisticated and forthright. In the foreground, tall trees on the hills are delineated with black ink, while the houses with white walls in the forest and the village down the hill form a delightful contrast. In the distant view, the mountains are outlined in black meanwhile ochre and cyan smudge gradually; ink and color are vibrant in the square of paper, which clearly brings out the spaciousness of the picture.

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010

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Kick 1995 Bronze, edition no. 1/10 30(L) x 22(W) x 34(H) cm Engraved Ju Ming in Chinese, numbered 1/10 and dated '95 PROVENANCE: Hanart T Z Gallery, Hong Kong This sculpture is to be sold with a certificate of authenticity issued by Hanart T Z Gallery, Hong Kong.

HK$ 350,000-550,000 NT$ 1,350,000-2,120,000 US$ 44,600-70,100

朱銘 太極系列—踢腿 1995 銅雕 1/10 30(長) x 22(寬) x 34(高) cm 簽名雕刻：朱銘 1/10 '95 來源： 漢雅軒，香港 附香港漢雅軒開立之原作保證書

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011

KUO Wei-kuo (Taiwanese, b. 1960)

I'm a Wild Wolf 2004 Oil on canvas 194 x 130 cm Signed lower right Kuo Wei-Kuo in English and dated 2004.5 ILLUSTRATED: Diagram of Commotion and Desire Towards a Bright Start from the Deep Forest, Lin & Lin Gallery, Taipei, 2005, color illustrated, p. 31

HK$ 320,000-550,000 NT$ 1,230,000-2,120,000 US$ 40,800-70,100

郭維國 我是一隻大野狼 2004 油彩 畫布 194 x 130 cm 簽名右下：Kuo Wei-Kuo 2004.5 圖錄： 《暴喜圖－柳暗花明》，大未來畫廊， 台北，2005，彩色圖版，頁31

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雖然蘇旺伸沒有什麼淑世的理想或使命，亦 不願說教般地揭示什麼公義真理，但一個成 長成熟於80年代的青年，曾經深深體會到台 灣社會的劇烈變化，那強烈與深刻的感知， 使他對自身所從出的土地，仍然充滿關情， 這種老靈魂的特質無從擺脫。於是，他紀錄 下這些心情，以各種抽象的化身與曲折的形 式，暗示著在畫布背後複雜糾結的可能，像 一則起了頭即嘎然而止的預言，留予不同的 心靈演譯將之完成。無論從內容或為它們命 名的方式，蘇旺伸此前的作品中對社會性議 題的關注都是較為外顯的，而在這件作品 中，更多的是內省式的精神觀照，他們依然 根植於畫家的生命境遇，只是那思維的面向 更為複雜與深沉，少了一些嘲謔，多了一絲 感傷，卻是一般的無所謂。 （節錄自誠品畫廊 2003年9月《蘇旺伸》畫冊）

Su is not an artist with lofty ideals or a historical mission, and you will not hear him holding forth about truth and justice. Even so, as a young man coming of age in the eighties, he has experienced his fair share of tumultuous change and upheaval as Taiwan underwent a period of rapid political, social and economic transformation. Those times left a deep and lasting imprint on his mind and, if anything, it has made him all the more attached to his native island-a quality that is eloquently betrayed in his artistic work. Abstract images and intricate shapes hint at the complicated emotions that went into each of his compositions, grabbing the viewer’s attention like hesitating divinations of the future, as if Su was reluctant to say too much and rather left it to the observer to complete the artist’s evolving prophecies. From their content and titles it is easy to see that Su’s works touch only supericially on social topics and current issues. This is also true of this lot, which features more tentative representations of the painter’s inner self, introspective musings about his life and the world around him-only now Su’s thinking has become even more complex and profound. There is less irony and more emotion, but it is all still bathed in accustomed cursory nonchalance. (cf. Eslite Gallery Exhibition Catalogue Su Wong-shen, Sep 2003)

012

SU Wong-shen (Taiwanese, b. 1956)

Green 1998 Oil on canvas 91 x 116.5 cm Signed on the reverse Su Wong-shen and titled Green in Chinese, dated 1998 ILLUSTRATED: Su Wong-shen 2000, Eslite Gallery, Taipei, 2000, color illustrated, p. 40

HK$ 450,000-600,000 NT$ 1,730,000-2,310,000 US$ 57,300-76,400

蘇旺伸 果嶺 1998 油彩 畫布 91 x 116.5 cm 簽名畫背：果嶺 蘇旺伸 1998 圖錄： 《蘇旺伸 2000》，誠品畫廊，台北， 2000，彩色圖版，頁40

013

Michael LIN

(Taiwanese, b. 1964)

Untitled 2006-2008 Acrylic on canvas 160(L) x 160(W) x 5.5(D) cm (various sizes) EXHIBITED: Michael Lin, I Am Sun, Eslite Gallery, Tapiei, April 4 - May 3, 2009 The Colour is Bright, the Beauty is Generous, Centro per l'Arte Contemporanea Luigi Pecci, Prato, October 17, 2010 - February 13, 2011

HK$ 250,000-500,000 NT$ 960,000-1,930,000 US$ 31,800-63,700

林明弘 無題 2006-2008 壓克力 畫布 160(長) x 160(寬) x 5.5(厚) cm（尺寸可變） 展覽： 「林明弘—我是太陽」，誠品畫廊，台北， 展期2009年4月4日至5月3日 「色彩是亮的，美是慷慨的」，佩奇當代藝 術中心，普拉托，展期自2010年10月17日至 2011年2月13日

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International Art Section Lot 014 - 025

014

Fernandez ARMAN

(French-American, 1928-2005)

Violino Assassinato 1986 Violins with bronze, edition no. AP 32(L) x 24(W) x 73(H) cm Engraved Arman and numbered ARTIST'S PROOF in English, dated 86

HK$ 350,000-450,000 NT$ 1,350,000-1,730,000 US$ 44,600-57,300

費爾戴儂．阿曼 行刺小提琴 1986 小提琴 銅雕 AP 32(長) x 24(寬) x 73(高) cm 簽名雕刻：Arman ARTIST'S PROOF 86

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015

James BROWN (American, b. 1951)

Personnage c. 1974 Oil on canvas 130 x 81 cm Signed lower right Jim Brown

HK$ 100,000-180,000 NT$ 390,000-690,000 US$ 12,700-22,900

詹姆斯．布朗 人體 約 1974 油彩 畫布 130 x 81 cm 簽名右下：Jim Brown

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016

Christian DALIBERT (French, b. 1946)

Boules de Noël Oil on canvas 73 x 60 cm Signed lower left C. DALIBERT Titled on the reverse BOULES DE NOEL

HK$ 60,000-100,000 NT$ 230,000-390,000 US$ 7,600-12,700

克里斯迪安．達利貝爾 聖誕彩球 油彩 畫布 73 x 60 cm 簽名左下：C. DALIBERT 題識畫背：BOULES DE NOEL

017

Fernando BOTERO (Colombian, b. 1932)

Woman in Bed on Her Stomach 2005 Bronze with dark brown patina, edition no.

1/6 53(L) x 25.5(W) x 27(H) cm Engraved on the base Botero and numbered 1/6 This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 2,200,000-2,800,000 NT$ 8,470,000-10,780,000 US$ 280,300-356,700

費爾南多．波特羅 俯臥的女人 2005 銅雕 1/6 53(長) x 25.5(寬) x 27(高) cm 簽名雕刻底座：Botero 1/6 附藝術家簽名之原作保證書

費爾南多．波特羅出生南美洲哥倫比亞，目前旅居巴黎與紐約。他可能是最著名且最受推崇 的拉丁美洲裔藝術家。獨特的「波特羅主義」畫風讓他享譽國際。這位造型藝術家以旁人無 法模仿的獨特風格來描繪女性、男性、日常生活、歷史事件、動物與靜物等主題。無論是繪 畫或雕塑，他的創作總是呈現誇張且不成比例的五官和體積，儘管人物線條簡單流暢且曲線 柔和，但想表達的藝術觀點卻十分複雜。波特羅深受歐洲悠久藝術傳統薰陶，尤其是文藝復 興與巴洛克風格藝術大師畫風影響，他將古典藝術元素與拉丁美洲殖民傳統相結合，創造出 充滿美感、發人深省且令人驚詫的藝術品。 波特羅生動樸實的作品在全球各地都大受歡迎，除了承接多項公共藝術委託計畫之外，其作 品也獲眾多博物館收藏，如紐約大都會美術館、紐約現代藝術博物館、德國紐倫堡藝術館、 奧地利現代藝術博物館、俄羅斯冬宮博物館、日本廣島市現代美術館、韓國 Sonje 現代藝術博 物館與韓國首爾湖巖美術館等。1992年，他成為第一位在巴黎香榭麗舍大道展覽的非法國籍 藝術家，並在大皇宮舉辦大規模個展。1993年，作品於紐約中央公園大道展示。1960年他移 居紐約，曾榮獲古根漢哥倫比亞國家獎。 他的藝術家生涯從一開始便大放異彩，十六歲便在哥倫比亞國家日報的週日副刊發表插圖作 品。同年 (1948年)，於家鄉麥德林參加聯展，1958年時，他贏得哥倫比亞藝術家沙龍首獎。 儘管他當時對國際藝壇接觸不多，但早期作品深受當地教堂濃厚的巴洛克風格影響，最初的 主題也反映出當地色彩繽紛的城市生活。這些熱情奔放與樸實自然的早期特色一直延續到日 後作品中。十四歲時，他曾接受兩年鬥牛士訓練，許多早期作品都描繪了鬥牛士的熱情、力 量與鋼鐵般的意志。二十二歲時，首次造訪歐洲，從此養成參觀博物館的嗜好，細心鑽研偉 大歐洲藝術家作品 其後，波特羅到馬德里的「聖費爾南度藝術學院」進修，常花好幾個小時 在普拉多博物館裡，臨摹委拉斯蓋茲與哥雅的畫作。一年後移居巴黎，大部分時間也都置身 羅浮宮美術館，於藝術殿堂中研究歷代大師作品。同年，他到佛羅倫斯旅行，在當地研究文 藝復興時期大師的作品，影響了他後期的創作，尤其是對女性主題的描繪，如本次呈獻的作 品。他深深折服、著迷於喬托、米開朗基羅、拉菲爾與烏切羅等藝術巨匠的作品，特別是濕 壁畫更對他的繪畫產生莫大啟發。 1956年，波特羅移居墨西哥，歷經墨西哥藝術家迪亞哥．里維拉的壁畫風格洗禮，終於找到 自己的聲音與風格。他發展出一種平面造型繪畫風格，讓畫中人物以誇張且不成比例的輪廓 和線條出現在觀眾眼前。他的畫作常穿插諷刺與批評細節，但整體而言仍不失幽默與趣味， 他觀察各種當權者、政治元首、教會人士、軍人、黑幫老大的幼稚行為，以嬉而不謔的方式 來調侃他們。波特羅這種幽默的社會批評手法，以及對生命與每個人內在能量的熱情讚頌， 1960年當他一移居美國，旋即獲得當地廣大迴響。他在美國各地舉辦多項個展，1969年於紐 約現代藝術博物館的「膨脹的影像」展更奠定他的一流藝術家身份。1973年，波特羅移居巴 黎，開始創作雕塑，讓他畫中的平面人物有了立體的身影。這些雕塑作品，如本次介紹的這 件作品，吸引了全球廣大群眾的關注。這些雕塑作品熱情洋溢，閃耀、激盪著無窮活力與生 命喜悅，尤其是裸體女性作品更是箇中翹楚。 女性裸體是藝術史中淵遠流長的重要主題，儘管波特羅仍師法文藝復興時期性感、豐滿的女 性形象，但他也成功塑造出自己的流派，透過作品盡情讚頌豐滿富饒的女體。波特羅從創作 初期，便一直描繪比例誇大的人類或動物形象。波特羅說他自己也不知道為何對這些「肥胖 的」形象特別有好感。從年輕時代開始，他便直覺地喜歡這種造型。觀賞波特羅作品的觀眾 應該會認同這種態度，因為其作品洋溢幸福感，總能立即吸引人們注意力，讓人無暇思索背 後的理由。這種源自藝術家直覺性美學思想的抽象造型與形式，引起觀眾情感上的共鳴。而 正是這種抽象的形式，讓他為藝術史悠久的女性裸體傳統寫下新頁。 《俯臥的女人》是女性裸體系列中的傑作。橫躺的女性裸體形象已有長遠的歷史，波特羅不 僅延續這種傳統形式，更賦予俯臥的女子更多生命力與意含。圓滾滾而豐滿的形體歌頌著女 性特質，以喜悅的筆觸呈現女子豐沛的生育力。這位女子渾身散發獨立、自信與高貴氣息， 惺忪迷濛的眼神立即擄獲觀眾的心。儘管波特羅表示他無法解釋為何喜歡使用「龐大的」造 型，但從她渾圓豐滿的身材裡，觀眾立刻體認到，藝術家已掌握住這位女性的優雅與精緻之

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美，彷彿誇張的造型與體積才能捕捉與表達 真正的女性特質。 當觀眾繞著雕塑移動，便會看到她風情萬種 地抬起右腿，不得不會心一笑。這是一位綻 放無限生命、能量與自信的女性。從她充沛 的女性特質與生殖能力中，我們感受到真正 的「成熟」美，因為我們完全能瞭解波特羅 描繪的是特質與氣韻，而非實際的外型。他 最大的成就是雕刻出一位散發自我光芒的女 性，而不只是欲望或情感的投射對象，他傳 遞出女性內在的溫暖、光彩與美麗，並挑戰 了社會公認的女性美貌與審美標準。這位女 子儘管一絲不掛，但並不會讓人有過度色情 的聯想，相反地，她渾身散發熱情與能量、 內在力量與豐富自信。

included in the collections of the Metropolitan Museum of Art, New York, the Guggenheim Museum, New York, Museum of Modern Art, New York, Kunsthalle Nuremberg, Germany, the Museum Moderne Kunst, Austria, the State Hermitage Museum, Russia, Hiroshima City Museum of Contemporary Art, Japan, Sonje Museum of Contemporary Art, Korea, Ho-am Museum, Seoul, Korea, among many others. In 1992, he was honored with an exhibition on the Champs Elysees in Paris, the first non-French artist to be so recognized, and he was also granted a large scale solo exhibition in the Grand Palais. In 1993, his works were displayed on Park Avenue in New York. After moving to New York in 1960, he won the Guggenheim National Prize for Colombia.

波特羅的藝術作品目前仍是全球競逐的焦 點。2011 年 10 月至 2012 年 1 月於維也納藝 術論壇舉辦「波麗露」展覽，2007 至 2011 年於美國與加拿大各地舉辦「費爾南多．波 特羅的巴洛克世界」巡迴展。最近兩項繪畫 系列包括回應監獄虐囚事件的「阿布葛拉伊 布」系列，以及描繪馬戲團人物的「馬戲 團」系列，均佳評如潮。許多公共藝術計劃 仍持續委託波特羅創作，他更多溫馨、喜悅 的雕塑作品將繼續問世。

Fernando Botero, born in Colombia, South America, and resident of Paris and New York, is perhaps the most widely recognized and acclaimed artist with roots in Latin America. His unique style referred to as “Boterismo” has won him great admiration worldwide with many of his sculptures displayed as public art in major cities in Europe, Asia and the Americas. He is considered a figurative artist depicting women, men, daily life, historical events, animals and still life in his own very unmistakable imitable style. Both a painter and a sculptor, all of his creations are depicted with exaggerated and disproportionate features and volume. Although his characters are created with simple smooth flowing lines and soft curves, his artistic voice is especially complex. He has been essentially influenced by the great art history of Europe, particularly by masters from the Renaissance and the Baroque, elements of which he has combined with the Colonial Tradition of Latin America, to produce works of outstanding beauty, meaning, and strikingness.

Botero’s organic and earthy works have brought him great success worldwide. As well as numerous public art commissions his works are

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費爾南多．波特羅《吸煙的女人》，1987年鑄造 銅雕，360(長L) x 159.4(寬) x 188(高) cm 2009年在紐約以114萬2500美金拍出 Fernando BOTERO, Mujer fumando, executed in 1987 Bronze, 360(L) x 159.4(W) x 188(H) cm Sold at US$ 1,142,500, New York, 2009

His career as an artist started very prodigiously, when as a sixteen year old his illustrations were published in the Sunday Supplement of the national daily newspaper in Colombia. The same year, 1948, his first works were exhibited in a group exhibition in Medellín, the capital of his home province, and by 1958, he had won first prize at the Salón de Artistas Colombianos.

Although having little access to the international art world, his first works were influenced by the Baroque style omni-present in the local churches, and his first themes and subject matter by the rich and colorful local life in the cities.

The ebullient fun and earthiness present in his early works came to be pervasive throughout his life. As a fourteen year old he trained for two years as a matador and many of his early works depict the great emotion, strength and steeliness of this group of people. At the age of twenty-two he first travelled to Europe where he developed a life long passion for visiting museums, and

studying in great detail the great European Masters.

He enrolled in the “Academia San Fernando” in Madrid, and spent many hours in the Prado Museum copying the great works of Velázquez and Goya. One year later, he moved to Paris, where again he spent most of his time in the Louvre Museum studying the Great Masters.

The same year, he moved to Florence, where his studies of the works of the Renaissance masters was to have an enormous influence on his later works, particularly with the depiction of women, as in our present work. He fell under the spell of such luminaries as Giotto, Michelangelo, Raphael and Uccello. In particular, he studied the art of Fresco painting, which has given indelible input to his paintings. In 1956, he moved to Mexico, where under the influence of Mexican mural painting of Diego Rivera, he found his own voice and style. He developed a flat, plastic style of painting depicting his subjects with his famous exaggerated and disproportionate contours and lines. He often includes details of mocking criticism and irony, but balanced with humor and fun. His works often ridicule, but rarely without humor, figures of power and authority everywhere, presidents, churchmen, soldiers, gang leaders for what he perceives as infantile behavior.

It is this humorous approach to social criticism, combined with the overflowing, celebration of life and energy within each person that won him immediate success in the United States, where he moved in 1960. He had numerous solo exhibitions all around the country culminating in his “Inflated Images” at the Museum of Modern Art, New York in 1969, which solidified his position as a leading artist. In 1973, he moved to Paris, where he first began to produce sculptures, giving a three-dimensional life to the flat characters of his paintings. It is his sculptures, such as the present one, that have endeared his works to a very wide public globally. Ebullient and overflowing with life, they resonate and shimmer with life-giving energy and joie de vivre, none more so than in his portrayal of the female nude.

The female nude has been a continuous presence in the history of art, and although Botero has taken Renaissance depictions of full-bodied, voluptuous females as his starting point, he has created his own very special genre in which he celebrates the fullness and profusion of

the female form. From the beginning of his career, he has always painted figures, human or animals, with their proportions hugely exaggerated. Sometimes referred to as “Fat” figures, Botero has said that as an artist he is attracted to certain forms without knowing why. He is intuitively attracted to the forms that he has used since he was a young man, and that it is not easy for him to rationalize or justify why he uses the forms. Viewers of his works can identify with this position, as his works demand our immediate attention, drawing our admiration, as they impart a warm feeling of wellbeing, which is difficult for the viewer to rationalize. The abstractness of his shapes and forms, which he has drawn from his intuitive aesthetic thinking resonate loudly and affectionately with his viewers. And it is this abstractness of form, which is his great addition to the long tradition of the portrayal of the female nude in the history of art.

“Woman in Bed on Her Stomach” is an outstanding work from his series of female nudes. The reclining female nude has a long history, and while following the forms of this tradition, Botero has breathed great life and purpose into our female lying on her stomach.

Her rotundity and abundance appears as a celebration of femininity, a joyous presentation of her fecundity as she seems to revel in her voluptuousness. We are immediately held captive by her sleepy gaze as she exudes independence, confidence and nobility.

Although Botero has stated that its difficult for him to rationalize the “large” forms he employs, we are instantly aware that in the great roundnesses and sizes of the woman, he has captured the full gracefulness and refinement of the woman. It seems as if the exaggerated forms capture and convey essential female essences.

As we move around the statue we recognize the coquettishly raised right leg, and we smile knowingly. This is a woman b u r s t i n g w i t h l i f e , e n e rg y a n d confidence. We get an overwhelming sense of “ripeness”, as she revels in her femininity and fecundity, as we fully understand Botero’s great power in depicting qualities, essences rather than true forms. His great achievement is to sculpt a woman in all her glory without making her an object of desire or affection, instead conveying the warmth, gloriousness, and beauty of her

inner core and thus challenging the pervasive and socially acceptable depictions of female beauty and perfection. Although nude, the woman avoids conveying overt sexuality, instead oozing passion and energy, inner strength and confidence.

Botero’s art is in continuous demand worldwide.

A major exhibition at the Kuntsforum, Vienna, titled, “Bolero” ran from October 2011 to January 2012. The exhibition, “The Baroque World of Fernando Botero” travelled throughout the United States and Canada from 2007 to 2011. Two recent series of his paintings, “Abu Ghraib” which he painted in response to the torture in the prison, and “The Circus” depicting circus characters achieved great critical acclaim. He continues to receive many public art commissions, for his warm, celebratory sculptures.

展覽： 「要快樂」，人文畫廊，名古屋，展期1993 年10月12至10月30日 「要快樂」，人文畫廊，東京，展期1993年 11月29日至12月18日

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Yoshitomo NARA (Japanese, b. 1959)

Monkey Baby Go-Go 1993 Acrylic on cotton 85.2 x 55 cm Signed on the reverse Yoshitomo Nara and titled Monky baby Go-Go both in English, inscribed 85 x 55 cm and dated 93 PROVENANCE: Acquired directly from the artist by the present owner Private collection, Europe EXHIBITED: Be Happy, Galerie Humanité, Nagoya, October 12-30, 1993 Be Happy, Galerie Humanité, Tokyo, Japan, November 29 - December 18, 1993 ILLUSTRATED: Be Happy, Galerie Humanité, Nagoya, 1993, color illustrated In the Deepest Puddle, Kadokawa Shoten P ublish ing Co., Ltd.,To ky o, 2006, co l or illustrated Yo s h i t o m o N a r a : T h e C o m p l e t e Wo r k s, Chronicle Books, San Francisco, 2011, color illustrated

HK$ 1,000,000-1,800,000 NT$ 3,850,000-6,930,000 US$ 127,400-229,300

奈良美智 小猴仔加油 1993 壓克力 棉布 85.2 x 55 cm 簽名畫背：Yoshitomo Nara Monky baby GoGo 85 x 55 cm 93 來源： 現藏者直接購自畫家本人 私人收藏，歐洲

圖錄： 《要快樂》，人文畫廊，名古屋，1993，彩 色圖版 《最深的泥坑中》，角川書店，東京， 2006，彩色圖版 《奈良美智作品全集》，紀事報叢書，舊金 山，2011，彩色圖版

《小猴仔加油》一畫展現了奈良美智的風格 特質，這位藝術家不旦深獲藝評家肯定，更 擁有廣大的國際粉絲。奈良美智筆下的孩童 頭大，眼睛也大，乍看之下十分可愛，但定 睛再看，這些孩童的眼神裡顯現某種讓人不 安的思緒，似乎充滿焦慮，甚至恨意。 奈良美智和許多日本當代藝術家一樣，藝術 作品深受動漫畫的影響。他畢業於愛知縣立 藝術大學，畢業後在東京發展，他在東京看 見一個失落的世代，找不到自我定位，充滿 困惑與反社會情緒。1988至1993年這五年期 間，他到德國杜塞道夫藝術學院留學。 1990年代初回到日本後，奈良美智開始受由 村上隆提倡的日本普普藝術運動「超扁平」 風格影響，畫中人物屬於動漫畫風，卻又充 滿濃厚的情緒張力與衝擊力。線條簡單，背 景空蕩，將觀者的注意力集中於畫中人物身 上。成長過程中，他熱愛龐克搖滾樂，透過 音樂來發洩抑鬱、幻滅與焦慮的青春。 《小猴仔加油》畫中手舞足蹈的小孩看起來 十分快樂，黃色調背景明亮溫暖，畫中的孩 子似乎自得其樂，但是他獨自一人，看起來 相當獨立，雙眼似乎流露出同齡兒童不該有 的堅強。奈良美智一代的許多日本孩童都曾 經歷這種「孤單」狀態，這幅畫作深刻描繪 出這個世代的特質。孩童需要人陪伴、關愛 與照顧，如果缺乏這些最基本的情感，孩童 內心會留下長遠傷痕。 逗趣的標題「小猴仔」讓人聯想到孩童玩耍 的可愛情景，但對於許多當代日本人，包括 奈良美智而言，他們的成長過程缺乏人類兒 童應有的親情與關懷，只有宛如猴子般的非 人對待。 奈良美智刻劃出這一世代的困惑心靈，也為 他帶來無數讚譽與大批忠實畫迷。

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“Monkey Baby Go-Go” displays many of the elements of Yoshitomo Nara’s work which has brought him critical acclaim and a world-wide cult following. Nara often depicts small children with big heads and large eyes, which at first glance seem cute and benevolent, but as the viewer dwells on the child, they seem to be filled with angst and almost hatred, as their eyes reveal something uneasy.

Nara’s artwork like many contemporary Japanese artists is influenced by the style of anime and manga. Having graduated from the Aichi Prefectural University of Fine Arts and Music, he based himself in Tokyo, where he encountered a generation that has lost its way, wondering what its place in the world is, and as adults are bewildered and sociopathic. He spent five years in Germany studying at the Kunstakademie Dusseldorf from 1988 to 1993.

Returning to Japan in the early 1990s he was influenced by the Japanese Pop art movement or “Superflat” style as defined by Takashi Murakami. His figures are stylized in the manga form, however they are infused with great emotional power and impact. Using simple lines and empty backgrounds, Nara focuses our attention on his characters. Growing up, he was attracted to punk rock music, the outlet for an unhappy, disillusioned and aggravated youth.

“Monkey Baby Go-Go” depicts an apparently happy child, dancing with himself. The yellow background color is bright and warm and the child seems happy in himself. However, he is alone, and while seemingly independent, as we focus on his eyes we see a hardness that we don’t expect in a child. It is this “aloneness” that so many Japanese suffered in Nara’s generation, that he so powerfully depicts in this portrait.

Children need to be surrounded by people, being loved and taken care of, and if these essential necessities are missing, the child’s inner wellbeing suffers enormously.

The title “Monkey Baby” makes us smile when we first hear it, with its connotations of childish play, but for many of Japan’s current generation their upbringing lacked the love and attention that human children need, and for many of them, including Nara, they may feel that they were treated as little more than non-human monkeys.

It is Nara’s ability to portray so powerfully the inner turmoil of his generation that has brought him so many accolades and a huge worldwide following.

草間彌生對圓點的迷戀源自幼年患有神經性視聽障礙，這場疾病使她看到的世 界彷彿隔著一層斑點狀的網。透過繪畫、雕塑、行動藝術與裝置可看到她企 圖呈現的是一種自傳式的心理狀態。她深信宇宙萬物皆由如圓點般的細胞、 原子、分子組成，而連結這些「點」的「網」就像宇宙般無限的伸展開來。 她認為這些「點」組成了宇宙和一面無限大的「網」，也代表了她的生命。

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Yayoi KUSAMA (Japanese, b. 1929)

Infinity Nets Q.N.I. 1989 Acrylic on canvas 162 x 130 cm Signed on the reverse Yayoi Kusama and titled Infinity Nets Q.N.I. in English, dated 1989 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

HK$ 2,200,000-3,000,000 NT$ 8,470,000-11,550,000 US$ 280,300-382,200

草間彌生

無限的網 Q.N.I. 1989 壓克力 畫布 162 x 130 cm 簽名畫背：Yayoi Kusama 1989 Infinity Nets Q.N.I. 附草間彌生工作室開立之原作登錄卡

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1959年，草間彌生佇留紐約期間第一次發表了《無限的網》作品，這對當時有前衛 城市之稱的紐約藝術界造成一股極簡藝術的旋風。1960年，草間是極少數在美國 創作的藝術家，受邀至德國薩德奇斯美術館的一場國際矚目的極簡藝術展，當時 草間的《無限的網》與著名大師封塔納、克萊茵、羅斯科的作品同時併列展出。 而在今年，2012年倫敦泰特現代美術館為草間彌生舉辦回顧展，展出歷年的繪畫、 雕塑、裝置與電影等作品，此殊榮再度奠定了草間彌生在國際上不可取代的地位。

Yayoi Kusama’s obsession with dots began in her childhood when she suffered from hallucinatory visions. This illness made the world she saw appear as if it were separated by a net of dots. Through her paintings, sculptures, performance art, and installations, we can see that she aims to represent an autobiographical state of mind in her works. She deeply believes that all things in the universe are made of dot-like cells, atoms, and molecules. And the “net” that links the “dots” expands into infinity, just like the universe. She thinks that these “dots” constitute the universe and an “infinity net” as well as represent her own life.

In 1959, during her stay in New York, Kusama exhibited her work “Infinity Nets” for the first time. This caused quite a stir and excited a minimalist movement in New York, the avant-garde city of the time.

In 1960, Kusama became one of the few, US-based artists invited to participate in an internationally anticipated minimalist art exhibition at the Städtisches Museum in Germany, where her “Infinity Nets” was shown amongst the works of masters like Lucio Fontana, Yves Klein, and Mark Rothko.

This year, the Tate Modern gallery in London is holding a retrospective exhibition for Yayoi Kusama, showing her paintings, sculptures, installations, and films. This rare honor has again put her in an irreplaceable position in the international art world.

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Yayoi KUSAMA (Japanese, b. 1929)

Self-Portrait 2009 Acrylic on canvas 194 x 194 cm Signed on the reverse YAYOI KUSAMA in English, titled SELF-PORTRAIT in English and Han character, dated 2009 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

HK$ 3,800,000-5,500,000 NT$ 14,630,000-21,180,000 US$ 484,100-700,600

草間彌生

縱橫藝壇六十多年的草間彌生是享譽國際的日本現代藝術家，她於1993年代表日本參加威尼 斯雙年展，參展的鏡子與南瓜等裝置藝術作品獲得極大好評。 2006年，草間彌生榮獲日本最高國際藝術家榮譽—「高松宮殿下紀念世界文化賞」，她也是 首位獲此殊榮的日本女性。其創作廣為全球各大博物館收藏，包括紐約現代美術館、倫敦 泰德現代美術館、巴黎龐畢度藝術中心與東京國立近代美術館。2008年，她的作品《無限的 網》第二號於紐約以五百多萬美元成交價，創下在世女性藝術家的最高紀錄。2012年，倫敦 泰德現代美術館特別為她舉辦大型創作回顧展。 草間彌生的藝術紮根於藝術家內心中，她創作的形象與影像都與其早年生活息息相關，由於 童年遭母親虐待，留下深刻創傷，十歲時便開始產生幻覺。她回憶，有一天她坐在廚房餐桌 旁，注視著桌布的紅花圖案，抬頭看時，發現相同的圖案出現在天花板、窗戶、牆壁、自己 身體上，最後佈滿整個世界。這些幻覺終生不退，而她的所有藝術創作，包括繪畫、雕塑、 甚至裸體裝置藝術，都點綴著滿滿的圓點、網線或花朵圖案。她表示，與這些持續出現的幻 覺影像共存的唯一方法，就是將它們轉化成創作，使之成為外在世界的一部分。 此件作品於2009年，當時草間彌生已80歲高齡，在藝術創作生涯中開創一個自己專屬的魔幻 天地。草間彌生常穿著與畫作顏色和圖紋相近的服裝，與畫作合影，畫家本人與畫作融合蔓 延，形成一場無止無盡的生產與複製遊戲。在這張自畫像中，她讓自己融入無限的圓點與網 線之中，將自己與花和貓的形象合而為一，來自幻覺中的影像化為獨特而強烈的創意。她的 作品散發無限活力與能量，總是能立刻抓住觀賞者的目光。

自畫像 2009 壓克力 畫布 194 x 194 cm 簽名畫背：YAYOI KUSAMA SELF-PORTRAIT 自畫像 2009 附草間彌生工作室開立之原作登錄卡

Throughout her career spanning over 60 years, Yayoi Kusama is one of internationally renowned modern artists from Japan. In 1993, Kusama represented Japan at the Venice Biennale, where her mirrors and pumpkins installation was highly acclaimed and a critical success. In 2006 she became the first Japanese female artist to receive the “Praemium Imperiale”, Japan’s most prestigious prize for internationally recognized artists. Her works are included in the collections of leading museums throughout the world, including the Museum of Modern Art, New York, Tate Modern in London, Centre Pompidou, Paris and the National Museum of Modern Art, Tokyo. In 2008, her “Infinity Nets” No. 2 set the highest price paid at auction for a living female artist, selling for more than five million dollars in New York. In 2012, she has been honored with a major retrospective of her life’s works at the Tate Modern Gallery in London.

Kusama’s art is deeply rooted in her psychology, her iconography and images are invariably linked to her early life. Suffering a traumatic childhood at the hands of her mother, at the age of ten she began to have hallucinations. She has recounted that one day as she was sitting at the kitchen table, she was looking at the red flower patterns of the tablecloth. When she looked up, she saw the same pattern covering the ceiling, the windows, the walls, her own body and ultimately the universe. These hallucinations were to persist with her for the rest of her life, and everything in her art from her paintings to her sculptures to her installations even with naked bodies was to become covered in dots, nets or flowers. She has said that the only way she could cope with the obsessional images of her constant hallucinations was to translate them into the outside world in all of her works.

With the lot on offer, executed in 2009 at celebration of her 80th birthday, she has had an art career of mythic dimensions. Kusama is often photographed with these paintings, wearing clothes with textures and colors similar, to merge directly with her works in an endless game of production and reproduction.

At this self-portrait, she has merged herself into the infinity dots and nets, composed herself into flowers and cat, a very unique and strong piece derived from her hallucinatory visions. There is a vitality and energy emanating from her works that is immediately attractive and draws the viewer’s attention.

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021

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin B.Q.I. 1990 Acrylic on canvas 91 x 73 cm Signed on the reverse Yayoi Kusama in English, titled Pumpkin in Han characters, inscribed B.Q.I. in English and dated 1990 PROVENANCE: Whitestone Gallery, Tokyo EXHIBITED: Beauty in Japanese, Marble Palace, The Russian Museum, St. Petersburg, September 2 27, 2010 Yayoi Kusama, Whitestone Gallery, Tokyo, March 9 - May 9, 2011 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

HK$ 2,000,000-2,600,000 NT$ 7,700,000-10,010,000 US$ 254,800-331,200

草間彌生 南瓜 B.Q.I. 1990 壓克力 畫布 91 x 73 cm 簽名畫背 : Yayoi Kusama 1990 南瓜 B.Q.I. 來源： 白石畫廊，東京 展覽： 「日本之美」，大理石宮，俄羅斯博物館， 聖彼得堡，展期自2010年9月2日至9月27日 「草間彌生」，白石畫廊，東京，展期自 2011年3月9日至5月9日 附草間彌生工作室開立之原作登錄卡

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享譽國際的藝術家草間彌生，在1973年時抱病返回東京。在紐約期間，常 因長達40-50個小時忘我的投入創作，體力不支而送醫。她描述自己是一位 「強迫症藝術家」，每當一開始在塗滿單色的畫布上填入「網」和「點」 時，就無法停止。因此返回日本後，她以小說，短文，與詩集創作為主，並 且自願入住精神療養院，至今仍時常返回東京治療所。 1993年草間彌生代表日本參加第45屆威尼斯雙年展，從此南瓜題材的作品聲 名大噪，也受邀創作巨型裝置作品，如福岡市美術館的戶外雕塑。而題材 「南瓜」來自於草間的童年，在戰爭時期草間的家種滿了南瓜；她說「小時 候在家裡植物採種場玩，摘下來的南瓜會跟我說話。」「南瓜外型實在太可 愛了…吸引我的是它脂粉未施的大肚子，還有強大的精神安定感。」 草間彌生對圓點是偏執的，這與她的視覺幻覺有關。她以大量的圓點包覆各 種物體的表面，牆壁、地板、畫布、物品、人體、甚至自己。藉由重複性的 線條將圓點無限的蔓延，混淆了真實空間的存在，使得觀賞者不自覺的陷入 眩暈狀態，不知身處真實或虛幻。此幅同樣以重複的圓點堆疊而成的《南 瓜》結合了她兩個最具象徵性的符號：「南瓜」和「無限的網」。

World-renowned artist Yayoi Kusama returned to Tokyo in 1973 with her illness. During her time in New York, she was often taken to hospital for exhaustion after 40-50 hours of being completely engrossed in her work.

She described herself as an obsessive artist.

Every time she started applying “nets” and “dots” on a monochrome canvas, she could not stop. Therefore, after returning to Japan, she worked mainly on novels, essays, and poems, and volunteered to live in a psychiatric hospital in Tokyo she still visits from time to time.

In 1993, Kusama represented Japan in the 45th Venice Biennale. Since then, she became famous for her works on pumpkins and was invited to create large installations, such as the outdoor sculpture at Fukuoka Municipal Museum. The subject of “pumpkins” came from her childhood. During the war, her family planted pumpkins at home. She said, “As a child, I used to play in the garden at home.

The pumpkins that I plucked out would talk to me.” “Pumpkins have such lovely shapes... What attracts me are their unpowdered big bellies and their strong sense of security.”

Kusama has a partiality for dots due to her hallucinatory visions. She covers the surfaces of all kinds of materials - walls, floors, canvases, objects, human bodies, and even herself - in dots. And by expanding dots into infinity through repeated lines, her work confounds the existence of real space, bringing the viewers into unconscious states of dizziness, not knowing whether they are in reality or illusions.

This painting, “Pumpkin B.Q.I.”, composed of repeating dots, combines two of her most iconic symbols – “pumpkins” and “infinity nets.”

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Andy WARHOL (American 1928-1987)

Mao (Feldmann & Schellman II 95) 1972 Silkscreen print in colors on Beckett High White, edition no. 132/250 Signed on the reverse Andy Warhol in ball point pen, numbered 132/250 and stamped C O P Y R I G H T @ A N D Y WA R H O L 1 9 7 2 PRINTED AT STYRIA STUDIO INC. 91.4 x 91.4 cm ILLUSTRATED: F. Feldman and J. Schelmann (eds.), Andy Warhol Prints: A Catalogue Raisonné 19621987, Distributed Art Publishers, Inc., New York, 1997, color illustrated, p. 79 Andy Warhol Giant Size, Phaidon Press, London, 2009, color illustrated, p. 507

HK$ 300,000-400,000 NT$ 1,160,000-1,540,000 US$ 38,200-51,000

安迪．沃荷 毛澤東（費德爾曼與雪爾曼II 95） 1972 彩色絹版畫 132/250 簽名畫背：Andy Warhol COPYRIGHT @ ANDY WARHOL 1972 PRINT AT STYRIA STUDIO INC. 91.4 x 91.4 cm 圖錄： 費德爾曼與雪爾曼聯合主編，《安迪．沃荷 版畫編年目錄1962-1987》，分佈藝術出版 社，紐約，1997，彩色圖版，頁79 《安迪．沃荷巨大尺寸》，費頓出版社，倫 敦，2009，彩色圖版，頁507 備註： 紐約史提利亞工作室印製

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023

YAN Pei Ming (Chinese, b. 1960)

Portrait de Brigitte Gairard 1998 Oil on canvas 100 x 81 cm Signed on the reverse Yan Pei Ming in Chinese and English, titled Portrait de B. GAIRARD in French and dated 1998

HK$ 700,000-950,000 NT$ 2,700,000-3,660,000 US$ 89,200-121,000

嚴培明 布希姬．格哈德肖像 1998 油彩 畫布 100 x 81 cm 簽名畫背：Portrait de B. GAIRARD 1998 嚴 培明 Yan Pei Ming

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嚴培明，1960年出生於上海閘北區的工人家 庭，文革時曾畫過許多以工人、農夫、士 兵、領袖等為主題的政治宣傳畫，高中畢業 時報考上海工藝美術學校，不幸落榜。但這 並沒有澆熄他想要投身藝術工作的心念，19 歲他遠走法國，原本想投靠在法國的舅舅， 沒想到一下飛機就被接到一家皮包工廠開始 工作，到了法國中部城市—第戎後，考入法 國第戎國立美術學院，半工半讀完成五年的 學業，他曾提到：「在第戎美院的五年，是 我一生中最幸福的時候。」 在第戎美術學院就讀的期間，大多的學習 都是以觀念為主的行為和裝置藝術，而嚴 培明始終想畫畫，他說「繪畫是很難的一件 事情，因為繪畫的語言太古老，而且大家都 懂這個語言，你要是沒有自己的特點、語言 和想法的話是很難出來。裝置是屬於觀念的 東西，狡猾一點都可以做。」曾有藝評家問 他，為何僅使用單一色系創作，而他絲毫不 故作玄虛，也沒提到歷史傷痕之類的說詞， 反而大剌剌的說到在校時期：「每當你調顏 色的時候，總是有個老前輩在你眼前出現」 他自嘲這是上海人的小聰明，為了避免前輩 的干擾，他以此方式尋找自己的天地。於是 白、黑、灰、紅成為了他唯一的色調。 1987年，因有著文革時期政治宣傳畫的經 驗，善於肖像畫的嚴培明開始畫毛澤東的 巨幅頭像，也因法國社會主義盛行，許多法 國政治與藝術界的人士對毛澤東極為推崇； 「剛開始，我通過毛澤東形象來傳播中國的 信息，因為剛來法國時，沒人知道我，但都 知道毛澤東。」他獨特的表現語言、巨大的 視覺衝擊效果，引起巴黎龐畢度中心的注 意。1991年他在法國舉辦第一個個展，名為

「通過他的歷史，我的故事剛剛開始」。 在毛澤東肖像畫之後，嚴培明的創作不僅專 注於充滿權力形象的政治人物，同時也關心 弱勢的受害者。他筆下的人物包括了美國最 大金融詐騙案的主角：那斯達克前主席伯納 德．麥道夫曾說：「在這個世界，一定有人 靠他賺了很多錢，賺錢的人都消失了，痛苦 的人是我關注的。所謂的幸福和快樂是暫時 的。」 2009年，嚴培明成為首位有生之年以個展形 式在法國羅浮宮展出作品的當代藝術家； 「羅浮宮請我辦個展時，我第一個想法就 是畫蒙娜麗莎，蒙娜麗莎是西方典型的肖 像。」他說這是對歐洲文化的一個挑戰，很 多畫家都畫過。一組五幅畫的作品名為《蒙 娜麗莎的葬禮》，他說他把蒙娜麗莎的風景 延長了，把人們看不到的也畫出來，「通過 西方文化描述自己的世界—父親和我，把個 人世界拓展到人類的新世界。」他表明了自 己不代表法國也不代表中國，只代表他自己 以及他對社會、人道、戰爭等議題的關懷。 如今他以黑、白、紅單色巨幅肖像享譽國 際。成為最早進入西方藝術界和藝術市場 的中國當代藝術家之一。他以犀利有力、細 膩且悲劇性的筆觸刻畫不同個體的生存狀態 和精神世界，進而探討人類發展進程中的戰 爭、貧困、不公、生命、死亡等社會命題的 深意。1991年作品進入龐畢度藝術中心，這 是繼趙無極、陳箴之後，嚴培明是第三位作 品被龐畢度藝術中心收藏的華裔藝術家。爾 後多次在歐洲著名機構舉辦個展，並參加過 威尼斯雙年展、里昂雙年展等眾多國際大 展。

Yan Pei Ming was born in a working-class family in the Zhabei district of Shanghai in 1960. During the Cultural Revolution, he painted a large number of propaganda paintings of workers, peasants, soldiers, political leaders, etc. After completing secondary school he applied to the Shanghai Art & Design School, but his application was rejected. However, this setback did not quench his desire to make art his career. At the age of 19 he traveled to France, where he hoped that his uncle (who was already living there) would be able to help him.

In the event, as soon as he got off the plane he was sent to work in a factory making leather handbags. Yan subsequently moved to Dijon, in Central France, where he passed the entrance examination to begin a course of study at the Ecole Superieur des Beaux-arts de Dijon. After a period of five years in which he supported himself by working part-time, Yan graduated.

He has said that “the five years which he spent studying at Dijon were the happiest of his life.”

Most of the courses at the Ecole Superieur des Beaux-arts de Dijon related to art theory concepts and installation art, whereas Yan Pei Ming just wanted to paint. Yan feels that “Painting is very difficult, because the ‘language’ of painting is a very old one that everyone understands. Unless your work stands out from the crowd, and you have something special to say, and your own particular ideas to get across, it is very difficult to get anywhere in painting. Installation art is something conceptual; if you are crafty enough, you can get away with producing anything.” Once, when an art critic asked him why he always used the same basic colors, Yan said, without any false modesty and without any self-pity regarding what he had experienced as a youth, that when he was a student, “whenever you were mixing colors, one of the teachers would always appear from nowhere to offer you advice.”

Demonstrating what he mockingly refers to as “Shanghainese cleverness,” Yan decided that, to

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his work does not represent France, and does not subjects of his paintings represent China; it only represents himself and have included people his concern for issues relating to society, ethics, like Bernard L. Madoff, war, etc. a former chairman of the NASDAQ stock Yan Pei Ming has won international renown exchange in the U.S. for his large red, white and black portraits. who was the key figure He was one of the first Chinese contemporary in the largest financial artists to successful break into the Western art fraud in U.S. history. market and to establish himself with Western art “There must have been circles. With his perceptive, powerful, detailed, plenty of people who tragedy-embued brush-strokes, Yan portrays the made a lot of money nature of existence for different individuals, and t h ro u g h h i m , b u t w e their respective spiritual worlds. This in turn never hear anything 嚴培明的作品展出於2010上海世博法國館 provides him with a foundation for exploring about them.

It is the one Yan Pei Ming's works at French Pavilion, 2010 Shanghai World Expo the deep significance of social issues such as who is suffering who I war, poverty, inequality, life and death over the am interested in. Good fortune and happiness avoid constant interference by the teachers, and course of human evolution. The exhibition of never last.” to be able to go his own way, he would stick to Yan Pei Ming’s work in the Pompidou Center using the basic colors white, black, gray and red. in 1991 made Yan only the third ethnic Chinese In 2009, Yan Pei Ming became the first living artist ever to be accorded this honor, following contemporary artist to have his work shown In 1987, benefiting from the skill in portraiture in the footsteps of Zao Wou-ki and Chen Zhen. at the Louvre. “When the Louvre invited me to that he had developed when creating propaganda Since then, Yan has held solo exhibitions have a solo exhibition there, my first thought paintings during the Cultural Revolution, Yan in many of Europe’s most prestigious art was to paint the Mona Lisa; the Mona Lisa Pei Ming began to paint large portraits of institutions, and has taken part in many leading is the classic western portrait.” Yan explains Mao Zedong’s head. Due to the prevalence of international art exhibitions, including the that attempting to reinterpret the Mona Lisa socialist though in France, many of the leading Venice Biennale and Lyon Biennale. is a major challenge in the Western cultural figures in French politics and in the French tradition, and that many art world had a great respect for Mao Zedong. artists have attempted “When I was starting out, I used the image i t . Ya n p r o d u c e d a of Mao Zedong to get across the messages I set of five paintings wanted to present in relation to China. This collectively entitled was because, when I first arrived in Franc, no“The Funeral of Mona one knew who I was, but everyone knew Mao Lisa.” As Yan puts it, he Zedong.” Yan’s unique expressive lexicon has extended the “scene” and the pronounced visual impact of his huge of the Mona Lisa, canvasses attracted the attention of the Centre painting those aspects Pompidou in Paris. In 1991, Yan Pei Ming held that could not be seen his first solo exhibition in France, entitled “My in the original. “I use Story Begins with His History.”

Western culture to depict my own world – my Following on from his portraits of Mao Zedong, father and me. I expand the range of Yan Pei Ming’s work began to 嚴培明《毛澤東－紅太陽（二聯幅）》1992 油彩 畫布 95 x 150 cm my own personal world expand to include not only images of political 羅芙奧香港2008秋拍 編號125 646萬港幣成交 to create a new world for figures radiating a sense of power, but also Yan Pei Ming, Mao-Soleil rouge (diptych), 1992, oil on canvas, 95 x 150 cm Ravenel Autumn Auction 2008 Hong Kong, Lot 125, US$ 833,548 sold humanity.” Yan says that pictures of victims and the disadvantaged. The

杉本博司是一位優秀的建築設計師，現代建築始終是他的興趣之一，他不只拍攝建築物，還 希望能捕捉建築的本質與精神。2002年，奧地利波堅思美術館館長艾克哈．史耐德建議杉本 參觀美國聖路易新成立的普立茲藝術基金會，這棟建築是日本建築大師安藤忠雄的作品，杉 本於2003年抵達當地，準備為這座建築拍照，不過卻立刻被另一位藝術家理查塞拉的訂製雕 塑「喬」所吸引，這座雕塑特別為了紀念小約瑟夫．普立茲而命名為「喬」。

024

Hiroshi SUGIMOTO (Japanese, b. 1948)

Joe: 2073

杉本交錯地運用柔和的光線與模糊的暗影，讓鏡頭裡的「喬」與雕塑本身形成相互呼應的對 照，將平面的攝影藝術呈現雕塑般的立體感。杉本在拍攝「喬」時採用的曝光時間較短。傳 統相機只可將焦距調到無限遠，但杉本使用的大型相機可以把焦距調整至兩倍無限遠，創造 出一種朦朧模糊的背景效果。

2004 Gelatin silver print mounted on aluminum, edition no. 2/5 149.9 x 120.6 cm Signed Sugimoto in English on a label adhered to the reverse

杉本對於光線每分每秒間帶來的變化已培養出一種內在直覺，並能掌握在最佳時機按下快 門，隨時調整適當的光圈與快門速度，等待黃金時刻的到來捕捉完美的一刻。他手下的每張 照片都是在工作室裡親手洗出來的，對杉本而言，這是藝術家的工作，不該事後再由電腦軟 體代勞。他深信只有對拍攝對象抱有真誠的藝術家，才能在最精準無誤的時刻捕捉其神韻與 精神，並傳之後代，永不磨滅。

PROVENANCE: Sugimoto Studio, New York Gagosian Gallery, Beverly Hills, Los Angeles

「喬」這個動人的攝影系列於2006 年在普立茲基金會舉辦特展，共展示了19件作品。此件拍 品《喬 2073》是此系列中相當出色的作品。杉本以其獨特的攝影語言展現多變不同的角度， 把攝影、雕塑、建築與專刊交織成完整而多元的藝術觀點，創造出全面而完整的觀賞感受。 該展覽大受歡迎，並獲得絕佳評價。

ILLUSTRATED: Joe. Photographs by Hiroshi Sugimoto, The Pulitzer Foundation for the Arts, St. Louis, Missouri, 2006, color illustrated

HK$ 700,000-1,000,000 NT$ 2,700,000-3,850,000 US$ 89,200-127,400

杉本博司 喬 2073 2004 銀鹽相紙 2/5 149.9 x 120.6 cm 簽名畫背標籤貼紙：Sugimoto 來源： 杉本博司工作室，紐約 高古軒畫廊，比佛利山，洛杉磯 圖錄： 《喬—杉本博司攝影集》，普立茲藝術基 金，聖路易，密蘇里，2006，彩色圖版

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Sugimoto is an accomplished architect, and has always been interested in modern architecture. In 2003, Sugimoto visited the new Pulitzer Foundation of the Arts in St. Louis, USA to take photographs of the architecture. However, he was immediately captivated by one of the commissioned sculptures “Joe” by the artist Richard Serra. The name “Joe” was in honor of Joseph Pulitzer Jr..

Sugimoto’s photographs of “Joe” and the sculpture itself are matching creations. Using soft light, and blurred darkness, the works such as the present one, seem in themselves to be like sculptures. The worlds of photography and sculpture coincide, and the two dimensionality of the photographs seems to capture the three dimensionality of the actual sculpture.

Sugimoto used a relatively short exposure time for the “Joe” photographs. A traditional camera can focus to infinity, however the large format camera he uses can focus to a double infinity, resulting in a blurry, hazy background which contributes so successfully to the visual effectiveness of the photographs. As a craftsman with the camera, Sugimoto has reached back to the earliest photographers who understood implicitly the feeling and effect of light on surfaces. Light changes every second, and so the master photographic craftsman develops an innate sense of the changes that will occur as time passes, and will anticipate and prepare for the exact moment he wishes to capture. He will have already chosen the right F-stop and shutter speed for the golden moment. For Sugimoto, this must be done by the artist not later on a computer. Only an artist intimately involved with his subject can capture the essence, the spirit of the subject at the precise, correct moment for posterity. Sugimoto develops all his own photographs by hand in his studio ensuring the artistic integrity of each work.

A special exhibition of nineteen of them was held in the Pulitzer Foundation in 2006. The true complement of a unified artistic vision was fully realized, the photographs, the sculpture, the architecture and the book. The exhibition was greatly lauded, and received major critical acclaim. The present photograph “Joe” is one of the sublime works from this series.

謝德慶 一年行為表演藝術紀錄1978-1999； 一年行為表演1978-1979（籠子） 025

Tehching HSIEH (Sam HSIEH) (Taiwanese, b. 1950)

One Year Performance Art Documents 1978-1999; One Year Performance 1978-1979 (Cage Piece) DVD published in 2000; Cage Piece created in 1980; print in 1993 DVD film and documents; statement and poster, print edition no. 87/265 127 x 97 cm (print) 27.5 x 21.5 cm (statement) 44.5 x 28.5 cm (poster) Signed lower right Sam Hsieh, Tehching in English and dated 1993 (print) Numbered lower left 87/365 (print) EXHIBITED: Performance 1: Tehching Hsieh, Museum of Modern Art, New York, January 21 - May 18, 2009 ILLUSTRATED: Adrian Heathfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh, Live Art Development Agency, London; MIT Press, Cambridge, USA, 2009 Adrian Heatherfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh, Taipei Fine Arts Museum; Art & Collection Group, Taipei, 2011, color illustrated, pp. 72-74 & p. 87

HK$ 150,000-200,000 NT$ 580,000-770,000 US$ 19,100-25,500

54

DVD發行於2000；籠子創作於1980； 版畫製作於1993 錄像與文件DVD；版畫 聲明 海報； 版畫版次87/365 127 x 97 cm（版畫） 27.5 x 21.5 cm（聲明） 44.5 x 28.5 cm（海報） 簽名右下：Sam Hsieh 1980 Tehching 1993 （版畫） 版次左下：87/365（版畫） 展覽： 「行為藝術之一：謝德慶」，紐約現代美術 館，紐約，展期自2009年1月21日至5月18日 圖錄： 亞德里安．希斯菲爾德與謝德慶，《現在之 外：謝德慶生命作品》，即場藝術推廣協 會，倫敦；麻省理工學院出版，美國劍橋， 2009 亞德里安．希斯菲爾德與謝德慶〈龔卓軍 譯〉，《現在之外：謝德慶生命作品》， 台北市立美術館；典藏藝術家庭，台北， 2011，彩色圖版，頁72-74與頁87

2009年，紐約現代美術館史無前例推出當代 藝術中最大變數形式的「行為表演」展覽單 元，第一檔展覽名為「行為藝術之一：謝德 慶」，主推台灣出生、旅居紐約的行為藝術 大師謝德慶，展出其三十年前的代表作「一 年行為」系列作品《籠子》（1978-79）的 記錄與物件。 這件表演行為在謝德慶的紐約工作室，期間 從1978年9月30日到1979年9月29日為止， 整整一年時間將自己鎖在一座木籠子內，裡 頭只有一個洗手台、燈、馬桶和一張單人 床。期間不與外界交談、不閱讀、不書寫， 也不收聽廣播或看電視，一位朋友每天來照 料食物、衣服並處理穢物，且拍照紀錄。全 程由律師公證，確認絕無離開木籠。每天可 開放參觀，時間自早上11點到下午5點。一 年過去，他在牆上留下366條計算日期的符

號，以及「SAM HSIEH 93078-92979」的刻 痕。 當年，謝德慶將時間的藝術和身體的剝奪兩 種元素推至新的極限。紐約現代美術館謝德 慶個展的策展人珍妮．施林卡茲曾說過： 「謝德慶作品的傑出之處，在於它們需要極 長的時間持續性與極大的身體損耗。以嚴峻 的訓練和耐力，藝術家創作出生命和藝術同 步的狀態。在他的作品中，藝術時間與生命 時間之間的世俗區分已經不具意義。」

In 2009, MoMA launched a pioneering new series focused on contemporary art’s most volatile form. The first exhibition, Performance 1: Tehching Hsieh, introduced the Taiwanborn, New York City-based performance art master Tehching Hsieh through the records and remnants of his seminal “Cage Piece” (1978-79).

In this performance, which lasted from September 30, 1978 through September 29, 1979, Tehching Hsieh locked himself in a wooden cage, furnished only with a wash basin, lights, a pail, and a single bed. During the year, he was not allowed to talk, to read, to write, or to listen to radio and TV. A lawyer notarized the entire process and made sure the artist never left the cage during that one year. A friend came daily to deliver food, remove the artist's waste, and take a single photograph to document the project. In addition, this performance was open to be viewed daily from 11am to 5pm. After one full year passed, he have left the signs which he marked on the walls to count the days.

The artist took both time-based art and personal deprivation to new extremes. The curator of Hsieh’s solo show at MoMA, Jenny Schlenzka stated: “Hsieh's works stand out for their enormous duration and the great physical strain they demand. With rigorous discipline and endurance, the artist created situations in which life and art became simultaneous.

In his work, the conventional distinction between artistic time and lived time becomes meaningless.”

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026

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Single Whip 1997 Stone, edition no. 7/9 40(L) x 19(W) x 27(H) cm Engraved Ju Ming in Chinese, numbered 7/9 and dated 97 The sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

HK$ 700,000-900,000 NT$ 2,700,000-3,470,000 US$ 89,200-114,600

朱銘 太極系列－單鞭下勢 1997 石雕 7/9 40(長) x 19(寬) x 27(高) cm 簽名雕刻：97 7/9 朱銘 附敦煌畫廊開立之原作保證書

李真 無心海 027

LI Chen

(Taiwanese, b. 1963)

Clear Soul 2002 Bronze, edition no. 3/8 75(L) x 36(W) x 54(H) cm Engraved Li Chen in Chinese and English, numbered 3/8 and dated 2002 EXHIBITED: The Contemporary Road of Media and Tradition: Top10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 - May 6, 2007 Li Chen Solo Exhibition - In Search of Spiritual Space / Energy of Emptiness, The Venice Biennale: the 52nd International Art Exhibition, Telecom Italia Future Centre, Venice, June 10 November 21, 2007 (large version) ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center Co. Ltd., Taipei, 2004, color illustrated, pp.8889 (small version) Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center Co. Ltd., Beijing, 2007, color illustrated, p. 50 Li Chen in Venice-Energy of Emptiness, Asia Art Center Co. Ltd., Taipei, 2007, color illustrated, pp.140-141; black-and-white illustrated, p. 219 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Cente Co. Ltd., Taipei, 2008, color illustrated, pp. 64-71; black-and-white illustrated, p. 197

HK$ 650,000-950,000 NT$ 2,500,000-3,660,000 US$ 82,800-121,000

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2002 銅雕 3/8 75(長) x 36(寬) x 54(高) cm 簽名：李真 Li Chen 3/8 2002 展覽： 「中國當代雕塑十人展」，亞洲藝術中心， 北京，展期自2007年4月7日至5月6日 「第52屆威尼斯雙年展—尋找精神的空間． 虛空中的能量：李真雕塑展」，未來展望美 術館， 威尼斯，展期自2007年6月10日至11月21日 （較大版本） 圖錄： 《李真雕塑1992-2002》，亞洲藝術中心， 台北，2004，彩色圖版，頁88-89（較小版 本） 《中國當代雕塑十人展》，亞洲藝術中心， 北京，2007，彩色圖版，頁50 《李真第52屆威尼斯雙年展—虛空中的能 量》，亞洲藝術中心，台北，2007年，彩色 圖版，頁140-141；黑白圖版，頁219 《李真：中國美術館個展—尋找精神的空 間》，亞洲藝術中心，台北，2008，彩色圖 版，頁64-71；黑白圖版，頁197

《無心海》為李真2002年作品，為「大氣神 遊」系列中的作品之一，透過獨創的「鎏 銀」材質，塑造出一宛若明鏡之倒影，《無 心海》比喻人唯有保持澄淨無垢的「清淨 心」，致若赤子的境界，才能無憂無慮的徜 徉在清澈的湖水之上。《無心海》純淨無瑕 的赤子之身，無欲無求，不拘於七情六欲， 師法自然，以最真的態度來面對生命，享受 生活。《無心海》似有心，若無心；是實 境，若虛境，生命是真、非真，在時間中消 失。宛若明鏡之倒影，它是澄淨無垢的「清 淨心」，致若諸佛境界，才能無憂無慮的徜 徉在清澈湖水之上。細品李真作品，也如同 他的名字般給予人赤子的純真感動。沒有過 度繁瑣的線條，渾圓純樸的造型總令觀者會 心一笑，精簡中有渾然天成氣韻之美，呈現 出超時空的視覺震撼。而《無心海》則是李 真追求藝術深層境界的代表作之一。

“Clear Soul”, created in 2002 by Li Chen, is part of his series “Spiritual Journey through the Great Ether”. The sculpture exclusively adopts a silvering material and creates a mirrorlike inverting effect. “Clear Soul” figuratively suggests that only a pure and spotless soul, such as that of a newborn baby, may freely fly over the serene and clear lake. The infant-like “Clear Soul” actually means freedom from desires or demands, negating mortal emotions or desires, complying with the rules of nature, and facing and enjoying life with the most genuine attitude.

“Clear Soul” seems as if a mind of concerns has seemingly cast off the concerns of mortal toil; it is substantial but feels weightless. Life is real and yet full of illusions, which are doomed to vanish as time goes by. This philosophy can be compared to a mirror-like inverting effect.

Pure and spotless “Clear Soul”, which is the boundary of Buddhism, will enjoy the freedom of flying over the serene and clear lake. The viewer thoroughly tasting Li Chen's works, will be touched by his “trueness”, which, as that of a newborn baby, has already been accidentally revealed by his own name (The Chinese character “((Chen)” means “true”) There are no over-complicated lines, and the perfectly round and unsophisticated image or figures always result in understanding smiles in observers.

The simple design contains integrated flavor and natural beauty, and presents a visual impact beyond time and space. “Clear Soul” is one of Li Chen's magnum opus that reflects his higher pursuit of art.

028

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Side Kick 1988 Bronze, edition no. 4/20 91.5(L) x 56(W) x 73.5(H) cm Engraved on the back Ju Ming in Chinese and numbered 4/20 This sculpture is to be sold with a certificate of authenticity issued by the Nonprofit Organization Juming Culture and Education Foundation.

HK$ 1,600,000-2,400,000 NT$ 6,160,000-9,240,000 US$ 203,800-305,700

朱銘 太極系列－側踢 1988 銅雕 4/20 91.5(長) x 56(寬) x 73.5(高) cm 簽名雕刻後側：朱銘 4/20 附財團法人朱銘文教基金會開立之作品鑑定 報告書

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朱銘的太極系列堪稱其雕刻語言與美學風格成熟之作，奠定當代藝術名家的地位。朱銘在楊 英風門下開始學習太極，以增強體能、鍛鍊意志，這種形式獨特的功夫將他的創作帶入新 的領域。太極系列迥異於過去探索的傳統主題，趨向純粹靈性，使其現代雕塑開始進入成熟 期。 在「太極系列」中，朱銘借用太極拳的基本招式作為造型的傳統圖式因素依據，並進一步置 換其中傳統的內涵，運用現代雕塑厚重的體量和簡約的塊面形式，表達了藝術家對於中西 兩種文化融合與變通的意象理解。太極系列始於1970年代後期，當中可見顯著轉變。行旅歐 洲為他處理該主題的手法產生最革命性的轉變，古羅馬石造建築帶給他深刻的啟示。影響所 及，1980年代以後的作品，輪廓更簡潔，愈見莊嚴神聖，相對於在1970年代作品見到的律動 與生命力，這些作品的特色是透過簡單的切削斧鑿表現細節，為其作品增添力道與重量感。

Ju Ming’s Taichi series marked the maturation of his sculptural language and aesthetic style, securing his status as one of the most acclaimed figures in contemporary art. Ju Ming began practicing Taichi under his mentor, Yuyu Yang, to build up his strength and train his will. This unique form of exercise inspired him to take his creations into a new realm. This series drew him away from the traditional themes he explored in the past and into a type of pure spiritualism that marked the beginning of his mature phase in modern sculpture.

In his “Taichi” series, Ju Ming takes basic skills of shadow boxing as the elements of traditional picture for shaping and further replacing the traditional connotation in it, applying the massive touch sense and concise patch sense of modern sculpture, Ju Ming, as an artist, has expressed his understanding on imago of mutual integration and accommodation of Chinese and western cultures. The Taichi series has seen remarkable transformations from its beginning in the late 1970s. His travels in Europe brought about the most revolutionary transformation in his approach towards this subject. His encounters with the stone architecture of ancient Rome brought him profound inspiration. As a result, his works since the 1980s took on cleaner contours and a more sublime sense of monumentality. As opposed to the rhythm and vitality we see expressed in his works from the 1970s, these later works focused on an expression of details through simple cuts and cracks. This has lent his artworks a dynamic and weighty feel.

029

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1981 Wooden sculpture 44(L) x 62(W) x 81(H) cm Engraved Ju Ming in Chinese and dated '81 This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 1,700,000-2,600,000 NT$ 6,550,000-10,010,000 US$ 216,600-331,200

朱銘 太極系列 1981 木雕 44(L) x 62(W) x 81(H) cm 簽名雕刻：朱銘 '81 附藝術家親筆簽名之原作保證書

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030

JU Ming

(Taiwanese, b. 1938)

Living World Series 2005 Painted camphor wood (unique) 37.4(L) x 39.3(W) x 65(H) cm Engraved on the top Ju Ming in Chinese and dated 2005 EXHIBITED: Ju Ming Sculpture Exhibition, Times Square in Causeway Bay, Hong Kong, July 12 - August 1, 2006 This sculpture is to be sold with a certificate of authenticity signed by the artist and issued by Kalos Gallery, Taipei.

HK$ 900,000-1,200,000 NT$ 3,470,000-4,620,000 US$ 114,600-152,900

朱銘 人間系列—母愛 2005 樟木 油彩 (單一件) 37.4(長) x 39.3(寬) x 65(高) cm 簽名雕刻頂部：朱銘 2005 展覽： 「朱銘雕塑展」，銅鑼灣時代廣場， 香港，展期2006年7月12日至8月1日 附真善美畫廊開立藝術家簽名保證書

64

林風眠是當代傑出且重要的畫家。他西為中用、獨辟蹊徑的畫風引人入勝，他謙慎質樸、沈 靜求真的高尚人格都是世有公論的，受人景仰的。

031

LIN Fengmian (Chinese, 1900-1991)

Lotus Pond 1960s - 1970s Ink and color on paper 67 x 69 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist ILLUSTRATED: A R e t ro s p e c t i v e E x h i b i t i o n o f L i n Fengmian's 100 Years, Lin & Keng Gallery, Tapiei, 1999, color illustrated, p. 19

HK$ 2,200,000-3,200,000 NT$ 8,470,000-12,320,000 US$ 280,300-407,600

林風眠 荷塘 1960年代–1970年代 彩墨 紙本 67 x 69 cm 簽名左下：林風眠 鈐印左下：林風瞑印 圖錄： 《林風眠百年紀念展：風景》，大未來 藝術有限公司，台北，1999，彩色圖 版，頁19

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此件作品《荷塘》則呈現了林風眠創作國畫山水之後，以光和色彩並重的畫風，其西畫修養 對於表現倒影、統調、冷暖、空間感和空氣感都有極致的發揮。不同於他的靜物、花鳥和仕 女，林風眠的風景畫明亮之中透出含蓄、清晰而後呈現模糊、單純之下展現出無比的豐富。 畫面中，墨作為背景之後的深色，卻有光和色彩是活躍的主角。 同時，這幅作品的形式作為40-70年代林風眠典型的方紙布陣繪畫，亦採取其在風景描摹時 多使用的「平遠式」構圖手法，其特色是平和、寧靜。處理這種構圖，他很注意平直中的斜 線、弧線和圓形，給平和的狀態以動勢與活力。如畫中蘆葦迎風的斜態，水與岸的平直，及 荷葉重複的圓形，都是經過精心安排，形成穩定與變化和靜與動的對立。這些元素在畫面上 形成了一種統一，而這種多樣的統一中，形狀的相似性，光和色的變化及平面空間裡的分 割，都起了和諧的作用。

Lin Feng-mian was one of the most important artists of his generation. His successful integration of Western and Chinese painting techniques, and the unique style that he developed, gave his work immense appeal.

Lin was also widely admired for his high moral character and his modest, unassuming nature.

“Lotus Pond,” which was painted in the 1960s-1970s, is an outstanding example of the emphasis on light and color that characterized Lin’s later work, following an earlier period in which he largely adhered to the conventional Chinese landscape painting tradition. Here, Lin’s expertise in Western painting techniques can be seen in the reflections, color matching, contrasting of “cold” and “warmth,” the sense of space, and the feeling of airiness. Unlike Lin’s “still life”, “bird and flower” paintings and portraits of women, in his landscapes there is a sense of restraint in the brightness, a feeling of clarity giving way to haziness, and a simplicity that hides unrivalled complexity and richness. In this particular work, the dark background creates a superb contrast with the play of light and color.

This is a classic example of Lin Feng-mian’s work from the 1940 – 1970, most of which took the form of paintings on paper that were either square or squarish. The painting also displays the compositional technique that Lin employed in his landscape paintings, which emphasized the use of the “level distance” (one of the “three distances” of traditional Chinese painting), the effect of which is to create a calm, serene atmosphere. When creating this type of work, Lin paid great attention to the depiction of diagonal lines, curved lines and rounded shapes on the horizontal plane; in so doing, he was able to create a feeling of movement and vitality within the overall sense of serenity. In this painting, the reeds bent over at an angle in the wind, the flat surface of the water and of the riverbank, and the repeated oval shapes of the lotus flowers, are arranged with great care to produce an effective contrast between stability and change, stillness and movement. These different elements combine within the painting to form a kind of unity. Within this “variegated unity,” the similarities between different forms, the variation in light and color, and the division of two-dimensional space, all have an important role to play in creating the overall effect.

多年研習西畫的吳冠中，自天命之年開始兼事中國畫創作。他力圖用中國傳統繪畫材料表現 現代精神，探求中國畫的革新。他的水墨作品構思新穎，章法別致，特別重視點、線、面的 結構與搭配。江南水鄉是其創作的常青題材，黑瓦白牆、小橋流水，畫面充溢著流不盡的詩 意與鄉愁。

032

WU Guanzhong (Chinese, 1919-2010)

Black Roof Wall 1987 Ink and color on rice paper 94.5 x 88 cm Signed lower left Wu Guanzhong and dated 1987 upper right in Chinese With three seals of the artist The painting is to be sold with a picture of the artist.

HK$ 2,000,000-4,000,000 NT$ 7,700,000-15,400,000 US$ 254,800-509,600

吳冠中 有黑色屋簷的牆 1987 彩墨 宣紙 94.5 x 88 cm 簽名左下：吳冠中 年代右上：一九八七年 鈐印右上：八十年代 鈐印左下：吳冠中印 鈐印右下：荼 附藝術家與本拍品合影照片

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「牆裡千秋牆外道，我不羡慕牆裡佳人笑的歡樂，倒是愛在牆外道上欣賞高牆；或平直，或 緩緩曲折；或素白，或純灰；或剛勁挺拔，或嫵媚動人，身段與風韻各異其趣。小院迷宮， 中國園林重視平面分割，小小基地上運用巧妙的牆之劃分，引人入勝。」他在一篇名為〈說 牆〉的散文中這樣描述道。藝術家細膩的心靈總能捕捉生活中微妙的點滴驚喜。 此幅《有黑屋簷的牆》當屬「牆」題材中的佳品。畫面的近景定格為一面磚牆，繁茂的枝葉 越牆而出，遠景處的黑屋簷延伸了畫面的縱深。畫面佈局飽滿，線條準確有力，富於變化而 不呆板。用筆略顯放逸，卻又不失溫厚平和。

Having devoted many years to the study of Western art, in his fifties Wu Guanzhong began to create works in a more Chinese style. He strove to use the materials of traditional Chinese painting to express a modern ethos, and to explore the potential for a revolution in Chinese art. Wu’s ink brush paintings are characterized by their original composition and outstanding presentation, with particular attention being paid to the effective arrangement of dots, lines and color patches. One persistent theme throughout Wu’s work is the landscape of the Jiangnan region of China, with its many waterways and lakes. With their black-tiled, white-walled houses, little bridges and flowing water, these paintings exude a strong sense of poetic nostalgia.

In an essay entitled “On the Subject of Walls,” Wu Guanzhong made the following comments: “Inside the wall a swing, outside the wall a path (a quotation from a poem by Su Dongpo). I do not envy the joy experienced by the beautiful girl on the swing inside the wall; I am quite happy to admire the beauty of the wall itself from the path outside it. Whether the wall be strait or curved, white or grey, hard and imposing or gentle and entrancing, there is always something interesting about a wall. When designing courtyard houses and gardens, the Chinese have always attached great importance to the way the floor plan divides the space up into compartments; even a relatively small site can be transformed into a magical place through the careful positioning of walls.” The perceptive soul of an artist always notices the way seemly insignificant aspects of the world can hold their own surprises for us.

“Black Roof Wall” is one of the finest paintings that Wu Guanzhong ever produced with “walls” as its subject matter. A brick wall is shown in the foreground, with luxuriant branches growing up over the wall; the black roof in the distance gives the painting enhanced depth. This is a very “full” canvas, with precise, powerful lines and rich variation that ensures there is nothing stereotypical about it. The brushwork is slightly abandoned, without losing the sense of warmth and harmony.‑

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033

CHU Teh-chun

(Chinese-French, b. 1920)

Composition 1984 Oil on canvas 160 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 84 Signed on the reverse CHU TEH-CHUN in Chinese and English, dated 5 May 1984 in French

HK$ 3,000,000-5,000,000 NT$ 11,550,000-19,250,000 US$ 382,200-636,900

朱德群 構圖 1984 油彩 畫布 160 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 84 簽名畫背：CHU TEH-CHUN 朱德群 5 mai 1984

1985年開始，朱德群完成一系列細雪紛飛、壯麗抒情的「雪景系列」油畫，繪畫成就達到另 一巔峰。而在此之前，他也曾偏愛以飛白的中國繪畫表現，處理抽象油畫的意境。此幅1984 年完成的作品《構圖》以冷色調的粉白與藍綠的主調，預示了後來所發展的白色詩意風格， 所謂的「雪景系列」。1980年代初期的作品在色彩有更大的突破，探索宇宙混沌初始，生命 的本質，以及田園之美等帶有光輝意象的畫作，顯現其心境的轉變。 朱德群的杭州藝專已故同窗好友李霖燦曾回憶，求學期間朱德群是最認真作畫的學生之一， 日夕晨昏在西湖畔捕捉「迷離銀灰」的景致。1980年代重聚後，他看到朱德群的畫已極其自 由空靈之能事，意境無限綺麗、自由而廣闊。 1985年朱德群接受台灣美術評論家鄭明及楚戈的訪問，道及創作的心得，所顯現出來的也是 此階段創作的自信及其繪畫的成熟：「以我的經驗來說：過去我雖然知道作畫要畫的是自己 的感覺，然而，要把感覺畫出來，談何容易？我只是很努力地用油彩、線條去追求我的感覺 而已，拼命的畫，雖然有時也能碰巧畫出了一點東西，但是往往要等半年，甚至一年以後， 經過慢慢地體會，才能把這種感覺表達出來。這樣畫了二十年，今天，我總算可以把心中的 各種意趣，幾乎能夠全盤托出，現在才趕到可以自由地表現出心中所要表現的東西了。」（廖 瓊芳，《華裔美術選集II：朱德群》，藝術家出版社，台北，1999，頁56-57）

1984年的抽象作品《構圖》傳達出宛若「迷離銀灰」的清麗韻味，朱德群探索自然山水蘊藏 的無盡美感，融入他個人多情易感的情思，畫中靈巧地運用中國書法性的線條，勾勒牽曳， 使色彩有了流暢的韻律感。飛白清透的光線，呈現晨星般的輕盈醉人的氛圍。「我作畫時， 都是我平生壯遊的感覺。有些畫是我當時不能抑制的衝動; 有些則是過了很久，甚至遺忘了 的壯遊記憶，而被畫布喚醒出來。不管是被外在的美景直接激發，或被內在的某種沉澱記憶 中的東西所觸動，我只要面對畫布，感性就會爆滿膨脹起來。這時我有點像喝了酒一般，會 激情地在畫布上一口氣畫出我那新鮮的第一遍。也許第二、第三遍會乘興畫下去，但通常我 把它掛在牆上，遠一點來審視它，然後畫第二遍，或不斷的補充、修改下去。我想，畫家作 畫，第一遍就會決定作品的命運，第一遍也容易看出他的才情。第二遍之後，要看的便是畫 家的經驗了。」 (同上註，頁57) 1980年代朱德群充分運用中國的書法繪畫的線條、點與粗筆，中國書法的俯仰、頓挫與縱橫 均可見於這個時期的作品當中。到了1 9 8 0年代後期，朱德群趨向對自然光線作更深入的詮 釋，並試圖把更多色彩納入畫面中，以豐富、具有情感的創作手法，延續中國文化精神內 涵，盡情展現出他雄渾中靈秀婉約的氣質，亦奠定其抒情詩意美術大家的地位。

From 1985 onwards, Chu Teh-chun created a whole series of oil paintings showing magnificently expressive winter-style vistas subsumed under the collective title “Snowscapes.” Marking a new peak in the artist’s career, these pictures made increased use of the “feibai” technique typical of traditional Chinese painting and calligraphy: ink, or color, is applied in a kind of scumble with a dry or half-dry brush. Chu now perfected his ability to employ such soft, hollow strokes to generate abstract imagery in oil. In this lot, completed in 1884 and titled “Composition 1984,” the palette is dominated by cool pastels of white and various shades of green and blue, anticipating Chu’s later development of his distinctive style of “white lyricism.” As far as use of color was concerned, the early 1980s saw a major breakthrough in Chu’s art as he experimented with a wide range of hues and tones to evoke images of churning chaos, aiming to capture the essence of life as it springs from the heart of our cosmos. At the

had achieved at that point in his career, “My experience was that as a young artist, I knew that what I wanted to paint were my impressions and feelings, yet knowing this and actually doing it were two very different things! It was hard in the beginning, and all I did at first was to strive to express myself through the simple use of color and lines. I did this to the point of exhaustion, 朱德群《璀璨之光》1986 油彩 畫布 65 x 92 cm and although this 羅芙奧香港2011秋拍 編號147 1008萬台幣成交 CHU Teh-chun, Vibrations lumineuse (Splendid Light), 1986, oil on canvas, 65 x 92 cm approach would—as if Ravenel Autumn Auction 2011 Taipei, Lot 147, US$ 334,328 sold by chance—yield the occasional good work, it would take me half same time, however, his vacillating output from a year, or even a whole year, before I would that period also includes more pastoral works gradually reach the point at which I was capable featuring sublimated scenery bathed in a gentle of putting my ideas on canvas in a genuine and and idyllic light. authentic fashion. In this way, I worked for about 20 years, but now I have finally attained The late Li Lin-tsan, one of Chu’s classmates a level at which I’m comfortable with working and good friends at the Hangzhou National in a much faster, more focused manner. It comes College of Art, once recalled that back in those easy now, and naturally, and I can express days, Chu Teh-chun was one of the most eager everything, even the subtlest nuances, with fluid and industrious students, and was always and unrestrained brushstrokes: I have gained working on some picture to improve his skills. unlimited creative freedom.” (Liao Chiung Fang, In particular, he would try to capture the elusive Overseas Chinese Fine Arts Series II: Chu Teh-chun, Artist “silver grey tones” of the West Lake scenery at Publishing Co., Taipei, 1999, pp. 56-57) sunrise and dusk. When Li met Chu again in the 1980s, he found his friend had already moved The abstract piece “Composition 1984” is on from representational painting to abstract teeming with the enigmatic “silver grey visualizations, and marveled at his expansive tones” that Chu was attempting to paint in his flair and exceptional aptitude for depicting youth, conveying all the crystalline beauty infinite panoramas, vast and free. and undulating charm of water surrounded by green hills through the prism of his keen In 1985, Chu Teh-chun gave an interview to and deeply artistic perception, tempered and Taiwan art and literary critics Cheng Ming and enhanced by a finely-honed sense for beauty.

Chu Ko, in which he talked about the insights Free-flowing yet convoluted lines and strokes, he had gained from painting. His words very highly reminiscent of Chinese calligraphy, much reflect the confidence and maturity he

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lend structure to the composition and a gently throbbing rhythm to the colors. Translucent “feibai” strokes create a wonderfully captivating mood, as if one was lost in the mesmerizing glimmer of stars slowly fading in the dawn.

“When I paint, I express my travel experiences on canvas. Some of the paintings are about an impulse I couldn’t restrain at the time; some of them are about travel memories from a long time ago, or even forgotten ones that were brought back into memory by working on the canvas.

It doesn’t matter whether my creative urge is stimulated by the beautiful sights I’ve seen, or old memories and emotions well up inside of me, as long as I’m in front of the canvas, my sensitivity will be kindled. As if I were drinking wine, I will passionately draw my fresh first sip with passion—on the canvas. Maybe I’ll apply the second or third layers of paint in one go, but normally I just hang the canvas on the wall, and look at it from a certain distance, before I set about refining the picture, or renewing and modifying it. In my opinion as a painter, the first paint determines the destiny of the entire work, and in its application one can glimpse the genius of the artist. But the second paint, that tells you everything about the artist’s skill and experience.” (ibid., p. 57) During the 1980s, Chu Teh-chun introduced more and more elements of traditional Chinese painting and calligraphy into his work, using vigorous yet elegant lines and dots, as well as hooked, tilted and broadly sweeping strokes to express increasingly subtle shades of natural light and shadow. Especially towards the end of that decade, the artist further enriched and expanded his palette, and daringly explored even wider and more profound spiritual landscapes that are both powerful in their appeal and delicate in their execution. The works of that period, including this lot, firmly established Chu as a master of expressive lyricism in painting.

「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。

034

ZAO Wou-ki

(Chinese-French, b. 1921)

27.8.84 1984 Oil on canvas 95 x 105 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki in French and Chinese, titled 27.8.84, inscribed 95 x 105 cm and pour Imelda Fayt Amicalement in French PREVENANCE: Collection of Imelda Fayt, France

HK$ 8,500,000-11,000,000 NT$ 32,730,000-42,350,000 US$ 1,082,800-1,401,300

趙無極

趙無極在1980年代撰寫的自傳裡有一段話： 「現在我只一心作畫，隨當時的靈感，隨色 彩的需要。色彩是一切，什麼也不是，要用 得非常精簡，甚至吝惜。」這些字句反映當時 畫家的心聲，繪畫從不曾離開過他的生命，然 而隨著年歲而有了不同的見解。在從事繪藝近 五十年後所領悟的觀念，他說是從馬蒂斯的一 幅油畫《窗》所學到的，這幅畫被他視為是20 世紀最重要的一幅作品。他說：「我想要將天 與地融在一起，原畫中的開口給我靈感，讓我想要進入，這是一條唯一可經由色彩之路 邁入無限之大道。」隨色彩的需要，隨當時的靈感，使得1980年代的趙無極繪畫顯得高妙精 練，有別於過去的激昂、雄渾。 藝評家賈可柏曾講評過趙無極在1980年到1985年間的作品，他有十分適切的評論：「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）

27.8.84 1984 油彩 畫布 95 x 105 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 95 x 105 cm 27.8.84 pour Imelda Fayt Amicalement 無極 ZAO 來源： 伊美達．費特收藏，法國

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作品《27.8. 84》是一幅1980年代的代表作，有精練的色彩構成，彷如深海的藍或靜謐的星 空，充滿神祕的想像，光明從畫面中央溢出，細膩動人，舒緩有致。1970年代趙無極重拾中 國水墨之後，對後期創作有了顯著的改變。引述藝評家喬迅所言：1980年代的趙無極繪畫已 臻至一種「優雅的狀態」，此一階段他卸下所有的急躁，反而創造了出更為強勁的繪畫 「骨法」。光線從無盡溫柔的底處慢慢湧現、擴大，將黑暗圍繞了，某種圖誌形式開啟了 寂靜與靜默。 1980年代的趙無極繪畫有一種空靈的傾向，而這樣的嘗試其實難度相當高。畫家說過 「畫滿 容易，畫空難」，他一直希望畫一種看起來很空的畫。他認為在傳統中國畫裡，如宣紙的不 著墨，留白即可處理空的問題。然而油畫的「空」，是要慢慢建造，畫幅越大越難處理，它 是一種生活的空間，要生活在其中，必須要經歷其中。虛與實要相連，它們是生活空間的不 同層面。而虛實在抽象畫裡至關重要，這是趙無極始終關心的課題。作品《27.8. 84》看似深 沈的海洋，潛藏無窮的奧祕，白光緩緩穿透深藍，畫家將幽邈的色彩，空靈的意境傳達得至 為高妙，顯現大師的功力。

“I would like my paintings to be simpler, with a greater sense of space; I have always been trying to achieve this kind of feeling of spaciousness.” Once an artist has reached the mature stage of their career, their attitude towards painting tends to become more relaxed, and their work takes on an extra level of refinement. After several decades of painting, Zao Wou-ki’s artistic pathway has become steadily broader and more expansive.

The overall trend in Zao’s oil painting style since the 1980s can be summarized as a shift away the “painting of feeling” towards the “painting of space.”

The autobiography that Zao Wou-ki published in 1980 contains the following passage: “All I do now is to concentrate whole-heartedly on my painting, however the spirit takes me, and with whatever colors I feel I need.

Color is everything, and yet nothing; you must be extremely sparing in your use of it, even to the point of stinginess. ("Maintenant je ne cherche rien d’autre qu’à faire un tableau, sous l’emprise du moment et la couleur, où représenter à la fois tout et rien, avec économie, parcimonie même.") These comments reflect Zao’s feeling at the time that painting would always be an integral part of his life. However, with the passing of time, Zao has come to view things differently.

In discussing what he has learnt after an artistic career of nearly half a century, Zao emphasizes the importance of one particular painting by Matisse – “The Window” – which he considers to be the single most important painting of the 20th century. As Zao explains it, “I wanted to fuse heaven and earth, and the opening in this painting gave me inspiration; it made me want to enter it. This was a path towards the infinite that only color could provide." (J’ai essayé d’y mêler la terre et le ciel, inspiré par l’ouverture suggérée ou j’ai voulu m’engouffrer. C’est un chemin vers l’infini par le seul recours à la couleur.")

Following the needs of color and his own inspiration at that particular moment in time

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gave Zao Wou-ki’s work from the 1980s a particularly sense of expertise and refinement, unlike the more passionate, vigorous character of his earlier work.

The art critic François Jacob made the following incisive comments regarding Zao Wou-ki’s work during the period 1980 – 1985.

He suggested that Zao displayed “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 source back to its origins, 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 perpetuity 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 take 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. ("Un regard encore ouvert à tous les possibles. Un état qui précède le monde.

Une route qui conduit, 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 Wouki, 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, Zao Wou-ki, Autoportrait, Fayard, Paris, 1986, pp.

186-187)

This particular painting, “27.8.84,” is a classic example of Zao Wou-ki’s work from the 1980s. With its precise, elegant composition in terms of color usage, it resembles the blue

趙無極《4.4.85》1985 油彩 畫布 97 x 195 cm 羅芙奧香港2011秋季拍賣會，編號018，4432萬港幣成交 ZAO Wou-ki, 4.4.85, 1985, oil on canvas, 97 x 195 cm Ravenel Autumn Auction 2011 Hong Kong, lot 018, HK$ 44,320,000 sold

of the deep sea or the silent, mysterious starry firmament, full of mystery and imaginative power. A bright light flows out from the central portion of the canvas, painted with a level of detail that is intensely affecting, while also creating a relaxing, comforting effect.

In the 1970s, Zao Wou-ki began once more to make use of techniques from traditional Chinese ink brush painting, a development that led a major transformation of his later work. As the art critic Jonathan Hay has described it, by the 1980s Zao’s work had attained a “state of grace – a quality of gesture that is stripped of all hurriedness and creates a more powerful ‘bone-structure,’ a luminosity extending from infinite softness to

enveloping darkness, a topography of form that opens itself to stillness and silence.”

Zao Wou-ki’s work in the 1980s is characterized by a trend towards the “spirituality of the void.” This was an extremely challenging endeavor. As Zao himself has said, “Filling up the canvas is easy; painting ‘emptiness’ is hard.” Zao consistently sought to create a kind of painting that seems to be empty. He knew that in traditional Chinese painting (for example when painting on high-quality xuan paper), emptiness can be achieved simply be leaving blank space, but that when painting in oils “emptiness” must be created slowly and steadily, and that the larger the canvas the more difficult this task is. What he is seeking to create in these paintings is a kind of “life space”; to be able to live in this space, you need to experience it.

The virtual and the real must be linked together; in reality, they are just different aspects of the same life space. This linkage of the virtual and the real is particularly important in abstract painting, an issue to which Zao Wou-ki has attached great significance throughout his career. In “27.8.84,” what seems like a deep ocean hides limitless mystery. In the way that the white light passes smoothly through the deep blue, Zao has taken the presentation of serenity and distance through the effective use of color, and the conceptual interpretation of the “spirituality of the void,” to new heights of achievement. In this painting, we see the skill of a master painter displayed with the utmost effect.

來源： 亨利葉．勒讓特畫廊，巴黎

035

CHU Teh-chun

(Chinese-French, b. 1920)

Composition No. 51 - Mille vies se cachent dans le bois 1960 Oil on canvas 120 x 100 cm Signed lower left CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEHCHUN in Chinese and English, titled No. 51, Mille vies se cachent dans le bois in Chinese and French and dated 1960 PROVENANCE: Galerie Henriette Legendre, Paris ILLUSTRATED: CHU THE-CHUN, 88 Retrospective, National Museum of History, Taipei, Thin Chang Corporation, Taipei, 2008, color illustrated, p. 99 估價待詢

朱德群 構圖51號─萬家掩映翠微間 1960 油彩 畫布 120 x 100 cm 簽名左下：朱德群 CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN 朱德群 1960 No. 51 萬家掩映翠微間 Mille vies se cachent dans le bois

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圖錄： 《朱德群八十八回顧展》，國立歷史博物 館，台北，馨昌股份有限公司，台北， 2008，彩色圖版，頁99

《萬家掩映翠微間》，朱德群為他的第51 號抽象畫所題寫的品名，其文字的本身即 富有詩意的空間。原文出自於北宋隱士詩人 潘閬的〈酒泉子〉十首詩之一，又名〈憶餘 杭〉，追憶杭州的美好勝景。 詩詞原是如此寫道：「長憶錢塘，不是人寰 是天上。萬家掩映翠微間，處處水潺潺。異 花四季當窗放，出入分明在屏障。別來垂柳 幾經秋，何日得重遊？」錢塘是杭州的舊 稱，而杭州是宋朝偏安時的國都。祖籍江蘇 的朱德群青年時期入國立杭州藝專學習，可 以說杭州說是他藝術上的原鄉。 杭州何其美麗！所謂「上有天堂，下有蘇 杭」，黛綠掩映的山林幽微處，萬戶人家鱗 次櫛比，景象華麗而壯觀。湖光山色相伴， 每戶人家的窗前，都盛開著奼紫嫣紅的四季 花卉，竹引清澗，流水潺潺，人們進進出 出，彷彿於錦屏中游動。楊柳垂蔭、風兒捲 動青翠的簾幕，無處不是回憶。旅人離去多 年，何時能再重遊杭州？這首詩詞所描寫的 情境，不正是畫家心中的衷曲？ 宋代是中國繪畫全面發展的朝代，人文藝術 名家燦如繁星，文學詩詞、繪畫思想、創作 精神均見璀璨的成就。巴黎知名藝評家夏布 朗（Jean-François Chabrun）於1960年曾評 價朱德群是「二十世紀的宋代畫家」，讚許 他的現代繪畫接近於古典大師的精神境界， 既包含中西又超越中西。若非對中國書畫藝 術的歷程有所了解，若非親身經歷二十世紀 現代藝術的運動，不能恰如其分地詮釋此一 稱謂。

1935年朱德群於進入中國現代美術家林風眠 創辦的杭州藝專學習，當時正值學校蓬勃發 展的時期，六年的學習打下根基，教授國畫 的潘天壽與西畫的吳大羽，對於朱德群後來 藝術發展影響最為深遠。潘天壽承襲自中國 文人畫的傳統，亦有古典文學與唐宋詩詞的 修養。而留學法國的吳大羽才華橫溢，一位 非凡的色彩畫家，具有宏偉的創造力。在杭 州藝專名師的指導下，養成朱德群閱讀唐宋 詩詞的習慣，崇拜現代繪畫之父塞尚的藝 術。他確認讀通了塞尚，宛如取得通往現代 藝術的鑰匙。朱德群的抽象繪畫是詩與畫的 結合，日後能一再突破、再創個人藝術的高 峰。 1948年從大陸轉赴台灣教書，八仙山的山 林寫生經驗，雲海勝景使畫家體悟到中國 繪畫的根源，日後當他在法國從事抽象畫研 究時，自然能融入中國山水畫的意境。1950 年代巴黎蓬勃的抽象表現主義浪潮，激勵朱 德群從寫實畫轉向抽象畫的道路。而1956 年參觀了巴黎國立現代美術館的史塔耶爾 （Nicolas de Staël）遺作回顧展，畫中熱情 奔放的意念遊走，大大震撼了朱德群的視覺 經驗，激勵他逐漸擺脫有形化的約束。開始 嘗試抽象畫。 1960年朱德群以帶有中國書畫意象的油畫 作品獲邀參加「巴黎畫派」聯展，晉升為 新一代巴黎畫派的成員之一。書法性的強烈 線條與色塊結構，沉穩中帶有律動感，尤其 受到西方藝術評論家的注意。法國詩人兼藝 評家于伯．阮（Hubert Juin）是朱德群第一 位忠實的西方評論家，讚美他的風格轉變： 「這位中國畫家在接觸了巴黎畫派之後，似 乎重新體認中國傳統書法中特有的書寫性的 長處。我們知道他之前畫過受野獸派影像很 深的作品，但是在短短的幾年之中，他找到 了屬於自己的書寫方式，透過這一系列的作 品，朱德群帶給我們強烈而生動的意象。」 位於巴黎的亨利葉．勒讓特畫廊（G a l e r i e Henriette Legendre）是朱德群在法國第一間

簽約的畫廊，從1958年起開始合作，時間持 續有六年。在勒讓特畫廊的運籌栽培之下， 朱德群能躋身巴黎畫派之列，也打開國際畫 壇的知名度。1960年前後是他抽象畫轉型的 重要階段，尤其變化無窮的書法性線條成為 他個人的一大特色。他偏愛在單色的繪畫背 景，運用水墨的渲染效果，營造出迷人的韻 味。而在錯綜複雜的線條之間，濃厚的小方 塊明亮的形體如凝結寶石，分布在畫面中， 而光線在其中轉折、變化，形成光源，穿過 煙雲向外湧出。

memory, Qiantang is not of this earth but of divine provenance. A thousand lives hidden in the forest, the murmuring of streams at every turn. Different flowers are placed in windows

朱德群的抽象構圖第51號的《萬家掩映翠微 間》，以及知名的第53號的《紅雨村．白雲 舍》，先後完成於1960年，皆是畫家懷念江 南故舊、從具象到抽象轉型的重要代表作。 它們原本皆為亨利葉．勒讓特畫廊所有，為 藝術家早期難得一尋的較大尺幅畫作。它們 的創作靈感就如同該畫廊的藝術主任巴聶 （Maurice Panier）曾有的精闢分析：「朱德 群的作品很難列入目前眾多繪畫傾向的派別 名目之內。他繪畫的出發點往往是追念一個 記憶中的風景，或來自一句詩詞的啟發。然 後用畫筆把它譯成有創造性及想像力的繪畫 語言。」 在東方的評論家的眼中，朱德群是用油彩畫 出中國水墨畫精神的大師，他掌握住山水畫 的精髓，大筆揮掃時，表現山峰疊嶂之勢； 細筆飛動時，傳達俊逸娟秀之律。作品《構 圖51號─萬家掩映翠微間》是一極佳的範 例，畫家將杭州煙雲朦朧的天上人間，和諧 地繪成一幅瀟灑的抽象構成，詩中有畫、畫 中有詩的意境在此詮釋得淋漓盡致。

朱德群《紅雨村．白雲舍》1960 油彩 畫布 2006年5月28日 HK$25,880,000成交於香港 CHU Teh-chun Rouge, la pluie de petales sur le village. Blanc, le nuage audessus de la maison, no. 53 1960, oil on canvas, 195 x 130 cm, US$ 3,351,331 Sold on May 28, 2006 in Hong Kong

The title “Mille vies se cachent dans le bois” (A thousand lives hidden in the forest), which Chu Teh-chun assigned to his abstract Composition No. 51, is itself imbued with a rich poetic space.

The passage comes from one of the ten poems in the collection “Fountain of Wine” by Northern Song dynasty poet Pan Lang. Also entitled “Memories of Hangzhou”, the poem recalls the beautiful landscape of that ancient city.

according to the season, clearly seen through the paper screens. The weeping willows have seen many autumns since I departed. When will the day come that I can wander beneath them again?” Qiantang is the old name for the city of Hangzhou, which was the national capital for the then divided nation. A native of Jiangsu Province, Chu Teh-chun studied at the Hangzhou National College of Art in his youth.

One could say that Hangzhou is his artistic hometown.

The original text of the poem is: “In the

How beautiful is Hangzhou! They say that “up

80

above, there is heaven, down on earth, there are Suzhou and Hangzhou.” Lush green forests cover the hills, with interlocking rows of houses, forming a majestic and alluring landscape. The lake reflects the colors of the mountains, and all the windows are decorated with the riotous purples and reds of various seasonal flowers.

Burbling streams weave between stands of luxuriant green bamboo, and the movements of people in the houses cast visible shadows on the window screens. Under the shade of willow trees, a gentle breeze ripples through the weeping branches. Every corner of this town provides unforgettable memories. After leaving for so long, when can he finally return to wander this city? Is this poem not describing the very thoughts of the artist?

The Song dynasty was an era of great development for Chinese painting, when masters of art and literature shone like stars, making great achievements in poetry and painting. In 1960, famous Parisian art critic Jean-François Chabrun called Chu a “20th century Song dynasty painter (Peintre Song du XXe siècle),” praising him for approaching, with his modern painting, the spiritual realm of the ancient masters, encompassing East and West while transcending both. Such an appellation is impossible to fully understand without knowing the history of Chinese painting and having experienced the modern art movements of the 20th century.

In 1935, Chu Teh-chun entered into the Hangzhou National College of Art, which was founded by Chinese modern artist Lin Fengmian. It was a time of great development for the school, and six years of study laid down a solid foundation for the artist, with Pan Tianshou, a professor of Chinese painting, and Wu Dayu, a professor of Western painting, having the greatest influence over Chu’s artistic development. Pan Tianshou continued in the literati painting tradition, richly steeped in classical literature and the poetry of the Tang

82

and Song dynasties. Wu Dayu, who had studied abroad in France, was an immensely talented and creative painter. Under the tutelage of these famous masters at the Hangzhou College, Chu picked up the habit of reading Tang and Song poetry and grew to admire Cézanne, the father of modern art. His grasp of Cézanne’s art became the key to unlocking modern art. Chu’s abstract painting was a composite of poetry and visual art; it would soon break through to reach new artistic heights for the artist.

Tchéou, membre de plein droit de ce fantasme qu’est l’Ecole de Paris, vite dédaigneux de la voie figurative, Chu Teh-chun redécouvre (inventant ce qui est) les qualitiés d’écriture qui sont nécessaires au surgissement. Le fauvism le requite un moment. L’envie qu’il avait (le souci) d’explorer l’espace lui permit sans trop attendre de se créer un vocabulaire et une syntaxe personnele.)

The artist moved to Taiwan to teach painting in 1948, and his experience painting the forested mountains and roiling seas of the island helped further root the artist in Chinese painting. When he later travelled to France to research abstract painting, he was naturally able to infuse it with the unique imagery of Chinese landscapes.

The wave of abstract expressionism in 1950s Paris ignited a passion in the artist that led him down the path of abstract painting. At a visit to a retrospective on Nicolas de Staël at the Paris Museum of Modern art in 1956, he was swept up by the passionate imagery and released from the fetters of figurative art. Soon after, he began his own experiments with abstract creation.

In 1960, Chu Teh-chun was invited to participate in the Ecole de Paris Exhibition with an oil painting marked by Chinese conceptual imagery, cementing his reputation in the Paris art scene. The painting, with its strong, calligraphic line structure and rich sense of movement, was well received by Western art critics. French poet Hubert Juin was Chu’s first ardent critical supporter. He writes: “A Native of Jiangsu Province steeped in the arts of Hangzhou, this member of the phenomenon that is the Ecole de Paris has eschewed the figurative arts, rediscovering (perhaps inventing) an emergent style based on the written form. We know that he was heavily influenced by Fauvism at first, but he quickly found his own syntax and personal style, presenting us with a powerful and vibrant imagery.” (Natif de la province de Kiang-Sou, étudiant aux beaux arts de Hang-

朱德群《紅色構圖149號》1963 油彩 畫布 羅芙奧香港2011秋拍 編號017 1072萬港幣成交 CHU Teh-chun, Composition No. 149 1963, oil on canvas, 130 x 97 cm Ravenel Autumn Auction 2011 Hong Kong US$ 1,376,123 sold

Galerie Henriette Legendre in Paris was the first gallery to sign with the artist. Their collaboration began in 1958 and lasted for six years. Carefully nurtured at this gallery, Chu was able to solidify his position in the Ecole de Paris and make a name for himself in the international art scene. The year 1960 marked an important phase in his abstract transition, and he developed a style marked by his rich calligraphic lines. He would use calligraphic brushing techniques over a monochrome

background to create an alluring atmosphere.

Between these complex lines, numerous geometric shapes of various hues emerged like crystallizing gems while shafts of light were refracted and transformed within, as if bursting out from behind the clouds.

Chu created “Composition No. 51, Mille vies se cachent dans le bois (A thousand lives hidden in the forest)” and “Composition No. 53, Red Raindrops on the Village, White Clouds over the Hut” in 1960. Both paintings, which paid homage to his hometown along the Yangtze River, were important representative works in his abstract transition. Both were originally collected by the Galerie Henriette Legendre, and are rare specimens of the artist’s early work. The striking nature of these works is embodied in the analysis provided by Maurice Panier, then art director of the gallery: “Chu Teh-chun’s work is difficult to classify according to the art trends prevalent today. Its starting point is often nostalgia for the landscapes of his memory, catalyzed by a line of classic poetry.

He then translates this through his brush into a creative and imaginative language of painting.”

(L’oeuvres de Chu est difficilement classable dans les divers termes génériques servant à définer les multiples tendances de la peinture actuelle. Son point de départ est le plus souvent des paysage ou les strophes d’un poème qu’il traduit en language plastique.)

In the eyes of Eastern art theorists, Chu Tehchun is a master in the use of oil to convey the spirit of Chinese ink wash painting. With sweeping brushstrokes, he expresses the power of the towering mountains; with smaller touches, he evokes a graceful, refined rhythm.

“Composition No. 51, A Thousand Lives Hidden in the Forest”, is a prime example of his mastery, where the artist has deftly transformed the smoky landscape of Hangzhou into a beautiful abstract composition. Here we see the perfect embodiment of the unity between poetry and the visual arts.

上有天堂、下有蘇杭，自古江南的杭州是文人雅士賞遊的風景名勝。所謂杭州之美盡在西 湖，宋代以來有以十景、十八景或二十四景概括出西湖的風景，皆說明其景致之不凡特色。 北宋文人蘇東坡詠嘆西湖的經典名句—「水光瀲灩晴方好，山色空濛雨亦奇；欲把西湖比西 子，淡妝濃抹總相宜。」傳頌千年，文人筆下的西湖如詩亦如畫，令人嚮往憧憬。

036

ZAO Wou-ki

(Chinese-French, b. 1921)

1.8.83 1983 Oil on canvas 80 x 100 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-Ki in French and titled 1.8.83 PROVENANCE: Pierre Matisse Gallery, New York ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Edition Cercle d'Art, Paris, 1986, black-andwhite illustrated, p. 354

HK$ 6,000,000-8,000,000 NT$ 23,100,000-30,800,000 US$ 764,300-1,019,100

趙無極 1.8.83 1983 油彩 畫布 80 x 100 cm 簽名右下： 無極 ZAO 簽名畫背：ZAO WOU-Ki 1.8.83 來源： 皮耶．馬蒂斯畫廊，紐約 圖錄： 雷馬利，《趙無極》，藝術圈出版 社，巴黎，1986，黑白圖版，頁354

趙無極十四歲入國立杭州藝專，當年校舍建在西湖畔，在校六年間常流連於此，西湖是他青 春年少時的美好記憶象徵。他的自傳裡記錄了一段西湖的回憶：「許多中國詩人都曾在此徜 徉、吟詠。少年時代，我每天都在湖邊流連，從不厭倦。大自然隨著時辰的推衍、季節的嬗 遞而變化無窮。水波的瀲豔、光的靈動，水天之間的煙嵐都使我出神入迷。我常在湖邊，一 坐數小時，守候空氣漾過平靜的湖面，風輕搖樺樹和槭樹葉，我眼中所見不是精雕細琢的小 橋亭台、水面映照的竹葉，我要看的是空間：空間的伸展、扭轉，和一片樹葉在水中倒影幻 化出的無窮的藍。」（參閱趙無極、梵思娃著、劉俐譯《趙無極自畫像》，藝術家出版社，台北，1992初版，頁15） 在這位華人抽象大師的眼中，西湖的「長堤接清波，看水天一色」，人與天地合一是中國人 心中最高境界，為永恆不變的宇宙觀。長年生活於法國，總是不會忘記自己出身何處，他的 繪畫抒發內在的理想追求，也是每段生命經驗的寫照。 油畫作品《1.8.83》是趙無極完成於1983年夏天的一幅優雅作品，遠景白色乾擦暈染紫藍淡淡 雲靄，光影撲朔迷離，烘托出前景有層次的褐色斑痕，開展出一張虛實對應、空靈悠遠的山 水圖畫。透過畫家精心的形色構成，觀者彷彿能從飛躍顫動的線條中，觀想出花園、城鎮、 小橋、流水、綠柳、波堤等經典西湖的景致。 種種畫面已然超越了現世的回憶，更像是鏡中水月，或是藝術家的心中構築的理想。中國道 家的哲學以虛無為宇宙之本，趙無極會通中國山水畫空間與西方藝術光輝，1980年代後其 抽象意境更為深遠高妙，從容自在寄情繪畫，隨心靈遨遊，超越時空與疆界的侷限。此時 正值與紐約皮耶．馬蒂斯畫廊合作期間，趙無極在國際畫壇地位更往前推進一大步，此幅 《1.8.83》也曾經是馬蒂斯畫廊所有，為難得一尋的精彩寶藏。

An old Chinese saying goes, “Above there is heaven, and below there are Suzhou and Hangzhou.”

Indeed, in areas south of Jiangsu province, Hangzhou was the favorite haunt of scholars and literati wanting to relax or looking to be inspired by beautiful vistas since ancient times. And since the Song Dynasty, the West Lake has epitomized Hangzhou’s picturesque appeal, with common references to the ten, eighteen, or even as many as twenty-four renowned “scenic spots of the West Lake”. All this bears testimony to the West Lake’s prominent place in the Chinese imagination, as do Su Dongpo’s famous lines, “Rippling waters shimmering dazzlingly bright on a sunny day, Or misty hills rising hazily in a shroud of rain: Like the celebrated beauty Xishi, West Lake always looks wonderful, Whether made up lightly or richly adorned.”

When Zao Wou-ki entered the Hangzhou National College of Art at the age of fourteen, the school’s dorm was still situated near the West Lake, and during his six years as a student there, he spent much time reveling in the exquisite scenery. Looking back later in life, the West Lake came to symbolize all the joy and wonder of his youth. In his autobiography, Zao reminisces, “This was a place where all the Chinese poets gathered to recite their works. As a teenager, I would come here every day, walking along the banks of the lake without ever getting tired, enraptured by the spectacle of nature changing constantly according to the time of day and with the changing of the seasons. I was fascinated by the diversity of the space on the surface of the water, by the weightlessness of the light and by how thin it seemed to be between the lake and the sky. I would spend hours watching the effect of the wind on the calm waters, the breezes that disturbed the leaves of the birch and maple

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趙無極《5.2.81》1981 油彩 畫布 羅芙奧香港2011秋拍 編號019 840萬港幣成交 ZAO Wou-ki, 5.2.81 1981, oil on canvas, 100 x 81 cm Ravenel Autumn Auction 2011 Hong Kong, lot 019 US$ 1,078,306 sold

trees. My vision of this world did not encompass any ornate bridges (although they certainly existed) or bamboo leaves fluttering down onto the surface of the clear water; what I wanted to see was the space, the way it stretched and contorted itself, and the infinite complexity of the blue in the tiny reflection of a leaf on the water.” (“C’est un lieu où tous les poètes chinois sont venus se recueillir.

Chaque jour de mon adolescence, j’en ai parcouru des miliers de fois les rives à pied, sans jamais me laser, absorbé par le spectacle d’une nature perpétuellement changeante selon les heures de la journée et l’alternance des saisons. J’étais fasciné par la multiplicité de l’espace à la surface de l’eau, la légèreté de la lumière ou son épaisseur entre le lac et le ciel. J’ai guetté pendant des heures le passage de l’air sur le came de l’eau, le soufflé du vent qui agite les feuilles des bouleaux et des érables. Il n’y avait, dans ma vision de cet univers, ni pont tarabiscoté, bien qu’il existât, ni feuilles de bambous se détachant nettement sur un fond clair. Ce que je cherchais à voir c’était l’espace, ses étirements et ses contorsions, et l’infinie complexité d’un bleu

dans le minuscule reflet d’une feuille sur l’eau.”) (Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions Fayard, Paris, 1988 p. 26)

As a Chinese master of abstract painting, for Zao the West Lake, both in physical reality and as an almost iconic image of his native culture, represents the highest aesthetic and philosophical spheres, as they are encapsulated in the lines, “Translucent waves are lapping against the length of the shore, all the way to the distance where sky and water merge.” Here we find unmistakable echoes of the Eastern view that “man, heaven, and earth are one,” a concept so deeply rooted in the artist’s mind that even after having lived in France for many long years, it still very much affected his creative process. Zao paints as a way of expressing his innermost emotions and aspirations, but the lofty idealism is always mixed and tempered with the more mundane experiences of his everyday life.

Completed in the summer of 1983, “1.8.83” is an oil painting emanating subtle refinement. The background is kept in shades of white, applied with a dry brush and gradually segueing into soft shades of muted hyacinth and lilac. Light and shadow are interwoven in elusive patterns that serve to bring out the layered dapples of brown in the foreground. The whole composition is a dialogue between void and existence, an abstract panorama of remotely glimpsed soulscapes. The meticulously designed interplay of color and form invites the viewer to lose himself in the painting’s atmosphere, and mentally float above the sublimated West Lake imagery, intimated by rhythmic lines and gently trembling hues: gardens, towns, little bridges and flowing water, green willows and shore promenades…

Memories are larger than life, yet at the same time vague and mysterious. They may seem shadowy and insubstantial, but they are also the stuff of which the ideal worlds in the artist’s imagination are largely assembled. The Taoist philosophy states that at the heart of the cosmos lies emptiness, a notion reflected in the often ethereal nature of traditional Chinese landscape painting. Zao was unique in his ability to blend that distinctively Oriental sense of space with the Western approach to light and color, perfecting his art during the 1980s, when he completely abandoned all representational elements and focused entirely on abstract visions—this gave him even more creative freedom, and allowed his spirit to roam the boundless realms of pure intuition. During this period of his career, Zao Wou-ki frequently had his work shown at the Pierre Matisse Gallery, and established himself once and for all as one of the big names on the international art scene. This lot, “1.8.83,” was among the works previously displayed at the Pierre Matisse Gallery, a wonderful gem that makes a worthy addition to any collection.

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女人、花、鳥、貓是丁雄泉創作的常青題材。色彩、手法、材料在他的筆下自由切換，沒有 任何束縛。這位自詡為「採花大盜」的才子，一生都在探尋女人和花之美。用畫筆盡顯女人 的柔、美、媚；以貓、花、鳥來襯托女人的可愛。

037

Walasse TING

(Chinese-American, 1929-2010)

Do You Like Cool Breeze?

1983 Acrylic on canvas 126 x 176 cm Signed on the reverse Walasse Ting, titled Do You Like Cool Breeze?, inscribed to Dennis Hwang Best Wishes all in English and dated 083 PROVENANCE: Collection of Dennis Hwang, New York (a wedding gift from the artist in 1983)

HK$ 1,600,000-2,200,000 NT$ 6,160,000-8,470,000 US$ 203,800-280,300

丁雄泉 你喜歡涼風嗎？ 1983 壓克力 畫布 126 x 176 cm 簽名畫背：Do You Like Cool Breeze?

Ting 83 to Dennis Hwang Best Wishes Walasse Ting by 083 來源： 黃志超收藏，紐約（1983年得自藝術 家饋贈）

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《你喜歡涼風嗎》作於1983年，是丁雄泉為友人藝術家黃志超所繪的好合之禮。畫面中半裸 的藍衣女子優雅側臥於花叢之中，作品採用了丁雄泉的典型風格，簡練的線條勾勒出女人的 樣貌，中國民間木板年畫的單色平塗的手法被巧妙運用到人物塑造中。大塊面平塗的藍色和 粉色自然勾勒出女人嫵媚的身體線條，佐以簡練的線條，優雅性感的臀部躍然畫面。女人曼 妙的身姿讓人不禁想起提香筆下的維納斯，中國民間的單線平塗、西方現代派式的大膽色彩 運用在丁雄泉的筆下完美融合。 藝術家曾說過：「無論我看到漂亮的女人，還是鮮花。他們都會讓我感到空靈和敏感。他們 讓我充滿活力，讓我有別樣的感覺，讓我像新生一樣。我使用很多色彩，讓我身上的能量和 愛在畫布上爆發。我終生從事油畫事業，已經50年了。我想要表達的就是清新。從美到愛再 到清新。就像一個新生的春天。」丁雄泉用他特有的方式為友人新婚的「春天」送上一襲清 新的涼風。

Female figures, flowers, birds and cats constitute the most common themes in the art of Walasse Ting.

His work is characterized by the complete lack of constraint with which he switches between colors, techniques and materials. Ting, who boasted of his success as “The Flower Pirate”, was constantly searching for beauty, whether in women or in flowers. He excelled at depicting the soft, attractive, alluring side of women, while adding cats, flowers and birds to the pictures to emphasize their adorableness.

“Do You Like Cool Breeze” was painted in 1983, as a wedding gift for Ting’s friend and fellow artist Dennis Hwang. A semi-nude woman in blue lies in elegant repose amidst flowers. This is a work in the classic Walasse Ting style, with simple, precise brushstrokes outlining the woman’s form; the singlecolor, even-application technique used in traditional Chinese woodcuts has been employed with great effect in depicting the female figure. Large patches of evenly-spread blue and pink form the woman’s attractive body, with simple linear brushstrokes giving a sense of elegant beauty to the representation of her buttocks. The woman’s alluring pose brings to mind Titian’s paintings of Venetian ladies. In this painting, Walasse Ting succeeds in creating a perfect fusion of traditional Chinese single-color, even-application woodblock printing technique and the bold use of color that characterizes Western modernism.

Walasse Ting once said that “Whenever I see an attractive woman or a beautiful flower, it always inspires an elusive feeling of sensitivity. Seeing them fills me with energy and vitality, gives me feelings that I usually do not experience, and makes me feel as though I have been reborn. I use a large number of different color tones to let this feeling of energy and love explode on the canvas. I have been painting in oils for 50 years now. Throughout this time, what I have been seeking to express is a sense of purity and freshness. The progression from beauty to love to purity is like the rebirth that is spring.” In his own unique way, Walasse Ting used this painting to send a fresh “spring breeze” wafting towards the newlymarried friend to whom this painting was presented.

038

LUO Zhongli (Chinese, b. 1948)

Autumn: Girl Holding a Cat 1989 Oil on canvas 77.5 x 98 cm Signed lower right luozhongli in English, Luo in Chinese and dated 1989.5 Signed on the reverse Luo Zhongli, titled Autumn: Girl Holding a Cat, inscribed Sichuan Fine Arts Institute all in Chinese, and dated 1989

HK$ 1,700,000-2,200,000 NT$ 6,550,000-8,470,000 US$ 216,600-280,300

羅中立

1980年的第二屆全國青年美展中，仍在四川美術學院讀書的羅中立以一幅史詩巨作《父親》 開啟了中國寫實繪畫的新篇章，也影響了整整一代人。《父親》的光環背後，羅中立遠赴歐 洲求學，歸國後「打定十年不鳴，一面執行教鞭，一面推出以農村為題材的作品」，默默推 動著鄉土繪畫的發展。而今作為四川美術學院的掌舵人，羅中立依然堅定的走在繪畫語言的 探索的道路上，而今他的作品也早已遍佈中國美術館、上海美術館、台灣山美術館、美國哈 佛大學、美國奧克拉荷馬州立美術館、新加坡美術館、比利時國家歷史博物館等海內外知名 藝術博物館。 羅中立的早期作品《秋：抱貓的女孩》畫面中捕捉了一個靜謐溫柔的瞬間：秋場，麥秸垛， 女孩，白貓，構成令人沉醉的田園氛圍。女孩略帶警覺的眼神和白貓眼睛裡透出的好奇，將 觀者的視線拉向遠方，靜謐的氣氛也由此變得緊張和神秘，留下無盡的聯想與幽思。作品延 續了羅中立早期鄉土寫實繪畫的風格，形體結實、結構精緻，色彩溫潤和諧，駐足巴蜀農民 的小人物生活，在平凡，普通的生活場景中探掘詩意。

Back in 1980, when he was still a student at the Sichuan Fine Arts Institute, Luo Zhongli emerge in the art scene at the “Second National Youth Arts Exhibition,” where his epic piece “Father” won a major prize and turned a new page in the history of Chinese realism painting. Not only would this work influence a whole generation, its phenomenal success also allowed Luo to go abroad and further hone his skills in Europe. After his return to China, he focused on teaching and on a series of countrysidethemed paintings. In this way, he spurred the development of local painting and continued to expand his creative range. Today, as the Dean of the Sichuan Fine Arts Institute, he continues to reinvent his artistic language and explore new forms of expression, while his paintings have found their way into the collections of many distinguished museums and galleries, including the National Art Museum of China, the Shanghai Art Museum, Taiwan’s ShanArt Gallery, the Harvard University Art Museums, the Oklahoma State Art Museum, and the Belgium National Museum of History.

秋：抱貓的女孩 1989 油彩 畫布 77.5 x 98 cm 簽名右下：luozhongli 1989.5 羅 簽名畫背：《秋》 "抱貓的女孩" 四川美 術學院 羅中立 1989

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This lot, “Autumn: Girl Holding a Cat,” one of Luo’s early works, captures a scene that is at first glance infused with a pure sense of serenity and gentleness: a harvest scene with a stack of wheat straw, and a girl with a white cat—together they conjure up the absorbingly enchanting atmosphere of a rural idyll. However, the girl’s eyes, which seem to communicate a slight feeling of apprehension, and the expression of curiosity gleaming from the white cat’s eyes, both draw the observer’s attention into the far distance, and these elements of visual movement and subliminal disquiet generate a more tense and mysterious mood, leaving the viewer with countless associations and possibilities to ponder. Yet the painting bears all the characters of Luo’s early works of rural realism: terse, solid shapes, delicate, well-structured composition, and soft, well-matched colors, all serving to portray the ordinary lives of peasants in his native Sichuan, and bring out the lyricism of everyday life.

039

ZHOU Chunya (Chinese, b. 1955)

Vase of Flowers 1993 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 93 ILLUSTRATED: Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, pp. 206-207

HK$ 1,600,000-2,200,000 NT$ 6,160,000-8,470,000 US$ 203,800-280,300

周春芽 瓶花 1993 油彩 畫布 100 x 80 cm 簽名右下：93 周春芽 圖錄： 《周春芽》，東八時區，香港， 2010，彩色圖版，頁206-207

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1990年代初從德國留學回國後，周春芽開始創 作具有中國傳統文化內涵的作品。《瓶花》是 1993年周春芽轉向一系列以山石和瓶花為題材 的作品之一。這一時期周春芽將自身中國山水 畫及寫意花鳥的心得充分展現在創作上。藝術 家誇張了瓶花的傳統造型，同時在畫面中充分 發揮油畫的材質特性，豐富的細節和肌理置換 傳統筆墨柔淡纖弱的質地，繁複錯落的體積結 構改變了文人繪畫扁平的視覺特性。在此系列 的創作中，周春芽一直在尋求與大自然更加親 密和自發的關係，以便能夠捕捉其最為本質的 形式和表現。周春芽描畫的瓶花從其畫面周圍 的空白中獲得力量，所用的筆法極為精練，如 同八大山人畫中的一尾魚，一塊石，一隻鳥， 一筆不多，一筆不少。著名評論家殷雙喜評價 周春芽：「將宋元古典山水的意象與西方繪畫 框式取景奇特地組合起來，具有了一種跨越人文地理與歷史文化的超然氣息，使人們猶如進 入宇宙洪荒、天地蒼茫的夢幻境界。」 After returning from Germany in the early 1990s, Zhou Chunya began to create works with traditional Chinese culture connotation. “Vase of Flowers” created in 1993 by Zhou Chunya was one of the series of rock and vase paintings he had turned to. During this period, Zhou Chunya applied what he had learned in Chinese landscape paintings and flower-and- bird sketches into the creation of his works. The artists exaggerated the traditional shape of vase and flower, and gave full play of the material to the painting to enrich the details and texture, instead of traditional ink in soft texture, as well as to use complicated structure to replace the flat visual feature of literati painting. In this series of works, Zhou Chunya has been seeking a more intimate and spontaneous relationship with the nature, so as to capture the essence of most essential forms and expressions.

“Vase of Flowers” depicted by Zhou Chunya is proicient in painting technique, gaining strength from surrounding space, just as famous artist, Badashanren (i.e. Zhu Da), who painted a fish, a rock, a bird – with exact number of strokes, no more or less. Shuangxi Yin, a well-known critic, appraised Zhou Chunya with the comments, “His paintings have peculiarly combined classical landscape imagery in Song and Yuan dynasties with frame structure in western paintings, which produced an overriding atmosphere spanning human geography and historical culture, and making people seemed like to enter the universe of prehistoric heaven and the realm of fantasy.”

040

JU Ming

(Taiwanese, b. 1938)

Enter Taichi 1996 Bronze, edition no. 11/20 47.5(L) x 33.5(W) x 58(H) cm Engraved Ju Ming in Chinese, numbered 11/20 and dated 96 This sculpture is to be sold with a certificate of authenticity issued by the Nonprofit Organization Juming Culture & Education Foundation.

HK$ 900,000-1,200,000 NT$ 3,470,000-4,620,000 US$ 114,600-152,900

朱銘 太極系列─起式 1996 銅雕 11/20 47.5(長) x 33.5(寬) x 58(高) cm 簽名雕刻：朱銘 96 11/20 附財團法人朱銘文教基金會開立之作品鑑定 報告書

94

041

ZHOU Chunya (Chinese, b. 1955)

Calla Lily 1993 Oil on canvas 72.5 x 60 cm Signed on the reverse Zhou Chunya in Chinese, titled Calla Lily in Chinese, inscribed oil on canvas in Chinese and dated 1993

HK$ 800,000-1,200,000 NT$ 3,080,000-4,620,000 US$ 101,900-152,900

周春芽 馬蹄蓮 1993 油彩 畫布 72.5 x 60 cm 簽名右下：《馬蹄蓮》1993 布上油色 周春芽

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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 《馬蹄蓮》的作品，周春芽以西方的寫生方法將中國傳統繪畫語言融 入其中，最重要的是採用完全不同的技巧，即以大筆觸的表現手法， 充分展示率性、粗獷的表現主義風格。在周春芽的畫中，傳統的中國 主題—花卉在西方繪畫技巧的光環下折射出迷人光彩，實現了中西兩 種繪畫語言的完美融合。此外，周春芽的大膽用色與其大筆觸的表現 手法更是相得益彰，色彩與構圖均給人奔放神秘之感，這種新穎、大 膽的藝術創作達到了奇異的效果。在周春芽看來，這種「離經叛道」 的作品形態正好契合了他的天性，並以他的放肆詮釋了傳統文人繪畫 的溫和內斂。 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 "Calla Lily", 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 non-mainstream works align with his disposition. With his "uninhibited traits" he constructs traditional humanistic paintings that are "warm and introvert".

藝術個性來源於生活，來源於對固有文化資源獨到的理解和轉化。1994年，朋友送給畫家一 條叫做「黑根」的德國牧羊犬，這條狗成了畫家生活中最重要的伴侶。因為「黑根」的出 現，畫家開始關注身邊的人和他自己的生活境遇，也著手開始了狗的系列創作。「綠狗」是 個意外，畫家非常喜歡，甚至把它當成藝術興趣的象徵。

042

ZHOU Chunya (Chinese, b. 1955)

Green Dog 2005 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and English, dated 2005

HK$ 1,300,000-1,900,000 NT$ 5,010,000-7,320,000 US$ 165,600-242,000

周春芽 綠狗 2005 油彩 畫布 100 x 80 cm 簽名右下：2005 周春芽 Zhou Chunya

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此幅《綠狗》創作於2005年，畫家運用留白的表達手法，抹除了背景元素，把綠狗置放於純 白的背景之中，更加突顯色彩之表現張力和雕塑量感，畫家說：「有人認為，『綠狗』是我 作品中偏向於圖像性質的作品，但我的用意不是圖像，我的初衷是文人花鳥畫簡潔的形態以 及雕塑的體量感，我認為它不是圖像而是畫布上的雕塑。」，綠狗的形體是由皴擦、摩擦、 扭曲的筆觸所構成。筆觸的扭動十分繁密，色彩彷佛躍動了起來，充滿一種如周春芽所討論 的「起伏跌宕」的「形體節奏」，創造了強烈的視覺衝擊。

Artistic temper is nourished by life, is the direct result of an artist’s individuality and his unique understanding and transformation of the cultural resources at his disposal. In 1994, a friend gave Zhou a German Shepherd named “Heigen” as a present, and the dog soon become the most important companion in the painter and sculptor’s life. Because of Heigen, Zhou become more involved with the people and happenings around him, and before long he started an entire series of dog-themed paintings.

So, while in a way the “Heigen” series came about by accident, Zhou was exceedingly fond of it, and even began to view it as an epitome of his artistic flair.

This lot, “Green Dog” was completed in 2005. In Chinese liubai fashion, the background is kept in plain white, and the dog is placed squarely in the center of the picture, imbuing the animal figure with additional vividness and force. The dog appears almost three-dimensional, like a sculpture, and the vivid green color seems to jump off the canvas. In the painter’s words, “Some people feel that ‘Green Dog’ is one of my more iconic paintings, a catchy image, but that wasn’t my primary intention. My original intention was to evoke the concise simplicity of traditional literati paintings, as well as create the sense of volume and depth usually associated with a sculpture. I believe the green dog is not so much a flat image as a ‘sculpture on canvas.” The dog’s body is painted with a variety of different strokes— wrinkled, rubbed, and twisted—all of which mesh to form a tight yet complex web of churning color, full of what Zhou likes to term “the structural rhythm of undulating strokes.” The result is a painting of powerful visual impact.

曾梵志的《天空》是其經典「天空系列」的代表作。此系列開啟於2004年，呈現出一個人在 混亂與不屈服的世界中的不安、焦慮與困惑。在畫中，一個身影頎長的人佇立在山坡上，雙 手插在口袋中，一臉困惑與茫然，讓畫迷一眼就能認出這是曾梵志的作品。描繪在日漸冷漠 的社會中人的疏離感與孤獨感已成為曾梵志的典型畫風。

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ZENG Fanzhi (Chinese, b. 1964)

Sky 2005 Oil on canvas 200 x 150 cm Signed lower right Zeng Fanzhi in English and dated 2005

HK$ 6,500,000-9,000,000 NT$ 25,030,000-34,650,000 US$ 828,000-1,146,500

曾梵志 天空系列 2005 油彩 畫布 200 x150 cm 簽名右下：2005 Zeng Fanzhi

相較於「面具系列」等以往著名畫作，曾梵志的「天空系列」在光明、希望甚至於個人救贖 方面有更多的著墨。在早期作品中，曾梵志著重在描繪人類在冷漠世界中掙扎求生，受困於 無路可逃的苦難與不安中，但在「天空系列」中，暗示人類可透過冥想與內觀獲得希望與救 贖。曾梵志是擅長描繪內心世界的中國當代藝術家，從他的作品可以感受到其內心深切的不 安與恐懼。曾梵志深受羅伯特．羅森柏格和孟克等歐洲表現主義藝術家的影響，跳脫中國寫 實主義與表現藝術的窠臼，透過畫布傾訴出內心最深處的煎熬。曾梵志執著於個人，並強調 令人感到疏離的社會，以及人們戴面具掩飾恐懼，但「天空系列」則傳達出人的內心可以獲 得某種形式的寧靜與滿足的訊息。 在畫中，身著長外套的年輕人雙手插在口袋中，凝視著遠方，彷彿脫離了世界，塑造出超然 離群的莊嚴感。年輕人凜然地站著，陷入了沉思。曾梵志的「天空系列」靈感源自其年少時 期的經歷。每當苦惱來襲，他會躺在地上凝視天空。天空彷彿為他開啟了無限可能與寬廣的 思緒，心境也隨之豁然開朗。遷至北京後，無法再享受廣闊的天空景致，但孩童時期的記憶 仍深深烙印在心中。他用「面具」系列紀錄早期遷居大都市時的疏離感，隨著這股疏離感漸 漸褪去，他開始習於展現自我，並將兒時遠眺無限天空的滿足感加入作品之中。 內心困惑的人若能深思超越自我的真理才能夠獲得希望，而非耽溺在負面的內在想法。曾梵 志擅長描繪中國青年在瞬息萬變的現代社會中所感到的衝擊與茫然。畫中人物世故而文雅的 都會人穿著，伴隨著困惑且緊張的表情，透露出孤單與迷惘，而這樣的感覺來自於對真實自 我的質疑。不過，曾梵志在畫中以大範圍的白色天空為背景，並透過夕陽餘暉映照出人物臉 龐，讓整幅畫充滿光亮。他敞開外套，彷彿在迎接溫暖透徹的陽光。儘管困惑與迷惘依舊， 卻得到了救贖。或許內心仍感到苦惱，但已經找到一條解脫之路。他站立的山坡上雖然有陰 鬱的野草，但僅佔了畫面的一小部分。他已戰勝內心恐懼與憂慮，並堅定地凝視著前方的光 明。 身為表現派畫家，曾梵志的每一個畫作細節都別具意義，發人深省。狂亂的野草隱喻不受控 制的恐懼與情感所引發的內心騷動。遼闊天空意味著通往冥想與自省的路徑。色彩也扮演重 要角色。用暗色調描繪的野草與山坡反映出黯淡的內心歷程，而淺綠色的外套則帶出樂觀與 希望的意涵，加上數抹藍色的白色天空，與自由的心境相互呼應。畫中人物堅定地望著前方 的陽光，好像他的世界有了一絲希望。他似乎獲得了戰勝心魔的意志，並能毅然決然地面對 任何困境難題。 曾梵志的表現方式與技巧有著與眾不同的成熟度，能在當代中國藝術家中脫穎而出。他的作 品以探討內心世界為主，深刻地反應出在這紛擾的新世界中，內心極度的不安以及對自我價 值的追尋。曾梵志近期的作品多探討開放中國與崛起後的政治與社會現況，但他的早期作品 多強調個人在可怕的新環境中，所必須面對的孤獨與疏離感。曾梵志的創作不僅具有獨特主 題，繪畫手法更勇於創新，特別是融合了傳統國畫筆法和空間規畫。 曾梵志於1964年出生於湖北省的武漢。他自幼生性內向，且成長過程中深受社會紛擾與不合 理的現象所影響。他的所見所聞導致他心靈受創，而藝術是抒發內心騷亂的唯一出口。當他 進入湖北藝術學院就讀時，立即被德國表現主義所吸引。而在校的學習也對他的作品和繪畫 技巧造成終生影響。狂野的筆觸、濃厚的色彩和沉思的表情成為他的標誌語言，而末日般的

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意象和色彩則傳達出焦慮和疏離。然而，這 種反思和表現主義風格在他的故鄉武漢得不 到認同，於是曾梵志在1994年搬到了北京。 到了北京，孤獨與疏離更加讓他的心靈傷痕 累累。 曾梵志的作品細膩地展現其人生各階段的心 理狀態。當其他當代藝術家堅守藝術界的成 功守則時，曾梵志卻不斷地創作新作品，並 擴展風格的疆界，持續以新穎、有趣的手法 來闡述其內心世界。「天空系列」是他最受 推崇的作品之一，而本幅作品更是此系列中 的傑作。

Zeng’s depiction of the young man dressed in a great flowing overcoat, hands stuffed in pockets, gazing off into the far distance suggests an aloofness, a separateness from the world that creates a grandeur. Standing tall and upright, with an almost regal bearing, the individual seems preoccupied with contemplation and reflection.

Zeng’s “Sky Series” was inspired by his experiences in youth, when troubled, he liked to lie on the ground staring at the s k y. H i s m i n d c o u l d c o n t e m p l a t e g r e a t wonders as the sky seemed to open up an infinity of possibilities, a broadness of

“Sky” is a major work from Zeng Fanzhi’s classic “Sky Series”, which he painted from 2004, embodying his universal themes of angst, uneasiness and bewilderment an individual feels in a chaotic and unyielding world. A lone figure standing on a hill, hands in pocket, confusion, puzzlement, and bewilderment etched on his face has become instantly recognizable to Zeng’s admirers worldwide as one of his key representations of the isolated and lonely individual in an increasingly alienating society.

Zeng’s “Sky Series” however, offers much more in the way of light, hope and even personal redemption than his previous series of works such as his famous “Mask Series”. While earlier body of works suggested man’s struggle with an uncaring world brought suffering and angst with no escape, his “Sky Series” seems to imply that hope and redemption can be achieved through contemplation and inward awareness. The most inward looking of contemporary Chinese artists Zeng’s works have always been a deep exploration of his inner psyche and the fears and terrors encountered there. Deeply influenced

by European expressionists especially Robert Rauschenberg and Edvard Munch, Zeng has definitively broken the mold of Chinese realism and representational art, letting the painful innermost workings of his mind pour out on his canvases. Obsessed with the individual, his fears and anxieties in an alienating society, and the masks he wears to cover up his terrors, in the “Sky Series” Zeng suggests that some form of inner quietness and calmness even contentment may be achieved.

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曾梵志《天空系列》羅芙奧香港2010秋季拍賣會， 編號061，1003.2萬港幣成交 ZENG Fanzhi, Sky Series, 2005,Oil on canvas, 250 x 170 cm Ravenel Autumn Auction 2010 Hong Kong, lot 61, US$ 1,292,784 sold

thought, that could be found nowhere else.

When he moved to Beijing, he missed the uncluttered view of the sky he had had as a child, the memories of it deeply embedded in his mind. As the initial alienation he felt on moving to a large city, the inspiration for his “Mask Series”, began to wane, and he began to feel more comfortable in his own skin, his memories of the satisfaction of looking at the unending sky began to play into his art.

If hope is to be found for a bewildered individual, it would be found from pondering greater truths outside of oneself, rather than stewing in the nightmarish thoughts of the inner mind. Zeng is a master at representing the inner turmoil and perplexities faced by young Chinese in a modern society that is so fast moving and ever changing. The apparently sophisticated and suave urbanite with the puzzled and strained expression on his face, articulates the fundamental isolation and bafflement, which results from an internal lack of knowledge of who he really is. However, the painting is full of light, with the all-encompassing great white sky in the background, as the glow of the evening sun lights up the individual’s face dramatically. He seems to hold open his coat as he welcomes the warmth and clarity offered by the sunlight, and while still bewildered and perplexed redemption is being offered. His inner psyche may still be troubled, but a path out of the wilderness is being offered. The dark grasses of the hill on which he is standing are a small part of the scene, as the individual rises above his inner most fears and worries, and looks steadfastly ahead into brightness.

As an expressionistic painter, all parts of Zeng’s canvas have meaning and profundity.

Wild and menacing grasses are suggestive of the inner turmoil created by uncontrolled fears and senses. Large open skies are indicative of a conduit for contemplation and reflection.

Colors are also very important, with dark hues representational of the dark workings going on deep in the mind as with the grasses and hill, while the bright green of the coat evokes positive feelings and lightness, with wisps of blue in the white sky adding to the feeling of unconstraint. A realm of hope exists in this individual’s world as he stoically and steadfastly faces into the bright sunlight, appearing to be psychologically strong enough to face his demons, and stand resolute in the face of anything a bewildering world can throw at him.

Zeng stands out in many ways from his peers in contemporary Chinese art, displaying an uncommon maturity both in terms of expression and technique. Primarily concerned with the inner world, his body of work reflects his

deep psychological unease and search for meaning in a bewildering new world. While his contemporaries mostly focused on political and social issues in a newly open and emerging China, Zeng from the beginning of his career focused on the alienation and detachment of the individual in a frightening new environment.

Zeng is not just unique in his themes, he is also an experimental technician in painting methods and particularly in the great Chinese tradition of brush strokes and use of space. Both his universal theme of the pain of alienation and detachment and his masterful use of the paintbrush have brought him worldwide recognition and made him one of the most important of Chinese contemporary artists.

Zeng was born in Wuhan in Hubei Province in 1964. As a child, he was introverted and was deeply affected by the chaos and irrationality in the society of his youth. His psyche was deeply traumatized by what it observed and art was the only outlet for his inner turmoil.

He was immediately attracted to German Expressionism at the Hubei Academy of Fine Arts, and his studies were to have a life-long influence on his works and techniques. Wild strokes, fleshy colors and brooding expressions were to become part of his hallmarks and were to allow him to express his angst and alienation in apocalyptic imagery and colors. However, such introspection and expressionistic tendencies found little acceptance in his native Wuhan and so in 1994 Zeng moved to Beijing. Here, he suffered the full trauma of alienation and disconnection.

Zeng’s body of work is a detailed expression of his psychological state at each period in his life. Unlike most of his contemporaries who are happy to stick with winning formulas in their artwork, Zeng has consistently introduced new series of works, and pushed the boundaries of his artistic style to constantly create new and arresting expressions of his inner-state. His “Sky� series is now one of his most acclaimed set of works, and the present work is an outstanding piece from this series.

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ZHANG Xiaogang (Chinese, b. 1958)

Bloodline - Big Family: Childhood No. 1 1998 Oil on canvas 130 x 100 cm Signed lower right Zhang Xiaogang in Chinese and English, dated 1998 ILLUSTRATED: Forget and Remember - Zhang Xiaogang, Xin-Dong Cheng Publishing House, Beijing, color illustrated, p. 55 (wrong size)

HK$ 7,500,000-10,000,000 NT$ 28,880,000-38,500,000 US$ 955,400-1,273,900

張曉剛 血緣—大家庭：童年1號 1998 油彩 畫布 130 x 100 cm 簽名右下：張曉剛 Zh a ng Xia oga n g 1998 圖錄： 《失憶與記憶─張曉剛》，程昕東出 版公司，北京，彩色圖版，頁55（尺 寸誤植）

《血緣—大家庭：童年1號》，一幅屬於中國1950、1960年代特有的「兒童紀念照」；一位小 女孩手捧五角星的偉人語錄，端正的站在攝影棚內，背後經過擦拭處理的人造天空布景與前 景的水泥地板，使得原本應該很溫暖、歡樂的紀念照變了調。小女孩呆板、空洞的眼神，超 齡又或者有點緊張、有點驚恐的表情帶著神秘另人想一探究竟。在冷靜、中性的灰色調畫面 中被染紅的臉與頭髮，臉上唯一能與其他兒童樣板式照片辨識的胎記，和一條象徵血緣關係 的紅線，牽連著畫內的女孩與畫外的親人。在差異微小的紀念照中，張曉剛在探索的是那個 時代性的「公共表情」與「公共模式」，還有屬於私密的、個人的「血緣」與無法抹滅的印 記與精神上的胎記。 「我一直在尋找公共標準和私人空間的一個關係，這個關係困擾了我很多年，後來我發現中 國人會下意識地去找到中間的平衡，讓我覺得特別有意思。」 「我們的確都生活在一個『大家庭』之中。在這個『家』裡，我們需要學會如何去面對各式 各樣的血緣關係，在各式各樣的遺傳下，『集體主義』的觀念實際上已身畫在我們的意識之 中。」 ─ 張曉剛 然而身為中國當代藝術界最引人矚目的藝術家之一的張曉剛，在發展出當下的個人風格以 前，嘗試與尋找了許多藝術表達的手法與方式，而每個過程都是造就他傑出地位的重要階 段。 1958年張曉剛出生於昆明，1982年畢業於四川美術學院，當時正值中國思想解放的1980年 代。在西方哲學和美學的薰陶下，他對後印象派和藝術家高更與梵谷特別推崇。同時也受當 時前衛的法國存在主義、荒誕派戲劇和超現實主義大師達利的影響，使得張曉剛在1980年代 時期的作品有著超現實的氣質。且與「西南藝術群體」以前衛的姿態參與當時人文主義的反 思與建設運動。 1984年張曉剛因飲酒過量被送入醫院。這經驗啟發了他「魔鬼時期」的創作，以超現實的語 法表達、質問和探索自己對存活、生命及死亡等議題。他曾提到這時期的作品是在表達一 個扭曲的靈魂，處於生與死的臨界線上所體驗到的恐懼和悲壯的感受。而在1987年他創作了 《遺夢系列》正是「魔鬼時期」後，張曉剛獲得母校聘用進入稍微穩定生活，走出黑暗與沈 重的死亡議題，進入東方神秘主義及老莊思想的另一個相對安穩的時期。 1992年張曉剛第一次赴歐旅行，花了三個月的時間造訪許多美術館、博物館，之後他陷入了 一片茫然。他悟出即使花一輩子的時間的努力，也達不到歐洲大師的水準。其實重要的是 他發覺所學雖然是來自西方的藝術，但自己的出生與經歷並不在歐洲文化的範圍裡。他意識 到或許應該放下對繪畫技巧或是對西方藝術的追求，且深刻的體會到「觀念」與自我經驗的 重要性。從歐洲返回中國後，他第一個想看的是天安門，而第二個則是他小時候的照片。看 著小時候的家庭照，他發現它們很私密，同時又強烈的帶著外界社會對於「照片」本身的影 響。這些照片都來自於照相館，從中察覺它們體現了數種中國的審美與意識型態上的標準： 照片該怎麼樣才好看？中國人要長什麼樣子才好看？而照片中一定要表現出積極向上且對國 家忠誠的樣子。於是他找到想要表達的主題，也因此《血緣—大家庭系列》誕生。 「我常常下意識地要站在事物的背面去體驗某種隱藏於事物表層之下的那些東西，那些被人 稱為『隱藏的東西』。… 也許由此注定了我不可能成為一個關注重大社會問題的『文化型』 藝術家，更不可能成為某種『科研型』的樣式主義者。我總習慣將藝術與『生命』、『心 靈』一類的概念聯繫在一起，相信直覺勝於對觀念的探索，依憑體驗勝於藉助知識，注重情

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感而仰慕理性的光芒。」從張曉剛的自我評 價中，不難察覺他的藝術表達具有某種的 「封閉性」與「私密性」，他曾坦承習慣有 距離的去觀察和體驗所處的現實，移居所擁 有的沈重歷史，以抽離不帶批判的語法平靜 的表達，也有點內心獨白的意味存在。 1993年張曉創作「全家福」的開端，捨棄以 往在表現主義的作品上對繪畫技巧與佈局的 追求，而拾起中國早期流行於街頭巷尾的炭 精畫法。這對當時的藝評家來講是很難接受 的一件事，他們認為家庭肖像是充滿了家庭 似的個人經驗，又透過世俗的炭精畫法沒有 何藝術價值可言？但無疑的張曉剛所呈現的 反映出那一個時期中國家庭中最普遍的集體 經驗─塑造出形象完美的全家福像。他曾提 到當時手握著舊照片，被精心修飾後的影像 所觸動，他所強調的「修飾感」正是當時家 庭照具有的普遍特徵。由此延伸我們看到的 是一個時代的縮影與特有的敏感易碎、麻木 與緊張感，張曉剛抓住的是一個逝去的時代 脈絡。 「《大家庭系列》的人物造像來自三個方 向，一是自己家中的老照片，父母年輕時的 形象跟自己與其他家族成員形象之間的某種 相似關係，如一縷無形的絲線牽動了心底對 於『血緣』」這個意識的顫動；二是西方繪 畫透視法的影響；三是老照片中每個人物的 衣著服飾單調的雷同性，加強了一致化的視 覺。」-- 張曉剛 此幅創作於1998年的《血緣—大家庭：童年 1號》，不同於初期《大家庭系列》的集體 照制式形象，在此系列的中後期出現了單人 形象，也反映了同一時代一胎化政策下兒女 是寶的「兒童紀念照」。在現今許多中國人 的記憶中仍保留著改革開放以前在公共照相 館留影的影像。而中國各地的照相館似乎都 大同小異，有著和「全家福」同樣的標準化 模式。張曉剛透過老照片揭示了整個家庭、 社會、民族、國家裡某種微妙而曖昧，無法 言喻的東西，也敏感的捕捉到這背後不可說 的社會衝擊與歷史創傷。 張曉剛多次參與歐洲、美洲、澳洲與亞洲各 國的藝術展覽，作品也被各大重要的美術 館、畫廊與私人收藏。他的大家庭系列傳達

出具有時代意義的集體心理記憶與情緒，發 自個人情感與人生角度，透過藝術語彙描寫 他對於社會、集體、家庭與血緣的觀察與體 驗，沒有強烈的批判語言，靜默且低調的隱 述文革時期的群體騷亂，是中國當代藝術中 富有深層內涵與底韻的最佳代表。

This lot, “Bloodline - Big Family: Childhood No. 1” is painted in the style of the “childhood memento photos” typical of China in the 1950s and 1960s. It shows a little girl standing on a grey concrete floor against the background of a photo studio’s artificial sky, a screen composed of daubed white clouds and blue ground color— a backdrop that adds a sinister touch to what should be a warm and happy picture. Holding a copy of the Quotations of Great Leaders, with the emblematic five-pointed star on the cover, the child stands straight, a vague sense of nervousness and fear in her eyes. The only thing that sticks out from the monotone gray are the red face and hair, while a patch of color, like a birthmark, on the girl’s left cheek marks the one individual difference from other stereotypical photographs. And there is the red thread symbolizing the bloodline connecting the girl inside the painting with her relatives outside of it. In his series of “Big Family” pictures, Zhang explores the uniformity in an era when “public expression” and “public model” dominated all social life, only countered by lingering vestiges of the more private and personal “Bloodline,” the residues of ineradicable individuality mirrored in the “spiritual birthmarks”—aberrant colored blemishes on the portrayed faces.

“I have always been interested in the relationship between public norms and private space. It’s a topic that has bothered me for many years, until I discovered that in Chinese culture, people subconsciously attempt to strike a fine balance between the two. I think this is an extremely fascinating subject.”

“It is absolutely true that we live in a ‘big family.’ Within this ‘family,’ we have to learn how to deal with and accommodate all kinds

of blood relationships. And all these bloodlines and inherited qualities connect us to something bigger, to a collective, to society as a whole. This concept of ‘collectivism’ is deeply ingrained in our consciousness.” – Zhang Xiaogang It is perhaps necessary to remind audiences that even Zhang Xiaogang, one of the best-known and most sought-after among contemporary Chinese artists, only developed his current style and format after a long period of experimenting with many different techniques and forms of expression; and each of the previous steps and phases made an important contribution in pushing him to the present stage of artistic maturity and international renown.

Born in Kunming in Yunnan Province, in 1958, Zhang graduated from the Sichuan Academy of Fine Arts in 1982, a time when China had just entered a period of intellectual and artistic liberation. Voraciously absorbing the influences of Western philosophy and aesthetics, he particularly admired the work of postimpressionist painters such as Paul Gauguin and Vincent van Gogh. At the same time his outlook was shaped by avant-garde French existentialism, as well as absurdist drama and Salvador Dali, one of the masters of surrealism.

In fact, much of Zhang’s work from the 80s displays a strong surrealist bent, and during those years he was also a member of the Southwest Arts Group and associated with the New Wave Arts movement that sought to establish a more humanist and individual approach to painting and art.

In 1984, Zhang was hospitalized with acute alcohol poisoning, an experience that triggered a period of artistic exploration and expression in the surrealist style, in which the artist was seeking answers to questions about existence, life and death? Zhang once said about his work of those years, known as his “Ghost Period,” that it represented the outcry of a twisted and tortured soul, experiencing the terror and tragedy of the fine line between life and death. He would eventually emerge from this dark phase in 1987,

張曉剛《血緣系列─大家庭》 羅芙奧台北2010年秋拍，編號187，3856萬台幣成交 ZHANG Xiaogang, Bloodline Series - Big Family 1998, oil on canvas, 80 x 100 cm Ravenel Autumn Auction 2010 Taipei Lot 187, US$ 1,271,348 sold

when he painted the “Lost in the Dreams” series and settled into a somewhat more stable life as a lecturer at his alma mater. Instead of focusing on death and gloom, his creative process now took its inspiration from Eastern mysticism and Taoist philosophy.

In 1992, Zhang went to Europe for the first time and spent three months traveling around to visit many museums and galleries. Afterwards, he was confused, realizing that even if he’d spend his entire life in the attempt, he still wouldn’t be able to reach the heights embodied by the European masters. But actually it would be closer to the mark to say that he became aware of the simple fact that while what he had studied and learned so far came almost exclusively from the West, he himself was born and had grown up in a different cultural sphere, well outside that of Europe. Zhang suddenly understood that maybe it was necessary to give up his pursuit of painting technique, and stop emulating Western art. He realized the great and fundamental importance of personal experience, of profound conceptions and ideas that lie at the heart of all true art. The first thing he went to see after his return from Europe to China was the Tiananmen, the Gate of Heavenly Peace, and the second was pictures from his own childhood. Looking at the latter, he found them to be very private, yet at the same time also affected by social norms

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and standards. All these family pictures had been taken at a photo studio, and their structure and composition reveals much about Chinese aesthetic and ideological patterns and norms, about the customary answers to questions such as, “What does a good photograph look like?” or “What is the beau ideal for the typical Chinese?”

Naturally, back in those days one obligatory requirement was to show a positive, determined attitude and unconditional loyalty to the state.

Zhang wanted to capture the spirit behind these photos, and from this germ his “Bloodline - Big Family: Big Family” series grew.

“I often find myself, quite subconsciously, trying to get under the surface of things and get a taste of what lies hidden behind the outer appearances, those things we usually consider to be ‘secret.’ … This probably means that it’s not my destiny to become one of those ‘socially and culturally involved’ artists who show great concern for public issues, and even less likely that I’ll ever be one of those ‘systematic types’ who go for a mannerist approach. Rather, I’m in the habit of treating art and life as an organic whole. Art comes from the soul. I believe that intuition is more important than abstract concepts, and that firsthand experience beats theoretical knowledge. I place all emphasis on emotional depth, but I do admire the radiance of rationality.” From Zhang’s self-assessment, it is not difficult to perceive that his art is characterized by a considerable degree of “closedness” and “privateness.” He candidly admits that he prefers keeping a distance in observing and experiencing reality, including towards his own dark history, using uncritical artistic language and subtle expression that also suggests something of an inner soliloquy.

With “Family Portrait” in 1993, Zhang Xiaogang entered a new phase, relinquishing for the time being his pursuit of expressionist techniques and enhanced structure and composition, and picking up the art of charcoal drawing, a very popular form of street art in early modern China. This posed a bit of a conundrum for art critics at the

time, who felt, to begin with, that family portraits were a highly conventional subject brimming with personal undertones. And how could there be much artistic value in interpreting this subject through the somewhat clichéd medium of carbon drawing? Yet there can be little doubt that through his new approach, Zhang managed to capture one of the most common collective experiences, shared by practically every Chinese household in the 1950s and 60s: the attempt to create the perfect family portrait. The artist once recalled how he was holding one of these old photographs in his hand, and couldn’t help being moved by its carefully retouched artificiality. It was exactly this “retouched artificiality” that was typical not just of the family portraits, but, even more essentially, of the families themselves in that era. Through this extension, we can see a snap shot of that period of time and its particular fragility, numbness, and tension and how Zhang has captured the pulse of those long gone days.

“The figures of the ‘Big Family’ series are derived from three influences: one are the old family photographs I have at home; pictures of my father and mother when they were young, their images linked to mine and that of other family members by a strange sense of conformity and random interchangeability, linked, as it were, by our blood relationship, like a fine but firm red thread binding us together with the

張曉剛《血緣系列─大家庭》 羅芙奧香港2011年春拍，編號046，1128萬港幣成交 ZHANG Xiaogang, Bloodline Series - Big Family 2006, oil on canvas, 160 x 200 cm Ravenel Spring Auction 2011 Hong Kong Lot 046, US$ 1,449,871 sold

force of archetypal consciousness and endless genealogy. The second influence is the Western technique of perspective drawing; the third the generic style and stereotyped character of the old photos, their sheer monotony and formulaic repetition, giving an impression of anonymous uniformity.” – Zhang Xiaogang Unlike the early works of the series, which consisted mainly of group portraits, “Childhood No. 1” from 1998 shows a single figure, as is not uncommon in the later “Big Family” paintings.

This can probably also be read as a reflection of China’s one child policy, under which only children tend to be treated as “little emperors,” and “childhood memento photos” have soared in popularity. Yet in the mind of many Chinese, the dominant format and style of such pictures is still determined by parameters set in public photo studios during the pre-reform era. Photo studios throughout China shared a standard formula for taking family or individual portraits. Through his painted portraits, Zhang exposes some of the elusive and ambiguous qualities that make up the concepts of family, society, and nation in China, and through unspeakable social upheavals and historical traumas that continue to affect and shape his country.

Zhang Xiaogang’s work has been shown at numerous exhibitions in Europe, the Americas, Australia, and Asia, and many of his pieces are held in private and public collections, including those of major galleries and museums. His “Big Family” series in particular is renowned for its understated expression of the collective psychological mood and memory of an era.

Rooted in his own emotions and viewpoints, Zhang employs his unique artistic language to voice his observations and experiences, to depict his impressions of immediate and extended family, of society and collective consciousness.

Zhang Xiaogang thus represents one of the most complex and profound of China’s contemporary artists.

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ZENG Fanzhi (Chinese, b. 1964)

Quotations from Chairman Mao 2005 Oil on canvas 150 x 180 cm Signed lower right ZENG Fanzhi in Chinese and English, dated 2005

HK$ 7,000,000-9,500,000 NT$ 26,950,000-36,580,000 US$ 891,700-1,210,200

曾梵志 毛語錄 2005 油彩 畫布 150 x 180 cm 簽名右下：曾梵志 2005 ZENG Fanzhi

當中國社會敞開大門簇擁現代主義時，許多當代藝術家面臨了新舊融合的困境。很多與曾梵 志同輩的藝術家都經歷過文化大革命，因而深受其影響。雖然文化大革命製造了許多騷動與 混亂，但文革之前已存在的意識形態、信念與希望仍與當時人們的生活密不可分。而如何將 過去的理念、信念和希望與現代融合就成為當代藝術家的重大難題。當1960與1970年代初期 的紛擾混亂隨著記憶而消逝，伴隨而來的是以自私、個人主義與疏離感取代既有價值觀與理 念的現代主義，相較之下，早期的理念、信念和希望似乎安全、溫馨。許多藝術家將當時象 徵性的事物加入到作品中，例如天安門廣場、毛澤東或文化大革命海報等，讓偉大理念不至 於被遺忘或拋棄。 《毛語錄》是曾梵志的重要經典作品。畫風細膩、擅長探索內心世界，並廣受世界推崇，他 用畫筆刻畫出現代中國的傷痛過往。在這幅莊嚴的作品中，年輕氣盛的毛澤東堅毅地站著， 若有所思地讀著他的名詩〈人民解放軍佔領南京〉，宛如知名畫家曾梵志正向另一位知名藝 術家毛澤東致敬。不過，相較於其他具象派的當代藝術家，更著重在人物的描繪及其內心世 界的活動過程。他在畫中運用純熟的表現技巧，揣摩人物心境，以深刻傳達出畫中人的情感 與心理狀態。 在所有中國當代藝術家中，曾梵志的作品是最富有個人色彩與前衛感的，因為他的作品不時 地反應出人生各階段的心理狀態與內在憂慮。他也不斷地拓展其藝術風格和創作過程的疆 界，創造新穎且吸引人的表現手法。曾梵志出生於1964年，並在文化大革命的時代下長大。 內向的個性造就了他內心的疏離感與隔閡。年輕時，社會紛擾與不合理現象重創了他的心 靈，而上學時，因表現不佳，加上與老師不合，以至於無法領取紅衛兵的紅圍巾，更加深了 他的疏離。他在湖北藝術學院求學時，接觸到德國的表現主義，表現主義成為他抒發內心困 惑的管道，自此，他終於得以宣洩內心的思緒與疏離感。 在武漢時，他創作了「醫院」和「肉」這兩個作品系列， 內容充滿駭人影像，色彩強烈。 「醫院系列」刻畫了漠不關心的醫生和充滿恐懼的病人，「肉系列」則描繪出沾滿血水的屠 宰場工人躺在動物屍體上睡覺。這兩個系列都取材自他的年少生活經驗。由於當時大多數的 家庭都沒有浴室，年幼的曾梵志只得去附近醫院借用浴室，使得他敏銳的心靈深受醫院驚駭 場景的衝擊。另外，他每天上下學途中必須經過屠宰場，常看到工人在酷暑中躺在冰冷的動 物屍體上午睡，幫自己降溫。 由於武漢的學校不接受曾梵志非具象派的藝術風格，因此他遷居到北京，希望能獲得認同， 然而他看到的卻是自戀、自私又虛偽的都會青年。在得不到團體歸屬感的情況下，他的疏離 感與不安與日俱增，因而創作出「面具系列」。此代表作讓他首度嘗到國際的讚賞與認同。 在此系列中，每個人都戴著面具，隱藏起自己的身分、感覺、表情和真實自我。在「面具系 列」後，曾梵志的畫風更為抽象，並深受傳統水墨國畫與書法的影響。在他的「肖像系列」 中，人物不再戴著面具，臉上的不安、困惑與困擾一覽無遺。此系列作品運用了中國畫的留 白，畫中人物彷彿尚未完成，而浮現在空白背景中。本幅作品《毛語錄》就是採用這樣的技 巧。 藉由去除背景並減少細節，曾梵志將焦點集中在畫中人物的內心世界。毛澤東寫在海報上的 詩詞模糊難辨，讓觀眾能聚焦在這位革新偉人身上，而不是畫中的文字。曾梵志在許多系列 中用不同手法描繪過毛澤東，彷彿他還在尋找最適當的方式來呈現或理解這位偉人。他也深 受安迪．沃荷繪製毛澤東與其他名人的手法所影響，只不過曾梵志的畫風與沃荷相反。沃荷 是推動藝術家與藝術商業化的最佳典範，他將人物商業化並去擬人化。曾梵志則是深刻地探 索個體、個體的心境。在「偉人系列」中，曾梵志筆下的毛澤東和文化革命宣傳海報上的毛 澤東如出一轍－有著父親或祖父般的形象，是偉大的守護者和拯救者，至今仍受廣大中國人 愛戴的人物。但是曾梵志從不墨守成規，他是探索人類內心世界的專家。 在《毛語錄》中，曾梵志描繪的毛澤東與文化大革命海報中駭人猛獅般的毛澤東相去甚遠。 此畫中的他穿著工裝，背對著觀眾，沉浸在占領南京的喜悅中。他的手擺在臀部上，對著自 己的偉大功績洋洋得意。在這幅畫中，毛澤東只是個親民、受人愛戴，並且剛完成重大使命

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的年輕人。這也是大多數中國人期待中的毛 澤東－將人民從國民政府解放出來的偉大革 命家，而不是晚年精神失常的毛澤東。 毛澤東慶賀共產黨在當時的首都南京擊敗國 民革命軍時，寫了一首詩詞，也正是畫中的 文字。 「鐘山風雨起蒼黃， 百萬雄師過大江。 虎踞龍盤今勝昔， 天翻地覆慨而慷。 宜將剩勇追窮寇， 不可沽名學霸王。 天若有情天亦老， 人間正道是滄桑。」 這場勝利對共產黨至為關鍵，而毛澤東的詩 詞更是廣為流傳，並為每個中國人民所珍 藏。曾梵志筆下的毛澤東以謙卑親民之姿， 站在自己創作的詩詞前，展現出偉大軍人和 勝利者的風範。畫中毛澤東陷入沉思與自省 的模樣，展現出邁向偉大的必經過程。曾梵 志巧妙地拉近觀眾與毛澤東之間的距離，彷 彿我們正默默地觀察這位被捕捉到沉思風采 的偉人。透過曾梵志的畫作，我們得以分享 坦然面對自我時的情感歷程與心境。我們看 到的不是妄自尊大的毛澤東，而是他毫無遮 掩的真實自我。 曾梵志結合表現主義手法與傳統水墨國畫 的抽象技巧，讓畫中人物極具深度。空白 背景與模糊詩句將毛澤東區隔出來，讓觀眾 的目光落在人物性格與心境上。傳統國畫的 筆法對曾梵志的筆觸也影響至深。他豪邁而 粗曠地繪出毛澤東的藍色外套與帽子，營造 出抽象感，再強而有力地用細線條加強衣服 細節，有如中國書法。臉部和手部則用濃 厚、顯眼的膚色調，讓焦點停留在這血肉之 軀上，呈現出真實的人物，而非聯想後的影 像。整體而言，曾梵志純熟而具體地描繪出 人物特徵，而非虛構的形象，讓觀眾看到真 實的個體，而不是腦中的印象。沃荷總是將 毛澤東描繪成尊貴、仁慈、笑容滿面的領導 人，而曾梵志此畫作中的毛澤東卻是一個讚 嘆自我成就的平凡人。 《毛語錄》是曾梵志的極致代表作，他用純 熟的繪畫技巧，捕捉人物在超然離群的當下 展現出真實的自我。

As Chinese society has opened up and rushed headlong into modernization, many contemporary artists are faced with the dilemma

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of how to reconcile the past with the present.

For many artists of Zeng Fanzhi’s generation growing up during the Cultural Revolution has had a profound impact on who they are.

Although the Cultural Revolution created turmoil and chaos, the ideologies, beliefs and hopes of the Great Revolution, which preceded it are still a part of every person who grew up at that time. Reconciling those ideals, beliefs and hopes of the past with the present presents major conundrums for contemporary artists. As the chaos and turmoil of the 1960s and early 1970s recedes in memory, and modernization replaces values and ideals with increasing selfishness, individualism and alienation, the ideals, beliefs and hopes of those earlier years may seem a safer, warmer and more attractive option. Many artists include iconic symbols from that time in their works, such as Tiananmen Square, images of Chairman Mao, or Cultural Revolution posters, the great ideals offered cannot be forgotten or thrown away.

“Quotations from Chairman Mao” is an important and magisterial work by Zeng Fanzhi, one of the most complex, inwardly looking and lauded contemporary artists, as he contemplates the recent traumatic past of Modern China. In this magnificent painting, a young Mao Tse-tung in his prime, stands resolute and contemplatively as he gazes at one of his greatest and most famous poems, “The PLA captures Nanjing”. It is almost as if one great artist, Zeng, is paying homage and respect to another great artist, Mao. However, Zeng is the least representational of contemporary artists, instead he is much more concerned with portraying the individual and the internal goings on of his mind. He primarily focuses on the emotional and psychological state of the individual, using expressionistic techniques in his paintings to portray the inner workings of the individual mind.

Of all Chinese contemporary artists, Zeng’s body of work is the most individual and progressive as he consistently develops great series of works which reflect his psychological state and inner concerns at each point of his life.

He also constantly pushes the boundaries of his artistic style and creative processes to create

new and arresting methods of expression. Born in Wuhan in 1964, Zeng grew up in the throes of the Cultural Revolution. His introverted nature created in him a sense of alienation and disjointedness. He was deeply traumatized by the irrationality and chaos in the society of his youth. His sense of alienation was further heightened when he was refused the red scarf of the “Red Guards” as he performed badly in school and was constantly in trouble with his teachers. On entering the Hubei Academy of Fine Arts, he discovered German Expressionism and in this he discovered the means of expressing his inner turmoil. At last he had a method to pour forth his introspective thoughts and his sense of alienation.

He produced two series of works while still in Wuhan, his “Meat” series and his “Hospital” series. Both of them are characterized by traumatic imagery, strong colors and existential angst. Uncaring doctors and traumatized patients populate his “Hospital” series, while his “Meat” series depicts people covered in blood sleeping on animal carcasses. Both these series arise from real events the young Zeng saw around him in his daily life. With no bathroom at home, he used the bathroom of the local hospital, witnessing what must have been very impressionable scenes for a young sensitive mind. Likewise, he passed his local butchers on his way to and from school daily where he saw the workers taking naps on the frozen carcasses, the only way to cool down in the interminable heat of summer.

Finding his non-representational expressionistic work unaccepted in Wuhan, he moved to Beijing where he hoped to find approval. Instead what he found was a young urbanite class that was self-obsessed, self-absorbed and disingenuous.

Instead of finding a community to belong to, his sense of alienation and angst increased. This led to his great “Mask” series, which first brought him international acclaim and recognition. Each of the individuals in these works wears a mask, hiding his identity, his feelings, his expressions and who he really is. Following the “Mask” series, Zeng began to become more abstract in his technique, which was heavily influenced from traditional Chinese ink and brush painting,

and calligraphy. In his “Portrait” series, his individuals are unmasked and their anxiety, puzzlement and bewilderment are etched deeply in their expressions. The paintings lose any background, a technique from Chinese painting, and the figures are unfinished seemingly floating in air. Our present painting “Quotations from Chairman Mao” employs these techniques.

Taking out the background and minimizing details allows Zeng to concentrate on portraying the inner state of the depicted person. Mao’s great poem is vaguely indistinct, written on the poster which suggests rather than focusing on the great words we need to focus elsewhere, that being on the person of Mao, the great revolutionary. Zeng has depicted Mao in various ways in a number of series of paintings, almost as if he is struggling how to represent or understand this most enigmatic of men. He has also been influenced by Andy Warhol’s depictions of Mao and other famous people. However, Zeng’s art is the antithesis of Warhol’s. While Warhol is the supreme example of the commercialization of the artist and art, in fact the commercialization and depersonification of the person, Zeng’s art deeply explores the individual, the person, their state of being and their psychological processes. In one series of paintings “Great Persons” Zeng portrays Mao in much the same way as the propagandistic Cultural Revolution posters, the fatherly or grandfatherly figure, the great protector and saviour, so beloved by many Chinese people to this day. But this level of depiction never sits quietly with Zeng, he is the great master at looking deep inside the individual.

In “Quotations from Chairman Mao” Zeng’s portrayal of Mao is far removed from the Cultural Revolution style of lionizing and deifying Mao. Instead we have the single solitary figure of Mao, dressed in worker’s clothes, facing away from us, contemplating his army’s great success at Nanjing. His hands are placed on his hips creating a pose that suggests satisfaction, contentment and reflection on great deeds. He is youthful and human, an admirable man who has accomplished a great mission. It is this view of Mao that most Chinese prefer to

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cherish, the great revolutionary who freed them from the shackles of the Nationalists, rather than on the aberrations of Mao’s later life.

Mao’s poem celebrates the great victory of the communists over the nationalist in Nanjing, the capital at the time.

Over Zhong Mountain swept a storm, headlong, Our mighty army, a million strong, has crossed the Great River.

曾梵志《女人》羅芙奧台北2011秋季拍賣會 編號196，4064萬港幣成交 ZENG Fanzhi, Woman, 2002, oil on canvas, 220 x 145 cm Ravenel Autumn Auction 2011 Taipei, lot 196 US$ 1,347,927 sold

The city, a tiger crouching, a dragon curling, outshining its ancient glory; In heroic triumph heaven and earth have been overturned.

With power to spare we must pursue the tottering foe And not ape Xiang Yu the conqueror seeking idle fame.

Were nature sentient, she too would pass from youth to age, But man's world is mutable, seas become mulberry fields.

The great victory was a major turning point for the communist victory, and Mao’s poem is known and treasured by every Chinese person.

Zeng portrays Mao, as humble and human standing in front of his great work, a great soldier and great victor. He depicts him as contemplative and reflective, activities needed for true greatness. Zeng’s great ability is to draw the viewer into an intimacy with Mao, almost as if we are silent observers of a man caught in a private moment of true reflection. He enables us to share the emotions, the psychology of Mao caught in an intimate moment of unguarded trueness to himself. Instead of the megalomania normally associated with Mao, we are treated to the real person.

The combination of expressionism and the abstractness of traditional Chinese ink and water painting allow Zeng to depict the individual in greater depth. The empty background and almost blurry poem isolate and detach Mao, and draws the viewer to focus on his character and psychological state. Zeng’s brushstrokes are also strongly influenced by the strokes of traditional Chinese painting. Large single strokes with wide brushes create an abstract feeling as in Mao’s blue jacket and cap while thin brushes are used to create strong, emphatic lines as in those defining the clothes, reminiscent of Chinese calligraphy. The strong expressionistic flesh tones of the face and hands also bring focus to the human being, the flesh and blood of a real person, forcing us to see the person rather than the image we associate with them. Above all Zeng’s techniques allow him to individualize Mao as a human being, and not as a mythic creation, allowing the viewer to engage with a real person, and not the view we normally hold of that person. Warhol’s images of Mao were always of the grandiose, benevolent, smiling leader, Zeng’s image of Mao in this painting is of a simple human being perhaps in awe of his own achievements.

“Quotations from Chairman Mao” is a superb example of Zeng’s work, a mature depiction of the individual caught in a moment of aloofness and detachment, which allows us to see the true person.

1994年《血緣—大家庭》出現在「第二十二屆聖保羅雙年展」上，畫家展示了他心目中的精 神的血緣和歷史的家庭。這個被詩人歐陽江河譽為美術史上第一次明確出現「中國人的臉， 中國人的家庭，中國人的歷史」的作品，給張曉剛本人以及中國當代藝術步入國際藝林獲得 了無數榮譽。在那以後，之後的若干展覽中，張曉剛獲得了普遍的認可。此幅創作於2001年 的《大家庭系列》是此類作品的典型。

046

ZHANG Xiaogang (Chinese, b. 1958)

Big Family Series 2001 Oil on canvas 50 x 40 cm Signed lower right ZHANG Xiaogang and dated 2001

HK$ 1,200,000-2,200,000 NT$ 4,620,000-8,470,000 US$ 152,900-280,300

張曉剛 大家庭系列 2001 油彩 畫布 50 x 40 cm 簽名右下：張曉剛 2001

整齊和標準的姿勢以及模型化的表情被認為受過去時代的特徵。但是藝術家並不僅僅滿足於 此，張曉剛希望呈現的是各種各樣的血緣關係，親情的、社會的、文化的。從張曉剛「大家 庭」的理念可以看出一種時代的集體特徵，也是讓這系列的畫作能夠名揚國際的原因，但是 張曉剛曾經自嘲的說，他這個畫大家庭的人，自己的家庭卻是一塌糊塗。關於家庭和血緣， 張曉剛有過一個經典的總結：「血緣牢不可破，家庭不堪一擊」。跟前任妻子離婚後，他從 四川搬到北京，因為太過思念女兒，成為創作「大家庭」之後的系列作品「失憶與記憶」的 緣起。他對女兒的愛，就像現在的妻子佳佳所說的：「我覺得他女兒是他身體的一部份，他 自己也說他女兒就是他身上的一根肋骨。我經常也跟他說，他女兒就是他自己，兩人在一起 不像兩個人，像一個人。」 心靈的敏感和觀察的深刻，使得他每一次都能緊密地將個人的生活印記同時代的共同體會結 合起來，這種能力越發提升了他的成功。如今，張曉剛不但是一位完全成功的藝術家，甚至 已經成功到不能失敗的程度。四川美院的教授，批評家王林說：「我希望他有更大的成就和 成功，而且期待他在世界美術史上佔有重要地位，讓我們曾經一起奮鬥過的歷史，也成為世 界藝術的歷史。」 但是這種成功似乎並沒能緩解他心靈深處的孤獨。「我永遠不可能畫出陽光開朗、其樂融融 的作品，我的畫永遠都是陰性的、憂鬱的，這與我的人生經歷有關，我與家庭的關係讓我始 終看到的都是生活的側面，甚至是背面，而不是它的正面。」

In 1994, Zhang Xiaogang's series "Bloodline: Big Family" made its appearance in the "22nd Sao Paulo Biennial". It is a series which presents the spiritual bloodline and historical family in the eyes of the artist. It is the very series which shows for the first time in the history of fine arts the "Chinese face, Chinese family and Chinese history" as commented by the poet Ouyang Jianghe that brought Zhang Xiaogang and Chinese contemporary art as a whole an abundance of honors and applause. Since then Zhang won general acknowledgement for several of his exhibitions. And the "Bloodline: Big Family" of 2006 is the representative of its kind.

Uniform gestures and standardized expression are the features of the old time, as generally considered, however, Zhang Xiaogang, far less satisfied with this, has greater expectations, that is, to exhibit various blood lines, social or cultural The "big family" concept of Zhang Xiaogang relects a common characteristic of the time and wins name and fame for his series works in the international artistic world. However, Zhang Xiaogang once mocked himself saying it was the same successful big family painter that went bankrupt with his own family. Thus the artist concludes: "bloodline is unbreakable while family is vulnerable." After divorcing, he moved from Sichuan to Beijing and it was his affection and compassion for his daughter that gave birth to the series "Amnesia and Memory" following "Big Family". Just as his second wife said, "I think, his daughter is just a part of him. He also said himself that his daughter was a rib from his body. I often say to him his daughter is himself. They are not two persons but one."

The sensitiveness and ability of profound observation grants the artist the gift to connect his personal life closely with the time and society, which raises him to the heights of art. Now, Zhang Xiaogang is a universally acknowledged successful artist, an artist whose success is far beyond failure. Wang Lin, art critic and a professor in the Sichuan Academy of Fine Arts said: "I wish to see more achievements and bigger success with him and am expecting him to get a sound footing in the world history of fine arts.

The history of our joint efforts will become part of the history of world art."

However, the sensational success seems still unable to eliminate the feeling of loneliness deeply rooted within him. He said: "I can never expect to make any sunny and happy paintings. My paintings are all cloudy and melancholic. Maybe it is because of my experience for the relationship between my family and I always display the negative side or dark back of life, never the positive face".

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047

GUAN Yong (Chinese, b. 1975)

Reading a Far Dynasty in the Dark 2007 Oil on canvas 130 x 160 cm Signed on the reverse Guan Yong, titled Reading a far dynasty in the Dark in English, inscribed oil on canvas in Chinese and English, and dated 2007 EXHIBITED: The Post-Seventies, Today Art Museum, Beijing, 2005 The Self Made Generation: A Retrospective of New Chinese Contemporary, Zendai Museum of Modern Art, Shanghai, 2006 Beyond Experience: New China!, Arario Gallery, Beijing, 2006 Future Sky: Chinese Contemporary Young Artists Works Selection Exhibition, Today Art Museum, Beijing, 2008 Affinity, China & Germany Artists' Group Show, OV Gallery, Shanghai, 2008 Harmony in Diversity: Compatibility of Crossstrait Art Spirits, Asia Art Center, Taipei, 2008 Guan Yong - Qi Yang, Felix Ringel Gallery, Dusseldorf, Germany, 2008 Cross-section: 2008 Chinese Contemporary Art, Kee Club, Hong Kong, 2008 The Age of Innovation· Being Persistent, New Age Gallery, Beijing, 2008

HK$ 500,000-800,000 NT$ 1,930,000-3,080,000 US$ 63,700-101,900

管勇 春秋 2007 油彩 畫布 130 x 160 cm 簽名畫背：《春秋》 布面油彩 160 x 130 2007 管勇 Reading a far dynasty in the dark oil on canvas Guan Yong 展覽： 「70年代後藝術」，今日美術館，北京， 2005 「自我造局：2005中國當代繪畫展」，上海 證大美術館，上海，2006 「超驗的中國」， 阿拉里奧畫廊，北京， 2006年 「未來天空：中國當代青年藝術家提名 展」，今日美術館，北京，2008 「契—中德藝術家聯展」，O V畫廊，上 海，2008 「和而不同：兩岸藝術靈魂的相容」 ，亞 洲藝術中心，台北，2008 「管勇．楊起」 ，費利克斯瑞爾畫廊，杜 塞道夫，2008 「跨領域：2008中國當代藝術展」，紀社， 香港，2008 「創新世代 • 各執已見」，新時代畫廊，北 京，2008

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048

YIN Zhaoyang (Chinese, b. 1970)

Chairman Mao 2004 Oil on canvas 130 x 100 cm Signed lower right Zhaoyang in Chinese and dated 2004 Signed on the reverse Zhaoyang in Chinese and dated 2004

HK$ 400,000-600,000 NT$ 1,540,000-2,310,000 US$ 51,000-76,400

尹朝陽所有作品中最常見透過神話般的筆觸呈現出的天安門廣場和毛澤東相關畫像。他出生 於1970年，1989年天安門事件的那幾年，他在北京藝術學院求學。尹朝陽試圖重新定義政治 事件交迭的標誌性人物。他個人化的表達方式，就是運用模糊影像傳達他的經歷。這一風格 受到德國畫家格哈特．李希特一些影響，運用圖案風格來表現攝影圖像。尹朝陽在與魏星的 訪談中提到：「李希特『照亮了他內心』，法蘭西斯．培根給予他表達藝術語言的另一可能 性。」 尹朝陽的毛澤東畫像，並非為迎合市場需求而生。那時，他翻遍所有與毛澤東相關的書籍， 只為他想以一種新方式表現，就是以生活在21世紀的普通中國人的眼光看待毛澤東。他想要 表現出一種差距，毛澤東時代與當下社會之間的差距。尹朝陽描繪的毛澤東大致可以分為三 個不同的時間段。第一階段，延安時期，真正成為一個在政治舞臺上強大角色的毛澤東。第 二階段，1950年代和1960年代，革命勝利後，在理想社會與現實世界的毛澤東。1970年代， 第三階段，垂暮之年的毛澤東，大家都向他鞠躬行禮。每一時期都帶著迥然不同的情感價 值。 對毛澤東中後期的肖像描寫，尹朝陽從一個藝術家獨特的視角繪製。該系列採用虛構寓言般 的繪圖語言。當下大部分尹朝陽所描繪的毛澤東肖像是最引人入勝及帶有超現實主義的第三 階段部分。它通過眩目的同心圓波紋表現標誌性的權力。這個圖案和背景基本上呈現兩大色 調：紅色和藍色。紅色是代表與共產主義政治立場一致狀態的符號。在傳統的中華文化，它 也有積極的聯想：財富、生育、幸福和成功；而藍色代表著一個光明的未來，象徵著一個新 時代。與此同時，這兩種基礎色的使用能激發起如馬克．羅斯科般對純淨顏色的探索，賦予 所繪肖像比寫實手法更深的情感共鳴。

尹朝陽 暮（毛澤東） 2004 油彩 畫布 130 x 100 cm 簽名右下：朝陽 2004年 簽名畫背：朝陽 2004年

Yin Zhaoyang's oeuvre is most commonly associated with images of Tiananmen Square and Mao rendered through the lens of mythology. Born in 1970 and educated at the Beijing Academy of Art in the years just after the 1989 Tiananmen Square uprising, Yin attempts to redefine the iconic figure with shifting political agendas. He insinuates his own experience by blurring his images, an assertion of personal expression. The style that is partially influenced by the German painter Gerhard Richter who turns photographic images into pictorial expression. In his interview with Wei Xing, Yin mentioned that, "Richter illuminated him in mind and Francis Bacon gives him another possibility in art language."

Yin's paintings of Mao are not catered for the market demand. At a time, he has gone through all the books related to Mao, therefore, he just want to draw him in a new way, a way in which Yin could see Mao in a normal Chinese's eyes who lives in the 21th century. He wants to represent a distance, a distance between Mao's time and nowadays. Yin's depiction of Mao can generally be divided into three different time periods. First, the Yan'an period, Mao really became a powerful player in the political scene. Second, the 50's and 60's, after the revolution had triumphed when Mao was caught between his vision of the ideal society and the reality around him. The third stage of the 70's, it was Mao's twilight years when everyone bowed obediently to him. Each time period carries very different emotional valence.

The middle and late period of Mao portraits depict by Yin are drawn in a unique perspective of the artist.

This series employs imaginary, fable-like images. The current lot is one of the most fascinating and surreal of Yin's Mao portrait of the third stage. It depicts the iconic power through a mesmerizing ripple of concentric circles. The figure and the background are basically rendered in two major tones: red and blue. Red is a code for maintaining a politically correct status in the communist context. In traditional Chinese culture, it also has positive associations to fortune, fertility, happiness, and success; while the blue represents a bright future, symbolizing a new era. At the same time, the primary colors used evoke the pure color field explorations of Mark Rothko, giving the portrait deeper emotional resonance than a straightforward realistic depiction.

049

HUANG Gang (Chinese, b. 1961)

Beijing My Home 2008 Mixed media on wooden board 150 x 150 cm Signed lower right Huang Gang in Chinese and English

HK$ 400,000-600,000 NT$ 1,540,000-2,310,000 US$ 51,000-76,400

黃鋼 北京我的家 2008 綜合媒材 木板 150 x 150 cm 簽名右下：Huang Gang 黃鋼

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在黃鋼最近創作的一系列作品中，他將從前的年畫雕刻版和現代政治圖像結合起 來，在從前的流行文化和今天的時尚景觀之間組織起聯繫。其間，既展現出一種 必然的聯繫，又表達了一種斷裂的差異。這無疑是對當代藝術自身的一種豐富。 將最為民間和大眾的那些年畫木刻版收集起來，並用選擇、拼合、切割等方式將 它們作為畫面的背景，並將好幾十年以後中國文化革命中流行的視覺圖像或五角 星符號繪製在其表面。其意義有如下幾點：其一，在不同時代的大眾文化之間做 出一種聯結，旨在建立一種關於歷史的敘事；其二，藝術家通過身體力行，在表 達著對傳統文化的敬重—正如黃鋼自己多次表述的那樣，傳統文化並不僅僅是被 用來調侃的，這種深厚的東方文化傳統不但值得尊重，而且是未來文化發展的源 泉和動力之一；其三，在尊重傳統文化資源的基礎上，他將傳統的視覺圖像以一 種當代藝術的方式呈現出來，努力於傳統的現代化。正是如此，我認為他的作品 在優雅的視覺形式之下，支撐力是一種嚴肅的創作態度。（文／盛葳）

In the recent series of Huang Gang’s works, he combineds ancient New Year woodblock prints with political images. Among the combination, an essential union is linked and expresses a broken variation. It is a kind of art enrichment. He has collected many traditional New Year woodblock prints and collaged them into the background of paintings. It is like putting fashionable visual images or pentacle star of the Cultural Revolution into paintings and representing the following points: (a) a connection between various mass cultures in order to establish a historical narration; (b) respect from the artist – he said several times that when mocking traditional culture, its value also has to be respected. Traditional culture is part of the resources and motivation of future cultural development; (c) traditional visual images are revealed in a modern interpretation based on respecting traditional cultural resources. Because of this concept, I know his serious creative attitude is supported by elegant visual forms. (text

by Sheng Wei)

050

LI Chen

(Taiwanese, b, 1963)

Entering the World 2007 Bronze, edition no. 8/8 29(L) x 30.5(W) x 63(H) cm Engraved Li Chen in Chinese and English, numbered 8/8 and dated 2007 ILLUSTRATED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, Asia Art Center, Taipei, 2007, color illustrated, p. 204 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 184 & p.199

HK$ 480,000-900,000 NT$ 1,850,000-3,470,000 US$ 61,100-114,600

李真 入世 2007 銅雕 8/8 29(長) x 30.5(寬) x 63(高)cm 簽名雕刻：李真 Li Chen 8/8 2007 圖錄： 《虛空中的能量—第52屆威尼斯雙年 展》，亞洲藝術中心，台北，2007，彩色 圖版，頁204 《李真—尋找精神的空間》，亞洲藝術中 心，台北，2008，彩色圖版，頁184與頁199

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《入世》創作於2007年，探討生命來到世界上的意義──我們為何 而來？又為何離開？李真以佛菩薩暗示輪迴，誠如宇宙物理的運 轉、人生生死的變異，世間一切的現象都是宿命的安排；對比於神 態莊嚴平和的佛菩薩，李真刻意強調「入世而存在」的重要，生命 在宇宙中繼起、入世，本身即有獨一無二的價值，因此以無邪的嬰 兒表示世間人們追求的最高境界，並用金色凸顯理想狀態的完美。 因此，舞動的淘氣嬰孩在肅靜菩薩懷中，兩者構成「宿命」與「入 世」的對照。

“Entering the World,” which was created in 2007, explores the meaning of the coming of life into this world. Why are we here? And why do we leave? Li Chen uses the image of a Buddha or Bodhisattva to hint at reincarnation, suggesting that all the changes that happen in the universe, and the process of birth and death in human existence, along with all other phenomena, are determined by fate or karma. However, in contrast to the serene, imposing Buddha figure, Li Chen also, and quite deliberately, emphasizes the importance of entering and existing in this world; as he sees it, the process whereby life continues to exist in this world (and through which we enter the world) is itself of immeasurable value. The innocent baby represents the striving of human beings in this world for the ultimate; the use of gold coloration for the baby points up the perfection of this ideal state. By placing the wriggling, adorable baby in the arms of the quiescent Buddha, a contrast is created between “fate” and “entering the world.”

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051

XIANG Jing (Chinese, b. 1968)

The Surface of the Water 2010 Bronze, edition no. 2/7 46(L) x 27(W) x 86(H) cm Signed on the base Xiang Jing in Chinese, numbered 7-2 and dated 2010 ILLUSTRATED: I See the Happiness, Culture and Art Publishing House, Beijing, 2011, color illustrated, p. 59 & p. 171

HK$ 300,000-500,000 NT$ 1,160,000-1,930,000 US$ 38,200-63,700

向京 水面 2010 銅雕 2/7 46(長) x 27(寬) x 86(高) cm 簽名台座: 向京 2010 7-2 圖錄： 《我看到了幸福》，文化藝術出版社， 北京，2011，彩色圖版，頁59與頁171

向京，1968年生於北京，一位被批評家栗憲庭讚譽為「天才藝術家」和 「雕塑大師」中國當代女性藝術家。1995年中央美術學院畢業至今，作 品被北京當代美術館、中國美術館、上海美術館以及英國薩奇畫廊等著 名藝術機構和個人關注並收藏，作品內容亦從最初以女性視角對於女體 的關照發展至對於更廣闊的人性和處境的描摹。 《水面》是「我看到了幸福」系列中值得細細品味的經典之作，所描繪 的吹笛女孩形體比例誇張，面目平庸，折射出藝術家對於這個時代的人 性的理解。作為一件「形」和「色」都充滿當代氣息的雕塑作品，細節 裡亦能透露出向京對於中國傳統意象寫意的輕鬆駕馭，藝術家創造了這 樣一個安靜而富有靈氣，似在表演，又似在臨水而照的女孩的同時，也 完成了一次對於這個時代普通人性的挖掘和對自我內心深處某種感覺的 表達。

Xiang Jing, born in Beijing in 1968, graduated from Central Academy of Fine Art in 1995; a “born artist” and a “master sculptor” described by critic Li Xianting. Her works have been collected and favored by many reputed art institutions and collectors such as National Art Museum of China, Beijing Contemporary Art Museum, Shanghai Art Museum and London Saatchi Gallery. She delivers her extraordinary view of the world through a wide range of works: from the portraying of female figures in a sensitive female perspective, to the broader and deeper discussion of human nature and human conditions.

The work “The Surface of the Water” is a highlighted piece from her series “I See Happiness”. The girl is playing a flute; her shape and proportion are exaggerated, while the feature of her face fades into ordinary, which all expressed the artist’s understanding of humanity in our times. The temperament of modern art is written all over this piece of sculpture, whether in form or conception; however, Xiang Jing managed to create a harmonic mood of freehand style of Chinese traditional painting in it. The artist unfolded such a peaceful yet vivid scene, where the girl seems like performing to the audience, but also looking at her own reflection on the water surface. Moreover, through this work, she revealed her emotions towards the world, and accomplished an exploration of the human nature of ordinary being in our era.

052

Walasse TING

(Chinese-American, 1929-2010)

Jolie Dame 1987 Acrylic and ink on rice paper 177 x 95 cm With one seal of the artist PROVENANCE: Private collection, Amsterdam, since 1988 ILLUSTRATED: Walasse Ting ﹣ Jolies Dames, Yves Rivière Editeur, Paris, 1988, color illustrated

HK$ 200,000-400,000 NT$ 770,000-1,540,000 US$ 25,500-51,000

丁雄泉 美麗佳人 1987 壓克力 水墨 宣紙 177 x 95 cm 鈐印左方：採花大盜 來源： 私人收藏，阿姆斯特丹，自1988 圖錄： 《丁雄泉—美麗佳人》，伊夫瑞萊出版 社，巴黎，1988，彩色圖版

128

053

YE Yongqing (Chinese, b. 1958)

Annoyance 2006 Acrylic on canvas 200 x 200 cm Signed on the reverse YE Yongqing in English and Chinese, and dated 2006

HK$ 250,000-350,000 NT$ 960,000-1,350,000 US$ 31,800-44,600

葉永青 煩心 2006 壓克力 畫布 200 x 200 cm 簽名畫背：葉永青 YE Yongqing 2006

054

Yoshitaka AMANO (Japanese, b. 1952)

Deva Loka Nightmare 2011 Automotive paint on aluminum panel 130(L) x 200(W) x 10(D) cm Signed lower left Y. Amano in English

HK$ 380,000-700,000 NT$ 1,460,000-2,700,000 US$ 48,400-89,200

天野喜孝 天界夜夢 2011 汽車漆 鋁板 130(長) x 200(寬) x 10(厚) cm 簽名左下：Y. Amano

130

055

WANG Ziwei (Chinese, b. 1963)

Hopeless 2005 Acrylic on canvas 210 x 180 cm Signed lower right Ziwei in English and dated 2005 Signed on the reverse Ziwei Wang in English, titled HOPELESS, inscribed 180 x 210 cm, acrylic on canvas and dated 2005

HK$ 200,000-300,000 NT$ 770,000-1,160,000 US$ 25,500-38,200

132

王子衛 無望 2005 壓克力 畫布 210 x 180 cm 簽名右下：Ziwei 2005 簽名畫背：HOPELESS Ziwei Wang 180 x 210 cm acrylic on canvas 2005

056

WANG Ziwei (Chinese, b. 1963)

Mao with Moustache 3 2007 Acrylic on canvas 220 x 180 cm Signed lower center Ziwei in English, titled Mao with Moustache in Chinese and dated 07 Signed on the reverse Ziwei Wang and titled MAO WITH MOUSTACHE 3 in English, inscribed acrylic on canvas, 180 x 220 cm and dated 2007

HK$ 200,000-300,000 NT$ 770,000-1,160,000 US$ 25,500-38,200

王子衛 長鬚的毛澤東之三 2007 壓克力 畫布 220 x 180 cm 簽名中下：Ziwei 07 長鬚的毛澤東 簽名畫背：MAO WITH MOUSTACHE 3 Ziwei Wang acrylic on canvas 180 x 220 cm 2007

盧昊 花鳥蟲魚之花盆 057

LU Hao

(Chinese, b. 1969)

The Flower, Bird, Insect & Fish Series - Flower Vase 1992 Plexiglass, edition no. 2/4 112(L) x 75(W) x 25(H) cm

EXHIBITED: The 48th Venice Biennale, Venice, 1999 China Gaudy Art, Taida Art Gallery, Tianjin, 1999 The 5th Lyon Biennale of Contemporary Art, Lyon, 2000 The Second-Hand Reality Modern Art Exhibition, Today Art Museum, Beijing, 2003

ILLUSTRATED: Mahjong - Contemporary Chinese Art from the Sigg Collection, Hatje Cantz-Verlag, Germany, 2005, color illustrated, p. 224 Always to the Front, China Contemporary Art, Kuandu Museum of Fine Arts, Taipei, 2005, color illustrated, p. 128 Lu Hao: Vanishing Homes, Sichuan Fine Arts Publishing House, Chengdu, 2006, color illustrated, p. 196 This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 100,000-150,000 NT$ 390,000-580,000 US$ 12,700-19,100

134

1992 有機玻璃 2/4 112(長) x 75(寬) x 25(高) cm 展覽： 「第48屆威尼斯雙年展」，威尼斯，義大 利，1999 「跨世紀彩虹—艷俗藝術展」，泰達美術 館，天津，1999 「里昂當代藝術雙年展」，里昂，法國， 2000 「二手現實」，今日美術館，北京，2003 圖錄： 《麻將—希克收藏的中國當代藝術》，哈 耶．卡恩茨出版社，德國，2005，彩色圖 版，頁224 《明日不回眸》，關渡美術館，台北， 2005，彩色圖版，頁128 《盧昊：消失的家園》，四川美術出版社， 成都，2006，彩色圖版，頁196 附藝術家親筆簽名之原作保證書

盧昊成長於北京城南的一個傳統四合院家 庭。池塘裡的魚、盛開的鮮花、嘰嘰喳喳叫 著的小鳥，以及寧靜的氛圍，都是他童年最 美好的記憶。 在現代化建設和改革的推動下，城市結構發 生變化。和大多數北京人一樣，盧昊驚詫地 親身目睹了北京舊城的變遷。 驚異於城市的巨變，藝術家愈來愈喜歡表達 對傳統建築的懷舊情結。盧昊極具渲染力的 單色調胡同畫就是一個代表。此外，他還製 作一系列精緻的北京重要歷史文化遺址的精 細模型。把這些模型命名為花、鳥、蟲、 魚。作品《花盆》就是這個系列的作品之 一。

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

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

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

Struck by how the city was changing, Lu became increasingly interested in expressing his nostalgia for traditional architecture. This can be seen in his powerful monochromatic paintings of the city’s small alleyways.

In addition, Lu has produced a series of installations of exquisitely scaled-down architectural models of important cultural and historical sites in Beijing. He titled them “Flower, Bird, Insect, Fish”. This lot, the “Flower Vase”, is one of the four works in this series.

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

058

XIONG Yu

(Chinese, b. 1975)

Dancing No. 1 2004 Oil on canvas 200 x 150 cm Signed lower right Xiong Yu in Chinese and dated 2004 Signed on the reverse Xiong Yu and titled Dancing in Chinese, inscribed No. 1 and 200 cm x 150 cm EXHIBITED: Running on Tranquilly - Xiong Yu Solo Exhibition, Chinablue Gallery, Beijing, November 22 - December 20, 2006

HK$ 220,000-350,000 NT$ 850,000-1,350,000 US$ 28,000-44,600

熊宇 飛舞的小鳥 No.1 2004 油彩 畫布 200 x 150 cm 簽名右下：熊宇 2004 簽名畫背：《飛舞的小鳥》No. 1 200 cm x 150 cm 熊宇 展覽： 「安靜的流逝—熊宇作品展」，環碧堂 畫廊，北京，展期自2006年11月22日至 12月20日

136

059

GUO Wei

(Chinese, b. 1960)

Mosquito Season No. 8 2000 Oil on canvas 158.5 x 100 cm Signed lower right Guo Wei in English and dated 2000 EXHIBITED: Guo Wei Solo Exhibition, Galerie Loft, Paris, June 10 - June 26, 2000 ILLUSTRATED: Guo Wei, Galerie Loft, Paris, 2000, color illustrated, p. 20

HK$ 220,000-300,000 NT$ 850,000-1,160,000 US$ 28,000-38,200

郭偉 蚊子系列 No. 8 2000 油彩 畫布 158.5 x 100 cm 簽名右下：Guo Wei 2000 展覽： 「郭偉個人展覽」，Loft畫廊，巴黎，展期 自2000年6月10日至6月26日 圖錄： 《郭偉畫集》，L o f t畫廊，巴黎，彩色圖 版，頁20

060

LI Jikai

(Chinese, b. 1975)

Little Knight 2008 Acrylic on canvas 200 x 147 cm Signed upper left Li Jikai in Chinese and English, dated 2008 Signed on the reverse Li Jikai in Chinese and English, titled Little Knight in Chinese, inscribed 147 x 200 cm and dated 2008 EXHIBITED: Waiting in the Wings, Beyond Art Space, Beijing, August 2 - September 2, 2008

HK$ 350,000-500,000 NT$ 1,350,000-1,930,000 US$ 44,600-63,700

李繼開 小騎士 2008 壓克力 畫布 200 x 147 cm 簽名左上：李繼開 Li Jikai 2008年 簽名畫背：《小騎士》147 x 200 cm 李繼開 Li Jikai 2008 年 展覽： 「後場」，別處空間，北京，展期自2008年 8月2日至9月2日

138

061

QU Guangci (Chinese, b. 1969)

Smoke and Mist 2010 Bronze, edition no. 2/7 47(L) x 32(W) x 80(H) cm Signed Guangci in Chinese, numbered 7-2 and dated 2010

HK$ 280,000-400,000 NT$ 1,080,000-1,540,000 US$ 35,700-51,000

瞿廣慈 煙 2010 銅雕 2/7 47(長) x 32(寬) x 80(高) cm 簽名：廣慈 7-2 2010

140

062

HUA Qing

(Chinese, b. 1962)

The Thinker No.4 2007 Oil on canvas 160 x 145 cm Signed lower left Hua Qing in Chinese and dated 2007 EXHIBITED: Animal Ferocity, Gallery Mook, Beijing, September 1 – October 14, 2007 China Big Boy - A Truth Beyond the Real, D o o s a n A r t C e n t e r, S e o u l , O c t o b e r 1 December 2, 2007 Hua Qing 2008 Solo Exhibition: Upanishad of Human Beings, Asia Art Center, Beijing, March 22-April 20, 2008 ILLUSTRATED: The Upanishad of Human Beings: Paintings by Hua Qing, Asia Art Center Co. Ltd., Beijing, 2008, color illustrated, pp.102-103

HK$ 80,000-140,000 NT$ 310,000-540,000 US$ 10,200-17,800

華慶 思想者 No. 4 2007 油彩 畫布 160 x 145 cm 簽名左下：華慶 2007 展覽： 「動物兇猛」，墨畫廊，北京，展期自2007 年9月1日至10月14日 「世事而非—14位中國藝術家對真實形象的 變異及探索」，斗山藝術中心，首爾，展期 2007年10月1日至12月2日 「華慶2008個展：人的奧義書」，亞洲藝術 中心，北京，展期自2008年3月22日至4月20日 圖錄： 《人的奧義書：華慶作品集 》，亞洲藝術 中心有限公司，北京，2008，彩色圖版， 頁102-103

142

063

SHEN Jingdong (Chinese, b. 1965)

Army Artist 2010 Oil on canvas 120 x 160 cm Signed lower right SHEN JING DONG in English, Jingdong in Chinese, dated 2010 Signed on the reverse Shen Jingdong in Chinese

HK$ 130,000-160,000 NT$ 500,000-620,000 US$ 16,600-20,400

144

沈敬東 文藝兵 2010 油彩 畫布 120 x 160 cm 簽名右下：SHEN JING DONG 敬東 2010 簽名畫背：沈敬東

064

LAI Zhicheng (Chinese, b. 1968)

Red Flag 2008 Oil on canvas 130 x 150 cm Signed on the reverse Xiaoping in Chinese , titled Red Flag, inscribed 150 x 130 cm, oil on canvas and dated 2008

HK$ 38,000-50,000 NT$ 150,000-190,000 US$ 4,800-6,400

賴致成 紅旗譜 2008 油彩 畫布 130 x 150 cm 簽名畫背：紅旗譜 布面油畫 150 x 130 cm 小平 2008

065

REN Jing

(Chineses, b. 1975)

任靜

As a Shadow Follows 2008 Acrylic on canvas 130 x 120 cm Signed lower left Ren Jing in English and dated 08 Signed on the reverse Ren Jing and titled As a Shadow Follows in Chinese, inscribed oil on canvas all in Chinese, 130 x 120 cm and dated 2008

146

如影隨形—秘密

EXHIBITED: Mystery - Ren Jing Solo Exhibition, Unseal Contemporang, Tokyo, October 2 - 24, 2009

2008 壓克力 畫布 130 x 120 cm 簽名左下：Ren Jing 08 簽名畫背：任靜《如影隨形—秘密》 布面丙烯 130 x 120 cm 2008

HK$ 85,000-140,000 NT$ 330,000-540,000 US$ 10,800-17,800

展覽： 「迷─任靜個展」，U n s e a l當代畫廊，東 京，展期自2009年10月2日至10月24日

066

LIAO Man

(Chinese, b. 1983)

Alone in the Afternoon 2006 Oil on canvas 123 x 170 cm Signed lower right Liao Man in Chinese and dated 06.10 Signed on the reverse Liao Man, titled Alone in the Afternoon in Chinese, inscribed 123 x 170 cm, oil on canvas, Chongqing, China in Chinese and dated 2006.10

HK$ 70,000-90,000 NT$ 270,000-350,000 US$ 8,900-11,500

廖曼 下午一個人 2006 油彩 畫布 123 x 170 cm 簽名右下：廖曼 06.10 簽名畫背：下午一個人 123 x 170 cm 布面油畫 廖曼 中國重慶 2006.10

067

LI Lei

(Chinese, b. 1965)

Sichuan Forest No. 52; Sichuan Forest No. 39 (a set of 2) 2008 Acrylic on canvas 60 x 70 cm (x2) Signed lower center Li in Chinese and Li Lei in English (lower) Signed on the reverse Li Lei in Chinese and English, titled Sichuan Forest No.52, inscribed Shanghai Jin-yu Road Studio in Chinese, and dated 2008 (upper) Signed on the reverse Li Lei in Chinese and English, titled Sichuan Forest No.39, inscribed Shanghai Jin-yu Road Studio in Chinese, and dated 2008 (lower)

HK$ 70,000-100,000 NT$ 270,000-390,000 US$ 8,900-12,700

李磊 四川的森林52；四川的森林39 (二件一組) 2008 壓克力 畫布 60 x 70 cm (x2) 簽名中下：李Li Lei（下） 簽名畫背：四川的森林52 李磊 Li Lei 2008 年于上海金雨路畫室（上） 簽名畫背：四川的森林39 李磊 Li Lei 2008 年于上海金雨路畫室（下）

148

068

REN Zhe

(Chinese, b. 1983)

Ostentatious Blade 2009 Bronze, edition no. AP 80 (L) x 76 (W) x 100 (H) cm Engraved Ren Zhe in Chinese and English, numbered AP ILLUSTRATED: Ren Zhe Sculpture Works - Warrior & Civilian 2005-2008, Rong Bao Zhai, Beijing, 2009, color illustrated, pp. 34-37

HK$ 90,000-120,000 NT$ 350,000-460,000 US$ 11,500-15,300

任哲 鋒芒所向 2009 銅雕 AP 80(長) x 76(寬) x 100(高) cm 簽名：AP Ren Zhe 任哲 圖錄： 《任哲作品集 2005-2008》，榮寶齋出 版社，北京，2009，彩色圖版，頁34-39

069

Catur BINAPRASETYO (Indonesian, b. 1972)

Warning Area 2010 Acrylic on canvas 140 x 200 cm Signed lower right catoer binaprasetyo in Indonesian, titled "Warning Area" in English and dated 2010

HK$ 30,000-50,000 NT$ 120,000-190,000 US$ 3,800-6,400

150

卡圖爾．賓納帕西優 警戒區域 2010 壓克力 畫布 140 x 200 cm 簽名右下：c a t o e r b i n a p r a s e t y o. 2010.

"Warning Area"

070

Masriel

(Indonesian, b. 1969)

Red Note from the Timberland 2008 Acrylic on canvas 144 x 180 cm Signed lower right Masriel and dated 2008 Signed on the reverse Masriel, titled Red Note From the Timberland in English, inscribed 144 x 180 cm, Acrylic On Canvas and dated 2008

HK$ 35,000-55,000 NT$ 130,000-210,000 US$ 4,500-7,000

馬斯瑞爾 天柏藍的紅色字條 2008 壓克力 畫布 144 x 180 cm 簽名右下：Masriel 2008 簽名畫背：M a s r i e l "R e d N o t e F r o m t h e Timberland" 144 x 180 cm Acrylic On Canvas 2008

071

ZHANG Xiaogang (Chinese, b. 1958)

My Memory No.2 2002 Lithograph, edition no. 41/99 117 x 133 cm Signed lower right Zhang Xiaogang in Chinese and numbered lower left 41/99

HK$ 45,000-60,000 NT$ 170,000-230,000 US$ 5,700-7,600

152

張曉剛 我的回憶 No. 2 2002 石版畫 41/99 117 x 133 cm 簽名右下：張曉剛 版次左下：41/99

072

Takashi MURAKAMI (Janpanese, b. 1962)

Me and Mr. Dob 2009 Offset lithograph, edition no. 26/200 68 x 68 cm Initialed lower right M Publisher: Kaikai Kiki, Tokyo

HK$ 8,000-12,000 NT$ 30,000-50,000 US$ 1,000-1,500

村上隆 DOB君與我 2009 限量版畫 26/200 68 x 68 cm 簽名右下：M Kaikai Kiki畫廊發行，東京

拍品徵集

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香港四季酒店（四季大禮堂） 香港中環金融街8號

投標者資料 客戶編號 （如有） 姓名 身份證號碼 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

簽名 （本公司在取得閣下之簽名後方才接受競標） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服 務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公 司，落槌價於港幣捌佰萬元以下者含捌佰萬元以20％計算；（2）落槌價於港幣捌佰萬元以上者分為二級，其中港幣捌佰萬元以20％計算，超過 港幣捌佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（港元） （服務費不計在內）

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

睿芙奧股份有限公司 香港中環干諾道中50號六樓601-3室 Unit 601-3, 50 Connaught Road, Central, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com

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.

3. In the auction a. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction.

I. The Buyer

b. 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.

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.

Premium Lot In order to bid on “Premium Lots” ( ) the Buyer must complete the required pre-registration application and deliver to Ravenel such necessary financial references, guarantees, deposits and / or such other security as Ravenel’s may in its absolute discretion require for your bid. Ravenel decision whether to accept any pre-registration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact Ravenel at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. Ravenel will provide a special paddle number for the register of “Premium Lot”. 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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c. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed.The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. f. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to ravenel. com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at ravenel.com. g. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions.

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

The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. h. 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. i. 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. j. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement.

4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 8,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than HK$ 8,000,000, the first HK$ 8,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax, any commodity or service taxes or any other value added taxes.

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

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

Although personal and company cheques are accepted, buyers are advised that purchases will not be released until such cheques have cleared. Payment by cash or banker’s draft will enable immediate release of purchases. It is Ravenel’s company policy not to make or accept single or multiple payments in cash or cash equivalents of more than HK$80,000 or the equivalent value in another currency. Ravenel accepts payments by credit cards (Visa, MasterCard, Union Pay) up to HK$250,000 per auction sale although conditions and restrictions apply. For details on credit card payments, please contact Ravenel Finance Department. Traveller’s cheques are not accepted.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees. The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hongkong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate.

Please note that Ravenel will not accept payments for purchased Lots from any party other than the buyer, unless otherwise agreed between the buyer and Ravenel prior to the sale. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full.

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

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

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

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

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

(7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the

Company are paid can the sold Lot be collected. i. Export permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days; nor does it affect the Company's right to impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

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 Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong.

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

Please refer to our website for seller’s Transaction Agreement. http://ravenel.com

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業務規則

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

行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或 參與拍賣。 b. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證 明。準買家應注意，本公司通常會要求對買家作出信用核查。

Ⅰ.買家 1. 羅芙奧（以下稱本公司）作為代理人 作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在 本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家 達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物 品。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作出之證明外， 不對買家作任何保證。 b. 拍品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆 已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。羅芙奧恕無 保證任何拍賣腕錶處於良好運作狀態，同時目錄中任何拍賣品之描述皆 不應視為如此。對任何拍賣品之描述亦不應視作表示其無經過重整或修 理，亦不應視作對拍賣品狀態或保存情況的陳述。在目錄中若有狀態陳 述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態、運作正常 或可享有免費修復或更換機件。 本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀 況應經由親自檢閱，如果準買家無法對拍品進行檢閱，本公司基於服務 至上的原則，將非常樂於應客戶之要求提供拍品特性與狀況之意見，惟 本公司並不是專業鐘錶修復者，因此任何在目錄中所列出的陳述是為純 粹本公司的主觀意見。 務請注意，多數防水錶的錶殼已被開啟並檢查其運轉狀態及類型，因此 不應假定其仍為防水狀態。建議買家應在使用前安排經由具資格的鐘錶 匠檢查該等手錶。 務請注意，拍買品早前的修復工作或許已經導致原廠零件的更換，因此 我們不保證任何拍賣品的單一組成零件之確實性。所有的拍品一致以 「現狀」售出。本公司對於任何拍出之狀態不作代表或保證，除非另有 註明，否則將不提供保單。 c. 符號表示 以下為本目錄所載符號之說明 高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記 表，並向羅芙奧交付所需的財政狀況證明、擔保、存款證明及／或羅芙 奧可絕對酌情要求買家為競投須作出的其他抵押。羅芙奧對是否接受任 何預先登記申請有最終決定權。本公司建議買家在有關拍賣日期至少五 個工作日前聯絡羅芙奧，以進行預先登記。請注意本公司不能在週末或 公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，羅芙 奧將提供特殊的競投牌號參與競投。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年 代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述， 或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為 確實事實之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目 之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不 應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說 明或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為 指引而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如 已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清楚並確使 自己感到滿意。 3. 拍賣時 a. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進

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c. 競投者為買家 除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三 人為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責 任。 d. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將 盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公 司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競 投價乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本 公司之人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情 況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所述 條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律 責任。準買家如希望確保競投成功，應親自出席競投。 e. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投 者，使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對 賣家或任何準買家均不負任何責任。 f.透過 LiveAuctioneers 進行網上競投 若準買家未能出席拍賣會，或可透過 LiveAuctioneers 網上競投服務於網上 競投部分拍品。此項服務乃免費及保密。有關透過 LiveAuctioneers 網上競 投服務登記，進行網上競投之詳情，請參閱羅芙奧網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務之準買家須接受透過 LiveAuctioneers 網上競 投服務進行即時網上競投之附加條款（可參閱羅芙奧 ravenel.com），以及 適用於該拍賣之業務規則所規限。 g. 匯率轉換顯示板 在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行 開市時向本公司報出之一個月期貨匯率計算。然而競投仍會以港幣進 行。匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或 是港幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制 之誤差。買家因依賴匯率轉換顯示板（而非因以港幣競投）所導致而蒙 受之任何損失，本公司概不負責。 h. 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。 i. 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。 j. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與 買家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 （1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於港幣捌 佰萬元以下者含港幣捌佰萬元以20％計算。 （2）落槌價於港幣捌佰萬元以上者分為二級，其中港幣捌佰萬元以20％ 計算，超過港幣捌佰萬元之部份以12％計算。 b. 稅項 買家應付予本公司之所有款項均不包括任何國家或地區稅賦、 貨物或服務稅或其他增值稅。如有任何此等稅項適用，買家須負責按有 關法律所規定之稅率及時間繳付此稅款。

c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須 提供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包 含落槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望 將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適 用。 本公司雖接受個人支票與公司支票，但請留意買家須於支票承兌後方可 提取拍賣品。如以現金或銀行本票繳付款項，則可立即提取拍賣品。惟 本公司的原則為不接受超過港幣捌萬元或等值外幣之現金付款，無論以 單筆或多筆形式支付。本公司接受信用卡（Visa、MasterCard、Union Pay）付款之上限為港幣貳拾伍萬（每一場拍賣會），但須受相關條件與 條款約束。請與羅芙奧財務部查詢信用卡付款詳情。本公司不接受旅行 支票付款。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權， 即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為港幣 以外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行 收費與兌換貨幣之規費及匯差。以港幣以外之貨幣付款予本公司之匯 率，依拍賣日現場公佈之匯率（香港匯豐銀行），並以本公司就此兌換 率而發出之憑證為準。 務請注意，除於拍賣前買家與羅芙奧取得協議外，羅芙奧不會接受買家 以外任何人士之拍品付款。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍 賣項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期 間，由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品 已被領取，則受保至領取時為止。七天期滿後或自領取時起（以較早者 為準），拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買 家承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要 求下本公司可介紹承運人，但本公司在此方面不負任何法律責任。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補 救辦法： （1）在拍賣日期後超過七天仍未付款，則按不超過香港匯豐銀行基本利 率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣 價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷本公司或 其他附屬公司在任何其他交易中欠下買家之款項。 （2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置 權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出售 並將收益用以清償該未付之欠款。 （3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用 以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用以清 償該筆款項。 （4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或 在接受其任何競投之前先收取買家一筆保證金。如買家未有在三十五天 內付款，本公司除上述者外，另有權： （5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數 賠償為基準之法律程序之訴訟費。 （6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予 買家之拍賣品之交易。 （7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同 因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款， 本公司將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬 運、保險及任何其他費用，連同欠本公司之所有其他款項付清後，方可 領取已購拍賣項目。

i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響 買家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權 利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申 請有關之付出款項及零碎開支連同任何有關之增值稅。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還 買家因此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司有責任在第6條所列之情況下退還款項予買家。除此之外，不論 賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、 來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之 誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公 司、本公司之僱員或代理人，均無就任何拍賣品作出任何保證。任何種 類之任何擔保，均不包含在本條之內。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付之款項則退 還予買家。但如：a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者 或專家普遍接納之意見，或清楚表明意見有抵通告符合當時學者或專家 普遍接納之意見，或清楚表明意見有牴觸之處，或b.證明拍賣品為膺品之 方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一 種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞 之程序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿 足下述條件下方可獲得退款： （1）買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關 拍賣品乃膺品； （2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況與拍賣當 日相同；及 （3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃 膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人 之索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關 拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正 本發票之買家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身 分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任 何科學程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是 否已使用或已在使用。 本條件不適用於硬幣、獎牌、珠寶及畫。 II.買家與賣家均適用之條件 1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於 本公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。 2. 通知 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在 付郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付 郵後第五個工作天。 3. 可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執 行，則該部分可不予理會，而本業務規則之其他部份在法律許可之最大 範圍內須繼續有效及可強制執行。 4. 法律及管轄權 本業務規則受香港法律規限，本業務規則之解釋與效力均適用香港法 律。為本公司之利益而言，賣家與買家須服從香港法院之排他性管轄 權。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com

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羅芙奧香港 2012 春季葡萄酒拍賣會

尊釀雲集

Ravenel Spring Auction 2012 Hong Kong Finest and Rarest Wines

拍賣日期 2012 年 5 月 27 日 香港君悅酒店 Grissini 餐廳 Auction: Sunday, May 27, 2012, 11:30 am, Grand Hyatt Hong Kong - Grissini Taipei 吳舜雯 Ariel Wu / arielwu@ravenel.com Hong Kong 何杏淇 Elaine Holt / elaineholt@ravenel.com

Château Mouton Rothschild 1945-2009 垂直年份珍藏

Domaine de La Romanée-Conti 及布根地酒神 Henri Jayer 稀有佳釀

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