Ravenel Autumn Auction 2012 Taipei: Modern and Contemporary Asian Art by Ravenel International Art Group

AUTUMN AUCTION 2012 TAIPEI

羅芙奧台北 2012 秋季拍賣會亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2012 TAIPEI Modern and Contemporary Asian Art 拍賣日期／地點 2012年12月2日（日）下午 2:30 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2 預展日期／地點台中 2012年11月10日（六）下午 2:00 至下午 7:00 2012年11月11日（日）上午 11:00 至下午 7:00 寶輝建設接待中心台中市市政北二路與惠來路口香港 2012年11月23日（五）下午 2:00 至下午 9:00 2012年11月24日（六）至11月25日（日）上午 10:00 至下午 7:00 香港君悅酒店（宴會大禮堂）香港灣仔港灣道 1 號台北 2012年11月30日（五）至12月1日（六）上午 10:00 至下午 7:00 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2

AUCTION Sunday, December 2, 2012, 2:30pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung Saturday, November 10, 2012, 2:00pm – 7:00pm Sunday, November 11, 2012, 11:00am – 7:00pm Pao-Huei Construction Reception Center Intersection of Shizheng North 2nd Road, and Huilai Road, Taichung, Taiwan

Hong Kong Friday, November 23, 2012, 2:00pm – 9:00pm Saturday, November 24 – Sunday, November 25, 2012, 10:00am – 7:00pm Grand Hyatt Hong Kong – Grand Ballroom 1 Harbour Road, Wanchai, Hong Kong

Taipei Friday, November 30 – Saturday, December 1, 2012, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

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

傅斐郡 Flora Fu

陳惠黛 Odile Chen

張雁茹 Virginia Chang

藝術部總經理 President, Art Department, Taipei

藝術部總經理（海外拓展） Chief Specialist, Art Department, Taipei

客戶發展與服務部總經理 President Client Development & Services Department

林慧菁 Maggie Lin

何杏淇 Elaine Holt

副總經理 Vice President, Art Department, Taipei

副總經理 Vice President, Art Department, Hong Kong

張淳茹 Sabrina Chang

吳博峯 Tommy Wu

黃詩涵 Stella Huang

營運部協理 Senior Manager Operations Department, Taipei

總務處協理 Senior Manager, General Affairs, Taipei

中國區總監 Director, China

羅芙奧台北 2012 秋季拍賣會服務部門及連絡人

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RAVENEL STAFF AND SERVICES FOR THIS SALE

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

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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.

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International Sabrina Chang Tel: +886 2 2708 9868 ext. 882 Email: sabrinachang@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

目次 / Contents

羅芙奧秋季拍賣會

Sale Information 8

羅芙奧之服務

Ravenel Services 11

藝術家索引

Index 12

亞洲現代與當代藝術

Modern and Contemporary Asian Art 231

委託競投表格

Absentee Bid Form 233

業務規則

Transaction Agreement

藝術家索引 / Index

Yoshitaka AMANO

天野喜孝

713, 721, 724

CAI Guo-Qiang CAI Zhisong Chang-Ling CHANG Wan-chuan George CHANN CHAO Chung-hsiang CHEN Ching-jung Jenny CHEN CHEN Ke CHEN Liu CHIU Ya-tsai CHUANG Che CHU Teh-chun

蔡國強蔡志松常陵張萬傳陳蔭羆趙春翔陳景容陳張莉陳可陳流邱亞才莊喆朱德群

679, 680 705 629 618 690, 691 626 616 623 701, 740 720 609, 631, 641 640, 645, 709 654, 655, 656, 657 659

DU Xi

杜溪

667

Alixe FU

傅慶豊

614

HONG Ling HSIAO Chin HU Shanyu HUA Qing HUANG Po-Ren HUANG Gang HUNG Tung Michell HWANG

洪凌蕭勤胡善餘華慶黃柏仁黃鋼洪通黃銘哲

683, 693 708 682 715 738 677, 736, 737 653 620

Kiriko IIDA

飯田桐子

718

JAN Chin-shui JENG Jiun-diann JIA Gang JIAO Xingtao JU Ming

詹金水鄭君殿賈剛焦興濤朱銘

622, 624 613 686 707 662, 663, 665, 702 742

KIM Nampyo Hiroto KITAGAWA Hiroshi KOBAYASHI KUO Wei-kuo Yayoi KUSAMA

金南杓北川宏人小林浩郭維國草間彌生

711 731 723 636, 637 727, 728, 729, 730

LI Chen LI Rui LI Shih-chiao LIAO Chi-chun LIAO Yu-an LIEN Chien-hsing LIN Dachuan LU Hsien ming

李真李銳李石樵廖繼春廖堉安連建興林達川陸先銘

664, 706 666 648 652, 658 603, 619 612, 646 668 601, 602

Hiroyuki MATSUURA Takashi MURAKAMI

松浦浩之村上隆

725, 726 710, 714, 732

PANG Jiun

龐均

621, 633, 642

REN Zhe Ayako ROKKAKU

任哲六角彩子

704 716

SANYU SHIY De-jinn SU Wong-shen SU Xiaobai Yuichi SUGAI SUI Jianguo

常玉席德進蘇旺伸蘇笑柏菅井祐一隋建國

674 608, 627, 628, 647 630, 649 696 712 739

T’ANG Haywen Walasse TING

唐海文丁雄泉

TSONG Pu TU Hongtao

莊普屠宏濤

670, 675, 676 604, 605, 606, 607 610, 625, 644 632 687

WANG Jinsong WANG Ziwei John WAY

王勁松王子衛魏樂唐

678 722 671

XIANG Jing XIONG Yu XIONG Lijun XUE Song

向京熊宇熊莉鈞薛松

703 700 719 681

Mayuka YAMAMOTO YANG Chihung YANG Feng-shen YANG Hsing-sheng YANG San-lang Yuyu YANG Tzu-chi YEH T. T. YEN

山本麻友香楊識宏楊奉琛楊興生楊三郎楊英風葉子奇嚴雋泰

717 643, 685, 688 741 615 617, 638, 639 733, 734, 735 611, 650 635 634

ZAO Wou-ki

趙無極

ZHANG Chongren ZHANG Hongtu ZHOU Chunya

張充仁張宏圖周春芽

651, 660, 661, 672 673 669 689, 692 684, 694, 695, 697 698, 699

601 LU Hsien–ming (Taiwanese, b. 1959)

Rest Oil on linen 72 x 52.5 cm ILLUSTRATED: Cultural Exhibition , Insian Gallery, Taipei, 1994, color illustrated, p. 50 This painting is to be sold with a certificate of authenticity issued by Insian Gallery, Taipei.

NT$ 100,000–200,000 US$ 3,400–6,800 HK$ 26,000–53,000

陸先銘城市系列—憩油彩亞麻布 72 x 52.5 cm 圖錄：《文化大展》，印象畫廊台北，1994，彩色圖版，頁50 附印象畫廊開立之原作保證書

602 LU Hsien–ming (Taiwanese, b. 1959)

Dawn 2006 Oil on canvas 60 x 73 cm Singed lower left Hsien–ming in Chinese and dated '06 ILLUSTRATED: Insian Gallery , Insian Gallery, Taipei, 2007, color illurstrated, p. 84 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 100,000–200,000 US$ 3,400–6,800 HK$ 26,000–53,000

陸先銘曦 2006 油彩畫布 60 x 73 cm 簽名左下：先銘 '06 圖錄：《印象畫廊》，印象畫廊，台北，2007，彩色圖版，頁84 附藝術家親筆簽名之原作保證書

603 LIAO Yu–an

(Taiwanese, b. 1979)

The Tumbler Imitate Training No. 1 2008 Acrylic on canvas 150 x 150 cm Signed on the reverse Liao Yu–an in Chinese and English, dated 2008

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

廖堉安都會米蟲－不倒翁模仿訓練No. 1 2008 壓克力畫布 150 x 150 cm 簽名畫背：廖堉安 2008 Liao Yu an

604 Walasse TING

(Chinese–American, 1929–2010)

The Pink Cat Acrylic on ricepaper 55 x 42 cm With one seal of the artist

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

丁雄泉粉紅貓壓克力宣紙 55 x 42 cm 鈐印右上：採花大盜

605 Walasse TING

(Chinese–American, 1929–2010)

Four Nudes Acrylic on paper 37 x 31 cm With one seal of the artist

NT$ 100,000–200,000 US$ 3,400–6,800 HK$ 26,000–53,000

丁雄泉四裸女壓克力紙本 37 x 31 cm 鈐印左上：採花大盜

606 Walasse TING

(Chinese–American, 1929–2010)

Two Parrots Acrylic on ricepaper 47.5 x 63.5 cm With one seal of the artist

NT$ 190,000–280,000 US$ 6,400–9,500 HK$ 50,000–74,000

丁雄泉鸚鵡壓克力宣紙 47.5 x 63.5 cm 鈐印左上：採花大盜

607 Walasse TING

(Chinese–American, 1929–2010)

The Bather 1996 Acrylic on paper 26 x 38 cm With one seal of the artist With two seals of the collector PROVENANCE: Collection of Mr. Sheng–hua Lu, Vancouver (acquired directly from the artist)

NT$ 140,000–240,000 US$ 4,700–8,100 HK$ 37,000–63,000

丁雄泉浴女圖 1996 壓克力紙本 26 x 38 cm 鈐印右下：採花大盜藏印左下：同聲相應藏印畫背：聲華藏章來源：盧聲華先生收藏，溫哥華（得自藝術家本人）

「大約1996年6月初，丁雄泉偕同管管，張杰等諸友連袂南下台中，參加畫家顧重光先生畫展之開幕酒會，當晚本人設宴款待於台中大飯店。丁氏返荷蘭後得知本人罹患『神經性頭痛症』，特來函表示慰問，並附贈一《浴女圖》以解吾疼痛之苦。蓋有『聲華藏章』、『同聲相應』二藏章。」（藝術家生前友人、席德進基金會前董事盧聲華先生）

“Around early June 1996, Walasse Ting came south to visit Taichung with some of his friends, including Kuan Kuan and Chang Chieh. There, they attended the opening ceremony of a painting exhibition held by the artist Gu Chong–guang. I held a dinner in their honor at the Taichung Grand Hotel that night. After returning to the Netherlands, Mr. Ting heard that I suffered from nervous headaches, and sent a letter asking after me. Enclosed with the letter was the painting ‘The Bather,’ to help relieve the pain. ” (Mr. Sheng–hua Lu, the artist's friend and former Director of the Shiy De–jinn Foundation)

608 SHIY De–jinn

(Taiwanese, 1923–1981)

席德進

Happy Birthday and Viva Forever

長樂萬歲

1979 Ink on paper 33.5 x 47.5 cm Signed lower left Shiy De–jinn in Chinese With two seals of the artist With two seals of the collector PROVENANCE: Collection of Mr. Sheng–hua Lu, Vancouver (acquired directly from the artist)

NT$ 200,000–300,000 US$ 6,800–10,200 HK$ 53,000–79,000

1979 水墨紙本 33.5 x 47.5 cm 簽名左下：席德進鈐印左下：席德進鈐印右下：看破藏印左上：同聲相應藏印畫背：聲華藏章來源：盧聲華先生收藏，溫哥華（得自藝術家本人）

「《長樂萬歲》係1979年7月，本人得一子，席氏特來探子，相見甚樂，特寫此圖以示祝賀。蓋有『聲華藏章』、『同聲相應』印石二方」（藝術家生前友人、席德進基金會前董事盧聲華先生） “‘Happy Birthday and Viva Forever’ was painted in July of 1979. My son had just been born and Mr. Shiy paid a special visit. He enjoyed the visit with my son very much and painted this to extend his congratulations. The painting bears the seals ‘From the collection of Sheng–hua’ and ‘Like attracts like.’ ” (Mr. Sheng–hua Lu, the artist's friend and former Director of the Shiy De–jinn Foundation)

609 CHIU Ya–tsai

(Taiwanese, b. 1949)

Figure Oil on canvas 82.5 x 67.5 cm Signed lower right Chiu Ya– tsai in Chinese

NT$ 200,000–400,000 US$ 6,800–13,600 HK$ 53,000–105,000

邱亞才人物油彩畫布 82.5 x 67.5 cm 簽名右下：邱亞才

610 Walasse TING

(Chinese–American, 1929–2010)

Beauty Holding Flower in Mouth Acrylic on ricepaper 35 x 48 cm With one seal of the artist

NT$ 220,000–400,000 US$ 7,500–13,600 HK$ 58,000–105,000

丁雄泉美人銜花壓克力宣紙 35 x 48 cm 鈐印右下：採花大盜

611 Tzu–chi YEH

(Taiwanese, b. 1957)

Jasmine in May 2011–2012 Tempera and oil on linen 38.5 x 38.5 cm Signed lower right Tzu–chi in Chinese and dated 2011–2012

NT$ 220,000–300,000 US$ 7,500–10,200 HK$ 58,000–79,000

葉子奇五月茉莉 2011–2012 卵彩油彩亞麻布 38.5 x 38.5 cm 簽名右下：子奇 2011–2012

612 LIEN Chien–hsing (Taiwanese, b. 1962)

Scenery of Greece 2002 Oil on canvas 65 x 91 cm Signed lower left Lien Chien–hsing in Chinese and dated 2002

NT$ 360,000–460,000 US$ 12,200–15,600 HK$ 95,000–121,000

連建興希臘風景 2002 油彩畫布 65 x 91 cm 簽名左下：2002 連建興

613 JENG Jiun–diann (Taiwanese, b. 1963)

Abstract Landscape 1995 Oil on canvas 131 x 97.5 cm Signed on the reverse Jeng Jiun–diann in Chinese, JIUN–DIANN in English and dated 1995

NT$ 260,000–380,000 US$ 8,800–12,900 HK$ 68,000–100,000

鄭君殿抽象風景 1995 油彩畫布 131 x 97.5 cm 簽名畫背：1995 鄭君殿 JIUN–DIANN

614 Alixe FU

(FU Qingli, Ching–Fong) (Chinese–French, b. 1961)

Parlor 1991 Oil on canvas 89 x 116 cm Signed lower left Alixe Fu in English and dated 91 Signed on the reverse Fu Qingli in Chinese and Alixe Fu in English, dated 1991, inscribed 50F

NT$ 260,000–360,000 US$ 8,800–12,200 HK$ 68,000–95,000

傅慶豊客廳 1991 油彩畫布 89 x 116 cm 簽名左下：Alixe Fu 91 簽名畫背：50F 傅慶豊 Alixe Fu 1991

615 YANG Hsing–sheng (Taiwanese, b. 1938)

Landscape (triptych) 1986 Oil on paper mounted onto wooden board 112 x 217.5 cm Signed lower right Yang Hsing–sheng in Chinese, H. S. Yang in English and dated 1986

NT$ 220,000–420,000 US$ 7,500–14,200 HK$ 58,000–111,000

楊興生風景（三聯幅） 1986 油彩紙本裱於木板 112 x 217.5 cm 簽名右下：楊興生 H. S. Yang 1986

616 CHEN Ching–jung (Taiwanese, b. 1934)

Vase of Flowers Oil on canvas 61 x 50.5 cm Signed lower left Ching–jung in Chinese

NT$ 320,000–420,000 US$ 10,800–14,200 HK$ 84,000–111,000

陳景容瓶花油彩畫布 61 x 50.5 cm 簽名左下：景容

617 YANG San–lang

(Taiwanese, 1907–1995)

Paysage Oil on canvas 46 x 53.5 cm signed lower right S.Yang in English

NT$ 220,000–550,000 US$ 7,500–18,600 HK$ 58,000–145,000

楊三郎風景油彩畫布 46 x 53.5 cm 簽名右下：S.Yang

618 CHANG Wan–chuan (Taiwanese, 1909–2003)

Nude Oil on cardboard 61 x 74 cm Signed lower right CHANG. in English and Wan in simplified Chinese

NT$ 220,000–550,000 US$ 7,500–18,600 HK$ 58,000–145,000

張萬傳裸女油彩紙板 61 x 74 cm 簽名右下：CHANG. 万

619 LIAO Yu–an

(Taiwanese, b. 1979)

Implicit Love Talk No. 1 2007 Acrylic on canvas 194 x 150 cm

NT$ 220,000–320,000 US$ 7,500–10,800 HK$ 58,000–84,000

廖堉安晦澀的情話 No. 1 2007 壓克力畫布 194 x 150 cm

620 Michell HWANG (Taiwanese, b. 1948)

Red Woman with Black Cat 1992 Oil on canvas 91 x 72.5 cm Signed lower left Che in Chinese and dated 1992 ILLUSTRATED: Michell Hwang , Galerie Pierre, Taichung, 1992, color illustrated

NT$ 300,000–400,000 US$ 10,200–13,600 HK$ 79,000–105,000

黃銘哲紅色的女人與黑色的貓 1992 油彩畫布 91 x 72.5 cm 簽名左下：哲 1992 圖錄：《黃銘哲》，臻品藝術中心，台中，1992，彩色圖版

621 PANG Jiun

(Chinese, b. 1936)

Still Life 1995 Oil on canvas 50 x 61 cm Signed upper right Pang Jiun in Chinese and dated 1995 With one seal of the artist

NT$ 300,000–400,000 US$ 10,200–13,600 HK$ 79,000–105,000

龐均靜物 1995 油彩畫布 50 x 61 cm 簽名右上：龐均 1995 手繪鈐印：均

622 JAN Chin–shui (Taiwanese, b. 1953)

Dawn 2011 Mixed media on canvas 162 x 112 cm Signed lower left Chin–shui in Chinese and dated 2011 Signed on the reverse Jan Chin–shui, titled Dawn in Chinese, inscribed 100P and dated 2011

NT$ 340,000–550,000 US$ 11,500–18,600 HK$ 89,000–145,000

詹金水破曉 2011 綜合媒材畫布 162 x 112 cm 簽名左下：金水 2011 簽名畫背：100P 破曉詹金水 2011年

623 Jenny CHEN

(Taiwanese, b. 1945)

Life & Nature Series #8 1992 Acrylic, mixed media on canvas 152 x 121.5 cm Signed on the reverse Jenny Chen and titled "Life & Nature" series #8 in English, dated 1992

NT$ 260,000–380,000 US$ 8,800–12,900 HK$ 68,000–100,000

陳張莉人生與自然系列 8 1992 壓克力綜合媒材畫布 152 x 121.5 cm 簽名畫背：Jenny Chen 1992 "Life & Nature" series #8

624 JAN Chin–shui (Taiwanese, b. 1953)

Iced Lake and Winter Forest 2011 Mixed media on canvas 130 x 162 cm Signed lower right Chin–shui in Chinese and dated 2011 Signed on the reverse Jan Chin–shui , titled Iced Lake and Winter Forest in Chinese, inscribed 100F and dated 2011

NT$ 340,000–550,000 US$ 11,500–18,600 HK$ 89,000–145,000

詹金水寒湖冬林 2011 綜合媒材畫布 130 x 162 cm 簽名右下：金水 2011 簽名畫背：100F 寒湖冬林詹金水2011年

625 Walasse TING

(Chinese–American, 1929–2010)

Abstract Still Life c. 1950s–1960s Watercolor on paper 50.5 x 75.5 cm Singed lower left W. Ting in English PROVENANCE: Sotheby's Auctions, Taipei, April 11, 1999, lot 53

NT$ 300,000–400,000 US$ 10,200–13,600 HK$ 79,000–105,000

丁雄泉靜物抽象約1950–1960年代水彩紙本 50.5 x 75.5 cm 簽名左下：W. Ting 來源：蘇富比拍賣，台北，1999年4月11日，編號53

626 CHAO Chung–hsiang (Taiwanese, 1910–1991)

Bird 1969 Acrylic on cardboard 35 x 42 cm Signed upper center Chao in English and dated 8/69

NT$ 300,000–400,000 US$ 10,200–13,600 HK$ 79,000–105,000

趙春翔鳥 1969 壓克力紙板 35 x 42 cm 簽名上方：Chao 8/69

627 SHIY De–jinn

(Taiwanese, 1923–1981)

The Li Family Compound 1974 Fineliner on paper 46 x 61 cm Signed lower right Shiy De–jinn , titled The Li Family Compound , inscribed next to the China National Gymnasium, Nanjing East Road, Taipei , all in Chinese, dated 1974 With one seal of the artist PROVENANCE: Collection of Mr. Ching–hua Lu, the former President of Shiy De–jinn Foundation (acquired directly from the artist) Private collection, Taiwan This painting is to be sold with a certificate of authenticity.

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

席德進李宅 1974 簽字筆紙本 46 x 61 cm 簽名右下：台北南京東路中華體育館旁李宅 1974 席德進鈐印右下：席德進畫室印來源：席德進基金會前董事長盧精華先生收藏（得自藝術家本人贈與）私人收藏，台灣附盧精華開立之原作證明書

席德進自法國返國後，留心於台灣各地的老街、古宅與器物。常至各地參訪古建築或蒐集古家具，並寫生記錄。《李宅》是創作於1974年的素描作品。畫家在好友盧精華先生陪同下，赴台北市南京東路中華體育館舊址附近的李宅寫生，後來將此畫贈與知音。 After his return from France, Shiy De–jinn was interested in visiting historic buildings in Taiwan and also collecting antique objects. During these trips, he always drew sketches and documented what he saw. This lot, “The Li Family Compound” was completed in 1974. Accompanied by one of his best friends Ching–hua Lu, Shiy De–jinn sketched the family Li’s traditional old compound on Nanjing East Road next to China National Gymnasium in Taipei. Then, he gave the drawing to Lu as a gift.

628 SHIY De–jinn

(Taiwanese, 1923–1981)

Calligraphy in Seal Script 1979 Ink on paper 134 x 67 cm Signed lower left SHIY De–jinn and dated 1979 in Chinese With two seals of the artist PROVENANCE: Collection of Mr. Ching–hua Lu, the former President of Shiy De–jinn Foundation (acquired directly from the artist) Private collection, Taiwan This painting is to be sold with a certificate of authenticity.

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

席德進篆書臨石鼓文 1979 水墨紙本 134 x 67 cm 簽名左下：一九七九年臨石鼓文於教師節席德進篆鈐印右上：席氏書畫鈐印左下：席德進印來源：席德進基金會前董事長盧精華先生收藏（得自藝術家本人贈與）私人收藏，台灣附盧精華開立之原作證明書

629 Chang–Ling

(Taiwanese, b. 1975)

Pork Belly Series–Flesh Landscape–Mountain Among the Flowers 2008 Oil on canvas 130 x 130 cm Signed on the reverse Chang–Ling , titled Pork Belly Series – Flesh Landscape – Mountain Among the Flowers in Chinese, and dated 2008 ILLURSTRATED: Chang–Ling , Insian Gallery, Taipei, 2008, color illustrated, p. 20

NT$ 200,000–400,000 US$ 6,800–13,600 HK$ 53,000–105,000

常陵五花肉系列—肉山水—花欉間有山 2008 油彩畫布 130 x 130 cm 簽名畫背：五花肉系列－肉山水－花欉間有山常陵 2008 圖錄：《印象當代2－常陵》，印象畫廊當代館，台北，2008，彩色圖版，頁20

630 SU Wong–shen (Taiwanese, b. 1956)

Fort 1992 Oil on canvas 110 x 70 cm ILLUSTRATED: Su Wong–Shen: Between the Clouds , Eslite Corp., Taipei, 2008, color illustrated, p. 63 & p. 233

NT$ 420,000–550,000 US$ 14,200–18,600 HK$ 111,000–145,000

蘇旺伸碉堡 1992 油彩畫布 110 x 70 cm 圖錄：《蘇旺伸：雲和雲之間》，誠品股份有限公司，台北，2008，彩色圖版，頁63與頁233

631 CHIU Ya–tsai

(Taiwanese, b. 1949)

Gentleman Oil on canvas 115 x 76.5 cm Signed lower right Chiu Ya–tsai in Chinese

NT$ 420,000–650,000 US$ 14,200–22,000 HK$ 111,000–171,000

邱亞才紳士油彩畫布 115 x 76.5 cm 簽名右下：邱亞才

632 TSONG Pu

(Taiwanese, b. 1947)

Look at Me (diptych) 1997 Oil on canvas 130 x 386 cm EXHIBITED: Geometry–Abstract–Poetry , Taipei Fine Arts Museum, Taipei, Aug. 14 – Oct. 10, 2004

NT$ 480,000–850,000 US$ 16,300–28,800 HK$ 126,000–224,000

莊普看我．看我（雙聯幅） 1997 油彩畫布 130 x 386 cm 展覽：「幾何．抽象．詩情」，台北市立美術館，台北，展期自2004年8月14日至10月10日

633 PANG Jiun

(Chinese, b. 1936)

龐均

Small Bridge over the Stream

小橋流水

2010 Oil on canvas 53 x 65 cm Signed lower right Pang Jiun in Chinese and dated 2010 With one seal of the artist

NT$ 500,000–700,000 US$ 16,900–23,700 HK$ 132,000–184,000

2010 油彩畫布 53 x 65 cm 簽名右下：2010 龐均手繪鈐印：均

634 T. T. YEN

(Taiwanese, b. 1936)

Light Mist Like Yellow Silk Skirt 2010 Oil on canvas 91 x 73 cm Signed upper left edge T. T. YEN in Chinese, and TT YEN in English, inscribed TT794 30F and dated 2010

NT$ 550,000–750,000 US$ 18,600–25,400 HK$ 145,000–197,000

嚴雋泰薄霧緗裙 2010 油彩畫布 91 x 73 cm 簽名左上側：TT794 30F 2010 嚴雋泰 TT YEN

遠處的光芒穿透繚繞的霧氣，如儷人的裙襬飄舞，炫目動人又脫俗超凡，即使飛天也無法觸及。李商隱〈燕臺四首〉主要敘述詩人對遠方佳人隨四季變化的心境與思慕之情。畫面中最沉的黑與最透的黃，比例相當，交界分明不混濁，如細沙或薄霧般交互流竄，交織出豐富的層次表現。此小品如窗，引領觀者一窺作者如潑墨般大氣磅礡的創作手法。 The light from afar penetrates the lingering mist, like a beautiful woman’s skirt dancing in the breeze. The movement is both dazzling and refined even if it is out flying Aspara’s reach. The poem “Four Poems on the Swallow Terrace” by Li Shangyin mainly describes the poet’s yearning for his lover afar and his moods through the changing seasons. The darkest black and the most transparent yellow merge together on the canvas harmoniously. Their junction is more clear than blurred. Colors flow across each other like fine sands or light mists, weaving into a variety of layers. This piece is like a window, leading viewers to have a glimpse of, like the technique used in Chinese ink landscape painting, the artist’s boundless and majestic artistic skill.

635 T. T. YEN

(Taiwanese, b. 1936)

Ten Thousand Miles Away 2010 Oil on canvas 72.5 x 91 cm Signed upper edge T. T. YEN in Chinese, TT YEN in English, inscribed TT721 30F and dated 2010

NT$ 550,000–750,000 US$ 18,600–25,400 HK$ 145,000–197,000

嚴雋泰驍騰萬里 2010 油彩畫布 72.5 x 91 cm 簽名上側：TT721 30F 2010 TT YEN 嚴雋泰

由右而左，沸騰的畫面可見黝黑的駿馬正彼此追逐、競速，急促的步伐彷彿為了將大地踏平，激起滾滾沙塵。駿逸矯健、所向披靡的胡馬，彷彿能跨越一切險阻，奔往廣闊的天地;那奔騰的氣勢，激發了觀者對壯士豪情無盡的想像與期許。若說杜甫〈房兵槽胡馬〉將狀物與抒情以文字結合無間，而本作傳達的氣度，亦無須特意詮釋，直接而強烈。 From the right to the left on the canvas, the surging scene shows black steeds competing and chasing one another. Their hasty steps seem to pound the earth, stirring up rolling billows of dust. Strong, vigorous, and powerful Bactrian steeds seem to be capable of striding across all obstacles, running toward a broad and open world. The galloping atmosphere has aroused viewers’ limitless imagination and aspiration toward the hero’s lofty sentiments. If we say Du Fu’s “The Bactrian Steed” perfectly combines object depiction and emotional expression with words, then it is quite unnecessary to purposefully interpret this work’s strength, which is direct and powerful.

636 KUO Wei–kuo (Taiwanese, b. 1960)

Red Curtain 2002 Oil on canvas 130 x 97 cm Signed lower left Kuo's in English and dated 2002.10 EXHIBITED: The Era of Contention: Contemporary Taiwanese Visual Culture , Cornell University Herbert F. Johnson Museum of Art, Ithaca, New York, April – August, 2004 ILLUSTRATED: Diagram of Commotion and Desire – Towards a Bright Start From the Deep Forest , Kuo Wei–Kuo, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 45 Wu Chia–chi, A Study of the "Diagram of Commotion and Desire" by Kuo Wei–Kuo , (master thesis), Institute of Art Studies, NCKU, Tainan, Taiwan, 2007, color illustrated, no. 29 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 650,000–850,000 US$ 22,000–28,800 HK$ 171,000–224,000

郭維國紅色布簾 2002 油彩畫布 130 x 97 cm 簽名左下：Kuo's 2002.10 展覽：「正言世代展：台灣當代視覺文化」，康乃爾大學強生美術館，紐約，展期自2004 年4月至8月圖錄：《暴喜圖：柳暗花明—郭維國》，大未來畫廊，台北，2005，彩色圖版，頁45 吳家綺，《郭維國暴喜圖系列之研究》（碩士論文），國立成功大學藝術研究所，台南，台灣，2007，彩色圖版，編號29 附大未來畫廊開立之原作保證書

637 KUO Wei–kuo (Taiwanese, b. 1960)

Sweet Home 2005 Oil on canvas 145 x 112 cm Signed lower left Kuo's in English, and dated 2005 Signed on the reverse Kuo Wei–guo, titled Sweet Home and dated 2005 in Chinese EXHIBITED: Diagram of Commotion and Desire – Towards a Bright Start from the Deep Forest, Kuo Wai–kuo solo exhibition , Lin & Keng Gallery, Taipei,September 3–25, 2005 Odd Art Graphic Art Group Exhibition , AKI Gallery, Taipei, March 4–26, 2006 ILLUSTRATED: Diagram of Commotion and Desire–Towards a Bright Start From the Deep Forest , Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 24 View Digestion Scene Creation View Digestion , Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 109 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 800,000–1,000,000 US$ 27,100–33,900 HK$ 211,000–263,000

郭維國甜蜜的家 2005 油彩畫布 145 x 112 cm 簽名左下：Kuo's 2005 簽名畫背：郭維國二○○五甜蜜的家展覽：「暴喜圖：柳暗花明──郭維國」，大未來畫廊，台北，展期自2005年9月3日至25日「三月怪怪寫實展：連建興、郭維國、郭淳三人聯展」，也趣畫廊，台北，展期自2006年3月4日至26日圖錄：《暴喜圖：柳暗花明──郭維國》，大未來畫廊，台北，2005，彩色版圖，頁24 《造境照鏡》，大未來畫廊，台北，2009，彩色圖版，頁109 附藝術家親筆簽名之原作保證書

638 YANG San–lang

(Taiwanese, 1907–1995)

Autumn Forest and Snowy Mountains 1940s–50s Oil on canvas 46 x 53 cm Signed lower right S. Yang in English This painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 700,000–1,000,000 US$ 23,700–33,900 HK$ 184,000–263,000

楊三郎秋林雪景 1940–50年代油彩畫布 46 x 53 cm 簽名右下：S. Yang 附東之畫廊開立之原作保證書

639 YANG San–lang

(Taiwanese, 1907–1995)

Northeast Coast, Taiwan Oil on canvas 44 x 52 cm Signed lower left S. Yang in English

NT$ 800,000–1,200,000 US$ 27,100–40,700 HK$ 211,000–316,000

楊三郎東北角油彩畫布 44 x 52 cm 簽名左下：S. Yang

在台灣早期藝術家中知名度最高，對台灣美術推動有直接的貢獻（台陽展），楊三郎為代表之一，早年離鄉背井，飄洋過海至日本習畫，進入關西美術學院，之後曾遊學歐洲，並入選法國秋季沙龍。之前國民黨榮譽主席連戰破冰之旅便是攜帶一幅楊三郎的畫作《野柳奇岩》贈予中國國家主席胡錦濤，可見楊三郎在美術史的重要地位。藝術家擅長於海景的表現，特別是海景與日出的結合，展現澎湃的氣勢感與偉大願景的嚮往。在此幅作品《東北角》中，天色由淡藍轉鵝黃，旭日東昇前淡遠的意象。構圖上中央部份海浪以較深的藍，拍打著前頭的白色浪花，表現出既熱情、富張力的律動和動勢，大自然充滿變化的神秘原動力蘊含其中。畫家運用幾個重要的組成部分，以粗獷的岩石表現、高彩度的藍天、碧海、高對比度的手法將大自然的極致景象完整呈現，而海浪與岩石在此交織成黃金海岸。楊三郎一生奉行印象派注重戶外寫生、著重日光、時序下的光影變化，透過筆觸及顏料肌理所造就的量感去表現海洋的浪花、天空的雲層，在台灣前輩藝術家中聲望崇高，曾獲頒象徵藝術最高榮耀的「國家文化勳章」，在所熟知的華人世界大師當中其捕捉大自然瞬間感動的生命力、空間上的層次運用，及透過作品深刻表現藝術家豐富的內在心靈，是其他藝術家所不及的。 Yang San–lang is a founding member of the Taiyang Artist Association, a group of famous early Taiwanese artists who made direct and lasting contributions to the development of the arts in Taiwan. He left home in his youth, travelling to Japan, where he entered the Kansai Art Institute, and then on to Europe for further studies, eventually entering the Autumn Salon in France. When Kuomintang Party Chairman Lien Chan travelled to Mainland China for the historic ice–breaking visit, he presented Chinese President Hu Jintao with Yang's painting of the Yeliu Rock Formations. We can see his important position in art history. Yang excels at depicting seascapes, especially those that combine the sea with the sunrise, conveying surging momentum and a positive outlook. In this work, "Northeast Coast, Taiwan", the entire sky fades from a bright blue to a faint yellow, with peaceful, breathtaking imagery. The waves in the center of the painting are rendered in deep blue with white foam, expressing movement and rhythm in passion and tension and incorporating the mysterious forces of change in nature. The artist has applied several important components in the artwork, using the coarse depiction of the rocks, the colorful sky and sea, and high–contrast techniques to fully convey the natural scenery, while the intermingling of the waves and the rocks form a golden coastline across the artwork. Throughout his life, Yang San–lang has pursued the impressionist approach, focusing on painting from life outdoors, emphasizing sunlight and observing the changes of light and shadow over time. He expresses the waves of the sea and the clouds in the sky through a sense of quantity created by the texture of brushstrokes. He is held in high regard as a forefather of Taiwanese art, and was awarded the Cultural Medal, the highest mark of artistic achievement. Among the great masters of the Chinese– speaking world, none can compare in terms of the vitality of the moments he captures, the layering of his spaces, and the profound spirit he expresses in his work.

640 CHUANG Che (Taiwanese, b. 1934)

Midsummer 1987 Acrylic and oil on canvas 126.5 x 100.5 cm Signed lower right Chuang Che in Chinese and dated 87 EXHIBITED: Deep Ridge–Remote Way: Solo Exhibition in National Art Museum of China , National Art Museum of China, Beijing, 2007 ILLUSTRATED: Deep Ridge–Remote Way: Solo Exhibition in National Art Museum of China , Asia Art Center, Taipei, 2007, color illurstraed, p. 47

NT$ 850,000–1,500,000 US$ 28,800–50,800 HK$ 224,000–395,000

莊喆盛夏之姿 1987 壓克力油彩畫布 126.5 x 100.5 cm 簽名右下：莊喆 87 展覽：「莊喆：嶺深道遠」，中國美術館，北京，2007 圖錄：《莊喆：嶺深道遠》，亞洲藝術中心，台北，2007，彩色圖版，頁47

641 CHIU Ya–tsai

(Taiwanese, b. 1949)

Gentleman Oil on canvas 129 x 96 cm Signed lower right Chiu Ya–tsai in Chinese

NT$ 900,000–1,600,000 US$ 30,500–54,200 HK$ 237,000–421,000

邱亞才儒雅油彩畫布 129 x 96 cm 簽名右下：邱亞才

642 PANG Jiun

(Chinese, b. 1936)

Still Life with Flowers in a Vase 2012 Oil on canvas 91 x 73 cm Signed lower right Pang Jiun in Chinese and dated 2012 With one seal of the artist

NT$ 950,000–1,300,000 US$ 32,200–44,100 HK$ 250,000–342,000

龐均靜物瓶花 2012 油彩畫布 91 x 73 cm 簽名右下：龐均 2012 手繪鈐印：均

643 YANG Chihung (Taiwanese, b. 1947)

Rapture of Autumn 2006 Acrylic on canvas 170 x 220 cm Signed on the reverse Chihung Yang and titled Rapture of Autumn in English, dated 2006 EXHIBITED: Inner Vision–Human Condition: Solo Exhibition in National Art Museum of China , National Art Museum of China, Beijing, 2007 ILLUSTRATED: Inner Vision–Human Condition: Solo Exhibition in National Art Museum of China , Asia Art Center, Taipei, 2007, color illurstrated, pp. 132–133

NT$ 1,000,000–2,000,000 US$ 33,900–67,800 HK$ 263,000–526,000

楊識宏秋興 2006 壓克力畫布 170 x 220 cm 簽名畫背：Chihung Yang Rapture of Autumn 2006 展覽：「楊識宏：心象情境」，中國美術館，北京，2007 圖錄：《楊識宏：心象情境》，亞洲藝術中心，台北， 2007，彩色圖版，頁132–133

644 Walasse TING

(Chinese–American, 1929–2010)

Two Angels 1986 Acrylic on canvas 57 x 76 cm Signed on the reverse ting in English, titled 2 Angels in Englihs and dated 86 PROVENANCE: Private collection, Amsterdam

NT$ 1,100,000–2,200,000 US$ 37,300–74,600 HK$ 289,000–579,000

丁雄泉雙姝競艷 1986 壓克力畫布 57 x 76 cm 簽名畫背：2 Angels ting 86 來源：私人收藏，阿姆斯特丹

645 CHUANG Che (Taiwanese, b. 1934)

Abstract 1991 Acrylic on canvas 128 x 245 cm Signed lower right Chuang Che in Chinese

NT$ 1,200,000–2,200,000 US$ 40,700–74,600 HK$ 316,000–579,000

莊喆抽象 1991 壓克力畫布 128 x 245 cm 簽名右下：莊喆

646 LIEN Chien–hsing (Taiwanese, b. 1962)

Traces in the Dreamland II 1998 Oil on canvas 112 x 162 cm Signed lower right Lien Chien–hsing in Chinese and dated 1998 This painting is to be sold with two sketches by the artist.

NT$ 1,300,000–2,000,000 US$ 44,100–67,800 HK$ 342,000–526,000

連建興夢土尋蹤 ii 1998 油彩畫布 112 x 162 cm 簽名右下：1998 連建興附藝術家兩張素描

647 SHIY De–jinn

(Taiwanese, 1923–1981)

Autumn Blossoms 1978 Ink and color on paper 133 x 68 cm Signed upper right Shiy De–jinn and titled Autumn Blossoms in Chinese With two seals of the artist With one seal of the collector on the reverse PROVENANCE: Collection of Mr. Sheng–hua Lu, Vancouver (acquired directly from the artist)

NT$ 1,400,000–2,400,000 US$ 47,500–81,400 HK$ 368,000–632,000

席德進秋艷 1978 彩墨紙本 133 x 68 cm 簽名右上：秋艷蜀人席德進鈐印右方：席德進鈐印左下：平安是福藏印畫背：聲華藏章來源：盧聲華先生收藏，溫哥華（得自藝術家本人）

「《秋艷》，一九七八年席德進於台中家中所作。十月份，略有秋意，某日上午赴南投養鳥園賞鳥，途經草屯九九山峯，路邊見一園圃中一立石極其古拙，石中一漏洞露出紅色小花一朵。大師極喜，觀賞甚久。返家后作此畫以為留念。該作背面右下角蓋有『聲華藏章』印石一方。」（藝術家生前友人、席德進基金會前董事盧聲華先生） “‘Autumn Blossoms’ was painted in 1978 by Shiy De–jinn at his home in Taichung. It was a brisk October morning. We were headed to an aviary in Nantou for birdwatching when we passed by Jiujiu Peak in Caotun. In a garden by the side of the road stood a rock, simple and earthy, and from a hole peeked a single red blossom. The Master was greatly moved and stood there for a long time admiring it. After he returned home, he painted this to remember the event. On the back of the painting, in the lower right hand corner, is a seal bearing the words ‘From the collection of Sheng–hua.’ ” (Mr. Sheng–hua Lu, the aetist's friend and former Director of the Shiy De–jinn Foundation)

648 LI Shih–chiao

(Taiwanese, 1908–1995)

Dahlia 1938 Oil on canvas 61 x 50 cm Signed lower right Shih–chiao in Chinese This painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 1,500,000–2,500,000 US$ 50,800–84,700 HK$ 395,000–658,000

李石樵大理花 1938 油彩畫布 61 x 50 cm 簽名右下：石樵附東之畫廊開立之原作保證書

649 SU Wong–shen (Taiwanese, b. 1956)

Inside and Outside the Wall 2003 Oil on canvas 95 x 145 cm Signed on the reverse Su Wong–shen in Chinese and dated 2003 Illurstrated: Su Wong–shen , Eslite Gallery, Taipei, 2003, color illurstrated, pp. 188–189 & p. 239

NT$ 1,800,000–2,800,000 US$ 61,000–94,900 HK$ 474,000–737,000

蘇旺伸牆內牆外 2003 油彩畫布 95 x 145 cm 簽名畫背：蘇旺伸 2003 圖錄：《蘇旺伸》，誠品畫廊，台北，2003，彩色圖版，頁188–189與頁239

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，仍然充滿關懷，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，像一則起了頭即戛然而止的預言，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 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)

650 Tzu–chi YEH

(Taiwanese, b. 1957)

Mountain by Lao River, Hualien, Rain Shower 2012 Tempera and oil on linen 127 x 213.5 cm Signed lower right Yeh Tzu–chi in Chinese initialed YTC in English and dated 2012

NT$ 3,000,000–4,000,000 US$ 101,700–135,600 HK$ 789,000–1,053,000

葉子奇山在花蓮．荖溪．時雨 2012 卵彩油彩亞麻布 127 x 213.5 cm 簽名右下：葉子奇 2012 YTC 葉子奇《虎頭埤的水岸．台南》2010–2011 102 x 152 cm 羅芙奧台北2011春季拍賣會，編號122，台幣408萬成交 Tzu–chi YEH, Hutoupi Coast in Tainan , Ravenel Spring Auction 2011 Taipei, Lot 122 USD 142,309 sold

「這是四月天，在花蓮荖溪的上游，隱藏在層層密林中的是時雨瀑布─電影《賽德克．巴萊》莫那魯道與父親那段精彩對唱的取景處。我站在高坡俯瞰這綿密山嶺與水流的匯集處。山巒起伏，群樹圍繞。樟樹梢頭的嫩綠正挑唱初春共鳴的高音。正午過後，雲霧的垂降將由遠而近的山林環籠出一份奇特的溫柔，是屬於人與大地之間，靈的感動。」（葉子奇寫於花蓮2012年）葉子奇的作品就是以這樣的生命基調，藉由一幅幅的作品，記念自己的親人、初戀、鄉情、友情，乃至心情。不論是以靜物或風景，葉子奇善感的心靈，總是以緩慢而冗長的繪畫過程，走過哀傷、悲苦、思念與感恩︰一尾沈睡的金魚、一顆故鄉的水果、一朵屬於母親的茶花、一片夏天吃剩得西瓜皮⋯，在在述說著藝術家私密而深沈的感情故事。葉子奇的藝術，承襲了中國唐宋詩詞萬物有情的傳統，結合基督教文明人生智慧︰「凡事都有定期，⋯生有時、死有時，⋯拆毀有時，建造有時，⋯。」（傳道書）的清朗思維，在台灣美術的發展中，開闢了一條深邃、筆直的道路。世人要瞭解葉子奇的繪畫，可以去深究他生命的傳奇；但如果想要真正擁有他的藝術，只有忠實地面對畫面，在自己的生命經驗中去尋求，不論他畫的是一片果皮，或紗帽山的樹林邊緣，乃至成大校園聳立的大榕樹⋯。（節錄《葉子奇︰台南追想曲》，加力畫廊，台南） “In April, upstream from Hualien’s Lao River, hidden in the dense forest is an ephemeral waterfall where the rousing duet scene between Mona Rudao and his father in the film “Seediq Bale” was shot, I stand on a high slope and look down on the place where the impenetrable mountain and water meet. The undulating hills, the tree copses. Fresh green buds peek out from the tips of camphor trees and sing the high notes of the start of spring. After midday, clouds and mist cover the hazy trees and bring a unique tenderness, a stirring of the spirit between man and nature. ” (Yeh Tzu–Chi, Hualien, 2012)

This is the keynote in Yeh’s artworks; each of his works is a remembrance of his family, his first love, of nostalgia, friendship, and feelings. Whether it is still–life or scenery, Yeh’s tender spirit is evident in the slow and measured journey of his paintings. They traverse through sorrow, bitterness and pain, longing and thankfulness: a sleeping goldfish, a fruit from his homeland, his mother’s camellias, the watermelon rind in summer…these are all deep and personal narratives of the artist’s emotions. Yeh Tzu– Chi’s art inherited the poetic tradition of the Chinese Tang and Song Dynasty combined with Christian wisdom, “there is a time for everything, …there is a time to be born and there is a time to die…there is a time to tear down and a time to build,… ” [Ecclesiastes]. This inheritance is clear and unambiguous, and has opened a deep, straight path in the development of Taiwanese art. For one to understand Yeh’s paintings, one could explore Yeh’s fascinating life, but to truly own his art, one must truthfully face the portrait and search through one’s own life experience. It matters not whether he paints a fruit rind, or the forest edge of Shamao Mountain, or the tall banyan tree in National Cheng Kung University…(Excerpt, “Yeh Tzu–Chi: Tainan Memories”, InArt Space, Tainan)

651 ZAO Wou–ki

(Chinese–French, b. 1921)

Hieroglyphs 1954 Oil on fiberboard 21 x 26 cm Signed lower right Wou–ki in Chinese, ZAO in French and dated 54

NT$ 2,500,000–4,000,000 US$ 84,700–135,600 HK$ 658,000–1,053,000

趙無極甲骨文系列 1954 油彩纖維板 21 x 26 cm 簽名右下：無極 ZAO 54

從1948至1953年間，趙無極的繪畫仍有形象可辨識，可看出他在中國期間所受的美術訓練。1951年到瑞士參觀克利的畫展，令他感到目眩神迷。趙無極於是追隨克利，探索以二度空間的符號表現色彩，以詩意的聯想，趙無極透過克利的啟發，及後來旅行歐洲參觀建築、壁畫的心得，慢慢地進入一個抒情的自我宇宙。 1954年是趙無極轉向抽象繪畫關鍵的一年，他從克利的影響中掙脫出來，從敘事性，情節性的描繪，過渡到抒發物象之外純粹的象徵意義，以其自由而獨特的方式，投身於抽象繪畫的世界。創作於1954年的作品《甲骨文系列》，屬於趙無極最早的抽象繪畫之一。在深淺有致斑駁的墨色裡，古老歷史裡的神秘文字符號，刻劃在其間，粉色顫動的線條串成音符，譜成一首詩歌。在藝術家佈局的小小天地間，意念想象自由馳騁飛翔，傳達出一種迷人的東方精神。 In Zao's paintings from the period 1948–1953, residual forms can still be seen of the influence of the artistic training that Zao received in China. A visit to an exhibition of works by Paul Klee in Switzerland in 1951 was a revelation to him. Klee, who was fascinated by Asian art, displayed a freedom and lightness of touch in his paintings that made even the smallest canvas seem to embody vast, boundless spaces. Following Klee's example, Zao Wou–ki began to explore the utilization of two– dimensional symbols to represent color, and the use of poetic association. Benefiting from the inspiration that Klee's work had given him, and from his own travels around Europe to view famous buildings and murals, Zao began to move slowly towards his own emotive "universe of the self." The crucial year for Zao's switch to abstract painting was 1954, when he moved from the narrative, material and specific to the existential, non–representational and universal, from concrete objects to symbolic meanings in the highly personal form of abstract painting. This is the period in which one starts to see paintings that could clearly be by no–one other than Zao Wou–ki! “Hieroglyphs” a work from 1954, is one of Zao’s earliest examples of abstract painting. In the motley black space, in which a consonance is found between the depth and the surface, ancient, mysterious characters and symbols are etched, while lightly colored lines quiver into the shape of musical notes, which come together to compose a poem. In this small space between heaven and earth where the artist’s composition exists, the artist’s concept takes flight, unrestrained and bringing with it the enticing allure of the East.

652 LIAO Chi–chun

(Taiwanese, 1902–1976)

Venice

廖繼春《威尼斯》1973 50 x 60.5 cm 羅芙奧台北2007秋季拍賣會，編號079，台幣2188萬元成交 LIAO Chi–chun, Venice Ravenel Autumn Auction 2007, Lot 079, USD 678,134 sold

1963 Oil on board 23.5 x 28 cm Signed lower left C. Liao in English Signed on the reverse Liao Chi–chun , titled Venice in Chinese, dated May 1963 in Chinese and inscribed For Ms.Wang as a Souvenir

NT$ 3,400,000–4,600,000 US$ 115,300–155,900 HK$ 895,000–1,211,000

廖繼春威尼斯水都 1963 油彩木板 23.5 x 28 cm 簽名左下：C.Liao 簽名畫背：「威尼斯水都」廖繼春畫一九六三. 五. 王小姐留念廖繼春《威尼斯》1962 45.5 x 53 cm 羅芙奧台北2006秋季拍賣會，編號062，台幣2037萬元成交 LIAO Chi–chun, Venice Ravenel Autumn Auction 2006, Lot 062, USD 630,260 sold

1962年廖繼春自歐美返回後，台灣藝評界評論其作品風格已受野獸派影響，不可否認，此次旅行受到歐美藝術洗禮，開啟廖繼春新風格的探索，但在此期間究竟受何畫派影響？因缺乏文字記載已無從得知，然而廖繼春豐富多元的創作風格在當時台灣藝術發展過程極具特殊重要意義，卻是無庸置疑。許多人論述廖繼春可能受梅原龍三郎的啟迪或野獸派影響，論者也多以野獸派形容廖之作品，但相較於野獸派活躍期（1905–06年）之風格與廖繼春作品在本質上實有顯著不同，或許對自然既有色的解放與野獸派容有相似，但少了形色野性的表現，廖繼春對自然景致詮釋卻是溫潤優雅浪漫許多！從此幅《威尼斯水都》中，廖繼春透過異國情調的題材淋漓盡致地證明了他在台灣本土畫壇的地位，及台灣這座曾被異鄉人稱為福爾摩莎的島嶼和他密不可分的關係，即使色彩上他的確受到野獸派或是梅原龍三郎的感染，但日後的培養與風格確立則一直是台灣鄉土生活薰陶的因素，這裡的氣候炙熱，視覺所能及的都是具有高彩度質地，也因此，廖繼春運用其所熟悉且喜愛的色澤在其緬懷的對象上，威尼斯也不再只是一座陰鬱和無動於衷的城市。 When Liao Chi–chun returned to Taiwan from Europe and America in 1962, Taiwanese art critics commented that his work had been influenced by Fauvism. Undoubtedly, in his journey, European and American arts affected him and, therefore, Liao started his search for a new style. But what school exactly has influenced him? Due to the lack of written records, there is no way to find out. However, Liao's eclectic style certainly has its importance in the development of art in Taiwan. Many have suggested that Liao might be influenced by Umehara Ryuzaburo or Fauvism; they have also described his work as Fauvist. But when comparing the characters of Fauvism in their active years (1905–06) with Liao's work, the two have apparent fundamental differences. They might have similarities in how they liberate the existing colors in nature; but without the savage expression of forms and colors, Liao's interpretation of natural scenery is rather sincere, elegant and romantic. With "Venice" Liao Chi–chun once more confirmed his status as one of the doyens of Taiwanese painting, even though the theme of this particular picture is, for domestic audiences, an exotic one. In his heart, Liao never severed the intimate ties with his homeland, this island that strangers from a faraway country once called "Formosa". Even though his palette was clearly influenced by the Fauvists, as well as by individual artists such as Japan's Umehara Ryuzaburo, Liao's individual style is firmly rooted in the training and upbringing he received in Taiwan. The tropical heat and dazzlingly bright, colorful vistas that formed the backdrop of his childhood shine through in the saturated, vivid colors of his densely textured paintings–colors that serve as a vibrant code for his own feelings and reminiscences. This is how Liao is able to lift even the faraway city of Venice high above gloomy melancholy and indifferent apathy, and turn it into a sparkling metaphor for the artist's inner life.

653 HUNG Tung

(Taiwanese, 1920–1987)

Tien Bao Tu Watercolor and color pen on paper 154 x 42 cm Signed center right Hung Tung in Chinese

NT$ 3,600,000–4,600,000 US$ 122,000–155,900 HK$ 947,000–1,211,000

洪通天寶圖水彩彩色筆紙本 154 x 42 cm 簽名右方：洪通

654 CHU Teh–chun

(Chinese–French, b. 1920)

Puissance soudain 1992 Oil on canvas 65 x 81.2 cm Signed lower right Chu Teh–Chun in Chinese and English and dated 92 Signed on the reverse Chu Teh–Chun in Chinese and English, titled Puissance soudain in French and dated 1992 This painting is to be sold with a certificate of authenticity signed by the artist and issued by Dimensions Art Center, Taipei.

NT$ 3,600,000–5,000,000 US$ 122,000–169,500 HK$ 947,000–1,316,000

朱德群突發力量 1992 油彩畫布 65 x 81.2 cm 簽名右下：朱德群 CHU TEH–CHUN.92. 簽名畫背：Puissance soudain CHU TEH–CHUN 朱德群 1992 附藝術家親筆簽名之原作保證書

1955年朱德群離開台灣前往法國深造，1960年代脫離具象走向抽象的風格。他從中國傳統文化和繪畫吸取養份，揉合了西方抽象表現主義的激情表現手法，創作出兼容東西方兩種美學精蘊的抽象繪畫。他以遒勁的書法線條、奔放的筆觸、絢麗的色彩描繪自然風光。他逾半世紀的創作生涯中，默默地實踐大自然賦予他的靈性啟示。他說：「我所畫的，是我對大自然的感覺，也是大自然賦予我的感覺，徹底的說，是大自然與我靈性的結晶。」朱德群創作於1992年的《突發力量》，當時他已年屆七十二，藝術修為已達到頂峰。畫面對光色的處理，構成了畫面的主要內容，呈現著深刻、雄渾而灑脫的景致。作品以大筆觸的寬闊線條繪畫出黑色、深藍色和褐色的背景，光感強烈，氣象渾厚。他精準地以強烈的白和淡黃色，劃分出明暗對強烈的畫面，營造出豐富的層次和廣闊的空間感。那股穿透黑暗的光線，彷彿散發著一股暖流，展現著熾熱的生命力。在西方油畫的發展歷程上，光線和色彩一直有著舉足輕重的地位，它賦予物件立體感和空間感，是真實呈現的關鍵。朱德群在探索西方繪畫真諦的同時，始終不斷地在東方美學上尋找他的根據點。隨性而又約束的抽象形態，縱橫糾葛的線條和色塊，隱約透出中國山水畫的氣息、詩詞的意境美和書法的渾厚筆觸，他表示：「真正的融合，是融合東西方的思想，才能在作品中自然、無形地流露。」東西方的繪畫特色，在朱德群的畫筆下淋漓盡顯。 Having developed his effervescent abstractions since the 1960s, Chu Teh–chun reached a new level of artistic freedom with his stunningly serene explorations of form and color in the 1990s. Continually seeking new means for merging the diametrically opposed influences of Chinese traditional painting with Western modern abstract expressionist movements, Chu Teh–chun found harmony in exploring the aesthetic ideals of both abstraction and Chinese calligraphy. “The concept is quite similar ,” states Chu, “Format is not required but rather similarity…the aesthetic factors are what the artist of abstraction is looking for, i.e. lines, colors, and compositions. ” Chu Teh–chun’s paintings from this period exhibit a refined balance in the various weights of brushstrokes and elegance of color palette, which serve to elevate the striking harmony inherent in his work. “Puissance Soudain” exhibits this sophistication of composition honed by Chu Teh–chun over decades of abstract exploration. With ethereal sweeping strokes of white juxtaposed with opaque forms of darkened hues, the artist has created a sense of depth which recalls the construction of landscape within this composition. Pools of molten golden light emanate vibrantly from the darkened depths of the shadowed expanse, with resplendent colors refracted across the spectrum of illumination. The creation of such a rich landscape from abstract forms originates from Chu Teh–chun’s amalgamation of Western abstraction with the spirit and intention of traditional Chinese landscapes. As the artist himself explains, “The landscape portrayed in Chinese paintings is no longer merely the landscape portrayed in reality; the distance between the actuality and the imagination is the realm of the abstraction .” The lot presented here embodies this sense of reaching beyond accepted forms in presenting a standard conception of a landscape, and expanding the aesthetic lexicon with which an artist constructs a scene which is at once idealistic and universal.

655 CHU Teh–chun

(Chinese–French, b. 1920)

No. 98 1962 Ink on paper 37 x 56 cm Signed lower right Chu Teh–Chun in Chinese and English Signed on the reverse Chu Teh–chun in English and Chinese, titled No. 98 , inscribed (57x38), and dated 1962

NT$ 2,200,000–4,200,000 US$ 74,600–142,400 HK$ 579,000–1,105,000

朱德群構圖98號 1962 水墨紙本 37 x 56 cm 簽名右下：朱德群 CHU TEH–CHUN 簽名畫背：CHU TEH–CHUN 朱德群 No. 98 (57x38) 1962

朱德群的繪畫到了1960年代中期，開始顯現其獨到之抽象表現方式，而在旅居法國數年後，朱德群內心萌生和中國藝術經典交流的想法，為此，他曾親自來到台北故宮，欣賞北宋畫家范寬的《谿山行旅圖》及郭熙之《早春圖》。回到巴黎而後，即創作了與范寬相呼應的抽象巨幅作品，接著，誕生一幅與郭熙《早春圖》對話的《早春》。在朱德群作品中，飽和的色調加上輕快的韻律融合而成的畫面，完整表露出中國文化賦予畫家的心性及思維。此件1962年畫作層次豐富，用色單純但富有意旨，微微帶著中國古畫的審美感，氣勢宏偉卻不壓迫，觀者似乎可以藉畫面構築出屬於這張畫作的世外桃源，詩意在不同力道下產生的筆觸釋放出來。造就一幅壯麗的抽象風景圖像，也傳達畫家融會北宋山水圖與現代思維的決心，解除常人對西方抽象的顧忌，以畫的內部空間作為啟迪觀者內在的催化劑。 Chu's unique abstract style began to appear in the 1960s. After living in France for many years he had a strong desire to interact with the predecessors of Chinese great masters. He visited the National Palace Museum in Taipei to view the grandeur of masterpieces such as: "Traveling among Mountains and Streams" by Fan Kuan and "Early Spring" by Kuo Hsi; both artists were famous painters during the Song Dynasty. After returning to Paris, Chu created a gigantic abstract work that initiated a dialogue with Kuo Hsi's "Early Spring". The saturation of colors and lyrical rhythm present the imagery and thoughts of a painter deeply influenced by Chinese culture. This cultural provenance can be clearly discerned in his oil paintings. "No. 98" painted in 1962, the abundant hierarchy, simple color but meaningful conceptualization displays the aesthetics of ancient Chinese paintings. There's no sense of oppression in the forceful vigorousness; however, exuberance is beauty. A paradise is seen and the harmony therein echoes its counterpart, rhyme in poetry. The lovely abstract scenery conveys the integration of traditional Chinese paintings and modern art. Chu has unveiled the boundaries that people used to have in regard to western abstraction. Viewers are inspired by the lavish display of interior space in his paintings.

656 CHU Teh–chun

(Chinese–French, b. 1920)

Composition No. 10 2008 Ink and color on paper 90.5 x 68.5 cm Signed lower right CHU Teh–chun in Chinese and English, dated 2008

NT$ 3,600,000–5,600,000 US$ 122,000–189,800 HK$ 947,000–1,474,000

朱德群構圖10號 2008 彩墨紙本 90.5 x 68.5 cm 簽名右下：朱德群 CHU TEH–CHUN 2008

朱德群在故國受過良好的美術教育，他是杭州藝專潘天壽的嫡傳弟子，從小即以水墨畫入門，潘師擅長山水寫意、花鳥畫，有詩詞、書法、篆刻的造詣，帶領朱德群一窺中國書畫藝術的堂奧。朱德群一生喜愛閱讀詩詞，又寫得一手好字。中國文字本身的書寫方式，乃是最接近有抽象畫的一種藝術，西方現代抽象畫家們早借道東方的書法，尋找靈感泉源。而朱德群在詩詞書畫的造詣，時常展現於他充滿動勢的抽象繪畫之中。對朱德群而言，風景畫其實並非概括地描繪一處景觀，而是使人身在其中，感受自然，進而把自己變成其中的一部份，從繪畫中演繹其脈動、其氣息。朱德群說：「只畫對自然的體驗，並不試圖去重複自然。」我們不是站在一幅山水畫前，而是沐浴在一個全然被吞噬、全然被融合的空間裡，潤澤著我們，也燃燒著我們。中國道家哲學的山水觀，給予朱德群創作時的想像空間，而他對風景山水畫的熱愛，透過抽象畫得到充分的自由與滿足。 Chu was well trained by Pan Tian Shou, the contemporary master artist from Hangzhou National Academy of Art. As his direct disciple, Chu specialized in Chinese brush paintings for landscape, flowers/birds, poetry, calligraphy and seal cutting. He loves poems and is a great calligrapher. Chinese characters are artistic abstractions and provide inspiration to western abstract artists. His talent for poetry and brush painting lead us to his use of vivid and dramatic strokes, in a kind of marriage of the visual and the powerful, form and effect. Landscape should not only entail types of scenery, but also the feelings related to nature that viewers should have as they become immersed in, and part of, the painting contents. The richly textured composition fleshed out the atmosphere; as Chu said, "My landscape is an experience in nature; not a duplicate of nature ". This is a splendid response to the classical Greek view of art as "mimesis" or imitation of nature. Viewers should be inspired by the images of nature in the paintings. His work unequivocally resonates with Taoist thoughts; the free imagination conveys his sublime passion in the synthesis of the concrete and the abstract.

657 CHU Teh–chun

(Chinese–French, b. 1920)

Composition 1965 Watercolor on paper 55 x 53 cm Signed lower right CHU TEH–CHUN in Chinese and English

NT$ 4,400,000–5,500,000 US$ 149,200–186,400 HK$ 1,158,000–1,447,000

朱德群構圖 1965 水彩紙本 55 x 53 cm 簽名右下：朱德群 CHU TEH–CHUN

1965年的《構圖》理性地說來是抽象性的，但當我們視線端詳畫面中的任意角落，潛藏的感性蓄勢待發，似火山熔岩的紅、橘紅或凝結後沉重的灰黑，令人感覺到自然的奧妙。換言之，一位藝術家奔馳的意志是那麼樣地燦爛，色塊巧妙的配置，使得每一方寸畫布都可再構成一幅完整的畫作，而明暗的調節，又將觀者拉進無止境的畫面深處，心境頓時轉換。 This "Composition" is from 1965. Rationally speaking, it is an abstract piece, but if we look at the corners, we might sense that there is something happening. The lavalike red color, orange red, or the clouted and heavy black and grey, all look naturally profound, reflecting how the artist's mind shines. The way he lays out the colors and the blocks is so ingenious, making every inch on this canvas to be yet another completed picture. The light and shade drew the viewer into its deepness, as if out suddenly revealing our state of mind.

658 LIAO Chi–chun

(Taiwanese, 1902–1976)

Yehliu Scenery Oil on canvas 26.5 x 33.5 cm Signed lower right Chi–chun in Chinese and C.LIAO in English

NT$ 5,000,000–6,000,000 US$ 169,500–203,400 HK$ 1,316,000–1,579,000

廖繼春野柳競秀油彩畫布 26.5 x 33.5 cm 簽名右下：繼春 C.LIAO

1902年廖繼春誕生於台中豐原。他自幼家境清苦，母親早逝，父親續弦後，瘦弱的廖繼春僅能倚賴兄長的照顧，並得以上學。他的少年時代，除了學校的「圖畫」課外，還接觸到母親的繪圖繡花、葫蘆墩等雕刻工藝；此外鄉間廟宇的大戲與節日慶典的獨特氣氛，也都豐富了廖繼春的美感經驗。廖繼春的油畫創作，大體可分三個階段。早年作品受日本外光派影響較大，造型誇張，色彩較暗，畫面常顯沉悶之感，風格近似強調個性的後印象主義，兼具學院工夫及鄉土特色；中年作品趨半抽象，色彩逐漸明朗，偏愛粉紅色調與淡綠淡藍色調強烈對比，呈野獸派風格；1962年應美國政府邀請，赴美考察習畫，遍觀美國各大美術館，視野得以擴大，畫風漸變，受法國後印象主義、野獸主義、抽象繪畫影響及美國抽象表現主義衝擊，風格改變，愈趨自主、成熟。至晚年，達其繪畫藝術的高峰。作品呈半具象半抽象，多表現台灣的鄉土特色，色彩絢麗，筆觸奔放，達到了藝術與人生的和諧之境界。其自在的絢麗色彩至今仍為台灣美術界所稱道。 1970年代初廖繼春幾度描寫野柳海邊的風景，每次都呈現不同的表達。對藝術家而言，再度前往同一個地方寫生，都是一次全新的挑戰。在幾幅以野柳為題的作品中，相同之處就是偏愛重重山巒的取景，表現色調華美的海水，還有色彩豐富的廟宇、屋舍與船隻。台灣四面環海，尤其東北角的海邊地形特殊、優美，向來是聞名海外的自然風景名勝。民間信仰虔誠，尤其是漁港邊常常有廟宇庇佑漁民。廖繼春的繪畫裡有一項重要的色彩元素，其養分來自於民間藝術。畫家數幅以野柳為景的油畫作品中，《野柳競秀》以明麗的色彩描繪了山巒、房屋、廟宇、堤岸、船隻，天光水色繽紛，群青色的主調，有如明朝瓷器的色感，紅、綠、黃如民間廟宇的色彩穿梭其間，整幅畫充滿歡樂節慶般的漁村情調，洋溢著台灣南國的明快節奏與溫度。而明度較高的粉紅色是畫家最擅長的技法，用以使群青色的背景得到平衡、和諧。王素峰女士認為：「無疑地，粉紅色是柔和、抒情的象徵，當它隨同其他鮮麗的色彩出現時，真是詩情畫意。」評論家認為，粉紅色的運用，正是廖繼春的精神所在。廖繼春喜愛描寫山光水色，尤其是河、港的風景。對於水景的描寫早緣起於1950年代的大量淡水寫生。1960年代歐美考察回國，途中見聞大開眼界，美國抽象畫的風潮以及歐洲文明，皆使廖繼春的內心受到極大的憾動。1960–1970年代廖繼春的繪畫創作達到巔峰。尤其見識到威尼斯的水色天光，舟楫穿梭水間的繁忙景象，自由和諧的創作氣氛，使得他回到台灣以後，將接收到的刺激，轉化為推動的力量，快速地找到自己的方法。無論淡水、愛河、威尼斯、野柳，或生命最後一站的東港，這些以水聞名的名勝景點，在他的筆下呈現出一種近似的繽紛、活潑的氣氛。而包括野柳在內等晚期的代表作，可謂是畫家純熟富麗的藝術結晶，透露出人生歷盡滄桑之後，心靈超越現實，回歸純真。因此，每個景點在繪畫中已經去除了國別、疆域的差異，超越了文化的衝突，呈現在觀者眼前的是畫家心中的一處世外桃源。因此，當他描繪野柳風光時，或許回憶起淡水河，或許聯想起威尼斯的運河，他將最回憶裡美好的一面透過繪畫呈現出來。

Liao Chi–chun was born in Fengyuan, Taichung in 1902. His family was poor and his mother passed away when he was young. After his father remarried, a thin and frail Liao could only rely on his older brother to look after and support him in attending school. In his youth, apart from “drawing” classes at school, he was also influenced by his mother’s embroidery and crafts such as gourd carving. Taiwanese outdoor opera at the local temple and the unique atmosphere of festivals continued to enrich Liao’s sense of aesthetics. Liao Chi–chun’s artworks can be roughly divided into three phases. The works in the early phase were influenced by Japanese Pleinarisme. With exaggerated designs and muted colors the general feeling is often subdued. The style is similar to Post–Impressionism where the sense of self is emphasized and there is a touch of college–flair and country–flavor. The works from the middle phase are usually semi–abstract with gradually brighter colors. He also favored the sharp contrast between pink and light green or light blue in the fauvist style. In 1962 he was invited by the US government to continue his studies in art, and as a result of touring major galleries and museums, his horizon expanded and his style gradually changed. Liao was influenced by French Post–Impressionism, Fauvism, abstract art, and Americanism causing his style to become more independent and mature. His late phase was the zenith of his work. The artworks are semi–representational and semi–abstract. They usually depict local Taiwanese areas, with vivid colors and flowing brush–strokes that show the perfect harmony between art and life. The carefree, bright colors are still praised in the Taiwanese art world. In the beginning of the 1970s, Liao Chi–chun visited Yehliu beach and did several paintings of the scenery. Each time the depiction was different. For an artist, going back to the same place to paint presents a new challenge each time. These paintings with Yehliu as the theme do have similarities in the layered mountain peaks, vibrantly–colored sea water, and colorful temples, houses and boats. Taiwan is surrounded by the sea and the Northeast Coast is especially famous for its unique geological composition and beauty and is a well–known tourist destination because of its natural scenery. The local fishermen are devout followers of their local beliefs, so beside the ports there will often be a temple to protect them. One of the important color elements of Liao’s works come from the local art. Out of the many paintings of Yehliu, “Yehliu Scenery” uses lively colors to depict mountain peaks, houses, temples, the embankment, boats, and the vibrant sky and water. Green is used as the main color giving it the overall feel like that of Ming pottery with the red, green, and yellow of local temples streaking in between. The painting depicts the excitement and vitality of festival time found in fishing villages and is bursting with the rhythm and warmth of Taiwan. The flamboyant pink is a technique mastered by Liao to balance out the green in the background and reach harmony. Madam Wang Su Feng believed, “undoubtedly, pink is a symbol of gentleness and romance, when it accompanies other vibrant colors, it is wonderfully poetic.” Critics are of the opinion that the use of pink is the essence of Liao’s spirit. Liao Chi–chun delighted in portraying mountains and water, especially the scenery of rivers and harbors. His works in depicting water scenery began in the 1950s with his Tamsui sketches. In the 1960s, returning home from America and Europe, his experiences and perspectives were greatly expanded. American abstract painting and the sophistication of Europe astounded Liao and his artworks reached the summit of their creativity from 1960–1970. After having experienced the splendor of Venice with the lively bustle of gondolas darting around in the canals, the creative atmosphere of freedom and harmony allowed him to transform all his experiences into a creative drive after his return to Taiwan and forge his own path. Whether it is Tamsui, Love River, Venice, Yehliu or his life’s last stop, Donggang, under Liao’s paintbrush, these locations renowned for their water scenery all depict a familiar vivacity and exuberance. His representative works from the late phase, including “Yehliu”, were the crystallization of the artist’s skills and maturity, and reveal the spirit’s transcendence to return to its purest state after life’s turmoil. Thus, the painting of each location does not hold the distinction of nationality or boundaries, or the conflict of cultures, what is presented to the audience is the Utopia deep in the mind of the artist. So, when the artist depicts Yehliu, he could have been thinking about Tamsui or remembering the canals of Venice. His most beautiful memories come out through his paintings.

廖繼春《野柳風光》1972 45.5 x 53 cm 羅芙奧台北2006秋季拍賣會，編號048，台幣1253萬元成交 LIAO Chi–chun, Yehliu Scenery Ravenel Autumn Auction 2006, Lot 048, USD 387,686 sold

廖繼春《野柳風景》1962 37.5 x 45.4 cm 羅芙奧台北2006春季拍賣會，編號069，台幣1085萬元成交 LIAO Chi–chun, Yehliu Scenery Ravenel Spring Auction 2006, Lot 069, USD 338,692 sold

659 CHU Teh–chun

(Chinese–French, b. 1920)

Irruption de l'inconnu 2004 Oil on canvas 130 x 195 cm Signed lower right CHU TEH–CHUN in Chinese and English, dated 04 Signed on the reverse CHU TEH–CHUN in English and Chinese, titled "Irruption de l'inconnu" in French and dated 2004 ILLUSTRATED: Impressions Classics IX: Chu Teh–chun , Impressions Art Gallery, Taipei, 2005, color illustrated, no. 74, p. 111

NT$ 20,000,000–38,000,000 US$ 678,000–1,288,100 HK$ 5,263,000–10,000,000

朱德群無名的觸發 2004 油彩畫布 130 x 195 cm 簽名右下：朱德群 CHU TEH–CHUN 04 簽名畫背："Irruption de l'inconnu" CHU TEH–CHUN 朱德群 2004 圖錄：《印象經典IX朱德群》，印象畫廊，台北，2005，彩色圖版，編號74，頁111

2003年夏天，上海歌劇院的正門大廳朱德群的巨幅油畫《復興的氣韻》盛大揭幕，高達四米三，長有七米三，為畫家歷年來最大尺幅的作品。眾人驚嘆於畫中的磅礡動勢、華麗的音樂性及創新感。老畫家面對如此巨大的畫布，未有畏懼之情或遭逢瓶頸的感受，他能從容駕馭空間，盡情享受揮毫的暢快，逍遙自信如昔，其富麗流暢的造形用色，呼應畢生在畫裡探求的音樂般的詩意空間。藝評家曾說：「朱德群要與所有的空間較量！」正是稱許他的大氣風範。此時，年過八十歲的朱德群筆鋒依舊遒勁，用色明朗絢麗，創造出無限想像的奇幻風景。他曾經說要在六十歲之後，才能得心應手，真正畫一點自己滿意的畫。「相對於年輕人來說，老年者擁有最富足的精神資源，有長長的人生閱歷記憶。我從八十年代開始，就畫我的記憶，幻遊我的記憶。」朱德群娓娓道出創作的心境。人的記憶潛藏在心靈的深處，如同地心的熔岩，蓄積著時間的能量，儘管處於底層幽微，那可是炙熱無比、湧動激昂的精神核心。面對畫布時，畫家方得顯露內心記憶之光，那也是你我皆有的內在光輝，因此他的繪畫總能打動人心，激盪情感。雖然受西方抽象表現藝術啟迪，朱德群對於唐宋山水畫一直懷有高度的敬意，平日也喜愛閱讀唐詩宋詞，以陶冶性格。他的現代抽象畫將詩、畫、意完美地結合，貫徹詮釋古人的「詩中有畫，畫中有詩」最高境界，被譽為是「二十世紀的宋代畫家」。他習於作畫時聆聽古典音樂，隨著音符的律動使得他的畫面帶著音樂性及精神性，有如交響樂章般或激昂或溫婉，盪氣迴腸。凡繪畫技巧、文學、哲學、知識皆為畫家重要的基礎，學養內涵能夠豐富繪畫的深度，勤於充實自我的朱德群，將這些基礎視為必然。完成於2004年的油畫作品《無名的觸發》為畫家成熟期的絢麗之作，老畫家童心不減，此時仍能輕盈自在地創作，展現奧妙的記憶風景。他曾說：「抽象畫，就是要畫那些似是而非、似非而是的沉在記憶中的壯遊圖像，我覺得，這才是我要去闖蕩的未知之地。」無名的、未知的感動，恍若烈焰噴發，忽湧而至，朱德群用心去探索描繪這些無以名狀卻令人驚艷的畫面。朱德群曾說：「在我的畫面上，其色彩和線條從不是偶然的，它們和諧地達到同一目的：激活光源，喚起形象及韻律。」此幅《無名的觸發》畫作呈現內在宇宙的張力與和諧，混沌黑暗之中透出寶石般的瑩瑩光輝。光的運用決定了他畫的色彩與結構，使得朱德群的現代繪畫帶有古典的氣勢，既莊嚴且神聖。留白的光曜，在有限的空間創造了無限。

朱德群《復興的氣韻》2003 430 x 730 cm，上海歌劇院收藏 CHU Teh–chun, Symphonie Festive , collection of Shanghai Opera House

北宋畫家范寬《谿山行旅圖》 206.3 x 103.3 cm 台北國立故宮博物院收藏 FAN K'uan, Traveleler Among Mounains and Streams Collection National Palace Museum, Taipei

In summer, 2003, Chu Teh–chun’s giant oil painting “Symphonie Festive” was unveiled at the entrance hall of Shanghai Opera House. With a height of 4.3 meters and a length of 7.3 meters, this was the largest work the painter had ever created. People were amazed at the painting’s stunning momentum, luxuriant musical elements and innovation. The old painter felt no fear or hindrance when faced with such a giant canvas. He harnessed space calmly and enjoyed the pleasure of wielding his paintbrush, feeling as confident and unrestrained as he used to be. The form and color are smooth and flamboyant, echoing a musical poetic space the artist has always explored throughout his life. An art critic once praised his majestic art style and said, “Chu Teh–chun wants to compete against all spaces! ” Now, over eighty, Chu still paints with sharp strokes and colors, with bright and vivid tones, to create a fantastic landscape filled with infinite imagination. He once pointed out that only after his sixties could he be comfortable and skilled enough to create paintings he was satisfied with. “Compared to young people, the elderly own the most affluent spiritual resources, with lengthy life experiences and memories. Since the 80’s, I have been painting my own memory and journeying within, ” said Chu when speaking of his mindset in creation. Memory hides in the depths of the mind. Like lava from the center of the Earth, memory accumulates its energy over time. Although buried in a hidden bottom layer, it is a surging and passionate spiritual core that blazes with an incomparable flame. Facing the canvas, the painter can thus manifest the light of memory inside him, which is also the radiance you and I share. This is why his paintings always touch people’s hearts and stimulate the deepest emotions. Although inspired by Western abstract expressionist art, Chu has always had a high degree of respect for Chinese landscape painting during the Tang and Song dynasties. He also enjoys reading Tang poetry and Song Ci (a poetic meter) to cultivate his personality. Chu perfectly combines modern abstract painting with poetry, painting and artistic conception, embodying the ancient saying that “painting dwells in poetry as poetry exists in painting.” He is called “the Song painter of the 20th century.” Chu holds a habit of listening to classical music when creating his works. Following the rhythm of the musical notes, he expresses a kind of musical element and spirituality on his canvas. The soul–stirring emotion surges and falls just like individual movements in a symphony. Technique, literature, philosophy and knowledge are all important foundations for a painter since culture and knowledge can imbue a painting with added depth. Being diligent in self–enrichment, Chu sees these elements as necessities. Completed in 2004, the oil painting “Irruption de l'inconnu” is a grand work created at the painter’s mature period. The old painter still possesses childlike innocence and creates his work in a light and carefree sense, showing a magnificent landscape of memory. He once said, “Abstract painting depicts those paradoxical images of a person’s life experiences sinking into memory. I believe this is the unknown land I shall explore. ” A kind of unnamed and unknown feeling surges like an eruption of flame. Chu explores and depicts these unspeakable yet stunning scenes wholeheartedly. Chu once said: “On my canvas, the colors and lines never meet each other incidentally. They all harmoniously achieve a single purpose: activating light sources to evoke images and rhythms. ” “Irruption de l'inconnu” presents the strength and harmony of an inner universe, revealing a kind of gem–like fluorescent radiance through chaotic darkness. Chu’s use of light determines his painting’s color and structure, bringing out a classic manner in a modern painting, which is solemn and sacred. The glow from the blank space, moreover, creates infinity out of a finite space.

林布籣《夜巡》1642 36.3 x 43.7 cm，阿姆斯特丹國立博物館收藏 Rembrandt Van Rijn, Nightwatch , collection of Rijksmuseum, Amsterdam

朱德群《無名的觸發》2004 130 x 195 cm 羅芙奧台北2012秋季拍賣會，編號659 預估價：NT$ 20,000,000–38,000,000 CHU Teh–chun, Irruption de l'inconnu , Ravenel Autumn Auction 2012 Taipei, Lot 659, estimate: US$ 678,000–1,288,100

660 ZAO Wou–ki

(Chinese–French, b. 1921)

La Mer perdue 1952 Oil on canvas 80.5 x 116 cm Signed lower right Wou–ki in Chinese, ZAO in French Signed on the reverse Janvier – Février in French, and dated 1952 PROVENANCE: Laurens A. Daane, Amsterdam Private collection, Taipei de Sarthe Gallery, Hong Kong Private collection, Asia EXHIBITED: Zao Wou–ki – 60 ans de peintures (1935–1998) , Shanghai Museum of Art, Shanghai, 1998 Zao Wou–ki – 60 ans de peintures (1935–1998) , National Art Museum of China, Beijing, 1998, exhibition curated by Daniel Marchesseau Zao Wou–ki – 60 ans de peintures (1935–1998) , Guangdong Museum of Art, Guangdong, 1999, exhibition curated by Daniel Marchesseau Zao Wou–ki, Retrospective, Galerie Nationale du Jeu de Paume, Paris, October–November 2003 Zao Wou–ki , Bridgestone Museum of Art, Tokyo, 16 October 2004 – 16 January 2005 ILLUSTRATED: Zao Wou–ki 60 ans de peintures (1935–1998) , Shanghai Museum of Art, National Art Museum of China, Beijing and Guangdong Museum of Art, Guangdong, color illustrated, pp. 108–109 Zao Wou–ki , Galerie Nationale du Jeu de Paume, Paris, 2003, color illustration p. 70 (with another title of “La Terre rouge et la Mer jaune”) Zao Wou–ki , Bridgestone Museum of Art, Tokyo, 2003, color illustrated, p. 205 Zao Wou–ki , Lin & Keng Gallery, Inc., Taipei, 2005, color illustrated, p. 32 Zao Wou–ki , Tina Gallery, Taipei, 2010, color illustrated, pp. 26–27 This painting is to be sold with a photo certificate of authenticity signed by the artist.

Estimate Upon Request 估價待詢

趙無極失去的大海 1952 油彩畫布 80.5 x 116 cm 簽名右下：無極 ZAO 題識畫背：Janvier – Février 1952 來源：羅倫斯．A．達安收藏，阿姆斯特丹私人收藏，台北德薩畫廊，香港私人收藏，亞洲展覽：「趙無極繪畫六十年回顧」，上海博物館，上海，1998 「趙無極繪畫六十年回顧」，中國美術館，北京，1998（馬歇索策展）「趙無極繪畫六十年回顧」，廣東美術館，廣州，1999（馬歇索策展）「趙無極回顧展」，法國網球場國家畫廊，巴黎，展期：2003年10月至11月「趙無極」，石橋美術館，東京，展期自2004年10月16日至2005年1月16日圖錄：《趙無極繪畫六十年回顧》，上海三聯書店，上海，1998，彩色圖版，頁108–109 《趙無極》，網球場國家畫廊，巴黎，2003，彩色圖版，頁70（另一畫題為《紅色土地與黃色海洋》）《趙無極》，石橋美術館，東京，2003，彩色圖版，頁205 《趙無極》，大未來畫廊藝術有限公司，台北，2005，彩色圖版，頁32（畫題為《迷海》）《趙無極》，耿畫廊，台北，2010，彩色圖版，頁26–27（畫題為《迷海》）附藝術家親筆簽名之原作保證書

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趙無極《風景》約1952年 65 x 92 cm 羅芙奧台北2010秋季拍賣會，編號149，台幣4640萬元成交 ZAO Wou–ki, Paysage Ravenel Autumn Auction 2010 Taipei, Lot 149, USD 1,529,838 sold

米芾《書法》 Calligraphy of Mi Fu (1051–1107)

趙無極《處處聞啼鳥》1952 81 x 100 cm 羅芙奧台北2009秋季拍賣會，編號055，台幣6320萬元成交 ZAO Wou–ki, Oiseaux volent partout (Birds Fly Everywhere) Ravenel Autumn Auction 2010 Taipei, Lot 055, USD 1,965,174 sold

此幅拍品是趙無極早期稀有的紅色油畫，尺幅開闊、氣象清新，為市場上不可多得的傑作。法國藝評家馬歇索（Daniel Marchesseau）在1998– 1999年間策畫了趙無極在中國的巡迴大展「趙無極繪畫六十回顧展」，此幅油畫被選為展品之一。當時的展覽目錄上刊印有著法文畫題La mer perdue，中文譯作「失去的大海」。五年後，策展人阿巴迪（Daniel Abadie）在巴黎的網球場國家畫廊（Galerie Nationale du Jeu de Paume, Paris）策畫的趙無極回顧大展，同樣也選擇此畫作參展，展覽目錄的圖說寫著La Mer perdue ou La Terre rouge et la Mer jaune兩個畫題，意指「消失的大海」或「紅色土地與黃色海洋」，詩情畫意之暗示，給人浮想聯翩。海洋或土地是宇宙的空間，裡面孕育自然萬物。在詩人或畫家的眼中，前者有遼闊、神秘、不安、包容、承載等意象；後者則有故鄉、親近、安定、樹草、山石等象徵。海洋與土地，互為虛實、陰陽的依存關係。而趙無極的繪畫擅長使用中國式的思惟透視，結合西方聖潔寧靜的光感，完成看似虛空其實豐盈的寫意圖畫。宇宙的生成，虛與實的相連，也是人類生活空間裡的不同層面。虛實的議題，在抽象畫裡至關重要，呼應了中國水墨畫上意境的創造。而此為趙無極繪畫裡終極關懷的課題，他一生致力於創造油彩的「虛實相生的空間感」，創造想像無窮的妙境，並賦予其平衡和諧的美感，為人類留下美好的藝術瑰寶。對於趙無極而言，海的意象應該還有遠行、離鄉，那是一種淡淡的哀愁，不太願意去追想的複雜情感與記憶。1950年代初期，大海、帆船的形象多次曾出現在他的具象繪畫之中，與其說是他的歐遊經歷，不如說是他的內心情感的投射。1948年初春，趙無極歷經過36天的漫長海上旅程，才抵達法國的馬賽港。曾經是對水、對海洋恐懼的中國藝術家，為著遠大的理想，渡過重洋到遙遠的他國去，必然是鼓足了勇氣、克服心中的畏懼。後來，趙無極在他的自傳裡寫出這段經歷：「對這趟旅行，我的印象是單調沉默，風景每天一樣。我對海從沒有很大的興趣，甚至有很長的一段時間，我覺得『海』是外國人侵略中國的同義字，必須全力抵抗，對西方詩人歌頌的『無限』的觀念，我也不起共鳴，我愛平靜的湖面，帶幾許神秘，製造出無窮的色彩變化。」趙無極1921出生於北京的書香世家，家境寬裕，後來遷居南通、上海。在家學淵源的耳濡目染，起了作畫的慾望。十四歲在家人支持下進入以最現代化美術教學聞名的杭州藝專學習，接受林風眠、吳大羽與潘天壽等教授的指導，既學西畫，也學國畫。在學期間，他藉由明信片與美術期刊上塞尚、馬蒂斯、畢卡索、莫迪里亞尼等人的畫片，飢渴地吸收新知，模仿大師們的風格，然而他想要探究真正的繪畫，一路循著西方現代藝術的軌跡，來到藝術之都巴黎。初抵巴黎的下午，趙無極便急切地趕往羅浮宮飽覽名畫，呈現他眼前的是有別於中國畫的另一種繪畫，內心驚奇不已。然而他漸漸地發現，中畫、西畫的距離其實不遠，只是觀看的方式不同。往後的一年多時光，大多在美術館或展覽中度過，他在作畫之前，想先了解別人的畫，了解

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別人的意圖。而後結交多位當代藝術家、詩人或評論家，熟悉巴黎的藝術圈，找到以畫維生的機會，歐洲自由的風氣是他能夠安適地尋求發展，他選擇到西班牙和義大利旅行，藉由旅行見聞開啟新的視野。自古中國文人喜愛遊歷名川大山，以自然為師，從性靈出發，「置丘壑於胸中」，成就文人畫的典範。趙無極偏愛南方的山水，他認為義大利山城托斯卡尼景致優美，有如秀麗的中國江南。而南歐的古典建築、教堂壁畫，則啟發了他構思繪畫裡的空間佈局。他開始創作採取線描與簡筆圖示，將形象符號化與抽象化，以定點或散點透視塑造多重的空間感。他觀察筆記旅途所見所聞，書法性的線條細細描繪，揮灑的色彩輝映著古城特有的神秘色調。1951年在瑞士的美術館第一次見到克利（Paul Klee）的畫，完全著迷於畫中自由輕盈的詩意，小巧的畫面因空間營造而顯得遼闊無比，多重空間的小小符號，創造出另一個世界。克利的藝術有東方文化的影響，而趙無極在克利的啟發下，為自己找到另一條路的捷徑。後來的兩年間，他畫了許多以靜物、花卉、船隻、風景、動物等元素的小幅繪畫，研究它們的組合與佈局，營造一種詩意的空間，因為是受到克利的影響，這段短暫的過渡被稱之為「克利時期」。無疑地，本次的拍品《失去的大海》是趙無極「克利時期」難得一見的大幅創作。以多點透視的東方繪畫空間與細膩筆觸，西方古典優雅的色彩光輝，構築一個宛如海市蜃樓般的綺麗世界，分不清是大海或是大地，予人無限想像的空間。觀者隨著畫家的指引，彷彿也賞遊其間，從左方連綿的山巒樹林，接著的空間似雲霧似海洋的，右方帆船點點像是忙碌的港灣，前景有人與動物的追逐、舞蹈，也如狩獵、豐收慶典般的喧鬧場景。對於趙無極1950年代初期的風格，藝術評論家馬歇索（Daniel Marchesseau）的看法是：「他找到一種東方纖細筆劃和西方古典建築結構相結合的畫路」。刺繡般的線條結構，形成趙無極個人的獨特風格，此一階段對於後來轉型抒情抽象發展具有關鍵性意義。曾經和趙無極比鄰而居的瑞士大雕塑家傑克梅第（Alberto Giacometti），以及詩人米修（Henri Michaux）都讚賞趙無極1950年代初期的具象寫意圖畫。趙無極的具象克利時期作品，生動神秘的符號銜接後來的抽象甲骨文時期，在其一生創作中至關重要。此幅傑作以《失去的大海》為題，代表著離鄉的情懷以及面對未知的躊躇心境。難能可貴的，藝術家儘管情感敏感細膩，積極樂觀的個性使得他的作品有向上昇華的光輝意象，觀者能有愉悅的視覺享受，藝術家也漸漸走向抽象繪畫大道。

趙無極《4.4.85》1985 97 x 195 cm，羅芙奧香港2011秋季拍賣會，編號018，台幣1億7046萬元成交 ZAO Wou–ki, 4.4.85, Ravenel Autumn Auction 2011 Hong Kong, Lot 018, USD 5,689,345 sold

This rare red oil painting by Zao Wou–ki was completed in his early period. The broad dimensions and refreshing atmosphere make it an invaluable and rare masterpiece. The French art critic Daniel Marchesseau selected this piece as one of the works exhibited in the retrospective “Zao Wou–ki 60 Ans de Peintures (1935– 1998)” in China from 1998 to 1999. It was titled “La Mer perdue” in the exhibition catalogue with a Chinese translation meaning “The Lost Sea.” Five years later, the curator Daniel Abadie organized a grand retrospective exhibition of Zao Wou–ki at Galerie Nationale du Jeu de Paume in Paris, and this painting was also selected. The description in the catalogue was printed with two titles: “La Mer perdue” or “La Terre rouge et la Mer jaune,” meaning “The Lost Sea” or “The Red Earth and the Yellow Sea.” Such poetic and artistic implications truly appeal to the imagination. Both spaces in the universe, the sea and the earth, give birth to everything in nature. In the eyes of a poet or a painter, the sea suggests imagery of being expansive, mysterious, insecure, inclusive, and sustainable, while the earth symbolizes home, closeness, stability, trees and grass, mountains and rocks. The sea and the earth share a mutual dependency between the virtual and the real, yin and yang. Zao was skilled in employing Chinese contemplative perspective in combination with Western sacred and serene lighting to create a seemingly virtual and empty but actually abundant impressionistic painting. The formation of the universe, the connection between the virtual and the real, are different layers within people’s living spaces. The subject about the virtual and the real is a pivotal issue in abstract painting, echoing the creation of an artistic conception in Chinese ink painting. This is also Zao’s ultimate concern in abstract painting. Throughout his life, he had been devoted to create “a space of mutual emergence between the virtual and the real,” a wonderland full of imagination. He rendered balanced and harmonious aesthetics in his paintings, leaving the world beautiful artistic treasures. For Zao, imagery of the sea, voyages, and leaving home imply a touch of sadness, a complex emotion and memory he was not so willing to recall. In the early 1950s’, images of the sea and sailboats appear in his figurative paintings many times. Instead of viewing them as his travel experiences in Europe, these images are more likely to be the projection of his inner feelings. In the early spring of 1948, after 36 days of a long voyage at sea, Zao finally arrived in Marseille Port, France. The Chinese artist, who once feared the water and the sea, must have summoned the courage to overcome his fear, tiding over the ocean to a distant country with his lofty dream. Zao later wrote about this experience in his autobiography: “I have retained the feeling of great boredom about this trip. The passage seemed the same every day. I have never had a great passion for the sea, and it has long been synonymous with me of the invasion of China by foreigners, from which it had to defend itself. I'm not sensitive to this notion of infinity that Western poets have so often mentioned. I prefer the almost motionless surface of lakes, which conceals the mystery and gives rise to an infinite variety of colors. ” Zao was born into an affluent scholarly family in 1921 in Beijing and later moved to Nantong and Shanghai. The influence of his family’s academic tradition kindled his desire to paint. At the age of 14, under his family’s support, he entered Hangzhou National College of Art, an art school famous for its modern art education. There he received instruction from Lin Fengmian, Wu Dayu, and Pan Tianshou, learning Western painting and Chinese traditional painting. With postcards and picture cards from

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the art journals of Cézanne, Matisse, Picasso, and Modigliani, he eagerly absorbed knowledge, imitating the styles of these masters. However, he wanted to explore the truth in painting. Following the trajectory of modern Western art, he came to the art capital, Paris. Zao rushed to the Louvre to enjoy those famous paintings in his first afternoon in Paris. In front of him was another kind of art different from Chinese painting. He marvelled at the works. However, he gradually discovered that the distance between Chinese painting and Western painting was not that far; they simply held different perspectives. During his first year in Paris, he spent most of his time in galleries and exhibitions. He wished to understand other people’s paintings and intentions before creating his work. He later made friends with many contemporary artists, poets, and critics, becoming close with the art circle in Paris and finding an opportunity to make a living by painting. The culture of freedom in Europe enabled him to search for career development comfortably. He chose to travel in Spain and Italy, broadening his horizons by what he saw and heard through travel. Chinese literati have loved to travel grand rivers and majestic mountains since ancient times. They learned from nature and based their inspirations on spirituality, “laying hills and gullies upon their bosom,” which has set a model in literati painting. Zao favored the landscapes of southern Europe, feeling that the beautiful scenery around Italy’s mountain towns in Tuscany was comparable to the picturesque Southern Yangtze area in China. The classic architecture and church murals in southern Europe inspired his spatial layout in his paintings. He began to adopt line drawing and simple strokes to illustrate images in a symbolic and abstract sense, creating multiple senses of space with a fixed–point perspective or a scattered perspective. He observed and recorded what he had seen and heard during travel with delicate calligraphic lines. The colors scattered on the canvas reflected the mystery of these ancient towns. When he first saw the paintings of Paul Klee at a gallery in Switzerland in 1951, he was completely fascinated by the liberal, light, and poetic realm composed in the painting. Due to its space construction, a small canvas became so expansive that small symbols in multiple spaces can build another world. Klee’s art was influenced by Eastern culture and under Klee’s inspiration Zao found a shortcut toward another style. In the following two years, he created many small paintings with elements of static objects, flowers, ships, landscapes, and animals. He studied their combination and layout, building a kind of poetic space. Since he was influenced by the works of Klee, this short–term transitional phase was called “the Klee period.” Without a doubt, out of “La Mer perdue” was a rare large creation of Zao during “the Klee period.” With a multi–point perspective employed in Eastern painting space and delicate brush stokes as well as classic and elegant Western colors, he composed a mirage–like poetic world. The sea and the land are inseparable, leaving people unlimited imaginative space. Following the direction of the painter, viewers seem to be traveling within. From the rolling hills to the woods on the left, viewers can see a space appearing to be clouds or the sea. Dots of sailboats in the right suggests a busy harbor, while in the foreground there seem to be people and animals chasing and dancing or a bustling scene of hunting and a harvest celebration. Regarding to Zao’s style during the early 1950s’, art critic Daniel Marchesseau says: “He refound a way for his brush, between delicate orientalism and classic architecture. ” The embroidery–like line structure constitutes the unique style of his paintings. This stage is of key significance for his later transition to expressive and abstract painting style. Swiss sculptor Alberto Giacometti, who once lived next to Zao, and the poet Henri Michaux both praised his figurative and impressionistic paintings created in the early 1950s’. Vivid and mysterious symbols in Zao’s works during his figurative Klee–influenced period formed into a crucial link to his later abstract oracle period. Titled “La Mer perdue,” this masterpiece represents his feelings away from home and his hesitation toward the unknown. Invaluably, although the artist had a sensitive and delicate heart, his optimistic personality allowed him to create a work filled with bright and positive images. When viewers were immersed in a pleasant visual enjoyment, the artist was also walking toward the broad road of abstract painting.

保羅．克利《魚兒上鉤》1920 31 x 23.5 cm 倫敦泰德美術館藏 Paul Klee, They're Biting , Collection of Tate Gallery, London

661 ZAO Wou–ki

(Chinese–French, b. 1921)

Bateaux fond bleu 1951 Oil on canvas 81 x 100 cm Signed lower right Wou–ki in Chinese and ZAO in French Signed on stretcher bar on the reverse ZAO WOU–KI, 40F and datetd 11.1951 P PROVENANCE: Private collection, Paris (acquired directly from the artist) Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 55,000,000–75,000,000 US$ 1,864,400–2,542,400 HK$ 14,474,000–19,737,000

趙無極藍色夜航 1951 油彩畫布 81 x 100 cm 簽名右下：無極ZAO 簽名框架：ZAO WOU–KI 40F 題識畫背：11.1951 P 來源：私人收藏，巴黎（直接得自藝術家）私人收藏，亞洲附藝術家親筆簽名之原作保證書

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趙無極《月光下的船》1952 油彩畫布 105 x120 cm 香港佳士得2009年春拍，HK$14,100,000成交 ZAO Wou–ki, Bateaux au claire de la lune , 1952, oil on canvas, 105 x120 cm US$1,827,542 sold at Christie’s HK on May 24, 2009

趙無極《藍色夜航》1951 油彩畫布 81 x 100 cm 羅芙奧台北2012秋季拍賣會，編號661，預估價：NT$ 55,000,000–75,000,000 ZAO Wou–ki, Bateaux fond bleu, 1951, oil on canvas, 81 x 100 cm Ravenel Autumn Auction 2012 Taipei, lot 661, estimate: US$ 1,864,400–2,542,400

趙無極的自傳回憶錄裡，曾提到當年從上海出航，經過一個多月漫長的航行及幾次的靠岸，1948年4月1日終於抵達法國的留學過程。剛到巴黎時他就急忙趕往羅浮宮，興奮地飽覽西洋大師的作品，體驗未曾有過的觀看藝術的方式。有長達一年多的時間，趙無極大半時間花在學法語，參觀美術館、畫廊，聽音樂會，幾乎很少畫畫，只零星地畫了素描及版畫。後來經常流連大茅屋工作室，結識了許多畫家同好，不少畫家後來都成了藝術大師，如哈同、史塔耶、蘇拉吉、薇拉．達．西爾瓦、法蘭西斯等。 1949年在青年畫家素描比賽中獲得首獎，鼓舞了仍在繪畫道路中摸索的趙無極。同年5月舉辦了巴黎的首次個展，大獲成功。1950年前後時巴黎有一位宣稱不代理中國畫家、展過無數大師的知名畫商皮耶�洛布，在藝評家米修的引薦後，竟意外買下趙無極十餘幅作品，從此展開多年的合作。同時從1950年開始的二十多年，趙無極的畫作經常入選「五月沙龍」，自此展開藝術航行的探索。趙無極於1950年初期的作品獨特的線條、符號已隱隱躍動著。亨利．米修在他此時的繪畫裡發現了詩的存在，特別寫詩歌頌他的作品。趙無極自幼讀古詩，習書法，對詩畫意境有一定的研究，況且在中國詩與畫本就合一。透過畫裡簡單的形體與色彩，趙無極吸引了當時知名藝術家的關注，如杜布菲。而雕塑家傑克梅第則說過，特別喜歡趙無極畫中具象的部份。後來，趙無極放下畫筆前往南歐旅行，義大利、西班牙的古典建築吸引他的目光，地中海岸的迷人風光，教堂壁畫的神聖氛圍與象徵性，都是他的創作泉源。趙無極花了很多時間精心研究，如何採用平面的透視來表現空間，以及如何為物象佈局等等。藝評家馬歇索（Daniel Marchesseau）認為，「他找到一種東方纖細筆劃和西方古典建築結構相結合的畫路」（參閱《趙無極繪畫六十年回顧》展覽目錄，上海三聯書店，1998，頁 22）。這種線條結構風格在1950至1951年成形，對於後來的抒情抽象發展，具有啟發的意義。 1951年完成的《藍色夜航》一作，法文題目原意指「藍色背景上的船」，船隻在空間的佈局，其實頗富有巧思的。趙無極說過，「他一心只想著每天要找出一個題材：一艘船、兩艘船、三艘船，一件靜物或一片風景，畫畫便成了組合和佈局的問題，只要找出一種變化，創造一種氣氛，表現出眼前的一瞬。」（參閱趙無極、梵思娃�馬凱合著、劉俐譯，《趙無極自畫像》，藝術家出版，1992年1月15日初版，1996年1月15日再版，頁104）。在這幅迷人的藍色世界裡，天上高掛一輪明月，幾艘小船靜靜地航行，周圍滿是迷濛、幽暗、斑駁的天光水色，營造出古洞穴壁畫一般的神秘氛圍。《藍色夜航》的作品，結合了線描、線刻、平塗的簡筆技法，僅以單純的輪廓勾勒形象，既無體積感亦無重量感，趨近於符號化及抽象化，帶有童話般的輕盈夢幻之感。此時的線條所刻畫的符號，有受到超現實主義畫家克利（Paul Klee）的影響，克利從東方象形文字汲取靈感，這份既具象且抽象的詩意象徵，引導趙無極回到東方的精神內蘊，朝向抽象藝術的道路。而後其繪畫所發展出的飄逸玄遠意境，氣韻生動、優雅高尚，融匯中西的嶄新形式，在二十世紀抽象表現主義的浪潮中獨樹一幟，殊為難得。 In Zao Wou–ki's memoirs there is a passage in which he recalls his month–long sea voyage from Shanghai to Paris, a trip that featured several stops on the way before he finally arrived in France for study on April 1, 1948. Zao had barely set foot in the city when he headed straight to the Louvre to feast his eyes on the masterpieces of Western art. He was thrilled by the prospect of immersing himself in the viewing and admiration of artistic works like never before, and for more than a year all he did was visiting museums, galleries and concerts–and learning French. During this period of time, he hardly painted at all, though he did the occasional sketch or block print. Later he spent a lot of time at the Académie de la Grande Chaumière, where he became acquainted with a number of fellow artists, many of which would go on to become renowned painters, such as Hans Hartung, Nicolas de Staël, Pierre Soulages, Vieira da Silva and Sam Francis.

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In 1949, he won the first prize in a sketch competition for young artists, a great encouragement for Zao, who was still finding his way and direction in the world of painting. By May of the same year, he was able to hold his first solo exhibition in Paris, which was a big success. Around 1950, Pierre Loeb, an eminent art dealer who had exhibited the paintings of countless grandmasters, and had famously declared to never act as an agent for Chinese painters, decided at the recommendation of the art critic Henri Michaux to buy as many as a dozen or so of Zao's pieces. It was the beginning of a long partnership. The year 1950 also marked the beginning of a tradition that saw Zao's paintings exhibited at the Salon de Mai on a regular basis for the next twenty something years. It was from here that Zao's artistic voyage truly took off. In 1950, Zao’s early period works displayed the first inklings of his own characteristic lines and vibrant symbolism. It was during that period that Henri Michaux spotted the existence of a latent lyricism in Zao's paintings, which inspired him to write poems in their praise. Zao, an avid reader of classical Chinese poetry and practitioner of calligraphy since his early childhood, naturally had a deep understanding of vistas and imagery in both poems and pictures, in particular since in Chinese art poetry and painting often tend to melt into one. This affinity helped Zao to use uncomplicated forms and colors to attract the attention of his peers, such as Jean Dubuffet. And it was the sculptor Alberto Giacometti who once said that he particularly enjoyed the concrete, unveiled elements in Zao's paintings. It was at this point that Zao put down his paintbrush to go on a trip through southern Europe, where the classical architecture of Italy and Spain especially caught the artist’s attention. The alluring Mediterranean coastline along with the symbols and the hallowed mood infused in the church murals he saw there became later sources of inspiration. As early as 1950, Zao had decided to focus his efforts on oil painting. Largely influenced by the mural paintings in churches and cathedrals, he spent much time on studying carefully how to employ a two–dimensional medium to produce a three–dimensional effect. He also explored different ways of composition and arrangement of objects in his paintings. The art critic Daniel Marchesseau expressed his appreciation this way: "Il retrouve alors une voie pour son pinceau, entre délés orientalisants et architectures classiques. "(cf. the exhibition catalogue Zao Wou–ki 60 ans de peintures, published in Chinese by Sanlian Publishers, Shanghai, 1998, p. 22). Zao developed this particular style in the formative years of 1950 and 1951, and it would become the basis for his later artistic development towards an "abstract expressionism" “Bateaux fond bleu,” a piece completed in 1951, takes its name from the French, meaning “A Ship on a Blue Background,” which also describes the arrangement of the ship in the painting. In truth, it is quite cleverly conceived. As Zao Wou–ki himself put it: "J'étais obsédé par l'idée? que je devais chaque jour trouver un sujet: un bateau, deux bateaux, trois bateaux, une nature morte, un paysage. Cela devenait un problème de mise en page, d'arrangement. Il fallait découvrir une variation, créer une atmosphére, rendre compte du présent. "(Zao Wou–ki, Autoportrait, Librairie Arthéme Fayard, Paris, 1988). In this enthralling world of blue we see a moon hanging high in the sky; we see several small boats quietly sailing; and all around we are gripped by a blurred, shadowy mix of sky and sea that evokes the mysteriousness of an ancient cave painting. “Bateaux fond bleu” combines the simple techniques of line art, line carving, and flat wash to produce a volume–less, weightless outline which is almost symbolist or abstract in the way it represents its images. It conveys the suspended, dreamlike fancy of a fairytale. The symbolism inherent in Zao’s line etchings of this period is heavily influenced by the surrealist Paul Klee, who himself had been inspired by the logograms of Eastern languages. Klee’s poetic symbolism—at once concrete and abstract— drew Zao back to the essential spirit of his Eastern roots and down the path of abstract art. Zao’s subsequent work combined new forms from both Eastern and Western art to contrive a graceful and distant mood, enhanced with artistic liveliness and elevated refinement. In the wave of Abstract Expressionism that struck the middle of the 20th Century, Zao flew a flag heralding his own artistic vision—truly a rarity for the time.

1. 趙無極《風景》c. 1952 65 x 92 cm 羅芙奧台北2010秋季拍賣，台幣4640萬元成交 ZAO Wou–ki, Paysage Ravenel Autumn Auction 2010 Taipei, USD 1,529,838 sold 2.

西瑪波《聖母與天使圖》現藏於巴黎羅浮宮 Cenni di pepo, called Cimabue The Virgin and Child Enthroned and Surrounded by Angels 1270, oil on wood, 168 x 110 1/4 in (427 x 280 cm) Collection Musée du Louvre, Paris

662 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip 1999 Bronze, edition no. 6/8 189(L) x 115(W) x 114(H) cm Engraved Ju Ming in Chinese, numbered 6/8 and dated '99 ILLUSTRATED: Ju Ming Taichi Sculpture , Guangxi Fine Arts Publishing House, Nanning, Guangxi, 2006, color illustrated, pp. 92–93 Ju Ming , Singapore Art Museum, Singapore, 2004, color illustrated, pp. 94–95 This sculpture is to be sold with a certificate of autheticity issued by Kalos Gallery, Taipei.

NT$ 38,000,000–60,000,000 US$ 1,288,100–2,033,900 HK$ 10,000,000–15,789,000

朱銘單鞭下勢 1999 銅雕 6/8 189(長) x 115(寬) x 114(高) cm 簽名雕刻：朱銘 99 6/8 圖錄︰《朱銘太極雕塑》，廣西美術出版社，南寧，廣西，2006，彩色圖版，頁92–93 《朱銘》，新加坡美術館，新加坡，2004，彩色圖版，頁94–95 附真善美畫廊開立之原作保證書

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朱銘《太極系列—單鞭下勢》1988 265(L) x 118(W) x 157(H) cm 羅芙奧香港2010春季拍賣會，編號020，台幣5921萬元成交 JU Ming, Single Whip Ravenel Spring Auction 2010 Hong Kong, Lot 020, USD 1,848,524 sold

朱銘《太極系列—單鞭下勢》1991 303(L) x 128(W) x 160(H) cm 羅芙奧台北2010秋季拍賣會，編號150，台幣8224萬元成交 JU Ming, Taichi Series – Single Whip Ravenel Autumn Auction 2010 Taipei, Lot 150, USD 2,711,507 sold

朱銘是台灣當代最傑出的雕塑家，在藝術界有著崇高的聲望。他是台灣20世紀1970年代鄉土運動中的代表人物，到1970年代中期他以中國太極招式為主題創作了「太極」系列，使他揚名國際藝壇。1977年他在東京中央美術館舉辦首個個展，此後他積極在亞洲、歐美等地舉辦展覽，其作品逐漸被廣泛收藏，價值亦有增無減。過去十年，朱銘的作品增值率逾百分之三百，成為唯一一位能夠躋身世界百大銷量藝術家行列的在世台灣藝術家。「太極」系列是朱銘雕刻語言和美學風格的成熟之作，亦是他藝術事業發展的一個重要里程碑。他摒棄了精細而寫實的雕刻技法，改以大刀闊斧的方式進行創作。他那忘我豁達的創作心境，雕塑出形體簡潔的半抽象作品；其幹練的線條、稜角分明的塊狀造型，散發著現代雕塑的獨特魅力。事實上，朱銘選擇太極作為他創作題材是偶然的。1968年他拜台灣著名雕塑家楊英風為師，他在楊英風鼓勵下練習太極拳以強身健體，磨練意志。在學習太極的過程中，朱銘領悟了身、心、力量的來源與制衡，以及天人合一，物我兩忘的哲理，這亦啟發他把太極融入其創作中，創作一系列以太極基本招式、雙人對招和抽象拱門為主題的雕塑作品。在創作「太極」系列的過程中，朱銘嘗試了各種風格、物料和雕塑技巧，朱銘說︰「在嘗試各種不同的材料當中，會出現意想不到的效果或問題，如此才能擺脫材料的限制，才能隨心所欲。」「太極」系列中，《單鞭下勢》可算是最廣為人知的創作系列，而此拍品更是當中的典範。此件作品捕捉蓄勢待發的瞬間姿勢，雕像雙腳一曲一直，雙手張開，重心墜下，形成一個可攻可守的姿態。作品動靜兼備、剛柔並重，充分表現出太極的和諧的思想。此《單鞭下勢》屬大型創作，作品以粗獷的塊狀面積處理，不刻意修飾刀痕，表現自然不加修飾的神韻。作品造形簡潔，體感強烈，通過大塊面的切割以及平衡的造形，充分表現出強弓之弩的智勇狀態。朱銘的《單鞭下勢》具有西方現代雕塑的厚重感，其實是受古羅馬建築的影響。朱銘於1976年隻身遠赴歐洲，被那些由巨大石頭堆砌而成的宏偉建築物所震憾，啟發他捨棄以往細緻的雕工，增添作品的動態和重量感。未來主義先鋒薄丘尼(Umberto Boccioni) 於1913年創作的《空間連續的獨特形體》創立了西方現代雕塑的典範。作品造型簡約，大步踏前，流動的線條把空間感無限延伸，散發著無窮的力量與速度感。朱銘的《單鞭下勢》呈現相若的效果，捕捉了動作的瞬間，呈現著西方現代雕塑的時尚感。儘管朱銘現時已年屆高齡，但他仍不斷創作。雖然朱銘近年埋首創作的「人間」系列充分展現這位藝術家的無窮創意，但說到藝術及投資價值，不論學界、收藏界及投資界人士，都不得不同意「太極」系列方為朱銘創作的高峰，亦是最能代表藝術家的藝術函養。朱銘2002年起停止創作「太極」系列，自此「太極」在市場上的價格便節節上升。如此珍貴的藝術品，實為值得收藏。

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One of the most distinguished and internationally recognized contemporary Asian sculptors, Ju Ming rose to prominence in the early 1970s when his highly acclaimed series captivated audiences in Taiwan. After moving to New York and holding exhibitions abroad, the artist’s international fame and appreciation accumulated, elevating him to the forefront of the Asian contemporary art scene. Ju Ming’s works have been widely sought by global collectors and dealers, and have seen a continuous increase in market value over recent years, with a total escalation in value of over 300% in the past decade. This tremendous ascension has secured Ju Ming’s place on the auction market’s list of the world’s top 100 selling artists, a remarkable status that no other living Taiwanese artist has achieved. As an essential turning point in Ju Ming’s artistic development, the “Taichi” series exhibits the maturity of the artist’s sculptural language and aesthetic style. The series epitomizes the transformation from his previously meticulous and formal craftsmanship to a sculptural aesthetic characterized by complete ease and freedom, achieving a fluid sculptural form that transcends the concept of the self. For Ju Ming, the selection of the ancient martial art of Taichi as his subject matter stemmed from a perfect melding of the artist’s technical ideals with the philosophical concepts embodied by the practice of Taichi. While under the tutelage of preeminent Modern sculptor Yuyu Yang, Ju began exercise in Taichi as means of increasing his own strength and stamina as a sculptural artist. Ju Ming’s eventual absorption with the fluid motions and inner strength cultivated from Taichi provided the artist with inspiration in developing his new series of sculptures. Seeking to capture the tranquil dynamism of controlled yet spontaneous motions, Ju Ming imbued his sculptures with a monumental animus derived from the harnessed spiritual energy of the martial art. “In a work that is harmonious and alive,” Ju Ming explains, “the texture of each part should flow in a way that serves the piece’s inner energy and sense of motion in order to present an overall shape that possesses a rhythm of the most natural and understandable kind. Such vitality is transmitted only when the inner qualities achieve outer effects. ” By adapting the inherent ideals of Taichi to the practice of sculpting, Ju Ming developed a unique aesthetic derived from a shared inspiration of self–cultivation and exploration. For more than two decades, Ju Ming created numerous sculptures under the “Taichi” series, continually expanding and refining his artistic lexicon. From early individual figurines to pairs of boxers, to exceedingly abstract arches in later years, the “Taichi” series demonstrates the evolution of Ju Ming’s artistic pursuit in terms of stylistic development, exploration of medium, and advancement in sculpting technique. Ju Ming’s unrestrained sculpting technique and process emanate visibly from works such as “Taichi Series – Single Whip”. The unrestrained liberty of Ju Ming’s aesthetic permeates the massive bronze body, creating the sensation of elegant motion within a stationary form. This ideal movement and fluidity inherent to each of Ju Ming’s works derives directly from his sculptural practice. “After starting to carve,” the artist describes, “the changes begin and follow up with the first and second cuts, and just before my mind is about to intervene, the third cut comes…Thus, even if my mind always follows, my cuts are going ahead. ” Recounting his artistic process as akin to meditation, Ju Ming continues by stating, “ideas cannot intervene, and only one very deep sense of self is left to proceed.” Clearly visible in works such as “Single Whip ”, Ju Ming relies on his own instinctual freedom of expression, deftly capturing this volatility of sculptural motion. Perhaps the most frequently explored position in Ju Ming’s Taichi oeuvre, “Single Whip” depicts an individual figure gently lowering his body, with one leg deeply bent and the other gracefully straightened. The figure raises his hands in a wide gesture implying readiness, a stance appropriate for both offence and defence. The elegant poise with which Ju has expertly sculpted this staunch figure signifies the harmony and balance between the dualities of strength and tenderness, as well as motion and stillness. Despite its size, energy and contemplation exude from the refined figure. With this piece, Ju Ming has created a fluidity of form at odds with a relatively angular and hard–edged contour. Demonstrating not only the artist’s traditional Asian inspiration, “Single Whip” retains a certain degree of steadfast weightiness attributed to the influence of ancient Roman architecture from Ju’s visit to Europe in 1976, where the artist found himself entranced by the colossal and magnificent classical architecture, inspiring him to simplify excessive details and produce clean contours in order to express a sense of monumentality. The vitality and dynamism of “Single Whip” recalls qualities of additional Western art influences, such as Italian futurist Umberto Boccioni’s explorations of capturing a sense of movement within a static form. Regarded as a prototype of Western sculpture in motion, Boccioni’s “Unique Forms of Continuity in Space” (1913) strides forth, emanating a sense of strength and speed, while the simple and curvaceous contours extend the movement into infinite space. Ju Ming’s “Single Whip” carries a similar potency and dynamic quality, claiming an imaginary space even greater than its physical volume. A diligent artist who has never stopped producing artworks, Ju Ming, undeterred by his age, still perpetually creates his “Living World” series, which continues to demonstrate the artist’s indomitable creativity. Nevertheless, the “Taichi” series remains as the most representative and valuable series within Ju’s large body of work. Since 2002, when Ju Ming ceased production of his “Taichi” series, the market value for these works has risen steadily, and is believed to continue its ascent in the global market.

663 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Shadow Boxing 1996 Wooden sculpture 22(L) x 21(W) x 39(H) cm (left) 32.5(L) x 18(W) x 42(H) cm (right) Engraved Ju Ming in Chinese and dated '96 (left) Engraved Ju Ming in Chinese and dated '96 (right) This pair sculpture is to be sold with a certificate of authenticity issued by Cave Gallery, Taipei

NT$ 7,500,000–9,500,000 US$ 254,200–322,000 HK$ 1,974,000–2,500,000

朱銘太極系列—對打 1996 木雕 22(長) x 21(寬) x 39(高) cm (左) 32.5(長) x 18(寬) x 42(高) cm (右) 簽名雕刻：'96朱銘(左) 簽名雕刻：朱銘'96(右) 附敦煌畫廊開立之原作保證書

朱銘的太極系列大致分為兩大類，一類展現個體的技巧與姿態，另一類則講求兩股力量之間的對立關係，也就是雙人對打。在單一人物的太極雕塑中，太極的力量和節奏透過身體的運動和姿勢來表達。但太極在本質上可謂兩極相生，即「陰」與「陽」，兩極相互關聯，循環往復合而為一，構成和諧而有力的運動。此件《太極系列—對打》在動靜、虛實之間，將太極拳隨屈就伸、人剛我柔、借人之力、順人之勢的精義顯露無疑。在「太極系列」的創作探索中，朱銘經歷了從有形到無形的千雕萬鑿，其作品材質上的古色古香，把人帶入寧靜而悠遠的哲學境界。在朱銘眼中，「太極系列」是他個人風格的代表，而他所要表達的那份生命力，是由內而外，而非由外而內。太極拳看似柔軟無力，實則陰陽相生、柔中寓剛、剛柔並濟、動靜相隨，它以架勢誘導身體產生調和動作的均衡，氣體運行，而達平與靜的效果。太極拳講究勻、慢、柔、圓，充分體現美學思想，宛如不同的人練太極同一招式時，會展現不同的力度。因此，當朱銘在雕塑每一件太極作品時，也賦予他們獨特的生命力。朱銘掌握了太極的精神與形式的概念，他的創作愈益自信洗鍊，達到「隨意雕琢」忘我的境界。簡單的劈、削、砍，律動感與重量感於焉而生。在這件作品中，太極對招表現了兩種武打形式，兼具冷靜與力度。 The Taichi Series by Ju Ming can be broadly divided into two categories: those depicting individuals demonstrating their skills and postures, and those that examine the contradictory relationship between opposing forces – the twin sparring figures. With the single Taichi figures, the force and rhythm of Taichi are expressed through body movements and postures. However the nature of Taichi is such that there are two types of chi: the Yin and the Yang. These two entities share a reciprocal relationship and are united as one, creating a harmonious and powerful movement. In this "Taichi Series – Shadow Boxing", he has given ultimate presentation the pith of shadowboxing yielding to dissolve attacking force, treating rigidity with suppleness, borrowing external force and complying with external orientation. In the creation exploration of "Taichi Series", Ju Ming has experienced a magnitude of elaboration from tangible to intangible. Old–world charm used as material of his works bring people into a serene and remote philosophical world. For Ju Ming, the "Taichi Series" is the starting point of his own unique style. He expresses the vital inner force discovered in Taichi boxing in a form that immediately resonates with a profound understanding of the energy within. In the "Taichi Series", Ju creates a tension between geometric abstract forms which bring forth the active and forceful postures of the figures. This, along with the contrast between the dynamic poses and the static material, and the rough and terse finishes create a rich rhythm in the works. The sculptures also play with a colorful effect of change between light and shadow. In "Single Whip", Ju Ming found his own voice and creates works of tremendous vitality and irresistible power as he explores the pure energy of traditional Taichi boxing. Mastering the spirit of Taichi and the concept of forms, Ju Ming's creations grew increasingly confident and refined, reaching a realm where he "carves at will", oblivious of himself. With a few clean marks of chopping, peeling and splitting, the sense of movement and weight is expressed. In this lot, the Taichi sparring represents two fighting forms possessing both calmness and dynamism. The form of shadow boxing, and the corresponding relation between spaces, later became an important key to his breakthrough with the more abstracted "Taichi Arch" series.

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664 LI Chen

(Taiwanese, b. 1963)

Floating Heavenly Palace 2007 Bronze, edition no. 2/8 62(L) x 41(W) x 129(H) cm Engraved Li Chen in Chinese and English, Numbered 2/8 and dated 2007 EXHIBITED: Li Chen: Mind · Body · Spirit , Singapore Art Museum, Singapore, 2009 (different sized version) Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan , Chiang Kai–Shek Memorial Hall, Taipei, 2011(different sized version) ILLUSTRATED: Li Chen: In Search of Spiritual Space , 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 185 Li Chen: Mind · Body · Spirit , Singapore Art Museum, Singapore, 2009, color illustrated, cover page, pp. 132–137 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan , Asia Art Center, Taipei, 2012, color illustrated, pp. 38–39, pp. 48–49 & pp. 96–101

NT$ 5,500,000–8,800,000 US$ 186,400–298,300 HK$ 1,447,000–2,316,000

李真天闕輕舟 2007 銅雕 2/8 62(長) x 41(寬) x 129(高) cm 簽名雕刻：李真 Li Chen 2/8 2007 展覽：「李真—精神．身體．靈魂」新加坡美術館，新加坡，2009（展品為不同尺寸版本）「大氣－李真台灣大型雕塑首展」中正紀念堂，台北，2011（展品為不同尺寸版本）圖錄：《李真—尋找精神的空間》亞洲藝術中心，台北，2008，彩色圖版，頁185 《李真–精神．身體．靈魂》新加坡美術館，新加坡，2009，彩色圖版，封面，頁132–137 《大氣－李真台灣大型雕塑首展》亞洲藝術中心，台北，2012，彩色圖版，頁38–39、頁48–49及頁96–101

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李真閱讀宋代詞人朱敦儒的〈鷓鵠天〉有感而發，於2007年創作雕塑作品《天闕輕舟》，此作成為李真代表作品之一。

鷓鵠天宋詞—朱敦儒我是清都山水郎，天教嬾慢帶疏狂。曾批給露支風敕，累奏留雲借月章。詩萬首，酒千觴，幾曾著眼向侯王？玉樓金闕慵歸去，且插梅花醉洛陽。譯文：我是一個掌管山水的天神，上天賦予我狂傲不羈的性格。我有呼風喚雨的能力，能輕易支配大自然。滿腹經綸，飲酒千杯，但從未留心侯王之位。連天上的宮殿我都不想去居住，情願瀟灑自在的陶醉在洛陽。李真讀後為朱氏感到心痛不捨，深刻感受到活在那個時代的滄桑及悲哀，感嘆朱氏生不逢時。試想，若朱氏活在富多元價值觀的現代社會，可發揮長才、有自由創作的空間，更可追求自己的生命理想，每個人都可以追求自己認可的生活態度，而不需盲目依附於所謂的主流價值，那麼他的遭遇可能截然不同。但諷刺的是，若沒有當時環境所產生的集體意識，朱氏也無法寫出那麼美的詩詞流傳千古，然而代價就是失去自我。李真認為，朱氏的才華不應被滄桑的時代背景所侷限，在不同時空中，存在著不同的價值，而在環境中追求屬於自我的生命價值，重於一切。《天闕輕舟》的人物手頂著雲端上的天闕，在太湖石上單腳站立，竟輕鬆達到平衡、泰然而立。金屋意有所指—權力嗎？財富嗎？天堂或極樂世界？或者不在意？一種自在又逍遙連結天際、指引浮雲般的輕舟？待觀者用自己的生命目標，各自體會。

Li Chen’s latest representative masterpiece is "Floating Heavenly Palace", which was completed in 2007. This piece was inspired from reading the poem "Partridge Sky" composed by the poet Zhu Dun–ru from the Song Dynasty.

(Translation:) "Partridge Sky", a poem from the Song Dynasty, by Zhu Dunru A heavenly god in charge of the mountains and rivers, Heaven has bestowed upon me a wild and untamable nature. Able to summon the winds and the rain, I can easily maneuver nature. Full of knowledge and holding my liquor well, I've never fancied the position of power. I don’t even want to live in the Heavenly Palace, I would rather ride on the breeze in a pure and clear state, and being enchanted in Loyang. Li Chen was saddened after reading Zhu's poem. He lamented Zhu's unfortunate experience and sympathized with Zhu for his sorrows and unhappiness caused by his being born at the wrong time. If Zhu were born in this era and was allowed ample freedom to create his works, he might live a totally different life. He could have been able to pursue a life that is worth living. In our modern society, varied values exist and each person can adopt a life attitude that he identifies with instead of blindly following the mainstream values. However, what is ironic is that if Zhu weren’t limited by the environment and values at that time, he would not have been able to compose such a beautiful poem. It is important to search for one’s own values under different circumstances. A golden palace in the cloud is held by one finger of the smiling figure, who balances himself easily with one foot on a Taihu rock and is composed and calm. What does this golden palace refer to? Power, fortune, heaven, utopia or nothingness? There is an unfettered freedom connecting to somewhere afar like a small boat floating above the cloud. Viewers are invited to find their own references with one’s own thoughts and life goals.

665 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Arch 1991 Bronze, editionn no. 18/20 92(L) x 37.5(W) x 44(H) cm Engraved Ju Ming in Chinese, numbered 18/20 and dated 91 This sculpture is to be sold with a certificate of autheticity issued by Kalos Gallery, Taipei.

NT$ 5,500,000–6,500,000 US$ 186,400–220,300 HK$ 1,447,000–1,711,000

朱銘太極系列—拱門 1991 銅雕 18/20 92(長) x 37.5(寬) x 44(高) cm 簽名雕刻：朱銘 18/20 91 附真善美畫廊開立之原作保證書

「太極拱門」原本是從雙人太極推手演化而來。藝術家說：「以前的推手，兩個個體間還有間距，而現在，我讓雙手連接起來，一連接，氣的流動、肌肉的牽動，就相互貫通、活絡，合為一體，轉化成拱門的造型。」太極拳法瀟灑飄逸，你來我往之間，雙方拳者象徵著中國的陰陽兩儀，推手的兩方又構成了太極的本體。朱銘從練太極拳中獲得自然的啟示， 1970年代後期開始專研太極造型，逐漸發表一系列蜚聲國際的太極系列雕塑，其中「太極拱門」可謂是頗具動感的一種姿態。「太極拱門」特別之處也在於它與其所處之角落和諧共存，並漸漸地成為周遭中有機的構成要件，融合了中國園林天地圓融的東方哲學思想，無論其大小，所表現的空間感都是不受限的，也許是因為朱銘賦予的空靈氣質所致，散發出無限延伸之感。 "Taichi Arch" originally evolved from "Taichi Pushing Hands". The artist said: "There are distances between two objects in the 'Pushing Hands' from the past, now, I have connected those too hands, once they are connected, the flow of chi, and movements of muscles are connected and alive, becoming a single object, and are transformed to an arch. " Far from being just a martial art, Taichi is unrestrained and graceful, the relationship of two boxers are like the Chinese Ying Yang, pushing hands between two formed Taichi. Ju Ming was inspired by nature when he practiced Taichi, and gradually completed his world–famous Taichi Series. Among the series, "Arch" is one of the liveliest pieces of work. The uniqueness of the "Taichi Arch" lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The intensity presented by the sculpture, regardless of its size, is unrestricted. Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.

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666 LI Rui

(Chinese, b. 1984)

Son of Heaven No. 5 2009 Oil on canvas 79.5 x 120 cm Signed upper left Li Rui in Chinese ILLUSTRATED: Son of Heaven , Ping Art Sapce, Taipei, 2010 color illustrated, p. 8

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

122

李銳天子 No. 5 2009 油彩畫布 79.5 x 120 cm 簽名左上：李銳圖錄：《天子誕生》，藏新藝術有限公司，台北，2010，彩色圖版，頁8

667 DU Xi

(Chinese, b. 1980)

Heroes 2012 Oil on canvas 50 x 160 cm Signed lower left DU XI in Chinese and English, dated 2012

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

杜溪好漢圖 2012 油彩畫布 50 x 160 cm 簽名左下：杜溪 DU XI 2012

668 LIN Dachuan

(Chinese, 1912–1985)

West Lake Oil on canvas 26.5 x 37 cm Signed lower right D.T. Lin in English

NT$ 120,000–220,000 US$ 4,100–7,500 HK$ 32,000–58,000

林達川西湖風光油彩畫布 26.5 x 37 cm 簽名右下：D.T. Lin

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669 ZHANG Chongren (Chinese, 1907–1998) 2

Landscape (a set of 4) 1955 Watercolor on paper 21.7 x 28.2 cm (1) 19 x 26.5 cm (2) 19.5 x 26.5 cm (3) 26.6 x 21.1 cm (4) Signed lower right Chongren in Chinese (1, 2, 3) Signed lower right Chongren in Chinese and dated lower left 1955.11.15 (4)

NT$ 140,000–260,000 US$ 4,700–8,800 HK$ 37,000–68,000

張充仁 3

風景（四件一組） 1955 水彩紙本 21.7 x 28.2 cm (1) 19 x 26.5 cm (2) 19.5 x 26.5 cm (3) 26.6 x 21.1 cm (4) 簽名右下：充仁 (1、2、3) 簽名右下：充仁 1955.11.15 (4)

670 T'ANG Haywen

(Chinese–French, 1927–1991)

Landscape with Lake (diptych) Acrylic on paper 29 x 41 cm Signed lower right Tang in English and Haywen in Chinese

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

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唐海文湖中天地（雙聯幅）壓克力紙本 29 x 41 cm 簽名右下：Tang 海文

671 John WAY

(Chinese–American, 1921–2012)

Abstract 1994 Oil on canvas 76.5 x 56.5 cm Signed lower left John WAY in English and dated '94 ILLUSTRATED: John Way , Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 186

NT$ 220,000–420,000 US$ 7,500–14,200 HK$ 58,000–111,000

魏樂唐抽象 1994 油彩畫布 76.5 x 56.5 cm 簽名左下：John WAY '94 圖錄：《魏樂唐八十回顧》，上海美術館，上海， 2001，彩色圖版，頁186

672 ZAO Wou–ki

(Chinese–French, b. 1921)

À la gloire de l’image et Art poétique; Untitled (a set of 2) 1976; 1970 Lithographs printed in 6 colors on Rives Paper Edition no. 11/99; E.A. 40 x 76 cm (image); 50 x 76 cm (paper) 45 x 64.5 cm (image); 56 x 76 cm (paper) Signed lower right Wou–ki in Chinese, ZAO in French; numbered lower left 11/99 and dated 76 Signed lower right Wou–ki in Chinese, ZAO in French; numbered lower left E.A. and dated 70 ILLUSTRATED: Zao Wou–ki,, The Graphic Work A Catalogue Raisonné 1937–1995 , Edition Heede & Moestrup, Copenhagen, 2001, color illustrated, no. 279, p. 155; no. 205, p. 123 Prinnted in 6 colors, 45 x 64.5cm, edition of 99 on Rives paper, 56 x 76cm, signed and dated, 10 Artist's proofs, signed and dated. Printed by E. and J. Desjobert, Paris. publishd by Raymond and Raymond, New York

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

趙無極詩歌藝術和圖像的榮耀；無題（兩件一組） 1976、1970 石版畫 11/99；E.A. 40 x 76 cm (圖)； 50 x 76 cm (紙) 45 x 64.5 cm (圖)； 56 x 76 cm (紙) 簽名右下：無極ZAO 76 版次左下：11/99 簽名右下：無極ZAO 70 版次左下：E.A. 圖錄：喬詹．阿格魯普，《趙無極版畫集 1937–1995》，黑德與莫斯特魯普出版社，哥本哈根，2001，彩色圖版，編號279，頁155；編號 205，頁123

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673 ZAO Wou–ki

(Chinese–French, b. 1921)

Montagnes et Soleil; Les Cerfs (a set of 2) 1951; 1952 Lithographs printed in 4 colors on Arches Paper Edition no. 65/200; E.A. 30 x 45 cm (image); 38 x 56 cm (paper) 33.2 x 49 cm (image); 38 x 56 cm (paper) Signed lower left Wou–ki in Chinese, ZAO in French and numbered lower right 65/200 Signed lower right Wou–ki in Chinese, ZAO in French, dated 52 and numbered lower left épreuve d'artiste ILLUSTRATED: Zao Wou–ki, The Graphic Work A Catalogue Raisonné 1937–1995 , Edition Heede & Moestrup, Copenhagen, 2001, color illustrated, no. 59, p. 45; no. 76, p. 54

NT$ 800,000–1,000,000 US$ 27,100–33,900 HK$ 211,000–263,000

趙無極群山與太陽；鹿（兩件一組） 1951；1952 石版畫 65/200；E.A. 30 x 45 cm (圖); 38 x 56 cm (紙) 33.2 x 49 cm (圖); 38 x 56 cm (紙) 簽名左下：無極 ZAO 版次右下：65/200 簽名右下：無極 ZAO 52 版次左下：épreuve d'artiste 圖錄：喬詹．阿格魯普，《趙無極版畫集 1937–1995》，黑德與莫斯特魯普出版社，哥本哈根，2001，彩色圖版，編號59，頁45；編號76，頁54

674 SANYU

(Chinese–French, 1901–1966)

Nudes Charcoal and ink on paper 47 x 29.5 cm Signed center left Yu in Chinese and SANYU in French Provenance: Dimensions Art Center, Taipei Private collection, Asia Exhibited: Sanyu , Dimensions Art Center, Taipei, April 1992 Illustrated: Important Works by Sanyu, Paris Period , Dimensions Art Center, Taipei, 1992, color illustrated, p. 23 This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

NT$ 280,000–480,000 US$ 9,500–16,300 HK$ 74,000–126,000

常玉雙裸女炭筆水墨紙本 47 x 29.5 cm 簽名左方：玉 SANYU 來源：帝門藝術中心，台北私人收藏，亞洲展覽：「常玉」，帝門藝術中心，台北，展期 1992年4月圖錄：《常玉巴黎時期重要作品集》，帝門藝術中心，台北，1992，彩色圖版，頁23 附帝門藝術中心開立之原作保證書

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675 T'ANG Haywen

(Chinese–French, 1927–1991)

Abstract (diptych) Ink and color on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 360,000–550,000 US$ 12,200–18,600 HK$ 95,000–145,000

唐海文抽象（雙聯幅）彩墨紙本 70 x 100 cm 簽名右下：T'ang 海文

676 T'ANG Haywen

(Chinese–French, 1927–1991)

Black and Red (diptych) Ink and color on paper 70 x 100 cm Signed center right T'ang in English and Haywen in Chinese

NT$ 360,000–550,000 US$ 12,200–18,600 HK$ 95,000–145,000

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唐海文黑與紅的聯想（雙聯幅）彩墨紙本 70 x 100 cm 簽名右方：T'ang 海文

677 HUANG Gang (Chinese, b. 1961)

Red Wall 2006 Mixed media on board 65 x 65 cm Signed lower right Huang Gang in English and Chinese

NT$ 360,000–550,000 US$ 12,200–18,600 HK$ 95,000–145,000

黃鋼紅牆 2006 綜合媒材木板 65 x 65 cm 簽名右下：Huang Gang 黃鋼

678 WANG Jinsong (Chinese, b. 1963)

One Hundred Signs of the Demolition 1999 Digital print on photographic paper, edition no. 14/30 47 x 127 cm Signed lower right WANG JINSONG in Chinese and English, numbered B 14/30 Titled lower left "One Hundred Signs of the Demolition" in Chinese and English, inscribed 47 x 127 cm and dated 1999 With one seal of the artist

NT$ 320,000–550,000 US$ 10,800–18,600 HK$ 84,000–145,000

王勁松百拆圖 1999 影像輸出相紙 14/30 47 x 127 cm 簽名右下：王勁松 WANG JINSONG B 14/30 題識左下：《百拆圖》 "One Hundred Signs of the Demolition" 47 x 127 cm 1999年製作鋼印：王勁松製作 WANG JINSONG WORK

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679 CAI Guo–Qiang (Chinese, b. 1957)

Golden Yuan Bills – Numinous Talismans 2005 Gunpowder, ink, golden yuan bills, mounted on paper 38 x 28 cm Signed lower left Cai Guo–Qiang in Chinese and Cai in English, dated 2005 , inscribed lower right KY Tsai in English

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

蔡國強金圓券—招財平安符 2005 火藥爆破水墨金圓券裱於宣紙 38 x 28 cm 簽名左下：蔡國強 Cai 2005 題識右下：KY Tsai

680 CAI Guo–Qiang (Chinese, b. 1957)

Golden Yuan Bills–Numinous Talismans 2005 Gunpowder, ink, golden yuan bills, mounted on paper 38 x 28 cm Signed lower center Cai Guo–Qiang in Chinese and Cai in English, inscribed lower center KY Tsai in English

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

蔡國強金圓券—招財平安符 2005 火藥爆破水墨金圓券裱於宣紙 38 x 28 cm 簽名下方：蔡國強 Cai 題識下方：KY Tsai

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681 XUE Song

(Chinese, b. 1965)

New Landscape 2010 Mixed media on canvas, collage 100 x 80 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled “New Landscape” in Chinese, inscribed 100 cm x 80 cm and dated 2010

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

薛松新山水 2010 綜合媒材畫布拼貼 100 x 80 cm 簽名右下：薛松簽名畫背：《新山水》 100 cm x 80 cm 薛松 Xue Song 2010

682 HU Shanyu

(Chinese, 1909–1993)

West Lake 1979 Oil on canvas 60 x 79 cm Signed lower right Shanyu in Chinese and dated 79

NT$ 500,000–700,000 US$ 16,900–23,700 HK$ 132,000–184,000

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胡善餘西湖風光 1979 油彩畫布 60 x 79 cm 簽名右下：善餘 79

683 HONG Ling

(Chinese, b. 1955)

Misty Forest 2002 Oil on canvas 60 x 70 cm Signed lower left Hong Ling in Chinese and dated 2002 Signed on the reverse Hong Ling , titled “Misty Forest” in Chinese, inscribed 60 x 70 cm and dated 2002

NT$ 500,000–700,000 US$ 16,900–23,700 HK$ 132,000–184,000

洪凌幽蘊 2002 油彩畫布 60 x 70 cm 簽名左下：洪陵 2002 簽名畫背：《幽蘊》 60 x 70 cm 洪凌2002年

684 ZHOU Chunya (Chinese, b. 1955)

Lying Figure – No.1 1990 Charcoal on paper 52 x 77 cm Signed lower left Zhou Chunya in Chinese and dated 1990 summer ILLUSTRATED: Selected Oil Paintings Of Zhou Chunya , Sichuan Fine Arts Publishing House, Sichuan, 1992, color illustrated, p. 38

NT$ 500,000–700,000 US$ 16,900–23,700 HK$ 132,000–184,000

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周春芽躺著的人體之一 1990 炭筆紙本 52 x 77 cm 簽名左下：1990年夏周春芽圖錄：《周春芽作品集》，四川美術出版社，四川，1992，彩色圖版，頁38

685 YANG Chihung (Taiwanese, b. 1947)

The Birth of Flowers 1986 Charcoal and acrylic on canvas 198 x 153 cm Signed on the reverse Chihung Yang in English, titled The Birth of Flowers , inscribed charcoal and acrylic / canvas 78 x 60 inches and dated 1986

NT$ 750,000–1,000,000 US$ 25,400–33,900 HK$ 197,000–263,000

楊識宏花的誕生 1986 炭筆壓克力畫布 198 x 153 cm 簽名畫背：Chihung Yang The Birth of Flowers 1986 charcoal and acrylic / canvas 78 x 60 inches

686 JIA Gang

(Chinese, b. 1974)

Missing Lao Shi No. 2 2005 Oil on canvas 150.5 x 100 cm Signed lower right Jia Gang in Chinese and dated 2005.4 This painting is to be sold with a certificate of authenticity issued by New Age Gallery, Taichung.

NT$ 600,000–800,000 US$ 20,300–27,100 HK$ 158,000–211,000

賈剛想念老十（二） 2005 油彩畫布 150.5 x 100 cm 簽名右下：2005.4 賈剛附新時代畫廊開立之原作保證書

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687 TU Hongtao

(Chinese, b. 1976)

An Absurd Play on the Red Carpet 2005 Oil on canvas 150 x 210 cm Signed lower center Tu Hongtao in English and dated 05 Signed on the reverse Tu Hongtao , titled An absurd play on red carpet , inscribed Chengdu 210 x 150 cm all in Chinese and dated 2005

NT$ 800,000–950,000 US$ 27,100–32,200 HK$ 211,000–250,000

屠宏濤荒誕的紅地毯 2005 油彩畫布 150 x 210 cm 簽名中下：Tu Hongtao 05 簽名畫背：《荒誕的紅地毯》屠宏濤 2005 成都 210 x 150 cm

688 YANG Chihung (Taiwanese, b. 1947)

Imagery of Snow 2007 Acrylic on canvas 91 x 182 cm Signed on the reverse Chihung Yang , titled Imagery of Snow , both in English and dated 2007 ILLUSTRATED: Inner Vision Human Condition – Chihung Yang Solo Exhibition , National Art Museun of China, Beijing, Asian Art Center, Beijing, 2007, color illustrated, pp. 184–185 This painting is to be sold with a certificate of authenticity issued by Asian Art Center, Taipei

NT$ 750,000–1,000,000 US$ 25,400–33,900 HK$ 197,000–263,000

楊識宏雪的意象 2007 壓克力畫布 91 x 182 cm 簽名畫背：Chihung Yang Imagery of Snow 2007 圖錄：《心象情境：2007楊識宏北京中國美術個展》，亞洲藝術中心，北京，2007，彩色圖版，頁184–185 附亞洲藝術中心開立之原作保證書

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689 ZHANG Hongtu (Chinese, b. 1943)

Wu Hong – Van Gogh 2003 Oil on canvas 101 x 151 cm Signed lower left Zhang Hongtu and dated 2003 both in Chinese Signed on the reverse Zhang Houngtu in English and dated 2003 With eleven seals of the artist EXHIBITED: Dialogue with the Taipei Palace Museum: Zhang Hongtu Solo Exhibition , Lin & Keng Gallery, Taipei, February 7–29, 2004 Zhang Hongtu, Wang Huaiqing, Tony Wong , Lin & Keng Gallery, Taipei, 2005–2006 Old Track New Branch, A New Spring, Space B , Lin & Keng Gallery, Taipei, 2008 ILLUSTRATED: Dialogue with the Taipei Palace Museum: Zhang Hongtu Solo Exhibition , Lin & Keng Gallery Inc., Taipei, 2004, color illustrated, pp. 14–15

NT$ 900,000–1,500,000 US$ 30,500–50,800 HK$ 237,000–395,000

張宏圖吳宏─梵谷 2003 油彩畫布 101 x 151 cm 簽名左下：張宏圖二〇〇三年簽名畫背：Zhang Houngtu 2003 手繪鈐印：張；張；宏圖；也姓鄭；不在此山中；ZHANG；東張西望；宏圖再製；我行我素；羊年吉祥；家在河南展覽：「張宏圖中國山水畫再製系列─與台北故宮的對話」，大未來畫廊，台北，展期自2004年2月7–29日「張宏圖、王懷慶、黃榮禧」，大未來畫廊，台北，2005–2006 「老幹新枝又一春－台北B館開幕展」，大未來畫廊，台北，2008 圖錄：《與台北故宮私對話：張宏圖個展》，大未來畫廊，台北，2004，彩色圖版，頁14–15

690 George CHANN

(Chinese–American, 1913–1995)

Power of Words Mixed media on canvas, collage 61.5 x 51.5 cm

NT$ 1,100,000–2,200,000 US$ 37,300–74,600 HK$ 289,000–579,000

陳蔭羆文字的力量綜合媒材畫布拼貼 61.5 x 51.5 cm

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691 George CHANN

(Chinese–American, 1913–1995)

DA#2 Oil on canvas 102 x 78 cm Signed lower right GEO. CHANN in English This painting is to be sold with a certificate of authenticity issued by Moon River Fine Art, Taipei.

NT$ 1,400,000–2,400,000 US$ 47,500–81,400 HK$ 368,000–632,000

陳蔭羆 Da#2 油彩畫布 102 x 78 cm 簽名右下：GEO. CHANN 附雲河藝術開立之原作保證書

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692 ZHANG Hongtu (Chinese, b. 1943)

Fan Kuan – Cézanne NPM 2003 Oil on canvas 178 x 122 cm Signed upper left Zhang Hongtu and dated 2003 in Chinese Signed on the reverse Zhang Hongtu in English and dated 2003 With sixteen seals of the artist EXHIBITED: Dialogue with the Taipei Palace Museum: Zhang Hongtu Solo Exhibition , Lin & Keng Gallery, Taipei, February 7–29, 2004 ILLUSTRATED: Dialogue with the Taipei Palace Museum: Zhang Hongtu Solo Exhibition , Lin & Keng Gallery Inc., Taipei, 2004, color illustrated, p. 39

NT$ 1,800,000–2,600,000 US$ 61,000–88,100 HK$ 474,000–684,000

張宏圖范寬—塞尚 Npm 2003 油彩畫布 178 x 122 cm 簽名左上：張宏圖二OO三年簽名畫背：Zhang Hongtu 2003 手繪鈐印：乾隆鑑賞；張；也姓鄭；宏圖；張；再製；ZHANG；我行我素；蘇柏衡；徐；御書；古希天子；樂壽堂鑑藏寶；石渠寶笈；石渠定鑑；我行我素展覽：「張宏圖中國山水畫再製系列─與台北故宮的對話」，大未來畫廊，台北，展期自2004年2月7日至2月29日圖錄：《與台北故宮私對話：張宏圖個展》，大未來畫廊，台北，2004，彩色圖版，頁39

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693 HONG Ling

(Chinese, b. 1955)

Spring Valley 2004 Oil on linen 210 x 180 cm Signed upper left Hong Ling in Chinese and dated 2004, Spring Snow in Chinese Signed on the reverse Hong Ling and titled Spring Valley in Chinese, inscribed 180cm x 210cm and dated 2004

NT$ 2,500,000–3,800,000 US$ 84,700–128,800 HK$ 658,000–1,000,000

洪凌春鬧幽谷 2004 油彩亞麻布 210 x 180 cm 簽名左上：洪凌 2004 春雪簽名畫背：春鬧幽谷 180 cm x 210 cm 洪凌作于2004年

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694 ZHOU Chunya (Chinese, b. 1955)

Branches with Flowers 1998 Oil on canvas 53 x 45.5 cm Signed lower right Zhou Chunya in Chinese Zhou in English and dated 1998

NT$ 2,000,000–3,000,000 US$ 67,800–101,700 HK$ 526,000–789,000

周春芽樹枝與花 1998 油彩畫布 53 x 45.5 cm 簽名右下：1998 周春芽 Zhou

1990年代起，周春芽開始「花卉」系列的創作。花卉一直是中國傳統文人樂於表現的題材，而在周春芽的手法下有了嶄新詮釋。在此幅《樹枝與花》的作品中，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 "Branches with Flowers", 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".

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695 ZHOU Chunya (Chinese, b. 1955)

Hei Gen 2004 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and English, dated 2004

NT$ 5,000,000–6,000,000 US$ 169,500–203,400 HK$ 1,316,000–1,579,000

周春芽黑根 2004 油彩畫布 100 x 80 cm 簽名右下：2004 周春芽 Zhou Chunya

1993年，周春芽剛從德國返國，在忘年交岑學恭（著名國畫家、三峽畫派創始人）那裡看到了岑老養的大黑貝，一隻德國牧羊犬。周春芽被這隻狗展現的「姿態」所深深地吸引了，一身「鐵包金」的毛，在陽光下反射出金屬般的光澤。透過岑老的介紹，周春芽從真正的狗主人家抱回了一隻小狗仔，起名「黑根」。從此，藝術家不但與狗結下不解之緣，更是因此獲得了藝術上的高峰。黑根是德國名字，為了紀念早年在卡塞爾的留學時光，還有另外一個因緣是，當年的成都岷山飯店附近有家名氣響亮的黑根啤酒館，他跟朋友經常去小酌，有種熟悉的親近感。在遇到黑根之前，周春芽並不太喜歡狗，而黑根之後，他迷上了所有狗，在他看來，狗是世界上最忠誠和最可愛的動物。周春芽常常以寥寥數筆勾勒出生機盎然的狗，對狗的寵愛展露無遺。用黑色描繪的黑根，承接了周春芽1990年代在山石與花卉題材的探索，也更像是書寫畫家的一篇生活日記。散開的筆鋒皴擦、拖曳，交替著順筆、逆鋒、側鋒，使整幅畫面生機勃勃，呈現出藝術家心境上的輕鬆愉快。「黑根很聰明，那時我開的是老北京吉普，發動機聲音很大，牠從幾條街之外就可以辨認出我車的聲音，知道我要回來了就興奮地在家中狂吠。」即使多年過去，每次回想起黑根，周春芽仍掩飾不住思念和鍾愛。雖然真正的相處只有五、六年的時間，但是在周春芽的藝術歷程中，黑根已經成為一個永恆的象徵。 In 1993, Zhou Chunya, recently returned from Germany, saw a German shepherd dog at the house of his old friend, Cen Xuegong (famous Chinese ink painter and founder of the Three Gorges School). Zhou was drawn in by this dog's strong sense of form, with its black and gold fur that glowed in the sunlight. Cen introduced him to the dog's owner, where Zhou picked up a puppy, which he named Heigen. This encounter solidified Zhou's relationship with dogs, and set him on the path to dizzying artistic heights. Heigen is a German name, a nod to the artist's days studying abroad. Zhou studied art at Kassel. There is another reason for the name: there was a famous bar in Chengdu in those days, near the Minshan Hotel, called Heigen Tavern. Zhou would often go there for a drink with his friends. It was a familiar and close setting. Before meeting Heigen, Zhou Chunya didn't really like dogs. But afterwards, Zhou fell in love with all dogs. In his eyes, dogs are the most faithful and lovable animals in the world. Zhou Chunya would often evoke the vivaciousness of this dog, and his doting love for it, with a few scant brushstrokes. His black paintings of Heigen were a continuation of his 1990s explorations of the stone and flower themes, and were more like a living diary of a painter. The chapped, rugged strokes of the brush tip are interspersed with smooth strokes, creating a sense of vitality and evoking the artist's relaxed and happy demeanor. "Heigen was very smart. At the time, I was driving an old Beijing Jeep, and the engine was really loud. Heigen could pick out the sound of my car from several blocks away, and he would bark in excited anticipation." After all these years, when he thinks of Heigen, Zhou Chunya can't conceal his fondness for his old companion. Though they were only together for about six years, Heigen has become an eternal symbol of Zhou's artistic progression.

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696 SU Xiaobai

(Chinese, b. 1949)

Huang Tingjian 2009 Oil on board, lacquer on linen cloth 220(L) x 180(W) x 9(D) cm Signed lower right Xiaobai in English Signed on the reverse Su Xiaobai in Chinese, Xiaobai in English, titled Huang Tingjian in Chinese, inscribed 220 x 180 cm , dated 2009

NT$ 8,000,000–10,000,000 US$ 271,200–339,000 HK$ 2,105,000–2,632,000

蘇笑柏黃庭堅 2009 油彩木板大漆亞麻布 220(長) x 180(寬) x 9(厚) cm 簽名右下：Xiaobai 簽名背板：《黃庭堅》2009 220 x 180 cm 蘇笑柏 Xiaobai

蘇笑柏於1984年入中國的中央美術學院就讀，在此之前曾於武漢的工藝美術學校學習。1987年獲德國文化藝術獎學金，1992年赴德國的杜塞爾多夫（Düsseldorf）藝術學院繼續深造，師從克拉菲克（Konrad Klapheck）、李希特（Gerard Richter）及呂佩爾茨（Markus Lupertz）等藝術大師。在中國時，蘇笑柏學習傳統繪畫的技法，技藝的能力逐日精進；留學德國時，他試著擺脫既有的技能，培養出具有個人風格的抽象符號及語彙。浸淫於西方文化，與故鄉分離，使得藝術家體驗到藝術的重生，更深刻了解他所處的環境，得以培養能力重新發現藝術與工藝之間二元性，進而發展觀看祖國傳統文化的新視野。2002年回到中國後，蘇笑柏被具有千年歷史、象徵東方文化的漆藝深深吸引，於是嘗試以油彩、大漆、麻布及木板等材質取代油畫布，他將大漆和麻布定位為純粹的構圖框架，紅、黑大色塊的架構，帶有硬邊藝術的特色。他對於作品有高度的追求，畫幅邊緣看似隨意又不失刻意。此幅拍品《黃庭堅》作品創作於2009年，以中國宋朝大詩人、書法家為題，中黃、大紅的色彩帶有中國的底蘊。它是一幅結構俐落的抽象畫，畫家所講究的是畫面本身，儘可能採減法的方式，找到最原初的造型，既是最簡單抑是最邊緣的，但卻能顯露大器不凡的風範。 2010年初，德國的蘭根基金會（Langen Foundation）為蘇笑柏舉辦了一場備受矚目的個展「色彩王朝」（Die Dynastie der Farben），吸引了歐、美、亞洲上千名國際重要藝文界人士參觀，非常風光。 Su Xiaobai studied painting at the Wuhan School of Arts and Crafts, the Wuhan Institute of Painting, and the Hubei Institute of Fine Arts before attending the Beijing Central Academy of Fine Arts, where he studied the techniques of traditional painting and accumulated his abilities in expressive techniques. He was later awarded a German Cultural and Art scholarship to participate in the graduate program offered by the Düsseldorf Academy of Fine Arts in Germany in 1987. Under the guidance of Konrad Klapheck, Gerard Richter, and Markus Lupertz, he strived to break away from the skills he mastered in Beijing, and develop a visual language rich in personal experience, life observation, and abstract symbols. Immersion in Western culture and separation from his homeland led the artist to experience an artistic rebirth, consequently fostering a deeper understanding of his surroundings, cultivating the ability to rediscover the duality between art and object, and developing a renewed perspective towards the traditional culture of his ancestry. Upon his return to China in 2002, Su became inspired by lacquer– a thousand-year-old plant material and a symbol of Oriental culture. He began to paint lacquer on linen and bricks, later unrestrainedly experimenting with oils, sack-cloths, clay, vines, and wood as a substitute for oil on canvas. The artist paints layers of vibrantly colored lacquer in a purely structural and balanced composition, adhering to the framework of solid expanses of red and black and rendering a three-dimensional momentum and vitality. The thick, imposing texture stimulates a curiosity within the viewer, while the integration of cultural and historical accumulation permeates the expressively colored abstracts. The seemingly arbitrary, yet meticulously deliberate handling of visual forms reveal the artist’s pursuit of aesthetic depth and quality. Su stands at the cross-cultural convergence of Eastern and Western civilizations, embodying the reciprocal philosophies and assimilation of the new globalized world, but maintains his own personal reinvention.

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697 ZHOU Chunya (Chinese, b. 1955)

Taihu Lake Stone 2000 Oil on canvas 196.5 x 148 cm Signed lower right Zhou Chunya in Chinese and English, dated 2000 EXHIBITED: 1971–2010 Forty Years Retrospective Review of Zhou Chunya , Shanghai Art Museum, Shanghai, June 13–23, 2010 ILLUSTRATED: Zhou Chunya , Timezone 8, Hong Kong, 2010, color illustrated, pp. 432–433

NT$ 25,000,000–40,000,000 US$ 847,500–1,355,900 HK$ 6,579,000–10,526,000

周春芽太湖石 2000 油彩畫布 196.5 x 148 cm 簽名右下：2000 周春芽 ZHOU Chunya 展覽：「1971–2010 周春芽藝術四十年回顧」，上海美術館，上海，展期自2010年6月13日至23日圖錄：《周春芽》，東八時區，香港，2010，彩色圖版，頁432–433

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周春芽《紅山石》1998 150 x 120 cm 榮寶齋2012春拍，人民幣1265萬元成交 ZHOU Chunya, Red Stone , RMB 12,650,000 sold

周春芽《剪羊毛》1981 180 x 250 cm 中國嘉德2011秋拍，人民幣3047.5萬元成交 ZHOU Chunya, Sheepshearing , RMB 30,475,000 sold

周春芽《紅石》1999 150 x 120 cm 北京翰海2011秋拍，人民幣1046.5萬元成交 ZHOU Chunya, Red Stone , RMB 10,465,000 sold

放眼過去數十年中國藝壇的潮流與風格演變，周春芽與其他當代藝術家卓然不同。在靈感、象徵、技巧與理念等方面，周春芽都有自己獨特的藝術走向，不隨流行起舞，努力建立自己的藝術表現手法。周春芽不願與其他當代中國藝術家一樣，為政治與意識形態掛帥的藝術理論背書，他透過多項代表性系列作品，展現自己的熱忱與興趣，如：「西藏」、「石頭」、「花卉」、「桃花」與「綠狗」。周春芽獨特的表現手法深獲各界肯定，2010 年更在上海美術館舉辦第一次個人回顧展。同年，周春芽榮獲 2010藝術權利榜（Art Power Awards）年度藝術家頭銜，前一年得主是周春芽的好友張曉剛。周春芽不願以特定流派侷限自己的藝術風格，因此作品風格與表現能夠維持原創性。周春芽與當代藝術潮流與運動首次脫鉤，是在文化大革命之後。當時他在四川美術學院的同學發起傷痕藝術運動，反應社會動亂與歷史傷痕等現況，而周春芽卻以藏人的田園牧歌與農村生活為題材。他表示，雖然欣賞同儕發起的傷痕藝術論述，但他有自己偏好的藝術主題，「我只想描繪生活，這樣才能直接與人接觸，讓藝術表現與個人的真實熱情合而為一。」周春芽的西藏作品並非再現政治化隱喻或社會理論，而是在藏人身上與西藏山水中發現獨特的色彩與樸實之美，使他傾注心力於簡單美學。「西藏系列」創作結束之後，周春芽離開動盪的中國，前往德國卡塞爾綜合大學攻讀碩士。談到他在德國的生活，周春芽表示，「我真正的教室是德國與其他歐洲國家的美術館和畫廊。」他接觸西方藝術思潮，如立體派、表現主義、野獸派、新表現主義者（Junge Wilde 狂野青年）等理論，拓展了美學視野，更影響他的藝術表現風格。儘管周春芽十分認同德國的藝術風潮，但他並未在德國滯留太久，1989 年他返回中國。中國對周春芽始終保持某種影響力，如他自己所言，「我深受中國傳統影響，無論身處何地都無法改變這個事實。」在研究中國傳統的過程中，周春芽創作了「石頭」與「花卉」兩個系列的作品，將他在德國學到的現代西方視覺實驗手法，與傳統中國文人畫家的藝術元素相結合。在其他當代中國藝術家熱情參與新浪潮（New Wave）、玩世現實主義與政治普普運動等藝術潮流之際，周春芽選擇與文人美學有關的主題，避開了週遭藝術運動的爭議性激進主義。周春芽雖然受到董其昌、石濤、八大山人和黃賓虹等傳統藝術家的影響，但仍致力開發傳統繪畫題材，他融入西方藝術的大膽用色與理念，在既有傳統領域中開闢新局。周春芽承認，「我畫石頭並不是出於圖像或符號的考慮，完全是由於趣味。我喜歡古典文人筆下石頭的型態，但不滿足於那種過於溫和、內向的性格，我想到一種張揚而冒險的嘗試─借助這種典雅的形態去傳達一種暴力甚至是色情的意味。」抱持著這樣的實驗心態，「石頭」與「花卉」系列作品都反映出周春芽的美學探索歷程，在優雅流動的文人畫傳統上，注入現代藝術潮流的熱情與力道。在「桃花」系列作品中，周春芽選擇一個原已充滿神話與民俗意涵的傳統主題，利用驚人的色彩與效果探索桃花的象徵意義。周春芽認為自己的桃花是「原始又坦率的幻想，飄於流麗之情和色調上。人的本性在壯麗場景前給完全釋放，溫柔地溢出一股狂熱之情。」桃花是中國、日本與韓國藝術中常見的主題，帶有不朽、女性柔美、纖柔與性感等意涵。這種融合現代情色暗示與傳統構圖元素與主題的手法，已成為周春芽經常採用創作技巧，可見於他許多作品之中。周春芽的「石頭」系列作品特別能看出這種美學傳統的融合效果。對於這個系列，周春芽提到創作這些「石頭」時，他一直在研究文人山水畫。但他從不去分析山水的物質特性、圖案與造型，而是想從中找到屬於自己的表達風格。他花了許多時間研究肌理線條，常試著去瞭解，是哪些深層因素影響了人們對石頭的視覺感受。石頭的重量與體積構成了它的基本形式；視覺效果則是石頭的內容，因此無需進一步說明或參照。比起透過理解和技術角度所看到、所詮釋的石頭，他覺得這些石頭更令人驚奇。

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周春芽的每一件作品，都希望以文人畫的構圖為基礎，運用西方表現主義元素加以詮釋。他常賦予「石頭」情色或性感的姿態，讓靜態的石柱都生動起來。周春芽特別注意石頭的多重切面，他將色彩層疊，創造鮮明對比，以突顯每一件作品的立體感。《太湖石》是周春芽「石頭」系列中一件引人注目的作品。這顆石頭靜立在肅穆的黑色背景前，突出在一個肌理凹凸不平的圓柱上。他對每個雕刻與鏤空凹洞表面和細節精心琢磨，為這顆原本靜止的石頭賦予個性，彷彿有機體一般充滿生氣。搶眼的紅色自黑色縫隙中湧出，散發一種更深刻的肺腑之情。太湖石一直是藝術家的靈感來源，這些石頭的結構完美體現了傳統與表現主義的理想。針對這種迷人的特質，周春芽表示：「石頭是中國歷代文人墨客表現的經久不衰的題材。石頭的體積和它表現的紋脈肌理，為藝術家提供了一個表現的機會。尤其是太湖石所呈現更為豐富、複雜。它圓滑的輪廓所形成含蓄而不失堅硬的人工化擺設的感覺，使藝術家可以不加修飾地形成一個完整的形象。太湖石又稱骷髏石，當我在畫它時，為了誇張石頭上的紅土，下意識畫成從洞裡流出的「血」。我沒有想那麼多。直到一次在四川美院辦講座，學生提出我的太湖石系列中有血腥、暴力的感覺。我發現了太湖石的魅力和它那矛盾的狀態與氣質。」此件拍品《太湖石》表現周春芽所說的這種暴力、熱情的本質。高度對比與對精微細節的講究，賦予石頭生命力，讓迷人的構圖充滿性感的活力。《太湖石》為石頭系列中最為成熟的系列，由於形式上近乎完美，創作時期僅限於1999年至2000年之間。1999年，與周春芽朝夕相處的黑根去世後，暫時停止創作「綠狗」系列，周春芽三赴蘇州造訪各大園林，開始正式創作「太湖石」系列，其數量極少而如此件拍品之巨大尺幅更是極為罕見。周春芽在其藝術生涯中，一直努力發掘自己的原創力，開創獨特的美學表現方式，拒絕隨波逐流或受限於特定流派。他不斷延伸藝術觸角，創作不懈。正如周春芽所言，「真實的想法是非常重要的，真實比真確還要重要。」 In examining the artistic movements and stylistic developments of Chinese artists over the past few decades, Zhou Chunya stands apart from his contemporaries. In inspiration, symbolism, technique, and purpose, Zhou has effectively developed his own artistic direction, continually diverging from the movements around him to explore and establish his own means of expression through art. Rejecting participation in the politically and ideologically charged artistic theories celebrated by other contemporary artists in China, Zhou instead cultivated his own passions and interests through the establishment of several iconic series: "Tibet", "Stones", "Flowers", "Peach Blossoms", and "Green Dog". Zhou’s unique and distinctive voice has earned him recognition throughout his career, culminating in his first retrospective held at the Shanghai Art Museum in 2010. The same year, Zhou was named Artist of the Year at the 2010 Art Power Awards, a title awarded the previous year to his close friend, Zhang Xiaogang. Zhou’s refusal to mold his artistic voice to a discernable movement has set his work apart in both originality of style and expression. Zhou’s first departure from the artistic movements around him came in the aftermath of the Cultural Revolution. While Zhou’s classmates at the Sichuan Fine Arts Institute united to express the social upheaval and historical trauma of the Cultural Revolution through the newly established Scar Art movement, Zhou elected instead to focus on depictions of the idyllic, agrarian lives of the Tibetan people. Zhou explains that while he appreciated the Scar Art narratives of his peers, his artistic interests lay elsewhere, stating, “I only wanted to sketch from life because in so doing I was confronting an immediate, living nature. This allowed my artistic expression to remain at one with my passions. ” Zhou’s Tibetan studies do not represent politicized metaphors or social theories, but instead focus on the simple aesthetic inspiration that Zhou found in the colors and rustic beauty of both the people and landscape. Following his time in Tibet, Zhou left a socially tumultuous China to obtain his master’s degree at the Gesamthochschule in Kassel, Germany. Of his time in Germany, Zhou claims “the classroom where I really studied was the art museums and galleries of Germany and other European countries. ” Exposure to Western artistic movements such as Cubism, Expressionism, Fauvism, and the Neo–Expressionist “Junge Wilde” (Wild Youth) theory expanded Zhou’s aesthetic and stylistically influenced his artistic exploration. Despite Zhou’s identification with the artistic movements he discovered in Germany, he did not remain there long, returning to China in 1989. China has always held certain sway over Zhou, who states simply, “I have been deeply influenced by Chinese tradition, which I can never be rid of wherever I am. ” It was in pursuit of this Chinese tradition that Zhou developed both his Stone and Flower series, combining the visual experimentation of the Western modern movements he had discovered in Germany with the traditional elements of Chinese literati painters. While his contemporaries in China were participating in the New Wave, Cynical Realism, and Political Pop movements saturated with social and political commentary, Zhou chose subject matter quintessential to the literati aesthetic, devoid of the contentious activism inherent in the movements around him. While unmistakably influenced by traditional literati painters such as Dong Qichang, Shi Tao, Bada Shanren, and Huang Binhong, Zhou’s exploration of traditional themes sought to expand upon existing conventions by incorporating the brash colors and influences of Western artistic movements. Zhou admits, “I liked the forms…of the literati, but wasn’t satisfied with that overly moderate, introspective character, so I thought up a bold and risky experiment—to use that elegant form to convey violent, even erotic overtones. ” With such an experiment in mind, both the "Stone" and "Flower" series demonstrate Zhou’s aesthetic exploration, imbuing the grace and fluidity of the literati tradition with the power and passion of modern artistic movements. In his Peach Blossom series, Zhou utilizes a subject already replete with significance from mythology and lore, augmenting the inherent symbolism of the "peach blossom" in his paintings through his striking utilization of color and effect. Zhou describes

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his peach blossoms as, “in a fluid emotion and mood of colors, flows indulgence of primitive and sincere imaginations. It is the total release of human nature against a grand scene, an explosion of gentle violence. ” A reoccurring motif in Chinese, Japanese, and Korean art, peach blossoms impart connotations of immortality, femininity, fragility, and sensuality. This blending of erotic, modern overtones with traditional compositional elements and themes has become a key characterization for much of Zhou’s work. Zhou Chunya’s "Stone" series specifically addresses this convergence of aesthetic traditions. Addressing this series, Zhou explains:

When I created these ‘stones,’ I had been studying the landscape paintings of the literati. I didn’t, however, perceive them in a way like the Chinese traditional painters. I did not attempt to scrutinize their material properties and patterns and shapes, but to search, according to my own purposes of expression, for those features that all together estrange and amaze me. I have spent much time studying texture, as I tried compulsively to capture and ponder over the deep–rooted factors that affect our visual perception of the stones. Their augmentation and magnification are in essence the form; their visualization is in essence the content, so they require no further explanation or reference. These stones are more astounding and startling than those that are viewed and interpreted from a conceptual and technical perspective. With each construction, Zhou seeks to utilize the framework established by literati compositions and build upon this foundation with western Expressionist stylistic elements. Often erotic or sensual, Zhou imbues each Stone configuration with an emotional core, animating each static pillar. With particular attention to the multifaceted surfaces of each stone, Zhou layers colors and stark contrasts to emphasize the sense of dimension and volume for each piece. "Taihu Lake Stone" presents an arresting example of Zhou’s "Stone" series. Standing starkly against a commanding black background, the stone rises upward in a pitted, textural column. With special attention to the surface and details of each carved and hollowed cavity, Zhou has rendered the static stone with the character and animus of a living organism. With the startling red which pours from the gaping, black openings, this stone arrests attention, and radiates a sense of deeper visceral emotion. The stones from Taihu Lake have provided a particular source of inspiration for the artist, who views their structural composition as ideal for the expression of both traditional and expressionist ideals. Expounding on this fascination, Zhou states:

The stone has been an unfailing subject in traditional Chinese art. Its staunch solidity and its texture provide the artist a perfect medium to present their spirit and technical method. Stones from the Taihu Lake in particular are even more affluent and complicated. The smooth contour demonstrates an artificial, implicit, and flinty feel, with which an artist could produce a complete image without any beautification…I didn’t think too much about it, yet once when I was lecturing at the Sichuan Fine Arts Institute, a student pointed out that my Taihu Stone series appeared to be bloody and violent. At that moment I realized the charisma of Taihu Stones, as well as its contradictory nature. The current lot “Taihu Lake Stone” demonstrates this violent, passionate nature to which Zhou refers. High contrast and a meticulous attention to subtlety and detail enliven the stone, establishing an arresting composition rife with sensational vibrancy. However, Zhou’s "Taihu Lake Stone" works are the most mature series among Stone, as the form itself is close to perfect, Zhou found it is un–necessary to develop further, and that’s the reason why he created "Taihu Lake Stone" only from 1999 to 2000. With the tremendous size and rarity, this painting is an exceptionally desirable work of art. Throughout his artistic career, Zhou has continually sought to explore his own originality, refusing participation in surrounding trends and movements to instead pursue his own unique representation of aesthetic inspiration. As he continually extends his artistic investigation, he seeks persistently to represent truth. In his own words, Zhou Chunya insists, “True ideas are very important. What is true is more important than what is correct. ”

698 ZHOU Chunya (Chinese, b. 1955)

Peach Blossoms Series 2006 – Glamorous Lake 2006 Oil on canvas 200 x 250 cm Signed lower right Zhou Chunya in Chinese and English, dated 2006 EXHIBITED: Solo Exhibition of Zhou Chunya , Shanghai Gallery of Art, Shanghai, April 23–May 14, 2006 1971–2010 Forty Years Retrostrospective Review of Zhou Chunya , Shanghai Art Museum, Shanghai, June 13–23, 2010 ILLUSTRATED: Track Art–Vol. Zhou Chunya , Track Art Publishing Center Limited, Hong Kong, 2006, color illusrtrated, pp. 64–65 Zhou Chunya , Timezone 8, Hong Kong, 2010, color illustrated, pp. 472–473

NT$ 28,000,000–38,000,000 US$ 949,200–1,288,100 HK$ 7,368,000–10,000,000

周春芽桃花風景系列 2006—湖上艷色 2006 油彩畫布 200 x 250 cm 簽名右下：2006 周春芽 Zhou Chunya 展覽：「生命、桃花、藝術—周春芽首次國內個展」，滬申畫廊，上海，2006年4月23日至5月14日「1971–2010周春芽藝術四十年回顧」，上海美術館，上海，展期自2010年6月13日至23日圖錄：《藝術跟蹤月刊—周春芽卷》，藝術跟蹤出版中心，香港，2006，彩色圖版，頁64–65 《周春芽》，東方時區，香港，2010，彩色圖版，頁472–473

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周春芽《玉人似花枝》2011 200 x 250 cm 羅芙奧香港2012秋季拍賣會，編號536，預估價：HK$ 7,500,000–9,500,000 ZHOU Chunya, Beauty is Like A Fragrant Flower Ravenel Autumn Auction 2012 Hong Kong, Lot 536, Estimate: US$ 961,500–1,217,900

周春芽《桃花風景系列 2006—湖上艷色》2006 200 x 250 cm 羅芙奧台北2012秋季拍賣會，編號698，預估價：NT$ 28,000,000–38,000,000 ZHOU Chunya, Peach Blossoms Series 2006 – Glamorous Lake Ravenel Autumn Auction 2012 Taipei, Lot 698, Estimate: US$ 949,200–1,288,100

身為中國當代最成功的藝術家之一，周春芽創作上的每一次轉變都取得了巨大的成功。 1982年，周春芽的畢業作品《剪羊毛》入選當時中國美術界最重要的展覽「中國美展」並獲獎。時隔30餘年，作品重現市場，以三千萬人民幣天價成交。不同於王廣義、岳敏君等人作品中濃厚的政治波普的符號色彩，周的視角則集中在人物，動物，植物，由此而生的「花卉」，「綠狗」，「山石」，「紅人」，「桃花」系列貫穿其藝術發展歷程。他的藝術也因此更具中國文人畫的色彩。有人將他的創作總結為：「結合西方的藝術表現形式和中國的傳統內容，以雕塑的觸感來重構文人花鳥畫，即借助德國新表現主義的技法，重新詮釋傳統的中國山石和花卉，頗有中體西用的意味。」反自然色彩的運用是他作品的典型風格，「綠狗」系列是最好的佐證，濃豔的中國山石，絢爛如火的桃花，從色彩到構圖均給人鬼魅奔放之感，他也因此被認為是中國當代架上繪畫界中對色彩把握最好的畫家之一。愛情是藝術家亙古不變的靈感源泉。伴隨著周春芽的第二次婚姻開始的著名的「紅人」系列，寓意情慾和情色的紅色在畫面上蔓延。隨後的第三次婚姻和上海工作室的落成，桃花成林的勝景和愛情帶來的喜悅促成了「桃花」系列。縱觀其創作歷程和作品風格變遷。中國傳統文化的影響和西方藝術的技法和思想貫穿始終。周春芽曾在採訪中坦言「畫『花』使我想到傳統」，「我喜歡生命旺盛的東西。春天在成都附近的桃花山看桃花時，那漫山遍野的粉紅色，流淌著讓人血脈噴張妖冶，讓我感覺到原始生命力的律動。」中國古代文人畫中梅蘭竹菊四君子不勝枚舉，除去對植物本事的描繪，畫面所承載的多是中國文人對自我品格的比擬和追求，而這些與桃花無關。風月豔情的詩文則多以桃花比擬。藝術家也曾坦言，第三任妻子的出現對桃花系列的影響深遠。花紅葉碧的絢爛風景又常與寓意情慾的紅人結合在一起。亦如評論家呂澎所說「桃花是周春芽的心境，在不斷展開的桃花和樹枝的世界裡，心境也在不斷的展開。古人通過他們的圖像教會了後關於宏觀世界的認識，教會了關於筆墨中的自由的心境與趣味，而今天的生活又讓藝術家瞭解到了真實心境的重要性。」「周的桃花不屬於物質世界，這註定了中國世界的不確定性；周春芽在好幾張畫布同時或者先後開始他的塗抹。沒有時間表，但有衝動，沒有計劃，但有結果——所有的表現都來自藝術家的自由的心境。」周春芽以自己的方式對話上古的筆墨情趣，以油彩在畫布上「書寫」桃花。《桃花風景系列2006—湖上豔色》為該系列中的佳品。水天相接的湖面上一枝盛放的桃花令人賞心悅目，湖面上倒影與花枝交相輝映。濃鬱的桃粉和湖藍鋪滿畫布，油彩在畫面流淌的痕跡也與作品構圖自然融合。 One of China’s leading contemporary artists, Zhou Chunya has continued to achieve immense success with every change in his artistic style or subject matter. His 1982 graduation piece “Sheep Shearing” won a prize at the National Art Exhibition, which at that time was China’s most prestigious annual art exhibition. Three decades on, “Sheep Shearing” came onto the market once again, and sold for a record price, RMB 30 Million. Different to artists such as Wang Guangyi or Yue Minjun whose works make extensive use of political symbolism and Pop Art methods, Zhou Chunya’s attention is directed towards people, animals and plants, hence the importance of Zhou’s “Flower Vase”, “Green Dog”, “Mountain Stones”, “Red Man” and “Peach Blossom” series in his evolution as an artist. Zhou’s work thus has something of

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the character of traditional Chinese literati painting. One commentator described Zhou’s work: “Zhou Chunya has integrated Western forms of artistic expression with the content of traditional Chinese art. He uses the tactile sensibility of sculpture to reconstruct Chinese literati ‘bird and flower’ painting, and borrows techniques from German neo–expressionism to reinterpret traditional Chinese landscape and flower painting; Zhou’s art thus embodies a powerful sense of ‘combining Chinese essence with Western technique’. ” The “unnatural” use of color is one of the hallmarks of Zhou’s paintings, and is most readily obvious in the “Green Dog” series. Vividly colored Chinese landscapes, peach blossom so brightly hued they seem almost to be on fire – in every aspect of Zhou’s paintings, from the choice of colors to the composition, there is a sense of wild exhilaration. Among contemporary Chinese painters, Zhou Chunya is widely considered to be one of the most skilled in the use of color. Love has been a source of inspiration for artists since time immemorial. In the “Red Man” series, which Zhou Chunya painted after getting married for the second time, the canvases are full of red tones that symbolize passion and sexual desire. Following his third marriage and the setting up of a new atelier in Shanghai, the joy of love and the beautiful scenery that surrounded his workshop inspired Zhou to create the “Peach Blossoms” series. Examination of how Zhou’s work has changed over the years shows that the integration of influences from traditional Chinese culture with Western artistic techniques and concepts has remained constant throughout. Zhou once stated in an interview that “Painting flowers makes me think of tradition … I like things that are alive and vigorous. When I used to go to visit the Taohuashan (Peach Blossom hills) near Chengdu in the spring, the expanse of pink blossom spreading all across the hills had an entrancing effect, and gave me a sense of the rhythms of the primal life force.” In traditional Chinese literati painting, one of the most frequent themes is the “Four Gentlemen” (plum, orchid, bamboo and chrysanthemum). Besides the actual depiction of the flowers and plants themselves, these paintings were also used as a means of symbolically exploring or portraying the literati artist’s own character. However, peach blossom was not part of the subject matter for paintings of this type. Where peach blossom does appear in traditional Chinese culture is as a symbol or metaphor in love poems. Zhou Chunya is on record as saying that marriage to his third wife had a major impact on the “Peach Blossoms” series. The gorgeous scenes with their red petals are often accompanied by a red human figure, symbolizing passion. As the art critic Lu Peng put it, “The peach blossom represents Zhou Chunya’s feelings; in the world he depicts, where the peach blossom and branches are constantly growing and unfolding, his heart is also opening out. The great artists of the past used their paintings to remind later generations of the majesty of the natural world, and of the freedom of the spirit that their brushstrokes embodied. Life today teaches artists the importance of being true to oneself … Zhou’s peach blossom does not belong to the material world; it reflects the impermanence and flux that characterizes China today. Zhou Chunya often starts work on several canvases all at the same time. There is no timetable, only a spur to action; there is no plan, but there are results. Everything that is represented in these paintings derives from the freedom of the artist’s own soul. ” Zhou uses his own unique method to engage in dialog with the painters of the past through the medium of peach blossom painted in oils on canvas. “Peach Blossoms Series 2006 – Glamorous Lake” is one of the finest works in Zhou Chunya’s “Peach Blossoms” series. Above the surface of the lake, which melds into the sky, a branch laden with Peach blossom brings joy to the heart of the viewer, while the reflection of the blossom in the lake adds an extra touch of beauty to the scene. The bright pink of the Peach blossom and the blue of the lake fill the canvas; the marks left by oil paint dripping down the canvas join with the picture itself in a harmonious fusion that seems completely natural.

周春芽《桃花》2008 120 x 150 cm 羅芙奧台北2011春季拍賣會，編號158，台幣1320萬元成交 ZHOU Chunya, Peach Blossoms Ravenel Spring Auction 2011 Taipei, Lot 158, USD 460,412 sold

周春芽《桃花系列》2007 200 x 250 cm 羅芙奧香港2011秋季拍賣會，編號051，港幣480萬元成交 ZHOU Chunya, Peach Blossoms Series 2006 – Glamorous Lake Ravenel Autumn Auction 2011 Hong Kong, Lot 051, USD 616,175 sold

699 ZHOU Chunya (Chinese, b. 1955)

Green Dog 2005 Bronze, edition no. 5/8 37(L) x 59(W) x 96(H) cm Engraved on lower back Zhou Chunya in Chinese, numbered 5/8 and dated 05

NT$ 3,000,000–4,400,000 US$ 101,700–149,200 HK$ 789,000–1,158,000

周春芽綠狗 2005 銅雕 5/8 37(長) x 59(寬) x 96(高) cm 簽名雕刻後側下方：周春芽 05 5/8

周春芽的「黑根」是中國當代藝術史上當之無愧的明星狗。它的形象自1997年以來不斷出現在周的作品中。「黑根」也開啟了周藝術創作中的新時期。1999年愛犬的離世給主人帶來了無限的惆悵，「綠狗」系列曾因此一度停滯。時間撫平了傷痛，「黑根」的形象也隨之符號化。有關這個系列的創作，藝術家曾有過如下評述：「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簡潔的形態以及雕塑的體量感，是試圖以流動的書寫來展示力量和速度，以筆觸來暗示質感和觸感，同時以界限分明的正負空間來反襯體量及觸感。在一定意義上可以說，『綠狗』是我在畫布上做的雕塑，也是以雕塑的觸感來重構文人花鳥畫。我近期正在加強繪畫和雕塑的語言通約，將繪畫的書寫性遷移到雕塑中去，這是我接下來必須解決的問題。」於是，我們看到了綠色的黑根承載著藝術家的浪漫與抒情的遐想走出了畫布。雕塑的體量賦予了「綠狗」存在感，使意識中的實體變成了具體的實體，同時將符號化的形象變成了可觸的現實。模糊化的手法處理與純粹的色彩使得形象遠離客觀存在的現實事物，成為一種不真切的存在，與現實拉開距離，引人思考。 Zhou Chunya’s dog “Hei Gen” (“Black Roots”) must surely be one of the most famous dogs in the history of contemporary Chinese art. Since 1997, Hei Gen’s image has appeared almost continuously in Zhou’s work. Hei Gen also brought about Zhou Chunya’s entry into a new period in his creative evolution as an artist. The death of his beloved pet in 1999 caused Zhou immense sadness, and led him to halt work on the “Green Dog” series for some time. Eventually, time healed the wound, and Hei Gen’s image began to take on new symbolic meaning. Zhou Chunya has made the following comments regarding the “Green Dog” series: “Some people have suggested that the ‘Green Dog’ works constitute a more totemic or iconic side to my work, but in fact my aim with this series has not been to create visual symbols. My first passion in the arts was for the neat, uncluttered forms of traditional Chinese literati ‘bird and flower’ painting and for the sense of presence that sculpture provides. I sought to use a flowing, ‘sketching’ style to bring across a feeling of power and speed, while making the brush–strokes hint at texture and touch. At the same time, I employed clearly defined ‘positive’ and ‘negative’ space to reflect a sense of presence and touch. In one sense, you could say that the ‘Green Dog’ series are ‘two– dimensional sculptures on canvas’; they also embody my attempt to use the tactile aspect of sculpture to reconstruct the literati ‘bird and flower painting’ tradition. Recently, I have been working to enhance the ‘protocols’ for communication between painting and sculpture, with the aim of transferring the graphological nature of painting into the field of sculpture. This is a challenge that I feel I have to take on. ” We can thus see that Hei Gen, the “Green Dog” brings Zhou Chunya’s romantic, expressive reveries off the canvas. The sculpture–like sense of three–dimensional weight gives the “Green Dog” paintings a powerful sense of presence; a conceptual entity becomes a physical entity, while a symbolic image is transformed into a reality that can be touched and felt. The use of blurring and the pure, simple color tones used ensure that the image is far removed from an objective reality; it takes on a kind of “non–real” existence distinct from everyday reality, which encourages the viewer to reexamine their preconceptions.

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700 XIONG Yu

(Chinese, b. 1975)

Swaying Water (diptych) 2004 Oil on canvas 195 x 290 cm Signed lower left Xiong Yu in Chinese and dated 2004 (left) Signed on the reverse Xiong Yu , titled Swaying Water , inscribed left,195 x 290 cm all in Chinese and dated 2004 (left) Signed lower right Xiong Yu in Chinese and dated 2004 (right) Signed on the reverse Xiong Yu , titled Swaying Water, inscribed right, 195 x 290 cm all in Chinese and dated 2004 (right)

NT$ 2,000,000–3,000,000 US$ 67,800–101,700 HK$ 526,000–789,000

熊宇晃動的水流（雙聯幅） 2004 油彩畫布 195 x 290 cm 簽名左下：熊宇 2004（左）簽名畫背：《晃動的水流》左邊熊宇 195 x 290 cm 2004年（左）簽名右下：熊宇 2004（右）簽名畫背：晃動的水流右 2004 熊宇 195 x 290 cm（右）

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701 CHEN Ke

(Chinese, b. 1978)

It is Time to Do Something! 2008 Oil on canvas 106 x 169 cm Signed lower right Ke in Chinese and dated 08 Titled lower center It is time to do something! in English and Chinese

NT$ 1,800,000–2,600,000 US$ 61,000–88,100 HK$ 474,000–684,000

陳可該做點什麼呢！ 2008 油彩畫布 106 x 169 cm 簽名右下：可 08 題識下方：It is time to 做點什麼呢！

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702 JU Ming

(Taiwanese, b. 1938)

Chess (32 pieces) 1985 Bronze 28.5(L) x 28.5(W) x 13.5(H) cm (chess, set of 16 pieces, total 2 sets) 97(L) x 80(W) x 5(H) cm (chess board) Engraved Ju Ming in Chinese (all pieces) This artwork is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,300,000–2,200,000 US$ 44,100–74,600 HK$ 342,000–579,000

朱銘象棋（一套32件） 1985 銅雕 28.5(長) x 28.5(寬) x 13.5(高) cm （一盒16隻棋子，共兩盒） 97(長) x 80(寬) x 5(高) cm (棋盤) 簽名雕刻：朱銘（每件皆有）附藝術家親筆簽名之原作保證書

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703 XIANG Jing

(Chinese, b. 1968)

Waltz 1996 Bronze 54.5(L) x 46(W) x 22(H) cm Engraved on the base Xiang Jing in Chinese and dated 96.4

NT$ 750,000–1,200,000 US$ 25,400–40,700 HK$ 197,000–316,000

向京華爾滋 1996 銅雕 54.5(長) x 46(寬) x 22(高) cm 簽名雕刻底座：向京 96.4

704 REN Zhe

(Chinese, b. 1983)

Being Courageous 2010 Stainless steel, edition no. 5/8 60(L) x 50(W) x 95(H) cm Engraved on the back Ren Zhe in Chinese and English, numbered 5/8 ILLUSTRATED: Garnering the Essence , Forbidden City Press, Beijing, 2011, color illustrated, p. 22

NT$ 700,000–800,000 US$ 23,700–27,100 HK$ 184,000–211,000

任哲鏗鏘 2010 不鏽鋼 5/8 60(長) x 50(寬) x 95(高) cm 簽名雕刻後側：5/8 任哲 REN Zhe 圖錄：《精神的凝固》，紫禁城出版社，2011，北京，彩色圖版，頁22

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705 CAI Zhisong

(Chinese, b. 1972)

A Warrior No. 1 (Head) 2000 Glass–fiber reinforced resin copperplate brass wires Edition no. 3/10 20(L) x 24(W) x 35(H) cm Engraved on the back Cai Zhisong in English and numbered 3/10

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

蔡志松武士頭像（一） 2000 樹脂銅版銅線 3/10 20(長) x 24(寬) x 35(高) cm 簽名雕刻後側：Cai Zhisong 3/10

706 LI Chen

(Taiwanese, b. 1963)

Pure Land 1998 Bronze, edition 95/99 45(L) x 16(W) x 27(H) cm Engraved on the base Li Chen in Chinese, numbered 95/99 and dated 1998 EXHIBITED: Li Chen in 52nd Venice Biennale – Energy of Emptiness , Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 (similar version) ILLUSTRATED Li Chen Energy of Emptiness 52nd International Art Exhibition – La Biennale de Venezia , Asia Art Center Co., Ltd., Taipei, 2007, color illustrated, pp. 30–41 (similar version)

NT$ 460,000–700,000 US$ 15,600–23,700 HK$ 121,000–184,000

李真無憂國土 1998 銅雕 95/99 45(長) x 16(寬) x 27(高) cm 簽名雕刻底座：李真 95/99 1998 展覽：「第52屆威尼斯國際藝術雙年展—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（另一尺寸版本）圖錄：《李真－虛空的能量：第52屆威尼斯國際藝術雙年展》，亞洲藝術中心有限公司，台北，2007，彩色圖版，頁30–41（另一尺寸版本）

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707 JIAO Xingtao (Chinese, b. 1961)

Double Mint Fiberglass, edition no. 2/6 117(L) x 100(W) x 110(H) cm Signed Jiao Xingtao in Chinese and numbered 2/6

NT$ 500,000–700,000 US$ 16,900–23,700 HK$ 132,000–184,000

焦興濤綠箭玻璃纖維 2/6 117(長) x 100(寬) x 110(高) cm 簽名：焦興濤 2/6

708 HSIAO Chin (XIAO Qin)

蕭勤

Composition Chi–272

1981 壓克力綜合媒材紙本裱於畫布 55.5 x 79.5 cm 簽名右下：Hsiao 勤 81 題識左方：气之二七二鈐印上方：逍遙王之璽鈐印左方：悟無居鈐印右方：蕭勤鈐印右下：蕭勤

(Taiwanese, b. 1935)

1981 Acrylic, mixed media on paper mounted onto canvas 55.5 x 79.5 cm Signed lower right Hsiao in English and Chin in Chinese and dated 81 Titled center left Chi–272 in Chinese With four seals of the artist

NT$ 60,000–100,000 US$ 2,000–3,400 HK$ 16,000–26,000

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炁系列之272

709 CHUANG Che (Taiwanese, b. 1934)

Untitled 1985 Acrylic on canvas 61 x 49 cm Signed lower left Chuang Che in Chinese and dated 85

NT$ 80,000–160,000 US$ 2,700–5,400 HK$ 21,000–42,000

莊喆無題 1985 壓克力畫布 61 x 49 cm 簽名左下：莊喆 85

710 Takashi MURAKAMI (Japanese, b. 1962)

Mirroring Your Image: Take a Bow, Hakuin; I Open Wide My Eyes but I See no Scenery. I Fix My Gaze upon My Heart (a set of 2) 2010 (upper); 2007 (lower) limited Print, edition no. 82/300 (upper); 34/300 (lower) 90 x 72 cm (upper) 69.5 x 81 cm (lower) Signed lower right M and numbered 84/300 (upper) Signed lower right M , numbered 34/300 (lower) with three seals of the artist

NT$ 50,000–100,000 US$ 1,700–3,400 HK$ 13,000–26,000

村上隆達摩（兩件一組） 2010 (上)；2007 (下) 版畫 82/300 (上)；34/300 (下) 90 x 72 cm (上) 69.5 x 81 cm (下) 簽名右下：M 82/300 (上) 簽名右下：M 34/300 (下)

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711 KIM Nampyo (Korean, b. 1973)

Instant Landscape 46 2007 Pastel on paper 107 x 77 cm Signed lower right nampyo , kim in English and dated 2007 Signed on the reverse nampyo , kim and titled instant landscape 46 in English, dated 2007

NT$ 220,000–400,000 US$ 7,500–13,600 HK$ 58,000–105,000

金南杓即刻風景 46 2007 粉彩紙本 107 x 77 cm 簽名右下：nampyo, kim 2007 簽名題識背板：instant landscape 46 nampyo, kim 2007

712 Yuichi SUGAI

(Japanese, b. 1952)

Landscape 4 2011 Mixed media on canvas, collage 92 x 102 cm

NT$ 80,000–160,000 US$ 2,700–5,400 HK$ 21,000–42,000

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菅井祐一風景 4 2011 綜合媒材畫布拼貼 92 x 102 cm

713 Yoshitaka AMANO (Japanese, b. 1952)

Monochrome 13 2010 Acrylic on canvas 48.5 x 33 cm Signed lower left Y. Amano in English

NT$ 80,000–160,000 US$ 2,700–5,400 HK$ 21,000–42,000

天野喜孝單色畫 13 2010 壓克力畫布 48.5 x 33 cm 簽名左下：Y. Amano

714 Takashi MURAKAMI (Japanese, b. 1962)

Jellyfish Eyes (upper left); Jellyfish Eyes–Black (upper right); Jellyfish Eyes–White 4 (lower left); Jellyfish Eyes–White 1 (lower right) (a set of 4) 2011 Limited Print Edition no. 166/300; 155/300; 37/300; 26/300 49.5 x 49.5 cm (x4) Signed lower right M and numbered 166/300 (upper left) Signed lower right M and numbered 155/300 (upper right) Signed lower right M and numbered 37/300 (lower left) Signed lower right M and numbered 26/300 (lower right)

NT$ 100,000–200,000 US$ 3,400–6,800 HK$ 26,000–53,000

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村上隆大眼水母（左上）、黑眼睛（右上）、大眼水母白4（左下）、大眼水母白1（右下）（四件一組） 2011 限量版畫 166/300; 155/300; 37/300; 26/300 49.5 x 49.5 cm (x4) 簽名右下：M 166/300(左上) 簽名右下：M 155/300(右上) 簽名右下：M 37/300(左下) 簽名右下：M 26/300(右下)

715 HUA Qing

(Chinese, b. 1962)

The Thinker No. 1 2007 Oil on canvas 160 x 145.5 cm Signed lower right Hua Qing in Chinese and dated 2007 EXHIBITED: 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, Beijing, 2008, color illustrated, pp. 96–97

NT$ 320,000–650,000 US$ 10,800–22,000 HK$ 84,000–171,000

194

華慶思想者 No. 1 2007 油彩畫布 160 x 145.5 cm 簽名右下：華慶 2007 展覽：「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，北京，2008，彩色圖版，頁96–97

716 Ayako ROKKAKU (Japanese, b. 1982)

Girl and Red Bus 2008 Acrylic on canvas 140 x 100 cm Signed lower left Ayako Rokkaku in Japanese and dated 2008

NT$ 360,000–460,000 US$ 12,200–15,600 HK$ 95,000–121,000

六角彩子女孩與紅巴士 2008 壓克力畫布 140 x 100 cm 簽名左下：2008 ロツカクアヤコ ��

717 Mayuka YAMAMOTO

(Japanese, b. 1964)

Snow 2008 Oil on canvas 146 x 112 cm Signed on the reverse Mayuka Yamamoto and titled Snow in English, dated 2008 ILLUSTRATED: Beyond Portait , Gallery J. Chen, Taipei, 2008, color illustrated, p. 37

NT$ 420,000–550,000 US$ 14,200–18,600 HK$ 111,000–145,000

山本麻友香雪 2008 油彩畫布 146 x 112 cm 簽名畫背：Snow Mayuka Yamamoto 2008 圖錄：《肖像背後》，J. Chen 畫廊，台北， 2008，彩色圖版，頁37

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718 Kiriko IIDA

(Japanese, b. 1970)

The Funeral Procession of the Bird 2008 Oil on canvas 130.5 x 162 cm Signed on the reverse Kiriko Iida in English and dated 2008

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

飯田桐子小鳥的送行 2008 油彩畫布 130.5 x 162 cm 簽名畫背：Kiriko Iida 2008

719 XIONG Lijun (Chinese, b. 1975)

A Kid in the Deep Inside of Everyone 2012 Oil and acrylic on canvas 150 x 150 cm Signed lower right Xiong Lijun in Chinese and English, dated 2012 Signed on the reverse Xiong Lijun , titled A Kid in the Deep Inside of Everyone in Chinese and English, inscribed 150 x 150 cm, oil & acrylic on canvas in Chinese and English, dated 2012

NT$ 460,000–550,000 US$ 15,600–18,600 HK$ 121,000–145,000

198

熊莉鈞每人心中都有一個小孩童 2012 油彩壓克力畫布 150 x 150 cm 簽名右下：熊莉鈞 Xiong Lijun 2012 簽名畫背：《每人心中都有一個小孩童》A Kid in the Deep Inside of Everyone 布面油畫、丙烯 oil & acrylic on canvas 150 x 150 cm 熊莉鈞 Xiong Lijun 2012

720 CHEN Liu

(Chinese, b. 1973)

Green Dragon 2011 Oil on canvas 200 x 100 cm Signed lower right Chen Liu in Chinese and dated 2011

NT$ 460,000–650,000 US$ 15,600–22,000 HK$ 121,000–171,000

陳流青龍 2011 油彩畫布 200 x 100 cm 簽名右下：陳流 2011

721 Yoshitaka AMANO (Japanese, b. 1952)

Flowers II 2010 Automotive paint on aluminum panel 50(L) x 70(W) x 6(D) cm Signed right edge Y. Amano in English

NT$ 550,000–750,000 US$ 18,600–25,400 HK$ 145,000–197,000

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天野喜孝花系列之二 2010 汽車漆鋁板 50(長) x 70(寬) x 6(厚) cm 簽名右側：Y. Amano

722 WANG Ziwei (Chinese, b. 1963)

Aggression 2008 Acrylic on canvas 220 x 200 cm Signed on the reverse Ziwei wang in English, Ziwei in Chinese, titled AGGRESSION in English, inscribed acrylic on canvas 200 x 220cm and dated 2008

NT$ 800,000–1,200,000 US$ 27,100–40,700 HK$ 211,000–316,000

王子衛侵略 2008 壓克力畫布 220 x 200 cm 簽名畫背：AGGRESSION Ziwei wang 子衛 acrylic on canvas 200 x 220 cm 2008

723 Hiroshi KOBAYASHI (Japanese, b. 1967)

Spring Sleep 2005 Acrylic on canvas 145.6 x 145.6 cm Signed on the reverse Hiroshi Kobayashi in English, titled Spring Sleep in English and dated 2005

NT$ 900,000–1,200,000 US$ 30,500–40,700 HK$ 237,000–316,000

小林浩春眠 2005 壓克力畫布 145.6 x 145.6 cm 簽名畫背：Spring Sleep 2005 Hiroshi Kobayashi

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724 Yoshitaka AMANO (Japanese, b. 1952)

Flying High (diptych) 2008 Automotive paint on aluminum panel 200(L) x 200(W) x 11(D) cm Signed lower left edge Y. Amano in English

NT$ 800,000–1,000,000 US$ 27,100–33,900 HK$ 211,000–263,000

天野喜孝高空飛翔（雙聯幅） 2008 汽車漆鋁板 200(長) x 200(寬) x 11(厚) cm 簽名左下側：Y. Amano

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725 Hiroyuki MATSUURA (Japanese, b. 1964)

Sailor 2006 Acrylic on canvas 162 x 162 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2006.6.20

NT$ 950,000–1,200,000 US$ 32,200–40,700 HK$ 250,000–316,000

松浦浩之水手 2006 壓克力畫布 162 x 162 cm 簽名畫背：Hiroyuki Matsuura 2006.6.20

726 Hiroyuki MATSUURA (Japanese, b. 1964)

Sleep Flying 2006 Acrylic on canvas 162 x 162 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2006.10.6 EXHIBITED: Ultra New Visions , Eslite Gallery, Taipei, April 7–29, 2007 ILLUSTRATED: Ultra New Visions Hiroyuki Matsuura, Eslite Corporation, Taipei, 2007, color illustrated, pp. 18–19 2007 Hiroyuki Matsuura Catalogue , Tokyo Gallery + Beijing Tokyo Art Projects, Tokyo, 2007, color illustrated, p. 36

NT$ 1,000,000–2,000,000 US$ 33,900–67,800 HK$ 263,000–526,000

松浦浩之夢境飛翔 2006 壓克力畫布 162 x 162 cm 簽名畫背：Hiroyuki Matsuura 2006.10.6 展覽：「松浦浩之個展」，誠品畫廊，台北，展期自2007年4月7日至29日圖錄：《超—新視野：松浦浩之》，誠品股份有限公司，台北，2007，彩色圖版，頁18–19 《2007松浦浩之目錄》，東京畫廊+北京東京藝術工程，東京，2007，彩色圖版，頁36

松浦浩之原先擔任平面設計師，因一種「百分之百按照自己想法」的慾望，而開始投入創作。卡通造型、平塗繽紛的色彩，帶有隱喻及令人莞爾的幽默是松浦浩之作品的獨特風格。作品中繽紛炫目的光澤及變幻多端的視覺造型，源自於動畫與漫畫所帶動的新世紀美學，他運用伴隨多數人成長的「動漫新美學」，憑藉著平面設計師本具有的技巧，將虛擬國度中的「角色」一一拉出，創造出既純粹又可愛的世界。本作品《夢境飛翔》曾於2007年誠品畫廊「松浦浩之個展」中展出。松浦浩之說：「『他們』擁有著壓克力的肌膚，想要和我們擁有同樣的生命」。松浦浩之以「他們」這些角色為題，將故事性融入作品中，讓觀者欣賞作品時能有無限的想像空間，更因觀者的想像，賦予畫中角色獨一無二的生命。松浦浩之認為這些角色是一種能超越語言的圖像，會隨著數位化時代的腳步而逐漸進化，進而成為世界性的存在。可以超越成人與孩童、男人與女人、人類所構築的無形城牆，甚至可以代替世界的共通語言。 Matsuura began as a graphic designer. He began his own creations from a desire of "do in his own way absolutely". His unique styles include cartoons, diverse flat– painting colors, and a kind of metaphoric humor that makes people amused involuntarily. The dazzling and diverse shine and variety of visual styles come from the aesthetics driven by the animation and cartoons of the new century. He uses the “New Aesthetics of Comics and Animation” which grow with most people, and the natural techniques of a graphic designer to draw out "characters" in a fictitious kingdom one by one to create a pure and lovely world. This "Sleep Flying" of Matsuura was shown at the "Hiroyuki Matsuura Solo Exhibition" in Eslite Gallery in 2007. Matsuura said, "'They' have acrylic skin and want to live a life like us. " Matsuura uses “they”as the subject to blend the stories into the works, and make boundless imagination space for people looking at the work. It is the imaginations of the watching people that give a one and only life to the characters in the paintings. In Matsuura's opinion, these characters are kinds of images that can surpass language. They will make a gradual evolution following the steps of the digital times to be a worldwide existence. They can surpass the dimmateriality walls built by adults, children, men and women and all human beings. They can even replace the common language of the world.

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727 Yayoi KUSAMA (Japanese, b. 1929)

Flowers 1983 Acrylic on canvas 45.5 x 38 cm Signed on stretcher bar on the reverse Yayoi Kusama in English and Flowers in Han character, dated 1983 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 1,700,000–2,600,000 US$ 57,600–88,100 HK$ 447,000–684,000

草間彌生花 1983 壓克力畫布 45.5 x 38 cm 簽名畫背框條：Yayoi Kusama 花 1983 附草間彌生工作室開立之原作登錄卡

被譽為是日本現存國寶級藝術家的草間彌生，1957年前往美國紐約，開始從事前衛的藝術創作，曾與西方當代重要的藝術家，包括克來茵、瓊斯與歐登柏格、安迪．沃荷一起聯展，活躍於國際藝壇，並一度引領當時盛行的普普藝術風潮。1993年，草間彌生成為第一位單獨代表日本參加威尼斯雙年展的女性藝術家，自此草間彌生在日本及西方國際藝壇的地位得以確立。「花卉」一直是草間彌生重要的創作題材之一，它們象徵了生命的綻放與凋零，慶祝與哀悼，陽剛與陰柔，以有機、脆弱、繁殖的生命型態，無止盡地纏繞、盤踞整個畫布與藝術家創造的奇幻世界。草間彌生曾在她的自傳中提到：「大自然、宇宙、人類、血、花，還有各式各樣森羅萬象的事物，自從我懂事以來，它們便以神奇、恐懼或者是神秘的方式，在我的視覺、聽覺，還有內心深處留下深刻的印象。它們牢牢糾纏住我的生命，不放我離開。」草間彌生的每張圖都是一種點、線或是色彩層次的自由組合，透過不斷增生的圓點和層層交錯的網絡，鋪展出一個無限延伸的小宇宙，她認為網狀結構象徵富有生機的生命本質。此幅《花》是1983年的作品，藝術家以高超細膩的筆觸、亮麗繽紛的色彩，生動描繪恣意綻放的花朵，展現出一股強韌而旺盛的生命力。 Yayoi Kusama, who is generally recognized to be one of Japan’s greatest living artists, began to create avant–garde art after moving to New York in 1957. She held joint exhibitions with leading Western artists of the day such as Yves Klein, Jasper Johns, Claes Oldenburg and Andy Warhol, and became a prominent figure on the international art scene, playing an important role in the growth of the Pop Art movement. In 1993, Kusama became the first female Japanese artist to represent Japan at the Venice Biennale, firmly establishing her status as a major figure in the art world both in the West and in Japan. Flowers have always been one of Kusama’s favored themes. They symbolize the flowering and withering of life, celebration and grief, hardness and softness. These fragile, organic, bountiful life–forms sprawl all over the paintings, dominating both the canvas and the fantastical world that the artist is seeking to create. In her autobiography, Yayoi Kusama noted that: “ever since she was a child, nature, the universe, humanity, blood, flowers and all sort of other things have left deep impressions – in a magical, terrifying or mysterious way – on her visual and auditory perception and on her heart. She said that they had entwined themselves around her life, never letting her escape. ” One feature which is common to all of Yayoi Kusama’s paintings is the great freedom with which dots, lines and colors are arranged. The steadily increasing dots and interleaved networks combine to create a miniature universe with limitless extensibility. Kusama sees the net–like structure as symbolizing the richly organic essence of life. In this 1983 work, “Flowers” the artist makes use of highly detailed brushstrokes and rich colors to depict flowers that are blooming with riotous abandon, portraying a tenacious, vigorous life force.

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728 Yayoi KUSAMA (Japanese, b. 1929)

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

NT$ 2,000,000–3,000,000 US$ 67,800–101,700 HK$ 526,000–789,000

草間彌生紅南瓜 1989 壓克力畫布 38 x 45.5 cm 簽名畫背：赤いかぼちゃ Yayoi kusama 1989 附草間彌生工作室開立之原作登錄卡

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至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，《紅南瓜》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, "Red Pumpkin", composed of repeating dots, combines two of her most iconic symbols – "pumpkins" and "infinity nets."

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729 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1998 Bronze, edition no. 26/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 26/100 This sculpture is to be sold with a certificate of authenticity issued by Monnaie de Paris, Paris.

NT$ 550,000–800,000 US$ 18,600–27,100 HK$ 145,000–211,000

草間彌生南瓜 1998 銅雕 26/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 26/100 附巴黎鑄幣博物館開立之原作保證書

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730 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (a set of 5) 2002 Porcelain, edition no. 57/130 11(L) x 10(W) x 8(H) cm (x5) Signed on bottom Yayoi Kusama in English, numbered 57/130 , inscribed LIMOGES FRANCE and dated 2002 (x5) Signed inside the box cover Yayoi Kusama in English and dated 2002 (x5)

NT$ 220,000–320,000 US$ 7,500–10,800 HK$ 58,000–84,000

草間彌生南瓜（五件一組） 2002 瓷器 57/130 11(長) x 10(寬) x 8(高) cm (x5) 簽名底部：Yayoi Kusama 2002 57/130 LIMOGES FRANCE (x5) 簽名盒蓋底：Yayoi Kusama 2002 (x5)

731 Hiroto KITAGAWA (Japanese, b. 1967)

Superman 2000 Terracotta, acrylic 25(L) x 25(W) x 62(H) cm Engraved Hiroto in English and dated '00

NT$ 160,000–260,000 US$ 5,400–8,800 HK$ 42,000–68,000

北川宏人超人 2000 赤陶壓克力 25(長) x 25(寬) x 62(高) cm 簽名雕刻：Hiroto '00

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732 Takashi MURAKAMI (Japanese, b. 1962)

Inochi Doll: Zhang, David, Victor, Yamamoto and Bob (a set of 5) 2009 ABS and NP–PVC, iron plate, cotton and polyester, edition no. 49/200 (Zhang); 64/200 (David); 49/200 (Victor); 53/200 (Yamamoto); 51/200 (Bob) 15(L) x 9(W) x 37(H) cm (x5) Signed on bottom M , numbered 49 , and dated 09 (Zhang) Signed on bottom M , numbered 64 , and dated 09 (David) Signed on bottom M , numbered 49 , and dated 09 (Victor) Signed on bottom M , numbered 53 , and dated 09 (Yamamoto) Signed on bottom M , numbered 51 , and dated 09 (Bob) These sculptures are to be sold with certificates of authenticity and boxes.

NT$ 380,000–600,000 US$ 12,900–20,300 HK$ 100,000–158,000

村上隆生命系列（五件一組） 2009 樹脂環保聚氯乙烯鐵板棉聚酯纖維 49/200 (Zhang)；64/200 (David)； 49/200 (Victor)；53/200 (Yamamoto)；51/200 (Bob) 15(長) x 9(寬) x 37(高) cm (x5) 簽名底部：M 09 49（Zhang）簽名底部：M 09 64（David）簽名底部：M 09 49（Victor）簽名底部：M 09 53（Yamamoto）簽名底部：M 09 51（Bob）附原作保證書與紙盒

733 Yuyu YANG

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

Union 1985 Stainless steel, edition no. 11/20 72(L) x 19(W) x 31(H) cm Engraved Ying–feng in Chinese, numbered 11/20 and dated '85 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000–320,000 US$ 4,100–10,800 HK$ 32,000–84,000

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楊英風大千門 1985 不鏽鋼 11/20 72(長) x 19(寬) x 31(高) cm 簽名雕刻：'85 英風 11/20 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書

734 Yuyu YANG

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

Balance & Harmony 1993 Stainless steel, edition no 8/9 135(L) x 80(W) x 90(H) cm Engraved YuYu YANG Ying–feng in Chinese and English, Yang F. in English, numbered 8/9 and dated '93 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000–320,000 US$ 4,100–10,800 HK$ 32,000–84,000

楊英風厚生 1993 不鏽鋼 8/9 135(長) x 80(寬) x 90(高) cm 簽名雕刻：'93 呦呦楊英風 YuYu YANG Yang F. 8/9 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書

735 Yuyu YANG

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

Phoenix Rising 1981 Bronze, edition no. 18/20 36(L) x 47(W) x 78(H) cm Engraved on the back Ying–feng in Chinese, numbered 18/20 , and dated '81 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000–320,000 US$ 4,100–10,800 HK$ 32,000–84,000

楊英風神采飛揚 1981 銅雕 18/20 36(長) x 47(寬) x 78(高) cm 簽名雕刻後側：英風 '81 18/20 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書

736 HUANG Gang (Chinese, b. 1961)

Recalling the Beauty of the Country 2007 Bronze, edition no. 3/18 42(L) x 48(W) x 50(H) cm Engraved Huang Gang in English and Chinese, numbered 3/18 ILLUSTRATED: Eminent Chinese Artist – Huang Gang : Revolving Golden Imprint, Ping Art Space, Taipei, 2008, color illustrated, p. 211

NT$ 220,000–400,000 US$ 7,500–13,600 HK$ 58,000–105,000

黃鋼想起江山多嬌美 2007 銅雕 3/18 42(長) x 48(寬) x 50(高) cm 簽名雕刻：Huang Gang 黃鋼 3/18 圖錄：《中國當代名家系列黃鋼 ─ 轉動黃金印記》，藏新藝術有限公司出版，台北，2008，彩色圖版，頁211

737 HUANG Gang (Chinese, b. 1961)

Chairman Mao 2007 Bronze, edition no. 1/18 50(L) x 35(W) x 114(H) cm Engraved on the base 1/18–C

NT$ 220,000–420,000 US$ 7,500–14,200 HK$ 58,000–111,000

黃鋼毛澤東 2007 銅雕 1/18 50(長) x 35(寬) x 114(高) cm 版次底座：1/18–C

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738 HUANG Po–ren (Taiwanese, b. 1970)

You Can Not Pass! 2005 Bronze, edition no. 4/12 40(L) x 66(W) x 60(H) cm Engraved on the back of the leg PR in English, numbered 12–4 and dated 2005

NT$ 300,000–400,000 US$ 10,200–13,600 HK$ 79,000–105,000

黃柏仁禁區 2005 銅雕 4/12 40(長) x 66(寬) x 60(高) cm 簽名雕刻後腿：2005 12–4 PR

739 SUI Jianguo

(Chinese, b. 1956)

For the Beauty (Panda) 2005 Fiberglass, edition no. 4/12 57(L) x 57(W) x 159(H) cm Signed and numbered twice Sui Jianguo in English and numbered '4/12 (inside of green bamboo) PROVENANCE: McClain Gallery, Houston EXHIBITED: Productivity: China in the Copy Time I/II , White Box Museum, 798 Art District , Beijing, May 22 – June 3, 2010

NT$ 220,000–320,000 US$ 7,500–10,800 HK$ 58,000–84,000

隋建國讓世界更美好（熊貓） 2005 玻璃纖維 4/12 57(長) x 57(寬) x 159(高) cm 簽名綠竹內側: 4/12 Sui Jianguo (x2) 來源：麥克倫畫廊，休士頓展覽：「生產力：複製時代的中國」，798藝術區白盒子藝術館，北京，展期自2010年5月22日至6月3日

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740 CHEN Ke

(Chinese, b. 1978)

The Family of Dolls 2006 Fiberglass, edition no. 6/8 23(L) x 17(W) x 13(H) cm Signed on the base Chen Ke , titled The Family of Dolls in Chinese and English, numbered 6/8, inscribed Fiberglass 23 By 17 By 13 cm and dated 2006 EXHIBITED: Fancy Dream , Marella Gallery, Beijing, April 8– May 19, 2006 (another cast) Woman in a Society of Dual–sexuality , Tang Contemporary Art, Bangkok, December 16, 2006 – January 18, 2007 (another cast) Chen Ke , Marella Gallery, Milano, 2008 (another piece) Cina Rinascita Contemporanea, Palazzo Reale, Milan, December 11, 2009–February 7, 2010 (another cast) ILLUSTRATED: Fancy Dream , Zhu Tong, Eleonora Battiston, Damiani Editore, Beijing, 2006, pp. 37–38 & pp. 40–41 (another cast) Woman in a Society of Dual–sexuality , Zhu Qi, Tang Contemporary Art, Bangkok, 2006, pp. 25–30 (another cast) Cina: Rinascita Contemporanea, 24 Ore Motta Cultura, Palazzo Reale, Milan, 2009, p. 190 (another cast)

NT$ 320,000–480,000 US$ 10,800–16,300 HK$ 84,000–126,000

陳可玩偶之家 2006 玻璃纖維 6/8 23(長) x 17(寬) x 13(高) cm 簽名底座：玩偶之家 6/8 The Family of Dolls 6/8 玻璃鋼 Fiberglass 23 By 17 By 13 陳可 Chen Ke 2006 展覽：「幻．想」，瑪蕊樂畫廊，北京，展期自2006年 4月8日至5月19日（另一版次）「雙性社會中的女性」，當代唐人藝術中心，曼谷，展期自2006年12月16日至2007年1月18日（另一版次）「陳可個展」，瑪蕊樂畫廊，米蘭，2008（另一版次）「中國當代文藝復興」，王宮，米蘭，展期自2009年12 月11日至2010年2月7日（另一版次）圖錄：《幻．想》，瑪蕊樂畫廊，北京，2006，圖版，頁37–38與頁40–41（另一版次）《雙性社會中的女性》，當代唐人藝術中心，曼谷， 2006，圖版，頁25–30（另一版次）《中國當代文藝復興》，24小時摩塔文化，王宮，米蘭，2009，圖版，頁190（另一版次）

741 Arthur YANG

(YANG Feng–shen) (Taiwanese, b. 1955)

Guan Gong 2012 Bronze, edition no. 11/45 21(L) x 22.5(W) x 31(H) cm Engraved on the back shen in Chinese and Arthur in English, dated 2012

NT$ 360,000–460,000 US$ 12,200–15,600 HK$ 95,000–121,000

楊奉琛關公 2012 銅雕 11/45 21(長) x 22.5(寬) x 31(高) cm 簽名雕刻後側：琛 Arthur 2012

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742 JU Ming

(Taiwanese, b. 1938)

Soaring Dragon 1991 Bronze, edition no. 18/30 48(L) x 22(W) x 38(H) cm Engraved on lower back Ju Ming in Chinese, numbered 18/30 and dated '91 This sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 440,000–650,000 US$ 14,900–22,000 HK$ 116,000–171,000

朱銘龍觀天下 1991 銅雕 18/30 48(長) x 22(寬) x 38(高) cm 簽名雕刻底部後側：朱銘 18/30 '91 18/30 附敦煌畫廊開立之原作保證書

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台北拍賣日期： 2012年12月2日（星期日）下午2:30

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c. 拒絕入場拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣。 d. 競投之前作出登記每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 f.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. 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。 h. 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。 i. 匯率轉換顯示板在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損失，本公司概不負責。 j. 錄映影像在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何責任。 k. 拍賣官之決定權拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤差或爭議，將拍賣品重新拍賣。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算。（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。

b. 稅項買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值稅（不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間繳付此稅款。 c. 付款成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。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台幣貳拾伍萬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）付款之上限為台幣壹佰萬（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新台幣以外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率，依拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑證為準。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，則按不超過台灣銀行基本利率加 10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下買家之款項。（2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出售並將收益用以清償該未付之欠款。（3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用以清償該筆款項。（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何競投之前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者外，另有權：（5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數賠償為基準之法律程序之訴訟費。（6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品之交易。（7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款，本公司將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬運、保險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購拍賣項目。

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中華民國法律規限，本業務規則之解釋與效力均適用台灣法律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

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Transaction Agreement The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company. I. The Buyer 1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the wristwatches on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact. Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use. Please note: The restoration of the items on auction may have resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts. All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ď˝?Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full service fee. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions. 3. In the auction Sales Tax Payable by the Buyer a. The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel in writing within two business days following the auction day if he

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desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. e. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. 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. 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. h. 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. i. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. j. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. l. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price. (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law.

c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. 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 NT$250,000 or the equivalent value in another currency. Ravenel accepts payments by credit cards (Visa, MasterCard, Union Pay) up to NT$1,000,000 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 NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. 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 Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim. (6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.

5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. 6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. The aforementioned does not apply to coins, medals, jewelry and paintings. II. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company. 2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.

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

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.

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