亞洲現代與當代藝術 Modern and Contemporary Asian Art by Ravenel International Art Group

SPRING AUCTION 2015 TAIPEI

羅芙奧台北 2015 春季拍賣會亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2015 TAIPEI Modern and Contemporary Asian Art 拍賣日期

地點

2015年6月7日（日）下午 2:00 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2 預展日期

地點

台中 2015年5月16日（六）下午 1:00 至下午 6:00 2015年5月17日（日）上午 11:00 至下午 6:00 寶輝建設接待中心台中市市政北二路與惠來路交叉口香港 2015 年5月29日（五）下午 2:00 至下午 8:00 2015 年5月30日（六）上午 10:00 至下午 7:00 香港君悅酒店（M樓茶園）香港灣仔港灣道 1 號台北 2015年6月5日（五）至6月6日（六）上午 10:00 至下午 6:00 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, June 7, 2015, 2:00pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung

Saturday, May 16, 2015, 1:00pm - 6:00pm Sunday, May 17, 2015, 11:00am - 6:00pm Pao-Huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Xitun District, Taichung, Taiwan

Hong Kong

Friday, May 29, 2015, 2:00pm - 8:00pm Saturday, May 30, 2015, 10:00am - 7:00pm Grand Hyatt Hong Kong - Tiffin 1 Harbour Road, Wanchai, Hong Kong

Taipei

Friday, June 5 - Saturday, June 6, 2015, 10:00am - 6:00pm Fubon International 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

台北藝術部總經理 President, Art Department, Taipei

香港藝術部總經理 President, Art Department, Hong Kong

林慧菁 Maggie Lin

何瑩 Vivi He

台北藝術部副總經理 Vice President, Art Department, Taipei

香港業務發展部總監 Head of Business Development Department, Hong Kong

黃詩涵 Stella Huang

廖培娟 Claire Liao

台北藝術部經理 Manager, Art Department, Taipei

香港藝術部專家 Specialist, Art Department, Hong Kong

蔡晉欣 Olivier Tsai

鄧秀麗 Crystal Tang

台北藝術部副理 Assistant Manager, Art Department, Taipei

香港藝術部專家 Specialist, Art Department, Hong Kong

江玉涵 Marguerite Chiang

楊千嬅 Kelly Yang

台北藝術部行政主任 Administrative Officer Art Department, Taipei

香港藝術部主任 Supervisor, Art Department, Hong Kong

張鶴軒 Helen Zhang 北京業務代表 Sales Representative, Beijing

游景涵 Carol Yu 香港藝術部業務助理 Sales Assistant, Art Department, Hong Kong

羅芙奧台北 2015 春季拍賣會服務部門及連絡人

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RAVENEL STAFF AND SERVICES FOR THIS SALE

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

Vice President, Art Department Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@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.

CATALOGUE SUBSCRIPTION Taiwan Marguerite Chiang Tel: +886 2 2708 9868 ext. 884 Email: margueritejiang@ravenel.com

Hong Kong Eric Siu Tel: +852 2889 0859 ext. 781 Email: ericsiu@ravenel.com

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PAYMENT Tina Lin Tel: +886 2 2708 9868 ext. 685 Email: tinalin@ravenel.com

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

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

Hong Kong Eric Siu Tel: +852 2889 0859 ext. 781 Email: ericsiu@ravenel.com

China Jason Dong Tel: +86 10 8587 8099 ext. 22 Email: jasondong@ravenel.com

International Angela Liu Tel: +886 2 2708 9868 ext. 881 Email: angelaliu@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

羅芙奧春季拍賣會

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 303

委託競投表格

Absentee Bid Form 305

業務規則

Transaction Agreement

藝術家索引 / Index

Yoshitaka AMANO

天野喜孝

325

CHANG Chen-yu CHANG Chia-Ying CHANG Wan-chuan George CHANN CHAO Chung-hsiang CHEN Chao-Pao CHEN Liu CHEN Ting-shih CHEN Wan-Jen CHEN Yin-Wei CHIANG Jui-Keng Paul CHIANG CHIU Ya-tsai CHOU Chu-Wang CHU Teh-chun CHUA Hu CHUANG Che

張振宇張嘉穎張萬傳陳蔭羆趙春翔陳朝寶陳流陳庭詩陳萬仁陳英偉蔣瑞坑江賢二邱亞才周珠旺朱德群蔡雲程莊喆

387 303, 394 362, 363 258, 232 203 368, 377 337, 338 205, 206, 374 403 382 357 289, 291 225, 226, 299, 300 383 219, 236, 273, 274 367 229, 290

DAI Ze DU Xi

戴澤杜溪

364 365, 397

FANN Kang-lung FEI Yifu Alixe FU

范康龍費以復傅慶豊

411 370, 371 201, 350, 384, 386

HAN Wu-Lin Jaime HAYON HEO Suyoung HO Kan HSIAO Chin

韓舞麟亞米・海因許修榮霍剛蕭勤

HSIEH Hsiao-de HUANG Gang HUANG Ming-chang HUANG Po-Ren HUNG Jui-lin HUNG Tung HWANG Jyi

謝孝德黃鋼黃銘昌黃柏仁洪瑞麟洪通黃楫

331 307 332 213, 379, 380 204, 211, 212, 214 218, 220, 228 354, 355, 361 406 224 412, 413 343, 351 285, 286 366

IIDA Kiriko

飯田桐子

318

JAN Chin-shui JU Ming

詹金水朱銘

216, 344 241, 242, 243, 405 409, 410, 417

KAMA Takumi Tetsutaro KAMATANI Ryoko KATO Hideaki KAWASHIMA KIM Taeho KING Fen-hwa KUO I-Chen KUO Wei-kuo Yayoi KUSAMA

釜匠鎌谷徹太郎加藤遼子川島秀明金泰浩金芬華郭奕臣郭維國草間彌生

314 315 319 317 334, 335 360 399 223 326, 328, 329

LEE Chun-Yi Daniel LEE LEE Jung-woong LEE Liang LEE Ming-tse LEE Seung Min LI Chen LI Jikai LI Jisen LI Kuang-yu LIANG Yifen LIAO Yu-an LIEN Chien-hsing LIN Yao-sheng LIU Guoshu LIU Keng-I LIU Kuo-sung Max LIU

李君毅李小鏡李錠雄李梁李明則李承玟李真李繼開李繼森李光裕梁奕焚廖堉安連建興林耀生劉國樞劉耿一劉國松劉其偉

287 400, 401 336 375 392 333 240 393 347 415 359, 378 376 304 356 369, 388 358 265 208, 340, 341

LO Chan-peng LU Hsien-ming LU Qi

羅展鵬陸先銘陸琦

306 305, 346 385

MA Pai-sui Hiroyuki MATSUURA Shintaro MIYAKE Takashi MURAKAMI

馬白水松浦浩之三宅信太郎村上隆

277 324 313 308, 309

Noriyuki NAKAYAMA Yoshitomo NARA

中山德幸奈良美智

316 310, 311, 312, 327

OUYANG Chun

歐陽春

396

PAN Honghai PAN Yu-liang PANG Jiun PENG Si

潘鴻海潘玉良龐均彭斯

349 234 217, 230 339

QI Haiping QU Guangci

祁海平瞿廣慈

345 414

RAN In-ting

藍蔭鼎

256, 257

Rieko SAKURAI SANYU

櫻井理惠子常玉

SHEN Che-tsai SHIY De-jinn

沈哲哉席德進

SU Wong-shen

蘇旺伸

320 253, 254, 261, 262 263 207, 210, 215 202, 209, 255, 259 260, 295, 296, 297 298 391

Modoka TAKAGI T’ANG Haywen

高木圓曾海文

Walasse TING

丁雄泉

Tomoya TSUKAMOTO

塚本智也

330 244, 245, 246, 247 248, 249, 250, 251 252 235, 264, 266, 267 275 321

WANG Jinsong WANG Xiang-ming WANG Xinfeng WANG Ya-hui We studio Tony WONG

王勁松王向明王信豐王雅慧 We studio 黃榮禧

395 373 398 402 390 292

XIN Haizhou XIONG Yu XU Jiang

忻海洲熊宇許江

389 302 268

Soichi YAMAGUCHI Mayuka YAMAMOTO Fumio YAMAZAKI YAN Pei Ming YANG Din YANG Jiechang YANG San-lang Yuyu YANG YEH Huo-cheng Tzu-chi YEH

山口聰一山本麻友香山崎史生嚴培明楊登雄楊詰蒼楊三郎楊英風葉火城葉子奇

Heshi YU YU Peng YUAN Jai

于兆漪于彭袁旃

322 323 331 270 348 294 352, 353 407, 408, 416 342 221, 222, 227, 231 233 381 279, 280, 281, 301 288

ZAO Wou-ki

趙無極

ZENG Fanzhi ZHAN Wang ZHANG Guangbin ZHANG Xiaogang ZHOU Chunya ZHU Yiyong

曾梵志展望張光賓張曉剛周春芽朱毅勇

237, 238, 239, 278 404 271 276 282, 283, 284 272 269, 307 293

201 Alixe FU (FU Qing-li, Ching-Fong) (Chinese-French, b. 1961)

Hommage to Max Ernst 1992 Oil on canvas 50 x 61 cm Signed lower right Alixe Fu in English and dated 92 Signed on the reverse Alixe Fu in Chinese and English, titled Memorial Max Erneat, inscribed 61 x 50 cm and dated 1992

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

傅慶豊向恩斯特致敬 1992 油彩畫布 50 x 61 cm 簽名右下：Alixe Fu 92 簽名畫背：傅慶豊 Alixe Fu 61 x 50 cm 畫題：紀念 Max Erneat 1992

202 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Begonias 1977 Ink and color on paper 32 x 42 cm Singed lower Shiy De-jinn in Chinese, inscribed to Mr. Zi Xiu and dated Autumn 1977 all in Chinese With one seal of the artist

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

席德進秋海棠 1977 彩墨紙本 32 x 42 cm 簽名題識下方：子脩先生雅正一九七七年秋于台北四川南部縣人席德進畫鈐印下方：席德進印

203 CHAO Chung-hsiang

趙春翔

(Taiwanese, 1910 - 1991)

鳥

Bird

1980 壓克力紙本 45 x 45 cm 簽名右下：春翔紐約 Chao 80

1980 Acrylic on paper 45 x 45 cm Signed lower right Chung-hsiang in Chinese and Chao in English, inscribed New York in Chinese and dated 80

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

204 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Grande Chi-10 1997 Acrylic on paper 47.5 x 94 cm Signed lower center Hsiao in English and Chin in Chinese, dated 97 in Chinese Titled lower left Grande Chi -10 in Chinese Signed on the reverse HSIAO CHIN and titled "Grande Chi -10" both in English

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

蕭勤大炁之十 1997 壓克力紙本 47.5 x 94 cm 簽名下方：Hsiao 勤九七題識左下：大炁之十簽名題識畫背:HSIAO CHIN "grande Chi-10"

205 CHEN Ting-shih

陳庭詩

(Taiwanese, 1916 - 2002)

潑彩

Splash of Color

1987 壓克力彩墨紙本 32 x 62 cm 簽名左下：陳庭詩八七 CHEN Ting-shih 鈐印左下：陳

1987 Acrylic, ink and color on paper 32 x 62 cm Signed lower left CHEN Ting-shih in Chinese and English, dated 87 With one seal of the artist

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

206 CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916 - 2002)

Below the Freezing point. #10 Print, edition no. 1/50 (unique) 62 x 92 cm Signed lower left Chen Ting-shih and titled Below The Preezng Point #10 both in English, numbered 1/50 PROVENANCE: Collection from former landlord of Chen Ting-shih Modern Art Foundation in Taichung EXHIBITED: The 8th Anniversary Memorial Exhibition of Chen Ting-Shih, Taichung City Seaport Art Center, Taichung, May 22 - June 13, 2010

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

陳庭詩零度以下#10 版畫 1/50（單一版） 62 x 92 cm 簽名左下：Below The Preezng Point #10 1/50 Chen Ting-shih 來源：原陳庭詩基金會台中舊址房東收藏展覽：「陳庭詩逝世八週年紀念展」，台中市港區藝術中心，台中，展期自2010年5月22日至6月13日

207 SHEN Che-tsai (Taiwanese, b. 1926)

Girl 1990 Oil on canvas 33 x 24 cm Signed lower right Che-tsai in Chinese Signed on the reverse Shen Che-tsai and titled Girl in Chinese, inscribed 14F, dated 1990 This painting is to be sold with a certificate of authenticity with artist's signature issued by Yung Han Gallery.

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

沈哲哉少女 1990 油彩畫布 33 x 24 cm 簽名右下：哲哉簽名畫背：1990 14F 沈哲哉「少女」附永漢國際藝術中心與藝術家親筆簽名之原作保證書

208 Max LIU (LIU Chi-wei)

劉其偉

(Taiwanese, 1912 - 2002)

在畫室裡自畫像

In Studio Self-Portrait

1987 水彩紙本 48 x 35 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〧ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〧

1987 Watercolor on paper 48 x 35 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 1987 ILLUSTRATED： Document a of Max Liu, Artist Publishing House, Taipei, 1998, color illustrated, p. 227 Adventure, Wizard, Max Liu, Hsiung-Shin Art Book, Taipei, 2001, color illustrated, p. 153 Son of the Nature-Max Liu, Capital Art Corporation, Taipei, 2007, color illustrated, no. 10 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 180,000-380,000 HK$ 44,000-94,000 US$ 5,700-12,100

圖錄：《劉其偉繪畫創作文件》，藝術家出版社，台北， 1998，彩色圖版，頁227 《探險・巫師・劉其偉》，雄獅圖書股份有限公司，台北，2001，彩色圖版，頁153 《自然之子—劉其偉》，首都藝術事業公司，台北， 2007，彩色圖版，編號10 附藝術家親筆簽名之原作保證書

209 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Paysage 1957 Watercolor on paper 38.6 x 55.8 cm Signed lower right Shiy De-jinn in Chinese and dated 1957

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

席德進風景 1957 水彩紙本 38.6 x 55.8 cm 簽名右下：席德進 1957

210 SHEN Che-tsai (Taiwanese, b. 1926)

Lady in the Moonlight 1974 Oil on canvas 41 x 32 cm Signed lower Left Che-tsai in Chinese and dated 1974 Signed on the reverse Shen Che-tsai and titled Lady in the Moonlight both in Chinese, inscribed 6F PROVENANCE: Heritage Arts Auction, Taipei, December 14, 1997, lot 9 EXHIBITED: 1995 Solo Exhibition by SHEN Che-tasi ILLUSTRATED: Works by SHEN Cho-tsai, Asia Art Center, Taipei, 1995, Color illustrated, p. 102

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

沈哲哉月夜女郎 1974 油彩畫布 41 x 32 cm 簽名左下：1974 哲哉簽名畫背：沈哲哉月夜女郎 6F 來源：傳家藝術拍賣，台北，1997年12月14日，編號9 展覽：「1995 沈哲哉個展」圖錄：《沈哲哉作品選集》，亞洲藝術中心，台北，1995，彩色圖版，頁102

211 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Untitled 1960 Ink and color on paper 55.5 x 39 cm Signed lower right Hsaio in English and Chin in Chinese, dated February 21, 60 With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Luca Sforzini Arts, Taipei.

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

蕭勤無題 1960 彩墨紙本 55.5 x 39 cm 簽名右下：Hsiao 勤 60 二. 廿一 60 鈐印右下：蕭勤附Luca Sforzini Arte開立之原作保證書

212 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Shakti-2 Acrylic on canvas 50 x 70 cm Signed on the reverse Hsiao in English and Chin in Chinese, titled "shakti – 2" in English, inscribed 50 x 70 cm

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

蕭勤夏克媞 – 2 壓克力畫布 50 x 70 cm 簽名畫背：Hsiao勤 "shakti – 2" 50 x 70 cm

213 HO Kan

(Taiwanese, b. 1932)

93-16 1993 Oil on canvas 80 x 100 cm Signed on the reverse HO KAN both in Chinese and English, dated 1993 in Chinese

NT$ 200,000-400,000 HK$ 49,000-99,000 US$ 6,400-12,700

霍剛 93-16 1993 油彩畫布 80 x 100 cm 簽名畫背：HO-KAN霍剛民八二

214 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Shakti Acrylic on canvas 50 x 70 cm Signed on the reverse Hsiao in English and Chin in Chinese, titled shakti in English, inscribed 50 x 70 cm

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

蕭勤夏克媞壓克力畫布 50 x 70 cm 簽名畫背：Hsiao 勤 "shakti"；50 x 70 cm

215 SHEN Che-tsai (Taiwanese, b. 1926)

Ballet Dancers Series 2002 Oil on canvas 45 x 53 cm Signed lower right Che-tsai in Chinese, dated 2002 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

沈哲哉芭蕾少女系列 2002 油彩畫布 45 x 53 cm 簽名右下：2002 哲哉附日升月鴻藝術畫廊開立之原作保證書

216 JAN Chin-shui (Taiwanese, b. 1953)

Snow in the Autumn 2014 Mixed media on canvas 130 x 194 cm Signed lower left Chin-shui in Chinese and dated 2014 Signed on the reverse Jan Chin-shui and titled Snow in the Autumn both in Chinese, inscribed 120F, dated 2014

NT$ 420,000-550,000 HK$ 104,000-136,000 US$ 13,400-17,500

詹金水瑞雪秋韻 2014 綜合媒材畫布 130 x 194 cm 簽名左下：金水 2014 簽名畫背：120F 瑞雪秋韻詹金水 2014年

217 PANG Jiun

盛花

Blooming

2006 油彩畫布 72.5 x 60.5 cm 簽名左方：龐均 2006 鈐印右下：均

2006 Oil on canvas 72.5 x 60.5 cm Signed left Pang Jiun in Chinese and dated 2006 With one painted seal of the artist

NT$ 550,000-750,000 HK$ 136,000-185,000 US$ 17,500-23,900

龐均

(Taiwaeese, b. 1936)

218 HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

抽象

MIMA-165-7D

1960 油彩畫布 70 x 60 cm 簽名下方：Hsiao 勤十一卅 60

1960 Oil on canvas 70 x 60 cm Signed lower Hsiao in English, Chin in Chinese and dated November 30, 1960

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,000

219 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Spring 1982 Ink on paper 34 x 34 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 82 With two seals of the artist

NT$ 500,000-1,000,000 HK$ 123,000-247,000 US$ 15,900-31,800

朱德群春分 1982 水墨紙本 34 x 34 cm 簽名右下：朱德群 CHU TEH-CHUN 82 題識左側：彥棻先生指正鈐印右下：朱德羣鈐印左側：朱德羣

220 HSIAO Chin (XIAO Qin) (Chinese, b. 1935)

Oltre la grande soglia-6 1990-2012 Acrylic on canvas 73 x 91 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Oltre la grande soglia-6 in Italian, inscribed Acrylic 73 x 91 cm and dated 1990-2012

NT$ 950,000-1,600,000 HK$ 235,000-395,000 US$ 30,200-50,900

蕭勤大限外－6 1990-2012 壓克力畫布 73 x 91 cm 簽名畫背：Hsiao 勤 1990-2012. 「大限外-6」 Oltre la grande soglia-6 73 x 91 cm 布上壓克力畫

221 Tzu-chi YEH

葉子奇

(Taiwanese, b. 1957)

雲南情人節

Yunnan Valentine's Day

2011-2015 卵彩油彩亞麻布 76.5 x 51.5 cm 簽名右下：子奇 2011-2015

2011-2015 Tempera and oil on linen 76.5 x 51.5 cm Signed lower right Tzu-chi in Chinese and dated 2011-2015

NT$ 1,000,000-1,500,000 HK$ 247,000-370,000 US$ 31,800-47,700

茶花的品種繁多，其中許多主要的品系皆源自於雲南，母親是雲南人，小時候在花蓮玉里小鎮，每當過年我們都會到山邊看茶花。後來念大學，陽明山華岡四處也都可見到茶花。1994年寒冷的二月，母親過世，我畫了第一張茶花。 2006年返回花蓮定居後，因緣際會，又陸續養了一百多盆的茶花。這朵茶花的品名就是「情人節」，原生地是雲南，每年二月「情人節」前後就會開花，花大葉大，思之念之，以此誌之。葉子奇於花蓮 There are a lot of different types of camellia, and many of the main varieties originated in Yunnan. My mother was Yunnanese, and when I was a boy growing up in the small town of Yuli in Hualien County, Taiwan, every year, in the period immediately after Chinese New Year, we would go up into the hills to view the camellias in bloom. Later on, when I was studying at Chinese Culture University, I found that the Hua-kang district of the Yangmingshan hills, where the University was located, was covered with camellias. When my mother passed away in February 1994 (a particularly cold year), I started painting camellias for the first time. After I moved back to Hualien in 2006, for various reasons I gradually collected over a hundred camellia plants. This particularly variety of camellia is called “Valentine’s Day.” It originated in Yunnan, and it flowers in February each year, immediately after Valentine’s Day. With its large blossoms and big leaves, I was particularly fond of this plant, and painted this picture in order to have a record of it. Tzu-chi Yeh, Hualien

222 Tzu-chi YEH

(Taiwanese, b. 1957)

Pigeon in San Francisco 1993-2005 Tempera and Oil on linen 66 x 76 cm Signed lower right Tzu-chi in Chinese and dated 1993-05 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 1,000,000-2,000,000 HK$ 247,000-494,000 US$ 31,800-63,600

葉子奇舊金山的鴿子 1993-2005 卵彩油彩亞麻布 66 x 76 cm 簽名右下：子奇 1993-05 附月臨畫廊與藝術家親筆簽名之原作保證書

在台灣當代油畫歷程中，寫實油畫的創作形式隨著時代的變化，和社會環境的變遷不斷地演進，而這時代的寫實繪畫藝術家在與時並進的同時，再融入自身過往的經驗體會，將心中對於外在、內在種種感知，藉由繪畫呈現在世人眼前。葉子奇精準又獨到的顏色處理，將內心波濤暗湧的懷鄉思緒訴諸於畫布，成就了他的藝術語彙，更將這股情緒與觀者共享。存在著強烈古典美氣氤的葉子奇寫實繪畫，透過當代氛圍濃郁的構圖，展開了其獨特的美學魅力。綜觀葉氏的寫實藝術，從最早期寫實軍人畫作，紀念曾為緬軍的父親；以靜物花卉系列作品獻給故走突然的母親；再到重新觀看台灣山林水景而創作出來多幅的台灣當代山水作品，都帶有深沉的思故情懷，深掘心中最底層的鄉愁，毫無遺漏地赤裸表達。然而，葉氏的靜物描畫或是風景創作，在當代感濃厚的畫面組成上，也顯露了宛如肖像畫的氣質。據悉，葉子奇僅創作過兩幅鴿子畫作，而該作品《舊金山的鴿子》便為其中之一。希臘克里特島，米諾斯文明賦予「鴿子」滋養大地的母神形像，而此作始於母喪後的1995年，《舊金山的鴿子》以肖像畫的概念，將眼前的鴿子置於畫面中心，在小如豆的眼眸裡，彷彿流露出人類思鄉念國的情感，依稀帶有思念母親的悲傷；三分式的極簡畫面結構和漆黑靜謐的背景，散發出直接卻內斂的情緒，是對於家鄉的感念與不捨；希臘神話中，「鴿子」更有代表著「傳信」、「預知」的神性，而作為宙斯傳信使者，如同藝術家藉由所繪的主題傳達了心底的訊息。 In the development of contemporary Taiwanese oil painting, the art of realistic oil paintings has evolved over time and has continually changed according to the social environment. As realistic oil painters advanced themselves throughout this period, they integrated their personal experiences into their works to express their feelings of the outer and inner world. Artists use the external world to examine their internal feelings and then bring these feelings to life through their paintings. With his unique and precise use of colors, Tzuchi Yeh illustrates his turbulent nostalgia on the canvas, forming his own exclusive artistic language while sharing genuine feelings with his audience. Emanating strong classical ambience, Yeh’s realistic paintings reveal their unique aesthetic charm through their composition by reflecting their contemporary environments. All of Yeh’s work reflect deep retrospection: from his earliest realistic paintings of soldiers honoring his father, who was a soldier in the Burmese military, still-life flower paintings dedicated to his mother who passed away suddenly, to his numerous contemporary Taiwan landscape paintings based upon his views of the natural scenery of Taiwan. The artist digs out his nostalgia from the bottom of his heart and expresses it through his work without any reservation. In addition to his compositions full of the contemporary spirit, both Yeh’s still life and landscape paintings reveal portrait-like ambience. The piece, Pigeon in San Francisco, is one of the only two paintings of pigeons by Yeh. The Minoan civilization of the island of Crete regards pigeons as a representation of mother goddess nurturing the earth. This piece was created in 1995 after Yeh’s mother passed away. Deriving inspiration from portrait painting, Yeh transcribed the pigeon in front of him into the center of the painting, making it appear human. The pigeon gazes at viewer, revealing a sense of homesickness in its small eyes, a feeling of melancholy said to reflect the grief of Yeh losing mother. Based on the rule of thirds and painted with a silent, black background, the painting expresses a direct but reserved emotion—the artist’s lingering feelings for his hometown. In Greek mythology, pigeons represent divine powers of message delivery and fortune telling. Like a messenger for Zeus, the pigeon in this painting expresses the artist’s inner feelings.

223 KUO Wei-kuo (Taiwanese, b. 1960)

Sofa's Codeword 2005 Oil on canvas 112 x 145.5 cm Signed on the reverse KUO Wei-Kou and titled Sofa's Codeword both in Chinese, inscribed 112 x 145.5 cm, dated 2005 ILLUSTRATED: Diagram of Commotion and Desire -From Gloomingness to a Brand New Bright Start Kuo Wei-kuo, Lin & Keng Gallery, Taipei, 2005, color illustrated, pp. 12-13

NT$ 1,000,000-2,000,000 HK$ 247,000-494,000 US$ 31,800-63,600

郭維國沙發的暗語 2005 油彩畫布 112 x 145.5 cm 簽名畫背：郭維國二◯◯五 112 x 145.5 cm 沙發的暗語圖錄：《暴喜圖—柳暗與花明：郭維國》，大未來畫廊，台北，2005，彩色圖版，頁12-13

224 HUANG Ming-chang (Taiwanese, b. 1952)

Banana Leaves Swing with Breeze 2010 Oil on canvas 80 x 116 cm Signed on the lower right edge HUANG Ming-chang in Chinese and English, dated '10 This painting is to be sold with a certificate of authenticity issued by Cathybank Gallery, Taipei.

NT$ 1,500,000-2,200,000 HK$ 370,000-543,000 US$ 47,700-70,000

黃銘昌蕉葉迎風 2010 油彩畫布 80 x 116 cm 簽名右側下方：黃銘昌 Huang m.c. '10 附國泰世華藝術中心與藝術家親筆簽名之原作保證書

225 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Man in the Moonlight 1992 Oil on canvas 130 x 93 cm Signed lower right CHIU Ya-tsai in Chinese and dated 92 PROVENANCE: Hanart Gallery, Hong Kong Acquired From the above by the present owner

NT$ 1,600,000-2,600,000 HK$ 395,000-642,000 US$ 50,900-82,700

邱亞才月光下的男人 1992 油彩畫布 130 x 93 cm 簽名右下：邱亞才 92 來源：香港漢雅軒畫廊現有收藏者購自上述畫廊

226 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Smile Oil on canvas 117 x 90 cm Signed lower right Ya-tsai in Chinese ILLUSTRATED: Chiu Ya-tsai, Goethe Art Center, Taipei, 2009, color illustrated, p. 77

NT$ 2,000,000-3,000,000 HK$ 494,000-741,000 US$ 63,600-95,400

邱亞才微笑油彩畫布 117 x 90 cm 簽名右下：亞才圖錄：《邱亞才》，哥德藝術中心，台北，2009，彩色圖版，頁77

227 Tzu-chi YEH

(Taiwanese, b. 1957)

Typhoon Approaching 2011 Tempera and oil on linen 130 x 89.5 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2011 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 2,400,000-3,400,000 HK$ 593,000-840,000 US$ 76,300-108,100

葉子奇颱風前的花蓮海 2011 卵彩油彩亞麻布 130 x 89.5 cm 簽名右下：葉子奇 2011 附月臨畫廊與藝術家親筆簽名之原作保證書

228 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

L'evoluzione cosmica – 2 (Cosmic Evolution – 2) 2001 Acrylic on canvas 200 x 200 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled L'evoluzione cosmica – 2 in Italian, inscribed Acrilico, 200 x 200 cm in Italian, dated 2001 in Chinese EXHIBITED: Hsiao Chin 1954-2004, A Journey Back to the Source, Guangdong Museum of Art, Guangzhou, August 26 - September 11, 2005 ILLUSTRATED: Hsiao Chin 1954-2004, a Journey Back to the Source, Guangdong Museum of Art, Guangzhou, 2005, color illustrated

NT$ 2,400,000-3,400,000 HK$ 593,000-840,000 US$ 76,300-108,100

蕭勤宇宙之進化—2 2001 壓克力畫布 200 x 200 cm 簽名畫背：Hsiao 勤零一 Acrilico 200 x 200 cm "L'evoluzione cosmica - 2" 展覽：「歸源之旅—蕭勤1954-2004年歷程展」，廣東美術館，廣州，展期自2005年8月26日至9月11日圖錄：《歸源之旅—蕭勤1954-2004》，廣東美術館，廣州，2005，彩色圖版

229 CHUANG Che

莊喆

(Taiwanese, b. 1934)

山光雲影

Mountain and cloud

2006 壓克力油彩畫布 168 x 406.5 cm 簽名右下：06 莊喆

2006 Acrylic and Oil on canvas 168 x 406.5 cm signed lower right Chuang Che in Chinese and dated 06 EXHIBITED: Solo Exhibition, Asia Art Center, Taipei, August 3, 2006 ILLUSTRATED: Asia Art News, Volume 17 Number 3, 2007, color illustrated, p. 78 Deep Ride Remote Way - Chuang Che Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, pp. 160-161

NT$ 3,600,000-4,600,000 HK$ 889,000-1,136,000 US$ 114,500-146,300

展覽：「莊喆個展」，亞洲藝術中心，台北，展期2006年8月3日圖錄：亞洲藝術新閒，17卷第3期，2007，彩色圖版，頁78 《嶺深道遠—莊喆2007北京中國美術館個展》，亞洲藝術中心，台北，2007，彩色圖版，頁160-161

230 PANG Jiun

(Chinese, b. 1936)

Sencery in Jiangnan 2014 Oil on canvas 115 x 180 cm Signed lower right Pang Jiun in Chinese and dated 2014 With one painted seal of the artist

NT$ 3,800,000-4,800,000 HK$ 938,000-1,185,000 US$ 120,900-152,700

龐均江南無限好 2014 油彩畫布 115 x 180 cm 簽名右下：龐均 2014 手繪鈐印右下：均

231 Tzu-chi YEH

(Taiwanese, b. 1957)

Mist, Bruwan, HualiHn 2009-2010 Tempera and oil on linen; 77 x 204 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2009-2010 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 4,000,000-5,000,000 HK$ 988,000-1,235,000 US$ 127,200-159,000

葉子奇霧迷．布洛灣．花蓮 2009-2010 卵彩油彩亞麻布；77 x 204 cm 簽名右下：葉子奇 2009-2010 附月臨畫廊與藝術家親筆簽名之原作保證書

近看成畫，遠看成景，山頭雲霧渺渺，半掩還綠的青蔥林木蘊藉著畫者的精神，葉子奇的繪畫藝術在當代感強烈的造景構圖中，有著古典寫實的技法，但畫面所營造的氛圍卻是中國古代文人山水畫的寫意造境，巧妙的跨越中西藩籬，發展出藝術家自身獨特的當代風景。藝術家對於自小成長環境的再造藉由畫筆表露出無盡的思念，而花蓮這片台灣島上清遠的淨土給了葉子奇獨特的美學營養，從橫臥的中央山脈，到廣袤縱橫的平原稻穗，無垠的太平洋，無處不是一幀幀如畫似真的美麗風景，而後，即便是獨自北上在陽明山上求學或是負笈紐約開創更廣闊的天地，這片美景就這樣追隨著他，如同一場不能忘卻的邂逅，自始自終都藏在藝術家心中。旅居他鄉數十載後，葉子奇最後是回到台灣了。再度看見台灣的山、水、林木，而他心中丘壑成了一抹鄉愁，鄉愁成就了畫布上的風景，葉子奇用他樸質的藝術語彙爬梳出自身與自然美景的細膩對話，透過藝術家對故鄉深情的思念，引領我們去重新感受那片他與我們共享的美麗土地，藉由這份執著，再造每個人心中獨有的風景。

Viewed close-up, it is just a painting, but viewed from further away, it seems like real scenery. The mist drifting over the mountain peaks partially obscures the verdant trees, reflecting the artist’s own spirit. The art of Tzu-chi Yeh combines composition that has a strong contemporary feel with classical realist techniques, and yet the overall atmosphere created by the works is an expressionism that is redolent of classical Chinese literati landscape painting. Yeh’s paintings subtly blur the boundaries between Chinese and Western art, presenting a unique, modern way of portraying a landscape. In his re-creations of the natural environment amidst which he grew up, Tzu-chi Yeh uses his artist’s brush to reveal boundless depths of longing and attachment. Hualien County, which is one of the most pristine and unspoiled areas in Taiwan, has provided Yeh with a unique form of aesthetic nourishment. From the imposing Central Mountain Range, through the broad, spacious plains with their fields of rice, to the boundless Pacific Ocean, this whole region is full of beautiful scenery that almost cries out to be painted. Later, when Tzu-chi Yeh traveled north to study at Chinese Culture University in the Yangmingshan hills near Taipei, and when he subsequently went abroad to New York to develop his career as an artist, the marvelous scenery of Hualien was always with him, like an unforgettable encounter that remained always lodged in the artist’s heart. After spending many years living overseas, Tzu-chi Yeh eventually returned home to Taiwan. Being able to see again the hills, rivers and forests of Taiwan brought home to Yeh just how strong his attachment to his native land was, and it is this attachment that imbues Yeh’s landscapes with such power. Using a relatively simple, straightforward artistic lexicon, Tzu-chi Yeh has succeeded in presenting a complex dialog between himself and the beautiful natural scenery of Taiwan. The depth of the artist’s love for his native soil encourages us to re-experience for ourselves the gorgeous scenery of the land in which we and Yeh live. Through the inspiration provided by Yeh’s work, each of us has the chance to experience our own unique, internal vision of Taiwan’s scenery.

232 George CHANN

(Chinese-American, 1913 - 1995)

Abstract c.1970 - 1980s Mixed media on canvas 135 x 119 cm Signed lower right Geo CHANN

NT$ 5,000,000-7,000,000 HK$ 1,235,000-1,728,000 US$ 159,000-222,600

陳蔭羆抽象約1970-1980年代綜合媒材畫布 135 x 119 cm 簽名右下：Geo CHANN

陳蔭羆的繪畫生涯大致上可以分為幾個創作年代，從最早40年代起的寫實人物，或是充滿印象派風情的畫作；50年代的水墨創作後，開始可以瞧見當時全盛的美國抽象表現主義對其創作的影響，在漢字的形象當中發展出富饒筆觸的抽象圖像；正從60年代開始，藝術家進入充沛的創作時期，而此時藝術家將自身中國文化裡的漢字，加以解構、重組於畫布上再行創作或是以書法表徵，佐以抽象技法，發展了氣韻獨特的抽象表現主義繪畫。此幅《抽象》約創作於1970-1980年代，是陳氏充分吸收中、西藝術精髓，並跨越兩種文化藩籬，尤其是深受美國抽象表現影響的成熟作品。畫面中解構漢字符號的形式已銷聲匿跡，銷融的文字符號醞釀成抽象繪畫的佈局，雖未見中國文化背景明顯流入於畫面其中，多的是陳氏醉心研究抽象藝術的枝微末節，清楚可見奔放的繽紛色彩，而華麗的用色加上大膽充滿勁道的構圖，依稀流露出草書般渾厚卻瀟灑的力道，藉由行動繪畫，無拘無束地潑灑、滴流顏料，匯成一幀如錦織般富含肌理的抽象圖畫，在在顯示了此作為陳氏淬鍊自中、西文明而來的代表佳作。陳蔭羆的藝術語言始終帶有自中國文化的底蘊，憑藉著這股深層的精神，在汲取西方藝術成就後，豢養出陳氏令人著迷的抽象表現風格，足以奠定他在華人藝術圈以及世界抽象繪畫流派裡，不被遺忘的地位。 George Chann's art career can be divided into several stages. In the earliest stage of his art career, Chann devoted himself to creating realistic figure paintings, portraits, or paintings in the style of impressionism. After he started creating water-and-ink paintings in the 1950s, the influence of Abstract Expressionism, which culminated in the 1950s in the USA, began to play a major role in his later creations. Deriving inspiration from Chinese characters, the artist created abstract drawings full of interesting strokes. By the 1960s, Chann reached a high point in his artistic career. By deconstructing and re-assembling Chinese characters – a fundamental component of Chinese culture – the artist reinterpreted Chinese calligraphy through abstract painting techniques and steadily developed his own unique style of abstract expressionist painting. This particular piece “Abstract” is an abstract painting created sometime between 1970 and 1980, during which time Chann fully absorbed the essence of Chinese art and Western art and even transcended the cultural boundaries of these two cultures. Moreover, this is a fully-developed creation of the artist’s maturity under the deep influence of the Abstract Expressionism movement in the United States. While there is no conspicuous trace of de-constructed Chinese characters in this painting, faded symbols of Chinese characters are enigmatically intertwined into the composition. The canvas is brimming with copious fine details derived from Chann’s careful and zealous research of abstract techniques, and while elements of Chinese culture seem absent at first glance, the piece remains characterized by its vigorous and bright colors. The rich colors and bold composition make this painting substantial and enduring yet as unrestrained as the free-flowing cursive script of Chinese calligraphy. Using techniques of action painting such as free dripping and splashing to achieve highly saturated and audacious hues, Chann created a flamboyant painting reminiscent of an elaborate tapestry. This lot is a fine example of the artist’s ability to transcend the intrinsic notions of what define Chinese culture and Western civilization. Chann’s artistic language has always been rich in his own cultivation of Chinese culture. With this profound cultivation, Chann developed his own captivating abstract expressive art style after learning the tenets of Western art, cementing his distinguished status in the Chinese art circle and in the field of abstract painting worldwide.

233 Tzu-chi YEH

(Taiwanese, b. 1957)

Mist, Lao River, Hualien 2014-2015 Tempera and oil on linen 102 x 223.5 cm Signed lower right Tzu-chi Yeh in Chinese, initial TYC in English and dated 2014-2015

葉子奇霧來．荖溪．花蓮 2014-2015 卵彩油彩亞麻布 102 x 223.5 cm 簽名右下：葉子奇 2014-2015 YTC

NT$ 5,500,000-7,500,000 HK$ 1,358,000-1,852,000 US$ 174,900-238,500

葉子奇的繪畫一直具有當代感知強烈的構圖與濃郁的古典氛圍。在他近六十多年跨中西文化的孕育、薰陶與學習交融下（前三十年在台灣，而後近二十年在西方，再回到台灣也近十年），他的繪畫訓練與精神素養有著跨文化的深度與廣度。出生在花東縱谷的玉里鎮，從小看山長大，葉子奇的父親生於晚清有豐富的文史底蘊，喜愛書畫詩詞，他深受影響，從小展現書畫才能，博覽詩詞文學，對中國書畫感性寄情的山水哲思深有領會。他的風景繪畫，在理性思考與感性抒發的交替更迭中，展現了中西藝術美學上朦朧曖昧的巨大張力。現象學大師梅洛•龐蒂曾說「繪畫的深度不是透視的建構或攝影真實性的自動財產，它必須是有鬥爭性的，是經常反對基礎性的圖案代表。」追求繪畫的深度，一直是葉子奇努力的目標，透過層層敷染的過程中，建立作品色彩所引發的深度，無論明亮跳躍或沉鬱陰暗，都富於變化。葉子奇對畫面結構的處理和一般寫實畫家不同。他真實性的建構意象是來自於自然原型的密碼，像遙遠的原始回聲，一個看不見的藝術性激發來源，喚起一個消失的魔幻意象。在葉子奇《霧來•荖溪•花蓮》的作品中，山稜線與雲霧飄渺的邊緣，結合著微光、進入隱藏著曖昧光暈的山林，用古典的曲線空間表示手法，塑造出一種無垠的距離感，觀者因此引進到神秘主義的核心、似真似幻、充滿各種美學判斷的可能性。其層層建構的奇幻視野，千變萬化，時間在空間流轉，空間隨著光影舞動，處處是寶藏，處處是驚喜，令人流連忘返。看葉子奇的作品，我們見到了台灣的「真山」、「真水」，一種過去從未展現的「山」「水」之美，一種深刻的生命氣息與自然美麗，我們也看見了藝術家對繪畫、信仰的堅定，和對這片自己生長土地的深情與感思，一如在山間行走禱告的修行者或海邊凝視吟詠的行旅者，專注的追尋他與自然的對話及藝術心靈的無限探索。文：張金催 (前東華大學民族藝術研究所代理所長) Tzu-chi Yeh’s paintings have always combined composition that has a strongly contemporary feel to it with an air of classical elegance. Over a period of nearly six decades of learning and self-cultivation that spanned both Chinese and Western culture (Yeh having lived in Taiwan until he was nearly thirty, before spending just under two decades in the West, and then spending the last few years back in Taiwan), Yeh’s artistic training and spiritual cultivation has displayed a high degree of cross-cultural depth and breadth. Born in the town of Yuli in the Hua-tung Rift Valley in Eastern Taiwan, Yeh grew up surrounded by mountains. Yeh’s father, who was born in the last years of the Qing Dynasty, was a highly-cultured man with a love of traditional Chinese painting, calligraphy and poetry. Deeply influenced by his father, Tzu-chi Yeh displayed considerable talent at Chinese painting and calligraphy from a young age, while also developing an in-depth knowledge of Chinese poetry and prose; he was able to appreciate the philosophical underpinnings of traditional Chinese landscape painting. Yeh’s own landscape paintings, with their combination of rational exploration and emotional expression, embody the immense power that can be achieved by positioning oneself at the shifting border between Chinese and Western art. The phenomenologist Maurice Merleau-Ponty once said that “the depth of a painting is not the automatic product of perspective or photographic realism; it must be the result of struggle, a symbolic icon that goes against the foundations of reality.” Seeking depth in his paintings has always been one of Tzu-chi Yeh’s goals. Through a process of creating layered washes, Yeh establishes a sense of depth that arises out of the colors used in the painting; whether bright and exuberant or dark and gloomy, Yeh’s paintings are always in a state of transformation. The way Tzu-chi Yeh approaches the structure of his paintings is different from that of most realist artists. Yeh’s construction of realism derives from the inherent “codes” of nature, like a distant, primitive echo, an invisible source of artistic inspiration that reawakens a magic that had long since disappeared. In Yeh’s painting “Mist . Lao River . Hualien,” the line of mountain peaks and the border of the drifting mist are fused with a soft light that penetrates the forested hills to create a faint corona effect. Employing the classical technique of using curved lines to delineate space, Yeh succeeds in creating a sense of boundless distance; the viewer of the painting is drawn into the heart of mystery, into a world that is both real and fantastical, the aesthetic significance of which can be interpreted in many different ways. The multilayered fantastical vision that Yeh creates is full of constant change. Time moves within space; space dance with light and shadow. Everywhere there are hidden treasures and surprises that ensure one never tires of viewing the painting anew. In the work of Tzu-chi Yeh, we see the authentic Taiwanese landscape, and we see the beauty of this landscape in a way that has never been seen before – a deeply-rooted vitality and natural beauty. We also see the steadfastness of Yeh’s faith in the power of painting, and the strength of his feelings for the land where he grew up. Yeh is like a pilgrim chanting his prayers as he walks through the mountains, or a travel intoning verse as he gazes out to sea; he is wholly focused on the search for dialog between himself and nature, and on exploring the limitless potential of the artistic soul. Text by Kin Tsuei Chang (former Acting Dean, Graduate Institute of the Indigenous Arts, National Dong Hwa University)

234 PAN Yu-liang

(Chinese, 1895 - 1977)

Wild Chrysanthemum in a Jar 1961 Ink and color on paper 64.5 x 54 cm Signed upper left Yu Liang in Chinese, dated 61 PROVENANCE: Sotheby's Auction, Taipei, 19 April, 1998, lot 100 Acquired from the above by the present owner

NT$ 9,000,000-16,000,000 HK$ 2,222,000-3,951,000 US$ 286,300-508,900

潘玉良瓶中野菊花 1961 彩墨紙本 64.5 x 54 cm 簽名左上：玉良 61 來源：蘇富比拍賣會，台北，1998年4月19日，編號100 現有收藏者購自上述來源

身為早期前往歐洲學習西方藝術的華人藝術家之一，潘玉良融匯中西藝術精髓，樹立了獨特且具有時代精神的個人風格，既剛烈奔放，又細膩重情，不僅在她居住逾30年的法國享有盛名，也深受華人世界的推崇。而她無畏命運坎坷，以不屈的心志克服種種難關而在藝術史上留下一頁璀燦，也早已經成為一則傳頌千里的傳奇。潘玉良受到印象派與野獸派的影響，用色奇麗而大膽，具像描繪中融入了變形手法，同時也將中國水墨的線條與韻緻帶入創作，筆下的線條剛柔並濟，為她贏得「鐵線玉良」的美譽。1942年以後，她專注於紙上彩墨的研究，將西方繪畫的色彩、透視、光影與量感融入東方的水墨繪畫，成就一幅幅熱烈深情、幽婉動人的紙上作品。繪於1961年的《瓶中野菊花》，屬於潘玉良紙上彩墨繪畫成熟時期的作品，她甚愛菊花，愛其風骨如君子，也寄託思念故國家人的情懷。此作藝術家以沒骨技法表現菊花的鮮麗柔軟，花瓣層層疊疊，嬌豔動人，而技葉舒展有力，透露大自然野性的生命力。野菊供於一青色花瓶中，瓶身以流暢的墨線細筆勾出輪廓與細緻的冰裂紋，素雅中散發出溫潤迷人的光澤。潘玉良畫瓶花經常不描繪特定背景，《瓶中野菊花》亦如是，她以淡淡的青與紅點綴花瓶周圍，呼應野菊與青瓶的色彩，並以墨色勾勒出細密的小圈與墨點，漸次淡出，鋪陳出優雅的空間深度，賦予畫面一種夢境般的抽離感。 Being one of the first ethnic Chinese artists who traveled to Europe to study Western art, Pan Yu-liang succeeded in fusing the essential elements of Chinese and Western art and developed a personal style that reflected the spirit of the times in which she lived, and which combined wild exuberance with attention to detail and emotional subtlety. Pan enjoyed a very high reputation as an artist, not only in France (where she lived for over 30 years) but in the Chinese-speaking world. Her fearless, indomitable spirit enabled her to overcome every difficulty and write a glorious page in the history of art, becoming a legend in her own lifetime. Pan Yu-liang was influenced by the Impressionists and the Fauvists. Her use of color was bold and strikingly beautiful, and she successfully integrated deformative techniques into figurative representation. Pan also incorporated the lines and rhythm of traditional Chinese ink and wash painting into her art; the precise balance of hard and soft lines in her work won her the accolade of being called “Iron-line Yu-liang” in Chinese. From 1942 onwards, Pan focused on experimenting with ink and color on paper, working to integrate the Western art tradition’s use of color, perspective, light and shadow, and three-dimensionality, with East Asian ink and wash painting, creating a series of works that embody passionate emotion and leave the viewer feeling intensely moved. The 1961 painting “Wild Chrysanthemums in a Jar” dates from the period in which Pan Yu-liang had already brought her ink and color on paper work to a high level of maturity. Pan loved chrysanthemums, admiring them for their tenacity, and also for their symbolic association with her homeland, China. In this work, Pan had used the “boneless” technique from ink and wash painting (which involves painting without the use of an outline) to portray the fresh softness of the chrysanthemums. The serried layers of petals have a sublime beauty, while the stalks and leaves emanate vigor and the vitality of wild nature. The wild chrysanthemums are shown placed inside a blue jar, the outline of which, and the crackle effect on its surface, are depicted in exquisite detail with flowing strokes of the ink brush, so that the restrained elegance of the jar somehow also exudes a warm, entrancing luster. When painting flowers and vases, Pan Yu-liang tended not to give them a specific background, and she had followed this habit in “Wild Chrysanthemums in a Jar.” The space around the jar is lightly spattered with blue and red dots, reflecting the colors of the chrysanthemum petals and of the jar itself, and tiny rings and dots of black ink have been applied as well, which gradually thin out as they get further from the jar, elegantly creating a sense of space and depth, and giving the painting a dreamlike feeling of detachment.

235 Walasse TING

(Chinese-American, 1929 - 2010)

Miss World 1975 Acrylic on canvas 222 x 396 cm Titled lower left Miss World in English Signed on the reverse Ting and titled Miss World in English, dated 75 ILLUSTRATED: Red Mouth, Walasse Ting & Toppan Printing co. (Hong Kong) Ltd, Hong Kong, 1977, color illustrated, cover

NT$ 22,000,000-32,000,000 HK$ 5,432,000-7,901,000 US$ 699,700-1,017,800

丁雄泉世界小姐 1975 壓克力畫布 222 x 396 cm 簽名左下：Miss World 簽名畫背：Miss World Ting 75 圖錄：《紅唇》丁雄泉自選集，丁雄泉，香港，1977，彩色圖版，封面

1929年(有一說1928年)，丁雄泉出生於江蘇無錫，成長於上海。童年時期開始在街頭作畫，曾經進入上海美專短暫學習，然而天生海派的個性，終究無法適應學院式的教學，他自詡為素人畫家，隨自由意志創作，成功地創造自我。1946年移居至香港生活，1952年曾於西希爾飯店舉辦個展，發表創作，隨後轉赴法國巴黎遊學六年，展開他的藝術冒險。崛起於1940年代末、1950年代初期歐洲的眼鏡蛇畫派，畫派成員與丁雄泉志趣相投，互結好友，在法國巴黎與比利時布魯塞爾的畫廊共同舉辦畫展。1958年丁雄泉轉往紐約發展，迎上抽象表現主義的時代浪潮，甚至與後來還慧眼發掘安迪•渥荷的專才，與之成為「普普藝術」運動的一員。丁雄泉的瀟灑浪漫性格，與眼鏡蛇畫派強調自我表現的風格相得益彰；抽象表現主義不以具象描繪為目標，利用點、線、面、色彩、形體、構圖來傳達各種情緒，相當契合其特質；普普藝術肯定現世，文化親和的姿態，也和丁雄泉重視趣味、大眾化的特色相近。紐約快速的城市節奏、未來感，激發丁雄泉於1960年代之後採用的壓克力彩螢光色傳達，自此風格走向鮮豔明亮的西方色彩。潑灑、滴流，率性的抽象表現主義成為一大特色。而馬諦斯的野獸派斑斕色彩及裝飾風格，潛移默化地影響著丁雄泉的華麗特色。從創作形式來看，先擇黑白油彩的抽象畫，之後轉向彩色具象繪畫。而女體使終是丁雄泉最膾炙人口的主題。1950年代末，丁雄泉探索濃烈的性題材，因對於情慾、女體的迷戀，丁雄泉真誠的在繪畫中傳達他的情感。在紐約時期濃烈的筆觸，透過形色主觀表達情緒，發展一系列抽象表現主義風格創作。1970年代後畫風從抽象轉變至具象，手法更為流暢。1975年前後他創作一批「愛我愛我」系列，大量投入美女圖的創作。 1975年甚至創作超大幅的《世界小姐》巨畫，寫入個人里程碑，獲得國際級美術機構的認同。除了繪畫之外，丁雄泉還是一位詩人。詩人好友管管如此形容：「他寫詩，他的詩開門見山，直搗黃龍，石破天驚，大氣嚇人。」「月亮圓圓，人心蘇蘇，相思扭扭，肚皮拉拉，胃口缺缺，眼睛酸酸。」「天天吃桔子，時時被風吹，分分看女人，秒秒曬太陽。」「巴黎美女如雲，依舊春風，依舊花枝，我山雨欲來風滿樓，落花水面皆文章。」這些是1974年前後丁雄泉寫的短詩，以鋼筆墨水在明信片上酣快揮灑，文字間透露著多情浪漫，分享給遠方的故舊。他是一位盡情享受生活，喜愛書寫塗鴉的畫家，信手拈來的短詩，有時讀來臉紅心跳，如同他的畫，大膽、鮮麗而熱情。他畫文字、繪畫歌頌這些美好。丁雄泉說：「每一次我看見美麗的女人就會聯想到鮮花，鮮花的美使我愛，使我新鮮。我畫上的女人、貓、鮮花、鳥，都在表現新鮮，在新鮮中藏著美。」創作年代、尺幅大小或是主題的豐富性，皆是影響藝術家行情的關鍵因素。放眼那些高掛個別藝術家交易排行榜榜首的畫作，多半是重要時期的大格局畫作，或是難得一見的稀有物件。1975年的大油畫《世界小姐》，描繪了18位風姿綽約的各國佳麗，畫幅為222乘以396公分，作品曾經刊載於1977年出版的丁雄泉《紅唇》畫集封面。十八位佳麗並排端坐於前後二排，她們有著嬌媚的眼神與小巧的紅唇，巧笑倩兮，各有各的風情萬種，身穿輕薄衣裳或是裸身，展現豐腴且婀娜多姿的體態。藝術家以各種鮮豔的色彩表現她們豐盈的秀髮，其間綴以盛開的花朵，賦予她們一種奇幻、超脫凡俗的特質。鮮綠色的背景襯托著她們如綻放的繁花。而潑灑於畫面上的滴彩，如煙花、如彩紙，為這場聚會營造出一種節慶般的歡樂與愉悅。丁雄泉的藝術語彙大膽且具有強烈的表現性，他將調色盤上最亮麗鮮色彩並置於畫面上，卻不顯庸俗，紅、黃、藍、紫、綠這些個性鮮明的色彩，在他的手中調合為引人入勝的絢爛，令人不禁讚嘆藝術家對高彩度色彩的掌握能力。 Born in China in 1929 (some say 1928) in Wuxi, Jiangsu Province, Walasse Ting grew up in Shanghai. He began painting in the streets of the city from early childhood, and at one point entered the Shanghai College of Fine Arts for a brief period of study; however, his freedom-loving and spontaneous character made him averse to the strictures of an academy education. Ting always prided himself in being self- taught, and believed in following his impulses and inspirations as the best way of creative self-actualization. He moved to Hong Kong in 1946, where he had a single-artist exhibition at the Hotel Cecil in 1952. After that, he went to Paris for six years, beginning his “international journey of “artistic adventure.” Ting soon became good friends with several members of the art group CoBrA, which flourished in Europe in the late 1940s and early 1950s, finding the group’s style and outlook congenial to his own nature. During this period, he held simultaneous exhibitions in Paris and Brussels, before moving on to New York in 1958. There he found himself on the cusp of the abstract-expressionist movement, and later became one of the first people to recognize the unique talents of Andy Warhol—Ting himself was also closely associated with the pop art movement. His unconventional character, both debonair and emotional, made the CoBrA group with its focus on free self- expression his natural playground, while abstract expressionism allowed him to give free rein to his penchant for sublimating his moods via the distinctive dots, lines, planes, colors, shapes and compositions that make up the basic vocabulary of his art. Finally, the everyday, contemporary- reality allure of pop art chimed well with Ting’s affinity for striking images with mass appeal. Beginning in the 1960s, New York’s fast pace and futuristic feel inspired Ting’s acrylic paint phase. From that point on, the artist’s palette shifted towards bright and brilliant hues, with drip and splash painting becoming one of his preferred modes of color application. His style now combined a straightforward

variety of abstract expressionism with the mottled tones and decorative patterns of Fauvism in the vein of Matisse, whose work was a dominant influence on Ting’s artistic development. That development, in terms of format and technique, started with black-and- white oil paintings in the abstract style, and led all the way to extremely colorful figurative art. However, Ting’s favorite subject, whatever the style or genre, was always the female body, often nude. At the end of the 1950s, he began to explore strongly erotic themes. His deep fascination with sexuality and the female form probably make his work of that time the most authentic expression of his inner world and emotions. During his New York period, he conveyed his moods with arresting shapes and colors, executed in powerful brushstrokes to generate a series of exciting works in the abstract- expressionist style. It was only in the 1970s that his approach shifted again, this time towards more figurate forms of painting. In 1975, he created a series of works titled “Love Me, Love Me,” embarking on the largescale production of pictures of beautiful women. It was also the year in which he painted “Miss World,” a super-sized work that became a milestone of his career, earning recognition from experts and critics around the world. Walasse Ting was a poet as well as a painter. His fellow poet and good friend Guan Guan once remarked, “His poetry puts glory in plain sight, and is astonishing in its boldness and daring.” “The moon is round and hearts are soft. Full of wistful longing, I scratch my belly but feel no appetite. Tears are welling up in my eyes.” “Everyday I eat oranges, exposed to the wind all the time. Every minute I spend looking at women, every second in the sun.” “Beautiful women are everywhere in Paris. Still the spring breeze is wafting over blossoming beauties. Gusts of wind presage rain from the mountains, flowers fall on the water like poems.”

摘錄1975 年前後丁雄泉寫給藏家明信片及信籤 Postcards and letters which Walasse Ting wrote to the owner in 1975

All of the above are short poems from 1974, jotted down carelessly by Ting on postcards with a fountain pen. The terse lines are brimming with freeflowing associations and romantic nostalgia, and were his way of sharing his feelings with old friends in faraway places. Ting was a man who drank up life with all his senses, a playful painter who enjoyed doodling and graffiti, and excelled at impromptu poems of a haiku-like quality: they might make you blush and your heart beat faster occasionally, and like his paintings, they are full of dazzling beauty and daring passion. His words, like his visual art, serve to praise beauty and zest for life. Ting once said, “Every time I see a beautiful woman she’ll make me think of a fragrant flower, and the sheer beauty of that flower makes me fall in love, makes me feel fresh and young. Whatever I paint—women, cats, flowers, birds—is meant to capture that freshness, because in freshness there is great beauty.” The going rate for an artist’s work is largely determined by a lot’s year of completion, its size, and the overall variety of themes and styles offered by his entire oeuvre. If you look at the paintings that usually rank at the top of individual artists’ “hit lists,” you will find that most of them are representative works from important creative periods, or otherwise rare works that almost never surface on the market. The 1975 super-size oil painting “Miss World,” measuring 222 x 396 cm and depicting 18 attractive young beauties against a green background. A small reproduction of the work previously appeared in the 1977 anthology Red Mouth. Sitting upright in the two rows of seats, the 18 beautiful smiling women have their own respective charm with their appealing eyes and small red lips. Some are nude while others are dressed in thin clothes, revealing their admirably curvaceous and alluring figures. Their voluminous hair is highlighted with various bright colors and the blooming flowers, bestowing the beauties with an ethereal and dreamlike ambience. They resemble blooming flowers with the bright green background while the colorful splashes on canvas work look like firework and colored strips, creating a pleasant and festival-like atmosphere to the gathering. Ting’s unique art style is bold and strongly expressive. His use of the brightest colors in the paintings never makes his creations vulgar or cheesy. Rather, under his fully-developed mastery of art, he cleverly turned the bright colors, such as red, yellow, blue, purple, and green, into impressively splendid hues, which earns him much credit for his skillful control of highly saturated colors.

236 CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

實質掌握

Matière Dominée

1992 油彩畫布 162 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 92 簽名畫背："MATIÈRE DOMINÉE" "實質掌握" 朱德群 CHU TEH-CHUN 1992

1992 Oil on canvas 162 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and French, titled "MATIÈRE DOMINÉE" in French and Chinese, dated 1992 ILLUSTRATED: Chu Teh-chun, Cercle d'Art, Paris, 1993, color illustrated, no. 99, pp. 170-171 Chu Teh-Chun, Galerie Enrico Navarra, Paris, 2000, color illustrated, pp. 170-171 Chu Teh-chun 1987-2000, Shanghai Museum, Shanghai, 2000, color illustrated, p. 49

NT$ 30,000,000-40,000,000 HK$ 7,407,000-9,877,000 US$ 954,200-1,272,300

圖錄：《朱德群》，藝術圈出版社，巴黎，1993，彩色圖版，編號99，頁170-171 《朱德群》，昂利哥．那瓦哈畫廊，巴黎2000，彩色圖版，頁170-171 《朱德群畫展Chu Teh-Chun》，上海博物館，上海， 2000，彩色圖版，頁49

朱德群的畫裡總有絢麗多彩的光，時而氣勢萬鈞，時而優美動人，帶領著我們感受大自然強大的力量，激起內心澎湃的情感。而人生的苦痛、掙扎與創傷，鮮少出現在朱德群的作品裡，在光與色彩流轉躍動的畫面之中，呈現的是走遍千山萬水之後的壯闊與光明，在在反映了藝術家寬厚浩瀚的氣魄與和諧包容的心胸。朱德群1956年在巴黎現代美術館的史塔耶爾（Nicolas de Staël）回顧展中受到啟發，動筆嘗試在心中醞釀已久的非具象油畫創作。而此時的抽象作品中，已然展現藝術家以色彩表現流動光線的掌握力，紅色、橙色、藍色等各種色彩在黑色的映襯之下顯現出細緻而豐富光采。正如他最初的抽象繪畫取材自巴黎街景，往後，朱德群的抽象繪畫往往蘊含著風景的精神，總能喚起山川大地的意象，不同的是，他轉往大自然，在一次一次的旅程當中探索天地間的奧妙，補捉來自宇宙深處的光采。朱德群於1988年接受楚戈專訪時，曾如此描述其創作過程：「我作畫時，都是我平生壯遊的感覺。有些畫是我當時不能抑制的衝動；有些則是過了很久，甚至遺忘了的壯遊記憶，而被畫布喚醒出來。不管是被外在的美景直接激發，或被內在的某種沉澱記憶中的東西所觸動，我只要面對畫布，感性就會爆滿膨脹起來。」（祖慰，《朱德群傳》，霍克國際藝術股份有限公司，台北，2003年8月，頁195-196）

朱德群的父親甚愛書法，家中也收藏了字畫，在父親的教導下，朱德群臨摹前人碑帖，奠下厚實的書法基礎。及至杭州藝專時期，雖以油畫為學習重心，也受潘天壽等老師的教導，在水墨創作方面有所心得。當來到巴黎的朱德群，跳脫了具象描繪的束縛轉往更加自由的抽象繪畫之後，他將得自於書法與水墨的心得帶入油畫創作，形塑了個人獨特的風格。巴黎的冬季晝短夜長，喜歡藉由白天的日光揮灑油彩的朱德群，日落之後常畫水墨畫，自1970年代起，則更常提筆寫書法。長年持續的習作，造就他對於線條與墨色的高度掌握，早期抽象繪畫中充滿力道的線條，即反應了藝術家得自書法的養份；而隨著創作生涯的推進，當線條消融於色彩之中，水墨濕潤的特質則被帶進色彩斑爛的布面油畫中，流動、互相滲透的色彩有如墨色般暈染，層疊出深遠的意境。一如1992年作品《實質掌握》中所呈現的，油彩在朱德群的筆下一改其濃厚黏滯的特質，取而代之的是輕盈流動，即使是為最深沉的色彩，也有了靈巧的動勢。朱德群特別善於透過明暗反差展現光的璀璨，《實質掌握》即是一個傑出的例子。在此，墨綠與深藍自左上方傾瀉而下，如亂石崩雲，幾乎佔據了整個畫面，而兩側明亮的光線從不知名處穿透而出，耀眼如同白晝，映照得中央的藍綠色彩更顯深邃而氣勢懾人，色彩互相投影反射，光芒跳躍於其間，繽紛絢麗，充滿生機。畫面左下方的黃色光暈裡，細碎的色塊與彩線輕盈跳躍，活潑靈動彷彿有著奇妙的魔法，與另一測濃烈的紅色光彩互相呼應。在藝術家慎密的構思布局之下，光與色彩互相碰撞，看似混亂且騷動，卻又共同組成一曲合諧且壯闊的交響樂章，渾然天成。大自然的力量在此轉化為光與色的舞動，散發出扣人心弦的感染力，正如《實質掌握》標題所點出的，畫面雖是抽象，但傳達的是最真實、存在於天地之間的自然脈動。

Chu Teh-chun’s paintings are always full of brightly-colored light – sometimes exuding energy, sometimes beautiful and evocative – which encourages us to appreciate the power of nature and stimulates our emotions. The pain and misery of human existence, struggles and wounds, rarely appear in Chu’s work. Instead, Chu’s canvases, with their swirls of light and color, depict the glorious vistas and bright light that one sees after crossing over countless mountains and rivers, reflecting in every case the artist’s great soul and his kindly, tolerant heart.

under teachers such as Pan Tian Shou. After arriving in Paris, Chu Teh-chun cast off the shackles of figurative painting and embraced the freedom of abstract art; he integrated the approach to art that he had developed through calligraphy and ink and wash painting into oil painting, creating his own unique style. In Paris, the days are short in winter; Chu Teh-chun, who preferred to create his oil paintings in conditions of natural daylight, would often switch to producing ink and wash paintings in the evening once it got dark outside, and from the 1970s onwards, he also produced a considerable amount of calligraphy. Years of practice had enabled Chu to acquire a mastery of both line and ink-tone. His early abstract paintings are full of strong, powerful lines, reflecting the influence of calligraphy on his art. As Chu’s artistic career progressed, and lines began to meld into color, the soft warmth of ink and wash painting techniques began more obvious in his colorful oil paintings. The flowing, inter-penetrating colors had a cloudy quality to them reminiscent of the ink used in ink and wash painting, enabling Chu to produce a dense, layered effect in his works. This can be seen in “Matière Dominée,” which Chu painted in 1992, and in which Chu succeeds in transforming the thick, gluey nature of oils into something light and flowing, so that even the darkest of colors have a magical freshness and energy to them.

Inspired by a visit to a retrospective exhibition of the work of Nicolas de Staël at the National Museum of Modern Art in Paris in 1956, Chu Teh-chun began to create the non-figuration oil paintings that he had been planning to paint for some time. In these early abstract works, one can already see Chu’s masterly ability to represent the movement of light through effective use of color; red, orange and blue color tones set against a black background present a rich, detailed depiction of light. Just as Chu’s early abstract paintings took their subject matter from Paris street scenes, his later abstract works also often incorporated the spirit of landscape painting, evoking images of mountains and rivers. What distinguishes Chu Teh-chun was particularly the later works is the way skilled at using the contrast in which Chu’s growing between light and dark to fascination with nature led depict the radiant beauty of him, while on his travels, light. “Matière Dominée” is an to explore the mysteries outstanding example of this skill. of the universe, and to try In this painting, the greenish black to capture the essence of and dark blue seem to flow down the light that travels to from the upper left hand corner of us from the far reaches the picture, like waves striking the of the cosmos. During an 林布蘭《夜巡》1642 油彩畫布，國家博物館，阿姆斯特丹，荷蘭 shore, spreading out over almost interview with art critic Rembrandt van Rijn, Nightwatch, 1642, oil on canvas, 363 x 437 cm, collection of Rijksmuseum, Amsterdam the whole canvas. At the sides of Chu Ko (Yuan Teh-hsing) the painting, rays of light shine through from the unknown direction, in 1988, Chu Teh-chun described his creative process as follows: bringing “daylight” into the scene; the contrast with this light makes “When I am painting, I am always drawing on my experiences when the blue and green tones in the center of the canvas seem even darker traveling at different times over the course of my life. Some paintings and more powerful. The colors somehow reflect off one another, with are the result of a sudden, irresistible impulse; sometimes, a lot of the bright radiance flashing between them, creating a vivid beauty that time has elapsed, and I may even have thought that I had forgotten the is full of life and energy. Within the yellow corona at the bottom leftmemories of that journey, but then, standing in front of the canvas, it hand corner of the painting, fragmented patches of color and colored all comes flooding back. Regardless of whether I am inspired directly lines “leap about” energetically with a vivacity that seems almost by the beauty of the scenery, or whether the inspiration comes from magical, echoing the powerful red light on the other side of the canvas. some deeply-buried internal memory, whenever I stand before the The carefully thought-out composition has the light and the colors canvas, the emotions start to well up.” (Tsu Wei, “Biography of Chu Teh-chun,” Taipei: Hoke Art Publishing Co., Ltd., August 2003, pp. 195 – 196). touching one another, in an apparently chaotic, violent manner, and yet at the same time they combine to form a harmonious, sweeping Chu Teh-chun’s father was a passionate calligraphy and Chinese “symphony” of perfection. Here, the power of nature is transformed ink and wash paintings collector . Under his father’s tutelage, Chu into a dance of light and color which exudes an infectious appeal to practiced copying the stele inscriptions of the famous calligraphers of the human heart. As the title “Matière Dominée” suggests, although the past, and thus he developed a deep grounding in the calligraphy the painting may be abstract, what it portrays is the very real pulse of art. Although Chu’s studies at the Hangzhou School of Fine Arts nature that throbs at the universe. mainly focused on oil painting, he also studied ink and wash painting

237 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

23.9.76 (diptych) 1976 Oil on canvas 50 x 84 cm Signed lower right Wou-ki in Chinese, ZAO in French Signed on the reverse ZAO in French, Wou-ki in Chinese, inscribed Pour Eugenia et Joan De Muga Leur ami Wou-ki in Chinese, Zao in French Signed on stretcher bar on the reverse ZAO WOU–KI, Diptyque 50x84 and dated 23.9.76 EXHIBITED: Literature Modern Abstract Painting, J.P. Art Center, Kaohsiung, September 10-18, 2013 ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 489, p. 345 This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki.

NT$ 30,000,000-42,000,000 HK$ 7,407,000-10,370,000 US$ 954,200-1,335,900

趙無極 23.9.76（雙聯幅） 1976 油彩畫布 50 x 84 cm 簽名右下：無極 ZAO 簽名畫背：Pour Eugenia et Joan De Muga Leur ami 無極 ZAO 簽名畫背繃架：ZAO Wou-ki Diptyque 50 x 84 23.9.76 展覽：《現代抽象繪畫展》，琢樸藝術中心，高雄，展期自2013年9月10日至18日圖錄：雷馬利，《趙無極》，藝術圈出版社，巴黎，1986，黑白圖版，編號489，頁345 附藝術家工作室開立之原作保證書

Other paintings depict nebulae in their riotous â&#x20AC;&#x2DC;rebellion,â&#x20AC;&#x2122; or the birth of light, or the creation of water.

趙無極的抽象繪畫裡，光的表現總是極致，它有時佔據了作品主位，光燦奪目且懾人心弦。或是從畫面一隅穿透而出，有時激越耀眼，有時寧靜沉穩。無論如何，趙無極畫作裡的光總是蘊含無盡的生命力，美得令人無法忽視，在雙聯幅《23.9.76》中，藝術演繹了光與黑暗之間的交鋒。畫裡，一片銀色與大地色彩交錯鋪展開來的空間裡，濃厚的深褐色團塊分據畫面左下、中心以及右側，它們厚重且向內凝聚，隱含著騷動，而在它們之間，深色的雲霧有如自大地升起，神秘的光芒自不規則的裂縫中穿透而出，隱約浮現的符號迴旋於虛空之中，令人想起藝術家 1950年代甲骨文時期的作品。而由整件作品中央下方擴散而出的，是一股蘊藉的銀藍色光采，彷若透著來自宇宙的天光，蒼茫、無垠、深不可測。於是，景色懸浮其中，沒有中心，也沒有任何消失點，而作為觀者，我們彷彿也掙脫了地心引力的束縛，自由地以不同的角度與路徑進入畫作中，探索那沒有邊界的未知，當耳邊隱隱伴隨著物質碰撞翻轉的爆裂聲，也體會了藝術家獨自前行、發掘天地間奧秘的那份激情與渴望。法國藝評家弗郎索瓦．雅各布曾如此評論：「在趙無極的繪畫中，有著對世界的無窮質疑，一個把它重造的決心。他有些繪畫令人聯想起萬物起源那股通過能量造物的狂暴，以及創造爆發的最後顛簸。而另一些畫則展示著星雲帶揶揄的反叛，或是光的誕生，或是水的創造。」（摘錄自弗郎索瓦．雅各布著，紐約皮埃爾．馬蒂斯畫《趙無極繪畫1980-1985》展覽畫冊前言，美國紐約皮埃爾．馬蒂斯出版社出版，1986。香港季豐美術出版社出版，頁375）經歷了克的啟迪與中國甲骨文的洗禮，趙無極在抽象繪畫裡成就了其藝術高峰，他將源自於東方的哲思注入來自歐洲的繪畫傳統，擁抱宇宙生機的無限動盪，開創了嶄新的藝術視野。即便在抽象繪畫的領域裡，形象已然退場，藝術家依舊心繫著這個世界，但他不再描繪構成世界的物質，而是意在物質的流轉，捕捉其運行的漩渦與原始的喧嘩。

趙無極《向安德烈．馬爾羅致敬》1976 200 x 524 cm ZAO Wou-ki, 01.04.76 Triptyque Hommage à André Malraux, 1976, 200 x 524 cm

風景的本質一直存在於趙無極的抽象繪畫之中，或者更貼切地說，是山水的精神。他像是一位探險家，在無形而未知的天地之間獨自前行、開闢新徑，深入浩瀚無人的宇宙深處，捕捉了大地的律動、自然運行的力量，並寄情於其中，一如中國文人傳統中的山水畫，展現的不僅是創作者眼中的景色，更是其心中丘壑。而大器磅礡的心中丘壑，必然立基於創作者關於生命的深刻體悟與感受，趙無極的創作總緊繫生命的經歷與內在的精神旅程，《23.9.76》既是山水，也是藝術家內心的風景。1970年代前後，藝術家的妻子陳美琴深受疾病所苦，一天天沉入病痛，直至 1972年病逝，無力挽回愛妻的趙無極在極度的孤寂與頹喪之中，幾乎無法提筆作畫，於是，輕盈的紙與水墨成為了他宣洩心緒的出口。建築師貝聿銘與妻子盧愛玲曾於這段時間拜訪趙無極並欣賞其紙上水墨，多年以後，貝聿銘為藝術家在紐約的個展寫下的前言裡如此描述：「我被迷住了……這線條輕巧空靈，同時有著無窮的細節。然而，以我看來，最有意義的是，這些水墨和他的油畫用著相同的語言，雖然這兩種技術之間存在著巨大的差異。我還記得，當我發現他是一位受中國美感激發的西方傳統畫家時，印象是多麼深刻。這種美感構成了他作為一位藝術家不斷進步的基石。」（摘錄自貝聿銘著，《Zao Wou-Ki. Encres de Chine 1982-1996. A tribute to Pierre Matisse》展覽畫冊前言，Edition Jan Krugier and Maria Gaetana Matisse出版，1996。季豐出版趙無極畫冊，頁375）

烈火重生之後的趙無極，邁向了藝術生涯的再一次蛻變與昇華，而這一次，他經由水墨的揮灑找到內心的平靜，也為他的抽象繪畫注入了一股沉穩舒朗的嶄新力量。如同《23.9.76》一作中，褐色系的色調在淡色背景上鋪陳開來，時而凝聚如濃墨，時而舒展如濕筆，氣韻流轉於其間，彷彿天地之中推動著萬物運行的無形動力，特別是畫中細緻的色調鋪展，深具水墨渲染的韻味。而畫面上方的水平結構，藝術家以油彩畫布揮灑出水墨般濕潤、輕盈且多變的層次，為整幅畫面拉開了空間深度，如遠山飄渺，亦如雲霧繚繞。虛與實在此交會、互相滲透，既是競爭，也是共存融合。趙無極在此不講述故事，但我們卻聽見了大地的騷動與風的低語，看見了光的舞蹈，感受到一股難以言說的力量迴旋於大氣之中，使得整件畫作有了如詩的特質。正如藝術家曾說的：「題材就在揮灑我的自由，擺脫一切法則，去創造新的組合，除了我內在的要求，沒有其他考慮，在這一點上，我不需接受任何人的指導，只要我自己認為它夠強、夠大。」（參閱趙無極、梵思娃著、劉俐譯《趙無極自畫像》，藝術家出版社，台北，1992初版，頁144-145）而這，即是藝術家與生命、與世界溝通的方式，無懼於動盪，且充滿激情。

In the abstract paintings of Zao Wou-ki, the depiction of light is always superb. In some of Zao’s paintings, light is the central focus of the work, with the rays of light transfixing the viewer and having a pronounced emotional effect on them. Alternatively, the light may emanate out from one corner of the canvas to suffuse the painting, sometimes with a powerful brilliance, sometimes soft and restrained. What is common to all of Zao’s works is the way that light is shown as embodying an immense sense of vigor and energy, along with a beauty that refuses to be ignored. In Zao’s diptych painting “23.9.76”, the artist presents an interpretation of the clash between light and dark. In this painting, against a background of interleaved silver and earth tones, blocks of rich, dark color occupy the lower left hand corner, center and right side of the canvas. These patches of color are dense and coagulated, with a latent sense of disturbance. Between these blocks of dark brown, dark clouds seem to rise up from the earth, and a mysterious radiance emanates out from irregular cracks. Indistinct symbols revolving in space bring to mind Zao’s “Oracle Bone” works from the 1950s. Spreading out from the lower middle of the canvas is a soft silvery-blue light, what seems to be a “heavenly” light with its origins in the far-off realms of the wider universe – vast, boundless, and bottomless. The scene floats in the middle of all this, with no obvious center, and no point at which it disappears; the viewer of the painting also has a sense of having been set free from the fetters of gravity, and being able to “enter” the painting from different angles and different routes, exploring the unbounded unknown that it presents to us. As we seem to hear the violent sounds of objects and forces colliding with one another and being sent spinning round, we also come to appreciate the passion and yearning that underlay the artist’s ability to explore the mysteries of the cosmos in this way.

趙無極《15.12.76》1976 195 x 390 cm ZAO Wou-ki, 15.12.76, 1976, 195 x 390 cm

The French art critic François Jacob commented that “in the paintings of Zao Wou-ki, there is an endless questioning of the world, and a determination to remake it. Some of his paintings bring to mind the incredible violence of the outpouring of energy that was the origin of the universe, and the final ‘jolt’ in this event. Other paintings depict nebulae in their riotous ‘rebellion,’ or the birth of light, or the creation of water.” (From the foreword to “Zao Wou-ki: Paintings, 1980 – 1985,” Pierre Matisse Gallery, New York, 1986; Kwai Fung Art Publishing House, Hong Kong, p. 375) Having previously drawn inspiration from Paul Klee and from the ancient Chinese “oracle bone” inscriptions, Zao Wou-ki reached the height of his artistic brilliance in his later abstract works. By integrating aspects of East Asian philosophy into European art, Zao embraced the infinite turbulence of cosmic vitality, and opened up a whole new form of artistic perspective. Despite the tendency in abstract painting to dispense with form, Zao Wou-ki continued to focus on the physical world; however, he no longer depicted the physical substance of the world, instead seeking to show the transformation of matter, striving to capture the vortex of its motion and its primal scream. Zao Wou-ki’s abstract paintings always embodied the essence of the scenes that he portrayed; one might say that he depicted the “spirit” of the landscape. Zao was like an explorer, making his solitary way through the formless, unknown boundary between the universe, blazing new trails, exploring the solitary depths of the cosmos, and capturing the rhythm of the earth and the power of nature. At the same time, the paintings also captured aspects of Zao’s own spirit, just as traditional Chinese literati landscape painting depicted not just the scene as the painter saw it, but also the topography of the artist’s soul. The impressive scale of this topography is of course reflective of the artist’s deep understanding and response to life itself. Zao Wou-ki’s creative work was always closely linked to his life experience and to his internal spiritual journey. The painting “23.9.76” is at one and the same time a landscape and a scene from the artist’s own soul. Around 1970, the health of Zao’s second wife Chan May-Khan was deteriorating steadily; she was in more or less constant pain for several years, and died in 1972. Frustrated by his inability to help her, Zao was heartbroken. For a while, he found it difficult to bring himself to continue painting in oils, but he was able to use traditional Chinese ink brush painting on paper as a release for his spiritual torment. During this period, the architect I.M. Pei and his wife Eileen Loo visited Zao, and were impressed by his ink-brush paintings on paper. Some years later, in his foreword for the

exhibition catalog accompanying a solo exhibition of Zao’s work in New York, I.M. Pei recalled that “I was enraptured … the lines were almost ethereally faint, and yet at the same time they embodied an immense degree of detail. What struck me as most significant was that these ink brush paintings and Zao’s oil paintings shared a common artistic lexicon, despite the enormous gulf between the two genres in terms of technique. I can still remember how deep an impression it made on me to discover that Zao Wou-ki was an artist working in the Western tradition who also took aesthetic inspiration from the Chinese tradition; furthermore, it was this aesthetic inspiration that was the foundation for the way he constantly evolved and progressed as an artist” (from the foreword by I.M. Pei to the exhibition catalog for “Zao Wou-Ki. Encres de Chine 1982 – 1996. A Tribute to Pierre Matisse,” Editions Jan Kruiger and Maria Gaetana Matisse, 1996; Kwai Fung Art Publishing House, Hong Kong, p. 375).

After recovering from his loss, Zao Wou-ki moved on to a new stage in his artistic career in which the nature of his art was once more transformed. This time, the strokes of the ink brush helped Zao to find inner peace, and instilled a quiet new power into his abstract paintings. In “23.9.76,” the brown tones are displayed against a pale background, sometimes concentrated like thick ink, and sometimes spread out as though applied with a wet brush. A sense of rhythmic movement suffuses the work, as though the invisible force that animates all things were operating in this conjuncture of the universe. In particular, the finely detailed expression of color tones is reminiscent of the rhythmic power of ink brush painting. In the horizontal structure of the upper part of the painting, Zao has succeeded in creating a “wet” effect comparable to that of ink brush painting on an oil painting canvas; the light, variegated layering effect gives added spatial depth to the work, suggesting distant hills wreathed in mist or swirling clouds. The convergence and interpenetration of the virtual and the real seems to represent both competition and also a kind of symbiotic fusion. In this painting, Zao Wouki is not attempting to tell a story, and yet we can hear the movement of the earth and the low murmur of the wind, we can see the dance of light, and we can sense an ineffable force, gyrating through the atmosphere, that gives the canvas as a whole a poetic, dreamlike character. As Zao Wou-ki himself once remarked.” (Zao Wou-ki and Francoise Marquet, “Zao Wou-ki Discusses his Art,” translated

This was the way in which Zao communicated with life and with the world – a fearless, passionate dynamism.

by Liu Li, Artist Publishing, Taipei, 1992, p. 144-145)

238 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

19.12.66 1966 Oil on canvas 195 x 96 cm Signed lower right Wou-ki in Chinese and zao in French Signed on the reverse ZAO Wou-ki in English and Titled 19.12.66 PROVENANCE: Private Collection, Switzerland ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, color illustrated, no. 120, p. 171 Claude Roy, Zao Wou-ki, Editions Cercle d'Art, Paris, 1988, color illustrated, p. 110 Zao Wou-ki Paintings 1935-2008, Kwai Fung Art Publishing House, Hong Kong, 2010, color illustrated, p. 168

NT$ 78,000,000-90,000,000 HK$ 19,259,000-22,222,000 US$ 2,480,900-2,862,600

趙無極 19.12.66 1966 油彩畫布 195 x 96 cm 簽名右下：無極 ZAO 簽名畫背： ZAO Wou-ki 19.12.66 來源：私人收藏，瑞士圖錄：雷馬利，《趙無極》，藝術圈出版社，巴黎，1986，彩色圖版，編號120，頁171 克勞德．羅伊，《趙無極》，藝術圈出版社，巴黎，1988，彩色圖版，頁110 《趙無極作品集1935-2008》，季豐美術出版社，香港，2010，彩色圖版，頁168

光，在趙無極的畫筆之下流轉燦然，變幻出無盡色彩，細緻豐富而無法捉摸，成為其繪畫中最迷人的景色。趙無極畫作中的光千變萬化，時而強烈、時而蘊藉，但總是帶著來自未知境地的神秘力量，彷若承載著宇宙的奧妙訊息，令人無法忽視。作為1960年代的經典之作，《19.12.66》採取了垂直的構圖，藝術家以195公分高的尺幅演譯光與空間之舞，輕靈而深邃，展現了定居法國近20年的藝術家，追尋個人藝術之道的成熟與自信。趙無極於1948年來到巴黎，從此展開其豐富的藝術探索生涯，他從具象繪畫進入克利式的線條表現，再轉化為以符號為主要語彙的甲骨文時期，並於1950年代末進入抽象，每個時期的轉變皆精采且令人驚艷。也是來到巴黎之後，從杭州國立藝術專科學校時期起即主修西畫的趙無極才重新發現、並且擁抱中國傳統文化之美，中國的書法、山水與哲學提供了源源不絕的養分，滋養了藝術家的創作表現乃至於內在精神。隱藏於視覺表象背後的無形世界，引領趙無極探索的路徑，及至1960年代，趙氏個人獨特的抒情抽象語彙已然確立，二十世紀上半葉於歐洲立論成形的抽象藝術更符合其捕捉無形情感力量的渴望，同時，他深刻掌握了西方自文藝復興以降發展了數百年的光影表現精髓，揭示了無垠時空中光的躍動，正如法國藝術史學者達尼埃爾．馬歇索（Daniel Marchesseau）所述：「藝術家發揮顏料的延展性；彩色的光芒，有時突如其來，但總是深不可測，使他畫面的色調變化生動活潑：灰中透白的珍珠色水流，茜紅色的噴泉，金色的絨毛，黑影和煙雲，都賦予作品一種顫動的密度，既是意象也是湧現，既是秘密也是啟迪。」（摘自達尼埃爾．馬歇索撰，〈隱隱強力化作融融和諧〉，《趙無極繪畫六十年回顧》，上海三聯書店）

成工作室。這是一個沒有對外窗戶、隔絕了外在世界的獨立空間，對外採光只來自一個玻璃屋頂，而室內有獨立的照明系統。這個孤立的工作場所盡力避免與外在世界的接觸、杜絕干擾，趙無極在此冥思、創作，獨自深耕挖掘內在的能量，孤身探索於藝術的未知之境，全心與他的繪畫奮戰、發展、共同飛翔。異鄉耕耘的辛勞頓挫折、情感生活的激越波折，種種人生的試煉難以與外人道。只有在面對自己、面對畫布時，才得以暢所欲言，傾注心緒。也是在這寬敞的工作室裡，趙無極突破了技術層面的考慮，創作出一幅幅震懾人心的大尺幅繪畫。 1960年代，趙無極的展覽不斷，評論者的佳評與數個重要展覽使得藝術家獲得前所未有的聲望與肯定。及至1965年，位於德國埃森的福克翁博物館（Museum Folkwang）舉辦了趙無極的回顧展，展出1950至1964年的64件作品，可以說是趙氏藝術生涯的重要里程碑，而繪於 1966年的《19.12.66》，正展現了藝術家在抽象繪畫領域的成熟與自信。趙無極第一本法文編年目錄的作者雷馬利（Jean Leymarie），指出1960年代趙無極的藝術不斷地開展，以對比或和諧化一表現出韻律、肌理和色調的細微變化；時而偏好單色，時而深暗而盈滿，暈染的棕色上有黑色刮痕；時而乳白而輕盈，如銀灰色的雲霧。其他有的是雪與藍寶石、慕思和紅寶石的華麗和諧。《19.12.66 》採以淺紫、淡藍、與銀色為主色調，盡顯光的閃耀流轉。畫面中，纖細而跳躍的筆觸凝聚於上半部的中央，懸浮於無垠的空中，幾筆青藍色的線條併發如光的折射，光芒與無形的力量震顫跳動，如煙花、如無聲的爆裂。畫面下半部則以細微的色調變化，鋪陳出純淨的虛空，寧靜、悠遠而令人嚮往。此作虛與實之間調度，盡顯藝術家汲取自東方哲思與中國山水畫之意境精神，為他的抽象繪畫注入了獨特的氣質，正如尼埃爾．馬歇索的評論：「趙無極的畫面上透明而抽象的淡彩，精到地綜合了中國意味和西方抒情主義。這是絕對屬於他個人的表現方式……」（摘自達尼埃爾．馬歇

1950年代，來到法國僅數年的趙無極即與巴黎的畫商皮埃爾．勒布（Pierre Loeb）密切合作，1957年起則與法蘭西畫廊（Galerie de 北宋畫家范寬《谿山行旅圖》絹本淺設色畫軸，206.3 x 103.3 cm France）合作，兩家巴黎畫廊皆為趙無極舉辦現藏於台北國立故宮博物院 FAN K'uan, Travelers among Mountains and Streams 了多次個展，逐步奠下了這位來自中國的藝術索撰，〈隱隱強力化作融融和諧〉，《趙無極繪畫六十年回家在巴黎藝壇的地位。喜愛旅行的趙無極在 Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm 顧》，上海三聯書店，1998，頁23）。於是，光的躍動 Collection of National Palace Museum, Taipei 1958年來到了美國，停留紐約時結識了塞繆成為《19.12.66》一作的主角，光的激情、靈爾．庫茲（Samuel Kootz），庫茲畫廊（Kootz 動、深遠、清澈，皆在此單一畫作中盡情展現，趙無極將生命的律 Gallery）遂成為他在美國的第一個長期合作畫廊，這位來自中國，居動與感觸投注其間，將運行於天地之間難以捉摸定型的力量，化為住於歐陸的藝術家，獲得了新大陸藝壇的熱情接納。趙無極在1959 可見的永恆。藉由此作，藝術家引領我們進入一清朗明亮的國度，年買下了一座倉庫，委由喬治．左哈奈（Georges Johannet）改建赤裸而孤獨地面對造化的嬗變，並使得心靈獲得洗滌與昇華。

DANS SES TABLEAUX EN TRANSPARENCES ET GLACIS ABSTRAITS, ZAO WOU-KI OFFRE UNE SYNTHÈSE ÉCONOME ENTRE L’ALLUSION CHINOISE ET LE LYRISME OCCIDENTAL. L’ÉVIDENCE DE CE LAUGAGE LUI APPARTIENT EN PRPORE....

Under the masterful brushwork of Zao Wou-ki, light shines, flows, and bends into countless shades of color, and the coloration – rich, delicate, and unpredictable – has rightfully become the most alluring element of his paintings. The ever-changing light momentarily seems heavy and overbearing, then suddenly oscillates to a tempered and restrained state; either way, the light always appears to carry a mysterious power from some unknown realm as if it were delivering a secret message from the cosmos too profound to be overlooked. A classic piece created in the 1960s, “19.12.66” was designed in a vertical composition. The artist performs a dance between light and space across a 195 cm canvas. Airy as well as fathomless, this work exhibits the maturity and confidence of the artist who once lived in France for nearly 20 years. Zao came to Paris in 1948 and thence began his vibrant and exciting artistic exploration. Encountering from figurative painting and the lines inspired by Paul Klee to the oracle period that focused on symbols, Zao dived into abstractionism in the end of the 1950s. His transformations in each period were all brilliant and stunning. It was also after he moved to Paris that Zao, majoring in Western painting since National Hangzhou School of Art, re-discovered and embraced the beauty of Chinese culture. Chinese calligraphy, landscape and philosophy offered him inexhaustible nutrients, nurturing his artistic performance and even his inner strength. The intangible world hiding behind visual signs was the path that guided his artistic exploration. By the time in the 1960s, Zao finally established his unique lyrical language. The formally established abstractionism in the first half of the 20th century in Europe satisfied his need and desire for capturing the invisible power of feelings. In the meantime, he deeply grasped the essence in the expression of light and shadow that had been developed in Europe for hundreds of years since the Renaissance, unveiling the dynamism of light in the infinite realm that contains time and space. As French art historian, Daniel Marchesseau, describes : "La couleur éclatante et cojlle igneé de sa gestuelle procède des chemeinements de sa meditation, dans la solitude de l’atelier. L’artiste joue de la ductilité de ses pigments. Un flambiement coloré, brutal parfois, profond toujours, anime sur la toile les nuances de sa palette :eaux d’un blanc de nacre, accents gris perle, jest garance, duverts d’or, ombres de jais, nuage de fumée, toutes conferent à l’oeuvre une vibrant densité, vision autant que résurgence, secret autant qu’illumination." (De sourdes intensités en transendantes harmonies , Daniel Marchesseau , Zao Wou-ki 60 ans de peintures Joint Publishing, Shanghai , 1998, p.25)

Living in France for only a few years, Zao began working closely with Pierre Loeb, a celebrated art dealer in Paris, in the 1950s. Working with Galerie de France since 1957, Zao had held his exhibitions at these two galleries for plenty times, beginning to make his name known in the art scene in Paris. Having a special liking in travel, Zao visited the U.S. in 1958, getting acquainted with Samuel Kootz when staying in New York, and Kootz Gallery became the first gallery in the U.S. he cooperated with in a long term. Living in Europe, this Chinese artist received unprecedented warm welcome from the art scene on the New Continent. In 1959, Zao bought a warehouse and commissioned Georges Johannet to remodel it to be his studio. It was completely isolated and windowless with only natural light penetrating the glass rooftop and an independent indoor lighting system. Inside this secluded studio Zao avoided contact with the outside world. He meditated and created artworks here, cultivating

and excavating his inner energy alone. He explored the unknown realm of art on his own, committed to work, grow and soar with his paintings. From the hardship and frustration about working alone in a foreign country and the twists and turns occurring in his romantic relationship to a series of tests in life, Zao found it too hard to express such complex feelings to others. Only when facing himself and his canvas could he speak his mind frankly and pour out his feelings. It was also because he worked in this spacious studio that Zao broke through technical restraints, creating stunning pieces in incredibly large scales. Zao held countless exhibitions in the 1960s. Praise from critics and several important exhibitions brought the artist unprecedented fame and recognition. By 1965, in Essen, Germany, Museum Folkwang held a retrospective exhibition of Zao with 64 works created from 1950 to 1964, which could be considered an important milestone in Zao’s artistic career. Painted in 1966, “19.12.66” exhibits the artist’s maturity and confidence in abstract painting. In Zao's first catalogue raisonné written in French, author Jean Leymarie described the constant development of his art in the 1960s with respect to the use of contrast and harmony to portray rhythm, texture and colour modulation: sometimes Zao favours monochrome, and at times rich dark dyes of brown with streaks of black; other times the tone is opalescent and light, like silver grey brume. While other modulations include snow and sapphire, mousse and rubious sumptuous accords. Designed in a vertical composition, “19.12.66” predominantly features pale purple, light blue, and silver hues, fully demonstrating a brilliant flow of light. Delicate but bouncing strokes converge at the center of the upper half of the canvas, suspended in an infinite air. Several greenish blue lines explode in a reflection of light. Rays of light and invisible forces vibrate and leap about like silent blasts of fireworks. The lower half of the canvas reveals a subtle change of tone, laying out such pure emptiness that is serene, distant, and enticing. The composition, which vacillates between solid and empty, manifests the artistic concept that he acquired from Eastern philosophy and Chinese landscape painting, injecting a unique temperament into his abstract paintings. As Daniel Marchesseau commented in his review, “Dans ses tableaux en transparences et glacis abstraits, Zao Wou-ki offre une synthèse économe entre l’allusion chinoise et le lyrisme occidental. L’évidence de ce laugage lui appartient en prpore... (De sourdes intensités en transendantes harmonies , Daniel Marchesseau , Zao Wou-ki 60 ans de peintures, Joint Publishing, Shanghai , 1998, p.25)”. In “19.12.66”, the momentum of light is clearly at center stage. The artist heartily displays the passion, movement, depth, and clarity of light in this single piece. He injects his rhythm and understanding of life into the paint itself, turning intangible and ineffable forces between heaven and earth into a visible eternity. Through this painting, the artist leads us to a clear and bright kingdom where we nakedly confront the changes of life alone, allowing us to emerge, our soul cleansed and rejuvenated.

趙無極《16.5.66》1966 油彩畫布香港蘇富比2013年秋季拍賣會，成交價：HK$79,640,000 ZAO Wou-ki, 16.5.66, 1966, oil on canvas, 195 x 130 cm Sotheby's Hong Kong, Autumn 2013, US$10,270,374 sold

趙無極《19.12.66》1966 油彩畫布羅芙奧2015年春季台北拍賣會預估價：NT$ 78,000,000-90,000,000 ZAO Wou-ki, 19.7.66, 1966, oil on canvas, 195 x 96 cm Ravenel Spring Auction Taipei 2015 Estimate: US$ 2,480,900-2,862,600

趙無極《3.4.60-1.2.69》1969 油彩畫布香港蘇富比2013年秋季拍賣會，成交價：HK$ 70,680,000 ZAO Wou-ki, 3.4.60-1.2.69, 1969, oil on canvas, 195 x 130 cm Sotheby's Hong Kong, Autumn 2013, US$9,114,893 sold

239 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

16.9.91 1991 Oil on canvas 114 x 146 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki in French, titled 16.9.91, and inscribed 114 x 146 cm EXHIBITED: Zao Wou ki, Gallerie Artcurial Artcurial, Paris, February- March 1992 Zao Wou ki, Cultural Center of contemporary Art, Televisa Cultural Foundation, Mexico, March 3 - May 3, 1994 Zao Wou ki 60 ans de peintunes (1935-1998) shanghai Museum, Shanghai, 1998 ILLUSTRATED: Cultural Center of Contemporary Art, Televisa Cultural Foundation Catalog, Mexico, color illustrated, no. 28, 1994 Zao Wou-ki 60 ans de peintures (1935-1998), Shanghai Museum, Shanghai, 1998 color illustrated, pp. 234-235 Zao Wou-ki (1935-2008), Dominique de Villepin, dirigé par Françoise Marquet et Yann Hendgen, Flammarion, Paris, 2009, color illustrated, p. 252 Zao Wou-ki (1935-2008), Dominique de Villepin, dirigé par Françoise Marquet et Yann Hendgen, Kwai Fung Art Publishing House, Hong Kong, 2010, color illustrated, p. 252 (Mandarin Chinese edition) Zao Wou-ki (1935-2008), Dominique de Villepin, dirigé par Françoise Marquet et Yann Hendgen, Kwai Fung Art Publishing House, Hong Kong, 2010, color illustrated (English edition)

NT$ 78,000,000-90,000,000 HK$ 19,259,000-22,222,000 US$ 2,480,900-2,862,600

趙無極 16.9.91 1991 油彩畫布 114 x 146 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 114 x 146 cm 16.9.91 展覽：「趙無極」，Artcurial畫廊，巴黎，1992年，2月至3月「趙無極」，當代藝術中心，特萊維薩文化基金會，墨西哥，展期自1994年3月3日至5月3日圖錄：《特萊維薩文化基金會目錄》，編號28，1994 《趙無極繪畫六十年回顧》，上海三聯書店，上海，1998，彩色圖版，頁234-235 《趙無極作品集1935-2008》，多明尼克・德・維爾潘撰文，弗朗索瓦・馬凱，揚・亨德根編輯，弗拉馬里翁出版，巴黎，2009，頁252 《趙無極作品集1935-2008》，多明尼克・德・維爾潘撰文，弗朗索瓦・馬凱，揚・亨德根編輯，季豐美術出版社，香港，2010，頁252（中文版）《趙無極作品集1935-2008》，多明尼克・德・維爾潘撰文，弗朗索瓦・馬凱，揚・亨德根編輯，季豐美術出版社，香港，2010（英文版）

隨著人生閱歷的增長與心境的轉變，趙無極1990年代的創作顯得更為快意瀟灑，展現出一種得心應手的酣暢。創作於1991年的《16.09.91》，即在在流動的光與色彩之間，挹注了藝術家內心的自由適足與開闊心緒，畫面中無形的力量依然彼此競逐碰撞，併發出無限的變化與動態，卻多了一份大器與和諧，更為輕盈且自由。而中國文人的詩意與東方水墨的韻味在此時期的作品中也獲得更為濃厚的表現，淋漓盡至地描繪那出於象外之景，達「天人合一」的永恆之境。作為藝術創作者，趙無極從來不解釋他的作品，法國作家何塞．弗雷切（José Frèches）如此描述：「……儘管他表面沉著並溫熙安詳，趙無極懶得多講他創作什麼和怎樣做，他很對地認為，他的作品已經說明一切，於是他總是急於去親密接觸那空白和待用的畫布。正正就在他勇於面對這種空白時，趙無極創造他的世界。」（摘錄自何塞．弗雷切著，〈呼吸與靈魂〉（Le souffle et l'âme），《趙無極— 作品，文章，訪談》（Zao Wou-Ki— Œuvres, écrits, entretiens），西班牙巴塞隆納波利格拉法出版社（Ediciones Polígrafa），法國巴黎阿贊出版社（Editions Hazan），2007，頁15。香港季豐美術出版社出版，2010，頁 379）

的確，真正的藝術傑作無需過多的言語解釋，儘管藝術家不作說明，我們依舊可以從畫作中讀出他蛻變的軌藝術家與作品合影跡，不斷超越自我、開闢創作新境的過程。趙無極自1960年代的山脊式構圖以來，構圖多是以畫面中心為重的凝聚式構圖，複雜的筆觸與變化多集中於畫面中心，進而形成視覺上的焦點。他於1970年代重拾毛筆，揮灑水墨的練習為其創作注入更豐富的層次渲染與筆墨韻致。約莫在1989年，趙無極再度突破自身過往的畫面格局，由「聚」走向「散」，首度出現了筆觸由外往內包圍、中央反而相對虛空而深遠的新形式，用色經常採取外圍濃重而中心明亮的安排。如此的畫面佈局往往令人聯想到洞穴的意象，包覆的空間裡透露出一股安定與靜謐的氣息，神秘且充滿引人深入探索的吸引力，宛若蘊含著大自然運行的秘密。《16.09.91》一作同樣採取包覆式的構圖，卻是以淺色調為主，鋪陳出一方清朗開闊，面對此作，與其說如同身處於洞穴之中，倒不如說像是立足於世界之巔時，眼前展現的壯闊風景。在《16.09.91》裡，趙無極展現了其對於輕盈、抽象之宇宙空間的追尋，畫面中他大膽地運用色彩，展現光的明朗純淨，然而一切是

那麼的混沌未明，如同世界形成之前，光在翱翔，重力尚未發揮其功效，能量彼此衝撞、融合、迴旋，萬物皆有無限的可能性。色彩與筆觸在柔和與沉靜、跳動與輕舞、矛盾與衝突之間取得了完美的平衡，其中包含了情感的碰撞、大自然的靈秀壯闊、天際的凌空律動、以及物質運行留下的痕跡，在在反映了藝術家內心的豐富心緒，並透露了宇宙的奧秘。當我們面對《16.09.91》，猶如獨自立足於高山的頂峰，面向無止盡的天空，氣旋在腳下翻騰追逐，輕盈而澄淨。層層渲染的空間綿延無邊，雲霧般的鐵灰與深藍筆觸帶著向畫面中心點聚攏的動勢，朝著遠方未知的盡頭飛翔而去，而畫面中心的光芒燦爛且明亮，散發出壯麗的光輝，吸引著我們向前方的未知遠眺。於是，世界的喧囂紛擾在此退散，取而代之的，是面對蒼茫天地之際，滿溢心胸的雄渾壯闊之激情。趙無極致力於藝術表現的鑽研、開創與拓展，他未曾縱容自己停滯不前，而是不斷地自我超越、打破過往已經建立的成就與框架，創造出一次又一次精采的蛻變。然而，他的畫作最感動人心的，不僅僅是高超的表現技巧，更是透過這些技巧淋漓展現的內心風景。隨著一生經歷的迭宕起伏、情感境遇的刻骨激越，趙無極的創作展現了不同的內在力量，時而激昂、時而頓挫，訴說著人生的追尋、超越、以及情感的拉扯與掙扎，藝術家卻總是能夠以堅定的心志尋求突破而浴火重生，焠煉出璀 The artist with the painting 燦的藝術瑰寶。法國前總理多米尼克．德．維爾潘（Dominique de Villepin）、亦是一位詩人及對抽象繪畫有深厚研究的藝評家，即如此形容趙無極的繪畫：「趙無極的畫充滿激情。它是一種魔附，某類與世界的溝通，靈魂與物質的一個不凡結合。在他的畫裡，創造力與生活本身從不分開。畫裡外交織著相關經歷，它們相互穿插，相互滲透，但從不融為一體。觀眾被緊緊地攫住了。他得爭取自己的自由，在色彩的角鬥場裡掙扎，然後像在洪水中得救那樣，以全新的面貌浮現。」（摘錄自多米尼克．德．維爾潘著〈在光線的迷宮中〉（Dans le labyrinthe des lumières），《趙無極》，香港季豐美術出版社出版，2010，頁37）正是如此真誠的表現，喚起

了我們內心的呼應，人生的起伏可以為我們帶來智慧，而心緒的澎湃併發出源源不絕的生命力。1991年，其藝術成就廣受各界肯定與推崇，已經定居法國超過40載歲月的趙無極年屆七十，依然神釆奕奕，繪畫如同他的生命，如今已然經過層層鍛煉，更加地大膽與自由。

As he grew older and became more experienced, Zao Wou-Ki became more comfortable when composing his works in the 1990s, exhibiting a kind of delightful proficiency during his artistic process. Created in 1991, “16.09.91” imbues the artist’s inner satisfaction and open mind into the work's flowing light and tones. The invisible forces in the painting chase and collide with one another, setting off infinite sense of dynamism. Yet the artist adds openness and harmony to the whole painting, making it appear light and free. Zao fully demonstrates the poetic conception held by Chinese literati and the charm of Eastern ink wash during this period. He beautifully depicts the landscape outside the radius of solid images, rising to an eternal state that reaches “oneness of heaven and humanity.” As a creator of art, Zao never explained his works. As French writer José Frèches describes, “Though he appeared calm and steady, in fact, Zao was never inclined to explain what he created and how he created it. He perfectly believed that his works explained everything. That was why he was always eager to touch blank and unused canvases. Right when he was brave enough to confront such blankness, he created his own world.” (An

is possessed with infinite possibilities. Between softness and calmness, pulses and dances, contradictions and conflicts, colors and strokes reach a perfect balance, containing the collision of feelings, the magnificence of nature, the rhythm of the sky and the trajectory where matters orbit. The presentation reflects the artist’s profound perspective and reveals the secret of the cosmos. Standing in front of “16.09.91”, we seem to stand on the peak alone, facing the limitless sky with clouds surging underneath, light and clean. Washes of paint stretch across the canvas. Misty iron gray and deep blue stokes fly toward the distant unknown end with a momentum that converges at the center, glowing with a bright, spectacular radiance that attracts us to overlook the unknown ahead. The troubles of the world disperse, replaced with an awe-inspiring enthusiasm that fills our bosom as we face a vast, boundless world.

Devoting to the exploration, innovation and development of artistic expression, Zao never allowed himself to be held up. He ceaselessly went beyond himself and broke his established achievements and forms, bringing about brilliant transformations time after time. In his paintings, excerpt from “Le souffle et l'âme,” Zao Wou-Ki—Œuvres, écrits, entretiens, Ediciones Polígrafa, he touches people not only with his masterly skill but also his perfectly Barcelona & Editions Hazan, Paris, 2007, p. 15. Kwai Fung Art Publishing House, Hong Kong, depicted inner landscape. Going through the ups and downs of life and 2010, p. 379.) the passionate romantic relationship that etched Real masterpieces of art in his memories, Zao need no further explanation. exhibited different Although the artist chose inner strength through not to explain his works, we his works. They are still discover the trajectory sometimes heated and of his transformations intense while sometimes through his paintings, withdrawn and frustrated, the course he ceaselessly uttering his pursuit, transcended himself and transcendence and opened up new creative emotional struggles. styles. Since his focus on Nonetheless, the artist the ridged composition in always strove to make the 1960s, Zao emphasized breakthroughs with his the center of his canvas, tenacious and unswerving 元黃公望《富春山居圖》故宮博物院藏，台北，台灣Yuan Dynasty, HUANG Gongwang, Dwelling in the Fuchun Mountains, focusing his complicated will, forging a dazzling collection of National Palace Museum, Taipei, Taiwan strokes and changes on and remarkable artistic the center to form a focal gem for the world. Former prime minister of France, Dominique de point. In the 1970s he picked up the Chinese writing brush once again. His Villepin, also a poet and a critic with profound understanding of abstract ink wash technique injected diverse strata of shades and the essence of painting, described Zao’s painting as “being filled with passion. It has a Chinese ink into his paintings. Around 1989, Zao once again broke through kind of spiritual possession, a channel between the unknown and the world, his past composition, striding from “convergence” to “distribution.” For a superb combination between matters and the soul. In his paintings, the first time, his strokes encompassed the center from the peripheral, creativity never separates with life. Relevant experiences intertwine on the making a new form that showed a relatively void and profound center. The canvas, running through and penetrating one another but never merging artist tended to arrange thick and heavy tones on the peripheral and bright together. The viewer is deeply caught by the painting where he has to fight hues on center. Such a layout reminds people of a cave, a secluded space for his freedom, struggling in the arena of colors. Then he will be saved that exudes a sort of calm and tranquil air. Such mysterious yet appealing from drowning in the flood, surfacing the water with a brand-new look.” (An attraction seems to possess the secrets of nature. “16.09.91” also adopts excerpt from “Dans le labyrinthe des lumières,” Zao Wou-ki, Kwai Fung Art Publishing House, this enclosed composition with light colors as its overall theme, laying Hong Kong, 2010, p. 37.) It is because of such a sincere artistic expression that out a broad open view of clarity. In front of this work, it is not as if one is arouses our inner response. The rise and fall in life bring us wisdom, and sitting in a cave but viewing a magnificent landscape on top of the world. the surging emotions in his paintings discharge the inexhaustible force of life. In 1991, he was widely recognized and acclaimed with his artistic In “16.09.91”, Zao shows his pursuit for an airy and abstract cosmic achievements. Living in France for more than 40 years, in his seventies, space. He boldly demonstrates the brightness and purity of light with his Zao was still radiant. As invaluable as his life, his paintings have already colors. Yet the work exhibits the chaos of a time before the world came been through a series of tests, becoming bolder and freer than ever. into existence. Light soars in the air unhindered by gravity that has yet to exist. Forces collide, merge and vacillate with one another. Everything

240 LI Chen

李真

(Taiwanese, b. 1963)

攀龍燭

Soaring Dragon

2010 銅雕 3/8 52(長) x 36(寬) x 167(高) cm 簽名雕刻背面：Li Chen 3/8 2010 鈐印：李真

2010 Bronze, edition number 3/8 52(L) x 36(W) x 167(H) cm Engraved Li Chen in English numbered 3/8, dated 2010 With one seal of the artist EXHIBITED: Greatness of spirit – Li Chen Premiere Sculpture Exhibition in Taiwan 2011, Chiang KaiShek Memorial Hall, Taipei, November 6 - December 4, 2011

展覽：「大氣—李真臺灣大型雕塑首展2011」，中正紀念堂，台北，展期自2011年11月6日至12月4日

ILLUSTRATED: "The Beacon" Series: When Night Light Glimmers – Li Chen, Asia Art Center, Taipei, 2010, pp. 44-49 Greatness of spirit – Li Chen Premiere Sculpture Exhibition in Taiwan 2011, Asia Art Center, CO., Ltd., Taipei, 2011, p. 202

圖錄：《夜光盈昃—「天燧」系列—李真》，亞洲藝術中心，台北，2010年，頁44-49 《大氣—李真臺灣大型雕塑首展2011》，亞洲藝術中心，台北，2011年，頁202

This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

附亞洲藝術中心開立之原作保證書

NT$ 6,000,000-8,000,000 HK$ 1,481,000-1,975,000 US$ 190,800-254,500

當代雕塑家李真的創作歷程從最起初的空靈系列，在刻畫佛家法相時也融入自我美學意念，帶給觀者宗教上的慰藉之餘，也提供了藝術家自己對於佛學概念的實踐，更賦予當代佛教造型美學的新格局；而創作風格在1998年開始轉變，「虛空中的能量」起便可見到李真標誌性圓潤線條，飽滿身形的雕塑作品。雖然其創作依舊帶有佛家哲思與禪意，但已不見手持法器或手勢的形象，反倒是嬉笑淘氣的各種入世姿態，在妙趣橫生外，更顯真摯細膩且溫暖人心的情感。中國美術館館長，范迪安曾撰文「圓融之境─李真的雕塑世界」（《尋找精神的空間，李真中國美術館個展》畫冊，亞洲藝術中心，2008，頁4-5）一文評論李氏的藝術，而「圓融」一詞出自「大乘止觀」，有破除偏見、圓滿通融後便可悟道見佛。李真圓融的雕塑作品融合了西方簡約的藝術形象，而墨黑的身軀與表層細緻的質感更顯得其作品當代感強烈，他破除了既有的法相藩籬，以獨特的造型表現原屬於東方的雕塑主題。而此作《攀龍燭》是為「夜光盈昃─天燧」系列作品，靈感來源為李真點燃家中佛堂燈燭而得（李真台灣大型雕塑首展，2011亞洲藝術中心，2011，頁200）。手持降龍燭台，面貌怡然從容，如古代賢士般清風瀟灑，姿態輕盈包覆在白色雲狀底座，更似騎雲而來的仙人；李氏巧妙且刻意地結合了「火」的元素，讓作品昇華為一座指引路途的明燈；而象徵生生不息的火也將作品本身轉化，成為一件富含生命力量的雕塑，更是李真嚮往文人雅士般德賢兼具的精神性作品。 When examining the artistic career of contemporary sculptor Li Chen, one can see that, in his early “Beauty of Emptiness” series, while seeking to portray different aspects of the Buddha, Li also incorporated some of his own aesthetic attitudes, so that besides the religious power of the work, creating it also provided the artist himself with an opportunity to practice Buddhist self-cultivation in his own life, and the finished work opened up new artistic possibilities for contemporary Buddhist statuary. 1998 saw the beginnings of a shift in Li’s style; starting with his “Energy of Emptiness” series, one begins to see the soft, curving lines that have become so characteristic of Li’s work, and from this period onwards his statutes have a distinctive roundness and fullness about them. Although Li Chen’s creative work continued to be influenced by Zen thought and other aspects of Buddhist philosophy, in his later work one no longer sees figures holding Buddhist regalia or making conventional Buddhist hand movements; rather, they are shown in various kinds of “worldly” poses, laughing and happy. Besides the inherent quality of the sculpting, these later pieces also embody a finely expressed emotional sensibility that warms the heart of the viewer. In an article on Li’s work entitled “Landscapes of Harmony – the Sculpture of Li Chen” (included in the exhibition catalog to “Li Chen – In Search of Spiritual Space: 2008 Solo Exhibition at National Art Museum of China,” Asia Art Center, 2008, pp. 4 – 5), National Art Museum of China Director Fan Di’an used the term “harmony” (yuanrong), which derives from the “Mahayana Teaching on Calm and Insight,” where it is used to mean the abandoning of preconceptions and achievement of harmony that allows one to reach enlightenment. Li Chen’s “harmonious” sculpture incorporates the simplicity and spareness of Western sculptural forms, while his use of black bodies and detailed surface texture give his work a strongly contemporary feel. Li overturned the conventions of Buddhist sculpture, using his own unique style to express sculptural themes that have a strong East Asian character to them. This particular piece forms part of Li Chen’s “The Beacon – When Night Light Glimmers” series, the inspiration for which came from Li’s lighting of a candle on the family altar in his home (“Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan,” Asia Art Center, 2011, p. 200). The figure holding the dragon-shaped candle holder has a calm, relaxed expression, emanating the lightness of spirit of an ancient sage. The figure seems to float amidst the enveloping white cloud base, like an immortal being riding the clouds. Li Chen has cleverly and deliberately incorporated the element of “fire” into this work, so that the sculpture becomes a bright light guiding the viewer along a spiritual path. The symbolic power of eternal flame transforms the sculpture into a work brimming over with vitality, making this a classic example of Li Chen’s work, with its refined, gentlemanly spirituality.

241 JU Ming

(Taiwanese, b. 1938)

Taichi Series 1998 Wooden sculpture 49(L) x 21(W) x 41(H) cm Engraved on the bottom JU Ming in Chinese and dated '98 This sculpture is to be sold with a certificate of authenticity issued by Alice Art Gallery, Taipei.

NT$ 2,800,000-3,800,000 HK$ 691,000-938,000 US$ 89,100-120,900

朱銘太極系列 1998 木雕 49(長) x 21(寬) x 41(高) cm 簽名雕刻底部：朱銘 '98 附台北思維藝術開立之原作保證書

242 JU Ming

(Taiwanese, b. 1938)

Living World Series 2006 Wooden sculpture 39(L) x 40.5(W) x 61(H) cm Engraved on the top Ju ming in Chinese and dated 2006 This sculpture is to be sold with a certificate of authenticity issued by Jun-Youn Sculpture Gallery, Taipei.

NT$ 2,200,000-4,200,000 HK$ 543,000-1,037,000 US$ 70,000-133,600

朱銘人間系列 2006 木雕 39(長) x 40.5(寬) x 61(高) cm 簽名雕刻頭頂：朱銘 2006 附台北雋永藝術開立之原作保證書

243 JU Ming

(Taiwanese, b. 1938)

Taichi Series 1991 Wooden sculpture (Camphor wood) 46.1(L) x 23.5(W) x 28.2(H) cm Engraved bottom left Ju Ming in Chinese and dated '91 This sculpture is to be sold with a certificate of authenticity issued by the NPO Juming Culture and Education Foundation.

NT$ 2,000,000-3,000,000 HK$ 494,000-741,000 US$ 63,600-95,400

朱銘太極系列 1991 木雕（樟木） 46.1(長) x 23.5(寬) x 28.2(高) cm 簽名雕刻左側底部：朱銘 '91 附財團法人朱銘文教基金會作品鑑定報告書

究竟第一件雙聯幅是如何出現我也不記得了。是否純粹偶然？ I cannot remember when exactly I created my first diptych. Did it just happen accidently?

對於曾海文而言，精神心性的昇華，遠比物質名利來得更具吸引力，繪畫與其說是一生的事業，不如說是他於天地之間安身立命，完成自我的修練之道。曾海文深研道家思想，五十歲以後受洗為天主教徒，在中西兩大思想系統之中，追尋天地運行之真理。或許正是這樣對心靈層次的追求，促使原本以具象油畫為主要創作形式的曾海文，在1960年代積極尋求突破並逐漸轉向抒情抽象的表現手法，並於1970年代捨棄西方傳統布上油彩的媒材，轉而以紙上水墨、水彩及壓克力等更輕盈流動性的材質，透過虛實相應的布局與流暢多姿的線條，揮灑其胸中感悟，展現大自然的律動與生機。而獨特的雙聯幅繪畫形式，也在此時成為藝術家的標誌。「究竟第一件雙聯幅是如何出現我也不記得了。是否純粹偶然？」曾海文曾於1980年代的訪談中提及：「但瞬間只覺得此一形式非常適合自己，因為它反映了成雙成對的概念；這種概念是『一』分為『二』，『二』融成『一』，具備產生第三個空間—創新的事物—的能力。這個道理與世界運行相吻合，也相關著我們的星象世界。」（摘自《曾海文畫冊》，哥德藝術中心，台中，1998，頁5）

曾海文交遊廣闊卻淡泊名利，他那受到西方抽象概念啟發卻蘊含東方觀點的繪畫廣受好評，展覽邀約遍及歐洲各地與美國。但相對於藝術事業的經營，曾海文更樂於雲遊四海並且真正地享受創作。他孤獨終老於巴黎，之後作品由當地政府拍賣而流散各處，似乎為藝術家傳奇的一生添上一抹淒涼的結局。然而，正是透過這些畫作，我們得以體會藝術家於天地之間恣意暢遊、擁抱人生的精神高度。 In the mind of T’ang Haywen, spiritual transcendence is far more attractive than the fame and the fortune. Painting, to him, is more a path to self-actualization and self-fulfillment in the mortal life than a life-long career. T’ang Haywen, who had a deep understanding of Taoism, was later baptized as a Catholic after turning 50 in an effort to seek out truth in the world encompassing both Chinese and Western culture and tradition. Such spiritual pursuit can be said to make T’ang actively search for breakthrough and gradually turn to expressive, abstract paintings in the 1960s. He furthermore abandoned materials of the traditional Western oil paintings in the 1970s and converted to flowing and light materials such as ink and wash, watercolor, and acrylic. Through the correspondence of the fullness and emptiness on canvas and vigorous flowing lines, T’ang cleverly expressed his emotions and displayed the dynamism of the nature. The use of diptych, in particular, has become the artist’s renowned artistic signature. “I cannot remember when exactly I created my first diptych. Did it just happen accidently?” T’ang Haywen once posited during an interview in the 1980s. “However, at that moment, the only idea flashed into my mind was that this style suited me well because of its concept of ‘a pair’. That is, ‘one pair’ can be divided into ‘two parts’ and ‘two parts’ can be united into ‘one pair’, which demonstrates the ability to form a third world—the ability to create. This concept also corresponds to the reason of the world and the stars in the sky.” (adopted from T’ANG Haywen Painting Album, Goethe Art Center, Taichung, p. 5).

Despite a wide acquaintance he had, T’ang Haywen lived a simple life. He was widely acclaimed for his oriental-based paintings inspired by the Western abstractionism and was invited to hold exhibitions all over Europe and America. Instead of the management of his art career, T’ang enjoyed more travelling around and art creation. After he led a solitary life and passed away in Paris, his works were auctioned by the local government and scattered all over the world, seemingly marking a tragic ending of his legendary life. However, it is through these paintings that we can take a look at the carefree and the enthusiastic spirit of the artist.

244 T'ANG Haywen

(Chinese-French, 1927 - 1991)

Rhythm (diptych) 1980 Ink and Acrylic on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese ILLUSTRATED: T'ANG Haywen Painting Album, Goethe Art Center, Taichung, 1998, color illustrated, p. 66

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

100

曾海文律韻（雙聯幅） 1980 水墨壓克力紙本 70 x 100 cm 簽名右下：T'ang 海文圖錄：《曾海文畫冊》，哥德藝術中心，台中， 1998，彩色圖版，頁66

245 T'ANG Haywen

曾海文

(Chinese-French, 1927 - 1991)

遠山（雙聯幅）

Landscape (diptych)

1980 水墨紙本 70 x 100 cm 簽名右下：T'ang 海文

1980 Ink on paper 70 x 100 cm Signed lower right T'ang in English, Haywen in Chinese PROVENANCE: Heritage Arts Auction, Taipei, Dec. 14, 1997, lot 40

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

來源：傳家藝術拍賣，台北，1997年12月4日，編號40

246 T'ANG Haywen

(Chinese-French, 1927 - 1991)

Untitled (diptych) 1980 Ink and acrylic on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese ILLUSTRATED: T'ANG Haywen Painting Album, Goethe Art Center, Taichung, 1998, color illustrated, p. 58

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

102

曾海文無題（雙聯幅） 1980 水墨壓克力紙本 70 x 100 cm 簽名右下：T'ang 海文圖錄：《曾海文畫冊》，哥德藝術中心，台中，1998，彩色圖版，頁58

247 T'ANG Haywen

(Chinese-French, 1927 - 1991)

Rhythm (diptych) 1980 Ink, and Acrylic on paper 70 x 100 cm Signed lower right T'ang in French and Haywen in Chinese Stamp on the reverse T'ang in French and Haywen in Chinese, inscribed ATELIER T'ANG HAIWEN in French ILLUSTRATED: T'ANG Haywen Painting Album, Goethe Art Center, Taichung, 1998, color illustrated, p. 30

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

曾海文律韻（雙聯幅） 1980 水墨壓克力紙本 70 x 100 cm 簽名右下：T'ang 海文畫背蓋章：T'ang 海文 ATELIER T'ANG HAIWEN 圖錄：《曾海文畫冊》，哥德藝術中心，台中，1998，彩色圖版，頁30

248 T'ANG Haywen

曾海文

(Chinese-French, 1927 - 1991)

構成（雙聯幅）

Composition (diptych)

1970 水墨紙本 70 x 100 cm 畫背蓋章：T'ang 海文 ATELIER T'ANG HAIWEN

1970 Ink on paper 70 x 100 cm Stamped on the reverse T'ang in French and Haywen in Chinese, inscribed ATELIER T'ANG HAIWEN in French ILLUSTRATED: T'ANG Haywen Painting Album, Goethe Art Center, Taichung, 1998, color illustrated, p. 47

NT$ 420,000-650,000 HK$ 104,000-160,000 US$ 13,400-20,700

104

圖錄：《曾海文畫冊》，哥德藝術中心，台中，1998，彩色圖版，頁47

249 T'ANG Haywen

(Chinese-French, 1927 - 1991)

Generating (diptych) 1970 Ink on paper 70 x 100 cm Stamped on the reverse T'ang in French and Haywen in Chinese, inscribed ATELIER T'ANG HAIWEN in French ILLUSTRATED: T'ANG Haywen Painting Album, Goethe Art Center, Taichung, 1998, color illustrated, p. 31

NT$ 420,000-650,000 HK$ 104,000-160,000 US$ 13,400-20,700

曾海文滋生（雙聯幅） 1970 水墨紙本 70 x 100 cm 畫背蓋章：T'ang 海文 ATELIER T'ANG HAIWEN 圖錄：《曾海文畫冊》，哥德藝術中心，台中，1998，彩色圖版，頁31

250 T'ANG Haywen

曾海文

(Chinese-French, 1927 - 1991)

誕生（雙聯幅）

Birth (diptych)

1970 水墨紙本 70 x 100 cm 畫背蓋章：T'ang 海文 ATELIER T'ANG HAIWEN

NT$ 420,000-650,000 HK$ 104,000-160,000 US$ 13,400-20,700

106

圖錄：《曾海文畫冊》，哥德藝術中心，台中，1998，彩色圖版，頁29

251 T'ANG Haywen

(Chinese-French, 1927 - 1991)

Red and Black (diptych) 1970 Ink and Acrylic on paper 70 x 100 cm ILLUSTRATED： T'ANG Haywen Painting Album, Goethe Art Center, Taichung, 1998, color illustrated, p. 27

NT$ 420,000-650,000 HK$ 104,000-160,000 US$ 13,400-20,700

曾海文紅與黑（雙聯幅） 1970 水墨壓克力紙本 70 x 100 cm 圖錄：《曾海文畫冊》，哥德藝術中心，台中，1998，彩色圖版，頁27

252 T'ANG Haywen

(Chinese-French, 1927 - 1991)

The Rhythm of Spring c.1975-1980 Ink and color on paper 29 x 42 cm Signed lower right T'ang in French and Haywen in Chinese

NT$ 200,000-400,000 HK$ 49,000-99,000 US$ 6,400-12,700

曾海文春天的律動約1975-1980 彩墨紙本 29 x 42 cm 簽名右下：T'ang 海文

108

253 SANYU

(Chinese-French, 1901 - 1966)

Stretching Nude c.1929 Charcoal, Ink on paper 46.5 x 27 cm PROVENANCE: A private collector aeguined from Jia Art Gallery, in 1997, Taipei Private Collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series: Sanyu, Artist Publishing Co, Taipei, 1995, color illustrated, plate 43, p. 99 Rita Wong, Sanyu Catalogue Raisonné Drawings and Watercolor, The Li-Ching Culture and Education Foundation, Taipei, November 2014, color illustrated, included in the CD, no. D1247, p. 71

NT$ 320,000-550,000 HK$ 79,000-136,000 US$ 10,200-17,500

常玉裸約1929 炭筆水墨紙本 46.5 x 27 cm 來源：前藏家於1997年購自家畫廊亞洲私人收藏圖錄：陳炎鋒，《華裔美術選集：常玉》，藝術家出版社台北， 1995，彩色圖版，第43圖，頁99 衣淑凡，《常玉素描與水彩全集》，財團法人立青文教基金會，台北，2014年11月出版，彩色圖版，收錄光碟，編號 D1247，頁71

254 SANYU

(Chinese-French, 1901 - 1966)

Nude Charcoal and ink on paper 38 x 27.5 cm Signed lower right Yu in Chinese, SANYU in French PROVENANCE: Unique Art Auction House Acquired from the above by the present owner

NT$ 200,000-400,000 HK$ 49,000-99,000 US$ 6,400-12,700

110

常玉裸女炭筆水墨紙本 38 x 27.5 cm 簽名右下：玉 SANYU 來源：甄藏拍賣會現有收藏者購自上述來源

255 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Lady Charcoal on paper 54 x 38 cm With two seals of the artist

NT$ 320,000-420,000 HK$ 79,000-104,000 US$ 10,200-13,400

席德進女子炭筆紙本 54 x 38 cm 鈐印右上：席氏書畫鈐印左下：席德進印

256 RAN In-ting

藍蔭鼎

(Taiwanese, 1903 - 1979)

暮色歸農

On The Way Home

水彩紙本 23 x 26 cm 簽名右下：暮色歸農蔭鼎 RAN IN-TING 鈐印右下：鼎

Watercolor on paper 23 x 26 cm Signed lower right in-ting and title On the Way Home both in Chinese, RAN IN-TING in English With one seal of the artist PROVENANCE: Christie's Auction, Taipei, 12 April. 1998, lot 25 Acquired from the above by the present owner

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

112

來源：佳士德拍賣會，台北，1998年4月12日，編號25 現有收藏者購自上述來源

257 RAN In-ting

(Taiwanese, 1903 - 1979)

A Gazebo Watercolor on paper 36.5 x 52 cm Signed lower left In-ting in Chinese, RAN IN-TING in English, inscribed TAIWAN With one seal of the artist

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

藍蔭鼎八角亭水彩紙本 36.5 x 52 cm 簽名左下：蔭鼎 RAN IN-TING TAIWAN 鈐印左下：鼎

258 George CHANN

(Chinese-American, 1913 - 1995)

The Breeze Brings the Spring Ink and color on paper 25 x 95 cm Signed lower left GEO CHANN in English With one seal of the artist PROVENANCE: Private collection, Asia Acquired directly from the artist’s family

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

陳蔭羆春風又綠江南岸彩墨紙本 25 x 95 cm 簽名左下：GEO CHANN 鈐印左下：G 來源：亞洲私人收藏現有收藏者購自藝術家家屬

114

259 SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

悠閒時光

Cozy Time

1973 水彩紙本 58 x 77 cm 簽名左側：席德進 1973

1973 Watercolor on paper 58 x 77 cm Signed center left Shiy De-jinn in Chinese and dated 1973 EXHIBITED: Shiy De-jinn, Pai Chia Gallery, Taipei, 1986

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,000

展覽：「席德進」，百家畫廊，台北，1986

260 SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

淡水河邊

Riverside of Tamshui

1980 水彩紙本 46 x 35 cm 簽名右下：席德進鈐印右下：席

1980 Watercolor on paper 46 x 35 cm Signed lower right Shiy De-jinn in Chinese With one seal of the artist ILLUSTRATED: The Cosmorama Pictorial, no. 291, 1980, color illustrated, cover

圖錄：《中外畫報》，第291期，1980，彩色圖版，封面

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,000

席德進在色彩運用上多是以沉著的色調做基底，並且他對色料的性質及延展性已達到可將水墨畫的優勢和水彩畫同質性的部分拿來交迭應用，而達到更加完滿之程度。其作品之中，主色調常為墨綠、墨藍，而在他玩味過後的顏色總帶有一種清爽的鄉愁。而席德進創作生涯當中，水墨畫部份曾經沉潛了一段日子，到了民國六十年代之後，他的水墨作品才陸續地出現，但停滯的期間並不是一種浪費，如之前提到的，他已探索過及消化了所有色彩運用的竅門，又再和水彩畫的那種「溼中溼」的觸感相結合。對國畫演繹上有非常現代性的貢獻。席德進相當重視「不自我重覆」，這在東方的畫壇上是相當西方的理念。事實上，曾經於歐洲生活四年的經歷，對其藝術生涯的繼續方式與方向是一大關鍵，跟西方藝術精神與代思想的直接接觸，有趣的是，這樣的經驗反而將他帶領到台灣鄉土性主題的創作；而旅歐期間創作的重心即是線條上的精鍊及拿捏，可從於那期間所創作的素描驗證。而不自我重覆如他本人所說：「創新的意志從初學起就要培養，人家作過的，我不必作，不僅不重覆別人，也不重覆自己，生命若是重覆，就是浪費生命...寧可做一個革命性的畫家而失敗，也不要做一個名利雙收的尾巴......，人是富創造力的個體，所以他本身要比任何學派和制度都重要，強調個人的重要性，對於一向重視群體的中國人而言，的確是相當具有突破性的想法，席德進個人的強烈個性，為其藝術創作譜出革命性的色彩。為了追求觀念的突破，藝術家以其自身做實驗，不斷追求創新，這才是真正的藝術精神。畫我們最熟悉的、最熱愛的，畫別人不敢畫的，我們不是畫一幅美好的畫就好了，我們要畫一種開路畫。」席德進從不捨近求遠而實在的態度令人動容，他的許多畫作紀錄了台灣土地的美好實在，或是說「曾經」過的美好實在，不論是東方還是西洋，時間告訴了我們一件事，「最好的藝術總是描述我們最熟悉的事物」，席德進於此作了最佳示範。 Shiy De-jinn mainly employs the use ofdarker tones as base for his paintings.Moreover, his knowledge of the nature ofcolors and its extension has reached thepeak of allowing application interface bycombining the advantages of ink paintingsand homogene i ty tha t wa t e r colorpaints hold thus reaching an even moresatisfactory standard. Among these works,the main color schemes are usually eitherdark grey or dark blue and through hisrumination of colors, it never fails to bringforth a clear breeze of homesickness. InShiy De-jinn's composition career, watercolor painting works once faded behindthe scene for a period of time and it wasnot until the 60's that his water colorworks gradually appeared. This periodof stagnation was not in the least forma wastage but as mentioned previously,it was a period where he explored anddigested the tricks of employing colorsand once again reconciling with thetouch of "wetness amongst wetness"found in water color painting. This isindeed a very huge contribution to thetransition of Chinese painting towards thecontemporary. Shiy De-jinn is particularly adamantabout not sel f repeat ing and in theOriental arts scene, this is an extremelyWesternized idea. To be honest, the fouryears of living experience in Europe hasindeed been playing a great factor in thecontinuity of lifestyle and direction in theartist's career and this is could be linkeddirectly to the Western artistic spirit andmodernism. Interestingly, this experiencehowever led him to use native Taiwan asa theme for his compositions; whereasthe period of stay in Europe saw himplacing his focus on the skill and masteryof lines of which is evidently so in theperiod of composing sketches. And asthe man who is unwilling to self repeatsays, "Creativity is a determination whichshould be cultivated from young. Whatothers have done, I shall not do. Not onlyshall I not repeat after others, I shall alsonot repeat myself. Should life be full ofrepetition, then it will be a wastage of life...I will rather be a revolutionary artistwho fails then be one who wags its tailafter reputation....... Man is a creaturefull of creativity, thus he should be moreimportant than any system or sects ofthoughts and stress the importance ofindividuality. To the Chinese who focusesa lot on communal lifestyle, this is indeedan unconventional and groundbreakingthought. Shiy De-jinn's determinedcharacter has added much revolutionarycolors to art composition. In a bid to seeka breakthrough in perspectives, the artistwillingly uses himself as an experiment,constantly seeking creativity and this isindeed the true artistic spirit. To drawwhat we are familiar and passionateabout and draw what others do not dareto, this is done, so that we do not seek tojust draw a painting beautifully but at thesame time, we will draw a painting whichis one with an open road ahead." Being adown to earth man with a realistic attitudetowards life Shiy De-jinn is indeed onewho leaves others in awe. His manypieces of works records the memorabletimes in Taiwan or we could also saythat it recorded its "previously" beautifultimes. Be it Oriental or Western, time hastold us one thing, and it is "the best artshould always depict of the things we arefamiliar with". Shiy De-jinn is thus thebest example of this.

116

261 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 EXHIBITED: Sanyu, Dimensions Art Center, Taipei, April 1992 ILLUSTRATED: Important Works by Sanyu, Paris Period, Dimensions Art Center, Taipei, 1992, color illustrated, p. 23 Rita Wong, Catalogue Raisonné Drawings And Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, included in the CD, no. D1280, p. 73 This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

NT$ 850,000-1,000,000 HK$ 210,000-247,000 US$ 27,000-31,800

常玉雙裸女炭筆水墨紙本 47 x 29.5 cm 簽名左方：玉 SANYU 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 衣淑凡，《常玉素描與水彩全集》，財團法人立青文教基金會，台北，2014，彩色圖版，收錄光碟，編號D1280，頁73 附帝門藝術中心開立之原作保證書

118

262 SANYU

(Chinese-French, 1901 - 1966)

Standing Nude 1930s Ink and watercolor on paper 44 x 19 cm Signed lower left Yu in Chinese and SANYU in French ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonné Drawings and Watercolor, The LiChing Culture and Education Foundation, Taipei, November 2014, color illustrated, no. W22, p. 157

NT$ 1,600,000-2,200,000 HK$ 395,000-543,000 US$ 50,900-70,000

常玉立姿裸女 1930年代水墨水彩紙本 44 x 19 cm 簽名左下：玉 SANYU 圖錄：衣淑凡，《常玉素描與水彩全集》，財團法人立青文教基金會，台北， 2014年11月出版，彩色圖版，圖版編號W22，頁157

120

263 SANYU

(Chinese-French, 1901 - 1966)

Seated Nude 1930s Ink and watercolor on paper 36.5 x 28.5 cm Signed lower rignt Yu in Chinese and SANYU in French ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonné Drawings and Watercolor, The Li-Ching Culture and Education Foundation, Taipei, November 2014, color illustrated, no. W20, p. 156

NT$ 1,600,000-2,200,000 HK$ 395,000-543,000 US$ 50,900-70,000

常玉坐姿裸女 1930年代水墨水彩紙本 36.5 x 28.5 cm 簽名右下：玉 SANYU 圖錄：衣淑凡，《常玉素描與水彩全集》，財團法人立青文教基金會，台北，2014年11月出版，彩色圖版，圖版編號W20，頁156

122

124

264 Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

美駒圖

Horse

1980年代彩墨壓克力紙本 98 x 180 cm 鈐印右上：採花大盜

1980s Ink and color, acrylic on paper 98 x 180 cm With one seal of the artist

附龍門雅集開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Lungmen Art Project, Shanghai.

NT$ 1,300,000-2,200,000 HK$ 321,000-543,000 US$ 41,300-70,000 丁雄泉最大的個人特色，即以光輝明亮、活潑新鮮的色彩描述大自然中的美麗動物、花及女人。他誘人的、魔幻的世界是感官享受之一，吸引觀眾分享他對自然界的熱情。丁雄泉在巴黎與眼鏡蛇畫派的阿勒辛斯基、阿貝爾結為莫逆之後，畫風也深受他們的影響。沒多久他發現，紐約已取代巴黎成為重量級畫家的集中地，於是再度收拾行囊，於1958年在抽象表現主義最高峰時抵達紐約，很快地又與法蘭西斯、維塞爾曼、歐登伯格等結交，互動頻繁並曾一同作展，更自此與法蘭西斯成為終生好友。丁雄泉作品不僅揉合了中國傳統設色水墨及西方的流行文化，如普普藝術和表現主義，還以革新的手法創作，形成獨樹一幟的藝術風格。儘管畫面所綻放的絢爛色彩明顯地源自西方，但線條構圖及表現精神卻是植根於東方傳統書法技巧。畫家的作品現藏於世界各地著名的博物館，如現代藝術博物館、芝加哥藝術學院及丹麥的錫爾克堡博物館。丁雄泉的作品用色絢麗奪目，筆觸豪邁奔放，體現出一種單純的感官愉悅。 The most outstanding characteristic of Ting's art is his depiction of beautiful animals, flowers, and belles in nature using bright, lively, and vivid colors. His enchanting and magic world is a feast for the senses and invites the audience to share his passion and enthusiasm for nature. In Paris, Walasse Ting befriended Pierre Alechinsky and Karel Appel of the CoBrA art group, and his painting style was deeply influenced by them. Soon he found that New York had replaced Paris as the gathering place for important painters. So he packed up and, at the peak moment of abstract expressionism in 1959, returned to New York, where he soon befriended Sam Francis, Tom Wesselmann, and Claes Oldenburg. They met frequently and held exhibitions together. Walasse Ting and Sam Francis became life-long friends. The distinctiveness of Walasse Ting’s work lies in his ability to synthesize and transform the Traditional Chinese polychrome ink traditions and Western popular culture such as Pop art and Expressionism. Although the exuberantly fluorescent bright colors are decidedly Western in nature, while the composition of lines and impressions retained essence derived from calligraphic techniques rooted in Eastern traditions. Similar examples of Ting’s works are presently residing in various renounce Museums worldwide, such as Moma, the Chicago Art Institute and the Sikeborg Museum in Denmark among a few. Walasse Ting’s work are truly magnificent pieces of art infused with an appreciation for the sensory pleasures of the purity found in nature.

265 LIU Kuo-sung (Taiwanese, b. 1932)

Tibet Series – Floating Garin 2000 Mixed media on paper 75 x 56 cm Signed center right Liu Kuo-sung in Chinese and dated 2000 Titled on the reverse Tibet Series – Floating Garin in Chinese, inscribed 75 x 56 cm and dated 2000 With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Chan Liu Art Museum, Taoyuan.

NT$ 1,300,000-2,400,000 HK$ 321,000-593,000 US$ 41,300-76,300

劉國松西藏組曲—浮動的加林山 2000 綜合媒材紙本 75 x 56 cm 簽名右方：劉國松二◯◯◯ 簽名背板：西藏組曲—浮動的加林山 2000年 75 x 56 cm 鈐印右方：劉國松附長流藝術開立之原作保證書

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266 Walasse TING

(Chinese-American, 1929 - 2010)

Dancer 1990s Ink and color, acrylic on paper 180 x 96.5 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Lungmen Art Project, Shanghai.

丁雄泉舞者 1990年代彩墨壓克力紙本 180 x 96.5 cm 鈐印左下：採花大盜附龍門雅集開立之原作保證書

NT$ 1,600,000-2,400,000 HK$ 395,000-593,000 US$ 50,900-76,300 丁雄泉原為抽象畫家，1970年代起專注於人體的題材，當時他生活在紐約十多年，結識美國普普藝術之父安迪．沃荷、湯姆．衛塞爾曼以及羅伊．李奇登斯坦等好友，丁雄泉和他們都創造了真實反映自我人生的標誌性主題：一為女體，另一則為花卉。對丁雄泉而言，花與女人是無法分割的，終其一生，都在探索女性媚惑之美，他擅長描寫女性柔和、吸引人的一面，畫家筆下的女人，要有花，要有鳥，要有貓，要有鮮活美麗的事物。他曾說過：「無論何時當我見到一位動人的女人或是一朵漂亮的花，總能啟發我難以捉摸的感性。看見她們使我充滿能量與活力，帶給我有不曾有過的感覺，讓我彷彿有重生的感覺。我用許多不同調性的色彩，讓能量與愛意在畫布上爆發。」丁雄泉旅居巴黎期間，鍾情於亨利．馬諦斯的作品並受其影響，在畫裡亦追求馬諦斯畫作中同樣具有的純粹感與飽滿度。 Walasse Ting started out as an abstract painter and later began focusing on the human form in the 1970s. After living in New York City for more than a decade, he became well-acquainted with many celebrated American pop artists, such as Andy Warhol, Tom Wesselmann, and Roy Lichtenstein. Ting and these other artists often created works centering on a topic that reflected truthfully their lives: the female body and flowers. To Ting, flowers and women are inseparable. He spent his whole life exploring the seductive beauty of women, and he was an expert at depicting their inherent softness and attractiveness. On the artist’s canvas, women are invariably accompanied by flowers, birds, cats—any objects of vivid beauty. Ting once said, “Whenever I see an attractive woman or a beautiful flower, they always trigger my elusive sensitivity. Appreciating them makes me feel alive and active. They give me feelings I never had before, as if I were reborn out of those beautiful things. I use colors of various tones to ignite energy and love on the canvas.” While residing in Paris, Ting was fascinated and influenced by Henri Matisse’s works. He pursued the same purity and fullness as Matisse did in his paintings.

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267 Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

春天陽光

Spring Sunshine

1985 壓克力畫布 60 x 75.5 cm 簽名畫背：Spring Sunshine ting 85

1985 Acrylic on canvas 60 x 75.5 cm Signed on the reverse ting and titled Spring sunshin in English and dated '85

NT$ 2,800,000-3,800,000 HK$ 691,000-938,000 US$ 89,100-120,900

在二戰結束之後，歐洲的頹敗尚未復甦，而此時藝術運動蓬勃的紐約，便逐漸成了世界各地藝術家趨之若鶩的朝聖地。在當時美國抽象表現主義當道的藝術圈裡，不乏許多旅外的華人藝術家，丁雄泉便是其中一位。1958年負笈紐約之後，丁雄泉的作品開始出現重大明顯的轉變，從受到眼鏡蛇畫派影響的抽象繪畫，轉變為以滴灑顏料，使畫面充滿各種炫麗色彩的抽象表現技法，從此註記了丁氏創作中不可缺少的重要元素之一。 70年代起，丁氏將創作中的靈感來源、作品題材圍繞在他生命中最重要的主題─「女人」的特色儼然成形，而這股創能量在80年代達到高峰，亦成為日後藝術家的標誌，以致傳世。這幅《春天陽光》作品裡，僅見兩位女子胭脂淡抹的雙眸曖昧，手持摺扇半掩遮面，雖然不見兩位佳麗嬌嬈面貌，但從丁氏畫中瑰麗的用色，以及繽紛恣意的色彩氛圍，不難猜出女子佼好外容，宛若春天萬種風情，千嬌百態的兩朵紅花，嬌羞地綻放卻充滿自信。丁雄泉一生風流不羈，天性浪漫且多情瀟灑；他以「採花大盜」自居，留下眾多關於「女人」的多篇創作，用愛情來擁抱他見過的人生風景，時而激情如火，時而柔情似水，而他將這份熱情，轉化成璀璨，渲染力強烈的作品，同時讓我們看到他對女性的迷戀以及對生命的執著。 Owing to the gradual recovery of Europe after the destruction of World War Two, the art movement centering on New York became a sanctuary where artists from all over the world eagerly flocked. Many overseas Chinese artists could be seen in the art circle where abstract expressionism prevailed at that time in America and Walasse Ting was one of them. After moving to New York in 1958, Ting had a significant shift in his art creations. He changed from abstract painting influenced by the avant-garde group CoBrA to abstract expressive techniques which filled his canvas with various bright colors through dripping and splashing of paints. From then on, this uniquely colorful style became one of the most discernible and indispensable elements in Ting’s later creations. Beginning in the 1970s, women – arguably Ting’s greatest interest in life – became a frequent source of inspiration and a persistent theme in his work. During the 1970s, and reaching its peak in the 1980s, this unique artistic influence became the artist’s personal signature. In this particular piece, Spring Sunshine, two women wearing light makeup – each partially hidden behind folding fans in their hands – gaze dreamily ahead with expressive eyes. Although their pretty faces are not fully revealed, Ting’s rich color palette and bold splashes clearly highlight the immense beauty of the two women. Like two charming and alluring red flowers in full bloom on a warm spring afternoon, these two beauties are shy but brimming with confidence. Vigorous and unrestrained and yet romantic and affectionate, Ting called himself the “butterfly gangster” and left behind a trail of numerous creations centered on women. Some are depicted as hot and fiery; other times, his subjects are as cool and reserved as water in a still lake. In either case, Ting consistently reveals his limitless passion by embracing each scene from his journey through life with genuine love and affection. Along the way, he transformed his passion into poignant, strongly expressive works of art that provide a glimpse into his lifelong love – some might even say obsession – with women.

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268 XU Jiang

許江

(Chinese, b. 1955)

夏雨（四聯幅）

Summer Rain (quadriptych)

1995 油彩畫布 100 x 160 cm 簽名右下：XJ 95.6

1995 Oil on canvas 100 x 160 cm Signed lower right XJ in English and dated 95.6

NT$ 3,800,000-5,500,000 HK$ 938,000-1,358,000 US$ 120,900-174,900 杭州西子湖畔山明水秀、地靈人傑，正是在這裡，蔡元培於1928年創辦了中國近代史上第一所藝術專科學校：國立藝術院。在首任校長林風眠帶領之下，開放而廣納中西文化的校風孕育出趙無極、朱德群、吳冠中等等多位重要藝術家，成就了華人藝術史上輝煌的篇章。幾經改制與更名，國立藝術院成為現在的中國美術學院，而許江，既受教於此（當時為折江美術學院），更接下了自林風眠傳承而下的院長之職，他的所思所行，與這所學院的歷史文脈和精神傳統交織難分，而他的藝術創作，也正是在國族歷史的文化厚度之中，綻放了屬於這個時代的廣闊視野。不同於他的前輩所面對的中西文化衝擊與融合，許江經歷過中國的文革與改革開放，留學德國並見證了中國的經濟崛起，他在這個全球化時代中，關注的是在地文化、本土記憶的回溯與再創造。1995年《夏雨》即是藝術家凝望母土大地的深情之作，寬闊的橫幅構圖中，他以活潑而富含意趣的筆觸揮灑出夏日湛藍天空下，因為雨勢擾動而為大氣所帶來的騷動奔騰。許江以抽象繪畫的形式表現這壯闊的風景，畫面中層次豐富的藍與白互相衝撞、彼此迴旋，如海濤般捲起萬千豪氣，既展現了天地之間生氣勃勃的律動能量，並且傳達了藝術家胸懷家園的理想主義，以及與歷史同行的大器激情。 Xihu (West Lake) in Hangzhou is renowned for its beautiful scenery (including the lake itself and the surrounding hills), and for the many famous people who are associated with the area. It was here, in 1928, that Cai Yuanpei founded the National Academy of Art, the first modern art college in China. Under the leadership of its first President, Lin Fengmian, the National Academy of Art adopted an approach that encompassed both Chinese and Western culture, and produced many important artists, such as Zao Wou-ki, Chu Teh-chun and Wu Guanzhong, writing a brilliant page in the history of Chinese art. After a number of reorganizations and renamings, the Academy evolved into today’s China Academy of Art. Xu Jiang studied here (when it was still known as the Zhejiang Academy of Fine Arts), and later followed in Lin Fengmian’s footsteps by taking up the position of President at the Academy. Xu’s artistic career, and his approach to art, is closely linked to the history and spiritual traditions of the Academy, and it was the heady cultural atmosphere at the Academy that cultivated Xu’s wide-ranging, highly contemporary artistic vision. Unlike the earlier generation of Academy alumni, who were faced with the challenges posed by the clash between, and fusion of, Chinese and Western cultures, Xu Jiang experienced the Cultural Revolution and the subject beginnings of reform, studied overseas in Germany, and witnessed the rapid growth of the Chinese economy. In an era of globalization, Xu Jiang has focused on local culture and on the recall and recreation of native memories. “Summer Rain,” painted in 1995, is a work that embodies the depth of the artist’s emotion when gazing on his own native soil. On a wide canvas, Xu has used lively, expressive brushstrokes to portray the upheaval caused by sudden rain under an azure sky on a summer day. Xu employs an abstract style to depict this imposing landscape, with the richly layered blues and whites “colliding” against one another and curling round like great waves. The painting simultaneously portrays the rhythmic power of the elements in the universe, and brings across the artist’s idealism regarding his beloved homeland, and the sense of being caught up in the currents of history.

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269 ZHOU Chunya

周春芽

(Chinese, b. 1955)

紅色山石系列—人體

Red Mountain Rock Series – Nude

1992 油彩畫布 100 x 80 cm 簽名右下：1992 周春芽

1992 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1992

NT$ 5,500,000-7,500,000 HK$ 1,358,000-1,852,000 US$ 174,900-238,500

山石一直是極受古今藝術家青睞的課題，周春芽從1990年開始創作了「山石」系列，有別於于「桃花」和「綠狗」、「黑根」等系列，藝術家在「山石」系列中引入了新的繪畫技巧和材料，該系列石頭的表面都覆蓋著一層奇怪的增生物質，類似浮雕一般的筆觸給平面的作品增加了立體的延展。加之藝術家充滿情緒的描繪，使得畫面中原本安靜無聲的石頭，充滿了各式各樣複雜的情愫。《紅色山石系列—人體》是周春芽1992年的創作，有別於傳統藝術家對山石溫和，內斂的表現，周使用了張狂而冒險的手法去塑造山石，而石頭中又揉入了抽象的暗紅色人體，使原本典雅的山石透出暴力甚至色情的意味。充分的表現了藝術家對傳統的挑戰，和由於內心對於自然原始的探尋而產生的複雜情結。 Stones have been a popular subject for artists throughout the centuries. Zhou Chunya began his "Mountain Stone" series in 1990. Different from his "Peach Blossom," "Green Dog," and "Hei Gen" (literally "black root") series, Chunya infused creative painting techniques and various types of paints in the Mountain Stone series. In this set of paintings, the rocks are fully covered by a unique, vegetation substance. Each delicate brushstroke brings a special embossed quality to the painting, attaching a tridimensional property to the overall piece. The curves of the delicate brushstrokes bring a surreal emotion to the canvas, bringing to life the seemingly silent and still rocks, transforming inanimate objects to ones filled with sentiments. "Red Mountain Rock Series - Nude" was painted by the Zhou Chunya in 1992. Instead of portraying rocks as quiet, lifeless objects as they are traditionally displayed, the artist uses an adventurous method for their depiction by painting them with layers of deep reds. In this piece, the traditionally elegant and graceful mountain stone exudes signs of violence, even sensuality. This is a reflection of the artist's challenge to tradition, as well as the complexities of his search for the origin of nature from within him.

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270 YAN Pei Ming (Chinese, b. 1960)

Victime Juliette C 2001 Oil on canvas 200 x 180 cm Signed on the reverse YAN Pei Ming in English and Chinese, titled "Victime Juliette C" in English, dated October 2001 ILLUSTRATED: Yan Pei-Ming: The Way of the Dragon, Les Presses Du Reel, Dijon, 2003, color illustrated, p. 168

NT$ 8,500,000-13,000,000 HK$ 2,099,000-3,210,000 US$ 270,400-413,500

嚴培明茱麗葉 C 2001 油彩畫布 200 x 180 cm 簽名畫背："Victime Juliette C" October 2001 YAN Pei Ming 嚴培明圖錄：《嚴培明：猛龍過江》，真相出版社，第戎，2003，彩色圖版，頁168

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稚嫩的臉龐，深鎖的眉頭壓著圓睜的雙眼，凝滯的表情背後，是防衛與惶恐，緊閉的雙唇裡，似乎隱藏著無法訴說、超過她幼小肩膀所能承受的傷痛，而散佈於畫面的黑色斑痕，像是揮之不去的雜訊，亦或是無法閃避的傷痕，訴說著人世間的嚴酷。嚴培明僅以黑白色調完成的作品《茱麗葉 C》，透過強而有力的藝術語彙，讓人們面對並思索關於生存、關於傷害、關於人類與歷史之種種善惡悲歡。出生於中國上海，嚴培明在1980年來到法國巴黎，1982年起定居第戎，在這座遠離喧囂的老城裡潛心創作。1985年前後，嚴培明捨棄了彩色，僅以黑白或紅白色調作畫，爾後以此脈絡發展出的大型毛澤東肖像揚名，從此，黑白或紅白色調的巨幅肖象油畫就成為藝術家個人獨特的標誌。他貫常將顏料配好成桶，以寬大的毛刷蘸足油彩，藉由梯子上下移動，使勁地在大尺幅的畫布上抹開粗獷的筆觸，經過一次次從遠處審視琢磨、再疊上一層一層的油彩，一件撼動人心的肖像畫，於焉誕生。充滿速度感的筆觸，粗獷中帶著細膩，僅以單色調建構出的形體，卻具有如此真確的量感與空間深度。嚴培明的畫作總是直接衝擊人們的感官，進而挑起內心的情緒，正因為色彩上的單純，視覺力量得以凝聚。精簡、亦或捨棄多樣色彩的表現，對於繪畫創作無疑是一大挑戰，而嚴培明已然駕馭無礙，並且使之成為個人特色，他說：「我一向對於使用黑白感到非常自在。對於我而言，這已經足以表達我想訴說的，而且，也是一種非常直接的作畫方式。」。作品曾於威尼斯雙年展、伊斯坦堡雙年展中展出，2009年，嚴培明在羅浮宮推出個展The Funeral of Mona Lisa，成為第一位在羅浮宮舉辦個展的在世當代藝術家。作為藝術史上主要的藝術形式之一，肖像畫在東西方文化皆有綿長的歷史與豐富的意涵。其描繪對像從宗教人物、先賢聖人、帝王貴族、家族成員、社經名流、到平民百姓，不僅呈現主人翁的外貌，更揭示其身份地位，甚而內在的人格特質，同時反應了時代的歷史脈絡與社會精神。肖像畫此一古老的藝術形式在十九世紀攝影術發明之後受到極大的挑戰，然而嚴培明以跨越國界與種族的人性觀照，將肖像繪畫推展至嶄新的層次，閃耀於形式紛呈的當代藝壇。他特別著迷於個人與所處歷史時空的關係，相對於下筆的快速，題材的選擇與構思往往佔聚更多的時間，他畫毛澤東、李小龍、法國總統席哈克，畫自己的父親，也畫芸芸眾生，特別是那些承受苦難的人們，例如《茱麗葉 C》。嚴培明的大型油畫如同攝影與記憶的拼貼，這些影響著人類歷史或是命運與大時代交纏的人物，在他的筆下既展現了個人的特質，也反應了時代的印記。相較於嚴培明曾經畫過的名人肖像，2001作品《茱麗葉 C》所描繪的稚齡女孩並不屬於掌握影響力的一群，而是脆弱且遭受傷害的一方。然而，在肅穆的黑白對比之中，藝術家以充滿力量，同時細膩且帶有悲劇性的筆觸刻畫出她的面容，在紀念碑式的大尺幅，展現這渺小靈魂的苦痛，以及她的尊嚴、勇氣與希望。

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With eyebrows furrowed, eyes forcefully opened round and big, behind the glassy look on the young face are self-defense and fear. Hidden in her tightly-shut lips is a pain she could never tell others and bear with her tiny shoulders. The black spots scattered on the canvas seem like inconvenient noise which she could never get rid of, or scars which she could never avoid, a telling sign of the coldness and brutality of the world. “Victime Juliette C”, a black-and-white art work made by Yan Pei Ming, inspires us to contemplate all the considerations regarding survival, hurt, and the relation between human and history through his unique and powerful artistic language.

Schultz, YAN PEI-MING with Charles Schultz, June 4th, 2012, The Brooklyn Rail) . His works have been exhibited in La Biennale di Venezia and International Istanbul Biennial. In 2009, Yan became the first living contemporary artist to have his solo exhibition “The Funeral of Mona Lisa” shown at the Louvre.

As one of the most common forms of art in history, portraits have a long history and rich meaning in Eastern and Western cultures. From religious figures, saints, wise men, royal members, family members, celebrities, to common people, portraits not only display their subjects’ appearances, but also their social status, their personality traits, and even their historical context and the Born in Shanghai, Yan Pei Ming moved to Paris, France in 1980 contemporary social atmosphere. Portraits, as an old art form, and then relocated to Dijon, France in 1982, a get-away city where were severely challenged when photography was invented in the he has been devoted to art creation ever since. Around 1985, Yan 19th century. However, Yan promotes portraits to a new level in restricted his compositions to the formed-based contemporary black-and-white or red-and-white art circle with his cross-national schemes. Based on the extremely and cross-racial insight to the limited palette of colors, he human nature. Amazed at the further became renowned for relation between a person and his epic-sized, monochromatic his or her historical context, he portraits of Mao Zedong. Since spent more time on the choice then, black-and-white or red-andand composition of subject white huge portraits has been matters and then on the fast his unique artistic signature. strokes on canvas. Yan has not He often uses large brushes to only painted portraits of Mao dip the paints he prepares in Zedong, Bruce Lee, former boxes to create his large, sparing President of France Jacques strokes on the large-scale canvas René Chirac, his father, but also strenuously by moving up and common people, especially the d o w n t h e l a d d e r. Wi t h l a y e r s suffering ones. “Victime Juliette 嚴培明的作品展出於2010上海世博法國館 Yan Pei Ming's works at French Pavilion, 2010 Shanghai World Expo and layers of oil paints carefully C” is an especially classic and revised after several observations representative piece. Yan’s largein the distance, a majestic and breathtaking portrait is then created. scale oil paintings, like patches of photographs and memory, display personal traits of famous figure who influence the human Rough but delicate, the fast strokes evoke the sense of exact history and fact and their historical context. volume and distance merely from the figures formed in the monochromatic scheme. Yan’s paintings always directly impact his Unlike Yan’s portraits of celebrities, the young girl depicted in spectators’ senses and further arouse their inner emotions. It is by “Victime Juliette C” in 2001 is far from member of the authorities; simplifying his selection of hues that the artist can concentrate rather, she is a vulnerable member of the disadvantaged. However, the visual power. Despite the challenges associated with using a with the serene contract of black and white on the canvas, the limited palette, Yan steadily mastered the use of minimal color artist uses powerful but delicately tragic strokes to illustrate her and hue, a technique which quickly became one of his most face, displaying the suffering, self-esteem, courage, and hope of widely recognized traits. As Yan put it, “I’ve always been very the tiny soul in this Monument-like large-scale art creation. comfortable using black and white. For me it’s a very sufficient palette to express what I want to say. And for me it’s become a very direct way of painting, using black and white.” (Charles

271 ZENG Fanzhi (Chinese, b. 1964)

We Series: Mao Zedong 2002 Oil on canvas 100 x 100 cm Signed lower right ZENG Fanzhi in Chinese

NT$ 26,000,000-36,000,000 HK$ 6,420,000-8,889,000 US$ 827,000-1,145,000

曾梵志我們系列：毛澤東 2002 油彩畫布 100 x 100 cm 簽名右下：曾梵志

來自中國湖北武漢的當代藝術家曾梵志， 1991年以強烈表現主義風格的「協和醫院」聯作系列崛起於藝壇，1994年又以象徵性、隱喻性的「面具」等系列作品聞名國際，極具個人化的語言，成為他的標誌符號。而他在嫻熟掌握表現主義的技法之餘，卻也刻意抑制這項專長，僅僅著重於在對象手與臉的表達而已。而為求持續探索新的繪畫語言，他不時地加入更多抽象的概念。過去代表作的面具符號，2001年起逐漸從他的肖像畫中消失，隱藏著內在衝突、痛苦的臉孔，不再隱身於面具之後。透過畫筆與線條的自由律動，加入新的情感，轉型嘗試新形態的肖像畫，那是2002年他開始著手的「我們」系列，時間雖然短短一年，但它卻貫穿了曾梵志前後的創作階段。2003年在上海美術館以「我．我們」為名舉辦其盛大個人畫展。藝評家黃篤對「我們」系列之後的繪畫提出其看法，指出：「曾梵志的繪畫核心在於筆觸運動，它既否定了敘事性，又否定了繪畫語言，但在繪畫的節奏上有著自己的邏輯性。」他描述藝術家的創作方法，是先在畫面中完成清晰的形像，然後右手夾上兩枝油畫筆，同時產生運動：食指、中指與拇指之間的筆，掌管著習慣、邏輯的理性經驗；中指和無名指之間的筆，則恰好是自由的、非邏輯的偶然性效果，產生抽象和具象之間的角力。對於繪畫用筆的用心研究，在中國當代藝術家頗為罕有。曾梵志也認為，中國人擅長使用筷子，因此手的使用尤其靈活。他嘗試順筆畫畫，但看見的僅是筆，沒有特殊之處，但是反著畫時，卻出現驚奇的效果。他喜歡使用單色，層層的單一顏色攪在一起時，產生自動性的繪畫效果。經過了「我們」系列的螺旋式畫法，曾梵志近期轉而更重視用筆，創作出流動飛舞的書法性線條的「亂草系列」。「我們系列」可說扮演了曾梵志創作脈絡中極為關鍵的轉折階段。而這些以線條、運筆的繪畫方式，呼應了中國傳統書藝「用筆」的特點。顯示了藝術家力求在繪畫中創作發掘創新的力量及可能。一張張臉的局部，從一個清晰的形象開始，單色螺旋狀的筆觸在畫面中游移，形象逐漸地模糊隱沒，產生破壞性的感覺，臉孔被筆觸所分割，當筆觸越多時，形象越顯模糊，乍看時彷彿沾滿雨滴的毛玻璃外的形象，當觀者退後一定距離之後，形象卻又再度鮮明了起來。曾梵志戲稱之為像絞肉機絞過的皮膚一般，圓圈圈分割後的畫面，在視覺上造成一種不安定的感覺。他說到：「我是從一個有意思的最小的局部開始，把屬於我自己的東西慢慢擴大到整個畫面。轉圈也是一種符號，其實是很殘酷的一種破壞性感覺，把臉給分割了。」藝評家栗憲庭在一次與曾梵志的對話裡，讚譽這批「我們」系列作品有大師風範，有氣派。他認為之前的作品風格完整，但此系列氣派大。在抽象的過程中，把細小的東西被放大了。「我們」系列並非與曾梵志過去的藝術完全割裂，正如同畫家所感，這些肖像畫貫穿了過去和未來的創作。昔日「協和醫院」系列時的局部，如人物與靜物的衣褶、細部，已可見螺旋形的筆觸雛形。這種畫法是畫家多年的一種習慣，有個人最自然的感覺。而從「醫院」、「面具」等系列以來，帶有矯飾意味的粉紅色，是他偏愛的顏色。在 2002-2003年間的「我們系列」中，粉紅、紅色也是其中最特出的主調。「紅光亮」是文革時期的視覺趣味，符合時代政治精神的要求，美術評論家劉驍純認為，「紅光亮」既是一種政治意識，也是一種集體無意識。毛澤東的臉龐，對於經歷過紅色時期的中國人而言，無非都是一種共同的記憶。從具體的自我身分，到抽離出來的他者的凝視；從具有個性的臉龐，到沒有個性的臉龐，抽象化的毛澤東，正也是經歷文革後中國當代社會的集體面孔。於是，曾梵志說：「那是我，也是我們。」

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Contemporary Chinese artist Zeng Fanzhi, hailing from Wuhan in Hubei Province, first burst onto the art scene in 1991 with his extremely expressionist Hospital Series, which was followed in 1994 by the symbolicmetaphorical "Mask Series". These and a number of other works established Zeng as a painter of international standing, his highly individualized artistic language quickly becoming his trademark. In addition to being very much at home in expressionist styles, Zeng has also produced a number of works in which he controls his more exuberant creative urges to focus on the hands or faces of his subject matter. In constant search of new ways of articulation, Zeng began to add abstract elements to his art, and since 2001 the mask symbolism that long dominated his portrait output disappeared from his work: now the previously hidden faces with their expressions of conflict and pain are suddenly revealed to the observer. Free-lowing lines and brushstrokes add a new emotional dimension to his portrayals, and the "We Series", on which the artist began to work in 2002, is in many ways representative of the artist's entire expressive spectrum even though it was completed in about a year's time. It went on show at the Shanghai Fine Arts Museum in a 2003 solo exhibition titled "I路We". Art critic Huang Du wrote about Zeng's "We Series", "The Core of Zeng's painting is the movement of strokes, which negates all narrative features and language. Yet there is a very individual logic to the paintings' patterns and rhythm." Huang goes on to explain the artist's creative method: first outline a lucid image that serves as the center of the composition, and then apply color with two simultaneously wielded brushes. The one between the index inger, middle inger and thumb of the right hand controls the outlow of the artist's habits, his rationality and his experiences. The one between the middle inger and the ring inger of the same hand gives free expression to the artist's creative powers, unrestrained by logic or reason. This is how a subtle balance is achieved between the concrete and the abstract. In terms of brushwork and attention to ine detail, Zeng stands out as one of the most meticulous workers among modern Chinese artists.

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Zeng himself believes that the Chinese people's habit of eating with chopsticks has given them particularly dexterous hands. He declares that when painting with a "smooth brush" (with the grain, so to speak) he felt that brushstrokes remained brushstrokes without much expressive quality. This changed radically when he painted "against the grain". What does this mean? Zeng likes to employ simple colors, relying on the application of numerous layers and shades to make his monochrome compositions come alive. Following the spiral brushstroke phase of the "We Series", Zeng has recently begun to put more emphasis on rhythmically lowing strokes reminiscent of Chinese calligraphy. These clearly dominate his recent "Wild Cursive Series". Looking back, then, one can say that the "We Series" was a crucial juncture and turning point in Zeng's creative development and that through a long arc from expressionism via symbolism and abstract expressionism, the artist has finally redis- covered his roots in the Chinese tradition. In his latest oeuvre, the Chinese elements are reverberating with especial force, both in terms of formal arrangement and brushstroke execution. We are witnessing a painter deeply involved in the fascinating process of tapping new creative resources and exploring new artistic possibilities. As for the "We Series", the composition of every single face begins with the outlining of distinct basic contours, which are elaborated with spiral brushstrokes gliding purposefully across the canvas. This creates an oscil- lating effect of vagueness, with the image now appearing out of the rounded strokes, now disappearing again behind the spiraled lines. It is as if the iconic representation we are looking at is being cut into countless segments, and a sense of destructive power prevails, paradoxically achieved through round strokes and soft color. The more lines are added, the blurrier the image becomes, until the face seems to gradually vanish behind a curtain of raindrops on a pane of frosted glass. But then you take a few steps back, and immediately the facial features become visible again. Zeng half-jokingly dubs this technique as "skin run through the meat grinder", which is one way to describe the feeling of visual anxiety generated by the painting's segmentation through spiraled strokes. Zeng says, "I start with the smallest single meaningful unit, and then proceed to expand it from there, until I have illed the entire canvas with my personal vision. Circles and spirals are also a kind of symbolic code, representing the cruel reality of destruction and deconstruction as the face is broken up into many small parts." During a conversa- tion with the artist, art critic Su Xianting once praised the "We Series" as the exceptional work of a true master. Su's opinion is that while Zeng's earlier works excel because of their polished and integrated style, the "We Series" exudes true magnificence and vision. The details, all the component parts are raised to prominent status in the process of abstraction. The "We Series", for all its innovative drive, by no means represents a complete break with Zeng Fanzhi's earlier work. As the artist himself agrees, these iconic images span the entire range of his creative strength, rooted in the past and pointing to the future. We can already catch the irst glimpses and adumbrations of the spiral brushstroke style in the "Hospital" Series, in particular in the small details of figures and objects, such as the creases and folds in the fabric of clothes. In other words, this special technique was developed over many years, and has become second nature to the artist, the most natural way to express himself. Ever since the "Hos- pital" Series and the "Mask Series", evasive pink tones have been the artist's preferred color. In the 2002-2003, "We Series", shades of pink and red are again the dominant colors. Art critic Liu Xiaochun feels that Zeng's palette is also making a political statement, reflecting a collective memory of the Cultural Revolution, albeit a memory that is gradually sinking to the depths of the subconscious. The face of Mao Zedong is an image etched in the minds of all Chineses who have lived through the period of the Great Cultural Revolution and the Red Guards. The process by which this collective memory is slowly metamorphosing, and eventually fading, is aptly mirrored in this painting: from concrete reality to abstracted entity, from direct concern to distanced observation, from a unique face with characteristic features to a formulaic countenance devoid of any distinctive qualities - through all these steps and phases, this "abstract" Mao Zedong relects the development of Chinese society since the Cultural Revolution. Therefore, so Zeng Fanzhi, "That is me, and it is us."

曾梵志《我》 ZENG Fanzhi, I, oil on canvas (triptych), 150 x 150 cm (each), 2003

272 ZHANG Xiaogang (Chinese, b. 1958)

Girl 2005 Oil on canvas 110 x 130 cm Signed lower right Zhang Xiaogang in Chinese and dated 2005

NT$ 16,000,000-22,000,000 HK$ 3,951,000-5,432,000 US$ 508,900-699,700

張曉剛女孩 2005 油彩畫布 110 x 130 cm 簽名右下：張曉剛 2005

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「大家庭」系列的作品，在文化上，將家庭背景縮影到了照片式的圖畫上。而呈現出來的這個家庭，也是當時社會的縮影。此件作品創作於2005年，標準的老照片樣式，標誌性的張式「光斑」以照片的圖式訴說了主人公的宿命。這樣的照片幾乎中國人人都有，每個人家中的抽屜裡都會存放這種樣式的證件照片，一寸的，兩寸的。也如這個孩子年紀時，女生的照片都是齊眉的劉海兒、兩根麻花辮兒、白襯衫、鮮豔的紅領巾，都是那個時代，那個年紀的記憶。《南方人物周刊》曾評論到，「那些似乎是斑駁老照片中的人物，擁有被時代整齊劃一了的外型、衣著和表情，那些單眼皮的眼睛，眼仁微微凸起，冷漠而警覺，神態游移。而他的畫，也呈現出一种奇怪的質感，朦朧、平滑，暗含肌理」。在此之前，張曉剛一直沒有停止對思念、記憶的追溯。如果說「大家庭」是對集體意識的悼念，那之後的「失憶與記憶」是藝術家自己的思考。「《失憶與記憶》呢，我關注個人的記憶，增加了一個內容就是失憶，因為這是現代生活快速變化的一種體驗，變化這麼快，很多人很年輕就失去記憶了，你要適應社會生活的話，就要學會失憶，忘記你是誰，你是從哪裡來。」（參閱《楊瀾訪談錄》，東方衛視欄目）

社會發展的快速比張曉剛想像中的要快。現在的中國人也要學會「忘記」或者說「失憶」已經是現代中國人的本能。很多人已經忘記了，一年前這條路的樣子，或者三個月前十字路口建築的外觀。而進入「風景」系列的張曉剛又將這種個人的意識轉回到了社會層面。他的「風景」繼續追憶著工業化社會以及之前的面貌。對於藝術的態度，他從來沒有過疏忽。雖然工作室越來越大，但他確還在思考著樸素的問題，為什麼而畫畫的問題。對於這種個人對藝術的感受，在後來他談畫家馬格利特的文章中所透露的：「一個藝術家在他的成長過程中，總是不斷地要與一些曾經迷戀的大師忍痛告別，然後又重新地認識另外一些與之溝通的前輩。在這條不斷認知不斷驗證自己的道路上，最後能成知己的已越來越少。」也正是這種孤獨一直促使他尋求自己舒適的方式來表達自己的情感。 The "Big Family" series, in a cultural sense, manages to present the family background in the photo-like paintings and this family background, on the other hand, is the right miniature of the society at the time. This piece by Zhang Xiaogang was created in 2005. It presents the fate of a young girl in a standard photo style with the symbolic Zhangstyle "light spot". Photos like this can be found in the drawer of every Chinese family, some one inch and some two inches in size. Kids in the photos are mostly of this age and girls all unexceptionally wear uniform bangs above their brows, two braids, a white shirt and a red scarf. It is something of that time, a memory of that age. "Southern People Weekly" magazine remarked: "Characters in the old photos seemingly mottled with age all wear the uniform look, dress and expression which was standardized at that time, single eyelids with pupils slightly protruding, indifferent and alert. The face seems to be behind a misty veil, displaying a strange and amazing texture, smooth, subtle and with texture." Prior to that, Zhang Xiaogang never stopped his trace of memory and affection. If the "Big Family" is to mourn for the group consciousness, the later "Amnesia and Memory" can be regarded as a kind of private and deep brooding of the artist. As to "Amnesia and Memory", well, I am pretty concerned with personal memory. One more memory means one more loss of memory and this is the natural consequence of the rapidly changing modern life. In this hustling and bustling time, many have lost their memory when still young. If you want to adapt yourself to the life, you have got to learn to lose memory. Forget who you are and where you come from." (Zhang Xiaogang Interview with in YangLan, Oriental TV Channel) Society is progressing faster than Zhang Xiaogang expected, where the Chinese ind it pretty necessary to learn to "forget" or rather "amnesia" has become a kind of instinct with the modern Chinese. Many have forgotten what this road looked like last year or the appearance of the building at the crossroads three months ago. While what Zhang Xiaogang tries to do in his "Landscape" series is to transform the individual awareness back to the social dimension. His "Landscape" is an effort to continue recalling the looks of the industrialized society and earlier. Zhang Xiaogang, a well-known ﬁgure in art circles, never neglects his attitude towards art. With his studio getting increasingly big, the artist, nevertheless, remains in his deep brooding over his simple and naive question: for what he paints. This personal feeling about art is explained in his later article on the painter Magritte: "Almost all the time of his growing up, an artist has to bear the pain of bidding farewell to those beloved masters and then comes to know some other predecessor for communication. On all the way along the artist keeps his continuous cognition and constant veriication and at last those which are left to become "bosom friends" are fewer and fewer." It is the very loneliness that urges the artist to seek for a comfortable manner for expressing his inner feelings.

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273 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Calligraphy – Poem by Yu Shiji Ink on paper 32 x 98.5 cm Signed lower left Tien-men Householder, inscribed Chun's Garden, Paris all in Chinese With three seals of the artist in Chinese

NT$ 3,800,000-4,800,000 HK$ 938,000-1,185,000 US$ 120,900-152,700

朱德群書法—虞世基《入關詩》水墨紙本 32 x 98.5 cm 簽名左下：天門居士於巴黎雲霧齋鈐印左下：天門居士、朱德群鈐印右上：日新閣譯文：隴雲低不散黃河咽復流關山多道里相接幾重愁

274 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Calligraphy – Poem by Li Yu Ink on paper 100 x 33 cm With three seals of the artist

NT$ 3,600,000-4,600,000 HK$ 889,000-1,136,000 US$ 114,500-146,300

朱德群書法—李煜《望江南》水墨紙本 100 x 33 cm 簽名左下：天門居士鈐印右上：我書意造本無法鈐印左下：天門居士、朱德群印釋文：多少恨昨夜夢魂中還似舊時游上苑車如流水馬如龍花月正春風多少淚斷臉複橫頤心事莫將和淚說鳳笙休向淚時吹腸斷更無疑

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275 Walasse TING

(Chinese-American, 1929 - 2010)

Three Beauties Acrylic on paper 180 x 96.5 cm With one seal of the artist

NT$ 1,700,000-2,400,000 HK$ 420,000-593,000 US$ 54,100-76,300

丁雄泉三美圖壓克力紙本 180 x 96.5 cm 鈐印右上：採花大盜

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276 ZHAN Wang (Chinese, b. 1962)

Artificial Garden Rock 22# 2001 Stainless steel, edition no. 8/8 52(L) x 30(W) x 29(H) cm Engraved on the back Zhan Wang in Chinese, numbered 8/8 and dated 2001

NT$ 3,200,000-4,600,000 HK$ 790,000-1,136,000 US$ 101,800-146,300

展望假山石 22 # 2001 不鏽鋼 8/8 52(長) x 30(寬) x 29(高) cm 簽名雕刻後方：展望 2001 8/8

假山石，即太湖石，早在中國宋朝年間便有了文人玩賞的文字記述。經過雕琢的頑石，形態誇張、空間呈現錯綜複雜、充滿對自然靈山的想像。雕塑家展望，以其獨特的視角和思考重構了這千年的傳統，他以西方雕塑的手法，現代的材料重塑了假山石。這一系列作品始於1995年，展望在談及創作初衷時曾說：「當我看到北京的一些現代建築前放置石頭作為裝飾雕塑的時候，我發現這種延續了兩千年傳統的文化事實上已經名存實亡。從使用它的隨意性可以看出它在精神層面的喪失，由此聯想到文人文化的喪失，因為我們在接受工業化的同時，也勢必接受由此帶來的文化，問題是，假使一個文明和使用這種文明的人們一同消失，則不置可否。但如果文明要消失而使用這種文明的人們還在的話，那就是另一種情景了，就會出現把傳統園林石頭放在現代建築前面，這樣的混合不同文化體系的事情就會發生了。」（摘自展望《我的實驗藝術軌跡》一文）拍品《假山石 22 #》造型奇特，雕塑的體量似從底座噴湧而出，形成扭曲的動勢，石體上不規則的空隙柔化了材料本身的厚重和壓迫感，光滑表面如波浪般變幻起伏展現光與暗、實與虛、似水鏡面。觀者在欣賞作品的同時也自然的將環境融入雕塑之中。 Written records of the collection and appreciation of artificial rocks in gardens, otherwise known as Taihu Rocks, can be traced as far back as the Song Dynasty. After sculpting, the rocks fully express the imagery of a real mountain through exaggerated forms and complex spaces. Sculptor Zhan Wang reconstructs this thousand year-old tradition through his unique perspective-he uses Western sculpturing methods and modern materials to recreate Artificial Garden Rocks. Zhan Wang first began this series of works in 1995. While talking about the creation of this series, Zhan Wang said, “When I saw that rocks were placed in front of many modern buildings in Beijing as adornments, I realized that this two thousand year-old tradition, which has continued all this time, had lost its meaning. The casual ease in which they are used shows that its spiritual meaning has been eroded, and one cannot help but link it to the loss of culture. When we accepted industrialization, at the same time we had to accept the culture that stemmed from it. If a culture and its people disappeared, then I guess nothing more needs to be said. But the problem is when the culture disappears but its people still exist, that's an entirely different story. We end up with traditional garden rocks placed in front of modern buildings, and a mix of different cultural systems.” (Excerpt, Zhan Wang, The Marks of My Experimental Art)

The piece “Artificial Garden Rock 22#” is unique in form. It seems as if a great power has burst forth from its base and formed its undulating outline; the uneven spaces on the rock soften the pressure and heaviness conveyed by the material. The smooth surface and wavelike contours present a wistful contrast of light and dark, concrete and abstract, and a rippling mirror effect. The viewer unconsciously incorporates the surrounding environment while viewing this piece.

154

277 MA Pai-sui

(Taiwanese, 1909 - 2003)

Bitan, Taipei Watercolor on paper 16 x 92 cm With one seal of the artist

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

馬白水碧潭水彩紙本 16 x 92 cm 鈐印右下：MA PAI SUI

156

278 ZAO Wou-ki

趙無極

(Chinese-French, 1921 - 2013)

向鹿內信隆致敬

Hommage à Nobutaka Shikanai

1991 石版畫 64 x 49 cm 簽名下方：Hommage a Nobutaka Shikanai Wou-ki Zao

1991 Lithographs printed 64 x 49 cm Signed lower right Wou-ki in Chinese and Zao in French, titled Hommage a Nobutaka Shikanai in French ILLUSTRATED: Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1995-2000, Edition Heede & Moestrup, Copenhagen, 2001, color illustrated, no. 154, p. 196

NT$ 130,000-220,000 HK$ 32,000-54,000 US$ 4,100-7,000

圖錄：《趙無極版畫集1995-2000》，黑德與莫斯特魯普出版社，哥本哈根，2001，彩色圖版，編號154，頁196

279 YU Peng

(Taiwanese, 1955 - 2014)

Holding Flowers and Smiling 1990 Ink on paper 49 x 30 cm Signed upper center Yu Peng, titled Holding Flowers and Smiling, inscribed Ping yang hall, dated 1990 all in Chinese With one seal of artist This panting is to be sold with a certificate of authenticity issued by River Art Center.

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

于彭擎花微笑 1990 水墨紙本 49 x 30 cm 簽名題識上方：擎花微笑于彭一九九◯年字平陽堂鈐印上方：于彭附黃河藝術中心開立之原作保證書

158

280 YU Peng

(Taiwanese, 1955 - 2014)

Hiking 1991 Ink on paper 44 x 24 cm Signed upper right Yu peng, titled hiking and dated 1991 all in Chinese With one seal of the artist This panting is to be sold with a certificate of authenticity issued by River Art Center.

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

于彭策杖山中行 1991 水墨紙本 44 x 24 cm 簽名右上：一九九一于彭策杖山中行鈐印右上：于彭附黃河藝術中心開立之原作保證書

281 YU Peng

(Taiwanese, 1955 - 2014)

Content and Satisfied Ink on paper 33.5 x 136 cm Signed lower right YU Peng in Chinese Titled upper left Content and Satisfied in Chinese

NT$ 200,000-300,000 HK$ 49,000-74,000 US$ 6,400-9,500

于彭平淡天真一生水墨紙本 33.5 x 136 cm 簽名右下：于彭題識左上：平淡天真一生于彭寫

160

282 ZHANG Guangbin (Chinese, b. 1915)

Fishing Village Among Islands Ink on paper 178 x 48 cm With four seals of the artist EXHIBITED: Growing Old Delightfully with Painting and Calligraphy Selected Works by Chang Kung-Bin after Age 90, National dr . sun yat - sen memorial hall, Taipei, February 10 - March 7, 2010 ILLUSTRATED: Growing Old Delightfully with Painting and Calligraphy Selected Works by Chang Kung-Bin after Age 90, National dr . sun yat - sen memorial hall, Taipei, 2010, Black and white illustrated, pp. 20-21

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

張光賓列嶼漁庄水墨紙本 178 x 48 cm 鈐印左上：張光賓印于寰九十鈐印右上：知足鈐印右下：無限江山展覽：「向晚逸興書畫情張光賓九十歲後書畫展」，國立國父紀念館，台北，展期自2010年2月10日至3月7日圖錄：《向晚逸興書畫情張光賓九十歲後書畫展》，國立國父紀念館，台北， 2010年，黑白圖版，頁20-21

283 ZHANG Guangbin (Chinese, b. 1915)

Thousand Acres Ink on paper 178 x 48 cm With four seals of the artist EXHIBITED: Growing Old Delightfully with Painting and Calligraphy Selected Works by Chang Kung-Bin after Age 90, National dr . sun yat - sen memorial hall, Taipei, February 10 - March 7, 2010 ILLUSTRATED: Growing Old Delightfully with Painting and Calligraphy Selected Works by Chang Kung-Bin after Age 90, National dr . sun yat - sen memorial hall, Taipei, 2010, Black and white illustrated, pp. 20-21

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

張光賓百折千疇水墨紙本 178 x 48 cm 鈐印左上：張光賓印于寰九十鈐印右上：知足鈐印右下：無限江山展覽：「向晚逸興書畫情張光賓九十歲後書畫展」，國立國父紀念館，台北，展期自 2010年2月10日至3月7日圖錄：《向晚逸興書畫情張光賓九十歲後書畫展》，國立國父紀念館，台北，2010 年，黑白圖版，頁20-21

162

284 ZHANG Guangbin (Chinese, b. 1915)

A Pavilion Among the Water Resort Ink on paper 178 x 48 cm EXHIBITED: Growing Old Delightfully with Painting and Calligraphy Selected Works by Chang Kung-Bin after Age 90, National dr . sun yat - sen memorial hall, Taipei, February 10 - March 7, 2010 ILLUSTRATED: Growing Old Delightfully with Painting and Calligraphy Selected Works by Chang Kung-Bin after Age 90, National dr . sun yat - sen memorial hall, Taipei, 2010, Black and white illustrated, pp. 20-21

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

張光賓澤國茆亭水墨紙本 178 x 48 cm 鈐印左上：張光賓印于寰九十鈐印右上：知足鈐印右下：無限江山展覽：「向晚逸興書畫情張光賓九十歲後書畫展」，國立國父紀念館，台北，展期自2010年2月10日至3月7日圖錄：《向晚逸興書畫情張光賓九十歲後書畫展》，國立國父紀念館，台北， 2010年，黑白圖版，頁20-21

285 HUNG Tung

(Taiwanese, 1920 - 1987)

Birth 1976 Watercolor and color pen on paper 76 x 34 cm Signed upper right Hung Tung in Chinese and dated ROC era 65

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

洪通新生 1976 水彩彩色筆紙本 76 x 34 cm 簽名右上：洪通 65年

164

286 HUNG Tung

(Taiwanese, 1920 - 1987)

Harvest Festival 1974 Watercolor and color pen on paper 64 x 28 cm Signed lower right Hung Tung in Chinese and dated ROC era 63

NT$ 460,000-650,000 HK$ 114,000-160,000 US$ 14,600-20,700

洪通豐年祭 1974 水彩彩色筆紙本 64 x 28 cm 簽名右下：洪通 63年

287 Lee Chun-Yi

(Taiwanese, b. 1965)

Painting in Poetry, Poetry in Painting Ink on paper 55 x 89 cm

NT$ 550,000-750,000 HK$ 136,000-185,000 US$ 17,500-23,900

李君毅詩中有畫，畫中有詩水墨紙本 55 x 89 cm

166

288 YUAN Jai

袁旃

(Chinese, b. 1941)

冬

Winter

2006 重彩絹本 48.5 x 72 cm 簽名右下：袁旃丙戌鈐印右下：袁旃

2006 Gouache on silk 48.5 x 72 cm Signed lower right Yuan Jai in Chinese and dated Bin xu year (2006) With one seal of the artist EXHIBITED: Yuan Jai Solo Exhibition, Eslite Gallery, Taipei, September 2 - October 1, 2006

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

展覽：「袁旃個展」，誠品畫廊，台北，展期自2006年9月2日至10月1日

289 Paul CHIANG (Taiwanese, b. 1942)

Hundred Year Temple 95 1995 Mixed media on canvas 153 x 122.5 cm Signed on the reverse Paul Chiang in Chinese, initialed P. C. and dated 1995

NT$ 1,100,000-2,200,000 HK$ 272,000-543,000 US$ 35,000-70,000

江賢二百年廟 95 1995 綜合媒材畫布 153 x 122.5 cm 簽名畫背：江賢二 P. C. 1995

168

290 CHUANG Che (Taiwanese, b. 1934)

Beauty of Autumn 1984 Oil on canvas 152 x 126 cm Signed lower left Chuang Che in Chinese ILLUSTRATED: Chuang Che, Asia Art Center, Taipei, 2006, color illustrated, p. 39

NT$ 1,100,000-2,200,000 HK$ 272,000-543,000 US$ 35,000-70,000

莊喆秋意動人 1984 油彩畫布 152 x 126 cm 簽名左下：莊喆圖錄：《莊喆》，亞洲藝術中心，台北，2006，彩色圖版，頁39

170

291 Paul CHIANG (Taiwanese, b. 1942)

Hundred Year Temple 96-01 1995-1996 Oil on linen 152.5 x 122.5 cm Signed on the reverse Paul Chiang in Chinese, initialed P. C. and dated 1995-1996

NT$ 1,100,000-2,200,000 HK$ 272,000-543,000 US$ 35,000-70,000

江賢二百年廟 96-01 1995-1996 油彩亞麻布 152.5 x 122.5 cm 簽名畫背：江賢二 P. C. 1995-1996

172

292 Tony WONG

(Chinese-American, 1948 - 2012)

Untitled 1986 Oil on canvas 178 x 183 cm Signed on the reverse T.W.H. Wong and titled "Untitled" in English, inscribed 70" x 72" oil/c, dated 86 The work is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 1,200,000-2,200,000 HK$ 296,000-543,000 US$ 38,200-70,000

黃榮禧空言 1986 油彩畫布 178 x 183 cm 簽名畫背："Untitled" 70" x 72" oil/c T.W.H. Wong 86 附大未來畫廊開立之原作保證書

174

293 ZHU Yiyong (Chinese, b. 1957)

Morning Oriole 2005 Oil on canvas 130 x 113 cm Signed lower right Zhu Yiyong in Chinese, dated 2005

NT$ 1,300,000-2,200,000 HK$ 321,000-543,000 US$ 41,300-70,000

朱毅勇晨鶯 2005 油彩畫布 130 x 113 cm 簽名：朱毅勇 2005

176

294 YANG Jiechang (Chinese, b. 1956)

Hundred Layers of Ink 1990 Ink on paper mounted onto canvas 175.5 x 95.5 cm Signed lower left yang Jiechang in English and Chinese, dated 1990

NT$ 1,300,000-2,400,000 HK$ 321,000-593,000 US$ 41,300-76,300

楊詰蒼千層墨 5 1990 水墨紙本裱於畫布 175.5 x 95.5 cm 簽名左下：yang Jiechang 詰蒼 1990

178

295 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Lishan Scenery 1981 Watercolor on paper 65.5 x 110.5 cm Signed lower left SHIY De-jinn in Chinese and dated 1981 PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 1,400,000-2,400,000 HK$ 346,000-593,000 US$ 44,500-76,300

席德進梨山風光 1981 水彩紙本 65.5 x 110.5 cm 簽名右下：席德進 1981 來源：席德進基金會前董事收藏（直接得自藝術家本人）

180

296 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Jioujiou Peaks 1981 Watercolor on paper 65 x 110.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1981 PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 1,400,000-2,400,000 HK$ 346,000-593,000 US$ 44,500-76,300

席德進草屯九九峰 1981 水彩紙本 65 x 110.5 cm 簽名左下：席德進 1981 來源：席德進基金會前董事收藏（直接得自藝術家本人）

182

297 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Rural Landscape 1980 Ink and color on paper 70 x 126.5 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 1,900,000-2,800,000 HK$ 469,000-691,000 US$ 60,400-89,100

席德進農家樂 1980 彩墨紙本 70 x 126.5 cm 簽名左下：席德進鈐印左下：席德進印鈐印右上：席氏書畫來源：席德進基金會前董事收藏（直接得自藝術家本人）

184

298 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Landscape of Mountain Houyan 1976 Ink and color on paper 69 x 138 cm Signed lower right Shiy De-jinn in Chinese and dated 1976 With two seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 1,900,000-2,800,000 HK$ 469,000-691,000 US$ 60,400-89,100

席德進火炎山下 1976 彩墨紙本 69 x 138 cm 簽名右下：席德進 1976 鈐印右下：席德進印鈐印左上：席氏書畫來源：席德進基金會前董事收藏（直接得自藝術家本人）

186

299 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Man in Blue Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 2,400,000-3,400,000 HK$ 593,000-840,000 US$ 76,300-108,100

邱亞才藍衣男子油彩畫布 130 x 97 cm 簽名左下：邱亞才

188

300 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

The Man in the Blue Shirt Oil on canvas 162 x 130 cm Signed lower right Ya Tsai in Chinese

NT$ 3,000,000-4,000,000 HK$ 741,000-988,000 US$ 95,400-127,200

邱亞才穿藍色上衣的男子油彩畫布 162 x 130 cm 簽名右下：亞才

在中、西方的繪畫藝術史上，肖像畫始終是不朽的題材，藉由畫中人物衣著、背景點出時代以外，也提供當代人一扇得以窺視畫中人當時生活樣貌的觀景窗。而無論是中、西肖像畫，寫實精神的落實逐漸成為肖像畫的核心，如文藝復興以降帶來肖像畫的興盛和精準的真實表達，或者是中國唐代傳統人物畫裡看似寄情寫意，卻有精緻輪廓的神韻表達，。邱亞才的人物畫裡即有著中、西難辨的氣質存在，大膽有勁、強烈用色的平塗背景有著野獸派的色彩觀念，而中國傳統的白描精神，單純的線條構造勾勒出細緻的五官，不拘泥在形式、細節，卻精彩的描繪出人物的神情。此幅作品畫中人物，杏眼、柳眉、紅唇，看似氣定神閒的注視遠方，但白皙的皮膚透著對比的藍色氛圍，隱約看出些微的情感表徵。邱氏的才氣來自於他的哀愁，他也曾說過畫中人物都是他想像得來；懷才不遇的藝術家、漂泊浪跡的男子或是失意的商人，這群孤獨的身影，在在都成了觀者去一探藝術家內心世界的線索。他鍾愛文學，暢情於寫作，再將他的情感化成一幅幅人物畫，而畫中人物總是不卑不亢，雖偶有哀傷滿容或是冷靜的悲痛傷感，但卻總是悠悠平靜的淡然處世，反倒顯得優雅從容。邱氏的繪畫語言是他周遭生活的縮影，透過畫筆表述自我，說書人般的講述一篇篇故事，是畫中人物的風雪，更是邱亞才的獨白，而正是這些孤寂的靈魂，成就了他的藝術精神。 Throughout the history of both Chinese and Western art, portraiture has remained a consistently popular genre. The clothing worn by the people portrayed, and the background scenes, help to give as a feel for the era in which the portrait was painted, and portraits from the past give people living in today’s world a window onto what life was like for the portrait subjects and their contemporaries. In both the Chinese and Western portraiture traditions, realism gradually became a core aspect of portrait painting; in the West, the Renaissance ushered in a new era in which portraiture grew increasingly popular and portraits grew ever more realistic, while in China the portraits painted during the Tang Dynasty may seem somewhat expressionist, but they still feature precise, detailed depiction of facial features. Chiu Ya-tsai’s portraits have an indefinable quality to them that resembles both Chinese and Western styles of portraiture. His flat backgrounds with their bold, powerful use of color seem to reflect the attitude towards color of the Fauvists, but Chiu’s paintings are also characterized by effective use of the traditional Chinese baimiao monochromatic brush-line technique, in which simple lines delineate the facial features, bringing across the spiritual essence of the person portrayed without being constrained by formal conventions or overburdened with excessive detail. The figure shown in this particular painting, with his almond-shaped eyes, arched eyebrows and red lips, appears to be gazing calmly into the distance, and yet the contrast between his white skin and the blue surrounding it hints at a slight sense of emotional expression. Chiu Ya-tsai’s artistic talent derived in no small part from his own sorrows; he once commented that all of the figures depicted in his paintings had something of himself about them: the struggling artist, the rootless wanderer, or the unsuccessful businessman. These lonely images provide the viewer with clues as to the artist’s own inner world. A lover of literature who also wrote as a form of self-expression, Chiu was able to condense his feelings into a series of portraits. The individuals shown in these paintings are never wholly broken down by life; although sorrow or sadness may appear on their faces, they always maintain a steady calmness in the face of the problems that the world throws at them, and the overall effect is one of refined, gentlemanly bearing. The artistic lexicon of Chiu Ya-tsai’s paintings reflects in microcosm the life of the artist himself. Through his brushstrokes, Chiu was able to express his own identity, becoming a “storyteller” whose own tale is told through the figures in his portraits. It was precisely this lonely, unique spirit that gave Chiu Ya-tsai’s art its power.

190

192

301 YU Peng

(Taiwanese, 1955 - 2014)

Landscape of Desire – 2 Handy Volume 1999 Ink on paper 67 x 1082 cm Signed upper right Yu Peng, titled Landscape of Desire series, dated 1999 all in Chinese With two seals of the artist Signed on the wooden box Yu Peng, titled Landscape of Desire series, dated 1999 all in Chinese EXHIBITED: Yu Peng: Landscape of Desire, Lin & Keng Gallery, Taipei, 1999 ILLUSTRATED: Yu Peng: Landscape of Desire, Lin & Keng Gallery, Taipei, 1999, color illustrated The work is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 2,400,000-3,400,000 HK$ 593,000-840,000 US$ 76,300-108,100

于彭慾望山水（二）手卷 1999 水墨紙本 67 x 1082 cm 簽名右上：于彭制作一九九九慾望山水系列之一鈐印左下與右下：于彭簽名木盒：慾望山水系列之一于彭一九九九展覽：「于彭個展：慾望山水」，大未來畫廊，台北，1999 圖錄：《于彭：慾望山水》，大未來畫廊，台北，1999，彩色圖版附大未來畫廊開立之原作保證書

302 XIONG Yu

(Chinese, b. 1975)

Three-Winged Portrait 2007 Oil on canvas 200 x 150 cm Signed lower right Xiong Yu in Chinese and dated 2007 EXHIBITED: Chinablue in Berlin, Berlin Art Centre, Berlin, September 2007

NT$ 1,500,000-2,400,000 HK$ 370,000-593,000 US$ 47,700-76,300

熊宇三個翅膀的肖像 2007 油彩畫布 200 x 150 cm 簽名右下：熊宇 2007 展覽：「環碧堂在柏林」，柏林藝術中心，柏林，2007年9月

194

303 CHANG Chia-Ying (Taiwaese, b. 1982)

The Fatty Fatty Series 2009 Acrylic on canvas 195 x 259 cm

NT$ 1,200,000-2,200,000 HK$ 296,000-543,000 US$ 38,200-70,000

張嘉穎ㄉㄨㄞㄉㄨㄞ人系列 2009 壓克力畫布 195 x 259 cm

196

304 LIEN Chien-hsing

連建興

(Taiwanese, b. 1962)

泊

Lake

1996 油彩畫布 80 x 116.5 cm 簽名右下：連建興 1996

1996 Oil on canvas 80 x 116.5 cm Signed lower right LIEN Chien-hsing in Chinese and dated 1996 ILLUSTRATED: Lien Chien-hsing, Metropolitan Art Space, Tainan, 1997, color illustrated, no. 27, p. 39

NT$ 650,000-750,000 HK$ 160,000-185,000 US$ 20,700-23,900

198

圖錄：《連建興畫集》，大都會藝術環境，台南，1997，彩色圖版，編號27，頁39

305 LU Hsien-ming

陸先銘

(Taiwanese, b. 1959)

飲

Drinking

1999 油彩畫布鐵 188(長) x 139(寬) x 5.5(厚) cm

1999 Oil on canvas, iron 188(L) x 139(W) x 5.5(D) cm EXHIBITED: Perseverance Taiwan, Yung Tu Museum of Art, Tainan, Taiwan, 1999 Formosa Mambo: Artistic Development and Social Transition in Taiwan II, Kaohsiung Museum of Fine Arts, Kaohsiung, 19 December, 2006- 15 April, 2007. ILLUSTRATED: Perseverance Taiwan, Yung Tu Museum of Art, Tainan,, 1999, color illustrated, p. 27 The work is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 420,000-550,000 HK$ 104,000-136,000 US$ 13,400-17,500

展覽：「硬頸台灣」，台南，永都藝術館，1999 「台灣美術與社會脈動 2：寶島曼波」，高雄市立美術館，高雄，展期自2006年12月19日至2007年4月15日圖錄：《硬頸台灣》，永都藝術館，台南，1999，彩色圖版，頁27 附大未來畫廊開立之原作保證書

306 LO Chan-peng (Taiwanese, b. 1983)

Strawberry Generation – The Night Marching 4 – Sexy Vampire 2009 Oil on canvas 145 x 145 cm Signed on the reverse Lo Chen Peng in Chinese and English, titled Strawberry Generation – The Night Marching 4 – Sexy Vampire, dated 2009

NT$ 420,000-650,000 HK$ 104,000-160,000 US$ 13,400-20,700

200

羅展鵬草莓族百鬼夜行4 吸血姬 2009 油彩畫布 145 x 145 cm 簽名畫背：草莓族百鬼夜行4 吸血姬羅展鵬 Lo Chan Peng 2009

307 ZHOU Chunya + Jaime HAYON (Chinese, b. 1955; Spanish, b. 1974))

Alive 2012 Epoxy resins, lacquer, edition no. 85/88 (sculpture) Lacquered wood, edition no. 85/88 (vitrine) 14(L) x 5(W) x 8(H) cm (x30) 53(L) x 40(W) x 23(H) cm (box) 130(L) x 55(W) x 82(H) cm (vitrine) Signed on the bottom Zhou Chunya in Chinese and numbered 85/88 (each sculpture) Signed on bottom Jaime Hayon in English and numbered 85/88 (Vitrine) EXHIBITED: Alive & Kicking, Museum of Contemporary Art Chengdu, Sichuan, October 24 November 3, 2012 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 460,000-700,000 HK$ 114,000-173,000 US$ 14,600-22,300

周春芽 + 亞米・海因綠狗 2012 環氧樹脂亮面漆 85/88（雕塑）亮面漆木 85/88（玻璃櫃） 14(長) x 5(寬) x 8(高) cm（x30） 53(長) x 40(寬) x 23(高) cm（外盒） 130(長) x 55(寬) x 82(高) cm（玻璃櫃）簽名底部：周春芽 85/88（每件雕塑）簽名底部：Jaime Hayon numbered 85/88（玻璃櫃）展覽：「Alive and Kicking 爆發的生命力：周春芽＋亞米。海因」，成都當代美術館，四川，展期自2012年10月24日至11 月3日附藝術家親筆簽名之原作保證書

◎青春就是用來懷念的「收藏是什麼？」那晚喝了兩杯儼然微醺的收藏家朋友突然這樣問我。我說，「那，你說，愛情是什麼？」然後，一段靜默後，他說，「來，為青春乾杯！」藝術史是藝術家傳記的累積，拿筆的是藝評家、策展人，和媒體編輯，長久來看，藝術市場裡的其他人最終常常連配角都稱不上，如果你也是這樣的過客，在派對過後，是否有點莫名的感傷？回過頭來看收藏是什麼？有人收藏是為了成就感，見證自己的先見之明。有人收藏是為了滿足感，以擁有大師精品為榮。有人收藏是為了反饋，提攜後進支持藝術家。有人收藏是為了為後人點燈，有人收藏是為了和歷史沾上邊，有人收藏是為了高尚的社交話題，有人收藏是因為錢會滾錢，有人收藏是因為別人有我不能沒有。當然，有人收藏只是因為單純的喜歡。「我是單純的喜歡！」他急忙說。雖然我知道他前面的八個理由都已經滿足，但我還是相信他所說的單純，因為他和他家裡那些我還不知如何在藝術史定位的「卡漫藝術」。卡漫、動漫，還是宅文化，在當代美術史裡有著什麼樣的位置，什麼樣的評價，現在顯然言之過早，不過粗糙膚淺的負評卻始終未曾消停，在經典和主流的眼中，這些畢竟還是不成熟的玩意。但是視覺藝術做為時代文化的表徵，難道只有宏觀、使命，和政治正確嗎？難道個人、日常，和白日夢就只能被擺在一旁，視為邊緣嗎？這樣的質問在充滿無限可能的藝術領域中卻顯得特別微弱，我們總是忽略了從收藏者的心理脈絡思考什麼是「藝術的慰藉」。鹿頭男、海賊王、生氣女孩、夢遊娃娃、科學小飛俠、無敵鐵金剛……，還有許多卡通、漫畫，甚至神話裡的人物，這些和我們的成長經驗或多或少有著某種微妙的心理連結。當收藏者與它四目相接時，過往歲月那些支離破碎的記憶瞬間被喚醒，以一種淺淺的憂傷和微熱的觸感蔓延開來，這就是為什麼卡漫藝術特別容易引起觀者的共鳴。日本作家吉本芭娜娜的說法更有畫面，也更有詩意，「奈良的作品喚起了我心中關於異國寒夜遙遠而熟悉的氣息；雨的氣味穿越童年的窗口撲面而來的清新；小心翼翼觀察一隻草葉上的小蟲時的屏氣凝神；四壁雪白的房間卻偏偏有著木質地板的悲哀……過去的種種感覺漸漸充滿我的意識，從我請他為我的小說畫畫的那一天起。」藝術是一種療癒，收藏藝術更是。一個單親家庭長大的工薪族收藏家黑河內俊這麼回憶著，「我其實一直都想有人作伴，但卻不願意讓人知道，還故意裝出任性的樣子，掩飾自己的寂寞。事實上，我比任何人能想像的還要孤單……我對奈良美智筆下的小孩都深感同情，我看到這些壞小孩背後的孤單寂寞，因為在他們身上我看到了自己，正是這種共鳴，帶給我無限的童年回憶，讓我不能自制地想要收藏他的作品，必須把它帶回家，與畫中人物朝夕相處漸漸療癒了我的心………。」黑河內俊可能是擁有奈良美智作品件數最多的收藏家。）「無關藝術、無關深度，只要能電到你就是你的情愫，愛情不也是這樣。」「所以我把收藏比喻為愛情。不過，或許你的比喻更貼切，你是在收藏已經逝去的青春！」「每個人有每個人的愛情，每個人有每個人的青春。無可取代。」「當代的可貴就在無可取代，它是屬於這個世代，活著的世代。」《致我們終將逝去的青春》的作者辛夷塢說，「青春就是用來懷念的。」通過卡漫藝術家的眼睛，我們回到了青春，而青春，沒有預估價…… （文/張國權）

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◎YOUTH IS FOR REMINISCENCE By Zhang Guoquan “What is the meaning of being a collector?” The abruptness of the question from my friend – a longtime collector himself – caught me off guard. After just two glasses of wine that evening, he was already slightly inebriated. After stalling for moment, I retorted, “Well, how would you define love?” Silence. He slowly nodded and, with a slight grin, said, “Let’s make a toast – to youth!” The history of art is the accumulation of artists’ biographies written over the years by critics, curators, and editors. In the long run, those who throw their hat into ring of the art market rarely if ever play even a minor role in this grand history. If you are just a passer-by, will you find yourself ineffably sentimental after a glamorous party? Then, we returned to the initial question about what it means to be a collector.

Some collect for a sense of achievement, proving they are far-sighted. Some collect for a sense of satisfaction, feeling proud about owning masterpieces. Some collect to support and encourage younger artists. Some collect to possess and pass on remarkable works for later generations. Some collect to be part of history. Some collect to have lofty topics to discuss in the presence of high society. Still others collect to make money. And some people collect because they simply must possess things that other people have. To be sure, some people also become collectors simply because they want to appreciate good art. “I’m the type that simply likes to appreciate good art,” he responded hastily. Although I knew he also had all the other eight reasons, I still believed him because of the works of “comics and cartoon art,” things I still didn't know how to define them in the history of art, sitting at his and her house. Apparently, it is too early to tell how comics and cartoons, anime and even otaku culture will be positioned and valued in the history of contemporary art. However, elementary and shallow criticisms have never stopped attacking them. In the eyes of critics who value classic and mainstream art, those works are just immature things. As a representation of contemporary culture, however, do visual arts only have to be broad-sighted, visionary, and even politically correct? Do people’s everyday lives and dreams have to be set aside as being marginal and irrelevant? Such questions, unfortunately, are often overlooked in the world of art, a realm ostensibly filled with infinite possibilities. We often seem to ignore “the comfort art brings” from the perspective of collectors’ psychological context. Deer Men, One Piece, Angry Little Girls, Little Wanderer, Gatchaman, Mazinger Z, and many other characters from cartoons, comic books and even mythologies have more or less related to and connected with our growing experience. When the eyes between the work and the collector meet, those fragmented memories in the past seem to have been awoken instantly, exuding a kind of slight melancholic feelings and lukewarm touch, which is why viewers are easier to resonate with comic and cartoon art.

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As Japanese writer Banana Yoshimoto puts it — with a far more vivid and poetic explanation — “Yoshitomo’s works arose a distant but familiar scent on a cold night of an exotic land in me. The scent of rain travelled across the window of childhood with a puff of refreshing fragrance assailing the nostrils. I recalled myself holding the breath when carefully watching a bug crawling on a leave. A room of four snowy pale walls unfortunately carried the sadness of wooden floor. Pieces in the past have gradually filled the whole realm of my consciousness since the very day I invited him to draw for my novel.” If art is an act of spiritual healing, then collecting art is doubly so! Collector Kurokawa, a salaryman who grew up in a single parent household, once recalled, “I always wanted to find someone to be there with me, but I refused to let others know. I even pretended to be self-willed in order to conceal my loneliness. In fact, I am lonelier than anyone can imagine. I am terribly sympathetic to the kids drawn by Yoshitomo Nara. I perceived the loneliness hidden behind those bad kids because I saw myself in them. It was such big reverberation in my heart that triggered long-buried memories of my childhood, making me uncontrollably want to collect his works and bring them home. Being with those characters in his paintings every day has gradually healed my wounded heart.” (Kurokawa might be the collector, who owns the works by Yoshitomo Nara at most) “This has nothing to do with art or depth. A thing you are attracted to means you have feelings for it. Isn’t that the same as love?” “That’s why I compare collecting to love. However, perhaps your comparison is more appropriate. You are collecting the youth that already faded away!” “Everyone has their own romantic history, and everyone has their own youth. They are all irreplaceable.” “The value of contemporary culture lies in its irreplaceable nature. It belongs to this generation, the generation that is alive.” Xin Yiwu, author of To Our Youth That is Fading Away, said, “Youth is for reminiscence.” Through the eyes of cartoon and comic artists, we return to our youth. The true value of youth, however, is beyond estimate...

308 Takashi MURAKAMI (Japanese, b. 1962)

Jellyfish Eyes Lucor Kurage sculpture (Luxor & Kurage-bo) 2014 3D Plaster Printing, edition no. 150/300 9.2 x 5.5 cm Signed on the bottom Takashi Murakami and titled Jellyfish Eyes both in English This work is to be sold with a certificate of authenticity signed by takashi murakami and issued by kaikaikiki co, ltd.

NT$ 50,000-100,000 HK$ 12,000-25,000 US$ 1,600-3,200

村上隆水母看世界：大毛怪與水母寶 2014 3D彩繪石膏 150/300 9.2 x 5.5 cm 簽名題識底部：Jellyﬁsh Eyes Takashi Murakami 附Kaikaikiki開立之原作保證書

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309 Takashi MURAKAMI (Japanese, b. 1962)

An Homage to Monogold 1960B (Gold); An Homage to Monopink 1960B (Pink); An Homage to IKB 1957B (Blue); An Homage to Yves Klein, Multicolor C (Multicolor) (a set of 4) 2012 (each) Limited Print, edition no. 78/300; 49/300; 40/300; 37/300 72.5 x 52 cm (each) Initialed lower right M and numbered 78/300 (Gold) Initialed lower right M and numbered 49/300 (Pink) Initialed lower right M and numbered 40/300 (Blue) Initialed lower right M and numbered 37/300 (Multicolor)

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

村上隆向克萊因致敬：單色金 1960B（左上）；單色粉紅 1960B（左下）；單色藍 1957B（右上）；多色C（右下）（四件一組） 2012 限量版畫（每件） 72.5 x 52 cm（每件）簽名版次右下：M 78/300（金）簽名版次右下：M 49/300（粉）簽名版次右下：M 40/300（藍）簽名版次右下：M 37/300（多色）

310 Yoshitomo NARA (Japanese, b. 1959)

Slash with a Knife 1999 Watch, metal case 22.2(L) x 4.2(W) x 1(H) cm 22.5(L) x 17(W) x 3(H) cm Incised in Japanese and English and dated '99 on the reverse

NT$ 40,000-60,000 HK$ 10,000-15,000 US$ 1,300-1,900

奈良美智小刀劃開 1999 手錶鐵盒 22.2(長) x 4.2(寬) x 1(高) cm 手錶 22.5(長) x 17(寬) x 3(高) cm 盒子奈良美智《Slash with a Knife》'99（手錶背面）此作品附加錶帶及星辰錶所發之保證書和說明書

311 Yoshitomo NARA (Japanese, b. 1959)

Hell Cat 2000 Watch, wooden case 23(L) x 4(W) x 1(H) cm 27.7(L) x 8.7(W) x 3.4(H) cm Incised in Japanese and dated 2000 on the reverse

NT$ 40,000-60,000 HK$ 10,000-15,000 US$ 1,300-1,900

奈良美智地獄小貓 2000 手錶木盒 23(長) x 4(寬) x 1(高) cm 手錶 27.7(長) x 8.7(寬) x 3.4(高) cm 盒子奈良美智 2000（手錶背面）此作品附星辰錶所發之保證書和說明書

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312 Yoshitomo NARA (Japanese, b. 1959)

Walk On 2010 Print edition no. 30/50 42 x 29.5 cm Signed lower right the character of Na in Japanese, numbered lower left 30/50 and dated 2010

NT$ 340,000-420,000 HK$ 84,000-104,000 US$ 10,800-13,400

奈良美智走吧 2010 版畫 30/50 42 x 29.5 cm 簽名版次下方：30/50 2010 な

313 Shintaro MIYAKE (Japanese, b. 1970)

SM-S-01-183, SM-S-01-185 2001 color pencil, pencil on cardboard, mounted on wooden board 26.5(L) x 23(W) x 0.7(H) cm (SM 183) 30.5(L) x 17(W) x 0.7(H) cm (SM 185)

NT$ 60,000-120,000 HK$ 15,000-30,000 US$ 1,900-3,800

三宅信太郎 SM-S-01-183, SM-S-01-185 2001 彩色筆炭鉛筆紙板木板 26.5(長) x 23(寬) x 0.7(高) cm（SM 183） 30.5(長) x 17(寬) x 0.7(高) cm（SM 185）

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314 KAMA Takumi (Japanese, b. 1985)

Rhinoceros in the Shelf 2011 Acrylic on canvas 91 x 117 cm Signed on the frame, KAMA Takumi and titled Rhinoceros In The Shelf in Japanese, and dated 2011

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

釜匠棚中的犀牛 2011 壓克力畫布 91 x 117 cm 簽名框架：サイのいる棚釜匠 2011年10月

315 Tetsutaro KAMATANI (Japanese, b. 1979)

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

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

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

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316 Noriyuki NAKAYAMA

中山德幸

(Japanese, b. 1968)

烏鴉

Crow

2001 壓克力畫布 91 x 91 cm 簽名畫背：'01 NAKAYAMA NORIYUKI

2001 Acrylic on canvas 91 x 91 cm Signed on the reverse NAKAYAMA NORIYUKI in English, dated '01

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

317 Hideaki KAWASHIMA

川島秀明

(Japanese, b. 1969)

粉色概念

Pink Idea

2005 壓克力畫布 162 x 194 cm 題識畫背："pink idea" 2005 special work for David

2005 Acrylic on canvas 162 x 194 cm Titled on the reverse "Pink idea" and inscribed special work for David both English, dated 2005

NT$ 600,000-700,000 HK$ 148,000-173,000 US$ 19,100-22,300

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318 Kiriko IIDA

(Japanese, b. 1974)

Soft Touch from the World 2010 Acrylic on canvas 112 x 145.5 cm Signed on the back frame Kiriko Iida in English and dated 2010

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

飯田桐子來自世界的柔軟觸感 2010 壓克力畫布 112 x 145.5 cm 簽名畫背框架：Kiriko Iida 2010

319 Ryoko KATO

加藤遼子

(Japanese, b. 1982)

滑動螢幕與胃（兩件一組）

Roll Screen & Stomach (a set of 2)

2003 綜合媒材（滑動螢幕）壓克力紙本（胃） 102 x 70 cm（滑動螢幕） 122 x 56 cm（胃）簽名左下： ryoko KATO 2003 （胃）鈐印左側上：遼子（滑動螢幕）鈐印左側下：加藤（滑動螢幕）

2003 Mixed Media (Roll Screen) Acrylic on paper (Stomach) 102 x 70 cm (Roll Screen) 122 x 56 cm (Stomach) Signed lower left ryoko KATO in English and dated 2003 (Stomach) With two seals of the artist (Roll Screen)

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

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320 Rieko SAKURAI (Japanese, b. 1977)

Playing with Angries 2009 Acrylic on canvas, mounted onto wooden board 162(L) x 90(W) x 5(D) cm signed on the reversed Rieko Sakurai and titled Playing with Angries in English, dated 2009 EXHIBITED: Instinct – Group Show of Japanese Contemporary Art, Mizuma & One Gallery, Beijing, February 14 - March 22, 2009

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

櫻井理惠子與憤怒遊戲 2009 壓克力畫布裱於木板 162(長) x 90(寬) x 5(厚) cm 簽名畫背：Playing with Angries 2009 Rieko Sakurai 展覽：「天欲—日本當代藝術五人展」，草場地藝術區三瀦畫廊，北京，展期自2009年2月14日至3月22日

321 Tomoya TSUKAMOTO (Japanese, b. 1982)

Swimming to a Dawn 2014 Acrylic on canvas 130.5 x 162 cm Signed on the reverse Tomoya Tsukamoto and dated 2014 Signed on the back board Tomoya Tsukamoto in English and Japanese, titled "swimming to a down" in Japanese and English, dated 2014

NT$ 550,000-1,000,000 HK$ 136,000-247,000 US$ 17,500-31,800

塚本智也游向黎明 2014 壓克力畫布 130.5 x 162 cm 簽名畫背：2014 Tomoya Tsukamoto 簽名背板："夜明けに向かって泳ぐ "Swimming to a down" Tomoya Tsukamoto 2014 塚本智也

塚本智也的畫明顯受到後印象派大師 Georqes Seurat 影響，Georqes Seuratu應用19世紀末光學物理上的發現，樹立了畫風獨特的點描法，也就是組合、排列不同的色點來描繪形體，然而塚本智也與傳統點描法最大的分別在他把這些色點距離拉開，加入東方概念的留白，他用原色和空氣噴槍改變了既有的光學定律，讓它們臣服於他的意志然後藉由他豐富的想像力創造了新的定律。塚本智也的畫深入探討和解構「光與影的邊境」，必須透過觀賞者的視網膜方能感知它用空氣噴槍所創造的三原色層層堆砌，同時以點描畫出傳統日本畫中栩栩如生的弧線，讓形體的輪廓從不同的側影中慢慢浮現，如此一來他完全掌握了形體過渡、瞬息的痕跡，同時在消失後還能感受它的存在。塚本智也畫中的形體棲息在一個詭譎的世界，陰影可以是白色的，邊際可以是無色的，因此儘管大都是我們熟悉的形體，看起來不但陌生而且超現實，但是這麼一來卻也是他的畫充滿了生命的脈動。文

觀止堂

Tomoya’s work is clearly influenced by that of the great post-impressionist master Gerorges Seurat. The founder of pointillism, Seurat applied the discoveries of late 19th century optical scientist to painting creating his distinctive style in which images were formed by the juxtaposition of dots different colors. However, in a notable departure from traditional pointillism, Tomoya expands the spots filling his paintings with the oriental concept of negative space. Using only primary colors and an air brush, he then bends the laws of optics to his will creating new laws out his imagination. The objects in his paintings inhabit a world were shadows are sometimes white, and their edges are formed by the absence of color. Thus, seemingly familiar objects are made surreal and unfamiliar… The paintings pulsate with life. Text / ADMIRA Gallery

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322 Soichi YAMAGUCHI (Japanese, b. 1983)

The Direction of Sight 2010 Acrylic on cotton cloth 162 x 162 cm Signed on the reverse Soichi Yamaguchi in Japanese and English, dated 2010

NT$ 900,000-1,300,000 HK$ 222,000-321,000 US$ 28,600-41,300

山口聰一視線的方向 2010 壓克力棉布 162 x 162 cm 簽名畫背：2010 山口聰一 Soichi Yamaguchi

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323 Mayuka YAMAMOTO (Japanese, b. 1964)

Two Moon Bears 2008 Oil on canvas 194 x 162 cm Signed on the reverse Mayuka Yamamoto, titled two moon bears in English, and dated 2008

NT$ 900,000-1,300,000 HK$ 222,000-321,000 US$ 28,600-41,300

山本麻友香月光熊 2008 油彩畫布 194 x 162 cm 簽名畫背：two moon bears Mayuka Yamamoto 2008

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324 Hiroyuki MATSUURA (Japanese, b. 1964)

HOU-OH 2007 Acrylic with gold foil on canvas 162 x 162 cm Signed on the reverse Hiroyuki Matsuura in English dated 2007.2.4 EXHIBITED: Acrylic Skin / Existence - Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, December 13, 2008 - January 4, 2009

NT$ 950,000-1,600,000 HK$ 235,000-395,000 US$ 30,200-50,900

松浦浩之鳳凰 2007 壓克力金箔畫布 162 x 162 cm 簽名畫背：Hiroyuki Matsuura 2007.2.4 展覽：「松浦浩之個展」，誠品畫廊，台北，展期自2008年12月13日至2009年1日4日

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325 Yoshitaka AMANO (Japanese, b. 1952)

Stop (diptych) 2008 Automotive paint on aluminum panel 200 x 200 cm Signed on the right edge Y, Amano in English

NT$ 1,500,000-2,400,000 HK$ 370,000-593,000 US$ 47,700-76,300

天野喜孝停止（雙聯幅） 2008 汽車漆鋁板 200 x 200 cm 簽名右下側：Y. Amano

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326 Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

野末

Field End

1989 壓克力畫布 38 x 45.5 cm 簽名題識畫背：野末 Yayoi Kusama 1989

1989 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama in English, titled Field End in Japenes, dated 1989

附草間彌生工作室開立之原作登錄卡

This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 3,800,000-4,800,000 HK$ 938,000-1,185,000 US$ 120,900-152,700 1929年出生於日本松本市鄉間的草間彌生，童年時期即飽受種種幻聽、幻覺的侵擾，每一天都在與痛苦、不安與恐怖戰鬥，她藉由不斷地繪畫排解心中難以言喻的不安，支持自己在從病症裡掙脫，藝術創作，遂成為支持她存活下去的手段。1957年，草間彌生隻身赴美，在藝文薈萃同時也是競爭最為激列殘酷的紐約嶄露頭角，成為當時紐約前衛藝壇的先峰人物。而在1973年，她毅然決然地離開紐約回到日本，告別了鎂光燈的追逐，在東京的精神療養院裡專心創作。繪於1989年的《野末》即為草間彌生回到日本定居之後的成熟之作。圓點佔據了草間彌生的世界，而經由刻骨的提煉與轉化，圓點亦成為她獨特的標幟性創作語彙。《野末》以鮮豔的色彩與簡潔的造形描繪了大自然的盡頭，紅色蝴蝶飛舞於綠野之上，遠山起伏，沒有任何人類的蹤跡，或大或小的圓點滿佈其中，而天空閃爍著詭異的紅色。《野末》一作繽紛而充滿童趣，卻也隱藏著迷亂與不安。人們總愛彰顯蝴蝶美麗的翅膀，草間彌生筆下的蝴蝶卻有著像是毛毛蟲般碩大的身軀，柔軟而充滿肉感，透露了生物野性的本質，而滿佈於畫面的圓點讓這明媚的景色產生震顫，鋸齒狀的邊緣帶來內心微微的剌痛感。正是這般無限漫延的神秘魅惑，使得草間彌生的作品如此令人著迷。 Born in a rural area near Matsumoto, Japan in 1929, Yayoi Kusuma suffered from hallucinations as a child; every day was a never-ending struggle with misery and fear. Through constant painting, Kusuma was able to find a release for the unease that plagued her; art provided a means of coping with her mental illness, and gave her a reason to go on living. In 1957, Kusuma traveled to New York (which at that time was home to the most exciting, but also the most competitive, art scene in the world), where she became a leading member of the avant garde. In 1973, Kusuma suddenly abandoned the bright lights of New York to return to Japan, where she voluntarily had herself admitted to a Tokyo mental hospital so that she could concentrate on her artistic creation. “Field End,” which was painted in 1989, is a mature work from the period after Kusuma returned to Japan. Polka dots filled Kusuma’s mental universe, and through rigorous self-cultivation she succeeded in turning polka dots into a key element in her artistic lexicon, an element that has become synonymous with the name Yayoi Kusuma. In “Field End,” Kusuma uses bright colors and simple shapes to depict the “end” of nature. Red butterflies flit about over green pastures; mountains rise up in the distance. There is no sign whatsoever of human habitation; the picture is covered with dots of various sizes, and a strange red light flickers in the sky. While “Field End” is full of color and a childlike sense of fun, it also embodies a sense of uncertainty and unease. People always tend to focus on butterflies’ beautiful wings, but Yayoi Kusuma has given her butterflies thick, caterpillarlike bodies that are soft and fleshy, revealing the essential nature of butterflies as wild creatures. The dots that fill the canvas cause the scene to “pulsate,” while the saw-tooth edge to the pasture creates a slight sense of pain and anxiety. It is precisely this sense of boundless mystery that gives Yayoi Kusuma’s paintings their immense appeal.

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327 Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

小朝聖者（夢遊娃娃）

The Little Pilgrim (Night Walking)

1999 玻璃纖維壓克力顏料棉布 9/10 43(長) x 45.7(寬) x 71.8(高) cm

1999 Fiberglass acrylic, cotton, no. 9/10 43(L) x 45.7(W) x 71.8(H) cm EXHIBITED: Setagaya Art Museum, Japan, February - March 1999 Walk On, Chicago, Museum of Contemporary Art, Walk On, March - June 2000 In In the Empty Fortress, Galerie Jöhnen & Schöttle, Cologne, Germany March – April, 2000 Yoshitomo Nara: Lullaby Supermarket, Institute für moderne Kunst, Nuremberg, Germany, and Michael Zink Gallery, Munich, Germany, September - November 2002 LLLUSTRATED: Yoshitomo Nara: Ukiyo, Tokyo, S. Goto, Japan, 1999 M. Rothenberger, ed., Yoshitomo Nara: Lullaby Supermarket, Nurnberg, Germany, 2002, color illustrated, pp. 14, 140-141 & 197 CREAM 3: Contemporary Art in Culture: 10 Curators, 100 Contemporary Artists, 10 Source Artists, London, U.K., 2003, p. 242 color illustrated Not Afraid, Rubell Family Collection, Mark Coetzee, New York,U.S.A., 2004, p. 87 color illustrated

NT$ 5,500,000-6,500,000 HK$ 1,358,000-1,605,000 US$ 174,900-206,700

展覽：世田谷美術館，日本，展期自1999年2月至3月《走吧》，芝加哥當代美術館，芝加哥，美國，展期自 2000年3月至6月《在空蕩的堡壘》，約翰•舒修特畫廊，科隆，德國，展期自2000年3月至4月《奈良美智：搖籃曲市場》，當代美術中心，紐倫堡，德國；麥可錫克畫廊，慕尼黑，德國，展期自2002年 9月至11月圖錄：《奈良美智：浮世繪》，後藤繁雄，日本，1999 《奈良美智：搖籃曲市集•羅森柏格限定版》，紐倫堡，德國，2002，彩色圖版，頁14，頁140-141，頁197 《CREAM 3：當代藝術文化》，菲登出版，倫敦，英國，2003，彩色圖版，頁242 《無懼：魯貝爾家庭族收藏》，馬克・庫切，菲登出版，紐約，美國，2004，彩色圖版，頁87

◎與你的童年相遇上週看了再過76天就要小學畢業的女兒寫的一篇作文－「給20年後的自己的一封信」，她這麼寫著：「20年後的我，你好嗎？你開心嗎？你還記得小時候的夢想嗎？你覺得我會喜歡現在的你嗎？……」。這樣童年的我和現在的我對話，其實就是奈良美智一貫的創作基調，帶著挑釁或是憤怒或是受傷或是不爽或是無辜的大頭娃娃，就是奈良自己。透過和童年的對話，深受大眾喜愛的當代藝術家奈良美智，依然守護著不忘初衷的承諾，堅持走自己的路，因為這是他和小小奈良的鐵桿的約定。 → I DON’T MIND IF YOU FORGET ME 【回想起來，驅使我走向畫畫之路的是鄉愁，而那所聯繫的應該是回到幼年時期的旅行吧。】「你」指的是「童年」，其實並不是不在意你忘了我，而是一種你和我都不會忘記彼此的深深的確信，這是奈良對以往作品想說的話，相反的，這也是作品想對奈良說的話。對童年如此，對成長的體驗，對過往難忘的回憶，還有對生命裡遇見過的人，也都是如此。一路走來，總是懷著感恩的心情，懷著童真。 → NEVER FORGET YOUR BEGINNER’S SPIRIT! 【到頭來所有的東西原本就已存在自己的心中，這點千萬不能忘記。小時候所學的事物、學習的心情、好奇心、求知慾……還有純真情感的問題。這些全部都不是發現，而是再發現。】不要被現實左右，也不要被成功矇蔽，奈良說，「滿足感？那種低劣的東西！去吃屎吧！」就是要理所當然地活著，就是要理所當然地畫著，勇往直前，不要成為怠惰者。讓感覺變透徹，用五感！還有六感！不要吝惜超越現在的自己的努力！ → IT’S ONLY CHEAP THINGS, BUT I LIKE IT. 【因為，就是喜歡，沒有其他理由。】在藝術上，奈良從不知道，也不想去思考自己處於什麼樣的位置。對他來說，只要動機湧現就去行動，如此而已。熱愛繪畫、熱愛搖滾的奈良總喜歡大聲聽著音樂畫畫，「藝術要拚命學習，搖滾也是如此吧！」他說。 → FUCK OFF THE DEFEATISTS! NEVER ENDING FIGHT!!!!!!!!!! 【比起挑戰做不到的事情，更重要的是，以200%的努力去做100%能做到的事吧！吧！吧！吧！】不要有那種一心想成為人生勝利組的小氣的想法，其實面對未來，只要有不怕輸的勇氣就行了。對奈良來說，人生不是在談論輸贏，而是和志同道合的夥伴一起在這個時代生存下去。而所謂的壓力和自我意識，都是為了反射自己才存在的，既然是這樣，何必抵抗那個動力，就加上加速度向目標衝撞過去吧！

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→ PAVE YOUR DREAMS, MAKE A ROAD! 【面對年老，無所事事的話就會腐朽了。面對時差，如果自己逃避就會墮落了。要腐爛？等死了再腐爛就夠了！】夢遊娃娃不是真的有什麼睡眠障礙，而是他或她一直向著夢想前進，即使睡覺了也沒有忘記。那是個單純的決心，和單純的信心。奈良說，即便感到迷惘、煩惱，明天毫無疑問仍會到來。既然如此，為什麼要停下來？活著若是通往死亡的道路，應該是沒有時間鬱鬱寡歡的，不是嗎？ → GOOD NIGHT BABY! 草間彌生給奈良的信上說，「在我心情低落的時候，都會一直看著你的作品，然後心情就會漸漸覺得舒暢，在幻想世界裡得到放鬆……。」，奈良的異姓兄弟藝術家村上隆，也是奈良的死忠收藏家，記者問他，「奈良的作品不是很貴嗎？」，村上隆笑說，「很貴？哈哈，其實也沒那麼貴啦！因為那是台『時光機器』呀！」，是啊，如果能與童年相遇，你會在乎這個嗎？（p.s.英文小標均為奈良作品中出現過的文字，引文參酌NARA NOTE奈良手記）

（文/張國權） ◎ An Encounter with Your Childhood Last week, I was looking over an essay written by my daughter, who will be graduating from elementary school in 76 days’ time. In this “Letter to Myself 20 Years From Now,” she had written: “Hello, my 20-years-from-now self! How are you? Are you happy? Do you still remember the dreams you had when you were my age? Do you think I would like you as you are now? …” This kind of dialogue between the child self and the now self has always been the keystone of Yoshimoto Nara’s creative work. The large-headed children that Nara paints and sculpts, who may look naughty, angry, hurt, upset or innocent, are in fact Nara himself. Through this dialogue with childhood, Yoshimoto Nara (a contemporary artist who is very popular both with critics and with the general public) remains true to a promise that he made to himself years ago; Nara continues to go his own way, because in doing so he remains true to the young Nara that he was. → I DON’T MIND IF YOU FORGET ME “Looking back, I think that what impelled me to make painting my career was nostalgia; it all relates to taking a trip back into childhood.” In “I don’t mind if you forget me,” the “you” is childhood, and it is not so much a case of me not caring about you forgetting me as that neither of us will ever forget the deep-rooted trust that exists between us. This is what Nara is striving to say to his past work, and at the same time it is also what his past work is saying to Nara. This applies not only to childhood, but also to the experience of growing up, to unforgettable memories from the past, and to people one meets over the course of one’s life. Throughout all of this, there has always been a sense of gratitude and a treasuring of childhood innocence. → NEVER FORGET YOUR BEGINNER’S SPIRIT! “At the end of the day, everything is already there in your heart; this is something which it is very important to remember. All the things that you can learn when you are small, how you felt when you were studying, your curiosity, your desire to learn … and also the innocent feelings that you had for others. These are all not so much discoveries as rediscoveries.” You mustn’t let yourself be manipulated by reality, and you mustn’t allow yourself to be blinded by success. Nara once said: “A sense of satisfaction? That’s too base and pathetic for words! Stuff that!” As Nara sees it, the important thing is to live casually, and to paint casually, moving boldly onwards, and not allowing oneself to become lazy or self-satisfied. Make your feelings clear and transparent. Use all of your senses! Including your sixth sense! Don’t be afraid to make an effort that seems to be more than the present you is capable of!

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→ IT’S ONLY CHEAP THINGS, BUT I LIKE IT. “I just like it. There’s no why or wherefore to it.” When it comes to his art, Yoshimoto Nara has never known, and has never wanted to know, what “place” he occupies in the art world. As far as he’s concerned, when he feels motivated to create art, he creates it; it is as simple as that. Nara, who is as passionate about rock music as he is about art, always likes to listen to loud music when he is painting. “In art, you are always learning, and the same is true in rock music!” he says. → FUCK OFF THE DEFEATISTS! NEVER ENDING FIGHT!!!!!!!!!! “Rather than trying to do things that are beyond you, the important thing is expend twice as much effort doing the things that you can do!” It’s important to focus on not becoming one of those small-minded people who are determined to be “winners.” In reality, when facing up to the future, all that matters is to be brave and do your best. As far as Yoshimoto Nara is concerned, life isn’t about winning or losing, it’s about working together with likeminded individuals to survive in this challenging era in which we live. “Pressure” and “self-consciousness” are really just reflections of the self. Given that this is the case, why resist the force that is acting on you? Just speed up, and power forwards towards your goal! → PAVE YOUR DREAMS, MAKE A ROAD! “When you start to get old, if you just sit around doing nothing you will rot away inside. When faced with the passing of time, if you try to ignore it or escape from it, you will be lost. Think you are going to atrophy? Wait until you are dead and then you can atrophy!” The sleep-walking child isn’t really suffering from any kind of sleep disorder; it is just that he or she is always moving forward towards realizing their dreams, and does not forget this even when they are asleep. It is simple determination, and pure confidence. Yoshimoto Nara has commented that, even when you feel lost or worried, tomorrow will still come whether you like it or not. So why stop? If living is the road that leads to death, then surely there is no time to mope and be miserable, is there? → GOOD NIGHT BABY! In a letter to Yoshimoto Nara, the artist Yayoi Kusuma told him that: “Whenever I am depressed, I look at your work, and then I gradually start to feel better; in the fantasy world that you create, I am able to relax …” Renowned artist Takashi Murakami is a close friend of Yoshimoto Nara, and also a passionate collector of Nara’s work. A journalist once asked Murakami: “Isn’t Nara’s work a little overpriced?” Laughing, Murakami replied: “Overpriced? Ha ha! No, it’s actually not expensive at all. Because you are buying a ‘time machine’!” Exactly! If you had the chance to reconnect with your childhood, would you worry about how much it cost? (Note: The English sub-titles in “all caps” are texts that have appeared in Yoshimoto Nara’s work over the years; see Nara’s published diary “Nara Note”)

Text by Chang Kuo-ch’uan

328 Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜 No. 1613，1614，1615

Pumpkin No. 1613, 1614, 1615

1991 壓克力陶器（單一件） 11 x 11 x 7 cm（1613） 12 x 12 x 5 cm（1614） 10.5 x 10.5 x 7.5 cm（1615）簽名底部：Y. KUSAMA 1991 かぼちゃ（1613） YAYOI KUSAMA 1991 かぼちゃ（1614） YAYOI KUSAMA 1991 かぼちゃ（1615）

1991 Acrylic on ceramic (unique) 11 x 11 x 7 cm (1613) 12 x 12 x 5 cm (1614) 10.5 x 10.5 x 7.5 cm (1615) Signed on the bottom Y. KUSAMA in English, titled Pumpkin in Japanese and dated 1991 Signed on the bottom YAYOI KUSAMA in English, titled Pumpkin in Japanese and dated 1991 Signed on the bottom YAYOI KUSAMA in English, titled Pumpkin in Japanese and dated 1991 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.

附草間彌生工作室開立之原作登錄卡

NT$ 2,000,000-3,000,000 HK$ 494,000-741,000 US$ 63,600-95,400 畫布以外，草間彌生還以立體進行創作，把她的南瓜呈現在感官所能觸及的真實空間，提供多一層次的視覺刺激。其色彩斑斕的雕塑釋放著強韌的生命力，那沒有全然對稱的南瓜造型，更能表現出自然的真我；儘管以靜態的形式出現，但豐盛的生命力並沒有絲毫減退。和現實中葫蘆科的南瓜品種一樣，草間彌生的《南瓜》雕塑呈扁球狀，褶曲在表面上形成了高低起伏的接觸面，凹陷處成溝，隆起處成丘，構成了更豐盈的立體質感。草間彌生以細膩的筆觸，把密密麻麻的黑點整齊地繪畫在南瓜上，排成列狀的大小波點形成了細緻的條紋，賦予雕塑極大的感染力，進一步突顯出南瓜的立體感。草間彌生表示：「波點擁有太陽的形狀，是世界和生命力的象徵；它同時有著月亮的形狀，散發著安寧靜謐的氣息。圓形、柔軟、色彩斑斕、無知無覺、不可捉摸，波點成了一種運動，是通往無限的方式。」草間彌生的《南瓜》雕塑，捕捉了波爾卡圓點生動而迷離的本質，她以靈活的結構和佈局，把簡單的南瓜轉化成一個充滿活力的實體，超越了其性質的界限。 Leaving the canvas and taking three-dimensional form, Pumpkin brings Yayoi Kusama’s visually stimulating compositions to tangible reality. Carefully sculpted in the asymmetrical imperfection of true life, Pumpkin commands attention and consideration despite its static and deceptively simple nature. Arranged in trooping lines of various size along the swells and valleys of the globular gourd, Kusama’s iconic black dots emphasize the dimensional texture of the sculpture, adding further depth and elevating the form beyond conventional aspect. The spherical nature of the pumpkin’s structure echoes the meticulous stripes of dots, establishing the sculpture as a conceptual emblem of the dot itself. “A polka dot has the form of the sun,” states Kusama, “which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.” In Pumpkin, Kusama has captured this sensational essence of the polka dot, reflected in the structure, composition, and pattern of the simple pumpkin, creating a vibrant, living form which exceeds the boundaries of its stationary nature.

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329 Yayoi KUSAMA (Japanese, b. 1929)

Untitled (unique) 1984 Mixed media 9(L) x 9(W) x 8(H) cm Signed on the botten YAYOI KUSAMA in English and dated 1984 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 800,000-1,000,000 HK$ 198,000-247,000 US$ 25,400-31,800

草間彌生無題（單一件） 1984 綜合媒材 9(長) x 9(寬) x 8(高) cm 簽名底部：YAYOI KUSAMA 1984 附草間彌生工作室開立之原作登錄卡

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330 Madoka TAKAGI (Japanese, b. 1983)

Alittle-101 2008 Mixed media 18(L) x 11(W) x 16(H) cm Signed on the botton Alittle - 101 Madaka

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

高木圓小小—101 2008 綜合媒材 18(長) x 11(寬) x 16(高) cm 簽名底部：Alittle - 101 Madaka

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331 Fumio YAMAZAKI (Japanese, b. 1974)

Deer 2013 Painted camphor 23(L) x 20(W) x 74(H) cm Engraved initials on the bottom F.Y and dated 2013 EXHIBITED： Fumio Yamazaki Solo Exhibited, Imura Art Museum, Kyoto, August 4 - 30, 2008

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

山崎史生鹿 2013 彩繪樟木 23(長) x 20(寬) x 74(高) cm 簽名雕刻底部：2013 F.Y 展覽：「山崎史生個展」，井村美術館，京都，展期自2008年8月4日至30日

332 HEO Suyoung

許修榮

(Korean, b. 1984)

陽山洞 01

Yangsandong 01

2013 油彩畫布 180 x 130 cm 簽名畫背：양산동 01 oil on canvas 180 x 130 cm 2013

2013 Oil on canvas 180 x 130 cm Signed on the reverse Heo Suyoung and titled Yang sandong 01 both in Korean, inscribed oil on canvas, 180 x 130 cm, dated 2013 EXHIBITED: Recent Paintings, Insa Art Space of the Art Council Korea, Seoul, Korea, May 10 May 31, 2013 Things Varying in Form-From Things to Beings, Gwangju Museum of Art, Gwangju, Korea, September 3 - November 10, 2013 Multifarious Appearances of Ten Thousand Things, Nam Seoul Living Arts Museum, Seoul, Korea, June 10 - August 10, 2014 The Eyes of the Times – Painting: Multi – painting, OCI museum, Seoul, Korea, September 12 - October 31 2014

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

240

展覽：「許修榮個展」近期繪畫，仁寺藝術空間，韓國藝術委員會，首爾，南韓，展期自2013年5月10日至5月31日「萬物變・無機到有機」光州美術館，光州，南韓，展期自2013年9月3日至11月10日「一萬種事物的五花八門」南首爾生活美術館，首爾，展期自2014年6月10日至8月10日「時代之眼—繪畫：多樣性繪畫」，OCI 美術館，首爾，展期自2014年9月12日至10月31日

333 LEE Seung Min (Korean, b. 1978)

The Positive Conspirator 2008 Oil on canvas 194 x 130.5 cm Signed on the reverse Lee S. M. in English and dated 2008

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

李承玟正向的密謀者 2008 油彩畫布 194 x 130.5 cm 簽名畫背：Lee S. M. 2008

334 KIM Taeho

(Korean, b. 1948)

Internal Rhythm 2013-25 2013 Acrylic on canvas 163.5 x 131 cm Signed on the reverse KIM TAE-Ho in Chinese and English, titled Inrernal Rhythm 2013-25 in Chinese and English, inscribed 163.5 cm x 131 cm Acrylic on canvas, dated 2013 EXHIBITED: Kim Taeho, Gallery Rho, Seoul, May 14 - 27, 2014

NT$ 1,700,000-2,400,000 HK$ 420,000-593,000 US$ 54,100-76,300

金泰浩內在的節奏 2013-25 2013 壓克力畫布 163.5 x 131 cm 簽名畫背：金泰浩內在律 2013-25 KIM TAE-Ho Inrernal Rhythm 2013-25 163.5 cm x 131 cm Acrylic on canvas 2013 Taeho Kim 展覽：「金泰浩個展」，Gallery Rho，首爾，展期自2014年5月14日至27日

242

335 KIM Taeho

(Korean, b. 1948)

Internal Rhythm 2013-28 2013 Acrylic on canvas 163 x 131 cm Signed on the reverse KIM TAE-Ho in Chinese and English, titled Internal Rhythm 2013-28 in Chinese and English, inscribed 163 cm x 131 cm Acrylic on canvas, dated 2013 EXHIBITED: Kim Taehol, Gallery Rho, Seoul, May 14-27, 2014

NT$ 1,700,000-2,400,000 HK$ 420,000-593,000 US$ 54,100-76,300

金泰浩內在的節奏 2013-28 2013 壓克力畫布 163 x 131 cm 簽名畫背：金泰浩內在律2013-28 KIM TAE-Ho Internal Rhythm 2013-28 163 cm x 131 cm Acrylic on canvas 2013 Taeho Kim 展覽：「金泰浩個展」，Gallery Rho，首爾，展期自2014年5月14至27日

244

336 LEE Jung-woong (Korean, b. 1963)

Brush Oil on Korean paper 140 x 200 cm

NT$ 1,100,000-2,200,000 HK$ 272,000-543,000 US$ 35,000-70,000

李錠雄毛筆油彩韓國紙 140 x 200 cm

246

337 CHEN Liu

(Chinese, b. 1973)

The Celestial Battle - Broadswords and Hammers 2007 Oil on canvas 140 x 200 cm Signed lower right Chen Liu in Chinese and dated 2007.6 ILLUSTRATED: Chen Liu: The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, p. 78

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

陳流天空界對打系列之雙刀與雙鎚 2007 油彩畫布 140 x 200 cm 簽名右下：陳流 2007.6 圖錄：《陳流：天降大任》，藏新藝術有限公司，台北，2008，彩色圖版，頁78

248

338 CHEN Liu

(Chinese, b. 1973)

New Celestial Series – Immortal 2008 Oil on canvas 200 x 140 cm Signed lower right Chen Liu in Chinese and dated 2008

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

陳流新天空界之天神下凡 2008 油彩畫布 200 x 140 cm 簽名右下：陳流 2008

339 PENG Si

彭斯

(Chinese, b. 1980)

老者（華山道士）

Elderly (Daoist of Huashan)

2010 油彩畫布 70 x 60 cm 簽名右下：PENG SI 2010 華山道士

2010 Oil on canvas 70 x 60 cm Signed lower right PENG SI in English, titled Daoist of Huashan and dated 2010 EXHIBITED: The Charm of Classic, Youth Oil Painting Exhibition, Manet Art Space, Beijing, April 2-29, 2011

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

250

展覽：「經典魅力，青年油畫家邀請展」，馬奈草地·印象藝術中心，北京，展期自2011年4月2日至4月29日

340 Max LIU (LIU Chi-wei)

劉其偉

(Taiwanese, 1912 - 2002)

非洲的巫師 – 2

African Shaman – 2

1988 水彩蠟筆紙本 49.5 x 34.5 cm 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〨 '88

1988 Watercolor and crayon on paper 49.5 x 34.5 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated '88

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

341 Max LIU (LIU Chi-wei) (Taiwanese, 1912 - 2002)

Geometric Horse 1989 Mixed media on paper 35.5 x 50.5 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated '89

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

252

劉其偉幾何馬 1989 綜合媒材紙本 35.5 x 50.5 cm 簽名右下：ㄌㄧㄡˊ ㄑㄧˊ ㄨㄟˇ 〡〩〨〩 '89

342 YEH Huo-cheng (Taiwanese, 1908 - 1993)

Northeast Coast, Taiwan 1991 Oil on canvas 50 x 60.5 cm Signed lower left Huo-cheng in Chinese and dated 1991

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

葉火城東北角 1991 油彩畫布 50 x 60.5 cm 簽名左下：火城 1991

343 HUNG Jui-lin

(Taiwanese, 1912 - 1996)

Drizzling in Yehliu 1975 Oil on canvas 36 x 45.5 cm Signed lower left Hung in English and dated 1975

NT$ 420,000-550,000 HK$ 104,000-136,000 US$ 13,400-17,500

洪瑞麟野柳斜雨 1975 油彩畫布 36 x 45.5 cm 簽名左下：1975 Hung

254

344 JAN Chin-shui (Taiwanese, b. 1953)

Snowed Valley 2014 Mixed media on canvas 130 x 194 cm Signed lower right Chin-shui in Chinese and dated 2014 Signed on the reverse Jan Chin-shui and titled Snowed Valley in Chinese, inscribed 120F, dated 2014

NT$ 420,000-550,000 HK$ 104,000-136,000 US$ 13,400-17,500

詹金水冰峰雪谷 2014 綜合媒材畫布 130 x 194 cm 簽名右下：金水 2014 簽名畫背：詹金水 2014年 120F 冰峯雪谷

345 QI Haiping

(Chinese, b. 1957)

Painting of Dense Mist No. 65 2007 Oil on canvas 145.5 x 112 cm Signed lower right Haiping in Chinese and dated 2007.12

NT$ 550,000-650,000 HK$ 136,000-160,000 US$ 17,500-20,700

祁海平氤氳圖 No. 65 2007 油彩畫布 145.5 x 112 cm 簽名右下：海平 2007.12

256

346 LU Hsien-ming

陸先銘

(Taiwanese, b. 1959)

彷彿

Somewhere Upon a Time

2011 綜合媒材 90 x 130 cm 簽名畫背：陸先銘 2011.8

2011 Mixed media 90 x 130 cm Signed on the reverse Lu Hsien-ming in Chinese and dated 2011.8 ILLUSTRATED: A city of silence, Lin&Lin Gallery, Taipei, 2014, color illustrated, p. 149

NT$ 300,000-500,000 HK$ 74,000-123,000 US$ 9,500-15,900

圖錄：《無聲之城》，大未來林舍畫廊，台北，2014，彩色圖版，頁149

347 LI Jisen

李繼森

(Chinese, b. 1970)

智鬥

An Intellectual Battle

2007 壓克力畫布 180 x 150 cm 簽名右下：李繼森 Li Jisen 2007.2 簽名畫背：《智鬥》 180 cm x 150 cm 2007.2. 李繼森

2007 Acrylic on canvas 180 x 150 cm Signed lower right Li Jisen in Chinese and English, dated 2007.2 Signed on the reverse Li Jisen in Chinese, titled An Intellectual Battle in Chinese, inscribed 180 cm x 150 cm, dated 2007.2

NT$ 500,000-600,000 HK$ 123,000-148,000 US$ 15,900-19,100

258

348 YANG Din

(Chinese, b. 1958)

楊登雄

La Table Billiard

檯球

1997 Oil on canvas 162 x 130 cm Signed lower center Yang Din in English

1997 油彩畫布 162 x 130 cm 簽名中下：Yang Din

ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, p. 55

圖錄：《楊登雄》，季豐軒畫廊，香港，2002，彩色圖版，頁55

NT$ 500,000-700,000 HK$ 123,000-173,000 US$ 15,900-22,300

349 PAN Honghai (Chinese, b. 1942)

Summer Acrylic on canvas 80 x 100 cm signed lower right H. H. PAN in English, Hai in Chinese

NT$ 550,000-850,000 HK$ 136,000-210,000 US$ 17,500-27,000

潘鴻海夏日壓克力畫布 80 x 100 cm 簽名右下：H. H. PAN 海

260

350 Alixe FU (FU Qing-li, Ching-Fong) (Chinese-French, b. 1961)

Enfants à la Terre 1991 Oil on canvas 130 x 195 cm Signed lower right Alixe Fu in English and dated 1991 ILLUSTRATED: Alixe Fu, Taipei, 1992, color illustrated, pp. 24-25

NT$ 550,000-750,000 HK$ 136,000-185,000 US$ 17,500-23,900

傅慶豊大地兒女 1991 油彩畫布 130 x 195 cm 簽名右下：Alixe Fu 91 圖錄：《傅慶豊》，台北，1992，彩色圖版，頁24–25

351 HUNG Jui-lin

(Taiwanese, 1912 - 1996)

Nude 1975 Oil on canvas 45 x 37 cm Signed lower left Hung in Chinese and dated 1975 EXHIBITED: J. L. Hung, Galerie Elegance, Taipei, March 1991 Special Exhibition of Taiwan Centenary - The Eight Greatest Taiwan Artists, InSian Gallery, Taipei, November 5 - 26, 2011 ILLUSTRATED: J. L. Hung, Galerie Elegance, Taipei, 1991, color illustrated, p. 26 Special Exhibition of Taiwan Centenary - The Eight Greatest Taiwan Artists, InSian Gallery, Taipei, 2011, color illustrated, p. 66

NT$ 550,000-650,000 HK$ 136,000-160,000 US$ 17,500-20,700

262

洪瑞麟裸女 1975 油彩畫布 45 x 37 cm 簽名左下：洪 1975 展覽：「洪瑞麟」，愛力根畫廊，台北，1991年3月「100年國寶藝術家特展」，印象畫廊，台北，2011年，展期自2011年11月5日至26日圖錄：《洪瑞麟》，愛力根畫廊，台北，1991，彩色圖版，頁 26 《100年國寶藝術家特展》，印象畫廊，台北，2011，彩色圖版，頁66

352 YANG San-lang

(Taiwanese, 1907 - 1995)

Paysage Oil on canvas 45.5 x 53 cm Signed lower left S. Yang in English

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

楊三郎風景油彩畫布 45.5 x 53 cm 簽名左下：S.Yang

353 YANG San-lang

(Taiwanese, 1907 - 1995)

Fishing Village, Yeliou Oil on canvas mount onto fiber board 38 x 45.5 cm Signed lower left S.YANG in English

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,400

楊三郎野柳漁村油彩畫布裱於纖維板 38 x 45.5 cm 簽名左下：S.YANG

264

354 HSIEH Hsiao-de (Taiwanese, b. 1940)

Overlook the River from the Top 2013 Watercolor on paper 56 x 75.5 cm Signed lower right Hsieh Hsiao-De in Chinese and dated 2013 ILLUSTRATED: Hsieh-Hsiao-De Fine Works Retrospective, Top Art, Taipei, 2014, color illustrated, no. 177 This painting is to be sold with a certificate of authenticity issued by Top Art , Taipei.

NT$ 30,000-60,000 HK$ 7,000-15,000 US$ 1,000-1,900

謝孝德登山臨水 2013 水彩紙本 56 x 75.5 cm 簽名右下：2013 謝孝德

355 HSIEH Hsiao-de (Taiwanese, b. 1940)

Green Field 2010 Watercolor on paper 56 x 76 cm Signed lower left Hsieh Hsiao-de in Chinese, and dated 2010 EXHIBITED: Hsieh Hsiao-De, National Changhua Living Art Center, Changhua, August 7-31, 2014 ILLUSTRATED: Hsieh Hsiao-De, National Changhua Living Art Center, Changhua, color illustrated, p. 89

NT$ 30,000-80,000 HK$ 7,000-20,000 US$ 1,000-2,500

謝孝德綠野仙境 2010 水彩紙本 56 x 76 cm 簽名左下：2010 謝孝德展覽：「遊情寫意—謝孝德精品典藏展」，國立彰化生活美學館，彰化，展期自2014年8月7日至31 日圖錄：《遊情寫意—謝孝德精品典藏展》，國立彰化生活美學館，彰化，彩色圖版，頁89

266

圖錄：《謝孝德精品回顧展》，拓樸藝術，台北， 2014，彩色圖版，編號177 附拓樸藝術開立之原作保證書

356 LIN Yao-sheng (Taiwanese, b. 1954)

Small Town 1993 Oil on canvas 60.5 x 72.5 cm Signed lower left Yao-sheng in Chinese and dated 1993

NT$ 60,000-120,000 HK$ 15,000-30,000 US$ 1,900-3,800

林耀生小鎮 1993 油彩畫布 60.5 x 72.5 cm 簽名左下：耀生 '93

357 CHIANG Jui-keng (Taiwanese, b. 1922)

Beauty of Rui Fang 1988 Oil on canvas 45 x 53 cm Signed lower left Jui-Keng in Chinese and dated 1988

NT$ 60,000-120,000 HK$ 15,000-30,000 US$ 1,900-3,800

蔣瑞坑瑞芳之美 1988 油彩畫布 45 x 53 cm 簽名左下：1988 瑞坑

268

358 LIU Keng-I

劉耿一

(Taiwanese, b. 1938)

湖光樹影

Reflection on the Lake

1973 粉彩紙本 38 x 53 cm 簽名右下：耿一 73 簽名畫框木板：劉耿一大樹（山平頂）劉厝前景

1973 Pastel on paper 38 x 53 cm Signed lower right Keng-I in Chinese and dated 1973 Signed lower right Keng-I and titled Big Three both in Chinese The painting is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 70,000-140,000 HK$ 17,000-35,000 US$ 2,200-4,500

附敦煌畫廊開立之原作保證書

359 LIANG Yi-fen (Taiwanese, b. 1937)

Red Sofa 2008 Oil on canvas 80.5 x 130.5 cm Signed lower right LIANG in English, Yi-fen in Chinese and dated 2008 Signed on the reverse Liang Yi-fen in Chinese EXHIBITED: 2009 Liang Yifen Solo Exhibition, National Chiao Tung University Arts Center, Hsinchu, October 27 - November 18, 2009 ILLUSTRATED: Liang Yifen 2009, National National Chiao Tung University Arts Center, Hsinchu, 2009, color illustrated, no. 106, p. 118 Liang Yi-fen Fine Works Retrospective, Top Art, Taipei, 2014, color illustrated, no. 39

NT$ 70,000-140,000 HK$ 17,000-35,000 US$ 2,200-4,500

270

梁奕焚紅色沙發 2008 油彩畫布 80.5 x 130.5 cm 簽名右下：LIANG 奕焚 2008 簽名畫背：梁奕焚展覽：「開啟藝術新視野—梁奕焚2009個展」，國立交通大學藝文中心，新竹，展期自2009年10月27日至11月18日圖錄：《梁奕焚畫冊．2009》，名冠藝術，新竹，2009，彩色圖版，編號106，頁118 《梁奕焚精品回顧展》，拓樸藝術，台北，2014，彩色圖版，編號39

360 KING Fen-hwa (JING Fen-hua) (Taiwanese, b. 1955)

Make Up 1990 Oil on canvas 80.5 x 59.5 cm Signed lower right King Fen-hwa in Chinese and F. H. KING in English, dated 1990

NT$ 50,000-100,000 HK$ 12,000-25,000 US$ 1,600-3,200

金芬華裝扮 1990 油彩畫布 80.5 x 59.5 cm 簽名右下：金芬華 F.H.KING '90

361 HSIEH Hsiao-De (Taiwanese, b. 1940)

Guanyin Mountain 2011 Watercolor on paper 78 x 108.5 cm Signed lower right Hsieh Hsiao-de in Chinese and dated 2011

NT$ 50,000-100,000 HK$ 12,000-25,000 US$ 1,600-3,200

謝孝德觀音山 2011 水彩紙本 78 x 108.5 cm 簽名右下：2011謝孝德

362 CHANG Wan-chuan (Taiwanese, 1909 - 2003)

The Scenery of Tamsui Oil on cardboard 21 x 32 cm Singed lower right CHANG in English and wan in Chinese

NT$ 80,000-160,000 HK$ 20,000-40,000 US$ 2,500-5,100

張萬傳淡水風景油彩紙板 21 x 32 cm 簽名右下：CHANG.万

363 CHANG Wan-chuan (Taiwanese, 1909 - 2003)

Nude 1976 Oil on cardboard 25 x 18 cm Signed lower left CHANG in English and Wan in Chinese, dated 1976 Signed upper right CHANG in English and Wan in Chinese

NT$ 80,000-160,000 HK$ 20,000-40,000 US$ 2,500-5,100

張萬傳裸女 1976 油彩紙板 25 x 18 cm 簽名左下：1976 CHANG.万簽名右上：CHANG.万

272

364 DAI Ze

(Chinese, b. 1922)

Hills Flame with Maple Leaves 1994 Oil on canvas mount onto cardboard 41 x 51 cm Signed lower right Dai Ze in Chinese and dated 94

NT$ 80,000-160,000 HK$ 20,000-40,000 US$ 2,500-5,100

戴澤楓葉滿山 1994 油彩畫布裱於紙板 41 x 51 cm 簽名右下：戴澤 94

365 DU Xi

領袖

Leader

2015 油彩畫布 51 x 41 cm 簽名右下：杜溪 2015

2015 Oil on canvas 51 x 41 cm Signed lower right DU Xi in Chinese and dated 2015

NT$ 80,000-260,000 HK$ 20,000-64,000 US$ 2,500-8,300

274

杜溪

(Chinese, b. 1980)

366 HWANG Jyi

黃楫

(Taiwanese, b. 1953)

夢的溪流

Stream of Dream

1987-1989 油彩畫布 45.5 x 33 cm 簽名右下：楫 1989

1987-1989 Oil on canvas 45.5 x 33 cm Signed lower right Jyi in Chinese and dated 1989 ILLUSTRATED: Hwang Jyi, Galerie Elegance, Taipei, 1996, color illustrated, p. 184, no. 44 This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

圖錄：《黃楫繪畫全集》，愛力根藝術有限公司，台北， 1996，彩色圖版，頁184，圖44 附愛力根畫廊開立之原作保證書

367 CHUA Hu (TSAI Yun-cheng) (Chinese-Philipino, 1929 - 2009)

Lotus 1994 Crayon on paper 79 x 108.5 cm Signed lower right CHuA Hu in English and cheng in Chinese, dated 1994

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

蔡雲程荷花 1994 油性蠟筆紙本 79 x 108.5 cm 簽名右下：CHuA HU 1994 呈 yA

276

368 Chen Chao-Pao

陳朝寶

(Taiwanese, b. 1948)

敬神

Pray to God

1993 綜合媒材畫布 72 x 60 cm 簽名中下：朝寶九三鈐印：朝寶書畫

1993 Mixed media on canvas 72 x 60 cm Signed lower center Chao-Pao and dated 1993 in Chinese With one seal of the artist

NT$ 100,000-200,000 HK$ 25,000-49,000 US$ 3,200-6,400

369 LIU Guoshu

靜物

Still Life

1996 油彩畫布 74 x 51 cm 簽名右下：劉國樞 96 簽名畫背：劉國樞一九九六年絵

1996 Oil on canvas 74 x 51 cm Signed lower right Liu Guoshu in Chinese and dated 96 Signed on the reverse Liu Guoshu and dated 1996 both in Chinese This painting is to be sold with a certificate of authenticity issued by Shinman Gallery, Taichung.

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

278

劉國樞

(Chinese, b. 1919)

附新美畫廊開立之原作保證書

370 FEI Yifu

費以復

(Chinese, 1913 - 1982)

嶗山

Laoshan Mountain

1976 油彩畫布 50.5 x 68 cm 簽名畫背：嶗山費以復作 76年佩倩藏手繪鈐印左下：以復

1976 Oil on canvas 50.5 x 68 cm Signed on the reverse FEI Yifu and titled Laoshan Mountain in Chinese, inscribed owned by Pei Chiang, dated 1976 With one painted seal of the artist

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

371 FEI Yifu

(Chinese, 1913 - 1982)

Lotus Pond Oil on canvas 41.5 x 56.5 cm With one seal of the artist

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

費以復門前荷塘油彩畫布 41.5 x 56.5 cm 手繪鈐印右下：以復

280

372 HAN Wu-lin

(Taiwanese, 1947 - 2009)

Sunflower 1991 Oil on canvas 115 x 32 cm Signed lower right Wu in Chinese, Lin in English and dated 91 With one seal of the artist

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

韓舞麟向日葵 1991 油彩畫布 115 x 32 cm 簽名右下：舞 Lin 91

373 WANG Xiangming (Chinese, b. 1957)

Chinese Ties Series 2000 Oil on canvas 64.5 x 48.5 cm Signed lower right WANG Xiangming in English ILLUSTRATED： Painting by Wang Xiangming, Soka Art Center, Taipei, 2001, color illustrated, p. 177 The painting is to be sold with a certificate of authenticity issued by Soka Art Center, Tainan.

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

282

王向明中國情系列 2000 油彩畫布 64.5 x 48.5 cm 簽名右下：WANG Xiang ming 圖錄：《王向明畫集》，索卡國際藝術有限公司，台北，2001，彩色圖版，頁177 附索卡藝術中心開立之原作保證書

374 CHEN Ting-shih

陳庭詩

(CHEN Ting-shi) (Taiwanese, 1916 - 2002)

火炬

Torch

1976 版畫 14/40 74.5 x 55 cm 簽名下方：Torch 14/40 Chen Ting-shih Feb 1976

1976 Print, no. 14/40 74.5 x 55 cm Titled bottom Torch and numbered 14/40, signed Chen Ting-shih and dated Feb 1976 in English This work is tobe sold with a certificate of authenticity issued by Chen Ting-shin Modern Art Foundation.

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

附財團法人陳庭詩現代藝術基金會開立之作品保證書

375 LEE Liang

李梁

(Chinese, b. 1985)

寄遠方

The Far

2010 油彩畫布 120 x 80 cm 簽名右下：李梁 2010.11

2010 Oil on canvas 120 x 80 cm Signed lower right Lee Liang in Chinese and dated 2010.11 EXHIBITED: Truly Sincerity, Taipei 798 Gallery, June 20-July 20, 2012 ILLUSTRATED: Truly Sincerity, Taipei 798 Gallery, 2012, color illustrated, pp. 40-41 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

284

展覽：「內心的真實—李梁作品展」，台北798畫廊，展期自 2012年6月20-7月20 圖錄：《內心的真實》，台北798畫廊，台北，2012，彩色圖版，頁40-41 附藝術家親簽之原作保證書

376 LIAO Yu-an

廖堉安

(Taiwanese, b. 1979)

無題

Untitled

2007 壓克力畫布 162 x 130 cm 簽名畫背：廖堉安 Liao Yu an 2007

2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Liao yu an in Chinese and English, dated 2007

NT$ 170,000-240,000 HK$ 42,000-59,000 US$ 5,400-7,600

377 Chen Chao-Pao (Taiwanese, b. 1948)

Queen 2006 Acrylic on canvas 72 x 60 cm Signed lower right Chao-Pau in Chinese and English, dated 06

NT$ 100,000-200,000 HK$ 25,000-49,000 US$ 3,200-6,400

陳朝寶皇后 2006 壓克力畫布 72 x 60 cm 簽名右下：朝寶A PAO 06

286

378 LIANG Yi-fen (Taiwanese, b. 1937)

Happy and Content 2008 Oil on canvas 80 x 130 cm Signed upper right LIANG in English, Yi-fen in Chinese and dated 2008 EXHIBITED: Liang Yifen Solo Exhibition, National Chiao Tung University Arts Center, Sunny Art Museum, Hsinchu, October 27 - November 18, 2009 ILLUSTRATED: Liang Yifen, Sunny Art, Hsinchu, 2009, color illustrated, p. 129

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

梁奕焚怡然自得 2008 油彩畫布 80 x 130 cm 簽名右上：LIANG 奕焚 2008 展覽：《梁奕焚個展》，交通大學藝文空間，新竹，展期自2009年10月27至11月18日圖錄：《梁奕焚畫集 2009》，名冠藝術，新竹， 2009，彩色圖版，頁129

379 HO Kan

霍剛

(Taiwanese, b. 1932)

93-07

1993 油彩畫布 70 x 50 cm 簽名畫背：HO-KAN霍剛 1993

1993 Oil on canvas 70 x 50 cm Signed on the reverse HO-KAN in Chinese and English and dated 1993

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

288

380 HO Kan

(Taiwanese, b. 1932)

91-10 1991 Oil on canvas 60 x 80 cm Signed on the reverse HO-KAN in English and Chinese, dated 1991

NT$ 130,000-240,000 HK$ 32,000-59,000 US$ 4,100-7,600

霍剛 91-10 1991 油彩畫布 60 x 80 cm 簽名畫背：HO-KAN 霍剛七八

381 Heshi YU

(Chinese-American, b. 1935)

Huangshan Series - Fishing Alone by the Creek 1993 Acrylic on canvas 45 x 35 cm Signed lower right Yu in English, Zhao Yi in Chinese, dated 93 Titled on the reverse Jade vally Huangshan series - Fishing Alone by the creek in Chinese

NT$ 120,000-220,000 HK$ 30,000-54,000 US$ 3,800-7,000

290

于兆漪黃山系列—雪溪獨釣 1993 壓克力畫布 45 x 35 cm 簽名右下：Yu 93 兆漪題識畫背：翡翠谷黃山系列—雪溪獨釣

382 CHEN Yin-wei (Taiwanese, b. 1960)

Oysters Picking Woman 2009 Mixed media on canvas 128 x 63 cm Signed lower left CHEN Yin-wei in Chinese and dated 2009 With one painted seal of the artist

NT$ 120,000-220,000 HK$ 30,000-54,000 US$ 3,800-7,000

陳英偉青蚵嫂 2009 綜合媒材畫布 128 x 63 cm 簽名左下：歲次2009陳英偉鈐印上方：Art 1 by 1 御覽之寶

383 CHOU Chu-wang

周珠旺

(Taiwanese, b. 1978)

我家旁邊—偽裝

The Side of My House – Camouflage

2006 油彩畫布 90 x 73 cm 簽名畫背：周珠旺 2006 鈐印畫背：周珠旺旺

2006 Oil on canvas 90 x 73 cm Signed on the reverse Chou Chu-wang in Chinese and dated 2006 With two seals of the artist EXHIBITED: Sudden Stillness-Chou Chu-wang, Aki Gallery, Taipei, December 6 - 28, 2008

展覽：「一瞬靜止．周珠旺個展」，也趣藝廊，台北，展期2008年12月6日至12月28日

This work is to be sold with a certificate of authenticity issued by Inart Space, Tainan.

附加力畫廊開立之原作保證書

NT$ 140,000-240,000 HK$ 35,000-59,000 US$ 4,500-7,600

292

384 Alixe FU (FU Qing-li, Ching-Fong)

傅慶豊

(Chinese-French, b. 1961)

麥田裏的女人

Une femme aux champs

1991 油彩畫布 81 x 64.5 cm 簽名右下：Alixe Fu 91 簽名畫背：傅慶豊 Alixe Fu 80.5 x 64.5 cm (25F) 畫題：麥田裏的女人 une femme aux champs 1991. 12. 4

1991 Oil on canvas 81 x 64.5 cm Signed lower right Alixe Fu in English and dated 91 Signed on the reverse Alixe Fu in Chinese and English, titled une femme aux champs in Chinese and French, inscribed 80.5x64.5cm (25F), dated 1991.12.4 ILLUSTRATED: Alixe Fu, Taipei, 1992, color illustrated, pp. 26-27

NT$ 200,000-400,000 HK$ 49,000-99,000 US$ 6,400-12,700

圖錄：《傅慶豊》，台北，1992，彩色圖版，頁26–27

385 LU Qi (Luh Chyi) (Chinese, b. 1957)

Still Life 1993 Oil on canvas 60.5 x 80 cm Signed lower right Luh Chyi in English and Chyi in Chinese, dated 93.6

NT$ 130,000-220,000 HK$ 32,000-54,000 US$ 4,100-7,000

陸琦靜物 1993 油彩畫布 60.5 x 80 cm 簽名右下：Luh Chyi 琦 93.6

294

386 Alixe FU (FU Qing-li, Ching-Fong)

傅慶豊

(Chinese-French, b. 1961)

黑海

La mer Noir

1990 油彩畫布 80 x 100 cm 簽名右下：Alixe Fu 90 簽名畫背：40F 傅慶豊 Alixe Fu 90

1990 Oil on canvas 80 x 100 cm Signed lower right Alixe Fu in English and dated 90 Signed on the reverse Alixe Fu in Chinese and English, dated 90 ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 36 Alixe Fu, Taipei, 1992, color illustrated, pp. 26-27

NT$ 120,000-220,000 HK$ 30,000-54,000 US$ 3,800-7,000

圖錄：《傅慶豊》，東之畫廊，台北；派帝克畫廊，巴黎，1990，彩色圖版，頁36 《傅慶豊》，台北，1992，彩色圖版，頁26–27

387 CHANG Chen-yu

張振宇

(Taiwanese, b. 1957)

正文與潛文教育

Text and Subtext Education

1993 油彩畫布 100 x 130 cm 簽名：振宇1993

1993 Oil on canvas 100 x 130 cm Signed lower left Chen-yu in Chinese and dated 1993 EXHIBITED: Chen-Yu Chang Retrospect on Neo-Humanism 1975-1994, Taipei Fine Art Museum, Taipei, April 9 - May 8, 1994 ILLUSTRATED: Chen-Yu Chang Retrospect on Neo-Humanism 1975-1994, Chang Chen-Yu Studio, Keelung, 1994, color illustrated, no. 48 This painting is to be sold with a certificate issued by Zhang-Ming Art Center, Taipei.

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

296

展覽：「張振宇—新人文主義作品 1975-1994」，台北市立美術館，台北，展期自1994年4月9日至5月8日圖錄：《張振宇-新人文主義作品 1975-1994》，張振宇工作室，基隆，1994，彩色圖錄，編號48 附中銘藝術中心開立之原作保證書

388 LIU Guoshu

劉國樞

(Chinese, b. 1919)

門房老張

Concierge – Mr. Chang

1944 油彩畫布 72 x 60 cm 簽名左下：國樞 1944

1944 Oil on canvas 72 x 60 cm Signed lower left Guoshu in Chinese and dated 1944 This painting is to be sold with a certificate of authenticity issued by Cave Art Center, Taipei.

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

附敦煌藝術中心開立之原作保證書

389 Xin Haizhou

忻海洲

(Chinese, b. 1966)

睡眠系列

Sleeping Series

1996 綜合媒材畫布 110 x 80 cm 簽名右下：海洲 Xin Hai Zhou 1996.8

1996 Mixed media on canvas 110 x 80 cm Signed lower right Xin Hai Zhou in both Chinese and English and dated 1996.8

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

298

390 We Studio

(Taiwanese, b. 2011)

Emperor Huizong of Song and Black Glazed Ware 2013 Oil on canvas 145 x 85 cm Signed lower right We studio in English

NT$ 180,000-280,000 HK$ 44,000-69,000 US$ 5,700-8,900

We Studio 徽宗和宋黑 2013 油彩畫布 145 x 85 cm 簽名右下：We studio

391 SU Wong-shen

蘇旺伸

(Taiwanese, b. 1956)

兩種動物

Two Types of Animals

1991 油彩紙板 53.5 x 41.5 cm 簽名左下：伸 1991 簽名畫背：二种动物蘇旺伸 1991

1991 Oil on cardboard 53.5 x 41.5 cm Signed lower left shen in Chinese and dated 1991 Signed on the reverse SU Wong-shen and titled Two Types of Animals both in simplified Chinese, dated 1991 ILLUSTRATED: The Empire Strike Back : Episode -Ⅰ/ The Return of the King, Impressions Contemporary, Taipei, 2008, color illustrated, p. 85 Su Wong-Shen-between the Clouds, Eslite Gallery, Taipei, 2008, color illustrated, p. 233

NT$ 220,000-420,000 HK$ 54,000-104,000 US$ 7,000-13,400

300

圖錄：《帝國大反擊—首部曲王者在現》，印象畫廊當代館，台北，2008，頁85 《蘇旺伸—雲和雲之間》，誠品畫廊，台北， 2008，彩色圖版，頁233

392 LEE Ming-tse

李明則

(Taiwanese, b. 1957)

劍譜

Sword Manual

1994 油彩畫布 100 x 72.5 cm 簽名左下：則 1994 簽名畫背繃架：100 x 72.5 李明則 [劍譜]

1994 Oil on canvas 100 x 72.5 cm Signed lower left tse in Chinese and dated 1994 Signed on the back frame LEE Ming-tse and titled Sword Manual both in Chinese, inscribed 100 x 72.5

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

393 LI Jikai

少年

A Boy

2009 油彩畫布 80 x 60 cm 簽名左下：李繼開 2009 簽名畫背：《少年》60 x 80 cm 布面油畫李繼開 2009年 LI Jikai

2009 Oil on canvas 80 x 60 cm Signed lower left Li Jikai in Chinese and dated 2009 Signed on the reverse Li Jikai in Chinese and English, titled a boy in Chinese, inscribed 60 x 80 cm Oil on canvas, dated 2009

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

302

李繼開

(Chinese, b. 1975)

394 CHANG Chia-Ying (Taiwanese, b. 1982)

Mr.Bear is Staring Left; Ms. Gretel is Staring Right (a set of 2) 2014 Oil on canvas 53.5 x 45.5 cm (x2) EXHIBITED: Fairy Tale Reincarnation, Museum of Contemporary Art, Taipei, October 25 - November 30, 2014

NT$ 280,000-380,000 HK$ 69,000-94,000 US$ 8,900-12,100

張嘉穎左瞪的熊君；右瞪的歌爾德（兩件一組） 2014 油彩畫布 53.5 x 45.5 cm (x2) 展覽：「童話轉生術」個展，台北當代藝術館，台北，展期自2014 年10月25日至11月30日

395 WANG Jinsong (Chinese, b. 1963)

Ink Figure No. 30 2000 Ink on paper 143 x 182 cm Signed right center Wang Jinsong in Chinese and dated 2000.6 With eight seals of the artist

NT$ 320,000-480,000 HK$ 79,000-119,000 US$ 10,200-15,300

王勁松水墨人物 No. 30 2000 水墨紙本 143 x 182 cm 簽名右方：王勁松畫 2000.6

304

396 OUYANG Chun (Chinese, b. 1974)

Dark Prison 2009 Oil on canvas 114 x 146 cm Signed upper right Ouyang Chun in simplified Chinese and dated 2009 Signed on the reverse Ou Yang Chun in simplified Chinese and English, titled Dark prison in Chinese, dated

NT$ 420,000-550,000 HK$ 104,000-136,000 US$ 13,400-17,500

歐陽春黑牢 2009 油彩畫布 114 x 146 cm 簽名右上：欧阳春 2009 簽名畫背：黑牢欧阳春（Ou Yang Chun）2009

397 DU Xi

(Chinese, b. 1980)

The Best Team – General Yang V.S. The Monkey King 2012 Oil on canvas 140.5 x 200 cm Signed lower left DU XI in Chinese and English, dated 2012

NT$ 600,000-900,000 HK$ 148,000-222,000 US$ 19,100-28,600

杜溪陣容堅強—楊戩元帥擒悟空 2012 油彩畫布 140.5 x 200 cm 簽名左下：杜溪 DU XI 2012

306

398 WANG Xinfeng

王信豐

(Taiwanese, 1912 - 2002)

秋日海石

Seascape in Autumn

2014 壓克力畫布 73 x 60.5 cm 簽名左下：王信豐

2014 acrylic on canvas 73 x 60.5 cm Signed lower left Wang Xinfeng in Chinese EXHIBITED: Wang Xin – Feng Artist Publishing, The 201 Art, Taichung, color illustrated, July 6 - August 24, 2014 ILLUSTRATED: Wang Xin – Feng Artist Publishing, The 201 Art, Taichung, color illustrated, pp. 22-23

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

308

展覽：《臺江永痕—王信豐個展2014》，順天建築・文化・藝術中心，台中，展期2014年7月6日至8月24日圖錄：《臺江永痕—王信豐個展2014》，順天建築・文化・藝術中心，台中，彩色圖版，頁22-23

399 KUO I-chen

(Taiwanese, b. 1979)

X 2007 Digital print, light box, edition no. 3/6 94 x 200.5 cm Signed lower right Kuo I-Chen in Chinese and English, numbered 3/6 EXHIBITED: Mutation - Kuo I-Chen Solo Exhibition, Galerie Grand Siecle, Taipei, October 12 November 7, 2007 Art Trash, In Art space, Tainan, July 4 - August 24, 2008 ILLUSTRATED: Mutation-KUO I-CHEN, Galerie Grand Siècle, Taipei, 2008 color illustrated, p. 128 This work is to be sold with a certificate of authenticity signed by the artist and issued by Galerie Grand Siecle, Taipei

NT$ 240,000-340,000 HK$ 59,000-84,000 US$ 7,600-10,800

郭奕臣 X 2007 雷射輸出燈箱 3/6 94 x 200.5 cm 簽名右下：郭奕臣 Kuo I-Chen 3/6 展覽：「突變」郭奕臣個展，新苑藝術中心，台北，展期自 2007年10月12日至11月7日「廢品 ART TRASH」，加力畫廊，台南，展期自2008年 7月4日至8月24日圖錄：《突變—郭奕臣》，新苑藝術，台北，2008，彩色圖版，頁128 附新苑藝術與藝術家親筆簽名之原作保證書

400 Daniel LEE (LI Xiao-jing)

李小鏡

(Chinese, b. 1945)

小婷

Xiaoting

2006 數位輸出 3/7 108 x 78 cm 簽名右下：Daniel Lee '06 版次左下：3/7

2006 Digital C-Print, edition no. 3/7 108 x 78 cm Signed lower right Daniel Lee in English and dated '06 Numbered lower left 3/7 EXHIBITED: Hyper Design Shanghai Biennale 2006, Shanghai Art Museum, Shanghai, September 6 November 5, 2006 This work is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

310

展覽：「超設計」上海雙年展，上海美術館，上海，展期自 2006年9月6日至11月5日附東之畫廊開立之原作保證書

401 Daniel LEE (LI Xiao-jing) (Chinese, b. 1945)

Xintiandi – Nini 2006 Digital C-Print, edition no. 3/7 107 x 77 cm Signed lower right Daniel Lee in English EXHIBITED: Hyper Design Shanghai Biennale 2006, Shanghai Art Museum, Shanghai, September 6 November 5, 2006 This work is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

李小鏡新天地—倪倪 2006 數位輸出 3/7 107 x 77 cm 簽名右下：Daniel Lee 展覽：「超設計」上海雙年展，上海美術館，上海，展期自 2006年9月6日至11月5日附東之畫廊開立之原作保證書

402 WANG Ya-hui (Taiwanese, b. 1973)

Falling 2002 Vidieo installation, DV.NTSC, color, sound, edition no. 6/12 Length: 5'16" Signed on the original tape Wang Yahui in Chinese, titled Falling in Chinese and English, numbered 6/12, dated 2002 Signed on the disc Wang Yahui and titled Falling both in Chinese and English, numbered 6/12, dated 2002 This work is to be sold with a centificate of authenticity signed by the artist and issued by Golerie Grond Siecle, Taipei.

NT$ 130,000-240,000 HK$ 32,000-59,000 US$ 4,100-7,600

312

王雅慧墜 2002 錄像裝置 6/12 長度5分16秒簽名母帶上："墜 Falling" 2002 6/12 王雅慧簽名光碟上："墜 Falling" 2002 墜 6/12 王雅慧附新苑藝術開立之原作保證書

403 CHEN Wan-jen (Taiwanese, b. 1982)

Passage 2006-2008 Video installation, edition no.1/5 Length:2' (loop) Signed on the disc Chen Wan-jen in Chinese EXHIBITED: Post Adolescence, National Taiwan Museum of Fine Arts, Taichung, March 20 - May 2, 2010 Post Adolescence, Kuandu Museum of Fine Arts, Taipei, May 28 - August 8, 2010 This work is to be sold with a certificate of authenticity issued by Inart Space, Tainan.

NT$ 130,000-240,000 HK$ 32,000-59,000 US$ 4,100-7,600

陳萬仁走廊 2006-2008 錄像裝置 1/5 長度2分鐘 (循環撥放) 簽名光碟上：陳萬仁展覽：「後青春」青年藝術展，國立台灣美術館，台中，展期自2010年3月20日至5月2日「後青春」青年藝術展，關渡美術館，台北，展期自2010年5月28日至8月8日附加力畫廊開立之原作保證書

404 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

Orchidee 1986 Porcelain plate; lithographic transposition of a Zao Wou-Ki gouache; multiple copies 25 cm (diameter) Signed on the plate lower center Wou-ki in Chinese, Zao in French, and dated 86 Note on the reverse: Vingt ans de B.S.N, 1966-1986 BSN existe, BSN se developpera grace a l'instinct, l'imagination et le courage de tous - Juin 86 © Zao Wou-ki Edite par atelier de Segries

NT$ 70,000-140,000 HK$ 17,000-35,000 US$ 2,200-4,500

314

趙無極蘭花 1986 瓷盤；趙無極粉彩畫圖案平版印製之紀念盤；無版次 25 cm（直徑）簽名中下：無極ZAO 86（印刷簽名）背面釋文：B.S.N. 1966-1986二十週年紀念 BSN秉持永續發展誠摯感謝所有的創意與鼓勵 86年6月 © 趙無極 Altelier de Segries 陶瓷工作室製作附註：B.S.N. 為法國知名玻璃及食品企業

405 JU Ming

(Taiwanese, b. 1938)

Living World Series 1996 Unsaturated polyester resin, calcium carbonate, environmentally-friendly water based mineral paint, edition no. 103/300 67(L) x 10.5(W) x 18(H) cm Numbered on the bottom 103/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

朱銘人間系列 1996 不飽和聚酯樹脂碳酸鈣水性環保礦物顏料 103/300 67(長) x 10.5(寬) x 18(高) cm 版次底部：103/300 附朱銘美術館限量複製品保證書

406 HUANG Gang (Chinese, b. 1961)

Mao and Red Detachment of Woman 2007 Bronze, edition no. 5/8 40(L) x 28.5(W) x 53(H) cm Engraved on the base Huang Gang in English and Chinese, numbered 5/8, dated 2007

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

黃鋼愛江山也愛美人 2007 銅雕 5/8 40(長) x 28.5(寬) x 53(高) cm 簽名雕刻底座：Huang Gang 黃鋼 5/8 2007

316

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

Good Harvest 1973 Bronze, edition no. 26/30 59(L) x 15(W) x 10(H) cm Engraved on the back Ying-feng in Chinese, Yu Yu Yang in English, numbered 26/30 and dated '73 This sculpture is to be sold with a certificate of authenticity Yang Foundation, Taipei.

NT$ 100,000-200,000 HK$ 25,000-49,000 US$ 3,200-6,400

楊英風豐年 1973 銅雕 26/30 59(長) x 15(寬) x 10(高) cm 簽名後方： YUYU YANG '73 英風 26/30 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

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

The Information Century 1997 Stainless steel, edition no. 4/10 54(L) x 43(W) x 98(H) cm Engraved on the base Yang Ying-feng in Chinese, Yu Yu YANG Feng in English, numbered 4/10 and dated '97 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000-320,000 HK$ 30,000-79,000 US$ 3,800-10,200

楊英風資訊世紀 1997 不銹鋼 4/10 54(長) x 43(寬) x 98(高) cm 簽名雕刻底座：'97 楊英風 Yu Yu YANG Feng 4/10 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書

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409 JU Ming

(Taiwanese, b. 1938)

Kneeling Lamb Bronze, edition no. 25/50 16.5(L) x 11(W) x 21.5(H) cm Engraved on the lower right side Ju Ming in Chinese and numbered 25/50 PROVENANCE: Collection from Hwang Tien-tsai, former principal of Central Daily News, Taipei (a gift from the artist)

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

朱銘羔羊跪乳銅雕 25/50 16.5(長) x 11(寬) x 21.5(高) cm 簽名雕刻右方下：朱銘 25/50 來源：前中央日報社長黃天才先生收藏，台北（藝術家本人贈與）

410 JU Ming

(Taiwanese, b. 1938)

Chinese Zodiac Series – Rat 1989 Bronze, edition no. 10/30 19(L) x 11(W) x 25.5(H) cm Engraved on the lower back Ju Ming in Chinese and numbered 10/30 PROVENANCE: Collection from Hwang Tien-tsai, former principal of Central Daily News, Taipei (a gift from the artist)

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

朱銘十二生肖—鼠 1989 銅雕 10/30 19(長) x 11(寬) x 25.5(高) cm 簽名雕刻背面下方：朱銘 10/30 來源：前中央日報社長黃天才先生收藏，台北（藝術家本人贈與）

320

411 Fann Kang-lung (Taiwanese, b. 1965)

Looking Over 1995 Bronze and rosewood no. 5/10 28(L) x 8.5(W) x 17(H) cm (dog) 50(L) x 33(W) x 31(H) cm (wood) Signed lower right Kang-lung in Chinese, dated '95 and numbered 5/10 This painting is to be sold with a certificate of authenticity issued by Ho Ho Art, Taichung.

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

范康龍眺 1995 銅花梨木 5/10 28(長) x 8.5(寬) x 17(高) cm（狗） 50(長) x 33(寬) x 31(高) cm（木頭）簽名狗下巴：康龍 '95 5/10 附鶴軒藝術開立之原作保證書

412 HUANG Po-ren (Taiwanese, b. 1970)

Target 2010 Bronze, edition no. 5/8 53(L) x 58(W) x 63(H) cm Engraved on the back R Engraved on the base 8-5 R

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

黃柏仁目標 2010 銅雕 5/8 53(長) x 58(寬) x 63(高) cm 簽名雕刻背面：R 簽名雕刻底座：8-5 R

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413 HUANG Po-ren (Taiwanese, b. 1970)

Dog's Note - Friends 2008 Bronze, edition no. 12/12 33(L) x 46(W) x 54(H) cm Engraved lower back PR in English, numbered 12-12 and dated 2008 EXHIBITED: Huang Po-ren, Art Taipei, Taipei, 2008 Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 Huang Po-ren, Ming Art Gallery, Beijing, 2008

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

黃柏仁狗札記—世界那麼大 2008 銅雕 12/12 33(長) x 46(寬) x 54(高) cm 簽名雕刻腿部後方：2008.PR.12-12 展覽：「黃柏仁個展」，台北國際藝術博覽會，台北，2008 「黃柏仁個展」，上海國際藝術博覽會，上海，2008 「黃柏仁個展」，旻谷畫廊，北京，2008

414 QU Guangci (Chinese, b. 1969)

Birdman 2008 Bronze, edition no. 6/7 30(L) x 17.5(W) x 59(H) cm Signed on the bird tail Guangci in Chinese, numbered 7-6 EXHIBITED: Latent Reality, Lin&lin Gallery, Taipei, 2011 July 16 - August 14 Birdcalls in the Floating World Xiang Jing & Qu Guangci Works, Hong Kong Arts Centre, Hong Kong, May 21-28, 2012 Birdcalls in the Floating World Xiang Jing VS Qu Guangci Works, MOT/ARTS, Taipei, Jun 23 - August 5, 2012 ILLUSTRATED: Laten Reality, Lin & Lin Gallery, Taipei, 2011, color illustrated, p. 42 Birdcalls in the Floating World Xiang Jing VS Qu Guangci Works, MOT/ARTS, Taipei, 2012, color illustrated

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

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瞿廣慈鳥人 2008 銅雕 6/7 30(長) x 17.5(寬) x 59(高) cm 簽名鳥尾：廣慈 7-6 展覽：「潛層真實—曹暉．瞿廣慈」，大未來林舍畫廊，台北，展期自2011年7月16日至8月14日「浮．世．鳥．語」，向京、瞿廣慈作品展，香港藝術中心，香港，展期自2012年5月21日至28日「浮．世．鳥．語」，向京、瞿廣慈雙個展，MOT/ARTS 旗艦空間，台北，展期自2012年6月23日至8月5日圖錄：《潛層真實—曹暉．瞿廣慈》，大未來林舍畫廊，台北， 2011，彩色圖版，頁42 《浮．世．鳥．語》，MOT/ARTS，台北，2012，彩色圖版

415 LI Kuang-yu

(Taiwanese, b. 1954)

Mudra 1999 Bronze, edition no. 6/6 26(L) x 26(W) x 91(H) cm Signed on the back Kuang-yu and numbered 6/6 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 460,000-550,000 HK$ 114,000-136,000 US$ 14,600-17,500

李光裕拈花 1999 銅雕 6/6 26(長) x 26(寬) x 91(高) cm 簽名背後下方：光裕 6/6 附印象畫廊開立之原作保證書

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

Advent of the Phoenix IV 1991 Stainless stell, edition no. 7/10 119(L) x 70(W) x 101(H) cm Engraved on the base Yuyu YANG in Chinese and English, numbered 7/10 and dated '91 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 420,000-650,000 HK$ 104,000-160,000 US$ 13,400-20,700

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楊英風鳳凰來儀（四） 1991 不銹鋼 7/10 119(長) x 70(寬) x 101(高) cm 簽名雕刻底座：'91 呦呦楊英風 yuyu Yang F. 7/10 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之作品保證書

417 JU Ming

(Taiwanese, b. 1938)

Living World Series – Endless 2007 Stainless steel, edition no. 198/200 32.5(L) x 23.1(W) x 52.9(H) cm Engraved on the back Ju Ming in Chinese, inscribed Audi A6 Masterpiece, numbered 198/200 and dated 2007 This sculpture to be sold with a certificate of artwork reproduction issued by Lee Chi reativity Co., Ltd., Taipei.

NT$ 400,000-500,000 HK$ 99,000-123,000 US$ 12,700-15,900

朱銘人間系列—生生不息 2007 不銹鋼 198/200 32.5(長) x 23.1(寬) x 52.9(高) cm 簽名雕刻右後方：朱銘 2007 Audi A6 Masterpiece 198/200 附李記創意股份有限公司限量複製品保證書

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簽名（注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名及地址資料，將會被列印在發票上，隨後將不能更改）茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣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。）本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

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下述規則，為羅芙奧股份有限公司(下稱「本公司」)作為拍賣公司與賣家訂立合約，亦作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5項，其對本公司之法律責任作了限定。一、本業務規則所用詞彙之定義在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以任何編號描述之一項或多項物品。 5. 「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6. 「買家佣金」：指買家按落槌價之某一百分比而支付之費用；收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義，任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保險是否由本公司安排購買）。二、買家 1. 本公司作為代理人作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物品。本公司就任何拍賣品及拍賣證明文件之真偽，均不對買家作任何保證。 b. 拍品狀況之重要注意事項請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣品狀態不作任何承諾或保證。 c. 符號表示以下為本目錄所載符號之說明ｏ保證項目拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家佣金。 d. 目錄說明本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任有關物品之狀況以及目錄說明所提述之事項，買家有責任自行查明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到滿意。 3. 拍賣時 a. 買方應繳之營業稅依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符號之編號者），若係於中華民國境外交付買方，並由本公司處理相關之運貨事宜，則買方無須支付營業稅。買方若欲於中華民國境外取貨，應於拍賣日後兩個工作天內以書面通知本公司。 b. 估價目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付拍賣日當日之匯率，折合所繳付之等值貨幣計算。 c. 拒絕入場拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣。 d. 競投之前作出登記每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公司所接受者。 f. 委託競投如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家如希望確保競投成功，應親自出席競投。 g. 電話競投如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 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指定拍品，而承擔買方獨立責任。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，請參閱本公司網頁 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範，本公司得隨時修改該業務規則。 i. 匯率轉換顯示板拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參考，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. 買家支付每件拍賣品之佣金費率 1. 買家除支付落槌價外，另須支付佣金予本公司，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，採分為二階段計費，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再以12％，加總計算佣金金額。 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，自行繳付稅款。 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，買方亦須提供付款銀行之詳情，包含但不限於付款帳號。買方應於拍賣日期後七天內悉數支付應支付予本公司之款項（包含落槌價、佣金，以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率，依拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣項目，直至欠本公司之款項已悉數支付為止。拍賣品在暫時保留期間，由成功拍賣日後起算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，成功拍賣日後起算七天期滿後或自領取時起，拍賣品之風險全由買家承擔，但不得損及本公司之權益。 f. 介紹裝運及運輸公司本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付運及購買特定保險，但本公司在此方面不負任何法律責任。買家必須預先繳付運送費用。 g.不付款或未有領取已購拍賣品之補救辦法如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，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。本公司亦得自行選擇將買家未付之款項，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，買方絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)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。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，另有權為下述一項或多項權利或補救辦法： (a) 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。

(b) 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。 (c) 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日後起算七天內領取，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。而買方在付清所引起之貯存、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，並不影響買家在成功拍賣日後起算七天內付款之責任，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僅在第二條第6項所列之情況下，得退還款項予買家。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，不論是明示或暗示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/贓物之退款如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。但如：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，或清楚表明有牴觸當時學者或專家普遍接納之意見，或證明拍賣品為膺品或贓物之方法，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之詳細理由及證據；且 (2) 買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況應維持與拍賣當日相同，不得有任何損壞；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或贓物(本公司保有最終及不可異議之決定權)，買家並可將拍賣品之完整所有權及相關權利轉讓予本公司，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(該買家名稱被記載於發票上)，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，如本公司驗證拍賣品是否屬於贗品結果與買家出示證據相衝突者，應以本公司驗證結果為準。

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 Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as 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"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 1, Section 5 which provides limitations as to the legal responsibilities of the Company. ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company. 2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. “The Seller” shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. "Hammer price" shall mean the highest bid with respect to one particular auction item accepted by the auctioning party. 6. "The Buyer’s Premium paid by the Buyer" shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). ARTICLE 2.THE BUYER 1. The Company 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 including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the 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 does not that it is unable to guarantee that the Lots 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 the 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 Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that 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. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ 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 Buyer’s Premium.

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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 and certificates thereof 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 and making his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Sales Tax Payable by the Buyer 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 The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper 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. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if The Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to the Company.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at the Company.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. 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. If the auctioneer announces the points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. 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. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer. 4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer 1. The Buyer should pay the hammer price and, in addition, the The Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the The Buyer’s Premium should be calculated at 20% of the hammer price. 2.For hammer price higher than NT$ 32,000,000, total amount of the The Buyer’s Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 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, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, the Buyer’s Premium and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company 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 The Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully 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 earlier 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 (which is the earlier), without prejudice to the Company’s right. 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. And the Buyer shall prepay the freight charges. 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 following the auction date: (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. Beides, 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 may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2)To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. 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 set off 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 one or more of the following rights in addition to the aforementioned:

(a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)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. (c)To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following 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 in full 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 following the auction date; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 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 impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. 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 or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or 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 following the said notice and the condition of the item must be the same as on the auction day without any damage. 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 Company has the final and sole discretion and decision and such decision shall not be objected in this regard）. 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 cannot claim interests. The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer’s name is recorded 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. If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer.

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

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