羅芙奧台北2015秋季拍賣會：亞洲現代與當代藝術 Ravenel Autumn Auction 2015 Taipei: Modern and Contemporary Asian Art

AUTUMN AUCTION 2015 TAIPEI

羅芙奧台北 2015 秋季拍賣會 亞洲現代與當代藝術

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

地點

2015年12月6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11月14日（六）下午 1:00 至下午 6:00 2015年11月15日（日）上午 11:00 至下午 6:00 豐藝館 台中市西區五權西路一段110號B1 香港 2015 年11月27日（五）下午 2:00 至下午 7:00 2015 年11月28日（六）上午 10:00 至下午 7:00 香港君悅酒店（2樓 Grissini 餐廳） 香港灣仔港灣道 1 號 台北 2015年12月4日（五）至12月5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, December 6, 2015, 2:00pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung

Saturday, November 14, 2015, 1:00pm - 6:00pm Sunday, November 15, 2015, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung City, Taiwan

Hong Kong

Friday, November 27, 2015, 2:00pm - 7:00pm Saturday, November 28, 2015, 10:00am - 7:00pm Grand Hyatt Hong Kong - 2F Grissini 1 Harbour Road, Wanchai, Hong Kong

Taipei

Friday, December 4 - Saturday, December 5, 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 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

張鶴軒 Helen Zhang

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

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 秋季拍賣會服務部門及連絡人

藝術品諮詢專家

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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

Manager, Art Department Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com

Assistant Manager, Art Department Olivier Tsai Tel: +886 2 2708 9868 ext. 882 Email: oliviertsai@ravenel.com

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

Hong Kong Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com

Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

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International Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com

ONLINE BIDS Register at www.liveauctioneers.com/sign-up

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

Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Shanghai Xiu Lee Tel: +86 21 2411 9575 Email: xiulee@ravenel.com

International Tiffany Huang Tel: +886 2 2708 9868 ext. 883 Email: tiffanyhuang@ravenel.com The catalogues are available for subscription.

For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

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

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

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 Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored.

We apologize for no acceptance of 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

6

羅芙奧秋季拍賣會

Sale Information 8

羅芙奧之服務

Ravenel Services 11

藝術家索引

Index 12

亞洲現代與當代藝術

Modern and Contemporary Asian Art 317

委託競投表格

Absentee Bid Form 319

業務規則

Transaction Agreement

藝術家索引 / Index

A

Yoshitaka AMANO

天野喜孝

245

C

CAI Guo-Qiang CHANG Chen-yu CHANG Chia-Ying CHANG Wan-chuan Chang-Ling CHAO Chung-hsiang CHEN Chao-Pao CHEN Ching-jung CHEN Danqing CHEN Liu CHEN Ting-shih CHEN Yi-Lang CHEN Yin-hui CHIU Ya-tsai CHOI Young Wook CHU Teh-chun CHUA Hu CHUANG Che

蔡國強 張振宇 張嘉穎 張萬傳 常陵 趙春翔 陳朝寶 陳景容 陳丹青 陳流 陳庭詩 陳義郎 陳銀輝 邱亞才 崔永旭 朱德群 蔡雲程 莊喆

George CHANN

陳蔭羆

161 275, 287 227 246, 253, 261 295 104, 112, 115 262 175 212 299, 301 109, 311 302 271, 285 195, 196, 197 234 149, 152 263, 292 181, 182, 187, 192 194 160, 213

D

DAI QING DAI Ze DU Xi

戴清 戴澤 杜溪

254 206 272, 273, 300

F

Alixe FU

傅慶豊

274, 280, 304, 176

G

GUAN Yong GUAN Zilan Yun GEE

管勇 關紫蘭 朱沅芷

226 216 148

H

Jaime HAYON HSIAO Chin HSIAO Ju-sung HSIEH Hsiao-De HSU Gerlin HSU Yung Chin HUANG Gang HUANG Po-ren HUANG Yu-cheng HUNG Jui-lin HUNG Tung HUNG Yi HWANG Jyi

亞米 海因 蕭勤 蕭如松 謝孝德 徐格麟 徐永進 黃鋼 黃柏仁 黃玉成 洪瑞麟 洪通 洪易 黃楫

205 190, 191, 198, 316 135 249, 251 298 110, 113 218, 224 203, 308, 309, 312 259 127 107 307 178

J

JAN Chin-shui JU Ming

詹金水 朱銘

293 155, 156, 199, 200 201, 306, 318

K

KANG Kai KANG Xiao-Hua KIM Sun Hee KIM Ye-Jin KUO Wei-kuo Yayoi KUSAMA

康凱 康小華 金仙姬 金藝晉 郭維國 草間彌生

211 207 229 228 185 233, 236, 237, 244

L

Daniel LEE LEE Liang LI Chen LI Jikai LI Kuang-yu LI Qiang LIANG Yi-fen LIAO Chi-chun LIAO Yu-an LIEN Chien-hsing LIN Wan-Shih LIN Yao-sheng LIU Chi-hsiang LIU Keng-I LIU Kuo-sung

李小鏡 李梁 李真 李繼開 李光裕 李強 梁奕焚 廖繼春 廖堉安 連建興 林萬士 林耀生 劉啟祥 劉耿一 劉國松

LIU Zhi-fei

劉志飛

288 210 202 269, 289 313 286 248, 270 154 267 186 297 250 217 252 137, 139, 140, 141 142, 151, 164 277

Max LIU LO Chan-peng LU Qi LU Shun

劉其偉 羅展鵬 陸琦 呂順

105, 106, 256, 257 171 208 219

M

Ikki MIYAKE

三宅一樹

238, 239, 240

N

Kohei NAWA Yoshitomo NARA

名和晃平 奈良美智

241 230, 231, 242, 243

P

PANG Jiun PENG Kang-lung PENG Kuan-jun

龐均 彭康隆 彭光均

145, 165 247 310

Q

QI Zhilong

祁志龍

215

R

RAN In-ting REN Zhe RHEE DA

藍蔭鼎 任哲 李達

111, 129 305 235

S

SANYU SHEN Che-tsai SHI Hui-Min SHI Jing Kazuo SHIRAGA SHIY De-jinn SU Meng-hung SU Wong-shen SU Xiaobai

常玉 沈哲哉 施惠閔 史晶 白髮一雄 席德進 蘇孟鴻 蘇旺伸 蘇笑柏

116, 133, 134 168, 169, 174 303 296 232 103, 128, 132, 138 167 184 158

T

T’ANG Haywen

曾海文

TIAN Xiao-chi Walasse TING TSAI Mengda

田小赤 丁雄泉 蔡孟達

117, 118, 119, 120 121, 122, 123, 124 125, 126 108 101, 102, 144, 146 319

W

WANG Pan-youn WANG Xiangming WANG Zhanwu John WAY We Studio Tony WONG WU Hsuehjang WU Tien-chang

王攀元 王向明 王占武 魏樂唐 We Studio 黃榮禧 吳學讓 吳天章

278, 279, 283, 294 258 290 179, 180, 188, 276 281 222 282 177

X

XU Na XUE Song

許那 薛松

255, 268 223

Y

YANG Chihung YANG Din YANG Jing YANG San-lang Yuyu YANG YAO Jui-chung YE Yongqing YEH Huo-cheng Tzu-chi YEH

楊識宏 楊登雄 楊靜 楊三郎 楊英風 姚瑞中 葉永青 葉火城 葉子奇

YEN Shui-lung YIN Kun YU Cheng-yao YU Peng YUAN Yuan

顏水龍 尹坤 余承堯 于彭 袁遠

166, 193 284 291 183, 189 314, 315, 317 130 220, 221 260 143, 147, 162, 163 172, 173 170 266 131, 136 114 225

ZAO Wou-ki ZHAN Wang ZENG Fanzhi ZHENG Yi ZHOU Chunya

趙無極 展望 曾梵志 鄭藝 周春芽

153, 264, 265 157, 159 150 209 204, 205, 214

Z

101 Walasse TING

(Chinese-American, 1929 - 2010)

Cat Ink and color on paper 24.5 x 29 cm With one seal of the artist

NT$ 60,000-180,000 HK$ 14,000-43,000 US$ 1,800-5,500

12

丁雄泉 貓 彩墨 紙本 24.5 x 29 cm 鈐印右下：採花大盜

102 Walasse TING

(Chinese-American, 1929 - 2010)

Two Girls with Flowers Ink on paper 21.5 x 31 cm With one seal of the artist

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

丁雄泉 女人與花 水墨 紙本 21.5 x 31 cm 鈐印右下：採花大盜

103 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Street Scenery 1956 Ink on paper 47 x 59 cm Signed lower right Shiy Dejinn in Chinese and English, dated 1956

NT$ 170,000-240,000 HK$ 40,000-57,000 US$ 5,200-7,300

14

席德進 街景 1956 水墨 紙本 47 x 59 cm 簽名右下：Shiy Dejinn 席德進 1956

104 CHAO Chung-hsiang

趙春翔

(Taiwanese, 1910 - 1991)

竹林中的鳥群

Birds on Bamboo Branch

1982 水墨 紙本 63 x 51 cm 簽名左上：春翔 Chao 82

1982 Ink on paper 63 x 51 cm Signed upper left Chung-hsiang in Chinese and Chao in English and dated 82 PROVENANCE: Private collection, USA

NT$ 180,000-260,000 HK$ 43,000-61,000 US$ 5,500-7,900

來源： 私人收藏 美國

105 Max LIU (LIU Chi-wei)

梅花鹿

Deer

1995 綜合媒材 紙本 52 x 38 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〩〥

1995 Mixed media on paper 52 x 38 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 1995

NT$ 170,000-280,000 HK$ 40,000-66,000 US$ 5,200-8,500

16

劉其偉

(Taiwanese, 1912 - 2002)

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

Leopard 1994 Mixed media on paper 52 x 38 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet and dated 1994

NT$ 170,000-280,000 HK$ 40,000-66,000 US$ 5,200-8,500

劉其偉 花豹 1994 綜合媒材 紙本 52 x 38 cm 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〩〤

107 HUNG Tung

(Taiwanese, 1920 - 1987)

Figure 1974 Watercolor and color pen on paper 79 x 30 cm Signed lower left Hung Tung in Chinese and dated ROC era 63 (1974) ILLUSTRATED: Ancient Relics Exhibition of Taiwan Culture Art Antiquary Association, Taiwan Culture Art Antiquary Association, Taipei, 2000, color illustrated, p. 58

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

洪通 人物 1974 水彩 彩色筆 紙本 79 x 30 cm 簽名左下：中華民國63 洪通 圖錄： 《臺灣省文物藝術收藏學會歷代文物特展》，臺灣省文物 藝術收藏學會，台北，2000，彩色圖版，頁58

18

108 TIAN Xiao-chi (Chinese, b. 1966)

Spring Comes with Flowers 2013 Ink and color on paper 70 x 138 cm With three seals of the artist

NT$ 240,000-340,000 HK$ 57,000-80,000 US$ 7,300-10,300

田小赤 春有百花 — 2

2013 彩墨 紙本 70 x 138 cm 鈐印左上：田，乙卜印 鈐印右中：阿彌陀佛 題識左上：春有百花秋有月.癸巳乙卜画

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

Untitled 1988-1989 Ink and color on paper 50 x 50 cm Signed center right Chen Ting-shih and dated 1988-9 in Chinese and English

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

20

陳庭詩 無題 1988-1989 彩墨 紙本 50 x 50 cm 簽名右中：陳庭詩一九八八-九 Chen Ting-Shin 88-9

110 HSU Yung Chin (Taiwanese, b. 1951)

Another Ego 1996 Ink on paper 68 x 68 cm With three seals of the artist ILLUSTRATED: Hsu Yung Chin, Modern Calligraphy 1992-2001, Topline Study Treasures Co., Ltd., Taipei, 2001, color illustrated, p. 34

NT$ 170,000-280,000 HK$ 40,000-66,000 US$ 5,200-8,500

徐永進 似我非我 1996 水墨 紙本 68 x 68 cm 鈐印左下：徐永進 鈐印左下：游墨齋 鈐印右上：游心 圖錄： 《徐永進現代書藝1992-2001》，蕙風堂筆 墨有限公司出版部，台北，2001，彩色圖 版，頁34

111 RAN In-ting

(Taiwanese, 1903 - 1979)

View of Farmer Ink on paper 28 x 19.5 cm Signed lower right In-ting in Chinese and RAN IN-TING in English, inscribed FORMOSA in English With one seal of the artist

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

22

藍蔭鼎 農家一景 水墨 紙本 28 x 19.5 cm 簽名右下：蔭鼎 RAN IN-TING FORMOSA 鈐印右下：鼎

112 CHAO Chung-hsiang (Taiwanese, 1910 - 1991)

Fish 1982 Ink and color on paper 45.5 x 57 cm Signed lower right Chung-hsiang in Chinese and Chao in English and dated 82

NT$ 260,000-380,000 HK$ 61,000-90,000 US$ 7,900-11,500

趙春翔 魚 1982 彩墨 紙本 45.5 x 57 cm 簽名右下：春翔 Chao 82

113 HSU Yung Chin (Taiwanese, b. 1951)

Journey of Life-Step 2001 Ink and color on paper 138 x 68 cm With one seal of the artist ILLUSTRATED: Spirit of Ink, The Commercial Press, Ltd., Taipei, 2010, color illustrated, p. 138

NT$ 280,000-380,000 HK$ 66,000-90,000 US$ 8,500-11,500

徐永進 生命行程—步 2001 彩墨 紙本 138 x 68 cm 鈐印左下：徐永進 圖錄： 《墨魂—台灣當代書藝家徐永進》，臺灣商 務印書館股份有限公司，台北，2010，彩色 圖版，頁138

24

114 YU Peng

(Taiwaness, 1955 - 2014)

Buddha; Bird and Rock; Everlasting Friendship; Spring (a set of 4) 2006 Ink and color on paper 61 x 45 cm (x4) With one seal of the artist on each work

NT$ 320,000-480,000 HK$ 76,000-113,000 US$ 9,700-14,600

于彭 仙佛 鳥與石 梅雀爭春 千秋指白頭（四件一組） 2006 彩墨 紙本 61 x 45 cm (x4) 鈐印左上：于彭（左上） 鈐印左上：于彭（右上） 鈐印左下：于彭（左下） 鈐印左上；于彭（右下）

115 CHAO Chung-hsiang (Taiwanese, 1910 - 1991)

Striving for Mastery 1985 Ink and color on paper 68 x 70 cm Signed upper left Chung-hsiang in Chinese, Chao in English and dated 85

NT$ 360,000-480,000 HK$ 85,000-113,000 US$ 10,900-14,600

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趙春翔 力爭上游 1985 彩墨 紙本 68 x 70 cm 簽名左上：春翔 Chao 85

116 SANYU

(Chinese-French, 1901 - 1966)

Nude Ink on paper 26 x 43 cm Signed lower right Yu in Chinese and SANYU in French ILLUSTRATED: Rita Wong, Catalogue Rasonne Drawings And Watercolors, The LiChing Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 77, included in the CD, no. DO 221

NT$ 420,000-550,000 HK$ 99,000-130,000 US$ 12,700-16,700

常玉 裸女 水墨 紙本 26 x 43 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，彩色圖版，頁77，收錄光碟，DO 221

「天下皆知美之為美，斯惡已。皆知善之為善，斯不善已。故有無相生，難易相成，長短相形，高下相傾，音 聲相和，前後相隨；是以聖人處無為之事，行不言之教，萬物作焉而不辭；生而不有，為而不恃，功成而弗 居；夫唯弗居，是以不去。」老子，《道德經》，第二章。 曾海文曾經說過：「追求美，將掉入外表可愛的致命陷阱，結果是─無力的作品。若不計代價去摒除美，則可能淪為相反的陷阱─醜陋。」 (《唐海文》哥德藝術中心，台中，1998，頁5) ，此句話恰巧與道德經第三章的開頭「天下皆知美之為美，斯惡已」，釋義為：「天下人都執著什麼是 『美』，這樣就不美了」，相互契合。曾氏所追求的並非單純畫面上的「美」，他認為作品的產生須透過內在的無意識，並且對於自身內在必 須有深刻的了解，進而完成的畫作才稱得上是創作品；而也只有在藝術家對於自身的認識夠深刻，才能有完整成熟的作品，對於曾氏來說，創 作的高度已經在於內省的深刻工夫以及精神性的領悟。 曾氏的藝術，中國傳統書法氣韻的構圖裡，試圖解釋藝術家對道家哲思的理解以外，也是曾氏對於宇宙世間的整體概念。在一張全然空白的紙 上，一豎一橫間，創造了另一座世界；是曾氏對藝術創作的體現，畫者內在宇宙的呈現，然後畫紙轉變成為一種介質，承載了創作者的內涵。 接受了西方天主教之後，對於曾海文來說，並無與自己傳統的信念相牴觸，或者更甚地說，曾氏載負著中國內涵的繪畫哲學兼蓄了西方技法表 現，是來自於自身融合了兩種文化後的最高體悟。他認為一分為二、二合為一的概念可以產生創新的空間，而這個道理則與世界運行相吻合 (《唐海文》哥德藝術中心，台中，1998，頁5)；曾氏藝術勢必融合了中與西，這兩兩看似相對立的元素卻在曾氏的領悟下，昇華成他的大智慧，被提煉成 了曾氏獨特的藝術語彙。而在精神層面上看來，傳統水墨筆法流暢於畫紙構築的空間，擴張成新的宇宙；他順著內心的意志，不多做干預以求 創作能致臻美，更也與道德經裡「是以聖人處無為之事，行不言之教，萬物作焉而不辭；生而不有，為而不恃，功成而弗居；夫唯弗居，是以 不去。」提及的道裡相符合；以「無為」、「無言」處事行為，萬物便會自然地生長，而曾氏的藝術也在這樣的「道」中發展。 在晚期的作品當中，中國水墨留白的哲學思想儼然構成於畫紙上，抽象的表現則可視為當時西方抽象藝術勃發對於藝術家的影響。但是曾氏卻 未曾盲從，他恪遵著自己內心的智慧，不隨波逐流，對於藝術他始終秉持著初衷，在追求「美」以外，更持續挖掘自己內在的本質，而他所有 的生命體悟，就在一篇篇一分為二、二合為一的雙聯幅作品上成為永恆。

“When all the people of the world know beauty as beauty, this is no longer beauty but ugliness. When they all know the good as good, this is no longer good but evil. Therefore: Being and non-being produce each other; Difficult and easy complete each other; Long and short contrast with each other; High and low distinguish each other; Sound and voice harmonize with each other; Front and behind accompany each other. Therefore the sage manages affairs without action, and spreads doctrines without words. All things arise, and he does not turn away from them. He produces them but does not take possession of them. He acts but does not rely on his own ability. He accomplishes his task but does not claim credit for it. It is precisely because he does not claim credit that his accomplishment remains with him.” (Laozi, “Dao De Jing”, Chapter 2) T’ang Haywen once commented that “In the search for beauty, there is a danger of falling into the fatal trap of being entranced by external appearance; the result is inevitably a piece of art that has no real power. On the other hand, if you try to root out beauty at all costs, then you may fall into the opposite trap of ugliness.” (“T’ang Haywen,” Goethe Art Center, Taichung, 1998, p. 5). This remark displays a striking correspondence with the first lines of Chapter 2 of the “Dao De Jing”: “When all the people of the world know beauty as beauty, this is no longer beauty but ugliness.” What T’ang Haywen strove for in his art was not simply to make “beauty” appear on the canvas. He believed that the creation of art had to operate through the unconscious mind, and that the artist needed

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to possess an in-depth understanding of their own self, in order for the completed painting to qualify as an art work. Only if the artist was sufficiently self-aware could they hope to produce a complete, mature artwork; as T’ang saw it, the apogee of artistic creation lay in selfreflection and spiritual enlightenment.

In the art of T’ang Haywen, the use of composition that reveals the rhythms of traditional Chinese calligraphy reflects not only T’ang’s familiarity with Taoist philosophy, but also T’ang’s overall cosmological viewpoint. Taking a sheet of blank paper and creating another world on it – this is how T’ang saw the realization of artistic creation, as an expression of the artist’s inner world, with the paper or canvas being transformed into a medium that carries the artist’s cultivation. T’ang Haywen did not feel that his conversion to Catholicism in any way conflicted with his traditional beliefs; one might go so far as to say that T’ang took a distinctively Chinese philosophy of painting and combined it with Western techniques and forms of expression; his fusion of two cultures in himself enabled him to reach a pinnacle of self-realization. T’ang himself felt that the conceptual framework of “one dividing into two, and two merging into one” could provide a space for innovation, and that this approach fits well with how the world actually operates (“T’ang Haywen,” Goethe Art Center, Taichung, 1998, p. 5). In his art, T’ang Haywen had to achieve a fusion of Chinese and Western; through the “enlightenment” that T’ang achieved, these seemingly diametrically opposed elements combined to become a source of wisdom, and helped to forge T’ang’s unique artistic lexicon. At the spiritual level, the smooth, flowing brushstrokes of traditional Chinese ink-brush painting spread out in the space formed by the painting’s composition to create a new universe. The artist follows the dictates of his heart, refraining from any unnecessary interference intended to “perfect” the work, and adhering to the tenets of the “Dao De Jing”: “Therefore the sage manages affairs without action, and spreads doctrines without words.

All things arise, and he does not turn away from them. He produces them but does not take possession of them. He acts but does not rely on his own ability. He accomplishes his task but does not claim credit for it.

It is precisely because he does not claim credit that his accomplishment remains with him.” By “managing affairs without action” and “spreading doctrine without words,” things will grow and develop naturally of their own accord. This is the path along which T’ang’s art evolved.

In T’ang Haywen’s later work, the influence of the philosophy of traditional Chinese ink-brush painting – which emphasizes the effective use of blank space on the canvas – is very apparent; the abstract representation used in these later paintings can be seen as reflecting the influence of Western abstract art, which had become the mainstream in the Western artistic school by this time. And yet T’ang Haywen was never one to just blindly follow trends. He respected his own inner wisdom, and stuck resolutely to his course; in his art, he remained committed to the goal that had inspired him from the beginning – the search for “beauty” – while also continuing to explore the essence of his own inner nature. The knowledge that T’ang had acquired about life took permanent form in the diptych works that he produced, in which “one divides into two, and two merge into one.”

117 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Portrait Abstract composition (a set of 2) c.1980s Ink on paper 14.5 x 15 cm (upper) 21.5 x 12.5 cm (lower) Signed lower right T’ang in English and Haywen in Chinese (upper) Stamp of Atelier of T’ANG on the reverse (lower)

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

曾海文 肖像 抽象構成（雙聯幅）（兩件一組） 約1980年代 水墨 紙本 14.5 x 15 cm（上） 21.5 x 12.5 cm（下） 簽名右下：T'ang 海文（上） 畫背蓋章：T'ang 海文 ATELIER T'ANG HAIWEN（下）

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118 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Abstract Rhyme (a set of 2) c.1970s (upper) c.1980s (lower) Ink on paper 20 x 20 cm (x2) Both signed lower right T’ang in English and Haywen in Chinese (x2)

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,200

曾海文 抽象 韻律（兩件一組） 約1970年代（上） 約1980年代（下） 水墨 紙本 20 x 20 cm (x2) 簽名右下：T'ang 海文 (x2)

119 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Abstract Structure (a set of 2) c.1970s Ink on paper 18.5 x 15 cm (x2) Both signed lower right T’ang in English and Haywen in Chinese (x2)

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,200

曾海文 抽象 構成（兩件一組） 約1970年代 水墨 紙本 18.5 x 15 cm (x2) 簽名右下：T'ang 海文 (x2)

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120 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Composition point Abstract (a set of 2) c.1970s Ink on paper 16.5 x 17.5 cm (x2) Stamp of Atelier of T’ANG on the reverse (x2)

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,200

曾海文 點的構成 抽象（兩件一組） 約1970年代 水墨 紙本 16.5 x 17.5 cm (x2) 畫背蓋章：Tang 海文 ATELIER T’ANG HAYWEN (x2)

121 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Composition, Red and Blue Composition, Blue and Yellow (a set of 2) c.1970s Watercolor on paper 17 x 17 cm (x2) Stamp of Atelier of T’ANG on the reverse PROVENANCE: Heritage Auction of T’ANG Haywen, Drouot, Paris (x2)

NT$ 140,000-240,000 HK$ 33,000-57,000 US$ 4,200-7,300

曾海文 紅與藍的構成 藍與黃的構成（兩件一組） 約1970年代 水彩 紙本 17 x 17 cm (x2) 畫背蓋章：Tang 海文 ATELIER T’ANG HAYWEN (x2) 來源： 曾海文遺產拍賣，德福奧拍賣，勒胡拍賣公司，巴黎

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122 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Abstract, Blue Composition, Blue Black and Red (a set of 3) c.1970s Watercolor on paper 17 x 16.5 cm (upper left); 17 x 17 cm (upper right); 16.5 x 11.5 cm (right) Stamp of Atelier of T’ANG on the reverse (x3) PROVENANCE: Heritage Auction of T’ANG Haywen, Drouot Paris

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

曾海文 藍色抽象 藍色構成 黑與紅（三件一組） 約1970年代 水彩 紙本 17 x 16.5 cm（上左）；17 x 17 cm（上右）；16.5 x 11.5 cm（右） 畫背蓋章：Tang 海文 ATELIER T’ANG HAYWEN (x3) 來源： 曾海文遺產拍賣，德福奧拍賣，勒胡拍賣公司，巴黎

123 T’ANG Haywen (TANG Then Phuoc)

曾海文

(Chinese-French, 1927 - 1991)

無題（雙聯幅）

Untitled (diptych)

約1970年代 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

c.1970s Ink on paper 70 x 100 cm Signed lower right T’ang in English and Haywen in Chinese

NT$ 260,000-360,000 HK$ 61,000-85,000 US$ 7,900-10,900

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124 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Abstract Structure (diptchy) c.1970s Ink on paper 70 x 100 cm Signed lower right T’ang in English and Haywen in Chinese

NT$ 280,000-380,000 HK$ 66,000-90,000 US$ 8,500-11,500

曾海文 抽象結構（雙聯幅） 約1970年代 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

125 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Composition (diptchy) 1972 Ink on paper 70 x 100 cm Signed lower right T’ang in English and Haywen in Chinese PROVENANCE: Heritage Auction of T’ANG Haywen, Drouot, Paris

NT$ 280,000-380,000 HK$ 66,000-90,000 US$ 8,500-11,500

曾海文 構成（雙聯幅） 1972 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 曾海文遺產拍賣，德福奧拍賣，勒胡拍 賣公司，巴黎

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遊歷歐洲多年的曾海文繪畫風格也隨著當時自己心境而更迭，不同時期的畫作皆是數年的累 積和養成，以及曾氏的人生態度；雖然非學院出身，但卻深愛繪畫藝術所吸引，結交不少當 時的畫家、藝術家等，而這樣的環境與交往的人都依依成為他的藝術養分，豢養著他。 從50年代的靜物畫中得以瞧見野獸派的影子，而60年代實則開始有了更多抽象作品和許多簡 化過的象形符號隱匿其中，可見曾氏根源的中國文化油然躍上畫紙；70年代起，曾氏的作品 風格大為改變，開始爬梳水墨抽象創作的更大可能性，也正是在這時候出現了多篇雙聯幅作 品，成為曾氏獨特的藝術語彙，此作更是他尋求心靈層次提升的系列抒情作品；豪邁的揮寫 墨跡展現對於筆墨的精巧掌握，而單以線條、點構成的畫面富含禪意；曾氏不流於形式的創 作在畫面上營造出詩意般的細膩氛圍，不追求波瀾壯闊或是蕩氣迴腸的恢弘格局，但流洩出 當時藝術家對於生活上無爭、無為的處世精神；是他悟道後的寄情抒發，也是他與藝術和自 我內在無止境的對話。 During the many years that he spent living in Europe, T’ang Haywen’s style evolved over time in response to changes in his own emotional state. The work that T’ang produced in any given period was the product of years of accumulated experience and self-cultivation, as well as reflecting his attitude to life. Despite having little formal training in art, T’ang interest in art was passionate and deeply-held; he was friends with many of the leading artists of his day, and his interaction with these individuals helped him to refine his own artistic sensibility.

In the still lifes that T’ang Haywen painted in the 1950s, the influence of the Fauves can be detected.

By the 1960s, T’ang started to paint more abstract works, and was also beginning to “hide” simplified pictograms in his paintings; T’ang’s roots in Chinese culture were starting to make themselves felt in his art. The 1970s saw the commencement of a dramatic transformation in T’ang Haywen’s artistic style, as T’ang began to see wider possibilities for the development of abstract paintings influenced

by Chinese ink-brush painting techniques. During this period, he began to produce large numbers of paintings in the form of diptych; these works became a distinctive feature of T’ang’s art. This series of lyrical works embodies an effort by T’ang during this time to achieve a higher level of spiritual cultivation. The bold brushstrokes demonstrate T’ang’s mastery of the techniques of ink-brush painting; using just combinations of lines and dots, T’ang was able to create paintings that are rich in Zen meaning. Disdaining formalism, T’ang succeeded in generating a poetic, exquisite atmosphere in his works. These paintings contain no grand, sweeping vistas or spectacular scenes of energy and power; rather, they are redolent of the Taoist philosophy of non-action that influenced the artist in his own daily life during this period. These paintings constitute an expression of T’ang’s feelings after achieving spiritual enlightenment; they also represent a never-ending dialog between T’ang’s art and his inner self.

126 T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)

Rhyme (diptchy) c.1980s Ink on paper 70 x 100 cm Signed lower right T’ang in English and Haywen in Chinese PROVENANCE: Heritage Auction of T’ANG Haywen, Drouot, Paris

NT$ 300,000-400,000 HK$ 71,000-95,000 US$ 9,100-12,100

曾海文 韻律（雙聯幅） 約1980年代 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 曾海文遺產拍賣，德福奧拍賣，勒胡拍 賣公司，巴黎

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1980年代開始，曾海文從稍微厚重的筆墨韻染，走向如此作更為自由的書墨抽象，猶如行雲 流水般地揮灑書寫，無拘無束，暢意之間有著從容豁達的精神性；如行書般遊走於畫紙上， 時而暗藏力道，氣勢磅礡洶湧；時而氣韻輕盈裊繞，在濃淡筆墨之間建構了一片星系、一座 宇宙。 曾氏始終不汲汲營營於畫面的「美」，也未曾故作姿態地精心佈局，然而在筆墨的虛、實， 墨色的濃、淡運用上自然而然地達到平衡，這兩兩相互平衡則同時造就了「美」。傾瀉而 下的幾道重墨宛如飛瀑順勢而下，而在中心卻以漩渦般擴張，由實至虛、由濃至淡，雙雙互 補，不感覺衝突或是相抗衡的力場為畫面帶來無比和諧；此作上，曾氏晚年的瀟灑性格和清 心寡慾的個性全然無疑地展現出來，他不追求過度世故的抽象表現，捨棄了虛華艷麗、繽紛 無度的色彩，選擇了單以水墨去闡述他的藝術理想，他不刻意地作畫或是炫技，只是順著心 境書寫，中西貫通的藝術造詣和兩種文化薈萃於一身，成就了曾氏巧妙的造型能力也將書墨 藝術和抽象藝術作了最精采地融合；就是在如此淡靜素雅的作品中，我們得以窺見曾海文回 歸自然無為的人生態度和宇宙觀，將此揉進了他的筆墨畫紙之中，而這樣的精神更將他的藝 術帶到另一種高度。 In the 1980s, T’ang Haywen moved away from the thick, heavy brushstrokes that had characterized his earlier work towards flowing, mist-like brushwork that gave him greater freedom when creating abstract works. These paintings posses a free, untrammeled spirituality; the brushstrokes seems to flow over the paper like the semi-cursive script in traditional Chinese calligraphy, sometimes latent with hidden force and power, and sometimes light and rhythmic. The combination of light and dark strokes builds a constellation of stars, an entire universe. T’ang Haywen never obsessed about creating “beautiful” paintings, and never put his emotions on display in his work just for the sake of it. And yet, through his effective utilization of blank space and of the contrast between light and dark shades, he succeeded in achieving a sublime balance that is without question “beautiful.” A handful of dark strokes “falling” down the canvas resemble a waterfall, which somehow also seems to spread outward from its center in a whirling of spray. The painting moves from the full to the empty, and from dark to light, with each of them reinforcing and complementing the other. The absence of any sense of conflict or tension gives these paintings a pronounced feeling of peace and harmony. In these later works, the simplicity and freedom from material desires that T’ang Haywen had cultivated in himself is clear for all to see. T’ang refrained from excessively abstract representation, and did not use gorgeous, brilliant colors; instead, he chose to express his artistic vision through the medium of inkbrush painting. In these paintings, T’ang was not seeking to show off his artistic skill, he was simply painting as his heart directed him to. His mastery of both Chinese and Western artistic techniques, along with extensive exposure to both cultures, enabled T’ang to achieve a superb fusion of Chinese calligraphy and ink-brush painting with Western abstract art. In these quiet, elegant paintings, we can perceive something of the Taoist cosmology and attitude to life that T’ang had adopted, with its emphasis on returning to nature and on non-action. T’ang’s success in integrating this philosophy into his paintings takes the quality of his art to an even higher plane of excellence.

127 HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

礦工

Miner

1955 水墨 紙本 27 x 33.5 cm 簽名右下：1955.10 S.Horng 鈐印右下：洪

1955 Ink on paper 27 x 33.5 cm Signed lower right S.Horng in English and dated 1955.10 With one seal of the artist

NT$ 40,000-60,000 HK$ 9,000-14,000 US$ 1,200-1,800

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128 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Landscape 1981 Watercolor on paper 56 x 76 cm Signed lower left Shiy De-Jinn in Chinese and dated 1981

NT$ 550,000-650,000 HK$ 130,000-154,000 US$ 16,700-19,700

席德進 山水 1981 水彩 紙本 56 x 76 cm 簽名左下：席德進 1981

129 RAN In-ting

朝山禮佛

Worship the Buddhas

1958 水彩 紙本 35.5 x 25 cm 簽名左下：蔭鼎 Ran In Ting 1958.3.

FORMOSA 鈐印左下：鼎

1958 Watercolor on paper 35.5 x 25 cm Signed lower left In Ting in Chinese, Ran In Ting in English, inscribed FORMOSA and dated 1958.3 With one seal of the artist

NT$ 550,000-750,000 HK$ 130,000-177,000 US$ 16,700-22,700

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藍蔭鼎

(Taiwanese, 1903 - 1979)

130 YAO Jui-chung (Taiwanese, b. 1969)

Brain Landscape: Emerald Ridge 2014 Oil ink, oil, brain model with gold leaf on canvas mounted on board 120 cm (diameter) Signed lower left Yao Jui-chung, titled Brain. Landscape: Emerald Ridge, dated 2014 Spring in Chinese.

EXHIBITED: Good Times - Yao Jui-Chung Solo Exhibition, Tina Keng Gallery, Taipei, Feb 15-Mar 16, 2014 This work is to be sold with a certificate of authenticity signed by the artist and issued by VT Artsalon, Taipei.

NT$ 650,000-850,000 HK$ 154,000-201,000 US$ 19,700-25,800

姚瑞中 腦山水—翠嶺圖（臨盧湛「江山共老圖」） 2014 針筆 油彩 金箔模型腦 畫布 木板 120 cm（直徑） 簽名左下：腦山水 翠嶺圖 姚瑞中 二〇一四 立春 展覽： 「好時光—姚瑞中個展」，耿畫廊，台北 ，展期 自2014年2月15日至3月16日 附非常廟藝文空間開立之藝術家親筆簽名之原作 保證書

131 YU Cheng-yao

余承堯

(Taiwanese, 1898 - 1993)

山澗泉鳴

Landscape

1976 水墨 紙本 59.5 x 60 cm 題識右上：希嫻大嫂雅正 余承堯作於丙辰春 鈐印右上：余承堯印

1976 Ink on paper 59.5 x 60 cm Signed upper right Yu Cheng-yao in Chinese, dated 1976 Spring With one seal of the artist EXHIBITED: Three Masters of Art: Calligraphy and Ink Paintings by Yu Chen-yao, Shen Yaochu, and Zhen Shan-xi, National Museum of History, Taipei, December 20, 2013 February 23, 2014 ILLUSTRATED: Three Masters of Art: Calligraphy and ink Paintings by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, color illustrated, p. 35

NT$ 750,000-950,000 HK$ 177,000-225,000 US$ 22,700-28,800

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展覽： 「閩臺三傑—余承堯、沈耀初、鄭善禧書畫聯 展」，國立歷史博物館，台北，展期自2013年12 月20日至2014年2月23日 圖錄： 《閩臺三傑—余承堯、沈耀初、鄭善禧書畫 集》，國立歷史博物館，台北，2013，彩色圖 版，頁35

132 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Chinese Flowering Crabapple 1976 Watercolor on paper 76 x 56.5 cm Signed lower right Shiy De-jinn in Chinese and dated 1976 PROVENANCE : Collection of former Director of the Shiy Dejinn Foundation Mr. LU Sheng-Hua (acquired directly from the artist) Ravenel Spring Auction 2013 Taipei

NT$ 850,000-1,000,000 HK$ 201,000-236,000 US$ 25,800-30,300

席德進 海棠 1976 水彩 紙本 76 x 56.5 cm 簽名右下：席德進 1976 來源： 席德進基金會前董事盧聲華先生收藏 （直接得自藝術家本人） 羅芙奧台北2013春季拍賣會

133 SANYU (CHANG Yu) (Chinese-French, 1901 - 1966)

Writing c.1920-1930s Watercolor on paper 41 x 27 cm Signed lower rignt Yu in Chinese and SANYU in French ILLUSTRATED: Rita Wong, Catalogue Raisonne Drawings And Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 218, included in the CD, no. W111

NT$ 850,000-1,600,000 HK$ 201,000-378,000 US$ 25,800-48,500

常玉 坐姿寫作女士 約1920-1930年代 水彩 紙本 41 x 27 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，彩色圖版， 頁218，收錄光碟，圖版編號W111

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134 SANYU (CHANG Yu) (Chinese-French, 1901 - 1966)

Woman with Curly Hair c.1920-1930s Ink and watercolor on paper 45 x 29 cm Signed lower left Yu in Chinese and SANYU in French ILLUSTRATED: Rita Wong, Catalogue Raisonne Drawings And Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 233, included in the CD, no. W139

NT$ 900,000-1,800,000 HK$ 213,000-426,000 US$ 27,300-54,600

常玉 捲髮女士 約1920-1930年代 水墨 水彩 紙本 45 x 29 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，彩色圖版，頁233，收錄光碟，編號W139

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135 HSIAO Ju-sung

蕭如松

(Taiwanese, 1922 - 1992)

夏

Summer

1984 水彩 紙本 52 x 71 cm 簽名左下：-J.S-

1984 Watercolor on paper 52 x 71 cm Signed lower left -J.SPROVENANCE: East Gallery, Taipei Acquired from the above by the present owner EXHIBITED: The 37th Ching Yun Art Exhibition, Taipei Cultural Center, Taipei, 1984

來源： 東之畫廊，台北 現有收藏者購自上述來源 展覽： 第三十七屆「青雲畫展」，社教館，台北，1984

ILLUSTRATED: Hsiao Ju-sung, Arts Publishing Co., Taipei, 2011, color illustrated, p. 122

圖錄： 《淨謚・清澄・蕭如松》，藝術家，2011，彩色圖版，頁122

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

附東之畫廊開立之藝術家親簽保證書

NT$ 1,100,000-2,000,000 HK$ 260,000-473,000 US$ 33,400-60,600 個性內向沈靜、行事專注嚴謹的蕭如松，素以清澈明淨的水彩畫風聞名。蕭氏藉由創作當成心靈的獨白，一幅幅作品 便是一段段冥想式的自我對話，其中包含蕭氏對澄澈生命的追求與簡樸生活的堅持，是不容外力干擾與他人動搖的。 其繪畫的題材就圍繞在他平時的所思、所見，無論是何種畫題，皆以不透明水彩顏料，營造出極為透明的效果，包含動人的光影及流動的空 氣。其表現技法則是以躍動的色點、明快的線條、幾何意味的色塊分割，來架構畫面，以慣用的灰黃、青綠、深藍等色澤來呈現個人神祕深邃 的內心世界。 「夏」，是蕭如松這類具理想美人物肖像畫的嶺峰之作，雖然只是生活片段的一景，人物簡單的姿態卻在畫家卓越的造型能力下，自然散發出 恬靜高雅的氣質，對於人物的表現隨著時間趨向裝飾性，這幅「夏」人物姿態神情，已被線條與色點搭配所產生的實驗性效果所取代。 Hsiao Ju-sung, introverted and calm, a man of concentration who paid meticulous attention to detail in his work, is best known for watercolors in limpid, bright colors and compact style. For Hsiao, artistic creation was a “soliloquy of the soul” and each of his paintings is like a contemplative dialogue of the artist with his own inner self. His oeuvre is also a reflection of his unwavering pursuit of a pure and simple life, a life free from external interferences in which nothing and no one could shake his convictions. Unsurprisingly, then, the content of his paintings revolves around his thoughts and the things that captured his eye in everyday life. No matter what the specific motif, Hsiao manages to create an extremely bright and translucent effect, even though he usually employs dull, opaque colors. The shadows and shades that are so appealing in his pictures, as well as the wisps of moving air that lend extra life to his compositions, are also done in such muted shades. Hsiao arranges his compositions through bouncing dots of color, lively linework, and an application of paint that has a strong flavor of geometrization and fragmentation. His watercolors are frequently dominated by grayish-yellow, bluish-green and dark blue tones, which amply convey the profound and mysterious depths of Hsiao’s inner world.

Although Hsiao was inspired by a daily experience, the painting "Summer" has perfectly expressed his ideal female portrait, and built an atmosphere of elegance and tranquility through Hsiao's excellent skill on shape-forming. Hsiao had changed his expression on figures works from simply portraying to more sense of decoration, and the posture and appearances of the people in the painting "Summer" have replaced by dots ad lines what the artist created.

52

136 YU Cheng-yao

余承堯

(Taiwanese, 1898 - 1993)

層巒疊翠

Green Mountains

彩墨 紙本 119 x 44.5 cm 簽名左上：余承堯作 鈐印左上：余承堯印

Ink and color on paper 119 x 44.5 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist EXHIBITED: Yu Cheng-yao – Landscape Painting & Calligraphy Exihibition, Hsiung Shih Gallery, Taipei, September 26 - October 11, 1987 Three Masters of Art: Calligraphy and Ink Paintings by Yu Cheng-yao, Shen Yaochu, and Zhen Shan-xi, National Museum of History, Taipei, December 20, 2013 February 23, 2014 ILLUSTRATED: Lionart Issue 200, October, Lionart Publishing, Taipei, 1987, color illustrated, p. 112 Three Masters of Art: Calligraphy and Ink Paintings by Yu Cheng-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, color illustrated, p. 40

NT$ 1,200,000-2,200,000 HK$ 284,000-520,000 US$ 36,400-66,700

展覽： 「余承堯水墨展」，雄獅畫廊，台北，展期1987年9月 26日至10月11日 「閩臺三傑—余承堯、沈耀初、鄭善禧書畫聯展」，國 立歷史博物館，台北，展期自2013年12月20日至2014年 2月23日 圖錄： 《雄獅美術》，10月號第200期，雄獅圖書股份有限公 司，台北，1987，彩色圖版，頁112 《閩臺三傑—余承堯、沈耀初、鄭善禧書畫集》，國立 歷史博物館，台北，2013，彩色圖版，頁40

「余承堯透過唐詩的描述而『取法』唐人的繪畫精神，但實際操作上卻採取不師古法、批評今人的立場，在早期的山水畫中，余承堯還會在水 流平闊處偶而加上小舟與人物作為點景，但等他自覺已能充分掌握到山水整體的層次和結構，或說他的山水畫中的體量感與層次感已經飽滿到 無需靠景點來加以強化的時候，他便摒除了這些非現實的古典情調，取而代之的是閩南式的紅瓦房、山間的梯田，甚至是台北市郊隨處可見的 整排整排的白色水泥樓房，這種點景上的改變，一方面使他的山水畫具有眼見為憑的真實感，同時也標示了他在心態上，從近乎全盤的批評古 人，到適度或不自覺地借鑑古人，最後再到完全不依傍古人、直接與自然對話的轉變。」 「從第一張畫開始，余承堯就承受著做為一個具備獨創精神的藝術家所必須承擔的風險，他跳過一千年的繪畫史，將自己置於筆墨形式發明和 成熟之前的孤絕處，迫使自己成為一個筆墨的發明家與原始詮釋者。余承堯的首要價值不在於使某家某派的筆墨更加精煉，不在於增加一種或 數種筆墨形式，而在於矯正暮氣沈沈的傳統水墨畫，並重新體現了一種創作本體的可能性，以他的藝術實踐證明了這一正源心法仍然如游絲般 地續存著。」節錄《林銓居，台灣近代水墨大系 余承堯–時潮外的巨擘》，藝術家出版社，台北，2005 Yu Cheng-yao used his readings of Tang Dynasty poems to absorb the artistic spirit of Tang painters; however, Yu’s work does not rely on slavish imitation of the ancient masters, and it incorporates critique of the modern world. In his early landscape paintings, Yu would sometimes add little boats and human figures in areas where a river is flowing more slowly over level ground, so as to draw the viewer’s attention to particular features within the canvas.

However, once Yu felt that he had fully mastered the multi-layered structure of traditional Chinese landscape paintings, or to put it another way, once his landscape paintings had achieved a sufficient sense of spaciousness and depth to eliminate the need to rely on “signposts” within the painting, Yu began to do away with these unrealistic, “classical” elements, replacing them with Minnan-style farmhouses with red-tiled roofs, terraced fields, and even the rows of white cement houses that are a common sight in the suburbs of Taipei. This change in the ornamentation of Yu’s work gave his landscapes a pronounced sense of realism, while at the same time reflecting the shift in Yu’s attitude away from wholesale criticism of the ancients towards, first, a limited degree of (possibly subconscious) imitation of ancient masters, and then later, a total elimination of any need to rely on the old masters and a transformation towards direct, unmediated dialogue with nature.

Starting from this painting, Yu Cheng-yao began to shoulder the burden of risk that any truly innovative artist must carry. He moved beyond the thousandyear history of traditional Chinese painting to position himself in a place that is somehow “before” the invention and maturation of traditional ink brush painting styles, forcing himself to become an ink brush painting “inventor” and an original interpreter. The true value of Yu Cheng-yao’s work lies not so much in the idea that he has further refined the painting style of a particular artist to a particular school, or that he has added one or more new styles to the existing repertoire of traditional Chinese painting forms, but rather that Yu has brought to the sometimes staid and hidebound world of traditional ink brush painting a new sense of creative possibility; Yu’s work demonstrates that the original creative stream of ink brush painting continues to flow.

Chuan-chu, Contemporary Taiwanese Ink Brush Painting: Yu Cheng-yao – A Great Talent Standing Outside of Contemporary Trends”, Artist Publishing, Taipei, 2005

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Excerpt from “Lin

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

The Mountains Without Season: Tibet Series No. 54 2004 Ink and color on paper 62 x 95 cm Signed upper right Liu Kuo-Sung and dated 2004 both in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Capital Art Center, Taipei.

NT$ 1,900,000-2,800,000 HK$ 449,000-662,000 US$ 57,600-84,900

劉國松 沒有季節的山—西藏組曲五十四 2004 彩墨 紙本 62 x 95 cm 簽名右上：劉國松二○○四 鈐印右上：劉國松 附首都藝術中心開立之原作保證書

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138 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Landscape of Mountain Houyan in Miaoli 1979 Ink and color on paper 69.5 x 139 cm Signed lower right Shiy De-jinn in Chinese and dated 1979 With two seals of the artist

NT$ 2,200,000-3,200,000 HK$ 520,000-757,000 US$ 66,700-97,000

席德進 苗栗火炎山景 1979 彩墨 紙本 69.5 x 139 cm 簽名右下：席德進 1979 鈐印右下：席德進印 鈐印左上：席氏書畫

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

Movement in Stillness 1963-1967 Ink and color on paper 58.6 x 90.6 cm Signed lower right Liu Kuo-sung and dated 1963-1967 both in Chinese Signed on the reverse, titled Movement in Stillness in Chinese, dated 1963-1967, sized 90.6 x 58.6 cm With one seal of the artist

NT$ 2,200,000-3,200,000 HK$ 520,000-757,000 US$ 66,700-97,000

劉國松 靜中之動 1963-1967 彩墨 紙本 58.6 x 90.6 cm 簽名右下：劉國松 一九六三─一九六七 簽名畫背：靜中之動 1963-1967 90.6 x 58.6 cm 鈐印右下：國松

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

Green Field 1969-1997 Ink and color on paper 58.5 x 92.5 cm Signed center right Liu Kuo-Sung and dated 1967-97 both in Chinese With one seal of the artist PROVENANCE: Private collection (acquired directly from the artist)

NT$ 2,200,000-3,200,000 HK$ 520,000-757,000 US$ 66,700-97,000

劉國松 綠色大地 1969-1997 彩墨 紙本 58.5 x 92.5 cm 簽名右中：劉國松一九六七—九七 鈐印右中：劉國松 來源： 私人收藏（直接購自藝術家本人）

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

The Landscape of the Shu 1995 Ink and color on paper 120 x 17.5 cm (left and right) 120 x 31 cm (middle) Signed upper right Liu Kuo-Sung and dated 1995 both in Chinese With one seal of artist This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 3,000,000-5,000,000 HK$ 709,000-1,182,000 US$ 91,000-151,600

劉國松 蜀山碧蜀水青 1995 彩墨 紙本 120 x 17.5 cm（左和右） 120 x 31 cm（中） 簽名右上：劉國松 一九九五 鈐印右上：劉國松 附藝術家親筆簽名之原作保證書

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

Mountains into the Sky 1991 Ink and color on paper 129.5 x 67 cm Signed lower left Liu Kuo-sung and dated 1991 both in Chinese With two seals of the artist PROVENANCE: Private collection (acquired directly from the artist)

NT$ 3,200,000-5,000,000 HK$ 757,000-1,182,000 US$ 97,000-151,600

劉國松 嶽上摩天 1991 彩墨 紙本 129.5 x 67 cm 簽名左下；劉國松 一九九一 鈐印左下：劉國松 鈐印右下：一個東西南北人 來源： 私人收藏（直接購自藝術家本人）

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143 Tzu-chi YEH

(Taiwanese, b. 1957)

Ginger Lily 2014-2015 Tempera and oil on linen 127 x 86.5 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2014-2015

NT$ 3,000,000-4,000,000 HK$ 709,000-946,000 US$ 91,000-121,300

葉子奇 野薑花 2014-2015 卵彩 油彩 亞麻布 127 x 86.5 cm 簽名右下：葉子奇 2014-2015

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144 Walasse TING

(Chinese-American, 1929 - 2010)

Love Like Running Water 1986 Acrylic on canvas 76 x 102 cm Signed on the reverse ting and titled Love Like Running Water in English and dated ‘86

NT$ 4,000,000-5,000,000 HK$ 946,000-1,182,000 US$ 121,300-151,600

丁雄泉 愛如潮水 1986 壓克力 畫布 76 x 102 cm 簽名畫背：Love Like Running Water ting 86

附紐約丁雄泉遺作與文獻管理會開立之原作保證書 This painting is to be sold with a certificate of authenticity issued by Walasse Ting Estate Archive, New York.

在丁雄泉的作品上，大膽的用色與放縱恣意的畫面潑灑，除了可以看見馬諦斯等野獸派藝術家對他的影響以外，50年代前往美國的他更是受到 當時抽象表現主義的領導，開始他興之所致，無拘無束的畫面結構；而在丁氏看似大眾化，充滿都會現代風格的畫作中，依稀藏著傳統中國書 畫的蛛絲馬跡；書法的筆觸勾勒輪廓，以艷麗的壓克力彩平塗線條內的空間，自然優美卻又瀟灑暢快，形成他自我風格的標致性表現。 他樂於將生命中各個女性的微妙動人處表現出來，時而持扇掩面半露勾人眼光；或時而在花團錦簇中暗自嬌羞；丁氏筆下的女人總耐人尋味， 而藉由女人畫像他暗度陳倉般地將自己的情感傳達其中，這幅《愛如潮水》作品裡，可見到的是丁雄泉作畫最大的靈感來源；「女人」、「花 朵」，而也正是在此時，年近耳順的他卻迸發出巨大的創作能量，已經不受任何流派約束的他在畫布上任意妄為，盡情奔灑他的情感以及對女 性的迷戀；瑰麗的用色，繽紛炫麗的色彩氛圍，再再顯示了這此作的成熟。或許對於丁氏來說，「花開堪折直須折、莫待無花空折枝」的精神 是他創作的圭臬；而女人如此，藝術更亦如此；一生風流不羈，總以「採花大盜」自居，而他的人生觀全然無遺地在他的作品上呈現。 The bold use of color, splashed on seemingly almost at will, which one sees in the paintings of Walasse Ting reflects not only the influence on Ting’s art of Matisse and the other Fauves, but also the influence of abstract expressionism on his work after he settled in the U.S.A. in the 1950s; it is from this time onwards that the composition of Ting’s paintings displays an enhanced freedom and a sense that the artist is letting his inspiration take him where it will.

While Walasse Ting’s paintings may seem designed to appeal to a broad audience, with a pronouncedly modern, urban style, they still retain traces of the influence of traditional Chinese painting. Ting used techniques strongly reminiscent of Chinese calligraphy to create the outlines in his works, with the spaces thus outlined then being filled in with brightly-colored acrylics. The effect naturally created the unrestrained beauty and the pleasant atmosphere, which are the signature elements of Ting’s unique style.

Walasse Ting delighted in portraying the aspects of the women in his life that made them attractive to him. They may be depicted gazing alluringly with a fan obscuring the lower half of their face, or standing coyly enveloped in flowers. The way Ting portrays women is always interesting; these depictions tend to be subtly imbued with Ting’s own emotions and feelings. This particular work, “Love like Running Water,” features two of Ting’s main sources of inspiration: women and flowers. During this period, when he was approaching his sixties, Walasse Ting produced a large amount of work. In his paintings from this period, Ting is no longer bound by the constraints of any particular style or school; he freely expresses his own feelings and his passion for women. The exquisite use of color and the gorgeous visual effects created thereby demonstrate the high level of maturity that Ting had attained in his art by this time. One might say of Walasse Ting that the philosophical underpinning of his work was that idea that “when the flowers bloom, pick them while you can, before there are none left to pick.” Ting adopted a similar approach to artistic creation as he did to women; a self-acknowledged ladies’ man all his life, his attitude to life was fully reflected in his art.

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145 PANG Jiun

(Chinese, b. 1936)

Landscape with Clouds 2014 Oil on canvas 180 x 180 cm Signed lower right Pang Jiun in Chinese and dated 2014 With one painted seal of the artist

NT$ 5,000,000-6,000,000 HK$ 1,182,000-1,418,000 US$ 151,600-181,900

龐均 只在此山中 雲深不知處 2014 油彩 畫布 180 x 180 cm 簽名右下：龐均 2014 手繪鈐印：均

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146 Walasse TING

(Chinese-American, 1929 - 2010)

Kiss Me under Moonlight 1976 Acrylic on canvas 102 x 152.5 cm Signed on the reverse Ting and titled kiss me under moonlight in English, dated 76 PROVENANCE: Bruun Rasmussen Auction, Copenhagen, March 6, 2012, lot 676 Acquired from the above by the present owner

NT$ 7,500,000-9,500,000 HK$ 1,773,000-2,246,000 US$ 227,400-288,100

丁雄泉 在月光下親吻我 1976 壓克力 畫布 102 x 152.5 cm 簽名畫背：kiss me under moonlight Ting 76 來源： 布魯恩・拉斯穆森拍賣，哥本哈根，2012年3月6日，編號676 私人收藏（得自上述來源）

作為一位成功的自學藝術家，丁雄泉的藝術成就並不是偶然；負笈法國的丁雄泉在當時結交了一群志同道合，於1950年代初期極為受到注目的 眼鏡蛇畫派藝術家好友，並且在巴黎以及比利時等地舉辦展覽，而這個被視為戰後歐洲最重要的藝術團體之一的眼鏡蛇畫派，雖僅是曇花一現 般的短暫，但其所信仰的生活，以及創作思想和藝術理念卻給丁氏留下潛移默化的影響，丁雄泉對藝術創作的看法自此有了新的視野。 眼鏡蛇畫派的年輕藝術家們倡導的是摒棄教條、理論，並且創立奠基於自由、樂觀生活哲學上的新藝術；在藝術表現技法上大致上承襲了表現 主義手法，而畫面則使用繽紛斑斕的色彩、狷狂直接，擺脫了過往既定的美學形式與不追求資產階級的喜好品味，作品誇張赤裸以外亦融入了 民間與原始藝術；這些新穎的概念與藝術形式皆成為了丁泉雄的創作養分，趨使著他作畫風格的轉變與形變，開始了不同題材與主題的呈現； 1958年丁雄泉轉赴紐約，迎頭趕上了那時候蔚為風潮的抽象表現主義，這盡情揮灑自我，無拘無束的創作形式深深地吸引了丁氏，其中以點、 線條、色彩來表述內在情緒的特質與本身瀟灑的性格相互契合，自始丁雄泉沉醉在美國抽象表現主義的藝術氣氛中。而當時紐約另一波藝術運 動「普普藝術」也深具力量，在美國等地大鳴大放，其中探討美國大眾文化的特點更與丁氏重視童趣的特色相接近；汲取了歐洲與美國兩地三 種深具影響力的藝術流派營養，丁氏開始了一場華麗又淋漓暢意的色彩旅程，既讓人目眩神迷又充滿著視覺衝擊力的感官饗宴。 二十世紀的1970年代起，旅居紐約已超過十年的丁雄泉匯集了巨大的創作能量，畫風從抽象藝術轉變至具象繪畫，而他最多的情感與創作則都 留給了他畢生鍾愛的主題─「女人」；在紐約的丁氏發展了筆觸濃烈狂野，用色強烈不拘帶點驕傲與放縱不羈；這縱然與丁氏天性有關，而在 藝術氛圍大放，自由且充滿未來感的紐約更是引領著他日後風格的確立；1970年代，丁雄泉由抽象作品轉至具象繪畫，畫風大轉以外，他的 心境也隨之更迭，開始大量地創作他一生中摯愛不倦的題材，「女人」；這時期的作品則清楚的看見了野獸派般的描繪線條，然而更多的是早 先在歐洲，眼鏡蛇畫派對他繪畫語彙的影響；華美斑斕，更加強烈放膽地在畫布上繪出一具具風姿綽約、時而艷麗華美又或熱情狂野的女性姿 態，其中如完成於1975年的大型創作《世界小姐》正是丁雄泉在此時期創作的巔峰代表。爾後創作於1976年的《在月光下親吻我》，大膽地以 近乎全黑的色塊作為背景，曖昧氣息流淌，而單以蠟筆勾勒出線條的畫中女主角側臥橫躺，慵懶扶頭望著前方，態度從容大方，自信不拘泥地 散發著引以為豪的美麗身軀；手法流暢俐落地繪出女主角動人之處，在暢情地揮灑中流洩出藝術家充沛著自信與川流不息的生命力；畫中女人 同樣選用低亮度的藍色，如湛藍大海般的捉摸不已，營造出了深邃的神秘；其同年代創作中如1977年的《炙熱的愛》亦同樣是藍色女體，皆是 散發出了濃厚的引誘力，勾人目光；從後方的盆花清楚地揭示了丁雄泉對於美國抽象表現主義的追隨；滴流、潑灑，甚至僅只是以一團團的鮮 豔色彩代表鮮花與他迸發的情感都是如此得恰當，滿溢春光。 丁雄泉的創作在這時，形式已經不再那麼重要了，作品中流露的是他與生俱來的色彩直覺與無比浪漫的情感；丁氏挑選反差極大的誇張色彩， 構件了一個充滿著「女人」、「鮮花」的感情世界，與我們分享他豐沛的情愛，是愛、是情都是丁氏的靈魂；曾有人說過他的作品極具情色意 味，或許這些「情」是丁氏創作的靈感來源，是他生命的主體，而這些「色」是他畫中華麗繽紛的顏色，是血、是肉，而正是透這些絢爛的色 彩使他感覺活著。

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As a successful, self-taught artist, the artistic achievements of Walasse Ting did not come by chance. During his stay in France, Ting met a group of friends with similar interests, some of which were the CoBrA artists rising in the early 1950s.

Ting , and also held solo exhibitions in Paris and Belgium. CoBrA was viewed as one of the most important artistic groups after World War II. Although the group was short-lived, their philosophy and artistic concepts had always influenced Ting imperceptibly, providing Ting with a new perspective on artistic creations.

The young CoBrA artists abandoned dogma and theories, and advocated for a new form of art that was based on freedom and an optimistic look on life; their painting techniques broadly paralleled those of expressionism, and their unrestrained use of a variety of colors was their way of breaking out from the traditional aesthetic forms and the pursuit of a bourgeois society. Elements of folk and primitive arts were incorporated on top of the exaggerated and instinctive styles. These novel ideas and artistic forms provided Ting with new creative inspirations; he gradually changed his painting style and started to 提香《奧林匹亞》1538 油彩 畫布 119 x 165 cm 佛羅倫斯烏菲茲美術館藏 experiment with new themes and topics. In 1958, Ting relocated to New York, Titian, Olympia, 1538, oil on canvas, 119 x 165 cm Collection Uffizi, Florence where he encountered the popular style known as abstract expressionism. Ting was deeply attracted by the unlimited freedom and self-expression in their artistic philosophies. In particular, the idea of using dots, lines, and colors to express one’s fantasies was a perfect match with Ting’s debonair attitude. Since then, he was immersed in the world of American abstract expressionism. “Pop art”, another art movement in New York, was also very influential at the time; its impact was felt all over the US, and the pop artists’ probe into American popular culture was quite compatible with the child-like elements in Ting’s work. Having absorbed the essences of three important artistic movements in Europe and the United States, Ting began his luxurious and delightful journey into the world of colors, which translated into a visually powerful and dazzling experience of the senses for his audience.

By the 1970s, Ting has gathered a tremendous creative energy having spent more than ten years in New York. While his artistic style changed from abstract to figurative paintings, “women” was always his favorite topic where he spent most of his energy. While living in New York, Ting began to develop a style which the strokes were strong and wild, the colors vibrant, proud, and unconventional, an approach reflecting Ting’s character. One cannot deny that the city itself, free, innovative, and blooming with culture, also took part in shaping Ting’s unique style. During the 1970s, as his focus transformed from abstract to figurative paintings, his state of mind also began to change. He spent large amounts of time painting “women”, his favorite topic. During this period, the lines in his works demonstrated similar styles from Fauvism. In actuality, during his early days in Europe, the CoBrA artists already provided Ting with the inspirations for a similar style. With an overall exaggerated tone, the female figures on Ting’s canvas are sometimes graceful, sometimes passionate, but always charming. The most representative work is “Miss World”, a large painting completed in 1975. In his 1976 painting “Kiss Me Under the Moonlight”, a near-black background captures the dreaminess of the night, a female form lying on her side is outlined with simple crayons, lazily supporting her head with her hand as she looks ahead with a confident and comfortable attitude - she is proud and happy with her beautiful figure. The artist has neatly portrayed all the charms of the lady, and the unconventional way of depiction demonstrated the confidence and liveliness of the artist himself. Ting chose dark blue to tone down the overall expression, creating a sense of mystery as deep as the azure ocean. Another work from the same period is “Hot Love” created in 1977, where a blue female figure whose gaze deeply attracted the audience. The flowers in the background clearly showed Ting’s pursuit of American abstract expressionism. Groups of bright colors not only represented the fresh flowers, they were also the perfect representation of Ting’s emotions and youthfulness.

During this period, Ting no longer cared about artistic forms. Instead, he focused on his instinctive senses of colors and romanticism. The contrasting colors portrayed an emotional world full of “women” and “flowers”, expressing the love and affection overflowing from Ting’s heart. Whether it’s love or affection, it is all a part of Ting’s soul. Some say his works are erotic, perhaps the affections were Ting’s main source of inspiration and life force, and the vibrant colors within his paintings were erotic in nature. The colors were his blood and flesh, and it is through these splendid colors that made Ting feel alive.

丁雄泉《世界小姐》1975 壓克力 畫布 222 x 396 cm，羅芙奧台北2015春季拍賣會，編號235，台幣5632萬成交 Walasse TING, Miss World, 1975, acrylic on canvas, 222 x 396 cm, Ravenel 2015 Spring Auction Taipei, lot 235, US$ 1,825,608 sold

147 Tzu-chi YEH

(Taiwanese, b. 1957)

Yang-min Mountains 2007-2008 Tempera and oil on linen 127 x 213 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2007-08 EXHIBITED: Tzu Chi YEH Solo Exhibition - Landscape, Eslite Gallery, Taipei, May 5 - 27, 2007 Tzu Chi YEH Solo Exhibition - Landscape II, Moon Gallery, Taipei, May 10 - June 8, 2008 ILLUSTRATED: Tzu-Chi Yeh: Landscape, Eslite Gallery, Taipei, 2007, color illustrated Tzu-Chi Yeh: Landscape, Eslite Gallery, Taipei, 2009, color illustrated, p. 9 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

葉子奇 有相思樹林的陽明山 2007-2008 卵彩 油彩 亞麻布 127 x 213 cm 簽名右下：葉子奇 2007-08 展覽： 「葉子奇個展—走過風景的心情」，誠品畫廊，台北，展期自2007年 5月5日至27日 「葉子奇—走過風景的心情 II」，月臨畫廊，台北，展期自2008年 5月10日至6月8日 圖錄： 《葉子奇 TZU CHI YEH》，誠品股份有限公司，台北，2007，彩色 圖版 《葉子奇—2007走過風景的心情》，誠品股份有限公司，台北， 2009，彩色圖版，頁9 附月臨畫廊與藝術家親筆簽名之原作保證書

NT$ 7,500,000-9,500,000 HK$ 1,773,000-2,246,000 US$ 227,400-288,100

層巒疊嶂的樹林，如一片綠色的海浪迎面而來，樹木們或是昂然挺立、或是溫柔婉轉地迎風而起，各自以不同的姿態呼吸著、生長著，共譜一 曲豐富和諧的交響詩。而滿盈著生命律動的綠意層疊起伏，直把天空逼至畫布上緣，那湛藍的天空即便只顯露出窄窄的一線，也有著細緻多變 的色彩與層次，氣流在其中迴旋，空間，往無限的遠方延伸。這是葉子奇作於2007至08年間的《有相思樹林的陽明山》，他將富涵寓意的執著 與深情投注於大自然的描寫，淬鍊出山與樹林的美，賦予這屬於亞熱帶海島上飽含生命力的獨特風景，一種紀念碑式的崇高精神。 面對山、海、雲、樹，葉子奇筆下細密鋪陳而出的不僅僅是風景，更是注滿情感與隱喻的心靈寫照，往往透露出一股寂靜的鄉愁，而這樣的鄉 愁，或可說是出自於對天地永恆的渴望與追尋。葉子奇承繼了古典繪畫在色彩疊染、明暗映襯與空間氛圍的營造，而採取當代視角的簡潔構 圖，混合蛋彩與油彩於畫布上細細堆疊出色澤鮮明、肌理細膩的寫實圖像。《有相思樹林的陽明山》裡，看似靜止不動的山與樹海，彷彿低語 著關於生命歷程的哲學，裡頭有著藝術家與大自然之間深刻而長遠的對話，暗示宇宙自然生命的生與滅，訴說著凝結於時空之中，那關於永恆 的沉思。 The huge mass of trees seems to roll towards the viewer like an oncoming green wave. Some of the trees are stood proudly erect, while others are bending gracefully in the wind; each of them breathes and grows in its own way, coming together with the others to create a rich and harmonious symphonic poem.

The rhythmic “undulation” of the trees seems to press the sky out to the edge of the canvas, and yet despite the fact that only a narrow line of the azure sky can be seen, it is still portrayed with great detail and with entrancing variation, in which the air can be sensed whirling through space, stretching out in the distance towards infinity. In “Yang-min Mountains,” which Tzu-chi Yeh painted in 2007-2008, the artist instills his depiction of nature with a pronounced sense of hidden meaning and depth; Yeh brings out the beauty of the hills and forests, giving the unique subtropical landscape of the island of Taiwan – with its immense vitality – the spiritual significance of a commemorative monument.

What Tzu-chi Yeh has created with his painstaking depiction of hills, sea, clouds, trees and leaves is more than just a landscape; it is a spiritual portrait rich in emotional power and hidden metaphors. Yeh’s work is often characterized by a quiet nostalgia, and this nostalgia could be said to derive from an eternal attachment to and longing for the natural world. Yeh has retained the layered colors, contrast and spatial atmosphere of classical painting styles, while adopting a simple, streamlined composition based on a modern sense of perspective; the combination of tempera and oils allows Yeh to realize detailed, exquisitely executed layering of colors on the canvas, creating a textured, lifelike image. In “Yang-min Mountains,” what appear at first glance to be silent, unmoving hills and forests reveal themselves on closer inspection to be whispering philosophical messages about the cycle of life; it is as though the artist is engaged in an in-depth, far-reaching dialog with nature, hinting at the cycle of birth and destruction in the cosmos, and evoking deep reflection on the permanence at the heart of space and time.

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148 Yun GEE

(Chinese-American, 1906 - 1963)

Central Park c.1940s Oil on canvas 41 x 51 cm Signed lower left Yun gee in English PROVENANCE: Sotheby's sale, Hong Kong, April 7, 2007, lot 31

NT$ 9,000,000-18,000,000 HK$ 2,128,000-4,255,000 US$ 272,900-545,800

朱沅芷 中央公園 約1940年代 油彩 畫布 41 x 51 cm 簽名左下：Yun gee 來源： 蘇富比拍賣，香港，2007年4月7日，編號31

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朱沅芷《馬上舞旋》約1939 油彩 畫布 122 x 108 cm，港幣1143萬成交 Yun GEE, Nudes on Horseback, c.1939 Oil on canvas, 122 x 108 cm, US$ 1,479,488 sold

朱沅芷《旋轉木馬；日光浴者；現代公寓》（三聯作）1932 油彩 畫布 裱於紙板 49.5 x 35.7 cm（左）；52.3 x 45.2 cm（中）；50 x 35.7 cm（右）港幣1084萬成交 Yun GEE, Merry-Go-Round; Sun Bathers; Modern Apartment, 1932, oil on canvas mounted on board 49.5 x 35.7 (left), 52.3 x 45.2 cm (middle), 50 x 35.7 cm (right), US$ 1,397,384 sold

作為二十世紀初早期華人藝術家，朱沅芷前衛的藝術語繪以及研究繪畫的不懈精神終使他成為一位偉大的創作者。爾後其在美國的創作受到所 謂共色主義影響之外，移居巴黎時，流連羅浮宮等諸多藝術殿堂，以及交往當地的藝術家，甚至是巴黎畫派等，再到黯淡自巴黎遷回美國紐約 後，這些經歷都對朱氏往後的藝術創作產生潛移默化的作用；儘管朱沅芷並未在他的故國有過任何展覽，但在二十世紀的美國現代藝術史上絕 對可以見著他努力的蹤影，作品可見於美國重要美術機構如：紐約惠特尼美術館、舊金山奧克蘭美術館、赫胥宏現代美術館等，藝術成就可見 非凡。 朱沅芷的繪畫生涯大致上可以分為三個階段：舊金山時期、巴黎時期（第一、二次）、紐約時期（第一、二次）；最早的風格大體是來自於加 州美術學校（現加州藝術學院 舊金山藝術學院），受教於歐蒂斯歐非德，此時期至朱氏離開美國前的繪畫風格遊走在半具象與抽象之間且充 滿了濃厚共色主義氣息，強烈鮮明的對比色使用與畫面線條的任意分割，並且重視結構與色彩之間關係的協調性，偶爾也帶著濃烈表現主義味 道。在巴黎時的沅芷曾立下融合東西文化為目標，而他醉心於巴黎眾多美術殿堂瑰寶的同時，也注意到了風潮一時的「超現實主義」流派，創 作數件主題有關老莊哲思內涵以及中國式的作品，而這時期的作畫風格轉變上則可以察覺朱氏對於色彩應用從明亮色系開始趨向陰鬱的深色， 相近色系的運用取代了對比色的活潑鮮明，主題表現也出現更多的具象人物或是風景畫作：而我們也可以在創作題材與用色上發現此時藝術家 心境上並不如往前，即便時值二十出頭歲的朱氏在巴黎藝壇已經舉辦過多場個展，且有著看似前程似錦的藝術生涯。 在看盡巴黎的沈淪以及對異邦文化的歧視後與種種外在因素，朱沅芷最終還是黯淡地回到了美國，而此次他選擇落居紐約，展開了第一次的紐 約時期，雖其中因為意識到美國當地社會對於華人的歧視與自己在紐約藝壇發展的侷限，且希望再重拾以往在巴黎藝壇的風光，曾二度前往巴 黎，卻又因歐戰爆發再次回到紐約。沅芷一生中創作多幅以中央公園為主題的畫作，其原因或許是該地為朱氏和女兒朱禮銀經常前往的地點 使得中央公園成為朱氏偏愛的主題之一。而從主題與簽名形式看來，這幅《中央公園》約莫創作於1940年代，風格上明顯地承襲表現主義手 法，但跳脫了在巴黎時發展出力道強勁的表現手法；畫面中遠景的大樓細節線條清新細瑣，而前景的樹景軀幹稍微歪斜變形，表現手法稍具寫 實技法味道，並開始走向有著文學敘述性般的現代主義繪畫；而用色雖然較先前明亮及豐富，風景明媚的呈現理當散發出歡愉的氛圍，但卻因 多著重在沉重、低明度和混濁曖昧的色調，不免能看出朱氏在心境上對於環境的不滿與情感上的憂鬱。 飄蕩在兩地皆不屬於自己故鄉的沅芷，更因為自身中國血液在異地的難為使得他ㄧ生遭受許多挫折與不幸，然而這些磨難卻更加豐富了他的視 野，使之對於事物、情感等能有更深刻的體會。即使表面上他活躍藝壇，卻終未能大鳴大放，藝術生涯的孤獨路造就他一生悲劇性格，但這些 卻迫使他孤寂地創作著，而這幅《中央公園》即是他建立了獨特現代藝術語彙後，寄託悲觀情感的抒發之作，確實為紐約時期中的精彩之作。 An ethnic Chinese artist active in the first half of the 20th century, Yun Gee’s cutting-edge artistic lexicon and steadfast commitment to selfimprovement as a painter ultimately made him a truly great artist. The work that Yun Gee produced while living in the U.S.A. was influenced by the Synchronism movement; subsequently, after moving to Paris, Yun Gee made frequent visits to the Louvre and other art museums, and spent much time in the company of local artists, including members of the École de Paris school. After Yun Gee’s disconsolate departure from Paris and return to the U.S.A., these experiences continued to exert their influence on his art. Although Yun Gee never held an exhibition of his work in China. during this lifetime, his art definitely influenced the development of modern art in America in the twentieth century, and today Yun Gee’s paintings can be found in the collections of major U.S. art museums such as the Whitney Museum of American Art (in New York), the Oakland Museum of California (in San Francisco), and the Hirschhorn Museum (in Washington D.C.). Overall, Yun Gee’s artistic achievements were quite remarkable.

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Yun Gee’s artistic career can be broadly divided into three stages: his time spent living in San Francisco, his sojourns in Paris (two separate occasions), and his time spent living in New York (two separate periods). Initially, Yun Gee’s style derived mainly from his training at the California College of the Arts and Crafts (now the California College of the Arts) in San Francisco, where he studied under Otis Oldfield. Yun Gee’s art during the period before he left the U.S.A. for the first time hovered on the border between the semi-representational and the fully abstract, and showed a pronounced Synchronist influence, with the use of strong, bright, contrasting color tones and lines that seem to break up almost at random. Yun Gee’s work from this period also displays great attention to the relationship between composition and color; in some paintings, there is a pronounced hint of Expressionism. While living in Paris, Yun Gee set himself the goal of achieving a fusion between East Asian and Western culture. While immersing himself in Paris’ many great art museums, Yun Gee was also very much aware of the Surrealist movement that was still in its heyday at the time. Several of his works from this period deal have themes that reflect Taoist thought or other aspects of Chinese culture. One significant change in Yun Gee’s style that is apparent in this period is a move away from bright color tones towards darker, more muted colors, and an increasing tendency to combine colors with similar tones rather than with contrasting tones; there is also an increase in the number of paintings featuring representational human figures and landscapes. The subject matter of, and use of color in, Yun Gee’s paintings from this period suggest that the artist’s outlook on life may have become more pessimistic, despite the fact that, while still in his 20s, Yun Gee had already held several solo exhibitions in Paris, and appeared to have a bright future ahead of him.

Having become disenchanted with Paris and with the discrimination and prejudice he sensed there, Yun Gee eventually made the sad decision to return to the U.S.A., where he settled in New York. Although the discrimination that ethnic Chinese faced in America at that time, and the recognition that he had little chance of achieving recognition for his work in New York’s art world, led him to return to Paris for a time, the outbreak of the Second World War forced him to return again to New York.

Over the course of his career, Yun Gee created many paintings of Central Park, possibly because this was a place he had visited often with his daughter Li-lan, and which thus held special meaning for him. Judging from the subject matter and the form taken by the signature, this particular painting, “Central Park,” is likely to have been painted in the 1940s. Stylistically, the painting shows conspicuous Expressionist influence, but it is no longer the vigorous, dramatic Expressionism of Yun Gee’s Parisian period. The skyscrapers in the distance are depicted with a fresh, detailed purity of line, while the slightly deformed appearance of the trunks and branches of the trees in the foreground has a touch of the Realist school about it, suggesting the beginnings of a shift towards a “narrative” Modernist approach in Yun Gee’s style.

Although the colors are brighter and richer than in some of his previous work, and the beauty of the scene exudes a sense of joy, there is still a solemnity, a darkness and a sense of ambiguity in the color tones that hints at Yun Gee’s dissatisfaction with the environment in which he found himself, and at his depression.

Moving between two cities, neither of which was really his homeland , coupled with the obstacles he faced because of his Chinese ancestry, meant that Yun Gee experienced a great deal of frustration and unhappiness in his life. At the same time, however, these tribulations helped to enrich his artistic vision, giving him a more perceptive awareness of situations and emotions. Although on the surface Yun Gee always seemed to be very active in artistic circles, he never achieved real recognition during his lifetime. The lonely path that he was forced to tread gave his life a tragic aspect, but it also made him continue on creating arts alone. “Central Park” shows how, after having developed his own unique artistic lexicon, Yun Gee was able to find release for his feelings of depression and hopelessness through his painting; this is one of the finest works produced by Yun Gee during his time in New York.

朱沅芷《中央公園冬景》1940 油彩 畫布 51 x 63.5 cm 羅芙奧香港2013秋季拍賣會，編號528，港幣384萬成交 Yun GEE, Frost in Central Park, 1940, oil on canvas, 51 x 63.5 cm Ravenel 2013 Autumn Auction Hong Kong, lot 528, US$ 495,484 sold

朱沅芷《中央公園》約1940年代 油彩 畫布 40.7 x 50.7 cm 羅芙奧台北2015秋季拍賣會，編號148，預估價：台幣9,000,000-18,000,000 Yun GEE, Central Park, c.1940s, oil on canvas, 40.7 x 50.7 cm Ravenel 2015 Autumn Auction Taipei, lot 148, estimate: US$ 272,900-545,800

149 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Composition No. 535 1973 Oil on canvas 101 x 73 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and English, titled No. 535, dated 1973

NT$ 13,000,000-22,000,000 HK$ 3,073,000-5,201,000 US$ 394,200-667,100

朱德群 構成 No. 535

1973 油彩 畫布 101 x 73 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：CHU THE-CHUN No. 535 朱德群 1973 附藝術家妻子朱董景昭女士開立之原作保證書 This painting is to be sold with a certificate of authenticity signed by the artist’s wife, Chu Ching Chao.

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朱德群的抽象繪畫不僅僅是形式與色彩的結構，也不僅僅是 光明與黑暗的協奏曲，那裡面有大地的呼吸、有包容萬象的 動態、有深邃寬廣的智性光輝，更有藝術家對自然的深情詠 嘆。正如法國重要藝評家皮埃爾．卡巴納曾經寫下的：「抽 象不是目的，甚至不是手段，而是一個過渡。德群並沒有離 開自然，他不排斥自然的真實，而是將它融入富於個人感知 和傳承的語言。」（皮埃爾．卡巴納撰〈論朱德群〉，《大象．無形》， 台灣馨昌株式會社，上野の森美術館，2008，頁58。書為中、法、日文，並無 英文譯文） 作為擁有深厚中國國學根基的西畫家，朱德群從未

自我侷限於任一文化框架當中，他在1955年來到歐洲的藝術 之都巴黎，全心擁抱西方藝術的精髓並掌握了油彩那層次豐 厚、色彩紛呈的特質，同時融匯中國書法的筆墨節奏與山水 的深遠意境於抽象繪畫之中，為源自西方的抽象藝術開創了 嶄新面向。而東方思想中的宇宙觀，或者說是天地觀，並不 將視線停留在遙遠而不可企及的神之 國度，亦不將人的地位凌駕於萬物之 上，而是將人視為自然的一體，與所 有生靈與山川大地的脈動共生共存， 這樣的天地觀深深地影響了朱德群對 於創作的態度。於是，在創作的道路 上，朱德群由內心向外覺察自然的律 動、領悟天地運行的道理，而透過油 彩的揮灑，創造了天人合一的境界。 朱德群在藝術領域的卓越成就，為他 在1997年贏得法蘭西學院藝術院士的 殊榮，成為該學院成立250年來的首位 華裔院士。 自1956年首次嘗試抽象繪畫之後，朱 德群很快地建立自身獨特的藝術語 彙，於1960年代發展出深具書法筆墨 韻味的繪畫，濃黑的筆觸飛舞在清透 的光芒之中，勁道十足而鏗鏘有聲。 1970年代藝術家勤於書法，然而相對 於1960年代畫作的強烈書寫性特質， 此時期的畫作當中，書法性線條已不 若早前如此突顯，如同繪於1973年的 《構成 No. 535》裡，雄渾的墨跡已化 為纖細的筆觸融於色彩與光影之中， 但依舊蘊藏有藝術家領會自書法的運 筆勁力，變化多端且靈動有緻。此作 亦展現藝術家在油彩掌握方面的新發 展，中國水墨在數百年文人倡導之 下，著重於精神意境之琢磨，色彩的 使用愈見精簡，直至以墨色為主，單 憑墨之深淺濃淡即成「焦、濃、重、 淡、清」五色，變化無窮。朱德群深

明箇中精妙，1960年代除了書寫性筆觸的大器揮灑，另一特 色是多為單色系的細緻變化，而從中營造出清麗的光芒。 1970年代的作品用色轉趨亮麗，從暗色調的基底中浮現耀眼 的色彩，如《構成 No. 535》畫面中心至下半部的橘紅與黑； 而油彩在朱德群筆下一改其濃厚黏滯的特性，宛若水墨渲染 般地輕盈流動開來，如此作畫面上半部的鋪陳，有著水墨渲 染般的氛圍，顯得意境深遠而神秘。於焉，早期抽象繪畫那 直接撞擊心靈的強大力量，已然化為隱沒在繽紛色彩後的巨 大聲響，如同大自然中水的飛濺、風的吹動、萬物生長的背 後，那無形的巨大力量。整個1970年代的作品量在朱德群的 創作生涯中相對稀少，更顯得《構成 No. 535》的難得可貴。

朱德群在1970年於荷蘭阿姆斯特丹的國立博物館欣賞了林布 蘭特大展，深深著迷於大師作品裡的光影對比與隨之而起的 激越情緒，自此朱德群更用心於光影 的經營，為他的抽象繪畫注入了幽微 神秘的光采，而1972年遊歷德國時於 慕尼黑研究表現主義繪畫，也鼓歷藝 術家更為瀟灑地抒發胸中心緒，俐落 瀟灑的用筆，在藝術家精準的構圖之 下展現流暢力道與美感，為其作品帶 來更強大的感染力。《構成 No. 535》 一作中，熾烈的橘紅自深沉的黑暗裡 穿透而出，如燒紅的鐵塊、亦如地心 熾熱的火焰；畫面上半部則以帶著低 彩度的黃、綠與藍，蹤向刷出層層流 動的薄彩，隱約如拔地而起的崎峻山 嶺，亦如天際直射而下的光線，冷調 的光影映襯著畫面下方水平動勢的 橘與黑更顯熾熱，色彩與光影彼此 碰撞、奔騰不息，既熱情又神秘。於 是，時間在畫面裡流動，精神高度集 中，冰與火的無盡變動在此相遇，清 冷與熱烈的光芒相互映照，我們看見 了天地萬物的偉大律動，亦感受到熾 烈與冷靜共存的情感。朱德群在此畫 中運用高超的明暗對比，流暢的筆觸 揮灑深沉與清麗的色彩，戲劇性地捕 捉了火光劃破漆黑的那一刻，宇宙萬 象於瞬間幻化，引人入勝。於是我們 見到，璀燦的生命力量於沉厚冥想的 氛圍中顯現，如此恢宏且激越人心， 在光與色彩流轉躍動的畫面之中，呈 北宋畫家范寬《谿山行旅圖》 絹本•淺設色 畫軸，206.3 x 103.3 cm 現了藝術家走遍千山萬水之後的壯闊 現藏於台北國立故宮博物院 與光明，而正是這般雄渾中帶有靈秀 FAN K'uan, Travelers Among Mountains and Streams 的氣質，構成了朱德群畫作的引人入 Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm Collection National Palace Museum, Taipei 勝之處。

Teh-Chun Chu’s abstract paintings are not just a frame for forms and colors, nor are they just a concerto of shades—they may depict the Earth’s liveliness, a circus of movements, the artist’s deep intellectual reflections, or nature’s emotional impact on Chu. Just as the renowned French commentator Pierre Cabanne once wrote, “Abstraction is not the ends, not even a means, but a process. TehChun is not evading nature or rejecting nature’s realism. Rather, he’s expressing nature with a very sensational language that has always lingered in his mind.” (Cabanne, Pierre, “On Teh-Chung Chu,” Solo Exhibition of Chu Teh-chun, Taiwan Rubycon Co., Ueno Royal Museum, 2008, p. 58.

Available in Chinese, French, and Japanese, but not English).

As a practitioner of western painting well immersed in Chinese culture, Teh-Chun Chu never limited himself to any single cultural framework. In 1955, he traveled to Europe’s capital of art, Paris, and delved into the essence of western art. In particular, he had a good grasp on making his abstract paintings colorful and rich in layers, characteristic of oil paintings. And yet, he did not forget to blend in such Chinese elements as calligraphy’s sense of tempo and depth. In this way, Chu has carved out a new dimension for western abstract art. Cosmology—or the idea of macrocosms—in the East is not limited to the inaccessible world of gods, nor does it say that humankind is placed higher in hierarchy than all other beings. Rather, human beings are treated as part of nature, and live in sync with their natural environment as well as all other organisms. This sort of macrocosmic view has influenced Chu’s attitude deeply. Therefore, in his creative career, Chu has always started the observation of the outer world from his inner vision, noting the natural rhythms and births and deaths from his heart. Then, with oil as his medium, he depicts humankind and the universe as one of the same kind. In 1997, Teh-Chun Chu became the first ethnic Chinese member of L’Institut de France in 250 years for his excellent achievements in art.

Since his first attempt at abstract painting in 1956, Teh-Chun Chu quickly developed his own artistic vocabulary. In the 1960s, he created paintings that parallel calligraphic art. Dense strokes dancing on a light background make a forceful and loud presence. In the 1970s, the artist practiced calligraphy diligently in his spare time, and yet, the strokes in the paintings are no longer as well-defined as those seen a decade ago, which were much more akin to written works. For example, in “Composition No. 535,” created in 1973, one sees delicate lines that merge themselves with the colors and shades instead of bold splashes of paint. But there is still a touch of calligraphy in this work as the lines seem quite emotional and energetic. This work also shows the artist’s new development in using oil paint. Under centuries of influence from Chinese scholars, depiction of the inner world has always been the key in Chinese ink wash. Thus, the use of colors has been reduced to only one—the variation in the load of ink in a single stroke is sufficient to make the five colors, “charred, dark, dry, wet, light,” and create interesting effects. Chu handles ink wash perfectly. In his 1960s works, not only did he apply ink generously as if he were writing, he also experimented with painting details using a single color, which was a new style and turned out to be quite elegant.

In his 1970 works, the overall tone was brighter, and colors dazzled in the dark background. In “Composition No. 535,” for example, the center to the lower half of the composition is in orange-red and black. And Chu diluted the oil paint so that it is no longer gluey, but washes through the canvas as does ink wash. Like the careful composition in the upper half, the light texture reminds the viewers of ink wash, making the painting intense and mysterious. In this way, the direct impact of his early abstract paintings has become the fury covered by colors, just like the invisible force behind such natural phenomena as water splashing, wind blowing, and things growing. Chu created relatively fewer works in the 1970s, making “Composition No. 535” particularly valuable.

In 1970, Chu saw the exhibition on Rembrandt Harmenszoon van Rijn (1606-1669) at Rijksmuseum in Amsterdam, Netherlands. He was deeply attracted by how Rembrandt could trigger various emotions in the viewers just by his depiction of lights and shadows.

As such, Chu started spending more time on mastering skills of portraying lights and shadows to veil his painting with a bit of mystery. In 1972, during his travels in Germany, he delved into the techniques of expressionism in Berlin. There, he was inspired to express his feelings more directly on the canvas. The unrestricted strokes in Chu’s precisely arranged composition become smooth and gorgeous, making these works more powerful. In “Composition No. 535,” the orange-red burns itself out from the darkness in the background. It can be likened to a burnt piece of iron, or to fire igniting from the earth’s core. On the other hand, the yellow, green, and blue in the upper portion are not as vibrant. These colors are painted much more lightly, carelessly drifting on the canvas.

They are reminiscent of a tall mountain, a bit like lights striking down from above. With such cool colors as a contrast, the orange and the black seem more fervent. Colors seem to be energized whenever they are hit by shades, revealing both the enigmatic and the passionate. And slowly, time starts to pass in the picture as we become concentrated. As ice and fire dominate our sight alternatively, as the cold and the feverish tints accentuate each other, we see the entire universe move and sense the bond between the contrasting colors. Chu applies contrast in this painting superbly. The same smoothness runs in both strong and elegant colors, dramatically catching the moment of sunrise, and everything in the universe starts afresh. And thus we see, life’s glory exemplifies itself in a deep and reflective background. It is so fierce and thrilling, and as light and colors travel in the composition, one also sees the epiphany the artist experiences after his journey. It is exactly this sophistication adorning the magnificent that makes Teh-Chun Chu’s paintings so attractive.

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150 Landscape

在中國當代藝術領域，從不同角度看曾梵志，都在同行中脫穎而出，顯示出他在表現手法和 技法上罕見的成熟度。作品主要關注內心世界，反映強烈的心裡不安，及尋求混亂新世界的 意義。與他同時期的藝術家，大多在表現開放與崛起中的中國大環境下的政治與社會問題， 而曾梵志卻將目光集中在這可怕的新環境中，個體的異化和冷漠。他的作品不僅主題獨特， 對中國偉大的傳統筆觸和空間使用等技法也有所研究。他永恆的主題——異化與冷漠的痛 楚，與他嫻熟的畫筆運用，使全世界認可他是位中國當代最重要的藝術家之一。

2006 Oil on canvas 70 x 200 cm Signed lower right Zeng Fan Zhi in Chinese and English, dated 2006

曾梵志於1964年生於湖北省武漢市。兒時內向，青年時期受當時社會混亂和不理性的影響， 被所觀察到的事物深深地傷害，而藝術是他唯一的宣洩方式。在湖北美術學院，他被德國印 象主義吸引，也進而影響了他的作品和技法。筆法粗獷，色調飽滿、以及沉重的表現形式成 為他的標誌，用具啟發性的圖像和色彩，表現憤怒與孤立。

ZENG Fanzhi (Chinese, b. 1964)

NT$ 16,000,000-24,000,000 HK$ 3,783,000-5,674,000 US$ 485,100-727,700

曾梵志 風景 2006 油彩 畫布 70 x 200 cm 簽名右下：曾梵志 2006 Zeng Fan Zhi

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曾梵志的作品，詳盡表現生活中每個時期的心理狀態。與其他藝術家在作品中堅持的獲勝法 則不同，曾梵志不斷創造表現他內心狀態的新表現形式。在武漢時期，他創造了兩個早期 系列作品：《協和醫院》和《肉聯》。這兩部系列的創作，都是直接受到這位年輕內向藝術 家早期的可怕經歷所影響。20世紀60年代，中國大多數家庭都沒有浴室。年輕的曾梵志不得 不使用當地醫院的浴室。他每天目睹醫院裡混亂的景象，感覺情感受到創傷。他因此創作的 《協和醫院》系列，反映出漠不關心的醫生與驚嚇不安的病人。《肉聯》是他第二個系列， 源自他每日上下學途中經過販肉攤的經歷。在炎熱的夏季裡，工人們唯一的降溫方式就是躺 在凍肉上，使他們渾身都沾滿鮮血。對於極其感性的曾梵志而言，這個景象讓他感到非常不 安。 搬到北京後，曾梵志希望他的藝術能夠被接受和理解。但是，他發現他自己與主流脫節。面 對這種孤獨、冷漠和分離，他創作了他的成名作《面具》系列。作品中每個角色都隱藏在平 面面具之後，昇華了所有的表現方式和感覺。穿著入時的都市年輕白領，掩飾了他們內心真 實的自我，抑制他們的感情和情緒，否定他們的生活。《面具》系列之後，曾梵志開始轉向

更抽象的表現形式。在2000年，他開始描繪不帶面具的人物。這些人物形象比之前帶著面具的人物更加畏縮，空洞而目無表情的眼睛，深刻的 描繪個體的孤獨與孤立。曾梵志作品中的人物，都有一雙姿態有力的碩大雙手，在在顯示：儘管我們可以將內心感受小心翼翼地藏在面無表情 的臉孔下，激動的雙手卻總是出賣了我們最真實的內心感受。 《假面》系列也傳達出曾梵志與中國傳統水墨畫之間的聯繫。曾梵志將表現主義與中國傳統水墨畫結合，作品中人物通常懸浮在空蕩的背景 中，突顯藝術家的孤僻與冷靜。這種極其強烈的效果直接取自中國傳統的畫法。他的技法筆觸也深受傳統水墨的影響。寬筆刷繪出的長單筆劃 構造出抽象的感覺，而細筆刷用於畫出強健有力的線條，與中國的書法十分相似。 2004年，曾梵志開始創作風景畫，並將人物孤立在風景畫中。雖然人物的描繪繼承了孤獨的主題，而風景畫看上去像是在表現一種贖罪感。狂 放不羈的線條描繪出頑強而充滿活力的野草，在高山峻嶺間生長，在風中自由搖曳。這說明曾梵志承認他內心深處的騷動與混亂是自然的一部 分，無須害怕，無論多麼恐懼，都應該得以放鬆並釋放，得到自由，最終擺脫掩飾。 此幅《風景》作品描繪在黑暗陰沉的山谷周圍，茂密生長的野草，與薄暮中漸漸染紅的白色天空形成鮮明的對比。曾梵志脫離他早期的表現主 義，而更逼近中國傳統藝術的抽象與精神。以暗色調描繪狂放不羈的野草，就像一張網，或者一種我們在夢魘中糾纏我們的野生植物。陰沉的 山谷更增添一種不安的感覺。雖然我們的情緒與情感正如這些野草所表現般混亂而恐懼，但這並不是我們需要抑制或逃避的。當夜幕降臨時， 這些草是狂放，活力而戰慄的，正如人們最深處的情緒與想法一般。 曾梵志嫻熟的筆觸增強了力量和情感。這是他自由隨性與潛意識作畫風格的象徵，使他的心情和情緒流淌在畫布上。藝術家一手上抓著兩把筆 刷，創造出混亂野性的線條。正如使用筷子，一把刷子用手指緊緊夾住，而另外一把刷子則在兩手指間自由移動。第一把刷子構造的第一根線 條，像我們被抑制的意識與思想，第二把刷子構造的第二根線條就像我們不受控制的情緒。曾梵志創造出人們內心狀態的抽象風景。這種心理 狀態，以黑暗神秘的山谷與充滿活力的野草，加上平寧靜的天空來詮釋，平靜與混亂得到了完美的平衡。 曾梵志的技法創造出一種結合邏輯與不理性的新式語言。邏輯的思維與無意識、直覺及感性相聯繫，正如手中兩支筆刷一樣。畫作表面勾勒的 深線條加強了畫作表面的注意力以及野草混亂的本性。這像極了中國古代藝術中抽象的書法再現技術。 曾梵志的作品表達出生活在孤立混亂的社會中，藝術家的情感和心理狀態。曾梵志獨特的心聲是一個藝術家真實的聲音，表現了他內心深處的 騷動和情感憂慮。

Zeng Fanzhi stands out in many ways from his peers in contemporary Chinese art, displaying an uncommon maturity both in terms of expression and technique. Primarily concerned with the inner world, his body of work reflects his deep psychological unease and search for meaning in a bewildering new world. While his contemporaries mostly focused on political and social issues in a newly open and emerging China, Zeng from the beginning of his career focused on the alienation and detachment of the individual in a frightening new environment. Zeng is not just unique in his themes, he has also been an experimental technician in painting methods and particularly in the great Chinese tradition of brush strokes and use of space. Both his universal themes of the pain of alienation and detachment and his masterful use of the paintbrush have brought him worldwide recognition and made him one of the most important of Chinese contemporary artists.

witnessed there on a daily basis. His resulting “Hospital” series typically depicts uncaring doctors and terrified patients. “Meat”, his second series, results from his experience of passing by his local butchers on his way to and from school everyday. In the heat of summer, the only way for the workers to cool down was to lie on the frozen carcasses which resulted in them being covered in blood. For the highly sensitive Zeng, this was deeply disturbing.

On moving to Beijing Zeng was hoping to find acceptance and understanding of his art. Instead he found himself isolated and cut off from the mainstream. Faced with loneliness, detachment and alienation, he produced his “Mask” series for which he has become most famous. The face of each of his protagonists is hidden by a flat mask which sublimates all expression and feeling. Well-dressed, professional, young urbanites mask their true inner selves subjugating their Zeng Fanzhi was born feelings and emotions, i n Wu h a n i n H u b e i and negating their lives.

Province in 1964.

After the “Mask” series, As a child, he was Zeng started to move introverted and was to more abstract forms. deeply affected by the In 2000, he began to chaos and irrationality depict figures without in the society of his masks. These figures youth. His psyche was may have regressed deeply traumatized by even more than his what it observed and masked characters art was the only outlet as their vacant and for his inner turmoil. expressionless eyes are He was immediately empty and hauntingly attracted to German 曾梵志《江山如此多嬌6號》（雙聯幅）2006 油彩 畫布 250 x 500 cm portray the loneliness Expressionism at the 香港蘇富比2014年春季拍賣會，編號0149，2252萬港幣成交 and isolation of the Hubei Academy of Fine ZENG Fanzhi, This Land so Rich in Beauty No. 6 (diptchy), 2006, oil on canvas, 250 x 500 cm Sotheby's Hong Kong Spring Auction 2014, lot 1049, USD 2,882,560 sold individual. As in Arts, and his studies a l l Z e n g ’s w o r k s were to have a lifethe depicted persons have very large hands in strong poses seemingly long influence on his works and techniques. Wild strokes, fleshy colors emphasizing that although we can hide our inner most feelings most and brooding expressions were to become part of his hallmarks and were carefully behind an expressionless face our agitated hands will always to allow him to express his angst and alienation in apocalyptic imagery and betray our true inner turmoil. colors. However, such introspection and expressionistic tendencies found little acceptance in his native Wuhan and so in 1994 Zeng moved to Beijing.

The “Unmask the Mask” series also marks a deeper connection for Zeng Here, he suffered the full trauma of alienation and disconnection. with traditional Chinese painting techniques. Combining expressionism with the abstractness of traditional Chinese water and ink painting, The Zeng’s body of work is a detailed expression of his psychological state at figures often float suspended in an empty background while any details each period in his life. Unlike most of his contemporaries who are happy are portrayed in a very minimalist way, allowing Zeng to emphasize the to stick with winning formulas in their artwork, Zeng has consistently isolation and detachment of his character. This very forceful effect is taken introduced new series of works, and pushed the boundaries of his artistic directly from traditional Chinese paintings. Zeng’s brush strokes are also style to constantly create new and arresting expressions of his inner-state. strongly influenced by traditional Chinese water and ink brush strokes.

While still in Wuhan, he produced his first two series of works “Hospital” Large single strokes with wide brushes create an abstract feeling while and “Meat” both of which were directly influenced by horrifying early narrow brush strokes are used to create strong, emphatic lines reminiscent experiences for the young introvert. In the 1960’s most homes in China of Chinese calligraphy. didn’t have a bathroom. The young Zeng had to use the one in the local hospital. His sensitivities were traumatized by the chaotic scenes he

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In 2004, Zeng began to produce landscapes, and figures isolated in landscapes. The present work comes from this period. While the paintings with figures continue his theme of detachment, loneliness and alienation, the landscape pictures seem to offer some sort of redemption. Wild and chaotic strokes depict strong and vibrant grasses growing around mountains and blowing freely in the wind. It’s as if Zeng is finally beginning to accept that his deep emotional inner turmoil and perturbations are something natural and part of nature, something not to be afraid of, something to be let loose and freed no matter how frightening, to be unconstrained and ultimately to be unmasked.

This lot “Landscape” depicts wild grasses growing luxuriantly around a dark brooding mountain set against a white sky splashed with red at dusk.

Zeng has moved away from his earlier expressionism and has moved closer to the abstractness and spiritualism of traditional Chinese art. The grasses are strong and chaotic in dark colors, almost net like, or a wild plant in our nightmares entangling and ensnaring us. The dark colors of the brooding mountain add further to a sense of uneasiness. However, the white and reds of the sky bring a sense of peace and calmness. While our emotions and feelings as represented by the grasses are chaotic and frightening, they are not something we need to repress or run away from.

As night falls, the grasses are strong, vigorous and vibrant perhaps like our deepest emotions and thoughts.

Zeng’s masterful brush strokes add to the heightened sense of power and emotion. They are indicative of his free flowing and subconscious painting style, allowing his moods and emotions to flow onto the canvas. Zeng uses two brushes held in one hand between different fingers to create his chaotic, wild strokes. Just as with a pair of chopsticks, one brush is held firmly with three fingers while the second one moves freely between two fingers. The first one creates deliberate thought out strokes, the second follows, freely creating whatever lines it wants. The first stroke is like our conscious, controlled thoughts, the second stroke like our wild, uncontrolled emotions allowing Zeng to create an abstract landscape of our inner psychological state. This psychological state is further represented by the peaceful and calm sky juxtaposed with the dark, mysterious hill covered in wild vigorous grasses. Calmness and turmoil are wonderfully rendered.

Zeng’s brush technique has created a new representational language combining the logical and irrational. The logical mind sits side by side with the unconscious, intuitive and emotional mind, just as the two brushes sit side by side in the hand. The deep linear marks stroked into the surface of the painting draw attention to the surface of the painting and the chaotic nature of the grasses. This is highly reminiscent of the abstract calligraphic representational techniques of ancient Chinese art.

Zeng Fanzhi’s oeuvre charts a major exploration of the emotional and psychological state of the artist in an alienating and chaotic society. Zeng’s unique voice is the true voice of an artist as he expresses his innermost turmoil and deep emotional disturbances.

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

Universe in My Mind – 2 (quadriptych) 1998 Ink and color on paper 176.5 x 339 cm Signed lower center Liu Kuo-Sung and dated 1998 both in Chinese With three seals of the artist This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 19,000,000-38,000,000 HK$ 4,492,000-8,983,000 US$ 576,100-1,152,200

劉國松 宇宙即我心之二（四聯幅） 1998 彩墨 紙本 176.5 x 339 cm 簽名中下：劉國松 一九九八 鈐印右下：昂首此天地 鈐印中下：劉國松 山東青州 附藝術家親筆簽名之原作保證書

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中國水墨經過數千年的發展而達到崇高的境界，然而自有宋代的輝煌 之後，逐漸落入師法古人、重視師承的困境而難以走出新局，隨著西 方藝術觀念傳播至亞洲，水墨畫的困境愈見艱難，而上個世紀中期開 始，劉國松無論在觀念革新或形式開創方面的成就，皆為水墨發展史 造成不可抹滅的影響力，為此門有著悠久傳統的藝術開闢了新局，自 然在世界藝術史上奠定了不可取代的重要地位。《宇宙即我心之二》 為藝術家創作於1998年的巨幅畫作，以水墨紙本為媒材，採取藝術家 獨創的技法揮就，既有抽象繪畫的形式美學，亦具山水的悠遠寫意， 蒼茫壯闊，震懾人心。 劉國松既珍視中國數千年發展而來的水墨資產，又能不落窠臼勇於開 創屬於這個世代的水墨語彙，例如他為了打破對「筆」的依賴，花費 許多心血開發水墨技法，從最早以砲刷子畫在特製的「國松紙」而形 成的「紙筋法」、以及使用裱貼、噴槍等等於畫面上，到1977年以後 則專注於開發「水拓」和「漬墨」，卓然有成，樹立了屬於藝術家個 人豐富的創作樣貌。更難得的是，不僅以創作實踐其藝術理想，正直 能言的劉國松更以文字倡議藝術的現代化，一度參與筆戰捍衛諸如抽 象形式等現代藝術觀念，其影響力由台灣輻射至海外華人。雖然在 在上個世紀中國與台灣關係對峙緊張的年代裡，劉國松的所言所行未 能即時與中國藝壇對話，但依舊在往後逐漸引起關注與討論，誠如藝 術史學家蕭瓊瑞指出的：「1981年年底，劉國松首度返回中國大陸， 並在兩年後，成為1949年以來第一個到中國大陸展覽的台灣畫家，直 到1989年的暫時止息，劉國松帶給中國大陸水墨畫壇的，是一個外 表寧靜、內裡激烈的狀『典 範革命』。」 （蕭瓊瑞《劉國松

Dynasty. Subsequently, however, ink brush painting became stylistically hidebound, with an excessive emphasis on imitating the works of ancient masters that effectively precluded innovation. After Western art concepts began to spread to Asia, the ink brush painting tradition found itself in even more dire straits. Since the middle of the Twentieth century, Liu Kuo-sung’s achievements – in terms of the introduction of new ideas and new forms – have exerted a major influence on the development of Chinese ink brush painting, opening up new vistas for this ancient art form, and confirming the importance of ink brush painting within the global history of art.

“Universe in My Mind – 2” is a huge ink-on-paper work which Liu Kuosung completed in 1998. Embodying Liu’s unique technical approach, it combines the formal aesthetics of abstract painting and pronounced sense of distance and space characteristic of traditional Chinese landscape painting.

Liu Kuo-sung is at one and the same time a product of the millennia-long Chinese painting tradition, and someone unafraid to innovate by developing a new ink brush painting lexicon for our times. For example, in order to overcome ink brush painting’s excessive dependence on the brush, Liu Kuo-sung spent considerable time and effort developing new ink brush painting techniques, from his early experiments using cleaning-brushes on the “Kuo-sung Paper” that he invented, through the development of his “textured paper technique” and his utilization of collage and spraypainting techniques, to his focus on the development of “water-rubbing” and “ink-splatter” techniques in the period from 1977 研究》，國立歷史博物館，1996年， onwards; in this way, Liu Kuo頁258。） sung developed a range of creative techniques that were 作為「五月畫會」創始成員 uniquely his own. Even more 之一，劉國松積極活躍於中 impressively, besides realizing 國繪畫現代化運動，一向對 his creative vision through 於寫實題材保持警覺的距 his art, Liu Kuo-sung was 離。然而當他於1980年代頻 also an active advocate of the 繁造訪遊歷中國、徜徉於壯 modernization of Chinese art 劉國松《雪網山痕皆自然A─西藏組曲之181》2012 闊的大山大水之時，在1980 in his writings, engaging in 設色 紙本 188 x 463 cm RMB 10,235,000 成交於香港 年代後期繪製了一批甚為具 impassioned debate in defense LIU Kuo-sung, Snow Mountain of Tibet 181, 2012, ink and color on paper 象寫實的山水畫作，這些畫 188 x 463 cm, US$ 1,677,516, sold in Hong Kong of modern forms such as 作磅礡大器同時有著藝術家 abstract art, and becoming an 獨特的技巧印記，卻似乎偏離了其一貫強調的現代精神，例如1987年 influential figure not only in Taiwan but also in the wider Overseas Chinese 的《香江歲月》、1989年的《源》，以及1988至89年間一系列關於黃 community. Although, given the hostility that existed between Taiwan and 山的畫作。1989年以後，劉國松不再為寫實的大山大水所牽絆，重新 China in the latter half of the Twentieth Century, Liu Kuo-sung was for 專注於抽象精神的探索，經歷寫實再回到抽象，此後的作品更見精妙 many years unable to engage in dialog with artists in China, either directly 之氣韻。《宇宙即我心之二》即為此時期的代表作之一，藝術家以四 or through his writings, his work and his ideas did gradually begin to attract 聯幅鋪展出寬約3.5公尺的磅礡大作，豪氣萬千，流露出他作為一位 attention and comment in China. As the art historian Hsiao Chong-ray has 「大江南北人」的寬廣胸襟。面對諾大的尺幅，藝術家僅以一左一右 noted, “Following his first trip back to China in late 1981, two years later 兩道筆觸構成畫面結構，墨跡中心以靛藍提點，以排筆渲染，並配合 Liu Kuo-sung became the first Taiwan-based artist to exhibit in China since 「紙筋法」（藝術家亦戲稱為「抽筋剝皮皴」）的使用營造出豐富而 1949. He continued to exhibit there on a regular basis until 1989, helping 多層次的肌理，既有狂草的縱情恣意，亦有抽象的形式之美與想像空 to stimulate a ‘paradigm shift’ in Chinese painting through the superficially 間，剛健的筆法與大片留白對比鮮明，構圖技法純熟而出神入化，虛 tranquil but internally dynamic nature of his work.” (Hsiao Chong-ray, “The Work 實相應之間，建構出深遠意境，既壯闊如皚皚積雪的高寒山峰，亦如 of Liu Kuo-sung,” , National Museum of History, Taipei, 1996, p. 258) 流竄於宇宙之巔的生命能量。《宇宙即我心之二》透過藝術家獨特且 A founder member of the Fifth Moon Group art association in the 1950s, 深具時代精神的創作語彙，回應了東方「天人合一」的傳統精神，並 Liu Kuo-sung was actively involved in the movement to modernize Chinese 提昇至禪境，蒼茫壯闊，且無邊無際。 traditional painting, and for many years was wary of realist art. However, Having evolved over a period of several thousand years, the art of traditional following his frequent visits to China in the 1980s, where he had the Chinese ink brush painting had reached a pinnacle of perfection by the Song opportunity to travel extensively through China’s imposing natural scenery,

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from the late 1980s onwards Liu began to paint a series of realist, figurative landscapes. These works are epic in scale, while also displaying Liu Kuo-sung’s unique technical signature; at the same time, however, they seem somehow to deviate from Liu’s otherwise consistent emphasis on modernism. This is particularly obvious in paintings such as “Scenery of Hong Kong” (1987), “Source” (1989), and the series of paintings of Huangshan that Liu completed during the period 1988 – 89. From 1989 onwards, Liu Kuo-sung stopped painting these large, realistic landscapes, and began to focus again on his exploration of the potential of abstract art. The abstract paintings that Liu created after his foray into representational art were even more exquisitely executed than his earlier abstract works. This particular painting, “Universe in My Mind – 2,” is one of Liu Kuosung’s finest works from this period. This huge work, which takes the form of a quadriptych (four-panel screen) almost 3.5 meters wide, is magnificently ambitious. Despite the enormous size of the work, Liu has succeeded in creating the basic structure of the picture in just two brushstrokes, one on each side. The black brushstrokes are highlighted down the middle in indigo, and a wash has been applied using a paibi (a broad brush comprising a row of penshaped brushes). The work also makes use of Liu Kuo-sung’s characteristic “paper-texturing” technique (referred to jokingly by Liu himself as “rippling the tendons and peeling the skin”), which involves tearing the fibers of the paper to create a distinctive, multi-layered texture.

“Universe in My Mind – 2” combines wild passion with the beauty and imaginative space of abstract form. The pronounced contrast between the firm brushstrokes and the large areas of blank space reflects the artist’s sublime technical mastery; the contrast between presence and absence creates a sense of immense meaning that is both as awe-inspiring as snow-covered mountain peaks in winter, and as vigorous as the life-force of the cosmos.

“Universe in My Mind – 2” uses Liu Kuosung’s unique, and powerfully contemporary artistic lexicon to reflect the traditional East Asian philosophy that man is an integral part of nature, and to take this concept to a new level of Zen-like boundlessness.

152 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Abstract No. 82 1961 Oil on canvas 65 x 100 cm Signed lower left CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in English and Chinese, titled No. 82, dated 1961

NT$ 28,000,000-36,000,000 HK$ 6,619,000-8,511,000 US$ 849,000-1,091,600

朱德群 抽象 No. 82

1961 油彩 畫布 65x 100 cm 簽名左下：朱德群 CHU THE-CHUN 簽名畫背：CHU THE-CHUN 朱德群 NO. 82 1961

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一上一下，兩道水平走勢的黑色線條橫躺畫面，如墨跡般濃淡有致， 氣勢萬鈞卻又靈活多變，銀白色的清透光芒自遠方而來，映照出層次 豐富的赭紅色層鋪陳延展，如同孕育萬物的土地般，溫暖、豐厚而穩 定。朱德群創作於1961年的《抽象No. 82》滿溢著豐沛生命力散發著 寧靜寬闊的智慧光芒，而那引領著我們視線的墨色線條，標示了一位 帶著深厚中國素養來到歐陸落地生根的藝術家，將悠遠的西方繪畫傳 統與東方文化精髓融匯貫通，為藝術史的進程開創新局的關鍵時期。 二十世紀初的中國戰亂頻頻、動盪不安，然而，偉大的靈魂往往能 無懼於時代的動盪，在大時代的顛沛磨難之中，反而砥礪出更為高 貴耀眼的光芒，朱德群即生長於這樣的大 時代裡，在環境的衝擊考驗之下，更見其 追求藝術那至誠、至善、至美的堅毅情 操。出生於1920年，朱德群15歲進入當時 的國立杭州藝術專科學校（今中國美術學 院），師從林風眠、潘天壽和吳大羽等 人，時任校長的林風眠帶領的校風開放， 朱德群在此對入西方現代藝術有了進一步 的認識，並開啟了對於創作更為廣闊的想 像。1937年，隨著中日戰爭爆發，迫於日 軍的節節進逼，幾年之中杭州藝專由杭州 遷往內陸，行過安徽、湖北、湖南、貴 州、四川、直至雲南，朱德群在戰亂中完 成學業，卻也因為不斷遷校而飽覽了人文 山川。中日戰爭結束後，朱德群在南京中 央大學任教了4年，卻又因為國共內戰白 熱化，於1949年底遷居台北，無比遺憾的 是，他留在大陸的作品從此杳無音訊。在 台灣，他先後在台北工專（今國立台北科 技大學）和台灣師範學院（今國立台灣師 範大學）任教，並於1954年於台北中山堂 舉辦人生的首次個展。

在畫布上被重新建構為抒情的、充滿音樂性的心象風景。如此更為自 由、流動的繪畫語彙，正契合了朱德群寬廣的胸襟與抒發心中澎湃情 感的渴望，他在1958年發表了來到巴黎之後的第一次個展，旋及與莫 里斯．巴尼耶所主持的勒讓德爾畫廊簽下合作契約，逐步在歐洲藝壇 展現不可忽視的影響力。 朱德群創作生涯中，跳脫具像描寫的關鍵轉折得益於歐洲現代藝術的 啟發，而中國文化傳統則在其發展獨特藝術語彙與內在精神的過程 中，扮演著不容忽視的角色。出生在安徽的醫生世家，朱德群自小奠 下深厚的國學修養，身邊有父執輩收藏的書畫，並在父親的親自指導 下臨摹許多中國古代的名家碑帖。日後，這些 來自東方文化的學養無疑在藝術家的創作生涯 中不斷地轉化、發酵為創作能量，而最早在他 的繪畫中所顯露的，即是書法的影響。正如藝 術家曾經在日後憶及，他在1961年前後強烈懷 念起水墨創作的手感，苦於在法國買不到宣 紙，就以吸墨紙代替宣紙，享受舞文弄墨的酣 暢，而他在1960年代初的作品，已然成熟地將 水墨書法精神注入抽像繪畫的表現，融合為完 整的、獨特的朱式藝術語彙，創作於1961年的 《抽象No. 82》即是其中精采之作。

自然界並不存在著純然的黑，即使陰影亦帶 有多變的色彩，這是西方繪畫在長久的發 展與研究之後已然普遍被認知與接受的準 則。朱德群卻在其1960年代的創作中大量 採用濃黑的線條，原本應是沉重凝滯的黑 色成為畫中主角，這在講究色彩表現、重 現自然之美的西方畫壇，無疑是種挑戰與 突破。而自朱德群筆下流洩而出的黑，重 擊在畫布之上，雄渾有力，他以源自西方 的抽象形式承載了天地精神，磅礡氣勢有 如宋朝名家范寬的山水畫。《抽象No. 82》 兩年後的1955年，朱德群偕同日後成為其 一作同時展現藝術家表現「光」的卓越之處， 妻子的董景昭乘船來到法國。這一次的遷 即便以厚重的黑、低彩度的赭紅為主色，整件 朱德群《紅雨村．白雲舍》1960 徒不再是迫於戰亂，而是被他內心一股親 畫作並不混濁，反而更顯光的透明純淨，而這 油彩 畫布 2006年5月28日 HK$25,880,000成交於香港 炙西方現代藝術的渴望所驅動，他們落腳 CHU Teh-chun, Rouge, la pluie de petales sur le village. Blanc, le nuage 樣純淨的光亦在藝術家日後用色漸趨鮮麗的作 au-dessus de la maison, no. 53, 1960, oil on canvas 在孕育西方現代藝術的花都巴黎，沉浸在 品中，以不同姿態展現，正如日本美術史家宮 195 x 130 cm, US$ 3,351,331, sold on May 28, 2006 in Hong Kong 數十年前師長如林風眠曾經前往求學而受 崎克己所言：「朱德群先生從西洋繪畫中學到 到深遠啟發的文化氛圍裡。流連於藏有數 最多的，應如哥雅、林布蘭在茫洋黑暗中滲 世紀以來藝術瑰寶的羅浮宮，也時常造訪充滿自由創造活力的大茅屋 出光芒的感覺吧，也因此他的作品就如同將西洋實體的光、色彩運用 畫室，朱德群並不滿足於他已經表現得相當出色的寫實油畫，亟欲發 中國的墨、暗、及無限空間結合成合體的一種風格。」（美術史家宮崎克 己撰〈朱德群的軌跡〉，《大象．無形》，台灣馨昌株式會社，上野の森美術館，2008， 展更適合自己的藝術語彙，他效法塞尚探索形式的本質，並在1956年 頁52。） 於巴黎現代美術館觀賞史塔耶爾回顧展後，動筆嘗試在心中醞釀已久 的非具象油畫創作。於是，光、線條及色彩衝破了可見的具象界線，

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O n e a b o v e t h e o t h e r, t w o b l a c k l i n e s horizontally extend across the image with tonal gradations as vivid as that of ink wash.

It is majestic, imposing, yet effortlessly fluid. Translucent silvery light glows in the background, illuminating the magnificent layers of ochre-tinted hues meandering across the canvas in emulation of the earth that engenders new life with its warmth, generous bounty and unchanging stability. Abstract No. 82, created by Chu Teh-Chun in 1961, overflows with a vitality of life, emitting rays of wisdom with infinite serenity and generosity. The dark strokes of ink that guide our vision signify the profound Chinese cultural heritage of an artist who has found an alternate home on European soil. The intricate intersections between long traditions of Western painting aesthetics and the essence of Eastern culture represent the opening up of new possibilities for the progression of the history of art.

At the beginning of the twentieth century, China was entangled in wars, violence, and unrest. Yet the spiritual strength of great souls rose above the hardships and turmoil of their eras and were reborn with the grace and glory that only comes with great pain and hopeless destitution. Chu Teh-Chun was a child of this tumultuous era, but it was precisely these trials and difficulties in his background that made his determination to seek sincerity, goodness, and beauty all the more invaluable. Born in 1920, Chu Teh-Chun was accepted into the National Hangzhou School of Art (now the National Academy of Art) at the age of 15 and was placed under the instruction of masters such as Lin Feng-Mian, Pan Tian-Shou and Wu Da-Yu. Lin Feng-Mian, then President of the academy, advocated a liberal education, which allowed Chu Teh-Chun to gain much insight into Western modern art and inspired him to explore new directions in his artistic creations.

In 1937, with the outbreak of the Sino-Japanese War and the aggressive attacks of the Japanese army, the Hangzhou School of Art was forced to relocate further and further inland, moving from Anhui through to Hubei, Hunan, Guizhou, and Sichuan all the way to Yunnan. Chu TehChun completed his studies in the midst of war and chaos, but was serendipitously given

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the opportunity to experience the wonderful sceneries and local colors of each region as the school moved to each location. After the end of the SinoJapanese War, Chu Teh-Chun held a teaching position at Nanjing Central University for four years, but was obliged to relocate to Taipei in 1949 with the intensification of the Nationalist-Communist civil war. Sadly, the works of art Chu left behind in Mainland China were irrevocably lost. Upon his arrival in Taiwan, Chu was successively employed at Taipei Industrial Academy (now the National Taipei University of Technology) and Taiwan Teacher’s College (today National Taiwan Normal University). He also held his first solo exhibition ever in 1954 at the Taipei Zhongshan Hall.

rich in traditional Chinese classics. His world was surrounded by beautiful collections of paintings and calligraphy that were painstakingly assembled by his forefathers, and it was under his father’s personal instruction that he emulated the calligraphy styles of the classic Chinese masters. These scholarships of Oriental influence would later metabolize and transform into different forces of creative energy throughout his artistic career, the earliest and most easily identifiable of which was the influence of Chinese calligraphy. As the artist himself later recalled, in 1961 he experienced a sudden longing for the touch of ink and wash, but was unable to obtain xuan paper anywhere in France. He chose to use blotting paper instead, and reveled in the rhetoric of ink on paper. Chu’s artistic creations from the early 1960s already exemplified his application of ink calligraphy into abstract painting and the formulation of a comprehensive, highly unique Chu-style artistic vocabulary. Abstract No. 82, painted in 1961, is one of the most exhilarating creations from this era.

Two years later, in 1955, Chu Teh-Chun traveled to France by ship in the company of Dong Jing-Zhao, who would later become his wife. This time his relocation was not due to the horrors of war but to a heartfelt longing for proximity to Western contemporary art, which was why the couple chose to settle down Pure black does not exist in the natural world; in the city of Paris, birthplace of modern art even shadows are made of different gradations in the West, and the place where his beloved of gray and other dark hues. This is a commonly teacher Lin Feng-Mian once resided in and was accepted principle of painting in Western culture profoundly inspired by. Chu Teh-Chun wandered that has stood the test of time and centuries of ardently through the Musée du Louvre amidst aesthetic development. Chu Teh-Chun, however, centuries’ worth of priceless art, and was also a went against the grain by utilizing heavy strokes frequent visitor of the Academie de la Grande of dark, intense black in his paintings of the Chaumiere, an institute brimming with the 1960s, giving the lead role to the originally dark, vitality of freedom and creativity. Chu Teh-Chun uninteresting color. In the world of Western art, was dissatisfied with his accomplished skills in where representation of color and natural beauty realist oil paintings, and yearned to develop an take precedence, Chu’s choice is no doubt both artistic language that more suited his personal highly audacious and revolutionary. The intense aesthetics. He emulated Paul Cezanne in his black that is engendered by Chu Teh-Chun’s search for the essence of form, and finally began powerful brush strokes is both intrepid and attempting non-representational oil painting majestic. His use of Western abstract painting after attending the Nicolas de Stael retrospective techniques to manifest the indomitable spirit exhibition at the Museum of Modern Art in Paris of Chinese scenic paintings by Song dynasty in 1956. Light, lines and colors escape visible 朱德群《構圖51號─萬家掩映翠微間》 master artist Fan Kuan is truly magnificent. boundaries and are reconstructed on the canvas 1960 油彩 畫布，120 x 100 cm，羅芙奧香港2012春季拍賣會 Abstract No. 82 also exemplifies Chu’s use as lyrical, musical imaginative mindscapes. This 編號035，港幣2192萬成交 vocabulary of freedom and fluidity coincides CHU Teh-chun, Composition No. 51 - Mille vies se cachent dans le bois, of light. Even in a painting that encompasses 1960, oil on canvas, 120 x 100 cm the use of dark, heavy colors like black and with Chu Teh-Chun’s liberality and is perfectly Ravenel Spring Auction 2012 Hong Kong, US$ 2,824,742 sold unsaturated ochre, the canvas is far from turbid suited to the expression of his deep, dynamic but instead emanates the brightness and clarity of light. This brightness emotions. His first solo exhibition after his arrival in Paris was held in 1958, and purity also became an integral part of the artist later, with more vibrant after which he immediately entered into a collaborative contract with the creations in a multitude of different representational methods. Just as Legendre Gallery, which was then curated by Maurice Panier. This became Japanese art historian Katsumi Miyazaki aptly expressed, “What Chu Tehthe first step in the dissemination of his profound influence in world of Chun truly acquired from Western art is the permeation of light through a modern European art. backdrop of darkness that is so typical of Goya of Rembrandt. This is why Chu Teh-Chun’s creative career is the culmination of a breakthrough from his works of art are created with a style that epitomizes the perfect union realist representations inspired by modern European art as well as the of the material light of the West and the tonal gradations of Chinese ink heritage of Chinese cultural traditions. They allowed him to formulate a paintings within a space of infinite expansiveness.” (“Tracing the Orbit of Chu Tehunique artistic vocabulary and internal spirituality. Both of these influences Chun,” Magnanimity—Formlessness, written by art historian Katsumi Miyazaki, Taiwan Rubycon Corporation, The Ueno Royal Museum, 2008, p. 52) played integral parts in his creative processes. Born into a renowned physician’s family in Anhui, Chu Teh-Chun received an early education

153 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

24.09.99 1999 Oil on canvas 162 x 130 cm Signed lower right Wou-ki in Chinese, ZAO in French Signed on the reverse ZAO Wou-ki in French, titled 24.09.99, and inscribed 162 x 130 cm EXHIBITED: Zao Wou-ki – Peintures recentes 1996-2000, FIAC 2000, Pavillon du Parc-Stand B11, 24-30 Octobre, 2000 Zao Wou-ki, Tina Keng Gallery, Taipei, December 2009 - January, 2010 ILLUSTRATED: Zao Wou-ki – l’oeuvre 1935-1993, Ides et Calendes, Lausanne, 1993, color illustrated, p. 180 Zao Wou-ki, Foreword by Yves Bonnefoy, La Difference / Enrico Navarra, Paris, 1998, color illustrated, p. 257 Zao Wou-ki – Peintures 1996-2000, Galerie Thessa Herold, Automne, Paris, 2000, color illustrated, pp. 32-33 Zao Wou-ki, Tina Keng Gallery, Taipei, 2010, color illustrated, p. 64

NT$ 60,000,000-80,000,000 HK$ 14,184,000-18,913,000 US$ 1,819,300-2,425,700

趙無極 24.09.99

1999 油彩 畫布 162 x 130 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 162 x 130 cm 24.09.99 展覽： 「趙無極1996-200作品展」，巴黎國際當代藝術博覽會，巴黎，展期自2000年10月24日至30日 「趙無極個展」，耿畫廊，台北，展期自2009年12月至2010年1月 圖錄： 《趙無極作品1935-1993》，依德卡蘭德出版，洛桑，1993，彩色圖版，頁180 《趙無極》，伊夫・博納富瓦撰述，恩里科・納瓦拉畫廊，巴黎，1998，彩色圖版，頁257 《趙無極作品1996-2000》，巴黎，2000，彩色圖版，頁32-33 《趙無極》，耿畫廊，台北，2010，彩色圖版，頁64

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一九四八年，趙無極懷抱著滿腔熱血自中國來到法國巴黎，完全 沉浸於西方藝術之中，追求他自身的藝術道路，並在眾多大師— 特別是保羅．克利的啟發之下精進、蛻變並成長，在這歐洲的藝 術中心闖蕩出一方天地，其光芒並擴及至亞洲與美洲。而出身宋 朝皇族後裔之書香世家，趙無極在年少時期即奠下深厚的東方文 化素養，這些潛藏於內心的養份，在落腳巴黎之後逐漸發酵昇 華，隨著藝術家人生與創作之路的一次次轉折，兩大文化脈絡在 他的藝術生涯中互為參照、相互碰撞並融合。於是，不斷自我突 破的創新精神與敬天愛地的涵養哲思相互觸發，西方的抽象與東 方的意象完美結合，趙無極超越了東西方文化的分野，為油畫這 古老的藝術形式，開創出嶄新的藝術語彙與視野，使得他在藝術 上的成就，自1960年代起逐漸受到各界的肯定。歷經數十年不 斷地精進創作與自我突破，趙無極 在歐、美及亞洲獲得了極高的聲譽 與推崇，更於1998、1999兩年間， 於中國的上海博物館、北京中國美 術館及廣州美術館巡迴舉辦「趙無 極繪畫六十年回顧展」，梳理了其 創作生涯裡各階段的精采轉折與高 峰，而正是在1999年，七十餘歲而 創作力依舊豐沛的趙無極完成了金 燦華美、令人屏息的《24.09.99》一 作，完美展現了藝術家晚期作品裡 的氣宇軒昂與從容自在。 金燦的光凌空迴旋，時而凝聚、時 而擴散，如流洩自天際的陽光， 如飛濺於山崖間的金色瀑布，亦如 飛旋於空氣中的火焰。金黃色調的 筆觸纖細卻又顯得堅韌，同時具有 一種輕盈自由的空氣感，光在此舞 動不歇，折射跳躍於不同的肌理之 間，難以定形的光影千變萬化，併 射出無盡的能量，炫目而耀眼。虛 空之中深淺有致的紫色光芒既閃耀 又神秘，由未知的遠方穿透而出， 彷若蘊含著宇宙的奧秘 ，而畫面上 方一抹較為深邃的紫色調，與上升的金色光芒相抗衡，為整個畫 面帶來一股穩定的力量，盡顯大器雍容。僅僅藉由金黃與淡紫兩 個色調，趙無極即鋪陳出這件遠觀大器磅礡、細觀又層次豐富、 變化萬千的《24.09.99》，而金與紫正是中國傳統上的帝王之 色，華貴絕倫，難以駕馭。當金黃色彩層層渲染、潑灑於淡紫的 背景之上，時間是連貫的，使得面對這幅畫作的我們，猶如面對 著火焰快速飛旋中最精采的片刻，僅僅透過此一瞬間，我們便能 對於其蘊含的無窮變化以及流動的時間感心領神會。 事實上，在抽象繪畫的世界裡，趙無極不僅僅是捕捉或描繪那些 他的心智所感受到的無形力量，更在畫布上進行主動的建構，透 過光與色彩，藉由勁道十足的筆觸，創造出一方虛實相應、充滿 生命力、和諧卻不凝滯的世界。曾任法國總理的詩人暨藝評家

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多米尼克．德．維爾潘曾如此描述趙無極：「他的繪畫面向生 活，而生活也面向繪畫。他把自己投入未來，追求進步和未知的 結局，從這個意義上說，他的畫是一種智慧。」（摘錄自多米尼克． 德．維爾潘 撰〈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20）即便在1960年代即於歐洲畫壇獲

得肯定，趙無極總是勇敢地打破穩定，再重新建構其獨一無二的 豐盛藝術世界，而其畫作中無法言說的力量，也隨著藝術家的人 生起伏與藝術上的不斷思考與精進，以不同的面貌展現多樣的心 靈啟示。 較之1980年代內聚外放、以畫面中央為重心的構圖，1990年代趙 無極的繪畫有了進一步的變化，他讓密集的筆觸散發至畫面各 處，經常把中心部位讓給了較為平靜深遠的背景，或者說是空 缺。沒有了單一聚焦的視覺重心， 也沒有任何消失點，畫面的整體力 量卻不因此而流散迭失，即便是虛 空處，也隱隱流動著難以言說的神 秘力量，串聯起整體畫幅的結構， 足見此階段趙無極對於畫面佈局的 高超掌握能力與自信。創作於1999 年的巨作《24.09.99》即為藝術家此 一階段的代表作品，不僅將此打破 單一重心的構圖發揮得淋漓盡致， 形象的裂變發展為出人意表的流動 影像，更挑戰將色相環上相對位置 的對比色：黃與紫作為主色調，使 之互相激發出源源不絕的能量同時 和諧共生。以往，相對的力量往往 在畫布上處於彼此競爭的地位，進 而激盪出耀眼的火花，如今，更多 的是無形力量之間的互相溝通，徊 旋共舞，趙無極以數十年來練就的 功力，在如此大尺幅的畫布之上運 籌帷幄，游刃有餘。而自1970年代 起，在趙無極的抽象油畫中影響力 更形重要的水墨氣質與流動性，及 至《24.09.99》一作已臻出神入化， 水墨的氣韻擴散、變化而形塑出深遠的空間，如同宋代山水畫般 清朗蔌抖，邀請人們走進畫幅裡，神遊其間。 於是，面對著《24.09.99》，我們心神追隨目光走向未知的境 地，耳邊彷彿聽見空氣流動的細語與火焰的輕微爆裂聲，如此的 包覆創造出一種洞穴般的視野，既私密，同時也是孤絕的，正如 藝術家一路走向心靈深處、往未知宇宙探索前行，終究要進入他 人無法陪伴支持的境地，單獨與宇宙間那廣大無邊的奧義對話， 而在領悟這可敬力量的同時，我們懂得謙卑，並尊重自身存在的 價值。 In 1948, Zau Wou-ki arrived in Paris from China, full of enthusiasm, and began to immerse himself in the world of Western art as he sought

to find his own artistic path. Absorbing influences from many great artists – particularly Paul Klee (1879 – 1940) – Zao’s approach to art was transformed, and he established a name for himself within European art circles; eventually, his fame also spread to Asia and to the Americas. Having been born into a literary family that traced its descent from the imperial family of the Song Dynasty, Zao Wou-ki had received an extensive grounding in East Asian art and culture as a child, and this never left him; after his move to Paris, its influence gradually made itself felt on Zao’s art; accompanying the changes in Zao’s personal circumstances and in his artistic career, the two great cultural streams – Western and Chinese – continued to influence one another in his art, sometimes colliding, and sometimes integrating. As Zao’s spirit of creativity, with its constant striving for innovation, and his philosophy on respecting the nature, continued to inspire and stimulate one another over the years, Zao succeeded in achieving a perfect synthesis of Western abstract art and East Asian conceptual art. Zao Wou-ki overcame the boundaries between Western and Eastern culture, developing a new artistic lexicon and vision for the venerable artistic tradition of oil painting. From the 1960s onwards, Zao’s artistic achievements began to attract recognition in international art circles; after years of perfecting his art and overcoming challenges, Zao came to enjoy a high reputation in Europe, the Americas and Asia.

In During 1998 – 1999, the “Zao Wou-ki: 60 ans de peintures” retrospective touring exhibition was held in China at the Shanghai Museum, the National Art Museum of China in Beijing, and the Guangdong Museum of Art, presenting a comprehensive overview of the transformations in Zao’s art at each stage in his artistic career and of the peaks of his artistic achievement. In 1999, when this breathtaking work “24.09.99” was completed, Zao Wou-ki’s creative drive was undimmed, although he was already in his 70s; “24.09.99” is a fine example of the cosmological exploration and masterly skill that characterized Zao’s later works.

In this painting, a brilliant golden light whirls around in the sky, sometimes coming together and sometimes dissipating, like sunlight flowing in from the far reaches of the cosmos, or the spray from a golden waterfall pouring over the edge of a cliff, or a flame shooting up in the air. The golden-yellow brushstrokes are both firm and delicate, while also embodying a sense of light, airy freedom. The light dances tirelessly, reflecting and leaping between different textures; the myriad amorphous forms that the light takes seem to exude an immense, dazzling energy. Within the void, a purple radiance of varying intensity flickers mysteriously, penetrating through from an unknowably distant place, and seeming somehow to embody all the secrets of the universe. In the upper part of the canvas, there is a patch of darker purple in conflict with the rising golden radiance, which brings a feeling of stability and the sense of dignity to the entire painting. Using just two basic color tones – golden-yellow and lavender – Zao Wou-ki had succeeded in filling “24.09.99” with a sense of vast expanse, a detailed, layered richness, and a feeling of transformation.

Traditionally, in China, golden and purple were the colors of

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emperors and royalty; they symbolized status and refinement, and also absolute authority. The layering of golden-yellow tones over a background of lavender color creates a sense of continuity in time, so that, as we stand facing the painting, it is as though we were viewing the most spectacular moment in a rapid dance of flame; through this single moment, we can sense something of the unremitting transformation and the flow of time that the painting represents.

In point of fact, in his abstract art, Zao Wou-ki did more than simply capture or depict the intangible sense of vitality that he felt within himself; he engaged in a proactive process of construction, using light and color, and his powerful brushwork, to create a world in which the virtual and the real reflect one another, a world that is full of energy, and harmonious without stagnation. The poet and art critic Dominique de Villepin (who was Prime Minister of France from 2005 to 2007), once described Zao Wou-ki in the following terms: “His paintings look life in the face, and life looks back at them. He throws himself into the future, striving for progress and an as yet unknown ending; when viewed in these terms, his art constitutes a kind of wisdom.” (Dominique de Villepin, ‘Dans le labryrinthe des lumières’ in “Zao Wou-ki”, published by Kwai Fung Hin Art Gallery, Hong Kong, 2010, p. 20). Even after his work began to win recognition in European art circles in the 1960s, Zao Wou-ki refused to become complacent. He set about reconstructing his rich, unique artistic vision; the inexpressible power of his paintings continued to evolve, offering a diverse range of spiritual meanings, in response to changes in the artist’s life and the development of his thinking.

Whereas those of Zao Wou-ki’s paintings created in the 1980s tended to make the center of the canvas the heart of the composition, with the painting “radiating out” from this central position, however his paintings from the 1990s seemed a renewed change in his style. During this period, Zao allowed dense clusters of brush-strokes to spread out over every part of the canvas, and a calm, distant-seeming background often took on the role of “center” of the painting; one might say that “absence” was at the heart of these works. Without a single, concentrated focal point, there was also no point at which these paintings lost focus; the lack of a clear focal point did not in any way detract from the overall power of these works. Even the blank spaces on the canvas seem to flow with a mysterious force that is hard to put into words, but which somehow links together the whole canvas into a unified structure. Zao’s paintings from this period display a superb mastery of composition, and great self-assurance.

Painted in 1999, “24.09.99” is one of Zao Wou-ki’s finest works from this period in his artistic career. More than just a superb example of the multi focus point technique, this painting also presents spectacular flowing visual effects based on the breaking down and transformation of conventional images, while at the same time making effective use of contrasting color hues; the utilization of yellow and purple as the main color tones enables the colors to interact harmoniously while providing an endless stream of energy. In the past, colors with a corresponding level of power would have been in competition with one another on Zao’s canvases, producing glittering “flames” of color. In “24.09.99,” by contrast, there is more a sense of two-way communication between intangible forces that whirl round in a dance together. Using skills honed over several decades, Zao Wou-ki was able to exploit this large canvas to the full, demonstrating the full range of his capabilities.

From the 1970s onwards, Zao’s abstract oil paintings had shown the influence of traditional Chinese ink brush painting, with its distinctive grace and rhythm. By the time he painted “24.09.99,” Zao had wholly mastered the integration of ink brush painting techniques into his abstract art, and was able to create impressive effects of expansion and change, along with a sense of immense space. And the space Zao had created resembles the atmosphere that the ink brush landscape paintings of the Song Dynasty have built, where the viewer feels that they are being invited into the landscape to explore it for themselves.

When viewing “24.09.99,” we find that our spirit follows our gaze into an unknown landscape; we can almost hear the soft murmuring of the swirling air and the explosive crackling of the flames. This feeling of envelopment creates a kind of “tunnel vision” perspective that is both private and lonely. It is as though the artist is walking steadily into the depths of his soul, moving ever onwards to explore an unknown universe; eventually, you reach a point where there is no-one to accompany or support you, and you are left alone in a dialog with the boundless mysteries of the cosmos. In becoming aware of this awesome power, we learn both to be humble and to respect the value of our own existence.

郭熙《早春圖》1072 台北國立故宮博物院收藏 KUO Hsi, Early Spring, 1072, 158.3 x 108.1 cm Collection of National Palace Museum, Taipei

154 LIAO Chi-chun

(Taiwanese, 1902 - 1976)

Morning Scenery in Gueishan Island 1956 Oil on canvas 80 x 100 cm Signed lower left Chi-chun and dated 1956 7 both in Chinese PROVENANCE: Former collection to Mr. Wu Ho-su, Shin Kong Group The present owner acquired from the above EXHIBITED: Turtle Island Oil Paintings by Liao Chi Chun, East Gallery, Taipei, October 10-26, 2014

NT$ 24,000,000-38,000,000 HK$ 5,674,000-8,983,000 US$ 727,700-1,152,200

廖繼春 龜山島晨曦 1956 油彩 畫布 80 x 100 cm 簽名左下：繼春 一九五六 七 來源： 原為新光機構吳火獅先生舊藏 現有收藏者購自吳火獅先生 展覽： 《龜山島油畫紀實》，東之畫廊，台北，展期自2014年10月10日至26日

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廖繼春《龜山島》 約1970年 油彩 畫布 72.5 x 91 cm LIAO Chi-chun, Gueishan Island c.1970, oil on canvas, 72.5 x 91 cm

廖繼春《龜山島晨曦》1956 油彩 畫布 80 x 100 cm 羅芙奧台北2015秋季拍賣會，編號154 預估價：NT$ 24,000,000-38,000,000 LIAO Chi-chun, Morning Secnery in Gueishan Island 1956, oil on canvas, 80 x 100 cm Ravenel 2015 Autumn Auction Taipei, lot 154 Estimate: 24,000,000-38,000,000

廖繼春《龜山島》 約1970年 油彩 畫布 72.5 x 91 cm LIAO Chi-chun, Gueishan Island c.1970, oil on canvas, 72.5 x 91 cm

時代的寫照—在山與海的守護中 戰地文化歷史圖像的保存 1945年，台灣光復，二戰結束。台灣海峽在美國第七艦隊的支持下，暫無戰事。1949年，國民政府撤退到台灣，留住金馬前線，固守國土，每年 從後方全民及企業團體，熱情奉獻共組勞軍前往慰勞三軍將士。師大藝術系在黃君璧主任帶領下，會同全國大專院校師生組團，共赴戰地宣慰前 線戰士之辛勞。

時代背景 海洋文化的創舉，在諸多前輩藝術家的作品裡，開始有了描繪台灣四週海洋景物及特色。在此之前，畫家是不被允許到海邊或山地寫生的，為了 到前線勞軍之舉，藝術家才開始探索描繪戰地文化，以解開封閉的海洋地理圖像。 1956年暑假，師大老師廖繼春等教授，接受優秀畢業生楊乾鐘之導遊，到其故鄉宜蘭頭城住家北關附近，描繪海洋景色，首次出現「龜山島」之 美，令人驚豔，且在晨曦中，如同看見了島嶼的曙光。這龜山島屹立在寬平的海洋水面上，讓廖繼春這一趟寫生之旅，久久不能忘懷。白色浪花 不時激起了廖教授的創意。在受邀美國國務院環球藝術之旅後，大開眼界，重新省視「龜山島」畫面。 1970年前後，新的構成將原先寫景之「龜山島」40F油畫，再度先後創作了二件30F油畫作品，並將「龜山島」畫面賦予多元色彩的構成，留下台 灣近代百年美術歷史重要的指標性文化財。廖繼春先生，從1947年教職師大藝術系，桃李滿天下，他是一位國際級的畫家，也是一位世界性的色 彩畫家，彩虹般的色彩，畫面上常有「為構成」而變形的情形，以色彩構成為繪畫中心，將形體分解為點、線、面構成主畫面，從其和諧的畫面 看出畫家溫和的個性，從舊時代的傳統，步入新時代的里程。

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A PORTRAIT OF THE TIMES – UNDER THE GUARDIANSHIP OF THE MOUNTAINS AND THE SEA AN IMAGE OF A HISTORICAL BATTLEFIELD IS PRESERVED 1945 was the year of Taiwan’s retrocession and the end of WW2. With the support of the US Seventh Fleet the Taiwan Strait is temporarily at peace.

In 1949, the KMT retreated to Taiwan, maintaining a frontline on Kinmen.

From this year on the entire civilian population, as well as business groups, enthusiastically contributed to the support of the armed forces on the frontline. Under the leadership of department chair Huang Jun-bi, the National Taiwan Normal University Department of Fine Arts collaborated with several academic institutions and personnel throughout Taiwan, and travelled to the front lines to offer their support to these fighters.

HISTORICAL BACKGROUND The works of many artists of the previous generation show the beginnings of an exploration into the scenic features of Taiwan’s maritime culture.

Prior to this, artists were not permitted to paint landscapes in coastal or mountainous areas. In order to entertain frontline troops, artists began to explore and paint battlefield scenes, and in this way images of coastal scenery began to be captured.

During the summer vacation of 1956, Liao Chi-chun and a number of other NTNU professors accepted an invitation from outstanding graduate student Yang Qian-zhong (Note) to take a trip to his hometown near Beiguan in Yilan’s Toucheng Township, and paint the coastal scenery there. Their first sighting of the beauty of Gueishan Island in the clear light of dawn was breathtaking for all present. The vision of Gueishan Island standing proudly on the broad, flat ocean was an unforgettable moment for Liao Chi-chun. The white spume of the waves continued to inspire him. After receiving US Department of State funding for an artistic trip around the world, he returned to re-examine this scene of Gueishan.

Around 1970, the artist revisited the original Gueishan Island 40F (Image 1) oil painting, and produced two 30F (Images 2 & 3) paintings that added a greater diversity of colors to the composition of Gueishan Island, leaving behind a landmark cultural asset in Taiwan contemporary art history. Liao Chi- chun was a faculty member of the NTNU Department of Fine Arts from 1947 onward. He was an international-class painter and a master of color. His works often show figural distortion in service of composition and color composition as the focus of the work, with point, linear and planar structural elements. These harmonious combinations show the gentle personality of the artist as he departed from the traditions of a past age to set foot in a new age and lay down his own artistic milestones.

155 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Boxing 1991; 1992 Camphor 46(L) x 33(W) x 48(H) cm (left) 37(L) x 29(W) x 52(H) cm (right) Engraved Ju Ming in Chinese and dated '91 (left) Engraved Ju Ming in Chinese, and dated '92 on the back (right) This pair of sculptures is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 16,000,000-22,000,000 HK$ 3,783,000-5,201,000 US$ 485,100-667,100

朱銘 太極系列—對招 1991；1992 樟木 46(長) x 33(寬) x 48(高) cm（左） 37(長) x 29(寬) x 52(高) cm（右） 簽名雕刻：朱銘'91（左）；朱銘'92（右） 附真善美畫廊開立之原作保證書

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「太極」系列是朱銘發展藝術事業的一個重要里程碑。從「太極」系列可以看到朱銘的藝術 創作及雕塑風格漸趨成熟，他摒棄了精細而寫實的雕刻技法，反而從容、大膽地雕塑，達到 忘我的境界。朱銘選擇太極作為他創作的題材實為偶然。在拜師楊英風的早期，楊氏認為朱 銘不夠力量雕塑，便建議他練習太極拳強身。經過數月的練習，朱銘漸漸沈迷，在腦袋內反 覆出現太極招式。朱銘決定把太極融入其創作當中，以此為主題，創造一系列由基本招式， 到雙人對招，以至抽象至拱門形態的「太極」雕塑，從此亦聲名大噪。對朱銘而言，練習太 極拳和雕塑都同源於自我修煉與探索。在創作「太極」系列的過程中，朱銘嘗試了各種風 格、物料及雕塑技巧，由此可以表現朱銘在藝術生涯中的蛻變。 太極精神在於陰陽兩股力量的抗勢與和諧，因此朱銘亦創作了一系列《太極系列－對招》的 雕塑。這雙「太極」雕塑一攻一守，互相切磋，一方起勁出拳，一方俯臥順勢； 雖然體積不一，但體勢與力道卻能達至平衡與和諧。兩方互相呼應，彰顯太極 陰陽互濟的本質，並展現陰陽循環，形成一股無形的電流。 An important milestone in Ju Ming’s development, the Taichi series exhibits the maturity of the artist’s sculptural language and aesthetic style. The series epitomizes the transformation from his previously meticulous and formal craftsmanship to a sculptural aesthetic characterized by complete ease and freedom, achieving a stage that transcends the self. Ju’s selection of the ancient martial art of Taichi as his subject matter was not premeditated. During his apprenticeship with Yuyu Yang, Ju was encouraged by his mentor to adopt exercise in Taichi as means of increasing the artist’s strength to sculpt. After several months of study, Ju became so absorbed with Taichi that he continually visualized various moves in his mind. These visualizations inspired the artist to translate the fluid motions of Taichi into static sculptures. Ju Ming believed that sculpting and practicing Taichi both derived from the same source of selfcultivation and exploration. For more than two decades, Ju Ming created numerous sculptures under the Taichi series. From early individual figurines to pairs of boxers, to exceedingly abstract arches in later years, the Taichi series demonstrates the evolution of Ju Ming’s artistic pursuit in terms of stylistic development, exploration of medium, and advancement in sculpting technique.

In his continuing exploration of Taichi movements, Ju Ming created a series of Sparring Taichi (also called Boxing) based on the spirit of the confrontational yet harmonious duality of yin and yang. This lot depicts a complementary pair of boxers engaged in fluid combat.

One captured mid-strike, the other in protective defence, the pair expresses a sense of balance and harmony in spite of the disparity in their relative sizes. Pushing and pulling at the same time, the two boxers are in concert with each other, signifying the flowing exchange of the yin and yang forces.

156 JU Ming

(Taiwanese, b. 1938)

Taichi Arch 1991 Bronze sculpture, edition no. 17/20 94(L) x 36(W) x 45(H) cm Engraved Ju Ming in Chinese and dated 91, numbered 17-20 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 5,000,000-7,000,000 HK$ 1,182,000-1,655,000 US$ 151,600-212,200

朱銘 太極拱門 1991 銅雕 17/20 94(長) x 36(寬) x 45(高) cm 簽名雕刻：朱銘 91 17-20 附藝術家親筆簽名之原作保證書

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157 ZHAN Wang (Chinese, b. 1962)

Artificial Garden Rock No. 13 2000 Stainless steel (unique) 130(L) x 180(W) x 84(H) cm Engraved Zhan Wang in Chinese and Zhan W in English, dated 2000 EXHIBITED : OPEN 2001, International Exhibition of Sculpture and Installations, Venice, August 29 - October 7, 2001

NT$ 5,000,000-7,000,000 HK$ 1,182,000-1,655,000 US$ 151,600-212,200

展望 假山石 No. 13

2000 不鏽鋼（單一件） 130(長) x 180(寬) x 84(高) cm 簽名雕刻：展望 Zhan W 2000 展覽： 「OPEN 2001，第四屆國際雕塑暨裝置展」，威尼斯，展期自2001年8月29日至10月7日

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展望出生於北京，為中國最具代表性的藝術家之一，畢業於中央美術學院雕塑系，是當代相 當活躍及具實驗精神的雕塑家。他在美學的培養與教育過程中，時常是以西方的藝術歷史為 主流及背景。 展望以中國傳統庭園山水為發想，探討中國文人寄情於山水的緣由，進而開歇了他的尋根之 旅，尋找自己的知識、認知及文化的源頭，解構中國文人崇尚自然的理由，同時也探究「時 間」的概念與意涵。不鏽鋼製的假山石是他1994年開始發展的系列，在90年代初經歷了系列 觀念藝術的試驗後，展望力求將西方觀念藝術的方法論與傳統文人經典符號統一在作品中， 他大膽的嘗試以不鏽鋼取代原來庭園山水中介於自然與人工質感的太湖石。而不鏽鋼是工業 時代後才有的一種材質，具有現代的視覺符號與特殊語彙，以其獨特的材質語言與閃亮刺眼 的質地，重新詮釋傳統庭園山水，在自然與工業，現代與古典，真實與假造之間，形成一種 衝突與辯證關係，此種矛盾不但充滿新的想像空間也帶來種另類趣味。以現代材料演繹中國 文人文化，釋放蘊含在石頭裡的東方哲學，利用西方手法，結合東方思維，成功再現「現 代」庭園山水。他的目的並非延續傳統文人的賞石美學：「文人賞石著迷於石塊經時間掏洗 後的歷史感，帶有耽溺感傷和懷舊的美學。但不鏽鋼是很物質的材料，與傳統文人精神背道 而馳。」展望說：「不鏽鋼讓我們看就知道那是假石頭，反而有種如釋重負的輕鬆感，讓我 們不再覺得傳統是一種負擔。」 Born in Beijing, Zhan Wang is one of the most famous artists in China. Inspired by traditional Chinese garden landscapes, he explores and discusses the Chinese love for landscapes. From there, he embarks on a journey to discover his roots, while seeking personal sources of knowledge, identity, and culture.

He attempts to deconstruct the reason behind Chinese literati’s love of nature, while also exploring conceptual meanings of time. In 1994, he began to develop a series of stainless steel rockery. After a series of abstract art experiments in the early 1990s, Zhan Wang was eager to incorporate Western art concepts and traditional literati classic symbols together into individual artworks. He boldly attempted to use stainless steel instead of the natural and artificial texture of Taihu stones, which one usually Finds in gardens. Only available after the industrial era, stainless steel materials are able to provide a contemporary visual effect and message. Their uniquely shining texture reinterprets the traditional styles of garden landscapes. Natural and industrial, contemporary and traditional, real and surreal - all these elements come together to create a series of conflicting relationships. Such conflicts are not only Filled with new imagination, but also give off a unique sense of playfulness.

Using contemporary material, he interprets Chinese literature and culture, while invoking Eastern philosophies embedded in stone. He successfully produces “contemporary” garden landscapes by using a combination of Western techniques and Eastern thought. His purpose is not to continue the stone aesthetics held by traditional literati. “The literati are fascinated by the historical aspects contained with stone, which evokes a sentimental and retro artistic feeling. However, stainless steel is a very substantive material, which runs counter to the traditional spirit,” Zhan Wang states, “Stainless steel can easily represent a fake stone image. This delivers a more relaxed feeling, and relieves the sense that tradition can be a burden.”

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158 SU Xiaobai

(Chinese, b. 1949)

Double Circularity 2007 Oil on board, lacquer on linen cloth 180 x 160 cm Signed lower right Xiaobai in English Signed on the reverse Su Xiaobai in Chinese and Xiaobai in English, titled Double Circularity in Chinese, inscribed 180 x 160 cm and dated 2007

蘇笑柏 雙圓 2007 油彩 木板 大漆 亞麻布 180 x 160 cm 簽名右下：Xiaobai 簽名畫背：蘇笑柏 Xiaobai 《雙圓》180 x 160 cm 2007年

NT$ 4,000,000-6,000,000 HK$ 946,000-1,418,000 US$ 121,300-181,900 蘇笑柏於1984年入中國的中央美術學院就讀，在此之前曾於武漢的工藝美術學校學習。1987年獲德國文化藝術獎學金，1992年赴德國的杜塞爾 多夫藝術學院繼續深造，師從克拉菲克、李希特及呂佩爾茨等藝術大師。在中國時，蘇笑柏學習傳統繪畫的技法，技藝的能力逐日精進；留學 德國時，他試著擺脫既有的技能，培養出具有個人風格的抽象符號及語彙。 浸淫於西方文化，與故鄉分離，使得藝術家體驗到藝術的重生，更深刻了解他所處的環境，得以培養能力重新發現藝術與工藝之間二元性，進 而發展觀看祖國傳統文化的新視野。2002年回到中國後，蘇笑柏被具有千年歷史、象徵東方文化的漆藝深深吸引，於是嘗試以油彩、大漆、麻 布及木板等材質取代油畫布，他將大漆和麻布定位為純粹的構圖框架，紅、黑大色塊的架構，帶有硬邊藝術的特色。他對於作品有高度的追 求，畫幅邊緣看似隨意又不失刻意。 Su Xiaobai studied painting at the Wuhan School of Arts and Crafts, the Wuhan Institute of Painting, and the Hubei Institute of Fine Arts before attending the Beijing Central Academy of Fine Arts, where he studied the techniques of traditional painting and accumulated his abilities in expressive techniques.

He was later awarded a German Cultural and Art scholarship to participate in the graduate program offered by the Düsseldorf Academy of Fine Arts in Germany in 1987. Under the guidance of Konrad Klapheck, Gerard Richter, and Markus Lupertz, he strived to break away from the skills he mastered in Beijing, and develop a visual language rich in personal experience, life observation, and abstract symbols.

Immersion in Western culture and separation from his homeland led the artist to experience an artistic rebirth, consequently fostering a deeper understanding of his surroundings, cultivating the ability to rediscover the duality between art and object, and developing a renewed perspective towards the traditional culture of his ancestry. Upon his return to China in 2002, Su became inspired by lacquer– a thousand-year-old plant material and a symbol of Oriental culture. He began to apply lacquer on linen and bricks, later unrestrainedly experimenting with oils, sack-cloths, clay, vines, and wood as a substitute for oil on canvas. The artist paints layers of vibrantly colored lacquer in a purely structural and balanced composition, adhering to the framework of solid expanses of red and black and rendering a three-dimensional momentum and vitality.

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159 ZHAN Wang (Chinese, b. 1962)

Universe 23 2011-2012 Mixed Media 59(L) x 76(W) x 15.5(D) cm Signed lower right Zhan Wang in English and dated 2011-2012 EXHIBITED: My Universe, STPI, Singapore, March 31 - April 28, 2012 Zhan Wang : Boundless space, Louis Vuitton Zhongshan Art space, Taipei, September 15, 2012 - February 28, 2013 ILLUSTRATED: My Universe, STPI, Singapore, 2012, color illustrated

NT$ 3,600,000-4,600,000 HK$ 851,000-1,087,000 US$ 109,200-139,500

展望 小宇宙 23

2011-2012 綜合媒材 59(長) x 76(寬) x 15.5(厚) cm 簽名右下：Zhan Wang 2011-2012 展覽： 「我的小宇宙」，泰勒版畫研究院，新加坡，展期自2012年3月31日至4月28日 「無邊無際的空間」，路易威登中山藝文空間，台北，展期自2012年9月15日 至2013年2月28日 圖錄： 《小宇宙》，泰勒版畫研究院，新加坡，2012，彩色圖版

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160 George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

字之玩

Wordplay

約1970年代 綜合煤材 木板 拼貼 109.5 x 61 cm

c.1970s Mixed media on board, collage 109.5 x 61 cm EXHIBITED: George Chann Exhibition, Shanghai Art Museum, Shanghai, July 19-31, 2005 ILLUSTRATED: George Chann, Lin & Keng Gallery Inc., Taipei, 2005, color illustrated, p. 105

NT$ 3,000,000-4,000,000 HK$ 709,000-946,000 US$ 91,000-121,300

展覽： 「陳蔭羆畫展」，上海美術館，上海，展期自 2005年7月19日至31日 圖錄： 《陳蔭羆》，大未來畫廊藝術有限公司，台北， 2005，彩色圖版，頁105

回顧陳蔭羆的畫藝發展，大約可分成三類風格，其中第一類是東方旨趣最為鮮明的「文字畫」，約略完成於50年到60年初，這類畫直接從漢字 的符號書寫出發，側重表現不同的筆態趣味和畫面質感，除了展現出陳氏對於繪畫材料的熟擅與精道，更重要的是，明白演示了他想結合文字 意象和歷史想像的一種藝術企圖。於此，他讓中文以不同的體例（行 草 篆 隸圪）伴隨著不同的物相情態（刻石、碑拓、符籙、鳥蟲書、 血書、污壁、殘經、廢紙圪等）出現。這類作品的美學訴求，在於平衡地結合了視覺的形式構成和觸覺的肌理質感，在於有效地發揮了材質的 直接魅力與張力，和由文字符號所啟動的各種時空想像。 陳氏晚期的抽象畫作，讓我們充分體驗到其精妙的色感和亂中有序的佈局能力，同時證明了他做為一個純抽象畫家既嚴謹又不乏詩意的藝術氣 質。在此階段，文字符號已全然消失，點、線、色的書寫運用也變得更純粹、自由和有機化。但見，紗白的線條，貫穿在色點繽紛的畫面上， 或綿綿不盡，或斷斷續續，或重重疊疊，色斑與律動線條的玩融搭配，一如音符元素與整曲旋律的對為關係。這些畫雖不像帕洛克那麼「生猛 帶勁」，但因用色更華豔而沒有一絲火氣，反而更令人覺得有味兒耐看。（摘自石瑞仁撰文《陳蔭羆》，大未來畫廊藝術有限公司，台北，2005初版，頁22） Generally speaking, George Chann’s artistic development reveals three styles. The first of these, and the one with the strongest Eastern character, is “textual paintings” completed from the 1950s through the early 1960s, This type of painting featured scripting of symbols based directly on Chinese characters, bolstered by the expression of various brushstrokes, and textural qualities. Exhibiting Chann’s familiarity and skill with painting materials, more importantly it played out his artistic ambition to marry textural imagery with historical imagination. In this way, he placed Chinese characters of different styles (such as script, running script, block style, etc.) together with different materials (including carvings, rubbings, talismanic writings, images of birds and critters, blood writing, soiled walls, fragments from classic books, and discarded paper). The aesthetic intent of these works was to achieve a balanced combination of formal visual components and textural physical patterns, to effectively tap the charm and tension inherent in each material and the myriad associations triggered by various written characters and symbols.

Chann’s later abstract paintings demonstrate his keen sense of color and capacity for creating order out of chaos, while at the same time proving the meticulous yet nevertheless lyrical artistic qualities of a pure abstract painter. By this time, written words and symbols are no longer present, and the “writing” has become purer, freer, and more organic. In constant streams, or broken fragments, or perhaps overlapping and intermingling, diaphanous white lines wending through and around blasts of color, the complete communion of patches of color and shimmering lines, sing together like notes and melody.

Despite their garnished richness, devoid of all fire, unlike the raw drive of Pollack’s works their unique character rewards repeated viewing. (J.J. Shih, George Chann, Lin & Keng Gallery Inc., Taipei, 2005, p. 22)

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161 CAI Guo-Qiang (Chinese, b. 1957)

Boat with Reflection (a set of 2) 2003 Gunpowder on paper 63 x 97 cm (x2) Signed upper right Cai in Chinese and English, titled Boat with Reflection, inscribed iwaki in Japanese and dated 2003

蔡國強 有倒影之舟（兩件一組） 2003 火藥爆破 紙本 63 x 97 cm (x2) 簽名右上：有倒影之舟 蔡 Cai 2003 いわき

NT$ 3,000,000-4,000,000 HK$ 709,000-946,000 US$ 91,000-121,300 在蔡國強的創作之中「船」和「舟」始終帶有重要意義，曾經鄭成功打造了全世界最大的船下南洋，便是從蔡國強的出生地泉州這個海上絲綢 之路起點出發。蔡國強在1994年於日本磐城創作了最重要的作品之一《迴光－來自環太平洋》，將美術館展廳化為太平洋的一部分，讓殘破的 船體和閃閃發光的海鹽映照出磐城的歷史過往。 隔年1995年於第四十六屆威尼斯雙年展，蔡國強的《馬可波羅遺忘的東西》循著700年前西方首度發現東方的旅程，從泉州運來各種用中藥材浸 泡的飲品來到威尼斯港。此後船這樣的符號便重複出現在蔡國強作品之中，因為這不僅代表他的故鄉也是他的他鄉，蔡國強亦曾形容自己就像 是一艘小船，在各種文化之間游移與擺盪，而唯一永恆不變得是，這艘小船來自泉州。 《舟》是蔡國強創作與船意象有關的作品之一，兩艘船出自同一個實體，在虛與實之間映照出蔡國強對故鄉詩意的遙想。（ 摘錄《蔡國強又來 了！》，蔡國強、馬唯中、秦雅君等作，秦雅君主編，誠品股份有限公司出版，2009年11月）

Imagery of "ships" and "boats" has always had significant meaning in Cai Guo-Qiang's work. Cai's birthplace, Quanzhou, was the site at which Zheng Chenggong (Koxinga) once built and launched the largest ship in the world, and was also the starting point of the maritime Silk Road to Southeast Asia. In 1994, Cai accomplished one of his most important works in Iwaki, Japan "Returning the Light: From the Pan-Pacific" He transformed the exhibition hall space into a scene from the Pacific Ocean with a shipwreck and glinting sea salt to reflect the history of Iwaki.

The following year, at the 46th Venice Biennale, Cai's "Bringing to Venice What Marco Polo Forgot" shipped assorted drinks soaked in Chinese medicine from Quanzhou to the Port of Venice by tracing the original route through which the West first ‘discovered' the East over 700 years ago. The symbolic use of ships has continued to appear in Cai's works ever since. To him, ships represent not only his hometown, but also foreign lands. Cai has also described himself as a small ship floating and oscillating between various cultures. The only constant, however, is that this particular ship comes from Quanzhou.

"Boat" is one of Cai's creations associated with the imagery of a ship. The two ships are derived from the same entity, reflecting Cai's poetic reminiscence of his hometown between the virtual and the real. (Excerpted from Cai Guo Qiang!, written by Cai Guo-Qiang, Leslie Ma, and Chin Yachun, edited by Chin Yachun, published by Eslite Corporation, December, 2009.)

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162 Tzu-chi YEH

(Taiwanese, b. 1957)

Cloud in New York 2007-2008 Tempera and oil on linen 86.5 x 127 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2007-2008 EXHIBITED: Tzu-chi Yeh Solo Exhibition - Landscape, Eslite Gallery, Taipei, May 05 - 27, 2007 Tzu-chi Yeh Solo Exhibition - Landscape II, Moon Gallery, Taipei, May 10 - June 8, 2008 ILLUSTRATED: Tzu-chi Yeh: Landscape, Eslite Gallery, Taipei, 2009, color illustrated, p. 9 Tzu-chi Yeh, Eslite Gallery, Taipei, 2007, color illustrated This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 2,400,000-3,400,000 HK$ 567,000-804,000 US$ 72,800-103,100

葉子奇 紐約的雲 2007-2008 卵彩 油彩 亞麻布 86.5 x 127 cm 簽名右下：葉子奇 2007-08 展覽： 「葉子奇個展—走過風景的心情」，誠品畫廊，台北，展期自2007年5月5日至27日 「葉子奇—走過風景的心情 II」，月臨畫廊，台北，展期自2008年5月10日至6月8日 圖錄： 《葉子奇—2007走過風景的心情》，誠品股份有限公司，台北，2009，彩色圖版，頁9 《葉子奇 TZU CHI YEH》，誠品股份有限公司，台北，2007，彩色圖版 附月臨畫廊與藝術家親筆簽名之原作保證書

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163 Tzu-chi YEH

(Taiwanese, b. 1957)

Early Spring 1997-1998 Tempera and oil on linen 35.5 x 122 cm Signed lower right Tzu-chi in Chinese and dated 1997-98 EXHIBITION: Tzu-chi Yeh – Flowers, Jia Art Gallery, Taipei, May 9 - June 7, 1998 ILLUSTRATED: Tzu-chi Yeh – Flowers, Jia Art Gallery, Taipei, color illustrated, pp. 28-29 This work is to be sold with a certificate of authenticity issued by Jia Art Gallery, Taipei.

NT$ 1,100,000-2,200,000 HK$ 260,000-520,000 US$ 33,400-66,700

葉子奇 迎春 1997-1998 卵彩 油彩 亞麻布 35.5 x 122 cm 簽名右下：子奇 1997-98 展覽： 「葉子奇個展─花季」，家畫廊，台北，展期自 1998年5月9日至6月7日 圖錄： 《葉子奇個展─花季》，家畫廊，台北，1998，彩 色圖版，頁28-29 附家畫廊開立之原作保證書

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

Morning in Bonsai Beach: Jinzhaigou Series No. 174 2010 Ink and color on paper 38.5 x 83.5 cm Signed center right Liu Kuo-sung and dated 2010 both in Chinese With one seal of the artist

NT$ 1,100,000-2,200,000 HK$ 260,000-520,000 US$ 33,400-66,700

134

劉國松 盆景海之晨：九寨溝系列 174 2010 彩墨 紙本 38.5 x 83.5 cm 簽名右中：劉國松 二○一○ 鈐印右中：劉

165 PANG Jiun

龐均

(Chinese, b. 1936)

農家小趣

Amusing Farmhouse

1997 油彩 畫布 22.5 x 27.5 cm 簽名左下：龐均 1997 手繪鈐印左下：均

1997 Oil on canvas 22.5 x 27.5 cm Signed lower left Pang Jiun in Chinese and dated 1997 With one painted seal of the artist

NT$ 100,000-200,000 HK$ 24,000-47,000 US$ 3,000-6,100

136

166 YANG Chihung (Taiwanese, b. 1947)

Young Lady 1974 Oil on canvas 45.5 x 38 cm Signed upper left CHI-HUNG in English and dated ‘74 This painting is to be sold with a photo of the artist and the painting.

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

楊識宏 少女 1974 油彩 畫布 45.5 x 38 cm 簽名左上：CHI-HUNG '74 附藝術家與作品合影照片

167 SU Meng-hung (Taiwanese, b. 1976)

The Roseleaf Raspberry in Full Bloom – Shade 2006-012 2006 Mixed media on canvas 90 x 90 cm Signed on the reverse Su Meng-hung in Chinese, Susu in English and dated 2006 With one seal of the title EXHIBITED: Shadow: Su Meng-hung solo exhibition, Galerie Grand Siecle, Taipei, March 9-29, 2007 This work is to be sold with a certificate of authenticity issued by Der-Horng Art Gallery, Tainan.

NT$ 130,000-240,000 HK$ 31,000-57,000 US$ 3,900-7,300

138

蘇孟鴻 開到荼靡之浮光掠影 2006-012 2006 綜合媒材 畫布 90 x 90 cm 簽名畫背：蘇孟鴻 Susu 2006 鈐印畫背：開到荼靡

展覽： 「開到荼靡之浮光掠影 蘇孟鴻個展」，新苑 藝術，台北，展期自2007年3月9日至29日 附德鴻畫廊開立之藝術家親筆簽名之原作保 證書

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

Street Scenery in Holland No. 4 1991 Oil on canvas 33 x 24 cm Signed lower right che-tsai in Chinese and dated 1991 Signed on the reverse SHEN Che-tsai and titled Street Scenery in Holland (4) in Chinese, dated 1991 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$ 38,000-61,000 US$ 4,900-7,900

沈哲哉 荷蘭所見（4） 1991 油彩 畫布 33 x 24 cm 簽名右下：1991哲哉 簽名畫背：1991 荷蘭所見（4）沈哲哉畫 附永漢國際藝術中心及藝術家親筆簽名之原作保 證書

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

Nude 1992 Oil on canvas 41 x 32 cm Signed lower left Che-Tsai in Chinese and dated 1992

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

140

沈哲哉 裸女 1992 油彩 畫布 41 x 32 cm 簽名左下：哲哉 1992

170 YEN Shui-lung

(Taiwanese, 1903 - 1997)

Youth in Lanyu 1987 Oil on canvas 20 x 25.5 cm Signed lower left S. L. Yen in English and dated 1987 EXHIBITED: YEN Shui-lung Solo Exhibition, Nan Gallery, Taipei, July 18 - 29, 1987

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

顏水龍 蘭嶼少年 1987 油彩 畫布 20 x 25.5 cm 簽名左下：S.L.Yen 1987 展覽： 《顏水龍個展》，南畫廊，台北，展期自1987年7月 18日至29日

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

Ashen Face 39 - The Standard of Melancholy 2013 Oil on canvas 91.5 x 117.5 cm Signed on the reverse Lo Chan Peng in Chinese and English, dated 2013 EXHIBITED: The Margin of Darkness – Lo Chan Peng’s solo exhibition, Aki Gallery, Taipei, June 8 - 30, 2013 This painting is to be sold with a certificate of authenticity issued by Aki Gallery, Taipei.

NT$ 320,000-500,000 HK$ 76,000-118,000 US$ 9,700-15,200

142

羅展鵬 白面者39—哀傷的精準度 2013 油彩 畫布 91.5 x 117.5 cm 簽名畫背：羅展鵬 2013 Lo Chen Peng 展覽： 「黑的邊緣—羅展鵬個展」，也趣藝廊，台北，展期自2013年6月 8日至30日 附也趣藝廊開立之原作保證書

172 Tzu-chi YEH

(Taiwanese, b. 1957)

Monologue 2002-2013 Tempera and oil on linen 38.5 x 38.5 cm Signed lower left Tzu-chi in Chinese and dated 2002-2013 This painting is to be sold with a certificate of authenticity issued

by Moon Gallery, Taichung.

NT$ 360,000-460,000 HK$ 85,000-109,000 US$ 10,900-13,900

葉子奇 獨白 2002-2013 卵彩 油彩 亞麻布 38.5 x 38.5 cm 簽名左下：子奇 2002-2013 附月臨畫廊開立之藝術家簽名原作保證書

173 Tzu-chi YEH

(Taiwanese, b. 1957)

Camellia 2009-2010 Tempera and oil on linen 40 x 40 cm Signed lower right Tzu-chi in Chinese and dated 2009-2010 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 380,000-600,000 HK$ 90,000-142,000 US$ 11,500-18,200

144

葉子奇 茶花 2009-2010 卵彩 油彩 亞麻布 40 x 40 cm 簽名右下：子奇 2009-2010 附月臨畫廊開立之藝術家簽名原作保證書

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

Ballet Dancers 1993 Oil on canvas 53 x 45.5 cm Signed lower right Che-tsai in Chinese Signed on the reverse Shen Che-tsai in Chinese and dated 1993 This painting is to be sold with a certificate of authenticity issued

by Metropolitan Gallery, Tainan.

NT$ 300,000-400,000 HK$ 71,000-95,000 US$ 9,100-12,100

沈哲哉 習舞的芭蕾舞少女 1993 油彩 畫布 53 x 45.5 cm 簽名右下：哲哉 簽名畫背：一九九三 沈哲哉 附大都會畫廊開立之原作保證書

175 CHEN Ching-jung (Taiwanese, b. 1934)

Lily Oil on canvas 91 x 73 cm Signed lower left Ching-jung in Chinese

NT$ 500,000-700,000 HK$ 118,000-165,000 US$ 15,200-21,200

146

陳景容 百合花 油彩 畫布 91 x 73 cm 簽名左下：景容

176 Alixe FU (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Deux Croisements 1991 Oil on canvas 195 x 130.5 cm Signed lower left Alixe Fu in English and dated 91 ILLUSTRATED: Alixe Fu, Taipei, 1992, color illustrated, pp. 16-17

NT$ 550,000-750,000 HK$ 130,000-177,000 US$ 16,700-22,700

傅慶豊 兩個稻草人 1991 油彩 畫布 195 x 130.5 cm 簽名左下：Alixe Fu 91 圖錄： 《傅慶豊》，台北，1992，彩色圖版，頁16-17

177 WU Tien-chang

泰雅之歌

Aboriginal Melody

油彩 畫布 73 x 60.5 cm 簽名畫背：吳天章

Oil on canvas 73 x 60.5 cm Signed on the reverse WU Tien-chang in Chinese

NT$ 550,000-650,000 HK$ 130,000-154,000 US$ 16,700-19,700

148

吳天章

(Taiwanese, b. 1956)

178 HWANG Jyi

(Taiwanese, b. 1953)

Incident in an Art Museum 1991 Oil on canvas 97 x 130 cm Signed on the reverse Hwang Jyi in Chinese, titled Incident in an Art Museum and dated 1991 ILLUSTRATED: Hwang Jyi 1996, Galerie Elegance, Taipei, color illustrated, 1996, pp. 118 & 192

NT$ 550,000-650,000 HK$ 130,000-154,000 US$ 16,700-19,700

黃楫 美術館事件 1991 油彩 畫布 97 x 130 cm 簽名畫背：美術館事件 黃楫 1991 圖錄： 《黃楫畫冊全集》， 愛力根藝術有限公司，台北，1996 ， 彩色圖版，頁118、192

179 John WAY

(Chinese-American, 1921 - 2012)

Sturdy Cypress Morning Dew (a set of 2) 1998 Oil on Paper 76.3 x 56 cm (x2) Signed lower right John Way in English and dated 98 (left) Signed lower center John Way in English and dated 98 (right) ILLUSTRATED: The Pioneer of Chinese Abstract- Anthology of John Way, William Art Center, Taipei, 2007, color illustrated, pp. 113 & 115 The painting is to be sold with a certificated of authenticity issued by William Contemporary Art Space.

NT$ 550,000-650,000 HK$ 130,000-154,000 US$ 16,700-19,700

150

魏樂唐 勁柏 晨露（兩件一組） 1998 油彩 紙本 76.3 x 56 cm (x2) 簽名右下：John Way 98（左） 簽名中下：John Way 98（右） 圖錄： 《華人抽象先驅─魏樂唐大集》，威廉國際藝術 有限公司，台北，2007，彩色圖版，頁113、115 附威廉國際藝術開立之原作保證書

180 John WAY

(Chinese-American, 1921 - 2012)

Abstract, Four Seasons (a set of 4) 1983 (upper left); 1984 (lower left, upper right, lower right) Acrylic on paper, mounted on board 48.6 x 61.2 cm (x4) Signed lower left John Way in English and dated 83 (upper left) Signed lower left John Way in English and dated 84 (lower left, upper right, lower right)

NT$ 600,000-800,000 HK$ 142,000-189,000 US$ 18,200-24,300

魏樂唐 畫堂冬過碧雲春（四件一組） 1983（左上）；1984（左下、右上、右下） 壓克力 紙本 裱於木板 48.6 x 61.2 cm (x4) 簽名左下：John Way 83（左上） 簽名左下：John Way 84（左下、右上、右下）

181 CHUANG Che (Taiwanese, b. 1934)

Variation on Sesshu’s Broken Ink Landscape No. 16 2001 Oil on canvas 91 x 60.5 cm Signed lower right Chuang Che in Chinese, dated 01 ILLUSTRATED: Chuang Che, Asia Art Center, Taipei, 2005, color illustrated, p. 119 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 600,000-800,000 HK$ 142,000-189,000 US$ 18,200-24,300

莊喆 雪舟破墨山水變奏16 2001 油彩 畫布 91 x 60.5 cm 簽名右下：莊喆 01 圖錄： 《莊喆》，亞洲藝術中心，台北，2005，彩色圖 版，頁119 附亞洲藝術中心開立藝術家簽名原作保證書

152

182 CHUANG Che (Taiwanese, b. 1934)

Abstract 1978 Acrylic on canvas 110.5 x 122 cm Signed lower right CHUANG Che in Chinese and dated 78

NT$ 750,000-950,000 HK$ 177,000-225,000 US$ 22,700-28,800

莊喆 抽象 1978 壓克力 畫布 110.5 x 122 cm 簽名右下：莊喆 78

183 YANG San-lang

(Taiwanese, 1907 - 1995)

Seascape Oil on canvas 38 x 45.5 cm Signed lower right S. Yang in English

NT$ 800,000-1,000,000 HK$ 189,000-236,000 US$ 24,300-30,300

楊三郎 浪濤 油彩 畫布 38 x 45.5 cm 簽名右下：S.Yang

154

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

90 & 80 (a set of 2) 2007 Oil on canvas 80 x 90 cm (upper) 80 x 80 cm (lower)

NT$ 1,000,000-2,000,000 HK$ 236,000-473,000 US$ 30,300-60,600

蘇旺伸 90與80（兩件一組） 2007 油彩 畫布 80 x 90 cm（上） 80 x 80 cm（下）

156

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

The Empty Red Heart Sofa 2009 Oil on canvas 200 x 150 cm Signed lower right Kuo Wei-kuo in Chinese and dated 2009.8 Signed on the reverse Kuo Wei-kuo in English, titled The Empty Red Heart Sofa in Chinese, inscribed 200 x 150 cm and dated 2009.8

郭維國 缺空的紅心沙發 2009 油彩 畫布 200 x 150 cm 簽名右下：郭維國 2009.8 簽名畫背：Kuo Wei-kuo 缺空的紅心沙發 200 x 150 cm 完成於2009.8

NT$ 1,200,000-2,200,000 HK$ 284,000-520,000 US$ 36,400-66,700 郭維國的工作室中有著許多收集得來的物件，比如說枯枝、殘破的玩具、紅絲帶、乾燥花、羽毛翅膀等等道具，而這些道具們時常以實際尺寸 出現在郭維國的作品上，透過藝術家任意地，有意識或是無意識地擺放，畫面裡的象徵與譬喻恣意流淌。 作品遊走在寫實主義與古典主義間的氛圍之外卻又不能輕易地隨之分類，而超現實的畫面主題以及自戀地扮演著各種畫中主角的郭維國畫作， 難道不能純粹只探討藝術家內心世界的傷痕與歡愉嗎? 結束了「暴喜圖」、「柳暗花明」等相關聯的系列作品之後，郭維國則開始了另一層次 地「虛構」出他心底的「真實世界」，而郭氏造境裡，發著無以名狀的情境，渾沌不清的背景隱藏著藝術家對於自我探索與外在現實世界的相 互牴觸與矛盾，而畫面中的各種佈局以及各式物件的象徵則是他永遠不停歇地自我救贖的未境之途；他曾經說過，畫面中許多物件各自代表著 他心底層或是遺憾或是悲傷感概的人事物；如畫裡常見的乾燥花、魚等都暗喻著他的母親；裝扮成女性形態的郭維國或者藉著繪畫來懷念母親 或是其它他底層的缺憾我們不得而知，但觀者卻能透過這些隱晦不明的譬喻來「窺探」郭維國的內心，而說是窺探卻又有點不那麼正確，因為 郭維國他赤裸地剖析心底最為「黑暗」也最為「真實」的自己，完整地將傷口呈現在觀者眼前，他藉著藝術舔舐著傷口慢慢修補療傷，而觀者 則得以了解更真實與赤裸的郭維國 There are many objects collected by Kuo Wei-kuo at his studio, such as withered branches, broken toys, red ribbons, dried flowers and feathers. These props often appear in Kuo’s works in actual size. With the artist consciously and unconsciously positioning those props, symbols and metaphors flows freely through those paintings.

Kuo’s works straddle between realism and classicism but cannot be easily classified. However, can those works, comprising surreal topics and the artist himself who narcissistically plays various roles, simply be channels for Kuo to explore his inner wounds and pleasures? With the end of the “Diagram of Commotion and Desire” and “From Gloominess to a Brand New Bright Start” series, Kuo entered another mysterious realm he fabricated, in where we found the “real” himself of KOU. In the atmosphere he created on the canvas, we see the conflicting between the inner conscience and the actual world where the artist is in. And the serval objects in KOU’s paintings may symbol the unfinished journey of KOU’s self-atonement, at the same time, those objects somehow reflect the regrets and the sorrows that he kept longtime on his heart. KOU once said that the fish and the dried flowers symbol his mother.

In the painting, KOU plays a female –like appearance and we don’t konow whether KOU yearns for his mother through the art he created, or to mourn something he once regretted, however the viewers get to discover and to peep the inner world of KOU, relying on these obscure metaphors. KOU baldy scrutinizes the “darkest” and “truest” innermost being while allowing the viewers to examine his wounds and traumas. At the time KOU tries to comfort his inner wounds and self-recovering, the viewers get to explore his truest innermost world more.

158

186 LIEN Chien-hsing (Taiwanese, b. 1962)

Blue Bubble – Heading to the Ocean 2004-2006 Oil on canvas 112 x 194 cm Signed lower left Lien Chien-hsing in Chinese and dated 2006 Signed on the reverse Lien Chien-hsing in Chinese, titled Blue Bubble – Heading to the Ocean in Chinese, inscribed 120p and dated 2004-2006 ILLUSTRATED: Lien Chien Hsing, The Eslite Corporation, Taipei, 2006, color illustrated, pp. 18-19 & p. 22 Lien Chien-hsing , Eslite Gallery, Taipei, 2012, color illustrated, p. 254

連建興 藍泡泡之乘風破浪 2004-2006 油彩 畫布 112 x 194 cm 簽名左下：連建興 2006 簽名畫背：藍泡泡之乘風破浪 120p 2004-2006 連建興 圖錄： 「連建興」，誠品股份有限公司，台 北，2006，彩色圖版，頁18-19，頁22 《連建興》，誠品畫廊，台北，2012， 彩色圖版，頁254

NT$ 1,000,000-2,000,000 HK$ 236,000-473,000 US$ 30,300-60,600 連建興的畫中總是出現許多不符合常理的象徵性元素，如飄浮的鯨魚、獨自跳火圈的老虎、 與海豚嬉戲的人魚等，建構了一座魔幻世界，如夢遊仙境般地引人入勝；但這些看似荒蕪的 造景都存在著藝術家對於舊時景色或是事物的懷舊想念；此件創作於2006年，「小偶劇場」 系列的「藍泡泡之乘風破浪」，則是藝術家對於靜物畫再造空間的轉變，熟悉的荒景場域消 失了，取而代之的出現了許多似曾相識的物件、快速社會變遷的消費性產物卻在畫面中產生 了某種衝突；這些連建興從日常生活中收集、撿集得來的平凡物件在精心安排下成為主角， 畫面頓時間場域轉換成劇場，而藝術家則以導演身份帶領著他的「演員」上演一幕幕離奇卻 又逗趣的寓言劇碼。 連氏不在這些作品裡抒情地大聲吟唱鄉愁的敘事曲，而僅是透過一些零碎、再日常不過的現 成物去找回過去深層的純真記憶；透過象徵性的畫面佈局去探討他對土地、對大海的歸屬以 外更是低聲呢喃著藝術家成長時期的特定氛圍，輕輕地敲著人心，引導當代人思考共同擁有 過卻也一同失去的時光。 Paintings by Lien Chien-hsing always involve many unconventional symbols, such as a floating whale, a tiger jumping through a hoop alone, and mermaids playing with dolphins. Together they construct a magical world, attracting viewers to wander in this alluring dreamland. These settings appear barren and desolate, but in fact incorporate the artist’s nostalgic sentiments over past landscapes and things. Created in 2006, “Blue Bubble – Heading to the Ocean” of the “Small Puppet Theater” series embodies the artist’s attempt to recreate space with still life. The viewers’ well-known desolate settings are gone. Instead, many seemingly familiar objects and the consumer products derived from rapid social change have formed into a kind of conflict. Ingeniously designed and arranged by the artist, these ordinary objects collected by Lien from his everyday experience become the leading characters of his plays. Suddenly the space turns into a theater where the artist, now serving as the director, leads his “actors and actresses” to play acts of strange but intriguing allegories.

Rather than loudly singing nostalgic ballads through these works, Lien tries to explore his sense of belonging to the land and sea through the symbolic layouts of his paintings. In addition, he also whispers of a particular atmosphere during the time he grew up. Gently pulling on people’s heartstrings, he guides the contemporaries to think back to the time they shared and lost.

160

187 CHUANG Che (Taiwanese, b. 1934)

Long Distance 2000 Acrylic on canvas 167.5 x 127 cm Signed lower right Chuang Che in Chinese and dated 2000 ILLUSTRATED: Chuang Che, Asia Art Center, Taipei, 2006, color illustrated, p. 52 Artco, Art & Collection Group, Taipei, October, 2006, color illustrated, p. 206

NT$ 1,200,000-2,200,000 HK$ 284,000-520,000 US$ 36,400-66,700

莊喆 遠程 2000 壓克力 畫布 167.5 x 127 cm 簽名右下：oo 莊喆 圖錄： 《莊喆畫集》，亞洲藝術中心，台北，2006，彩色圖版，頁52 《今藝術》，典藏藝術雜誌社，台北，2006年10月，頁206

162

188 John WAY

(Chinese-American, 1921 - 2012)

Elegant Demeanor 2001 Oil on canvas 152 x 127 cm Signed lower right John Way in English and dated 2001 ILLUSTRATED: The Pioneer of Chinese Abstract – Anthology of John Way, William Art Center, Taipei, 2007, color illustrated, pp. 186-187 The painting is to be sold with a certificated of authenticity issued by William Contemporary Art Space.

NT$ 1,300,000-2,300,000 HK$ 307,000-544,000 US$ 39,400-69,700

魏樂唐 卓然的風采 2001 油彩 畫布 152 x 127 cm 簽名右下：John Way 2001 圖錄： 《華人抽象先驅─魏樂唐大集》，威廉國際藝術有限公司，台北，2007，彩色圖版，頁186-187 附威廉國際藝術開立之原作保證書

164

189 YANG San-lang

(Taiwanese, 1907 - 1995)

Orchid Lake Oil on canvas 63.5 x 75.5 cm Signed lower left S. Yang in English

NT$ 1,300,000-2,400,000 HK$ 307,000-567,000 US$ 39,400-72,800

楊三郎 蘭潭 油彩 畫布 63.5 x 75.5 cm 簽名左下：S. Yang

在台灣早期藝術家中知名度最高，對台灣美術推動有直接的 貢獻（台陽展），楊三郎為代表之一，早年離鄉背井，飄洋 過海至日本習畫，進入關西美術學院，之後曾遊學歐洲，並 入選法國秋季沙龍，可見楊三郎在美術史的重要地位。 楊三郎一生奉行印象派，注重戶外寫生、著重日光、時序下 的光影變化，在台灣前輩藝術家中聲望及地位崇高，對於藝 術推動更是不遺餘力，創立「台陽美術協會」，獲頒象徵藝 術最高榮耀的「國家文化勳章」，在華人世界大師當中，其 捕捉大自然瞬間感動的生命力、空間上的層次運用，及透過 作品深刻表現藝術家豐富的內在心靈，是其他藝術家所不及 的。 Yang San-lang is a founding member of the Taiyang Artist Association, a group of famous early Taiwanese artists who made direct and lasting contributions to the development of the arts in Taiwan. He left home in his youth, travelling to Japan, where he entered the Kansai Art Institute, and then on to Europe for further studies, eventually entering the Autumn Salon in France. From that we can see his important position in art history.

Yang San-lang is a true believer of impressionism; he paid a lot of attention to paint or sketch nature and always took notice on the sunlight as well as different shades in different times. He has high prestige among senior artists in Taiwan, makes every endeavor for art movements and established "Tai-yang Art Society". He received "National Culture Medal", it is the highest honor of art one could receive in the country, his ability capturing touching moments and vitality in nature, his utilizing the space through different layers, and his presenting his mind through art, is the best in all artists.

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

Il Giardino Eterna – 2 1994 Acrylic on canvas 90 x 110 cm Signed on the reverse Hsiao in English Chin in Chinese, titled “Il Giardino Eterna – 2” in Chinese and Italian, inscribed 90 x 110 cm acrylic on canvas, and dated 1994 This painting is to be sold with a certificate of authenticity issued by Hsiao Chin International Foundation of Fine Arts.

NT$ 1,300,000-2,400,000 HK$ 307,000-567,000 US$ 39,400-72,800

蕭勤 永久的花園 – 2

1994 壓克力 畫布 90 x 110 cm 簽名畫背：Hsiao 勤 「永久的花園—2」1994 "Il giardino eterna – 2" 90 x 110 cm 壓克力畫 附蕭勤國際藝術基金會開立之原作保證書

168

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

Verso Il Giardino Eterna – 14 2008 Acrylic on canvas 90 x 110 cm Signed on the reverse Hsiao in English Chin in Chinese, titled “Verso il giardino eterna – 14” in Chinese and Italian, inscribed 90 x 110 cm, acrylic on canvas and dated 2008 This painting is to be sold with a certificate of authenticity issued by Hsiao Chin International Foundation of Fine Arts.

NT$ 1,400,000-2,400,000 HK$ 331,000-567,000 US$ 42,400-72,800

蕭勤 走向永久的花園—14 2008 壓克力 畫布 90 x 110 cm 簽名畫背：Hsiao 勤 2008「走向永久的花園–14」"Verso il giardino eterna – 14" 90 x 110 cm 布上壓克力畫 附蕭勤國際藝術基金會開立之原作保證書

170

192 CHUANG Che

莊喆

(Taiwanese, b. 1934)

仲夏夜之夢

A Mid-summer Night’s Dream

2005 壓克力 油彩 畫布 127 x 167 cm 簽名右下：莊喆 '05 簽名畫背：仲夏夜之夢 2005

2005 Acrylic and oil on canvas 127 x 167 cm Signed lower right CHUANG Che in Chinese and dated ‘05 Signed on the reverse, titled A Mid-summer Night’s Dream in Chinese and dated 2005 ILLUSTRATED: Chuang Che, Deep Ridge - Remote Way, Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, pp. 176-177 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

圖錄： 《莊喆．嶺深道遠—2007北京中國美術館個展》，亞洲 藝術中心，台北，2007，彩色圖版，頁176-177 附亞洲藝術中心開立之原作保證書

NT$ 1,900,000-2,800,000 HK$ 449,000-662,000 US$ 57,600-84,900 作為一生致力於探究抽象形式的藝術家，莊喆將中國水墨筆法融入抽象油畫的創作之中，展現寫意精神於大器揮灑的色彩筆觸之間，自成一 格。1934年生於北京，莊喆的父親莊嚴為已故名書法家暨前北京故宮博物院副院長，家學淵緣，書畫根基深厚。莊喆1948年隨家人遷居台灣， 是為五月畫會重要成員，在1950年代末與1960年代與積極參與了中國繪畫現代化運動，傳統素養與創新精神同時存在於他的血液裡，數十載的 創作生涯裡，他不斷地試驗、突破，一次一次地挑戰抽象繪畫的邊界、為水墨精神開創新的疆域。 《仲夏夜之夢》為莊喆2005年的成熟精采之作，年過七十的藝術家創作力依舊豐沛，而多年的研究與旅居各國的豐富閱歷，更為其創作增添智 慧與豁達。《仲夏夜之夢》以深邃的黑為底，以白色帶出紅、黃、紫、褐揮灑其上，澎湃而耀眼。畫面構圖中透露出剛柔並濟、疏密有致、蒼 潤流動的水墨韻致，變幻無窮，亦有潑灑滴流的隨興與律動，整體結構完整而不失恣意瀟灑的酣暢淋漓，為神秘的黑夜染上奇幻色彩，上演一 場高潮迭起的派對，開啟了無盡的想像空間。莊喆創作《仲夏夜之夢》是年，台北國立歷史博物館為其舉辦大型展覽「主題．原象」，而此 刻，台北市立美術館正盛大舉辦「莊喆回顧展—鴻濛與酣暢」，其藝術精神的引人之處，正如此展策展人劉永仁於策展論述中提到的：「莊喆 繪畫的形式語言，抽象或具象並非重心，主要以筆勢牽引解悟圖象，詮釋每一幅畫的真情流露才是視覺核心。」 An artist who has spent a lifetime exploring the potential of abstract images, Chuang Che has succeeded in integrating the brushwork techniques of traditional Chinese ink-brush painting into abstract oil painting, and has developed a unique personal style that combines the spontaneous spirit with the bold, sweeping deployment of color. Chuang Che was born in Beijing in 1934. His father, Chuang Yen, was a noted painter and calligrapher, and held the position of Deputy Director of the National Palace Museum in Beijing; Chuang Che’s family background thus gave him a solid background in the arts.

Chuang Che moved to Taiwan with his family in 1948, and subsequently became a leading member of the Fifth Moon Group art association. In the late 1950s and 1960s, Chuang Che was actively involved in the movement to modernize traditional Chinese painting. Combining an impressive grounding in traditional techniques with an innovative spirit, over the course of an artistic career spanning several decades, Chuang Che has constantly been experimenting and moving forwards, repeatedly extending the boundaries of what is possible with abstract art, and opening up new vistas of possibility for Chinese ink-brush painting.

“A Mid-summer Night’s Dream” is an outstanding mature work that Chuang Che completed in 2005. Over 70 at the time he painted it, Chuang Che still displayed undimmed creativity; his many years of experimentation, combined with his experience of living and working in various different countries around the world, had enriched his artistic vision. “A Mid-summer Night’s Dream” makes use of a deep black background, on which appears a dazzling white touched with red, yellow, purple and brown, creating a visually spectacular effect. The composition combines strength and softness, with a wellbalanced variation in intensity; the smooth, flowing ink-brush strokes provide a wealth of variation, coupled with the same kind of spontaneity and sense of dynamic rhythm that is characteristic of drip painting. The overall structure of the painting is complete and well-integrated, without losing the lyrical sense of freedom. The overlaying of the mysterious dark night with magical colors creates the atmosphere of a spectacular party, and opens up limitless space for the imagination. In 2005, the year that Chuang Che painted “A Mid-summer Night’s Dream,” the National Museum of History in Taipei City, Taiwan held a large-scale exhibition of Chuang’s works entitled “Primal From – An Exhibition of Chuang Che’s Painting.” This year (2015), Taipei Fine Arts Museum is hosting another major exhibition of Chuang’s works: “Effusive Vitality – Chuang Che Retrospective Exhibition.” Regarding the question of what it is about Chuang Che’s artistic vision that people find so attractive, Liu Yung-jen, the curator of the “Effusive Vitality” exhibition, commented in the main article on the exhibition that “The question of whether the formal language of Chuang Che’s painting is abstract or representational is not really the key issue; the important thing is that Chuang’s brushstrokes guide the viewer to an understanding of the images portrayed, so that the core visual element of each work is the expression of its real significance.”

172

193 YANG Chihung (Taiwanese, b. 1947)

Revelation 2006 Oil on canvas 172.5 x 222 cm Signed on the reverse Chihung Yang, titled Revelation in English and dated 2006.

EXHIBITED: Inner Vision Human Condition – Chihung Yang Solo Exhibition, National Art Museum of China, Beijing, October 16-23, 2007 ILLUSTRATED: Inner Vision Human Condition – Chihung Yang Solo Exhibition, Asia Art Center, Beijing, 2007, color illustrated, pp. 114-115.

NT$ 1,900,000-2,800,000 HK$ 449,000-662,000 US$ 57,600-84,900

楊識宏 天啟 2006 油彩 畫布 172.5 x 222 cm 簽名畫背：Chihung Yang Revelation ©2006 展覽： 「心象情境：2007楊識宏北京中國美術個展」，中國美術館，北京，展期自2007年 10月16日至23日 圖錄： 《心象情境：2007楊識宏北京中國美術個展》，亞洲藝術中心，北京，2007，彩色 圖版，頁114-115

174

194 CHUANG Che (Taiwanese, b. 1934)

Island’s End 2006 Oil on canvas 158 x 204 cm Signed on the reverse Chuang Che and titled Island’s end in English, dated 2006 EXHIBITED: Chuang Che – The Third Approach solo Exhibition, David Findlay Jr Fine Art, New York, USA, April 7-28, 2007 ILLUSTRATED: Chuang Che – The Third Approach, Lewis Newman, Dr. Alison Hardi, and Jeffery Wechsler, David Findlay Jr Fine Art, New York, USA, 2007, color illustrated, cover

NT$ 1,900,000-2,800,000 HK$ 449,000-662,000 US$ 57,600-84,900

莊喆 島之終點 2006 油彩 畫布 158 x 204 cm 簽名畫背：Island's end 2006 Chuang Che 展覽： 「莊喆—第三實驗」個展，大衛費雷畫廊，紐約，美國，展期自2007年4月7日至28日 圖錄： 《莊喆—第三實驗》，李維紐曼、艾莉森哈迪、傑佛瑞威斯勒合撰，大衛費雷藝術出版， 紐約，美國，2007，封面

176

195 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Protray of a Young Man Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 2,000,000-3,000,000 HK$ 473,000-709,000 US$ 60,600-91,000

邱亞才 青年畫像 油彩 畫布 130 x 97 cm 簽名右下：邱亞才

178

196 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

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

NT$ 2,000,000-3,000,000 HK$ 473,000-709,000 US$ 60,600-91,000

邱亞才 藍色青年 油彩 畫布 130 x 97 cm 簽名左下：邱亞才

180

197 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Quietness 1992 Oil on canvas 130 x 96 cm Signed lower right CHIU Ya-tsai in Chinese and dated 92

NT$ 2,000,000-3,000,000 HK$ 473,000-709,000 US$ 60,600-91,000

邱亞才 靜 1992 油彩 畫布 130 x 96 cm 簽名右下：92 邱亞才

182

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

L'eruzione Cosmica - 1 2001 Acrylic on canvas 150 x 300 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled l’eruzione cosmica – 1 in Italian, inscribed Acrilico in Italian, 150 x 300 cm, dated 2001 in Chinese EXHIBITED: Glory to the Source Hsiao Chin 1955-2005, National Museum of China, Beijing, May 20 - June 1, 2006 ILLUSTRATED: Maurizio Vanni, Hsiao Chin: Hsiao Chin, Percorsi di autocoscienza nell’anima, Carlo Cambi Editore, Poggibonsi, Siena, 2005, color illustrated, pp. 30-31 Glory to the Source Hsiao Chin 1955-2005, Lin & Keng Gallery, Taipei, 2006, color illustrated, pp. 136-137 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 2,600,000-3,800,000 HK$ 615,000-898,000 US$ 78,800-115,200

蕭勤 宇宙之爆發 – 1

2001 壓克力 畫布 150 x 300 cm 簽名畫背：l'eruzione cosmica - 1 Hsiao 勤 零一 Acrilico 150 x 300 cm 展覽： 「榮源─蕭勤七十回顧展1995-2005」，中國美術館，北京，展期自2006年 5月20至6月2日 圖錄： 莫里斯•伐尼，《蕭勤：靈魂之自我意識的》，卡爾洛•坎比，波吉邦 西，義大利錫耶納，2005，彩色圖版，頁30-31 《榮源：蕭勤七十回顧展1955-2005》目錄，大未來畫廊，台北，2006年4 月出版，彩色圖版，頁136-137 附大未來畫廊開立之藝術家簽名之原作保證書

184

199 JU Ming

(Taiwanese, b. 1938)

Taichi Series 1995 Bronze, edition no. 4/10 50(L) x 38(W) x 58.5(H) cm Engraved on the back Ju Ming in Chinese, numbered 4-10 and dated '95 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$ 473,000-709,000 US$ 60,600-91,000

朱銘 太極系列 1995 銅雕 4/10 50(長) x 38(寬) x 58.5(高) cm 簽名雕刻背後：朱銘 '95 4-10 附財團法人朱銘文教基金會開立之作品鑑定報告書

186

朱銘的太極系列堪稱其雕刻語言與美學風格成熟之作，奠定當代藝術名家 的地位。朱銘在楊英風門下開始學習太極，以增強體能、鍛鍊意志，這種 形式獨特的功夫將他的創作帶入新的領域。太極系列迥異於過去探索的傳 統主題，趨向純粹靈性，使其現代雕塑開始進入成熟期。 在《太極系列》中，朱銘借用太極拳的基本招式作為造型的傳統圖式依 據，並進一步置換其中傳統的內涵，運用現代雕塑厚重的體量和簡約的塊 面形式，表達了藝術家對於中西兩種文化融合與變通的意象理解。太極系 列始於1970年代後期，當中可見顯著轉變。行旅歐洲為他處理該主題的手 法產生最革命性的轉變，古羅馬石造建築帶給他深刻的啟示。影響所及， 1980年代以後的作品，輪廓更簡潔，愈見莊嚴神聖，相對於在1970年代作 品見到的律動與生命力，這些作品的特色是透過簡單的切削斧鑿表現細 節，為其作品增添力道與重量感。 Ju Ming's Taichi series marked the maturation of his sculptural language and aesthetic style, securing his status as one of the most acclaimed figures in contemporary art. Ju Ming began practicing Taichi under his mentor, Yuyu Yang, to build up his strength and train his will. This unique form of exercise inspired him to take his creations into a new realm. This series drew him away from the traditional themes he explored in the past and into a type of pure spiritualism that marked the beginning of his mature phase in modern sculpture.

In his "Taichi" series, Ju Ming takes basic skills of shadow boxing as the elements of traditional picture for shaping and further replacing the traditional connotation in it, applying the massive touch sense and concise patch sense of modern sculpture, Ju Ming, as an artist, has expressed his understanding on imago of mutual integration and accommodation of Chinese and western cultures. The Taichi series has seen remarkable transformations from its beginning in the late 1970s. His travels in Europe brought about the most revolutionary transformation in his approach towards this subject. His encounters with the stone architecture of ancient Rome brought him profound inspiration. As a result, his works since the 1980s took on cleaner contours and a more sublime sense of monumentality.

As opposed to the rhythm and vitality we see expressed in his works from the 1970s, these later works focused on an expression of details through simple cuts and cracks. This has lent his artworks a dynamic and weighty feel.

200 JU Ming

(Taiwanese, b. 1938)

Living World Series – Swimming 2009 Stainless steel , edition no. 2/8 70.4(L) x 29.4(W) x 104.6(H) cm Engraved on the back Ju Ming in English, numbered 2/8 and dated 09 EXHIBITED: 2009 Ju Ming’s Lastest Exhibition Living World Series - Swimming, Ju Ming Museum, New Taipei, September 19, 2009 - May 5, 2010 The Singapore debut of Ju Ming’s Living World Series Swimming & Stone Sculpture, Ipreciation Art Gallery, Singapore, November 19, 2010 - January 8, 2011 ILLUSTRATED: Ju Ming: Liring World, Guangxi Fine Arts Publishing House, 2010, color illustrated, p. 190 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 1,400,000-2,400,000 HK$ 331,000-567,000 US$ 42,400-72,800

朱銘 人間系列—游泳 2009 不銹鋼 2/8 70.4(長) x 29.4(寬) x 104.6(高) cm 簽名雕刻右後方：Ju Ming 09 2/8 展覽： 朱銘新作「人間系列—游泳展」，朱銘美術館，新北市，展期自2009年9月19日至2010年5月5日 朱銘「人間系列—游泳及石雕展」，誰先覺畫廊，新加坡，展期自2010年11月19日至2011年1月8日 圖錄： 《朱銘：人間雕塑》，廣西美術出版社，廣西，2010，彩色圖版，頁190 附真善美畫廊開立之原作保證書

188

201 JU Ming

(Taiwanese, b. 1938)

Rabbit Camphor 38.2(L) x 20.8(W) x 40.3(H) cm This sculpture is to be sold with a certificate of authenticity issued by the NPO Juming Culture and Education Foundation.

NT$ 1,300,000-2,200,000 HK$ 307,000-520,000 US$ 39,400-66,700

朱銘 兔 樟木 38.2(長) x 20.8(寬) x 40.3(高) cm 附財團法人朱銘文教基金會開立之作品鑑定報告書

190

202 LI Chen

(Taiwanese, b. 1963)

Pure Land 1998 Bronze sculpture, edition no. 56/99 45(L) x 16(W) x 27(H) cm Engraved on the back Li Chen in Chinese, numbered 56/99, dated 1998 EXHIBITED: Li Chen in 52nd Venice Biennale – Energy of Emptiness, Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 (similar version) Li Chen - Mind-Body-Spirit, Singapore Art Museum, Singapore, September 25 - December 9, 2009 (similar version) Greatness of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-Shek Memorial Hall / Road of Democracy, Taipei, November 6 - December 4, 2011 (similar version) ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Beijing, 2004, color illustrated, pp. 40-42 (similar version) Li Chen Energy of Emptiness 52nd International Art Exhibition – La Biennale di Venezia, Asia Art Center Co., Ltd., Taipei, 2007, color illustrated, pp. 30-31; black and white illustrated, p. 216 (similar version) Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 194 (similar version) This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 600,000-800,000 HK$ 142,000-189,000 US$ 18,200-24,300

192

李真 無憂國土 1998 銅雕 56/99 45(長) x 16(寬) x 27(高) cm 簽名雕刻底座後方：李真 56/99 1998 展覽： 「第52屆威尼斯國際藝術雙年展—尋找精神的空間．虛空中的 能量：李真雕塑展」，未來展望美術館，威尼斯，展期自2007 年6月10日至11月21日（另一尺寸版本） 「李真：精神．身體．靈魂」，新加坡美術館，新加坡，展期 自2009年9月25日至12月9日（另一尺寸版本） 「大氣—李真台灣大型雕塑首展」，中正紀念堂─民主大道、 兩廳院藝文廣場（自由廣場），台北，展期自2011年11月6日 至12月4日（另一尺寸版本） 圖錄： 《1992-2002李真雕塑》，亞洲藝術中心，北京，2004，彩色 圖版，頁40-42（另一尺寸版本） 《李真—虛空的能量：第52屆威尼斯國際藝術雙年展》，亞洲 藝術中心有限公司，台北，2007，彩色圖版，頁30-31；黑白 圖版，頁216（另一尺寸版本） 《李真—尋找精神的空間》，亞洲藝術中心，台北，2008，彩 色圖版，頁194（另一尺寸版本） 附亞洲藝術中心開立原作保證書

203 HUANG Po-Ren (Taiwanese, b. 1970)

Go! 2004 Iron (unique) 66(L) x 83(W) x 171(H) cm Engraved on the base PR in English and dated 2004.2.15

NT$ 650,000-850,000 HK$ 154,000-201,000 US$ 19,700-25,800

黃柏仁 GO!

2004 鐵雕（單一件） 66(長) x 83(寬) x 171(高) cm 簽名雕刻圓盤底座：2004.2.15.PR

204 ZHOU Chunya (Chinese, b. 1955)

Green Dog 2 2013 Bronze, edition no 7/10 22(L) x 25(W) x 37(H) cm Signed on lower back ZHOU Chunya in Chinese and English, numbered 7/10 EXHIBITED : ZHOU CHUNYA Solo Exhibition, S.O art Space, Shanghai, November 24 31, 2012 (a different edition) Image Spirit – Contemporary Chinese Art Collection Exhibition, K Gallery, Chengdu, January 19 - February 6, 2013 (a different edition) Focus – Comtemporary Sculpture, Julia Gallery, Taipei, July 12 - August 4, 2013 (a different edition) Getting Close to Art, Dujiangyan City Art Center, Sih Chuan, January 15 19, 2015 (a different edition) This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Corporation, Taipei.

NT$ 400,000-600,000 HK$ 95,000-142,000 US$ 12,100-18,200

周春芽 綠狗 2

2013 銅雕 7/10 22(長) x 25(寬) x 37(高) cm 簽名後側下方：7/10 周春芽 ZHOU Chunya 展覽： 「周春芽作品展」，S．O藝術空間，上海，展期自2012年11月24日至 31日（不同版數） 「圖像精神之中國當代藝術名家藏品展」，K空間，成都，展期自 2013年1月19日至2月6日（不同版數） 「聚點—名家當代雕塑」，雅逸藝術中心，台北，展期自2013年7月12 日至8月4日（不同版數） 「走進藝術—中國當代藝術走進社區公益系列展」，都江堰市文化 館，四川，展期自2015年1月15日至19日（不同版數） 附北莊文化藝術中心開立之原作保證書

194

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

Alive 2012 Epoxy resins, lacquer, edition no. 36/88 (sculpture) Lacquered wood, edition no. 36/88 (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 81.5(H) cm (vitrine) Signed on the bottom Zhou Chunya in Chinese and numbered 36/88 (each sculpture) Signed on bottom Jaime Hayon in English and numbered 36/88 (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$ 109,000-165,000 US$ 13,900-21,200

周春芽 + 亞米・海因 綠狗 2012 環氧樹脂 亮面漆 36/88（雕塑） 亮面漆木 36/88（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 81.5(高) cm（玻璃櫃） 簽名底部：周春芽 36/88（每件雕塑） 簽名底部：Jaime Hayon numbered 36/88（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

206 DAI Ze

(Chinese, b. 1922)

Flower 1979 Oil on paper 53.5 x 24.5 cm Signed lower right Dai Ze in Chinese and dated 1979

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

戴澤 花 1979 油彩 紙本 53.5 x 24.5 cm 簽名右下：戴澤 1979

196

207 KANG Xiao-Hua (Chinese, b. 1954)

Going to W.C. in the Early Morning 1999-2000 Oil on canvas 60 x 72 cm Signed lower right Kang Xiao-Hua in Chinese and dated 2000

Signed on the stretcher Kang Xiao-hua and titled on the Toilet in Chinese, dated November 1999 EXHIBITED: City Phenomena-Dancing, Changing, Flourishing, Jiarui Gallery, Beijing, May 12-20, 2007 ILLUSTRATED: City Phenomena-Dancing, Changing, Flourishing, Pings Gallery, Taipei, 2007, color illustrated

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,700-5,500

康小華 晨起上廁所 1999-2000 油彩 畫布 60 x 72 cm 簽名右下：康小華 2000 簽名畫背框條：康小華《上廁所》1999 11月 展覽： 「又見胡同 舞今風華」，嘉瑞畫廊，北京，展期 自2007年5月12日至20日 圖錄： 《又見胡同 舞今風華》，藏新畫廊，台北，彩色 圖版，2007

208 LU Qi

(Chinese, b. 1957)

Pomegranate and Newspaper 1991 Oil on canvas 53.5 x 65.5 cm Signed lower right Luh Chyi in English and Qi in Chinese, dated 1991

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

198

陸琦 石榴與報紙 1991 油彩 畫布 53.5 x 65.5 cm 簽名右下：Luh Chyi 琦 1991

209 ZHENG Yi

(Chinese, b. 1961)

Village 1993 Oil on canvas 27 x 35 cm Signed lower right ZHENG Yi in Chinese, dated 93.10 This painting is to be sold with a certificate of authenticity issued by Mingdian Art Gallery, Taipei.

NT$ 130,000-240,000 HK$ 31,000-57,000 US$ 3,900-7,300

鄭藝 小村 1993 油彩 畫布 27 x 35 cm 簽名右下：鄭藝 93.10 附名典藝術中心及藝術家親筆簽名之原作保證書

210 LEE Liang

李梁

(Chinese, b. 1985)

心中紅花

The Red Flowers in Heart

2011 油彩 畫布 100 x 130 cm 簽名右下：李梁 2011.1

2011 Oil on canvas 100 x 130 cm Signed lower right Lee Liang in Chinese and dated 2011.1 This painting is to be sold with a picture of the artist and the painting.

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

200

附藝術家與作品之合影照片

211 KANG Kai

康凱

(Chinese, b. 1979)

玉川雲瀑

Forked Bridge

2006 設色 紙本 66 x 69 cm 簽名左下：凱 鈐印左下：懷善、執古 鈐印右下：五月軒 鈐印右中：康凱

2006 Ink and color on paper 66 x 69 cm Signed lower left Kai in Chinese With four seals of the artist This painting is to be sold with a certificate of authenticity issued by My Humble House Art Gallery, Taipei.

NT$ 180,000-280,000 HK$ 43,000-66,000 US$ 5,500-8,500

附寒舍空間開立之原作保證書

212 CHEN Danqing (Chinese, b. 1953)

Figures (a set of 2) 1995 pencil and watercolor on paper 21.5 x 14 cm (left) 19 x 13.5 cm (right) Signed for Baoyu to memento from Danqing in 1995, an afterthought in 2008 in Chinese on each work PROVENANCE: Collection of Ms. Li Pinshang (Baoyu)

NT$ 240,000-340,000 HK$ 57,000-80,000 US$ 7,300-10,300

202

陳丹青 紐約地鐵人物速寫（兩件一組） 1995 鉛筆 水彩 紙本 21.5 x 14 cm（左） 19 x 13.5 cm（右） 簽名左下：保玉留念 丹青 1995年留贈 2008補記 簽名右下：保玉留念 丹青 1995年留贈 2008補記 來源： 李品賞（保玉）女士收藏

213 George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

漁村寫意圖

View of Fishing Village

水彩 紙本 62 x 99 cm 簽名右下：GEO CHANN 鈐印右下：G

Watercolor on paper 62 x 99 cm Signed lower right GEO CHANN in English With one seal of the artist

NT$ 420,000-600,000 HK$ 99,000-142,000 US$ 12,700-18,200

214 ZHOU Chunya (Chinese, b. 1955)

Girl 1979-2006 Watercolor on paper 50 x 35 cm Signed lower right Zhou Chunya in Chinese and dated 1979. 5. 19 Signed on the reverse Zhou Chunya and inscribed 2006 retouched in Chinese, dated 1979 This painting is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Corporation, Taipei.

NT$ 440,000-550,000 HK$ 104,000-130,000 US$ 13,300-16,700

204

周春芽 小女孩 1979-2006 水彩 紙本 50 x 35cm 簽名右下：一九七九.五.十九 周春芽 簽名畫背：1979年畫 2006 周春芽補 附北莊藝術開立之作品保證書

215 QI Zhilong

(Chinese, b. 1962)

Chinese Girl Series No. 1 2001 Oil on canvas 46 x 38 cm Signed lower left Qi Zhilong in Chinese and dated 2001 Signed on the reverse QI ZHILONG in Chinese and English, titled No. 1

NT$ 550,000-650,000 HK$ 130,000-154,000 US$ 16,700-19,700

祁志龍 中國少女系列 No. 1

2001 油彩 畫布 46 x 38 cm 簽名左下：祁志龍 2001 簽名畫背：祁志龍 QI ZHILONG No. 1

216 GUAN Zilan (Violet KWAN) (Chinese, 1903 - 1986)

Seaview 1932 Oil on canvas 31.5 x 43 cm Signed lower right Zilan and dated 1932 in Chinese

NT$ 550,000-750,000 HK$ 130,000-177,000 US$ 16,700-22,700

關紫蘭 海景 1932 油彩 畫布 31.5 x 43 cm 簽名右下：紫蘭 一九三二

206

217 LIU Chi-hsiang

劉啟祥

(Taiwanese, 1910 - 1998)

玫瑰花瓶

Rose

1989 油彩 畫布 53 x 45.5 cm 簽名右下：C.Liou -89

1989 Oil on canvas 53 x 45.5 cm Signed lower right C.Liou in English and dated 89 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 650,000-1,000,000 HK$ 154,000-236,000 US$ 19,700-30,300

附印象畫廊開立之原作保證書

218 HUANG Gang

經文

Scripture

2006 綜合媒材 木板 105.5 x 105.5 cm 簽名右下：Huang Gang 黃鋼 2006

2006 Mixed media on board 105.5 x 105.5 cm Signed lower right Huang Gang in English and Chinese, dated 2006

NT$ 600,000-800,000 HK$ 142,000-189,000 US$ 18,200-24,300

208

黃鋼

(Chinese, b. 1961)

219 LU Shun

(Chinese, b. 1966)

Floating Flowers 2008 Oil on canvas 160 x 120 cm Signed lower right LU Shun in Chinese and dated 2008 This painting is to be sold with a certificated of authenticity issued by William Contemporary Art Space.

NT$ 650,000-750,000 HK$ 154,000-177,000 US$ 19,700-22,700

呂順 空中花朵 2008 油彩 畫布 160 x 120 cm 簽名右下：呂順 2008 附威廉國際藝術開立之原作保證書

220 YE Yongqing

葉永青

(Chinese, b. 1958)

無題

Untitled

2005 綜合媒材 紙本裱於畫布 54.5 x 56 cm 簽名中下：葉永青 Ye Yon Qing 2005

2005 Mixed media on paper, mounted on canvas 54.5 x 56 cm Signed lower center Ye Yong Qing in Chinese and English, dated 2005

NT$ 700,000-900,000 HK$ 165,000-213,000 US$ 21,200-27,300

210

221 YE Yongqing (Chinese, b. 1958)

Untitled 1 2014 Mixed media on paper 73.5 x 40 cm Signed lower right Ye Yong Qing in Chinese and English, dated 2014 EXHIBITED: Grand Sight to the Tropic of Cancer – Ye Yongqing solo Exhibition, Metaphysical Art Gallery, Taipei, January 17 – March 22, 2015 ILLUSTRATED: Grand Sight to the Tropic of Cancer, Metaphysical Art Gallery, Taipei, color illustrated

NT$ 750,000-950,000 HK$ 177,000-225,000 US$ 22,700-28,800

葉永青 無題一 2014 綜合媒材 紙本 73.5 x 40 cm 簽名右下：葉永青 Ye Yong Qing 2014 展覽： 「大觀．北迴歸線」葉永青個展，形而上畫 廊，台北，展期2015年1月17日至3月22日 圖錄： 「大觀．北迴歸線」，形而上畫廊，台北，彩 色圖版

222 Tony WONG

(Chinese-American, 1948 - 2012)

Nest 2007 Oil on canvas 196 x 154 cm Signed on the reverse T. Wong and titled Nest in English, inscribed oil/e 77" x 60",dated 2007

NT$ 850,000-1,000,000 HK$ 201,000-236,000 US$ 25,800-30,300

黃榮禧 巢 2007 油彩 畫布 196 x 154 cm 簽名畫背：Nest oil/e 77" x 60" T. Wong 2007

212

223 XUE Song

(Chinese, b. 1965)

Dialogue with Mandarian No. 8 2009 Mixed Media on canvas, collage 85 x 200 cm Signed lower right Hue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled “Dialogue with Mandarian No. 8” in Chinese, inscribed 85 x 200 cm and dated 2009 EXHIBITED: Shanghai Style Xue Song Painting, Museum of Contemporary Art (MOCA), Singapore, April 6 - 28, 2013

214

ILLUSTRATED: Xue Song works 1988-2013, Museum of Contemporary Art (MOCA), Singapore, 2013, color illustrated, pp. 146-147

NT$ 1,200,000-2,200,000 HK$ 284,000-520,000 US$ 36,400-66,700

薛松 亭樹春曉 2009 綜合媒材 畫布 拼貼 85 x 200 cm 簽名右下：薛松 簽名畫背：薛松《亭樹春曉》85 x 200 cm 薛松 Xue Song 2009 展覽： 「薛松1988-2013 新海派繪畫」，新加坡當代美術館，新加坡，展期自2013年4月6日至28日 圖錄： 《薛松1988-2013》，新加坡當代美術館，新加坡，2013，彩色圖版，頁146-147

224 HUANG Gang (Chinese, b. 1961)

Red Star 2006 Mixed media on board 201 x 201 cm Signed lower right Huang Gang in Chinese and English, dated 2006

NT$ 1,400,000-2,400,000 HK$ 331,000-567,000 US$ 42,400-72,800

黃鋼 紅五星 2006 綜合媒材 木板 201 x 201 cm 簽名右下：Huang Gang 黃鋼 2006

216

225 YUAN Yuan (Chinese, b. 1973)

Blues III 2010 Oil on canvas 135 x 180 cm Signed on the reverse y.yuan in Chinese and English, titled Blues III in simplified Chinese and English, dated 2010.12

NT$ 2,000,000-3,000,000 HK$ 473,000-709,000 US$ 60,600-91,000

袁遠 憂鬱 III

2010 油彩 畫布 135 x 180 cm 簽名畫背：《憂鬱 III》袁遠 2010.12 《Blues III》 y.yuan

218

226 GUAN Yong (Chinese, b. 1975)

Classical 39 2004 Oil on canvas 180 x 100 cm Signed on the reverse Guan Yong in Chinese and English, inscribed oil on canvas, Tianjin Academy of Arts in Chinese, dated 2004-11-39 ILLUSTRATED: The Age of Pluralism, Being Persistent, New Age Gallery, Beijing, July 14 - August 12, 2007

NT$ 1,600,000-2,600,000 HK$ 378,000-615,000 US$ 48,500-78,800

管勇 經典39 2004 油彩 畫布 180 x 100 cm 簽名畫背：Guan Yong 2004-11-39 oil on canvas 2004.11 管勇作品 天津美術學院.油 展覽： 《多面審思 誰的新時代》， 新時代畫廊，北京，展期自2007年7月14日至8月12日

220

227 CHANG Chia-ying (Taiwanese, b. 1982)

The Fatty Fatty Series 2009 Oil on canvas 194 x 259.5 cm

NT$ 1,300,000-2,400,000 HK$ 307,000-567,000 US$ 39,400-72,800

張嘉穎 ㄉㄨㄞ ㄉㄨㄞ人系列 2009 油彩 畫布 194 x 259.5 cm

222

日韓當代具象藝術 日韓當代藝術近年來於國際間發酵極快，作品備 受藏家青睞，其價格屢屢攀升，可謂是一片榮 景。兩地的藝術演化各異，其形式與風格上又各 與亞洲其他地區大相逕庭，融入在地特有文化與 次文化等元素，同時開拓出獨特藝術語彙，在名 家經典以外，亦有許多新銳當代藝術家值得關 注。 日本當代藝術最富盛名的不外乎畫作可見日本浮 世繪古典藝術影響的草間彌生，標致性極高的作 品如「南瓜」或是相關手繪雕塑等，此外作品富 含濃厚卡漫風格，帶諷刺意味的奈良美智，以小 女孩形象嘲諷著世界；木雕藝術家三宅一樹善以 女性形體為創作形象，雕畫出寧靜祥和的「瑜珈 系列」雕塑散發出東洋式美學與詩意；而作品屢 獲各美術機構典藏的名和晃平為廣受討論的日本 當代雕塑家，探討表層與細胞的關係，並激發出 遊走虛實之間的類有機雕塑。 韓國具象藝術的高度發展更融合了表現題材與媒 材的多樣化；崔永旭以朝鮮民間盛行的白瓷「月 亮罐」入畫，其目的並非照相寫實的印象再現， 而是藉由熟悉的形象再造共同記憶。單以線條勾 勒形體的李達（Rhee.Da）作品風格極簡、通俗 意味強烈，可嗅到美國波普主義絲絲諷刺社會現 況的精神；兩位女性藝術家金仙姬與金藝晉，各 自在畫作裡以多媒材物質營造出肌理深厚的作 品，在研究立體媒材與平面畫作的關係以外更探 討內在與自我的對話。

224

CONTEMPORARY FIGURATIVE ART IN JAPAN AND KOREA In recent years, Japanese and Korean contemporary artists have become increasingly popular among international collectors; their works are often auctioned off at record prices. Evolved through different paths, the artistic forms and styles of Japanese and Korean contemporary art are distinct from that of any other region in Asia. Japanese and Korean artists infuse local cultures and subcultures into their work, creating unique expressions in art. Other than the renowned artists, there are also plenty of emerging stars making their way to the international stage.

One of the most highly acclaimed Japanese artists in contemporary art would be Yayoi Kusama.

Influenced by Japanese traditional art such as Ukiyo-e, her paintings and sculptures, including the famous pumpkin pieces, are iconic. Another distinguished artist is Yoshitomo Nara, who is famous for his cartoonish and satire paintings. His works often involve seemingly innocent children and unsettling, horror-like imagery. Wood sculptor Ikki Miyake is known for his renditions of women body forms. His YOGA series that consist of serene and peaceful figures are often considered representative of oriental aesthetics. Kohei Nawa, whose works are collected by art institutions around the world, is a widely discussed contemporary sculptor. He explores the possibilities between skin and cells, creating semi-organic sculptures that are imaginative yet realistic.

Figurative art in Korea has come a long way towards maturity. Artists often incorporate expressive themes and diverse media in their pieces.

Drawing inspiration from the white porcelain “Moon Jar” of the Joseon dynasty, the artist Choi Young Wook does not intend to produce a photorealistic representation. Rather, the artist attempts to create a shared memory amongst viewers through an image that is familiar to them. Using simplistic lines, Rhee Da’s works embody the pop art and reveals a sense of simplicity . The sardonicism of pop art is evident in Rhee Da’s paintings as well. Female artists Kim Sun-Hee and Kim Ye-Jin both adopt mixed media to instill textures into their art. The method does not only examine the relationship between threedimensional media and two-dimensional paintings, but also explores the artist's’ interactions with their inner selves.

228 KIM Ye-Jin (Korean, b. 1985)

Inner 2014 Mixed Media and oil on canvas 91 x 73 cm Signed lower right Kim Ye Jin in English and dated 2014

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 3,900-6,700

226

金藝晉 內在 2014 綜合媒材 油彩 畫布 91 x 73 cm 簽名右下：2014 Kim Ye Jin

229 KIM Sun Hee (Korean, b. 1962)

Flourishing Steadily 2008 Lacquer mixed media on board 122 x 30 cm Signed upper right S.H KIM and dated 2008 EXHIBITED: Korea International Art Fair, Seoul, September 19 - 23, 2008

NT$ 160,000-360,000 HK$ 38,000-85,000 US$ 4,900-10,900

金仙姬 貴昇玉葉 2008 綜合媒材 漆彩 木版 122 x 30 cm 簽名右上：2008 S.H KIM 展覽： 《韓國藝術博覽會》，首爾，展期自2008年9月19日至23日

230 Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

手電筒女孩

Flashlight Gril

2002-2004 版畫 11/36 47.5 x 37 cm 簽名右下：な 2002-04 版次左下：11/36

2002-2004 Print edition no. 11/36 47.5 x 37 cm Signed lower right Nara in the character of Na in Japanese and dated 2002-04, numbered lower left 11/36 ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 313

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

228

圖錄︰ 《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁313

231 Yoshitomo NARA (Japanese, b. 1959)

What’s Going On? (In the Floating World) 1999 Print edition no. 16/50 40 x 28.5 cm Signed lower left Nara in the character of Na in Japanese, numbered 16/50 and dated 1999 ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 308

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

奈良美智 What's Going On? (In the Floating World) 1999 版畫 16/50 40 x 28.5 cm 簽名左下：16/50 な '99

圖錄︰ 《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁308

232 Kazuo SHIRAGA (Japanese, 1924 - 2008)

Painted Fan Watercolor on paper 15 x 50 cm Signed lower right Shiraga in Kanji

NT$ 280,000-480,000 HK$ 66,000-113,000 US$ 8,500-14,600

白髮一雄 扇子 水彩 紙本 15 x 50 cm（紙本扇面） 簽名右下：白髮

230

233 Yayoi KUSAMA (Japanese, b. 1929)

Flower 1978 Maker pen on paperboard 27.2 x 24.2 cm Signed upper left YAYOI KUSAMA in English and dated 1978

Signed on the reverse yayoi kusama in English, and dated 1978, titled Flower in Kanji This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 360,000-550,000 HK$ 85,000-130,000 US$ 10,900-16,700

草間彌生 花 1978 水性馬克筆 紙板 27.2 x 24.2 cm 簽名左上：YAYOI KUSAMA 1978 簽名畫背：1978 yayoi kusama 花 附草間彌生工作室開立之原作登錄卡

234 CHOI Young Wook (Korean, b. 1964

Karma (a set of 4) 2012 Mixed media on canvas 49.5 x 45.5 cm (x4) Signed lower right Karma Choi Young Wook in English, dated 2012 (x4) Signed on the reverse Karma in English, Choi Young Wook in Korean, Chinese and English, dated 2012 (x4) EXHIBITED: Choi Young Wook Solo Exhibition, Art Issue Projects, Taipei, December 22, 2012 - February 3, 2013

NT$ 400,000-600,000 HK$ 95,000-142,000 US$ 12,100-18,200

232

崔永旭 因果（四件一組） 2012 綜合媒材 畫布 49.5 x 45.5 cm (x4) 簽名右下：Karma Choi Young Wook 2012 (x4) 簽名畫背：Karma 최영욱 崔永旭 Choi Young Wook 2012 (x4) 展覽： 「緣 Karma—崔永旭個展」，藝術計劃，台北， 展期自2012年12月22日至2013年2月3日

235 RHEE Da

(Korean, b. 1975)

Wide Rally & Baby Doll 2007 Enamel paint on formica 164 x 112 cm (x2) Signed on reverse dated ‘Rhee Da; 2007’ in English two enamel on formica PROVENANCE: Christie’s sale, Hong Kong, November 25, 2007, lot 660 Acquired from the above by the present owner

NT$ 400,000-600,000 HK$ 95,000-142,000 US$ 12,100-18,200

李達 Wide Rally & Baby Doll 2007 瓷漆 麗光板 164 x 112 cm (x2)

來源： 佳士得拍賣，香港，2007年11月25日，編號660 現有收藏者購自上述來源

236 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1997 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama and titled PUMPKIN both in English, dated 1997 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 4,200,000-6,000,000 HK$ 993,000-1,418,000 US$ 127,300-181,900

草間彌生 南瓜 1997 壓克力 畫布 38 x 45.5 cm 簽名畫背：Yayoi Kusama 1997 PUMPKIN 附草間彌生工作室開立之原作登錄卡

草間彌生以藝術創作來治療她的創傷，因此她的作品都傳達著她內心深處的情感。《南瓜》 跟草間彌生的其他作品一樣，集合了她各個系列的視覺元素，呈現自小困擾著這位藝術家的 幻覺。草間以大大小小的黑色圓點排列成南瓜的形狀，艷麗奪目的黃色欲躍而出，鮮明的對 比帶來了巨大的視覺震憾。背景中黃色的幼細線條形成了「無限的網」，突顯出南瓜的飽滿 形態。《南瓜》的主題源自草間彌生兒時在農場所產生的幻覺，當時她看見南瓜跟她說話， 深深被南瓜圓潤的形狀所吸引。草間彌生把自己的幻覺經歷投射在其作品中，透過攝人心魄 的作品釋放壓抑的情緒。她說：「我就是以這樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉 澱，這些經歷可以說是我畫畫的初衷。」 Utilizing her art as means for reconciling the obstacles and traumas of her life, each of Yayoi Kusama’s works conveys a deeply personal attachment and connection. Pumpkin is no exception, recalling Kusama’s childhood and combining aesthetic elements from each of Kusama’s signature series. Varying black dots arrange to establish the structural form of the immense, central gourd, marching in hypnotic lines to create the undulating bulbous surface. The negative space left by the dots allows the vibrant, neon yellow to pulsate through, while the deliberate fractal composition of the dots provides depth and dimension. From negative space to layered construction, the luminous yellow becomes the webbed lines of the “infinity nets” which sweep across the background, illuminating and contrasting with the bulbous form of the pumpkin, throwing the spotted vegetable into further distinction. The subject of the pumpkin originates with Kusama’s childhood spent on a wholesale vegetable farm, where pumpkins were a major local crop. It was during this time that the artist first began to experience the visual and aural hallucinations that would plague her throughout her life. “My art originates from hallucinations only I can see,” Kusama explains, “I translate the hallucinations and obsessional images that plague me into sculptures and paintings.” By harnessing and addressing the obstacle of mental illness, Kusama creates absorbing works of stunning depth, captivating viewers with their vibrancy and effervescent spirit.

234

237 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1991 Mixed media, unique 15(L) x 12.2(W) x 28(H) cm Signed on the base YAYOI KUSAMA in English and dated 1991 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 4,400,000-5,500,000 HK$ 1,040,000-1,300,000 US$ 133,400-166,800

草間彌生 南瓜 1991 綜合媒材（單一件） 15(長) x 12.2(寬) x 28(高) cm 簽名底座：YAYOI KUSAMA 1991 附草間彌生工作室開立之原作登錄卡

236

238 Ikki MIYAKE (Japaness, b. 1973)

YOGA – The Embodiment of Tree 2008 Bronze, edition no. 3/5 50(L) x 72(W) x 295(H) cm Engraved on lower back Ikki Miyake in English, titled YOGA The Embodiment of Tree in English and Japanese, numbered 3/5, dated 2008 EXHIBITED: Ikki Miyake “PRANA”, Yokoi Fine Art, Tokyo, April 13 – May 1, 2010 ILLUSTRATED: Animism of Wood Sculpture, Ikki Miyake, 2012, p. 37

NT$ 3,000,000-4,000,000 HK$ 709,000-946,000 US$ 91,000-121,300

三宅一樹 瑜珈—樹式 2008 銅雕 3/5 50(長) x 72(寬) x 295(高) cm 簽名雕刻：YOGA 樹の植化 The Embodiment of Tree Ikki Miyake 2008 3/5 展覽： 「氣」三宅一樹個展，橫井畫廊，東京，展期自2010年4月13日至5月1日 圖錄： 《木雕的靈性》，三宅一樹，2012 ，頁37

238

239 Ikki MIYAKE (Japaness, b. 1973)

YOGA – Site 2010 Wood, stainless steel 36(L) x 36(W) x 12(H) cm Engraved on the bottom Ikki MIYAKE in English and Han character, titled YOGA – Site in Han character, dated 2010 With one engraved seal of the artist

NT$ 340,000-440,000 HK$ 80,000-104,000 US$ 10,300-13,300

三宅一樹 瑜珈—胎內觀 2010 木雕 不鏽鋼 36(長) x 36(寬) x 12(高) cm 簽名底部：三宅一樹〈瑜珈—胎內觀〉 Ikki MIYAKE 2010 雕刻鈐印底部：三宅

240

240 Ikki MIYAKE (Japanese, b. 1973)

YOGA – Womb 2009 Wood, stainless steel 36(L) x 36(W) x 15(H) cm EXHIBITED: Ikki Miyake “PRANA”, Yokoi Fine Art, Tokyo, Apr 13 – May 1, 2010

NT$ 340,000-440,000 HK$ 80,000-104,000 US$ 10,300-13,300

三宅一樹 瑜珈—胎內 2009 木雕 不鏽鋼 36(長) x 36(寬) x 15(高) cm 展覽： 「氣」三宅一樹個展，橫井畫廊，東京，展期自2010年4月13日至5月1日

241 Kohei NAWA (Japanese, b. 1975)

名和晃平

PixCell-Trump #1 (Royal Flush)

王牌一號（黑桃同花順）

2006 Mixed media 5/7 10 x 7.3 cm (x5) Signed ‘Kohei Nawa’ in English (on a label attached to the back)

NT$ 240,000-360,000 HK$ 57,000-85,000 US$ 7,300-10,900

242

2006 綜合媒材 5/7 10 x 7.3 cm (x5) 簽名畫背：（標籤）Kohei Nawa

242 Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio x RIMOWA 2011 Fiberglass, edition no. 118/200 (radio); aluminium (suitcase) 43(L) x 22.5(W) x 29.5(H) cm (radio) 53.5(L) x 27.5(W) x 42.5(H) cm (suitcase) This Radio is to be sold with a certificate of authenticity signed by the artist.

NT$ 200,000-300,000 HK$ 47,000-71,000 US$ 6,100-9,100

奈良美智 小狗收音機 x RIMOWA旅行箱

2011 玻璃纖維 118/200 鋁合金手提箱 43(長) x 22.5(寬) x 29.5(高) cm（收音機） 53.5(長) x 27.5(寬) x 42.5(高) cm（旅行箱） 收音機是日本規格 附藝術家親簽保證卡、防塵套 （限量旅行箱組合保證書簽名：な）

243 Yoshitomo NARA (Japanese, b. 1959)

Slash with a Knife 1999 Watch, metal case 22.2(L) x 4.2(W) x 1(H) cm (watech) 22.5(L) x 17(W) x 3(H) cm (box) Signed on the box cover nara in English and dated 1999 Signed on the watch reverse Yoshitomo Nara in Kanji, titled Slash with a Knife in English, and dated ‘99 This work is accompanied with alternate watch straps, certificate and instruction manual from Citizen Watch Company.

NT$ 40,000-60,000 HK$ 9,000-14,000 US$ 1,200-1,800

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） 封蓋簽名：nara 1999 手錶背面簽名：奈良美智《Slash with a Knife》'99 此作品附加錶帶及星辰錶所發之保證書和說明書

244 Yayoi KUSAMA (Japanese, b. 1929)

Future 2013 Porcelain plate 28.5(L) x 28.5(W) x 2(D) cm (Porcelain plate) 29.5(L) x 29.5(W) x 5(H) cm (Box) Engraved on upper middle YAYOI KUSAMA in English Engraved on the reverse, titled, Future Yayoi Kusama 2013 119

NT$ 40,000-60,000 HK$ 9,000-14,000 US$ 1,200-1,800

草間彌生 未來 2013 瓷盤 28.5(長) x 28.5(寬) x 2(厚) cm（瓷盤） 29.5(長) x 29.5(寬) x 5(高) cm（盒） 印刷簽名中上：YAYOI KUSAMA 瓷盤背後：FUTURE Yayoi KUSAMA 2013 119

244

245 Yoshitaka AMANO (Japanese, b. 1952)

Young Lady 2003 Mixed media and ink on paper 66 x 33 cm Signed lower right Y. Amano in English ,dated 2003

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,700-5,500

天野喜孝 少女 2003 綜合媒材 水墨 紙本 66 x 33 cm 簽名右下：Y. Amano 2003

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

Fish Charcoal, ink and color on paper 15 x 24.8 cm Signed on the left of the center CHANG in English and Wan in Chinese

NT$ 40,000-100,000 HK$ 9,000-24,000 US$ 1,200-3,000

張萬傳 魚 炭筆 彩墨 紙本 15 x 24.8 cm 簽名左中：CHANG.万.

247 PENG Kang-lung (Taiwanese, b. 1962)

Monuments Littering the Landscape Ink and color on paper 24 x 38.5 cm With three seals of the artist.

NT$ 40,000-80,000 HK$ 9,000-19,000 US$ 1,200-2,400

彭康隆 碑遢之二六 彩墨 紙本 24 x 38.5 cm 鈐印左方：康，隆，彭

246

248 LIANG Yifen

(Taiwanese, b. 1937)

Lady with a Cat 2014 Oil on canvas 100 x 80 cm Signed lower left LIANG in English and Yifen in Chinese and dated 2014 A photograph of the artist with the painting will be accompanied.

NT$ 40,000-100,000 HK$ 9,000-24,000 US$ 1,200-3,000

梁奕焚 女人與貓 2014 油彩 畫布 100 x 80 cm 簽名左下：LIANG 奕焚 2014 附藝術家與作品合影照片

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

Guanyin Mountain 2011 Watercolor on paper 78.5 x 110 cm Signed lower right Hsieh Hsiao-De in Chinese, dated 2011

NT$ 50,000-100,000 HK$ 12,000-24,000 US$ 1,500-3,000

謝孝德 觀音山 2011 水彩 紙本 78.5 x 110 cm 簽名右下：2011 謝孝德

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

Golden Field 1992 Oil on canvas 60.5 x 73 cm Signed lower right Yao Sheng in Chinese and dated '92

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

林耀生 金色大地 1992 油彩 畫布 60.5 x 73 cm 簽名右下：耀生 '92

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

Abstract 1973 Oil on canvas 65.5 x 91 cm Signed center left Hsiao DE in English and dated '73

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

謝孝德 抽象 1973 油彩 畫布 65.5 x 91 cm 簽名左中：Hsiao DE '73

248

252 LIU Keng-I

(Taiwanese, b. 1938)

Green Pear 2000 Oil on paper 45.5 x 38.5 cm Signed lower left Keng-I in Chinese and dated 2000/2

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

劉耿一 綠色果物 2000 油彩 紙本 45.5 x 38.5 cm 簽名左下：耿一 2000/2

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

Napping 1984 Oil on canvas 18 x 21 cm Singed lower left CHANG in English, Wan in Chinese and dated 1984

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,200

張萬傳 小憩 1984 油彩 畫布 18 x 21 cm 簽名左下：CHANG.万.1984.

254 DAI Qing

(Chinese, b. 1973)

Untitled 3 2010 Acrylic on canvas 110 x 80 cm Signed lower center Dai Qing in Chinese This painting is to be sold with a certificate of authenticity issued by Shanghai Gallery of Art.

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

250

戴清 無題 3

2010 壓克力 畫布 110 x 80 cm 簽名下方：戴清 附上海滬申畫廊開立之原作保證書

255 XU Na

許那

(Chinese, b. 1968)

玉盤紅榴

Red Pomegranate

2014 油彩 畫布 40 x 50 cm 簽名右下：那

2014 Oil on canvas 40 x 50 cm Signed lower right Na in Chinese

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,700-5,500

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

Portrait 1979 Watercolor on paper 56 x 38 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet, Taiwan in English, dated 1979

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

252

劉其偉 人物像 1979 水彩 紙本 56 x 38 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ〡〩〧〩 Taiwan

257 Max LIU (LIU Chi-wei)

劉其偉

(Taiwanese, 1912 - 2002)

人物像

Portrait

1979 水彩 紙本 50 x 38 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ〡〩〧〩 Taiwan

1979 Watercolor on paper 50 x 38 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet, Taiwan in English, dated 1979

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

258 WANG Xiang-ming (Chinese, b. 1957)

Chinese Series 2000 Oil on canvas 60 x 60 cm Signed lower left Wang Xiang Ming in English EXHIBITED: Romantic China Series – Wang Xiang Ming Solo Exhibition, Soka Art Center, Taipei, 2001 ILLUSTRATED: Wang Xiang Ming Album, Soka Art Center, Taipei, 2001, color illustrated, p. 185 This work is to be sold with a certificate of authenticity issued by Soka Art Collections International Co., Ltd., Taipei.

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

254

王向明 中國情系列 2000 油彩 畫布 60 x 60 cm 簽名左下：Wang Xiang Ming 展覽： 「台南索卡浪漫情懷中國情：王向明個展」， 索卡藝術，台北，2001 圖錄： 《王向明畫集》，索卡國際藝術公司，台北， 彩色圖版，頁185 附索卡國際藝術開立之藝術家親筆簽名之原作 保證書

259 HUANG Yu-cheng (Taiwanese, b. 1948)

Taiwanese Opera 1993 Oil on canvas 65.5 x 53 cm Signed lower right Yu-cheng in Chinese and dated '93 Signed on the reverse Huang Yu-cheng, titled Taiwanese Opera, inscribed 15F, painted by Huang Yu Cheng and dated 1993 in Chinese

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

黃玉成 歌仔戲 1993 油彩 畫布 65.5 x 53 cm 簽名右下：玉成 '93 簽名畫背：畫題：歌仔戲，尺寸：15F， 完成：一九九三，畫者：黃玉成

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

Rose 1990 Oil on canvas 32 x 41 cm Signed lower right Huo-cheng in Chinese and dated 1990

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

256

葉火城 玫瑰花 1990 油彩 畫布 32 x 41 cm 簽名右下：火城 1990

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

Fish 1985 Oil on paper 23 x 32 cm Signed lower left CHANG in English and Wan in Chinese, dated 1985

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

張萬傳 魚 1985 油彩 紙本 23 x 32 cm 簽名左下：1985.CHANG.万.

262 CHEN Chao-Pao (Taiwanese, b. 1948)

Butterfly 2011 Mixed media on canvas 65 x 53 cm Signed lower right Chao-Pau in Chinese and A PAO in English, dated 2011

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,700-5,500

258

陳朝寶 蝴蝶 2011 綜合媒材 畫布 65 x 53 cm 簽名右下：朝寶 A PAO 11

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

Landscape (upper) Blue Mountain with Moon (lower) (a set of 2) 2001 Oil on paper 54 x 77.5 cm (x2) Signed lower left CHUA HU in English, Cheng in Chinese and dated 2001

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

蔡雲程 風景（上） 藍山伴月（下）（兩件一組） 2001 油彩 紙本 54 x 77.5 cm (x2) 簽名左下：CHUA HU-2001-呈

264 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

Elegy on Jean-Mari 1978 Lithograph 42 x 32 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 78 ILLUSTRATED: ZAO Wou-ki The Graphic Work A Catalogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 296, p. 162

NT$ 110,000-240,000 HK$ 26,000-57,000 US$ 3,300-7,300

260

趙無極 讓・馬利的輓歌 1978 石版畫 42 x 32 cm 簽名右下：無極 ZAO 78 圖錄： 《趙無極版畫集 1937-1995》，Edition Heede & Moestrup，哥本哈根，1994， 彩色圖版，編號296，頁162

265 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

Untitled 1990 Lithograph, edition H.C. 107.5 x 71.5 cm Signed lower right Wou-ki in Chinese and ZAO in French Numbered lower left H.C. ILLUSTRATED: ZAO WOU-KI COULEURS & MOTS, Cherche midi, Paris, 2013, color illustrated, p. 43

NT$ 160,000-220,000 HK$ 38,000-52,000 US$ 4,900-6,700

趙無極 無題 1990 石版畫 H.C.版 107.5 x 71.5 cm 簽名右下：無極 ZAO 版次左下：H.C. 圖錄： 《趙無極：色彩與文字》， Cherche midi，巴黎，2013， 彩色圖版，頁43

266 YIN Kun

年輕肥毛

Young Mao

2006 油彩 畫布 120.5 x 100.5 cm 簽名右下：尹坤 2006

2006 Oil on canvas 120.5 x 100.5 cm Signed lower right Yin Kun in Chinese and dated 2006 ILLUSTRATED: Yin Kun – Natural, Ping Art Space, Taipei, 2008, color illustrated, p. 119

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

262

尹坤

(Chinese, b. 1969)

圖錄： 《尹坤—呆的那麼可愛》，藏新藝術有限公司， 台北，2008，彩色圖版，頁119

267 LIAO Yu-an

(Taiwanese, b. 1979)

Fake Cat – Playing Fool No. 1 2008 Acrylic on canvas 145.5 x 97 cm Signed on the reverse Liao Yu an in Chinese and English, dated 2008 EXHIBITED: Liao Yuan 2008 Solo Exhibition : Fondle Without Tenderness, Asia Art Center, Taipei, December 20, 2008 - January 18, 2009 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

廖堉安 假貓—裝傻 No. 1

2008 壓克力 畫布 145.5 x 97 cm 簽名畫背：廖堉安 Liao Yu an 2008 展覽： 「不溫柔的愛撫」廖堉安2008個展，亞洲藝 術中心，台北，展期自2008年12月20日至 2009年1月18日 附亞洲藝術中心有限公司開立之原作保證書

268 XU Na

(Chinese, b. 1968)

Autumn; Fruit (a set of 2) 2014 Oil on canvas 24 x 38 cm (upper); 24 x 38 cm (lower) Signed lower right Na in Chinese (upper) Signed lower right Na in Chinese (lower)

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 3,900-6,700

264

許那 初秋記事 果香氣息（兩件一組） 2014 油彩 畫布 24 x 38 cm（上） 24 x 38 cm（下） 簽名右下：那（上） 簽名右下：那（下）

269 LI Jikai

(Chinese, b. 1975)

Eggs 2007 Acrylic on canvas 80 x 60 cm Signed lower right Li Jikai in English and dated 07 Signed on the reverse LI Jikai in English and Chinese, titled Eggs in Chinese, inscribed 60 x 80 cm and dated 2007

NT$ 130,000-240,000 HK$ 31,000-57,000 US$ 3,900-7,300

李繼開 蛋 2007 壓克力 畫布 80 x 60 cm 簽名右下：Li Jikai 07 簽名畫背：60 x 80 cm 《蛋》 LI Jikai 李繼開 2007

270 LIANG Yifen

(Taiwanese, b. 1937)

Meditation 2008 Oil on canvas 80 x 130 cm Signed lower left LIANG in English, Yi-fen in Chinese and dated 008 Signed on the reverse Liang Yi-fen in Chinese

梁奕焚 沈思 2008 油彩 畫布 80 x 130 cm 簽名左下：LIANG 奕焚 008 簽名畫背：梁奕焚 展覽：

EXHIBITED: 2009 Liang Yifen Solo Exhibition, National Chiao Tung University Arts Center, Hsinchu, October 27 - November 18, 2009

「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

ILLUSTRATED: Liang Yifen 2009, Sunny Art Center, Hsinchu, 2009, color illustrated, no. 130, p. 143

圖錄： 《梁奕焚畫冊．2009》，名冠藝術，新竹，2009，彩色 圖版，編號130，頁143

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,300-6,700

266

271 CHEN Yin-hui

陳銀輝

(Taiwanese, b. 1931)

蘭花

Orchid

1984 油彩 畫布 31.5 x 40.5 cm 簽名右上：銀 CHEN 84

1984 Oil on canvas 31.5 x 40.5 cm Signed upper right Yin in Chinese and CHEN in English, dated 84 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 140,000-240,000 HK$ 33,000-57,000 US$ 4,200-7,300

附印象畫廊開立之原作保證書

272 DU Xi

(Chinese, b. 1980)

Tale of the White Snake – Reciting Poem by the Lights 2009 Oil on canvas 100 x 100 cm Signed lower right DU Xi in Chinese and dated 2009 This painting is to be sold with a certificate of authenticity issued by William Art Center, Taipei.

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

268

杜溪 白蛇傳—縈燈覓句 2009 油彩 畫布 100 x 100 cm 簽名右下：杜溪 2009 附威廉藝術中心開立之原作保證書

273 DU Xi

(Chinese, b. 1980)

Five Tiger Generals (a set of 5) 2007 Oil on canvas; 52 x 41.5 cm (x5) Signed on the reverse DU Xi in Chinese and dated 07

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

杜溪 五虎將（五件一組） 2007；油彩 畫布；52 x 41.5 cm (x5) 簽名畫背：杜溪 07

274 Alixe FU (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Le Piano Dans L’atelier 1990 Oil on canvas 65 x 81 cm Signed lower center Alixe Fu in English and dated 90 ILLUSTRATED: Alixe FU, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 59

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

270

傅慶豊 畫室的鋼琴 1990 油彩 畫布 65 x 81 cm 簽名中下：Alixe Fu 90 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫廊，巴黎， 1990，彩色圖版，頁59

275 CHANG Chen-yu (Taiwanese, b. 1957)

Cloud 1989 Oil on canvas 85 x 85 cm Signed lower right Chen-yu in Chinese and dated 89

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

張振宇 雲 1989 油彩 畫布 85 x 85 cm 簽名右下：振宇 89

276 John WAY

(Chinese-American, 1921 - 2012)

Abstract 2000 Watercolor on paper 76 x 58 cm Signed lower right John Way in English and dated 2000

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

272

魏樂唐 抽象 2000 水彩 紙本 76 x 58 cm 簽名右下：John Way 2000

277 LIU Zhi-fei

劉志飛

(Taiwanese, b. 1958)

墨谷有詩

Poetry in Inky Valley

2012 油彩 壓克力 畫布 91 x 72.5 cm 簽名左下：飛 2012 指印一枚

2012 Oil and Acrylic on canvas 91 x 72.5 cm Signed lower left fei in Chinese and dated 2012 With one fingerprint of the artist EXHIBITED: Beautiful Scenery: A Joint Exhibition by Japan Crafts Art & Liu Zhi-fei Oil Paintings, Lee Gallery, Taipei, April 12 - 27, 2015 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 170,000-240,000 HK$ 40,000-57,000 US$ 5,200-7,300

展覽： 「壺光山色—日本金工藝術 + 劉志飛 現代油畫雙聯展」，黎畫廊，台北， 展期自2015年4月12日至27日 附藝術家親筆簽名之原作保證書

278 WANG Pan-youn (Taiwanese, b. 1911)

Breath Oil on paper 36.5 x 38 cm

NT$ 160,000-220,000 HK$ 38,000-52,000 US$ 4,900-6,700

王攀元 沐 油彩 紙本 36.5 x 38 cm

274

279 WANG Pan-youn (Taiwanese, b. 1911)

Abstract Oil on paper 23 x 78.5 cm With one seal of the artist

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

王攀元 抽象 油彩 紙本 23 x 78.5 cm 鈐印右下：王攀元

280 Alixe FU (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Ma Femme 1983 Oil on canvas 92.5 x 60 cm Signed lower right Alixe Fu in Chinese and English, dated 83 Signed on the reverse Fu Qingli in Chinese and Alixe Fu in English, inscribed 30M, and dated 83 ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 12

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

276

傅慶豊 太太 1983 油彩 畫布 92.5 x 60 cm 簽名右下：傅慶豊 Alixe Fu 83 簽名畫背：30M 傅慶豊 Alixe Fu 83 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫 廊，巴黎，1990，彩色圖版，頁12

281 We Studio

(Taiwanese, b. 2011)

Angel in the Forest 2014-2015 Oil on canvas 120.5 x 101 cm Signed on the reverse William We studio in English, titled Angels in the forest in English and Chinese, dated 2014-2015

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

We Studio 森林中的天使 2014-2015 油彩 畫布 120.5 x 101 cm 簽名畫背：森林中的天使 Angels in the forest William We studio 2014-2015

282 WU Hsuehjang

吳學讓

(Taiwaness, 1923 - 2013)

群鵝

Gooses

1996 蠟染 畫布 50 x 59 cm 簽名右下：一九九六年 退伯 鈐印右下：吳學讓

1996 Batik on canvas 50 x 59 cm Signed lower right Tui-Bo in Chinese and dated 1996 With one seal of the artist PROVENANCE: Acquired directly from the artist's family This painting is to be sold with a certificate of authenticity signed by the artist's family.

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

278

來源： 藝術家家屬提供 附藝術家家屬親筆簽名之原作保證書

283 WANG Pan-youn (Taiwanese, b. 1911)

Stay Watercolor on paper 38.5 x 53.5 cm With one seal of the artist With one seal of the artist on the back PROVENANCE: Acquired directly from the artist’s family This painting is to be sold with a certificate of authenticity signed by the artist's family.

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

王攀元 駐 水彩 紙本 38.5 x 53.5 cm 鈐印左下：攀元書畫 鈐印畫背左下：王攀元印 來源： 購自藝術家家屬 附藝術家家屬親筆簽名保證書

284 YANG Din

(Chinese, b. 1958)

Paysage 1995 Oil on canvas 81 x 100 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in Chinese and English, titled paysage scenery inscribed 100 X 81 cm and dated 1995.4

NT$ 220,000-420,000 HK$ 52,000-99,000 US$ 6,700-12,700

280

楊登雄 風景 1995 油彩 畫布 81 x 100 cm 簽名右下：Yang Din 簽名畫背：Yang Din 楊登雄 "Paysage.風景" 1995.4 100 X 81 cm

285 CHEN Yin-hui (Taiwanese, b. 1931)

Image of Morocco 2005 Oil on canvas 50 x 61 cm Signed lower left Yin in Chinese and CHEN in English, dated '05 Signed on the reverse CHEN Yin hui in Chinese, titled Image of Morocco in Chinese, inscribed 12F 142, dated 2005

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

陳銀輝 摩洛哥意象 2005 油彩 畫布 50 x 61 cm 簽名左下：銀 CHEN '05 簽名畫背：12F 142 摩洛哥意象 陳銀輝 2005

286 LI Qiang

(Chinese, b. 1962)

Girl 1993 Oil on canvas 115.5 x 90 cm Signed lower right Li Qiang and dated 1993.7

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

282

李強 少女 1993 油彩 畫布 115.5 x 90 cm 簽名右下：李強 1993.7

287 CHANG Chen-yu

張振宇

(Taiwanese, b. 1957)

觀自在

Nude

油彩 畫布 90.5 x 73 cm 簽名左下：振宇

Oil on canvas 90.5 x 73 cm Signed lower left Chen-yu in Chinese

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

288 Daniel LEE

夜生活系列—Grace

Nightlife – Grace

2002 數位輸出A/P 127 x 89 cm 簽名右下：Daniel Lee '02 版次左下：A/P

2002 Digital C-Print A/P 127 x 89 cm Signed lower right Daniel Lee '02 Numbered lower left A/P This work is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

284

李小鏡

(Chinese, b. 1945)

附東之畫廊開立之藝術家親簽保證書

289 LI Jikai

(Chinese, b. 1975)

Note Paper 2006 Oil on canvas 95 x 105 cm Signed center left Li Jikai in English and dated 2006 Signed on the reverse Li Jikai in Chinese and English, titled Note Paper, inscribed 95 x 105 cm and dated 2006

NT$ 260,000-380,000 HK$ 61,000-90,000 US$ 7,900-11,500

李繼開 紙條 2006 油彩 畫布 95 x 105 cm 簽名左方：Li Jikai 2006 簽名畫背：《紙條》95 x 105 cm Li Jikai 李繼開 2006

290 WANG Zhanwu (Chinese, b. 1949)

A Cantabile Night 1997 Oil on canvas 112 x 135 cm Signed lower right Wufu in Chinese, dated 1997 ILLUSTRATED: Painting by Woufu, Tianjin People Fine Arts Publishing House, Tianjin, 2001, color illustrated

NT$ 300,000-400,000 HK$ 71,000-95,000 US$ 9,100-12,100

286

王占武 長夜如歌 1997 油彩 畫布 112 x 135 cm 簽名右下：武夫1997 圖錄： 《武夫畫集》，天津人民美術出版 社，天津，2001，彩色圖版

291 YANG Jing

(Chinese, b. 1976)

We Do Nothing 2004 Oil on canvas 170 x 130 cm Signed lower left Yang Jing in English, and dated 2004 EXHIBITED: Exit Festival, Créteil Maison des Arts, Paris, March 8-17, 2007

NT$ 300,000-500,000 HK$ 71,000-118,000 US$ 9,100-15,200

楊靜 我們什麼也沒做 2004 油彩 畫布 170 x 130 cm 簽名左下：2004 Yang Jing 展覽： 「出口藝術節」，克提爾藝術之家， 巴黎，展期自2007年3月8日至17日

292 CHUA Hu (TSAI Yun-cheng)

蔡雲程

(Chinese-Philipino, 1929 - 2009)

明月頌荷

Moon Accompanied by Lotus

2001 綜合媒材 畫布 79 x 109.5 cm 簽名右下：CHUA HU 呈 2001

2001 Mixed media on canvas 79 x 109.5 cm Signed lower right CHUA Hu in English and cheng in Chinese, dated 2001 This painting is to be sold with a certificated of authenticity issued by William Contemporary Art Space.

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

288

附威廉國際藝術開立之原作保證書

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

Orchid in the Valley 2015 Mixed media on canvas 112 x 163 cm Signed lower left Chin-shui in Chinese and dated 2015 Signed on the reverse Jan Chin-shui and titled Orchid in the Valley in Chinese, inscribed 100P, dated 2015

NT$ 320,000-550,000 HK$ 76,000-130,000 US$ 9,700-16,700

詹金水 空谷幽蘭 2015 綜合媒材 畫布 112 x 163 cm 簽名左下：金水 2015 簽名畫背：詹金水 2015年 100P 空谷幽蘭

294 WANG Pan-youn

王攀元

(Taiwanese, b. 1911)

桂林

Guilin

水彩 紙本 54.5 x 79 cm 簽名右下：Wang P.Y

Watercolor on paper 54.5 x 79 cm Signed lower right Wang P.Y in English

NT$ 360,000-460,000 HK$ 85,000-109,000 US$ 10,900-13,900

290

295 Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series – Flesh Flower and Birds – Autumn Tree 2007 Oil on canvas 131 x 196 cm Signed on the reverse Chang Ling and titled Pork Belly Series - Flesh Flowers and Birds - Autumn Tree both in Chinese, dated 2007

NT$ 360,000-550,000 HK$ 85,000-130,000 US$ 10,900-16,700

常陵 五花肉系列—肉花鳥—火樹秋夜圖 2007 油彩 畫布 131 x 196 cm 簽名畫背：五花肉系列—肉花鳥—火樹秋夜圖 常陵 2007

296 SHI Jing

(Chinese, b. 1971)

Master Xuecheng 2011 Oil on canvas 90 x 120 cm EXHIBITED: Shi Jing’s Solo Exhibition – Existence in Bleakness, Gallery 100, Taipei, August 27 - September 25, 2011

NT$ 360,000-460,000 HK$ 85,000-109,000 US$ 10,900-13,900

292

史晶 學誠法師 2011 油彩 畫布 90 x 120 cm 展覽： 「隱相—史晶個展」，百藝畫廊，台北，展期自2011年8月27日 至9月25日

297 LIN Wan-Shih (Taiwanese, b. 1964)

Time Story 2012 Oil and acrylic on canvas 140 x 200 cm Signed on the reverse Wan S Lin in Chinese and English, titled Time Story, inscribed 140 x 200 cm, and dated 2012 EXHIBITED: Traceable atmosphere – 2014 Lin Wan-Shi Solo Exhibition, Bo Art Gallery, Taipei, May 1 - 20, 2014

NT$ 420,000-550,000 HK$ 99,000-130,000 US$ 12,700-16,700

林萬士 光陰的故事 2012 油彩 壓克力 畫布 140 x 200 cm 簽名畫背：光陰的故事 2012 140 x 200 cm 林萬士 Wan S Lin 林萬士 展覽： 「溯境 林萬士2014個展」，博藝畫廊，台北，展期 自2014年5月1日至20日

298 HSU Ger-lin

(Taiwanese, b. 1961)

Double Predestination 2006 Charcoal and pencil on paper 181 x 121 cm EXHIBITED : Erasing the Memory in Another Dimension, My Humble House Art Gallery, Taipei, March 1 - 16, 2008 2006 Taipei Art Awards, Taipei Fine Arts Museum, Taipei, December 23, 2006 - March 11, 2007 ILLUSTRATED : Erasing the Memory in Another Dimension, My Humble House Art Gallery, Taipei, color illustrated, cover and pp. 31-32 2006 Taipei Art Awards, Taipei Fine Arts Museum, Taipei, color illustrated, pp. 46-47

NT$ 400,000-600,000 HK$ 95,000-142,000 US$ 12,100-18,200

294

徐格麟 絕對宿命 2006 炭筆 鉛筆 紙本 181 x 121 cm 展覽： 《擦拭另一個空間的記憶》，寒舍空間，台北，展期自2008年 3月1日至16日 《2006台北美術獎》，台北市立美術館，台北，展期自2006年 12月23日至2007年3月11日 圖錄： 《擦拭另一個空間的記憶》，寒舍空間，台北，彩色圖版， 封面，頁31-32 《2006台北美術獎》，台北市立美術館，台北，彩色圖版， 頁46-47

299 CHEN Liu

陳流

(Chinese, b. 1973)

紅面門神（雙聯幅）

Red-Faced Door-Gods (diptych)

2007 油彩 畫布 140 x 110 cm (x2) 簽名左下：陳流 2007.11 簽名右下：陳流 2007.11

2007 Oil on canvas 140 x 110 cm (x2) Signed lower left Chen Liu in Chinese and dated 2007.11 Signed lower right Chen Liu in Chinese and dated 2007.11 ILLUSTRATED: Eminent Chinese Artist Chen Liu - The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 60-61

NT$ 360,000-460,000 HK$ 85,000-109,000 US$ 10,900-13,900

圖錄： 《中國當代名家系列：陳流─天降大任》，藏新藝術 有限公司，台北，2008，彩色圖版，頁60-61

300 DU Xi

(Chinese, b. 1980)

General Yang V.S. The Monkey King 2009-2010 Oil on canvas 140 x 200 cm Signed lower right DU XI in Chinese and dated 2009-2010

NT$ 500,000-700,000 HK$ 118,000-165,000 US$ 15,200-21,200

杜溪 二郎神鬥悟空 2009-2010 油彩 畫布 140 x 200 cm 簽名右下： 杜溪 2009-2010

296

301 CHEN Liu

陳流

(Chinese, b. 1973)

新天空界之大戰艦與戰神

New Celestial Series – War God

2008 油彩 畫布 200 x 140 cm 簽名右下： 陳流 2008

2008 Oil on canvas 200 x 140 cm Signed lower right Chen Liu in Chinese, dated 2008 ILLUSTRATED: Eminent Chinese Artist Chen Liu - The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 132-133 This painting is to be sold with a certificate of authenticity issued by Ping Art Space, Taipei.

NT$ 550,000-650,000 HK$ 130,000-154,000 US$ 16,700-19,700

圖錄： 《中國當代名家系列：陳流─天降大任》，藏新藝 術有限公司，台北，2008，彩色圖版，頁132-133 附平藝術空間開立之原作保證書

302 CHEN Yi-Lang

陳義郎

(Taiwanese, b. 1968)

文字獸—龍騰九號（兩件一組）

The Word Carvings – Longten No. 9 (a set of 2)

2006; 2008 梢楠木；不鏽鋼 版次 1/8 30(長) x 18(寬) x 88(高) cm（木雕） 30(長) x 20(寬) x 86(高) cm（不鏽鋼） 簽名雕刻底座後側：龍騰九號 郎 2006（木雕） 簽名雕刻底座後側：龍騰九號 郎 1/8 2008（不鏽鋼）

2006; 2008 Wooden Sculpture; Stainless steel, edition no. 1/8 30(L) x 18(W) x 88(H) cm 30(L) x 20(W) x 86(H) cm Engraved on the bottom Lang and titled Longten No. 9 in Chinese, dated 2006 Engraved on the bottom Lang and titled Longten No. 9 in Chinese, dated 2008 edition no. 1/8 EXHIBITED: The Word Carvings of Chen Yi-lang, Moon Gallery, Taichung, September 13 - October 5, 2008 These Sculptures are to be sold with a certificate of authenticity issued by Moon Gallery.

NT$ 500,000-700,000 HK$ 118,000-165,000 US$ 15,200-21,200

298

展覽： 「陳義郎 造字」，月臨畫廊，台中，展期自2008年 9月13日至10月5日 附月臨畫廊開立之原作保證書

303 SHI Hui-Min

(Taiwanese, b. 1967)

Playmate 2014 Wooden sculpture (Camphor wood) 90(L) x 43(W) x 20(H) cm Engraved on the left Shan, Kou Mu in Chinese and dated 2014 This sculpture is to be sold with a certificate of authenticity issued by the artist.

NT$ 600,000-800,000 HK$ 142,000-189,000 US$ 18,200-24,300

施惠閔 玩伴 2014 木雕（牛樟） 90(長) x 43(寬) x 20(高) cm 簽名雕刻左方：山口木 2014 附藝術家親筆簽名之原作保證書

刀法如書法、似繪畫筆觸，要達到線條流暢， 刀法必須清晰。此件《玩伴》技法嫻熟，運刀 自如且疏密有致，剛柔相濟中於精細處如走 絲，粗獷處似劈斧。此件作品中以具象形式流 洩出在地精神中，狗對於當地人的意象，情感 細膩卻內斂含蓄，更將木雕創作從傳統手藝提 升至注入生活經驗與豐富感情以外，亦有庶民 親切感。 The cuts are calligraphic in nature, akin to painting with ink; the cuts must be clear for the patterns to be smooth. This work, “Playmate,” is clearly sculpted by a professional: the cutting edges are clean, the patterns and textures varied. The thinner lines are like silk, while the thick ones parallel axe cuts. The figures are quite realistic and extremely detailed.

The artist applied the local spirits of dogs, in which we found the introverted emotions. At the same time, Shi has successfully brought the traditional craft skills into a higher gradation through adding the personal life experiences and the abundance of emotions that reveals a plebeian-like feelings.

304 Alixe FU (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Marriage II 1997 Huile sur bronze (unique) 37(W) x 17(L) x 67(H) cm Signed Alixe Fu in English and dated ‘97 EXHIBITED: Eye-Color, Alixe Fu Solo Exhibition 1998, Dimensions Art Center, Taipei, May 23 - July 19, 1998 ILLUSTRATED: Alixe Fu - Eye. Color, Dimensions Art Center, Taipei, 1998, color illustrated, p. 42 Dessins de la fin de siècle. 1980-1998 Alixe Fu, Foundation Art Lin Yunu, Taipei, 1998, color illustrated, p. 307

NT$ 420,000-550,000 HK$ 99,000-130,000 US$ 12,700-16,700

300

傅慶豊 婚姻 Ⅱ 1997 銅彩繪（單一件） 37(長) x 17(寬) x 67(高) cm 簽名：Alixe Fu '97 展覽： 「眼・色─1998年傅慶豊個展」，帝門藝術中 心，台北，展期自1998年5月23日至7月19日 圖錄： 《傅慶豊—「眼・色」》，帝門藝術中心，台 北，1998，彩色圖版，頁42 《世紀末素描 1980-1998傅慶豊》，林玉女藝術基 金會，台北，1998，彩色圖版，頁307

305 REN Zhe

(Chinese, b. 1983)

Spur on Urge on 2006 Bronze AP1 85(L) x 80(W) x 88(H) cm Signed left side Ren Zhe in Chinese, Ren Zhe in English and numbered AP1 ILLUSTRATED: Ren Zhe Art Album, Rong Bao Zai Publishing House, 2009, color illustrated, pp. 58-59 These sculpture is to be sold with a certificated of authenticity issued by William Contemporary Art Space.

NT$ 460,000-600,000 HK$ 109,000-142,000 US$ 13,900-18,200

任哲 躍馬揚鞭 2006 銅雕 AP1 85(長) x 80(寬) x 88(高) cm 簽名左側：任哲 Ren Zhe AP1 圖錄： 《任哲作品集》，榮寶齋出版社，2009，彩色圖版，頁58-59 附威廉國際藝術開立之原作保證書

306 JU Ming

(Taiwanese, b. 1938)

Living World Series – Endless 2007 Nickel-copper, edition no. 37/200 31(L) x 17(W) x 52(H) cm Engraved on the back Ju Ming in Chinese, inscribed Audi A6 Masterpiece, numbered 37/200 and dated 2007 This sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 380,000-500,000 HK$ 90,000-118,000 US$ 11,500-15,200

朱銘 人間系列—生生不息 2007 銅鍍鎳 37/200 31(長) x 17(寬) x 52(高) cm 簽名雕刻右後方：朱銘 2007 Audi A6 Masterpiece 37/200 附敦煌畫廊開立之原作保證書

302

307 HUNG Yi

(Taiwanese, b. 1970)

Lucky Cat 2011 Lacquered steel, Granite, edition no. 7/9 78(L) x 33(W) x 70(H) cm Signed right hind foot Hung Yi in Chinese, numbered 7/9 and dated 2011 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery,Taipei.

NT$ 550,000-750,000 HK$ 130,000-177,000 US$ 16,700-22,700

洪易 小招財貓 2011 鋼板烤漆 花崗石 7/9 78(長) x 33(寬) x 70(高) cm 簽名右後足：洪易 7/9 2011 附印象畫廊開立之原作保證書

308 HUANG Po-Ren

黃柏仁

(Taiwanese, b. 1970)

狗札記系列—21世紀

The Dog’s Note Series – 21st Century

2008 銅 烤漆 3/12 27(長) x 28(寬) x 46(高) cm 簽名雕刻：2008. PR 12-3

2008 Bronze, baking paint, edition no. 3/12 27(L) x 28(W) x 46(H) cm Engraved on the back PR in English and dated 2008, numbered 12-3 EXHIBITED: Huang Po-ren, Art Taipei, Taipei, 2008 Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 Huang Po-ren, Ming Art Gallery, Beijing, 2008 The artistic conversation of “Love dogs, adore dogs”, Powen Gallery, Taipei, May 15 - June 12, 2015 The Dog’s Note – HUANG Po-Ren solo exhibition, Powen Gallery, Taipei, September 16 – October 5, 2014 The Dog’s Note – HUANG Po-Ren solo exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 ILLUSTRATED: The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 106-109

NT$ 320,000-420,000 HK$ 76,000-99,000 US$ 9,700-12,700

304

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 「愛狗，敬狗的對話藝術」—狗札記・黃柏仁個展，紅野畫廊，台 北，展期自2014年5月15日至6月12日 「狗札記」黃柏仁雕塑展，紅野畫廊，台北，展期自2014年9月16日至 10月5日 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐約，展期自2015 年11月7日至12月6日 圖錄： 《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014，彩色圖版， 頁14與頁106-109

309 HUANG Po-Ren

黃柏仁

(Taiwanese, b. 1970)

狗札記—世界那麼大

Dog’s Note - Friends

2008 銅 烤漆 5/12 33(長) x 46(寬) x 54(高) cm 簽名雕刻腿部後方：2008. PR 12-5

2008 Bronze, baking paint, edition no. 5/12 33(L) x 46(W) x 54(H) cm Engraved lower back PR in English, numbered 12-5 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 The artistic conversation of “Love dogs, adore dogs”, Powen Gallery, Taipei, May 15 - June 12, 2015 The Dog’s Note – HUANG Po-Ren solo exhibition, Powen Gallery, Taipei, September 16 – October 5, 2014 The Dog’s Note – HUANG Po-Ren solo exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015

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 「愛狗，敬狗的對話藝術」—狗札記・黃柏仁個展，紅野畫廊，台 北，展期自2014年5月15日至6月12日 「狗札記」黃柏仁雕塑展，紅野畫廊，台北，展期自2014年9月16日 至10月5日 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐約，展期自 2015年11月7日至12月6日

ILLUSTRATED: The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 88-97

圖錄： 《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014，彩色圖 版，頁14與頁88-97

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

附秋刀魚藝術中心開立之原作保證書

NT$ 400,000-600,000 HK$ 95,000-142,000 US$ 12,100-18,200

310 PENG Kuan-jun (Taiwanese, b. 1961)

Hippo 2000 Stainless steel, marble, edition no. AP3 50(L) x 30(W) x 33(H) cm Engraved Kuan-jun in Chinese, numbered AP3 and dated 2000 ILLUSTRATED: Peng Kuan-jun, Cultural Affairs Bureau of Hsinchu County, Hsinchu County, 2005, color illustrated, pp. 12-13 (bronze edition)

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,700

彭光均 河馬 2000 不鏽鋼 大理石 AP3 50(長) x 30(寬) x 33(高) cm 簽名雕刻：2000 光均 AP3 圖錄： 《不可思議─彭光均作品集》，新竹縣文化局，新竹縣，2005，彩色圖版，頁12-13（銅雕版本）

306

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

Daybreak in Tunghai 1980 Iron, edition no. 2/11 33(L) x 19(W) x 36(H) cm Engraved TS in English, numbered 11/2 and dated 80 EXHIBITED: Retrospective Exhibition of Chen Ting-Shih at the Age of Eighty, Taiwan Museum of Art, Taichung, December 25, 1993 - March 13 1994 (different sized version exhibited) ILLUSTRATED: Souls Expanded beyond Their Skins - Chen Ting-shih, Lion Art Publishing, Taipei, 2004, color illustrated, p. 106 & p. 132 (different sized version illustrated) Retrospective Exhibition of Chen Ting-Shih at the Age of Eighty, Taiwan Museum of Art, Taichung, 1993, color illustrated, p. 134 (different sized version illustrated)

NT$ 260,000-360,000 HK$ 61,000-85,000 US$ 7,900-10,900

陳庭詩 東海之晨 1980 鐵雕 2/11 33(長) x 19(寬) x 36(高) cm 簽名雕刻：11/2 TS 80 展覽： 「陳庭詩八十回顧展」，臺灣省立美術館，台中，展期1993年12 月25日至1994年3月13日（展覽為另一尺寸版本） 圖錄： 《神遊．物外．陳庭詩》，雄獅圖書股份有限公司，台北， 2004，彩色圖版，頁106與頁132（圖版為另一尺寸版本） 《陳庭詩八十回顧展》，臺灣省立美術館，台中，1993，彩色圖 版，頁134（圖版為另一尺寸版本）

312 HUANG Po-Ren

黃柏仁

(Taiwanese, b. 1970)

不爽

I am not Happy Now!

2005 銅雕 11/30 53(長) x 24(寬) x 31(高) cm 簽名雕刻後足： PR 簽名後腳底： 30-11 PR

2005 Bronze, edition no. 11/30 53(L) x 24(W) x 31(H) cm Engraved on the back foot PR in English Signed on the back soles feet PR in English and numbered 30-11 EXHIBITED : The Dog’s Note – HUANG Po-Ren solo exhibition, Powen Gallery, Taipei, September 16 - October 5, 2014 The artistic conversation of “Love dogs, adore dogs”, Powen Gallery, Taipei, May 15 - June 12, 2014 The Dog’s Note – HUANG Po-Ren solo exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015

展覽： 「狗札記」黃柏仁雕塑展，紅野畫廊，台北，展期自2014年 9月16日至10月5日 「愛狗，敬狗的對話藝術」—狗札記・黃柏仁個展，紅野畫 廊，台北，展期自2014年5月15日至6月12日 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐約， 展期自2015年11月7日至12月6日

ILLUSTRATED: The Dog's Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 12 & pp. 24-31

圖錄： 《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014，彩 色圖版，頁12與頁24-31

NT$ 160,000-260,000 HK$ 38,000-61,000 US$ 4,900-7,900

308

313 LI Kuang-yu

(Taiwanese, b. 1954)

Quite and Secluded Orchid Bronze, edition no. 47/120 16.5(L) x 14(W) x 39(H) cm (hand) 17(L) x 17(W) x 22(H) cm (base) Signed on the back lower left yu and numbered 47/120 This sculpture is to be sold with a certificate of authenticity issued by King Ling Art Center, Taipei.

NT$ 190,000-280,000 HK$ 45,000-66,000 US$ 5,800-8,500

李光裕 幽蘭 銅雕 47/120 16.5(長) x 14(寬) x 39(高) cm（手部） 17(長) x 17(寬) x 22(高) cm（底座） 簽名左下方：裕 47/120 附金陵藝術開立之原作保證書

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

Growth (1) 1988 Stainless steel, edition no. 18/20 50(L) x 56(W) x 50(H) cm Engraved Yin- Feng in Chinese, dated 1988, numbered 18/20 ILLUSTRATED: Yu yu Yang Corpus Volume I, Artist Publishing Co., Taipei, 2005, color illustrated, p. 305 (different edition) This sculpture id to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 160,000-360,000 HK$ 38,000-85,000 US$ 4,900-10,900

310

楊英風 茁壯（一） 1988 不鏽鋼 18/20 50(長) x 56(寬) x 50(高) cm 簽名雕刻：88 英風 18/20 圖錄： 《楊英風全集》，第一卷，藝術家出版社，台北， 2005，頁305（另一版本） 附財團法人楊英風藝術教育基金會呦呦藝術事業有 限公司開立之原作保證書

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

Evergreen 1990 Stainless steel, edition no. 18/20 36(L) x 21(W) x 62(H) cm Engraved Yang Fong in Chinese, dated 90, numbered 18/20 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 160,000-320,000 HK$ 38,000-76,000 US$ 4,900-9,700

楊英風 常新 1990 不銹鋼 18/20 36(長) x 21(寬) x 62(高) cm 簽名雕刻：'90 英風 18/20 附財團法人楊英風藝術教育基金會呦呦藝術事業 有限公司開立之原作保證書

316 HSIAO Chin (XIAO Qin)

無題

Untitled

1993 陶器 26(長) x 34.5(寬) x 3(厚) cm 簽名雕刻下方：Hsiao 勤 九三

1993 Ceramic 26(L) x 34.5(W) x 3(D) cm Engraved lower center Hsiao in English, Chin in Chinese and dated 1993

NT$ 60,000-120,000 HK$ 14,000-28,000 US$ 1,800-3,600

312

蕭勤

(Taiwanese, b. 1935)

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

Harmony 1993 Stainless steel, edition no. 20/20 20(L) x 20(W) x 36(H) cm Engraved on the base Yuyu YANG in Chinese , numbered 20/20 and dated 93 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 80,000-160,000 HK$ 19,000-38,000 US$ 2,400-4,900

楊英風 和風 1993 不銹鋼 20/20 20(長) x 20(寬) x 36(高) cm 簽名雕刻底座：'93英風 20/20 附財團法人楊英風藝術教育基金會呦呦藝術事業 有限公司開立之原作保證書

318 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip Unsaturated polyester resin, calcium carbonate, environmentally-friendly, oil color paste, edition no. 203/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 203/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 130,000-240,000 HK$ 31,000-57,000 US$ 3,900-7,300

朱銘 太極系列—單鞭下勢 不飽和聚酯樹脂 碳酸鈣 油性色母 203/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：203/300 附朱銘美術館限量複製品證明書

314

319 KEA (TSAI Mengda) (Taiwanese, b. 1980 )

Punk Penguin 2010 Bronze, edition no. 7/8 42(L) x 36(W) x 67(H) cm Signed KEA in English, numbered 7/8 and dated 2010 EXHIBITED: Stay Real Forever, Museum of Contemporary Art, Shanghai, June 10 - July 12, 2010

NT$ 120,000-220,000 HK$ 28,000-52,000 US$ 3,600-6,700

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

316

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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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