亞洲現代與當代藝術 Modern and Contemporary Asian Art

AUTUMN AUCTION 2017 TAIPEI

羅芙奧台北 2017 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2017 TAIPEI Modern and Contemporary Asian Art 拍賣日期／地點 2017年12月3日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期／地點 台中 2017年11月11日（六）下午1:00至下午6:00 2017年11月12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 高雄 2017年11月18日（六）~ 19日（日）上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 香港 2017年11月25日（六）~ 26日（日）上午11:00至下午7:00 君悅酒店 香港港灣道1號5樓 （CES） 台北 2017年11月30日（四）~ 12月2日（六）上午10:00至下午6:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）

AUCTION Sunday, December 3, 2017, 2:00pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Taichung

Saturday, November 11, 2017, 1:00pm - 6:00pm Sunday, November 12, 2017, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Kaohsiung

Saturday, November 18 - Sunday, November 19, 2017, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Hong Kong

Saturday, November 25 - Sunday, November 26, 2017, 11:00am - 7:00pm Grand Hyatt Hong Kong CES, 5F, No. 1, Harbour Road, Hong Kong

Taipei 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

Thursday, November 30 - Saturday, December 2, 2017, 10:00am - 6:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman 郭倩如 Clara Kuo 副董事長 Vice Chairman 李雅欣 Wendy Lee 營運長 Chief Operation Officer

傅斐郡 Flora Fu

陳惠黛 Odile Chen

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

國際藝術部 總經理 Head of International Art Department

林慧菁 Maggie Lin

何瑩 Vivi He

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

業務發展部 總監 Head of Business Development Department

黃詩涵 Stella Huang

李政希 Xiu Lee

台北藝術部 經理 Manager, Art Department, Taipei

上海商務代表 Representative, Shanghai

蔡晉欣 Olivier Tsai 台北藝術部 副理 Assistant Manager, Art Department, Taipei

羅芙奧台北 2017 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

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

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Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION Taiwan．International

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

International

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

Hong Kong

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

We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com

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

PAYMENT Caroline Shen Tel: +886 2 2708 9868 ext. 696 Email: carolineshen@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

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

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

目次 / Contents

7

羅芙奧秋季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

亞洲現代與當代藝術

Modern and Contemporary Asian Art 259

給予買家的重要通知

Important Notice to Buyers 261

委託競投表格

Absentee Bid Form 263

業務規則

Transaction Agreement

藝術家索引 / Index A

C

Anonymous Anonymous Johannes ANDERSEN Yoshitaka AMANO

佚名 佚名 約翰尼斯．安德森 天野喜孝

240 244 241 335, 234, 235

Sophie CHANG George CHANN CHEN Jiang Hong CHEN Ting-shih CHEN Wei-Cheng CHEN Yin-hui CHEN Yin-Wei CHIANG Jui-Keng CHIU Ya-tsai CHOI Yeong-geol CHU Teh-chun CHUANG Che

張淑芬 陳蔭羆 陳江洪 陳庭詩 陳威呈 陳銀輝 陳英偉 蔣瑞坑 邱亞才 崔令杰 朱德群 莊喆

359, 360, 361, 362 317, 375, 367, 381 401 370, 385 373 382 421 419 387, 395, 396 347 324, 405 386, 397

D

KAWS (Brian Donnelly) DU Xi

布萊恩．唐納利 杜溪

202, 205, 230 420, 422

F

Knud FAERCH Alixe FU Katsura FUNAKOSHI

克努德．法齊 傅慶豊 舟越桂

254 411 334

Damien HIRST HONG Kyoung Tack HONG Ling HOU Chun-ming HSIAO Chin HSIEH Hsiao-De HSU Yu-jen Poren HUANG HUANG Gang HUANG Ming-chang Michell HUANG HUNG Jui-lin HUNG Tung-lu

達明．赫斯特 弘京澤 洪凌 侯俊明 蕭勤 謝孝德 許雨仁 黃柏仁 黃鋼 黃銘昌 黃銘哲 洪瑞麟 洪東祿

215 339 318, 394 236 400, 410, 314 426 424 431 399, 432 388, 393 376, 435 368 437

H

I

Arne Wahl IVERSEN 阿恩．瓦爾．艾佛森 Mr. (Masakatsu IWAMOTO) Mr. (岩本正勝)

J

Arne JACOBSEN 阿諾．雅各布森 256, 257 JAN Chin-shui 詹金水 414 JI Yong Ho 池龍虎 348 JIN Nu x KAWS 金釹 x KAWS x 劉野 231 x LIU Ye x YUE Minjun x 岳敏君 x 周春芽x 周鐵海 x ZHOU Chunya x ZHOU Tiehai JU Ming 朱銘 326, 327, 392, 402, 427, 428, 436 Finn JUHI 芬尤 248, 249

K

L

M

MA Desheng Niels Otto MøLLER Takashi MURAKAMI

馬德升 尼爾斯．奧拓．莫勒 村上隆

409 238, 239, 252 203, 207, 208

N

Yoshitomo NARA

奈良美智

Mika NINAGAWA

蜷川實花

206, 211, 212, 213, 214, 220, 221, 222, 223, 227, 228, 229, 233, 337, 343 237

O

Hans OLSEN Gunni OMANN

漢斯．奧爾森 高尼．奧曼

253 243, 247

P

PAN Honghai PANG Jiun Bern H. PEDERSEN Peter Hvidt & Orla Mølgaard-Nielsen PENG Kuan-jun

潘鴻海 龎均 伯恩．佩德森 彼得．維特 & 奧拉．莫嘉德尼爾森 彭光均

412 315, 316, 377, 404 246 250

R

Ran In-ting

藍蔭鼎

310

S

SANYU

常玉

SHIY De-jinn

席德進

Sigurd Ressell SU Wong-shen SU Xiaobai SUN Yi

西格德．拉塞爾 蘇旺伸 蘇笑柏 孫藝

301, 302, 303, 304, 322, 323 309, 363, 364, 369, 390, 418 242 384 379 434

T

Atsuko TANAKA TANG Haywen Walasse TING

田中敦子 曾海文 丁雄泉

344 305, 306, 307, 308 313, 319, 320, 329

W

WANG Yan Cheng Andy WARHOL Hans J.WEGNER

王衍成 安迪．沃荷 漢斯．韋格納

406 204 255

X

XIA Hang XU Bing XUE Song

夏航 徐冰 薛松

429 425 407, 408

Y

Yang Mao-Lin 楊茂林 YANG San-lang 楊三郎 Yuyu YANG (YANG Ying-feng) 楊英風 Tzu-chi YEH 葉子奇 YU Cheng-yao 余承堯

245 338

Kai KRISTIANSEN KIM Chan-Il KIM Dong-yoo Yayoi KUSAMA

凱．克里斯坦森 金燦一 金東囿 草間彌生

251 333 340 201, 209, 210, 216, 217, 218, 219, 224, 225, 226, 336, 341, 345, 346

LEE Ufan LI Chen LIAO Chi-chun LIU Keng-I LIU Kuo-sung Max LIU LIU Shih-tung LO Chan-peng

李禹 李真 廖繼春 劉耿一 劉國松 劉其偉 劉時棟 羅展鵬

342 331, 332 391 423 321, 389 416, 417 413 374, 380

Z

YU Peng

于彭

ZAO Wou-ki ZENG Fanzhi ZHOU Chunya

趙無極 曾梵志 周春芽

ZHU Yiyong

朱毅勇

433

403 415 430 378, 383 311, 312, 365, 366, 372 371 325 328, 330 349, 350, 351, 352, 353, 354, 355, 356, 357, 358 398

BEING A MASTER COLLECTOR ISN’T AS LOFTY AS WE THOUGHT 或許收藏大師並沒有我們所想的那麼遙遠

後QE時代，全球滿溢的熱錢將各項資產與商品價格相繼推升到前所

作與衍生商品更引發遍佈各階層、族群的藏家們爭相追逐，為當代藝

未見的地步，其中，藝術市場M型化尤其明顯。根據權威機構統計，

術收藏，開啟了一個嶄新的篇章。

全球排行前25位的藝術家即佔據了市場交易總額超過一半以上，這樣 的現象不僅營造出「封面為王」、「贏家全拿」的強勢型態，許多榜 上有名的現當代藝術大師，如我們所熟知的安迪．沃荷、草間彌生精 品的穩定表現，像是在宣告，現當代藝術的億元（美金／新台幣）時 代已然來臨。然而，若不是抱持非精品不可的執念，想要擁有現／當 代藝術大師的作品，並不非得需要一擲千金。自20世紀末到21世紀 的今天，由於藝術市場及收藏觀念的持續開放，所謂名家小品，也不 僅限於既往小尺幅原作的範疇，進一步化為各式水彩、素描、版畫、 雕塑、藝術公仔、跨界聯名作品……等，以單一創作或限量發行的形 式，出現在你我的面前。

「當原作價格不斷攀升至歷史新巔峰，限量藝術品的身價必然因此 水漲船高。」當代藝術限量公仔傳奇，也由奈良美智的《失眠夜坐 著》，來到10年飆漲逾百倍的前無古人之境，後勢依然看好。而最 具前景和收藏價值的名家小品，必定是藝術家膾炙人口之作，舉凡草 間彌生的「南瓜」、奈良美智的「叛逆小女孩」、村上隆的「怪怪奇 奇」、安迪．沃荷的「美金符號」、周春芽的「綠狗」，在在 都是限量藝術品的收藏指標。若經過頂級奢 華品牌加持：像是草間彌生與LV(路易威登) 於2012年的《愛麗絲夢遊仙境版畫集》； 奈良美智與RIMOWA於2011年《小狗收音

這些不拘泥傳統框架上繪畫／大型雕塑的新穎表現，因時代和流行的

機x旅行箱》、《金魚》結合浮世繪歷史文

演進應運而生，讓藝術、生活、居家品味出現完美融合，更受惠於頂

化；經典卡通人物如英國大師達明．赫

級奢華品牌、街頭潮牌間的跨界合作，衍生出多樣化的前衛嘗試，為

斯特以迪士尼卡通動畫代表人物《米

藝術品打破既往嚴肅、高不可攀的形制窠臼，進而在大師經典題材加

奇、米妮》的形式帶入，讓收藏增

上了新的創意和豐富樣貌。同時，採用限量發行的行銷策略，在這個

添了無比的趣味與話題。此外，我

社群媒體愈加發達的年代愈是奏效，透過該藝術家或品牌的忠實粉

們也應該對藝術家之間的交互合作

絲於奔相走告、分享傳送下，不斷複製「預告」、「發行」、「搶不

加以關注，潮流塗鴉代表KAWS (布

到」的飢餓行銷三部曲，大大提升聯名作品的稀有性及日趨瘋狂的搶

萊 恩 ． 唐 納 利) 即 是 翻 玩 創 意 的 佼 佼

購熱潮，不但就此奠定聯名作品的既有價值，在經由傳播媒體的後續

者，無論是與中國當代F4之一的岳敏君

接棒報導後，一舉擴大了原有的收藏群眾。如今，藝術家角色不再侷

在2008年所出品的《KAWS x岳敏君》、同

限於創作者的單純定義，嚴然因品牌、媒體的包裝，形象因而躍升為

年與日本機械情慾藝術家—空山基所合作的

一個類偶像明星、潮流教父的地位，享有高知名度及社經地位，舉手

《沒有未來的同伴》藝術公仔，迄今仍為公

投足均是流行文化傳媒的注目焦點，不再僅限於藝術的小圈圈內。原

仔收藏家所津津樂道。

In the post-QE era, the overflowing supply of money across the world is pushing property and goods to higher and higher prices, reaching unheard-of levels. Within all this, the M-curve in the art market is especially prominent. According to statistics from an authoritative organization, the top 25 global artists account for half or more of the total value on the market. This has created strong tendencies toward “the cover is king” and “winner takes all”. But not only this; works by many modern and contemporary art masters on the list, such as Andy Warhol and Yayoi Kusama, have also continued to show stable performances. This seems to proclaim that the era of $100 million (USD/NTD) contemporary art is upon us. However, if one doesn’t cling to the notion that it all has to be premium pieces, yet wants to own a work by a modern or contemporary master, it doesn’t necessarily require throwing a mountain of money at the problem. From the end of the 20th century to where we are now in the 21st century, there has been a continual opening up of the art market and concepts in collecting.

Now, so-called “small works by famous names” are no longer limited to just original pieces of small dimensions. The categories have been opened to watercolors, sketches, prints, sculpture, artistic figurines, cross-disciplinary collaborations, and more, produced in single pieces or limited editions, right there before your eyes.

These new expressions, unconstrained by the traditional limitations of framed paintings or monumental sculpture, have been borne through evolutionary responses to the times and fashion. They allow one’s tastes in art, life and home to manifest a perfect synthesis.

Further enhanced by cooperation between premium luxury goods and street brands that cuts across borders, they give rise to pluralistic, pioneering attempts to break through the previous rigid, ivory tower conventions of art. What’s more, they have added a great deal of creativity and boundless variety to the masters’ classic subject matter. Simultaneously, the use of limited-edition marketing gives better and better results in this era of ever-more developed social media. When dedicated fans of an artist or brand clamor for details and share information back and forth, this replicates the desperation marketing trilogy of “preview”, “publication” and “sold out”, and it also greatly increases the rarity of famous works and the constantly increasing fever pitch of purchasing. This establishes the value of related works; not only that, but after the followup media pick up the story, it vastly expands the original pool of collectors. Now, the role of the artist is no longer limited to simply that of creator. Because of the entanglement of brand and media, the artist’s image has become like that of a star, or an authority on fashion. The artist enjoys a great deal of notoriety and social status,

NARA and their every move becomes a focus of fashion and cultural media. They are no longer limited to the prescribed confines of the art world. Original and derivative works further inspire diffusion throughout every level and group of the collectors, who in turn compete with and follow each other. This is a completely new chapter for contemporary art collecting.

“When the price to the original works keep climbing to historic peak, prices for limited the price to the edition artworks must necessarily also rise.” The legend of artistic contemporary limited edition figurines begins with Yoshitomo Nara’s “Sleepless Night Sitting”, whose 10-year gallop toward 100 times its original value, never before seen, continues to show an upward trend. The noted small works with the best outlooks and collectible prices are without question the artists’ works that are most popularly acclaimed. Yayoi Kusama’s “Pumpkins”, Yoshitomo Nara’s “Rebellious Girls”, Murakami Takashi’s “Kaikai Kiki”, Andy Warhol’s “Dollar Signs”, Zhou Chunya’s “Green Dog” series: all set the standard for limited edition collectibles. If we look at it in terms of the influence of top luxury goods, such as Kusama Yayoi and Louis Vuitton (LV)’s 2012 “Alice’s Adventures in Wonderland-Deluxe Box Set”; Yoshitomo Nara and RIMOWA’s 2011 “Doggy Radio x Luggage”, and “Goldfish”, which incorporates ukiyo-e history and culture; classic cartoon characters such as British master Damien Hirst’s formalist use of Disney characters “Mickey” and “Minnie” — all of these have brought unparalleled interest and discussion to collecting. In addition, we must also pay heed to interaction between artists. The trendy graffiti artist KAWS (Brian Donnelly) is an outstanding example of those who play with creativity, whether in creating 2008’s “KAWS x Yue Minjun” with Yue Minjun, one of China’s contemporary F4; or in his work from the same year with Japanese mechano-eroticist artist Hajime Sorayama in creating “No Future Companion”, still so hotly discussed by figurine collectors.

201 Yayoi KUSAMA

(Japanese, b. 1929)

The Me that I Adore (Future, Fish) (a set of 2) 2013 Bone China, limited edition of 500 28 cm (diameter) Future 23 cm (diameter) Fish Engraved on upper middle YAYOI KUSAMA in English Engraved on the reverse, titled, Future Yayoi Kusama 2013 122 Engraved on upper middle YAYOI KUSAMA in English Engraved on the reverse, titled, Fish Yayoi Kusama 2013 122

NT$ 40,000-60,000 HK$ 10,000-16,000 US$ 1,300-2,000

草間彌生 我熱愛的自己（未來 / 魚）（二件一組） 2013 骨瓷 限量500版 未來：直徑 28 cm 魚：直徑 23 cm 瓷盤背後：FUTURE Yayoi KUSAMA 2013 122 瓷盤背後：FISH Yayoi KUSAMA 2013 122

202 KAWS (Brian Donnelly) (American, b. 1974)

Chum 400% Chum 100% x Kubrick 2003/2002 Vinyl, Plastic, limited edition of 300 18(L) x 9(W) x 26(H) 4.5(L) x 2.5(W) x 6.5(H) 3(L) x 1.5(W) x 6.5(H)

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

KAWS (布萊恩．唐納利) 米其林400%； 米其林100% x 庫伯力克熊（公車站） 2003/2002 彩繪 搪膠 雕塑 限量300件 18(長) x 9(寬) x 26(高)(大) 4.5(長) x 2.5(寬) x 6.5(高)(小左) 3(長) x 1.5(寬) x 6.5(高)(小右)

203 Takashi MURAKAMI (Japanese, b. 1962)

Jellyfish Eyes Lucor Kurage sculpture (Luxor & Kurage-bo) 2014 3D Plaster Printing, edition no. 150/300 9.2 x 5.5 cm Signed on the bottom Takashi Murakami and titled Jellyfish Eyes both in English This work is to be sold with the original box and a signed catalogue.

NT$ 70,000-90,000 HK$ 18,000-23,000 US$ 2,300-3,000

村上隆 水母看世界：大毛怪與水母寶 2014 3D彩繪石膏 150/300 9.2 x 5.5 cm 簽名題識底部：Jellyfish Eyes Takashi Murakami 附作品原產紙盒包裝與簽名畫冊

204 Andy WARHOL

(American, 1928 - 1987)

Dollar Sign Print, A.P. 29.5 x 21.5 cm Signed lower right Andy Warhol in English, numbered lower left A.P.

NT$ 90,000-160,000 HK$ 23,000-41,000 US$ 3,000-5,300

安迪．沃荷 美金符號 版畫 A.P. 29.5 x 21.5 cm 簽名右下：Andy Warhol 版次左下：AP

205 KAWS (Brian Donnelly)

(American, b. 1974)

Bendy (a set of 12) 2003-2004 Painted cast vinyl, edition of 500 32 cm (each) ILLUSTRTED

KAWS, Skira Rizzoli, New York, 2010, black and white illustrated, p. 18

NT$ 130,000-200,000 HK$ 34,000-52,000 US$ 4,300-6,600

KAWS (布萊恩．唐納利) 彎彎（十二件一組） 2003-2004 彩繪 搪膠 雕塑 限量500件 32 cm (每件) 圖錄

《KAWS》，斯基拉．里佐利，紐約，2010，黑白圖版，頁18

206 Yoshitomo NARA

(Japanese, b. 1959)

奈良美智

Cosmic Girl Eyes (Open / Close) (a set of 2)

宇宙女孩 （睜眼 / 閉眼）（二件一組）

2008 Print, limited edition of 500 68 x 48 cm (each)

2008 版畫 限量500件 68 x 48 cm (每件)

NT$ 110,000-180,000 HK$ 28,000-47,000 US$ 3,700-6,000

207 Takashi MURAKAMI

(Japanese, b. 1962)

Kansei: The Golden Age; Kansei: Korin Gold (a set of 2) 2009-2010 Offset lithograph, edition no. 39/300; 43/300 70 cm (diameter) Signed lower right M in English and numbered 39/300; 43/300 With one seal of the artist (each)

NT$ 100,000-200,000 HK$ 26,000-52,000 US$ 3,300-6,600

村上隆 澗聲：黃金年代； 澗聲系列：光琳銀色河流（二件一組） 2009-2010 限量石版畫 39/300； 43/300 70 cm（直徑） 簽名右下：M 39/300 M 43/300 鈐印左下：澗聲（兩件）

208 Takashi MURAKAMI

(Japanese, b. 1962)

Obliterate the Self and Even a Fire is Cool; Kaikai Kiki & Me: On the Blue Mound of the Dead; Dob & Me: On the Red Mound of the Dead; I Met a Panda Family (a set of 4) 2013 Limited print, edition no. 29/300; 65/300; 55/300; 137/300 50 x 50 cm (each) Initialed lower right M and numbered 29/300 Initialed lower right M and numbered 65/300 Initialed lower right M and numbered 55/300 Initialed lower right M and numbered 137/300

NT$ 130,000-220,000 HK$ 34,000-57,000 US$ 4,300-7,300

村上隆 心靜自然涼；怪怪奇奇與我：在死亡的藍山上； DOB與我：在死亡的紅山上；我與熊貓家族(四件一組) 2013 版畫 29/300；65/300；55/300；137/300 50 x 50 cm (每件) 簽名版次右下：M 29/300 M 65/300 M 55/300 M 137/300

209 Yayoi KUSAMA

(Japanese, b. 1929)

Vase (2)

草間彌生 瓶花

1992 Lithograph, edition no. 17/50 28.4 x 23 cm Signed lower right Yayoi Kusama in English, titled Vase(2) in Japanese and dated 1992 Numbered lower left 17/50

1992 版畫 17/50 28.4 x 23 cm 簽名右下：かびん(2) 1992 Yayoi Kusama 版次左下：17/50

ILLUSTRATED

圖錄

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 105, no. 167

《草間彌生全版畫1979-2017》，阿部出版株式會社，東 京，2017，彩色圖版，頁105，編號167

NT$ 280,000-340,000 HK$ 73,000-88,000 US$ 9,300-11,300

210 Yayoi KUSAMA

(Japanese, b. 1929)

Mt. Fuji

草間彌生 富士

1983 Screenprint, edition no. 72/75 49 x 60 cm Signed lower center Yayoi Kusama in English, titled Mt. Fuji in Japanese, numbered lower left 72/75, and dated 1983

1983 版畫 72/75 49 x 60 cm 簽名下方：72/75 富士 Yayoi Kusama 1983

ILLUSTRTED

圖錄

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 24, no. 24

NT$ 300,000-400,000 HK$ 78,000-104,000 US$ 10,000-13,300

《草間彌生全版畫1979-2017》，阿部出版株式會社，東 京，2017，彩色圖版，頁24，編號24

Pure Yet Rebellious Those Shouts of

Childhood Memory

YOSHITOMO NARA 奈良美智

既純真又叛逆 那些對於童年時光的種種呼喊 一提到奈良美智，那個帶著憤世嫉俗表情、以睥睨眼神拿著小刀的叛 逆小女孩，便會即刻以極為清晰的影像浮現腦海。這早已深烙記憶， 充滿孩子氣的直率圖騰，多年來，不知陪伴過多少人成長，在漫漫年 少的青澀時光裡佔有一席之地。然而，奈良美智的深度並不僅侷限於 令人發噱的童稚趣味，內斂、不善言詞表達的他，作品所產生的療癒 氛圍，常以充滿溫度的溫暖色調、觸動著人們內心深處的那個角落， 使得你我就此忘卻生活中的悲傷與不快。從《箱子中的女孩》、《宇 宙女孩 （睜眼 / 閉眼）》中可以窺知一二，一張張的大眼女孩，也來 自藝術家自身對於童年的召喚，描繪出孩提時期回憶裡的自我投射。

若將奈良美智形容成一位卡通人物，莫過於性格奔放，對事物永遠充 滿好奇心的小飛俠彼得潘。信手塗鴉（曾因此在紐約遭到逮捕，待 了2天的拘留所。）這件事對於奈良美智而言，就如同長不大的彼得 潘，於夢幻島裡恣意遨遊一般稀鬆平常，因為總是記錄著靈光乍現的 一刻，這些想畫便畫的直覺性塗鴉，在藝術家的創作生涯所象徵的意 義也就彌足珍貴。分別繪於紙本和信封上的《伙伴》、《無題》，便 是兩件高完成度、小而精美的彩繪手稿，雖然看似隨興，但藝術家所 投注的情感與心血，絲毫不輸大尺幅的原作。

搖滾文化 創作重要養分 歷史文化與西方音樂，向來也是奈良美智的靈感泉源，不但從國中時 期即成為搖滾樂的發燒友，在聽到激昂爆炸音的當下，便會引發他想 要拿起畫筆揮灑的慾望，進而構成了「長髮歌手」的時空背景。此 外，重新陳述過往歷史優美傳統，對整體日本文化進行一次視覺美感 再現的意念，也激起他重製浮世繪的動機。《金魚》一作即意味著藝 術家深覺這個世界太過奢侈虛偽，他寧可拋除一切，僅像隻金魚一 般，全無煩憂的活著，原始浮世繪中頭上滿是髮髻的藝妓，頓時成為 個插滿釘子的斜眼女孩，由此可見奈良美智充滿個人風格的搞怪心態 與調侃念頭十足的幽默感。 「戰爭和核電發展是不應該的」，無論是二戰結束70週年的反戰理念 「NO WAR」、抑或貫徹堅決反核訴求「No Nukes」，都像在傳遞 著年長的大人們不一定能看透真相，小孩沒有立場的童言童語反而能 夠一矢中的般，舉著各式口號與標語的「小森」女孩，成為奈良美智 廣為人知的系列代表作。其中不一定全是對社會現象的控訴，有時也 反應出藝術家的人生觀，或是礙於各種原因，讓人們難以啟齒的一些 話語，《不想哭》、《天才》都是那些關於安慰、讚賞以及感到憤慨 的種種，均化為無聲的文字，呈現在眾人眼前。

PURE YET REBELLIOUS THOSE SHOUTS OF CHILDHOOD MEMORY When we think of Yoshitomo Nara, those expressions so angry at the world and rebellious girls holding knives while giving us the side-eye are the images that spring so vividly to mind. These deeply impressive, candid images so full of childishness have accompanied an unknown many of us as we have grown into adults; they take their place in that long awkward phase of youth. Yet Yoshitomo Nara’s depth is not limited to the childish glee that brings a smile to one’s smile; his introverted, ineloquent self and the healing atmosphere of his works, often full of warm colors and able to touch the inner corners of our hearts, help us forget the pain and unhappiness in life. From “Girl in a Box” and “Cosmic Girl Eyes (Close/Open)” we gain a glimpse of understanding. The girl with huge eyes in each of the pictures comes from the artist calling up childhood, projecting those memories of being a child and growing up into the image.

If we were to describe Yoshitomo Nara as a cartoon character, there would be no better comparison than to Peter Pan, so lithe and eternally fascinated by the world. Casual graffiti (which resulted in being arrested in New York and held for two days in a detention facility) is, to Yoshitomo Nara, like being Peter Pan: Never growing up; living unrestrained in Neverland; roaming freely and carelessly. Because he always lives in the moment, this kind of graffiti by instinct, where “I feel like painting, so I’ll paint”, carries supremely valuable meaning for the artist’s creative career. Drawn on paper and an envelope, respectively, “Pal” and “Untitled” are two highly finished, small yet delicately colored sketches. Although they might seem to have been casually made, the feeling and personal investment the artist has put into the works lose nothing to his larger pieces.

ROCK N’ ROLL CULTURE KEEPS THE CREATIVITY GOING Historical culture and Western music have always been Yoshitomo Nara’s inspiring sources. He became a fervent fan of rock music in middle school; but also, when he heard those intense sounds, it brought up a great desire in him to pick the brush and paint. This became the background in space and time for the “long-haired singer”.

In addition, revisiting the historical aesthetic traditions of the past and the idea of creating a re-expression of visual aesthetics for Japanese culture as a whole has given rise to his desire to recreate ukiyo-e. “Goldfish (In the floating world)” expresses the artist’s deep feeling that this world is too extravagant and shallow, and a desire to cast it all away and be like a goldfish, living without cares. The geisha of the original ukiyo-e piece with a head full of hair becomes in an instant a girl looking askance with a head full of nails. From this we can clearly see Yoshitomo Nara’s pranksterish attitude and challenging sense of humor.

“No Nukes! Love and Peace”, whether through its message of the 70-year long post-WWII message of “No War!”, or perhaps a thoroughgoing stance demanding “No Nukes”, seems to be conveying the message that the old cannot necessarily see the truth, yet the young, with no platform on which to stand, can get directly at the truth with their childish words. “The girl Mori”, with her various slogans, has become an iconic figure, widely known, for Yoshitomo Nara. Not all of it is invective against social phenomena; sometimes it conveys the artist’s views on life, or owing to myriad difficulties and causes, words that can be hard to say. “Don’t Wanna Cry” and “Poindexter” are of this type, soothing and praising while also expressing resentment. Inscribed in soundless words, the words are made manifest for all to see.

LONG HAIR SINGER

211 Yoshitomo NARA (Japanese, b. 1959)

Goldfish (In the floating world) 1999 Print, edition no. 48/50 41.5 x 29.5 cm Signed lower right Na in Japanese, and dated 2003 Numbered lower left 48/50 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-1999-002, p. 308

NT$ 320,000-550,000 HK$ 83,000-142,000 US$ 10,600-18,300

奈良美智 金魚 1999 版畫 48/50 41.5 x 29.5 cm 簽名右下：な '97 版次左下：48/50 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，編號 E-1999-002，頁308

212 Yoshitomo NARA

(Japanese, b. 1959)

Girl in a Box 2001 Print, edition no. 40/100 30.5 x 30.5 cm Signed lower right in Na in Japanese, numbered 40/100, and dated 01 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2001-001, p. 310

NT$ 320,000-550,000 HK$ 83,000-142,000 US$ 10,600-18,300

奈良美智 箱子中的女孩 2001 版畫 40/100 30.5 x 30.5 cm 簽名右下：な 01 40/100 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， 編號 E-2001-001，頁310

213 Yoshitomo NARA (Japanese, b. 1959)

Poindexter 2010 Japanese woodcut, edition no. 22/50 42 x 29.5 cm Signed lower right Na in Japanese, numbered lower left 22/50 and dated 2010 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2010-009, p. 315

NT$ 460,000-550,000 HK$ 119,000-142,000 US$ 15,300-18,300

奈良美智 天才 2010 版畫 22/50 42 x 29.5 cm 簽名右下：な 版次左下：22/50 2010 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，編號 E-2010-009， 頁315

214 Yoshitomo NARA (Japanese, b. 1959)

Don't Wanna Cry 2010 Japanese woodcut, edition no. 46/50 42 x 29.5 cm Signed lower right Na in Japanese, numbered lower left 46/50 and dated 2010 ILLUSTRATED Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2010-003, p. 315

NT$ 460,000-550,000 HK$ 119,000-142,000 US$ 15,300-18,300

奈良美智 不想哭 2010 版畫 46/50 42 x 29.5 cm 簽名右下：な 版次左下：46/50 2010 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，編號 E-2010-003， 頁315

215 Damien HIRST

(British, b. 1965)

Mickey & Minnie (a set of 2) 2015 Silkscreen print with glitter, no. 38/150 87.5 x 70 cm (each) Signed on the reverse Hirst and numbered 38/150 With two seals of the artist (each)

NT$ 480,000-550,000 HK$ 124,000-142,000 US$ 15,900-18,300

達明．赫斯特 米奇、米妮（二件一組） 2015 絲網印刷 亮片 紙本 38/150 87.5 x 70 cm (每件) 簽名畫背：Hirst 38/150 鈐印畫背：Hirst

216 Yayoi KUSAMA

(Japanese, b. 1929)

Ashtray 1988 Print, edition of 50 E.A. 67.8 x 84.4cm Signed lower right Yayoi Kusama in English, numbered lower left E.A., titled Ashtray in kanji, dated 1988

NT$ 340,000-420,000 HK$ 88,000-109,000 US$ 11,300-13,900

草間彌生 灰皿 1988 版畫 限量50 E.A. 67.8 x 84.4cm 簽名右下：Yayoi Kusama 題識左下： E.A. 灰皿1988

217 Yayoi KUSAMA

(Japanese, b. 1929)

Alice’s Adventures in Wonderland - Louis Vuitton Deluxe Box Set (a set of 3) 2012 Illustrated book, screen print, and Lambda C-type Print, edition no. 57/111 78 x 55cm (box) 22.5 x 19 cm (book) 36.6 x 29.4 cm (print) 44.1 x 29.4 cm (photo) Signed lower Yayoi Kusama, dated 2012 and numbered 57/111 (print) numbered 57/111 and signed lower Yayoi Kusama (photo) signed on the title page of book Yayoi Kusama (book)

NT$ 340,000-440,000 HK$ 88,000-114,000 US$ 11,300-14,600

草間彌生 愛麗絲夢遊仙境—路易威登版畫集（一組三件） 2012 版畫書 57/111（內含一件版畫，一件照片，一本書） 78 x 55 cm（外盒） 22.5 x 19 cm（書本） 36.6 x 29.4 cm（版畫） 44.1 x 29.4 cm（照片） 簽名下方：Yayoi Kusama 2012、57/111 (版畫) 簽名下方：57/111、Yayoi Kusama (照片) 簽名內頁：Yayoi Kusama (書本)

218 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1988 Print, edition no. 39/50 103 x 79.3 cm Signed lower right Yayoi Kusama in English, titled Pumpkin in Japanese and dated 1988 Numbered lower left 39/50 ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 75, no. 115 This work is to be sold with a certificate of authenticity issued by Beyond Gallery, Taipei.

NT$ 550,000-650,000 HK$ 142,000-168,000 US$ 18,300-21,600

草間彌生 南瓜 1988 版畫 39/50 103 x 79.3 cm 簽名右下：かぼちゃ 1988 Yayoi Kusama 版次左下：39/50 圖錄

《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，頁75，編號115 附非畫廊開立之作品保證書

219 Yayoi KUSAMA

(Japanese, b. 1929)

High Heel 1979 Water-based pen on paper 27.3 x 24.3 cm Signed upper left Yayoi Kusama in English and dated 1979 Signed on the reverse Yayoi Kusama in English, titled High Heel in Japanese, and dated 1979 This work is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 650,000-850,000 HK$ 168,000-220,000 US$ 21,600-28,200

草間彌生 高跟鞋 1979 水性筆 色紙 27.3 x 24.3 cm 簽名左上：YAYOI KUSAMA 1979 簽名畫背：1979 Yayoi Kusama ハイヒール 附草間彌生工作室開立之作品登錄卡

220 Yoshitomo NARA

(Japanese, b. 1959)

Untitled 2002 Color pencil on envelope 11.4 x 16.2 cm PROVENANCE

Tomio Koyama Gallery, Japan Private Collection, Asia ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-2003-208, p. 214

NT$ 1,000,000-2,200,000 HK$ 259,000-570,000 US$ 33,200-73,100

奈良美智 無題 2002 信封 彩色鉛筆 11.4 x 16.2 cm 來源

小山登美夫畫廊，日本 私人收藏，亞洲 圖錄

《奈良美智作品全集第二冊》，編年出版社，舊金山，2011， 彩色圖版，編號D-2003-208，頁214

40

221 Yoshitomo NARA

(Japanese, b. 1959)

Pal 1997 Acrylic, colored pencil and pencil on paper 25.4 x 17.8 cm Signed on the verso You and White Sheep Nara and dated 97 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-1997-034, p. 105

NT$ 1,100,000-2,200,000 HK$ 285,000-570,000 US$ 36,500-73,100

奈良美智 伙伴 1997 壓克力 彩色鉛筆 鉛筆 紙本 25.4 x 17.8 cm 簽名題名背後：You and White Sheep Nara 97 圖錄

《奈良美智作品全集第二冊》，編年出版社，舊金山，2011，彩色圖版，編號 D-1997-034，頁105

222 Yoshitomo NARA

(Japanese, b. 1959)

Long Hair Singer 1997 Pen and color pencil on paper 29.5 x 21 cm Signed lower right Na in Japanese and dated 97 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-1997-207, p. 116

NT$ 1,400,000-2,400,000 HK$ 363,000-622,000 US$ 46,500-79,700

奈良美智 長髮歌手 1997 筆 色簽筆 紙 29.5 x 21 cm 簽名右下：な '97 圖錄

《奈良美智作品全集第二冊》，編年出版社，舊金山，2011，彩色 圖版，編號 D-1997-207，頁116

223 Yoshitomo NARA

(Japanese, b. 1959)

Little Pilgrim (Night Walking) 2002 Fiberglass, edition no. 19/20 18(L) x 16(W) x 27(H) cm Signed on the bottom Na in Japanese, numbered 19/20, and dated 2002 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. S-2000-001, p. 270 (different size version illustrated)

NT$ 3,200,000-4,200,000 HK$ 829,000-1,088,000 US$ 106,300-139,500

奈良美智 小朝聖者（夢遊娃娃） 2002 玻璃纖維 19/20 18(長) x 16(寬) x 27(高) cm 簽名底部：2002 19/20 な 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，編號 S-2000-001，頁270 (另一尺寸版本)

LITTLE PILGRIM NIGHT WALKING Yoshitomo NARA

作家吉本芭娜娜與奈良美智偶有合作之機會，形容奈良美智的作品： 「因沉痛與孤獨而異常冰冷的世界，但內心絕不是惡的。而我寧可在

這樣的世界中長居。 」。筆下的人物，常帶著不屑一顧的眼神、甚或 不懷好意的雙眸，但其作品總能透出一種隱匿式的氛圍或暗示，讓使 奈良的創作從商業性質的插畫晉身到當代藝術，也成為重要美術館收 藏標的，不得不承認，那頂著蘑菇頭似乎欲言又止的孩童，的確有 讓人沉思的力量。而他們眼中顯示的「孤單」，也代表著現代人的內 在。 奈良美智作品裡的人物都有一個共同點：他們都是孤獨的。勿論他們 正閉著目或瞪著眼，都是拒絕與外界交往的表現。小朝聖者（夢遊娃 娃）嬌俏的臉孔、睜著的大眼睛、緊閉的雙唇和靦腆的微笑，散發著 帶有沉鬱的稚氣。這種矛盾正好反映了奈良美智的心態：「當我創作 時，我很自然地游走于長大成人的我和童年時候的我。 」童年的生活 對於奈良美智的創作有很大的影響，甚至也是他創作的主軸之一；與 其說是奈良美智對於過去事物的懷舊依戀，或許轉個心態，這種眷戀 其實是藝術家對於曾經是小孩的他最單純的初衷在物換星移後依舊未 曾改變，是奈良美智對於創作的始終如一。 小朝聖者(夢遊娃娃)，並非如觀者眼睛所見般地緊閉著雙眼，漫無目 的地遊走在未知的夢境當中，他所代表的，是即便是避著雙眼還是要 朝著夢想前進的決心，就算是睡了也是要在夢境裡面朝著夢想努力不 懈的單純；而小朝聖者(夢遊娃娃)的孩童形象，呼應了奈良美智曾有 卻也從未拋棄的「鄉愁」，這份鄉愁是對於童年的想念，是對於童年 的再造、對過往難忘的回憶，還有對生命裡遇見過的人，也都是如 此，一路走來，總是懷著感恩的心情，懷著初心。

“When I am creating something, it is natural for me to wander between the me as an adult and the me as a child.”

Japanese writer, Banana Yoshimoto had the chance to collaborate with Yoshitomo Nara, she describes his work as: “an ice- cold world built by deep feelings of remorse and loneliness, but Yoshitomo Nara’s heart is definitely not evil. And I would definitely rather live in a world like this.” Characters created by Nara often carry a dismissive or even malicious look, but Nara’s works always have a hidden aura or hints, this brought his commercial works into the field of contemporary art, even into museum collections. We have to admit that the mushroom-headed children who wish to speak but don’t on a second thought indeed make us steeped in thought.

And the loneliness revealed in their eyes also reflect the inner selves in you and me.

All characters in Yoshitomo Nara’s works share one feature: they are all alone. Either with their eyes open or shut, they refuse to interact with others. The small and pretty face, eyes wide open, shutted lips and a sense of embarrassed smile of Little Pilgrim (Night Walking) all emits a childish but melancholic atmosphere. Such a paradox reflects Nara’s mindset when making his works, as he commented: “When I am creating something, it is natural for me to wander between the me as an adult and the me as a child.” Nara’s childhood has a strong impact on his works, and is even one of his main themes. Instead of dismissing this as a kind of nostalgia, we may take a different attitude, and consider this as part of Nara’s consistency, in which his most innocent thoughts as a child are preserved.

Unlike what a viewer may think at the first glimpse, Little Pilgrim (Night Walking) is not wandering in a dream world full of unknowns

with eyes shut. Instead, what it represents is the determination to set forth toward one’s dream even with one’s eyes closed, as well as the simplicity of fighting for one’s dream even when asleep. The children portrayed in Little Pilgrim (Night Walking) also reflects Nara’s thoughts toward his hometown, a thought of the past, but never really passed away. It is a reminiscence to his childhood, a reborn of the childhood, the memories and the people he encountered in his life. Along his life till now, the gratefulness and the initial ideals were never forgotten.

224 Yayoi KUSAMA

(Japanese, b. 1929)

Pumpkin (Untitled) 1985 Mixed madia 10.5(L) x 10.5(W) x 11.5(H)cm Signed on the bottom YAYOI KUSAMA in English, inscribed large, and dated 1985 This sculpture is to be sold with a certificate of authenticity issued by Yayoi Kusama Studio.

NT$ 1,100,000-2,200,000 HK$ 285,000-570,000 US$ 36,500-73,100

草間彌生 南瓜 (無題) 1985 綜合媒材 10.5(長) x 10.5(寬) x 11.5(高)cm 簽名底部：YAYOI KUSAMA 1985 (大) 附草間彌生工作室開立之原作登錄卡

225 Yayoi KUSAMA

(Japanese, b. 1929)

Pumpkin

草間彌生 南瓜

1998 Bronze, edition no. 84/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 84/100

1998 銅雕 84/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 84/100

ILLUSTRATED

圖錄

Yayoi Kusama's Work Collections, Dynasty Gallery, Taipei, color illustrated, pp. 24-25

《草間彌生作品收藏集》，朝代畫廊，台北，彩色圖版，頁24-25

This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.

NT$ 900,000-1,200,000 HK$ 233,000-311,000 US$ 29,900-39,900

附FMR開立之作品保證書

226 Yayoi KUSAMA

(Japanese, b. 1929)

Hat 1995 Bronze, edition no. 6/30 10 x 14 cm Signed on the bottom right KUSAMA in English and dated 95

NT$ 650,000-850,000 HK$ 168,000-220,000 US$ 21,600-28,200

草間彌生 帽子 1995 銅 6/30 10 x 14 cm 簽名底部：KUSAMA '95

THE PRECIOUS FIGURINE CREATIONS GIVEN RECOGNITION

BY MUSEUMS 美術館認證的天價公仔創舉

「你可曾想過，家中所擺放的限量公仔，有天不但價格飛漲百倍，還 能進到知名美術館展覽嗎？」藝術家奈良美智過去即以「失眠夜坐 著」一作，為公仔藏家們，不只一次地完成過這個夢想。 幼體性熟亦稱幼態持續，意指在性成熟個體中仍保留幼體性狀的現 象。當前社會的主力結構，無論X或是Y世代，均歷經過高度商業化 的成長環境，許多經典卡通，仍是許多二十∼四十歲人士不滅的童年 回憶，這樣的情況促使成年人就算已工作數年，潛意識裡的青春期 仍不斷延續，造就社會裡充斥著一個個的成人小孩，「公仔」便化身 為這些具備高經濟力、卻又不斷追尋舊時美好時光的大人們，心靈投 射的主要對象。「每個公仔都是一段心路歷程」，童心未泯的他們促 成了公仔世代的崛起，而奈良美智深具療癒性、強烈感染力的各式 「娃娃」，便成為每位公仔藏家心目中的夢幻逸品，在網際網路及社 群媒體的推波助瀾下，進而成就全亞洲公仔收藏的頂點—《失眠夜坐 著》。 不但過去《失眠夜坐著》曾於龍美術館以及亞洲現代美術館兩地展 出，此外，與名牌旅行箱聯名的《Doggy Radio+RIMOWA》，也讓 200位藏家美夢成真，帶著收藏去旅行。而無論是90年代初期親手捏 製的陶藝作品《蘇珊》，或是帶有神似聖誕樹般的頭髮、一雙陽光雙 眸的《森子+小森子》，這些媲美原作氛圍的造型公仔，在在使得玩 具得以進入藝術的殿堂，而如同教父級地位—奈良美智的一舉一動， 仍時刻牽動廣大公仔粉絲的心，同時持續引領未來世代的公仔浪潮。 “Have you ever thought that maybe one day the limited edition figurines you have displayed in your house might not only rise to a hundred times their original price, but even be displayed in a famous art museum?” Artist Yoshitomo Nara’s work “Sleepless Night Sitting” has made this dream come true — and not just once — for collectors of figurines.

Neoteny is the phenomenon where a mature individual retains immature characteristics. The primary components of presentday society, whether Gen X or Y, have all matured in a highly commercialized environment. Many classic cartoons continue to be childhood memories for those 20 to 40 years old. This has led to a situation where, even though someone may have been a working adult for many years, their subconscious continues to be youthful.

This in turn has created a society full of ‘kidults’. For these adults with strong financial abilities who are yet continually seeking to recapture the golden times of their youth, figurines have become a prime focus for their spiritual energies. “Every figurine is a landmark on a spiritual journey.” Their undying childlike wonder has given rise to the world of the figurine; and every one of Yoshitomo Nara ’s “dolls” are superb at both healing and getting one hooked.

They have become the dream objects of desire for every figurine collector. With a constant clamor on both the web and social media, there has come to be one ultimate for any collector of figurines: “Sleepless Night Sitting”.

In fact, “Sleepless Night Sitting” has been displayed in both the Long Museum and the Asia University Museum of Modern Art. In addition, “Doggy Radio X RIMOWA”, a collaboration with the famous luggage manufacturer, also brought dreams to life for 200 collectors and allowed them to bring a collectible with them as they travel. Whether with the hand-sculpted pottery piece “Zuzanna” from the early 90s, or the “Mori Girl + Mini Mori Girl” with its remarkable hair like a Christmas tree and eyes like suns, these designer figurines whose feel so closely matches the originals have time and again brought toys into the cathedral of art. With his position like that of a godfather, every move of Nara Yoshitomo’s stirs the heart of the wider figurine fan audience, and at the same time helps to show the way in the new era of figurines.

227 Yoshitomo NARA

(Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 231/300 15(L) x 16(W) x 30(H) cm (sculpture) 36(L) x 26(W) x 24(H) cm (box) EXHIBITED

NARA + GRAF, Centro de Arte Contemporáneo de Málaga, Spain, September 21, 2007 - January 6, 2008 (different edition exhibited) ILLUSTRTED

Yoshitomo Nara + graf, A to Z, FOIL Co.,Ltd., Tokyo, Japan, 2006, unpaginated.

Yoshitomo Nara, The Complete Works 1984 - 2010, Bijutsu Shuppan Sha, Tokyo, Japan, 2011, color illustrated, p. 314 (another edition illustrated) Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2007-001, p. 314 This sculpture is to be sold with a certificate of authenticity and a wooden box.

NT$ 700,000-1,300,000 HK$ 181,000-337,000 US$ 23,200-43,200

奈良美智 失眠夜坐著 2007 玻璃纖維 231/300 15(長) x 16(寬) x 30(高) cm（人物） 36(長) x 26(寬) x 24(高) cm（箱子） 展覽

「奈良 + GRAF」，馬拉加當代藝術中心，西班牙， 展期自2007年9月21日至2008年1月6日 圖錄

《奈良美智 + graf: A to Z》，Foil 有限會社，東京， 日本，2006，彩色圖版，無頁數 《奈良美智全作品集1984-2010》第一卷，美術出版社， 東京，日本，2011，彩色圖版，頁314（圖片為不同版次） 《奈良美智作品全集第二冊》，編年出版社，舊金山， 2011，彩色圖版，編號 E-2007-001，頁314 附作品保證書及木盒

SLEEPLESS NIGHT SITTING 2007

228 Yoshitomo NARA

(Japanese, b. 1959)

Zuzanna 1990 Acrylic on clay 8(L) x 10(W) x 10(H) cm Signed on the bottom Na in Japanese, titled Zuzanna in English and dated 90 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. S-1990-001, p. 251

NT$ 850,000-1,000,000 HK$ 220,000-259,000 US$ 28,200-33,200

奈良美智 蘇珊 1990 壓克力 黏土 8(長) x 10(寬) x 10(高) cm 簽名底部：Zuzanna な 90 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，編號 S-1990-001，頁251

229 Yoshitomo NARA

(Japanese, b. 1959)

Mori Girl + Little Mori Girl (a set of 2) 2012 Mixed media, edition of 200 A/P 000 (Mori Girl); edition of 1000 (Little Mori Girl) 18(L) x 14.5(W) x 30(H) cm (Mori Girl) 9(L) x 9(W) x 14(H) cm (Little Mori Girl) This sculpture (large) is to be sold with a certificate of authenticity signed by the artist.

NT$ 420,000-600,000 HK$ 109,000-155,000 US$ 13,900-19,900

奈良美智 森子 + 小森子（兩件一組） 2012 綜合媒材 限量200件 A/P 000（森子）； 限量1000件（小森子） 18(長) x 14.5(寬) x 30(高) cm（森子） 9(長) x 9(寬) x 14(高) cm（小森子） 附藝術家親筆簽名作品保證卡（森子）

230 KAWS (Brian Donnelly) x Hajime SORAYAMA (American, b. 1974, Japanese, b. 1947)

No Future Companion (Silver Chrome) ; (Black Chrome) (a set of 2) 2008 Metal (Silver Chrome); edition no. 416/500 Metal (Black Chrome); edition no. 116/500 20(L) x 20(W) x 32(H) cm (x2) (Silver Chrome) Stamped on the base OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008, MADE IN CHINA; numbered 416/500 (Black Chrome) Stamped on the base OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008, MADE IN CHINA; numbered 116/500 EXHIBITED

This is Not a Toy, Design Exchange, Toronto, February 7 – May 19, 2014 ILLUSTRTED

KAWS, Skira Rizzoli, New York, 2010, color illustrated, pp. 234 - 235 This is Not a Toy, Design Exchange, Toronto, 2014, color illustrated, p. 131 This work is accompanied with its original product box.

NT$ 420,000-600,000 HK$ 109,000-155,000 US$ 13,900-19,900

KAWS (布萊恩．唐納利) x 空山基 沒有未來的同伴 (銀鉻)、(黑色)（二件一組） 2008 金屬 (銀鉻)；版次 416/500 金屬 (黑色)；版次 116/500 20(長) x 20(寬) x 32(高) cm (x2) (銀鉻) 簽名底部：OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008 MADE IN CHINA 416/500 (黑色) 簽名底部：OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008 MADE IN CHINA 116/500 展覽

「這不是一個玩具」，設計交流中心，多倫多， 展期自 2014年2月7日至5月19日 圖錄

《KAWS》，斯基拉．里佐利，紐約，2010，彩色圖版，頁234-235 《這不是一個玩具》，設計交流中心，多倫多，2014， 彩色圖版，頁131 附作品原產紙盒包裝

231 ZHOU Tiehai x YUE Minjun x KAWS x ZHOU Chunya x JIN Nu x LIU Ye (Chinese, b. 1966)(Chinese, b. 1962)(Brian Donnelly) (American, b. 1974)(Chinese, b. 1955)(Chinese, b. 1984) (Chinese, b. 1964)

Art For the Masses - Art Toys (a set of 5) 2008 PITCH, botanic fluff; FRP; ABS, Edition 7/100 10(L) x 12.5(W) x 30(H) cm 17(L) x35(W) x 30(H) cm 28(L) x 19(W) x 21(H) cm 19(L) x 14.5(W) x 30(H) cm 14(L) x 15.5(W) x 30(H) cm Signed on the bottom yueminjun × KAWS in English Signed on the bottom Chun-Ya in Chinese Signed on the bottom Jin Nu in Chinese Signed on the bottom zhoutiehai in English Signed on the bottom Liu Ye in Chinese EXHIBITED

Art for the Masses, MOT/Arts, Taipei, 27 June-27 July, 2008 (different edition exhibited) Art for the Masses, Hua Gallery, London, June 2012 Art for the Masses, Red Star Gallery, Beijing, July 2012 MOT Style, Vol.1, JUT Living Development Co., Taipei, 2008 This work is to be sold with a certificate of authenticity signed by the artist and original box.

NT$ 360,000-460,000 HK$ 93,000-119,000 US$ 12,000-15,300

周鐵海 x 岳敏君 x KAWS x 周春芽 x 金釹 x 劉野 摩登駱駝：露齒大笑：綠狗：美麗卡通：美人魚 (五件一組) 2008 樹脂；植絨；塑膠；陶瓷, 7/100 10(長) x 12.5(寬) x 30(高) cm 17(長) x 35(寬) x 30(高) cm 28(長) x 19(寬) x 21(高) cm 19(長) x 14.5(寬) x 30(高) cm 14(長) x 15.5(寬) x 30(高) cm 簽名底部：yueminjun × KAWS；周春芽；金釹；zhoutiehai；劉野； Zhoutiehai 展覽

「Art for the Masses」，MOT/Arts，台北， 展期自2008年6月27日至7月27日 「Art for the Masses」，HUA畫廊，倫敦，2012年6月 「Art for the Masses」，紅星畫廊，北京，2012年7月 《MOT Style》第1期，忠泰生活開發股份有限公司，台北，2008 附有藝術家親簽之作品保證書及作品原裝盒

232 Hiroto KITAGAWA (Japanese b. 1967)

Superman (TU1515) 2015 Glazed ceramic (unique) 32(L) x 18(W) x 86(H) cm

NT$ 320,000-480,000 HK$ 83,000-124,000 US$ 10,600-15,900

北川宏人 超人 2015 陶瓷 釉彩（單一件） 32(長) x 18(寬) x 86(高) cm 簽名：Hiroto '15

233 Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio x RIMOWA 2011 Fiberglass, edition no. 52/200 (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)

NT$ 220,000-360,000 HK$ 57,000-93,000 US$ 7,300-12,000

奈良美智 小狗收音機 x RIMOWA旅行箱 2011 玻璃纖維 52/200；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）

234 Yoshitaka AMANO Hutch the Honeybee 2010 Acrylic on canvas 28 x 48 cm Signed lower right Y. Amano PROVENANCE

Private Collection, Hong Kong

NT$ 100,000-200,000 HK$ 26,000-52,000 US$ 3,300-6,600

(Japanese, b. 1953)

天野喜孝 小蜜蜂哈奇 2010 壓克力 畫布 28 x 48 cm 簽名右下：Y. Amano 來源

私人收藏，香港

235 Yoshitaka AMANO (Japanese, b. 1954)

Hutch the Honeybee 2010 Acrylic on canvas 48 x 28 cm PROVENANCE

Private Collection, Hong Kong

NT$ 100,000-200,000 HK$ 26,000-52,000 US$ 3,300-6,600

天野喜孝 小蜜蜂哈奇 2010 壓克力 畫布 48 x 28 cm 來源

私人收藏，香港

236 HOU Chun-ming (Taiwanese, b. 1963)

「胡言亂語，也得以趨近真理。 」這是侯俊明的塗鴉藝術。

Mandala Series: Shark; Dildo

關心當代藝術的人一定會被侯俊明風格暴烈的雕刻版畫所震懾。他 擅長將情慾禁忌揉合民間宗教美學，驚世駭俗的挑戰觀者的視覺尺 度與道德規範。

2015 on paper Diameter: 25 cm; 24 cm Signed on the reverse Hou Chun-ming in Chinese and dated 2015.9.7 Signed on the reverse Hou Chun-ming in Chinese and dated 2015.11.2

NT$ 60,000-80,000 HK$ 16,000-21,000 US$ 2,000-2,700

侯俊明 曼陀羅系列：鯊鯊；假屌（二件一組） 2015 紙本 直徑：25 cm（鯊鯊）；24 cm（假屌） 簽名畫背：侯俊明 2015.9.7 鯊鯊；2015.11.2 假屌

然而在這看似叫囂挑釁的黑色生猛圖像力量，其實是來自藝術家日 積月累的塗鴉創作。侯俊明的塗鴉作品呼應著當代社會訊息，但更 多來自他平日的自我修煉。他的曼陀羅靜心塗鴉並不只是安靜的打 坐，而是以幾近瘋狂的跳躍與吼叫，啟動他的潛意識圖像與原生的 創造力，進而轉化出侯俊明既放肆又 斂的獨特創作風格；召喚著 個 人 在黑闇的獸。 侯俊明說：「允許自己每一天有片刻的時間塗鴉，在圖畫世界裡當 個瘋子，就可以讓自己踏實的活在現實世界，活得正常一些。 」 “Speaking nonsense may also bring us closer to discovering the truth.” This is the doodle art of Hou Chun-ming.

Those who pay close attention to contemporary art will definitely be shocked by the maniacal, violent style of Hou Chun-ming’s carved prints.

He excels in merging lustful taboo with the aesthetics of folk religion and shocking us with his challenges of visual norms and moral standards.

However, the power of this seemingly provocative image of a black monstrosity is actually the culmination of Hou Chun-ming’s doodles on which he had worked for prolonged periods of time. Hou Chunming’s doodles echo the messages of modern society, but most of them are the result of his independent practices throughout everyday life. His mandala doodles are not just quiet meditation, but leap and shout with a vitality verging on insanity, thus evoking images from deep within his subconscious and inspiring a sort of organic creativity.

These mandala meditation doodles have thus morphed into Hou Chun-ming’s uniquely wild yet conservative style, a style that summons the dark beast within us all.

As Hou Chun-ming has once said, “Allow yourself some time to doodle every day. Become a lunatic in the world of graphic images so that you can live life in the real world to the fullest with as much normality as you can possible achieve.”

237 Mika NINAGAWA (Japanese, b. 1972)

Liquid Dreams Series (Photograph) 2003 Giclée print mounted on plexiglas 24.5 x 36.5 cm Signed on the reverse Mika Ninagawa in English, numbered 1/10, and dated 2003 EXHIBITED

Mika Ninagawa, Museum of Contemporary Art, Taipei, March 19 - May 8, 2016

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

蜷川實花 液態夢幻系列 2003 藝術微噴 水晶裱 24.5 x 36.5 cm 簽名畫背：Mika Ninagawa 2003 1/10 展覽

「蜷川實花展」，台北當代藝術館，台北， 展期自2016年3月19日至2016年5月8日

INGENUITY INHERITANCE IMMORTAL 匠心獨具 傳承不朽

北歐風格的斯堪地那維亞美學以三個國家為首，卻也以三個國家的地 理或是政治等各種因素個別相異，但卻各自閃耀；這群深具影響力藝 術家的創作概念不僅左右著當代設計思潮，更是深深地影響著後代造 型藝術的發想創新，甚至被奉為圭臬；最負盛名的即是丹麥設計巨 匠，漢斯．韋格納、現代設計美學大師，芬尤以及，斯文德・奧格・ 馬德森等，他們在追求造型藝術的完美、突破、創新與功能性之外， 亦同時回歸到以人為本的初衷，使得這些單椅傢俱得以流傳成為偉大 的經典創作。時至今日，這些各件設計單品除了本身所具備的功能 性之外，亦是世界各地諸多美術館以及博物館機構收藏標的，這群藝 術家所帶來的工藝美學超脫了原本的創作概念，昇華成一件件作工精 細、材質別緻講究、美學造型迷人的雕塑傑作，別具時代意義。 The Scandinavian aesthetics were led by three countries, but diverged and shined in different ways due to geological and political differences. The concepts of these highly influential artists

not only impacted contemporary design ideas, but also deeply influenced innovation in plastic arts for later generations, even being hailed as the ultimate standard. Among the most famous of these artists, are Danish designer Hans Wegner, and Finland's aesthetic master of design, Svend Aage Madsen. As they strive towards perfection, breakthroughs, innovation, and functionality, they also held on to their original intention, which is to care for people, and that's what made these chairs and furnitures grand, classic creations. Still, today, every one of these pieces are not only functional, but also the prize of many galleries and museums around the world. The craft aesthetics these artists possess made their works transcend their original creative concept, into intricately crafted and aesthetically pleasing sculptures with exquisite material, that are very much significant to this era.

238 Niels Otto Møller (Danish, 1920 - 1988)

Model-62 Chair 1962 Walnut, leather 55(W) x 54(D) x 80(H) cm

NT$ 90,000-180,000 HK$ 23,000-47,000 US$ 3,000-6,000

尼爾斯．奧拓．莫勒 原型-62號 扶手椅 1962 胡桃木 全苯染皮 55(W) x 54(D) x 80(H) cm

莫勒的作品完全體現了丹麥人熱愛木材並且追求極簡骨感的設計 美學，他的椅子以幾何造形為主，同時又以滑順的曲線修飾每個 細節，讓乘坐者可以直接感受到椅子柔順典雅的結構。1950、 1960年代他的經典座椅多選用柚木與玫瑰木這兩種珍貴的木材來 製作，而這也使得莫勒椅在現在也多獲得收藏家們的喜愛。 Møller's work fully embodies the Danish love of wood materials and the pursuit of a minimalist design aesthetic; his chair is usually geometric, yet streamlined by the smooth curving details, so that anyone sitting on his chairs can directly feel the elegant details of fine craftsmanship. In the 1950s and 1960s, he opted to create furniture using precious teak and rosewood, which elevated the Møller chair to become a widely popular collector's’ favorite.

239 Niels Otto Møller (Danish, 1920 - 1988)

Model-64 Chair 1966 Teak, paper fiber 48(W) x 54(D) x 78(H) cm

NT$ 90,000-180,000 HK$ 23,000-47,000 US$ 3,000-6,000

尼爾斯．奧拓．莫勒 原型-64號 扶手椅 1966 柚木 紙纖 48(W) x 54(D) x 78(H) cm

240 Anonymous Danish Rosewood Dining Table 1960s Rosewood 150/250(W) x 98(D) x 72(H) cm

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,700-7,300

佚名 丹麥玫瑰木餐桌 1960年代 玫瑰木 150/250(W) x 98(D) x 72(H) cm (可延伸100cm)

241 Johannes Andersen Rosewood Dining Table 1960s Rosewood Diameter: 120.5 cm (120.5/220(W) x 120(D) x 71(H) cm)

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,700-7,300

約翰尼斯．安德森 玫瑰木餐桌 1960年代 玫瑰木 直徑：120.5 cm (120.5/220(W) x 120(D) x 71(H) cm)

242 Sigurd Ressell

(Danish, 1920 - 2010)

Falcon chair (a set of 2) 1974 Beech, leather 79(W) x 85(D) x 95(H) cm (x2)

NT$ 130,000-240,000 HK$ 34,000-62,000 US$ 4,300-8,000

西格德．拉塞爾 海鷗椅 (二件一組) 1974 山毛櫸 皮革 79(W) x 85(D) x 95(H) cm (x2)

243 Gunni Omann Model-77 Desk 1960s Rosewood 156(W) x 79(D) x 76(H) cm

NT$ 130,000-240,000 HK$ 34,000-62,000 US$ 4,300-8,000

高尼．奧曼 原型-77 書桌 1960年代 玫瑰木 156(W) x 79(D) x 76(H) cm

244 Anonymous Danish Teak Desk 1960s Teak 134(W) x 83(D) x 74(H) cm

NT$ 140,000-240,000 HK$ 36,000-62,000 US$ 4,600-8,000

佚名 丹麥柚木書桌 1960年代 柚木 134(W) x 83(D) x 74(H) cm

245 Arne Wahl Iversen (Danish, 1927 - 2016)

Rosewood Cabinet 1960s Rosewood 128(W) x 46(D) x 109(H) cm

NT$ 140,000-240,000 HK$ 36,000-62,000 US$ 4,600-8,000

阿恩．瓦爾．艾佛森 玫瑰木邊櫃 1960年代 玫瑰木 128(W) x 46(D) x 109(H) cm

246 Bern H. Pedersen BPS 156 Cabinet 1966 Teak 210(W) x 50(D) x 80(H) cm

NT$ 150,000-260,000 HK$ 39,000-67,000 US$ 5,000-8,600

伯恩．佩德森 BPS 156邊櫃 1966 柚木 210(W) x 50(D) x 80(H) cm

(Danish)

247 Gunni Omann Model-75 Desk 1960s Rosewood 154(W) x 81(D) x 72(H) cm

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

高尼．奧曼 原型-75 書桌 1960年代 玫瑰木 154(W) x 81(D) x 72(H) cm

248 Finn Juhl

(Danish, 1912 - 1989)

FD901 Diplomat Chair (a set of 2) 1961 Rosewood, leather 69(W) x 64(D) x 82(H) cm (x2)

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

芬尤 FD901外交官椅 (二件一組) 1961 玫瑰木 皮革 69(W) x 64(D) x 82(H) cm (x2)

1950、1960年代藉由芬尤在國際各地籌劃了許多展覽讓北歐設計在國 際場合發光發熱，像是在美國紐約大都會美術館「丹麥經典藝術」、倫 敦維多利亞與艾伯特博物館「跨世紀的丹麥經典設計 」 、米蘭三年展 等國際大展。他共在丹麥、美國、義大利、德國、英國、澳洲等地策劃 超過六十場大小展覽，讓全世界看到北歐設計的能量，而被後人尊稱為 「丹麥現代設計之父 」 。 In the 1950s and 1960s, Finn Juhl worked to organize exhibitions across the globe to bring Nordic design onto the international platform. A few examples include The Arts of Denmark exhibition at the Metropolitan Museum of Art in New York, Two Centuries of Danish Design exhibited at the Victoria and Albert Museum in London, the Milan Triennial as well as other international exhibitions. He organized more than 60 exhibitions in total across Denmark, the US, Italy, Germany, Britain, Australia and numerous other countries and truly propelled the reputation of Nordic design, so is fondly referred as the “Father of Danish Modern Design” today.

249 Finn Juhl

(Danish, 1912 - 1989)

France Chair 1958 Oak, leather 80(W) x 80(D) x 78(H) cm

NT$ 180,000-280,000 HK$ 47,000-73,000 US$ 6,000-9,300

芬尤 法國椅 1958 橡木 皮革 80(W) x 80(D) x 78(H) cm

FINN JUHL

此雙人設計師於1944年在丹麥哥本哈根創立了維特＆莫嘉德 設計與建築事務所。著重在丹麥傢俱的前衛與創新設計以及 致力於設計出經濟且易於運輸的家居創作。

was a pioneering force in Danish furniture design and industrialized production in the 1950s, creating furniture that was easy to mass-produce and economic to transport.

原型-309捲門邊櫃為此雙人組設計師邊櫃系列中最為典型的 代表設計，兩人深厚的建築背景使得該件創作帶有強烈的建 築美感，幾何極簡的線條，除去繁雜花俏的裝飾，讓創作本 身成為主角。此件邊櫃帶有濃厚的現代主義建築內涵，將原 本工藝造形藝術提升至建築美學之列。

Model-309 Cabinet is one of this duo designers classical works among their sideboard series. Both being architects and craft designers, Hvidt and Mølgaard-Nielsen had the ability to give their works an air of the architecture.

The geometric lines and the minimalism style and the deduction of the decorative patterns makes this work a protagonist to the viewers. The Model-309 Cabinet contains the aesthetic of the modernist of architecture, which brings the elevates the work itself out of the simple craft but into another realm of architectural astomophere.

Hvidt & Mølgaard was a Copenhagen-based, Danish design and architectural firm which existed from 1944 until 2009. Founded by Peter Hvidt (1916-1986) and Orla Mølgaard-Nielsen (1907-1993), the company

250 Peter Hvidt & Orla Mølgaard-Nielsen Model-309 Cabinet 1956 Teak 166(W) x 48(D) x 87(H) cm

NT$ 190,000-280,000 HK$ 49,000-73,000 US$ 6,300-9,300

彼得．維特 & 奧拉．莫嘉德尼爾森 原型-309捲門邊櫃 1956 柚木 實木 166(W) x 48(D) x 87(H) cm

251 Kai Kristiansen

(Danish, 1926 - 2009)

Model-42 Chair (a set of 4) 1956 Rosewood, leather 59(W) x 55(D) x 75(H) cm (x4)

NT$ 220,000-320,000 HK$ 57,000-83,000 US$ 7,300-10,600

凱．克里斯坦森 原型-42 扶手椅 (四件一組) 1956 玫瑰木，皮革 59(W) x 55(D) x 75(H) cm (x4)

克里斯坦森創作的形式包含單椅、書桌、餐椅、餐桌、收納櫃等； 他強調了以人本的初衷，在功能與實用之外，創作出富含現代感設 計線條的各式作品，而在洗鍊的幾何造型架構下其細節的巧思更是 讓人驚豔；他的許多作品在今日依舊被生產，可見其對後代工藝美 學的影響之深。 Kai Kristiansen’s works involved various forms such as chair, dining table, desk, sideborad. He emphasized on the humanity in his works and created numerous works which contained the outlines of modernist and combined with function and aesthetic. His works have the succinct shapes and deliberately details and still been reproduced even today, which tells how significant his designs is to the contemporary crafting arts.

KAI KRISTIANSEN

252 Niels Otto Møller

(Danish, 1920 - 1988)

Model-77 Dining Chair 1959 Rosewood, leather 50(W) x 50(D) x 77(H) cm (x6)

NT$ 220,000-320,000 HK$ 57,000-83,000 US$ 7,300-10,600

尼爾斯．奧拓．莫勒 原型-77 餐椅 (六件一組) 1959 玫瑰木 皮革 50(W) x 50(D) x 77(H) cm (x6)

253 Hans Olsen Model-630 Dining Table and Chairs 1962 Teak, leather Table, Diameter: 106 cm

106/156(W) cm x 106(D) x 73(H) cm Chair: 45.5(W) x 50(D) x 69(H) cm (x4)

NT$ 220,000-320,000 HK$ 57,000-83,000 US$ 7,300-10,600

漢斯．奧爾森 原型-630 餐桌組 (一桌四椅) 1962 柚木 皮革 桌：直徑：106 cm 106/156(W) cm x 106(D) x 73(H) cm 椅：45.5(W) x 50(D) x 69(H) cm (x4)

254 Knud Færch

(Denmark-Icelander)

Rosewood Dining Chair (a set of 6) 1960s Rosewood, leather 48(W) x 50(D) x 80(H) cm (x6)

NT$ 320,000-420,000 HK$ 83,000-109,000 US$ 10,600-13,900

克努德．法齊 玫瑰木餐椅 (六件一組) 1960年代 玫瑰木 皮革 48(W) x 50(D) x 80(H) cm (x6)

丹麥傢俱設計當中，以當代偉大設計師之列的漢斯．韋格納最富盛名。一生設計超過500多件單椅， 且作品多被美術館收藏的他於1951年設計的單人沙發「泰迪熊椅」則是他經典的代表作之一。被評論 如被一隻大熊從後面環抱住，其可愛、溫暖的形象也將這款單椅的歡迎程度大大提升，被列入單椅藝 術珍品之一。 Hans J. Wegner be the most prestigious designer when it comes to Danish design furniture.Wegner had designed more than 500 chairs all his life, and many of his works are collected by museums worldwide. As one of his classic pieces, his Teddy Bear Chair designed in 1951 is described as been held by a big bear from the back. It gained great popularity with such a warm and adorable image, making it listed as one of the must-have collectable chairs.

255 Hans J. Wegner (Danish, 1914 - 2007)

AP19 Teddy Bear Chair with Ottoman 1951 Oak, cloth Armchair: 86.5(W) x 88(D) x 97(H) cm Ottoman: 60(W) x 49(D) x 40(H) cm

NT$ 420,000-550,000 HK$ 109,000-142,000 US$ 13,900-18,300

漢斯．韋格納 AP19 大熊椅 (含腳凳) 1951 橡木 布料 椅：86.5(W) x 88(D) x 97(H) cm 腳凳：60(W) x 49(D) x 40(H) cm

256 Arne Jacobsen

(Danish, 1902 - 1971)

Egg Chair-by Fritz Hansen 1958, 1960s First edition Aluminum tripod, leather 89(W) x 75(D) x 107(H) cm

NT$ 440,000-550,000 HK$ 114,000-142,000 US$ 14,600-18,300

阿諾．雅各布森 Fritz Hansen 蛋椅 (黑) 1958，1960年代第一版 鋁製腳架 皮革 86(W) x 75(D) x 107(H) cm

257 Arne Jacobsen

阿諾．雅各布森

(Danish, 1902 - 1971)

Fritz Hansen 蛋椅

Egg Chair-by Fritz Hansen

1958，1960年代第一版 鋁製腳架 皮革 89(W) x 75(D) x 107(H) cm

1958, 1960s First edition Aluminum tripod, leather 89(W) x 75(D) x 107(H) cm

NT$ 650,000-750,000 HK$ 168,000-194,000 US$ 21,600-24,900

最經典之北歐傳奇絕對非阿諾．雅各布森莫屬，曾就讀丹麥皇家藝術 學院攻讀藝術，且為丹麥設計藝術代表人物。他以建築及工業設計創 作享譽國際，並且獲獎無數。他的作品結合了現代主義、北歐自然主 義，並強調簡約之表現風格，使得他的作品帶點些許極簡主義質感。 阿諾．雅各布森的創作皆經過極精密的計算，極致簡約、無累贅線條 之造型呈現，使作品透露著優雅、簡樸卻精緻的質感氛圍。

and industrial designs which also brought him numerous awards in the realm. Jacobsen’s works combined with the modernist, nordic naturalism and emphasized on succinct style , which gives his works a texture of modernist. His works were all undergone a deliberately calculated and the minimum interfered design gives the works the elegance just from the outlines.

《蛋椅 Egg Chair》為阿諾．雅各布森的經典傳奇，最初他應邀設計 哥本哈根的皇家飯店，並同時替飯店的大廳與貴賓廳設計出了此經典 的《蛋椅 Egg Chair》。此件《蛋椅》造型立體獨特，具有突破性的 造型美學，且環抱性的設計創造出令人舒適、隱密放鬆的私密空間。 此外，簡約又立體的線條，宛如雕塑品般的造型工藝至今仍是令人 追捧的單椅藝術經典，並且多次出現在電影場景中如：《MIB星際戰 警》、《慾望城市》等，至今依舊令人追捧。

Arne Jacobsen was invited to design the Radisson Blu Royal Hotel in Copenhagen and the famous Egg Chair was originally designed for the lobby and the VIP’s salons of the hotel. The Egg Chair has a peculiar outline which was a breakthrough in the time. The encircling shape of the chair gives a private and relaxing space and atmosphere. In addition, the succinct and three-dimensional outlines have allowed the chair to reveal an air of a fine sculpture and also allowed it becoming a remarkable chair ever created at all time. The Egg Chair has been seen in numerous movie scenes such as Men in Black and Sex and the City. It is still a popular designed chair today.

Arne Jacobsen was absolutely a legend in Scandinavian design history. He once studied arts in Royal Danish Academy of Fine Arts and was the icon of his time. He was praised for his architectural

ARNE JACOBSEN

301

SANYU (Chinese-French, 1901 - 1966)

Nude

1930s Charcoal and ink on paper 44 x 16 cm EXHIBITED

SANYU~Significant works from the Paris Period, Polin Art Center, Taichung, May 16-31, 1992 ILLUSTRATED

Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0118, p. 65 Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0118, p. 17 (flash drive)

NT$ 340,000-550,000 HK$ 88,000-142,000 US$ 11,300-18,300

常玉 立姿裸女 1930年代 炭筆 水墨 紙本 44 x 16 cm 展覽

「中國的馬諦斯∼常玉巴黎時期重要作品展」，柏林藝術，台中， 展期自1992年5月16日至31日 圖錄

《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會，台 北，2014，彩色圖版，編號D0118，頁65 《常玉素描全集》，衣淑凡，財團法人立青文教基金會，台北， 2014，彩色圖版，編號D0118，頁17（隨身碟）

14

302

SANYU (Chinese-French, 1901 - 1966)

Nude 1930s

Charcoal and ink on paper 42.5 x 26 cm Signed lower left Yu in Chinese in a square and SANYU in French ILLUSTRATED

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0098, p. 15 (flash drive)

NT$ 340,000-550,000 HK$ 88,000-142,000 US$ 11,300-18,300

常玉 跪姿裸女 1930年代 炭筆 水墨 紙本 42.5 x 26 cm 簽名左下：玉 SANYU 圖錄

《常玉素描全集》，衣淑凡，財團法人立青文教基金會， 台北，2014，彩色圖版，編號D0098，頁15（隨身碟）

16

303

SANYU (Chinese-French, 1901 - 1966)

Nude

Pencil on paper 49 x 29 cm Signed lower left YU in Chinese in a square and SANYU in French PROVENANCE

Former collection of Jean-Claude Riedel, Paris ILLUSTRATED

Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1176, p. 96 Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1176, p. 67 (flash drive) This work is to be sold with the letter of opinion signed by Rita WONG and issued by The Li-Ching Cultural and Educational Foundation.

NT$ 460,000-650,000 HK$ 119,000-168,000 US$ 15,300-21,600

常玉 側立裸女 鉛筆 紙本 49 x 29 cm 簽名左下：玉 SANYU 來源

尚．克勞德．希耶戴舊藏，巴黎 圖錄

《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會， 台北，2014，彩色圖版，編號D1176，頁96 《常玉素描全集》，衣淑凡，財團法人立青文教基金會，台北， 2014，彩色圖版，編號D1176，頁67（隨身碟） 附立青文教基金會衣淑凡女士意見信函

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304

SANYU (Chinese-French, 1901 - 1966)

Nude

Pencil on paper 47.5 x 30 cm PROVENANCE Former collection of Jean-Claude Riedel, Paris ILLUSTRATED Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1107, p. 102 Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1107, p. 63 (flash drive) This work is to be sold with the letter of opinion signed by Rita WONG and issued by The Li-Ching Cultural and Educational Foundation.

NT$ 440,000-650,000 HK$ 114,000-168,000 US$ 14,600-21,600

常玉 裸女 鉛筆 紙本 47.5 x 30 cm 來源 尚．克勞德．希耶戴舊藏，巴黎 圖錄 《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會， 台北，2014，彩色圖版，編號D1107，頁102 《常玉素描全集》，衣淑凡，財團法人立青文教基金會，台北， 2014，彩色圖版，編號D1107，頁63（隨身碟） 附立青文教基金會衣淑凡女士意見信函

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FILLING IN THE BLANK WITH THE ETHEREAL ABUNDANCE T’ANG Haywen

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以空靈與豐盛填補空白 曾海文

傳統水墨媒材，西方抽象的抒情筆法，畫面在大寫意與似與不似之 間來去自如、盡情揮灑，進而構成了人們所熟知旅法華裔藝術家— 曾海文中體西用的繪畫風格。 「旅行，是藝術家一生重要的創作養分。」自出生地的福建廈門、 童年時期舉家遷徙的越南、一生待過多個國家的曾海文於1948年 抵達花都巴黎後，自幼跟隨祖父嚴習書法、飽受禮教束縛的文人內 涵，好比江流奔流入海般找到生命的出口。受到藝術之都自由奔放 的文化所感召，拋棄原有的醫學課業，遂以巴黎為居所，以自習方 式走遍在世界、在各大美術館中流連忘返，就此確立繪畫為一生職 志。 綜觀曾海文的抽象創作，這些多為70X100公分的雙聯幅作品，也 在前後時期展現出極為不同的婀娜姿態。1970年代，是他由寫實 語彙進行抽象轉化的重要時刻，藝術家這批不欲受既有分類束縛， 介於具象與抽象間、無拘無束的畫面，逕自在「一」分為「二」、 「二」合為「一」道家思想的影響下，融入了色彩與幾何圖形的概 念，尋找發掘創造第三空間的可能性，既繼承了傳統，也讓中國水 墨現代化的腳步再次向前演繹。 1980年後，無疑的是一種出自於藝術家敏銳感官下「自然」的重 現，畫面上遊走織染的濃淡墨色，呈現出一種輕盈的流動之美，抑 或是猶如千軍萬馬般急馳氣勢的粗黑重墨線條，以一氣呵成的雙聯 幅，頃刻間記錄下行旅過程中稍縱即逝的美景，不但在原本的空白 畫紙上填補了空靈與豐盛，更是一種順應自然的美之流露。若我們 深究某一細節處，那遠邊天際的山勢、雲潮的翻滾、和煦的陽光、 輕撫臉頰的微風，藝術家當時眼前的壯闊美景，彷彿重現眼前、歷 歷在目。

The romantic styles of traditional ink and wash paintings and western abstract art center on capturing the subject’s spirit and expression between figurativeness and abstraction, eventually forming French Chinese artist T’ang Haywen’s style, which mixes the forms and techniques of both eastern and western art.

“Travel is the most important fuel for artists.” Born in Xiamen, Fujian, before moving to Vietnam with his family in his childhood, T’ang Haywen had lived in many countries in his lifetime. Since arriving in Paris in 1948, his restricted literati spirit bound by etiquette and built upon years of learning calligraphy from his grandfather found a new outlet, like a river suddenly rushing into the sea. Touched by Paris where the art had been blooming during that period, the city’s unrestricted and liberating culture, T’ang Haywen turned his back on his medical studies, deciding instead to live in Paris, and teach himself art by traveling the world and visiting museums, establishing his dream of becoming a painter.

A look at the abstract works of T’ang Haywen show that these mostly 70 cm by 100 cm diptychs display vastly different charms in different eras. The 1970s was an important period for his transitions from realism to abstract, this collection of unlimited, uninhibited images that fall between figurativeness and abstraction, unhindered by labels, integrating concepts of color and geometric shapes under the influence of the Taoist “split one into two”, “two join as one” philosophy, in search of a way to create a third space, both inheriting tradition and taking the modernization of Chinese ink and wash paintings one step further.

After the 1980s, the artist’s recreation of “nature” based on his keen perspectives became clear, the dark and light ink that travel and dye his images present a beautiful, light flow, or thick, black lines of ink thundering like a stampede of horses. These spontaneous diptychs recorded the fleeting sceneries encountered in his travels, not only filling blank pages with ethereal abundance, but also displaying the beauty of following nature. If we were to explore any detail—the faraway mountains by the horizon, the rolling clouds, the warm sunlight, the breeze caressing our cheeks—the grand scenery that the artist saw at the time would brought to life right before our eyes.

305

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

Untitled (Diptych)

c. 1970 Ink and color on Kyro card 70 x 100 cm Signed lower right T’ang in English, Haywen in Chinese

曾海文 無題（雙聯幅） 約1970年 彩墨 Kyro板 70 x 100 cm 簽名右下：T'ang 海文 來源

PROVENANCE

私人收藏，法國

Private collection, France

圖錄

ILLUSTRATED

此作品將收錄於曾海文文獻庫及古獨奇先生

This painting will be included in the forthcoming catalogue raisonné in preparation by T’ang Haywen Archives and Mr. Philippe Koutouzis under No. LDC-KY-30.

附菲利浦．古獨奇開立之原作保證書

This painting is to be sold with the certificate of authenticity issued by Philippe Koutouzis.

NT$ 300,000-400,000 HK$ 78,000-104,000 US$ 10,000-13,300

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正在編纂之《曾海文作品編年集》(LDC-KY-30)

306

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

Untitled (Diptych)

c. 1970 Ink and color on Kyro card 70 x 100 cm Signed lower right T'ang in English, Haywen in Chinese

曾海文 無題（雙聯幅） 約1970年 彩墨 Kyro板 70 x 100 cm 簽名右下：T'ang 海文 來源

PROVENANCE

私人收藏 ，法國

Private collection, France

圖錄

ILLUSTRATED

This painting will be included in the forthcoming catalogue raisonné in preparation by T'ang Haywen Archives and Mr. Philippe Koutouzis under No. LDC-KY-31.

This painting is to be sold with the certificate of authenticity issued by Philippe Koutouzis.

NT$ 300,000-400,000 HK$ 78,000-104,000 US$ 10,000-13,300

此作品將收錄於曾海文文獻庫及古獨奇先生 正在編纂的《曾海文作品編年集》(LDC-KY-31) 附菲利浦．古獨奇開立之原作保證書

307

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

Untitled (Diptych)

c. 1985 Ink on paper 70 x 100 cm Signed lower right T'ang in English, Haywen in Chinese PROVENANCE

Private collection, France ILLUSTRATED

This painting will be included in the forthcoming catalogue raisonné in preparation by T'ang Haywen Archives and Mr. Philippe Koutouzis under No. LDI-AR-81.

This painting is to be sold with the certificate of authenticity issued by Philippe Koutouzis.

NT$ 280,000-380,000 HK$ 73,000-98,000 US$ 9,300-12,600 26

曾海文 無題（雙聯幅） 約1985年 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源

私人收藏，法國 圖錄

此作品將收錄於曾海文文獻庫及古獨奇先生 正在編纂之《曾海文作品編年集》(LDI-AR-81) 附菲利浦．古獨奇開立之原作保證書

308

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

Untitled (Diptych)

c. 1985 Ink on paper 70 x 100 cm Signed lower right T'ang in English, Haywen in Chinese

曾海文 無題（雙聯幅） 約1985年 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源

PROVENANCE

私人收藏 ，法國

Private collection, France

圖錄

ILLUSTRATED

此作品將收錄於曾海文文獻庫及古獨奇先生

This painting will be included in the forthcoming catalogue raisonné in preparation by T'ang Haywen Archives and Mr. Philippe Koutouzis under No. LDI-AR-82.

This painting is to be sold with the certificate of authenticity issued by Philippe Koutouzis.

NT$ 280,000-380,000 HK$ 73,000-98,000 US$ 9,300-12,600

正在編纂之《曾海文作品編年集》(LDI-AR-82) 附菲利浦．古獨奇開立之原作保證書

309

SHIY De-jinn (Taiwanese, 1923 - 1983)

Fishing Boats

1972 Watercolor on paper 45.5 x 53 cm Signed lower left SHIY De-jinn in Chinese and dated 1972

NT$ 420,000-550,000 HK$ 109,000-142,000 US$ 13,900-18,300

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席德進 海上漁舟 1972 水彩 紙本 45.5 x 53 cm 簽名左下：席德進 1972

310

RAN In-ting (Taiwanese, 1903 - 1979)

A Duck Pond

1966 Watercolor on paper 37 x 52.5 cm Signed lower right In-Ting in Chinese, Ran In-Ting in English, inscribed Taiwan in English, and dated 7.1966 With one seal of the artist

藍蔭鼎 養鴨人家 1966 水彩 紙本 37 x 52.5 cm 簽名右下：蔭鼎 RAN In-Ting 7.1966 TAIWAN 鈐印右下：鼎 來源

鈴木秀夫收藏，日本

PROVENANCE

(曾任台北州教育課長與總督府理番課長)

Collection of Hideo Suzuki, Japan (late governmental official in Taiwan) (acquired directly from the artist) Private collection, Japan

私人收藏，日本

NT$ 500,000-700,000 HK$ 130,000-181,000 US$ 16,600-23,200

(直接得自藝術家本人)

311

YU Cheng-yao (Taiwanese, 1898 - 1993)

Landscape

1978 Ink and color on paper 67 x 47 cm With one seal of the artist This painting is to be sold with the certificate of authenticity issued by Chen Mei-Er.

NT$ 550,000-850,000 HK$ 142,000-220,000 US$ 18,300-28,200

余承堯 山水 1978 彩墨 紙本 67 x 47 cm 鈐印右上：余承堯印 附陳美娥開立之原作保證書

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312

YU Cheng-yao (Taiwanese, 1898 - 1993)

Landscape

Ink and color on paper 71.5 x 43 cm Signed upper center Yu Cheng-yao, titled Landscape and inscribed created at my residence in Taipei all in Chinese With one seal of the artist EXHIBITED

Three Masters of Art: Calligraphy and Ink Paintings

by Yu Cheng-yao, Shen Yao-chu, 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 Cheng-yao, Shen Yao-chu, and Zhen Shanxi, National Museum of History, Taipei, 2013, color illustrated, p. 50

NT$ 600,000-700,000 HK$ 155,000-181,000 US$ 19,900-23,200

余承堯 山水圖 彩墨 紙本 71.5 x 43 cm 簽名中上：余承堯誌 題識中上：山水圖作於臺北寓所 鈐印中上：余承堯印 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50

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313

Walasse TING (Chinese-American, 1929 - 2010)

Bird & Girl

1999 Acrylic on canvas 40 x 60 cm Signed on the reverse Ting, titled Bird & Girl and dated 3-1-1999

NT$ 950,000-1,600,000 HK$ 246,000-415,000 US$ 31,600-53,100

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丁雄泉 鸚鵡與女孩 1999 壓克力 畫布 40 x 60 cm 簽名畫背：Bird & Girl ting 3-1-1999

314

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

Sami 23-G

1990 - 2013 Acrylic on canvas 86 x 100 cm Signed lower left Hsiao in English, Chin in Chinese Signed on the reverse Hsiao Chin, titled Sami 23-G in English, inscribed 86 x 100 cm, and dated 1990-2013 This painting is to be sold with a certificate of authenticity signed by the artist, issued by Lotus Art Gallery, Kaohsiung.

NT$ 1,000,000-2,000,000 HK$ 259,000-518,000 US$ 33,200-66,400

蕭勤 Sami 23-G 1990 - 2013 壓克力 畫布 86 x 100 cm 簽名左下：Hsiao勤 簽名畫背：HSIAO CHIN 1990-2013 "Sami 23-G" 86 x 100 cm 蕭勤畫 附荷軒新藝空間開立及藝術家親簽之原作保證書

315

PANG Jiun

龎均 春到徽洲

(Taiwanese, b. 1936)

Scholar’s Building

2017 油彩 畫布

2017 Oil on canvas 73 x 91 cm

73 x 91 cm 簽名右下：龎均2017 手繪鈐印右下：均

NT$ 1,200,000-2,200,000 HK$ 311,000-570,000 US$ 39,900-73,100

色彩就是感覺。 沒有絕對，但必須透過綜觀的觀察後， 了解對象、環境、光源三者統一成一個整體， 加以感覺，才能從客觀世界到感情世界。

龎均

龎均將禪家所想表達的「空」，透過借景抒情的方式，將心與自然合 一，既能賦予更敏銳的感受更廣大的想像空間。 作品《春到徽洲》便是近年來龎均創作中的集大成之作，畫面盎然新 生，筆觸嫺熟、色彩樸實、大膽而巧妙地運用黑白灰為基礎，配以淡 雅的暖色作為調和，一派春意盎然之氣。作品以黛瓦、粉壁、馬頭牆 簷代表的徽派建築為背景，前景盛放的桃花有如帷帳般拉開春的序 幕。古老民宅白牆玄瓦的端莊、樸素之美在畫家的描繪中以不同深淺 的灰，塗抹出中國古建築牆壁的淺米色，又好像是石膏白，屋頂是靠 近黑色的灰。碧空之下樹木也都是鬱鬱的青，屋前樹下晾曬的衣服給 清淡的畫面添加了幾分煙火氣。畫中刻意的留白，讓整幅作品色調看 起來又是如此的平衡。當徽派建築的青瓦白牆被畫家以黑白線條、簡 練構圖、溫和用色進行演繹的同時，這不僅是向他的前人致敬，更是 對中國人文傳統的致敬之作。 Pang Jiun once said that “Colors are emotions”, there are no certain rules, but one must have a well-rounded considerations of such factors: the subject, environment, and lightings, in addition to emotions, in order for one to see the world with objectivity and subjectivity. Pang Jiun has incorporated the Zen philosophy of “emptiness” in his works, in the sense that he unites the heart and nature, expressing a much wider and liberated aura.

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The painting "Spring in Huizhou" is one of Pang Jiun's more recent masterpieces. The scene portrays a sense of vitality through mature brush strokes, simple colors, and the bold and ingenious use of black, white, gray as the base tones. Then paired with gentle and elegant warm palettes to form a harmonious whole to express the energy and vitality of spring. The background of the painting is made up of black roof tiles, chalk white walls, and horse-head eaves that represent Huizhou style architecture; the flowering peach blossoms in the foreground are like curtains opening on to a scene of spring. The simple elegance of the residence's white wall and dark roof tiles is depicted by the artist through using different shades of gray to create the light beige or plaster white walls of ancient Chinese architecture. The roof is a deep gray, nearly black.

Under the bright blue sky, the trees are a somber green, the clothes drying under the tree in front of the house adds a homey touch to the overall scene. The purposeful blank spaces balance out the painting's color palette. The blue tiled roof and white walls of Huizhou style architecture are depicted by the artist with black and white lines, simplistic composition, and gentle use of color. This is not only in honor of his ancestors, but also an homage to Chinese cultural traditions.

316

PANG Jiun

龎均

(Taiwanese, b. 1936)

灕江山色

Li River

2016 Oil on canvas 73 x 91 cm

2016 油彩 畫布 73 x 91 cm 簽名右下：龎均2016 手繪鈐印右下：均

NT$ 1,200,000-2,200,000 HK$ 311,000-570,000 US$ 39,900-73,100

龎均獨創的油畫風格，是其在漫長的藝術創作生涯中一直在古典與現 代、東方與西方之間尋找精確的平衡點。近些年來作品在創作上無論 是構圖或是配色與線條勾勒中都日漸老辣瀟灑。筆法鮮明、俐落而熱 情，融合油畫和中國水墨的寫意，其風格融匯中西方的藝術哲學，畫 作既能表現西方印象派及野獸派的爆發力，亦蘊涵東方文人畫的詩情 畫意，成功建立了東方油畫的表現主義。 作品《灕江山色》完全表現出龎均在描繪山水上的才情。畫中前景枝 枒新綠、春花初開，樹枝纖細交錯，含苞待放的淡粉色正是由此冒 出，同時也象徵春天的降臨。從此處望去，水面無限展開直到與天色 一致。創造出一片無垠的、深淺灰色調子的視覺幻象，讓觀者浮想連 翩。水光瀲灩，映出附近山峰的倒影，讓人忍不住感嘆自然之美。中 景一方扁舟掩掩映映，兩名漁夫平和地撐一支長篙，使得畫面在一片 灰綠中生動起來，彷彿置身於青山綠水春花開的勝景中。龎均聰慧地 吸取古今中外的繪畫優點，創建其油畫藝術的特質。 Pang Jiun's unique oil painting style is from the precise balance between classic and modern, Eastern and Western that he has striven to find in his long artistic career. In recent years, whether it's the imagery or color pairing or the fluidity of the lines in his works, all of it has gradually been becoming more mature and carefree. The artist’s peculiar oil painting style is bright, sharp, and passionate, integrating oils with the imagery of Chinese ink and wash painting. His style combines both Chinese and Western artistic philosophy, and his paintings display the explosive force of Western

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Impressionism and Fauvism, as well as the poetic imagery of Eastern literati paintings, successfully establishing the spirit of Expressionism within Eastern oil painting.

The work "Mountains from Lijiang" fully expresses the gift and passion of Pang Jiun in his depiction of mountain and water. In the foreground of the painting, the green buds are starting to appear on the end of the branches and a few early spring blossoms are starting bloom. The crisscrossed slender branches and the soft pink flower buds are placed here and also to serve as a symbol of the coming spring. Gaze forward from where the blooms swinging and one will see the water expanding over the horizon until it becomes one with the sky. The scene of boundless visual fantasy in various tones and shades of gray draws the viewer into a world of imagination. The water is bright and clear, showing the reflections of the nearby mountain peaks and bringing attention to the wondrous beauty of nature. In the middle ground, a canoe drifts by blithely, the two fishermen work together harmoniously on the long boat paddle, imbuing the green and gray scene with vitality, transporting one to a place of breathtaking scenery surrounded by green mountains, blue waters, and blooming spring blossoms. Pang had wisely absorbed all the excellence of the both the western and eastern masterpieces from all time and built up his own unique oil painting characteristics.

317

George Chann (Chinese-American 1913 - 1995)

Solve the Puzzle

1970s Oil on canvas 72 x 60 cm Signed lower right George Chann in English This painting is to be sold with a certificate of authenticity issued by Moon River Fine Art, Taipei.

NT$ 1,500,000-2,000,000 HK$ 389,000-518,000 US$ 49,800-66,400

陳蔭羆 解迷 1970年代 油彩 畫布 72 x 60 cm 簽名右下：GEORGE CHANN 附雲河藝術開立之原作保證書

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318

HONG Ling

洪凌

(Chinese, b. 1955)

雪靜山空

Snow in Vacant Mountains 2006 Oil on canvas 150 x 160 cm Signed upper left Hong Ling in Chinese and dated 2006 Signed on the reverse Hong Ling in Chinese, titled Snow in Vacant Mountains in Chinese and dated 2006

2006 油彩 畫布 150 x 160 cm 簽名左上：洪凌 06 簽名畫背：雪靜山空洪凌作于2006年

NT$ 3,000,000-4,000,000 HK$ 777,000-1,036,000 US$ 99,600-132,800

洪凌的畫作，是油彩堆疊的風景，是意境悠遠的山水，有西方抽象表 現的精神，亦有東方「外師造化、中得心源」的內涵。他將中國文人 山水帶往一個嶄新豐厚的境界，亦為油畫這項在西方擁有數百年歷史 的藝術形式，開闢了一方氣韻生動、天人合一的新天地。《雪靜山 空》蒼茫壯闊，是洪淩盛年之作，在潔白空靈同時生氣盎然的雪景 中，蘊涵的是藝術家融貫古今、長年徜徉大山大水的心靈意象。 出生於北京，家學淵源的洪凌，在1970及80年代接受了中國以蘇聯 社會寫實主義尊的扎實學院訓練，並任教於中央美術學院油畫系，備 受推崇。然而，潛藏於內心的文人魂驅使他不斷追尋，童年曾在家族 舊藏中初識中國山水召喚著他，最終，洪凌於1992年離開蓬勃發展 的北京，渡過長江來到黃山腳下，長居於此，在這江南之境讀詩讀畫 讀山水，鎔鑄出當代文人的新精神。他以潚灑不羈的潑彩與濃淡互見 的灰白交織出《雪靜山空》出塵脫俗的雪景，畫中斑駁的色彩層層堆 積、蒼勁的樹幹交錯峥嶸，古意悠遠，深刻寧靜；而淡黃、粉紫與湖 綠點綴其間，帶來流轉於天地萬物之間永不止息的生氣。整幅作品磅 礡蒼勁、暢快淋漓，迴盪出悠遠大器的無盡氣韻。 The works by Hong Ling are significant landscapes built of oil paints that carry both the spirit of western abstract expression and eastern values of “Snow in Vacant Mountains.” He elevates Chinese literati landscapes to another level, making way for a new world where the vitality of nature and man come together in oil paintings shaped by

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centuries of western art history. The hazy yet vast “Snow in Vacant Mountains” is a work from Hong Ling’s prime. Amid the ethereal purity, this snowy landscape still bursts with life, as it shines with undertones of the artist’s years of wandering through the past, the present, nature and his own mind.

Born in Beijing, the highly educated Hong Ling received solid schooling in the Soviet union’s socialist realism in China during the 1970’s and the 80’s, later going on to be given a prestigious teaching position at the oil painting department of China Central Academy Of Fine Arts. However, the scholar stirring within him kept searching his subconscious for his first encounters with the nature in his hometown. Eventually, Hong Ling left the rapidly developing Beijing in 1992, crossing the Yangtze River and settling down at the foot of Huangshan. As he nourished himself with poems, writing, paintings, and scenic views by these downstream waters, he forged the spirit of a contemporary scholar anew. The grays and whites splashing into each other with no inhibitions are woven into the otherworldly snowy lands of “Snow in Vacant Mountains,” its flecks of color and firm branches intersecting to bring out the metaphorical tranquility of the painting. Highlights of light yellow, pastel purple and cyan breath life into the the cycle of life of nature and its inhabitants. The entire image holds a refreshing weight that reverberates with the endless potential that life has to offer.

319

Walasse TING (Chinese-American, 1929 - 2010)

I Know You Before

1977 Acrylic on canvas 77 x 101 cm Signed on the reverse Walasse Ting, titled I Know You Before in English and dated '77

丁雄泉 似曾相識 1977 壓克力 畫布 77 x 101 cm 簽名畫背：Walasse Ting, I Know You Before ' 77

NT$ 4,400,000-5,500,000 HK$ 1,140,000-1,425,000 US$ 146,100-182,700

一生不受羈絆、浪漫無度的丁雄泉以他最絢麗、最撩人眼目的斑斕畫 作吸引世人目光，他所表達的不僅是他處事的待度，亦是他對藝術熱 愛的生活；丁雄泉喜愛艷麗花朵、色彩迷人的鸚鵡、或是壯碩的駿 馬、或是畫貓、畫蟋蟀，但他最癡迷的創作主題同時也是他一生最難 以捨卻也最令人稱道的是他對於女人的描繪。 1970年代，丁雄泉來到了紐約這戰後的世界中心，同樣也是藝術的 首都；當時的普普主義以及抽象表現主義深深地吸引著他，這新奇又 大膽、放肆、狂妄的藝術表現正與他如一匹脫韁的藝術野馬個性相融 洽；他丟開了形式的窠臼、拋棄了傳統的繪畫泥沼，發展出了特屬於 他的繪畫形式與藝術風格；也是在此時，紐約百花盛開的藝術創作也 激勵著藝術家最底層的創作靈感，丁雄泉總是信手拈來般地揮灑出一 張張大大小小的圖畫；而此件迷人的《似曾相識》正是創作於丁氏的 紐約時期。野獸派似的撞色色塊，表現主義的滴流、潑灑將畫布點綴 成最令人目不暇給的炫爛作品，畫中的女主角手捧著如抽象畫般地盆 花，眼神曖昧地望著他方，流洩出的關愛一覽無遺。 丁雄泉的藝術裡，總是浪漫、總是詩；他用無比直覺性的色彩重新描 畫他眼前所見的謬思，帶著我們欣賞他曾所見過的美景、美女；他是 現代繪畫中的採花大盜，更是一位充滿熱情、愛情奔放的藝術家，也 因為如此，我們能感受到丁雄泉強大卻又溫柔、對藝術熱愛的至誠至 真。 Living his life unattached with a sense of romance that knew no end, Walasse Ting captured his viewers through works colored with utmost brilliance and allure. What he expressed in his works was not just his attitude, but also his life of artistic passion; Walasse Ting loved to draw bright flowers, parrots with their captivating colors, and things like cats, crickets, and sturdy horses, but the subject he was most infatuated with is not only the very thing that he could never let go of, it also happened to be what he was acclaimed for: women.

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In the 1970s, Walasse Ting went to New York, the center of the world in the post-war era, as well as the capital of art; the Pop Art movement and Abstract Expressionism of the time attracted him deeply. This curious yet daring, reckless, and brazen form of artistic expression was a perfect fit for his unreserved and wild personality as an artist. He discarded stereotypical forms, abandoning the muck of traditional art, and developed his very own form and artistic style. It was also at this time that the blooming artistic creations of New York stirred the most fundamental artistic inspirations within the artist. Walasse Ting would paint pictures, both big and small, with what would seem to be a flick of his wrist. The charming “I Know You Before” just so happens to have been created during Ting’s time in New York. The Fauvist collision of colors and the Expressionist trickling and spray adorn the canvas, forming a brilliant piece of work that is too much for the eye to take in at once. The female subject in the painting holds a pot of flowers that seem to have come from an abstract painting. Her eyes gaze flirtatiously into the distance, broadcasting her affection to all who would see.

Walasse Ting’s artworks are always filled with romance, with poetry; he was highly intuitive in his use of an assortment of colors to recreate the wonders he had seen. He used them to guide us in appreciating the beautiful views and women he has seen. He was the Don Juan of modern art. But more than that, he was an artist overflowing with passion and love. Because of that, we can feel the strong, yet gentle power of Walasse Ting, as well as his genuine love of art.

320

Walasse TING (Chinese-American, 1929 - 2010)

Have a Cup Tea With Me 1977 Acrylic on canvas 91 x 102 cm Signed on the reverse Ting, titled Have a cup tea with me, and dated 77 Spring

丁雄泉 與我喝杯茶 1977 壓克力 畫布 91 x 102 cm 簽名畫背：Have a cup tea with me Ting 77 Spring 來源

諾德畫廊，丹麥

PROVENANCE

Galerie Nord, Denmark

NT$ 5,000,000-6,000,000 HK$ 1,295,000-1,554,000 US$ 166,100-199,300

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」；在紐約的丁雄泉發展了筆 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。 對於女人的描繪，丁雄泉確實是一位箇中高手，他畫情、畫愛，畫 鳥、畫馬，用他一生的情愛與浪漫、風流瀟灑的性格替華人藝術史留 下一扉最絢爛、最綺麗的一頁。而丁雄泉也是中西方藝術之集大成 者；早期他擅以筆墨揮舞，盡顯淋漓酣暢，再者以紙上彩墨勾勒出形 形色色的畫作，偶有具象的花草樹木、鸚鵡駿馬、各色搔首弄姿的女 體；或是沾染抽線表現主義的滴流潑灑，而這些或於紙上、或於畫布 上的各種創作都深深地抓住了世人的目光，也終究使得丁雄泉注定成 為一位現代藝術範疇中不可不被提及的一位。 此件畫作完成於丁雄泉旅居紐約的壯年時期，抑是藝術家飽含創作 力，融合他過去與當時所見所聞如：眼鏡蛇派、抽象表現主義、普普 藝術等的成熟年代；亦正是在這時期，藝術家獨特的藝術語彙一步一 步的成形，他琢磨本身的中華文化底蘊，亦同時不斷汲取當時西方藝 術潮流中最令人激賞讚嘆的精華，淬煉成藝術家最具代表性的表現主 義風格；在此件色彩斑斕的《與我喝杯茶》中，藝術家大膽的用色直 覺與感性的色彩碰撞，讓畫面鋪陳出一股熱鬧歡愉的氛圍；丁雄泉流 暢的筆法線條勾勒出畫中美女的綽約姿態，神情泰若宜人，慵懶地手 臂伏案、眼神從容面帶一抹含羞的微笑，與多以裸女之姿為主題的其 他畫作相比，此件佳作則披上了一股神秘卻又優雅的面紗；丁雄泉同 樣愛花、畫花，他以抽象表現主義的骨架，揮灑出盛開嬌豔的盤花朵 朵，展現出生命力的豐美與對美的事物的執著熱愛，而桌上看似嬌鮮 欲滴的水果錦集與青春貌美的畫中女子相呼應，帶出了青春無限的美 好氣息。 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.

When it comes to depicting woman figures, Walasse Ting was definitely an expert. In outlining emotions, love, birds, and horses, he used a life full of love and a carefree personality to write the most brilliant chapter in the history of Chinese Modern art. Walasse Ting himself was also an anthology of western and eastern art combined. In his early days of ink paintings, he would dance his brush across the paper to his heart’s desire, which he would then color to bring his works to life. Sometimes, they would be figurative depictions of greenery, parrots, horses, or the alluring postures of the female body; other times, he would dabble in the overflowing freedom of abstract expressionism. This assortment of works on both paper and canvas has captured the world’s attention, making Walasse Ting destined to become a prominent presence in the realm of contemporary art.

This work was completed in Walasse Ting’s prime of life when he was living in New York. Not only is it full of his creative energy, it also combines his past and present experiences from that time period: the maturation of movements such as CoBrA, abstract expressionism, and pop art. It was also at this time that the artist’s unique artistic vocabulary was formed step by step. He refined his own Chinese cultural background while drawing upon the wondrous essence of the western artistic trends from that era, all of which condensed into the artist’s iconic expressionist style. In the colorful “Have a Cup Tea with Me,” the artist’s daring intuition and sensational collision of colors result in a pleasant and bustling atmosphere within the image. Walasse Ting’s fluid brushwork outlines the graceful physique of the lady in the picture. Compared to his other works depicting nude women, her calming presence, gazing patiently with a shy smile as she draped her arm lazily over a table, this masterpiece is veiled in a sense of mystery and elegance.

Walasse Ting also loved flowers and drawing flowers. He used the framework of abstract expressionism to fully display the blossoming of flowers, expressing beauty in vitality and the fervency of his love.

The collection of enticing fruit and the girlish beauty of the woman in the picture resonate with each other, bringing out the wonders of youth.

46

321

LIU Kuo-sung (Taiwanese, b. 1932)

Rhythm of the Moon (C) 2008 Ink and color on paper 99.5 x 183.5 cm Signed lower right Liu Kuo-sung and dated 2008 in Chinese Signed on the reverse Rhythm of the Moon（C）in Chinese, inscribed 99.5 x 183.5 cm and dated 2008 With two seals of the artist ILLUSTRATED

Paintings of Liu Kuo-sung, Capital Art, Taipei, 2013, color illustrated, pp. 46-47

NT$ 8,000,000-9,000,000 HK$ 2,073,000-2,332,000 US$ 265,700-298,900

劉國松 月之律動（C） 2008 彩墨 紙本 99.5 x 183.5 cm 簽名右下：劉國松 二ＯＯ八 簽名畫背：月之律動（C）2008 99.5 x 183.5 cm 鈐印右下：劉國松印 鈐印左下：合而為一 圖錄

《大化流形 劉國松畫集》，首都藝術，台北，2013，彩色圖版，頁46-47

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RHYTHM OF THE MOON (C) LIU Kuo-sung

作為台灣現代藝術團體五月畫會的創始成員，劉國松致力於

此件作品《月之律動 (C)》創作於2008年，其總和了藝術家

提倡華中國傳統藝術的全面改革與創新，而當時西學東進，

過去各種新創水墨語言之大成；其中一可見卓受到1968年

西方藝術的抽象繪畫與藝術觀念大舉排山倒海地湧入當時

美國太空船阿波羅8號進入月球軌道時所啟發，進而發展的

台灣社會，劉國松追求的不單只是以西方技法呈現他在形式

太空畫的身影：如作品上部幾輪明月與其殘影，而作品下部

與技法上貼近中國哲思的創作理念，而是將西化的形式揉入

以獨特紙筋法創作出富含肌理層次，亦透出蒼茫意境的筆觸

他最本質的藝術語彙，破釜沉舟的決心，創立一個全新的語

書畫，則帶有抽象形式之美外同時帶有具象繪畫意涵，也因

彙。

如此，在觀看劉國松作品時，藝術家所表達的是一種超越中

以水墨見長的劉國松不滿足於單一繪畫形式的表現，他試圖 在傳統的水墨技法上大刀闊斧的革新，創建一種全然別於過 往的新式水墨繪畫；而在劉國松的現代水墨之中，在形式與 創作技法上看來，依舊是中國文化的精髓與骨幹，然而在其 表現手法上則以西方的抽象藝術為皮肉，企圖開創水墨藝術 的嶄新格局以外，也看出將水墨藝術再造、昇華為己任的雄 心抱負。綜觀劉國松的藝術歷程，從最早60年代起的拓墨 法、紙筋法、70年代中期的水拓法，再到從80年代中後期 至今的漬墨法，可見藝術家本身對於創作技法的不斷革新以 外，也寄望著從這樣不停地破除傳統的筆墨窠臼中，提煉出 事宜現代藝術的中國繪畫。

西藩籬的藝術型態；他早期透過反叛繪畫語言、西式藝術風 格、抽象繪畫形式、不斷突破創新的技巧重塑多樣風貌的劉 氏藝術，即便在觀看上帶有西方繪畫的細枝末節，但在本質 上仍然是中國水墨藝術的精粹與根源；而他作品中看似具象 亦非抽象的圖像則超脫了中國水墨繪製山水的泥沼，將此千 年的藝術注入新的生命與無窮的變化性，也使得劉國松在現 代水墨範疇裡終究不可被取代，也使得他的作品在每一個他 曾經歷的過去與尚未發生的未來之中，更具時代精神。

As one of the the founding members of the Taiwanese Modern art group Salon de Mai, Liu Kuo-sung is a strong advocate of Chinese traditional art as well as complete reformation and innovation.

As western ideas of civilization spread eastward, the values of abstract art of the west took Taiwanese society by storm. Liu Kuosung seeks not to simply showcase the Chinese philosophies of his works through the framework and techniques of western methodologies, but to integrate parts of westernization into his very own artistic vocabulary. With the determination to see it through to the very end, he created a brand new vocabulary.

Even as a master of ink and color painting, Liu Kuo-sung is not satisfied by a singular method of expression. His attempts at bold innovation in traditional ink and color painting techniques have created a form of ink and color paintings never seen before.

Liu Kuo-sung’s Modern ink works appear to retain the essence of Chinese culture in both form and technique. However, his methods of expression are based on that of western abstract art. Aside from his attempts in paving a new road for ink and color painting, we can also see his resolution to take the matter of remaking the art of ink and color painting into his own hands.

Looking at an overview of Liu Kuo-sung’s artistic journey, from the earliest stages of his ink imprint technique (Tuomo Fa) and paper grain technique (Zhijin Fa) in the 60’s, to his water print technique (Shui Tuo Fa) of the 70’s, and finally his steeped ink and color technique (Zimo Fa) from the mid 80’s to present day, one can see the artist’s constant reforming of his own methodology. As he continuously breaks down the traditional conformities of ink,

劉國松 《月之律動（B）》 2007， 彩墨 紙本，100.5 x 182 cm 10,200,000台幣成交，2014年12月7日，台北羅芙奧2014秋季拍賣會 LIU Kuo-sung, Rhythm of the Moon (B), 2007, Ink and color on paper, 100.5 x 182 cm sold at NT$10,200,000 on 7th December 2014, Ravenel Taipei Autumn Auction

he conjured up a faction of Chinese painting within the realms of Modern art.

“Rhythm of the Moon (C)” was created in 2008. It summarizes the various ink and color painting languages of the artist’s own creation. One can see traces of his venture into space art as inspired by the American spacecraft Apollo 8’s orbit of the moon in 1968. The upper half is occupied by a few full moons and traces of their trajectory while the lower half was painted in layers using a special kind of paper grain technique. While taking on a vast imagery through its brushwork, it also hold the beauty of abstractions in addition to figurative meaning. It is because of this that when looking at the works of Liu Kuo-sung, one can find that the artist wishes to convey a sort of artistic format that transcends both western and eastern norms. Through his early rebelling against artistic language, western art styles, and forms of abstract art, the art of Liu is constantly rebuilding its own innovation and methods. Even if they hold the minutiae qualities of western art, they still contain the essence of Chinese ink and color painting at its core. The imagery of his works seem figurative, yet not quite abstract, escaping from the sloughs of Chinese landscape paintings in ink. Through injecting new life into an art crafted over thousands of years and constant change, Liu Kuo-sung’s Modern ink and color painting art became one of a kind, making every one of his works from both the past and the future a symbol of their time.

322

SANYU (Chinese-French, 1901 - 1966)

Femme Allongée

1955 Oil and ink on masonite 25.3 x 42.7 cm Signed lower left Yu in Chinese in a square and SANYU in French Dated on the reverse 1955 and inscribed Paris ILLUSTRATED

Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0626, p. 51 (flash drive) This oil painting is to be included in the forthcoming catalogue raisonné of Sanyu oil paintings by Rita Wong.

NT$ 10,000,000-18,000,000 HK$ 2,591,000-4,663,000 US$ 332,100-597,800

常玉 沙灘上的裸女 1955 油彩 墨 纖維板 25.3 x 42.7 cm 簽名左下：玉 SANYU 簽名畫背：1955 Paris 圖錄

《常玉素描與水彩全集》，衣淑凡，財團法人立青 文教基金會，台北，2014，彩色圖版，編號D0626， 頁51（隨身碟） 本件油畫作品將收錄於衣淑凡 常玉油畫全集

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FEMME ALLONGÉE SANYU

我就不能一天沒有一個精光的女人 耽在我的面前供養、安慰、餵飽我的眼淫 I cannot go a day without a woman shining before me, providing for, comforting, and feeding my eyes. 引自徐志摩《先生，你見過艷麗的肉沒有？／ 巴黎的鱗爪》 Sir, have you seen gorgeous meat? in Xu Zhimo’s Tidbits from Paris

廿十世紀初，常玉一身華服，風度翩翩地踏上了當時瘋狂年代，藝術

於中西繪畫之中的獨特裸女創作。常玉發展的繪畫當中，大至上可依

流派百家齊放的花都巴黎，他不循當年同樣赴法追求夢想的林風眠、

照其顏色與畫中出現的裝飾性背景略知創作年代一二；如早期，1930

徐悲鴻或是龎薰琹一樣進入正規歐洲藝術教育系統，反倒是隨心所

年代時，多為粉白、粉紅色調，洋溢著繽紛且浪漫的巴黎情調；30年

致，隨興所畫；他來到頗負盛名的大茅屋畫室臨摹速寫模特兒或是與

代後因家中金援中斷，且戰事爆發，使得期間的創作較為克難，亦為

他同樣在畫室裡作畫的人物，特別是以裸女和仕女為主角居多；而常

了生計嘗試雕塑與陶藝作品；50年代從美國返回巴黎之後，由於經濟

玉除了單以鉛筆速寫加上用以炭筆增加空間與體積感以外，亦使用毛

困頓難以取得作畫材料，此時期的作品有很大部分為創作於纖維板，

筆，輕快瀟灑地畫出多張素描，同時種下他日後裸女線條充滿書法氣

但其風格的轉變也清楚地有別於初到巴黎時充滿實驗意味，摸索、塑

韻的旨趣。

形的階段。

一次世界大戰以後，巴黎的藝術創作者們從北邊的蒙馬特逐漸來到塞

《沙灘上的裸女》則為常玉晚期創作，相較其他晚期帶有表現主義風

納河旁的蒙帕納斯，而來自世界各地的藝術家們如夏卡爾、莫迪里

格的身體曲線，此件畫作當中可見中國傳統木刻色彩，他捨棄了早

亞尼、傑克梅地、藤田嗣治等，身為可說是當時第一位中國畫家的常

期那如行雲流水般的書法性線條，轉而以充滿力道的卻不失宛若中國

玉，自然而然顯得獨特且充滿自信風采；當時稱為瘋狂年代的巴黎，

書畫乾筆技巧的氣韻，俯視的視覺角度將中國現代主義的平面繪畫可

亦是藝術藝術流派蓬勃發展的黃金年代如：野獸派、表現主義、立體

能性帶到另一種境界；畫面中蒼茫的大片留白對應了中國式的傳統美

派等，這些在當時蔚為風尚也大鳴大放的種種派別，給了常玉相當程

學，然而，此件作品的內容本身脫離了人體繪畫與物像的侷限；常玉

度的影響，也顯著地表現在常玉日後的油畫作品上；而位於蒙帕納斯

精簡的裸女線條中，流瀉的不僅是中國式的感性美學，他高超的書畫

中心的大茅屋畫室更是許多懷抱夢想的藝術創作者們經常造訪之地，

智慧將古時騷人墨客情懷注入在此件繪畫之中，取於直覺，未曾矯

鄰近的咖啡店如穹頂咖啡廳、圓頂咖啡廳等亦是許多藝術家們駐足討

揉，體現了畫中裸女身處萬籟俱寂的悠然自得與隨遇而安的精神性；

論、相互交流的地方，也提供了常玉一個充滿藝術生命力的速寫去

他驚人地以幾筆簡單的線條，概括了身處兩的截然不同世界的矛盾與

處，並且吸收眾多新穎西方現代藝術知識，使得常玉得以跳脫學院體

兩種龐大文化的碰撞衝擊，展現出質變的西方繪畫與本質上為中國藝

制的框架，卻亦能廣納百川地鍛鍊自己的繪畫技巧。

術的精神哲學，即便晚年的常玉生活潦倒窮困，他依舊堅持著西方藝

常玉一生作畫的題材以花卉、仕女、裸女、動物、水果靜物為主，其 中又以花卉數量最多，但最受人追捧的依舊是他那線條誇張，卻不見

術和與生俱來的中國美學基礎，以和諧的筆畫實踐他理想的創作，終 究使他成為一代中國現代主義藝術先鋒。

52

At the beginning of the twentieth century, Sanyu, elegantly clad, would walk the streets of Années folles Paris, the city of romance in a period when artists of all movements bloomed and flourished.

Unlike his contemporaries who arrived in France that time, people such as Lin Fengmian, Xu Beihong, and Pang Xunqin, who had come to France in pursuit of their dreams, Sanyu did not receive a formal European education in art. Instead, he did as he pleased, drawing whatever struck his fancy. He found his way to the prestigious Académie de la Grande Chaumière, where he dove into the world of sketching live models and the artists around him in the studio. His works of this time mostly featured nude females and modern ladies. Sanyu used charcoal on top of pencil to add dimension and volume to his figure sketches; he also used Chinese ink and brush to rapidly and effortlessly produce many of his sketches. Such practice laid the foundations for his later nude sketches that embodied the flowing line of Chinese calligraphy.

After the First World War, artists of Paris eventually made their way from Montmartre in the north to Montparnasse near the Seine. Among artists from all over the world, including Chagall, Modigliani, Giacometti, and Tsuguharu Foujita, Sanyu was arguably the first Chinese artist, and as such he naturally stood out as unique, exuding an aura of confidence. The Années folles, or "crazy years,” of Paris were also a golden age for many artistic

be found elsewhere in Eastern or Western art. Sanyu’s artistic development can be divided into periods according to color palette and decorative background: For example, his early works from the 1930s were done in mostly white pastels and pinkish tones and tended to overflow with the colorful and romantic temperament of Paris; due to the combined hardships of the war and losing the financial support of his family, he ventured into sculpture and pottery after the 30s in order to make ends meet; after returning to Paris from America in the 50s, financial difficulties made even procuring art supplies difficult. Thus, many of his works from this period are on masonites. This shift in style also marked a departure from his early days, having just arrived in Paris, of experimentation, exploration, and evolution.

“Femme Allongée” is one of Sanyu’s later works. Compared to the expressionist curves of his figures during this period, influences from traditional Chinese woodblock carving are apparent in this painting. He abandoned the fluid calligraphic line of his early days in favor of powerful line that retains the subtlety of dry brush techniques in Chinese ink and wash painting. The raised viewpoint takes the possibilities offered by two-dimensional works in modern Chinese art to another level. The vast negative space of the image reflects traditional Chinese aesthetics, yet its subject diverges from the limitations on the depictions of human figures and other

喬爾喬內《沉睡的維納斯》c.1510 油彩 畫布，德國，德勒斯登美術館收藏

常玉《裸女戲貓》 1950年代 油彩 纖維板

Giorgione, Sleeping Venus, c. 1510, oil on canvas, 108.5 x 175 cm

Sanayu, Nude with Cat, 1950s, oil on masonite, 79x128cm

Collection of Gemäldegalerie AlteMeister, German

movements, such as: Fauvism, Expressionism, and Cubism. Deemed fashionable, these movements had quite an influence on Sanyu.

Such influence is apparent in his later oil paintings. Located in the heart of Montparnasse, the Académie de la Grande Chaumière was frequented by many aspiring artists. Its neighboring cafés, such as La Coupole and Le Dôme Café, became symposiums for discussion and exchange among artists. These locations provided Sanyu with all the art and life he needed for his sketches, as well as a continuous stream of new knowledge regarding Western contemporary art. These places allowed Sanyu to avoid the rigid framework of formal art institutes while still fine-tuning his own techniques through a multitude of styles.

Throughout his life, Sanyu painted flowers,ladiesn, nude females, animals, and still life of fruit, though flowers were his most frequent subject. However, he is most known for his unique works of nude women that feature exaggerated line work that simply is not to

objects. What flows through the simplistic lines of Sanyu’s nude is not merely the sensibility of Chinese aesthetics, but his incredible breadth of knowledge in ink and wash painting that allows him to infuse the poetic laments of older times in his paintings. Drawing upon instinct, he depicted his nude not as a fragile being, but in such a light that exemplifies her sense of ease and relaxation as she lies in solitude. In an alarmingly few simple lines, he summarized the contradiction of two completely different worlds, the collision between two enormous cultural entities that metamorphose through him into a spirit combining Western painting with the philosophical principles of Chinese art. Even as Sanyu fell into poverty in his later years, he stayed true to the harmony between Western art and the Chinese aesthetics that were his birthright. With his brush and dreams in hand, he paved a path to becoming a pioneer of modern Chinese art.

323

SANYU (Chinese-French, 1901 - 1966)

Potted White Peonies 1950s Oil on masonite 92 x 75 cm Signed lower right Yu in Chinese in a square and SANYU in French PROVENANCE

Jean-Claude Riedel, Paris Private collection, Asia This painting is to be sold with the certificate of authenticity issued by Jean-Claude Riedel

NT$ 20,000,000-30,000,000 HK$ 5,181,000-7,772,000 US$ 664,200-996,300

常玉 盆中牡丹 1950年代 油彩 纖維板 92 x 75 cm 簽名右下：玉 SANYU 來源

尚．克勞德．希耶戴，巴黎 私人收藏，亞洲 附尚．克勞德．希耶戴開立之原作保證書

54

POTTED WHITE PEONIES SANYU

常玉《盆中牡丹》1940-50年代 油彩 纖維板

常玉《白菊》 1930-1940年代 油彩 纖維板 私人收藏

2014秋季拍賣會 5,612萬港幣成交

SANYU, White Crysanthemums, 1930-1940

2009年春季拍賣：626萬港幣成交

SANYU, Pot de pivoines (Potted Peonies), oil on masonite,

oil on masonite, 81x65.5cm, Private collection

SANYU, Potted Peonies, c. 1955, oil on masonite

88.2x73.7cm, Autumn Auction 2014, US$7,270,610 Sold

常玉《盆中牡丹》 約1955年 油彩 纖維板

78x65cm, Spring auction 2009, US$808,166 Sold

二十世紀初，中國孕育了才華洋溢的青年常玉，而年屆二十的青年常

彩，藝術家捨去牡丹豐厚的綠葉，僅僅留下三朵白牡丹綻放在粉橘色

玉，在1921年來到人文薈萃的法國巴黎，一座契合他不羈靈魂、絕世

細勁的枝頭，簡潔的畫面襯得牡丹極為出塵高貴，亦帶著一絲孤獨。

才情的城市。從此，巴黎承載了常玉的瀟灑與孤獨，迎接他回饋這世 界的一張張晶瑩如朝露、璀燦亦高潔的純淨畫作。

花卉，是常玉一生衷愛的題材，映照了他一生的至情至性。《盆中牡 丹》正中枝幹挺立昂揚，於頂端綻放風華；往右斜出的枝幹在低處朝

不同於同時期來到巴黎求藝的其他華人藝術家如徐悲鴻與林風眠，常

上轉折，開出另一朵白花，往左斜出的分枝拉出張力，支撐這奮力朝

玉既不懷著藝術報國的偉大理想，與生俱來的優越自信也讓他無需揹

上的轉折。而主幹約莫半高處又往左分出一枝，直接朝下彎折，開出

負「迎頭趕上西方先進」的心理壓力，他以全副的身心擁抱花都的生

一朵低頭沉吟的花，內觀而含蓄，而那驚險的轉折，也展現了一種生

活，沉浸在自由激盪的文化氛圍裡，亦享受著雅緻的生活情調與濃烈

命的韌性。常玉讓白牡丹盛開在晶透的小玻璃盆中，我們不禁驚訝

的愛情。或許正是這樣的沒有包袱，初到巴黎時捨正統學而就體制外

於這豐盛的優雅，竟從玻璃盆中一小截無根的枝幹顫顫巍巍地綻放出

大茅屋畫院的常玉，自1920年代末綻放出絕世的才情，1930年代驚

不成比列的強大生命力。如同常玉此時期單純淡雅的風格，《盆中

豔巴黎藝壇。他的繪畫既呼應西方現代主義式的精妙簡約，亦流露東

牡丹》裡，花卉與玻璃花盆的物象簡約轉化為寫意的存在，立於無景

方文人精神的空靈寫意；他從不刻意追求「中西合壁」，反而自然而

深的空間背景之中，呼應馬諦斯引領的野獸派風格，卻在凝練精粹之

然地讓已然深入他靈魂裡、分別來自歐洲與中國文化的精神元素高妙

際保有豐富的繪畫性筆觸，靈動優美的線條或許得益於年少時期隨名

地互融轉化，相甫相成，成就動人且難得的絕美境界，《盆中牡丹》

文學家暨書法家趙熙習書畫所奠定的基礎，氣韻生動，高雅而蓄滿張

即為此中極為優雅空靈之代表。

力。畫作色調雖然極淡，油彩在纖維板上卻流動出極為豐富的層次，

常玉1930年代以極簡高雅的繪畫風靡巴黎藝壇，他的畫作造形精練而 寫意，用色極為簡約，經常以三或四個色調即完成一幅畫作，而其中

橘褐的枝幹與粉灰的花朵疊加在粉白背景之上，底層又透出紅褐色調 的鋪陳，東方式的幽微細膩，耐人尋味。

特別喜愛乳白、灰黑、粉紅，許多畫作彩度極低，甚至淡得出奇，或

若將此畫喻為一幅「淺絳著色」的水墨，那麼常玉使用的也是極其雅

是加入墨黑或深藍以營造強烈的視覺對比，這段時間，常玉的才華備

緻的淡墨，一切在影影綽綽中靜靜綻放天地間的生命律動。正如蔣勳

受推崇，來自於大哥常俊民的經濟支持也讓他不必仰賴畫作的銷售即

曾言：「常玉或許更像詩，像一種晶瑩的絕句，純粹到只能參悟，而

得以悠遊於繁華花都，然而，他筆下的世界依舊保持著優雅氣質，甚

不是考證，也不是字斟句酌的解讀。」《盆中牡丹》以明亮輕快的色

至流露出一股驅近於孤高的清麗。牡丹富貴華美，頗能象徵常玉貴公

彩，高度提煉的簡潔，盡顯繁華世界中，超然純淨的心靈。

子的身份，但他50年代的《盆中牡丹》卻一反妍麗繽紛，幾近白色無

56

常玉或許更像詩，像一種晶瑩的絕句 純粹到只能參悟，而不是考證，也不是字斟句酌的解讀 －蔣勳

“Perhaps it would be more fitting to say that Sanyu’s works are like poems, like a kind of translucent quatrain that is so pure that you can only experience it but not prove it, as his wordings have no definition.” - Xun Jiang

In the beginning of the twentieth century, China gave birth to the exceptionally talented youth Sanyu. In 1921 at the age of twenty, he arrived at the cultural center of Paris, a city that agreed well with his free spirit and unparalleled gifts. From then on, Paris inherited Sanyu’s individualism and loneliness, inviting him to give back to the world through works translucent as morning dew that sparkle with nobility.

Unlike other hungry artists of his time who also made their way to Paris, such as Xu Beihong and Lin Fengmian, Sanyu did not express grandiose notions of patriotism in his art. With a natural confidence, he believed that he needn’t pressure himself to “chase after the advancements of the west,” but embrace his life in the blossoming city of romance with his mind, body and soul. As he submerged himself into the freedom of its cultural atmosphere, he enjoyed the intricacies of life at his own pace as well as the passions of love.

Perhaps it was his lack of attachments that Sanyu, who had chosen to practice his artistic skills in Académie de la Grande Chaumiere instead of orthodox academic institutions shortly after arrived in Paris, was able to release his talents into the world in the late 1920s and continue to astound the Parisian art scene in the 1930s. His art reflects the precise minimalism of western modernism as well as the ethereal descriptions favored by eastern scholars. He never made a conscious effort to “blend eastern and western elements together”; instead, he allowed them to be absorbed into his soul on their own accord, and these spiritual elements from both Europe and China ingeniously converged into one another, piecing together touching images of a rare kind of beauty . “Potted White Peonies” is one representative of these ethereal paintings.

In the 1930s, Sanyu took the Parisian art scene by storm with his simplistic and elegant art style. The visual design of his works are concise yet descriptive. His color palettes are extremely minimalistic with a single painting usually consisting of merely three or four colors, his favorites including milky white, greys, and pinks. Many of his works were quite lowly saturated to the point of fading into obscurity entirely; otherwise, he would add ink blacks or dark blue to create a strong sense of contrast. During this time, Sanyu’s talents were critically acclaimed. Financial support from his older brother Chang Junmin meant that he did not have to rely on selling his works to make ends meet, granting him the luxury of exploring the bustling city of romance at his own pace. Despite this, the worlds he created with his brush retained an elegance with a lucidity akin to solitude. The wealthy grandeur of peonies is a rather apt representation of Sanyu’s rich blood, but his later work in

1950s like “Potted White Peonies”are anything but colorful to the point of being almost as colorless as pure white. The artist got rid of the peonies abundance of green leaves, leaving behind three white peonies blooming on thin pastel orange stalks. This simplistic image brings out the exquisite nobility of the peonies tinged with loneliness.

Flowers were Sanyu’s utmost favorite subjects, as they reflected all that he felt and experienced throughout his life. The center flower of the“Potted White Peonies” stands tall, blossoming with magnificence at the very top; the stem growing off to the right curves upward at a low vantage point, blooming with another white flower while the flower on the the left adds tension as it supports its fight to bloom at its turning point. The main stem branches off somewhere at its midpoint up above in a direct curve downwards, blossoming with a flower that seems to hum as it bows its head, introspective and shy. This alarming shift brings out a sense of resilience. Sanyu let his white peonies flower in a translucent glass pot, leaving us amazed at all its elegance, as their tiny, unassuming stalks grow from the glass pot while trembling with a disproportionate vitality. Just like the simple elegance of Sanyu’s style of this time, the simplistic imagery of the flowers and glass vase of “Potted White Peonies”are an illustrative existence, growing from a spacious background without depth. This calls back to the fauvist style lead by Matisse (Henri Matisse, 1869-1954). Yet, on the brink of its immortalized essence, it retains the artistic touch of a brush, the dynamic beauty of its line work supposedly drawn from the artist’s younger days of following the footsteps of the famous calligrapher Zhao Xi Xi, who set his foundation built with both vitality and nobility. Though the color palette of the artwork is quite pale, the oil paints flow on the canvas in many layers. The copper branches and grayish flowers layered upon a pastel white background tinged with a brownish vermilion leave much food for thought in its oriental tranquility.

If we describe this artwork as a painting “tinged with a reddish wash,” then Sanyu used the most delicate layer of ink he could, quietly blossoming by their own tune. Just as Xun Jiang once said, “Perhaps it would be more fitting to say that Sanyu’s works are like poems, like a kind of translucent quatrain that is so pure that you can only experience it but not prove it, as his wordings have no definition.” With its brisk colors, “Potted White Peonies” simplistic and pure essence shine through even amongst a world that continues to flourish.

324

CHU Teh-chun (Chinese-French, 1920 - 2014)

Poème Épique

2001 Oil on canvas 130 x 162 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 2001 Signed on the reverse poème épique in French, CHU TEH-CHUN in both Chinese and French, and dated 2001 ILLUSTRATED

CHU TEH-CHUN, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 065, p. 100

NT$ 28,000,000-36,000,000 HK$ 7,254,000-9,326,000 US$ 929,900-1,195,600

朱德群 歷史般的詩篇 2001 油彩 畫布 130 x 162 cm 簽名右下：朱德群 CHU TEH-CHUN 2001 簽名畫背：Poème épique CHU TEH-CHUN 朱德群 2001 圖錄 《朱德群》，印象畫廊，台北，2005，彩色圖版，編號065，頁100

58

POÈME ÉPIQUE Chu Teh-chun

在我的畫面上，其色彩和線條從不是偶然的 它們和諧地達到同一目的： 激活光源，喚起形象及韻律 朱德群

朱德群曾說，他進入抽象繪畫的領域，並非為了接受一個理論，而是

《歷史般的詩篇》完成時，藝術家已過杖朝之年，運用了大膽的色

欣賞過自由奔放，超越抽象與具象對立的畫作之後，使他激動，讓他

彩、抽象表現主義構圖及筆走龍蛇的書法技巧，正好呈現了這混合式

躍躍欲試。終於豁然頓悟，原來抽象畫就是要畫那些記憶中的壯遊圖

畫風。在這幅畫作中，畫家把有黏性的油彩再加提煉，以達到一種質

像，似是而非、似非而是的存在。至此，他開始褪去桎梏與限制，隻

感相近的「六層色彩」—黑、白、深、淺、乾、濕—這些特徵與傳統

身闖蕩這塊藝術的未知之地。而對朱德群來說，一腳踏入抽象創作的

水墨畫有不少相似之處。畫家充分掌握塗抹厚薄油彩及調色，讓明亮

未知之地後，他才又領受到，自由不僅只是繪畫創作的形式的跳脫與

的光澤飄逸在沉色的畫面上。深深的陰影貫穿整個畫作，形成極度繁

解放，也是藝術創作的態度。自由奔放在繪畫中如此地難能可貴，又

複的風景構圖。當細長的白線散落在深沉的背景上，朱德群製造出一

如此的困難，如何不讓畫面流於空洞粗野，在神領意造之際又能將畫

種不能抗拒的、甚至超越畫布平面的張力。火熔般的金光散發自深

面處理地恰到好處，而不失內涵，則是他在創作歷程中不斷追尋自問

沉的陰影上，而華麗的色彩同時也輝映在構圖之中。令人眩目的鑽光

的。猶如北宋山水畫家郭熙在《山水訓》中提到「景外意」與「意

鮮明地從陰暗中發放出來，在畫作中央洋溢著歡欣愉悅的氣氛。每一

外妙」的看法，主張若作品描繪的景像了無內涵與反思，無法感動觀

個鮮艷的色調都建構出新層次的深度及幅度，畫作猶如一個無限的空

者，也不能感動創作者本身，作品便趨於空虛。長久以來，沉澱內

間。

化於藝術家心中的美景、詩歌、音樂與文化記憶，自然而然羅列於胸 中，總是能激發他如源頭活水般不息的畫意，不自覺地便在畫布上傾 瀉流露。 雖然受西方抽象表現藝術啟迪，朱德群對於唐宋山水畫一直懷有高度 的敬意，平日也喜愛閱讀唐詩宋詞，以陶冶性格。他的現代抽象畫將 詩、畫、意完美地結合，貫徹詮釋古人的「詩中有畫，畫中有詩」最 高境界，被譽為是「二十世紀的宋代畫家」。他習於作畫時聆聽古典 音樂，隨著音符的律動使得他的畫面帶著音樂性及精神性，有如交響 樂章般或激昂或溫婉，盪氣迴腸。凡繪畫技巧、文學、哲學、知識皆 為畫家重要的基礎，學養內涵能夠豐富繪畫的深度，勤於充實自我的 朱德群，將這些基礎視為必然。 老畫家童心不減年過八十，此時仍能輕盈自在地創作，展現奧妙的記 憶風景。他曾說：「抽象畫，就是要畫那些似是而非、似非而是的沈 在記憶中的壯遊圖像，我覺得，這才是我要去闖蕩的未知之地。 」無 名的、未知的感動，恍若烈焰噴發，忽湧而至，朱德群用心去探索描 繪這些無以名狀卻令人驚艷的畫面。朱德群的創作靈感不僅來自傳統 文化的簡約構圖，還結合了歐美西方現代主義的美學觀。介於他較深 層次的靈感聯繫，以及對大自然美景的回憶，朱德群在風格及構圖上 的優美結合突顯了他個人的特質，也提昇了每一個美學元素的渲染 力。

林布蘭《夜巡》1642年 油彩畫布 359 x 435 公分，國立美術館，阿姆斯特丹，荷蘭 Rembrandt van Rijn, The Nightwatch,1642

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“On my canvas, the colors and lines never meet each other incidentally.

They all harmoniously achieve a single purpose: activating light sources to evoke images and rhythms.” - Chu Teh-chun just like individual movements in a symphony.Technique, literature, Chu Teh-chun once said that the reason why he went into abstract philosophy and knowledge are all important foundations for a art was not because he had been won over by any theoretical painter since culture and knowledge can imbue a painting with arguments in its favor, but rather because of his experience of added depth. Being diligent in self–enrichment, Chu saw these viewing free, expressive paintings that overcame the opposition elements as necessities. between figurative and abstract painting; these paintings stimulated him, and made him want to attempt something along the same The artist at his 80s still possesses childlike innocence and created lines. It dawned on him that the goal of abstract painting was to his work in a light and carefree sense, showing a magnificent depict those images in one’s memory that seem both real and landscape of memory. He once said, “Abstract painting depicts unreal. Inspired by this realization, Chu Teh-chun cast off the those paradoxical images of a person’s life experiences sinking into shackles of conventional art and threw himself wholeheartedly into memory. I believe this is the unknown land I shall explore.” A kind this unknown territory.It was only after taking the plunge into the of unnamed and unknown feeling surges like an eruption of flame. mysterious world of abstract art that Chu Teh-chun realized that Chu explored and depicted these unspeakable yet stunning scenes “freedom” means more than just liberation from artistic form; it is wholeheartedly. Taking his inspiration not only from the simple also a way of approaching the whole business of artistic creation. stylistic formality of this traditional cultural influence, Chu blended He became aware of just how important freedom is in painting, but these ideals with European modernist movements and aesthetics. also of how difficult it is to achieve. Chu was constantly pondering From a deeper spiritual connection as well as his own memories the question of how to prevent his paintings from degenerating into of landscapes and beauty, Chu elevates each aesthetic influence meaningless wild abandon, how to ensure that spiritual inspiration by accentuating the individual inherent qualities in an elegant was not accompanied by a loss of “content.” In his treatise amalgamation of style and form.

Mountains and Waters, the Northern Song Dynasty landscape painter Kuo Hsi uses the concepts of the “meaning beyond the Poème épique a gorgeous piece completed in the artist’s early landscape” and the “wonder beyond the meaning,” suggesting 80s, demonstrates this intermingling of influences by incorporating that if the scenery depicted in a landscape painting does not inspire bold colors and an Abstract Expressionist form with the fluidity reflection, then it cannot move the viewer, or even the artist, and of calligraphic brush the work will be empty strokes. In this piece, and meaningless. the artist transforms Over time, an artist the viscous oil paints internalizes the to achieve a similar beautiful scenes t e x t u re t o t h e “ s i x they have viewed, graded colors”— the poetry they have black, white, dark, read, the music they light, dry, and wet— have heard, and all of of traditional inktheir other “cultural” wash technique. This memories; all of this mastery in rendering 莫內《睡蓮》，1920-1926，油彩 畫布 ，橘園美術館藏，巴黎 can well up within the oils to control the Claude Monet, Water Lilies, 1920-1926, oil on canvas, 219 x 602 cm, collection of Musée de l'Orangerie, Paris them at any time, weight of the paint and p r o v i d i n g a n e v e rapplication of color creates sweeps of ethereal lightness across the exhausted well of inspiration for painting, and being reflected in the dark deposits of blackened brown. Deep shadows form depth and paintings that the artist produces (whether consciously or not). dimension across the two panels, establishing a landscape intense in complexity. As the gentle swaths of airy white spread from the Although inspired by Western abstract expressionist art, Chu always contrasting darkness of the rich background, Chu creates a sense had a high degree of respect for Chinese landscape painting of overwhelming expanse, the sense of space extending beyond during the Tang and Song dynasties. He also enjoyed reading Tang the confines of the canvas. Pools of molten golden light emanate poetry and Song Ci (a poetic meter) to cultivate his personality. Chu vibrantly from the darkened depths of the shadowed expanse, perfectly combined modern abstract painting with poetry, painting while colors dance across spectrum of illumination. The stunning and artistic conception, embodying the ancient saying that “painting jewel tones shine vibrantly out from the darkness, blazing across the dwells in poetry as poetry exists in painting.” He was called “the center of the composition in an exultant celebration of color. Each Song painter of the 20th century.” Chu held a habit of listening vivid deposit of color creates a new layer of depth and dimension, to classical music when creating his works. Following the rhythm adding to the visual representation of the infinite within the present of the musical notes, he expressed a kind of musical element and lot. spirituality on his canvas. The soul–stirring emotion surges and falls

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ZAO Wou-ki (Chinese-French, 1921 - 2013)

09.02.60

1960 Oil on canvas 73 x 92 cm Signed lower right Wou-ki in Chinese and Zao in English Signed on the reverse ZAO Wou-Ki in French, inscribed and dated 9. 2. 60 ILLUSTRATED

Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 318, p. 323 This painting will be included in the forthcoming Catalogue Raisonné compiled by Madame Françoise Marquet and Monsieur Yann Hendgen

NT$ 60,000,000-70,000,000 HK$ 15,544,000-18,135,000 US$ 1,992,700-2,324,800

趙無極 09.02.60 1960 油彩 畫布 73 x 92 cm 簽名右下：無極 Zao 簽名畫背：Zao Wou-Ki 9. 2. 60 圖錄

《趙無極》，藝術圈出版社，巴黎，1986，黑白圖版， 編號318，頁323 此作品將被收錄於弗朗索瓦．馬凱女士與揚．亨德根所編著 之趙無極作品編年全集

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09.02.60 ZAO Wou-ki

繪畫應讓人以另外一種眼光看事物 以繪畫的觀點看事物 趙無極

無 極 鉅 獻 永 恆 的雍容金燦 淡雅閃耀的金色光線中，浮現鏗鏘有力的墨跡，開展出氣度非凡、崇 高宏觀的心靈之境。《09.02.60》作為趙無極1960年代初的代表作， 罕見地以一種沉穩的氣度，在抽象的自由多變之中同時展現藝術家早 期甲骨文時期的契刻符號之美，既流露天地跌宕之磅礡大器，亦體現 了藝術家學養深處自然流露的非凡氣宇，雜揉多面向的文化內蘊，開 啟了層次豐富的心靈旅程。

大師的萬里足跡 自古賢哲從名山大川參透哲理，趙無極亦熱愛旅行，他走訪大自然的

後不再為畫作命名，改以作品完成日期為題，避免標題限制了畫作的 範疇，足見藝術家對於自已作品含納天地、接受開放性詮釋的雄心與 自信。

飛馳年代的大器天成 晚年的趙無極曾在自傳裡回憶，1960年代就像駕駛保時捷跑車般飛 快地前進，他懷著戰鬥般的壯志全心作畫，將心中滿滿的想法揮灑而 出。1960年裡他就創作了近四十幅畫作，質精量足。《09.02.60》正 是此衝刺起飛之際，最為雄心萬丈、能量飽滿之作；純粹、直覺、生 命力十足，卻是內斂不張揚，穩重自信的風範盡顯大師器度。

好山好水，亦沉浸於各地博物館浩瀚的的知識之海，從中獲得心靈的

趙無極以金黃與墨黑作為《09.02.60》的主色調，高雅多層次的淡

啟發，並粹練出源源不絕的創作能量。1951年，自中國遠渡重洋來

金，如金箔般閃爍著細緻光澤，以高貴軒昴的氣宇，鋪陳出天地宇宙

到的巴黎的第四年，趙無極來到瑞士出席自己銅版畫展的開幕，並在

無邊際的金燦虛空，無形的能量在其中隱隱迴旋。畫面中央，乾墨般

伯恩遇見了保羅．克利的繪畫。趙無極當時已然深受保羅．塞尚作品

的黑色油彩與粉白、淡黃彼此交織，自一片金黃中綻放而出，時而如

啟發而思忖擺脫自然寫實；而克利將形體簡化為符號，意在言外的神

刀鋒在金石上鑿刻，強勁有力，時而柔軟細如絲縷，精采絕倫，交融

秘性表徵，適時地為他開啟嶄新視野。從克利簡約卻動人的符號性語

出疏密有緻、繁複多變的生命動能。畫面中依悉浮現類似甲骨文時期

彙，趙無極回溯中國古老的甲骨文與金石銘文的刻繪符號，從中提煉

的符號結構，增添賦予神秘不可言說的氛圍，源源不絕穿透至空間深

的養份深化了其繪畫中的詩意追求，透過筆觸變化、疏密佈局、虛實

處。

相應，鋪陳出無法言說只能神會的意境，成就其著名的甲骨文時期。

不同於許多1960年代畫作裡充滿激情、澎派、掙扎或衝突，

1954年起，趙無極自甲骨文時期那神秘多義的符號世界再次蛻變，

《09.02.60》顯得內斂沉穩，莊重且大器，水平展開的矩型構圖穩定

拋卻具體的敘事內容，進入純然抽象的領域，他曾說：「繪畫應讓人

而不凝滯，巨大的能量蘊含在內而不外顯。雖然畫幅不若稍晚新畫室

以另外一種眼光看事物，以繪畫的觀點看事物。 」藉由抽象，他意欲 創造一種「不受題材限制的語言」。他汲取東西藝術精粹，回溯中國 古老文明之後，屬於趙氏獨特的抒情抽象語彙，於嫣成形。然而不久 之後，趙無極即經歷與結髮妻謝景蘭之間的感情生變，終致離異。身 心俱傷的趙無極再次踏上旅程，這次他偕同藝術家好友皮耶．蘇拉吉 （Pierre Soulages），在1957年首次到訪紐約，相當喜愛當時盛行的 抽象表現主義。不久，趙無極在香港結識第二任妻子陳美琴，兩人婚 後回到巴黎，走過傷痛的趙無極在重拾幸福的同時，藝術事業亦逐步 起飛，他以更為大膽自由的揮灑回應這段時間的歷練，並在1959年前

落成之後一些大型繪畫般巨大，但《09.02.60》所散發的莊嚴光采宛 如超凡入聖的帝王之氣，強大而尊貴，在雷霆萬鈞的琤琮之聲裡，那 高古之意有如穿越時光而來，承載了悠遠的聖賢智慧。趙無極於1961 年接受法國《Panorama chrétien》訪問時表示：「巴黎無疑對我的藝 術磨練影響深遠，但我亦逐漸重新認識潛藏在我心靈內的中國。我近 期的作品裡，中國已成為固有的精神。矛盾的是，全靠巴黎我才會回 歸最深刻的本源。 」

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Paintings should make people look at things differently, see things from the perspective of the paintings.

- Zao Wou-ki

《09.02.60》一作亦呼應了藝術家透過旅行而拓展的寬廣視野，它是 一方任由想像力馳騁的世界，吸引我們悠遊其中。於是，山川大地 在畫面中浮現了，觀者像是登高俯視，迎來一方雄偉壯闊的高山大 水，畫面偏右那綿密交織的墨跡宛若連綿山脈，水流貫穿其間，左 上方則有高聳峻嶺臨淵而立。此時趙無極雖然尚未像1970年代有意 識地藉由水墨習作為他的油畫注入養份，早年筆墨訓練所奠下的基礎 已然透過他的刀鋒筆觸豐富了畫面的肌理。《09.02.60》的險峻硬朗 與色彩韻致，令人遙想南宋大家朱銳「不取繁飾，寫山真骨」的《谿 山行旅圖》，在開闊無邊的浩瀚金燦中，開展出「石瀾煙林深」的跌 宕景致。而潛藏在趙無極細膩思惟裡，來自悠久中國那天人合一，形 氣相感以化生萬物的宇宙觀，亦為畫面注入源源不絕的生之動力， 《09.02.60》承載著數千年以降的文化精粹，貫穿古今，並以崇高深 邃的光采，直達永恆。

A MASTERPIECE OF SHINING ELEGANT GOLDEN A strong ink brushstroke emerges from the shining elegant golden line, unfolding into an impressive, noble, and macrographic realm for the spirit. “09.02.60” is an iconic piece by Zao Wou-ki from the early 1960s. In a rare atmosphere of calm, the piece displays the beauty of symbols shown in the artist’s early ‘oracle era’ with the freedom and fluidity of abstract art, both exhibiting the grand momentum of the universe, and the extraordinary grace that the artist naturally displayed. This piece combines cultural meanings from many angles, opening up a complex, multi-layered spiritual journey.

discarding concrete narratives in favor of pure abstraction. He once said, “Paintings should make people look at things differently, see things from the perspective of the paintings.” Through abstract art, he aimed to create a “language unrestricted by subject matters”.

He took the best of both eastern and western art, and draws inspiration from ancient Chinese civilization to create the language of lyrical abstraction unique to Zao. But soon after, Zao Wou-ki faced marital problems with his first wife, Xie Jinglan, which eventually led to their divorce. The mental trauma had made Zao Wou-ki embark on another journey, this time with his artist friend Pierre Soulages.

Together they visited New York for the first time in 1957, and fell in love with the popular Abstract Expressionism in the era. It wasn’t long before Zao Wou-ki met his second wife Chan May-Kan in Hong Kong. The couple moved back to Paris after getting married. Zao Wou-ki’s newfound happiness coincided with his career also taking off. He used even bolder, more liberated brushstrokes to reflect this period in his life. He stopped naming his work after 1959, marking them with the date of completion instead to avoid the restrictions titles might add to his paintings. These decisions fully display the ambition and confidence the artist had for his art to encompass the world and accept open interpretations.

THE LONG JOURNEY OF A MASTER In ancient times, wise sages had found truths in nature. Zao Wou-ki loved to travel, he visited mountains and rivers in nature, and also plunged into the sea of knowledge in museums around the world.

From these travels, he gained spiritual inspiration, which was refined into endless creative energy. In 1951, his fourth year since crossing the seas all the way from China to Paris, Zao Wou-ki traveled to Switzerland to attend the opening ceremony of his prints exhibition, where he encountered the paintings of Paul Klee in Beaune. At the time, Zao Wou-ki was already deeply inspired by the works of Paul Cézanne, and thought about breaking away from Natural Realism. Kree simplified forms into symbols to create mysterious characteristics. This was a timely eye opener for Zao Wou-ki. With Klee’s simple yet moving vocabulary of symbols, Zao Wou-ki looked back to the ancient Chinese oracle and bronze inscriptions, drawing inspiration that deepened his pursuit of poetry in his paintings.

Through changes in his brushstrokes, spatial arrangement, and reflection between what’s virtual and real, imagery that can only be understood but not explained were created, giving birth to his famed “oracle era”.

Since 1954, the world of mysterious, multi-meaning symbols created in Zao Wou-ki’s oracle era underwent another transformation,

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

南宋 朱銳 谿山行旅圖

趙無極 《14.11.63》 1963， 油彩 畫布，131 x 196 cm

Song Dynasty, Zhu Rui, Travelers Among Mountains and Steams

4,999,300美金成交，2011年5月28日，香港佳士得2011年春季拍賣會 ZAO Wou-ki, 14.11.63, 1963, Oil on canvas, 131 x 196 cm sold at $4,999,300 on 28th May 2011, Christie's Hong Kong Spring Auction

NATURAL GREATNESS IN A SURGING ERA In his later years, Zao Wou-ki recalled in his autobiography that the 1960s flew by as if he was speeding in a Porsche race car. He threw himself into painting as if heading into battle, expressing all the ideas brimming in his heart. He was very prolific, creating nearly 40 paintings in 1960 alone. Brimming with energy, “09.02.60” is the most ambitious piece of this creative surge: pure, intuitive, full of life yet humble, its calm and confident atmosphere shows a master’s spirit.

Zao Wou-ki used gold and ink black as the main tones of “09.02.60”.

Elegant and multi-layered pale gold shines with an intricate glow, mapping out the universe’s boundless vacuum with noble grace, with an intangible energy hidden within. In the center, black oil paints resembling dry ink meets chalk white and pale yellow, blooming in a field of gold, sometimes as strong as a knife carving on stone, other times as soft as strands of silk. This fascinating clash merged into a patterned, sophisticated, and ever-changing energy of life. The image faintly shows symbols resembling those from the oracle era, adding an indescribable air of mystery that penetrates the endless depth of the space.

Unlike the passion, excitement, struggles, and clashes found in many of Zao Wou-ki’s paintings in the 1960s, “09.02.60” appears calm and collected, graceful and great. The horizontal rectangular construction is stable but not stagnant, containing but not flaunting the great energy within. The painting might not be as large as some of the ones painted after his new art studio was built, but the elegant glow that “09.02.60” exudes is like a holy emperor’s aura, powerful and noble. Amidst the thundering noises of the universe,

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that ancient and elegant aura shines through as if coming through time, filled with ancient wisdom. In a 1961 interview with the French publication “Panorama chrétien”, Zao Wou-ki said, “Although the influence of Paris is undeniable in my development as an artist, I would also like to say that I have gradually rediscovered the Chinese culture rooted rooted in my self-identity has become stronger. In my recent works, it is conveyed in an innate manner. Paradoxically, it is perhaps to Paris that I owe this return to my deepest origins.”

(Panorama chrétien, 1961, survey on foreigners living in France).

“09.02.60” also reflects how the artist’s viewpoint was broadened through travel. It is a world where creativity runs free, drawing the viewer in. And so, mountains and rivers emerge in the image, as if the viewers are seeing it from an elevated position, welcoming the majestic mountains and waters. On the right, interwoven ink streaks are like mountain ranges with water flowing in between, and on the top left, steep cliffs tower by the abyss. During this era, though Zao Wou-ki did not consciously use ink wash techniques to add to his oil paintings, basic techniques honed by calligraphy training in his early years enriched the texture of the image through his sharp brushstrokes. The toughness and color palette of “09.02.60” is reminiscent of the “Travelers among Mountains and Streams” painted by Song dynasty artist Chu Ray, displaying the rocky scenery of “stones deep in misty woods” among a boundless golden shimmer. And hidden in Zao Wou-ki’s detailed thoughts is the ancient “one with nature” Chinese worldview, which gave his paintings everlasting energy. “09.02.60” contains culture refined through thousands of years that resonates from ancient times to today, and will continue on to eternity with noble grace.

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JU Ming (Taiwanese, b. 1938)

Taichi Series – Single Whip 1981 Wood 51(L) x 24(W) x 29(H) cm Signed on the rear left Ju Ming in Chinese

朱銘 太極系列—單鞭下勢 1981 木雕 51(長) x 24(寬) x 29(高) cm 簽名雕刻左後：朱銘 附漢雅軒開立之作品保證書

This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Hong Kong.

NT$ 10,000,000-18,000,000 HK$ 2,591,000-4,663,000 US$ 332,100-597,800

「太極」系列是朱銘雕刻語言和美學風格的成熟之作，亦是他藝術事 業發展的一個重要里程碑。他摒棄了精細而寫實的雕刻技法，改以大 刀闊斧的方式進行創作。他那忘我豁達的創作心境，雕塑出形體簡潔 的半抽象作品；其幹練的線條、稜角分明的塊狀造型，散發著現代雕 塑的獨特魅力。此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。 《太極系列》為藝術家以太極拳調養與修行期間，朱銘體會到自然萬 物、大氣運作的能量與蘊涵，內化為個人思想體系後，漸表諸於雕刻 創作上。於是，氣勢磅礡的快意大作「太極」系列，便在朱銘的領悟 與體會下以藝術創作成形，「太極系列」雕塑的抽象意涵，將中國文 化傳統化為超越語言、國界的藝術創作。「太極」系列中，《單鞭下 勢》可算是最廣為人知的創作系列，而此拍品更是當中的典範。此件 作品捕捉蓄勢待發的瞬間姿勢，雕像雙腳一曲一直，雙手張開，重心 墜下，形成一個可攻可守的姿態。作品動靜兼備、剛柔並重，充分表 現出太極的和諧的思想。此件《單鞭下勢》為朱銘早期經雕琢之作， 輪廓簡潔，愈見莊嚴神聖，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，確實為一件上乘太極精品佳作。 The “Taichi” series exhibits the maturity of the artist’s sculptural language and aesthetic style. The series epitomizes the transformation from his previously meticulous and formal craftsmanship to a sculptural aesthetic characterized by complete ease and freedom, achieving a fluid sculptural form that transcends the concept of the self. 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.

70

Ju Ming soon discovered that practicing the ancient “martial art” did more than just made him stronger: it gave him much more energy for thought and opened up profound new vistas for his creative work. Ju gained firsthand experience of the aweinspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his “Taichi series”, a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and to pour it into his creations that transcend language and geographical barriers. Perhaps the most frequently explored position in Ju Ming’s Taichi oeuvre, “Single Whip” depicts an individual figure gently lowering his body, with one leg deeply bent and the other gracefully straightened. The figure raises his hands in a wide gesture implying readiness, a stance appropriate for both offence and defence. The elegant poise with which Ju has expertly sculpted this staunch figure signifies the harmony and balance between the dualities of strength and tenderness, as well as motion and stillness. This fine work is one of Ju’s early signature sculptures: the mineralised figure reflects the solemnity of the sculpture and Ju gives the dynamic and weighty feelings to the work simply with the cuts and craves. The piece is definitely a fine work of his “Taichi” series.

327

JU Ming (Taiwanese, b. 1938)

Taichi Series – Single Whip 1993 Wood 45(L) x 25.2(W) x 42(H) cm Engraved on the bottom Ju Ming in Chinese and dated 93 This sculpture is to be sold with a certificate of authenticity issued by the NPO Juming Culture and Education Foundation.

NT$ 8,500,000-10,000,000 HK$ 2,202,000-2,591,000 US$ 282,300-332,100

朱銘 太極系列—單鞭下勢 1993 木雕 45(長) x 25.2(寬) x 42(高) cm 雕刻簽名底部：朱銘 '93 附財團法人朱銘文教基金會開立之作品鑑定報告書

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328

ZENG Fanzhi (Chinese, 1964)

Armani

2006 Oil on canvas 80 x 80 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2006

曾梵志 亞曼尼 2006 油彩 畫布 80 x 80 cm 簽名右下：曾梵志 2006 Zeng Fanzhi

NT$ 5,000,000-7,000,000 HK$ 1,295,000-1,813,000 US$ 166,100-232,500

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，

客觀形象，而是內在本質的呈現。飽滿的色彩、粗獷的線條和那越趨

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

抽象的形態，處處散發著表現主義的氣息。那沮喪痛苦的情感埋藏在

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

恬淡的淺笑和焦點模糊的視線中。對於自己所追求的美學表現形式，

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

曾梵志表示他善於利用線條、色彩和形態來表達情感。曾梵志筆下的

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

肖像都擁有不合比例的頭和碩大突兀的手，沒有面具的遮掩，人物內

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

心的情感被赤裸裸地呈現。人物皮膚怪誕的紅色色調，令人聯想到他

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

早期以人與鮮肉為題的「肉」系列。肖像中人物站立在空白的背境

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。

前，內外都呈現著孤獨無助的不安感，困守在沉鬱的氛圍中。

來自中國湖北武漢的當代藝術家曾梵志，1991年以強烈表現主義風格

告別「面具」之後，曾梵志繪畫了一系列以名人、藝術家、設計師和

的「協和醫院」聯作系列崛起於藝壇，1994年又以象徵性、隱喻性的

政治領袖為題的畫作，這些具有象徵意義的人物形象，旨在探索一些

「面具」等系列作品聞名國際，極具個人化的語言，成為他的標誌符

社會議題。和「面具」系列瞪著眼晴並以面罩遮掩的形象截然不同，

號。而他在熟稔掌握表現主義的技法之餘，卻也刻意抑制這項專長，

這系列作品的筆觸互相纏繞、線條放任恣縱，畫面紛亂狂野。曾梵

僅僅著重於在對手與臉的表達而已。而為求持續探索新的繪畫語言，

志喜愛同時使用數支粗幼不同的畫筆進行創作，一枝畫筆所建立的東

他不時地加入更多抽象的概念。過去代表作的面具符號，2001年起逐

西，可能會立刻被另一枝所毀。畫面上糾結在一起的線條是各種機遇

漸從他的肖像畫中消失，隱藏著內在衝突、痛苦的臉孔，不再隱身於

下的巧合，在不斷建構的過程中，底下的影像因被干擾而變得輪廓模

面具之後。透過畫筆與線條的自由律動，加入新的情感，轉型嘗試新

糊。

形態的肖像畫，那是2002年他開始著手的「我們」系列，時間雖然短 短一年，但它卻貫穿了曾梵志前後的創作階段。2003年在上海美術館 以「我．我們」為名舉辦其盛大個人畫展。

無論以刻板的面具覆蓋，或以形象化的抽象線條掩蔽，曾梵志的作品 都能捕捉人精神與肉體的痛苦。他對周遭環境有著敏銳的洞察力，處 身於這疏離的社會，他深刻地體察了當中的孤獨和焦慮感。曾梵志愛

2000年後曾梵志的「肖像」系列表現出更發人深省的氣息。面對現實

思考人性特質，作品有著深刻的哲理意義。他卓越的洞察力和不斷演

世界的殘酷，畫中人物流露著更痛苦的表情。畫像追求的不是真實的

變的風格使他成為中國當代藝術領軍人物之一。

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ARMANI ZENG Fanzhi

In contemporary Chinese art realm, Zeng Fanzhi stands out among his peers no matter which angle you look at him from. A rare mastery in his methods of expression and technique can be seen.

His works focus largely on the inner world of emotions, reflecting a strong sense of insecurity that seeks meaning in a chaotic new world. Compared to his contemporaries of the same time period, most of whom rose out of political and societal issues of a developing China, Zeng focuses his attention on the alienation and indifference of the individual in this frightening new environment.

Not only are the themes of his works unique, he has also done a lot of researches in regard to the brushwork and spatial arrangements of Chinese classics. His constant theme - the pain of alienation and indifference - coupled with his skillful brushwork makes him one of the most important contemporary Chinese artists recognized worldwide.

Hailing from Wuhan, Hubei, contemporary artist Zeng Fanzhi rose to prominence in 1991 with the strong expressionistic style of his collaborative series “Hospital.” In 1994, he made himself known worldwide with the symbolic metaphors of his series “Mask,” and his highly personalized language became his trademark. Despite his mastery of expressionist techniques, he deliberately suppresses this talent of his, focusing solely on his subjects’ hands and facial expressions. In pursuit of a new artistic language, he continues to introduce abstract concepts into his works. The mask symbols of his past iconic works gradually faded out of his portraits in 2001, concealed within internal conflict and pained expressions instead of hiding behind masks. Through the liberal rhythm of his line work, he has attempted to introduce new emotions in experimentation of a new form of portraits in his “We” series in 2002. Though this series lasted for only a short period of one year, it incorporates the stages of Zeng Fanzhi’s creations that both precede and follow them. In 2003, a large-scale personal exhibition entitled “I/We” was held in the Shanghai Art Museum.

After 2000, Zeng Fanzhi’s “Portrait Series” expressed deep introspection. In the face of the cruelties of reality, the subjects of the paintings reveal their pain in their expressions. Portraits do not focus on capturing the actual objective appearances of their subjects, but on the expression of their inner qualities. Rich colors,

rough lines and abstract forms give off the vibe of expressionism.

The dejected and pained expressions hidden beneath faint smiles blur into the focal point of the images. For the pursuit of his own aesthetic expression, Zeng Fanzhi once stated that he excels at utilizing lines, colors and forms to convey his emotions. Zeng Fanzhi’s portraits all feature disproportionate heads and abnormally large hands. Without masks to conceal them, the thoughts and emotions of his subjects are laid bare for all to see. The peculiar reddish skin tones of the subjects are reminiscent of his early “Meat Series,” based on the themes of people and flesh. Standing before a white background, the people in his portraits are in helpless solitude, trapped in an atmosphere of unease and depression.

Evolving from his iconic Mask series, in 2003 Zeng Fanzhi began working on a series of portraits depicting celebrities, fellow artist’s, designers, and political leaders. Departing from the blank, staring visors of the previous series, in these works Zeng instead obscured the features of his recognizable subjects through rash, haphazard, and overlapping brushstrokes. Using multiple brushes of varying size simultaneously, the artist painted with two brushes at a time, the lines and the images created by the first brush were constantly destroyed by the lines and images that created by the later brush. Hence, the resultant lines remained on the canvas are extremely complex and embody many unexpected possibilities and coincidences. With this process of continual construction and destruction, the blur image was created on purpose by the artist, in which laid an ambiguous portrait beneath.

Whether shrouded by a literal mask, or by a more figurative screen of distorting paint, Zheng’s works capture either the mental or the physical anguishes that the modern people have today. He has a knee perspective to the surroundings that he was in and to the distress society where he sensed the solitary and the anxiety which also often appeared in the paintings as a crucial commentary.

The artist intends to contemplate the spirit of the contemporary humanity and also he applies this philosophical thoughts onto his art. His significant perception and the constantly changing artistic languages have make him an icon in contemporary Chinese art realm.

329

Walasse TING (Chinese-American, 1929 - 2010)

Since you Left, Cherry Blossom Falling Down 1975 Acrylic on canvas 71 x 106.5 cm Signed on the reverse Ting, titled Since you Left, Cherry Blossom Falling Down in English and dated 1975 This painting is to be sold with a certificate of authenticity issued

by Kunzt Gallery, Belgium.

NT$ 4,400,000-5,500,000 HK$ 1,140,000-1,425,000 US$ 146,100-182,700

丁雄泉 自你離開，櫻花散落 1975 壓克力 畫布 71 x 106.5 cm 簽名畫背：Since you left, Cherry Blossom falling down ting 75 附肯茲特畫廊開立之原作保證書

78

330

ZENG Fanzhi (Chinese, 1964)

I/We Series: Untitled 2002 Oil on canvas 150 x 130 cm Signed lower right Zeng Fanzhi and dated 2002 EXHIBITED

China: Contemporary Painting, Fondazione Carisbo, Palazzo Saraceni e San Giorgio in Poggiale, Bologna, January 29 – March 6, 2005; Padova, Palazzo del Monte di Pieta, March 19 – May 22, 2005

曾梵志 我．我們系列：無題 2002 油彩 畫布 150 x 130 cm 簽名右下：Zeng Fanzhi 2002 展覽

「中國當代繪畫」，Carisbo基金會，聖喬治廣場， 波隆納，展期自2005年1月29日至3月6日；帕多瓦廣場， 展期自3月19日至5月22日 圖錄

《我．我們：曾梵志的繪畫 1991-2003》，湖北美術出版社

ILLUSTRATED

，武漢，2003，彩色圖版，頁40

I/We, the Painting of Zeng Fanzhi 1991-2003, Hubei Fine Arts Publishing House, Wuhan, 2003, color illustrated, p. 40 China: Contemporary Painting Exhibition Catalogue, Fondazione Cassa di Risparmio, Bologna, 2005, color illustrated, p. 223

《中國當代繪畫》，波隆納文化藝術基金會，2005， 彩色圖版，頁223

NT$ 3,200,000-4,800,000 HK$ 829,000-1,244,000 US$ 106,300-159,400

曾梵志也認為，中國人擅長使用筷子，因此手的使用尤其靈活。他嘗 試順筆畫畫，但看見的僅是筆，沒有特殊之處，但是反著畫時，卻出 現驚奇的效果。他喜歡使用單色，層層的單一顏色攪在一起時，產生 自動性的繪畫效果。經過了「我們」系列的螺旋式畫法，曾梵志近 期轉而更重視用筆，創作出流動飛舞的書法性線條的「亂草系列」。 「我們系列」可說扮演了曾梵志創作脈絡中極為關鍵的轉折階段。 而這些以線條、運筆的繪畫方式，呼應了中國傳統書藝「用筆」的特 點，顯示了藝術家力求在繪畫中創作發掘創新的力量及可能。 作品《無題》創作於2002年，正是「我們」系列開始的一年。在這 個時期曾梵志多以一張張臉的局部為表現，從一個清晰的形象開始， 單色螺旋狀的筆觸在畫面中遊移，形象逐漸地模糊隱沒，產生破壞性 的感覺，臉孔被筆觸所分割，當筆觸越多時，形象越顯模糊，乍看時 彷彿沾滿雨滴的毛玻璃外的形象，當觀者退後一定距離之後，形象卻 又再度鮮明瞭起來。而此幅作品是這一時期中極為少見的一張以身體 局部為題的創作，纖瘦的人體與肚臍的肌肉在筆觸中互相纏繞，線條 放任恣縱，畫面紛亂狂野和「面具」系列的嚴謹以面罩遮掩的形象截 然不同。作品《無題》在不斷被重新建構的過程中，是撕掉面具後赤 裸地展露痛苦的情感。是曾梵志細緻地把當代社會的集體面孔中焦慮 的心理狀態由表像延伸到肌理的表露。曾梵志說：「那是我，也是我 們。」無論以僵化的面具掩蓋背後萎靡的精神，或作品清晰地顯示了 人被抑壓的情感，實為這系列中的佳作。 Zeng Fanzhi believes that because the Chinese are adept at using chopsticks, their hands are especially nimble. In his attempts to paint along with the flow of his brush, it would appear that there is nothing special about his brush, but when he holds it backwards, astonishing effects are seen. He favors using a single shade of color, layering the tones together to create an effect of automatism

painting. After the spiraling techniques of his “We” series, Zeng Fanzhi’s latest works have since shifted towards the usage of his brush to create the fluid, calligraphic line work of his “Grass Series.” “We” can be considered a critical transition period in Zeng Fanzhi’s creative career. These linear expressions of drawing reflect the unique handling of the brush of traditional Chinese ink paintings, highlighting the artist’s power and potential in his creative discoveries and innovations.

The 2002 work “Untitled” marked the start of the “We” series.

During this period, Zeng Fanzhi mainly began from clear depictions of a portion of each face, and spiraled outward using a single color, gradually pulling the image out of focus in a destructive manner.

His faces are divided by several brush strokes, and the more strokes there are, the more unclear they become. At a glance, they seem like what you would see through a mosaic window glass on a rainy day, but once the viewer moves backwards, the image becomes clear again at once. This work was a rare example that focused on the portrayal of a part of the body during that period. The subject’s thin figure and muscles around the belly entwine with one another, the line work of the image wild in contrast to the conservative masked appearance of his “Mask Series.” In the constant reconstruction of “Untitled,” what is left is the raw pain of being stripped of the mask. This is Zeng Fanzhi’s meticulous portrayal of the anxiety of modern society, the mental state of the subject seeping into the texture of his skin. Zeng Fanzhi comments, “That is me, and also us.” Be it a hardened mask that conceals our withering spirits or a clear depiction of our suppressed emotions, this is clearly one of the best works this series has to offer.

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331

LI Chen

(Taiwanese, b. 1963)

Cloud Glider

2000 Bronze, edition no. 7/8 33(L) x 39(W) x 108(H) cm Engraved on the reverse Li Chen in Chinese and English, numbered 7/8 and dated 2000 EXHIBITED

Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, 2007 Li Chen - In Search of Spiritual Space, National Art Museum of China, Beijing, April 29 – May 11, 2008 ILLUSTRATED

Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 70-71 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 88-91 Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 52 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and white illustrated, p. 196 Soul Guardians: In an Age of Disasters and Calamities, Li Chen Sculpture, Asia Art Center, Taipei, 2009, black-and white illustrated, p. 56 Greatness of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2012, color illustrated, p. 146

李真 乘雲氣 2000 銅雕 7/8 33(長) x 39(寬) x 108(高) cm 簽名雕刻後方：李真 Li Chen 7/8 2000 展覽

「第52屆威尼斯雙年展─李真：虛空的能量」，威尼斯，2007 「李真：尋找精神的空間」，中國美術館，北京，展期自2008 年4月29日至5月11日 圖錄

《李真雕塑1992-2002》，亞洲藝術中心，台北，2004，彩色 圖版，頁70-71 《李真第52屆威尼斯年展─虛空中的能量》，亞洲藝術中心， 台北，2007，彩色圖版，頁88-91 《中國當代雕塑十人展》，亞洲藝術中心，北京，2007，彩色 圖版，頁52 《李真：中國美術館個展—尋找精神的空間》，亞洲藝術中 心，台北，2008，黑白圖版，頁196 《神魄─李真雕塑》，亞洲藝術中心，台北，2009，黑白圖 版，頁56 《大氣 — 李真台灣大型雕塑首展》，亞洲藝術中心，台北， 2012，彩色圖版，頁146 附亞洲藝術中心開立之作品保證書

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

NT$ 2,400,000-3,800,000 HK$ 622,000-984,000 US$ 79,700-126,200 在李真的藝術裡，有孩子般的天真與難以形容的永恆智慧，如果雕塑

turbulent and malevolent world.

能昇華我們的人性，那麼李真的作品確實有這樣的力量，毫不保留呈

News & World Sculpture News Editor, In Search of Spiritual Space in In Search of Spiritual

現不同的精神內涵，這與西方雕塑的冰冷、僵硬幾何金屬雕塑完全不 同。(摘錄自〈尋找精神空間〉，《李真中國美術館個展：尋找精神的空間》，《亞洲藝術 與雕塑》 總編輯，房義安作)

完成於2000年的《乘雲氣》引用莊子《逍遙遊》的「乘雲氣，御飛

龍，而遊乎四海之外 」一句，傳達藝術家的精神追求，人物騰雲飛 翔，充滿喜悅，更融合道家氣與能量的哲學內涵,將東方獨特地精、 氣、神意境完美詮釋。李真再現下的佛教造像，展現出一種近乎清淨 無為的清貧美學。雖然清靜、清貧、無為，卻又充斥著沛然莫之能禦 的氣體或能量。如此一來，使得作品本身，既有情感收斂的特質， 同時，又兼具氣體與能量極限擴張的效果。就此而言，似乎又明顯攝 入了老莊「比於赤子」（《老子》五十五章）的哲學理想與美學。無 慾、清靜、無為的開臉形象，加上氣能充塞的身形體態，使得李真的 佛像或菩薩像顯得「既重又輕」，若就風格的類比而言，這樣的美感 氣質反而越過了唐宋之風，而更接近六朝高古佛教造像的神氣與意 韻。（摘錄自〈比於赤子〉，1992年12月《CANS藝術新聞》，王嘉驥作） There is a clear sense of a childlike innocence and a curious timeless wisdom to be found in Li Chen’s art. If sculpture reinforces our own humanity, then Li’s work certainly does this in full, with a sense of humor, a limitless energy, and a generosity of spirit that Westerninfluenced, hard-edged metal sculpture work does not possess.

Li’s vigorous embrace of the best qualities of Buddhism allows us to smile at ourselves and to see the wisdom of seeking peace in a 82

(extracted from: Ian Findlay-Brown, Asian Art

Space area)

Completed in 2000, the work “Cloud Glider” got its name from Zhuangzi’s Xiaoyaoyou (Free and Easy Wandering), in which a holy man is described to have “climbed on top of clouds and mist, ridden a flying dragon, and wandered beyond the four seas.”

The work conveys the artist’s own spiritual pursuits. The people riding the clouds seem filled with joy, perfectly elaborating upon eastern concepts of earth spirits, the life force, and gods while incorporating the powerful philosophies of Taoism. With Li Chen’s representational approach, the Buddhist statues display an almost ascetic aesthetic based on an acceptance of nature. Despite this natural simplicity the works in this period were also replete with a great energy. In this way, the work themselves are simultaneously emotionally introspective but also defined by extreme vitality. In this context, the artist seems to subscribe to the philosophical ideas and aesthetic of being “like a child” in the thought of Laozi and Zhuangzi (“Laozi” chapter 55). The sublime faces and powerful physical types created by Li ensure that his Buddha or Bodhisattva statues appear “simultaneously light and heavy.” In terms of stylistic analogies, this sense of aesthetics transcends the style of both Song and Tang dynasties and is in many ways closer to the bearing of a deity and romantic charm of the Buddhist statues of the Six Dynasties period. (extracted from: CANS Art News,Dec. 1992, Like a Child, by Chia Chi Jason Wang)

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LI Chen

李真

(Taiwanese, b. 1963)

兩忘

The Noumenon of Contrast 2004 Bronze, edition no. 2/8 19(L) x 19(W) x 66(H) cm ILLUSTRATED

Li Chen: Energy of Emptiness - 52nd International Art Exhibition, La Biennale di Venezia, Asia Art Center, Taipei, 2007, color illustrated, pp. 158-159 Li Chen: In Search of Spiritual Space - Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, pp. 94-95 Greatness of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2012, color illustrated, p. 12

2004 銅雕 2/8 19(長) x 19(寬) x 66(高) cm 圖錄

《李真：虛空中的能量 第五十二屆威年斯雙年展》， 亞洲藝術中心，台北，2007，彩色圖版， 頁158-159 《李真：尋找精神空間》，亞洲藝術中心，台北，2008， 彩色圖版，頁94-95 《大氣 — 李真台灣大型雕塑首展》，亞洲藝術中心， 台北，2012，彩色圖版，頁12 附亞洲藝術中心開立之作品保證書

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

NT$ 2,200,000-3,600,000 HK$ 570,000-933,000 US$ 73,100-119,600

尋 找 精 神 空 間 —【大氣神遊】

平和、心定意凝的。他們只是撩動了觀賞者的心靈，在那裡激發出虛

what is intrinsic and what is transcendental, which must come into a synthesis in the viewer’s mind. “Tension” is not quite the right description of the kind of push-and-pull tussles in Li Chen sculptures, as they look completely serene and resolved, only because they stimulate the mental processes in the viewer of an animated mass between mass and void. (extracted from : Li Chen’s New

來實往的動勢。按照康定斯基的說法，繪畫的各種元素（如「色彩之

Works and the Spiritual in Art in Li Chen: Mind˙Body˙Spirit, by Kwok Kian Chow, Director

和諧」）用意在於「感動人的靈魂」。他還進一步解釋：這樣的藝術

of the Singapore Art Museum)

從禪宗思想來看，此中的張力無非是要做到空而不無，在「內在」與 「超越」之間達到適當的平衡。李真雕塑所蘊含的往來牽扯的矛盾， 用「張力」這個詞來描述並不恰當，因為這些塑像的形貌完全是安詳

表現以「內在必然性的原理」為基礎。如果我們從「內心之觀照」和 「作為認知之本的直覺」這兩項內涵來理解「靈性」及「超越性」， 那康定斯基和李真兩人之間委實大有相通之處。(摘錄自〈李真的新作以及藝 術中的靈性〉，《李真2009新加坡美術館個展：身體•精神•靈魂》，新加坡國家美術館 館長郭建超作)

《兩忘》靈感來自於修身養性的至高境界「物我兩忘」。世間萬物與 自我、自身肉體的感受，都屬於外在事物的範疇，而通過潛身修行、 清心止欲，才能淬煉靈魂。本作品是回應2002年的《無心海》，該作 品已達純粹的禪定境界，但兩「忘」畢竟仍指涉人需透過「忘」以跳 脫物質與身體等外在形式對靈魂的牽絆，較《無心海》更貼近人性。 此作上下平均分為兩部分，好比人物的形象映在水面，實體與虛像並 置。觀者可以想像中央有一片湖水，不在場的水面卻因下半部的水漾 使人物形貌略有流動感，而躍然在場。就雕塑藝術的表現手法而言， 李真以雕塑表現水的流動與倒影，固態跟液態的相互表述，是實境與 虛境的完美結合。

IN SEARCH OF SPIRITUAL SPACE: SPIRITUAL JOURNEY THROUGH THE GREAT ETHER Seeing these tensions in the Chan philosophy context, they are about the void that is not the vacuity, and the right balance of

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The Noumenon of Contrast is born from the heights of spiritual perfection where the ethereal existence emerges by forgetting an etic or emic world with any “I” or “it”. A higher plane where the myriad of things and individuality, and our personal experiences, all belong to an exo-taxonomy, whereas profound spiritual endeavor, with a pure heart unaffected by external desires, lights the sole path to a mature soul. This work responds as an echo to the 2002 piece Clear Soul, which had already reached the sublime realm of meditative Zen nirvana, as the Noumenon of Contrast calls forth the dual forgetfulness which permits one to escape the limits of material reality and corporeality as anchors to the flightful soul, revealing the endless sea of consciousness as ever closer to our humanism. This mystical work appears as if in an upper and lower existence, much like one might expect at dawn when looking across the still waters at their own mirror image, with a unity of reality and reflection. The observer recalls to mind the phenomenon of a lake located in the center, and the absent water reposes an elegant sense of movement to the human figure, revealing a vivid presence. In terms of this inimitable sculptural achievement, Li Chen has managed to capture the flow of water in its utter absence, and reflection, the solid and liquid in mutual contrast, as the perfect synergistic harmony of the noumenon of reality and phenomenon of virtuality.

333

KIM Chan-Il (Korean, b. 1961)

Dots

金燦一 點 2005

2005 Oil on canvas 40 x 40 cm Signed on the reverse KIM CHAN-IL, titled Dots, inscribed 40 x 40 cm, oil pigment on canvas in English, and dated 2005

油彩 畫布 40 x 40 cm 簽名畫背：KIM, CHAN-IL Dots 40 x 40 cm, OIL PIGMENT ON CANVAS Kim Chanil 2005

NT$ 100,000-200,000 HK$ 26,000-52,000 US$ 3,300-6,600

金燦一的作品不只是在繪畫中進行形式實驗，他同時也透過藝術作 品，與觀眾這個外部主體建立關係。所謂「繪畫」的前提條件，是在 長方形的二度平面上，創造出立體假象的圖像，但這樣的前提條件， 早在1960年代已被許多當代藝術家所打破。例如美國藝術家法蘭克． 史戴拉，他曾將畫布塑造成不同形狀，在長方形之外，嘗試其他的繪 畫結構；盧齊歐．封塔納則用刀劃 破平面繪畫的二度空間，使畫作延伸到連接畫布前、後的第三度空 間。金燦一進一步的延伸了此革命性概念，他的創作是創意過程的產 物，以各種不同方式改變長方形畫布的平面物理條件，在「繪畫」的 大框架中提出許多問題，也探索了答案。金燦一的《點》系列作品即 為其代表，藝術作品的顏色並不用於代表靜物或特定的具體形狀，而 是用於創造一幅單一的畫面，透過不同的顏色，引導觀眾體驗特定的 三度空間。 Kim Chan-il’s work is not just a formal experiment within painting, but also a work of art that establishes relations with an external subject called the spectators. The premise of painting, of which

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“painting” is an activity to create an image that induces a threedimensional illusion on a rectangular two-dimensional surface, was broken by various contemporary artists in the 1960s. While the American artist Frank Stella shaped canvases to open the frame of painting to all shapes other than rectangle, Lucio Fontana’s knife cut the frontal space of two-dimensional paintings, extending it to a third dimension that connected the front and back of the canvas.

Kim’s art are extensions of the revolutionary concept. His artwork are products of a creative process in which he throws questions and answers at the large framework of “painting” itself, by transforming the physical conditions of painting, the rectangular canvas and smooth surface, in various ways. “Dots” is the representative series of work by Kim. The colors of the artwork do not serve to represent still life or certain concrete forms, but are only used to create a single picture-plane. Those colors lead appreciators to an experience of a certain three-dimensional space.

334

Katsura FUNAKOSHI (Japanese, b. 1951)

Untitled

2007 Pencil on paper 98.5 x 89.2 cm Signed lower left KF in English and dated 2007 PROVENANCE

Nishimura Gallery, Tokyo

NT$ 460,000-550,000 HK$ 119,000-142,000 US$ 15,300-18,300

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舟越桂 無題 2007 鉛筆 紙本 98.5 x 89.2 cm 簽名左下：KF '07 來源

西村畫廊，東京

335

Yoshitaka AMANO (Japanese, b. 1952)

Gatchaman Acrylic on canvas 150 x 280 cm PROVENANCE

Private Collection, Hong Kong

NT$ 550,000-750,000 HK$ 142,000-194,000 US$ 18,300-24,900

天野喜孝 科學小飛俠 壓克力 畫布 150 x 280 cm 來源

私人收藏，香港

336

Yayoi KUSAMA (Japanese, b. 1929)

Fresh Verdure 1990 Acrylic on canvas 22.7 x 15.8 cm Signed on the reverse Yayoi Kusama in English, titled New Green, and dated 1990 This painting is to be sold with a registration number of authenticity issued by Yayoi Kusama Studio.

NT$ 1,700,000-2,600,000 HK$ 440,000-674,000 US$ 56,500-86,400

草間彌生 新綠 1990 壓克力 畫布 22.7 x 15.8 cm 簽名畫背：1990 Yayoi Kusama 新綠 附草間彌生工作室開立之原作證明

337

Yoshitomo NARA (Japanese, b. 1959)

For Kuro

1992 Acrylic on paper 34.8 x 24.5 cm Signed on the bottom Yoshitomo Nara in English, titled for Kuro in Japanese, and dated ‘92 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-1992-003, p. 60

NT$ 2,600,000-3,600,000 HK$ 674,000-933,000 US$ 86,400-119,600

奈良美智 獻給小黑 1992 壓克力 紙本 34.8 x 24.5 cm 簽名下方：Yoshitomo Nara '92 KURO 黑 に 圖錄

《奈良美智作品全集第二冊》，編年出版社， 舊金山，2011，彩色圖版，編號 D-1992-003，頁60

92

338

Mr. Masakatsu Iwamoto

Mr. (岩本正勝)

(Japanese, b. 1969)

夜空中飛翔的懷舊童年

Nostalgic Childhood Flying in the Night Sky

2013

2013 Acrylic on canvas Diameter: 150 cm Signed on the reverse Mr. and dated 2013

簽名畫背：Mr. 2013

壓克力 畫布 直徑：150 cm

NT$ 2,400,000-3,200,000 HK$ 622,000-829,000 US$ 79,700-106,300

身為日本當代藝術大師村上隆的首席弟子，本名岩本正勝的Mr.透過 他的作品高度發揮了日本動漫文化的精神，特別是其中的蘿莉控和御 宅族綺想。他以歡樂繽紛的的色彩與日本卡漫風格的人物造形將內心 的渴望與幻想具體呈現於畫布上，編織出層次多元，有著強烈敘事性 的無邪樂園。 《夜空中飛翔的懷舊童年》以圓形的畫布呼應畫中的滿月，綠髮紅衣 的女孩飛翔在佈滿閃亮星星與一輪明月的藍色夜空中，她水汪汪的大 眼與粉嫩稚氣的臉龐流露出無比的純真，顯然因為這突來的飛翔而感 到驚訝，作為同伴的的小狗與兔子帶著驚訝的神情也高高飄起，牠們 都以圓潤可愛的卡漫造形呈現，小兔子更是巧妙地飛到月亮之上。自 認為是御宅族，Mr.認為青春正盛、纖弱可愛的純真女孩擁有無比吸 引力，同時卻又是可望而不可即的欲望投射，是一種承載著美好理想 的想像。《夜空中飛翔的懷舊童年》以綠髮女孩為中心，開展出樂觀 面對驚奇、充滿希望的一瞬，女孩伴隨著身旁許多具有特別意義的物 件與動物同伴 飛翔在不可思議的夜空，遠離腳底下那繁華的城市。整 個作品呈現一個亮晶晶，閃耀著魔法的奇幻時刻，洋溢著無邊的熱情 與正向能量，充份傳達了青春、可愛又天真無邪的日式「萌」精神。 在充滿殘缺困頓的現實世界，開闢出一方幻想無邊、充滿活力的夢想 世界。 As the head apprentice of contemporary Japanese art master Takashi Murakami, Masakatsu Iwamoto - known professionally as Mr. - expresses the spirit of Japan’s anime culture through his works, especially the imaginations of lolicons and otakus. With

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bright colors and stylized manga characters, he physically recreates his own desires and fantasies onto his canvas, weaving layers of different elements into a strong narrative playground of innocence.

“Nostalgic Childhood Flying in the Night Sky” uses a round canvas, which echoes the full moon in the image. A green-haired girl dressed in red flies across a blue moonlit night sky full of stars.

Her big, watery eyes and childish face shine with pure wonder, evidently surprised by this sudden flight. Presented in a round and cute cartoonish style, her puppy and bunny companions float up high with similar looks of amazement as the bunny nimbly drifts all the way to the moon. As a self-described otaku, Mr. believes that innocent young girls at the prime of their youth, with their delicate cuteness, have an irresistible allure, yet are unattainable, representing his unfulfilled desires and idealizations. “Nostalgic Childhood Flying in the Night Sky” features a green-haired girl in a moment full of wonder, hope and optimism. Accompanied by an assortment of items with special meanings as well as her furry companions, she soars across the fascinating night skies, away from the bustling city below. The entire artwork illustrates a twinkling, fantastical moment in time that sparkles with magic. Overflowing with endless passion and positivity, it thoroughly conveys the essence of youth, cuteness, and the innocence of Japanese “moe.”

Amidst the flaws and hardships of reality, a dreamland full of endless fantasies and life is born.

339

HONG Kyoung-tack (Korean, b. 1968)

Library 8 (Captive Woman) 2006 Oil and acrylic on canvas 130 x 161.8 cm Signed on the reverse Kyoung-tack Hong in Korean, Chinese and English and dated 2006.8

洪京澤 圖書館 8 — 被困的女人 2006 油彩 壓克力 畫布 130 x 161.8 cm 簽名背面：학고재 洪京澤 Kyoung-tack Hong 2006.8 展覽

「洪京澤：Purgatorium」，CAIS 畫廊，首爾，

EXHIBITED

展期自2008年10月23日至11月22日

Hong Kyoung Tack: Purgatoriu, CAIS Gallery, Seoul, October 23- November 22, 2008

圖錄

ILLUSTRATED

彩色圖版，頁23

《洪京澤》，CAIS 畫廊，首爾，2008，

Hong Kyoung Tack, CAIS Gallery, Seoul, 2008, color illustrated, p. 23

NT$ 2,600,000-3,600,000 HK$ 674,000-933,000 US$ 86,400-119,600

洪京澤的繪畫總有斑斕絢麗的的色彩，他擅於以具有象徵意義的圖案 堆疊重複，構築出充滿寓意，且有著生氣勃勃韻律感的畫面。《圖書 館 8 — 被困的女人》是洪京澤極為精采的代表作，以滿是書籍的圖 書館為場景，透過書架的左右兩個窗戶般的缺口，我們窺見一前一後 兩個歐洲文藝復興妝扮仕女的形象，盛裝且有著豐厚美麗的古典盤 髮，散發出宗教式的靜謐與莊重。她們如此相似，像是同一位女子在 不同時間差留下的驚鴻一瞥，卻並存於同一畫面的奇妙時刻。藝術家 以銳利、平滑的色彩塗佈方式描繪架上層層圖書，有如色彩光譜的呈 現，營造出一股當代影視與流行文化的氛圍；另一方面，他以古典寫 實的手法描繪盛裝仕女，書架上暗喻生命易逝的帶葉樹枝與盛開的玫 瑰，亦承繼了來自西方傳統的象徵意義。於是，《圖書館 8 — 被困 的女人》透過表現手法突顯了不同時代的對比，訴說著關於知識跨越 時間與空間的傳播，關於跳躍的歷史時序，以及短暫與永恆的價值。 The art of Hong Kyoung-tack always features brilliant colors. His expertise in stacking symbolic patterns together allows him to construct images full of philosophical vitality and rhythm. One of Hong Kyoung-tack’s most iconic works, “Library 8 (Captive

96

Woman),” is set in a library full of books. Through the windowlike gaps in the shelves on both sides, we can see the figures of two women dressed in Renaissance clothing, their hair styled traditionally, exuding a serene and formal religious tranquility. They are so similar that one might think that one woman is the double of the other, both captured in the same astonishing moment within the same image. The layers of books on the shelves are drawn with sharp, smooth colors, just like the color spectrum, creating a sense of contemporary film and modern popular culture. On the other hand, he uses the classical realist approach to paint the well-dressed women. The tree branches and blooming roses are a subtle nod to the fragility of life. The work inherits the traditional symbolism of western works. “Library 8 (Captive Woman)” uses expressive methods to highlight the differences between different eras, and also depicts the transmission of knowledge across time and space, the non-linear timeline of history, and the value of transience and eternity.

340

KIM Dong-yoo (Korean, b. 1965)

Diana VS Elizabeth 2008 Oil on canvas 162.2 x 130.2 cm Signed lower right side KDY and dated 2008

NT$ 3,400,000-4,200,000 HK$ 881,000-1,088,000 US$ 112,900-139,500

金東囿 黛安娜 VS 伊莉莎白 2008 油彩 畫布 162.2 x 130.2 cm 簽名右下側邊：KDY 2008

金東囿單色的肖像繪畫以別出心裁的符號性手法，重新詮釋大眾消費 文化中的名流人物，樹立藝術家獨特而令人印象深刻的標誌性風格。 《黛安娜 VS 伊莉莎白》遠觀是黛安娜王妃與查爾斯王子結婚時滿溢 笑容的單色肖像，她頭戴尊貴冠冕、身著華美婚紗， 經由大眾傳播媒 體，這風采迷人、幸福美滿的一刻曾經播送並風靡全世界，令人不禁 想起她往後迭宕傳奇的一生。近距離觀賞此作時，王妃美麗的形像消 融為無數的伊莉莎白二世女王肖像，金東囿以精湛的繪畫技巧與精準 的色階安排，一方面繪出眾多迷你女王肖像，同時由這些小形肖像巧 妙地組成一個大形的王妃像，在聚散游移的視覺焦點變換中，提點兩 人之間錯綜複雜的關係。《黛安娜 VS 伊莉莎白》亦指出大眾媒體時 代中名人肖像大量複製與追星的狂熱，名人引領了眾人的目光，吸引 媒體的追逐，而令人豔羨的皇室風采避免不了悲歡離合，亦承受著社 會大眾的消費。 Kim Dong-yoo’s monochromatic portraits feature a unique methodology that uses symbols to reinterpret celebrities in modern day mass consumer culture, highlighting the artist’s unique style that is sure to leave a long-lasting impression. From a distance, “Diana vs. Elizabeth” features a mono-colored portrait of the happy

newlywed couple Princess Diana and Prince Charles. Her dazzling smile was once spread all over the world through the mass media.

People from around the world witnessed how glamorous she looked, with the prestigious crown on her head and wearing her elegant wedding gown, now a reminder of the legend she has since left behind. When viewed up close, the princess’s beautiful figure is actually composed of countless portraits of Queen Elizabeth II. Kim Dong-yoo’s fine-tuned techniques and precise arrangement of color illustrate miniature appealing portraits of the queen, the tiny portraits building up to an even bigger portrait. Through these focal shifts, the complicated relationship between the two is brought to light. “Diana vs. Elizabeth” also depicts the constant reprints of pictures of celebrities in the era of the mass media and the passion people exhibit when chasing after their idols. These superstars attract the attention of the masses, as well as the hungry media.

Unfortunately, for all the glamor of the royal family, the princess could not avoid tragedy, a tragedy that was eagerly lapped up by the consumerism of modern society.

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341

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

初夏的花片

Petals in Early Summer 1988 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama in English, titled Petals in Early Summer in Japanese, and dated 1988

1988 壓克力 畫布 38 x 45.5 cm 簽名畫背：Yayoi Kusama 1988 初夏の花片 附草間彌生工作室開立之作品登錄卡

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

NT$ 6,000,000-7,000,000 HK$ 1,554,000-1,813,000 US$ 199,300-232,500

草間用繪畫、雕塑、行動藝術等手法，帶有超現實般心理性的考究， 表達她腦海中的宇宙，高彩度對比的用色，令人回到「迷幻年代」， 在視覺藝術、音樂、時尚留下的印記，她的藝術精彩的緣因之一，亦 在於她本人即是一種「偶像」，不遮掩地表露靈魂。 草間彌生自述：「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。 」這些自傳式的、精神 思考式的繪畫透過偶然和無預兆的動機，與神祕的世界連結，內在身 體的力量，潛意識的想法，鋪展出一個宇宙的大空間。她懷有無限作 畫的熱情，對藝術存有如宗教般的景仰，才能長期支持她抵抗精神疾 病的煎熬。她以大量的圓點包覆各種物體的表面，牆壁、地板、畫 布、物品、人體、甚至自己。藉由重複性的線條將圓點無限的蔓延， 混淆了真實空間的存在，使得觀賞者不自覺的陷入眩暈狀態，不知身 處真實或虛幻。 此件作品《初夏的花卉》，藝術家以黃、綠、藍三色表現出勃發的生 命氣息，而這些偏執大小不一的圓點構成了一道道搖曳繽紛的花便隨 風飄散，如乘載著春天的豐饒，如藝術家蓬勃不已的藝術生命力；最 先賞識草間彌生的畫作《無限的網》的評論家之一唐納德．賈德曾如 此評論草間彌生的繪畫：「作品呈現既複雜又簡單的效果。 」觀看草 間彌生的藝術，正是在這些簡單的偏執圓點之中她消彌了內心的精神 苦難，將她所見的幻覺赤裸地呈現在畫布之上，造了一個引人入勝的 空間和意境，透視著畫家夢幻般的精神世界，幻化成他最目眩神迷、 最受世人矚目的精彩創作。 In the forms of paintings, sculptures and performance art, Kusama peers into surreal “psychology” and expresses the universe of her mind. Her highly contrastive color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her “icon” status, and her explicit yet soulful manifestation.

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Kusama Yayoi once explained, “This is how I let the shock and fear I am almost succumbed by settle and abate; these experiences are why I started painting.” This autobiographical and spiritually reflective approach to drawing was developed through coincidence and unforeseen motives linked to a mysterious world and to a power that comes from within - subconscious thoughts that unfurl a universe of vastness. Her endless passion for creation, and her almost religious reverence toward art, are what have supported her through her battle against mental illness. She utilizes a great number of round dots to cover the surfaces of all sorts of objects: walls, floors, canvases, items, human figures, and even herself.

Through repeating lines, her dots trail off into infinity, disorienting the viewer in their spatial reality, pulling them unwittingly into a trance state where they do not know if they are present in reality or illusion.

In this work, “Petals in the Early Summer”, the artist used yellow, green and blue to create a burst of vitality. These wayward dots of varying shapes converge into walls of pulsing waves, like the fragmented petals blowing along the winds; like the vitality brought along the beautiful Summer: like the vigor of the artist herself. The first critic to appreciate Kusama Yayoi’s “Infinity Net”, Donald Judd, once assessed her work as such: “the effect [of Kusama’s Infinity Net] is both complex and simple.” As viewing her works, those polka dots waived the mental sufferance which rooted in her mind and Yayoi transformed these hallucination which she sees constantly onto the canvas , creating a world which is attracting the viewers and through her dreamy-like inner landscape, she creates some of the most mesmerizing art works which gains the attention worldwidely.

342

LEE Ufan

李禹煥

(Korean, b. 1936)

始於點

From Point 1979

Oil and mineral pigment on canvas 73 x 60 cm Signed lower right L. Ufan in English and dated 79

1979 油彩 礦物顏料 畫布 73 x 60 cm 簽名右下：L. UFAN 79 簽名畫背：From Point No. 790138 Lee Ufan

Signed on the reverse Lee Ufan and titled From Point No. 790138 in Engliah

NT$ 6,500,000-7,500,000 HK$ 1,684,000-1,943,000 US$ 215,900-249,100

作為當今在世最重要的亞裔藝術家之一，李禹煥是1960年代末至1970 年代「物派」的主要推動者，深刻影響了戰後日本藝術的發展，他也 是稍晚興起於韓國的「單色畫」運動代表人物，二個藝術運動在某種 程度上都始於反抗當時強勢輸入東亞的西方藝術觀念，藝術家們回過 頭來從東方思想提出與西方現代主義相抗衡的主張。畢業自東京日本 大學哲學系的李禹煥，學識廣博、善於思辯，年輕時選擇跨越語言界 限的藝術作為其思想理論的表現，將圍繞著老莊、禪學發展而成的哲 思轉化為至為精練的藝術實踐，不僅帶領東亞藝術走出新局，深受西 方世界認同與推崇，且影響深遠。 1973年起，李禹煥轉向繪畫領域，以低限的元素與色彩，延續他早期 立體創作關於作品、環境與觀者之間的對應關係與相互作用的探討， 成就其獨樹一幟的極簡畫風。繪於1979年的《始於點》是為李禹煥重 要同名系列的成熟之作。藝術家以單一的藍色調與最基本的點在空白 畫布上建構出簡潔、精煉、高度規律的畫面，揭露了時間與空間的流 動與深度，單純卻蘊含絕對的張力與高度精神性。正如藝術家2017年 在上海與漢斯．尤利希．歐布里斯特特對談時所說的：「我工作的重 點不僅是創作出一個物件，更重要的是物體和周邊的關係。 」《始於 點》的精神不僅僅關乎那極為講究、細細堆疊而成的點，也來自於精 準的色調與結構所產生的重複、規律與速度感。或許，至為重要的是 畫中虛實對應與佈局，那些標記、邊緣與留白，無一不蘊藏著深厚的 哲學思考，將空間的對話延伸到畫布之外，觸及作品存在的週圍及與 之交流的觀者，延展為呼應天地自然、貫穿萬物同質性的終極哲思。 粹煉自李禹煥深厚的哲學思考，《始於點》精采地展現藝術家將無形 思想轉化為有形視覺藝術的高度掌握。凝聚高度專注力，融合了藝術 家對於哲學、音律與物理學的領悟，此作以謙懷的姿態，瞬間喚起寧 靜的感知，強而有力地回應西方現代主義的抽象與極簡，提出以東方 哲思為本的藝術理論系統。而這一切只有起點，沒有終點。 As one of the most significant living Asian artists today, Lee Ufan is the driving force behind the Mono-Ha movement from the late 60s to 70s, and deeply influenced the development of Japanese postwar art. He is also an iconic figure in the Dansaekhwa movement that rose to prominence later in contemporary Korean art scene.

Both art movements began on some level as a rebellion against the encroaching western art concepts in East Asia. The artists of these movements looked back at eastern philosophies to make their arguments against western Modernism. A philosophy graduate

of the Tokyo Nihon University, Lee Ufan is knowledgeable and has great reasoning skills. When he was young, he chose to express his ideological theories through art, which transcends the limits of language, turning philosophies that developed based on Taoism and Zen teachings into refined art practices. He led East Asian art in a new direction, and not only was he recognized and highly praised by the western world, but also making a lasting impact.

Since 1973, Lee Ufan has turned his attention to painting, using minimal elements and colors to continue his exploration of the connection between the artwork, the environment, and the viewer, concepts that he previously explored with his three-dimensional pieces, creating a minimalist style like no other. Painted in 1979, "From Point" is a mature work in Lee Ufan eponymous collection, which is considered a key collection in Lee's oeuvre. The artist uses monochromatic blue and simple dots on the blank canvas to create a simple, refined, and highly steady pattern, revealing the flow and depth of time and space. The painting is simple, but contains absolute tension and high spirituality. As the artist said to Hans-Ulrich Obrist at Shanghai in 2017, "The point of my work isn't to create an object, the more important thing is the connection between the object and the things around it." The spirit of "From Point" comes from not only the precise, carefully layered dots, but also the repetitive, rhythmic, and fast-paced feeling created by precise colors and structure. Perhaps the most important part of the painting is the contrast and placement of the tangible and intangible. The markings, edges, and blank spaces all contain deep philosophical ideas, bringing dialogue about space outside the canvas to connect with the environment and the viewers who interact with the painting.

These ideas develop into the ultimate philosophy that is in tune with nature and links the homogeneous elements of all creation.

A refined result of Lee Ufan's deep philosophical thoughts, "From Point" brilliantly displays the artist's ability to transform intangible ideas into tangible visual art. With a high level of focus combining the artist's understanding of philosophy, sound, and physics, and a humble attitude, this piece instantly evokes a sense of peace and a strong response to the abstract and minimalist western Modernism, and proposes an artistic theory based on eastern philosophy. This is only the beginnings, and there is no end.

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YOSHITOMO NARA 343

Yoshitomo NARA (Japanese, b. 1959)

Patched Head 2011 Acrylic on panel 144.4 x 130.1 cm Signed on the reverse Na in Japanese and dated 2011

NT$ 32,000,000-42,000,000 HK$ 8,290,000-10,881,000 US$ 1,062,800-1,394,900

奈良美智 修補頭 2011 壓克力 木板 144.4 x 130.1 cm 簽名畫背：な 2011

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汪汪深水浪滔滔

Deep deep water puddle

我身處何處

Where is this place

又是如何來到的呢

How did I come to be here

看看著靜止不動的水灘

Looking around the restrictive shallows

陽光粼粼地照在水面上

The light from the sun glitters on the water’s surface

我緩緩地走進快要淹沒我的水中

I walk slowly while submerged in the water

像其他孩子一樣亂無目的地走著

Walking in scattered patterns like the other children

沒有與誰擦肩

Without passing one another

保持著固定的距離

Keeping a certain distance

面無表情地徘徊在其他孩子當中

Expressionlessly passing by one another

彷彿有輛直升機從頭上飛過的聲音

There seems to have been the sound of a helicopter above my head

儘管我還在這水中載浮載沉

Regardlessly I continue forward through the shallows

任潮水淹沒我的雙腿

Water cling heavly around my leg

我才意識到我的存在

While feeling my own existence

在這一片汪汪水中

In the deep deep puddle

做著被水淹沒的惡夢

While having a dream of drowning

－ 奈良美智

- Yoshitomo NARA

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奈良美智「for better or worse Works」個展，豊田市美術館，日本

奈良美智「for better or worse

For better or worse Works,Toyota Municipal Museum of Art, Japan

Works」個展，豊田市美術館，日本

十和田市現代美術館 Towada Art Center

For better or worse Works,Toyota Municipal Museum of Art, Japan

作為當今炙手可熱的國際性日本當代藝術家，奈良美智的藝術語言所

語言環境之下那種更強烈的孤獨感，這種孤獨的氛圍以及對於外在世

表述的不僅是自身內省後的呢喃絮語，更多的是代表著他那一代人的

界的疏離感也在90年後期成為奈良美智創作中的最大主軸；如他作品

時代精神與對過去懷舊事物的萬般依戀；然而，奈良美智的藝術與當

當中，總是以肖像式的主題描繪出那帶點戲謔、反抗，流露著叛逆氣

時或是現今依舊存在著的次文化息息相關，從「卡漫文化」到所謂的

息並憤世忌俗態度的孩童畫像，儘管這些小孩的畫像有著各種怪異、

「御宅族文化」，日本的通俗藝術大量充斥著當前社會，慢慢擴張成

輕挑或是令人憐憫、需要被關愛的眼神，終究是圍繞著強烈的自我意

主流的藝術消費型態；從日本當地蔓延至台灣、中國、亞洲以及歐美

識，被孤獨籠罩的本我，藝術家也多次透露這些可愛或是憂傷的孩童

等全世界，奈良美智這種看似插畫風格的藝術型態逐漸蔚為風尚，亦

畫像，其實是對於孤單孩堤時代的不安、焦躁的情緒於成年後的自我

成為當代藝術的矚目焦點之一；這樣的藝術表述，打破了世人對於美

投射。這些孤獨或是疏離的真實感受同時也反映了當時日本社會的城

學界定的嚴峻標準，使得曾屬於日本次文化的美學概論成為國際性的

市冷漠或是「御宅族」的生活型態，他在畫布上刻畫出的孤獨身影射

重點策展論述，亦讓「藝術」被重新定義，展現出全然的另一面向；

自我的獨白，也恰巧契合了那一代人的困窘與屬於那個時代人的困惑

從大眾化走入各地畫廊中心，接著踏進了各級美術館以及重要私人收

心靈；宛若自畫像一般，奈良美智畫作中不可妥協卻又堅強抵禦外在

藏機構；從小眾的收藏標的走入世界性追捧的收藏精品，也使得奈良

世界的人像神情，正是所有曾經迷離、孤單的世人身影；藝術家以追

美智從日本愛知縣，走出日本、跨越亞洲，走入世界舞台，成為一位

求真實內心自我的繪畫與世界相抗衡的當下也與外在世界溝通，透過

國際性的藝術家。

這樣的藝術語言，娓娓道出使他存在的力量，也給予孤寂人們撫慰傷 感的溫暖。

「 孤 獨 和 疏 離 感，是我創作的動力。」─奈良美智 在他出生之前，母親曾懷過一名女孩卻不幸夭折，而他的母親便將這

「如果沒有音樂，生活就是一個錯誤。」─尼采 《偶像的黃昏》

「美智」這名字留給了後來出世的奈良美智，這也或多或少影響著他

在奈良美智的作品當中，可以明顯見到很多關於搖滾音樂的元素，例

往日創作中的孩童畫像總是帶著一絲雌雄難辨的氣質，奈良美智也曾

如：電吉他、爵士鼓、鈸等，這些元素回溯到年輕時他喜愛的搖滾音

以這樣的主題創作過以「美智」為題的畫作；成長於單一小孩家庭中

樂，一種反叛精神的世代音樂；可能是孤獨的叛逆內心作祟，他將他

的奈良美智，孤獨的童年造就了他寡言沉默、內斂含蓄的性格，童年

最底層的不羈放縱，結合喧囂的搖滾音樂，此類的題材亦反覆地出

的繪本讀物是玩伴以外，這些來自兒童繪本的視覺元素亦在當時潛移

現，視為他作品中重要的靈感來源。作品中儘管有著類似所謂「御宅

默化了奈良美智日後的繪畫風格；1989年負笈德國杜塞道夫藝術學院

族」的美學基礎，簡單的線條繪畫與平面構圖常使得奈良美智的作品

留學期間，身為異鄉人的奈良美智更是能感受在差異的文化背景以及

被歸類為「超扁平」藝術，但藝術家卻嚴正地拒絕了如此被草率的界

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定其繪畫風格；在形式與表現方式看來，奈良美智的表現技法與超扁 平藝術家雖雷同，但奈良美智的創作題材卻不曾迴繞「超扁平」藝術 家試圖批評當時日本的社會、風俗、藝術、文化的過度膚淺，他著重 的是畫出對自己重要的東西，追求赤裸的真實自我；而另一項影響奈 良美智創作的元素則是起源於17世紀，主要描繪時人們日常生活、風 景、和戲劇的日本浮世繪，如：喜多川歌麿、葛飾北齋、歌川廣重等 作品身影亦常見於奈良美智的繪畫之中。

以 創 作 撫 平 傷 痛的靈魂 曾不只一次公開反對戰爭、核能的奈良美智，曾經創作了反核、反戰 的繪畫並公開在網路上任意讓與他相同信念的人們下載複製，而對於 人道關懷他亦不曾缺席；《修補頭》是為了2011年3月11日，日本東 北大地震後福島核災所創作；奈良美智以童趣的繪畫語言，以及簡單 的線條與色彩，鋪陳了一件具有敘述性色彩的女孩畫像，試圖講述災 難所帶來的傷害；作品中有著奈良美智標誌性的小女孩畫像；童稚的 臉頰，雙眼略慍地看著左方，咬著牙般地好像控訴著誰，似乎是對於 剛結束的苦難仍心有餘悸般；小女孩半身漂浮於水面當中暗指剛退去 的洶湧海嘯；孤單地漂浮其中，頭上彩色的貼布則意味著曾經受過傷 的地方，而頭頂交叉的繃帶與旋繞的星星象徵著新的傷口；藝術家以 最純粹的初心，面對災害所帶來的無力感盡是流瀉於此件作品當中，

One of the brightest stars of the international contemporary art scene, Japanese artist Yoshitomo Nara possesses an artistic language that conveys not only murmured musings of self-reflection, but also the spirit of his generation and nostalgia for the objects of the past. And yet his art is closely connected with the subcultures of those past times, and even subcultures that exist today, from “cartoon and comic book culture” to “otaku culture.” Japanese popular art has become a major part of today’s society, gradually expanding and becoming part of mainstream art consumption; it has spread out from Japan to Taiwan, China, and the rest of Asia, as well as to the Americas and Europe, and indeed the whole world.

Nara’s almost illustrative style is gradually becoming both fad and focal point for contemporary art. This kind of artistic expression shatters the world’s strict aesthetic standards. What was once merely a part of the Japanese subculture aesthetic is now a focal point for curators worldwide, one that is redefining and displaying a different side of “art.” His art has changed, from catering to the masses to being showcased in art galleries, museums, and important private collections. Such a transition, from niche collector pieces to collections prized by the world, has allowed Nara to step outside of Aichi Providence, even outside of Japan and Asia, and onto the world stage, where he has become an international artist.

而曾經對自己「身為藝術家的無助」的奈良美智透過繪畫傳遞出對於 災難造成傷痛的疼惜，提供了溫暖人心的藝術創作，使得他的作品更 加貼近大眾以外，也給予人們真切的希望與精神上的寄託。

「奈良美智：無常人生」，亞洲協會香

「奈良美智：無常人生」，亞洲協會香港中心麥禮賢夫人藝術館，香港

港中心麥禮賢夫人藝術館，香港

Life is only one, Chantal Miller Gallery Asia Society Hong Kong Center, Hong Kong

Life is only one, Chantal Miller Gallery Asia Society Hong Kong Center, Hong Kong

青森美術館 Aomori Museum of Art

“LONELINESS AND DETACHMENT IS WHAT DRIVES ME TO CREATE.” -YOSHITOMO NARA Before he was born, Yoshitomo Nara’s mother was pregnant with a girl, who was unfortunately stillborn. But his mother kept the name of the girl, “Michi,” for when Yoshitomo was born. To some degree, this influenced his art, as the children in his paintings always carry a sense of neuter. Nara has also given certain of his works the theme “Michi.” As an only child, Nara’s loneliness in his childhood contributed to his quiet, brooding, and reserved personality. Picture books were his playmates during those years. Their visual elements went on to influence his later style. In 1989, Nara left for Germany to study at the Kunstakademie Düsseldorf. A stranger in foreign lands, he became even lonelier in the midst of an alien culture and language. This sense of loneliness and detachment from the outside world became the central idea of Nara’s creations of the late 90s. His works are often portraits of children exuding attitudes of mockery, resistance, a spirit of rebellion, or disdain for the world and its baseness. And although these children’s portraits feature strange, flippant, or pitiful looks, their appearances revolve around a strong self-awareness, a self shrouded in loneliness. The artist also reveals over and again that these cute or sad children’s portraits are actually self-reflections of an uneasy, emotionally turbulent childhood. These real-life feelings of loneliness and detachment also reflect the indifferent present in Japan’s cities and the “otaku” way of life. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation and the confusion of their souls. Like many self-portraits, Nara’s paintings betray an uncompromising spirit and a strong defiance of the outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the lonely.

around criticizing the superficiality of current Japanese society, its traditions, art, or culture. Instead he focuses on painting what is important to him, and pursuing a naked yet true self. Another element that has influenced Nara’s work is Ukiyo-e, an art form from 17th-century Japan which depicts the daily lives, scenery, and theater of the time. The works of artists such as: Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige often appear in Nara’s paintings.

SOOTHING INJURED SOULS THROUGH CREATIVITY. Yoshitomo Nara has openly and on many occasions opposed war and nuclear energy. He once created theme about anti-nuclear and anti-war drawings and uploaded them to the Internet for similarminded people to download and share. And he is always somehow involved in humanitarian care. This piece, “Patched Head,” was created for the Fukushima nuclear disaster that occurred as a result of the Tōhoku earthquake and tsunami on March 11th, 2011. With childlike artistic language, simple lines and colors, Nara created a portrait of a girl that contained narrative elements which convey the harm brought about by the disaster. The work features Nara’s trademark portrait of a little girl: childlike cheeks, eyes glancing to the left in slight agitation, teeth clenched as if in accusation, looking as if still shaken by the misery that had just ended. The little girl is floating in water, signifying the tsunami that had just receded. And

“WITHOUT MUSIC, LIFE WOULD BE A MISTAKE” NIETZSCHE, TWILIGHT OF THE IDOLS In the works by Yoshitomo Nara, elements from rock music can clearly be seen, such as: electric guitars, drums, and cymbals. These elements can be traced back to his love for rock music during his youth, rock music being a musical form of that generation’s rebellious spirit. Perhaps as a reflection of his lonely and rebellious soul, he combines his most uninhibited indulgence with vigorous rock music. This theme repeatedly appears throughout his works, and is seen as an important source of inspiration. Although his works often find a base in “otaku” aesthetics, the simple lines and flat composition often cause his work to be classified as “Superflat.”

However, the artist has strongly rejected the definition as a careless appraisal of his art style. In terms of form and expression, Nara’s techniques do indeed seem similar to the Superflat artists, but unlike in their works, the subjects of Nara’s works never revolve

she is floating alone, the colored patches on her head indicating her past injuries, while the crisscrossing bandages and swirling stars represent new wounds. The artist used his purest intentions to confront the sense of helplessness brought on by the disaster, which shows plainly in this work. Yoshitomo Nara, who once felt “the helplessness of an artist,” conveys here the pain and pity caused by the disaster, provides art that warms people’s hearts, brings his work closer to the public, and gives people hope and spiritual sustenance.

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Atsuko TANAKA

田中敦子

(Japanese, 1932-2005)

90B

90B

1990

1990 Acrylic on canvas 117 x 91 cm Signed on the reverse Atsuko Tanaka, titled 90B and dated 1990

壓克力 畫布 117 x 91 cm 簽名畫背：1990 90B Atsuko Tanaka

NT$ 11,000,000-20,000,000 HK$ 2,850,000-5,181,000 US$ 365,300-664,200

具 體派 Gutai 身為日本戰後重要藝術運動「具體派」的代表成員，田中敦子以具體

常特別地以粉紅作為主色調，為理性的精神性思辯與奮進的熱切渴

派所強調的物件本質為出發點，聚焦於有形物質及無形能量的「聯

求，增添了感性的溫暖。

結」，成就其回應時代脈動的創作體系。而她以一介女性之姿，能在 二十世紀男性主導的日本藝壇發光，進而獲得國際間的關注，可見其 出類拔粹與不可忽略的重要地位。

鮮豔的色彩構成諸多圓圈與聯結其中錯綜複雜的線條，《90B》體現 了田中敦子經典且具有女性特質的代表風格。圓圈及線條組成複雜的 網狀結構，呈現物質之間的聯結互動，如同產生強大動力的電路，彷

1932年生於日本大阪，田中敦子在這思想前衛的城市成長並完成藝術

若生物體內在的訊息與能量系統，亦指涉瞬息萬變的思緒流轉，，或

教育。也正是在大阪，吉原治良在1954年發表具體派宣言，開啟了日

是生物性的混沌動態聯結。動能流竄其間，那能量脈動，如電流、亦

本戰後第一個前衛藝術流派的輝煌歲月。當時的日本藝壇深受西方抽

如血液，生命與物質的節奏律動構成了一獨特的「震動的空間」。右

象藝術的影響，而自從明治維新以來即存在於日本文化界中關於接受

上方的鮮綠色的圓圈巧妙地為紅色調的畫面注入對比活力，神秘的能

抑或是對抗西方思想的辯論也在此時發酵。吉原治良致力於藉由對自

量在畫布上悸動交織。這是田中敦子的深層的的自我心理探索，亦象

身傳統的重新審視以創造文化再生的機會；具體派的藝術理念衍生自

徵著其所處時代融科技與思想，創新與改革的風潮。當法國的知名藝

襌宗思想，強調事物原本的物理性與材料性，直視精神與物質兩者之

評家米榭．塔皮耶在1957年《首次日本旅程的心理預備》一文中提及

間相立而互不從屬的平等互動，具體化物質靈性的意志。身為第一代

具體派藝術時，他曾經寫道：「我對具體派藝術群體深表敬意，我更 認為當中四位藝術家應與享譽國際的人物齊名，包括白髮一雄、嶋本 昭三、吉原治良及田中敦子。 」足見田中敦子在亞洲戰後藝術發展中 的重要地位，而《90B》具體呈現了藝術家關於物性本質、心理聯結 與精神活動的多重思考，以看似紛亂的巧妙佈局，形塑出充滿能量律 動的深遠意象。

具體派核心藝術家的田中敦子，在1956年第二屆具體藝術展中發表了 著名的《電氣服裝》一作，那是一襲以二百多個彩色燈泡及燈管拼合 而成的連身裙，由藝術親自穿在身上，直指光、電等物理性能量與人 的關係，自此，田中敦子發展出一系列繪畫作品，探討人類與物質、 能量之間繁複的交織聯結，她的畫作往往色彩繽紛，然而《90B》非

112

ATSUKO TANAKA 田中敦子

As an iconic figure in “Gutai,” the most important art movement of post-war Japan, Atsuko Tanaka usesd Gutai’s emphasis on the intrinsic nature of objects as a starting point to hone in on the “connection” between tangible and intangible objects, achieving a creative system that respondsed to the ebb and flow of the era. As a woman who was able to stand out in the predominantly androcentric art scene of 20th century Japan and gained worldwide attention, her talents and significance areshouldn’t not to be taken lightly.

Born in Osaka, Japan in 1932, Atsuko Tanaka grew up and completed her artisticart education in this ideologically advanced city. It was also in Osaka where Jiro Yoshihara announced the Gutai declaration in 1954, beginning the glory days of the pioneering art movement of post-war Japan. The art scene ofin Japan at the time was heavily influenced by western abstract art, which rose alongside the debate over whether Japanese culture should accept or oppose western ideas that have been ongoing since the Meiji Reform. Jiro Yoshihara was committed to creating opportunities for cultural regeneration by reexamining his views towards his own traditions; the artistic concepts of Gutai arewere derivedderived from zen, emphasizing the original physicality and material aspects of all things. Through a clear view of the balanced interaction between the conflicting nature of the spiritual and the materialistic, the spirit of material spirituality is made concrete. As a key artist of the first generation of Gutai, Atsuko Tanaka released the famous “Electric Dress” at the second edition Gutai art exhibition in 1956.

It was a dress made of more than two hundred colored light bulbs and lamps worn by the artist herself as a direct nod towards the relationship between human beings and physical energy, such as light and electricity. From this, Atsuko Tanaka developed a series of paintings that explore the intricate connections between

mankind, objects, and energy. Her works are often colorful, but her painting “90B” features a predominantly pink color palette that adds an emotional warmth to the debate and passionate pursuit of rationality.

In the bright colors of the numerous circles that connect the intersections between complicated lines, “90B” presents Atsuko Tanaka classical and representative feminine style. Circles and lines make up a complex web that portrays the interconnections between different objects, like that of electric circuits that generate power, or the internal nervous systems of living organisms, which also refer to our ever-changing emotions, or the dynamics of biological chaos.

The energy that flows in between is like that of electric currents or blood, where the rhythm of life and the non-living form a “space of resonance.” The bright green circle in the upper right hand corner cleverly injects a contrasting vitality into its reddish palette as a mystical energy weaves throughout the canvas. This exploration into the depths of Atsuko Tanaka’s mind also symbolizes the innovations and revolutions of an era of technology and ideologies.

When renowned French art critic Michel Tapié spoke of Gutai in “A Mental Reckoning of My First Trip to Japan” in 1957, he wrote, “I have a deep respect for the whole group [members of “Gutai] ”as a group, but I would like to name four artists who should appear alongside the most established international figures: Shiraga Kazuo, Shimamoto Shozo, Yoshihara Jiro, and Tanaka Atsuko.” “I have seen evidence of Atsuko Tanaka’s importance in the artistic development of post-war Asia, and “90B” thoroughly presents the artist’s contemplations over the connection between the intrinsic nature of objects, their psychology and spiritual activity. In its seemingly messy yet clever layout, a thoughtful image full of an energetic rhythm is crafted.

YAYOI KUSAMA 345

Yayoi KUSAMA Pumpkin

(Japanese, b. 1929)

1983 Mixed media (unique) 28(L) x 29.5(W) x 31(H) cm This sculpture is to be sold with a certificate of authenticity issued by Yayoi Kusama Studio

NT$ 6,000,000-8,000,000 HK$ 1,554,000-2,073,000 US$ 199,300-265,700

草間彌生 南瓜 1983 綜合媒材（單一件） 28(長) x 29.5(寬) x 31(高) cm 簽名底部：南瓜 YAYOI KUSAMA, 1983 附草間彌生工作室開立之原作登錄卡

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PUMPKIN Yayoi KUSAMA

縱橫藝壇六十多年的草間彌生是享譽國際的日本現代藝術家，她於

畫布以外，草間彌生還以立體進行創作，把她的南瓜呈現在感官所能

1993年代表日本參加威尼斯雙年展，參展的鏡子與南瓜等裝置藝術作

觸及的真實空間，提供多一層次的視覺刺激。其色彩斑斕的雕塑釋放

品獲得極大好評。2006年，草間彌生榮獲日本最高國際藝術家榮譽—

著強韌的生命力，那沒有全然對稱的南瓜造型，更能表現出自然的真

「高松宮殿下紀念世界文化賞」，她也是首位獲此殊榮的日本女性。

我；儘管以靜態的形式出現，但豐盛的生命力並沒有絲毫減退。此件

其創作廣為全球各大博物館收藏，包括紐約現代美術館、倫敦泰德現

《南瓜》有別與以往的陶塑或是玻璃纖維，以複合媒材形式進行自我

代美術館、巴黎龐畢度藝術中心與東京國立近代美術館。2008年，她

的塑型對話，將兒時在農場所產生與南瓜對話的幻覺後，深深被南瓜

的作品《無限的網》第二號於紐約以五百多萬美元成交價，創下在世

圓潤的形狀所吸引的影響重新複製於後來的藝術語彙上；草間彌生

女性藝術家的最高紀錄。2012年，倫敦泰德現代美術館特別為她舉辦

以材質獨特的表面展現出內心曲折的情感層面，草間彌生以細膩的筆

大型創作回顧展。

觸，把密密麻麻的黑點整齊地繪畫在南瓜上，排成列狀的大小波點形

草間彌生的藝術紮根於藝術家內心中，她創作的形象與影像都與其早 年生活息息相關，由於童年遭母親不和睦對待，留下深刻創傷，十歲 時便開始產生幻覺。她回憶，有一天她坐在廚房餐桌旁，注視著桌布 的紅花圖案，抬頭看時，發現相同的圖案出現在天花板、窗戶、牆 壁、自己身體上，最後佈滿整個世界。這些幻覺終生不退，而她的所 有藝術創作，包括繪畫、雕塑、甚至裸體裝置藝術，都點綴著滿滿的 圓點、網線或花朵圖案。她表示，與這些持續出現的幻覺影像共存的 唯一方法，就是將它們轉化成創作，使之成為外在世界的一部分。她 的作品細微並誠實地承載自身的過去，及其無法擺脫的夢魘；草間用 繪畫、雕塑、行動藝術等手法，帶有超現實般心理性的考究，表達她 腦海中的宇宙，高彩度對比的用色，令人回到「迷幻年代」，在視覺 藝術、音樂、時尚留下的印記，她的藝術精彩的緣因之一，亦在於她 本人即是一種「偶像」，不遮掩地表露靈魂。

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成了細緻的條紋，賦予雕塑極大的感染力。她認為波點擁有太陽的形 狀，是世界和生命力的象徵；它同時有著月亮的形狀，散發著安寧靜 謐的氣息。圓形、柔軟、色彩斑斕、無知

無覺、不可

捉摸，波點成了一種運動，是通往無限的

方式。草

間彌生的《南瓜》雕塑，捕捉了波卡圓

點生動而

迷離的本質，她以靈活的結構和 簡單的南瓜轉化成一個充滿 的實體，超越其性質的界 限。

佈局，把 活力

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

Kusama’s art is deeply rooted in her psychology, her iconography and images are invariably linked to her early life. Suffering a traumatic childhood at the hands of her mother, at the age of ten she began to have hallucinations. She has recounted that one day as she was sitting at the kitchen table, she was looking at the red flower patterns of the tablecloth. When she looked up, she saw the same pattern covering the ceiling, the windows, the walls, her own body and ultimately the universe. These hallucinations were to persist with her for the rest of her life, and everything in her art from her paintings to her sculptures to her installations even with naked bodies was to become covered in dots, nets or flowers. She has said that the only way she could cope with the obsessional images of her constant hallucinations was to translate them into the outside world in all of her works. Her artworks candidly depict her own history and inescapable nightmares in details. In the forms of paintings, sculptures and performance art, Kusama peers into surreal psychology and expresses the universe of her mind. Her highly contrastive color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her icon status, and her explicit yet soulful manifestation.

Leaving the canvas and taking three-dimensional form, Pumpkin brings Yayoi Kusama’s visually stimulating compositions to tangible reality. Carefully sculpted in the asymmetrical imperfection of true life, Pumpkin commands attention and consideration despite its static and deceptively simple nature.“Pumpkin” is different from the pottery clay and FRP of the past. Using a multimedia format to converse with one’s own thoughts, it draws you in by creating the

illusion of you talking to pumpkins at a farm as a child. The influence left by the round shape of the pumpkin is then transferred over to her later artistic vocabulary; Kusama Yayoi used the unique qualities of her subject to express her own inner turmoil, using detailed brush strokes to neatly arrange black dots onto the surface of the pumpkin. The fine stripes created through their different sizes give the sculptures a strong sense of appeal.“A polka dot has the form of the sun,” states Kusama, “which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.” In Pumpkin, Kusama has captured this sensational essence of the polka dot, reflected in the structure, composition, and pattern of the simple pumpkin, creating a vibrant, living form which exceeds the boundaries of its stationary nature.

346

Yayoi KUSAMA (Japanese, b. 1929)

Key-Chan

2008 FRP, paint (unique) 130(L) x 56(W) x 100(H) cm Signed Yayoi Kusama and titled KEY-CHAN in English, and dated 2008

草間彌生 圓點小狗 2008 玻璃纖維 著色 (單一件) 130(長) x 56(寬) x 100(高) cm 簽名：Yayoi Kusama 2008 題名：KEY-CHAN 來源

PROVENACE

維多利亞．米羅畫廊．倫敦

Victoria Miro Gallery, London Private collection, Asia

私人收藏，亞洲

NT$ 4,400,000-5,500,000 HK$ 1,140,000-1,425,000 US$ 146,100-182,700

1929年出生於日本松本市鄉間的草間彌生，童年時期即飽受種種幻 聽、幻覺的侵擾，每一天都在與痛苦、不安與恐怖戰鬥，她藉由不斷 地繪畫排解心中難以言喻的不安，支持自己在從病症裡掙脫，藝術創 作，遂成為支持她存活下去的手段。1957年，草間彌生隻身赴美，在 藝文薈萃同時也是競爭最為激列殘酷的紐約嶄露頭角，成為當時紐約 前衛藝壇的先峰人物。 草間彌生對圓點是偏執的，這與她的視覺幻覺有關。她以大量的圓點 包覆各種物體的表面，牆壁、地板、畫布、物品、人體、甚至自己。 藉由重複性的線條將圓點無限的蔓 延，混淆了真實空間的存在，使得觀 賞者不自覺的陷入眩暈狀態，不知身 處真實或虛幻。此件大型南瓜創作為 二維半立體作品，藝術家以畢生最鍾 愛題材，一次又一次地對自我對話， 透過這些無數的獨白，為自己飽受精 神疾病折磨的靈魂找尋生命的歸屬與 出口。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。 」 1990年代後，草間彌生曾為博物館、 藝術節、博覽會創作戶外雕塑或裝置作品，如知名的南瓜雕塑，以及 千禧年後「Hi, Konnichiwa系列」發展出的巨型植物、花朵、女孩、 小狗雕塑，作品表面都塗有色彩鮮豔的圓點圖案，風格強烈。此件 《圓點小狗》雕塑是2009年倫敦維多利亞•米羅畫廊花園雕塑展的 展品之一，展覽中有一對小狗雕塑，高一點的叫Key-Chan，小一點 是Rhu-Chan。Chan在日文的意思有小的、親暱之意。草間彌生會為 自己創作的小狗雕塑取名字，「小Key」、「小龍」等可愛的小名， 代表著她的童心未泯。《圓點小狗》各有不同的色彩，如同它們的名 字，每件小狗雕塑都是獨一無二的作品。 Born in a rural area near Matsumoto, Japan in 1929, Yayoi Kusama suffered from hallucinations as a child; every day was a neverending struggle with misery and fear. Through constant painting, Kusuma was able to find a release for the unease that plagued her; art provided a means of coping with her mental illness, and gave her a reason to go on living. In 1957, Kusuma traveled to New York (which at that time was home to the most exciting, but also the most competitive, art scene in the world), where she became a leading member of the avant garde.

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Kusama has a partiality for dots due to her hallucinatory visions.

She covers the surfaces of all kinds of materials - walls, floors, canvases, objects, human bodies, and even herself - in dots. And by expanding dots into infinity through repeated lines, her work confounds the existence of real space, bringing the viewers into unconscious states of dizziness, not knowing whether they are in reality or illusions. Her diverse creative mediums and themes are beloved by many, including multitudes of museums and private collectors. Her work moreover once set an auction record of 5 million US dollars, highest of all living female artists. This large pumpkin artwork is a 2-dimensional, partially 3-dimensional piece. The artist engages in continuous dialog with her inner self through the use of this adored and treasured theme, and through these soliloquies finds both a sense of belonging and an exit for her tortured soul. Kusama Yayoi incorporates her experiences of hallucination into her work, thereby relieving stress through t h e c re a t i o n o f s t u n n i n g , a w e inspiring art. She explains, This is how I let the shock and fear I am almost succumbed by settle and abate; these experiences are why I started painting.

After 1990, Yayoi Kusama created outdoor sculptures and decorative pieces for museums, art festivals, and exhibitions.

Among these works, celebrated pieces include pumpkin sculptures and the post-millennium “Hi, Konnichiwa (Hello) series” featuring sculptures of large-scale plants, flowers, girls, and puppies.

The surface of each work is covered with “polka dots” in bright colors in a very strong style. This piece, Polka Dot Puppy, is one of the sculpture works included in the 2009 Victoria Miro Gallery Garden Sculpture Exhibition in London. There was a pair of puppy sculptures of which the taller one is called Key-Chan and the smaller one Rhu-Chan. Chan refers to “small” or “dear” in Japanese. Yayoi Kusama is truly a child at heart, which is why she named her puppy sculptures with cute nicknames such as Key-Chan and Rhu-Chan.

There are different colors in the “Polka Dot Puppy” series, and as their names imply, each puppy sculpture is unique.

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347

CHOI Yeong-geol (Korean, b. 1969)

Winter Village 2008 Watercolor on Korean paper 79 x 173 cm With one seal of the artist PROVENANCE

Leehwaik Gallery, Seoul

NT$ 750,000-950,000 HK$ 194,000-246,000 US$ 24,900-31,600

崔令杰 寒冬村落 2008 水彩 韓紙 79 x 173 cm 手繪鈐印：崔令杰 來源

Leehwaik Gallery，首爾

348

JI Yong Ho (Korean, b. 1978)

Ram Head 9 2008 Used tire, steel, wood and synthetic resin 60(L) x 100(W) x 100(H) cm Signed middle right JYH in English

NT$ 650,000-850,000 HK$ 168,000-220,000 US$ 21,600-28,200

池龍虎 白羊頭 9 2008 輪胎 鋼 木 合成樹脂 60(L) x 100(W) x 100(H) cm 簽名：JYH

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ZHOU CHUNYA 周春芽

才情縱橫 文人心 周春芽，一位才氣天成、忠於自己的藝術家，他發光於中國當代藝術 吸引全球視野的時代，身處時代洪流之中，卻始終不曾隨波逐流，他 唯一追隨的，是內心最赤誠的情感與對藝術的渴望，從而開創出獨 特、豐富、直擊人心情感的創作體系，自外於喧囂之上，絢然閃耀。 若說二十世紀初肇始於歐陸的現代主義運動將藝術視野帶往了前所未 有的開放境界，那麼二十世紀末由中國四川美院掀起的中國當代藝術 風潮，不僅為中國主流文化注入顛覆性的新能量，更擴大為改變全球 藝術市場的超級風暴。這股撼動全球藝壇的力量萌發於1980年代前 後的四川，在人文薈萃的四川美術學院裡，包括周春芽在內的青年學 子，寫下了屬於中國的現代美術史。隨著文化大革命隨著毛澤東離世 而落幕，中國恢復大學高考的1977年，周春芽就考上了四川美術學 院，同年上榜的還有羅中立、張曉剛、何多苓、程叢林、高小華，這 些年齡與畫歷各有先後的青年都曾在物質缺乏的年代裡堅守對藝術的 夢想，此時一起進入四川美院，不啻都是萬中之選。

一幀閃爍著陽光、輝映著大地色彩的畫作。約莫這個時期，周春芽的 同學高小華、程叢林也藉著少數民族的題材，開啟了觀注平凡群眾生 存現狀的「傷痕美術」潮流，與當時主要描繪農民的羅中立一起引起 了高度關注。同樣以少數民族為題材，周春芽的作品卻不像「傷痕美 術」架構於國族命運的宏大敘事之上，也不著重文學性的情懷抒發， 更多的，是展現藝術家對於藝術純粹性的追求。 此次上拍一系列繪於1981年起的畫作即來自周春芽這段開始建立獨 立畫風的時期，畫裡有沉厚的大地色彩、因日曬而顯得黝黑的藏人臉 龐與雙手、以及他們身上色彩飽和的衣飾，色彩與形式表現上已然 脫離當時學院裡所傳授的、來自蘇聯的社會寫實技法，而融入他在 四川美院圖書館裡，偕同張曉剛日日觀摩一本來自歐洲的印象主義畫 冊所得的體悟。他以肌理豐富的筆觸展現陽光下的色彩，以充滿力道 的線條詮釋藏人的天成之美；大塊面的結構，展現他在形式探索上過 人的才氣；例如《藏族婦女像》的溫暖厚實、《藏族老人像》透露歲 月風霜，《藏族青年像》則以簡略的筆觸表現身體，與完整描繪的青 年臉龐相互襯托得更為出色。而其中《剪羊毛》一作來自於他到若爾

來自草原的啟迪

蓋大草原的一次拜訪。《剪羊毛》呈現一群藏人圍繞著一頭綿羊剪下

1980年，還在四川美院求學的周春芽第一次來到四川省紅原縣藏人生

光下閃耀的不同質地，襯以粗黑的輪廓線，如同歐洲教堂裡的鑲嵌玻

活的草原，他深深地被這裡熾烈陽光下，色彩分明的景象與純樸粗獷

璃，散發出一股神聖光采。周春芽在四川美院畢業之際提交了這件作

的人們深深吸引，他曾如此回憶：「那時沒有看過草原的色彩、服裝

品，不僅入選當時中國美術界最重要的「中國美展」，還獲得了獎

的色彩，我從來沒看到過少數民族，剛一看到被色彩震住了。 」（栗 憲庭，周春芽訪談錄，Zhou Chunya, 2010，頁25）周春芽提起畫筆，揮灑出一幀

項。

羊毛，色彩以粗獷的筆觸堆疊，卻細緻地呈現皮膚、衣料和羊毛在日

OVERFLOWING TALENT - THE HEART OF A LITERATI Zhou Chunya, a talented artist who remains true to his principles and beliefs, rose to prominence in the era which contemporary Chinese art took the world by storm. Caught in the flow of the times but never letting himself become swept away, his sole pursuit is that of his truest feelings and desire toward art. By creating unique and vivid works that move and amaze, he rises from the hustle and bustle of the material world and shines above all.

If the Modernist movement which had originated in Europe at the beginning of the twentieth century brought artistic visions to unexplored frontiers, then the contemporary Chinese art movement engendered by China’s Sichuan Fine Arts Institute at the end of the twentieth century not only revolutionized Chinese mainstream culture with new energy, but moreover grew into a superstorm that forever changed the global art market. This power that has shaken the art world arose in Sichuan around the 1980s. Within the cultural hotbed of Sichuan Fine Arts Institute attended by young students like Zhou Chunya, history was written on modern Chinese art.

Following Mao Zedong’s death and the conclusion of the Cultural Revolution, China retrived higher education entrance exams in 1977. As such, Zhou Chunya was accepted into Sichuan Fine Arts Institute along with Luo Zhongli, Zhang Xiaogang, He Duoling, Cheng Tsunglin, and Gao Xiaohua. Despite their differences in age and artistic experience, they were all youths who held fast to their artistic dreams in times of materialistic poverty. To have entered Sichuan Fine Arts Institute together during such times, they were truly the greatest of their generation.

ENLIGHTENMENT OF THE PRAIRIES As a student of Sichuan Fine Arts Institute, Zhou Chunya came to the grasslands where the Tibetan people of Hongyuan lived in 1980, deeply attracted by the distinctive colors of the views there as well as the simplicity of the people. He once reminisced that, “At the time, I had never seen the colors of the prairies, the colors of their clothing. I had never met ethnic minorities before, and when I did, I was instantly stunned by their colors.” (Interview of Zhou Chunya and Li Xianting, Zhou Chunya, 2010, p. 25) Thereafter, Zhou Chunya picked up his brush and painted frame after frame of colors of the earth glistening beneath the sun. It was around this time that

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Zhou Chunya’s classmates Gao Xiaohua and Cheng Tsunglin also adopted ethnic minorities as their subjects, creating a new trend known as “Scar Art” through which they observed the day to day survival of those people. Together with Luo Zhongli, who primarily portrayed the lives of farmers, the works of these arts amassed widespread attention. Though his art was also centered on ethnic minorities back then, Zhou Chunya’s works were not built upon epic descriptions of national fate like that of “Scar Art,” nor did they embody literary expressions of emotion. What the works did express, however, was the artist’s pure and simple pursuit of art.

This auction features a series of works painted by Zhou Chunya since 1981 just as he was in the midst of establishing his unique personal style. The paintings are heavily coated with colors of the earth, the dark, sun-tanned faces and hands of the Tibetan people, and the vibrant, saturated colors of their clothing. His expression of colors had already differed from what he had been taught in the Institute, one which had been derived from the social realist methods of the Soviet Union. Instead, he incorporated the daily observations he and his comrade Zhang Xiaogang absorbed from the European Impressionist art books in the library collection of Sichuan Fine Arts Institute. He used a plethora of textures to depict the brilliancy of colors glistening beneath the sun, and utilized dynamic lines to interpret the natural beauty of the Tibetan people. The large surface areas within his composition express his outstanding talent for figurative exploration; for example, “Portrait of a Tibetan Woman” exhibits a warm sense of trusty dependability, “Portrait of a Tibetan Elder” hints at times gone by, while “Portrait of a Tibetan Youth” features simplistic brush strokes for representing the body in contrast with the youth’s delicately delineated face. On the other hand, “Sheepshearing” was inspired by a visit to the Zoigê grasslands. “Sheepshearing” depicts a group of Tibetans crowded around a sheep to shear its wool. The colors are piled on with bold, rough brush strokes, but the different textures of the skin, cloth and wool glistening beneath the sun are delicately rendered. The thick, black outlines moreover complement the glowing colors that shine with an ethereal light like the mosaics of European cathedrals. Just before his graduation from Sichuan Fine Arts Institute, Zhou Chunya submitted this piece of art; not only was it selected and included in the Art Exhibition of China, the most important event in the world of Chinese art at the time, it moreover garnered an award.

349

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibetan Young Boy 1981 Oil on paper 36 x 27 cm Signed lower right Zhou Chunya in Chinese and dated 1981

NT$ 950,000-1,200,000 HK$ 246,000-311,000 US$ 31,600-39,900

周春芽 藏族小男孩 1981 油彩 紙本 36 x 27 cm 簽名右下：1981 周春芽

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350

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibetan Youth 1981 Oil on paper 53 x 38 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 39

NT$ 1,800,000-2,600,000 HK$ 466,000-674,000 US$ 59,800-86,400

周春芽 藏族青年像 1981 油彩 紙本 53 x 38 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁39

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351

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibeten Woman 1981 Oil on paper 53.2 x 37 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 307

NT$ 1,800,000-2,600,000 HK$ 466,000-674,000 US$ 59,800-86,400

周春芽 藏族婦女像 1981 油彩 紙本 53.2 x 37 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁307

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352

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibetan Elder 1981 Oil on paper 53 x 38 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 7

NT$ 1,800,000-2,600,000 HK$ 466,000-674,000 US$ 59,800-86,400

周春芽 藏族老人像 1981 油彩 紙本 53 x 38 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁7

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353

ZHOU Chunya (Chinese, b. 1955)

A Self-Portrait 1981 Oil on canvas 38 x 27 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

周春芽 自畫像 1981 油彩 畫布 38 x 27 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁86-87

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, pp. 86-87

NT$ 3,600,000-5,500,000 HK$ 933,000-1,425,000 US$ 119,600-182,700

蓄 勢 待 發 的 青 年畫家 1981年周春芽畫下了一幀自畫像，有著和他的藏人速寫一般粗獷的 筆觸以及褐色系的大地色彩，不同的是，這件畫作以畫布為底，讓他 更能夠堆疊顏料，營造出層次豐富的畫面肌理。畫中的藝術家瘦削俊 朗，沉默的雙唇透展現內心的堅毅，不求世人理解他那滿溢胸口的熱 忱，濃黑的雙眉微蹙，黑白分明的雙眼透出如炬目光，帶著一份自 信。藝術是周春芽的熱情與成就所在，此時的青年畫家已然以不凡的 才情在藝壇嶄露鋒芒，卻遠遠不滿足於此，他要去探索更多的可能， 他的眼裡有著強烈的期盼與質疑。 《自畫像》一作展現了藝術家在大草原日光下鍛煉有成的明暗掌握與 色彩運用，他的臉龐在暗色背景中發亮，雙眼銳利有神，肩頸處亮黃 色的皮膚與藍色背心互成對比，頸後的暗綠色油彩恰恰好地平衡了右 臉前相對明亮的土黃色調，在厚重的油彩、流暢的筆觸、嚴謹平衡的 構圖之中，浮現的是那位桀驁不馴的青年畫家，預示了周春芽往後即 使在歐洲面對當時最具開創性與震撼力的大師鉅作，或者身在襲捲全 世界的中國當代藝術潮流當中，也從不隨波逐流的自信，他總是忠於 自身情感，在藝術的道路上始終保持著直覺與本能的真誠力量。

THE YOUNG ARTIST WAITING FOR HIS TIME TO RISE In 1981, Zhou Chunya painted a self-portrait using the same rough brush strokes and earthy brown colors as those of his colored Tibetan sketches. The difference was that canvas was used as the base for this painting, allowing him to pile on colors more easily and create rich layers in the texture of his skin. The artist in the painting

138

is lean yet handsome, his silent lips hinting at his heart of steel. His refusal to ask the world to understand the roaring fervency of his passion is fully embodied in thick, black brows pinched together ever so slightly. His eyes are aglow with a burning gaze, the whites distinct from his pupils, exhibiting an air of confidence and assurance. Art is where Zhou Chunya’s passion and accomplishments lie. The young artist had at this time already gave the art scene a taste of his exquisite talent while he finishe the canvas. However, he was far from satisfied from his accomplishments and wanted to explore even more possibilities, which is why his eyes burn strongly with expectation and a questioning curiosity.

“A Self Portrait” displays the artist’s mastery of light and dark, a gift shaped by the sunlight and vibrant colors of the prairies. His face glows against the dark background, his eyes sharp, while the bright, yellow skin of his neck is in stark contrast with the blue of his vest. The dark green colors at his nape perfectly balance out the bright, muddy yellow tones of the right side of his face. From within the thick oils, fluid brush strokes, and carefully balanced composition emerges a young artist whose potential cannot be tamed, foretelling Zhou Chunya’s imperturbable confidence even in face of the groundbreaking works of the European masters or the contemporary Chinese art movement that was taking the whole world by storm. He has always been loyal to his emotions, and upheld the commitment to stand by his instincts and natural inclinations throughout his artistic journey.

354

ZHOU Chunya

周春芽

(Chinese, b. 1955)

剪羊毛

Sheepshearing 1981 Oil on paper 38 x 52 cm

1981 油彩 紙本 38 x 52 cm 簽名右下：1981 周春芽

EXHIBITED

展覽

1971 – 2010 Forty Years Retrospective Review of Zhou Chunya, Shanghai Art Museum, Shanghai, June 13 - 23, 2010

「1971 - 2010周春芽藝術四十年回顧」，上海美術館， 上海，展期自2010年6月13日至6月23日

ILLUSTRATED

圖錄

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 131

《周春芽》，東八時區，上海，2010，彩色圖版，頁131

NT$ 6,000,000-7,000,000 HK$ 1,554,000-1,813,000 US$ 199,300-232,500

《剪羊毛》是周春芽的早期代表作，向歐洲經典現實主義的回歸。畫

心使得周春芽的藝術始終保有一種凌駕於藝術表現上的超越性。如此

面結構著重在生活場景的模式，亦可視為周春芽脫離過去傷痕美術創

形而上地切入，終使得他的藝術語彙緊緊貼著人道關懷的良善情操。

作帶有承先啟後的標的性作品。透過描繪藏族人民的日常景致，藝術

以這樣的角度再去觀賞《剪羊毛》一作，便能悟出周春芽追求藝術的

家自覺性地流下了眼中所見特屬於該地人民傳統的審美觀念，例如大

熱情、深化他自身的藝術以外所包含的當代人文精神。

地色調的琢磨，濃厚的色塊以及粗獷的線條和藏族人民樸實的生活形 象。《剪羊毛》一作褪去了人物輪廓的細部描繪，取而代之的是熱烈 奔放的大筆觸色塊，而畫面表現也特意地迴避了印象派以降強調明暗 光亮的虛實變化，卻強調了畫中人物在體積與質量的質感表現；色彩 構成也注重在對於「褐色」，周春芽鍾意的色彩表達。

周春芽《剪羊毛》1981 油彩 畫布 170 x 236 cm 中國嘉德 2011年秋季拍賣會，3,475萬人民幣成交 Zhou Chunya, Sheep Sheaning, 1981, oil on canvas, 170 x 236 cm Autumn Auction China 2011, US$4,571,250 sold

周春芽在追求自我藝術的真誠表達以外，亦時不時地關注著社會、政 治、少數民族等令人敏感的緊張議題，其即便在風格轉變當中同時能 保有對於庶民百姓、對於生活、對於弱者的殷切關懷，也是這樣的初

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“Sheepshearing” is one of Zhou Chunya’s early representative works. He returned to European classical realism, focusing the structure of the picture on scenes of everyday life. This painting can also be seen as an indicative work of Zhou’s in that he turned away from the scar art he created in the past and started painting anew. Through depicting the scenes of the daily life of the Tibetan people, the artist consciously recorded the traditional aesthetic concepts he observed that belonged specifically to the local people, such as the umber tone, the thick blocks of colors, the rough lines, and the image of their unadorned life. In the painting “Sheepshearing,” detailed depictions of characters’ outlines are replaced by enthusiastic and unrestrained blocks of colors painted with large brushstrokes. The painter also intentionally avoids presenting the picture with an emphasis on bright and dim light and on the changes between the illusionary and the real. He avoided this technique that painters since the impressionists have employed; instead, in this painting, he emphasizes the texture performance of the figures’ volume and mass. The color composition also focuses on brown, a color Zhou favors.

In addition to trying to be true to his art, Zhou also pays attention to sensitive topics such as society, politics, and minority ethnic groups. Even as his style changes, he still retains his compassion for commoners, for life, and for the weak. This point of departure enables Zhou’s art to always transcend artistic expression. His metaphysical approach gives his artistic language a benevolent sentiment closely related to humanitarianism. When appreciating the work “Sheepshearing” from this perspective, one can comprehend the zest Zhou possesses in seeking art, which deepens the contemporary human spirit outside his own art.

355

ZHOU Chunya

周春芽

(Chinese, b. 1955)

浴室

Bathroom

1998 Oil on canvas 71.5 x 59 cm Signed lower right Zhou Chunya in Chinese and dated 1998 Signed on reverse Zhou Chunya and dated 1998 EXHIBITED

Zhou Chunya New Painting Solo Exhibition, My Humble House Gallery, Taipei, March 22 - April 13, 2008

1998 油彩 畫布 71.5 x 59 cm 簽名右下：1998 周春芽 簽名畫背：周春芽 1998 展覽

「周春芽新繪畫個展」，寒舍空間，台北， 展期自2008年3月22日至4月13日 圖錄

《周春芽新繪畫個展》，寒舍空間，台北， 2008，彩色圖版，頁32-33

ILLUSTRATED

《周春芽》，東八時區，上海，2010，

Zhou Chunya New Painting Solo Exhibition, My Humble House Gallery, Taipei, 2008, color illustrated, pp. 32-33 Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, pp. 278-279

彩色圖版，頁278-279

NT$ 3,600,000-5,500,000 HK$ 933,000-1,425,000 US$ 119,600-182,700

直視內心情感 周春芽一路走來，與引領中國當代藝術各個潮流的代表人物並肩而 行，獨特的氣質卻始終無法輕易被歸類為任一流派，而是獨自走出一 道難以被忽略的藝術軌跡，他關心社會與家鄉，然而政治現況、社會 議題始終不是他創作的主旋律，他的藝術更忠於自己的內心與直覺。 1986至1989年間，周春芽隻身來到德國學習，經過了歐洲藝術，特 別是第八屆卡塞爾文件展的洗禮，他決定回到祖國，追尋屬於他自己 的藝術道路。他鍛煉畫筆用色，確立了獨特的個人風格，他研究中國 文人精神，從中提煉出屬於當代、個人的見解，亦將自己生活裡種種 深刻的情感、慾望與渴望，轉化為吸引世人目光的畫作。 1998年的《浴室》是周春芽重要的代表作，他捕捉了浴室此一私密空 間裡一個私密的瞬間，水從蓮蓬頭灑下，站在浴缸中正在洗浴的女子 抬眼望向觀者，眼神中帶著詫異，我們像是闖入者，引起了小小的騷 動，而浴缸的另一側端坐著周春芽此時期畫作最重要的主角—綠狗， 巨大的身形是整個灰褐色畫面中唯一鮮豔的色彩，為這極為貼進日常 生活的一景帶來了超越現實的象徵意義，而後方飛起的嬰兒，進一步 完整了這件深具自傳性色彩、意義特殊的作品。

GAZING DIRECTLY INTO HIS SOUL Along the way, Zhou Chunya has lead the various movements of contemporary Chinese art alongside a multitude of icons. His unique aura cannot quite be categorized into any movement, and has enabled him to carve out an artistic path that cannot be

ignored. He continued to show over his care about the society and his homeland, but politics and social issues were never the main focus in his creations, as his art was above all loyal to his own inner sentiment and instincts. From 1986 to 1989, Zhou Chunya traveled alone to further his studies in Germany. Baptized by European art - especially the works exhibited at Documenta 8 in Kassel - he decided to return to his home country in pursuit of an artistic path he could call his own. He practiced his mastery of colors, defined his own unique personal style, and studied the spirit of Chinese literati, drawing both contemporary and personal views from them while converting his experiences, desires and yearnings throughout his life into his breathtaking works.

“Bathroom,” painted in 1998, is one of Zhou Chunya’s most significant works. He captured an intimate instant within the intimate space of the bathroom; as the water splashes from the showerhead, a bathing woman standing in the tub lifts her gaze towards the viewer with surprise in her eyes. It’s as if we are trespassers causing a small commotion while Zhou Chunya’s most important subject of the time - the green dog, sits on the other end of the tub. Its gargantuan form, the only splash of brightness in the grayish image, serves as a surrealistic symbol that transcends the banality of everyday life. Paired with the baby flying in the background, a highly autobiographical piece with profoundly unique meaning is thus created.

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356

ZHOU Chunya

周春芽

(Chinese, b. 1955)

百合花

Flowers

1997 Oil on canvas 71.5 x 60 cm Signed lower right Zhou Chunya in Chinese and English, dated 1997

1997 油彩 畫布 71.5 x 60 cm 簽名右下：1997 周春芽 Zhou Chunya

NT$ 2,600,000-3,800,000 HK$ 674,000-984,000 US$ 86,400-126,200

1989年周春芽自德國帶著表現主義的刻痕回到中國，之後花費數年潛 心研究傳統的中國文人藝術，特別受到董其昌、石濤、八大山人和黃 賓虹等名家的啟發，他在文人畫的「筆墨情趣」與德國表現主義之間 挖掘出嶄新的可能，1997這一年，他創作大量以各式花卉為題的作 品，藉由這歷史悠久的文人畫主題開闢新局。這系列花卉多半獨立懸 於空白的畫布當中，呼應中國水墨「留白」的同時，亦一定程度限制 了改筆的可行性，《百合花》即為其中的精采之作。 《百合花》筆觸明快毫不猶疑，綠與紅在畫布中央衝撞亦融合，濃烈 色彩流淌中，浮現盎然盛開的紅百合與淋漓的枝葉，足見周春芽高超 的造形能力。然而，現實的描寫並非藝術家所關注的，《百合花》明 顯地透露他從中國文人傳統裡領略到「寄情於景」的精神，周春芽承 接此一精神的同時，卻一反古人的含蓄幽微，直視人性內在的慾望與 渴求。畫中豐富的疊色與肌理、高度對比的疏密佈局，使得原是靜態 的花卉動感十足、生氣勃發，既有花的嬌柔瀲豔，亦透露一股近忽狂 暴的張力，彷若融高貴、溫柔、激情與衝動為一體的人之本性。 Zhou Chunya returned to China in 1989, having been influenced

by Expressionism while in Germany. He devoted the following years to the learning of literati arts of traditional Chinese, and was particularly inspired by the masters Dong Qichang, Shitao, Bada Shanren, and Huang Binhong. What he found were brand new possibilities between the German Expressionism and the “sentiments of brush and ink” of Chinese literati works. In 1997, he

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created many flower-themed pieces, paving a new road with the historical heritage of literati paintings. In this series the flowers are often suspended alone on the empty canvas, representing a call back to the concept of “negative space” from Chinese ink wash painting, which also restricts the possibility of further alternation.

“Flowers” is one of the fascinating works among the series.

The brushwork in “Flowers” is bold and bright, showing no signs of hesitation. Green and red on the canvas seem to both clash and coalesce at the same time. In the midst of such rich color, blooming red lilies with elegant leaves and stems shine through, displaying Zhou’s superb ability to form his subjects. Yet realistic depictions are not what the artist is truly concerned with. “Flowers” clearly conveys what Zhou had learned from Chinese literati traditions: the ethos of “imbuing a scene with feeling.” While Zhou inherited this ethos, his art takes a direction which is opposite to the modesty and grace of the elder generation; he gazes directly into the wishes and desires of humanity. The rich layering of color and the texture of its surface, as well as the high contrast of density in the spacing, enliven the once passive flower into a burgeoning vitality.

The painting maintains the flower’s gentle charms, while allowing sudden glimpses of raging tension, mixing gentleness and nobility with passion and impetuosity.

357

ZHOU Chunya (Chinese, b. 1955)

Lily

周春芽 百合 1998

1998 Oil on canvas 72.5 x 60.5 cm Signed lower right Zhou Chunya in Chinese and English, dated 1998

油彩 畫布 72.5 x 60.5 cm 簽名右下：1998 周春芽 Zhou Chunya

NT$ 2,400,000-3,200,000 HK$ 622,000-829,000 US$ 79,700-106,300

《百合》以油彩為媒材，以最簡單的形式表達大自然的精髓。周春芽 在早期時領悟到，只需一枝花便能夠成為主題。傳統水墨畫中盛開的 百合細緻動人，周氏在此作中則以懷舊的風格點染，簡單數筆便令畫 作生動傳神。周春芽成功捕捉了盛開百合的神韻，評論家對於八大山 人的評論，恰可適用於本作品，正是「用筆不多不少，恰到好處地傳 達出主題之美」。花朵以懷舊簡練的筆觸繪畫而成，在潔白無垠的背 景上成為視覺焦點，這種表現方式來自水墨畫中的留白，「無一物之 處卻有最深遠意」，與詩人畫家馬德生在八零年代早期詩作中想要表 達的想法相同。畫作上，百合盛放的永恆美態令人回溯過去，在以簡 約有勁的筆觸描繪的枝葉襯托下，尤如在畫面上翩翩起舞。 “Lily” epitomizes nature in its simplest form through the medium of oil. The artist realized early on that a floral sprig could be a subject on its own during the early phrase of his artistic career. While the depiction of a lily in full bloom encompass qualities of a delicate softness frequently found in the classical ink tradition, the nostalgic

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composition of the brushstrokes adds dimension to the painting.

The artist have succeeded in capturing the essence of a lily in full bloom, in line with a saying often utilized to describe the works of Bada Shanren, which posits, “there is not a missed line, nor the requirement of an extra brush stroke to bring out the beauty of the subject matter.” The nostalgic airy brushstrokes of the flowering blossom becomes the focal point against the white backdrop that offers a delimitation of space, this attribute adheres to a theory in the Chinese ink and wash paintings tradition that predicates upon the notion where the void “is not devoid of sense”, as declares a poem from the poet and painter Ma Desheng the early eighties.

The timeless beauty of a lily in full bloom is reminiscence of tradition while the simplified, more vigorous brushstrokes used to render the stem and leafy sprigs issuing the nostalgic flowering lily dances harmoniously upon the canvas.

358

ZHOU Chunya

周春芽

(Chinese, b. 1955)

風景

Landscape

1983 Oil on canvas, mounted onto board 34.5 x 44 cm Signed lower right Zhou Chunya in English and dated 1983

1983 油彩 畫布 裱於木板 34.5 x 44 cm 簽名右下：周春芽 1983

NT$ 1,200,000-2,200,000 HK$ 311,000-570,000 US$ 39,900-73,100

1981年夏天，周春芽和張曉剛應同學鐘長青的邀請一起到四川阿壩草 原體驗生活。草原絢爛的色彩成就了他藝術歷程的里程碑作品《藏族 新一代》，也影響其八十年代的創作。草原特有的環境和光影，加之 印象派的影響，忠實的反映在藝術家這一時期的作品中。 1983年的《風景》作品正是這一時期的佳品。草原的光影在他獨特的 色彩運用手法中呈現。畫面前景和中景描繪了簡易的木樁橋、藍色的 河流、青色的馬駒；多層次的黃色從畫面的這端沿著蜿蜒的小徑延伸 至遠景，遠山則被淡淡的赭色一筆帶過。粗獷的塊狀筆觸，厚重的顏 色強烈的表現高原的陽光。是年，周春芽已被分配至成都畫院工作， 仍堅持到藏區寫生、創作。他就曾在1983年與張曉剛的通信中這樣寫 道：「我現在特別喜歡躁動的情緒來支配畫面，也很想用強烈的日光

來衝擊成都的灰天氣…… 」藝術家正是借著畫筆、大地與藏區獨特的 民族色彩宣洩著自己的熱情。 In the summer of 1981, Zhou Chunya and Zhang Xiaogang were invited by their schoolmate Zhong Changqing to experience the life on Aba Grassland in Sichuan. The luscious and colorful grassland not only inspired Zhou Chunya’s masterpiece “New Generation Tibetan”, which is considered as the milestone work of his artistic career; but also influenced Zhou’s artistic creation in the

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entire 1980s. The unique environment and images of the grassland are heartedly recorded by the artist in his works during this period, with a touch of impressionism.

This painting “Landscape” is a typical master work from this period.

The light and shadow of the grassland is well presented by Zhou’s extraordinary utilizing of colors. The artist delineated the simple wooden bridge, blue stream and azury horse in the foreground and middle ground; aside the multiple levels of yellow along the winding road stretching out to background, and mountains in the background was expressed with a light brush of brown. The raw and blocky brushstrokes and heavy and saturated color both bring out the fierce highland sunshine. That year, Zhou Chunya was relocated to Chengdu, but he kept going back to Tibet for sketching and inspiration. In his letter to Zhang Xiaogang in 1983, Zhou wrote “I am very fond of dominating the picture with an agitated emotion these days, and I am also eager to pierce the smoggy weather of Chengdu with strong sunlight…” In a word, the artist is voicing his enthusiasm with his painting brushes, through the portraying the fascinating land and culture of Tibet.

SOPHIE CHANG 內在無垠的宇宙心象：張淑芬的抽象畫

羅啟倫 二十世紀的抽象畫史，歷經了古典的解構、戰後的虛無、與對個人精

因此，二十世紀以來表達主觀心靈與精神的抽象畫，得以讓張淑芬解

神的張揚，而出現不同的形式與追求。無論是對色彩與造型的探索，

放內心奔騰的力量。她曾臨摹過德國傑哈·李希特 (Gerhard Richter)，

或是對內在心象的形塑，都因不同時空下的個人與家國境遇而各成

也曾師法過華人旅法藝術家畫家趙無極、朱德群、吳冠中，以及台灣

一家面目。雖然抽象之風最後也引起不同程度的反動，然而無可否

的劉國松等。當中，最為欣賞的莫過於趙無極。張淑芬自言喜愛趙無

認的，世界畫壇在經歷過抽像畫的洗禮之後，除了古典的造型能力之

極畫中的那股氣勢與浩瀚格局，也曾仔細研究過趙無極在用色上的奧

外，畫家如何從現實世界中離析出屬於自身的獨特手法與感受，也都

秘。然而她臨摹名家之時，往往融入自身的想法與感受，並非一味硬

是在創作時必須面對的課題。

拼照摹。尤其每一次重新上油彩，都宛如一次新的故事。在層層疊疊

「 畫 家 」 身 分 的張淑芬 「畫家」張淑芬，在社會上廣為人知的身份，乃是台積電董事長夫 人、或是台積電慈善基金會董事長，以董事長夫人的身份推動社會公 益與慈善的進行，而廣受公眾一致的讚譽好評。雖然慈善公益對張淑 芬而言，絕對是她最重要的生命任務。然而對於六十歲才意外發現的 繪畫才華而言，她對「畫家」的身份雖然不長，卻已經是寄託性情、 揮灑才華最重要的興趣出口。尤其先生張忠謀的無條件支持，為培 養其嗜好，主動提供了得以自由作畫的完整空間，讓張淑芬得以在溫 暖、堅實而充滿疼愛的後盾中，專心探索繪畫世界。回顧自2006年 底偶然學畫以來，張淑芬展現出對色彩、形式與內心感受付諸畫面 形象的高度掌握，讓她得以從非學院出身的背景，迅速成熟。從她學 畫初期所臨摹的印象畫派作品中，便可察覺張淑芬在繪畫方面的驚人 才華。尤其從學畫的第三年起，張淑芬在色塊的明暗練習中打破對 「像」的執著，提煉出純粹的色彩與線條，以抽象的手法寄寓自己內 心對於事物的觀照與感受，開始走向抽象之路。雖然在2013-2015的 三年間，張淑芬曾停頓一切公眾活動，並且擱下畫筆不再作畫，然而 在沉潛復出之後的2016-2017年間，抽象創作瞬間迸發，不僅融會近 當代歐美、華人抽象名家，更開發出屬於一己抽象語彙的獨特技法。 這二年的確是張淑芬在抽象創作的豐收年。

的油彩中，張淑芬也更加清晰地呈現出內心的真實感受。 這種漸趨完整的內在「心象」，無疑地來自於她常年打坐中的內觀經 驗。打坐的經驗教導她察知當下每一刻的心緒變動，她也用繪畫捕捉 每一次的內心返照。以此心映人心，以此心照大地，因此張淑芬的抽 象畫，多半都有一種宇宙大地般的意象。彷彿從宇宙中眺望地球的壯 闊，從空中俯瞰群峰之巍巍，從此岸眺望層層空間之無盡。再加上她 在色彩方面的大膽奔放，利用油彩之間的堆疊與衝撞，迸發出內心廣 大浩瀚而又炫爛動人的「宇宙心象」─她對內心、對人世、對宇宙現 階段當下體悟的某種「心象」。張淑芬揉合西洋抽象語彙和個人的內 心觀照之體悟，創立了一個由創作者所陳設的「即心即宇宙」之境。 種種奇特神秘而又浩瀚廣闊的視覺壯遊，卻可感受到畫家筆下總帶著 眷戀的筆調，彷彿細細撫摸這個有情世界，不捨離去。以愛為名，不 僅是是畫家對待世界的態度，也在內在心象中，隱隱瀰漫其間。

獨樹一格的「張式技法」 張淑芬的抽象畫，除了令人神遊其間的「宇宙心象」，另外值得一提 的乃是她自我發展出的抽象語彙「張式技法」。她在2016年底某次匆 忙的行程中，無心在某次未完成舊作上又再潑灑一層新顏料，隔天卻 發現新舊兩層的顏料，因為收縮張律不一，致使上層顏料迸裂成不同 形狀、隱約露出不同層次的底部舊色。也因上層顏料收縮之故，自然

張淑芬在抽象上的迅速成熟，除了本身不受框限的個性、對於色彩的

形成山脈擠壓隆起的筋絡狀，反而極具油彩粗曠的質感。此一無心的

天生敏銳之外，其實不能忽視宗教經驗對其內心感知宇宙的影響。

插曲，卻讓苦思抽象創作的張淑芬找到自我語彙的靈感資糧。她從隨

宇 宙 心 象 ， 以 愛為名 在80年代張淑芬由美國返回台灣，由規律平淡的旅美歲月，進入熱鬧 溫暖的台灣社會，在興奮中卻隱含著令她不安的矛盾，進而開始在宗 教中尋求真正的歸屬感。尤其常年打坐，更讓她敏銳的捕捉內心當下

機迸裂的初始狀態，又近一步掌握到形塑不同質感紋理的方法，嘗試 作出大理石質感「大理石紋」、如落葉般的「花葉紋」等等。在2017 年的創作大迸發的各類型抽象畫中，都可以看到這些技法的綜合運 用，更在「宇宙心象」之中增添豐富而多變的紋路質理，更令人細細 尋繹。

流動的各種心緒，對於宇宙大地的「實相」感知，也就有別於一般常 人。自2004年擔任台積電志工社社長 (今改名為台積電慈善基金會)， 開始從事社會慈善事業的經驗，則是她磨練內心、內省人性的另一階 段。即使在先生張忠謀處得到如港灣般的穩定安全感，然而在從事各 種公益事業時，雖然「慈善」的出發點雖然贏來「愛」的回饋，並在 散播愛的遠大目標下持續感化人心，卻也免不了看到更多人性的貪嗔 癡與黑暗一面。然而她總能以處世練達的智慧處置得當，仍舊以愛為 名，將一己之心引領擴散為眾生之愛。

影片介紹 Video Highlight

ENDLESS IMAGES FROM THE UNIVERSE OF THE MIND: THE ABSTRACT PAINTINGS

BY SOPHIE CHANG / LUO CHI-LUN Varied forms and pursuits arose in abstract art in the 20th century out of deconstruction of the classics, the empty void felt after the war, and a personal need for the expansion of an individual. Be it exploration of colors, shapes, or even the image of the self, each era’s face was shaped by individual artists as well as the state of their countries. Though abstract art was eventually met with varying levels of opposition, it is undeniable that after baptism in the abstract art movement, artists worldwide learned how to compose classical art, but over and above that they found a way to draw out their own methods and emotions from reality, all problems which eternally face the artist as creator.

light and shadow, purifying them into simplistic color and line while expressing her personal thoughts and observations in an abstract manner. Thus she began her journey into the world of abstract art.

Chang paused all public activity from 2013 to 2015, during which time she set down her brush and recessed painting, though she reemerged in 2016 and 2017 with an eruption of new works. In her latest abstract works, she has assimilated the contemporary works of Western and Chinese abstract artists while also developing a personal vocabulary and method. These two years have certainly been a productive time for Sophie Chang and her abstract creations.

SOPHIE CHANG AS AN “ARTIST”

Chang’s abstract works mature quickly, and even with her unrestrained personality and sensitive eye for color, one cannot ignore the influence religion has had in her mind.

The “artist” Sophie Chang is better known for her other roles: as wife of the chairman of Taiwan Semiconductor Manufacturing Company (TSMC) and chairwoman of the TSMC Charity Foundation, in which role she has been publicly acclaimed for the social and charity work she has done. While charity is certainly Chang’s most important mission in life, her role as artist, a role which she discovered unexpectedly in her sixties and which is still very new, has become for her an important and interesting outlet of expression. She began painting as a hobby in the time afforded her by, and with the unconditional support of, her husband Morris Chang. With the warm and edifying support of his love, Sophie immersed herself in the world of art. Looking back at her occasional work from 2006, one can already see her firm grasp of color, form, and expression of emotion, which allowed her to mature quickly despite not having any formal schooling. In her earlier studies of Impressionist works, one can already detect Chang’s astonishing artistic talent. This is especially true for her third year of study.

Chang began to try breaking out of the framework of “form” in

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IMAGES FROM THE UNIVERSE OF THE MIND; IN THE NAME OF LOVE In the 80s, Sophie Chang returned to Taiwan from the States. As she readjusted herself from the simple routine of daily life in America to the bustling warmth of Taiwanese society, her excitement was riddled with conflicting feelings of insecurity. It was then that she began to seek a true sense of belonging through religion. Her years of meditation honed her sensitivity to a level greater than the average person in capturing immediate shifts of emotion and perceiving the “truth” of the universe. After becoming leader of the TSMC Volunteer Program (now the TSMC Charity Foundation) in 2004, her charity career became the next trial in the training of her spirit and her reflections on humanity. While feeling secure with the support of her husband Morris, who was her safe haven, she received “love” in return for “charity” on her quest to spread love and to inspire the minds of others, though she also witnessed even

more of the dark side of humanity, with its delusion, greed, and aversion. Despite all of this, she was able to meet this dark side with the wisdom she gained from her training and continue to spread her ideals in the name of love for all.

It was because of these experiences that the subjective expressions of the mind and soul from 20th century abstract artwork became a source of strength for Chang that allowed her to set her passions free. She would do studies of the German artist Gerhard Richter as well as Chinese-French artists Zao Wou-ki, Chu Teh-Chun, Chinese artist Wu Guanzhong, and the Taiwanese artist Liu Kuo-sung, though it was Zao Wou-ki whom she most admired. Chang admitted that her admiration for Zao came from the sheer force and grandiose scale of his works. She even studied in detail his mysterious use of color. However, even in her studies of the masterpieces, she would always incorporate her own thoughts and feelings as opposed to summarily copying the original. In layers upon layers of oil paints, each new layer being a brand new story, Chang presents clearly her true feelings.

These gradual approaches to the “mind” are obviously drawn from her many years of internal experience in meditation. Meditation taught her to observe each and every shift in emotion, which she captures in her art. It is with that same mindfulness that she also turns her mind outward to the universe; hence the frequent images of space in Chang’s abstract works. It is as if one were to look down from outer space on the vast earth, on its majestic curves, and, standing on this shore, look into the infinite depths of space. With her bold use of color, her layering and collision of paint, she expresses the vastness and breath-taking brilliance of the “universe of the mind” - an “image of the mind” which she sees through her present impressions of humanity and the world.

Chang mixes abstract vocabulary from the Western tradition with her own observations and realizations to create a condition where, for the creator, “the mind is the universe, the universe is the mind.”

Amongst the curiosities that make up her grand visual adventure, one can still feel touches of the artist’s longing, as though she cannot bear to leave this world of feeling and sensation as she brushes her fingers across its surface. To live in the name of love is not merely the attitude with which the artist views the world, it is also her attitude as she wanders within the space of her own mind.

A UNIQUE “CHANG’S METHODOLOGY” That Sophie Chang’s abstract works draw viewers into the “universe of the mind” is one important aspect of her work, but it is also worthwhile to note the abstract vocabulary behind the “Chang’s Methodology.” During a busy time at the end of 2016, she splashed a layer of new paint on an unfinished painting and thought no more about it until the next day, when she discovered that, due to differences in expansion and contraction, the paint on top had cracked into many smaller shapes, which allowed the colors beneath to peek through. The shrinking of the upper layer of paint retained the rough texture of the oil paint and led to the natural formations of venous, mountainous textures. This unexpected accident helped Sophie Chang find spiritual nutrition for self-expression at a time when she had encountered a mental block in her abstract creations.

From those random cracks of pigment, she later learned how to create different textures, such as the lines of marble or the veins of a dead leaf. In a volley of abstract paintings from 2017, one can see a general use of these methods that add an extra touch of texture to her “universe of the mind” and draw the viewer into looking closer.

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Sophie Chang

張淑芬

(Taiwanese, b. 1944)

春晨曙光

Dawn of Spring 2017 Oil on canvas 145 x 112 cm Signed lower left Sophie in English, dated 2017 Signed on the reverse Sophie in English, dated 2017 PROVENANCE

2017 油彩 畫布 145 x 112 cm 簽名左下：Sophie 2017 畫背簽名：Sophie 2017 來源

私人收藏，亞洲

Private collection, Asia

NT$ 850,000-1,000,000 HK$ 220,000-259,000 US$ 28,200-33,200

此幅《春晨曙光》乃是張淑芬「張式技法」的代表作之一，亦是張忠 謀最喜愛的畫。此次為羅芙奧秋拍徵集而得，張忠謀言「實是割愛之

舉 」，可知對此畫的看重！張忠謀曾自言在張淑芬的寫真和印象派之 後的抽象風格，他已經不了解她在畫什麼了：「只有她自己才知道她 在畫什麼 」。然而，抽象畫的畫意，實與畫家的內心相通。二人鶼鰈 情深，心意相通，張忠謀終究還是看懂她的畫了：「幸而這一階段似 乎已過，現在我又看得懂她在畫什麼了 」。此幅《春晨曙光》，就屬 於張忠謀後來「看得懂」，且又深深喜愛的畫作！ 此幅《春晨曙光》，在黝深渾沌的背景中透出彷彿楓葉飄落之感，在 抽象中帶有中國式的意境。尤其楓葉般的紋路，乃是從「張式技法」 再開發出的「花葉紋」，乃是張淑芬目前抽象畫的代表題材之一。從 「張式技法」一開始紋路迸裂的隨機性，演進到可控制為楓葉般的連 續飄落之感，反映出她已經能完善地掌握顏料特性。黝黑背景的流動 感，彷彿中國水墨的氤氳之感。然而以油性顏料畫出水墨的流動感， 更映證目前張淑芬對於油性顏料的得心應手。

piece is connected directly to the mind of the artist. Nevertheless, sharing in the same love for his soul mate, Morris said that he did understand her paintings eventually : “Luckily, that phase seems to have passed; now, I am able to realise what she is painting about.”

“Dawn of Spring” is one of those paintings that Morris was able to “see” and fall in love with!

In the dark chaotic background of “Dawn of Spring,” maple leaves appear to dance in the wind, giving the painting a Chinese aesthetic air. The maple-like pattern of the leaves in particular was developed through the “vein-like texture” of the “Chang’s Methodology” and is one of the iconic subjects of Chang’s current abstract works.

The evolution from the initial spontaneity of cracked ridges of the “Chang’s Methodology” into the continuous drifting of maple leaves reflects how she is now able to control the texture of paint at will. The sense of motion in the dark background is akin to the flow effect from the Chinese ink and wash paintings. The ink-like flow of oil paint further proves Chang’s mastery of the media.

技法的快速成熟，讓張淑芬更能直觀地表現內心不可言說的意境。背 景幽深似氤氳、似深谷、似沉浸至內心深處無邊無盡的黑暗。然而觸 動深層幽深的張淑芬，並沒有一往而不返的墮進無邊黑暗之中。反而 始終相信，人間猶有溫暖的亮光。如同來自先生張忠謀的愛，開朗、 明亮、而闊達。因此，即使在暴雪紛飛的雪景中，畫家仍然都要添點 溫暖的顏色。《春晨曙光》隨風翻飛的鮮綠花葉，彷彿提醒觀者世間 的美好，也是張淑芬對世間諸法的信念。最後，她畫出了她的綠。如 同她在公益行善中，體會到「層層翻越層層碧，一個腳印深過一個腳 印」。這一抹綠意，乃是重拾內在純淨的信念。 “Dawn of Spring” is an iconic work made in the “Chang’s Methodology” that happens to be her husband Morris Chang’s favorite piece among her works. When this piece was acquired for Ravenel’s autumn auction, Morris lamented that it was “like giving up a piece of his own heart.” It is quite obvious how much he values this painting! Morris once commented on Sophie’s abstract works, which came after her works of portraiture and Impressionism, that he no longer understood what she was painting: “Only she knows what she is painting.” However, the artistic intent of an abstract

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The rapid maturation of this technique allows Chang a direct glance into the imagery presented by her inner landscape, a world which words can only approximate. The pensive background swirls mistily, like a hidden grove, or even the endless darkness within the depths of one’s own heart. However, even as Chang makes contact with the darkness, she does not fall into its bottomless abyss. She continues to believe that humanity shines with a warming light, her husband with his loving, genial, bright, and broad-minded character being one such example. It is apparent in her snowy image of a howling blizzard, for instance, where the artist finds a way to incorporate warm colors. The fresh green leaves and budding flowers dancing in the winds of “Dawn of Spring” seem to remind the viewer of the good in the world, a view which aligns with Chang’s own beliefs.

She was able to paint shades of green that were her own eventually.

Similar to what she had experienced in charity events, she came to understand how “in crossing through layers upon layers of green, each step forward becomes deeper than the one before.” This speck of green is her recollection of the inner tranquility of her faith.

360

Sophie Chang

張淑芬

(Taiwanese, b. 1944)

幽邃

Deep in the Verdant Twilight 2013 Oil on canvas 139 x 161 cm Signed lower right Sophie in English, dated 2013 Signed on the reverse Sophie in English, dated 2013 PROVENANCE

2013 油彩 畫布 139 x 161 cm 簽名右下：Sophie 2013 簽名畫背：Sophie 2013 來源

私人收藏，亞洲

Private collection, Asia

NT$ 1,200,000-1,400,000 HK$ 311,000-363,000 US$ 39,900-46,500

此幅《幽邃》，在一片黝深幽閉中，彷彿有雲霧湧動，一如中國張家 界、黃山群峰聳峙、霧氣繚繞的奇山景象。張淑芬自言：「在我腦海 中強烈的虛實和深邃影像，造就了《幽邃》一作。虛實之間，與中國 絕景竟也相呼應！」，並且畫家以油性顏料作出如水墨般墨氣交融之 美，彷彿雲霧自然流瀉，在布面上成現出濃重、勻致、悠淡等豐富的 層次，令人驚嘆。「張式技法」的裂痕，也自然形成山石般的紋理， 彷彿如中國山水畫中的皴法，強化了大地山形的質感，使整幅畫面傳 達出一種更接近傳統書畫和自然山水的典麗意境。 此幅《幽邃》乃是以油彩畫布為底，利用偶然發現的「張式技法」， 反覆實驗出可掌握的油彩裂痕與堆積如筋絡的紋理，作出更為厚實 粗曠而又細膩渲染的質地，製造一股在廣闊無垠環境下的「宇宙心 象」。張淑芬揉合西洋抽象語彙和個人的內心觀照之體悟，創立了一 個由畫家所陳設的「即心即宇宙」之境。使得觀者不自覺從塵世喧繁 中抽離而出，神遊其間。 Amid the closed-off darkness of “Deep in the Verdant Twilight,” a sea of clouds seems to surge forth, similar to the mystical landscapes of Zhangjiajie or Huangshan when shrouded in fog. As Sophie Chang commented, “A stark contrast between imagination and reality formed in my mind that resulted in ‘Deep in the Verdant Twilight.’ The wonders of the scenery in China is also reflected in the space between reality and imagination!” The artist used oil paints to replicate the elegance of ink spreading in water, astounding the viewers with fog that seems to sweep across the canvas in vivid layers of density. The cracks of the “Chang’s Methodology” which forms the rocky textures, much like the techniques for

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painting cracks in Chinese ink and wash landscape paintings. This strengthens the texture of the mountains in a way that conveys a classical beauty similar to that of traditional ink and wash paintings.

Chang’s series of abstract works from a “universe of the mind” reminds the viewers of Liu Kuo-sung’s later works. After Liu accomplished the “Space Series” in the 1960s, he painted the vast beauty of snowy landscapes in his “Tibet Series” in the late 80s and the solidified abstract vocabulary of his “ Universe in my Mind” series from the 90s, both of which present the true face of the world as seen through his eyes. Chang has always admired the bold scale of Liu’s works; but apart from a study of a painting from his Impressionist “Jiuzhaigou Series,” she has not involved herself too greatly with his works. Indeed, as an ink and wash painter, Liu utilizes a “jerking, peeling, and wrinkle” method of his own creation, which consists of striping layers off of a specially made thick paper to create the texture of mountains covered in snow.

On the other hand, Chang paints with oils on canvas and uses the “Chang’s Methodology” she discovered by chance, in which, through repeated experimentation, she has learned to control the cracking and layering of paint to create vein-like textures. With a rough foundation supporting an attention to texture and detail, she creates a boundless “universe of the mind.” Chang mixes abstract vocabulary from the Western tradition with her own observations and realizations to create a condition where, for the artist, “the mind is the universe, the universe is the mind.” She subconsciously invites the viewer to leave the noise of the material world and, instead, wander the pathways of the soul.

361

Sophie Chang

張淑芬

(Taiwanese, b. 1944)

潤雪

Polished Snow 2012 Oil on canvas 97 x 130 cm Signed lower left Sophie in English, dated 2012 Signed on the reverse Sophie in English, dated 2012

2012 油彩 畫布 97 x 130 cm 簽名左下：Sophie 2012 簽名畫背：Sophie 2012

NT$ 650,000-800,000 HK$ 168,000-207,000 US$ 21,600-26,600

雪景的題材，是張淑芬自2016年重拾畫筆、投入抽象風格之後，所選 擇的第一種題材。她以紛披快筆描繪狂風暴雪，以氣勢取勝，也是打 破過往寫實、印象風格的最早嘗試。 張淑芬對於雪景並不陌生，尤其旅居美國紐約多年，居家正面對著中 央公園。歷冬則有大雪，暴雪經驗更是所在多有。然而雪景的題材成 為張淑芬突破過去寫實、印象派風格的觸點，乃是基於狂風暴雪的那 股「氣勢」。張淑芬極愛氣勢淋漓、格局龐大的畫作，在她開始一步 步嘗試從具象擺脫、而試圖捕捉內心對於觀照外在世界的印象時，這 種風雪紛披的視覺經驗乃成為她嘗試抽象作風的開始。此時張淑芬畫 雪，雖然然仍採用多許寫實的概念，然而快速的筆墨，風雪、枝幹， 交織成一片蒼茫大地。雖然仍屬於嘗試抽象筆墨的初期階段，所以畫 幅尺寸皆不大，多半取景之一角。然而小中見大，已經擁有一種蒼蒼 茫茫的渾然大氣之感。 此幅《潤雪》，仍取景之一角，描寫風雪灌木叢中若隱若現的一道小 徑。從雪跡紛披的痕跡來看，似乎風雪初下，細細交織在枝椏和空氣 中。又如風雪已過，僅存片雪零風，道徑慢慢顯現出來一般。無論是 風雪前或是風雪後之景，畫面都凸顯出風雪漫天、震盪大地後的一 股寧靜，萬事萬物又漸露本來面貌。張淑芬嘗言風雪的氣勢極度吸引 她，然而雪景的另一種寧靜之感，卻讓她想到小時候偏愛墳地的氣 氛：「有一種繁華落盡、過近千帆的寧靜 」。每當看到一片墓塚，每 每讓她沉靜下來。《紅樓夢》所言，眼看他樓起，眼看他樓塌，最後 落得一片白茫茫真乾淨。對於在慈善活動中看透人情世間的張淑芬而 言，雪景就如同紅塵練心的那道初衷，即使經歷過千端萬緒的磨練， 仍然堅持而無染地對於人世抱存一股溫暖希望。張淑芬曾說：「畫畫 最重要的是那片刻的起心動念和美 」，此幅《潤雪》不僅保留了畫畫 當下的感覺，也是畫家內心對於人世那道純淨的初衷。 After throwing herself back into abstract creation in 2016, Sophie Chang’s first choice of theme in mind was the snow scene. In it, she used quick brush strokes to depict the sheer force of a howling blizzard, which also invoked her earliest attempts in breaking free from Realist and Impressionist styles.

Sophie Chang is no stranger to snow, having lived across from Central Park in New York for many years. The snows came with each winter. Likewise, blizzards were common. However, what made this work a break from Realism and Impressionism is the “sheer force” of the howling snowstorm. Chang loves works of immense impact, so when she attempted to shake free from structural form and capture her own impressions of the outside world, this visual experiment in swirling snowflakes marked the beginning of her abstract works.

Though Chang utilized several realist concepts in her painting of the snow, she simultaneously depicted the snow and branches through quick, intersecting strokes. Since this was her first experimental step into abstract art, she kept the dimensions of the painting small, and the work is mostly a sort of landscape painting. However small it may be, it contains great potential within its haziness.

“Polished Snow” is still considered a landscape painting that depicts snow-covered bushes lining a path that fades in and out of existence behind the falling snow. From the traces left by the snow and the snowflakes delicately fluttering past the branches, it would seem that the storm has just begun. It could also be that the storm had passed, with the wind and snow lingering as the path is slowly uncovered. Whether this is a scene pre- or post-snowstorm, the image depicts snow swirling in the wind and a silence left by the stirrings of the earth as the true nature of things is gradually revealed. Chang once commented that the power of snowstorms attracted her deeply, but also that its otherworldly tranquility reminds her of how she liked the atmosphere of cemeteries as a child: “It’s the sense of silence that comes with centuries of faded glory.” Every time she comes across a cemetery, it always calms her down. As described in Dream of the Red Chamber, one witnesses the rise and the fall and the final disintegration into white nothingness. Sophie Chang’s snowy landscape and her glimpse at humanity through charity events expressed much the same sentiment as that in the Dream of the Red Chamber; despite all trials, one must remain undeterred in one’s faith in humanity. Chang once said, “The most important part of painting is that moment of inspiration and beauty.” “Polished Snow” not only preserves that instant but also the pureness of the artist’s hope for humanity.

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362

Sophie Chang

張淑芬

(Taiwanese, b. 1944)

山之嶺

Peak of the Mountain 2010 Oil on canvas 110 x 163 cm Signed lower right Sophie in English, dated 2010 Signed on the reverse Sophie in English, dated 2010

2010 油彩 畫布 110 x 163 cm 簽名右下：Sophie 2010 簽名畫背：Sophie 2010

NT$ 950,000-1,100,000 HK$ 246,000-285,000 US$ 31,600-36,500

在張淑芬近年的抽象畫中，始終都有一種「宇宙心象」。彷彿從宇宙 中眺望地球的壯闊，從空中俯瞰群峰之巍巍，從此岸眺望層層空間之 無盡。種種奇特神秘而又浩瀚廣闊的視覺壯遊，當然與張淑芬愛山有 關。她喜愛山之淵停嶽峙，自有一種令人肅穆尊崇之感。因此，張淑 芬的抽象畫筆下，時常可見大山的龐然偉岸的意象。然而張淑芬長年 的打坐的內觀經驗，以此心、映天心，彷彿山川大地皆由空中而見。 大地歷歷，其實亦皆一一現於寂定靜坐之內心中。因此對於畫家而 言，無論外在宇宙、亦或內在心象，一切歷歷分明。故而其抽象畫， 總有一種橫亙大地的時空渾茫之感，令人不盡沉思其中。此幅《山之 嶺》，即為其中代表之作。 此幅《山之嶺》，在黝暗厚沉的塊體周圍，有紅光迷漫繚繞，彷彿從 山體背後，即將透出一道新的光芒。如在一片混沌的宇宙中，現出山 巔浮日之感。張淑芬曾提到，她曾於清晨時分在尼泊爾山上打坐，面 對著喜馬拉雅山脈的稜線。看著晨曦從山稜後方一點一點的浮現，天 色也由幽深暗沉漸轉灰白，而後漸透道道紅光，隨即迷漫整片天際， 此幅《山之嶺》宛若此次深刻記憶的浮現。然而畫家已經打破「像」 的執著，抽離具體的成分，提煉出純粹的色彩與線條。然而卻又在張 淑芬筆下，重新凝聚了一種更富詮釋的「心象」。畫面中一片紅光迷 漫天際，「對眼睛而言什麼顏色都是合理的，所以我可以用色用筆毫 無顧忌。說他像山，就是山！ 」而且，《山之嶺》畫面渾融一體，似 有氣息流動其中，自有一種元氣淋漓之感，令人稱歎。 In all of Sophie Chang’s recent abstract paintings, she retains the imagery of the “universe of the mind.” It is as it one were to look down from outer space on the vast earth, on its majestic curves, and, standing on this shore, look into the infinite depths of space.

The curiosities that make up her grand visual adventure are most certainly related to her admiration of mountains. She admires how

the heights and depths of mountains and valleys impart in the viewer a sense of solemn respect. Thus, Chang’s abstract works often feature the grandeur of mountains. Her years of introspection in meditation have shown her reflections of both her own heart as well as the heart of the world. It is like seeing all of nature while floating in midair. These wonders of nature are presented from a silent, still inner self. Because of this, the external universe and the one within are equally distinct to the artist. Thus, Chang’s abstract works appear to stretch beyond the boundaries of time and space and lead the viewers deep into their own thoughts. “Peak of the Mountain” is one such work.

In “Peak of the Mountain,” a hazy red light surrounds a dark, heavy mass, looking as if a new beam of light is about to break from behind the mountain. Or as if the sun is rising from the peak of the mountain and above the chaos of the universe. Chang once mentioned that she had meditated in the mountains of Nepal at daybreak while facing the Himalayas. As she watched the sun rose over the mountains, bit by bit, the sky shifted from darkness, to grayish white, to scattered red rays of light that eventually filled the entire span of the horizon. “Peak of the Mountain” is a memory of that moment. The artist had broken free of the framework of “form” and diverged from its constructive components, purifying them into simple color and line. By Chang’s hand, a new interpretation of a “universe of the mind” was born. “Visually goes with any color when the viewers see it, so I didn’t need to hold back with my use of color or brushwork. If I say ‘It looks like a mountain,’ then it’s a mountain!” In addition, “Peak of the Mountain” brings together all of its components into one single body; it is as if an overflowing vitality flows through it that takes its viewers’ breath away.

160

363

SHIY De-jinn

席德進 少年肖像

(Taiwanese, 1923 - 1981)

Figure

1977 炭筆 紙本

1977 Charcoal on paper 36 x 24.5 cm Signed lower left SHIY De-jinn, inscribed in Kinmen in Chinese, and dated 1977 7/24

36 x 24.5 cm 簽名左下：席德進 1977 7/24 于金門

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

162

364

SHIY De-jinn (Taiwanese, 1923 - 1981)

Calligraphy

Ink on paper 24 x 27 cm Signed lower left SHIY De-jinn in Chinese With one seal of the artist

NT$ 90,000-130,000 HK$ 23,000-34,000 US$ 3,000-4,300

席德進 秋風玉關情 水墨 紙本 24 x 27 cm 簽名左下：席德進 欽印左下：席德進印

365

YU Cheng-yao (Taiwanese, 1898 - 1993)

Calligraphy in Running Script c. 1971 Ink on paper 33.5 x 98 cm Signed lower left Yu Cheng-yao in Chinese With one seal of the artist

余承堯 行書 - 自作七言絕句六首 約1971年 水墨 紙本 33.5 x 98 cm 簽名左下：余承堯敬祝 鈐印左下：余承堯印 愧生先生八秩大慶

PROVENANCE

早歲同盟懷抱紓 老耽諸子百家書

Former collection of Dai Kui-sheng, Taiwan

雖然塵土風雲重 却向滄洲賦遂初

NT$ 130,000-220,000 HK$ 34,000-57,000 US$ 4,300-7,300

不矜功伐故能群 雅度雍容海內聞 玉面方瞳難老相 河山為壽捧浮雲 廉察甘寧青法崇 中樞倚畀振僑風 林泉退養端居後 不用靈丹顏駐紅 書道傳碑寫硬黃 纖波濃點總含芳 碧池水黑雲生紫 飛上南山鬱鬱蒼 筋力健從鍛鍊成 朝朝不廢暑寒生 由來和氣能康壽 松柏心堅雪後榮 樂世風懷賦有真 奉觴親故祝隹辰 芝蘭玉桂盈堦秀 百歲天崇景福人 余承堯敬祝 來源

戴愧生舊藏，台灣

164

366

YU Cheng-yao (Taiwanese, 1898 - 1993)

Calligraphy – Two Poems of Li Po 1990 Ink on paper 52.5 x 110.5 cm Signed lower left Yu Cheng-yao and dated Summer of genwu year in Chinese With one seal of the artist

NT$ 190,000-280,000 HK$ 49,000-73,000 US$ 6,300-9,300

余承堯 書法-李白絕句二首 1990 水墨 紙本 52.5 x 110.5 cm 簽名左下：庚午夏日書李白之絕句 余承堯 鈐印左下：余承堯印

367

George Chann (Chinese-American, 1913 - 1995)

Figure

Oil on canvas 51 x 40.5 cm Signed lower left Geo Chann in English

NT$ 110,000-200,000 HK$ 28,000-52,000 US$ 3,700-6,600

166

陳蔭羆 人物 油彩 畫布 51 x 40.5 cm 簽名左下：GEO CHANN

368

HUNG Jui-lin (Taiwanese, 1912 - 1996)

Miners

1956 Mixed media on paper 24 x 26 cm Dated lower left 1956 With one seal of the artist This work is to be sold with the certificate of authenticity issued by Vintage Gallery.

NT$ 130,000-220,000 HK$ 34,000-57,000 US$ 4,300-7,300

洪瑞麟 礦工 1956 綜合媒材 紙本 24 x 26 cm 年代左下：1956 鈐印左下：洪 附維嘉畫廊開立之原作保證書

369

SHIY De-jinn (Taiwanese, 1923 - 1981)

Figure

Charcoal on paper 38 x 28.5 cm Stamped lower right Seal of Shiy De-jinn Studio in Chinese ILLUSTRATED

Shiy De-jinn, Artist Publishing Co., Taipei, 1992, black-andwhite illustrated, p. 36

NT$ 140,000-220,000 HK$ 36,000-57,000 US$ 4,600-7,300

168

席德進 少年肖像 炭筆 紙本 38 x 28.5 cm 鈐印右下：席德進畫室印 圖錄

《席德進素描集》，藝術家雜誌，台北，1992， 黑白圖版，頁36 （畫題為《頭像素描》）

370

CHEN Ting-shih (Taiwanese, 1916 - 2002)

Day and Night # 61 1981 Woodblock print, edition no. 8/40 89.5 x 89.5 cm Signed lower right Chen Ting-Shih, dated Oct. 1981, titled lower left Day and Night # 61 in English, and numbered lower center 8/40 EXHIBITED

陳庭詩 日與夜 # 61 1981 蔗版 版次 8/40 89.5 x 89.5 cm 簽名下方：Day and Night # 61 8/40 Chen Ting-Shih Oct. 1981 展覽

「陳庭詩八十回顧展」，台灣省立美術館，

CHEN Ting-shih: 80th Anniversary Retrospective, Taiwan Museum of Art, Taichung, December 25, 1993 - March 13, 1994

台中，展期自1993年12月25日至1994年3月13日

ILLUSTRATED

《陳庭詩八十回顧展》，台灣省立美術館，

Chen Ting-shih: 80th Anniversary Retrospective , Taiwan Museum of Art, Taichung, 1993, color illustrated, p. 77

台中，1993，彩色圖版，頁77

NT$ 170,000-240,000 HK$ 44,000-62,000 US$ 5,600-8,000

圖錄

371

YU Peng (Taiwanese, 1955 - 2014)

Untitled

2004 Ink and watercolor on paper 134 x 62 cm Signed upper center Yu Peng in Chinese and dated 2004 in Chinese

NT$ 130,000-280,000 HK$ 34,000-73,000 US$ 4,300-9,300

170

于彭 無題 2004 彩墨 紙本 134 x 62 cm 簽名上方：于彭寫 甲申年

372

YU Cheng-yao (Taiwanese, 1898 - 1993)

Landscape

1977 Ink and color on paper 66 x 34 cm With one seal of the artist This painting is to be sold with the certificate of authenticity issued by Chen Mei-Er.

NT$ 400,000-750,000 HK$ 104,000-194,000 US$ 13,300-24,900

余承堯 山水 1977 彩墨 紙本 66 x 34 cm 鈐印左下：余承堯印 附陳美娥開立之原作保證書

373

CHEN Wei-Cheng (Taiwanese, b. 1977)

Hibiscus; Silk-Cotton 2007 Oil on canvas 91 x 91 cm (each) Signed center left WEI CHEN in English and dated 07 (left) Signed center right WEI CHEN in English and dated 07 (right)

NT$ 320,000-420,000 HK$ 83,000-109,000 US$ 10,600-13,900

陳威呈 一枝紅艷露凝香；四月紅妝生吉慶 (二件ㄧ組) 2007 油彩 畫布 91 x 91 cm (每件) 簽名左中：WEI CHEN "07（左） 簽名右中：WEI CHEN "07（右）

172

374

LO Chan-peng (Taiwanese, b. 1983)

Ashen Face - Kelly 2012 Oil on canvas 91 x 116 cm ILLUSTRATED

Ashen face, Aki Gallery, Taipei, 2014, color illustrated, pp. 44、91

NT$ 360,000-550,000 HK$ 93,000-142,000 US$ 12,000-18,300

羅展鵬 白面者 － 張果子 2012 油彩 畫布 91 x 116 cm 圖錄

《白面者》，也趣藝廊，台北，2014， 彩色圖版，頁44、91

「白面者」，可說是台灣當代藝術家羅展鵬生涯迄今，最為人所稱道的系 列創作。在正式揮別青春、褪去既往「草莓族」的鮮豔風格後，羅展鵬以 擅長的極限寫實、承襲自古典繪畫的罩染技法，幻化出一個個「白面者」 女孩形象，其呈現出蒼白近乎病態的神情、夾雜著世代間種種憤慨、嫉 妒、企求、愛意等情緒，背後象徵的正是瀰漫「極度焦慮與不安全感」氣 息的台灣社會。 “Ashen Face” can be considered the most praised series in the career of the Taiwanese contemporary artist Lo Chan-peng. Alternatively to the vividness of his previous “Strawberry Generation” period, Lo conjured images of “Ashen Face” girls with the excelled hyper-realism style, and the masking techniques inheriting classical masterpieces. Their pale, sick expressions were conveyed with mixed emotions of anger, jealousy, ambition and adoration altogether, symbolizing the “extreme anxiety and insecurity” that pervaded Taiwanese society.

174

375

George Chann (Chinese-American, 1913 - 1995)

Nude

Oil on canvas 52 x 42 cm Signed upper right Geo Chann in English PROVENANCE

Abell Auction, Los Angeles Private collection, USA

NT$ 260,000-380,000 HK$ 67,000-98,000 US$ 8,600-12,600

176

陳蔭羆 裸女 油彩 畫布 52 x 42 cm 簽名右上：Geo Chann 來源

阿貝爾拍賣行，洛杉磯 私人收藏，美國

376

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Queen's Black Cat 1992 Oil on canvas 91 x 72.5 cm Signed center right Che in Chinese and dated 1992 ILLUSTRATED

Michell Hwang, Galerie Pierre, Taichung, 1992, color illustrated, p. 20

NT$ 440,000-600,000 HK$ 114,000-155,000 US$ 14,600-19,900

黃銘哲 皇后的黑貓 1992 油彩 畫布 91 x 72.5 cm 簽名右中：哲1992 圖錄

《黃銘哲》，臻品藝術中心，台中，1992， 彩色圖版，頁20

377

PANG Jiun (Taiwanese, b. 1936)

Watching a Chess Game 1994 Oil on canvas 51 x 61 cm Signed lower right Pang Jiun in Chinese, dated 1994 With one painted seal of the artist Signed on the reverse PANG JIUN in Chinese and English, titled Watching a Chess Game in Chinese, inscribed 12F and dated 1994

NT$ 460,000-550,000 HK$ 119,000-142,000 US$ 15,300-18,300

龎均 觀棋 1994 油彩 畫布 51 x 61 cm 簽名右下：龎均 1994 手繪鈐印：均 簽名畫背：龎均 12F《觀棋》MONET PANG-JIUN 1994

178

378

Tzu-chi YEH (Taiwanese, 1957)

Tammia Camellia 2011- 2017 Tempera and oil on linen 30.5 x 46 cm Signed lower right Tzu-chi in Chinese and dated 2011-2017

NT$ 460,000-600,000 HK$ 119,000-155,000 US$ 15,300-19,900

180

葉子奇 塔米亞茶花 2011- 2017 卵彩 油彩 亞麻布 30.5 x 46 cm 簽名右下：子奇 2011- 2017

379

SU Xiaobai (Chinese, b. 1949)

Kaogong 23

2008 Oil, lacquer, linen and tile 23.8 x 50.4 cm Signed on the reverse Xiaobai in English and titled Kaogong 23 in Chinese ILLUSTRATED

Kaogong Ji-SU Xiaobai Catalogue, Liaoning Art Publishing House, Shenyang, 2008, p. 50 SU Xiaobai, LIN & LIN Gallery, Taipei, 2011, p. 22

NT$ 500,000-600,000 HK$ 130,000-155,000 US$ 16,600-19,900

蘇笑柏 考工 23 2008 油彩 漆 麻布 瓦片 23.8 x 50.4 cm 簽名背面：考工 23 Xiaobai 圖錄

《考工記－蘇笑柏作品集》，遼寧美術出版 社，瀋陽，2008，頁50 《蘇笑柏》，大未來林舍畫廊，台北， 2011，頁22

380

LO Chan-peng (Taiwanese, b. 1983)

Girl with a Skull Ring 3 2012 Oil on canvas 130 x 162 cm Signed on the reverse Lo Chan-peng in Chinese and English, dated 2012

羅展鵬 戴骷髏戒指的女孩 3 2012 油彩 畫布 130 x 162 cm 簽名畫背：羅展鵬 Lo, Chan-peng 2012

NT$ 700,000-900,000 HK$ 181,000-233,000 US$ 23,200-29,900

此幅《戴骷髏戒指的女孩 3》為「白面者」的最後一件作品。有別於 置中的構圖，藝術家以女孩食指「噓」的挑逗姿態、極大篇幅的比重 佔據了左方整個區域。而在第一時間內，觀者的視線將全然落在模特 兒捺印著嫣紅色指甲油的頂端，這畫面中最為突出的色彩之上。而 後，任由同等間距的兩大主角—上方女孩的凝視雙眸，抑或是下方眼 神空洞到令人近乎恐懼的骷髏戒指，拉開整張作品的觀賞視野。女孩 像是凝視觀者的專注神情，更在人們的腦海深處留下了極為強烈的印 象。這也正是「白面者」系列的獨到與不凡之處—一種渾沌又令人感 到奇特的違和感。 羅展鵬與白面者系列日前也受到台灣知名唱片公司—相信音樂所青 睞，於2015年擔綱《女也》專輯封面與內頁視覺設計，與五月天等傑 出音樂人共同為這個世代烙印下一個專屬於音樂與藝術的當代印記。

182

“Girl with a Skull Ring 3” is the last piece of work in “Ashen Face” series. Unlike the centered compositions of the previous pieces, the artist painted the girl with her finger pressed to her lips in a provocative the “shush” motion, dominating the entire left side of the image. At first glance, the viewer’s line of sight falls completely on the red-painted nail of the model’s painted fingertip, as it is the most distinctive color in the painting. However, one cannot escape the girl’s unwavering gaze, nor can one hide from the chilling empty stare of the skull ring below. If one takes a step back, the girl’s focused expression that appears to be fixated on the viewer leaves quite the lasting impression. This is the very quality of “Ashen Face” that sets it apart from others - a murky yet intriguing dissonance.

Lo Chan-peng and his “Ashen Face” works have also caught the attention of a famous Taiwanese record label - B’in Music. In 2015, he designed the cover and interior of the album “Herstory with Mayday.” With outstanding musicians like Mayday, he made his unique existence known in the current era of music and art.

381

George Chann (Chinese-American, 1913 - 1995)

Harbor at Mountains End c.1967 Oil on canvas 71 x 121.5 cm Signed lower right Geo Chann in English PROVENANCE

Ankrum Gallery, Los Angeles Private collection, USA

陳蔭羆 山腳下的海港 約1967年 油彩 畫布 71 x 121.5 cm 簽名右下：GEO CHANN 來源

安克魯姆畫廊，洛杉磯 私人收藏，美國

NT$ 850,000-1,000,000 HK$ 220,000-259,000 US$ 28,200-33,200

184

382

CHEN Yin-hui (Taiwanese, b. 1931)

Northeast Coast of Taiwan 1992 Oil on canvas 116.7 x 91 cm Signed lower left CHEN in English, Yin in Chinese and dated '92 EXHIBITED

Chen Yin-hui: Forty Years of Work, Taiwan Museum of Art, Taichung, March 15-April 30, 1997 ILLUSTRATED

Chen Yin-hui: Forty Years of Work, Taiwan Museum of Art, Taichung, 1997, color illustrated, p. 70

NT$ 950,000-1,200,000 HK$ 246,000-311,000 US$ 31,600-39,900

陳銀輝 龍洞情懷 1992 油彩 畫布 116.7 x 91 cm 簽名左下：銀 CHEN '92 展覽

「陳銀輝創作四十年展」，臺灣省立美術館， 台中，展期自1997年3月15日至4月30日 圖錄

《陳銀輝創作四十年展》，臺灣省立美術館， 台中，1997，彩色圖版，頁70

383

Tzu-chi YEH (Taiwanese, b. 1957)

Taimali - Taitung 2000-2007 Tempera and oil on linen 51 x 102 cm Signed lower right Tzu-chi in Chinese and dated 2000-07

NT$ 1,100,000-2,200,000 HK$ 285,000-570,000 US$ 36,500-73,100

葉子奇 太麻里–台東 2000-2007 卵彩 油彩 亞麻布 51 x 102 cm 簽名右下：子奇 2000-07

186

384

SU Wong-shen

蘇旺伸

(Taiwanese, b. 1956)

遭遇 （左：馬路下的日本宿舍，右：山坡下的防空洞）

Kismet (Left: Roadside Japanese Housing, Right: Hillside Bomb Shelter) 1996-1997 Oil on canvas 120 x 75 cm (x2) EXHIBITED:

Madonna Meets Mao, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden, 31st, October, 200811th, January, 2009

1996-1997 油彩 畫布 120 x 75 cm (x2) 簽名畫背：丙子年春分 初雷聲響 路腳的日本宿舍坡下的防空洞 遭遇三民街口 蘇旺伸1996 1997 展覽

「瑪丹娜遇見毛澤東」，利普修斯堡展覽廳，德勒斯登國家藝術 收藏館，德勒登斯，展期自2008年10月31日至2009年1月11日 圖錄

ILLUSTRATED

《蘇旺伸 雲與雲之間》，誠品畫廊，台北，2008，彩色圖版，

SU Wong-shen: Between the Clouds, Eslite Gallery, Taipei, 2008, color illustrated, pp. 122-123, 236 Madonna Meets Mao, Staatliche Kunstsammlungen Dresden, Dresden, 2008, color illustrated, p66

頁122-123、236 《瑪丹娜遇見毛澤東》，德勒斯登國家藝術收藏館，德勒登斯， 2008，彩色圖版，頁66

NT$ 1,700,000-2,600,000 HK$ 440,000-674,000 US$ 56,500-86,400

蘇旺伸的繪畫總在超越現實的場景中，蘊藏著豐厚的地方脈絡，埋藏

In the 1996-97 "Kismet", the beasts still have a place in the bustling

著幽微的時代寓意。他畫中的獸源起於在淡水遭逢的貓狗，牠們隨著

earth. The painting is constructed with "Roadside Japanese

時間逐漸蛻去特徵，化身為行走於人世社會的生命隱喻。

Housing" and "Hillside Bomb Shelter" placed side by side. On

繪於1996-97年的《遭遇》，獸群依然立足於熙攘的人間土地。畫作 由《馬路下的日本宿舍》與《山坡下的防空洞》左右雙併而成，左邊 是舒適的生活起居空間，日式老房子座落於綠草如茵的庭園中，屋前 一池石塊圍出的潭水，周圍樹木染上秋意濃厚的橘黃色調，構築出一 方溫馨；右方是相對草莽的山景，有著開放的平台與藏匿在山腳的防 空洞。藝術家以獨特的俯瞰視角鋪陳出古樸、奇幻，同時根植於現實 的人間景象。黑色的獸群來自於兩方，卻未進入任一場域的中心，散 處於畫面上方的邊界，牠們是未被豢養的獸，遊盪在邊緣的獸群彼此 遭遇，引出在地歷史與時代氛圍的深度，關於歷史的流轉、時間的遺 跡、以及生命的記憶。 The paintings by Su Wong-shen aways transcend real life settings, with many hidden local contexts and subtle allegories. The beasts in his paintings originate from the cats and dogs he encountered in Tamsui. As time passed, they gradually shed their outward characteristics, becoming a metaphor of life walking amongst society.

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the left is a comfortable living area, the old Japanese-styled home sites in a thriving garden, with a pond encircled by stones. The trees around the house are tinted orange and yellow with autumn, creating a warm atmosphere. In contrast to the grassy landscape, the right shows a mountainous scene, with an open platform and bomb shelter hidden at the foot of the mountain. The artist used a unique overlooking perspective to create a quaint and fantastical scene that is also rooted in realism. The black horde of beasts come from both sides, but enter either region's center, instead spreading out on the upper edge of the image. These beasts were not raised by humans; they wander along the edge and encounter one another, drawing forth the depth of history and the atmosphere of the period, commenting on passing history, remnants of time, and memories of life.

385

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

Day and Night #25 1973 Woodblock print, A.P 121 x 180 cm Signed lower right Chen Ting Shih in English, dated 1973, titled lower left Day and Night #25, numbered lower center P/A With one seal of the artist EXHIBITED

CHEN Ting-shih: 80th Anniversary Retrospective, Taiwan Museum of Art, Taichung, December 25, 1993 - March 13, 1994 ILLUSTRATED

Chen Ting-shih: 80th Anniversary Retrospective, Taiwan Museum of Art, Taichung, 1993, color illustrated, p. 65

NT$ 1,700,000-2,400,000 HK$ 440,000-622,000 US$ 56,500-79,700

陳庭詩 日與夜 #25 1973 蔗版 版次 A.P 121 x 180 cm 簽名右下：Chen Ting Shih 1973 題識左下：Day and Night #25 版次中下：P/A 鈐印左下：陳 展覽

「陳庭詩八十回顧展」，台灣省立美術館，台中， 展期自1993年12月25日至1994年3月13日 圖錄

《陳庭詩八十回顧展》，台灣省立美術館，台中，1993， 彩色圖版，頁65

190

386

CHUANG Che (Taiwanese, b. 1934)

The Song of Winter Snow 1989 Acrylic on canvas 125 x 125 cm Signed lower right Chuang Che in Chinese and dated 89 EXHIBITED

Chuang Che, Deep Ridge - Remote Way, Solo Exhibition in National Art Museum of China, National Art Museum of China, Beijing, August 28 - September 24, 2007 ILLUSTRATED

Chuang Che, Deep Ridge - Remote Way, Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, p. 60

NT$ 1,700,000-2,600,000 HK$ 440,000-674,000 US$ 56,500-86,400

莊喆 冬雪之歌 1989 壓克力 畫布 125 x 125 cm 簽名右下：莊喆 89 簽名畫背：春光乍現 89-4 125 x 125 1989 展覽

「嶺深道遠─莊喆中國美術館個展」，中國美術館，北京， 展期自2007年8月28日至9月24日 圖錄

《嶺深道遠─莊喆中國美術館個展》，亞洲藝術中心，台北， 2007，彩色圖版，頁60

387

CHIU Ya-tsai (Taiwanese, 1949 - 2013)

Hesitation

Oil on canvas 97 x 130.5 cm Signed lower left Chiu Ya-tsai in Chinese

邱亞才 猶豫 油彩 畫布 97 x 130.5 cm 簽名左下：邱亞才 畫背：冬日時看到的中年人

ILLUSTRATED

圖錄

Chiu Ya-tsai, Goethe Art Center, Taichung, 2012, color illustrated, p. 73

彩色圖版，頁73

《邱亞才傳記》，哥德藝術中心，台中，2012，

NT$ 1,900,000-2,800,000 HK$ 492,000-725,000 US$ 63,100-93,000

台灣當代文人繪畫中，邱亞才以一貫堅持的肖像創作獨樹一幟。在他 筆下的人物神情中總帶點憂鬱與滄桑的情緒質感；他鍾愛文學閱讀， 飽讀多國經典文學，如：杜斯妥也夫斯基、莎士比亞、三島由紀夫， 抑或是司馬遷《史記》等，這些文學創作都帶著濃厚的人性刻畫與細 膩的時代觀察，而這樣的文學作品與在從事專職藝術創作之前曾為勞 動階層的邱亞才有非常深厚的共鳴，也進一步地影響著邱亞才日後的 藝術創作。 《猶豫》一作當中，可見邱亞才標誌性的藍色色調，他大膽地、猖狂 地大筆觸塗抹於畫布之上，將形式拋諸腦後，以一種近乎表現主義的 寫意風格描繪出男子飽含風霜、若有所思的神情，他對於人物情緒的 獨特描繪多半來自於他長期坐在紫藤廬寫作時，對於熙來攘往的過客 的深刻觀察，時而文人騷客、時而失意商人；抑或是拗執政治家、活 躍的社運人士等等，勾勒出他對於這些主角細微的主觀陳述，猶如眾 生相一般傳達出人物的神秘本質或是孤寂身影，更像是一種精神性的 獨白，潛意識般地融入了藝術家的情感，造就了邱亞才於台灣當代藝 壇的獨特身影與藝術成就。 In the world of contemporary Taiwanese literati art, Chiu Yatsai stoods unique by means of his dedication to the painting of portraits, whereas the expressions of the people in his creations always seem to be imbued with emotions of melancholy and desolation. He loved reading and had perused the classics of all nations and cultures, including the works of Dostoevsky,

194

Shakespeare, Yukio Mishima, and even Sima Qian’s “Records of the Grand Historian,” all of which describe human nature and observations of different eras in great detail. Works of literature like these resonated deeply with Chiu Ya-tsai back when he was a part of the labor force, before he made art his lifelong career, and have furthermore influenced his approaches toward artistic creation.

“Hesitation” is an artwork that embodies Chiu Ya-tsai’s signature palette of varying shades of blue. In bold, vigorous strokes his brush sweeps across the canvas with utter disregard for form and composition. In a style similar to that of the Expressionists, he illustrated a man with a thoughtful expression on his weathered face.

His depictions of emotion in his subjects are mostly engendered during his long writing sessions at Wistaria Tea House, where he would carefully observe the customers that came bustling by, some of whom were scholars and poets, while others were merchants who had fallen into misfortune. On other occasions, there would also be stubborn politicians, lively social activists and the like. He would extract detailed, subjective interpretations from his observations as if he were able to decipher some mysterious, innate quality of the people or their lonely sense of being, or as if he were engaging in a spiritual monologue that subconsciously incorporated the artist’s own emotions. This depth of vision is what has enabled Chiu Ya-tsai to establish a unique presence and attain outstanding achievements within the contemporary art scene of Taiwan.

388

HUANG Ming-chang

黃銘昌

(Taiwanese, b. 1952)

一方心田

A Field in the Heart 1993 Oil on canvas 72 x 112 cm Signed lower right edge Huang Ming-Chang in Chinese and Huang M. C. in English, dated ’93 Signed on the reverse Huang Ming-Chang in Chinese and Huang M. C. in English, inscribed A Field in the heart in Chinese and dated 1993

1993 油彩 畫布 72 x 112 cm 簽名右側：黃銘昌 Huang M. C. '93 簽名畫背：黃銘昌 Huang M. C.“一方心田” －黃昏好水稻田之四1993 展覽

「黃銘昌 一方心田」，台北市立美術館，台北， 展期自2012年3月17日至6月17日

EXHIBITED

「見微知萌─台灣超寫實繪畫」，台北市立美術館，

A Field in the Heart - Solo Exhibition by Huang Ming-chang, Taipei Fine Arts Museum, Taipei, March 17 - June 17, 2012 Telling Details: Photorealism in Taiwan, 18th January-20th April, Taipei Fine Arts Museum, Taipei, 2014 Guess What? Hardcore Contemporary Art's Truly a World Treasure, The National Museum of Modern Art, Tokyo, Nagoya City Art Museum, Nagoya, Hiroshima City Museum of Contemporary Art, Hiroshima, The National Museum of Modern Art, Kyoto, June, 2014-May, 2015

台北，2014，展期自2014年1月18日至4月20日

ILLUSTRATED

彩色圖版，頁73

A Field in the Heart - Solo Exhibition by Huang Ming-chang, Taipei Fine Arts Museum, Taipei, 2012, color illustrated, pp. 130-131 Guess What? Hardcore Contemporary Art's Truly a World Treasure, Japan, 2014, color illustrated, p.73

「你知道嗎?世界寶藏的重磅當代藝術」，東京國立現代美術館， 東京；名古屋市立美術館，名古屋；廣島市立當代美術館，廣島； 京都國立現代美術館，京都，展期自2014年六月至2015年五月 圖錄

《黃銘昌 一方心田》，台北市立美術館，台北，2012， 彩色圖版，頁130-131 《你知道嗎?世界寶藏的重磅當代藝術》，日本，2014，

綠波春浪滿前陂，極目連雲罷亞肥。 更被鷺鶿千點雪，破煙來入畫屏飛。 《稻田》，唐，韋莊。

NT$ 2,600,000-3,600,000 HK$ 674,000-933,000 US$ 86,400-119,600

The green waters of the pond are guided forward by the winds of springtime; before my eyes is an endless sea of clouds and flourishing fields.

唐代詩人韋莊 (836-910) 一首《稻田》透過簡短幾字絕句，精彩地描 繪了唐代田園的景致風光；飽滿翠綠的稻株隨風搖曳如拍浪一般，緩 緩延綿與天空揉成了一片，點綴幾隻白鷺拍翅輕盈飛入這片如畫的迷 人景色。 以台灣田園風光寫詩的黃銘昌寄情於繪畫，他或許寫詩寫文，更多的 是他心中一片片搖曳生姿的稻禾帶出他所離不散的鄉愁；黃銘昌從童 年生活記憶中取材，而這股對故鄉、對記憶長河中的美好片段變成一 股驚人的執念，讓他得以在一張張畫布上刻畫下他最深的眷戀；而黃 銘昌寫實畫的再造不僅是藝術家對於鄉愁的赤裸呈現，也勾起了當代 人對於自然過度被破壞的反思；從台東鄉間到台北，從台北到巴黎， 再從巴黎到了台灣、緬甸或是峇厘島，黃銘昌的田園創作細膩地繪製 了特屬於南島風情的水稻景色，巧妙地將他來自的島嶼景緻與世界連 結。 此件作品《一方心田》，開闊的水稻靜靜衡躺，晚霞照印出溫暖人心 的微光，畫面中的針葉樹欉與矮灌木如被晚風吹拂般地擺動，如此和 諧與靜謐卻滿溢著生命力與豐饒意象，亦在此般詩意不絕的畫作中， 藝術家注入最真誠的情感，也在這樣的情緒之中找到了歸屬；在黃銘 昌的藝術上，寫實畫亦被重新詮釋，他的作品不單是對於眼前風光的 客觀表達，他沁入了滿滿的主觀思念，讓單純的寫實作品飽含情感層 次，而這也是黃銘昌藝術難以被取代的指標精神。

Taiwanese pastoral poet Huang Ming-Chang uses drawing as an emotional outlet. Though he writes poems and literature, he is burdened by a longing for home brought by paddies of rice plants swaying in the wind. Huang draws from childhood memories. This fixation with the good old days at home and the ever-flowing river of his memories has turned into an obsession that allows him to paint his canvases with utmost longing; the recreations in Huang’s realist paintings are not only raw presentations from the artist’s nostalgia, but also reflections upon the destruction of nature by modern society. From the countryside of Taitung to Taipei, from Taipei to Paris, then from Paris to Taiwan, Myanmar, or Bali, Huang’s pastoral works carefully illustrate scenes of rice paddies unique to the Austronesian, cleverly linking the views of his own island roots with the world.

In “A Field in the Heart”, the open fields of rice lay silent. As the light from the sunset warms the heart, the pines and shrubs in the image sway to and fro as if being caressed by the evening winds. So peaceful and quiet, yet also so full of vitality and images of fertility, this poetic picture has poured into it the artist’s most genuine emotions, among which he finds his solace. In the works of Huang Ming-Chang, realism takes on a new definition. His works are not just an objective interpretation of what he sees with his eyes; his subjective ideas seep through his work, adding sentiment to his realism. Such is the irreplaceable, indicative spirit of Huang MingChang’s art.

The poem “Rice Field” by Tang poet Wei Zhuang (836 - 910) paints a fascinating image of the fields of harvest from the Tang dynasty in a short quatrain. The plump green stalks sway in the wind like waves, slowly extending until they converge with the sky, the view accented by a few white egrets gently flapping their way into the captivating scenery.

196

Herons white, a thousand dots of snow; they break free to fly into these painted screens.

“Rice Field”, Wei Zhuang (Tang dynasty).

389

LIU Kuo-sung (Taiwanese, b. 1932)

Moldering Mosaic 1968 Ink and color on paper 67 x 100 cm Signed lower right LIU Kuo-sung in Chinese and dated 1968 With one seal of the artist EXHIBITED

LIU GUO SONG: A Universe of His Own, Hong Kong Museum of Art, Hong Kong, Feburary 20 - May 2, 2004 ILLUSTRATED

LIU GUO SONG: A Universe of His Own, Hong Kong Museum of Art, Hong Kong, 2004, color illustrated, pp. 94-95 Liu Kuo-sung 60 Years of Painting, Chan Liu Art Museum, Taipei, 2007, color illustrated, pp. 4-5, 72-73

NT$ 3,200,000-4,200,000 HK$ 829,000-1,088,000 US$ 106,300-139,500

劉國松 斑剝可玩 1968 彩墨 紙本 67 x 100 cm 簽名右下：劉國松 一九六八 鈐印右下：劉國松 展覽

「劉國松的宇宙」，香港藝術館，香港， 展期自2004年2月20日至5月2日 圖錄

《劉國松的宇宙》，香港藝術館，香港，2004，彩色圖版， 頁94-95 《劉國松繪畫一甲子》，長流美術館， 台北，2007，彩色圖版，頁4-5、72-73

198

390

SHIY De-jinn (Taiwanese, 1923 - 1981)

The Landscape of Wu-Ling 1979 - 1980 Mounted scroll, ink and color on paper 89 x 239.5 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist PROVENANCE

Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist) Ravenel Spring Auction 2014, Taipei Private collection, Taiwan

NT$ 4,800,000-6,500,000 HK$ 1,244,000-1,684,000 US$ 159,400-215,900 200

席德進 武陵勝境 1979 - 1980 彩墨 紙本 89 x 239.5 cm 簽名左下：席德進 鈐印左下：席德進印 鈐印右上：席氏書畫 鈐印右下：四川南部縣人 來源

席德進基金會前董事收藏 羅芙奧2014春季拍賣會「席德進摯友專拍」，台北 私人收藏，台灣

武陵，位於台灣中部，屬雪山山脈圍繞的高海拔山區，群山環繞、谿 谷棋布，四季分明，秋冬時節楓紅迷人。武陵地區景色優雅，宛如古 人陶淵明的桃花源勝地，經常吸引席德進與友人到此駐足。席德進完 成四幅長約240公分長的武陵風景，長137公分的中型作品大約有兩 幅左右。 In the middle of Taiwan, Wuling is located in the high-altitude region of Syue Mountain. Surrounded by the mountains and valleys, Wuling has four distinct seasons, with red maple trees that are particularly captivating in autumn and winter. The elegant landscape of Wuling can be compared to poet Tao Yuanming’s Peach Blossom Spring. Shiy and his friends often came here to enjoy the beauty. Four 240 cm long paintings of the scenery of Wu-ling were produced, along with an estimated two mid-sized (137 cm) works.

391

LIAO Chi-chun (Taiwanese, 1902 - 1976)

Arc de Triomphe, Paris 1971 Oil on canvas 45.5 x 53 cm Signed lower left Chi-chun in Chinese and C. LIAO in English PROVENANCE

Hsieh Te-cheng, a renowned photographer, Kaohsiung, 1971 (acquired directly from the artist’s family) Ever Harvest Art Gallery, Taipei Private collection, Taiwan EXHIBITED

10th Anniversary Memorial Exhibition of Liao Chi-chun, Ever Harvest Art Gallery, Taipei, January 12 – February 9, 2002 ILLUSTRATED

Taiwanese Art 123, Celebrated Art Gallery, Kaohsiung, December, 1993, color illustrated, no. 4 Centurial Rairity: Complete Works of Liao Chi-Chun, Ever Harvest Art Gallery, Taipei, January 2017, color illustrated, pp. 162、451 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 6,500,000-7,500,000 HK$ 1,684,000-1,943,000 US$ 215,900-249,100

廖繼春 凱旋門 1971 油彩 畫布 45.5 x 53 cm 簽名左下：繼春 C. LIAO 來源

攝影師謝德正收藏，高雄，1971（得自藝術家家屬） 日升月鴻藝術畫廊，台北 私人收藏，台灣 展覽

「廖繼春逝世二十周年紀念特展」，日升月鴻藝術畫廊，台北， 展期自2002年1月12日至2月9日 圖錄

《台灣美術123》，名展藝術空間，高雄，1993年12月，彩色圖 版，編號4 《世紀藏春：廖繼春全集》，日升月鴻畫廊，台北，2017年1 月，彩色圖版，頁162、451 附日升月鴻藝術畫廊開立之原作保證書

202

ARC DE TRIOMPHE, PARIS LIAO Chi-chun

1962年6月，廖繼春與另一位台灣畫家席德進應美國國務院的邀請， 前往美國考察訪問。一般藝術家訪問為期兩個月，結束後可自由選擇 續留兩個月或者轉往他處旅行。廖繼春一共在美國停留四個月左右， 參觀世界知名的博物館，親炙美國主流的抽象畫、表現主義，受益良 多。是年12月再借道歐洲，停留一段時日，難得的旅行經歷使他眼界 大開，也促使繪畫的風格形式與色彩起了極大變化。廖繼春經過歐美 遊歷之後，陸續創作一系列以希臘雅典、義大利威尼斯、西班牙特麗 羅（托雷多）、以色列伯利恆、法國巴黎等城市取景的圖畫，甚至到 了1970年代，那些美好的印象仍然縈繞腦際，在日常台灣美景寫生之 餘，偶而他仍重拾歐洲風景題材，融入更多的生命經驗與美好憧憬。 此幅《凱旋門》取材自巴黎的旅遊印象，創作於生命的後期，色彩艷 麗奔放，構圖璞真可愛。

黎旅行後的啟示：「如夏卡爾所說，他之前來巴黎，並非學習那裡的 畫，而是接受那裡的刺激而已。這種種因素使我儘速地覓求了新的自 己的方法。 」（節錄自〈廖繼春訪問記〉，《雄獅美術》29期，1973年7月）朝聖歐 洲千年文明，體會法國的民主自由，真是百聞不如一見，此趟人文巡 禮綻放出廖繼春的藝術高峰。畫家吳炫三曾指出恩師廖繼春的風景形 式：「廖老師最常見的描寫，是以三個大色塊分別來表現天、地和建 築物…。 」在《凱旋門》油畫作品中，建築以深藍粗線條勾勒，沉穩 具有量感，和兩旁行道樹與人群的鮮豔色彩和建築物相互對比。天地 用色則顯得柔美活潑，交織出既強烈且和諧的圖畫世界。 廖繼春早期繪畫受到野獸派畫家如馬蒂斯、杜菲及梅原龍三郎等人的 影響，用色大膽而華麗。在接受抽象藝術與表現主義的洗禮之後，色 彩的領域更寬廣，自由流暢，絲毫不亞於西方大師的風貌。廖繼春生

巴黎凱旋門為世界知名的地標，凡提到城門建築，不會錯過這棟建於

前因「不能到巴黎繼續深造」而抱憾，然而他那充滿個人魅力的色

十九世紀的石造建築。它位於巴黎十二條大道的樞紐，眾星拱月，氣

彩，足以稱為世界級的色彩畫家。

勢宏偉。在廖繼春少數以巴黎美景為題的油畫作品，除有塞納河畔、 街景畫之外，應屬此幅《凱旋門》最突出。1960年代台灣民風仍舊 保守，時局震盪，當廖繼春親臨繁榮開放的歐洲，體驗到不同的視覺 震撼，特別是鼓吹自由平等博愛的法國。當他畫著象徵勝利的凱旋門 時，心情想必隨之激昂愉悅，他筆下的樹木鮮豔醒目，簇擁著畫面中 央穩重的凱旋門，淺藍的天空，粉色的大地，紅男綠女穿梭在戴高樂 廣場上，表現宛如節慶般歡樂的場景。廖繼春曾在一次訪問中提到巴

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In June 1962, Liao Chi-chun and fellow Taiwanese artist Shiy De-jiin were invited by the U.S. State Department to undertake a study visit to the United States. The study visits for most artists would last for two months, after which the artist could choose to stay for two more months or visit other places after concluding the visit. Liao stayed in the U.S. for a total of four months. He visited world-famous museums and laid his eyes on popular abstract and expressionist

once than hear a hundred times. Liao’s artistic pilgrimage to see the thousand-year-old European civilizations, and experience French democracy and liberty, allowed him to reach his own artistic pinnacle.

paintings, learning from the works of art masters. In December, his travels took him through Europe. This rare travel experience was an eye-opener for him, and his style and use of color underwent huge changes thereafter.

After travelling through Europe and America, Liao began to create a series of city landscapes based on Athens in Greece, Venice in Italy, Toledo in Spain, Bethlehem in Israel and Paris in France. Even in the 1970s, those beautiful images still remained in his mind. In addition to painting landscapes in Taiwan, he would also sometimes paint European landscapes over the course of his work, adding his life experience and beautiful longing into his art. “Arc de Triomphe, Paris” was drawn from his memories of Paris. Created in his later years, it shows the artist’s brilliant and bold use of color in a truthful and simple composition.

The Arc de Triomphe in Paris is a world-famous landmark, and this 19th-century stone structure is always mentioned in any discussion about arches and gates. Situated at the hub of twelve Parisian boulevards, like beams of starlight focusing on a central moon, the Arc gives out a grand and magnificent air. Among Liao’s few oil paintings depicting the Paris landscape, in addition to his works on the bank of the Seine and the streetscapes, “Arc de Triomphe, Paris” is seen as his most outstanding work.

In the 1960s, Taiwan was still a conservative society with an unstable political atmosphere. When he set foot in Europe, which was open and prosperous, Liao felt the impact of completely different sights and experiences. This was particularly striking in France, a country that advocated liberty, equality and fraternity. Liao must have been delighted and excited when he drew the Arc, a symbol of victory.

His trees are vivid and colorful, surrounding the steady Arc de Triomphe in the center. The artist displayed a delightful scene, as if it were a holiday, with the light blue sky, pink land, and fashionably dressed men and women on the Place Charles de Gaulle.

Liao talked about how he was inspired by his trip to Paris in an interview, “As Chagall described, he came to Paris not for learning how to paint but to be stimulated. All of these factors encouraged me to explore my own style as soon as possible.” (Excerpted from “Interview with Liao Chi-chun,” Lion Arts, Issue 29, July, 1973) It is better to see

Asked about his teacher’s landscape, artist A-Sun Wu indicated that, “Mr. Liao’s most frequent technique in landscapes is to use three major color blocks to distinguish the sky, earth, and buildings…”

In “Arc de Triomphe, Paris,” the building was delineated with a broad brush in dark blue, demonstrating a heavy and steady air. The bright tones of the street trees and people show a vivid contrast to the building. The color in the sky and earth appears to be soft and vibrant, displaying a powerful yet harmonious world.

Under the influence of Fauvists, such as Matisse, Dufy and Ryuzaburo Umehara, Liao used bold and elaborate colors in his early works. After he was exposed to abstract art and Expressionism, his employment of color was expanded, to include a broader scope.

The free flow of his brush makes his work the equal of Western masters. Although Liao regretted that he “could not continue studying in Paris” during his lifetime, he was talented enough to be called a world-class painter with his charismatic use of color.

392

JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列—太極拱門

Taichi Series – Taichi Arch

2000

2000 Bronze 4/8 97.5(L) x 30(W) x 54.3(H) cm Signed on the rear left bottom Ju Ming in Chinese, numbered 4/8 and dated 2000

銅雕 4/8

ILLUSTRATED

2002，

Ju Ming, Jean-Luc Chalumeau, Editions Cercle d'Art, Paris, 2002, color illustrated, pp. 48-49 Ju Ming, Singapore Art Museum, Singapore, 2004, color illustrated, pp. 76-77 Ju Ming Taichi Sculpture, Guangxi Fine Arts Publishing House, Nanning, 2006, color illustrated, pp. 124-125

彩色圖版，頁48-49

This sculpture is to be sold with a certificate of authenticity signed by the artist, issued by Jun Youn Sculpture Gallery, Taipei.

97.5(長) x 30(寬) x 54.3(高) cm 簽名雕刻左後底部：朱銘 4/8 2000 圖錄

《朱銘》，尚律克．夏綠莫，藝術圈出版社，巴黎，

《朱銘》，新加坡美術館，新加坡，2004，彩色圖版， 頁76-77 《朱銘：太極雕塑》，廣西美術出版社，南寧，2006， 彩色圖版，頁124-125 附雋永藝術開立之藝術家親簽作品保證書

NT$ 5,500,000-6,500,000 HK$ 1,425,000-1,684,000 US$ 182,700-215,900

朱銘「太極」系列的問世，曾造成藝文界的質疑，許多人無法理解此 轉變，但能靜心去體會的人即可感受到這是其轉化為大師的徵兆之 一；已從過去的鄉土性跳脫出，也是他雕塑方式及藝術風格凝結成形 的里程碑，雖然此系列作品甚多，但仍可以看出作品之間並非一成不 變，從學太極到刻太極，最初創作時還需圖片參考，隨著時間過去， 他本身對太極招式越來越瞭解及熟諳，並對太極的心智作用愈加鑽 研，作品也展現出因徹底體會而透露出的果決，在一座座沉著的形象 下藏著是太極的能量和藝術家的生活經歷。 在《太極拱門》中，已看不見那些無關宏旨的細節，其創作躍入幾乎 純抽象的階段，就像看著帕洛克的抽象畫作，腦海也能浮現他在畫布 上舞動的姿態，幾何的切面，或是不完全對稱的外形，將包圍此作品 的空間裝飾的更有層次，它的豐富更不外乎創作的速度感，單一的刻 劃間展現創作者的忘我狀，我們看到朱銘的不受羈絆，看到他可以不 再像傳統的工匠只想單純的複製一個形體，而是因為太極帶來的愉悅 情緒，使他按耐不住要將其化作一永恆的個體。《太極拱門》特別之 處也在於它與其所處之角落和諧共存，並漸漸地成為周遭中有機的構 成要件，融合了中國園林天地圓融的東方哲學思想，無論形體大小， 所要表現的空間感不受侷限，也許是因為朱銘賦予的空靈氣質所致， 散發出一種無限延伸之感。 Public presentation of the “Taichi” series was once questioned by the art and cultural circles. Many were unable to understand the transition, but those who were able to calmly experience it could feel it as one of the signs of his transformation into a great master.

His departure from local art is also a milestone set by his sculpting method and artistic style. Although the pieces of sculptures

206

included in the series are numerous, they are not invariable. From learning Taichi to sculpting it, the earliest creations required picture references. With the passage of time, his gradual understanding of and familiarity with Taichi moves increased, and he became more absorbed in the study of the mental effects of Taichi. His sculptures also began to show the firmness and resoluteness revealed through his thorough experience. Under each calm and composed image hides the energy of Taichi and the artist’s experiences in life.

Details that are irrelevant to the main theme are no longer seen in the Taichi Arch. The creation has plunged into an almost purely abstract stage. Like looking at an abstract Baroque painting, things that appear before one’s eyes are the dance poses, geometrical planes and asymmetrical forms on his canvas. Increased levels of adornment are given to the space surrounding this work, the richness of which does not go beyond its tempo. The simple carvings show the artist’s state of self-denial. We can see an unfettered Ju Ming who no longer wants to simply copy a form like a traditional craftsman. Thanks to the joyful moods brought by Taichi, he cannot help but transform it into an eternal entity. The uniqueness of the “Taichi Arch” lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The extensity presented by the sculpture, regardless of its size, is unrestricted. Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.

393

HUANG Ming-chang (Taiwanese, b. 1952)

Golden Fields

1995 Oil on canvas 141 x 202 cm Signed on the right edge Huang Ming-chang in Chinese, Huang m. c. in English and dated '95 EXHIBITED: The Invisible Medium, Metaphysical Art Gallery, Taipei, April 20 - May 26, 2013

NT$ 3,000,000-4,000,000 HK$ 777,000-1,036,000 US$ 99,600-132,800

黃銘昌 河西走廊（金色田園） 1995 油彩 畫布 141 x 202 cm 簽名右側：黃銘昌 Huang m. c. '95 展覽： 「看不見的中間」，形而上畫廊，台北， 展期自2013年4月20日至5月26日

208

394

HONG Ling (Chinese, b. 1955)

Sound of Autumn 2012 Oil on canvas 105 x 120 cm Signed lower left Hong Ling, inscribed Summer of 2012 in Chinese Signed on the reverse Hong Ling, titled Sound of Autumn, and inscribed Summer of 2012 in Chinese

NT$ 2,600,000-3,600,000 HK$ 674,000-933,000 US$ 86,400-119,600

洪凌 秋聲 2012 油彩 畫布 105 x 120 cm 簽名左下：洪凌 12年 夏 簽名畫背：《秋声》洪凌畫 2012年 夏

210

395

CHIU Ya-tsai (Taiwanese, 1949 - 2013)

Lady

邱亞才 女仕 1998

1998 Oil on canvas 143.5 x 95 cm Signed lower right Chiu Ya-tsai in Chinese

油彩 畫布 143.5 x 95 cm 簽名右下：邱亞才

NT$ 3,000,000-4,000,000 HK$ 777,000-1,036,000 US$ 99,600-132,800

1994年間，邱亞才時值45歲，是為活力旺盛的藝術家，也是為文采 迸發的文學家；然而，作為一位飽含浪漫情懷，文采風光的藝術家、 作家，邱亞才能畫繕寫，他已經讓他的藝術發光，也在這年，他獲得 了吳濁流文學獎，在文壇上亦是發熱，但他卻始終得不到他所嚮往的 終極愛情，一種好淫的情愛甚至是情慾的流淌宣洩。 邱亞才從不隱瞞他對愛情或是對女人的喜愛與迷戀，而這些他未能得 到的美夢、美女他用畫筆一筆一畫的表現在畫布上；他用筆墨，一字 一句的寫下在他的著作；也是在同1994年，邱亞才發表了「東區女 人」個展，他將他在晚暝間漫步在忠孝東路上所見胭脂濃淡的各色女 子，或是穿著入時豔麗、身形曼妙婀娜的靚女們，透過他充滿愛慕卻 不可得的眼神觀察後，再造於畫布之上；此件作品《女仕》或是可視 為東區女子的延伸創作；她穿著那時代的流行服裝，柳眉、杏眼、胭 脂輕描淡抹，透露出一種靜謐的優雅閒情，而藝術家透過中西藝術兼 具的創作形式，揉合了這些激發他靈感繆思，將他最深的愛戀與不可 多得的嚮往，赤裸地呈現在世人眼前。 In 1994, Chiu Ya-tsai was just 45 years old, an artist in his prime and also a prolific writer. As a romantic, scholarly artist and author, Chiu exhibited his immense talent in both painting and the written text.

Not only did he shine in the world of art, it was in this very year

212

that he won the Wu Zhuoliu Literary Award for his accomplishments in literary writing. Despite all these achievements, he had never been able to attain the love he desired, a sensual kind of ardor that bordered on overflowing lust.

Chiu Ya-tsai had never hesitate to reveal his fondness and obsession toward love and women. Stroke by stroke, dreams unrequited and beautiful women has come to life upon his canvas; word by word, he had manifested his thoughts and yearnings through pen and paper. 1994 was also the year in which Chiu Ya-tsai held his solo exhibition titled “Ladies of the East District.” Whether it is young ladies costumed with makeup that would appear strolling late at night along Zhongxiao East Road or fashionably flamboyant women with alluring figures, he would recreate these subjects on his canvas through observations colored with wistful admiration. This piece, “Lady,” can be regarded as an extension of the “Ladies of the East District” series; her fashionable clothing, arched brows, almond eyes and lightly applied makeup reveal quiet, leisurely grace; meanwhile, through the amalgamation of western and eastern creative approaches, the artist had incorporated the thoughts that aroused his inspiration to lay bare for the world to see his deepest adorations and unattainable yearnings.

396

CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

紅圍巾青年（藝術家兒子）

Youth with a Red scarf (Artist’s Son) 1998 Oil on canvas 131.5 x 98 cm Signed lower left Chiu Ya-tsai in Chinese

1998 油彩 畫布 131.5 x 98 cm 簽名左下：邱亞才

NT$ 2,200,000-3,200,000 HK$ 570,000-829,000 US$ 73,100-106,300

於1980年代起才開始專職藝術創作的邱亞才，對於人物的刻畫描寫總 帶著某重主觀陳述的情感氛圍，對他來說，提筆作畫與振筆書寫是他 人生中最不可放手的兩件事，也因如此，他像是一位說書人一般的用 畫筆描繪人生風景以外亦寫下多頁屬於他那時代的人生故事。 邱亞才的人生故事書中，有著尋常的庶民百態，亦有他生前結交許多 的藝壇或文壇好友，而這些靈感來源與他過往深刻的人生歷練相互揉 合；他飽讀經典文學卻不咬文嚼字、他提筆繪畫卻不流於空有的形式 主義，使得他的創作多了一分質樸親切的溫暖質地，更加地揉進觀者 的生活使之感動；邱亞才創作生涯的中後時期約90年代起，可以見卓 他風格與用色上的轉變；此時期的人物創作多半打扮較為入時，而在 人物的刻畫描繪上亦可看出此時期的線條較為流暢，少了幾分滄桑筆 觸，卻多了幾分翩翩詩意；此件創作於1998年的作品，《紅圍巾青 年》同時可看出宋代文人肖像畫對於藝術家的影響；細條的臉部線條 與細緻的五官描寫帶有清新亮麗的質感，與早期晦暗、陰鬱、充滿苦 悶暴躁氣息的作品大相逕庭，特異卻帶有神秘、不流於俗套的優雅文 人繪畫風格儼然流瀉而生。 It wasn’t until the 1980s that Chiu Ya-tsai began creating art as a profession by capturing and portraying the human figure while leaving traces of his own subjective interpretations in the emotional context. To him, paint brush and writing pen were the two indispensable things in life. As such, he painted like a storyteller illustrating the scenery of life while filling pages with the life stories from his era.

214

Among Chiu Ya-tsai’s accounts of life, many stories encompassed the ordinary lives of common people as well as those of the many friends he had made in both the art and literary worlds, and these sources of inspiration had in turn become blended and amalgamated with his profound experiences of the past. Though well read, he did not flaunt his words, and his paintings are never just of much form and little substance; these traits gave his works a touch of warmth and sincerity that moves viewers by responding to and echoing their personal experiences of life. In the 90s, a point in time nearing the mid-late stages of Chiu Ya-tsai’s creative career, it was apparent that a shift had occurred to his style and use of colors.

Most of the subjects in his creations from this period were dressed fashionably; the silhouettes of his figures had also become more fluid. Though not quite as tinged with the bittersweet vicissitudes of life, these artworks have become more poetic in nature. In “Youth with a Red Scarf,” created in 1998, the influence of literati portraits from the Song dynasty is clearly visible; from the thin lines composing the face to the delicately drawn features, the painting is imbued with a bright, refreshing texture in distinct contrast with the dark, depressive temperament of his earlier works. Unique yet mysterious, thus was engendered the elegant, artistic style of a true literati who naturally shies away from clichés and conventions.

397

CHUANG Che (Taiwanese, b. 1934)

Abstract

Oil on canvas 101 x 121 cm Signed lower right Chuang Che in Chinese

NT$ 950,000-1,600,000 HK$ 246,000-415,000 US$ 31,600-53,100

莊喆 抽象 油彩 畫布 101 x 121 cm 簽名右下：莊喆

216

398

ZHU Yiyong (Chinese. b. 1957)

Mid-Autumn Night 1998 Oil on canvas 135 x 77 cm Signed lower left Zhu Yiyong in Chinese and dated 98 Signed on the reverse Zhu Yiyong, titled Mid-Autumn Night in Chinese, inscribed 77 x 135 cm ILLUSTRATED

Zhu Yiyong Oil Painting, Yangliuqing Painting Club, Tianjin, China, 2005, color illustrated, cover page and p. 14

NT$ 950,000-1,500,000 HK$ 246,000-389,000 US$ 31,600-49,800 218

朱毅勇 中秋月夜 1998 油彩 畫布 135 x 77 cm 簽名左下：朱毅勇 98 簽名畫背：《中秋月夜》77 x 135 cm 朱毅勇 圖錄

《朱毅勇油畫藝術—中國當代實力派油畫精 品叢書》，楊柳青畫社，天津，2005， 彩色圖版，封面、頁14

399

HUANG Gang (Chinese, b. 1961)

Red Star．My Box 2007 Mixed media on board 180 x 180 cm Signed Huang Gang in Chinese and English

NT$ 950,000-1,600,000 HK$ 246,000-415,000 US$ 31,600-53,100

黃鋼 紅星．我的箱子 2007 木板 複合媒材 180 x 180 cm 簽名：Huang Gang 黃鋼

400

HSIAO Chin (Taiwanese, b. 1935)

II mondo profondo 2008 Acrylic on canvas 110 x 90 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Il mondo profondo in Chinese and Italian and inscribed 110x90 cm acrylic on canvas PROVENANCE

Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Hsiao Chin Foundation.

NT$ 850,000-1,300,000 HK$ 220,000-337,000 US$ 28,200-43,200

220

蕭勤 深沉的世界 2008 壓克力 畫布 110 x 90 cm 簽名畫背：Hsiao 勤 2008「深沉的世界」 “Il mondo profondo”110 x 90cm 布上壓克力畫 來源

私人收藏，亞洲 附蕭勤基金會開立之原作保證書

401

CHEN Jiang Hong (Chinese, b. 1963)

Lotus

2009 Oil on canvas 150 x 150 cm Signed lower right Chen Jiang Hong in English Dated on the reverse of the wooden frame July 2009 and inscribed AU211D PROVENANCE

Private collection, Asia

NT$ 800,000-1,200,000 HK$ 207,000-311,000 US$ 26,600-39,900

陳江洪 嘉蓮 2009 油彩 畫布 150 x 150 cm 簽名右下：Chen Jiang Hong 題識畫背畫框：2009-07-V AU211D 來源

私人收藏，亞洲

402

JU Ming (Taiwanese, b. 1938)

Taichi Series

1995 Bronze, edition no. 10/10 34(L) x 20(W) x 34(H) cm Signed on the reverse Ju Ming in Chinese and umbered 10/10 '95 PROVENANCE

Kalos Gallery, Taipei Private collection, Taiwan This painting is to be sold with a certificate issued by Kalos Gallery, Taipei.

NT$ 850,000-1,600,000 HK$ 220,000-415,000 US$ 28,200-53,100

朱銘 太極系列 1995 銅 自10/10 34(長) x 20(寬) x 34(高) cm 簽名畫背：朱銘自10/10 '95 來源

真善美畫廊，台北 私人收藏，台灣 附真善美畫廊開立之作品保證書

222

403

Yang Mao-Lin (Taiwanese, b. 1953)

A Story about Affection – Extraordinary Love Vajradhara 2007 Bronze sculpture with gold foil, edition number 2/8 87(L) x 54(W) x 120(H) cm (Main Statue) 206(L) x 106(W) x 106(H) cm (stand) Engraved on the back Yang Maolin in Chinese, dated 2007 and numbered 2/8 on the reverse

楊茂林 有關愛情的故事－無敵愛金剛 2007 銅雕 金箔 供桌 版次 2/8 87(長) x 54(寬) x 120(高) cm (主尊) 206(長 x 106(寬) x 106(高) cm (供桌) 簽名：'07 茂林 簽名雕刻背部：'07 2/8 楊茂林 展覽

「當代藝術神話—張宏圖、楊茂林、涂維政三人展」，

EXHIBITED

台北市立美術館，台北，展期自2009年3月21日至5月3日

Mythologies of Contemporary Art by Three Artists: Zhang Hong-tu, Yang Mao-lin and Tu Wei-cheng, Taipei Fine Arts Museum, Taipei, March 21 – May 3, 2009 Made in Taiwan Yang Mao-Lin: A Retrospective, Taipei Fine Arts Museum, Taipei, January 30-April 24, 2016

「Made in Taiwan：楊茂林回顧展」，台北市立美術館， 台北，展期自2016年1月30日至4月24日 圖錄

《當代藝術神話－張宏圖、楊茂林、涂維政三人展》， 台北市立美術館，台北，2009，彩色圖版，頁13

ILLUSTRATED

Mythologies of Contemporary Art by Three Artists: Zhang Hong-tu, Yang Mao-lin and Tu Wei-cheng, 2009, Taipei Fine Arts Museum, color illustrated, p. 13

NT$ 650,000-1,200,000 HK$ 168,000-311,000 US$ 21,600-39,900

有 關 愛 情 的 故 事 2007-2009

A STORY ABOUT AFFECTION ｜ 2007 - 2009

楊茂林於此一系列所表達的，正是亙古以來人類所共通共修的嗔、

What Yang Mao-lin is trying to say here is that since ancient times humanity’s shared and mutually cultivated feelings of joy, sorrow, infatuation and anger – so-called love – are just that pure and simple, at once frivolous yet deep. Over the long haul, what he has repeatedly experienced and been constantly relearning is that these originally imaginary love stories can often still bring out a lot of emotions from him. Whether with the three tragic love stories in copper or the three comedy love stories in stainless steel, he has used the form and postures of the tantric Laughing Buddha to “deify” them, imbuing them with the common thread of the Lotus Position. And as to one of the symbolic characteristics of Buddhist statuary – the backlighting of the holy Buddha – he has employed the flat surface techniques of relief sculpture and engraving to display a summary visual marker for the whole of the romantic love story, creating the effect of a symbolically sacred backlighting, expounding upon the idealized purity and sacredness of love in his mind.

癡、哀、樂之情，所謂愛情，是如此的簡單純粹，又是如此地滂薄而 深刻，漫長的過程中，藝術家表示：因為創作而再三體會、時時重溫 這些原是虛構的愛情故事，每每，心中仍湧出很多的感動。無論是銅 鑄造的三個愛情悲劇，還是不銹鋼塑造的三個愛情喜劇，楊茂林都以 密宗歡喜佛的造型與姿勢予以「神格化」，讓他們在蓮花座上結為連 理。而佛教造像的特徵之一─神佛的背光，他則採取了以浮雕跟鏤刻 兩種平面化的技術，呈現為整個浪漫愛情故事作總結視覺符號，製作 成象徵神聖性的背光，闡述楊茂林心目中對於愛情的純粹與神聖性之 想望。 --節錄自楊茂林工作室官方網站

--Excerpted from the Official Website of Yang Mao-lin Artist Studio.

224

404

PANG Jiun (Taiwanese, b. 1936)

Still Life

2005 Oil on canvas 72.5 x 60.5 cm Signed lower left Pang Jiun in Chinese, dated lower right 2005 With one painted seal of the artist

NT$ 650,000-750,000 HK$ 168,000-194,000 US$ 21,600-24,900 226

龎均 靜物 2005 油彩 畫布 72.5 x 60.5 cm 簽名左下：龎均 年代右下：2005 手繪鈐印左下：均

G

D B E I C A

405

CHU Teh-chun (Chinese-French, 1920 – 2014)

Encre Orageuse (Stormy Ink) (a Set of 9) 2008 Lithographs, edition no. 92/99 45 x 35.3 x 3.5 cm (Book) A: 40.7 x 29.3 cm B: 44.8 x 34.7 cm C: 40.7 x 28.9 cm D: 40.6 x 59.6 cm E: 44.6 x 34.8 cm F: 44.4 x 69.5 cm G: 40.5 x 28.8 cm H: 41.1 x 29.6 cm I: 41.3 x 29.8 cm Signed in pinyin and Chinese and numbered 92/99 on three of the six lithographs; numbered 92/99 and stamped with the artist's seal on the rest of the six lithographs; stamped with the artist's seal on each calligraphy.

NT$ 650,000-750,000 HK$ 168,000-194,000 US$ 21,600-24,900

F H

朱德群 墨之風暴（版畫書）（九件一組） 2008 石版畫 92/99 45 x 35.3 x 3.5 cm (書) A: 40.7 x 29.3 cm B: 44.8 x 34.7 cm C: 40.7 x 28.9 cm D: 40.6 x 59.6 cm E: 44.6 x 34.8 cm F: 44.4 x 69.5 cm G: 40.5 x 28.8 cm H: 41.1 x 29.6 cm I: 41.3 x 29.8 cm 92/99（每件石版版畫作品左下） 朱德群 CHU TEH-CHUN（C,D,I 右下） 藝術家鈐印 （A, E.G 右下與每件書法作品）

406

WANG Yan Cheng (Chinese, b. 1960)

Fenêtre, plante et grenade 1995 Oil on canvas 120 x 120 cm Signed lower right Wang Yan Cheng in English and dated 95.2

NT$ 500,000-600,000 HK$ 130,000-155,000 US$ 16,600-19,900

228

王衍成 窗、植物與石榴 1995 油彩 畫布 120 x 120 cm 簽名右下：Wang Yan Cheng 95.2

407

XUE Song (Chinese, b. 1965)

Calligraphy

2006 Mixed media on canvas 100 x 100 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Calligraphy, dated 2006 This painting is to be sold with a certificate of authenticity issued by Zee Stone Gallery, Hong Kong.

NT$ 340,000-460,000 HK$ 88,000-119,000 US$ 11,300-15,300

薛松 意像書法 2006 綜合媒材 畫布 100 x 100 cm 簽名右下：薛松 簽名畫背：《意像書法》100cm x 100cm 薛松 Xue Song 2006 附一畫廊開立之原作保證書

408

XUE Song (Chinese, b. 1965)

Calligraphy

2006 Mixed media on canvas 100 x 100 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Calligraphy, dated 2006 This painting is to be sold with a certificate of authenticity issued by Zee Stone Gallery, Hong Kong.

NT$ 340,000-460,000 HK$ 88,000-119,000 US$ 11,300-15,300

230

薛松 意象書法 2006 綜合媒材 畫布 100 x 100 cm 簽名右下：薛松 簽名畫背：《意像書法》100cm x 100cm 薛松 Xue Song 2006 附一畫廊開立之原作保證書

409

Ma Desheng (Chinese, b. 1952)

Au Pair

2004 Acrylic on canvas 130 x 97 cm Signed lower left MA in English, and dated 04 This painting is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery, Hong Kong.

NT$ 320,000-420,000 HK$ 83,000-109,000 US$ 10,600-13,900

馬德升 一對 2004 壓克力 畫布 130 x 97 cm 簽名左下：MA 04 附季豐軒開立之原作保證書

410

HSIAO Chin (Taiwanese, b. 1935)

Presenza-3

1974 Acrylic on canvas 60 x 70 cm Signed on the reverse Hsiao Chin in Chinese, titled presenza-3 and dated 1974

NT$ 460,000-600,000 HK$ 119,000-155,000 US$ 15,300-19,900

232

蕭勤 現–3 1974 壓克力 畫布 60 x 70 cm 簽名畫背：蕭勤 1974 "Presenza-3"

411

Alixe FU (Chinese-French, b. 1961)

Fish on the Ground 1991 Oil on canvas 114 x 162 cm Signed lower left Alixe Fu in English and dated 91 This painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 320,000-420,000 HK$ 83,000-109,000 US$ 10,600-13,900

傅慶豊 魚在地上 1991 油彩 畫布 114 x 162 cm 簽名左下：Alixe Fu 91 附東之畫廊開立之原作保證書

412

PAN Honghai (Chinese, b. 1942)

Waterside

Oil on canvas 80 x 100 cm Signed lower right H.H.PAN in English, Honghai in Chinese

NT$ 320,000-420,000 HK$ 83,000-109,000 US$ 10,600-13,900

234

潘鴻海 水鄉景色 油彩 畫布 80 x 100 cm 簽名右下：H.H.PAN 鴻海

413

LIU Shih-tung (Taiwanese, b. 1970)

Fragrance Full of Branches 2008 Mixed media on board 121.5 cm (diameter) Signed on the reverse LIU Shih-tung, titled Fragrance Full of Branches and dated 2008 EXHIBITED

Start from Eyes－Liu Shih-Tung's Solo Exhibition, Main Trend Gallery, Taipei, May 9 - June 6, 2009

NT$ 320,000-500,000 HK$ 83,000-130,000 US$ 10,600-16,600

劉時棟 清香風滿枝 2008 綜合媒材 木板 121.5 cm (直徑) 簽名畫背：清香風滿枝 劉時棟 2008 展覽

「始於眼－劉時棟個展」，大趨勢畫廊，台北， 展期自2009年5月9日至6月6日

414

JAN Chin-shui (Taiwanese, b. 1953)

Morning Mist in Late Autumn 2010 Oil on canvas 112 x 145.5 cm Signed lower right Chin-shui in Chinese and dated 2010 This painting is to be sold with a certificate of authenticity signed by the artist, issued by Arty Gallery, Tainan.

NT$ 240,000-320,000 HK$ 62,000-83,000 US$ 8,000-10,600

236

詹金水 深秋晨霧 2010 油彩 畫布 112 x 145.5 cm 簽名右下：金水 2010 附亞帝藝術開立及藝術家親筆簽名之原作保證書

415

YANG San-lang (Taiwanese, 1907 - 1995)

Histirical House Oil on canvas 35 x 27 cm

Signed lower right S.YANG in English

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-12,000

楊三郎 古厝 油彩 畫布 35 x 27 cm 簽名右下：S.YANG

416

Max LIU (Taiwanese, 1912 - 2002)

Play Mahjong

1991 Mixed media on canvas 40 x 55 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet and dated 1991 (Chinese numerals)

NT$ 220,000-360,000 HK$ 57,000-93,000 US$ 7,300-12,000

238

劉其偉 搓麻將 1991 綜合媒材 畫布 40 x 55 cm 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ｜攵攵｜

417

Max LIU (Taiwanese, 1912 - 2002)

War Horse of the First Emperor 1989 Mixed media on paper 35 x 50 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet, inscribed Taiwan and dated 1989 (Chinese numerals) ILLUSTRATED

Son of the Nature - Max Liu, G. Zen Art Gallery, Kaohsiung, 1996, p. 66

NT$ 220,000-360,000 HK$ 57,000-93,000 US$ 7,300-12,000

劉其偉 秦王的戰馬 1989 綜合媒材 紙本 35 x 50 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ ｜攵〨 攵 Taiwan 圖錄

《自然之子：劉其偉》，積禪藝術，高雄，1996，頁66

418

SHIY De-jinn (Taiwanese, 1923 - 1981)

Landscape

1970 Watercolor on paper 45 x 60 cm Signed lower left Shiy De-jinn in Chinese and dated 1970

NT$ 220,000-320,000 HK$ 57,000-83,000 US$ 7,300-10,600

240

席德進 風景 1970 水彩 紙本 45 x 60 cm 簽名左下：席德進1970

419

CHIANG Jui-Keng (Taiwanese, b. 1922)

Miners

1967 Oil on canvas 45 x 53 cm Signed lower left Jui-Keng in Chinese and dated 1967

NT$ 150,000-240,000 HK$ 39,000-62,000 US$ 5,000-8,000

蔣瑞坑 礦工 1967 油彩 畫布 45 x 53 cm 簽名左下：1967 瑞坑

420

DU Xi (Chinese, b. 1980)

Zhong Kui Marries off His Sister 2010 Oil on canvas 160 x 100 cm Signed lower left Du Xi in Chinese and dated 2010 EXHIBITED

DuXi - The Legend of Heroes, William Art Salon, Taipei, Feburary 11 - 25, 2012 ILLUSTRATED

DuXi - The Legend of Heroes, William Art Salon, Taipei, 2012, color illustrated, pp. 106-107 This painting is to be sold with a certificate of authenticity issued by William Art Gallery, Taipei.

NT$ 190,000-280,000 HK$ 49,000-73,000 US$ 6,300-9,300 242

杜溪 鍾馗嫁妹 2010 油彩 畫布 160 x 100 cm 簽名左下：杜溪 2010. 展覽

「杜溪—英雄傳」，威廉藝術沙龍，台北， 展期自2012年2月11日至25日 圖錄

《杜溪—英雄傳》，威廉藝術沙龍，台北， 2012，彩色圖版，頁106-107 附威廉藝術中心開立之原作保證書

421

Chen Yin-Wei (Taiwanese, b. 1960)

Formosa

2009 Oil on canvas 132 x 153 cm Signed lower right Chen Yin-wei in Chinese and dated 2009 With one painted seal of the artist This painting is to be sold with a certificate of authenticity issued by William Art Space, Taipei.

NT$ 140,000-220,000 HK$ 36,000-57,000 US$ 4,600-7,300

陳英偉 寶島風情 2009 油彩 畫布 132 x 153 cm 簽名右下：歲次2009陳英偉 鈐印上方：Art 1 by 1 御覽之寶 附威廉藝術空間開立之原作保證書

422

DU Xi

杜溪

(Chinese, b. 1980)

Romance of the Three Kingdoms: Battle of Hulao Pass 2007 Oil on canvas 100 x 200 cm Signed lower right Du Xi in Chinese and dated 07 EXHIBITED

刀馬記─虎牢關 2007 油彩 畫布 100 x 200 cm 簽名右下：杜溪 07 展覽

「翻天覆地─杜溪個展」，威廉當代藝術空間， 台北，展期自2009年4月11日至30日

World Shaking - Du Xi, William Contemporary Art Space, Taipei, April 11-30, 2009

圖錄

ILLUSTRATED

2009，彩色圖版，頁42-43

World Shaking - Du Xi, William Contemporary Art Space, Taipei, 2009, color illustrated, pp. 42-43

附平藝術空間開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Ping Art Space, Taipei.

NT$ 140,000-220,000 HK$ 36,000-57,000 US$ 4,600-7,300

244

《杜溪─翻天覆地》，威廉當代藝術空間，台北，

423

Liu Keng-I (Taiwanese, b. 1938)

Bridge of Yaco Seashore 1998 Pastel on paper 55.5 x 74.5 cm Signed lower left Keng-I in Chinese and dated 1998.6 The painting is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,700-7,300

劉耿一 啞口海墘的橋 1998 粉彩 紙本 55.5 x 74.5 cm 簽名左下：耿一 1998. 6 附敦煌畫廊開立之原作保證書

424

HSU Yu-jen (Taiwanese, b. 1951)

Untitled

2007 Ink on paper 284 x 62 cm Signed lower center HSU Yu-jen Chinese, initialed HY in English and dated 2007

NT$ 80,000-160,000 HK$ 21,000-41,000 US$ 2,700-5,300

許雨仁 無題 2007 水墨 紙本 284 x 62 cm 簽名中下：許雨仁 HY 2007

246

425

XU Bing (Chinese, b. 1955)

Series of Repetitions: A Great River 1987 Woodblock print, edition no. 10/50 59.5 x 81 cm Signed lower center XU Bing in Chinese and English, numbered 10/50 and dated 1987 With one seal of the artist

NT$ 80,000-150,000 HK$ 21,000-39,000 US$ 2,700-5,000

徐冰 五個複數系列：一條大河 1987 木刻版畫 10/50 59.5 x 81 cm 簽名下方：10/50 一條大河 徐冰 XU Bing 1987 鈐印中下：徐冰木刻

426

HSIEH Hsiao-De (Taiwanese, b. 1940)

Scenery 2016

Watercolor on paper 77 x 108.5 cm Signed lower right HSIEH Hsiao-De in Chinese, and dated 2016

NT$ 60,000-80,000 HK$ 16,000-21,000 US$ 2,000-2,700

謝孝德 風景 2016 水彩 紙本 77 x 108.5 cm 簽名右下：2016 謝孝德

427

JU Ming (Taiwanese, b. 1938)

Living World Series 2005 Wood 18(L) x 18.5(W) x 29.5(H) cm Signed on the side of right hand Ju Ming in Chinese and dated 2005 This sculpture is to be sold with a certificate of authenticity signed by the artist, issued by Lee Chi Creativity Co., Ltd, Taipei.

NT$ 460,000-550,000 HK$ 119,000-142,000 US$ 15,300-18,300

朱銘 人間系列 2005 木雕 18(長) x 18.5(寬) x 29.5(高) cm 簽名右手側面：朱銘 2005 附李記創意股份有限公司與藝術家親筆簽名之 作品保證書

248

428

JU Ming (Taiwanese, b. 1938)

Living World Series 2005 Wood 18.5(L) x 25.5(W) x 29.2(H) cm Signed on the bottom Ju Ming in Chinese and dated 2005 This sculpture is to be sold with a certificate of authenticity signed by the artist, issued by Lee Chi Creativity Co., Ltd, Taipei.

NT$ 460,000-550,000 HK$ 119,000-142,000 US$ 15,300-18,300

朱銘 人間系列 2005 木雕 18.5(長) x 25.5(寬) x 29.2(高) cm 簽名底部：朱銘 2005 附李記創意股份有限公司與藝術家親筆簽名之 作品保證書

429

XIA Hang (Chinese, b. 1978)

Laid Off

2006 Stainless steel no.2/8 145(L) x 35(W) x 95(H) cm Engraved on the bottom Xia Hang in Chinese, dated 2006, numbered 2/8 EXHIBITED:

Please Don't Touch, New Age, Beijing, 3rd-25th May, 2008 ILLUSTRATED

Play the Sculptureg-Xia Han, New Age Gallery, Taichung, 2008, color illustrated, pp. 74-77 Please Don't Touch, New Age, Beijing, 2008, color illustrated, pp77-75

NT$ 420,000-550,000 HK$ 109,000-142,000 US$ 13,900-18,300

夏航 下崗了 2006 不鏽鋼 2/8 145(長) x 35(寬) x 95(高) cm 雕刻底部：夏航 2006 2/8 展覽：

「請勿觸碰，夏航雕塑個展」，新時代畫廊， 北京，展期自2008年5月3日至5月25日 圖錄

《夏航－玩的雕塑》，新時代畫廊，台中，2008， 彩色圖版，頁74-77 《請勿觸碰，夏航雕塑個展》，新時代畫廊， 北京，2008，彩色圖版，頁77-75

250

430

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

Fire of Life

1982 stainless steel, titanium plated no. 2/10 40(L) x 28(W) x 54(H) cm Engraved on the tail Ying-feng in Chinese, numbered 2/10 and dated 82

楊英風 生命之火 (金雞報喜) 1982 不鏽鋼鍍鈦 2/10 40(長) x 28(寬) x 54(高) cm 簽名雕刻尾巴：英風 '82 2/10 展覽

曾參展1981年日本第四屆國際雷射外科學會會議展

EXHIBITED

「大器．遇合－楊英風」，中國美術館圓廳、8廳、9廳，北

Tokyo, International Society for Laser Surgery, 1981 Minds Collided: Yuyu Yang, Round Hall & Hall 8, 9, National Art Museum of China, Beijing, 2010, March 6 - 14, 2010

京，2010，展期自2010年3月6日至14日

ILLUSTRATED

2000，彩色圖版，頁196

Exhibition of Yuyu Yang’s Art From 1961-1977, National Museum of History, Taipei, 2000, color illustrated, p. 196 (another cast) Landscape Contentment - Yang Ying-Feng, Hsiung Shih Publishers, Taipei, 2004, color illustrated, p. 149 Yuyu Yang Corpus, Artist Publishing Co., Taipei, 2005, color illustrated, p. 229 (another cast) Yuyu YANG, Taipei Fine Arts Museum, Taipei, 2005, color illustrated, p. 106 (another cast) Minds Collided: Yuyu Yang, Yuyu Yang Art Education Foundation, Taipei, 2012, color illustrated, p. 72, 99 (another cast)

《景觀．自在．楊英風》，雄獅圖書股份有限公司，台北，

This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 320,000-480,000 HK$ 83,000-124,000 US$ 10,600-15,900

圖錄

《楊英風六一∼七七創作特展》，國立歷史博物館，台北，

2004，彩色圖版，頁149 《楊英風全集》，第一卷，藝術家出版社，台北，2005， 頁229（另一版本） 《楊英風》，臺北市立美術館，台北，2005，彩色圖版， 頁106（另一版次） 《大器．遇合－楊英風》，楊英風藝術教育基金會，台北， 2012，彩色圖版，頁75、99（另一版次） 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

431

Poren HUANG (Taiwanese, b. 1970)

Satisfaction

2011 Bronze, edition no. 3/12 43(L) x 36(W) x 23(H) cm ILLUSTRATED

The Dog's Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 15 & pp. 142-143 (another cast)

NT$ 320,000-420,000 HK$ 83,000-109,000 US$ 10,600-13,900

黃柏仁 滿足 2011 銅雕 3/12 43(長) x 36(寬) x 23(高) cm 圖錄

《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014，彩色 圖版，頁15與頁142-143 (另一版次)

252

432

HUANG Gang (Chinese, b. 1961)

Dragon Dominator 2007 Bronze A/P2 41(L) x 52(W) x 116(H) cm Engraved Huang Gang in English and Chinese, numbered A/P2 EXHIBITED

Art Beijing, Modern Art Gallery, Taichung, 2006 Mao, Contemporary Visual Art, JGM Gallery, Paris, 2007 ILLUSTRATED

Huang Gang, LinDa Gallery, Beijing, 2008, color illustrated, p. 42 Huang Gang: Revolving Golden Imprint, Eminent Contemporary Chinese Artist, Taipei, 2008, color illustrated, pp. 202-203、223

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-12,000

黃鋼 御龍天子 2007 銅雕 A/P2 41(長) x 52(寬) x 116(高) cm 簽名雕刻：Huang Gang 黃鋼 A/P2 展覽

「藝術北京」，現代畫廊，台中，2006 「毛，當代藝術視覺」，JGM Gallery， 巴黎，2007 圖錄

《黃鋼畫集》，林大美術館，北京，2008， 彩色圖版，頁42 《黃鋼：轉動黃金印記》，中國當代名家系 列，藏新藝術，台北，2008，彩色圖版， 頁202-203、223

433

PENG Kuan-jun (Taiwanese, b. 1961)

Goddess of the Moon 2009 Bronze, edition no. 8/8 24(L) x 37(W) x 60(H) cm Signed on the inner side of the wrist Kuan-jun in Chinese, numbered 8/8, and dated 2009 ILLUSTRATED

Peng Kuan-jun, William Art Salon, Taipei, 2013, color illustrated, pp. 10-11

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-12,000

彭光均 嫦 2009 銅雕 8/8 24(長) x 37(寬) x 60(高) cm 簽名雕刻手腕內側：2009 光均 8/8 圖錄

《彭光均畫冊》，威廉藝術沙龍，台北，2013， 彩色圖版，頁10-11

254

434

SUN Yi (Chinese, b. 1967)

Ma Gua I

2007 Wood 53(L) x 14(W) x 100(H) cm This sculpture is to be sold with a certificate of authenticity issued by galerie du monde, Hong Kong.

NT$ 200,000-300,000 HK$ 52,000-78,000 US$ 6,600-10,000

孫藝 馬褂（一） 2007 木雕 53(長) x 14(寬) x 100(高) cm 附世界畫廊開立之原作保證書

435

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Plate

2003 Baked enamel on aluminum alloy, edition no. 075/300 58(L) x 55(W) x 14(H) cm Engraved on the reverse Che in Chinese HUANG MING-CHE in English, dated 2003 and numbered 300-075 This sculpture is to be sold with a certificate of authenticity signed by the artist

NT$ 80,000-160,000 HK$ 21,000-41,000 US$ 2,700-5,300

256

黃銘哲 水果盤 2003 鋼板烤漆 鋁合金 075/300 58(長) x 55(寬) x 14(高) cm 簽名雕刻背面：哲 HUANG MING-CHE 2003-300-075 附藝術家親簽之原作保證書

436

JU Ming (Taiwanese, b. 1938)

Taichi Series – Single Whip 1987 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 110/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 110/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 120,000-220,000 HK$ 31,000-57,000 US$ 4,000-7,300

朱銘 太極系列—單鞭下勢 1987 不飽和聚酯樹脂 碳酸鈣 油性色母 110/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：110/300 附朱銘美術館限量複製品證明書

437

HUNG Tung-lu (Donglu HONG) (Taiwanese, b. 1968)

Xiao Hung (a set of 2) Fiberglass 11(L) x 12(W) x 39(H) cm (x2) Signed on the reverse Hung Tung-lu in Chinese and English

NT$ 190,000-280,000 HK$ 49,000-73,000 US$ 6,300-9,300

洪東祿 小紅（二件一組） 玻璃纖維 11(長) x 12(寬) x 39(高) cm (x2) 簽名：洪8東祿 Hung. T. L 9 Hung. T. L

258

給予買家的重要通知

本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.

有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記文件以及繳納保證金。

2.

保證金 : 新台幣肆拾萬元。

3.

保證金需於 2017 年 11 月 29 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收保證金全額 , 銀行手續費請匯款人負擔。

4.

2017 年 11 月 29 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2017 年 11 月 30 日至 12 月 2 日 ) 以新台幣現鈔支付 ( 恕不接受 除現金之外之其他繳納方式 )，收款將於 12 月 2 日下午 6 點截止。

5.

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及保證金之繳納亦需在 2017 年 11 月 29 日以前完成匯款至本公司指定帳號。

6.

如於 2017 年 11 月 29 日以前完成保證金匯款，請提供我方可證明已匯款的證明文件。確認收到保證金匯款後，我們將與競投者聯繫並與之 確認其競標牌號。

7.

拍賣當天已繳納保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。

8.

保證金退還方式 : (1) 有成交 : 保證金以「匯款」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、佣金及其他費用 ) 後 , 若有餘額需退還，本公司將於 拍賣日後十四個工作天內以匯款方式退還給買家。保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、佣金及其 他費用 ) 後 , 若有餘額需退還，本公司將於拍賣當日以現金退還給買家。 (2) 未成交 : 保證金以「匯款」方式完成者 , 本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人 , 本公司不接受他人之信用卡。

10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含保證金）保留全部的決定權。

諮詢

台北 黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required.

2. Security deposit in the amount of NT $400,000.

3. The security deposit must be transferred to Ravenel's specified Bank account prior to 29th November 2017, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP Beneficiary's Name: Â Ravenel Ltd. Beneficiary's Account No:Â 001-234830-031 Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of security deposit. The payer will be responsible for any associated bank service fees.

4. After the 29th November 2017, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 30th, November to 2rd, December 2017). Acceptance will cease on 2rd of December by 6 pm (No other forms of payment will be accepted).

5. Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel's specified Bank account before the 29th November 2017.

6. If the security deposit has been transferred prior to the 29th November 2017, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her paddle number.

7. If the payment of the security deposit is made on the day of the auction, the payer may obtain his/her paddle number with valid personal identification (i.e.

Identification Card, passport, etc.) for purposes of verification.

8. Return of the Security Deposit:

(1) Completed Transaction: For successful bidder with a security deposit made through wire transfer, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. For bidders with security deposit made by Cash, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund.

(2) Nil Transaction: For individuals with a security deposit transferred by wire, the security deposit will be returned within 14 business days through means of a wire transfer. Cash security deposit will be returned to individuals on the same day after the auction.

9. Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the security deposit, the successful bidder may settle the outstanding balance through the following means:

(1) A cash payment in NTD 1,000,000.

(2) A credit or China UnionPay payment: The credit payment must not exceed NTD 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

Contact Person TAIPEI

Stella Huang

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍 賣 名 稱：羅芙奧台北2017秋季拍賣會

藝術部

亞洲現代與當代藝術

電話：+886-2-2708 9868

拍 賣 編 號：TA1704

傳真：+886-2-2701 3306

台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號 （如有）

台北市中山區樂群二路199號3樓 （博覽廳）

2017年12月3日（星期日）下午2:00

姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之 規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參 仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元 之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（新台幣） （服務費不計在內）

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

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

ABSENTEE BID FORM The absentee bid forms must be delivered to the Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 Bidder’s Details Name

Auction

Sale Number Date

RAVENEL AUTUMN AUCTION 2017 TAIPEI Modern and Contemporary Asian Art TA1704 Sunday, December 3, 2017, 2:00pm

Location

Marriott Taipei

Address

Grand Space, 3F, No. 199, Lequn 2nd Road,

ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Email

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.)

It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid.

If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account Account number Contact of the bank Tel. No.

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)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」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 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）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。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相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣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 服務費。 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 有關拍賣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. 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，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 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。 c. 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。 d. 保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。若競投者未支付競投保證金，本公司有 權不接受其競投。若競投者未能購得拍賣品且對本公司無任何欠款 則將無息退還保證金。若競投者成為買家，則本公司有權將此保證 金自動轉化為已成交拍賣品購買價款，若尚有餘款須退回給買家。 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 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 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Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），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。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 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， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之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落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。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真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家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、服務費或運費等相關費用）。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，須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。已購拍賣品在 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），已購拍賣品之風險全由買家承擔。 e. 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 須預先繳付運輸費用。 f. 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 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）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 或其他關係企業在任何其他交易中欠下買家之款項，買家絕無 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 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，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 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有 在三十五天內付款，本公司除上述辦法外，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。 g. 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。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 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，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，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，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，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 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 本公司之拍賣品，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、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 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 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且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。 (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 或贓物，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或贓物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 Prospective Buyer, 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 Lot accepted by the auctioning party.

6. The “ Buyer’s Premium” shall mean the fee based on a certain percentage of the Hammer price paid to the Company 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).

10. The “Seller Service Fee” shall mean the fee is paid to the Company by the Seller.

ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, 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. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. 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 description of the auction items also do not imply and guarantee 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. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. 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. 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 Lot 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

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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 Lots 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/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. 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 announced by the Company on the day of auction. b. 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. c. 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 request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). 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 provided forms attached to the explanations of the catalogue; however, bid commission instructions must be 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/she 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 Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer’s responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.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 in 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/her 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 Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. 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 on Hammer Price.

4. Following the Auction a. The Buyer’s Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), 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 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% of the hammer price. 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/her/its true 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 the company request. All payments due (including the hammer price, the Buyer’s Premium and any freights or other expenses) 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 exchange rate of the payments to the Company 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. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer’s request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. 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. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer’s Premium) 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/hers/its 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/her/it. 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. g. 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, handling, 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.

h. 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/hers/its 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 Seller, 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 or stolen goods 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 or stolen goods, or involved in obvious illegality 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. b. Or the method used to prove that the Lot is a counterfeit or stolen goods 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/she considers the relevant auction item a counterfeit or stolen goods.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day 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 or stolen goods (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 or stolen goods 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 or stolen goods 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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