緣來私藏 - 古今人文藝術專場
LITERATI: ORIENTAL ARTS FROM AN ARTIST’S STUDIO
AUTUMN AUCTION 20 NOVEMBER 2016
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IMPORTANT NOTICE TO BUYERS The auction will strictly abide by the rules and regulations set out by Ravenel Auction Hong Kong 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 17th November 2016, 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 17th November 2016, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 18th to 19th, November 2016). Acceptance will cease on 19th of November 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 17th November 2016. 6. If the security deposit has been transferred prior to the 17th November 2016, 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 s uccessful 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 HONG KONG Vivi He vivihe@ravenel.com +852 2889 0859 ext.711 |
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給予買家的重要通知
本拍賣會依據「羅芙奧股份有限公司拍賣規則」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 2016 年 11 月 17 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.
2016 年 11 月 17 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2016 年 11 月 18 日至 19 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 11 月 19 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 2016 年 11 月 17 日以前完成匯款至本公司指定帳號。
6.
如於 2016 年 11 月 17 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 香港 何
瑩
vivihe@ravenel.com +852 2889 0859 ext.711
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RAVENEL AUTUMN AUCTION 2016 Literati: Oriental Arts from an Artist’s Studio
羅芙奧 2016 秋季拍賣會 緣來私藏 – 古今人文藝術專場
AUCTION
拍賣日期 / 地點
Sunday, 20 November 2016, 4:00 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan
2016年11月20日（日） 下午 4:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
PREVIEWS
預展日期 / 地點
Taichung
台中 2016年11月12日（六） 下午1:00至下午6:00 2016年11月13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
Taipei
台北 2016年11月18日（五） 上午10:00至下午6:30 2016年11月19日（六） 上午10:00至下午6:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
Saturday, 12 November 2016, 1:00 pm - 6:00 pm Sunday, 13 November 2016, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Friday, 18 November 2016, 10:00 am - 6:30 pm Saturday, 19 November 2016, 10:00 am - 6:30 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of noguarantee. This auction catalogue: NT$ 1,800 per copy
Arthur WANG 王鎮華
Chairman 董事長
Clara KUO 郭倩如
Vice Chairman 副董事長
Wendy LEE 李雅欣
Chief Operation Officer 營運長
何瑩 Vivi He 業務發展部 總監 Head of Business Development Department
朱毅 Walter Zhu
吳博峯 Tommy Wu
業務代表 北京
總務處 協理 營運部 Senior Manager, General Affairs Operation Department
Representative Beijing
李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai
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目次 / Contents 2
給予買家的重要通知
IMPORTANT NOTICE TO BUYERS 4
羅芙奧秋季拍賣會
SALE INFORMATION 6
羅芙奧之服務
RAVENEL SERVICES 16
緣來私藏 – 古今人文藝術專場
Literati: Oriental Arts from an Artist’s Studio 165
委託競投表格
ABSENTEE BID FORM 167
業務規則
TRANSACTION AGREEMENT 171
中國歷代年表
CHRONOLOGY 174
畫家索引 INDEX
RAVENEL STAFF AND SERVICES FOR THIS SALE
CONSULTANTS
CATALOGUE SUBSCRIPTION
COLLECTION AND SHIPPING
Head of Business Development Department Vivi He
Taiwan
Taiwan
Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com
Carol Yu
Tommy Wu
Tel: +886 2 2708 9868 ext. 880 Email: carolyu@ravenel.com
Tel: +886 2 2708 9868 ext.885 Email: tommywu@ravenel.com
Hong Kong, International
Hong Kong, International
Aly Choi Tel: +852 2889 0859 ext.763 Email: alychoi@ravenel.com
Aly Choi Tel: +852 2889 0859 ext.763 Email: alychoi@ravenel.com
Beijing
China
Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com
Jason Dong Tel: +86 10 8587 8099 ext.22 Email: jasondong@ravenel.com
Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com
PHONE BIDS AND WRITTEN BIDS Hong Kong, International Vivi He Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com
Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com
Taiwan Carol Yu Tel: +886 2 2708 9868 ext. 880 Email: carolyu@ravenel.com
Beijing Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com
Shanghai
The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
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.
Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com
Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you.
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. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.
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”.
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.
ONLINE BIDS Register at LiveAuctioneers www.liveauctioneers.com/sign-up
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羅芙奧 2016 秋季拍賣會服務部門及連絡人
諮詢專家
目錄訂閱
取貨及運輸事宜
何瑩 電話：+852 2889 0859 轉 711 電子信箱：vivihe@ravenel.com
台灣
台灣
游景涵 電話：+886 2 2708 9868 轉 880 電子信箱：carolyu@ravenel.com
吳博峯
香港．國際
香港．國際
蔡梓軒 電話：+852 2889 0859 轉 763 電子信箱：alychoi@ravenel.com
蔡梓軒 電話：+852 2889 0859 轉 763 電子信箱：alychoi@ravenel.com
北京
中國
朱毅 電話：+86 10 8587 8099 轉 23 電子信箱：yizhu@ravenel.com
董戈 電話：+86 10 8587 8099 轉 22 電子信箱：jasondong@ravenel.com
朱毅 電話：+86 10 8587 8099 轉23 電子信箱：yizhu@ravenel.com
電話書面競標聯絡人 香港．國際 何瑩 電話：+852 2889 0859 轉 711 電子信箱：vivihe@ravenel.com
電話：+886 2 2708 9868 轉 885 電子信箱：tommywu@ravenel.com
上海 台灣 游景涵 電話：+886 2 2708 9868 轉 880 電子信箱：carolyu@ravenel.com
北京 朱毅 電話：+86 10 8587 8099 轉 23 電子信箱：yizhu@ravenel.com
李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com 本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。
註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領，上班時間為週一至週五上 午9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。
上海 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com 註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之委 託競投表格；或可參與網上競投，詳情請洽 羅芙奧官方網頁。 註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。
網上競投 請前往 LiveAuctioneers 註冊 www.liveauctioneers.com/sign-up
羅芙奧樂意提供您本次拍賣當中任何一項 拍品的狀況報告書，惟準買家需注意拍品 均是以「當時認定」之狀況賣出，相關細 項請參照目錄後之業務規則。請參照買家 需注意事項。
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LITERATI: ORIENTAL ARTS FROM AN ARTIST’S STUDIO Sunday, 20 November 2016 4:00 pm Fubon International Conference Center
Lots 601 – 693
601 A HENAN YAO BOWL WITH RED-GREEN GLAZED POEM AND PATTERNS Song or Jin Dynasties (AD 960-1234) D: 7.5 cm H: 4 cm PROVENANCE: Private Asian Collection
Red-and-green glaze is a form of decoration particularly popular through Song Dynasty. It mainly uses two colors of glaze, red and green, to paint ornamental patterns or write Chinese characters as decoration. This small bowl is one example of those emblazoned with poems of that period. At the center there is the paneled decoration (Kaiguang) of a poem, “Among the green aspens is a market selling wine, among the red apricots is a village selling flowers.” Red glaze is used to draw out the outline of the panel, and green glaze is used to fill in the blanks. Red-and-green glazed ceramics is a highly
NT$ 220,000 - 320,000 HK$ 54,000 - 79,000 US$ 7,000 - 10,200
characteristic type during Song and Jin Dynasties. The contrast
宋 / 金 當陽峪窯紅綠彩詩紋盞
繪紋飾或書寫文字作為裝飾。此小盞就是這一時期用詩文裝飾手法
between the two colors makes the patterns and characters stand out, conveying a sense of the secular life of Song people. 紅綠彩是宋金時期流行的一種裝飾手法，主要用紅與綠兩種釉色描 完成的一件；盞心內開光書寫詩文為：「綠楊沽酒市，紅杏買花
來源： 亞洲藏家舊藏
村。」開光用紅釉勾勒花口，用綠釉填充。紅綠彩瓷器是宋金時期 一種非常有特點的一類，紅釉與綠釉兩色的對比凸顯了紋飾與文 字，傳達出了宋人的市井氣息。
Ravenel 16
602 HE BAILI (Chinese, b.1945)
何百里
Peony
牡丹
2000 Ink and color on paper 24 x 29.5 cm Signed Bali in Chinese With one seal of the artist PROVENANCE: Private collection, Hong Kong
2000 設色 紙本 24 x 29.5 cm 題識：庚辰嘉平月於自在軒燈下。百里畫。 鈐印：何百里印 來源： 香港藏家舊藏
NT$ 160,000 - 240,000 HK$ 40,000 - 59,000 US$ 5,100 - 7,600 Literati: Oriental Arts from an Artist’s Studio
603 A YAOZHOU DOULI-SHAPED BOWL WITH IMPRESSED PATTERNS OF SEA WAVES AND FISH Song Dynasty (AD 960-1279) H: 5 cm D: 12 cm PROVENANCE: Private Asian Collection
NT$ 200,000 - 320,000 HK$ 49,000 - 79,000 US$ 6,400 - 10,200 宋 耀州窯印海 水 游 魚 紋 斗 笠 盞 來源： 亞洲藏家舊藏
Ravenel 18
This tea bowl is conical shape reminiscence of amboo hat (douli), its
盞撇口，小圈足，器型呈現斗笠狀，整器通體施青釉，圈足底部一
rim is curving slightly outwards, and it rests on a small round foot.
周無釉，露胎處可見灰褐色胎體，青釉色澤為黃綠色。外壁以圈足
The bowl is glazed celadon except for the foot showing the taupe
為中心剔刻線條紋飾環繞外壁一周，呈現放射狀。盞內壁模印海水
colored body, the celadon glaze presenting a yellow-green hue. On
游魚紋，海水紋飾模印清晰，給人以波濤洶湧之感，四條小魚分佈
the exterior, radiating lines with the foot as the center are carved as
在盞四周，描繪出悠然遨遊的狀態，闡釋出「子非魚，焉知魚之
decoration. On the inner side, patterns of swimming fish in the sea
樂」的哲學思想。
are impressed down, the sea wave motif especially distinct, giving a sense of roaring waves. Four small fish are scattered in the bowl, portraying a state of carefree roaming, explaining what the Chinese philosophy of “you are not a fish, so how would you know the happiness of one.”
Literati: Oriental Arts from an Artist’s Studio
604 DING YANYONG (Chinese, 1902-1978) Peony and Butterfly 1975 Ink and color on paper 138 x 34 cm Signed Ding Yanyong in Chinese and dated 1973 With one seals of the artist PROVENANCE: Private collection, Hong Kong
NT$ 280,000 - 380,000 HK$ 69,000 - 94,000 US$ 8,900 - 12,100 丁衍庸 牡丹蝴蝶 1975 設色 紙本 138 x 34 cm 題識：憑將井底胭脂水，學畫人間寫富貴。乙卯 丁衍庸寫。 鈐印：牛君 來源： 香港藏家舊藏
Ding Yanyong is honored as the “Eastern Matisse” and one of the “Modern Bada Shanren”. He studied the style from Zhu Da, Xu Wei and Jin Nong, and came out with a unique personal style. He devoted to oil paintings in his early years and had been influenced by Matisse, post-impressionism, cubism and fascism. In 1925, he returned to China and taught Western painting at various art colleges. In 1949, he settled in Hong Kong. He later turned to Chinese painting and carry on the nature style of expressionism. He also takes the interest of classical carving and calligraphy into in his drawing work. 丁衍庸被譽為「東方馬蒂斯」及「現代八大山人」。他的花鳥畫擷 取朱耷、徐渭、金農的特點，卻自成一格；山水畫筆觸膽大豪放， 佈局革新，留白巧妙，意境深遠；他的創作兼擅油畫及水墨，超越 中西藝術的界限，調和融合而形成強烈的個人風格。丁衍庸主張 「極力還原」，推崇回歸兒童般「單純」而又「稚拙」的繪畫形 式，內容卻要「廣大」而「複雜」。
Ravenel 20
605 DING YANYONG (Chinese, 1902-1978) Chrysanthemum 1977 Ink and color on paper 90 x 41 cm Signed Ding Yanyong in Chinese and dated 1977 With one seals of the artist PROVENANCE: Private collection, Hong Kong
NT$ 240,000 - 340,000 HK$ 59,000 - 84,000 US$ 7,600 - 10,800 丁衍庸 黃菊絡緯 1977 設色 紙本 90 x 41 cm 釋文：堆清尋冒雨，白雪已盈盤。為問陶彭澤，花黃楓自丹。 款識：丁巳 丁衍庸 鈐印：丁 來源： 香港藏家舊藏
In Chrysanthemum he combined Grass Writing of Chinese calligraphy with the chrysanthemums, creating a tight structure within the image, while the casual yet sophisticated expression shines through the painting. Bamboo and Daffodils shows his skills to express profound meaning with very limited brushworks; the bamboo stems and leaves have different shades of ink, showing different rhythms with clear, determined and powerful brushworks, making the still image also full of dynamics. The daffodils in the painting carry forward the spirit of Bada Shanren, exaggerated but very concise. 《黃菊絡緯》中洋洋灑灑的草書與黃菊絡緯相結合，結構緊 湊，書畫者的悠然自得與嫺熟深厚的功底在筆落尖娓娓道來。 《蘭竹雙清 水仙蚱蜢》(Lot608)畫面中雖寥寥數筆卻意味無 窮，竹幹與竹葉墨色濃淡有別，節奏輕重得當，竹葉下筆簡潔 有力，方向明確，靜止的畫面顯得雀躍生動。畫面中水仙更是 進一步發揚八大山人簡率、誇張的傾向，一抹成山，一筆成 像，近乎信手塗鴉。筆墨間濃淡枯濕，墨分五色，淋漓盡致地 表現於毫褚之間。
Literati: Oriental Arts from an Artist’s Studio
606 A SHANXI HUAIREN HARE’S-FUR-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 9 cm H: 4.4 cm PROVENANCE: Private Collection, Hong Kong
NT$ 300,000 - 500,000 HK$ 74,000 - 123,000 US$ 9,500 - 15,900 宋 山西懷仁窯 兔 毫 茶 盞 來源： 香港藏家舊藏
Ravenel 22
This tea bowl is shaped to be small and delicate, with a small round
盞器型小巧可愛，小圈足。盞內施黑釉，黑釉上點綴鐵鏽斑點釉
foot. The inner side of the bowl is glazed black, with iron-rust colored
色，鐵鏽斑向下流淌後形成不規則的線條分佈在盞中，猶如兔毫，
glaze splashed and running downward. The irregular lines visually
故名兔毫盞。盞外施褐色鐵鏽斑兔毫釉至圈足處。底部以及圈足露
resemble hare’ fur, which makes the name, “Hare’s-Fur” Tea Bowl.
胎處塗有黑色護胎釉，諸多細節展現出此盞的高貴身份，此種兔毫
On the exterior, brown iron-rust colored striations of “Hare’s Fur”
紋飾為宋代建窯所創新的裝飾手法，北方的諸多窯口均有模仿燒
glaze extend to the foot. Various details such as the foot being
造，而山西的懷仁窯更是將此種型製的茶盞燒製得登峰造極，足見
covered in black protection glaze show the noble status of this tea
宋代時期此種釉色工藝已經被人所喜愛，流行全國，甚至影響到東
bowl. This “Hare’s Fur” glaze is an innovative form of decoration
亞各國。
invented by Jian kiln of Song Dynasty. Many northern kilns imitated this decoration later on, and Shanxi Huairen kiln is one of them that reached the peak of perfection. It demonstrates how this specific type of glaze was popular during Song Dynasty nation-wide, even influencing countries of Eastern Asian.
Literati: Oriental Arts from an Artist’s Studio
Mid-Autumn Maple Forest HE BAILI
Born in Guangzhou in 1945, He Baili moved to Hong Kong at a
white perfectly show a moist and harmonious temperament, allowing
young age. From the 60s to the 70s, his style turned from sketching
viewers to delve into infinite imagination. Influenced by Western
to ink wash landscape painting. He received his education in Hong
painting style, He preferred gentle and elegant use of ink, making a
Kong and joined the Lingnan School, one of the three revolutionary
peaceful and refreshing design on the canvas. Such a use of brush
art movements in the contemporary Chinese art scene. In the process
and ink was considered a new style of the Lingnan School. The
of seeking the future of Chinese painting under global art trends, the
freehand landscape filled with spirited ink and color wash creates an
Lingnan School became the art school that had the deepest influence
otherworldly artistic realm, which is indeed a new direction of modern
on the refinement of Chinese painting. As the successor to Lingnan
Chinese landscape painting. The multi-colored maple trees and rosy
School. He concentrated on studying paintings of the Song and Yuan
clouds pervade the whole canvas.
dynasties after moving to Canada in 1984. He originated a freehand style that combined the techniques of splash ink, break ink, ink
何百里，生於廣州，後遷居香港，早年致力傳統山水畫創作。 1960
staining and color blending wash, showing the infinite force of life in
至1970年代，由濃厚寫生氣息轉變為潑墨大寫意山水，在香港接受
nature in Chinese painting.
教育，並入門「嶺南畫派」。暨中國現代美術革命三大思潮之一， 為研討國畫在世界美術潮流中的出路問題，影響傳統國畫改良最為
Canada’s fall foliage, especially during the time the mountains turn
深遠派別。其身為「嶺南畫派」傳人，1984年移居加拿大後，潛心
red with maple leaves, inspired He, who has lived there for 20 years,
研究宋元繪畫，又以獨創寫意之法「揉合潑墨、破墨、漬墨、潑彩
to create Mid-Autumn Maple Forest . Chinese literati often used maple
和混色渲染法」為國畫新貌盡顯大自然無窮幻化之生命力。
leaves in their poems to signify their yearning and reminisce about the past. In China, autumn has long been associated with solitude.
此幅作品《中秋楓林》實為漫天楓葉賦予旅居加國廿載的何百里創
However, He adopted a new perspective to depict his Autumn by
作靈感，尤其是楓葉紅遍山嶺之時。古人常以楓葉入詩詞，表達相
combining the Western style with cinnabar and qing wo (a blue-green
思之情，追憶往事。自古逢秋悲寂寥，而在這幅《中秋楓林》中何
mineral pigment). He devoted himself to developing a new painting
百里運用新視角重寫山水，丹青融合西式畫法有很多嘗試。何氏之
skill, which portrays the landscape in nature while at the same time
潛心研習新繪畫技藝，既寫自然造化之景，更抒傳統文化之情懷。
convey the essential feelings in traditional culture. 畫家用色鮮豔，樹葉或亮黃，或醬紅，全畫構圖緊密，設色雅麗， The painter employed vivid and bright tones and painted leaves in
但亦有別於習見沒骨山水。霧朦朦，見得紅葉燦爛；山輕輕，清泉
bright yellow or garnet with a compact composition and elegant
飛濺而下；雲盈盈，遠山若隱若現。其樹法尤為別緻，氤氳一片瀰
coloration, but the style was different from the well-known boneless
漫而開，前後相互比襯，富於裝飾意趣；注重水與墨以及水與色彩
landscape technique. Red leaves shine through misty air. Clear
的交融，淡墨與濃墨的交融間水氣浮現於紙面。墨筆間暈開的殷紅
springs tumble from the steep hill. The mountain afar is faintly
極為醒目而自然，片片而就的林葉，露白勾勒的薄霧，恰到好處的
discernible behind the puffy clouds. The way he depicted the trees
表現出一股祥和潤澤之氣，給人以無限的想像空間。
was particularly delicate. Dense mist pervades a sea of trees, mirroring each other in a highly decorative method. He emphasized the mixture
其畫技受西洋繪畫藝術之色彩影響，用筆、用墨淡雅、溫潤，畫面
of wash; ink and color, making water vapor emerge from wash ink
恬靜、清逸。這種筆墨形式堪稱「嶺南畫派」的一股新風。水墨淋
and thick ink. The bright red halo surfacing from the ink is imposing
漓的寫意山水，墨彩靈動，境界脫俗，極具個人風格，是中國現代
and natural. The seas of trees and the thin mist outlined with cotton
山水畫的一個新方向。秋樹五彩斑斕，雲霞滿紙。
Ravenel 24
607 HE BAILI (Chinese, b.1945)
何百里
Mid-Autumn Maple Forest
中秋楓林
2012 Ink and color on paper 20 x 84 cm With three seals of the artist PROVENANCE: Private collection, Hong Kong
NT$ 700,000 - 900,000 HK$ 173,000 - 222,000 US$ 22,300 - 28,600
2012 彩墨 紙本 20 x 84 cm 款識：壬辰中秋前三日於自在軒百里畫 鈐印：自在軒（右下） 鈐印：何 百里（左上） 來源： 香港藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
608 DING YANYONG (Chinese, 1902-1978)
丁衍庸
Bamboo and Daffodils (Diptych)
蘭竹雙清 水仙蚱蜢（雙聯幅）
1973 Ink on paper 52 x 33 cm (pair) Signed Ding Yanyong in Chinese and dated 1973 With two seals of the artist PROVENANCE: Private collection, Hong Kong
NT$ 140,000 - 220,000 HK$ 35,000 - 54,000 US$ 4,500 - 7,000
Ravenel 26
1973 水墨 紙本 52 x 33 cm（一組兩件） 款識： 蘭竹雙清 丁衍庸 鈐印： 丁鴻印 款識： 癸丑八月 丁衍庸 鈐印： 丁鴻印 來源： 香港藏家舊藏
609 A DING WHITE GLAZED BOWL CARVED WITH DAY LILY PATTERNS Song Dynasty (AD 960-1279) D: 12.8 cm H: 2 cm PROVENANCE: Private Asian Collection
Ding’ wares are ranked among the ‘five great wares’ of the Song, well known for its fine near-white body and an ivory-colored glaze. This vessel is carved with patterns of day lilies on the inner side, body thin and light, and glaze white and pure. The stems and leaves of the day lily patterns are smoothly carved, demonstrating sophisticated techniques. This kind of decoration also differs from the commonly seem day lily patterns of Ding ware as it is richer in visual motives, making it a worthy addition to the Song Dynasty Ding ware collection.
NT$ 700,000 - 900,000 HK$ 173,000 - 222,000 US$ 22,300 - 28,600
定窯為宋代五大名窯之一，以白瓷燒製聞名天下，此件劃萱草紋洗 胎體堅致細膩輕薄，釉色潔白純淨，實屬定窯白釉中的上品。洗心 刻劃萱草紋，莖葉刻劃流暢，刀法嫻熟，行雲流水。此種紋飾也異 於常見的定窯萱草紋，紋飾佈局內容豐富於以往品種，為北宋定窯 白瓷中的一件珍品器物。
宋 定窯白釉劃 花 洗 來源： 亞洲藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
610 A JUN SKY-BLUE-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 7.5 cm H: 4 cm PROVENANCE: Fujiwara Collection, Japan
NT$ 320,000 - 420,000 HK$ 79,000 - 104,000 US$ 10,200 - 13,400 宋 鈞窯天藍釉 茶 盞 來源： 日本藤原集古堂舊藏
Chinese Ceramics from the Meiyintang Collection , Volume 1, p.221 《玫茵堂 - 中國陶瓷》第 1 冊 221 頁
Ravenel 28
This is a sky-blue glazed tea bowl of Jun ware. The small vessel is
此盞為鈞窯所燒製的天藍釉茶盞，器型十分小巧，外壁施釉到茶盞
covered on the exterior with glaze except for the round foot, while
圈足處，圈足一周無釉，盞底部亦覆蓋有釉水。此種燒製方式被認
the underside of the foot is also applied with glaze. This kind of
定為宋代時期鈞窯特徵。鈞窯釉水為乳濁釉，燒製時流淌痕跡明
practice is considered as the characteristic feature of Song Dynasty
顯，口沿一周釉水略薄，可見深色胎體的顏色，接近底足處釉色有
Jun ware. Jun ware uses opaque glaze, which makes distinct flowing
微微堆積痕跡。其燒製工藝的精細程度顯示其出身宋代五大名窯鈞
traces. The glaze is especially thin around the rim, showing the dark
窯的身份。
color of this lot's body, and close to the foot it becomes thicker. The exquisiteness of the calcination craft shows Jun ware’s status as one of the “Five Classic Wares”.
Literati: Oriental Arts from an Artist’s Studio
Emerald Bay LI DEZHUANG
Li Dezhuang, born in Singapore, Wenchang Guangdong native, graduated from the Nanyang Academy of Fine Arts. This special location where eastern and western cultures clashing together gave him a broader vision and a sense of collaboration within artistic creation. He’s spent an almost 20-year time in the international environment to create, experiment, explore and transfer, his expression skills sharpened, and his aesthetics sophisticated. He combined the languages of the west and the east and came out with his own unique idiom of abstract art. Emerald Bay adopts bright colors to portray the water with a sense of aggression but also of transparence and purity. Colorful overlapping is full of liveliness and artistic appealing, staging as a sign of endless and boundless joy of the nature, like a vigorous but at the same carefree symphony of lives. Expressionism has long been a major feature of Chinese aesthetics, as well as an essential part of Chinese culture, and this painting is a delicate and powerful example of this aspect.
李德庄生於新加坡，這個東西文明交匯之地，多元文化環境中，造就了 一種宏觀視野和藝術融匯意識。藝術創作經過西方和東方的長時間融 匯，長達20多年時間不間斷的創作、實驗、探索、轉變、創化，既磨練 了表現技巧，更提升了對美學的認識，一層層的沉澱與醞釀 ，一次次 的大膽顛覆與實在的省思，開始通過融合東西方的共通繪畫語言，積極 提煉純粹形式之美，注入全新的概念，形成自己獨到的抽象藝術觀。 作品《珊瑚頌》色彩鮮豔明亮、水意酣暢淋漓，氣勢撼人，給人一種澄 明純淨的情境，鮮亮的影暈充滿藝術生命力的造型或符號裏，處處蘊育 著無限的自然意趣與盎然生氣，如同一首意氣風發、卻又悠然自得的生 命交響樂章，令人振奮而陶醉。抒情性，向來是在中國美學世界一個主 要特質，也是中國文化最精緻的部分，從文學到藝術，所謂意在言外、 畫外情、畫外意，都是人文情思的抒情表達。 Li Dezhuang-BEYOND BABEL , 2016 《李德庄——走出巴貝爾》，2016
Ravenel 30
611 LI DEZHUANG (Chinese, b.1958)
李德庄
Emerald Bay
珊瑚頌
2008 Ink and acrylic on paper 60 x180 cm Signed LI DEZHUANG 2008 (on the reserve) PUBLISHED: Li Dezhuang-BEYOND BABEL , 2016
2008 彩墨 壓克力 紙本 60 x 180 cm 簽名：LI DEZHUANG 2008（背面） 出版： 《李德庄——走出巴貝爾》，2016
NT$ 550,000 - 850,000 HK$ 136,000 - 210,000 US$ 17,500 - 27,100
Literati: Oriental Arts from an Artist’s Studio
612 A HUAIREN IRON-RUST-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 12.5 cm H: 6 cm PROVENANCE: Private Asian Collection
NT$ 240,000 - 360,000 HK$ 59,000 - 89,000 US$ 7,600 - 11,500 宋 山西懷仁窯 鐵 鏽 斑 茶 盞 來源： 亞洲藏家舊藏
Ravenel 32
This tea bowl is conical shape reminiscence of amboo hat (douli), its
盞敞口，圈足，盞內外施黑釉，黑釉上點撒鐵鏽斑點釉色，鐵鏽斑
rim is curving slightly outwards, and it rests on a small round foot.
不規則的分佈在盞中，猶如浩瀚星際。盞外施釉至圈足處，圈足露
Inner side of the bowl is glazed black, with iron-rust colored splashed
胎處塗有黑色護胎釉，為懷仁窯最為明顯的一個特徵。此種鐵鏽斑
irregularly as decoration. This visual effect is pleasant to the eye and
為宋代時期所創新的裝飾手法，宋金時期足見此種釉色工藝已經被
invites fancy reveries. Brown iron-rust glaze extends to the foot on
成熟掌握，鐵鏽斑這種釉色更為宋人所喜愛。
the outside. This kind of decorative straked black glaze is typical for Song Dynasty Cizhou ware, and during the Song/Jin period this technique had reached a high level of maturity and popularity.
Literati: Oriental Arts from an Artist’s Studio
613 A JIZHU TORTOISESHELL-GLAZED JAR AND COVER Southern Song Dynasty (AD 1127-1279) H: 8 cm D: 8 cm PROVENANCE: Private Collection, Hong Kong
NT$ 160,000 - 280,000 HK$ 40,000 - 69,000 US$ 5,100 - 8,900
This Jar, with a short neck and four shoulder lugs, has the glaze resembling tortoise shell. To make a tortoiseshell-glazed vessel, craftsmen firstly applied a layer of glaze rich in ferric oxide all over the vessel and then randomly sprinkled another glaze low in ferric oxide over the previous one. When fired, the two glazes mingled to form unpredicted patterns. Primarily in the shapes of vase, jar, incense burner, and bowl, tortoiseshell-glazed vessels are common products of the Jizhou kiln. 此罐直口，短頸，肩部下漸豐腴，肩部飾有四系，蓋頂有一鈕，均 施玳瑁釉，外壁施釉不到底。這件吉州窯玳瑁釉蓋罐，配以黑色的 底釉和姿態各異的黃褐色斑紋，與天然玳瑁極為相似，別具一番情 趣，是一件典型的吉州窯產品，以釉面色澤變化萬千而著稱。以 黑、黃等色交織混合在一起、猶如玳瑁背殼的顏色，是吉州窯富有 特色的一種釉色。
南宋 吉州窯玳 瑁 釉 蓋 罐 來源： 香港藏家舊藏
Ravenel 34
614 HE BAI LI (Chinese, b.1945)
何百里
Reflection of Autumn Under the Lights
燈下憶秋
2011 Ink and color on paper 22 x 81 cm With two seals of the artist PROVENANCE: Private collection, Hong Kong
NT$ 700,000 - 900,000 HK$ 173,000 - 222,000 US$ 22,300 - 28,600
2011 彩墨 紙本 22 x 81 cm 題識：辛卯年朔日於自在軒燈下畫 鈐印：自在軒（右下） 何（左上） 來源： 香港藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
615 LI YIHONG (Lee Yih Hong, Taiwanese, b.1941) Water and Pavilion in Summer 1981 Ink and color on paper 134 x 68 cm Signed Liyihong in Chinese With three seals of the artist PROVENANCE: Private collection, Taiwan
NT$ 400,000 - 600,000 HK$ 99,000 - 148,000 US$ 12,700 - 19,100 李義弘 水亭清夏 1981 設色 紙本 134 x 68 cm 款識： 辛酉初春於巴鐵齋在川李義弘畫 鈐印： 李義弘印 在川（左上） 鈐印： 意自如（右下） 來源： 台灣藏家舊藏
Ravenel 36
616 PU RU (Pu Xinyu, Chinese, 1896-1963) Landscape Ink and color on paper 100 x 33 cm Signed Xinyu in Chinese and With three seals of the artist and one seal of the former collector PROVENANCE: Collection of Yu Jishi
NT$ 1,300,000 - 2,600,000 HK$ 321,000 - 642,000 US$ 41,400 - 82,700 溥儒 山水畫 設色 紙本 100 x 33 cm 款識： 青山歷歷樹重重，寺在雲深第幾峰。比屋人家西崦下， 夕陽長聽講時鐘。心畬。 鈐印： 舊王孫 溥儒（左下） 鈐印： 松巢客（左中） 款識： 恭祥姻兄喬遷之喜弟俞濟時敬賀 民國五十八年二月（俞濟時寫） 鈐印： 俞濟時印 俞濟時（1904-1990），字良楨，浙江奉化縣城奉南村人，蔣介石之外 甥。投身到族叔、黃埔軍官學校軍需處長俞飛鵬處，黃埔一期，74 軍 主要創立人之一，1942 年任蔣介石侍衛長，後任三十六集團軍總司令 等職。 1949 年去台灣，歷任國民黨總裁辦公室總務主任、侍衛長， 1990 年於台北逝世。著有《時代新軍人應有之修養》、《孫子之戰術 戰略思想採微》等。 來源： 俞濟時舊藏
Literati: Oriental Arts from an Artist’s Studio
617 AN INSCRIBED CHINESE “QUARTERCHIMING” TABLE CLOCK 19th Century H: 50.5 cm L: 33.5 cm W: 27 cm
NT$ 360,000 - 500,000 HK$ 89,000 - 123,000 US$ 11,500 - 15,900
Encased within the rectangular wooden frame with sliding glass panes at the front and back, the circular white enamel dial with painted black Roman hours and Arabic quarters along the outer minute track with centre second hand, framed by gilt-decorated bat and shou character amidst thick meandering lotus vine scrolls, the two train fusee movement with verge escapement, chiming the quarters on two bells, worked by a swinging pendulum with retractable lock. 矩形木盒前後內嵌玻璃，圓形表面為白色琺瑯，上繪黑色羅馬數字 鐘點和阿拉伯數字的時刻，四周環繞鍍金的蝙蝠以及「壽」字紋 飾，又加以蓮花藤蔓裝飾。此台鐘造型經典別緻，紋飾華貴且寓意 美好，給人以雋永之感。
19世紀 黃花梨 嵌 鎏 金 攝 政 風 格 自 鳴 鐘
Ravenel 38
618 LU YANSHAO (Chinese, 1909-1993)
陸儼少
Chairman Mao's Poetry
毛主席詩意
Ink and color on paper 15 x 49 cm Signed Lu YanShao in Chinese With two seals of the artist PROVENANCE: Private collection, Hong Kong
NT$ 320,000 - 440,000 HK$ 79,000 - 109,000 US$ 10,200 - 14,000
設色 紙本 15 x 49 cm（扇面） 款識：風雨送春歸，飛雪迎春到。已是懸崖百丈冰，猶有花枝俏。 俏也不爭春，只把春來報。待到山花爛漫時，她在叢中笑。 毛主席《詠梅》詞意。畫為慧珍同志，陸儼少。 鈐印：就新（左上） 鈐印：儼少（左下） 來源： 香港藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
619 TAI XIANGZHOU (Chinese, b.1968) Deng Guan 2013 Ink on paper 127 x 40 cm Signed XiangZhou in Chinese With two seals of the artist
NT$ 500,000 - 700,000 HK$ 123,000 - 173,000 US$ 15,900 - 22,300 泰祥洲 等觀圖 2013 水墨 紙本 127 x 40 cm 款識：祥洲 鈐印：祥洲 泰
Ravenel 40
620 A DING WHITE-GLAZED OCTALOBAL DISH Five Dynasties Period (AD 907 - 960) D: 16 cm H: 4.5 cm
This dish has rounded sides rising from a short straight foot to a barbed, four-pointed rim, glazed overall with an ivory-tinged glaze, the foot left unglazed revealing the white body. Quatrefoil dishes are commonly seen among Five Dynasties Period Ding kiln, imitating the shapes of gold-silver wares popular during Tang
PROVENANCE: Private Asian Collection
Dynasty. This Ding dish’s glaze is evenly applied with delicate crafts,
NT$ 380,000 - 480,000 HK$ 94,000 - 119,000 US$ 12,100 - 15,300
此盤四瓣菱形花口，盤口外撇，通體施白釉，圈足處露胎，釉質
making it a valuable addition to the collection of Ding wares.
細膩潔白，釉色純淨，白若堆雪，器形制作規整，菱口對稱。菱 形花口器形常見於五代定窯，模仿唐代時期流行的金銀器造型， 此件定窯菱口盤白皙勻淨，燒造工藝講究，為五代定窯中一件不 可多得的器物。
五代 定窯仿金 銀 器 造 型 白 釉 菱 口 盤 來源： 亞洲藏家舊藏
Chinese Ceramics from the Meiyintang Collection , Volume 3b, p. 415 《玫茵堂 - 中國陶瓷》第 3 卷第 2 冊 415 頁
Literati: Oriental Arts from an Artist’s Studio
621 A YAOZHOU BLACK-GLAZED TEA BOWL WITH PERSIMMON-RED COLORED RIM Song Dynasty (AD 960-1279) D: 12.7 cm H: 5.5 cm PROVENANCE: Private Asian Collection
NT$ 120,000 - 160,000 HK$ 30,000 - 40,000 US$ 3,800 - 5,100 宋 耀州窯系黑 釉 柿 緣 斗 笠 茶 盞 來源： 亞洲藏家舊藏
Ravenel 42
This bowl is shaped like an East Asian broad-brimmed hat, or douli,
此盞斗笠形制，盞口外撇，深腹斜收，底部小圈足，盞口至圈足內
with a wide, outward-curving mouth and a deep belly tapering
外均施黑釉，釉色黑如膝，口沿一周呈現柿紅色邊緣，增添了此盞
towards the small round foot. The vessel is covered inside and out
的美感，也彰顯了此盞的身份。斗笠盞為宋代時期最為著名的茶盞
with evenly applied black glaze, with a persimmon-red colored rim.
器型，因為造型酷似斗笠而得名，器型優雅，頗受宋代文人喜愛。
The douli is the most famous and widely recognized design of Song
此盞造型經典，釉色古樸，滿釉燒製更展示了此盞的高貴。
Dynasty tea bowls. Simple yet elegant, douli bowls were very much favored by the Song literati class. This item features a classic design and attractive color, and the full-body glaze shows the noble status of this bowl.
Literati: Oriental Arts from an Artist’s Studio
622 A DING WHITE GLAZED WATER POT WITH PROTRUDING ROPE PATTERNS Song Dynasty (AD 960-1279) H: 6 cm D: 8 cm PROVENANCE: Private Asian Collection
NT$ 360,000 - 500,000 HK$ 89,000 - 123,000 US$ 11,500 - 15,900 宋 定窯白釉貼 繩 紋 水 盂 來源： 亞洲藏家舊藏
A water pot is a water container usually put on the desk to supply water to the ink slab. This Ding white glazed water pot was made during Northern Song Dynasty with a plump body and a round mouth. The body is decorated with four symmetrical protruding rope patterns. The vessel is covered in glaze except for the round foot, glaze pure and glossy, with a classic and delicate shape, making it a worthy addition to Ding ware collection of stationary accessories. 水盂為置於書案上的貯水器，以備磨墨時為硯池添水之用。此件定 窯白釉水盂燒造時間為北宋時期。器身飽滿，圓口鼓腹，器身下部 漸收至底足，腹身由上至下裝飾四道對稱凸出的繩紋，水盂通體施 釉至圈足，釉水潔淨瑩潤，此水盂器形古拙典雅，實乃定窯文房用 器當中的一件佳器。
Ravenel 44
Literati: Oriental Arts from an Artist’s Studio
623 A JIAN HARE'S-FUR-GLAZED “TEMMOKU” BOWL Song Dynasty (AD 960-1279) D: 12 cm H: 7 cm
NT$ 800,000 - 1,200,000 HK$ 198,000 - 296,000 US$ 25,500 - 38,200 PROVENANCE: Private Collection, Japan
宋 建窯兔毫天 目 盞 來源： 日本藏家舊藏
Ravenel 46
The collection of Tokyo National Museum, Tang Works and Tea Bowl , p.51, 1999 京都國立博物館藏禾目天目， 《唐物茶碗》，1999 年，頁 51
During Song Dynasty, the practice of whisking tea and competing
此兔毫碗，胎骨厚重，胎色黛黑，盞斜壁微弧，小圈足。盞裡施滿
tea (Tocha in Japanese when it became a trend in Japan) was greatly
釉，盞外施釉不到底，露胎處呈褐色。腹下部釉垂流形成滴珠狀。
popular. The need for competing tea leads to the popularity of Jian
口下釉色呈黃褐色，漸為褐黑相間，盞裡心為純黑色。內外黑釉面
ware. Song people’s standard for ceramics reached a peak, so the
上帶黃色條縷絲紋，類似野兔毛毫，故名「兔毫紋」。紋理清晰，
“hare’s fur” glazed “temmoku” ware (temmoku is a Japanese word
毫絲分散、且直且長，符合優秀兔毫的所有標准。器型為建窯最經
adapted from Chinese, originally used by Song people for high quality
典的造型，束口邊止溢線清晰、有張力。
Jian ware), with its stunning patterns coming from spontaneous transformation, came about.
由於宋代建窯兔毫盞名氣很大，所以一些宋代文人對它多有贊美之 辭，如北宋蔡襄《茶錄》載：「茶色白，宜黑盞，建安所造者紺黑
The bowl is conical shape, most famous in Jian ware, reminiscence
紋如兔毫，其坯微厚，繼之久，熱難冷，最為妥用，出他處者皆不
of amboo hat (douli), with black glaze as the basic color. It is covered
及也」。由此可見本物實為不可多得的一件宋建窯之佳作逸品。
overall with a lustrous glaze, thinning at the rim with some short subtle russet streaks extending downwards, the glaze falling short of the foot to reveal the iron-black body, proving its identity of a Jianyang ware, as the black color is the characteristic result of the high iron content soil of Jianyang area.
Literati: Oriental Arts from an Artist’s Studio
624 A XING WHITE-GLAZED QUARTREFOIL DISH WITH “YING”MARK ON THE BOTTOM Tang Dynasty (AD 618-907) L: 13.5 cm W: 9.5 cm H: 3 cm PROVENANCE: Private Asian Collection
NT$ 4,600,000 - 6,000,000 HK$ 1,136,000 - 1,481,000 US$ 146,400 - 191,000 唐 邢窯盈字款 仿 金 銀 器 白 釉 花 口 盤 來源： 亞洲藏家舊藏
Another view
Chinese Ceramics from the Meiyintang Collection , Volume 3b, p. 421 《玫茵堂 - 中國陶瓷》第 3 卷第 2 冊 421 頁 Ravenel 48
Literati: Oriental Arts from an Artist’s Studio
Ravenel 50
A Xing White-Glazed Quartrefoil Dish with “Ying”Mark on The Bottom As one of the most famous kilns in the Tang Dynasty (618-907), the
the dish are decorated with patterns of albizia flowers in a form similar
Xing Kiln was best known for its production of white porcelain. It was
to relief. The dish is covered overall in a white glaze except for the foot,
recorded that the kiln's was located in North China's Hebei Province,
with a “ying”mark on the bottom side. This piece of Xing ware delicately
starting production during the late Northern Dynasty period. It reached
combines the shape of middle Asian gold and silver ware with the special
peak production during the Mid Tang period and declined from the late
texture of porcelain, showing a high possibility of it being an object of the
Tang period, reaching its end in Yuan Dynasty. The Xing white porcelain
Tang Dynasty court.
consisted of three types, namely the coarse, the ordinary, and the fine. The coarse type has yellow-white paste cover with a layer of white slip
邢窯為北方白瓷名窯，始燒於北朝，興盛於唐代，終於元代，燒造時間
before glazing; the ordinary type is whiter in the cover and uses less white
大約九百餘年。其技術水平在隋代已登峰造極，燒製出具有高透影性
slip; the fine one has more fine grained and more whitish paste. Hence,
能的細白瓷。邢窯白瓷分為粗白瓷、普通白瓷和細白瓷，粗白瓷胎質粗
there is no need to add a layer of white slip. According to the relevant
鬆，胎色泛黃，胎面一般要施化妝土；普通白瓷胎色較白，少用化妝
archaeological excavations, the Xing fine white porcelain were mainly
土；細白瓷胎釉的潔白度較高，胎質細膩，釉面光潤，不用化妝土。從
discovered in the ruins of palaces and temples in the location of ancient
有關邢窯白瓷的考古發掘來看，邢窯細白瓷多發現於唐長安城的宮殿或
time Chang’an, such as Daming Palace, Qinglong Temple and Ximing
寺廟遺址，如大明宮、青龍寺、西明寺等，其中一些白瓷的底部刻有
Temple, some of them bearing the mark of “ying” (盈) or “hanlin” (翰林)
「盈」字款或「翰林」款。近年來，在西安地區的一些唐代遺址中也出
on the bottom. Compared with fine white porcelain, much more amount
土了刻有「盈」字款的邢窯細白瓷。與細白瓷相比，邢窯的粗白瓷和普
of the coarse and ordinary types have been evacuated, which means that
通白瓷的出土數量更多。由此可見，邢窯白瓷在唐代已是「天下無貴賤
during Tang Dynasty, Xing white porcelain was so popular that both the
通用之」。
rich and the poor used it. 邢窯白瓷體現了唐代白瓷生產的最高水平，當時曾作為地方特產向朝廷 Xing white porcelain demonstrates the peak of the porcelain production
進貢。其署「盈」字款者，一般認為與皇宮內的「大盈庫」有關。「大
of Tang Dynasty. Wares were made for the Imperial palace as tributes from
盈庫」在《新唐書》《舊唐書》中均有記載，玄宗、肅宗時稱之為「百
provinces. It is now a generally accepted view that those wares with the
寶大盈庫」。大盈庫是皇宮內最大的儲存金銀財寶的庫房，此庫內的財
“ying” mark are related with the “Da Ying Ku” of the palace, recorded in
物只能由皇帝支配、使用。目前已發現的「盈」字款邢窯白瓷以碗最為
New Book of Tang and Old Book of Tang as “Bai Bao Da Ying Ku” which
多見，另有執壺、盒、罐等。
held the largest quantity of precious objects in the palace. So far, among the discovered wares with “ying” mark, the most commonly seen ones
此盤仿金銀器形製，折沿，橢圓形高圈足。盤四個委角與四邊均有合歡
are bowls, with others such as handled ewers, boxes, and jars.
花紋裝飾，其效果呈現浮雕的感覺，白色瓷胎通身施白釉，圈足底未上 釉。底書「盈」字款。此件器物優雅，器形仿中亞金銀器形式，結合瓷
This dish mimics the shapes of gold and silver ware, with a folded rim and
器之溫潤特點更顯精緻典雅，其曾經的身世或為唐代宮廷中的一件器物
an oval shaped high round foot. Four indented corners and four sides of
也是極有可能。 Literati: Oriental Arts from an Artist’s Studio
625 A CIZHOU BLACK-GLAZED DOULI-SHAPED BOWL WITH WHITE RIM Jin Dynasty (AD 1115-1234) D: 11 cm H: 4.5 cm PROVENANCE: Private Asian Collection
NT$ 180,000 - 280,000 HK$ 44,000 - 69,000 US$ 5,700 - 8,900
This douli-shaped bowl was crafted by Cizhou kiln. White glaze is applied on the mouth with the rim delicately made. Half of the body is covered in black glaze, showing the other half in taupe color to the small round foot. White-rimmed bowls seem to be an imitation of Ding ware’s feature of lipped rim, representing how the people at that time tended to follow the trend of the aristocracy. 此盞為磁州窯所燒制的白覆輪斗笠盞，白覆輪其意為口沿一周為白 釉，口沿製作精細規整。沿以下部分為黑釉，外壁施釉至中部器 身，未施釉部分露出灰褐色胎體，小圈足，圈足刮削整齊。白覆輪 茶盞或為模仿定窯瓷器鑲口的特徵，顯示出當時大眾人群跟風貴族 潮流之風。
金 磁州窯白覆 輪 黑 釉 斗 笠 盞 來源： 亞洲藏家舊藏
Song ceramics from the Hans Popper Collection , Eskenazi, London, 2005, p.99 《漢斯・波普爾藏宋瓷》，埃斯科納奇著，倫敦，2005，頁 99
Ravenel 52
626 A YAOZHOU BLACK-GLAZED CUP STANDER Song Dynasty (AD 960-1279) D:12 cm H:7 cm PROVENANCE: Private Collection, Japan
This cup stander is covered overall in black glaze, resembling the texture of black lacquer, centered by the U-shaped holder, all supported on a pedestal foot, covered overall in an even black glaze. Yaozhou kiln is a northern kiln famous for its celadon-glazed wares, and the amount of black-glazed wares is far less, making this piece much more precious. 此盞托為耀州所燒製的一件盞托，釉面之感如漆器般，通體施黑
NT$ 320,000 - 460,000 HK$ 79,000 - 114,000 US$ 10,200 - 14,600
釉，盞腹部中空，盞托上呈杯形，圈足一周無釉，足牆外撇。此 盞托造型規整，釉色溫潤，極富線條美感又具有實用性。耀州窯 是北方著名的青瓷窯場，而所燒造的黑釉瓷器數量遠遠少於青 瓷。像此種黑釉茶器保存至今更是難能可貴，不失為耀州窯瓷器 中值得收藏的一件。
宋 耀州窯黑釉 盞 托 來源 : 日本藏家舊藏
Early Chinese Ceramics: An American Private Collection , J.J. Lally & Co,New York, 2005, No.21 《美國私人珍藏高古瓷》，J.J. Lally 著，紐約，2005，編號 21
Literati: Oriental Arts from an Artist’s Studio
627 A SMALL DING JAR WITH TWO HANDLES AND RIVET PATTERNS Song Dynasty (AD 960-1279) D: 10.5 cm H: 12 cm PROVENANCE: Private Asian Collection
NT$ 700,000 - 900,000 HK$ 173,000 - 222,000 US$ 22,300 - 28,600 宋 定窯雙系鼓釘紋貼塑小罐 來源： 亞洲藏家舊藏
This small jar has an ovoid body resting on a high straight foot, the shoulders applied with two small loop handles, the fitted domed cover potted with an overhanging rim and surmounted by a small knob, applied overall with an ivory-tinged glaze, save the foot ring revealing a smooth white ware. This jar has a complicated design and delicate craft, marking it an object belonging to the aristocrats at that time, which is rare to preserve in such a good condition to nowadays. 此罐唇口，口沿至底部漸豐滿，高圈足。肩部裝飾有兩道凸起 線條，線條一周均勻點綴鼓釘紋。雙系貼塑有精緻的設計雕塑 紋飾，雙系兩側亦有兩顆鼓釘紋。此種器形設計繁複，製作精 巧，出身定窯名門，可見此類器物或為當時王公貴族所使用， 流傳至今更是殊為難得。
Ravenel 54
Literati: Oriental Arts from an Artist’s Studio
628 A LONGQUAN DOULI-SHAPED CELADON BOWL Song Dynasty (AD 960-1279) D: 13.5 cm H: 5.5 cm PROVENANCE: Private Asian Collection
NT$ 360,000 - 500,000 HK$ 89,000 - 123,000 US$ 11,500 - 15,900 宋 龍泉窯青釉 斗 笠 盞 來源： 亞洲藏家舊藏
Ravenel 56
This bowl is shaped like an East Asian broad-brimmed hat, or douli,
盞斗笠型製，盞口外撇，深腹斜收，底部小圈足。盞口至圈足皆施
with a wide, outward-curving mouth and a deep belly tapering
青釉，釉面均勻，釉色如梅子青色。斗笠盞為宋代最為著名的茶盞
towards the small round foot. The vessel is covered inside and out
造型，因造型酷似斗笠而得名。器形優雅，頗受宋代文人的喜愛。
with evenly applied celadon glaze of a darkish plum green hue. The
此盞造型經典，釉色古樸，彰顯了宋代文人精緻生活的縮影。
douli is the most famous and widely recognized design of Song Dynasty tea bowls. Simple yet elegant, douli bowls were very much favored by the Song literati class. This item features a classic design and attractive color, showing all the widely admired aesthetic features of Song era ceramics.
Literati: Oriental Arts from an Artist’s Studio
629 A JIZHU TORTOISESHELL-GLAZED BOWL D: 10.8 cm H: 5.8 cm
NT$ 180,000 - 260,000 HK$ 44,000 - 64,000 US$ 5,700 - 8,300 南宋 吉州窯黑釉滿天星茶盞
Jizhou kiln is the most well known folk kiln of the south during Southern Song Dynasty, sharing the same level of fame with Cizhou kiln of the north. It produced mainly daily objects within which tea bowls is the most famous type. This tea bowl, with slightly rounded conical sides, is covered overall with a dark brownish-black glaze and splashed with beige tones simulating tortoiseshell, the glaze stopping neatly above short foot. The tea bowl is deigned with a geometric shape and evenly applied glaze, making it a valuable addition to the collection of Jizhou wares. 吉州窯為宋代時期南方最為著名的民窯，與北方的磁州窯齊 名，燒造的種類包含各類日用器具，茶盞更為其中最為著名的 一類器物，此盞為吉州窯當時燒造的一種黑釉茶盞，其裝飾大 體有剪紙貼花、彩繪、灑釉、木葉貼花等。而「油滴」、「兔 毫」、「灑釉」等窯變色斑更是黑釉瓷中的名貴品種。此盞為 吉州窯灑彩品種，黑釉上點綴泛藍色斑點，宛若星空，給人以 無限的遐想。器形周正，釉面均勻，更是一件吉州窯不可多得 的一件茶器。
Ravenel 58
Literati: Oriental Arts from an Artist’s Studio
630 A SHANXI IRON-RUST-GLAZED BOWL Jin Dynasty (AD 1115-1234) H:10.3 cm D:13.1 cm PROVENANCE: Private Collection, Taiwan
NT$ 120,000 - 180,000 HK$ 30,000 - 44,000 US$ 3,800 - 5,700 金 山西窯口鐵 鏽 斑 鉢 來源： 台灣藏家舊藏
Ravenel 60
This bowl is shaped plump in the body, with a small round foot. Black iron-rust glaze is applied on the outside except for the foot and the mouth which show the white body. The inner side of the bowl is also glazed black, with iron-rust colored glaze splashed and running downward. During the Song/Jin period this kind of iron-rust glaze was a well used form of decoration, meaning that this kind of wares had reached a high level of maturity and popularity during that time. 鉢器身微鼓，到接近底足處收。通體施黑釉鐵鏽斑裝飾，口沿與圈足 一周無釉，露出白色胎骨。內壁一周亦覆蓋黑棕色釉水，接近底部處 無釉。器型整體給人以渾圓之感，釉面的鐵鏽色斑點均勻點綴，增添 了此器物的神韻。此種鐵鏽斑裝飾為宋金時期十分流行的裝飾手法， 由此可見此類器物在宋金時期是一種十分受歡迎的品種。
631 A GONGXIAN WHITE-GLAZED ZHADOU Tang Dynasty (AD 618-907) H: 10.1 cm D: 14.5 cm PROVENANCE: Private Collection, Taiwan
Gongxian kiln is a north kiln greatly important during Tang Dynasty, already producing celadon bowls and high-foot plates in Sui Dynasty. Tang Gongxian wares were made in various colors and with different classic decorations, among which some of the white-glazed wares served as tributes. The upper part of this zhadou is shaped as a plate, the lower part a jar with a very trim waist, with no foot and no glaze on the bottom. This ware has a decorous shape with a fine porcelain body, covered fully in white glaze, glaze pure and transparent.
NT$ 700,000 - 900,000 HK$ 173,000 - 222,000 US$ 22,300 - 28,600
The interior of the upper part is decorated with symmetrical stem patterns. The zhadou is truly a precious white-glazed ware of Gong. 鞏縣窯為唐代北方主要的窯場，隋代已生產青瓷平底碗及高足盤 等，唐代生產白瓷、黑瓷、絞胎、單色釉等器物，白瓷中有一部分 作為貢品。渣斗上部形狀如盤，下部呈罐狀，中部束腰，平底無
唐代 鞏縣窯白 釉 渣 斗 來源： 台灣藏家舊藏
釉。造型端正，胎質細膩堅硬，其胎土細膩潔白，通體施白釉，釉 面純淨剔透，上部飾出筋，對稱裝飾口部，是鞏縣窯不可多得的白 釉器物。
Literati: Oriental Arts from an Artist’s Studio
632 A HUTIAN MELON-FORM BOX Song Dynasty (AD 960-1279) H: 9.5 cm D: 8 cm PROVENANCE: Private Collection, Japan
NT$ 320,000 - 460,000 HK$ 79,000 - 114,000 US$ 10,200 - 14,600 宋 湖田窯瓜棱 盒 來源 : 日本藏家舊藏
Ravenel 62
633 A YI JUN SKY-BLUE-GLAZED BOTTLE VASE Ming Dynasty (AD1368-1644) H: 16 cm
NT$ 320,000 - 480,000 HK$ 79,000 - 119,000 US$ 10,200 - 15,300 PROVENANCE: Private Asian Collection
明 宜鈞天青釉 膽 瓶 來源： 亞洲藏家舊藏
The vase has a compressed globular body raised on a spreading pedestal foot, and is surmounted by a tall neck that flares towards the rim. The exterior, interior are covered with a soft sky-blue glaze. 直口，溜肩，腹下垂，狀如垂膽。通體施藍釉，釉 料具有垂流性，各方面均達到宋鈞的質感。胎體堅 硬細密，釉色失透深沉，安定肅穆。器形工整流 暢，藍釉呈色鮮明。線條優美秀勁，發色溫文柔 和，胎骨堅質細膩，造型端莊穩重，不失為宜均中 美品。此膽瓶的器型審美沿襲於宋瓷中素雅簡潔之 風，小口細長的瓶口利於扦花，是文房中瓶花妙 品。此瓶帶底座和原盒，蘇州博物館館藏有同類宜 鈞紅斑膽瓶，為清宮舊藏，與此件同屬符合清代宮 廷摹宋瓷素雅審美的官器。
Collection of Suzhou Museum 蘇州博物館藏品
Literati: Oriental Arts from an Artist’s Studio
634 A PAIR OF HUTIAN FOLIATE-RIM DISHES Song Dynasty (AD 960-1279) D: 10.5 cm H: 2 cm PROVENANCE: Private Collection, Hong Kong
NT$ 240,000 - 360,000 HK$ 59,000 - 89,000 US$ 7,600 - 11,500 宋 湖田窯花口 盤 （ 一 對 ） 來源 : 香港藏家舊藏
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635 A DING WHITE-GLAZED COSMETIC BOX AND COVER Five Dynasties Period-Northern / Song Dynasty (AD 907 - 1279) D: 8.8 cm H: 3 cm PROVENANCE: Private Collection, Hong Kong
NT$ 480,000 - 600,000 HK$ 119,000 - 148,000 US$ 15,300 - 19,100
The box is of cylindrical form, standing on short round foot, covered overall in white glaze. The glaze is fine and smooth. On the cover there are hints of flora patterns, marking the sophistication of Ding craft. Ding kiln is located in today Quyang, Hebei Province, started from Tang Dynasty and ended in Yuan Dynasty, lasting for six hundred to seven hundred years, especially famous for its white-glazed wares. 圓形粉盒子母口，蓋面弧平，胎體潔白細膩。通體施白 釉，釉質細膩瑩潤。蓋面依稀可見歷史上描彩或貼金留下 的花卉紋飾，顯示出定窯燒造技術上的嫺熟。此盒為定窯 產品，定窯遺址位於河北曲陽縣，燒瓷始於唐而終於元， 時間長達六七百年之久，產品以白瓷而聞名天下。
五代 / 北宋 定 窯 白 釉 粉 盒 來源 : 香港藏家舊藏
Chinese Ceramics from the Meiyintang Collection , Volume 3b, p. 435 《玫茵堂 - 中國陶瓷》第 3 卷第 2 冊 435 頁
Literati: Oriental Arts from an Artist’s Studio
636 A PAIR OF GILT BRONZE RITUAL BELL AND VAJRA PESTLE Qing Dynasty (AD 1636-1912) Vajra Pestle L: 13.5 cm Ritual Bell H: 18 cm
NT$ 180,000 - 260,000 HK$ 44,000 - 64,000 US$ 5,700 - 8,300 PROVENANCE: Private Asian Collection
清 銅鎏金金剛 鈴 、 金 剛 杵 杵 L：13.5 cm 鈴 H：18 cm 來源： 亞洲藏家舊藏
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637 XU YONGJIN (Hsu Yungchin, Taiwanese, b.1951) Meng Positive Sermons 1994 Ink on paper 69 x 33.5 cm Signed XU Yongjin in Chinese With two seals of the artist
NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 徐永進 呂蒙正勸世文 1994 水墨 紙本 69 x 33.5 cm 落款左下：呂蒙正 勸世文 甲戌年 秋月徐永進寫 鈐印左下：徐 永進
Literati: Oriental Arts from an Artist’s Studio
638 A GILT BONZE FIGURE OF A PROTECTOR DEITY RIDING ON A GOAT 18th Century H: 11.7 cm PROVENANCE: Private Asian Collection
This protector deity is called Dorje Lepga. It is said that the worldly spirit Dorje Legpa was subjugated in the 8th century by Guru Padmasambhava and oath bound as a protector of Buddhism. His primary function is to safeguard the Revealed Treasure texts (Terma) of the Nyingma Tradition of Tibetan Buddhism. Dorje Legpa belongs to the category of Tibetan Buddhist Worldly Protectors, first worshiped by Nyingma School, latter by Kagyu and others. According to Nyingma scripts, he is considered as the head of the nine sets
NT$ 500,000 - 800,000 HK$ 123,000 - 198,000 US$ 15,900 - 25,500
of protector deities. This gilt figure depicts him conventionally as a blacksmith with one face, two hands, and three eyes. The face is radiant with bared fangs, exhaling a poisonous breath, with hair flowing upward like flames, a powerful being with his dynamic posture. Along with its innovative design, making this piece highly collectable.
18世紀 銅鎏金 騎 羊 護 法 來源： 亞洲藏家舊藏
騎羊護法，善金剛全稱為具誓善金剛，藏語為「唐堅噶瓦那波」， 漢語意譯為「守哲黑鐵匠神」，俗稱騎羊護法。善金剛原系苯教 神，蓮花生大師入藏時被降伏，成為佛教護法神。最早寧瑪派供 奉，後為噶舉等教派重視。他負責保護勝樂宮殿的安全，使人們 不受外魔的侵害。據寧瑪派典籍記載，善金剛是最高等級的世間護 法神之一，比白哈爾還具有法力，被寧瑪派列為九組護法神之首。 這是其常見的黑鐵匠的形象，怒髮衝冠，三目圓睜，雙眉威立，呈 憤怒狀，充分表現出護法內在的強大神力。兩臂張開，雙手結期克 印，身著長袍，足蹬高靴，衣褶流暢飄逸，身體壯實，姿態威武生 動。以威震三界的身姿側坐於在山羊背上，山羊雙角互繞，構思新 穎別緻。
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Literati: Oriental Arts from an Artist’s Studio
639 A PALA STYLE COPPER ALLOY FIGURE OF AVALOKITESVARA 12th – 13th Century H: 9.3 cm PROVENANCE: Private Asian Collection
NT$ 950,000 - 1,500,000 HK$ 235,000 - 370,000 US$ 30,200 - 47,700 12-13世紀 帕 拉 風 格 合 金 銅 蓮 花 手 菩 薩 來源： 亞洲藏家舊藏
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The Pala Empire was an imperial power during the Late Classical period on the Indian subcontinent, which originated in the region of Bengal. It is named after its ruling dynasty, whose rulers bore names ending with the suffix of Pala. They were followers of the Mahayana and Tantric schools of Buddhism. The Pala school of sculptural art is recognized as a distinct phase of the Indian art, and is noted for the artistic genius of adding a number of elements of the Buddhist school what later called by Japanese as Mikkyō. Because of the exquisite craft, expressive body language and facial expressions, made a big impact on Nepalese and Tibetan sculptures. This piece is an example of Tibetan figure of Buddha in Pala style. Avalokite vara is seated in rajalilasana on a raised double lotus throne, the right arm resting on the right knee and the lowered left hand holding a lotus stem, with tall jatamukata surmounted with lotus bud finial and fastened with decorative sash, wearing the bodhisattva jewelry with traces of cold gilding. 這一尊菩薩坐像，從風格上講極具印度帕拉風格，所謂 帕拉風格造像是指東北印度的帕拉王朝（Pala）所造的佛 像。西元8世紀帕拉王朝建立於印度東北地區，是一個高度 佛教化的國家，也是印度佛教最後的守護國。其作品是在 笈多風格的基礎上加入更多的密教元素，由於做工精湛， 肢體表現豐富，神態活潑，極富美感，對尼泊爾和西藏佛 像的風格有很大的影響，此尊即為藏地出品的帕拉風格的 佛教雕刻藝術品。 蓮花手觀音，手持青蓮象徵清淨無染，故而得名。遊戲姿 式坐於蓮花台上，足下踩蓮花。姿態閉適自得，仰覆式蓮 花座，蓮瓣圓潤光華，如杏仁一般。頭後襯火焰紋背光。
Literati: Oriental Arts from an Artist’s Studio
640 A FIGURE OF ARHAT BAKULA 15th -16th Century H: 12.5 cm PROVENANCE: Private Asian Collection
NT$ 650,000 - 900,000 HK$ 160,000 - 222,000 US$ 20,700 - 28,600 15- 16世 紀 西 藏 銅 鎏 金 巴古拉尊者像 來源： 亞洲藏家舊藏
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Literati: Oriental Arts from an Artist’s Studio
641 A TIBETAN GILT BRONZE FIGURE OF MILAREPA 16th Century H: 13 cm
NT$ 1,500,000 - 2,600,000 HK$ 370,000 - 642,000 US$ 47,700 - 82,700 16世紀 西藏 銅 鎏 金 米 拉 日 巴 像
This figure has short curly hair, a round face with a peaceful expression. It is depicted vividly with a drinking horn in his left hand, right hand put next to his ear, as if he is singing a song. It is recorded that Milarepa used “Ox Horn Song” to enlighten Rechung so in some sculptures Milarepa is also depicted with an ox horn in hand. This figure shows Milarepa with a calm and solemn face, wearing a robe with delicate patterns on it, seated in a casual posture wearing a robe with delicate decorations, showing strong artistic appeal. 此造像頭留捲曲的短髮，面容圓潤，神情祥和自然。左手持角杯，右手置於耳 側，似在演唱道歌，神態生動傳神。米拉日巴尊者往昔說過「牛角歌」，以牛角 度化熱瓊巴，所以在造像中米拉日巴尊者手持牛角的形象。而然此拍品中上師面 容方正圓潤，身著袒右式長袍，衣紋上有精美的圖案，雙腿遊戲姿坐。身材勻稱 合度，衣褶線條流暢，製作工藝精巧，具有很強的藝術感。
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Literati: Oriental Arts from an Artist’s Studio
642 A MUSTANG FIGURE OF NAIRATMYA 15th-16th Century H: 17.5 cm
NT$ 1,300,000 - 1,800,000 HK$ 321,000 - 444,000 US$ 41,400 - 57,300 15-16世紀 木 斯 塘 無 我 佛 母 坐 像
Ravenel 76
Literati: Oriental Arts from an Artist’s Studio
A Mustang Figure of Nairatmya Ming Dynasty (AD 1368-1644)
Nairatmya is the consort of Hevajra, usually appeared in pair with him in a Yab-Yum form, very rarely shown solo as a sculpture. This figure is seated on a double-lotus base, holding a kapala in left hand and a kartrika in right hand. She wears a leaf-shaped coronet on head with her hair partly in an ushnisha and partly let down on her shoulders, on top of it a spherical cintamani ‘jewel’ finial. Her face is roundish with eyes slightly open, a straight nose and a small mouth, appearing solemn. Nairatmya is shown naked from upper body, with an accurate body structure and a graceful posture. Her chest is decorated with jades and pearls, the robe she wears falls across her arms and drapes naturalistically, with a pearl belt and long dress covering from waist down, her wrists, arms and legs all decorated with bracelets. Such exquisite portrayal of details makes the figure all the more valuable. 無我佛母又稱「金剛無我佛母」，單尊造像很少，常作為歡喜佛的 明妃出現。此件佛母全跏趺端坐於雙層束腰仰覆蓮座之上。左手持 嘎巴拉碗，右手持鉞刀。頭戴葉形寶冠，束髮高髻，寶珠頂嚴，餘 髮披肩，繒帶於耳後飛揚。面相圓潤，雙目微睜，直鼻寬厚，小口 細長，神態莊嚴，耳飾圓璫。佛母上身裸露，軀體結構合理，造型 優美，胸前飾瓔珞，帔帛搭於雙肩，繞過兩臂自然飄落。腰繫連珠 腰帶，下身著長裙，裙薄貼身，只在腿部做出衣緣效果。佛母手、 臂、腿處皆飾釧環。雙層仰覆蓮座，蓮瓣細長挺拔。材質特殊，殊 為難得。
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Literati: Oriental Arts from an Artist’s Studio
643 A TIBETAN GILT BRONZE FIGURE OF A GURU 15-16 Century H: 12.5 cm
NT$ 1,300,000 - 1,800,000 HK$ 321,000 - 444,000 US$ 41,400 - 57,300 15-16世紀 西 藏 銅 鎏 金 嘉 旺 僧 格 像
Ravenel 80
Literati: Oriental Arts from an Artist’s Studio
Ravenel 82
A Tibetan Gilt Bronze Figure of a Guru 15-16 Century
Guru is a Sanskrit term that connotes someone who is a
上師像是藏傳佛教中獨特的題材。佛教將佛、法、僧稱
"teacher, guide, expert, or master" of certain knowledge
為三寶，僧寶的人間角色，即是金剛上師。上師梵語稱
or field, Lama in Tibetan. In pan-Indian traditions,
古魯（guru），藏語稱喇嘛（lama）。能夠被稱為上師
guru is someone more than a teacher, traditionally a
的，必須是擁有金剛阿闍黎位的善知識，指可以宣揚密
reverential figure to the student, with the guru serving as
法、傳授弟子密宗儀軌的人。在密宗教法中，金剛上師
a "counselor, who helps mold values, shares experiential
的地位無與倫比。這是因為其身是僧寶，語是法寶，意
knowledge as much as literal knowledge, an exemplar in
是佛寶，而本質代表一切真理的持有者，還是修法的給
life, an inspirational source and who helps in the spiritual
予者和引導者。密乘認為人能成佛的究竟原因是內在的
evolution of a student." The term also refers to someone
佛性，自然金剛上師的顯現就成為修行人內在本具之佛
who primarily is one's spiritual guide, who helps one to
性的體現。所以傳承金剛上師的形像是最常見的法源。
discover the same potentialities that the guru has already
藏傳佛教藝術與眾不同的特色之一就是有大量製作精
realized.
美、風格寫實的上師像。通常看到的上師像，是派內弟 子按照其本人實際樣貌為基礎製作，作為追憶、供養、
This figure of a guru was made in rose copper, portraying
依止的處所。
the guru with a delicate face in the shape of a full moon. The guru seated in vajraparyankasanam on a lotus
這尊上師像，以紅銅鑄造，上師面如滿月，眉目清秀，
throne, left hand holding a sacred book in dhyana mudra
流露出堅毅的氣息。上師結跏趺端坐，左手禪定印托經
and right hand put before his chest in Dharmachakra
書，右手在胸前施說法印，整體顯得沉靜祥和，散發著
Mudra. He’s wearing voluminous outer and inner robes
智慧的神韻。內著僧祗支，外披罩袍僧衣，衣緣鏨刻有
secured at the waist with a sash, patterns of entwined
纏枝蓮花和卷草花卉，花紋繁縟複雜又絲毫不亂。衣褶
lotus flower and stems decorating it, complicated but not
流暢自然，特別於身前堆疊成三角狀，十分特殊，也很
chaotic. The drapery folds into a triangle shape before
好地表現出僧袍厚重的質感。蓮座為雙層覆仰蓮，每個
him, which is very rare to see, showing the sense of mass
細小的蓮瓣都又由兩層尖蓮瓣組成，刻畫非常精細。蓮
of the frock efficiently. At the bottom of the lotus throne
座上有藏文銘文一行，表明了此上師名字為嘉旺僧格，
there is a script, stating the name of the guru. According
根據衣著等多方面分析，可能是一位噶舉派的高僧。
to analysis from different perspectives, this is probably a guru of Kagyu School.
本件造像面部特徵寫實，應係按照上師生前實際樣貌製 作。造像的封底為原始狀態，保存完整，金銅佛像因年
This figure is preserved in a perfect condition, with
代久遠保存有原始封底的作品相當有限，宗教意義巨
the original sealing weld. Because of the long history
大。這尊上師像品相完整，銅質古樸，包漿自然，是同
such figure with original sealing weld is extremely rare,
類上師中的精品。
suggesting high religious value.
Literati: Oriental Arts from an Artist’s Studio
644 A PALA PERIOD COPPER ALLOY FIGURE OF WHITE TARA 12th Century H: 15 cm North-east India
NT$ 8,000,000 - 15,000,000 HK$ 1,975,000 - 3,704,000 US$ 254,600 - 477,400 PROVENANCE: Private European Collection
12世紀 帕拉王 朝 合 金 銅 嵌 銀 白 度 母 坐 像 來源： 歐洲私人收藏
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Literati: Oriental Arts from an Artist’s Studio
A Pala Period Copper Alloy Figure of White Tara 12th Century
This is a Pala style copper alloy figure of White Tara.
is bronze alloy, and due to good preservation of
The Pala Empire was an imperial power during the
generations, the cot is very smooth.
Late Classical period on the Indian subcontinent, which originated in the region of Bengal. It is named
Pala Empire was destroyed by the Arabians through
after its ruling dynasty, whose rulers bore names
the latter’s invasion to the east, and few figures of
ending with the suffix of Pala. They were followers
Buddha survived, of which only Tibet preserve some.
of the Mahayana and Tantric schools of Buddhism.
Therefore, a Pala style figure of this size is extremely
The Pala school of sculptural art is recognized as a
precious. Its unique style and the high artistic value
distinct phase of the Indian art, and is noted for the
has been sought after by the international Himalayan
artistic genius of adding a number of elements of
art market, especially during recent years when the
the Buddhist school what later called by Japanese as
domestic market of gilt bronze figure of Buddha
Mikky. Because of the exquisite craft, expressive body
escape from the misleading pursuit for the heavy, the
language and facial expressions, it made a big impact
big and the golden. The commonly seen Pala figures
on Nepalese and Tibetan sculptures.
of Buddha are usually 10cm in height, while this piece is almost 15cm, making it even more scarce.
This figure shows typical facial features of Indians, eyes looking straight ahead with plump lips and a roundish
From the perspective of subject, this White Tara is
face. The earrings she wears are classically annular of
the incarnation of Gunyin. Because she has eyes on
Pala style. The figure is seated in vajraparyankasana,
forehead, on hands and on the arch of feet, so she
with right hands lowered in vitarkamudra and left
is also called Seven Eye Tara, known for compassion,
hand helding a lotus flower, wearing a loose skirt
long life, healing and serenity. Commonly seen figures
spread over the base and leaving the torso bare but
of Tara in Pala style are Green Tara, this White Tara is
covering the lower part of the body in long dress
very rare.
with delicate rhombus patterns consist of rose copper
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and white silver, also embroidered with silver. Luxury
This figure of White Tara is a representative work
decoration is the characteristic of the aristocratic
of Pala Empire, giving a strong visual impact to the
aesthetic of Pala Empire, which deeply influences the
viewers and artistic appeal, making it a extremely
Nepalese and Tibetan figure making. The material
valuable addition to any Buddhist art collection.
這是一尊帕拉風格的合金銅白度母像。帕拉王朝是八世紀中葉崛起於位 於印度東北部的強大王朝，崇奉密教，它是印度笈多王朝覆滅以後， 佛教文化和藝術最後的保護者。帕拉王朝風格強烈的受到笈多風格的影 響，本土特色濃厚，影響深遠，尼泊爾、西藏西部造像都受它的影響。 此尊白度母為帕拉王朝全盛時期作品，面容具有印度人典型特徵，雙眼 直視，豐滿的嘴唇，臉型圓潤飽滿，頭冠兩側有扇形繒帶，耳部佩戴帕 拉典型的環形耳飾。身姿以金剛跏趺端坐，胸部飽滿，腰部細斂，左手 上舉持一莖蓮花開敷於肩，右手向下施與願印，象徵慈悲，救蒼生於苦 難。度母身披報身八寶飾等各種瓔珞，下身裙裝刻畫精美，以紅銅和白 銀鑲嵌出菱形圖案，並以銀絲鑲嵌表示出衣紋，工藝十分考究。裝飾華 麗是帕拉王朝造像的貴族美學特色，深深影響了此後尼泊爾與西藏的造 像風格。蓮座飾以典型的寬扁齊整的帕拉仰覆蓮瓣，蓮座下方還以亞字 型須彌座承托，數層的的底座使整尊造像更為挺拔和華美。造像材質為 合金青銅材質，由於傳世保存，皮殼光潤異常。 帕拉王朝在阿拉伯人東侵的過程中覆滅，原產地很少有傳世佛像留存， 只有西藏還保留有其零星遺存，所以如此尺寸的帕拉佛像是非常珍貴 的。帕拉佛像以其獨樹一幟的風格和藝術高度，一直受到國際喜瑪拉雅 藝術市場的追捧，尤其是最近幾年國內金銅造像市場逐漸擺脫了追求 重、大、金的誤區，逐漸認識到高古造像的審美價值，使得作為喜瑪拉 雅高古金銅造像代表的帕拉佛像的價格扶搖直上。但是由於存世的稀 缺，高級別的帕拉佛像還是一佛難求。常見的傳世帕拉佛像一般以10公 分左右多見，此件白度母尺寸達到近15公分，是十分少見的。 從題材看來，此尊白度母，正式稱呼為增壽救度佛母，是觀音菩薩慈悲 的化身，因額頭、手腳心俱有眼，又被稱為七眼佛母。她是二十一救度 佛母之一，又是長壽三尊之一，由於有祈願長壽的功用，在喜瑪拉雅地 區特別受到尊崇和供奉。常見的帕拉風格度母以綠度母多見，白度母則 非常少見。 本件白度母銅像是帕拉王朝較有代表性的作品，給人以強烈的視覺衝擊 力，藝術水平非常高超，是目前不可多得的收藏上品。
Literati: Oriental Arts from an Artist’s Studio
645 A GILT BRONZE FIGURE OF GURU 15th-16th Century H: 10 cm PROVENANCE: Private Asian Collection
NT$ 650,000 - 900,000 HK$ 160,000 - 222,000 US$ 20,700 - 28,600 15-16世紀 西 藏 銅 鎏 金 上 師 像 來源： 亞洲藏家舊藏
Ravenel 88
646 A PALA PERIOD COPPER ALLOY FIGURE OF AVALOKITESVARA 12th Century H: 10 cm
NT$ 550,000 - 800,000 HK$ 136,000 - 198,000 US$ 17,500 - 25,500 12世紀 帕拉 蓮 花 手 觀 音 銅 立 像
Avalokite vara is one of the many incarnations of what is called Guanyin in Chinese. This figure wears a flora coronet, hair in an ushnisha, deep eyes carved in rhombus shape, nose straight and wide, lips slightly pursed, showing facial features of Indians. She has a wide shoulder and a trim waist, upper body bared, standing with a stole circling her body; the lower part of her body is clad in Indian style dress with wave patterns, jades and pearls decorating her waist. A lotus flower is in her left hand which is decorated with bracelets just as her arms and legs. Wide bracelets consist a feature of Indian district. This figure is made in a typical 12th century Pala style, with a graceful design, especially the S-shaped body of the Avalokite vara, making the piece full of dynamics, staging a scarce and precious piece of artworks of Indian Pala. 蓮花手菩薩為觀音菩薩的眾多化身之一，頭戴花冠，束髮高 髻，面相方圓，菱形深目，直鼻寬大，雙唇微張，五官具印度 人特點；耳飾圓璫，耳後繒帶橫出，於耳後飄起。寬肩細腰， 上身袒露，呈三折姿佇立，聖帶環披，自左肩而下呈扭腰曲 線；腰飾環形瓔珞。右手腰間施予願印，左手拈一枝蓮花， 半開敷於左肩旁。臂、腕及腳踝皆飾釧環，寬手環具印度地區 特點， 為帕拉12世紀常見風格。刀工精細流暢；造型優美雅 緻，特別是聖帶優雅曲線、蓮花蔓草蜿蜒曲線與裊娜身姿，三 者相呼應，使構圖呈現律動感，藝術效果強烈，是件難得的印 度帕拉藝術作品。
Literati: Oriental Arts from an Artist’s Studio
647 A QIANLONG IMPERIAL GILT BRONZE FIGURE OF MAITREYA 18th Century H: 20.4 cm PROVENANCE: Private Collection of J. Sauvenière (1913-2000) Sotheby's, Paris
NT$ 1,200,000 - 1,800,000 HK$ 296,000 - 444,000 US$ 38,200 - 57,300 清 乾隆銅鎏金 彌 勒 坐 像 來源： J. Sauvenière 收藏 (1913-2000 年 ) 蘇富比巴黎
Ravenel 90
Literati: Oriental Arts from an Artist’s Studio
Ravenel 92
A Qianlong Imperial Gilt Bronze Figure of Maitreya 18th Century
This gilt bronze figure of Maitreya is an artwork of Qing Qianlong
figures was so grand, the events so frequent, the number of evolved
period. Maitreya, also know as ‘Ci Shi’ in Chinese, is one of the Eight
craftsmen so huge, the quality of those figures of Buddha so high,
Great Bodhisattvas. According to Buddhist texts, Maitreya often sits in
making it unparalleled.
his heavenly palace in the Tushita paradise, teaching the pure dharma to deities and lamas, as a Bodhisattva. After Gautama Buddha got
Figures of Buddha were the essential products in the market dealing
nirvana, Maitreya became the successor to him. He will appear in the
during Qing Qianlong period. They are also the first choice of many
future, at a time when the Buddha's teachings have been forgotten,
collectors. This figure shows exquisite craft and wonderful design, a
and reintroduce his teachings to the world, as a Buddha.
representative of Qianlong artworks with good auction records, which makes it highly worth collecting.
This particular figure appears to be a figure of Maitreya as a Bodhisattva. His face is peaceful and gracious with downcast eyes
此尊銅鎏金彌勒像為清代乾隆時期作品。彌勒菩薩是八大菩薩之
and brows. The deity is seated on a stepped rectangular base with a
首，也將是釋迦牟尼佛的繼任者，將在五十六億七千萬年後降世成
constricted band, dressed in a robe draped over the left shoulder and
佛，故又被稱為彌勒佛或未來佛。其形象分為菩薩裝與佛裝兩種。
gathering folds above the feet, the serene expression flanked by a
菩薩裝彌勒像為未成佛前的形象，佛裝彌勒像則是表現他在龍華樹
pair of long pendulous earlobes and surmounted by tightly knotted
下說法，繼承釋迦牟尼佛的教化之責，形象與諸佛相似。此尊造像
hair and an ushnisha, with traces of engraved floral decoration on the
為菩薩裝彌勒像，面相端莊慈祥，雙眉低垂。其髮髻高聳，戴五葉
edges of the robe. On his head he wears a five-pointed crown and a
寶冠，束髮分兩股下垂，冠帶翻卷，耳垂部分裝飾大圓耳璫。上
stupa atop the high jatamukata, the long plaited hair cascading down
身著貼身天衣，胸前裝飾各種項鍊瓔珞，下著精美衣飾，身體兩側
the back, with hands raised in dharmachakra mudra. The figure is
有兩條飄帶飄揚。雙手當胸結說法印，坐在須彌座上，雙腳自然下
heavy and shiny with graceful posture full of dynamics.
垂，足踏一半圓形蓮座，這種坐姿稱為「善跏趺坐」或「倚坐」。 整尊造像胎體厚重，金色燦然，姿態優美，尤其腰肢略微右傾，與
The characteristics of Qing gilt artworks is pursing a splendid and
身體兩側的飄帶互相呼應，動態十足。須彌座邊緣皆鏨刻精美花
sumptuous effect rather than the antique style, and the technique
紋，背後的身光造型精美，紋飾繁複，工藝精湛，為乾隆時期北京
of gild during this period is highly sophisticated as well. Figures of
地區精工鑄造而成。
Buddha can maintain the golden glittering without it fading, unlike those of the previous generations. Figures of Qianlong period are
清代鎏金器物的特點是不追求古樸，而充分體現華貴富麗的效果，
mostly made of bronze, went through repeated smelting which
鎏金的技術水平也很高超，佛像一般金光閃閃色澤不減，為前代所
makes the bronze pure and dense. The body of the figure is heavy
不能及的。乾隆時期造像大多以黃銅鑄造，銅質經過反覆冶煉，銅
because of the thickness. When struck it releases a clear ringing
質細密純淨，採取厚胎鑄造方式，觸手分量沉重，發聲清脆悅耳，
sound, like a piece of musical instrument. This figure shows obvious
儼如樂器。此尊造型結構具乾隆造像明顯特點，而最值得注意的是
features of Qianlong period, among which the most noteworthy one
菩薩身上的裝飾，如頭冠、寶繒、耳環、瓔珞和各種釧飾，手法細
being the decoration on the body of the Bodhisattva including the
膩，工藝十分精細，每個細小部位都做到了一絲不苟，時代造像工
coronet, the ushnisha, the ear rings, the strings of jades and pearls
藝上的優點在這尊造像上體現得非常充分。
and various bracelets. The craft is so exquisite that every little detail is fastidiously done. The merits of figure making of that period are
乾隆時期，大學士工布查布譯出《造像量度經》，乾隆與三世章嘉
efficiently demonstrated on this piece.
國師又合作編訂了《三百佛像集》，這時造像就是嚴格按照這些佛 像量度的規定和既定的圖像模式進行塑造的。由於乾隆帝對造像的
During Qianlong period, The Buddhist Canon of Iconometry was
高度重視，乾隆時宮廷造像規模盛大，活動頻繁，參與工匠眾多，
translated into Chinese; Qianlong also collaborated with Changkya
製作的佛像水準很高，這些都是清代其他時期無法相比的。
Rölpé Dorjé to edit The Collection of Three Hundred Figures of Buddha. At that time the making of figures of Buddha was already
清代乾隆時期造像一直是市場交易主流，也是很多收藏家必備的首
strictly conformed to these rules and models. Due to the importance
選品類。這尊造像工藝精美，題材殊勝，是乾隆時期的典型代表
Qianlong attached to figures of Buddha, the scale of court making
作，有良好的拍賣和流轉記錄，非常值得收藏。
Literati: Oriental Arts from an Artist’s Studio
648 A TIBETAN COPPER ALLOY FIGURE OF THANGTONG GYALPO 17th-18th Century H: 20.5 cm
17- 18世 紀 西 藏 合 金 銅 湯 東 傑 布 像 來源： 佳士得巴黎
PROVENANCE: Christie's, Paris
NT$ 650,000 - 850,000 HK$ 160,000 - 210,000 US$ 20,700 - 27,100
Thangtong Gyalpo, also known as Chakzampa, the "Iron Chain
湯東傑布生於十四世紀晚期的後藏昂仁宗拉孜地方，原名赤沃巴
Maker" and the “King of the Empty Plain”. He was also known by
登，是香巴噶舉派的高僧。他自幼性格開朗活潑，擅長即興編詞，
a variation of this name, “Madman of the Empty Valley”. He was a
唱歌跳舞。16 歲時代兄從軍，退役後，遵照父命帶著氂牛尾和麝香
great Buddhist adept, a Chöd master, yogi, physician, blacksmith,
為本錢去卡朵（今西藏吉隆縣附近）學做生意，途中遇到尼香七兄
architect, and a pioneering civil engineer. He is considered a mind
弟違反吐蕃王法要被處死，他頓生憐憫之心，慷慨捐出所有錢財救
emanation of Padmasambhava and a reincarnation of Dolpopa Sherab
出七兄弟。空手回家後，受到父親的嚴厲斥責，從此，他入強定寺
Gyaltsen. He founded the Iron Chain lineage of the Shangpa Kagyu
削髮為僧，得僧名尊朱桑布。在寺學習期間，他刻苦努力，博學多
school of Tibetan Buddhism, and he recognized the first Samding
思，尤其喜愛在原野深山中進行修行，被眾人譽為湯東傑布（原意
Dorje Phagmo, Chökyi Drönma (1422–1455), the female incarnation
為原野之王）。
lineage of Vajravarahi. 湯東傑布不止念經修行，還體察百姓之苦，不辭辛勞，跋山涉水， Thangtong Gyalpo is said to have built 58 iron chain suspension
奔波於藏區各地，希望在交通不發達的地方修橋鋪路。經過不懈的
bridges around Tibet and Bhutan, several of which are still in use
努力，他的真誠感染了眾生，得到了許許多多人的信賴和支持，同
today. He also designed and built several large stupas of unusual
時也感動了一些地方頭人和土司，在眾人的支持和幫助下，1403年
design including the great Kumbum at Chung Riwoche, Tibet;
建成了他的第一座橋——曲水鐵索橋。有傳說湯東傑布一生共建造
established Gonchen Monastery in Derge; and is considered to be the
了108座橋，為廣大藏族人民的生活帶來了極大的方便，同時，對
father of a style of Tibetan opera called Lhamo. Associated with the
於藏區的經濟文化發展起到了巨大的推動和改變作用。湯東傑布由
Shangpa Kagyu, Nyingma and Sakya traditions of Tibetan Buddhism,
於修橋所以深入民間，以戲劇的形式向人們遊說自己建橋造船的意
and with the tradition of "mad yogis" known as nyönpa, Thangtong
圖，創造了藏戲這種獨特的藝術形式，所以他也是藏戲之祖。
Gyalpo is also known as a sorcerer character in the popular Tibetan story of Gesar. In addition, he is believed to be the most widely
此造像以湯東傑布典型形象出現，刻畫為年邁的瑜伽士，上身赤
traveled person in Tibetan history.
裸，披掛瑜伽帶，以自在坐坐於蓮台上，雙手以禪定印捧寶瓶，代 表其保佑長壽的功能。面部泥金，並於眉眼嘴唇畫彩，須髮塗以全
This Figure shows Thangtong Gyalpo in a classical form of his as an
白。湯東傑布身下蓮台上鋪覆一張鹿皮，代表其瑜伽士相應的果
old yogi, baring his upper body except for the yoga sole, seated on
位，蓮台為單層仰蓮，蓮瓣雙卵形，這種蓮瓣最早出現於北印度地
a single lotus throne, both hands holding a midana-kumba, which
區，後世多有模仿，尤其是西藏東部地區。這件湯東傑布像為合金
shows his divinity of blessing longevity. The face is powered gold,
銅鑄造，皮殼經過幾百年歷史沉澱呈現出溫潤的棕色，整體比例協
brows, eyes and lips painted with colors, and hair white. The duo-
調，造型生動，尺寸恰為適宜陳設，是收藏賞玩的佳品。
oval-shaped petal of the lotus throne appeared earliest in north Indian district, which is mimicked by the later generations, especially those of the east Tibet. This figure of Thangtong Gyalpo is made of copper alloy with the cot showing a tender brown color after hundreds of years of history. The figure is perfectly proportional with a vivid design, making it an exceptional addition to Buddhism arts collection.
Ravenel 94
Literati: Oriental Arts from an Artist’s Studio
649 A GILT BRONZE FIGURE OF AMITHAYUS Qing Dynasty (AD 1636-1912) H: 25.5 cm PUBLISHED: Sacred Writings Volume 6: Buddhism: The Dhammapada , J.R. Carter, et al., Book of The Month Club, New York, 1992, color illustrated, the cover PROVENANCE: Private European Collection Private Collection, New York Christie's New York, 19th March 2013, No.410
NT$ 2,000,000 - 3,600,000 HK$ 494,000 - 889,000 US$ 63,700 - 114,600 清中期 銅鎏金 阿 彌 陀 佛 出版： 《聖書卷 6 ：佛教：法句經》，J.R. 卡特等編纂， 每月讀書會，紐約，1992，封面 來源： 歐洲藏家舊藏； 紐約藏家舊藏 紐約佳士得，2013 年 3 月 19 日，編號 410
Sacred Writings Volume 6: Buddhism: The Dhammapada 《聖書卷 6 ：佛教：法句經》
Ravenel 96
Literati: Oriental Arts from an Artist’s Studio
Ravenel 98
A Gilt Bronze Figure of Amithayus Qing Dynasty (AD 1636-1912)
The deity seated in dhyansana with both hands folded in dhyana mudra on a separately cast lotus pedestal, demonstrates the typical posture of a figure of Amithayus. It is brilliantly gilded overall except for the hair which bears traces of blue pigment, on top it a spherical cintamani ‘jewel’ finial. The serene face with a hollowed urna above slim, downcast eyes and a bow-shaped mouth shows the Buddha’s divinity as a fuse of intelligence and kindness. His torso is draped in a loose kasaya, falling across one arm while leaving the right shoulder bare, the robes skillfully chased and incised with patterns of square lattices and detailed borders of composite flowers at the hem, cascading on the base in fan-shaped folds. The figure is of a big scale and preserved perfectly. On the bottom there is an original Tibetan inscription, making this figure all the more precious.
此尊以雙手結禪定印，全跏趺端坐，為阿彌陀佛的標準造像姿勢。像身螺髮靛藍，肉 髻高隆，以寶珠作頂嚴。眉眼細長，白毫凸顯，高鼻薄唇，莊嚴靜穆，體現出智善合 一的佛性。頸施三道，軀體提拔有力，結構比例精准。上身著袒右肩式袈裟，其上鏨 刻雙線方格紋，以示袈裟為田相衣樣式，並敲刻精美卷草花紋，座前鋪折扇形衣褶。 下承雙層蓮花座，蓮瓣較為窄長，排列細密。整尊形體碩大，造型端莊嚴整，胎體厚 重敦實，而且流傳有序，底座後方刻有藏文題記一行，兼配原封底，更為難得，為北 京地區金銅造像中的精作。
Literati: Oriental Arts from an Artist’s Studio
650 A GILT BRONZE FIGURE OF MANJUSHRI HOLDING A SWORD Qing Dynasty (AD 1636-1912) H：17 cm
NT$ 600,000 - 900,000 HK$ 148,000 - 222,000 US$ 19,100 - 28,600 PROVENANCE: Private Asian Collection
清 銅鎏金持劍文殊菩薩像 來源： 亞洲藏家舊藏
Ravenel 100
Literati: Oriental Arts from an Artist’s Studio
651 A TIBETAN GILT BRONZE FIGURE OF SEATED AMITAYUS 15th Century H: 18.2 cm PROVENANCE: Private collection, France
NT$ 1,500,000 - 2,000,000 HK$ 370,000 - 494,000 US$ 47,700 - 63,700 15世 紀 西 藏 銅 鎏 金 無 量 壽 佛坐像 來源： 法國藏家舊藏
This figure of Amitayus wears a coronet with an ushnisha on his head, annular rings hung below his ears. His face has a square shape, with a solemn expression on it. Shoulders wide and waist trim, the figure is represented with a jade and pearl necklace and a long chain on the upper body, lower half covered in a long skirt also with a jade and pearl belt, wrists and ankles bearing bracelets. A great number of pearls and precious stones were used on this figure, and the robe is depicted realistically with delicate draperies. The deity is seated in rajalilasana on a raised double lotus throne, the petals of lotus all exquisitely made. The figure has a perfect proportion and a delicate design, with the splendid golden glitter making it an exceptional addition to Buddhist arts collection. 此像頭戴花冠，頂結高髮髻，耳側繒帶較短，耳下垂圓 環。面形方正，面容莊嚴肅穆。雙肩寬厚，腰部收束。上 身飾項圈和長鏈，項圈下綴環形瓔珞，下身著長裙，通體 瓔珞及寶冠均鑲嵌綠松石，裙子與帔帛採取寫實手法表 現，衣紋流暢優美。結跏跌坐於雙層束腰蓮花寶座上，蓮 花由兩種顏色銅質製成。雙手置臍下結禪定印，蓮座蓮瓣 優美飽滿，蓮瓣的內緣紋飾精美，尖端部上捲成花蕊狀。 整體造型精美，比例勻稱，動態舒展，線條流暢，金色 飽滿悅目，富麗堂皇。
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652 A THANGKA DEPICTING JATAKA TALES Qing Dynasty (AD 1636-1912) 90 x 71 cm
NT$ 240,000 - 360,000 HK$ 59,000 - 89,000 US$ 7,600 - 11,500 清 佛陀本生故 事 唐 卡
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653 A CARVED WOOD FIGURE OF TANKASRI AVALOKITESVARA Ming Dynasty (AD 1368-1644) H: 53 cm PROVENANCE: Private Asian Collection
NT$ 1,200,000 - 1,800,000 HK$ 296,000 - 444,000 US$ 38,200 - 57,300 明 木雕水月觀 音 坐 像 來源： 亞洲藏家舊藏
A very semilar figure was sold at Sotheby's. 明 水月觀音木雕像，蘇富比拍賣
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A Carved Wood Figure of Tankasri Avalokitesvara Ming Dynasty (AD 1368-1644)
The Avalokitesvara has round face with full cheeks and down-casted eyes, a pearl necklace adorning her neck, appearing dignified, generous and elegant. The figure’s wearing a kasaya on the upper body and a long skirt the lower half, seated on a mountain rock with her left hand leaning on the seat and right hand casually put on her right knee. The wood figure is nicely preserved with the skirts draping down the seat naturally. Tankasri Avalokitesvara is one of the thirty-three incarnations of Bodhisattva. After the Buddhism in India come into being, it spreads broadly the entire world. Whether the region that belief in Mahayana or Hinayana can find the track of Avalokitesvara. From the Buddhism into Han-Dynasty, Chinese began to believe the Avalokitesvara. In China, it can be sawed in many tempels and the believer read "Namo mahamaitri maharuna" are innumerable. As "The Fahua Jing" Buddhist scriptures translated in Wei-Jing and Northern and Southern Dynasties, the image of Avalokitesvara began into the process of Nationalization and Secularization. Through the integration of outside national culture, Tankasri Avalokitesvara was produced based on "The Huayan Jing". It stands for Avalokitesvara image of nationalization in China. Through long time influenced, Avalokitesvara had integrated with Chinese culture; it showed the Chinese aesthetic and wisdom. 觀音頭戴化佛冠，額際方圓，雙頰豐腴，眼瞼低垂。耳側髮辮搭肩，頸部飾有珍珠項鍊。端莊慈祥，頗 極丰姿，氣質高雅。觀音上身穿袈裟，下身著長裙，遊戲坐於山石之上。衣襟飄逸靈動，保存完好。左 臂倚靠几座，右手自然垂放於右膝，端莊閒適。裙擺從台座垂下，波浪紋的裙褶婉轉自然。 水月觀音為三十三觀音之一，國內外博物館將水月觀音作為木造像的經典之作，具有重要的歷史與藝術 價值。此尊觀音將周昉所創的「穠麗豐肥」的水月觀音形象展現得淋灕盡致，水月觀音造型是漢傳佛教 的獨創造型題材，相傳，最早繪畫水月觀音的人是唐代的畫家周昉。張彥遠所著《歷代名畫 》卷十有 周昉在長安勝光寺畫了一幅水月觀音，畫中繪一轉圓月把觀音團團圍住，周圍有一片竹林，很可能是後 來繪畫者或雕刻者創作水月觀音形象的根據。
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654 AN IMPERIAL DRY-LACQUER FIGURE OF AVALOKITESVARA Ming Dynasty (AD 1368-1644) H :47 cm PROVENANCE: Private Asian Collection
NT$ 2600,000 - 3600,000 HK$ 642,000 - 889,000 US$ 82,700 - 114,600 明 京工脫胎夾 苧 觀 音 菩 薩 像 來源： 亞洲藏家舊藏
The Collection of Nanjing Musuem 南京博物院藏明代脫胎夾苧觀音菩薩像
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A Imperial Dry-Lacquer Figure of Avalokitesvara Ming Dynasty (AD 1368-1644)
This figure of Avalokitesvara is depicted with a gentle expression, high-arched nose, down-casted eyes and a smile appearing on the lip, seated in dhyansana. The deity’s wearing kasaya with strings of jades and pearls adorning the chest, lower half of the body covered in long skirt. This is an perfect example of the incorporation of the techniques of dry-lacquer and gold-lacquer. The technique allowed for very precise sculpting and in the modeling of the present head the sculptors displayed particular sensitivity and an uncanny understanding of the expressive quality of simple, sharp lines and soft, rounded curves, with a splendid visual effect. The figure was made in a typical Ming style, which is highly rare to see in such good condition of preservation. The technique of dry-lacquer can be dated back to the Spring and Autumn period; now the majority of Chinese earlier Buddhist figures made by this technique are in foreign countries. Among the collections of The Metropolitan Museum of Art and Seattle Art Museum there are dry-lacquer figures of Buddha of Tang dynasty which are extremely precious. There is no other technique or material that can evoke the harmony and perfection of a divine face like this ‘dry lacquer’ technique. The production began with a stick-like wooden model over which a figure was sculpted from clay. Onto this clay base patches of lacquer-imbued hemp were pasted that later would provide the core of the figure. These were then covered with further lacquer layers, which would be sculpted in greater detail and carved to acquire their final appearance. The surface was eventually painted in polychrome pigments. When finished, the figures were cut open at the back and the original construction of wood and clay removed to hollow them out and to leave only the thin skin of hemp and lacquer. The advantages of such light figures compared with ones carved from stone are obvious, as they could be completed in specialized metropolitan workshops, easily transported, and carried around in processions. 此尊菩薩面容溫婉，鼻梁高挺，雙目微垂，嘴角含笑，神聖高潔慈美，右手結甘露印，左手上托至腹前，手的刻畫纖細修長， 優美富動態，全跏趺端坐。菩薩上身著雙領下垂式袈裟，胸部配飾聯珠式瓔珞，刻畫精美，下身著高束腰長裙，與當時漢地佛 造像常見裝束相符。衣紋飄逸富有垂墜感，生動寫實，自然流暢。通體數道漆金，色澤深沈，寶光內斂。此像夾苧與漆金工藝 結合完美，典型明代製式，仍保存完好實屬難得。與南京博物館藏明代觀音像相比，造型更加生動傳神。風格鮮明突出，身型 圓潤飽滿，法相莊嚴肅穆，紋飾飄逸流暢。 夾苧脫胎材質源於春秋戰國時期，歷史悠久。我國早期的脫胎夾苧佛像大都流落國外，現在美國的大都會博物館及西雅圖博物 館(各藏有唐代的夾苧脫胎佛像。夾苧佛像主要為皇家御用的高級工匠掌握，至今在承德外八廟、北京雍和宮保存了不少夾苧佛 像珍品，如溥仁寺慈雲普蔭殿十八羅漢像、雍和宮的雍和宮殿十八羅漢像等。夾苧脫胎主要由天然生漆、天然貯布及瓦灰等組 成，是用漆塗裹苧麻布而製成，先以黏土塑制泥模像芯，披苧布，層層塗漆，如此反復經過幾十道工序甚至上百道工序，等漆 層凝固，褪模型，再在表面進行貼飾裝鑾的一種佛教造像形式。經過乾漆夾苧工藝的處理，佛像色彩鮮艷，呈現出一種光潤亮 澤的質感，並且不宜開裂，變形，能更好地保存佛像原本的神韻，細膩的紋路和流暢的衣紋。
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655 A CARVED WOOD FIGURE OF TANKASRI AVALOKITESVARA Song & Yuan Dynasty (AD960-1368) H: 28 cm PROVENANCE: Private Asian Collection
NT$ 900,000 - 1,600,000 HK$ 222,000 - 395,000 US$ 28,600 - 50,900 宋 / 元 木雕水 月 觀 音 像 來源： 亞洲藏家舊藏
This Avalokitesvara is represented with a round and full face and slightly open eyes, a shawl covering the shoulders down to the elbows, running into a knot at her chest, which was a popular feature during Jin and Yuan Dynasties. The deity wears a monk skirt on the lower half of her body, feet bare, seated in a casual posture on the pedestal that has patterns of dragons carved on the front side of it, red ground covered in golden lacquer. 此尊菩薩造像，頭束髮髻，雙目微睜，面相飽滿。上身著衣 貼體，雙肩披帔帛，帔帛下垂至肘部。胸口帔帛束結，此種 樣式盛行於金元時期。下著僧裙，赤足，遊戲坐於台座之 上。台座正面鏤刻有龍紋，紅底覆金漆，伏於觀音坐下。此 像坐姿被稱為遊戲坐，稱為「水月」觀音。是唐五代開始的 一種被文人雅士所追捧的造像形式。
The Collection of San Diego Museum of Art 美國聖地牙哥藝術博物館藏南宋 木胎水月觀音造像
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656 T'ANG HAYWEN (TANG Then Phuoc, Chinese-French, 1927- 1991)
Valley From 1965 Ink on paper 70 x 50 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Private collection, Hong Kong
NT$ 700,000 - 900,000 HK$ 173,000 - 222,000 US$ 22,300 - 28,600 曾海文 山谷 約 1965 水墨 紙本 70 x 50 cm 簽名：T'ang 海文（右下） 來源： 香港藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
657 A BRONZE FIGURE OF SEATED MAITREYA 17th Century H: 20.5 cm
NT$ 1,300,000 - 1,800,000 HK$ 321,000 - 444,000 US$ 41,400 - 57,300 清中期 銅製彌 勒 佛 坐 像
Maitreya, also know as ‘Ci Shi’ in Chinese, is one of the Eight Great Bodhisattvas. According to Buddhist texts, Maitreya often sits in his heavenly palace in the Tushita paradise, teaching the pure dharma to deities and lamas, as a Bodhisattva. After Gautama Buddha got nirvana, Maitreya became the successor to him. He will appear in the future, at a time when the Buddha's teachings have been forgotten, and reintroduce his teachings to the world, as a Buddha. This particular figure appears to be a figure of Maitreya as a Bodhisattva.
彌勒，也名「慈氏」，是八大菩薩的成員之一，同時 也是廣受信眾供奉的重要尊神。按照佛經記載，彌勒 常居兜率天內院，為天眾說法，為菩薩形象；在釋迦 牟尼佛涅盤之後，他在未來將下生人間，於龍華樹下 成道，並舉行三次傳法，稱為龍華三會，普度天下信 眾。人們通常稱之為未來佛，為佛的形象。此尊應當 是彌勒菩薩像。
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658 A TIBETAN GILT BRONZE FIGURE OF GURU 15-16th Century H:14.5 cm PROVENANCE: Private Asian Collection
NT$ 800,000 - 1,200,000 HK$ 198,000 - 296,000 US$ 25,500 - 38,200 15-16世紀 西 藏 銅 鎏 金 上 師 像 來源： 亞洲藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
659 A TIBETAN FIGURE OF MAHASIDDHA 15th -16th Century H：7.5 cm
NT$ 240,000 - 360,000 HK$ 59,000 - 89,000 US$ 7,600 - 11,500 PROVENANCE: Private Asian Collection
Tsangnyon Heruka(1452-1507) was a famous Tibetan writer and a yogi in Ming dynasty, what one of his masterpieces is The Life of Milarepa. This figure is seated in relaxation attitude on a lotus pedestal, with the left hand holding a Kapala on top of thigh and the right a Vajra. The statue, apparently absorbed the art element of Han, is ornamented with inscriptions of Tibetan character on the back. This figure, with fine shape, exquisite workmanship, vivid expression and the Yong Le’s style of the lotus pedestal, absolutely shows the bronze style of Ming dynasty, and should be seen as the finest examples of bronzes in Yong Le period. 西藏，合金銅桑吉堅贊（1452-1507），明代著名的藏族文學作 家，是以修習為主的瑜伽行者。自幼崇敬噶舉派僧人米拉日巴，其
1 6世紀 西藏 合 金 銅 桑 吉 堅 贊 像 來源： 亞洲藏家舊藏
著作《米拉日巴傳》極富文采，廣為流暢。此像碩大的發髻高束於 頭頂，面龐飽滿，雙目圓睜，炯炯有神。體態圓渾，連珠瓔珞呈 「X」型交叉於胸前，是典型的瑜伽行者形像。結遊戲坐姿，左手托 嘎巴拉碗置於左大腿上，右手持金剛杵搭於右膝處。束腰仰覆式蓮 座，蓮瓣質均飽滿，座上披以人皮與獸皮各一，除了可欣賞紋樣上 的細致工藝外、將人及獸首和四肢垂掛於蓮座邊緣傳神的真實感， 亦為這件拍品的藝術性大幅加分。此造像為合金銅單體澆鑄，銅質 精煉細密並附有油性，手感沉重，整體造像人物刻劃生動傳神，工 藝精細，品相完美。
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660 A GORYEO FLOWER-SHAPED CELADON-GLAZED BOWL HOLDER Goryeo Dynasty (AD 918-1392) D: 11.5 cm H: 3.5 cm PROVENANCE: Private Collection, Taiwan
NT$ 30,000 - 50,000 HK$ 7,000 - 12,000 US$ 1,000 - 1,600
During Goryeo dynasty, the aristocracy is the center of the Korean society, interested in Song wares of that period. Chinese elements was entwined within the local life as lots of Chinese Song wares of daily life have been evacuated from the ruins of Goryeo’s capital city. Goryeo celadon wares, from the glaze to the shape, bear same features of Ru wares of that time, by which it can be deducted that Goryeo celadon wares were made in imitation of the Song Ru wares for the Goryeo aristocrats. 此盞托原上承茶盞，通體為灰青釉色，透明潤澤。高麗時代的社會 以貴族為中心，熱衷於同一時期的宋朝器物，中國元素融入當地的 生活文化當中，在高麗都城曾經出土大量的中國宋代的生活器。高 麗青瓷此類器物從外形或釉色均可見同期汝窯的器物，由此推測高 麗青瓷或為模仿宋代汝窯為宮廷貴族所燒制所需器物。
高麗 青瓷花 型 盞 托 12 世紀 高麗時代（918-1392） 來源： 台灣藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
661 A GANDHARA STONE FIGURE OF BODHISATTVA 2nd-3rd Century H: 21.5 cm W: 17.5 cm PROVENANCE: Collection of Isao Kurita
NT$ 200,000 - 300,000 HK$ 49,000 - 74,000 US$ 6,400 - 9,500 2-3世紀 犍陀 羅 時 期 一 佛 二 菩 薩 石 刻 來源： 日本栗田功舊藏
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662 A GANDHARA STANDING FIGURE OF BUDDHA 2nd-3rd Century H: 35 cm
NT$ 460,000 - 600,000 HK$ 114,000 - 148,000 US$ 14,600 - 19,100 2-3世紀 犍陀 羅 佛 陀 立 身 像 石 雕
The Buddha wears a loose coat covering both shoulders and falling in folds over the body. He stands barefooted on a square plinth, and his facial features are both delicately handsome and solemn. His wavy hair is combed back and gathered into a bun ("ushnisha") on the top of his head. In the middle of his forehead, between the eyebrows, is the baihao ("white hair"), a little round spot or curl which is a symbol of the Buddha. His almond-shaped eyes are looking downward, and his mouth is firmly closed. Behind and above him is a disc-shaped halo without any decorative patterns. The ancient Gandhara region is one of the cradles of Buddhism, roughly located in the area of modern Pakistan. The statues from this region blend the aesthetic styles of ancient Greece, Rome, and India, and are important historical, religious, and artistic artifacts. During the past 100 years, Japanese, European, and North American museums and collectors have been shelling out large sums of money to acquire Gandhara statues. Unfortunately, Chinese collectors have not been aware of this development so far. These statues are also seminal artifacts in the context of Buddhist art along the Silk Road: with their magnificent beauty and brilliant splendor, they have had a considerable impact on the development of Buddhist art in China. Even though China today is one of the main centers of Buddhist culture in Eastern Asia, Chinese knowledge and understanding of Gandhara and its culture is still very much in its infancy. However, the deep influence Gandhara has had on China's ancient art and culture, as well as the aesthetic values it imparted on the Middle Kingdom, will certainly be recognized and acknowledged by collectors once they set their sights on these artifacts which are part of the world's cultural heritage. Together with China's ancient art and culture, Gandhara forms an important building block of ancient Buddhist civilization.
佛陀穿通肩式大衣，衣褶深重，跣足站立在方台之上，面容俊秀、 肅穆，波浪狀的頭髮向後梳去，頭頂髮髻高聳，眉心有 凸起的小圓點-白毫，為佛陀的標誌之一，杏仁狀的眼睛垂視，嘴角緊抿，有圓盤狀無飾頭光。 古代犍陀羅地區是佛教的發源地之一，即今日的巴基斯坦，犍陀羅造像融合了希臘、羅馬和印度本地的藝術風格，具有非 常重要的歷史、宗教和藝術價值，在過去的一百年間，被日本和歐美博物館與重要藏家大肆重金收購，可惜中國的古玩收 藏界對此一無所知。犍陀羅造像同時也是絲綢之路佛教藝術的開端，壯麗輝煌，它啟發與影響了中國佛教藝術的發展。 作為東亞最重要的佛教文化為核心的國家，中國對於犍陀羅佛教的認識可以說才剛剛開始，但犍陀羅對中國古代藝術和文 化的影響， 以及它所承載的美學價值，肯定會很快受到中國收藏界的關注，這個屬於世界性的藝術品類，不久的將來，與 中國古老的藝術和文化連接起來，成為一個完整的佛教藝術文明體系。
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663 A GANDHARA STONE FIGURE OF MAITREYA AS BODHISATTVA 2nd-3rd Century H: 49 cm L: 31 cm W: 15 cm
NT$ 1,600,000 - 2,600,000 HK$ 395,000 - 642,000 US$ 50,900 - 82,700 2-3世紀 犍陀 羅 彌 勒 菩 薩 坐 像 石 雕
Gandhara is the ancient term for the city and old kingdom of
公元前6世紀，釋迦牟尼創立了佛教，但其後的五百年內，並未出現
Peshawar, which encompassed the Swat valley and the Potohar
直接表現佛形象的造像。這是因為，早期部派佛教時期，佛教徒們
Plateau regions of Pakistan, as well as the Jalalabad district of
認為佛陀是大智大覺、完美無缺的聖人，具有至高無上的地位，無
modern-day Afghanistan. During the Hellenistic period, its capital
法用任何形象進行無缺的展現。因此，在早期佛教藝術作品中，通
city was Charsadda, but later the capital city was moved to Peshawar
常只用佛的足印、蓮花、菩提樹等象徵物表示佛的存在。
by the Kushan emperor Kanishka the Great in about 127. It is mentioned in the Zend Avesta as Vaēkərəta, the sixth most beautiful
隨著佛教大眾部大乘佛教的興起，使得佛教的傳播在下層人民中更
place on earth, created by Ahura Mazda. It was known in Sanskrit
為普及，與上部座小乘佛教主要在僧侶階層修行不同，普通的信眾
as Puru apura, literally meaning "city of men". It was known as the
們更需要明確的載體來承載心中的信仰；其次是貴霜王朝所承續的
"crown jewel" of Bactria and also held sway over Takṣaśil (modern
希臘文化崇尚「人神一體」，使得佛陀的形象不再成為禁忌。
Taxila). 公元前326年，犍陀羅被馬其頓國王亞歷山大所征服，開闢了西方文 The Kingdom of Gandhara lasted during the Vedic period (c. 1500–
明進入南亞的門戶。在孔雀王朝短暫的統一後，公元前190年，它再
500 BC). As a center of Greco-Buddhism, Bactrian Zoroastrianism and
次被帕特里亞希臘人（大夏）征服，帕特里亞人100多年的統治，成
animism, Gandhara attained its height from the 1st century to the 5th
功地使這一地區希臘化。其後雖然來自中亞的塞種人和來自波斯的
century under the Kushan kings. The decline of the Empire left the
安息人先後統治這一地區，但出於對先進文化的熱愛，他們都接受
sub-continent open to Greco-Bactrian invasions. Present-day southern
了已經扎根於此的希臘化文明。公元前130年前後，發源於中國祁連
Afghanistan was absorbed by Demetrius I of Bactria in 180 BC.
山的月氏部落為躲避匈奴與大漢的戰火，西遷至帕特里亞，並於公
Around about 185 BC, Demetrius invaded and conquered Gandhara
元60年征服犍陀羅，建立了貴霜王朝。月氏人與之前的遊牧部落一
and the Punjab. Later, wars between different groups of Bactrian
樣，很快就適應並喜愛這裡的文化，並且由祆教改信佛教。貴霜盛
Greeks resulted in the independence of Gandhara from Bactria and
期的國王迦膩色迦被稱為「阿育王第二」，他崇信佛教，召集了佛
the formation of the Indo-Greek kingdom. The start of the Gandharan
教經典的第四次集結，廣建寺廟佛塔，並在希臘文化的影響下，創
Greco-Buddhist art is dated to about 75–50 BC. Links between Rome
造了以希臘化的寫實風格加上佛教象徵性標誌的犍陀羅風格藝術，
and the Indo-Parthian kingdoms existed.
也是佛造像第一次在世界上出現，成為了後世所有佛像的始祖。
This stone figure shows typical Gandhara style, with the Apollo-
這尊石雕造像是典型的犍陀羅風格，開臉為阿波羅式的希臘美男子
style oval-shaped face appealing in a Greek aesthetic, brows slender
面容、臉型橢圓，五官端正，眉細長而彎，高鼻凹眼，嘴唇薄而緊
and curved, nose high-arched, eyes hollowed, lips thin and pursed,
抿，面露高貴平和的微笑。眉間有凸起或凹下的白毫，上眼簾略下
morphed into a noble and calm smile. The figure’s eyes are down
垂，似為俯瞰眾生。頭頂多有隆起的頂髻，規整的波浪形的捲髮，
casted overlooking the living beings. Other characteristics include
耳垂較長。身著斜披式菩薩裝，衣紋交疊，層層墜下，有較強的貼
the ushnisha on the head, orderly curly hair, and long earlobes. The
身感。菩薩跏趺坐於方台，雙手禪定印下方持一隻淨瓶，這也是彌
figure’s wearing a drapery robe, seated on a square pedestal, both
勒菩薩的標誌。該像尺寸適中，年代久遠，有著不可替代的歷史價
hands holding a kalasa, which is also an attribute of Maitreya as a
值。
Bodhisattva. This figure has a perfect scale and a long history behind it, granting it irreplaceable historic value.
Ravenel 124
Literati: Oriental Arts from an Artist’s Studio
664 A GANDHARA CARVED STONE OF A BUDDHIST TALE 2nd-3rd Century L: 21 cm H: 18 cm W: 4.5 cm PROVENANCE: Private Collection, Taiwan
NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 2-3世紀 犍陀 羅 佛教故事石刻 - 釋 迦 摩 尼 涅 磐 天 花 來源： 台灣藏家舊藏
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665 A GANDHARA FIGURE OF BUDDHA 2nd-3rd Century H: 28 cm PROVENANCE: Private Collection of Isao Kurita
NT$ 280,000 - 380,000 HK$ 69,000 - 94,000 US$ 8,900 - 12,100 2- 3世 紀 犍 陀 羅 彌 勒 立 身 像 石 雕 來源： 日本栗田功舊藏
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666 THREE GANDHARA CARVED STONES DEPICTING BUDDHIST TALES 2nd-3rd Century H: 18 cm W: 22 cm H: 18 cm W: 25 cm H: 18 cm W: 23.5 cm PROVENANCE: Private Collection, Taiwan
NT$ 200,000 - 300,000 HK$ 49,000 - 74,000 US$ 6,400 - 9,500 2-3世紀 犍陀 羅 佛 教 故 事 石 刻 （ 三 件 一 組 ） 來源： 台灣藏家舊藏
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割草布施
四門出巡
天王獻缽
Literati: Oriental Arts from an Artist’s Studio
667 A SCHOLAR’S ROCK Qing Dynasty (AD 1636-1912) H: 12 cm W: 15 cm PROVENANCE: Private Collection, Taiwan
NT$ 100,000 - 200,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,400 清 賞石 來源： 台灣藏家舊藏
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668 A “CUIZHU VILLA” BLACK LACQUER WOOD PLAQUE Ming Dynasty (AD 1368-1644) L: 107 cm W: 57 cm PROVENANCE: Private Collection, Taiwan
NT$ 160,000 - 260,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,300 明 < 翠竹居>朱 黑 漆 木 匾 來源： 台灣藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
669 AN INSCRIBED BAMBOO-ROOT STAFF L: 97 cm PROVENANCE: Private Collection, Taiwan
NT$ 80,000 - 160,000 HK$ 20,000 - 40,000 US$ 2,500 - 5,100 竹鞭手杖 來源： 台灣藏家舊藏
The staff is made out of a whole piece of bamboo root, which is rarely seen. It is skillfully carved in the round to simulate a gnarled bamboo shoot with protruding nodes. Description for this bamboo staff is part of a set of proverbs starting with the famous saying “greatness lies in the capacity of the mind”. This staff was made by Ishida Baigan (October 12, 1685 - October 29, 1744) when he was 40 years old. Ishida was a Japanese lecturer and philosopher of Edo period who founded the Shingaku movement (heart learning) which advocated all education include teachings in ethics and morality. This intellectual movement absorbed Neo-Confucianism of Song and Ming dynasties, Zen, and Bushido (“the way of the samurai”), raising the idea that people should all learn from samurais. This set of doctrines was especially popular during Edo period but declined after Meiji Restoration. 此手杖以一長條近乎筆直之竹子根部地下莖（稱「竹鞭」）製成，實屬 鮮見。竹杖釋文：有容乃大；有忍乃有濟；有三公不易之介；有關世教 書宜讀；行事莫將天理錯，無欲則剛；無愛即無憂；無一藝自用乃高； 雖對人言事莫違；立身當與古人爭。乙已仲秋梅岩 石田 梅岩（59歲） 貞享2年9月15日（1685年10月12日）–延享元年9月24日（1744年10月 29日）（江戶享保十年）乙已年1725，所以這根竹杖是40歲時所作。梅 岩為江戶時代的(思想家、倫理學者，石門心學的開祖。石門心學是日本 江戶時代中期的思想家石田梅岩（1685年-1744年）開祖的一個倫理學 支派。這個派別吸收了宋明理學（特別是明朝時的心學）、禪宗與武士 道，提出四民應以武士為學習對象，認為人應努力工作不能遊手好閒。 這種理論在江戶時代後期於日本全國大流行。
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670 A JUN CELESTE-GLAZED SMALL BOWL Yuan Dynasty (AD 1115-1368) D: 8.6 cm H: 4 cm PROVENANCE: Private Collection, Taiwan
NT$ 50,000 - 80,000 HK$ 12,000 - 20,000 US$ 1,600 - 2,500 元 鈞窯天青釉 小 盞 來源： 台灣藏家舊藏
Ravenel 136
671 A NATURAL WOOD FRUIT BOWL Qing Dynasty (AD 1636-1912) L: 44.5 cm W: 30.5 cm H: 12.5 cm PROVENANCE: Private Collection, Japan
NT$ 150,000 - 250,000 HK$ 37,000 - 62,000 US$ 4,800 - 8,000 清 天然木果盆 來源： 日本藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
672 AN AGATE HIPPOPOTAMUS Qing Dynasty (AD 1636-1912) L: 7.5 cm W: 4 cm H: 4.5 cm PROVENANCE: Private Asian Collection
NT$ 300,000 - 500,000 HK$ 74,000 - 123,000 US$ 9,500 - 15,900 清 瑪瑙河馬造 型 擺 件 來源： 亞洲藏家舊藏
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673 A DING WHITE-GLAZED DISH Song Dynasty (AD 960-1279) D: 17.2 cm H: 2 cm PROVENANCE: Private collection, Hong Kong
NT$ 480,000 - 600,000 HK$ 119,000 - 148,000 US$ 15,300 - 19,100
ESKENAZI-Song ceramics from the Hans Popper collection p. 53
宋 定窯白釉盤 來源 : 香港藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
674 A RED LACQUER LOW TABLE Ming Dynasty (AD 1368-1644) L: 55 cm W: 29 cm H: 10.2 cm PROVENANCE: Private Collection, Taiwan
NT$ 360,000 - 480,000 HK$ 89,000 - 119,000 US$ 11,500 - 15,300 明 紅漆長方几 來源： 台灣藏家舊藏
Ravenel 140
675 AN AGATE CUP Song Dynasty (AD 960-1279) D: 7 cm H: 4 cm
NT$ 160,000 - 260,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,300 宋 瑪瑙杯
Literati: Oriental Arts from an Artist’s Studio
676 A WHITE JADE BELT BUCKLE WITH DRAGON PATTERN Qing Dynasty (AD 1636-1912) L: 11 cm W: 5 cms PROVENANCE: Sotheby's, Hong Kong, 31st Oct. 1995, lot 728
NT$ 850,000 - 1,000,000 HK$ 210,000 - 247,000 US$ 27,100 - 31,800 清 白玉螭龍紋 帶 扣 來源： 香港蘇富比 1995 年 10 月 31 日 lot728
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677 AN INLAID MOTHER-OF-PEARL BLACK LACQUER WINE TABLE Ming Dynasty (AD 1368-1644) H: 78.5 cm W: 50 cm L: 110 cm REFERENCE: Interpretation of Xiushilu (Records of Lacquering) , Wang Shixiang, Joint Publishing, Beijing, 2013 PROVENANCE: Private Collection, Taiwan
NT$ 1,000,000 - 1,600,000 HK$ 247,000 - 395,000 US$ 31,800 - 50,900 明 黑漆嵌螺鈿酒桌 參閱： 《髹飾錄解說》，王世襄，生活・讀書・新知三聯書店，北京，2013 來源： 台灣藏家舊藏
The long mitered rectangular top supported on paired recessed legs joined by a shaped apron with cirrus-cloud-shaped spandrels, elaborately inlaid overall in sections of mother-of-pearl on the black lacquer ground, the top with four sets of peony entwined with stems and leaves, within a broad frame of yuanbao-shaped panels. From the peeled-off parts a thick layer of grey protection coating can be covering the wooden body, and the black lacquer is applied upon it. A thick layer of Mother –of-pearl is filled into the grooves carved on the surface, which shows legacy of earlier techniques. The design of the decoration bears Ming style, and at the same time is a demonstration of the commonly seen transition style from Ming to Qing. 此案面板螺鈿佈局亦頗有明風，冰盤內以螺鈿細絲圍成元寶框，框內嵌 纏枝牡丹紋四組，花葉線條流暢優美，螺鈿之上更以刀工刻成葉脈經 絡。案髹黑漆嵌螺鈿，底部可見兩條穿帶，四腿秀美，兩側各有兩棖。 牙頭鎪成捲雲紋，更添雅麗。此案先在木胎上打灰胎，從剝落處可見灰 胎極厚，灰胎之上再髹黑漆，俟後挖槽嵌以螺鈿。螺鈿用料頗厚，是早 期工藝遺留，其面板花卉紋佈局可參考王世襄著錄的一件明代纏枝蓮紋 嵌螺鈿黑漆長方盤，此案器形輕盈，螺鈿刻畫精細，然螺鈿本身取用頗 厚，且花紋佈局皆為明代風格，也是明末清初之際各類器物常見的過渡 風格。
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678 A HUANGHUALI TABLE CABINET Ming Dynasty (AD 1368-1644) H: 31 cm L: 32 cm W: 27.5 cm
NT$ 500,000 - 800,000 HK$ 123,000 - 198,000 US$ 15,900 - 25,500 明 黃花梨 官 皮 箱
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679 A ZITAN ROSEWOOD ROUND STOOL Qing Dynasty (AD 1636-1912) D: 20.5 cm H: 11.5 cm
NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 清 紫檀酸枝圓 座
Literati: Oriental Arts from an Artist’s Studio
680 A PAIR OF TIN CANS Qing Dynasty (AD 1636-1912) H: 10 cm D: 6 cm PROVENANCE: Private Collection, Taiwan
NT$ 50,000 - 80,000 HK$ 12,000 - 20,000 US$ 1,600 - 2,500 清 錫罐（一對 ） 來源： 台灣藏家舊藏
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681 A DING WHITE-GLAZED DISH CARVED WITH FLORAL PATTERNS Song Dynasty (AD 960-1279) D: 20 cm H: 4.3 cm PROVENANCE: Private Asian Collection
NT$ 550,000 - 800,000 HK$ 136,000 - 198,000 US$ 17,500 - 25,500 宋 定窯白釉劃 花 盤 來源： 亞洲藏家舊藏
Literati: Oriental Arts from an Artist’s Studio
682 A BAMBOO BRUSH POT CARVED BY SHI QITAI Qing Dynasty JIaqing Period (AD 1796-1820) H: 14.8 cm D: 11 cm PROVENANCE: Private Collection, Taiwan
NT$ 650,000 - 950,000 HK$ 160,000 - 235,000 US$ 20,700 - 30,200 清嘉慶 時其泰 刻 松 林 煎 茶 雅 集 圖 竹 雕 筆筒 來源： 台灣藏家舊藏
Ravenel 150
This Qing Dynasty brush pot is carved with images of literati gathering
此件清代筆筒為嘉慶年間竹雕藝人時其泰所雕刻，題材為精雕松林
in the pine forest making tea. The oven, the kettles, the cups and the
雅石下，叢聚芭蕉與喬木，烹茶雅集共聚於此，爐、壺、杯、古籍
antique books, all the details are exquisitely engraved. Next to them
等，皆在細微處雕刻的十分細緻。旁有童子於林下嬉戲，上處露出
are children playing under the trees, with a corner of rood above
的一小角暗示居所，收尾則有一婦人閑座於石林間，雲煙繚繞，欣
them suggesting a residence. At the end there are women sitting
賞這一群男性文人間的飲茶之風雅聚會。筆筒因其老的皮殼，包漿
among the rocks in a foggy environment, watching the male literati’s
華美，十分難得。為什麼竹雕筆筒在文房的專場能屢創天價，因為
elegant tea party.
竹雕的精神性與文氣迷人，品相好、工藝精、年代久遠的竹雕，更 成為眾多藏家競相追逐的標的物。
This brush pot is especially valuable for its old but beautiful wrapped slurry. The reason why bamboo brush pot can preform well in auctions frequently is the charming spirit of literati embodied in carved bamboo. A piece of carved bamboo with long history, good condition and excellent craft is reasonably the object of pursuit for many collectors.
Literati: Oriental Arts from an Artist’s Studio
683 A LONGQUAN CELADON-GLAZED BOWL Southern Song Dynasty (AD 1127-1279) D: 14 cm PROVENANCE: Private Asian Collection
Historically, the Longquan kilns were the most important producers of celadon ware, with items from the Song Dynasty enjoying the highest reputation. Not only does Song green ware tend to have the best quality, it also comes in a great variety of designs and finishes, the latter including pastel celadon, plum green, and dongqing (“ilex green”) glaze. This shallow washer has a wide mouth and flat bottom, with curved sides that show a melon-ribbed pattern. The
NT$ 600,000 - 800,000 HK$ 148,000 - 198,000 US$ 19,100 - 25,500
entire vessel is covered in a thick and lustrous celadon glaze, with a lighter color where the body is bulging slightly, and a uniformly deeper hue in the concave parts, particularly of the melon rib design. This shading effect adds an extra touch of elegance and variety. The outer walls and round foot are neatly worked, with the foot’s unglazed underside revealing the reddish-brown tint of the body,
南宋 龍泉窯青 釉 洗 來源： 亞洲藏家舊藏
a typical feature of Song era Longquan ware. This type of glaze surpasses the commonly seen glaze of that period, giving a sense of the poem “In spring green waves grow as blue as sapphire.” 龍泉窯為歷史上重要的青瓷窯口，尤以南宋時期燒製的最為著名， 質量最優。燒製的器物也豐富多彩，釉色也分為粉青、梅子青、冬 青等釉色。此洗敞口，淺平腹，通體施青釉，釉質肥潤若瑩玉，凹 處微微釉色略深，明暗變化顯得更加優雅，外壁圈足修削工整，足 底露胎呈現紅褐色。此種釉色超越了當時常見的龍泉釉色，有一種 「春來江水綠如藍」之感。
ESKENAZI-Song ceramics from the Hans Popper collection p. 46
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684 RU YI (Chinese, b.1966)
如一
Misty Country
江山飄渺
2014 Ink on paper 75 x 94 cm Signed RuYi in Chinese With two seals of the artist
NT$ 100,000 - 160,000 HK$ 25,000 - 40,000 US$ 3,200 - 5,100
2014 水墨 紙本 75 x 94 cm 題識：如一製 （左下） 鈐印：如一 （左下） 鈐印：如一 （左下）
Literati: Oriental Arts from an Artist’s Studio
685 A CARVED BOXWOOD OF “SCHOLAR AND PINE” Qing Dynasty (AD 1636-1912) L: 8 cm W: 6.5 cm H: 13.5 cm PROVENANCE: Private Asian Collection
NT$ 200,000 - 300,000 HK$ 49,000 - 74,000 US$ 6,400 - 9,500 清 黃楊木雕松 下 高 士 來源： 亞洲藏家舊藏
Ravenel 154
686 A SHCOLAR’S ROCK Qing Dynasty (AD 1636-1912) L: 12 cm W: 7 cm H: 10 cm
NT$ 120,000 - 180,000 HK$ 30,000 - 44,000 US$ 3,800 - 5,700 清 賞石
Literati: Oriental Arts from an Artist’s Studio
687 A HUANGHUALI INKSTICK REST Qing Dynasty (AD 1636-1912) L: 13 cm W: 6.5 cm H: 3 cm PROVENANCE: Private Asian Collection
NT$ 160,000 - 280,000 HK$ 40,000 - 69,000 US$ 5,100 - 8,900 清 黃花梨墨床 來源： 亞洲藏家舊藏
Ravenel 156
688 HE JILAN (HO K.Nam, Chinese, b.1974)
何紀嵐
Dancing Perspectives 3
游絲墨舞 之三
Ink on paper 64 x 64 cm Signed LAN in Chinese With two seal of the artist PROVENANCE: Private collection, Hong Kong
水墨 紙本 64 x 64 cm 簽名：嵐 鈐印：何紀嵐印（右下） 思無 軒（左下） 來源： 香港藏家舊藏
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,800 Literati: Oriental Arts from an Artist’s Studio
689 ZHENG DANSHAN (CHENG Tanshan, Chinese, b. 1989)
Mid Summer
鄭丹珊 仲夏夜
2014 Ink and color on paper 70 x 70 cm With two seals of the artist
2014 設色 紙本 70 x 70 cm 鈐印：鄭 丹珊
EXHIBITED: Affordable Art Fair 2015 , Hong Kong, May 2015; Moments in Time solo exhibition, Yan Gallery, Hong Kong, December 2015; Ink Asia, Hong Kong, 2015
展覽： Affordable Art Fair 2015，香港，2015 年 5 月 「綽影墨意」個展，一畫廊，香港，2015 年 12 月 「水墨藝博」，香港，2015 年 12 月
LITERATURE: Moments in Time - Ink and Colour Paintings by Cheng Tanshan , Yan Gallery, Hong Kong, 2015
出版： 《綽影墨意——鄭丹珊彩墨作品集》，一畫廊，香港，2015 年
NT$ 100,000 - 180,000 HK$ 25,000 - 44,000 US$ 3,200 - 5,700
Zheng Danshan, born in 1989 in Hong Kong, is a graduate from Chinese University of Hong Kong. Her paintings show reminiscence of her childhood spent in the countryside of Shanwei, Chaozhou. Memories of observing animals and plants while playing around the fields in those summer nights, of dragonflies and butterflies from that fleeting but precious time, all work as great inspiration to her. A Midsummer Night’s Dream stages a merry-go-round as the main subject. Every wooden horse appears majestic and elegant with its flying mane, revolving along with the music, up and down, round and round. Cheng Tan Shan follows the techniques of traditional Chinese ink paintings while tying to find her own way in the mainstream contemporary art circle. Through her ink paintings, one can get an interesting glimpse of modern urbanites’ ambivalence towards the nature. Using a merry-go-round as the subject, she managed to fuse the imagination and the reality together through her delicate brushworks. The metaphor hiding behind the exquisite image is left for the viewers to savor. 鄭丹珊2014年以一等榮譽畢業於香港中文大學藝術系。在她的作品中，可以追憶到她八歲前在潮州汕 尾鄉下度過的童年景象。夏夜田野中玩耍時觀察到的動植物，蜻蜓、蝴蝶都激發著她無限的想像。作 品《仲夏夜》以「旋轉木馬」為主角，每匹旋轉的木馬都有著柔順的鬃毛，隨風飛起，高貴美麗。畫 者喜歡木馬們轉一個圈，又返回原地，然後又隨著音樂轉圈，一次又一次，木馬升高又下降，十分有 趣。鄭丹珊沿襲中國的傳統水墨技法，又在當代藝術為主流潮流的畫壇探索適合自己創作的方向，不 失為對傳統的繼承。通過她的水墨作品，一窺當代都市人對大自然的一種矛盾心態。以木馬為意象， 透過她的細緻筆觸，把想像世界與現實世界都融合在一起。筆下看似是個典雅優美世界，當中的隱喻 之一需要觀者慢慢細味。
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Literati: Oriental Arts from an Artistâ&#x20AC;&#x2122;s Studio
690 AN INLAID MARBLE-STONE NANMU PANEL Qing Dynasty (AD 1636-1912) 58 x 67 cm
NT$ 40,000 - 60,000 HK$ 10,000 - 15,000 US$ 1,300 - 1,900 清 楠木雲石掛 屏
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691 FAN ZHOU (Chinese, b.1953)
樊洲
Rhythmic Landscape-005
韵律山水-005
2011 Ink on paper 46.5 x 39 cm Signed LongRen in Chinese With one seal of the artist
2011 水墨 紙本 46.5 x 39 cm 款識：龍人於終南山 鈐印：養心
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,800
Literati: Oriental Arts from an Artist’s Studio
692 A LONGQUAN CELADON-GLAZED BOWL Southern Song Dynasty (AD 1127-1279) H: 3 cm D: 9 cm PROVENANCE: Private Asian Collection
NT$ 220,000 - 320,000 HK$ 54,000 - 79,000 US$ 7,000 - 10,200 南宋 龍泉窯青 釉 折 腰 洗 來源： 亞洲藏家舊藏
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693 RU YI (Chinese, b.1966)
Ru yi, born in 1966 in Beijing, has studied Chinese ink paintings for over 30 years,
Heaven and Earth 2
From1988, he began to run antiques business; in this period of time, he traveled
2016 Ink and color on paper Diameter: 86 cm With one seal of the artist
2009. Exhibition: ink salon in October in London; Classic Art Beijing exhibition area
NT$ 100,000 - 160,000 HK$ 25,000 - 40,000 US$ 3,200 - 5,100 如一 天地玄黃之二
many famous mountains, rivers and mainland Europe; Ru started painting again in F3 in 2012; Asian Silicon Valley Art exhibitions in 4 May to18 May in 2013; solo exhibition: Ru ink painting exhibition in Triumph Art in 2015. During recent years he’s been focusing on the painterly representation of rare rocks. This painting Heaven and Earth 2 , compared with his earlier works, is a more powerful expression of “rocks moving like clouds” which is the spirit of ink. “Heaven and earth” (Tiandi Xuanhuang ) comes from I Ching, telling the tale of the time before the birth of the universe when everything is in misty chaos. With his extremely delicate brushworks and strong structure,the rocks in his paintings appear to be wispy and dream-like yet stout and steady at the same time. 如一，生於北京，自幼喜歡繪畫，研習水墨畫逾30年。近年專攻奇石、雅石的繪 畫表現。此幅《天地玄黃之二》較之前「奇石」系列，更顯水墨「石如雲動」之韻 致。 「天地玄黃，宇宙洪荒」為《千字文》始句，「天地玄黃」出自《易經》。講
2016 設色 紙本 直徑 86cm 鈐印：如一
天地宇宙未生之前，一片混沌狀態。作品細膩墨線與骨法用筆，畫出奇石的骨骼與 凸凹有致的質感，畫石之作，在他筆下，石既堅實沉穩如山，又如煙似幻而渺遠。 如同董其昌所言的「下筆如有凸凹之形」，在如一筆下得到了徹底實現，婉轉用筆 中既有石頭肌理的凸凹感，又有墨色的細微變化，堅硬如鐵又細如牛毛，還有奇石 本身洞孔的留白與灰色背景上的對比，給畫面帶來了更為生動的變化。他說「自己 專注於石畫，所到之處、所見山石都內化成胸中丘壑，縮微在紙上，呈現的是文人 畫脈。」
Literati: Oriental Arts from an Artist’s Studio
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RAVENEL AUTUMN AUCTION 2016 Literati: Oriental Arts from an Artist’s Studio Sunday, 20 November 2016, 4:00 pm TC1601 Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan
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下述規則，為羅芙奧股份有限公司(下稱「本公司」)作為拍賣公司與賣家 訂立合約，亦作為賣家之代理人與買家訂立合約之條款。準買家、買家及 賣家務須細讀各項規則並完全同意遵守本業務規則。準買家、買家請特別 留意第二條第5項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6. 「買家佣金」：指買家按落槌價之某一百分比而支付之費用；收費率如 第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 二、買家 1. 本公司作為代理人 作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在 本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家 達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及拍賣證明文件之真偽，均不對買家作任 何保證。 b. 拍品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 佣金。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。
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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其 他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些 說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資料僅 作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修 整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關物品之狀況以及目錄說明所提述之事項，買家有責任自行查明並 瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到滿意。 3. 拍賣時 a. 買方應繳之營業稅 依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳 交「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內 有＊符號之編號者），若係於中華民國境外交付買方，並由本公司處 理相關之運貨事宜，則買方無須支付營業稅。買方若欲於中華民國境 外取貨，應於拍賣日後兩個工作天內以書面通知本公司。 b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣 會須以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核 實繳付拍賣日當日之匯率，折合所繳付之等值貨幣計算。 c. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進 行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地 或參與拍賣。 d. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分 證明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本公 司書面協定，競投者僅為第三人之代理人，且該第三人復為本公司所 接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司 將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如 本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時 此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最 先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限，而拍 賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為 準買家按所述條款提供之免費服務，如未能按委託作出競投，本公司 將不負任何法律責任。準買家如希望確保競投成功，應親自出席競 投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投 者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無法參 加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 LiveAuctioneers 進行網上競投 若準買家未能出席拍賣會，或可透過 LiveAuctioneers 網上競投服務於 網上競投指定拍品，而承擔買方獨立責任。此項服務乃免費及保密。 有關透過 LiveAuctioneers 網上競投服務登記，進行網上競投之詳情， 請參閱本公司網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務 之準買家須接受透過 LiveAuctioneers 網上競投服務進行即時網上競投 之附加條款（可參閱羅芙奧 ravenel.com），以及適用於該拍賣之業務 規則所規範，本公司得隨時修改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯， 其準確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率 轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損失，本公 司概不負責。 j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否 與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均 不負任何責任。
k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及 如遇有誤差或爭議，將拍賣品重新拍賣。 l. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家 與買家之成功拍賣合約之訂立。 1. 拍賣後 a. 買家支付每件拍賣品之佣金費率 1. 買家除支付落槌價外，另須支付佣金予本公司，落槌價於新台幣參 仟貳佰萬元以下者含參仟貳佰萬元以20％計算。 2. 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中新 台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份 再以12％，加總計算佣金金額。 b. 稅項 買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值 稅（不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家 須負責按有關法律所規定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，買 方亦須提供付款銀行之詳情，包含但不限於付款帳號。買方應於拍賣 日期後七天內悉數支付應支付予本公司之款項（包含落槌價、佣金， 以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可 能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項 為新台幣以外之貨幣，本公司將向買家收取所引致之任何外匯費用。 這包括銀行收費與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款 予本公司之匯率， 依拍賣日現場公佈之匯率（台灣銀行），並以本 公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之 拍賣項目，直至欠本公司之款項已悉數支付為止。拍賣品在暫時保留 期間，由成功拍賣日後起算七天將受保於本公司之保險，如屆時拍賣 品已被領取，則受保至領取時為止。七天期滿後或自領取時起（以較 早者為準），拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，成功拍賣日後起算七天期滿後或自領取時起， 拍賣品之風險全由買家承擔，但不得損及本公司之權益。 f. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付運 及購買特定保險，但本公司在此方面不負任何法律責任。買家必須預 先繳付運送費用。 g.不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下述 一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時 按日收取依賣價（含佣金）1％計算之違約金。本公司亦得自行選 擇將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其 他交易中欠下買家之款項，買方絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之物品行使留置權，並在給予買家有關其未付之欠繳 之14天通知後，安排將該物品出售並將收益用以清償該未付之欠 款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償就任何特定交易而欠下之任何款項，而不論買家是否指 示用以清償該筆款項。 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有在 三十五天內付款，本公司除上述者外，另有權為下述一項或多項 權利或補救辦法： (a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以 悉數賠償為基準之法律程序之訴訟費。
(b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他 售予買家之拍賣品之交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額 連同因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是否 已付款，本公司將安排貯存事宜，費用由買家承擔。而買方在付清所 引起之貯存、搬運、保險及任何其他費用，連同欠本公司之所有其他 款項後，方可領取已購拍賣項目。 i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影 響買家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延 遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項 申請有關之付出款項及零碎開支連同任何有關之增值稅。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退 還買家因此而引致之任何利息或其他開支。 2. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 3. 膺品/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定 報告證實為膺品或贓物，則交易將取消，已付之款項於交付賣方前將退 還予買家。但如： 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之 意見，或清楚表明有牴觸當時學者或專家普遍接納之意見，或 證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍獲接 納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並不實際或 很可能會對拍賣品造成損壞之程序，則本公司無論如何並無責任退還任 何款項。此外，買家只在滿足下述條件下方可獲得退款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品之詳細理由及證據；且 (2) 買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況應 維持與拍賣當日相同，不得有任何損壞；及 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第三 人之索償無涉。在任何情況下，本公司均毋須向買家支付多於買 家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺 品，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證拍賣 品是否屬於贗品結果與買家出示證據相衝突者，應以本公司驗證結果為 準。
賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn
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TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 1, Section 5 which provides limitations as to the legal responsibilities of the Company. ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company. 2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. “The Seller” shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. "Hammer price" shall mean the highest bid with respect to one particular auction item accepted by the auctioning party. 6. "The Buyer’s Premium paid by the Buyer" shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). ARTICLE 2.THE BUYER 1. The Company as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the Auction a. Authentication We strongly recommend that The Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not that it is unable to guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium.
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d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if The Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to the Company.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at the Company.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.
j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer. 1. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer 1. The Buyer should pay the hammer price and, in addition, the The Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the The Buyer’s Premium should be calculated at 20% of the hammer price. 2.For hammer price higher than NT$ 32,000,000, total amount of the The Buyer’s Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, the Buyer’s Premium and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and Transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items (which is the earlier), without prejudice to the Company’s right. f. Referral of Packaging or Transportation Companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. g. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2)To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3)If the Buyer owes the Company several payments as a result of different transactions, the payments will set off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4)Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned:
(a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c)To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. i. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 2. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 3. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: 1. The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. 2. The Buyer must return the Lot to the Company within the following 14 days following the said notice and the condition of the item must be the same as on the auction day without any damage. 3. Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit（The Company has the final and sole discretion and decision and such decision shall not be objected in this regard）. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests. The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer’s name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer.
Please refer to our website for seller’s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn
170
CHRONOLOGY 中國歷代年表
新石器時代 商 周 秦 漢 三國 晉 南北朝 隋 唐 五代 遼 宋 北宋 南宋 西夏 金 元 明 洪武 建文 永樂 洪熙 宣德 正統 景泰 天順 成化 弘治 正德 嘉靖 隆慶 萬曆 泰昌 天啟 崇禎 清 順治 康熙 雍正 乾隆 嘉慶 道光 咸豐 同治 光緒 宣統
10th - early 1st millennium BC NEOLITHIC 16th Century - C. 1050 BC SHANG DYNASTY C. 1050 - 221 BC ZHOU DYNASTY 221 - 206 BC QIN DYNASTY 206 BC - AD 220 HAN DYNASTY AD 220 - 265 THREE KINGDOMS AD 265 - 420 JIN DYNASTY AD 420 - 589 SOUTHERN AND NORTHERN DYNAST1ES AD 581 - 618 SUI DYNASTY AD 618 - 907 TANG DYNASTY AD 907 - 960 FIVE DYNASTIES AD 907 - 1125 LI AO DYNASTY AD 960 - 1279 SONG DYNASTY AD 960 - 1127 Northern Song AD 1127 - 1279 Southern Song AD 1038 - 1227 XIXIA DYNASTY AD 1115 - 1234 JIN DYNASTY AD 1279 - 1368 YUAN DYNASTY AD 1368 - 1644 MING DYNASTY AD 1368 - 1398 Hongwu AD 1399 - 1402 Jianwen AD 1403 - 1424 Yongle AD 1425 Hongxi AD 1426 - 1435 Xuande AD 1436 - 1449 Zhengtong AD 1450 - 1456 Jingtai AD 1457 - 1464 Tianshun AD 1465 - 1487 Chenghua AD 1488 - 1505 Hongzhi AD 1506 - 1521 Zhengde AD 1522 - 1566 Jiajing AD 1567 - 1572 Longqing AD 1573 - 1619 Wanli AD 1620 Taichang AD 1621 - 1627 Tianqi AD 1628 - 1644 Chongzhen AD 1644 - 1911 QING DYNASTY AD 1644 - 1661 Shunzhi AD 1662 - 1722 Kangxi AD 1723 - 1735 Yongzheng AD 1736 - 1795 Qianlong AD 1796 - 1820 Jiaqing AD 1821 - 1850 Daoguang AD 1851 - 1861 Xianfeng AD 1862 - 1874 Tongzhi AD 1875 - 1908 Guangxu AD 1909 - 1911 Xuan tong
171
Lot 601
Lot 603
Lot 606
Lot 609
Lot 610
Lot 612
Lot 613
Lot 620
Lot 621
Lot 622
Lot 623
Lot 624
Lot 625
Lot 626
Lot 627
Lot 628
Lot 629
Lot 630
Lot 631
Lot 632
172
Lot 633
Lot 634
Lot 635
Lot 681
Lot 683
Lot 692
173
Lot 673
ARTIST INDEX
Lot 691
Lot 602 Lot 604
Lot 605
Lot 607
Lot 614
Lot 608
DING Yanyong (Chinese, 1902-1978)
FAN Zhou (Chinese, b.1953)
HE Baili (Chinese, b.1945)
Born in 1902, Guangdong, China, Ding is titled as one of the "Three Heroes of Guangdong" in Chinese painting along with Lin Fengmian, and Guan Liang .These three people respectively hold their space in the painting world. He studied painting at the Tokyo College of Fine Arts, and devoted to oil painting in his early years and had been influenced by Matisse, post-impressionism, cubism and fascism. In 1925, he retuned to China and taught Western painting at various art colleges. In 1949, he settled in Hong Kong. He later turned to Chinese painting and carry on the nature style of expressionism. He also takes the interest of classical carving and calligraphy into in his drawing work. In addition, he lifelong is engaged in the artistic education. He was invited in planning the establishment of the Department of Fine Arts, New Asia College. Later he served as a lecturer at the Department of Fine Arts,Chinese University of Hong Kong. Ding's works were widely exhibited in Hong Kong and over-seas. His works were features in solo exhibitions held in Hong Kong, Australia and Taiwan.
Fan Zhou, style Long Ren, born in 1953, graduated from the Xi'an Academy of Fine Arts. Fan started to learn Chinese painting since 1966 and has held several exhibitions in the United States, Switzerland, Spain, China and other countries and regions. Fan’s works have been collected by Shenzhen Museum, USA and China Society of Arts, Nanyang Academy of Fine Arts, Jingzhou Museum, Chairman Mao Memorial Hall, Heilongjiang Museum of Art, ect. Fan Zhou Chinese painting museum was built in Zhongnanshan world geological park in 2011.
Born in Guangzhou in 1945, He moved to Hong Kong at very young age. He is skillful and talented in Chinese panting. All his works are full of the exciting rhythm of visual movement. His painting styles changed as time passed by. In early 1960's, he devoted himself to the study of traditional Lingnan Bird and Flower techniques and used it in landscape paintings; in 1970s he turned to abstract water-and-ink paintings; in late 1980s, he finally reach his unique style by integrating the modern style and traditions. Critics said that the “Style of the He Family” was lively in ink and color, with strong contemporary sprit of the times.
丁衍庸（中國，1902-1978）
樊洲（中國，1953年生）
何百里（中國，1945年生）
廣東人 ，在中國畫壇與林風眠、關良素有「廣東三
樊洲，字龍人，生於 1953 年， 畢業於西安美術學
1945年生於廣州，幼年遷居香港。精於國畫，幾
傑」之稱，三人在畫壇各佔有一席之地。早年留學
院 ，1966年開始中國畫的研究學習。在美國、瑞
個時期的作品，都以萬千變化視覺韻律激動人心。
日本，專攻油畫，在東京美術學校習畫，受野獸派
士、西 班牙、哈爾濱、深圳等國家和地區多次舉辦
1960年代早期以嶺南美術花鳥技法寫山水畫。1970
風格的影響甚深。1925年回到中國展開教學生涯。
畫展。他的十餘幅作品被深圳博物館、美國中華藝
年代以水墨寫意山水為主，1980年代後期，融會古
1949年遷居香港。晚年致力於中國畫，並且經營
術學會、新加坡南洋美術學院、荊州博物館、毛主
今，由傳統美術上發展出個人風格。評家稱「何家
出一種自然的表現主義風格。並將古典的篆刻趣味
席紀念堂、黑龍江美術館收藏 。2001年在終南山世
山水」墨彩靈動，境界脫俗，富時代精神，何百里
帶進他的繪畫作品中。此外，丁氏終身從事藝術教
界地質公園修建樊洲中國畫館。
為現代山水畫畫出新方向。
育，為新亞書院藝術專修科（其後發展為香港中文 大學藝術系）創辦人之一。他的作品多次於香港及 海外展覽，也曾經在香港、澳洲、台灣舉辦個展。
174
藝術家簡歷
Lot 611
Lot 688 Lot 615
HE Jilan (HO Eric, Chinese, b.1974)
LI Dezhuang (Chinese, b.1985)
LI Yihong (Lee Yih Hong, Taiwanese, b.1941)
Inspired at an early age by his father He Baili -the renowned artist of Chinese paintings of the Lingnan School, has taken his interest in Chinese painting since his youth. Born in Hong Kong and then moved to Canada with his family, Eric received his Bachelor degree with a specialized honor in Visual Arts from York University, Ontario, Canada in 1997, and his certificate in design from Seneca College a year later. In 2003, he obtained his Master degree in Design Management from The Hong Kong Polytechnic University. During his stay in Canada, he curated charity exhibition. He also exhibited in several art fairs and exhibition in the U.S. and Canada. Eric has explored art with different mediums such as oil painting, watercolor, photography, sculpting, printmaking, Chinese ink painting and Chinese calligraphy. Due to the upbringing under Western and Eastern cultures, his creative work also reflects this mixed cultural influence and has been collected by overseas organizations. His artworks produced in Hong Kong have continued his artistic conception. By using ink-painting skills to represent Yin and Yang-the two opposing principles in nature, Eric draws on his understandings of the Chinese philosophy and reflects them with his latest paintings. Over the years Eric has organized numerous art exhibitions and he is also an experienced brand image specialist and designer.
Li Dezhuang, born in Singapore, Wenchang Guangdong native, graduated from the Nanyang Academy of Fine Arts. CILT UK Chartered Fellow, China Dalian Maritime University professor. In the early 1980s, Li used mixed media to create "New Water Margin series" and won several international art awards. He has participated in over 30 group exhibitions and has held over ten solo exhibitions. His works have been collected by the Istana (the office and residence of the Singapore President), National Gallery Singapore, National Library Singapore many leading banks in Singapore and individual collectors in Mainland China, Europe and Saudi Arabia. His most recent exhibition was in Art Paris Art Fair at the Grand Palais in 2013 where he was represented by Jeans Bastien Gallery (Brussels).
Style Zaichuan, born in north Taiwan in 1941, Lee graduated from National Taiwan University of Arts in 1966. He has won Sun Yat Sen Arts Award and Wu San Lien Arts Award with his purified ink painting combined with the humanism of photography using drawing of the natural countryside of south Taiwan as his fundamental thesis. He has also won a lot of other awards, and held solo exhibitions in Taipei in 1988 and 2014, and participated in group exhibition “An Exhibition of Taiwan Ink Paintings“ in Singapore, 2006.
李德庄（中國，1958年生）
李義弘（台灣，1941年生）
李德庄，新加坡出生，祖籍廣東文昌，畢業於南洋
李義弘，字在川，1941年生於台南縣西港鄉。1966
美術專科學校。英國CILT註冊院士，中國大連海事
年國立台灣藝術專科學校畢業。曾先後任教於基隆
大學客座教授。80年代初以綜合媒介創作「 新水滸
市立中山國中和台北藝術大學。曾先後獲中山文藝
系列 」初闖畫壇獲得了多個國際美術獎。 李德莊的
獎、吳三連文藝獎。李義弘將清新的筆墨結合攝影
何紀嵐（中國，1974年生）
畫作在世界各地舉辦了10多次個展和30多次聯展，
的文人情懷，以南台灣鄉間的水墨寫生崛起畫壇。
他最近的畫作參展活動是在2013年，法國巴黎大皇
五十歲後深居三芝鄉間，終究確立了筆墨積澱的渾
何紀嵐，1974 年生於香港，成長在藝術之家，受其
宮舉辦的「巴黎藝術博覽會」 。主要機構及私人
厚蒼樸，與對故鄉人文的熱切關懷。獲獎經歷：
父何百里薰陶，藝術觸覺敏 。90年代先後獲加拿大
收藏：總統府，新加坡 國家畫廊，新加坡國家圖書
1974年基隆攝影學會會員，九月獲會員肖像比賽金
安省約克大學純藝術榮譽學士；多倫多辛力加學院
館，美國長榮海運等。
牌獎。1976年獲基隆攝影學會第十一屆會員季賽
設計文憑；加拿大註冊設計師；2000年獲香港理工
幻燈片組優秀作家獎、黑白照片組年度最佳作品金
大學設計管理學碩士。參與歷屆美加東西岸多地之
牌獎、幻燈片組年度最佳作品金牌獎。精選展覽：
展。作品以極限主義演繹東方哲理，簡潔利落。多
「大樹之歌」畫展，歷史博物館、敦煌藝術，台
為工商機構訂藏。返港後之藝術創作，注入水墨元
北，1988年 ；「台灣水墨書畫展」，新加坡，國立
素，黑白主調襯托虛與實、有與無之 陽雙對而雙生
歷史博物館策劃，2006年；「行履映照---李義弘書
的存在關係，反影生活之中進與退、動與靜之對調
畫」，台灣創價協會台北至善藝文中心，2014年。
現象，獨創格式。繼創辦「雅品畫廊」後，設「思 無為軒」藝術平台推展水墨藝術。
175
ARTIST INDEX
Lot 684 Lot 618
Lot 693
Lot 616
LU Yanshao (Chinese, 1909-1993)
PU RU (Pu Xinyu, Chinese, 1896-1963)
RU YI (Chinese, b.1966)
Lu Yanshao, a modern painter, also known as Di, style Wanruo, Nanxiang Town, Jiading County Shanghai people. He was admitted into College of Fine Arts in 1926 in Wuxi. The following year he studied painting under the tutelage of von aloof, and got to know Wu Hufan, traveling north and south resort. 1956 he became an artist for Shanghai Chinese Painting Academy, since 1962 a part-time artist at the Zhejiang Academy of Fine Arts, 1980 an official teacher, and the director of Zhejiang Paint ing Academy. He panted the four-foot painting Plum Blossom for the Former Residence of Zhou Enlai, participating in calligraphy delegation group visiting Shanghai to Tokyo and Osaka. He also painted large-scale paintings Yandang Mountain and Plum Blossom for the Beijing Great Hall, Beautiful Country for the Shanghai Hongqiao Airport. He has held a solo exhibitions in Hong Kong, and published Lu Yanshao Painting Collection, Landscape Paintings of Famous Chinese Scenery, published by Shanghai Fine Arts Publishing House, and participated in the establishment of Chinese Painting Research Institute in Beijing.
Pu Ru, also known as Pu Xinyu with Xinyu as his courtesy name, was a traditional Chinese painter and calligrapher. He was a member o f t h e M a n c h u A i s i n G i o ro c l a n , t h e r u l i n g house of the Qing dynasty. He was a student at the University of Berlin. After he returned from Europe, he retreated into the Western Mountains, where he spent many years in Jietai Monastery to concentrate on his studies. He was appointed in October 1949 as a professor of fine arts at the National Taiwan Normal University. In 1959, he held a two-week-long art exhibition at the National Museum of History with 318 works on display.
Ru yi, born in 1966 in Beijing, a freelance artist. 1974-1979, studied at the Beijing Fang Hutong Primary School; after graduating from junior high school, Ru study ink-painting by himself, copy and transfer Mustard Seed Garden Painting Song Videos, once copying Tang Song "myriad pines map" .From1988 , he began to run antiques business, in this period of time, he traveled many famous mountains , rivers and mainland Europe; Ru started painting again in 2009. Exhibition : ink salon in October in London; Classic Art Beijing exhibition area F3 in 2012; Asian Silicon Valley Art exhibitions in 4 May to18 May in2013 ; solo exhibition: RU YI ink painting exhibition in Triumph Art in 2015.
溥儒（中國，1896-1963）
如一（中國，1966年生）
溥心畬（1896-1963）原名愛新覺羅·溥儒，初字仲
如一，1966年出生於北京，自由藝術家。 1974-
衡，改字心畬，自號羲皇上人､西山逸士。北京
1979年，就讀於北京方家胡同小學；初中畢業後自
人，滿族，為清恭親王奕訢之孫。曾留學德國，篤
學水墨畫，臨摹芥子園畫傳及宋畫，曾臨摹宋人李
嗜詩文、書畫，皆有成就。畫工山水、兼擅人物、
唐《萬壑松風圖》，1988年起開始經營古玩生意，
花卉及書法，與張大千有「南張北溥」之譽，又與
其間遊歷名山大川及歐美大陸；2009年重新開始畫
吳湖帆並稱「南吳北溥」。 溥心畬行草學二王、米
畫，10月在英國倫敦開水墨沙龍展；2012年藝術北
芾。
京經典區F3展覽；2013年5月4日至5月18日美國矽
陸儼少（中國，1909-1993） 陸儼少（1909年－1993年），現代畫家。又名砥， 字宛若，上海嘉定縣南翔鎮人。 1926年考入無錫美 術專科學校，1927年考入無錫美專學習，同年從王 同愈學習詩文、書法；次年師從馮超然學畫，並結 識吳湖帆，遍遊南北勝地。 1956年任上海中國畫院 畫師。 1962年起兼課於浙江美術學院，1980年在該
谷亞洲藝術中心展覽；個展：2015年2月7日藝·凱旋
院正式執教，並任浙江畫院院長。為周恩來故居畫
藝術空間如一水墨作品展。
四尺整紙《梅花》，參加上海書法訪日代表團至東 京、大阪。為北京人民大會堂畫《雁蕩山》、《梅 花》大幅。為上海虹橋機場畫大幅《大好河山》 圖。任浙江美術學院國畫系山水研究生導師。在香 港舉辦個人畫展，並出版《陸儼少畫集》、《中國 名山勝景圖》，上海書畫出版社出版。在北京參加 中國畫研究院成立並任院委。
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藝術家簡歷
Lot 619
Lot 637
Lot 656
TAI Xiangzhou (Chinese, b.1968)
XU Yongjin (HSU Yungchin，Taiwanese, b.1951)
T'ANG Haywen (TANG Then Phuoc， Chinese-French 1927-1991)
G r a d u a t e d f r o m N a t i o n a l Ta i w a n N o r m a l University, majoring in Chinese Literature, Hsu is a contemporary Chinese Calligraphy artist who devotes himself to calligraphy art and ink and water paintings. His creation often seen in the public collection such as the famous TAIWAN logo for the Tourism Bureau of Taiwan, and the inscription of the Taiwanese movie Monga. Selected Solo Exhibitions: 2011 “Beyond Calligraphy“ Museum of Contemporary Art, Taipei, Taiwan; 2010 “A Special Exhibition by Hsu Yung Chin” Shanghai Creative Industry Expo, Shanghai, China; 1996 “The World of Senses, Ink Painting on Pottery” National Taiwan Museum of Fine Arts, Taichung, Taiwan. HSU’s works were collected by the following Museum: Museum of Contemporary Art, Taipei Fine Arts Museum and National Museum of History, Taipei, Taiwan ect
Born in Amoy, Fujian in 1927. T'ang Haywen studied Chinese calligraphy under the instruction of his grandfather. In 1937, T'ang moved first to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T'ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled "The Tao of Painting." From June to September 2002 the Musée des Arts AsiatiquesGuimet in Paris has presented a retrospective of T'ang works entitled "Paths of Ink" In August 2002 the Shiseido Foundation in Tokyo has also exhibited the work of T'ang. T'ang's work is either held privately or in the collections of several museums in Europe and America. Among them are The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d'Art Moderne de la Ville de Paris.
泰祥洲（中國，1968年生）
徐永進（台灣，1951年生）
曾海文（華裔法籍，1927-1991）
泰祥洲，字曉陽，1968年生於寧夏銀川，2012年畢
徐永進，畢業國立師範大學國文系。台灣當代書畫
曾海文1927年生於福建廈門，自幼跟隨祖父習寫書
業於清華大學美術學院，獲得博士學位。祥洲自幼
藝術家，致力於專研書法藝術與水墨創作，作品
法，1937年舉家遷居越南，因其對藝術的執著，於
學習書法。2003年相識劉丹，得劉丹先生指點，繼
屢見於多處公共藝術或是多元的創作形式；著名
1948年赴藝術之都巴黎遊學，他以自修的方式遊覽
續在宋元繪畫傳統上用功。2006年，泰祥洲得到天
的Taiwan 觀光品牌字像則由徐永進提字，此外電
巴黎各大美術館，而於1955 年首次舉辦展覽，之後
文學家伊世同先生的啓發，從天文學的維度，重新
影「艋舺」題字也由徐創作。重要個展有：2011
陸續於歐美各國展出，1997年8 月台北市立美術館
內省中國山水畫的宇宙觀和精神絡，並完成自己得
「Beyond Calligraphy」 徐永進書藝個展 台北當代
為其舉辦「作品回顧展」。於2002年 9月法國巴黎
博士論文《仰觀垂象——山水畫得觀念與結構》。
藝術館 台北•台灣，2010「 徐永進，舞光、光舞」
的亞洲藝術館舉行大型的回顧展，並於同年日本東
他的作品被北京大學賽克勒考古與藝術博物館、哈
上海博覽會文化中心 上海•中國，1996「感官世界
京資生堂基金會也舉行了曾海文個展，完整地呈現
佛大學賽克勒博物館、耶魯大學藝術博物館、美國
水墨瓷畫個展」 台灣省立美術館 台中•台灣。徐永
其繪畫風貌，作品為多所法國現代美術館及私人收
中華書局等所收藏與展出。
進的作品被以下機構收藏：台北當代藝術館、台北
藏。
Tai Xiangzhou, style Xiao Yang, was born in Yinchuan, Ningxia, China in 1968. He received his PhD degree from the Academy of Art and Design, Tsinghua University in 2012. Tai began his training from Chinese calligraphy at a young age. In 2003, his encounter with famous Chinese contemporary painter, Liu Dan, pushed him to explore further into the techniques of traditional Song and Yuan Dynasty paintings. In 2006, Tai was profoundly inspired by renowned astrologer, Yi Shitong, and began to explore the view of universe and spiritual world in Chinese landscape paintings from an astrology perspective. He completed his PhD dissertation entitled, “Phenomena of the UniverseThe concepts and structure of Chinese landscape paintings”. His works are in the collections of Public Collections and Exhibitions, including The Sackler Museum of Art and Archaeology at Peking University, The Arthur M. Sackler Museum, Harvard University and Yale University Art Gallery, New Haven, CT.
市立美術館、國立台灣歷史博物館等。
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ARTIST INDEX
Lot 689
ZHENG Danshan (CHENG Tan Shan,Chinese, b.1989) Danshan Zheng, born in 1989 in Hong Kong, is a graduate from Chinese University of Hong Kong, who had achieved first prize in the Arts Department. During her college years at Chinese University of Hong Kong, she had attended the Arts Department’s undergraduate exhibition. Her subjects include landscape, figure painting, flowers and birds, and animals with plants, are mainly based on her childhood. Simple childhood in the village of Shanwei, Chaoshan has inspired her creation to spread in an unlimited area. Her artworks use color ink fine brushwork technique; on the basis of traditional ink and wash painting, she represents contemporary arts as mainstream trend, and she also explores her own creative orientation while continuing with tradition. However, the theme reflects how has landscape paintings been distorted along with the change of era.
鄭丹珊（中國，1989年生） 鄭丹珊，1989年出生於香港。畢業于香港中文大 學，2014年獲得藝術系一等榮譽。在校期間，即 參加香港中文大學藝術系本科生作品展。創作題材 包括山水、人物、花鳥、動物、植物，主題以她自 己的童年想像為主線。幼年在潮州汕尾鄉下的淳樸 生活，激發她無限的創作空間。作品以彩墨工筆為 技法，在傳統水墨畫的基礎上以當代藝術為主流潮 流，又探索適合自己創作的方向，而不失對傳統的 承接。繪畫在題材上卻反映出經時代而扭曲變型了 的山水畫。
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