緣來私藏III：古今人文藝術 Literati III: Encounter With A Collector

緣來私藏III - 古今人文藝術專場

LITERATI III : ENCOUNTER WITH A COLLECTOR 翰墨丹青 - 中國書畫 Refined Brushwork : Fine Chinese Paintings

A U T U M N A U C T I O N 2017 TA I P E I

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IMPORTANT NOTICE TO BUYERS The auction will strictly abide by Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required.

2. Security deposit in the amount of NTD 300,000 or USD$10,000.

3. The security deposit must be transferred to Ravenel's specified Bank account prior to 29th Nov 2017, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP Beneficiary's Name: Â Ravenel Ltd. Beneficiary's Account No:Â 001-234830-031 (NTD) or 001-234830-061 (USD) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of security deposit. The payer will be responsible for any associated bank service fees.

4. After the 29th Nov 2017, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 30th Nov to 1st, Dec 2017). Acceptance will cease on 1st Dec by 6 pm (No other forms of payment will be accepted).

5. Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel's specified Bank account before the 29th Nov 2017.

6. If the security deposit has been transferred prior to 29th Nov 2017, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her paddle number.

7. If the payment of the security deposit is made on the day of the auction, the payer may obtain his/her paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.

8. Return of the Security Deposit:

(1) Completed Transaction: For successful bidder with a security deposit made through wire transfer, the hammer price, buyer's premium and other expenses 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, buyer's premium and other expenses 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.

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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業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.

有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記 文件以及繳納保證金。

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保證金 : 新台幣參拾萬元或壹萬美金。

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保證金需於 2017 年 11 月 29 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 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。

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2017 年 11 月 29 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2017 年 11 月 30 日至 12 月 1 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 12 月 1 日下午 6 點截止。

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電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請 手續以及保證金之繳納亦需在 2017 年 11 月 29 日以前完成匯款至本公司指定帳號。

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如於 2017 年 11 月 29 日以前完成保證金匯款，請提供我方可證明已匯款的證明文件。確認收到保證金 匯款後，我們將與競投者聯繫並與之確認其競標牌號。

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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。

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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、服務費及其他費用 ) 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、服務費及其他費用 ) 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 ( 落槌價與服務費 ) 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。

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RAVENEL AUTUMN AUCTION 2017 Literati III : Encounter with a Collector

羅芙奧 2017秋季拍賣會

緣來私藏 III - 古今人文藝術專場

AUCTION

拍賣日期 / 地點

Saturday, 2 Dec 2017, 4:00 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

2017年12月2日（六）下午4:00 台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號3樓

PREVIEWS

預展日期 / 地點

Taichung

台中 2017年11月11日（六） 下午1:00 至 下午6:00 2017年11月12日（日） 上午11:00 至 下午6:00 豐藝館 台中市西區五權西路一段110號

Kaohsiung

高雄 2017年11月18日（六） 下午11:00 至 下午6:00 2017年11月19日（日） 上午11:00 至 下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓

Hong Kong

香港 2017年11月25日（六）上午11:00 至 下午7:00 2017年11月26日（日）上午11:00 至 下午7:00 香港君悅酒店 五樓CES 香港灣仔港灣道1號

Taipei

台北 2017年11月30日（四）上午10:00 至 下午6:00 2017年 12月1日（五）上午10:00 至 下午6:00 2017年 12月2日（六）上午10:00 至 下午4:00 台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號3樓

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

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

Saturday, 25 Nov 2017, 11:00 am - 7:00 pm Sunday, 26 Nov 2017, 11:00 am - 7:00 pm CES 5F, Grand Hyatt Hong Kong 1 Harbour Road, Hong Kong

Thursday, 30 Nov 2017, 10:00 am - 6:00 pm Friday, 1 Dec 2017, 10:00 am - 6:00 pm Saturday, 2 Dec 2017, 10:00 am - 4:00 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

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 no-guarantee. This auction catalogue: NT$ 2,000 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

周媛玲 Connie Chau

古文物部 總監

總經理特助 Executive Assistant

Director, Head of Department

朱毅 Walter Zhu 業務代表 北京 Representative Beijing

李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai

臧育嫻 Angela Chang 業務助理 台北 Sales Assistant Taipei

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目次 / Contents 6

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 8

羅芙奧秋季拍賣會

SALE INFORMATION 12

羅芙奧之服務

RAVENEL SERVICES 14

緣來私藏 III – 古今人文藝術專場

Literati III: Encounter with a Collector

122

翰墨丹青 - 中國書畫

Refined Brushwork: Fine Chinese Paintings

145

委託競投表格

ABSENTEE BID FORM 147

業務規則

TRANSACTION AGREEMENT 151

中國歷代年表

CHRONOLOGY 155

畫家索引 INDEX

RAVENEL STAFF AND SERVICES FOR THIS SALE

CONSULTANTS

CATALOGUE SUBSCRIPTION

COLLECTION AND SHIPPING

Director, Head of Department Works of Art Department Vivi He

Taiwan

Taiwan

Angela Chang

Tommy Wu

Tel: +886 2 2708 9868 ext. 585 Email: angelachang@ravenel.com

Tel: +886 2 2708 9868 ext.885 Email: tommywu@ravenel.com

Hong Kong, International

Hong Kong, International

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

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

Beijing

China

Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com

Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com

Tel: +852 2889 0859 Email: vivihe@ravenel.com Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com Fine Chinese Paintings Department Connie Chau Tel: +886 2 2708 9868 ext. 908 Email: conniechau@ravenel.com

PHONE BIDS AND WRITTEN BIDS Hong Kong, International Vivi He Tel: +852 2889 0859 Email: vivihe@ravenel.com

Taiwan Angela Chang Tel: +886 2 2708 9868 ext. 585 Email: angelachang@ravenel.com

Beijing Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com 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.

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 Invaluable www.invaluable.com

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Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com The catalogues are available for subscription.

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

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

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

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

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

羅芙奧2017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

古文部總監 何瑩 電話：+852 2889 0859 電子信箱：vivihe@ravenel.com

台灣

台灣

臧育嫻 電話：+886 2 2708 9868 轉 585 電子信箱：angelachang@ravenel.com

吳博峯

業務代表 朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com

香港．國際

香港．國際

邵俊豪 電話：+852 2889 0859 電子信箱：ericsiu@ravenel.com

邵俊豪 電話：+852 2889 0859 電子信箱：ericsiu@ravenel.com

書畫部業務代表 周媛玲 電話：+886 2 2708 9868 轉 908 電子信箱：conniechau@ravenel.com

北京

中國

朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com

朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com

電話書面競標聯絡人

上海

香港．國際

李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

電話：+886 2 2708 9868 轉 885 電子信箱：tommywu@ravenel.com

台灣

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。

臧育嫻 電話：+886 2 2708 9868 轉 585 電子信箱：angelachang@ravenel.com

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。

何瑩 電話：+852 2889 0859 電子信箱：vivihe@ravenel.com

北京 朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com

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 Invaluable 註冊 www.invaluable.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。

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 III : ENCOUNTER WITH A COLLECTOR

緣來私藏 III - 古今人文藝術專場 Saturday, 2 Dec 2017 4:00 pm Taipei Marriott Hotel

Lots 601 – 696

Vicissitudes of Mountain YUNG CHEEMUN

Inspired by the Taroko National Park, the artist created this painting. The Taroko National Park is one of the nine national parks in Taiwan and was named after the Taroko Gorge, a landmark gorge carved by the Liwu River. The park spans through Taichung Municipality, Nantou County, and Hualien County.

Yung Chee-mun, Simon, focused on ink paintings. The creative concept of landscape paintings has always been used to hold together the ancient scholars' philosophy about life, and has been viewed as a portrayal of their personality. With the use of ink, he integrated the invisible spiritual realm into the visible landscape, turned the real life's hustles and bustles into a world of serenity, and pursued the philosophy of leisure and free spirit inspired by Du Fu's poetry. His landscapes depict a fairy tale - like Chinese utopia based on natural scenes from his recalled memory. Another iconic symbol found in Simon's artwork is the waterfall. Unlike trees and buildings which grow up vertically, water quietly flows downwards to nourish life on Earth. As we lived in a rapid city, it is good for one to slow down and focus on a moment of quietness. Simon was inspired and influenced

by Romantic English artist William Turner and Impressionist French artist Claude Monet. He uses Eastern and Western art materials and techniques to create his own rich colorful ink paintings imbued with a sense of Chinese fusion. His ink works “Rocks Emerge when Spring Subsides no.26“ is collected by Hong Kong Museum of Art in 2013. 該畫作為容子敏遊歷台灣太魯閣國家公園之後，那雄偉壯麗的峭壁，蜿蜒曲折的泉水給容先生留下了深刻的印 象，由此作畫。畫面中岩石崇山靜立蒼翠山谷之中，流水、瀑布隨處滿佈，在容先生的畫筆下，如人間仙境， 暮色蒼茫，煙雨淒迷，將渺無人煙，世外桃源的美景表現得淋漓盡致，站在此畫面前，讓人將社會世俗的煩囂 撇去，留下的是靜謐的心靈，就如容子敏想表達的「水流心不競，雲在意俱遲」這樣的人生哲理，我們活在急 速的城市，也許需要緩下來，寄情於一刻的恬靜。借晉代潘岳的一首賦來表現所想。《滄海賦》:「徒觀其狀 也，則湯湯蕩蕩，瀾漫形沉，流沫千里，懸水萬丈。」容子敏受英國浪漫主義畫家William Turner及法國印象派 Claude Monet的影響，畫風揉合了中西技法，既有豐富鮮明的色彩，又不失傳統水墨之淡然物外的氣魄。

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601 YUNG CHEEMUN

容子敏

(Simon YUNG, Chinese, b.1968)

瀾漫形沉

Vicissitudes of Mountain 2017 Ink and color on paper 86 x 181 cm Signed RONGZIMIN in Chinese With two seals of the artist PROVENANCE: BLINK GALLERY, Hong Kong

2017 設色 紙本 86 x 181 cm 款識：容子敏畫 鈐印：SIMON YUNG ( 朱 ) 、容子敏（白） 來源： 齊亮畫廊，香港

NT$ 320,000 - 500,000 HK$ 83,000 - 130,000 US$ 10,600 - 16,600

Literati III : Encounter with a Collector

602 A GE WARE 'LOTUS-SEED' BOWL Yuan Dynasty or after (AD 1279-1368) D: 9.3 cm H: 5.9 cm PROVENANCE: Private collection, Asia

NT$ 340,000 - 460,000 HK$ 88,000 - 119,000 US$ 11,300 - 15,300 元或以後 哥窯 雞 心 碗 來源 : 亞洲藏家舊藏

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603 A CARVED BAMBOO TEA CADDY Qing Dynasty (AD 1644-1912) H : 9 cm D : 5.5 cm PROVENANCE: Private collection, Taiwan

NT$ 8,000 - 20,000 HK$ 2,000 - 5,000 US$ 300 - 700 清 四時清 香 茶 筒 來源： 台灣藏家舊藏

604 A CARVED BAMBOO TEA SPOON Qing Dynasty (AD 1644-1912) L : 9 cm W: 5.6 cm PROVENANCE: Private collection, Taiwan

NT$ 8,000 - 20,000 HK$ 2,000 - 5,000 US$ 300 - 700 清 溪雲高造茶則 來源 : 台灣藏家舊藏

Literati III : Encounter with a Collector

605 A BAMBOO STAFF Qing Dynasty (AD 1644-1912) L: 91.5 cm PROVENANCE: Private Collection, Taiwan

NT$ 8,000 - 20,000 HK$ 2,000 - 5,000 US$ 300 - 700 Details 細節

清 雕山水樓台 圖 竹 仗 來源 : 台灣藏家舊藏

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606 A CARVED BAMBOO RUYI Qing Dynasty (AD 1644-1912) L: 30 cm PROVENANCE: Private Collection, Taiwan

NT$ 8,000 - 20,000 HK$ 2,000 - 5,000 US$ 300 - 700 清 刻高啟《題 宮 女 圖 》 詩 竹 如 意 來源 : 台灣藏家舊藏 款識：女奴扶醉踏蒼苔，明月西園侍宴回。 小犬隔花空吠影，夜深宮禁有誰來？ 洪武元年，高啟入朝做了翰林院編修，受朱元璋 賞識，奉命教授諸王一起編《元史》。這首詩寫 的是元順帝時一宮女淺醉而歸的生活小片段。

Literati III : Encounter with a Collector

607 POON KWINGWING (Water POON, Chinese, b.1944)

Infinite 2017 Ink and color on paper 111 x 62 cm Signed SHUIHETIAN in Chinese With one seal of the artist PROVENANCE: BLINK GALLERY, Hong Kong

NT$ 140,000 - 180,000 HK$ 36,000 - 47,000 US$ 4,600 - 6,000 水禾田 無限 2017 設色 紙本 111 x 62 cm 款識：無限，丁酉，水禾田畫。 鈐印：禾田 來源： 齊亮畫廊，香港

Poon Kwing-wing is a master in photography and painting, with his well known subject - the Mother Nature.

Regardless of the medium, his artwork has always been regarded as a window to his inner feelings. In this work, the somber background depicts the peaceful dialogue between the mountain cottage and the misty mountains, as the sun rose gently breaking the tranquility. 晨曦晚霞飄掛着薄霧，黑瓦白牆的小屋綿蜜的對話，唯獨 紅日欣賞，構成世間簡約純美迷人的世界。水禾田除了是 一位攝影大師外，更是一位知名畫家，水禾田運用攝像機 去捕捉人與景已經超過三十多年，作品已是深入民心， 經常體驗大自然的他，深度地提升出山水的精華，用極具 魅力的技巧，描繪下他內心的景觀。該畫作一反正常描繪 山水的主題畫的表現方式，在這裡水禾田先生使用墨色中 的灰黑色調來表現其內心的山水，讓畫面更加的寧靜，安 逸，晨曦中，一點點紅日探出頭來，聽溪流潺潺、沐鄉風 徐徐，享受你詩和遠方的假期，行走在大山的懷抱裡，每 當晨曦初現，又是新一天的開始，縱使再有滿身的疲憊也 消失一空，如此美好的境界，正正是作者想帶給觀者的美 的享受。

Ravenel 24

608 A JUN SKY-BLUE-GLAZED CENSER

The compressed globular body raised on three short tapering

Song/Jin Dynasties (AD 960-1279) H: 9 cm D: 9.2 cm

rim, covered overall with a lightly crackled and slightly translucent

PROVENANCE: Collection of Susan Chen

NT$ 440,000 - 600,000 HK$ 114,000 - 155,000 US$ 14,600 - 19,900

legs, the short broad neck culminating in a wide angled galleried lavender-blue glaze of even tone with a fine glossy surface extending over the interior and exterior and completely covering the base, thinning at the rim, the tips of the feet left unglazed. This censer has the design commonly seen during Song-Jin dynasties, which was inspired by tripods of Shang and Zhou, simple and primitive. This kind of small censers can be used both in temples and at home, especially in literati’s study rooms.

此爐唇口，直頸，溜肩，鼓腹，下承三足。造型古樸穩重。通體施 鈞窯天青色釉，釉面光潔滋潤，釉色澄淨，釉層肥厚豐腴，開片自

宋/金 鈞窯天 藍 釉 香 爐 來源： 陳淑貞舊藏

然，口沿處掛釉較薄，在胎骨襯托下呈醬色。爐掛釉至爐底，三足 無釉，足底露胎，質地比較細密。造型簡約，形制亦頗精巧，敦實 可愛，格外古樸雅緻，可稱佳品。 此爐是宋金時期常見爐的造型，造型來源於商周青銅鼎，整體素樸 簡潔，時代特徵非常明顯；當時既有造型碩大的爐，也有此類體形 相對小巧的香爐，既可供奉廟宇，也可放置在家中，特別是在文人 書齋中，更顯雅緻。

Literati III : Encounter with a Collector

609 A JIAN SILVER-HARE’S-FUR-GLAZED “TEMMOKU” TEA BOWL

Tea drinking became common in the Song dynasty and tea

Song Dynasty (AD 960-1279) D: 11 cm H: 7 cm

would better set off the white tea bubbles allowing one to note the

competition also became popular. Teas were judged on their color and the persistence and quality of the bubbles. Dark brown bowls color and qualities of the tea; so deep cyan hare fur bowls were the most sought after. On the topic of bowls, Song Huizong’s Treatise on Tea explains: “Deep green bowls are the most valuable. The hare lines

PROVENANCE: Private collection, Japan

NT$ 700,000 - 900,000 HK$ 181,000 - 233,000 US$ 23,200 - 29,900

must be straight, distinct and clear to allow distinguishing the tone of the tea.” Cai Xiang, in the Northern Song’s Chalu explains the degree to which the dark hare glaze bowls were prized at the time: “If the tea is light colored it is best for the bowl to be dark. Jianan fired bowls with dark hare lines are heavier so better hold the temperature of the tea, thus more useful. Tea bowls from other sites are too thin or darkly colored, and none compare with the dark green glazed hare line bowls.”

宋 建窯爐花坪 兔 毫 天 目 茶 碗 來源 : 日本藏家舊藏

Ravenel 26

These tea bowls represent the most classic ceramics produced from

宋代飲茶活動高度發展，其中鬥茶文化盛行，由裁判根據盞內湯色

the Jian kilns. Remarkable features of tea bowls fired in the Jian

泡沫的品質及持久度評選。黑褐盞較能襯托白色茶沫觀察茶色的特

Luhuaping kilns include: the rim of the lip turns out and the outer

點，因此最受歡迎，其中又以紺黑地兔毫盞為貴。宋徽宗《大觀茶

ring pinches in to mark a line used in tea contests. The result is both

論》盞項亦有類似說法：「盞色貴青黑，玉毫條達者為上，取其煥

practical and beautiful, clearly expressing the sublime Song aesthetic.

發茶采色也。」北宋蔡襄《茶錄》載：「茶色白，宜黑盞，建安所

The body is generous, terminating in a shallow ringed base. Glaze at

造者紺黑紋如兔毫，其坯微厚，熁之久熱難冷，最為要用，出他處

the mouth is thinly applied. The highest quality deep green glaze is

者，或薄或色紫，皆不及也。」可見青黑釉地兔毫斑紋盞當時受重

applied to both the inside and outside. Fine defined hare lines drop

視的程度。

from the top edge toward the bottom radiating together. Glaze expression variation depends greatly on conditions of the kiln room,

此樣式茶盞乃建窯最經典器型，其造型特徵為建窯蘆花坪產地所燒

including temperature, placement of the kiln and other factors. These

製；唇口微侈，外壁沿下一圈為束，為鬥茶止水線所設，美觀實用

factors are not controllable by the kiln operator, so each kiln room

並舉，深符宋人藝術美學。深腹、底承淺圈足，口沿釉薄，內外黑

will produce ceramics with unique characteristics, and the unique

釉發青乃上等發色，免毫垂流微細條紋並列，條理清晰。建盞窯變

qualities of a piece do not depend on the craftsmanship of the glaze.

效果的呈現取決於窯室氣氛，窯溫，窯位等諸多要素，非人力所

This tea bowl is finely fired and elegantly formed. It shows obvious

能，故每件建窯均具唯一特性，已不光是手工、胎釉工藝之差異而

marks of use so was not excavated from a kiln site.

已。此茶盞燒製極精美，身形俊秀，由於使用痕跡明顯，排除窯址 所出的可能性。日本學者「藤岡了一」是一專精中國高古瓷器收藏 家，銀色兔毫斑紋突顯所謂銀兔毫的特色及優美品相保存完美，難 得一見。

Literati III : Encounter with a Collector

610 A LONGQUAN CELADON-GLAZED TRIPOD WASHER Ming Dynasty (AD 1368-1644) D: 23.2 cm PROVENANCE: The private collection from Tenryu-ji Private collection, Japan PUBLISHED: Longquan Ware : Chinese Celadon Beloved of the Japanese, Aichi prefectural ceramic museum, 2012, p. 93, no.108.

EXHIBITED: Aichi Prefectural Ceramic Museum, 21st January -31st March 2012 Hagi Uragami Museum, 23rd June-23rd August 2012

PUBLISHED: Longquan Ware : Chinese Celadon Beloved of the Japanese, Aichi prefectural ceramic museum, 2012, p. 93, no.108. 著錄 :《日本人の愛した中國陶磁龍泉窯青磁展》， 愛知陶磁資料館，2016 年第 93 頁，編號 108

NT$ 1,300,000 - 1,800,000 HK$ 337,000 - 466,000 US$ 43,200 - 59,800 明 龍泉窯青釉 錢 紋 鼓 釘 獸 足 水 洗 來源： 日本天龍寺舊藏 日本藏家舊藏 著錄 : 《日本人の愛した中國陶磁龍泉窯青磁展》，愛知陶磁資料館， 2012 年，第 93 頁，編號 108 ( 此件拍品 ) 展覽： 日本愛知縣陶磁資料館，2012 年 1 月 21 日 - 3 月 31 日 山口立萩美術館 浦上記念館，2012 年 6 月 23 日 - 8 月 23 日

Ravenel 28

Bottom 底圖

This lot is robustly potted and raised on three mask-and-paw feet, the

龍泉窯青瓷鼓釘獸足水洗，獸面三足作，三足茁實有力胎體厚重，

shallow rounded sides carved with the 'Eight Trigrams' below borders

整體造型雄偉大氣，敦實厚重，通身施青釉，施釉均勻，色調青

of incised diaper and applied floret bosses encircling the incurved rim,

綠，釉光亮麗口沿部起弦紋，流暢利落。爐底部正中裝飾器銅錢紋

covered overall with a lustrous sea-green glaze falling short of the

飾，「銅錢紋」為典型古代吉祥紋飾作為瓷器的裝飾紋樣之一，錢

center of the interior and the raised bevelled disc on the base, both

紋上印有「招財進寶」四字，錢紋部分無釉；紋飾有祈求財源廣進

burnt orange in the firing, the interior crisply molded with patterns

的美好寓意，紋飾裝飾在龍泉窯上較多的開始使用最早是在元代，

of copper coins with the characters zhao cai jin bao (bring in wealth

此後一直延用，甚為古雅。此器狀態完好，流傳於世，曾被出版於

and fortune) that connotes fine wishes. This lot is well preserved with

《龍泉窯青磁展》書中，頗具收藏價值。此種水洗器形者多見於龍

archaic elegance, making it a valuable addition to the collection of

泉窯，且傳世於日本收藏居多，保存完整更是彌足珍貴。

Longquan celadon-glazed wares.

Literati III : Encounter with a Collector

611 A PAINTED CIZHOU POLYCHROME “FISH” BOWL Jin Dynasty (AD 1115-1234) D: 17 cm H: 6.5 cm LITERATURE: The Collection of Chinese Art, Sen Shu Tey, Tokyo, 2006, p. 73, no. 101.

PROVENANCE: Sen Shu Tey, Tokyo Christie's, Hong Kong, The Classic Age of Chinese Ceramics - The Linyushanren Collection, Part I, 2nd December 2015, lot 2832.

EXHIBITED: Run Through 10 Years, Sen Shu Tey, Tokyo, 2006, Catalogue, no. 101.

NT$ 600,000 - 900,000 HK$ 155,000 - 233,000 US$ 19,900 - 29,900

Ravenel 30

金 磁州窯紅綠彩魚藻紋碗 著錄 : 《中國美術蒐集》，千秋庭，東京，2006 年，73 頁，編號 101 ( 此件拍品 ) 來源 : 千秋庭，東京 佳士得， 古韻天成 - 臨宇山人珍藏 （一），香港 ， 2015 ，lot 2832 展覽 : 「創立十週年紀念展覽會」，千秋庭， 東京，2006 年，圖錄編號 101

The bowl is painted to the interior in red and green overglaze enamels

碗敞口，弧腹，圈足。口沿下以紅彩繪弦紋數道，綴以綠色苔點，

to depict a fish swimming amidst lotus. It is covered overall with a

碗心繪蓮池游魚紋。灰褐胎施白色化妝土，外罩透明釉，施釉不及

white slip under clear glaze stopping above the foot, exposing the

底，露胎處有墨書三字。

biscuit body which is inscribed with three indecipherable characters in ink.

磁州窯紅綠彩器色彩鮮豔明亮，畫風生動流暢，開創了我國陶瓷使 用低溫釉上彩的先河。此種工藝需經兩次窯燒，即先在胎體上施加

Cizhou polychrome decoration represents the earliest overglaze

白化妝土並罩透明釉燒製成器，再於白釉上以紅、綠等彩勾畫或填

enameling in Chinese ceramic history. This technique entails two

塗出紋飾，二次入窯以低溫燒成。日本石洞美術館藏有一件與本品

firings. On pieces like the present bowl, a milky-white slip was applied

近似的磁州窯紅綠彩魚蓮紋碗，被登記為日本重要美術品，見1999

to the clay body and a colorless transparent glaze was applied to the

年東京朝日新聞社出版《宋磁》，147頁，編號108 。安宅舊藏一

surface of the fired glaze and the vessel was fired a second time at a

件磁州窯紅綠彩蓮塘鳧鴨紋碗，帶有泰和元年 （1201）款，著錄於

lower temperature. The Chinese term of Cizhou polychrome wares,

1972年大阪出版《安宅所藏中國陶瓷名品展》，圖錄編號42。

honglv cai, (red and green colors) is derived from the most popular overglaze colors in the Cizhou Palette, green and red.

Popular decorative themes on Cizhou polychrome bowls include floral patterns and aquatic scenes. A similar “fish” bowl in the collection of Sekido Museum of Art, classified as an Important Art of Object, is illustrated in Asahi Shimbun, Song Ceramics, Tokyo, 1999, p. 147, no. 108 (fig.1). Compare a dated example decorated with the waterfowl flying amidst lotus and inscribed with the date, first year of the Taihe reign (1201) from the Ataka collection, illustrated in "Masterpieces of Old Chinese Ceramics from Ataka Collection", Osaka, 1972, Catalogue, no. 42.

PROVENANCE: Christie's, Hong Kong, The Classic Age of Chinese Ceramics - The Linyushanren Collection, Part I, 2 nd December 2015, lot 2832. 來源 : 佳士得， 古韻天成 - 臨宇山人珍藏 （一），香港 ，2015 ， 編號 2832

Literati III : Encounter with a Collector

612 A GILT BRONZE FIGURE OF GANESHA Qing Dynasty (AD 1644-1912) L : 8 cm W : 5 cm H : 7 cm PROVENANCE: Private collection, Taiwan

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 清 銅鎏金象神 來源： 台灣藏家舊藏

Ravenel 32

613

Luduan is a legendary Chinese auspicious creature. According to

A CLOISONNE ENAMEL LUDUANFORM CENSER

world languages. Censors of the shape of Luduan were especially

Qing Dynasty (AD 1644-1912) L : 18 cm W : 10.5 cm H : 21 cm

beast standing foursquare with open jaws baring teeth, its horned

PROVENANCE: Private collection, Taiwan

tales, it can travel 18,000 li (9000 km) in a single day and speaks all popular during Ming and Qing dynasties, commonly seen in the court or in ordinary people’s home. This lot is modelled as the mythical head forming a hinged cover to allow access to the interior, the beast detailed with finely delineated mane and tail above a stout body with stylized markings, skin covered in enamel with exquisite craftsmanship and delicate colors, and carefully polished. 甪端是中國古代傳說中的一種瑞獸，據說能夠日行一萬八千里，通 四方語言。甪端香爐在明清時期較為流行。無論是宮廷、王府還是

NT$ 200,000 - 300,000 HK$ 52,000 - 78,000 US$ 6,600 - 10,000

民間均十分常見，它不僅實用又有某種辟邪壓威的神秘色彩。香爐 由蓋和爐身兩部分組成，蓋為獸首，爐為獸身，兩者合為甪端形 象。甪端獨角，昂首，張口露齒，頸部飾斷鬣一周，身呈球形，皮 膚採用掐絲琺瑯彩體現，掐絲精細，填色準確，打磨更是精益求 精。爐內空膛，可裝香料，香氣從嘴中飄出。整體造型美觀大方，

清 銅胎掐絲琺 瑯 甪 端 香 爐

古樸典雅，品相美好，或為一件宮廷器物。

來源： 台灣藏家舊藏

Literati III : Encounter with a Collector

614 A LARGE SHOUSHAN STONE “KUI DRAGON”SEAL WITH YIN LU MARK Qing Dynasty Qianlong Period (AD 1736-1795) L : 9.1 cm W: 4.2 cm H : 4.9cm

NT$ 3,000,000 - 5,000,000 HK$ 777,000 - 1,295,000 US$ 99,600 - 166,100 清乾隆 紅壽山 螭 龍 拱 璧 紐 閒 章 印文：南山多福獲壽保年 邊款：南山多福獲壽保年，乾隆葵亥歲秋愛月主人珍藏。

Ravenel 34

This lot is of horizontal rectangular section, the top well carved in

夔龍拱璧鈕長方形閒章為高山舊坑所產佳石，用料碩大無比，色澤

high-relief with two confronting kui dragons, with deer’ antlers,

鮮紅亮麗，質地瑩潤凝膩，所具脂玉感堪比和田美玉，溫婉可親。

camels’ heads, hares’ eyes, snakes’ necks and eagles’ claws,

高台低鈕圓雕夔龍拱壁鈕飾，形制穩重大氣，刻琢精美細膩，兩條

encircling the edge of the top with their heads turned to face

夔龍攀於玉璧之上對角相視，夔龍神態威猛，身形遒勁，肢爪有

each other, amidst the patterns of the mythical beasts Tao Tie’s

力，角似鹿，頭似駝，眼似兔，項似蛇，腹似蜃，爪似鷹，玉璧剔

face on the surface of the jade, the stone of golden caramel tone

地陽刻饕餮獸面紋，刻琢繁複精美，細緻整齊，拋光打磨一絲不

with characteristic veining. The style of the carved scripts and the

苟，底刻南山多福獲壽保年白文篆書，語句十分祥瑞，且篆法規整

craftsmanship of the seal all confirm the imperial reference of this lot.

謹嚴，線條光潔勁挺，極富金石韻味水準極高，所署隸書邊款南山 多福獲壽保年，乾隆葵亥歲秋愛月主人珍藏，顯以鄭谷口隸書為範

Yinlu, titled Ai Yue Zhuren (“The Master Who Loves the Moon”) is

本，古趣可挹，飄逸虛靈，活脫灑麗，堪稱隸書逸品上作。縱觀此

the sixteenth son of Emperor Kangxi, brother of the fifteenth son,

印的製作工藝與篆刻風格不難發現，此印璽帶有非常強烈的乾隆宮

Yunyu; heir to Boggodo, Prince Zhuang, the prestige and wealth of

廷色彩，彰顯出至尊無上的皇家風範。

this first-degree princedom. 愛新覺羅•胤祿清康熙帝第十六子。其初行次為第二十六。康熙 三十四年乙亥六月十八日卯時生，庶妃王氏即順懿密王氏妃所 出，為皇十五子允禑同母弟。康熙末年，命掌內務府。雍正元年 （1723年）三月，莊親王博果鐸（皇太極孫）卒而無子，奉命繼 嗣為後。雍正帝胤禛（震）即位後，為避名諱，除自己外，其他皇 兄弟都避諱「胤」字而改為「允」字排行。因此又作「允祿」歷。 官正藍旗漢軍都統，鑲白旗滿洲都統，正黃旗滿洲都統。乾隆元年 （1736），任總理事務大臣，兼管工部事務，食親王雙俸。不久， 犯事奪爵，仍厚與田宅。四年十月，坐與胤礽子理親王弘皙往來 「詭秘」，停雙俸，罷都統。三十二年丁亥二月二十一日午刻卒， 年七十有三，諡「恪」。子十人女九人。薨逝後葬於磁家務。一生 精數學，通樂律，充算法館總裁，玉牒館總裁。掌樂部期間，革新 禮樂，提出借田禮畢所奏「雨暘時若」，「五穀豐登」，「家給人 足」三章，與禮不符，不應施於燕樂，當別撰；「中和韶樂」應增 笙為八，簫笛為四按照「樂志」，應鑄鎛鐘俱為特懸這些建議，均 被採納。二十九年，乾隆賜詩褒獎。

Literati III : Encounter with a Collector

615 A TIANHUANG SQUARE ‘DRAGON’ SEAL WITH YU DIAN MARK Qing Dynasty Kangxi Period (AD 1662-1722 ) H：6.8 cm Weight : 160g

NT$ 12,000,000 - 18,000,000 HK$ 3,109,000 - 4,663,000 US$ 398,500 - 597,800 清康熙 餘甸刻 銘 田 黃 夔 龍 紋 博 古 鈕 閒 章 印文：不積跬步，無以至千里。 邊款：不積跬步，無以至千里；不積小流， 無以成江海 ; 康熙辛亥長至日餘甸泐石。

Ravenel 36

Tianhuang stone is one the most precious Shoushan stone variety

田黃石因具有皇族專用的黃色，被滿清皇族寵愛並視為珍寶，爭相

which is traded in China as a gemstone and is used for carvings. The

尋覓，價與金玉相同，視同瑰寶，倍受文人雅士、官宦、皇族及帝

stone derives its name from its yellow color and the place where

王的喜愛，自清以來極負盛名。相傳乾隆皇帝曾以田黃石祭天，並

it was discovered. It is produced in rice fields on both sides of the

冠予帝帽，故田黃歷來有「石中之王」的尊號。從古至今田黃歷來

Shoushan creek in Fuzhou Shoushan village. In China, it is considered

都以兩計價，通常一兩以上者方算成材，三兩者可謂大材，而過半

as the best material for the seal carving and was cherished by the

斤者則屬巨材也。因田黃原石多為自然形卵狀獨石，可想而知如此

royal families in the history.

碩大，品相完美的正方印材，要耗用多大的田黃原石方可成形。

This seal is of massive size with a more than 160g’s weight and a

此印重達160克，色澤自然柔順，呈淡「橘皮黃」色，肌理蘊極細

upright rectangular section, the top finely carved in low relief with

緻之蘿蔔紋，綿密欲化，其質地特別的凝膩、溫潤、細結、凝靈成

an archaistic kui dragon with angular scrolling body and bifid tail,

油潤感，顯為中阪所產上佳田石，色質俱佳。頂部浮雕淺刻夔龍紋

writhing above a border of key-fret encircling the edges, the seal

博古鈕，以三代青銅器紋飾為範，線條流暢靈動，其用刀之法堅致

face carved with the script Bu Ji Kuibu, Wuyi Zhi Qianli ('A journey of

挺，饒有古風撲面之趣。

thousands of miles is achieved through accumulation of each single step') in positive seal script, the translucent stone varying in tone

所作印文不積跬步，無以至千里典出荀子「勸學篇」，清初名士餘

from yellow-orange to amber-brown with russet inclusions.

甸所泐，時甸年方弱冠，著實令人驚嘆，亦足見其志向遠大清乾隆 「福清縣志」有載：甸少穎悟，於書無不讀，下筆超絕，試輒冠軍 嘗遊學京都，歷吳下，遍交知名士......著有「入蜀出蜀集」若干卷。 餘甸，字田生，初名祖訓，字仲敏。福建福清人。順治十二年出 生，南平籍人，移居福州南台釣龍台畔。康熙四十五年（1706年） 進士。巡撫張伯行開創鰲峰書院，延聘餘甸前往主持。歷官四川江 津縣，雍正二年閏四月任山東按察使，十一月被召回，敢於觸怒年 羹堯，「直聲滿天下」。官至順天府丞。餘甸的書法，文章皆冠絕 一時，喜歡收集硯台。雍正壬子十年，山東蒲台縣知縣朱成元送禮 簿事發，被指稱收銀二千餘兩，與黃炳、博爾多同判絞監候，遂奪 官。晚年字修吾，號芳初，曾因寫對聯出事下獄，不久病逝。著有 「千卷樓集」。

Literati III : Encounter with a Collector

616 TAI XIANGZHOU (Chinese, b.1968) Celestial [2015.1] 2015 Ink on paper 40 x 178 cm With one seal of the artist

NT$ 1,000,000 - 1,600,000 HK$ 259,000 - 415,000 US$ 33,200 - 53,100 泰祥洲 天象 [2015.1] 2015 水墨 紙本 鈐印：祥洲（朱）

"A faint wind through the fine grass on the shore; high mast and lonely boat in the night. The stars reach down to the wide level fields; the moon rushes on in the swing of the Great River."

–- Du FU [Tang Dynasty] Thoughts While Traveling at Night 「 細草微風岸， 危檣獨夜舟。 星垂平野闊， 月湧大江流。」 ─ 杜甫《旅夜書懷》

Ravenel 38

Tai Xiangzhou set out by imitating the styles of old masterpieces,

泰祥洲的作品從摹寫古代山水畫起步，學習了五代、宋元筆墨，同

but soon proceeded from copying to developing his own approach,

時環抱寧靜幽遠意境。本拍品《天象[2015.1]》以東方意象圖誌形式

which ingeniously employs the swift and bold strokes of Yuan dynasty

開啟了禪定，沈潛高妙的空間佈局，色彩傾向於輕盈、潤澤，開啟

painting to create works filled with the majesty and splendor. At the

觀者可遨遊其間的宇宙。看似具體臨摹天象之景，但同時流露抽象

same, he manages to inject his oeuvre with a sense of great depth

畫中大江大海的悠悠氣質，畫面呈現前所未有的輕透悠揚氣息，溫

and serenity. This lot, titled"Celestial [2015.1]," uses compositional

潤細緻的情感與作品共治一爐。

elements and aesthetic imagery inspired by Oriental traditions to create a meditative atmosphere. His deft spatial arrangements and

泰祥洲作品廣獲學術單位垂青，被以下公共機構及博物館收藏：

smooth, ethereal palette invite us to lose ourselves in the vastness of

北京大學賽克勒考古與藝術博物館，中國

his cosmos. At first glance, this piece seems to be on the figurative

哈佛大學賽克勒博物館，美國

side in showing celestial formations, but the longer we look, the

耶魯大學藝術博物館，美國

more we become immersed in the abstract beauty of a great river

杜克大學Nasher博物館，美國

rolling towards the sea, and enjoy the rhythmical undulations fed by

尼爾森阿特金藝術博物館，美國

the artist's inner world of warmth and emotion.

普林斯頓大學藝術博物館，美國 芝加哥藝術學院，美國

Tai Xiangzhou's works are collected by numerous museums and academic institutions, including the following: Arthur M. Sackler Museum of Art and Archeology, Beijing Harvard's Arthur M. Sackler Museum of Art Yale University Art Gallery Nasher Museum of Art at Duke University, North Carolina Nelson-Atkins Museum of Art, Kansas City Princeton University Art Museum, New Jersey The Art Institute of Chicago

Literati III : Encounter with a Collector

617 A JUN WARE SKY-BLUE-GLAZED DISH Song/Jin Dynasties (AD 960-1279) D:17 cm PROVENANCE: Private collection, Taiwan

NT$ 800,000 - 1,000,000 HK$ 207,000 - 259,000 US$ 26,600 - 33,200 宋/金 鈞窯天 藍 釉 折 沿 盤 來源： 台灣藏家舊藏

Ravenel 40

This lot is heavily potted, the shallow rounded sides rising from a

盤口呈現折沿狀，盤式較淺，小圈足，形態簡潔大方。口沿邊緣處

shallow foot to a wide everted rim, covered overall in a sky-blue

釉水較薄可見褐色胎體，全盤素面無紋，釉色呈天青，其明晦深淺

glaze and thinning to mushroom tone at the rim save for the foot

變化，隱顯之間，讓人愛不釋手。眾所周知，鈞窯以其獨特的 「窯

revealing the buff-orange body. The glaze is evenly applied without

變」效果享譽世間。

any blemish, making it a rare piece of treasure. 這件鈞窯盤，青中帶藍，藍中泛白，白如月光，藍如靜水，給人寧 The Jun kiln complex was an important producer of ware in northern

靜、愜意的色覺享受。且全盤色調均勻，毫無瑕疵，真宛如一輪明

areas during the Song and Yuan Dynasties. It was located in Yu

月一般，實為少見。

County of Xuchang City in Henan Province. Jun ware was highly luxurious. As the ancient Chinese saying goes, ‘Better have a piece of

鈞窯是宋代的五大名窯之一，其窯址在今河南神垕鎮一帶。它創燒

Jun ware than a great fortune’. Being one of the “Five Great Wares”

於唐末，於北宋時達到高峰。尤其在宋徽宗時期，對於窯變的控制

during the Song Dynasty, Jun ware was brilliantly glazed with colors

已經相當精準，各種顏色和紋理都能夠恰到好處。可以說這一時期

including rose violet, begonia red, eggplant purple, chicken blood

的鈞窯，是北宋瓷藝最高水準的體現。後代雖有仿製，但早已不比

red, grape purple, vermilion and lush green.

從前。「家財萬貫，不如鈞瓷一片」的說法就是對鈞瓷珍稀性的比喻。

Literati III : Encounter with a Collector

618 A FLORAL STEM BOWL Jin Dynasty (AD 1115–1234) D: 9.5 cm H: 7.4 cm PROVENANCE: Private collection, Taiwan

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,000 金 紅綠彩花卉 高 足 杯 來源： 台灣藏家舊藏

Ravenel 42

619 HE BAILI (Chinese, b.1945) Peony 2016 Ink and color on paper, Framed 58 x 45 cm Signed BAILI in Chinese With three seals of the artist PROVENANCE: Private collection, Hong Kong

NT$ 600,000 - 900,000 HK$ 155,000 - 233,000 US$ 19,900 - 29,900 何百里 牡丹 2016 設色 紙本 鏡框 58 x 45 cm 款識：百里。 鈐印：自在軒（白）、長春（朱）、 何百里印（朱） 來源： 香港私人收藏

This painting featured the artist's potteries from his backyard. The artist carefully chose his favourite subjects to be featured in his paintings. From this painting, peonies are depicted with Zhao Shaoang's style of depiction. Each petal is depicted with the differentiation of colour and tone, creating a graceful peony. 這一幅《牡丹》是何百里在自家後院種上蔬果花卉，開始對物寫生，是一幅極富生活情趣的作 品。技法重視「寫生」及「心法」，藝術家指出選擇自己喜歡的對象畫，才會有用心、有喜愛的 感覺，才會賞心。作品中牡丹花造型優美，花葉、花莖採用趙少昂的技法，沒骨工筆，花瓣深 淺、濃淡，點到即止，頓生層次，國色牡丹于華貴中又添清雅恬容之氣。

Literati III : Encounter with a Collector

620 A BLUE AND WHITE “GRAPE” CHARGER Ming Dynasty Yongle Period (AD 1403-1424) D: 19.95 cm PROVENANCE: Beijing Johan 2011 Spring Auction, Chinese Ceramics and Works of Art 6, lot 218

NT$ 1,500,000 - 2,600,000 HK$ 389,000 - 674,000 US$ 49,800 - 86,400

Ravenel 44

明永樂 青花葡萄紋菱口盤 來源： 中漢拍賣，猶珍 6 －瓷器工藝品專題拍賣會，北京， 2011，編號 218

This lot is very finely potted with rounded sides rising from a short

此拍品形制、紋飾與日本繭山龍泉堂所藏明永樂青花葡萄紋菱花

tapered foot to a wide everted rim, superbly painted in rich inky

口盤（參見《龍泉集芳》（第一集），繭山龍泉堂，1976年，頁

tones of cobalt-blue accented with characteristic 'heaping and

249，圖750）相類，格調清雅。

piling', the interior decorated with a medallion enclosing three pendent bunches of grapes suspending from a gnarled vine issuing

盤形規整，菱口折沿，口沿飾以青花描繪折枝靈芝紋，內外壁繪飾

broad curling leaves and coiling tendrils, surrounded on the cavetto

纏枝花卉，盤心花朵形內心開光內繪折枝葡萄。青花發色深沉濃

with a leafy composite floral scroll bearing twelve flowering blooms,

豔，整體構圖巧妙，細鬚纏繞，藤蔓綿綿，碩果纍纍，疏朗清晰。

all within a border of lingzhi on the rim.

青花顏料聚集處呈鐵褐色，有凹凸不平之感，在釉面映襯下，產生 一種清晰明麗的視覺效果，蘇泥勃青料典型特徵明顯。

The blue and white wares of Yongle period show influence of foreign cultures while also preserving the traditional motifs including

永樂時期青花紋飾既保留傳統圖案又受外來文化影響，傳統紋飾最

interlocked twigs, blossoms such as lotus and camellia, fruits such

常見到的是纏枝、折枝形態的花卉、瑞果，有蓮花、牡丹、茶花、

as pomegranate and lychee, etc. These motifs are commonly seen

石榴、荔枝、枇杷等，這些紋飾經常出現在大盤、碗、梅瓶、執壺

on big dishes, bowls and plum vases, vividly portrayed with fine

上。花果紋飾寫實傳神，充分借鑒書畫的筆墨意韻，得其法度，

techniques of traditional Chinese paintings.

勾、勒、點、染諸法，運用皆宜。

REFERENCE: Mayuyama, 70 years , vol. 1, Tokyo, 1976, p. 249, no.750 參閱：《龍泉集芳》，第一集，繭山龍泉堂， 日本，1976 年，第 249 頁 ，編號 750

Literati III : Encounter with a Collector

621 A CRACKLE GLAZED DISH Qing Dynasty (AD 1644-1912) D: 26.7 cm PROVENANCE: Private collection, United States

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700 清 哥釉盤 來源： 美國藏家舊藏

Ravenel 46

622 AN APPLE-GREEN-GLAZED BOTTLE VASE

This lot is with a rounded pear-shaped body rising from a short splayed foot to a tall straight neck set with a pair of ruyi handles,

Qing Dynasty Yongzheng Period (AD 1723-1735) H: 11 cm

covered overall with a rich apple-green glaze. With its transparent texture and vibrating color, this green glaze is different from the one of Han culture. Monochrome porcelains, with their exquisite

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,600 - 12,000

glazes and elegant shapes, evoked an aesthetic charm whereby one could appreciate a fundamental sense of the material. More diverse monochrome surfaces were available to consumers during the Qing dynasty than ever before. According to literature, the imperial kiln during that time had more than 57 types of colors of glaze, most of

清 雍正 綠釉 敞 口 尊

them monochrome, of which this lot works as a fine representative. 尊敞口，長直頸，斜肩，垂腹下斂，底承圈足，微微外撇，頸部兩 側飾雙如意耳，造型端莊典雅，線條飽滿柔美，尺幅精巧宜人；其 胎體輕薄堅致，外壁通施低溫翠綠釉，色澤淡雅柔和，施釉凝厚而 不透明，表現有一層油潤的光澤，為同類器物之佳作。此綠釉與漢 之綠釉不同，其釉質瑩透，色澤翠綠，予人鮮妍明快之感。清代的 單色釉瓷器，是在明代單色釉瓷器的基礎上進一步發展而來的，據 雍正末年唐英《陶成紀事碑》所記載，當時御窯廠燒製的釉、彩多 達57種，大部分用來生產單色釉瓷器。大量傳世品也證實了清代單 色釉瓷器既有仿古，亦有創新。僅觀此拍品即可略見，清代單色釉 瓷器的成就已遠遠超越了前代，充分體現了瓷器生產的高超技術。

Literati III : Encounter with a Collector

623 A BLUE AND WHITE “RUYI SCROLL”DISH Qing Dynasty Daoguang Period (AD 1821-1850) D: 15.5 cm H: 3.4 cm PROVENANCE: Private Collection, Asia

NT$ 320,000 - 500,000 HK$ 83,000 - 130,000 US$ 10,600 - 16,600 清 道光 忍冬紋 青 花 盤 來源 : 亞洲藏家舊藏

Ravenel 48

This lot is with a deeper rounded sides than those of the usual dishes

此青花盤平底，大圈足，腹部相較於普遍青花盤類器形較為深，底

of the same kind, supported on a big round foot, deftly painted

款規整篆書「大清道光年制」六字款識，內壁均勻分佈六組纏枝

on the interior in inky tones of cobalt with a central medallion of

圖，底部大開光，內繪忍冬紋，外壁纏枝如意紋，整體規整素雅，

interlocking tendrils forming stylised ruyi scrolls, surrounded by six

青花色彩艷麗，品相完美。

detached strapwork panels evenly spread around the cavetto, all divided by double circles encircling the medallion and rim, the reverse similarly decorated with ruyi scrolls below a border of alternating 'C' and dots, the base inscribed in underglaze blue with a six-character seal mark and period of Daoguang.

Literati III : Encounter with a Collector

624 AN INLAID MARBLE-STONE NANMU PANEL

清 雲石掛屏

Qing Dynasty (AD 1636-1912) L : 73 cm W : 53 cm

來源 : 台灣藏家舊藏

PROVENANCE: Private Collection, Taiwan

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700

Ravenel 50

625 HE JILAN (Chinese, b.1974)

何紀嵐

Journey of Rocks

絲路行中

2017 Ink and color on paper, Framed 50 x 50 cm Signed LAN in Chinese With two seals of the artist PROVENANCE: Private collection, Hong Kong

2017 設色 紙本 鏡框 50 x 50 cm 款識：嵐 鈐印：何（朱）、思無為畫（白） 來源： 香港私人收藏

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

Literati III : Encounter with a Collector

626 CHEUK KA-WAI (Chinese, b.1989)

The artist reconstructs the world she perceives by arranging different

The Floating Dreams no. 1

combinations of objects and symbols in the painting.Li Bai said,

2016 Ink and color on silk, Framed 74 x 87 cm With two seals of the artist

been a passing traveller of a hundred generations. And floating life

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

“Heaven and Earth are a guest house of the myriad things; time has is like a dream; how often do we find true happiness?” The floating life is like a dream. What people fondly remembered and greatly missed will eventually be back in any way. Life and affection, which represented by the apes, the dog, and the frog, will keep flowing in the river of history and time. 作品《浮生若夢》主題仿古，以惹人憐愛的猿猴為主角，別有一番 靈趣。畫猴子的歷史最早可以追溯到宋代，作品沿襲古韻注重寫 實，畫風謹嚴工細，造型準確生動。作品透過物象組合與視覺符號

卓家慧 浮生若夢之一

重構所感知的世界，以細線、墨染、賦彩將之具體呈現眼前。李白 說：「夫天地者，萬物之逆旅也；光陰者，百代之過客也。而浮生 若夢，為歡幾何？」人，在時光中就像過客。浮生，若夢，所思所 念轉化回歸。

2016 設色 絹本 鏡框 74 x 87 cm 鈐印：浮生若夢（朱）、卓氏（朱）

Ravenel 52

627 A BRONZE TRIPOD CENSER XUANDE CAST SIX-CHARACTER MARK Late Ming Dynasty – Early Qing Dynasty (AD 1368- -1912) D : 11.5 cm H : 6 cm PROVENANCE: Private Collection, Taiwan Mark 底款

NT$ 500,000 - 800,000 HK$ 130,000 - 207,000 US$ 16,600 - 26,600 明末清初 大明 宣 德 年 制 款 鼓 型 三 足 銅 爐 來源 : 台灣藏家舊藏

Literati III : Encounter with a Collector

628 AN ALOESWOOD BRUSHPOT Qing Dynasty (AD 1644-1912) H：15.5 cm D：14.5 cm PROVENANCE: Private collection, Asia

NT$ 120,000 - 180,000 HK$ 31,000 - 47,000 US$ 4,000 - 6,000 清 沉香隨型筆 筒 來源： 亞洲藏家舊藏

Ravenel 54

629 A GE WARE FACETED CUP Ming Dynasty (AD 1368-1644) D: 5.5 cm H: 4.2 cm PROVENANCE: Private collection, Asia

NT$ 240,000 - 340,000 HK$ 62,000 - 88,000 US$ 8,000 - 11,300 明 哥窯倭角 四 方 杯 來源 : 亞洲藏家舊藏

Literati III : Encounter with a Collector

630 A SOAPSTONE SEATED FIGURE OF GUANYIN Qing Dynasty (AD 1644-1912) H: 11.5 cm (with base) W: 8.5 cm PROVENANCE: Private collection, Asia

NT$ 70,000 - 120,000 HK$ 18,000 - 31,000 US$ 2,300 - 4,000

REFERENCE: Fine Chinese works of art of Beijing , Capital museum, Beijing, 2009, p.109, no.061 參閱：《 北京文物精品》，首都博物館編， 2009 年，第 109 頁 ，編號 061

清 壽山石觀音 來源： 亞洲藏家舊藏

Botton 底圖

Ravenel 56

631 A CARVED FOREIGNER Tang Dynasty (AD 618–907) L :17 cm W:10 cm H :13 cm (without base) PROVENANCE: Private collection, Japan

NT$ 70,000 - 120,000 HK$ 18,000 - 31,000 US$ 2,300 - 4,000 唐 胡人石刻 來源 : 日本藏家舊藏

Literati III : Encounter with a Collector

632 A PAIR OF YAOZHOU CELADON-GLAZED “FALLEN PETALS ON THE FLOWING WATER” BOWLS

Each of these bowls has a wide mouth, a rounded belly that tapers

Song Dynasty (AD 960-1279) H: 5.5 cm x 2 D: 13.5 cm x 2

pattern made using a comb-like instrument; this in turn is inlaid

off towards the bottom, a thin base, and a ring foot. There is a raised band on the inner wall of the bowl near the belly, surrounding a roundel. The inside of the roundel is decorated with a flowing water with a branch and flower motif, creating a poetic image of blossoms falling into flowing water. The bowl is covered with lustrous celadon glaze, with brownish-yellow glaze at the base. With its combination

PROVENANCE: Private collection of Shogodo, Japan

NT$ 460,000 - 600,000 HK$ 119,000 - 155,000 US$ 15,300 - 19,900

of stillness and dynamism, this celadon bowl has a naturalistic appeal full of life and sparkle; its lively, invigorating form inspires a strong sense of aesthetic pleasure. 敞口，弧腹，腹下漸收，瘦足底，圈足。碗內壁近腹部鏤一道弦 紋，圍繞成圓形開光，開光內篦劃波浪般的海水紋，海水紋內飾折 枝花卉， 營造出落花流水般的詩情畫意。通體滿罩青釉，釉水光澤 瑩潤，底足施醬黃色釉，表現充滿生機的自然逸趣，求得一對，殊

宋 耀州窯青 釉 刻 落 花 流 水 紋 碗 （ 一 對 ） 來源： 日本尚雅堂

Ravenel 58

為難得。

Literati III : Encounter with a Collector

633 A JIAN BLACK-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 9.5 cm H: 3.7 cm PROVENANCE: Private collection, Asia

NT$ 60,000 - 120,000 HK$ 16,000 - 31,000 US$ 2,000 - 4,000 宋 建窯黑釉茶 盞 來源： 亞洲藏家舊藏

Ravenel 60

634 A KORYO CELADON GLAZED BOWL 12-13th Century D: 11 cm PROVENANCE: Private collection of Shogodo, Japan

NT$ 70,000 - 100,000 HK$ 18,000 - 26,000 US$ 2,300 - 3,300 高麗王朝 青瓷 畫 花 洗 來源： 日本尚雅堂

Literati III : Encounter with a Collector

635 AN AUBERGINE-GLAZED “MYTHICAL BEAST” CENSER

The aubergine glaze started from Ming dynasty Hongzhi period. It is

Qing Dynasty (AD 1644-1912) H: 5.5 cm D: 9.5 cm

covered in a glaze of deep purple tone, thinning slightly around the

PROVENANCE: Private collection of Shogodo, Japan

NT$ 90,000 - 150,000 HK$ 23,000 - 39,000 US$ 3,000 - 5,000

called aubergine glaze because of its deep purple color. This censer is applied to each side of the body with a mythical beast-head. It is rims and waisted neck. The glossy deep-purple glaze, an unusual yet striking feature, endows the piece with the elegance characteristic of Kangxi period wares. 紫釉為低溫釉，始燒於明代弘治時期，清藍浦《景德鎮陶錄》卷三 載：「紫色釉，黑鉛粉末加石子青、石末合成。」顏色似茄皮，故 又稱「茄皮紫釉」。清康熙時期的茄皮紫，釉色可分淺、深、老三 色。淺者鮮豔，主要配合彩器使用。深者比一般茄皮色深，釉面發 亮，多用於單色釉器。此件茄皮紫釉香爐為仿宣德銅爐造型所製。 唇口，扁圓腹，兩側飾獸耳，圈足。形制古樸典雅，通體施茄皮紫 釉，釉色濃厚亮麗，深邃迷人，為康熙時期茄皮紫釉瓷器裡的上乘

清 茄皮紫釉獸 耳 香 爐 來源： 日本尚雅堂

Ravenel 62

釉色。

636 A YAOZHOU CELADON-GLAZED CHRYSANTHEMUM-SHAPED PLATE

As a representative work of the “Chrysanthemum” wares, this lot

Song Dynasty (AD 960-1279) D: 10 cm

olive-green glaze unique to Yaozhou kilns. Tao Yuanming, a Chinese

has a small and delicate shape resulting from exquisite craftsmanship.

The body rises from a countersunk base, glazed overall with a sedate poet lived in the Jin dynasty (AD 265–420) had a preference for chrysanthemums as he stated in one of his famous poems, ‘While

PROVENANCE: Uragami Collection, Japan

picking chrysanthemums beneath the Eastern fence, my gaze upon the Southern mountain rests’. Since then, Chinese poets and scholars used chrysanthemum as a symbol of virtue and uprightness

NT$ 200,000 - 300,000 HK$ 52,000 - 78,000 US$ 6,600 - 10,000

in their works spread through ages. Besides poets and paintings, design of chrysanthemum was also largely applied to wares, making chrysanthemum shaping a tradition of ancient Chinese wareproducing procedure. This pair of dish is fascinating as it seems to be a green chrysanthemum blooming in the palms of people’s hands.

宋 耀州窯青釉 印 花 菊 瓣 盤 來源： 日本浦上蒼穹堂

The fragileness of leaf-shaped rim makes this complete pair all the more valuable. 北宋耀州窯青釉菊瓣印花盤，是菊花形制瓷器的一個代表。此對菊 瓣盤精緻小巧，可見窯工的精巧用心。臥足挖底，通體施耀州窯特 有的橄欖色青釉，釉色沉靜，釉光清潤可人。盤內壁菊瓣上印纏枝 紋，盤心整體畫面為一副纏枝圖，與菊瓣壁紋飾相呼應。 「採菊東籬下，悠然見南山」。 晉陶淵明獨愛菊，自此以後，中國 文人皆以菊花風骨高標，千古吟詠。菊花不僅見於詩畫，也多見於 器物之上，以菊為形，製瓷為菊花形制更成為中國古代製瓷工藝的 傳統。而這只耀州窯菊瓣盤，恰似一朵盛放於掌中的綠菊，觀之可 喜。然而菊瓣脆弱極易受損，此成對出現，保存相對完好更是殊為 難得。

Literati III : Encounter with a Collector

637 A JIAN BLACK-GLAZED 'SILVER-HARE'S-FUR' TEA BOWL Song Dynasty (AD 960-1279) D: 11.5cm H: 6 cm PROVENANCE: Private collection of A.C.Lee

NT$ 100,000 - 200,000 HK$ 26,000 - 52,000 US$ 3,300 - 6,600 宋 建窯黑釉兔 毫 茶 盞 來源 : 李艾琛舊藏

Ravenel 64

638 A CARVED LONGQUAN CELADON JAR Yuan Dynasty (AD 1271-1368) D: 8.8 cm H: 7.5 cm PROVENANCE: Feng Wen Tang Collection

NT$ 110,000 - 160,000 HK$ 28,000 - 41,000 US$ 3,700 - 5,300 元 龍泉青釉刻 花 小 罐 來源 : 奉文堂舊藏

Literati III : Encounter with a Collector

639 A PAIR OF DING WHITE-GLAZED SEXFOIL DISHES

Each of the dished has a shallow belly tapering toward the flat base,

Northern Song Dynasty (AD 960-1127) D: 11.2 cm H: 2.1 cm D: 11 cm H: 2 cm

upside-down firing technique. This pair of Ding dishes are glazed

applied overall with an ivory-tinged glaze, including the underside of the base. An unglazed rim with a copper band results from Ding’s pure and white and preserved in a perfect condition as a rarely seen couple, making it a valuable addition to the collection of Ding wares. 盤六瓣花口形制，盤壁微斜，通體施白釉，底部亦施有釉水，平 底，口沿一周無釉，為北宋時期覆燒工藝燒製。此器釉色純淨，白

NT$ 460,000 - 600,000 HK$ 119,000 - 155,000 US$ 15,300 - 19,900 北宋 定窯白釉 花 口 盤 （ 一 對 ）

Ravenel 66

若堆雪，花口器物傳世較少，器型周正完整者更稀有， 所以此件定 窯花口盤釉色白皙勻淨，保存完整，成對出現更是殊為難得，應為 一對可遇而不可求的定窯佳品。

640 A HUTIAN CUP STAND Southern Song (AD 1127-1279) D: 14.5 cm H: 5 cm

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

Report from Thermoluminescence Analysis of C-Link Research ＆ Development 附：中科研發有限公司熱釋光測定報告

The stand is with a central stepped and raised ring enclosed within a

南宋 湖田窯青 白 釉 鏤 空 盞 托

wide rounded cavetto and gently lipped rim, all resting on a splayed base formed from six lappets, each pierced with a central trefoil motif, applied with a transparent glaze, slightly tinged to greenishblue, the base left unglazed revealing the white body burnt orange in the firing. The lot reminds the texture of jade with its fine glaze and exquisite color, representing the elegant life of Dong people. 盞托托盤呈圓形，口沿平出，並輕輕壓出花口，深斜腹，下承圓形 中空圈足，圈足周壁上鏤雕如意狀孔。盤心較深，中部設梯形托 口，托面下凹，邊緣起陽線，用來承嵌碗盞，防止傾覆。此器釉色 白中閃青，胎質堅致膩白，色調雅緻大方，玉質感強，鏤孔若明若 暗，以無窮韻味盡顯宋人風雅生活。

Literati III : Encounter with a Collector

641 A FINELY CARVED BOXWOOD WASHER Qing Dynasty (AD 1644-1912) L : 10 cm W : 7.4 cm H : 4.5 cm PROVENANCE: Private collection, Taiwan

NT$ 60,000 - 120,000 HK$ 16,000 - 31,000 US$ 2,000 - 4,000 清 黃楊木水洗 來源： 台灣藏家舊藏

Ravenel 68

Bottom 底圖

642 A BAMBOO FIGURE OF DONGFANG SHUO

Carved in the round from a bamboo root, the bearded immortal has

Qing Dynasty (AD 1644-1912) L : 10.5 cm W : 9 cm H : 12.5 cm

loose folds, clutching a book in his right hand while resting his left

PROVENANCE: Private collection, Taiwan

NT$ 60,000 - 120,000 HK$ 16,000 - 31,000 US$ 2,000 - 4,000

a kind expression on his face, with a broad smile and squinty eyes, his hair tied up in a bun, dressed in a long flowing robe cascading in hand on one knee. The folds of his robes are vividly portrayed with the bamboo richly patinated. The figure characteristically symbolizes happiness and longevity. 此東方朔擺件以竹為材，面容慈祥圓潤，寬額長須，束髮岸幘，身 著長袍，寬袍廣袖，襟懷敞開。右手執書，左手搭於膝上。衣紋線 條雕刻流暢。竹根選材飽滿縝密，傳世包漿自然，瑩潔溫潤，饒有 古趣。刀法沉凝渾厚，儀相雍容有神，道骨仙風一覽無餘，寓意吉 慶長壽。

清 竹雕東方朔 擺 件 來源： 台灣藏家舊藏

Literati III : Encounter with a Collector

643 AN YIXING STONEWARE LOBED "MELON" TEAPOT

BY JIANG RONG L : 10 cm H: 7 cm PROVENANCE: Private collection, Taiwan

NT$ 100,000 - 200,000 HK$ 26,000 - 52,000 US$ 3,300 - 6,600 蔣蓉製雙色瓜 瓞 綿 綿 紫 砂 壺 來源 : 台灣藏家舊藏

Ravenel 70

Bottom 底圖

644 A “THREE FRIENDS” YIXING CLAY TEAPOT MADE BY CHEN ZIWEN Ming or Qing Dynasty (AD 1368-1912) L : 15 cm H: 10 cm PROVENANCE: Private collection, Taiwan

Bottom 底圖

NT$ 180,000 - 280,000 HK$ 47,000 - 73,000 US$ 6,000 - 9,300 明/清 陳子文 製 歲 寒 三 友 紫 砂 壺 款識： 荊溪陳子文製 此壺取朱泥，式樣古拙。壺底楷書印「荊溪陳子文製」。 來源： 台灣藏家舊藏

Literati III : Encounter with a Collector

645 A YIXING CLAY "FINGER-CITRON" TEAPOT MADE BY JIANG RONG L: 15.5 cm W: 6 cm H : 8 cm PROVENANCE: Private collection, Taiwan

REFERENCE: The Stoneware of Jiang Rong , Taipei, p. 63, no.16.

NT$ 500,000 - 800,000 HK$ 130,000 - 207,000 US$ 16,600 - 26,600

參閱：《蔣蓉陶藝》， 台北， 2000 年， 第 63 頁，編號 16

蔣蓉制 紫砂佛 手 壺 款識： 蔣蓉 來源： 台灣藏家舊藏

Botton 底圖

Ravenel 72

Jiang Rong (1919-2008) is a celebrated master of 'zisha' vessels and

蔣蓉（1919-2008），別號林鳳，江蘇省宜興市川埠潛洛人。1995

teapots in the twentieth century. She was born in Qianluo Village in

年被授予中國工藝美術大師稱號。蔣蓉的作品在中國紫砂工藝史上

Yixing’s Chuanbu County, Jiangsu Province, and is reputed to have

技術精湛，生動具真，別樹一格，成為中國紫砂工藝史上第一位女

been taught the art of ceramic teapot making as early as age 11 by

工藝美術大師。蔣蓉11歲隨父親蔣鴻泉學藝，1940年由伯父蔣鴻

her father. Her style of potting was naturalistic, incorporating fruits

高帶至上海製作仿古紫砂器，曾為虞家花園設計製作花盆，1947年

and flowers, birds, insects and other creatures.

回鄉。1955年參加宜興蜀山陶業生產合作社，創作荷花壺、牡丹壺 等。為周恩來總理出國訪問製像真果品20套。1957年製作佛手壺，

In 1957, her work was selected as gifts for visiting foreign dignitaries

1958年創作金瓜壺、菱形壺、南瓜煙缸、大慄杯、竹根等數十品

by Zhou Enlai. Renowned as the first female master of Yixing, Jiang

種，批量生產。1973年後，創作的白藕酒具，琵琶筆架，蛤蟆捕蟲

Rong combined exquisite technique and realistic rendering into each

水盂，樹樁盆等以大自然為造型，包含生活氣息的陶藝作品。1983

of stoneware, especially the fruit-inspired vessels.

年後，創作更具特色，先後有：百壽樹樁壺，玉兔拜月壺，菊蕊花 蝶壺，松果壺，雙龍紫砂硯等問世。

Literati III : Encounter with a Collector

646 A GOLD TEAPOT WITH IRON HANDLE BY KITAMURA SEIKOU H: 9.3cm D: 14 cm Weight: 438.2g PROVENANCE: Private collection, Japan

NT$ 2,000,000 - 3,000,000 HK$ 518,000 - 777,000 US$ 66,400 - 99,600

Ravenel 74

北村靜香製金壺 底款 : 北村靜香花押款 箱款 : 純金湯沸 來源 : 日本藏家舊藏

647 A GOLD TEAPOT CARVED WITH THE HEART SUTRA BY ZOUROKU H: 14.3 cm (with handle) D: 10 cm Weight: 509.6g

藏六款心經金壺 底款 : 秦藏六製 來源 : 日本藏家舊藏

PROVENANCE: Private collection, Japan

NT$ 1,500,000 - 2,600,000 HK$ 389,000 - 674,000 US$ 49,800 - 86,400

Literati III : Encounter with a Collector

648 A KINRYUUTOU SILVER TEAPOT

錦綾堂銀壺

H: 12.7 cm D: 13 cm Weight: 438.2g

底款 : 錦綾堂 箱款 : 祝還甲 一九六 O 年九月三十日

PROVENANCE: Private collection, Japan

NT$ 120,000 - 200,000 HK$ 31,000 - 52,000 US$ 4,000 - 6,600

Ravenel 76

來源 : 日本藏家舊藏

649 A SILVER EMBOSSED TEAPOT

霰打湯沸銀壺

H: 12.7 cm D: 14.6 cm Weight: 572.6g

款式 : 京 鐵邦造 箱款 : 銀製霰打湯沸

PROVENANCE: Private collection, Japan

來源 : 日本藏家舊藏

NT$ 120,000 - 200,000 HK$ 31,000 - 52,000 US$ 4,000 - 6,600

Literati III : Encounter with a Collector

650 A SILVER TEAPOT BY SUGIMOTO YOSHISUKE H: 15.2 cm D: 13.8 cm Weight: 391.8g PROVENANCE: Private collection, Japan

NT$ 140,000 - 200,000 HK$ 36,000 - 52,000 US$ 4,600 - 6,600

Ravenel 78

杉本儀助製銀壺 底款 : 杉本儀助造 箱款 : 銀瓶 明治貳拾貳年、銀瓶壹 來源 : 日本藏家舊藏

651 A SILVER TEAPOT BY ZIROBEE

治良兵衛製銀壺

H: 16.7 cm D: 16 cm Weight: 984.4g

來源 : 日本藏家舊藏

PROVENANCE: Private collection, Japan

NT$ 140,000 - 200,000 HK$ 36,000 - 52,000 US$ 4,600 - 6,600

Literati III : Encounter with a Collector

652 A GILT-DRY-LACQUERED FIGURE OF GUANYIN Qing Dynasty (AD 1644-1912) H : 45 cm (without stand) PROVENANCE: Private Collection, Asia

NT$ 360,000 - 460,000 HK$ 93,000 - 119,000 US$ 12,000 - 15,300 清 夾苧觀音立 像 來源 : 亞洲藏家舊藏

This lot is portrayed standing with one hand raised and the other hand lowered, the full face with delicate features, eyes downcast, expression solemn, the elaborate chignon fronted by jeweled tiara, clad in fluttering scarf and layered skirt floating with elegant lines.

The figure is well polished allover with fine lacquer on the surface, making it a valuable work of art.

The technique of dry-lacquer can be dated back to the Spring and Autumn period. 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. 此尊為清中期的夾苧漆金觀音菩薩立像。菩薩頭帶五葉冠，開相飽 滿莊嚴，柳葉眉，雙眼微張，俯視芸芸眾生。身著雙領通肩天衣， 衣紋繁複華貴，自然流暢，富有韻律美感。胸前瓔珞製作考究精 細，獨具特色。整體造像精緻華貴，打磨光滑，漆質上乘，為難得 佳品。 夾苧脫胎材質源於春秋戰國時期，歷史悠久。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。

Ravenel 80

653 A SANDALWOOD FIGURE OF GUANYIN Qing Dynasty (AD 1644-1912) H: 22cm PROVENANCE: Private Collection, Asia

NT$ 900,000 - 1,200,000 HK$ 233,000 - 311,000 US$ 29,900 - 39,900 明末清初 檀香 木 觀 音 立 像 來源 : 亞洲藏家舊藏

This lot is carved in a whole block of precious sandalwood, wearing long flowing robes and a pendant necklace, the face with a peaceful downcast expression and a pearl between the eyebrows. All the details are vividly crafted to convey a sense of richness.

此尊觀音立像採用貴重的檀香木為材，用整木雕刻而 成，纖細眉弓連接著高挺鼻樑，眉心嵌一珍珠，雙眼微 睜，雙唇微起，面部刻畫方正飽滿，給人以雍容華貴之 感。高聳的髮髻被分成三縷，每縷頭髮都被表現的淋漓 盡致。 從衣紋的表現來看，具有典型的江浙工藝特點，然而此 件江浙工的造像與我們常見的有所不同，有可能為當時 的賞玩件。眾所周知，江浙工衣褶複雜多樣，如果處理 不當，容易讓人覺得雷同、繁瑣、喧賓奪主覺。然而細 看此尊觀音像，從垂袖邊沿的彎折變化，到深淺層次的 變化，從衣褶的虛實變化，到前後的空間關係，皆把江 浙工藝表現的淋漓盡致。

Literati III : Encounter with a Collector

654 A LACQUERED WOOD FIGURE OF GUANYIN

This lot is finely carved seated in dhyanasana on pedestal of lotus petals with hands in vitarkamudra, wearing loose robes falling

Late Ming Dynasty – Early Qing Dynasty (AD 1368- -1912) H: 30 cm PROVENANCE: Private Collection, Asia

NT$ 340,000 - 460,000 HK$ 88,000 - 119,000 US$ 11,300 - 15,300

in crisp folds around the knees, the face set in contemplative expression with downcast eyes, the ears with pendulous lobes, the hair arranged in a braided coiffure secured behind a tiara, wearing a long jewelled necklace. The lotus seat can be separated from the figure. The lotus is gilt-lacquered overall and preserved in a good condition. 觀音頭戴五葉冠，梳高髻，另有兩束青絲分別垂於兩肩，自然隨 意，自帶風情。開相慈祥柔和，輪廓圓潤光滑，眉眼彎彎，嘴 角含笑，祥和安然觀音身。穿通肩雙領天衣，下著羅裙以絲絛繫 於腰間，絲絛雕刻寫實細膩，衣紋於腰間翻轉自然流暢。胸前配

明末清初 木胎 菩 薩 坐 像 來源 : 亞洲藏家舊藏

有瓔珞，結跏跌坐於蓮花座上，左手平放，右手結法印於胸前， 手部細節處理到位，玉手纖細。天衣服帖，雕刻細膩寫實，衣紋 隨動作翻轉層疊，自然、流暢，可見當時匠人高超技藝。蓮花座 與主體可分開，蓮花座花瓣厚實規整，蓮座有力平整。通體髹漆 金，保存良好。

Ravenel 82

655 LI DEZHUANG (Chinese, b.1958)

With bright patches of colour, the painting creates a humid

Autumn

atmosphere, which is a typical method of expression in Li Dezhuang’s

2014 Ink and acrylic on paper 60 x 180 cm Signed LI DEZHUANG 2014 SHANGHAI in Chinese

imaginations.

NT$ 500,000 - 800,000 HK$ 130,000 - 207,000 US$ 16,600 - 26,600

paintings. This abstract colourful composition ignites multivarious

作品《秋田》是畫家2014年，以秋色為題的作品。與同一時期 「井、山、田」 系列相呼應，也可說成是畫家從半抽象風景畫，逐 步轉移到以「田」字的方型創作概念入畫的變奏時期重要代表作之 一。畫面是由三個方型組成一個長方型，土黃褐等色階與水分飽滿 的墨色筆韻在畫面上奔 ，凸顯畫家嫺熟的彩墨畫功底。 作品用色明亮、水意酣暢淋漓，氣勢撼人，令人感覺有一種澄明純 淨的情境。在那些鮮亮的影暈，充滿藝術生命力的形式符號裏，處

李德庄 秋田

處蘊育綻放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曲，令人振奮而陶醉。這是一幅充滿抒情性的 畫作，而抒情向來是在中國美學世界的主要特質，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，在

2014 彩墨 壓克力 紙本 60 x 180 cm

在都是人文情思的抒情表達。

款識：李德庄 2014 上海 （畫背）

Literati III : Encounter with a Collector

656 TADAO ANDO (Japanese, b.1941) Architectural Manuscripts (a set of 4) 2001 Hyogo Museum (1) Oil chalks and encreon on paper 13 x 17 cm 2015 Yuan Museum (2) Oil chalks and encreon on paper 18.5 x 22.5 cm 2000 Awaji-Yumebutai (3) Oil chalks and encreon on paper 18 x 23.5 cm 2006 Naoshima Ando Museum (4) Oil chalks and encreon on paper 14 x 18 cm Signed ANDO on each paper

NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000 安藤忠雄 建築手稿（4 件一組） 1.

2.

3.

4.

兵庫縣立美術館 Hyogo Museum (2001) 北京元美術館 Yuan Museum (2015) 淡路夢舞台 Awaji-Yumebutai (2000) 直島安藤博物館 Naoshima Ando Museum (2006)

蠟筆油彩 紙本

Ravenel 84

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657 A SHANXI HUAIREN “HARE’S FUR” TEA BOWL

This tea bowl is well proportioned with a small round foot. The inner

Song Dynasty (AD 960-1279) D: 12 cm H: 7 cm

and running downward. The irregular lines visually resemble hare’

PROVENANCE: Private collection, Asia

NT$ 130,000 - 180,000 HK$ 34,000 - 47,000 US$ 4,300 - 6,000

side of the bowl is glazed black, with iron-rust colored glaze splashed fur, which makes the name, “Hare’s-Fur” Tea Bowl. On the exterior, brown iron-rust colored striations of “Hare’s Fur” glaze extend to the foot, thinning as it goes down 此件建盞形制規整，口沿一圈略有收束，腹部斜收，小圈足呈玉環 狀，留有旋坯紋。其胎體厚重堅致，色澤紫黑。釉色黑而潤澤，器 內外施釉，底部露胎，釉汁垂流厚掛，釉面呈現褐黃色和褐藍色細 線。遠觀之，猶如大大小小不同的兔毫，濃淡深淺、曲曲彎彎，色 彩上濃下淡，以至消失，給人一種自然的美感。

宋 建窯黑釉兔 毫 盞 來源： 亞洲藏家舊藏

Literati III : Encounter with a Collector

658 LI JING (Chinese, b.1972) Misty Landscape 2017 Ink and colour on paper, Framed 33 x 33.5 cm x 4 Signed LIJING in Chinese Each with one seal of the artist

NT$ 240,000 - 320,000 HK$ 62,000 - 83,000 US$ 8,000 - 10,600

“Misty Landscape” is formed by four paintings, which attain its grandiosity both on its own or as a set of landscape paintings. This oeuvre meticulously followed the technique of “the Four Wangs of Qing Dynasty” - the four greatest painters of the period (led by Wang Shimin). From its composition to the use of ink to create folding shades of the mountains, the artist’s mature technique brings out the grandiosity and elegance of a landscape painting, making this contemporary work comparable to the standard of old masterpieces.

李淨作《雲山圖冊》四聯幅，構圖上四件作品既可獨立成畫，又可 併成一組山水畫。作品在用筆、用墨、用色方面均變化微妙，讓畫 作有統一的韻律同時有四個不同感覺。空山無人水自流，一股襌味 撲面來，深得傳統文人畫之虛靜、清空之境。高山矗立，流水潺

李淨 雲山圖冊

潺，雲煙冉冉，沒有喧囂，靜絕塵埃。在幽寂的筆墨世界中，寓寄 著他獨特的人生觀，雖靜謐卻一片生機。四幀圖冊構圖簡潔，筆法 精微，正是繁華落盡，蕩去一切執著與躁動，畫的是滿目雲山皆是 樂，一涵清澈留心中。這正是中國禪家所崇奉「空山無人，水流花

2017 設色 紙本 鏡框 33 x 33.5 cm x 4 款識：李淨。 鈐印： 〈一〉李淨（白） 〈二〉李淨（朱） 〈三〉李淨（白） 〈四〉李淨（朱）

Ravenel 86

開。」的境界，也是宋元以來中國繪畫所重視的寂寞境界。 唐代韋應物詩云：「萬物自生聽，太空恆寂寥。還從靜中起，卻向 靜中消。」詩中永恒寂寥的世界，孕育著真正的盎然生機。作品筆 墨均以「清·四王」為骨法，著重畫面的結構氣勢，墨色間對單元結 構的細緻刻畫，尤在進行重疊的漸次中推延，畫面丘壑佈置和筆墨 功力則更顯韻味，形成了中國畫獨特的空間結構和氣勢。作品《雲 山圖冊》四聯幅用色清雅、秀麗，畫面或松嫩中和，或渾厚生拙， 達到了古代山水畫筆墨表現的最高境界。

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Literati III : Encounter with a Collector

659 A ZITAN RUYI WITH INSET JADE PLAQUES Qing Dynasty Qianlong Period (AC 1711-1799) L: 54 cm PROVENANCE: Private collection, Asia

NT$ 380,000 - 480,000 HK$ 98,000 - 124,000 US$ 12,600 - 15,900 清 乾隆 紫檀玉 如 意 來源 : 亞洲藏家舊藏

Ravenel 88

660 A WHITE JADE VASE AND COVER

十 九 世 紀 白 玉 雕 花 鳥 紋 螭 龍 耳 活 環 蓋瓶

19th century H: 19.7 cm

來源： 英國藏家舊藏 倫敦邦翰斯 2014 年 5 月 15 日，編號 183

PROVENANCE: Private collection, England Bonhams London, 15th May 2014, Lot 183

NT$ 750,000 - 1,000,000 HK$ 194,000 - 259,000 US$ 24,900 - 33,200

The stone of very pale even hue, crisply carved in low relief with a bird in flight beside a twisting branch issuing two tree peony blossoms, the reverse similarly carved with a chick sheltering beneath two further tree peony blossoms, the smooth neck flanked by chilong loose-ring handles, the cover with a Buddhist finger citron, leaves and a twisted trunk carved in low relief beneath the knop carved as a blossoming chrysanthemum, wood stand. 此環蓋瓶用上等白玉雕製，瓶身浮雕飛鳥幼雛牡丹 圖，頸部曲線平滑流暢，兩側透雕雙螭龍銜活環耳式 樣。蓋刻有盛開菊花，雙層仰蓮瓣紋形蓋鈕。配木座。

Literati III : Encounter with a Collector

661 A CARVED JADE MOUNTAIN Ming Dynasty (AD 1368-1644) H: 15.5 cm (without stand) PROVENANCE: Private Collection, Taiwan

NT$ 100,000 - 150,000 HK$ 26,000 - 39,000 US$ 3,300 - 5,000 明 玉子山 來源 : 台灣藏家舊藏

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662 A ROSEWOOD TABLE WITH DRAGONS CHASING FLAMING PEARL DESIGN Qing Dynasty (AD 1644-1912) L : 48 cm W: 25 cm H : 12 cm

PROVENANCE: Sotheyb's Hong Kong, Autumn Sale, Lot 0053

NT$ 180,000 - 280,000 HK$ 47,000 - 73,000 US$ 6,000 - 9,300 清 紫檀雕雙龍 戲 珠 紋 案 幾 來源： 蘇富比倫敦，2013 年秋拍，編號 0053

Literati III : Encounter with a Collector

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Literati III : Encounter with a Collector

663 AN IMPERIAL STYLE GILT-BRONZE FIGURE OF YAB-YUM

This figure of Yab-yum, despite its small scale, makes an outstanding

Qing Dynasty (AD 1644-1912) H : 12.3 cm L : 11 cm W : 4.5 cm

art of India, Bhutan, Nepal, and Tibet. It represents the primordial

PROVENANCE: Private collection, Europe

NT$ 700,000 - 900,000 HK$ 181,000 - 233,000 US$ 23,200 - 29,900

impact on visual reception, with details of the craftsmanship showing exceptionally high skill. Yab-yum is a common symbol in the Buddhist union of wisdom and compassion, depicted as a male deity in sexual union with his female consort. The male figure represents compassion and skillful means, while the female partner represents insight. The six-armed figure standing in yab-yum with the similarly six-armed Vishvamata, their arms radiating around them holding numerous attributes, each with three heads crowned with foliate tiaras, richly adorned with beaded pendent belts and jewelry, inset with hard stones and richly gilt overall. This lot is preserved with the original base, which makes it even more precious. This standing figure of Yabyum shows high-level artistic values from its design, decoration and craftsmanship, representing the fine features of the imperial style giltbronze figure of Buddha of the Qing dynasty. In additional, it is well

清 乾隆 宮廷雙 身 金 剛

preserved, which adds to its rarity and overall value.

來源： 歐洲藏家舊藏 此尊為雙身金剛的隨身佛。於小尺寸上細膩的雕工，氣勢非凡，更 顯匠人技藝。藏傳佛教中的雙身佛像，男身代表慈悲，女身代表智 慧，雙身代表智悲雙運。此件忿怒相雙身佛，主尊及明妃均呈三面 六臂的形象。主尊呈憤怒相，戴骷髏冠，紅發如火焰狀上揚，髮間 現蛇；各面具三目，粗眉倒立，三目圓睜，呲嘴獠牙，極為怖畏。 呈左展右曲立姿，明妃單足站立左腿盤主尊腰部。主尊與明妃各六 臂分持不同法器或結印。下承單層覆蓮座，尖瓣略翹，上緣一圈細 密的連珠紋。此尊保留原封底，底座刻有題記，更為殊盛。 乾隆宮廷造像不僅延續了宮廷藝術造像之精髓，還發展出更加華美 並具有雄闊氣度之風格。此尊站佛從造型裝飾以及精湛工藝皆表現 出鮮明的清代宮廷金銅佛特點，品項完好，完整保留宮廷氣息，難 得尤甚。

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Literati III : Encounter with a Collector

A Khalkha Mongols Gilt-Bronze Figure of Guru Zanabazar School 17th Century This is a figure of Tibetan Guru, finely cast seated in dhyanasana

此尊藏傳佛教上師造像，全跏趺坐於蓮花寶座之上，右手結說法

on a lotus base, with left hand held in dhyanamudra, right hand in

印，左手於臍前結禪定。頭戴智者之帽，面相俊秀，神態肅穆。軀

dharmachakramudra, wearing richly decorated robes falling over the

體端正挺直，四肢比例協調，可見來源於真實的依據，袈裟華麗

crossed-legs in loose pleats, the hems incised with florets and diaper

貼體，如自然般著裝，衣褶處理精美，其雕琢之精細也透露著造

patterns, the fair face with a serene expression surmounted by a

像者對上師無比崇敬的心態。衣紋厚重寫實，衣領及袖口、邊緣處

pointed hat with overhanging lappets falling to the shoulders, the

飾以精美的花紋帶。圓形仰式蓮花座，整體呈扁平狀，蓮瓣規整挺

base sealed and centered with a vishvavajra. The exquisite handicrafts

拔，交錯排列，屬於蒙古佛像雕塑藝術鼻祖—扎那巴扎爾大師造像

show the uttermost respect the figure maker has towards the Guru.

風格。整體造像形制大方，莊嚴肅穆，製作工藝考究，鎏金工藝精

With the smooth lines and vivid portrayal, this lot belongs to the best

湛，線條流暢，是清初蒙古喀爾喀扎那巴札爾風格造像精品，且保

collection of the early Qing Zanabazar School of Khalkha Mongols.

存良好，殊宜寶之。

Guru is a Sanskrit term that connotes someone who is a "teacher,

上師是佛教對具有高德勝行、堪為世人規範者之尊稱。又稱作金剛

guide, expert, or master" of certain knowledge or field. In pan-

上師（梵語guru，意即師匠、師範，為古代印度人或一般修行者對

Indian traditions, guru is someone more than a teacher, traditionally

其師之尊稱），意指上德之人，成為後世頂禮膜拜的對象。

a reverential figure to the student, with the guru serving as a "counselor, who helps mold values, shares experiential knowledge as

扎那巴扎爾（Zanabazar，1635-1723），蒙古喇嘛教的宗教首領

much as literal knowledge, an exemplar in life, an inspirational source

（哲布尊丹巴），1651年改宗格魯派，五世達賴喇嘛和四世班禪喇

and who helps in the spiritual evolution of a student".

嘛承認其為一世哲布尊丹巴活佛。 1688年，準格爾部噶爾丹攻擊喀 爾喀蒙古時，率部南下內附清廷，1691年康熙皇帝正式冊封其為哲

Zanabazar (1635-1723) is "reincarnation of Jebtsundamba" and the

布尊丹巴呼圖克圖，並令其統管喀爾喀蒙古部宗教事務，從而成為

first Bogd Gegeen, or supreme spiritual authority, of the Gelugpa

蒙古地區最大的格魯派活佛之一。 1723年，圓寂於北京黃寺。

(Yellow Hat) lineage of Tibetan Buddhism in Mongolia. His close ties with both Khalka Mongol leaders and the devout Kangxi Emperor

扎那巴扎爾（Zanabazar，1635-1723），蒙古喇嘛教的宗教首領

facilitated the Khalkha's submission to Qing rule in 1691.

（哲布尊丹巴），1651年改宗格魯派，五世達賴喇嘛和四世班禪喇 嘛承認其為一世哲布尊丹巴活佛。 1688年，準格爾蒙古噶爾丹攻擊

Zanabazar was recognized as a sculptor par excellence among the

喀爾喀蒙古時，率部南下內服清廷，1691年康熙皇帝正式冊封其為

Buddhist countries of Asia and the greatest sculptor of Mongolia and

哲布尊丹巴呼圖克圖，並令其統管喀爾喀蒙古部宗教事務，從而成

is sometimes referred to as the Michelangelo of Asia as he epitomized

為蒙古地區最大的格魯派活佛之一。 1723年，圓寂於北京黃寺。

the Mongolian Renaissance. Upon his return from Tibet in 1651 and 1656, he revived the art of metal image making in Mongolia, through

他亦是蒙古佛像雕塑藝術鼻祖，製作了一系列精美的佛教造像，人

carved images of various Buddhist gods from bronze or copper.

物比例精準，造型優美，氣質典雅，深刻影響了蒙古後世佛像藝術

Zanabazar established unique features for Mongolian Buddhism

發展，開啟了蒙古民族藝術風格的繁榮時期。無論在此時期之前或

including Tibetan influenced yet redesigned lama robes, reworked

之後，蒙古在青銅鑄造藝術方面都沒有達到如此完美的技藝，因此

melodies for chanting, and modifications of traditional ceremonies

其作品被後人爭相寶藏。與此時期西藏本土佛教雕塑最大不同之處

either in the melodies or by the introduction of new prayer texts

是，札那巴札爾派雖然受到了西藏佛教藝術的影響，但卻極力追崇

which he composed. During his time in Tibet, Zanabazar came to

古代佛像風尚，體現出比較濃郁的古代尼泊爾和印度雕塑遺風。

admire the Nepali style of representational arts favored by the Gelug school and it profoundly influenced his own artistic development and style, which prominently differentiated his style from the then Tibet Buddhist arts.

Ravenel 96

664 A KHALKHA MONGOLS GILT-BRONZE FIGURE OF GURU, ZANABAZAR SCHOOL 17th Century H: 23.5 cm L : 14.5 cm

17世 紀 蒙 古 喀 爾 喀 銅 鎏 金 上 師 像 來源： 歐洲藏家舊藏

PROVENANCE: Private collection, Europe

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

Literati III : Encounter with a Collector

665 A GILT-BRONZE FIGURE OF GURU

This is a figure of Tibetan Guru, finely cast seated in dhyanasana on a lotus

18th Century H: 14.3cm

wearing classic Tibetan robes, the kind face with realistic facial features including

base, with left hand held in dhyanamudra, right hand in dharmachakramudra, smiling eyes, surmounted by a pointed hat with overhanging lappets falling to the shoulders.

PROVENANCE: Private collection, Europe

This lot is well proportioned with exquisite outlines and sophisticated handicrafts, showing high artistic value. Despite its delicate size, every detail is carefully

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

carved, which makes this figure a representative of Qing Buddhist arts.

此尊造像頭戴尖帽通人冠，微帶笑意，眉目慈祥，兩頰旁刻劃有笑紋，五官寫 實。手指或彎或屈，柔婉自如，透露真實人物生活氣息，展現出當時代的風格 特色通體鎏金厚實，著交領式僧衣，為西藏僧人典型之裝束，右手當胸結說法

18世紀 銅鎏金 上 師 像 來源： 歐洲藏家舊藏

印，左手結禪定印持經書於腹前，結跏趺坐於方墊上，身段勻稱，神態安詳， 予人以平和安寧之感。 本尊銅像造型比例準確，衣褶線條自然流暢，工藝手法嫻熟，部分鎏金，部分 泥金呈現更具藝術性的表現，衣紋雕飾十分細膩，造像體量雖不大，但是每個 細節都處理清晰，是為清代造像的代表性作品。

REFERENCE: The Avalokitesvara in Ancient China , Capital Museum, Beijing, 2008, p. 236, no. 27 參閱 : 《佛教慈悲女神：中國古代觀音菩 薩》，首都博物館，北京，2008 年， 第 236 頁，編號 27

Ravenel 98

666 A GILT-BRONZE FIGURE OF AVALOKITESVARA

This lot is in the style of Qianlong period’s Han-Tibetan Buddhist figures. In Buddhism, bodhisattva has a lot of incarnations, each one representing an idea of the religion, and acting as expressions of bodhisattva’s passion and wisdom. The special feature of Avalokitesvara is that, different from

Qing Dynasty (AD 1644-1912) H: 12.8 cm W: 5.5 cm L: 9 cm PROVENANCE: Private collection, Europe

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

the dignified and rigid posture of the usual Buddhist figures, Avalokitesvara appears to be free and unrestricted. Avalokitesvara is a bodhisattva who embodies the compassion of all Buddhas, often adopted as the topic of Buddhist arts. Different from Mongolian and Tibetan style, this Avalokitesvara has the facial features of a Han person. This figure has round face with full cheeks, smiling lips 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 with both of her hands casually embracing her left knee. The gilt-bronze figure is nicely preserved with the skirts draping down naturally. 此尊觀音造像為清代乾隆時期漢藏風格，通體鎏金，觀音頭戴巾，高髮髻，耳墜花鐺，胸前飾有 精細的瓔珞，面相圓潤，雙頰飽滿，雙目微合，嘴角微揚，微含笑意。與西藏以及蒙古造型不同 的是，這尊觀音為漢人面容，然其衣服、裝飾有藏傳佛造型特徵，具備乾隆時期佛造像特點。其 胸前佩戴華麗飾鏈瓔珞，著菩薩裝，花紋繁縟精美薄衣。貼身，衣折流暢自然，如同流水。菩薩

清中期 銅鎏金 自 在 觀 音 像

身姿挺拔舒張，雙手抱單膝，呈左跏趺坐姿，曲左腿，舒右腿。姿態灑脫，無拘無束，神態自 若，是為自在。本品最為讚歎的正是自在觀音的姿態，腰身所成弧線優美，線條張弛有度。

來源： 歐洲藏家舊藏

觀音是印度梵語意譯簡稱，全稱「觀世音」，又稱「觀自在」、「觀世自在」、「光世音」，德 號「圓通大士」，她是印度佛教中的著名菩薩，中國佛教四大菩薩之一。在佛教各大菩薩中，她 以慈悲著稱，是佛教慈悲的化身。千百年來，她以慈悲的功用受到印度、中國及東南亞各國佛教 信徒的崇信，被譽為「大慈大悲救苦救難觀世音菩薩」。

Literati III : Encounter with a Collector

A GILT-BRONZE FIGURE OF CHANGKYA RÖLPÉ DORJÉ 18

th

Century

Changkya Rölpé Dorjé (1717-1786) was a principal Buddhist teacher

此尊造像頭戴尖帽通人冠，微帶笑意，眉目慈祥，兩頰旁刻劃有笑

in the Qing court, a close associate of the Qianlong Emperor and

紋，五官寫實。手指或彎或屈，柔婉自如，透露真實人物生活氣

an important intermediary between the imperial court and Inner

息，展現出當時代的風格特色通體鎏金厚實，著交領式僧衣，為西

Asia. Changkya Rölpé Dorjé's collected works (gsung 'bum) consist

藏僧人典型之裝束，右手當胸結說法印，左手結禪定印持經書於腹

of seven large volumes containing nearly 200 individual texts. He

前，結跏趺坐於方墊上，身段勻稱，神態。安詳，予人以平和安寧

also supervised and participated in the translation of the Kangyur

之感。

into Manchu (108 volumes) and the entire Tengyur (224 volumes) into Mongolian. He participated in solving many ethic and religious

本尊銅像造型比例準確，衣褶線條自然流暢，工藝手法嫻熟，部分

problems, making a great amount of contribution to the solidification

鎏金，部分泥金呈現更具藝術性的表現，衣紋雕飾十分細膩，造像

and development of China as a unified nation.

體量雖不大，但是每個細節都處理清晰，是為清代造像的代表性作 品。

The figure is finely cast with a flat forehead and smiling eyes on a kind face, seated in dhyanasana on a lotus base, with left hand held in dhyanamudra, right hand in dharmachakramudra, wearing sleeveless shirt inside and a long robes on the outside, surmounted by a pointed hat with overhanging lappets falling to the shoulders. The lappets are decorated with patterns of religious scripts and swords, which represents that Changkya Rölpé Dorjé is the reincarnation of Manjushri. The surface of the figure is well polished, gilt with fine gold, the hems of his cloths incised with delicate patterns. According to documents, there is a small protuberance on the right cheek of Changkya Rölpé Dorjé, which can be clearly seen on this figure, showing the high fidelity of the portrayal.

Bottom 底圖

Ravenel 100

667 A GILT-BRONZE FIGURE OF CHANGKYA RÖLPÉ DORJÉ 18th Century H : 17 cm L : 11.5 cm W: 8 cm

18世 紀 銅 鎏 金 三 世 章 嘉 像 來源： 歐洲藏家舊藏

PROVENANCE: Private collection, Europe

NT$ 480,000 - 600,000 HK$ 124,000 - 155,000 US$ 15,900 - 19,900

Literati III : Encounter with a Collector

668 A BRONZE FIGURE OF SHAKYAMUNI BUDDHA

The historical Shakyamuni Buddha is envisaged in this statue seated at Bodh

Yuan Dynasty (AD 1271-1368) H: 24.2 cm L : 15.5 cm

'lord of the senses'. The Buddha overcame their attempts at seduction and

PROVENANCE: Private collection, Europe

NT$ 800,000 - 1,200,000 HK$ 207,000 - 311,000 US$ 26,600 - 39,900

Gaya in eastern India, having vowed to remain in meditation to penetrate the mystery of samsara. He was interrupted by the demon hordes of Mara, the distraction, and in defiance moved his right hand from the meditation position to touch the ground before him. The gesture, bhumishparsha mudra, signifies the moment of triumph over Mara in calling the earth spirit to witness his claim to enlightenment.

This classic iconography of Shakyamuni Buddha is famously represented in Buddhist arts. Seated in vajraparyankasana with hands in bhumishparsha mudra on a double-lotus base with slender pointed petals between beaded edges, the deity rendered clad in a robe loosely draped over the left shoulder and cascading in voluminous folds around the feet, further portrayed with a serene countenance framed by a pair of pierced long pendulous earlobes, all below

元 銅釋迦牟尼 像 來源： 歐洲藏家舊藏

Ravenel 102

an ushnisha atop hair neatly arranged in rows of small whorls. Besides the fine quality of the bronze, the exquisite craftsmanship with the vivid posture and expression all show the special feature of Yuan Buddhist arts.

釋迦牟尼佛悟道的成道像，是目前流傳最廣泛的佛陀造像形式，成 道之姿，左手於腹前結禪定印，右手結觸地印，自此釋迦牟尼證道 成佛，此尊佛陀頭部螺結高聳，挽髻於，寶珠頂嚴。面相方圓，神 態安然，眉間飾白毫，目光下收，隱含威儀，眉與鼻樑成一線，鼻 挺嘴巧，耳長垂肩，脖環數痕，身著袒右肩式袈裟，衣飾簡潔，僅 衣緣飾兩道線紋，薄衣如蟬翼貼體。 佛像身挺厚實，肩部線條渾圓結實，寬腰縮，端坐於雙層仰覆蓮花 座之上，蓮座上下邊緣均飾以連珠，蓮瓣厚實飽滿，瓣尖排列整齊 且微翹，莊嚴形象自然成型。由此近觀工藝之美，不僅成道之姿生 動傳神、銅質細膩之外，更體現出元代特有的造像風貌。

REFERENCE: Sculptures in the collection of the Palace Museum- Classic of the Forbidden City, Beijing, 2012, p. 225, no.197 參閱：《故宮經典 - 故宮雕塑圖典》， 2012 年，北京，第 226 頁，編號 197， 元 至正二年 銅釋迦牟尼佛像

Literati III : Encounter with a Collector

669 A GILT-BRONZE FIGURE OF AVALOKITESVARA Ming Dynasty (AD 1368-1644) H: 42 cm PROVENANCE: Private collection, Europe

NT$ 1,200,000 - 1,600,000 HK$ 311,000 - 415,000 US$ 39,900 - 53,100 明 銅鎏金自在 觀 音 像 來源： 歐洲藏家舊藏

Ravenel 104

In Buddhism, bodhisattva has a lot of incarnations, each one representing an idea of the religion, and acting as expressions of bodhisattva’s passion and wisdom. The special feature of Avalokitesvara is that, different from the dignified and rigid posture of the usual Buddhist figures, Avalokitesvara appears to be free and unrestricted. Avalokitesvara is a bodhisattva who embodies the compassion of all Buddhas, often adopted as the topic of Buddhist arts. This figure 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 with her left hand leaning on the ground and right hand casually put on her right knee. The wood figure is nicely preserved with the skirts draping down the seat naturally. 觀音菩薩在佛教裡有多種形象，每種形象都代表著一種佛教思 想，都是觀音慈悲與智慧的化現並具有教化的功用。自在觀音造 像獨特之處在於一改佛教造像直立或盤膝打坐的姿態，其坐姿予 觀者無拘無束的感覺。 此尊自在觀音呈遊戲坐，左手支地，右手自然搭於右膝，寬肩束 腰，體態勻稱。面相豐滿圓潤，眉目細長，雙目微合，神態安 詳。頭戴寶冠，是觀音菩薩身份的重要標識。耳垂圓璫下垂，上 身披通領式天衣，胸前飾連珠式瓔珞，腰系束帶，下身著長裙。 衣緣鏨刻紋，採用了漢地造像的寫實性表現手法，尤其是腰間束 帶具有明代漢地造像風格特徵。整體造型生動寫實，飄逸流暢， 表現出高超的工藝水平。此像整體銅質細密瑩潤，鎏金濃厚。觀 音舒展自在的坐姿與佛性自如的內涵結合，創作上的和諧得到了 精準的把握，既充分表現了觀音菩薩慈悲睿智的宗教內涵，又彰 顯出雍容華貴的藝術氣派。如凝望之，可令身心化繁為簡，達怡 神靜心之境。

Literati III : Encounter with a Collector

670 A GILT-BRONZE FIGURE OF AMITAYUS

清乾隆 銅鎏金無量壽佛像

Qing Dynasty Qianlong Period (AD 1736-1795) H: 23.5 cm

來源： 歐洲藏家舊藏

PROVENANCE: Private collection, Europe

NT$ 800,000 - 1,200,000 HK$ 207,000 - 311,000 US$ 26,600 - 39,900

Ravenel 106

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 serene yet kind expression on it with downcast eyes. 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 with both hands in dhyanamudr, the petals of lotus all exquisitely crafted.

This figure has a face of the youth adorned with a child-like innocent smile, which symbolizes his inner world that is untainted and spiritual.

This form of representation is different from the mature and solemn Amitayus that is commonly seen, showing clear influence from Mongol and Tibet. The figure has a perfect proportion and a delicate design, with the splendid golden glitter making it an exceptional addition to Buddhist arts collection

此尊無量壽佛菩薩裝，面龐方正，垂眸下視，面含微笑，表情莊嚴 慈和。頭戴枝葉繁密的五葉寶冠，寶冠均以鏤空作飾，葫蘆形髮 髻，極顯華貴。寬肩束腰，身材比例勻稱。耳垂圓璫，長髮披肩， 上身袒露，胸前綴滿繁複的項鍊瓔珞，雕刻細緻圓潤，雙手施禪定 印，絡腋自左肩斜披至右肋部，天衣自肩而下，繞雙臂而飄起，再 繞臂而下，垂落於身後，線條輕盈，質感強烈。下身著短裙，兩腿 間的裙褶呈放射狀自然流暢鋪於座面之上，裙擺在腿上形成自然寫 實的衣褶，刻劃生動。全跏趺坐姿，蓮台雙層仰覆蓮瓣，蓮瓣寬 大。 此件作品面龐青春俊秀，面含童稚般純真的微笑，象徵此佛內在寧 靜純潔的精神界。無論是面容還是肌膚都透露出年輕的氣息，胸部 肌肉豐滿圓潤，腹肌飽滿，腰肢柔和。這與傳統無量壽佛成熟穩重 的表現方法明顯不同，有明顯的蒙古和西藏的影響。 胸前垂落的項鍊珠粒精圓，雖是銅鑄，卻讓人感覺到玉石的圓潤， 可見工藝水平之高，加工之精良。飄帶繞手臂自然翻飛於體側，為 整件造像營造出一種立體而生動的氛圍。衣緣裙邊均有細密刻花裝 飾，所有的花飾部分原本應均嵌各色珠石，可見鑄造時之華貴。

Literati III : Encounter with a Collector

Ravenel 108

Literati III : Encounter with a Collector

671 A RARE PAIR OF CITIPATI Qing Dynasty (AD 1644-1912) H: 39.5 cm

NT$ 2,200,000 - 3,000,000 HK$ 570,000 - 777,000 US$ 73,100 - 99,600 清 屍陀林主 像 （ 一 對 ）

Modeled with bulging eyes and pointed canines below a crown

西藏這一神秘的淨土孕育著悠久文化歷史和文化，眾多造像則展示

of skeletal heads, dressed in a flowing scarf and skirt with traces

出密宗佛教的教義。屍陀林主，又稱屍林主、寒林主，藏語音度冊

of pigment, holding a skull cup and various other attributes as

達波，是西藏天葬場的主神，亦是與金剛瑜伽母密續有關的護法

the deities dance with one leg bent and the other standing on an

神，在藏傳佛教中，墓地墳場同時也是重要的修行場所，屍陀林主

auspicious conch above its pedestal.

護持獨處屍林或墳地中的修行佛法者。北京故宮館藏兩件乾隆年間 上樂王佛唐卡，(參閱: 《 藏傳佛教唐卡-故宮博物院藏文物珍品大

In essence, Citipati are often referred to as the lords of the funeral

集》，香港，2003，pp. 48-49)，便可見屍陀林主伴隨在左右。

pyre and the Tibetans regard them as benevolence deities. According to their belief system, the connotation behind a skeleton may not

此對屍陀林主男女雙尊，均為一頭二臂，三目圓瞪，大口如盆，頭

be entirely negative, as death entices one to contemplate upon the

戴骷髏冠，對目而視，體態相協調。男尊高舉右手，持骨杖，左手

concept of impermanence and simultaneously prelude the cycle

托盈血顱器，右膝彎折，左膝微弓立於白蚌殼上，身姿形像生動。

of reincarnation. The rarity of the present lot predicates upon the

女尊左手高舉無憂花枝於肩上，右手持寶瓶，折左膝，右膝微弓踩

meticulous details of the figures elaborate headdress and drapery,

於白海螺上。此二尊以長飄帶做裝飾，搭於身體，飄於身體兩側，

which are connotative of the prestigious status of the dancing

腰束短裙，裙邊微捲，褶皺靈逸生動。足下為雙層精美蓮座，下層

deities. According to popular Tibetan folklore, the Citipati performs

較上層寬厚，蓮瓣寫實，薄片狀下垂，工藝精美，顏色亦淡雅。屍

the Tsan dance on the cremation ground and this is an important

陀林主雖形象恐怖，亦揭示了佛教思想中萬物皆空，一切無常之意。

subject matter often depicted on the monastery paintings in Lhasa and other sacred Tibetan art. These two skeletons, presumably

屍陀林主形像多見於唐卡及銅質造像，此拍品材質特殊，骨所製，

Citipati, dance as they circumambulate the choten. Compare with

骨材質造像本屬少見，以骨製作亦增添工藝難度。身體舞蹈的表現

two other thankas featuring the two deities and dated to the

需要精準把握重心，以保持平衡站立，可見骨骼細窄，觀其細節

Qianlong reign, currently residing at the National Palace Museum,

處，手腕及腳踝處呈翻迭微翹狀，肋骨細密整齊，骷髏冠、骷髏

illustrated in Thangkas of the Palace Museum, The Complete

杖、無憂花枝、海螺、白蚌等細微之處亦雕工精細，工藝十分精

Collection of Treasures of the Palace Museum, Hong Kong, 2003, pl.

湛，以骨雕刻如此繁複的形象，並融以極緻美感，經歷了數百年曆

42 and pl.43, pp. 48-49.

史的滄桑，保存依舊完整，不失為一件密宗的重要聖物。

Ravenel 110

REFERENCE: Thangkas of the Palace Museum, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, pl. 42 and pl.43, pp. 48-49. 參閱 :《藏傳佛教唐卡 - 故宮博物院藏文物珍品大集》， 香港，2003，pp. 48-49

Literati III : Encounter with a Collector

672 A FIGURE OF SADAKSARI AVALOKITESVARA

The deity is seated in dhyanasana on a double lotus base, the

16th Century H: 14.5 cm

a string of beads and a lotus stem. Sadaksari Avalokitesvara is one

principal hands in anjalimudra holding an attribute before the chest and the attendant arms raised in vitarkamudra and holding form of Avalokiteavara called "Lord of the Six Syllables" in Sanskrit, renowned as the embodiment of the compassion of all the Buddhas,

PROVENANCE: Private Collection, Taiwan

the Bodhisattva of Compassion. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism.

NT$ 600,000 - 800,000 HK$ 155,000 - 207,000 US$ 19,900 - 26,600

又稱為卡薩巴尼觀音，一面四臂之形象端坐於蓮花寶座之上，其前 二臂合十於胸前，掌中有摩尼寶珠一枚，后二臂於身體兩側，分別 執取著白水晶唸珠與紅蓮花，四臂觀音為慈悲心之顯現，有著護佑 眾生免於墮入輪迴六道之大利益，其咒語即為聞名而被持誦的六字

16世紀 西藏銅 鎏 金 四 臂 觀 音

大明咒，其意義為「皈依於持執摩尼寶珠於蓮花者」。藏族認為其

來源 : 台灣藏家舊藏

父祖為四臂觀音所化現之猿猴，故為雪域西藏最為重視之佛。

Ravenel 112

673 A GILT-BRONZE FIGURE OF VAJRASATTVA

The deity is seated in vajraparyankasana on a double-lotus base,

17th Century H: 9cm

vajra, the lowered left hand holding a ghanta at the waist, wearing

PROVENANCE: Private Collection, Taiwan

NT$ 550,000 - 800,000 HK$ 142,000 - 207,000 US$ 18,300 - 26,600

looking straight ahead, the right hand raised in holding an upright a dhoti fastened at the waist with a beaded girdle and adorned with elaborate jewellery, the face with an extra eye on the forehead and a benevolent expression, below a leafy tiara, two stems of lotuses raising from both of his sides.

Vajrasattva originated from India, a bodhisattva in the Mahayana Buddhist traditions. In the Japanese Vajrayana school of Buddhism, Shingon, Vajrasattva is the esoteric aspect of the bodhisattva Samantabhadra and is commonly associated with the student practitioner who, through the master's teachings, attains an ever-

17世紀 銅鎏金 金 剛 薩 埵 坐 像 來源 : 台灣藏家舊藏

enriching subtle and rarefied grounding in their esoteric practice. In Tibetan Buddhism Vajrasattva is associated with the sambhogakaya and purification practice.

此尊金剛薩埵頭部正視前方，戴葉冠，髮髻高聳，頂飾寶珠。寬額 豐頤，面部三眼，眼瞼微垂，目光下斂，相容慈祥沉靜。肩胸寬 闊，腰部細斂，形體優美。身著天衣綢裙，佩飾瓔珞釧環。右手胸 前執金剛杵，以示能摧十種煩惱；左手持一金剛鈴於腿部，兩朵蓮 花分盛開與兩肩，表示以清淨法音警覺世人。跏趺坐於蓮座上。雙 層蓮瓣圓潤飽滿，上下緣處飾連珠紋，具有明顯中原造像特點，包 漿溫潤，十分難得。 金剛薩埵源自印度，大乘佛教中，金剛薩埵意為「金剛心」或「雷 電心」是密宗佛教儀軌中最重要的法器和象徵—金剛杵的化現，代 表著權力與堅不可催的開悟之心，最初亦作為淨化罪惡與污穢的密 宗修行。

Literati III : Encounter with a Collector

674 A GILT-BRONZE FIGURE OF VAIROCANA

Vairocana is a celestial buddha who is often interpreted, in texts like the Flower Garland Sutra, as the Dharma Body of the historical

Qing Dynasty Qianlong Period (AD 1711-1799) H: 26 cm PROVENANCE: Private Collection, Asia

NT$ 600,000 - 800,000 HK$ 155,000 - 207,000 US$ 19,900 - 26,600

Buddha (Siddhartha Gautama). In Chinese, Korean, and Japanese Buddhism, Vairocana is also seen as the embodiment of the Buddhist concept of Emptiness. In the conception of the Five Wisdom Buddhas of Mahayana and Vajrayana Buddhism, Vairocana is at the centre and is considered a Primordial Buddha.Vairocana is one of the Five Dhyani Buddhas which represent the five qualities of the Buddha. His symbol is the wheel, displayed in the hand gesture of the present lot, which symbolizes the Buddha's teachings. He represents the wisdom of the Buddha and is therefore also portrayed with his hands in the vajramudra with the index finger of the left hand clasped by the five fingers of the right, in a gesture called the wisdom fist. In esoteric

清 乾隆 銅鎏 金 大 日 如 來 佛 像 來源 : 亞洲藏家舊藏

Buddhism, these five Buddhas are often portrayed wearing elaborate crowns and jewelry.

The cast majestically seated in dhyanasana with hands held at chest level in uttrabodhimudra, wearing loose robes with dense floralscroll borders, the exposed chest above the sash-tied antaravasaka, an elaborate jeweled necklace adorning the chest, the regal face with crisply cast downcast eyes and gentle smile flanked by pendulous ears, the hair pulled up into a tall chignon.

Ravenel 114

大日如來依梵音譯成毘盧遮那佛，「如來」即是「佛」的意思。大 日如來名稱出現於七世紀善無畏三藏翻譯的《大日經》裡。 「大 日」之意勝於太陽，能利養世間一切生物，大日之光為不生不滅。 「毘盧遮那」是光明遍照之意；又譯大光明遍照，亦稱遍照如來。 大日如來是佛教密宗至高無上的本尊，是密宗最高階層的佛，為佛 教密宗所尊奉最高神明。密宗所有佛和菩薩皆自大日如來所出，在 金剛界和胎藏界的兩部曼荼羅中，大日如來都是居於中央位置，統 率所有佛和菩薩，是佛教密宗世界的根本佛。 此尊大日如來法相莊嚴，頭上螺髮，肉髻高聳，施紺藍色，頭頂摩 尼寶珠，戴寶冠，雙耳垂長。面相豐腴飽滿，修眉與鼻脛相通，鼻 樑挺直，長目微合眼瞼，嘴角微翹，隱含笑意，洋溢著發自內心的 坦然與喜悅，展現出大徹大悟後的美妙神情與自在的境界。頸皺疊 為三層，具有逼真的肌膚感。體態清瘦挺拔，肩披天衣，右身袒露 左肩披袈裟，衣緣內鏨刻陰線花紋。雙手於胸前結三昧耶印。下身 著貼膚長裙，裙褶壓於雙腿之下，結跏趺坐。整尊佛像金水厚重， 更顯尊貴。

Literati III : Encounter with a Collector

675 A GILT-BRONZE SNOW LION

Snow Lion is a celestial animal of Tibet. It is often depicted as a vehicle for a number of Vajrayana deities such as Vaishravana and

15-16th Century H: 58 cm PROVENANCE: Spink & Son, London, 90's

NT$ 500,000 - 800,000 HK$ 130,000 - 207,000 US$ 16,600 - 26,600

Manjushri, and the lion throne may be found in many nirmanakaya Buddha forms. This lot is raised from a single sheet of copper and fire gilded, details of the animals all vividly depicted with motifs of plants around the lion which represents the decorating style of the Malla dynasty of ancient Nepal. 雪獅屬神聖之獸，為獸王。此吉祥之獸為佛教中常見的形象，用來 比喻佛法所具有之王者風範。而有時它又常以佛、菩薩坐騎的形象 出現。 此雪獅像釉錘碟技法打造，並施以鎏金。高浮雕的錘打使雪獅更加

15-16世紀 銅 鎏 金 雪 獅 像 來源： Spink & Son， 倫敦，90 年代

Ravenel 116

立體，流暢的線條使得雪獅生動活潑，四周搭配著捲曲開展的蔓 草，有著濃厚尼泊爾馬拉的裝飾風味。

Literati III : Encounter with a Collector

676 AN ELMWOOD TABLE

明 榆木茶桌

Ming Dynasty (AD 1368-1644) L : 94 cm W : 48 cm H : 85 cm

來源 : 台灣藏家舊藏

PROVENANCE: Private Collection, Taiwan

NT$ 70,000 - 100,000 HK$ 18,000 - 26,000 US$ 2,300 - 3,300

Ravenel 118

REFERENCE: Southern Song, Five hundred Arhat at tea ceremony, collection of Daitoku-ji 參閱 : 南宋 《五百羅漢圖 ˙ 吃茶》（局部）， 京都大德寺藏

677 A DRAGON JUNIPER STAFF Qing Dynasty (AD 1644-1912) L: 95.5 cm PROVENANCE: Private Collection, Taiwan

NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,700 - 2,700 清 龍柏木銀飾 手 杖 來源 : 台灣藏家舊藏

Details 細節

Literati III : Encounter with a Collector

Ravenel 120

678 AN AGARWOOD SCULPTURE

「河山」沉香奇楠木

L: 18 cm Weight: 212g

來源： 台灣藏家舊藏

PROVENANCE: Private collection, Taiwan

NT$ 9,500,000 - 12,000,000 HK$ 2,461,000 - 3,109,000 US$ 315,500 - 398,500

Report from the Institute of Plant and Microbial Biology, Academia Sinica 分析報告：中央研究院植物暨微生物學研究所分析報告

Literati III : Encounter with a Collector

679 AN AGARWOOD SCULPTURE

Throughout history, agarwood has a significant role in culture and religions around the world. In ancient times, it was treated as political

L: 22.5 cm Weight: 136g

tributes between neighbouring kingdoms and was profoundly featured in religious literature, including Christianity, Buddhism,

PROVENANCE: Private collection, Taiwan

NT$ 4,000,000 - 5,000,000 HK$ 1,036,000 - 1,295,000 US$ 132,800 - 166,100

Daoism, and Islam. Since the Song and Ming dynasty, the value of agarwood has been on a par with gold. In the 8th Century, a giant piece of agarwood was given to Todai Temple as a tribute by Komyo Queen of Japan, and was later regarded as an important relic, honoured by major monarchs in the Japanese history.

Agarwood attained its fame by its distinct fragrance and its rarity.

Found in South Asia, agarwood is classified by its colour, with green agarwood from Vietnam (Lot 678 and Lot 679) being the most

「河山」沉香 奇 楠 木 來源： 台灣藏家舊藏

precious type in the planet. Chen Rang in Ming Dynasty noted in his chronicle Haiwai Yishuo, “Qinan (Aquilaria crassna) has a soft and brittle texture, waxy in texture with a thin layer of oil. Green qinan has the greyish green colour of warblers and is the rarest of all...”

Grotesque wood sculptures are getting popular in the collectors’ circle. With slight modifications by skilled sculptors, these wood sculptures retained their original forms and their aesthetic value were enhanced to become graceful literati decorations. Made from Qinan, the rarest fragrant wood material, these grotesque sculptures become an invaluable collectibles.

Report from the Institute of Plant and Microbial Biology, Academia Sinica 分析報告：中央研究院植物暨微生物學研究所分析報告

Ravenel 122

古代的沉香在社會與宗教擁有重要的地位，成為帝王公侯的貢品，更與世界上的主流宗 教（佛教、道教、伊斯蘭教和基督教）有著密切的關係。沉香的價值自宋、明朝已經等 同於黃金，有「一兩沉香，一兩黃金」的說法。西元七世紀的日本光明皇后把頂級的奇 楠香，名為「蘭奢待」，獻給位於奈良的東大寺。後來的足利義政、織田信長、德川家 康及明治天皇都慕名前來敬仰，是世上最珍貴千年香木。 沉香木以其香味和稀有性聞名。現今社會把奇楠沉香分為白奇楠、綠奇楠、黃奇楠和黑 奇楠，生產地以亞洲為主，包括越南、寮國、印尼及馬來西亞，以越南的白奇楠（俗稱 綠棋，Lot 678 和 Lot 679）為極上品，甚為稀有。明朝的陳讓在《海外逸說》曾記載： 「伽南（即奇楠）質軟，指刻之如錐畫沙。味辣有脂，嚼之粘牙。上者曰鶯歌綠，色如 鶯毛，最為難得；次曰蘭花結，色嫩綠而黑；又次曰金絲結，色微黃；再次曰糖結，黃 色是者也；下曰鐵結，色黑而微堅，皆個有膏膩。」 近日奇木成為藝術收藏界的新趨勢。奇木取於大自然，各自擁有獨特的形狀，但經過木 雕師傅精雕細琢，盡量保留原有現狀並加以修飾，成為人文擺件，呈現其高貴雍華的氣 質。靈秀的形狀，配搭綠棋的稀有木質，溢放幽幽的清香，令原木的藝術收藏價值昇 華，同時為感官上帶來多元的享受。

Literati III : Encounter with a Collector

Ravenel 124

REFINED BRUSHWORK: FINE CHINESE PAINTINGS 翰 墨 丹 青 - 中國書畫 Lots 680 – 696

Literati III : Encounter with a Collector

680 YU YOUREN (Chinese, 1879-1964) Libai Poem in Cursive Script Ink on paper 67.5 x 36 cm Signed YUYOUREN in Chinese With one seal of the artist PROVENANCE: Private collection of General Wang Yuwen, Taiwan

NT$ 160,000 - 200,000 HK$ 41,000 - 52,000 US$ 5,300 - 6,600 于右任 草書李白詩 水墨 紙本 67.5 x 36 cm 款識：暮從碧山下，山月隨人歸。卻顧所來徑，蒼蒼橫 翠微。相攜及田家，童稚開荊扉。綠竹入幽徑，青蘿（拂） 行衣。歡言得所憩，美酒聊共揮。長歌吟松風，曲盡河 星稀。我醉君復樂，陶然共忘【大】機。太白詩。曉氏 新華伉儷。于右任。 鈐印：右任（朱） 來源： 王毓文舊藏，直接得自王毓文家族

This calligraphy was taken from the private collection of General Wang Yuwen (1902-1984), an honourable lieutenant general of the Republic of China. After studying in a military school in Japan, General Wang went back to China in 1927 and moved to Taiwan in 1949.

Throughout his lifetime, General Wang was honoured for his significant contribution in the Guomintang army. 王毓文（1902—1984），山西夏縣人，字曉明。國民黨 陸軍中將。早年留學日本士官學校。1927年回國，歷任 國民黨南京中央軍校兵學教官、陸軍第四師參謀長等。 抗戰時期，任第四師副師長、第九十一師師長、第十三 軍副軍長、第八十五軍副軍長、暫編第一軍軍長等。抗 戰勝利後，任第九十七軍軍長、國防部中將部員。1949 年赴台灣，任台灣國家安全局中將監察官等。1984年在 台北病逝。

Ravenel 126

681 YU YOUREN (Chinese, 1879-1964) Poem in Cursive Script 1958 Ink on paper, Framed 70 x 36.2 cm Signed YUYOUREN in Chinese With one seal of the artist PROVENANCE: Private Collection, Taiwan

NT$ 100,000 - 200,000 HK$ 26,000 - 52,000 US$ 3,300 - 6,600 于右任 草書自作六言詩 1958 水墨 紙本 鏡框 70 x 36.2 cm 款識：大武山郎日□，太平洋面雲開，我亦中興鼓手， 今年與會東台。煜堂先生。于右任。四十七年詩人大會， 赴台東詩。 鈐印：右任（朱） 來源： 台灣藏家舊藏

The Poet’s Gathering, where this calligraphy was written, has been held annually uniting the greatest poets in the community. As the most important literati in Taiwan, Yu Youren was the honorable chairman of Taiwan Poet Community, a monthly magazine.

民國四十年（1951）詩人節，在省文獻會主任秘書曾今 可籌劃之下，得到諸大老的支持，籌組「臺灣詩壇」社， 且同步發行《臺灣詩壇》月刊。《臺灣詩壇》的名譽社長 是于右任，社長是賈景德，副社長為省文獻會主委林熊 祥。發行月刊之後的「臺灣詩壇」社，編印詩刊之餘，也 同時接手了每年的全國詩人大會籌辦。台灣在過去都稱 「全島」詩人大會，並無所謂「全國」詩人大會。民國 四十七年（1958）詩人節，亦在台東辦全國詩人大會， 極一時之盛。

Literati III : Encounter with a Collector

682 CHEN TING SHIH (CHEN Tingshi, Chinese, 1916-2002)

Poem in Running Script 1980 Ink on paper, Framed 91 x 45.5 cm Signed TINGSHI in Chinese With three seals of the artist PROVENANCE: Private Collection, Taiwan

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 陳庭詩 行書自作五絕 1980 水墨 紙本 鏡框 91 x 45.5 cm 釋文：艾蒲揚漢節，萬里唱刀環。立馬天山雪，廔蘭欲斬還。 款識： 六六年端午前三日，策馬洛磯山上，客有贈粽子者， 時雪未消，恍若置身故國塞外，因我古意二十字。 六九年國慶後一日，庭詩書於酒葫蘆居。 鈐印：陳庭詩印（白）、酒葫蘆居（白）、長樂（朱） 來源： 台灣藏家舊藏

By the end of 1970s, Chen Ting Shih travelled to the US during MidAutumn festival. A friend brought a dumpling, a Chinese festive delicacy, arousing his homesickness and patriotism, thus composing this poem describing his love for his hometown.

1976-1978年間，陳庭詩旅居美國，時值端午，陳庭詩於異國收到 友人贈粽，勾起古國之思，「艾蒲」驅邪卻鬼之意，傳達故國塞外 大漠冰雪的悲壯，寄託青年時期從軍報國之恩。由自作五言絕句及 書法的鐵畫銀勾，可窺見陳庭詩自幼接受傳統藝術文學的薰陶底蘊。

Ravenel 128

683 YU CHUNG-LIN (YU Zhonglin, Chinese, 1925-1985)

Sparrows and Fruits 1979 Ink and colour on paper, Framed 65 x 49 cm Signed YUCHUNGLIN in Chinese With three seals of the artist PROVENANCE: Private Collection,Taiwan

NT$ 120,000 - 200,000 HK$ 31,000 - 52,000 US$ 4,000 - 6,600 喻仲林 雙雀嬉春 1979 設色 紙本 鏡框 65 x 49 cm 款識：時在己未年初夏，山左喻仲林畫於麗水精舍。 鈐印：喻（朱）、仲林所作（白）、香在無尋處（朱） 來源： 台灣藏家舊藏

As an apprentice of Jin Boqin, Yu Zhonglin attained an impressive level of traditional Gongbi Style form, to articulate objects’ spiritual quality. Apart from Chinese paintings, Yu also learnt the quintessences of Japanese floral and bird paintings. Every detail was painted with meticulous care making each object springs to life in the painting. Along with the Song’s composition cleverly employed, the two sparrows spring to life chasing after the fruits, forming an interesting scene. 喻仲林家族嗜書畫，自幼深受藝術薰陶，勤學書畫，師承金勤伯，學得傳統工筆的技巧， 與孫家勤、胡念祖組成「麗水精舍」。除了學習國畫，他積極吸收日本花鳥畫的優點，透 過仔細觀察，把花葉上的每一個細節了解清楚才能畫出精髓。喻仲林的花鳥工筆畫華麗精 緻，以形寫神。此畫利用宋人的對角線構圖刻畫出兩隻麻雀靈動的眼神交流，好像在為一 顆果實而爭持，柔美的色調彷彿又把緊張的氣氛稍作舒緩。喻仲林活用勾線填彩的技巧與 佈局的安排，令主題變得活潑生動，同時散發恬靜淡雅的氣韻 。

Literati III : Encounter with a Collector

684 YU CHUNG-LIN

Yu Zhonglin was known for his skills in Song’s Gongbi style, depicting

(YU Zhonglin, Chinese, 1925-1985)

objects in minute detail while showing the objects’ liveliness. The

Frolicking Chickens 1972 Ink and colour on paper 130 x 67.5 cm Signed CHUNGLIN in Chinese With three seals of the artist

inscription of this painting describes Yu’s dedication to his painting by raising chickens and observing them as if conversing with the chickens. With the combination of perspectives and excellent control over the brushwork, the chickens spring to life in the painting.

喻仲林擅於以傳統宋代工筆技巧，以形寫神，創作華麗雅緻的畫 PROVENANCE: Acquired directly from the artist's daughter

作。《田家風趣》提到喻氏養雞，常常觀察公雞的一舉一動，並會 跟雞互動。「知天知地，知時知物」，喻氏常常鼓勵透過仔細觀 察，才能畫出每個細節的精髓，刻畫出動物的神態。本畫以雞為題

PUBLISHED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 24-25

材，在宋代斜角線的構圖上，兩雞各看後方，眼睛炯炯有神，活潑 生動。

NT$ 400,000 - 800,000 HK$ 104,000 - 207,000 US$ 13,300 - 26,600 喻仲林 田家風趣 1972 設色 紙本 130 x 67.5 cm 款識：買得晨雞與雞共語，常時不用等閑鳴。深山月黑 風雨夜，欲近曉天啼一聲。 壬子春日寫於麗水精舍。仲林。 鈐印：喻鉥（白）、仲林（朱）、有意外趣（朱） 來源： 直接得自藝術家女兒 著錄： 《工緻典麗 : 喻仲林 88 花鳥畫紀念集》， 國立歷史博物館，台北，2012 年初版，頁 24-25

PUBLISHED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 24-25 著錄：《工緻典麗 : 喻仲林 88 花鳥畫紀念集》， 國立歷史博物館，台北，2012 年初版，頁 24-25

Ravenel 130

Literati III : Encounter with a Collector

685 YU CHUNG-LIN (YU Zhonglin, Chinese, 1925-1985)

Yellow Hollyhock and Wagtail 1984 Ink and colour on paper 52.5 x 28 cm Signed CHUNGLIN in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist's daughter PUBLISHED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp.132-133

NT$ 120,000 - 200,000 HK$ 31,000 - 52,000 US$ 4,000 - 6,600 喻仲林 蜀葵 1984 設色 紙本 52.5 x 28 cm 款識：甲子夏日。仲林畫。 鈐印：喻仲林（朱） 來源： 直接得自藝術家女兒 著錄： 《工緻典麗 : 喻仲林 88 花鳥畫紀念集》， 國立歷史博物館，台北，2012 年初版，頁 132-133

PUBLISHED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 132-133 著錄：《工緻典麗 : 喻仲林 88 花鳥畫紀念集》， 國立歷史博物館，台北，2012 年初版，頁 132-133

Ravenel 132

686 SUN YUNSHENG (Chinese, 1918-2000) Landscape 1960 Ink and color on gold-coated paper, Framed 113 x 77 cm Signed YUNSHENG SUNJIARUI in Chinese With two seals of the artist PROVENANCE: Private collection, Hong Kong

NT$ 140,000 - 180,000 HK$ 36,000 - 47,000 US$ 4,600 - 6,000 孫雲生 青山策杖 1960 彩墨 金盞紙 鏡框 113 x 77 cm 款識：庚子春二月，雲生孫家瑞於台北。 鈐印：孫雲生（朱）、雲生長年（朱） 來源： 香港藏家舊藏

Literati III : Encounter with a Collector

687 ZHANG DAQIAN (CHANG Da-Chien, Chinese, 1899-1983)

Landscape of the Summer Hills 1975 Ink and colour on paper 91.5 x 208.5 cm Signed YUAN in Chinese With five seals of the artist PROVENANCE: Private Collection, Taiwan PUBLISHED: The Paintings of Chang Da-Chien , National Museum of History, Taipei, 1976, p.89

Estimate upon Request 估價待詢

張大千 潑彩夏山 1975 設色 紙本 91.5 x 208.5 cm 款識：六十四年乙卯夏日環蓽庵寫爰翁七十有七歲 鈐印：六墨大千（朱）、三千大千（朱）、 環蓽庵（朱）、張爰之印（白）、大千居士（朱） 來源： 台灣藏家收藏

著錄： 《張大千作品選集》，國立歷史博物館，台北， 1976 年初版，頁 89

PUBLISHED:The Paintings of Chang Da-Chien , National Museum of History, Taipei, 1976, p.89 著錄：《張大千作品選集》， 國立歷史博物館，台北，1976 年初版，頁 89

Ravenel 134

Landscape of the Summer Hills ZHANG DAQIAN The title of a Chinese ink master is not given according to their

由早期的文人畫風、敦煌佛教藝術、至1960年後拓展的潑墨風格，

abilities to copy ancient pieces, but their ability to create tremendous

張大千臨摹名作，以敏銳的時代觸覺、積累的生活經驗、以精純熟

artworks based on careful observations of the old and new, reaching

練的筆法，找出自己的藝術風格並有所拓展，令張大千的藝術畫風

standards set by previous masters and establishing new milestones in

不斷開創出個人和藝術界的新領域，而此作品則展現了張大千晚年

art history. Zhang Daqian is undoubtedly one of them and his talent

將要回台前的結晶。

was fully demonstrated in his Splashed Ink Art (Pomo). 張大千畢生深度探索傳統畫派風格，以深厚的中國畫基礎和細膩的 Splashed Ink Landscape Art was first appeared in Tang Dynasty by

觀察，從敦煌畫作表現出其鮮豔的色彩，再於潑墨畫融合古今中西

Wang Qia and later in Northern Song Dynasty by Mi Fei. Though

特徵，體現藝術的精髓。潑墨山水畫色彩豐富，可說是敦煌佛教藝

with a different composition, Mi promoted the concept of Misty

術的延伸，也是中國藝術的新局面，自唐代王洽已有潑墨山水畫，

Mountains (Yunshan) that landscape was expressed by an impression

以及北宋米芾的「雲山」一脈山水畫風理念「多煙雲掩映，樹石不

and not in detail. With an admiration to Mi, Zhang once said:

取細，意似便已」，被後世稱為「米氏雲山」。

"Mi further developed Wang's pomo and established a technique

晚年的張大千曾於1979 年所作的《雨山》上自題：「元章（米芾）

called Yunshan. It is deplorable that 600 years since in Ming and

衍王洽破墨為落茄，遂開雲山一脈，房山方壺踵之，以成定格，明

Qing Dynasty, no one ever trespassed this boundary." - Extract

清六百年未有越其藩籬者，良可嘆息，予乃創意為此，雖復未能遠

from the inscription of "Rain and Mountain" by Zhang Daqian

邁元章，亦當抗手玄宰。」說明了大千於1960年代初出現「潑墨」

(1979). After his stay in the US and Europe in 1965, Zhang explored

風格的溯源。1965年，大千歐遊歸來，將歐陸所見山林風貌的奇光

Splashed Ink Art (Pocai).

煥彩與鑽研敦煌壁畫的斑爛重彩融合反芻，開創了大千藝術成就上 的最後一波高峰—《潑彩》。

Having this aim to further develop Splashed Art, Zhang integrated the spirit of Abstraction in Western Art and the Splashed Ink

此幅於1975年作於美國加州環蓽庵的《潑彩夏山》，即以潑墨與潑

techniques used by Chinese ink masters. With strict control over

彩並用，描繪了夏日山雨欲來，水氣氤氳的情景，雲霧繚繞，煙嵐

humidity and ink application, Zhang created his painting with

變幻，蒼茫深邃，渾厚清新，充分體現出米芾所言「山水有無窮之

enough depth, overlooking the distant cottages, and an elusive

趣，尤是煙雲霧景為佳」的旨趣。

haze, making this painting a majestic masterpiece.

Literati III : Encounter with a Collector

688 QI BAISHI (Chinese, 1864-1957)

In the early stage of his career, Qi Baishi sold his paintings for a living

Mythical Figure

and was under heavy influence of the peasants community. This

1918 Ink and colour on paper, Framed 107 x 72 cm Signed QIHUANG in Chinese With three seals of the artist With one seal of the collector

painting carries the style from Qi’s early career with the subject matter being a mythical figure from folk tales. While narrating a folk tale, Qi seemed to be expressing grief from the everyday life in the painting’s inscription. 齊白石早年曾為民間畫師，在他的人物畫創作上找到民間的痕跡。 此畫題材為傳說中的李鐵拐，並屢次成為齊白石的創作題材。此畫

PROVENANCE: Private Collection, Hong Kong Sotheby's Hong Kong, Autumn Sale 2007, Lot 29 PUBLISHED: Important Chinese Paintings from the Robert Chang Collection - Works by Qi Baishi , Sotheby's Hong Kong Limited, Hong Kong, 2002, pp.12-13

的畫風接近早期的作品，其用筆厚重平穩，與晚期的奔放灑脫有 異，但書法上的濃淡表現，李鐵拐的神態，反映出大師級的用筆功 力。此題跋帶有「輕仙道而重人間」的意思，對應當時齊氏深入民 間賣畫的背景，彷彿在隱喻當時俗世，有感而發。

NT$ 4,000,000 - 6,000,000 HK$ 1,036,000 - 1,554,000 US$ 132,800 - 199,300 齊白石 李鐵拐 1918 設色 紙本 鏡框 107 x 72 cm 款識：焚軀歸魄急無依，誤投踱丐醜囊皮，能為千門除百病， 自家足疾總難醫。 余適人所求製八僊凡四紙，今某藥房主囑單繪李僊圖一紙，圖 畢見右側稍空即興打油，不意某君視為蛇足，奈因酬已收銀， 另作一紙應之，此幅存以自賞。憶及此公發跡之前，曾以療 傷賣藥遊跡江湖，頓覺恍然吾詩巧觸其諱也。戌午秋月齊璜 並記。三行中紙字應作套。 鈐印：齊瀕生（白）、齊璜（朱）、齊白石（朱） 藏印：雲海閣珍藏印（朱） 來源： 香港藏家舊藏 香港蘇富比，2007 年秋拍，編號 29 著錄： 《張宗憲珍藏中國近代書畫——齊白石作品集》，香港 蘇富比有限公司，香港，2002 年 6 月初版，頁 12-13

Ravenel 136

PUBLISHED: Important Chinese Paintings from the Robert Chang Collection - Works by Qi Baishi , Sotheby's Hong Kong Limited, Hong Kong, 2002, pp.12-13 著錄：《張宗憲珍藏中國近代書畫——齊白石作品集》，香 港蘇富比有限公司，香港，2002 年 6 月初版，頁 12-13

Literati III : Encounter with a Collector

689 GAI QI (Chinese, 1773-1828)

Gai Qi's paintings of ladies received high recognition during the

Preaching after Chou Ying

Qing dynasty. His works were included in "Jieziyuan Huazhuan (A

1819 Ink and color on paper, fan leaf 17.5 x 50 cm Signed BOWENGAIQ I in Chinese With one seal of the artist

Hui Baimei Tu (Hundred Beauties Paintings by Three Famous Artists

PROVENANCE: Private collection, Asia

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700

Collection of Paintings of Jieziyuan)" and "Wanqing Sanmingjia of Late Qing)". Fang Xun of Qing Dynasty once mentioned that "drawing folding lines of dresses in ladies portraits requires the same skills as drawing rocks on a mountain, so that the paintings will not be too chaotic nor too bare." 改琦所畫的仕女圖當時頗受人敬仰。清朝康熙一部廣被後世國畫大 師臨摹的《芥子園畫傳》有記載改氏的仕女圖，後來《晚清三名家 繪百美圖》也有一冊特寫改氏的畫作，可見當時改氏的仕女畫作頗 受藝術界的肯定。清代的方薰於《山靜居論畫人物》曾說：「衣褶 紋當以畫石鈎勒筆意參之，多筆不覺其繁，少筆不覺其簡。皴石貴 乎似亂非亂，衣紋亦以此意為妙。」從這件作品的仕女與僧人，改 氏佈局從簡，但沒有忽略衣紋和椅子的細節，特顯當時仕女圖的風格。

改琦 撫仇英說法圖 1819 設色 紙本 扇面 17.5 x 50 cm 款識：嘉慶已卯秋日，撫仇實父真本。伯韞改琦。 鈐印：改琦（朱） 來源： 亞洲藏家舊藏

Ravenel 138

REFERENCE: Wanqing Sanmingjia Hui Baimei Tu (Hundred Beauties Paintings by Three Famous Artists of Late Qing) , Shanghai Ancient Works Publishing House, Shanghai, 2005 參閱：《晚清三名家繪百美圖》， 上海古籍出版社，上海，2005 年版

690 HUANG CHUN-PI (HUANG JUNBI, Chinese, 1898-1991)

Two Ducks among the Reeds and Flowers Ink and colour on paper, Framed 49.5 x 33.5 cm Signed JUNBI in Chinese With one seal of the artist PROVENANCE: Private Collection, Taiwan

NT$ 500,000 - 800,000 HK$ 130,000 - 207,000 US$ 16,600 - 26,600 黃君璧 鴛鴦蘆花圖 設色 紙本 鏡框 49.5x33.5 cm 款識：君璧 鈐印：黃君璧（白）、白雲堂（朱） 來源： 台灣藏家舊藏

Huang Junbi was highly recognized by his majestic landscape paintings. Little has been known for his Song Gongbi Style techniques which are meticulously employed and his gongbi paintings equally stunned art critics since.

In this oeuvre, a pair of mandarin ducks were depicted among the reeds and chrysanthemums. Each subject carries their own representations and together they form a blessing to a couple’s married life and prosperity for the family. 黃君璧的畫法功力深厚，除了著名的山水畫，他的花鳥 作品更能媲美宋代工筆的精勾細染，受世人恭敬。此畫 題材為一對鴛鴦於蘆岸邊。《禽經》載：「鴛鴦，朝 倚而暮偶，愛其類。」鴛鴦代表夫妻相愛，「蘆」諧 「路」，「菊」諧「居」，此畫除了代表一路同心， 相守偕老，更帶有安居樂業的祝福。黃君璧用筆結合挺 勁、柔細，以精準的勾染法，令鴛鴦栩栩如生，蘆葦輕 如鴻毛。

Literati III : Encounter with a Collector

691 LING HUNG-HSUN (LING Hongxun, Chinese, 1894-1981);

LING SU FENGPING Calligraphy; Landscape Ink and colour on paper, Framed 23 x 26 cm; 56 x 29.6 cm Signed LINGHONGXUN and LINGSUFENGPING in Chinese With one seal of the artist; With three seals of the artists.

PROVENANCE: Private Collection, Asia

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,000 凌鴻勛、凌蘇 鳳 平 行書五言古詩；寫山隨意似遊山 水墨 設色 紙本 鏡框 23 x 26 cm; 56 x 29.6 cm 款識： 〈一〉 客從江南來，來時月上弦。悠悠行旅中，三見清光圓。 朝隨殘月行，夕與新月宿。誰謂月無情，千里遠相逐。朝發渭 水橋，暮入長安陌。不知今夜月，又作誰家客。本鑑學兄存念。 凌鴻勛。 〈二〉寫山隨意似遊山。本鑑先生欣賞。 癸卯冬月。凌蘇鳳平作。凌鴻勛題。 鈐印： 〈一〉凌鴻勛印（朱） 〈二〉鳳平（朱）、凌（白）、竹銘（朱） 來源： 亞洲藏家舊藏

Ravenel 140

692 HE HUAISHUO

何懷碩

(HO Huai-shuo, Chinese, b.1941)

望江樓頭

Gazing at the River in Pavilion Ink and color on paper 65.4 x 63.7 cm Signed HEHUAISHUO in Chinese With two seals of the artist PROVENANCE: Sotheby's Hong Kong, Spring Sale 2014, Lot 1461

NT$ 380,000 - 480,000 HK$ 98,000 - 124,000 US$ 12,600 - 15,900

設色 紙本 65.4 x 63.7 cm 款識：梳洗罷，獨倚望江樓。過盡千帆皆不是，斜 暉脈脈水悠悠。腸斷白蘋洲。溫飛卿夢江南後半 闕。何懷碩并題。 鈐印：阿舒（朱）、多餘生（朱） 來源： 蘇富比香港，2014 年春拍，編號 1461

Literati III : Encounter with a Collector

693 LEE YIH HONG (LI Yihong, Chinese, b.1941)

李義弘

Spring Banquet under the Pine Tree Pavilion

春宴松庭

1994 Ink and color on paper 50 x 60 cm Signed LIYIHONG in Chinese With four seals of the artist PROVENANCE: Acquired directly from the artist by the present owner

NT$ 200,000 - 300,000 HK$ 52,000 - 78,000 US$ 6,600 - 10,000

Ravenel 142

1994 年作 設色 紙本 50 x 60 cm 款識：甲戊秋末於錫板村海屋山居。李義弘。 鈐印：李義弘（白）、 在川畫（朱）、 水流雲在（朱）、即事多所欣（白） 來源： 現有收藏者直接得自藝術家本人

694 HSIA YI FU (XIA Yifu, Chinese, 1927-2016) Cat Ink on paper, Framed 33 x 32.8 cm With one seal of the artist PROVENANCE: Private Collection, Taiwan

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,000 夏一夫 貓 水墨 紙本 鏡框 33 x 32.8 cm 款識：老土畫。 鈐印：孤者憤者（朱） 來源： 台灣藏家舊藏

Landscape is the dominant subject of Xia Yifu’s paintings, though animals and objects were also his favourite subjects of depiction. Xia’s paintings is about depiction of objects with minimal detail and brushstroke, without neglecting the spirits of his subjects. Despite his old age when he painted this work, from the spirit of the cat depicted, we could have a glimpse of the artist’s burning desire within. 山水是夏一夫創作中主要的題材，而動物鳥禽則為較為少 見的題材。夏一夫作畫時講究簡約的筆法，以「趁興揮灑 盡心意」為創作依歸。這一幅貓的作品，運用簡單的勾 線，墨筆的渲染，展現出夏氏在禽鳥動物圖中活潑的用 筆功夫。1978年夏一夫退出職場後，全力貢獻於藝術創 作，並取畫名「孤憤」。從畫中朝氣勃勃的貓，隱隱反映 出畫家年老追夢，為藝術壯志未滅的「孤憤」之情。

Literati III : Encounter with a Collector

695 FANG ZHAOLIN (Chinese, 1914-2006) Amaranth 1962 Ink and colour on paper, Framed 86 x 30 cm Signed ZHAOLIN in Chinese With one seal of the artist PROVENANCE: Private Collection, Taiwan

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700 方召 雁來紅 1962 設色 紙本 鏡框 86 x 30 cm 款識：一九六二年，召麐。 鈐印：方召麐（白） 來源： 台灣藏家舊藏

Ravenel 144

696 DING YANYONG (Chinese, 1902-1978) Fish 1976 Ink and colour on paper 64.5 x 41.8cm Signed DINGYANYONG in Chinese With one seal of the artist PROVENANCE: Private Collection, Taiwan

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,600 丁衍庸 年年有大餘 1976 設色 紙本 64.5 x 41.8cm 款識：丙辰。丁衍庸。 鈐印：叔旦（朱） 來源： 台灣藏家舊藏

Literati III : Encounter with a Collector

146

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Bank Reference Approval Name of the bank Address of the bank

Name of the account

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

Account number Contact of the bank Tel. No.

148

藝術品業務規則(台北) 下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

149

拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作 其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，需依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。若競投者未支付競投保證金，本公司有 權不接受其競投。若競投者未能購得拍賣品且對本公司無任何欠款 則將無息退還保證金。若競投者成為買家，則本公司有權將此保證 金自動轉化為已成交拍賣品購買價款，若尚有餘款需退回給買家。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投指定拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。 j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。

k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣 家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以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％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如經本公司 要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳號。買 家應於拍賣日期後七天內悉數支付應支付予本公司之款項（包含落 槌價、服務費或運費等相關費用）。即使買家希望將拍賣品出口並 需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。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. 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。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1)在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之違約 金。本公司亦得自行選擇將買家未付之款項，用以抵銷本公司 或其他關係企業在任何其他交易中欠下買家之款項，買家絕無 異議。 (2)對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之物品行使留置權，並在給予買家有關其未付之欠 繳之十四天通知後，安排將該物品出售並將收益用以清償該未 付之欠款。 (3)如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償就任何特定交易而欠下之任何款項，而不論買家是否 指示用以清償該筆款項。 (4)在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有 在三十五天內付款，本公司除上述辦法外，另有權為下述一項 或多項權利或補救辦法： (a)代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。 (b)取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售

予買家之拍賣品交易。 (c)安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。 g. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、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。 h. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。 (3) 及送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍 賣品乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家 並可將拍賣品之完整所有權及相關權利轉讓予本公司，而與任 何第三人之索償無涉。在任何情況下，本公司均毋須向買家支 付多於買家就有關拍賣品而支付之款項，而買家亦不能索取利 息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。

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

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TRANSACTION AGREEMENT FOR ART (TAIPEI) The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer").

The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 1, Section 5 which provides limitations as to the legal responsibilities of the Company.

ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company.

2. "The Prospective Buyer" shall mean any potential bidder willing to attend the auction sale hosted by the Company.

3. "The Seller" shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company.

4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue.

5. "Hammer price" shall mean the highest bid with respect to one particular Lot accepted by the auctioning party.

6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a.

7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price.

8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints).

9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller.

ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions.

This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions

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and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay

by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions.

The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for selected Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at the website and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions.

Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned.

k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period.

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buye's Premium) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions.

The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

(3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected.

h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day without any damage.

(3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit or stolen goods (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests.

The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer's name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit or stolen goods based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.

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

152

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

153

Lot 608

Lot 611

Lot 617

Lot 618

Lot 620

Lot 621

Lot 622

Lot 623

Lot 629

Lot 632

Lot 633

Lot 634

Lot 636

Lot 637

Lot 638

Lot 639

Lot 640

Lot 643

Lot 644

Lot 645

154

Lot 646

Lot 647

Lot 648

Lot 650

Lot 657

Lot 664

Lot 665

Lot 666

Lot 667

Lot 668

155

156

藝術家簡歷

Lot 656

Lot 682

Lot 626

TADAO ANDO (Japanese, b.1941)

CHEN TING-SHIH (CHEN Ting-shi, Chinese, 1916-2002)

CHEUK KA-WAI (Chinese, b.1989)

Born in 1941 in Osaka, Japan, Tadao Ando is a selftaught architect who founded his own design studio, Tadao Ando Architects and Associates, at the age of 28. He is well-recognized worldwide with a series of World Architecture Awards, including the Pritzker Architecture Prize in 1995. He established nearly 150 internationally acclaimed architectural works and programs, including "Church of the Light (1989)", "Row House in Sumiyoshi", "Hyogo Prefectural Museum of Art, Kobe", etc. He became one of the most active and influential architects today.

Born in Fujian, Chen Ting-shih moved to Taiwan in 1948. With hearing disability in his early age, Chen put his focus on visual art production and excelled as a gifted visual artist in multivarious aspects of visual arts. Chen had his training with Zhang Lingpo and explored different subjects including landscape, portraits, flowers and birds.

Even though his majority of works art considered in Western style, he continued to practice Chinese paintings and literature throughout his lifetime, and was eventually recognized by the Taiwanese ink art community in the 1980s. His rich Chinese paintings background and his in-depth knowledge of Western style prints made his art special.

Cheuk, born in 1989 in Hong Kong, obtained a BA in Fine Arts with first class honour at the Chinese University of Hong Kong (CUHK) in 2012. She finished her MFA in Fine Arts in CUHK in 2017, specializing in Chinese Gongbi painting. Cheuk has participated in several art exchange programmes in Beijing, Hangzhou, and South Korea. Her works have been exhibited in various important ink exhibitions, including "A Legacy of Ink: Lui Shoukwan 40 Years On", "New Ink-An Exhibition of Ink Art by Post 1970 Artists from the Yiqingzhai Collection", etc. Cheuk’s works were awarded Hong Kong Chinese Meticulous Painting Association Creative Award, Madam Jan Yun-bor Memorial Awards for Chinese Painting and Calligraphy, etc.

Many of her works became private collections.

安藤忠雄 （日本，1941年生）

陳庭詩 （台灣，1916 - 2002）

卓家慧（香港，1989年生）

安藤忠雄，1941年出生於日本大阪，日本著名建築

1916年生於福建長樂縣，1948年來台。年幼失聰，

1989年生於香港。2012年取得香港中文大學文學

師。以自學方式學習建築，1969年創立安藤忠雄建

不但未減少他對藝術之靈敏度，反而使其更專注於

士一級榮譽學位，主修藝術；2017年於同校的藝

築研究所。獲得了包括有建築界「諾貝爾獎」之稱

藝術創作，為多才多藝的創作者。自幼入家塾讀

術碩士課程畢業，主修工筆畫創作。曾於北京、杭

的普利茲克獎等在內的一系列世界建築大獎。1997

書，早年跟張菱坡學習國畫，擅於畫山水、人物、

州、南韓等地參與藝術交流計劃與展覽。卓氏的作

年擔任東京大學教授，之後亦擔任哈佛大學、哥倫比

花鳥，並受徐悲鴻的影響，開始接觸西洋藝術。

品曾於多個重要的水墨展覽中展出，包括《全球

亞大學、耶魯大學等的客座教授。在30多年的時間

三十餘歲活躍於多個美術團體，諸如五月畫會、現

水墨畫大展》、《新古典–當代港式水墨》、《水

裡，他創作了近150項國際著名的建築作品和方案，

代版畫會及現代眼畫會等。陳庭詩曾多次參與歐美

墨藝博》、《天下．往來：當代水墨文獻展2001-

作品有「住吉長屋」、「萬博會日本政府館」、「光

亞等地海外聯展，身處國外，但陳氏仍不時創作古

2016》、《呂壽琨水墨傳奇四十年──新一代藝術

之教會」等。安藤開創了一套獨特、嶄新的建築風

詩，研習書法，篆刻印章。80年代在台灣開始展出

家聯展》、《而立──香港年輕藝術家作品展》、

格，以半制成的厚重混凝土，以及簡約的幾何圖案，

陳氏的水墨與彩墨作品。陳氏深厚的文化底蘊，對

《七十後：新水墨──怡情齋收藏展》等。作品曾

構成既巧妙又豐富的設計效果，他的突出貢獻在於創

詩意的追求，從雕塑到版畫水墨，他的作品一貫地

獲周士心教授中國書畫獎、香港工筆畫會創作獎及

造性地融合了東方美學與西方建築理論；遵循以人為

散發出中華文化的特色。

詹雲白夫人紀念中國書畫 等獎項，並由私人收藏。

本的設計理念，提出「情感本位空間」的概念，注重 人、建築、自然的內在聯系。成為當今最為活躍、最 具影響力的世界建築大師之一。

157

ARTIST INDEX

Lot 696

Lot 695

Lot 689

DING YAN-YONG (Chinese, 1902 - 1978)

FANG ZHAOLIN (Chinese, 1914 - 2006)

GAI QI (Chinese, 1773 - 1828)

Born in Guangdong, Ding Yanyong was regarded as the Masters of Guangdong with Lin Fengmian and Guan Liangsu. Raised in a literati family, Ding developed interest in Chinese arts since an early age. During Ding’s education at the Tokyo College of Fine Arts, Japan, he was under heavily influence of Western art and Ding was exposed to Fauvism and the work of Matisse, which later brought heavy impact on Ding’s art style. In his later stage, Ding further refined his style by bringing traditional zhuan carvings into his artwork.

Born in Suzhou to a bourgeois family, Fang Zhaolin received her Chinese literature and arts education from Chen Jiucun and Qian Songyan. As a gifted child, she had her first exhibition in “White Wave Art Society” in Wuxi. After settling in Hong Kong after World War II, Fang followed ink master Zhao Shaoang in 1950 to further refine her paintings skills of flowers and birds. Since then she also became an apprentice of Zhang Daqian and followed him to overseas exhibitions. Throughout her lifetime, she conducted in-depth studies of ink masters such as Wu Chuangshuo and Qi Baishi, allowing her paintings to excel in skills and uniqueness, making her a well-acclaimed artist in Chinese Paintings.

Born in Shanghai in Qing Dynasty to a prominent family of Shouchun Military General, Gai Qi benefited from his bourgeois education of Chinese arts and literature. As a child prodigy in arts, Gai established his fame in arts from his early age.

When the book Dream of the Red Chamber gained in popularity, Gai painted illustrations for the book and his popularity rose. Since then, he explored a new style of painting noblewomen with a gentle streamline brushwork and created a new style called “the Style of Gai”.

丁衍庸 （中國，1902 - 1978）

方召麐（中國，1914 - 2006）

改琦 （中國，1773 - 1828）

廣東人，名衍鏞（後名衍庸），字叔旦、紀伯。在

生於江蘇無錫，自幼聰慧，書香門第，曾先後師承

字伯韞，號香白，又號七薌、玉壺山人等，是清代

中國畫壇與林風眠、關良素有「廣東三傑」之稱，

於陳舊村、錢松喦，從小已經打下了扎實而深厚的

畫家。先世為西域人，是壽春鎮總兵光宗孫，後寓

三人在畫壇各佔有一席之地。其父喜愛詩詞古董，

中國畫基礎，十九歲已經參展無錫白浪畫會展。二

居於松江（今上海市）。改琦生於名氣望族，少年

經常親授子女古代詩詞，所以丁氏自幼對書畫產生

次世界大戰後定居香港，並於1950-60年代跟隨國畫

時就在藝術上取得一定成就。當時曹雪芹的紅樓夢

興趣。早年留學日本，專攻西方現代畫，在東京美

大師習畫。1950年拜嶺南派趙少昂為師，鑽研花鳥

紅極一時，改琦所畫的《紅樓夢圖詠》也廣受歡

術學校習畫。當時西洋畫在日本發展進入盛期，丁

畫，後成為張大千的入室弟子，陪伴張大千在巴西

迎。其所畫仕女，形象纖細俊秀，用筆輕柔流暢，

氏受野獸派風格的影響甚深，並開始以馬諦斯的畫

和加州參加海外展覽。同時，她積極研究吳昌碩和

創立了仕女畫新的體格，時人稱為「改派」。

風為出發點，尋找自己崇尚的個性與表現。1925年

齊白石以書法作畫的特色，令她的作品包括山水、

學成返國展開教學生涯。1949年遷居香港。晚年致

花鳥、人物、書法等都擁有一種獨特的風格，備受

力於中國畫，崇尚一種自然的表現主義風格，並將

各界肯定。

古典的篆刻趣味帶進他的繪畫作品中。此外，丁氏 終身從事藝術教育，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。

158

藝術家簡歷

Lot 619

Lot 692

Lot 625

HE BAILI (Chinese, b.1945)

HE HUAISHUO (HO Huai-shuo, Chinese, b.1941)

HE JI-NAN (Eric HO, Chinese, b.1974)

Born in Guangzhou in 1945, moved to Hong Kong at very young age. As a modern artist in Chinese paintings, his paintings mostly feature landscape, flowers and birds. In the early 1960s, He applied traditional Lingnan Bird and Flower techniques on his landscape paintings. Later in the 1970s, his paintings turned abstract and finally reached his unique style of integrating modern impressionistic and traditional style of landscape painting. His style is acclaimed as “the Landscape of the He Family” and has reached a new milestone for Contemporary Ink paintings.

Born in 1941 in Guandong, Ho is a respected artist and art historian, with huge contribution in art history. Due to his background as a scholar, He explore different ways of representation including composition and texture and brushwork. He believes that a painter should "use our Chinese spiritual essence to look squarely at the modern world, and through artistic expression in painting I experience and reflect upon contemporary life and the contemporary world." His works are exhibited in Taiwan, Hong Kong and the US, and continue to amaze audience around the world.

Inspired by his father He Baili, He Ji-lan developed interest in Chinese painting as a teenager. He received art education at the York University, Canada, the Seneca College and the Hong Kong Polytechnic University. With a rich background in Fine Art and Design practice abroad, He creates art with different media and his artwork became a melting pot of different cultures around the world.

He’s work juxtapose Yin and Yang, the opposing principles of nature, and blend them in harmony, reflecting a deep lore of Chinese philosophy.

何百里 （中國，1945年生）

何懷碩（中國，1941年生）

何紀嵐（中國，1974年生）

1945年生於廣州，幼年遷居香港。精於國畫，幾

生於廣東潮安，學識淵博，造詣甚高，從書法大師

何紀嵐深受父親何百里薰陶，自幼喜愛中國書畫，

個時期的作品，都以萬千變化視覺韻律激動人心。

與藝術史研究者的角度，為學術與創作建立深淵的

於加拿大約克大學學習藝術，其後於辛力加學院及

1960年代早期以嶺南美術花鳥技法寫山水畫。1970

影響。藝術研究的背景，讓何氏鑽研構圖和筆法的

香港理工大學進修設計。作為藝術家及設計師，何

年代以水墨寫意山水為主，1980年代後期，融會古

領域，令他的畫作充滿層次與深度。他曾言藝術家

紀嵐在藝術中敢於試驗不同媒介的表現力，作品中

今，由傳統美術上發展出個人風格。評家稱「何家

必須「以我們的中國精神本質準確審視現代世界。

可見不同文化的影響。何紀嵐作品中的筆墨演繹虛

山水」墨彩靈動，境界脫俗，富時代精神，何百里

透過繪畫這種藝術表達方式，我得以經歷並反思當

與實、有與無之陰陽雙對而雙生的存在關係，尤其

為現代山水畫畫出新方向。

代生活以至今日世界」。他的作品曾經參與世界級

在《絲路行中》系列中，反映了這一亙古的中國哲

的展覽，曾參展與台灣、美國與香港。

理。

159

ARTIST INDEX

Lot 694

Lot 690

Lot 655

HSIA YI FU (XIA Yi-fu, Chinese, 1927 - 2016)

HUANG CHUN-PI (HUANG JUNBI, Chinese, 1898 - 1991)

LI DEZHUANG (Chinese, b.1958)

Born in Shandong, moved to Taiwan in 1949. Hsia learnt Chinese paintings from Li Hesheng and Fu Juanfu, and Western art from Zheng Yuebo. His ink paintings were well recognized by the National Art Museum in Taipei, and are collected by the national museums and art institutes in Taiwan and the US.

Born in Guangdong, Huang Chun-Pi was a reputable painter named “the Three Overseas Master Painters” along with Zhang Daqian and Pu Xinyu. Devoted to painting at a very young age, Huang learnt painting from ancient relics.

He believed that Chinese paintings should follow the traditional way and rejected Lingnan art style, thus dedicated most of his times to studying old masterpieces. At the age of 26, Huang held his first solo exhibition. At the age of 40, he devoted his lifetime as an artist, a professor, a scholar and an art collector.

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.

夏鴻錫（夏一夫，中國，1927 - 2016）

黃君璧（中國，1898 - 1991）

李德庄 (中國，1958年生)

1927年生於山東，原名夏鴻錫，畫名曾為「夏

原名允瑄，晚號君翁，廣東南海縣人，當代國畫大

李德莊，新加坡出生，祖籍廣東文昌，畢業於南洋

陽」、「孤憤」、「夏一夫」。1945煙台師範學校

師。與張大千、溥心畬以「渡海三家」齊名。自幼

美術專科學校。 英國CILT註冊院士，中國大連海事

畢業，後任老師。1949年因戰亂隨軍來台，師承工

受家庭熏陶喜愛書畫，年輕時大量臨摹古人遺跡。

大學客座教授。 80年代初以綜合媒介創作「新水滸

筆名家李荷生和西洋藝術家鄭月波，1971創設東方

其畫風兼取南北二宗，尤喜石溪等「四僧」。早年

系列」初闖畫壇獲得了多個國際美術獎。 李德莊的

畫廊，專事蠟染畫創作。1988年隨傅狷夫習畫，並

廣東畫壇「二高一陳」創立新的繪畫技法曾轟動一

畫作在世界各地舉辦了10多次個展和30多次聯展，

獲得臺北市立美術館「墨與彩的時代性——現在水

時，但身處嶺南的黃君璧不為所動，堅持傳統，堅

他最近的畫作參展活動是在2013年，法國巴黎大皇

墨展」創新獎。此後活躍於水墨藝術發展，夏氏的

持尚古摹古。君璧先生26歲即舉辦個人畫展，40歲

宮舉辦的「巴黎藝術博覽會」 。主要機構及私人

作品多次在海內外知名畫廊，美術館展出，亦曾多

被聘為全國美展審查委員，50歲移居台灣。在台期

收藏：總統府，新加坡 國家畫廊，新加坡國家圖書

次在台灣舉辦個展。作品被臺北市立美術館，國立

間，除筆耕不輟外，長期擔任台灣師範大學藝術系

館，美國長榮海運等。

台灣美術館，美國普林斯頓大學美術館等知名機構

主任、教授，其白雲堂門下弟子遍及海內外，桃李

收藏。

滿天下，同時長期擔任宋美齡的國畫老師。黃君璧 先生一生是集美術家、教育家、鑒定家、收藏家之 大成者。

160

藝術家簡歷

Lot 658

Lot 693

Lot 691

LI JING (Chinese, b.1972)

LEE YIH HONG (LI Yihong, Chinese, b.1941)

As one of the apprentices of Zhou Kai, a famous painter in Taiwan, Li Jing strongly guarded the principles of the traditional ink paintings, in expressing the grandiosity of the Nature and the expressiveness of ink art. In 2003, with the motto, “To cleanse the soul with ink by ink art”, Li founded Jingmowenhua and promote purification of the mind through Chinese literati art.

Born in Tainan, Lee Yih Hong took apprenticeship from Jiang Zhaoshen, a respected artist in Chinese paintings. Lee dedicated his life to photography and paintings. Lee’s artworks mostly feature natural scenery, through in-depth observations and creative compositions. Having moved to Sanzhi in 1990 after his retirement, Lee devoted his time on ink paintings once again depicting the tranquility of his cottage life. His works were featured in Taiwan, Macau, Singapore and Beijing, gaining reputation in Asia.

LING HONGXUN (Chinese, 1894 - 1981); LING SU FENGPING

李淨（中國，1972年生）

李義弘（中國，1941年生）

林鴻勛、凌蘇鳳平（中國，1894 - 1981）

李淨，字墨盦，號十月南嬰，師從畫壇名宿周凱，

李義弘，字在川，生於台南縣西港鄉。1966年國立

林鴻勛，字竹銘，廣東番禺埔屬人，原籍江蘇常

得其言傳身教，登堂入室。作品立根古法，探求自

台灣藝術專科學校畢業，1969年曾師承江兆申，曾

熟，凌蘇鳳平為妻。書香門第，自幼隨父熟讀四書

然氣象與墨道氤氳，意在以摹古為主的藝術實踐中

先後任教於基隆市立中山國中和台北藝術大學。李

五經，少年時考入郵傳部上海高等實業學堂（後稱

總結古人筆墨佈局上的突破。2003 年創立淨墨文

氏將清新的筆墨結合攝影的文人情懷，以南台灣鄉

南洋大學）。聰慧的凌氏曾與同學組織「南洋學

化，藉「以墨淨心，淨心寫墨」為宗旨，冀透過筆

間的水墨寫生崛起畫壇。李氏走遍各地經典，在創

會」，擔任總編輯，發行南洋大學第一本學生刊

墨延傳中國傳統文人書畫，同時淨化心靈、證於心

作攝影和台灣意象書畫上投入很多研究，透過自然

物—《學生雜誌》，後被推薦當「美國鋼鐵公司」

源。多年來透過舉辦雅集、座談、參觀、交流、寫

風景的觀察，力求風景構圖上的創新，探討自我與

旗下「美國橋樑公司」的實習生，對日後的鐵路工

生、展覽、出版等活動，陶冶性情、淨化心靈。

空間的互動。1990年代後深居三芝鄉間，終究確

程事業發展有很大的幫助。1920年代，凌氏返國後

立了筆墨積澱的渾厚蒼樸，與對故鄉人文的熱切關

曾在交通部任職，1924年重回南洋大學任校長，

懷。李氏活躍於水墨畫壇，常常參與跨國展覽，在

成為中國最年輕的校長。其後積極參與中國鐵道建

台灣、新加坡、澳門和北京曾經辦過畫展。

築，後被稱為「中國鐵道聖人」。1948年4月獲選為

LING Hongxun was born in Guangdong and LING SU Fengping was his wife. Ling was born to a literati family and learnt Chinese literature from his father. At a young age, Ling took up the role of editor in his school’s editorial board. He later developed his career in railway construction with significant contribution in China’s history of railway development. In 1984, Ling was appointed as one of the Academicians in the Academia Sinica.

第一屆中央研究院院士。

161

ARTIST INDEX

Lot 607

Lot 688

Lot 616

POON KWING-WING (Water POON, Chinese, b.1944)

QI BAISHI (Chinese, 1863 - 1957)

TAI XIANGZHOU (Chinese, b. 1968)

Born in Hunan, Qi Baishi spent his adolescence in wood carving, writing calligraphy and paintings for a living. Through careful observations, Qi began to refine his painting skills and pursuit the depiction of the spirit of objects. He was eager to study others’ paintings for his art style development. Since 1927, he devoted his life to art education and taught in prominent institutions in China. In 1963, he was regarded as one of the Top 10 greatest contributor in world culture.

Tai Xiangzhou, styled 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. 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. This work was highly admired by renowned art historian, Fang Wen, who recommended the book in the preface and pushed for publishing by the Zhonghua Book Company.

潘炯榮（水禾田，中國，1944年生）

齊白石（中國，1863 - 1957）

泰祥洲（中國，1968年生）

潘炯榮（水禾田）是攝影家、畫家和導演。水禾田

湖南湘潭人，原名純芝，字渭清，後改名璜，字字

泰祥洲，字曉陽，1968年生於寧夏銀川，2012年畢

出生於廣東南海，畢業於香港，長期從事攝影和藝

瀕生，號白石，別號借山吟館主者、寄萍老人等。

業於清華大學美術學院，獲得博士學位。祥洲自幼學

術創作，作品曾於新加坡、東京、加拿大、美國、

年幼家貧，曾學木工，兼做畫工。少年時學習詩

習書法。2003年相識劉丹，得劉丹先生指點，繼續在

澳洲、菲律賓展出，並有部分作品被美國波士頓

畫、篆刻與書法。隨著畫作形神的追求，親自種植

宋元繪畫傳統上用功。2006年，泰祥洲得到天文學家

MIT美術館及澳門賈悔士美術館收藏。 1985年，水

花卉果木，養蟲養鳥，仔細研究物體的形態。1918

伊世同先生的啟蒙，從天文學的維度，重新內省中國

禾田獲香港十大傑出青年獎、1988年獲香港藝術聯

年定居北京，專業賣畫和刻印。齊白石以學而不倦

山水畫的宇宙觀和精神脈絡，並完成自己得博士論文

盟第一屆攝影家獎、2005年獲中國上海馬爹利頒藝

的精神常跟其他藝術家研究藝術。1920年代開始改

《仰觀垂象——山水畫得觀念與結構》，該著作得著

術家年獎、2006年獲聯合國教育科學文化組織世界

變畫風，融合傳統寫意畫和民間繪畫的表現技法，

名藝術史家方聞先生嘉許，並作序由中華書局出版。

文化遺產中心邀請參加拍攝計劃，為我國攝影藝術

創造獨特的藝術風格。1927年曾任北京藝術專科學

泰祥洲的作品從摹寫古代山水畫起步。藝術家用元代

做出很大貢獻。

校教授，其後1949年先後擔任北京中央美術學院名

的筆墨描繪五代、兩宋時的山水，氣勢宏大，華美渺

譽教授，中國美術家協會主席、中國畫院名譽院長

遠，同時環抱寧靜幽遠意境。

Water POON is an artist, photographer, designer and film director. He graduated in Graphic Design from Hong Kong Polytechnic College. In 1969, he started his work as a graphic designer with Shaw Brothers (HK) Ltd. In the 1980s Poon travelled extensively between mainland China, Hong Kong and Taiwan.He has worked as a photojournalist for various newspapers and magazines, including Singtao Daily, Hong Kong Economic Journal in Hong Kong, etc. He has published many photograph albums, art books and travel notes and has exhibited his works internationally.

等，並於1963年被評為世界十大文化名人之一。

162

藝術家簡歷

Lot 686

Lot 683 Lot 684 Lot 685

Lot 680

SUN YUNSHENG (Chinese, 1918 - 2000)

YU CHUNG-LIN (Yu Zhonglin, Chinese, 1925 - 1985)

YU YOUREN (Chinese, 1879 - 1964)

Born in Hebei Ninghe, Sun Yunsheng was regarded as the most distinguished apprentice of Zhang Daqian. Since 1936, he followed Zhang and had the most comprehensive training in terms of landscape, characters, flowers and birds paintings.

Since the age of 9, Sun practiced art with his uncle, learning ancient calligraphy of Wang Xizhi, Ouyang Xiu, Su Shi, etc., later became apprentice of Wang Xuetao, Qin Zhonglin and Wu Peiheng.

Born in Shandong, Yu Chung-Lin was a reputable Master of Flowers and Birds. The admiration for paintings was influenced by his family. As an apprentice of Jin Qinbo, Yu learnt Song’s Gongbi Style and continued refining his skills by studying Japanese Flowers and Birds paintings. Yu yearned for perfection and studied every object in every detail, so that objects can be painted in minutest detail and with extraordinary care. His persistent in this refinement made his works one of the best paintings in Gongbi style.

Born in Shanxi in Qing Dynasty. Yu Youren received private education and started practicing calligraphy in Northern Wei style. This practice developed a majestic style in his calligraphy, which was praised by art critics. Since 1932, Yu started studying Cursive Script and established a set of guidelines.

His contribution to calligraphy was so profound that he was honoured as the Master of Cursive Script.

孫雲生（中國，1918 - 2000）

喻仲林 （中國，1925 - 1985）

于右任（中國，1879 - 1964）

河北寧河人，又名家瑞。自1936年拜張大千之大風

本名性根，原籍山東，是近代知名的花鳥大師。家

陝西三原人，祖籍涇陽。原名伯循，字誘人，後取

堂門下，長期伴隨張大千，終生不離，張大千視孫

族嗜書畫，自幼深受藝術薰陶，勤學書畫，師承金

諧音「右任」為名，號騷心、髯翁，晚號太平老

雲生為衣缽傳人。孫雲生的作品工整秀雅，山水、

勤伯，學得傳統工筆的技巧。喻氏習畫期間，積極

人，曾是清朝光緒年間舉人。早年受私塾教育，從

人物、花鳥、蟲草，均無所不擅。家學淵源，九歲

吸收日本花鳥畫的優點，並常提倡「知天知地，知

傳統帖學開始學書，後熱衷於研究北魏碑誌書法，

從叔父啟蒙習畫，修臨王羲之，歐陽修，蘇軾，歐

時知物」，透過仔細觀察，把花葉鳥禽上的每一個

自此于氏的書法都帶有厚重恢弘的氣度，令他的碑

陽詢等名家書法，並從其母習誦近體詩。後師從王

細節了解清楚才能畫出精髓。1949年渡海來台，並

學書風廣受國內外的高度評價。1932年于氏開始研

雪濤、秦仲文及胡佩衡等人，著手勾勒古人名跡，

於1956年與孫家勤、胡念祖組成「麗水精舍」。喻

究草書，並成立標準草書社，以「易識、易寫、準

並遍臨宋、元、明、清各大家。

氏的作品廣受國內外的歡迎，在台灣、美國和韓國

確」為原則，整理千百年的草書，把草書規範化，

辦過展覽，以精緻的工筆畫和墨彩，表現其獨特的

研究出標準草書的範本。于右任的書法成就深遠，

風格。

被後人譽為「一代草聖」。

163

ARTIST INDEX

Lot 601

Lot 687

YUNG CHEE-MUN (Simon YUNG, Chinese, b.1968)

ZHANG DAQIAN (Chinese, 1899 - 1983)

Born and resides in Hong Kong, Simon Yung obtained his art education with Master Ou Dawei and Master Hung Hoi. Simon has participated in numerous local and overseas art exhibitions, and has won numerous awards in different art competitions including "Hong Kong Contemporary Art Awards 2012", "Beyond the Surface - Chinese Abstract Art 2008" and "Hong Kong Art Biennial Exhibition 2005". His ink works are collected by the Hong Kong Museum of Art, enterprises and private collectors.

Born in Sichuan, Zhang was a lifelong learner in arts, from his early training of cloth dying in Japan, to mural paintings observations in Dunhuang, to his art exchanges with Picasso in Europe, allowing his art to flourish in styles and to further refine in terms of skills. His contribution in Chinese paintings was so rich that he was honored along with Huang Junbi and Pu Ru as the greatest overseas masters in Chinese Paintings. One of his most influential creation is Splash Paintings.

容子敏（香港，1968年生）

張大千 （中國， 1899 - 1983）

容子敏，香港出生。香港大學專業進修學院中國繪

生於四川內江縣，名爰，字季爰，號大千居士。張

畫文憑（2006）、香港公開大學中國人文學科文

氏學而不倦，從赴日學染織，到敦煌臨摹壁畫，後

學士（2011）。師從區大為老師習中國書法及篆

跟立體派畫家畢卡索交流切磋，令其畫風獨特多變

刻、熊海老師習中國水墨。容氏多次參與香港及海

幻，在畫壇上享譽半世紀，成為近代繪畫史上的一

外展覽，包括英國、美國、韓國、新加坡、印尼、

大名家。文學成就方面，於齊白石和溥心畬齊名，

台灣、澳門及中國大陸，又取得多個藝術獎項，如

被稱為「南張北齊」和「南張北溥」。國畫的成就

「香港當代藝術獎2012」、「超以象外—中國抽

則與黃君璧、溥心畬以「渡海三家」齊名。張氏遊

象繪畫作品展2008」、「夏利豪基金會藝術比賽

歷世界，在世界各地辦畫展，曾居四川「梅邨」、

2006」、「香港藝術雙年展2005」等。水墨作品獲

巴西「八德園」、美國「可以居」和「環蓽盦」到

香港藝術館、企業機構及私人收藏。容氏現從事設

台北「摩耶精舍」，期間常研究古今國內外的畫作

計和藝術教育，亦為香港設計師協會全權會員、香

風格，後創立獨特的潑墨潑色風格。

港美術教育協會會員。

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