翰墨丹青—中國書畫專場 Refined Brushwork: Fine Chinese Paintings

REFINED BRUSHWORK: FINE CHINESE PAINTINGS

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

2.

Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 28th November 2018, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031（NT$）或 001-234830-061（US$） 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 bidding deposit. The payer will be responsible for any associated bank service fees.

4.

After the 28th November 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 29th November to 1st December 2018). Acceptance will cease on the 1st December by 12 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 bidding deposit transferred to Ravenel's specified Bank account before the 28th November 2018.

6.

If the bidding deposit has been transferred prior to 28th November 2018, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its 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: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit.

(2) Nil Transaction: 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. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding 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 bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000.

(2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

Ravenel 2

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競投保證金。

2.

競投保證金 : 新台幣陸拾萬元或貳萬美金。

3.

競投保證金需於 2018 年 11 月 28 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競投保證金全額，銀行手續費請匯款人負擔。

4.

2018 年 11 月 28 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 ( 2018 年 11 月 29 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 2018 年 12 月 1 日中午 12 點截止。

5.

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2018 年 11 月 28 日以前完成匯款至本公司指定帳號。

6.

如於 2018 年 11 月 28 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯 繫並與之確認其競標牌號。

7.

拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。

8.

競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「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。 (b) 競投保證金以「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。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請 求返還競投保證金。 (2) 未成交 : 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。競投保證金以「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。競投保證金以「現金」方式完成者，本公司將於拍賣當日以現金退還給買家。

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，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（包含競投保證金）保留全部的決定權。

RAVENEL AUTUMN AUCTION 2018 Paintings and Calligraphy of Tai Jing-Nong Refined Brushwork: Fine Chinese Paintings

羅芙奧 2018秋季拍賣會 身處艱難氣若虹—臺靜農書畫專場 翰墨丹青—中國書畫專場

AUCTION

拍賣日期 / 地點

Saturday, 1 Dec 2018, 3:30 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

2018年12月1日（六）下午3:30 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 2018年11月10日（六） 下午1:00 至 下午6:00 2018年11月11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 2018年11月17日（六）上午11:00 至 下午6:00 2018年11月18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 2018年11月24日（六）上午10:00 至 下午7:00 2018年11月25日（日）上午10:00 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 2018年11月29日（四）上午10:00 至 下午7:00 2018年11月30日（五）上午10:00 至 下午7:00 2018年12月1日（六）上午10:00 至 下午3:30 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, 10 Nov 2018, 1:00 pm - 6:00 pm Sunday, 11 Nov 2018, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung

Saturday, 17 Nov 2018, 11:00 am - 6:00 pm Sunday, 18 Nov 2018, 11:00 am - 6:00 pm J.P. Art Center 8F, No.63, Wufu 3rd. Rd., Qianjin Dist., Kaohsiung

Saturday, 24 Nov 2018, 10:00 am - 7:00 pm Sunday, 25 Nov 2018, 10:00 am - 7:00 pm CES 5F, Grand Hyatt Hong Kong 1 Harbour Road, Hong Kong

Thursday, 29 Nov 2018, 10:00 am - 7:00 pm Friday, 30 Nov 2018, 10:00 am - 7:00 pm Saturday, 1 Dec 2018, 10:00 am - 3:30 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

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

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 Executive Officer 執行長

何瑩 Vivi He

周媛玲 Connie Chau

古文物部 總監 Director, Head of Department

執行長 特助 Executive Assistant

陳砥翰 Masa Chen

林美夆 Annika Lin

古文物及書畫部 經理 Manager, Fine Chinese Works of Art and Paintings Department

客戶發展部 經理

謝幸航 Roger Hsieh

朱毅 Walter Zhu

古文物及書畫部 經理 Manager, Fine Chinese Works of Art and Paintings Department

業務代表 北京

陳姿穎 Zin Chen

李政希 Xiu Lee

業務助理 台北 Sales Assistant Taipei

Ravenel 6

Manager, Client Development Department

Representative Beijing

業務代表 上海 Business Representative Shanghai

目次 / Contents 4

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 8

羅芙奧秋季拍賣會

SALE INFORMATION 10

羅芙奧之服務

RAVENEL SERVICES 12

身處艱難氣若虹 — 臺靜農書畫專場 Paintings and Calligraphy of Tai Jing-Nong

58

翰墨丹青 — 中國書畫 Refined Brushwork: Fine Chinese Paintings

151

委託競投表格

ABSENTEE BID FORM 153

業務規則

TRANSACTION AGREEMENT

RAVENEL STAFF AND SERVICES FOR THIS SALE

SPECIALISTS

CATALOGUE SUBSCRIPTION

COLLECTION AND SHIPPING

Director, Head of Department Vivi He

Taiwan

Taiwan

Tel: +852 2889 0859 Email: vivihe@ravenel.com

Zin Chen

Tommy Wu

Tel: +886 2 2708 9868 ext. 585 Email: zinchen@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

Annika Lin

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

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

Tel: +886 2 2708 9868 ext. 909 Email: annikalin@ravenel.com

Shanghai

Masa Chen Tel: +886 2 2708 9868 ext. 588 Email: masachen@ravenel.com Roger Hsieh Tel: +886 2 2708 9868 ext. 587 Email: rogerhsieh@ravenel.com

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 Zin Chen Tel: +886 2 2708 9868 ext. 585 Email: zinchen@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, including any foreign language assistance for the bidding.

ONLINE BIDS Register at Invaluable www.invaluable.com

Ravenel 8

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

Remarks:

The catalogues are available for subscription. For details

circulation and centralize management. We accept person-

of subscription, please refer to the explanations of the cat-

al and corporate checks, however collection may be made

alogue or contact the above persons.

only when such checks are honored. We apologize for no

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

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2018秋季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

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

台灣

台灣

陳姿穎 電話：+886 2 2708 9868 轉 585 電子信箱：zinchen@ravenel.com

吳博峯

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

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

陳砥翰 電話：+886 2 2708 9868 轉 588 電子信箱：masachen@ravenel.com 謝幸航 電話：+886 2 2708 9868 轉 587 電子信箱：rogerhsieh@ravenel.com 林美夆 電話：+886 2 2708 9868 轉 909 電子信箱：annikalin@ravenel.com 周媛玲 電話：+886 2 2708 9868 轉 908 電子信箱：conniechau@ravenel.com

電話書面競標聯絡人 香港．國際 何瑩 電話：+852 2889 0859 電子信箱：vivihe@ravenel.com

台灣 陳姿穎 電話：+886 2 2708 9868 轉 585 電子信箱：zinchen@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

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

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

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

本目錄開放各界訂閱，詳細訂閱辦法，請參照目錄之

可在羅芙奧辦公室提領，上班時間為週一至週五上午

說明或請洽上述聯絡人。

9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安排最適當 的運輸方式。 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。

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹 — 臺靜農書畫專場 Saturday, 1 December 2018 3:30 pm Taipei Marriott Hotel

Lots 601 – 631

「藝術使人為之生為之死，然而生死之間，一切的憂愁、鬱悶、挫折、憤怒，最後只是借一方小紙、幾點墨痕在人世；留 或不留，也與創作者無干，他也許對斤斤計較於這一方小紙墨痕的人引以為知己，卻又拂袖而去，了卻了生死之間難以排 遣的憂愁鬱悶、挫折與憤怒罷。」 - 蔣勳

人生實難未必空，詩書遣懷氣若虹 蔣勳這段文字描寫的，不是別人，正是臺靜農。只是讓人感到好

的親密關係，讓蔣介石對於臺靜農來台頗多疑慮，就算後來由張

奇的是，到底是怎樣的人必得花上大半輩子以詩書詠懷，來抒發

群等人保薦，生活起居行動等仍不時受到情治人員的監視。在此

排遣那看似無解的鬱結與苦悶；即使到了生命盡頭，他躺在病榻

一情況下，臺靜農更只得將心力埋首於故紙堆中，並且透過書法

上欲向前來探望的愛徒吐露的最後話語仍是：「人生實難，大道

來寄託心言。故他曾說過：「戰後來臺北，教書讀書之餘，每感

多歧」之喟嘆呢？

鬱結，意不能靜，惟時弄毫墨以自排遣，但不願人知，然大學友 生請者無不應，時或有自喜者，亦分贈少年，相與欣悅，以之為

的確，「人生實難，大道多歧」一句真可視為臺靜農一生之縮

樂。」雖只寥寥幾句，卻可明顯看出他在身處高壓統治的政局

影。1902年出生於安徽霍秋，臺靜農為家中長子，幼時先入私塾

下，不得不盡收銳筆鋒芒的濃重感傷。

三年，粗通傳統經史，在13歲時才到鎮上新辦的明強小學就讀。 中學時受到五四新文化運動影響，弱冠之年就懷抱滿腔熱血，寫

臺靜農在台大任教共27年，擔任中文系主任更長達廿年之久，

新詩、辦雜誌，鼓吹新式文明思潮。1922年，臺靜農抵達北京，

門下學生後來無論在學術研究、文學創作等各方面均有相當成

先考取北京大學旁聽生資格，兩年後正式進入研究所國學門，並

就，可謂桃李天下。後來在臺靜農離世後將門生故舊追懷憶念之

與常維鈞、莊嚴、董作賓同窗。尤其，後兩位皆一同渡海來台，

情見諸於文字者蒐輯為《臺靜農先生紀念文集》一書（洪範書局

彼此非僅學問書藝上之良友，更成為終生知己。

出版），其中他的愛徒林文月這樣寫道：「在臺先生的言行舉止 中，我們看到的是一位傳統中國文士的氣節與風骨……」可以說

1927年，在劉半農舉薦下，臺靜農獲聘為北京私立中法大學中文

言簡意賅地點出了臺靜農一生狷介的名士風範。

系講師，也開始了他此後的杏林生涯。而在大陸時期，對臺靜農 而言最關鍵的事件就是經由小學同學張目寒的介紹，認識了新文

在臺四十餘年，除了教書，臺靜農平日就是以讀書寫作自娛，同

化運動代表人物之一的魯迅，並加入由其領導的文學性社團──

莊嚴、大千等藝壇知交談文論藝、相互酬唱；也是在這鍋居島上

「未名社」。包括我們今天所讀到的《地之子》、《建塔者》等

的半生時光，對書藝寄情漸深、取法漸廣，而終於轉化出自家面

風格樸實地描繪了鄉間貧苦農民的生活，被魯迅譽為「將鄉間的

目，成就一代書家之偉業。1990年1月，因感飲食困難，至台大

死生，泥土的氣息，移在紙上」的鄉土文學作品，都是在此一時

醫院檢查，證實罹患食道癌。面對惡疾，亦豁達一如往常，同年

期完成出版，也使得臺靜農自此聲名大噪。

11月9日病逝，享壽89歲。與臺靜農交好的中國文學研究大家鄭 騫（1906∼1991）書一輓聯：「六十年來文酒深交弔影今為後死

然而，譽之所至，謗亦隨之，從1928年至1935年短短數年間，臺

者，八千里外山川故國傷懷同是不歸人。」十足真切動人，也刻

靜農也因未名社出版像是托洛斯基《文學與革命》等不見容於當

畫出在政治文化都面臨時代巨變的一整個20世紀，臺靜農的一生

局的禁書而被牽連，以有「共黨嫌疑」而歷經了三次牢獄之災。

以渡海來台為界，勾勒出幾經時局動盪的人事滄桑。

再加上後來一次巧合讓臺靜農與陳獨秀這位五四運動的領袖之 一，同時也是中國共產黨發起人的安徽同鄉長輩成為忘年之交，

如果說，前半生以五四青年之姿，勇於迎向新文化的激流；渡海

甚至後來陳獨秀過世，墓碑亦由臺靜農為之書丹。凡此種種，都

來到台灣後，方正值壯年的臺靜農卻因為政治意識的緣故，選擇

埋下了日後渡海來台被迫抑鬱以終的伏筆。

了遁世深隱，致力於書藝的鑽研與精進。從結果來看，對於後人 而言，或許失去了一個文學家，卻多了一位沉鬱勁拔的書法家。

1937年中日戰爭爆發，臺靜農舉家遷至四川避難，工作未能穩

從臺靜農的身上，我們見證了人生際遇縱使艱難，終究未必成

定，生活也十分清苦，卻是相對平靜的一段生活。也就是在川八

空，尤其在他所留下的書藝裡頭，我們所能見到的依舊是詩書遣

年的時間，使他從文學創作轉往學術研究，進而鑽研重新擁抱中

懷氣若虹的一代名士，也將在未來持續綻放出耀目的光芒！

國傳統書畫藝術。與陳獨秀、沈尹默、胡小石、張大千等人的接 觸交遊，更於無形中開啟了他後半生鑽研書藝的契機。

名士風骨，一生狷介 1946年7月，臺靜農因好友魏建功的推薦，收到台灣大學聘書， 三個月後抵台，隔年搬入溫州街十八巷六號的日式平房，名為 「歇腳盦」，取暫時歇腳、並無久居之意，想不到這一歇就是長 達四十多年的下半輩子。後於1982年顏其齋為「龍坡丈室」， 並請摯友張大千書額。據傳，因為與魯迅、陳獨秀等左派人士

Ravenel 12

“ Wo r k s o f a rt are s o u g h t-afte r o b jec ts . With jus t a fe w s pla s he s of ink on a pie c e of pa pe r, the y coul d r el i eve al l wo r r i e s, d ep res s io n , d es p air an d an g e r. To ke e p or to le t go, this ma y not c onc e rn the a rtis t. What ever he m i ght t h i n k , p a in tin g d riv e s aw ay a ll p a in a nd s orrow in life .＂ - Chi ang Xun

This description addresses to Tai Jing-nong. His devotion to the appreciation and use of literature throughout his lifetime was intriguing to modern day commuters. Even on his last days on deathbed, his last words to his favourite students were always, “life is complicated and full of choices, but simplicity brings relief to us morals.”

Such quote represents the life of Tai Jing-nong. Born in 1902 in Anhui Huoqiu, Tai Jing-nong is the eldest son in the family. Studied privately for three years, Tai learnt ancient history. When Tai was 13, he started his study in provincial schools. His adolescence was greatly affected by the New Culture Movement. He became an advocate of new poems and magazine production, to promote new ideologies from the Movement. In 1922, Tai reached Beijing and attended lectures at the Beijing University. Two years later, he was successfully admitted into the PhD of Chinese Literature with Chang Weijun, Zhuang Yan and Dong Zuobin. Since then, he developed close friendship with Zhuang and Dong, as the both moved to Taiwan years later.

In 1927, with the nomination of Liu Bannong, Tai became a lecturer of the Chinese Faculty at the Beijing Chinese-Franco University. Since he started the life as a teacher. During his stay in China, under the introduction of Zhang Muhan, he made acquaintance with Lu Xun. Thus he started taking the leadership role of an advocate group.

He was praised by Lu Xun, “Reviving the rural area with literature”, thus making Tai a popular figure in the period.

From 1928-1935, affected by the group’s publication, he was blacklisted by the Communist Party and was kept in prison for three times. Later, he became friends with Chen Duxiu, one of the leading advocate of the New Cultural Movement. Even after Chen’s death, Tai was highly praised for his scholarly quality. This forms a background for Tai’s melancholy for his later stay in Taiwan.

Since the Sino-Japanese war in 1937, Tai Jing-nong moved to Sichuan for shelter. Life was unstable but peaceful. During his eight years of stay, he buried himself into arts and literature. His encounter with Chen Duxiu, Shen Yinmo, Hu Xiaoshi and Zhang

由左至右 : 莊嚴、臺靜農 Left to right： Zhuang Yan, Tai Jing-nong

advocates, Tai was under constant surveillance of Chiang Kaishek. Under such hardship, Tai became more determined to studies and used calligraphy to express his thoughts. He once mentioned, “Upon my arrival after the war, aside from teaching, I could only write calligraphy secretly in face of depression. My joy lies in receiving incoming students and fellow professors.” This shows his melancholy under constant censorship and surveillance.

Of the 27 years of teaching at the University, he was entitled the Head of the Chinese Faculty for 20 years. His students have great achievement in scholarship and literature. In a remembrance of his death, his students contributed writings and published into a book.

One of his favourite student Lin Wenyue wrote, “Tai’s gentleman behaviour made him an all-rounded Chinese ardent scholar…”

His 40 years in Taiwan was devoted primarily to teaching, and to read and write at leisure. He also enjoyed exchanging thoughts on arts and literature with Zhuang Yan and Zhang Daqian, thus expanding his exposure in the area, making him a genuine allrounded scholar. In January 1990, Tai was diagnosed with

Daqian in his stay marks the start of a life as a scholar.

esophageal cancer. However, he continued to lead a life with

In July 1946, with a recommendation of his friend Wei Jiangong,

at the age of 89.

Tai started his life as a teacher in the National Taiwan University.

Three months later, he moved to Taiwan and stayed in a Japanese house at Wenzhou Street, named Xiejiaoan, hinting his intention for a brief stay, which eventually turned to be a 40-year stay since then. Since 1982, he named his home as Longpo Zhangshi, and invited Zhang Daqian to write his banner of the house. Due to his close connection with Lu Xun, Chen Duxiu and the left-winged

positivity. In November of the same year, he passed away peacefully

With his adolescence as a strong-minded advocate, Tai hid his ardent heart, to live a life of hermit, devoting solely on education and literature. One might sigh over his plight as a melancholic calligrapher. From the life of Tai Jing-nong, we have witnessed an strong-minded strive of the artist to lead a life of simplicity, yet earnestly towards righteousness.

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

601 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script Ink on paper, framed 28 x 32.7 cm Signed NONG in Chinese With one seal of the artist

NT$ 60,000 – 120,000 HK$ 15,000 – 31,000 US$ 2,000 – 3,900 RMB 14,000 – 27,000

Ravenel 14

臺靜農 行書宋汪莘詩 水墨 紙本 鏡框 28 x 32.7 cm 釋文：一榼村醪插別筵，清風急雨送歸船。 望中未是湖州境，便有吳歌唱採蓮。 款識：宋人汪莘詩。農。 鈐印：靜農無恙（白）

602 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Tang Poem in Running Script Ink on paper, scroll 67 x 33.5 cm Signed JING-NONG in Chinese With three seals of the artist

NT$ 90,000 – 180,000 HK$ 23,000 – 46,000 US$ 3,000 – 5,900 RMB 20,000 – 41,000 臺 靜農 行書唐王之渙登鸛雀樓詩 水墨 紙本 立軸 67 x 33.5 cm 釋文：白日依山盡，黃河入海流。 欲窮千里目，更上一層樓。 款識：方預世兄雅屬，靜農於台北龍坡。 鈐印：龍坡（朱）、臺靜農印信（白）、歇腳盦（白）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

603 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Tang Poem in Running Script 1977 Ink on paper, framed 58 x 33 cm Signed TAI JING-NONG in Chinese With two seals of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 57,000 US$ 3,600 – 7,200 RMB 25,000 – 50,000 臺 靜農 行書唐詩三首 1977 水墨 紙本 鏡框 58 x 33 cm 釋文：故人西辭黃鶴樓，煙花三月下揚州。 孤帆遠影碧空盡，惟見長江天際流。 朝辭白帝彩雲間，千里江陵一日還。 兩岸猿聲啼不住，輕舟已過萬重山。 山中相送罷，日暮掩柴扉。 春草明年綠，王孫歸不歸。 款識：丁己書唐人詩，應麗瓊女弟屬。 臺靜農於台北龍坡。 鈐印：靜農（白）、歇腳盦（白）

Ravenel 16

604 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Qing Poem in Running Script Ink on paper, framed 58 x 46 cm Signed JING ZHE in Chinese With one seal of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 57,000 US$ 3,600 – 7,200 RMB 25,000 – 50,000

臺靜農 行書清文廷式蝶戀花詩 水墨 紙本 鏡框 58 x 46 cm 釋文：九十韶光如夢裡。寸寸關河，寸寸傷心（銷魂）地。 落日野田黃蝶起，古槐叢荻搖深翠。惆悵玉簫催別意。 蕙些蘭騷，未是傷心事。重疊淚痕緘錦字，人生只有情難死！ 款識：文道希蝶戀花。龍坡靜者。 鈐印：臺靜農印信（白）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

605 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Calligraphy Ink on waxed gold-dusted paper, framed 39.7 x 39.7 cm With two seals of the artist ILLUSTRATED: Calligraphy of four ink masters: Tai Jing-nong, Qi Gong, Wang Jingzhi, Chen Chi-chan , Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, December 2016, p.16

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 臺靜農 福 水墨 灑金紙本 鏡框 39.7 x 39.7 cm 鈐印：澹臺靜農（白）、永壽（朱） 著錄： 《溯流徂源—臺靜農、啟功、王靜芝、陳其銓四老書法遺墨展選集》， 廣州美術學院美術館，廣州，2016 年 12 月，頁 16

Ravenel 18

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

606 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Tang Poem in Clerical Script 1983 Ink on paper, framed 46 x 69 cm Signed TAI JING-NONG in Chinese With two seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 臺 靜農 隸書唐杜甫詩 1983 水墨 紙本 鏡框 46 x 69 cm 釋文：勳業頻看鏡。癸亥秋書少陵句。 款識：臺靜農於龍坡。 鈐印：臺靜農（白）、龍坡丈室（朱）

Ravenel 20

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

607 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script Ink on paper, framed 83 x 34 cm Signed JING-NONG in Chinese With three seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 臺 靜農 行書宋蘇軾詩 水墨 紙本 鏡框 83 x 34 cm 釋文：暮雲收盡溢清寒，銀漢無聲轉玉盤。 此生此夜不長好，明月明年何處看？ 黑雲翻墨未遮山，白雨跳珠亂入船。 卷地風來忽吹散，望湖樓下水如天。 未成小隱聊中隱，可得長閒勝暫閒。 我本無家更安往？故鄉無此好湖山。 款識：憲崑先生、陳瑛夫人儷賞。靜農。 鈐印：淮南（朱）、臺靜農印信（白）、龍坡（朱）

Ravenel 22

608 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Running Script Ink on paper, scroll 65.6 x 32 cm Signed JING ZHE in Chinese With one seal of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 臺靜農 行書陳獨秀七言詩 水墨 紙本 立軸 65.6 x 32 cm 釋文：垂柳飛花村路香，酒旗風暖少年狂。 橋頭日繫青驄馬，惆悵當年蕭九娘。 款識：陳仲甫杭州詩。 白內障手術後一周試書。靜者。 鈐印：靜農無恙（白）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

609 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Calligraphy in Cursive Script Ink on paper, scroll 137 x 34.5 cm Signed NONG in Chinese With two seals of the artist

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 臺 靜農 草書臨王獻之省前書帖 水墨 紙本 立軸 137 x 34.5 cm 釋文：省前書，故有集聚意。當能果不。 足下小大佳不。聞官前逼，遣足下甚急。 想以相體恕耳。足下兄子以至廣州耶。 款識：臨王獻之，農。 鈐印：璧還（朱）、臺靜農（白）

Ravenel 24

610 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script 1987 Ink on paper, framed 105.3 x 29.5 cm Signed TAI JING-NONG in Chinese With three seals of the artist

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 臺 靜農 行書宋歐陽修踏莎行詩 1987 水墨 紙本 鏡框 105.3 x 29.5 cm 釋文：候館梅殘，溪橋柳細。草薰風暖搖徵轡。 離愁漸遠漸無窮，迢迢不斷如春水。 寸寸柔腸，盈盈粉淚。樓高莫近危闌倚。 平蕪盡處是春山，行人更在春山外。 款識：六一居士踏莎行。丁卯春，臺靜農書於龍坡丈室。 鈐印：璧還（朱）、淮南（朱）、靜農無恙（白）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

611 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Clerical Script Ink on paper, framed 87 x 16.8 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 臺 靜農 隸書五言聯 水墨 紙本 鏡框 87 x 16.8 cm （每件） 釋文：促席延故老，清歌散新聲。 款識：穫堂集陶公詩句。臺靜農於龍坡。 鈐印：淮南（朱）、龍坡（朱）、靜農無恙（白）

Ravenel 26

612 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script 1974 Ink on paper, framed 133.5 x 33.5 cm Signed JING ZHE in Chinese With one seal of the artist

NT$ 170,000 – 300,000 HK$ 44,000 – 77,000 US$ 5,600 – 9,900 RMB 39,000 – 68,000 臺靜農 行書宋張良臣酒熟詩 1974 水墨 紙本 鏡框 133.5 x 33.5 cm 釋文：濁醪初熟薦霜螯，不擬寒山不廣騷。 清曉豆花籬下立，竹梢獨與月爭高。 款識：甲寅九歌。靜者。 鈐印：靜農無咎（白）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

613 TAI JING-NONG

臺靜農 周澄

ZHOU CHENG

菜根香 行書成扇韓昌黎詩二首

(Taiwanese, 1902 - 1990) (Taiwanese, b.1941)

Tang Poem in Running Script 1986 Ink on paper, fan leaf 17.8 x 48 cm Signed TAI JING-NONG in Chinese With two seals of the artists ILLUSTRATED: Calligraphy of four ink masters: Tai Jing-nong, Qi Gong, Wang Jingzhi, Chen Chi-chan, Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, December 2016, p. 51 NOTE: Mr Xiwen mentioned in the work refers to Mr Su Xiwen, born in Gaozhou, Guangdong. Mr Su entered the political sector in his early career. Since 1954, he became an active member in the Cultural sector and founded a Zhongwai Cultural Publisher in Hong Kong.

NT$ 160,000 – 260,000 HK$ 41,000 – 67,000 US$ 5,300 – 8,500 RMB 36,000 – 59,000

Ravenel 28

1986 水墨 紙本 扇面 17.8 x 48 cm 釋文：菜根香。 潮州南去接宣溪，雲水蒼茫日向西。 客淚數行先自落，鷓鴣休傍耳邊啼。 漠漠輕陰晚自開，青春白日映樓臺。 曲江水滿花千樹，有底忙時不肯來。 款識：錫文先生清正，丙寅冬，周澄寫。 昌黎詩，錫文先生雅屬。臺靜農書。 鈐印：周澄（白）、臺靜農（朱） 著錄： 《溯流徂源—臺靜農、啟功、王靜芝、陳其銓四老 書法遺墨展選集》，廣州美術學院美術館，廣州， 2016 年 12 月，頁 51 註： 上款人「錫文先生」即蘇錫文先生，廣東高州人。 早年履身政界，1954 年後投入文化界，在香港創辦 中外文化事業出版社，並任社長。

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

614 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Plum Blossom 1974 Ink on paper, framed 47.5 x 31.5 cm Signed JING ZHE in Chinese With two seals of the artist ILLUSTRATED: Jing-nong Ink Works , Hongzhan Art Center, Taipei, 1995, p. 29

Works of Tai Jing-nong , HCS Calligraphy Foundation, Taipei, 1997, p. 18 Chen yu dun cuo: Tai Jingnong Shuyi Jingjie , Independent and Unique Publishing House, Taipei, 2012, p. 145

臺靜農 墨梅圖 1974 水墨 紙本 鏡框 47.5 x 31.5 cm 釋文：背人偷折最高枝，清香滿袖，猶記畫堂西。 款識：甲寅四月試此紙尚中使。靜者。 鈐印：靜農無恙（白）、歇腳盦（白） 著錄： 《靜農墨戲集》，鴻展藝術中心，台北，1995 出版，頁 29 《臺靜農書畫》，何創時基金會，台北，1997 年版，頁 18 《沉鬱頓挫：臺靜農書藝境界》，新銳文創出版，台北， 2012 年初版，頁 145

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,600 – 10,500 RMB 45,000 – 73,000

此《墨梅圖》為臺靜農墨梅畫早期典型名作，枯筆淡墨畫春梅孤

This painting was one of the early works of plum blossom. The

枝，筆鋒乾澀、行筆快速強勁，梅枝骨幹一氣呵成、蒼勁挺拔，

branch was painted in light dried brush and applied with quick

「以其筆劃勁利，故以之作梅」，直追元人筆意。花朵以線條勾勒

movement, creating a strong stout branch, capturing the style of

初看雖簡逸，卻能見其筆力沉穩凝鍊。臺靜農書畫用筆一致，循書

Yuan ink masters. Flowers were depicted in simplistic style but sturdy

畫同源之道，將書法融入畫技之中，觀此墨梅枝幹嶙峋，與其行草

and firm. Tai Jing-nong painted by incorporating the brushstroke

書法筆意相近，書法的點畫，即畫的筆墨，書法的縱筆揮毫，與作

in calligraphy. Using the techniques in running script, the branches

畫時的構圖佈局，並無二致，只見墨梅一枝獨秀，曲折宛轉中見氣

were made with fluid brush, creating a rough surface of the bark.

韻生動的變化，沉鬱渾厚之氣油然而生。畫中題詩行書流麗，以宋

Adopting similar technique in calligraphy, the composition of the

人詠梅詩喻己之心懷，梅為四君子之首，品格孤高，為文士所鍾

painting is simple but not bare. With the twisted branch shows a

情，回顧臺靜農前半生為戰亂所逼，遷台後則又感傷生於亂世之

melancholic style. Along with the fluid calligraphy of the captioned

中，畫梅詠梅，則他一生傲骨的最佳註解。

Song poem, this painting suggested the artist used plum blossom to reflect his melancholic feelings facing the political turbulence in his earlier life.

Ravenel 30

臺靜農畫梅：獨愛凌寒暗香來 臺靜農固然以文學書藝名世，但他早在1930年代，他就已開始

梅幹以淡色濕墨塗染，偶見飛白筆法，襯托出盛開的紅梅點點，

收藏書畫、碑拓，也曾在北京琉璃廠購入溥心畬的字畫。後與舊

全件顯得穠麗而不艷，依舊吐露出冷逸清簡之氣息。也是如此，

王孫、張大千同樣渡海來台，彼此之間交誼甚篤，亦經常談文論

在物以稀為貴的情況下，偶爾有其畫梅之作現身，藏家往往趨之

藝、相互酬唱。由此一端，當可知臺靜農對繪畫的喜愛絕對不亞

若鶩，欲得之而後快。

於前兩者，偶爾落筆墨戲，亦見精微雅致而深得友朋稱譽。 此次「身處艱難氣若虹──臺靜農書畫藝術專場」亦銳意徵得 其中，又以梅花為臺靜農最為深喜不已，在存世不多的百餘件繪

一件臺靜農1974年《墨梅》（拍品614號），在不大的尺幅中以

畫作品裡，梅花就佔去其中大半，雖說現在無從得見早期畫梅之

「之」字形構圖寫折枝寒梅挺立，梅枝以濃淡有別的濕墨漸次而

作，但估算起來，在移居黑石山上時，因該處竟有梅樹數百株，

上，復以細筆圈花點蕊，令花朵集中在梅枝上半怒放；而折枝底

其間夾雜幾株古梅，姿態生硬瘦拔，頗為罕見；臺靜農非僅賦

部向上斜伸又一短枝，圈點兩花含苞待放，尤收點睛之效。題識

詩，後來渡海後也曾憶寫《偶憶黑石山梅林》一作以紀其事，

以一直行行書錄李之儀《臨江仙》句：「背人偷折最高枝，清香

另又有《畫梅》一詩云：「皁帽西來鬢有絲，天崩地坼此何時。

滿袖，猶記畫堂西。」也與梅枝形成了巧妙的視覺平衡，使留白

為憐冰雪盈懷抱，來寫荒山絕世姿。」由此當可推論臺靜農早在

處不顯其空，反得清香飄散其間。此件雖為試紙墨戲之作，信手

1940年代應該已有畫梅之作才是。

拈來仍清雅動人、矯矯生姿；也印證了他認為「書之點畫，即畫 之筆墨，書之縱筆揮灑，與畫之運奇布巧，兩者並無二致。」的

一般說來，臺靜農所畫梅花大致可分為三類，一是精工細染，可

美學觀點，又曾著錄於何創時書法藝術基金會《臺靜農》集

於來臺早期作品中見到；二是以書法入畫，往往寥寥數筆，蒼勁

中，自當為識者所珍所寶。

挺拔，十足文人氣息。最後則主要取法自畫梅名家金農，多是繁 枝密萼、枝幹俯仰穿插、佈局繁而不亂，體現出饒富清幽的盎然 生趣。像是在大千病逝前一年（1982），臺靜農就畫了一件枝繁 花茂的梅畫以為賀禮，被眼界奇高的大千直稱與冬心（金農）無 異，且將之懸掛於「摩耶精舍」中日夜賞覽，足見靜農先生筆下 墨梅之清雅可喜。

筆法精絕．傳世極尠 對此，臺靜農嘗自言：「其實我學寫梅是早年的事，不過以此消 磨時光而已，近些年已不再有興趣了，但每當他的生日，不論好 壞，總畫一小幅送他，這不是不自量，而是藉此表達一點心意， 他也欣然。最後一次的生日，畫了一幅繁枝，求簡不得，只有多 打圈圈了。他說：『這是冬心啊。』他總是這樣鼓勵我。」臺靜 農這段文字寫於1986年，而如今所能得見之臺靜農畫梅作品，大 多是1970年代以後所作，甚至到了1989年尚可得見其梅畫，幾乎 不曾中斷，說不再有興趣可能是相對於書法，或不過自謙之詞罷 了。 非僅張大千對臺靜農之畫梅讚譽有加，與臺靜農一生知交的莊嚴 嘗言：「靜農先生畫梅，筆法精絕，傳世極尠。」收藏了幾件臺 靜農畫梅之作，作家董橋則說：「畫梅畫的其實是胸中的學問和 懷裏的清氣，貼切點說是寫不是畫。」而臺靜農的畫裡梅花所逸 散的正是他人所無的學問與清氣。除了墨梅，臺靜農亦偶作紅 梅，如好友莊嚴媳婦陳夏生所藏之臺靜農1987年《紅梅》一作，

Ravenel 32

由左至右 : 臺靜農、張大千、莊嚴 Left to right：Tai Jing-nong, Zhang Daqian, Zhuang Yan

Despite his fame primarily in literature, Tai Jing-nong started

approves of it. In his last birthday, I gave him a flourishing branch.

collecting calligraphy and stone rubbings since an early age in

He gasped ‘This resembles Jin Nong’s!’ He is always encouraging.”

1930s. Later he moved to Taiwan with Pu Hsinyu and Zhang

This was documented in 1986. Since 1970s, Tai constantly painted

Daqian, and established solid friendship with the two masters,

this subject matter till the end of 1980s. This proves the fact the he

constantly exchanging thoughts on arts and literature. This proves

never lost passion in such subject.

the depth of his understanding on visual paintings.

Zhang Daqian was not a solo supporter of Tai Jingnong’s plum Among the traditional visual representations, plum blossom is

blossom paintings. His best friend Zhuang Yan once said, “Tai’s

Tai Jing-nong’s favourite subject matter. From the few known

plum blossoms are painted assiduously and should be treasured.”

paintings, more than half of them feature plum blossoms. From a

As a collector of Dong Qiao’s plum blossom paintings, he said “Such

rough estimation, his early residence at Heishishan had hundreds of

paintings is a depiction of one’s knowledge and a representation of

plum blossoms, even ancient ones, thus making this a phenomenal

one’s ardent heart. One could say they are written, not painted.”

scene. After arriving in Taiwan, Tai once recalled this scene in

This comment describes the state of the artist. Red Plum Blossom

poems, praising the form and nature of plum blossoms. From this

from 1987, under the collection of Zhuang Yan’s daughter-in-

fact, it is thus estimated that Tai started painting plum blossoms in

law Chen Xiasheng, shows a vivid branch outlined with light wet

the early 1940s.

ink. Its petals were painted in red with a slight touch of white, maintaining a tone of serenity despite its vivid red colour. Thus

Three styles of plum blossoms depicted by Tai: First, Tai paints with

enhancing the value of such works by Tai Jing-nong.

careful sketches and coloring, which could be found in his early paintings in Taiwan. Second, Tai used the techniques in calligraphy.

In this sale, Plum Blossom (Lot 614) was depicted in “S”

With just a few strokes, Tai could paint an ancient branch that is

shape, depicting a broken branch. The branch was painted in

strong with strength. Lastly, Tai adopted the skills of Jin Nong, a

interchanging light and dark tone of ink. Careful sketch of petals

great painter of plum blossoms, to depict flourishing plant and

depict different forms of flowers. The captioned poem was taken

intertwining branches. This unique composition brings frivolity to

from Lin Zhiyi, “The highest branch was stolen secretly, filling the

the painting. In 1982, Tai gave Zhang Daqian a painting of plum

sleeve with its fragrance. This is thus recorded.” The poem gives

blossom as a gift. This amazed Zhang as it was deemed to carry

a balanced composition with the slanting branch. This painting

the essence of Jin Nong. That painting was heavily cherished and

was made as a practice with a new sheet of paper. Such elegant

hanged in Zhang’s home.

composition proves the artist’s ability to excel in both calligraphy and paintings, adopting both techniques in the two forms of art.

Tai Jing-nong once said, “In the early days, I painted plum blossoms

This painting was illustrated Works of Tai Jing-nong , published

for leisure, and recently I’ve lost this passion. However, every year,

by HCS Calligraphy Foundation of Taipei, making this a rare and

I would give Zhang a small plum blossom painting. This proves

special lot in the sale.

not my conceit, but my sincerity towards this great artist and he

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

615 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script 1983 Ink on paper, framed 44.2 x 88.7 cm Signed JING-NONG in Chinese With two seals of the artist

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,600 – 10,500 RMB 45,000 – 73,000 臺 靜農 行書蘇軾望湖樓醉書 1983 水墨 紙本 鏡框 44.2 x 88.7 cm 釋文： 黑雲翻墨未遮山，白雨跳珠亂入船。 卷地風來忽吹散，望湖樓下水如天。 放生魚鱉逐人來，無主荷花到處開。 水枕能令山俯仰，風船解與月徘徊。 烏菱白芡不論錢，亂繫青菰裹綠盤。 忽憶嚐新會靈觀，滯留江海得加餐。 款識：書蘇詩不覺襲其筆意。癸亥立冬後五日。靜農於龍坡丈室。 鈐印：臺靜農（白）、龍坡丈室（朱）

Ravenel 34

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

616 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Tang Poem in Running Script 1988 Ink on paper, framed 161 x 56.6 cm Signed JING ZHE in Chinese With three seals of the artist

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,600 – 10,500 RMB 45,000 – 73,000 臺 靜農 行書唐李商隱贈白道者詩 1988 水墨 紙本 鏡框 161 x 56.6 cm 釋文：十二樓前再拜辭，靈風正滿碧桃枝。 壺中若是有天地，又向壺中傷別離。 款識：李義山詩傅青主吟書之。戊辰七月既望。龍坡靜者。 鈐印：永壽（朱）、臺靜農（白）、龍坡丈室（朱）

Ravenel 36

617 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Clerical Script Ink on paper, framed 122 x 11.5 cm (each) With three seals of the artist ILLUSTRATED: Works of Tai Jing-nong , HCS Calligraphy Foundation, Taipei, 1997, p. 76

NT$ 240,000 – 380,000 HK$ 62,000 – 98,000 US$ 7,900 – 12,500 RMB 55,000 – 86,000 臺 靜農 隸書豈無試看十言聯 水墨 紙本 鏡框 122 x 11.5 cm （每件） 釋文：豈無種秫田不了麴蘗事。試看隨陽雁各有稻粱謀。 鈐印：淮南（朱）、臺靜農（白）、龍坡（朱） 著錄： 《臺靜農書畫》，何創時基金會，台北，1997 年版，頁 76

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

618 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Cursive Script Ink on paper, framed 99.8 x 33.5 cm Signed JING-NONG in Chinese With three seals of the artist

NT$ 240,000 – 380,000 HK$ 62,000 – 98,000 US$ 7,900 – 12,500 RMB 55,000 – 86,000 臺靜農 行書宋黃庭堅七言詩 水墨 紙本 鏡框 99.8 x 33.5 cm 釋文：春風十里珠簾捲，彷佛三生杜牧之。 紅藥梢頭初藹栗，揚州風物鬢成絲。 淮南二十四橋月，馬上時時夢見之。 想得揚州醉年少，正圍紅袖寫烏絲。 日邊置論誠深矣，聖處時中乃得之。 莫作秋蟲促機杼，貧家能有幾絇絲。 款識：錦鋐世兄、家瑋夫人儷賞。 辛酉九秋書山谷老人詩，靜農。 鈐印：臺靜農印信（白）、歇腳盦（白）、龍坡（朱）

Ravenel 38

619 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Clerical Script Ink on paper, scroll 93 x 18.2 cm (each) With three seals of the artist ILLUSTRATED: Calligraphy of four ink masters: Tai Jing-nong, Qi Gong, Wang Jingzhi, Chen Chi-chan , Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, December 2016, p. 50

NT$ 260,000 – 400,000 HK$ 67,000 – 103,000 US$ 8,500 – 13,200 RMB 59,000 – 91,000 臺 靜農 隸書五言對聯 水墨 紙本 立軸 93 x 18.2 cm （每件） 釋文：清風如故人，高山景前列。 款識：漢夏承碑集字。臺靜農於龍坡丈室。 鈐印：臺靜農（白）、龍坡（朱）、淮南（朱） 著錄： 《溯流徂源—臺靜農、啟功、王靜芝、陳其銓四老書法遺墨 展選集》，廣州美術學院美術館，廣州，2016 年 12 月，頁 50

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

620 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Clerical Script Ink on paper, framed 136.8 x 35 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist

NT$ 300,000 – 480,000 HK$ 77,000 – 123,000 US$ 9,900 – 15,800 RMB 68,000 – 109,000 臺 靜農 隸書五言聯 水墨 紙本 鏡框 136.8 x 35 cm （每件） 釋文：賢德樂無極，榮名禧所歸。 款識：石門摩崖集字。臺靜農於龍坡丈室。 鈐印：靜農八十後所書（白）、臺靜農（白）、龍坡靜者（朱）

Ravenel 40

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

621 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Buddhist Sutra in Running Script 1983 Ink on paper, framed 34 x 99.3 cm Signed JING ZHE in Chinese With one seal of the artist

NT$ 300,000 – 480,000 HK$ 77,000 – 123,000 US$ 9,900 – 15,800 RMB 68,000 – 109,000

Ravenel 42

臺靜農 行書華嚴經 1983 水墨 紙本 鏡框 34 x 99.3 cm 釋文：時念彌陀三五聲，追薦東村李鬍子生天， 西山裏孟八郎強健，福田院裏貧兒叫喚， 乞我一文大光錢。 巽上人為華嚴作佛事， 又持此軸來乞作小疏，予以為鷺鷥股上不勝下刀， 可持此字去，有能以百千助緣事者與之。 款識：此不知何處寄來包裹，紙紋理極細不忍棄之， 然皴裂已甚試書山谷華嚴疏，亦頗有筆趣。 癸亥秋涼，靜者於龍坡丈室北窓下。 鈐印：臺靜農（白）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

622 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script 1988 Ink on paper, framed 34.4 x 137.2 cm Signed TAI JING-NONG in Chinese With three seals of the artist

NT$ 220,000 – 340,000 HK$ 57,000 - 87,000 US$ 7,200 - 11,200 RMB 50,000 - 77,000

Ravenel 44

臺靜農 行書宋蘇軾七言絕詩 1988 水墨 紙本 鏡框 34.4 x 137.2 cm 釋文：野水參差落漲痕，疏林欹倒出霜根。 浩歌一棹歸何處？傢在江南黃葉村。 當年衫鬢兩青青，強說重臨慰別情。衰髮祗今無可白，故應相對話來生。 出處依稀似樂天，敢將衰朽較前賢。便從洛社休官去，猶有閑居二十年。 清風終日自開簾，涼月今宵肯掛簷。琴裏若能知賀若，詩中定合愛陶潛。 款識：戊辰冬至書髯公詩於龍坡丈室。臺靜農。 鈐印：臺靜農（白）、龍坡丈室（朱）、守斯寧靜為君大年（朱）

沉鬱挺拔還多變，下筆從容見丰神 放眼名家如林的近現代藝壇，臺靜農無疑是極為獨特的一位。他 一生幾乎橫跨整個20世紀，從五四運動的少年健筆，到四處顛 沛的杏林生涯，最後落腳台北溫州街上不過一丈見方大的「龍坡 丈室」，卻以淋漓之書酣暢詠懷，而成為當世書法大家。觀其所 書，字裡行間往往飽含歷經歲月風霜之蒼勁挺拔、縱逸多變，故 縱使片紙零箋亦為識者所愛，至今越見寶貴。 論及臺靜農的書藝成就，一生至為關鍵的當屬少年啟蒙、避居蜀 中，以迄後半生羈旅台島等三個時期。在1985年出版書藝集臺靜 農自序云：「余之嗜書藝，蓋得自庭訓，先君工書，喜收藏，目 濡耳染，浸假而愛好成性。」其父臺肇基曾任職司法界，雅好書 藝，不僅自己能寫一手好字，也收藏為數不少的法書碑帖，故臺 靜農自幼行楷學顏魯公《麻姑仙壇記》與《爭座位帖》，奠定基 礎。戰時避居蜀中，受業師沈尹默指導，頗喜倪元璐行書格調清 新，爾後又得張大千贈予倪元璐真跡《體秋》雙鉤本及老師陳垣 所贈之沈曾植手札，都使臺靜農在倪氏書風的鑽研上，有了更深 刻的體認，但仍有「時方顛沛，未之能學」的遺憾。直到1946年 渡海來台後，才在「教學讀書之餘，每感鬱結，意不能靜，惟時 弄毫墨以自排遣，但不願人知。」尤其越到晚年，更是將大半輩 子波折起伏的人生體驗，融會國學、歷史的鑽研心得，在廣收前

臺靜農 Tai Jing-nong

人筆意之際逐漸發展出古雅奇肆之個人書貌。

書藝名世價更昂

奇峭與博麗兼備

臺靜農愛徒林文月曾說，臺師寫字純粹為了興趣愛好，幾乎每個

臺靜農長年習慣東京神保町「溫恭堂筆舖」所出、色極濃黑厚重

館的邀請，舉辦了生平唯一一次書法個展，善書之名不脛而走。

的「墨之華」，筆則慣用羊毫「一掃千軍」以寫大字；鋒長而柔

而隨著名聲漸大，「外界知者漸多而索求者亦眾」，終至不勝其

軟的「長峰快劍」，以書小字。筆法上喜用方筆，行筆自然抖動

苦，被眾人說服後在同年由江兆申代為訂出潤例：「聯四尺二萬

緩行；無論採取何種書體，總是點畫清晰有力。

元，堂幅四萬，條幅二萬，屏四幅八萬，不滿四尺以四尺計。聯

學生都或多或少擁有其作。1985年10月，臺靜農接受歷史博物

五尺三萬元，堂幅六萬，條幅三萬，屏四幅十二萬。聯六尺四萬 在筆勢上多見欹側，使結體產生開張變化，以達到雄勁奇峭與妍

元，堂幅八萬，條幅四萬，屏四幅十六萬。碑板、蠟箋、壽文、

美博麗兼備之獨特書風。如是透過書藝來發抒心中沉鬱，與明人

來句另議，點體不應，限時不應。」以此高價，其實主要是為了

倪元璐、黃道周確實頗多相通之處，無怪乎除了平生知己張大千

擋掉所謂的應酬字，豈料反而使其書跡價格在市場上愈發水漲船

讚譽：「三百年來，能得倪書神髓者，靜農一人也！」而啟功讀

高。

了臺靜農《書藝集》後說：「見到用倪元璐、黃道周體寫的詩， 真是沉鬱頓挫，與其說是寫倪黃的字體，不如說是寫倪黃的感 情。一點一畫，實際都是表達情感的藝術語言。」

目前所能見到之臺靜農書藝，大多為其八十歲以後所作，此次 「身處艱難氣若虹──臺靜農書畫藝術專場」共徵得臺靜農書藝 20餘件，從不過盈掌大小的詩抄到小字密麻的長卷均囊括在內，

除了倪元璐一路，臺靜農用功最深且極至精微者，當屬隸書。其

主要呈現其行、隸二體書藝自七十出頭到米壽之間不同年代的變

隸書初從《華山碑》與鄧石如入手，後改習《石門頌》，日夜浸

化轉折。像是書於米壽的《行書七言聯》（拍品624號）一件，

饋而深有所得，因而行、隸二體間的參照轉化時有可見。一如蔣

寫：「龍賓竹露臨青柰，鳳咮松菸賦白華。」展現了晚年已不拘

勳在《書法是生命的完成──談臺靜農先生的書法美學》一文中

一格，卻始終方剛勁拔的筆墨神采。

更清楚提到：「以結構來看，臺先生的字確實像倪元璐，在行書 的夾緊結體中另有一種反力的開張，使視覺上張力特別強。但

另外《隸書五言聯》（拍品626號）一件寫：「南北安平城，春

是，如果仔細辨認，臺先生在線條上的轉折較多，挫力特別重。

秋大有年。」題識即明白點出此聯係由石門摩崖集字而成，全件

一般而言，明人行書用筆如煙，常常在絹紙上做出流動甚強的飛

筆畫如錐畫沙，足證臺靜農於《石門頌》用功之深。又如曾著錄

白，傅山的行書就是最好的例子。倪元璐用筆較重，但仍不離明

於何創時書法藝術基金會《臺靜農》書中的《隸書豈無試看十言

人風格。臺先生的線條特別緊勁，起筆方硬如石門頌，轉折的瘦

聯》（拍品617號）寫：「豈無種秫田不了麴蘗事。試看隨陽雁各

硬也有隸書的精神。」尤其有助於吾人理解靜農先生書藝精微之

有稻粱謀。」行筆抖顫自然，結構方整凝鍊且深具規矩法度，在

處。

呈現摩崖碑刻的雄厚奔放之際同時又可見華美風姿，雖無署名落 款，仍不失為一精彩佳作。

Ravenel 46

臺靜農抽煙、喝酒，不愛吃蔬果，完全違反養生之道，身體健康

隨著時間的推移來到今日，臺靜農一代書法大家之名殆無可疑。

卻一直保持得不錯。晚年深為白內障所苦，最終還是去開了手

透過此次專場將星散各地之作再次集結，縱使為數有限，想來也

術，術後才一週就急忙拿筆寫字，此次場中一件《行書陳獨秀七

足以讓你我再次體會其過人書藝，以及蘊藏字裡行間的深刻情感

言詩》（拍品608號）未署年款，卻特別註明為其白內障手術後一

與文人風骨。

週試書，該是1987年後所作，以行書錄陳獨秀所作《杭州詩》： 「垂柳飛花村路香，酒旗風暖少年狂；橋頭日繫青驄馬，惆悵當 年蕭九娘。」雖因眼疾而在結體上略見參差，反而更顯疏朗自 在，懷念故人之情更是躍然紙上。

Tai Jing-nong no doubt stands out from the rest of the modern

his words, Tai added edges in their forms, putting on weight to

Chinese calligraphers in recent years. From an activist in the New

each word, giving them a sturdy character. Calligraphy of Ming's

Culture Movement, to a drifting and devoted teacher, who later

masters asked for fluidity on silk, found in Fu Shan's running script.

stayed in a small humble residence, Longpo Zhangshi, at Wenzhou

Ni's script looks more solid but still conforms to the Ming style of

Street in Taipei. Such experience shaped the artist as the greatest

writing. Tai's calligraphy is sturdy with the spirit of clerical script."

calligrapher, author and literati in history.

According to Tai's favourite student, Lin Wenyue, "Tai wrote as a The crucial origin leading to Tai Jing-nong's literature achievement

hobby and as gifts for his students. In October 1985, Tai accepted

dates back to his adolescence and his stay in Sichuan, followed

the invitation of the National Museum of Taiwan History to hold a

by his stay in Taiwan. In a preface of his book published in 1985,

solo exhibition of his calligraphy. Since then, his fame grew. Later,

he mentioned himself as a devotee of literature, with a taste for

with much persuasion from the art community and with the help

calligraphy appreciation and collection. His father Tai Zhaoji worked

of Chiang Chao-shen, his works were available for sale to public,

in the judiciary sector, with a hobby in literature appreciation. Not

creating a market for his calligraphy.

only could he write in calligraphy, he collected stone rubbings and ancient scripts, thus providing a solid background for Tai Jing-

Works available to the recent market was done at the age of 80.

nong in his learning. During the Sino-Japanese war, Tai fled to

In this sale, various works offered were of all sizes in both running

Sichuan and was taught by Shen Yinmo. Deeply impressed by the

and clerical scripts, documenting an evolution of his writings

simplistic running script of Ni Yuanlu, with Zhang Daqian's gift

throughout the 20 years of his artistic career. Poem in Running Script (Lot 624) suggested his sturdy yet artistic style in his later artistic career.

of a calligraphy by the artist, Tai began his studies of Ni's style of writing. It was until he moved to Taiwan in 1946, that Tai began writing calligraphy from ancient literature to express his melancholy.

Another lot from the sale, Poem in Clerical Script (Lot 626) was

In terms of his Four Treasures of the Study, the artist used ink from

written in Shimen Moya. The robust style shows the artist's diligent

Japan, brush made of goat's hair for larger words, and Changfeng

effort put in his study of Shimen Song. Poem in Clerical Script (Lot

kuaijian for smaller words. His words were squared with a slow

617) was written sturdily with a touch of the fluidity of running

quiver in his running script.

script, suggesting an elegant character in the calligraphy.

His style of writing is slanted with variations, to achieve a sturdy

Tai Jing-nong loved smoking and drinking with little consumption

and elegant characters. Similar to Ni Yuanlu and Huang Daozhou,

of fruits and vegetables, thus leading an unhealthy life and a retired

Tai expressed his melancholy through writing, thus achieve the

life in sickness. One of the lots offered, Poem in Running Script , (Lot

essence of these two masters. Zhang Daqian once exclaimed after

608) mentioned his state of health after releasing from the hospital.

reading his calligraphy, "For three hundred years, we finally have

One could see the positivity of the artist in this work, despite the

Tai Jing-nong who could capture the essence of Ni!" Qi Gong

hardships in his elderly life.

wrote in Tai's book Shuyiji , "Ni and Huang wrote with emotion, thus forming a unique language in visual art."

Tai Jing-nong is no doubt one of the greatest calligrapher in history.

We are fortunate to offer such a wide variety of paintings in this

Aside from Ni's running script, Tai spent most of his time studying

sale, in the hopes of paying our tribute to the artist, at the same

clerical scripts. From Huashanbei to Deng Shiru, to Shimensong,

time, appreciating the character of this ardent scholar.

with Tai's diligent study, he managed to melange both styles of running and clerical script in a controlled manner. Chiang Xun once mentioned, "From the structure of calligraphy, Tai's calligraphy resembles Ni's, but with a sturdy force. Taking a closer look at

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

623 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Tang Poem in Running Script Ink on paper, framed 67 x 33.5 cm Signed JING-NONG in Chinese With three seals of the artist

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,600 – 10,500 RMB 45,000 – 73,000 臺 靜農 行書唐杜甫登高詩 水墨 紙本 鏡框 67 x 33.5 cm 釋文：風急天高猿嘯哀，渚清沙白鳥飛回。 無邊落木蕭蕭下，不盡長江滾滾來。 萬里悲秋常作客，百年多病獨登台。 艱難苦恨繁霜鬢，潦倒新停濁酒杯。 款識：傳鳳三妹存念。靜農八十六書。 鈐印：歇腳盦（白）、靜者（白）、為君壽（朱）

Ravenel 48

624 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Running Script Ink on paper, scroll 135 x 34 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist and two seals of the collector

NT$ 220,000 – 340,000 HK$ 57,000 – 87,000 US$ 7,200 – 11,200 RMB 50,000 – 77,000 臺 靜農 行書七言聯 水墨 紙本 立軸 135 x 34 cm （每件） 釋文：龍賓竹露臨青柰，鳳咮松菸賦白華。 款識：臺靜農於龍坡丈室。 鈐印：靜者米壽（朱）、臺靜農（白）、 龍波丈室（朱）、三餘堂珍藏章（朱）、 邱國華聚三十六年精力所得（朱）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

625 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Qing Poem in Running Script Ink on paper, framed 134 x 33.8 cm (each) Signed JING-NONG in Chinese With three seals of the artist

NT$ 220,000 – 340,000 HK$ 57,000 – 87,000 US$ 7,200 – 11,200 RMB 50,000 – 77,000 臺靜農 行書清趙之謙搖筆題詩七言聯 水墨 紙本 鏡框 134 x 33.8 cm （每件） 釋文：搖筆尚堪凌浩蕩，題詩端為發幽妍。 款識：靜農於龍坡丈室。 鈐印：靜者米壽（朱）、臺靜農（白）、 龍坡丈室（朱）

Ravenel 50

626 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Poem in Clerical Script Ink on paper, scroll 133.5 x 34.5 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist

NT$ 220,000 – 340,000 HK$ 57,000 – 87,000 US$ 7,200 – 11,200 RMB 50,000 – 77,000 臺 靜農 隸書五言聯 水墨 紙本 立軸 133.5 x 34.5 cm（每件） 釋文：南北安平域，春秋大有年。 款識：石門摩崖集字，臺靜農於龍坡丈室。 鈐印：笑把隃麋雜酒磨（白）、臺靜農（白）、 龍坡丈室（朱）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

627 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Plum Blossom Ink and colour on paper, framed 34.3 x 36 cm Signed JING ZHE in Chinese With two seals of the artist

臺靜農 梅 水墨 設色 紙本 鏡框 34.3 x 36 cm 款識：靜者寫梅。 鈐印：靜者（白）、定慧（朱） 《梅》圖以多枝色梅互相倚伴，可視為臺靜農晚期畫梅的變革之作，此

NT$ 160,000 – 260,000 HK$ 41,000 – 67,000 US$ 5,300 – 8,500 RMB 36,000 – 59,000

畫在構思佈局與筆墨意趣上別出心裁，墨汁酣暢中盡展枝繁花茂的姿態， 是其習自揚州八怪金農之筆法而來。梅枝由下而上勃發，曲折變化中生 出梅枝、花朵，水墨傳統中的寫意，更以淡墨點花，薄而透潤，古樸又 逸秀的色梅，何嘗不是臺靜農的心境寫照，「亢心希古，任其所尚」， 以梅為友，不隨俗浮沈。 This painting shows plum blossoms clinging onto each other as companions, and was painted during the transition towards his later style of plum blossom paintings. The composition of the painting was carefully planned, adopting the style of Jin Nong's paintings of flourishing overlapping branches and supple petals.

Ravenel 52

628 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Song Poem in Running Script 1988 Ink on paper, framed 76 x 32 cm Signed TAI JING-NONG in Chinese With three seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 臺 靜農 行書宋人詩 1988 水墨 紙本 鏡框 76 x 32 cm 釋文：春朝湖上風兼雨，世事如花落又開。 退省閉門無樂事，閒雲終日去還來。 秋針剌水麥鋒齊，漠漠平沙白鷺飛。 盡道春光已歸去，清香猶有野薔薇。 款識：戊辰冬書宋人詩，為孝廉先生雅賞，臺靜農於龍坡。 鈐印：璧還（朱）、臺靜農（白）、龍坡丈室（朱）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

629 TAI JING-NONG

(Taiwanese, 1902 - 1990)

臺靜農 行書七言詩

Poem in Running Script Ink on paper, framed 37 x 54.3 cm Signed JING ZHE in Chinese With one seal of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000

Ravenel 54

水墨 紙本 鏡框 37 x 54.3 cm 釋文：梅庵作書技稱絕，點畫直造古人拙。 有時畫水復畫松，墨花著紙磨不滅。 北極山氣山入脣，噓出一片天光新。 齋鐘徹何五里闊，坐手去作傳薪人 。 款識：靜者。 鈐印：靜農無恙（白）

630 TAI JING-NONG

(Taiwanese, 1902 - 1990)

Qing Poem in Running Script 1980 Ink on paper, framed 67 x 38 cm Signed JING-NONG in Chinese With three seals of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 57,000 US$ 3,600 – 7,200 RMB 25,000 – 50,000 臺 靜農 行書清惲壽平詩 1980 水墨 紙本 鏡框 67 x 38 cm 釋文：獨倚樓頭看夜月，誰從缺處補秋煙。 平開圖畫含干嶺，盡掃星河占天。 行到重雲光倍疾，出當深樹影難前。 待看明夜蟬娟好，萬里晴空一鏡圓。 雲氣生毫端，樹色落研北。 心多忽相妄，誰知有筆墨。 款識：紹盛先生雅屬。庚申五月，靜農。 鈐印：臺靜農印信（白）、歇腳盦（白）、 淮南（朱）

臺靜農書畫專場 —

PAINTINGS AND CALLIGRAPHY OF TAI JING-NONG

身處艱難氣若虹

631 TAI JING-NONG

(Taiwanese, 1902 - 1990)

臺靜農 草書唐王昌齡春宮曲詩

Tang Poem in Cursive Script Ink on paper, framed 44 x 40.5 cm Signed JING ZHE in Chinese With one seal of the artist

Song Poem in Running Script Ink on paper, framed 44.2 x 32.5 cm Signed JING ZHE in Chinese With one seal of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 57,000 US$ 3,600 – 7,200 RMB 25,000 – 50,000

Ravenel 56

水墨 紙本 鏡框 44 x 40.5 cm 釋文：昨夜風開露井桃，未央前殿月輪高。 平陽歌舞新承寵，簾外春寒賜錦袍。 款識：靜者偶書。 鈐印：靜農無恙（白）

行書宋辛棄疾詩 水墨 紙本 鏡框 44.2 x 32.5 cm 釋文：書咄咄，且休休。一丘一壑也風流。 不知筋力衰多少，但覺新來懶上樓。 款識：稼軒詞，靜者。 鈐印：靜農無恙（白）

REFINED BRUSHWORK: FINE CHINESE PAINTINGS

翰墨丹青—中國書畫專場 Saturday, 1 December 2018 3:30 pm Taipei Marriott Hotel

Lots 632 – 682

632 YU YOUREN

(Taiwanese, 1879 - 1964)

Poem in Cursive Script Ink on paper, framed 29 x 14 cm Signed YU YOUREN in Chinese With one seal of the artist

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 14,000 于 右任 草書七言聯 水墨 紙本 鏡框 29 x 14 cm 款識：袖中異石未經眼，海上奇雲欲盪胸。于右任。 鈐印：右任（朱）

Ravenel 60

633 LI QIMAO

(Taiwanese, b. 1925)

Poem in Cursive Script 1955 Ink on paper, scroll 132 x 31 cm (each) Signed LI QIMAO in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist NOTE: This painting is to be sold with a photo of the artist with the work

NT$ 40,000 – 80,000 HK$ 10,000 – 21,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000 李奇茂 草書四言聯 1955 水墨 紙本 立軸 132 x 31 cm（每件） 釋文：聽香讀畫，喫墨看茶。 款識：乙未五月，李奇茂。 鈐印：李奇茂（朱） 來源： 現藏家得自藝術家本人 註： 附藝術家與作品合照

634 TSENG YUHO

(Chinese-American, b. 1925)

Landscape Ink and colour on paper, framed 20 x 29 cm (each) Signed TSENG YUHO in Chinese With two seals of the artist in each painting

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 23,000

Ravenel 62

曾佑和 山水畫四屏 水墨 設色 紙本 鏡框 20 x 29 cm （每件） 款識：曾幼荷。 鈐印：曾（白）、幼荷（朱）

635 AU HO-NIEN

(Taiwanese, b. 1935)

Plum Blossom 2003 Ink and colour on paper, framed 39.5 x 50 cm Signed AU HO-NIEN in Chinese With two seals of the artist PROVENCE: Acquired directly from the artist

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 23,000

歐豪年 梅 2003 水墨 設色 紙本 鏡框 39.5 x 50 cm 款識：數點梅花天地心。戊子九月，歐介豪年畫。 鈐印：歐豪年印（白）、物物而不物於物（朱） 來源： 現藏家得自藝術家本人

636 AU HO-NIEN

(Taiwanese, b. 1935)

Sailing in the Twilight 1999 Ink and colour on paper, framed 58.5 x 95 cm Signed AU HO-NIEN in Chinese With three seals of the artist

NT$ 60,000 – 120,000 HK$ 15,000 – 31,000 US$ 2,000 – 3,900 RMB 14,000 – 27,000 歐 豪年 柳溪輕舟 1999 水墨 設色 紙本 鏡框 58.5 x 95 cm 款識：乙卯春夜，竹移軒，歐豪年畫。 鈐印：歐（朱）、豪年（白）、物物而不物於物（朱）

歐豪年擅寫景，以中國水墨的筆法來寫生畫景為其所長，嶺南 畫派兼容古今，除領略傳統水墨之法外，更旁採日本畫師橫山 大觀、竹內栖鳳之「朦朧體」與「寫實」風格，《柳溪輕舟》 全畫取倪瓚「一河兩岸」之構圖，渲染用色極輕極淡，以撞水 法表現出前後景物的層次，近景柳樹依依，在春夜霧氣中飄 蕩，與後景淡雅的輕舟相呼應，一輪明月氤蘊，不僅表現出中 國水墨所講究的文人氣質，更不失印象派風景畫的準確性，完 全印證了嶺南派所主張的「折衷中外，融合古今」。 Au Ho-nien excelled in depicting landscape in traditional Chinese ink paintings. Under the Lingnan School of Painting, Au adopted the traditional Chinese brushstroke, along with the techniques from Japanese landscape painter, Takeuchi Seiho, creating a realistic and misty landscape. The structure of this painting took Ni Zan's typical structure of two shores separated by a river. The use of colour is minimal with the employment of water to create layering of landscape. This employment of skills reflects the scholarly character of the painter, and also the belief of the School, to employ both the traditional Chinese and modern Western way of depiction.

Ravenel 64

637 CHIANG MING-SHYAN (Taiwanese, b. 1942)

Yellow Mountain 1990 Ink and colour on paper, framed 74 x 140 cm Signed CHIANG MING-SHYAN in Chinese With three seals of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 57,000 US$ 3,600 – 7,200 RMB 25,000 – 50,000

江明賢 黃山 1990 水墨 設色 紙本 鏡框 74 x 140 cm 釋文：黃山古稱黟山，唐天寶年間改稱今名。 相傳黃帝曾在此修身練丹， 明代徐霞客曾云：「五嶽歸來不看山，黃山歸來不看嶽。 黃山之美兼有華山之險峭、衡山之煙雲、 泰山之雄偉、廬山之飛瀑、峨嵋之清秀。 而以奇松、怪石、雲海、溫泉，四絕而聞名於天下。」 款識：一九九 O 年二月，庚午新春， 於台北千竹書屋北牕。江明賢并記。 鈐印：江氏（白）、明賢（朱）、江山入胸中（白）

江明賢先生喜愛寫生，他認為「寫生」，就是要將客觀的景

Chiang Ming-shyan loves en plein air painting, while adding

物，加上主觀的藝術表現，然後鮮活的呈現在畫中，他認為古

subjective elements to a realistic depiction. He believes old

人常讓自己居住在風景殊勝的地方，透過山水色的陶冶下，內

masters embraced themselves in picturesque locations, allowing

心有所感動，形之於筆下，他的水墨山水常帶有「蒼茫」的筆

their work to reflect a tranquil state. The artist once quoted

意。他曾於他的山水題畫詩中引述『寒玉堂論畫』：「畫山

a poem in Hanyu Tang, "The challenge of a great landscape

水，不難於險峻而難於博大，不難於明秀而難於渾厚，險峻明

painting is about its loftiness and lustrousness. The key lies not

秀者，筆墨也，博大渾厚者，氣勢也，筆墨出於積學，氣勢由

in brushstrokes but the talent in depicting its grandness."

於天縱」。可知要畫出氣勢宏偉的山水並不容易。 This painting was made in 1990 at the peak of his career. 而這幅黃山圖繪於1990年，這時候的他正值中年頂峰的狀

With sufficient training, this painting achieved the state of

態，已積累了非常厚實的功力，方能寫繪出險峻而渾厚的作

grandiosity. Quoting the description by Xu Xiake from Ming

品，此時所繪畫山水可以說是具有險峻明秀的筆法，並兼具博

dynasty, the loftiness of the Yellow Mountain is fully displayed.

大天縱的氣勢，他話中引用明代徐霞客的話，要在這幅黃山圖

Using the aesthetic composition and techniques of both the

寫出華山的險峭，泰山的雄偉，衡山的煙雲，廬山的飛瀑，峨

East and the West, Chiang depicted the foggy mountain after

嵋的清秀，在構圖布局上，則融合中西的透視美學與技法，而

the rain. Overlooking to the mountain ranges through the mist

黃山延綿數百里，有時風起雲湧，白浪排空，水氣升騰或雨後

and clouds, the unique features of the Yellow Mountain is fully

霧氣瀰漫，雲海波瀾壯闊，一望無邊，千溝萬壑都淹 在雲濤

displayed, including pines, rocks of all shapes.

浪里中，黃山千峰萬壑，無峰不石，比比皆松，並將黃山之 美，「奇松」、「怪石」、「雲海」、「溫泉」等四絕融繪入 畫中，要將這雲來霧去、變幻莫測的黃山寫出，實屬不易。

Ravenel 66

638 SUN YUNSHENG (Taiwanese, 1918 - 2000)

Landscape 1982 Ink and colour on paper, framed 117 x 56.8 cm Signed SUN YUNSHENG in Chinese With two seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 孫雲生 潑彩山水 1982 水墨 設色 紙本 鏡框 117 x 56.8 cm 款識：七十一年歲在壬戌五月，寫於台灣台北，旅次孫雲生家瑞。 鈐印：孫家瑞（白）、雲生（朱）

孫雲生於水墨之造詣，兼融古畫與今畫的趣致，散發出令人耳

Sun Yunsheng was an artist specialized in using traditional and

目一新的氣息，在描摹自然中貫通了中西繪畫的理念，同時保

modern techniques in his paintings. In this strictly composed

留了中國文化的傳統風情。此作潑彩山水雖工整秀雅，但構圖

landscape, the artist added depth and loftiness of mountains.

卻以石綠渲染出層次與奇險山勢，瀑布山巔連綿至前方盡顯水

The waterfalls pose great contrast with the pocai treatment of

光粼粼，對照山景之瑰麗設色凸顯出其潑墨功力，運用自如外

landscape paintings, suggesting Zhang Da-qian’s outstanding

更得張大千之筆意。孫雲生對於水墨的創新與技法的探索，勉

skills. Sun Yunsheng’s excellent skills of merging the East

力於東方精神的追求及現代風貌之建立，對於傳統與現代皆能

and the West made him acclaimed as one of the greatest ink

融會貫通，師古而不拘泥，實為近代中國少有的水墨大家。

painters in recent history.

Ravenel 68

639 SUN YUNSHENG (Taiwanese, 1918 - 2000)

Landscape 1976 Ink and colour on paper, framed 66 x 132 cm Signed SUN YUNSHENG in Chinese With four seals of the artist

NT$ 150,000 – 300,000 HK$ 39,000 – 77,000 US$ 4,900 – 9,900 RMB 34,000 – 68,000 孫 雲生 青山翠碧 1976 水墨 設色 紙本 鏡框 66 x 132 cm 款識： 青山翠碧秀無厭，賴看扁舟日往返。 上島溫泉水雲招待所重修落成。 應該處餘分局長家偉索圖補壁。 六十五年丙辰閏八月吉日， 孫雲生家瑞於蘭園別墅。 鈐印：孫家瑞印（白）、雲生長年 ( 朱）、 大風堂門人（朱）、情心堂（朱）

此幅為孫雲生先生為苗栗的泰安溫泉「上島溫泉水雲招 待所」重修落成所繪。（1910年日本人設立為警察療養 所，1963年黃杰將將虎頭山溫泉軍更名為水雲招待所， 後經國先生更名為泰安溫泉）。孫氏以大筆寫繪出泰安溫 泉山型的輪廓，用筆墨以淺墨設色山石之陰陽，因此山區 有天然溫泉，終日氤氳瀰漫，再調以石綠與石青賦予溫泉 水雲山色的蒼潤之感，以符「水雲招待所」的溫泉，下其 繪一大石，有高士行走，近臺有涼亭，遠山翠碧，山間有 屋，似寫水雲溫泉之房舍，潑墨成畫，水雲融合，一體成 形，藉筆墨表現靈動與水墨酣暢淋漓之感。 This painting was made for the completion of Taian Police Lodge in Miaoli, previously known as Shangdao Spring Resort. This police lodge was set up by the Japanese in 1910, later converted into a spring resort in 1963 and was named by Chiang Ching-kuo as its current name. The artist sketched the outline of the area and created light and shadow using light ink. He then used blue and green to depict the misty lustrous atmosphere surrounding the spring resort.

Ravenel 70

640 KUO HSUEH-HU

(Taiwanese, 1908 - 2012)

Orchid 1964 Glue-pigment on silk, framed 44.5 x 50.5 cm Signed HSUEH-HU in Chinese With one seal of the artist

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,600 – 10,500 RMB 45,000 – 73,000 郭 雪湖 蝴蝶蘭 1964 膠彩 絹本 鏡框 44.5 x 50.5 cm 款識：甲辰春日，雪湖畫。 鈐印：雪湖（白）

Ravenel 72

641 DING YAN-YONG (Chinese, 1902 - 1978)

Orchid, Bamboo and Cricket 1976 Ink and colour on paper, framed 45.8 x 124 cm Signed DING YAN-YONG in Chinese With two seals of the artist NOTE: Ms Sheila Chao mentioned in the painting stayed in Hong Kong from 1973-1976 and studied at the Arts Faculty of the Chinese University of Hong Kong, and thus had the acquaintance with the artist.

NT$ 260,000 – 400,000 HK$ 67,000 – 103,000 US$ 8,500 – 13,200 RMB 59,000 – 91,000 Ravenel 74

丁衍庸 蘭竹蟋蟀 1976 水墨 設色 紙本 鏡框 45.8 x 124 cm 款識：寫成清幽草，終日看不足。 幸得湘水蘭，消受兼納福。 行方女弟清玩，丙辰春日，丁衍庸畫并題。 註： 上款人「行方女弟」即為趙行方女士，於 1973-1976 年旅居於 香港，並進香港中文大學藝術部進修，甚得丁衍庸大師賞識。

高造都教授同一上款

Lot 642 - Lot 644

兀然孤立的50年代，政經環境復甦的逼促，成了眼前巨大問

此次拍賣三件同一上款之作品，來源為高造都教授的家屬所

號，在台灣經歷幣制改革、大幅度推動經濟建設與土地經濟

藏:

政策背景下，那年，37歲的造都先生，伴著台灣經歷著經濟 重要的轉捩。

60大壽雙慶伉儷之喜時，黃君璧所繪松鶴遐齡一作（拍品 644號），畫中山水用筆俊秀，瀑布嘩嘩然的聲響，聽似有

高造都先生1912生於安東省海龍縣，畢業於國立政治學校

聲，勾繪鶴鳥栩栩生動姿態，極富生意，其中黃君璧作品中

計政學院會計審計組。幼年讀經書，稍長研究西學，高教授

又以「白雲」和「飛瀑」的半寫實山水題材最為人知，曾為

不僅具有專業背景，也擁有豐富的實務經驗，早年任職於陝

此走訪世界三大瀑布，以明暗塑造形體，求真求實表現山水

西省政府財政廳，曾設立陝西六十四縣縣銀行，總計訓練兩

的神韻，特別是雲之氣象，水之質感，雲水之動感，更是其

百九十餘人分派各縣銀行，並將設計的銀行會計制度及籌設

作品獨具之特色。

實務，統籌為《縣銀行實務論》一書，曾出任瀋陽縣長、東 北大學經濟系主任。

1968年造都先生56歲，傅狷夫先生繪此作（拍品642號）， 畫面中所表現山林幽居雲霧繚繞之美景，面向山勢的磅礡，

1949年來台後的他，選擇以會計教育為志業，其一生堅持做

無一非表現出雅教一詞，欲表現之大成與氣度。此幅作品，

兩件事一教書與寫書，任教於省立法商學院（國立台北大學

不論用筆、設色均迥異於古法，更以自創「裂罅皴」和「塔

前身）教授、台大經濟系教授等。直到1958年成為國立政治

山皴」，貼切地表達台灣山岩的自然風貌，將景物與生活結

大學會計統計系創系系主任，69年創所所長。可謂政治大學

合在一起，雲與山、石的襯托和對比下，更顯剛柔與堅硬，

會統系的開山鼻祖。期間加入台北市會計師公會，並擔任台

將傳統國畫中「筆墨」的精神發揮得淋漓盡致。「山以水為

北市會計師公會第一屆理事。

脈，以草為毛髮，以煙雲為神采」「石者，天地之骨」，傅 狷夫對自然界的山石、雲水、草木都有深刻的體認和高度的

高教授將一生所學化為文字，完成台灣史上第一套會計學巨

表現力，成功地創造獨特的風格。

著《會計學ABCDE》，針對「初學會計學」、「中級會計 學」與「高級會計學」進行完整且系統性的介紹，成為台灣

1973年高教授61歲，此作品由何懷碩所繪製（拍品 643

商學院學子人手一套的經典之作。一生編著有《會計學概

號），畫面中的幽壑山林、翠谷飛泉，表現其意境深遠之

要》、《刻苦奮鬥建設新金融》等著作。努力不懈下，以字

意，以濃墨點出山岩之肌理，墨則濃而不滯，氤氳之氣流連

字鏗鏘之聲，為台灣莘莘學子們拉開了帷幕。

於留白淡墨之處，觀來饒富幽遠靜謐之感，其創作構思多來 自於內心的冥思，鬱勃深沉、幽邈之氣氛，是在他的作品中

曾受高教授提攜的政治大學鄭校長，於1960年就讀政大會統

清晰可見，超越現實之心象的造境。

系，回憶起師生身影時說 :「高造都教授畢業於中央政治學 校計政學院（研究所），以會計背景科班出身的教授，他的

高教授桃李滿門，桃李花期、果期雖短暫，但這短暫而美好

治學嚴謹、對自己與學生的要求甚高，為政大會統系學術發

的繁盛，惝若立春後的雨水來的正時，有了開頭，便無須再

展打下扎實基礎。」

思憂。 50年代的社會，時光推移，情境事物於眼前變得明快而清 新，造都先生絕不僅止於對會計系的貢獻，而是奠定整個台 灣經濟基礎的基石，篩洗沈痾的歷史意識，我們一同經過， 社會甦醒的必然陣痛。

Ravenel 76

圖為高造都教授（右）及友人 Prof. Gao Zao-du (Right) and his friend.

Amidst the doubts and psychological struggle facing a series

From the Single Collection of Gao's family offer 3 works all

of political and economic reforms in the 1950s Taiwan, the

entitled to the same owner:

37-year-old Mr Gao Zao-du became one of essential pillars at this critical interval of the economic turmoil.

Mr Gao Zao-du was born in Liaoning, currently known as Hailong in the Jilin Province, and was graduated from Accounting in the Public and Business Administrations Faculty at the National University of Governance. With his

Crane and Pine (Lot 644) by Huang Chun-Pi to commemorate the 60th birthday of Prof. Gao and his wife. Huang added two cranes dancing to the mighty waterfall and the misty mountains. Huang used the realistic approach to depict the misty celestial background, enhancing uniqueness to the painting.

rich experience in accounting, Prof. Gao worked in the Shaanxi Department of Finance. There, he established the

Fu Chuan-fu presented this painting, Landscape, (Lot 642) in

banking systems of 64 provincial banks of Shaanxi. Since

1968. This painting depicted the misty mountains. In terms

then, he published a Handbook for Provincial Banks, and was

of techniques employed, Fu used his unique cun methods to

appointed as the Magistrate of Shenyang and Head of Faculty

depict the steep and lofty Taiwanese mountains, contrasting

of Economics at the Northeastern University.

with the soft haze and clouds. Fu emphasized tremendously on the representation of mountains and rocks, clouds and

Since his arrival in Taiwan in 1949, he devoted his lifetime in

every plants in his paintings, creating uniqueness of his

education. He became a professor at Economics Faculty of

creation.

the National Taiwan University. Since 1958, he took the role of the Head of Accounting Faculty of the National Chengchi

In 1973, Mountain and Waterfall (Lot 643) was a work by He

University, and was the founding member of the faculty.

Huaishuo, depicting a valley surrounded by steep and rocky

Later he joined the Certified Public Account and became the

mountains and a majestic waterfall. The rough surface of the

Founding Chairman of the association.

rocks were depicted by dark blotches of ink, highlighting the serenity of the countryside.

Prof. Gao's determination in scholarly development never faded since. He completed the bible of accounting, Accounting ABCDE , with detailed introductions for all levels from beginners to advanced professionals. Other significant publications include An Overview of Accounting and The Establishment of Financial System.

Former President of the National Chengzhi University Prof.

Cheng, recalled his memory under the coaching of Prof.

Gao, "Having the background of accounting under the strict education at the National University of Governance, he taught with high level of discipline and was demanding to his students, thus formed a strong pedestal for the University.

As a devoting educator, Professor Gao had significant contribution to the Taiwanese financial professionals. Under the rapid changing society in the 50s, not only did Professor Gao train accounting professionals, he built a strong pillar for the Taiwanese economy.

642 FU CHUANFU

(Taiwanese, 1910 - 2007)

Landscape 1968 Ink and colour on paper, framed 46 x 37 cm Signed CHUANFU in Chinese With one seal of the artist PROVENANCE: Collection of Prof. Gao Zao-du's family, Taiwan

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 14,000 傅 狷夫 峭壁懸泉 1968 水墨 設色 紙本 鏡框 46 x 37 cm 款識：造都先生雅教。戊申暮冬狷夫寫於有所不為齋南牕。 鈐印：杭人傅狷夫（白） 來源： 高造都教授家屬舊藏

Ravenel 78

643 HE HUAISHUO (Taiwanese, b. 1941)

Mountain and Waterfall

何懷碩 翠谷飛泉

1973 Ink and colour on paper, framed 45 x 59 cm Signed HE HUAISHUO in Chinese With one seal of the artist

1973 水墨 設色 紙本 鏡框 45 x 59 cm 款識：超一先生屬寫翠谷飛泉似。造都先生大雅之正。 一九七三年莫春，何懷碩寫於未之聞齋。 鈐印：碩（朱）

PROVENANCE: Collection of Prof. Gao Zao-du's family, Taiwan

來源： 高造都教授家屬舊藏

NT$ 60,000 – 120,000 HK$ 15,000 – 31,000 US$ 2,000 – 3,900 RMB 14,000 – 27,000

644 HUANG CHUN-PI (Taiwanese, 1898 - 1991)

Cranes and Pine 1972 Ink and colour on paper, framed 52 x 90 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist PROVENANCE: Collection of Prof. Gao Zao-du's family, Taiwan

黃君璧 松鶴遐齡 1972 水墨 設色 紙本 鏡框 52 x 90 cm 款識：造都教授伉儷六十雙慶。松鶴遐齡。南海黃君璧 鈐印：黃君璧印（白）、君翁（朱）、白雲堂（白） 來源： 高造都教授家屬舊藏

NT$ 340,000 – 650,000 HK$ 87,000 – 167,000 US$ 11,200 – 21,400 RMB 77,000 – 148,000 君翁喜愛明末四僧「石溪」的山石，故在其山水畫中常帶有乾筆的

As a devotee of paintings by the four monks from Ming dynasty,

皴法，能讓所描寫的景物呈茂密之狀，在此幅畫中的左前方先寫出

Huang's landscape paintings followed their style using dry

一棵枝葉茂密蒼鬱的松樹，傍於平台山石之側，點染營造松林豐鬱

brushstrokes of cun method of painting, creating dense forests. This

的氛圍，以老松顯現「遐齡」茂盛之意，背景後方則淡淡地寫塵世

painting was made with flourishing pine trees in the foreground,

之外的山壁，山石呈現圓潤蒼勁之態，在寫飛泉瀑布涓涓細流於山

hinting an auspicious wish of longevity for the couple, in contrast

谷之中，白雲橫流於其間，其下為鶴留下棲息之台，其一立於松下

with the steep and bare cliff and a stupendous waterfall in the

眺望，另點綴一鶴翱翔於天空之中，以為呼應，祝賀高都造教授夫

background. Two cranes in the foreground, one standing still and the

婦「雙慶」之意，而「鶴」字的念法即有「祝賀」（諧音）之意。

other flying towards its mate, serve as an echo and a greeting to the elderly couple.

「松」、「鶴」二者自古即象徵著「長壽」與「高齡」之意， 「鶴」喜愛獨居於深幽的高山泉流之間，不喜愛與其他鳥禽類共同

Pine and cranes both carry the meaning of longevity and the

棲息，清初畫家米漢雯曾於題畫詩中寫道「松性淡逾古，鶴情高不

elderly. In the wild, cranes stay in their own tribe and were praised

群」，描敘「鶴」具有一種卓爾不群、出塵離世的情懷。唐代詩人

by Mi Han-wen of the Qing dynasty as having strong moral and

張九齡曾寫道「遠集長江靜，高翔眾鳥稀」，亦符合米漢雯先生所

individuality. The same Qualities were said by Tang poet Chang Chiu-

寫的「鶴情高不群」。古代文人「鶴」的概念，「鶴」行走之時，

ling in his poems. Cranes walk elegantly with a gentleman's manner.

細腿高抬、昂首挺胸，行規矩步儼然如君子，從不萎萎縮縮，高雅

Such quality also reflects Prof. Gao's personality.

而徐緩，有一種紳士之風，亦透著陽剛之氣，亦在畫中對於高都造 教授的稱許。

Flourishing pines, misty waterfall, hazy clouds, lofty mountains and soaring cranes, every element of the painting was used to create

君翁的畫透著文人的意境，畫面中有「松風」、「飛泉」、「流

an atmosphere of a celestial land. Huang was very selective in

雲」、「群山」、「鶴鳴」，彷彿置身於境翠晴嵐之中，動靜皆

painting techniques and his choice of subject matters. Any paintings

宜。凡鸞儔鶴侶，騷人墨客，皆能去絕塵境，棲神物外，不伍於世

with flaws would be destroyed, thus making Huang's paintings of

流、不汙於世俗、或會於泉石之間、或處於松竹之下、或對皓月清

supreme quality.

風、或翱翔於天際，乃與天地探虛玄而參造化。君翁對自己的作品 「惜墨如金」，每幅作品皆是他精心所繪，不滿意的作品絕不流於

Huang Chun-pi was born in Guangzhou, and was regarded as one of

外，所以君翁的畫往往是一畫難求，非有德行之人或他所崇敬人士

the three most celebrated artists moved from China to Taiwan. The

方能獲得其贈品。

artist hiked through the great mountains of China, including Mount Tai, Mount Huangshan and the mountains along the Yangtze River.

黃君璧先生出生於廣州市，與張大千、溥心畬先生稱為渡海三家，

In terms of ink painting skills, not only could he master the depiction

畫壇常稱他為「君翁」。大師早年曾東登泰山，西窺劍閣，過三

of the elusive mist and clouds, he excelled in producing meticulously

峽、探黃山，遊歷全國大小名山大川。作品常見於「飛瀑」、「流

depicted ladies and flowers-and-bird paintings with gongbi style. His

泉」、「風帆」、「霜林」。筆墨氤氳，水意蒸融，蒼勁有力，氣

virtuosity made Zhang Daqian acclaimed his skills publicly.

勢雄壯。亦能作工筆仕女和花鳥，清新秀逸。張大千先生非常推崇 黃君璧，曾說（山水畫）「雲瀑空靈，吾仰黃君璧」。 Ravenel 80

645 HE HUAISHUO (Taiwanese, b. 1941)

Poem in Clerical Script 1957 Ink on paper, scroll 137.5 x 35 cm (each) Signed HE HUAISHUO in Chinese With three seals of the artist

NT$ 60,000 – 120,000 HK$ 15,000 – 31,000 US$ 2,000 – 3,900 RMB 14,000 – 27,000 何懷碩 隸書四言聯 1957 水墨 紙本 立軸 137.5 x 35 cm （每件） 釋文：焚香默坐，抱膝長吟。 款識：丁酉盛夏書此，大汗淋漓，何懷碩并記。 鈐印：何（白）、懷碩（朱）、澀盦（朱）

Ravenel 82

646 AU HO-NIEN

(Taiwanese, b. 1935)

Sailing under the Moonlight 1966 Ink and colour on paper, framed 20 x 35 cm 44 x 35 cm Signed HO-NIEN in Chinese With four seals of the artist

NT$ 70,000 – 140,000 HK$ 18,000 – 36,000 US$ 2,300 – 4,600 RMB 16,000 – 32,000 歐 豪年 獨樹臨江夜泊船 1966 水墨 設色 紙本 鏡框 20 x 35 cm 44 x 35 cm 款識： 獨樹臨江夜泊船。丙子秋月， 挹翠山堂燈下，歐介。（上） 細草微風岸，桅牆獨夜舟。豪年畫。 （下） 鈐印：歐豪年印（白）、揖翠山堂（朱）、 歐介（白）、得大自在（白）

《獨樹臨江夜泊船》為歐豪年先生丙子年（1995年） 秋天所作，畫中題上杜甫先生旅夜書懷「細草微風 岸，危檣獨夜舟」的詩句，以表心中的情感，這幅山 水豪年先生寫出杜甫先生對於孤舟停泊的寂寞境界， 在旅途中感傷功名起落、老年多病漂泊無依的心境， 自己就天地間的一隻沙鷗。豪年先生飽讀國學詩書， 對於詩境即畫境體察甚深。對於畫的布局善於營造詩 情意境，且能自題佳句，相得益彰，至為難得。

Sailing under the Moonlight was painted in Autumn

by Au Ho-nien. Poem above the painting was composed by Du Fu during his night journey to express his emotions. This landscape painting was created to suggest the loneliness of the poet in face of demotion at his elderly age; whereas he painted himself as a seagull. His paintings embrace ancient literature and carries a poetic theme. Such arrangement of landscapes enhance the poetic nature of ancient literature, bringing them to life.

647 TAI JING-NONG

(Taiwanese, 1902 - 1990)

臺靜農 黃君璧

HUANG CHUN-PI

清溪一曲

(Taiwanese, 1898 - 1991)

Lodges along the Winding River 1978 Ink and colour on paper, framed 34 x 34 cm 34.5 x 34.5 cm Signed TAI JING-NONG and HUANG CHUN-PI in Chinese With five seals of the artists

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000

1978 水墨 設色 紙本 鏡框 34 x 34 cm 34.5 x 34.5 cm 款識： 白鷺湖邊暑氣收。月明涼思滿書樓。 酒醒夜半開窗坐，一鶴橫江萬里秋。臺靜農。（上） 清溪一曲。戊午春畫於白雲堂。黃君璧。 （下） 鈐印： 龍坡（朱）、靜農無恙（白） 黃君璧印（白）、君璧（朱）、君璧八十以後所作（朱）

南宋詩人汪莘曾寫：「一曲清溪繞舍流，數間茅屋正宜秋」。

As Jiang Shen from Southern Song dynasty once wrote, "A

正是黃君璧先生對於此畫的寫照。

winding river runs pass a small village, where a few lodges are preparing for Autumn." This is the exact scene depicted in this

此山水小品「清溪一曲」的詩堂是臺靜農先生所題，臺老學

painting by Huang Chun-pi.

問淵博，渡海來台後在台灣大學擔任中文系教授，先生兼容並 蓄，觀其治學可知，詩、書、畫三絕，題詩作畫，文思泉湧，

The title was written by Tai Jing-nong, a respectable professor

信手拈來。

from the National Taiwan University. Tai excelled in all aspects of Chinese arts including poems, calligraphy and paintings.

君翁在此江岸邊寫繪林木幾株，臺老見此畫江岸邊的林木已染 楓紅，暑氣已消，漸入秋境，清溪曲流，茅屋數間橫於對岸，

Along the shores, Huang sketched a few trees with red leaves,

此時天氣涼爽是最適合讀書的時節，晚間飲酒作樂，秋夜酒醒

suggesting the autumn season. Autumn was considered as

開窗坐望，只見一鶴橫江，天地如此遼闊，隨手便題上「白鷺

the best season for scholarly sharings and studies, drinking

湖邊暑氣收，月明涼思滿書樓，酒醒夜半開窗坐，一鶴橫江萬

wines while looking out into the river and the cranes. Tai thus

里秋」，渡海來台的這批大家，仍保留這著明代以來的文人雅

composed a poem about a scholar’s delight watching white

集，為這時代刻畫下精彩的歲月。

cranes along the river under the bright moon. This poem and painting serve as a witness to scholarly gatherings of modern ink masters travelled to Taiwan, still keeping the traditions set

by Ming scholars.

Ravenel 84

648 CHEN ZI-HE

(Chinese, 1910 - 1984)

陳子和 黃君壁

HUANG CHUN-PI

四君子四屏

(Taiwanese, 1898 - 1991)

Four Gentlemen 1977 Ink on paper, framed 34.5 x 33.5 cm x 2 (each) Signed CHEN ZI-HE and HUANG CHUN-PI in Chinese With four seals of the artists on each painting

NT$ 260,000 – 400,000 HK$ 67,000 – 103,000 US$ 8,500 – 13,200 RMB 59,000 – 91,000

1977 水墨 紙本 鏡框 34.5 x 33.5 cm x 2（每件） 款識： （一）聲本無留色亦空，橫斜疏影破塵紅， 春心不耐縈羅綺，賦與寒枝一笑中。陳子和題梅。（上） 明月孤山處士家，湖光寒浸玉橫斜。 似將篆籀縱橫筆，鐵線圈成個個花。丁己初冬，君翁。黃君璧。（下） （二）夜讀離騷月送涼，揮毫每覺筆兼霜， 幽姿恐惹孤蟾妒，祗寫風神不寫香。陳子和題蘭。（上） 手培蘭蕊兩三栽，日暖風和次第開。 坐久不知香在室，推窗時有蝶飛來。黃君璧。（下） （三）大筆披襟意未闌，為君寫盡萬千竿， 虛心誰識凌宵節，為向天涯共歲寒。陳子和題竹。（上） 郡城去海不為遙，墨籜淋漓似鬱蛟， 莫遣風來吹一葉，恐於箋上作波濤。青藤句，君璧。（下） （四）籬邊獨異眾芳姿，寫到黃花有傲枝， 誰說故園秋已老，萬人屬望是王師。陳子和題菊。（上） 我對黃花默不語，黃花向我如有情。 瘦莖葉葉帶霜氣，繁花片片含秋清。錄自南田句，黃君璧。（下） 鈐印： 百葉館（朱）、子和（白）、黃君璧印（白）、君翁（朱）

黃君璧先生所繪的花卉清新淡雅，此《四君子》圖以沒骨技法

Huang Chun-pi took minimalistic and boneless approaches

調濃淡墨寫成，繪於丁巳年（1977年）冬天，雖距今已四十

to depict the subject matter of the four gentlemen. Autumn

餘年，但現在來看，此四幅作品梅、蘭、竹、菊，畫面仍塵俗

chrysanthemums done in boneless technique echoes with its

不染，拙樸凝重，其中這幅寫意「秋菊」，題上清代沒骨大

captioned Qing poem by Hui Shouping, an advocate of such

師惲南田先生（南田先生被尊為開創沒骨花卉畫法的代表）的

technique. Bamboo represents a scholar who keeps to his own

詩，以為呼應。另《墨竹》一畫題上明代畫家青藤先生的詩句

righteousness. In a literati gathering, scholars compose poems

（青藤先生即明代大畫家徐渭先生的外號），以表高風亮節。

and exchange paintings. These works are composed by poet

文人之間在雅集聚會中常有合作題詩作畫，這幾幅《四君子》

Chen Zi-he and painted by Huang Chun-pi. This proves their

小品為君翁所繪，由陳子和先生在其每一幅畫親筆題上詩堂，

friendship and their constant scholarly exchanges.

他與黃君璧先生是同鄉也是藝壇畫盟，兩人合作，文章信手捻 來，做畫題詩，更顯文人間往來交遊的閒情雅韻。

The four gentlemen are common subject matters but it requires skills in their depiction. The painting was made at the prime

在繪畫中《四君子》中梅、蘭、竹、菊四品雖是入門容易，但

of the artist’s career, with the tone well depicted for a literati

要將其味道寫出墨韻生動、簡潔有力、意境高雅，如沒有相當

appreciation.

的繪畫功力勢無法達到這種境界的。君翁繪畫創作已經超過一 甲子的時間，功力甚篤，作畫時不特意打稿，其作品線條流 暢，簡單幾筆就能將《四君子》的神韻寫出，一氣呵成。

Ravenel 86

649 WANG JI QIAN (Chinese, 1906 - 2002)

Zen Master Huang Po's Classroom Disclosure Poetry 1980 Ink and colour on paper, framed 50 x 41 cm With two seals of the artist PROVENANCE: Collection of Joan Stanley-Baker, Taiwan (Acquired directly from the artist) Private collection, Taipei EXHIBITED: Without Boundaries – Prof. Joan Stanley-Baker's Collection , Kao Yuan Art Center, Kaohsiung, 8-31 March, 2005

NT$ 150,000 – 300,000 HK$ 39,000 – 77,000 US$ 4,900 – 9,900 RMB 34,000 – 68,000 王季遷 草書唐黃檗禪師「上堂開示頌」 1980 水墨 設色 紙本 鏡框 50 x 41 cm 款識：塵勞迥脫事非常，緊把繩頭做一場。不經一番寒澈骨，怎得梅花撲鼻香。 鈐印：溪岸草堂（白）、己千（朱） 來源： 徐小虎教授舊藏（得自藝術家贈與） 私人收藏，台北 展覽： 「無界線：徐小虎教授收藏展」，高苑藝文中心，高雄， 展期自 2005 年 3 月 8 日至 3 月 31 日

Ravenel 88

650 PU HSINYU

(Taiwanese, 1896 - 1963)

Poem in Running Script 1960 Ink on paper, framed 31.5 x 43.4 cm Signed HSINYU in Chinese With one seal of the artist ILLUSTRATED: Chinese Painting and Calligraphy Art of Pu Xin-yu the 50th Anniversary Album , Chan Liu Art Museum, Taipei, June 2014, p. 117

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,600 – 10,500 RMB 45,000 – 73,000

Ravenel 90

溥心畬 行書五言絕詩 1960 水墨 紙本 鏡框 31.5 x 43.4 cm 釋文：三月皆桃李，何年之子歸，空留玉臺鏡，不見嫁時衣。 款識：庚子十月獲得古送嫁鏡銘曰得滓城何浡，然祥其書體， 明時鏡也。心畬。 鈐印：溥儒（白） 著錄： 《清氣逸揚 - 溥心畬逝世五十週年紀念輯》，長流美術館， 台北，2014 年 6 月，頁 117

651 YU YOUREN

(Taiwanese, 1879 - 1964)

Tang Poem in Cursive Script Ink on paper, framed 150 x 41 cm Signed YU YOUREN in Chinese With one seal of the artist NOTE: Mr Xi-qing mentioned in the work refers to Mr Chen Xi-qing, the first promoted and publicly elected county magistrate of Changhua Province, Taiwan.

NT$ 220,000 – 360,000 HK$ 57,000 – 93,000 US$ 7,200 – 11,800 RMB 50,000 – 82,000 于 右任 草書唐杜甫前出塞詩 水墨 紙本 鏡框 150 x 41 cm 釋文：單于寇我壘，百里風塵昏。 雄劍四五動，彼軍為我奔。 擄其名王歸，系頸授轅門。 潛身備行列，一勝何足論。 款識：錫卿先生正之。少陵前出塞之一。 于右任。 鈐印：右任（朱） 註： 上款人「錫卿先生」即為陳錫卿先生，為首任官派及民選彰化縣縣長。

652 PU HSINYU

(Taiwanese, 1896 - 1963)

Landscape Ink and colour on paper, framed 54.3 x 21.8 cm Signed HSINYU in Chinese With two seals of the artist

溥心畬 楓林秋色 水墨 設色 紙本 鏡框 54.3 x 21.8 cm 款識：楓林秋色，黃鶴山樵，每喜作之， 以紙生澀，多用渴筆，今偶擬之，心畬。 鈐印：竹光（朱）、溥儒之印（白）

NT$ 380,000 – 600,000 HK$ 98,000 – 154,000 US$ 12,500 – 19,700 RMB 86,000 – 136,000 中國藝壇久享盛名的一代宗師溥心畬（1896∼1963），為清恭親

Pu Hsinyu, also known as Pu Ru and Hermit of West Mountain,

王奕訢之孫，原姓愛新覺羅，初字仲衡，別號西山逸士，滿族，北

was a member of the Manchu Aisin Gioro clan, the ruling house

京人，清王朝結束後，以其行輩為姓，名儒，字心畬。溥氏自幼好

of the Qing dynasty. With formal education, Pu learnt poems,

學，先學詩文、書法，後習畫，「經、史、子、集」無一不窺，隱

practised calligraphy and paintings. He practised ancient calligraphy

居在西山戒臺寺期間，臨摹許多書帖與古畫，奠定了書法與繪畫的

and refined calligraphy and paintings skills during his stay in the

基礎。溥氏以文學家自許，入台後，仍以書畫自娛，嘗講學上庠，

West Mountain. Since his arrival in Taiwan, he became a teacher of

旁及經史，著有《群經通義》、《四書經義集證》、《爾雅釋延經

ancient literature, history and arts.

證」《寒玉堂論畫》、《寒玉堂論書》、《寒玉堂詩集》、《凝碧 餘音詞》等二十餘種。

The quintessential element of understanding Pu Hsinyu's paintings is from literature and his literati character. To Pu, literature takes

欣賞溥心畬先生的畫作，必先從其「文學」與「人格特質」入手，

the crucial role in art appreciation, followed by poem, calligraphy

在溥氏自評中稱：「首推文學，其次是詩，其次是書，最後才是

and paintings. Nevertheless, his fame was prominent in the

畫」，他總是不樂意人家稱他為畫家。可是他的名氣之大，卻是由

painters community, based on the art that reflects the strong literati

於在藝壇上的畫名，因為在他認為，書畫藝道只是抒發其內心，遣

characteristics and strong base of literary knowledge. This works

懷聊以自娛，而溥氏擁有深厚的學養，再加上其人格特質的影響，

are elegant which clearly reflect his hermit character. Zhang Daqian

天真簡淡，讓人遠離俗慮，在他的畫作之間，常流露出淡雅清俊的

once commented Pu's works as soft with a bit of character, sharp

獨特文人內涵。故他的畫韻致逸氣，筆筆出於性情，趣味橫流，故

and steep with a firm and steady characteristics.

張大千先生讚仰他水墨「柔而能健，峭而能厚」。 In this painting, Pu mentioned the Yellow Crane of Shanqiao, 這幅《楓林秋色》，畫中溥氏題款「楓林秋色，黃鶴山樵，每喜作

which refers to Wang Meng, one of the four greatest ink masters

之，以紙生澀，多用渴筆，今偶擬之，心畬」。「黃鶴山樵」為元

of Yuan dynasty. Such subject matter was Wang's favourite and

代四大畫家之一「王蒙」的別號，王蒙曾畫過楓林秋色圖，在溥氏

Pu was trying to recreate Wang's style using dry brushwork on

擬畫出這張的意境時，已知這宣紙下筆生澀，應該多用乾筆，以能

paper, which was frequently used by Yuan painters. Wang Chen of

擬繪出王蒙楓林秋色的韻味，元代山水多用渴筆法，所謂「渴筆」，

Qing dynasty mentioned in his writings, "Dry brushes were used to

顧名思義，就是筆中的水分含量較少，清代王宸在《履園叢話．畫

create strength in paintings."

學．畫中人》中提及，「多用渴筆，畫則蒼勁中有氣韻」。 Pu once mentioned in his essay on paintings, "Hills should be 在其寒玉堂畫論中寫道：「畫山，用筆必重起伏，或橫臥，其管自

drawn with great emphasis on the movement of the brush - either

上而下，蹙節頓挫而為之；既寫峰巒之狀矣，再於嶺表巖際，作秋

lying down, standing straight, or moving in intervals, thus creating

林雜樹，使有蔥蘢滃鬱之氣」。這幅《楓林秋色》，溥氏先以渴筆

mountain ranges, steep slopes, drying forests or flourishing ones."

大筆繪出山石，皴法俐落，用筆繁而不亂，快速有力度，再山石巖

In this painting, Pu used swift and dry brushstrokes to create layers

際寫上林樹數株，不點上樹葉與石之青苔，即顯枯涼秋意蕭瑟之氣，

of rough mountain rocks. On the rough surface, skeletal trees

以線條代替了設色，無須設色韻染，以表現山石蒼茫秋意，清逸意

stand firmly on the cliffs. Using only forms and lines of black ink,

韻，用筆包萬類於毫素，羅諸象於心胸，並非力求完全複製畫出，

the bareness of autumn and the mind of a literati fully displayed on

而是經過轉化為自我筆墨與風格的歷程，而融合傳統後的自我風格

the artwork.

表現在山水小品尤其明顯，可觀察到溥心畬式的文人意氣躍然於紙 上。寥寥數筆，丹青翰墨永留人間。

Ravenel 92

653 LEE YIH HONG (Taiwanese, b. 1941)

The Cliff of Liwu River 2011 Ink and colour on paper, framed 103 x 103 cm Signed LEE YIH HONG in Chinese With four seals of the artist ILLUSTRATED: Taiwan Fine Arts Series 32: Lee Yi-Hong , Artist Magazine, Taipei, 30 June 2016, p. 177

NT$ 950,000 – 1,500,000 HK$ 244,000 – 386,000 US$ 31,200 – 49,300 RMB 216,000 – 341,000 李義弘 立霧溪峽壁 2011 水墨 設色 紙本 鏡框 103 x 103 cm 款識：二 O 一一年六月畫。立霧溪峽壁。李義弘。 鈐印：義弘染翰（白）、在川小記（朱）、海屋山居（朱）、水流雲在（朱） 著錄： 《台灣美術全集 32—李義弘》，藝術家出版社，台北， 2016 年 6 月 30 日，頁 177

Ravenel 94

古稀之年：樂天知命 李義弘，字在川，1941年出生於台灣台南西港鄉。其水墨 創作歷程可謂由內而外、自傳統國畫的變革，走向現代性的 確立，雖師承江兆申，但李義弘戮力走出新局，擺脫了清末 民初以降文人畫過分強調筆墨秩序和停留於客觀現象的桎 梏。藝術學家更將他視為「民國以來水墨創作三大路向之集 大成人物」。年屆古稀的李義弘個性樂天，可自始便對傳統 水墨不滿足、不願延續傳統的巢臼，卻在攝影術、音樂及各 類水墨用紙之中不停地探究並思索變化之道，將傳統水墨技 法化為己用、融入對自然山川風貌的體驗，以敏感的藝術天 份將材料細微的差異表現在作品畫面之上，旁徵博引地把各 類藝術如數碼影像、音樂、科技等歸化成一，在東西文化與 各種媒材之中轉換，形成了他獨具個人特色的藝術語言，實 為「台灣水墨畫家風格多樣性第一人」！

兼容並蓄：松無古今色 李義弘早年受傅狷夫、高一峰啟蒙，後拜「靈漚館」門下， 對於山水畫的構圖佈局、文人畫意境均心領神會，其後脫離 了往昔對物象的寫實技法，以江氏山水為表現手法，甚得激 賞、更是江氏得意門生。李義弘1980年代遍遊印度、尼泊 爾，「印北行腳」系列深受追捧；1990年代更踏查安徽、 北京等地，以山水之壯麗、黃山之雨松雲等創作成冊，可視 為其壯遊山水的總結。後《自然與畫意》出版，一新台灣藝 術圈耳目，李義弘拍攝樹葉，以遠近及高反差效果，創造出 樹形相貌與突出線條，用在水墨創作上則以毛筆勾勒、以筆 墨貫穿，用線條與濃淡墨色創造出韻味。中國水墨的大山大 水與西方藝術的脈絡在李義弘手上揉和成了「畫外求畫」的 意涵，藉由當代攝影的構圖法、兼之以東方水墨精神，抒發 其寓居鄉間對土地深厚情懷，從水墨技法到西方自動性技法 均為他所用，於是其作品兼有質樸又典雅的氣質。

筆墨精神：雲水山川

Born in 1941, in Tainan, Lee Yih Hong is a revolutionary ink artist who transformed traditional Chinese ink paintings towards modernity art concepts. Despite his apprenticeship with Chiang Chao-shen, Lee's optimistic personality allowed him to innovate from the traditional barriers set by early old masters. Instead of the traditional realistic approach, Lee combined techniques from photographic representation, music and the use of ink and paper, to create a new way of representation in modern landscape ink paintings.

From his early education from Fu Chuan-fu and Gao Yifeng, and later from Chiang Chao-shen, his style and structure of landscape paintings were based on one's impression and feelings, and were eventually detached fully from the realistic approach, thus made him as Chiang's beloved student. Lee travelled to India and Nepal in 1980, followed by Anhui and Beijing in 1990s, enriching his landscape creations. In his later published catalogues, Lee took photos from drastic angles, highlighting the forms of trees and branches in a novel manner; while for ink paintings, he used various forms of lines and concentrations of ink patterns, to create a unique style which astounded readers during the period. This particular way of combining photography framing techniques and ink creation concept of the East, added Lee's individuality into Chinese landscape paintings, while presenting the Chinese aesthetic quality in his works.

Lee is keen on representing different forms of nature. In 2008, he presented an innovative skills, incorporating the use of light, proportions and depth in his landscape paintings. Along with the illustration of ink patterns, Lee brought rocky landscapes to life in his modern way of depiction. As a Taiwanese photographer and artist, grown

李義弘的水墨熱衷於表現林木山川與奇石海景，2008年的

up under international exposure, he devoted his passion

畫石系列更翻新了傳統水墨的畫意，其將攝影術的概念與材

towards representing his homeland in a modern way taking

料運用於水墨畫中，將光線、比例、透視等，置入於山水

advantages from both the styles of the East and the West.

畫，將墨的濃淡以筆意勾勒，將水石層出不窮的光影變化躍 於紙上，既有傳統的筆墨精神，又顯出現代性的時代意義。 而後又將他對台灣土地的熱烈情懷放入山河意象的水墨創 作，歷經畫會的時代潮流、師承、攝影寫生術的追尋，由畫 自然之景到寫土地之情，東西融會貫通，可得見其對台灣現 代水墨的深遠影響。

Lee created The Cliff of Liwu River in 2011, during his search for innovative style, medium and techniques in representation.

In this oeuvre, Lee used different layers of ink in this fullframed painting, creating an elusive misty view from afar.

Using the Rule of Thirds in photography, the artist allow the eye to be drawn to the center of the artwork, together with

創作於2011年的《立霧溪峽壁》，是李義弘尋求在媒材、

a somber style, the lofty cliff was depicted, highlighting the

技法與風格等表現與創新之名作，全滿式的構圖，墨色層次

depth. Viewing from a close angle, traditional cun method

分明：上濃厚、下清淡，蓋天鋪地的圖面，遠觀彷彿可見雲

was used to depict the rough surface of rocks, along with

霧繚繞，三角構圖方式讓視覺凝聚於中心，畫題清冷幽靜的

hazy touch on the cliff, making such paintings a perfect

峽谷，山勢在墨色堆疊間顯露奇險之姿；近觀則可知以乾筆

combination of the East and the West.

皴擦出石塊壁面之峻奇，與畫面右方大筆揮霍的山壁相互烘 托出水氣融融之感，營造出東方寫意與西方抽象交融的水墨 氣韻。 Ravenel 96

654 QI BAISHI

(Chinese, 1864 - 1957)

Morning Glory and Dragonfly 1948 Ink and colour on paper, framed 101 x 32.5 cm Signed BAISHI LAOREN in Chinese With one seal of the artist

NT$ 1,200,000 – 2,000,000 HK$ 308,000 – 514,000 US$ 39,500 – 65,800 RMB 273,000 – 455,000 齊白石 牽牛蜻蜓 1948 水墨 設色 紙本 鏡框 101 x 32.5 cm 款識：戊子龝，八十八歲白石老人畫於京華。 鈐印：白石翁（朱）

齊白石是根植于傳統、師法造化的近現代國畫大師，其繪畫

Qi Baishi was a modern ink master showing strong attachment

以個性派文人山水與金石派花鳥為根基，結合雅俗共賞的民

to traditions. His paintings featured a unique style of literati

間藝術，形成風格剛健鮮活、詼諧幽默的藝術。本幅作於長

landscape and Jinshi style of flower and bird paintings, with

形立軸，描繪牽牛花依竹籬而生，蜻蜓穿梭其間，構圖疏密

the representation of folk art. This painting depicts a morning

有度，繁而不亂。齊白石畫牽牛花，先用濃墨以沒骨寫意法

glory growing against a bamboo frame. An inquisitive

作花葉，再用獨門的洋紅點綴花朵；墨葉之聚散變化，與纏

dragonfly come visiting the flowers. The composition of the

繞的藤蔓以及鮮艷奪目的紅花交相輝映，色彩繽紛交融，展

painting was carefully planned. Qi Baishi painted morning

現大起大闔、肆放灑脫的畫風。左上角的蜻蜓以工筆寫之，

glory with boneless technique and thick dark ink for the

透明的翼翅、觸鬚、肢節、腿毫俱纖微畢見，栩栩如生。工

leaves, with bright red colours for the flowers. The changes in

筆處一絲不苟，寫意處則揮灑自如，可見老人「寫中帶工」

tonality of ink, the intertwining bamboo frames and bright red

的功力；整幅畫形神兼備，姿態生動，情趣盎然，充份體現

flowers echo with each other, hinting the artist’s carefree spirit.

齊白石「紅花墨葉」寫意花卉藝術的超絕水準。

Dragonfly on the top left was painted in gongbi style with transparent wings, antennae and legs carefully outlined. The balance of gongbi and boneless style was carefully employed hinting the excellent skills of an experienced ink master.

Ravenel 98

655 CHIANG CHAO-SHEN (Taiwanese, 1925 - 1996)

Landscape 1983 Ink and colour on paper, framed 62 x 99 cm Signed CHIANG CHAO-SHEN in Chinese With four seals of the artist ILLUSTRATED: Chinese Paintings by Chiang Chao-Shen , Apollo Art Gallery, Taipei, October 1984, Plate 18

The Art of Chiang Chao-shen, National Museum of History, Taipei , 1990, pp. 36-37 Masters of Chinese Painting, Jinxiu Publishing House, Taipei, Feb 1996, No. 178, China Series No.78, p. 17 Contemporary Chinese Ink Series: Chiang Chao-shen , Artist Magazine, Taipei, 2010, p. 63

NT$ 320,000 – 650,000 HK$ 82,000 – 167,000 US$ 10,500 – 21,400 RMB 73,000 – 148,000 江兆申 林隙棹舟 1983 水墨 設色 紙本 鏡框 62 x 99 cm 款識：縹緲營邱水墨仙，浮空出沒有無間。爾來一變風流盡，誰見將軍著色山。 此東坡題晉卿畫句。北宋以水墨為向，惟晉卿寫青綠效李雲麾，蓋大青大綠難 於雅馴也。用其詩而反其意。雲麾固不易為，營邱又何可得至。癸亥江兆申并 識。 鈐印：江兆申印（白）、茮原（朱）、目送歸鴻（白）、墨池飛出北溟魚（白） 著錄： 《阿波羅畫廊六週年紀念特展—江兆申畫展》，阿波羅畫廊，台北， 1984 年 10 月初版，編號 18 《江兆申書畫集》，國立歷史博物館，台北，1990 年出版，頁 36-37 《中國巨匠美術週刊》，錦繡出版事業股份有限公司，台北，1996 年 2 月出版， 總號 178 期，中國系列 078 期，頁 17 《台灣近現代水墨畫大系：江兆申—狂狷清勁的風骨》，藝術家出版社， 台北，2010 年初版，頁 63

Ravenel 100

656 CHIANG CHAO-SHEN (Taiwanese, 1925 - 1996)

Landscape 1984 Ink and colour on paper, framed 63 x 99 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist ILLUSTRATED: The Art of Chiang Chao-shen , National Museum of History, Taipei, 1990, pp. 42-43

NT$ 300,000 – 600,000 HK$ 77,000 – 154,000 US$ 9,900 – 19,700 RMB 68,000 – 136,000 江兆申 深山對話 1984 水墨 設色 紙本 鏡框 63 x 99 cm 款識：高山水閣，相對清談，此自六朝人勝事。 甲子冬日，圍爐偶檢謝靈運詩，歇卷寫此幀。茮原江兆申。 鈐印：江兆申印（白）、茮園染翰（白）、是造物者之無盡藏也（白） 著錄： 《江兆申書畫集》，國立歷史博物館，台北，1990 年出版，頁 42-43

Ravenel 102

657 CHIANG CHAO-SHEN (Taiwanese, 1925 - 1996)

Landscape 1986 Ink and colour on paper, framed 33 x 99 cm Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000

Ravenel 104

江兆申 小橋通幽 1986 水墨 設色 紙本 鏡框 33 x 99 cm 款識：久讀仙經學養神形，未容便應少微星。一枝新鍛金雅觜， 更向名山劚茯苓。丙寅新春，茮原江兆申。 鈐印：江兆申印（白）、物外真游（朱）

658 CHIANG CHAO-SHEN (Taiwanese, 1925 - 1996)

Poem in Running Script 1993 Ink on paper, scroll 137 x 22.5 cm (each) Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 江 兆申 行書十言對聯 1993 水墨 紙本 立軸 137 x 22.5 cm（每件） 釋文：望山屬清朝閑將酒為偶，翫月慶佳夕默以道自詮。 款識：癸酉深秋，江兆申集章蘇州句。 鈐印：江兆申印（白）、茮園翰墨（朱）

Ravenel 106

659 CHIANG CHAO-SHEN (Taiwanese, 1925 - 1996)

Poem in Running Script 1990 Ink on paper, scroll 130.3 x 31.5 cm (each) Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist NOTE: Mr Li Ying-ju was born in Yunlin, Taiwan.

He was student to ink masters including Chiang Chao-shen, Wu Ping and Li Da-mu.

NT$ 90,000 – 180,000 HK$ 23,000 – 46,000 US$ 3,000 – 5,900 RMB 20,000 – 41,000 江兆申 行書七言詩 1990 水墨 紙本 立軸 130.3 x 31.5 cm（每件） 款識：瑤圃雙鸞棲玉樹，芝田一鶴在珠林。 庚午冬，茮原江兆申書。 鈐印：江兆申（白）、茮原（朱） 註： 此件對聯的簽條為李螢儒先生所題，李螢儒名義隆， 字螢儒，台灣雲林人，師事江兆申、吳平、 李大木等諸位大師。

660 CHIANG CHAO-SHEN (Taiwanese, 1925 - 1996)

Poem in Running Script 1982 Ink on paper, framed 45 x 52.5 cm Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist NOTE: Mr Feng Kuen mentioned refers to Mr Wu Feng Kuen, who was the first overseas elected legislative committee member and the former supervisor of China Daily News.

NT$ 70,000 – 140,000 HK$ 18,000 – 36,000 US$ 2,300 – 4,600 RMB 16,000 – 32,000 Ravenel 108

江兆申 行書宋宛陵詩 1982 水墨 紙本 鏡框 45 x 52.5 cm 釋文：我來東峰下，遠見西嶺頭。白雲忽已合，向此偶遲留。 人誰問何有，自可忘殷憂。 款識：壬戍深秋，錄宛陵詩。豐堃先生雅屬。茮原江兆申書。 鈐印：兆申（白）、江（朱） 註： 上款人「豐堃先生」即為吳豐堃先生，第一屆僑選立法委員、 前中華日報常駐監察人。

詩畫本一律，天工與清新 江兆申一生的創作，基本上依循著悠久的文人畫傳統而來，在 詩、書、畫、印多重藝術的統合外，更強調個人性情的展現。 而在歷代文人當中，尤其蘇軾超越才性的生命情懷、詩文成就 乃至於「詩畫本一律，天工與清新」的美學觀點等，無論於書於 畫，都在有形無形中對江兆申產生重大影響， 從早年師事「渡海三家」之一的舊王孫溥心畬開始，江兆申致 力於北宋山水大家及南宋院體，1965年入台北故宮任職，得以 遍覽歷代名家，畫風開始融入明代吳門山水之致；但要到1970 年代以後遊覽各地山水，將諸多傳統技法融合並加以創新，才逐 漸建構出個人的藝術風貌，既有對於自然造化的觀照，也體現了 他畢生追求的文人風骨與性情，最終盡得蕭條淡泊之箇中三昧， 而為後人譽為「中國文人畫之最後一筆」。

寫景造境，返璞歸真 此次所見《深山對話》(拍品656號)、《林隙棹舟》(拍品655號) 與《小橋通幽》(拍品657號)三件作品，均係江兆申1980年代畫 風已臻至成熟境地之作，無論寫景造境、虛實鉤搭，俱極盡淡 雅閑散之能事，但彼此間仍能看出他在臨摹內化歷代名家的深厚 基礎上，如何透過充滿變化與層次的筆墨點染，在汲取古代名家 涵養與形塑自身面貌之間掌握與拿捏地恰如其份。 其中，《林隙棹舟》繪於1983年，構圖或脫胎自李成《茂林遠

分和墨彩的結果，使畫面在視覺上產生了極巧妙的效果：讓人覺 得那一片山嵐水氣與樹林，正在吐故納新，而那新鮮的氣息正靜 靜地在空中擴散開去。」[1] 《林隙棹舟》畫面上方款識云：「縹緲營邱 [2]水墨仙，浮空出沒 有無間。爾來一變風流盡，誰見將軍著色山。此東坡題晉卿畫 句。北宋以水墨為向，惟晉卿寫青綠效李雲麾，蓋大青大綠難於 雅馴也。用其詩而反其意。雲麾固不易為，營邱又何可得至。」 除了點出山水畫科從青綠過渡到水墨為尚的流變，也積極展現了 他挑戰古人不到處的強烈企圖。 隔年所作《深山對話》描繪夾於陡立雙峰間，群樹圍繞中有一水 閣，可賞頭上流瀑如絹；裏頭兩人對坐契闊談讌。全作山勢走 向近直遠橫，深具變化，又多以赭紅淡染，當已接近黃昏時分， 以證畫中人物渾忘時間之流逝，與石濤筆下山水或可相互印證， 亦是謝靈運「日落山照曜，慮澹物自輕。」筆下文人徜徉於隱逸 逍遙之清談的最佳寫照。另件《小橋通幽》完成於1986年，雖 是橫幅構圖，但意念無疑更接近手卷，竟由一座小橋開展，恍若 曲徑般通往離塵幽境。畫面中渺無一人，只重壑層疊，安靜地等 待有心人來訪。雖說畫家或無名山向道之心，此作卻具體傳達了 歷來文人臥遊山水之樂，想來也是日後江兆申幽居山林的先聲。 [1] 錄自《中國巨匠美術週刊》，錦繡出版事業股份有限公司，台北，1996年 2月出版，總號178期，中國系列078期，頁17 [2]

營邱指五代宋初山水畫家李成（公元919~967年），字咸熙，唐宗室，又稱

岫圖》，但改橫為直，僅取局部入畫，寫一座皚白雪山矗立於 「李營邱」。 青綠密林之後，其間細水穿流，一介文人正獨享棹舟悠遊之趣。 遠山刻意減低色度，彷如積雪終年不化，更添幾分范寬《雪景 寒林圖軸》清簡寂寥之況味。畫面上方的白山強烈對比下方濃密 的樹林與水潤的雲霧，結構墨彩經過細膩的計劃與運用。國立台 灣大學藝術史研究所教授陳葆真評價這幅畫：「畫家大量使用水

ćą&#x;兆申 Chiang Chao-shen

Chiang Chao-shen devoted his life to be an all-rounded

Contrasting with the snowy mountain is the dark flourishing

scholar in terms of poem, calligraphy, painting, seal-making

and foggy forest. Prof. Chen Pao-Chen from the Art History

and the display of individuality. Throughout centuries, literati

Faculty of the National Taiwan University once commented

emphasized the cultivation of character and its display in

this painting, "the artist employed a lot of water and ink

literature, regardless of calligraphy and paintings. This gave

to achieve this result, depicting a dark forest and heavy fog

Chiang a huge impact.

gradually expanding outwards." Apart from the immense

From his early apprenticeship with Pu Hsinyu, Chiang

displayed a strong urge to exceed previous ink masters.

effort to depict the elusiveness of this painting, the artist dedicated his studies in the mainstream artists of Northern Song and Southern Song dynasties. Since working in the

Another painting, Landscape (Lot 656), depicts a natural gap

National Palace Museum of Taipei in 1965, Chiang studied

formed between two steep cliffs. Between the cliffs lies a

ancient paintings of ink masters and his style of painting was

hut facing a pond and a small waterfall. Sitting in the hut

influenced by the Ming Wumen landscape. Chiang started

are two scholars. The composition of the painting expands

travelling in the 1970s and added new elements to his

outwards from near to the landscape afar. The rusting brown

traditional ink paintings, thus establishing a new artistic style.

colour tone suggests the fading of time at dusk. This painting

His landscape paintings displayed his personality and noble

suggests the style of Shi Tao and Xie Lingyun, hinting the

character through his brushstrokes.

artist's source of inspiration.

Three paintings offered in this sale (Lot 655, 656 and 657)

The third painting, Landscape (Lot 657), painted in 1986, has

are made in the 1980s, when Chiang reached his peak in

a horizontal composition close to a hand scroll, featuring a

his artist career. The structure and depiction of mountains

small bridge leading towards a celestial land. The serenity of

represented Chiang's noble character and his devotion to

the depicted landscape with overlapping mountains in the

traditional brushstroke, obtained from his intense study of

background, as if waiting patiently for visitors. This works

traditional paintings.

suggests the hobby of literati, as if hinting Chiang's retired life in his elderly age.

Landscape (Lot 655) was painted in 1983, with its structure adapted from Li Cheng's Landscape . Chiang's painting shows a snowy white lofty mountain amongst the flourishing woods with a flowing river, where a scholar sails in his lonely boat. Colour tone fades in the distant frosted mountain, suggesting the loneliness of Fan Kuan's Snowy Mountain .

Ravenel 110

661 CHENG SHAN-HSI (Taiwanese, b. 1932)

Landscape 1983 Ink and colour on paper, framed 53 x 54 cm Signed SHAN-HSI in Chinese With one seal of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 57,000 US$ 3,600 – 7,200 RMB 25,000 – 50,000 鄭 善禧 深林之居 1983 水墨 設色 紙本 鏡框 53 x 54 cm 款識：深林之居。歲癸亥暮春，善禧畫時在台北錦安里。 鈐印：鄭善禧印（白）

素有畫壇「閩臺三傑」美譽的鄭善禧，其作品題材均取自於日

Acclaimed as one of the greatest masters of Taiwan and

常生活，畫風大膽創新、雅俗共賞，不僅深具傳統水墨的特

Hokkien, Cheng Shan-hsi chose his subject matters from daily

質，更能在作品中體驗道法自然的哲思。其作品設色別出心

life. His bold choice of style suggests the unique qualities in ink

裁，並能將西方繪畫的色彩概念應用於水墨之中，《深林之

paintings and the Nature. Colours used were boldly adopted

居》前景以點描派的技法與靈巧的墨線結合，中景以濃墨重彩

from Western arts. In this painting, the foreground was made

敷色，遠景則以水墨渲染出山林雲霧繚繞之美，畫作意境融貫

with pointillism and rough lines. Dark colors were used at

中西、重彩豪放，畫風鄉土質樸，讓他成為台灣新水墨的重要

the center and a misty atmosphere was depicted afar. With a

人物之一，其藝術成就卓越，影響深遠。

subject matter of rural areas, Cheng used bold brushstrokes and techniques from both Eastern and Western style of paintings, allowing him to be considered as one of important figures in the Taiwanese modern ink art circle.

Ravenel 112

662 SUN YUNSHENG (Taiwanese, 1918 - 2000)

Landscape 1985 Ink and colour on paper, framed 43.5 x 51 cm Signed SUN YUNSHENG in Chinese With four seals of the artist PROVENANCE: Private collection, Japan

NT$ 120,000 – 240,000 HK$ 31,000 – 62,000 US$ 3,900 – 7,900 RMB 27,000 – 55,000 孫雲生 潑彩山水 1985 水墨 設色 紙本 鏡框 43.5 x 51 cm 款識：乙丑三月既望，五峰山中寫。孫雲生家瑞。 鈐印：孫家瑞（白）、雲生（朱）、大風堂門下（朱）、菁園（白） 來源： 日本藏家舊藏

《潑彩山水》描繪深林幽谷，沉厚的山勢隱約透露出深邃地寶

This painting features a deep valley surrounded by ranges

石顏色，構圖雖極具抽象性，但精神上仍有中國傳統水墨論中

of mountains, depicted by the splash of colour, to illustrate

「意在筆先」之概念，此即孫雲生山水畫的典型風格，除了山

the inner mind of the artist. This abstract style of depiction is

坳中被林木掩隱的房舍與寂寥的汀洲歸泊外，畫面中心被幻化

Sun Yunsheng’s signature style. Contrasting with the houses

的墨色和礦物彩揉合為一，幾近滿幅的山巒，以烘染法襯托出

and the lonely pier, the dark emerald paint at the center of

後方煙嵐之中的山脈是如此地孤高，絕妙地運用撞粉法，趁水

the painting enhanced the elusiveness among the ranger of

份未乾之際，以白粉撞入，成為白雲橫鎖山稜，觀之似乎有雲

mountains. Splash of white powder was added to the moist

霧飄緲、山外有山之意韻。

paper, to create misty white clouds and a celestial atmosphere among the mountains.

Ravenel 114

663 PU HSINYU

(Taiwanese, 1896 - 1963)

Poem

溥心畬 寒雨

Ink on paper, framed 29.5 x 38 cm Signed HSINYU in Chinese

水墨 紙本 鏡框 29.5 x 38 cm 款識：寒雨繁將夕，疏林葉更多。舟人落帆席，漁婦怯風波。 山色遠連岸，雁聲低渡河。無家逢歲晚，歸去意如何？心畬。

NOTE: This poem was listed in Hanyu Tang Poems , Xinshijie Publishing House, Beijing, 1994, p.33

註： 此詩出自於《寒玉堂詩集》，新世界出版社，北京，1994 年初版，頁 33

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 Ravenel 116

664 GUAN LIANG

(Chinese, 1900 - 1986)

Luohan and Tiger Ink and colour on paper, framed 57 x 49 cm Signed GUAN LIANG in Chinese With one seal of the artist PROVENANCE: Christie's Hong Kong, 29 November 2016, Lot 1205

NT$ 150,000 – 300,000 HK$ 39,000 – 77,000 US$ 4,900 – 9,900 RMB 34,000 – 68,000

關良 伏虎羅漢 水墨 設色 紙本 鏡框 57 x 49 cm 款識：伏虎羅漢，番禺，關良。 鈐印：關良（白） 來源： 香港佳士得，2016 年 11 月 29 日，拍品 1205 號

665 ZHOU CHENG (Taiwanese, b. 1941)

Journey to Lushan 1996 Ink and colour on paper, framed 59 x 95 cm Signed ZHOU CHENG in Chinese With three seals of the artist

NT$ 150,000 – 300,000 HK$ 39,000 – 77,000 US$ 4,900 – 9,900 RMB 34,000 – 68,000 周澄 登廬山五老峰 1996 水墨 設色 紙本 鏡框 59 x 95 cm 款識：廬山東南五老峰，青天削出金芙蓉。 九江秀色可攬結，吾將此地巢雲松。 丙子暮春於小雪樓，蓴波周澄畫。 鈐印：周澄（白）、蓴波（朱）、 別有一番滋味在心頭（朱）

Ravenel 118

666 AU HO-NIEN

(Taiwanese, b. 1935)

Roosters 1988 Ink and colour on paper, framed 58 x 93 cm Signed HO-NIEN in Chinese With four seals of the artist

NT$ 200,000 – 400,000 HK$ 51,000 – 103,000 US$ 6,600 – 13,200 RMB 45,000 – 91,000 歐 豪年 雄雞一鳴天下白 1988 水墨 設色 紙本 鏡框 58 x 93 cm 款識：一鳴天下白，戊辰夏日。豪年畫於竹簃軒。 鈐印：歐（朱）、豪年（白）、竹簃軒（白）、 豪年五十歲後所用（白）

歐豪年此作盡顯嶺南畫派特色，除繼承嶺南畫風外，更增添了 現代元素，雄雞栩栩如生，以沒骨法畫成雄雞姿態，前仰後俯 營造出景深樣貌，繼之以傳統國畫之撞粉、撞水效果，呈現出 有如西洋技法所注重的光影效果，讓朱紅雞冠及雉羽表現出暈 染效果，跳脫傳統工筆之法，色彩明妍之餘更可見其彩墨著色 渲染的功力；前景山石與左旁竹影相互襯映，不僅充滿了閑淡 之情更添豪氣，全畫觀之留白自在且渲染曠遠，通幅架構疏密 自然，不愧其有「古為今用，洋為中用」之美名。 The artist Au Ho-nien created this work in the style of Lingnan School of Painting, with a modern twist. Stood upright, the roosters were made with boneless style, and the techniques of traditional Chinese paintings and the Western style of treatment to light and shadow. The bright colours of the crowns made the roosters sprang to life. Rocks in the foreground echo with the bamboos on the left, highlighting the roosters’ mighty character.

Ravenel 120

667 LIN YUSHAN

(Taiwanese, 1907 - 2004)

Tiger in the Woods 1986 Ink and colour on paper, framed 49 x 64 cm Signed YUSHAN in Chinese With one seal of the artist

林玉山 猛虎出林 1986 水墨 設色 紙本 鏡框 49 x 64 cm 款識：時丙寅仲春，桃城人玉山寫於容膝草堂。 鈐印：玉山（朱）

NT$ 300,000 – 480,000 HK$ 77,000 – 123,000 US$ 9,900 – 15,800 RMB 68,000 – 109,000 林玉山（1907∼2004），台灣嘉義人，乳名金水，本名英貴，字立

Born in Chiayi, Taiwan, Lin Yushan was named by a famous literati Su

軒，號雲樵子、諸羅山人、桃城散人，齋名「容膝草堂」；1929年

Yingcun in 1929. His talent was discovered in his early age and was

名儒蘇櫻村為之命名「玉山」，自此即以「林玉山」行世。由於藝

considered as one of the most prodigious young painters in Taiwan,

術才華早發，於日據時期與陳進、郭雪湖並稱「台展三少年」。

along with Chen Jin and Kuo Hsueh-Hu.

林玉山於1926年負笈東瀛，入川端畫學校研究，先入洋畫科，再轉

At the age of 19, Lin studied western and oriental painting at the

入東洋畫科，加上少年與青少年時期對於中國書畫詩文的勤奮，使

Kawabata Painting School in Japan. With his rich passion in Chinese

林玉山成為台灣當時極為少見「藝貫中西」的全方位藝術家。1928

literature and paintings, Lin became an all-rounded artist excelled

年，林玉山與嘉義、台南畫友組織「春萌畫會」（1948年改稱「春

in art representation of the East and the West. In 1928, together

萌畫院」），為台灣日據時期最重要的中國傳統繪畫社團之一；同

with his fellow artists in Chiayi and Tainan, Lin founded the Chun-

時期林玉山亦成為「鴉社書畫會」、「栴檀社」、「書畫自勵會」

Meng Painting Society which became a prominent community of

「鷗社」、「嘉社」、「讀書會」、「瀛社」…等台灣早期本土書

the traditional Chinese painters during the Japanese Occupation in

畫詩文社團的中堅；台灣光復後，致力於美術教育的深耕，對台灣

Taiwan.

藝文發展的貢獻極大。 Lin Yushan promoted en plein air painting, to allow sufficient 林玉山的創作與教學，強調「寫生」的重要，對於動植物自然生態

observation and painting with precision. Thus formed the basis of his

的觀察細膩而精確，並以清晰的畫理及方法予後學範式。

teaching.

在動物的描繪中，林玉山以畫「虎」最為知名，曾於其《畫虎漫

In animal paintings, Lin was renowned by his depiction of tigers. Lin

談》一文中強調：「…一方面研究古人之虎畫，探討以往歷朝畫家

once mentioned, "Tigers were a famous subject matter of all times.

如何賦予造型，如何運筆用墨，以至於取神之秘法；一方面觀察老

One has to practise of old masters, their manipulation of brushstrokes

虎，作寫生，注意其視聽、咆哮、示威、或行、或臥、或伏、或仰

and their representation of the tigers' characters. On the other hand,

諸態；…常藉影片輔助觀察之不足。並常於心中模擬其動態來表

one has to observe tigers closely their roars, their movements and

現攫物、奔馳、或衝擊、或搏鬥等疾風迅雷之動作。除此之外 尚

their reaction. One could also watch films of tigers, so that one could

須研討如何佈局添景，以達嘯聲震谷，神出鬼沒，蕭瑟寒噤等氣

capture their sudden precise movements in paintings.

氛。…」足見林玉山已參透並實踐「外師造化，中得心源」的中國 傳統繪畫精髓。

This painting, Tiger in the Woods, depicted a crouching tiger approaching its prey in steady steps. With a representation of the

此幅《猛虎出林》，寫一猛虎似已發現獵物，緩步穿出竹林之狀，

tiger's facial expression, one could imagine the position of its limbs

雖僅繪虎首未見四足，但高聳之虎背與微張之虎嘴利齒及圓睜專注

which are ready to spring into action. Such tense atmosphere was

之眼神，都呈現出捕食獵物的蓄勢待發之狀。造型精確，情態威

built solely on the expression the tiger and the precise use of colour

猛，筆墨酣暢，氣氛緊繃，畫幅不大卻氣勢逼人。此畫動態完全符

and brushwork. Close study of the tiger were reflected in the artist's

合林玉山自述的畫理：「當老虎眈眈注視遠方動靜時，耳朵是向

biography, "When the tiger's eyes were fixed on its prey, the ears

前，有時會隨著傳來的聲音之方向而轉動耳朵。…老虎威猛之相，

faced the front to detect the slightest sound from afar... The fearless

一般都認為是在開口咆哮之態，其實還未及開口，正低鳴緩施雷威

tiger roars long before the mouth was opened. Its low pitched

之表情更為喪膽，古詩有「未嘯已生風」之句，即未發嘯時已有腥

rumbling sound is the most horrifying of all."

風襲人之意。」

Ravenel 122

668 ZHANG DAQIAN (Taiwanese, 1899 - 1983)

Scholar on a Boat 1961 Ink and colour on paper, framed 48.2 x 25.7 cm Signed DAQIAN HUAN in Chinese With three seals of the artist

NT$ 950,000 – 1,500,000 HK$ 244,000 – 386,000 US$ 31,200 – 49,300 RMB 216,000 – 341,000 張 大千 溪江獨釣圖 1961 水墨 設色 紙本 鏡框 48.2 x 25.7 cm 款識：辛丑年中秋後一日畫。紹武先生法家正之，大千弟張爰。 鈐印：張爰（白）、大千鉩（朱）、昵晏樓（白）

近現代水墨大家張大千，雖然善畫人物、花鳥，獨自成家；但

Modern ink master Zhang Daqian was first known for his

是其山水畫，儘管起步較遲，卻是他畢生致力最勤、作品數

prodigious skills in his portraiture and flower and bird paintings.

量最多，並且成就最高的一項藝術。自1920年代，張大千即

Landscape, however, became the most productive and most

以仿學石濤、八大為主，旁及梅清、石谿、程邃等人，臨仿肖

acclaimed subject in his artistic career. Since the 1920s, Zhang

似，足以亂真。從1930年代中期起，又因為收藏和研究古畫

adopted styles from Shitao and Bada, influenced by Meiqing,

的興趣，漸漸擴展其仿古路線，除了致力元人，也上溯北宋、

Shikuo, Chengsui. From the mid 1930s, due to his growing

五代大家，在寫景當中融入諸家筆法，終成一代大師。

interest in collecting ancient paintings, Zhang began to study from ancient ink masters, learning the skills from artists of

此幅《溪江獨釣圖》便是大千結合元人吳鎮、倪瓚與清初石

Yuan, Northern Song and the Five Dynasties.

濤、梅清畫風的佳作。構圖採元代一河兩岸的表現方式，擬 唐詩「孤舟簑笠翁，獨釣寒江雪。」詩意作畫。近處畫坡岸巨

This painting is a perfect example of a melting pot of styles

石，上面植雜樹數株，遠處為低矮的沙渚以及連綿山巒，近景

and skills from ancient masters, being Wu Zhen and Ni Zuan

與遠景之間，以留白來表現壯闊的湖水，只見江中泊一小舟，

from Yuan, Shitao and Meiqing from Qing. The composition

有一文士優閒垂釣。與此簡潔山水相呼應的，則是大千精鍊的

of this painting adopted Yuan’s style with one river separating

用筆，反覆以乾筆淡墨側鋒取勢，緩緩皴擦山石，產生一種

two shores, captioned with a Tang poem. The shore and rocks

物體受光閃爍不定的效果。此畫格調高逸，平淡天真，一如詩

were depicted in the foreground with trees, sandy shores and

作，初讀平淡無奇，似只在描繪漁夫隱士悠哉瀟洒的生活，細

hills were painted in the painting’s far end. A scholar is fishing

讀卻蘊含放達超脫之味，傳達以天地為師，天人合一之人文精

on a boat sailing across the vast lake in between the shores.

神，值得細細品賞。

This simplistic composition of landscape was achieved by the diligent use of dry brush and light ink in slanted tip. Slow cun method to depict rocks created a shimmering effect on the painting. This minimalistic approach heightens the poetic representation of the enlightenment of man and nature.

Ravenel 124

669 PU HSINYU

(Taiwanese, 1896 - 1963)

Landscape 1950 Ink and colour on paper, framed 80 x 28.5 cm Signed PU RU in Chinese With two seals of the artist

NT$ 1,600,000 – 2,600,000 HK$ 411,000 – 668,000 US$ 52,600 – 85,500 RMB 364,000 – 591,000 溥 心畬 暮煙歸棹 1950 水墨 設色 紙本 鏡框 80 x 28.5 cm 款識：浦漵炊煙孤起，溪橋舊板欹斜， 行盡江南日暮，疎林黃葉誰家。 庚寅十二月，溥儒。 鈐印：竹光（朱）、心畬書畫（朱）

Ravenel 126

Ravenel 128

溥心畬（1896∼1963年），自清末至民國以來為詩、書、畫三絕而

Pu Hsin-yu was an all-rounded literate excelled in poems, calligraphy

著稱的文人畫家，在20世紀的畫壇上留下了他的獨特身影，也隨著

and paintings. He was acclaimed as a celebrated artist in the 20th

21世紀的到來而被人們重新認識。從清末「南張北溥」之美名，到

century. Renowned as the best literati artist from the North in the

民國時期渡海來台後的孤獨寂寥，1950年代現代藝術盛行、台灣畫

Late Qing dynasty, he led a solitary life after arriving in Taiwan. In the

會蓬勃發展之時，溥心畬雖非藝壇的關注焦點，但於今傳統東方文

1950s, facing the burgeoning modern art and Taiwanese local art, Pu

化思維被人們重拾之際，其繼承書畫正統且又另闢蹊徑的藝術之路

Hsin-yu faced yet another doldrum until now when modern society

被給予了莫大地關注與信心。

slowly revisited traditional Oriental literature and arts. Due to his rich and refined literary background, Pu has become one of the most

綜觀溥氏一生的藝術歷程，詩、書、畫都得齊而視之：其詩超塵遺

sought-after artists in recent years.

世，充滿著遨遊自然的蒼茫孤寂；其書法氣象非凡、由尊書法之 要，在自學傳統之中揉和出儒雅的大家風範；其畫作習古而來，雖

Pu Hsin-yu was raised with a rich literary background, thus he put

無師承，但卻予後人古雅清寂、靈秀飄逸之感，其一生寄情山水，

huge emphasis on scholarly training and personality of an artist,

在傳統文化中陶冶出自我的操守品行，終成近代書畫一代名家。

so as to manipulate an ink brush, poetic themes and creation in an artwork. At the age of 42, Pu composed a series of landscape

溥心畬之創作風格在於畫外的修養與薰陶，其天資非凡，更得力於

paintings which reflects the higher scholarly pleasure of a literati

其書法對於筆墨的掌控及詩文對意境營造的能力。溥氏42歲所做之

painter. Leading a life of destitute after the war, his painting reflected

《寒玉堂山水冊》便能得出其詩畫相映成章，賞心悅目之餘更能品

a feeling of solitude, elegance and nobility, in juxtaposition with the

出其高古格調，文人的智慧與儒雅均成就他「工妙」的藝術之境。

harsh devastation of war and modernity. Since his childhood, Pu

自幼家藏名畫甚多，臨摹之餘竟可得其意，更因戰亂時局、渡海來

was faced with a vast collection of Chinese paintings and thus had a

台之境遇，其畫作常給人孤絕清逸之氣，雖技法深受宋代文人畫風

rich study of ancient paintings. He was deeply affected by the Song

影響，但學古卻不同於古，溥氏致力於追求書法的變革，於畫中展

literati painting and further developed his individual style.

現「篆籀之筆」的影響，用筆上的突破，讓其書畫相連、意筆一氣 運行，故其書畫作品可見清勁之氣，氣韻生動之外更可知其涵養豐

Pu Hsin-yu once mentioned that landscape paintings must first be rich

厚。

and broad, and its brushwork used has to be sharp and clear. Apart from the painting techniques, one has to cultivate a literati manner.

溥心畬曾言山水畫其一尤重博大渾厚，筆墨氣勢要求險峻明秀，除

Second, an artist must have strict control over the use of colour. One

基礎畫工的累積外，還得蘊養廣闊的高尚胸懷；其二為設色有度，

should be familiar with the changing of the four seasons, master the

山水色調不定，需熟知四時變化與描摹對象的形態特徵，溥氏兼用

characteristics of individual subject matters. Pu used shades of green

青綠、淺絳山水之法，將山態水勢做到層次分明，妙真盡技之外又

and lightly painted mountains, to allow the differentiation of layers,

能抒懷己意。

so as to enhance the depiction of the subject.

《暮煙歸棹》為溥心畬渡海來台（1949年）隔年之作，綜觀全畫可

Landscape was created in 1950, a year after settling in Taiwan. The overview of the painting followed the typical style of the North in terms of structure and the use of ink. Staged in a sunset of an early winter, the painting was created with exquisite detail of distant mountains and fading autumn leaves. In the mid-stage of the painting shows elevated rocks. Clever use of red leaves brightened the cold blue cliffs. While on the left of the panel, a sailing boat and flying birds softly break the silent scene. The foreground was treated with sharp cun to highlight the high-rise skeleton trees. Using the composition of the North and the use of colour of the South, Pu created this rich and balanced painting reflecting his strong scholarly influence and the melancholic reminiscence to his homeland.

發現其對北宗山水畫佈局章法與筆墨運用的靈巧，圖繪初冬暮色， 工致勻淨，遠景以勾斫之筆塑造出遠山輪廓、淡花青色敷染樹葉； 中段右側山石峻峭，淡赭石色烘染崖石及樹木枝幹，以一樹奇枝紅 葉打破山勢艱險的生硬，左側則以歸鳥渡江與扁舟漁人帶出破題的 孤寂之感；近景則勾皴結合、以書入畫使奇樹枝葉筆法迥異，船棹 用筆更可見其年少時習界畫之筆力；畫中雜樹姿態萬千、山石突兀 崢嶸，溥心畬以北宗山水畫重起伏之勢，加以南宗淺降之法讓構圖 增添了文人畫的 藉與隱逸之情，疎林黃葉之間可得其古樸蒼潤之 妙。畫中以行書題詩，右上偏移之姿帶出飄逸絕塵之感、剛柔並 濟，日暮江南之景寓其渡台後的思鄉情懷，此作熔南北宗風格於一 體，更是溥心畬獨具個人風格之作。

670 FU BAO-SHIH

(Chinese, 1904 - 1965)

Meditating under the Willow Ink and colour on paper, framed 137.5 x 34 cm Signed FU BAO-SHIH in Chinese With three seals of the artist PROVENANCE: From the Hong Zhen Tang Collection, Hong Kong ILLUSTRATED: Highlights of Chinese Paintings (Early Republican Period) , Hanguang Creativity Co. Ltd, Taipei, 1991, pp. 187-188

傅抱石 柳蔭禪思圖 水墨 設色 紙本 鏡框 137.5 x 34 cm 款識：無情最是臺城柳，依舊煙籠十里堤。抱石寫於重慶西郊。 鈐印：抱石長年（白）、新諭（朱）、抱石齋（朱） 來源： 香港弘禛堂收藏 著錄： 《中國近代繪畫（民初篇）》，漢光文化事業股份有限公司， 台北，1991 年出版，頁 187-188 《中國名畫全集》，京華出版社，北京，頁 1006

Collection of Chinese Paintings , Jinghua Publishing House, Beijing, p. 1006

NT$ 2,200,000 – 4,000,000 HK$ 566,000 – 1,028,000 US$ 72,300 – 131,500 RMB 500,000 – 909,000 傅抱石自言：「畫山水的在四川若沒有感動，實在是辜負了四

Fu Bao-shih once mentioned, “if an artist isn’t impressed by

川的山水……以金剛坡為中心周圍數十里我常跑的地方，確是

the landscape of Sichuan, one isn’t doing justice to the place...

好景說不盡。一草一木，一丘一壑，隨處都是畫人的粉本。煙

Jingangpo is a frequent location for jogging to Fu Bao-shih.

籠霧鎖，蒼茫雄奇，這境界是沉緬於東南的人所沒有、所不

Every plant and hill could be a subject to paint. The haze and

敢有的。」羈留川東前後八載，他以無比的勤奮和無限的熱

hilly relief form a unique and picturesque environment that

情，找到了自己獨特的藝術語言，以皮紙破筆繪山水，用散鋒

could not be found elsewhere.” During his stay in Sichuan, Fu

亂筆表現山石結構，以氣取勢，磅礴多姿，自然天成，創造了

created his unique visual language of representation. Using

屬於自己的「抱石皴」。

sparse tip and intertwining brushstrokes, Fu created a unique way to depict rough rock surfaces and added grandiosity in

1942年傅抱石在重慶舉辦「壬午畫展」，他於自序中寫道：

his paintings. Such technique was named Baoshi cun after the

「成渝古道旁，金剛坡麓的一個極小的院子裡原來是做門房

artist.

的，用稀疏竹籬隔作兩間，每間只有不過方丈大……寫一封 信，已夠不便，哪裡還能作畫？不得已，只有當吃完早飯

In 1942, Fu Bao-shih mentioned the poor living conditions

後，把僅有的一張方木桌，抬靠大門放著，利用門外照來的

in Sichuan in the preface of his exhibition. His house was so

光線作畫。畫後，又把方木桌抬回原處吃飯，或作別的用

small that it only allowed writing small notes, not to mention

途。」在這樣艱苦的環境下，傅抱石創作了百餘件嶄新風貌的

painting. Under such harsh conditions, it was admirable for

山水和人物作品，獲得了崇高的聲譽。自此以後，傅抱石的繪

the artist to produce hundreds of paintings during this period.

畫藝術進入了完全成熟時期。學界將此一時期稱為「金剛坡時

Since then, the artist entered the prime of his career. Art

期」，公認是傅抱石創作力最為旺盛的階段，很多代表作都在

historians later named this the Jingangpo period, one of Fu’s

此時期誕生。

most productive period of his career.

此幅《柳蔭禪思圖》，為金剛坡時期所作，枯柳樹下石台上

This painting was made during this Jingangpo period. Featured

端坐一藍袍僧人，左手扶膝，右手持扇，背脊微躬，雙目下

in the painting, an old monk sat under a dying willow in deep

垂，雙脣緊抿，滿腮鬍髭，若有所思；畫上題晚唐詩人韋莊

meditation. The captioned Tang poem hinted the melancholic

七絕詩《臺城》中二句「無情最是臺城柳，依舊煙籠十里

state of the monk, echoing with his depressed expression.

堤」，頗有感慨興亡，弔古傷今之嘆，與畫中僧人情狀互為呼

Unlike his typical works, this painting was made with simplistic

應。此畫為傅抱石較為少見的簡逸構圖，然而樹根及坡石仍為

composition. Baoshi cun was applied to the roots and rocks

「抱石皴」筆法，柳枝及人物勾寫，亦皆線條勁健，縱肆瀟

showing strength and carefree spirit of the artist.

灑，實為佳構。

Ravenel 130

671 ZHANG DAQIAN (Taiwanese, 1899 - 1983)

Bamboo and Chrysanthemums 1963 Ink and colour on paper, framed 120 x 56.5 cm Signed ZHANG DAQIAN HUAN in Chinese With two seals of the artist PROVENANCE: Christie's Hong Kong, 29 May 2006, Lot 871

張大千 竹菊圖 1963 水墨 設色 紙本 鏡框 120 x 56.5 cm 釋文：本為編籬護菊花，誰知老竹又生芽。 千秋名士原同調，陶令王猷合一家 款識：未雲仁兄法家正之。癸卯春日張大千爰。 鈐印：張爰私印（白）、大千唯印大年（朱） 來源： 香港佳士得，2006 年 5 月 29 日，拍品 871 號

NT$ 4,600,000 – 7,500,000 HK$ 1,183,000 – 1,928,000 US$ 151,300 – 246,600 RMB 1,045,000 – 1,705,000

菊、竹、梅、蘭四君子，為中國傳統文人畫的代表題材，向

早年學畫花卉，曾受海派畫風影響，但因習氣太重，後來改

為詩人墨客所喜，以此表現自我清高脫俗的性格，或作為品

學明代水墨花卉寫意大家陳淳與徐渭二人。大千曾說：「明

德的借鑒。其中，菊花因其氣清香，又耐寒霜，經常被用以

季逸筆花卉，予最愛陳道復（陳淳），其高勝處，雖石田

象徵君子純潔的美德；而竹子則是高拔勁挺，代表君子清

翁（沈周）亦當避席，其稍後，當以徐青藤（徐渭）為巨

高、堅毅不屈的情操。在此幅《竹菊圖》中，大千將菊花與

擘。」觀大千此幅畫菊，布局剪裁得宜，用筆線條充滿變化

竹入畫，並題上其所喜鄭板橋之詩句「本為編籬護菊花，誰

之美，且墨彩淋漓、用色清雅，無論與沈周渾樸粗淡的風

知老竹又生芽。千秋名士原同調，陶令王猷合一家。」生動

格、陳淳清新簡逸的韻味、抑或是徐渭野逸豪放的畫風相

傳達出詩句所云：竹籬原為護菊而生，未料竹枝卻發出新芽

比，都毫不遜色！

的特殊意象，並以此畫寓意有德的高逸之士共處且相知相勉 的情懷。

放眼近現代畫壇，畫花卉足與大千比肩者，恐非留法華裔畫 家常玉莫屬。有意思的是，在常玉的花卉畫裡，亦經常可見

畫面中，菊花依附直挺的老竹向上蓬勃生長，姿態曼妙。大

「菊」之身影。如其《紅底白菊》一幅即於代表喜氣的紅色

千以淡墨快速畫出菊花之花瓣，再施以藤黃點染，墨葉亦以

背景中，以寥寥簡單幾筆勾勒出白菊優雅的姿態。透過菊的

沒骨法寫之，將葉子的正側、反背、俯仰，描繪得相當生動

描寫，畫家不僅能寄託其濃厚的鄉愁，亦可藉由花之姿態暗

自然。畫面下方的新篁，竹枝則分向左右斜出，此係大千以

寓自己漂泊四海、日漸凋零的身軀。於花卉畫中投射藝術家

挺秀的中鋒畫成竹枝，再以中鋒、側鋒並用畫出竹葉，行筆

的自我人生與藝術美學，無論是根植於中國傳統的張大千，

勁逸瀟灑，帶有濃厚的書法韻味，與墨色層次豐富的黃菊相

或融合西方抽象表現風格的常玉，皆如此而為之。兩人的藝

映成趣。大千畫菊有獨到的體會，嘗自謂：「菊是淩寒傲

術不僅超越中西時空界限，也具有創新與前瞻性，令人回味

霜，絕無俯仰隨人的姿態。畫花瓣要從外面先畫大瓣，用淡

無窮！

墨一層，再用較深的墨畫一層。畫菊梗用筆要有頓挫曲折， 又含有挺健的意思。拿水墨濃淡的筆點葉，但最要疏密得 宜，用筆好似卷雲，間或一點飛白。」本幅黃菊一片天機自

圖片（下頁圖片由左至右）:

發，對照大千畫語錄，觀者自可心領神會！

圖 1. 沈周《墨菊圖》，台北國立故宮博物院藏。 圖 2. 陳淳《溽暑花卉圖》，大都會博物館藏。

大千畫花卉雖起步較早，且天分極高，然其此方面之技藝卻

圖 3. 徐渭《菊竹圖》，遼寧省博物館藏。

經常為工筆人物和潑墨潑彩山水之盛名所掩，殊為可惜。他

圖 4. 常玉《紅底白菊》，羅芙奧台北 2017 年 6 月 4 日，拍品 319 號。

Ravenel 132

Ravenel 134

Chrysanthemum, bamboo, plum blossom and orchid are

Despite the clever employment of techniques in such flower

considered as four gentlemen and are the favourite symbols

paintings from an early age, Zhang Daqian was known

depicted in Chinese literati paintings, to serve as a reminder

widely by his talent in gongbi portraits and pocai landscape

to the artist or a reflection of himself. Among the four

paintings. His flower paintings were influenced by early

symbols, Chrysanthemums are known for their light fragrance

Shanghai paintings, later by those from Ming dynasty.

and its resistant to cold frost, thus they symbolize purity in

Zhang once mentioned, "Flowers depicted by Ming painters

a gentleman. Bamboo stands straight and tall, symbolizing

in minimalistic style. My favourite artist is Chen Chun,

noble character with strong morality. This painting, Bamboo

followed by Shen Zhou and Xu Wei." From this painting of

and Chrysanthemums , Zhang Daqian used the two subject matters with a captioned poem by Zheng Banqiao, "Bamboo were initially grown next to chrysanthemums as a form of protection. Who would have guessed that this forms a brand new picture, suggesting harmony when gentlemen gather together."

chrysanthemums, the composition was minimalistic with simple lines and light colours. Under the comparison with those of the abovementioned predecessors, his paintings achieved similar level of prodigy.

In the modern art world, the artist whose flower paintings could be comparable to Zhang Daqian’s should be Sanyu.

In this painting, chrysanthemums flourished next to an

It is interesting to see the depiction of the same flower,

aged bamboo. Zhang used light coloured ink and swift

chrysanthemum, as Sanyu’s main subject matter. Vase of

brushstrokes to outline the petals of flowers, then filled the

Chrysanthemums with Red Ground , sold in Ravenel Spring 2017 Auction, featured white chrysanthemums on red background. Through the depiction of chrysanthemums, Sanyu suggested the melancholy of his lonely life away from home. Regardless of the Eastern and Western style of depiction by Zhang Daqian and Sanyu, both artists used the same subject matter to reflect their own feelings and beliefs, forming an interesting phenomenon in the representation of visual art.

petals with yellow ink. Leaves were painted with boneless technique, to display its myriad state and forms in nature. In the lower part of the painting, the bamboo branches were placed around the flowers. These branches were painted elegantly with centered tip, whereas the leaves were painted with both centered and slanted tips, suggesting the artist’s employment of calligraphy techniques. This contrasts greatly with the skills with the chrysanthemums. Zhang had his own theory in depicting chrysanthemums, "Chrysanthemums have its own individuality and will not be affected by its surroundings. Petals should be sketched starting from the largest petal on the outer rim, with light ink, then gradually raising the intensity of ink. The branches of chrysanthemums should be painted straight with nodes. Leaves should be painted with thick and light ink, with great attention to the right density."

Photos (Left to right): 1. Shen Zhou, Chrysanthemums , from the collection of the National Palace Museum, Taipei.

2. C h e n C h u n , S u m m e r G a rd e n , f ro m t h e c o l l e c t i o n o f t h e Metropolitan Museum of Art, New York 3. Xu Wei, Bamboo and Chrysanthemums , from the collection of the Liaoning Museum, Liaoning.

4. Sanyu, Vase of Chrysanthemums with Red Ground , sold in Ravenel Taipei, 4 June 2017, Lot 319.

672 PU HSINYU

(Taiwanese, 1896 - 1963)

Scholar Strolling in the Woods Ink and colour on paper, scroll 56.5 x 28.5 cm Signed HSINYU in Chinese With two seals of the artist

NT$ 500,000 – 800,000 HK$ 129,000 – 206,000 US$ 16,400 – 26,300 RMB 114,000 – 182,000 溥 心畬 松下高士圖 水墨 設色 紙本 立軸 56.5 x 28.5 cm 釋文：獨行潭底影，數息樹邊身。 款識：賈長江句，心畬寫。 鈐印：溥儒（白）、明夷土（朱）

此作構圖工整兼有自我風格，勁松巨木鋪蓋蒼穹，以快速濕潤

The composition with pine and scholar is typical of Pu

的筆法與「鐵畫銀鉤」之筆勾勒出既剛勁又飄逸的古松，直追

Hsinyu’s painting. The artist used wet brushstrokes to depict

唐寅筆意；墨色以花青、淺絳與小青綠為主，色調清雅、層次

a robust and ancient pine tree, which bears the style of Tang

分明之間可見隨筆橫豎任行之法。

Yin. The colour tone is in harmony with overlapping layers of brushstrokes.

臨江獨立的高士，以線勾勒出古遠形象，執杖的手勢線條細 膩，衣袂翩翩、動態十足，氣格澹泊幽雅，充滿書卷氣，與畫

Strolling along the river is a gentleman depicted meticulously

中行草題詩相映，藉賈島之詩與其境遇，抒一己之懷，詩云：

with fine brushstrokes. The scholar is vividly painted to display

「獨行潭底影，數息樹邊身。」其中禪意深蘊，潭底的虛影與

his literati manner. With the captioned poem, one could picture

樹邊的高士暗示了「無我」境界。

the mind of the scholar secluding himself away from the world around him.

高士身傍古松凝望著深幽潭底，但這樣的美景卻不得走入，獨 行寂寥之意盡揮灑於畫幅中，以題詩平衡畫面，構圖幾無空白

Looking afar to the distant river, the scholar could not reach

卻不覺壅塞；孤立的勁松與眺望遠處的高士，兩相形塑出溥氏

the destination. This composition might have hinted the

心所嚮往的文人意蘊，獨行無伴之嘆不如相忘於江湖，隱喻了

psychological state of the artist. With a solid background of

溥心畬渡海來台後隨遇而安的心境，雖然能安貧樂道，但常有

Chinese literature, the artist added an ancient touch to this

思鄉懷舊的情緒寓於畫作之中，其將詩書畫合而為一，不僅吸

painting, letting viewers to have a glimpse of the pleasure of

收了古畫的簡練與觀念，更在畫面上增添了秀逸的文人氣質。

literati.

Ravenel 136

673 YU YOUREN

(Taiwanese, 1879 - 1964)

Poem in Cursive Script Ink on paper, scroll 178.5 x 23 cm (each) Signed YU YOUREN in Chinese With one seal of the artist NOTE: Ruoheng mentioned refers to Mr Lu Dangping, a reputable figure in education, politics and calligraphy. Mr Lu followed Mr Chiang Kai-shek to Taiwan in 1949 and founded the Taiwan Chinese Calligraphy Society with Yu Youren and Liang Han Tsao. His calligraphy was greatly appreciated by Yu Youren.

NT$ 380,000 – 600,000 HK$ 98,000 – 154,000 US$ 12,500 – 19,700 RMB 86,000 – 136,000 于 右任 草書十一言聯 水墨 紙本 立軸 178.5 x 23 cm （每件） 釋文：美不勝收江山著筆成圖畫，術多妙用心血為爐鑄古今。 款識：若衡老弟為台灣美術節撰聯。于右任。 鈐印：右任（朱） 註： 上款人「若衡老弟」即為魯蕩平先生，民國著名教育家、政客、 書法家。魯蕩平於 1949 年追隨蔣介石前往台灣，後與于右任、 梁寒操等人創建中國書法學會，其書法深得于右任先生的讚賞。

Ravenel 138

674 YU CHUNG-LIN

(Taiwanese, 1925 - 1985)

Peonies and Bees 1982 Ink and colour on paper, scroll 97 x 63 cm With three seals of the artist PROVENANCE: Acquired directly from the artist's daughter ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 160-161

NT$ 260,000 – 400,000 HK$ 67,000 – 103,000 US$ 8,500 – 13,200 RMB 59,000 – 91,000 喻 仲林 芍藥圖 1982 水墨 設色 紙本 立軸 97 x 63 cm 款識：千葉揚州種，春深霸眾芳。 無言比君子，窈窕有溫香。 鈐印：喻鉥（白）、仲林（朱）、 花好月圓人壽（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 160-161

675 YU CHUNG-LIN

(Taiwanese, 1925 - 1985)

Turtledoves and Red Leaves 1965 Ink and colour on paper, framed 62 x 47.5 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist PROVENANCE: Acquired directly from the artist's daughter ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 72-73

NT$ 220,000 – 340,000 HK$ 57,000 – 87,000 US$ 7,200 – 11,200 RMB 50,000 – 77,000 喻 仲林 紅葉斑鳩 1965 水墨 設色 紙本 鏡框 62 x 47.5 cm 款識：乙已九月寫於麗水精舍。仲林。 鈐印：喻（白）、仲林所寫（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 72-73

Ravenel 140

676 YU CHUNG-LIN

(Taiwanese, 1925 - 1985)

Sparrow and Pomegranates 1968 Ink and colour on paper, framed 66 x 42 cm Signed CHUNG-LIN in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist's daughter ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 104-105

NT$ 160,000 – 280,000 HK$ 41,000 – 72,000 US$ 5,300 – 9,200 RMB 36,000 – 64,000 喻 仲林 石榴麻雀 1968 水墨 設色 紙本 鏡框 66 x 42 cm 款識：戊申二月，仲林寫意。 鈐印：喻（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 104-105

Ravenel 142

677 YU CHUNG-LIN

(Taiwanese, 1925 - 1985)

Wisteria and Finch 1980 Ink and colour on paper, framed 49.5 x 32.4 cm Signed CHUNG-LIN in Chinese With two seals of the artist PROVENANCE: Acquired directly from the artist's daughter NOTE: A certificate of provenance will be provided by the artist's family

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 喻仲林 紫藤黃雀 1980 水墨 設色 紙本 鏡框 49.5 x 32.4 cm 款識：仲林。 鈐印：喻仲林（朱）、寓我無邊春（朱） 來源： 直接得自藝術家女兒 註： 附藝術家家屬來源證明

678 TUNG TSO-PIN (Chinese, 1895 - 1963)

Poem in Oracle Bone Script 1962 Ink on paper, framed 70 x 33 cm Signed TUNG TSO-PIN in Chinese With two seals of the artist

NT$ 130,000 – 260,000 HK$ 33,000 – 67,000 US$ 4,300 – 8,500 RMB 30,000 – 59,000 董 作賓 甲骨文七言詩 1962 水墨 紙本 鏡框 70 x 33 cm 釋文：依依朝日上林初，長對幽花酒一壺， 為問歸來新燕子，可獨省識舊人無。 款識：集契集七言詩一首。蘭庭先生正之。 中華民國五十一年三月五日壬寅寫於台北靜 龍里寓於平盧，董作賓。 鈐印：董作賓（白）、彥堂（朱）

Ravenel 144

679 ZHOU CHENG (Taiwanese, b. 1941)

周澄 水仙

Narcissus 1990 Ink and colour on paper, framed 70 x 60 cm Signed ZHOU CHENG in Chinese With two seals of the artist

NT$ 90,000 – 180,000 HK$ 23,000 – 46,000 US$ 3,000 – 5,900 RMB 20,000 – 41,000

1990 水墨 設色 紙本 鏡框 70 x 60 cm 款識：輔發先生清翫。庚午清明後於台中，蓴波周澄寫。 鈐印：周澄之印（白）、居山堂書畫（朱）

680 LEE YIH HONG (Taiwanese, b. 1941)

Strolling in the Woods 1982 Ink and colour on paper, framed 25.8 x 45.5 cm Signed LEE YIH HONG in Chinese With three seals of the artist

NT$ 100,000 – 200,000 HK$ 26,000 – 51,000 US$ 3,300 – 6,600 RMB 23,000 – 45,000 李 義弘 策杖遊林圖 1982 水墨 設色 紙本 鏡框 25.8 x 45.5 cm 款識：壬戍，李義弘。 鈐印：義弘之印（白）、在川小璽（朱）、草地郎（朱）

Ravenel 146

681 JU MING

(Taiwanese, b. 1938)

Chickens Ink and colour on paper, framed 48.5 x 32 cm Signed JU MING in Chinese With one seal of the artist

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 14,000 朱銘 雙雞 水墨 設色 紙本 鏡框 48.5 x 32 cm 款識：朱銘 鈐印：朱銘（白）

Ravenel 148

682 JU MING

(Taiwanese, b. 1938)

Gossiping Ink and colour on paper, framed 29.5 x 44 cm Signed JU MING in Chinese With one seal of the artist

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 14,000

朱銘 三姑六婆 水墨 設色 紙本 鏡框 29.5 x 44 cm 款識：三姑六婆，朱銘 98。 鈐印： 朱銘（白）

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151

ABSENTEE BID FORM Auction RAVENEL AUTUMN AUCTION 2018

Refined Brushwork: Fine Chinese Paintings Date Saturday, December 1, 2018, 3:30 pm Sale No. TC1803 Location Taipei Marriott Hotel Address Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei

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152

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

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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作 其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金 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。 (1) 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。 (2) 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 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。

j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之違約 金。本公司亦得自行選擇將買家未付之款項，用以抵銷本公司 或其他關係企業在任何其他交易中欠下買家之款項，買家絕無 異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有 在三十五天內付款，本公司除上述辦法外，另有權為下述一項 或多項權利或補救辦法：

(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。 (b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售 予買家之拍賣品交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。 g. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。

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

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

The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

(1) 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.

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions.

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

Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

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

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

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

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

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

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

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

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.

g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

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

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

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

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

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

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

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

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

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