清賞II—古今人文藝術專場 Connoisseurship II: The Literati Sale by Ravenel International Art Group

CONNOISSEURSHIP II : THE LITERATI SALE

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.

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

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.

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).

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.

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.

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.

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.

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.

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。

競投保證金 : 新台幣陸拾萬元或貳萬美金。

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。

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。

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。

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。

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。

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。

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 Connoisseurship II : The Literati Sale

羅芙奧 2018秋季拍賣會清賞II—古今人文藝術專場

AUCTION

拍賣日期 / 地點

Saturday, 1 Dec 2018, 4:30 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4:30 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）下午11:00 至下午6:00 2018年11月18日（日）下午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4:30 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 - 4:30 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

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

Manager, Client Development Department

Representative Beijing

業務代表上海 Business Representative Shanghai

目次 / Contents 2

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 6

羅芙奧秋季拍賣會

SALE INFORMATION 8

羅芙奧之服務

RAVENEL SERVICES 10

清賞II —古今人文藝術專場

Connoisseurship II: The Literati Sale 137

委託競投表格

ABSENTEE BID FORM 139

業務規則

TRANSACTION AGREEMENT 143

中國歷代年表

CHRONOLOGY

RAVENEL STAFF AND SERVICES FOR THIS SALE

SPECIALISTS

CATALOGUE SUBSCRIPTION

COLLECTION AND SHIPPING

Director, Head of Department Vivi He

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

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

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

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

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

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

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。

CONNOISSEURSHIP II : THE LITERATI SALE

清賞 II —古今人文藝術專場 Saturday, 1 December 2018 4:30 pm Taipei Marriott Hotel

Lots 701 – 827

7 01 HE BAILI

何百里

Peony

牡丹

2017 Ink and color on paper 34 x 46.8 cm Signed BAILI in Chinese With two seals of the artist

2017 設色紙本 34 x 46.8 cm 款識：百里鈐印：何百里印（朱）、自在軒（朱）

NT$ 220,000 - 300,000 HK$ 57,000 - 77,000 US$ 7,200 - 9,900 RMB 50,000 - 68,000

7 02 A QINGBAI MELON-FORM BOX AND COVER SONG DYNASTY

此盒瓜棱形，子母口，滿施青白釉，上下蓋合處無釉且嚴緊。釉層

Song Dynasty (960-1279) D: 13 cm

小者往往被視作粉盒或胭脂盒，以景德鎮附近的青白瓷窯系為代

雖不甚厚，但清透勻淨，映襯出內裡的胎體潔白細膩少有雜質，是該時期青白瓷產品的典型代表。瓷蓋盒是宋元時期瓷器生產品，稍表，其產品大多為圓形，以素面無紋或模印花卉紋最為常見，一般裡外均施釉，釉厚薄不一。不僅行銷國內，也出口國外多個地區，

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 7,900 - 11,800 RMB 55,000 - 82,000

是青白釉窯系最具代表性的產品之一。 This lot is of compressed globular form resembling a melon with lobed sides, an applied curled stem emerging from the convex center of the cover, applied overall in a translucent light turquoise-blue glaze pooling in the recesses, save for the raised interior rim and base left unglazed revealing the white body.

宋青白釉瓜棱粉盒

7 03 HE BAILI, HE JILAN

何百里、何紀嵐

(Chinese,b.1945, Chinese b.1974)

嵐山百里舟

Boat floating through moutains 2017 Ink on paper 29 x 42 cm Signed BAILI in Chinese With three seals of the artists

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 3,900 - 7,200 RMB 27,000 - 50,000

2017 水墨紙本 29 x 42 cm 款識：紀嵐潑墨寫景余補輕舟成之並題百里鈐印：何氏（朱）、紀嵐（白）、嵐山百里舟（朱）

畫名頗有意思，「嵐山」即何紀嵐，「百里」則取自何百里。此系列是二人合作的結晶，先由何紀嵐鋪排一個或山或水或石的自然場景，再由何百里畫龍點睛，形成新舊結合、兩代布陣的精裝小品，藉此展現出二人並肩為水墨藝術再創新猷的決心。 The title of the painting is quite interesting as in it combines the names of the two artists, indicating that this series is the cherished result of their collaboration. He Jilan would paint the natural scene, while He baili would then add highlights upon it, which creates a innovative image absorbing both the new and the old of two generations.

7 04 A BROWN-GLAZED 'DOULI' TEA BOWL

敞口，斜直腹，圈足，該盞的樣式宋代多見，俗稱斗笠盞。胎體細白粉潤，裝飾樸素自然。外壁則施黑釉，內壁施醬色釉，釉面上佈

Song Dynasty (960-1279) D: 15 cm

滿銀灰色金屬光澤小圓點。北方窯場的釉層相對較薄，故其釉面釉滴的數目較多，僅定窯等幾個窯場有少量燒造，故推測類似可能是定窯燒製或定窯附近窯口燒製，形成此種顏色多為裝燒時放置的窯

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 5,900 - 9,200 RMB 41,000 - 64,000

位元，以及溫度和升溫速度，可能為燒造過程中偶然出現的窯變現象，實屬難得獨一無二。 This lot is of a conical shape, reminiscence of amboo hat (douli), with brown glaze as the basic color. Because of the wide, outwardcurving mouth of the douli-shaped 'oil spot' glazed bowl, when the ware is illuminated the interior looks like a ﬂickering starry sky.

宋北方窯口醬釉斗笠茶盞

This observation makes a new type of 'oil spot' glazed bowl—the 'yaobian' glazed 'temmoku'. Song people's standard for ceramics reached a peak, so the 'oil spot' glazed 'temmoku' ware (temmoku is a Japanese word adapted from Chinese, originally used by Song people for high quality Jian ware), with its stunning spot patterns coming from spontaneous transformation, came about. It is covered overall with a lustrous glaze, thinning at the rim with some short subtle russet streaks extending downwards, the glaze falling short of the foot to reveal the iron-black body.

7 05 A CINNABAR LACQUER 'FIGURES' SQUARE PLATE Ming Dynasty (1403-1424) L: 18.3 cm W: 18.3 cm H: 2.3 cm

NT$ 1,200,000 - 2,000,000 HK$ 308,000 - 514,000 US$ 39,500 - 65,800 RMB 273,000 - 455,000 明永樂木胎剔紅攜琴訪友方盤

REFERENCE: Classics of the Forbidden City: Lacquerware in the Collection of the Palace Museum, Forbidden City Press, 2012, Fig. 32 參閱：《北京故宮經典 - 故宮漆器圖》，2012 年故宮出版社，編號 32。

明朝建立以後，隨著社會的穩定，經濟的繁榮，雕漆藝術在元代的基

This lot is an outstanding example of Ming Yongle lacquered wares,

礎上獲得更大發展。當時皇家對於雕漆的需求量很大，明成祖朱棣即

the low, rounded sides joined by canted incurved corners and set

皇帝位並遷都北京以後，「御用監」在皇城內的果園廠擴大了製作漆

over four low feet, covered overall in glossy red lacquer, the center

器的官辦作坊，並從全國徵調大批優秀工匠，在這裡大量生產雕漆和

decorated with a lakeside scene depicting a scholar in the doorway of

填漆。明代永宣時期的漆器保持了元代「隱起圓滑，藏鋒清晰」的樸

an open pavilion awaiting the arrival of another scholar accompanied

實風格，此盤就是這個時代的一個代表之作。漆盤為正方形，四邊倭

by his attendant bearing a qin , framed by open rockwork an pine

角內斂，形制簡潔規矩。外壁刻花卉為飾，盤心四周雕松樹與假山洞

trees.

石裝飾，雕刻精緻細膩，宛如繪畫一般，承托中間刻亭台樓閣，一高士端坐廳中，一高士攜童子抱琴徐徐行來。人物小巧精緻，構圖疏密得當，雕琢細膩流暢，為明朝剔紅器精美之作。

7 06 WU HAO (Chinese, b.1966) Enjoy the inkstone 2017 Ink and colour on paper 45 x 35cm Signed WU HAO in Chinese With one seal of the artist

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 23,000 - 45,000 吳浩賞硯 2017 設色紙本 45 x 35 cm 款識：一拳之石取其堅，一勺之水取其淨，丁酉六月思邈吳浩。鈐印：吳浩私印，敦行不怠，不虛。

入世與出世，自古以來是中國文化的經典主題。而吳浩的作品，恰巧正是在對這個主題一次次施以水墨詮釋。作品一面是積極進取，一面是練達超脫，這種樂觀如一的美學意境，即為人生的入之深、出也安的達觀。其水墨以純然的傳統工筆畫語言，營造了純粹的中國式領悟。其意義不是靠某種直白的方式圖解出來的，得之於視覺意境的全新構造。在此，外向的空間與內聚的形象、典雅的造型與清淡的色彩。精緻與疏放等構成張力的視覺關係，呈現了一種中國美學意境的生成過程。作品《喜相逢》和《賞硯》突出了中國畫中講求敘事的特性，吳浩在這方面尤有特出之處，一直在新工筆人物畫領域中進行探索。他的工筆人物筆筆精妙，刻畫物華之靈的生命曲線，有千般味道，技術層面可以歸到工筆劃的範疇，卻又不太一樣。並融入了藝術家對當今社會的觀察及思考。他筆下戲路很廣，有古裝戲，有言情戲，亦有都市劇和商業大片。細微之處他運用玉器、古玩等帶有承載傳統中國文化的強烈意味的物件，帶領觀眾進入一個古意融融的境界。他的作品既是地道的中國傳統人物畫，同時又具有強烈的現代感。對於吳浩，其筆下之物便是這樣一種現實媒介，是對真性情的延續，並將生命中不斷湧現出的構想豐滿，以筆墨禮贊之。

Joyful Encounter and Enjoy the Inkstone emphasize on the character of Chinese painting, which focus on story-telling. Wu Hao is outstanding in this type of art expression, keeps on exploring in the new Gongbi art on portraits. Many of his artworks presents with delicate drawing strokes, portrays the spirit of life in a sophisticated taste. His technique could be categorized in Gongbi art, but slightly different. He put his insights and consideration of the current society in his artworks. If his artworks are different types of theatres, then he is creating ancient costumed dramas, romance stories, urban stories and commercial ﬁlms. In detailed parts, he uses traditional Chinese objects like jade and antiques to bring the audience into a realm of ancient style. His artworks are both typical Chinese portraits and with modern taste. For Wu Hao, the objects he drew are realistic medium, is an extension of true instinct, which enrich the imagination that emerging from life and praise it with ink.

7 07 A TURQUOISE 'TAOTIE' VASE Qing Dynasty, Qianlong Period (1736-1795) H: 15.3 cm

NT$ 600,000 - 900,000 HK$ 154,000 - 231,000 US$ 19,700 - 29,600 RMB 136,000 - 205,000 清乾隆綠松石饕餮紋瓶

質地細膩瑩潤，發色微綠，仿若瓷釉，亮麗雅緻。整料勻淨如初，無大鐵綹，僅絲絲鐵線，滿布全身，如哥窯開片，華美非凡。此瓶侈口平沿，束頸豐肩，圓腹飽滿，瓶頸飾蕉葉紋，瓶身以饕餮紋妝點。瓶壁弧度線條優美，至底部內斂收圈足。通觀此瓶，幽寧古潤，材美藝精，韻致無窮，著實稀缺罕見，堪當典藏。綠松石是古老寶石之一，深受古今中外人士的喜愛，因其色、形似碧綠的松果而得名。古時通過土耳其輸入歐洲各國，故有「土耳其玉」之稱。綠松石為珍貴材質，中國清代稱之為天國寶石，視之為吉祥幸福的聖物。綠松石因所含元素的不同，顏色也有差異，氧化物中含銅時呈藍色，含鐵時呈綠色。 This lot has a cylindrical body rising from a round foot to a waisted neck with a slightly flared rim, the body is decorated with taotie, the neck with alternating upright and pendent leaf lappets, covered overall with thin lines resembling the intricate matrix of iron-wire crackle and golden threads of Ge wares. Turquoise is a type of precious stone with a long history, favored by people all around the world and considered a holy stone with auspicious meaning.

7 08 A CARVED CINNABAR LACQUER 'WILD GOOSE' DISH Yuan Dynasty (1271-1368) D: 22 cm

NT$ 4,800,000 - 6,000,000 HK$ 1,234,000 - 1,542,000 US$ 157,800 - 197,300 RMB 1,091,000 - 1,364,000 元剔紅雁穿四季花卉紋漆盤

此剔紅雁穿四季花卉紋漆盤胎骨端正髹漆肥厚，滿布各式花卉捲草

The lot is with shallow rounded sides resting on a short foot, carved

紋飾，枝葉舒捲自如，大雁紛飛與花卉之間，畫面佈局飽滿，刀法

through the thick layers of cinnabar lacquer to the ochre ground

渾厚圓潤，是元代雕漆的精品。底部髹黑褐色漆，有「王誠造」針

with a pair of wild geese, soaring amidst peony blooms and dense

劃豎行款。元朝承宋人遺緒，雖年祚短暫，但制漆工藝異常發達。

foliage, each bird rendered with outstretched wings and meticulously

剔紅，又稱雕紅漆，紅雕漆。漆器工藝的一種，此技法成熟於宋元

rendered plumage, all surrounded by a frieze of floral buds and

時期，於明清兩代廣為流傳。其法常以木灰、金屬為胎，在胎骨上

blooms borne on gnarled leafy stems on the cavetto, the exterior

層層髹紅漆，相當的厚度，待半乾時描上畫稿，然後再雕刻花紋。

decorated with a band of lush ﬂoral blooms amidst dense foliage.

明代曹昭在《格古要論•剔紅》中有述：「剔紅器皿，無新舊，但看朱厚色鮮紅潤堅重者為好。」此盒光澤潤雅，色至朱重，雕刻刀工精到之至，盈巧頗有逸趣。塗漆厚實，刻工紮實，花卉與大雁雕刻極其精細，包漿油潤剔透，潤澤光瑩，逸趣橫生，實為文房器中佳品。層層迭迭，層次分明，精細作工，逼真動人，當為元代的一件雕漆之珍品。參閱：《北京故宮經典-故宮漆器圖典》編號5這件藏品與此拍品風格佈局都極為相似，以做參考。

REFERENCE: Classics of the Forbidden City: Lacquerware in the Collection of the Palace Museum, Forbidden City Press, 2012, Fig. 5 參閱：《北京故宮經典 - 故宮漆器圖典》，2012 年故宮出版社，編號 5。

7 09 A TIANHUANG SEAL BY LIN FASHU AND LIN WENJU

田黃石於福州市壽山鄉壽山溪兩旁之水稻田底下，呈黃色而得名，故名

H: 4.6 cm Weight: 81g

掘采，壽山村的水田已被翻掘了無數次，如今已開採殆盡，上乘的田黃

田黃；田黃石之所以珍稀的另一個原因是因為在地球上，只有福建壽山村一條小溪兩旁數里狹長的水田底下砂層才有。且經過數百年來的連續早已是無價之寶。古時即有「一兩田黃三兩金」之說，今天的價格來說已經不是數兩黃金的比值了；素有「萬石中之王」尊號。其色澤溫潤可

NT$ 5,500,000 - 8,000,000 HK$ 1,414,000 - 2,057,000 US$ 180,900 - 263,100 RMB 1,250,000 - 1,818,000

愛，肌理細密，自明清以來就被印人視為印石之王。數百年來田黃石極受藏家至愛，正如俗語所說：黃金易得，田黃難求。此田黃石章淨重為81克，質地通透、油潤，色澤明黃鮮艷，如此品質的田黃實屬罕見，更兼林發述與林文舉兩位大師翁婿合作，更為難得。林發述大師擅長圓雕，常以傳統人物、宗教題材進行創作，這件作品林發述大師借助田黃石材的天然形狀，因勢隨形，在田黃左上局部圓雕劉

林發述林文舉刻田黃「劉海戲蟾」隨形章

海戲金蟾，劉海禿頂披髮，雙耳垂肩，笑容天真爛漫；他身著大袖寬袍，俯身前屈，雙手托舉一枚孔方兄，戲逗跳駐於背上的金蟾，神態自若。海戲金蟾是一個民間典故，主要的形象是劉海作為一個神童手各持錢串，喜笑顏開地戲耍三足金蟾。三足金蟾舉世罕見，被看作是一種靈物，古人認為可以致富、闢邪。因此劉海戲金蟾常用作為民間各種吉祥圖案的題材，同時也被藝術家們運用於大量的玉石類的雕刻圖案中。林發述大師的雕刻精微細緻，並保留了章體的完整性，林文舉大師則於章體處雕刻薄意竹石圖，大面積的留白使得構圖「疏處可使走馬，密處不使透風」，妙思巧構，韻味天成。兩位大師各展所學，共同創作，為這枚田黃增添無窮逸趣，極具收藏價值。林發述，1929年生，福建福州市人，別名阿述。師從林友竹，又得林友清指導，擅長人物圓雕，尤以彌勒、羅漢見長。林文舉，1956年生，福建福州市人，號渙亨居士。自幼隨父林棋俤學習薄意雕刻。其秉承壽山

Mark 款識

石雕西門派傳統薄意雕刻技藝，創作手法豐富多變，匠獨運，作品集文學、書畫、雕刻於一體，在海內外久享盛譽。

Tianhuang stone is named after its yellow color, mined from under the rice fields on both sides of Shoushan River in Shoushan Village, Fuzhou which is also the only place on earth that tianhuang stone can be found. After hundreds of years of continuous excavation, the paddy fields in Shoushan Village have been dug up countless times, and now they have been mined empty, making the superior tianhuang stone even more invaluable. Tianhuang stone is known as the 'king of all stones'. Its color is warm and lovely, its texture fine. Since the Ming and Qing Dynasties, it has been regarded as the king of seal stones as well. For hundreds of years, tianhuang stone is greatly loved by collectors. As the saying goes: Gold is easy to get, but tianhuang stone is hard to find. This tianhuang seal weighs 81g, with oily, transparent texture, and the color is bright yellow. The quality of this lot is rare to see, and it is even more rare as a result of the collaboration of two masters.Master Lin Fashu is good at round sculptures, often adopting traditional characters and religious themes. This works by master Lin is in conformity with the natural shape of the tianhuang stone. Master Lin's carving is meticulous to an extreme, and retains the integrity of the seal. Master Lin Wenju carved image of Liu Hai and Toad, with Liu Hai wearing loose robes, the head tonsured with long locks falling neatly over the shoulders, immortal leaning over and pulling a string of coins from a three-legged toad resting below. Liu Hai is a (c. 10th century) Daoist immortal who is a patriarch of the Quanzhen School, and a master of 'internal alchemy' techniques. Liu Hai is associated with other Daoist transcendents, especially Zhongli Quan and Lü Dongbin, two of the Eight Immortals. Traditional Chinese art frequently represented Liu with a string of square-holed cash coins and a mythical three-legged toad called the 'Money Toad' , and Liu Hai is considered an embodiment of 'God of Wealth'. The two masters wielded their own talent and created together, which makes this tianhuang highly collectible. Lin Fashu was born in 1929, Fuzhou, Fujian Province, alias Ashu. He used to be under the guidance of Lin Youzhu, and also learned from Lin Youqing. He is exceptionally good at carving human figures, especially Maitreya and Luohan.Lin Wenju, born in 1956, Fuzhou , Fujian Province. He learned thin carvings from his father during childhood. He adheres to the traditional technique of the shoushan stone carving, with his creation rich and varied.

7 10 LI DEZHUANG (Chinese, b.1958)

2013年，藝術家的「井、山、田」系列開始嶄露頭角，並與同期作

Well, Mountain, Farm, series No.11—Endless

品相呼應。也可說是畫家從半抽象風景畫，逐步轉移到以「田」字

2013 Ink and acrylic on paper 96 x 90 cm Signed LI DEZHUANG 2013 SHANGHAI in Chinese PUBLISHED: Li Dezhuang -BEYOND BABE L, 2016

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,000 - 29,600 RMB 159,000 - 205,000 李德庄井山田11號—不盡 2013 水墨壓克力紙本 96 x 90 cm 簽名：不盡李德庄 2013 上海出版：《李德庄——走出巴貝爾》，2016

的方型創作概念入畫的變奏時期重要代表作之一。畫面是由三個方型組成一個長方型，土黃褐等色階與水分飽滿的墨色筆韻在畫面上奔流，凸顯畫家嫺熟的彩墨畫功底。這是一幅充滿抒情性的畫作，由此開啟的「井、山、田」系列勢不可擋，為後作奠定李氏藝術獨特的美學語言。從文學到藝術，所謂意在言外、畫外情、畫外意，處處都是人文情思的抒情表達。

Well, Mountain, Farm, series No.11-Endless was created by the artist in 2013 when the Well, Mountain, Farm series had just started, echoing his other works during the same period. It can be considered as one of his representative works of gradually shifting from semiabstract landscape painting to embedding the concept of 'tian' character in his paintings. The picture is composed of three squares into a rectangular shape. The color of yellow and brown, and the fullbodied ink color rhyme on the screen, highlighting the painter's skill of color ink painting. Li Dezhuang , Wenchang Guangdong native. Currently based in Shanghai . He was born in Singapore and this special location where eastern and western cultures clashing together gave him a broader vision and a sense of collaboration within artistic creation.

7 11 A TIANHUANG 'ARHAT' CARVING

馮志傑，號石癲。1949年出生於福建省福州市。著名壽山石雕刻家。石癲愛石，尤愛田黃，石癲的作品中田黃佔了很大一部分，且

H: 5.5 cm Weight: 73 g PUBLISHED: The art of Shidan's Shoushan Stone Carving, Hong Kong, p.27, no.55

NT$ 1,800,000 - 2,600,000 HK$ 463,000 - 668,000 US$ 59,200 - 85,500 RMB 409,000 - 591,000

幾乎都是圓雕作品。在八十年代，石癲旅居香港，尋求藝術突破，而有感於田黃作品的現狀，下了決心要「重現」田黃圓雕於世。石癲刻石重工藝精細，刀法細膩、流暢，人物神情、動態乃至衣褶都刻畫生動、細緻入微。除了堅持傳統，將藝術回歸到生活里去也是石癲創作的堅持之一，石癲常言：「藝術來源於生活，「生活」是一切藝術創作的「源泉」，當藝術從生活中來，藝術才有韻味，才有活力。」對於創作的創新與堅持，賦予了石癲雕刻藝術不一樣的活力與藝術魅力。石癲的雕刻藝術，更可說代表了當代壽山石雕刻藝術的最高水準。 Born in Fuzhou, Fujian Province in 1949, Feng Zhijie is a famous Shoushan stone sculptor. He loves stone, especially tianhuang, and almost all of his works are round sculptures. In the 1980s, Feng

田黃長眉羅漢著錄：《石癲壽山石雕薈萃》，香港，頁 27，編號 55

traveled to Hong Kong and settled there in order to seek artistic breakthroughs. Inﬂuenced by the status quo of tianhuang works, he made up his mind to bring back the glory of round sculptures. Feng's creation is crafted with ﬁne craftsmanship; his method is delicate and smooth. The characters' expressions, dynamic and even the pleats are all vivid and meticulous. In addition to persisting in tradition, returning art to the everyday life is also one of the persistences of Feng. He often says, 'Art comes from life, 'life' is the 'source' of all artistic creation. Only when the art comes from life, it has charm and energy.' The innovation and persistence of creation give different vitality and artistic attraction to the art of his.

PUBLISHED: The art of Shidan's Shoushan Stone Carving ，Hong Kong 著錄：《石癲壽山石雕薈萃》，香港

( another view )

7 12 A SOAPSTONE FIGURE OF LUOHAN

羅漢像以壽山石圓雕而成，石質細膩溫潤，色澤古樸，結合石色所雕衣紋，面容恰到好處。羅漢安然坐於木雕底座之上，底座彫刻山

Qing Dynasty (1644-1911) H: 9 cm

石，羅漢神態安詳，盤膝曲肱而坐，衣紋線條流暢。並以描金手法刻劃衣上的花紋。作品用刀嚴謹，古樸典雅，別具一格。此作品，衣飾的工法精絕，衣紋隨身姿起伏，形成交綜優美的圓弧線；在

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

袈裟衣領以刀針細鉤精緻的花錦紋樣，如此便克服了身姿動態的限制，獲得了生動的效果，雙手懷抱一佛與腿上，佛像刻畫精巧細緻，雖然尺寸不大，依舊顯示出佛像的慈祥與莊嚴，反應了雕刻作者的高深造詣，形似中求神采，氣韻生動。 The lot is finely carved as a luohan seated on a wood stand with irregular and jagged edges, the figure rendered holding a small

清持佛羅漢壽山石

Buddha ﬁgure in his hands resting on his left knee, depicted dressed in loose robes with hems incised with Indian lotus blooms against a ground of formalised waves and embellished with tiny coral and other precious stones, the serene and benign facial expression ﬂanked by a pair of pendulous earlobes.

7 13 A TIANHUANG FIGURE SEAL BY SHANGJUN

周彬，字尚均，清康熙人，籍貫福建省漳州，擅長印鈕雕刻，有「尚均鈕」之稱。其作品常得文人歡喜，清徐子晉《前塵夢影錄》

Qing Dynasty H: 4.3 cm Weight: 22.5g SEAL MARK: Shangjun IMPRESSION OF SEAL: Baqiong Shi PROVENANCE: Private collection, Japan

NT$ 1,600,000 - 2,800,000 HK$ 411,000 - 720,000 US$ 52,600 - 92,100 RMB 364,000 - 636,000

便有云：「印製鈕以尚均製作為第一。」此方印章之鈕極佳，應出自尚均親手所為，田黃選料上乘，質地極佳，細膩溫潤，凝結如玉。印頂端雕有胡人進寶之鈕，胡人憨態可掬，腳踩布袋，雙手持鏈，似欲將邊上鳳鳥獻與帝王。鳳鳥側身昂首，神情桀驁，顧盼之間頗具威儀，盡顯皇家氣派印章。底部以陽文刻「八瓊室」印文。「八瓊室」是清代著名金石學家陸增祥所用。陸增祥（1816－ 1882），江蘇太倉人。字魁仲，號星農，莘農。道光三十年（1850）一甲一名進士，官翰林院修撰，歷官湖南辰永沅靖道，有政聲，以疾告歸。少通六書，好學博覽，精金石學。著有《篆墨述詰》，《吳氏筠清館金石記目》，《金石偶存》，《三百磚硯錄》，《八瓊室待訪金石錄》等。 Shangjun is the pseudonym of Zhou Bin, a native of Zhangzhou, Fujian province, who was a renowned carver of seal knobs, and is thought to have worked during the mid to late 17th century.

清尚均雕胡人進寶鈕陸增祥自用田黃印鈐印款識：「尚均」印文：「八瓊室」

Shangjun was a widely celebrated seal-making master during Qing Dynasty, and this tianhuang seal is considered to be a ﬁne example of his creations. This lot is made of tianhuang stone, the top finely carved with a

來源：日本藏家舊藏

recumbent foreigner holding a metal leash in order to present the exotic and majestic bird as a tribute to the emperor, inscribed to one side with the two-character signature Shangjun, the seal face inscribed baqiong shi . This seal was formerly owned by Lu Zengxiang who is a renowned epigraphist born in 1816. Baqiong shi is the hall name of Lu Zengxiang.

Mark 款識

Seal mark 印面

71 4 A BAMBOO WATER-DROPPER 19th Century H: 6.5 cm

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000 19 世紀竹壺水注

7 15 A WHITE JADE SNUFF BOTTLE Qing Dynasty (1644-1911) H: 5.3 cm

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,600 - 3,300 RMB 11,000 - 23,000 清白玉素鼻煙壺白玉質，此壺色盈潤潔白，色澤勻淨。通體光素，展現出優美的線條曲線。整器簡約高雅，令人愛不釋手。 This lot is of ﬂattened spherical form rising from a ﬂat base to a cylindrical neck, the stone of an even white tone

7 16 A YELLOW JADE PLAQUE 20th Century H: 5 cm

NT$ 80,000 - 180,000 HK$ 21,000 - 46,000 US$ 2,600 - 5,900 RMB 18,000 - 41,000 20世紀黃玉平安無事牌該黃玉牌玉質細膩溫潤，色澤溫和，一面帶原皮色，另一面刻字，此外通體光素無紋，以展現黃玉質地特色，因玉牌上素潔無雕飾，故取其諧音，稱之「無事（飾）牌」，寓意著驅邪免災、平安健康。刻有「重華宮鑑藏寶」六字。 This lot is made of yellow shade, of a rectangular form carved on one side in shallow relief with six characters chonghuagong jian cangbao, and devoid of any other decoration, the smoothly polished stone of even greenish-yellow colour. 'No decoration' (wushi) has the same pronunciation with 'safe and soun' (wushi) in Chinese. Therefore this plaque is endowed with good wishes.

7 17 A WHITE JADE BOWL-STRING BURNER 18th Century H: 4.8 cm

NT$ 80,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 5,900 RMB 20,000 - 41,000 18世紀白玉弦紋筒式爐筒爐的造型在宋瓷中即有，此筒式爐尺寸小巧，但造型素雅大方，筒身以兩道弦紋平均分三段，器沿略敞、器形周正，下有三足，比例和諧，形制簡約，雅正大氣。以白玉為材，更有君子如玉之意，文雅之器，適於聞香、品茶、撫琴等雅事。 This lot is made of clear white jade, with an archaistic form, well modelled with a cylindrical body supported on three short legs, the exterior of the body decorated with three raised bow-string lines.

Mark 款識

7 18 WU HAO (Chinese,b 1966)

吳浩

Joyful Encounter

喜相逢

2017 Ink and colour on paper 90 x 90 cm Signed WU HAO in Chinese With one seal of the artist

2017 設色紙本 90 x 90 cm 款識：花開不見花開，來去可是去來，世間閒事無限，坐看還如看山。鈐印：吳浩

NT$ 280,000 - 400,000 HK$ 72,000 - 103,000 US$ 9,200 - 13,200 RMB 64,000 - 91,000

7 19 A WHITE JADE TABLE SCREEN

此件硯屏鑲嵌白玉為硯屏主題，取整塊白玉製成，尺寸較大，材質精良，玉質柔和細膩，保留了玉石原有的沁色，手感溫潤。器身採

Qing Dynasty (1644-1911) H: 29.5 cm

用浮雕、線刻技法展示了一幅亭台人物場景，人物沉浸在美景當中，近處的樹木與山石與遠端的亭台錯落有致，邊緣環繞雲氣，宛如仙境。雕刻工藝精湛，紋飾優美，線條流暢，細節簡練傳神，極

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 7,900 - 11,800 RMB 55,000 - 82,000

富質感可謂匠心獨具，是文房案頭不可多得之雅器。 This lot is made of white jade, the slab of milky colour mottled with icy inclusions, one side worked with ﬁgures in loose ﬂowing robes in a rocky landscape set with a pavilion and detailed with running river streams, the front ground decorated in low relief with tree branches issuing from rugged cliffs, all below lingzhi -shaped clouds bordering

清白玉山水人物硯屏

the upper edge.

7 20 A YELLOW JADE HOUND

圓雕臥狗，取材黃玉，玉色如蒸栗，玉質溫潤無暇，打磨圓滑，手感極佳。本品用圓雕法雕出一隻俯臥於地的犬。犬身體勻稱修長，

Ming Dynasty (1368-1644) L: 5.4 cm

四肢細長，前肢相交伏於地上，頭部靠在前爪，兩耳貼在頭部，雙眼小而圓，嘴鼻長伸。背部有波浪狀表現肋骨的凸起，後肢收束，細尾捲曲，耷拉在腿上。整體造型比例準確寫實，細部刻劃精準，

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

形象富有生趣，造型與宋代的玉狗形態一脈相承。 The lot is finely carved as a recumbent hound with it head resting on its front paws, the hind legs tucked under its slender body, the tail curled up alongside its left haunch, its ears, facial features and ribs well deﬁned, the smooth stone of a yellow celadon tone with an attractive marbled light and dark brown inclusion along its head and

明黃玉狗

front legs. The whole piece is endowed with accurate proportions, fine craftsmanship, and vivid design, inheriting the figure of jade hound from Song dynasty.

7 21 A CARVED JADE 'THREE RAMS' GROUP

此件以和闐玉籽料圓雕三羊，主體為兩頭趴伏的肥碩大公羊，羊首回望，雙耳下垂藏於大角之下，二目平視前方，張口露齒，神態篤

Qing Dynasty (1644-1911) L: 7 cm

定安詳。旁有一隻小羊，依偎在其身側，神態親近。此件玉三羊開泰擺件，借用玉質的天然的白色與黑色部分，刻畫了兩隻顏色分明的公羊，玉石質地堅實，紋理細膩，光澤柔美，刀法細膩，打磨精

NT$ 380,000 - 500,000 HK$ 98,000 - 129,000 US$ 12,500 - 16,400 RMB 86,000 - 114,000

緻，堪稱完美。羊自古便被賦予了神秘的色彩，人們時常以「羊」與「祥」相通，將「吉祥」寫作「吉羊」，漢瓦當中亦有「大吉羊」之字樣。加之古人認為「美」與「善」皆與羊相關，因此，以羊作裝飾多為寄託吉祥美好的願望。 The lot is sensuously modelled in the form of two recumbent rams with one young beside, each detailed with almond-shaped eyes,

清黑白玉巧雕三羊開泰擺件

funnel-shaped ears and a pair of striated horns, the larger, bearded animals with their heads turned gently backwards, the stone dark at one end shading to a natural white color. The ram has a long history in China, first appearing on Shang ritual bronzes and in the form of bronze lamps and ceramic tomb ﬁgures during the Han dynasty (206 BC-AD 220). Small jade carvings of three reclining rams were popular from the Song dynasty onwards, as the theme of three rams, sanyang, was considered particularly auspicious, evoking the expression sanyangkaitai ( 'the awakening of nature in spring' ) which signiﬁed good luck and happiness.

7 22 A YELLOW JADE 'DRAGON' PENDANT

黃玉珮玉質凝純細密，溫潤瑩透，施出廓鏤雕技法，環中孔圓潤平整，中部突起曲面，外側出廓雕螭龍紋，身體頎長，四肢強健，相

Qing Dynasty (1644-1911) L: 6.5 cm

互環繞，趾爪有力。此環雕琢精細，刀法流暢勁健，線條婉轉優

NT$ 380,000 - 500,000 HK$ 98,000 - 129,000 US$ 12,500 - 16,400 RMB 86,000 - 114,000

The lot is skilfully rendered in the round with two chilongs clambering

清黃玉螭紋出廓珮

美。

nimbly with their head to the other's end, each of the beasts portrayed with a long curling body with a tail, four strong claws, the smoothly stone of a warm yellow colour accentuated with light russet streaks.

7 23 A WHITE JADE 'SCROLL' PAPERWEIGHT

此件包袱系畫軸擺件，小巧精緻，整器以白玉雕成，造型獨特，微帶皮沁。瓶身雕刻不規則褶皺紋，袱系紋圍繞畫卷頂端，飾打成蝴

Qing Dynasty (1644-1911) L: 7 cm

蝶結，畫卷僅以數刀，刻畫出卷軸的輪廓，簡潔自然生動。 The lot is carved in the form of a volume of rolled hanging scrolls,

NT$ 280,000 - 400,000 HK$ 72,000 - 103,000 US$ 9,200 - 13,200 RMB 64,000 - 91,000 清白玉畫軸卷紙鎮

bound together by a plain cloth sash, the stone of even white tone with a hint of celadon with russet inclusions on the side and one corner stained.

72 4 A JADE 'PLUM BLOSSOM' PAPERWEIGHT

拍品以上等白玉為材，質地堅實，觸感溫潤，呈長方形，形制雋雅，文人氣息濃厚。其上以浮雕工藝雕刻梅花一枝，展示出梅花的

Qing Dynasty (1644-1911) L: 14.3 cm

傲骨之氣，枝幹嶙峋之感躍然於上，足見刀工犀利而靈巧，運刀嫺熟，於簡潔構圖之中透出靈巧精秀之氣。本品兼具收藏、賞玩與實用價值於一體，是一件難得文房佳器。

NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,500 - 15,800 RMB 73,000 - 109,000

The lot is a jade pebble of great quality and even milky-white colour, sharply carved in a long rectangle shape with patterns of plum blossoms on the surface, vividly representing the spirit of refusing to yield to the hardship of the world, which is favored greatly by the literati, all ﬁnished with a smooth brilliant polish.

清白玉梅花紙鎮

7 25 A JADE 'CRANES AND LOTUS' VASE

翡翠溫潤靈透，以多層次立體通景鏤雕而為。透雕荷塘雙鷺，或隱或現覓食其間。鷺鷥尖喙，圓眼，羽翅刻畫簡潔，以長短陰刻線裝

Qing Dynasty (1644-1911) H: 14 cm

飾側面。頂部雕以微捲的蓮蓬與蓮葉，花葉亭亭玉立，荷葉迎風翻捲，葉以陰線勾線飾葉脈，線條細韌。薄片狀底座，橢圓形，座下有四對象鼻眼。鷺鷥諧音「路」，蓮花諧音「連」，二者合寓「一

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 5,900 - 9,200 RMB 41,000 - 64,000

路連科」。祝頌科舉考生可以連中三元。此器透雕技藝爐火純青，構圖舒朗圓渾，線條圓潤流暢，質地上佳，極具藝術價值。 This lot is made of clear jadeite, carved into multiple layers on the surface. Upon the ﬂattened baluster form, the overall exterior carved in high relief with egrets in a lotus pond, below a thin base with an oval shape. The motif on this vase is steeped in auspicious symbolism,

清荷塘鷺鷥翠玉瓶

as depictions of egrets (lu ) in a lotus pond (lian ) express the auspicious wish yilu lianke (a good wish to the examinees).

72 6 A LONGQUAN CELADON-GLAZED 'TWIN FISH' DISH

撇口折沿盤、弧形淺壁，圈足內底寬平直下。內壁邊以菊花壓紋為

Southern Song Dynasty (1127-1279) D: 13.3 cm

露出灰白胎。

飾，底心採雙魚紋飾。墊燒法製，內外施青釉，釉層薄而勻整，口下出現些許流釉痕，呈色翠青，足端露胎，加塗赭色薄汁，磨平處

This lot is with shallow rounded sides rising to a broad everted rim, PROVENANCE: Private collection, Taiwan.

the interior applied with a pair of sprig-molded scaly ﬁsh swimming in opposite directions, also carved thinly with chrysanthemum radiating from the center, all under a semi-transparent and sea-green glaze

NT$ 160,000 - 280,000 HK$ 41,000 - 72,000 US$ 5,300 - 9,200 RMB 36,000 - 64,000 南宋龍泉窯雙魚洗來源 : 台灣私人舊藏

stopping above the foot rim.

7 27 A MOULDED QINGBAI 'CRANE' BOX AND COVER

八瓣葵花型子母盒，盒蓋微弧，以雙鶴蓮紋花卉造型模印成形。墊

Song Dynasty (960-1279) D: 8.5 cm

底，平底，淺圈足，胎體潔白細膩。

燒，內外施青釉，呈色天青。釉質通透，釉薄處微現白胎色，紋飾積釉處氣泡浮現呈潤青色。盒蓋與盒身釉面光潔無開片，施釉無及

鶴在道教中有長壽、品德高尚的象徵，荷花則象徵清白，純潔高 PROVENANCE: The Collection of Andrew Williams Esq., Oxfordshire. Ben Janssens Oriental Art, TEFAF 2017.

雅，出淤泥而不染。此盒因工匠的巧思，在青白瓷器物上賦與相對的寓意，實屬難得。在考古例證和各大博物館的收藏中，葵花造型的器物可在宋代金銀器和五大窯口的例子中發現，是當時所流行的器式之一。而青白粉盒的造型以菊花瓣形或多邊形居多，此八瓣葵

NT$ 550,000 - 800,000 HK$ 141,000 - 206,000 US$ 18,100 - 26,300 RMB 125,000 - 182,000

花型粉盒則相對稀有。 This lot is of octalobed form, with a central medallion enclosing a pair of confronting cranes on the cover, ﬁnely depicted amongst amidst chrysanthemum and aquatic plants, covered overall save for the rims and the base in a blue-tinged translucent glaze, the base with shallow glazed foot rim.

宋青白釉八瓣仙鶴紋粉盒來源 : 英國牛津郡 Andrew Williams 舊藏。英國班楊森古美術，《TEFAF 2017 展覽》，荷蘭，2017 年。

BUBLISHED: Ben Janssens Oriental Art , TEFAF 2017. 著錄：英國班楊森古美術，《TEFAF 2017 展覽》，荷蘭，2017 年。

7 28 A RIBBED BROWN-GLAZED JAR

雙耳罐，直口，口延外撇，短頸、平折肩，圓腹飽滿，向下收至足底，圈足修削，並內挖為圈足，底寬平。圈足及底均露胎無釉呈灰

Jin Dynasty (1115-1234) H: 12.5 cm

色。外壁圓腹處劃橫列波狀紋飾。耳把上均做堆線裝飾。全器內外

PROVENANCE: Private Collection of Robert Hatﬁeld Ellsworth. Christie's New York, The Collection of Robert Hatﬁeld Ellsworth Volume VII , 18-27, March 2015.

This lot is of superbly potted ovoid form, the rounded sides with

NT$ 110,000 - 200,000 HK$ 28,000 - 51,000 US$ 3,600 - 6,600 RMB 25,000 - 45,000 金褐釉雙耳波紋罐來源 : 安思遠舊藏，美國紐約佳士得，《錦瑟華年 – 安思遠私人珍藏》， 2015 年 3 月 18-27 日

均以褐釉佈施全器。

sharply defined vertical ribs forming the narrow trails of white slip revealed through the rich lustrous brown glaze, surmounted by an upright neck with lipped rim, applied with two broad multi-ribbed tapering tab handles, the lustrous brown glaze applied in more than one layer, falling in an uneven line terminating in thick droplets around the base revealing a pale brown slip underneath, the interior of the foot ring similarly dressed, leaving the broad buff-colored knife-pared footring unglazed for firing

7 29 A YAOZHOU 'LOTUS' BOWL

侈口碗，弧形深壁，口部外緣有雙細唇，矮圈足。器內刻花為飾，口下回紋一周，並以纏枝轉繞雙蓮花紋飾裝飾於碗中，刻劃刀法熟

Jin Dynasty (1115-1234) D: 19 cm PROVENANCE: Christie's Hong Kong, The Pavilion Sale: Chinese Ceramics and Works of Art , April 5th, 2016.

NT$ 650,000 - 800,000 HK$ 167,000 - 206,000 US$ 21,400 - 26,300 RMB 148,000 - 182,000 金耀州窯刻花蓮花紋碗來源 : 香港佳士得，《古今專拍》，2016 年 4 月 5 日。

練，精巧流暢。墊燒，內外施青釉，釉質通透，釉色翠綠，明潤均稱，刻紋清晰，釉層中浮現清晰可辨的汽泡，釉薄處淺現白色胎體。施釉至足際，足端足心塗護胎釉，並有窯砂粘黏。 This lot is with deep rounded sides rising from a short foot and encircled on the exterior by a groove beneath the lipped rim, the interior with a large blossoming lotus ﬂower surrounded by scrolling foliage, covered overall in an olive-green glaze, pooling to a deeper shade in the recesses, stopping short of the unglazed foot rim.

7 30 A SPINACH-GREEN JADE BRUSHPOT

筆筒是一種最為常見的文房用具，材質多樣，古代文人喜歡寄心於物，因此文人墨客藉著筆筒上的藝術性，或是圖案的寓意，展現自

Qing Dynasty (1644-1911) H: 16.5 cm

己的心志，透過案頭的陳列表達自身的文化品味。明代文人朱彝尊曾作《筆筒銘》中提及：「筆之在案，或側或頗，猶人之無儀，筒以束之，如客得家，閑彼放心，歸於無邪。」

NT$ 550,000 - 700,000 HK$ 141,000 - 180,000 US$ 18,100 - 23,000 RMB 125,000 - 159,000

此筆筒用料厚實，碧玉溫潤，刀法豪放有力，筒身通體滿工雕人物山水，亭台樓閣，筆法蒼勁，線條颯爽，以雲紋為天，峻石為地，中間松柏相互錯落，竹子芭蕉層疊而出，重山峻嶺，垂柳風飄，青嶂翠壁，光線投射間反映佈局遠近層次分明，靜雅脫俗，與眾不同。隨著筒身轉動，不同的畫面故事躍然於上，或是松下童子，或是嬰戲其中，人物神情各異，畫面豐富而生動。

清碧玉筆筒 This lot is of a cylindrical form, the exterior deftly and intricately carved in various levels of relief, depicting several human figures including young boys and little children amongst cragged rocks in a landscape with waterfalls, pine trees and plantain, the stone of a rich olive-green tone mottled with faint inclusions and dark speckles.

7 31 A PAIR OF JADEITE TABLE SCREENS

紅木框雕刻鏤雕捲草紋，上承饕餮紋木托與翡翠屏相接，屏面鑲嵌翡翠屏心極為典雅，翠屏上雕刻為牡丹紋，多支牡丹從洞石中伸

Qing Dynasty (1644-1911) H: 53.5 cm PROVENANCE: Bonham's New York, 16 March 2015, Lot 8041

NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,500 - 59,200 RMB 273,000 - 409,000

出，一鳥兒立於枝頭，造型十分生動，活靈活現。分層次的填充到整個畫面，植物刻花的精準到位，翠玉屏風體量碩大，需選取大料之作，將翠石中的綹裂避去或剔除，保留下最完美的翠玉材料進行雕刻，而畫面盡顯精工細致之感，刀工之精湛，極為巧妙的使翠色得到淋漓盡致的釋放。 Each of this lot is with a wood base carved with taotie, the screen decorated with a bird perched in the crook of a knotted, curving peony branch in bloom, branches laden with peony buds reaching out from a cave, the reverse of each with further blossoms and foliage, the pale-green stone suffused with emerald-green, with hints of ochre and stained ﬁssures.

清翠玉插屏一對來源 : 紐約邦瀚斯，2015 年 3 月 16 日，拍品 8041 號

7 32 A YELLOW JADE 'MELON' SNUFF BOTTLE

黃玉質，玉質極佳，材質珍貴，瑩潤如脂。明高濂在《遵生八箋·燕閑清賞》中就論道：「玉以黃玉為上，羊脂次之，每年春秋兩季貢

18th Cenury H: 7.4 cm PROVENANCE: Sotheby's London, 15 May 2013, Lot 304

NT$ 380,000 - 500,000 HK$ 98,000 - 129,000 US$ 12,500 - 16,400 RMB 86,000 - 114,000 18世紀黃玉瓜蝶綿綿鼻煙壺來源 : 倫敦蘇富比，2013 年 5 月 15 日，拍品 304 號

玉中，良者萬里不擇其一。」壺身呈長圓瓜形，陰刻豎向瓜棱，錶面浮雕瓜蝶圖，瓜藤纏繞，瓜葉豐盛碩大，瓜果纍纍，蝴蝶展翅穿梭於瓜藤之間。雕工細膩，寓意吉祥。此鼻煙壺器形優雅，掏膛薄而勻稱，為鼻煙壺之精品。 The bottle is carved in the round with a large melon bearing broad and a butterﬂy is carved to one side. The stone is of a yellow jade tone with russet inclusions. It has a coral stopper.

7 33 AN INTERIORLY DECORATED SNUFF BOTTLE

葉仲三，晚清民國京城內畫鼻煙壺高手，與周樂元、馬少宣合稱內畫鼻煙壺三大畫匠，葉派內畫的開山始祖。此煙壺為琥珀質，琥珀

Qing Dynasty (1875-1945) H: 7 cm PROVENANCE: Sotheby's Paris, 11 June 2009, Lot 41

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 RMB 45,000 - 68,000

極其純淨透明有如玻璃，壺內通體繪胡人牽駱駝圖，一胡人牽駱駝行走於大漠，駱駝成隊而行，遠處樹木山石填充為背景，一孩童與一婦女遠觀駱駝隊經過的場景，畫面整體一片商旅往來的題材，或有胡人獻寶的美好寓意，此種題材在葉仲三所做的鼻煙壺中數量相對稀少，殊為難得。左上方題「乙丑冬日葉仲三作」款式以及私印。 Ye Zhongsan was a follower of Zhou Leyuan who showed great promise in his early years. He was at his peak between 1895 and 1908, producing a series of masterpieces in his own, evolved style. This lot is made of translucent agate, in the inside painted with a scene of a foreigner leading camels walking through the dessert, with a woman and a kid standing in a landscape in the background,

清葉仲三內繪鼻煙壺來源 : 巴黎蘇富比，2009 年 6 月 11 日，拍品 41 號

signed Ye Zhongsan on the left corner. This kind of theme is rarely seen in Ye Zhongsan's creation of snuff bottles, making this lot especially valuable.

7 34 LIU LAIUE (Zoe LIU, Hong Kong, b.1991)

當孩子們玩耍時，他們會解決問題，並將自己視為有能力的人。通

Let them be Kids

過遊戲，孩子們能夠發現及發明解決挑戰的方案，讓孩子們通過遊

2018 Ink, Charcoal, Ink, Charcoal, Pastel, Watercolor on Paper 76 x 152 cm

戲來探索世界。在這個系列中，會問問我們如何為孩子保持有趣遊戲的自由，從而不讓成人或高壓教育風氣撲滅了孩子內心的火焰？這個系列中的兒童是沒有面相的，象徵著兒童沒有了自己的獨特個性。畫面以灰色調子和透明來營造一種被社會的期望和沈重的工作

PROVENANCE: BLINK GALLERY, Hong Kong

量壓垮的氣氛，作品中出現一個「西瓜波」，代表著我們都渴望可

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 3,900 - 7,200 RMB 27,000 - 50,000

This series focuses on raising awareness to the public of letting

以遊戲的純真，成為畫中的焦點，更成為兒童預見的希望。

children to explore the world through play. Playtime is an integral role for children's development before they enter their adulthood. When children play, they solve problems and experience themselves as competent and masterful individuals. Through free play, children are able to discover and invent solutions to challenges. In this series, the artist is questioning how do we keep that fun, childlike freedom well

李澧榆追逐童夢

and never let age or high-pressure education style extinguish the ﬁre of our inner child? Children are faceless symbolized the collective society where

2018 水墨炭筆水彩紙本 76 x 152 cm 來源：齊亮畫廊，香港

individualism is not fully encouraged. Figures here are soullesslike in grey tones and transparent looks, it is because of that spirits are suppressed and crushed by social expectations as well as heavy workloads, but the hidden pastel child-like colors in the background are giving the hope on foreseeing and promising to bloom once these children reach the ball , which metaphor the freedom.

7 35 A CRYSTAL INCENSE BURNER

香爐是香道必備的器具，亦是民俗、宗教、祭祀活動中必不可少的供具。此爐為水晶打造，細看內有棉絮狀的包裹體，整體晶瑩剔

Qing Dynasty (1644-1911) H: 15.5 cm

透，器型三足鼎立，雙耳為獸面造型，曲線造型與爐身相連，蓋為一隻獅子蓄勢待發的造型，整體造型華麗，線條優美，高雅之中不失秀逸，具備很高的觀賞價值。

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,600 - 3,300 RMB 11,000 - 23,000 清水晶香爐

This lot is made of clear crystal, the compressed globular body supported on three short paw feet, the shoulders flanked by lionmask handles suspending loose-rings, the cover surmounted with a lion ready to prey.

7 36 A BRONZE 'DEER' CIRCULAR BOX AND COVER

圓形香盒以銅為材製成，上下相若，盒身起高牆以承圓蓋。蓋面微

Qing Dynasty (1644-1911) D: 5 cm

首仰望，畫面和諧自然，寓意吉祥，構圖既樸實又華麗的特殊藝術

凸，浮雕松鹿長春圖，香盒側面裝飾有竹葉等紋飾。雕刻刀法古樸，松樹枝幹鏨刻樹紋，地面刻畫有岩石以示嶙峋之態，一隻鹿回效果。明代中期以後文人以品香為尚，惟傳世香具中香爐常見，與之搭配使用的香盒卻極為稀少，拍品具有典型的明代中晚期工藝特

NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,600 - 2,600 RMB 11,000 - 18,000 清松鹿銅香盒

徵，益顯珍貴。 The lot is made of bronze, of cylindrical section with a domed cover and slightly concave base, the central circular panel of the cover enclosing a deer looking back amongst pine trees, the leaves and grotesque rocks, representing a harmonious and auspicious image.

7 37 A CRYSTAL WASHER

水晶洗以壽桃枝幹交錯為紋飾，古人多喜用此題材暗喻平安長壽，整器造型飽滿，鮮活靈動，穿插巧妙，整體有張揚的藝術表現力和

Qing Dynasty (1644-1911) H: 6 cm

優美的視覺效果。細節處理以寫實為主，同時把突出強調了作品古雅飄逸的審美韻味。整器為水晶掏膛製成，規整勻凈透徹，琢磨技巧精湛。洗為文房用具，是為文人書案陳列之物，具有實用價值，

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000

而且更是文房陳設雅賞之器，給人一種沉穩大氣又不失華麗精美的視覺感受。 This lot is made of clear crystal, deftly carved and hollowed as a ripe peach, the stem of the hollowed peach rising from the base and outstretching around the body. This washer is a valuable addition to any collection of objects from literati's studio.

清水晶水洗

7 38 AN AGARWOOD 'LINGZHI' INK PALETTE

筆舔以沉香為材，隨形雕靈芝為首，其上生長大小靈芝九支，寓有「九如同心」之意。九如，典出《詩經·小雅》「鹿鳴之什天保」。

Ming Dynasty (1368-1644) D: 5.8 cm

為如山，如阜，如陵，如崗，如川之方至，如月之恆，如日之升，如松柏之蔭，如南山之壽的總稱，本為祝頌人君之語，後推而廣之，泛指為祝壽之辭。底座與主體渾然一體，雕刻靈芝相互呼應。

NT$ 360,000 - 500,000 HK$ 93,000 - 129,000 US$ 11,800 - 16,400 RMB 82,000 - 114,000 明沉香靈芝紋帶座筆舔

This lot is made in the form of lingzhi , with nine lingzhi of various sizes, meaning jiuru tongxin which is usually used as wishes for longevity. The base gets along harmoniously with the ink palette itself, echoing the design of the carved lingzhi .

7 39 A ROSEWOOD RUYI SCEPTER

紫檀如意以荷花喻河，海棠喻海，燕喻晏，整句即是河清海晏之意，拾遺記之：「黃河千年一清」。自古相傳，黃河水清，聖人將

Qing Dynasty (1644-1911) L: 35.3 cm

出，而海晏就是海波不興的穩定貌，意喻太平祥瑞之狀。整體包漿自然渾厚，刻工嫻熟，荷花與海棠兩株植物交織在一起，葉與花均刻畫的葉脈清晰，惟妙惟肖，層次分明，燕子棲息在枝頭回首

NT$ 480,000 - 600,000 HK$ 123,000 - 154,000 US$ 15,800 - 19,700 RMB 109,000 - 136,000

翹望，羽尾的細節均刀刀刻畫清晰，小蟲爬行在枝葉之間，更是可愛。 This zitan ruyi adopts several allegories in its motif: lotus as the river (he ), begonia as the sea (hai ), swallow as comfort (yan ). Altogether it creates the phrase heqing haiyan which means peace and calmness over the land of reigns. This lot shows deft craftsmanship and

清紫檀海晏河清紋如意

naturally thick wrapped slurry.

74 0 A LOBED ZITAN SQUARE BOX

紫檀木名貴珍稀，成材極難，加之材質緊密，不易走刀，因此其雕刻多以良工為之。紫檀隨著歲月的流逝，其外表越發深沉，色澤紅

Ming Dynasty (1368-1644) W: 15 cm

紫近黑，靜謐厚重。此件方盒以紫檀木而製，做工規整，器型端正。上蓋雕刻如意紋，線條連貫對稱，中心向外呈現放射狀如意雲紋，邊緣倭角。盒身四壁光滑，無任何雕刻，轉角圓潤，底部下挖

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 5,900 - 9,200 RMB 41,000 - 64,000

呈現倭角形臥足，以如意紋飾和紫檀特有的顏色詮釋蓋盒的文化內涵。 This lot is made of zitan which is a precious wood and hard to carve with its density, modelled with a box and cover with four indented corners alternating with four gently lobed straight sides, all supported on a short key-fret bordered foot, on the top carved through the

明紫檀倭角如意紋方盒

wood into an exquisitely arranged array of ruyi radiating from the center.

7 41 A RARE CARVED AGARWOOD BRUSHPOT

此筆筒沉香木雕成，形取陶淵明《飲酒》：「採菊東籬下，悠然見南山」的意境，作一桿蒼松盤扎，數朵野菊花滿開其下，松下立一

Qing Dynasty (1644-1911) H: 16 cm

老者，老者一手扶松樹一手捋鬍鬚，滿面微笑，目視遠方，意態悠然。整體雕刻獨具創意，以圓雕浮雕等技法，刻畫細膩，線條柔和圓潤，將典故之天然雅趣體現的淋漓盡致，是一件極為難的的竹雕

NT$ 480,000 - 600,000 HK$ 123,000 - 154,000 US$ 15,800 - 19,700 RMB 109,000 - 136,000

精品，底部為「吳林州製」款四字。 The lot's gently tapering and fluted sides are delicately carved in various levels of high relief on the exterior, depicting an image of the famous scholar and writer Tao Yuanming enjoying the beauty of chrysanthemums. The dark wood patinated to an oily ﬁnish.

清沉香陶淵明愛菊圖「吳林州製」款筆筒

Mark 款識

7 42 A PAIR OF ZITAN 'PLUM BLOSSOM' CUPS

紫檀木，形體素雅，作梅花形狀，梅花蜿蜒盤旋其上，花朵碩大豐盈，枝乾茂盛，杯體去整塊紫檀雕刻，雕刻梅花依型而施技，包漿

Qing Dynasty H: 7.5 cm H: 7.1 cm

厚重，是件典型清代佳品。 The lot is carved in the outline of a prunus blossom, supported on ﬂowering and budding branches that extend up the sides, a section

NT$ 120,000 - 200,000 HK$ 31,000 - 51,000 US$ 3,900 - 6,600 RMB 27,000 - 45,000 清紫檀梅花杯一對

of a branch forming the handle, patinated to a ﬁne oily ﬁnish.

74 3 A RARE CARVED BAMBOO BRUSHPOT

此筆筒精選竹材，瑩潤細膩，包漿如脂，打磨規整精細，蒼松翠柏刻畫的蒼勁有力，面雕〈張志和乘席圖〉，人物線條寥寥卻意韻乍現，人物雕刻精

17th Century H: 16.4 cm

細，栩栩如生，海水剔刻流暢細膩。張志和（732年 - 774年），字子同，初名龜齡，號玄真子。張志和三歲就

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

能讀書，六歲做文章，十六歲明經及第，先後任翰林待詔，左金吾衛錄事參軍，南浦縣尉等職。後有感於宦海風波和人生無常，在母親和妻子相繼故去的情況下，棄官棄家，浪跡江湖。唐肅宗曾賜給他奴、婢各一，稱「漁童」和「樵青」，張志和遂偕婢隱居於太湖流域的東西苕溪與霅溪一帶，扁舟垂綸，浮三江，泛五湖，漁樵為樂。 This lot is of a cylindrical form, the exterior deftly carved in sophisticated high

17世紀「張志和乘蓆圖」竹雕筆筒

and low relief with a scene of Zhang Zhihe’s life, the bamboo patinated to a fine oily finish. Zhang Zhihe (732 - 774) was a Chinese government official and Taoist scholar. A native of Jinhua in modern Zhejiang, he was of a romantic turn of mind and especially fond of Taoist speculations. He took office under the Emperor Suzung of the Tang dynasty, but got into some trouble and was banished. Soon after this he shared in a general pardon; whereupon he fled to the woods and mountains and became a wandering recluse, calling himself 'the Old Fisherman of the Mists and Waters'.

7 44 A BRONZE LION-HANDLED INCENSE BURNER

爐束頸，腹部鼓垂，圈足較直。其身兩側的雙獅耳碩大，縱向幾乎佔爐身的三分之二，獅耳採以高浮雕鑄成，額頭臉面多處突

Ming Dynasty (1368-1644) D: 14.7 cm

起，表現出肌肉骨骼的質感。兩目有神，闊鼻大口，鬃毛刻畫流暢。獅耳爐仿自宋代哥窯款式，底款「大明宣德年製」楷書端正工整，鑄造清晰。

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 23,000 - 45,000 明銅獅耳香爐

Bottom 底圖

This lot is ﬁnely cast of bombé form rising from a round foot, the slightly everted mouth bordered by interlinking clouds, set with two large lion-head handles, the base cast with a recessed panel enclosing an apocryphal six-character Xuande mark.

7 45 A CARVED BAMBOO BRUSHPOT

筆筒以竹為材，上雕一老翁坐於水邊溪水，遠處竹林密集，一幅深山隱居的愜意畫面。「未出土時先有節，到淩雲處仍虛心。」此句

Qing Dynasty (1644-1911) H: 12.5 cm

詩刻於筆筒的背面，出自宋代著名詩人溫庭筠的《詠竹》，闡述出了做人的原則和道理。竹子有氣節，有精神風貌，但又不失虛心豁達、剛正不阿之美德。告訴人們做人就要有節氣，同時又要虛懷若

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000

谷。 The cylindrical body raised on a round foot, one side boldly carved with an image of an old man fishing on the bank of a small river among bamboos, the other side carved with a poem written by the famous Song poet Wen Tingyun, the bamboo of reddish brown tone and smooth patina.

清竹雕題詩筆筒

7 46 A HUANGHUALI BRUSHPOT

此筆筒平口直壁，周身光素。黃花梨木製，質地細膩，色澤沉靜。古代文人與工匠用之製器時，為了充分展現其木質紋理之美，常光

Qing Dynasty (1644-1911) H: 15 cm

素而不飾雕刻，使其於素雅之中彰顯文氣。再者，明末清初文人崇

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 23,000 - 45,000

This lot is of a cylindrical form rising from a flat base fitted with a

清黃花梨素筆筒

尚自然，追求樸實，表現於器物，則不假繁飾，突出天真韻致。

central plug, the thick wood walls of a rich patina and attractively figured with irregular dark brown streaks. The literati during late Ming early Qing dynasty sought after the natural state of things including objects without any decoration.

7 47 A ZITAN BRUSHPOT

此件筆筒取紫檀為料，平口，厚壁，身重，色黑，體表眾多樹瘤，高低參差，大小不均，形狀突兀，頗具天然意趣。紫檀是我國古代

Qing Dynasty (1644-1911) H: 16.3 cm

製作家具的一種名貴木材。其材質縝密，色澤紫黑，木質堅實厚重。明代中期，國力強盛，與東南亞國家的貿易十分頻繁，清代宮廷開始廣泛使用紫檀製作器物。

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 23,000 - 45,000 清紫檀樹瘤筆筒

This lot is of a cylindrical section and modelled after a gnarled tree bark, the exterior carved with a knotty, irregular surface, the densely grained wood richly patined to a deep brownish-black colour, the almost black wood polished to a soft luster.

7 48 A CLOISONNÉ ENAMEL TRIPOD CENSER AND COVER

該爐端正大器，型制規整，以掐絲琺瑯工藝通體遍布，華麗非凡，

19th century H: 39.7 cm

以纏枝蓮花遍布，瓶口則是以如意雲紋。上方有蓋，蓋身亦飾有纏

三足而立，以鎏金祥獅為足，穩重貴氣，兩側則以螭龍為耳，項瑞朝天，爐身圓腹束頸，腹上飾有龍紋盤旋，間有蓮花纏繞，頸上則枝蓮紋，與頸身相呼應，爐頂上有鎏金鏤空透雕牡丹花球，富貴祥瑞，集於一身。

PROVENANCE: Christie's New York, 19 September 1996, Lot 390

The globular body supported on three cabriole legs issuing from

Important Private Collection, Taipei

mythical beast masks, the shoulder encircled by a band of raised lappets and surmounted by a waisted neck with a galleried rim,

NT$ 500,000 - 800,000 HK$ 129,000 - 206,000 US$ 16,400 - 26,300 RMB 114,000 - 182,000 19世紀掐絲琺瑯蓮花龍紋螭龍耳三足蓋爐來源 : 紐約佳士得 1996 年 9 月 19 日，拍品 390 號台灣重要藏家收藏

ﬂanked by a pair of dragon handles with bifurcated tails, decorated around the body with formalized lotus blossoms borne on undulating foliate scrolls, the domed cover similarly decorated with leafy lotus blooms enclosed by ruyi- shaped panels, against a pierced ground of pendent bats amid clouds, all beneath an openwork finial with further lotus scrolls.

74 9 A FAMILLE-ROSE 'SEVEN SAGES' SCREEN

竹林七賢是指魏末晉初的嵇康、阮籍、阮咸、山濤、向秀、劉伶、王戎等七人，為當時玄學的代表人物，思想傾向雖各有不同，但不

Republic Period H: 63.5 cm

拘禮法，灑脫不羈，藉作品諷刺朝廷的率真態度，成為後世文人所

PROVENANCE: Important Private Collection, Taipei

文人常藉桌案上的物件抒志，此粉彩桌屏，色澤清雅秀麗，所繪人

EXHIBITED: Orchid Fragrance: Treasures of the Scholar's Studio from Mushi Ju, National Museum of History, Taipei, May 23 - Jul 6, 2008

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 3,900 - 7,200 RMB 27,000 - 50,000 民國粉彩竹林七賢硯屏來源 : 台灣重要藏家收藏展覽 : 「木石居文房珍玩展」，國立歷史博物，台北，展期自 2008 年 5 月 23 日至 7 月 6 日著錄 : 《蘭氣芸香—木石居文房珍玩展》國立歷史博物館，台北，頁 161

LITERATURE: Catalogue of Orchid Fragrance: Treasures of the Scholar's Studio from Mu-shi Ju, National Museum of History, Taipei, p. 161 著錄 : 《蘭氣芸香—木石居文房珍玩展》國立歷史博物館，台北，頁 161

欽慕的對象。

物姿態各異，或賞畫論文，或攜琴訪友，生動自然，傳達出竹林七賢的自然任真之貌，以紅木為座，兩側花板與下方牙板皆有簍空雕花紋，並延伸出前後雲腿，顯得整體大器端正。 This lot features a porcelain panel of rectangular form, delicately painted in subtle pastel shades with the 'Seven Sages of the Bamboo Grove' engaged in various literati pursuits, including playing chess and inscribing calligraphy on a rock face, accompanied by young attendants.

75 0 A PAIR OF FAMILLE-ROSE 'POMEGRANATE' DISH

此對盤器型規整，底有圈足，並落有篆文「大清乾隆年製」。盤外牆繪有蝙蝠石榴圖，象徵福氣圓滿，其盤面繪製

Republic Period D: 17 cm (each) PROVENANCE: Important Private Collection, Taipei

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 3,900 - 7,200 RMB 27,000 - 50,000

粉彩石榴圖，枝幹蜿蜒，石榴飽滿，綠葉花卉點綴其中，畫面生動豐富，自古石榴就是吉祥之象徵，一則石榴多子代表著多子多孫，福氣滿堂的意涵，另一則因為石榴的色澤鮮紅，有著鴻運當頭，繁榮美好之兆。此為一對盤，有著成雙成對圓圓滿滿之意，繪以石榴圖，可見其為喜慶吉利之用。 The pair is decorated with fruiting and ﬂowering branches of pomegranate bearing ripening fruits and attendant flowers and buds, their skin bursting open revealing numerous seeds, the fruits in pale yellow, rose pink and white and the furled leaves in tones of green. Pomegranate in China symbolizes abundance and a wish for many sons and

民國粉彩石榴花卉紋盤一對來源 : 台灣重要藏家收藏

Bottom 底圖

grandsons. An opened pomegranate with its seeds exposed evokes a Chinese saying 'shi liu kai xiao kou ' which means 'the pomegranate opens and produces hundred sons'.

7 51 A WHITE JADE TABLE SCREEN

以白玉為質，潔白潤澤，利用玉石原型雕「海天旭日」圖，下方海浪滔天，洶湧澎湃，一輪旭日緩緩躍出海面，氣勢磅礡，美輪美

Qing Dynasty (1644-1911) H: 12.4 cm W: 15.7 cm PROVENANCE: Important Private Collection, Taipei EXHIBITED: Orchid Fragrance: Treasures of the Scholar's Studio from Mushi Ju, National Museum of History, Taipei, May 23 - Jul 6, 2008

奐，在海日之中，雕雲紋躍於旭日之上，氣象萬千，亦增添一分雅趣，雕琢精細，刀法明快，生動傳神。旭日東昇，除象徵朝氣蓬勃，生機盎然之外，亦有破除障礙，遠離困境之寓意，自古以來，尚有升官發財，平步青雲之意。 This lot is made of white jade, the stone of an even white tone, carved with a landscape scene with the sun rising from the roaring waves of the sea among rolling groups of clouds, with deft craftsmanship and vivid design. This image also has long been endowed with an auspicious meaning of promotions in one's career.

NT$ 500,000 - 800,000 HK$ 129,000 - 206,000 US$ 16,400 - 26,300 RMB 114,000 - 182,000 清海天旭日玉插屏來源 : 台灣重要藏家收藏展覽 : 「木石居文房珍玩展」，國立歷史博物，台北，展期自 2008 年 5 月 23 日至 7 月 6 日著錄 : 《蘭氣芸香—木石居文房珍玩展》國立歷史博物館，台北，頁 151

LITERATURE: Catalogue of Orchid Fragrance: Treasures of the Scholar's Studio from Mu-shi Ju, National Museum of History, Taipei, p. 151 著錄 : 《蘭氣芸香—木石居文房珍玩展》國立歷史博物館，台北，頁 151

7 52 A GILT-BRONZE FIGURE OF SEATED SHAKYAMUNI BUDDHA Ming Dynasty (1368-1644) H: 50.2 cm PROVENANCE: Important Private Collection, Taipei LITERATURE: Shuangqing Yearbook 2015, Hung's Arts Foundation,Taipei, P.84-87

NT$ 5,500,000 - 7,500,000 HK$ 1,414,000 - 1,928,000 US$ 180,900 - 246,600 RMB 1,250,000 - 1,705,000 明鎏金銅釋迦牟尼佛坐像來源 : 台灣重要藏家收藏著錄 : 《雙清年鑑 2015》雙清文教基金會，台北，頁 84-87

LITERATURE: Shuangqing Yearbook 2015, Hung's Arts Foundation,Taipei, P.84-87 著錄 : 《雙清年鑑 2015》雙清文教基金會，台北，頁 84-87

A GILT-BRONZE FIGURE OF SEATED SHAKYAMUNI BUDDHA Ming Dynasty (1368-1644)

佛教源於印度，由於印度佛教及其佛像傳入中國的路線不同，傳入

Buddhism originated from India, and due to the different routes of

中國後便形成了三種流派，分別為漢傳佛教、藏傳佛教和南傳佛

Indian Buddhism and its images were imported into China, three

教。佛教初傳入中國，來受到統治階層的提倡，佛教日益興隆。佛

schools were formed, namely Han Buddhism, Tibetan Buddhism

教建築、石窟造像紛紛出現，佛像開始遍佈中國各地。佛像在現今

and Theravada (Buddhism spreaded to the South Asia). Buddhism

社會裏，不但是佛教象徵性的標誌，而且也作為了一種藝術品受人

was ﬁrst introduced to China and was promoted by the ruling class.

欣賞。漢傳、藏傳、南傳佛教造像可謂源同而流異，經過兩千年的

Buddhism architecture and grotto statues appeared, and Buddhist

逐漸演變，已經形成了各自的獨特面貌，具有顯著的特點。

sculptures had spread all over China. In today's society, Buddhist sculptures are not only a symbol of Buddhism, but also an object of

漢傳佛像的早期主要是西北印度犍陀羅佛像，經由西域（中亞和今

artistic appreciation. The sculptures of three different schools in China

新疆地區）在涼州形成的樣式，進入西元6世紀後逐步向中國化發

can be said to have the same source and different streams. After two

展。宋元以後外來的影響日趨淡薄，除肉髻等顯著的佛像特徵外，

thousand years of gradual evolution, they have formed their own

已經改造為中國式的佛像形象：造型簡單，寬袍大袖，面相圓潤豐

unique features and have remarkable characteristics.

滿，沒有了犍陀羅造像的鼻直而高、薄唇等西方人特徵，造像與東方人輪廓相近，形象敦厚溫和。

In the early days of the Han Dynasty, the Buddhist sculptures of the northwestern India were formed in Liangzhou through the Western

從服飾及身形姿態可看出，此為漢式造像，不同於藏傳佛像，其面

Region (Central Asia and present Xinjiang). After entering the 6th

相方廣，慈祥垂目，鼻翼挺直，表情祥和，雙耳厚實垂肩，福祿之

Century, they gradually developed into a Chinese style. After the

相。頂有肉髻，象徵佛的智慧超凡以及崇高的威德，做工精緻細

Song and Yuan Dynasties, foreign inﬂuences became thinner.

膩，漢地造像的肉髻有時造型會近似髮髻，此造像便可看到其風格特色。

This lot depicts the Buddha seated in dhyanasana with hands in dhyanamudra , wearing a robe draped over the left shoulder,

平肩直腰，著開襟漢式服裝，腰間有一繫帶，繫帶下，衣摺翻沿

the serene face with downcast eyes and a meditative expression,

處，飾有蓮花紋，其衣摺線條生動，表現出布料的柔滑感。雙臂上

flanked by a pair of long pendulous ears, the head and

的衣摺不同，使得造像更為生動，袖口有雕飾花紋，再次強調服飾

domed ushnisha covered with tight curls and surmounted by an

的華貴感，也展現出造像者的對細節的講究。佛教僧衣原為右袒

ovoid jewel, all supported on a double lotus pedestal with beaded

式，進入漢地後，因不喜見僧人袒臂，故將衣著造型改為「裹衣縛

edges.

帶」式，此造像服飾衣著皆為漢式，符合漢文化審美的大方內斂。 Gautama Buddha, also known as Siddhartha Gautama, Shakyamuni 雙手置於腹前作禪定印，結跏趺座，雙足露出，雙足及雙掌中有陰

(i.e. "Sage of the Shakyas") Buddha, or simply the Buddha, after

刻法輪。胸前有一卍字紋。多數漢式造像，在胸前刻有卍字，手足

the title of Buddha, was a monk, mendicant, and sage, on whose

有法輪，此為佛的三十二相之一。佛造像進入漢地之後，可見漢式

teachings Buddhism was founded. He is believed to have lived and

與藏式的文化特徵交融，形式雖非逕渭分明，但還是可以從許多細

taught mostly in the northeastern part of ancient India sometime

節處做區別。

between the 6th and 4th Centuries BC.

釋迦牟尼佛原為北印度釋迦族的一位王子，名叫喬答摩·悉達多。

Gautama is the primary figure in Buddhism. He is believed

二十八歲時，他放棄了宮中的世俗生活，以期尋求解答自己在這個

by Buddhists to be an enlightened teacher who attained full

世界上所見痛苦的根源。由於在當時的哲學研究和六年的苦修中都

Buddhahood and shared his insights to help sentient beings end

沒有找到滿意的結果，於是來到菩提樹下靜坐，併發誓在追求不到

rebirth and suffering. Accounts of his life, discourses and monastic

生、老、病、死痛苦的終極真諦之前絕不起坐，終於大徹大悟。後

rules are believed by Buddhists to have been summarised after

人供養其像，以求幸福安樂，遠離痛苦。

his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition and ﬁrst committed to writing about 400 years later.

7 53 A 'DUAN' STONE 'CRAB' WASHER

筆舔以端石為材，材質緻密，隨形設計，規格小巧。立體圓雕荷塘清趣，荷葉、荷花、螃蟹、蓮蓬雕刻生動自然，包漿自然溫潤，如

Qing Dynasty (1644-1911) D: 8 cm PROVENANCE: David Baker, Britain

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,600 - 5,300 RMB 18,000 - 36,000

此精緻小巧甚是少見。此筆舔為綠端石材質，石質極佳，器面顯玻璃光澤。作螃蟹形，為靜止挺立狀。身兩側各出四肢，蟹鉗朝前置於蟹頭前部，小足朝下依次相連，並琢出關節。背殼有浮雕龍紋鈕做蓋，內堂工藝規整，兩眼上挑。腹部平坦，螃蟹於荷葉之上。整體以寫實形式雕琢，工藝非常精妙，具有清中期的特徵，玉質溫潤光潔。巧妙運用圓雕、鏤空雕手法，將螃蟹造型生動展現，構思巧妙，蟹鉗一前一後，寬厚鋒利，蟹足分居兩側，均勻對稱，蟹殼紋理清晰逼真，將螃蟹雕刻的工藝發揮得淋漓盡致。 This lot is made of stone of a greenish tone, characteristically mottled with spots of olive green, modelled as a lotus leaf and deftly carved in relief with one crab of a medium size amongst reeds, its

清綠端石筆舔荷蠏來源： David Baker, 英國

shell naturally highlighted.Duan stones are produced in Zhaoqing, Guangdong Province, and got its name from Duan Prefecture that governed the city during the Tang Dynasty. Duan stone is a volcanic tuff. There are various distinctive markings, due to various rock materials imbedded in the stone, that create unique designs and stone eyes (inclusions) which were traditionally valued in China. A green variety of the stone was mined in the Song Dynasty. Duan inkstones are carefully categorized by the mines from which the raw stone was excavated. Particular mines were open only for discrete periods in history. The present imaginatively fashioned and delicately carved brushwasher is a fine example of objects made for the scholar's table during the Qing dynasty.

75 4 A HUANGHUALI FIVE-TIERED PICNIC BOX AND COVER

This lot is of a rectangular form, with five beaded-rimmed trays

Qing Dynasty (1644-1911) H: 33.3 cm

uprights flanked by shaped spandrels, joined at the top with an

stacked above one another, the upper containing an additional ﬁtted shallow tray, below a conforming cover, all on a base frame set with arched handle, the edges all reinforced by metal strap mounts and secured by a long metal pin.

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,000 - 29,600 RMB 159,000 - 205,000 清黃花梨五撞提盒黃花梨木紋理清晰，如行雲流水，其紋理或隱或現，色澤不靜不喧，被視作上乘佳品，備受明清匠人寵愛，其典雅獨特的氣質，更是受到明清盛世的文人、士大夫之族的喜愛。從傢俱到文房小件，都可看到黃花梨的身影。此提盒共有五層，每層可分拆。每層平盤的底板均出頭少許，以嵌入下一層平盤的頂部，最底下一嵌落在底座的槽口中，穩定端莊。套盒上面，接有方形盒蓋。盒蓋正面四角，飾有如意雲紋裝飾，有吉祥如意之平安意涵，而透過兩側提樑，有一小鎖孔，以銅件做為上鎖固定之用。提梁部分與底座相接，提樑做弓字弧線，若宮門瓦簷，線條精煉，而兩側立柱則以雕雲紋花板與底部相接，底座下挖腳，榫頭交接處、立柱與兩側亮腳、底座，盒體四周等細節處均包有銅邊，不僅飾增加美觀，亦有加固之效。提盒，原為盛放物件或食物的器物，因用對稱的提梁托著盒子而得名，後來，文人對這種頗具民俗色彩的實用物產生了興趣，使之形制更為精巧、工藝更加講究，並成為文人雅士們隨身攜帶文房四寶的用具。提盒早已有之，到明代基本固定為長方形的樣式。以黃花梨為材質的提盒在傳世品存世極少。本件黃花梨提盒設計簡潔，細節精緻，盡顯古典之風，配件完整，是少見的上等佳品。

7 55 A BRONZE TRIPOD CENSER

此爐平唇束頸鼓腹，上起雙橋耳，下承三乳足，尺寸不大，氣韻卻十分穩當，頗適合做為琴爐之用，造型簡潔雅致，規整典雅，線條

Qing Dynasty (1644-1911) D: 5.5 cm

剛健飽滿，爐內掏膛乾淨，皮殼深沉內斂，溫潤似漆，色澤斑然，

NT$ 90,000 - 160,000 HK$ 23,000 - 41,000 US$ 3,000 - 5,300 RMB 20,000 - 36,000

This lot has a compressed globular body supported by three conical

清沖天耳三足銅香爐

Bottom 底圖

整體氣質古樸沉穩，底有「大明宣德年制」六字。

feet, with a pair of loop handles rising upright from the flared rim, the bronze patinated to a warm brown tone, the base cast with a six-character apocryphal Xuande mark.

7 56 AN EXTREMELY RARE GILT-BRONZE 'QILIN' WATER DROPPER

《宋書》：「麒麟者，仁獸也。牡曰麒，牝曰麟。」麒麟出沒處，

Ming Dynasty (1368-1644) L: 12 cm

一孔，做儲水之用，是為案頭雅物。

必有祥瑞。此外，亦用來比喻才能傑出、德才兼備的人。此器以銅鑄而成，模擬麒麟之形，維妙維肖，鱗片髮羽，根根分明，背上開

This lot depicts the recumbent mythical beast cast with the face of a PROVENANCE: Christie's Paris, 9 June 2015, Lot 217

dragon, antlers of a ram, and body of a deer covered in ﬁsh scales, and the mane and tail of a lion, the thin legs with hooved feet tucked under the body, its sides emblazoned with flame-like wings, the

NT$ 220,000 - 360,000 HK$ 57,000 - 93,000 US$ 7,200 - 11,800 RMB 50,000 - 82,000 明麒麟形銅水滴來源 : 巴黎佳士得，2015 年 6 月 9 日，拍品 217 號

hollow body set with a small circular opening on the back.

7 57 A HUANGHUALI BRUSHPOT

明《長物志》中曾提到筆筒可用黃花梨製器，可見自明代以來，黃花梨筆筒的氣韻一直為文人所喜愛。此器通體素潔光亮，略有束

16-17th Century H: 15 cm

腰，平足，線條簡單優雅，皮殼包漿油潤，更加展現出樹紋肌理的

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000

This lot is of cylindrical section, the surface undecorated to highlight

16-17 世紀黃花梨素筆筒

秀氣文雅，實為文房清供，書齋賞玩之物。

the natural wood grains, its robust form carved to achieve a subtly waisted proﬁle, the wood patinated to a rich chestnut colour.

7 58 A BRONZE VASE

此瓶撇口，細頸，鼓腹，長方底。頸兩側對稱置象首雙耳，頸身則以荷花為飾，莖葉纏繞翻轉，花朵置身其中，刀鋒犀利，線條流

Ming Dynasty (1368-1644) H: 15 cm

暢，別具風格，腹部則飾有繩狀流蘇，連貫環繞，滿飾紋路，紋飾

NT$ 90,000 - 160,000 HK$ 23,000 - 41,000 US$ 3,000 - 5,300 RMB 20,000 - 36,000

Each cast with globular body and a long waisted neck, all on a

明雙耳銅瓶

立體感強，增添其豐富性。

rectangular base, covered overall in lavish ornament, the neck decorated with lotus whose stems wiring with each other, flanked by a pair of handles in the form of tusked elephants, the shoulders decorated with parallel tassels.

7 59 A HONGMU FIVE-FOOT STAND

該几面用五段海棠弧型大邊，攢成邊框，打槽裝板心面，大氣典雅，束腰下飾有五片雕雲紋牙板，工藝細膩繁複，以插肩榫銜接五

Late Qing (1840-1911) H: 34 cm

足向下延伸，足端分別向內與外翻轉，與海棠形托泥相連接，既有

NT$ 160,000 - 280,000 HK$ 41,000 - 72,000 US$ 5,300 - 9,200 RMB 36,000 - 64,000

This lot is made of hongmu wood, with a circular top, the rounded

穩定之功效，亦增加工藝之華麗感。

beaded edge continuing to a recessed waist pierced with a band of cloud-shaped motifs, divided by narrow vertical flanges, over a wide, slightly flaring and cusped apron, all raised on five slender foliated cabriole legs and joined to a conforming, waisted and pierced pedestal base with a shaped apron.

晚清紅木束腰五足菱口台座

7 60 A ZITAN DISPLAY CABINETS

明人曹昭在《新增格古要論》中提到：「紫檀木出交趾、廣西、湖廣，性堅好，新者色紅，舊者色紫，有蟹爪紋，新者以水濕浸之，色能染物，作冠子最妙。」可見自古

Qing Dynasty (1644-1911) H: 28.3 cm

以來，紫檀木便是製作傢俱、文房小件等的上選質材。紫檀木主要產自熱帶地區，由於這種木材生長緩慢，非數百年不能成材，成材大料極難得到，且木質堅硬，緻密，適於雕刻各種精美的花紋，紋理纖細浮動，變化無窮。所謂紫氣東來，古人對貴氣的

NT$ 650,000 - 900,000 HK$ 167,000 - 231,000 US$ 21,400 - 29,600 RMB 148,000 - 205,000

嚮往，使得其暗紫色的色調被貴族富賈們追求與愛好，此外，沉穩的色澤也顯得穩重大方而美觀，一直以來被視為木中極品，便有「一寸紫檀一寸金」的說法。此器物端正大氣，線條簡單俐落，共分內外兩層，中間層板有一面單側鏤空雕開窗如意花板，下方則有兩抽屜，抽屜一面飾以橢圓型銅件為柄，方便抽屜開闔，另一面浮雕海棠花紋。多寶格興盛於清代，其獨特之處在於，它利用線條做出橫豎不等、高低不齊、錯落參差的分割空間，人們可以根據每格的面積大小和高度，擺放大小不同的陳設品。

清紫檀如意紋多寶格架

在視覺效果上，它打破了橫豎連貫等極富規律性的格調，因而開闢出新奇的意境來。此件器物格式簡約大方，可透過使用者不同的陳列方式，尋找出不同的樣貌，作為書齋茶寮中的文翫或茶器的歸置處，可增添不少雅趣。 This lot comprises two main registers resting on four short feet, the upper register with two layers of open cuboid cabinets of varying sizes, one surmounted by a pierced upright balustrade border, the other with various angular upright scroll borders, all supported on a chest of two horizontal drawers and four scroll feet, the reverse and sides of the lower register carved with angular scrollwork, one drawer decorated with a bronze knob, the other carved in relief of elaborate ﬂoral.Small cabinets of this type were designed for the emperor's unsurpassed collection of antiques, ﬁne contemporary ceramics, small scholar's rocks and other miniature works of art. They appear to have developed from Ming dynasty bookcases, often modelled with several drawers used for storing writing materials. Asymmetrical shelves, which are often found depicted in contemporary woodblock illustrations and paintings, were a Qing innovation.

7 61 A BLACKWOOD FIVE-FOOT STAND

紅木圓型小台座，台面中有一孔，中心有一略高平面並飾有雙同心圓起線，檯面的口沿略高，可見其應是放置銅爐或是圓瓶等清翫雅

Qing Dynasty (1644-1911) H: 13.5 cm

物之台座。束頸，四周飾以雲形開光牙板，下有五腿，足由內而外

NT$ 140,000 - 260,000 HK$ 36,000 - 67,000 US$ 4,600 - 8,500 RMB 32,000 - 59,000

This lot is made of hongmu wood, with a circular top, the rounded

翻卷，五腿之間安置波浪形棖。

beaded edge continuing to a recessed waist pierced with a band of cloud-shaped motifs, divided by narrow vertical flanges, over a wide, slightly flaring and cusped apron, all raised on five slender foliated cabriole legs and joined to a conforming, waisted and pierced pedestal base with a shaped apron.

清酸枝木五足圓座

7 62 A JIZHOU PERSIMMON-GLAZED TEA BOWL

吉州窯始建于晚唐，興於五代、北宋，極盛於南宋，而衰於元代末年，胎質灰白較細，此盞為斗笠型，形制規整，芒口、底足矮內

Song Dynasty (960-1279) D: 11.8 cm

凹．內外皆施以醬釉，釉色飽滿潤澤，釉不及底，吉州窯中，以黑

NT$ 30,000 - 80,000 HK$ 8,000 - 21,000 US$ 1,000 - 2,600 RMB 7,000 - 18,000

Jizhou ware started from late Tang dynasty and ﬂourished during Five

宋吉州窯醬釉盞

釉瓷（亦稱天目釉瓷）最具特色。

dynasties, Northern Song dynasty, at its peak during Southern Song dynasty. This lot is of a conical form, with slant sides rising from a short foot to a ﬂared rim, covered overall with a metallic russet glaze, stopping at the foot to reveal the grey stoneware body.

7 63 A FIGURE OF ZHENWU Ming Dynasty (1368-1644) H: 27 cm

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 5,900 RMB 20,000 - 41,000 明玄天上帝像

玄天上帝又稱玄武大帝、真武大帝、蕩魔天尊、玉虛師相、無量祖師等，全稱真武蕩魔大帝，是中國神話傳說中的北方之神，為道教神仙中的玉京尊神。此為銅鑄造像，右手指天，左手持劍，腳踩方形台座，衣袂飄飄，道骨仙風。 Zhenwu, also known as Xuanwu or Xuandi or Zhenwudadi, is a deity in Chinese religion, one of the higher-ranking deities in Taoism. He is revered as a powerful god, able to control the elements and capable of great magic. He is identified as the god of the north Heidi and is particularly revered by martial artists. In this lot he is portrayed majestically stepping on a square base, with the left hand holding a sword handle and the right hand held in the deity's characteristic mudra.

7 64 A GILT-BRONZE FIGURE OF MAITREYA

This lot depicts the deity seated in vajraparyankasana on a square base, with a five-pointed crown and a stupaatop the high

Ming Dynasty H: 17 cm

jatamukata, the long plaited hair cascading down the back, wearing an upper robe and dhotiincised with foliate motif, with turquoise urna and jewelry inlaid with semi-precious stones, with hands raised

NT$ 650,000 - 900,000 HK$ 167,000 - 231,000 US$ 21,400 - 29,600 RMB 148,000 - 205,000 明鎏金彌勒佛銅坐像

彌勒佛，也稱彌勒尊佛，即未來佛，彌勒意為慈悲，在大乘佛教經典中，常被稱為阿逸多菩薩摩訶薩，是世尊釋迦牟尼佛的繼任者。據《彌勒上生經》和《彌勒下生經》記載，他出生于古印度波羅奈國一個婆羅門家庭，後追隨釋迦牟尼皈依佛教。因其根機銳利，加之常隨釋尊研習佛法，最終成為釋迦牟尼佛的大弟子。彌勒入減上升到兜率天宮，將於人間五十六億七千萬年後降生人間，繼承佛位成佛祖，傳播佛教。他是三世佛中的未來佛，現為兜率天的菩薩，為釋迦牟尼佛的補儲。彌勒像中有佛裝與菩薩裝兩種形象。此尊彌勒為菩薩裝，頭頂髮髻，頭戴寶塔冠，髮絲鑄造清晰可辨，冠上飾有寶石，細節之處多有雕飾，開臉安詳莊嚴，目慈鼻挺，端莊祥和，線條分明。垂耳後兩縷髮絲貼肩垂臂，或卷或曲，線條流動自然。身上佩戴瓔珞，臂肩繞纏帛帶一條，衣袂飄飄，形象生動。雙手於胸前結轉法輪印。下身穿佛裙，裙邊鏨刻蓮花圖案。赤足下垂呈善跏趺坐與方形台座之上，表示彌勒將要降臨人間。此像造型優美獨特，鎏金明亮，品項完整，甚為難得。

REFERENCE: Classic of the Forbidden City: Tibetan Buddhist Sculptures, Palace Museum Press, 2009 , Fig. 84 參閱 : 《北京故宮經典藏傳佛教造像》， 2009 年 9 月，故宮出版社，編號 84

in dharmachakra mudra.

7 65 RU YI (Chinese, b.1966) Enjoy the Rock Ink on paper 106 x 67 cm Signed RuYi in Chinese With two seals of the artist

NT$ 140,000 - 240,000 HK$ 36,000 - 62,000 US$ 4,600 - 7,900 RMB 32,000 - 55,000 如一萬年基業水墨紙本 106 x 67 cm 款識：如一製鈐印：如一（朱）、如一（白）

7 66 A HARD WOOD BLACK-LACQUERED 'LANDSCAPE' SCREEN

屏風均為雕漆攢框，屏心黑地嵌百寶圖案。於其上分別以玉石，翡翠，

Qing Dynasty (1644-1911) H: 160 cm W: 92.5 cm

描金繪山水畫面，另有意趣。屏風在中國古典家具史上佔有重要的地

瑪瑙，青金石，紫檀，染牙，螺鈿，松石，壽山等百寶嵌飾圖案承托出。一幅寓意富貴吉祥博古畫面，左上題寫御題詩，屏心背面擋板上以位，其功用首先體現在中國傳統空間的風格和含蓄美學的營造上。 This lot shows panels with carved lacquer, embellished with the motif

NT$ 140,000 - 260,000 HK$ 36,000 - 67,000 US$ 4,600 - 8,500 RMB 32,000 - 59,000 清硬木嵌百寶黑漆描金山水屏風

of 'The Hundred Antiques', including carved jade animals, panels and various vessels ﬁlled with landscapes, all applied with various precious stones including jade, jadeite, agate, zitan, and ivory.

7 67 A HUANGHUALI EMBELLISED BOX

黃花梨蓋盒，外側壁嵌螺鈿、玉石等材質裝飾，俗稱八寶鑲嵌，顏色豐富絢麗。人物、松樹、山石構成圖案，人物面部刻花精細，孩

Qing Dynasty (1644-1911) L: 16.3 cm

童與婦人動作自然，衣褶生動。黃花梨木質地緊實，木紋如行雲流

PROVENANCE: Private Canadian collection

This lot is of rectangular form, comprising a cover and trays, the

NT$ 120,000 - 200,000 HK$ 31,000 - 51,000 US$ 3,900 - 6,600 RMB 27,000 - 45,000 明黃花梨嵌百寶木盒來源：加拿大藏家舊藏

水般。如此的精美工藝，彰顯出古代的貴族氣質。

exterior with later-added mother-of-pearl, hardstone and enamel inlay, embellished with soapstone, ivory, zitan, jichimu, jade, porcelain and mother of pearl with precious objects on ﬁtted stands, the cover depicting scholars, women and children walking among a natural scene, representing the spirit of the aristocracy from that age.

7 68 A SILVER WIRE-INLAID BRONZE GUANYIN 17th century H: 29 cm PROVENANCE: Ivan Zecevic Art, France

NT$ 420,000 - 550,000 HK$ 108,000 - 141,000 US$ 13,800 - 18,100 RMB 95,000 - 125,000 17世紀嵌銀絲淨瓶觀音來源： Ivan Zecevic Art, 法國

此件觀音立像通體呈褐色，盤髮成髻，髮絲細密舒整。眉間白毫，眼瞼低垂，目光下斂，直鼻，小口，面龐豐腴，法相秀美莊嚴。左手輕托右臂下，右手斜持一瓶，神情端莊嫻雅，儼如正在俯看塵世眾生。身著寬袖長袍，圓肩修身，邊緣銀絲鏨刻花卉紋飾，衣紋簡明，折迭密集流暢，左右大致呈對稱分佈。整像雕工精細，銅質錶面平滑細膩，工藝深厚，顯得格外典雅。底部刻有「國慶寺建刻」款，更能顯示其悠久的歷史。 This lost is cast standing with the head turned slightly to the left and hands held to the right before the waist, wearing a loose ﬁtting robe billowing in the wind and opening at the chest to reveal a beaded necklace, the robe inlaid with silver-wire with stylised clouds and hemmed with foliate scrolls, the face with downcast eyes and a serene expression framed with a coiffure covered by a long veil falling on the shoulders, the bronze patinated to a dark chocolate tone.

Bottom 底圖

7 69 A MOTHER-OF-PEARL-INLAID LACQUER DISH WITH SEAL MARK OF QIANLI

螺鈿又稱螺甸、螺填、鈿嵌、陷蚌、鈿螺、坎螺以及羅鈿等，螺鈿

Qing Dynasty (1644-1911) L: 10.8 cm

錶面的裝飾工藝的總稱。螺鈿的「鈿」字，據《辭海》中註釋，為

是中國特有的傳統藝術瑰寶。所謂螺鈿，是指用螺殼與海貝磨製成人物、花鳥、幾何圖形或文字等薄片，根據畫面需要而鑲嵌在器物鑲嵌裝飾之意。由於螺鈿是一種天然之物，外觀天生麗質，具有十分強烈的視覺效果，因此也是一種最常見的傳統裝飾藝術，被廣泛

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000

應用於漆器、傢俱、樂器、屏風、盒匣、盆碟、木雕以及有關的工藝品上。江千里，字秋水，浙江嘉興人，生卒年沒有記錄，只知是晚明人。江千里製作的漆器後面寫倆字「千里」，就是他的名號。到了清代以後，江千里，尤其「千里」這兩個字，就變成一個品牌，當時曾有「家家杯盤江千里」之說。許多名貴的螺鈿器皿上都嵌有「千里」兩個字，借著江千里的名號。

清「千里」款螺鈿漆盤

This lot is with shallow angled sides meeting at canted corners, the black-lacquered interior inlaid in mother-of-pearl either with an image of butterflies and dragonflies flying among flowers, an inlaid ruyi-head border around the principal scene and a diaper band at the cavetto, inlaid with two characters qianli . Jiang Qianli is a famous lacquer ware master during late Ming dynasty, and this piece is one of his celebrated creations.

Bottom 底圖

7 70 A MOTHER-OF-PEARL-INLAID LACQUER BOX

此器以鬃漆嵌螺鈿而成，蓋與盒相扣而成，以螺鈿鑲嵌技法描繪松下山石之間，仕女身著長裙，一侍女手執蕉扇面帶嬌笑，身側一侍

Ming Dynasty (1368-1644) H: 17 cm

女緊隨其後，紋飾雕琢纖細入神，人物形象個性鮮明，佈局緊湊，包漿圓潤，松樹洞室花卉均採用彩螺拼接而成，做工繁縟，可見古人製作之態度。

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,600 - 5,300 RMB 18,000 - 36,000

This lot is of a rectangular form supported on a flat base, finely inlaid in iridescent sections of mother-of-pearl on a black lacquer ground with two court ladies walking among pines and rocks, peony blossoms and buds wreathed in scrolling floral vines, the hinged cover and sides decorated with sprays of flowers and butterflies above a border of key-fret.

明螺鈿松蔭仕女漆盒

7 71 AN IRON 'BAMBOO' PANEL Qing Dynasty (1644-1911) W: 82.8 cm

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,600 - 3,300 RMB 11,000 - 23,000 清鐵打畫竹掛屏

7 72 A 'DREAMSTONE' MARBLE-INSET PANEL Qing Dynasty (1644-1911) W: 66.4 cm

NT$ 80,000 - 180,000 HK$ 21,000 - 46,000 US$ 2,600 - 5,900 RMB 18,000 - 41,000 清雲石掛屏

7 73 A PIECE OF LOTUS SUTRA Tang Dynasty (618-907) H: 93.4 cm (with frame)

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 3,900 RMB 14,000 - 27,000 唐紙本金泥書「多寶如來」法華經斷簡

多寶佛，又稱為多寶如來，為東方寶淨世界之佛，入滅後以本願為全身舍利。若有諸佛說《法華經》，必於其前出現。《智度論七》曰：「有諸佛無人請者，便入涅槃而不說法。如《法華經》中多寶世尊，無人請故，便入涅槃。後化佛身及七寶塔證說法華經故一時出現。」此唐代經文斷簡，金泥紺紙。唐寫經字體多圓潤爛熟，雋秀挺拔，骨肉豐厚，有力拔千鈞之感，甚是美矣。裝裱後，沉澱著信者之虔誠，洵為佛壇及藝林之珍寶。 Prabhutaratna, Chinese name translated as Abundant Treasures or Many Treasures, is the Buddha who appears and veriﬁes Shakyamuni's teachings in the Lotus Sutra and the Samantabhadra Meditation Sutra. This lot is written with gold on blue paper, Scripture writing during Tang is more roundish and sleek, each character with fine structure and vigorous spirit, representing the beauty of strong and powerful strokes. After the framing, the devoutness of the believer is precipitated, and it becomes a treasure on the Buddhist altar.

7 74 A YING SCHOLAR’S ROCK Qing Dynasty (1644-1911) W: 23 cm

NT$ 80,000 - 180,000 HK$ 21,000 - 46,000 US$ 2,600 - 5,900 RMB 18,000 - 41,000 清英石賞石

7 75 AN UNUSUAL WOOD FRUIT HOLDER Qing Dynasty (1644-1911) H: 16.5 cm

NT$ 80,000 - 180,000 HK$ 21,000 - 46,000 US$ 2,600 - 5,900 RMB 18,000 - 41,000 清奇木果盤

7 76 AN UNUSUAL CARVED WOOD Qing Dynasty (1644-1911) L: 48 cm

NT$ 30,000 - 80,000 HK$ 8,000 - 21,000 US$ 1,000 - 2,600 RMB 7,000 - 18,000 清奇木抱石如意

7 77 AN UNUSUAL WOOD STAND Qing Dynasty (1644-1911) H: 18 cm

NT$ 30,000 - 80,000 HK$ 8,000 - 21,000 US$ 1,000 - 2,600 RMB 7,000 - 18,000 清奇木台

7 78 AN AGATE AND A WHITE JADE SNUFF BOTTLES Qing Dynasty (1644-1911) H: 5.8 cm H: 5.3 cm

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000 清瑪瑙鼻煙壺兩件一組

7 79 AN AGATE 'EAGLE AND BEAR' SNUFF BOTTLE Qing Dynasty (1644-1911) H: 5.5 cm

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000 清影子瑪瑙「鷹熊」鼻煙壺扁壺形壺體，雙肩雕飾鋪首耳，腹部借褐色皮巧作祥雲，雄鷹獨立山間，背面留皮巧作熊紋，寓意英雄。修足精緻。材質極佳，製作巧妙。「鷹熊」與「英雄」諧音，英雄，謂有膽，有識，有能的傑出人物。獨立謂獨一無二，天下無匹。英雄獨立是中國傳統寓意紋樣，寓意英雄人物獨立世間的豪邁氣魄。 The lot is in ﬂattened round form, smartly transferring the brownish blotch on its stomach into decoration, depicting an eagle (ying ) among mountains on the front side and a bear (xiong ) crouching on a rocky ledge with head turned backwards on the backside, suggesting the word yingxiong ("hero").

7 80 A JADE 'MONKEY AND PEACH' GROUP Qing Dynasty (1644-1911) L: 4.8 cm

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,600 RMB 9,000 - 18,000 清白玉猴子蟠桃擺件

7 81 A CENSER WITH XUANDE MARK Qing Dynasty (1644-1911) D: 11.5 cm

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 3,900 RMB 14,000 - 27,000 清銅獸耳宣德款香爐

Bottom 底圖

7 82 A 'LANDSCAPE' WRISTREST Qing Dynasty (1644-1911) L: 21.2 cm

NT$ 30,000 - 80,000 HK$ 8,000 - 21,000 US$ 1,000 - 2,600 RMB 7,000 - 18,000 清山水臂擱

7 83 A PAIR OF ZITAN-VENEER PAPERWEIGHTS OF ZHOU ZHIYAN L: 28 cm

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 3,900 RMB 14,000 - 27,000 周芷嚴款紫檀貼黃紙鎮一對

7 84 A CARVED BAMBOO 'LION' CUP

獅子呈蹲臥狀，側首上揚，四肢健壯有力，雙耳下垂，雙目瞪視遠方，微張大口，鬃毛以陰線細刻，翻捲濃密，尾部貼身。材質為竹

Qing Dynasty (1644-1911) D: 15.3 cm

根雕刻而成，此件作品小巧但卻神情威武，方寸之間雕琢一隻惟妙

NT$ 110,000 - 200,000 HK$ 28,000 - 51,000 US$ 3,600 - 6,600 RMB 25,000 - 45,000

This lot is masterfully carved to depict a ferocious lion with its head

清竹雕獅形杯

惟肖的雄獅，把玩於掌中，難於釋懷。

turned to the side, skillfully carved with tufts of hair flanking a crenulated spinal column terminating in a bushy tail, the group with a hollow body and richly patinated on the exterior to glossy stippled dark reddish-brown colour.

78 5 A DING 'FLORAL' BOWL

此件盤為六瓣葵口，向外微撇，底部下收豎刀直下修做足。碗外壁底面平整。整器通體施釉，口沿無釉露胎，胎骨堅質。釉色潔白，

Northern Song Dynasty (960-1127) D: 22.5 cm PROVENANCE: Important Private Collection, Taipei

NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,200 - 19,700 RMB 91,000 - 136,000 北宋定窯刻花紋碗來源 : 台灣重要藏家收藏

釉面平整呈象牙白色。內底裝飾一長莖翻轉的折枝萱花，用雙刀勾劃萱花輪廓枝幹，再用數條纖細簡短的平行線點綴呈花莖，可見其萱花的表現形式應屬較早期的刻劃習慣。外壁口沿一周可見積釉，部分積釉較厚，用手觸之呈波浪感。腹下近底斜削一周處部分露胎，露胎處可見其胎骨細膩呈煙灰色。底部釉薄處可見旋坯痕。 This lot is with shallow ﬂaring sides rising from a short foot to a rim subtly divided into six lobes, the interior freely carved with a daylily bloom borne on an undulating stem bearing slender curling leaves, applied with a clear ivory-tinged glaze showcasing the white body and down to the unglazed foot.

7 86 A CARVED BRONZE DRAGON GROUP

祥龍呈現即將騰飛之態，立體感極強，雙目圓睜，口部張開，頭部上揚，身軀蜿蜒，腿部有力，鬚髯隨身姿走勢飄揚開去，動態十足。一幼

Qing Dynasty (1644-1911) H: 50 cm PROVENANCE: Collection of the Cathay Art Museum, Taipei

NT$ 2,800,000 - 4,000,000 HK$ 720,000 - 1,028,000 US$ 92,100 - 131,500 RMB 636,000 - 909,000

龍盤踞於身旁，高抬前肢托起，頭部看向一側，雙爪蹬地有力，身體毛發刻劃細致入微。下部底座為木雕祥雲紋，層層外壁雕琢紋樣，創意出飛龍在天，望子成龍的美好寓意，足見工匠之心思。整器造型優美，做工精緻，彰顯出雍容華貴之氣。 This lot depicts a wondrous and lively scene of two ﬁve-clawed dragons, one large in a dominant position, the other a young subordinate dragon, depicted writhing ferociously, their scaly bodies intricately incised with naturalistic detail and prominently executed in bold relief, particularly their protruding noses which are executed in higher relief than the rest of their facial features, further emphasising the impression of the dragons emanating dynamically from amongst the dense scrolling lingzhi-shaped

清銅望子成龍擺件來源：台北國泰美術館舊藏

clouds which is the carved wood base.

7 87 A BRONZE TRIPOD WITH DOUBLE ELEPHANT-SHAPED HANDLES Qing Dynasty (1644-1911) H: 74 cm W: 73 cm PROVENANCE: Collection of the Cathay Art Museum, Taipei

NT$ 8,000,000 - 12,000,000 HK$ 2,057,000 - 3,085,000 US$ 263,100 - 394,600 RMB 1,818,000 - 2,727,000 清太平有象三足爐來源：台北國泰美術館舊藏

爐侈口直沿，鼓肩，弧壁斜收，器型碩大。雙肩出象鼻狀鋬，象仰首，鼻向上曲伸為鋬，下亦承三象首狀蹄足，足著地處為鼻尖回勾造型，象首裝飾有瓔珞，造型別致。爐身鑄有纏枝蓮紋飾，紋飾遍佈整個器身，帶穹廬狀蓋，蓋鏤空雕纏枝蓮花，蓋鈕為一俯臥側首的小象，背披刻有捲草圖案的鞍韉，佩飾瓔珞。象背拱瓶，上承瑞果。口沿外側精雕一圈雲雷紋，意態連綿。大象生動飽滿，惟妙惟肖，纏枝蓮花枝葉蔓延輾轉，佈局緊湊而不淩亂，簡繁得當，頗具節奏感。莊嚴肅穆。「太平有象」為中國傳統題材，即天下太平、五穀豐登之意。此香爐造型繁縟精美，工藝精湛細膩，為清代一古雅端莊之銅爐佳作。 This lot was heavily cast with the bombé body supported on three elephant-head legs each with curled tusks and bejeweled harnesses, the deep sides in high relief with stylized lotus blossoms borne on undulating leafy foliate scrolls, flanked by a pair of elephant-head handles with upturned trunks, the domed cover similarly decorated with lotus blossoms and undulating leafy stems in openwork, surmounted by a recumbent elephant in elaborate embellishment, carrying on its back a basin with auspicious emblems and treasures.

7 88 A BRONZE TRIPOD CENSER DECORATED WITH GOLD

器形類似宋代瓷器中奩的造型，鼓腹下垂，平底，三獸足，獸足取

Qing Dynasty (1644-1911) D: 17 cm

識。此件銅爐器型端正大氣，包漿色澤光潤，器形更是殊為罕見，

PROVENANCE: Collection of the Cathay Art Museum, Taipei

NT$ 500,000 - 800,000 HK$ 129,000 - 206,000 US$ 16,400 - 26,300 RMB 114,000 - 182,000

於大象首部的變形。器身兩道弦紋，弦紋上裝有鏈狀裝飾物，可能此爐用於隨身行動時使用，爐身灑金，爐底「子孫永」小篆體款整器寶光畢現，光澤可人，頗為養眼，亦顯貴氣，微撫即亮，微溫即潤。愛之者盤撫多年養煉而成，為歷代求色者趨。數百年包漿自然而成，為好古者最喜皮色，假以時日緩盤輕撫，此爐必出百年幻化皮色。 This lot is of an archaistic lian form, superbly potted with a wide cylindrical body supported on three beast-paw feet probably issuing from elephant heads, the exterior of the body encircled with two evenly spaced thin raised ribs, the exterior patinated to a warm russet tone accentuated by gilt splashes, the bottom with a three character seal zisun yong .

清銅點金瑞獸三足爐來源：台北國泰美術館舊藏

Bottom 底圖

7 89 A CHENXIANGMU CUP

此件沉香杯選用一段沉香木雕琢而成，仿犀角爵杯造型，上敞下斂，杯腹內收，口沿及底足呈不規則橢圓形，仰馬蹄狀造型。腹部

Qing Dynasty (1644-1911) L: 8.7 cm

以浮雕技法刻松下高士圖與器璧之上，松樹從把處蜿蜒至杯內，人物置身與層林盡染當中，氣勢不凡。刀法深淺有致，沉穩細膩，巧妙結合沉香木質本身之紋理枝節，通景雕刻，氣韻天成，自然流

NT$ 280,000 - 400,000 HK$ 72,000 - 103,000 US$ 9,200 - 13,200 RMB 64,000 - 91,000

暢，古樸端莊。 This lot is made of chenxiangm, of the form of a tapered horn, meticulously carved on the exterior with a continuous scene depicting several scholars amidst an idyllic riverscape laden with large overhanging pine trees, the tranquil setting quaintly accented with a few bridges and pavilions.

清仿犀角式山水人物沉香杯

7 90 A BLUE AND WHITE VASE Ming Dynasty Hongwu Period (1368-1398) H: 34.5 cm PROVENANCE: Important Private Collection, Taipei

NT$ 2,400,000 - 3,800,000 HK$ 617,000 - 977,000 US$ 78,900 - 125,000 RMB 545,000 - 864,000 明洪武青花纏枝牡丹紋玉壺春瓶來源 : 台灣重要藏家收藏

在中國瓷器發展史上，有一種器形，它身姿清秀、曲線曼妙，與梅瓶、賞瓶並稱「瓶中三寶」，它就是玉壺春瓶。明朝洪武朝瓷器是上承元代、下啟永樂宣德的重要轉變時期，總體風格介於元代和永樂宣德朝之間。就釉青花而言，洪武青花瓷器別具一格。如果說元代的青花瓷器發色濃豔，風格粗獷，那麼洪武朝則開始了青花趨向風格清雅、紋飾明晰、佈局舒朗的新時代。雖然處在元明之際的轉變期，洪武瓷器拉坯、燒成、釉色等各方面都得到了十足的發展。玉壺春瓶，撇口束頸，流肩垂腹，圈足，其製作規整，線條流暢，造型優美。從胎釉、造型、紋飾、釉色乃至存相，各個方面均是精臻至極。細細品賞，可見其自口至足部以曲線形的優美曲線塑造出柔和勻稱的造型，拍品通體施白釉，口沿下至頸繪蕉葉紋，肩繪如意雲紋，近足處環飾蓮瓣紋，足牆繪卷草紋。腹部主紋飾為纏枝牡丹紋，牡丹花心大，花瓣小而密，整體飽滿小巧，此種牡丹紋飾一直沿用至清代，在明清御窯瓷器中，牡丹、蓮花、菊花同為三大常用花卉。 The classic yuhuchun shape was favoured by the Hongwu Emperor (1368-1398) and subsequently adorned with a variety of decorative bands, a style that continued to be developed and modified in the succeeding Yongle (14031424) and Xuande (1426-1435) reigns. This lot is beautifully potted with a pear-shaped body rising from a splayed foot, elegantly sweeping up to a waisted neck flaring at the rim, the exterior boldly painted with large peony blooms borne on a leafy meander above overlapping petal lappets, below upright plantain leaves, an undulating lingzhi scroll and pendent trefoils encircling the neck, all divided by line borders repeated at the rim and the foot, covered overall in an unctuous glaze with a faint bluish tinge.

7 91 A 'PHOENIX' CENSER 19th Century H: 15.3 cm

NT$ 150,000 - 260,000 HK$ 39,000 - 67,000 US$ 4,900 - 8,500 RMB 34,000 - 59,000 19世紀鳳凰琴爐

7 92 A CLOISONNÉ ENAMEL WALL VASE Qing Dynasty (1644-1911) H: 19 cm

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,500 RMB 36,000 - 59,000 清掐絲琺瑯轎瓶

7 93 A PAIR OF CLOISONNÉ ENAMEL GARLIC-HEAD VASE Qing Dynasty (1644-1911) H: 22.5 cm

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 RMB 45,000 - 68,000 清掐絲琺瑯蒜頭瓶一對

7 94 A CLOISONNÉ ENAMEL FOUR-FOOTED 'DING' CENSER WITH SEAL MARK OF QIANLONG Qing Dynasty (1644-1911) H: 21 cm

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,500 RMB 36,000 - 59,000 清掐絲琺瑯四足雙耳鼎爐

Bottom 底圖

7 95 A SILVER TEA POT BY SHOBI-DO 19th Century H: 18.5 cm

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 3,900 - 7,200 RMB 27,000 - 50,000 19世紀尚美堂銀壺

7 96 A SILVER TEA POT 19th Century H: 21.5 cm

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,500 RMB 36,000 - 59,000 19世紀銀壺

7 97 A FAMILLE-ROSE 'PEACH AND BAT' VASE

敞口，長頸，圓腹，瓶頸底部與腹身交界處，起有兩線，增添其穩定大器之感。胎質潔白堅硬，潤澤。施粉彩，色澤純正豔麗，瓶身

20th Century H: 39 cm

繪有桃樹，壽桃盤踞其上，結實累累，畫工精細流暢，枝幹葉脈交

PROVENANCE: Sotheby's London, 10 September 2002, Lot 254

This lot is of a globular form, covered overall in white glaze, superbly

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,600 - 5,300 RMB 18,000 - 36,000

錯，又繪有蝙蝠穿梭其中，即謂福壽雙全之意。

enameled with a gnarled tree trunk emerging, issuing asymmetric peach branches extending halfway around the body and wrapping around the neck, the fruiting boughs with pink blossoms edged in white, the peaches depicted in rose-pink to darker pink, the greenenameled leaves shaded in turquoise, all amid soaring iron-red bats.

20世紀粉彩壽桃蝙蝠瓶來源 : 倫敦蘇富比， 2002 年 9 月 10 日，拍品 254 號

Bottom 底圖

7 98 A RARE PAIR OF IMPERIAL GILT-BRONZE AND CLOISONNÉ ENAMEL PAGODA PARFUMIERS Qing Dynasty, Qianlong Period (1736-1795) H: 66 cm PROVENANCE: Christie's Paris, 7 December, 2007, Lot 268

NT$ 1,200,000 - 2,000,000 HK$ 308,000 - 514,000 US$ 39,500 - 65,800 RMB 273,000 - 455,000

掐絲琺瑯的製作方式，一般在金、銅胎上以金絲或銅絲掐出圖案，填上各種顏色的琺瑯之後經焙燒、研磨、鍍金等多道工序而成，一般特指銅胎掐絲琺瑯，又稱「景泰藍」。清初宮內設立琺瑯作，專

清乾隆掐絲琺瑯寶塔香熏一對來源 : 巴黎佳士得 2007 年 12 月 7 日，拍品 268 號

門研發琺瑯器。到了乾隆時期，掐絲琺瑯工藝興盛，並正式達到巔峰，並形成了內府造辦處、廣州、揚州、蘇州等幾個工藝中心。此為八角形寶塔，寶塔基座共有四層，分飾不同花草紋，上下皆飾以卷草紋，中間兩層大開光，其中分別飾有纏枝蓮紋及刻花，線條蜿蜒流暢，一層一景，各有不同風情，十分精緻，塔面四周設有雕空矮牆，牆面由五個卍字接連而成，其下有鎏金雲型牙版，端莊大器，其中一面牆下刻有「乾隆年製」四字，塔面中有一銅柱，柱上則飾以銅細絲編繩，層層纏繞向上，工藝精湛，編繩的末端則以碧璽作收，並以銅絲流蘇點綴，每個細節都相當講究。

Mark 款識

香在古代生活中有著廣泛的使用。從熏燃、懸佩到塗傅、飲用等，魏晉南北朝以降，香多為宮中貴族之家所用。南朝人謝惠連在《雪賦》中寫道：「燎薰鑪兮炳明燭，酌桂酒兮揚清曲。」可見，圍爐熏香是古代士大夫常見的生活場景。明清熏爐的製作和使用進入繁榮時期，故宮內大殿、書房、內寢皆置高達三四尺的巨大熏爐，並多為掐絲琺瑯等景泰藍之精品，中國自古喜歡成對物件，象徵圓滿，此對香熏其造型工藝及尺寸可知，應作為室內熏香之用，並有富貴圓滿之意。 These two parfumiers are in the shape of pagodas, the hexagonal base resting on a pedestal decorated with petals, taken on the cornice, the balustrade adorned with blue swastikas, the interior embellished with scrolls and flowers, the column with fully openwork decoration of polychrome clouds in pastel shades and enhanced with a large gilded and repousse copper dragon whoes body wrapping around the entire height of the cylinder, chasing the sacred pearl. the upper part is composed of a cornice identical to the balustrade of the base, a double roof separated by a frieze of white squares, the roof of the top embellished with bells and finished with a gilded and openwork bronze grip, forming a coiled dragon. Incense burners of this form were intended as part of the furnishing in the throne room, flanking the throne together with various tripod incense burners.

7 99 A WALNUT BRACELET Qing Dynasty (1644-1911) L: 19 cm

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,600 - 3,300 RMB 11,000 - 23,000 清核桃手串

核桃自古以來被視為吉祥之物，核字的諧音為「和」、「合」二 799

字，象徵著平安幸福、和睦康泰等寓意。此外與桃木一樣，有驅邪避惡的效果，並保佑人們家庭興旺，世代和諧。隨身攜帶核桃手串，除清玩雅趣之外，亦有平安去災之意。 Walnut has a long history of being considered as an auspicious object. He (walnut) rhythms with he (peace) and he (togetherness), representing the good wishes of family safety and togetherness.

800 A SET OF BAMBOO SCHOLAR’S OBJECTS Qing Dynasty (1644-1911) H: 3 cm D: 6.5 cm

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 3,900 RMB 14,000 - 27,000 清竹製文房- 香盒及水盂竹根雕小件，通體素潔典雅，上有蓋，內施薄漆，利用材質本身之器形，稍加修飾而成。自古文人愛竹，喻其高風亮節之意，許多文房雅玩，都喜用竹器，透過把玩與陳列，強調文人心中之志，此器 800

素雅小巧，可作香盒或是文房之案頭小物。 This lot is carved in bamboo showing a warm honey-brown colour, decorated in a simple and clear style, with a cover thinly lacquered on the inside. This lot belongs to the study room of literati as a plaything or a decoration.

8 01 A PALM TREE WOOD BRUSHPOT

筆筒可說是與文人最貼近的文房之一，此器唇口直腰，平底，整體素雅大方，筒身上木紋蒼勁明顯，層次分明，而其包漿厚潤，宛若

17th century H: 16 cm PROVENANCE: M.D.Flacks, London Sotheby's New York, 14 September 2011, Lot. 141.

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,500 - 11,800 RMB 59,000 - 82,000 17世紀棕櫚木筆筒來源 : 倫敦，M.D.Flacks 紐約蘇富比，2011 年 9 月 14 日，拍品 141 號

天成，該筆筒以簡單線條而將其造化成文人清玩，此類素簡的文房雅玩正契合了當時文人的品味。 This lot is of a cylindrical section and refined simplicity, elegantly carved with straight sides rising from a recessed base, the streaked wood of a variegated brown colour.

8 02 A RUBY AND JADEITE COURT NECKLACE

紅寶石朝珠由一百零八顆均勻寶石製成，每二十七顆間一翡翠佛頭，其中一顆之上相連翡翠佛塔，並以翡翠和寶石作為記撚，背雲

Qing Dynasty (1644-1911) L: 116 cm

墜角亦由翡翠而成。朝珠在清代服飾制度中得到廣泛的應用，例如皇帝在祭祀儀式中必須佩掛朝珠，而自皇貴妃以降，皇太子、妃嬪等，穿朝服時均需掛對應名貴材質的朝珠，其如發簪、戒指、手鐲

NT$ 360,000 - 480,000 HK$ 93,000 - 123,000 US$ 11,800 - 15,800 RMB 82,000 - 109,000

和鈕子等均有嚴格的等級劃分。 This lot is made of 108 ruby beads divided by four pale green jadeite fotou (Buddha heads), the fotou at the back connected to a gourd-shaped fotouta (Buddha head stupa), supporting a silk cord tassel intersected by a flattened rectangular jadeite pendant, terminating to a ﬁligree-mounted jadeite tear-shaped bead, enhanced

清紅寶石朝珠

by three jinnian strands each strung with ten coral beads.

8 03 WU RIQIN

吳日勤受過完整的書畫訓練，對中國書畫精神之掌握不在話下，從

Golden Age

這裡出發所轉換出來的抽象繪畫，應該說毫無疑問是有深層的文化

Ink and color on canvas 96 x 134 cm

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 RMB 45,000 - 68,000

聯繫。在簡約快速的色塊中，他以黑色線條貫串其中，讓畫面有了東方美學的基調－一種以線條質感為主宰的抽象。在吳日勤的作品中可以感受到繪畫融會了西方的抽象表現性以及瞬息萬變的效果，黑色線條如神龍般在高彩塊面中「調和鼎鼐」、「縱橫全場」，讓東方文化和西方文化在此有了美麗的、精彩的邂逅。他的一氣呵成或可以「暢快淋漓」形容之，由如高歌哼唱的大快人心。 Chin Wu has been through a complete training of painting and calligraphy, with a great command of capturing the spirit of Chinese painting and calligraphy. The abstract paintings transformed from this basis should be considered to have a deep cultural connection. In

吳日勤金色年代

the simple and swiftly made color blocks, black lines are used to link them together, which gives the picture a tone of oriental aesthetics an abstraction dominated by lines. In Wu's works, you can feel that the paintings absorb the abstract expressions of the West with the

設色畫布 96 x134 cm

ever-changing effects, while the black lines swim among the highcolor blocks like a dragon.

8 04 A CARVED AGARWOOD GROUP

此沉香擺件來源於日本京都著名香道店，為沉香原木，形態古樸，皮殼溫潤，亦可見一塊沉香經過數十年至千年的結香過程。

20th Century L: 24 cm Weight: 240g

This agarwood sculpture is from the famous incense store in Kyoto, Japan. The shape is simple and delicate, and the skin is mild and moist. It also shows the forming process of an agarwood throughout

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,000 - 29,600 RMB 159,000 - 205,000 20世紀沉香擺件

decades to thousands years.

8 05 A AGARWOOD FIGURE OF BUDDHA

此尊佛像為沉香雕琢釋迦牟尼佛，釋迦牟尼佛法相莊嚴，螺發高髻，雙目俯視，身著袈裟，衣紋緊貼身體，透出勻稱的身姿，雙手

Qing Dynasty (1644-1911) H: 12.5 cm (with stand)

結禪定印，全跏趺坐於鏤空蓮台之上。蓮臺上蓮瓣層次豐富，模仿寺廟中的石質台座精心雕琢而成，製作工藝精湛精巧，沉香為名貴的香料，此塊沉香體量較大，經過繁複工藝造像，足見主人對佛的

NT$ 550,000 - 700,000 HK$ 141,000 - 180,000 US$ 18,100 - 23,000 RMB 125,000 - 159,000

崇敬之心，彌足珍貴。 This lot is made of chengxiangmu, and the Buddha is depicted seated in dhyanasana on a double-lotus base, with the hands held in dhyanamudra, wearing a long robe open at the chest, the face with a serene expression and the hair in tight curls covering the ushnisha below a globular jewel.

清沉香佛像

8 06 A BAMBOO-VENEER RUYI SCEPTER Qing Dynasty (1644-1911) L: 37.5 cm

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,500 RMB 36,000 - 59,000 清竹黃如意

此如意為貼黃工藝製作而成，貼黃又稱翻黃，亦稱文竹。此如意頭雕刻三多題材中的壽桃，刻工精巧惟妙惟肖，如意炳中端呈現方形，雕刻佛手一株，方寸之間盡顯刀法之精湛，如意尾端雕刻石榴。如意柄處刻精美紋飾襯托主要題材，紋樣講究。雕工細緻流暢、古雅可愛。以佛手諧意福，以桃子諧意壽，以石榴暗喻多子，表現多福多壽多子的頌禱，故稱福壽三多紋。 This lot is modelled with a golden-brown bamboo-veneer curved and subtly lobed shaft leading up to a ruyi -shaped head, the long shaft decorated in low relief, the reverse of the shaft gently picked out with a small ruyi head, the end carved with pomegranates and pierced with an aperture to thread a tassel.

8 07 A CHENXIANGMU BOULDER 20th Century H: 31 cm

NT$ 220,000 - 380,000 HK$ 57,000 - 98,000 US$ 7,200 - 12,500 RMB 50,000 - 86,000 20世紀沉香木山子

此沉香山子模仿靈璧石造型，外表黑色包漿，局部透木色本質，光湛瑩朗，質如臘脂。遠觀如石質堅硬素雅，色澤渾厚美觀，兼顧靈璧石的空透玲瓏，姿態扭轉，咫尺間卻頗有氣勢。沉香雕刻不僅考慮石面褶皺紋理豐富，又將沉香的材質發揮到極致，再加上包漿瑩潤自然，不失為一件名貴的沉香擺件。 This lot is a boulder of chengxiangmu naturalistically carved into the form of lingbi-type scholar’s rock, the surface of a dark gray color, resting on its narrowest point expanding through an irregular series of dramatic protrusions, richly patinated on the exterior to glossy stippled dark color.

8 08 AN AGARWOOD INK REST

中國文房清供可謂源遠流長，筆、墨、紙、硯被譽為「文房四寶」。文房諸具中，有一再小不過的物件，謂之「墨床」。前人書

Qing Dynasty (1644-1911) L: 16.5 cm

寫必研墨，墨錠遇水洇濕，若不妥帖安放，極易污了他物，纖小的墨床不過兩指寬、三兩寸長，恰好承接住一枚炭墨，有如墨之卧榻，其名貼切靈動。此墨床，以沉香雕刻流雲紋，材料珍貴，形狀

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 5,900 - 9,200 RMB 41,000 - 64,000

文氣，為書房中一件不可多得的逸品。 The objects of a literati's studio has a long history in Chinese culture, as pen (brush), ink, paper, and inkstone are known as "Four Treasures of the Study." In a literati's studio, there is a considerably small object called ink-rest. The predecessors must make ink by hand before writing , and the ink ingots went instantly wet and melting once with

清沉香雕流雲紋墨床

water. If they were not properly placed, they would easily stain other things, and hence the small ink-rest which was only two ﬁngers wide and three inches long. This ink-rest is agarwood engraved with motif of clouds, its material precious and its shape sleek, a rare ﬁne piece from a literati's studio.

80 9 AN UNUSUAL WOOD BRUSHPOT

明清時代沉香木材質非常稀缺，此筆筒原木雕刻，如此碩大實為難得。筒身隨形雕琢樹樁舒展自如，枝幹蒼勁自然，樹木的癤痕模仿

Qing Dynasty (1644-1911) H: 14 cm

的十分到位，足見製作之人構思巧妙，觀察細緻，雕琢精湛，充分

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

This lot is of a large size with an irregular form, the organic body

清奇木筆筒

展現了古代文人雅士高雅的生活情趣，幾百年來香氣依然沁人心脾。

naturalistically carved into a hollowed-out section of a trunk, the gnarled exterior textured with gnarls and burls, carved to the side with branches of pine issuing from the base.

8 10 A JIZHOU 'TORTOISESHELL' GLAZED TEA BOWL

吉州窯為宋代時期南方最為著名的民窯，與北方的磁州窯齊名，燒造的種類包含各類日用器具，茶盞更為其中最為著名

Song Dynasty (960-1279) D: 11.8 cm

的一類器物，此盞為吉州窯當時燒造的一種特有茶盞，此玳瑁紋品種為吉州窯當中名品。黑釉上點綴泛黃褐色斑點，此種紋飾模仿玳瑁背殼上的顏色，玳瑁在宋代被認為是一種珍

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,500 - 11,800 RMB 59,000 - 82,000

惜材質，此類器物就是模仿了玳瑁的紋飾應運而生。此盞器形周正，釉面均勻，是一件吉州窯不可多得的一件茶器。 This lot is with deep ﬂaring sides rising from a short tapering footring to a smooth rim, covered overall in a dark chocolatebrown glaze irregularly splashed in cream and caramel, falling short of the base to reveal the light buff body.

宋吉州窯玳瑁茶盞

8 11 A JIAN 'HARE’S-FUR'-GLAZED TEA BOWL

此盞束口，底足無釉，為典型的兔毫盞，是建窯最為流行的品種。在黑色釉層中排列出均勻細密的筋脈，形狀像兔毫，細長擁擠，產

Song Dynasty (960-1279) D: 11.8 cm

生這種奇觀的原因是建窯黑釉含鐵量高，在高溫燒造中，釉水融化礦物質流淌，然後流成條條針狀，此盞釉色肥厚，窯變煥發出金銀色的光芒，紋理流暢均勻，十分難得。底足露胎為鐵褐色，宋朝建

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

窯茶盞為北宋宮廷所鍾愛，宋徽宗所著大觀茶論中記載，盞色貴青黑，玉毫條達著為上。 This lot is with steep flaring sides rising from a short straight foot to an indented slightly everted rim, covered overall in a rich glossy black glaze ﬁnely streaked in russet resembling hare's fur, the glaze stopping short of the foot to reveal the dark reddish-brown body.

宋建窯兔毫茶盞

8 12 A YUE CELADON-GLAZED 'PHOENIX AND PEONY' TEA BOWL

盞通體施青釉，施釉均勻，圓唇敞口，斜直壁，內弧腹，釉色天青

Late Tang Dynasty – Five Dynasties D: 14.5 cm H: 4 cm

代流行，時南北方瓷窯普遍燒製，越窯、邢窯等都有實物或標本傳

略泛灰，足底刮釉，玉壁底，並有多個泥條墊燒痕。盞內線刻鳳凰與牡丹紋飾，鳳凰飛翔於花叢之中。玉璧底這種形制始見於唐、五世。 This lot is of conical form resting on a slightly tapered foot, with a

NT$ 300,000 - 400,000 HK$ 77,000 - 103,000 US$ 9,900 - 13,200 RMB 68,000 - 91,000 晚唐-五代越窯青釉鳳穿牡丹紋茶盞

flared mouth rim, thinly covered with a greyish-green glaze. The interior is carved with an image of phoenix ﬂying among the peonies, vivid and elegant.

8 13 A JIZHOU 'PAPERCUT' BOWL

吉州窯為宋代著名窯口，其裝飾手法豐富獨特，其中以剪紙貼花最為代表性。此盞的製作方法是先在胚胎上施一層底釉，再把花紋紙

Song Dynasty (960-1279) D: 11 cm

片貼在適當的位置，後噴上一層含鐵量低的花釉，揭開剪紙入窯燒成，黑色的花紋便出現在黃紅的釉面上了，為吉州窯最具代表性的剪紙貼花裝飾工藝。此盞胎質堅密，有壓手感，內剪紙貼畫裝飾三

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 3,900 - 7,200 RMB 27,000 - 50,000

株梅花，紋飾極為少見，為珍罕的收藏佳品。 This lot shows unique and complex craftsmanship of papercut decoration. The bowl has a wide mouth and a globular body tapering towards the short round foot. The ﬂowing lines of glaze and elegant composition of the three-plum-blossom-patterned papercut make it stand out among papercut bowls. Jizhou vessels decorated in

宋吉州窯剪紙貼花梅花紋盞

papercut enjoyed a high level of popularity because of its uniqueness.

8 14 A JIAN OIL-SPOT-GLAZED BLACK TEA BOWL

宋代飲茶活動高度發展，宮廷盛行鬥茶之風，建窯黑釉盞尤受推崇，宋徽宗曾盛讚其「最為要用」。建盞作品繁多，其中尤以曜

Song Dynasty (960-1279) D: 12 cm

變、油滴和兔毫三類最為著名。拍品即為建窯油滴盞作品佳作之一，形制規整，包金口，口沿一圈略有收束，線條極為美觀。整器滿施烏金釉，外壁施釉近底，釉層較厚並局部有垂掛。盞內釉面滿

NT$ 900,000 - 1,200,000 HK$ 231,000 - 308,000 US$ 29,600 - 39,500 RMB 205,000 - 273,000

佈銀藍色的油滴斑，在光亮處觀察，似漆黑夜空中的滿天星鬥，色澤自然，美不勝收。此件相傳為日本九州美術館舊藏，後尚未查找相關出版，再次以作提示。 During Song Dynasty, the practice of whisking tea and competing tea was greatly popular. The need for competing tea leads to the popularity of Jian black-glazed ware. This lot is of conical form, the

宋建窯烏金釉油滴茶盞

deep sides rising from a tapered foot to an indented rim bound with golden metal, covered overall in a rich lustrous black glaze subtly mottled in russet, thinning at the rim with russet streaks extending downwards, pooling just above the base revealing the grey-brown body.

8 15 A FAMILLE-ROSE 'FLORAL' DISH

此拍品敞口圈足淺弧腹，通體施透明釉，釉面滋潤勻凈，平滑瑩白光潔無瑕。盤內繪粉彩紋飾裝飾，繪芙蓉、菊花等植物，植物從底

Qing Dynasty Qianlong Period (1736-1795) D: 19.3 cm

部蜿蜒伸充滿整個畫面，疏密有致，畫工精細。底部礬紅書「大清

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 7,900 - 12,500 RMB 55,000 - 86,000

This lot is with shallow, rounded sides, the interior painted in bright

乾隆年製」六字篆書款。

enamels with gilt highlights and centered by a group of flower branches including lotus and chrysanthemum. The base with a sixcharacter seal mark in iron-red Daqing Qianlong Nianzhi.

清乾隆粉彩折枝花卉紋盤

Bottom 底圖

8 16 A ZITAN 'TREE TRUNK' BRUSHPOT

筆筒以紫檀木質，平口，厚壁，色黑，外壁樹瘤樣式，高低參差，大小不勻，形狀突兀，頗具天然意趣，其木質縝密，色澤紫黑，木

Qing Dynasty (1644-1911) H: 13 cm

質堅實厚重，歷經歲月，褒獎潤澤，通體包漿潤澤。當為古時文人

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 7,900 - 12,500 RMB 55,000 - 86,000

This lot is made of zitan wood, of cylindrical section and with a ﬂat

雅士文房陳設之佳器。

rim, modelled after gnarled tree bark, the irregular exterior carved with varying sizes of burls and knots, richly patinated to a deep purpleish-black colour with ﬁne highlights. It employs highly stylised, simpliﬁed and abstracted naturalism, in which aspect it echoes the taste of the literati.

清紫檀雕梅樁筆筒

8 17 A HUOZHOU 'DOULI' TEA BOWL

明代曹昭在《格古要論》中這樣描述：「霍器出山西平陽府霍州，元朝戧金匠彭均寶效古定器，制折腰樣者甚整齊，土脈細白者，與

Yuan Dynasty D: 10.8 cm

定器相似。」精細品與定窯器相比毫不遜色。此茶卯斗笠形制，通體施白釉，釉色白中微微泛黃，施釉較薄至圈足。可見白色胎體，在器物外壁薄釉的地方可看到胎上的旋坯痕。盤心模印纏枝花卉

NT$ 140,000 - 260,000 HK$ 36,000 - 67,000 US$ 4,600 - 8,500 RMB 32,000 - 59,000

紋，祈願富貴吉祥的象徵，模印清晰，殊為難得。 This lot is of th from of douli, with the shallow, straight sides supported on a short straight foot, moulded on the interior with a continuous scene of floral groups conveying auspicious message, covered overall in a creamy-white glaze save for an unglazed ring in the interior and the bottom of the foot.

元霍州窯印纏枝蓮紋斗笠茶盞

8 18 A GILT-BRONZE 'FISH' TREASURE BOX

百寶盒是古代文人盛裝各珍寶玉石及文房用具所用之器，多種質材，形態各異，有雙層、多層、多格，其質優，形巧，色豔使用方

Qing Dynasty Qianlong Period (1736-1795) D: 12.5 cm

便又美觀。銅鎏金福壽紋百寶盒，是貯存各式珍玩的箱匣。在好古癖好的驅使下，清代皇帝製成精緻巧思的百寶箱匣，內收古珍玩，納古今中外於一，是清代宮廷文化生活品味的具體呈現。猶如一跨

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

越時間與空間的宇宙縮影。此百寶盒為銅胎鎏金工藝，盒頂通體以雙魚與荷花，中心以圓型荷花中托出，紋飾盒蓋四邊以祥雲，表現了賜福托壽，八方福來之吉祥寓意。百寶盒以精銅澆鑄成型，後經錘煉、鏨刻、鎏金等多種工藝技法與一身，造型秀美，鎏金靚麗，藝術發展而精湛，充滿濃郁的御用氣息。 The treasure box is a ware used by ancient literati to hold various

清乾隆銅鎏金福壽紋百寶盒

precious objects and literati articles. It is made of various materials and in different shapes: double-layer, multi-layer, multi-grid quality, with smart design and convenient to use. The study room is the focus of the literati's life. There should be no shortage of such articles in the room: pens, ink, paper, inkstone, along with brush pots, brush holders, washer, sputum, paperweights, ink beds, seals, etc. These objects represent the aesthetics of the literati.The top of the cover of this lot cast in low relief with an image of two auspicious fish swimming in a pond alongside lotus flowers and leaves, the sides of the box cast with four billows of clouds, the relief decoration all against diaper grounds, staging ﬁne design and deft craftsmanship.

8 19 A GILT-BRONZE FIGURE OF WHITE TARA

在西藏與蒙古，無量壽佛、尊勝佛母與白度母合稱「長壽三尊」。度母一詞原本帶有「渡過輪回苦海的女神」的意味，藏傳佛教中共有

Qing Dynasty Qianlong Period (1736-1795) H: 22 cm

二十一位度母，白度母為其中之一，相傳是藏王松贊干布的尼泊爾妻子赤尊公主轉生而來。其額頭及雙手掌心上多出的眼睛，意味著具備卓越的能力，可以看見世間每個角落所有受難眾生的痛苦，解決眾

NT$ 550,000 - 700,000 HK$ 141,000 - 180,000 US$ 18,100 - 23,000 RMB 125,000 - 159,000

生痛苦困擾。此尊白度母造像一頭二臂，頭戴五葉寶冠，三分之二的頭髮挽髻於頂嚴，其餘三分之一則梳成兩綹分披於雙肩，頭頂梳高髮髻，髮髻頂端有鎏金寶珠。面型圓滿，修眉廣目，三目微合，鼻准挺俏，雙唇微抿，儀容溫婉，莊重中蘊含端莊。耳飾葉形佩。頸有三道弦紋。袒露上身，豐肩小乳細腰，女性特徵明顯。右手置膝上施予願印，左手當胸，左右手皆撚著綻開的蓮花，花莖沿著腕臂而上直至耳際。雙手手心、雙足足心各有一目，應連同額頭的第三目共七目，為

清乾隆銅鎏金白度母像

白度母的特徵。身著天衣綢裙，耳環、手釧、臂釧、足飾等，全身裝飾莊嚴精緻，細腰豐胸，如十六歲之妙齡少女。結跏趺坐於蓮花臺上，雙層蓮花座，蓮瓣飽滿而尖銳，排列整齊規矩，雕刻工藝精美，為典型清代宮廷造像風格。同類風格可參考現藏於故宮博物院一尊同時期尺寸較大的白度母。二者在面部、體態及蓮瓣的刻畫形式上都極為相似，均為乾隆年間清宮造辦處之作品。《度母二十一贊》記載觀音菩薩由其淨土向下觀望婆娑世界苦難的眾生，雖然已經救度出無數眾生，但是仍然還有許多深陷苦難的蒼生。於是心生慈悲與憐憫，忍不住在臉上落下兩滴淚珠，左眼的淚珠奇跡般的化為溫白度母，右眼淚珠則化成綠度母。因此，白度母常給人以優雅慈祥之感，如此尊造像，工藝考究，品相完好，氣質安祥，準確的傳遞出了和平、長壽與健康等美好的品質。 From the perspective of subject, this White Tara is the incarnation of Gunyin. Because she has eyes on forehead, on hands and on the arch of feet, so she is also called Seven Eye Tara, known for compassion, long life, healing and serenity. Commonly seen figures of Tara in Pala style are Green Tara, this White Tara is very rare. The lot is cast seated in dhyanasana on a double lotus base, the right hand lowered in varadamudra, the left hand raised chest originally holding a floral stem, wearing an elborate beaded necklace inset with turquoise and coral, a loose skirt spread over the base and leaving the torso bare but covering the lower part of the body in long dress with delicate rhombus patterns consist of rose copper and white silver, also embroidered with silver. The figure's face is with a gentle smile and framed by a high five-pointed crown. The material is gilt bronze, and due to good preservation of generations, the cot is very smooth.

8 20 A GILT-BRONZE FIGURE OF GURU

此尊造像頭戴尖帽通人冠，微帶笑意，眉目慈祥，兩頰旁刻劃有笑紋，五官寫實。手指或彎或屈，柔婉自如，透露真實人物生活氣息，展現出當時

18th Century H: 14.3 cm PROVENANCE: Private collection, Europe

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

代的風格特色通體鎏金厚實，著交領式僧衣，為西藏僧人典型之裝束，右手當胸結說法印，左手結禪定印持經書於腹前，結跏趺坐於方墊上，身段勻稱，神態安詳，予人平和安寧之感。本尊銅像造型比例準確，衣褶線條自然流暢，工藝手法嫻熟，部分鎏金，部分泥金呈現更具藝術性的表現，衣紋雕飾十分細膩，造像體量雖不大，但是每個細節都處理清晰，是為清代造像的代表性作品。 This is a figure of Tibetan Guru, finely cast seated in dhyanasana on a lotus base, with left hand held in dhyanamudra, right hand in dharmachakramudra, wearing classic Tibetan robes, the kind face with realistic facial features including smiling eyes, surmounted by a pointed hat with overhanging lappets falling to the shoulders.This lot is well

18世紀銅鎏金上師像來源：歐洲藏家舊藏

proportioned with exquisite outlines and sophisticated handicrafts, showing high artistic value. Despite its delicate size, every detail is carefully carved, which makes this ﬁgure a representative of Qing Buddhist arts.

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

8 21 A GILT-BRONZE FIGURE OF AVALOKITESVARA

此尊觀音造像為清代乾隆時期漢藏風格，通體鎏金，觀音頭戴巾，高髮髻，耳墜花鐺，胸前飾有

Qing Dynasty (1644-1911) H: 12.8 cm

胸前佩戴華麗飾鏈瓔珞，著菩薩裝，花紋繁縟精美薄衣。貼身，衣折流暢自然，如同流水。菩薩

精細的瓔珞，面相圓潤，雙頰飽滿，雙目微合，嘴角微揚，微含笑意。與西藏以及蒙古造型不同的是，這尊觀音為漢人面容，然其衣服、裝飾有藏傳佛造型特徵，具備乾隆時期佛造像特點。其身姿挺拔舒張，雙手抱單膝，呈左跏趺坐姿，曲左腿，舒右腿。姿態灑脫，無拘無束，神態自若，是為自在。本品最為讚歎的正是自在觀音的姿態，腰身所成弧線優美，線條張弛有度。觀音

PROVENANCE: Private collection, Europe

是印度梵語意譯簡稱，全稱「觀世音」，又稱「觀自在」、「觀世自在」、「光世音」，德號「圓通大士」，她是印度佛教中的著名菩薩，中國佛教四大菩薩之一。在佛教各大菩薩中，她以慈悲著稱，是佛教慈悲的化身。千百年來，她以慈悲的功用受到印度、中國及東南亞各國佛教信

NT$ 140,000 - 260,000 HK$ 36,000 - 67,000 US$ 4,600 - 8,500 RMB 32,000 - 59,000

徒的崇信，被譽為「大慈大悲救苦救難觀世音菩薩」。 This lot is in the style of Qianlong period’s Han-Tibetan Buddhist figures. In Buddhism, bodhisattva has a lot of incarnations, each one representing an idea of the religion, and acting as expressions of bodhisattva’s passion and wisdom. The special feature of Avalokitesvara is that, different from the dignified and rigid posture of the usual Buddhist figures, Avalokitesvara appears to be free and unrestricted. Avalokitesvara is a bodhisattva who embodies the compassion of all Buddhas,

清銅鎏金自在觀音像來源：歐洲藏家舊藏

often adopted as the topic of Buddhist arts. Different from Mongolian and Tibetan style, this Avalokitesvara has the facial features of a Han person. This figure has round face with full cheeks, smiling lips and down-casted eyes, a pearl necklace adorning her neck, appearing dignified, generous and elegant. The figure’s wearing a kasaya on the upper body and a long skirt the lower half, seated with both of her hands casually embracing her left knee. The gilt-bronze figure is nicely preserved with the skirts draping down naturally.

8 22 A TIBETAN GILT-BRONZE FIGURE OF DAKINI

空行母意為女修行者，此像頭戴五顱冠，面部泥金彩繪，呈忿怒相。身形袒露，披戴五莊嚴骨飾，腰系瓔珞裙，繁縟而精美。左臂

18th Century H: 13.2 cm

曲肘上揚，手托嘎巴拉作暢飲狀，右手結期玤印執鉞刀，展右站立。此像耳鐺、項鏈及瓔珞等部位的槽孔鑲嵌松石、珊瑚，背光通體環繞空行母，體現了西藏匠師的審美情趣和藝術風格。

NT$ 360,000 - 480,000 HK$ 93,000 - 123,000 US$ 11,800 - 15,800 RMB 82,000 - 109,000

This lot depicts the dakini standing in ardhaparyankasana , wearing the five-pointed crown with jatamukata with dharmachakra finial, with three fierce eyes and mouth agape, wearing the six bone ornaments and skull garland, holding a snow lion in the raised right hand and a parashu in the left.

18世紀西藏銅鎏空行母像

823 A BRONZE FIGURE OF KINNARA 17th Century H: 16 cm

NT$ 600,000 - 800,000 HK$ 154,000 - 206,000 US$ 19,700 - 26,300 RMB 136,000 - 182,000 17世紀銅緊那羅立像

緊那羅又作緊捺洛、緊拏羅、緊擔路、甄陀羅、真陀羅。或稱歌神、歌樂神、音樂天。原為印度神話中之神，後被佛教吸收，成為佛教天神「天龍八部」之一，八部眾之第七。華嚴經探玄記捲二載，此神形貌似人，然頂有一角，人見而起疑，故譯為疑人、疑神。彼具有美妙的音聲，能歌舞。此像面容和煦，彎眉杏眼，嘴角微揚，周身裝飾繁複，脖頸飾以連珠紋項圈，雙臂配以U形臂釧，華美富麗，身後亦有小型火焰頭光，鐫刻的火焰紋繁複細密，層次分明，上身彎曲前傾，雙手合於胸前作法印，下身直立，雙腿併攏，雙膝配釧形裝飾，風格獨特。此尊以完善的女性美塑造出婀娜有致的身形，玲瓏秀美中不失剛勁，軀幹張力十足，具有濃郁的尼泊爾造像氣息。 This lot is modelled with the head and torso of a man standing with bird feet on a raised circular base, his ﬁnely incised wings and long tail folded at his back, his right hand raised at his chest and together with the left supporting a stem, his hair pulled back into a chignon, adorned with elaborate jewellery, long pendulous earrings, and a foliate diadem

8 24 A QINGBAI 'BOYS AMONG PEONIES' BOWL

拍品敞口尖唇，斜弧腹，圈足，外壁線刻花瓣紋，內壁刻劃花裝飾嬰戲牡丹紋，牡丹花葉舒卷綻放，枝繁葉茂，童子活靈活現，遊戲

Song Dynasty (960-1279) D: 13 cm

花間。紋飾清晰，刀工流暢，一氣呵成。工匠以刻刀劃出紋飾輪廓，或深，或淺，或斜鏟，富於變化，整器胎薄體輕，胎質縝密。釉色白中閃青，刻線深處多積釉，顯水綠色，晶瑩剔透。滿釉墊餅

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 RMB 45,000 - 68,000

正燒，足內澀胎。 This lot has gently rounded sides setting over a low, tapered foot, the interior freely carved with an image of little boys playing among the peonies all delicately and vividly depicted. The bowl is covered overall in a translucent pale bluish green glaze.

宋景德鎮窯青白釉嬰戲紋花口盞

8 25 A 'LOTUS' SEAL BY XUE PINGNAN AND LIAO DELIANG

廖德良，1945年生，號一刀，台北新店人。原習木雕，後受陳可駱

H: 10.8 cm

展出「神遇圓融——廖德良印鈕展」。

NT$ 70,000 - 120,000 HK$ 18,000 - 31,000 US$ 2,300 - 3,900 RMB 16,000 - 27,000

薛平南，1945年生，字定之，籍貫台灣高雄縣。現為中國標準草書

及林天泉先生影響轉攻石雕。精於相石、切割、制鈕，在印石界享有「廖一刀」之譽，為台灣雕鈕第一人。2005年於台北歷史博物館

學會理事長，台灣印社副社長，西泠印社理事。 Liao Deliang, born in 1945, in Taipei, Taiwan. He used to practice wood carvings, later inﬂuenced by Chen Keluo and Lin Tianquan, he turned to stone sculptures. He is especially skilled in seal making. He enjoys the reputation of "Liao Yidao" in the ﬁeld of seal making. In

薛平南廖德良刻「詠荷」芙蓉石印章

2005, he had a solo exhibition at the Taipei Museum of History. Xue Pingnan, born in 1945, in Kaohsiung, Taiwan. He is currently the chairman of the China Standard Cursive Writing Society, the deputy director of the Taiwan Press Society, and the board director of the Xilin Yinshe.

Seal mark 印面

8 26 A CLOISONNÉ ENAMEL AND GILT-BRONZE 'LOTUS' CENSER

此銅胎掐絲琺瑯爐，為宮廷燃香專用器皿，造型精巧，別致美觀。

Qing Dynasty Qianlong Period (1736-1795) H: 9.5 cm

製」楷書款，附「正」字款。

香爐為平折沿，平腹，下呈三足，腹部開光裝飾纏枝蓮紋，露銅胎處採用鎏金工藝，與琺瑯彩相輝映，富麗美觀。外底均刻「乾隆年

This lot is of a cylindrical form, supported on three cabriole legs,

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 5,900 RMB 20,000 - 41,000 清乾隆銅鎏金琺瑯纏枝蓮紋爐

brightly decorated against a turquoise ground to the exterior with large lotus blooms borne on undulating leafy scrolls, all surrounded by right ﬂoral sprigs, the base with stylised ﬂoral scrolls surrounding a central gilt square cartouche incised with a four-character reign mark and a zheng character.

8 27 A JADEITE BANGLE

翡翠的顏色豐富多彩，這也是翡翠深受大家喜愛的原因之一。在翡翠的眾多顏色之中，綠色翡翠最為珍貴。但是當一塊翡翠身上出現

D: 8.2 cm I.D：6.2 cm (inner diameter)

多種顏色時，我們稱其為多彩翡翠。多彩翡翠比起綠色翡翠更為罕見，因此也更加珍貴。在多彩翡翠中，色彩數量不同，還擁有著不同的昵稱。其中，人們習慣將三彩翡翠稱為「福祿壽」，四彩翡翠

NT$ 2,000,000 - 3,000,000 HK$ 514,000 - 771,000 US$ 65,800 - 98,700 RMB 455,000 - 682,000

為「福祿壽喜」，五彩翡翠為「福祿壽喜財」。 The color of jadeite is rich and abundant, which is one of the reasons why jadeite is greatly popular among the public. Among the many colors, green jadeite is most appreciated. However, when a variety of colors appear on one piece of jadeite, it is even more precious and valuable, and we call this kind of stone colorful jadeite.

翡翠手鐲

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Auction RAVENEL AUTUMN AUCTION 2018 Connoisseurship II: The Literati Sale Date Saturday, December 1, 2018, 4:30 pm Sale No. TC1804 Location Taipei Marriott Hotel Address Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei

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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。

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

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

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 sellerâ&#x20AC;&#x2122;s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn

CHRONOLOGY 中國歷代年表

新石器時代商周秦漢三國晉南北朝隋唐五代遼宋北宋南宋西夏金元明洪武建文永樂洪熙宣德正統景泰天順成化弘治正德嘉靖隆慶萬曆泰昌天啟崇禎清順治康熙雍正乾隆嘉慶道光咸豐同治光緒宣統

10th - early 1st millennium BC NEOLITHIC 16th Century - C. 1050 BC SHANG DYNASTY C. 1050 - 221 BC ZHOU DYNASTY 221 - 206 BC QIN DYNASTY 206 BC - AD 220 HAN DYNASTY AD 220 - 265 THREE KINGDOMS AD 265 - 420 JIN DYNASTY AD 420 - 589 SOUTHERN AND NORTHERN DYNAST1ES AD 581 - 618 SUI DYNASTY AD 618 - 907 TANG DYNASTY AD 907 - 960 FIVE DYNASTIES AD 907 - 1125 LI AO DYNASTY AD 960 - 1279 SONG DYNASTY AD 960 - 1127 Northern Song AD 1127 - 1279 Southern Song AD 1038 - 1227 XIXIA DYNASTY AD 1115 - 1234 JIN DYNASTY AD 1279 - 1368 YUAN DYNASTY AD 1368 - 1644 MING DYNASTY AD 1368 - 1398 Hongwu AD 1399 - 1402 Jianwen AD 1403 - 1424 Yongle AD 1425 Hongxi AD 1426 - 1435 Xuande AD 1436 - 1449 Zhengtong AD 1450 - 1456 Jingtai AD 1457 - 1464 Tianshun AD 1465 - 1487 Chenghua AD 1488 - 1505 Hongzhi AD 1506 - 1521 Zhengde AD 1522 - 1566 Jiajing AD 1567 - 1572 Longqing AD 1573 - 1619 Wanli AD 1620 Taichang AD 1621 - 1627 Tianqi AD 1628 - 1644 Chongzhen AD 1644 - 1911 QING DYNASTY AD 1644 - 1661 Shunzhi AD 1662 - 1722 Kangxi AD 1723 - 1735 Yongzheng AD 1736 - 1795 Qianlong AD 1796 - 1820 Jiaqing AD 1821 - 1850 Daoguang AD 1851 - 1861 Xianfeng AD 1862 - 1874 Tongzhi AD 1875 - 1908 Guangxu AD 1909 - 1911 Xuan tong