IMPORTANT NOTICE TO BUYERS The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.
Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.
2.
Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.
3.
The bidding deposit must be transferred to Ravenel's specified Bank account prior to 27th November 2019, 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$) or 001-234830-061 (US$) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.
4.
After the 27th November 2019, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 28th November to 30th November 2019). Acceptance will cease on 30th November by noon (No other forms of payment will be accepted).
5.
Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 27th November 2019.
6.
If the bidding deposit has been transferred prior to 27th November 2019, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.
7.
If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.
8.
Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit. (2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.
9.
Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000. (2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.
10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.
Ravenel 4
給予買家的重要通知 本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.
有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記文件以及繳納競投保 證金。
2. 3.
競投保證金 : 新台幣陸拾萬元或貳萬美金。 競投保證金需於 2019 年 11 月 27 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。
4.
2019 年 11 月 27 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 ( 2019 年 11 月 28 日至 11 月 30 日 ) 以新台幣現 鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 11 月 30 日中午 12 點截止。
5.
電話／書面／網路競投：競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證 金之繳納亦需在 2019 年 11 月 27 日以前完成匯款至本公司指定帳號。
6.
如於 2019 年 11 月 27 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我 們將與競投者聯繫並與之確認其競標牌號。
7.
拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。
8.
競投保證金退還方式： (1) 有成交： (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額 需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。 (b) 競投保證金以「現金」方式完成者， 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額 需退還，本公司將於拍賣當日以現金退還給買家。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司， 買家不得請求返還競投保證金。 (2) 未成交：若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者，本 公司將於拍賣日後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者，本公司將於拍 賣當日以現金退還給買家。
9.
若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款： (1) 現鈔：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。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。
羅芙奧 2019 秋季拍賣會 翰墨丹青 — 中國書畫專場
RAVENEL AUTUMN AUCTION 2019 Refined Brushwork: Fine Chinese Paintings 拍賣日期／地點 2019年11月30日（六） 下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期／地點 台中 2019年11月9日（六）下午1:00至下午6:00 2019年11月10日（日）上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1 高雄 2019年11月16日（六）至 17日（日）上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 香港 2019年11月23日（六）至 24日（日）上午10:00至下午7:00 香港君悅酒店 香港港灣道1號 閣樓 中堂 台北 2019年11月28日（四）至 11月29日（五）上午10:00至下午7:00 2019年11月30日（六）上午10:00至下午2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）
AUCTION Saturday, November 30, 2019, 2:00 pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan
PREVIEWS Taichung
Saturday, November 9, 2019, 1:00pm - 6:00pm Sunday, November 10, 2019, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Kaohsiung
Saturday, November 16 - Sunday, November 17, 2019, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan
Hong Kong
Saturday, November 23 - Sunday, November 24, 2019, 10:00am - 7:00pm Grand Hyatt Hong Kong Lounge, M/F, No. 1 Harbour Road, Hong Kong
Taipei 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy
Thursday, November 28 - Friday, November 29, 2019, 10:00 am - 7:00 pm Saturday, November 30, 2019, 10:00 am - 2:00 pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan
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
陳砥翰 Masa Chen
林琬娸 Kitty Lam
古文物及書畫部 經理 Manager, Fine Chinese Works of Art and Paintings Department
業務經理 香港 Business Manager
林美夆 Annika Lin 客戶發展部 經理 Manager, Client Development Department
周媛玲 Connie Chau 執行長 特助 Executive Assistant
陳姿穎 Zin Chen 業務助理 台北 Sales Assistant Taipei
Ravenel 8
朱毅 Walter Zhu 業務代表 北京 Representative Beijing
李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai
目次 / Contents 4
給予買家的重要通知
IMPORTANT NOTICE TO BUYERS 7
羅芙奧秋季拍賣會
SALE INFORMATION 10
羅芙奧之服務
RAVENEL SERVICES 14
翰墨丹青 - 中國書畫 Refined Brushwork: Fine Chinese Paintings
151
委託競投表格
ABSENTEE BID FORM 153
業務規則
TRANSACTION AGREEMENT
RAVENEL STAFF AND SERVICES FOR THIS SALE
SPECIALISTS
CATALOGUE SUBSCRIPTION
COLLECTION AND SHIPPING
Masa Chen
Taiwan
Taiwan
Tel: +886 2 2708 9868 ext. 588 Email: masachen@ravenel.com
Zin Chen
Tommy Wu
Tel: +886 2 2708 9868 ext. 585 Email: zinchen@ravenel.com
Tel: +886 2 2708 9868 ext.885 Email: tommywu@ravenel.com
Hong Kong, International
Hong Kong, International
Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com
Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com
Beijing
China
Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com
Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com
Annika Lin Tel: +886 2 2708 9868 ext. 909 Email: annikalin@ravenel.com Connie Chau Tel: +886 2 2708 9868 ext. 908 Email: conniechau@ravenel.com
PHONE BIDS AND WRITTEN BIDS Hong Kong, International Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com
Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com
Remarks:
Zin Chen
The catalogues are available for subscription. For details
circulation and centralize management. We accept person-
Tel: +886 2 2708 9868 ext. 585 Email: zinchen@ravenel.com
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
Taiwan
Beijing Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com
Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com
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
Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements, including any foreign language assistance for the bidding.
ONLINE BIDS Register at Invaluable www.invaluable.com
Ravenel 10
the catalogue. Please refer to the “Transaction Agreement to the Buyers”.
羅芙奧2019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
陳砥翰 電話：+886 2 2708 9868 轉 588 電子信箱：masachen@ravenel.com
台灣
台灣
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吳博峯
香港．國際
香港．國際
林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com
林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com
北京
中國
朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com
朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com
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 林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com
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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
北京
的運輸方式。
朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com
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
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
照買家需注意事項。
REFINED BRUSHWORK: FINE CHINESE PAINTINGS
翰墨丹青—中國書畫專場
601 AU HO-NIEN
(Taiwanese, b. 1935)
歐豪年 平常心
Calligraphy in Running Script 2018 Ink on paper, framed 33.5 x 61 cm Signed HO-NIEN in Chinese With two seals of the artist
2018 水墨 紙本 鏡框 33.5 x 61 cm 釋文：平常心 款識：戊戌九秋，八十四老人豪年。 鈐印：自得（朱文）、歐豪年印（白文）
PROVENANCE: Acquired directly from the artist
來源： 現藏家得自藝術家本人
NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 5,000 - 9,000
Ravenel 14
602 AU HO-NIEN
(Taiwanese, b. 1935)
歐豪年 春風十里弄晴
Calligraphy in Running Script Ink on gold-flecked paper, framed 27.5 x 70 cm Signed HO-WENG in Chinese With two seals of the artist
水墨 灑金箋 鏡框 27.5 x 70 cm 釋文：春風十里弄晴 款識：豪翁 鈐印：自得（朱文）、歐豪年印（白文）
PROVENANCE: Acquired directly from the artist
來源： 現藏家得自藝術家本人
NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 5,000 - 9,000
603 AU HO-NIEN
(Taiwanese, b. 1935)
Calligraphy in Running Script
歐豪年 荷發夢皆香
2017 Ink on silk, framed 23.5 x 86 cm Signed HO-NIEN in Chinese With two seals of the artist
2017 水墨 絹本 鏡框 23.5 x 86 cm 釋文：荷發夢皆香 款識：丁酉春夏，八十三叟豪年。 鈐印：白首名山自頡頏（白文）、歐豪年印（白文）
PROVENANCE: Acquired directly from the artist
來源： 現藏家得自藝術家本人
NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 5,000 - 9,000
Ravenel 16
604 FU SHEN
(Taiwanese, b. 1936)
Poem in Running Script Ink on paper, framed 45 x 127 cm Signed FU SHEN in Chinese With four seals of the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 5,000 - 9,000
傅申 行書王陽明泛海詩 水墨 紙本 鏡框 45 x 127 cm 釋文：險夷原不滯胸中，何異浮雲過太空。 夜靜海濤三萬里，月明飛錫下天風。 款識：陽明先生泛海詩，君約傅申書。 鈐印：觀復（朱文）、坦直鄉（白文）、 君約（朱文）、傅申（白文）
605 ZHOU CHENG (Taiwanese, b. 1941)
Raging Sea of the North 1986 Ink and colour on paper, framed 30.5 x 45.5 cm Signed ZHOU CHENG in Chinese With one seal of the artist
周澄 北海聽濤 1986 水墨 設色 紙本 鏡框 30.5 x 45.5 cm 釋文：北海聽濤 款識：丙寅春周澄寫 鈐印：周澄（白文）
NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 1,900 RMB 7,000 - 14,000 此幅《北海聽濤》一作繪於1986年，當時的周澄先生年過不惑，
This painting was completed in 1986 when Zhou Cheng was at his
而四十是一個洞察世間萬物的年齡，同時也是以不變應萬變的年
mature age of 40. The state of mind was depicted in the painting
齡，那心境就如畫中所表現，其右上兩高士坐於奇岩之上，一人
of two scholars observing the raging sea on top of the rocks. One
吹笛與濤同奏，一人則靜靜聆聽濤聲，畫中滾滾浪流拍打至礁岩
scholar was playing flute, the other listening to the sound of the
所掀起的水花洶湧，通幅是以墨色暈染為基底，在以枯筆描繪出
waves. Waves hitting hard on the shores creating white-heads.
浪濤之線條與礁岩之肌理，礁岩受浪濤所沖刷，千變萬化就如墨
Thick ink was used to create the basis of the painting. Dry brush
色之間的演變，褐色漸染之際，更見墨色點點，聽濤觀浪、氣象
was applied to depict the outlines of waves and texture of rocks.
萬千、巨石嶙峋、雪浪飛騰，欲在這尺幅中表現淋漓，已是十分
These rocks were carved through years by the merciless beating
難得，而畫中由右向左，再到留白，可見其意遠之心境。
of waves, reflected by variations of ink and ochre. Such realistic depiction and composition of the painting articulate the mind of the artist.
Ravenel 18
606 WANG YACHEN (Chinese, 1894-1983)
Fish and Shrimp 1965 Ink and colour on paper, scroll 119 x 32 cm Signed YACHEN in Chinese With one seal of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 1,900 RMB 7,000 - 14,000 汪亞塵 魚蝦圖 1965 水墨 設色 紙本 立軸 119 x 32 cm 釋文：浮根同荇藻，聚影覆魚蝦。 款識：一九六五年十月廿四日，亞塵戲墨於池上草堂， 時七十又九歲。 鈐印：亞塵（白文）
607 CHIANG MING-SHYAN (Taiwanese, b. 1942)
Autumn Scene of Qinhuai River 1988 Ink and colour on paper, framed 40 x 152 cm Signed CHIANG MING-SHYAN in Chinese With four seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000
Ravenel 20
江明賢 秦淮秋色 1988 水墨 設色 紙本 鏡框 40 x 152 cm 釋文：南京之夫子廟為明清考選人才之地，廟前之長形紅牆， 豎立於秦淮河上頗為壯觀與氣勢。河上漁舟三五橋上，遊客 如織，兩岸酒旗不再，笙歌已絕，已不復當年之繁華景象矣。 想起儒林外史中的秦淮抱景，以及桃花扇之秦淮艷跡，着實 令我對景低緬沉思不已。 款識：戊辰十月，金陵歸來并寫秦淮景色，江明賢并記。 鈐印：人間萬事塞翁馬（朱文）、寫心（朱文）、江（白文）、 明賢（朱文）
608 CHIANG MING-SHYAN (Taiwanese, b. 1942)
Pigs 2004 Ink and colour on paper, framed 57 x 96 cm Signed CHIANG MING-SHYAN in Chinese With five seals of the artist
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000
江明賢 諸事吉祥圖 2004 水墨 設色 紙本 鏡框 57 x 96 cm 釋文：台灣民間認為養大豬賺大錢，豬來則富，戶戶 以飼養豬隻為副業，故農以豬為本，自古以來豬是吉 祥，天利之物也。 款識：甲申歲冬，江明賢並記。 鈐印：吉羊（白文）、江氏（白文）、明賢（朱文）、 江明賢書畫章（朱文）、美意延年（白文）
609 LEE YIH HONG (Taiwanese, b. 1941)
Scholar in the Woods 1985 Ink and colour on paper, framed 69 x 69 cm With four seals of the artist
NT$ 100,000 - 200,000 HK$ 25,000 - 51,000 US$ 3,200 - 6,500 RMB 23,000 - 46,000
Ravenel 22
李義弘 戲作好夢圖 1985 水墨 設色 紙本 鏡框 69 x 69 cm 釋文：睡鄉者莫如其處，或曰太始之初，六合之外，或曰不然。是鄉也，在 在有之，遊者多至焉，然非善遊者莫知云。蓋其鄉，冥然塊然，無有天地日 月與酬酢往來，以及災祥禍福、是非善惡、榮辱得喪皆無之。入其鄉者，若 迷若忘，凡所為可欣可嗜，可涕可悲者，不能隨之以入。一入其鄉輒絕，是 故善遊者往往慕睡鄉。嗚呼，睡鄉之境頑鈍然也，睡鄉之人枯槁然也，然其 天則全，其神則寧，其體則休，以適世之人孽孽焉汲汲焉，或不暇以遊，而 遊者又或往往呻吟囈噫，夫其呻吟唅囈，必有隨之以入者也，有隨之以入者 而睡鄉之遊不快也。昔者莊周至其鄉化為蝴蝶，莊周也，蝴蝶也，相化而未 有已也，於是乎睡鄉擾矣。 款識：乙丑孟冬，戲作好夢圖並錄戴世名睡鄉記於笛音凝室。 鈐印：義弘之印（白文）、在川小鉢（朱文）、快活無量（朱文）、好夢（白文）
610 LEE YIH HONG (Taiwanese, b. 1941)
Winter Garden 1987 Ink and colour on paper, framed 74 x 81 cm Signed LEE YIH HONG in Chinese With two seals of the artist
NT$ 100,000 - 200,000 HK$ 25,000 - 51,000 US$ 3,200 - 6,500 RMB 23,000 - 46,000
李義弘 冬園靜和 1987 水墨 設色 紙本 鏡框 74 x 81 cm 款識：丁卯暮冬，李義弘畫於笛音凝室。 鈐印：義弘之印（白文）、在川小鉢（朱文）
盡攜書畫到天涯．歐豪年
AU HO-NIEN
A LIFE-LONG COMMITMENT TO ART DEVELOPMENT 豪年畫品，山水、人物、走獸、花鳥、蟲魚，無不兼擅， 儼然今日嶺南畫派大宗師
詩書畫三絕
薪傳推廣
前故宮博物院院長秦孝儀先生曾說：「予於國畫大師，所深契
歐豪年先生為推廣藝術，幾乎將畢生的力量致力於藝術推廣，先
者，一曰張大千氏：一曰歐豪年氏。張氏以書畫雄視當世，歐氏
後成立數間的美術館，目前已有中央研究院所成立的「嶺南美術
則亦書畫兼賅。顧初不以詩名，近二十年間，漸耽吟興，即雋逸
館」，中國文化大學「歐豪年美術館」，美國印第安那州「歐豪
矯健，奇氣橫溢。詩雖晚出，而明漪絕底，如奇花初貽，令人激
年美術館」，安徽博物院的「歐豪年美術館」，上海「歐豪年美
賞。於是詩書畫今石卓犖交美。豪年畫品，山水、人物、走獸、
術館」，天主教輔仁大學「歐豪年美術館」等。
花鳥、蟲魚，無不兼擅，儼然今日嶺南畫派大宗師。」 如有學生或畫盟舉辦書畫展覽，如能出席，歐氏必定親赴現場， 在前揭文中所示，秦孝儀院長對於國畫能深入耕耘者，首推張大
甚至為題書，以為勉勵，作育英才。
千與歐豪年先生，他認為張大千先生的書畫造詣雄視當時，而歐 豪年先生書法與畫作卻可兼能完備且充足，除了書畫創作之外，
當代大師對於歐豪年先生的評許
對於詩詞卻能讓人更為激賞。在歐先生的詩畫中常有蒼勁矯健的
歐豪年先生才華洋溢，詩書文並重，深具文人士大夫之國家情
氣息，意境深遠獨特，能有別人想不到的含意，他的詩就似泉流
懷。于右任先生第一次與他見面，右老就題寫一對聯書法贈於
般的明澈，通透的可見到溪底。又形容歐氏的詩，又像一朵奇逸
他，「風雨一杯酒，江山萬里心」，幾十年來，歐豪年一直將它
的花朵在盛開時固然鮮豔，而在含苞待放時，更能透露蓬勃向上
掛在畫室最醒目之處，作為永遠的座右銘。
的生機。對於歐氏的評許，並非存在與他們二者之間情誼交往的 榮耀，而是秦院長認為歐豪年先生而是真正華夏溫畫中的士林文
五十多年前，文化大學創辦人張其昀先生，禮聘錢穆大師來文化
人之光。
大學講學，文史陣容一時為台灣之冠，對於歐豪年這位年僅三十
治學授業
餘歲的年輕畫家，一再誠摯邀請，並奉數倍於其他教授之高薪以 示尊重。歐氏感於張其昀辦學精神與知遇之情，應允來台任教。
歐豪年先生一九三五年出生於中國廣東省茂名縣（今改棣吳川
其恩師趙少昂先生聞高徒將赴台任教，更贈送詩歌以壯聲色：
市），一九七零年移居台灣，任職於中國文化大學，而今已
「自有高人韻，空山任鳥啼；扶搖雲漢路，回首萬峰低」，以此
八十五歲，教學近五十餘年，雖桃李滿天下，每日仍堅持作畫與
詩讚美、鼓勵高足。近現代水墨一代大師張大千亦曾稱讚歐氏的
教學，不遺餘力。歐氏治學嚴謹，對於學生要求甚深，認為作畫
才能：「豪年道兄，纔一落筆，便覺宇宙萬物，莫不奔赴腕下，
時一筆一劃皆要用心，經營布局要有疏密有致，無論是寫繪山水
無所遁形，真所謂造物同功也。」後欣賞歐氏才華，常與歐氏交
或花鳥，甚至於描寫走獸身上微細的翎毛均須注意，每次觀其作
遊，期間吟詩、題畫、甚至創作合繪。歐豪年先生每年赴美時，
畫看似隨意下筆，但每一筆均是歷經數十年的累績，如見到學生
也會親自至環篳庵拜訪大千先生。歐豪年先生曾憶：「每年張大
能將作品表現得更好而卻力有未逮時，希望學生能對於作畫或創
千先生都會畫一張畫送給他，信封都會親自題簽書寫，直到大千
作能有嚴肅態度，不可隨便，不可鬆散，勉勵學生們「下筆時，
先生辭世才停止。」
每一筆都需要專注而下，不可瑣碎，著墨下紙，勿過輕恣」。 這都是歷經幾十年以來對於藝術的美感點滴累積而來的，對於空 歐氏年齡漸長，自文化大學退休後，平日仍在其「天寬樓畫室」
間與結構的掌握。所以說「立萬象於胸懷，傳千情於豪素，氣韻
持續教學，還兼任許多大學博碩士研究生的課程，傳授美學理論
本乎遊心，神采身於用筆」，作畫或書法的筆法是技法，但是畫
與創作理念的教學，他自序：「這些年來，我從大陸到台灣，又
意跟筆法卻需要心境，所謂「詩者，志之所之也，在心為志，發
遊歷到海外，舉辦很多場畫展和講學。在台灣我從事美術教育多
言為詩」。詩言志，是詩人作詩的總目的，表達詩人的志向、理
年來，從中國文化大學一直到台灣藝術大學的研究所，也做了
想和抱負，亦令歐氏詩書畫作品昇華的主要因素。
許多對研究生、大學生產生影響的努力。所以也把畫風帶到台 灣，鼓勵青年人，讓他們對繼承中國畫傳統，發展創新，有所開 拓。」
右圖：歐豪年於陽明山中山樓
Ravenel 24
Former Director of the National Palace Museum of Taiwan, Qin Xiaoyi once mentioned, "Amongst my most respectable ink masters are Zhang Daqian and Au Ho-Nien. Zhang was the greatest artist of the modern times, while Au is an all-rounded artist in both calligraphy and paintings. Au emerged in the last 20 years with outstanding achievements in creating atmosphere and techniques of paintings. His paintings possess underlying meanings way beyond its depiction. His poems are as clear river, as blooming flowers of all colours and as buds waiting to bloom. Au excels in all forms of paintings, such as landscapes, portraits, animals, flowerand-birds, insects and fish, thus acclaimed as one of the greatest artists of Lingnan School. Qin had high regards to the artist as a promising scholar painter." Born in 1935 in Guangdong, Au Ho-Nien relocated to Taiwan in 1970 as a professor at the Chinese Culture University. At his current age of 85, after more than 50 years of teaching, Au is still a devoted teacher in art creation. As a teacher with high standard on students, Au believes that each brushstroke needs extra attention and structure has to be wellplanned. Regardless of genre, each feather and hair of animals have to be meticulously applied. When a student did not perform
Prominent figures of universities in Taiwan invited Au, a 30-year
well in certain areas, he encouraged students to keep the right
old young artist, as a teacher. Impressed by Zhang Qijun of Chinese
attitude and effort in each stroke.
Culture University, Au came to Taiwan as a professor. After hearing the news, Chao praised Au with a poem encouraging him in art
As Au ages and has retired from the Chinese Culture University,
education.
he still holds courses in Tiankuan Studio and takes up roles in post-graduate courses, promoting art theories and techniques. In
Zhang Daqian once praised Au's skills, "Once Au paints, the
his autobiography, he mentioned "Since my relocation from the
universe fall under Au's brush and lies vividly in the paintings".
Mainland to Taiwan, and overseas travels, I have organized a lot
Zhang had close friendship with Au who composed poems,
of exhibitions and lectures. Throughout the years as a professor in
inscriptions and painted together. Au would visit Zhang in the US
art, I have devoted myself to education and art promotion. I have
every year. Au once mesmerized, "Zhang gave him a painting each
brought Lingnan School to Taiwan and the younger generation,
year and sent him written letters till his death."
encouraging continuous improvement and development in art." Au is an all-rounded scholar excelled in literature, calligraphy Having a life-long in art promotion, Au Ho-Nien established
and paintings. His calligraphy was uniquely developed from his
museums including the Lingnan Fine Arts Museum at the Academia
painting. In his works, animals and landscapes and flower and bird
Sinica, the Au Ho-Nien Fine Art Museum at the Chinese Culture
paintings were composed with extraordinary skills of brush. His
Museum, another one in Indiana of the US, one at the Anhui
calligraphy works possess a state of serenity.
Provincial Museum, one in Shanghai and one in Fu Jen Catholic University.
Such skills were obtained from years of practice and observation of space and structure. His skills of painting and calligraphy are
He would personally attend every single exhibition of his students
derived from observation which reflect the artist's experience and
if possible, and would write calligraphy for the event, so as to
state of mind. Such romantic depiction from poetry thus becomes
encourage his students in art development.
another element contributing to his success.
Au Ho-Nien is an all-rounded artist in literature, calligraphy and paintings. In his first encounter with Yu Youren, Yu wrote him a couplet as a gift, which was since hung in a prominent position in his studio.
611 AU HO-NIEN
(Taiwanese, b. 1935)
歐豪年 紫藤舞蜂圖
Wisteria 1999 Ink and colour on paper, framed 38 x 41.5 cm Signed AU HO-NIEN in Chinese With three seals of the artist
1999 水墨 設色 紙本 鏡框 38 x 41.5 cm 釋文：己卯此夏，余將訪美行前一日，倚裝畫為侃為吾兄雅賞。 款識：歐豪年 鈐印：歐（朱文）、豪年（白文）、怡志養神（白文）
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 歐豪年使用山馬筆先以深淺墨寫繪紫藤花之枝幹，沾濃墨寫末端
This painting was painted with Shanma brush in with different
較為粗的分枝與老藤纏繞，嫩葉依枝而長，新藤向下垂生，末端
tones of ink on branches, depicting its form and vividness. Buds
沾較深的紫色點待開的葉苞，綠葉再沾墨紅鈎出葉子的筋脈；紫
were depicted with purple and green ink. Green leaves and purple
藤花部分則以偏軟之筆沾白粉點紫寫花，末端濃寫到淡則紫藤花
flowers were depicted in exquisite detail. White was used on
辦寫成，再以較深的紫色點花待開的花苞，花瓣中再點以些許粉
purple to depict the texture of petals. Darker purple was applied
白與紫色花瓣顏色融合，再沾藤黃點出花心，紫藤遂成。最後再
on flowers in full bloom. A bee was drawn, approaching the
寫繪黃腰蜜蜂，翅膀以淺墨寫出，再以深墨鈎出翅膀層次，寫出
flower. The wings were painted in light ink, and fine dark black
蜜蜂飛舞之狀， 紫藤隱蔽其間，而花香隨風散逸，似美人流連徘
lines to depict layers of wings. Such depiction is so realistic as if
徊，不捨離去。
viewers could smell the scent in the summer breeze.
Ravenel 26
612 AU HO-NIEN
(Taiwanese, b. 1935)
Hare 1974 Ink and colour on paper, framed 71 x 29 cm Signed HO-NIEN in Chinese With one seal of the artist
NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000 歐豪年 兔子 1974 水墨 設色 紙本 鏡框 71 x 29 cm 釋文：偉中仁棣屬 款識：甲寅冬竹移軒晴窗，豪年漫興之作。 鈐印：歐（朱文） 《兔子》是歐豪年先生甲寅年（1974年）冬天在 竹移軒所繪，畫中寫玄灰色的兔子在野外撲朔傍地 而行，以濃墨的手法寫出兔子的頭部，身體層次漸 淡，畫面上方寫兔子撲朔跳躍的樣子，近處（左側 面）寫出較高的野草作為前景。他善用嶺南慣用的 山馬筆，寫出大自然中野草蒼茫的感覺，並染以翠 色，遠處點幾株淡淡的野草，以添畫面蒼潤之感。 兔子邊旁點綴數筆草地，整幅畫面畫幅由近而遠， 兔子跳躍其中，春意盎然而生。為歐豪年先生40歲 時所畫的精彩作品，讓人感到筆墨酣暢，卻層次深 遠的寫繪功力。 This painting was drawn by Au Ho-Nien in the winter of 1974. A grey hare was depicted crouching in the wild. Thick ink was used to paint the head and gradation was used on the body, giving an elusive quality to the animal. Grass was depicted on the left to enhance the scene. Au depicted the vastness of grassland, painted in green. Light strokes of grass farther away creates openness in the painting. Location of the hare gives action to the animal, as if it is moving towards the viewer. This work was done at the age of 40, letting one see the richness of ink used and his excellent painting techniques.
613 AU HO-NIEN
(Taiwanese, b. 1935)
Buffalo and Herdboy 1981 Ink and colour on paper, framed 43.5 x 68.5 cm Signed AU HO-NIEN in Chinese With one seal of the artist
NT$ 150,000 - 240,000 HK$ 38,000 - 61,000 US$ 4,800 - 7,800 RMB 35,000 - 56,000 歐 豪年 春郊放牧圖 1981 水墨 設色 紙本 鏡框 43.5 x 68.5 cm 釋文：辛酉春日，嶺南歐介豪年挹翠山堂雨窗。 鈐印：豪年（朱文）
此《春郊放牧圖》是歐豪年先生辛酉年（1981年）春天在 「挹翠山堂」見窗外之景所繪，初春的雨天牧童放牛，遠處的 山邊迷濛，雲霧嬝繞，畫面左側依山勢而立，溪流川流緩緩而 下，山下農田數畝，平崗之上寫繪幾處農家，一個牧童在利用 農閒初歇之時，牽著家中的牛隻到澗外清涼的溪水散步閒放， 也可能是歐氏將心中理想的放牧生活寫入其中，平居恬淡，不 慕名利，平疇幽谷之中放牧，遠處染以白雲，水氣蒼潤之境為 歐氏常為營造之景，設色高雅，幽渺難尋，筆墨意境更高。 This work was drawn by Au Ho-Nien in the spring of 1981 at his studio looking out from his window. In the Spring shower, herdboy is herding buffalo, mist veils over distant mountains, clouds linger around the peaks. Hilly relief on the left of the painting leads the viewers to flowing river and patches of fields at the bottom of the hills. The painting depicts the relaxed strolling of herders along the riverside, echoing to the ideal image of herding in the mind of the artist. Such painting depicts the ideal austere lifestyle that Au longs to have.
Ravenel 28
曲盡化工之妙 ─ 喻仲林
YU CHUNG-LIN
MASTERY OF ELEGANT AND EXQUISITE DEPICTION 作畫貴有古意，若無古意，雖工無益
1949渡海來台的文藝青年 1949年的台灣，當時有許多書畫造詣深厚的藝術家隨政府來台，
在《喻仲林花鳥畫冊》一書中，有許多畫家談及喻仲林先生是其
有于右任、黃君璧以及溥心畬等多位大師，而這其中也包括喻仲
人其畫，永遠的鳥語花香，能說其一汲古法為之脊髓，古人曾
林、孫家勤兩位大師。
言：「作畫貴有古意，若無古意，雖工無益」。而喻仲林的畫 面，或「工」或「意」都是謹慎處理過的，以古的技法、今的意
談至喻仲林及孫家勤的相識，能從當時台灣省立師範學院（現國
境，工細巧麗的畫中，介入水墨渲染之法，將畫面烘托出更富層
立台灣師範大學）的課堂上說起，當時的孫家勤隨著友人至美術
次的豐潤氣蘊。
系旁聽金勤伯先生的課程，同樣隨著政府軍來台的喻仲林先生， 也因公暇之餘，旁聽講課，而麗水精舍的結識，或許同樣的也能
從喻仲林的創作思緒中，即可理解其繪畫風格之內涵與特色，可
從此說起。
簡約歸納為幾點：一、注重寫生，故而題材鮮活，不論翎毛、花 卉、禽畜、昆蟲…皆姿態靈動，造型準確。二、精研宋元，故而
回想自1949年的台灣畫壇，當時的書畫風格偏重於水墨的寫意，
器度雍容，小品具有院體折枝形式之清雅，大作則具有全景花鳥
而彩墨工筆則略顯日漸式微，但以授課之學，在當時擔任師大美
格局之豐沛。三、汲古出新，故而精緻典麗，將雙鈎白描、青綠
術系主任的黃君璧先生，與當時師大的教授們授著課；其中黃君
金碧、撞水撞粉…等多元技法融會運用而自出機杼，筆筆皆有古
璧授以山水之磅礡；林玉山寫以花鳥畜獸之神韻；金勤伯雕琢花
人，筆筆又都見新意。
鳥之精巧，宗孝忱臨書法之神妙；溥心畬則山水、人物、花鳥各 科皆通。
此次四件喻仲林的作品出自於1971 - 1980 之間，其繪畫中的精 處，能從其運色的巧妙、筆法的蒼勁或溫潤略察一二；首先是出
而書畫藝術一直都是飽含東方歷史深度的藝術表現，不僅兼具與
自1971年旋紅繞翠的《凌霄白頭》，畫中凌霄花開串串，白頭
傳承了繪畫與書法的時代脈絡，同時亦反映出獨特東方的審美品
枝上相覷，風藤碧葉掛空斜，落筆忽聞鳥鳴聲，此作繪於絹本，
味。
整體逸趣生動呈現出暖烘烘的情氛；二則是1975年一簇金黃的 《黃蟬花》與畫中枝葉的墨色形成相輔之比，作中一寫連雨濛濛
創立麗水精舍
的夏季，怕是清明時節紛雨過後之景，人說黃蟬花軟芯而時招蜂
自1949到1956年麗水精舍的組成，在師大圖書館後的麗水街開
引蝶，軟枝輕擺，風輕搖曳；而三是出於1980年濃妝淡抹皆宜的
立，也一開台灣聯合畫室之先河，其中以喻仲林攻花鳥、胡念祖
《牡丹藍雀》，畫中牡丹花綻開的蓬鬆欲墜與畫中枝上兩隻藍雀
之山水，而孫家勤則是以人物，各富盛名，當時的畫室在開班授
並啼，牡丹色深或粉，皆與雀鳥的翠藍、雪青相襯；四則同是出
徒之餘，也相互切磋著畫技。
自1980年的一幅《麻雀》，畫中雀鳥飛起的姿態生趣靈巧，清涼 的翠竹枝葉，隨風輕擺，似乎有種日光灑落，綠蔭籠罩的氛圍。
而此次有喻仲林先生的《麻雀》（編號614）、《凌霄白頭》（編 號615）、《黃蟬花》（編號616）、《牡丹藍雀》（編號617）
筆墨用之細巧，雙鉤填彩，賦色以逐次點染，俟未乾，再染之，
呈獻給大家。
墨彩的漸變與交疊，題材中花草蟲鳥與時節的相映，都足以見喻 仲林先生驚人的細膩觀察，也使得在他的畫作上那種與人相異，
喻仲林1925年生，字性根，原籍山東，師從金勤伯，專攻工筆花 鳥，其師認為他最難得的是做到「豔而不俗，細膩而不呆板」， 這是工筆畫中相當不易達到的境界，在其作品中又以工筆花鳥最 能代表其畫藝，其摹古卻又不拘泥於古法。
右圖：喻仲林攝於雲河大廈畫室
Ravenel 30
而別富精巧細緻的生趣之意。
INFLUX OF YOUNG ARTISTS TO TAIWAN IN 1949 1949 is a year with a huge influx of scholar artists to Taiwan, including ink masters Yu Youren, Huang Chun-Pi, Pu Hsinyu and young artists Yu Chung-Lin and Sun Jiaqin. Yu Chung-Lin and Sun Jiaqin became acquaintances since their encounter at the National Taiwan Normal University (NTNU). Sun sat-in a class of Jin Qinbo with a friend, while Yu followed the national army to Taiwan and sat-in the same class after work. Two of the founders of Li Shui Art Studio thus met under such circumstances. Broad brush was the dominant trend in Taiwan during the period and colourful gongbi works were not as popular. Academic courses were offered by teachers specialized in main areas such as Landscape offered by Huang Chun-Pi, Animals offered by Lin Yushan, Flower-and-Bird offered by Jin Qinbo and Calligraphy offered by Zong Xiaochen, while a combination of such genres by Pu Hsinyu. These four works by Yu Chung-Lin was painted between 1971Chinese paintings and calligraphy have always been a perfect
1980. Use of colour and calligraphy were excellent in Yu's paintings.
record of history, social and political events and aesthetic qualities of the period.
Through Yu's theory of creation, one could understand Yu's
THE FORMATION OF LI SHUI ART STUDIO
regardless of subject matters, to uphold accuracy of his depiction.
philosophy, being: 1. Emphasis on live sketches and observation,
Li Shui Art Studio was established in 1949 to 1956. Its name was taken from the Li Shui Street behind the NTNU. The studio was among the pioneer for joint studio of artists, where Yu Chung-Lin was specialized in Flower-and-Bird paintings, Wu Nianzu specialized in Landscape, Sun Jiaqin specialized in Portrait paintings. They organized classes and promoted exchanges and discussions in the studio. In this sale, we have gathered masterpieces from Yu Chung-Lin's
Sparrow (Lot 614), Chinese Bulbul and Trumpet Vines (Lot 615), Bees Fluttering around Golden Trumpets (Lot 616), Peony and Blue Tits (Lot 617). Yu Ching-Lin was born in 1925 in Shandong, Yu Chung-Lin was a student of Jin Qinbo, specialized in Flower-and-Bird paintings. Yu was praised for the perfect colour combination and detailed depiction. Such comments are great compliments, acknowledging the artist for his graceful depiction yet different from classical depiction. In Yu's book, artists commented that Yu depicted flowers and birds as graceful as the artist himself. As mentioned by old masters, flowers and birds should be meticulous in both application of brush and its expression. Modern objects need to be expressed through careful and detailed depiction.
2. Study of Song and Yuan paintings in order to enhance the elegant tone of the painting. 3. Innovation from traditions through applications of brushwork in an innovative way.
Chinese Bulbul and Trumpet Vines was painted in 1971 with Chinese Bulbuls looking passionately at each other at the branches of overhanging trumpet vines. This work of romantic birds was painted on silk. Second painting, Bees Fluttering around Golden Trumpets , was painted in 1975. Amidst the summer rain, wet and softened golden trumpets were said to attract bees and butterflies. Third painting is Peony and Blue Tits in 1980, with peonies in full bloom and blue tits singing in harmony. Fourth painting Sparrow was painted in 1980. The sparrow depicted is flying swiftly over bamboo waving along the summer breeze. Fine delicate brush was use outline objects and colour was filled with meticulous attention before the ink was dried, forming gradation. Subjects of flowers, birds and insects were depicted according to the time of the storyline depicted. This shows the artist's close observation and attention to detail, creating elegant and interesting scenes.
614 YU CHUNG-LIN
(Taiwanese, 1925-1985)
Sparrow 1980 Ink and colour on paper, framed 43 x 28 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 Ravenel 32
喻仲林 麻雀 1980 水墨 設色 紙本 鏡框 43 x 28 cm 款識：雲昇先生雅正，庚申歲暮山左喻仲林寫於台灣。 鈐印：喻仲林（朱文）、清泉郡（白文）
615 YU CHUNG-LIN
(Taiwanese, 1925-1985)
Chinese Bulbul and Trumpet Vines 1971 Ink and colour on silk, framed 44 x 58.5 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist
NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000
喻仲林 凌霄白頭 1971 水墨 設色 絹本 鏡框 44 x 58.5 cm 釋文：直饒枝幹凌霄去，猶有根源與地平， 不道花依他樹發，強攀紅日鬥鮮明。 款識：治文吾兄正之，辛亥新春喻仲林寫。 鈐印：仲（朱文）、林（朱文）
616 YU CHUNG-LIN
(Taiwanese, 1925-1985)
Bees Fluttering around Golden Trumpets
喻仲林 黃蟬花
1975 Ink and colour on paper, framed 60 x 49 cm Signed CHUNG-LIN in Chinese With three seals of the artist
1975 水墨 設色 紙本 鏡框 60 x 49 cm 釋文：連日濛濛雨，黃蟬開滿枝。 款識：乙卯夏，仲林。 鈐印：喻鉥（白文）、仲林（朱文）、出身行伍（白文）
ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp. 158-159
著錄： 《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史博物館， 台北，2012 年出版，頁 158-159
NT$ 130,000 - 200,000 HK$ 33,000 - 51,000 US$ 4,200 - 6,500 RMB 30,000 - 46,000 Ravenel 34
617 YU CHUNG-LIN
(Taiwanese, 1925-1985)
Peony and Blue Tits 1980 Ink and colour on paper, framed 91.5 x 71 cm Signed YU CHUNG-LIN in Chinese With three seals of the artist ILLUSTRATED: A Collection of Masterpieces by Mr. Yu Chung-Lin , Crown Publishing Ltd, Taipei, p. 80
NT$ 380,000 - 600,000 HK$ 96,000 - 152,000 US$ 12,300 - 19,400 RMB 88,000 - 139,000
喻仲林 牡丹藍雀 1980 水墨 設色 紙本 鏡框 91.5 x 71 cm 款識：庚申夏日，山左喻仲林畫。 鈐印：喻仲林（朱文）、清泉郡（白文）、 肇自然之性成造化之功（朱文） 著錄： 《喻仲林花鳥畫冊》，皇冠出版社，台北， 1985 年 7 月初版，頁 80
記憶的長廊．海天畫廊舊藏
HAITIEN ART GALLERY A COLLECTION OF MEMORIES THE COLLECTION OF HAITIEN ART GALLERY
歲月就像一個不停歇的鐘擺，催促著人向前卻又不忘回首 （編號 618 – 620 ） 1960年西門町那受人潮所烘托出的繁華，台灣第一間大型百貨也
此次一幅《孔雀》（編號618）完成於1966年，為畫廊開幕之
正是坐落在當時的中華路上，人潮、商圈的新舊交會，當時西門
時，陳夫人特向喻先生邀作此幅畫作，當時的喻先生41歲，以大
町儼然為台北地區最繁榮的商業中心區，而海天大樓也選定坐落
幅絹本成之，絹本作畫的細膩，孔雀雙目勾繪的炯炯有神，翎羽
在如此繁華的中華路段上。
的細膩，敷以溫潤色彩，畫面中心雄雀華美的羽毛以數筆工細描 繪成之，雄雀不時回頭望向母雀，能瞧出鶼鰈情深之意，實則美
七樓高的海天大樓，當時的地下一樓為海天印刷廠，而海天畫廊
好，母雀依畏在其身旁同不失於色，甚至顯得可愛依人。
則位在海天大樓的五樓，作為一個沙龍展覽的空間，沙龍之意著 於彼此交流、相互欣賞以提升自我，在那樣一個年代裡，所謂集
畫中可見細、寫相兼，而互不相牴，反到多了一種諧和之美，作
結藝文沙龍和藝術家之間的關係，在台北車站到西門町一帶更能
畫的細膩，不僅是構圖中蚰松和雄雀於畫心處相交，針葉的延展
視為重要的藝文集散地，但話說回來又如何能稱六零是一個折
隨枝而散，底以區塊的墨色暈染，展現松球的蓬鬆，而不致銳
點呢? 除了整個戰後現代繪畫運動熱潮的帶起，同時一批學成海
利，恰與工筆描繪的翎鳥產生畫面景深的和諧，實屬佳作。
歸的學子相繼帶回不同的思潮歸來，期待的興奮著，各個都準備 好要一展身手，而整個六零至七零間的台灣正是瀰漫在這股中美
而大師作畫向來是以體察社會各處美景而成，如同提筆蘸墨，宏
文化融合同時挾著一批歸國的風氣下，再轉眼回到鄉土文化根性
觀若肚腹能收山陵飛瀑之磅礡，微觀的視野則若筆尖能細品鳥語
的反思，這無疑對美術對文化都是一個重要轉捩，思路的新潮宛
花香，一解曲中意。
轉，也為日後整個工業、經濟的進步作鋪陳。
文人書畫的價值與脈動 海天這一詞能想像在當時所展現出的氣魄，所謂海天連一色，望
五零末的開端，為台灣掀起一波大浪，席捲著你我他，每一個在
去無邊無際，當時的藝文空間，提供一個好的平台讓青年人去發
思潮裡襲捲上岸的人，在經歷過沖激變動的大背景下，使思路更
揮，成為思潮碰撞學習的場所，進產生出一個個美麗花火，反到
為拓朗，同樣在這波脈流後，得以窺探當時整個台灣美術的文化
不僅僅是在台灣美術的相映下，而是全球的美術都在轉變。
與價值，有的向西方取經以融會貫通，有的人則在文化裡找出本
犢行泥緩．與大師間的交流和情誼
土的根性脈絡，喜悅惆悵的交織，中國傳統知識份子在面臨西方 文化強烈激盪下，各出奇招，所用以不同的因應表現。
時代風氣的造就，海天畫廊並置在當時藝文展演的重要地位之 中，除了五月畫會、東方畫會都曾在此辦展覽外，與大師間互動
然而此次由海天畫廊收藏至今的三幅大件作品，皆得自藝術家本
往來的交集定是歲月積累而至，如郎靜山先生的攝影工作室設置
人，以黃君璧先生的氣雄，運用那對中西繪畫相互借鑑的熟練，
在海天大樓五樓，平時畫廊會放置郎靜山先生的作品作為日常展
與取之大地的抒情；喻仲林先生的工筆典緻，畫作一筆一劃，線
覽，以及席德進先生旅居巴黎初回國時，曾在海天畫廊舉辦過歸
條的精細巧整到賦色典雅，取畫院體系的工細推進，著墨於細節
國的講座，當時在現場更是播放著巴黎時期所拍攝的幻燈片，也
的寫實；吳詠香女士饒富文情詩意，承襲溥心畬先生之北宗畫
包括當時所見美術館裡的大師名作，陳靜曾夫人收藏的一幅席德
法，取宋元花鳥之筆作底蘊，文人借物寄情之情懷，在市場收藏
進先生描繪基隆風景（亞洲現代當代藝術拍賣，編號193）之作，
上來看，三件作品皆具不同的審美品評觀點，黃君璧、喻仲林兩
也是在進一步洽談日後展覽的規劃後，得自於藝術家本人。
位大師在羅芙奧歷次的拍賣上更是都曾拍出相當亮眼的成績。大 時代的匯集，而歲月就像一個不停歇的鐘擺，催促著人向前卻又
同樣能看見在致力於文化推廣的道路上夫婦倆人不遺餘力，陳上 典先生於2008年回饋於母校泉州培元中學，建立了海天圖書館， 同時也設立海天獎學金。陳靜曾夫人身為黃君璧及喻仲林兩位大 師的女弟子，那些在大師身旁的點點滴滴。1966年並非只是想法 的開端，而是拓展出去的第一步，同時也辦期刊、辦美術比賽， 更請來席德進、喻仲林等大師擔任評審。
Ravenel 36
不忘回首。
Ximending in the 1960s was the most bustling commercial
This sale offers three significant paintings once possessed by
district in Taipei. Taipei's first department store was established in
HaiTien Art Gallery. All three were obtained directly from the
Zhonghua Road, and this is where HaiTien Art Gallery was situated.
artists. Huang's painting demonstrates grandiosity of landscape, Yu's reflected his sophisticated and elegant brushwork, while Wu's
The 7-storey HaiTien Building had its printing department at the
integrated Pu Hsin-Yu's Northern style painting with reference to
basement and its gallery on the fifth floor. The gallery was founded
flower-and-bird paintings from Yuan and Song dynasty. Such works
as a salon and exhibition space to encourage exchanges between
demonstrate high aesthetic standards, two of the artists mentioned
artists and collectors in the perfect location and era of artistic
even achieved outstanding value at Ravenel auctions.
development. The 1960s was the perfect era for cultural, artistic and economic development, due to the influx of students returned
These three masterpieces are documentations from history. They
from their studies abroad. This ignited a series of discussions of
witnessed the past, while pushing forward the development of
Chinese-Western beliefs and local culture preservation.
humanities.
HaiTien, in Chinese means "Sea" and "Sky," referring to the endless horizon. The gallery provided a platform for young artists to discuss and experiment, so as to achieve endless innovation to influence art in Taiwan and the world.
BRICK AND MORTAR - EXCHANGES WITH GREAT ARTISTS In this era, HaiTien Art Gallery played a crucial role in artistic development in Taiwan. Its platform were given to prominent art groups including Fifth Moon Group and Tonfan Art Group, photography master Long Chin-San. Shiy De-Jinn once held a sharing in the gallery with a video showing masterpieces in Parisian museums, showcasing French culture to the Taiwanese public. One of Shiy's paintings was given by the artist to Mrs Chen Ching-Tsen, depicted the scene of Keelung (Modern and Contemporary Asian Art Auction, Lot 193), as a gratitude to the gallery for holding his exhibition. Gallery owner Mr and Mrs Chen strived in cultural development. In 2008, Mr Chen Shang-Tien established a HaiTien library and HaiTien Scholarship at the Peiyuan Middle School in Fujian. While Mrs Chen, as the apprentice of both Huang Chun-Pi and Yu Chung-Lin, recorded documentation of the great artists, established journals, art competitions adjudicated by famous artists Shiy DeJinn and Yu Chung-Lin.
THE DEVELOPMENT OF SCHOLARLY PAINTINGS In the late 1950s, Taiwan was faced with an influx of various philosophies under political turbulence. Taiwanese art was re-defined in terms of culture, Western influence and local repositioning. Chinese scholars had great transformation in the face of such changes.
右圖：黃君璧與陳靜曾夫人
618 YU CHUNG-LIN
(Taiwanese, 1925-1985)
Peacocks 1966 Ink and colour on silk, framed 72 x 142 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist PROVENANCE: Former collection of Mrs. Chen Ching-Tsen, HaiTien Art Gallery, Taipei
NT$ 500,000 - 800,000 HK$ 127,000 - 203,000 US$ 16,200 - 25,900 RMB 116,000 - 185,000 喻仲林 孔雀 1966 水墨 設色 絹本 鏡框 72 x 142 cm 款識：上典先生暨夫人儷正。丙午二月，山左喻仲林寫。 鈐印：喻（朱文）、仲林所作（白文） 來源： 海天畫廊陳靜曾夫人舊藏 註： 上款人「上典先生」即為陳上典先生，海天畫廊及海天 印刷廠負責人，並於 2008 年捐資泉州培元中學建成海天 圖書樓並設立海天獎學金。
此幅畫作完成於1966年，為海天畫廊開幕之時，陳靜曾夫人特向
This work was completed in 1966. During the opening of HaiTien
喻先生邀作此畫作，以大幅絹本成之，畫面中心雄雀華美的羽毛
Art Gallery, Mrs Chen commissioned this work from the artist.
以數筆工細描繪成之，翎羽的細膩，敷以溫潤色彩，層層分染的
Completed in silk, the feathers were delicately sketched and
色彩不混濁，雀鳥身上翎毛，層次相間分明，翎毛間的暈染刻畫
painted with rich colours. The male bird looked towards the
細膩輕盈，極俱巧思，雄雀不時回頭望向母雀，睛目勾繪的炯炯
female, its eyes blazed with vivid colours. This couple suggested
有神，能瞧出鶼鰈情深之意，實則美好，母雀依畏在其身旁同不
romantic love and reunion.
失於色，甚至顯得可愛依人。 Structure of this work was carefully planned with subjects spanning 觀其細膩之處，構圖中蚰松與雄雀於畫心處相交錯，沒骨蚰松若
outwards from the center. Pine leaves are outspread and painted in
虬龍，針葉的延展隨枝而散，可見細、寫相兼的用筆，同時互不
dark ink, creating depth and harmony.
相牴，更添一絲諧和，底以區塊的墨色暈染，展現松球的蓬鬆， 而不致銳利，與工筆描繪的翎鳥產生畫面景深的和諧，整幅畫作 華美而典雅。
Ravenel 38
619 HUANG CHUN-PI (Taiwanese, 1898-1991)
Sea of Clouds 1963 Ink on paper, framed 75.5 x 142.5 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist PROVENANCE: Former collection of Mrs. Chen Ching-Tsen, HaiTien Art Gallery, Taipei
NT$ 500,000 - 800,000 HK$ 127,000 - 203,000 US$ 16,200 - 25,900 RMB 116,000 - 185,000 黃君璧 雲歸大壑 1963 水墨 紙本 鏡框 75.5 x 142.5 cm 釋文：雲歸大壑 款識：癸卯春日畫於白雲堂，黃君璧。 鈐印：黃君璧（白文）、君翁日利長年（朱文）、 白雲堂（白文） 來源： 海天畫廊陳靜曾夫人舊藏
此幅《雲歸大壑》款題「癸卯春日畫於白雲堂，黃君璧。」可知 此作當時乃君翁六十五歲 (1963) 所繪，人說活墨，必能兼得雄 渾蘊藉與清雅幽奇之美，從君翁擅於雲煙飛瀑的表現，流洩濃厚 氣韻。君翁早年東登泰山，西虧劍閣，過三峽，探黃山，閱歷行 遍名山大川，其作品中更是常見飛瀑、流泉，風帆、霜林，筆墨 氤氳，水意蒸融，蒼勁有力，氣勢雄壯，亦能作工筆仕女和花 鳥，清新秀逸，張大千先生非常推崇黃君璧，曾言君翁的山水 「雲瀑空靈，吾仰黃君璧」，畫中層層排雲湧動，大量的留白再 以淡墨作烘染，筆墨氤氳。畫中吐現出文人氣息，動靜皆宜，雖 說設色帶彩能品畫作用色豐富的變化，以單純墨色的表現及大尺 幅的呈現，相較下似乎更顯大氣而純粹，同樣的亦更能感受墨色 的變化，書畫從墨色的濃淡看光影看層次，雲層的流動，濃密的 雲歸聚於山頭，從右邊襲來鋪天蓋地的氣勢，同時又做到不獨佔 風頭，書畫山水中「高遠」、「平遠」的視點構圖，遠眺山影迷 濛，近觀山峻嶙峋，偶有蒼松佇立於間。 Ravenel 40
Sea of Clouds was painted in 1963 when the artist was 65. It was believed that ink should be intelligently used to represent richness and elegance of landscapes. Huang’s representation of clouds and mists depicted such grandiosity. Early visits to Taishan, Jiange, Sanxia, Huangshan enabled the artist to depict such majestic misty landscapes. His Ladies and Flower-and-birds paintings in gongbi style were also genres he excelled in. Zhang Daqian once praised Huang openly on his depiction of misty mountains in light ink and blank spaces, creating a celestial atmosphere.His paintings demonstrate literati aura with sophisticated manipulation of ink. Such skills depicted light and shadow, the movement of clouds and layer of clouds around the mountain peaks. In terms of structure, Huang adapted traditional methods to represent spatial depth through height and horizontal distance, ornamented with vegetation.
620 WU YUNG-HSIANG (Taiwanese, 1913-1970)
Peonies Ink and colour on silk, framed 51.5 x 86 cm Signed WU YUNG-HSIANG in Chinese With two seals of the artist PROVENANCE: Former collection of Mrs. Chen Ching-Tsen, HaiTien Art Gallery, Taipei
NT$ 40,000 - 80,000 HK$ 10,000 - 20,000 US$ 1,300 - 2,600 RMB 9,000 - 19,000 吳詠香 牡丹 水墨 設色 絹本 鏡框 51.5 x 86 cm 釋文：鼠姑欹畫欄，春晚露華濃，深夜無人採，天香引數蜂。 款識：吳詠香寫於鷗波館。 鈐印：吳詠香（朱文）、鷗波館（白文） 來源： 海天畫廊陳靜曾夫人舊藏
此幅《牡丹》繪於鷗波館，款題「鼠姑欹畫欄，春晚露華濃，深 夜無人採，天香引數蜂」。牡丹繁綻之姿，舒展的蓬鬆欲墜，花 開正時，盛晚露，垂欲滴，濃抹若花香撲鼻，畫中牡丹和寫實所 求的真不盡相似，更似著意於意造無法的情氛，畫中牡丹繁綻之 芳顏，片瓣舒展錯落有致，見其賦色巧妙，牡丹之分色，墨赭瓣 色的點染如臥墨池，冠世墨色，墨中以赭紅做底，紅紫拾色做深 淺，其葉脈色深飽水，紫暈沒骨，或深或淺，另一則色粉，搖曳 於風中似如脂粉隨落地，牡丹瓣葉似絲絨，粉筆從瓣尖染入，一 次未盡腴澤勻和，再次補足，使花頭看來圓綻而不扁薄。結筆勾 繪小小蜜蜂添生意，蜂致，或成群，或獨行，觀者似蝶能與之一 同品香嚐蜜，通幅情氛描繪細膩，清趣盎然。
Peonies was painted in Oubo Studio with a poem describing the scene. The flowers were in full bloom and filled with sweet honey. Such realistic depiction allows the weight of the flower and shapes of petals to be accurately depicted. Colours were vividly applied to the petals and leaves. Regardless of the forms of flowers and saturation of ink, the painting was accurately depicted.Small bees were depicted in groups and individually to highlight the vibrant scene.
Ravenel 42
筆墨千秋趣，山河萬里情 ．江兆申
CHIANG CHAO-SHEN KALEIDOSCOPES OF INK AND BRUSH 就像一道淡淡的蝸涎，緩緩地橫過階際
江兆申，字茮原，安徽歙縣人。他的藝術成就是「文人畫的新典
大成之作，臺靜農曾題跋江兆申書法云：「椒原楷法直入信本
型」，堪稱台灣傳統文人水墨集大成者，他以「詩書畫印」四絕
（歐陽詢）之室，為余平生所僅見。」「江體」兼併歐陽詢九成
名聞藝壇，曾任職國立故宮博物院二十七年，歷經書畫處處長、
宮體、篆隸書如《張遷碑》、《景君銘》等碑法，對聯中的行書
副院長等職，除了汲取歷代古書畫的養分外，更以紮實的治學態
五言詩既融合歐體的筆力與碑刻的剛毅，字體線條隨著墨色的濃
度開啟研究明清畫家—以唐寅、文徵明為主軸的吳派畫研究熱
淡變化而產生跌宕有致的立體感，中鋒挺拔、側鋒流轉蒼拙，以
潮。江兆申以深厚的學術成就與開創性的藝術創作，將傳統文人
險絕為平、奇極為正作為樣態，書法結字中顯露出不急不徐的動
畫翻創出新境，奠定其在台灣近代水墨藝術無可撼動的地位。
感，筆勢頓挫帶有奇變，細品可得遠江寒雁、秋樹歸人的孤寂 感。江兆申的書法根基於傳統，楷、行、隸、篆兼擅，乃至傍
清代書法家獨崇篆刻，安徽的漢印宗法開啟了「徽派」一代文
書、草體的創作實為近代書家少有的修為。
風，生長於書香門第的江兆申天才早慧、更受到徽派篆印的啟 發，六歲便開始雕刻，十歲賣印養家，近代冶印名家王北岳評其
傳統文人畫強調文人（藝術家）需要具備深厚的詩文修養，所謂
篆印由漢印方挺入手，留心於皖浙兩宗，印風「清醇雅健，款字
「腹有詩書氣自華。」江兆申受家學陶冶，加上自身勤勉於學，
灑落自然，有靜穆之趣」而成為近代篆刻大家。江兆申自幼侍母
其詩文的成就更是不容忽視。1950年江兆申自薦投詩求拜溥心
學書，篆刻的刀法更成為他習書的養分，在其書法創作中多可見
畬門下，溥先生觀其詩文讚譽：「觀君文藻翰墨，求之今世，真
金石況味，莊重凝厚中帶有自然的轉折，筆法沉著又有爽利之
如星鳳。」江兆申一生謹遵寒玉堂師訓，勤研名家詩詞，拜謁溥
氣，拍品《行書五言聯》（編號621）是其晚年「江體」書法集
心畬期間也多吟詩論文，或解書法意境、詩書疑義，直至後期才 得師傳畫藝。江兆申直到把詩文、學問、書法等揉合為一後才開 始水墨的創作，書畫同源的道理在他的作品中表露無遺。江兆申 1965年任職故宮博物院直至1991年退休，對於研究古人書畫頗有 心得，並完成了許多重要的學術研究，如《關於唐寅的研究》、 《宋畫精華》等專論；更於1973年籌辦共三期的「吳派九十年 展」，完整梳理了文徵明、沈周等吳派畫家的生平與水墨作品， 開啟台灣以專題為特展的先河，並引起了海外對於吳派畫作的研 究熱潮。因此，江兆申的水墨創作便得益於上述「詩、書、文」 的豐厚滋養。 江兆申的繪畫，由書法用筆與結構進入，嚴格要求章法筆勢變 化，《靈漚類稿》收錄篇文《書與畫》可瞭解一二，江兆申認為 書與畫的關係密切，作畫時的運筆習慣會影響畫作的成功與否， 書畫之間有脈息相通之處，江兆申提出書法的要點為：用筆、間 架、豐神；與其相通的畫法要點則是：筆墨、章法、氣韻。形式 構圖要求的用筆體現於筆墨，江兆申早期繪畫受黃賓虹、新安畫 派的影響，用筆嚴謹、筆墨縱橫；再以元四家、董王的章法間架 為輔，枯淡之中可見酣暢之興味；拜溥心畬門下多臨北宗山水， 尤重烘染之法；後期窮盡畢生學識集於水墨創作，講求豐神氣 韻、筆墨簡澹，江氏山水的藝術，既能讓觀者產生生動且感人的 力量，又能體現忠於自性與內在精神的自我實踐，江兆申在古人 與自然中博取精髓，以創新的藝術形式賦予了傳統文人畫全新的 意涵。江兆申的藝術生涯誠如其《我的藝術生涯》文末所言「就 像一道淡淡的蝸涎，緩緩地橫過階際。其實再細想，我一生的遭 遇也莫不如此，又何僅是繪畫。」江氏以蝸牛謙喻，但從未隨波 逐流，只把一生奉獻給書畫研究與水墨創作，然而他的藝術成就 卻讓近代水墨開啟了新的篇章。
Ravenel 44
The art of Chiang Chao-Shen was acclaimed as the latest model
Chiang his highest regard. Since then, he followed Pu to study
of literati art. The artist himself was acclaimed as an all-rounded
literature before advancing to art depiction. Such a combination
scholar of traditional literati ink art in Taiwan, in terms of poetry,
of literature, calligraphy and art had always been seen with pivotal
calligraphy, paintings and seal making. Chiang worked in the
importance for Chiang. During his career at the NPM from 1965
National Palace Museum (NPM) of Taiwan for 27 years and took up
to 1991, Chiang published prominent thesis in Chinese art history
prominent roles including Director of Chinese paintings and Deputy
and organized three important exhibitions of Wu School of Art in
Director of the museum. With reference to old masterpieces,
1973. Such projects promoted local and international attention
Chiang promoted studies of the Wu School of paintings of the
and recognition to the academic development of art history in
Ming dynasty, which includes art of Tang Yin, Wen Zhengming.
Taiwan. This once again proves Chiang's achievement to literature,
Chiang Chao-Shen promoted artistic innovation based on thorough
calligraphy and art development in Chinese art history.
studies of ancient art forms, thus encouraged modern literati ink art of Taiwan.
Chiang combined brushstrokes and structure of calligraphy into his paintings. In his published book, Chiang mentioned the importance
Seal carving scholars in Qing dynasty promoted clerical scripts,
of such relationship. Brush application, structure and aura of
while others in Anhui promoted Hui School. From Chiang's early
calligraphy correspond to those in a painting. Such composition
age, he was heavily influenced by the Hui School. He started
should be expressed through application of ink. Chiang's early
seal carving practice at the age of 6 and sold carved seals at
influence were Huang Binhong and Xinan School, with strict
10. Modern seal carving scholar Wang Beiyue once mentioned,
requirement of brushstrokes. Structure was influenced by the Four
Hui School was close to Wan and Zhe styles renowned for their
greatest artists of Yuan dynasty and artists Dong and Wang, which
elegance, sturdiness and solemnity. Chiang received education from
was reflected in his simplistic structure. As a student of Pu Hsin-
his mother and seal carving became part of his practice. His works
Yu, Chiang demonstrated Northern style of Landscape paintings
reflected his skills in seal carving with studiness and solemnity,
in terms of ink application. Chiang spent his whole scholar career
yet they are also light and swift. Calligraphy Couplet in Running Script (Lot 621) reflects the late style of Chiang. Tai Jing-nong once praised Chiang's calligraphy as one of the best after Ou Yangxun. In fact, Chiang's calligraphy possessed the style of Ou Yangxun, a combination of clerical and seal scripts and scripts used in stone tablets carvings. This calligraphy work is a combination of Ou's style and sturdiness of stone tablet carving. Each stroke appeared multi-dimensional and lively with variations of ink concentration and brushstrokes. With centered and inclined brushstrokes, each word possesses tranquility with variations. This diversity can only be achieved with a vast and solid foundation of calligraphy in all forms and styles.
investigating traditional aura depicted with ink. From Chiang's
Traditional literati art requires scholars to have all rounded achievements in literature and art practice. With a well-built solid foundation of scholar achievement, Chiang excelled in poetry. In 1950, Chiang nominated himself to follow Pu Hsin-Yu, who gave
左圖：江兆申
work, audience could notice the aura and liveliness depicted, which has high resemblance to traditional paintings and nature, yet possesses the artist's individuality. This achievement created a novel definition to traditional literati ink art. In his publications, Chiang humbly compared his achievement to a snail. His career was indeed slow moving, yet it was solid and deep in scholarly achievement. He was true to himself and devoted a lifetime in Chinese art history, thus created a new chapter in ink art development.
621 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
Calligraphy Couplet in Running Script 1995 Ink on paper, framed 175 x 47 cm (each) Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist
NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000 江兆申 行書五言聯 1995 水墨 紙本 鏡框 175 x 47 cm （每件） 釋文：遠江寒蕩雁，秋樹獨歸人。 款識：寒玉堂回文聯，乙亥莫春茮原江兆申書。 鈐印：兆申茮原（白文）、雙菩提樹盦（朱文）
Ravenel 46
622 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
Residing by the River 1971 Ink and colour on paper, fan leaf, framed 22 x 50 cm Signed CHIANG CHAO-SHEN in Chinese With four seals of the artist
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000
江兆申 臨水幽棲 1971 水墨 設色 紙本 扇面 鏡框 22 x 50 cm 釋文：夜鶴曉猿時復聞，寥寥長似耿離羣。 月中未要恨丹桂，嶺上且來看白雲。 棋子不妨臨水着，詩題兼好共僧分。 新憂他日榮名後，難得幽棲事靜君。 款識： （一）兆申 （二）辛亥盛暑茮原江兆申畫 鈐印：江兆申印（白文）、茮原私記（朱文）、江兆申印（白文）、 茮原私記（朱文）
623 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
Landscape Ink and colour on paper, scroll 99 x 30.5 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist
NT$ 150,000 - 240,000 HK$ 38,000 - 61,000 US$ 4,800 - 7,800 RMB 35,000 - 56,000 江 兆申 陰壑遠眺 水墨 設色 紙本 立軸 99 x 30.5 cm 釋文：北望直百里，峨峨千仞青。斷虹迎日盡，飛雨帶龍腥。 陰壑煙雲蓄，陽崖草木靈。登臨終不厭，時許到茲亭。 款識：茮原江兆申畫。 鈐印：江兆申印（白文）、雙菩提樹盦（白文）、靈漚館（朱文）
此作《陰壑遠眺》綜觀畫體嚴謹，通幅結構以方剛筆法描出山
This work was composed in classic structure. The relief was
勢，為江氏擅長的長筆勾線畫法，遠觀如鐵畫硬朗，細處則如銀
sketched with extending brushstrokes, creating sturdy outlines,
鉤秀利；上方山體以左至右斜飛直上，邊角以斷壁產生連綿不絕
yet delicately detailed. Mountain in the upper panel extended
的態勢，典型北宗山水的塊面結構畫法在此現出突兀奇峭的體勢，
to the top right, beyond the panel. Such typical Northern style
山面或以亂筆塗就，墨色濃重，佈局取黃賓虹山水畫意，乾筆處
highlighted the steep rugged cliffs. Sketches to depict surface of
淡墨雋永，大小山勢營造出層次感，錯落有致；江兆申以花青色
mountains were taken reference from paintings of Huang Binhong.
敷染，明淨中可見沉著洗鍊之感；山後以赭色罩染，更覺山勢遒
Hills were painted in indigo to create a serene atmosphere. Ochre
勁有力。隔於一江對岸的山勢則以大小虎皮皴法斜鋒砍琢出石紋
of the hills behind highlight the relief. On the other side of the river,
塊面，可見當時落筆作畫時行筆快速的樣貌，氣勢外拓、迅走急
swift cun strokes were used to depict the rough surface of rocks.
行；山體以花青淡赭相疊交錯敷染，營造出水氣森森的山林景象，
Intersecting use of indigo and light ochre suggests the humid rocky
並表現出多石且堅凝的山體。山石上林樹的佈局以三點透視的俯
landscape. Three-point visual lines were used on the structure
視法顯現出畫幅裡山勢的高度，可知畫者站在更高的山巔上觀山
of the painting, to highlight the height of looming mountains,
水走勢，此為江兆申高絕的構圖方法；三方樹葉畫法各有變體，
suggesting that the artist was viewing in the distance from a high
或點或夾，枝幹鬆緊相連，墨色濃淡兼施，自濕筆漸乾筆的融合，
altitude. Such technique was cleverly used in the structure of the
左側綠樹濃蔭之間輕掩房舍，右方樹姿攢聚疏散，以濃淡分出遠
painting. Various densities of leaves were painted with a mix of
近，下方樹幹用筆曲折之中則有堅硬、蒼健之勢。山壁挾小橋通
ink tonality and dryness of brush. From dense forest on the left,
幽，更讓畫意多添閑逸之情。此作為江兆申摹古山水的風格，雖
slightly sheltering the cottages, to a sparse distribution of leaves on
以宋人丘壑作為形式，但筆法佈局上卻獨有新意。
the right. Different tones were used to suggest distance of trees, while brushstrokes were used to depict their crooked forms. A picturesque scene of mountain ranges and a small bridge creates a relaxed view of the artist. This work is a typical example showing how Chiang followed styles and depiction of old masterpieces from Song dynasty, yet displayed his individuality.
Ravenel 48
624 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
Landscapes in Four Seasons 1988 Ink and colour on paper, framed 67.5 x 34.5 cm (each) Signed CHIANG CHAO-SHEN in Chinese With eight seals of the artist
NT$ 700,000 - 1,200,000 HK$ 177,000 - 304,000 US$ 22,600 - 38,800 RMB 162,000 - 278,000
江兆申 四季山水 1988 水墨 設色 紙本 鏡框 67.5 x 34.5 cm（每件） 釋文： （一）花陰莎草長，藉草閒自酌。坐看鶯鬥枝，輕花滿樽杓。 葛巾竹稍掛，書卷琴上閣。沽酒過此生，狂歌眼前樂。 （二）懶搖白羽扇，裸體青林中，脫巾掛石壁，露頂灑松風。 （三）商氣颯已來，歲華又虛擲，朝雲藏奇峰，暮雨灑疏碧滴。 幾蜩默涼葉，數蛩思陰壁，落日空館中，歸心遠山碧。 （四）曉來紅日尚羞明，四外彤雲欲放晴。一夜九天開玉闕， 六花萬里散瓊英。 款識： （一）白傅句，江兆申畫。 （二）李青蓮詩句，自有一種拔倘不羣之氣，茮原江兆申畫。 （三）賈長江詩，江兆申畫。 （四）宋葛長庚詩，戊辰嘉平江兆申畫四景。 鈐印： （一）兆申茮原（白文）、雙菩提龕（白文） （二）兆申茮原（白文）、雙菩提龕（白文） （三）兆申茮原（白文）、雙菩提龕（白文） （四）兆申茮原（白文）、雙菩提龕（白文）
此作《四季山水》四連幅，筆墨盡顯江兆申胸中豪恣的畫意，把
This work shows Chiang's personality, his painting skills and the
握了水墨畫再現自然的趣味，直取宋人畫意的野逸精神，畫中線
literati style of Song art. Brushstrokes were vividly applied based on
條靈動，無刻板拘古的鑿痕。
traditional techniques.
春景遠山以細線自左鈎勒成輪廓，右以半邊錯落的山石取出平
In the Spring panel, the right side was balanced with intersecting
衡，兼用淡墨烘染出景深；主體山勢以墨色與側鋒作出山脈走
hills. Light ink was used to highlight the distance. Lines and
向，構圖簡潔流露清雅之氣，再藉渲染的墨色襯托出一河兩岸、
structure highlight the relief of the landscape. Lower panel was
春江宛轉的風貌。下方石床與茅亭的布局平穩，雙勾加皴細畫出
well-structured with rocks and a kiosk.
古松，點簇法畫叢樹繽紛，以花青、淡赭與鉛白敷點春色幾許。
The Summer panel was painted with standard axe-cun strokes and
夏景則以標準的斧劈皴法與墨色渲染構圖成遠方壁岩挺立的峰
ink to depict lofty mountains. On the contrary to Chiang's typical
巒，此幅少見江兆申慣用的倚側長線，反而以細緻的水墨淡染表
strokes, he used tonality of ink to express the humidity of hillside.
現巖石，通幅水氣融融，中景以各色蘸墨畫成茂密的森林草木，
Colour was again used in the middle ground to depict dense forest.
峭壁間以淡赭畫幽徑直通巔上的草亭，前景江水湧流，頗有洗濯
Cliffs were depicted in ochre leading up to the kiosk on the top.
凡塵的清新感。
Running stream on the foreground adds freshness to the painting.
秋景構圖以畫面中央三角型的斧劈山壁為主體，墨線皴法並用的
The Autumn panel has a three-point structure with a mountain
山勢，左右則以方勁的篆籀筆式勾畫出孤山絕峰，線條轉折有
sketched with cun strokes. Distant mountains were outlined with
力，再以石青敷染出秀潤水色，讓畫面帶有疏朗寧靜之感，亭下
sturdy and edged zhuan zhou stroke, finally coloured in blue. The
高士慨歎韶光虛擲，觀者見秋光山色也不禁興起悲懷。
autumn scene is steeped in tranquility. The lower part of the panel is depicted with rocky shore and a bridge. Middle ground shows
冬景用筆平穩，惟有上方拔尖的山巔一新耳目，山體以乾澀枯筆
autumn woods ornamented with blazing red autumn leaves.
皴擦，敷淡赭色盡顯峭壁之倨險，中段林樹雜木，帶有殘葉秋 華，可知描繪的是初冬景致，畫面冷雋靜穆，格調清雅高逸，予
In the Winter panel, the mountain was completed with light crisp
人閑逸之感，江兆申雖畫冬景但無逼人寒氣，卻有冷逸且奇致的
brushstrokes. Looming over the scene, the mountain was depicted
意境。
with steep cliffs in light ochre. Nearly bare vegetation echoes with the harsh cold early winter. The panel depicts frosty winter in solemnity and elegance.
Ravenel 50
625 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
Landscape 1992 Ink on paper, framed 174 x 93 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist ILLUSTRATED: The Art of Chiang Chao-Shen , Taipei Fine Arts Museum, Taipei, 1992, p. 88
Chiang Chao-Shen Paintings and Calligraphy , Hanart T Z Gallery, Hong Kong, 1993, Plate 31
NT$ 950,000 - 1,500,000 HK$ 241,000 - 380,000 US$ 30,700 - 48,500 RMB 220,000 - 347,000 江兆申 墨山圖 1992 水墨 紙本 鏡框 174 x 93 cm 釋文：祗偎蒲褥岸烏紗，味道澄懷景便斜。 紅印寄泉慚郡守，青筐與筍慚媿僧家。 茗罏盡日燒松子，書案經時剝瓦花。 園吏暫棲君莫笑，不妨猶更著南華。 款識：壬申開歲作此幀，借皮襲美詩補白。 二米多不設色，蓋畫雲山雨景，黑白之外往往無他色也， 後人遂以水墨為戲，不必寫雲山矣！茮原江兆申。 鈐印：歙州江氏（白文）、茮原畫記（朱文）、埔里（白文） 著錄： 《江兆申的藝術》，台北市立美術館，台北，1992 年 10 月初版，頁 88 《江兆申書畫》，漢雅軒，香港，1993 年出版，圖版 31
Ravenel 52
江兆申自1991年9月自國立故宮博物院退職之後，移居南投埔里的
After the retirement of Chiang Chao-Shen from the National Palace
鯉魚潭側，建「揭涉園」。江氏取「揭涉」二字，出自《論語•憲
Museum of Taiwan in September 1991, he retreated to Qieshe
問》「深厲淺揭」一語，指「可行則行，難行則止」之心，譬喻行
Garden in Puli of Nantou. Chiang chose the name as a reminder to let
事應依時勢制宜，當時隱居埔里山中的心情確也合乎王維「行到水
go in life when necessary. The tranquil landscape of Nantou allowed
窮處，坐看雲起時」境界，南投的山光水色，讓江兆申的水墨創作
Chiang to advance to another stage of artistic creation.
與文人畫的美學，創造出嶄新的面貌。 During this period, Chiang was very productive with works of high 此時期的江氏創作力旺盛，作品質豐量佳，經常受邀於國內外參展
aesthetic quality and was invited to overseas lecture. In 1992, his
講學。1992年《戊辰山水冊》為大英博物館收藏，同年更於台北
work was collected in British Museum. In the same year, a solo
市立美術館舉辦「江兆申書畫展」。江兆申此時期的水墨創作，統
exhibition was held in the Taipei Fine Arts Museum. During this
各家之精妙於一體，又因「揭涉園」寬敞，讓他能夠用心於宏偉篇
period, his works incorporated the essence of multiple old masters.
幅，多作大幅水墨，奮追宋代文人畫風雄渾高遠的格局。
As suggested from his new home, Chiang devoted his retired life into painting and achieved the style of Song dynasty.
此幅《墨山圖》為江兆申作中少見精品，尺幅大且以單墨色畫成的 破墨山水圖，通幅直取唐人單線平塗的繪法，江兆申運用倚側的長
This painting is one of the highlights done by the artist. Painted in
線自畫幅右上方鉤出細線分別出全畫的個別山勢，以淡墨表現出峰
monotone in a large scale, this work took reference to Tang style
巒疊嶂的景象，墨色的層次淺淡合宜，再用側鋒皴砍出山稜、濃墨
with a visual line crossing from the left bottom to the upper right
點出山頭縱橫兩勢的走向，淡中見厚、韻味十足；山勢望左走勢低
of the panel. Variations of ink were used to represent overlapping
落跌宕，乾筆重複皴出深遠群山，以篆籀快筆點鉤拉出作為樹形的
mountains, ridges and cliffs. Dry brush was used to depict distant
線條，風姿奇絕險峭，仿如新安畫風的荒嶺重現。
hills, while trees were depicted in zhua zhou strokes, resembling the style of Xinan School.
群山為密林圍繞，江兆申以蘸墨筆法畫就，下筆疾速，兩邊濃、中 間淡，成一列排開的寫意林樹；森然的夏林之中掩映屋舍，石壁間
Mountain ranges are surrounded by dense woods. Chiang used
畫成的小橋讓中段留白的空間順理成為平靜無瀾的江河，江兆申恰
dampened and swift brush to add variation to the tonality of trees.
好的留白，讓此作的空間層次更加提升，靈氣一脈，汩汩流淌。江
Dense summer woods covered the cottage, juxtaposed with the space
氏以相同的筆法畫出近景的山峰丘壑連緜，層巒疊翠的山嶽密不透
in the middle ground, highlighting the serenity of the river. Chiang
風，多用枯筆焦墨，凝實潤澤，氣勢厚重沉穩；左右兩旁的房舍茅
used similar techniques in mountain ranges with an impenetrable
屋，由磐石間的小徑相通，屋中兩位高士對坐閑談。此處蒼松奇
ranges of hills, creating dense solemnity to the scene. Cottages at the
踞、翠樹濃密成蔭，各有韻致；羅列棋布的山林石塊，揉合了北宗
sides are interconnected with paths. Two scholars are chatting inside
斧劈皴與南宗披麻皴，綜觀雄渾強勁、細品疏秀野逸；畫面強調了
a cottage. Dense pine trees and edged rocks suggest the various
虛實對比，線條沉著，意境荒拙樸雅，墨色渲染雖然奇詭多變，卻
techniques of both the Northern and Southern strokes. Contrast
呈現出一片寧靜致遠的夏山風景。
of tones and lines add elusiveness towards a classical depiction of Summer landscape.
Ravenel 54
626 PU HSINYU
(Taiwanese, 1896-1963)
Misty Landscape Ink on paper, scroll 125 x 50 cm Signed HSIN-YU in Chinese With four seals of the artist and one seal of the collector ILLUSTRATED: Linde Studio: Modern Ink and Oil paintings (Highlighted Works) , Shushin Books, Taipei, 1996, p. 15
NT$ 1,500,000 - 2,400,000 HK$ 380,000 - 608,000 US$ 48,500 - 77,600 RMB 347,000 - 556,000 溥 心畬 澐山畫意 水墨 紙本 立軸 125 x 50 cm 釋文：長松搖日影亭亭，無限江頭倚杖情。 鴻雁欲來天拍水，白雲收盡暮山橫。 細路盤盤縛石根，蒼藤古木帶斜矄。 短笻不覺行來遠，回首青山半是雲。 款識：臨董文敏水墨澐山畫意，心畬。 鈐印：一壺之中（朱文）、舊王孫（朱文）、溥儒（白文）、 泉唐王藹雲鑑賞印（朱文）、二樂軒（朱文） 著錄： 《鄰德館：近代水墨、油畫（精品集）》，百通圖書 股份有限公司，台北，1996 年出版，頁 15
Ravenel 56
溥心畬被視為「中國文人畫的最後一筆」，對於文人畫傳統的承接
Acclaimed as the last scholar painter, Pu Hsinyu took reference to
是由董其昌以來的南宋馬夏派風格入手，後取北宗院體畫法與唐寅
paintings of Dong Qichang, Maxia School of Southern Song, Northern
筆意，憑藉其深厚的詩書修養，將行楷書法技巧揉入繪畫中，即便
School and Tang Yin. With a rich knowledge in literature and excellent
構圖取於前人，但文人意韻讓他的繪畫充滿靈動秀逸的特質，因此
techniques in calligraphy, Pu incorporated such skills into paintings,
他的水墨一躍而成高絕的文人畫風格。
allowing elegance in his paintings with a literati atmosphere.
此幅《澐山畫意》是溥心畬作品中無設色的水墨山水，精妙絕倫，
This landscape painting is in monotone, yet delicately detailed.
實為少見；通幅意筆流轉，山林樹石與樓閣人物雖用筆不多，但勾
Such exquisite work is rare to the market. With high fluidity in
皴并舉，筆墨縱橫，觀之濃淡合宜；畫中雖題款言託從董文敏畫意，
brushstrokes, elements and colours of the paintings are delicately
實寓自身以書法入畫，并以文人畫風為宗。溥氏曾摹唐寅畫風，以
painted with minimal strokes. Poem of the painting was derived from
北宗為體，卻將長線畫成短筆，收斂了斧劈皴砍斫之勢，一改黃賓
Dong Wenmin, but states the artist's practice of using calligraphy
虹批評南宗山水皴法的「浮滑輕率」，讓其山水作品更為雅緻。短
techniques in paintings as a core attribute to literati painting. Using
筆的皴法能呈現細膩精巧的圖像，讓線條更具動態與力量，山體之
Tang Yin's in the style of Northern School, Pu changed long strokes
間組合的動態也更輕快活潑。
into short ones and adjusted the cun strokes slightly, thus echoed
此畫山勢以北宗山水為架構，兼用馬夏斧劈、王蒙披麻苔點皴與倪
School, thus produced an elegant style. Short strokes of cun created
瓚折帶皴法，溥氏極為頻繁地運用短線及小皴筆，又以點苔為重，
delicate images that reflects motion and force in between mountains.
with Huang Binhong's comments on the weakness of Southern
意隨筆到，此為筆墨突出之處；上方山石峭拔，層巒嶂壁沿伸至下 方近景坡石趨緩，山水樹石的輪廓線不斷地轉折又斷連接續，構圖
The composition of this Northern Style landscape was adopted from
複雜縝密，精細異常；勾勒用線講究，細而勁健、暢而挺拔，雖無
Maxia axe strokes, Wang Meng's Pima dots and cun, and Ni Zan's
用色卻有如青綠山水般的氣韻生動。畫面中段以界畫白描之筆，將
Zhedai cun strokes. With extensive short lines, dots and cun, Pu
結構繁複的亭臺樓閣，隱身在崇山寒林之中，畫意澹泊幽遠，寄喻
composed with precise depictions, producing sharp edged rocky
了溥心畬既為王孫也是逸士的身分；近景雙勾古松屈曲偃蹇，多用書
mountains on the top, overlapping layers and relatively smooth cliff
法筆勢，頓挫間可見蒼秀之姿，溥氏向來強調以書法用筆入畫，增
at the bottom of the painting. Such complex structure was delicately
加了畫面線條的變化與可看性；石坡上三位文士姿態各異，或站或
depicted. Kiosk was painted as half-hidden in the forests, suggesting
坐，遠眺群山，頗有閑意之趣，更令觀者生起雅致舒暢之感。
the artist's hermit state as a grandson of the imperial family. In the foreground, crooked ancient pine trees were depicted with calligraphy
溥心畬早期習畫師法南宗，斧劈皴筆勢特徵明顯，皴筆變化工致，
strokes. Three scholars are either seated or standing, looking over to
用色傳統，得益於馬夏院體派風格；後期作品帶北宗風格，多用書
the mountain ranges, composing a relaxed atmosphere.
法筆意，行筆設色則清麗淡雅；此作《澐山畫意》是溥氏融南北宗 山水為一體的代表，構圖蒼茫大氣，用色簡澹，蕭散曠遠，古風盎
Pu Hsinyu practised Southern School with explicit cun strokes and
然充滿紙幅，實為難得的精品逸作。
variations. Colour application had reference to Maxia School. Later stages of paintings mostly carry the Northern Style with calligraphy strokes, creating an elegant style. This work was an implicit example of a blending of Southern and Northern Styles. Such structure creates a vast scene with simple colour depiction, creating a classical atmosphere in this exquisite painting.
Ravenel 58
627 HUANG CHUN-PI (Taiwanese, 1898-1991)
Thatched House in the Woods 1974 Ink and colour on paper, framed 93.5 x 56 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist ILLUSTRATED: Huang Chun-Pi's Paintings , National Museum of History, Taipei, October 1974, p. 63
黃君璧 竹籬茅屋 1974 水墨 設色 紙本 鏡框 93.5 x 56 cm 釋文：竹籬茅屋趁溪斜，春入山村處處花。 無象太平還有象，孤烟起處是人家。 款識：甲寅初夏畫於白雲堂，黃君璧。 鈐印：黃君璧印（朱文）、君翁（白文）、白雲堂（白文） 著錄： 《黃君璧畫集》，國立歷史博物館，台北， 1974 年 10 月初版，頁 63
NT$ 850,000 - 1,300,000 HK$ 215,000 - 329,000 US$ 27,500 - 42,000 RMB 197,000 - 301,000
黃君璧 (1898-1991) ，世稱君翁。自幼習四書五經於私塾，因家
Huang Chun-Pi studied literature and started appreciating Chinese
中古董字畫收藏頗豐，很早就開始賞玩書畫、並打下基礎認知；
Paintings at an early age, hence he managed to establish a
1914年入廣東公學美術科就讀，當時中國藝壇風氣以康有為「合
solid foundation of art appreciation. In 1914, he studied at the
中西而為畫學新紀元」為背景，期望能借西畫方法一改中國畫學
art faculty in Guangdong and was heavily influenced by Kang
的衰弊，因此黃君璧在學期間學習西方的素描和水彩畫。17歲時
Youwei's propaganda to incorporate Chinese and Western art
拜師李瑤屏習畫，回歸傳統水墨的習題中，是時北平的新文化運
techniques, in hopes of combining the strengths of both styles.
動蔓延全國，黃君璧卻沉浸在前人筆墨之間，不斷臨摹古人的畫
During this period, Huang Chun-Pi practised Western sketches
作，如清代畫家王翬那般，臨遍南宗北派無所不有；隨後年齡稍
and watercolour paintings. At the age of 17, he followed Li
長加入「癸亥合作畫社」，畫社後擴大成「國畫研究會」，黃君
Yaoping in art practice. Under the influence of the New Culture
璧成了藝壇中堅力量，不僅擁有中西畫基礎，積極研究國畫、推
Movement, he rediscovered traditional ink paintings and was
動振興美術等活動，最終成為不同於嶺南畫派的水墨代表人物。
fascinated by brushstrokes of old masters. Huang began imitating old masterpieces such as Wang Hui from Qing dynasty and
此作《竹籬茅屋》即是君翁中西合璧的代表作品，畫作用西方風
paintings from Southern and Northern school. Later he joined
景畫的取景方式構圖，引立體透視、光影、比例的概念入畫，以
Guihai Cooperative and painted in collaboration with other artists.
林木為近景固定好視點，遠景茅屋則用光線的明暗作出層次遠
This society later became Ink Paintings Study Group, where Huang
近；郊野寫生以乾筆皴擦成樹，後施濃墨為枝乾賦形，烘染施石
became the key person, leading through studies and promotion
綠、赭色澹墨，水色融融仿如水彩用色；下方以短筆細繪出叢叢
activities.
草原，君翁特意在林木草葉交疊之處染出陰影，用光影表現帶出 層次質感，近似於西方水彩畫的賦彩用色技巧，與傳統水墨設
This work was a typical example of blending East and West.
色技法大相逕庭；畫中茅舍掩隱林間，與畫幅上題蘇軾《山村五
Adopting Western techniques in structure, perspective, light and
絕》詩意相互應和，一派山野春景寫生，將傳統水墨的表現作了
shade and proportion, the forest was depicted using one focal
全新的發揮。黃君璧的水墨既宗於傳統「與古為徒」，又能借鑒
point and converging visual lines leading towards the thatched
西畫，善於將傳統的水墨情趣與西畫風景寫生的意韻相融合，更
hut, and layers of trees in the woods. Dry brush was used to
被西方藝壇譽為「中國新古典派」。
depict texture using cun strokes. Shape of trees are depicted in thick application of ink, painted in green and ochre. The humid atmosphere was depicted using similar techniques as watercolour. In the lower part of the painting, short swift strokes were used to create dense grass, creating a flourishing forest. Hidden behind the trees, the hut seems secluded. A poem by Su Shi was extracted to describe the Spring landscape.
Ravenel 60
Ravenel 62
628 YU CHENG-YAO (Taiwanese, 1898-1993)
Winding River by the Hills Ink and colour on paper, framed 119.5 x 44.5 cm Signed YU CHENG-YAO in Chinese With one seal of the artist
NT$ 850,000 - 1,300,000 HK$ 215,000 - 329,000 US$ 27,500 - 42,000 RMB 197,000 - 301,000 余承堯 九曲溪山 水墨 設色 紙本 鏡框 119.5 x 44.5 cm 釋文：九曲溪山雲不遙 款識：余承堯作 鈐印：余承堯印（白文） 《九曲溪山》通幅佈滿連綿相延的奇峰峻嶺，畫山 疊石之法脫自北宋「小青綠」山水的古樸雅趣，畫 面望之儼然，高遠幽靜，峰尖俏拔之勢帶有北宋許 道寧勁硬之筆。余承堯曾言：「學畫直指本心。」 明心見性才能畫出真山水，此作以短筆畫成凹凸的 山石紋理，密結細緻的亂筆繪出厚實交錯的岩峰， 青綠敷色成密聚叢生的樹木森林；山勢跌宕有姿， 層山聚合緊密，可知余老受造化自然蒙養創作成的 余氏山水，充滿強烈的立體感與生命力。畫面中下 幅以留白與石塊險勁的構圖，營造出質感緊密、峭 壁挾江水的撼人景色，山凹處細筆描繪房舍更有僻 靜幽深之情，觀全畫密不透風又疏可走馬，是余氏 山水深具代表性的經典作品。 This work shows layers of hills leading afar. Overlapping rocks took reference to Northern Song style. Yu once said that one should learn the underlying message of a painting, when learning how to paint. With short strokes, the shapes of rocks are depicted. These intersecting lines depicts the thick rough texture of rocky peaks. Green was applied to dense forest, creating movement and vividness of nature. Spaces and rocks were composed to highlight the crammed and dense landscapes. Such depiction encroaching landscape is typical of Yu's landscape works.
629 ZHANG DAQIAN (Taiwanese, 1899-1983)
張大千 空山新雨
Rainy Landscape 1979 Ink on paper, fan leaf, framed 18.5 x 47 cm Signed HUAN in Chinese
1979 水墨 紙本扇面 鏡框 18.5 x 47 cm 釋文：定山老長兄 款識：訪此山中為寫數筆博咲，己未三月弟爰。
NT$ 700,000 - 1,100,000 HK$ 177,000 - 278,000 US$ 22,600 - 35,600 RMB 162,000 - 255,000
註： 上款人「定山老長兄」即為陳定山（1896~1989），號定山居士。 陳氏為中國現代首位收藏研究「海上畫派」的人物，尤其專精鑒 定四王及海派，曾應故宮聘為書畫部審查委員。張大千、陳定山、 鄭曼青被稱為藝壇三才子。
扇面的藝術，最早溯源可至東晉，歷經唐宋書畫藝術蓬勃的發
This work was originally from the collection of Chen Dingshan
展，文人創作可說與扇面藝術密不可分；傳至明代，始有集書法
(1896-1989). Chen loved scholarly art and literature, and was
與繪畫於一扇的「摺扇」出現，明清時代工藝技術高度發展之
famous for his landscape and flower paintings. As an all-rounded
下，更讓摺扇藝術形成諸多流派與種類；摺扇多呈半圓弧狀，畫
scholar, he was recognized as the first prominent scholar-collector
面上特別要求巧妙經營的構圖，讓咫尺間畫意充沛，文人在扇面
of modern paintings of the Shanghai School, specializing in
上題詩作畫，或自娛抒懷、或贈友交誼，都是藝壇風行的雅事。
the Four Wang and Shanghai School of Paintings. He was also nominated to be a member of the Screening Committee in the
此作原藏為陳定山（1896~1989），號定山居士。陳氏雅好詩文
Chinese Paintings department of the National Palace Museum
書畫，亦擅作山水花卉，其學問精深廣博，為中國現代首位收藏
in Taipei. Along with Zhang Daqian and Zheng Manqing, the
研究「海上畫派」的人物，尤其專精鑒定四王及海派，曾應故宮
three were regarded as the three knowledgeable scholars of
聘為書畫部審查委員。張大千、陳定山、鄭曼青被稱為藝壇三才
the art community. Zhang Daqian and Chen Dingshan were
子，張大千與陳定山在中國早已熟識，兩人先後渡海來台，常相
acquaintances long before moving to Taiwan. Their friendship was
交遊，文人相惜之情更體現在此作中，恣情揮灑的筆墨、匠心獨
strongly reflected in this work. The expression of brushstroke and
具的佈局和意氣縱橫的氣韻，可知文人相交，別有雅趣。
meticulous structure of landscape on the fan leaf suggest that
張大千早年臨作八大石濤，但重要的藝術成就仍在山水之上，雖 學摹古，但在用筆與設色上做了許多大膽創新的嘗試，因而促成
Zhang Daqian paid surmountable effort in creating this gift to an important literati friend.
了他晚年潑彩潑墨的山水畫造詣。《空山新雨》為張氏少有的沒
At Zhang Daqian's early age, he copied works by Bada and Shi
骨破墨山水之作，暢筆寫自然且大膽率意，扇面中心以濃墨一筆
Tao and thus developed superb skills in landscape paintings. Apart
分定界線，在用筆佈局上展現了縝密細膩的心思；中央主山體筆
from copying old masters, he innovated new skills of brushstrokes
鋒挺健迅疾、雄巖高峻，水墨酣暢淋漓，山壁夾一垂瀑流淌，佈
and colour application to achieve pocai techniques later in his
局高古奇譎；左景群山連綿，疊累成峰，山間留白處仿若雲霧氤
artistic career. This painting is one of Zhang's boneless landscape
氳、氣勢恢宏，大千曾言「青白自分明，待此看山眼」，廣遊過
paintings, with high fluidity in brush applications. Thick ink was
的名山都成為他渾厚華滋的山水佳構。前景處林樹以濃淡分出遠
applied to the center of the fan leaf. A prominent mountain was
近，屋宇在山間隱現，歷經山中春雨，林木一片秀潤清新；落款
depicted at the center, with overlapping hills on the left, while
處行草則是典型的大千書體，更添寫意。通幅用筆古樸豪放，予
precise brushstrokes were used on the right to depict the clouds.
人雋永空靈的感覺，尺幅雖小但氣韻流貫，無繁複之變卻又渾然
Light ink was used to depict the rainy scene and the elusive and
天成，不僅顯現了張大千成熟的水墨技巧，也展現了他雄闊的胸
humid mist. Such composition reflects Zhang's cautious attention
懷氣度。
to the work. Zhang's paintings were inspired by his travels. To further enhance the realistic depiction of the Nature. Zhang added vegetation at the foreground and hidden cottages among the dampened woods of Spring. Poem on the top was written in running and cursive script with individual expression. This echoes with the elusive and traditional style of the painting. Such consistency with the rest of the painting enhances the historical style and traditions of literati art.
Ravenel 64
630 YU YOUREN
(Taiwanese, 1879-1964)
Calligraphy Couplet in Cursive Script Ink on paper, scroll 133 x 33.5 cm (each) Signed YU YOUREN in Chinese With two seals of the artist
NT$ 400,000 - 650,000 HK$ 101,000 - 165,000 US$ 12,900 - 21,000 RMB 93,000 - 150,000 于 右任 草書七言聯 水墨 紙本 立軸 133 x 33.5 cm（每件） 釋文：天清地和若在古宇，情至氣盛是為大文。 款識：國柱先生法正，于右任。 鈐印：右任（朱文）、太平老人（朱文）
Ravenel 66
631 TAI JING-NONG (Taiwanese, 1902-1990)
Calligraphy Couplet in Running Script: Imitation of Calligraphy by Hongyi Ink on paper, framed 88 x 16 cm (each) Signed JING-NONG in Chinese With two seals of the artist ILLUSTRATED: Tai Jing-Nong: A Commemorative Collection of Calligraphy and Paintings , the National Museum of History, Taipei, 2001, p. 148
NT$ 280,000 - 440,000 HK$ 71,000 - 111,000 US$ 9,100 - 14,200 RMB 65,000 - 102,000 臺靜農 行書七言聯 － 臨弘一法師書法 水墨 紙本 鏡框 88 x 16 cm ( 每件 ) 釋文：照除一切愚癡闇，能然無上智慧燈。 款識：弘一法師集華嚴經句，靜農於龍坡丈室。 鈐印：龍坡（朱文）、靜農無恙（白文） 著錄： 《臺靜農書畫紀念集》，國立歷史博物館，台北， 2001 年 10 月出版，頁 148
Ravenel 68
632 PU HSINYU
(Taiwanese, 1896-1963)
Calligraphy Couplet in Running Script Ink on paper, scroll 94.5 x 18.2 cm (each) Signed HSINYU in Chinese With two seals of the artist
NT$ 260,000 - 420,000 HK$ 66,000 - 106,000 US$ 8,400 - 13,600 RMB 60,000 - 97,000 溥 心畬 行書七言聯 水墨 紙本 立軸 94.5 x 18.2 cm（每件） 釋文：臨巖松似餐霞客，倚澗花如照水人。 款識：玉輝女弟之屬，心畬。 鈐印：舊王孫（朱文）、溥儒（白文）
633 TAI JING-NONG (Taiwanese, 1902-1990)
Calligraphy Couplet in Clerical Script 1986 Ink on paper, framed 106 x 22.5 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist
NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000 臺靜農 隸書七言聯 1986 水墨 紙本 鏡框 106 x 22.5 cm （每件） 釋文：四壁磬懸雙石在，比鄰茶話一瓻緣。 款識：丙寅冬至前臺靜農於龍坡丈室。 鈐印：靜農八十後所書（白文）、淮南（朱文）、 靜農無恙（白文）
Ravenel 70
634 TAI JING-NONG (Taiwanese, 1902-1990)
Calligraphy Couplet in Clerical Script 1972 Ink on paper, framed 56 x 15 cm (each) Signed JING ZHE in Chinese With two seals of the artist EXHIBITED: "Ink Exhibition of Yu Youren and Liu Yantao", Fudan University, Shanghai, 21-23 September, 2007 "Modern Ink Exhibition of Yu Youren and Liu Yantao", National Museum of Modern Chinese Literature, 26 September - 1 October, 2007 ILLUSTRATED: Modern Literati Ink Exhibition: Yu Youren and Liu Yantao , The Chinese Congee Committee, Taipei, 2007, p. 41
NT$ 120,000 - 220,000 HK$ 30,000 - 56,000 US$ 3,900 - 7,100 RMB 28,000 - 51,000 臺靜農 隸書五言聯 1972 水墨 紙本 鏡框 56 x 15 cm（每件） 釋文：問蒼波無語，正極目空寒。 款識：壬子仲秋寄天驄兄發笑，靜者。 鈐印：歇腳盦（白文）、靜者（白文） 展覽： 「于右任、劉延濤：墨緣展」，上海復旦大學于右任書法 陳列館，2007 年 9 月 21 日 - 2007 年 9 月 23 日 「于右任、劉延濤：現代文人墨緣展」，北京中國現代文 學館大展廳，2007 年 9 月 26 日 - 2007 年 10 月 1 日 著錄： 《于右任、劉延濤：現代文人墨緣展》，中華粥會，台北， 2007 年出版，41 頁 註： 上款人「天驄」即為尉天聰，安徽碭山人，台灣著名學者、 文學評論家，曾任台灣政治大學中文系教授，主編《筆匯》 月刊、《文學季刊》、《中國論壇》等。
635 YANG SHANSHEN (Chinese, 1913-2004)
Calligraphy Couplet in Running Script Ink on paper, scroll 139 x 34.5 cm (each) Signed SHANSHEN in Chinese With one seal of the artist
NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000 楊善深 行書五言聯 水墨 紙本 立軸 139 x 34.5 cm（每件） 釋文：龍虎風雲會，文章山海經。 款識：善深 鈐印：楊善深（白文）
Ravenel 72
636 CHIN HSIAO-YI
(Taiwanese, 1921-2007)
Calligraphy Couplet in Seal Script 2001 Ink on paper, framed 122 x 28.5 cm (each) Signed CHIN HSIAO-YI in Chinese With four seals of the artist
NT$ 70,000 - 140,000 HK$ 18,000 - 35,000 US$ 2,300 - 4,500 RMB 16,000 - 32,000 秦 孝儀 篆書七言聯 2001 水墨 紙本 鏡框 122 x 28.5 cm（每件） 釋文：人望之吉金良玉，無以比甘雨惠風。 款識：集吉金文曰「人望之吉金良玉，無以比甘雨惠 風」。禿筆宿墨，別饒古趣，篆以為讚成先生、彩雲 夫人莞爾，並祝望賢梁孟眉壽景福無量。第三千禧之 始，辛巳盛秋既吉，玉丁寧館新晴。秦孝儀心波時年 八十有一，腕力殊不弱也。 鈐印：瀟湘之山衡山高（朱文）、秦孝儀（白文）、 心波（朱文）、八旬天貺（朱文）
雲水雙絕 — 傅狷夫的藝術生涯
FU CHUANFU
MASTER OF CLOUDS AND WATER: THE ARTIST'S QUEST FOR PERFECTION 台灣山水的代言人
傅狷夫（1910-2007），浙江杭州人。原名抱青，後為避傅抱石 之名，改號狷夫，亦號雪華邨人，七十歲後又號覺翁。生長於書 香門第，其父傅御，字守型，能書善篆，開啟他對書畫的興趣， 並親身指導他文學、詩詞、書法、篆刻與水墨畫的學習。自幼在 家作蘭、蟹寫生，也模擬畫冊，包括芥子園畫傳、奚岡樹木山石 畫法冊，以及其他名人畫集。十七歲正式入杭州西泠書畫社，從 遊於社長王仁治。王氏字潛廔，為前清拔貢，書畫兼擅，其風範 大大地影響日後為人師的傅氏。在這七年的學習歷程，他專攻山 水，同時亦透過畫冊廣泛涉獵當代名家。除臨摹師稿外，也利用 柯羅版印製之古代書畫，兼習古人之作，並自學畫梅與指畫。 1935年傅狷夫赴南京任事，此時正是徐悲鴻提出「以西潤中」之 論點，他亦開始醞釀中西合璧的創作觀。至1937年抗戰爆發，他 隨軍由南京經湖北、湖南、廣西到重慶，沿途見盡奇山異水，如 桂林山的突兀奇峭、嘉陵江的蜿蜒清朗、三峽諸峰的蕭森峻拔、 長江的急流險灘等。大山大水所帶來的震撼，使之體會「與其師 人不如師造化」之理。這些靈山秀水所給予的體悟感受，無疑為 其日後創作奠定了精實的基礎。在四川時師事近代花鳥畫名家陳
傅狷夫一生創作不輟，書畫雙絕。其書初學歐、柳、顏體，力求
之佛（1896-1962），深受啟發。抗戰結束後及赴上海，1949年
方正。至閱《三希堂法帖》，始遍學各家，尤喜文徵明（1470-
來台後就再也未曾踏上故土。
1559）行書，其書終其一生皆帶文氏筆意。他亦涉獵北碑，而得
從傅狷夫的作品可見，抵台後其畫風有明確的轉變。早於南京時 他便尤為著迷石濤的風格，曾抄寫「二石」，石谿和石濤（16421707）的相關畫論。自滬搭船來台時，船行台灣海峽至高雄港登 岸，他便有感而發說「此行始識水深於黛，浪起如山的大海，心 中就醞釀著這種偉大畫面，於是常到太平洋濱大里一帶，去觀察 洶湧的波瀾。」遂常至宜蘭大里觀浪，發展出「點漬法」畫海濱 驚濤，其渲染之技彷佛分不開那是浪花或岩石，以及研製「染漬 法」來繪雲海壯闊，一展水墨畫的張力。他又曾三遊東西橫貫公 路、二登阿里山，研創出皴法好比如陶器上裂紋的「裂罅皴」， 畫巖壁嶙峋。在繪山峰時，於渲染中加擦筆，表現雲霧縹緲之 美。這實為來台後追憶大陸山川，故染法漸增，好比在繪畫夢裡 河山，亦隱約可窺探其日後風格之所趨。 寶島鄉間山巒環抱，再加上傅狷夫從細膩觀察中所得的感悟，其 「雲水雙絕，裂罅無儔」之譽實當之無愧，實在是台灣山水的最 佳代言人。他除以「裂罅皴」與「點漬法」描繪實景，同時亦關 注水墨意象的創造，於墨法更是有心得。
上圖：傅狷夫於心香室
Ravenel 74
其峻整恢弘之氣勢。抵台後始致力於大草的創作，尤喜作一筆畫 呵成的「連綿草」，欲藉縱恣的線條排遣憂思。他先於坊間購得 日本印行的王鐸（1592-1652）草書詩卷，潛心研究，而對抑揚 頓挫、爭讓避就等關鍵有所體悟。字體時而緊收、時而開張，筆 勢攲側，用筆翻轉且連綿相續。行草筆墨間充滿畫意，看其字好 比觀其畫。他於行筆佈局間摻入畫意，剛柔互濟，酣暢奔放。於 畫意外又參合字義，別樹一幟。他於五十歲時，毅然由軍職提早 退休，專注在心之所繫的繪畫創作。於五十二歲進入政工幹校， 翌年到國立藝專，即現國立台灣藝術大學，美術科任教至六十二 歲退休。手執教鞭九年，培養出許多優秀的藝術家。今日藝壇中 堅多出自其門下，桃李滿門，踵其步履者無數，對當代書畫界影 響深遠。他的書法作品超邁雋拔，可見其早年碑學的深厚功力， 晚年時其畫作更屢有奇思膽氣。八十歲後書風益發沉雄跌宕，翻 飛健勁，不拘小節，書畫造詣皆深厚。
Fu ChuanFu (1910-2007), a native of Hangzhou in Zhejiang,
Fu skillfully adopted the coastal waves, sea of clouds, and rugged
originally had the name Baoqing but became known by his
peaks of Taiwan, no wonder he was praised as "Unparalleled
sobriquet Chuan Fu, to avoid confusion with another famous
in clouds and waters, unrivalled in fissures and cracks� and
contemporary painter, Fu Baoshi. He also had the sobriquet Xuehua
becoming renowned as the spokesman for Taiwan's Landscape.
cunren and, after the age of seventy, took the sobriquet Jueweng,
He not only developed new techniques for depicting actual
referred as the Enlightened Elder. He was born into a scholarly
scenes, also concentrated on creating new realms of ink scenery,
family, his father, Fu Yu, style name Shouxing, was gifted at
gaining particular insight into the methods of ink wash. Especially
calligraphy and seal carving, inspiring his son's interest in painting
when rendered with large swathes of the brush to capture a
and calligraphy. The foundations of Fu's painting and calligraphy
solemn feeling of twilight and mountains drenched in rain, the
were laid when he joined the Xiling Painting and Calligraphy
compatibility of ink washes glittering in rich layers for a most
Society in Hangzhou by 17 years old. Being a student of its
dazzling effect. Many artists who had come from the mainland
president, Wang Renzhi, style name Qianlou, was a Tribute Student
were interested in depicting the sights of Taiwan then, but only
of the Qing dynasty and active in both painting and calligraphy
he was able to diverge from the actual scenery to present a more
circles, having a profound influence on his pupil, Fu who later
abstracted view. Not necessarily depicting actual sites, nonetheless
became an influential teacher. Fu specialized in landscape painting,
show how they were formed by his observations and studies of
simultaneously studying a wide range of styles by contemporary
the Taiwanese landscape. Still his sketch from real life and playing
artists and ancient masters via painting albums. He also self taught
with light and shadow in the natural world to invigorate traditional
how to depict plum blossoms and do finger paintings.
brush and ink, paving the way for a revolution in ink painting.
In 1935, Fu went to Nanjing to take up a post there and after
Fu excelled at both painting and calligraphy, his early study
the Second Sino-Japanese War erupted in 1937, he followed
followed the styles of such Tang dynasty masters as Ouyang
Chinese armies through Hubei, Hunan, Guangxi and Chongqing.
Xun, Liu Gongquan, and Yan Zhenqing as he sought to develop
The journey took him through some of the most famous and
a square and upright manner. However, upon coming across
spectacular mountain scenery in China, leading him to realize
"Model books of the Three Rarities Hall," he started studying
that "learning from a teacher cannot compare to learning from
the styles of other masters, being quite partial to the running
Nature." While in Sichuan, he also met the famous bird-and-flower
script of Wen Zhengming (1470-1559), the traces of whose
painter Chen Chih Fo (1896-1962), from whom he received much
calligraphy would remain in his writing for the rest of his life. He
inspiration. After the War, he then traveled to Shanghai and after
also dabbled in Northern Stele calligraphy, achieving its solemn
arriving in Taiwan in 1949, he never returned to the mainland
and majestic manner, reflecting its solid training. After coming to
again.
Taiwan, he continued to innovate as an artist, and began to devote considerable effort and dedicated himself to develop a unique
Fu's works reflect the course of changes in his painting style from
form of major cursive script, being especially fond of a single-
time to time, especially before and after he came to Taiwan. While
stroke style known as "cursive script unbroken", using unbridled
in Nanjing, he was enamored with the style of the Qing dynasty
lines to apparently divert his attention from the uncertainties of
artist Shitao (1642-1707) . He even transcribed treatises related to
that time. Previously, he had purchased a hand scroll reproduction
painting by the "Two Shi's" (Shixi and Shitao). From his exhibition
of Wang Duo's (1592-1652) printed in Japan and studied it
in Shanghai in 1948, his early works are beautifully sharp, the
extensively, realizing the nuances of modulation and cadence in
forms in the scenery revealing the idea of Shitao's style. After
cursive brushwork. He incorporated a painterly approach to the
arriving in Taiwan, he also experimented with one-point perspective,
arrangement of his strokes and lines, achieving a balance between
not only depicting the iconic views of Taiwan, also more down-
hard and soft as well as fluid and unbridled. Therefore his script
to-earth Formosan countryside scenery, the stretches of fields and
brushwork was painterly in quality, observing his calligraphy is
paddies conveying a simple lifestyle. Hence in the prime of his
sort of like viewing his paintings. After the age of 80, his style
career, he changed his style once again after becoming enamored
of calligraphy became even more majestic and uninhibited, his
with the landscape of Taiwan. This skill shows a confluence of
winding and powerful lines unconstrained by the details, exhibiting
clouds and water for a lofty and pure demeanor full of uplifting
an unusual boldness. He reached great heights in both painting
brightness. He also made three trips along Taiwan's cross-island
and calligraphy and attracting many followers in his footsteps.
highway and numerous trips to Alishan, leading him to create a
Many of the artists today are indeed his students, demonstrating
"fissuring" method to portray precipitous peaks. His works recall the mountains of mainland China, his use of washes likewise increased, making his paintings appear as if dream-like realms, suggesting the direction that his style would thereupon take.
his profound influence in the fields of contemporary painting and calligraphy.
637 FU CHUANFU
(Taiwanese, 1910-2007)
A Lovely Landscape 1969 Ink and colour on paper, framed 69.5 x 40 cm Signed FU CHUANFU in Chinese With two seals of the artist ILLUSTRATED: The World of the Chinese Painting in the Present Age , Cheng Chung Book Company, Taipei, 1971, p. 33
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 傅 狷夫 眉谿山 1969 水墨 設色 紙本 鏡框 69.5 x 40 cm 釋文：眉谿山遊所見。 款識：傅狷夫寫於有所不為齋，時己酉暮冬。 鈐印：狷夫 ( 白文 )、傅 ( 朱文 ) 著錄： 《當代中國畫壇》，正中書局出版，台北， 1971 年 1 月 1 日出版，頁 33
Ravenel 76
638 FU CHUANFU
(Taiwanese, 1910-2007)
Plum Blossoms 1969 Ink on paper, framed 92 x 54 cm Signed FU CHUANFU in Chinese With two seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 傅 狷夫 梅 1969 水墨 紙本 鏡框 92 x 54 cm 釋文：牆角數枝梅，凌寒獨自開。 遙知不是雪，為有暗香來。 款識：己酉元日杭人傅狷夫寫於心香室， 並書王安石詩補白。 鈐印：傅狷夫印（白文）、心香室（朱文）
639 FU CHUANFU
(Taiwanese, 1910-2007)
Rainy Landscape 1986 Ink and colour on paper, scroll 102.5 x 59 cm Signed FU CHUANFU in Chinese With two seals of the artist
NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000 傅 狷夫 雨巖清泉 1986 水墨 設色 紙本 立軸 102.5 x 59 cm 款識：丙寅人日，傅狷夫寫於有所不為齋。 鈐印：傅狷夫印（白文）、一囊詩畫作頭陀（朱文）
1949年傅狷夫渡海抵台，親睹台灣海峽「水深於黛，浪起如山」
Upon his arrival in Taiwan in 1949, Fu Chuanfu was greatly
的氣勢，自此心中便埋下描繪波瀾洶湧的心願；抵台後更遊阿里
impressed by the rough sea of Taiwan and was determined
山、橫貫公路，觀雲海巨浪，熱衷於寫生畫事，發展出「裂罅
to depict such scenery. During his stay, Fu visited Alishan and
皴」、「染漬法」、「點漬法」等技巧，有「雲水雙絕，裂罅無
intersecting highways of Taiwan, watched the waves by the coasts
儔」的美譽。
and sketched outdoors. To realistically depict the clouds and waves, he invented various cun, dots and strokes, thus received
此幅《雨巖清泉》是典型傅氏山水精品，通幅運用其經典繪畫技
acclamation from the public.
法：畫幅上段以細線勾勒主體山勢，兼用裂罅皴、點漬、染漬成 山，層次連綿分明，表現出高山峻岳的雄偉，又因墨色融融，彷
This painting is a typical work by Fu Chuanfu specializing in using
彿與雲煙清柔相依；傅狷夫畫山先點後染、以染代皴的技法，一
traditional techniques: thin lines for outlines of mountain ranges,
脫米氏山水形貌，傳神描繪台灣山岳之美。前景山石顯露石濤畫
dots and cun strokes for the overlapping hills to depict the majestic
風，墨韻溼潤透亮，層次豐富；畫林樹姿態別出心裁、小亭石橋
and typical Taiwanese mountain view. Rich ink was applied to
別緻可愛，敷色經營細巧，染中加擦，表現出山景在雲霧中的縹
depict clouds and mist. In the foreground, rocks were depicted in
緲之美。此幅傅狷夫畫水，上方以澹色敷染、小船過渡表現出深
Shi Tao's style with rich thick ink. Forest, kiosk and bridge were
遠之態，水勢蜿蜒延伸至前景的溪流則用點漬畫成水紋，傅氏以
depicted meticulously with careful application of colour. A boat
裂罅皴與點漬法寫生創造出現實之境，技法變化多端，觀之清新
drifts on a meandering river and lines were used to suggest its
可喜，通幅山水交融，充滿了光明璀璨的意象，層次豐富，最是
vivid running river. Cun and dot strokes were used to depict the
精彩。
landscape in its realistic forms and harmony.
Ravenel 78
640 FU CHUANFU
(Taiwanese, 1910-2007)
Calligraphy in running script 1990 Ink on paper, framed 91 x 182 cm Signed FU CHUANFU in Chinese With four seals of the artist
NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000
Ravenel 80
傅狷夫 行書五言詩 1990 水墨 紙本 鏡框 91 x 182 cm 釋文：春秋多佳日，登高賦新詩。過門更相呼，有酒斟酌之。 農務各自歸，閑暇輒相思。相思則披衣，言笑無厭時。 此理將不勝，無為忽去茲。衣食當須紀，力耕不吾欺。 款識：陶淵明詩，建國七十九年，歲次庚午四月台灣日報社新 大廈落成之慶，覺翁傅狷夫書時年八十又一。 鈐印：傅狷夫印（白文）、覺翁八十後作（朱文）、浪跡藝壇 （朱文）、復旦（白文） 註： 上款「台灣日報」為台灣的一份綜合性日報。
641 KUANG ZHONGYING (Taiwanese, b. 1964)
Vegetables 1980 Ink and colour on paper, framed 42 x 68.5 cm Signed ZHONGYING in Chinese With five seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000
匡仲英 山廚清供 1980 水墨 設色 紙本 鏡框 42 x 68.5 cm 釋文：山廚清供 款識：庚申年十月自美歸國寫於鳳山，仲英匡時。 鈐印：樂安後人（朱文）、願花長好月長圓人長壽（白文）、 破墨真堪撥亂雲（朱文）、匡時之印（白文）、仲英大利（朱文）
642 JIN QIN-BO
(Taiwanese, 1910-1998)
Birds Resting on Trees Ink and colour on paper, framed 92 x 41.5 cm Signed JIN QIN-BO in Chinese With five seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 金 勤伯 桐樹山鳥 水墨 設色 紙本 鏡框 92 x 41.5 cm 款識：吳興金勤伯。 鈐印：龝竹庵（白文）、金勤伯（白文）、 中國畫學會（朱文）、靜中自樂（朱文）、 難說於君畫與君（白文）
Ravenel 82
643 CHANG KE-CHI (Taiwanese, b. 1950)
張克齊 荷塘清趣
Kingfisher by the Lotus 1981 Ink and colour on paper, framed 47.5 x 66.5 cm Signed KE-CHI in Chinese With three seals of the artist
NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000
1981 水墨 設色 紙本 鏡框 47.5 x 66.5 cm 釋文：荷塘清趣 款識：辛酉暮冬，克齊畫。 鈐印：張（白文）、克齊（朱文）、乘心游物（朱文）
644 LIU YANTAO
(Taiwanese, 1908-1998)
劉延濤 山水
Landscape 1956 Ink and colour on paper, framed 60.5 x 35 cm Signed LIU YANTAO in Chinese With one seal of the artist
NT$ 100,000 - 200,000 HK$ 25,000 - 51,000 US$ 3,200 - 6,500 RMB 23,000 - 46,000 Ravenel 84
1956 水墨 設色 紙本 鏡框 60.5 x 35 cm 款識：宏濤我兄法正，輟耕隴上鴻鴣志， 長嘯山中鸞鳳音，四十五年夏月寫放翁句劉延濤。 鈐印：延濤（朱文）
645 SUN JIAQIN
(Taiwanese, 1930-2010)
孫家勤 月娥圖
Chang'e Ink and colour on paper, framed 55 x 36 cm Signed SUN JIAQIN in Chinese With two seals of the artist
NT$ 120,000 - 220,000 HK$ 30,000 - 56,000 US$ 3,900 - 7,100 RMB 28,000 - 51,000
水墨 設色 紙本 鏡框 55 x 36 cm 款識：耘野孫家勤寫於台灣麗水精舍。 鈐印：耘（朱文）、野（白文）
646 CHENG SHIFA (Chinese, 1921-2007)
Lingzhi Mushroom 1973 Ink and colour on paper, framed 39.5 x 39.5 cm Signed CHENG SHIFA in Chinese With one seal of the artist and one seal of the collector
NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000
Ravenel 86
程十髮 靈芝 1973 水墨 設色 紙本 鏡框 39.5 x 39.5 cm 款識：癸丑小春月，寫五色芝草奉振華同志養植， 雲間程十髮。 鈐印：程潼十發之鉢（朱文）、忠中東萍所藏（白文） 註： 上款人「振華同志」即為汪振華，中國民主社會黨中央常委。
647 CHAO SHAO-AN (Chinese, 1905-1998)
Songbirds of Spring 1989 Ink and colour on paper, framed 29.5 x 37.5 cm Signed SHAO-AN in Chinese With three seals of the artist
NT$ 150,000 - 240,000 HK$ 38,000 - 61,000 US$ 4,800 - 7,800 RMB 35,000 - 56,000
趙少昂 瑞鳥報春 1989 水墨 設色 紙本 鏡框 29.5 x 37.5 cm 釋文：天白樹梢分出奇。 款識：己巳春寒，少昂於香島。 鈐印：少昂（朱文）、趙（白文）、我之為我 自有我在（朱文）
648 ZHOU CHENG (Taiwanese, b. 1941)
Landscape in Four Seasons 1989 Ink and colour on gold-flecked paper and paper, framed 13.5 x 24.5 cm ; 33 x 24.5 cm (each) Signed ZHOU CHENG in Chinese With eighteen seals of the artist
NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000 Ravenel 88
周澄 四季山水 1989 水墨 設色 灑金箋 紙本 鏡框 13.5 x 24.5 cm; 33 x 24.5 cm （每件） 釋文： （一）看花對酒無餘事，論史披圖有古香。 柔風吹楊柳，芳景流郊甸。 （二）一簾疏雨琴書潤，滿坐清風枕簟涼。 山色夏雲映，樹陰幽草連。 （三）秋色自隨黃葉老，野懷常共白雲舒。 蒼煙滿秋山，落日生暮煙。 （四）山中酒戶衝寒去，城裡行人踏雪來。 霜風盡脫千鱗葉，雲氣平沉一面山。
款識： （一）趙賜珍句，蓴波周澄書。己巳夏日，蓴波周澄。 （二）陸放翁句，蓴波周澄書。己巳端午，蓴波周澄畫。 （三）成廷珪句，蓴波周澄書。己巳夏日，蓴波周澄。 （四）錢選句，蓴波周澄書。己巳夏日，蓴波周澄畫。 鈐印： （一）寫心（白文）、周澄（白文）、蓴波（朱文）、 周（朱文） （二）好夢（朱文）、周澄之印（白文）、蓴波（朱文）、 周（朱文）、澄（朱文） （三）周澄之印（白文）、居山堂書畫（朱文）、周澄 （白文）、蓴波（朱文） （四）周澄（白文）、蓴波（朱文）、慈悲（白文）、 周郎（白文）、興之（朱文）
此幅作於1989年夏日，當時的周澄先生年四十八歲，而1988年七 月，周澄先生曾遊四川峨眉、青城等山，深入九寨溝，經三峽在返 台，此幅《四季山水》之作似接續著前年遊歷山川壯闊之餘韻。以 四連幅雙挖圖詩的形式作表現，詩文取歷代名人詩句與其畫中四季 之景相襯。 This work was completed in the summer of 1989 when Zhou Cheng was 48 of age. Previous year in July, the artist travelled to Emei Mountain in Sichuan, Mount Qingcheng, Jiuzhai Valley and Sanxia District etc. This work depicts landscape in four seasons echoing with his travel. Four panels were accompanied by four poems extracted from those of famous poets, highlighting the landscape drawn below.
649 SHEN YAO-TSU
(Taiwanese, 1908-1990)
Three Friends (Pine, Chrysanthemums and Stone) Ink and colour on paper, framed 134 x 59 cm Signed YAO-TSU in Chinese With one seal of the artist
NT$ 180,000 - 280,000 HK$ 46,000 - 71,000 US$ 5,800 - 9,100 RMB 42,000 - 65,000 沈 耀初 三友圖 水墨 設色 紙本 鏡框 134 x 59 cm 款識：耀初 鈐印：士渡人（白文）
Ravenel 90
650 CHAO SHAO-AN (Chinese, 1905-1998)
Bamboo and Cicada 1997 Ink and colour on paper, framed 102 x 27 cm Signed SHAO-AN in Chinese With three seals of the artist
NT$ 180,000 - 280,000 HK$ 46,000 - 71,000 US$ 5,800 - 9,100 RMB 42,000 - 65,000 趙 少昂 竹蟬圖 1997 水墨 設色 紙本 鏡框 102 x 27 cm 釋文：碧樹殘聲帶夕陽。 款識：丁丑夏五月少昂於蟬嫣室。育群先生過愛，因以奉貽。 戊寅冬寒，少昂弟並誌。 鈐印：少昂（白文）、趙（朱文）
651 HUANG CHUN-PI (Taiwanese, 1898-1991)
Spring Landscape 1955 Ink and colour on paper, framed 56.5 x 29 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist
黃君璧 春山欲雨圖 1955 水墨 設色 紙本 鏡框 56.5 x 29 cm 釋文：樹色猶含雨，山容未斂雲，草堂閒注目，春意正氤氳。 款識：乙未仲夏黃君璧。 鈐印：黃君璧印（白文）、君翁（朱文）、白雲堂（白文）
NT$ 190,000 - 300,000 HK$ 48,000 - 76,000 US$ 6,100 - 9,700 RMB 44,000 - 69,000
此作雖看似簡單平實，卻不失仿古清幽淡雅之情。春山雲樹，山
Seemingly plain and common in the genre, this painting shows
腰雲霧纏繞，正是山雨欲來的跡象，此作很好的再現了春雨迷濛
elegance in classical depiction. Distant mountains veiled by clouds,
的景緻。遠山在雲霧間時隱時現，山石多以橫點皴之，遠處房屋
suggesting the coming of rain, constitutes a serene depiction
隱約在樹林之中。堤坡石澗的安排可見筆墨渾厚，朦朧煙霧與湖
of a beautiful scenery of the spring. The distant mountains and
水都作空白處理。抽象之中卻又保留具象之境，寫實之外又好像
clouds are sometimes visible, and the cottage hut is hidden in the
些微脫離了現實，纏綿悱惻地成就了一幅性格鮮明的雋永之作。
woods. The mist and the lake are treated blankly in this painting,
此畫之用筆肯定，濃淡相宜，墨色淋漓，形神兼備。黃君璧的沉
it almost seems abstract, yet it retains the concrete image. While
穩樸厚，始終以平實的態度、涵容古今的奮求、蒼拙的筆墨風
seems to adhere to realism, but at the same time there seems to
格，自立於藝術之林。即使在享大名的晚年，也總是保持著順時
be slightly surreal. The brushstrokes and the shade demonstrated
守拙、節儉樸素、和藹待人的生活態度，和嚴於理法、勤於耕耘
are appropriate, with the dripping ink, both form and spirit are
與誨人不倦的藝術精神。
retained. Huang Chun-Pi was such a calm and simple person, his unique combination of the ancient and modern techniques bring
在黃君璧先生的創作上，其中又以山水作品最為出色，亦最負盛
images alive. Even in his old age with renowned reputation, he
名，其結構嚴謹，投入主觀取捨與對客觀自然之分析，然後融合
still maintained a timely and conservative, attitude towards life,
貫通，形塑出獨特的個人風格，描畫雲山飛瀑的筆法尤為高妙。
and was strict with the principles of diligence and tireless self
他獨特的「雲水」表現，取山川雲水之生氣，雲海浩蕩，變化無
governance.
窮，如有風動。總體而言，筆墨線條流暢，用筆簡練而瀉力無 窮。在表達個人漫步尋幽、雲影自在之意的同時，形成其融雅與
Among his creation, he excelled in landscape, which is also
俗、文人情懷與大眾趣味為一爐的黃氏格體。畫家本人曾在詩中
the most prestigious genre. His structure is rigorous, as he has
寫道：「生平最愛寫雲山，潑墨雄奇自展顏。我與長松同一格，
invested in subjective choices and objective analysis of Nature. He
風摧雨撼倍堅頑。」美術史學者傅申在《南天巨擘黃君翁》一文
then blended in and shaped his personal style. The brushwork of
中，更提到他「善於用墨，其山水不但皴染相融，煙雲掩映，在
mountain and cloud was especially in high regard. In general, the
剛健的用筆中時多婀娜之態；而其雲、水二絕，更於傳統山水畫
lines of ink are smooth, and the brushstrokes are full of power.
中別開新面，為世所公認。」
While expressing the individual's strolling for solitude and freedom, it therefore forms his own personal style that is composed of elegant and vulgar, literary and romantic simultaneously. Huang even once wrote a poem to declare his love for depicting mountains and clouds, even well known art history scholar Fu Shen also praised his unique control of ink and brushstrokes demonstrated in landscape paintings.
Ravenel 92
652 PU HSINYU
(Taiwanese, 1896-1963)
溥心畬 危峰雲霽
Lofty Mountains Ink on paper, framed 58.5 x 27.5 cm Signed HSINYU in Chinese With one seal of the artist
水墨 紙本 鏡框 58.5 x 27.5 cm 釋文：危峰臨春霄，迴立與雲齊，登眺瞰飛鳥， 泠然萬壑垣。 款識：心畬 鈐印：溥儒（白文）
NT$ 240,000 - 380,000 HK$ 61,000 - 96,000 US$ 7,800 - 12,300 RMB 56,000 - 88,000
溥心畬，愛新覺羅氏。光緒皇帝賜名儒，訓誡其「汝為君子儒，
Pu Hsinyu, with family name Aisin Gioro, had Ru as a given name
無為小人儒」，字心畬，號羲皇上人、西山逸士，是近現代中國
from the Guangxu Emperor. He was a highly recognized scholar in
書畫史上為人所讚譽「詩、書、畫三絕」的文人畫家，畫山水
modern Chinese history. Using Northern style as the primary basis
以「北宗」為基，筆法用「南宗」為法，兼擅人物花鳥翎毛馬等
of landscape, Pu used Southern style strokes and gongbi strokes
工筆畫。研究溥氏一生的藝術歷程，詩、書、畫三類得要並觀齊
to depict delicate objects and figures. Pu's devotion to artistic
視，溥心畬的藝術成就得益經學、文史的修養與薰陶，其天資非
development in literature, calligraphy and paintings, enabled him
凡，知曉詩書畫藝道相通，繪畫更得力於筆墨的掌控及詩文造境
to contribute in multiple academic areas, thus he was claimed as
的能力，故宮博物院首任院長蔣復璁更形容溥心畬的繪畫風格乃
an all round and talented scholar. The first Director of the National
「峻秀靈潔，頓挫抑揚；徐徐揮運，逸韻難窮。」溥氏因自幼家
Palace Museum, Jiang Fucong described Pu's paintings as having
藏名畫頗豐，臨摹仿古盡得其意，無師自通，《寒玉堂畫論》便
elegance and simplicity, yet lively in a few strokes. Pu was self-
詳載其畫藝近乎於道的觀念：「畫豈細事也哉！在於傳神寫意，
taught on how to paint through imitating old masters from his
神在象中，意在象外。不能使轉筆鋒，有起伏變化之妙者，不足
family collection. In his book, Pu mentioned a painting is prized
以寫意。畫有神品妙品，寫意是也。寫意者，非謂粗率簡易也。
for its realistic expression of atmosphere, aura of the scene and
凡神全氣足，皆謂之寫意。」溥氏水墨雖受南北二宗影響，但學
resemblance of subjects. It is obtained with various brushstrokes
古卻不同於古，故可常於其畫中見清逸之氣，畫品孤高淡雅，氣
that should be precisely chosen and applied. Despite intense
韻極為生動；與之相交甚深的張大千更言：「柔而能健，俏而能
influence of both the Northern and Southern strokes, his paintings
厚，吾仰溥心畬。」折服在溥心畬卓越的畫境之下。
display strong individuality and character of a hermit. Zhang Daqian praised Pu's excellent skills in creating gentle yet sturdy
此幅《危峰雲霽》逸筆草草，平澹天真；畫面斜角式的佈局，左
brushstrokes, thus he had utmost admiration to Pu.
上插天奇峰與右下危崖成對角線的經營安排，讓畫面活潑靈動而 不呆滯，邊角式的取景與對角線的構圖，深受「馬一角」、「夏
This painting was created with swift strokes and diagonal
半邊」的影響，大幅的留白突出了山峰景致，仿彿雲霧繚繞，多
structure. On the upper left shows soaring peaks, echoing with
了虛無飄渺的空間感，讓人和畫中意境產生連結，增添想像空間
slanted cliffs on the bottom right. Such composition shows
與神秘感，空濛、虛實相映的空間，充滿南宋畫風的詩意。對比
influence from Maxia styles. Extensive spaces highlight the height
式構圖，拉開了觀者和景物的距離，讓人以遠眺風景、高遠的視
of the mountain, creating spatial differentiation and allowing
覺感受，一瞥之中能盡收景物於眼底，視覺上較為輕鬆無壓迫。
imagination. This echoes with Southern Song painting styles.
溥氏描寫故國風景，以小筆皴點畫成危峰聳峙，坡巒起伏之姿，
Diagonal structure creates visual lines to separate viewer from
近景山巔有古松拔地而起，後襯森然疏林，頗有當時隱於西山
elements of the painting, allowing viewers to look over into
戒台寺的寫照；細筆繪成小亭孤立崖上，用筆淡雅，意境幽深渺
distant view of mountains. Pu depicted scenes from memories.
然，且有超逸凡塵的感受，實為溥氏獨具風格之作。
Using dots and cun strokes to depict soaring mountains and ancient pines in the foreground, ornamented with sparse woods and half-hidden temple. Fine brush was typically used for kiosks on cliffs, composing an elegant landscape painting.
Ravenel 94
653 PU HSINYU
(Taiwanese, 1896-1963)
Plum Blossoms in Winter Ink and colour on paper, framed 58.5 x 27 cm Signed HSINYU in Chinese With three seals of the artist
NT$ 260,000 - 420,000 HK$ 66,000 - 106,000 US$ 8,400 - 13,600 RMB 60,000 - 97,000
溥心畬 寒梅 水墨 設色 紙本 鏡框 58.5 x 27 cm 釋文：野渡浮煙水色空，扁舟猶過碧湖東， 歲寒天際無芳草，何處吹簫明月中。 款識：心畬 鈐印：溥儒之印（白文）、心畬（朱文）、 竹素（朱文）
溥心畬自幼年既於恭王府習文，接受宮廷文武各項學科的培育，
Pu Hsinyu received an all-round education from the imperial court.
辛亥革命後則隱居北京西山，此為溥氏開始習畫的時期，後自號
After the Revolution of 1911, he retreated to Xishan in Beijing, and
「西山逸士」，言其室為「寒玉堂」；溥心畬的畫不僅是「師古
started art practising since then. He called himself Xishan Hermit
人」，更是「師造化」，隱居西山，是北京風景最勝所在；曾居
and established a studio called Hanyu Studio. Pu's paintings took
住過的頤和園，更為舉世聞名的皇家園林。溥氏花鳥繪作風格工
reference to ancient styles and observation of real objects. Having
雅妍麗，清新脫俗，畫法多師古人，如趙昌尤精折枝花卉，以沒
resided in the Summer Palace and the imperial gardens, Pu excelled
骨用色取代筆墨勾勒，設色清晰雅致；溥心畬畫花卉出自宋人折
in depicting flower and bird paintings in exquisite elegance. Pu's
枝花畫，用筆工整細密，設色清麗溫和，花卉作品雖然不是溥氏
flower paintings were derived from Song's style, with delicate
繪畫的主流，但精妙程度決不亞於前人之作，蒼勁的水墨寫意和
gonbi and fresh balance of colour. Such paintings are radiant in
富雅的重彩沒骨，無不形神兼備。1948年溥氏遊歷江南山水，曾
colour and boneless style, which make them comparable to old
至杭州超山賞唐宋古梅，當時碎玉寒香的梅影深留其心；1955年
masters. In 1948, Pu visited Jiangnan and was impressed by ancient
旅日期間時值初冬，溥氏賞寒梅吐蕊，而興思念國土之情。畫梅
plum blossoms. In 1955, he travelled to Japan and encountered
之於溥心畬不僅是臨景寫生，更是一抒懷鄉舊情的方式。
another winter plum blossom, which revives his homesickness. Plum blossom is not simply a plant for him, it symbolizes home.
溥心畬此作《寒梅》筆墨娟秀，敷色平澹，以出紙法構圖畫成， 橫幹斜出，梅花或盛開，或含苞欲放，梅幹自右上斜傾而落，取
This work was depicted in elegant application of ink, colour and
勢下墜為得其跌宕之姿，兼用書法筆態描繪凌霜白梅，極富清雅
strokes. With diagonal branches and visual lines, the blossoming
之氣，筆墨恣肆酣暢，精細中見豪放；畫幅布局取景極盡巧思，
plum blossom is highlighted, slanting downwards. Calligraphy
上幅虛空留白與梅枝相呼應，雖憑空出幹但頓挫有節，頗有不盡
strokes were used to depict snowy white flowers, enhancing the
意處，彷彿又有隔窗觀梅，臨軒聞香之天趣。老幹以濃墨渴筆側
elegance of the plant. Structure was well-planned with a balance
鋒畫出，行筆停頓之處成縱駁紋，筆觸厚重樸實，變化生動有
composition of blank space and the plant, as if viewers are looking
力，枝下逆鋒走筆帶攀折枝狀，畫幅上下兩方更有以飛白寫成細
out of the window, when viewing this painting. Branches were
枒，筆法蒼勁清逸，稍有離枝之處更顯雅意；枝幹曲折處點花，
crooked with dots of flowers. Fine brush was used to depict the
疏密有致，溥心畬以細筆勾勒花蕊，添加花蒂，細微處可見其功
minute details. Such careful planning of application of brushstrokes
力，用筆靈動勁俏，後以白粉點梅成色，以色破墨，花朵瓣蕊更
and colour enhance its reference to techniques promoted by
顯層次，薄而透潤，生機盎然。此幅秀逸古拙的寒梅圖筆調嚴
Northern school, and also its innovation from the Four Wangs from
謹，設色清麗明快，筆墨乾淨利落，不僅承北宗筆意更一變清代
Qing dynasty. The poem on this painting was written with edged
四王之積習；畫中題詩行書筆勢挺勁，一句「歲寒天際無芳草，
strokes, suggesting his proud hermit character that demonstrated
何處吹蕭明月中。」更能知曉溥心畬寫寒梅嶙峋之姿，喻己身背
resilience under hardships.
鄉離國的境況，惟有寒梅的凌霜傲骨可供自勉自勵。
Ravenel 96
654 PU HSINYU
(Taiwanese, 1896-1963)
Vegetables Ink on paper, framed 27.5 x 56 cm Signed HSINYU in Chinese With one seal of the artist
NT$ 260,000 - 420,000 HK$ 66,000 - 106,000 US$ 8,400 - 13,600 RMB 60,000 - 97,000 溥心畬 蔬果圖 水墨 紙本 鏡框 27.5 x 56 cm 釋文：寒畦培密雨，香氣覆霜根。 宜作閒居賦，真堪倒玉尊。 款識：心畬 鈐印：溥儒（白文）
《蔬果圖》以橫向繪製，溥心畬將蔬菜佈局於圖面右側，兩蔬成
This work stretches in horizontal form with vegetables composed
斜側並立，左上則題詩記敘觀察冬季蔬果的家居閒情。創作手法
on the right. They are diagonally placed with poems on the left,
頗有新意，既有勾廓敷墨，又有沒骨點染；墨色濃澹彼此映襯。
describing observation of the winter vegetables at leisure. Such
白菜葉以濃淡墨疊施暈染，小筆破墨勾筋，葉片舒放，層次分
way of depiction was novel, with outlines sketched by ink and
明，菜幫及根部用墨筆線條勾勒，一株水墨白菜在其筆下鮮活又
colour dyed in boneless style. When ink was used to add colour
極具生命力；蘿蔔根部用乾墨勾出形貌，以飛白畫出表面結構，
and depth. Cabbage leaves were painted with variations of tones,
葉片的聚散合宜，濃墨側鋒勾出葉梗，快筆敷墨成葉，筆飛意
brushstrokes, forming layers and depth. The shape and texture of
動。畫面構圖奇巧又不失平穩，全圖筆勢無太多細節描摹，脫略
radish was outlined with fine strokes. Its leaves were outstretched,
形似而求神似，反而表現出白菜與蘿蔔的生動性。畫中兩蔬清癯
dyed with think ink and swift strokes. Composition of the painting
不肥，可見溥氏驚人的觀察力，對於描繪的事物總是把玩再三、
is balanced with details. With outstanding observation, he painted
不忍釋手，務求格物致理，以達筆墨簡練；此外也可看出溥氏渡
objects repeatedly to achieve perfection. After arriving in Taiwan,
台後鬻畫維生的境遇，寫生白菜蘿蔔意有寄託生活不易的慨歎；
Pu led an austere life. Such vegetable paintings suggests his
然而生活豐儉由人，樂於清貧，享中和之美是中國傳統文化最高
sentiments over such lifestyle as an austere hermit, which is also
的審美理想，是故此圖散發出濃郁的生活氣息與文人畫意韻，觀
regarded as an ideal of a literati scholar.
畫比實物更為可親可愛，是為溥氏蔬果寫生少有的逸品。
Ravenel 98
655 YU CHENG-YAO (Taiwanese, 1898-1993)
余承堯 高山鳴泉
Landscape Ink on paper, framed 31 x 36.5 cm; 69 x 36.5 cm Signed YU CHENG-YAO in Chinese With two seals of the artist
NT$ 260,000 - 420,000 HK$ 66,000 - 106,000 US$ 8,400 - 13,600 RMB 60,000 - 97,000
水墨 紙本 鏡框 31 x 36.5 cm; 69 x 36.5 cm 釋文： （一）奉和，肖麟老兄七十感懷原均，日征月邁道茫茫，海國能 居笑虎狼，絕意繁華何偉大，蘊心迥奧耻輕狂，幽寥可語傾肝膽， 金石為交自鐵腸，研討雕鎪吟且善，高詞今已見非常，客路悠悠 渡歲年，羈人多病竟無氈，嚴霜酷雪辭家室，正國離鄉立海天， 亂世將難修故業，誓江何易執先鞭，如今七十精神爽，朗氣新秋 助壽筵。 （二）巖石永固，松柏長青。 款識： （一）余承堯。 （二）肖麟老兄七十華誕留念，余承堯作。 鈐印： （一）余承堯印（白文） （二）余承堯印（白文） 註： 上款人「肖麟老兄」即為張式玉（1896-1982），字肖麟。歷任營、 團長及漳碼公安局局長等職，來台後任國大代表，著有《南國萍 踪》和《蘭谷敞帶草》等書。
此幅《高山鳴泉》墨色淋漓酣暢，剛勁外露，帶有李唐山水之
This painting was created with rich ink and reflected the style of
風，著重於山側與斜面所造成的深度感，氣勢雄偉，山石質感極
Li Tang's landscape paintings. Depth was created with a focused
佳；余承堯以特出的結構畫面代替了炫目的技巧，以非傳統皴法
depiction on the side and slopes of the mountains. Intersecting
的「亂筆」表現近景山石砥礪的量感，遠景山形輪廓隱約，不刻
strokes were used instead of cun strokes. Mountains in the
意凸顯稜線肌理，讓觀看時能產生較長的視覺停留，一眼望之不
distance were depicted lightly with ink. Yu Cheng-Yao depicted
盡；余承堯此時期以錯疊山體石塊的形象為畫面風格，複雜畫中
overlapping hills and rocks to create order amist criss-crossing
山石的面積與比例，或峰峰相連，或相互疊倚，亂筆中生自然的
lines. Such depiction enhances elusive character of these strokes,
秩序，在筆墨中表現出變化多端的天然趣味，賦予余氏山水畫真
enhancing such characteristics of Nature. Foreground was depicted
實大於想像的生命感。前景畫成樹木森然羅列，余承堯以水墨分
with rows of trees. Light ink was used to depict objects afar, dense
層次：遠景以留白或澹墨輕染，近景則以飽筆濃墨經營出山石的
ink was used to paint closer objects such as layering of rocks, their
前後關係，巖石紋理與樹形結構明顯可見，余老畫作為「結構山
texture and shapes of trees. Using the structure of the painting,
水」，不以經營筆墨為主，而是以畫面視覺的描繪來處理層次，
Yu used visual lines to create layering effect, which revolutionized
一改山水「文人化」的窠臼，開啟了水墨寫景獨特的新境界。
literati landscape paintings.
此作上段手書為余承堯致賀友人張肖麟七十壽秩，文氣雄渾豪
This painting was made for Zhang Xiaolin to celebrate his 70th
邁，墨濃烏潤，楷字結體方挺端正，頗有宋徽宗瘦金體之風，橫
birthday. Thick ink was used in painting and solemn Standard
豎硬朗耿直、撇捺轉折溫蜿流暢，氣韻生動，巧勁盈滿，剛柔並
script incorporated with the thin Song Shoujin script was used in
濟；運筆間架俐落明快，直率中見真情，行氣敦厚卓雅。張式玉
calligraphy. Zhang Shiyu, also known as Xiaolin, was a general. In
（1896–1982），字肖麟，官拜少將。1917年軍閥割據，投宗叔
1917, he joined the navy and took prominent roles in 1924-1933.
張貞部屬安海軍。1924年後，歷任連、營、團長及漳碼公安局局
Zhang arrived in Taiwan in 1949 and became a representative
長，1933年任第四路地方軍司令。1949年抵台，任國大代表。張
in the congress. Zhang was fluent in writing poems and wrote
氏從戎亦好詩文，著有《南國萍蹤》和《蘭谷敝帚草》等書。張
important literature. He was in the army with Yu Cheng-Yao and
肖麟與余承堯同為軍中袍澤，均善詩書，兩人意氣相投，余老作
became old friends. Yu depicted landscape in this work and sighed
此書畫將屆古稀，寫山河仍在之景，慨江山易改之情，寄寓兩人
over the geographical separation between the two friends.
去國離鄉的患難情誼，金石之交盡顯露於筆墨之間，實屬難得逸 品。
Ravenel 100
656 ZHOU CHENG (Taiwanese, b. 1941)
Landscape 1976 Ink and colour on paper, framed 69.5 x 139 cm Signed ZHOU CHENG in Chinese With six seals of the artist
NT$ 280,000 - 440,000 HK$ 71,000 - 111,000 US$ 9,100 - 14,200 RMB 65,000 - 102,000
周澄 山水 1976 水墨 設色 紙本 鏡框 69.5 x 139 cm 釋文： （一）棹歌江上不揚波，雲裡翩翩一雁過。 客況難禁思故舊，何煙樹漲春多。 （二）移舟泊煙渚，日暮客愁新。 野曠天低樹，江清月近人。孟浩然詩。 款識： （一）丙辰歲暮寫春江放棹，拾石濤和尚句以補白。蓴波周澄。 （二）孟浩然詩。戊戌除夕前重睹舊作已隔四十餘矣，嘆時光之 飛逝，蓴波周澄。 鈐印：周澄（白文）、純波（朱文）、壽如金石佳且好兮（朱文）、 餈勝如歸（朱文）、周澄（白文）、蓴波（朱文）
此《山水》一畫，原作於1976年，前題石濤《煙樹漲村》詩文，
This work was painted in 1976 titled with a poem by Shi Tao. Years
時光推移，再次題筆，畫末《宿建德江》孟浩然一詩，感嘆，竟
passed by when the painting came back to the artist. A poem
已過去四十年，恍若此情此境就攤在眼前，此作透出離鄉思情甚
by Meng Haoran was added to the painting, with a melancholic
是濃厚，而在作此畫之時，正是周澄先生時值壯年，那獨自遨遊
expression of the passing of time. This work aroused the artist's
山野壯闊的美景，亦不免回憶起兒時種種。周澄先生的畫中總能
emotion after seeing it again after 40 years. Zhou recalled strolling
捕捉到煙嵐的蹤跡，繚繞飄盪的輕逸，就像其為人的謙遜、和諧
by the hills thus painted the work. This painting captured the
與修養，而周澄先生早在師大時期就拜入靈漚館門下，李奇茂曾
misty environment. It also highlights the humble and gentleman-
稱其是五絕，以詩、書、畫、印、篆刻的兼容並蓄，以讚許其藝
like character of the artist, a student of Lingou Studio, who is also
術融會貫通的天資與學養嚴謹的規整。
an all round scholar in literature, calligraphy, paintings, seals and seal carving. Such achievements received high recognition from Li Qimao.
657 PU HSINYU
(Taiwanese, 1896-1963)
Landscape Ink on paper, framed 58.5 x 26.5 cm Signed HSINYU in Chinese With two seals of the artist
溥心畬 清溪野渡 水墨 紙本 鏡框 58.5 x 26.5 cm 釋文：隨山將萬轉，趣途無百里。 款識：心畬 鈐印：明夷（朱文）、溥儒（白文）
NT$ 320,000 - 500,000 HK$ 81,000 - 127,000 US$ 10,300 - 16,200 RMB 74,000 - 116,000
溥心畬，清代皇族後裔，人稱現代詩書畫三絕大家，曾與張大
Pu Hsinyu, a royal descendant of the Qing Imperial family, was
千交遊，世稱「南張北溥」；又與吳湖帆齊名，世謂「南吳北
recognized as a modern all round literati. He was ranked with
溥」。溥氏根基奠定於西山隱逸十多年的時光，前因家藏唐宋明
Zhang Daqian and Wu Hufan. His skills were refined through the
畫古蹟，皇族身分讓他更有機會觀看、臨摹前人留下的書畫正
years in Xishan. His imperial background allowed him to view the
脈；後積累自悟，學畫無師自通，憑藉深厚的學問修養，靠著多
Imperial collection of Tang and Song paintings up close. Pu was
看、多悟來完成自己的藝術追求。溥心畬勤於詩書，書法入手再
self-taught throughout his art education. Pu started from literature
習畫，始學南宗四王後習北宗山水，其風格則與明代董其昌宮廷
and calligraphy, followed by learning the styles of Southern Four
院體與浙派一脈相承，但溥氏捐棄浙派方硬的匠氣，多用唐寅畫
Wang and Northern style of landscape paintings. Pu Hsinyu's style
中典雅秀麗的文氣，自此走出一條文人畫的新路。溥心畬早期繪
was similar to Dong Qichang from Ming dynasty, a bit of Zhe style,
畫作品格調高雅，落寞清寂，落筆蕭颯，筆下的山水予人秀麗縹
and Tang Yin's elegant style, thus established a new style of his
緲之感而少雄偉博大之氣；而後專研精進，將宋明院畫與南宗揉
own. From the elegant style of his early paintings, to a melancholic
為一體，以峰巒渾厚的山水聞名於世，筆墨間流露出陡峭雄偉的
style later in his career, Pu Hsinyu achieved elegant and light style
豪氣。臺靜農譽溥氏山水：「打破了北宗山水數百年的沉寂，直
with grandiosity. With a deep understanding of Southern and
取北宗山水的精華。」溥心畬尤重畫境，認為「神在象中，意在
Northern styles, Pu was able to blend the two styles. Tai Jingnong
象外」，因此他的水墨創作也形成了澹雅又不失古意的特點，也
commented Pu's style broke the usual stillness of Northern
養成了他獨鍾清寒孤寂的審美情趣。
landscape, but took the essence of the School. Pu put great effort on the atmosphere of the painting. With such intense study of
此作《清溪野渡》南北宗體法兼具，用筆工致，畫幅左側以中側
ancient paintings, Pu's paintings display in a classic style as well.
鋒互用作出斧劈、披麻皴，析出爽颯的山峰石體，以墨色乾澀分 出層次；右下以鐵線銀鉤描出山體，略施濃墨暈染，近景山勢渾
This painting is made in the style of both Northern and Southern
然天成，以渴筆雙勾畫成枯樹，枝幹在石壁間突發，形體嶙峋倨
style, using refined brushstrokes. Axe cun and Pima cun was used
傲，高低錯落的雙樹，更顯露出孤立山中無人問的幽寂之感；山
in the paintings, with layers of dry ink to depict the texture of
壁間有一扁舟浮過，高士遠望險峰峭壁，清閑自在，悄然無聲，
rocks. Fine strokes were used to outline the hills and withered
留白的畫面，點出兩山夾一水的構圖，更讓泛舟的文人引人注
ancient tree. The pair of trees lined up purging from the rocks. Such
目。溥心畬的北宗畫法，講求「神在象中，意在象外」，用筆疾
composition suggests the loneliness of the artist. In between the
迅中能得野逸清靜之趣；畫中題王維詩「隨山將萬轉，趣途無百
rocks, a scholar was sailing a boat. Pu used Northern Song style to
里」，詩作原意摹寫溪流隨山勢流轉奔騰，但此畫卻用筆草草、
create a serene and relaxed landscape. Wang Wei's poem depicts a
平淡天真，兩相對照下可得知詩動畫靜之妙，溥心畬以靜襯動，
raging river, which contrasts dramatically with the simple depiction
詩情畫意相通，極具意境美；高山僻靜，溪水幽深，溥氏不僅以
of the landscape. Such contrasting and harmonious combination
靜中有動的山水託物寄情，也道盡自身雖浮沉於世，但求餘生安
suggests Pu's preference to a hermit life than a lavish lifestyle.
閑自適之願。
Ravenel 104
658 HUANG CHUN-PI (Taiwanese, 1898-1991)
Strolling in the Mountain 1985 Ink and colour on paper, framed 91 x 56 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist
黃君璧 負手閒吟 1985 水墨 設色 紙本 鏡框 91 x 56 cm 釋文：負手閒吟 款識：乙丑秋日畫於白雲堂燈下，米壽老人黃君璧。 鈐印：黃君璧（白文）、君翁（朱文）、白雲堂（白文）
NT$ 550,000 - 900,000 HK$ 139,000 - 228,000 US$ 17,800 - 29,100 RMB 127,000 - 208,000
黃君璧與張大千、溥心畬三人於1949年政局變遷期間先後渡海
Huang Chun-Pi, Zhang Daqian and Pu Hsinyu came to Taiwan in
抵台，被並稱為 「渡海三家」，是中國近現代美術史上的水墨
the face of the political turbulence in 1949 and was acclaimed as
大師，三位在水墨藝術造詣上各有千秋，當時的台灣藝壇是以東
"the Three Greatest Artists Relocated to Taiwan". The three artists
洋畫為主流，寓台期間正值他們藝術生涯創作的高峰期，主導了
excelled in different areas of art. Eastern paintings were the main
1949年以降台灣水墨藝術的發展風格，確立了台灣在傳統中國水
trend at the period, and these artists were at the peak of their
墨藝術的承繼，而三位大師的創作更在歷史上留下輝煌的篇章。
career during this period, hence they promoted art development of
張大千與黃君璧友誼接續餘半世紀，兩人相識於1930年代，張
Chinese ink paintings in Taiwan. Zhang Daqian and Huang Chun-Pi
大千曾於日本東京的「中日畫展」見黃君璧所作《仿石谿幽居
were friends for more than half a century. They met in 1930 where
圖》，驚歎：「雲瀑空靈，吾仰黃君璧。」並提詩云：「眾裡我
Zhang was amazed by Huang's waterfall works in an exhibition
能獨識君，當時俊氣超人群。」此因黃君璧自幼遍覽家中所藏的
in Tokyo. Such masterpieces were made due to Huang's deep
書畫，又勤臨古畫，立下深厚的藝術根基；由此可知其早期山水
knowledge in Chinese paintings and imitation of ancient works
畫充滿靈秀之氣，筆墨已達淋漓盡致的境界，更直言黃君璧獨擅
from his family collection. Early landscape paintings were filled with
石谿一脈。1939年張大千、黃君璧與眾友同行遊劍門，當時張
heavenly spirit and the use of brushwork had reached a perfect
大千為黃君璧命名為「君翁」，更在途中為其刻「君翁」之印一
state. In 1939, Zhang Daqian, Huang Chun-Pi and friends hiked
方，可知兩人情誼之深。張、溥二人離世後，黃君璧獨執台灣傳
in Jianmen where Zhang Daqian named Huang as "Jun Weng"
統水墨畫壇牛耳，成為代表性的領袖人物。
and later carved a seal with this name as a gift. After the death of Zhang and Pu, Huang Chun-Pi dominated the art scene as a key
《負手閒吟》為君翁88歲的水墨創作，風格沉穩樸厚，山水結
leader in art development.
構嚴謹，寫生畫風獨特創新；畫面上段兩側，以石蹊乾筆皴法作 出主山峭峻之勢，用筆紮實，背景遠山則以墨色澹墨渲染，尖拔
This work was made at Huang's age of 88. The creation from live
陡峭，設色雖簡單素樸，遠觀卻墨韻淋漓。右側較低山壁，夾飛
drawings demonstrates a solemn atmosphere with a complex
瀑直瀉而下湧成雲霧，此為君翁獨創的雲水表現，取山川瀑布翻
structure of landscape. The two sides of the painting as cun strokes
騰奔流之氣，彷彿聽似有聲；浩蕩雲霧之變幻萬千，觀之有如風
with dry brush to suggest rough surface of the rocks. Background
動，用筆線條流暢簡練，流瀑白雲的姿態已近乎自然的表現！畫
was painted with colour and sharp edged cliff. Colour scheme was
幅下段奇松蹲踞，松幹枝葉墨色穠麗飽滿，生意盎然；松下高士
simple yet rich with ink. Waterfall pours down on the right forming
漫步尋幽，臨巖駐足的姿態生動，負手觀雲海沉吟的同時，彷彿
mists. Such depiction was Huang's unique and realistic creation.
正抒發著內心的情緒，形成了雅俗共賞的文人情懷。此畫完全展
Fluid strokes enhance the vividness of the humid environment. Pine
現了君翁晚期創作的雄渾氣勢與開闊的襟懷，通幅用筆剛勁老
branches flourish in dark ink. A scholar stops to enjoy the majestic
辣，墨韻華滋，注重畫面光影明暗的表現，以及山石雲瀑的質
view while expressing his melancholic mind of a literati. This
感，不僅讓傳統水墨增添新的表現方法，也貼近了現代的審美趣
painting shows Huang's retired and opened mind towards his later
味，實為精彩傑作。
career. Strokes used were sophisticated and every elements such as light and shadow, rocks and mists were perfectly depicted.
Ravenel 106
659 PU HSINYU
(Taiwanese, 1896-1963)
Mandarin Ducks in Warm Spring 1949 Ink and colour on paper, scroll 106.5 x 38.5 cm Signed PU RU in Chinese With three seals of the artist
溥心畬 趙昌秋塘圖意 1949 水墨 設色 紙本 立軸 106.5 x 38.5 cm 釋文：趙昌秋塘圖意。 款識：己丑十月溥儒吟。 鈐印：飛鴻（朱文）、舊王孫（朱文）、溥儒（白文）
NT$ 650,000 - 1,000,000 HK$ 165,000 - 253,000 US$ 21,000 - 32,300 RMB 150,000 - 231,000
溥心畬1949年渡海抵台，後應聘當時台灣師範學院藝術系教授，
Since his relocation to Taiwan in 1949, Pu Hsinyu was hired as an
同年於台北舉辦首次個展，一年之中吉凶參半，從擔憂生死到初
art professor at the National Taiwan Normal University and held his
抵台灣的隨遇而安，可知溥氏心境大起大落的起伏；但人生雖如
first solo exhibition in the same year. Under such turbulent year,
飄萍浮沉，但心中藝氣不可不發，當時所作書畫多以摹古人之
Pu underwent ups and downs. Thus he expressed his emotions
作，抒今時離國寓居的思懷。溥心畬在台時期創作多以傳統文人
through paintings, imitated works by ancient masters. During his
畫風格為本，畫山水以北宗勾斫山水為宗、花鳥則習北宋院體，
stay in Taiwan, Pu's works are based on traditional literati style.
雖沿用前人、牢記畫派的構圖，但用筆別具個人特色、直至胸盈
Landscape was drawn in Northern style, Flower-and-Bird paintings
丘壑、諸法避齊的境界，畫款題詩並以溥氏書法見長。
were painted in Northern Song style. Though the structure of these genres were borrowed from ancient paintings, his application of
溥心畬曾言：「畫山水、花鳥，如身在畫中，心悟神契，體悟察
brush was unique with strong trace of individuality. This becomes
微，如臨其境。慎思明辨，必期一樹一石無違於理。」無違於
explicit when one views the calligraphy and poem of Pu Hsinyu.
理，是指透過事物的本質，掌握事物的規律。此幅《趙昌秋塘圖 意》雖託北宋趙昌畫題，溥心畬卻以別出心裁的筆墨讓此作迭有
Pu once mentioned that, Landscape and Flower-and-Bird paintings
新猷，畫意超脫出傳統花鳥畫的範疇，相較於院畫絹本的細膩寫
were painted as if one is immersed in such painting, observing
實，溥氏此作通幅以逸筆寫生自娛，寫意自然，筆墨的氣息更符
the objects closely. One should have own judgement on depiction
合其隱逸世間之感，頗有脫胎換骨之妙；宋代花鳥院畫以穠麗富
of subjects. Realism can only be achieved through understanding
艷的寫生為基礎，但趙昌以個人心志為本，卓而不群的態度讓其
the object thoroughly. This painting was titled Zhao Chang but Pu
水墨被譽為「曠代無雙」，可知趙、溥兩人氣息相投。
painted with innovative use of strokes and ink. The painting carries a meaning beyond traditional flower and bird. Contrary to the
此作描繪秋日湖畔的風物寫生，溥氏構圖上將畫面切分為左上與
realistic depiction on silk, Pu used a relatively relaxed depiction of
右下兩相對映，濃墨畫成掌葉與澹墨垂柳自畫幅上擺落、中段柳
objects as if one painted at their leisure. Its style hinted feelings of
枝斜倚偃伏於折枝花間，迎風搖曳；木芙蓉四花團簇，細筆勾
a hermit with his life renewed.
瓣，敷色清麗典雅，雖用筆簡率，但可見溥氏寫意自然之心，所 謂「不特取其形似，直與花傳神者也」。下方一雙水鳥形貌各
This painting shows outdoor drawings of autumn lake. The
異，鳥體與尾羽以書法筆式畫就，擬鵝遊形與鶴喙姿態，雙鳥彷
painting was split in two, top left and bottom right. Thick ink was
彿悠遊湖上，一派天然。整幅畫把秋塘的高曠清新，描繪得十分
used on leaves and willow. Middle ground was painted with willow
宜人，細賞可得平和秀雅的意境與格調。
branches leaning against broken branches swept by the wind. Hibiscus clustered and depicted with fine brush, coloured in austere elegance, forming a typical Pu's style of depiction. Mandarin ducks were painted in the lower panel, outlined in calligraphy techniques. Both birds were at leisure in the lake, in their natural forms. Such depiction gives this painting a peaceful atmosphere and an elegant tone.
Ravenel 108
現代文學的篇章
A SYMPHONY OF MODERN LITERATURE POEMS - SONGS DICTATING OUR COLLECTIVE MEMORIES IN THE MODERN AGE 詩，序曲，徐徐的微風吹著，朗朗的誦讀著，現代詩人的集體回憶 朗誦的結尾，最原始的聲音，詩人間的相互交流詠讚，種種對於 社會的感知與抒情，台灣文學自1949年以來，深受西方文藝思 潮的影響，又以新詩最能反映此種狀況，其中又以新詩中的無韻 詩自成一格，被視為台灣文學的火車頭，當時一逕前衝的創作實 驗，幾乎是由詩人們所掀起著風潮。
周夢蝶，垂釣者，香遠益清中見沉思
三毛，我不求深刻，只求簡單 本名陳懋平，1943年生於重慶，台灣1970至1980年代的著名作 家。1970年代以其在撒哈拉沙漠的生活及見聞為背景，以幽默 文筆發表異國風情散文作品而成名，其讀者遍布全世界的華人。 此次一套出版自1985年的三冊書籍（編號664）：傾城、談心、 隨想，其中於談心一書內有三毛一親簽，「跟拓蕪談心，三毛， 1985年3月」。《談心》裡藉由和讀者來信互動的三毛，在她的
周夢蝶生於1920年，本名周起述。筆名繫起自莊周夢蝶，以表示
文字中能看出她的細膩，日後的日子裡，張拓蕪更曾寫下一篇
對於自由的嚮往。他於1952年開始寫詩，從軍中提筆一直到明星
《恩人．摯友．死黨 — 寫我所熟識的三毛》，裡面一處，道出
咖啡屋騎樓廊柱下擺設書攤，這一擺就是21年。
張拓蕪和三毛之間的友誼，全始於一篇三毛所寫的《張拓蕪的傳 奇》。
在《楷書自序》（編號660）中，當時的周夢蝶年八十七，看著他 從自序中娓娓道來，是回首過望著一生，一生運腕研墨，絲毫不 倦，台灣詩學季刊中《側寫詩人周夢蝶》一文曾提到：「其詩中 多處靜寂心態，多以動態描摹反襯之」，而此次一幅《自序》， 行句工整，偶以紅筆增寫、備註，作中周公的瘦金體小楷，如他 涓涓細流的口吻般，而他的筆墨儼然就是他輕瘦身子骨的寫照， 整體觀來書風的娟逸，以自序道出，更似是苦行僧一生的足跡。 回首，隨筆中的他投射出熠熠光輝，如行到水窮處的那種清幽心 境，一映生命中的諸多經驗與沉思。
洛夫，從明朗到艱澀，又從艱澀到明朗
蔣勳，城外的一抹清靜，發掘美的感動 1974年生於西安的蔣勳，在戰後舉家移居台灣。自小成長於台 北。蔣勳曾說：「真正的美，作假不得」。此次的兩幅作品《寒 梅圖》（編號661）、《八里望對岸》（編號662），皆出自1992 年。三毛曾這樣評價到：「蔣勳是個懂美的人」，讓我們也一同 隨著蔣勳發掘美的感動。 《寒梅圖》二月，蔣勳一寫繁花盛開的美景，蔣勳的梅，畫中無 他物，「凌寒獨自開，夢中繁華夢中過」，不惹人間一點塵，恰 似崔道融：「香中別有韻，清極不知寒」，寒梅之夢盛開朵朵，
1928生於湖南衡陽，本名莫運端，後改莫洛夫。自15歲開始寫
畫中之梅，以若有似無的淡雅所點染著，毫筆以淡細的墨線勾
作，於2016年夏天，返台定居。1954年與張默、瘂弦共同創辦
繪，在一層又一層的點染下，典雅清淡的似南宋小品。而水作精
《創世紀》詩刊，歷任總編輯多年。作品曾被譯成英、法、日、
神玉作魂，來自蔣勳的詠黛玉一詩，蔣勳的文筆清麗流暢，看著
韓、荷蘭、瑞典等文。
畫中的梅與詩並提，總像在古今中來回穿梭著，1991年和楚戈、 席慕蓉合辦的「花季」聯展，能見蔣勳寒梅的足跡，那對於寒梅
此次一幅《金龍禪寺》（編號663），作中可見臨寫貫氣，與詩相
的執著，是否猶如其多情應笑我一印。
契，運筆圓勁挺拔，流暢奔放，筆墨的停頓，篇幅的斷落、蘸墨 的濃淡，皆相襯著讀詩時的語氣。而《金龍禪寺》一詩，據悉，
《八里望對岸》見山是山，此幅畫中呈現樸拙的沉靜之美，文中
是洛夫先生所喜愛的一篇，此詩作於1970年，詩中以一種無韻，
蔣勳以此山水之景憶南朝夢中的慘淡，眼前即是如畫的島嶼獨
由詩中字詞間所鋪陳的舒緩節奏，洛夫以一個第三者的角度寫下
白，此幅畫作繪於紙本，畫中以蒼藍、黛藍大面積暈染，偶見青
詩篇，舒徐迴盪的節奏與韻致，隨悠揚的晚鐘到山中的燈火，盞
綠，近觀紙幅上之肌理，能感受其力透紙幅之處，染筆似回歸山
盞點燃，洛夫鬼斧神工的創造力，擅於抓住感情，作為詩情天性
水的那種逍遙，天空與湖面在疊以枯筆交織，蔣勳記憶中的八里
的最主要動力，展現自身生命的底蘊。
「回想起左岸那一排苦楝樹，至初春二月那開滿一片片淺粉紫的 花」，那景，從八里望去，雲煙舒卷，看著夕陽在淡水出海口灑 下金黃光芒，開心的說著：「吃飯是藉口，看晚霞才是真的。」
右圖（由左而右）：周夢蝶、洛夫、三毛、蔣勳
Ravenel 110
Reciting poems ends with a poet's louange of his perceived and romantic view of society. Literature produced since 1949 was heavily influenced by the Western philosophies. Poems of the New Age with no rhyming endings reflected such phenomenon and became an experimental approach in literature.
SAN MO - A PURSUIT OF SIMPLICITY San Mo, also known as Chen Maoping, was born in 1943 in Chongqing. She became a well-known writer in the 70s and 80s, known internationally among the Chinese communities. She was better known in the 70s with her life in the Sahara Desert and a satirical writings of foreign cultures.
CHOU MENG-TIEH - A DEEP THINKER OF MODERN SOCIETY
This set of three books (Lot 664) were published in 1985, with one
Chou Meng-Tieh was born in 1920 with his name derived from
of these signed by the author to Tuowu in March 1985. The book
Zhuang Zhou dreaming of butterflies, hinting his yearn for freedom.
recorded letters between readers and San Mo, where one could
Chou started writing poems in 1952 from his military service to his
see her sincerity. Later Zhang Tuowu wrote a commemorative
little bookstore business below Astoria Cafe for 21 years.
passage describing their friendship.
This Autobiography (Lot 660) was composed at Chou's age
CHIANG HSUN - THE BEAUTY OF SERENITY OUTSIDE THE CITY
of 87. In this work, he wrote a reminiscence of his life and his dedication to literature. One publication of Bulletin of Taiwanese Poetics mentioned, Chou's poems describe active movement to juxtapose with stillness. This work used regular Shoujin script with slight amendments in red, suggesting the writer's light and fluent depiction of himself leading an austere life of a monk. Upon his reminiscence, his writing reflects a glorious life with rich experience and thoughts.
LUO FU - MANIPULATION OF MOODS Born in 1928 in Hunan, Luo changed his name to Mo Luofu. He started writing at 15. In the summer of 2016, he returned to stay permanently in Taiwan. He created the Epoch Poetry Quarterly and was the Editor-in-Chief for several years. This publication has
Born in 1974 in Xi’an, he moved to Taiwan after the war with his family and was raised in Taipei. Chiang mentioned that genuinity cannot be faked. These two paintings were made in 1992. San Mo once mentioned that Chiang Hsun is a person with high aesthetic sense. Let’s explore the aesthetic journey of Chiang Hsun.
Plum blossoms (Lot 661) depicted blossoming flowers. The work features only the plant, hinted the hermit character or not following trends. Plum blossoms flourish with elegance. Light ink was used to outline the plants with layers to colour the subject. The poem was written with fluid strokes. His plum blossoms paintings were once exhibited in 1991 with Chu Ge and Xi Murong.
been translated into English, French, Japanese, Korean, Dutch and Swedish. This calligraphic work (Lot 663) shows the poet's strong state of mind with fluid and sturdy strokes, rich ink and a structure that reflects the way readers read the poem. This poem was Luo Fu's favourite piece. Created in 1970, this poem was written using Wuyun, where the rhythm is composed in its relaxed form. Luo Fu wrote from a third person's point of view. The relaxed tone suggests the lights of candles wavering in the dark. Luo Fu's poem captured readers' emotion with unique creativity, delivering his message.
View from Bali (Lot 662) shows hilly landscape and a serene beauty of the landscape. A melancholic feeling and soliloquy of the artist thinking about the downfall of the Southern dynasty. This work was painted on paper depicting a huge portion of blue and highlights of green. Strokes were applied upon seeing the landscape echoing the artist’s carefree state of mind. To Chiang Hsun, Bali’s left bank were filled with trees and by early Spring, the landscape will be filled with light purple flowers. Mist surrounds the landscape opposite to Bali in the evening. To the artist, such scenery was his true enjoyment.
660 CHOU MENG-TIEH (Taiwanese, 1920-2014)
Autobiography 2007 Ink on paper, framed 28 x 68 cm PROVENANCE: Acquired directly from the artist
NT$ 600,000 - 950,000 HK$ 152,000 - 241,000 US$ 19,400 - 30,700 RMB 139,000 - 220,000 周 夢蝶 楷書自述 2007 水墨 紙本 鏡框 28 x 68 cm 釋文： 簡介，周夢蝶自述，余於民九農曆臘月廿九日，誕於河南省浙川縣一小村 落中。其村曰陳店，凡三十餘戶，都姓陳，故名；四面環山，有薄田四十畝， 並於祖課徒行醫所購置，祖諱如楨，性剛直，而樂善好施，兼喜為人排難 解紛，村人皆畏而愛之敬之。祖凡三娶：初娶郭氏，無出。繼娶白，育三女， 大姑適陳，二姑適簡，三姑不及嫁而殤，白亦病亡。續娶龔，生余父及二 叔與四姑。父風儀俊美，善彈三弦，書法娟逸，略似蘇子瞻。時科舉已廢， 輾轉無所施為，年三十二，遂鬱鬱以終。母亦姓龔。父歿後四個月，余始 呱呱墜地，所謂遺腹子也。 余年十三，從塾師周誠齋先生受四字畫。十七始入小學，由三下超級六下， 一年即畢業。以第二十四名，考取省立安陽中學。後三年，復以二十四名 考取開封第一師範；未兩年即輟學。年二十八，棄家走武漢，隨青年軍二 O 六師補充團渡海來臺，為陸軍工兵下士七年。退伍後曾為書店店員二 年，於台北市武昌街一段七號明星咖啡屋騎樓下擺書攤為生，凡二十一年。 五十九歲，以胃疾，住院、開刀，胃割去四分之三，體重由四十一公斤銳 減為三十七。書攤不擺了，人則一朝而三分為托缽僧，七分為寄生蟹矣。 余幼而零丁孤苦，長而顛沛流離，生年未弱冠，額端已出現魚尾紋。所幸 天公疼憨人，於垂垂之日，獲識南師懷瑾夫子及印順道源諸上善人，雖望 道未見，一向憂思怨亂之慘綠情結，得小寬解，亦足鏤肺肝，慰平生而死 朝夕。 月前重讀《指月錄》，夢中拈得七言二十八字，似詩非詩，非偈似偈，畫 餅而已。媿媿。辭曰：也無門戶也無牆，風自翩翩水自香，曉來覓句五峰頂， 霜林一抹為誰黃？ 款識：丁亥之冬十月既望於新店市五峰山下。 來源： 現藏家得自藝術家本人
Ravenel 112
661 CHIANG HSUN (Taiwanese, b. 1947)
Plum Blossoms 1992 Ink and colour on paper, framed 74 x 31.5 cm Signed CHIANG HSUN in Chinese With three seals of the artist
NT$ 150,000 - 240,000 HK$ 38,000 - 61,000 US$ 4,800 - 7,800 RMB 35,000 - 56,000 蔣勳 寒梅圖 1992 水墨 設色 紙本 鏡框 74 x 31.5 cm 釋文：水作精神玉作魂，空山月中淚浥痕， 夢中繁華夢中過，不惹人間一點塵。 款識：一九九二年二月東海蔣勳，寫繁華盛開。 鈐印：肖形印（白文）、蔣勳（朱文）、多情應笑 我（朱文）
Ravenel 114
662 CHIANG HSUN (Taiwanese, b. 1947)
View from Bali 1992 Ink and colour on paper, framed 33 x 110 cm Signed CHIANG HSUN in Chinese With four seals of the artist PROVENANCE: Caves Art Center, Taipei
NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000
蔣勳 八里望對岸 1992 水墨 設色 紙本 鏡框 33 x 110 cm 釋文：一九九二年秋冬之際，從八里望對岸淡水大屯山脈， 雲煙舒卷，山水都安靜如常，但我心中為何有南朝的慘傷， 這樣看江山歲月彷彿都在夢中啊。 款識：東海蔣勳 鈐印：微笑（白文）、肖形章（白文）、蔣（朱文）、勳（白文） 來源： 敦煌藝術中心，台北
663 LUO FU
(Taiwanese, 1928-2018)
Poem in Running Script Ink on paper, framed 34 x 68 cm Signed LUO FU in Chinese With two seals of the artist
NT$ 40,000 - 80,000 HK$ 10,000 - 20,000 US$ 1,300 - 2,600 RMB 9,000 - 19,000 Ravenel 116
洛夫 金龍禪寺 水墨 紙本 鏡框 34 x 68 cm 釋文：金龍禪寺，晚鐘，是遊客下山的小路，羊齒植物， 沿著白色的石階，一路嚼了下去。如果此處降雪，而只見， 一隻驚起的灰蟬，把山中的燈火，一盞盞地，點燃。 款識：洛夫 鈐印：水墨為天（朱文）、洛夫（朱文）
664 SAN MAO
(Taiwanese, 1943-1991)
Signed Books (A set of three) Books 18.7 x 13.2 x 1.5 cm (each) Signed SAN MAO in Chinese
NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000
三毛 簽名書三冊一組 簽名書 18.7 x 13.2 x 1.5 cm （每本） 款識：跟拓蕪談心，三毛，1985 年。 註： 三毛有親簽，上款人「拓蕪」即為張時雄，為台灣作家。 筆名有沈甸、左殘、沈犁、屯墾，曾和三毛為筆友的關係。
蘭亭雅會眾群賢．歐豪年與渡海名家之情誼
SCHOLARLY GATHERING THE FELLOWSHIP OF AU HO-NIEN AND GREAT ARTISTS OF TAIWAN 每至觴酌流行，絲竹並奏，酒酣耳熱，仰而賦詩
漢朝末年，「建安七子」為首的文士們在鄴下聚會，雲遊宴飲，
At the end of Han Dynasty, the Seven Scholars of Jian'an gathered
詩酒酬唱。到了西晉時期，富商石崇建金谷別墅，集左思、潘岳
and drinking while composing poems and songs. By Western Jin
等二十四人為詩社，史稱「金谷二十四友」。時至東晉，蘭亭雅
Dynasty, a wealthy businessman Shi Chong build a cottage in Jingu
集曠古爍今，流傳千古，文士們曲水流觴、飲酒賦詩的風雅之
to hold banquets and to compose poems. In Eastern Jin Dynasty,
戲，成為後世雅集的效仿典範。之後歷代各朝，乃至民國時下，
scholars gathered by the stream, drinking wine while composing
後代文雅之士不斷仿效，再現與追憶著心中的蘭亭盛事。
poems. Such tradition was practised in centuries to come.
在上世紀以前，中國幅員廣大，文人聚會雅集均受限於交通的影
Throughout history, as restricted by transportation, such gatherings
響，故均會聚於較為繁華的大城市，北方則多聚於京城，華中地
were located in main cities such as Beijing, Suzhou, Hangzhou,
區則集中於蘇、杭與上海，南中國則聚於福建與廣東以及後來的
Shanghai, Fujian and Guangdong, later in Hong Kong.
香港。 By the 50s, Chiang Kai-Shek moved to Taiwan, followed by a 1949年蔣介石政府遷至台灣，第一批在現代中國文學界教育界和
large influx of scholars from educational and artistic sectors. This
藝術界卓越成就的學者藝術家先後抵台，帶來了中國文化與書畫
induced a flow of Chinese culture and ink traditions to Taiwan.
傳統，許多書畫名家與文人學者「渡海名家」匯聚於台島，書畫
Scholars relocated to Taiwan were Pu Hsinyu, Yu Youren, Huang
上所謂「渡海四家」指的是溥心畬、于右任、黃君璧與張大千，
Chun-Pi and Zhang Daqian, Liu Yantao, Liu Tai-Hsi, Peng Chunshi,
另外還有劉延濤、劉太希、彭醇士、莊嚴、臺靜農、江兆申，篆
Chuang Yan, Tai Jing-Nong, Chiang Chao-Shen, Wang Zhuangwei,
刻界的王壯為、吳平、王北岳為首的幾位名家紛紛抵台。
Wu Ping, Wang Beiyue, to name but a few.
包含1970年前後嶺南畫派幾位代表人物，如歐豪年、黃磊生與盧
Lingnan School representatives Au Ho-Nien, Huang Lvsheng, Lu
清遠等諸先生從海外陸續來到台島，在此形成一股特殊的文風，
Qingyuan arrived to Taiwan by the 1970s, promoting yet another
此也影響近現代整體台島的文化發展。因為時代的播遷將天南地
wave of artistic development to modern Taiwanese ink art.In
北的文人匯聚於此，而以前要將這批文人會聚一起非常困難，許
the earlier period, gathering among scholars were hindered by
多文人與藝術家甚至成為鄰居摯友。因此，造就了更為頻繁豐富
transport. With such relocation, scholars gather and live together
的文人雅集。
forming scholar communities.
而此次拍品有著黃君璧先生與歐豪年先生合繪的《山堂佳色圖》
In this Sale, Huang Chun-Pi and Au Ho-Nien composed Cottage by the Woods (Lot 667) titled by Liu Tai-Hsi. Huang and Au both came from Guangdong with a close bonding. Gatherings and collaborative works were common between the two. Liu and Au were close friends. Au once painted Lushan, a favourite place of Liu, as a gift of friendship to Liu.
（編號667），並由劉太希先生依照二位名家繪製的情境，即興作 詩一首，並題於畫上，詩文如下：「僻野無佳客，孤吟獨舉杯， 只餘明月色，流影入襟懷。劉太希居士題。黃君翁歐豪年合作山 水」。黃君璧先生與歐氏同是廣東同鄉，交誼甚深，常有雅集聚 會，也常合繪以為樂趣。而劉太希先生（錯公）與歐氏交誼也頗 深，因錯公為江西信安縣人，而廬山為於江西為錯公魂牽夢縈之 地，歐氏曾應太希翁之屬繪《廬山圖》，歐氏在廬山圖上題：
Tai Jing-Nong and Au Ho-Nien were acquaintances with frequent
「橫塗側抹不成峰，強繪匡廬應錯公，他日神州陪杖履，重當為
meetings to compose poems and paintings. Tai was known to write
許擬山容」。
on small tables regardless of the size of works to be produced. This Sale offers six works of Au's early period with four flower paintings
憶起臺靜農先生，歐氏與臺老也有數面之緣，也曾聚會雅集，題
(Lot 668) and Amaranthus (Lot 665), each with a poem by Tai Jing-
詩作畫，據聞臺老寫字作畫均在一個小桌，無論大小作品也在此
Nong. While the other work Vegetables (Lot 666) was titled by Liu
處完成，也頗為神奇。此次拍品有六幅歐豪年先生早年所繪的小
Tai-Hsi and was regarded as a precious piece.
品，此四幅「水仙、紅荷、松色雙雀、菊色二喬」（編號668）和 《雁來香》（編號665），臺老分別於每禎小品題上對應詩詞，一 字一畫頗為佳趣。另一幅《菜根香》（編號666）則由劉太希先生 即興做詩，題上詩堂，為時代留下具為珍貴的逸品。
Ravenel 118
665 AU HO-NIEN
(Taiwanese, b. 1935)
TAI JING-NONG (Taiwanese, 1902-1990)
Amaranthus Ink and colour on paper, framed 32 x 44.5 cm; 34 x 44.5 cm Signed TAI JING-NONG and HO-NIEN in Chinese With four seals of the artists
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000
歐豪年；臺靜農 雁來紅 水墨 設色 紙本 鏡框 32 x 44.5 cm; 34 x 44.5 cm 釋文：霜落荊門煙樹空，布颿無恙挂秋風，此行不為 鱸魚膾，自愛名山入剡中。 款識： （一）太白詩，臺靜農書於龍坡。 （二）豪年 鈐印：臺靜農（白文）、龍坡（朱文）、歐（白文）、 挹翠山堂（白文）
666 AU HO-NIEN
(Taiwanese, b. 1935)
LIU TAI-HSI
(Taiwanese, 1899-1989)
Vegetables 1986 Ink and colour on paper, scroll 28 x 33.5 cm; 57 x 33.5 cm Signed TAI-HSI and HO-NIEN in Chinese With three seals of the artists
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 歐豪年；劉太希 菜根香 1986 水墨 設色 紙本 立軸 28 x 33.5 cm; 57 x 33.5 cm 釋文：福須淡泊方能永，壽與瓜蔬似結盟， 齡得菜根吾願足，不求靈藥自長生。 布衣暖菜根香，詩書滋味長。 款識：太希居士。丙寅豪年。 鈐印：希翁米壽（朱文）、歐介（白文）、 挹翠山堂（白文）
Ravenel 120
667 HUANG CHUN-PI (Taiwanese, 1898-1991)
AU HO-NIEN
(Taiwanese, b. 1935)
LIU TAI-HSI
(Taiwanese, 1899-1989)
Cottage by the Woods Ink and colour on paper, framed 62.5 x 96 cm Signed TAI-HSI, HUANG-WENG and AU HO-NIEN in Chinese With three seals of the artists
NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000
黃君璧；歐豪年；劉太希 山堂佳色圖 水墨 設色 紙本 鏡框 62.5 x 96 cm 釋文：僻野春佳客，孤吟獨舉杯，品餘明月色，流影入襟懷。 款識：太希居士題，黃君翁、歐豪年合作山水。 鈐印：劉太希（白文）、歐豪年印（白文）、黃君璧印（白文）
668 AU HO-NIEN
(Taiwanese, b. 1935)
TAI JING-NONG (Taiwanese, 1902-1990)
Flowers (A set of four) 1987 Ink and colour on paper, framed 33 x 44 cm; 34 x 44 cm (each) Signed JING-NONG and HO-NIEN in Chinese With thirteen seals of the artists
NT$ 200,000 - 320,000 HK$ 51,000 - 81,000 US$ 6,500 - 10,300 RMB 46,000 - 74,000 歐豪年；臺靜農 花卉圖四屏 1987 水墨 設色 紙本 鏡框 33 x 44 cm; 34 x 44 cm ( 每件 ) 釋文： （左上）玉府仙人冰雪姿，生來即遣侍瑤池。 碧雲隔斷塵凡路，說著人間總不知。 （右上）綠影遷延舞袖遲，恍如金粉散琳池。 最憐謝客詩遍好，曾比芙蓉出水時。 （左下）錦石如雲落翠翹，曲殘金縷度纖腰。 黃鶯赤鳳還同舞，不數江東有二喬。 （右下）蒼松影靜白雲閒，路轉深溪第幾灣。 好是雨晴秋色里，杖藜隨處看青山。 款識： （左上）南田水仙詩，靜農。 丁卯春日，豪年寫生。 （右上）靜農，豪年。 （左下）南天詠菊，靜農。粲粲秋日英，豪年。 （右下）靜農，豪年。 鈐印： （左上）臺靜農（白文）、歐（朱文）、 豪年（白文）、陽春煙景（朱白文） （右上）臺靜農（白文）、歐介（朱文）、 得而自在（白文） （左下）臺靜農（白文）、歐介（白文）、 美意延年（白文） （右下）臺靜農（白文）、歐豪年（白文）、 挹翠山堂（白文）
Ravenel 122
669 PU HSINYU
(Taiwanese, 1896-1963)
Poem in Running Script Ink on paper, scroll 98 x 33.5 cm Signed PU RU in Chinese With two seals of the artist PROVENANCE: Christie's Hong Kong, 25 April 1999, Lot 160
NT$ 190,000 - 300,000 HK$ 48,000 - 76,000 US$ 6,100 - 9,700 RMB 44,000 - 69,000 溥 心畬 行書七言詩 水墨 紙本 立軸 98 x 33.5 cm 釋文：縹緲雲光接遠天，羣呼倒影鏡中懸，女墙月前餘秋草， 官舍湖生但暮煙，去國誰知上廣信，乘桴何處問張騫，蓮壺咫 尺求靈藥，砍掃松花枕石眠。 款識：溥儒 鈐印：心畬翰墨（朱文）、溥儒之印（白文） 來源： 香港佳士得，1999 年 4 月 25 日，編號 160
670 LIU TAN
(Chinese, b. 1953)
Figure 1972 Watercolor and charcoal on paper, framed 38 x 21 cm；18 x 7.5 cm Signed LIU TAN in Chinese and English With one seal of the artist
NT$ 260,000 - 420,000 HK$ 66,000 - 106,000 US$ 8,400 - 13,600 RMB 60,000 - 97,000
Ravenel 124
劉丹 人物 1972 水彩 炭筆 紙本 鏡框 38 x 21 cm；18 x 7.5 cm 釋文：年冬月寫此。 款識：OO 留念，劉丹於南京，1972.8.31 Liu Tan, mimicry 鈐印：劉丹（白文）
671 TONG YANG TZE (Taiwanese, b. 1942)
Calligraphy 1994 Ink on paper, framed 91 x 241 cm With three seals of the artist EXHIBITED: "Calligraphy Works of Grace Y. T. Tong", Taipei Fine Arts Museum, Taipei, October 1994 ILLUSTRATED: Calligraphy Works of Grace Y. T. Tong , Taipei Fine Arts Museum, Taipei, 1 October 1994, Plate 86
NT$ 340,000 - 550,000 HK$ 86,000 - 139,000 US$ 11,000 - 17,800 RMB 79,000 - 127,000
董陽孜 取之不盡用之不竭 1994 水墨 紙本 鏡框 91 x 241 cm 釋文：取之不竭用之不盡。 鈐印：縱浪而化（朱文）、董印（白文）、陽孜（朱文） 展覽： 「董陽孜書法展」，台北市立美術館，台北，展期 1994 年 10 月 著錄： 《董陽孜作品集》，台北市立美術館，台北，1994 年 10 月 1 日 出版，圖版 86
672 YU CHENG-YAO (Taiwanese, 1898-1993)
Calligraphy of Poems from Emperor Wen of Wei 1990 Ink on gold-flecked paper, framed 68 x 177 cm Signed YU CHENG-YAO in Chinese With one seal of the artist ILLUSTRATED: Hermit, Talents of Yu Cheng-Yao , Hsiung Shih Books Pte. Ltd., Taipei, 1998, pp. 56-57
NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000
Ravenel 126
余承堯 魏文帝雜詩兩首 1990 水墨 灑金箋 鏡框 68 x 177 cm 釋文：漫漫秋夜長，烈烈北風涼。展轉不能寐，披衣起彷徨。 彷徨忽已久，白露沾我裳。俯視清水波，仰看明月光。 天漢回西流，三五正縱橫。草蟲鳴何悲，孤雁獨南翔。 鬱郁多悲思，綿綿思故鄉。願飛安得翼，欲濟河無梁。 向風長嘆息，斷絕我中腸。西北有浮雲，亭亭如車蓋。 惜哉時不遇，適與飄風會。吹我東南行，行行至吳會。 吳會非我鄉，安得久留滯。棄置勿復陳，客子常畏人。 款識：庚午夏日書魏文帝雜詩二首，余承堯。 鈐印：余承堯印（白文） 著錄： 《隱士．才情．余承堯》，雄獅圖書股份有限公司，台北， 1998 年初版，頁 56-57
673 TAI JING-NONG (Taiwanese, 1902-1990)
Calligraphy in Running Script 1987 Ink on paper, framed 34 x 126 cm Signed TAI JING-NONG in Chinese With three seals of the artist
NT$ 180,000 - 280,000 HK$ 46,000 - 71,000 US$ 5,800 - 9,100 RMB 42,000 - 65,000
臺靜農 行書蘇東坡赤壁懷古 1987 水墨 紙本 鏡框 34 x 126 cm 釋文：大江東去，浪淘盡，千古風流人物。故壘西邊，人道是， 三國周郎赤壁。亂石穿空，驚濤拍岸，捲起千堆雪。江山如畫， 一時多少豪傑。遙想公瑾當年，小喬初嫁了，雄姿英發。羽扇綸 巾，談笑間，檣櫓灰飛煙滅。故國神遊，多情應笑我，早生華髮。 人間如夢，一尊還酹江月。 款識：蘇東坡赤壁懷古，丁卯冬臺靜農書。 鈐印：守斯寧靜為君大年（朱文）、臺靜農（白文）、龍坡丈室（朱 文）
674 TAI JING-NONG (Taiwanese, 1902-1990)
臺靜農 行書陶淵明咏貧士詩
Calligraphy in Running Script 1978 Ink on paper, framed 37 x 66 cm Signed JING ZHE in Chinese With three seals of the artist
NT$ 150,000 - 240,000 HK$ 38,000 - 61,000 US$ 4,800 - 7,800 RMB 35,000 - 56,000
Ravenel 128
1978 水墨 紙本 鏡框 37 x 66 cm 釋文：拙，仲蔚愛窮居，繞宅生蒿蓬。翳然絕交遊， 賦詩頗能工。舉世無知者，止有一劉龔。此事胡獨然， 實由罕所同。介焉安其業，所樂非窮通。人事固以拙， 聊得長相從。 款識：戊午溽暑書陶公詩於台北龍坡歇腳盫，靜者。 鈐印：老莊而所學者（朱文）、臺靜農（白文）、 歇腳盦（朱文）
675 PU HSINYU
(Taiwanese, 1896-1963)
Calligraphy in Cursive Script after Wang Xizhi
溥心畬 草書臨王羲之行穰帖
Ink on paper, framed 29.5 x 58 cm Signed HSINYU in Chinese With one seal of the artist
水墨 紙本 鏡框 29.5 x 58 cm 釋文：足下行穰。九人還示應決不大都當任。（文略） 款識：心畬 鈐印：溥儒（白文）
PROVENANCE: Obtained from the collection of Mr Bian Zhenghai
來源： 卞正海先生舊藏（得自藝術家本人）
Acquired directly from the artist
NT$ 150,000 - 240,000 HK$ 38,000 - 61,000 US$ 4,800 - 7,800 RMB 35,000 - 56,000
註： 卞正海先生，原籍江蘇揚州，與溥儒先生極為熟稔，常至 溥老居處觀賞其作畫，陪旁在側，再將字畫取回精心裝裱。 其裱鋪商號「碧雲軒裝池」即為溥儒親筆揮毫，以肯定卞 氏的高超技藝。
676 LIU YONG
(Taiwanese, b. 1949)
劉墉 萬壑爭流
Waterfall in Pocai Ink and colour on paper, framed 64.5 x 91.5 cm Signed LIU YONG in Chinese With two seals of the artist The painting is to be sold with a certification of authenticity issued by Taiwan H & W Art Center.
NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000 Ravenel 130
水墨 設色 紙本 鏡框 64.5 x 91.5 cm 款識：劉墉潑墨 鈐印：劉墉（白文）、問園（朱文） 註： 附有熊氏藝術中心鑑存卡
677 XIAO YU
(Taiwanese, b. 1947)
小魚 瓷章十方及印譜
Seals and A Collection of Seal Impressions Signed XIAO YU in Chinese on each seal With ten seals of the artist on the Seal Impressions
NT$ 140,000 - 280,000 HK$ 35,000 - 71,000 US$ 4,500 - 9,100 RMB 32,000 - 65,000
邊款：小魚作 印文與鈐印： 行人萬萬千（朱文）、乾坤一草亭（白文）、 七縱八橫（朱文）、繁華世界（白文）、獨具隻眼（白文）、 春服既成（白文）、寫意（白文）、何妨特地來（朱文）、 味無味（朱文）、踏破草鞋（白文）
678 LI QIMAO
(Taiwanese, 1925-2019)
李奇茂 品壺
Appreciating Teapots Ink and colour on paper, framed 94 x 178.5 cm Signed LI QIMAO in Chinese With two seals of the artist
水墨 設色 紙本 鏡框 94 x 178.5 cm 釋文：品壺 款識：采風堂主人，李奇茂。 鈐印：李奇茂（朱文）、采風堂（白文）
ILLUSTRATED: Ink Paintings of Li Qimao , Jingcai Arts, Taichung, 2018, p. 23
著錄： 《李奇茂水墨天地展覽專輯》，精彩藝術，台中， 2018 年，頁 23
NT$ 130,000 - 200,000 HK$ 33,000 - 51,000 US$ 4,200 - 6,500 RMB 30,000 - 46,000
Ravenel 132
註： 附藝術家與作品合照
679 SHEN YAO-TSU
(Taiwanese, 1908-1990)
Two Roosters 1963 Ink and colour on paper, scroll 88 x 41 cm Signed YAO-TSU in Chinese With two seals of the artist ILLUSTRATED: Three Masters of Art: Calligraphy and Paintings by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, p. 115
NT$ 130,000 - 200,000 HK$ 33,000 - 51,000 US$ 4,200 - 6,500 RMB 30,000 - 46,000 沈 耀初 雙雞雄風 1963 水墨 設色 紙本 立軸 88 x 41 cm 款識：泰來老侄清正，癸卯歲闌耀初。 鈐印：士渡人（朱文）、耀初書畫（白文） 著錄 : 《閩臺三傑 : 余承堯、沈耀初、鄭善禧書畫集》， 國立歷史博物館，台北，2013 年出版，頁 115
680 TU SAN-HSIN
(Taiwanese, b. 1965)
Landscape in Five Panels 2008 Ink on paper 180 x 50 cm (each) Signed with TU SAN-HSIN in Chinese With eight seals of the artist
NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000
Ravenel 134
杜三鑫 山水五連屏 2008 水墨 紙本 180 x 50 cm（每件） 釋文略 款識：戊子十二月散仙涂鴉於得其所齋以自娛也。 鈐印：散仙長年（白文）、得其所齋（朱文）
681 WU SHI-WEI
(Taiwanese, b. 1957)
Fish Swimming in the Pond 2015 Ink and colour on paper, framed 24.5 x 98 cm Signed WU SHI-WEI in Chinese With five seals of the artist
NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000
吳士偉 悠游 2015 水墨 設色 紙本 鏡框 24.5 x 98 cm 釋文：悠游，風做不動萍，紅雨灑花津， 跳波魚出藻，擾碎一池春。 款識： （一）二零一五年乙未之春，吳士偉畫。 （二）惲壽平句，二零一七年丁酉之秋吳士偉再題。 鈐印：吳士偉（朱文）、千花百草（白文）、 吳士偉（朱文）、春華秋實（朱文）、尋花（朱文）
682 YU YOUREN
(Taiwanese, 1879-1964)
Calligraphy in Cursive Script Ink on paper, framed 97 x 29 cm Signed YU YOUREN in Chinese With one seal of the artist
NT$ 100,000 - 200,000 HK$ 25,000 - 51,000 US$ 3,200 - 6,500 RMB 23,000 - 46,000 于右任 草書七言詩 水墨 紙本 鏡框 97 x 29 cm 釋文：自斷此生休問天，杜曲幸有桑麻田， 故將移住南山邊。 短衣匹馬隨李廣，看射猛虎終殘年。 款識：杜詩，若無先生，于右任。 鈐印：右任（朱文）
Ravenel 136
683 TONG YANG TZE (Taiwanese, b. 1942)
Calligraphy in Running Script Ink on paper, scroll 136 x 34 cm With three seals of the artist
NT$ 70,000 - 140,000 HK$ 18,000 - 35,000 US$ 2,300 - 4,500 RMB 16,000 - 32,000 董 陽孜 無為無不為 水墨 紙本 立軸 136 x 34 cm 釋文：無為無不為。 鈐印：阿五（朱文）、董（白文）、陽孜（朱文）
684 LI QIMAO
(Taiwanese, 1925-2019)
Taiwan Local Food Stall Ink on paper, framed 52.5 x 227 cm Signed LI QI-MAO in Chinese With two seals of the artist
NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000
Ravenel 138
李奇茂 台灣鄉土小吃攤 水墨 紙本 鏡框 52.5 x 227 cm 釋文：台灣鄉土小吃攤。 款識：李奇茂時歲九十。 鈐印：李奇茂印（朱文）、羊開百世（朱文） 註： 附藝術家與作品合照
685 CHEN CHAO-PAO (Taiwanese, b. 1948)
A Copy of Guanyin from Tang Dynasty Ink and colour on paper and silk, scroll 107 x 50 cm Signed CHAO-PAO in Chinese With four seals of the artist
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000 陳朝寶 唐末觀音菩薩 水墨 設色 紙本 絹本 立軸 107 x 50 cm 釋文：敦煌藏經洞發現唐代絹畫觀世音菩薩像， 現藏於美國不列顛博物館。 款識：朝寶九五 鈐印：陳氏（白文）、朝寶（白文）、菩薩像（朱文）、 朝寶書畫（朱文）
686 SUN YUNSHENG (Taiwanese, 1918-2000)
Plum Blossoms 1982 Ink and colour on paper, framed 50 x 90 cm Signed SUN YUNSHENG in Chinese With four seals of the artist
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000
Ravenel 140
孫雲生 梅花 1982 水墨 設色 紙本 鏡框 50 x 90 cm 釋文：第六橋頭雪乍晴，杖藜曾引鶴同行， 詩成酒力都消盡，人與梅花一樣清。 款識：七十一年歲次，壬戌秋九月末，五峰山中菁園小築， 雨後初晴，承銘仁兄法教，雲生孫家瑞。 鈐印：大風堂門人（朱文）、福德長壽（白文）、 孫家瑞（白文）、雲生（朱文）
687 SUN YUNSHENG (Taiwanese, 1918-2000)
Birds Resting on Autumn Tree 1960 Ink and colour on paper, framed 81 x 38.5 cm Signed SUN YUNSHENG in Chinese With two seals of the artist
NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000 孫 雲生 枝上雙鳥 1960 水墨 設色 紙本 鏡框 81 x 38.5 cm 釋文：秋老青城雨雪濛，千林風刷碧山空。 靜言自索蕭疏意，暮葉偏憐鬥艷紅。 款識：庚子春二月擬保華先生法家教正， 雲生孫家瑞同在台北。 鈐印：孫家瑞（白文）、雲生（朱文）
688 JI KANG
(Taiwanese, 1911-2007)
Buffalos and Herdboys 1999 Ink and colour on paper, scroll 129.5 x 57.5 cm Signed JI KANG in Chinese With three seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 季康 牧牛童子 1999 水墨 設色 紙本 立軸 129.5 x 57.5 cm 釋文：雨寒空何處，沙淺水波留，勞勞煙中柳， 猶還敬三年。 款識：德爵老先生法家雅屬，己卯冬月寧復季康。 鈐印：季康（白文）、三不朽（白文）
Ravenel 142
689 XIAO YU
(Taiwanese, b. 1947)
Endless Scenery Ink and colour on paper, framed 47 x 90.5 cm Signed XIAO YU in Chinese With three seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000
小魚 無邊光景 水墨 設色 紙本 鏡框 47 x 90.5 cm 釋文：無邊光景。 款識：小魚。紙短情長難描繪前後上下左右， 不可追小魚造句並題。 鈐印：小魚（白文）、在我旁（朱文）、 在他鄉（白文）
690 CHUANG YEN
(Taiwanese, 1899-1980)
Poem in Running Script Ink on paper, scroll 94.5 x 41 cm With two seals of the artist
NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000 莊嚴 行書八指頭陀詩 水墨 紙本 立軸 94.5 x 41 cm 釋文：忽忽江湖老，悠悠天地間，孤雲歸楚岫， 春雨夢吳山，異域同漂泊，故人悲未還，祉應幽澗水， 留照鬢毛斑。 高閣一憑眺，蒼茫太古情，天疑入海盡，潮欲挾山行， 芳草金陵渡，斜陽鐵瓮城，鄉關杳何處，向晚客愁生。 款識：八指頭陀詩，敏貫仁兄，翁時年八十。 鈐印：六一翁（朱文）、莊嚴（白文）
Ravenel 144
691 NIU GE
(Taiwanese, 1925-1997)
Comics (A set of four) Ink and colour on paper, framed 55.5 x 35 cm (each) Signed NIU GE in Chinese With eight seals of the artist
NT$ 40,000 - 80,000 HK$ 10,000 - 20,000 US$ 1,300 - 2,600 RMB 9,000 - 19,000 牛哥 漫畫四件一組 水墨 設色 紙本 鏡框 55.5 x 35 cm（每件） 釋文： （左上）春江水暖鴨先知。 （右上）助人為快樂之本。 （左下）鸛雀之家。 （右下）蝴蝶來儀。 款識： （左上）牛哥 （右上）牛哥 （左下）牛哥 （右下）牛哥 鈐印： （左上）牛哥（朱文）、牛哥（白文） （右上）牛哥（朱文）、牛哥（白文） （左下）牛哥（朱文）、牛哥（白文） （右下）牛哥（朱文）、牛哥（白文）
692 LU FO-TING
(Taiwanese, 1911-2005)
Autumn Landscape 1974 Ink and colour on paper, scroll 114.5 x 33.5 cm Signed LU FO-TING in Chinese With two seals of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 1,900 RMB 7,000 - 14,000 呂 佛庭 臨溪秋木 1974 水墨 設色 紙本 立軸 114.5 x 33.5 cm 釋文：九月霜寒重，臨溪秋木紅，山深人迹少，何處是隆中。 款識：甲寅九月寫於台員，一民先生雅正，呂佛庭。 鈐印：呂佛庭印（白文）、半僧（朱文）
Ravenel 146
693 CHEN CHAO-PAO (Taiwanese, b. 1948)
陳朝寶 藍眼貓
Cat 2003 Ink and colour on paper, framed 45.5 x 32 cm Signed PAO in Chinese With one seal of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 1,900 RMB 7,000 - 14,000
2003 水墨 設色 紙本 鏡框 45.5 x 32 cm 款識：寶 鈐印：陳朝寶（朱文）
694 CHENG SHAN-HSI (Taiwanese, b. 1932)
Calligraphy Couplet in Running Script 2015 Ink on paper, scroll 135 x 33 cm (each) Signed CHENG SHAN-HSI in Chinese With four seals of the artist PROVENANCE: Acquired directly from the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 5,000 - 9,000 鄭善禧 行書六言聯 2015 水墨 紙本 立軸 135 x 33 cm（每件） 釋文：閒看花開花落，慢品茶浮茶沉。 款識：鄭善禧，二零一五年民國一零四年， 乙未暮秋，時在當頭。 鈐印：大自在（朱文）、希上（白文）、 善禧（白文）、謙軒（朱文） 來源： 現藏家得自藝術家本人 註： 附藝術家與作品合照
Ravenel 148
695 The Victory in the Pacification of Dzungars
平定西域戰圖
and Muslims (A set of eighteen)
法國復刻銅版畫 十八件
Copperplate Engravings 23.5 x 41.5 cm (each) With thirty seals of Emperor Qianlong
版畫 23.5 x 41.5 cm（每件） 釋文略
This eighteen panels of copperplate engravings were commissioned in the spring of 1766. These engravings were made in France from sketches drawn by Giuseppe Castiglione and his associates, describing the victory in the pacification of Dzungars and Muslims
此銅版畫撰寫於乾隆丙戌年孟春（三十一年正月），由郎世寧 等人繪製稿樣，後交由法國承作銅板畫，記錄清高宗平定準噶 爾回部得勝的重要政績。
NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 5,000 - 9,000
委託競投表格 委託競投表格須於拍賣24小時前送抵羅芙奧。競投表格可傳真至： 台北 香港
電話：+886-2-2708 9868 電話：+852-2889 0859
傳真：+886-2-2708 8955 傳真：+852-2889 0850
投標者資料
拍 賣 名 稱：羅芙奧 2019 秋季拍賣會 翰墨丹青—中國書畫專場 拍 賣 編 號：TC1904 拍 賣 日 期：2019 年 11 月 30 日（星期六） 下午 2:00 萬豪酒店 台北市中山區樂群二路 199 號 3 樓 博覽廳
客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真
電郵
簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第二條第 四項之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下 者含參仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳 佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
稱
競投價（新台幣） （服務費不計在內）
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 銀行帳戶名稱
羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn
銀行帳號 銀行聯絡者 銀行電話
151
ABSENTEE BID FORM Auction Date Sale No. Location Address
The absentee bid forms must be delivered to Ravenel at least 24 hours before the auction begins. The bid forms may be faxed to: Taipei
Tel: +886-2-2708 9868 Fax: +886-2-2708 8955
Hong Kong Tel: +852-2889 0859
Fax: +852-2889 0850
Bidder’s Details
RAVENEL AUTUMN AUCTION 2019 Refined Brushwork: Fine Chinese Paintings Saturday, November 30, 2019, 2:00 pm TC1904 Taipei Marriott Hotel Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei
Name ID number Address Post code Tel: (Daytime)
(Evening)
Fax
Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.
I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.
I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium and any applicable sales tax. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, Section 4 of the Transaction Agree-
ment to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)
The bid shall be subjected to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Bid price (NT$) (excluding Buyer's Premium)
Title
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account
Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn
Account number Contact of the bank Tel. No.
152
業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。
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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作 其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。
j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之懲罰 性違約金。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競投保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，另有權為下述 一項或多項權利或補救辦法：
(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。 (b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售 予買家之拍賣品交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。 g. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。
賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn
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TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company. ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company. 2. "The Prospective Buyer" shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. "The Seller" shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. "Hammer price" shall mean the highest bid with respect to one particular Lot accepted by the auctioning party. 6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). 10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller. ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions
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and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. (1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. (2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.
j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price. 4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as punitive damage for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.
g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day without any damage. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit or stolen goods (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests. The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer's name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit or stolen goods based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.
Please refer to our website for seller’s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn
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