SPRING AUCTION 2022 TAIPEI
羅芙奧台北 2022 春季拍賣會 翰墨丹青—書畫及古文物專場
RAVENEL SPRING AUCTION 2022 TAIPEI
Refined Brushwork: Ink Paintings and Works of Art 拍賣日期
地點
2022年6月4日（六）下午1:00 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
高雄 2022年5月14日（六）上午11:00至下午6:00 2022年5月15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 台中 2022年5月28日（六）下午1:00至下午6:00 2022年5月29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 台北 2022年6月2日（四）~ 3日（五）上午11:00至下午7:00 2022年6月4日（六）上午11:00至下午1:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） AUCTION Saturday, June 4, 2022, 1:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan PREVIEWS Kaohsiung Saturday, May 14, 2022, 11:00am - 6:00pm Sunday, May 15, 2022, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, May 28, 2022, 1:00pm - 6:00pm Sunday, May 29, 2022, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
拍賣目錄每本售價：NT$1,200 This auction catalogue: US$40 per copy
Taipei Thursday, June 2 - Friday, June 3, 2022, 11:00am - 7:00pm Saturday, June 4, 2022, 11:00am - 1:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan
王鎮華 Arthur Wang 董事長 Chairman
郭倩如 Clara Kuo 副董事長 Vice Chairman
陳砥翰 Masa Chen 古文物及書畫部 經理 Manager, Fine Chinese Works of Art and Paintings Department
徐珮婷 Vivian Hsu 業務助理 台北 Sales Assistant Taipei
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目次 CONTENTS
3
羅芙奧秋季拍賣會
Sale Information 6
羅芙奧之服務
Ravenel Services 10
翰墨丹青—書畫及古文物專場 Refined Brushwork: Ink Paintings and Works of Art
165
給予買家的重要通知
Important Notice to Buyers 167
委託競投表格
Absentee Bid Form 169
業務規則
Transaction Agreement
REFINED BRUSHWORK: INK PAINTINGS AND WORKS OF ART
翰墨丹青—書畫及古文物專場
601
PU Tzu (Taiwanese, 1959-2013)
Calligraphy Couplet in Regular Script 1996 Ink on paper, framed 39.5 x 8.5 cm (each) Signed PU Tzu in Chinese With three seals of the artist PROVENANCE
Gloria Art Center, Taipei Acquired from the above by the present owner
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000 卜茲 楷書七言聯 1996 水墨 紙本 鏡框 39.5 x 8.5 cm（每件） 釋文：薔薇一硯雨催詩，楊柳半池春載酒。 款識：丙子春日卜茲陳宗琛於東山草堂。 鈐印：陳氏（白文）、卜茲（朱文）、溪心（白文） 來源
鴻展藝術中心，台北 現藏家得自上述來源
14
602
AU Ho-nien (Taiwanese, b. 1935)
Calligraphy Couplet in Running Script 2018 Ink on paper, framed 63 x 17 cm (each) Signed Ho-nien in Chinese With four seals of the artist PROVENANCE
Acquired directly from the artist This painting is to be sold with a photo of the work with the artist.
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000 歐豪年 行書對聯 2018 水墨 紙本 鏡框 63 x 17 cm（每件） 釋文：勞即富，勤有功。 款識：玉照山房主人，常用此句以導後輩也。 戊戌清夏，天寬樓主八十四叟，豪年偶書。 鈐印：鵬展鯤游（白文）、自在（白文）、 豪年（朱文）、歐介印（白文） 來源
現藏家直接得自藝術家本人 附藝術家與作品合照
603
SUN Yun-sheng
孫雲生
(Taiwanese, 1918-2000)
嘉耦圖
Lotus
1997 Ink and colour on paper, framed 39 x 67 cm Signed SUN Yun-sheng in Chinese With four seals of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
16
1997 水墨 設色 紙本 鏡框 39 x 67 cm 釋文：嘉耦圖。 款識：八十六年歲丁丑五月二十日寫賀。文乙、靜儀 世講告席。八十老人孫雲生於台北。 鈐印：孫家瑞印（白文）、雲生（朱文）、大風堂門 人（白文）、清心堂（朱文）
604
SUN Yun-sheng (Taiwanese, 1918-2000)
孫雲生 紅梅
Plum Blossoms
1983
1983 Ink and colour on paper, framed 48 x 94 cm Signed SUN Yun-sheng in Chinese With four seals of the artist
48 x 94 cm
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
築燈下。
水墨 設色 紙本 鏡框 釋文：不與雪霜分素艷，卻隨桃杏競芳辰。自知孤潔 群心妒，故著微紅伴早春。 款識：七十二年歲在癸亥十月既望後二日，拈宋黃公 度句寫奉。衍淞先生法家雅教，孫雲生家瑞，菁園小 鈐印：孫家瑞印（白文）、雲生長壽（朱文）、大風 堂門人（朱文）、清心堂（朱文）
605
CHIANG Chao-shen (Taiwanese, 1925-1996)
江兆申 行書峨嵋山月歌
Calligraphy in Running Script
1989
1989 Ink on paper, framed 34.5 x 136 cm Signed CHIANG Chao-shen in Chinese With two seals of the artist
34.5 x 136 cm
PROVENANCE
Private collection, Taipei
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000 18
水墨 紙本 鏡框 釋文：峨嵋山下半輪秋，影入平羌江水流。夜發清谿 向三峽，思君不見下渝州。 款識：李青蓮峨嵋山月歌，己巳茮原江兆申。 鈐印：江兆申（白文）、茮原（朱文） 來源
私人收藏，台北
606
WU Shi-wei (Taiwanese, b. 1957)
吳士偉 福隆遊記
A Trip to Fulong
2018
2018 Ink and colour on paper, framed 9.8 x 165.8 cm Signed WU Shi-wei in Chinese With six seals of the artis
9.8 x 165.8 cm
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
岸地形鬼斧神工景色絕美。途經有石城漁港、卯澳馬崗漁村、三貂角燈
水墨 設色 紙本 鏡框 釋文：今年過年期間至福隆走春騎鐵馬，舊草嶺隧道、環狀自行車道， 此舊草嶺隧道為全台第一條以鐵道改進的鐵馬道，騎行期間伴著音樂， 一片清涼如吹冷氣一般。此環狀自行車道，又途經北濱海岸沿路依山傍 水，地景風貌豐富地形天然多元，海蝕平台奇岩、造形綠藻礁石等，海 塔等地，小漁村的石頭厝建材造，形樸拙可愛，令人印象深刻。一路上 藍天白雲、湛藍海景、奇岩怪石盡收眼底，真是令人心曠神怡，寵辱皆 忘啊。 款識：二Ｏ一八年三月，戊戌之春，吳士偉畫並記。 鈐印：吳氏（白文）、士偉（朱文）、溪上（白文）、春常駐（朱文）、 吳氏（朱文）、士偉（朱文）
衍色泉潤
VA R IAT I O NS O F I NK 丁 衍 庸 、 丁 雄 泉海 外 奇 珍 合 璧 專 場
The Art of Ding Yan-yong & Walasse Ting
融貫東西的現代藝術雙雄：丁衍庸與丁雄泉 二戰後的東西方藝術發展與潮流看似各走各路，實則隱含
丁衍庸七零年代的創作被學界公認為其最重要階段，在繪
著一種殊途同歸的線索：新中國藝術快速的建立是借鏡於
畫形式上、精神追求上保留了對八大山人內斂美感的表
西方現代藝術，而西方藝術版圖的轉移則由歐陸導向美國
現，並拋棄了繪畫的文字性，整合了書法線條與描繪對
新興藝術的潮流，如新達達、抽象表現主義與普普藝術
象，融西方色彩和東方線條於一體，此時期丁氏質量俱精
等，再加上東方思潮如：禪及書法藝術的引進，讓戰後的
的水墨畫，除了在形式上保留了西方線條的造型性外，更
西方藝壇百花齊放。這樣的藝術史走向如何匯集至水墨藝
展現了萃取中國水墨畫的內在精神。
術的討論，或許可以由中西藝壇的兩位巨擘：丁衍庸的 「以西入中」與丁雄泉「以中潤西」看出脈絡。
1970年，加拿大貴湖大學（University of Guelph）美術館
勁筆剛線，妙筆生輝情意真
頭角的起點；當時參展的重點展品如《茅庵論道圖》（拍
丁衍庸畢生從事美術教育，為中國現代美術的重要倡導 者，與林風眠、關良並稱「廣東三傑」；曾於重慶藝專任 教，與趙無極、李可染等人為同事。1929年開始蒐集歷代 書畫與金石文物，醉心於中國藝術的研究、鑑賞，特別是 文人畫的獨創精神，尤以朱耷、石濤及金農等人的繪畫， 對中國古代玉璽、原始文化的探索，開展其融會貫通中西 藝術的創作道路。此次專場除有丁衍庸1970年代精品，更 收錄其逝世後（1978年），1979年於香港中國文化協會 展出的素描作品，完全呈現丁衍庸從西畫入中畫的關鍵脈 絡，以回歸東方筆墨為核心，肯定丁氏在藝術史上的表現 與定位。
所舉辦的丁衍庸個展，更是被視為丁衍庸向國際藝壇嶄露 品編號615）、《寫意山水》（拍品編號609）、《蘆岸 圖》（拍品編號608）等以經典八大山水的簡練圖式，揉 入文人孤高性格的精神性表現，意境的營造保留了傳統山 水的寧靜致遠；《西陸蟬鳴》（拍品編號614）、《松鶴 圖》（拍品編號613）以南朝陸探微筆法自創出丁氏風格 的「一筆畫」，藉由草書至簡至純的追求，賦予畫面線條 的生命力，更帶有天真童稚的趣味性；《荷池秋景》（拍 品編號616）一作脫自朱耷《荷花翠鳥圖》筆意，寫意的 花鳥描繪提取出水墨的天然神韻，著重於物象特徵的描 寫，畫面的留白多增添想像空間；人物題材如《貴妃醉酒 圖》（拍品編號611）、《伏虎羅漢》（拍品編號617）等 是丁衍庸以最喜愛的中國歷史故事與民間戲曲、傳說作為
本次春拍《小鳥葫蘆》(拍品編號612)，收錄於1970年加拿大貴湖大學丁衍庸作品個展簡冊。 Lot 612 featured in the Exhibition Brochure of the 1970 Ding Hwin-young Solo exhibition at the University of Guelph.
20
丁衍庸（右三）、林緝光（左二）、繆樂民（左四）及友人於新亞書院，1956年。 Ding Yan-yong (Third from the Right), Lam Kwong (Second from the Left), Mou Lokman (Fourth from the Left) and other students at the New Asia College in 1956.
創作的取樣，在強調故事性之餘又能於筆墨間灌注現代繪
黑白水墨作品的重要性在於匯集了他1950-1970年代、近
畫的特徵與反諷性，他也常用如《蘇三起解》（拍品編號
二十年探索中國傳統繪畫的成果，亦是對西方先鋒派、抽
607）的主題用於篆印，將誇張的造型與簡易的結構作出
象藝術、普普藝術的承繼，此回專場水墨作品更是全面性
率直抽象的風格圖章，更將個人的風格與詼諧趣味寄寓畫
地呈現丁雄泉融合中西藝術概念的指標性作品，能夠一次
面主題。
完整呈現於世人面前，實屬難能可貴的盛事。
藉由丁衍庸與愛徒林緝光先生來往的信件，可了解他對於
專場展出市場上罕有的六件直幅黑白水墨、扇面作品、明
當時貴湖大學美術館展覽的重視，因在當時中國水墨藝術
信片創作及信札等資料，皆是當前藝壇少見的頂尖之作：
家能在國外舉辦大型畫展實不多見，也因畫展的成功，加
六件黑白水墨作品的珍稀程度及強烈的藝術表現性，與賽
上法國巴黎大學東方研究所的紀錄片拍攝，讓丁氏在古稀
努奇博物館藏品質量相互比較，更有過之而無不及；明信
之年開始得到國際的高度關注，而後展覽邀約無數並享譽
片與信札內容清楚記錄下丁雄泉遊戲人間、留戀花叢的寫
全球藝壇。
實記錄：他以環遊世界與吃喝玩樂作為藝術創作的靈感來 源，足跡踏遍大溪地、巴黎、日本，香港、台灣等地，當
山水獨行，墨色淋漓見雄渾
時的台灣之旅更走訪了故宮（賞名畫）、萬華（飲蛇血）
丁雄泉於1970年前後創作的黑白水墨作品已經融合了野
及橫貫公路驚心之旅等；亦有與世界各地藝文人士的往來
獸派、抽象筆觸、禪畫、宋明文人畫與書法線條的影響於
交集，如趙無極、阿列欽斯基等人。
一體，筆墨以大量的潑濺、快速移動的技法讓線條躍然紙 上，主題多圍繞在原始情慾對象的描繪，即使畫山水也能 表現出壓抑與荒謬的情色感，丁雄泉在1970年將如此具有 標誌性的黑白水墨作品全數贈與巴黎賽努奇博物館，加上 後期郭有守、趙無極等人慨贈的作品總計才46件，由於品 項數量稀少，全球藝術收藏界幾乎鮮少擁有私藏，丁雄泉
《梅花》（拍品編號628）以丁雄泉少見的白描筆法圈勾 朵瓣、直筆探出的梅枝，墨梅無色卻能展示出落筆不悔的 肯定性與超越色彩對比的平衡，與賽努奇博物館藏五件濃 墨暈染的墨梅相互對照，更能顯出此《梅花》的清麗與用 心經營，同時也影響了七零年代丁雄泉壓克力彩作品如 《玫瑰出牆》的構圖比例與特殊性。
1970年加拿大貴湖大學丁衍庸作品個展現場照。 The Ding Hwin-young Solo exhibition at the University of Guelph in 1970.
《墨林山間》（拍品編號632）取用中國水墨大塊面的墨 斑漬染、兼之以流散潑灑的西方抽象表現風格，與賽努奇 博館藏僅五件的水墨山水作品風格一致，他以「計黑當 白」的墨色概念，簡單直截地詮釋出內心故國山水的風 貌，以墨色表現出壯麗而非寫實的山水輪廓，作品的現代 性精神油然而生。 《美女捧蝗圖》（拍品編號629）、《仕女圖》（拍品編 號630）以簡化樸素的線條表現出周昉筆下的唐代仕女優 雅曲線，嬌媚中卻能感受到女性卓然獨立的精神，自然隨 機的滴墨也展現了抽象表現主義的隨機性，墨韻的動態與 純粹所帶來的視覺震撼，在丁雄泉濕筆揮灑之間更見傳統 水墨中點與線的墨色層次變化，如此大膽直接的表現性也 是丁雄泉日後大量創作女性主題作品的源頭，賽努奇博物 館所藏的水墨仕女僅有幾幅，更可知其稀有性與珍貴之 處。 《芙蓉花蝗蟲圖》（拍品編號633）則隱含情色語彙於內 在象徵意義，向八大山人、唐寅等文人畫致意，同時也表 達了對於《詩經》等古典文學中傳統形象的轉化與表達， 後期丁雄泉西畫花卉作品也以此作的塊面構圖與單色花卉 的描摹做為出發，以中潤西的繪畫風格更為顯著。
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相逢一笑，天涯覓知音 丁衍庸與丁雄泉於1970年代開始各自於東西方藝壇發光發 熱，除了在水墨藝術上的突破有著共通點外，人生際遇也 因為微妙的聯繫，讓兩人成為忘年之友，其中的靈魂人物 便是林緝光，此次專場多數作品亦為林緝光50年的舊藏， 也因為他的關係，讓兩人的水墨成就與經歷走向了人生的 巔峰。 林緝光1950年拜丁衍庸為師，後成為與丁衍庸關係最為 親近的學生，兩人情同父子，來往的信札除談詩論藝外， 更多的是親切的家常叮嚀，丁衍庸在港生活多由他照拂關 心，丁氏更常直呼林為「愛兒」。丁衍庸最重要的、於加 拿大貴湖大學所舉辦的展覽，亦是林緝光居中協調聯繫一 切，他知道平生敬重如父的恩師必定能藉此展得到國際專 注，事實結果也是大有斬獲、丁氏自此邁向成功的道路， 也因這樣緊密的信任關係讓丁衍庸晚年將重要作品與文獻 資料贈與林緝光保管，成為丁氏一門的嫡傳。林緝光先生 為紀念丁衍庸先生誕辰120周年，特以尊師之名於五邑大 學藝術學院設立應屆新生特別獎學金。 1964年林緝光移居紐約，與丁雄泉的畫室比鄰而居，兩 個東方面孔的藝術家開啟了近半世紀的友誼。二人來往的
613 丁衍庸 《狂情寄水仙》1969 水墨 紙本 立軸 140 x 34 cm （右一） Ding Yan-yong, Narcissus and Script Poem, 1969, Ink on paper, scroll, 140 x 34 cm (First from the Right) 614 丁衍庸 《西陸蟬鳴》水墨 紙本 立軸 140 x 34 cm（左三） Ding Yan-yong, Cicada, Ink on paper, scroll, 140 x 34 cm (Third from the Left)
信札除了常見丁雄泉自稱「採花大盜」外，多的更是「阿
與珍稀性創出佳績，大尺幅作品如《山鬼》成交價新台幣
雄」這樣中國式親密的稱謂，「粉面玉郎」林緝光、「明
264萬元、《水族圖》新台幣180萬元、《十里長松結屋
心仙女」趙明心伉儷更是阿雄遊戲人間、享樂生活的支
安》新台幣132萬元，由此可預期今春六尺長幅及曾於貴
柱，多虧得他們的「拔刀相助」與慷慨解囊，也就不見日
湖大學展出的《茅庵論道圖》與《荷池秋景》等作品能再
後採花大盜多姿多彩的藝術成就。1969年丁衍庸為丁雄
創高峰。丁雄泉黑白水墨作品是他進入西方現代藝術圈後
泉鐫刻一對壽山石獅鈕印，由林緝光贈與丁雄泉，就此牽
的豐碩成果，這些完成於1968-1970年之間的珍貴作品，
繫起了兩人的緣分，當時的丁衍庸已成為享譽國際的水墨
在他40歲這一年決定將四十幅黑白水墨作品捐予巴黎賽
大家，而丁雄泉當時的創作脈絡也走向了水墨線條與抽象
努奇博物館典藏，不僅具有話題性、更有明確的美術史定
表現一途，經由林緝光的介紹，讓東西兩岸的水墨藝術巨
位；此次專場呈現的拍品亦是博物館收藏等級、在丁雄泉
擘展開了忘年的交誼，丁雄泉更以此對紐章蓋印於《意想
藝術生涯發展過程中占有重要決定性的作品，收藏價值更
圖》（拍品編627）一作，意義更顯非凡，以實際的形式
是世所罕見的奇珍逸品。
表現出丁衍庸與丁雄泉一起走在回歸中國繪畫傳統與創新 水墨的道路上。1977年丁雄泉赴香港，也曾與方召麐一 同到丁衍庸寓所談詩論藝；丁雄泉寄自東京問候林緝光的 明信片更提及見到丁衍庸，一起談天吃麵，不亦樂乎；林 緝光牽起了東西藝壇溝通的橋樑，除了讓兩人成為忘年之 交，更是促成此次精采絕倫的水墨作品與文獻資料完美地 呈現於世人面前的靈魂人物。
筆底明珠，一鳴驚人 藝術收藏市場的價值更是反映出藝術家作品的稀有性與藝 術史定位，丁衍庸於2021年羅芙奧秋拍專場作品因尺幅
丁衍庸與丁雄泉雖各自在水墨領域有不同的堅持與發揮， 但其中的共通點均在於對傳統水墨的突破與創新，將東西 方藝術概念濃縮揉合成一股時代的精神，他們二人的藝術 都有著豐沛的生命力，此次的集結呈現兩人奠定其藝術史 地位的珍貴作品與文獻資料，不僅具有學術地位，影響了 東西方現代藝術史的推進，更因品項少見而具有極高的市 場價值，「水墨」是他們創作的共同語言，藝術的養成以 西方藝術概念為外在的「形」、以中國傳統書畫水墨為內 在的「神」，形神合一之下，看似回歸傳統，但卻契合當 時戰後的時代精神，丁衍庸與丁雄泉以中西藝術的實驗精 神與現代的詮釋贏得東西藝壇的盛名。
1979年丁衍庸素描習作展出版文宣。 Advert of Ting Yen-Yung's Drawings exhibition in 1979.
TWO BRIDGES BETWEEN EASTERN AND WESTERN ART: DING YAN-YONG AND WALASSE TING Despite the inherent difference, art of the East and West come to a convergence: new generation of Chinese art took reference of Western techniques, while Western art, led by the US counterparts, such as the Dada movement, abstract expressionism and pop art, borrowed Eastern
ideology of Chan and calligraphic art. This enriched the Western art scene. With regards to ink art, one can refer to Ding Yan-yong and Walasse Ting, who took their own approaches to incorporating Chinese and Western art.
GENUINE EMOTIONS EXPRESSED THROUGH THE BRUSH Ding Yan-yong dedicated his life to art education to promote Chinese modern art along with Lin Fengmian and Guan Liang. He worked alongside Zao Wouki and Li Keran in Chongqing Academy of Art. Since 1929, he dedicated his research towards connoisseurship of classical paintings and Jinshi relics. Zhu Da, Shi Tao and Jin Nong of Chinese paintings and antique seals were among his subjects of research. This paved his way towards his artistic mission to merge Chinese and Western art. This sale offered exceptional works by Ding Yan-yong in the 1970s and those exhibited in the Chinese Culture Associated Limited in 1979, a year after his death. These works are curated to highlight Ding's approach using Eastern ink as the origin of ink creation, allowing him to leave a mark in art history. The 70s was considered to be the pinnacle of Ding's artistic creation. By adopting the figurative and philosophical approach of Bada Shanren, Ding let go of the literary representation in Chinese art, focusing on the calligraphic lines and his subject matters. Colours of the
24
West and the lines of the East allowed his works of this period reached the height of his artistic career. In 1970, Ding organized a solo exhibition at the University of Guelph in Canada, which marked the start of his international exposure. Important works shown included Riverscape (Lot 615), Landscape (Lot 609), Reed in Bloom (Lot 608), which share the style of Bada landscape, with a scholarly philosophical approach, creating tranquil scenes. Cicada (Lot 614) and Crane (Lot 613) were created with Ding's unique one-stroke approach with reference to Lu Tan-wei and cursive strokes. Frogs Croaking in Lotus Pond (Lot 616) were derived from Zhu Da's style with emphasis on strokes and blank spaces to highlight characters of subjects. Figurative paintings such as Come Drink with Me', Yang Guifei in the 'Hundred Flower Pavilion' (Lot 611) and Lohan Taming Tiger (Lot 617) were Ding's favourite, as they depict folk tales and scenes in Chinese history. One of his seals was carved based on folk themes with a drastic and simple design, showing his humorous character.
615 丁衍庸 《茅庵論道圖》1969 水墨 設色 紙本 鏡框 180 x 96 cm （右） Ding Yan-yong, Riverscape, 1969, Ink and colour on paper, framed, 180 x 96 cm (Right)
619 丁衍庸《道義仁慈對聯》1969 水墨 紙本 立軸 138.7 x 34 cm（每件）（左） Ding Yan-yong, Calligraphy Couplet in Cursive Script, 1969, Ink on paper, scroll, 138.7 x 34 cm (each) (Left) 618 丁衍庸《海天對聯》水墨 紙本 立軸 138 x 34 cm（每件）（右） Ding Yan-yong, Calligraphy Couplet in Cursive Script, Ink on paper, scroll, 138 x 34 cm (each) (Right)
From his letters to Lam Kwong, Ding put the Canadian exhibition in high priority as ink exhibitions abroad were rare. Along with the documentary filmed by the
University of Paris in France, Ding received attention from the international community, allowing him to host more exhibitions around the globe.
LANDSCAPE IN SATURATED INK By the 1970s, works of Walasse Ting had already shown signs of Fauvism, abstractionism, Chan, Song Ming styles and calligraphic styles. Splashed ink and swift movement of lines express the brink of abstinence and frivolousness of sexual desire. He donated most of his monochrome paintings to the Cernuschi museum during this time, with only a few left in the private hands. These paintings were produced with the essence of his exposure of Chinese and Western art from the 50s to 70s. Styles were derived from Avant Garde, Abstract Expressionism and Pop art. This curated sale showcased Ting's iconic and rare works of the times. This sale offers six exquisite monochrome ink and fan works, postcards and personal letters made at the peak of the period. These six rare monochrome paintings were expressive compared to those at the
Cernuschi museum. Postcards and letters give readers a glimpse of the artist's past, including his visits in Taihiti, Paris, Japan, Hong Kong and Taiwan, where he visited the National Palace Museum for the paintings, drank snake blood in Wan Hua and took the perilous ride in Hengguan Highway. His writings detailed his encounter with artists such as Zao Wou-ki and Alechinsky. Plum Blossom (Lot 628) is one of Walasse Ting's rare sketch works, drawn with sketches and vertical brush. This monochrome painting shows the artist's certainty in application which outweighs colour representation. Compared with the five plums in the Cernuschi museum, this work shows the artist's sophistication and delicate mind. This also led to the composition of his later work Pink Roses Biggling.
方召麐（左）、丁雄泉（中）及丁衍庸（右），1977年。（丁衍庸家屬提供） Fang Chao-ling (Left), Walasse Ting (Middle), Ding Yan-yong (Right) , 1977. (Photo provided by the family of Ding Yan-yong.)
Mountain Hamlet (Lot 632) features a large area of splashed ink of abstract expressionism, which echoes with five works of the Cernuschi museum. By displacing black and white, Ting used a drastic approach to depicting landscape in ink, adding a modern touch to Chinese ink painting. Lady Holding a Locust (Lot 629) and Ladies (Lot 630) highlight the smooth curves of Tang ladies and their feministic beauty and independent characters. Splashes of ink hinted at the randomness of abstract
expressionism, thereby enhancing the movement of ink in its visual impact. Ink gradation between the dots and lines show Ting's sophistication in brush. Locust and Peony (Lot 633) carries sexual connotations, yet the style was attributed to those of Bada Shanren and Tang Yin, referring to the literary implications to the Classic of Poetry. Ting's later works were derived from such structure with monochrome flowery depiction, showing the merge of Chinese and Western styles.
THE ENCOUNTER OF TWO PRODIGIES Ding Yan-yong and Walasse Ting were considered as gems of the artistic community in the East and West in the 1970s. Their common interest in ink art and their exposure secured their friendship, and Lam Kwong was also the major bridge in such a relationship. This sale featured the 50-year collection of Lam Kwong, the driving force of their careers. Lam Kwong became one of the closest students of Ding Yan-yong from 1950. Lam and Ding were close as a family, as Ding sent fatherly reminders in his letters. Ding's stay in Hong Kong was supported by Lam and Ding called him as his loving son. Ding's important exhibition at the University of Guelph was organized by Lam Kwong. His
26
dedication brought his fruit of success as it paved Ding's way towards the international artistic community. Because of this trust, Ding left his work and important archives in the hands of Lam Kwong, making Lam as an heir of his legacy. To commemorate the 120th birthday of Ding Yanyong, Lam established a Special Scholarship Program for freshmen of Wuyi University Art College in the name of his teacher. Lam Kwong moved to New York in 1964 living close to Walasse Ting's studio. The two oriental faces bonded for decades of friendship. In their letters, Ting addressed himself as the flower snatcher and Ah Xiong in Chinese, while a beaux and fairy were used to address Lam
丁雄泉（右）、林緝光（中）與阿貝爾（左），於林緝光工作室享用牛排晚餐，1969年。 Walasse Ting (Right), Lam Kwong (Middle) and Karel Appel (Left) in Lam's Studio having steak dinner in 1969.
Kwong and his wife Chao Ming-xin. Thanks to their generosity, Walasse Ting was able to enjoy his frivolous life. Commissioned by Lam Kwong, Ding Yan-yong carved a soapstone seal for Walasse Ting in 1969, thence marked the relationship of the three. This period was the peak of both Ding Yan-yong and Walasse Ting in the international ink art world. This seal could be found in Lady (Lot 627) and carried a symbolic bonding between
the two artists. In 1977, Walasse Ting visited Hong Kong to pay a visit to Fang Chao-ling and Ding Yan-yong for an artistic exchange. Later Ting wrote to Lam describing their encounter while eating noodles. Lam Kwong was a bridge between the art of East and West, and a facilitator of such relationships. His rare collection of ink works and archival documents that survive till this day was fundamental to the art scene.
THE EXQUISITE BRUSHWORK THAT ASTOUNDED THE ART WORLD Values of the art market often mark the rare and artistic value of a work in art history. Works of Ding Yan-yong achieved significant value at Ravenel autumn sale in 2021. Colossal works Mountain Fairy was sold for NT$2.64 million, Fish, Crab and Frog for NT$1.8 million, Landscape for NT$ 1.32 million. Hence it is foreseeable that similar exhibited works such as Riverscape and Frogs Croaking in Lotus Pond would achieve outstanding results. The monochrome paintings of Walasse Ting offered were painted in 1968-1970 at the pinnacle of his career after entering the Western art circle. At the age of 40, he donated 40 works to the Cernuschi museum in Paris aroused heated discussion and visibility in the artistic community. This sale offers museum-graded works that mark the important stages of Ting's career. Their values weigh beyond monetary estimates.
Despite the differences in styles of Ding Yan-yong and Walasse Ting, both shared their dedication to their artistic creation by combining styles of the East and the West. Their works are vibrant and innovative. Through this curated sale, their significant works and archival documents are gathered to provide significant academic insights into the historical development of the art with prominent values in the market. Using their common medium ink, the two artists had shown the graphical representation of the West and the spiritual demonstration of Chinese art, as a hommage to traditions and an artistic expression of the post-war era. The experimental approaches of Ding Yan-yong and Walasse Ting made them renowned artists of the East and West.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
607
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
蘇三起解及擊鼓罵曹（兩件一組）
Judgement Day and Impeachment of Cao Cao (A Set of Two)
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist
（左）公道不公道，只有天知道。
PROVENANCE
Acquired directly from the artist EXHIBITED
(Right)"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970 ILLUSTRATED
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 169, 171
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000
28
34 x 34 cm（每件） 釋文： （右）擊鼓罵曹。 款識： （左、右）丁衍庸寫。 鈐印： （左）丁虎鈢（白文） （右）庸之鈢（白文） 來源
現藏家直接得自藝術家本人 展覽
（右）「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
《中華瑰寶大成：八大山人與丁衍庸》，河南美術出版社， 河南，2021，頁 169、171
608
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
蘆岸圖及春水（兩件一組）
Reed in Bloom and Landscape (A Set of Two)
1969
1969 Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist
釋文：
PROVENANCE
Acquired directly from the artist ILLUSTRATED
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 180, 176
NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000
水墨 設色 紙本 鏡框 34 x 34 cm（每件） （左）躍然一夜風吹去，只在蘆花淺水邊。 （右）春水纔高三五尺，野航洽渡兩三人。 款識： （左）己酉，丁衍庸寫。 （右）己酉為輯光老弟作，丁衍庸。 鈐印： （左、右）牛君（朱文） 來源
現藏家直接得自藝術家本人 圖錄
《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021，頁 180、176 註 上款人「輯光老弟」即為林緝光先生，丁衍庸最親 近的弟子之一。
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
609
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
寫意山水及山水寒丁（兩件一組）
Landscape and Lonely Boating (A Set of Two)
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist
（右）山也零丁，水也零丁，先生姓丁。
PROVENANCE
Acquired directly from the artist EXHIBITED
(Left)"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970 ILLUSTRATED
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 187, 177
NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000 30
34 x 34 cm（每件） 釋文： 款識： （左）丁衍庸寫。 鈐印： （左、右）牛君（朱文） 來源
現藏家直接得自藝術家本人 展覽
（左）「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
《中華瑰寶大成：八大山人與丁衍庸》，河南美術出版社， 河南，2021，頁 187、177
610
DING Yan-yong (Chinese, 1902-1978)
丁衍庸 兩松圖及白玉蘭花圖（兩件一組）
Squirrel and Pine and Magnolia (A Set of Two)
1969
1969 Ink on paper, scroll 68.5 x 35.5 cm; 68.6 x 34.6 cm Signed DING Yan-yong in Chinese With two seals of the artist
款識：
PROVENANCE
Acquired directly from the artist
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000
水墨 紙本 立軸 68.5 x 35.5 cm ; 68.6 x 34.6 cm （左）己酉，丁衍庸。 （右）輯光仁弟，丁衍庸畫。 鈐印： （左、右）叔旦（朱文） 來源
現藏家直接得自藝術家本人 註 上款人「輯光仁弟」即為林緝光先生，丁衍庸最親 近的弟子之一。
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
611
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
貴妃醉酒圖
'Come Drink with Me', Yang Guifei in the 'Hundred Flower Pavilion'
1978
1978 Ink and colour on paper, scroll 69 x 45 cm Signed DING Yan-yong in Chinese With two seals of the artist
釋文：貴妃醉酒。
PROVENANCE
Acquired directly from the artist
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 32
水墨 設色 紙本 立軸 69 x 45 cm 款識：戊午，丁衍庸。 鈐印：丁虎（白文）、虎（朱文） 來源
現藏家直接得自藝術家本人
612
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
小鳥葫蘆及蝦兵蟹將聽蛙聲（兩件一組）
Bird and Gourds and Frog Croaking (A Set of Two) 1969 Ink and colour on paper, scroll 69 x 34 cm; 69 x 35 cm Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
1969 水墨 設色 紙本 立軸 69 x 34 cm ; 69 x 35 cm 釋文： （左）瓜瓞綿綿。 款識： （左、右）己酉，丁衍庸寫。 鈐印： （左）叔旦（白文） （右）叔旦（朱文）
(Left) "Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
來源
ILLUSTRATED
展覽
(Left) Exhibition Brochure of Ding Hwin Young, University of Guelph, Ontario, 1970 (Left) Ting Yin Yung Catalogue Roisnné, Oil Paintings, The Li Ching Cultural and Educational Foundation, Taipei, 2020, p. 114
NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000
現藏家直接得自藝術家本人 （左）「丁衍庸作品個展」，加拿大貴湖大學， 安大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
（左）《丁衍庸作品個展》簡冊，加拿大貴湖大學， 安大略省，1970 （左）《丁衍鏞油畫全集》，財團法人立青文教基金會， 台北，2020，頁 114
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
613
DING Yan-yong (Chinese, 1902-1978)
Narcissus and Script Poem and Crane (A Set of Two) 1969 Ink on paper, scroll 140 x 34 cm; 104 x 35 cm Signed DING Yan-yong in Chinese With five seals of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
(Left) "Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
NT$ 180,000 - 280,000 HK$ 49,000 - 76,000 US$ 6,300 - 9,700 RMB 40,000 - 62,000 丁衍庸 狂情寄水仙及松鶴圖（兩件一組） 1969 水墨 紙本 立軸 140 x 34 cm ; 104 x 35 cm 釋文： （左）楚恨歌山鬼，狂情寄水仙；悠悠意無限， 敢望世人憐。 款識： （左）己酉寫顛道人詩意，丁衍庸。 （右）己酉，丁衍庸寫。 鈐印： （左）丁虎（朱文）、牛君（朱文）、叔旦（朱文）、 肖形印（白文） （右）叔旦（朱文） 來源
現藏家直接得自藝術家本人 展覽
（左）「丁衍庸作品個展」，加拿大貴湖大學， 安大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日
34
614
DING Yan-yong (Chinese, 1902-1978)
Cicada and Frogs under Plantain (A Set of Two) Ink on paper, scroll 140 x 34 cm; 131 x 33 cm Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
(Left)"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
NT$ 180,000 - 280,000 HK$ 49,000 - 76,000 US$ 6,300 - 9,700 RMB 40,000 - 62,000 丁衍庸 西陸蟬鳴及芭蕉青蛙圖（兩件一組） 水墨 紙本 立軸 140 x 34 cm ; 131 x 33 cm 釋文： （左）西陸蟬聲唱，南冠客思鄉。 款識： （左）駱賓王詩意，丁衍庸寫。 （右）丁衍庸畫。 鈐印： （左）肖形印（白文） （右）叔旦（朱文） 來源
現藏家直接得自藝術家本人 展覽
（左）「丁衍庸作品個展」，加拿大貴湖大學，安 大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3日
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
615
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
茅庵論道圖
Riverscape
1969 Ink and colour on paper, framed 180 x 96 cm Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
1969 水墨 設色 紙本 鏡框 180 x 96 cm 釋文：墨點無多淚點多，山河仍是舊山河。橫波亂石 材搓樹，留得文林細揣摹。 款識：己酉冬日寫八大山人詩意，丁衍庸。 鈐印：丁虎鈢（白文）、牛君（朱文） 簽條 款釋：丁衍庸，茅庵論道圖。 來源
現藏家直接得自藝術家本人 展覽
NT$ 480,000 - 700,000 HK$ 130,000 - 190,000 US$ 16,700 - 24,300 RMB 107,000 - 156,000
「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日
丁衍庸原擅長西畫，後習中國書畫，他的山水圖式不僅承
Ding Yan-yong practiced western art prior to Chinese paintings. His landscape paintings blended the scholarly styles of Shi Tao, Zhu Da with the concept of Fauvism, creating a unique work of art. Using a simplistic composition of ink and strokes, his works are unique with a modern composition in the aesthetic context.
繼了自石濤、朱耷等人以來的文人畫傳統，又能揉合野獸 派的結構概念，革新了山水畫的佈局面貌，筆墨章法煥然 一新，藉由疏落簡潔的線條將山水畫作出現代化的配置， 在似與不似之間貼近藝術審美的本質。 《茅庵論道圖》款題、畫意托自八大山人詩句：「墨點無 多淚點多，山河仍是舊山河。橫流亂石枒槎樹，留得文林 細揣摩。」綜觀畫面以線為骨，以大筆中鋒粗線勾勒出山 形輪廓，刻意以留白、乾筆墨漬的流淌做出蒼樸之態，結 合傳統水墨的散點視角與西畫焦點透視的方法，讓畫面韻 味層次豐富，雖逸筆草草卻能感受到縱筆揮毫的隨興所 至。丁衍庸畫山水取法八大山人，又能上窺董其昌、倪雲 林，此作構圖取八大山人《秋林亭子圖》與《山水》，以 「三山二水」的段式構圖描繪：縱向平遠的山勢分隔成三 段，近景寫奇松盤踞、竹林亭下文士對望，中上段則以迅 疾的皴筆析分出山石與水系，右側以雙舟孤帆的動態反襯 出奇松亂石與竹亭孤村的靜謐，赭色的點染讓原本應枯索 冷寂的寒山剩水一顯簡樸雄健之氣，反映出丁衍庸晚年隨 遇而安的心境，看似無法而有法的境界，將情感與畫技高 度融合，不僅打開中國新水墨的新局面，更成為近代水墨 大家。
36
This work has an inscription cited from a poem by Bada Shanren. Lines are the mainstay of the work. They outline the shapes of the mountains with carefully planned blank spaces and intermittent dried ink, to enhance fluidity in the work. Multiple viewpoints and linear perspective of Western art are used to enrich the painting. Swift strokes demonstrate the spontaneity of the brush. The style of landscape shows references to Bada Shanren, Dong Qi-chang and Ni Yunlin. The structure is close to the works of Bada Shanren. The whole structure is vertically divided with mountains in three sections: crooked pine trees and scholars in the foreground, rocks carved by swift cun strokes in the middle ground, and boats at a distance. The rocking boats contrasts with the tranquility of crooked pine trees, scattered rocks and a desolated village. Light ochre enlivens the lonely mountain scene with its density and austerity. This reflects Ding's mentality towards an elderly age and his sophistication in demonstrating his emotions through a brush. Such innovative creation paves a significant step towards Chinese modern ink in the course of history.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
616
DING Yan-yong (Chinese, 1902-1978)
Frogs Croaking in Lotus Pond 1966 Ink on paper, scroll 137 x 68 cm Signed DING Yan-yong in Chinese With one seal of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970 ILLUSTRATED
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 144-145
NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000 丁衍庸 荷池秋景 1966 水墨 紙本 立軸 137 x 68 cm 款識：丙午秋日，丁衍庸寫。 鈐印：叔旦（朱文） 來源
現藏家直接得自藝術家本人 展覽
「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 144-145
38
617
DING Yan-yong (Chinese, 1902-1978)
Lohan Taming Tiger 1975 Ink and colour on paper, scroll 91 x 46 cm Signed DING Yan-yong in Chinese With one seal of the artist PROVENANCE
Acquired directly from the artist
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000 丁衍庸 伏虎羅漢 1975 水墨 設色 紙本 立軸 91 x 46 cm 釋文：伏虎。 款識：乙卯，丁衍庸寫。 鈐印：牛君（朱文） 來源
現藏家直接得自藝術家本人
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
618
DING Yan-yong (Chinese, 1902-1978)
Calligraphy Couplet in Cursive Script Ink on paper, scroll 139 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000 丁衍庸 海天對聯 水墨 紙本 立軸 139 x 34 cm （每件） 釋文：海為龍世界，天是鶴家鄉。 款識：明心仁嫂，丁衍庸書。 鈐印：鴻（朱文）、日龍（白文）、胡（朱文） 來源
現藏家直接得自藝術家本人 展覽
「丁衍庸作品個展」，加拿大貴湖大學，安大 略省，展期 1970 年 11 月 13 日至 1970 年 12 月3日 註 上款人「明心仁嫂」即為林緝光先生的夫人趙 明心。
40
619
DING Yan-yong (Chinese, 1902-1978)
Calligraphy Couplet in Cursive Script 1969 Ink on paper, scroll 138.7 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist PROVENANCE
Acquired directly from the artist EXHIBITED
"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000 丁衍庸 道義仁慈對聯 1969 水墨 紙本 立軸 138.7 x 34 cm（每件） 釋文：道義家世，仁慈為風。 款識：緝光仁弟，己酉冬日，丁衍庸書。 鈐印：叔旦（朱文）、虎（白文）、胡丁（白文） 來源
現藏家直接得自藝術家本人 展覽
「丁衍庸作品個展」，加拿大貴湖大學，安大略 省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 註 上款人「緝光仁弟」即為林緝光先生，丁衍庸最 親近的弟子之一。
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
620
DING Yan-yong (Chinese, 1902-1978)
Calligraphy in Cursive Script (A Set of Two) 1969 Ink on paper, scroll 132 x 30.5 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE
Acquired directly from the artist
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 丁衍庸 心是明鏡臺（兩件一組） 1969 水墨 紙本 立軸 132 x 30.5 cm（每件） 釋文： （左、右）心是明鏡臺。 款識： （左）明心小姐清賞，己酉丁衍庸書。 （右）明心女士，己酉丁衍庸書。 鈐印： （左）丁虎鈢（白文） （右）丁虎鈢（白文） 來源
現藏家直接得自藝術家本人 註 上款人「明心小姐」、「明心女士」即為林 緝光先生的夫人趙明心。
42
621
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
一點相思淚（東坡像）及陶淵明採菊東籬圖 （兩件一組）
Portrait of Poet, Su Dong-po and Tao Yuan-ming Picking Chrysanthemum (A Set of Two)
水墨 紙本 鏡框 34 x 34 cm（每件） 釋文：
Ink on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist
（左）去年一點相思淚，至今年未流到腮邊。
PROVENANCE
（右）丁衍庸寫。
Acquired directly from the artist
鈐印：
EXHIBITED
（左、右）牛君（朱文）
"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970
來源
ILLUSTRATED
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 170, 172
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
（右）採菊東籬下，悠然見南山。 款識： （左）東坡像，丁衍庸寫。
現藏家直接得自藝術家本人 展覽
「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021，頁 170、172
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
622
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
菊花草蟲及荷花蚱蜢圖（兩件一組）
Chrysanthemum and Insects and Lotus and Grasshopper (A Set of Two)
水墨 紙本 鏡框；水墨 紙本 立軸
Ink on paper, framed; Ink on paper, scroll 34.3 x 33.7 cm; 33.3 x 33 cm Signed DING Yan-yong in Chinese With two seals of the artist and one seal of the collector
（左）此君跳哥哥。
PROVENANCE
Acquired directly from the artist EXHIBITED
(Left) "Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970 ILLUSTRATED
(Left) Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, p. 167
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000 44
34.3 x 33.7 cm ; 33.3 x 33 cm 釋文： 款識： （左）丁衍庸寫。 （右）丁衍庸畫。 鈐印： （左）丁鴻（朱文）、緝光審定（白文） （右）叔旦（朱文） 來源
現藏家直接得自藝術家本人 展覽
（左）「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
（左）《中華瑰寶大成：八大山人與丁衍庸》，河南美 術出版社，河南，2021，頁 167 註 收藏印「緝光審定」屬林緝光先生所有，林氏為丁衍庸 最親近的弟子之一。
623
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
貍蝶圖及二蛙圖（兩件一組）
Cat and Butterfly and Frogs (A Set of Two)
水墨 紙本 鏡框
Ink on paper, framed 34.3 x 33.7 cm (each) Signed Yong and DING Yan-yong in Chinese With two seals of the artist and two seals of the collector
（左）己有仙哥譽，胡為蜂蝶忙。
PROVENANCE
Acquired directly from the artist EXHIBITED
"Ding Hwin Young", University of Guelph, Ontario, 13 November, 1970 - 3 December, 1970 ILLUSTRATED
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 192, 162
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
34.3 x 33.7 cm（每件） 釋文： 款識： （左）八大山人有此本，庸。 （右）丁衍庸寫。 鈐印： （左）丁虎（白文）、緝光審定（白文） （右）衍庸私鈢（朱文）、緝光審定（白文） 來源
現藏家直接得自藝術家本人 展覽
「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄
《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 192、162 註 收藏印「緝光審定」屬林緝光先生所有，林氏為丁 衍庸最親近的弟子之一。
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
624
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
素描（二十件一組）
Drawings (A Set of Twenty) Pencil on paper, laminated, framed 21.5 x 27.8 cm; 22 x 28 cm; 16 x 25.5 cm Signed Y. TING in English PROVENANCE
Former collection of Mr Mou Lok-man Acquired directly from the artist EXHIBITED
"Ting Yen-yung’s Drawings", The Chinese Cultural Association, Hong Kong, 29 September, 1979 - 30 September, 1979 ILLUSTRATED
"Ting Yen-yung’s Drawings", Wah Kiu Yat Po, Overseas Chinese Daily News Limited, Hong Kong, 24 September, 1979, p.3 (Sketch Cat) Chinese painting by Ting Yen Yung, Bestfond Asia Co Ltd, Hong Kong, 1988 (Sketch Cat and Sketch Fish) Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 222, 220, 221, 210, 228, 223, 227, 226, 219, 215
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 46
鉛筆 紙本 護貝 框 21.5 x 27.8 cm ; 22 x 28 cm ; 16 x 25.5 cm 來源
繆樂民先生舊藏 現藏家直接得自上述來源 展覽
「丁衍庸素描習作展」，中國文化協會，香港，展 期 1979 年 9 月 29 日至 1979 年 9 月 30 日 圖錄
〈丁衍庸素描習作展〉，《華僑日報》，華僑日報 有限公司，香港，1979 年 9 月 24 日，頁 3（大尾貓） 《丁公畫集》，Bestfond Asia Co Ltd，香港，1988 （大尾貓、大小魚） 《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021，頁 222、220、221、210、 228、223、227、226、219、215 註 繆樂民先生為丁衍庸學生之一，與藝術家來往甚繁， 曾收藏無數丁氏精品，曾多次在「雄獅美術」雜誌 發表文章。
625
DING Yan-yong
丁衍庸
(Chinese, 1902-1978)
素描（十件一組）
Drawings (A Set of Ten) Pencil on paper, laminated, framed 28 x 22 cm (each) Signed Y. TING in English PROVENANCE
Former collection of Mr Mou Lok-man Acquired directly from the artist EXHIBITED
鉛筆 紙本 護貝 框 28 x 22 cm ( 每件 ) 來源
繆樂民先生舊藏 現藏家直接得自上述來源 展覽
「丁衍庸素描習作展」，中國文化協會，香港，展 期 1979 年 9 月 29 日至 1979 年 9 月 30 日 圖錄
"Ting Yen-yung’s Drawings", The Chinese Cultural Association, Hong Kong, 29 September, 1979 - 30 September, 1979
《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021，頁 214、216、211、213
ILLUSTRATED
註 繆樂民先生為丁衍庸學生之一，與藝術家來往甚繁， 曾收藏無數丁氏精品，曾多次在「雄獅美術」雜誌 發表文章。
Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 214, 216, 211, 213
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
626
Walasse TING
丁雄泉
(Chinese-American, 1929-2010)
昆蟲圖
Insects
Ink on paper, folding fan 20 x 68 cm Signed Walasse TING in Chinese PROVENANCE
Acquired directly from the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
48
水墨 紙本 成扇 20 x 68 cm 釋文：明心大美人，嫣然一笑，阿雄。 款識：採花大盜押。 來源
現藏家直接得自藝術家本人 註 上款人「明心大美人」即為趙明心女士，為丁雄泉 好友，來往甚繁。
627
Walasse TING (Chinese-American, 1929-2010)
Lady
1972 Ink on paper, scroll 112 x 67 cm With two seals of the artist PROVENANCE
Acquired directly from the artist
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 丁雄泉 意想圖 1972 水墨 紙本 立軸 112 x 67 cm 鈐印：雄泉之印（朱文）、採花大盜 （白文） 來源
現藏家直接得自藝術家本人 註 畫中所用鈐印「雄泉之印」和「採 花大盜」即是 1969 年丁衍庸為其所 刻之印。
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
628
Walasse TING (Chinese-American, 1929-2010)
Plum Blossom
Ink on paper, framed 178 x 96 cm With one seal of the artist PROVENANCE
丁雄泉 梅花 水墨 紙本 鏡框 178 x 96 cm 鈐印：採花大盜（白文） 來源
現藏家直接得自藝術家本人
Acquired directly from the artist
NT$ 120,000 - 240,000 HK$ 33,000 - 65,000 US$ 4,200 - 8,300 RMB 27,000 - 53,000
丁雄泉1957年來到紐約後，不斷地思索著中國傳統水墨藝 術如何進入當時西方藝術的領域，初期藉由漢代拓本的製 作方法，結合了現代風格與戲劇的元素，將墨水不規則的 痕跡印於紙上進而顯現主題的肌理脈絡；隨後在紐約的創 作時期受到書法筆勢的啟發，將水墨畫和美國抽象表現主 義的結構表現相結合，以墨色點綴空白的繪畫形式、以書 法中「飛白」的托曳線條打開了線條的新詮釋，延續了中 國水墨藝術所注重的空白與氣韻流動的傳統。 《梅花》一作既有寫意花鳥繪畫的優雅自得，也結合了西 方藝術的線條結構，是一種趨近於心性自然主義的表現， 他簡化了傳統墨梅的形象並以線條為綱的理念，畫面左側 以墨色染出蒼勁的枝幹，再以迅疾的筆法抽拉出上下二 分、岔枝旁出的梅枝，細細品味但覺清麗脫俗，他以看似 無意識的線條綜合了中國筆墨趣味與即興繪畫的隨性，白 描勾勒出擁擠、團簇盛放的梅蕊，通幅畫作疏密有致，似 無意而意無窮，在線條吞吐間流轉氣韻，既有金石的意趣 又有文化探索的深刻思維，《梅花》呈現出一種純粹、近 乎自然事物本質且超越色彩對比的美，同時此種中國水墨 的構圖形式也直接了影響丁雄泉日後彩色花卉的佈局與創 作，其重要性不言自喻。
50
Following his relocation to New York in 1957, Walasse Ting dedicated himself to developing Chinese ink art in the Western art community. In his early stage of career, Han stone rubbing method was used to blend with modern compositions and dramatic elements to highlight the texture of paper imprint with ink. Following his stay in New York, his art became heavily inspired by brushstrokes. Blots of ink on white spaces and embellish strokes create a novel interpretation of ink art with regards to the manipulation of blank spaces and the fluidity of subjects. This work is a carefree Flower-and-Bird painting with hints to the linear composition of Western art. Ting reduced the way of classical plum depiction to simplistic lines. Sturdy strokes were used on the left as a branch. A sudden accelerated brush divided the branches into twigs, creating a fascinating and elegant work. Such spontaneity is the essence of Chinese ink art and a reflection of his character. Flowers and its details were sketched into a condensed space, balancing the heaviness of the painting by the artist's instinct. This hints to the whimsical nature of Jinshi and the rich depth of Chinese culture. It excels beyond colour representation and realistic depiction, leading Walasse Ting towards his multicolored flowery works in his later career.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
629
Walasse TING
丁雄泉
(Chinese-American, 1929-2010)
美女捧蝗圖
Lady Holding a Locust 1969 Ink on paper, framed 184 x 94 cm Signed TING Ah-xiong in Chinese With one seal of the artist PROVENANCE
Acquired directly from the artist
NT$ 160,000 - 260,000 HK$ 43,000 - 71,000 US$ 5,600 - 9,000 RMB 36,000 - 58,000
丁雄泉的水墨創作最早開始於漢代拓本，探索對於圖像的 掌握與墨色的運用，隨後著力於人物的描繪，如京劇人 物、美女等，藉由線條開始發展出各種可能性，歷代文 人的仕女圖均是他取樣摹寫的對象，傳統文人豪放不羈 的氣度與大膽摹寫的筆觸，和丁雄泉本身的性格與生活態 度相契合，因此《美女捧蝗圖》一作便多了耐人尋味的聯 繫與趣味性，丁雄泉早年在巴黎創作時期，馬蒂斯作品中 的線條帶給他很大的震撼，讓此作描繪的美女帶有一種戲 曲人物與野獸派結合、雙重的臉部結構：細筆勾出的尖臉 眉鼻、撩人的鳳眼、輕啟的唇瓣，雖無設色卻依舊熱情嫵 媚；1970年代前後，丁雄泉開始以書法中鋒用筆創作，美 女體態的勾勒則來自於狂草的律動，點頓挫捺之間可以見 其驚人的腕力與爆發力，墨色濃淡的控制將美女身軀隱藏 於迴盪的筆勢之中若隱若現，最後再以潑灑甩濺的手法將 圖面營造得更具動態—這是丁雄泉汲取了來自抽象表現主 義技法的運用；美女手捧蝗蟲代表著生生不息的生命力， 蝗蟲更是一種性隱喻，在花底葉梢間流連嬉戲，從女人和 鮮花中吸取源源不絕的養分，對照畫幅正面題簽「強盜丁 阿雄」更充滿詼諧趣味；畫背1974年補題簽贈與林緝光、 趙明心夫婦新婚誌喜，再透露出丁雄泉為人豪邁的狂氣和 與摯友林緝光的知交情誼。
52
1969 水墨 紙本 鏡框 184 x 94 cm 款識：強盜丁阿雄筆。 鈐印：無錫光裕堂丁（朱文） 簽條 款識：強盜阿雄，美女捧蝗圖，一九六九夏。 林緝光老弟，林明心夫人恭賀新禧，一九七四春， 丁雄泉賀。 來源
現藏家直接得自藝術家本人 註 上款人「林緝光老弟」及「林明心夫人」即為林緝 光及趙明心伉儷，為丁雄泉好友，來往甚繁。
With an origin traced to Han rubbings, Walasse Ting's creativity is largely based on figurative depiction and gradations of ink. Figurative paintings such as actors of Peking opera and ladies derived from the application of lines and curves. This shows references to classical ladies paintings and the carefree character and bold style of painting of scholars throughout history. This matches with the style of Walasse Ting. This intriguing work was made in Ting's early days in Paris. He was astounded by the use of lines in Matisse's work, which he applied later to the lady in this work. She is an actress of an opera in the style of Matisse. Facial features were carefully sketched with a pointy face, delicate brows and nose, lifted eyes and slightly opened lips. Femininity shines through the monochrome composition. In the 1970s, Walasse Ting used a central brush in his works. Dots and lines, with intricate changes in gradation, show the artist's power and movement of the wrists as he navigated the swift cursive strokes along the feminine body. Splashes of ink concludes the work by adding frivolity to the panel. This is a typical way of application borrowed from Abstract expressionism. The connotation of a lady holding a locust refers to the continuity of life. Locust carries a sexual context as it plays around flowers and leaves getting nutrients from women and flowers. The signature of “Raider Ah Xiong” adds to the humour of the painting. Signed 1974 at the back of the painting addressing Lam Kwong and Chao Ming-hsin marks the couple's marriage, Ting's frivolous character and the unbreakable bond of friendship with Lam Kwong.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
630
Walasse TING (Chinese-American, 1929-2010)
丁雄泉 仕女圖
Ladies
1970
1970 Ink on paper, framed 182.5 x 91 cm With one seal of the artist
182.5 x 91 cm
PROVENANCE
Acquired directly from the artist
水墨 紙本 鏡框 鈐印：採花大盜（朱文） 簽條 款識：丁雄泉《仕女圖》，一九七 O 年作。 來源
現藏家直接得自藝術家本人
NT$ 180,000 - 280,000 HK$ 49,000 - 76,000 US$ 6,300 - 9,700 RMB 40,000 - 62,000
丁雄泉《仕女圖》的創作可視為他一生描繪女性題材最早 的起源，他以簡練樸素的線條找尋中國傳統水墨人物的精 髓，加上遠赴歐美經歷過現代西方藝術的洗禮薰陶，歸納 出跨越東西方藝術的「現代」，此作原型托自明代唐寅的 仕女圖筆意，畫面上的仕女僅只留下能夠辨別時代的蓬鬆 髮髻，沒有強調過多的個性，丁雄泉使用了像馬蒂斯畫作 裡深黑的輪廓墨線，將仕女的體態抑制下來，以簡單、疾 馳的筆觸掃過，營造出斑駁有力的視覺效果，與人物饒富 興味的表情形成了強烈的對比，精準地捕捉到人物的精神 與本質，在濕筆與勾勒之間作出黑與白的變化，展露出傳 統筆墨中點與線的提取及使用，同時也能看出他早期對於 拓本刻線的鑽研，企圖將原始藝術的直接應用於畫面；又 以自然流動的滴墨作出仕女手中的捧花，將抽象表現主義 的隨機性展露無疑，在墨韻的動態與純粹性中帶來視覺的 震撼；看似不經意的畫面處理，卻是丁雄泉面對歐美新興 藝術浪潮的反思，他不斷地在內心探問追求如何「以中潤 西」：他以非傳統的仕女圖作出一種現代性的圖像，而畫 面上「採花大盜」的紅色圖章則成為唯一能夠辨識他來自 傳統國畫的傳承，如此大膽直接的表現也成為丁雄泉往後 大量創作女性題材作品的起點。
54
This painting could be regarded as an early feminine depiction in Walasse Ting's artistic career. In his search of the essence of Chinese classical ink paintings through simplistic lines, as he immersed himself fully in modern Western art, Walasse Ting was able to conclude the definition of "modern art" in the combination of both the West and the East. This work is derived from Ladies of Tang Yin of Ming dynasty, suggested by the loose hairdos of the ladies in their simplistic depiction. Dark contour lines were used with reference to Matisse's paintings. Swift strokes and simplistic lines brush across the panel, imposing stark contrast with the delicate expression on the face which captures the characters of the ladies. Damp brush juxtaposes dark lines with white spaces, demonstrating the classical techniques of ink painting. Influence of stone rubbings could be traced in the blocks of ink, with the aim to incorporate primitive art to the panel. Ink drips from the flowers held by the ladies add spontaneity and visual impact to the painting. Such spontaneity was Ting's unique interpretation of the art movements in Europe and the US, and his constant quest to incorporate Chinese elements into Western art. By using an unconventional composition of ladies with a modern twist, one could only identify the Chinese element through a red seal of "Flower Snatcher". This work paved his way towards his other ladies genre paintings in his later career.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
631
Walasse TING (Chinese-American, 1929-2010)
丁雄泉 藍色女士，紫色女士
Blue Lady, Purple Lady
1990 年代
1990s Acrylic on paper 48 x 60 cm With one seal of the artist
48 x 60 cm
壓克力 紙本 鈐印：採花大盜（白文） 來源
卡托畫廊，倫敦
PROVENANCE:
Catto Gallery, London
附丁雄泉基金會開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by Walasse Ting Archive
NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000
一生不受羈絆、浪漫無度的丁雄泉以他最絢麗、最撩人眼 目的斑斕畫作吸引世人目光，他所表達的不僅是他處事的 態度，亦是他對藝術熱愛的生活；丁雄泉喜愛艷麗花朵、 色彩迷人的鸚鵡、或是壯碩的駿馬、或是畫貓、畫蟋蟀， 自稱為「採花大盜」他最癡迷的創作主題同時也是他一生 最難以捨卻也最令人稱道的是他對於女人的描繪。 《藍色女士，紫色女士》作品創作於1990年代，畫中兩名 女性左右兩側對稱，鮮花搭配唇色、粉嫩髮色及藍碧眼眸 間更增添女人的撫媚。整幅畫洋溢著熱烈的色彩。丁雄泉 用自己與生俱來的天賦，去創作大量豐富且鮮明的繪畫形 象。此作品反映了創作時的感性與他眼中的美，生動的顏 色搭配是他創作時精力充沛、酣暢淋漓的有力證明。 因著際遇與人格特質的不同，每個人的人生自有其獨特的 蜿蜒，丁雄泉一生受美所吸引，他擁抱世間美好，擁抱自 身的渴望，透過彩筆抒發他對生命的熱愛。如同《藍色女 士，紫色女士》一作，畫裡有丁雄泉熱情與感性的性格， 有他對生命的讚頌，他的繪畫自成一個世界，無畏現實的 缺憾，昇華世間的愁苦，散發一股奇幻的魔力。
56
Being romantic and carefree in nature, Walasse Ting chose to depict his works in the most attractive and colourful way. Such expressiveness highlights his character and, above all, his passion towards art. Colourful flowers, parrots, horses, cats and locusts were his favourite subjects. Despite naming himself as a Flower Thief, women have been his repeated subjects that intrigued the artist and the audience. Blue Lady, Purple Lady was created in the 1990s, featuring two ladies on both sides. The colour of flowers, lips, hair and blue eyes characterise femininity of the women. The whole painting was filled with a joyous tone. With his exceptional talent, Walasse Ting pushed his creation forward with multicoloured subjects. This work reflects the sensual side of the artist and his standard of beauty. The variation of colours highlights the frivolous personality as he painted. Life varies with different personalities and experiences. In his life, Walasse Ting surrounded himself with aesthetic beauty and the desire for beautiful things through the expression of colours. This work is a typical genre as all his other works, as Ting represented his passion and sensuality, and his chant towards life on a canvas, so that this magic transcends sorrow in life.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
632
Walasse TING
丁雄泉
(Chinese-American, 1929-2010)
墨林山間
Mountain Hamlet Ink on paper, framed 180 x 96.5 cm With two seals of the artist PROVENANCE
水墨 紙本 鏡框 180 x 96.5 cm 鈐印：採花大盜（朱文） 來源
現藏家直接得自藝術家本人
Acquired directly from the artist
NT$ 220,000 - 360,000 HK$ 60,000 - 98,000 US$ 7,700 - 12,500 RMB 49,000 - 80,000
《墨林山間》一作受到當時抽象表現主義風格的影響，丁 雄泉藉由大塊面的墨色潑刷、暈染、漬滲將其內心屬於 中國南方一派的山水揮灑而出，援用並改造來自吳派山 水的經典圖式：圖面下方傾斜階梯狀的平面構成完整的 坡景與河景，點綴林樹屋舍，濕、渴筆兼用刷出肌理，既 能融合墨跡線條又能呈現出壯麗而非寫實的分明輪廓，深 具強烈的當代性格。丁雄泉曾於訪談中自述提及：「當你 看大山，你自己變成大山。當你看大海，你自己也變成大 海。」也因為這樣對於藝術熱切地追求與創作的激情，讓 他的水墨山水深具個人特色。墨色的使用上他作出了改革 創新，重構傳統皴擦點染的技法，將山水的形意作出現代 型態的轉換，畫面上層層的墨斑就像羅斯科繪畫裡的塊面 顏色，大膽地使用筆、手與現成物品，以充滿實驗意味濃 厚的繪畫技巧運用在畫面，將書寫性的線條與大面積的墨 色鋪墊，層層的堆疊、抹擦、拓印，將「墨分五色」的概 念提升至繪畫行動的實踐，以「計黑當白」的形式打開水 墨山水注重氣韻流動的要求，畫面奇險卻又能濃縮自然山 水的意態神韻，墨色酣暢淋漓當前，一派風光無限，充滿 內在精神性的山水構圖，是丁雄泉對於傳統水墨山水的創 新與革變，深具時代意義且對當代山水畫產生了深遠的影 響。
58
Under the influence of Abstract expressionism, Walasse Ting painted a majority of the work with splashed ink in the context of Chinese landscape ink painting with reference to the landscape of the Wu School. The lower panel is painted with details of slopes and riverscape, embellished with huts and trees. The intermittent use of damp and dried brush depict various textures, which were enhanced by the lines to create a magnificent landscape. Such an imaginative scene enriches a modern character in the work. In an interview, Walasse Ting mentioned that one turned into the subject matter when one views the object. This is the result of an artist’s devoted pursuit of creativity and passion, allowing his work to carry an immense depth of individuality. Innovation in the use of ink enabled him to reconstruct the techniques of cun strokes and dots, thereby modernizing the landscape genre. Layers of ink coagulate as colour blocks of a Rothko painting. Bold use of brush, hands and daily objects as medium of application on the panel is experimental. Lines and layers of ink imprinted and rubbed on large areas of the panel challenge the concept of traditional "five ink gradations" in its practice. Using black ink as white spaces, the brilliance of landscape and the fluidity of ink is enhanced. The vastness of landscape could be depicted under the richness of ink, showing individuality of the artist and the grandiosity of landscape paintings. This concludes the innovativeness of Walasse Ting as he transformed this classical genre into a modern painting.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
633
Walasse TING (Chinese-American, 1929-2010)
Locust and Peony 1971 Ink on paper, framed 181 x 91 cm With one seal of the artist PROVENANCE
Acquired directly from the artist
丁雄泉 芙蓉花蝗蟲圖 1971 水墨 紙本 鏡框 181 x 91 cm 鈐印：採花大盜（朱文） 簽條 款識：丁雄泉《芙蓉花蝗蟲圖》，一九七一年。 來源
現藏家直接得自藝術家本人
NT$ 200,000 - 320,000 HK$ 54,000 - 87,000 US$ 7,000 - 11,100 RMB 45,000 - 71,000
丁雄泉的創作歷程在西方當代文化中得到了極大的自由， 然而他的藝術本質仍然受中國傳統固有的文化意象所影 響，書畫詩歌與抽象表現主義的結合在此幅《芙蓉花蝗蟲 圖》可一覽無遺。芙蓉花的描繪取徑自徐渭、唐寅與八大 山人以來文人畫大寫意風格的表現，神韻清麗、筆簡形 具，不求筆墨但卻能看出現代繪畫的啟蒙性。畫作通幅以 淡墨輕刷染成水色淋漓的芙蓉枝葉，任由墨色汁液隨意流 淌，彷彿雨後即景的快速寫生，丁雄泉將美國波普文化的 即興與刺激強化在畫面表現，突破了傳統水墨平面感的限 制，貫穿畫面左側竄升的芙蓉枝與下方乾筆掃成的草莖， 看似柔弱無力的蔓生，卻能引導出觀者由下而上的視野開 闊性，白描勾勒出疏朗俊秀的芙蓉花，在墨色的變化中隱 現並產生前後的空間感，在花間或跳動、或棲息的蝗蟲以 細筆描繪，間接地表現出丁雄泉對於《詩經．螽斯》意象 的襲用與轉化，他筆下的蝗蟲成為情愛歡愉的表徵，帶有 慾望的誘惑與渴望，此作可視為丁雄泉水墨花卉最為浪漫 抒情的作品，他不僅能承繼傳統更有所突破，這類水墨花 卉的構圖形式也成為他後期發展出熱情奔放的花卉作品的 濫觴。
60
Despite having unrestrained boundaries of creation in the West, Walasse Ting stayed in the figurative depiction of classical Chinese art. This work shows the marriage of poetic depiction of Chinese art and Abstract expressionism in Western art. Derived from the style of Xu Wei, Tang Yin and Bada Shanren, peonies were depicted in its natural elegance with carefree strokes, showing his unique interpretation of modern art. The whole painting is lightly coloured to highlight the damp flower and leaves. Ink flows through the canvas depicting the scene after the rain. Spontaneity and dramatic depiction from Pop art was applied to the painting, differentiating itself from flat classical ink paintings. Flowers rose from the left, along with grass painted with dried ink, suggesting the fragility of wild plants. As the eye moves upwards, peonies sketched with ink spring to life. Using the variations of ink, space is enhanced in this work. Insects were delicately depicted dancing among the plants, highlighting Ting's sophisticated manipulation of the brush. Insects became a symbol of sexual pleasure and desire, making this work a romantic theme of flowers in ink. Not only does this work expands the boundaries of Chinese art, it leads to the creation of Ting's later works which are flooded in sexual pleasure.
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
634
Walasse TING (Chinese-American, 1929-2010)
丁雄泉 我心中所有（十件一組）
All in My Head (A Set of Ten)
1974
1974 Collotype printing 12/40 50 x 58 cm (each)
50 x 58 cm（每件）
PROVENANCE
Acquired directly from the artist ILLUSTRATED
Walasse Ting: The Flower Thief, Musée Cernuschi, Paris, 2017, pp. 106-109
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000
62
珂羅版印刷 12/40 來源
現藏家直接得自藝術家本人 圖錄
《採花大盜：丁雄泉》，賽努奇博物館，巴黎， 2017 ，頁 106-109
635
Walasse TING (Chinese-American, 1929-2010)
丁雄泉 信札（九件一組）
Letters (A Set of Nine)
原子筆 紙本
Pen and ink on paper 18.5 x 26.5 cm; 29.5 x 21 cm; 28 x 21.5 cm; 29 x 21 cm
29 x 21 cm
PROVENANCE
Acquired directly from the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
18.5 x 26.5 cm ; 29.5 x 21 cm ; 28 x 21.5 cm ; 來源
現藏家直接得自藝術家本人
衍色泉潤－丁衍庸、丁雄泉海外奇珍合璧專場 Variations of Ink: The Art of Ding Yan-yong & Walasse Ting
636
DING Yan-yong (Chinese, 1902-1978)
Letters (A Set of Thirteen) Pen and ink on paper 18 x 32 cm (each) PROVENANCE
Acquired directly from the artist
NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000
64
丁衍庸 信札（十三件一組） 原子筆 紙本 18 x 32 cm ( 每件 ) 來源
現藏家直接得自藝術家本人
637
Walasse TING (Chinese-American, 1929-2010)
丁雄泉 明信片、版畫及簽名手稿（三十三件一組）
Postcards, Lithograph and Drawings (A Set of Thirty-Three)
原子筆 水墨 紙本 版畫
Pen and ink on paper and lithograph 14.3 x 18.4 cm; 10 x 21 cm; 10.5 x 14.8 cm; 16 x 19.8 cm; 9 x 14 cm; 22.2 x 35.8 cm; 15.5 x 21 cm
15.5 x 21 cm
PROVENANCE
Acquired directly from the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
14.3 x 18.4 cm ; 10 x 21 cm ; 10.5 x 14.8 cm ; 16 x 19.8 cm ; 9 x 14 cm ; 22.2 x 35.8 cm ; 來源
現藏家直接得自藝術家本人
638
AU Ho-nien
歐豪年
(Taiwanese, b. 1935)
竹外桃花
Bamboo and Peach Blossom 1990 Ink and colour on paper, framed 73 x 45 cm Signed Ho-nien in Chinese With two seals of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 -13,000
66
1990 水墨 設色 紙本 鏡框 73 x 45 cm 釋文：逸賢世講、晶子小姐嘉禮。 款識：庚午正吉，豪年。 鈐印：歐介（白文）、竹移軒（朱文）
639
WU Ping (Taiwanese, 1920-2019)
Sparrows Flying by the Willow 1998 Ink and colour on paper, scroll 137.5 x 35 cm Signed WU Ping in Chinese With two seals of the artist PROVENANCE
Gloria Art Center, Taipei Acquired from the above by the present owner This lot is to be sold with a certificate of authenticity issued by Gloria Art Center, Taipei.
NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000 吳平 強留飛絮 1998 水墨 設色 紙本 立軸 137.5 x 35 cm 釋文：強留飛絮逐燕呢。 款釋：戊寅之春，偶憶前人詩而寫此，堪白吳平 並識。 鈐印：姚江吳是（白文）、堪白名平（朱文） 來源
鴻展藝術中心，台北 現藏家得自上述來源 附鴻展藝術中心開立之原作保證書
640
HUANG Chun-pi; CHEN Zi-he (Taiwanese, 1898-1991); (Taiwanese, 1910-1984)
黃君璧；陳子和 松枝幽禽
Sparrow on Pine Tree
水墨 紙本 鏡框
Ink on paper, framed 55 x 29.5 cm Signed CHEN Zi-he in Chinese With three seals of the artists
釋文：歲寒有風雪，休傍最高枝。
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
68
55 x 29.5 cm 款識：從善吾兄正，君翁寫鳥余補松，陳子和。 鈐印：子和印信（白文）、君翁（朱文）、謙龢堂心 賞（朱文）
641
ZHOU Cheng
周澄
(Taiwanese, b. 1941)
落霞秋水
Autumn Landscape 1997 Ink and colour on paper, framed 31 x 99 cm Signed ZHOU Cheng in Chinese With three seals of the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
1997 水墨 設色 紙本 鏡框 31 x 99 cm 釋文：落霞與孤鶩齊飛，秋水共長天一色。 款識：丁丑大雪於居山堂，蓴波周澄畫。 鈐印：周澄（白文）、蓴波（朱文）、才下眉頭卻上 心頭（朱文）
642
PU Tzu (Taiwanese, 1959-2013)
Calligraphy in Cursive Script 2003 Ink on paper, scroll 137.5 x 69 cm Signed PU Tzu in Chinese With two seals of the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000 卜茲 草書書法 2003 水墨 紙本 立軸 137.5 x 69 cm 釋文：慣居幽隱處，乍向國清中。時訪豐干 道，仍來看拾公。獨迴上寒巖，無人話合同。 尋究無源水，源窮水不窮。時人見寒山，各 謂是風顛。貌不起人目，身唯布裘纏。我語 他不會，他語我不言。為報往來者，可來向 寒山。 款識：歲癸未十一月抄錄寒山詩二首，於故 里老芒樹屋北窗燈下，卜茲並記。 鈐印：卜茲主人（朱文）、逸興（朱文）
70
643
TONG Yang-tze
董陽孜
(Taiwanese, b. 1942)
萬象歸春
Calligraphy in Cursive Script Ink on gold-coated paper, framed 50 x 57 cm With three seals of the artist ILLUSTRATED
The Memories of 90 Years of Wu Chao Nan, Wu Chao Nan, USA, 2016
NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000
水墨 金宣紙 鏡框 50 x 57 cm 釋文：萬象歸春。 鈐印：長壽（朱文）、董（朱文）、陽孜（白文） 圖錄
《玖拾回眸—吳兆南大師九十回顧特刊》，吳兆南， 美國，2016
超 越 時空的意眼觀照
OBSERVING THE WORLD WITH THE MIND BEYOND TIME
陳其寬的繪畫 新 境
THE ART OF CHEN CHIH-KWAN 陳其寬（1921-2007）為享譽國際的建築師、藝術家，1921
面，採用多重視點，畫面正中為碩大的嫩綠荷葉，隨風搖曳
年誕生於北平，自小浸淫於傳統四書五經及書法教育，兼修
的荷花花莖貫穿其間，隨著視線延伸至左上方的鵝黃色荷花
篆、隸、楷、行、草書體，奠下紮實根基，又因家中收藏古
與輕憩其上的紅蜻蜓，遠景則是一座座遠山、來往緩行的船
董及書畫，特別鍾情於藝術。生平第一次作畫約在六歲時，
舟以及暖陽，近景有成群嬉游的小魚及大蝦，生氣蓬勃的構
聽到姐姐朗讀《滕王閣序》寫景之句：「落霞與孤鶩齊飛，
圖交織出具有韻律動態感的詩意畫面，淡雅色調的搭配清新
秋水共長天一色」，靜謐的景致畫面與創作靈感隨之而生，
和諧，盡顯澄淨空靈之美。
創作出畫面一片湛藍的水彩畫《水天一色》。
「繪畫是一種心靈活動的展現，應能觸動觀者的心靈，使之
成長於戰爭動盪時代的陳其寬，童年時光在各處遷徙中度
與作者產生共鳴，才算有生命、有價值。因此我認為畫作應
過，不同的人文風土滋養並豐沛了其生命經驗，也成為日後
能反映當代人的思想與感情。」陳其寬認為創作必須反映生
創作的重要養分。北京、南昌、南京、安徽、湖北、四川均
活、思想與感情，從中國文人傳統出發，善用中國書法的筆
有足跡，1940年於四川就讀中央大學建築系，畢業後從軍
墨妙趣，融入西方藝術現代化與抽象化表現技法與精神，刻
前往印度、緬甸擔任翻譯官，此時期走遍中國西南四川、貴
劃出動人的自然萬物與人生百態。他所擅長的動物畫構圖以
州、雲南、廣西等地區，親眼見識到名山大川壯闊之景與異
繁入簡，猴子是陳其寬具有代表性的題材之一，1950年代即
域風情。1948年遠赴美國伊利諾州立大學攻讀建築學碩士，
開始畫猴，常以簡筆線條描繪活靈活現的猴子，此類簡筆的
後又至加州大學洛杉磯分校學習繪畫、陶瓷與工業設計，對
繪法可上溯至南宋牧谿、五代石恪、明末清初四僧的繪畫風
西方藝術與建築學均有更加深入的認識，具備國際視野，知
格，以猴子來反映出人間的真實趣味，幽默又具濃厚的人情
名藝術史學家李鑄晉盛讚陳其寬為「貫通中西的天才」，無
味。本次上拍的《吾子》（拍品編號644）即為精彩傑作，
論在建築或是藝術領域，都達到世界一流的水準。畢業後曾
擅用中鋒與偏鋒舞出粗細變化的凝鍊線條，墨色具層次感，
在哈佛葛羅培斯建築事務所工作，又獲推薦前往麻省理工學
黑白虛實對比，大猴雙手環抱小猴的畫面顯得格外溫馨。陳
院任教，1954年前往紐約加入貝聿銘事務所展開東海大學校
其寬曾說畫猴子其實是為了練字，將書法中的各式轉折線條
園設計計畫，1957年首次到台灣實地考察，1960年到東海大
的變化進一步圖像化，在其猴畫系列作品中可見以書法筆意
學成為建築系創系主任，並參與設計建造出舉世聞名的路思
為基礎，勾勒出靈動的畫面，筆法極簡卻變化萬端，將猴子
義教堂。
擬人化，作品多帶有自傳性或隱喻性表現，《吾子》寫出得
受到西方藝術的洗禮，未受過正統國畫的學院訓練，他始終
子的歡欣之感與真摯動人之親情。
不忘中國傳統書畫的精神與美學意境，融合東西方藝術特
其他簡筆畫風格，不僅具有禪畫意味，亦與現代抽象表現風
點，不斷嘗試新的質感表現方法，替代傳統中國書畫的皴
格有關聯性，《機緣》（拍品編號645），寥寥數筆繪出雞
法，認為繪畫應從自然出發，將「肉眼」和「物眼」延伸昇
群與蚱蜢相戲之景，以簡單的線條描繪出生動諧趣的活潑畫
華至「意眼」來看宇宙萬物，並且加以變形、重組、再造，
面，稚拙中更顯無窮趣味。運用筆墨與線條表現出幽默與禪
最後仍回到人間現象，才能達到最大的溝通與共鳴。其作品
思，傳達其藝術造詣的精髓。
中不見傳統皴法與視點技法，運用多重視點、廣角取景，常 以建築學中由上而下的俯視視角作畫，跳脫既有的時空思 維，現實生活中的景物在陳其寬的妙筆下幻化成充滿詩意的 畫面，豐富了自我藝術表現，其作品既具有中國傳統特色又 富新意，豐富而內斂的情感在其繪畫中流露，開拓出蘊含詩 意的畫境，在眾多的現代水墨形貌當中更顯獨特動人。 陳其寬的繪畫經常是以小見大，畫幅雖小卻涵蓋豐富且包羅 萬象的內容，特別強調個人觀察大自然所得的體會，在宏觀 的浩瀚宇宙中體現出細微萬物充滿變化與生機的微觀世界， 本次上拍的《荷山》（拍品編號646）描繪生意盎然的湖 72
陳其寬曾言：「藝術創作最重要的是內涵而非形式，要使作 品能觸動人心或搏人會心一笑，創作者必須本身生活得豐 富、充實，而且非常用心。」作畫不求形似，追求意境和情 趣，畫的不只是空間、時間，也畫人間，作品展現出開闊的 氣度，達到跨越時空的繪畫新境。 「陳其寬先生的畫好像一杯頂上的清茶，需要細細的品 嗜。」 －何懷碩
Chen Chih-kwan was a globally renowned architect and artist. He was born in 1921 in Beijing and pursued classical literary education including calligraphy. Immersed in the family collection of antiquity, classical paintings and calligraphy, Chen developed a strong passion towards art. His first painting was completed at the age of 6 when he heard his sister reciting a poem of a tranquil surrounding. It was a watercolour painting of a serene scene in blue.
Lotus and Mountain (Lot 646) which depicts a lively scene of a lake in multiple perspectives. Giant green lotus leaves and stalks dance with the breeze. As the eye moves upwards to the left, a red dragonfly poises gently on a yellow flower. Distant hills and gently rocking boats relax under the gentle sun, while fish and shrimps play with each other in the water. A vibrant scene is constructed with a gentle rhythm and refreshing tone that cleanse the soul of the viewer.
Born to the age of war, Chen spent his early childhood in relocation, hence he has experienced the variations of local cultures which later contributed to his creation. He traveled to Beijing, Nanchang, Nanjing, Anhui, Hubei and Sichuan. In 1940, he studied at the architecture faculty of the National Central University in Sichuan. After his graduation, he became a translator in India, Myanmar and various parts of China, experiencing the majestic landscape and vibrant cultures along the journey. In 1948, he moved to further his studies in architecture at the Illinois State University in the US, then to the University of California, Los Angeles for studies of paintings, porcelaine and industrial design. He was fascinated by the depth of knowledge in western art and architecture and was equipped with international exposure. Li Tao-jin, a renowned art historian, called Chen as a genius equipped with knowledge of the East and the West, in both architecture and art. After his studies, Chen worked for the Walter Gropius Group and taught at the Massachusetts Institute of Technology. In 1954, he worked under IM Pei in New York on the Tunghai University design project and went to Taiwan for the first time in 1957. He then stayed as a professor in architecture in 1960 and designed the renowned Luce Chapel.
"Painting is a journey to the mind between the viewer and the artist. This is the purpose of life. Hence I regard paintings as a reflection of contemporary philosophy and emotions." Chen Chih-kwan believed that art should reflect modern life, thoughts and emotions. From a Chinese literati perspective, calligraphy strokes add vibrancy to the painting while Western modern abstraction adds content to the work. Such a combination depicts nature in its genuine forms. The structure of his animal paintings are complex yet simplistic at the surface. Monkeys are Chen's iconic subjects of representations. It started from the 1950s as simple strokes would bring the subjects alive. Such strokes could be traced back to Muqi of Southern Song, Shike of Five Dynasties, and the four monks of the late Ming and early Qing dynasties. Monkeys are used to depict emotions in a delightful way. My Son (Lot 644) is an exquisite piece as central and slanted strokes were used intermittently in various forms. Variations of tones enhance the visual impact, creating a harmonious scene of a large monkey hugging small ones. Chen once mentioned that these monkey paintings are a way of practicing calligraphy strokes as it requires a transformation of strokes. Such vivid varieties of strokes enhance the vibrancy of the work, as the monkeys are personified to carry connotations of happiness and family bonding in the human world.
Under the influence of the West, Chen did not undergo classical training in Chinese paintings. With a deep understanding of the spirit and aesthetic quality of classical Chinese art, he was able to incorporate aesthetic qualities of the East and the West. With a relentless practice of techniques and strokes, he was able to paint spontaneously with the brush, beyond pure observation of details. He painted with the mind. His subjects were reshaped and reconstructed to resemble objects of daily life, and hence they reconnect with the viewers. Painted with multiple perspectives and lateral structure, Chen painted under the theories of architecture. He went beyond the concept of time and transformed objects into poetic and delightful subjects. Such is Chen's individuality with strong influence from Chinese culture and displayed the genuine emotions of the artist. The poetic scenes made Chen's paintings stand out against the rest of the modern ink paintings. Chen Chin-kwan paid meticulous attention to details. Though his paintings are small in size, the contents extend far beyond, with strong emphasis on the artist's feelings towards nature. He views the world in detail to capture the vast existence of the universe. In this sale, Ravenel offers
Simple strokes with connotations of Zen and modern expressions make Luck (Lot 645) a unique piece. With only a few strokes, the scene of chicks and locusts at play was depicted. Simplistic lines create a vibrant and delightful scene that are intriguing to the viewers. Variations of ink gradations and lines enhance the humour and Zen implications, allowing this work to advance to a spiritual level. Chen Chih-kwan once mentioned that the content overrides forms in a painting. In order to connect to the viewers, the artist must have a fulfilling life with immense dedication towards art. Forms and composition is secondary to the spirit and humour brought by the painting. It is not restricted by time and space, as paintings connect to humans. Hence Chen's works could travel beyond time to a new aesthetic realm. "The works of Chen Chih-kwan resemble a cup of good quality tea that needs to be appreciated through time." - He Huai-shuo
644
CHEN Chi-kwan (Taiwanese, 1921-2007)
陳其寬 吾子
My Son
1958
1958 Ink on paper, scroll 31.5 x 22.5 cm With one seal of the artist
31.5 x 22.5 cm
EXHIBITED
“The Pleasure of Small Things: Early Ink Paintings by Chen Chi Kwan”, Ping Art Space, Taipei, 27 December, 2013 - 17 January, 2014 ILLUSTRATED
The Pleasure of Small Things - Early Ink Paintings by Chen Chi Kwan, Ping Art Space, Taipei, 2013, pp. 34-35
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 74
水墨 紙本 立軸 釋文：吾子。 鈐印：陳其寬印（朱文） 簽條 款釋：陳其寬《吾子圖》，戊戌冬日，劉欣題。 鈐印：劉（白文）、欣（朱文） 展覽
「微觀之趣－陳其寬早期水墨作品展」，平藝術空 間，台北，展期自 2013 年 12 月 27 日至 2014 年 1 月 17 日 圖錄
《微觀之趣－陳其寬早期水墨作品》，藏新藝術有 限公司，台北，2013，頁 34-35
645
CHEN Chi-kwan (Taiwanese, 1921-2007)
陳其寬 機緣
Luck
1991
1991 Ink and colour on paper, scroll 44.6 x 44.6 cm Signed CHEN Chi-kwan in Chinese With one seal of the artist
44.6 x 44.6 cm
PROVENANCE
Magnet Art Gallery, Taipei Acquired from the above by the present owner ILLUSTRATED
Painting and Architecture of Chen Chi-kwan, Taipei Fine Arts Museum, Taipei, 2003, p. 237 This lot is to be sold with a certificate of authenticity signed by the artist and issued by Magnet Art Gallery, Taipei.
NT$ 190,000 - 300,000 HK$ 52,000 - 82,000 US$ 6,600 - 10,400 RMB 42,000 - 67,000
水墨 設色 紙本 立軸 款識：陳其寬寫。 鈐印：陳其寬印（朱文） 來源
吸引力畫廊，台北 現藏家得自上述來源 圖錄
《雲煙過眼：陳其寬的繪畫與建築》，台北市立美 術館，台北，2003 ，頁 237 附吸引力畫廊開立與藝術家親筆簽名之原作保證書
646
CHEN Chi-kwan (Taiwanese, 1921-2007)
Lotus and Mountain 1989 Ink and colour on paper, scroll 31 x 58 cm Signed CHEN Chi-kwan in Chinese With two seals of the artist PROVENANCE
Magnet Art Gallery, Taipei Acquired from the above by the present owner ILLUSTRATED
Painting and Architecture of Chen Chi-kwan, Taipei Fine Arts Museum, Taipei, 2003, p. 233 This lot is to be sold with a certificate of authenticity signed by the artist and issued by Magnet Art Gallery, Taipei.
NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000 陳其寬 荷山 1989 水墨 設色 紙本 立軸 31 x 58 cm 款識：陳其寬作。 鈐印：陳其寬印（朱文）、陳其寬印（朱文） 簽條 款識：荷山 1989 年，陳其寬。 來源
吸引力畫廊，台北 現藏家得自上述來源 圖錄
《雲煙過眼：陳其寬的繪畫與建築》，台北市立美 術館，台北，2003 ，頁 233 附吸引力畫廊開立與藝術家親筆簽名之原作保證書
76
647
PU Hsin-yu (Taiwanese, 1896-1963)
溥心畬 懸崖古木疏
Pines on the Cliff
水墨 紙本 鏡框
Ink on paper, framed 43.5 x 14 cm Signed Hsin-yu in Chinese With two seals of the artist
釋文：懸崖古木疏。
PROVENANCE
Gloria Art Center, Taipei Acquired from the above by the present owner
43.5 x 14 cm 款識：心畬。 鈐印：溥儒之印（白文）、心畬（朱文） 來源
鴻展藝術中心，台北 現藏家得自上述來源
NT$ 120,000 - 200,000 HK$ 33,000 - 54,000 US$ 4,200 - 7,000 RMB 27,000 - 45,000
溥心畬此作《懸崖古木疏》結合南北宗畫風的優點，作品 取勢險峻、不失法度，將淵博的學識和雅儒的氣質反映在 他的水墨創作上，構圖上以南宋半壁邊角的形式變化而 出，畫殘壁斷崖、古木扶疏的景致，近觀此作先以長披麻 皴線勾勒險峻的峭壁輪廓，再用淡墨乾筆擦出小斧劈、釘 頭皴的短促線條，將山體竣岳取出蕭颯凜然之勢；遠觀山 壁樣態，溥心畬以書法造型撇勾的走勢，半邊岩壁由左斜 傾出，上方筍峰拔峭直落到中段奇險的收束，下方則以緩 坡石壁聚攏畫面成一體，由此可見溥氏能在南宗山水文人 畫的筆意中做出隨意瀟灑的經營，畫面層次律動豐富，雖 寫半景山水卻有悠然的古趣橫溢，畫面體現出一派蕭然寧 靜之氣，雖無設色但意境悠遠、耐人回味。畫幅上下兩處 拔立直竄天際的奇松林樹，溥心畬以雙鉤法與典型的篆籀 之筆畫松，樹形姿態前後掩映，畫松針以細筆快速擦過， 松簇間可見疏密有致的筆力運用；上段林樹則直取王原祁 畫樹的筆意，以輕巧恣肆的點皴析出疏落的樹景，彷彿塵 世的喧囂都已被林樹松木給淨化，一派靜謐如宛如仙境。 溥氏秉性向來耿介誠篤，畫山水能得宋人遺風，此幅山水 取古人之精妙以顯己身的靈氣，意境高遠卻又能平易近 人，觀之能得澹泊之意、嚴謹閑和之行，實是難得一見的 逸品名作。
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This work encompasses the styles of Northern and Southern School of Song, depicting a majestic landscape while reflecting his profound literary knowledge and spirit. The diagonal structure of the Southern School of Song has been adopted, showing rugged cliff and an ancient forest. Long crisp cun has been used to depict the rough surface of the cliff. Shorter cun and dried axe strokes were added to highlight the depth of the lofty mountain. Observing from a distance, the hills are depicted using calligraphy strokes. Half of the cliff slant towards the left, which diminished into the middle of the panel. In the lower part, a cluster of rocks was depicted showing the reference to the Southern School of Song. Layers of composition highlights the ambience of the work with a blend of tranquility and antiquity, making this monochrome painting an intriguing piece. A pine tree stood aloft on the cliff was depicted using double outlines and Zhuan strokes. The trees intertwined with swift refined strokes. Dotted cun was used for the leaves, heightening the density. The trees in the upper panel took reference to Wang Yuan-qi's strokes with dotted cun representing the canopies. A celestial tranquil scene is achieved. Landscape in Song style was achieved with a immaculate and literary style which is relaxing to view at.
648
YU Chung-lin (Taiwanese, 1925-1985)
Formosa Blue Magpie on a Cypress 1979 Ink and colour on paper, framed 61.5 x 92 cm Signed Chung-lin in Chinese With one seal of the artist PROVENANCE
Acquired directly from the artist's family EXHIBITED
"Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-Lin", National Museum of History, Taipei, 14 January, 2012 - 28 February, 2012 ILLUSTRATED
Flower and Bird Paintings by Yu Chung-Lin, Crown Culture Corporation, Taipei, 1985, pp. 82-83 Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 44-45
喻仲林 檜木藍鵲 1979 水墨 設色 紙本 鏡框 61.5 x 92 cm 款識：己未初夏仲林畫。 鈐印：喻仲林印（白文） 來源
直接得自藝術家家屬 展覽
「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史 博物館，台北，展期 2012 年 1 月 14 日至 2012 年 2 月 28 日 圖錄
《喻仲林花鳥畫冊》，皇冠出版社，台北，1985， 頁 82-83 《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史 博物館，台北，2012 ，頁 44-45
NT$ 240,000 - 380,000 HK$ 65,000 - 103,000 US$ 8,300 - 13,200 RMB 53,000 - 85,000
喻仲林（1925-1985）出生於山東冠縣，自幼因家學淵源
題。細緻的工筆技法刻繪色彩明豔的羽毛，以獨家調製的
對繪畫產生濃厚興趣，然而成長在戰亂時代，未能受到正
「喻仲林藍」層層敷染上色，色彩瑰麗飽和度高，透出清
統的藝術教育訓練，直到1949年渡海遷台後，因緣際會
透光澤感。台灣藍鵲為台灣特有種鳥類，主要分布在中、
至師大美術系金勤伯教授開設的花鳥課程旁聽，始正式習
低海拔闊葉林裡，《臺灣通史》稱之「翠翼朱喙，光彩照
畫，勤於追摹歷代名蹟以及寫生，在宋元院體技法的深厚
人」，亮藍色羽毛末端的呈白色，喻仲林善於寫生，對物
基礎上不斷蛻變創新，形塑出其華麗雅緻的獨特風格，成
象的觀察入微，精準掌握台灣藍鵲的特徵，彷彿躍然浮現
為近代工筆花鳥畫大家。
於紙上。喻仲林遷台以後，繪畫主題漸趨於台灣本土化，
《檜木藍鵲》作於1979年初夏，畫面佈局嚴謹協調，以線 條蒼勁的檜木枝幹由左而右橫貫畫幅，生動描繪出一隻停 駐於檜木樹枝梢上的台灣藍鵲，樹枝間則以大面積的寫意 墨葉填補空白，墨色濃淡兼施的烘托表現出空間層次感， 更襯托出藍鵲的穠麗色彩，形成強烈對比，格外凸顯主
80
發展融合台灣本土語境的工筆花鳥畫，本幅作品的台灣藍 鵲和檜木即是絕佳之例。
Born in Shandong, Yu Chung-lin developed his passion in painting. Under the rage of war, he did not go through any formal art training at an early age until 1949 when he relocated to Taiwan. He sat in a class of Flower-andBird genre hosted by Professor Jin Qin-bo at the National Taiwan Normal University and started his official career in paintings. Starting through copying old master works and life studies, he developed his own style from the Song and Yuan school. resulting in a unique and elegant style of modern Flower-and-Bird gongbi paintings. This work was set in the early summer of 1979 with a carefully planned structure. A branch of cypress spreads across the painting from left to right, while a blue magpie poises on a twig. Leaves of the cypress fill the space in
large volume, layered by various gradations of ink to highlight the glamourous bird, creating a stark contrast of colour. Delicate gongbi was applied to depict the colourful feathers in his uniquely blended Yu Chung-lin blue. Such saturation and brightness is unique to this colour. Blue magpie is a unique bird species in Taiwan, living among heavy vegetation and low altitude. It is known for its bright blue features with a white tip. Yu Chung-lin was keen on drawings based on observing nature. He was meticulous in observations to accurately depict the features of the bird, making it spring to life on paper. After moving to Taiwan, Yu Chung-lin's subjects became closer to the local culture. Hence this painting of blue magpie and cypress becomes a typical example of his works.
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649
PU Tzu (Taiwanese, 1959-2013)
Calligraphy in Cursive Script (Triptych) Ink on paper 181 x 270 cm Signed PU Tzu in Chinese With one seal of the artist PROVENANCE
Acquired directly from the artist
NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000 卜茲 草書邗溝絕句（三聯幅） 水墨 紙本 181 x 270 cm 釋文：隔屋蕭蕭風度竹，當空粲粲斗翻芒。崢嶸歲月人間暮， 月斷雲山歸興長。 款識：溪心人卜茲於芒樹屋燈下題。 鈐印：卜茲（朱文） 來源
現藏家直接得自藝術家本人
84
心 手 相忘達無礙之境
THE BRUSH IN ONE WITH THE MIND
卜茲超越風格的書藝
THE CALLIGRAPHY OF PU TZU
「書法的美感經驗是存在於形式的觀照中，而書法卻存在於生命領域，其不僅止於形式領域之內，古人有謂不能在書中 求書，所以書法絕不僅僅是空間形式的構成而已，更重要的是棲息在生命的直接體驗與深沉感動的性靈世界。」 －卜茲札記
卜茲（1959-2013）本名陳宗琛，出生於台南溪心，別署
「吾當秉此時代書法純粹藝術表現之契機，在書寫行動
溪心散人。在父親的薰陶下，自小學時代開始研習書法，
中，展現個人的風格與氣韻，但更渴望風格超越，並兼具
兼習各式書體，契心於二王、孫過庭，浸淫於草聖張旭、
歷史價值的創意。」卜茲曾在其札記述及自我期許，持續
懷素的瀟灑狂放，以及近現代書家何紹基、于右任的古
追求自我突破，以達超越風格。經過持之以恆的精進與淬
澀，及八大山人的醇實，擁有深厚的傳統書法功底，融匯
鍊，發展出獨具特色的狂草書，詮釋自身的生命體驗與性
諸家筆法與筆意，力求突破創新，發展出其獨特風格，尤
靈世界。卜茲的狂草書法富有強烈的視覺張力，《草書邗
其以狂草書法最具代表性。書法為其展現自我藝術表現的
溝絕句》（拍品編號649）為尺幅恢弘的三聯屏巨作，以
媒材，創作根源自東方哲學思想，曾述：「心靈是書法之
迅疾的即興書寫呈現出超越書法線條的奔騰靈動，強勁的
道的歸宿，只有在技巧無礙、心靈會歸之際，書法才能趨
筆勢極具流暢動態感，墨色濃厚，間以枯筆飛白，變化萬
近圓熟。當生命的智慧點燃書寫的技巧，書法才能隨性自
千。文字佈局巧妙，錯落有致而相互呼應，心手相忘，建
由奔放，無罣無礙。」
構出磅礡淋漓的奇崛無礙之境。知名書法家李猷給予卜茲
卜茲將臨帖視為習書過程功夫訓練的重要基礎，早期楷書 從臨摹柳公權書體入手，傳統書法根基厚實，《楷書七言 聯》（拍品編號601）秀雅工整，頗得柳公權風韻，結體 嚴謹，行筆沉穩而筆畫分明，筆飽墨酣，溫雅地書寫出 「薔薇一硯雨催詩，楊柳半池春載酒」，為蘊含文人氣質 的精緻佳作。 在金文、大小篆、漢隸、簡牘、唐楷、行書、草書等各式 書體中，他最鍾愛草書，卜茲的草書取法自傅山、八大山 人、徐渭、張旭、懷素與二王等書法大家，並參章草篆 籀意而自有體勢，漸自成風格，認為「草書是線條語言不 對稱的對稱關係，在這些抽象離合的軌跡中，進而推衍出 心靈圖像的語彙。書法展現的高度成就在於心手相忘，思 書相成，並構築出當代性格的個人圖騰。」《草書書法》 （拍品編號642）節錄唐代著名詩僧寒山所作詩二首，流 動且順暢的充足速度感，行筆走勢彷若雲龍飛騰，結構空 間佈局緊湊，為整件作品增添氣勢與動感。卜茲以草書傳 達他心靈世界中的情感意向和書法抽象化的美感精神，認 為對於傳統的體驗到達某種程度之後，即是構成了突破的 基礎。
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高度評價：「卜茲專心書法、困心衡慮、既博求於古，且 冀以新穎之理想，觀其書蒼茫鬱勃，如奔雷迅電之不可遏 止，而揖讓於元明之間，此蓋天賦，非人力可盡也。」致 力於探尋心靈純靜境界與追求超越風格的卜茲，以其純粹 的書法線條創造東方書藝新高峰。 卜茲的作品在亞洲屢獲展出，近年來在拍賣市場更是不斷 創下新紀錄，不同書體的作品均有卓越佳績。2021年羅 芙奧秋季拍賣上拍《楷書破邪論序》為作於1998年的小 楷精品，圓潤的筆觸帶有遒勁之氣，呈現清朗空靈的文雅 氣息，成交價為新臺幣57萬6千元。而最具代表性的狂草 作品深受海內外藏家喜愛，2021年羅芙奧春拍狂草三聯 幅《無窮游》，飛狂縱逸書出「乘天地之正，而御六氣之 辨，以游無窮」，狂放而不亂的線條中展現優美墨韻，氣 勢撼人且充滿生命力，以新臺幣156萬元成交，刷新卜茲 個人拍賣成交記錄。同年秋拍推出稀有朱墨巨幅狂草作品 《草書窗外蕉樹》，佈局宏偉搭配狂草書體翻騰的線條， 斑斕枯澀的飛白彷若疾風飛騰，盡顯雄健蒼勁，以新臺幣 132萬元成交。
"The beauty of calligraphy is reflected in but exists beyond its visual form. This belief could be traced throughout history, as calligraphy stems from the experience of life and the richness of the mind." - Pu Tzu Amongst the various forms of calligraphy, Pu preferred cursive script. His calligraphy took reference from the styles of Fu Shan, Bada Shanren, Xu Wei, Zhang Xu, Huaisu and the two Wangs. With hints of the sturdiness of seal script, Pu's cursive script is unique. "The cursive script is an adjusted linear depiction of the imbalance. It is an abstract representation to achieve a visual portrayal of the mind, in unity with the hand and the brush, creating a totem of a modern individuality." Calligraphy in Cursive Script (Lot 642) extracts poems by Hanshan. Words are fluid, written with great speed, as dragons meandering through the clouds, creating movement and a regal ambience. Cursive script was used as a medium towards the mind and the aesthetic of abstraction. This forms Pu Tzu's basis of innovation.
Pu Tzu, also named Chen Zong-chen and Hsi-hsin Sanren, was born in Tainan to a literary family with a passion for calligraphy. Under the influence of his father, he imitated calligraphy of all kinds, focusing on the two Wangs, Sun Guo-ting, Zhang Xu, Huaisu, He Shao-ji, Yu Youren and Bada Shanren. With a rich knowledge in calligraphy, Pu Tzu was able to recreate unique art from the classical styles. His cursive script is the most iconic style of all. The expressiveness of cursive script stems from Eastern philosophy. Pu once said "The Tao of calligraphy is the heart. Overall maturity comes when a calligrapher achieves fluent use of techniques and when all thoughts return to the heart. When the wisdom of life ignites ingenious use of calligraphy techniques, a calligrapher moves in the world of ink and paper freely, carelessly and unimpededly with infinite possibilities." Copying old masters' work is deemed by Pu Tzu as an essential practice in calligraphy. Early regular script imitating Liu Gong-quan script demonstrates the distinguished skills. Calligraphy Couplet in Regular Script (Lot 601) is refined in the style of Liu. Strokes are steady with succulent ink creating an elegant scholarly piece of calligraphy.
Pu Tzu's aspiration is to demonstrate individuality and feelings through calligraphy, achieving a breakthrough in style in the course of history. His perseverance and hardwork enabled him to create his own style of cursive script that transcends into the spiritual realm and experience. Such visual impact could be found in Calligraphy in Cursive Script (Lot 649), a monumental triptych filled with spontaneous strokes and lines. The force of the brush enhanced the fluidity of strokes. The mix of succulent ink and dried frills heightens the drama. The structure of calligraphy was carefully planned to disarrange words in a harmonious manner, creating this majestic piece. Calligrapher Li You once publicly admired the calligraphy of Pu Tzu, his thoughtfulness and the rich origin of styles behind it. The surge of emotion and movement is a surmountable piece beyond any ordinary artist. This concludes Pu Tzu's search for spiritual and aesthetic achievement through calligraphy. Pu's works in various forms were frequently exhibited in Asia with a rising record in the auction market. In 2021, the Autumn sale at Ravenel recorded an astounding NT$576,000 for a calligraphy in regular script and a staggering NT$1.56 million for a calligraphy in cursive script (triptych) at Ravenel's Spring sale in 2021, breaking the artist's record in auction. His calligraphy in cursive script, written with red ink, achieved NT$1.32 million at the Autumn Sale of the same year.
650
CHIANG Chao-shen (Taiwanese, 1925-1996)
Lotus in Ink
Ink on paper, framed 92.5 x 185 cm Signed CHIANG Chao-shen in Chinese With three seals of the artist
NT$ 480,000 - 700,000 HK$ 130,000 - 190,000 US$ 16,700 - 24,300 RMB 107,000 - 156,000 江兆申 墨蓮圖 水墨 紙本 鏡框 92.5 x 185 cm 釋文：朝出沙頭日正紅，晚來雲起半江中。 賴逢鄰女曾相識，並著蓮舟不畏風。 款識：孝章兄雅教，江兆申畫並錄唐人句。 鈐印：江兆申印（白文）、茮原（朱文）、 奇趕無等倫（白文）
江兆申出身自書畫世家，曾拜寒玉堂門下，兼善「詩書畫
全幅構圖疏密有致，格調獨具一格，黑白的用色更顯墨韻
印」於一身。曾任故宮博物院副院長暨書畫處處長，研究
的變化，畫面更顯清新典雅。全幅荷葉大方舒展，墨韻濃
成果上汲宋代馬遠、元代趙孟頫，下至唐寅、文徵明、仇
淡相間有序，近景以濃墨枯筆散鋒掃出，破筆揮就，中後
英等名家，全面完備了明代吳派畫的脈絡。豐沛的書畫
景以濕筆側鋒落筆敷染，兼以碑體書法的筆勢營造出柔中
史背景讓江兆申的畫作自傳統古意體現出新時代的意趣，
帶剛的效果，墨色淋漓中顯蒼勁，讓蓮蓬蓮葉輕如浮雲卻
藝評家楚戈曾說：「我一生為提倡新繪畫而奮鬥，然而看
又重如崩瀑。明代畫家徐渭於〈五月蓮花圖〉寫道 「五月
到江兆申的國畫，心中卻了無新舊之爭了—原來在舊基礎
蓮花塞浦頭，長竿尺柄揮中流。縱令遮得西施面，遮得歌
上，也能產生如此令人感動的新意。」汲古潤今的平衡讓
聲渡葉否。」以蓮喻君子，君子的清高正直不被繁繞亂世
江兆申的畫作增添現代的趣味，經歷時代的變化。
所掩蓋。縱使蓮葉亂蓬失色，在驟雨疾風之下，花蕾自空
此幅《墨蓮圖》巨大的尺幅的潑墨蓮花，磅礴大氣，筆法 豪放圓潤，突出蓮花的多元姿態與墨韻變化。右側題上唐 代張潮的〈採蓮詞〉刻畫一群採蓮女朝起暮歸，乘坐著小 小的蓮舟不畏狂風惡浪，勤勞工作，襯托蓮花出淤泥不染 的清高本質。面對這疾風惡劣的環境，採蓮女團結一致抵 抗風浪，展露出女性的堅毅，她們在亂世中可能稍微花容 失色，卻又帶點嫵媚的英姿，沉著的意志。
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隙冒出，各自亭亭玉立，數朵冒起，更顯蓮花空靈蘊秀， 香遠益清。蓮花以淡墨中鋒疾筆白描蓮瓣，姿勢各異，或 是飽滿綻放，或是含苞待放，如採蓮女一樣，各自在疾 風顛簸的環境展露高雅嫵媚，襯托君子中通外直、堅毅不 移、高潔正直的特質。
Born from a scholarly family, Chiang Chao-shen was admitted to Hanyu Tang with outstanding talents in literature, paintings, calligraphy and seal carving. He was the vice chairman of the National Palace Museum and led the Chinese paintings and calligraphy department, with extensive research covering Ma Yuan of Song, Zhao Mengfu of Yuan and prominent artists of the Wu School of Ming dynasty. Such a rich scholarly background allowed Chiang to adopt classical style into his modern paintings, which was praised by Artist Chu Ko as an ingenious adaptation, and paved his works in the course of art history. This colossal ink painting of lotus was done in splashed ink highlighting the artist’s sophisticated control of brush and intonation changes of ink. The poem by Zhang Chao of Tang dynasty describes a group of ladies battling
against the wind and waves on a small boat while harvesting lotus. Together in unity, their womanhood shines with resilience and courage, which echo with the literary quality of the flower. The structure was well planned and unique, highlighting the gradation of ink with black and white colour composition. The large leaves of various shades of black are accentuated by the force of wet and dried brush. These strokes carry hints of sturdiness of rubbing calligraphy, creating changes in heaviness of leaves, thereby a degree of disturbance. Throughout history, lotus are compared to noble scholars. In this work, among the disruption of leaves in the gusts, lotus flowers rise from gaps showing their purity and fairness. Such disposition further echoes with the poem and the connotations of the noble character of a Chinese scholar.
651
CHIANG Chao-shen
江兆申
(Taiwanese, 1925-1996)
四季山水
Landscape in Four Seasons 1989 Ink and colour on paper, framed 98 x 30 cm (each) Signed CHIANG Chao-shen in Chinese With nine seals of the artist PROVENANCE
Gloria Art Center, Taipei Acquired from the above by the present owner
NT$ 700,000 - 1,100,000 HK$ 190,000 - 299,000 US$ 24,300 - 38,300 RMB 156,000 - 245,000
1989 水墨 設色 紙本 鏡框 98 x 30 cm（每件） 釋文： （一）霽色破春昏，高樓日未曛。林梢零舊雨，山頂 入殘雲。醉粉勻花頰，風羅縐水紋。踏青入誤約。芳 思幾紛紛。 （二）平昔常聞溪口路，重山復水去無窮，禪餘試問 舟人看，幾宿還能到剡中。 （三）山近覺寒早，草堂霜氣晴。樹凋窗有日，池滿 水無聲。果落見猿過，葉乾聞鹿行。素琴機慮靜，空 伴夜泉清。 （四）倚杖望晴雪，谿雲幾萬重，樵人歸白屋，寒日 下危峰。野火燒岡草，斷煙生石松。卻迴山寺路，聞 打暮天鐘。 款識： （一）茮原江兆申。 （二）茮原江兆申，己巳。 （三）江兆申。 （四）己巳七月，茮原江兆申寫四景。 鈐印： （一）茮原兆申（白文）、雙菩提盦（白文） （二）兆申之印（白文）、雙菩提樹盦（白文）、 快然自足（白文） （三）茮原兆申（白文）、雙菩提盦（白文） （四）茮原兆申（白文）、雙菩提盦（白文） 來源
鴻展藝術中心，台北 現藏家得自上述來源
90
溥心畬曾稱讚一位藝術家：「觀君文藻翰墨，求之今世，真如 星鳳……讀君來詩，取經至高，擇言至雅，倘有時來此，至願 奉接談論。」這位就是江兆申。出身自書香世家，詩書畫印皆 擅，並因為學養底蘊深厚，被溥心畬錄為寒玉堂弟子，後曾任 職於國立故宮博物院。期間廣覽翰墨典藏，窺探名作法帖，汲 取歷代名家的筆法氣韻，公餘臨摹作畫，深入書畫的堂奧。一 次與巴東聊到蘇東坡的才華過人，信手拈來，行雲流水，不費 絲毫力氣，寫出非凡的詩詞，也許現代藝壇上只有江兆申能與 古代文人媲美。據其學生憶述，江老師行筆迅速肯定，用筆謹 慎，態度從容，卻寫出筆墨俊逸、恬靜自然的山景。其深厚的 文學根底及勤奮的臨摹過程，讓江兆申的畫作呈現寒玉堂的高 潔古雅，散發著濃厚的文人素養，儒雅的情懷。 此作四季山水連屏山勢連貫，以不同視覺觀四季風景的變異， 四景的人物以形態簡拙獨到，簡筆刻畫各自的神情，猶如帶領 觀者逐幅懷念回憶中的鄉景。春景並無選擇繁花似錦的時間， 而是描繪萬物自寒冬慢慢甦醒的過程，是頑強生命力的象徵， 也是大自然真實恬淡的一面。山石呈塊狀而成，以折皴法表現 出受冰雪冲刷的陡峭山崖石紋，林木青翠盎然，比較耐寒的紅 花驟現樹冠，猶如鬧鐘敲響寂靜沉睡的山景。春柳臨水，慵懶 的漁人獨坐於小舟隨流漂浮，一派清曠秀雅之氣油然而生。夏 林水霧氤氳，熾熱蒸騰，奇險嶔崎的石壁施以破墨染漬，增加 山體盤桓的厚實感。中景峰巒拱揖，泉石迴抱，以雲霧相隔， 木林安排高低有序，以濃墨渲染，色墨互襯，墨色酣暢淋漓， 山林鬱氣浸於丘壑。林中君子亭內憩休，彷彿在看雨聽蟬，悠 閑寫意地遙望塵世。秋景橫逸清曠，淡墨欹毫渾染山石，山間 雲霧濕潤，筆下的靄氣潤澤蒼茫的秋色。全幅樹林疏密有致， 紅葉為蕭瑟凋殘的秋天帶來清新俊逸的點綴。兩位文人在茅 亭內聊天吟詩，旁邊潺潺河流自橋底流過，成為詩句的背景陪 襯。冬景凌寒澈霜，天色以淡墨輕染，輕點飄雪。群山擁聚， 崢嶸幽藹，樹木凋零枯萎，斑駁地露出禿枝。一位高士瑟縮在 家中，欣賞雪中倔強綻開的梅花，遠看著梅花旁的小階梯，引 領至河邊，彷彿讓在等待友人來訪，在蒼勁寒冬之中抱著君子 的信念。此幅四屏畫作得寒玉堂的高潔神韻，金石的疏朗俊 逸，蒼勁中帶嫵媚，擁有現代的儒雅卻不失古代的情懷，定下 藝術史上入古出新的里程碑。
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Pu Hsin-yu once complimented Chiang Chao-shen's immense depth of scholarly background in literature and ink. This comes as no surprise, as Chiang came from a scholarly family and specialised in literature, painting, ink and seal carvings. He was admitted to Hanyu Tang with outstanding talents and was appointed to senior positions in the National Palace Museum. Chiang immersed himself in Chinese classical paintings and painted with steadfast dedication. In a conversation with Chiang, Ba Dong mentioned Su Dongpo's outstanding talents that Su's poems were eloquent with minimal effort. In the modern era, it seems that only Chiang could live up to Su's standard. According to his students, Chiang painted swiftly with outstanding control, allowing his work to appear light and natural, achieving the style of Hanyu Tang. The four panels are synchronized yet could be viewed separately. Four panels showing the changes in seasons with simplistic figures reliving stories of the past. The spring panel depicted a tranquil scene recovering from the harshness of winter chills, carrying a symbol of renaissance of life. Rugged rocks were carved by ice at sharp angles. Forests are lushly covered with green leaves; while red flowers merged from the canopies waking up the sleepy mountains. A fisherman sails slowly across the river, forming a tranquil and refreshing scene. The summer scene smothers in scorching heat and dampened moist. Splashed ink was used to depict heaviness in the rugged cliffs. Mists cut through the mountains and forests. Trees were aligned and painted in rich ink, echoing with the humidity. A scholar resting under a kiosk, appreciating nature. The autumn scene is refreshing as light ink brushes across the hills and rocks. Mists at the center balance the humidity of autumn, while red leaves ornate the scene. Two scholars are chatting and making poems in a hut as a river drifts slowly under the bridge nearby, forming a perfect backdrop. The winter chills creep from the winter panel as light ink brushes across the sky with drops of snow. Mountains gather under the chill as trees are left with bare branches. A scholar huddles up in a hut looking afar towards a blossoming plum tree and a path leading to the river, as if expecting a friend's visit. With the connotation of plum trees, this also echoes with the perseverance of a Chinese noble scholar. These four panels possess the elegance of Hanyu Tang, the light and liveliness of Jinshi with hints of sturdiness and tenderness. Such a combination of classic and modern styles makes Chiang's paintings a prominent milestone in art history.
652
YU Cheng-yao (Taiwanese, 1898-1993)
余承堯 蜀山舊懷
Reminiscence of Shushan
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 115 x 43 cm Signed YU Cheng-yao in Chinese With one seal of the artist
釋文：蜀山向遠峻，處處峰尖情。今日重近憶，徒增
PROVENANCE
Private collection, Taipei
115 x 43 cm 思舊懷。 款識：余承堯。 鈐印：余承堯印（白文） 來源
私人收藏，台北
NT$ 750,000 - 1,200,000 HK$ 204,000 - 326,000 US$ 26,100 - 41,700 RMB 167,000 - 267,000 余承堯自青年投筆從戎，軍旅二十三年，十九歲加入反抗 北洋軍閥，後來遠赴日本早稻田大學修讀經濟，後轉入日 本陸軍士官學校。學成回國後擔任黃埔軍校擔任戰術教 官，曾參與多場戰役，歷任高級軍職，目睹中國華夏各種 磅礴山川，這些山勢重現於後來的書畫創作裡。余承堯於 1954年開始執筆畫畫，雖無師承，其創作風格獨特無二， 創新的墨點線條在書畫藝壇為之一亮，以錯綜的山石紋理 和延綿重疊的山巒突顯藝術家詮釋的山水景象，也對應藝 術家面對著河川山脈的感情與回憶。 自中年退出商場，余承堯提筆作畫，雖無師承，師從自 然，其筆墨卻在自我領悟的過程中孕育自我風格，詮釋山 河的雄奇壯麗。「畫幅要畫得滿滿的，天空也不可留太 多」屏棄傳統文人畫的大幅留白的做法，讓余承堯的山水 作品主題集中描繪山形地勢與大自然，直指萬物繁盛與生 命力本心，是藝術家最大自然最坦誠率真的表現。此幅畫 面以三分之二的篇幅描繪四川地形陡峭險峻及層巒疊嶂的 山勢，是余承堯從軍時期對蜀山的回憶與情懷。峻奇雄偉 的山勢之下以密結紛亂的筆觸描繪山林葳蕤，左下方的樹 林白花盛開，彷彿回憶在蜀山時期看到當地的白辛樹繁花 盛開，春風送來百鳥高歌，看似無序的亂筆，描繪的卻是 草木繁盛的生命力。山河自峭壁悠悠流向下游，堅硬頑強 的石頭冒出水面，呼應山上的寥寥數間村屋與蜿蜒曲折的 山路，反映萬物與大自然和諧共存與互相尊敬的態度，也 是藝術家對大自然的緬懷與敬仰。
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Yu Cheng-yao joined the army from a young age at 19 and pursued his studies in Japan on economics. He joined the military school in Japan, and later returned to Huangpu Military school as a professor. With years of experience as a senior official in the army, Yu visited the majestic landscapes of China, which later appeared in his artwork. Yu started painting in 1954 without following classical practice. Hence his works are unique in composition and representation. The texture of rocks and the layers of hills are represented in his works as a tribute towards his passion towards the landscape. At an mature age, Yu Cheng-yao started drawing with the Nature as his teacher. The brush and ink allowed Yu to express his unique character and his own interpretation of the landscape. "The painting has to be full framed without much space for the sky." By wiping out blank spaces, Yu allowed his work to focus on the landscape and the vibrancy of Nature, making his work the most genuine representation. Using two thirds of the panel describing the landscape of Sichuan, its ruggedness with overlapping layers. This is Yu's impression and passion of Sichuan or Shushan. The majestic view was enhanced with vibrancy by the criss cross strokes. Trees on the lower left blossom with white flowers, as if Yu was recalling the typical trees of Shushan. The intersecting lines depicted the lively growth of trees, as it echoes with the sounds of spring birds. As the stream flows downwards, rocks arise in their rigid rugged forms, echoing with the cottages along the meandering roads. Their composition highlights the respect of people towards nature, which echoes with the artist's love for nature.
653
PU Hsin-yu
溥心畬
(Taiwanese, 1896-1963)
屋上青山屋下泉
Mountains Above the Cottage and Streams Under It 1941 Ink and colour on paper, scroll 105 x 36.8 cm Signed Pu Ru and Hsin-yu in Chinese With seven seals of the artist ILLUSTRATED
Paintings by Pu Hsin-yu, Taipei, 1971, p. 9 Paintings by Pu Hsin-yu, China Painting Association, Taipei, 1977, p. 11
NT$ 2,000,000 - 3,200,000 HK$ 543,000 - 870,000 US$ 69,600 - 111,300 RMB 445,000 - 713,000
1941 水墨 設色 紙本 立軸 105 x 36.8 cm 釋文： （一）屋上青山屋下泉，泉流直到竹廚邊。客來何物供清坐， 露茗新抽穀雨前。 （二）齊君子文客春申，近鳩合同鄉，有燕平會館之設， 實盛事也。頃以專函索畫，俾資存紀，因檢舊篋，得此幀以 應之。 款識： （一）辛巳九月，溥儒。 （二）心畬溥儒謹識。 鈐印：舊王孫（朱文）、溥儒（白文）、一朵紅雲（朱文）、 剪葉補秋衣（白文）、溥儒之印（朱文）、舊王孫（朱文）、 垂虹（朱文） 圖錄
《溥心畬畫選集》，台北，1971 ，頁 9 《溥心畬畫選集》，中華書畫出版社，台北，1977，頁 11 註 款識提及「齊君子文」即為溥心畬友人齊子文先生，而「燕 平會館」即為順天府、直隸省同鄉人士於上海創立之八旗 順直會館。當時旅居上海的齊子文先生來函索畫，以供燕 平會館之用，故溥氏自收藏取此幅佳作以送之。
被譽為中國文人畫最後一筆的溥儒（1896-1963），字心
此件溥心畬《屋上青山屋下泉》作於辛巳（1941）年，畫
畬，清光緒二十二年生於北京恭王府，為恭親王奕訢之
面採半邊構圖，左下近岸坡石，喬松矗立，三兩房舍臨水
孫。早年曾留學德國，篤嗜詩文、書畫，繪畫工山水，兼
而築，一位著紅衣文士於屋前漫步；後方主峰拔地而起，
擅人物、花卉。追溯溥心畬早年學畫歷程，正如他在《自
雲鎖山腰，松林掩映，山谷左側有一平台，登頂可眺望遠
述》裡所言：「余居馬鞍山（時年27歲）始習畫。余性喜
峰。全畫利用各岩塊的轉折搭連，以及點景人物的活動，
文藻，於治經之外，雖學作古文，而多喜駢儷之文，駢儷
將高士隱於山林、幽靜閒適的生活表露無遺。此畫山石以
近畫，故又喜畫。當時家藏唐宋名畫，尚有數卷，日夕臨
疏鬆略帶渴筆的牛毛皴描繪，落筆迅疾；此外，在色彩的
摹，兼習六法、十二忌、及論畫之書，又喜遊山水，觀山
處理上，則運用花青、赭石、外加少許淡墨，在一片澹雅
川晦明變化之狀，以書法用筆為之，逐漸學步。」由於溥
的墨色中，渲染出一方無染塵俗的文人世界。此種古典雅
心畬出身皇裔，得以觀覽清宮舊藏與恭王府藏畫，因此學
致的畫風，明顯受到明代沈周、文徵明復古元代王蒙風格
畫大抵出自「臨古自學」，一開始模仿南宋馬遠、夏珪，
的影響，可以看出溥心畬中年之後，已逐漸跳脫南宋馬夏
後來遍及元、明四家及歷代名手，乃至卓然有成，與近代
派的影響，更多地兼融元、明四家筆法，開創個人嶄新之
書畫名家張大千並稱「南張北溥」。
風貌。
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98
畫幅上方有兩則溥心畬以傾欹多姿、筆畫妍美、略帶古章
的友人齊子文來信，為燕平會館（前身為順天府、直隸省
草筆意的行草所書寫之題跋。其中，右側題詩云：「屋上
同鄉人士在上海創立之八旗順直會館）索畫，溥心畬身為
青山屋下泉，泉流直到竹廚邊。客求何物供清坐，露茗新
皇室後裔，自然對滿族同胞事務極為關心，於是從篋中揀
抽穀雨前。辛巳（1941）九月，溥儒。」此乃溥心畬46
出珍藏佳作相贈。從本幅《屋上青山屋下泉》的風格及題
歲初作此畫時所題。當時正值北平淪陷期間，溥心畬賃居
詩，不僅可以窺知溥心畬渡台之前畫風演變的軌跡，畫上
頤和園介壽堂，潛心繪畫以排遣心中鬱悶，因作此圖以表
揮灑自如與意味深長的內容，也為溥心畬詩、書、畫合一
谿山高隱之志。而左方之題跋，則是數年之後，客居滬上
的文人畫魂寫下最佳註腳。
Globally acclaimed as the last literati of Chinese culture, Pu Ru, also named Hsin-yu, was born in Beijing to the royal family as the grandson of Prince Gong. He studied in Germany with a passion for poetry, paintings and calligraphy, with special passion towards gongbi landscape, figure and flowers. Pu Hsin-yu's early exposure to paintings was at the age of 27 when he resided in Maanshan. He was keen on literature and composing poems. As paintings are a visual representation of poetry, he started appreciating famous works of Tang and Song. He meticulously copied them and learned techniques from masters and ancient scripts. He made life drawings of landscapes in various changes of light during his travels and learned paintings with brushes. As Pu Hsin-yu was born to a royal background, he could view the royal collection of ancient scrolls and learned from old masters such as Ma Yuan, Xiagui of Southern Song and masters of Yuan and Ming and beyond. His achievement was well respected and was ranked with Zhang Da-qian as the two greatest artists of the North and South of China.
character in the landscape. Such an elegant style was adopted from Shen Zhou of Ming and Wen Zhengming's imitation of Wang Meng from the Yuan dynasty. This proves that the style of Pu in his mature period was diverted from the influence of Ma Xia of Southern Song. A more extensive influence of Yuan and Ming could be found, creating Pu's own unique style of painting.
This work was made in 1941 with a vertical structure. The lower left panel shows rugged rocks by the shore where a pine tree stands. A few pavilions stand by the shore where a scholar in red strolled by. A lofty mountain looms at the back with a belt collar of clouds and mists, as they shroud the pine woods. A platform was built on the left of the valley, allowing hikers to view the majestic landscape. The rocks of the whole panel were painted swiftly with loose and dried ox-hair cun. Light colours of green and ochre were applied with light ink, creating a scholarly
Two inscriptions were written on either side at the top of the panel showing Pu's running script in his elegant and classical style. "Houses surrounded by luscious mountains and a stream, which runs through to the kitchen. Guests are served with tea brewed with fresh dew and tender April tea leaves. September of 1941, Pu Ru." By the age of 46, Pu wrote this poem as an inscription of this work. It was the time when Beijing was under war as Pu resided in the Summer Palace. During this time, painting was the only way to express his grief and his wish to lead an austere life of a hermit. The inscription on the left reads that this work was given to Qi Ziwen who resided in Shanghai, as a gift to Yanping Huiguan, a club to gather his Manchuria kin. As a royal descendant, Pu was keen on the affairs of his own kin. Hence he donated one of his favourite pieces from his collection to the club. From the style and inscription of this work, one could see Pu's styles before his relocation to Taiwan and appreciate the intriguing poem of Pu's own creation. Such is also a justification of why Pu was acclaimed as an all-round literati of all times.
654
ZHANG Da-qian (Taiwanese, 1898-1983)
Scholars Hiking in the Woods 1979 Ink and colour on paper, framed 66.5 x 134 cm Signed Yuan in Chinese With two seals of the artist PROVENANCE
Former collection of Mr Lin Hwai-min’s family
NT$ 8,000,000 - 16,000,000 HK$ 2,174,000 - 4,348,000 US$ 278,300 - 556,500 RMB 1,782,000 - 3,563,000 張大千 登山臨水圖 1979 水墨 設色 紙本 鏡框 66.5 x 134 cm 釋文：喚起朱顏酒一尊，登山臨水意猶溫。 朝紅暮葉春來路，縱老秋風識舊痕。 款識：六十八年己未重九後一日摩耶精舍寫， 八十一叟爰。 鈐印：摩耶精舍（朱文）、大千唯印大年 （朱文） 來源
林懷民家族舊藏
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意 筆 山水情
LANDSCAPE IN SPLASHED INK
雲水畫意，大 千 無 垠
MAJESTIC MISTS AND THE INFINITE WORLD OF ZHANG DA-QIAN
張大千後半生旅居海外，1976年自美國返台、1978年8月
亭，以雙鉤添墨畫林樹，右側多用青藤白陽之法畫樹，主
甫定居於外雙溪「摩耶精舍」直1983年溘然離世，這短
幹多無見根，喻君子在野，後方崢嶸林樹則以王蒙畫雜樹
暫的寓台期間卻成為他書畫造詣最為純粹、臻至化境的階
法寫成，細心敷染作出筆意蒼茫的村野風景，山路上下方
段，一代耆宿名流歷盡戰亂滄桑，離鄉去國後卻能欣享晚
各佈有遊人，一文士策杖獨行，另一則回眺遠山景致，所
景桑榆，故此時的山水創作常懷有思鄉的情緒流露，大千
謂「遠人無目」既可知大千落筆此山景的視野角度，是在
雖飽受目疾困擾，但其胸懷奇情卻不受阻礙，能融宋元以
極高處遠望；右方則以牛毛細皴出汀州宿莽、淡墨掃出沙
降、直至明清文人畫的精微，用筆遣墨出入於前人，卻又
渚輪廓，遠水無痕，僅用極淡的墨色暈染，與左側題款處
能取各家所長化為己用，開創其晚年「細筆細潑」的寫意
大面積的留白相互映照、做出強烈的空間感，營造出浩淼
破墨畫法，畫面造景多用簡筆卻能見豐富的微妙變化，以
的意境，虛實之間可見渾然天成的登高臨水之勢，此圖造
筆法與意境格調取勝，如同白石老人評其「一筆一畫，無
景以金陵山景之法，皴法雖軟滲，但卻能將遠山在瀰漫的
不意在筆先，神與古會」，看似逸筆草草、不求形似，卻
霧氣中所顯現的不規則形狀表露無遺，觀之墨趣橫溢，靜
能達到靈動凝練的氣韻；張大千畢生登千山、閱百川，其
謐清寂與恢弘氣勢並存，彷彿身在此山中且帶可居可遊的
晚年的山水畫更是師古人之心而不師其跡，作於1979年的
氣氛，此種山水圖式的效果正是張大千晚年在潑墨潑彩的
《登山臨水圖》即是大千筆墨高華出眾的巔峰力作。
技法中所領悟出來，佈局構圖繁複卻筆簡，將宋畫的深遠
綜觀此畫構圖佈局以黃子久、王叔明兩家之法寫形；用墨 施色則取徐渭、陳淳之技以墨寫神。大千不僅承繼了宋元
轉化成闊遠，看似即興，卻能將複雜的山景變成統一的整 體，表現力極為深刻，盡得文人山水畫的藝術精髓。
畫的蒼秀蕭疏，更能納用明清文人畫的山水精神。全圖山
此幅《登山臨水圖》原為林懷民先生家族舊藏，寫成於
型以「之」字走勢，遠景三處山頭層疊延伸至近景坡壁與
1979年，張大千時年已逾八十高齡，應重陽節時令習俗登
右側沙渚，左側以留白與色墨做成的雲氣嵐煙收攏於一，
高，大千一生敬老崇孝，或許是對於風景依舊人事已非的
側倚之景粗密有致，布局乍看雖簡括空疏，但卻能彰顯其
興嘆，觸動了他對故國家鄉的回憶，往事歷歷不勝唏噓，
化裁之功力；遠山略用短筆解索法析出巒脈，再以乾筆快
在這樣深刻的情懷下描繪此景作為寄託，大千晚年雖目力
速皴擦出輪廓線，分出由左自右清晰的稜線走勢，皴筆不
衰微不及，但桑榆晚筆亦能漸變所尚，將畢生浸染水墨的
多，僅以極淡的花青、藤黃與水色層層渲染出山體與陰陽
造詣化為己用，世人常知其仿古功力一流，揚名於大潑彩
向背之分，用色彩的冷暖與墨韻濃淡表現出山石的量感與
山水與敦煌變法之藝，然而其晚年山水創作蒼厚拙樸，
體積，後用點苔皴破筆點出的蒼茫密林，以小寫意的手法
已屆人畫俱老的境界，大千此時的水墨已不是對外界現實
將遠眺的山景做出「水暈墨章」的效果。中段主山右側點
風景的描繪，而是畫出內化自然與個人情感的心性風景，
景則以礬頭寫出屈曲之勢，以色破墨法將雲氣滲入山體，
市場上更是少見與此同時期的精品，知名藝術研究學者傅
後用細筆勾勒華屋樓宇掩映其中，由微小見宏大，更能反
申著《張大千的世界》一書即收錄有張大千晚期《淺絳山
襯出山峰的雄偉譎奇；後方遠山只用花青淡墨橫掃、略施
水》、《廬山高》等作，與此《登山臨水圖》齊觀便可知
枯筆為之，畫中花青墨色能繪出山勢背光面，藤黃澹色則
其珍稀可貴之處，無論設色筆法皆用盡心機經營鋪排，尤
點染出山頭受光面，使得畫面光影躍動，瀰漫濕潤氤氳的
以意境取勝、用「馭繁化簡」之法呈現出作品的氣勢動
效果。
態，全圖細觀奇詭變化無窮，文氣筆意清冽，不僅能將前
前景則寫近山緩坡，以淡墨粗筆皴擦出山徑走向，後用篆 筆墨線與石分三面法鉤提出主要的山壁岩石，數筆寫出矮
102
人功法化為己用，更將具象與抽象的藝術概念在此作完美 結合，實是無愧於其「五百年來一大千」之美名。
After a majority of time spent abroad, Zhang Da-qian left the US for Taiwan in 1976 and settled at Moye Jingshe in Shuangxi from August 1978 until his death in 1983. During his stay in Taiwan, Zhang reached the peak of his career with the most majestic works. Regardless of his endless relocations in his lifetime, he settled and enjoyed his old age in Taiwan. Hence the landscape paintings of this period carry a nostalgic tone. Despite his eye injury, Zhang was able to paint in the style of Song and Yuan with the meticulous details of Ming and Qing. He painted by incorporating classical techniques into his own creation: splashed ink with a fine brush. The composition is constructed with intricate details and variations. As Baishi Laoren mentioned, each stroke was meticulously composed with a poetic finish. A majestic landscape could be depicted with only simplistic and abstract strokes. With years of observing landscapes through his travels, the artist could depict landscape paintings at ease in classical styles at the peak of his career, as shown in this majestic work, completed in 1979. This work was structured in the style of Huang Zijiu and Wang Shuming. The application of ink could be traced back to the style of Xu Wei and Chen Chun. Zhang Da-qian incorporated the elegance of Song and Yuan paintings and the majestic details of Ming and Qing literati landscapes. Structured in a zigzag composition, depth of the painting was represented with layers of hills extending to the cliff and shores on the right. Space on the left was it was deliberately created to enhance the misty atmosphere. The structure appears spacious yet this was deliberately planned to showcase the elusiveness of the environment. Distant hills were finished with short strokes and dried cun for their outlines to highlight depth of the landscape. Light green, ochre and ink were used to depict light and shadow. A mixture of tones and gradation represent its density. Dots and cun with dried strokes create a dense lustrous forest. Carefree strokes were used to create a misty landscape. The middle ground was composed
with clusters of rocks. Splashed ink were used to further add moisture to the environment. Fine outlines depicted cottages in a distance, juxtaposing intricate details against the majestic landscape. Light ochre was used to highlight light shone on the hills, creating a harmonious tone in the misty setting. A gentle knoll was depicted in the foreground with light ink and broad cun to represent a trail. Zhuan strokes and slanted brush to depict the rough rugged nature of rocks and cliffs. A kiosk was depicted in simplistic strokes. Trees were outlined with bare trunks in the style of Qingteng Baiyang; while those farther in a distance were depicted in Wang Meng's style. A village was meticulously painted with a few scholars
hiking, one with a hiking stick, another looking afar. Ox hair cun were used with light ink connecting the shore and the water. This echoes with the light hue on the left creating a misty and elusive setting. Such technique took reference to Jinling landscape juxtaposing cun strokes with the elusiveness of mist. Such variation of tone highlights the tranquility and grandiosity of the landscape, bringing the audience face to face with nature. Such splash art was the result of years of practice at Zhang Da-qian's later part of his career. Through the contrast of refined and carefree depiction, the painting combined spontaneity with controlled brush to depict the grandiosity of Song landscape. Such is the essence of literati landscape painting. This work was in the collection of Lin Hwai-min’s family. It was completed in 1979, at Zhang's age of 81, after a hike during Chongyang festival. As a loyal scholar who honored filial piety, Zhang created this painting with a nostalgic juxtaposition of the consistency of landscape against the vicissitude in life. Despite the eye injury, Zhang developed splashed ink technique. His talents in splashed ink, along with the techniques of Dunhuang art, were widely acclaimed. Yet his talents did not ease in its existence, but were further enhanced through his nostalgic emotions with age and experience. Such extraordinary works are rarely seen in the current art market. Landscape in Light Ink and Majestic Lushan were a few examples of such work recorded in The World of Chang Dai-Chien by Shen C.Y. Fu. As these paintings are compared to this work one could observe the meticulous composition to produce such majestic landscape with a combination of intricate details and abstract styles. Such elusiveness of landscape makes this work a scholar painting with immense depth echoing with old masters and a sophisticated play of realism and abstraction. This proves the world's acclamation of Zhang as being one of a kind in centuries.
104
655
CHIANG Chao-shen (Taiwanese, 1925-1996)
Residing in the Woods Ink and colour on paper, framed 97 x 181 cm Signed CHIANG Chao-shen in Chinese With three seals of the artist PROVENANCE
Private collection, Taipei
NT$ 1,100,000 - 1,800,000 HK$ 299,000 - 489,000 US$ 38,300 - 62,600 RMB 245,000 - 401,000 江兆申 溽暑閑居 水墨 設色 紙本 鏡框 97 x 181 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。 棋子不妨臨水著，詩題兼好共僧分。 新憂他日榮名後，難得幽棲事靜君。 款識：林和清詩句慕，江兆申畫於靈漚小築時溽暑為蒸， 雨雲四合，苦帋少墨，沽瀾不能騁筆。 鈐印：江兆申印（白文）、椒原璽（朱文）、奇趕無等倫（白文） 來源
私人收藏，台北
1980年代以後江兆申的水墨進入結合傳統與新意的創作期，
近，主要以快速、寬長筆線把山石鋪陳逼入險境，層疊的山
多用傳統筆法重新詮釋台灣山林風景，雖以宋人丘壑作為山
巒峭壁由右至左更加地連緜，畫筍峰無不險中求奇絕、一揮
體形式，然多用清代的筆墨技法加上現代水墨的精神氣韻，
即就，設色雖以淡赭為主，然江兆申盡脫新安畫派枯澹的風
揮灑出既有復古畫意、又能展現突出鮮明的個人特質之作
格，多用敷染作出深淺不一的冷灰墨色，連續的夾山絕壁中
品。
央以掛垂的流瀑作為破題點睛之筆，且又能平衡畫面的重
《溽暑閑居》此作為江兆申遷居靈漚小築後期的作品，描繪 溽夏時節、雲雨蒸潤的山林風景為主題，畫面上可看出來自 摹寫歷代名畫的基礎，更參照了當時台灣現代水墨對於本土 寫生的實踐，對於景物的安排剪裁，墨韻與色彩的處理，都 讓人驚艷且大開眼界；江兆申水墨創作以書法用筆與章法結 構切入，作畫時不打草稿，所有佈局構圖了然於心，在用筆 的技巧上多有獨到且精采的變化，此畫採用上下兩部、刻意 以等分的構圖寫景：上半部以書法的線條融入山水的架構之 中，取用漸江「鐵線」勾勒的筆法將山峰雄偉之勢析出遠 106
心，讓壁面與山頂密林營造出靜謐致遠之感。下方山水的佈 局則以南方吳派水墨的暈染做為表現，藉由多變的水色烘染 山石與疏密穿插的林樹、房舍，與其間幾株盤踞聳立的奇松 形成強烈的對比，墨色暈滲出的雲天絕景，使得上下兩段遠 山既能呼應又可自然地連結一片，完美地呈現出山景的溫潤 與靈奇。畫幅上題北宋隱逸詩人林和靖之詩句，是江兆申發 自傳統文人畫精神與素養的寄託，對應畫中文人獨行、幽居 獨坐，頗有淡泊自適的人生寫照，此作造境新穎，又能達到 氣韻丰神的境界，實為江氏難得一見的精品大作。
By the 1980s, Chiang Chao-shen reached his mature stage of blending classical and modern innovation in ink art. The classical approach was often used to represent the Taiwanese landscape. The depiction of hills from Song and ink application of Qing were mixed with a modern twist, which became his unique artistic style. This work was made after his relocation to his cottage Lingou. The landscape smothered in the heat of summer. Classical structure was used in the depiction of Taiwanese landscape, which was considered as the modern approach of the period. The composition of subjects created visual impact under a meticulous treatment of ink and colour. Calligraphic strokes were used spontaneously in the painting without initial drafts. An excellent control of brush reflects the variations of strokes. This work is divided into two parts: The upper half were composed
with swift brushstrokes and the outline of Jian Jiang to depict the layers and outlines of the mountainous landscape. As the landscape extends from right to left, rugged knolls were painted in gradations of grey and ochre, derived from the Xinan style. A waterfall at the center enlivens the painting, balancing the peacefulness of the whole scene. In the lower panel, the structure took reference of the Wu School. Rocks, forest and huts were painted with light colours, heightening the contrast with the crooked pines. Through the application of colour and ink, the upper and lower parts of distant hills and the foreground echo with one other, forming a majestic landscape. The inscription is an extract of the poem by Lin He-jing from the Northern Song dynasty, showing the inspiration of Chiang from literati poems. The poem echoes with the lone scholar and his secluded lifestyle, creating an exquisite work of art.
656
YU Chung-lin (Taiwanese, 1925-1985)
喻仲林 紅葉白鴿
Dove and Sparrows Amongst Red Leaves
1962
1962 Ink and colour on paper, framed 120 x 60 cm Signed YU Chung-lin in Chinese With two seals of the artist
款識：壬寅夏六月山東喻仲林畫於台灣麗水精舍。
PROVENANCE
Acquired directly from the artist's family EXHIBITED
"Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-Lin", National Museum of History, Taipei, 14 January, 2012 - 28 February, 2012
水墨 設色 紙本 鏡框 120 x 60 cm 鈐印：喻氏（白文）、仲林（朱文） 來源
直接得自藝術家家屬 展覽
「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史 博物館，台北，展期 2012 年 1 月 14 日至 2012 年 2 月 28 日 圖錄
《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史 博物館，台北，2012 ，頁 46-47
ILLUSTRATED
Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 46-47
NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000 喻仲林的花鳥畫妍雅明麗，富有文人氣質，在不斷鑽研精進摹 古與寫生的勤奮磨練之下，淬煉出其秀逸脫俗的繪畫風格。曾 於〈作畫應該適性〉一文中自述其專攻花鳥畫之因素：「我對 花和鳥有著偏愛，我對這些東西有真摰的情感，我覺得一草一 木都可愛，都有畫意，我有時幻覺自己變成一隻小鳥，自由自 在的翱翔於天空，或跳躍在地上，沒有是非，沒有憂傷，那將 是多麼美妙的生活，我的畫，有時便描繪我這些幻覺。一個畫 家便是要表達自己，不管別人如何。」 《紅葉白鴿》作於1962年初夏時節，距今一甲子，為喻仲林 青壯時期的花鳥工筆經典之作。畫面豐富生動具層次感，以工 筆細緻地刻畫出停棲在中央綠坡上的白鴿，精細描繪出根根分 明的羽毛，眼神銳利而有精神，白鴿後方以沒骨寫意畫出紅楓 葉，深淺搭配的紅色調為淡雅的畫面注入鮮明色彩，上方繪有 兩隻輕巧靈動的麻雀，一隻振翅高飛，一隻佇停在樹梢，凝望 著向右飛翔的同伴，生動可愛。前景則有竹石和花青色小藍花 點景，畫面的佈局經營與用色上均見用心巧思，營造出愉悅歡 快的和諧氛圍，生機盎然。喻仲林曾提及「繪畫是一種靈性的 產物」，主張要先行格物，對大自然觀察入微，得之於心，應 之於手，進一步追求生趣，達到「曲盡化工之妙」境界。
108
Flower-and-bird paintings are renowned for their elegance and scholarly style. He once mentioned in his manifesto that his passion for flowers and birds grew, allowing him to paint every detail with love and care. He would imagine himself as a bird soaring in the style, or hopping among the grass. Such a delightful world appears in his paintings as an illusion, as his true self. This work was created in the early summer of 1962, which is considered as his mature period. The scene is animated and rich in composition. Gongbi was used to depict the pigeon and its delicate feathers. Sharp eyes gleam with passion. Red maple leaves at the back were drawn in boneless techniques. Variation of tones enlivens the painting. Two sparrows on the top adds vibrancy to the work with one resting and one in flight. Bamboo, rocks and little blue flowers at the foreground were meticulously composed to create a delightful scene. Yu Chung-lin once said that every detail carries a spirit in a painting. Through meticulous observation, an artist could create an immaculate scene that delivers the artist's state of mind on the painting.
657
YU Cheng-yao (Taiwanese, 1898-1993)
余承堯 山水
Landscape
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 51 x 34 cm With one seal of the artist
鈐印：琴禪（朱文）
51 x 34 cm
NT$ 220,000 - 360,000 HK$ 60,000 - 98,000 US$ 7,700 - 12,500 RMB 49,000 - 80,000
「將軍畫家」余承堯戎馬倥傯二十餘年，於退役後的下半 生才提筆作畫。憑藉著與生俱來的藝術天分，以自然為 師，把年輕時走遍的大江南北山勢，自創亂筆皴法表現於 山水畫。1980年台灣藝壇的鼎盛時期，余承堯已被廣泛關 注，曾被藝術家王季遷譽為「可能是王蒙第二」，後來於 《自由中國評論》發表的〈余承堯的才華與靈視〉專文， 重新引起國內外畫壇的重視，曾於美國、法國舉辦個展或 聯展發表，為台灣現代水墨畫帶領至國外。 此畫由多重視覺編排而成，上半部分自山腰嶙峋岩壁陡峭 而立，遠處淡墨隱約染出岩峰輪廓屹立天際。近觀山壁斷 崖險峻，以亂筆交錯刻畫岩石嶙峋的質感，筆勢得篆書之 蒼拙，草書之速度，筆墨紛亂的表現，隨著濃淡的墨韻， 帶出節奏與韻律，奏出生命力的樂章。淡褐色的峭壁以綠 黃色相間點染，為納悶枯燥的山石，增添山林葳蕤的意 味。畫面的中下段從爬山者的視覺俯瞰悠悠流動的小河 流，為靜謐的山景，帶來澹泊文人雅致。
110
Known as a general-painter, Yu Cheng-yao began his artistic career after 20 years of serving as a general of the army. With his talents and observation of nature, he reinvented cun strokes to depict the majestic landscapes he visited at his early age. In the 1980s when the art market flourished in Taiwan, Yu Cheng-yao was widely known for his artistic talents. C. C. Wang praised Yu as an artist with the style of old master Wang Meng. Yu was also widely analyzed in the Free China Review, arousing interests from the local and international art circles. Yu was featured in solo and joint exhibitions in France and the US, leading the modern Taiwanese ink art towards the international art scene. This painting was composed with multiple perspectives with the upper half of the panel featuring rugged mountains looming over the panel. Light ink brushes across the back forming layers of mountainous rocks. The rugged cliff was enhanced by intersecting lines highlighted with the sturdiness of seal script and the rapid movement of cursive script. Various gradations of ink enhance the tone and rhythmic representation of this symphony of life. Light ochre enlivened by yellow and green among the rocks, representing the vivid nature of luscious forest. The lower panel was depicted from the perspective of a hiker looking down towards the gentle stream, enlivening the tranquil surroundings on the panel.
658
PU Hsin-yu
溥心畬
(Taiwanese, 1896-1963)
幽壑清瀑
Pavilion by the Waterfall Ink and colour on paper, scroll 86.5 x 24 cm Signed PU Ru in Chinese With three seals of the artist
水墨 設色 紙本 立軸 86.5 x 24 cm 釋文：一水分還合，千峰斷覆連。 款識：謂山流僧永光句，溥儒。 鈐印：溥儒（白文）、玉壺（朱文）、無為小人儒（白文）
NT$ 180,000 - 280,000 HK$ 49,000 - 76,000 US$ 6,300 - 9,700 RMB 40,000 - 62,000
溥心畬善畫山水，雖襲古卻多有新意，1949年寓臺後的 山水創作更傾向於文人畫的風格，信手寫來荒率不拘筆墨 章法，揉各家之長於一身，風格具有鮮明的多樣性。《幽 壑清瀑》則為典型溥氏青綠山水的風格作品，通幅工細明 豔，注重線條的勾勒與摹寫，尤重於烘染設色，輕重頓挫 流暢帶有節奏，意境高遠雅致；中段山形用筆快速且生 動，多以鋸齒狀的線條勾出山石稜角，畫面中不安定且搖 搖欲墜的山石，表現出溥氏棄國離鄉後的心境，故國山水 已然不存在，只能描繪記憶中的圖面，頗有吳彬怪奇山水 的奇幻畫風。近景山石塊面取自李氏青綠山水的筆意，佈 局生動且淋漓挺勁，多用下重上輕的斧劈短線皴出岩石肌 理，敷色則用淡赭為底罩染，石綠石青多層次的混用烘染 出層次豐富的石面，深具色彩變化之美，所謂石分三面， 以色做出石凹深與凸淺的陰陽面，在起伏之間析分出上實 下虛做成堆石成山，後用三山夾水瀑而立的構圖做出高峻 的效果，遠景以沒骨山水設色佈局，工寫兼用的自創風格 在畫面組合上渾然天成；下段近景緩坡寫雙松橫出圖面並 立，松下雜樹屋舍掩映，一派自然天成的風光，觀之清麗 和雅，蒼莽中可見其筆墨的機趣，妙手捻來險山流水、古 樹人家，溥心畬創造出高山流水、恬淡自適的絕妙景致， 達到「詩中有畫，畫中有詩」的神品境界。
112
Pu Hsin-yu excelled in landscape paintings that were innovative at the times with reference to classics. From 1949, his styles had inclined towards a literati style with carefree strokes to incorporate styles of different old masters. This work was completed with Pu's typical composition in refined strokes to define the subjects and light colours to create an amusing scene. The middle of the panel was painted with swift strokes with fluidity and rhythm. Jagged lines were used on the rugged cliff to create uneasiness and disturbance, which might be derived from the homesickness since his relocation from his hometown. Scenery could only be seen through memories. Such style resembles Wu Bin's eccentric landscape. The foreground shone light on Li's light green landscape. The whole composition is rich in luscious green. Axe short cun carved out the surface of the rocks, accentuated with light ochre. Layers of green and blue were applied to enhance the depth of the rocks. Such gradation of colours were typically used to create dimension and depth. Piles of rocks were placed below a waterfall to create an ideal structure. The lower panel was drawn with pine trees meandering with their crooked trunks, playing covering part of the pavilion, creating a luscious natural scene. Ink is saturated yet intriguing in depicting such a typical scene of residence alongside rivers and mountains. Pu Hsin-yu recreated nature in its tranquil and poetic form.
659
HUANG Chun-pi (Taiwanese, 1898-1991)
黃君璧 松壽圖
Pine
1974
1974 Ink and colour on paper, framed 80 x 41.5 cm Signed HUANG Chun-pi in Chinese With three seals of the artist
80 x 41.5 cm 款識：陳母鄭太夫人九秩壽慶，甲寅冬畫者以祝，黃君璧。 鈐印：黃君璧印（朱文）、君翁（白文）、白雲堂（白文）
水墨 設色 紙本 鏡框
來源
直接得自上款人家屬
PROVENANCE
Acquired directly from the family of the recipient
NT$ 120,000 - 200,000 HK$ 33,000 - 54,000 US$ 4,200 - 7,000 RMB 27,000 - 45,000 黃君璧，原名允誼，晚號君翁，一生專注於繪畫，強調寫 生、要求創新，他的畫風墨色雄渾厚重，用筆剛健老辣， 特別注重光影明暗的表現，從觀察自然的奧妙，搜羅山石 雲霧的千變萬化，摹寫自然，其畫作以「淵博溫潤,渾厚朴 茂」為世人稱道。 此作《松壽圖》繪成於1974年，時年77歲。中國傳統文化 中有「壽比南山不老松」一說，靈芝也被視為食之可以長 生不老的仙藥，畫家以此二物為喻，以表祝壽，畫幅更寫 竹以表人品高風亮節之意，更讓此作境界特出。全畫以直 式構圖，近景松石林木採取固定式的透視及窗景構圖，著 重於物象的光影與實體量感的存在，奇石底部和松根處， 以點苔法作出精微的神韻，渴筆禿鋒，蒼茫純熟，頗有巨 然遺風，將畫面空間層次連貫。此畫軸物象構圖雖簡，但 細觀其造型奇絕，敷色古樸，用濃墨皴擦、形構出形狀奇 峋的邊坡山石。乾濕墨色兼用，以淡赭色、石青色，墨韻 兼備，染出奇石的瘦、皺，尤其松樹枝幹與樹體的片鱗特 別地遒勁有力。筆直的松樹拔地而起，以出紙法佈局，更 顯奇松偉然的樣貌。畫幅上段由右岔出的松枝構圖形式， 突顯枝幹的層次及松樹茂盛的狀態，更可以窺知其受西方 繪畫透視法的影響。君翁此作刻意於竹葉之交疊處染出深 淺，表現出帶有光影的層次質感，較近似西方繪畫的賦彩 方式，明顯與傳統設色敷染技巧不同，大異其趣。此作筆 墨清潤靈秀，在沉鬱深厚的氣息中營造一種爽颯清幽的意 趣，奇松挺拔威嚴之姿更有堂堂君子之風，實為君翁晚年 筆法精妙的傳世之作。
114
Huang Chun-Pi devoted his life to painting, with a focus on life observation and innovation. His paintings have a solemn character with high precision in brushwork, which highlights its representation of light and dark. Through life observation, the elusiveness of clouds and mists were depicted with close resemblance, thus making his works well acclaimed by all. This work was painted in 1974 at Huang's age of 77. Pines and lingzhi have long been associated with longevity, thus the symbols were used to commemorate the receiver's birthday. Bamboo was also used to highlight her noble character. With a vertical structure, the pine and rocks were put in the foreground to create depth as if looking through a window. Light and dark were highlighted with the application of brushwork. Dots and dried brush were applied on the base of the rocks and the root of the pine, highlighting the solemnity of the work. Despite its simplistic composition, the solemnity of the work was reflected through dense ink, cun and the forms of rough rocks. Wet and dried ink of ochre and green were alternatively applied to demonstrate the texture of rocks and the rough scales of the tree trunk. Pine stands upright stretching from the bottom of the work, highlighting the nobility of pine. Using the perspective of Western techniques, a branch perches from the right, to highlight the layers and the density of the tree. Bamboo leaves were painted in different gradients, with hints of Western application of colours. With careful choice of brushwork and ink gradients, this work possesses a fresh yet solemn character, thus making it one of the greatest works of the artist in his late career.
660
HUANG Chun-pi
黃君璧
(Taiwanese, 1898-1991)
持扇仕女
Lady with a Fan
1963 Ink and colour on paper, framed 61.5 x 30 cm Signed HUANG Chun-pi in Chinese With three seals of the artist PROVENANCE
1963 水墨 設色 紙本 鏡框 61.5 x 30 cm 款識：癸卯秋日畫於白雲堂黃君璧。 鈐印：黃君壁印（白文）、君翁（朱文）、白雲堂（朱文） 來源
私人收藏，台灣
Private collection, Taiwan
NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000
中國傳統繪畫以人物稱第一，山水畫鳥畫為二，皆因人物 摹寫最要求造型功力，「傳神」最難，無論是人物的神態 風韻與姿勢造型都極為要求筆墨，而在古代，畫像寫真更 是傳載人物形象與事跡的唯一手段。 此幅《持扇仕女》作於1963年秋日，是時君翁已過花甲 之年，對於人物的摹寫注重於畫面整體的呈現，跳脫仕女 以正面寫像的傳統造型，以背面示人的描繪新人耳目，君 翁人物畫多臨陳老蓮筆法，渾然有太古之風，此作用筆枯 渴，勾線條圓韌如鐵絲，仕女的背部線條造型細中帶剛， 拖筆曳尾的手法傳達出立體感與服飾的質感，披帛上衣用 乾筆勾線、裙裾飄帶則用墨色快速揮出隨風飛揚的線條， 雖細勁卻能有爽颯之感。如團雲簇籠的髮髫、無頸削肩微 露香腮的側影，他以流利富有變化的筆法將身體比例脫略 工筆繪畫形似的要求，敷色只採純色：如石綠、硃砂、石 青等三色做出人物服裝與持扇的重點搭配，表現出仕女凝 視遠方、自然散逸的神態，雖不知其面部神情為何，但卻 更加地摹形傳神，展現出仕女卓然獨立的風韻。背景裏所 描繪的枯樹奇石遒勁，用筆靈活鬆動，皴法老辣沉著，章 法有奇傲古拙的韻味，畫幅上方的柳枝垂墜，不僅有上下 連接的作用，既可擴充畫面，又能顯出冷致沖澹的秋日風 情，頗具匠心之餘又充分展現君翁高妙的技法與深厚的筆 墨功力。
116
In terms of the level of skills, figure paintings outweigh landscape and flower-and-bird, due to the level of difficulty in the depiction of the spirit of the subject. It requires the highest standard of control of ink and brush. Tracing back through time, classical figure paintings are even regarded as a record of story and history. This painting was made in autumn of 1963 at the artist's age of 60. The lady figure was uniquely depicted from the back, as an unconventional approach in ink art. Strokes in the style of Chen Lao-lian were used for figure depiction. Dried brush was used and lines were meticulously applied to highlight the refined cures of the back. Movement of the wrist enables the depiction of clothings in a realisting approach. Dried brush crossed the panel in a swift manner creating movement of the ribbons. Buns clustered, while cheeks were dyed in light pink. Swift gongbi strokes were diligently applied to precise proportions. Colours were applied in its purest form, eg. green, red and blue, creating a harmonious painting of a lady gazing into the distance. Her state of mind was captured not by her face, but her elegant posture. Crooked trees and rugged rocks in the background were depicted with skillful strokes, sophisticated cun and classical structure. Willow on the top leads the eye through the painting from top to bottom, extending the scene beyond the panel into the autumn scene, reflecting the advanced skills of Huang Chun-pi in ink depiction.
661
KUO Hsueh-hu
郭雪湖
(Taiwanese, 1908-2012)
蘭花
Orchids
1956 Glue-pigment on paper, framed 49.5 x 41.5 cm Signed Hseuh-hu in Chinese With two seals of the artist
NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000
118
1956 膠彩 紙本 鏡框 49.5 x 41.5 cm 款識：丙申除夕，雪湖作。 鈐印：雪（白文）、湖（朱文）
662
KUO Hsueh-hu
郭雪湖
(Taiwanese, 1908-2012)
洋蘭
Orchids
1971 Glue-pigment on silk, framed 43 x 50 cm Signed Hsueh-hu in Chinese With one seal of the artist
NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000
1971 膠彩 絹本 鏡框 43 x 50 cm 款識：辛亥春日，雪湖作。 鈐印：雪湖（朱文）
663
ZHOU Cheng (Taiwanese, b. 1941)
周澄 一江春水向東流及溪谷清秋（兩件一組）
Landscapes (A Set of Two)
1993
1993 Ink and colour on paper, framed 95 x 31 cm (each) Signed ZHOU Cheng in Chinese With five seals of the artist
95 x 31 cm（每件）
NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000
（左）癸酉大雪，蓴波周澄畫。
120
水墨 設色 紙本 鏡框 釋文： （左）一江春水向東流。 （右）雨霽樹如沐，山翠晴欲流。村深行跡少，五月似秋清。 款識： （右）癸酉大雪，蓴波周澄畫。 鈐印： （左）周澄（白文）、蓴波（朱文）、守真志滿（白文） （右）周澄（白文）、蓴波（朱文）
664
LEE Yih-hong (Taiwanese, b. 1941)
李義弘 重山深翠圖
Landscape
1998
1998 Ink and colour on paper, framed 68 x 138 cm Signed LEE Yih-hong in Chinese With three seals of the artist
68 x 138 cm
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000
鈐印：義弘染翰（白文）、在川小記（朱文）、壹襟
水墨 設色 紙本 鏡框 釋文：重山深翠圖。 民國八十七年歲在戊寅三月，南鯤鯓代天府管理委員 會命作以為重鈞先生榮任立法委員之喜，並晞指正。 款識：李義弘畫於錫板村。 幽象（白文）
665
CHIANG Chao-shen (Taiwanese, 1925-1996)
江兆申 靜壑松影
Pine Trees in a Tranquil Scene
1982
1982 Ink and colour on paper, framed 48 x 60 cm Signed CHIANG Chao-shen in Chinese With three seals of the artist
48 x 60 cm
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000
122
水墨 設色 紙本 鏡框 款識：靜壑連松影，霜天染北枝。壬戌江兆申寫小景。 鈐印：江兆申印（白文）、略無丘壑（白文）、雙谿 行者（白文）
666
LEE Yih-hong (Taiwanese, b. 1941)
李義弘 鄉舍清談
Chatting in the Cottage
1984
1984 Ink and colour on paper, framed 48 x 63.5 cm Signed LEE Yih-hong in Chinese With three seals of the artist
48 x 63.5 cm
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000
水墨 設色 紙本 鏡框 款識：甲子冬日畫為高橋廣峰並晞指正， 李義弘於笛音凝室燈下。 鈐印：義弘（白文）、在川之記（朱文）、 水流雲在（朱文）
667
TAI Jing-nong; CHIANG Chao-shen; WANG Chuang-wei; LEE Yu (Taiwanese, 1902-1990); (Taiwanese, 1925-1996); (Taiwanese, 1909-1998); (Taiwanese, 1915-1997)
臺靜農；江兆申；王壯為；李猷 行書書法（四件ㄧ組） 1982 水墨 紙本 立軸
Calligraphy in Running Script (A Set of Four)
131 x 32 cm x 3 ; 135.5 x 34.5 cm
1982 Ink on paper, scroll 131 x 32 cm x 3; 135.5 x 34.5 cm Signed TAI Jing-nong, CHIANG Chao-shen , WANG Chuang-wei and LEE Yu in Chinese With eleven seals of the artists
（一）惲壽平國香春霽詩畫。為憲澄吾兄法屬。靜農於龍
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000
（一）觀海者難為水（白文）、靜農無恙（白文）、
釋文略 款識： 坡。 （二）錄蔡君謨詩並戲擬其書體。壬戌之秋。江兆申。 （三）憲澄侍講屬書。漸齋王壯為。 （四）憲澄世兄屬書。壬戌中秋。李猷。 鈐印： 歇腳盦（白文） （二）江兆申（白文）、茮原（朱文） （三）老至四壬戌（朱文）、王壯為印（朱文） （四）飛舄終南（朱文）、字是三唐句晚唐（朱文）、 李猷長壽（白文）、紅竝樓（朱文）
124
668
SUN Yun-sheng; CHEN Zi-he
孫雲生；陳子和
(Taiwanese, 1918-2000); (Taiwanese, 1910-1984)
四君子四屏
Four Gentlemen
1978 Ink and colour on paper, scroll 99.5 x 33 cm (each) Signed SUN Yun-sheng and CHEN Zi-he in Chinese With sixteen seals of the artists
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000
1978 水墨 設色 紙本 立軸 99.5 x 33 cm（每件） 釋文略 款識： （一）陳子和題。孫雲生家瑞。 （二）陳子和書舊作蘭花句。孫雲生家瑞。 （三）陳子和寫舊作。雲生孫家瑞。 （四）戊午冬，鳳城陳子和四君子詩兼作南山之頌。六十七年 戊午十一月寫四君子屏為祝一亞先生、培華夫人七十雙慶，雲 生孫家瑞頓首拜。 鈐印： （一）孫家瑞（白文）、雲生（朱文）、陳子和（白文）、百 葉館（朱文） （二）孫家瑞印（白文）、雲生長年（朱文）、子和書畫（白文） （三）孫家瑞（白文）、雲生（朱文）、子和詩書畫印（朱文）、 順德陳氏（白文） （四）子和大利（朱文）、美意延年（白文）、孫家瑞（白文）、 雲生（朱文）、大風堂門人（朱文）
669
PENG Chun-shi (Taiwanese, 1896-1976)
Calligraphy Couplet in Running Script Ink on paper, scroll 135 x 34 cm (each) Signed PENG Chun-shi in Chinese With two seals of the artist ILLUSTRATED
Poems by Peng Chun-shi, Family Welfare Association, Taichung, 1989, p. 69
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000 彭醇士 行書對聯 水墨 紙本 立軸 135 x 34 cm（每件） 釋文：元常抱犢乃勤章草，子政賣餅而說麟書。 款識：章麟仁兄之屬，彭醇士。 鈐印：筠州（朱文）、彭醇士印（白文） 簽條 款識：彭醇士先生行書，吳平敬署。 鈐印：吳平（白文）、堪白（朱文）、 吳平（白文）、堪白（朱文） 圖錄
《彭醇士詩書畫選集》，中華民國幸福家庭促進 協會，台中，1989 ，頁 69 註 上款人「章麟仁兄」即為蔡章麟，中華民國前司 法院大法官、前監察委員。
126
670
TUNG Tso-pin (Taiwanese, 1895-1963)
Calligraphy Couplet in Oracle Bone Script 1953 Ink on paper, framed 115 x 20 cm (each) Signed TUNG Tso-pin in Chinese With two seals of the artist
NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000 董作賓 甲骨文對聯 1953 水墨 紙本 鏡框 115 x 20 cm（每件） 釋文：大好風月對樽酒，小有林泉集眾賓。 款識：碧川先生雅正。癸巳孔誕，董作賓。 鈐印：彥堂長壽（白文）、董作賓（朱文）
671
TAI Jing-nong (Taiwanese, 1902-1990)
臺靜農 行書書法
Calligraphy in Running Script
1988
1988 Ink on paper, framed 33 x 39 cm With three seals of the artist
33 x 39 cm
NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000
128
水墨 紙本 鏡框 釋文：清愁不斷，問何人會解連環。 款識：戊辰九秋，悶坐龍坡丈室。 鈐印：龍坡（朱文）、靜農無恙（白文）、定慧（朱文）
672
WANG Pan-youn (Taiwanese, 1912-2017)
王攀元 遠渡
Sailing Boats
水墨 紙本 鏡框
Ink on paper, framed 68 x 45 cm With one seal of the artist
鈐印：王攀元印（朱文）
NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000
68 x 45 cm
673
CHIANG Chao-shen (Taiwanese, 1925-1996)
Calligraphy Couplet in Running Script 1989 Ink on paper, framed 91 x 17.5 cm (each) Signed CHIANG Chao-shen in Chinese With two seals of the artist PROVENANCE
Private collection, Taipei
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 江兆申 行書書法對聯 1989 水墨 紙本 鏡框 91 x 17.5 cm（每件） 釋文：狎鷗偶得滄浪趣，騎鶴能生江海心。 款識：己巳茮原江兆申。 鈐印：江兆申印（白文）、茮原（朱文） 來源
私人收藏，台北
130
674
CHIANG Chao-shen (Taiwanese, 1925-1996)
Calligraphy Couplet in Running Script 1989 Ink on paper, framed 94.5 x 16.5 cm (each) Signed CHIANG Chao-shen in Chinese With two seals of the artist PROVENANCE
Private collection, Taipei
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 江兆申 行書書法對聯 1989 水墨 紙本 鏡框 94.5 x 16.5 cm （每件） 釋文：東閣梅花南浦月，吳江楓葉楚山雲。 款識：己巳茮原江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） 來源
私人收藏，台北
675
CHIANG Chao-shen (Taiwanese, 1925-1996)
Calligraphy Couplet in Regular Script 1964 Ink on gold-flecked paper, scroll 131 x 32 cm (each) Signed CHIANG Chao-shen in Chinese With three seals of the artist
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 江兆申 楷書八言聯 1964 水墨 灑金箋 立軸 131 x 32 cm（每件） 釋文：敬業寅恭純嘏有慶，秉德雍穆眉壽咸釐。 款識：自後蜀有史以來，士人每喜用絳箋書吉語， 應歲時令，此道法廢，因戲效其體，廣見承平餘 意。甲辰十一月初吉，椒原江兆申書並記。 鈐印：蒼頭異軍（朱文）、江兆申印（白文）、 茮原（朱文）
132
676
HUANG Chun-pi; CHEN Zi-he (Taiwanese, 1898-1991); (Taiwanese, 1910-1984)
Pine and Bamboo
1953 Ink and colour on paper, framed 90.5 x 38 cm Signed HUANG Chun-pi and CHEN Zi-he in Chinese With four seals of the artists
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 黃君璧；陳子和 松竹圖 1953 水墨 設色 紙本 鏡框 90.5 x 38 cm 款識：君武先生壽，癸巳冬，黃君璧竹石，陳子和畫 松並題。 鈐印：黃君璧印（白文）、子龢（朱文）、百葉館（白 文）、謙龢堂心賞（朱文）
677
SUN Yun-sheng
孫雲生
(Taiwanese, 1918-2000)
蕉陰高士
Plantain and Scholar 1972 Ink and colour on paper, framed 95 x 49 cm Signed SUN Yun-sheng in Chinese With three seals of the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
134
1972 水墨 設色 紙本 鏡框 95 x 49 cm 釋文：野人無帳幄，愛此綠參差。 款識：壬子元月寫奉，于揚仁兄法家教正。寧河孫 雲生家瑞脩竹池上。 鈐印：孫家瑞印（白文）、雲生長年（朱文）、清 心堂（朱文）
678
AU Ho-nien
歐豪年
(Taiwanese, b. 1935)
翠竹麻雀
Bamboo and Sparrows 1990 Ink and colour on paper, framed 29 x 83 cm Signed Ho-nien in Chinese With three seals of the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
1990 水墨 設色 紙本 鏡框 29 x 83 cm 款識：庚午初冬，豪年畫於竹移軒。 鈐印：歐（朱文）、豪年（白文）、丹青不老（白文）
679
CHU Ko (Taiwanese, 1931-2011)
楚戈 山水
Landscape
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 51.5 x 65 cm Signed CHU Ko in Chinese With one seal of the artist
釋文：昨夜宿南陵，今旦入蘆洲。客行惜日月，崩波
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
136
51.5 x 65 cm 不可留。侵星赴早路，畢景逐前儔。鱗鱗夕雲起，獵 獵晚風涼。騰沙鬱黃霧，翻浪揚白鷗。 款識：謝靈運詩，楚戈於華府。 鈐印：楚（白文）
680
CHANG Ke-chi
張克齊
(Taiwanese, b. 1950)
藕花香冷水風清
Lotus
1985; 1988 Ink and colour on paper, framed 50 x 75.5 cm Signed Kai-jie in Chinese With one seal of the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
1985 ; 1988 水墨 設色 紙本 鏡框 50 x 75.5 cm 釋文：藕花香冷水風清。 款識：歲戊辰端陽補記，乙丑年，凱傑畫。 鈐印：張克齊（朱文）
681
ZHENG Bai-zhong
鄭百重
(Chinese, b. 1945)
山氣日夕佳
Landscape
1991
1991 Ink and colour on paper, framed
68.5 x 137 cm
68.5 x 137 cm Signed ZHENG Bai-zhong in Chinese With three seals of the artist EXHIBITED
"Exhibition of Zheng Bai-zhong", Capital Art Gallery, Taipei, 5 September, 1992 - 16 September, 1992 This lot is to be sold with the brochure of the exhibition.
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
138
水墨 設色 紙本 鏡框 釋文：山氣旦夕佳，飛鳥相與還。此中有真意，欲辯已 忘言。 款識：陶淵明詩意。辛未仲秋閩人鄭百重寫。 鈐印：鄭（朱文）、百重之畫（白文）、山壽（朱文） 展覽
「鄭百重畫展」，京華藝術中心，台北，展期 1992 年 9 月 5 日至 1992 年 9 月 16 日 附「鄭百重畫展」出版文宣 註 此件作品為「鄭百重畫展」展覽宣傳封面作品。
682
CHIANG Ming-shyan (Taiwanese, b. 1942)
Fishing on the Autumn River 1993 Ink and colour on paper, framed 33 x 134 cm Signed CHIANG Ming-shyan in Chinese With three seals of the artist
NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000
江明賢 龝江漁釣 1993 水墨 設色 紙本 鏡框 33 x 134 cm 釋文：龝江漁釣。 款識：癸酉九月畫於聽松樓，江明賢。 鈐印：江氏（白文）、明賢（朱文）、任其自然（白文）
683
ZHOU Cheng
周澄
(Taiwanese, b. 1941)
書法五言詩（兩件一組）
Calligraphy (A Set of Two) 1999 Ink on paper, scroll 67 x 44 cm (each) Signed ZHOU Cheng in Chinese With five seals of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
1999 水墨 紙本 立軸 67 x 44 cm（每件） 釋文： （左）千山鳥飛絕，萬徑人蹤滅。孤舟蓑笠翁， 獨釣寒江雪。 （右）松下問童子，言師採藥去。只在此山中， 雲深不知處。 款識： （左）唐柳宗元江雪五言句。己卯初冬旅居山堂， 蓴波周澄書。 （右）己卯立冬錄賈島尋隱者不遇詩。蓴波周澄。 鈐印： （左）周澄之印（白文）、蓴波（朱文）、興懷（白文） （右）周澄之印（白文）、興懷（白文）
140
684
ZHOU Cheng
周澄
(Taiwanese, b. 1941)
摩訶般若波羅蜜多心經
The Heart Sutra 2016 Ink on paper, framed 34 x 60 cm Signed ZHOU Cheng in Chinese With one seal of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
2016 水墨 紙本 鏡框 34 x 60 cm 釋文：觀自在。摩訶般若波羅蜜多心經 觀自在菩薩，行深般若波羅蜜多時，照見五蘊皆空，度一切苦厄。舍利子， 色不異空，空不異色，色即是空，空即是色；受想行識，亦復如是。舍利子， 是諸法空相：不生不滅，不垢不淨，不增不減。是故空中無色，無受想行識， 無眼耳鼻舌身意，無色聲香味觸法，無眼界乃至無意識界，無無明，亦無無 明盡；乃至無老死，亦無老死盡。無苦集滅道，無智亦無得。以無所得故， 菩提薩埵，依般若波羅蜜多故，心無罣礙，無罣礙故，無有恐怖；遠離顛倒 夢想，究竟涅槃。三世諸佛，依般若波羅蜜多故，得阿耨多羅三藐三菩提。 故知般若波羅蜜多，是大神咒，是大明咒，是無上咒。是無等等咒，能除一 切苦，真實不虛。故說般若波羅蜜多咒，即說咒曰：揭諦揭諦，波羅揭諦， 波羅僧揭諦，菩提薩婆訶。 款識：丙申冬至於居山堂，周澄敬書。 鈐印：周澄（白文）
685
FU Shen (Taiwanese, b. 1936)
Calligraphy Couplet in Running Script 2018 Ink on paper, framed 61 x 12.5 cm (each) Signed FU Shen in Chinese With two seals of the artist PROVENANCE
Acquired directly from the artist This painting is to be sold with a photo of the work with the artist.
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000 傅申 行書對聯 2018 水墨 紙本 鏡框 61 x 12.5 cm（每件） 釋文：仁者百歲如意，好人一生平安。 款識：戊戌寒冬，八十三翁，傅申。 鈐印：傅申（白文）、墨園（朱文） 來源
現藏家直接得自藝術家本人 附藝術家與作品合照
142
686
CHIA Ching-de (Taiwanese, 1880-1960)
Calligraphy Couplet in Regular Script Ink on paper 181.5 x 44.5 cm (each) Signed CHIA Ching-de in Chinese With two seals of the artist
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000 賈景德 書法對聯 水墨 紙本 181.5 x 44.5 cm（每件） 釋文：書法尊嚴顏與信本，詩文清遠謝 及左思。 款識：韜園，賈景德。 鈐印：賈景德印（白文）、煜如（朱文）
687
CHUNG Shou-ren (Taiwanese, 1927-1999)
鍾壽仁 竹林小溪
Bamboo Grove by the Stream
1995
1995 Ink and colour on paper, framed D: 36 cm Signed CHUNG Shou-ren in Chinese With two seals of the artist
直徑：36 cm
PROVENANCE
Private collection, Taipei
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
144
水墨 設色 紙本 鏡框 款識：乙亥初夏寫於環碧軒南窗東陽鍾壽仁。 鈐印：鍾（白文）、壽仁（朱文） 來源
私人收藏，台北
688
HU Nian-zu (Taiwanese, 1927-2019)
胡念祖 谿山雪霽
Landscape
2004 ; 1974
2004; 1974 Ink and colour on paper, framed 18 x 34 cm; 48.5 x 35 cm Signed HU Nian-zu in Chinese With three seals of the artist
18 x 34 cm ; 48.5 x 35 cm
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
（下）胡念祖。
水墨 設色 紙本 鏡框 釋文：谿山雪霽。 款識： （上）此余三十年前舊作，斯見故人，甲申仲秋， 石牛老牧。 鈐印：心原胡念祖（白文）、石牛老牧（朱文）、 胡念祖印（白文）
689
FU Chuan-fu (Taiwanese, 1910-2007)
傅狷夫 巖壑幽居
Residing by the Cliff
1973
1973 Ink and colour on paper, framed 66.5 x 34 cm Signed FU Chuan-fu in Chinese With two seals of the artist
66.5 x 34 cm
PROVENANCE
Private collection, Taipei
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
146
水墨 設色 紙本 鏡框 款識：傅狷夫揮汗寫於復旦寓樓，時癸丑七月畫台灣。 鈐印：傅狷夫印（白文）、悔盫（朱文） 來源
私人收藏，台北
690
HU Nian-zu (Taiwanese, 1927-2019)
胡念祖 春林飛瀑
Waterfall in Spring
1981
1981 Ink and colour on paper, framed 32.5 x 67 cm Signed HU Nian-zu in Chinese With three seals of the artist
32.5 x 67 cm
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
家在洞庭（白文）
水墨 設色 紙本 鏡框 釋文：中國民主建國第七十年，西曆一九八一年之夏 寫幽巖飛瀑，為緯炎醫師雙儷補壁，益陽胡念祖時寓 美國紐約。 鈐印：胡念祖印（白文）、心原書畫（朱文）、
691
CHIANG Ming-shyan (Taiwanese, b. 1942)
江明賢 煙霞山居
Misty Landscape
1972
1972 Ink and colour on paper, framed 17 x 62 cm Signed Ming-shyan in Chinese With one seal of the artist
17 x 62 cm
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
148
水墨 設色 紙本 鏡框 款識：壬子歲閑，一九七二年之冬，明賢。 鈐印：江明賢印（白文）
692
PENG Kang-lung (Taiwanese, b. 1962)
彭康隆 樹林小屋
Cottage in the Woods
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 36.5 x 35 cm With two seals of the artist
鈐印：彭（白文）、亢儂（白文 )
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 -13,000
36.5 x 35 cm
693
LUO Fu (Taiwanese, 1928-2018)
洛夫 驚秋
Calligraphy in Running Script
水墨 紙本 鏡框
Ink on paper, framed 35 x 61 cm Signed LUO Fu in Chinese With two seals of the artist
釋文：驚秋。
ILLUSTRATED
Calligraphy of Luo Fu, Huoke International Art Limited, Taipei, 2001, p. 112
NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000
150
35 x 61 cm 款識：洛夫。 鈐印：因為風的緣故（朱文）、洛夫（朱文） 圖錄
《雪樓書稿—洛夫書藝集》，霍克國際藝術股份有 限公司，台北，2001 ，頁 112
694
PAN Hsin-hua (Taiwanese, 1966)
潘信華 太湖石
Tai-Hu Stone
水墨 設色 紙本 鏡框
Ink and colour on paper, framed 26 x 19 cm With one seal of the artist
鈐印：潘（白文）
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
26 x 19 cm
695
FU Chuan-fu (Taiwanese, 1910-2007)
Calligraphy Couplet in Cursive Script Ink on paper, framed 53.5 x 11 cm (each) Signed Chuan-fu in Chinese With one seal of the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000 傅狷夫 草書七言聯 水墨 紙本 鏡框 53.5 x 11 cm（每件） 釋文：自有奇書消永晝，還將薄酒醉芳春。 款識：纘采老弟補壁，狷夫書於心香室。 鈐印：傅狷夫印（白文）
152
696
WANG Zhong (Taiwanese, 1925-2010)
Calligraphy Couplet in Clerical Script 1984 Ink on paper, scroll 134 x 34 cm (each) Signed WANG Zhong in Chinese With two seals of the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000 汪中 隸書七言聯 1984 水墨 紙本 立軸 134 x 34 cm（每件） 釋文：興來桀作粲珠璧，寫以奇字伴史倉。 款識：明勇教授雅正。閼逢困敦之歲， 龍眠汪中。 鈐印：陶性靈發幽思（白文）、龍溪漁隱 （朱文） 註 上款人「明勇教授」即為簡明勇先生，曾擔 任國立台灣師範大學文學院中國文學系教 授。
697
WANG Zhong (Taiwanese, 1925-2010)
Calligraphy in Regular Script Ink on paper, framed 30.5 x 131 cm Signed Yu-an in Chinese With one seal of the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
154
汪中 楷書節臨《雁塔聖教序》 水墨 紙本 鏡框 30.5 x 131 cm 釋文：思欲分條析理，廣彼前聞。截偽續真， 開茲後學。 款識：余不善作楷，況如褚公者耶。雨盦。 鈐印：汪中酒後（白文）
698
LUO Fu (Taiwanese, 1928-2018)
洛夫 行書書法
Calligraphy in Running Script
水墨 紙本 鏡框
Ink on paper, framed 38 x 53 cm Signed LUO Fu in Chinese With two seals of the artist
釋文：假如你是鐘聲，請把回響埋在落葉中，等明年
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
38 x 53 cm 春醒，我將以融雪的速度奔回。 款識：洛夫。 鈐印：洛夫（白文）、水墨微笑（朱文）
699
AU Ho-nien
歐豪年
(Taiwanese, b. 1935)
上善若水
Calligraphy
Ink on paper, framed 41 x 135 cm Signed Ho in Chinese With one seal of the artist PROVENANCE
Acquired directly from the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
156
水墨 紙本 鏡框 41 x 135 cm 釋文：上善若水。 款識：豪翁，戲寫止水。 鈐印：歐介（朱文） 來源
現藏家直接得自藝術家本人
700
WU Ping
吳平
(Taiwanese, 1920-2019)
雨破庵
Calligraphy
2017 Ink on paper, framed 33 x 127.5 cm Signed WU Ping in Chinese With three seals of the artist This painting is to be sold with a photo of the work with the artist.
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
2017 水墨 紙本 鏡框 33 x 127.5 cm 釋文：雨破庵，屋上松風吹，急雨破紙，窗間自語。 款識：丁酉之夏，堪白吳平，九十八歲於我思齋。 鈐印：吳平之印（白文）、堪白長年（朱文）、 大有為（朱文） 附藝術家與作品合照
701
LEE Yih-hong
李義弘
(Taiwanese, b. 1941)
雲在
Calligraphy
2018 Ink on paper, framed 45 x 70 cm Signed LEE Yih-hong in Chinese With two seals of the artist
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
158
2018 水墨 紙本 鏡框 45 x 70 cm 釋文：雲在。 款識：二○一八年四月於笛音凝室，李義弘。 鈐印：李義弘印（白文）、水流雲在（朱文）
702
WANG Zhong
汪中
(Taiwanese, 1925-2010)
樂石
Calligraphy in Clerical Script Ink on paper, framed 31.7 x 77.5 cm With three seals of the artist PROVENANCE
Private collection, Taipei
NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 4,000 - 9,000
水墨 紙本 鏡框 31.7 x 77.5 cm 釋文：樂石。 鈐印：心間手敏（朱文）、汪中印信（朱文）、 雨盦（白文） 來源
私人收藏，台北
703
A Carved Bamboo 'Seven Sages of the Bamboo Grove' Brushpot 20th Century H: 15.7 cm
NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 20世紀 竹雕竹林七賢筆筒 高：15.7 cm
704
A Mother-of-Pearl-Inlaid Cinnabar Lacquer Box and Cover Ming Dynasty (AD 1368-1644) L: 13.2 cm
NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000 明 剔紅螺鈿漆器蓋盒 長：13.2 cm
160
705
A Jade 'Lions and Ball' Plaque 17th Century L: 7.8 cm
NT$ 120,000 - 200,000 HK$ 33,000 - 54,000 US$ 4,200 - 7,000 RMB 27,000 - 45,000 17世紀 雙獅戲珠紋玉帶飾 長：7.8 cm
706
A Boxwood 'Peaches' Brushpot 19th Century H: 20 cm
NT$ 120,000 - 200,000 HK$ 33,000 - 54,000 US$ 4,200 - 7,000 RMB 27,000 - 45,000 19世紀 黃楊木壽桃筆筒 高：20 cm
707
A White Jade Recumbent Deer Figure Qing Dynasty (1644-1911) L: 13.7 cm
NT$ 380,000 - 600,000 HK$ 103,000 - 163,000 US$ 13,200 - 20,900 RMB 85,000 - 134,000 清 白玉天鹿擺件 長：13.7 cm
162
708
A Silver-Inlaid Zitan Tray 19th Century L: 31.7 cm
NT$ 180,000 - 280,000 HK$ 49,000 - 76,000 US$ 6,300 - 9,700 RMB 40,000 - 62,000 19世紀 紫檀嶔銀絲四方盤 長：31.7 cm
709
A Bronze Tripod Censer, Xuande Mark Qing Dynasty (1644-1911) D: 12.5 cm
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 清 銅鬲式爐 《大明宣德年製》款 直徑：12.5 cm
Seal 款
710
A Bronze Censer, Xuande Mark Qing Dynasty (1644-1911) D: 8.2 cm
NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 清 銅簋式爐 《大明宣德年製》款 直徑：8.2 cm
Seal 款
164
711
A Bamboo Root Carving of a Buffalo and Boys Qing Dynasty (1644-1911) H: 22.5 cm
NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000 清 竹雕牧牛童子 高：22.5 cm
712
A White Jade Inkrest Qing Dynasty (1644-1911) L: 7.5 cm
NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000 清 白玉墨床 長：7.5 cm
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2.
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3.
競投保證金需於 2022 年 6 月 1 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。
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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 2022 年 6 月 1 日以前完成匯款至本公司指定帳號。 6.
如於 2022 年 6 月 1 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、服務費及其他費用 ) 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。 167
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 1st June 2022, 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 1st June 2022, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 2nd June to 4th June 2022). Acceptance will cease on 4th June by 12pm (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 1st June 2022.
6.
If the bidding deposit has been transferred prior to 1st June 2022, 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, buyer's premium, and other expenses) 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.
委託競投表格 委託競投表格須於拍賣24小時前送抵古文物及書畫部。競投表格可傳真至:
拍 賣 名 稱：羅芙奧台北 2022 春季拍賣會 翰墨丹青：書畫及古文物專場
古文物及書畫部 電話：+886-2-2708 9868 ｜傳真：+886-2-2701 3306
拍 賣 編 號：TC2201
投標者資料 客戶編號
拍 賣 日 期：2022 年 6 月 4 日 ( 星期六 ) 下午 1:00
姓名
拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號
護照號碼/身份證字號/統一編號 電話號碼（住宅）
（手機）
拍賣期間之聯絡電話 (僅限電話競投) 電郵
傳真號碼
地址 拍賣品編號
名
稱
競投價 (新台幣) / (服務費不計在內)
※投標規則： 1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約，羅芙奧不因執行投標而負任何 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。 3. 本人同意如投標成功，本人應付之購買價款為最後落槌價加上服務費，服務費依業務規則第二條第4項之規定計算。(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。) 4. 本競投，本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定) 5. 如投標者未曾於羅芙奧競投拍賣品，請附上投標者資料之副本及銀行證明資料。 6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。 7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料， 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。
簽署 ：
日期：
羅芙奧在取得投標者之個人 / 公司資料及簽名後方才接受競標 簽名即代表確認以上登記 / 競投，詳閱並同意接受羅芙奧載於圖錄及網站內之業務規則
Ravenel Ltd. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 | Fax: +886-2-2701 3306 ravenel.com | ravenelart.com.cn
169
ABSENTEE BID FORM The absentee bid forms must be delivered to Fine Chinese Works of Art and Paintings Department at least 24 hours before the auction begins. The bid forms may be faxed to:
Auction
Fine Chinese Works of Art and Paintings Department
Tel: +886 2 2708 9868 ｜Fax: +886 2 2701 3306
Bidder's Details Customer Number
Name
Passport number/ID number/Unified Business number Tel (Home)
Date Sale No. Location Address
RAVENEL SPRING AUCTION 2022 Refined Brushwork: Ink Paintings And Works Of Art Saturday, June 4, 2022, 1:00pm TC2201 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei
(Mobile)
Tel (For Phone Bid) Email
Fax
Address Auction Lot Number
Title
Bid Price (NT$) (Not including Buyer's premium)
※Bidding rules： 1. It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. 2. I understand and agree that Ravenel provides such bid services for the convenience of customers and no contract or agreement shall be constituted. Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. 3. I understand and agree that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. For detail please refer to Article 2,section 4 of the Transaction Agreement to the buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 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, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.) 4. The bid shall be subject to the Transaction Agreement prescribed in the catalogue.(including but not limited to Ravenel's non-defect warranty and non-guaranteed liability). 5. If the bidder has not bid for the auction item at Ravenel, please attach a copy of the bidder's information. (Individual: ID card or passport with photo issued by the government) 6. I agree that the Notice To Bidders, Bidder Registration, Absentee Bid Form and Transaction Agreement and other attached documents are regarded as part of this agreement. 7. Ravenel will collect, process and use the personal data provided by the client for auction-related matters and other non-profit purposes.
Signature：
Date：
We accepts the bid only after obtaining the personal/company information and signature to execute this bid. By signing this form, you confirm your registration/bid(s) as above and you agree that you have read and understood our Transaction Agreement as stated in our catalogues and on our website.
Ravenel Ltd. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 | Fax: +886-2-2701 3306 ravenel.com | ravenelart.com.cn
業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及 或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計 售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。
拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其 他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及 或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於 成功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。
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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
TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company. ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company. 2. "The Prospective Buyer" shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. "The Seller" shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. "Hammer price" shall mean the highest bid with respect to one particular Lot accepted by the auctioning party. 6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). 10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller. ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photo-
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graphs 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. 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.
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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. 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 puntive 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 bidding 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
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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. 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. 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