翰墨丹青—書畫及古文物專場 Refined Brushwork: Ink Paintings and Works of Art

拍賣目錄每本售價：NT$1,200

This auction catalogue: US$40 per

拍賣日期／地點

2022年12月3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11月12日（六）上午11:00至下午6:00

2022年11月13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11月19日（六）下午1:00至下午6:00

2022年11月20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12月1日（四）~ 2日（五）上午11:00至下午7:00 2022年12月3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, December 3, 2022, 1:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS

Kaohsiung Saturday, November 12, 2022, 11:00am - 6:00pm Sunday, November 13, 2022, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taichung Saturday, November 19, 2022, 1:00pm - 6:00pm Sunday, November 20, 2022, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei Thursday, December 1 - Friday, December 2, 2022, 11:00am - 7:00pm Saturday, December 3, 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

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CONTENTS

of

Calligraphy

楚戈

45 cm

款識：合著風的拍子，我們用肢體讚頌，

WU Shi-wei (Taiwanese, b. 1957)

Potted Green

2000

Ink and colour on paper, framed 61 x 28.5 cm

Signed WU Shi-wei in Chinese With four seals of the artist

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

吳士偉

翠灑玲瓏

2000

水墨 設色 紙本 鏡框

61 x 28.5 cm

釋文：奇在蒼苔點墨濃，毫端濕翠灑秋空。

長竿細辨玲瓏影，半在靈邱烟霧中。

款識：陸甄香館集，庚辰初夏，吳士偉。

鈐印：吳（白文）、士偉（朱文）、靜賞 （白文）、一片心（白文）

CHENG Shan-hsi (Taiwanese, b. 1932)

Bodhisattva

2005

Ink on paper, scroll 96.5 x 35 cm

Signed CHENG Shan-hsi and Shan-hsi in Chinese With four seals of the artist

PROVENANCE Private collection, Taipei

ILLUSTRATED Catalogue of Li Ya-Shang and Cheng Shan-Hsi, Wen Ming Gallery, Taipei, 2007, p. 107

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

鄭善禧 觀音菩薩像

2005 水墨 紙本 立軸 96.5 x 35 cm

釋文：（一）大慈大悲。

（三）來台北聞名畫廊欣賞字畫，偶見先師寒玉堂 水墨觀音像，我以老學生心態臨寫之，又添圓相佛 光座下蒲團以實之，惜乎師歸道山，不知為徒用心 也。

款識：（一）歲乙酉之冬，鄭善禧敬書。

（二）歲乙酉仲冬，鄭善禧筆。

（三）二 OO 五仲冬，善禧。

2007 ，頁

融古開今－現代花鳥名家喻仲林 臺灣藝壇的轉變可由1949年國民政府撤遷來臺作為一個分 水嶺，知名收藏家黃天才先生曾分析1949年不僅是臺灣政 治局勢的大移轉，也是中國水墨畫的大變遷，渡海來臺的 這一批書畫家，不只是今日臺灣水墨畫壇的老前輩，也是 延續中華傳統水墨最大的分支。渡海三家的開枝散葉，五 月、東方畫會的成立都是臺灣藝術蓬勃發展的象徵；反觀 中國傳統工筆花鳥的領域，惟喻仲林（ 1925-1985 ）獨闢 蹊徑、自成一格，成為既能詮釋傳統花鳥畫美感、又能深 具個人藝術風格的第一人。喻仲林得益自京派的傳承，追 溯宋代院體筆法，揉明清文人畫寫意，加之其後天的努力 學習，汲取嶺南派、日本膠彩工筆畫的精華，將傳統工筆 技法與西方繪畫媒材巧妙地運用，喻氏一脈的花鳥畫成為 近現代中國水墨藝術不可忽視的一環。

書香門第，勤勉於藝

「觀其設色明麗，風致天然，繁而能簡，艷而能清，曲盡 化工之妙若非天資高，體物深，安足以至此。」－臺靜農 喻仲林出生於山東冠縣，幼年時期便喜愛畫畫、展現出藝 術天賦，喻母更是位刺繡高手，能不作底稿刺繡，喻氏常 隨母親左右、為其鉤描刺繡與剪紙的花樣。1934年喻母仙 逝，喻仲林便往山東堂邑依附舅舅許以浩、許宗海，許家 為山東世家望族，也是著名的書香門第，所藏書畫名蹟頗 豐，十舅許宗海在當時更是位富有盛名的寫意花鳥畫家。 喻仲林雖無正式拜師學畫，但於家學薰陶及十舅的影響下 開始接觸、臨摹惲壽平、任伯年的花鳥繪畫，日後習藝大 成的喻氏，其所做的花鳥作品多題款南田詩句，可見其幼 年蒙受陶冶的痕跡。

年，隨國民政府渡海來臺的喻仲林時任軍職，公暇之

接觸西方繪畫如水彩顏料、粉彩紙等媒材，因其絕佳的天 份，深受工筆花鳥大師金勤伯的賞識旋即拜師學藝，勤伯

work, Wisteria and Doves (Lot 618) at "Paintings of

Chung-lin" at National Museum of History, Taipei, in 1982.

拍品編號616《江浦寒歐》於2012年國立歷史博物館《工緻典麗:喻仲林88花鳥畫紀念展》中展出。（左一） Seagulls Fly over a Cold Coastal Bank, Lot 616, at "Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-Lin" at National Museum of History, Taipei, in 2012 (First from the Left).

師常讓喻仲林到自家習畫、並拿出珍藏的古畫讓其臨摹； 金勤伯的花鳥畫承自清六家工筆帶寫意的技法，並得其叔 金城授以《百鳥圖譜》，故其畫鳥獨出一格，喻仲林盡得 金氏一脈真傳，花鳥畫骨韻兼備，又因他重寫生，這也讓 臺灣工筆花鳥畫有別於中國畫壇如于非闇等人的風格。

其畫室，觀看喻仲林揮毫作畫，並為之篆印作序，愛才之

1958年喻仲林由軍職退役、決心致力於畫業，初期為了家 庭生存活計，接了許多地毯、火柴盒等繪製委託，畫藝漸 漸博得口碑，上門求畫學畫的人日益增加，喻氏即開始鬻 畫課徒。 1959 年於台北市中山堂所舉辦的第一次「麗水 精舍」聯展，從此喻仲林作為專職水墨藝術家的生涯就此 展開，隨後畫名遠播、國內展覽無數，如：臺灣省立博物 館（現為臺灣博物館）、歷史博物館、海天畫廊、臨雲畫 廊等；海外邀展講學更不計其數：1967年美國加州與胡念 祖的三次聯展；1975年遠赴美國夏威夷大學藝術系教授水 墨畫、並於當地威洛亞中心舉辦個展； 1977 年應邀至日 本主持現代中國畫巨匠展等。喻仲林畫名鵲起，臺靜農讚 揚其花鳥畫能「曲盡化工之妙」，儼然成為一代工筆花鳥 大師，更對臺灣工筆花鳥畫壇的發展與傳承起了正面的作 用。

EVOLUTION FROM CLASSICS:

MODERN FLOWER AND BIRD PAINTINGS OF YU CHUNG-LIN

Following the migration of the Republican government in 1949, the art scene of Taiwan was drastically transformed. A renowned collector Huang Tian-cai once mentioned that year marks not only the political transformation, but that of Chinese ink paintings. The ink artists who relocated to Taiwan became the pillars of the contemporary Taiwanese ink art scene and a divergence from traditional ink paintings. As the three masters built the ink art scene, influences from Fifth Moon Group and Ton Fan Group contributed to the development. In

THE BACKGROUND OF THE ARTIST

Tai Jing-nong once wrote, "The colours (of the works) are delightful and realistic. The work is intricately depicted in a simplistic composition. The astounding skills are the results of a highly talented artist with keen observation."

Yu Chung-lin was born in Shandong with a talent and interest in drawings early in his childhood. His mother was excellent in free-hand stitches. Yu followed his mom and sketched drawings for stitches. In 1934, following the passing of his mother, Yu lived with his uncles Hsu Yihao and Hsu Zong-hai in Shantongtang. The family was scholarly with a rich collection of paintings. His uncle Hsu Zong-hai was a renowned free-hand flower and bird painter. Even though Yu did not follow a tutor officially, under the influence of his uncle, he imitated the flower and bird paintings of Yun Shou-ping and Ren Bo-nian. This was also reflected by inscriptions of Nantian poems in his paintings.

In 1949, he followed the Republican government and relocated to Taiwan while serving in the army. With the suggestion of Chang Hong, Yu sat in the art classes at the National Taiwan Normal University and started practising with different media. His talent was recognized by Jin Qin-bo, a gongbi flower and bird master. Hence, Yu started to follow Jin in practice at Jin's home. There he appreciated and imitated classical scrolls. Jin Qinbo's techniques were derived from Qing gongbi schools and learnt the drawing of birds directly from his uncle Jin Cheng's scripts. Yu captured the skills of Jin and started creating his own style of gongbi and elegance. His keen observation allowed a great differentiation from those of comparable artists such as Yu Fei-an. Yu entered the ink art scene at the age of 27 with a unique and sophisticated style, after 3 years of intensive practice. His exceptional skills and unique styles astound contemporaries of the time. Yu mentioned to his student Chang Ke-qi that one

terms of the traditional flower and bird genre, Yu Chunglin (1925-1985) created his unique path in the art scene with relevance to the traditional elegance in his own unique style. His styles could be traced back to the Jing school, the Song school and scholarly styles of Ming and Qing. There are hints of Lingnan school, Japanese gluepigment application and personal skills and a blend of traditional and western skills carefully incorporated. Hence, his works were deemed as unique in the modern ink art scene.

has to specialise to excel in an area. Yu specialised in the flower and bird genre in Song style while giving up other genres such as landscapes and figure paintings. Hence he inherited the gongbi skills as his principal goal. With the rise of Yu's art, he became close to contemporary masters such as Zhang Da-qian, Huang Chun-pi and Tai Jing-nong, who gave him support in his art exhibitions. Zhang and Jin treasured Yu as a talent who passed on the tradition of flower and bird painting, so they willingly shared classical scrolls with Yu. Tai Jing-nong often visited Yu's studio and carved seals to Yu as an appreciation of his talents.

In 1958, Yu left the army and devoted his time to painting. In his early days, he designed carpets and matchboxes for commissioned works. As his paintings gained their fame, students started pouring into his studio and Yu taught in classes for a living. In 1958, he launched his first exhibition with Lishui Jingshe at Zhongshan Hall of Taipei. This marked the debut of Yu's career. His works were sought-after since then, with local exhibition invitations from institutions such as the Taiwan Museum, the Museum of History of Taiwan, Taitian gallery and Linyun gallery. He started exhibiting overseas with Hu Nianzu thrice in 1967, once at the Wailoa Center of the University of Hawaii in 1975 and in Japan in 1977. Yu Chung-lin gained his fame through his talents, as Tai Jing-nong mentioned, and became a prominent figure in gongbi flower and bird paintings in the Taiwanese art scene.

喻仲林賢伉儷（左、右）與孫家勤（中）合照。 Mr. and Mrs. Yu Chung-lin (Left and Right) and Sun Jia-qin (Middle)

喻仲林（左）與胡念祖（右）合照。

Chung-lin (Left) and Hu Nian-zu (Right)

喻仲林、孫家勤與胡念祖同在師大學習水墨國畫，喻氏專 攻花鳥、孫君則著力人物、胡氏以山水見長， 1956 年於 麗水街賃屋權為畫室，臺靜農見他們因書畫相識而能結為 忘年之交，便將此畫室命為「麗水精舍」，勉其三人能於 清靜雅潔的居所精勤畫藝。隨後麗水精舍聲名大振，拜師 學藝者甚多，遂成為課徒講學的藝塾，據麗水門人回憶， 三人的學生常常一起上課擠得水泄不通，屋內三位大師各 據一桌、各自示範課稿演示，這樣特殊的上課方式，習花 鳥者也能聽到山水、人物的筆法精髓；也因為三人常常互

大師的風采；此外喻仲林隨著時代如何遷移都依舊在畫作 上落款、用印「麗水精舍」，展現出喻仲林在當時臺灣藝 壇對於國畫花鳥畫的發展及精神上承先啟後的傳承，直至 病逝前都堅持著麗水一脈的精神。 綜觀喻仲林一生的藝術思緒與繪畫特色可分為：精研宋 畫、注重寫生與汲古出新。他的花卉翎毛創作無人能出其

沙龍且門人無數，如：知名水墨藝術家劉墉、張克齊、知 名作家瓊瑤夫婦等均出於麗水精舍。隨後孫家勤拜大風堂

隨日漸眾多，小小的畫室從早到晚人潮不斷，無論政府要 員、藏家藝友、影視名導明星等，都想親炙這位花鳥國畫

為變通傳統院體花鳥畫，且能成就個人風格者的第一人。

"He observed his subjects closely with individual thoughts and granted emotions into the subjects, thereby creating interesting artworks that surpasses classical masters."

- Liu Yong

JINGSHE AND THE TRADITIONS

Yu Chung-lin, Sun Jia-qin and Hu Nian-zu met at the university with Yu specialising in flower and birds, Sun in figure paintings, while Hu in landscapes. A studio was rented in Lishui street in 1956, and was named by Tai Jing-nong as Lishui Jingshe. The name was to be a reminder of hardwork and dedication in art. Since then, their fame grew and their studio was flooded with students. According to the students, the room was packed with three teachers each occupying a desk to demonstrate skills. This way, an exchange of skills in landscape, figure and flower and bird was encouraged. Students of this studio include Liu Yong, Chang Ke-qi and author Chiung Yao and her husband. Following the departure of Sun Jia-qin to Brasil, and Hu Nian-zu to the US, Yu hosted the classes alone. Due to Yu’s humorous character and talent, his students, from all walks of life, grew in numbers and the studio was packed day and night. Yu's paintings in all periods bear the seal of Lishui Jingshe, showing his commitment towards teaching and the importance of passing on traditional techniques.

Yu Chung-lin's ideology and styles could be summarized into the dedication towards the Song school, life observation and transformation from traditional skills. His flower and bird paintings are unique of the genre with a combination of gongbi and free-hand strokes. According to his family, Yu loved Yun Shou-ping and Run Bo-nian. After following masters, he further refined his skills by imitating classical works with special attention to the Song school and masters such as Huang Quan and Hsu Hsi. He followed the path of Song masters to paint through observation. He was a frequent visitor of the National Palace Museum to observe Song paintings. In terms of the content, Yu followed Qingteng Baiyang and Bada. In terms of life observation, Yu's techniques are refined as those of Giuseppe Castiglione (compare Peacock of the artist), Pu Hsin-yu and Qi Bai-shi. Such techniques were more refined with a more elegant composition later in his career. Hence he was regarded as one of the best representatives of flower and bird paintings unique from classical genres.

Yu Chung-lin (First from the Right), Tai Jing-nong (Second from the Right), Jin Qin-bo (First from the Left), and Wu Ping (Second from the Left)

有真摰的情感。一個畫家便是要表達自 己， 不管別人如何。

喻仲林作畫多用古法兼以寫生鉤勒及沒骨二法，而喻氏馳 名藝壇最為人樂道之處為「左手畫畫、右手寫字」，其勤 苦練字是受臺靜農的點撥，要他多臨被譽為明朝第一的文 徵明小楷字，工麗的花鳥畫作輔以精到細膩的小字更顯風 格獨具。花鳥畫之由來是作為應物象形、性靈陶冶的一種 「無用之用」，古人云：「胸中元自有丘壑。」講究「行 萬里路，讀萬卷書」的寫生踏查，喻仲林對於寫生下過一 番苦工，要先行格物對畫畫的素材深入了解，久之便能得 之於心、應之於手，喻仲林的女兒回憶起父親到哪裡都可 以寫生，最喜歡到南海路的植物園、指南宮或是陽明山寫 生，連到美國旅遊看到了老鷹標本也立刻拿出紙筆開始揣 摩素描；喻仲林一生畫遍八百多種花卉，更是養花蒔草的 高手，曾在永和家中的小院子搭花架種植紫薇、薔薇，繡 球、山茶等花卉，是鄰里間著名的「綠手指」，不僅作為 寫生觀察之用，更對花鳥知識用功甚深。 喻仲林曾說：「工筆花鳥畫是個人的興趣。畫只看好壞， 沒有題材、形式的差別，沒有新舊。畫畫的前提是『為 己』，不是『為人』。」正因有此胸懷氣度，才能師古而 非泥古不化，能格物師心，而無拘謹和自我陶醉，對綺麗 的自然界細思默揣、加以取捨剪裁；喻氏將後天的勤勉 苦學而來的多元技法如雙鉤白描、金碧青綠，京、滬、 嶺南各家技法融會貫通而自出機杼，能在畫面中表現出

「用中」、「均平」的美感，而為後人贊其「不古不今， 自出新意。」此次專場蒙得喻仲林家屬慨允徵集，作品年 代橫跨 1958 至 1982 年，全為喻氏難得可貴的花鳥畫、扇 面、課稿及重要閒章。重點拍品有：珍稀罕見的大作金碧 雙鉤工筆《紫薇孔雀》（拍品編號 619 ）；以剛勁健筆大 寫意畫鷹的《雄視八荒》（拍品編號 620 ）；簡筆清逸的 《雙雞圖》（拍品編號 621 ）；擬元人趙孟頫《臨黃荃蓮 塘圖》粉本的《殘荷》（拍品編號 613 ）；以宋畫為本的 《紫藤雙鴿》（拍品編號 618 ）、《秋柳鸜鴿》（拍品編 號 622 ）；工緻明麗的經典樣式《翠藤紅羽》（拍品編號 617 ）；或有以明人徐渭、瀟灑寫意墨荷風格的《荷塘情 趣》（拍品編號 615 ）。喻仲林常用重要閒章如：臺靜農 篆印《志潔物芳》（拍品編號 627 ），以太史公論屈子語 取為喻氏製此印，評其畫用色艷而不俗、志潔故其稱物

林藝術創作的全面性與美術史定位。

the Wailoa Center

FLORA AND FAUNA OF YU CHUNG-LIN

Yu Chung-lin paints with classical technique with outline and boneless techniques. He was renowned for his practice of drawing with his left hand and writing with his right hand. His calligraphy was refined by Tai Jingnong to follow the style of Wen Zheng-ming of the Ming dynasty. His calligraphy provided a perfect complement to his refined flower and bird paintings. Flower and bird paintings originated to resemble nature as a source of comfort to viewers. To achieve a realistic painting, Yu dedicated to painting through observation. He believed that it is only through such practice can the works reflect both the heart and the mind. Yu's daughters recall that his father carried a notebook for sketches wherever he went. His favourite places were the botanical park in Nanhai Road, Zhinan Temple and Yangmingshan. He once sketched hastily from an eagle specimen during a trip to the US. Throughout his lifetime, Yu must have drawn more than 800 species of flowers. He kept potted plants of wisteria, roses, hydrangeas and camellias with his "green thumb", as joked by his neighbours. His extensive knowledge of flora and fauna was crucial to his paintings.

Yu Chung-lin once said, "gongbi flower and bird paintings were his personal interest. Art would only be judged by techniques, forms and composition regardless of the time of production. Painting should be a pleasure

of the artist and not conforming to others' judgment." This shows the artist's attitude towards referencing the classical paintings, and that art should be an enjoyment of the artist and his interpretations of nature. Through his dedication to advance his techniques, he could produce works that incorporate masters of Jing, Hu and Lingnan. His works were so elegant and refined that they were praised as a new branch of style in the genre. In this sale, Ravenel proudly presents a dedicated section of works from the artist's family, including highlight paintings Peacocks on Crape Myrtle (Lot 619), Eagle Surveying the Terrain (Lot 620), Rooster and Hen (Lot 621), Withering Lotus (Lot 613), Wisteria and Doves (Lot 618), Mynahs on Autumn Willow (Lot 622), Macaw on a Green Vine (Lot 617) and Kingfisher Finds Interest in a Lotus Pond (Lot 615). The sale includes a section of seals used by the artist, including one carved by Tai Jing-nong (Lot 627), commenting the works as elegant and noble. Also offered are seals of the studio Lishui Jingshe (Lot 625), seals by Wang Zhuang-wei (Lot 629 and Lot 628) and Tseng Shao-chieh (Lot 623). As Lu Shou-kun publicly mentioned, Yu adopted the Song school to his personal style, allowing him to be one of the greatest artists in the genre. With a strong conviction to refine and transform classical styles, Yu created his unique styles from imperial and scholarly paintings, thereby shaping the development of the genre in history.

"I have a distinctive appreciation towards flowers and birds. I am emotionally attached to them. As an artist, I express my emotions uniquely to myself."

- Yu Chung-lin

FLOWER AND BIRD PAINTINGS OF YU CHUNG-LIN AND BEYOND

Gongbi flower and bird paintings are highly sought after in the art market. Due to the complexity of production in terms of time, material and skills, the artist dedicated huge strength in his paintings. At the age of 27, Yu followed his teacher Jin Qin-bo and mastered the skills with exceptional talent. Nantian style was adopted along with the Jing school, Song school and the scholarly styles of Ming and Qing. Yu Chung-lin refined both freehand and gongbi strokes and produced a combination that is intricate and complex. His works are collected by dedicated collectors and are rare in the market. After his works were offered by Sotheby's Hong Kong for HK$ 437,500 and HK$600,000, Peacocks was offered in Ravenel Taiwan and fetched an astonishing NT$1,680,000 in 2019, followed by Pheasants and Camellias at NT$1,200,000.

This shows the exceptional quality of Yu's paintings and the promising results from the collectors' market. The distinguished collection from the artist's family offered in this sale provides an extremely rare occasion for collectors to see works of multifarious genres including eagle, peacock, flower and bird paintings and precious seals carved by renowned artists. Through this collection, one can appreciate the contribution of Yu Chung-lin towards the development of modern ink art in Taiwan, making him a crucial member of art history.

喻仲林於畫室作畫。

Chung-lin painting at his studio.

607

YU Chung-lin (Taiwanese, 1925-1985)

Tube Roses and Butterfly and Mandarin Ducks on Wintry Tree (A Set of Two)

Ink and colour on silk, framed D: 33 cm; 35 cm Signed Chung-lin in Chinese With two seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

(Right) "Paintings of Yu Chung-Lin", National Taiwan Museum, Taipei, 12 December, 1978 - 17 December, 1978

"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

(Right) The Flowers and Birds Paintings by Yu Chung-Lin, Art Book Co., Ltd., Taipei, 1978, pp. 122-123

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 216, 217

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

喻仲林

玉簪花及雪中鴛侶（兩件一組） 水墨 設色 絹本 鏡框 直徑：33 cm ; 35 cm 款識： （左）仲林畫。 （右）仲林。 鈐印： （左）喻性根（白文） （右）喻（白文） 來源 直接得自藝術家家屬 展覽

（右）「喻仲林國畫展」，臺灣省立博物館，台北， 展期 1978 年 12 月 12 日至 1978 年 12 月 17 日 「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史

608 YU Chung-lin (Taiwanese, 1925-1985)

Egrets on the Willow Tree and Redcrowned Cranes and Plum Blossoms (A Set of Two)

Ink and colour on paper, framed 36.5 x 39 cm; 36 x 38.5 cm Signed Chung-lin in Chinese With two seals 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

A Collection of Masterpieces by Yu Chung-Lin, Crown Publishing Company, Taipei, 1985, pp. 188, 189

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 226, 227

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

喻仲林 綠柳白鷺及梅妻鶴子（兩件一組） 水墨 設色 紙本 鏡框 36.5 x 39 cm ; 36 x 38.5 cm 款識： （左、右）仲林。 鈐印： （左、右）喻（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 188 、 189 《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 226 、 227

609

YU Chung-lin (Taiwanese, 1925-1985)

Golden Pheasant Watching the Waterfall in Autumn and Family of Chickens under the Tree (A Set of Two)

Ink and colour on paper, framed 36 x 38 cm; 36.5 x 39 cm

Signed Chung-lin in Chinese With two seals 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

(Right) A Collection of Masterpieces by Yu Chung-Lin, Crown Publishing Company, Taipei, 1985, p. 137

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 232-233, 234

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

喻仲林

山林秋色及闔家樂（兩件一組） 水墨 設色 紙本 鏡框 36 x 38 cm ; 36.5 x 39 cm 款識： （左）仲林畫。 （右）壬戌年閏四月，仲林畫。 鈐印：

（左、右）喻仲林（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

（右）《喻仲林花鳥畫冊》，皇冠出版社，台北， 1985 ，頁 137 《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 232-233 、 234

610

YU Chung-lin (Taiwanese, 1925-1985)

Magpies Perching on a Pine Tree over a Serene Stream and Mallards and Goose Resting Under a Spring Willow Tree (A Set of Two)

1982

Ink and colour on paper, framed 36.5 x 39 cm; 36 x 39 cm Signed Chung-lin in Chinese With two seals 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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 224-225, 230-231

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

喻仲林 幽潤寒松及翠堤春柳（兩件一組） 1982

水墨 設色 紙本 鏡框 36.5 x 39 cm ; 36 x 39 cm 款識： （左）壬戌夏日，仲林畫。 （右）仲林畫。 鈐印： （左、右）喻（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

年 1 月

日至

年

《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 224-225 、 230-231

611

YU Chung-lin (Taiwanese, 1925-1985)

Poppies and Butterfly and Sparrows and Balsams (A Set of Two)

1974; 1977

Ink and colour on paper, framed

19.5 x 52 cm; 19 x 51 cm

Signed Yu Chung-lin and Chung-lin in Chinese With four seals 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

(Right) A Collection of Masterpieces by Yu Chung-Lin, Crown Publishing Company, Taipei, 1985, p. 193

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 220-221, 236-237

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

罌粟粉蝶及金鳳麻雀（兩件一組）

1974 ; 1977

水墨 設色 紙本 鏡框

19.5 x 52 cm ; 19 x 51 cm 釋文：

（右）蜀葵萱草陳根在，金鳳雞冠著地栽。併作暑天 庭戶景，深庭時見一花開。

款識：

（左）甲寅十月，山左喻仲林畫。 （右）丁巳夏日仲林畫。 鈐印：

（左）喻性根（白文）、仲林（朱文） （右）喻（朱文）、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 （右）《喻仲林花鳥畫冊》，皇冠出版社，台北， 1985 ，頁 193

《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 220-221 、 236-237

YU Chung-lin (Taiwanese, 1925-1985)

Withering Lotus

1958

Ink and colour on paper, framed 64 x 33 cm

Signed YU Chung-lin in Chinese With three seals 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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 84-85

NT$ 60,000 - 120,000

HK$ 15,000 - 30,000 US$ 1,900 - 3,800 RMB 13,000 - 27,000

趙孟頫《臨黃筌蓮塘圖》（局部）

Meng-fu, The Solitary Lotus Pond (Partial), Yuan Dynasty, Collection of the National Palace Museum, Taipei

喻仲林 殘荷

1958 水墨 設色 紙本 鏡框 64 x 33 cm 款識：戊戌春日擬元人筆意於台灣麗水精舍喻仲林畫。 鈐印：喻氏（白文）、仲林（朱文）、家居槑（梅）莊 （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 《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 84-85

YU Chung-lin

(Taiwanese, 1925-1985)

Larks Perching on Heavenly Bamboo and Sparrows and Wisteria (A Set of

1981 Ink and colour on silk, framed 50.5 x 37.5 cm; 50 x 37 cm Signed YU Chung-lin and Chung-lin in Chinese With six seals 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

(Left) A Collection of Masterpieces by Yu Chung-Lin, Crown Publishing Company, Taipei, 1985, p. 94 (Left) Exquisite Flowers and Birds: On the Beauty of Yu Chung-lin's Art of Painting, Bulletin of National Museum of History, Taipei, 2012, p. 6

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 108-109, 186-187

喻仲林 天竺雙棲及紫藤雙棲（兩件一組）

1981

水墨 設色 絹本 鏡框 50.5 x 37.5 cm ; 50 x 37 cm 款識：（左）辛酉初春，山左喻仲林畫。

（右）時在辛酉新春，仲林寫於麗水精舍内窗。

鈐印：（左）喻仲林（朱文）、仲林長年（白文） （右）無限天機（朱文）、麗水精舍（朱文）、喻（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 （左）《喻仲林花鳥畫冊》，皇冠出版社，台北， 1985 ，頁 94

（左）〈花鳥雙絕－論喻仲林畫藝之美〉，《歷史 文物》，國立歷史博物館，台北， 2012 ，頁 6 《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 108-109 、 186-187

YU Chung-lin

(Taiwanese, 1925-1985)

Kingfisher Finds Interest in a Lotus

Pond

1978

Ink and colour on paper, framed 92 x 61 cm

Signed YU Chung-lin in Chinese With three seals 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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 146-147

NT$ 130,000 - 200,000

HK$ 32,000 - 50,000

US$ 4,100 - 6,300

RMB 29,000 - 45,000

喻仲林的工筆花鳥畫深受張大千青睞，喻氏後期遷居雲河 大廈，與當時歸臺的張大千比鄰而居，兩人結為忘年之 交，大千肯定喻仲林能堅持傳統工筆花鳥一脈，常予以私 藏的古畫臨摹，可知大千惜才之心。《荷塘情趣》通幅運 筆生風，兼有徐渭大寫意墨荷畫意與張大千破墨筆意；水 墨寫荷先描荷莖，喻仲林以中鋒淡墨直取，施以墨苔作微 刺，佔據圖面的荷葉則先取中心圓點，後以健毫散鋒掃

厾 一揮而就，濃墨淡墨施用，既能得形似又有

喻仲林

荷塘情趣

1978

水墨 設色 紙本 鏡框 92 x 61 cm

款識：戊午年初冬，山左喻仲林寫。 鈐印：喻仲林（朱文）、清泉郡（白文）、 麗水精舍（朱文）

簽條

款識：喻仲林《荷塘情趣》，戊午初冬。 鈐印：喻仲林（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 《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 146-147

gongbi flower and bird paintings by Yu Chung-lin

acclaimed by Zhang Da-qian. Zhang recognized Yu's dedication and offered Yu his classical scrolls for imitation. This painting has an intriguing composition with the freehand style of Xu Wei and Zhang Da-qian.

with the stem, Yu Chun-lin painted it with a central brush with saturated dots. The leaves spread from the center across the painting. With a combination of brushwork

gradation of ink, the plant was completed in a realistic and vibrant way. The flowers were sketched with double outlines, then applied with white powder. The stamen and pod were depicted with a small brush in meticulous detail. A red and green bird flew by sketching with dry brush, cun strokes and a combination of colour and ink. The red belly, beak and claws were delicately depicted. The extending leaves of the water plant were depicted realistically in various forms forming a tranquil and relaxing scenery, and a rare and exquisite work of art by Yu Chung-lin.

YU Chung-lin

(Taiwanese, 1925-1985)

Seagulls Fly over a Cold Coastal Bank

1969

Ink and colour on paper, framed 96 x 61 cm

Signed YU Chung-lin in Chinese With three seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

"Sixth Art Exhibition of the Republic of China", National Taiwan Museum, Taipei, 25 March,1971 - 24 April, 1971

"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

Sixth Art Exhibition of Republic of China, National Taiwan Arts Center, Taipei, 1971, p. 78

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 60-61

NT$ 170,000 - 260,000

HK$ 42,000 - 65,000

US$ 5,400 - 8,200

RMB 38,000 - 58,000

冬季寒鷗特有褐色細紋。前方鷗行展翅、後方斜飛緊隨， 一高一低的樣貌表現更讓圖面充滿栩栩如生的動態。海 浪的描繪則用中鋒快筆勾出瞬息萬變的海浪擊打礁岩的 場面，枯筆畫成洶湧的波濤，墨色與粉白融於一體，細線 鉤勒浪花前緣，突顯出海潮澎湃、由上而下翻捲的滔天氣

喻仲林

江浦寒歐

1969

水墨 設色 紙本 鏡框 96 x 61 cm

釋文：江浦寒鷗戲，無他亦自饒。卻思翻玉羽，隨意點青 苗。雪暗還須落，風生一任飄。幾群滄海上，清影日蕭蕭。 款識：己酉夏日寫於麗水精舍，山左喻仲林。意下落一點 字。

鈐印：仲林所作（白文）、喻（朱文）、魯男子（朱文） 來源 直接得自藝術家家屬 展覽

「中華民國第六屆全國美術展覽會」，臺灣省立博物館， 台北，展期 1971 年 3 月 25 日至 1971 年 4 月 24 日 「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

《中華民國第六屆全國美術展覽會專輯》，國立台灣藝 術館，台北， 1971 ，頁 78 《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 60-61

with Yu's left hand, this work is a rare example with the seagulls descending towards the left, showing

attempt with a new structure. Depicted from a top view, the birds' wings and tail feathers were painted

ink and colours to highlight the layers. White colour

applied to the chest, tips of feathers and wings to highlight the contrast. The head and neck feathers were depicted with brown lines hinting at the birds' features in winter. The bird in the front has wide-spread wings followed closely by the one behind. Dry brush with ink and white colour was used for the waves. Refined strokes

used on the tip of the splash, followed by carefree brush for the trough, highlighting the force of the fierce waves. This differs from the tradition of using gongbi brush, yet it highlights vividly the realistic depiction of the fierce waves. The work is inscribed with a poem by Du Fu on sea gulls, hinting at Yu's noble character.

YU Chung-lin

(Taiwanese, 1925-1985)

Macaw on a Green Vine

1978

Ink and colour on paper, framed 92 x 61 cm

Signed Chung-lin in Chinese With two seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

"Paintings of Yu Chung-Lin", National Taiwan Museum, Taipei, 12 December, 1978 - 17 December, 1978

"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

The Flowers and Birds Paintings by Yu Chung-Lin, Art Book Co., Ltd., Taipei, 1978, pp. 28-29

喻仲林

翠藤紅羽

1978

水墨 設色 紙本 鏡框 92 x 61 cm

款識：戊午年中秋仲林畫。

鈐印：喻仲林（朱文）、不古不今自出新意（朱文） 簽條

款識：喻仲林《翠藤紅羽》，戊午初冬。

鈐印：喻仲林（白文）

來源 直接得自藝術家家屬

展覽

「喻仲林國畫展」，臺灣省立博物館，台北，展期 1978 年 12 月 12 日至 1978 年 12 月 17 日 「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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 64-65

NT$ 190,000 - 300,000

HK$ 47,000 - 74,000

US$ 6,000 - 9,500

RMB 43,000 - 67,000

《喻仲林畫集》，藝術圖書公司，台北， 1978 ，頁 28-29 《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 64-65 喻氏曾臨摹金城所編纂的《百鳥圖譜》，加上他極重寫 生，因而筆下的禽鳥帶有特殊的文人氣韻；畫中描繪鸚 鵡，又稱為「時樂鳥」，遍體披覆五色錦羽，音容端雅、 善解人意，喻仲林以工筆將鸚鵡身上的羽毛逐一填色析 出，頂羽、頸腹部的大紅色以漸層的堆疊做出細膩的絲毛 感，後以細墨鉤勒翅羽及尾羽、蘸藤黃、靛藍分色罩染， 細觀可知其設色濃淡相宜，極盡物態。鸚鵡所站立的奇木 纏藤以雙鉤法與書法筆勢寫成，枝幹用濃墨描形、乾濕筆 皴擦出樹皮紋理與樹瘤眼；後用雙鉤頭綠罩染出互相交疊 的樹葉，其中特別之處在於葉叢陰影的佈局，喻仲林受西 畫水彩光影的觀念影響，讓他產生破舊立新的企圖，畫面 主題鸚鵡的精工、濃蔭補景的罩染，兩者產生了驚人的對

imitated Jin Cheng's bird scrolls with special attention in life drawings. His works carry an elegant scholarly character. Macaw in this work was vividly depicted with colourful feathers in meticulous detail. The feathers of the neck and body were depicted with a gradation of colours with a velvety texture sketched in minute detail.

and blue were applied in a realistic depiction.

bird rests on a crooked branch, drawn with a double outline in calligraphy strokes. Dense ink was applied on the branches with intersecting dry and wet ink to highlight the gnarled texture. Outlines were used on the leaves with a gradation to depict light and shadow of the bush. This shows Yu's influence of Chiaroscuro in Western painting. The refined skills shown in this work in both brushwork and colour application are astounding.

also hints at the skills of a widely respected flower and bird painter of modern times.

YU Chung-lin

(Taiwanese, 1925-1985)

Wisteria and Doves

1982

Ink and colour on paper, framed 97 x 63 cm

Signed YU Chung-lin in Chinese With three seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

"Paintings of Yu Chung-Lin" National Museum of History, Taipei, 13 October, 1982 - 18 October, 1982

"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

A Collection of Masterpieces by Yu Chung-Lin, Crown Publishing Company, Taipei, 1985, p. 158

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 140-141

喻仲林

紫藤雙鴿 1982

水墨 設色 紙本 鏡框 97 x 63 cm

釋文：數向春煙舞絳羅，枝枝長帶好風多。玲瓏何必 成珠珮，窈窕偏能學女籮。

款識：壬戊年龝日，山左喻仲林寫南田詩意。 鈐印：喻（朱文）、愚齋（朱文）、仲林（朱文） 簽條

款識：喻仲林《紫藤雙鴿》，壬戊八月。 鈐印：仲（朱文）、林（朱文） 來源

直接得自藝術家家屬

展覽 「喻仲林畫展」，國立歷史博物館，台北，展期 1982 年 10 月 13 日至 1982 年 10 月 18 日 「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

This painting is to be sold with a photo of the work with the artist.

NT$ 190,000 - 300,000

HK$ 47,000 - 74,000

US$ 6,000 - 9,500

RMB 43,000 - 67,000

圖錄 《喻仲林花鳥畫冊》，皇冠出版社，台北， 1985 ， 頁 158 《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 140-141 附藝術家與作品合照 《紫藤雙鴿》寓有惲壽平筆意，以「寫真」觀照自然物象，佈

work carries the style of Yun Shou-ping with a realistic depiction. Rocks on the right were sketched with thick dense strokes, depicting the structure of the cliff.

strokes were used for the dense grass. Wisteria on the left were depicted with a central dry brush to highlight the gnarled branch. Green was applied to the illuminated side of the plant, while red was used for the veins of the leaves. Three green and light colours were used for the shade. The branch was sketched in cold and warm tones. Fine strokes depict the wisteria in various tones of purple. White and a gradation of purple were used for the delicate and elegant flowers. Light ink was used on the wings and tail feathers of the white pigeon, with pale hints of pink to highlight the texture. The body was painted to highlight the plump form. The black pigeon shows a velvety texture with exceptional control of the brush. Refined gongbi brush was used for the minute details of the eyes, beaks and claws of the birds, showing Yu’s delicate choice of meticulous and carefree depiction.

YU Chung-lin

(Taiwanese, 1925-1985)

Peacocks on Crape Myrtle

1978

Ink and colour on gold-coated paper, framed 94.5 x 174 cm

Signed YU Chung-lin in Chinese With three seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

"Paintings of Yu Chung-Lin", National Taiwan Museum, Taipei, 12 December, 1978 - 17 December, 1978

"Memorial Exhibition of Yu Chung-Lin", National Museum of History, Taipei, 14 July, 1985 - 23 July, 1985

"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

The Flowers and Birds Paintings by Yu Chung-Lin, Art Book Co., Ltd. Taipei, 1978, p. 137-138

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 208-209

PUBLISHED

"Lively Colours Bring Fragrance", IDN News, Taipei, 10 December, 1978, p. 8 (citation)

喻仲林

紫薇孔雀

1978 水墨 設色 金箋紙 鏡框 94.5 x 174 cm

款識：戊午年夏六月上浣，山左喻仲林製。

鈐印：不古不今自出新意（白文）、喻（朱文）、仲 林（朱文）

來源 直接得自藝術家家屬

展覽

「喻仲林國畫展」，臺灣省立博物館，台北，展期 1978 年 12 月 12 日至 1978 年 12 月 17 日

「喻仲林遺作大展」，國立歷史博物館，台北，展 期 1985 年 7 月 14 日至 1985 年 7 月 23 日

「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

《喻仲林畫集》，藝術圖書公司，台北， 1978 ，頁 137-138

《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 208-209 出版

〈活色生香記－仲林〉，《自立晚報》，台北， 1978 年 12 月 10 日，頁 8 （文字記載）

附藝術家與作品合照

This

to

of the work with the artist.

1985年台北國立歷史博物館喻仲林遺作大展現場照。(來源：中央社） "Memorial Exhibition of Yu Chung-lin" at National Museum of History, Taipei, in 1985. (Source: CNA) 619 喻仲林《紫薇孔雀》1978 水墨 設色 金箋紙 鏡框 94.5 x 174 cm（右一） Yu Chung-lin, Peacocks on Crape Myrtle, 1978, Ink and colour on gold-coated paper, framed, 94.5 x 174 cm (First from the Right)

喻仲林（ 1925-1985 ），為近代知名的花鳥大師。喻仲林 專攻工筆花鳥，所創作之花鳥草蟲，精準明確，栩栩如 生，風格既有傳統工筆畫雅致的裝飾趣味，又能融入水墨 渲染的技法於一體，喻氏作畫常提倡「知天知地，知時知 物」、非常重視寫生，他認為只有透過仔細觀察，才能將 花葉禽鳥身上的每一個細節剖析清楚，如此才能畫出工筆 花鳥的精髓。

據喻仲林家人回憶，喻氏生前喜愛帶著心愛的相機到處拍 照紀錄，經常往動物園鳥園觀察百鳥生態，喻仲林常向其 家人訴說他的「夢想」就是坐在一個大鳥籠裏，每天觀察 各種鳥的生態、畫遍這些鳥兒，由此可知其愛鳥成痴的雅 興；孔雀自古以來有文禽的美譽，更被稱為「吉祥鳥」， 雄雀尾長三尺、羽色如流瀑照人，其體態優雅、美不盡 言，喻仲林更是鍾愛孔雀，留下許多自己所拍攝關於孔雀

《紫薇孔雀》通幅底紙為金箋紙，金箋紙表面堂皇富麗， 然而在走筆落墨之間不似紙本、絹本等會顯出筆墨的濕潤 感，金箋紙特別不易吸墨上色，正因這種特殊性讓字畫宛 如釉上施彩般的瑰麗，任由墨色敷粉於圖面上流轉，藉著 金箋質地之縝密將畫面的水氣琳琅演繹出渾然天成的清 韻，喻仲林更以大量的畫面留白（即留金）將其所描繪的 紫薇孔雀烘托得超出凡塵、全無人間俗氣。

此作構圖重心以沒骨法畫左出微彎、落至畫幅中段的紫薇 樹主幹，以書法橫撇用筆做出渾重氣勢，旁側枝則以臥鉤 回轉直上、小枝纖細如翅，以繁御簡的紫薇樹佈局，既能

葉脈，再用墨色將對生的樹葉以橢圓或倒卵等形式呈現， 墨色未乾之際，以石綠敷染、花青點色，使其生氣盎然， 造成一新耳目的效果；盛開的紫薇花是為全畫醒目的背 景，畫紫薇花並非易事，其花態成團、由無數的小花朵叢

喻仲林（左三）、臺靜農（右三）、金勤伯（右二）與作品《紫薇孔雀》（拍品編號619）合照於1978年臺灣省立博物館喻仲林國畫展。

Yu Chung-lin (Third from the Left), Tai Jing-nong (Third from the Right) and Jin Qin-bo (Second from the Right) pictured with Yu's work, Peacocks on Crape Myrtle (Lot 619), at "Paintings of Yu Chung-lin" at National Taiwan Museum, Taipei, in 1978. 聚，花瓣如揉皺的紙般有著細微起伏，喻仲林先以淺墨線 鉤出花瓣輪廓與花脈，再以嶺南派撞粉撞水法、分次漸層 慢慢地染上胭脂色，後以細筆沾藤黃兼用胡粉點蕊，盡顯 通透靈動的嬌嫩姿態；球形的蒴果以沒骨法及墨綠、土紅 等色分染，營造出如宋末元初錢選所作、彷如天然生成的 沒骨花鳥畫效果。喻仲林所作的孔雀圖能多方汲取前人的 筆墨精髓：其原本於宋畫，更有明代邊文進的文人畫境、 清代宮廷畫師郎世寧之傳神寫生如《畫孔雀開屏》、《白 鶻圖》等經典名作，乃至於近代溥心畬所繪《白孔雀》的 筆意等，由此可知喻氏能融各家為己用，青出於藍而勝於 藍。

工筆翎毛在創作過程中極為繁複費工，又喻仲林慣以左手

才顯靈動，斷續結構之中能見頓挫、虛實和諧。孔雀眼罩 染靛青，這也喻仲林多方汲取繪畫媒材與經驗的成果，靛 青、白粉與金箋三者互為表裡，喻仲林將工筆的細緻與水 墨的寫意趣味做了全新的融和，使得《紫薇孔雀》通幅畫 面情趣別致，既簡練生動又帶有喻氏一派的藝術風格。

1978年，歷

古今名家作設色孔雀圖多以牡丹為襯，以其大氣典雅、雍 容華貴的盛世氣韻為依歸，除名畫之外，器物也多有描繪 孔雀紋飾，如清代瓷器巔峰的雍正時期《琺瑯彩瓷孔雀圖 碗》，在小巧的碗面作脫胎瓷畫，搭配珍貴的琺瑯彩畫孔 雀更是細潔精緻，作為皇家賞玩的器物，以百鳥之王孔雀 作為主題不僅寓意吉祥更增添器物的華貴風貌；喻仲林作 孔雀圖卻多出新意，如2019年羅芙奧秋季拍賣、終以高價 拍出喻仲林1966年作絹本設色《孔雀》，圖面用古松搭配 設色孔雀，孔雀立於孤松的構圖，頗有畫家遺世獨往的寓 意。《紫薇孔雀》用華貴的冷金箋紙為基底，以俗稱「百 日紅」的印度紫薇與一對白孔雀為題，雌雄孔雀的搭配象 徵著陰陽相生相依，代表家庭和睦，搭配上長壽樹種的喬 木紫薇，更有白頭偕老、好事成雙的寓意；全作敷色用墨 極為講究，呈現明麗清雅的色調變化，實屬其難得罕見的 精品。

Yu Chung-lin (1925-1985) is a well-acclaimed modern flower and bird master. Specialising in gongbi flower and bird painting, Yu depicted his subjects with intricate details in a realistic manner. The style of his works is elegant and decorative, expressed through exceptional brushwork and colour application. He promoted a realistic depiction of minute details of flowers, leaves and birds through scrutinous observations of nature.

His family recalls that Yu was passionate in taking records of his surroundings with his camera. After numerous visits to zoos and aviaries, he mentioned that he wished to live in aviaries with the birds, so that he could observe and sketch all kinds of birds. This shows his intense passion towards birds. Peacock is admired throughout centuries as an auspicious bird. A male peacock can grow up to three feet with outpouring glamorous feathers and an elegant form. Peacock is Yu's favourite subject as he gathered photos of the bird. They were graciously depicted in large scale paintings, consuming a significant cost, time and effort of the artist. Hence such paintings are rare, restricted to works for exhibitions and commissioned works. Hence this work in enormous scale featuring white peacocks and wisteria is exceptionally rare in the ink art world.

This work was completed on a gold coated paper in its utmost grandeur. Application on gold paper is starkly different from white paper or silk due to its absorbability of ink. This feature accentuates the colours as they were

applied on the paper and enhanced the elegance of it. Blank spaces were structured to highlight the subject matter to maintain the gracious style of the work.

The structure of this work stretches from the left bending towards the trunk of wisteria at the center. Calligraphy strokes hint at the sturdiness of the branch, while fine strokes were chosen for the branches extending upwards. Such composition highlights the crooked branches while balancing the intricate depiction of the white peacock. The trunk was depicted by ink with various paces to represent light and shadow. The lack of absorbability of gold paper contributed to the smooth texture of the branches. Green dots were used with water and ink for a natural depiction of green moss, hinting at Yu's drive towards realism through observation. The lush wisteria was depicted in boneless stroke. Fine strokes were used for the veins, while ink was used for the hanging leaves against gravity. Green was applied to the wet ink for a vivid depiction. The blossoming flowers fill the background in clusters. Delicate petals flow with the breeze as their outlines were sketched in light ink in meticulous details, both on their forms and details. White pigments were applied on wet paints slowly and intricately, followed by fine strokes for the stamens. This highlights the delicate nature of the flowers. Boneless strokes with green and red were applied on the capsules. One may associate this work with those by Qian Xuan of Song and Yuan dynasties, Bian Wen-jin of Ming dynasty.

Myrtle

of the National

Its vividness shows relevance with those of Giuseppe Castiglione of Qing dynasty and Pu Hsin-yu. This shows that Yu took reference of masterpieces and applied them with his unique perspectives.

Feathers were depicted in gongbi in an intricate manner. Painted with his left hand, Yu's birds tend to be structured on the left. The subjects were elegantly depicted with a male bird curiously exploring the terrain with its right foot bent. The female followed with head held high. The juxtaposition of vividness and tranquility forms an interesting scene. Refined strokes were used for the feathers while leaving coloured areas on the back and the rear areas of the wings. Feathers of the wings and tail and the eye areas were painted with pigments producing a velvety texture. Lu Shou-kun once publicly acclaimed such techniques of Yu. Completed in 1978, this work was exquisitely preserved in the family collection for 40 years, maintaining such delicate treatment of pigments.

vividness of the claws are accentuated as it slightly bends. Indigo was used for the eyes of the peacocks, reflecting the sophisticated treatment of pigment. By

the blend of the three colours of indigo, white and gold, Yu created an interesting combination of intricacy and elegance, making this work an intriguing piece of art. Peacocks were usually composed with peonies to highlight a painting's grandeur. They are featured in paintings and art objects, such as a polychrome enamel glazed peacock bowl of Yongzheng period of the Qing dynasty. The side featuring the king of birds, peacock, was painted with intricate details as an imperial object of appreciation. On the other hand, Yu Chung-lin's peacock works are uniquely created. In the autumn sale in 2019, Ravenel sold a similar work on silk completed by Yu in 1966. The work was elegantly depicted with a peacock standing on a pine tree as an appreciation of the past. Whereas, this work is completed graciously on gold paper, featuring wisteria and a pair of white peacocks. The loving birds couple against a long-living wisteria symbolises an auspicious scene of a harmonious family. Such blessing is delivered through a meticulous application of ink and composition, making this a soughtafter work of art.

YU Chung-lin

(Taiwanese, 1925-1985)

Eagle Surveying the Terrain

1966

Ink and colour on paper, framed 136 x 67.5 cm

Signed YU Chung-lin in Chinese With three seals 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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 18-19

NT$ 220,000 - 360,000

HK$ 55,000 - 89,000

US$ 7,000 - 11,400

RMB 49,000 - 81,000

喻仲林作於 1966 年、四尺《雄視八荒》一圖是少見的粗 筆寫意，僅描繪雄鷹、山水為題的創作；畫作的構圖重點 在於雄鷹安置在觀看視點的重心，與中段以下的重山峻嶺 取得對稱。此作以明快的墨色、硃紅、花青做出賓主區 分，刪繁就簡的取捨，使得主題雄鷹的描繪突出；喻氏 寫雄鷹，先以淡墨拖筆做鷹身，再以濃墨漬染、快掃出翅 羽層次，尤其是以頓挫之法點出的尾羽，更是精妙絕倫， 但憑數筆定出雄鷹臨風獨立的英姿；後用雙鉤輕染做出鷹 勾喙、眼帶，鷹爪鉤立於山石壁面盡顯雄鷹天然生猛的力 道，如此細節的描繪需要細心體察自然才能知其奧妙。喻 氏以大筆寫意與墨色濃淡分染皴擦出的山嶺，前山以硃紅 濕筆枯筆兼用，分層堆疊、略用點苔做出山壁的崎嶇角 度；後山用花青漬染疊色漸層，前後冷暖色的處理形成既 柔和又協調的對比，更增加了畫面的層次感。喻中林此作 以形寫神，矗立於山巔的雄鷹眼神凌厲剛猛、回首凝視， 恍然間彷彿能感受其高處不勝寒的孤傲感。畫幅落款用印

喻仲林

雄視八荒

1966

水墨 設色 紙本 鏡框 136 x 67.5 cm

款識：雄視八荒，丙午元宵寫此遣興，山左喻仲林時 客臺灣。

鈐印：志潔物芳（白文）、仲林（朱文）、 喻性根（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 《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 18-19

in 1966 on a 4ft paper, this work is one of the rare carefree paintings of Yu Chung-lin. The eagle is highlighted at the center with a mountainous landscape

red and green pose stark contrast in a simplistic composition, highlighting the subject matter of the eagle. Light ink was applied on the body of the eagle, followed by saturated ink and swift strokes for the layers of feathers. Dots were applied on tail feathers highlighting the feature. Double outline was used for the beak and eyes. Claws clutching the rocks display the fierce side of the predator. Yu depicted hills with broad carefree strokes in saturated ink. The hills at the front were dyed in red and dry brush, forming layers of rugged cliffs through dots. Green was used for distant hills in multiple layers. Yu depicted the character of the eagle, by staging it at the mountain top looking back with fearsome eyes. Such composition suggests its nobility yet in loneliness. The inscription ended with a seal carved by Tai Jing-nong of a noble character derived from Quzi Yu, as a proclamation of Yu's character. Such a seal echoes with the painting and inscription forming a rare and meaningful work of history.

YU Chung-lin

(Taiwanese, 1925-1985)

Rooster and Hen

1981

Ink and colour on paper, framed 66.5 x 128 cm

Signed YU Chung-lin in Chinese With two seals 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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 32-33

NT$ 200,000 - 340,000

HK$ 50,000 - 84,000

US$ 6,300 - 10,800

RMB 45,000 - 76,000

《雙雞圖》作於 1981 年元旦，寓有夫妻和合，家園平安 之意。畫面主題雄雞以渴筆略為描出身形，只勾出頭頸與 胸背輪廓，後以白粉反覆敷染做出背翅羽的厚度與份量， 再用濃墨染出腹部、勁筆刷出尾羽的動態，雞爪部位細筆 鉤出櫛次、以墨色染就，雞冠、眼帶、囊袋等則以硃砂色 暈染，與粉白墨黑做出強烈的對比差異；後方的母雞則蹲 踞於竹枝花叢間，喻仲林以寫意的破墨分染出體態，後以 快筆皴擦鉤圈作成雞羽，同樣以硃砂暈染出眼部與頂冠， 觀之但覺清新可愛。雙雞一同向著右前方凝視，這也是喻 氏吸收西方繪畫經驗的呈現，一種不在場的觀看讓整幅作 品充滿著引人入勝的趣味，畫面雖看似簡樸，實則天然 逸趣橫生。後方則描繪臺灣農舍常種植的豌豆作為背景， 喻氏寫竹枝架以中鋒濕筆乾筆兼用，自下而上畫出竹節瘦 硬的質感；畫豌豆則以墨色快速地雙鉤圈出扁型豆葉、豌 豆花，再用乾筆勾描出纏繞延伸至右方的豆藤，最後以淡 赭水色敷染輪廓讓整幅畫面充滿野趣與盎然生機，喻仲林

喻仲林

雙雞圖

1981 水墨 設色 紙本 鏡框 66.5 x 128 cm

釋文：待到一鳴天下曉，那時方識是雄飛。 款識：歲在辛酉元旦，山左喻仲林畫。

鈐印：不古不今自出新意（白文）、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

《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 32-33

completed in the new year's eve of

a harmonious family. The rooster was sketched with dry brush, accentuated at its back and neck. White colour was applied to the feathers at the back highlighting its muscular strength. Saturated ink was applied at the chest and the tail feathers. Red was applied on the crown and the eyes, posing contrast with the black and white in the lower part of the body.

depicted the subjects with carefree brush on the body and swift brush for the feathers, with an invigorating red colour applied around the eyes and the crown. Two birds gaze into a distance beyond the frame suggesting influences of western paintings. The painting has a simplistic yet intriguing composition. Staged with beans at the back, Yu used central brushstrokes, both wet and dry, to depict the strong and thin bamboo structure.

were double sketched with ink for the flowers and leaves. Dry strokes with light ink were used for the encroaching vines towards the right, enlivening the whole scene. As promoted by Xu Beihong, the genre of Flower and Bird paintings was one again revived by both great artists.

YU Chung-lin

(Taiwanese, 1925-1985)

Mynahs on Autumn Willow

1982

Ink and colour on paper, framed 96.5 x 61 cm

Signed Chung-lin in Chinese With two seals 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

A Collection of Masterpieces by Yu Chung-Lin, Crown Publishing Company, Taipei, 1985, p. 152

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 56-57

NT$ 180,000 - 280,000

HK$ 45,000 - 69,000

US$ 5,700 - 8,900

RMB 40,000 - 63,000

工筆花鳥講究畫面佈局平衡，此畫由左至右從繁到簡，構 圖平穩且細緻，在填彩敷色上亦配合主題而統一色調。喻 氏為現代花鳥畫第一人，他筆下的鸜鴿（即九官鳥）姿態 活現：前鳥抬足搔首啼叫、後鳥則振翅理毛，模樣極為可 愛，在描繪上先以工筆描出鸜鴿的姿勢，以墨色敷粉及花 青分層罩染，眼羽、足爪鱗節及鳥喙則用藤黃染色，做出 鮮明的層次變化；上方黃雀一只展翅飛翔、一只停於柳枝 鳴叫，可說是極盡其所能的描摹。喻仲林畫柳取寫意筆法 又融己意，以雙鉤將橫出的柳幹自畫幅左下拔出，墨點與 赭色輕刷做出柳樹特有的斑駁質感，後寫柳條枝葉則直取 向下垂落，墨綠的柳與黃雀鳥的敷色相近，疏密之間可看

喻仲林

秋柳鸜鴿

1982

水墨 設色 紙本 鏡框 96.5 x 61 cm

款識：仲林。

鈐印：清泉郡（白文）、喻仲林（朱文） 簽條

款識：喻仲林《秋柳鸜鴿》，壬戊八月。

鈐印：仲（朱文）、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 《喻仲林花鳥畫冊》，皇冠出版社，台北， 1985 ， 頁 152 《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 56-57

瓣脈、藤黃吐蕊，也因嫣紅的木芙蓉花暗示著畫題時節，

is the key to gongbi paintings. With

gradual transition from left to right, this structure and

are delicately planned. The bird at the

scratches its head with a foot while the one at the back tidies its feathers. Gongbi strokes were used

the birds with layers of ink and colours. Feathers surrounding the eyes, the scales of the feet and the beaks were carefully applied with vivid yellow colour. On the

a yellow bird soars in the sky, while the other rests on a branch of a willow chirping, forming a realistic depiction. Yu Chung-lin used carefree strokes for the willows and double outlines for the branches. A mix of ink and ochre were used for the leaves of the drooping willow. The tones of dark green of the willow and the yellow birds creates a harmonious composition of a still and an animated scene. Hibiscus were composed in the lower part of the frame with hints of brushwork of Lingnan school. Shell powder was applied to the petals and yellow for the stamens. Autumn was suggested by the composition of flowers, forming a poetic and vibrant scene.

623

TSENG Shao-chieh (Taiwanese, 1910-1988)

A Soapstone Seal Carved by Tseng Shao-chieh

1975

Soapstone

8 x 2.5 x 2.5 cm

Signed Shao-chieh in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, p. 253

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

曾紹杰

曾紹杰刻壽山石《花好月圓人壽》

1975 壽山石 8 x 2.5 x 2.5 cm

邊款：乙卯中秋紹杰為仲林兄製。 印文與鈐印：花好月圓人壽

來源

喻仲林家屬舊藏

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 253

624

TAI Jing-nong (Taiwanese, 1902-1990)

Seals Carved by Tai Jing-nong (A set of Two)

(Left) 1965

7 x 1.7 x 1.1 cm; 4.5 x 2.5 x 1.5 cm Signed Jing-nong in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 246, 250

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

臺靜農

臺靜農刻《一花一世界》及《逸興遄飛》 （兩件一組）

（左）1965

7 x 1.7 x 1.1 cm ; 4.5 x 2.5 x 1.5 cm 邊款： （左）乙巳十二月，靜農。

（右）逸興遄飛

625

TAI Jing-nong (Taiwanese, 1902-1990)

A Soapstone Seal Carved by Tai Jing-nong

1958

Soapstone

6 x 2.3 x 2.3 cm

Signed Jing-nong in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, p. 252

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

臺靜農

臺靜農刻壽山石《麗水精舍》 1958 壽山石 6 x 2.3 x 2.3 cm

邊款：戊戌十月，靜農製。 印文與鈐印：麗水精舍

來源

喻仲林家屬舊藏

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 252

626

TSENG Shao-chieh (Taiwanese, 1910-1988)

A Soapstone Seal Carved by Tseng Shao-chieh

1970

Soapstone

2.8 x 3.5 x 1.5 cm

Signed Shao-chieh in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, p. 248

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

曾紹杰

曾紹杰刻壽山石《臺北軒》 1970 壽山石 2.8 x 3.5 x 1.5 cm 邊款：庚戊，紹杰。 印文與鈐印：臺北軒 來源 喻仲林家屬舊藏 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 248

627

TAI Jing-nong (Taiwanese, 1902-1990)

A Seal Carved by Tai Jing-nong

1961

10 x 4 x 4 cm

Signed Jing-nong in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, p. 247

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

臺靜農

臺靜農刻《志潔物芳》

x 4 x 4 cm 邊款：其志傑故其稱物芳，此太史公論屈子語取，為 仲林兄製此印。辛丑歲暮靜農。

WANG Chuang-wei (Taiwanese, 1909-1998)

A Seal Carved by Wang Chuang-wei

1974

8 x 2 x 2 cm

Signed Chuang-wei in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, p. 248

NT$ 30,000 - 60,000

7,000 -

- 1,900

- 13,000

王壯為 王壯為刻《清泉郡》

8 x 2 x 2 cm 邊款：壯為為仲林兄作，甲寅上元。 印文與鈐印：清泉郡

629

WANG Chuang-wei (Taiwanese, 1909-1998)

Seals Carved by Wang Chuang-wei (A Set of Two)

1974

8 x 2 x 1.2 cm; 8 x 2 x 2 cm Signed Chuang-wei in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 247, 248 (Right) Thesis of Department of Painting and Calligraphy, National Taiwan University of Arts, Taipei, p. 32

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

王壯為

王壯為刻《愚齋》及《喻仲林印》 （兩件一組）

1974

8 x 2 x 1.2 cm ; 8 x 2 x 2 cm 邊款： （左）壯為甲寅。 （右）魏金印多分筆磔勢，具眼者知其非浙法也。甲 寅上元，壯為。

印文與鈐印： （左）愚齋 （右）喻仲林印

來源

喻仲林家屬舊藏

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 247 、 248 （右）《書畫藝術學刊》，國立臺灣藝術大學，台北， 2013 ，頁 32

630

TAI Jing-nong (Taiwanese, 1902-1990)

Seals Carved by Tai Jing-nong (A set of Two)

(Left) 1965

9.5 x 2.5 x 2.5 cm; 7 x 1.8 x 1.8 cm Signed Jing-nong in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 247, 250

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

臺靜農

臺靜農刻《魯男子》及《喻性根》 （兩件一組）

（左）1965

9.5 x 2.5 x 2.5 cm ; 7 x 1.8 x 1.8 cm 邊款：

（左）靜農為仲林兄製，乙巳十一月於歇腳庵。 （右）靜農。

631

TSENG Shao-chieh (Taiwanese, 1910-1988)

Soapstone Seals Carved by Tseng Shao-chieh (A Set of Two)

1969

Soapstone

6 x 1.5 x 1.5 cm (each)

Signed Tseng Shao-chieh in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 247, 248

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

曾紹杰

曾紹杰刻壽山石《仲林私印》及《山左喻 氏》（兩件一組）

1969

壽山石

6 x 1.5 x 1.5 cm（每件） 邊款： （左）己酉七月曾紹杰。 （右）仲林兄屬己酉紹杰。 印文與鈐印： （左）仲林私印 （右）山左喻氏

博物館，台北，

632

WU Ping (Taiwanese, 1920-2019)

Seals Carved by Wu Ping (A Set of Two)

(Left) 1967

6.3 x 1.5 x 1.5 cm (each) Signed Wu Ping and Kan Bai in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp. 247, 251

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 600 - 1,300

RMB 4,000 - 9,000

吳平 吳平刻《喻鉥》及《仲林》（兩件一組） （左）1967 6.3 x 1.5 x 1.5 cm（每件） 邊款：

（左）仲林道兄法正，丁未夏堪白弟吳平。 （右）堪白。 印文與鈐印：

喻仲林家屬舊藏

633

TSENG Shao-chieh (Taiwanese, 1910-1988)

A Tianhuang Seal Carved by Tseng Shao-chieh

Tianhuang

3 x 2.7 x 1.1 cm; 19.3 g Signed Shao-chieh in Chinese

PROVENANCE

Former collection of Mr. Yu Chung-lin'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

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, p. 247

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 600 - 1,300

RMB 4,000 - 9,000

曾紹杰

曾紹杰刻田黃《喻仲林畫》 田黃

3 x 2.7 x 1.1 cm ; 19.3 克 邊款：紹杰。 印文與鈐印：喻仲林畫 來源

喻仲林家屬舊藏

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 247

孫雲生

牡丹（兩件一組）

1990 水墨 設色 紙本 鏡框

x 44 cm（每件）

釋文：（左）洛浦風光爛漫時，千金開宴醉為期。花 方著雨猶含笑，蝶不禁寒總是癡。

（右）燭光香霧雜歌吹，捲起朱簾人盡醉。百輩名姬 照殿紅，霓裳舞罷羽衣墜。勁骨芳心出萬卉，不希非 富和飛貴。任教委作洛陽塵，肯向金輪事僭偽。

款識：（左）庚午十二月中浣，五峯山下清心堂作， 孫雲生家瑞。

（右）庚午大腊，新店五峯山中菁園寫，孫雲生家瑞， 七十有三。

鈐印：（左）孫家瑞（白文）、雲生（朱文）、大風 堂門人（朱文）、菁園小築（白文）

（右）孫家瑞印（白文）、雲生長年（朱文）、清心 堂（朱文）、大風堂門人（白文） 來源 現藏家直接得自藝術家本人

WU Shi-wei (Taiwanese, b. 1957) Plum Blossoms in Winter, White Plum Blossoms, Clusters of Plum Blossoms and Plum Blossoms (A Set of Four)

2005

Ink and colour on paper, framed 18.5 x 55 cm; 18.5 x 55 cm; 18.5 x 52 cm; 19.5 x 36.5 cm Signed WU Shi-wei in Chinese With eleven seals of the artist

NT$ 80,000 - 160,000

20,000 - 40,000

2,500 - 5,100

18,000 - 36,000

吳士偉

素艷雪梅、繁枝白梅、萬玉爭春及香影 （四件一組）

2005 水墨 設色 紙本 鏡框

18.5 x 55 cm; 18.5 x 55 cm; 18.5 x 52 cm; 19.5 x 36.5 cm 釋文：

( ) 素艷雪凝樹，清香風滿枝。

( 二 ) 尺幅中繁枝叢雜，紛葩爛漫，有空谷深林境界。

( 三 ) 萬玉爭春。

( 四 ) 香影。從來不見梅花譜，信手拈來自有神。 不信試看千萬樹，東風吹著便成春。

款識：

( ) 錄東坡句，歲在乙酉之春，吳士偉畫。

( 二 ) 乙酉春日，遊風櫃斗歸來寫，吳士偉並記。

( 三 ) 歲次乙酉之春，吳士偉畫。

四 ) 徐渭句。乙酉春日，吳士偉畫。

) 吳 ( 白文 )、士偉 ( 朱文 )、淨心 ( 朱文 )

二 ) 吳 ( 白文 )、士偉 ( 朱文 )、靜圓 ( 朱文 )

三 ) 吳 ( 白文 )、士偉 ( 朱文 )、春不老 ( 朱文 )

四 ) 士偉 ( 朱文 )、淨心 ( 朱文 )

TONG Yang-tze

(Taiwanese, b. 1942)

Utopia

1986

Ink on paper, framed 68 x 70 cm

With two seals of the artist

PROVENANCE Spring Gallery, Taipei Acquired from the above by the present owner

ILLUSTRATED

The Works of Grace Yang-Tze Tong, Hilit Publishing Co., Ltd., Taipei, 1987, pp. 14-15

This painting is to be sold with a photo of the work with the artist and a certificate of authenticity.

NT$ 80,000 - 160,000

HK$ 20,000 - 40,000

US$ 2,500 - 5,100

RMB 18,000 - 36,000

董陽孜

別有天地非人間

水墨 紙本 鏡框 68 x 70 cm

釋文：別有天地非人間。 鈐印：董（白文）、陽孜（朱文） 簽條

款識：《別有天地非人間》，董陽孜。

現藏家得自上述來源

台北， 1987 ，頁 14-15

TONG Yang-tze

b. 1942)

a small stream is not blocked, it [eventually] becomes a river stream

paper,

one seal of the artist

PROVENANCE

Gallery, Taipei

from the above by the

Works of Grace Y. T. Tong", Eslite Gallery, Taipei,

ILLUSTRATED

works of Grace Y. T. Tong, Eslite Corporation, Taipei, 1997, p.

臺靜農

行書書法 水墨 紙本 鏡框

x 67 cm

釋文：先生秦博士，秦禮頗能熟。量主欲有為，兩者 皆不欲。草具一王儀，羣豪果知肅。黃金既遍賜，短 衣亦已續。儒術自此雕，何為反初服。《叔孫通》輕 刑死人眾，喪短生者偷。仁孝自此薄，哀哉不能謀。 露臺惜百金，灞陵無高丘。淺恩施一時，長患被九州。 《漢文帝》

款識：臺靜農先生以名教授，著作等身，初不以書法 視世，但我國之書法藝術要以文學為內涵，此所以為 特書而難能也，睹公此作雖為案頭游戲，顧非或稱能 書者所能仰望者也，後無名款，盛而識之。丙戍後學， 吳平堪白。 鈐印：姚江吳是（白文）、堪白名乎（朱文） 來源 鴻展藝術中心，台北 現藏家得自上述來源

紙本 鏡框

x 35 cm（每件）

釋文：二王法一新，歐虞極其變。繼志幹蠱才，卓爾 唯登善。遂立唐規模，猶承漢讓禪。當時姜、薛儔， 僅窺登善面。氣骨輸高腴，風華恣輕蒨。棲悟文暢碑， 差堪點俗眼。若無顏平原，此事誰與辦。

款識：雨盫。 鈐印：真骨凌霜高風跨俗（朱文）、巳蛇（朱文）、 桐城汪中章（白文）、乘桴浮海（白文） 來源 鴻展藝術中心，台北 現藏家得自上述來源

CHEN Chi-kwan

90,000

180,000

陳其寬

CHIANG Yi-tsai (Taiwanese, b. 1973)

Mystical Land amidst the Clouds

Ink and colour on paper, framed 153 x 69 cm

Signed Chiang Yi-tsai in Chinese With three seals of the artist

NT$ 120,000 - 240,000

HK$ 30,000 - 60,000

US$ 3,800 - 7,600

RMB 27,000 - 54,000

姜義才 雲中桃源 水墨 設色 紙本 鏡框 153 x 69 cm 釋文：層崖遠上最高山，十里平疇碧幾彎。隱隱寺藏紅樹 裡，沉沉鐘出白雲間。青纏牆壁藤蘿古，翠映峰門松柏間。 翹見時思題額在，文成遺墨快檐攀。 款識：寺藏時於古，山藏幽於深，時思寺乃大漈絕勝處， 有雲中桃源之境，題清儒嚴用光《過時思寺》詩。姜義才。 鈐印：鶴汀畫印（白文）、姜義才（朱文）、林泉清韻（朱 文） 歷代書畫家以時間的磨練與人生的歷練表現古畫的法度與 藝術家的氣度。由於現代藝術品項越來越豐富，現代與當 代的藝術家對藝術表現各有詮釋，在全球藝術變化的衝擊 下，當代的書畫界更加追求臨摹、寫景與造景的平衡，以 詩入畫，讓畫作的體驗更加全面豐富，重新詮釋人文畫的 古韻。《雲中桃源》峰巒峭拔，古木參天，雲霧氤氳於松 林間，古村小屋隱藏於秋木紅樹，遊客山際談笑論今古， 打破松林的清寂，在寒煙蕭瑟中帶點溫馨和煦。三遠法的 構圖與移動視覺貫穿全幅，近景蒼松紅葉人家隨層崖煙雲 徐徐移至遠處層巒山徑，最後停留在浩渺無盡的江山。題 詩清儒嚴用光《過時思寺》的描述與畫面呼應，藝術家以 題詩帶領觀者再度遊覽時思寺雲中桃源之境，重臨古秀的 建築與磅礡的山景，畫面的山勢彷彿呼應中國甚至南美古 國江山的壯麗，山中的村落建築帶著中印加古文明的幽邃 意境，猶如藝術家把秘魯遊歷的體會融入畫面。近景的紅 樹與層崖的石青石綠相映，柔和的色調隱含著時間的變 化，猶如塞尚的山水畫，凝結朝夕的色調變化於畫面，峻

history, Chinese artists spend a lifetime studying techniques of ancient scrolls, so as to gain the experience and eloquence which would eventually be demonstrated through the brush. In the modern art world, artists choose their own medium of expression. Such influence leads to a more refined balance of realism and creativity among contemporary Chinese ink artists. Using poems as part of the expression of a painting enriches a work as a literary component. In this work, ancient trees loom over a mountainous and misty landscape. Village houses hide behind the autumn woods while hikers are engaged in delightful chats, breaking the serenity of the woods. Three perspectives of depth are used throughout the painting. From the pine and maple trees in the foreground, the villages hiding behind them, the eye follows the misty clouds rising over the cliffs towards the distant hills. A poem of Shisi Temple by Ruyan Yongguang was used to enrich the depiction, by suggesting a similar majestic landscape with ancient architecture steeped with history. The grandiosity of the landscape echoes with those of China and South America, where ancient civilizations once lived alongside nature. Such depiction hints at the artist’s travel experience in Peru. In the foreground, the soft tones of maple trees and green cliffs suggest the changes of colour over time throughout the day, as the landscapes of Cezanne. Such a blend of tones echoes with the crooked trunks of pine trees, the imagery of Shisi Temple, forming a snapshot of antiquity and nature.

PU Hsin-yu

(Taiwanese, 1896-1963)

Pavilion on the Mountain

Ink and colour on silk, framed 22 x 10 cm

Signed Hsin-yu in Chinese With two seals of the artist

ILLUSTRATED

Paintings by Pu Hsin-Yu, My Humble House Co., Ltd., Taipei, 2021, p. 93

NT$ 180,000 - 280,000

HK$ 45,000 - 69,000

US$ 5,700 - 8,900

RMB 40,000 - 63,000

溥心畬山水畫兼善南北二宗，晚期山水趨近類於文人畫， 設色敷染精細、用墨淡雅，以瀟灑隨意、婉約典雅的風格 著稱，被世人譽為「文人畫的最後一筆」。黃君璧曾言： 「溥心畬的畫是愈小愈精，愈小愈妙。」此幅《秋山亭 子》為其少見難得的小品絹本雅作；畫中寫殘壁斷崖之 景，取用半邊角景，其中摹寫林木稀疏的景緻，意境高 古、格調極為清雅，溥心畬淵博的學識與儒人的氣質反映 在他的水墨創作上，這使得「北宗」山水減了鋒芒披露的 狂放之氣，多增添了筆試流暢的雅逸文風。畫中山壁以枯 筆澹墨細細皴擦寫成，鉤勒山尖峭壁求奇險詭譎之勢，以 淡赭、水色層層敷染，用筆雖簡賅，但能從精巧之處見其 清新峻峭的風貌；下方突出的懸崖勾斫大膽明快，崖面略 用花青敷染作出背光面，描繪矮亭獨立於上，盡顯一派秋 山蕭條的景緻，畫中渺無人蹤更能感受到閑和淡薄之意。

溥心畬 秋山亭子 水墨 設色 絹本 鏡框 22 x 10 cm 釋文：秋山亭子擬元人。 款識：心畬。 鈐印：心畬（白文）、舊王孫（白文） 圖錄 《師古超塵：溥心畬藝術精品集》，寒舍股份有限 公司，台北， 2021 ，頁 93

stark resemblance of both the Northern and Southern Song schools, Pu Hsin-yu's landscapes of his later career are representations of scholarly works. The palettes are light and meticulously applied with elegance and spontaneity. Hence he was acclaimed as the last scholarly painter. As Huang Chun-pi mentioned, the smaller the paintings, the better they are. This work is a rare masterpiece on silk in a small scale. Rugged cliff was depicted with a side view. Sparse vegetation enhances the ancient aura of the scenery. This is also a reflection of Pu's scholarly character, as he soothed the spontaneity of Northern Song school with elegant and fluid strokes. Saturated ink and dry brush was used to depict cun on the cliff. Rugged outlines characterize the fragility of rocks. Ochre and soft tones were meticulously applied in multiple layers. A hut stands alone on the cliff highlighting the romantic solitude of autumn. Serenity is further highlighted by the absence of visitors. The unbalanced structure of dense composition on the left and spaces on the right forms a relatively flat scene yet highlights the tranquility of a utopian world. The inscription, "Pavilion on the Mountain in the style of Yuan'' shows the carefree and genuine character of Pu. In this painting, he painted as a scholar with respect to Song and Yuan styles yet being original to his personal style, forming a rare and intricate depiction of his works.

PU Hsin-yu

(Taiwanese, 1896-1963)

Plum Blossoms

Ink and colour on paper, scroll 92.5 x 45.3 cm

Signed Hsin-yu in Chinese With two seals of the artist and one seal of the collector

PROVENANCE

Christie's Hong Kong, 26 April, 1998, Lot 152 Acquired from the above by the present owner

NT$ 240,000 - 380,000

HK$ 60,000 - 94,000

US$ 7,600 - 12,000

RMB 54,000 - 85,000

梅是文人雅士喜愛描繪的花卉題材之一，溥心畬是近代少 見的飽學之士，其自詡以書法入畫，用詩文鋪陳胸臆風 景，為畫壇公認、絕俗超塵的文人畫家。此幅《梅花》以 簡潔的筆法構成，筆鋒枯澀、行筆快速強勁，寫古梅自畫 幅右側上方凌空岔出、一氣呵成，沒骨用筆爽健，揮掃出 勁奇的主枝幹，旁枝用籀篆之筆寫成，以方筆起筆露鋒猶 如綿裹鐵、不露圭角，行筆至細微處如蠶吐絲，筆勢流轉 且帶抑揚頓挫；佈局採用偏倚的平衡形式，細觀雖處在靜 態之中，但卻能給予視覺上變奏排列的效果，溥心畬寫梅 花以一枝帶雙花、多苞的形式佈局，善用圈筆鉤寫梅瓣、 細筆點蕊描脈，後用白粉敷色，盡寫一派白梅盛放之姿。 此畫藉由梅花粗礪的枝幹、雋永的花朵配置、花型的漸變 與交錯產生出律動感，呈現出輕快豪放且活潑生動之感； 作品整體風格酣暢蕭散，墨色不掩筆意、點畫分明，可看 出溥心畬直取古人筆墨為上的企圖，用筆既收放自如又能 呈顯梅花的天然風貌，不求形似而重意境，老株白梅的蒼 勁嶙峋油然而生，其筆力凝鍊更可直追元人筆意，畫中行 草題詠梅詩句，寄寓己身品格孤高的情懷；溥心畬渡海抵 台後便潛心書畫用以抒發心懷，藉畫梅作為其內心不隨俗 浮沉的註解，實為溥氏經典傳世的寫意花卉名作。

溥心畬

梅花 水墨 設色 紙本 立軸 92.5 x 45.3 cm 釋文：半窗疏影落簾前，風度橫塘月揚州。誰向高樓 吹玉笛，一枝竹外澹如煙。 款識：心畬。 鈐印：舊王孫（朱文）、心畬（朱文）、開開博士珍 藏書畫（朱文） 來源 香港佳士得， 1998 年 4 月 26 日，拍品編號 152 現藏家得自上述來源 註 「開開博士珍藏書畫」屬吳坤淦鑑藏印。

Plum blossom is a favourite subject matter of scholarly paintings. As a well-acclaimed outstanding and all-round scholar of the times, Pu Hsin-yu painted using techniques of calligraphy and poetic compositions in his landscape paintings. This work is composed in a simplistic structure, completed with dry brush and swift strokes. As it extends from the top right corner. Boneless technique was used to depict the crooked main branches. Side branches were completed with zhouzhuan strokes which are round and sturdy. They are meticulously depicted with fluidity and style. The composition is slightly imbalanced to enhance movement and visual impact. Double or multiple blossoms were depicted with meticulous outlines of petals, stigmas and anthers, elegantly finished with white powdered ink. Such juxtaposition of rough crooked branches, elegant delicate flowers, multifarious shapes of petals and intertwined movement adds liveliness to the paintings. This work creates a joyful atmosphere with a careful play of strokes, high respect towards classical styles yet a genuine display of the form of plum blossoms. As the old plum blossom blooms from its crooked branches, the strokes are associated with styles of Yuan, both echoing a poem of plum blossom appreciation and highlighting the noble character of the artist. Such subject matter reflects Pu's internal emotions as he dedicated most of his time in painting after arriving in Taiwan. Hence this work could be regarded as one of his classical compositions of flower paintings.

HUANG Chun-pi (Taiwanese, 1898-1991)

Village by the Misty Mountains

1968

Ink and colour on paper, framed 59.5 x 119 cm Signed HUANG Chun-pi in Chinese With three seals of the artist

PROVENANCE Acquired directly from the family of the recipient

NT$ 300,000 - 500,000

HK$ 74,000 - 124,000 US$ 9,500 - 15,800 RMB 67,000 - 112,000

黃君璧 雲山浩蕩 1968

水墨 設色 紙本 鏡框 59.5 x 119 cm 釋文：雲山浩蕩。

款識：如平先生、淑瑚夫人儷賞，戊申初夏畫於 白雲堂，黃君璧。

鈐印：黃君璧印（白文）、君翁（朱文）、白雲 堂（白文） 來源 直接得自上款人家屬

黃君璧因家中收藏古代名蹟甚為豐富，其習畫多臨仿古 畫，早年喜愛漸江筆意、中年仰慕夏圭墨跡，又因其著重 寫生，要求作畫須有外師造化的功力才能習得心源之先， 張大千更曾讚其山水能「獨善其秘」。此作《雲山浩蕩》 是帶有石蹊一脈筆意盎然的寫景經典大作，以鐵線鉤及褶

With a bountiful collection of ancient scrolls, Huang Chun-pi could copy ancient scrolls and hence developed a preference towards strokes of Jianjiang and Xiagui.

He was an advocate of life drawings and individual representation, hence he received a public acclamation from Zhang Da-qian. This work is a typical majestic landscape by the artist. Outlines were used with overlapping cun to depict the rugged mountains. The structure was carefully planned and composed from left to right, showing a transition from dense mountains,

vegetation, houses towards an open area of streams, mist and distant hills. Such transformation highlights the grandiosity of the landscape. The palette is carefully chosen to depict lush vegetation, elusiveness of clouds and light of distant hills. The meandering river divides the panel into two mountainous bodies. A boat sails on the river breaking the tranquility of the landscape, while a house hidden by the forest enhances the subtleness and enriches the painting.

650

PU Tzu

(Taiwanese, 1959-2013)

Prelude to Water Melody (A Set of Five)

2007 Ink on paper

240 x 265 cm

Signed PU Tzu in Chinese

With one seal of the artist

PROVENANCE

Moon Gallery, Taichung

Acquired from the above by the present owner

ILLUSTRATED

Solo exhibition of Bu Zi, Moon Gallery, Taichung, 2008

This lot is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 340,000 - 550,000

HK$ 84,000 - 136,000

US$ 10,800 - 17,400

RMB 76,000 - 123,000

卜茲

東坡水調歌頭（五聯幅）

2007 水墨 紙本 240 x 265 cm 釋文：明月幾時有？把酒問青天。不知天上宮闕，今 夕是何年？我欲乘風歸去，惟恐瓊樓玉宇，高處不勝 寒。起舞弄清影，何似在人間？ 款識：東坡水調歌頭，溪心人卜茲狂書於老芒樹屋。 鈐印：卜茲（朱文）

來源

月臨畫廊，台中

現藏家得自上述來源 圖錄

《大河之流－卜茲草書的舞動》，月臨畫廊，台中， 2008

附月臨畫廊開立之原作保證書

草書書法是中國藝術領域裡最具表現性的書體，若說詩詞 是詩人的音樂符號，書法便是藝術家如何詮釋及表現這篇 樂章。唐 張懷權曾說：「深識書者，惟觀神采，不見字 形」，卜茲進而提出「書法應有各種思維的空間，或重若 崩雲，或輕如蟬翼，導之則泉注，頓之則山安。纖纖乎似 初月之出天涯，落落乎猶眾星之列河漢，同自然之妙有， 非力運之能成。」卜茲在此提出的不只是形而上的情感表 達，而是在字形上添加個人詮釋，觀者的理解、視覺的元 素，讓字義增添人性情感與藝術美感，自此句即可了解卜 茲對書法藝術領悟之深遠，以致在書法領域得到歷史上的 突破。

此篇書法選取蘇軾《水調歌頭》上片以狂草表現，是一眾 卜茲書法當中特別有意義的作品。這首熟悉的調子是蘇軾 在中秋望月懷人之作，面對坎坷的仕途，詩人在月圓之夜 對著皓月舉杯對飲，難以掩蓋對仕與隱、進與退的矛盾與 鬱悶。詩人既望乘風飛往月宮，卻又怕受不住瓊樓玉宇 的高寒，徘徊於天上與人間的矛盾，最後又懷念人間的生 活，還不如留下與月光共舞，與清影為伴，更顯詩人的鬱 悶和無奈，卻又是肯定的心態，劃下糾結後的總結。 卜茲兼擅真、草、隸、篆等書體，同時著重書法的完整 性：書法非止於藝術家對筆墨的玩弄，卻要結合詩詞的意 境，書法家胸中臆氣，從筆墨的自由變幻中尋找文字的意 境與藝術表現的行氣箇中的平衡。自眾書體當中，卜茲選

續的「又恐」，自虛實之間遊走，表達詩人的矛盾。經過 無數徘徊回到肯定，「何似」的「何」擺脫草書的婉轉圓 潤，卻以近乎行楷的書體，帶出不動搖的堅挺傲氣，表現 詩人的最終選擇。「似」則繼續以狂草引領到後續詩人豪 放瀟灑地生活「在人間」。卜茲透過個人詮釋，多變的狂 草特性，為這首廣為人知的詩詞，昇華至現代的絕唱。 近幾年羅芙奧致力把卜茲的書法作品首推於書畫市場，屢 次為藝術家個人市場上創造高峰，《無窮游（三聯幅）》 在羅芙奧 2021 年春季拍賣會以新台幣 156 萬成交，而罕有 朱墨狂草《草書窗外蕉樹（雙拼）》則於2021年秋季拍賣 會賣出新台幣 132 萬的傲人成績，承蒙藝術家卓越的藝術 成就，再次喚起市場對卜茲狂草書法的狂熱。

騰，搖曳多姿，縱橫之氣，成為卜茲獨有的個人圖騰。從 書體的選擇，狂逸的整體表現，到細味文字，不難發現書 法家對蘇軾《水調歌頭》尊敬與用心。就「我欲」、「又 恐」、「何似」可見，卜茲選擇於「我欲」把行筆放慢帶 渴筆飛白，為天馬行空的構思，添上半分的遲疑，回應後

卜茲《無窮游（三聯幅）》水墨 紙本 181 x 183 cm

2021春季 拍賣會，拍品編號640，成交價NT$1,560,000 Pu Tzu, Calligraphy in Cursive Script (triptych), 181 x 183 cm, Ravenel

Auction 2021 Taipei, Lot 640,

for NT$1,560,000

In the realm of Chinese calligraphy, the cursive script is the most expressive form. If one compares a poem to a music score, calligraphy could be regarded as an artist's interpretation and performance of the piece. Zhang Huai-quan of the Tang dynasty once claimed that expressiveness dominates over its form in calligraphy. Pu Tzu further proposed that the myriad interpretations of calligraphy give weight, fluidity and steadiness in an art form. Under such theory, calligraphy is more than an expressive tool, but the reinterpretation of the calligrapher and those of the audience. It is a combination of visual, emotion and aesthetic qualities. Such revelations suggest a pioneering vision in the art history of calligraphy.

This calligraphy depicted an excerpt of the Prelude to Water Melody in an expressive manner, allowing it to be considered as one of Pu Tzu's important calligraphy works. The poem depicts Su Shi's conflicting emotions while he was appreciating the full moon during the Mid-Autumn festival. Feeling deflated from work, the poet drank wine with the moon, proposing a journey to heaven at the same time fearing over the unknown realm. In the end, he chose to stay in reality by proposing a dance with the moon.

As an all-round calligrapher, Pu Tzu practiced Zhen, cursive, clerical and seal scripts. He believed that calligraphy should not be a playground for artists, but an interpretation of a poem. It is a balance of the meaning between the lines and artistic expression. In this work, Pu chose cursive script as a modern form of expressing the free will personality of Su Shi. One line of the poem writes, "I wish to ride on the wind towards heaven, but I fear the chill up there. Here I can dance with my own shadows. Where else can I find such delight?" In this poem "I wish", "But I fear" and "Where else" depict the internal struggles of the poet. From the imaginative heaven, confronting his fear and back to reality with self reassurance, the choice of words highlights the three stages of emotions. Looking back at Pu Tzu's work, a strong fluid structure poses stark contrast with the intertwined strokes. Ink rages through the panel in an expressive way, as a dominant signature of Pu's works. From the choice of script, to the expressive form, to the choice of poem, the work was constructed as a respect to the poet in its genuine representation. As for the three crucial turning points in the poem, the brush slowed at the words "I wish", showing the poet's wild proposal with a hint of uncertainty. "But I fear" was depicted with intertwined space in its strokes, highlighting his selfdoubt. "Where else" was depicted with the Chinese character "he" in a conformed running script, showing a determined decision made, while "si" was depicted in expressive cursive, highlighting his frolicking life on Earth, an anesthesia for his troubles. Through Pu Tzu's individual interpretation in his work, the poem is enlivened in the modern world.

In recent years, Pu Tzu's works performed at their peak in the art market through auctions in Ravenel. In 2021, a calligraphy work reached a whopping NT$ 1,560,000 at Ravenel Spring sale, while the work in red ink achieved NT$ 1,320,000 in the Autumn sale. Such astounding performance shows the strong affection of collectors towards the artist's works.

TONG Yang-tze

(Taiwanese, b. 1942)

Abide in the Real (Diptych)

2013 Ink on paper 144 x 152 cm

PROVENANCE Eslite Gallery, Taipei Acquired from the above by the present owner

EXHIBITED

"The Sayings of Laozi and Zhuangzi-Calligraphy Works of Tong Yang-Tze", Eslite Gallery, Taipei, 5 September, 2014 - 21 September, 2014

"Moving Ink: Tong Yang-Tze", Taipei Fine Arts Museum, Taipei, 14 December, 2019 - 8 March, 2020

ILLUSTRATED

Calligraphy Works of Tong Yang-Tze, Eslite Corporation, Taipei, 2014, Plate 11

Moving Ink: Tong Yang-Tze, Taipei Fine Arts Museum, Taipei, 2019, p. 251

董陽孜 處其實（雙拼）

2013

水墨 紙本

144 x 152 cm

釋文：處其實。

鈐印：董印（白文）、陽孜（朱文） 來源

誠品畫廊，台北

現藏家得自上述來源

展覽

「老莊說—董陽孜作品個展」，誠品畫廊，台北， 展期 2014 年 9 月 5 日至 2014 年 9 月 21 日

「董陽孜：行墨」，台北市立美術館，台北， 展期 2019 年 12 月 14 日至 2020 年 3 月 8 日

圖錄

《董陽孜作品集—老莊說》，誠品股份有限公司， 台北， 2014 ，圖版 11 《董陽孜：行墨》，台北市立美術館，台北， 2019 ，頁 251

INOUE Yuichi

(Japanese, 1916-1985)

Butsu

1961

Ink on Japanese paper, framed 130 x 179.5 cm

PROVENANCE

Private collection, Japan Acquired from the above by the present owner

ILLUSTRATED Yu-Ichi: Catalogue Raisonné of the Works 1949-1985, Vol. 1 1949-1969, UNAC Tokyo, Tokyo, 1998, p. 194, cat. no. 61025

NT$ 1,700,000 - 2,800,000 HK$ 422,000 - 695,000 US$ 53,800 - 88,600 RMB 381,000 - 628,000

井上有一 佛 1961 水墨 日本紙 鏡框 130 x 179.5 cm 釋文：佛。 來源 私人收藏，日本 現藏家得自上述來源 圖錄 《井上有一全書業：全 3 卷內第 1 卷 1949-1969 》， UNAC Tokyo 株式會社， 東京， 1998 ，頁 194 ，編號 61025

井上有一（ 1916-1985 ）出生於日本東京，來自貧寒家庭的 他為了儘早獨立而先捨棄了追尋藝術的夢想，選擇進入東京 府立青山師範學校就讀，後成為日本國民學校教師，然而有 一並未放棄自己的藝術之夢，教職期間多利用課餘進修西方 美術的相關訓練，1941年有一經友人推薦介紹認識了當時日 本書法界的大師—上田桑鳩，開始決心拜師學習書法。1945 年東京大空襲，有一面臨著生死交關的命運，國家經歷著內 憂外患，雖然為生活情勢與貧困所逼，但書法的追求與練習 給予他另一個喘息的空間，紙筆俱在便能一頭鑽入藝術的境 地，有一在大難不死之中了解到生命與藝術的意義，從此立 志藉由「書道」踏上自我實現之路。

井上在面對西方抽象表現主義的主張與理念的反思之中，感 受到書法藝術應該要揚棄所有的流派，以精神上的「我」去 面對書道，自此井上成為日本現代藝術迎向國際藝壇的的先 驅，國內外的邀展無數：1958年布魯塞爾萬國博覽會的「近 代美術五十年」展、 1959 年卡塞爾文獻展、 1994-95 年古根 漢美術館「1945年後的日本藝術：向天空吶喊」大展、2016 年日本金澤21世紀美術館、2018年紐約大都會美術館等，井 上的書法被視為東方現代書法藝術的先驅，早年更為國際眾 多知名美術館典藏：德國科隆東亞藝術博物館、紐約大都會 美術館、美國卡內基博物館、日本東京與京都現代美術館、 京都國立近代美術館等。

井上的父親井上榮治是虔誠的佛教徒（日蓮宗），榮治曾親 赴法華經寺許願求子，隨後生下獨子井上有一；1949年榮治 的猝逝、戰亂的時局，加上家庭劇變，讓井上深受打擊，當 年井上繪製了《父親肖像》紀念父親，畫幅上方題寫《法華 經》的〈自我偈〉，作為父親篤信《法華經》的追憶。井上

年的「佛」字，是井上有一以

年代所特製的「凍

視覺觀看的變化性，「凍墨」可讓作品帶有立體感，是他獨 創的特殊手法；佛字的的運筆迅疾，帶有顏真卿及唐代草書 筆畫快轉的趣味性，在其似連非連、筆劃交疊的運筆過程 中，可看出有一是以身體的氣力、精神與和紙及沾染凍墨的 筆刷在進行磨合的過程，輕重之間隱含著東方哲學的玄妙機 趣，舉重若輕的「佛」字，猶如他一生遭遇戰亂困頓仍堅守 書道的註解，在每個筆勢的運轉自成意蘊，井上以「佛」字 的核心觀念，讓他的書法成為現代藝術中最具代表性的精神 力量。與此作相類的佛字品項甚是少見，多由美術館等學術 機構如：日本京都國立近代美術館、美國匹茲堡卡內基美術 館和香港Ｍ + 美術館等典藏，可知其在現代藝術史研究的重 要性；近年戰後近現代藝術收藏市場上更多所聚焦於井上有 一的書法作品，屢屢創出新高，2017年香港蘇富比《夢》拍 出港幣 150 萬元最高價， 2021 年羅芙奧秋拍《夢》亦以新台 幣 528 萬高價落槌。「佛」不僅是井上有一 1960 年代最具精 神性與特殊性的作品，更因其作品數量極少件而成為藝術收 藏圈內最讓人期待的逸品，井上「佛」的書寫不僅代表了他 一生信佛奉道的修為，更是他在書法藝術上自我修煉，印證 其藝術生涯最精彩燦爛時刻的經典代表作。

Inoue Yuichi (1916-1985) was born in Tokyo, Japan to an impoverished family. Hence he forwent his wish to become an artist at an early age. He chose to study at the National University of Tokyo and became a teacher. With an undying pursuit of art, he studied Western art after work. In 1941, under the recommendation of a friend, he met and followed Sōkyū Ueda, a prominent calligrapher of the times. After the aerial attack of Tokyo in 1945, the people of Japan lived under constant fear of life and death in the tumultuous times within the country. Despite the struggle of life and poverty, Inoue found peacefulness and meaning of life through calligraphy practices. Since then, he was determined to follow the path of calligraphy.

Under the influence of western abstraction and ideology, Inoue chose to refine calligraphy art from all schools of beliefs, but to follow the exploration of his own "self." Since then, Inoue was regarded as an advocate of modern Japanese art in the International art scene. His works were invited to numerous exhibitions including, 50 ans d'art moderne, Palais des Beaux-Arts, Brussels, Belgium in 1958, 21st Century Museum of Contemporary Art, Kanazawa, Japan in 2016 and Metropolitan Museum of Art, New York, USA in 2018. His calligraphy works were considered as a pioneer of modern oriental calligraphy. His works were kept in national collections in Museum für Ostasiatische Kunst, Cologne, Germany, Metropolitan Museum of Art, New York, USA, Carnegie Museum of Art, Pittsburgh, USA, The National Museum of Modern Art, Tokyo and Kyoto, Japan and The National Museum of Modern Art, Kyoto, to name but a few.

Inoue's father Inoue Eiji was a devoted buddhist of Nichiren-shū. He visited Hokekyo-ji Temple in the hopes of having a son. Not long after, Inoue Yuichi was born. Following his father's passing and the turbulent times in 1949, along with family conflicts, Inoue underwent a heavy turmoil. He sketched an image of his father with an inscription from the Lotus Sutra in his remembrance. Butsu (Buddha) in itself is a revelation from the Lotus Sutra with an implication of a life-time meditation, which synchronizes with calligraphy. A vibrant calligraphy of Butsu reflects the artist's determination in the pursuit of Buddhist enlightenment. Throughout the career of Inoue, the strong, rebellious and independent character of Inoue could be traced back to the pursuit promoted by the Lotus Sutra and the Hokekyo-ji Temple. Such spirit is reflected through the calligraphy Butsu by Inoue. The work might as well be a summary of his pursuit of art and calligraphy. In 1958, Inoue exhibited a Butsu calligraphy at the 50 ans d'art moderne, Belgium, showing his faith as a post-war artist against the influence of Western art.

This work was completed in 1961 written with a special chilled ink invented in the 1960s. The strokes resemble that of Chinese calligraphy with a natural split of ink and water, while creating natural crevices between the strokes, thereby enhancing the visual impact. Chilled ink enriches the visual perspectives as a unique invention of Inoue. Swift strokes of Butsu ressemble the cursive script of Yan Zhen-qin and of Tang dynasty. Through the intersecting lines, one can observe the movement and the spirit of the artist with ink and brush on paper. This is a play of balance in oriental philosophy, as the word appears both sturdy and light in its form. Such a juxtaposition summarises the struggles of the artist in his post-war life through calligraphy. Each stroke carries its purpose in its form. Butsu forms a core ideology of the artist's art, allowing his art a foothold in the modern art scene. Similar works of Butsu are rare and are kept in national institutions such as The National Museum of Modern Art, Kyoto, Japan, Carnegie Museum of Art, Pittsburg, USA and the M+ museum in Hong Kong. This shows the pivotal importance of the subject in the artist's portfolio. In recent years, Inoue Yuichi's calligraphy has been under the limelight of the post-war art market. Yume fetched HK$1,500,000 at Sotheby's Hong Kong in 2017, and NT$ 5,280,000 at Ravenel, Taiwan. This work Butsu

both the spiritual background of the artist and

uniqueness of the art itself.

hands,

a limited quantity in

work is one of the sought-after works

in the market, as it captures the crux of Inoue's

practice, as a form of meditation at the

stage of his artistic career.

CHIANG Chao-shen

(Taiwanese, 1925-1996)

Scholars Gathering in the Mountains

Ink and colour on paper, scroll

179 x 96.5 cm

Signed CHIANG Chao-shen in Chinese

With three seals of the artist

PROVENANCE

Private collection, Taipei

NT$ 850,000 - 1,400,000

江兆申

山館客話

水墨 設色 紙本 立軸

179 x 96.5 cm

釋文：林表飛來色，猶憐久卜鄰。沿洄一水路，夢想 五天人。謝絕空園草，沈冥滿幾塵。暮雲如有得，寧 謝寄聲頻。

款識：茮原江兆申。

鈐印：江兆申印（白文）、茮原（朱文）、 我於維也斂衽無閒言（白文）

來源

HK$ 211,000 - 347,000

US$ 26,900 - 44,300

RMB 191,000 - 314,000

私人收藏，台北 江兆申先生的山水畫深植於傳統技法，在構圖佈局上卻能自成 風格，從摹古到復古與前人一脈相承，卻又能「澤以時代之精 神氣韻」，表現出屬於自我觀點、現代人視野的山川，《山館 客話》一作屬於先生成熟時期的中堂形式作品，其畫風並非侷 限於一般的自然寫景，而是在摹寫古代名蹟書畫的基礎上表現 出復古畫風，此作以宋人巨山丘壑作為形式主體，畫面構成大 膽地等分構圖，透過對景物的剪裁安排，讓墨韻與色調統一， 富含傳統文人畫的意蘊。畫面主要的山石構圖以漸江鐵線勾勒 法為用筆，章法奇險詭譎，以書法的筆勢快速地皴擦、點染出 嶙峋的山壁，具有強烈的設計感；先生敷色不多，以墨色、赭 色及花青略加渲染，除為層疊的山石做出陰陽面，讓其畫平添 了幾分冷逸之感，水色連天的峻嶺與遠山呼應，更能呈顯出空

Classical techniques could be traced in Chiang Chaoshen's landscape paintings, with a unique structure, demonstrating a modern and individualistic point of view amongst classical techniques in the depiction of mountains and streams. This work was made at Chiang's mature stage of career. Techniques from ancient scrolls are prominently demonstrated with a close resemblance to nature itself. Majestic mountains of Song scrolls could be associated with this painting with a bold structure and delicate composition. Tone and colour of ink are synchronized in a literati style. Rocks were outlined boldly in Jianjiang style. Swift strokes of cun and dots highlight the texture of a rocky cliff in a stylistic approach. Colours are subtly chosen with ink, ochre and green carefully applied to highlight a realistic depiction of rock texture and to create a chilled tone to the painting. Mountains echo with the horizon with a fresh and majestic aura. Trees at the foreground were depicted with double lines, saturated and dried ink and colour. They are intertwined to form a dense forest. A river meanders through the valley with scattered houses, where three scholars chat casually. This suggests the ideal, secluded and relaxing lifestyle of Chiang. Lin Bu's poems were always used as inscriptions of Chiang, showing his preference towards an austere lifestyle of a literati.

HUANG Chun-pi

(Taiwanese, 1898-1991)

Waterfall in Misty Landscape

1967

Ink and colour on paper, scroll 130 x 69 cm

Signed HUANG Chun-pi in Chinese

With three seals of the artist and one seal of the collector

PROVENANCE

Christie's Hong Kong, 26 April, 1998, Lot 172 Acquired from the above by the present owner

NT$ 500,000 - 800,000

HK$ 124,000 - 199,000

US$ 15,800 - 25,300

RMB 112,000 - 179,000

「渡海三家」之一的黃君璧，晚號君翁，早年從嶺南名家 李瑤屏習畫，以西洋畫技法入門，後再學習國畫筆墨，是 少數由西入中的水墨大家，君翁擅畫山水，長於描繪飛瀑 流泉、霜林等景色，其工筆花鳥仕女亦秀逸。綜觀《雲山 飛瀑圖》便可領會其對於中西繪畫技法的融合與內化，君 翁作畫胸有成竹、下筆迅疾，此作構圖以雲霧隔出三階層 疊的山脈走勢為主要佈局結構：中段處以中鋒用筆鉤出主 要的山形輪廓，峭巖與下方拔尖的山頭相呼應，呈現出穩 中求險絕的態勢，再以短皴、點苔法析出凹凸不平的壁 面，設色以澹墨、赭色層層輕敷罩染，分出山石陰陽向背 的樣貌；寫景林樹筆法多元，兼用濃墨漬染、朱色醒點， 一派初秋景色躍然而生；其中兩壁夾泉為君翁特有的構 圖，飛瀑以獨到的「抖筆」、「人字形」筆法摹寫，傾瀉 直落的泉瀑與煙雲融為一體，水氣蒸騰之餘更使整體氣勢 雄渾。遠山以墨鉤描、淡赭烘染，作雲霧則多用墨色輕掃 與留白做出高遠繚繞之感，筆墨氤氳之處更覺蒼勁清新。

黃君璧

雲山飛瀑

1967

水墨 設色 紙本 立軸 130 x 69 cm 釋文：嶺外雲山舊草堂，溪聲淼淼樹蒼蒼。白雲深處 烽烟裏，且向丹青憶故鄉。

款識：丁未臘月以為坤淦博士吾兄雅教，黃君璧於白 雲堂。

鈐印：黃君璧印（朱文）、君翁（白文）、白雲堂（白 文）、開開博士珍藏書畫（朱文） 來源

香港佳士得， 1998 年 4 月 26 日，拍品編號 172 現藏家得自上述來源 註 上款人「坤淦博士吾兄」即為吳坤淦，自號「開開 博士」，江蘇吳江人。吳坤淦與渡海三家黃君璧、 溥心畬、張大千熟稔，因此吳收藏不少三家的書畫 精品。

「開開博士珍藏書畫」屬吳坤淦鑑藏印。

寫壯麗的雲山飛瀑，但卻隱約透露著君翁寄情山水林泉的 心境。

Huang Chun-pi was trained under Li Yao of the Lingnan School to practise western paintings, followed by traditional Chinese ink paintings. Landscape works are well sought after, especially those of waterfalls and misty landscapes. Both Chinese and Western painting techniques are superbly incorporated in this work. Swift strokes were applied with confidence. Three layers of structures could be found in this work with a sketch of mountains in the middle ground. Lofty cliffs and rugged hills create a balance of fragility and sturdiness. Short cun and dots were added to the cliff highlighted with soft layers of ink and ochres, depicting the texture of rocks. A myriad of skills were used to depict the forest by saturated dots of ink and red, highlighting an autumnal scene. Two cliffs open up to a waterfall depicted with shaking strokes and v-shaped lines. As water falls, it merges with the misty clouds gleaming with grandeur. Dark outlines and light ochre were used for the distant hills, while light gray was used to depict the shadow of distant clouds. Such light depiction forms a refreshing scenery. A house hides among the clouds in a utopian mountainous surrounding. Inside the house sit two scholars appreciating the scenery, forming a secluded and relaxing scene. By the depiction of misty waterfall landscape, the artist hinted at his wish for tranquility.

ZHANG Da-qian

(Taiwanese, 1898-1983)

Calligraphy Couplet in Running Script

Ink on paper, framed 123 x 25 cm (each) Signed Da-qian in Chinese With two seals of the artist

NT$ 600,000 - 950,000

HK$ 149,000 - 236,000

US$ 19,000 - 30,000

RMB 135,000 - 213,000

張大千

行書對聯

水墨 紙本 鏡框

123 x 25 cm（每件）

釋文：潮通別浦漁舟活，露下繁於秋月 高。

款識：子賢仁兄正之，大千居士。

鈐印：張季（白文）、大千（朱文）

朱屺瞻；陸儼少；吳昌碩 事事如意、山水及梅花 （三件一組） 水墨 設色 紙本 立軸 67.5 x 39 cm ; 66.5 x 35 cm ; 66 x 32 cm 釋文：

（右）雪晴庭院晚霞飛棲，繞屋如聞翠羽啼。 滿眼秦權周石鼓，寫花無怪似封泥。 款識：

（左）戊午春月，屺瞻。

（中）梅英同志正之，壬戌陸儼少寫。

（右）湘舲兄道正之，初春吳俊卿。 鈐印：

（左）朱屺瞻（白文）、八十七歲涉筆（白文）

（中）儼少（白文）、宛若（朱文）、晚晴軒（朱文）、 嘉定（朱文）

（右）吳昌碩（朱文）

ZHOU Cheng (Taiwanese, 1941-2022)

Trail of the Mountains

1990

Ink and colour on paper, scroll 135.5 x 68.8 cm Signed ZHOU Cheng in Chinese With two seals of the artist

ILLUSTRATED Chinese Paintings by Chou-Chen, Gloria Art Corporation, Taipei, 1992, p. 12

NT$ 190,000 - 300,000

HK$ 47,000 - 74,000

US$ 6,000 - 9,500

RMB 43,000 - 67,000

周澄 曲徑通幽

1990

水墨 設色 紙本 立軸 135.5 x 68.8 cm 釋文：天公知我為山來，盡收雲氣作翠堆。

天公知我出上去，千里曉霧漫不開。 款識：宋人有此詩，不知何人所作。庚午初 夏，黃山遊罷歸來寫此，藉以壯氣色，蓴波 周澄并識。

鈐印：慈悲（白文）、周澄（朱文） 圖錄 《周澄山水畫集》，鴻展藝術股份有限公 司，台北， 1992 ，頁 12

TAI Jing-nong (Taiwanese, 1902-1990)

Calligraphy Couplet in Clerical Script

1987 Ink on paper, scroll 131 x 32 cm (each)

Signed TAI Jing-nong in Chinese With three seals of the artist

PROVENANCE

Private collection, Taiwan

NT$ 150,000 - 240,000 HK$ 37,000 - 60,000 US$ 4,700 - 7,600 RMB 34,000 - 54,000

臺靜農 隸書七言聯

1987

水墨 紙本 立軸 131 x 32 cm（每件）

釋文：西安石上校漢隸，北海尊前誦楚辭。

款識：石門摩崖集字，丁卯清明前臺靜農 時年八十六書。

鈐印：臺靜農（白文）、龍坡丈室（朱文）、 守斯寧靜為君大年（朱文）

來源 私人收藏，台灣

Calligraphy Couplet in Regular Script

16.5 cm

Jingzhe in Chinese

three seals of the artists

PROVENANCE

Art Center, Taipei

from the above by the present owner

Jing-Nong: A Commemorative Collection of Calligraphy and Paintings, National Museum of History, Taipei, 2001, p. 161

Prominent Categories of Taiwanese Art, Artist Publishing Co., Taipei, 2006, p. 119

by Gloria Art Center,

-

4,700 - 7,600

34,000 - 54,000

江兆申：「作畫貴取古人為我用，而不用於古人」。這句 話既是江老師對李義弘的肯定與期許，也能概括李義弘的 創作歷程與藝術成就。1960年代的台灣藝術界正吹著「革 新國畫」的理念，推倒過於抄襲古畫的陋習，鼓勵以創新 媒體推動水墨實驗精神，建立「以抽象為現代」的水墨風 潮。在這藝術環境下，求學時期的李義弘已經開始實驗抽 象形式與材質實驗，並於1969年成為靈漚館門人後，隨江 兆申重新認識傳統，從臨古體會用筆用墨的文人精髓，自 造景表達文人逸氣，延伸至後來李義弘在寫實的形似與藝 術的意境得到平衡。

熱愛拍攝的李義弘，並於 1970 年代加入基隆攝影學會， 更成為基隆攝影學會沙龍主席。其攝影的技巧理念深入影 響李義弘的藝術創作，讓他的藝術旅程自求學生澀的階段 步向具強烈個人特色的成熟階段。李義弘曾說：「從攝影 到繪畫創作，依畫者的立場，最大的利器就是攝影框取比 例，得到千變萬化的構圖。同樣的景物，框取比例不同， 所拍出的意涵也不同。用4:3 與 16:9 的框取，拍出同角度 的景物，其意象是不一樣的。何況不同的視覺，其差異性

1986 年的《秋巒霞影》（拍品編號 661 ）橫幅鉅

鏡頭的局限，近景隨著紅葉緩緩而上，穿越兩旁重疊的山

的畫面，緩和秋冬的蕭瑟。 「出國旅遊可以得到再學習、再認知。」熱愛旅遊的李義 弘於1986 1989年先後赴印北、南非，讓其山水創作更增 添雄偉和古韻。1990年開始踏足中國，與江兆申屢次暢遊 黃山，體驗故國山河。此時的李義弘再次步入藝術創作高 峰，更出現許多巨幅直軸，題材以瑰麗雄奇的山水為主。 作於 1994 年的《鄉野人情》（拍品編號 662 ），滿密式的 構圖突顯山群的奇峻，既得沈周《廬山圖》恢弘的氣勢， 山石間長線拖拉與嶙峋的稜角卻現江派山水的特色，瀑布 兩旁的蔥鬱樹林引領視覺隨流而下，反覆加染的樹冠突顯 江派層疊的墨韻，以古意與現代技法重現故國山水。下方 的小橋村落隱藏於靜謐秋林裡，呼應題識山林人家的溫馨 滿懷，增添形意別趣。台灣風土民情似乎成為了李義弘作 品的標誌。《農家樂》（拍品編號 663 ）以畫面留白對比 橫斜穿插的屋舍，表現了台灣村落融洽聚居的特色。《松 間鍾馗》（拍品編號 664 ）以俏皮逗趣的表情、細微口嘴 的變化，表現捉鬼大師的靈巧個性。此扇面書法及《留 雲》（拍品編號 665 ）為李義弘晚期書法，盡顯其隸書 《張遷碑》與篆書《石鼓文》的臨帖功力，細緻雄挺的筆 法更開創現代書法與個人書風。 2022年台北市立美術館的「李義弘：回顧展」，再度掀起

寒冬，再取惲壽平詩頌斜陽秋映，詩畫相應。畫面中央描 繪兩位成年帶領三位小孩登山，以造景寄情表現和睦融洽

Chiang Chao-shen mentioned, "classical techniques should be adopted but not copied in paintings." This is the recognition of Chiang towards Lee Yih-hong and this shaped his art development. In 1960, art reformation blew across the art world of Taiwan, denouncing the imitation of classical art, while promoting innovation through new media and methods towards abstraction. Under such influences, Lee experimented briefly with abstraction and new media. In 1969, he studied with Chiang Chaoshen to re-learn classics and their techniques, thereby re-create art with literary basis, towards the balance of imaginative and realistic depiction.

As an avid photographer, Lee Yih-hong joined the photography club in Keelung and became the chairman of the club. His photography techniques are deeply rooted in his art creation during his transformation towards a mature stage. He once said that as an artist, he uses the framing in photography to form a myriad of structures to the same subject matter. Compositions are formed by different perspectives. Three depth perspectives could be achieved through various angles of framing, enriching the whole painting. Autumn Scenery (Lot 661) from 1986 is a mammoth work with a full frame structure, captured with photography framing. Three depth perspectives enhance its restrictions, shown by the gradual movement from red maple in the foreground to the valley in the middle ground, extending towards the waterfalls. Misty clouds lead the eye through to the distant mountains. The distant mist and red maple trees highlight the chill of autumn and winter. Inscribed with a poem by Hui Shou-ping, the autumn scenery was enhanced. Two adults and three children featured at the center form a harmonious hiking scene under the merciless chill of winter.

To Lee Yih-hong, travelling encourages artistic enlightenment through observations. Throughout his lifetime, he travelled to various places including North India and South Africa from 1986-1989. Since then, his works show hints of history. In 1990, Lee first travelled in China. He visited Huangshan with Chiang Chao-shen and revisited the landscape featured by classical paintings. This creates another peak of his career with a number of mammoth scrolls featuring majestic landscapes. Country Life (Lot 662) in 1994 with majestic landscape filled the whole frame, achieving the style of Lushan Tu by Shen Zhou. The cun strokes and rectangular edges of rocks and the colour of forest suggest the style of Chiang. This shows a combination of classic and modern techniques in depicting a classical landscape. At the bottom, a village is hidden from the autumnal forest, which echoes with the inscription and the warmth of Taiwanese culture. Such depiction of Taiwanese culture is common in Lee's paintings. A Peasant's Delight (Lot 663) shows intermingled houses of a harmonious village. Pine and Zhongkui (Lot 664) depicts the ghost catcher with dramatic features and intricate mouth movements. Calligraphy (Lot 665) is an example of a work in Lee's late artistic career. His calligraphy works show a resemblance with classical scripts while carrying Lee's unique style.

In 2022, the exhibition, “Lee Yih-hong: A Retrospective”, was held at the Taipei Fine Arts Museum. This exhibition reignited the public's affection towards Lee's paintings and his unique approach towards ink art reformation that respects classics and the local Taiwanese culture. Hence Lee's ink creation marks a milestone in art history and the art market as a whole.

洞庭賒月色，將船買酒白雲邊（朱文）

LEE Yih-hong (Taiwanese, b. 1941)

Country Life

1994

Ink and colour on paper, scroll 178.5 x 96 cm Signed LEE Yih-hong in Chinese With four seals of the artist

PROVENANCE

Private collection, Taiwan

NT$ 280,000 - 420,000

HK$ 69,000 - 104,000

US$ 8,900 - 13,300 RMB 63,000 - 94,000

李義弘 鄉野人情 1994 水墨 設色 紙本 立軸 178.5 x 96 cm 釋文：小橋流水人家本是山中鄉 野尋常景物，偶或見之不免溫馨 滿懷。 款識： （一）甲戌清秋偶作於海尾藉居， 李義弘。

（二）甌香館畫跋云：作畫須優 入古人法度中，縱橫恣肆，方能 脫落時徑，洗發新趣也，信然。 甲戌秋月鈔。 鈐印： （一）義弘染翰（白文）、在川 小記（朱文）

文） 來源 私人收藏，台灣

664

LEE Yih-hong

(Taiwanese, b. 1941)

Pine and Zhongkui

2002

Ink on paper and gold-flecked paper, framed 18.5 x 50 cm (each)

Signed LEE Yih-hong in Chinese With four seals of the artist and four seals of the collector

PROVENANCE

Former collection of Mr. Hwang Tien-Tsai

Ravenel Hong Kong, 2 June, 2015, Lot 30 Acquired from the above by the present owner

ILLUSTRATED

Works of Lee Yi-Hong, National Taiwan Museum of Fine Arts, Taichung, 2020, p. 120

NT$ 80,000 - 160,000

HK$ 20,000 - 40,000

US$ 2,500 - 5,100

RMB 18,000 - 36,000

李義弘

松間鍾馗 書畫合璧扇

2002

水墨 紙本 灑金箋 鏡框 18.5 x 50 cm（每件） 釋文略

款識：

（上）壬午初冬為鍾先生造像，李義弘。

（下）壬午初冬臨秦權量兩種於笛音凝室，在川李義 弘。

鈐印：

（上）李義弘（白文）、在川小鉥（朱文）、善哉扇 齋之寶（朱文）、黃天才藏扇（朱文） （下）李義弘（白文）、在川小鉥（朱文）、黃天才 藏（朱文）、老有扇緣（朱文） 來源 黃天才先生舊藏 香港羅芙奧， 2015 年 6 月 2 號，拍品編號 30 現藏家得自上述來源 圖錄 《島嶼．畫境．李義弘》，國立臺灣美術館，台中， 2020 ，頁 120

AU Ho-nien

(Taiwanese, b. 1935)

Sunrise

1997

Ink on gold-flecked paper; Ink and colour on paper, framed

23 x 34.5 cm; 62.5 x 34.5 cm

Signed AU Ho-nien in Chinese With three seals of the artist

NT$ 60,000 - 120,000

HK$ 15,000 - 30,000

US$ 1,900 - 3,800

RMB 13,000 - 27,000

歐豪年

浴日

1997

水墨 灑金箋 ; 水墨 設色 紙本 鏡框

23 x 34.5 cm ; 62.5 x 34.5 cm

釋文：浴日。南畝耕初歇西林，牧唱譁老牛喘 息，餘歸趁夕陽斜。

款識：丁丑清夏，歐介豪年並句。

鈐印：歐（白文）、豪年（朱文）、平生寄懷 （白文）

CHIANG Chao-shen (Taiwanese, 1925-1996)

Calligraphy Couplet in Running Script

1992

Ink on gold-coated paper, framed 88.5 x 18.5 cm (each)

Signed CHIANG Chao-shen in Chinese With two seals of the artist

PROVENANCE

Private collection, Taipei

NT$ 80,000 - 160,000

HK$ 20,000 - 40,000 US$ 2,500 - 5,100

RMB 18,000 - 36,000

江兆申 行書對聯 1992

水墨 金箋紙 鏡框 88.5 x 18.5 cm（每件）

釋文：念念不離心，要念而無念，無念而 念，始算得打成一片。佛佛原同道，知佛 亦非佛，非佛亦佛，即此是坐斷十方。 款識：微芬簇句。壬申茮原江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） 來源 私人收藏，台北

on gold-flecked

180

WU

of Wu

Chiang Chao-Shen,

Co., Ltd., Taipei, 2022,

1991

水墨 灑金箋 冊頁

x 180 cm

鈐印：吳（白文）、平（朱文） 簽條

款識：先師吳堪白先生精品。壬寅正月授業， 杜三鑫拜署。 鈐印：散（朱文） 圖錄 《欣於所遇：吳平．江兆申書畫展》，友生昌毛筆 有限公司，台北， 2022 ，頁 16-17

PU Hsin-yu

(Taiwanese, 1896-1963)

Calligraphy in Running Script

1958

Ink on paper, scroll 64.5 x 33.5 cm

Signed Pu Ru in Chinese With three seals of the artist

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

溥心畬

行書五言詩

1958

水墨 紙本 立軸 64.5 x 33.5 cm

釋文：曲逕連村舍，崇山隱梵宮。澗泉聲不斷， 潭月影還空。海樹生階上，天花散座中。談經 聞半偈，覺岸此時逢。

款識：戊戌孟春錄夕沚詩，溥儒。 鈐印：溥儒之印（白文）、心畬（朱文）、寒 玉堂（朱文）

AU Ho-nien

(Taiwanese, b. 1935)

and Heron (A Set of Two)

歐豪年

魚樂圖及柳溪宿鷺（兩件一組）

1969

1969

Ink and colour on paper, framed

73 x 46.5 cm; 83 x 43 cm

Ho-nien in Chinese

two seals of the artist

PROVENANCE

Private collection, Taiwan

120,000 - 240,000

30,000 - 60,000

3,800 - 7,600

27,000 - 54,000

水墨 設色 紙本 鏡框 73 x 46.5 cm；83 x 43 cm

款識：

（一）己酉冬至，豪年畫課。 （二）豪年。 鈐印：

（一）歐豪年（朱文） （二）歐豪年（白文） 來源 私人收藏，台灣

YU Cheng-yao (Taiwanese, 1898-1993)

Landscape

1970s

Ink and colour on paper, framed 68 x 30 cm With one seal of the artist

PROVENANCE

Private collection, Asia

NT$ 220,000 - 360,000

HK$ 55,000 - 89,000

US$ 7,000 - 11,400 RMB 49,000 - 81,000

余承堯 山水 1970 年代 水墨 設色 紙本 鏡框 68 x 30 cm

鈐印：余承堯印（白文） 來源 私人收藏，亞洲

CHIANG Chao-shen (Taiwanese, 1925-1996)

Dwelling by the Mountain

1989

Ink and colour on paper, framed 98.5 x 30.5 cm

Signed CHIANG Chao-shen in Chinese With three seals of the artist

PROVENANCE Private collection, Taipei

NT$ 120,000 - 200,000

HK$ 30,000 - 50,000

US$ 3,800 - 6,300

RMB 27,000 - 45,000

江兆申

靜謐山林

1989

水墨 設色 紙本 鏡框 98.5 x 30.5 cm

釋文：清溪流不極，林際帶疏鐘。鳥道連山屋，灘 聲落水春。漲消新有岸，雲起本多峰。愁對猿啼峽，

鄉關煙樹重。

款識：己巳茮原江兆申寫意。

鈐印：江兆申印（白文）、雙菩提樹盫（白文）、 快然自足（白文）

來源 私人收藏，台北

SHIY De-jinn (Taiwanese, 1923-1981) Calligraphy in Running Script

Ink on paper, scroll 135 x 34 cm

Signed SHIY De-jinn in Chinese With one seal of the artist

PROVENANCE

Collection of Assistant Professor Wang Chi-ying, National Taiwan University of Arts, New Taipei City (acquired from the artist)

NT$ 60,000 - 120,000

HK$ 15,000 - 30,000

US$ 1,900 - 3,800

RMB 13,000 - 27,000

席德進 行書書法

水墨 紙本 立軸 135 x 34 cm

釋文：蒼蒼竹林寺，杳杳鐘聲晚。荷笠帶斜陽， 青山獨歸遠。

款釋：企瑩仁姊屬正，弟席德進書。

鈐印：席氏書畫 ( 白文 ) 來源

國立藝專王企縈副教授收藏 ( 直接得自藝術家本人 )

CHIANG Chao-shen (Taiwanese, 1925-1996)

Calligraphy Couplet in Running Script

1965 Ink on paper, scroll 139.5 x 34 cm (each) Signed CHIANG Chao-shen in Chinese With two seals of the artist

ILLUSTRATED Calligraphy Exhibition of Wu Ping and Chiang Chao-Shen, You Sheng Chang Calligraphy, Co., Ltd., Taipei, 2022, p. 21

NT$ 60,000 - 120,000

HK$ 15,000 - 30,000

US$ 1,900 - 3,800 RMB 13,000 - 27,000

江兆申 竹泉松火行書七言聯

1965

水墨 紙本 立軸 139.5 x 34 cm（每件） 釋文：竹泉洗硯魚吞墨，松火烹茶鶴避煙。 款識：學起先生雅屬，乙巳仲冬江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） 圖錄 《欣於所遇：吳平．江兆申書畫展》，友生昌 毛筆有限公司，台北， 2022 ，頁 21

CHIANG Chao-shen (Taiwanese, 1925-1996)

Calligraphy Couplet in Running Script

1982 Ink on paper, framed 134 x 33 cm (each) Signed CHIANG Chao-shen in Chinese With two seals of the artist

ILLUSTRATED 70 Works in the Record of Lu Fang-Ting, Lulin Qiuchun, Taipei, 2014, p. 341

NT$ 50,000 - 100,000 HK$ 12,000 - 25,000

US$ 1,600 - 3,200 RMB 11,000 - 22,000

江兆申 行書七言聯 1982 水墨 紙本 鏡框 134 x 33 cm（每件） 釋文：芳藥遠闌春錦繡，庭菱拂地壽期頤。 款識：芳庭先生居正，壬戌五月江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） 圖錄 《呂芳庭七十記行》，呂林秋淳，台北， 2014 ，頁 341

YU Cheng-yao

(Taiwanese, 1898-1993)

Calligraphy in Cursive Script

Ink on paper, scroll 63.5 x 34 cm

Signed YU Cheng-yao in Chinese With one seal of the artist

PROVENANCE

Private collection, Asia

NT$ 40,000- 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

余承堯

書賀知章《回鄉偶書》

水墨 紙本 立軸

63.5 x 34 cm

釋文：少小離家老大回，鄉音無改鬢毛催。

兒童相見不相識，笑問客從何處來。

款釋：余承堯。

鈐印：余承堯印（白文）

來源

私人收藏，亞洲

深藍，睥倪我這虛幻的存在。揚起掌，我悄悄向牠逼近，搓搓手，搓 搓腳，牠肯定渴望一杯下午茶。牠的呼吸深深牽引著宇宙的呼吸。搓 搓手，搓搓腳，我冷不防一掌拍下去，嗡的一聲，又從指縫間飛走了， 而牆上我那碎裂沾血的影子，急速滑落。

款識：洛夫。

鈐印：因為風的緣故（朱文）、獨上雪樓（朱文）、洛夫（朱文）

FU Shen

(Taiwanese, b. 1936)

Calligraphy Couplet in Running Script

2018

Ink on paper, scroll 94.5 x 15.5 cm (each) Signed FU Shen in Chinese With three seals of the artist

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

傅申

行書七言聯

2018

水墨 紙本 立軸

94.5 x 15.5 cm（每件）

釋文：身健祗緣餐食少，心清皆為飲茶多。

款識：戊戌寒冬，八十三翁傅申。

鈐印：傅翁（朱文）、傅申（白文）、墨園（朱文）

WU Ping

(Taiwanese, 1920-2019)

Calligraphy Couplet in Seal Script

Ink on gold-flecked paper, framed 50 x 9 cm (each) Signed WU Ping in Chinese With three seals of the artist

ILLUSTRATED

Calligraphy Exhibition of Wu Ping and Chiang ChaoShen, You Sheng-Chang Calligraphy, Co., Ltd., Taipei, 2022, p. 14

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 600 - 1,300

RMB 4,000 - 9,000

吳平

變化遊戲篆書八言聯 水墨 灑金箋 鏡框

50 x 9 cm（每件） 釋文：變化氣質陶鎔經史，遊戲翰墨潤澤文章。 款識：堪白吳平。

鈐印：適我願兮（朱文）、吳平長壽（白文）、 堪白大年（朱文） 圖錄 《欣於所遇：吳平．江兆申書畫展》，友生昌毛筆有 限公司，台北， 2022 ，頁 14

PENG Chun-shi

1896-1976)

by the River

1948 Ink on paper, framed 18.5 x 52.5 cm

Signed PENG Chun-shi in Chinese

one seal of the artist

彭醇士

臨江小亭

1948 水墨 紙本 鏡框 18.5 x 52.5 cm

釋文：商一吾兄方家之屬，即乞正可。 款識：戊子夏，彭醇士。 鈐印：醇士（朱文）

註 上款人「商一吾兄」即為王商一，廣東中山人。師從 黃君璧，得二石之法。1949 年之後赴港，曾任香港 美術會第二屆副主任委員。1964 年後移居美國，任 職於密西根大學和威斯康辛大學，在港美兩地多次舉 辦展覽。

周澄

水墨 設色 紙本

55 cm

釋文：松雲古寺。 款識：水德先生暨夫人雅貴，題蓴波。辛未春，周澄 畫。

鈐印：周澄（白文）

上款人「水德市長」即為許水德先生，歷任台灣省政 府社會處長、高雄市長、台北市長、中華民國內政部 長、駐日代表、中國國民黨秘書長、考試院長、世新 大學董事等要職。

WU Ping

(Taiwanese, 1920-2019)

Blessings

2007

Ink and colour on paper, framed 69.5 x 17 cm

Signed WU Ping in Chinese With two seals of the artist

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 600 - 1,300

RMB 4,000 - 9,000

吳平

神仙介壽

2007

水墨 設色 紙本 鏡框

69.5 x 17 cm

釋文：神仙介壽。

款識：丁亥之冬，堪白吳平。

鈐印：吳平信鈢（白文）、堪白長年（朱文）

FU Chuan-fu (Taiwanese, 1910-2007)

Rock 1957 Ink on paper, framed 69 x 39 cm Signed FU Chuan-fu in Chinese With three seals of the artist

PROVENANCE Private collection, Taipei

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000

US$ 600 - 1,300 RMB 4,000 - 9,000

傅狷夫 石頭 1957 水墨 紙本 鏡框 69 x 39 cm

款識：壯為道兄索石，丁酉元夜墨紙奉寄 數秒鐘之作，可來佳品聯博一粲而已。杭 人傅狷夫記於心香室時客台灣。 鈐印：傅狷夫印（白文）、梅盦（朱文）、 不薄今人愛古人（朱文） 來源 私人收藏，台北 註 上款人「壯為道兄」即為王壯為， 1949 年 隨國民政府來臺，先後任職於省立博物館、 國立故宮博物院、教育廳、行政院及總統 府等，同時在臺灣師範大學、臺灣藝術專 科學校、中國文化大學等講授書法、篆刻、 題畫研究及書法史等課程。

WANG Zhong (Taiwanese, 1925-2010)

Calligraphy Couplet in Clerical Script

Ink on paper, framed 91 x 16.5 cm (each) Signed Yu-an in Chinese With two seals of the artist

PROVENANCE

Private collection, Taipei

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 600 - 1,300

RMB 4,000 - 9,000

汪中 隸書七言聯

水墨 紙本 鏡框

91 x 16.5 cm（每件）

釋文：屋後雲山三面合，雨餘桃李十分開。 款識：雨盫。 鈐印：汪中之印（白文）、雨盫（朱文） 來源 私人收藏，台北

WANG Zhong (Taiwanese, 1925-2010)

Calligraphy Couplet in Running Script

Ink on paper, framed 94 x 16.5 cm (each) Signed Yu-an in Chinese With two seals of the artist

PROVENANCE Private collection, Taipei

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000 US$ 600 - 1,300 RMB 4,000 - 9,000 汪中 行書七言聯 水墨 紙本 鏡框 94 x 16.5 cm（每件） 釋文：書為半酣差近古，詩雖苦思未名家。 款識：龍眠雨盦。 鈐印：汪中（白文）、履安長年（朱文） 來源 私人收藏，台北

1928-2018)

Ink on paper, scroll

x 31.5

20,000 - 40,000

5,000 - 10,000

600 - 1,300

4,000 - 9,000

31.5

b. 1941)

on paper,

Works in the Record of Lu Fang-Ting, Lulin Qiuchun, Taipei, 2014,

20,000 - 40,000

5,000 - 10,000

600 - 1,300

4,000 - 9,000

紙本

34.5

的事物，自古以來就有雅俗之分，真正能「入品」的器物 才是雅人所欣賞的雅物。 文玩指的是文房四寶及其衍生出來的各種文房器玩，此回 秋拍精選文玩共十三件，皆是元明清以降代表文人精緻生 活的享樂之物，如文房用具擺設（水注、水盂、木匾、卷

- Chiang Hsun

Aesthetics were interpreted in different ways throughout the history of China. It was associated with historic value by the Song scholars with a myriad of "scholar objects'' such as calligraphy, landscape paintings and ceramic objects. Until the Ming and Qing dynasties, these scholar objects were considered as part of their spiritual enlightenment. Wen Zhen-heng (1585-1645) of the Ming dynasty gathered these aesthetic hobbies into a book Changwuzhi, detailing the literarti lifestyle of late Ming dynasty and their meticulous attitude towards a scholar's possessions. Among the objects of daily use, certain types differentiates from others as objects of appreciation of the elegant scholarly class.

Scholar object refers to those that are extended from objects of daily use by a scholar. This autumn, Ravenel offers 13 lots of scholar's possessions from the Yuan, Ming and Qing dynasties. These include objects of usage, such as a water-dropper, a brushwasher, a plaque and a scroll-end stand. Others are objects of appreciation, such as a marble screen, tea accessories, a root sculpture and a bronze censer. They are intricate objects with historic value and scholars' aesthetic qualities. A Carved Cinnabar "Scholar and Pavillion" Box and Cover (Lot 707) was carved with scholar travel scenes. The interior was covered in black lacquer, while the sides were decorated with images of flowers and birds. Meticulous techniques could be found in similar objects kept at the National Palace Museum of Taiwan. A Black Lacquer Marble Screen (Lot 706) is a scholarly object popular in the Ming and Qing dynasty. The smooth and icy texture brings about serenity and austere beauty to a scholar's meditation. A Bronze Tripod Censer, Fei-yun Pavillion Mark (Lot 708) is a tripod censer with three elephant trunks and a jade figure filial. The body is carved with patterns to enhance the appreciation of antiquity, as a rare bronze censer of the Qing dynasty. These objects heighten the aesthetic qualities of life throughout centuries and continue to enlighten scholars of the modern times with the relevance of history and art.

A Bronze "Buffalo" Waterpot

Qing Dynasty (1644-1911)

L: 11.5 cm

PROVENANCE

collection, Europe

NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,800 RMB 13,000 - 27,000

清 銅牛水盂 長： 11.5 cm

私人收藏，歐洲

A Hongmu Scroll end Stand

120,000 - 200,000

30,000 - 50,000

3,800 - 6,300

27,000 - 45,000

A Tripod Water-dropper

- 74,000

6,000 - 9,500

-

A Yingqing Styled Sandstone Banister Vase

Yuan Dynasty (1271-1368) H: 28 cm

PROVENANCE

Collection of Mr. and Mrs. Alfred Clark (according to label) Sotheby's London, 25 March, 1975, lot 78

EXHIBITED

“Exhibition of Sung Wares. Ting, Ying-ch'ing and Tz'-chou”, Oriental Ceramic Society, London, 1949, no. 160

ILLUSTRATED

Chinese Pottery and Porcelain in the Collection of Mr. and Mrs. Alfred Clark, Edgar E. Bluett, 1934, p. 17

NT$ 220,000 - 340,000

HK$ 55,000 - 84,000

US$ 7,000 - 10,800 RMB 49,000 - 76,000

元 影青模印纏枝蓮紋長頸瓶 高： 28 cm 來源 艾弗瑞．克拉克伉儷收藏（標籤） 倫敦蘇富比 1975 年 3 月 25 日，編號 78

展覽

「 Exhibition of Sung Wares. Ting, Ying-ch'ing and Tz'-chou 」，東方陶瓷學會展覽，倫敦， 1949 年，編號 160

圖錄

《 Chinese Pottery and Porcelain in the Collection of Mr. and Mrs. Alfred Clark 》， Edgar E. Bluett ， 1934 ，頁 17

Dynasty (1644-1911)

15.5 cm

240,000 -

60,000 -

7,600 -

54,000 -

清 貝墉刻詩文三鑲錫壺《千墨庵制》款 長： 15.5 cm

貝墉，字既勤，一字定甫，號簡香，又號 磵 香 居士。清藏書家，好收藏古書、金石、字畫， 「友漢居」、「千墨庵」等處為藏書之所。

Mark 款

A Black Lacquer Marble Screen

(1644-1911)

280,000 - 420,000

69,000 - 104,000

8,900 - 13,300

63,000 - 94,000

剔紅漆器「遊歸圖」長方蓋盒

40.5 cm

Dynasty (1368-1644)

collection,

NT$ 340,000 - 550,000

84,000 - 136,000

10,800 - 17,400

76,000 - 123,000

Carved-red lacquer box with bird-and-peony decoration, Ming Dynasty, 16th century, Collection of the National Palace Museum, Taipei

蓋以木為胎經髹漆雕剔而成，呈長方形，剔刻「遊歸 圖」。遊歸圖是我國書畫文學藝術中廣泛表現的題材之 一，表現的是文人雅士春遊歸園的一個場景。

此件「遊歸圖」則表現了一位長者遊罷歸園後，在兩位童 子的服侍下馬的一個場景。整個畫面悠遠恬靜。盒面飾 天、地、水三種錦地，遠處垂柳依依，花草豐美，中景樓 閣聳立，古樹參天，一片平靜的水面上，一葉漁舟搖曳， 船上漁翁橫笛漁歌，餘音嫋嫋，水面游禽鳧水歡喜追逐； 近處，圍欄曲繞不見盡頭，尚有閣樓翹角飛簷，洞石巍 峨，古樹蔥榮。儘管畫面內容頗多，唯有下馬長者實為中 心，其略顯醉意，側身坐騎一側，馬下兩名童子緊張服 侍，以免落鞍。前方一名童子早已懷琴而去，似與前來的 梅花鹿相語。畫面佈局開合有度，層次清晰，雕工精緻可 謂極巧，尤畫面「歸遊」主題鮮明，堪稱形神兼備，美輪 美奐。

盒壁四周雕刻以牡丹花卉，盒內及底髹黑光漆。雕刻深峻 而不顯呆板。盒四周亦雕刻以綬帶鳥及菊花紋，紋飾雕刻 細膩，花草豐美，層次均勻，刀口流暢。較同類文盒尺寸

《明洪武 剔紅遊歸圖倭角方盤》，佳士得

HK$25,300,000

Magnificent Early Ming Large Carved Cinnabar Lacquer Square Tray, Christie's Autumn Auction 2009, Lot 1818, sold for HK$25,300,000

box with carved cinnabar lacquer

carved with the imagery of travels, a

subject matter of scholar objects of the time.

depicted an elderly scholar served by two

boys getting off from a horse ride in a tranquil

The cover was carved with three patterns representing the sky, land and water. Willow in the distance echoes with the lush flowers. A pavilion looms at the center with an old tree. A fisherman's boat sails through the calm water and birds fly across the river. In the foreground, the pavilion was depicted in a classical style with rails extending beyond the edge. Despite the rich composition, the theme of the elder is apparent as he descends with slight drunkenness, assisted by two servants. One servant takes a qin and heads towards a deer. The whole scene was carved with excellent craftsmanship with a stark subject of the scholar.

sides of the box are carved vividly with peonies, while the interior is covered in black lacquer. Paradise flycatchers and chrysanthemums are carved with exquisite skills, forming a lush and rich composition. Similar examples could be found in imperial Qing collections. A box of age accompanies this lot, keeping the box in superb condition.

Similar objects: Carved-red lacquer box with bird-andflora decoration, Ming Dynasty, collection of The Palace Museum Beijing; Carved-red lacquer box with bird-andpeony decoration, collection of Taiwan National Palace Museum.

欽定四庫全書 西清古鑑 卷二 周釐鼎

King Xi of Zhou Tripod, Xiqing Gujian vol. 2, Imperial Collection of Four

《清 青玉三足爐》國立故宮博物院藏，台北 Jade Flat Tripod Incense Burner, Qing Dynasty, Collection of the National Palace Museum, Taipei

從香文化的歷史發展軌跡來看，歷朝歷代，皆因不同的熏 香意圖，選用不同的爐具。比如殿堂用殿堂爐，祭奠天地 鬼神用供爐，臥室用熏衣、熏被爐，書案用文爐，琴桌用 琴爐，修煉有行爐、壓經爐，各不相同。這些不同用途的 爐具，其材質、式樣、大小、色彩、紋飾又有著諸多的不 同。

此爐精巧為香几或書案上之文爐。敞口，束頸，鼓腹，沖 天朝冠耳，象首三足。器型古樸端莊，線條流暢，刻劃精 細，爐身銅質精純，經多次精練，緻密厚重，皮色優雅， 精光內含，手感甚佳。原配紅木蓋及座，爐蓋以透雕及淺 浮雕技法施以如意祥雲與仰覆蓮紋，頂置白玉人物鈕。腹 身環飾減地浮雕饕餮紋。底署「飛雲閣」三字篆書鑄款。 形制典雅，品相優美華貴，入手沉甸，包漿沉厚明亮，置 於書齋，讓人愛不釋手。 清乾隆朝，內廷搜集所藏青銅器，編成《西清四鑒》等譜 錄類圖擬古之風大盛。從器壁、紋飾到蓋、鈕、複雜組 合，此器清代的審美趣味清晰可見。為清代仿古青銅器 造型所製成的文爐佳器，型制可參考西清古鑑 卷二 周釐 鼎，也可於清代其他材質可以看到此類文爐，象首三足爐

在清宮大型的掐絲琺瑯宮殿爐中更為常見，相較宮廷大 爐，此器小巧精微，具濃重的宮廷文房氣息。

明清期間的私款銅爐有一百十幾款之多，「飛雲閣」款就 是其中之一。流傳於世的主要私款爐的款名有琴書侶、玉 堂清玩、琴詩侶、松月侶、儆吾齋、珍賞、玉堂珍玩、月 友琴居、飛雲閣、永存珍玩、子孫永保、雲間胡文明製、 文明、石叟⋯等。 銅爐收藏講究型和色，不一定體積大就好，因大型銅爐往 往製作比較粗糙。用於文房的銅爐，由於文人、官宦專門 定製之爐，多以自家堂名齋號刻於爐上，形成自己的特 色，這種爐一般是孤品。在繁多的宣德款銅爐中反而新穎 別致，此類定製款爐用料精、工藝好、皮色佳、款字優， 大多品味極高，具有銅爐之德，多是精、雅、逸、妙的佳 品，有的甚至是極品，現今存世亦已不多見，此件「飛雲 閣」款文爐即屬此類，具有很高的收藏價值。

類似器可參考北京故宮博物院藏清 金嵌寶石朝冠耳爐及台 北故宮博物院藏清 青玉三足爐。

The sophisticated culture of incense developed through centuries. Each form symbolizes a different purpose, namely those for rituals, laundry drying, scholar appreciation, qin, meditation, medical purposes, etc. They vary in sizes, materials, colours, forms and styles.

This bronze censer is tiny in form in a scholar's room, with protrude edge, neck, round body, erected handles and three elephant-trunk form legs. The style is classical and elegant with delicate carvings. The material is refined with a fine patina and heavy in weight. A hongmu stand and cover was custom made for the censer. The cover was reticulated incised with relief of clouds and lotus pattern, attached with a white jade figure filial. Pattern crossing the body of the censer is depicted with a taotie pattern. The Feiyun Pavilion mark was imprinted at the bottom in seal script. The overall form is elegant with exquisite quality in material, craftsmanship, worthy of a scholar's possession in his study room.

During the Qianlong period of the Qing dynasty, bronzes were collected and documented in books such as Xiqing Sijian. From the pattern of the body, cover, filial and intricate combinations, this censer matches the standard of Qing aesthetic styles. Archaistic bronzes were common in the Qing dynasty, as suggested by King Xi of Zhou Tripod, Xiqing Gujian vol. 2. Such styles of bronzes were recorded in Qing documentations. Tripod censers supported by elephant trunks were common in large imperial cloisonne enamel censers. This is a small intricate sized bronze in imperial style.

Private marks of bronze censers varies in myriad forms in the Ming and Qing period, including Feiyun Pavilion. Others include Youqin Shulu, Yutang Qingwan, Qinshilu, Songyuelu, Jingwuzhai, to name but a few.

Patina is an important quality in bronze censers, regardless of their sizes. Censers as scholar objects were custom made by scholars and officials with private marks as personalized objects. Among the various styles of Xuande bronze censers, this type of personalized bronze censer would be made with exceptional quality, fine craftsmanship, excellent patina and a finely inscribed mark. These details reflect the taste of their owners and the aesthetic qualities of bronze censers, reflecting the refined taste, elegance and the pursuit of excellence. Such an exquisite work with significant collection value rarely appears on the market, with this item with Feiyun Pavilion mark being one of them.

Similar objects: Gold-and-jewerly mounted Tripod Censer, Qing Dynasty, collection of The Palace Museum Beijing; Jade tripod incense burner, Qing Dynasty, collection of Taiwan National Palace Museum.

A Cinnabar Wood Panel

300,000

47,000 - 74,000

6,000 - 9,500

43,000 - 67,000

Dynasty (1644-1911)

14.5 cm

NT$ 120,000 -

30,000 - 50,000

3,800 - 6,300

27,000 -

清 范祿曾製楊彭年刻詩文三鑲錫壺 長： 14.5 cm

范祿曾，清代中期名家，所制錫包壺善以淺 刻歲寒三友及詩文為飾，特色鮮明。 楊彭年，字二泉，號大鵬，清乾隆至嘉慶年 間宜興紫砂壺之名人。

A Small Rootwood Sculpture

Qing Dynasty (1644-1911)

13 cm

ILLUSTRATED

Objects For the Scholar's Desk, Maria Kiang Chinese Art Ltd., Hong Kong, 2016, p. 84

NT$ 80,000 - 160,000

HK$ 20,000 - 40,000

US$ 2,500 - 5,100

RMB 18,000 - 36,000

清 樹根仿供石山子

13 cm

《 Objects For the Scholar's Desk 》， Maria Kiang Chinese Art Ltd., 香港， 2016 ，頁 84

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賣

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Auction Lot Number Title

Auction RAVENEL AUTUMN AUCTION 2022

Refined Brushwork: Ink Paintings And Works of Art

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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。

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他用途之價值陳述。

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漆）而成為膺品。

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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

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

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。

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

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

(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

(3)

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：

TRANSACTION

The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (here inafter 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 Com pany.

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 ap point 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 con cept of the imitation and its overall execution result in fraud to cause decep tion 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 repair ing 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 Com pany).

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 pro vided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agen cy 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 cata logue.

○ 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 writ ten statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photo

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 back ground of the Lots. Such information is meant for reference only. Miss ing 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 inde pendently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. Estimates

The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction.

b. Refusal of Admission

The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full dis cretion 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, Ham mer 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 bid ding deposit.

e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bid der 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 com missioned. 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 Com pany 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 responsibili ties. This service is free and confidential. For information about register ing 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 ex change rate conversion board is not absolutely reliable and for the refer ence 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 conver sion board.

j. Recorded Images

There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned.

k. Determining Power of the Auctioneer

The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the com mencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction.

l. Successful Bids

Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

4. Following the Auction

a. The Buyer's Premium of Each Lot

(1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (in clusive), 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 Buy er'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 deliv ered 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 tem porarily 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 le gal 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 inter est 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 Com pany for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day no tice 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 pay ments.

(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 pay ment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned:

(a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim.

(b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions.

(c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any

cost incurred as a result of the non-payment by the Buyer.

g. No Collection of the Lot Sold

The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected.

h. Export Permit

Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buy er'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 to gether with any relevant value added taxes.

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

5. The Legal Responsibility of the Company

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

6. Return of Payments for Counterfeits or stolen goods

The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious il legality 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 pub lication 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 circum stances. 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 counter feit 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