中誠國際藝術2012年春季拍賣目錄 by 中誠藝術拍賣

ZHONG CHENG

TA I P E I

Chinese Contemporary Art & Sculptures

1 0 June 2 0 1 2

財團法人

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Specialists and Client Services for Buyers and Sellers For assistance and further information about this sale, please contact and following： CUSTORMER SERVICES AND SPECIALISTS Taipei Shin Wu M&P Supervisor shin@art106.com Michelle Wang Art Administration michelle@art106.com TEL: (886-2)8773-3565 FAX: (886-2)8773-2615 Taichung Louis Chen S&M Supervisor louise@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 Oversea Wayne Hsiao Vice Director wayne@art106.com TEL: (886-2)8773-3565 FAX: (886-2)8773-2615

PHONE BIDS AND WRITTEN BIDS The clients who not able to attend the auction are welcome to bid by phone or may use the bidding forms attached at the back of the auction catalogue to place your bids. Due to the limited phone line services at the auction, please inform us at least 24 hours prior to the auction for arrangements. Particularly for foreign language assistance. Please contact : Wayne Hsiao wayne@art106.com TEL: (886-2)8773-3565 FAX: (886-2)8773-2615 CLIENT ACCOUNT & PAYMENT Payment details are described at the back of the catalogue. If you need any futher information, please contact our financial department. Andrea Tsou Financial Department Supervisor andrea@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 STORAGE AND SHIPPING 1.All the items will be available for collection as soon as the payment is settled. The Buyers are advised to collect facilitating storage arrangements and handing procedures. Personal and company checks will be accepted, and the items will be available for collection as soon as the checks are cashed. Credit cards or traveler’s checks will be accepted, please contact our financial department for detail information. Other items may be collected at Zhong Cheng Offices. Service is available 09:30am-06:30pm, Monday through Friday. 2.O u r P r o f e s s i o n a l a d m i n i s t r a t i o n department may make recommendations of arrangement or the most appropriate transportation for you

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GENERAL CLIENT SERVICES For general client assistance : Michelle Wang OTHERS Zhong cheng is delight to provide you the condition report of any of the items 48 hours before the auction. However, the buyers should fully compreheand that all items at the auction are sold ‘as is’. For details, please refer to the Transaction Agreement at the back of the catalogue. Please refer to the ‘ Transaction Agreement to the Buyers.’ INTERNET EXPLORE www.art106.com Zhong Cheng’s website allows you to browse Zhong Cheng’s catalogue, images and other services worldwide

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A glamorous era with Chinese Arts Chinese culture came with a long history- a unique style from every brushstroke; a landscape composition that is particular about artistic concepts; a literati thought that emphasize on elegance and pureness. Centuries have passed as Eastern and Western cultures interact and western art theory has been globally accepted. Under such influence, Chinese artists are equiped with Western aesthetics from dozens of centuries, including the conceptps of Plato and Aristotle; the painting ratio from Da Vinci and Durer; the search for classic of Poussin; the concept of new classicism of Winckelmann; the romancism of Eugène Delacroix and Baudelaire; aesthetic philosophy of Kang, Hegel and Nietzsche...Under such interaction and blending of cultural knowledge, Chinese art creation has became a new attraction internationally. The art development in Taiwan can be traced back to the Japanese Occupation from 1895 to 1945 which introduced western ideas into education. Along with the migrate of Chinese government to Taiwan i 1950 a series of cultural inspiration and art movements have sparked changes. From academic traditional painting to landscape impressionist and then the establishment of May Art Association and Ton Fon Art Group that are inspired by western modernism. The influence also inspired Yang Ying Feng’s modern sculpture; Zhu Ming world renowned Taichi series which has re-created classic from the artist’s inner strength creating a spiritual scenery of the mind. ＊lot014 liao Chichun, lot054 Yang sanlang, lot019 ran inting, lot002.035.122 shiy Dejinn, lot022.024.042.069.070.113.1 14.115.138.145.153 Yuyu Yang, lot021.043.071.085.086.092.154.155 Ju ming, lot008.184.185 Chang wanchuan, lot036.081 liu Kuosung, lot116.140 Chen Chingjung, lot133.176 wu hsuehjang

Comparing with the traditional practice of gradually evolving materials and techniques, Contemporary Art secures its value by creation. In 1987, Taiwan has dismissed curfew and brought along properous growth among politics, economy and culture, and art has evolved a variety of facets. Artists gained recognition with unique trademarks and expressed their care for society and search for the self. ＊lot039.065 Kuo Jenchang, lot027.037.083 Yang Chihung, lot007.025 hsiao Chin, lot016.034.063 Chiu Yatsai, lot003.012.028.120 huang mingche, lot108.136 Yang maolin, lot130.131 Yeh tzuchi, lot020.061.098 lin shienmao, lot010 Chen tingshih, lot084 Yang Polin, lot011 lien Chienhsing, lot004.029 su wangshen, lot009.064.137 Zheng Zaidong, lot033 Chang ling

When it comes to the art career of Chinese artists living abroad, their eastern mindset has brought about unique recognition. ＊lot045.103.104 Chu tehchun, lot044.118 Yun gee, lot076.082 george Chann, lot048.053.073.127.182.183 walasse ting . China- inspired rich

humanitarion concepts and the revolution of modern art. At the beginning of the 20th Century, a new painting style has evolved from the blend of classical realism and innovation and marked the transition of the era. ＊lot015.067.068.111.124 sa Dji, lot040 Yan wenliang, lot110 Du Yongqiao, lot123 hu shanyu, lot112 wu Buyun, lot056 Qin Xuanfu. “85 Movement” in 1980s sparked the establishment of

Chinese Contemporary Art. Chinese artists began to re-assemble in this new cultural-social environment and has sustained Chinese aethetic concepts. Also, they have searched and questioned the current situation and pursued spiritual inspiration. ＊lot090.091 Zhou Chunya, lot066 gao Xingjian, lot117 huang gang, lot119 Fang lijun, lot047 Yue minjun, lot089 Yan Peimin, lot099.100 ling Jian, lot093.094 Xue song, lot095 guo wei, lot055 Chen erfu, lot107 Ji Dachun, lot075 wang Yuandin, lot072 Zhang nian, lot074 Zhu Yiyong, lot147 shi lifeng

Greek philosopher Aristotle said “The purpose of art is not to present the appearance, rather it is aimed to present the inner meaning of the object.” Looking at the connection of art and society; the consensus between art and culture; and the close bond between the mass and environment- these are the obligations, depth and concepts of Contemporary Art. Living in a world with no borders, the inspiration and aesthetic structure of Chinese Art brought along a strong creation power. It has no doubt leaped to a global position with significant importance. Zhong Cheng is very honored to have you participate in this blossoming and prosperous glamorous era.

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與華人藝術共榮的璀璨世代人文化傳承的歷史悠遠流長——書畫之筆運力道自成一格，講究氣韻流動的山水構圖，以及古雅、內蘊高潔風骨的文人思維——隨著近幾世紀東西文化的密集交流、全球廣泛接收西方藝術美學理論之下，華人藝術家同時也身懷深厚的西方美學涵養，包含了柏拉圖、亞里斯多德對美的理念，達文西、杜勒所建立的繪畫條例，普桑對於古典的尋求，溫克爾曼的新古典意念，德拉克洛瓦、波特萊爾鼓勵的浪漫精神，康德、黑格爾至尼采、海德格的德國審美哲學...等數十世紀以來的西方藝術之精隨，在此文化知識的厚疊交融下，華人藝術創作已成為國際關注的新興標的。台灣的美術發展，可追溯至將現代教育引入西式新知的日本治理時期(1895-1945)，並隨

中誠拍賣總經理蕭華薇

著1950年代國民政府遷台，一連串的文化啟蒙與美術運動使台灣擁有不斷雲湧的藝術風格轉變，自學院派對傳統繪畫的追隨、到繪留風景影像的印象派風格、轉變到受西方現代主義影響的五月畫會與東方畫會等藝術前衛團體的產生、乃至楊英風帶入的現代雕塑、朱銘其外隱內剛享譽國際的太極系列，創作內涵從傳統再現的經典，漸漸轉化為心象中的精神風景。＊可參考：lot014廖繼春、lot054楊三郎、lot019藍蔭鼎、lot 002.035.122席德進、lot022.024.042.06 9.070.113.114.115.138.145.153楊英風、 lot021.043.071.085.086.092.154.155朱銘、lot008.184.185張萬傳、lot036.081劉國松、lot116.140陳景容、 lot133.176吳學讓。

相對於傳統藝術流派通過對材料、技術等創新改進而進行的更迭替換而言，當代藝術是通過對精神的創造來體現其價值所在。1987年，台灣解除戒嚴的法令帶來政治、經濟與文化的大鳴大放，藝術議題銳變出多樣的論述，藝術家各以鮮明的旗幟，在創作中注入多元睿智的社會關切與心靈探索。＊可參考：lot039.065郭振昌、lot027.037.083楊識宏、lot007.025 蕭勤、lot016.034.063邱亞才、lot003.012.028.120黃銘哲、lot108.136楊茂林、lot130.131葉子奇、lot020.061.098林憲茂、lot010陳庭詩、lot084楊柏林、lot011連建興、lot004.029蘇旺伸、lot009.064.137鄭在東、lot033常陵。

探究海外華人大師的藝術生涯，東方的思維的內涵，連帶造就出他們別樹一幟的藝術成就＊可參考：lot045.103.104朱德群、 lot044.118朱沅芷、lot076.082陳蔭羆、lot048.053.073.127.182.183丁雄泉，發源此漫漫人文內涵的中國，其近代藝術之演變，在

二十世紀之初，古典寫實與改革創新併具的繪畫風格，駐留下當時跨文化的轉變＊可參考：lot015.067.068.111.124沙耆、lot040 顏文樑、lot110杜泳樵、lot123胡善餘、lot112伍步雲、lot056秦宣夫。1980年代，「八五美術思潮」引領起中國當代藝術的崛起，中

國當代藝術家在新的國際文化格局中進行重組，將東方人文畫的審美意識在當代語法中盎然延續，並以銳意探索的鋒芒表達著對於現實處境的提問與精神性的思想追求＊可參考：lot090.091周春芽、lot066高行健、lot117黃鋼、lot119方力均、lot047岳敏君、lot089嚴培明、lot099.100凌健、lot093.094薛松、lot095郭偉、lot055陳二夫、lot107季大純、lot075王元鼎、lot072張念、lot074朱毅勇、lot147 石立峰。

古希臘哲學家亞里斯多德在西元前三世紀即闡明：「藝術的目的不是要去表現事物的外貌，而是要去表現事物的內在意義。」綜觀藝術與社會之相互脈絡，藝術文化的共識，與大眾價值觀、社會環境密切相連，而當代藝術更夾以著更大的社會責任、思想深度、內涵來直接面對觀者。處在此全球資訊無分國界的自由流通時代，華人藝術中的精神啟發與美學建構，夾帶著巨大創造能量，已躍升於一處令世界共同關注的顯著位置，我們很榮幸能與您共同參與如此繁花盛開、精神澎湃的璀璨世代。

009

ChAng ChenYu

張振宇

174 175

gAo huiJun

高惠君

143

KAZuo shirAgA

白髮一雄 058

ChAng ling

常陵

033

gAo XingJiAn

高行健

066

King FenhuA

金芬華

158

ChAng wAnChuAn 張萬傳

008 184 185

george ChAnn

陳蔭羆

076 082

Kuo JenChAng

郭振昌

039 065

ChAng Yoshio

張義雄

126

guo wei

郭偉

095

Kwon Kisoo

權奇秀

160

Chen Chenghsiung 陳正雄

156

Chen erFu

陳二夫

055

Chen ChingJung

陳景容

116 140

hsiAo Chin

蕭勤

007 025

lee Jungwoong

李錠雄

097

Chen tingshih

陳庭詩

010

hsiAo Yi

蕭一

023

lee shiChi

李錫奇

062

Cheng mAohuAng 曾茂煌

188

hu shAnYu

胡善餘

123

liAo ChiChun

廖繼春

041

Chiu YAtsAi

邱亞才

016 034 063

huAng ChiYAng

黃致陽

017 038

lien Chienhsing

連建興

011 125

Chu tehChun

朱德群

045 103 104

huAng gAng

黃鋼

117

lin shienmAo

林憲茂

020 061 098

huAng mingChe

黃銘哲

003 012

ling JiAn

凌健

099 100

028 120

liu Chiwei

劉其偉

001 135

157

liu guoshu

劉國樞

146

liu Kengi

劉耿一

013

liu Kuosung

劉國松

036 081

long ChinsAn

郎靜山

057 170 171

D DAi Ze

戴澤

006

DAni King heriYAnto 丹尼．金．赫里揚托

159

DAniel lee

152

李小鏡

hung Yi

洪易

DrAgo mArin CherinA 德拉哥．馬林．薛林納 181

i nYomAn mAsriADi 米斯尼亞迪

096

Du YongQiAo

iQi Qoror

131

杜泳樵

110

iQi Qoror

172 lV YAnJun

安卓

161

eriCA hestu wAhYuni 艾瑞卡．海斯圖．瓦尤尼 079

F FAng liJun

閔希文

142

方力鈞

119

JAn Chinshui

詹金水

129 130

Ji DAChun

季大純

107

min Xiwen

JiA YouFu

賈又福

088

John wAY

魏樂唐

018 132

Ju ming

朱銘

021 043 071 085

nugroho wiJAYAtmo

086 092 154 155

010

148

E enDro

呂岩軍

080

PABlo ruiZ PiCAsso 畢卡索

078

PAng Jiun

龐均

052

PAng YongJie

龐永杰

144

Peng KuAngJun

彭光均

180

Pierre FernAnDeZ ArmAn 阿曼

tAKAshi murAKAmi

村上隆

tsAi YunCheng

蔡雲程

丁雄泉

Q 056

R rAn inting

藍蔭鼎

019

草間彌生 059 060 169 186 187

139 173 178

Yeh tZuChi

葉子奇

030 031

179

Yu ChengYAo

余承堯

014

Yue minJun

岳敏君

047

Yun gee

朱沅芷

044 118

YuYu YAng

楊英風

022 024 042

W wAlAsse ting

秦宣夫

YAYoi KusAmA

162 163

077 109 149 150 151

Qin XuAnFu

049 050 087

048 053 073 127 182 183

069 070 113

wAng huAiQing

王懷慶

168

114 115 138

wAng YuAnDin

王元鼎

075

145 153

wu BuYun

伍步雲

112

wu hsueh JAng

吳學讓

133 176

Yoshitomo nArA

奈良美智 051

sA DJi

ZAo wouKi

S 沙耆

015 067 068

Xue song

薛松

趙無極

166 167

093 094

111 124

046 164 165

ZhAng niAn

張念

072

ZhAng YuAn

張遠

105

sAlVADor DAlÍ

達利

128 189

shAo Fei

邵飛

121

YAn Peimin

嚴培明

089

Zheng ZAiDong

鄭在東

009 064 137

shi liFeng

石立峰

147

YAn wenliAng

顏文樑

040

Zhou ChunYA

周春芽

090 091

shiY DeJinn

席德進

002 035 122

YAng ChengYuAn

楊成愿

026

Zhu shiJie

朱士杰

134

su wAngshen

蘇旺伸

004 029

YAng Chihung

楊識宏

027 037 083

Zhu YiYong

朱毅勇

074

suKhYun KAng

姜錫鉉

177

YAng Din

楊登雄

102

sun YuntAi

孫雲台

005 141

YAng guoXin

楊國辛

106

sZeto Keung

司徒強

032

YAng mAolin

楊茂林

108 136

YAng Polin

楊柏林

084

YAng sAnlAng

楊三郎

054

YAng shu

楊述

101

011

001

LIU CHIWEI

(1912-2002)

Tang Dynasty Horses

劉其偉

39.5×55.5cm mixed media on Cotton signed liu Chiwei in Chinese phonetic and dated 1999

唐馬

1999 綜合媒材棉布簽名：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ1999

NT$ 160,000-240,000 US$ 5,400-8,100

劉其偉一生致力於藝術人類學與原民文化田野調查，在台灣藝壇素有畫壇老頑童之稱，其畫作多以動物入畫，以樸質的線條勾勒出藝術家眼中的動物輪廓。此作以「唐馬」入畫，用色單純卻處處可見其對畫面佈局的巧思，整件畫作僅用紅黑色塊與線條建構，其畫面仍顯平衡且富有趣味。劉其偉長年追求原始美學，透過不合理化的浪漫構圖形塑某種感性的「原始思維」，故當欣賞劉其偉的作品時，常感單純質樸，也因這般直接的美感經驗，讓劉其偉的作品特別顯得簡單可愛。

012

002

SHIY DEJINN

(1923-1981)

Calligraphy

席德進

席德進勤練秦漢碑帖，這是席德進藝術生命上一個重

60×120cm ink on Paper with one seal of the artist Dated nov 6, 1980

書法

要的轉捩點。對席德進而言，書法是「基本功」中所不得缺少的，他的筆觸是具有重量感的線條，其線條

1980 水墨紙本藝術家鈴印11/6 1980

粗厚且簡潔有力，這使得他得以超越西方機械性的線條，使觀者遨遊於東方書法的情趣與墨韻之中。

NT$ 70,000-120,000 US$ 2,400-4,100

013

003

HUANG MINGCHE

(b.1948)

Pigeon II 38.2×38.2cm oil on Canvas signed Che in Chinese and dated 1983

黃銘哲早期的創作以平面繪畫為主，80年代的人文溫情主義是其中的代表，那時期的作品內容可以看出他對創作本質探究的堅持，也反映出藝術家對於社會環境變遷的敏感度。黃銘哲早期的作品《鴿》，對於色彩、造形等元素，都充滿了研究與實驗的興趣，並持續實踐在他

黃銘哲鴿Ⅱ 1983 油彩畫布簽名：哲1983

NT$ 100,000-160,000 US$ 3,400-5,400

014

的繪畫上，長期以來，其不同階段的表現，都獲得各類獎項、評論與收藏者的肯定。

004

SU WANGSHEN

(b.1956)

a. Tour b. Engulf a. 26.5×19.7cm b. 25.5×18cm a. mixed media on Paper b. oil on Canvas b. signed on the reverse: su wangshen and title in Chinese and dated 1994

蘇旺伸 a. 巡禮 b. 吞(獸戲魚) b. 1994 a. 綜合媒材紙本 b. 油彩畫布 b. 背面簽名：《吞》蘇旺伸 1994

NT$ 120,000-240,000 US$ 4,100-8,100

Whether through an insinuating style or through a mocking c h o i c e of s ub j e c t s o r s c e n e s , S u W a n g -S h e n c r e ate s metaphors for the world around us, reconciling symbolism and suggestiveness, and it addition to the purely visual, finding also the surreal and the dreamlike. Su did not seek the aesthetically pleasing; in fact, the sometimes cool, grey cast of his works imparts a strange eerie atmosphere. Sharply defined borders mark out the edges of his designs, as he scatters distorted images randomly throughout a huge canvas, images which neither quite form into symbolic figures nor call up concrete allusions, though each sketches out a subject of deep concern to the artist.

在許多類似嘲諷的取材取景或暗示手法中，蘇旺伸的作品呈現出現實世界的許多隱喻，揉合了象徵性的符號與暗示，表達出視覺視像之外又有超現實的世界和夢境。蘇氏不是講求唯美的創作者，略帶灰冷色調的畫面往往透露出一股詭異和神祕氣息。他的作品硬邊圖案，在極大的畫面當中，只零星的散佈著幾個扭曲意象不規則小點塊面，亦無所謂抽象符號或具體的指涉，其實每一個佈局都有來自他心中深切關心的意義。

015

005

SUN YUNTAI

(1913-2005)

Taihu Park 46×53cm oil on Canvas signed sun Yuntai in Chinese and dated 1999 signed on the reverse: title and sun Yuntai in Chinese

孫雲台自俄羅斯印象派畫家米洛巴若夫習畫後回到中國，定居於哈爾濱。孫雲台領略了印象派繪畫的真諦，他以西方印象派技法為基礎，將其精華揉入「觀察自然、感受自然、自由抒發」為特點的中國傳統繪畫，帶來嶄新的現代主義實現。孫雲台對大自然的五光十色掌握的細膩精準，在山丘、河流、房屋、花草中可見其用筆隨意，不拘泥於

孫雲台

陳規，放縱自由。畫面境界開闊而饒富抒情意味，顏料反

太湖公園

覆堆疊，所形成的豐富色調對物象起到了意想不到的烘托

1999 油彩畫布簽名：孫云台1999 背面簽名：《太湖公園》孫云台

NT$ 150,000-250,000 US$ 5,100-8,500

016

效果，被尊譽為東方的梵谷。

006

DAI ZE

(b.1922)

Vase with Flowers and Pot 70×70cm oil on Canvas signed Dai Ze in Chinese and dated 2004

戴澤為資深北京中央美院教授，是徐悲鴻的得意門生。早年受徐悲鴻的影響，專攻油畫，創作了大量現實主義題材的作品。戴澤寫實功力紮實，用色新麗，作品的主題以靜物、花卉尤為突顯。其中豐富的微觀趣味，煥發新生氣息，儼然成為閃耀奇光異彩的瑰寶。

戴澤瓶花與壺 2004 油彩畫布簽名：戴澤2004

近五十年的藝術生涯中有許多重要國際性的展覽。1950年至 1951年赴蘇聯、德國、波蘭等國舉辦中國藝術展覽會，1995 年在美國紐約國際文化藝術中心舉辦個人展覽，作品多次被美術館、博物館及收藏家珍藏。

NT$ 300,000-500,000 US$ 10,200 -16,900 017

007

HSIAO CHIN

(b.1935)

Universe Whirl-72

蕭勤

61×95cm Acrylic on Paper signed hsiao in english and Chin in Chinese, dated 2003 with a certificate of authenticity from gallery

宇宙漩渦之72 2003 壓克力紙本簽名：hsiao 勤 03 附畫廊開立之原作保證書

NT$ 160,000-240,000 US$ 5,400-8,100

蕭勤一生創作面貌多元、使用的媒材極為廣泛，經過不斷實驗各種創作的可能性，藉以探索自我心靈，並將東方哲學觀逕行轉化；也因此蕭勤將東方哲學中靜謐、素樸的生命觀，融入他所使用的創作媒材中，展現異於西方藝術的面貌。在蕭勤的《宇宙漩渦之72》作品中，極具能量的筆觸使紅色的螺旋以及黑色的軌跡相互抗衡於畫面上，所謂「天地有正氣，雜然賦流形」，在蕭勤的這幅作品中，是中國文化所強調的「氣」之運行的強烈體現。

018

008

CHANG WANCHUAN

(1919-2003)

Seine 20×26cm oil on Paper signed ChAng in english and wan in Chinese

張萬傳塞納河油彩紙本簽名：ChAng.万

1975年張萬傳辭去教職身分，展開歐洲旅行，巴黎的大街小巷、西班牙馬德里、巴賽隆納，日以繼夜的畫，最後到威尼斯、羅馬，一償此生的心願，踏上法國的一刻，看到聖心堂的坡道，蒙馬特的小巷，塞納河上的橋，與街道上歐式建築。此行水彩、油畫、綜合媒材的作品皆有，因為獨行且不匆忙，畫風精細有之，也有粗獷激情，情感收放自如，用筆方式隨心所欲，有時由下往上畫上去，他不假思索渾然天成，畫面用色對比中求得統一。

NT$ 120,000-180,000 US$ 4,100-6,100

019

009

ZHENG ZAIDONG

(b.1953)

Church

鄭在東

53×66cm oil on Canvas signed Zheng Zaidong in Chinese and dated 1994

教堂

1994 油彩畫布簽名：鄭在東'94

NT$ 60,000-100,000 US$ 2,000-3,400

在鄭在東這件作品《教堂》中可以看見德國「橋派」的影響痕跡，但又不像那時期的表現主義畫家一般，將情感毫不保留地宣洩在畫面中，鄭在東這件作品儘管看得出強烈的情感痕跡，但仍保留了些對描寫的理性，將情緒收斂於色彩、輪廓的邊際；另一方面，鄭在東面對遭遇的光景也不僅僅如印象派一般只記錄著光影的變化，他的作品又更多了許多敘事的可能性，也因此鄭在東將創作視為尋找生命深層本質的過程，他非常重視中國傳統文化對自己的影響，因此生命經歷成為無可抹滅的創作因素。 020

010

CHEN TINGSHIH

(1916-2002)

Day and Night #61

陳庭詩

89.5×89.5cm lithograph, 8/40 signed Chen ting-shih in english and dated oct. 1981, numbered 8/40 and titled in english

晝與夜 #61

1981 版畫 8/40 簽名：Chen ting-shih oct. 1981 8/40 《Day and night #61》

NT$ 160,000-280,000 US$ 5,400-9,500 陳庭詩具宇宙意象的版畫創作，選擇甘蔗板作為創作素材，平口刀、三稜刀、圓刀等各式版畫工具所擦撞出極為特殊的質地與平面肌理，恰好成為表現天地混沌那素樸意向的絕佳載體。《晝與夜》系列中，大部分畫面的經常以一至兩大塊佔據赭黑色塊相互「夾擊」，從中躍蹦出宛若日月星辰或日出東方的小圓；在紅、黑、金等五行中天地象徵的顏色搭配中，共同建構了天地、陰陽、日夜、晨昏等宇宙運行的天道與法則，予人一種神秘的東方古國意象的強烈印象。 021

011

LIEN CHIENHSING

(b.1962)

Prepare for Sailing

連建興

52×94cm Color ink on Paper signed lien Chienhsing and title in Chinese,dated march 1987 with three seals of the artist

備航 1987 彩墨紙本題識：備航丁卯年三月泡煙象連建興寫鈴印：連建興

NT$ 100,000-150,000 US$ 3,400-5,100

連建興曾說，從大學畢業至今30年，他在創作上關注的主題也始終如一。以景為主，蘊含的是濃濃的土地情感和環境關懷。不同於七〇年代鄉土寫實的繪畫，連建興筆下的景物充滿鄉愁以外的記憶召喚。而在這件《備航》之中，細膩的筆法刻劃出的不僅只是記憶之中鄉土風景的寫照，微傾的船隻分據畫面兩邊，黃藍色調錯落讓這片即將出航的海面看似柔和卻多變，對應於寫實的石礫灘，筆觸鮮活的海面勾勒出某種靜謐卻隱含無限的即將，細看連建興的《備航》，他所選取的風景透過精緻的畫面佈局，將景物凝結，給出一停滯的時刻，備航的船隻似乎永遠不會出航，與即將到來的暗濤共同留駐。

022

012

HUANG MINGCHE

(b.1948)

Horse 44×60cm oil on Canvas signed on the reverse: Che in Chinese and dated 1986

黃銘哲

黃銘哲於1981、1982連續兩年榮獲全省美展油畫第一名，1983年更榮獲全省美展永久免審查資格。在創作上對於色彩、造型與線條等元素。都充滿了研究與實驗的興趣，並持續實踐了他的繪畫。這幅油畫創作著重顏色和線條的表現，馬的輪廓已經演化成重疊的線條和色層，線條奔放而深沉，技巧嫻熟，筆力猶勁卻

馬

不失靈動之氣。極為精鍊的點線面架構，用色純粹而

1986 油彩畫布背面簽名：哲1986

飽含勁道，背景部份則以單一色調的處理，強化作品的視覺整體性和畫面主角的視覺凝聚力，表現生活情感和心理意識。

NT$ 140,000-200,000 US$ 4,700-6,800

023

013

LIU KENGI

(b.1938)

Gladiolus

劉耿一

劉耿一的父親-劉啟祥，南台灣畫壇的靈魂人物，一生為提

75×54cm oil on Paper signede Ken in Chinese and dated 1994

劍蘭

倡人文藝術活動、開展台灣美術運動而努力。劉耿一在其耳濡目染的藝術環境中，綻放出藝術才華，甚而成為終生

1994 油彩紙本簽名：耿1994

追尋的目標。劉耿一以追求自由為前提的意念，加上不妥協、不屈服的個性，使其畫作漾生旺盛的生命力。為了讓理想性和激情的本性取得調和，他也適時滲入詩情，使其

NT$ 120,000-180,000 US$ 4,100-6,100

成為兩者之間的緩衝。它的可看性來自顏色彩度及明度的強烈對比、張力高的構圖畫面，以及動態強烈的運筆。其整體所展露出來的氣勢，甚至帶著堂皇的優雅。

024

014

YU CHENGYAO

(1898-1993)

Landscape

余承堯

60.5×40.5cm ink on Paper signed Yu Cheng Yao in Chinese with one seal of the artist

山水

余承堯曾表示，文人畫只向老師學，不法大自然，將只學到筆墨的表現。筆墨一向是中國文人畫中畫家內涵思想氣質的表現。余承堯的筆墨以近乎物質

水墨紙本簽名：余承堯藝術家鈴印

性，中性的線條將平凡率直的細線層層相疊後隱身在山岩和樹叢裡，他們是為物相型態而存在。其把焦點放在整體山川結構中而非刻意的經營筆墨，因

NT$ 80,000-160,000 US$ 2,700-5,400

而，自然界充沛的生命力沒有被筆墨所取代，余承堯雖以筆墨為媒材去構成山川的脈理，卻注意不讓其反客為主，而忽略描繪了主體。 025

015

SA DJI

(1914-2005)

White Cranes

沙耆

24×34cm watercolor and Pastel on Paper signed saDji in english

白鶴

PROVENANCE Acquired from Belgium VAn thiene gallery by the present owner

1930~1940年代水粉彩紙本簽名：saDji 來源現藏者購自比利時VAn thiene畫廊

NT$ 320,000-600,000 US$ 10,800-20,300

沙耆這件作品《白鶴》，作品出自於早期比利時藏家購自於當地畫廊。留學期間沙耆展示了一位中國青年藝術家如何一步步地掌握了學院的寫實技巧，更重要的是提高視野與自身修養。當時已風行歐洲的表現主義思潮對沙耆也有吸引力，這或許是他的畫作中何以有坦誠率真的品格。但他畢竟是中國人，他對祖國、故土、親人仍懷有深遠的思念。此作品與唐朝文學家-虞世南的「飛來雙白鶴，奮翼遠凌煙。雙棲集紫蓋，一舉背青田」一詩，與沙耆當時遠赴歐洲思鄉之情相互輝映。 026

016

CHIU YATSAI

(b.1949)

Gentleman in Blue 80×65cm oil on Canvas signed Ya tsai in Chinese

邱亞才藍衣紳士油彩畫布簽名：亞才

邱亞才在台灣寫人物畫的藝術家中獨樹一幟。他繪畫文人肖像，具有迷人優雅的特質。使人聯想到義大利畫家莫迪尼亞里呈現的孤絕意識。邱亞才對文學、藝術熱愛與追求，體會中國歷史、莎士比亞、杜斯妥也夫斯基等大師筆下的人物性格，對人性的深刻觀察，豐富繪畫中人物的深度。以中國古代顧愷之為例，在輕細線中，賦予銳利觀察並捕捉神韻。他的繪畫以單純取勝，素面的情景中，強調人物的表情，拉長輪廓表露的優雅氣質，有東方人文的特色，自信而孤傲的讓觀者無法避開畫中人物的眼神。

NT$ 180,000-400,000 US$ 6,100-13,600 027

1995年「威尼斯雙年展」及 1996年德國阿亨的「路德威美術館」邀請展，使黃致陽自覺自己創作的來源與傳統，體認到水墨藝術為中國藝術傳統無可取代的核心。《戀人絮語》系列選擇以水墨技法在細絹或紙上完成，此系列之名稱取自於法國學者羅蘭．巴特同名的中譯版著作。《戀人絮語》系列針對當代社會人性主體失落與人文價值迷失的問題，透過一對又一對自願作為模特兒的雙人組合關係，著墨個人心理空間的描述，也偏向含情脈脈的心靈對話，以細膩、柔軟、溫暖、感性的形象美學，重新為人存在的意思與人文精神價格，賦予其儀式化的尊嚴。

017

HUANG CHIYANG

(b.1965)

Lover's Library Dominique + Vincent No.6

黃致陽

76×57cm ink on silk mounted onto Board signed ChiYang in Chinese and dated 1999

戀人絮語 no.06 1999 水墨絹紙裱於木板簽名：Judith+Jonathan stein 致陽 99 no.6

NT$ 80,000-140,000 US$ 2,700- 4,700

028

018

JOHN WAY

(b.1921)

Branches 48×60cm oil on Paper signed John way in english and dated 1967

魏樂唐殘枝

抽象藝術為二十世紀藝術發展的一大美學脈絡，1950-60年代，抽象藝術的浪潮席捲全球。魏樂唐曾受過正統的書法訓練以及美國前衛的藝術教育，這使他的作品既傳統又前衛，抽象書法表現功力紮實，當他將文字融入抽象繪畫中時，更是揮灑自如，一筆一畫，大氣渾然天成，氣勢躍然於畫作上。作品中取材自他對天地萬物與自然界四季循環的感觸，或從音樂中獲得的靈感，譜寫出優美而奔放的藝術旋律，這是一種心領神會的情感抒發，空靈與意境的美學。

1967 油彩紙本簽名：John way 67

NT$ 160,000-200,000 US$ 5,400-6,800

029

019

RAN INTING

(1903-1979)

Watching Chinese Opera 39×56cm Color ink on Paper signed inting in Chinese and rAn in-ting FormosA in english ProVenAnCe Acquired from taiwan Daily ex-president by the present owner

藍蔭鼎

Ran Inting, recognized as one of the global top ten water painting artists by European and American art institutes of the 20th century, based his created on local humanistic compositions and blended the characteristic of Eastern ink and his personal artistic concepts to create a new art meaning. His upright personality and gentle literature upbringing won widespread recognition among art historians. “Ran Inting bases on the land, but his hands are covered with the best lights and colors.” “Watching Chinese Opera” belongs to the later years of Ran Inting. The painting style has transformed into Eastern traditional water ink approach from Western paintings to create a vivid Ran style.

廟前觀戲彩墨紙本簽名：蔭鼎rAn in-ting FormosA 來源藏家購自台灣日報前社長黃懷中

在二十世紀，受歐洲與美國藝術評論學會評選為第一屆世界十大水彩畫

NT$ 450,000-600,000 US$ 15,300-20,300

家的藍蔭鼎，其作品構思自鄉土人文，並融合東方的筆墨性質和個人獨特的繪畫美學觀點，造就出具時代性的嶄新畫意。其磊落的人格風骨與溫潤的文學涵養，更令藝術史學者如此讚嘆道：「藍蔭鼎雙腳踩的是鄉野的泥土，雙手沾的卻是社會最上層的光和彩。」《廟前觀戲》屬於藍蔭鼎於中晚期的創作，此時期的繪畫方式，已自西方水彩的渲染筆法、轉化為加入東方傳統水墨的筆觸，建構出鮮明的藍氏風格。《廟前觀戲》描繪著台灣早期社會的廟會活動——伴隨民間信仰而發展的人文風俗，呈現其中呼朋引伴、攜家帶眷於廟前觀看野台戲的盛大場面。藍蔭鼎筆下的人物，或坐或立、挺腰傾背、擺手勾臂，自然生動的各具姿態；進而細觀畫作中的服裝，可望見台灣農民的傳統衣著、斗笠，中華文化的婦女旗袍，西方社會的男士西裝與紳士帽，溫雅顯現台灣社會接受中西文化共融的交會時代。在流暢線條的勾勒、具藍蔭鼎代表性色彩的朱紅、駱黃、土黃、綠、藍、青紫等運用下，整幅作品顯出無比動感，在人文深度與美學的交織中，駐留下鮮活的文化印記。

030

031

020

LIN SHIENMAO

(b.1955)

Elegant Dacing C 91×72cm oil on Canvas signed shien mao in english and dated 2012 with a certificate of authenticity signed by artist

林憲茂舞魅C 2012 油彩畫布簽名：shien mao 2012 附藝術家親簽之原作保證書

NT$ 250,000-350,000 US$ 8,500-11,900

林憲茂借用了康定斯基（wassily Kandinsky）、波洛克、德庫寧等大師的手法，創造了人物形象與背景融合的異質空間，這種繪畫特徵，一直保留在他過去幾年的繪畫當中，這種人與自然間的關係以及特有情境的空間塑造，可以從作品《舞魅系列》窺見一二。人體形象一直是他持續關注的命題，對人體的解構與結構，顯示出其優越的造型能力。線條是他形式革新的主要構件，色塊是他更上一層樓的風骨，肌理重疊是他風格行成的主觀情愫，他透過個人的記憶形式，捨棄人物的擬真再現，選擇描繪人體的百般樣貌，他要表現的藝術原型是二十世紀人類的孤獨、癡情與解放中的瞬間恍惚與遲疑的一面，有趣的是，戲劇性的用音樂特質表達出來。

032

033

021

JU MING

(b.1938)

Boar 18×16×22cm Bronze, 10/30 signed Juming in Chinese and numbered 10/30 with a certificate of authenticity from Caves gallery

朱銘十二生肖-豬 1990 銅 10/30 簽名：朱銘 10/30 附敦煌藝術中心開立之藝術家親簽保證書

NT$ 260,000-350,000 US$ 8,800-11,900

In the 1970’s, facilitated by the Taiwan literature movement, Taiwanese art began to burgeon the petition for “return of the native, recognize Taiwan,” aiming to restore the local cultural vases amidst the chaotic social environment. During the time, Ju had responded to the movement in artistic creation. Being the major source of labor for farmers in the old days, cattle is closely related with people’s life, the Boar has the meaning of “good luck with everything” respectively in the Chinese tradition, in addition, as Ju Ming was raised in a rural village, these animals remind Ju Ming of his time in the rural village. Ju Ming is not limited to realistic imitation of the animal’s external feature, under the three-dimensional orientation; he creates a distinctive image for each animal according to their special features and habitual behavior.

1970年代台灣美術在鄉土文學運動的推波助瀾之際，開始萌發「回歸鄉土，認同台灣」的訴求，企圖在動盪不安的社會氛圍中重新尋找本土的文化根基，朱銘此時也在藝術創作中提出了關於鄉土主義的回應《十二生肖-豬》不僅在中國傳統中暗喻「諸事如意」的意涵，朱銘小時候在農村長大，這些動物的摹寫同時也是他對於農家生活的回憶。朱銘所掌握的不僅僅是動物外型上的寫實模擬，在雕塑三度空間的立體面向中，他更以不同的動物習性與特徵創造了各自鮮明的形象。

034

022

YUYU YANG

(1926-1997)

Water and Fire Homology 30×38×74cm stainless steel, 18/20 signed YinFeng in Chinese and dated 1993, numbered 18/20 with a certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED 1. ''in stainless steel: sculptures by YuYu YAng'', Page 20 2. ''Yuyu Yang vol.1'', Artist, Dec 2005, Page 336

楊英風水火同源 1993 不鏽鋼 18/20 簽名：'93英風 18/20 附財團法人楊英風藝術教育基金會開立之原作保證書圖錄 1.《楊英風93個展：不鏽鋼系列新作》楊英風美術館第20頁 2.《楊英風全集第一卷》藝術家出版社 2005年12月第336頁

NT$ 200,000-300,000 US$ 6,800-10,200

台南縣立綜合體育場

民國八十二年的裝置在台南縣體育場就是不銹鋼的楊英風的《水火同源》。水火同源依自然定律而言，水火本不相容，然而此地地質構造特殊，崖壁有天然氣冒出，經點燃後火焰永不熄滅。此景有一神話傳說，是遠古時代，一火龍與水虎因意見不合而起爭執，打架決一勝負，卻兩敗俱傷，最後火龍化為火，水虎化為泉，變成了如今水火同源的景象。楊英風的《水火同源》代表屬於天地間的聖火、純水同時結合展現，易經「既濟」卦「坎」水而「離」火，水火交融，各有其用途，象徵天下萬物歸位、各得其所，自然亨通，無所不利時。 035

023

HSIAO YI

(1956-2006)

Owl 22×25×65cm wood(one piece only) signed hsiao Yi in Chinese and dated 1988

蕭一

雕刻美學，一種動態的、不斷實驗、蛻變的獨立道路；他從木頭材料的鑽研中，累積出對形體、材料轉化的悟力及創造力；也從生活中去探索人體意識及價值觀在藝術表演中的各種可能。從真實生活中的領悟，去「減法」、「去形」，成就生命意識中的重要個體。從整體的造形到雕刻表面的質

貓頭鷹

理、刀觸，各種木質材料的處理到色澤的控制，從佛性、人

1988 樟木(僅此一件) 簽名：蕭一'88 eK

性到獸性的思辯，蕭一的作品，不斷地湧現著藝術生命蛻變

NT$ 120,000-180,000 US$ 4,100-6,100

036

蕭一從木質的雕刻鍛鍊，及神像藝術的養成中，走出自己的

的真實。

024

YUYU YANG

(1926-1997)

Dragons Psalm Ⅱ

楊英風

22×30×50.5cm stainless steel, 17/20 signed YinFeng in Chinese and dated 1989, numbered 17/20 with a certificate of authenticity from Yu Yu Yang Foundation

龍賦(二)

ILLUSTRATED 1. "YuYu Yang Corpus Volume 1", Artist Publishing Co., Dec 2005, Page 308 2. "Yu Yu Yang", hsiung-shih Art Book,2004, Page 162 EXHIBITION "Chelsea harbor", london,1997

1989 不鏽鋼 17/20 簽名：89'英風 17/20 附財團法人楊英風藝術教育基金會開立之原作保證書圖錄 1.《楊英風全集第一卷》藝術家出版社 2005年12月第308頁 2.《景觀．自在－楊英風》雄獅美術 2004年11月第162頁展覽「Chelsea harbor展」倫敦 1997年

NT$ 120,000-240,000 US$ 4,100-8,100

《龍賦》一九九六年展於倫敦 Chelsea harbor展

The last creative years of Yuyu Yang represents his mature periods with production of stainless steel words, which combine the Chinese Ecology and Buddhists ideas with the modern advanced materials to make simple abstract sculpts. The surface of stainless steel is as smooth and clean as porcelain in Song dynasty, its specula reflection can reach the surrounded objects and viewpoint, so that the work itself can have harmonious and prefect fusion of surroundings and views.

楊英風晚期的「不鏽鋼系列」是其創作生涯中的成熟期，寓中國生態美學及佛家哲思於先進、現代的材質，以及簡潔的抽象造型中。此次作品《龍賦》單純、光潔如宋磁的不鏽鋼鏡面反射，將週遭環境與觀者納入作品中，以圓弧、曲線的視點柔化環境的氛圍，使作品本身圓融具足、與環境、觀者相諧。

037

025

HSIAO CHIN

(b.1935)

The Power of Universe-32

蕭勤

67×96cm Acrylic on Paper signed hsiao in english and Chin in Chinese, dated 1998 with a certificate of authenticity from gallery

大氣之32 1998 壓克力紙本簽名：hsiao 勤 98 附畫廊開立之原作保證書

NT$ 140,000-240,000 US$ 4,700-8,100

蕭勤是當今少數深入內在永恆、以藝術作為生命探索的藝術家，同時也是台灣50年代著名「東方畫會」的成員之一。蕭勤認為每一階段的生命歷程，都能成為藝術創作的養分，將自身生命積極轉化成個人創作的養分，將是創作的最基礎要素；也因此，蕭勤的作品充滿了強烈的生命感，甚至能夠自他的作品中尋找蕭勤的生命軌跡。除此之外，蕭勤受到中國哲學的影響，運用於他的創作之中；他的《大氣之32》，能夠明確感受到「氣」與「太極」的流動、抗衡，所謂「道常無為而無不為」，簡潔有力的筆觸、色彩、構圖等等形式要素，都呈現出一種直觀的自然能量。

038

026

YANG CHENGYUAN

(b.1947)

Architecture in Modern Times

楊成愿

53×64cm oil on Canvas signed Yang Chengyuan in Chinese and dated 1992.12

台灣近代建築 1992 油彩畫布簽名：楊成愿 1992.12

NT$ 100,000-180,000 US$ 3,400-6,100

楊成愿創作的主題向來都是呈現系列素質，如早期的「化石與空間系列」、1990年的「台灣名蹟系列」、1992 年的「台灣時空系列」及1993年開始的「台灣近代建築系列」。在楊成愿一脈的系列創作中，鮮明的展現其關注的主題與焦點，從對時空的轉換與生命的遞嬗之探討，逐漸轉移到其生長的環境「台灣」之上，如「台灣名蹟」、「台灣時空」、「台灣近代建築」等。而就畫風言，其較傾向於超現實主義。楊成愿「台灣近代建築」系列的作品。在該系列作品中。楊成愿有意識地本土化的關懷，將圖像化的近代建築、台灣地圖、日式漢字、量規……等並置，試圖轉化為視覺的思維，並將日本人佔據台灣時的歷史活動與痕跡做--文化的反思。 039

027

YANG CHIHUNG

(b.1947)

Floating Notes

楊識宏

「……生命是一種神秘與超越，它跨越了浩瀚無垠的時間

77×57cm mixed media on Paper signed C. Yang in english and dated 1984

浮記

與空間，而且歷久彌新。自然界所隱伏的生命力量是那麼叵測奧妙，儘管蟄伏了幾百個晝夜，如果是一粒種子，它

1984 綜合媒材紙本簽名：C. Yang '84

就能吐露新生。這種體驗使我領悟到藝術創作之可貴，每一幅作品，若是精誠所至，就像一粒種子，雖然是靜默的，但卻擁有它自己的生命。它也是一個『親密的宇宙』

NT$ 160,000-200,000 US$ 5,400-6,800

（intimate universe），從這裡你可以進入一個藝術家內心的世界裡。」

040

――「植物的美學自序」，《楊識宏畫集》

028

HUANG MINGCHE

(b.1948)

Sense and Sensibility 36×71×296cm metal with colored (one of eight Pieces) with a certificate of authenticity from gallery ILLUSTRATED "huAng mingZhe shanghai．taipei the glory reappears", shanghai Art museum Publishing, Aug 2001, Page 138

黃銘哲理性與感性金屬彩色 (八件之一) 附畫廊開立之原作保證書圖錄《黃銘哲上海．台北風華再現》上海美術館 2001 第138頁

NT$ 520,000-800,000 US$ 17,600-27,100

Huang Ming Zhe is one of the gifted talents star in Taiwan’s art world. From the rural realist in the 70s to the lavish abstract in the 90s, the transformation of the content and forms truly reflects the artist search and persistence in his creation. It also reflects the sensitive feelings of the artist towards the society environment change. From a two dimension to a three dimension space, Huang Ming Zhe has brought out a new meaning to his paintings. The unfamiliarity for the materials and his personal insist deviate him from the traditional rules of sculpture. Huang is truly an adventurous and fantast. The sculptures are neither heavy nor memorial humanist; rather they are full of ration and sensation. The curvy lines created a visual effect on the metal boards, bringing out even more imaginations that are like-human and like-animal. The free flows make it more three dimensional; the bright red symbols strong desires to express the artist’s rich creativity.

台灣藝壇上，黃銘哲猶如天縱才華的藝術明星，從七○年代的在鄉土寫實，轉化到九○年代炫爛華麗的抽象，作品內容與形式的衍化，不僅可以看出他的創作本質探究與堅持，也反映出藝術家對社會環境變遷的敏銳。從二度空間躍升到三度空間，黃銘哲將立體作品延伸出繪畫的新意象來。但是因為對材質處理的陌生，加上個人理念上的堅持，反而使他的雕塑跳脫出學院雕塑的傳統規範，可說是個十足冒險家與幻想家。黃銘哲的雕塑既不是沈重、紀念碑式的、充滿人文氣息的寫實雕像；而是充滿理性又感性。作品充滿弧曲的線條，在金屬板上伸展成一種視覺象徵，進而衍生出更多意象，似人又似動物，飛翔騰升的流動意象立體化了，色彩運用上以鮮明的紅色象徵熱烈情慾，表現出黃銘哲對藝術旺盛的創造力。 041

029

SU WANGSHEN

(b.1956)

Backyard of the New House

蘇旺伸

40.5×50.5cm oil on Canvas signed on the reverse: su wangshen and title in Chinese and dated 1997

新居的後院 1997 油彩畫布背面簽名：《新居的後院野地》蘇旺伸 1997

NT$ 300,000-400,000 US$ 10,200-13,600

Su Wong-Sheng composes his works around a special perspective, a kind of coldly detached observation from a space far above the subject, we as viewers gold our breath and search for the secret of what lies within our gaze below. As Taiwan’s democracy has advanced in recent years, Su has developed a concern for worldly affairs. In response to the human theatre of elections, Su has painted works entitled “A certain Housing Project”, in which there appear strangely shaped, upside-down creatures, and in works from an earlier period, Su attempted to display on the near, level canvas the weakness of the unbalanced, as a distant, tranquil and meditative perspective on the clamor of society. In the heat of the election season he contemplated human nature, in the balance of contradictions between creative work and daily life, he found the spontaneous analogy of “the beauty of imperfection.” Su Wong-shen’s reflections on the surreal in society are uniquely Taiwanese form of the late 20th-century contemporary art. 042

蘇旺伸以特殊視點構圖，遠遠從高空俯視冷眼旁觀的意涵，強化了讓人屏息並且認真蒐秘的情緒。近年來隨著台灣社會民主開放，蘇氏開始關心生活的實務，有感於競選期間的人生百態，作品命題為「某某新村」等可以解讀的是一些倒掛著的奇形怪狀的動物，源自稍早時期的作品，蘇氏企圖在平整的畫面呈現不平衡的缺陷，在遠離塵囂的靜思冥想中發揮他的幽默感，他表現離群索居的孤獨，反而關心社會時事，在熱鬧的選戰時節內省人性，在創作和現實生活間矛盾的平衡狀態，這種即興式的比喻「完美的缺陷」和空白，蘇氏延伸社會現象的超現實意象，是20世紀末台灣當代藝術創作的特有現象。

030

YEH TZUCHI

(b.1957)

Pistol

葉子奇

37×50cm egg emulsion oil on Canvas signed tzuchi in Chinese and dated 1995

手槍 1995 卵彩畫布簽名：子奇1995

NT$ 400,000-500,000 US$ 13,600-16,900

葉子奇的「獨白」靜物系列，是透過情感、心靈與視覺印象交互融併而生的，一種精神上的嚴肅性覆蓋起整幅畫面。1995年，葉子奇在甫歷經母親逝世週年的生命劇痛下創作出《手槍》一作，表達出其無法言傳的情感與思緒，有如具有光環圍繞的畫面舞台上，手槍的形體被莊嚴的具體呈現，揉雜在如實般重量感內的不是金屬，而是綿細濃稠的親情。《手槍》迴盪著對於生命追憶、人生意義的探詢。對於繪畫的意義，十九世紀德國浪漫主義大師佛烈德瑞克(Caspar David Freidrich)曾如此闡述：「藝術家以真情作畫，而敏感的人瞭解並且認同他。」而法國社會主義學者普魯東(Pierre-Joseph Proudhon) 則進一步道之：「藝術的目標是要帶領我們瞭解自己。」深入閱讀葉子奇繪畫中的悠遠意象，在凝滯的靜謐中，彷彿能望見受情感與信念所激起的漣漪，並在時空停格的幽微瞬間，同時找尋到自己應當歸屬的歷史與紀念。 043

044

031

YEH TZUCHI

(b.1957)

Holly

葉子奇

36×75cm egg emulsion oil on Canvas signed tzuchi in Chinese and dated 1991-1992

冬青

1991-1992 卵彩畫布簽名：子奇91-92

NT$ 360,000-480,000 US$ 12,200-16,300

葉子奇的繪畫，融徹當代感強烈的構圖與濃郁的古典氛圍，簡明純粹的主題在人生歷練與個人情感的賦予下，寫實與隱喻的創作手法擴張起生命的強度、延展出心靈中的謬思。每年九至十一月結果的植物——冬青，花語是為「生命」。其鮮紅色的球形漿果會簇附於枝上、可以持續整個冬季而不會掉落，因此，在嚴寒的季節裡，冬青的果實可成為林間生物的食糧，維持著自然生命的延續。葉子奇筆下的《冬青》，枝幹堅挺，群葉翠綠且光澤的守護著漿果，莊嚴而靜穆，在理性思考與感性抒發的交替中，時間的流動性與空間的恆常性被幻化為畫面中的永恆、內心中的獨白。

「我的繪畫所呈現的是某一個特定時間、在空間中物化和凝結的瞬間。」

——葉子奇

045

032

SZETO KEUNG

(1948-2011)

Black

司徒強的畫作可謂兼具西方照相寫實繪畫與東方文人思想，在他的畫作中，不見

62.5×92.7cm mixed media on Burlapand and linen

照相寫實一慣的冰冷，反充滿詩意與感性的意境。畫中交叉的黑色膠帶對照於充滿肌理的牆面，彷彿拉開抽象與具象那道不可見的分線，這無疑是張極為具象的寫實繪畫，但又充滿痕跡遍佈的抽象感性思想軌跡。何等的理性與感性才能夠構

司徒強

黑 1995 綜合媒材粗麻布亞麻布

築這般的繪畫語言，層層堆疊的顏料與肌理隱藏著藝術家執著的勞動，對畫面經營也透過這般無法細數的層次展露出其苦心經營的抽象意境，看似浮貼在畫面之上的黑膠成為整件作品的亮點，不容置喙的寫實與黑，使這件作品處在一照相寫實與抽象繪畫的交界點，詮釋自在個人，但司徒強透過繪畫給出的意境或許才是那最無法言說的部分。

NT$ 350,000-500,000 US$ 11,900-16,900

過去，司徒強的畫面中心是幾可亂真的技巧以物為主體，然而在近作中，他揉合了象徵主義、寫實主義和抽象表現主義的意境，以天體作為一種情境的隱喻，意圖於自然宇宙之間，尋求新的精神信仰。他的寫實物，一如滄海一粟，在抽象的銀河與黑洞間漂浮。另一個與昔不同之處，是畫眼之外的空間，更似颱風眼的外圍氣象，不再寧靜。

046

033

CHANG LING

(b.1975)

Pork Belly Series-Flesh Landscape-Pleasing Landscape

常陵

162×120cm oil on Canvas signed on the reverse: Chang ling in Chinese and dated 2007 with a certificate of authenticity from gallery

五花肉系列-肉山水-金風洛水圖 2007 油彩畫布背面簽名：常陵 2007 附畫廊開立之原作保證書

NT$ 300,000-450,000 US$ 10,200-15,300

常陵自述：「藝術不只是一種抒發之慾，肉是我對藝術的代名詞。」「肉山水」系列承傳「五花肉」系列特有風格，以肉塊堆成疊疊不同的粉紅色山巒構成主要意像，配合既如血水又似瀑布般的色彩流動性暗示肉慾橫流，使得畫面上鮮豔的顏色強烈刺激感官，呈現出隱藏在溫柔與甜美之後隱晦的暴力血腥。此系列並非傳統士大夫山水的再造或模擬，而是面對滿目瘡痍的台灣自然環境與紙醉金迷的慾望社會奇觀，所反映出的某種集體心理狀態。 047

邱亞才的作品對像一直以肖像為主，藉文章發掘人性，用繪畫表現人生。他的人物特別強調眼神，畫面中的男子發黑的鬍鬚爬滿腮上，掩埋在深沉的背景藍中，邱亞才以富表現力的筆法勾勒面無表情的臉孔，帶出男子憂鬱和略帶疏離的目光，背景沒有特定裝飾性的安排，選擇和人物主體相同色調

034

CHIU YATSAI

(b.1949)

Bearded Man 91×73cm oil on Canvas signed Yatsai in Chinese

來暗示背景色彩與主體的關聯。針對人物的抽象本質，包括真正了解出身背景、性格修養等…。獨特的文人特質與生活

邱亞才

觀照，力求人性精神層次活動的具像再現，是邱亞才追求的

留鬍子的男人

藝術本質。

油彩畫布簽名：亞才

NT$ 220,000-500,000 US$ 7,500-16,900

048

049

035

SHIY DEJINN

(1923-1981)

Ancient House

席德進出生於中國四川，師承林風眠，1948年至台灣任教職，後

57×80cm Color ink on Paper signed shiy Dejinn in Chinese and dated 1975

席德進

早期古厝建築的原型，在水分的掌控和線條的勾勒上既看朦朧又見細膩，彩墨隨水漬暈染成獨特的畫面結構，在席德進的筆下，視野所見的立體建築轉而進入繪畫中的平面描繪，看似抽象的色塊結構卻能因幾筆細線的點繪成為風景再現的關鍵，以「濕」作

古厝

為整張畫作的基底，將台灣古厝柔和溫暖的形象透過畫筆重建於

1975 彩墨紙本簽名：席德進 1975

世人眼中。

NT$ 750,000-1,000,000 US$ 25,400-33,900

050

多於台灣從事藝術創作。席德進以其特有的彩墨筆觸構築出台灣

席德進曾說：「在傳統建築裡，我們看到吾土吾民的靈魂和意欲，色彩與美學，技藝與創造力。」又說：「台灣古屋是我汲取不盡的靈感泉源，它指引我向藝術領域探索。」而他一系列描繪台灣建築的作品，更讓觀者透過其雙眼再次見證古厝人情之美。

051

036

LIU KUOSUNG

(b.1932)

Tropical Wave 49.4×75.3cm mixed media on Paper signed liu Kuosung in Chinsese and dated 2002 with one seal of the artist with a certificate of authenticity from gallery

打下相當深厚的基礎，其畫中雅致古典的文人氣質也是源自於此，朱德群在西畫方面採學院派的訓練，使他歷經印象派、野獸派、立體派、超現實主義而進入抽象繪畫領域。1956年，由於不能滿足於中國傳統繪畫的保守性，劉國松在台灣創立了五月畫會。同時他也和同濟在尋得戰後

ILLUSTRATED "hight．Dream．evolution, Paintings of liu Kuo sung", Capital Art Center, 2008 EXHIBITION "hight．Dream．evolution", Capital Art Center, 2008

西方抽象主義運動的旨趣後，大膽在自己的作品中運用類

劉國松

太陽、月亮是劉國松經典的作品，以日之升落、月之盈

熱浪

虧、展現循環的大自然運行及宇宙的遼闊氣勢。此件作品

2002 綜合媒材紙本簽名：劉國松二○○二藝術家鈴印附畫廊開立之原作保證書圖錄《突兀．夢幻．蛻變劉國松畫集》首都藝術中心 2008年展覽「突兀．夢幻．蛻變」首都藝術中心 2008年

NT$ 800,000-1,000,000 US$ 27,100-33,900

052

劉國松求學期間曾師從浦心畬及朱德群，使他在傳統國畫

似的嘗試。他們的突破啟動了當代中國藝術創作的重要轉變。此後，劉國松就不斷地利用他的藝術能量打破當代藝術的侷限，並注入新觀念。

「熱浪」以炙熱的太陽為主題，長方形的紙張呼應圓形的太陽，精準拼貼的圓形輪廓呼應了此時西方的硬邊藝術。劉國松的創作展現了強烈的創作活力與融合了中國書法線條與西方結構的美感特質。

053

037

YANG CHIHUNG

(b.1947)

IN Between II 183×122cm oil on Canvas signed on the reverse: Chihung YAng and title in english and dated 2005 with a certificate of authenticity from gallery ILLUSTRATED "Inner Vision˙Human Condition-Chihung Yang Solo Exhibition˙National Art Museum of China, Beijing", Asia Art Center, 2007

“Forgetting the language at the acquisition of the image; forgetting the image at the acquisition of the meaning” was a saying during Chinese Wei and Jin dynast y. Through the prolonged process of creation; along with the increasing of age and more realization in life, viewers can observe the development from the image to heart and then from heart to meaning. “IN Between II” was created in 2005, Yang Shih Hong has transformed from imagery to the heart and meaning. Marl Proust once said “Art is the only method of gaining back lost time”. “IN Between II ” utilizes two abstract objects to create a focal between sense and ration; within the flowing colors and linear laying on the canvasit’s like a representation of the neural within thoughts. Through the gaze of the viewer, the canvas brings out meaning and inner spirit. It recalls the beautiful memory, time and desire.

中國魏晉時期的美學思想曾有所謂「得象忘言，得圖錄《心象情境-2007 楊識宏北京中國美術館個展》亞洲藝術中心，2007年

意忘象」之說，而從楊識宏其漫漫且執著的創作歷

NT$ 850,000-1,000,000 US$ 28,800-33,900

象」的發展脈絡。

程——並隨著年歲漸增，生命體會日漸深刻豁達—— 可觀出從「物象」到「心象」，從「心象」到「意

《在之間 ii》創作於2005年，楊識宏已自物象的思維跨入心象與意象之間。法國現代文學大文豪馬塞爾．普魯斯特(marl Proust)曾如此敘述：「藝術作品是復得失去的時間的唯一手段。」《在之間 ii》即藉由抽象的兩方形體，在感性與理性間注入了冷靜的凝視；流動的半透明顏彩，以線條姿態平鋪於畫面，有如思考神經間的相互牽引；藉由觀者深沈的注視中，在畫面底層蘊藏起時間的意象、勾起內在心靈的起伏，喚起經歷過的美好記憶、時光與想望。

054

055

038

HUANG CHIYANG

(b.1965)

Zoon-Beijing Bio No.3 400×140cm(×3) ink on silk a. signed Chi Yang in Chinese, Zoon no.3-1 and dated 2006 b. signed Chi Yang in Chinese, Zoon no.3-2 and dated 2006 c. signed Chi Yang in Chinese, Zoon no.3-3 and dated 2006 ILLUSTRATED "the opening ink Painting", guanshanyue Art musuem, page 65 EXHIBITION "the opening ink Painting", guanshanyue Art musuem, 2007

At his early stage, Huang Chih-Yang has already painted on huge canvas in simple and Eastern mystical drawings to a somewhat wild, beast-human-like formation. This hard-tonaming creature then evolved into myriads of other kin, as well as expanding to materials like villus, clay, telephone wire oyster shell, etc. While huang’s work develops to outdoor installation and international exhibition, the creature’s kin also moves from private and plane, to open and complex.

早期黃致陽即運用簡單的、帶有東方神秘主義式的筆墨，在巨大的紙上繪出狂野的激情，似人似獸的形體。

黃致陽

這種難以名狀的生物，在之後開始演化成多種不同的族

Zoon- 北京生物 no.03

類，並擴張至絨毛、陶土、電話線等等材料。隨著戶外

2006 水墨絹本 (三件一組) a. 簽名：致陽 2006 Zoon no.3-1 b. 簽名：致陽 2006 Zoon no.3-2 c. 簽名：致陽 2006 Zoon no.3-3 圖錄《開放的水墨 —當代水墨藝術邀請展》關山月美術館第65頁展覽「開放的水墨－當代水墨藝術邀請展」關山月美術館 2007年

NT$ 2,300,000-3,000,000 US$ 78,000-101,700

056

裝置創作與出國展覽，他的族群也由私密、平面、走向開放、複合。當台灣的藝術已經進入所謂後現代，拼貼和裝置正大行其道的時代，黃致陽刻意的選擇回歸到純手工繪製、重複性極高的紙上作品，又近似宗教場域的展出方式，在人性的表現上誇張性器，也有雌雄同體，字體性交的圖騰是表現。他的圖像明顯的表示了其對科學、理性、邏輯的反抗。

057

039

KUO JENCHANG

(b.1949)

Back to Life 72×194×13cm mixed media signed Jenchang in Chinese and J.C.Kuo in english, dated 1998 with a certificate of authenticity from gallery

郭振昌妙手回春 1998 綜合媒材簽名：振昌'98 J.C. Kuo 附畫廊開立之原作保證書

NT$ 1,000,000-1,400,000 US$ 33,900-47,500

058

立足台灣當代藝壇，郭振昌始終保有其鮮明、強烈的風

《妙手回春》以奪目的金黃色系打底，居中躺臥以郭式

格與特色，展露出台灣此蘊蓄多元文化之海島的豐富視

經典的框粗黑線勾勒之女體，其周邊綴以珠飾、貼紙及

野。綜觀郭振昌各時期作品，自遠東紡織印花布、羅漢

花布等多彩媒材，烘托出感性、炫目且極具活力的畫面

像、八家將，直到近期偏於華麗的諷刺式主題形像，他

形象。環繞身旁的繽紛元素，宛若象徵生命中多姿的美

的畫題總牽掛著台灣土地的關懷與省思，灌注源源不絕

好，試圖鼓勵人們睜開雙眼、展開雙臂，大膽地擁抱每

的文化活力與多樣媒材，各種文化元素透過郭振昌匠心

份燦爛的悸動。此些華美的表徵引領人們去發掘生活中

獨具的轉換，成為饒富趣味的視覺意象，其濃烈的情

的各樣小確幸，欣賞每份難得的機遇巧合，而不過度執

感、豐富的技法以及具文化底蘊的關懷，深刻攫取觀者

著於內心的憂鬱失落，讓觀者發現幸福原是如此簡單，

視野，進而產生思想迴盪與情緒共鳴。

如此富足，充滿於每一口呼吸，每一個腳步……郭振昌一貫敏銳的觀察與纖細的內涵，於此展露無疑。

059

060

Yan wenliang with wang Yachen, hsu shichi,wu hufan, Zhang Daqian, Zhang Changren, Zheng wuchang in shanghai. 顏文樑、汪亞塵、許士祺、吳湖帆、張大千、張充仁、鄭午昌、於上海聚會之合影。

Yan Wen Liang is recognized as one of the most prestigious and respected artists in Chinese oil painting history. He is a pioneer of researching and broadcasting western paintings. He excels at scenery paintings and focusing on presenting Mother Nature’s subtle change and tranquility. The artworks are composed with firm and careful techniques. Extra attention is paid of outer lighting and the description of color layers. The composition is delicate, the brushstrokes are nimble and the style is elegant and pure. “Warm Sun in Winter” is the true representative of Yan’s art style. It combines the essence of the east and west- utilizes the color tones from European’s Impressionism and composition of western linear prospective to present a deeper scene. Also, the painter has extracted from Chinese traditional water ink painting skills to bring out the delicate leaves and branches. Within the layered scenery and bright sunshine shimmering on the flowing river and scattered white leaves a sense of peace and precious warmth in the winter sun. A peace of tranquility is created in this delicate yet rich creation.

“Yen Wen Liang is a traditional artist with a longing for new arts in the 20th Century. He has brought in traditional humbleness, honesty and strength in the spread of new art language. He firmly believes in the feeling and esteem people have for nature and devoted his life into the education and spreading of new arts. On a certain degree, he is a significant example of artist dedicated to western art learning and spreading of new art thoughts and skills in the 20th Century.” – Chinese Critic Lu Peng 顏文樑被敬為中國油畫史上德高望重的前輩藝術家，是為中國最早研究和傳播西洋繪畫的先驅。藝術創作擅以風景入畫，注重表現大自然的微妙變化和靜謐之美，作品在結構嚴謹、手法寫實的基礎上，格外重視外光和色彩層次的描繪，構思精巧，筆觸靈活灑脫、清新質樸。《冬日暖陽》為極具顏氏繪畫風格的代表性作品，結合西方與東方的藝術精隨――色調捕捉自歐洲印象派豐富的色彩光影變化、構圖採用西方美學的交點透視法（linear perspective）呈現出深邃之景、並以中國傳統水墨繪畫中慣用的皴法繪出樹梢群葉――在錯落有致的景物裡，金黃的陽光灑在潺潺河水之上、散落於皚皚白雪之中，不急不徐地使人心感受到冬日裡極其珍貴的溫暖，細膩淳厚的創作下，更營造出一片優美恬適的心靈淨土。

「顏文樑是20世紀具有傳統道德風範但又對新藝術眷戀不已的藝術家，他把傳統文化賦予他的謙遜、誠實與堅韌精神運用於對新藝術語言的系統傳播；他堅信人對自然的感受的真實性與崇高性，因此不惜以一生的代價投入到新藝術的教育與傳授中。在很大的程度上講，顏文樑是20世紀中國學習西方藝術和傳播新的藝術思想與技術的一個不可缺少的範例。」 ──中國藝評家呂澎 061

040

YAN WENLIANG

(1893-1990)

Warm Sun in Winter

顏文樑

35.8×55.7cm oil on Canvas signed Yan wenliang in Chinese with one seal of the artist with a certificate of authenticity from gallery

冬日暖陽

PROVENANCE Acquired from''rovenel Auction'' 2006 spring Action lot038

油彩畫布簽名：顏文樑鈴印：樑附畫廊開立之原作保證書來源購自《羅芙奧藝術拍賣會》2006春拍lot038

NT$ 2,000,000-3,000,000 US$ 67,800-101,700

062

041

LIAO CHICHUN

(1926-1997)

Tainan Confucian Temple

廖繼春

45.5×38cm Oil on Canvas Signed CHICHUN in Chinese and C. LIAO in English With a certificate of authenticity from Caves Gallery The painting have authenticity signed by the artist Lu WenZen

台南孔廟油彩畫布簽名：繼春C. LIAO 附畫廊開立之原作保證書藝術家劉文仁簽名確認原作無誤

NT$ 6,200,000-8,000,000 US$ 210,200-271,200

063

064

“Tainan’s Confucius Temple” has represented southern temples’ ar tistic concepts with rich layered colors. The half concrete technique has skillfully captured the beautiful weather and scener y of the southern. The green bushes echoes with the historical red architecture standing straight and firm under the eternal blue sky. The gentle romantic color tones presented the rich cultural affections of the Confucius temple. Humanism values trespass time and converts, rebirth on Liao Chi Chun’s canvas. A generation’s success and memor y have been represented through the ar tist’s brushstrokes. Liao has lived in an era of turbulence an d p o v er t y, b u t hi s ar t w o r k s h a v e alw a y s b e en presented with a happy atmosphere that is full of hope. His brushstrokes bring out the passion and desire of reaching a maturity in life and art. No matter how time passes by, the viewers can always feel the rich warmth, affection and expectations of the artist.

廖繼春為台灣近代畫壇極具代表性的前輩西畫家，作品曾入選美術界最高榮譽的「帝展」與「台展」，也擔任多樣美術競賽的審查委員。二戰後執教於師大美術系，以高度的熱忱栽培後進學子，更支持促立「五月畫會」，於繪畫技法、素養典範皆影響後代甚深，堪稱一代巨擘。廖繼春擅長寓景抒情，以具有韻律感的飽和色調懾人心弦，其於色彩掌控、畫面結構以及意趣呈現皆卓越出色，素有「色彩魔術師」的美譽。無論於戰前抑或戰後時期，其深厚的寫實、印象筆法與明快暢意的風格始終深植人心，為社會溢入源源不絕的美學活力。《台南孔廟》以濃厚的彩度堆疊出南方古廟的人文氣息。半具象的氤氳筆法，精確地捕捉了南方氣候的明媚風光，蒼鬱綠木，襯映著懷具光陰痕跡的紅木建築，在永恆的藍天下昂然豎立，熾亮抒情的色調更呈現孔廟濃郁的文化情思。動人的人文價值彷彿跨越時空，在廖繼春的畫布上交會、重生，一代人的成就與記憶，也就這麼透過藝術家的畫筆而歷久彌新。廖繼春畢生陷於烽火與貧憂，但他的作品卻始終呈現一股歡欣愉悅的明朗氛圍，以充滿希望的彩筆揮灑出一片令人嚮往的繽紛世界，充盈著鄉土人文、希冀熱忱，達到人生與藝術和諧的圓熟境界。無論時空輪轉，觀者總能於他的畫面中感受到豐厚富足的暖意、情感與盼望。

065

042

YUYU YANG

(1926-1997)

Advent of the Phoenix III 140×180×220cm Stainless Steel, 10/10 Signed Yu Yu Yang in Chinese and English, dated 1970 and numbered 10/10 With a certificate of authenticity from Yu Yu Yang Foundation.

楊英風

鳳凰來儀(三) 1970 不鏽鋼 10/10 簽名：1970 呦呦楊英風 Yuyu YANG Yang F. 10/10 附財團法人楊英風藝術教育基金會開立之原作保證書

NT$ 2,200,000-3,000,000 US$ 74,600-101,700

ILLUSTRATED 1. "Yu Yu Yang", Hsiung-Shih Art Book,2004, Page 127 2. "Yu Yu Yang", Taipei Fine Art Museum,2005, Page 110-111 3. "Yu Yu Yang Volume 5", Artist Publishing, Page 78-99 4. "Yu Yu Yang: Vanguard on Native Soil", Kaohsiung, Page 168-169 EXHIBITION 1. "1970 Osaka World Exposition", Osaka, Japan, Mar 15- Sep 13,1970 2. "Yu Yu Yang Exhibition", Taiwan Museum of Art, Taipei, Oct 2- Nov 21,1993 3. "Yu Yu Yang Special Exhibition 61-77", National Museum of History, Taipei, Dec 14, 2000- Jan 14, 2001 4. "Shanghai Grand Theater Gallery", Shanghai, 2004 5. "Yu Yu Yang", Taipei Fine Art Museum, Aug 27-Nov 13,2005 6. "Yu Yu Yang Memorial Exhibiton", Kaohsiung Museum of Fine Arts, Nov 26, 2005- Feb 26, 2006

圖錄 1.《景觀自在-楊英風》雄師出版社 2004 第127頁 2.《楊英風》，台北市立美術館 2005 第110-111頁 3.《楊英風全集第五卷》藝術出版社第78-99頁 4.《楊英風(1926-1997)站在鄉土上的前衛》高雄市立美術館第168-169頁展覽 1.「1970大阪萬國博物館」大阪日本 1970年3月15-9月13日 2.「楊英風-甲子工作紀錄展」台灣省立美術館 1993年10月2日-11月21日 3.「楊英風61-77創作特展」國立歷史博物館 2000年12月14日-2001年1月14日 4.「2004上海大劇院博覽會」上海中國 2004年 5.「楊英風」，台北市立美術館台北 2005年8月27日-11月13日 6.「楊英風紀念展」高雄市立美術館高雄 2005年11月26-2006年2月26日

066

067

『鳳凰象徵中國人對於超然理想境界的神往；在中國思想中，鳳是太平祥和的挺現；傳說中鳳擇「至德之世」而降，唯有太平之世才能一睹中國人最喜愛的瑞鳥芳蹤，似乎一切真善美均是乘著鳳翼翩然而來。』《鳳凰來儀》為楊英風應葉公超先生的委託為一九七○ 年大阪萬國博覽會中華民國館的前庭展出。據說鳳凰在中國古老的傳說裡，只在天下太平才能看見；鳳凰也代表未到來的理想世界。他製作「鳳凰來儀」時，使用機械線條，在鋼鐵材焊接時，要求樸實，使幾合圖變得柔和，以黑色為底襯托中華民國館的含蓄與沉穩，這座寬 9米高7米的鳳凰終於在短促的時間出現在中華民國館前；除了鮮豔的紅色有讓人感受到源源不絕的生命力之外，身體的彎曲的曲線以及身上的羽毛四處延展開來向外翹，另外底部的支撐是利用四根羽毛抑或著是下肢支撐著，整體外型的感覺讓人感受到此鳳凰正要展翅高飛，翱翔於空中。當時楊英風也實現了他的夢想。材質、造形、比例、主題，是景觀雕塑與周遭環境相配合的四個重要因素。完成後的大紅色鳳凰，不但把隔壁韓國館黑沉沉的氣焰（韓國館外有十三根碩大高聳的黑煙囪）壓下去。而且還利用了黑色做襯底，更加可以表現出中國館的雍容古雅，富有深度的含蓄。

068

1970年大阪萬國博覽會中華民國館

Taichi Series-Single Whip ''Taichi Series-Single Whip'' has followed through its Taichi spirit- extracting from the meaning and focusing on its chi. The concrete and defined clear lines are boundless and energetic in a very natural setting; it also come with a very modest undertone. The open arms with a single leg whipping downwards are calm and steady posture in Taichi. The continual movements move the core to the other leg meanwhile slightly lifting the upper body; these are all skillfully presented by Ju Ming’s outstanding talent uniting the momentum in one. It is presented in a steady and ready to release moment. The movement and stillness, the real and virtual are all interpreted by the all in one belief in taichi, bringing out a harmonious relationship between men versus nature and men versus spirits.

太極拳本身可以說是一種動與靜的運轉，在運轉變易之際，必須體悟靜中求動、動裡養靜的意義，精神思緒與身體四肢要能感受天地萬物的氛圍、並順應自然。也因為如此，朱銘的「太極」並未有個別的面相，他們處之天地、代表著一種形而上的力量與精神。朱銘藉以清爽俐落的刀法、鮮明靈動的神韻，開發出獨立而自覺，又承襲本身文化傳統的突破性風範。《太極系列-單鞭下勢》貫徹「取其意而重其氣」的太極精神，呈現具體而明確的俐落簡潔線條，氣勢磅礡於自然之中，迎面而來是質樸內斂的神韻。雙手開闊、單腿微踞的單鞭下勢之姿，在太極拳法中屬於沈著向下的姿態，而接續的動作將是轉換重心到另一腳，並同時提高上半身的上升幅度，朱銘將如此的動態感予以瞬時間的凝結，在氣沈丹田時呈現蓄勢待發的情狀，表現極大力感。在動與不動、虛與實之間，把太極中萬物終歸一心的道理全然詮釋，人與自然、人與精神層次，在此和諧共調。

069

070

043

JU MING

(b.1938)

Taichi Series-Single Whip

朱銘

45×25×39cm Wood(One piece only) Signed Ju Ming in Chinese and dated 1993

太極系列-單鞭下勢

ILLUSTRATED "CHRISTIE'S", Hong Kong, 29 May, 2011, Lot 1103 PROVENANCE Hanart TZ Gallery, Hong Kong, China Acquired directly from the above by the present owner

1993 木雕(僅此一件) 簽名：朱銘 93 圖錄《佳士得》香港 2011春拍 Lot1103 來源中國香港漢雅軒現藏者購自上述畫廊

NT$ 10,000,000-13,000,000 US$ 339,000-440,700

When studying under Yuyu Yang, the doyen of Taiwanese sculpture, Ju practiced taijiquan on a daily basis. In an addition to staying healthy, he soon grasped the essence of this ancient sport and began to ponder conveying his insights through works of sculpture. Taiji became the language, in which his sculpture was written. As Ju Ming his sculpture was written. As Ju Ming explains, “Taijiquan is a method of maintaining your health through regular soft exercise. As the same time, it is the best example of “achieving oneness between individual and nature” that I am aware of. “Taijingquan is a way of directly experiencing and emulating the natural phenomena that makes up our universe. Ju Ming is devoted to the pursuit of this “natural harmony”, both in his life and his art. Having internalized taiji’s principles, he strives to reveal them to others in his work, melding taiji and artistic skills into straightforward, unembellished manifestations of “man’s oneness with nature”. Ju Ming’s single whip epitomizes the fascinating tension between inner tranquility and outward action characteristic of most taiji moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that line in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how taiji allows the life force to circulate freely through the adept’s body. Although Ju Ming made many pieces of "Single Whip" and all named the same, they have different manner and imposing appearance in every piece. The Taichi boxing stress the uniform, slow, soft and round, which fully make the aesthetic into practice and just like that will have different dynamics when different people practice the same style. Therefore, we know that when Ju make the Taichi sculpture, he will give the unique vitality to each of them.

太極拳是朱銘在跟隨楊英風期間的每日健身活動，久而久之，從中體會出太極的精義，乃至於萌生雕刻太極的意念，為他的創作生崖開闢了第一種雕塑的語言「太極」。朱銘說道：【太極拳是古代中國人所創作的一種健身術，他是我所知道的一個人與自然結合的最好例子】。他用人的自身來接觸和模仿宇宙中的自然現象。朱銘追求自然的協調，透過練習太極，由內而外，落實於身體與技法的結合，以樸拙未加修飾的手法雕刻太極，達成「人與自然的結合」。朱銘刀下的單鞭下勢本身具有力度與造型的美感，在動靜之間，讓人感到綿綿不絕的形意流轉，因其式有起伏，不拘泥於外在的型態的雕琢，只追求一是流轉的完整呈現。朱銘雕刻過多件《單鞭下勢》，名稱雖然相同，但其神態、氣勢不同，各有千秋，極具視覺張力及造型美感。太極拳講究勻、慢、柔、圓，充分體現美學思想，宛如同不同的人練太極同一招式時，會展現不同的力度。因此，當朱銘在雕塑每一件太極時，也賦予他們獨特的生命力。 071

YUN GEE's self-portrait

044

朱沅芷自畫像

YUN GEE

(1906-1963)

Lady with Hat 40×31cm Oil on Canvas Signed Yun Gee in English PROVENANCE Acquired from Yun Gee's daughter in New York

朱沅芷戴帽仕女油彩畫布簽名：Yun Gee 來源藏家購自紐約朱沅芷之女兒

NT$ 1,200,000-1,600,000 US$ 40,700-54,200

Lot118

朱沅芷《靜物》1940-1950

74×86cm

“Lady with Hat” speaks of the unique painting language of Yun Gee has for por trait painting. From 1920 to 1930, the ar tist was influenced by cubism and its deconstruction of geometric color blocks; futurism and its expression of lively time; cubism and its linear br ush strokes. He created a rich individualistic composition with tilted composition and linear blocks. The females in “Lady with Hat” have slightly tilted heads, and the artist has successfully capture the beauty and elegance within the moment of the slightly raised chin. The background of the figures was presented in abstract simplified color blocks. This technique has brought out the environment and social condition, and also made the figure stand out to express the artist’s care for human and a self-reflection of the artist’s inner world.

《戴帽仕女》一作擁有朱沅芷對於人物描繪的獨特繪畫語法。1920 至1930年代，朱沅芷受到新立體主義對物體幾何色塊的結構性拆解、未來主義具動態感的時間性表現、立體派帶有自動性線性筆觸…等的影響，進而以傾斜式的構圖、斜線筆觸塊面構成的肖像畫法，造就出具濃厚個人主體性的圖象風格。《戴帽仕女》中的女性，其頭部微傾，朱沅芷精心地呈現出微仰下顎的剎那，表現出一種具有韻律的優美姿態。而肖像後的背景，同時間僅以抽象的色塊簡化呈現，如此的背景處理，不提示人物的生存環境和社會狀態，使得人物本身得以突出，表達出朱沅芷對人的關注，進而映照出觀者對內心世界的自我凝視。

072

073

STILL LIFE Linus Chao has continued his studies in the United States after receiving his degree in Arts at Taiwan Normal University. Chao was educated by acknowledged teachers such as Chu The-Chun, Ma Pai-Sui, Hu Nien-Tsu, Pu Ru and Huang Jun-Bi; also he was the only Chinese disciple of Walt Disney. After returning from the United States, he has dedicated himself into animation production and was widely recognized. He was honored the fifth Ten Outstanding Young Persons Award in Taiwan in 1967; and the Personal Special Award of the Golden Horse Festival in 1969. Afterwards, he was known as the “father of animation in Taiwan” or “Taiwan’s Walt Disney”. He was hired by the University of Hawaii in 1969 and lived there since. Three decades of his career were dedicated to creating and teaching and received “the legend of Hawaii” in 1997. “Still Life” by Chu The-Chun in 1951 was collected by Linus during his time at the Normal University. It was a gift from professor Chu, and has precisely represented his style during his early years, and has transcended a deep bonding between the mentor and disciple. Professor Chu saw potential in Linus while Linus paid great respect to his mentor. This painting speaks of the decades of memories and most importantly, the greatness of the art master. Zhu The-Chun’s “Still Life” was created in 1951 and collected by his student from Normal University, Linus Chao, known as “Taiwan’s Father of Animation”. This is one of the very few pieces from the early years of Zhu’s. The art piece is very unique as it’s rare and meaningful. During Zhu’s early years, he paid extra attention to composition and proportion. Through sceneries and reflections from lights, the viewer’s gaze is focused onto the theme and beauty from structure. The arrangements were done according to the forms, styles, colors; bringing out a comfortable and balanced vision; the colors are rich and full of rhythm. The fluctuating lights layered on top of each other and color blocks lively vary to create gentle and tranquil scenery. The handling of the core and utilization of colors are the basis of Zhu’s abstract style in his later years. The color blocks from the plates and table towel subtly revealed halos. The atmosphere and artistic concepts that flow in the canvas predicted Zhu’s unique art presentation skills. The artistic concept serves as a testimony of the deep bonding between mentor and disciple; the aesthetics reveals important milestones of Zhu’s development. Viewers can see his hard work and glamour during his early years. This artwork comes with history and affection, and definitely a keeper for collectors.

1955年畢業師大藝術系畢業生，其中包括趙澤修、劉國松、郭東榮等人

074

趙澤修，畢業於師範大學藝術系，後留學美國。趙先生曾受教於朱德群、馬白水、胡念祖、傅儒、黃君璧等藝壇名師，同時為卡通大師－華特˙迪士尼(Walt Disney)在世時所收唯一華人弟子。留美返台後，趙澤修先生投身動畫製作領域，成就卓越；1967年被授予第五屆「台灣十大傑出青年獎」，1969年更獲頒金馬獎個人特別獎項，被譽為「臺灣動畫之父」、「臺灣的華特˙迪士尼(Walt Disney)」。趙澤修先生1969年受聘於夏威夷大學，自始定居於夏威夷大島市，任教期間30餘載始終致力於創作、教學不懈，1997年更當選為「夏威夷大島一代奇人」。此件朱德群1951年代創作《靜物》為趙澤修先生就讀於師範大學藝術系期間之藏品，親自授贈於朱德群教授，此作不僅重現朱德群早期繪畫歷程，更承載一段師承間的深厚情誼；朱德群先生賞識桃李、趙澤修先生尊仰恩師，一幅畫道盡數十載回憶歷歷，更見證一代大師風範的傳承。朱德群《靜物》創作於1951年，為當年其師大學生，有「台灣動畫之父」之譽的趙澤修先生之藏品。此作品為朱德群在台灣僅存的早期作品之一，主題為少見的靜物表現，不只稀有，更獨具意義。朱德群早期的作品，講究構圖與比例，透過取景及光影聚焦觀者視野，進而突顯主題、型塑美感。靜物的擺置依照屬性、尺寸、色澤穿插協調，使視覺舒宜平衡；刷色富含巧思並充滿韻律，表現出浮動氤氳的光影，各層彩度交疊相諧，拚色塊面活潑變幻，交揉出溫潤靜謐的景致。此般對畫面核心的掌握以及色彩的調配運用，實為朱德群中後期抽象風格的堅強奠基，此於盤紋及桌布的色塊，即已可窺見往後斑斕光暈的端倪，而畫面中流動、蘊蓄的氣韻特質，更預示了往後朱德群獨具的藝術表現性。於情境中，此畫見證了師生的情誼與傳承；於美感上，也呈現朱德群風格發展歷程的重要軌跡，得以一睹大師早年的耕耘及風采；於史於情，此畫銘刻之深，值得玩味典藏。

1954-55年師大教授群，朱德群、黃君璧、陳慧坤、馬白水、林玉山、趙春翔等人

045

CHU TEHCHUN

(b.1920)

Still Life

朱德群

53×64cm Oil on Canvas

靜物

PROVENCE Collection of Linus Chao, student of Chu Teh-Chun in NTNU, Department of Fine Arts, Hawaii

1951 油彩畫布來源朱德群於臺灣師範學院藝術系（現師大美術系）之學生－趙澤修先生收藏，夏威夷

NT$1,800,000-3,000,000 US$61,000-101,700

075

1953年旅遊八仙山合照，中間為朱德群

最左為朱德群夫人董景昭女士，其餘為四五年級的女學生

DECADES OF MEMORIES I was enrolled into Taiwan Normal University in the Fall of 1951. There were 17 students in my class and the professor was Mr. Chu The-Chun. Many famous teachers were recruited to our program back then and I was honored to be taught by Ma PaiSui, Pu Ru, Huang Jun-Bi, Liao Chi-chun, Hu Nien-zhu but I was influenced most greatly by Professor Chu. I often sought for his advice at his dormitory and assisted in handling some work at No.6 Dorm unit 112. In my first year, there were sketching courses four times every week. Inspired by Professor Zhu, each of us was given a wool thread tangled around our fingers. Our thumbs moved to measure a precise contour, and changed the sculpture every two weeks and scaling up the difficulty gradually. Professor Zhu was hardworking and strict. He demonstrated for us and I have preciously kept what he has instructed me until now. Those sketches were very much similar to his early works which are strict and neat. However, he taught me to be liberal, simplified and relaxed. Professor Zhu received a request from the government in 1951 for an oil painting with the theme “the portrait of President Chiang Chong Zheng”. The army dispatched an officer along with a horse to demonstrate. Around 3pm, I was asked to model and demonstrate how an officer looks like riding on the horse. The officer taught me how to ride the horse and correct postures. The photographer was Lang Jing Shan who was wearing a blue shirt holding an old-school 120 camera and shot dozens for use. After a few days, I was given one as a gift.

076

左起第一位為金勤伯，右起第一位為朱德群

In the summer of 1953, we traveled for a week to Mountain Ali and later to Mountain Ba Gua and stayed for another week at Lin Chang resort. The leading professors were Zhu The-Chun, Ma Pai-Sui, Yuan Shu-Zhen, Zheng Yue-Bo. I have benefited greatly and as the leader of the class, I was in charge of gathering fees and taking photographs for our team. I was always shadowing Professor Zhu and Professor Ma and constantly sought for their instruction. I remembered I was at Mountain Ba Gua, my canvas was set up between them. Later, Professor Ma gave me his “Basianshan-Sea of Clouds” and Professor Zhu’s “Basianshan” was exhibited and printed in his portfolio. The two masters had similar taste in the selected on scenery, but had different techniques. I considered myself extremely lucky to have worked with both. My three daughters, my wife and myself visited Professor Zhu in Paris in 1985 and received warm welcome from him and his wife. He showed me his new works and gave me some feedback on my work and asked me to send him three pieces to represent me and the 2nd Paris Salon. That evening, Professor Zhu made us his home made dishes and buns… Time has passed by, while these memories remain fresh. An overwhelming sadness when I realized it’s 60 years ago… Linu Chao written in Hawaii March, 2011

左一為趙澤修，左二為華之寧，中間為余媛君，右二為朱德群夫人董景昭女士，當時皆為朱德群學生

1953年秋季師大美術系師生畫展朱德群教授油畫作品

1951年，朱德群受中央黨部委託繪製《蔣中正總統馬上英姿》大型油畫，趙澤修為朱德群作人物比例的模特兒。左圖位於為師大體育場，趙澤修騎在馬上做姿，攝影者為郎靜山。右圖為完成作品。由此足見兩者師生情誼深摯

趙澤修六十年憶往 1951年 (民國四十年) 秋季我進入台灣師範學院藝術系，八月

1953年暑假，我們四四級全班去阿里山寫生旅遊一周，後又

入學，班上有十七個學生，導師是副教授－朱德群老師。當

轉赴八仙山，於林場招待所再待了一周。當時隨隊的老師有

時藝術系的名師最多，使我有幸受益於馬白水、傅儒、黃君

朱德群、馬白水、袁樞真、鄭月波等，每日寫生大有收穫，

璧、廖繼春、胡念祖……等老師，但其中朱德群老師對我的

當時我是班長，負責募集旅費及隨隊攝影，總跟在朱老師、

影響最大，我常去他的宿舍請教，並協助處理瑣碎事務，經

馬老師身後，不時請教。當時在八仙山上，我的畫架就在馬

常就待在那第六宿舍112號的一間房內。

老師和朱老師之間，後來馬老師將他的《八仙生雲海》送給了我，而朱老師的《八仙山》則展出並印在他的畫冊上。兩

一年級時，每周四個上午，全是素描課。朱老師從啟蒙開

位大師的取景何其相似，但畫法不同，想我這學生當初和他

始，給學生每人一個毛線針，五指挽住，拇指上下移動，一

們倆在一起，何其幸運。

目測量，把握比例，準確打造輪廓，兩個星期換一個石膏像，由簡入難……。朱老師教學嚴謹認真，為每人改畫示

1985年我與妻及三女去巴黎看望朱老師，受到老師及師母董

範，他給我改過的素描，至今我都很寶貴的珍藏著，這些素

景昭女士熱誠招待，朱老師除了給我看他的新作，又對我的

描很像他自己早期的作品，嚴謹工整，但是他指導我畫卻又

畫作做了一些評鑑，並叫我寄三張給他，以便代表我參加第

是要放得開，簡化和輕鬆。

二年的巴黎沙龍展。當晚，朱老師親自下廚，還做了他家鄉菜和饅頭……。

1951年朱德群老師接到中央黨部委託畫一大油畫，主題是「蔣中正總統馬上英姿。」當時由軍中指派一名騎兵軍官帶

時光荏苒，此些往事仍歷歷在目，現在想來不勝感概，已都

著一匹駿馬，來到師大體育場等候。下午約三點鐘，朱老師

是六十年前的事了……。

派我做模特，騎在馬上做姿，取其人與馬的尺度比例；軍官則教我如何執韁，如何挺胸，腿要如何等等。當時的攝影

趙澤修誌於夏威夷

師是郎靜山大師，郎先生穿著藍色長衫，手捧老式的120相

2012.3月

機，照了十幾張不同的角度以備取用。過了幾天，就由朱老師將其中一張送予我做了紀念……。

1953年暑假藝術系四年級旅遊八仙山。後排

1953年暑假藝術系四年級旅遊八仙山。後排左一

左一為趙澤修，中為朱德群，後右為劉國松

為劉國松，左二為趙澤修，後排右一為朱德群

《靜物》作品局部

077

046

ZAO WOUKI

(b.1921)

Composition

趙無極

25×25cm Color Ink on Formica Signed Wouki in Chinese and ZAO in English, dated 70 With a certificate of authenticity signed by artist

抽象構圖

PROVENCE Private Collection, Europe

1970 彩墨紙本裱於熱固性樹脂板簽名：無極ZAO 70 附藝術家親簽之原作保證書來源歐洲私人收藏

NT$ 1,300,000-1,800,000 US$ 44,100-61,000 Zhao Wu Ji began his journey in France in 1948. The series of Western art movements and thoughts inspired his recognition towards Chinese art values and artistic concepts. Deeply influenced by Asia’s atmosphere and philosophy, the artist continued to discover different symbols, characters, color blocks, spiritual energy or even Zen and Daoist ar t works and creations by connecting this with western abstract expression. With the varying discovery and inspirations, he has created a total abstract painting style in the 1950s. The style has transformed to unleashing the artist’s spirits and feelings from symbols. His thoughts and skills have matured into a unique abstract style that has been widely accepted and acknowledged by the art world in Paris. During the 1970s, Zhao Wu Ji was invited by Air France to paint w all hanging decor ations for Boeing 707 airplanes. This “Composition” was the base design. This cooperation fully demonstrates his position in France and recognition of his unique and sophisticated art skills. This artwork comes with ink blended freely with unrestrained brushstrokes bringing out upright and bold color blocks and lines that echo with the flying sky. The viewers are placed in a situation simulating while they are flying and looking down from above. This grant artistic concept links to Chinese poet Su-Shih’s “Ode of the Red Cliff”“With white mist per vading over the river, the water and sky are connected as one. A wandering little boat floating on a never-ending river. The mindset is open and comfortable as though traveling between the bereft not knowing where to stop. The buoyant feeling as though distant from the world, independent and detached, flying into the sky divinely.” Whether traveling at sea or in the sky, the object and man are as one. This deep implication can be observed in the painting.

趙無極於1948年開啟留法藝術生涯，在一系列前衛的西方藝術運動與思潮中，重新啟發他對中國藝術價值與美學意境的認知。深受東方形神氣韻的美學哲理薰陶，趙無極將此種精神感悟連結至西洋的抽象表現形式，持續探索各種符號、文字、色塊、精神動量，甚至禪宗與道家思想的作品試驗與創作。隨著多樣形式的探索與閱歷心境的啟發，趙無極於1950年代確立其全然抽象的繪畫風格，表現形式也自象徵的暗示符號跳躍至純然精神的揮發與情感的宣洩，思想與技巧皆臻於成熟，其獨樹一幟的抽象風格，廣泛地受到巴黎藝術圈的讚賞與認同。 1970年代，趙無極受邀為法國航空(Air France)－波音 707客機，繪製壁掛裝飾，此幅《抽象構圖》即為當時的設計底圖。可見趙無極當時不僅已立足於法國藝術圈，其氣韻獨具的酣暢畫風更受到社會普遍審美價值的認可。此作品恣意不羈的墨染、酣暢淋漓的筆刷，帶出昂揚飛舞的色塊與線條，與航行於天際之動能感巧妙的相互呼應，使人於畫面中得以感受乘風之勢，俯瞰天地之姿。其闊然的筆意與心境，令人聯想至蘇軾《赤壁賦》所感：「縱一葦之所如，凌萬頃之茫然。浩浩乎如馮虛御風，而不知其所止；飄飄乎如遺世獨立，羽化而登仙。」無論是行於海抑或遊於空，其物我合一，開闊坦蕩之意境，已深寓畫中。熱固性樹脂板 For Mica 李商隱「嫦娥」一詩中「雲母屏封燭影深」，可知雲母是很薄的東西，其實他是一種礦物，以前用作電力絕緣，英文叫Mica，1912年美國有人發明一種膠料代替它，叫這種膠做「For Mica」，它的成份是三聚氰胺樹脂Melamine Resin，又有人叫它「熱固性樹脂板」。

078

079

080

“I definitely had doubts in the “smile series” and even considered of terminating it. Many said I am replicating myself and the smiling faces no longer have their effects with the change of time. However, I think it’s only the technique and economic surface that is changing; everything else remains the same.” —Yue Min Jun.

「我對笑臉系列肯定懷疑過，考慮是不是該停了。很多人也說我在重複，而且時代變了，那些玩世潑皮的笑臉不再有效果。但是我覺得中國社會只是技術和經濟層面的表面變化，根兒上的東西一點都沒有變。」 —岳敏君

081

047

YUE MINJUN

(b.1962)

Jurassic 50×40cm Oil on Canvas Signed yue minjun in English and dated 2008

岳敏君侏儸紀 2008 油彩畫布簽名：yue minjun 2008

NT$ 4,800,000-6,000,000 US$ 162,700-203,400

“Jurassic” combined the images of “smiling faces” and the dinosaur to skillfully imply the passing of time. Before the end of the dinosaur age, reptiles evolved and survival of the fittest created a balance. It has nothing to do with affections or morals. However, in the prosperous 21st Century, simian still competed within this complex socio-economic system. Smiling faces created the image of the society and revealed an absurd spiritual state of the contemporary society. This sneering sarcasm is the most powerful language post 89. Smiling faces could be cynical but also a hypnotizing desire. It’s like making a w ish as though your dream will come true if you look at the smiling face long enough. Yue Min Jun’s homor captured the representation of the era and brought along self-examination and spiritual strength to the viewers.

《侏儸紀》結合「大笑人」與恐龍形象，巧妙呈現跨越時空的隱喻關係。在恐龍時代的末日以前，地球上的爬蟲類恣意的演化發展，弱肉強食的叢林以競爭達成平衡，不涉情感、無關道德；而時至經濟發展蓬勃的21 世紀，智識卓越的靈長生物依舊巧取豪奪，在繁複的社經體制內交際唱和，一張張彷似面具的笑臉堆積成社會集體的形象，揭示著當代社會荒誕的精神狀態。此般嘻笑怒罵式的嘲諷，是「後八九」最鏗鏘有力的文化語彙；然而，笑臉可以是種批判，卻也可以是種盼望式的催眠，就像許願一般，此般笑臉或許看久了，真誠且發自內心的快樂就會實現。岳敏君執著的詼諧，攫取了極富時代性的表徵，在各樣的活潑的表現上為觀者帶來了反思的媒介與心靈的力量。

以「玩世現實主義」之評價被推於國際舞台，岳敏君「大笑人」的招牌符號早已深植人心，成為擅以趣味表象嘲諷社會現實的「後八九」代表標的之一。歷經「'85新潮美術」的洪流，走過八O年代末的失落與動盪，岳敏君自始至終皆維持一貫的「笑臉潑皮」，卻能在不同時空背景下詮釋著社會群體微妙轉變的心境。誇張的笑臉是隱匿個人情感的完美偽裝，也是符合社會期望的利器。隨著社會經濟的飛躍性發展，人們逐漸習慣以不自然的笑臉堆砌各式關係，在看似友善的牆面的背後卻可能是個體的質疑、徬徨與孤寂。表裡不一的情緒心態，形成疲累的矛盾，無論場景轉移、身分切換，人們仍然極有默契地呈現出一貫的表象，宛如岳敏君將「大笑人」安插於形形色色的人、物、時、空上，形成一種詭異怪誕的平衡。

082

083

048

WALASSE TING

(1929-2010)

Summer Days 179×96cm Acrylic on paper mounted onto canvas With one seal of artist With a certificate of authenticity from gallery PROVENCE Private Collection, Europe

丁雄泉夏日壓克力紙本裱畫布鈴印：採花大盜附畫廊開立之原作保證書來源歐洲私人收藏

NT$ 650,000-800,000 US$ 22,000-27,100 “My artworks are all inspired by mother nature- flower, parrots, or even watermelons, which all come in bright vivid colors. We must learn to accept the colors from the sunshine with an open-minded mindset.” —Walasse Ting Being young at heart, Ding Xiong Quan has a liking for crickets. He once said whenever he listens to the cricket sing his mind will be set free. He has even brought in crickets from Shanghai to New York for the sake of listening to them sing and to bring a peace of mind and sprout inspirations. “Summer Days” sets out a very delicate fragrance covering the canvas blue and echoing the bright green. The branches move along with the wind and crickets wander between the bright green branches and blossoming flower buds. The atmosphere is relaxing and pleasing. This rural atmosphere reflects the artist’s peace of mind.

「我的畫全是從大自然裡學來的，花朵、鸚鵡，甚至西瓜，顏色都鮮豔生動。要學，就學人廣闊的胸懷，學接受太陽的光彩。」 —丁雄泉丁雄泉具有赤子之心，極喜愛蟋蟀；他曾自述每當聽蟋蟀唱歌，心情便會極為開朗，他甚至曾特別自上海買蟋蟀回紐約餵養，以便每天都能聆聽蟋蟀聲，藉此安定心靈，激發靈感。此件《夏日》四處瀰漫著幽幽清香，畫面包覆著清澈的藍，搭配翠艷的綠，枝條隨風搖曳擺盪，而在夏日赤艷的太陽照不到的陰涼角落，蟋蟀流連於青翠的枝蔓及含苞待放的花苞，有著無可比擬的清閒愜意。此般充滿田園式的風光情趣，映射出藝術家難得的恬適與清幽。

084

085

049

TAKASHI MURAKAMI a. Flowerball Kindergarten b. Flowerball Blood c. Flowerball Sunflower d. Flowerball Cosmos Diamete: 71cm (×4) a. Lithograph, M 90/300 b. Lithograph, M 89/300 c. Lithograph, M 20/300 d. Lithograph, M 129/300 a. Signed M and numbered 90/300 b. Signed M and numbered 89/300 c. Signed M and numbered 20/300 d. Signed M and numbered 129/300

086

(b.1962)

村上隆 a. 花球 Kindergarten b. 花球 Blood c. 花球 Sunflower d. 花球 Cosmos

2011 a. 限量版畫 M 90/300 b. 限量版畫 M 89/300 c. 限量版畫 M 20/300 d. 限量版畫 M 129/300 a. 簽名：M 90/300 b. 簽名：M 89/300 c. 簽名：M 20/300 d. 簽名：M 129/300

NT$ 80,000-160,000 US$ 2,700-5,400

050

TAKASHI MURAKAMI a. Such Cute Flowers b. Jerryfish Eyes White 4 c. Jerryfish Eyes d. DOB Totem Pole 50×50cm(×4) a. Lithograph, M 21/300 b. Lithograph, M 87/300 c. Lithograph, M 86/300 d. Lithograph, M 129/300 a. Signed M and numbered 21/300 b. Signed M and numbered 87/300 c. Signed M and numbered 86/300 d. Signed M and numbered 129/300

(b.1962)

村上隆 a. 可愛的花 b. 大眼水母-白4 c. 大眼水母 d. DOB Totem Pole

a. 2010 b. 2011 c. 2011 d. 2011 a. 限量版畫 M 21/300 b. 限量版畫 M 87/300 c. 限量版畫 M 86/300 d. 限量版畫 M 129/300 a. 簽名：M 21/300 b. 簽名：M 87/300 c. 簽名：M 86/300 d. 簽名：M 129/300

NT$ 80,000-160,000 US$ 2,700-5,400

087

051

YOSHITOMO NARA

(b.1959)

a. In the Floating World b. What's Going on?

奈良美智

a. 29×41cm b. 28×34cm a. Lithograph,22/50 b. Lithograph, 24/50 a. Signed Nara in English and dated 1999, numbered 22/50 b. Signed Nara in English and dated 1999, numbered 24/50

b. What's Going on?

a. 在浮動的世界

a. 1999 b. 1999 a. 版畫 22/50 b. 版畫 24/50 a. 簽名：Nara 22/50 99 b. 簽名：Nara 24/50 99

NT$ 120,000-220,000 US$ 4,100-7,500

“我懷念童年，懷念童年單純的心情。我努力提醒自己不要忘記創作的初衷。即使世界坍塌，我也想在創作中保持童年時的單純心境。＂與童年的自己保持對話，是奈良美智的藝術法則。

088

052

JIUN | PANG Waterside Town

(b.1936)

60×73cm Oil on Canvas Signed Juin and Pang Juin in Chinese and dated 2010 With a certificate of authenticity from gallery

龐均

龐均在繪畫上獨創「油畫東方風格」，

水鄉古居

用色溫潤運筆流暢，畫面中常見二度與三度空間的並存結構。以西方繪畫的觀

2010 油彩畫布簽名：均龐均 2010 附畫廊開立之原作保證書

點論之，色塊組成的結構風景同時扮演著實景的物件與繪畫的平面，但就題材和運筆之氣，又可覓得其中所帶有東方文人畫哲思。此件龐均於2010年創作的

NT$ 500,000-600,000 US$ 16,900-20,300

《水鄉古居》，可窺見其對於眼見與筆現之間獨具一格的轉換形式，風景的遠近在此不以透視作為處理方式，而是透過光影的強弱與色面的分佈將景色移轉入畫布的平面之中，極為細膩的色調轉換對應於不拘泥形體的隨性筆觸，構築出自主觀看的繪畫風景。在龐均的風景裡，所見他所見，寫意也寫實。

089

053

WALASSE TING

(1929-2010)

Cats 70×111.5cm Acrylic on Paper With one seal of artist With a certificate of authenticity from gallery PROVENCE Private Collection, Europe

丁雄泉貓壓克力紙本鈴印：採花大盜附畫廊開立之原作保證書來源歐洲私人收藏

NT$ 700,000-850,000 US$ 23,700-28,800 Other than having a liking for incorporation females into his artworks, Walasse Ting enjoys putting animals into his themes. He regards both females and little animals similar- cute, gentle and needy. “Cats” comes with feminism, beauty, laidback feeling and luring atmosphere. With the surrounding blossoms, the artwork gives a happy atmosphere. The colors are handled skillf ully bal anced, w ith color block s contracting and echoing with each other. The natural contours are blended naturally, making it easy to approach.

丁雄泉除了愛用女人入畫，也偏愛以動物為題，他認為有時小動物就像女人，嬌柔可愛，需善待寵溺。此件作品的《貓兒們》有著女人般的嬌媚、艷麗、慵懶，充滿著挑逗的情調；搭配周圍錦簇的花卉，呈現出一股感官享樂的歡愉氛圍。畫作中顏色的處理融洽協調，色塊間對比呼應、相互襯托，不刻意以既定的輪廓線區分，而使之自然的混合滲透，迷濛之意溢於畫面，誘人親近。

090

091

054

YANG SANLANG

(1907-1995)

The Evening Bell

楊三郎

45.5×53cm Oil on Canvas Signed S.Yang in English

夕暮鐘聲

ILLUSTRATED "Sotheby's Fine Modern Chinese Oil Paintings, Drawings and Watercolours", Taipei, 14th April 1996, Lot 026

油彩畫布簽名：S. Yang 圖錄《蘇富比》台北拍賣 1996年4月14日 Lot 026

NT$ 620,000-800,000 US$ 21,000-27,100

“The Evening Bell” utilizes warm earthy colors to bring out the sunset, and captured the sunshine’s reflecting shines with smooth brushstrokes. The distant houses; close flowers, trees, sky and grass are gently included into one picture. The picture is musky yet the viewers can delicately see through as though they are observing and feeling this warm sunset on their shoulders. The blowing wind and the chimes echo within this tranquil sunset moment; steadily move within this slowly quieting down world. The artwork is full of exotic fun and natural atmosphere, and it totally captures the viewers hearts as though this moment of transformation of time and objects can be captured. The pureness trespass cultures and borders which bringing out a harmonious, fulfilling and laidback feeling.

楊三郎畢生投注於繪畫創作，其作品極富浪漫情趣之風格，其深受日本外光派與法國印象派之影響，畫風崇尚自然寫意、大方恣肆，卻兼具和諧構圖，光影寫實的柔和技法極具審美意趣。其曾於日治期間獲選台展首獎，旅歐期間作品亦入選法國秋季沙龍，熟稔的筆意與濃郁之情思皆備受讚許。自歐洲遊歷返台後，楊三郎積極投入畫會，不僅籌辦台陽美展，也連續擔任27屆省展的審查委員，終身活躍於畫壇；其作品風格與審美觀念深刻影響台灣戰後油畫美術之發展，奠定其於台灣畫壇上一代大師的堅實地位。《夕暮鐘聲》以和煦的大地色澤刷染夕照餘暉，用酣暢的筆法捕捉太陽折射下的躍動光影，遠方屋舍、近景花木、天空草地均被光暈柔和籠罩於一體，朦朧中卻仍形塑出巧妙的透視，使觀者也彷如佇立其中，目睹、感受這充滿暖意的斜陽灑落肩頭。風的吹拂傳遞鐘聲餘韻，迴盪在這靜謐的落日時分，在白天的喧囂將暫時安歇之際，沉穩踏實的聆響著……此作品散發濃厚的異國情趣與自然情調，深深攫取人心，彷彿無論時空輪轉、物換星移，此景此地，將永恆駐留；其純淨的美感穿越文化、跨越國界，品味細看，和諧、美滿、恬淡的感覺油然而生。

092

093

055

CHEN ERFU

(b.1965)

Jiangxi Touring 100×80cm Oil on Canvas Signed CEF in English and dated 2011 With a certificate of authenticity from gallery

陳二夫江西行(一) 2011 油彩畫布簽名：CEF 2011 附畫廊開立之原作保證書

094

NT$ 680,000-800,000 US$ 23,100-27,100

陳二夫的畫作，充滿著一片秀美脫俗、典雅和諧的蘊意，創作靈感來自於一步步親身走過的土地──觀其所見、畫其所望──在經歷一番山、水、村落與村落間的跋涉後，揮筆繪下本作《江西行 (一)》，在此極具個人特色的風格與技巧的作品中，陳二夫以油彩呈現出水彩、水墨畫中擁有的渲染之感，畫面中開滿樹梢的雪白花朵，融入天際、綻開於屋前、隨著枝椏迎風擺動，在意韻的詮釋中，表達出人文的詩意情懷。

056

QIN XUANFU

(1906-1998)

Lady 65×53cm Oil on Canvas Signed Xuanfu in Chinese and dated 1952 With a certificate of authenticity from gallery

秦宣夫夫人像 1952 油彩畫布簽名：宣夫 52 附畫廊開立之原作保證書

NT$ 260,000-350,000 US$ 8,800-11,900

秦宣夫是中國油畫歷史上一位非常重要的藝術家、美術評論家以及教育學者。其創作風格被譽為率真高雅，質樸自然。對於 20世紀的油畫發展史，影響後世甚深；其眾多著作則被後人奉為鑽研油畫美學的圭臬。在中國前輩畫家中，秦宣夫的作品具有強烈個性和獨特風格。早期秦宣夫赴法留學，畫風受歐洲古典繪畫影響，樸實嚴謹。此作品《夫人像》儀態幽雅而略帶莊嚴，用色豐麗，技法上揉以印象派的筆調與色彩，畫風奔放，色彩明麗，在寫實的基礎上已帶有寫意的浪漫旨趣。 095

057

LONG CHINSHAN

(1892-1995)

Salt Wells 37×28cm Photograph Silver Gelatin With one seal of the artist ILLUSTRATED " S e l e c t e d Wo r k s o f C h i n - S a n L o n g " , Photographic Research Institute of College of Chinese Culture Taipei,1971

郎靜山

華溪鹽井 1938 銀鹽相紙藝術家鈴印圖錄《郎靜山六十年攝影選輯》中華學院攝影研究所發行 1971年

NT$ 80,000-160,000 US$ 2,700-5,400

郎靜山先生是我國攝影界重要的先驅，在國際藝壇同樣備受讚譽；郎靜山自幼習畫，因此對中國書畫抱持高度的熱忱與理想，爾後習得西方攝影術相關的拍攝、沖印技巧後，便期待將西方現代最重要的發明與中國水墨畫意結合。在1934年郎靜山以《春樹奇風》確立「集錦攝影」的傳世風格之後，儘管客觀寫實的攝影作品仍然繼續被創作，卻少為人知，在他1938年作的《華溪鹽井》這件便是其中動人傑作之一；《華溪鹽井》畫面中飄渺的雲霧，村落之間構成有如中國山水畫般的透視，也因此郎靜山的作品被讚以「影中有畫，畫中有影」的美譽。

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058

KAZUO SHIRAGA

(1924-2008)

Cleansing Fire 33×24.5cm Oil on Canvas Signed Bai Fa in Chinese Signed on the Reverse: Bai Fa Kazuo in Chinese and shiraga in English

白髮一雄

淨火油彩畫布簽名：白髮背面簽名：白髮一雄 Shiraga

NT$ 1,500,000-2,400,000 US$ 50,800-81,400

白髮一雄是日本的前衛藝術家，1954年間由吉原治良發起的具體美術協會的主要成員。「具體美術」在日本現代美術史上佔有重要位置，還在國際上受到高度評價。白髮一雄認為油畫顏料的輝煌色彩及所表現出的流動的魅力是日本畫所使用的礦物質顏料無法比擬的。為了強調油畫顏料的流動感，最初使用調色刀塗抹，最終他以引人注目與戲劇性的方式，雙手緊握從天頂上吊下的繩索以保持身體平衡，雙腳直接在擠滿了顏料的畫布上滑行，透過不同的速度與離心力，以身體的運動繪出扇形的軌跡。白髮一雄說過：「關於我的藝術行為，是將不可視的精神通過身體行為表現出來。」他甚至認為這種流動感正是自己夢寐以求的藝術表現形式。為了確認自身的藝術定位，他認真研究過野獸派、表現派等「作為情感表露的繪畫」，從中看到了自己藝術的方向。白髮一雄的足繪畫法是他自身潛藏的能量與感性的自然流露，同時，也實現了吉原治良所倡導的「將物質導入高層次的精神的場之中」的境界。作品《淨火》中紅、黑、黃等具活力的組合色料注滿力量，白髮一雄表示堅信行為繪畫是自己藝術的最佳表現形式。白髮一雄的繪畫作為心靈和身體的表現，不僅是瞬間的行為，而且具有超越時間概念的意義。

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059

YAYOI KUSAMA

(b.1929)

Treetops 60×20cm Acrylic on Silk Signed YAYOI KUSAMA in English and dated 1983 With a registration card issued by Yayoi Kusama Studio, Tokyo

草間彌生梢 1983 壓克力綢布簽名：1983 YAYOI KUSAMA 附草間彌生工作室開立之作品登錄卡

NT$ 450,000-550,000 US$ 15,300-18,600

草間彌生是第一位單獨代表日本參加威尼斯雙年長的女性藝術家，她總是傳達出純在於其激進意念中的浪漫精神。《梢》畫面中細膩的筆觸將多重但急具變化的網格不斷複製，構成綿延於空間中的網，流動畫面中心的網，呈現曲折柔軟的姿態，也延續了草間極具代表性的視覺特色。

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099

1929年生於日本的草間彌生在幼年時代就對現實生活視域中的圓點充滿興趣。鏡子，圓點花紋，生物觸角和尖端都是草間彌生後來作品中重復出現的主題，她對斑點的迷戀源自幼年患有神經性視聽障礙，這場疾病使她看到的世界仿佛隔著一層斑點狀的網。於是她開始畫這些斑點，它們像是細胞，種族，分子，那些生命最基本的元素，草間彌生把它們看成是來自宇宙的和自然的信號。“地球也不過只是百萬個圓點中的一個。＂她用它們來改變固有的形式感，在事物之間刻意地製造連續性，來營造一種無限延伸的空間，置身其中的觀眾無法確定真實世界與幻境之間的邊界。

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YAYOI KUSAMA

(b.1929)

Dot

草間彌生

16×22.5cm Acrylic on Canvas Signed on the Reverse: Yayoi Kusama in English, dated 1990 and titled With a registration card issued by Yayoi Kusama Studio, Tokyo

點 1990 壓克力畫布背面簽名：Yayoi Kusama 1990 Dot 附草間彌生工作室開立之作品登錄卡

NT$ 650,000-800,000 US$ 22,000-27,100

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061

LIN SHIENMAO

(b.1955)

Elegant Dacing B 116.5×91cm Oil on Canvas Signed Shien Mao in English and dated 2012 With a certificate of authenticity signed by artist

林憲茂舞魅B 2012 油彩畫布簽名：Shien Mao 2012 附藝術家親簽之原作保證書

NT$ 400,000-600,000 US$ 13,600-20,300 林憲茂以獨有的抒情感知，將自然界的物象，內化為點、線、面、形、色，致力建構內外的「雙層次」結構，鋪陳出個人內在精神與美感經驗，儘管觀者透過表象，審視內層結構時有一定程度的模糊性，卻依然可從模糊之中，辨識內心世界、藝術觀點與現實三者之間的衝撞與和諧，歸結出更高層次的廣泛指涉。毅然決然投入藝術創作的林憲茂，本身對藝術的強烈企圖心及熱情，驅使他關注於物象形體上的解放及生命力的展現，大膽扭曲、分割，由具象至心象、心象至抽象，色彩與筆觸皆隨著舞者誇張奔放的肢體舞動起來並帶出作者個人情感。藉由明暗對比及光鮮色塊，使畫面呈現強烈節奏感及充滿了神秘深邃之氣質。

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062

LEE SHICHI

(b.1938)

Language of Ink 79×110cm Ink on Paper Signed ShiChi in Chinese and dated 2001 With three seals of the artist

李錫奇墨語

104

李錫奇生於金門，1958年組成「現代版畫會」、1963年正式加入本位思想啟迪的「東方畫會」，曾獲多國國際藝術大獎，以現代抽象版畫聞名國內外。創作歷程分為半抽象期、抽象期、複合媒材期、抽象及書法期四階段，五十多年執著於開創性的藝術創作嘗試，獲得「畫壇變調鳥」的美名，其創作脈絡對於台灣現代藝術發展而言，堪稱為「六○年代台灣現代藝術運動健將」。李錫奇的現代繪畫藝術發軔於傳統的民族性，繼而受到西方的藝

2001 水墨紙本簽名：錫奇2001 藝術家鈴印

術思潮牽引，不斷在傳統與現代之間，尋求歸屬於民族根本的藝

NT$ 150,000-240,000 US$ 5,100-8,100

學中的色與空、虛與實、動與靜、變與易，表現東方智慧的無言

術獨創性。此作《墨語系列》為李錫奇2001年之作，將人生的感悟訴諸於墨語，跳脫傳統媒材的工具使用思維，以布面壓印方式呈現軟調性的皺褶紋理，構成大塊狀分割的抽象性，呈現中國哲純粹經驗，留給觀者精神層面上無限想像的空間。

063

CHIU YATSAI

(b.1949)

The Litterateur 81×65.5cm Oil on Canvas Signed Ya Tsai in Chinese

邱亞才文學家

Chiu Ya-Tsai’s figure is often presented with long eyes, ovalshaped face, and slim body. It is a kind of quiet tenderness that is simple but still delicate. In this painting, the background is painted in plain brushwork, and the figure’s unsophisticated gesture is captured in his genuine characteristic and elegance. It is under Chui’s observation and unique artistic style that audience sees human’s easiness and inner thinking.

在邱亞才畫筆下的儒雅青年人物的杏眼、鵝蛋臉、修長纖細的

1991 油彩畫布簽名：亞才

身材，展現一種深沉的抒情，質樸而不顯粗糙，溫潤且不失細

NT$ 240,000-400,000 US$ 8,100-13,600

的繪畫元素在畫家的駕馭下，呈現優雅的文人氣息。在邱亞才

膩，傾向著內斂沉靜的人性本質。背景以平塗色塊組合，人物造型修長高雅，簡化了複雜的肢體形態到最純粹的感動，單存細微深刻的觀察下捕捉住目光安靜悠然的神韻，從他獨特的視覺風格邏輯中，能感受到人性深沉隱晦的性格。 105

064

ZHENG ZAIDONG

(b.1953)

Mountain Landscape 53×45cm Oil on Canvas Signed Zheng Zaidong in Chinese and dated 1990

鄭在東

多元的創作媒材，但到後來鄭在東發現只有繪畫能夠真正地以個人為出發點進行創作。而這樣的轉捩點促使他開始探尋能夠真正觸發他創作激情的媒材；因此自身的生命經歷成為鄭在東的創作基礎，他的題材幾乎來自於生活周遭

山景

的地景、人、事、物。鄭在東的創作往往在表

1990 油彩畫布簽名：鄭在東'90

現主義的風格中，帶有一點惆悵且浪漫的中國

NT$ 60,000-100,000 US$ 2,000-3,400 106

鄭在東年輕時主修的是電影，並曾積極接觸過

文人氣息；換句話說，鄭在東以油彩進行傳統文人式的考察，便是企圖逃脫中西兩方的藝術窠臼，使創作能夠真正回歸到自我所處的生命狀態中，從中找尋自身生命的崇高精神。

065

KUO JENCHANG

(b.1949)

Kua-fu 53×46cm Acrylic on Canvas Signed Kuo Jenchang in Chinese and English, dated 1992

郭振昌

夸父

In “Kuafu Chasing the Sun” series, Kuo depicts a fluffy giant using his sturdy arms and giant steps to chase the fluorescent moon, forests and riverbeds which are all under his feet. Likewise, Kuo utilizes mythology to display Taiwan as a place that is always around the clock and activities are ongoing day and night. Furthermore, if Taiwanese people can create “miracles” in the economy, increase the domestic income by 14 times in such short period, therefore Taiwan may also declare itself as a “mythology” too. In retrospect the giant is an analogy of Taiwanese citizens and the sun is equivalent to wealth and power. The giant holding the sun displays the wealth and power that Taiwanese citizens have in the their hands.

在夸父追日的系列中，郭氏描述出一個毛茸茸的巨人，以粗壯的手臂和大跨步

1992 壓克力畫布簽名：郭振昌 1992 Kuo Jenchang

追逐發亮的太陽，山林河床都在他的腳下。將台灣日以繼夜的生活型態，以神

NT$ 150,000-250,000 US$ 5,100-8,500

處夸父化作台灣人，太陽化作金錢權力，畫中夸父持日之景，便是台灣人今日

話的方式呈現出來，因為台灣既然可以創造奇蹟，台灣人求生方式，當然也可以用神話稱之了。畫中的夸父不再是原本神話中，逐日不逐而渴死的夸父。此擁金抱權之真實寫照。 107

066

GAO XINGJIAN

(b.1940)

Midwinter

高行健

75.2×58.3cm Ink on Paper Signed Gao XingJian in English and dated 2005 With a certificate of authenticity from gallery

隆冬 2005 水墨紙本簽名：Gao XingJian 2005 附畫廊開立之原作保證書

NT$ 450,000-600,000 US$ 15,300-20,300

Gao Xingjian- the first Chinese recipient of the 2000 Nobel Prize in Literature for his superior talents as a novelist and painter. “Midwinter” was created during the current atmosphere to reflect the artists’ state of mind. The changing ink blended into a grand land with lonesome branches in the white to embellish the picture has created a tension within this metaphoric artwork. Regardless the viewers see it as a drop in the ocean or a lonesome feeling, the artist portraits a firm yet airy; surreal yet real feeling. Gao Xingjian’s water-ink artwork comes with the beauty of description literature which emotions moves along with the environment and from the heart. The natural scenery is tranquil and brings out the delicate and sensitive mind and also the detached yet sophisticated value towards life.

高行健──首位獲得諾貝爾文學獎的中文作家，其超然的藝術性不僅展現於文學創作，更富於繪畫表現。《隆冬》一作著筆於當下時空的氛圍，交映觀者之心靈畫面。墨色變化渲染出闊然天地，綴以孤枝迎立於皚皚漫雪，形塑出寓言式的對比張力；無論為「滄海一粟」，抑或若「天地一沙鷗」，此幅生命之觀，皆飄渺而堅韌、虛幻卻真實。高行健的水墨作品懷有文學般的敘事美感，總是境隨情轉、畫由心生，獨具禪意的自然景觀，凸顯其細膩敏銳的心思，以及超然灑脫的生命感悟。

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067

SA DJI

(1914-2005)

Maternal Love 49×35cm Watercolor on Paper Signed SaDji in English ILLUSTRATED "HOTEL DES VENTES MOSAN", Belgium, Oct. 2011, Lot 371 PROVENANCE Acquired from"HOTEL DES VENTES MOSAN"in Belgium

沙耆母愛 1930~1940年代水彩紙本簽名：SaDji 圖錄《HOTEL DES VENTES MOSAN》比利時 2011年10月 Lot 371 來源藏家購自比利時拍賣會《HOTEL DES VENTES MOSAN》

NT$ 800,000-1,200,000 US$ 27,100-40,700 1940年沙耆與畢卡索等世界名家在比京阿特利亞蒙（ATRIOME）舉辦畫展，得到了當地美術界的高度讚賞。沙耆40 年代創作於皇家美術學院的許多人物和靜物畫，沙耆對傳統的歐洲繪畫進行了系統的研究，不只注重形的塑造，更迷戀於筆觸、肌理對色彩豐富與微妙的關係。在佛蘭德斯畫派的基礎上又吸取印象派的某些技法，色彩溫暖，形成一種靜穆和單純的色調。此作品《母愛》為沙耆早年30-40年代留學比利時期間的創作。其水彩作品有一種近乎魔術般的流暢筆觸，和諧抒情的古典再現，樸質勻稱的風格，神情集中在描繪母親和人倫的熾熱而樸實的情感寫照。

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068

SA DJI

(1914-2005)

Sitting Lady 80.4×70.2cm Oil on Canvas Signed SaDji in Chinese and English With a certificate of authenticity from gallery

沙耆

沙耆的一生的經歷，讓人聯想到同樣為藝術而迷狂的梵谷，過度地燃燒著自己，以致於被火球一樣的陽光熾烤著。與梵谷相較之下，沙耆顯然平和許多，但他的內心不乏燃燒的激情。他被病痛和迷狂一同挾持著，日子的孤寂與創作的歡暢此起彼伏。沙耆的早期作品，主要是在歐洲所繪的作品，大致和他在赴歐之前所接受的徐悲鴻帶來的法國學院派畫風一脈相承。當時油畫雖然在用

端坐仕女

筆和用色上顯示出了印象派的影響，甚至令人想

1940年代油彩畫布簽名：沙耆 SaDji 附畫廊開立之原作保證書

起魯本斯的奔放筆觸，但總體上還是重視素描的

NT$ 4,600,000-5,500,000 US$ 155,900-186,400

位姿態優雅的女士，婉容綽約，雙目炯炯，光彩

主導，因而在造型上採用的是較為嚴謹的寫實手法，一筆一筆紮實沉穩，從不含糊。這說明他具有的良好的繪畫基本功。《端坐仕女》畫的是一照人。用色則強調冷暖色彩的立體法所產生的三度空間，構圖平穩而均衡，並體現出一種古典的靜穆和單純的格調。

沙耆故居黎齋

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069

YUYU YANG

(1926-1997)

Gentle Breeze 100×100×115cm Stainless Steel, EA2 Signed Yu Yu Yang in Chinese and English, dated 1970 and numbered EA 2/2 With a certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED "In Stainless Steel: Sculptures by YUYU YANG", Page 20 EXHIBITION 1993 Joined the FIAC International Contemporary Exhibition in French Paris

楊英風和風

《和風》設置於苗栗高爾夫球場

“Gentle Breeze” shows a harmonious balance of strength and beauty between a young dragon and phoenix with eyes that represent the sun and moon. The circular ball and stage in the middle represent the space bet ween ear th and the universe: a typical counterbalance between the lives in the universe. The whole painting extends to the character of “he”, which represents the philosophies of “man and heaven in one” and “The Temple of Heaven”. The meaning can be amplified from harmony bet ween men, to the idealized harmony of family, society, and country.

《和風》以日、月為眼的一對幼龍稚鳳結合之力與美永恆之合諧安定。中間圓球與台座代表地球與宇宙空間。典型宇宙生命之平衡狀態。整體造型延展為一個大的「合」字，意涵『天人合一』及『天圓地方』的生命哲思。整體造型象徵由人與人的和諧，推展至家庭、社會、國家乃至促進世界和平的理想。據楊氏陳述其創作理念：「『致中和，天地位焉，萬物育焉。』凡事取其中庸、以和為貴，圓融了中國人的生命智慧與生活哲學。

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1993 不鏽鋼 EA2 簽名：'93呦呦楊英風 YUYU YANG Fang EA 2/2 附財團法人楊英風藝術教育基金會開立之原作保證書圖錄《楊英風93個展：不鏽鋼系列新作》第20頁展覽「FIAC國際現代藝術展」法國巴黎 1993年

NT$ 500,000-700,000 US$ 16,900-23,700

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070

YUYU YANG

(1926-1997)

Return to the Beginning

楊英風

65×90×108cm Stainless Steel, 15/20 Signed YinFeng in Chinese and dated 1986, numbered 15/20 With a certificate of authenticity from Yu Yu Yang Foundation

回到太初

ILLUSTRATED "Yu Yu YANG's Lifescape Sculpture 95", Yu Yu Yang Museum, 1995, Page33,45 EXHIBITION 1. "A taste of Our Modern Arts", National Palace Museum, Taipei, May 1986~May 1987 2. "Chelsea Harbor", London, 1997

圖錄《呦呦楊英風豐實的'95》楊英風美術館 1995年彩色圖版第33頁、第45頁展覽 1.「當代藝術嘗試展」國立故宮博物院台北 1986年5 月至1987年5月 2.「Chelsea Harbor展」倫敦 1997年

1986 不鏽鋼 15/20 簽名：'86英風 15/20 附財團法人楊英風藝術教育基金會開立之原作保證書

NT$ 400,000-600,000 US$ 13,600-20,300

《回到太初》一九九六年展於倫敦Chelsea Harbor展

楊英風自述：「這是一隻小鳳凰，初生始誕的新鳳凰，也是一股旋動伸展的大器韶光，滋延出宇宙大生命的萬變多姿。鳳凰在我的觀想中，是一個大自然、大宇宙的整體，更是一個母性的、包容性的、律動性的「生命之源」。西方有自燃燒中復生的火鳳凰，我國則有見則天下大寧、出於東方君子之國的五色俱揚的神鳥鳳凰，儘管傳說臆想，卻透析出世人今古不易的一份執念：對永生的懷想，對祥和美好的嚮往。這是為人的一份可貴的善念。雖然萬物形質有枯榮變遷，人文歷史有更替興衰，只要世人秉持著這份善念努力不懈，祥美、豐華的人間至境，必然誕生。人類追求和平幸福的理念必定實現。一隻初誕的小鳳凰，代表我對宇宙生命的讚美和感動。反璞歸真，回到太初，才能跨出新創造腳步吧。」

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071

JU MING

(b.1938)

Living World Series 14×7.5×31cm Wood(One piece only) Signed Juming in Chinese and dated 2005 With a Certificated of authenticity signed by the artist from Jun Youn Gallery

朱銘人間系列 2005 木雕(僅此一件) 簽名：朱銘2005 附雋永藝術開立之藝術家親簽保證書

NT$ 350,000-450,000 US$ 11,900-15,300 Wood carving takes a very important role in Chinese traditional sculpture. From the ancient till present, it exists in ever y corner in life, it represents the inheritance and connection of culture, and it is even the theory and life of art creation. Ju Ming’s “Living World Series “are wood carvings that have opened a new page in creation conception. They come with Ju Ming’s different recognition of occupations, and have dynamic and open-minded characteristics. The topics range from lives of people, women who are fond of town gossips, modern females, athletes to monks, all of them came from a split second inspiration. “The World Series” is presented in a confident posture. The legs stand firmly on the ground, the shoulder and arms are united, Ju Ming exquisitely presented the imposing manner and charm of the characters.

在東方傳統的雕刻藝術中，木雕是很重要的一種表現形式，從古至今，它存在於生活的每個角落，代表著文化的傳承與維繫，更是藝術創作的理路與活水。朱銘以木雕起始的「人間系列」，展開創作意象的新頁，有著朱銘對於身分職業的不同體認，並擁有多元而開放的性格特色──題材上含括了俗世人物的眾生百態，三姑六婆、摩登女郎、運動員、出家僧眾等對象，一切靈感均信手拈來。本件《人間系列》即以自信的挺立之姿，兩腳橫跨立地，肩胛骨與臂膀的傾斜角度連成一氣，朱銘將人物在舞台上的氣勢與魅力開展的淋淋盡致。

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072

ZHANG NIAN

(b.1964)

Chinese Dream No.23 100×80cm Oil on Canvas Signed Zhang Zian in Chinese and dated 2007 ILLUSTRATED ''Wait- Zhang Nian",Hunan Fine Arts Publishing House, Dec 2007, Page 132

張念中國之夢 No.23 2007 油彩畫布簽名：張念2007 圖錄《等待》湖南美術出版社 2007年12月第132頁

NT$ 160,000-240,000 US$ 5,400-8,100

Zhang Nian’s “Egg- China Dream No. 23” is his creation in 2007. The main character is the Beijing National Grand Theater, nicknamed “hard- boiled egg”. The reason for using an egg as a symbol for “China Dream” is a direct association. It is also the best representation of his expectation of a new China.

張念的《蛋-中國之夢No.23》是2007年的作品，主角是被暱

Waiting is not a foolish act,yetit is a way of fulfilling one’s goal. In 2008, Zhang Nian exhibited “Wait” in Beijing, he said, “the entire hatching process took 19 years in my life; however, compared to China and its people wait for centuries, it is relatively short. It is indeed a long waited day to come.” He used “we” as the subject because it is the wait that Chinese artist had during the era.

等待，不是愚人的行為，它往往還是一種實踐行動的方式。張

稱作「水煮蛋」的北京國家大劇院，「中國之夢」會用蛋來表現，是因為蛋具有孵育生態的直接聯想，也是張念用來隱喻他心中等待的那個孵化出的新中國的最好代表。

念在二○○八北京展出【等待】時，他自述：「這個孵化過程，用了我生命十九年的時間，但對幾百年來受盡苦難的中國和中國人來講，真是太短了。我想我們等待著這一天真不容易。」他用的「我們」，正顯示出那個世代的中國藝術家才有的等待心境。夾處於五○年代出生的文革末代寫實主義知青和

Stuck between 1950 late Cultural Revolution period and new talents born in 1970, the artists that were born in 1960 had their solitary “wait”. The ideologies of individual versus group and democracy versus race are inseparable to them.

七○年代出生的觀念新秀之間，六○年代出生的這批中國藝術家之「等待」是獨特的。他們的個人和群體、民主和民族的概念仍不能分割，但既不似前人沉重，又非後人釋懷。

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073

WALASSE TING

(1929-2010)

Lady with Red Hair Acrylic on Paper With one seal of artist With a certificate of authenticity from gallery PROVENCE Private Collection, Europe

丁雄泉持團扇的紅髮女郎 54×73cm 壓克力紙本鈴印：採花大盜附畫廊開立之原作保證書來源歐洲私人收藏

NT$ 600,000-750,000 US$ 20,300-25,400

Walasse Ting worships females with his brushstrokes, and is well-known for using vivid colors and bold expressions. He has established a unique style deviating from the mainstream. “Lady with Red Hair” is filled with beauty, luring and brightening colors. The blossoms and crickets on the Chinese style fan bring in another level of interest. With the penetration of vivid colored acr ylic through paper, the artist eliminated the lame brightness on canvass, and rather brought in more layers, and enabling the viewers to observe the subtle changes throughout the penetration. The red haired female is therefore even more attractive an d enchantin g , the ar tis t ha s succe s s f ul ly captured the moment of youth and beauty.

丁雄泉藉由畫筆歌頌女人，以艷麗的色彩與大膽的表達方式見稱，樹立了獨立於主流畫風之外的特殊風格。《持團扇的紅髮女郎》的畫面中充滿著嬌媚感、誘惑性和亮麗的色彩，中國式的團扇上錦簇的花卉與蟋蟀也耐人尋味。色彩艷麗的壓克力經過紙本的滲透，少了畫布彩繪的鮮豔俗氣，而變得更有層次感，使觀者能欣賞色彩滲透紙本的毛細變化。紅髮女人也因此變得更嫵媚並充滿魔力，彷彿留住青春美麗的瞬間。

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Zhu Yi Yong, the most prestigious oil painting artist in Chinese contemporary art has begun his fame as the pillar of the Sichuan School and became a prominent among Chinese oil painting. His outstanding artworks have been displayed in a series of exhibitions and secured his position in the academic and market field. He has continued to outpour new and never ending innovation in local contemporary art development. “The Village Entrance” and the National Art Exhibition Bronze award winning “The Village “ were influenced by Realist and Academism and created a Andrew Wyeth style among local realism painting. He has utilized the skills of western modern arts to vividly depict the familiar Chinese scenery. Adding imagination to visual experience and presented his unique affection for Chinese local memories. His artworks are full of rich local colors.

朱毅勇作為中國當代最負盛名的油畫人物畫家，早在 80年代，就以四川畫派中堅的身分響名畫壇，成為中國油畫界舉足輕重的人物，憑藉其優秀的藝術作品以及通過一系列的重要展覽，奠定了他的學術和市場地位。在本土當代藝術發展中所表現出的持續不斷的創新能力。《村口那邊》與曾獲全國美展銅獎的《山村小店》同一時期，早年受到寫實畫家及學院派的影響，在鄉土寫實主義中掀起了一股安德魯．懷斯畫風，借鑒西方現代藝術的寫實的手法，描繪熟悉的中國鄉土景物，將視覺經驗加以想像組織，呈現他對中國本土記憶的獨特眷戀，具有濃厚的鄉土色彩。

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074

ZHU YIYONG

(b.1957)

The Village Entrance

朱毅勇

81.5×103.5cm Oil on Canvas Signed Zhu Yiyong in Chinese and dated 1990.10, in Sichuan Fine Art With a certificate of authenticity from gallery

村口那邊

ILLUSTRATED "Indigenous Realistic Paintin V.S Post-'89 Modern Art", Page 39 EXHIBITION "Indigenous Realistic Paintin V.S Post-'89 Modern Art", Sinman Gallery, 2007

1990.10 油彩畫布簽名：四川美術朱毅勇 90.10 附畫廊開立之原作保證書圖錄《鄉土寫實v.s後八九現代藝術》第39頁展覽「鄉土寫實v.s 後八九現代藝術」新美畫廊 2007年

NT$ 800,000-1,100,000 US$ 27,100-37,300 123

075

WANG YUANDIN

(b.1941)

White Cat

王元鼎

王元鼎以寫實繪畫表達感官與心靈世界的

19×26.5cm Oil on Canvas Signed Wang Yuandin in Chinese With a certificate of authenticity from gallery

白貓

作品，一向流露著真摯質樸的情感，其藝

2011 油彩畫布簽名：王元鼎附畫廊開立之原作保證書

NT$ 260,000-400,000 US$ 8,800-13,600

術創作生命經歷文化大革命，輾轉旅居巴西、美國，最後回到故鄉中國，其對於文化的關切，更受到美國政府頒發「促進東西方藝術事業特殊成就獎」。《白貓》一作，貓咪柔軟的身軀、蓬鬆的貓毛在畫面中生動顯現，在遠望的眼神中，散發出一股寧靜祥和──寫其生命、得其神韻── 王元鼎的畫作有著生命美學特徵的細節，將內在的氣質、意境、情趣予以駐留，帶給人感動、觸動著觀者的心靈。

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076

GEORGE CHANN

(1913-1995)

Flowering Plant 117×54cm Color Ink on Paper Sigend GEO CHANN in English and Chinese With one seal of the artist ILLUSTRATED ''LAMA Los angeles Modern Auctions'', Jun 26, 2011, Lot 091

陳蔭羆

花卉彩墨紙本簽名：陳蔭羆GEO CHANN 藝術家鈴印圖錄《LAMA Los angeles Modern Auctions》 2011年6月26日 Lot91

NT$ 220,000-350,000 US$ 7,500-11,900

《LAMA Los angeles Modern Auctions》2011年6月26日

陳蔭羆早年赴美國洛杉磯奧蒂斯藝術學院就讀，多次於美國各大城市舉辦展覽，其創作受美國抽象表現主義影響頗遽，在自動性技法的使用上師承美國抽象表現主義大師Jackson Pollock，在這件《花卉》的彩墨作品之中，更將自動性技法結合中國傳統山水畫中進行創作，在中西方繪畫的碰撞之下，陳蔭羆創造出一種繪畫的新視野，滴流潑灑於紙本上的顏料既具有抽象意象同時又在畫面中給出敘事的可能，多重媒材的使用建構出陳蔭羆畫作中獨具的表現風格與立體質感，在其創作之下，中國傳統繪畫擺脫了閑靜含蓄的框架，透過自由且充滿不確定性的抽象線條融入畫面，樹立出別具一格的中國抽象繪畫。

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077

PIERRE FERNANDEZ ARMAN

(1928-2005)

Fauteuil Viola 65×50×84.5cm a. Bronze, Fd.55 b. Bronze, Fd.56 a. Signed Arman in English and numbered Fd.55 b. Signed Arman in English and numbered Fd.56 With a certificate of authenticity from gallery ILLUSTRATED "The Exhibition of International Sculpture Master-Arman", Modern Art Gallery, 1996, page 35

阿曼中提琴椅子 1995 a. 銅 fd.55 b. 銅 fd.56 a. 簽名：Arman bocquel Fd.55 b. 簽名：Arman bocquel Fd.56 附畫廊開立之原作保證書

“Fauteuil Viola” compresses the most essentials of Arman’s personal st yle; cutting, converging and intensification, integrating instruments into the different objects. Arman arranges the components of the viola, including the viola bow through his imagination and creativity, recombined into amazing furniture which merges into our daily life.

阿曼將作品拆解重組、切割、破壞、掙脫。將作品的特徵、質感賦予了另一種生命。《中提琴椅子》將生動的樂器融入

圖錄《國際大師雕塑展：阿曼》現代藝術空間 1996 第35頁

NT$ 380,000-600,000 US$12,900-20,300 126

集體造型的組成，中提琴的琴身、琴柄與琴弓依藝術家所屬意的排列組合方式，經由想像力與創意的激盪，日常生活中不可或缺的桌椅物件，成為結合音感、美感與生活於一身的藝術經典。

078

PABLO RUIZ PICASSO

(1881-1973)

Hands with Fish diameter：32cm Ceramic Plate, 37/500 With a certificate of authenticity from gallery

畢卡索掌中魚陶盤 37/500 附畫廊開立之原作保證書

NT$ 240,000-400,000 US$ 8,100-13,600

T he s y mb ol ism w ith Hand’s F ish could easily b y the encompassing embrace of two worlds coming in harmony. Another look on this ceramic’s image could be an ironic twist of fate that between man and nature/fish. Picasso’s sense of humor and life view could be brought out in this one work.

此作《掌中魚》象徵著人類與自然世界的合諧共處。此作品以人類的雙手代表權力與掌控，將象徵自然的魚獲緊按於雙手；然而，人類與自然的命運實是相互共存，可酌取所需，但卻不該視萬物為刀俎魚肉。此件作品不僅饒富日常之趣味，更嶄露畢卡索式的幽默與人生觀點。

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079

ERICA HESTU WAHYUNI Starry Night in Singapore 150×200cm Acrylic on Canvas Signed ERICA in English and dated 2010

(b.1971)

Wahyuni從小學便開始接觸繪畫，也曾在俄羅斯的 Surikov藝術學院留學，目前在印尼國內的評價極高，被讚譽為極具發展性的藝術家，同時也是近年來少數獲得國際高度肯定的東南亞藝術家之一。Wahyuni的創作風格非常鮮明，並保有難得的浪漫童趣，《星光璀

艾瑞卡．海斯圖．瓦尤尼

璨新加坡》一如她其他的畫作，毫不造作的色彩是她

星光璀璨新加坡

對自我的坦率，畫中所有的物件元素也有著它們獨特

2010 壓克力畫布簽名：ERICA 2010

NT$ 550,000-700,000 US$ 18,600-23,700

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的連結；Wahyuni的每一件作品基本上都具備了一個簡單又直率的敘事條件，就如同一個小孩對於家庭事件、對於這個世界的記錄和想像。

080

NUGROHO WIJAYATMO

(b.1980)

Beautiful Thoughts

努格羅霍維加亞摩

160×140cm Oil on Canvas Signed Nugroho W in English and dated 2011 With a certificate of authenticity from gallery

謬思 2011 油彩畫布簽名：Nugroho W 2011 附畫廊開立之原作保證書

NT$ 100,000-180,000 US$ 3,400-6,100

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081

LIU KUOSUNG

(b.1932)

Moon's Metamorphosis No.42 89×89cm Color Ink on Paper Signed Liu Guo Sung in Chinese and dated 1971 ILLUSTRATED 1. "Reserch of LIU GUO SUNG", National Museum of History, Jul 1996, Page 167 2. "A Universe of His Own: Liu Kuo Sung", Chan Liu Art Museum, May 2004, Page 68 3. "The Universe in the Mind:A Retrospective of Liu Kuo Sung", Taoyuan County Government Cultural Affairs Bureau, Oct 2007, Page 101 EXHIBITION 1. "The Study of Painting Exhibition", National Museum of History, 1996 2. "The Universe in the Mind: 60 Years of Painting by Liu Kuo-Sung", Wuyingdian of Palace Musuem, Beijing, 2007

劉國松

月之蛻變之四十二 1971 彩墨紙本簽名：劉國松一九七一圖錄 1.《劉國松研究》國立歷史博物館 1996年7月第167頁 2.《劉國松的宇宙》長流藝聞雜誌社 2004年5月 3.《宇宙心印：劉國松回顧展》桃園縣政府文化局 2007 年10月第101頁展覽 1.「劉國松研究展」國立歷史博物館 1996年 2.「宇宙心印：劉國松繪畫一甲子」北京故宮博物院 2007年

NT$ 1,300,000-1,600,000 US$ 44,100-54,200

“Lunar Eclipse No.42” belongs to the space painting s er ie s; the lo w er half of the m o on is an e cl ips e, presenting the sur face texture with big stroke. The wrinkly lower part of the canvas represents the beauty of the canyons. Feelings were inspired by the natural beauty and looking beyond the horizon to a myriad of vision, imaginative poems and ethereal illusion, as if you were from another world. The universe is a mystical and quiet place, and tranquility is the featuring style of the period.

「劉國松的藝術，不但早期深受五○年代抽象表現主義繪畫的啟蒙，一九六○年代中後期，更受幾何表現主義繪畫的影響。然而更重要的，是劉國松運用西方的構圖形式，表現了中國人對日、月的傳統情懷，進而觀照地球本身。」《月之銳變之四十二》屬於太空系列，用一貫大筆觸方式表現球體表面的肌理，畫布下面特地表現出縐褶感來代表地球的山獄峽谷之美。令人感覺由入世的理想自然景色而提昇到超越地平線的凌空俯視，進而幻化成宇宙、外太空的出世旁觀者，充滿多變視野及想像的詩篇與空靈幻境，宇宙玄想與哲思的寧靜、平和是該時期的風格特色。

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GEORGE CHANN

(1913-1995)

Cluster of Memories 76×60.5cm Mixed Media Oil on Canvas Sigend GEO CHANN in English With one seal of the artist ILLUSTRATED ''LAMA Los angeles Modern Auctions'', Jun 26, 2011, Lot 090

陳蔭羆

記憶叢聚 1930-1940年代綜合媒材油彩畫布簽名：GEO CHANN 藝術家鈴印圖錄《LAMA Los angeles Modern Auctions》 2011年6月26日 Lot90

NT$ 950,000-1,100,000 US$ 32,200-37,300

《LAMA Los angeles Modern Auctions》2011年6月26日

In the early 1950s, the artist has extracted from the rich and sophisticated visual elements from the brushstrokes and forms of Chinese calligraphy- oracle, seal, scribe, standard, and cursive as the basis of his creation. Then he brought out rich layers and texture changes. He was deeply inspired by Chinese ancient artifacts- the rusty feel on green copper and tombs which records the tracks of the fall and rise of history. Chen Yin Bai utilized the characteristics of different materials to create a three dimensional realist texture, and through the powers of Chinese calligraphy and characters, he created a unique Chinese abstract art style. With a little taste of sadness from the passing of time, the artist successfully expressed his longing for the pass of civilization.

陳蔭羆屬於早年移民美國的華人家庭，從洛杉磯奧蒂斯藝術學院展開基礎藝術教育養成，接受了完整的西方美術教育。年少時期的創作題材多以貧困的華人、黑人與墨西哥裔孩童的肖象為主，充滿人文主義色彩及溫情與關懷的畫風。 1947年-1950年他重回祖國的「中國經驗」後改弦易轍，大幅度地翻為盛行於當時的抽象表現畫風，對於回返闊別二十餘年中國的陳蔭羆而言，必然內心有著難以言述的震撼與感動。 1950年代初，他己由甲骨文、篆、隸、楷、草等書法筆形、筆觸中，萃取抽像意味濃厚的視覺元素作為他創作的基底，始有了豐富的層次與肌理變化，他在中國古文物中找到許多靈感；青銅上銅綠腐蝕所產生的歷史文明湮滅感，石碑上斑駁風蝕的感覺。陳蔭羆在畫面上運用了不同媒材特性，將畫面塑造出立體且具有具實的質感，並透過中國傳統書法與文字的力量，樹立了獨特的現代中國抽象表現風格，還多了一絲絲灰飛煙滅的歷史傷感，彷彿在千年後隔空憑弔著文明的逝去。

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YANG CHIHUNG

(b.1947)

Poetry For Winter 130×162cm Oil on Canvas Signed on the Reverse: CHIHUNG YANG in English and dated 2007 ILLUSTRATED 1. "CHIHUNG YANG∣Sculpting In Time", National Dr. Sun Yat-sen Memorial Hall, Sep 2009, Page 92 2. "CHIHUNG YANG :Beyond Painting",Kaohsiung Museum of Fine Arts, 2011,Page 36 EXHIBITION 1. "CHIHUNG YANG∣Sculpting In Time ", National Dr. Sun Yat-sen Memorial Hall, Sep 2009 2. "CHIHUNG YANG : Beyond Painting", Kaohsiung Museum of Fine Arts, 2011

NT$ 800,000-1,200,000 US$ 27,100-40,700

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YANG CHIHUNG

Yang Chi Hung’s painting is rich of poetic aesthetic, combing western abstract romance with eastern scenery painting. John Berger said “Art is a language that turns every moment into eternity.” Yang Shih Hong’s philosophical and beautiful creations are the exact examples of the saying.

楊識宏的繪畫飽滿地傳達出一種詩學的美學特質，揉合起西方抽象繪畫的抒情性與東方風景繪畫的境界性。英國藝術史家約翰．伯格(John Berger)言道：「藝術所有的語言都是為把瞬間轉變為永恆。」將之用於楊識宏其賦予哲理兼具美學思維的創作中，顯得極為透徹而概之。

“Poetry For Winter” is an important milestone of Yang’s discovery of his inner spirits. The blossoming and withering of the plants have transformed from image to the heart. The elegant light yellow layers and contacts the objects as though it is speaking a language of life. The dark brushstrokes imply the strength of calligraphy. The flowing wind reveals the remnant of winter. Yang Shih Hong’s performance in art, textures, lines, forms and colors have showed viewers the circle of life in nature and seasons.

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《冬之詩》是楊識宏從事內在世界精神性探討的重要創作，植物的盛開與凋謝，已經自物象轉化為心象；淡雅的鵝黃天地內，物與物的相疊與輕觸，有如訴說著生命之細語；深色筆觸蘊隱著書法精神的韻律與力道；充滿運動性的搖曳姿態則留下冬風輕拂的訊息；楊識宏在純粹的繪畫表現、肌理、線條、形與色彩間，進而引領入大自然生命榮枯間的辯證、四季更迭的詩讚。

YANG POLIN

「天太藍了，於是我化成一隻鳥，一朵雲，一種英姿，在蒼芎中遨翔。」 ──楊柏林

Yang Po lin transformed his persistent vitality into strong lines, fulfilling his desire in art creation. He does an amazing job with the painting that as though time, thoughts, backgrounds have stopped in time. It shows the vitality and change that happened in the surrounding, striking a perfect balance between the painting, space and beauty.

楊柏林將其堅忍執著的生命力轉化成有力的曲線、成就了他充滿巨大能量的藝術創作。他擅長將作品彷若於一瞬間凝結──時光飛逝的速度、思維心緒的轉移、萬象變化的形態，令人深刻感受到隨著變化而產生的動感及力量，深刻醞釀出作品與空間的關係，以及與環境之間協調的美感。

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084

YANG POLIN

(b.1954)

The Clear Sky 95×46×126cm Stainless Steel, 6/8 Signed Yang Poling in Chinese and numbered S12120806

楊柏林晴空 2012 不鏽鋼 6/8 簽名：楊柏林 S12120806 附藝術家親簽原作保證書

NT$ 1,300,000-2,000,000 US$ 44,100-67,800 《晴空》呈現楊柏林對於自然萬物的繆思，將人類綿延擴張的思緒、希冀與雄志，幻化為在空中翱翔的自由之靈。銀白材質的鏡象表面，在光線下粼粼閃耀，映照出境外境內的虛實影像，同時向兩方拓寬起觀者心靈中的世界、在深省中探索自我的生命層次。於是，晴空中那一對高舉的臂翅，以完美的曲線在空間中化成一股力道，擴展延伸，帶來風與空氣的撫觸、帶來追尋夢想的勇氣。

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JU MING

(b.1938)

Taichi Series-Shadow Boxing 27×52×22cm Bronze, 1/8 Signed Ju Ming in Chinese and dated 1998, numbered 1/8 With a certificate of authenticity from Galerie Vedovi

太極，取義於虛實、動靜、剛柔、緩急等兩相極端的哲思辯證，本質上強調「陰」與「陽」相生相諧、循環彌新，源源動能乃成宇宙萬物的至理。朱銘藉著每日磨練太極拳的過程，體悟太極「內外相合」、「虛實相應」的精髓，手工與心意合一，灌注動態寫意風格，以闊然之姿劈鑿出

朱銘

「太極系列」的東方氣韻與厚實內涵。

太極系列-對招

「太極系列」由內而外展現旺盛生命力，其蘊蓄的飽滿氣韻令朱銘的藝術成就閃耀

1998 銅 1/8 簽名：朱銘 1/8 '98 附Galerie Vedovi畫廊開立之原作保證書

NT$ 2,600,000-3,400,000 US$ 88,100-115,300

於國際藝壇。《太極系列－對招》除展現個體的態勢與力度，更彰顯兩股相對力量的抗勢與和諧。朱銘以俐落、簡潔的刀劈塊面，架構出一攻一守、一迎一退的相應動式，拳腳隨屈就伸、俯臥順勢，律動吐納間，態勢收放自如；當時當刻，兩方相互呼應，互為對方存在，彰顯太極陰陽互濟的本質。朱銘賦精氣神形於快意劈刻中，使有形中仍見著無形，精湛刀法與大器哲思於此顯露無遺。

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JU MING

(b.1938)

Living World Series-Monk 33×46.3×86cm Wood (One piece only) Signed Ju Ming in Chinese and dated 2006 With a certificate of authenticity signed by artist from Kalos Gallery

朱銘人間系列-憎侶 2006 木雕(僅此一件) 簽名：朱銘2006 附真善美畫廊開立之藝術家親簽保證書

NT$ 4,200,000-5,800,000 US$ 142,400-196,600

「人間系列」的創作始於1980年代，象徵朱銘觀照視野與心境的轉向。始於木刻的人間系列，利用媒材的本質傳達作品的情境與內涵，一切始於真、立於純，以每一劃樸實的刀工雕琢出社會個體的多姿風貌，也形塑出多元文化的包容特性。若說「太極系列」劈鑿於磅礡氣韻，涵納東方神采，著意在精神性的純粹凝鍊；「人間系列」便是游刃於個人的所思所感，以具象、多彩、隨興的情趣技法，聚焦於俗世人物的百態風貌，表露出一股柔軟的關懷與體會。朱銘豐富的創作活力，賦予人文內涵與生活情調這兩種題材截然相異的姿態，藝術家深厚的感知能力與文化底蘊，在此不言而喻。此作《人間系列－僧侶》展露僧人與小沙彌間的活潑互動，沉穩莊重的僧人微傾俯身，試圖以成熟、圓融的姿態，回應小沙彌殷殷探詢的赤子之心；泰然寧靜的氛圍，一股傳承的悸動油然而生，交遞的是文化、是信仰，更是處事修身的大智大慧。

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TAKASHI MURAKAMI

(b.1962)

Monogram Multicolore Black

村上隆

40.6×40.6cm Acrylic on Canvas, Edition 32/100 Sigend on the Reverse by Artist With a certificate of authenticity from Louis Vuitton

Monogram Multicolore Black

EXHIBITION "The Museum of Contemporary Art", Los Angels, 2007

2007 壓克力畫布版數 32/100 藝術家親簽於畫背附路易威登開立之原作保證書展覽「當代藝術博物館」洛杉磯 2007年

NT$ 800,000-1,000,000 US$ 27,100-33,900

One of the most influential artists born in the 60s in Japan, Takashi Mur akami enjoy s r enow ned reputation globally and is the idol of many Japanese youngsters. His artworks completely blurred the borders between exquisite art and slapstick humor. He is deeply inspired by Japanese traditional comic books which compose of vivid colors and strong implication of violence. LV- a bag manufacturing factor y established by Loius Vuitton in 1854 has maintained its traditions and signature for a centur y. The four cloves and LV compiled and represented the century’s honor. Working with Japanese designer Takashi Murakami in 2003 for the first time, the Monogram Multicolor with a background of either white or black was launched. Thousands of Monogram basis merchandise went on market and more colors and variation were added. The classic multicolor series were included into many colorful bags and broke through LV’s 150 years of traditions. This breakthrough has attracted high attention. “Monogram Multicolor LV with black background” is created by Mur akami freest yle on the monogram print. He dyed the classic print with beautiful colors in at least 33 shades such as blue, green, red, yellow, pink and so on. Each color presents subtle and delicate balance. With a very difficult production process, the classical print has stood out pleasantly.

村上隆1962年出生，具有國際影響力且備受爭議的日本藝術家，此前他在凡爾賽宮舉辦的個展引發了長達數月之久的爭論。受日本動畫和日本漫畫影響而專註於禦宅族文化和生活方式的後現代藝術風格 —— 超扁平（Superflat）運動創始人。其靈感源自眾多古怪的浮世繪藝術家和金田伊功（Yoshinori Kanada）1983年的動畫影片「Harmagedon」。作為日本上世紀60年代出生的最具影響力的藝術家，村上隆在全世界都頗具知名度，更是許多日本年輕人的偶像。他的作品徹底模糊了所謂高雅藝術和低俗趣味之間的邊界，其創作靈感大多來自日本傳統漫畫，色彩豔麗，並且常常有性和暴力的暗示。村上隆曾於多個世界著名的展覽場地舉行展覽，包括2001 年在東京Museum of Contemporary Art、2002年在倫敦 The Serpentine Gallery、2007年洛杉磯的MoCA及2008年紐約布魯克林美術館等。2003年他為LV創作出Monogram Multicolore彩色Monogram圖案皮具，將其個人藝術事業推至高峰。村上隆曾為法國品牌路易·威登設計手袋等產品，包括限量珍藏版的「櫻花」系列。2008年，他的一座公仔作品，標價5億日圓，創下同商品的天價紀錄。 LV是法國人-路易•威登在1854年創立的製包包工廠，百年來都維持差不多的設計樣式，四瓣花與LV字樣重複交錯的圖案拼出了LV近一百年來的光榮歷史。在2003年首度跟日本設計師村上隆合作，推出了以傳統LV黑或白色為底的＂Monogram Multicolor＂系列，一千種商品上的 Monogram基本組成要素永遠不變，但加入了更多色彩與變化。經典多彩圖騰系列推出了不少色彩繽紛的包包，突破了LV將近150年來的傳統風格，這樣的改變當然引起了很高的話題性。<<路易·威登黑底Monogram Multicolor>> 村上隆諮意用彩色筆在LV經典的Monogram圖騰上撒野。他將彩經典LV圖騰染上瑰麗的顏色, 至少有33種不同的色彩，藍色、綠色、紅色、黃色、粉紅色…等,每種顏色都呈現微妙變化平衡，製作過程相當困難，襯的經典圖騰更搶眼。

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JIA YOUFU

(b.1942)

Wander in the Clouds

賈又福

69×40cm Ink on Paper Signed Title in Chinese and Fu in Chinese With a certificate of authenticity from gallery

平步青雲

ILLUSTRATED ''Hsiung-Shih Art No.236'', Page 158 EXHIBITION ''JIA YOUFU-Solo Exhibition'', Hsiung Shih Gallery, 1990

水墨紙本題識：平步青雲簽名：瓢者福附畫廊開立之原作保證書圖錄《雄獅美術No.236》第158頁之專題卷首& 徐恩存藝術專論《冷峻悲壯的咏嘆──賈又福山水藝術的悲劇英雄主義》展覽「賈又福畫展」雄獅畫廊 1990年

NT$ 2,000,000-4,000,000 US$ 67,800-135,600

賈又福出身北京中央美術學院中國畫系，曾師承名師李

何形式突現在觀者面前，局部的微妙變化則變幻著觀者

可染、葉淺予、李苦禪、宗其香、何海霞等先生教誨，

的知覺……在他筆下暮色中歸來的負薪者、牧者、牛

其中對李可染先生最為崇拜，受其教益最深。

群……所產生的強烈的懷鄉情調則為南宋以來的中國畫中所罕見的。所有這些以及他那奇妙的筆墨技巧使得賈

綜觀賈又福的山水創作，大體上約可分為三個階段。第

又福成為中國當代畫家的行列中最有代表性、最為引人

一個階段：約在七十年代至八十年代初，他初去太行

注目的畫家之一。」

山，被太行的風物、鄉情所吸引，在藝術表現上追求田

─1987年《賈又福畫集》前言，大業/出版

園詩的格調；第二階段：自八十年代初至八十年代中，他多次深入太行，使他逐漸領悟到太行山和太行人特殊

夏碩琦〈論賈又福的山水創作〉指出：「賈又福常以

的性格，對人類生存也有了特殊的領悟，在藝術表現上

『雲』為主體來結構畫面，並通過『雲』創造了那樣多

來看則追求雄渾、陽剛之美；第三階段：自八十年代中

的審美境界，他的『雲』從技法到審美形態都具有開拓

至今，以更宏觀的角度看太行的大氣渾莽，以較高的審

性。賈又福說，他的雲與真實的雲大不相同，是概括加

美理想，從東方美學、哲學的層次上去表現普徧性、突

工了的。我們可從他早期畫的雲和近年所畫的雲進行比

破地域性。

較，便可看出加工的程度和技巧的提高。他把雲靈性化了，精神化了，藝術化了。」

高居翰說：「賈又福的山水畫，體現了中國傳統繪畫在

─1990年《賈又福新作畫集》序言，藝術家/出版

當代畫家的繼承、發展的道路上，獲得十分獨到的成就而令人滿意的類型之一。確切地說，儘管他的畫在傳統

賈又福作品，曾赴美、加、日、法、瑞士、南韓、蘇

方面有極深的淵源，回歸了北宋奇偉恢宏的山水大觀，

聯、印度、新加坡、香港、臺灣等地展出，廣獲各界佳

或再現南宋大師的小景神韵，卻又全然屬於我們這個時

評。《平步青雲》，是賈又福於1990年底第二次應雄

代的。他的作品，顯示藝術家對大自然的鍾愛，賈又福

獅畫廊邀約，來臺參展畫作中具指標性之妙品，佈局計

每年一度地重回太行山，(一千年前荊浩曾在此獲得了靈

白當黑、高古超俗，水墨淋漓『墨分五彩』氣韻生動，

感。)太行山給予他的不僅是對大自然，而且也是對人

滿紙煙霞奇趣橫生，神遊之餘當可領會杜甫『造化鍾神

類生存的深刻領悟，使得其作品無論是巨制還是小幀，

秀，陰陽割昏曉；會當凌絕頂，一覽眾山小』之壯思。

都具有強烈的感染力。大體塊的構成以宏偉的抽象的幾 146

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YAN PEIMIN In many ways, Yan Pei-Ming’s monolithic and expressionist portraits maintain certain continuity with his experiences and training as a young in China. His earliest training as an artist came during China’s Cultural Revolution. At the same time, the country’s landscape was over-run with “big character” posters, a mode of public political editorializing by competing political factions. Yan was impressed by the scale and directness of the posters, the bold expressiveness of the calligraphy demanding the viewer’s attention and aspired to become a professional paint image of movie stars. Later in life, Yan was most impressed by the Abstract Expressionists, not wanting to mimic them in his own arts he eliminated color from his palette and relied instead on the monochromatic, calligraphic technique of his youth. In a body of work spanning nearly 30 years, Yan display a tireless investigation into the mysterious power of icons, by the cultural, religious and political. His preferred subjects include such figures as Bruce Lee, Mao Zedong, and Pope John Paul. But he has also given equal attention to anonymous disaster victims, selfportraits, and portraits of his father carried out in the last year of his life, and even these figures serve as icons embodying near universal aspects of the human condition. Many of Yan’s subjects are drawn from memor y, sometimes abetted by newspaper photos or other mementos. Within his chosen vocabular y, the creation of these images ser ves as a process of externalization, one that allows Yan an extended meditation of the persons in his life, the meaning of their existence, and the ephemeral subjective quality of the artist’s relationship to his subject. Taken as a whole, it becomes apparent that Yan is compelled by an on-going search for identity that is at once cultural, personal, and existential.

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Yan Peimin and his work “Bruce Lee＂嚴培明與其創作《李小龍》

In his portraits monumental “Victime Juliette C”, Yan reveals his fundamental worldview in his treatment of anonymous beggars or the naming of otherwise anonymous victims of disasters or crimes. In his Victime Juliette C., the figure emerges from blunt, muscular strokes against neutral and rapidly executed backgrounds. The surface of the canvas is covered with scattered splatters, attesting to the velocity of the artist’s method. The artist uses usually broad brushes that allow him not only to paint economically but with considerable urgency. Though Yan is working in a classically “Western” painting genre, this technique has certain corollaries with Chinese Zen calligraphers, who would sometimes use overly large brushes in order to sidestep their “conscious” impulses and give rise instead to a less mediated form of expression, This immediacy is apparent in Yan’s works as well, they have an almost “automatic” quality, as if revealing Yan’s visceral and subconscious feelings towards his subjects during the moment of their creation. His portraits, especially his anonymous portraits, as such are often a distillation of experience and memory, at once personal and collective, maintaining the particularity of experience and elevating his subjects beyond that of mere statistics. Yan has said that he only paints “miserable people”, including himself, a disposition that seems to imply a fixation on the inevitabilit y of death. Yan’s worldview is revealed is one of profound unease, full of conflict and unrest. His singular poetic and existential vision, his obsessive return to the visages that have haunted his life, point to a life-long struggle for a moral existence against otherwise seemingly arbitrary experiences and events, a struggle that remains at the core of Yan’s generation’s experience of the 20th and 21th Century.

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089

YAN PEIMIN

(b.1960)

Victime Juliette C

嚴培明

200×180cm Oil on Canvas Signed on the Reverse: YAN Pei-Min in English and Chinese

受害者．茱麗葉C

ILLUSTRATED "Les Presses Du Reel, Yan Pei-Min: The Way of the Dragon", France, 2004, Page168

2001 油彩畫布背面簽名：YAN Pei-Min 嚴培明圖錄《嚴培明：The Way of the Dragon》Les Presses Du Reel 法國 2004年第168頁

NT$ 10,000,000-15,000,000 US$ 339,000-508,500

就許多層面而言，嚴培明單一色調的表現主義肖像

示同情。在1998年創作的《受害者‧茱麗葉C》，

畫，延續他年少時期在中國的生活經驗與教育訓練。

嚴培明透過描述不知名的天災人禍受難者，表達出他

他在文革時期接受繪畫教育，當時中國充斥著【大字

的世界觀。在《受害者‧茱麗葉C》當中，畫家以直

報】海報，亦即政治的力量的公共統戰手段。這些圖

接、陽剛的筆觸描述人物，背景則是不帶感情色彩的

像、吸引觀賞者的粗體鉛字的海報尺寸與直接了當的

快速筆觸。畫布表面布滿潑濺的油彩，證明畫家以相

主旨，都令嚴培明印象深刻，也讓他立志成為電影公

當快的速度作畫。他用特別寬的筆畫迅速作畫，也表

司專門描繪電影明星的專業畫師。後來嚴培明受到抽

達出畫家內心急迫創作的衝動。儘管嚴培明的作品是

象表現主義畫家的影響，卻又不希望自己的作品只是

典型的「西畫」類型，作畫的技巧卻蘊含中國禪修

一昧模仿，他不用鮮艷色彩，反而用年輕時代習得的

書法家的精神，因為他們有時會用超大毛筆閃躲自己

黑白水墨畫技巧。

「意識」的衝動，採用較尖銳的表達形式，畫中有幾近「反射性」的特質，彷彿透露出畫家下筆之際，對

嚴培明創作三十餘年，他的作品不斷探索文化、宗

話中人發自內心的潛意識情感。因此他的肖像畫，

教、政治偶像的神秘力量。他選擇的人物包括李小

尤其是不知名人物的肖像畫，往往是經驗、記憶的產

龍、毛澤東、主教若望保祿等。但是過去一年來，他

物，畫面既私密又帶有集體記憶，而且還保留那種經

以及父親作為體材，即便只是市井小民，它們在他筆

驗的獨特性，他筆下的人物也因此不再只是單純的統

下也成為代表普世人類狀況的記號。

計數字。

嚴培明所選擇的人物多半來自記憶，有時也取自新聞

嚴培明曾說，他只畫「悲慘的人」，其中包括他自

照片或其他紀念照片。這些圖像在他所傳遞的訊息

己，這種傾向彷彿暗示他對人類終將一死的執念。他

中，都成了感情客觀化的過程，畫家藉由這些作品懷

的世界觀充滿深沉的焦慮，矛盾與不安。嚴培明的看

念這些人，思考它們的人生意義。以及他畫家與素材

法充滿詩意，富含存在主義思想，始終致力於描繪揮

的關係之短暫的主觀特質。綜觀而言，嚴培明顯然不

之不去的面貌，這些特質在在指出他終生都在思索人

斷探索個體在文化、個人與人生的身分。

類對抗專橫經驗與事件，這同時也是嚴培明這一代在 20、21世紀所要努力的課題。

在憂鬱的單色調肖像畫中，嚴培明展露他對人類現況所感到的悲哀，透露他對人類既莊嚴又脆弱的能耐表

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090

ZHOU CHUNYA

(b.1955)

Stone

周春芽

100×80cm Oil on Canvas Signed Zhou Chunya in Chinese and dated 1992 With a certificate of authenticity from gallery

石頭 1992 油彩畫布簽名：1992 周春芽附畫廊開立之原作保證書

NT$ 4,600,000-6,000,000 US$ 155,900-203,400

After graduating from Si Chuan Art Institute, Zhou Chun Ya decided to put his career on hold and traveled to receive more education on western avant-garde ar t in Germany. China was going through a period of breakthrough, rebellion and revolution in 1986. Zhou’s journey was meant to bring his later styles and his path as a unique artist. During his stay in Germany, new expressionism and European painting were developing prosperously. Impacted and influenced by a foreign culture, new materials and concepts, Zhou realized his status, meaning and value as a Chinese artist. With his vision and techniques maturing, Zhou’s creation after returning from Germany has sprout and gave the rockery series in the 90s a new page in life. “Stone series” has an inherited meaning to Zhou Chun Ya. Deeply influenced by Chinese literati art in his early years, the classical flowers, birds and rockeries have become desired elements of Zhou. The passionate affection has found its place in expressionism, sparking chemistry between western skills and classical eastern materials. This blend has secured Zhou’s position in contemporary art, just like Chinese critic Lu Peng said “he has begun his unique “new painting” and activated Chinese literati tradition.

周春芽自四川美院畢業不久，選擇暫時放下既有成就，遠赴德國汲取西方當代前衛藝術的薰陶。時值1986年，中國正鼓吹前衛、反動、革新美術潮流之際，周春芽這一趟旅程，將他與往後的各派風格、潮流錯身，也註定將走上一條相異於他同時代藝術家的創作道路。留德期間，德國新表現主義，以及歐洲新繪畫正蓬勃鼎盛，受到異地文化、新式媒材與創作觀念的衝擊俱深，周春芽逐漸體悟於偌大世界藝術版圖上，身為一中國藝術家的地位、意義與價值。由於視野的開闊、心境的轉折與技法的成熟，使懷念、渴慕祖國土地文化的周春芽，歸國後創作力源源迸發，由九O年代的山石系列揭開其獨特豐燦的藝術生命。「山石系列」對周春芽而言具有起始與傳承的意義。由於自小即受中國傳統文人畫的薰陶與感染，經典的花、鳥、山石等元素成了周春芽心中嚮往的中國古典桃花源；而藝術家內心奔放熾熱的情感，卻於表現主義中探尋到一片廣闊天空。於此，西式技法與經典的東方題材，便於周春芽的畫筆下撞擊出炫目燦爛的火花，而這般中西交融的情懷與畫風，也使周春芽特立於任何中國當代美術流派之外，如中國藝術評論家呂澎所說－開創出他自身的「新繪

“Stone series” demonstrated Zhou’s excellent handling of colors and breakthrough in form. The layered texture captured the delicate lines of the stones; the brushstrokes freely move as it paints, dyes, layers and rubs; recreating Chinese landscape. The delicate colors and hidden tension lured the viewers and bringing them into a new stage of “It's like a range when you look at the mountain from the front. But it's like a peak when you look at it sideways.” Zhou emphasizes on realizing the concept, and his bold yet elegant visual effects freshened the viewers like a new concept on the creation. Literati artistic concepts and aesthetics have been given new lives on Zhou’s canvas, creating a unique and elevated pleasure while viewing.

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畫」，並在當代啟動了中國的文人畫傳統。《石頭》一作展現周春芽精湛的色彩掌握與形式突破。層疊堆砌的肌理顏料補捉石塊細緻的紋理痕脈，畫筆在刷、染、擦、疊之間流淌動勢，宛若中國「青綠山水」的形意再現；而細微的光暈色澤、蘊蓄的激情張力，誘使觀者反覆流連，頗具「橫看成嶺側成峰」之逸趣。周春芽畫作的呈現不重在臨摹，而意在神形領會，大膽卻又雅致的視覺效果使人耳目一新，彷彿目睹一股順應時代推進的新中國氣韻正在形成。文人風骨與美感才氣，於周春芽的畫布上被賦與新生，昇華成獨特的審美趣味。

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091

ZHOU CHUNYA

(b.1955)

Peach Blossom No.1

周春芽

150×120cm Oil on Canvas Signed Zhou Chunya in Chinese and dated 1997 With a certificate of authenticity from gallery

桃花一號

ILLUSTRATED "Red and Grey, 8 Avant-Garde Chinese Artist" Soobin Art gallery, 1997, Page 47 EXHIBITION "Red and Grey, 8 Avant-Garde Chinese Artist" Soobin Art gallery, 1997

1997 油彩畫布簽名：1997 周春芽附畫廊開立之原作保證書圖錄《紅與灰-8 Avan-Gard Chinese Artist》斯民藝苑 1997 第47頁展覽《紅與灰-8 Avan-Gard Chinese Artist》斯民藝苑 1997

NT$ 13,000,000-20,000,000 US$ 440,700-678,000

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Zhou Chun Ya is regarded as the most talented artist in handling colors and the earliest pioneer in breakthrough in Chinese contemporary art. From 1986 to 1989, he has been inspired by Germany New-Expressionism Painting and began to discover and realize his mother culture. He recognized and understood Chinese traditional culture and presented his desire with the present and personal experiences. Chinese classical culture and Western materials and skills have developed and blended together, Zhou has successfully created his unique “new painting” style.

於中國當代藝壇中，周春芽被視為最擅於掌握色彩以及最早

“Peach Blossom No.1” was created in 1997, and is one of the Chinese realist ar t series af ter returning from Germany. “Flowers” have long been widely used by Chinese literati to metaphor and express philosophy; giving natural elements different images and symbols. Through singing and chanting, a harmonic consensus that passes time has been created. This implication has become a passion and desire from the inside that provoked the artists’ affections and later inspired Zhou to create his flower series through strong brushstrokes. Unlike Chinese literati being conservative, Zhou has liberally expressed his passion, desire and needs through the blossoming flowers and vivid bright colors. “Peach Blossom No.1” is a breakthrough from the lightly sketched contours technique. Zhou used bright red, green and other liberating colors and forms to discover different colors and compositions; and created a unique and contemporary style.

轉化的中國寫意題材之一。「花卉」自古以來即為中國傳統

His later works “Green Dog series” and “Peach Blossom series” have extended from the color base and echoed with the artist’s affection. The flower stands straight and firm in the middle of the canvas; the vivid green created a strong visual tension that metaphors the livelihood. The brushstrokes are free yet firm; making the flowers strong but beautiful. The intentional blank even more provokes deep thoughts and appreciation. The atmosphere is gentle yet luring making it simple and elegant. Zhou’s unique form and skills have represented western art and eastern literati fun. Borders between time and culture have diminished; a recreation of traditional and contemporary exists.

面中央；艷紅翡綠的色調，將內心的活力源源釋放，形成大

進行形式突破的藝術家之一。1986-1989年，周春芽於異鄉旅程中深受德國新表現主義的激勵與鼓舞，卻也同時挖掘、體悟自身文化的深刻內涵，開始積極渴望以當代的、個人的經驗和方式呈現對中國傳統文化的認同及領會。中國古典文化與西方媒材技法自此在周春芽的心中不斷發酵、揉合、昇華，終於創造出獨屬於周春芽的「新繪畫」風格。周春芽《桃花一號》創作於1997年，為其旅德歸國後嘗試文人雅士的寄情與訴託，此般寓情於物的哲思，使自然元素被賦予各種形象及表徵，透過吟詠傳唱，形成一種跨越時空的互感共鳴；此般精神性的隱喻及明示，醞釀成底心的熱情與渴慕，不時的騷動、撩撥藝術家的款款情思，終於驅使周春芽以強烈鮮明的筆觸創作出花卉系列。不若中國文人畫表露的含蓄、曖昧之意，周春芽無畏於呈現內心的激情，直視人性的慾望與渴求，以極具張力的濃豔色彩綻放生命之花。《桃花一號》跳脫文人畫慣用輕筆勾勒的框架，周春芽反以嬌豔欲滴的紅、翠如鮮摘的綠，以及簡約奔放的形式展開色彩與構圖的探索研究，揮灑出獨特、當代的藝術氣韻。往後的「綠狗系列」與「桃花系列」也在此色調的基底上延續新生，呈現創作脈絡上的情感呼應。盆中之花，勁挺的居於畫膽的視覺張力。筆觸隨興恣意卻富有韌性，使孤傲的桃花蒼勁昂然卻也嬌柔艷媚，刻意留白的佈局更引人沉緬品玩。氣韻溫潤卻蘊存誘惑，使簡潔中帶有高貴，迸發下仍見著優雅。周春芽以獨樹一幟的形式和技法，將西方藝術與東方文人雅仕的逸趣反芻再生，消融了時空與文化的邊界，形塑傳統與當代兼容並蓄的風骨氣韻。

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“After years of studies into literati ar t, Zhou Chun Ya remained respectful to traditions. He believes that traditions are perfect and modern people can view and extract essence of them from their own perspective. While viewing traditions, he has revealed his continual search of the meaning of life. From the choice of symbols in his painting, viewers can see his passion and impulse towards life. From “Stone series ”to “Peach Blossom series”, they all speak of the artist’s desire that shines, simplified and excites- a true interpretation of Zhou Chun Ya’s unique art language.” -Chinese Contemporary Art Curator Li Xu

「經歷了多年對文人藝術的潛心研究，春芽始終對傳統充滿敬意，他認為傳統代表著完美，但當代人仍然可以從另類的角度從傳統中汲取養分並開創自己的風貌。在借鑒傳統的同時，他在創作中一直不自覺地流露出對生命意識的持續追尋，從他對作品中符號的選擇，就可以看出這種處處洋溢著激情的性格脈絡，生命的原始衝動，在從『山石』到『桃花』的漫長旅程中始終閃耀著欲望的光芒，樸拙、淋漓、鮮豔而刺激——這便是春芽獨特的語法。」 —中國當代藝術策展人李旭

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092

JU MING

(b.1938)

Taichi Series-Pushing Hands

朱銘

22×18×21cm Wood(One piece only) Signed Juming in Chinese and English, dated 1978 With a Certificated of authenticity from Arderson Art Marketing Co. Ltd

太極系列-推手 1978 木雕(僅此一件) 簽名：朱銘Ju Ming 78 附安德昇藝術開立之原作保證書

NT$ 1,900,000-2,600,000 US$ 64,400-88,100

The Taiji Series-Push” are fixed in postures that demonstrate the significance in physical balance and it also coyly implicates an illusion of movement through the well-controlled crudity of the material and the seemingly lyrical engraving of the lines that trace the physical contour. Seen in particular with the Push Hand, Ju Ming in sophisticated insinuation presents strength in simplicity with his interplay with nature in his working process.

《太極推手》的姿態散發出均衡的韻律，經由媒材本質上的自我制約和順著外在輪廓的柔性雕線，隱約的暗示出如幻的動感，這尤其在「太極推手」中特別顯著。朱銘在創作過程中與自然的互動，以洗鍊的美感強烈的表現了多重影射；這些質樸的肌理和線條構築了去蕪存菁的身形。

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093

XUE SONG

(b.1965)

Tiger

薛松

120×100cm Mixed Media on Canvas Signed Signed on the Reverse: XUE SONG in Chinese

虎 2008 綜合媒材畫布背面簽名：薛松

NT$ 750,000-900,000 US$ 25,400-30,500

XUE SONG × SALVATORE FERRAGAMO Chinese contemporar y artist Xue Song utilized burnt presswork scraps to create a fire back in 90s. Xue Song has become the second after Chen You Jian, to work a crossover with Yohji Yamamoto and Yayoi Kusama for Salvatore Ferragamo in the year of tiger 2010 to influx a new element in a classical world brand. The tiger in this artwork is surrounded by peony blossoms that implies prosperity and fortune; it al so echoes with Tang Bo Hu’s “ Withering peony poem”. Xue Song intentionally created this charming character and given him the leadership characteristic of a tiger.

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中國當代藝術家薛松利用燒過的印刷品碎片創作，源於上世紀90年代一場大火後的現場情景。薛松成為繼陳幼堅之後，與山本耀司、草間彌生等大師之後於2010年為義大利品牌Salvatore Ferragamo在虎年時製作了一系列的創作，為世界經典品牌注入了新的元素。此件作品老虎身體上的圖案是牡丹圖騰簇擁而成，寓意花開富貴，與背景的唐伯虎“落花賦＂同時呈現在一幅作品中，形成天然的對仗。薛松精心刻畫出了這個極具魅力的角色，賦予其老虎天生的領袖氣質。

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094

XUE SONG

(b.1965)

Coca-Cola

薛松

60x50cm Mixed Media on Canvas Signed Xue Song in Chinese Signed on the Reverse: Xue Song in Chinese and English, dated 2006

可口可樂 2006 綜合媒材畫布簽名：薛松背面簽名：薛松 Xue Song 2006

NT$ 120,000-200,000 US$ 4,100-6,800

薛松的創作由燒過的印刷品碎片構成的中國文字和圖像，作品在90年代波普藝術中具有特殊性。與其他的藝術家不一樣，薛松用燒過的印刷品碎片作材料，並不是深思熟慮的結果，而是起源於 1992年自己家中的一場大火。跳出了素材的限制，以燒製的方式來解構傳統文化，以拼貼重置了流行的元素，使用文化符碼來表現多層次的創作內涵。借鑒了西方利用現成物進行拼貼創作的概念，「可口可樂」的瓶子像中國的鼻煙壺，鼻煙壺的內壁上經常會勾畫中國山水，薛松以可口可樂瓶作為外來文化的一個符號，表現外來文化與中傳統的衝突融合。 162

095

WEI | GUO Inside with the Mosquitoes and Moths (b.1960)

200×180cm Oil on Canvas Signed Guo Wei in English and dated 2003

郭偉室內、蚊子與飛蛾 2003 油彩畫布簽名：Guo Wei 2003

NT$ 650,000-850,000 US$ 22,000-28,800

Guo Wei biggest trait is the performance of his materials and using children as the theme of his artwork. The core strength of Guo Wei’s artwork is “performance” and it’s also where he has put effort in. “Inside with the mosquitoes and Moths” portraits some young girls wearing high heels of adults, walking and moving like grown -ups but still unable to hide their youth. Guo Wei concerns about people around him and himself which shows the desire and emptiness amongst modern people. After 2003, he has trespassed himself in painting and insisted on figurative painting skills. It is a reflex from traditional realist style. The bold compositions of his figures have been simplified and handled with exaggeration; the colors were singular and plain. He aimed at precisely blending the form and flow of his painting.

郭偉作品最大的特徵是題材的表演性，讓孩子成為他作品的中心，“扮演＂應該是郭偉作品的一股核心力量，也是郭偉的用心所在。《室內、蚊子與飛蛾》的作品裡, 小女孩們套上如大人般的高跟鞋、擺出扭腰擺臀的姿態卻掩飾不住調皮幼稚的稚氣。郭偉關注的是自己和身邊的人的生存狀態，表現了新一代都市人的渴望和空虛所交織出的內心的荒蕪和以及這種荒蕪所造成的一種影響。郭偉2003年以後畫作超越了前期，他堅持了具像化的作畫方式，對傳統現實主義的基本原則進行了有力反撥。人物造型大膽對結構與光影進行了簡化與誇張的處理，色彩表現，改而採用了單色化的作畫方案。其突出的要點在於嫺熟準確的造型與流暢含蓄描繪的高度結合。 163

096

I NYOMAN MASRIADI

(b.1973)

Untitled

米斯尼亞迪

140×130cm Oil on Canvas Signed MASRIADI in English and dated 1997

無題

ILLUSTRATED "Nyoman Masriadi: Reconfiguring the Body", Gajah Gallery, Singapore, 2010, Page 205

1997 油彩畫布簽名：MASRIADI 1997 圖錄《米斯尼亞迪：重構形體》新加坡Gajah畫廊 2010年第205頁

NT$ 1,500,000-2,000,000 US$ 50,800-67,800

I Nyoman Masriadi, a painter, is a leading artist of the post-Suhar to era and his works have gained a select collectors base. Masriadi was born 1973, in Gianyar, Bali. Masriadi received his training in art at the Institute Seni Indonesia (ISI) Yogyakarta. The visual imager y and narratives in his paintings are derived from keen and intelligent observations of social life and behavioral traits. His visual vocabulary is striking, continuously refreshing and contempor aneously relevant. From the time he was an art student, he had already been recognized by peers as one of the very first contemporary Balinese artists who eased himself away from an encompassing concern with Balinese life, culture and traditions in his works. He is reputed to have stood in front of the canvas on a cardboard box to restrict himself from any distractions and fidgety behavior; to learn the skill of painting.

繼1997年的亞洲金融危機和蘇哈托1998年的下臺之後，印尼藝術領域的創作取向似乎也一夕轉變，自傳統的保守印象派繪畫轉變成強韌的、社會性的藝術。在眾多東南亞當代藝術家中，最為人所熟知的即為印尼藝術家－米斯尼亞迪(INyomanMasriadi)。1973年出生於峇里島，畢業自日惹的印尼美術學院。他在印尼文化之都日惹與其他峇里島的藝術家一同鑽研峇里島的傳統文化及藝術啟發。米斯尼亞迪擅長以當代敏感的社會題材入畫，並在作品中運用不少動漫、電影與電腦遊戲的形象；試圖在作品中巧妙地滲透諷刺和哲學元素，著力於重新定義、詮釋他周邊世界。他的作品風格強烈鮮明，辨識度高且攫人目光。此件早期作品《無題》展現米斯尼迪亞鮮明的印尼現代派立體主義風格。粗獷、質樸的媒材交疊拼貼，於

Sophisticated and dramatic ar tworks can be seen in the early years of Masriadi’s career. Intentionally focusing on the body parts and thick block style, the main character is depicted with an exaggerated body form fulfilling the entire picture. This is a clear example of Indonesia’s Modernist Cubism style.

164

畫面上將各類元素進行切割、重構，藉由圖騰的排列韻律以及肌紋處理，創造豐富的觀賞視野，充分展現南洋島國的獨特氣韻。不同於動漫類、動作式的嘲諷作品，此作彰顯米斯尼迪亞細膩、純樸、紮實的創作初衷，在其風格發展歷程上佔有重要的象徵意義。

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097

JUNGWOONG | LEE Brush

(b.1963)

142×142cm Mixed Media on Korean Paper Signed LEE JUNG WOONG in Korean With a certificate of authenticity from gallery ILLUSTRATED "Lee,Jung Woog：Static Brush with Splash Ink", GRS Gallery, Page 22

李錠雄毛筆 2006 綜合媒材韓國紙簽名浮雕：이정웅 附畫廊開立之原作保證書

Lee-Jung-Woong's works embraces certain formative principles, seeking to make dual structure based on the Orient's yin and yang thoughts, opposing concepts such as calligraphic paintings and oil paintings, forms and silhouettes, dynamic and still images, reality and false image, oil and water colors. This creates a sense of visual tension in a conflicting state, simultaneously pursuing a dramatic reconciliation and harmony to attain a sense of formative beauty.

圖錄《李錠雄：墨韻中的禪靜》金德瑞藝術中心第22頁

在李錠雄的作品裡那支毛筆彷彿是藝術家自己的化身，利用充滿

NT$ 750,000-1,100,000 US$ 25,400-37,300

低調的狂野。一來紙本身的紋理和連褶皺的痕跡也會很自然地被

古典美的墨水和毛筆，挑戰著亞洲社會偏向傳統的審美觀。原本形象沉穩的毛筆，在墨汁濃度與深淺的運用下，瞬間增添了幾分呈現出來，而添加了畫的趣味性。如此這樣所畫出來的毛筆對視著自己的痕跡，感覺就好像是畫家望著自己的作品進入沉思一樣，更準確地說就好像一個人在自己所取得的成就面前苦思冥想，他的畫作在海外之所以能夠得到好評，其實就是因為畫中所

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蘊涵以最簡潔的方式表達了東方文化的神韻。

098

SHIENMAO | LIN Elegant Dacing E

(b.1955)

60×73cm Oil on Canvas Signed Shien Mao in English and dated 2012 With a certificate of authenticity signed by artist

林憲茂

《舞魅系列》可窺探出他所追求的不單

舞魅E

是靜態畫面，而是動態所展現的流動美。其將非洲或中南美洲等當地民族舞

2012 油彩畫布簽名：Shien Mao 2012 附藝術家親簽之原作保證書

蹈的活力與熱情，以動感型態表現於畫布上，明亮、鮮豔的色塊交疊，不拘於現實表象的精細描繪，而以半具象筆法展現舞者在肢體擺動時的婀娜姿態；數

NT$ 160,000-260,000 US$ 5,400-8,800

名舞者交織穿梭於畫布之間，展現強烈的生命存在感，企圖透過表達非靜止之時間感，補捉舞動時的律動美，釋放源源不絕的能量。

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099

JIAN | LING Give me Organic Food No.3 (b.1963)

60×45cm Watercolor on Paper Signed Ling Jian in Chinese and dated 2010

凌健給我有機食品 No.3 2010 水彩紙本簽名：凌健2010

NT$ 180,000-240,000 US$ 6,100-8,100 168

L iang Jian’s painting c areer is set bet ween Ber lin, Germany and Beijing, China. With years of experiencing the contrasting east and west, a unique and personal interpretation of art has been created from the interest in contemporary value and consumerism culture. Ling Jian once said “females are usually the symbols of the era”. And in his painting, females are usually given surreal beauty- with attractive eyes and beautiful lips- to spur the interests of the viewers and to cater to the current aesthetic standards. However, the over-pursuing and emphasizing on appearances brings out the special consumer behavior in this commercial world. The inner is overlooked, but Ling Jian uses humorous and elegant forms to compose hum anism im a ge s to ex p r e s s his o b s er v atio n an d interpretation of contemporary consumerism society.

100

JIAN | LING Give me Organic Food No.5 (b.1963)

40×30cm Watercolor on Paper Signed Ling Jian in Chinese and dated 2011

凌健

於德國柏林、中國北京兩地進行創作的凌健，長期身處在相差甚巨的東、西方文化間，感興於當下社會所群起追逐的價值觀點、消費文化，並就此產生獨具體悟的藝術解讀。凌健曾言道「女性往往是時代的象徵」，其筆下的女性肖像皆被賦予過度標緻的五官――時而迷濛、時而嫵媚

給我有機食品 No.5

的杏眼，鮮豔欲滴的紅唇――撩撥著觀者的好奇心，並

2011 水彩紙本簽名：凌健2011

企求對應出時下群眾的審美標準。然則，當代主流社會

NT$ 140,000-200,000 US$ 4,700-6,800

對於外型美感的過度追尋，突顯出商業時代中的特殊消費型態，以及內在精神層面的相對缺乏，凌健以一種幽默又優雅的形式建構出人文圖像，表達對現今消費主義社會的觀察與詮釋。

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101

SHU | YANG Scrawl

(b.1965)

90×70cm Oil on Canvas Signed Yang Shu in English and Chinese, dated 2004.3

楊述

楊述的作品《塗鴉》，畫面上的色彩

塗鴉

線條在未打底的畫布上激發出有趣、快捷、故意而為之的聯想，像是街頭

2004 油彩畫布簽名：楊述 2004.3 Yang Shu

塗鴉藝術中常見的抽象繪畫符號，大膽的語言地強烈暗示著身體及欲望，遊移在隱喻和抽象間，像是一種語言

NT$ 150,000-250,000 US$ 5,100-8,500

遊戲，又在這樣的快感中與世界保持著特定的距離，在象徵符號和模糊背景的轉換間，優雅自在地通行。

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102

YANG DIN

(b.1958)

Steppe 119×135cm Mixed Media on Canvas Signed Yang Din in English Signed on the Reverse: Title and Yang Din in English

楊登雄荒野 1993 綜合媒材畫布簽名：Yang Din 背面簽名：Yang Din 1993.8 《Steppe》

NT$ 480,000-600,000 US$ 16,300-20,300

一天的藍天白雲、一地的沙洲荒漠，伴著小小的樹或，淡淡細訴屬於宇宙無垠的寧靜。楊登雄的簡約主義已達極致，將主體以外的雜物隱沒，毫不顧忌以大片留白襯托面積相對極小的主體，《荒野》中小樹，幾片葉子，在廣闊的大地間悄然獨立，留白突出了主體的存在，同時也表達了畫家嚮往脫俗寧靜的心境。為簡單的構圖及柔和的顏色，亦因為濃厚的肌理造成視覺豐富的效果。他以一層層不同色彩混合的顏料，加上其不完全富有規律感卻具流滴感的筆觸，使畫布肌理濃厚呈現。他於作品肌理間尋求表現自然界生氣勃勃的氣息，畫風和諧統一，純樸自然。 171

103

TEHCHUN | CHU 2000C

(b.1920)

73×104.5cm Lithograph, Ed. 150 ex Signed Chu TehChun in Chinese and English ILLUSTRATED "CHU THE-CHUN Estampes Originales 2006", Galerie Bastien Bruxelles, France, 2006, Page 12

朱德群 2000C 2000 版畫 150版之一簽名：朱德群 CHU THE-CHUN

圖錄《CHU THE-CHUN Estampes Originales 2006》 Galerie Bastien Bruxelles (法國出版) 2006年第12頁

NT$ 60,000-100,000 US$ 2,000-3,400

172

104

TEHCHUN | CHU 2000A

(b.1920)

73×104.5cm Lithograph, Ed. 150 ex Signed Chu TehChun in Chinese and English ILLUSTRATED "CHU THE-CHUN Estampes Originales 2006", Galerie Bastien Bruxelles, France, 2006, Page 14

朱德群 2000A 2000 版畫 150版之一簽名：朱德群 CHU THE-CHUN 圖錄《CHU THE-CHUN Estampes Originales 2006》Galerie Bastien Bruxelles (法國出版) 2006年第14頁

NT$ 60,000-100,000 US$ 2,000-3,400

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105

YUAN | ZHANG The Concealed Structure

(b.1966)

210×295cm Oil on Canvas Signed Zhang Yuan and dated 2007

此作品命題饒有興味，張遠認為《隱蔽的秩序》，其實是在無邏輯的表象下所隱藏的故事，但他不刻意去設計某個故事，因為若指向明確，自身就成了編劇，就喪失了宏大廣闊敘事的可能性。張遠的作品，貌似迷糊混沌，實則包含著大

張遠

視野和大智慧。他的作品題材來源廣泛，五色雜

隱蔽的秩序

陳的面孔，人所共知的事件，這些不同背景的繁

2007 油彩畫布簽名：2007 張遠

複細節經過重新組合，最終被統一到低調的底色下。然而通過這些素色的畫面，你會看到社會的各個層面和角落。我們所共享的城市，被眾多圖像困擾著，它極其浮躁，需要表達。但原始的都

NT$ 350,000-500,000 US$ 11,900-16,900

市圖像只是對生活的記錄，必須經過藝術家的過濾、精選和再創造，才能衍生出更大的空間和可能性。

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106

GUOXIN | YANG Good Fruit

(b.1951)

60×80cm Oil on Canvas Signed yangGuoxing in English and dated 2002

楊國辛好果子 2002 油彩畫布簽名：yangGuoxing 2002

NT$ 120,000-200,000 US$ 4,100-6,800

Yang’s series of paintings known as“Good Fruit”has earned the fancy of spectators as well as the attention of critics. Obviously, it was not because the painting’s nature representing some kinds of noble and sacred humanism. Some critics have suggested that Yang’s techniques of thin brush, color mixing were excellent, and the vibrant color of the paintings produced a strong visual effect. Perhaps that was the reason why “Good Fruit” won the approval of common spectators, but not the focus point of the critics’ circle. What aroused the interests and debates among the critics were the ideas and concepts hidden behind “Good Fruit”.

楊國辛的《好果子》作品在受到欣賞者喜愛的同時也受到評論界的持續關注，顯然並非因為它們以通常所謂的“繪畫性＂表達了某種高尚而神聖的人文精神或情懷的緣故。盡管有評論指出他的這些作品運用的薄塗、混色技法爐火純青、色彩艷麗，有強烈的視覺效果，但這或許是一般欣賞者喜歡《好果子》的原因，卻並非評論界關注的焦點。應該說評論界饒有興趣、反覆議論的還是隱藏在這些“好果子＂背後的觀念和思念。

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107

JI DACHUN

(b.1968)

Chick

季大純

100×100cm Oil on Canvas Signed Da Chun and Jia You in Chinese

雛雞油彩畫布簽名：大純甲酉

NT$ 450,000-600,000 US$ 15,300-20,300

季大純的繪畫就像是當代精神生活的寓言式記錄，不同於中國當代繪畫中常見的熱鬧狂放與譏諷，季大純透過繪畫所給出的概念是純粹卻深遠的。極為乾淨簡約的構圖是他的作品一貫的風格，畫面中單一物件的描繪強調出物件選取之於藝術家的不可替代性，使其所選取的物件成為畫作中唯一卻也明確的觀看點，但其挑選的物件又是日常且隨機的，讓觀者能夠在其中恣意聯想，創造出開放的詮釋空間。而畫作上方簽名的動作既像中國傳統繪畫的落款，又像是隨性而至帶有詩意的題字。面對無以名狀的當代日常，季大純將其透過架上繪畫轉換成一種別具禪意與浪漫情懷的詩性隱喻。 176

108

YANG MAOLIN

(b.1953)

Contemporary Bodhisattva in Great Future of Maha 64×64×119cm Bronze Sculpture with Gold Foil, 4/8 Signed Yang Maolin in Chinese, dated 2006 and numbered 4/8

楊茂林摩訶未來光世界的小菩薩 2006 銅金箔 4/8 簽名：2006 4/8 楊茂林

NT$ 500,000-600,000 US$ 16,900-20,300

楊茂林結合卡漫和神怪，已經是他創作的第三時期，從台灣的歷史、政治到現在的台灣文化。「他把這些超級英雄化身為佛陀和菩薩，供奉在一個虛構的當代流行文化萬神殿」宗教是精緻文化，卡漫是通俗文化。他認為每個人內心都會有一兩個特殊的卡漫人物，在童年關鍵時刻扮演著異想世界的延伸及實現。楊茂林創作小飛俠，認為它代表的長生不老、無拘無束、不必負責任的「快樂」形象，他內心的夢幻島，是一片如赤子的純樸之地，充滿希望與樂趣，正是他人生的理想境界。

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109

PIERRE FERNANDEZ ARMAN

(1928-2005)

Venus de Milo 50×45×122cm Iron, 2/8 Signed arman in English and numbered 2/8 With a certificate of authenticity from gallery

阿曼米洛的維納斯 2001 鐵 2/8

古希臘時期《米洛的維納斯》Venus de Milo

簽名：arman 2/8 附畫廊開立之原作保證書

NT$ 950,000-1,600,000 US$ 32,200-54,200 Venus, the goddess of love and beauty, has been imagined in the minds of many about her appearance it is a masterpiece with few equals in the art history. The most representative would be the Greek Venus sculpture estimated from first century B.C. Even though it has a missing arm, the ratio is well remained and the figure is elegant and enchanting, and is regarded as the symbol for female beauty. It represents elegance and classics and is housed among the most important collections in Louvre Museum, France. Pierre Fernandez Arman’s "Vénus de Milo" was inspired by the ancient Greek Venus sculpture, using crude iron and sculpted according to the human body figure, the cutting and composition enriches the virtual space between figure and space. It is a modern remake of classical; a rebirth of the Venus which subverts traditional conserved values and creates unlimited imaginations! Looking into the future, with meanings that represent the past, now, and future, a testimony of humanism and creativity.

說起愛與美的掌管之神――維納斯，世人利用藝術的各種臆想去建構她的姿態樣貌，最具代表性的是於西元前一世紀創作的著名古希臘維納斯雕像，它在世界雕刻史及古典藝術上佔有極其重要的地位，即使遺失了手臂，其身材比例勻稱、體態優雅迷人，被世人認為是女性美的典範和象徵，呈現典雅和諧之美，為法國巴黎羅浮宮最重要的收藏之一。阿曼創作的《米洛的維納斯》，即是以古希臘維納斯雕像作為繆思與發想，利用生鐵板材及依據人體的曲線，變換增減、裁切成線性圖像，強調形體與空間的虛實氛圍。將經典古代藝術轉化為現代感的再造，在歷經完美比例切割之後，展現出了藝術價值與美感顛覆的固守思維，也讓維納斯的誕生，有了更多層、更無限可能的想像！使作品將時空指向未來，其意義穿透過去、現在、未來，呈現特有的人文精神和創造力量。 179

110

DU YONGQIAO

(b.1934)

Focus 130×90cm Oil on Canvas Signed Yongqiao in Chiense and dated 1982.5

杜泳樵專注 1982 油彩畫布簽名：泳樵82.5

NT$ 1,100,000-1,800,000 US$ 37,300-61,000

杜泳樵一生致力於美術教育事業，以淡泊無為、自由開放的教學風格培育了無數優秀的藝術家，許多他當年的學生現在都已是中國畫壇的重量級人物：如羅中立、張曉剛、何多苓、周春芽、程叢林、高小華、葉永青…等。杜泳樵的人物作品，總是與環境水乳相融。總覺得他不是為了描繪某個人物而安排相應的環境或背景，而是在描繪某一風景時順手描繪了環境中出現的人。在杜永樵筆下的風景顏色協調，氣質高雅，強烈情感的色彩筆觸中，將中國古典美學的靜謐的境地完全顯現，烘托出他筆下獨到的純樸簡約，他的藝術是唯美而憂傷，也帶著“若有所思＂的情味。

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SA DJI

(1914-2005)

Lanscape 47.5×62.5cm Oil on Canvas Singed SaDji in Chinese and English, dated 1994 With a certificate of authenticity from gallery

沙耆風景 1994 油彩畫布簽名：沙耆94秋附畫廊開立之原作保證書

NT$ 350,000-450,000 US$ 11,900-15,300

早年沙耆經由徐悲鴻的推薦，遠赴比利時皇家美術學院深造。稟承寫真派大畫家巴斯天畫風，技法精到、筆觸悅人，是歷屆中國留學生第一位以優越的成績獲得「優秀美術金質獎」。沙耆留學比利時近十年，歸國後遭逢社會動盪、病痛折磨、情感的創痛，他的內心充滿激情，沉浸在藝術的探索，一度讓世人無法理解他心理巨大的矛盾衝突。90年代後所繪的靜物、風景已愈趨狂放，跳脫傳統的構圖、造型概念，色彩的力量如水瀉泉湧般創造璀璨輝煌的嶄新路數。

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BUYUN | WU Arabic Women

(1905-2001)

78×63cm Oil on Canvas Signed Wu Buyun in Chinese and dated 1988.9

「伍步雲的油畫，儼然受到西洋名家莫內與凡高的影響，從極為古典的畫法，到浪漫情懷的細緻筆跡，那份虔誠而謹懷的態度，是“登高山則情滿於山，入瀛海則情溢於海＂的情思，從身旁熟悉的事物畫起，為了記錄

伍步雲阿拉伯女人 1988 油彩畫布簽名：伍步雲 9/1988

NT$ 480,000-700,000 US$ 16,300-23,700 184

人在生活中的情感，極富現實主義的畫面，必定自他的心中引起，也必定是目之所視，情之所歸。」 —黃光男（臺北市立美術館館長）

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YANG | YUYU Taichi – I

(1926-1997)

52×50.5×47.5cm Bronze, 15/20 Signed YinFeng in Chinese and Yu Yu YAGN in English, date 1972 in Taipei , numbered 15/20 With a certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED "Yuyu Yang vol.1", Artist, Dec 2005, Page 248 EXHIBITION "Chelsea Harbor", London, 1997

楊英風太極(一) 1972 銅 15/20 簽名：英風'72台北 15/20 YuYu YANG

附財團法人楊英風藝術教育基金會開立之原作保證書圖錄《楊英風全集第一卷》藝術家出版社 2005年12月第248頁展覽「Chelsea Harbor展」倫敦 1997年

NT$ 320,000-450,000 US$ 10,800-15,300

在此件作品完成於一九七二年，楊英風的太極銅雕作品。由此抽象的造型展現太極拳的姿勢，凸面是臂，凹面是兩手抱著一個抽象的圓球即為太極。大自然的氣勢來自圓弧形運轉，正好是人與大自然的氣融合產生最和諧，最有力的運動的開始。此作是楊氏受太極拳啟發而創作出來的作品，楊英風太極 (一九九六年展於倫敦Chelsea Harbor展)

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114

YUYU YANG

(1926-1997)

East West Gate

楊英風

89×89×52.5cm Stainless Steel, 9/20 Signed Ying Feng in Chinese and YU YU YANG in English, dated 1973 and numbered 9/20 With a certificate of authenticity from Yu Yu Yang Foundation With a certificate of authenticity from gallery

東西門

ILLUSTRATED "Yu Yu Yang Corpus, Volume 1", Artist Publishing Co., Dec 2005, page 258

圖錄《楊英風全集》第一卷藝術家出版 2005年12月第258頁

1973 不鏽鋼 9/20 簽名：英風'73 YU YU YANG 9/20 附楊英風基金會開立之原作保證書附畫廊開立之原作保證書

NT$ 260,000-350,000 US$ 8,800-11,900

《東西門》設置於紐約，華裔建築師貝聿銘設計的東方航運大樓金融中心前

In “East-West Gate”, Yang uses the design of the round-shaped door that is often found in a traditional Chinese garden as his model. The arrangement of the spacing gives this piece a scent of poetry and pleasant surprise with the use of the hollow and fully rounded structures as the imagery. The hollow structure contains “yin” which symbolizes Chinese culture, and the full structure contains “yang” which represents western culture. The origins of the two cultures were as one but through division became different cultures. However, today the two cultures have reunited much to that of the formation of yin and yang, and is a crucial element in the reconstruction of the universe. Choosing a non-rusting material to give a polished effect allows for the reflection of the complicated and imaginations. Although a simple man, after going through numerous real-life experiences has created Yang to anticipate the imageries of reality, thus bring tension and the spirit closer together.

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從中國建築中的月門來做創作動念，如中國園林常見的園形穿亭設計，區隔出空間層次，有詩中柳暗花明又一村的驚喜感，以虛與實的兩個圓形結構來作為意象，虛圓是含陰，象徵中國文化；實圓則含陽，象徵西方文化。這兩個文化本身就是宇宙的一體，經過分割後成為不同的兩種文化，但在今日，東西文化又復合，如陰陽同體一般，會是宇宙重新匯整的唯一關鍵因素。不銹鋼材因磨光鏡面效果，可把週遭複雜的環境轉化為如夢如幻的反射映象，本身雖然是極其單純的，但是經由擬像所反映出現的真實事態，來隱喻現實的不可預期性，在精神張力上相當密合。

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115

YUYU YANG

(1926-1997)

Sun Glory and Moon Charm

楊英風

a. 50×75×64cm b. 50×55×84cm a. Stainless Steel, 20/20 b. Stainless Steel, 18/20 a. Signed YinFeng in Chinese and dated 1986, numbered 20/20 b. Signed YinFeng in Chinese and dated 1986, numbered 18/20 With a certificate of authenticity from Yu Yu Yang Foundation

日曜月華

ILLUSTRATED "YuYu Yang Corpus Volume 1", Artist Publishing Co., Dec 2005, Page 300-301

1986 a. 不鏽鋼 20/20 b. 不繡鋼 18/20 a. 簽名：'86 英風 20/20 b. 簽名：'86 英風 18/20

附財團法人楊英風藝術教育基金會開立之原作保證書圖錄《楊英風全集第一卷》藝術家出版社 2005年12月第300-301頁

NT$ 500,000-700,000 US$ 16,900-23,700

楊英風-希望石碑上面就是寫日曜月華合而唯一

《日曜月華》象徵宇宙萬物的陰、陽二元及景觀和物象天理之聚合、開展及演化。「日曜」為陽、為日、為龍的簡化與造型化。「月華」則為陰、為月、為鳳兩者協調運作持天地同光、四海昇平，一股綿綿有勁的生命力，在其放射的光芒和迴印中，透露出人間的讚美和希望據楊英風自述創作理念：「［日曜］因其放射狀的扇形，與其頭部圓形的透空『日眼』，而取之象徵放射性的太陽之光耀大地。代表一條初生的祥瑞幼龍。這條幼龍經過造型的簡化，已經脫出一般所習見的麟角獸型，而符合了龍的基本意『小則化為蠶蠋，大則藏於天下』，能大、能小、能長、能短、能伸、能屈，變化萬千。所以這條初生之龍，是充滿活力與朝氣的「龍之精神原體」。是一股宇宙生命動力與自然現象的含攝、表徵，而非狹義的關乎所謂皇權之象徵。這是以造型的凝鍊，所創造出來的一條現代化『新幼龍』，脫出古龍的複雜、一般性造型，而返歸於『龍』的至真義：凌於有無方寸之間。」

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116

CHINGJUNG | CHEN Stone Statues of Rome

(b.1934)

194×130cm Oil on Canvas Signed Chingjung in Chinese and dated 1971

陳景容羅馬石像 1971 油彩畫布簽名：景容 1971

NT$ 600,000-800,000 US$ 20,300-27,100

陳景容早期於日本武藏野與東京藝大求學，後旅居巴黎，作品多次入選法國各沙龍展。陳景容所營造的畫中風景，不同於現世的煩囂，常帶有一種滄桑獨立之感，超現實的構圖與灰冷色調的運用構築出靜謐卻不失情感的獨特景緻。此作《羅馬石像》，漂浮於空中的其實是愛神（Eros），獨泊岸邊的空船讓靜藍的海面成為無垠的情感想像，略帶橘暖色調的天空與沙岸讓灰冷的夜色帶有一絲溫潤，此境雖無比孤寂，卻隱匿著情意，似乎有一股微光疊入畫中，讓獨立於空中的愛神石像不再冰冷。善於營造空曠清冷的超現實場景的陳景容，仍將畫面注入幽微的情感可能，此景雖清冷沈靜，卻也包覆著柔軟且靜謐的私語。

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GANG | HUANG The Memory of Beijing No.2

(b.1961)

105×244cm Mixed Media on Panel Signed Huang Gang in English and Chinese With a certificate of authenticity from gallery ILLUSTRATED "Eminent Chinese Artist - Huang Gang: Revolving Golden Imprint", artping2, 2008, page 174-175

黃鋼北京記憶 No.2 2008 綜合媒材經版簽名：Huang Gang黃鋼附畫廊開立之原作保證書圖錄《黃鋼-轉動黃金印記》平藝術， 2008年，第174-175頁

NT$ 2,900,000-4,000,000 US$ 98,300-135,600

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Huang Gang created craftworks and artworks. He used special mater ial s to cr eate abs tr ac t for ms but at the s ame time contemporary artworks with specific implications. He has given a spirit to the new material by bringing in personal thoughts into Buddhist printing blocks that are rich of history and literature, and re-organized them with past memory, current feelings and future desires into one. The factors accommodate and blend with each other to create a unique Chinese artistic conception, and also expressed the artist’s passion and thoughts of the contemporary.

《北京記憶 No. 2》映射藝術家的心靈圖像，成就一幅集體記憶下的個體表徵。1980年，黃鋼考入中央工藝美術學院，此時正值中國改革階段；北京城面貌、風氣的轉變，以及藝術界渴求相對自由的表達方式，種種反動與反思在年輕感性的藝術家內心留下烙印。回憶經過積年累月的刷洗，技術日復一日的推

敲琢磨，終形塑出屬於大眾，卻獨出自黃鋼的「北京記憶」。畫面中層疊騷動的太陽紅，拱戴穩妥昂立的五芒星，以刻蝕的經版紋理結構出印象的拼圖，蓄勢待發的張力不言而喻，暗示一股未知的思潮與力量即將鋪天蓋地的襲來，轟轟的壟罩著潛伏的都城。畫者與社會環境的拉扯、互動、妥協、包容甚或認同，不僅呈現出作品磅礡的意象，也傳達深刻的文化底蘊。黃鋼的作品兼具工藝性與藝術性，以特殊媒材拚塑出形式抽象卻意義鮮明的當代作品。他賦予現成物質新的精神性，將具備人文歷史深度的現成物－佛經刻板，灌入個人意象重新組建拼貼，使過往記憶、現世感受與未來想望，相互包容、交織並且融合，展現出中國獨樹一幟的氣韻與神采，也呈現一位極富熱情與思想的藝術家的當代視野。 193

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YUN GEE A prominent pioneer Chinese artist of the 20th Century, Yun Gee has lived in three continents. Beginning from Asia and influenced by the modern arts of United States and Europe, he has secured a place in Western Arts. With artworks transcending the cultural barrier of Eastern and Western, his unique per sonalit y outstands and demonstr ates significance during the turbulent international atmosphere. Taken care by his relatives in 1921, Yun Gee has relocated to the United States in 1921. Educated by the orthodox Synchronism and later to the prosperous Paris in 1927, she was exposed to Cubism, Fauvism, Futurism, Dadaism etc… Influenced by the avant-garde European arts, her discovery in color and composition has opened up a new page in her art style. For his whole life, Yun Gee has unceasingly demonstrated different creations and has expanded her art affections into each phase in life.

朱沅芷是二十世紀初期重要的海外華人藝術家先驅，生平經歷橫跨世界三洲，根源亞洲，於美國和歐洲接受現代藝術之薰陶，在西方藝壇佔有一席之地。其創作跨越出東方、西洋的文化區界，展現個人獨特辨別度的繪畫風格，在當時國際情勢風起雲湧的大時代脈動下，具有重要的代表地位。朱沅芷於1921年赴美國依親，其後進入正統的藝術體制接觸到共色主義( Synchromism )；1927年轉往藝術思潮高漲的巴黎，接觸當時立體派、野獸派、未來主義、達達主義…等歐洲前衛藝術的洗禮，朱沅芷融合對於色彩與結構的探索，進而展開不同階段的繪畫風格。終其一生，朱沅芷孜孜不倦地嘗試各種形式之創作表現，並把藝術情懷擴及於看待生命的各個層面。親身參與現代美術運動的朱沅芷，其創作曾與馬諦斯、畢卡索、莫迪里亞尼、瑪麗．羅蘭珊、基里柯(Giorgio de Chirico)等藝術家的作品並列展出，並多次參選重要沙龍展、於歐美主流畫廊發表，1963年逝世於紐約後，眾多畫廊及美術館為其舉行

His career is closely related to her life experiences. With the historical, geography background and her personal experiences, his art style has changed from time to time. From the Great Depression in 1929 to 1933; World War Two from 1939 to 1945 have brought out the lonesome feeling and economic deprivation in his artworks.

多場回顧展與巡迴展覽，作品受紐約的惠特尼美國藝術博物館 (Whitney Museum of American Art)、美國華盛頓的赫胥宏美術館 ( Hirshhorn Museum and Sculpture Garden)、美國奧克蘭美術館 (Oakland Museum of California)、法國龐畢度藝術中心(Centre Georges Pompidou)…等重要現代藝術機構收藏。

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118

YUN GEE

(1906-1963)

Still Life

朱沅芷

74×86cm Oil on Canvas Signed Yun Gee in English

靜物

PROVENANCE Acquired from Yun Gee's daughter in New York

1940-1950 油彩畫布簽名：Yun Gee 來源藏家購自紐約朱沅芷之女兒

NT$ 5,000,000-7,500,000 US$ 169,500-254,200

1940 - 1950 STILL LIFE

朱沅芷的創作生涯，和他的人生歷程緊密相連。當下所

Created during the period of 1940 to 1950, he has just moved back to New York from Paris and began his life journey of marriage with Helen Wimmer, new born daughter, and unfortunately the end of the marriage.

二次世界大戰，同時存有位於異族他鄉的孤寂與經濟上

A great deal of olive green tone is utilized in this painting and extended the influence of Freud’s “Interpretation of Dreams” by using dark depressing colors. Motivated by avant-garde thoughts, he abandoned academic overcrafting and instead sought after the utmost originality and vitality. The multiple vision composition created a mysterious and unclear tranquility.

搬返紐約，歷經了與海倫‧威瑪(Helen Wimmer)的婚姻

處的時代背景、地緣關係、個人經歷，都為其畫作風格帶來轉變。其於青壯年期歷經1929年至1933年間的全球性經濟大蕭條(Great Depression)、1939年至1945年的第的拮据，這些生命中的過程與感受都被隱隱顯於創作之內。《靜物》創作於1940至1950年代，此時期朱沅芷自巴黎起始、女兒新生的喜悅、以及這段婚姻的結束。此作採用大量的墨綠色調，並延續巴黎時期受佛洛伊德「夢的解析」與精神分析理論的影響，用色深鬱。而在前衛思潮的脈動推進下，其捨棄學院派過於精雕細琢的筆法表現方式，轉而透過放棄細膩描繪來追尋最原初的質樸與生命力；多視點的構圖則營造出一股神秘、捉摸不清的

The blossoming flowers and laying rabbits created a strong contrast in his painting. Within this strong tension, the por tr ait reflected a metaphor of the exchange of life and death. In this still moment, the artists enabled viewers to feel the dramatic plot of literature and drama and even expressed the creativity from life experiences of the artist.

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寧靜氛圍。畫作中，含苞的、綻放的花朵與躺臥的兔子形成明顯的對比，在具有強烈張力的畫面中，映照出生死交織變換的象徵意蘊。在定格、似動非動的瞬間場景中，作品的氣質讓人感受到文學、戲劇中的宿命情節，更表達出朱沅芷以生命洗鍊出的創作能量。

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"NO.2"

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FANG LIJUN

(b.1963)

No.2 80×100cm Oil on Canvas Signed on the Reverse: Fang Linjun in Chinese, dated 1997 and titled No.2 PROVENANCE Galerie Serieuze Zaken / Rob Malasch, The Netherlands

方力鈞 No.2

“No.2” is Fang Li Jun’s classic with using the theme “water”. The blue, clear water slowly flows to gently reveal a sense of leafing within the endless. Without direction nor target. The floating figurative objects might also be invisible. It is a metaphor of “a drop in the ocean” always discovering, searching and struggling; unable to escape its fate. With the diminishing of passion in the 80s came along the laidback and depressed 90s, there is a lack of belonging in social value and detached phenomena. People are lost and frustrated but still moved forward like the waters in the painting moving and creating ripples. Fang Li Jun’s artwork did not come in vain rather he is tr ying to arise the viewers’ self- awareness and self-reflection. Different individuals will have different images to reflect the heart. The artist’s skills empowered a sense of peace and tranquility for the viewers to temporary sooth the emptiness and lonesome feeling. ”No.2” returned to the most natural and original emotions without rage and laughter. The artist utilized an interesting image to study the contemporary micro and macro, the artwork is indeed a masterpiece to keep.

《No.2》為方力鈞以「水」為符號概念的經典之作。澈藍之水漫漫流淌，隱隱透露躁動的漂浮感，無邊無際，沒有指標，也欠缺方向，甚至連可能充當浮木的具體物象也毫無蹤影痕跡。孤懸的汪洋

1997 油彩畫布背面簽名：方力鈞1997 No.2

本身即是一種隱喻，身為「滄海之一粟」的個體總在其中摸索、掙

來源荷蘭 Serieuze Zaken 畫廊

乏依歸的社會價值，漠然冷感的社會表象，使大眾心中充斥無奈與

NT$ 9,000,000-15,000,000 US$ 305,100-508,500

扎與浮沉，無論奮泳抑或潛溺，都始終浸於其中。當八○年代的理想熱情逐漸消弭冷卻，伴著失望而來的是九○年代隨興與消沉，缺徬徨，卻仍須推移前行，正宛若畫中水勢浩然，順勢漫起不平靜的陣陣漣漪。然而方力鈞的作品並非是徒然的、自棄式的表白，而是試圖引起觀者的自覺意識與反思；畫中水波串起一股若有似無的形象，在每個觀者的心中醞釀出不同的形象，如菱鏡般的水面宛若能映射人心，藝術家淡然的表現形式，反而使觀者的情感思緒霎時顯得平靜透徹，空寂與茫然得到暫時的舒緩與救贖。此作品《No.2》少了其他符號所帶有的憤懣戾氣與嘻笑賣弄，而回歸最自然、原始的情感觸發，方力鈞以趣味的表象深究一個時代下的集體與個體心裡，觸及時代特性之深，即具品味收藏之價值。

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The 64 Movement in 1989 is a watershed in Chinese Modern Art history; the transformation in e conomy, s o ciet y and politics has interacted with the thoughts and actions of artists. Viewing from the atmosphere then, Chinese art critic Li Xian Ting brought up the term “the c y nic al realism” in 19 9 0 to reveal a new and contemporary creation style. The “Post 89” became a significant trademark in Chinese contemporar y art histor y; the artists were rebellious and criticizing in reflecting and taunting the society and formed a new cultural strength. The representatives are – Fang Li Jun, Yue Min Jun, Wang Guang Yi, Zhang Xiao Gang, known as the Chinese contemporary art F4.

一九八九年的六四事件，為中國現代美術史的發展畫下分水嶺；經濟、社會與政治層面的轉變，與藝術家的思想、行為產生互動，於美術創作上掀起陣陣波濤。綜觀時下氛圍，中國藝評家－栗憲庭於一九九○年代提出「玩世現實主義」詞彙，揭示一種新穎、具有時代性的創作取向的到來，「後八九」自此成為中國當代藝術史中鮮明的標誌；此時期的藝術家極具反叛精神，富有獨立的批判意志，以藝術創作反映及嘲諷社會現實，形成一股堅實的文化力量。而引領潮流的出色代表－方力鈞、岳敏君、王廣義、張曉剛被並稱為「中國當代藝術市場的F4」。

游泳系列

《游泳系列》1994 No.1 《游泳系列》1997.10.1

FANG LIJUN 《游泳系列》1998.8.20

《游泳系列》1999.10.1

方力鈞－受到國際矚目的「後八九」代表人物之一，光頭、雲彩、海水、嬰孩等經典的創作符號獨樹一幟，不僅被栗憲庭賦予「光頭潑皮」及「玩世現實主義」之象徵性稱號，更廣受社會群體的領會與認同。然而相對於「'85美術運動」的對抗態勢，方力鈞作品中的游離、漠然與消遣之意卻顯得邊緣消極，以一種百般無聊的姿態風靡藝壇，集體性的象徵符號濃縮著當代人的心境寫照。如此心態的轉變其實是可被預期與理解的，經過一段激情的對立、抗衡與爭鬥，隨之而來是勢無可擋的時代洪流，是社會改革與經濟發展昂起的一陣喧囂，而隨著各種的現代化與進步標語出現的則是各樣的邊緣化及人心重整，不論是那些趁勢跟上的，抑或被遺留下的，心中都曾面臨著疑惑、掙扎、不安以及矛盾。當物質的風光與精神的飄渺形成強烈對比，方力鈞選擇挪用具有隱匿個人特質的形象，用嘻笑怒罵、扭曲變形的誇張表徵挑起觀者底心的共鳴。 200

「水和我對人性的認識正好非常吻合。水是水性的，沒準的，你看著水的時候，會有變化。有時你覺得它特別美、舒服，有時候你覺得它特別恐怖。」 —方力均

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HUANG MINGCHE

(b.1948)

Pigeon I

黃銘哲

38.2×38.2cm Oil on Canvas Signed CHE in Chinese and dated 1983

鴿I 1983 油彩畫布簽名：哲1983

NT$ 100,000-160,000 US$ 3,400-5,400

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SHAO FEI

(b.1954)

Blooming Season

邵飛

邵飛筆下的繪畫世界是一個極為神奇的世界。作

71×93cm Oil on Paper Signed Shao Fei in Chinese With a certificate of authenticity from gallery

花開時節

品中可以看到她對生命、自然和經驗世界的敏銳感受，又可看到她對繪畫精神和繪畫形式的深邃

油彩紙本簽名：邵飛附畫廊開立之原作保證書

領悟。此作《花開時節》，創作靈感來自於中國民間傳統文化，包括刺繡、木刻版畫、年畫、剪紙等藝術中汲取營養。天真稚氣的小孩臉孔輪廓互相交

NT$ 380,000-480,000 US$ 12,900-16,300

迭、有趣誇張的花朵枝葉，形成了可愛、流動、愉快的感覺，色彩班駁，畫得熱烈、祥和、奔放。像在娓娓講述著一個夢幻般美妙動人的故事，給人一種奇幻、天真而又浪漫的感覺。

203

席德進60年代照莊靈拍攝國立歷史博物館典藏

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SHIY DEJINN

(1923-1981)

The Riverside of Tamsui 38×45cm Watercolor on paper Signed Shiy Dejinn in Chinese and dated 1970

席德進

漂亮卻不是自己的」，故其作品中帶有西洋繪畫概念與中國繪畫的交合。席德進使用彩墨，描繪對象多以東方風景與物件入畫，但在畫面的結構上卻可見西洋繪畫特有的抽象與平面，色塊的運用與極平面的空間處理都是其常見的手法。在這件《淡水河邊》中，飛落畫面的鳥

淡水河邊

群姿態簡潔，捨棄立體感的處理，單就造型與神態捕捉

1970 水彩日本版宣紙簽名：席德進1970

入畫，遠方則以藍綠色的筆觸色塊點出「河」的意象，

NT$ 280,000-450,000 US$ 9,500-15,300

204

席德進在評論西洋繪畫時，曾說：「跟著西洋走，畫的

堅持使用水墨紙本為繪畫基底的席德進，透過水份墨韻將其媒材表現的淋漓盡致，但在畫面的營造又帶有西方繪畫的特性，略帶抽象的畫面結構與隨筆而至的空間處理，讓其畫作在風格與氛圍上皆不同於傳統中國繪畫。東西融合下的畫作，處處皆可見其獨到的繪畫語言。

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HU SHANYU

(1909-1993)

A Female Portrait 85×58cm Oil on Canvas Signed Shanyu in Chinese and dated 1983.3 PROVENANCE Acquired from "POLY INTERNATIONAL AUCTION CO. LTD" 2005, Lot1797

胡善餘女子肖像 1983 油彩畫布簽名：善餘 83' 3 來源藏家購自《北京保利國際拍賣公司》2005秋拍 Lot1797

NT$ 680,000-850,000 US$ 23,100-28,800

胡善餘是中國第一代留法的藝術家，早年就讀杭州藝專，得林風眠親授。赴法留學師從法國當代著名畫家西蒙教授。早期胡善餘的素描受學院派影響，講究造型的完美細膩，但油畫感染了印象派的斑斕多姿，作品中可看出他在色彩的運用有深厚的造詣與控制力，隨著灑脫不羈的筆觸，遊走在畫布的用筆疏密頓錯更顯得鬆靈，油色厚薄的堆疊，有一種淺浮雕般的節奏，一筆一色都不失典雅風情。胡善餘的肖像畫，有時不在素描的得失，更重視發掘模特兒心靈的內在美、深秀，精神意蘊。色彩塑造得響亮明快、豐富和諧。胡善餘是當代卓有成就的藝術家之一，但更可貴的是他一生淡泊名利，始終懷著真摯情感，探索生活中的審美觀，並保有東方神采的情韻。無論是肖像、風景或靜物，作品的格調清新且富有生命力，藝術語繪生動簡潔，意境雋永典雅。

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SA DJI

(1914-2005)

The Reflection of Lakeside 29×42cm Oil on Canvas With a certificate of authenticity from gallery

沙耆湖邊側影油彩畫布附畫廊開立之原作保證書

NT$ 800,000-900,000 US$ 27,100-30,500

身為徐悲鴻的弟子，沙耆從早年寫實風格轉向表現主義，在當時中國油畫發展上開創嶄新路數，畫面充滿象徵寓意，愈到晚年畫風愈趨狂放，跳脫常理的非理性邏輯思惟，牽動著每一個觀賞者潛意識的神經。沙耆早年留學比利時，與國內畫壇接觸甚少；中、晚年歷經文化革命、病痛折磨，又長年隱居故里鄉野，近乎與世隔絕地生活，心靈的孤傲、精神的煎熬、境遇的乖蹇加重了世人對他的不解與抗拒，因此畫壇與學界人士十分尊敬這位早年得志、獨樹一格的藝術家。

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LIEN CHIENHSING

(b.1962)

The Avenue 80×116.5cm Oil on Canvas Signed Lien Chienhsing in Chinese and dated 1994 With a certificate of authenticity from gallery ILLUSTRATED "Lien Chien-Hsing", Metropolitan Art Space, 1997, Page 57

連建興林蔭道 1994 油彩畫布簽名：連建興1994 附畫廊開立之原作保證書圖錄《連建興畫集》大都會藝術環境 1997年第57頁

NT$ 400,000-600,000 US$ 13,600-20,300

連建興自九〇年代以來形成「魔幻寫實」的風格，在畫作中雖以寫實技法描繪場景，卻總帶有超現實之感。當景物被描繪的過分真實，觀者與之的距離就越加遙遠而無法測量，那就像是記憶之中被凝滯的時空片刻，僅存於記憶之中，無從確認卻無限真實。《林蔭道》所給出的就是這樣的魔幻場景—在某處樹林之中的小路，如此尋常的山間景象經過連建興的筆下轉身成為難以言喻的記憶切面，劇場式的場景配置讓畫中的道路充滿謎樣的敘事可能，在靜謐的樹叢之中，沿著小徑通往之處是一染上光暈的出口，我們難以臆測這是何種荒蕪寂靜的林間夢境，但若尋著那誘惑的出口，或許觀者皆能找到這座夢境的後台。

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126

CHANG YOSHIO

(b.1914)

Orchid Island 45.5×53cm Oil on Canvas Signed Y. CHANG in English and dated 1976

張義雄蘭嶼 1976 油彩畫布簽名：Y. CHANG '76

NT$ 300,000-500,000 US$10,200-16,900

張義雄小時受陳澄波啟蒙，立志成為畫家，但在求學的路上屢受打擊，多次報考東京美術學院不得其門而入，而為了實現畫家夢，張義雄奔走各地，半輩子都在與貧窮作戰。但無論日子再苦，人性再惡，張義雄仍憑靠意志與堅持走出自己的藝術之路，將慘澹際遇化作創作累積，終被世人所見。對於張義雄來說，藝術就像是流浪者之歌，藝術之路流浪於各國的張義雄，畫作中總帶有深沈的孤獨與滄桑。但也或許是在擁有如此豐富卻非全然美好的生命路程之後，才能夠擁有這般充滿力道毫不矯揉的創作呈現。

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WALASSE TING

(1929-2010)

Old Girlfriend

丁雄泉

75×55.5cm Pastels on Paper Signed on the Reverse: Ting in English and dated 1964 With a certificate of authenticity from gallery

往日情懷

PROVENCE Private Collection, Europe

來源歐洲私人收藏

1964 粉彩紙本背面簽名：《Old Girlfriend》Ting 64 附畫廊開立之原作保證書

Walasse Ting loves to use women, flowers, parrots and fish as the themes to his works, which are with bright colors, and are often finished with the inscription “Flower Thief”.

丁雄泉是國際知名的詩人藝術家，創作主題多見女人與花草，畫作色彩亮麗繽紛，筆下的女性姿態撩人、花卉燦爛鮮活，在粗曠的

NT$ 500,000-700,000 US$ 16,900-23,700 214

構圖與細膩的筆觸之間，澎湃洶湧中展現優雅之韻味，素有「採花大盜」之稱號。

128

SALVADOR DALÍ

(1904-1989)

Le Cabinet Antropomorphiqse 59×35×21cm Bronze, 160/380 Signed Dalí and numbered 160/380 With a certificate of authenticity from gallery

達利抽屜人銅 160/380 簽名：Dalí 160/380 附畫廊開立之原作保證書

NT$ 600,000-750,000 US$ 20,300-25,400

“La Femme en flames” this sculpture unites two of Dali's most ardent obsessions: fire and the feminine form with dr awers. The flames represent the hidden intensity of unconscious desire, while the drawers represent the mystery of hidden secrets. This beautiful faceless woman s y mbolizes all women. For Dali, a woman's mystery is her true beauty. “Anthropomorphic Cabinet” was first shown at the Lefevre Gallery in London the year it was created. Dali said he was trying to convey Freud’s theories, which he saw as “kinds of allegories destined to illustrate a certain complacency, to smell the innumerable narcissistic odours emanating from each one of our drawers.”The unique difference between immortal Greece and the contemporary epoch is Sigmund Freud, Dali said on another occasion, “who discovered that the human body, which was purely neo-platonian at the time of the Greeks, is today full of secret drawers that only psychoanalysis is capable of opening.”

達利八十二歲時在巴塞羅那說過：“由於我是天才，我沒有死亡的權利。天才會死，天才的作品不朽。＂達利以其對人的潛意識世界的洞幽察微的心理分析和表達能力，通過精妙的寫實語彙和永不枯竭的想像力的結合，創造出一種迥異于現實世界的、完全不同於他人的專屬於達利的藝術世界。影響他藝術生命的三個因素：信仰、故土和愛情。正是這三個影響達利藝術生命的因素，在他魔幻般藝術世界裏凝鑄為三個主題：夢境與幻想、情欲與女人、宗教與神話，它們共同構築了達利的藝術世界。抽屜在達利的繪畫與雕塑中曾以各種不同造型出現，它也成為了打開達利作品的一把關鍵性的鑰匙。抽屜的解說仍然與佛洛依德的理論有關。佛洛依德認為抽屜代表了女性的情慾，也代表了人的潛意識。利用打開的抽屜詮釋潛意識，意味著這是一個可貯藏潛意識的隱蔽空間，也是體現超現實想像的空間。但對於抽屜，達利還有一番自己的解釋。在他看來，對封閉空間的強烈好奇心是驅使人們打開抽屜的原因，只有打開抽屜才能滿足探索未知世界的渴望，也只有打開了抽屜，方能消解對未知物可能造成傷害的恐懼。《抽屜人》中上下排列著打開了的抽屜，暗示了隱秘已經公開，無需再擔憂和畏懼了。達利這件雕塑並非是表現人體，而是通過擬人的手法傳達作者的意圖，他的超現實觀念如同打開的抽屜一樣，已經那麼坦誠地展現在觀眾面前。但是，且慢，你看抽屜人舉起了左手，用手掌擋住來者，似乎在告戒人們，倘若沒有接受超現實的能力，不可冒然前行！ 215

129

JAN CHINSHUI

(b.1953)

Village in the Mist

詹金水

詹金水對西藏的山水，尤其是雪景特別有感覺，其

116×91cm Oil on Canvas Signed ChinShui in Chinese and dated 2007

霧山飄渺

作品在意境與技法的掌握上，都有獨到之處，西藏的宗教精神與山水意境，深深影響著詹金水，他的

2007 油彩畫布簽名：金水2007

NT$ 200,000-300,000 US$ 6,800-10,200 216

創作也表現得自然而貼切。

130

JAN CHINSHUI

(b.1953)

Ice Mountain Valley

詹金水

詹金水的創作風格一貫，但層層深入探索繪畫的核

162×112cm Oil on Canvas Signed ChinShui in Chinese and dated 2007

冰谷絕峰

心，光影與水氣雲煙變化，使得畫面隱含著大自然的生命力，與宇宙的律動。在《冰谷絕峰》與《霧

2007 油彩畫布簽名：金水2007

山飄渺》展現出西藏千仞山壁的震撼，冰原流瀑的壯觀美景一一在他的作品呈現，流暢的色面豐富的質地，使的畫面張力更加飽滿，最難得的是渾然天

NT$ 300,000-500,000 US$ 10,200-16,900

成，完全沒有斧鑿的痕跡。 217

131

IQI QOROR

(b.1984)

No Label - Queer As An Option #1

伊奇‧庫羅

120×100cm Acrylic on Canvas Signed Iqi Qoror in English and dated 2011 With a certificate of authenticity from gallery

無標籤－怪誕的可能#1 2011 壓克力畫布簽名：Iqi Qoror 2011 附畫廊開立之原作保證書

NT$ 100,000-180,000 US$ 3,400-6,100 218

132

JOHN WAY

(b.1921)

Untitled 48×60cm Oil on Paper Signed John way in English and dated 1974

魏樂唐

魏樂唐的表現風格上融合了西方的抽象藝術與中國的書法。他採用的是法國印象派的色彩，美國抽象表現主義的格局，和中國書法的氣韻。作品展現在畫布上的是經過冷靜理智的嚴謹構圖、結構合理，但卻又有如萬馬奔騰、石破天驚的筆觸及技法去營造整體畫面的氛圍。蒼勁有力的書法

無題

線條，如潑墨山水般在畫面中延伸，氣韻生動的

1974 油彩紙本簽名：John way 74'

書法運筆、轉折，彷彿風生水起的磁場使得整個畫面產生流動感。

NT$ 160,000-200,000 US$ 5,400-6,800 219

133

WU HSUEHJANG

(b.1924)

Three Generation Family 44.5×69cm Color Ink on Paper With a certificate of authenticity from gallery

吳學讓

三代同堂 1977 彩墨紙本附畫廊開立之原作保證書

NT$ 200,000-300,000 US$ 6,800-10,200

吳學讓自1960年代起始，開創出具有現代風格的水墨畫風。他將古典的美感和生活的記憶在水墨中昇華、融合，創作出帶有東方色彩的抽象結構，成為藝術史上印記鮮明的章節。《三代同堂》為吳學讓在現代水墨開展時期所創作的系列作品，以返樸歸真、帶有稚拙童趣的符號，來表現童年的記憶以及對過往生活的緬懷。在簡潔的筆法中，每個人物各自帶著不同的神態，有如凝視、微笑、或是思索，逗趣可愛。在此，沒有任何一位人物是被孤立的，他們緊密相連，甚或受包容於其他人物之內。吳學讓以《三代同堂》表達對大家庭和樂氣氛的溫馨回憶與嚮往，在淡淡墨彩的重疊處中，每個串連起來的家庭與人物，充滿互相包容、愛與希望。

220

221

134

ZHU SHIJIE

(1900-1990)

Landscape 46×36cm Oil on Canvas Signed Shijie in Chinese and dated 1963 PROVENANCE Acquired from Soka Art Center by the present owner

朱士杰

風景 1963 油彩畫布簽名：士傑一九六三年來源現藏者購自索卡藝術中心

NT$ 450,000-600,000 US$ 15,300-20,300

朱士杰自幼愛好繪畫，刻苦自學無師教授，長期研究油畫技法。與顏文樑於1922年共同創辦蘇州美術學院。北京曾展出他的生平創作，其中《井岡山》、《洞庭小船埠》等九幅，為北京中國美術館收藏，江蘇美術館也收藏了《撒網》。他的油畫題材以風景、靜物為多，技法上汲取古典主義的嚴謹造型，著重結構；光影技巧受印象畫派，富於表現色彩，著重意境。他的風景畫作，樸實細膩，高雅麗緻，富有濃郁的鄉土氣息，洋溢著藝術家對自然風光的讚美之情，細而不膩，美而不俗。

222

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135

LIU CHIWEI

(1912-2002)

The Zebra

劉其偉

47×32cm Mixed Media on Canvas Signed Liu Chiwei in Chinese phonetic and dated 1984 in South Africa

斑馬 1984 綜合媒材畫布簽名：Burcheu's Zebraㄌㄧㄡˊㄑㄧˊㄨㄟˇ 1984 South Africa

NT$ 160,000-240,000 US$ 5,400-8,100

劉其偉長期關注動物保育議題，動物一直是他的創作中不可或缺的對象，對於這位從工程師轉為藝術家的「劉老」，藝術不是從石膏像的描繪開始，更無關繁雜的藝術流派與歷史進程。在劉其偉的畫作中，愛與關懷總自其中流露，不拘泥於學院美學的繪畫風格，讓劉其偉的畫作充滿原生的質趣，甚至可說是具有某種藝術人類學的特質，劉其偉筆下的動物雖非寫實描繪，卻無比真實。他曾在一篇文章中提說，「終年長居在塵囂都市，生活平淡無奇的人，一旦踏進了叢林，你將感到自然的崇高和生命的自由。」在現今資訊爆炸智慧型手機充斥的時代，看著劉其偉的作品，是否更能感受其對於生命的執著與熱愛。

224

136

YANG MAOLIN

(b.1953)

Made in Taiwan 117×80cm Oil on Canvas

楊茂林圓山紀事之台灣製造油彩畫布

NT$ 400,000-500,000 US$ 13,600-16,900 Taiwan contemporary artistic style is extremely strong with the temporal spr i t an d s o ciet y. T he l if ting of martial law in Taiwan in 1987 is a ver y impor tant tur ning point for the development of contemporar y culture in Taiwan and it led to the development of contemporar y ar t in Taiwan in early 1990s to the mid of 1990s. Together with this trend of development, critical political and social artistic works have fully reflec ted the social situation at that period. The artist style formed by precise shade and shadow, the colors penetrated through the heart, and strong expression of selfhood thinking manner is the typical style of contemporar y art group, Hantu Society in Taiwan. From the series of “Tayouan Topography” in 1996, Yang Mao-Lin started to put cartoon figures into the creation as of great significance image. As one of the ar tist s in Hantu, Yang Mao-lin’s introspective, conscious, critical and delicate st yle has been extended even since. Cr eate mas ter piece reflecting strong and trendy soul is consistent spirit pursued by the artist.

In this picture “Made in Taiwan”, the notion of shell infused the echo from ocean or land and allows viewers experiencing the vibration of its vocal movement. The print of “Made in Taiwan” stresses further the anger and demand of the change.

台灣當代畫家畫風的時代性與社會性非常強

續至今的內省、自覺、批判與細膩的畫風，

烈，1987年台灣解嚴對台灣當代文化的發

創作出強而有力且具時代風格的心靈折射作

展是一個非常重要的轉折點，由此導致的上

品，是藝術家始終如一的精神訴求。

世紀90年代初至90年代中期的台灣當代藝術發展，和這一般大潮流鼎肩同在，批判政

此幅作品《台灣製造》以上下並排的方式大

治與社會的藝術作品充份反映了這個時期的

膽切割畫面空間，上部安置海裡的貝殼，暗

社會狀況。而經由光影精確畫出眼前所見的

暗隱喻一種來自海洋，或土地聲音的迴音，

畫風，再經由內心穿越色彩，強烈表達自我

在不斷發聲低鳴。雖為靜態的靜物陳列，畫

思考的風格。從1996年的「大圓地誌」系

家的選擇卻讓視覺者感受到動盪的迴盪。畫

列開始，楊茂林開始把卡通漫畫人物放到他

家在畫作上直接而大膽的放上代表台灣的台

的創作中，作為具有重要意義的圖像，身為

灣製造印記，更是一種看似內斂但在視覺上

悍圖社的藝術家之一，在此之前，楊茂林延

極強悍的怒吼和咆哮。 225

137

ZHENG ZAIDONG

(b.1953)

Sitting Alone by the Seashore 45.5×53cm Oil on Canvas Signed Zheng Zaidong in Chinese and dated 1990

鄭在東

相信唯有以此作為出發點，創作才能真正屬於自己。《月下獨坐海岸》這件作品有著表現主義式的形式風格，加上鄭在東本身對於中國文化的高度熱忱，造就了那帶點哀愁又浪漫的作品面貌；另一方面，《月下獨坐海岸》事實上是作品也是他與友人遊歷的記錄，就如同古代文人將遊歷

月下獨坐海岸

寄情於詩畫，鄭在東也利用他慣常的形式風格記錄著他與

1990 油彩畫布簽名：鄭在東'90

眾不同的現代文人畫。

NT$ 50,000-100,000 US$ 1,700-3,400

226

鄭在東強調必須以自身的生活經歷作為創作題材，因為他

138

YUYU YANG

(1926-1997)

Seagull 41×36×60cm Bronze, 20/20 Signed YinFeng in Chinese and dated 1967, numbered 20/20 With a certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED "Yuyu Yang vol.1", Artist, Dec 2005, Page 218

圖錄《楊英風全集第一卷》藝術家出版社 2005年12月第218頁

楊英風海鷗 1967 銅 20/20 簽名：英風 67 20/20 附財團法人楊英風藝術教育基金會開立之原作保證書

NT$ 140,000-200,000 US$ 4,700-6,800

《海鷗》台灣交通大學典藏

楊英風於民國五十年代於豐年雜誌擔任美術編輯期間，曾親赴霧峰故宮博物院考察，臨摹了許多古代雕塑，深入研究殷商銅器上的紋飾，並進一步將殷商紋飾轉化應用於作品之上。此件《海鷗》是以一種較為簡化的手法表現出海鷗凌越於海浪之上的飛翔英姿，符號化的簡化線條勾勒出海鷗的型態，而下方則採用殷商銅器上常見的迴紋加以轉化表現出波瀾翻滾的狀態，使作品在現代簡約中又透出一種屬於中國藝術的況味。

227

139

TSAI YUNCHENG

(1929-2009)

Lotus

蔡雲程

蔡雲程創立獨樹一格的「藍色畫派」，用藍色

72×92cm Oil on Canvas Signed on the Reverse: CHUA-HU in English and dated 1991

藍色荷花系列之三

替代水墨畫的墨，用蠟筆繪畫產生油畫效果，把東方水墨畫融入西方藝術理論和科學精神；

1991 油彩畫布背面簽名：CHUA-HU-1991

曾獲英國劍橋「國際名人傳記協會」頒給傑出成就獎，並登入世界名人錄；也曾獲錄於美國名人傳記學會出版的「榮譽榜」；比利時與西

NT$ 140,000-200,000 US$ 4,700-6,800

228

班牙協會也曾頒予創作獎等榮耀。

140

CHEN CHINGJUNG Orchid Island Moonlight 50×59.5cm Oil on Canvas Signed Chingjung in Chinese

陳景容蘭嶼月色油彩畫布簽名：景容

(b.1934)

陳景容可說是台灣極具代表性的超現實主義風格畫家，其畫作多描寫清冷風景，帶有神秘且靜默的氛圍。此作《蘭嶼月色》在色彩的呈現上與其他作品略顯不同，是以彩度與飽和度較高的色彩入畫，但仍保有寂靜幽微的風景特性，陳景容在此時期的畫作多使用黑線描繪形體，顏料使用厚重，在個體呈現上力度較強，構圖上物件雖多，卻沒有一件是具有重疊的空間關係，這樣的配置讓畫面中形成一座座獨立的孤島，物件各自獨站，以無相互關係的關係組成一孤寂清冷的夜景，唯一相連的或許僅是那遠處的月與映照

NT$ 100,000-200,000 US$ 3,400-6,800

在海面上的亮藍，沈靜的伏流在彼方。

229

141

SUN YUNTAI

(1913-2005)

Fragrant Hills Park

孫雲台

50×65cm Oil on Canvas Signed Sun Yuntai in Chinese and dated 1983 Signed on the Reverse: Title and Sun Yuntai in Chinese

香山牌樓

1994年，『美在台灣-國際藝術博覽會』上，孫雲台的作品與畢卡索等國際藝術家的作品並列展出，轟動畫壇。孫雲台熾烈如火的熱情、

1983 油彩畫布簽名：孫云台1983 背面簽名：《香山牌樓》孫云台

純淨無邪的心思，不曾間斷過手中的畫筆，繪出大片密實青翠的草原，朵朵綿延無盡的白雲，大地春、夏、秋、冬生生不息的自然景象，真誠地表現出各種季節、氣候所賦予天地

NT$ 180,000-300,000 US$ 6,100-10,200

之美。畫面中雲層的每一個色塊都體現出細膩而渾厚空氣的流動感。晚年獲得政府頒發的榮譽證書，被授予哈爾濱終身藝術家稱號。

230

142

MIN XIWEN

(b.1918)

Still Life

閔希文

閔希文畢業於杭州藝專，與趙無極、朱德群、吳冠中

60.5×50cm Oil on Canvas Signed Min Xiwen in Chinese and dated 2003

靜物

等人一同受教於林風眠、吳大羽、方幹民等名師，杭州藝專的西式教育與現代藝術理論的薰陶，給他極大

2003 油彩畫布簽名：閔希文二○○三

的啟發。閔希文一生都專注於靜物和肖像的創作，技巧純熟，功底紮實，色彩上有獨到的境地，他將景物放置在鏡前映像，創造出明部、暗部、反光、折光的

NT$ 150,000-250,000 US$ 5,100-8,500

燦爛色塊，有序、無序的隨意布局，使觀者視感如墜入色彩的空間深度感，營造出一種靈動而變幻的氛圍，靜靜地折射出的人生涵養和精神境界。

231

143

GAO HUIJUN

(b.1966)

Poetry Unlimited Figure 110×80cm Color Ink on Paper

「我的山水畫，大致屬於傳統的範疇，但我對單純的復古沒有興趣。我的山水畫工作方向，追求的是在古意中呈現的新面貌，具體說就是營造山水畫裡整體的空氣感。」 —高惠君

高惠君春光無限圖之二

高惠君利用隱喻性的創作，圖像組合上的缺失與矛盾特質來巧妙暗諷當前中國文化危機。藝術家將畫中的鳥刻意省略了尾巴的造形，

蠟筆彩墨紙本

失去掌握方向能力的象徵；並將歷史傳統的中國繪畫形象和有西方

NT$ 120,000-220,000 US$ 4,100-7,500

的元素被裝進一個場景中，西方超現實畫家達利的似乳酪融化柔軟的經典時鐘橫掛於中國山水筆墨的樹枝上，拆解再重組的畫面展現出另一種詮釋當代中國繪畫的傳統氣氛及文人氣息。

232

144

PANG YONGJIE

(b.1968)

Bathe 100×80cm Oil on Canvas Signed Yong jie in Chinese and dated 2004.8

龐永杰

龐永杰直覺性的描繪豐腴的人體，在他的作品中，人成為一個感性的符號，藉由各種姿態表達對於生命本質、對於人際關係的肯定；這些直觀的輪廓以及渾圓的色彩量體，縱觀略顯出情的調性，所呈現的是一絲不苟的坦蕩，進一步形塑出龐永杰對於歡愉的追求，然而這歡愉是一種精神上的處之泰然。龐永杰曾經提到：「當

浴

代藝術離開直覺，離開對現實的關照，就會變得毫無意

2004 油彩畫布簽名：永杰2004.8

義。」龐永杰認為現實是無可迴避的，因此必須深刻體

NT$ 200,000-300,000 US$ 6,800-10,200

會，他進一步提到自己是一種極簡、單純的方式來表達自身感悟的，加上直覺給予他的養分，才造就龐永杰質樸、敦厚的創作性格。

233

145

YUYU YANG

(1926-1997)

Gentle Breeze 20×20×36cm Stainless Steel, 4/20 Signed YinFeng in Chinese and dated 1993, numbered 4/20 With a certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED "In Stainless Steel: Sculptures by YUYU YANG", Page 20 EXHIBITION 1993 Joined the FIAC International Contemporary Exhibition in French Paris

楊英風和風 1993 不鏽鋼 4/20 簽名：'93 英風 4/20 附財團法人楊英風藝術教育基金會開立之原作保證書圖錄《楊英風93個展：不鏽鋼系列新作》第20頁展覽「FIAC國際現代藝術展」法國巴黎 1993年

NT$ 160,000-360,000 US$ 5,400-12,200

234

146

LIU GUOSHU

(b.1919)

Still Life with Pot

劉國樞

劉國樞為中國第二代油畫家，早年留學法國，劉國

64×49.3cm Oil on Canvas Signed Guoshu in Chinese and dated 1996

壺與靜物

樞深得米勒繪畫的神韻，一生從事美術教育改革。劉國樞對傳統中國繪畫及書法均有極深的造詣。田

1996 油彩畫布簽名：國樞 1996

園詩一般的家境氛圍滋養，塑造中國第二代油畫巨匠，當代「四川畫派」的奠基人之一，羅中立、周春芽、何多苓、朱毅勇等直接受業於劉國樞。此作

NT$ 180,000-260,000 US$ 6,100-8,800

品構圖飽滿，色彩大膽，壺中的菊花繁華素雅，桌上零星的靜物展現畫面空間感，跳動、輕靈的筆法，構成劉國樞獨特的節律。

235

147

SHI LIFENG

(b.1968)

Red Man-Work Together 200×150cm Oil on Canvas Signed Shi Lifeng in Chinese and dated 2007

石立峰紅人系列-同心協力

236

石立峰的畫作，以80年代社會主義現實為出發點，表達中國當代藝術中的個人主義。石立峰觸及了更為脆弱的某種社會性生存基礎，讓觀者反思自己內心的人生價與世界觀，人類的命運升遷和沉浮，總是伴隨著無形的操縱力量。這是一群看上去沒有具體年齡、職業、性格特徵但只有性別差異的人，他們成群結隊地奔跑、跳躍、攀爬和墜落，為的是能夠擺脫現有的困境或者絕境。而石立峰作品的意義還遠不止這麼簡單和直接，為了強化人物與環境的矛盾和衝突，除了

2007 油彩畫布簽名:2007石立峰

在環境種類選擇上有意識地安排封閉或陡直的空間外，在

NT$350,000-400,000 US$11,900-13,600

感。這種舞臺感的前後景物處理方式，營造了歷史與現實，

環境與人物的主次關係處理上，他將環境處理成大面積的單色調，以此突出人物鮮紅的形象和肢體動作的象徵性和緊張個人和集體，主觀和客觀的矛盾與差落的對比關係。

148

LV YANJUN

(b.1959)

Dressed to Kill 130×110cm Oil on Canvas Signed Lu Yanjun in Chinese and dated 2010

呂岩軍武妝 2010 油彩畫布簽名:呂岩軍2010

此作品《武妝》筆下的東方女性，目光充滿期盼且若有所言，但這些情感與精神，是虛擬且被壓抑的。通過以代表時代性的紅色符號軍帽為作為裝飾，對呂岩軍而言，只是時尚的道具，是表現融合時尚風格與古典元素的中國美麗。呂岩軍作品裡的女性形象的刻畫，擁有細膩筆觸如瓷一般的少女肌膚，感性中飄揚著性感，微妙中恍惚激情。這些其實都是一種妄想、一種幻夢，是一種理想的境界。

NT$ 150,000-200,000 US$ 5,100-6,800 237

149

PIERRE FERNANDEZ ARMAN (1928-2005) Double Chassis 10×17×41cm（含台座） Bronze, 7/140 Signed arman in English and numbered 7/140 ILLUSTRATED "The Exhibition of International Sculpture MasterArman", Modern Art Gallery, 1996, page 66

阿曼小薩克斯風 1994 銅 7/140 簽名：Arman boequel Fd. 7/140 圖錄《國際大師雕塑展：阿曼》現代藝術空間 1996 第66頁

NT$ 160,000-260,000 US$ 5,400-8,800

“Saxophones Decoupe” through the segments and dif ferent scales of accumulation, manifests the idea of quantity. Not only did he bestow objects a new form of appearance and meaning, but he provoked object’s potential function. Most impor tant of all, A r man’s artworks accumulate human’s feeling to these objects.

《小薩克斯風》是涵蓋了切割、集合、堆積等阿曼重要創作風格的作品。可以看出阿曼透過雕塑的程序，將樂器混合與改造，重新創造音樂的律動與旋律，感覺似乎是凝視著這些青銅碎片，音樂即在我們耳邊響起。

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PIERRE FERNANDEZ ARMAN (1928-2005) Violaine 16×10×31cm Bronze, 75/80 Signed arman in English and numbered 75/80 ILLUSTRATED "The Exhibition of International Sculpture MasterArman", Modern Art Gallery, 1996, page 28

阿曼中音琴 1993-94 銅 75/80 簽名：Arman boequel Fd. 75/80 圖錄《國際大師雕塑展：阿曼》現代藝術空間 1996年第28頁

NT$ 160,000-260,000 US$ 5,400-8,800

法國藝術家阿曼出生於1928年法國尼斯，是當今少數仍健在就被寫入西洋藝術史的藝術家，其創作的雕塑風格中，最擅長的手法是將物件以切割後再堆積，使「物」經由轉化而昇華，對日常生活無用之物或損壞的工業產品，賦予新生命的創作元素。在阿曼的眼裡，用簡單的形成，表達了時間與空間具有動感、歷史背景的內涵與理念，讓人可以摸得到，也可以開啟組合的興趣，讓雕塑之美別有另一番新的視野與品味。

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PIERRE FERNANDEZ ARMAN (1928-2005)

Inclinaison 18×20×34cm Bronze, 37/50 Signed Arman, titled bocquel and numbered Fd. 37/50 With a certificate of authenticity from gallery ILLUSTRATED "The Exhibition of International Sculpture MasterArman", Modern Art Gallery, 1996, page 20-21

阿曼傾向 1992 銅 37/50 簽名：Arman, bocquel Fd. 37/50 附畫廊開立之原作保證書圖錄《國際大師雕塑展：阿曼》現代藝術空間 1996 第 20-21頁

NT$ 240,000-300,000 US$ 8,100-10,200

在美妙的《傾向》中，阿曼將生動的樂器融入豐潤的人體生命中，仿彿將其化身音樂的旋率，緩緩釋放出樂曲的靈魂，不僅創造出獨特的美感，含蓄地表現出人們精神生活的富足與喜悅，同時也充滿著人文的寓意。

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152

DANIEL LEE

(b.1945)

Shanghai New World 40.5×102cm Ink-jet on Paper, 28/75 Signed Daniel Lee in English and dated 2006, numbered 28/75

李小鏡上海新天地 2006 影像輸出 28/75 簽名：Daniel Lee '06 28/75

NT$ 80,000-160,000 US$ 2,700-5,400

上海繁華嬉鬧的夜色底層上演著各色戲碼，都會中的人物錦裳華囊，動作眼神之間又同時隱述著不同的故事，李小鏡《上海新天地》捕捉了都市生活裡瞬間潛流的人性直覺和慾望深處的想像，真確又驚悚地逼近一種等待救贖的張力。這些肖像中幾乎戲劇性的詭異效果亦反應出當前上海正在面臨的種種巨大改變與衝擊效應，以及其中人們不覺表露出的姿態。一種都會叢林裡似獸的生存本能。李小鏡重現對於現實生活的切面觀察，將文化現象與人性的混種現象作了一個由裡而外的剖析。

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153

YUYU YANG

(1926-1997)

Rising III

楊英風

16.5×97×13cm Bronze, 9/30 Signed Yu Yu Yang in Chinese and English, dated 1977 and numbered 9/30 With a certificate of authenticity from Yu Yu Yang Foundation

起飛(三)

ILLUSTRATED "Yu Yu Yang Corpus", Volume 1, Artist Publishing Co., Dec 2005, Page 272

1977 銅 9/30 簽名：YuYu YANG 英風 77 9/30 附財團法人楊英風藝術教育基金會開立之原作保證書圖錄《楊英風全集第一卷》藝術家出版社 2005年12月第272頁

NT$ 360,000-540,000 US$ 12,200-18,300

242

《起飛三》屬於「山水風格」系列作品之一。楊英風於1967年赴花蓮擔任榮民大理石工廠顧問一職，期間見到花東縱谷雄偉的地形而深受感動，進而開啟一系列「山水風格」系列作品，以刀鑿斧劈的痕跡模擬出太魯閣峽谷的陡峭嚴峻山勢，猶如同傳統中國山水畫裡的斧劈皴，但是卻跳脫平面進一步成為三維的立體呈現。此件作品由基部向上或幅射狀的展開，有如生命的拓展，扶搖直上。「那些線條像是從內部擠壓出來的力量，非常簡單的朝一個方向迸射而去。它們的表面起伏，像樹皮，有時也像山壁，露出時間的過程和生命的痕跡。當然那也表現了我個人生命的斧痕。我這一系列相關的作品，其靈感來自花蓮太魯閣、天祥一帶巍峨的山壁，而不是任何一段木頭。不過植物的木理和紋路、球結的樹根等，也給我深刻的印象，使我更鮮活地去運用、去改變那得自出山嶽的造型雛形。」（摘自楊英風口述）

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JU MING

(b.1938)

The Lamb Kneels to Nurse 11×17×22cm Bronze, 45/50 Signed Juming in Chinese and numbered 45/50 With a certificate of authenticity from Caves Gallery

朱銘羔羊跪乳銅 45/50 簽名：朱銘 45/50 附敦煌畫廊開立之原作保證書

NT$ 200,000-300,000 US$ 6,800-10,200 Ju Ming employed the stor y of“Lamb”to symbolize affections between parents and child. The lamb has deep gratitude and therefore feeds in a kneeling position. “Lamb” sends the message that younger generations should always fulfill filial piety and always be thankful.

朱銘以「羔羊跪乳」的典故來象徵親情，羔羊猶能懷有感恩之心，進而以跪姿之勢吮乳，《羔羊跪乳》傳達出晚輩應善敬孝道與理當飲水思源的人生道理。

244

155

JU MING

(b.1938)

Rice Wine

朱銘

62×47cm Watercolor on Paper Signed Juming in Chinese and dated 1996 With one seal of artist

米酒

NT$ 80,000-110,000 US$ 2,700-3,700

1996 水彩紙本簽名：朱銘'96 藝術家鈴印 245

156

CHEN CHENGHSIUNG

(b.1942)

Be Imperative 51×23×43cm Bronze, 1/10 Signed Chen Cheng-Hsiung in Chinese and dated 2001, numbered 1/10 With a certificate of authenticity signed by artist from gallery ILLUSTRATED "The Four Seasons in the Life- Chen Cheng-Hsiung", Ho Ho Art, 1997, Page 168 (Original of Wood)

NT$ 180,000-260,000 US$ 6,100-8,800 國內當代雕刻藝術家中，陳正雄無疑是一位為庶民眾生創作的傑出藝術家，他直接簡潔、質樸自然的刻劃出庶民生命，將自己的人生感悟轉化為雕刻藝術，創造藝術的生命與成就。此作品《勢在必得》以身著官服、一手仗劍的歷史傳說人物鍾馗，表現正氣浩然的精神架勢，作品入木三分。陳正雄連年獲得南美展最高榮譽的獎項，1994年以「鍾馗嫁妹」榮獎獲行政院文建會獎

陳正雄

項。陳正雄創作題材從傳統的神佛羅漢、歷史人物，逐步延伸到週

勢在必得

遭人物的真實生活，傳達出眾生人物百態，所描寫的人物會隨著創

2001 銅 1/10 簽名：陳正雄 2001, 10-1 附畫廊開立之藝術家親簽原作保證書圖錄《人生四季-陳正雄木雕作品集》鶴軒藝術 2007 第168頁 (木雕原件)

246

作過程不同情緒的變化轉折呈現不同的質感，堅實而富有韻味。

157

HUNG YI

(b.1970)

Descendant of the Dragon 20×20×64cm Baked enamel on steel plate Signed Hung Yi in Chinese and dated 20080701 With a certificate of authenticity from gallery

洪易龍的傳人 2008 鋼板烤漆簽名：洪易20080701 附畫廊開立之原作保證書

NT$ 160,000-220,000 US$ 5,400-7,500 在洪易的作品中，可以感受到強烈的台灣味道。來自民間文化與日常生活的轉化，將藝術家對於土地的觀察與情感，揉合於造形之中，那些看來有些粗野卻決對可愛的事物，正是洪易傳達「藝術生活化」理想的使者。洪易這件作品「龍的傳人」，近似台灣民間廟宇的俗麗色彩，以及變造自日常生活的各種形象，使得洪易的立體作品極為可親，在流暢的造型線條下，睜大眼睛、露齒而笑的怪物們充滿喜感，也極富生命力。 —摘錄自《帝國大反擊-二部曲長驅直入》

正 Front

反 Back

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KING FENHUA

(b.1955)

Memories of Ginger Lily 99×79.5cm Oil on Canvas Signed King Fenhua in Chinese and P.H KING in English, dated 1992

金芬華野薑花與女孩 1992 油彩畫布簽名：金芬華F.H King '92

NT$ 100,000-160,000 US$ 3,400-5,400 248

金芬華的畫作總流露出溫婉的女性特質，無論在構圖或是配色皆有其獨特的創作手法。在此作中，溫潤的用色使畫面中帶有浪漫靜謐的空間層次，捨棄透視的畫面構築，以物件式的手法處理畫面是金芬華常用的繪畫語言，空間的建構來自於個體物件的描繪。細膩的層次堆疊與色彩佈局讓金芬華的畫作籠罩在一種安靜且安新的氛圍之下，畫中世界就像是其心中的伊甸園，沈靜深遠並透露出百無聊賴的日常凝聚。「野薑花與女孩」是金芬華較早期的作品，相較於晚期多以格狀空間作畫面佈局的繪畫語言，此作多了幾分柔和虛渺，畫中的「女孩」與「野薑花」彷彿透過繪畫永恆停滯，隨著夢幻的色彩與空間毫無紛擾長駐。

159

DANI KING HERIYANTO

(b.1980)

Love and Love Not 120×120cm Oil on Canvas Signed Dani King in English With a certificate of authenticity from gallery

丹尼．金．赫里揚托愛與不愛油彩畫布簽名：Dani King 附畫廊開立之原作保證書

NT$ 140,000-200,000 US$ 4,700-6,800

Indonesian artist Dani King Heriyanto painted international star Dita Von Tesse. 丹尼．金．赫里揚托為國際巨星蒂塔．萬提斯描繪肖像，作品舉行慈善義拍。

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KWON KISOO

(b.1972)

Time-White River 130×194cm Acrylic on Canvas Signed on the Reverse: Kwon Ki Soo in Chinese and English, dated 2009 With a certificate of authenticity from gallery

權奇秀

權奇秀彩虹般的方格，堆疊出令人目眩的迷離幻境；刻

時光-白

滿各種心情顏色的繽紛森林，漾著—圈圈的漣漪，恰似Dongguri笑開的酒窩，簡單而豐富，熱鬧得有深度。

2009 壓克力畫布背面簽名：權奇秀 Kwon Ki Soo 2009 附畫廊開立之原作保證書

NT$ 550,000-650,000 US$ 18,600-22,000 250

Dongguri之所以大受歡迎，乃是由於它符合年輕一代的審美需求，消耗並複製著流行文化。藝術家不斷地創造新穎的設計，將超現代元素與古老傳統相結合。權奇秀通過其作品不斷的探索傳統主題與價值觀，並將其納入進當代藝術形式。

161

ENDRO

(b.1983)

Beauty is in the hands of the beholder

安卓

100×100cm Oil on Canvas Signed Endro in English and dated 2011 With a certificate of authenticity from gallery

美自心中來 2011 油彩畫布簽名：Endro 2011 附畫廊開立之原作保證書

NT$ 80,000-180,000 US$ 2,700-6,100

251

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TAKASHI MURAKAMI a. Red Magic Flute 3D Ball b. Goldfish 3D Ball c. Flower for Algernon d. Purple Bouquet Diamete: 70cm(×4) a.Lithograph Printed, 169/300 b.Lithograph Printed, 58/300 c.Lithograph Printed, 182/300 d.Lithograph Printed, 18/300 a.Signed M and numbered 169/300 b.Signed M and numbered 58/300 c.Signed M and numbered 182/300 d.Signed M and numbered 18/300

252

(b.1962)

村上隆 a. 花球-紅魔笛 b. 花球-金魚 c. 花球-花束 d. 花球-紫色花束 2011 a. 版畫：169/300 b. 版畫：58/300 c. 版畫：182/300 d. 版畫：18/300

NT$ 100,000-160,000 US$ 3,400-5,400

a. b. c. d.

a. 簽名：M 169/300 b. 簽名：M 58/300 c. 簽名：M 182/300 d. 簽名：M 18/300

163

TAKASHI MURAKAMI a. Brown Tea Colored 3D Ball b. 3D Ball-I c. 3D Ball-II d. Kansei Diamete: 70cm(×4) a.Lithograph Printed, 32/300 b.Lithograph Printed, 24/300 c.Lithograph Printed, 25/300 d.Lithograph Printed, 143/300 a.Signed M and numbered 32/300 b.Signed M and numbered 24/300 c.Signed M and numbered 25/300 d.Signed M and numbered 143/300

(b.1962)

村上隆 a. 花球-棕色 b. 花球-I c. 花球-II d. 澗聲系列 2011 a. 版畫：32/300 b. 版畫：24/300 c. 版畫：25/300 d. 版畫：143/300

a. b. c. d.

a. 簽名：M 32/300 b. 簽名：M 24/300 c. 簽名：M 25/300 d. 簽名：M 143/300

NT$ 100,000-160,000 US$ 3,400-5,400 253

164

ZAO WOUKI

(b.1921)

The Red Sun 56×38cm Lithograph, E.A. 7/16 Signed Zao Wouki in Chinese and numbered E.A. 7/16 ILLUSTRATED 1. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 37 2. "ZAO WOU-KI Prints 1937-1974 Arts et Metiers Graphiques", Yves Rivera, Paris France, Page 31 EXHIBTION The Red Sun was exhibited in the National Library of France (Bibliothèque National de France) in Paris in 2008 in an exhibition devoted to the graphic works of the artist. PROVENANCE Private collection Luxembourg

趙無極紅太陽 1950 版畫 E.A. 7/16 簽名：趙無極 Epreuve of Artist VII/XVI 圖錄 1.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné》Edition Heede & Moestrup 法國出版 1994年第37頁 2.《ZAO WOU-KI Prints 1937-1974 Arts et Metiers Graphiques》Yves Rivera 法國出版 1975年第3頁展覽「趙無極版畫展」法國國家圖書館 2008年來源盧森堡私人收藏

NT$ 160,000-250,000 US$ 5,400-8,500

254

255

165

ZAO WOUKI

(b.1921)

Ville Engloutie

趙無極

56×76cm Lithograph, 11/60 Signed Zao Wouki in Chinese and numbered 11/60

沉默的城市

ILLUSTRATED 1. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 68 2. "ZAO WOU-KI Prints 1937-1974 Arts et Metiers Graphiques", Yves Rivera, Paris France, Page 62 PROVENANCE Private collection Luxembourg

1956 版畫 11/60 簽名：趙無極 11/60 圖錄 1.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné》 Edition Heede & Moestrup 法國出版 1994年第68頁 2.《ZAO WOU-KI Prints 1937-1974 Arts et Metiers Graphiques》Yves Rivera 法國出版 1975年第62頁來源盧森堡私人收藏

NT$ 160,000-250,000 US$ 5,400-8,500

256

166

ZAO WOUKI

(b.1921)

Lithograph

趙無極

50×65cm Lithograph, 84/120 Signed and numbered 84/120

Lithograph

ILLUSTRATED 1. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 78 2. "ZAO WOU-KI Prints 1937-1974 Arts et Metiers Graphiques", Yves Rivera, Paris France, Page 70 PROVENANCE Private collection Luxembourg

1958 版畫 84/120 簽名：藝術家認證簽名圖錄 1.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné》 Edition Heede & Moestrup 法國出版 1994年第78頁 2.《ZAO WOU-KI Prints 1937-1974 Arts et Metiers Graphiques》 Yves Rivera 法國出版 1975年 1975年第70頁來源盧森堡私人收藏

NT$ 150,000-200,000 US$ 5,100-6,800

257

a. b.

167

ZAO WOUKI

(b.1921)

A la Gloire de L' image et Art Poetique

趙無極

a. b. a. b. a.

A la Gloire de L' image et Art Poetique

50×70cm 50×70cm Lithograph, 76 H.C XIV/XV Lithograph, 76 75/99 Signed Wouki in Chinese, ZAO in English, dated 1976 and numbered H.C XIV/XV b. Signed Wouki in Chinese, ZAO in English, dated 1976 and numbered 75/99 ILLUSTRATED a. "ZAO WOU-KI The Graphic Work A Catalogue Ra i s o n n é 1 9 3 7 - 1 9 9 5 " , E d i t i o n H e e d e & Moestrup, 1994, page 243

258

1976 a. 版畫 76 H.C(樣本作) XIV/XV b. 版畫 76 75/99 a. 簽名：無極ZAO 76 H.C XIV/XV b. 簽名：無極ZAO 76 75/99 圖錄 a.《ZAO WOU-KI The Graphic Work A Catalogue Ra i s o n n é 1 9 3 7 - 1 9 9 5 》 E d i t i o n H e e d e & Moestrup(法國出版) 1994年第243頁

NT$ 200,000-400,000 US$ 6,800-13,600

a. b.

168

WANG HUAIQING

(b.1944)

a. Six Tables b. Self and Self-Shadow a. 74×88cm b. 97×75cm a. Lithograph, A.P b. Lithograph, A.P a. Signed Wang Huaiqing in Chinese b. Signed Wang Huaiqing in Chinese

王懷慶 a. 六張桌子 b. 自己與自己的影子 b. 2003 a. 版畫藝術家保留版(A.P) b. 版畫藝術家保留版(A.P) a. 簽名：王懷慶贈塞洛巴先生 b. 簽名：王懷慶贈塞洛巴先生

NT$ 220,000-300,000 US$ 7,500-10,200

259

169

KUSAMA | YAYOI Yellow Pumpkin

(b.1929)

47×37.5cm Lithograph, 67/110 Signed yayoikusama, titled Pumpkin in Japanese and dated 1999

草間彌生黃色南瓜 1999 版畫 67/110 簽名：yayoikusama カボチャMT 1999 67/110

NT$ 100,000-180,000 US$ 3,400-6,100 260

170

CHINSAN | LONG The Shanghai Bund 23cm×30.5cm Photograph Silver Gelatin With one seal of the artist

(1892-1995)

郎靜山上海灘 1932 銀鹽相紙藝術家鈴印

NT$ 80,000-160,000 US$ 2,700-5,400

郎靜山先生在我國攝影界的位置可說首屈翹楚，在他年輕時期，碰巧歷經中國文人道統精神與西方現代主義傳入中國的衝突時代，也因此造就他的創作中西方藝術的融合、兼容並蓄，開創出中國攝影新境界。郎靜山以「集錦攝影」在西方發明的攝影術中營造出中國山水畫之意境與山嵐氣勢，而郎靜山也就此打下集錦攝影在國際間的名號；儘管如此，郎靜山在確立集錦攝影風格之前，仍拍攝了大量寫實風格的攝影作品，然而卻因集錦攝影的鋒芒而有所隱蓋，但其中仍舊不乏多數動人的攝影作品，而本件作品便是其中之一。

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CHINSAN | LONG A Spring Grove 27cm×35cm Photograph Silver Gelatin With one seal of the artist

(1892-1995)

郎靜山碧瑤仙宮 1955 銀鹽相紙藝術家鈴印

NT$ 80,000-160,000 US$ 2,700-5,400

郎靜山先生注重在西方沙龍攝影術中融入傳統中國文人

再現中國文人畫意的重要因素；再加上郎靜山先生對於

特質，在他的攝影作品中，也能夠明確地辨認郎靜山先

中國畫的造詣，他的集錦作品更獲稱「影中有畫，畫中

生對於19世紀西方畫意攝影的參照，只是我們看到得更

有影」的傳世傑作。由於郎靜山先生以集錦攝影聞名，

多南朝畫家謝赫所提出的「繪畫六法」，其中所謂「經

導致使其現實主義風格類的作品較難為重視。事實上，

營位置」、「傳模移寫」，在郎靜山先生的作品中可見

郎靜山在1934年創作第一幅集錦作品《春樹奇峰》之

一般。除此之外，郎靜山先生更確立了「集錦攝影」在

前、以及晚期都陸續拍攝了大量的客觀紀實的作品，其

中國攝影界中的重要的風格元素，而集錦攝影在暗房中

中也不乏許多動人的作品。

拼湊底片並多重曝光的技巧，造就它能夠以西方攝影術 262

172

CHINSAN | LONG Village in the Mist

(1892-1995)

30cm×40cm Photograph Silver Gelatin With one seal of the artist ILLUSTRATED "Selected Works of Chin-San Long", Photographic Research Institute of College of Chinese Culture Taipei,1971

郎靜山山舍炊煙 1933 銀鹽相紙藝術家鈴印圖錄《郎靜山六十年攝影選輯》中華學院攝影研究所刊行 1971年

NT$ 80,000-160,000 US$ 2,700-5,400

郎靜山在1933年作的《山舍炊煙》又名《雁蕩炊煙》，依

術。郎靜山主張：「在技巧上，應吸收西方科學文明，使攝

照他自己的陳述：「溫州雁蕩山有中南北三座，昔日山頂有

影不再是件難事；但要談到藝術視界，無論取景或色調，我

湖蕩，因秋雁落集，故名北雁山，以景著稱，瀧湫飛瀑，當

都認為應多研究國畫中蘊含的旨趣。」儘管郎靜山係以「集

晴空風轉，如五色飛花，一瀉千仞，洵為奇觀，這一景攝於

錦攝影」揚名，但事實上在他確立集錦風格之前，他仍拍

顯勝門道中，適山舍炊煙，峰巒層疊，別有奇狀。」

攝了大量的直接攝影的作品，其中不少動人之作，而本幅作品便是其中之一；甚至在集錦攝影風靡國際之時，《山舍炊

郎靜山自幼便對中國書畫產生極大的興趣，12歲時自中學

煙》受到的肯定也不遜於當時其他集錦作品。

圖畫教師李靖蘭習得攝影的光圈原理、沖洗與曬印等基礎技 263

173

YUNCHENG | TSAI Blue Symphony III

(1929-2009)

78×55cm Mixed Media Signed CHUA Hu in English and Cheng in Chinese, dated 1997

蔡雲程藍色交響曲 III 1997 綜合媒材簽名：CHUA Hu 呈YA 1997

NT$ 80,000-180,000 US$ 2,700-6,100 264

174

CHENYU | CHANG Unbrella

(b.1957)

45×52.5cm Oil on Canvas Signed Chenyu in Chinese, Chun in English and dated 1982

張振宇傘 1982 油彩畫布簽名：振宇Chun'82 背面簽名：張振宇一九八二

NT$ 100,000-160,000 US$ 3,400-5,400

此作為張振宇較早期的創作，超現實的人群場景去除了某種人性，失去頭顱的人身成為張振宇畫作中的混雜景象的支撐。此作結合了寫實的人物描繪與抽象的場景處理，白色線條串聯起整張畫面，像具生命力般在畫作中拉扯，詭譎的構圖使此作既像群像又似風景。符號的使用常見於張振宇早期的創作之中，無論是人體或是白線皆給出開放的解讀可能，相較於後期不見人跡的畫作，此時期常見張振宇對人體的描繪，在色彩與構圖上多有細膩的細節處理，無論是技巧或意指皆值得參看。 265

175

CHENYU | CHANG Up and Down

(b.1957)

46×61cm Oil on Canvas Signed Chenyu in Chinese and dated 1982

張振宇南下北上 1982 油彩畫布簽名：振宇82

NT$ 120,000-180,000 US$ 4,100-6,100

張振宇近期的創作題材多以前衛山水作為描繪對象，此作為其較早期的創作，站立於畫面之中女體與文藝復興時期以春神之名入畫的女體頗有對話意味。纏繞於女體之上的白線與刻意去除焦點的面孔將畫心的解讀自人物上延伸。在場景的處理上，對於景象的描繪採取一超現實的畫面組合，多視角的透視處理產生開放式的場景可能，對照其後期作品處理山水的另類視角，此作透露出某種畫面離心的狀態，多重符號與場景構成複義的解讀空間，相較於後期的無人風景與前衛山水，張振宇在早期的作品中給出的是更為多揣的詮釋可能。 266

176

HSUEH JANG | WU Good Luck in Everything

(b.1924)

35×70cm Color Ink on Paper With one seal of the artist With a certificate of authenticity from gallery

吳學讓事事如意 2010 彩墨紙本藝術家鈴印附畫廊開立之原作保證書

NT$ 180,000- 280,000 US$ 6,100-9,500

走過烽火歲月，也走過喧擾的藝術紛爭。吳學讓始終延續著傳統美學的底蘊，同時並堅持著開拓藝術新局的決心。因此，在吳學讓的現代作品總能看到深厚的古典涵養，傳統作品則能欣見突破瓶頸、巧思獨具的雅緻之作。《事事如意》採用的工筆繪法，呈現吳學讓在傳統繪畫中的深厚素養，其工筆花鳥作品的藝術表現，在二十世紀中旬即倍受推崇。畫紙上，獨創的特殊處理技法表現出乾枯斑駁的視覺效果，使此幅畫映入眼簾時、便帶有細膩的古典韻味。潤澤的柿子，形體渾厚飽滿；被蟲啃食過的葉片和右下的兩隻草蟲相應成趣；而在墨彩的濃淡展現下，光影的細緻變化令空間與時間之感予以浮現。吳學讓創作此作時，已年屆九十高齡，仍能以沉穩的腕力和精細的眼力進行創作。其回首童年中的光景記憶，匠心獨具的進行工筆繪畫中的大膽嘗試，在畫面中心呈現出光圈、月暈的效果，並聚焦起畫作主題「柿」——以「柿」的諧音寓意出吉祥意涵——在此豐收碩果的時節氣氛中，許下「事事如意」的祝福與希冀。

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KANG | SUKHYUN Confrontation-Angry Memory

(b.1980)

130×97cm Mixed Media on Canvas Signed on the Reverse: SUKHYUN KANG in English and dated 2009 With a certificate of authenticity from gallery

姜錫鉉衝突-憤怒記憶 2009 綜合媒材畫布背面簽名：SUKHYUN KANG 2009 附畫廊開立之原作保證書

NT$ 160,000-220,000 US$ 5,400-7,500

姜錫鉉畢業於美國東岸羅德島設計學院美術系，藉由他作品中可愛的小熊娃娃，娓娓道出他對於個體與群體間相互關係的深刻觀察。那隻看似美好的小熊，是人們心中千變萬化的投影，象徵著這個擁擠世界中的孤獨自我，透露人們既想跳脫社會制約、勇敢作自己的英雄，又希望與社會妥協、獲得社會認同的矛盾心理。姜錫鉉敏感而充滿幻想的現代城市語錄，看似渾沌虛無，實則隱含犀利而透徹的觀察與懷想。

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178

TSAI YUNCHENG

(1929-2009)

Blue Symphony I 55×78cm Mixed Media Signed CHUA Hu in English and Cheng in Chinese, dated 1994

蔡雲程藍色交響曲 I 1994 綜合媒材簽名：CHUA Hu 呈YA 1994

NT$ 80,000-180,000 US$ 2,700-6,100

179

TSAI YUNCHENG

(1929-2009)

Blue Symphony II 55×78cm Mixed Media Signed CHUA Hu in English and Cheng in Chinese, dated 1997

蔡雲程藍色交響曲 II 1997 綜合媒材簽名：CHUA Hu 呈YA 1997

NT$ 80,000-180,000 US$ 2,700-6,100

蔡雲程把藍色當成中國的黑墨，讓顏料在畫布上自然渲染和流淌，他曾說「中國水墨是墨分五色，我則以藍分七度，我所畫的藍色意象，使作品意境猶如中國青花瓷般的寧靜詩美」。他的作品有一種能力，使人產生他稱之為無限立體延伸組合的聯想。法國藝評家La Revue Moderne曾說「蔡雲程以極少的顏色和符號邀請我們以構圖、意境和神韻去冥思」。

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180

PENG KUANGJUN

(b.1961)

Posture 34×34×65cm Stainless Steel, Lazurite 5/10 Signed Kuang Jun in Chinese and dated 2006, numbered 5/10 ILLUSTRATED 1."Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, 2009, Page4-5 2."Art Taipei 2007", Caves Gallery , 2007, Page18-19 EXHIBITION 1."Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, Taipei, Jul 10- 25, 2009 2."Peng Kuanjun 2008",Caves Gallery , Taipei, 2008 3."Art Taipei 2007", Caves Gallery , Taipei, 2007

彭光均姿 2006 不鏽鋼上色琉璃 5/10 簽名：2006 光均 5/10 圖錄 1.《彭光均纖語香腮》威廉當代藝術空間 2009年第4-5頁 2.《彭光均2007台北藝術博覽會》敦煌畫廊 2007 年第18-19頁展覽 1.「纖語香腮彭光均個展」威廉當代藝術空間台北 2009年7月10-7月25日 2.「春在枝頭-彭光均2008雕塑展」敦煌畫廊台北 2008年 3.「台北藝術博覽會2007」敦煌畫廊台北 2007年

NT$ 110,000-200,000 US$ 3,700-6,800

沉重的不鏽鋼，在彭光均的手眼巧構下化為繞指柔，他加入琉璃材質與豐彩，讓不鏽鋼不再只是冷冰冰的鋼材，而是令人目眩神迷的藝術品。彭光均早期的創作較寫意，以簡單線條勾勒出人形動態，近期的塑像則以寫實人體為抒發，更添一股深沉的韻味。優雅的體態和內斂的表情，不管是帶著琉璃羽翼裸身欲飛、或是沉靜獨坐、裸身遠眺皆帶有一分飄逸、優雅的氣韻。彭光均說：「創作過程就如禪定。」他認為：「色本天成非我創。」因此盡其可能的回歸本性，此讓他的作品，獨具一份少有的適意。

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MARIN CHERINA | DRAGO Cvita

(b.1949)

34×38×32cm Bronze, 59/99 Signed DRAGO MARIN CHERINA in English With a certificate of authenticity from gallery ILLUSTRATED 1.''Sculpture Garden Yugoslavia Expo'90 '', Osaka Japan, 1990, Page 32-33 2.''Dargo Marin Cherina'', Taipei Fine Art Museum, 1992, Page 86-89 3.''In The Future-Dargo Marin Cherina'', 5000 years Fine Art Gallery, 2012, Page 130

德拉哥．馬林．薛林納克維塔 1972 銅 59/99 簽名：DRAGO MARIN CHERINA 附畫廊開立之原作保證書圖錄 1.《南斯拉夫雕塑大展1990》大阪日本 1990 第32-33頁 2.《德拉哥．馬林．薛林納雕塑》台北市立美術館 1992 第86-89頁 3.《活在未來-德拉哥馬林薛林納藝術作品》五千年藝術空間 2012 第130頁

NT$ 120,000-180,000 US$ 4,100-6,100

擅長雕塑女體及為二十世紀當代重要人物雕像聞名的澳籍義裔雕塑家德拉哥‧馬林‧薛林納（Drago Marin Cherina）1991 年應北美館之邀請來台灣展覽。薛林納以女性為主體的雕塑，原創意象源於羅丹豐富人體的表現性，同時亦吸收法國馬約 (A.Maillol)與布岱爾(EABow.delle)等對人體姿態深刻的體悟。《克維塔(CVITA)》，噴張有力之的肌肉筋骨，配合著強勁扭轉的肢體動態，流露坦誠率真的珍貴氣質，刻劃西方傳統人體美的精湛純熟技巧，充滿對人體美與充沛的生命力。

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WALASSETING

(1929-2010)

a. A Bunch of Flowers b. Nude and flowers c. Aquariumfish Tank d. Cockatoos 71×101cm(×4) a. Lithograph, 109/200 1988 b. Lithograph, 155/200 1988 c. Lithograph, AP 1990 d. Lithograph, AP 1990 a. Signed Ting in 1988, numbered 109/200 b. Signed Ting in 1988, numbered 155/200 c. Artist's Proof 90 d. Artist's Proof 90

丁雄泉 a. 一束小花 b. 裸女與花 c. 水族箱 d. 鸚鵡 a. 1988 b. 1988 c. 1990 d. 1990 a. 版畫 109/200 1988 b. 版畫 155/200 1988 c. 版畫 AP 1990 d. 版畫 AP 1990 a. 簽名：109/200 Ting 88 b. 簽名：155/200 Ting 88 c. 簽名：Artist's Proof 90 d. 簽名：Artist's Proof 90

NT$ 100,000-200,000 US$ 3,400-6,800

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WALASSE TING

a. Yellow Socks b. Black Stockings c. Blond Hair Girl d. Green Shirt Girl with Grasshopper e. Girl with Cat f. Girl with Cat and Grasshopper 72x101cm(×6) a. Lithograph, AP 1985 b. Lithograph, AP 1988 c. Lithograph, AP 1985 d. Lithograph, AP 1985 e. Lithograph, AP 1985 f . Lithograph, AP 1985 a. Signed Ting in English and dated 1985 , Artist Proof b. Signed Ting in English and dated 1988 , Artist Proof c. Signed Ting in English and dated 1985 , Artist Proof d. Signed Ting in English and dated 1985 , Artist Proof e. Signed Ting in English and dated 1985 , Artist Proof f . Signed Ting in English and dated 1985 , Artist Proof

丁雄泉 a. 黃襪 b. 黑吊襪 c. 綠布上的金髮女郎 d. 綠衣女孩與蟋蟀 e. 女孩與貓 f . 女孩、貓及蟋蟀

1985 版畫六件一組 a. 簽名：artist proof Ting 85 b. 簽名：artist proof Ting 88 c. 簽名：artist proof Ting 85 d. 簽名：artist proof Ting 85 e. 簽名：artist proof Ting 85 f . 簽名：artist proof Ting 85

NT$ 150,000-220,000 US$ 5,100-7,500

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(1929-2010)

184

WANCHUAN | CHANG Tamsui Red Castle

(1919-2003)

41.5×32cm Watercolor on Paper Signed CHANG. In English and Wan in Chinese

張萬傳淡水紅樓

張萬傳師承石川欽一郎，是台灣現代繪畫中非常重要的一位藝術家，無論在油彩的掌控或水彩畫的技法皆能活用自如，畫作瀟灑自由，形色迷人。此作是張萬傳較早期的水彩作品，張萬傳的寫生是「借形」而非「描形」，在看似隨性的筆觸下卻可見

水彩紙本簽名：CHANG.万

紮實的畫面結構，景象作為形象的參照而非寫實描

NT$ 60,000-100,000 US$ 2,000-3,400

在畫面上的用色不同於其晚期濃烈的設色，而是採用

繪，被截取的風景透過畫筆停格於畫作之中。此時期較為清透的色彩並置。面對今日已不復見的淡水老街美景，從張萬傳的畫作中更能體認寫生之美，在畫筆下凝滯的時空極具感性的留下的畫家眼中的風景。 275

185

WANCHUAN | CHANG The Countryside

(1919-2003)

26×36.5cm Pastel and Watercolor on Paper Signed CHANG. In English and Wan in Chinese

張萬傳農村風景粉筆水彩紙本簽名：CHANG.万

NT$ 40,000-80,000 US$ 1,400-2,700

張萬傳的作品常被歸類於受野獸派和表現主義影響深遠，而在其早期的寫生作品中，用色較為內斂，水彩寫生常帶有一股隨意而致的筆韻，在這件《農村風景》中，以黑色線條構築整張畫面，用色隨性且不拘形體輪廓，頗有野獸派影響之風格，恣意流動的運筆與色彩是本件作品最為引人入勝之處，跳脫於色彩之上的黑線框取著畫中景物，讓流放的色彩框限其中。細看張萬傳的作品可以感受到某種不安定且壓抑的情緒隱藏在畫面之內，仿佛帶有精神質素的憂鬱氣息隨之襲來，在看似隨筆的風景寫生之中更可見那封閉於畫作卻又不時流露的抑鬱。

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186

KUSAMA | YAYOI Handbag

(b.1929)

45.2×52.6cm Screenprint, 74/100 Signed Yayoi Kusama in English, numbered 74/100 and dated 1985

日本手機業者與草間彌生合作，發行以《皮包》為原型的手機。

ILLUSTRATED "All Prints of KUSAMA YAYOI 19792004", Japan, ABE PUBUSHING LTD, February 2005, Page 108

草間彌生皮包 1985 絲網版畫 74/100 簽名：Yayoi Kusama, 74/100, 1985 圖錄《草間彌生全版畫集》日本－阿部出版株式會社出版 2005年2月第108頁

NT$ 80,000-120,000 US$ 2,700-4,100

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KUSAMA | YAYOI Hat

(b.1929)

45×52.5cm Screenprint, 70/100 Signed Yayoi Kusama in English, numbered 70/100 and dated 1983 ILLUSTRATED "All Prints of KUSAMA YAYOI 19792004", Japan, ABE PUBUSHING LTD, February 2005, Page 108

草間彌生帽子 1983 絲網版畫 70/100 簽名：Yayoi Kusama, 70/100, 1983 圖錄《草間彌生全版畫集》日本－阿部出版株式會社出版 2005年2月第98頁

NT$ 80,000-120,000 US$ 2,700-4,100

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MAOHUANG | CHENG Landscape

(b.1934)

90×70cm Oil on Canvas Signed Mao in Chinese and dated 2010.10

曾茂煌風景 2010 油彩畫布簽名：茂 2010.10

NT$ 50,000-100,000 US$ 1,700-3,400 279

189

SALVADOR DALÍ

(1904-1989)

a. Philosopher b. Microscope a. Lithograph Printed, 46/55 b. Lithograph Printed, 46/55 a. Signed DaLi in English and numbered 46/55 b. Signed DaLi in English and numbered 46/55

達利 a. 被宇宙壓扁的哲學家 b. 火星的達利具備了完美電化的雙眼顯微鏡 a. 100×70cm b. 100×70cm a. 版畫 46/55 b. 版畫 46/55 a. 簽名：J. 46/55 DaLi b. 簽名：J. 46/55 DaLi

NT$ 30,000-60,000 US$ 1,000-2,000

280

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281

Correct at time of going to press

劉其偉 LIU

CHIWEI (1912-2002)

席德進 SHIY

DEJINN (1923-1981)

035

002 001 122

135

生於中國福建，原名劉福盛。1920年移居日本，先後畢業於日本神戶英語神學院以及東京鐵道教習學院。1945年來台，1949年開始自修水彩畫並於1951年舉辦首次個人水彩展。1962年獲中國畫學會第一屆水彩畫家金爵獎，1996年獲中國文藝協會「文藝獎章」，2001年獲文建會第四屆「文馨獎」金獎及特別獎，2002年獲總統頒發「褒揚令」。其水彩畫和油畫作品受到臺灣人的喜愛。在臺灣畫壇尊稱他為「劉老」，有畫壇老頑童之稱。近期展覽有：「80年回顧展」（1990，台灣台中，台灣省立美術館）、「巴布亞原始藝術展─劉其偉的新幾內亞行」（1994，台灣台中，國立自然科學博物館）、「探索90─劉其偉捐贈展」（2001，台灣台中，國立臺灣美術館）、「劉其偉歐亞繪畫巡迴展」（2001，愛爾蘭，詹姆斯喬艾思文化中心）。著有《現代藝術研究基本理論》、《水彩技巧與創作》及《台灣土著文化藝術》等書。

生於中國四川。 1938-1941於成都省立技藝專科學校習畫，接受龐薰琹指導素描； 1942進入杭州藝專，受教於林風眠，1948年遷台任教於省立嘉義中學。1975年獲得中山文藝創作獎。1957年在台北舉辦首次個展，作品《賣鵝者》於巴西聖保羅雙年展獲獎；1962年與廖繼春應美國國務院之邀訪美，之後旅訪歐洲寫生創作，並先後於華盛頓亨利畫廊、巴黎與香港舉辦個展。1966年返台並任教於淡江大學及師範大學，致力於臺灣民間藝術的研究與創作，後陸續於臺北藝術家畫廊、臺北鴻霖畫廊、省立臺中圖書館、臺北龍門畫廊、臺北與高雄美國新聞處以及阿波羅畫廊等處舉辦個展，近期個展：「臺灣頌──席德進逝世30週年精品展」於國立台灣美術館展出(2011)。出版有《席德進素描集》、《席德進的回聲》及《席德進看歐美藝壇》、《席德進畫集》等。

Liu was born in Fujian, China, his given name was Liou Fu-Sheng. He immigrated to Japan in 1920. He began to study watercolor painting by himself in 1949. Liu held his first exhibition in 1951. In 1962, he was awarded First Prize in watercolors by the Art Society of China in Taiwan in 1962. His watercolor and oil paintings are most popular in Taiwan where he was called Liou Lao as a respectful name. The other name: Wua Tan Lao Wan Tong which describes his playfulness of his personality. He has published extensively, including “The Theory of Modern Painting”, “Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”.

Born in Sichuan, China. During the time in Hangzhou Nation College, he studied under Lin Fengmian. In1948, he graduated from the Hangzhou National College of Art. After graduation, he returned to Taiwan to teach at the Provincial Chiayi High School. In 1957, he held his first solo exhibition in Taipei. Shiy accepted invitation of the U.S. State Department to visit U.S. with Liao ChiChun in 1962. Afterward, he went to Paris to study for three years and successively held solo exhibitions in Washington, D.C., Paris and Hong Kong. After returning to Taiwan, he taught at TamJang University and National Taiwan Normal University. In 1975, he won the Chungshan Literary Prize Award. Recent solo exhibition: Ode to Formosa : Exhibition in Commemoration of the 30th Anniversary of the Deceased Master Shiy De-jinn was held at National Taiwan Museum of Fine Arts in 2011.

黃銘哲 HUANG

蘇旺伸 SU

MINGCHE (b.1948)

WANGSHEN (b.1956)

003

120

012

028

生於台灣宜蘭。1976年於省立博物館舉辦首次個展，同年赴英國里茲大學修習美術。1978年和美國Semions畫廊簽約經紀畫家。1981與1982年連續兩年榮獲全省美展油畫第一名。近年個展及參展：「上海－臺北風華再現」(2001，中國，上海美術館新館)、「信仰的打造－黃銘哲立體作品個展」(2001，台灣，臺北市立美術館)、第十六屆全國美術展覽(2002)、「璀璨風華2003臺灣藝術珠寶展」(2003，台灣台北，國立歷史博物館)、「板塊位移」(2004年，美國紐約．456畫廊)、黃銘哲個展「面對現實」(2005，台灣台北，印象畫廊)、「非常厲害—設計中的藝術•藝術中的設計」(2005，台灣台北，當代藝術館)。 Born in Yilan, Taiwan. He went to study at Reeds University, England in 1976 after his first solo exhibition in provincial museum. In 1978, he signed on with Semions Gallery (USA) as his agent. For two successive years in 1981 and 1982, he won the first prize in oil painting in the Taiwan Provincial Fine Arts Exhibition. His works have been exhibited all over the world since 1981. Exhibitions: “Shanghai- Taipei, Huang Mingzhe solo Show”, Shanghai Art Museum, 2001; “16th National Art Exhibitions”, 2002; “The 2003 Exhibition of Artistic Jewelry from Taiwan”, National Museum of History, 2003; “Blocks shifting 6 Contemporary Artists”, 456 Gallery, New York, 2004; “Face the Reality”, Impressions Art Gallery; “Well Done! The Art of Design World”, Museum of Contemporary Art, Taipei, 2005.

282

004

b. 029

生於台灣嘉義。1979年畢業於文化大學美術系。自1984年開始，即積極參予各國聯展，所到之處包含日本、香港、美國、法國以及比利時等。1985年首次舉辦個展於美國文化中心，後個展陸續辦台北市立美術館(1988)、台中雅特藝術中心 (1991)、哥德堡展覽館(1994)、高雄杜象畫廊(1995)、「偷看，蘇旺伸」 (1997，台灣新竹，清華大學藝術中心)、「淡水‧滬尾」(1997，台灣台北，誠品畫廊)、「特技俱樂部」(2006，台灣台北，誠品畫廊)等。蘇旺伸早期畫風抽象，近期轉以隱喻手法反映當代社會現象。作品為台北市立美術館、國立台灣美術館等機構收藏。 Born in Chiayi, Taiwan. Su Wangshen graduated from the Fine Arts Department of Chinese Culture University in 1979. Currently works and lives in Kaohsiung. Since 1984, Su has actively participated in joint exhibition around the world, been to countries including Japan, Hong Kong, America, France and Belgium etc. In 1985, his first solo exhibition was held at the American Culture Center in Taipei, and second solo show at the Taipei Fine Arts Museum (1988). He continued to exhibit extensively thereafter in both solo and group exhibitions at home and abroad. Su's early works were presented as abstract style and his most recent works were transformed into more realistic style using metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

孫雲台 SUN

YUNTAI (1913-2005)

005

Born in Shandong, China. Sun Yuntai went to Russia in 1931, and entered the Moscow Russian aristocrat painter Luo river Pakistan Knoff's studio to learn painting. He conducted many teacher-and-student joint exhibitions during the 30's and 50's. He is well-famed, and held some solo exhibitions in Moscow and Tokyo. During the 50's and 60's, there were about 20 of his works collected by the Guo Bing Hall in Beijing Diao Yu Tai museum. Meanwhile, along with Fu Baoshi, and Guan Shanyue, Sun was invites to paint for the Great Hall of the People in Beijing. During that time, Sun YunTai completed his huge oil painting "Forest". After he returned to China, he conducted his first solo exhibition within decades at Howard Hotel in Taipei in 1992, and received brilliant feedbacks. In 1993 he held a second solo exhibition in Hong Kong, and published the "Sun Yuntai oil painting album"

007

ZE (b.1922)

141

生於中國山東。1931年赴俄羅斯，進入莫斯科白俄貴族畫家洛巴諾夫的畫室學習油畫，也曾拜師於日本畫家古賀。1930-1950年代多次參加師生聯展，並在莫斯科與日本東京舉辦個展。1950-1960年代陸續有20幅作品被北京釣魚臺國賓館收藏。曾受邀與傅抱石、關山月等共同為人民大會堂繪製作品，作品《森林》、《松花江》陳列於人民大會堂黑龍江館。1990年代先後在臺灣、香港等地舉辦數次個展， 1994年，其11幅作品與畢卡索等國際藝術大師的作品並列展出於「美在臺灣－國際藝術博覽會」上，轟動畫壇。晚年獲得省政府頒發的榮譽證書，被授予哈爾濱終身藝術家稱號。

蕭勤 HSIAO

戴澤 DAI

CHIN (b.1935)

006

生於日本京都，四川雲陽縣人，1946年畢業於國立中央大學藝術系，是徐悲鴻 (1835-1953)的得意門生，早年作品亦受其影響，專攻油畫。作品風格寫實，題材廣泛。晚年創作融合中西，以墨與色塊結合繪成國畫系列作品。1950年至1951年赴蘇聯、德國、波蘭等國舉辦中國藝術展覽會，1995年在美國紐約國際文化藝術中心舉辦個人展覽，作品多次被美術館、博物館及收藏家等機構珍藏。 Born in Kyoto, Japan, and grew up in Yunyang, Sichuan, China. Dai graduated from the Art Department of National Central University and he is the best student of Xu Bei-Hong. The style of his work is mainly realistic, with extensive themes. The early period of Dai's style closes with realism, but the latter part of his life, he created a series of traditional Chinese painting which blend with the advantage of the East and the West. Between 1950 and 1951, he held many exhibitions in Soviet, Germany and Poland; in 1995 he held the individual exhibition in New York. Now his works are collected by many galleries, museums and the collectors.

張萬傳 CHANG

WANCHUAN (1909-2003)

025 008

生於中國上海，父親蕭友梅是中國現代音樂的重要啟蒙者。1949年來台，1951年進入臺北師範學校藝術科系，向朱德群學習素描，作品多次參加過全國性及國際性展覽。1955年獲西班牙政府獎學金，1959年第一次在義大利舉行個展，同年遷居米蘭。先後工作於巴黎、倫敦與紐約等地。1961年發起「龐圖藝術運動」，1978 年創辦「太陽國際藝術運動」，1989年發起「國際無藝術運動」活耀於國際藝壇， 1996年任職於國立台南藝術學院教授，2000年應邀參加第七屆義大利威尼斯建築雙年展，2002年獲國家文藝獎，2005年被義大利總統授予「義大利團結之星騎士」勳章；近期展覽有：「榮源─蕭勤七十回顧展」(2006，中國北京，中國美術館)。 Hsiao was born in Shanghai, China. His father Hsiao Yumei, was an important composer in modern music in China. After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei. He also studied drawing under Chu Tehchun. In 1955, he received a scholarship from Spain government. In 1959, his first solo show in Italy, and he moved to Milan. In 1961, he promoted international “Punto Art Exercise”. In 1996, he works as the professor at Tainan National College of Arts. He was invited to “The 7th Bi-Yearly Architecture Exhibition of Venice” in 2000. He was award National cultural and art prize in 2002. In 2005, he was conferred by the Italian President C. A. Ciampi the honorable title of “Kinght of Itlian Solodarity Star”; "Glory to the Source, A retrospective exhibition of Hsiao Chin" National Art Museum of China, 2006, Beijing, China.

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生於台灣台北。中學時代跟隨石川欽一郎習畫，1929年入倪蔣懷籌組之「臺灣繪畫研究所」，後1930年赴日留學，進入川端畫學校及本鄉繪畫研究所研習西畫。 1938年返台後曾加入台陽美術學會，退出之後與陳德旺等人組成「行動美術會」。曾任教於廈門美術學校、國立藝術專科學校油畫科，以及臺灣建國中學、延平中學與國立藝專。其作品曾多次入選東京第一美展、日本春陽會展、府展特選、台展等；1954年首次於台北舉辦個展，1966赴日本舉行個展，1971年再度舉辦個展於台北中山堂。1980年創立台北美術會並任會長。其作品廣為藝術機構與私人藏家所珍藏。 Born in Danshui, Taiwan. Studied painting under Ishikawa Kinichiro while he was in high school. In 1929, he went to Japan to study at the Kawabata Painting Institute and Hongoo Art Institute. Zhang returned to Taiwan in 1938 and joined the Taiyang Fine Arts Association. After his withdrawal from the Association, he formed the MOUVE paintings at the Amoy Fine Arts College in China and Taiwan National Art College. His Works have been selected by 1st art exhibition of Tokyo. He taught in department of oil at Shiamen University and Institution of National art. In 1980, he formed Art Museum of Taipei and Appointed as Chairman. His works were collected wildly by many art institutions and private collectors.

283

鄭在東 ZHENG

009

ZAIDONG (b.1953)

064

Born in Taipei, Taiwan. Zheng graduated from the Taipei World Vocational School of Journalism. Active in the Taiwan art world during the 1980’s and 1990’s, he created gloomy and reminiscent oil paintings. Since 1980s he held many exhibitions in Taiwan and overseas like American Cultural Center, Taipei Fine Art Museum, Taiwan National Museum of History. He received the Shiung-Shih Award for Creativity in 1992. Zheng relocated to Shanghai and became the first Taiwanese artist who develops his career in Shanghai. Recent selected exhibitions: “New Image- 20 years of Chinese Contemporary Painting”, Beijing, Shanghai, Sichuan and Guangdong Art Museums, 2001;“Paris-Beijing”at Espace Pierre Cardin, Paris in 2002; “Cross the Limit” and “Zheng Zaidong, Zhou Chunya and Liu Wei” at Shanghai Hushen Gallery,2004; “Mountain and the River”, Shanghai Art Museum, 2004; “Ink Paintings by Cheng Zai-Tung” at Hanart TZ Gallery, Hong Kong in 2006; “Zheng Zaidong Exhibition” at Wistaria Tea House, Taipei in 2009.

CHIENHSING (b.1962)

011 125

生於台灣基隆。1984年畢業於中國文化大學美術系西畫組，2004年獲國立台北藝術大學碩士學位，同年開始擔任華梵大學美術系兼任講師。曾參與「第一屆中華民國現代繪畫新展望」（1984）、席德進繪畫大獎得獎畫家聯展（1987）、臺北畫派大展（1989，台灣，臺北市立美術館）、「台灣當代藝術展」（1995，澳洲）、「金剛摸芭比─悍圖社聯展」（2003，台灣台北，鳳甲美術館）等聯展。近年重要個展包含：「潛影觀省的人文風景」（1999，臺灣臺南，大都會藝術環境）、「凡塵物鑑．果凍說法－綜合媒材創作」（2000，臺灣臺北，誠品藝術走道）、「寂寞樂土」（2001，臺灣臺北，誠品畫廊）、「沉醉在歐洲風景圖像中的清韻味蕾」（2002，臺灣臺南，大都會藝術環境）、「荒景魔幻」（2004，臺灣臺北，誠品畫廊）。連建興在1980年代以超寫實技巧嶄露頭角，1990年代藉不同的既成圖像，置合成出屬於他個人童年生活記憶幻景的寫實作品，個人色彩濃厚，以獨樹一幟的「魔幻寫實主義」風格活躍於當代藝壇。 Born in Keelung, Taiwan. He graduated from the Western painting Section of the Art Department of the Chinese Cultural University, Taiwan, and then obtained his master's degree in 2003 in Taipei National University of Art. In 1984, he was selected for the first annual Republic of China Modern Painting Outlook Exhibition. In 1987, he joined the group exhibition of award-winners of the Shiy De-jinn Award. In 1989, he joined a large scale Exhibition of Taipei Painting Association organized by the Taipei Fine Arts Museum. Lien first came to prominence in the’80s with his super Realistic technique. In the ‘90s, using different picture, he has created Realistic works recalling images Form his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism, combined with a subconscious, mysterious shadow to become a unique kind of ‘magical realism"

284

TINGSHIH (1916-2002)

137

生於台灣台北。畢業於台北世界新聞專科學校。鄭在東活躍於1980與1990年代的台灣藝壇，作品風格是由人性的深層面出發。自1980年起，作品多次於國內外參與展出，如：美國文化中心、台北市立美術館、歷史博物館等，1992年榮獲雄獅美術創作獎。現今工作室設立於上海，成為第一位正式轉往上海發展的台灣藝術家。近年的展覽包括：「新形象—中國當代繪畫廿年」(2001，中國北京、上海、四川、廣東美術館) 、「巴黎-北京」(2002，法國巴黎，Espace Cardin藝術中心) 、「超越界線」(2004，中國上海，滬申畫廊)、「鄭在東、周春芽、劉煒三人展」 (2004，中國上海，滬申畫廊)、「高山流水」(2004，中國，上海美術館)、「鄭在東水墨展」(2006，香港漢雅軒)、「浮生邈邈─鄭在東個展」(2009，台灣台北，紫藤廬)。

連建興 LIEN

陳庭詩 CHEN

010

生於中國福建。1948年來臺，年幼失聰反使其更專注於創作，三十餘歲活躍於美術團體如五月畫會、現代版畫會及現代眼畫會等。曾多次參與歐美亞等地海外聯展，並定期參與五月畫會展覽及多項個人展覽。1970年，作品《蟄》獲韓國東亞日報「第一屆國際版畫雙年展」首獎，同年榮獲中華民國第八屆畫學會金爵獎。1976 年赴美國科羅拉多州政府議會大廈設計紀念華工移民開拓的大幅鑲嵌玻璃畫〈慶祝美國建國二百週年〉，並在美居住兩年。其版畫作品廣受海內外美術館及私人機構所收藏，如：洛克斐勒基金會、辛辛那提美術館、國立臺灣美術館等。近期展覽包括：「大律希音—陳庭詩紀念展」(2002，台灣台北，市立美術館)。 Born in Fujian, China. Chen lost his hearing at early age, on the contrary, he focus on his art more. Chen left China for Taiwan in 1948 and has participated in various artistic circles such as the Fifth Moon Group, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the Fifth Moon Group, on top of regular solo shows. In 1970, Chen was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. His works can be found in major museums such as Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts. “Sound of Raritythe Retrospective Exhibition of Chen TingShih” has held in Taipei Fine Arts Museum, September 2002.

劉耿一 LIU

KENGI (b.1938)

013

生於日本東京，父親為台灣著名畫家劉啟祥。1946年返台，1969-1980任教於屏東國中，1981年辭去教職並移居高雄，自始成為專業畫家。曾遊歷日本、歐洲、美洲與紐西蘭等地，以汲取創作靈感。曾榮獲：台陽展之「台陽賞」(1963)、全省美展優選（1963）、中華民國畫學會油畫類「金爵獎」(1986)。1962年，首次於高雄市台灣新聞報畫廊舉辦個展，近期展覽包括：「大地行吟：劉耿一繪畫及造型藝術展」，並出版專輯（2001，台灣台北，亞洲藝術中心）、「美術高雄2001：後解嚴時代的高雄藝術」聯展（2002，台灣，高雄市立美術館）、「我與我：藝術家自我探索與刻畫」聯展（2002，台灣，高雄市立美術館）、「亞洲新意美術交流展2004」（2004，台灣台南，市立文化中心）、「劉耿一新作展」（2007，紐西蘭，因第果畫廊）、「鳳邑˙風華I－藝術先行者」聯展（2008，高雄縣文化局）、近作巡迴展「映在潮水中的時光」(2010至2011年9月，台灣創價學會錦州、台中、景陽、鹽埕藝文中心)，並出版專輯、「劉耿一回顧展－生命感知與詠嘆」(2011，台北市立美術館)。 Born in Tokyo, Japan. Liu returned to Taiwan in 1946 and taught at Heng Chun Junior High School in Pintung. Since he resigned from school and moved to Kaohsiung in 1981, he then became a professional artist. He traveled to Japan, Europe, America and New Zealand to gain inspiration of artistic creation. Awards: Tai-Yang Prize of Tai-Yang Art Association Yearly Exhibition(1963), Chin Chueh Prize for oil paintings by R.O.C. Painting Society. His first one-man show of oil and oil pastel paintings was held at Gallery of Taiwan Daily News, Kaohsiung, 1962. Recent exhibitions: One-man show of oil pastel paintings and sculptural furniture“, Asia Art Center, Taipei, 2001; "Art of Kaohsiung 2001: Art in Kaohsiung after the Lifting of Martial Law" ,Kaohsiung Museum of Fine Arts, 2002; "I-ness: About Me－Artists' Exploration and Depictions of the Self", Kaohsiung Museum of Fine Arts, 2002; "New Expression of Asian Art" , Tainan Municipal Culture Center, 2004; Solo Exhibition of paintings "Pohutukawa Suite" , Indigo Gallery, kerikeri, New Zealand, 2007; "Elegance and Intellectual Brilliance of Kaohsiung County, I － Art Forerunners" , Kaohsiung County Culture Center, Kangshan, 2008; "Time Reflected upon the Tide: Recent Works by Liu Keng-I" traveling to four arts centers of Taiwan Soka Association: Taipei, Taichung, Doouliow, Kaohsiung (until September 2011) and“Aria of Life: The Art of Liu Keng-I”, Taipei Fine Arts Museum, 2011.

余承堯 YU

CHENGYAO (1898-1993)

邱亞才 CHIU

016

014

生於中國福建。早年投筆從戎，先於1920年赴日本早稻田大學攻讀經濟，後轉入日本陸軍士官學校，1923年返回中國任教於黃埔軍校，1946年以中將官階退伍。其自56 歲才開始作畫，沒有師承，卻為傳統水墨開拓出新視野，實為水墨畫壇中的傳奇巨擘。1966年余氏作品首次公開展示於「中國山水畫的新傳統」聯展，於美國各州巡迴展出四年；1985年獲邀參加「中國傳統繪畫新潮流」聯展，足跡踏至美國與法國；1986年其以88歲高齡於台北雄獅畫廊舉辦首次個展；1987年於香港大會堂舉辦海外首次個展；1988年台北歷史博物館舉辦「余承堯九十回顧展」，並出版大型畫冊「千巖競秀」。余承堯先生於1889年獲聘中華民國文化資產維護學會名譽會員；1990年，其作品「群山如劍斷雲間」為台中省立美術館永久典藏。

015

034

063

生於台灣宜蘭。1979年在台北美國文化中心舉辦首次個展，1984年在香港漢雅軒畫廊展出成功後，便陸續參與許多大型展覽，包括：「The Minds I」（1987，美國紐約，亞洲藝術中心）、「現代水墨展」（1988，台灣台北，國立歷史博物館）、「台灣美術三百年」（1989，台灣台中，國立台灣美術館）、「畢卡索，達利與邱亞才等聯展」（1995，瑞士，薩加拉畫廊）、「朱銘、邱亞才雙人展」（1999，瑞士藝術博覽會）、「朱銘、邱亞才雙人展」（2001，美國紐約，萬玉堂）、「台灣八十年代新表現主義回顧展—鄭在東、陳來興、邱亞才」（2004，台灣台中，靜宜大學藝術中心）以及於2006年參加新加坡、上海、北京藝術博覽會等。邱氏以肖像畫著名，作品洋溢一種文人典雅氣息，深受其早年從軍時涉獵歷史經典創作的影響。

Born in Fujian, China. Yu studied economics in Waseda University in Japan in 1920 at first. Later he turned to study in Imperial Japanese Army Academy, and then he went back to China, hired by R.O.C. Military Academy in 1923. He was retired in 1946 by the position of lieutenant general. He started to draw the painting at 56 years old without instructors, yet created the new version of traditional Ink and Wash Painting, and became the legend of the art circle. His artworks were first shown in 1966 in public, and then have been making an exhibition tour in all the states of America for 4 years. He was very honor to be invited by the show of “New Wave of Chinese traditional painting”, which made him renowned in America and France. The first solo exhibition at Lion Gallery in Taipei was in 1986, the next year he held the oversea exhibition at The Hong Kong City Hall. “The 90's retrospective exhibition of YU CHENGYAO's works” was held in National Museum of History in 1988, publishing the large album of paintings at the same time. Mr.YU CHENGYAO was the honorary member of China Educational and Cultural Exchange Association in 1988. He's masterpieces was collected by National Taiwan Museum of Fine Art in 1990.

沙耆 SA

YATSAI (b.1949)

Born in Yilan,Taiwan. Chiu's first solo exhibition was held at the American Cultural Center, Taipei in 1979. He has participated in many grand exhibitions overseas since the successful “The New Painters from Taiwan” exhibition at Hanart TZ Gallery, Hong Kong1984. His work has been shown at significant museums and galleries including: “The Minds I”, Asia Art Center, New York, 1987; Taiwan National Museum of History, Taipei, 1988; In 2004, his works were shown in the Art Center of Provence University “The 80's of Taiwan NeoExpressionistic retrospective exhibition.” Chiu is noted for his elegant portraits of literary quality, which were strongly influenced by his studies and knowledge of Eastern and Western classics and history during his military service.

DJI (1914-2005）

067

068

生於中國浙江。原名沙引年。早年在上海昌明藝專、上海美專、杭州藝專和中央大學藝術系習畫九載。1937年在徐悲鴻推薦下赴比利時皇家美術學院深造，並在寫實派畫家巴思天（A. Bastien）院長的指導下，以出色的成績兩度獲得比利時皇家美術學院優秀美術金質獎。1940年與畢卡索（Picasso）等名畫家一起參加展覽會； 1942年其作品《吹笛女》於柏蒂畫廊美術館展覽，並獲皇室所收藏；2001年「沙耆七十年作品回顧展」在中國美術館、上海美術館和台北歷史博物館展出。

124

Born in Zhejian, China. Originally named Sha Yinnian, Sa studied painting for nine years in Shanghai Changming College of Arts, Shanghai Art School, Hangzhou College of Arts and Department of Arts in Central University. In 1937, he went to seek advanced study in Belgium Royal Institute of Fine Arts on the recommendation of Xu BeiHong, , and in 1942 his "Flautist" was shown at the Petite Galerie and acquired by the royal family. Sa conducted a systematic study on traditional European paintings. He has held exhibitions with famous Modernistic painters like Picasso and immediately became well known in Europe. In 2001, “Sad Ji Seventy-year Retrospective” was held in National Art Museum of China, Shanghai Art Museum and National Museum of History.

111

285

黃致陽 HUANG

CHIHYANG (b.1965)

魏樂唐 JOHN

018 017

132

038

生於臺灣臺北。1989年畢業於中國文化大學。現工作、生活於北京。曾於1996年獲亞洲文化基金會獎，並遊學美國；也曾獲獎於「臺北縣美展」、「臺北現代美術雙年展」、「威尼斯國際雙年展」。黃致陽參予海內外各大聯展逾七十餘次，足跡遍及臺灣、中國、義大利、日本、美國、加拿大，德國、澳洲等。近年個展包含：「戀人絮語」(2000，美國紐約，ETHAN COHEN畫廊)、「戀人絮語」(2001，臺灣臺北，漢雅軒畫廊)、「I am cute germs」(2001，美國紐約，Crosspath culture-white box)、「千靈隱」(2004，臺灣臺北，大未來畫廊)、「都會風景」 (2006，臺灣，臺北當代美術館)、「Zoon-北京生物」(2007，中國北京，藝門畫廊)、「Zoon—密視」(2008，香港，漢雅軒畫廊)、「永遠的邊界」(2009，臺北，伊通公園)、「永遠的邊界」(2009，北京，藝門畫廊)。 Born in Taipei, Taiwan, Huang graduated from Chinese Culture University in 1989, now lives and works in Beijing. He won the Asian Culture Council Prize in 1996 and went study oversea in America, he also won awards from The Biennial of Venice 46th Exhibition International Art in 1995, Asian Culture Council Prize in 1996 and The Art Exhibition of Taipei County in 1997. Huang has participated in more than 70 joint exhibitions at home and abroad, travelled to the countries included China, Italy, Japan, America, Canada, German and Australia. Recent exhibitions: “Lovers Library”, Ethan Cohen Gallery, New York, 2000; “Lovers Library” Hanart Art Gallery, Taipei, 2001; “I am a cute germs”, Crosspath Culture-White Box, New York, 2001; "Three Marks", Lin & Keng Gallery, Taipei, 2004; “Zoon:Beijing-Bio”, Beijing, 2007; Peripheral Vision, Taipei, Beijing, 2009.

藍蔭鼎 RAN

INTING (1903-1979)

生於中國上海。1937年即於上海畫廊展出，自1951年開始連續五年入選香港美術協會年展。1956年移居美國，魏樂唐作品將中國書法的活力移至現代藝術的形式中，為當代華人藝術家中最早鑽研抽象繪畫者之一。1960年起曾在波士頓舉行多項展覽，包括1960於納斯畫廊及1968於麻省學院藝術館舉辦之個展。1965年與國際當代大師安迪．沃荷、帕洛克等參加波士頓現代美術館之「不用畫筆的畫作」聯展，1985年入選法國「國際沙龍展」，1998年獲義大利藝術學院頒贈最高榮譽教授頭銜，2000年，作品入選瑞士日內瓦國際藝術大展，作品發行為瑞士出版郵票。 2001年，於上海美術館舉辦「八十回顧展」。其作品為美國史丹佛美術館、舊金山美術館及太平洋亞洲美術館等典藏。 Born in Shanghai, China. Way has held his own shows in Shanghai since 1937. From 1951 his works have been selected to show at the Hong Kong Art Club Annual Exhibition for five consecutive years. Way settled down in Boston in 1956, where he studied abstract painting in the West. Throughout the 1960s Way had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT's Art Museum in 1968. In 1965, his work was showed alongside other well-acclaimed contemporary artists including Andy Warhol and Pollock, in a joint exhibition “Painting Without a Brush” held at the Accademia del Verbano in Italy. His works are in the collections of both the Stanford University Art Museum(USA) , the San Francisco Art Museum(USA), and the Pacific Asia Museum(Canada).

林憲茂 LIN

SHIENMAO (b.1955)

019

生於台灣宜蘭，是台灣知名水彩畫家。曾跟隨日本大師石川欽一郎(1871-1945)習畫，對藍蔭鼎一生的繪畫發展有很深的啟悟。後於1923年赴日學習油畫及水彩畫。 1929年獲選為英國皇家水彩協會會員。其作品曾應邀於歐洲、北美、亞洲等地區展出，作品廣為國內外機構所收藏。台灣光復後，創辦《台灣畫報》與《豐年月刊》，並擔任社長。1971年榮獲歐洲藝術評論學會及美國藝術評論學會徵選為世界十大水彩畫家之一，享譽國際。1952年入選為法國水彩畫協會會員。1962年日內瓦國際年鑑推薦他為當代最傑出藝術家之一。1973年出任華視董事長，卒於1979 年，享年77歲。藍氏一生的水彩畫創作與啟發多以台灣風俗民情為題材，畫風將水墨技法與西洋水彩畫融為一體，生動自然。1991年台北故宮博物院舉辦其紀念展， 1998年歷史博物館也再次舉辦藍氏回顧展，並出版其繪畫世界之經典。其著名作品「養鴨人家」由倫敦劍橋美術館所收藏(1966)。

286

WAY (b.1921)

Born in Yilan. Ran is the best known artist of Taiwan. Ran studied watercolor painting from,Ishikawa Kinichiro (1871-1945), and he was deeply influenced by his mentor. In 1929, Ran went to Japan to study painting and watercolor technique. In 1929, he was named honorary member of the British Royal Watercolor Association and was invited as a guest lecturer in Europe, North America and Asia. He then became the editor of Taiwan Pictoral Magazine and Good Harvest Magazine. In 1962, Ran was included in a list of the greatest artists of modern times in the International Geneva Yearbook. In1973, He served as president of China Television System and passed away in 1979. His subject matter was mostly the everyday lives of Taiwanese village people which he vividly depicted and combining the technique of Chinese Calligraphy and watercolor together to achieve his unique expression of pictorial space. In 1991, National Palace Museum held the memorial exhibition of Ran. In 1998, the National Museum of History in Taipei held the retrospective exhibition of RAN INTING and also published a catalogue of Ran's collection.

098 020

061

生於台灣台中。出身醫生世家，自小無拜師學畫，為自學型成功畫家。1988-1993 年分別前往東南亞及北、中、南歐旅行寫生，足跡遍及歐洲、中美洲等40餘國， 2007年成為中興新村駐村藝術家。曾榮獲全省美展優選（1980、1983、1984）、全國青年創作獎（1981）、雄獅新人獎優選（1983）。1977年，首次於台中美國新聞處舉辦個展，其後著名個展包括：「個展」（1981，台中市立文化中心）、「德國首屆國際藝術節個展」（1996，波羅的海城市）、「巡迴個展」（1997，德鴻畫廊、台中鼎峰藝術中心、台北國際世貿藝術博覽會）、「風華再現」個展（2006，南投文化中心）等。至今參與展覽逾五十次。 Born in Taichung, Taiwan. Lin was born in a doctor's family. He is a successful self-study artist for learning painting without teachers' instruction. From 1988 to 1993, Lin traveled morn than 40 counties in the world to paint. He devoted himself fully to art, and became the artist-in-residence in Chunghsing Village in 2007. Awards: Optimization of the Provincial Art Exhibition, 1980, 1983, 1984; Creative Award by the National Youth, 1981; Lions rookie award selection, 1983. The first solo exhibition was held in Taichung United States Information Service Solo exhibition, and he has later held more than 19 solo exhibitions and participated in morn than 30 group exhibitions so far.

朱銘 JU

MING (b.1938）

021

043

071

154

085

086 092

生於台灣苗栗。早期向李金川學習木刻，其後與楊英風學現代雕塑。1976年獲選台灣十大青年，並獲頒國家文藝獎，2004年獲頒九十三年行政院文化獎，亦為台灣對文化界人士所頒發的最高榮譽獎項，2007年獲頒第十八屆「福岡亞洲文化獎─藝術文化獎」。朱氏的作品「鄉土」、「太極」和「人間」系列廣受歡迎，舉辦過多次國際性展覽，如：太極系列（1997，巴黎梵登廣場）。黃永松曾如此評析朱銘的創作：「他原先的鄉土題材是『台灣』的，『太極』是『中國』的，到了『人間』是『國際』的」，足以見證朱銘一路創作的演變與越發國際化的觀點。他的作品被世界各大城市美術館、教育機構和政府珍藏，臺灣地區計有：台北市立美術館、國立台灣美術館、高雄市立美術館、朱銘美術館等。1999年朱銘美術館在臺北縣金山鄉開幕。

155

Born in Miaoli, Taiwan. Ju began studying sculpture with Lee Chinchun in early year. He proceeded to learn modern sculpture under Yuyu Yang. Ju was chosen as one of ten outstanding youths in Taiwan in 1976 and also presented with a National Cultural Award in recognition of his artistic accomplishments. His works of Series “Nativist”, “Taichi” and “Living World” are most popular and have been collected by museums, educational institutions and government worldwide. Huang Yong Song comment on his creations: The three series “Nativist”, “Taichi” and “Living World” is an obvious evolution of broadening subject- from Taiwan to China then from China to world. In December 1997, his works were exhibited abroad in Place Vendome, Paris. Ju even established The Ju Ming Museum in Chinshan, Taipei in 1999. In the year of 2006, a Series of Taichi solo exhibition was held and received great admiration in Beijing. These abroad exhibitions reach step to step to international stage. Not only honored with the “Cutural Award” in 2004, his dedication of art also won him another medal- “Fukuoka Asia Cultural Award – Art and Culture Medal”.

287

楊英風 YUYU

YANG (1926-1997）

024

022

042

069

113

070

114

115

145

138

生於台灣宜蘭。曾進修於日本東京學校建築系、北平輔仁大學美術系及國立台灣師範大學藝術系，後前往義大利羅馬藝術學院學習雕塑。1964至1966年間，獲頒義大利奧林匹克繪畫金章獎、雕塑銀章獎與第二屆世界和平文化藝術大獎。著名的展覽包括：「楊英風個人展覽」 (1991，新加坡)、「楊英風一甲子工作紀錄展」 (1993，台灣，省立美術館)、「楊英風’94個展」(1994，美國紐約，第特利)、「楊英風景觀雕塑特展」(1996，英國倫敦，皇家雕塑家協會之邀)、「楊英風大乘景觀雕塑展」 (1997，日本，箱根雕刻之森)、「楊英風紀念展」(2005，台灣高雄，市立美術館)、「楊英風父子創作展」－楊英風「大器．遇合」與楊奉琛「五行再生」藝術展 (2010，中國北京，中國美術館)。

288

153

Yang was born in Yilan, Taiwan. He studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibition in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d' Artee Cuture Abano. He was also awarded the World Peace Prize for Culture and Arts by the Roc's Literature and Arts Society. Exhibition: “Stainless Steel Sculpture Exhibition”, National Museum of Singapore, 1991; “Yu Yu Yang, Six Years Record Exhibition”, National Taiwan Museum of Fine Arts, 1993; “Yu Yu Yang '94 Solo Exhibition”, New York, 1994; “Minds, Collided - Yuyu YANG”and “Revival of Five Elements - Feng-Chen Yang's Solo Exhibition”, National Art Museum of China, Beijing, 2010.

蕭一 HSIAO

YI (1956-2006)

楊成愿 YANG

CHENGYUAN (b.1947)

026

023

生於台灣嘉義。1973年於屏東學習傳統雕刻，受傳統佛像雕刻的啟蒙。1977年開始脫離傳統轉而自由創作，以真實生活體會為創作題材，思索人性與佛性的對立與矛盾。1981年於春之藝廊舉辦首次個展。1987年台中文化中心個展。1992年受邀於新加坡國際藝術展。他的作品包括許多主題與對象，諸如人體、頭像、動物、摩托車等，在台灣民間生活中，融入現代簡約的元素。1997年首次嘗試以不鏽鋼金屬線作為創作媒材，1998年更嘗試鐵雕創作。近年潛居台北縣三芝鄉山間創作，仍以人物的木刻創作為多。作品風格樸拙洋溢，造型多變，極富禪意。 Boin in Chiayi, Taiwan. Hsiao started off as an apprentice to craftsmen at Buddhist and Taoist temples around southern Taiwan in 1973 and later he started to create freely instead of traditional sculptures in 1977. In 1981, His first solo exhibition was held in Spring Gallery. After then, his art is also frequently in galleries and art centers. Selected exhibitions: “Art Galleries Fair R.O.C. Solo Exhibition”, International Art Fair, Singapore, 1992; “The Progress of Taiwan Modern Sculpture V─Wood Carving”, Gate Gallery, Taipei, 1996. His various and talented sculptures shows with simple and unadorned quality to express a Zen style.

楊識宏 YANG

CHIHUNG (b.1947)

083

生於台灣花蓮。1971年畢業於台北師範大學美術系。1981年於日本大阪藝術大學油畫研究科畢業。回國後加入十青版畫會，從事創作與教學工作，對版畫推廣活動亦不遺餘力。在楊成愿作品中異質符號並置其間，彼此雖無邏輯必然性，但在符號本身的意義外，其試圖讓符號之間產生多重對話，形成語法關係並進而衍生出新的意義。作品先後榮獲1982年中日交流展油畫藝術招待獎、1986年西班牙費路爾（FERROL）國際版畫展獲特別榮譽獎、1989年中華民國國際版畫雙年展「文建會主委獎」、1991年中華民國國際版畫雙年展「國家文藝基金會獎」、南京三版展「特別獎」及1998年台灣文藝協會「中興獎章」等殊榮。1987年首次個展於台北雄獅畫廊。創作作品獲日本田川市美術館及多數國家購藏。 Born in Hualian, Taiwan. Yang graduated from Taiwan National Normal University in 1971, and then from Oil Painting Department of Osaka University of Arts in 1981. Yang's painting was ever prized at different art shows such as Sino-Japanese Exchange Exhibition (1982), Print Festival of Museo Municipal de Ferrol, Spain (1985 & 1987) and Asia International Modern Art Exhibition in Japan, Yakahoma National Independent Print Exhibition, Association Francaise d'Action Artistique (AFAA) in Japan and International Modern Art Exhibition (I.M.A.). Yang held his first solo exhibition at Hsiung Shih Gallery, Taipei. At the same year, he was awarded at Print Festival of Museo Municipal de Ferrol, Spain. His paintings could be found at several oversea museums. Yang developed equally his oil painting and printmaking works, two shining features during his career, which resulted in marvelous quality and quantity.

葉子奇 YEH

030

TZUCHI (b.1957)

031

027 037

生於台灣桃園，畢業於國立台灣藝專。1979年移居美國紐約至今，1987年在台北出版美術論述著作《現代美術新潮》，1989年獲紐約州州長頒發「傑出亞裔藝術家獎」，1991年應邀為香港中環廣場大廈製作三幅巨畫。1997年接受訪問，內容收錄於日本比尼斯公司製作發行之錄影帶─《現代美術與美國》。2004年出版攝影集《台灣文化人攝影紀事》，同年榮膺國立台灣藝術大學傑出校友。創作及展覽至今，在台北、香港、北京、漢城、倫敦、紐約、芝加哥等地舉辦五十餘次個展及兩百多次聯展。近期個展：「象由心生」（2004，台灣台北，國立歷史博物館）、「楊識宏個展」 (2007，中國北京，中國美術館)、「楊識宏個展」(2008，美國紐約，中國廣場) 、「雕刻時光─楊識宏個展」(2009，台灣台北，國父紀念館)。作品廣獲國內外藝術機構、企業及私人收藏。 Born in Taoyuan, Taiwan, and graduated from National Taiwan College of Art at 1968. Yang immigrated to New York from 1979 till now. Yang won the Asian Artist Award by New York City Major at 1989. In 1991, Yang was invited to execute three giants paintings at Hong Kong Central Plaza Building. He was interviewed by the video produced by a Japan company. He published the photography in 2004, and won goodness schoolfellow of National Taiwan University of Art. Yang has held 50 major solo-art exhibitions and 200 more group shows at U.S. , Britain and Asia. Recent selected solo exhibitions: In 2004, solo exhibition “The Images of the Mind” at National Museum of History, Taipei, Taiwan. 2007 solo exhibition in National Art Museum of China, Beijing, China. In 2008, solo exhibition at China Square, New York. In 2009“CHIHUNG YANG─ Sculpting in Time” at National Dr. Sun Yat-sen Memorial Hall, Taipei. Yang's works are included in Asia, U.S. museum and private collections.

出生於台灣花蓮。畢業於文化大學美術系西畫組，1987年8月葉子奇赴美，1989 年獲頒美國紐約市立大學布魯克林學院藝術研究所碩士(MFA)，並在紐約生活創作。2006年返回花蓮定居。作品曾多次參與國際性聯展，曾舉辦「紐約個展」（1989，紐約，格林威治區，衛斯貝斯畫廊)，「鄉愁在浴室中，對話與獨白」（1994，臺灣臺北，誠品畫廊），「走過風景的心情1988-1996」（1997，臺灣臺北，家畫廊）、「風景，台灣」（2000，臺灣臺北，帝門藝術中心）、「獨白—離鄉之遠近1989-2004」(2004，臺灣臺北，誠品畫廊)、「走過風景的心情」（2007，臺灣臺北，誠品畫廊）、「風景‧台灣」（2009，臺灣臺北，誠品畫廊）等個人展覽。作品廣為國內外藝術機構及私人收藏。 Born in Hualian, Taiwan. Yeh graduated from Fine Art Department of Chinese Culture University and entered military service. In 1982, he is a member of R.O.C Painting Society, and organized 101 art-group. In 1983, Yeh held exhibition of 101 art-group and set up his own studio. In 1987, Yen entered Brooklyn College of the City University of New York, lived and worked in New York. He has participated in many important exhibitions in Taiwan and overseas. His recent solo exhibitions include the "Monologue – the Near and Far Away from Home", 2004, Eslite Gallery, Taipei, Taiwan; "Through the Landscape of the Mind", 2007, Eslite Gallery, Taipei, Taiwan; "Landscape Taiwan"2009, Eslite Gallery, Taipei, Taiwan. Some of his paintings were collected by art institutes and private collectors around the world.

289

司徒強 SZETO

KEUNG (1948-2011)

常陵 CHANG

032

LING (b. 1975)

033

生於中國廣東。1969年進入師大美術系，1979年畢業於紐約普拉特藝術學院，獲碩士學位，自此旅居紐約。司徒強的創作融合抽象表現主義、超寫實主義與普普藝術等風格，並兼用拼貼、錯置創作，擅以寫實與抽象技法呈現中國古典文學情境。曾於誠品畫廊(1991、2005)、漢雅軒畫廊(1996) 、紐約OK哈里斯畫廊(1999)舉辦個展。參予聯展包含：「普普與幻象：費德利克．魏斯曼藝術基金會當代作品展」 (2003，美國維吉尼亞海灘，維吉尼亞當代藝術中心)、「美國當代寫實主義VII」 (2004，美國奧克拉荷馬州突沙市，M.A.朵蘭畫廊) 等。

生於台灣花蓮。2004年畢業於法國國立巴黎高等藝術學院，師事波坦斯基，韋勒蒙及布斯塔蒙。2003年成立COLOCOLOC藝術團體於巴黎。著名展覽：「五花肉之第一花」個展(2005，台灣台北，一票人畫廊)、「毛囊展」個展(2005，台灣台北，關渡自強284)、「五花肉系列－開天闢地」(2007，台灣台北，也趣畫廊)、「肉－花園一遊，」(2007，瑞士日內瓦，蕾達畫廊邀請個展)、「五花肉系列－肉兵器」(2007，台灣台北，關渡美術館)、「常陵個展」(2008，台灣台北，印象畫廊)；「華西街」(2008，美國紐約，駐美國台北經濟文化代表處邀請)。

Born in Guangdong,China. Szeto entered Department of fine arts of the National Taiwan Normal University in 1969 and graduated from Pratt Institute in 1973. Since graduate live and works in New York. Szeto's solo exhibitions: Eslite Gallery,1991 and 2005; Hanart Gallery, 1996; O. K. Harris Gallery, New York, 1999, and etc. Selected exhibitions: "Pop and Illusionism: Contemporary Works from The Frederick R. Weisman Art Foundation", Contemporary Art Center of Virginia, Virginia Beach, USA, 2003; "Contemporary American Realism VII", M.A. Doran Gallery, Tulsa, USA.

Born in Hualien, Taiwan. He was graduated from Ecole Nationale Superieure Beaux-Art de Paris (D.N.S.A.P), and studied under Cristian Boltansky, Jean-Luc Vilmount and Jean-Marc Bustamant. In 2003, he held art group “COLOCOLOC” in Paris. Exhibitions: “The First Flower of the the Streeky Pork”, A lot of People-Gallery, Taipei, Taiwan, 2005; “Hair Follicle”, Art Space 284, Taipei, Taiwan, 2005; “Streaky Pork Series: Epoch-Making”, Aki Gallery, Taipei, Taiwan, 2007; “Flesh Duet (Flesh Landscape in Garden)”, Lede Fletcher Gallery, Geneva, Switzerland, 2007; “Streaky Pork Series: Flesh Weapons”, Kuandu Museum of Fine Arts, Taipei, Taiwan, 2007; “Chang-Ling Solo Exhibition”, Impressions Contemporary Space, Taipei, Taiwan, 2008; “Snake Alley” invited by Taipei Economic and Cultural Representative Office in the U.S., New York, the U.S, 2008.

劉國松 LIU

郭振昌 KUO

KUOSONG (b.1932)

JENCHANG (b.1949)

039 036 081

生於中國安徽。1949年定居台灣，1956年畢業於台灣師範大學美術系，隨即創立「五月畫會」，發起現代藝術運動。1961年間，感慨當代一味模仿西方畫風與思潮，故倡導中國畫的現代化。自1965年起，劉國松已在世界各地展出個展八十餘次；1959年參加巴西「聖保羅國際雙年展」、法國「巴黎青年雙年展」；1963年發明粗筋棉紙－劉國松紙，並藉此創造出自我獨特畫風；1968年當選台灣「十大傑出青年」；參與美國俄亥俄州馬瑞埃塔學院藝術中心「主流’68」國際美展，並獲「傑出畫家獎」；1985年首次應法國「五月沙龍」之邀，作品於巴黎大皇宮展出；1991年獲李仲生現代繪畫文教基金會「現代繪畫成就獎」。近期展覽包括：「宇宙心印－劉國松七十回顧展」（2002）、「宇宙心印：劉國松繪畫一甲子」（2009，臺灣臺北，國父紀念館）、「劉國松創作大展-八十回眸」（2011，中國北京，中國美術館）。

290

Born in Anhui, Liu moved to Taiwan in 1949. He graduated from the Fine Arts Department of National Taiwan Normal University in 1956. He is the founder of the “Fifth Moon Art Association”, and the leader of Chinese contemporary painting movement. His works have been exhibited more then 80 times around the world since 1965. He has held several academic positions, including the Dean of the Fine Arts Department at Hong Kong Chinese and Tainan National University of Arts. Liu's works are widely housed by museum and art originations all over the world. Recent exhibitions: “The universe in the mind: a retrospective of Liu, Kuo-Sung”, 2002; “The Universe in the Mind: Master LiuKuosung Painting 60 Years Retrospective Exhibition”, 2009, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan; “A Creation Exhibition by Liu Guosong —Looking back at 80”, The National Art Museum of China, Beijing, China.

065

生於台灣彰化。畢業於文化大學美術系，曾在李仲生畫室習畫。近年個展：「偶然與巧合」（2003）、「18羅漢個展」（2005）、「郭振昌2008年漂亮個展」（2008，台灣台北，大趨勢畫廊）、「圖騰與禁忌」個展（2008，台灣，台北市立美術館）、「Float浮動」個展（2009，台灣台北，亞洲藝術中心）。作品獲日本原美術館、國立台灣美術館、台北市立美術館、高雄市立美術館等及國內外人士收藏。1994年，作品《桃花源記》獲選入美國藝術雜誌《Art in America 1994年度當代藝術精選200件-作品幻燈片全集》，供歐美各大學美術教學研究之用。 Born in Lukang, Taiwan. Kuo graduated from the Fine Arts Department of the Chinese Culture University, and studied under Li Zhongsheng. Solo exhibitions: “HAPPENSTANCE”, Taipei, 2003; “18 LOHANS”, 2005;“J.C. Kuo's 2008 Solo Exhibition: Am I A Beauty I Am A Beauty”, 2008, all in Main Trend Gallery, Taipei; “Totem and Taboo”, Taipei Fine Arts Museum,, Taipei, Taiwan, 2008; “Float”, ASIA art center, Taipei, Taiwan, 2009. In 1994, art work “New Paradise” has been selected in “Art in America's 1994 Slides Survey of Contemporary Art” by Art in America.

顏文樑 YAN

WENLIANG (1893-1990)

廖繼春 LIAO

CHICHUN (1902-1976)

041 040

生於中國江蘇蘇州一美術世家，自幼隨父親學習中國畫。1909年到上海商務印書館，跟從日本畫家學水彩畫，並在銅版畫技師指導下，開始西畫啟蒙學習。隨後曾赴日本進修，是中國著名的油畫家和美術教育家。1922年與朱士傑（19001990）、胡粹中（1899-1974）創辦了蘇州美專並任院長。1928年赴法國巴黎國立美術學院進修，是早期留學歐洲的油畫先驅者之一。1929年以作品《廚娘》獲法國春季沙龍展榮譽獎，1931年返國後續任蘇州美院院長。1933年至1934年間曾兼任南京中央大學藝術系代理系主任、之江大學建築系教授。1952年以後歷任中央美術學院華東分院副院長，浙江美術學院執教並任副院長。1982年上海美術館個展。油畫《楓橋夜泊》獲第六屆全國美展榮譽獎，為中國美術館收藏。近年來其作品廣為港台私人或機構所收藏。 Born in Suzhou, China, Yan developed his interest in art under the influence of his father. He worked at Shanghai Commercial Press Ltd. and was initiated into Western art by a Japanese painter and an etching artisan. After that time, he went to Japan to study western painting. Yan was a famous oil painter and art educator in China. In 1922, he founded the Suzhou Art Academy with Zhu Shijie (1900-1990) and Fu Cuizhong (1899-1974), and served as the Academy Director. In 1928, he went to study in France and studied painting at the Ecole Nationale des Beaux-Arts in Paris. In 1929, Yan's gouache "Kitchen" won an honorable mention in the Salon du Printemps. After return to China in 1931, he continued his post as the principal of Suzhou Fine Arts School. He remained there until 1952 when he was appointed a deputy-dean of the art department of Nanjing Central Academy. Afterwards he taught at the Zhejiang Fine Arts Academy as Vice Director. His painting was selected into the sixth National Fine Arts Exhibition and became a permanent collection of National Art Museum of China in Beijing.

朱沅芷 YUN

GEE (1906-1963)

出生於台中豐原。1922年台北師範學校畢業後返鄉任教，次年北上台北學習素描， 1924年與陳澄波赴日，考取東京美術學校圖畫師範科。1927年畢業返國，擔任台南長老教會中學校教員，同年獲第一屆台展特選，並與畫友創立「赤島社」，其後多次入選帝展及台展等大型美術展覽。1934年與原「赤島社」社友再組「台陽美術協會」，於1937年舉辦首度個展。光復前後先後於台南地區擔任教職及代理校長， 1947年受聘任教台灣省立師範學院（今國立師範大學）至退休。1954年於台北市成立廖繼春畫室，1957年鼓勵學生成立五月畫會，並於1962年應邀加入畫會。 1960年代以後曾多次出國訪問舉辦展覽，1964年獲中華民國畫學會金爵獎，1970 年於國立台灣美術館舉辦個展，同年獲中山學術文藝創作獎。此前，廖繼春的藝術成就已備受肯定，曾獲中國畫會中國畫金盃獎及孫逸仙基金文獻獎。1976年因癌症病逝於台北。同年，國立歷史博物館舉辦「廖繼春遺作展」。2002年，台北故宮博物館舉辦「廖繼春百歲紀念展」。台北文化基金會為紀念廖繼春而設立「廖繼春油畫創作獎」，以表揚在油畫藝術有突出成就的畫家。廖氏一生藝術創作與教學並行不輟，畫作靈活運用色彩，色彩斑斕瑰麗，節奏明快，明朗而有深度，歡悅中又見抒情。 Born in Taichung, Liao first graduated from the Taipei Normal School in 1922. He proceeded to study at the Tokyo Fine Arts College and returned to Tainan to teach after graduating in 1927. During the same year, Liao co-founded the“Ruddy-Island Association”and was awarded to paint at the first Taiwan Art Exhibitions. He continued to exhibit at imperial Exhibitions and Provincial Art Exhibitions and co-founded the“Taiyang Art Association”in 1934. In 1947, Liao took up a teaching position at the Taiwan Normal College (now National Taiwan Normal University) where he remained until his retirement. He also founded his own studio in Taipei in 1954. In 1957, the“Fifth Moon Association”was founded under his encouragement and support; he joined the association in 1962. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yatsen Foundation's Literary Awards. From 1960s onwards, Liao was frequently invited to various venues as a visiting artist and held numerous exhibitions abroad. He held his last solo exhibition at the National Taiwan Arts Museum in 1970 before dying of lung cancer in 1976. The National Museum of History in Taipei held a solo exhibition of his works that year in dedication of his life. In 2002, the National Palace Museum in Taipei held a grand memorial exhibition in celebration of his 100th birthday. The Taipei Culture Foundation commemorates Liao by annually awarding the Liao Jichun Oil Painting Award, a scholarships awarded to outstanding oil painters.

朱德群 CHU

045 044

TEHCHUN (b.1920)

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生於中國廣東，原名朱榮沅。十五歲即移民美國，為早年移居美國的傑出華裔畫家。1942年進入進入加州藝術學院(現今舊金山藝術學院)讀書，並跟隨與歐特斯．歐菲德學習。其創作受亦師亦友的歐菲德影響甚大，如立體派、未來派及達達主義，並被認為是一位現代主義的畫家，作品表現共色主義的風格。1926年協助華人在舊金山成立現代藝廊，同時舉行首次個展。其才華也因而獲得親王穆哈特夫婦的賞識，並鼓勵他前往巴黎發展。在巴黎創作期間，便以前衛風格迅速成名。於1932 年應邀參加紐約現代美術館的壁畫展。1963年病逝於紐約，享年57歲。紐約多所畫廊及美術館為其舉行多次回顧展，備受美國藝術界重視，其中規模最盛的當屬1979 年在全美數個大城市所舉辦的巡迴展覽。作品先後被惠特尼美國藝術館、赫希宏雕刻美術館，及奧克蘭美術館收藏。 Born in Guangdong, China. Yun immigrated to USA at the age of 15 and entered the California School of Fine Art to study painting with the famous watercolorist Otis Oldfield in 1924. He held his first solo exhibition at The Modern Gallery, San Francisco in 1926, where he met his first patrons, the Prince & Princess Achilles Murat, who encouraged him to go to France. And soon Yun became well-known for his avant-garde style and was highly praised by art critics and collectors for his combination of Western painting with Chinese themes. In 1932,Gee was invited to participate in the exhibition "Murals by American Painters and Photographers". He passed away at the age of 57 in New York. In 1968, the Robert Scholkopf Gallery in New York held a retrospective of his works, reviving Gee's memory after he had been forgotten for many years.

生於中國江蘇。1941年畢業於杭州藝專，在學期間，其創作深受潘天壽與吳大羽影響。1944至1949年任教於南京中央大學工學院，1951至1955年任教於臺灣師範學院。1955年移居法國，1957年獲巴黎春季沙龍銀牌獎，並於法國當地舉行多次個人展覽。1987年於國立歷史博物館舉行回顧展，1997年法國政府授予法蘭西學院藝術院士榮銜，2001年在巴黎及韓國舉辦個展。2003年為上海大劇院進行大幅創作，2008年適逢八十八大壽，在台北國立歷史博物館舉辦回顧展。對於中國書畫技法與古典詩詞的喜愛，讓朱德群能夠遊刃有餘地將書法水墨詩意靈活融匯在畫布之上。 Born in Jiansu, China. Chu graduated in 1941 from Hangzhou School of Fine Arts. During this time, his creation was under influence of Pan Tienshou and Wu Dayu. In 1955, Chu immigrated to France, and won silver prize of Paris Salon de Printemps in 1957. He held several solo exhibitions in Pairs. The National Museum of History in Taiwan organized a solo show for the artist in 1987. In addition, The French Institute recognized Chu's contribution to the arts by selecting him as a member of the Academy of Fine Arts in 1997. His solo exhibitions were hold in Paris and Korea. Chu completed Symphony Festive, a work commissioned by the Shanghai Grand Theatre in 2003. In his 88th birthday, year of 2008, a retrospective exhibition was held in National Museum of History in Taipei. One of the most distinguished Chinese modern abstract painters of this century, Chu Tehchun delicately transforms traditional Chinese paintings into modern oils on canvas.

291

趙無極 ZAO

WOUKI (b.1921)

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165

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生於中國北京。1941年畢業於杭州藝專，曾任該校講師，受業於林風眠（1900-1991）、吳大羽（1903-1988）。畢業之後校長林風眠勸其到法國留學，於是在1948年偕妻子謝景蘭赴巴黎留學，並結交不少歐洲藝術界人士。從1959至1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年代時趙無極成為巴黎最傑出的中國畫家。1981年在法國大皇宮展出，並獲得「榮譽軍團司令勛章」。2002年榮膺為法蘭西學院院士。他的作品廣被世界各地的私人藏家及博物館珍藏。1993和1995年應邀在台北及高雄市立美術館展覽。1994年獲得日本天皇美術獎。1998 年更經由法國文化部策劃其回到中國上海博物館、北京中國美術館、廣東美術館舉辦回顧展。他的作品中，承襲中國傳統內涵，並取中國書法和山水畫的線條與氣韻，在畫布空間中，巧妙地以抽象方式表達真實事物，創造出現代繪畫的新領域，避開抄襲與舊有形式，以嶄新姿態與形式呈現出他的藝術新領域。第二次世界大後，成為巴黎畫派最具影響力的畫家之一，也是西方藝壇上成就最傑出的一位中國藝術家。 167

丁雄泉 WALASSE

Born in Beijing, China. Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988) and graduated in 1941. In 1948, he went with his wife Lan-lan to Paris to live on the same block in Montparnasse where the classes of Émile Othon Friesz took place. His earliest exhibitions in France were met with praise from Miró and Picasso. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing's China Art Gallery. His work is found in major public collections such as the Musée d'art moderne in Paris.

TING (1929-2010)

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127 048

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生於中國江蘇，為國際聞名的詩人藝術家。青年時曾入上海美術專科學校就讀， 1946年遷居香港。1952年前往法國發展並結識眼鏡蛇畫派成員。1960年移居紐約，發展出新畫風，成為美國普普藝術家一員。2001年起定居於荷蘭阿姆斯特丹。曾出版《一分人生》詩集，內容涵括多位美國及歐洲藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學金，並出版以女性為題材的情色素描與繪畫書籍《朱唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊；其色彩鮮豔之作品廣為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館等。 292

Born in Jiangsu, China. Ting enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris where he formed close relationships with members of the CoBra group. Later, he immigrated to New York, where he became involved with Pop artists. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

村上隆 TAKASHI

MURAKAMI (b.1963)

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050

162

生於日本東京。1993年取得東京藝術大學博士學位。現為日本當代職業藝術家、「KaiKai KiKi」藝術經紀公司負責人。作品形式多元，從卡漫插圖、服飾配件、到時尚精品等皆可見其作品。曾與路易斯威登合作，2010年9月更於法國凡爾賽宮舉辦大型回顧展，成功跨足藝術創作與商業行銷，享有極高國際知名度。著名個展包括：「妖獸召喚？火力全開？回復？全滅？」（2001，日本，東京都現代美術館）、「村上隆個展」（2002，法國，巴黎卡地亞當代藝術基金會）、「村上隆大型回顧展」（2007，美國，洛杉磯當代藝術館）。

岳敏君 YUE

MINJUN (b.1962)

087

163

Born in Tokyo, Takashi Murakami received P.h.D of Tokyo National University of Fine Arts and Music in 1993. He is a professional artist and the Representative of “KaiKai KiKi”. His works range widely from manga, clothes and accessories, to fashion design products. Once collaborated with Louis Vuitton and had a retrospective in Chateau de Versailles in France on September 2010. He is successful in combining the art and commerce, which won him a great awareness and popularity among the world. Solo Exhibitions: “Summon monsters? Open the door? Heal? Or die?”, Museum of Contemporary Art, Tokyo, 2001; “Kaikai Kiki: Takashi Murakami”, fondation Cartier, Paris, 2002; "©MURAKAMI", Museum of Contemporary Art, Los Angeles, CA, 2007.

奈良美智 YOSHITOMO

NARA (b.1959)

047 051

生於中國黑龍江省。1985年畢業於河北師範大學美術系。自1987年參加河北省展覽館舉辦的「S造型藝術展」起，他的作品持續在全世界重要大城市展出。曾參與聯展包括：「新形象－中國當代繪畫藝術二十年」(2001，巡迴中國北京、上海、廣東、四川)、「上海雙年展」（2004、2008，中國，上海美術館）、「沙丘雕塑－法國／中國」（2004，法國，龐珀洛訥海灘）。近期個展包含：「岳敏君作品展－處理」（2002，中國北京，世方藝術中心）、「複製的偶像：岳敏君作品 2004-2006」（2006，中國深圳，何香凝美術館）、「尋找恐怖主義分子」（2006，中國，北京公社）、「岳敏君：標誌性笑容」（2007，美國紐約，昆斯美術館）、「岳敏君：尋找藝術」（2007，中國，北京公社）、「岳敏君：西元 3009年之考古發現」（2009，中國北京，今日美術館）。作品廣為世界各大博物館及私人機構收藏。 Born in Daqing, Heilongjing, China. Yue graduated in 1985 from Hebei Normal University. He has show his works in exhibitions around the world since “S Plastic Art Exhibition” in Hebei Exhibition Hall in 1987. Selected exhibition: “Toward a New Image-Twenty Years of Contemporary Chinese Painting”, a traveling exhibition in Beijing, Shanghai, Guangzhou and Chengdu, 2001; “Shanghai Biennale”, China, Shanghai Art Museum, 2004, 2008; “L'art a la plage FRANCE/CHINE”, France, plage de Pampelonne, 2004. Solo Exhibition: “Yue Minjun: Manipulation”, Beijing, One World Art Center, 2002; “The Reproduction of Idols: Yue Minjun 2004-2006”, China, Shenzhen, He Xiangning Art Museum, 2006; “Looking for Terrorists”, China, Beijing Commune, 2006, “Yue Minjun and the Symbolic Smile”, New York, U.S.A, Queens Museum, 2007; “Yue Minjun: Looking for Art” China, Beijing Commune, 2007; “Yue Minjun: The Archaeological Discovery in A.D. 3009”, Beijing, Today Art Museum, 2009. Yue's works are widely collected by museums and private collectors overseas.

生於日本青森縣弘前市，現居於東京。早期的作品以插畫性質為多，但在1980年代後期即發展出他以小人頭像為主的風格；奈良美智對於大頭和大眼型的小人相當著迷，他的特色在於塑造各種帶有情感的眼神，其中最著名的是斜視的眼神（有人說是代表憤怒，有人則說是代表了邪惡）。在1990年代後期，他也開始創作立體作品，並採用不同媒材拼組的方式。今日他的作品已被許多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝術博物館等。 Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artists is infatuated with subjects with big heads and big eyes; he is well known in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today his works are in collection of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other wellknown museums in the world.

293

龐均 PANG

JIUN (b.1936)

楊三郎 YANG

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054

生於中國上海。為中國第一代油畫家龐薰琹之子。龐均11歲時即於上海舉行首度個展，18歲畢業於北京中央美術學院，自此開始專業創作的藝術生涯，並致力倡導中國現代藝術運動。1980年遷居香港，1987年定居台灣，並任教於國立台灣藝術專科學校，期間個展三十餘次，並出版多部油畫技法、寫生哲學等相關書籍，對台灣的人文及藝術教育貢獻卓著。其作品廣為兩岸三地多處知名博物館、美術館及藝術學院所典藏，並列入英國劍橋世界名人錄(IBC)「伍佰第一」之列。 Born in ChangShu, Chiangsu. His father Pang Hsun-chin was a master painter. When he was 18, he graduated from the Central Academy of Fine Arts in Beijing. Throughout his life, he endeavored in promoting the movement of modern art. When he was 11, he left Mainland China. In 1987, he moved to Taiwan and taught at the National Taiwan Junior College of Arts. During his teaching career, Pang had also held his solo exhibitions more than thirty times and then served as the judge of the 44th national Art Exhibition (Oil Painting Category) in 1989. His artworks were collected by many world-renowned museums, art colleges and private collectors at home and abroad.

陳二夫 CHEN

ERFU (b.1965)

生於台灣台北。先後在日本京都美術學校以及日本關西美術學院習畫。作品《靜物》榮獲第三屆台展特選；1932年入選法國巴黎秋季沙龍。1933年返台後，全心投入推展臺灣美術教育。曾榮獲1986年國家文藝獎、1992年行政院文化獎。著名展覽包括：「楊三郎油畫個展」(1973，台灣台北，國立歷史博物館)、「楊三郎油畫個展」(1983，台灣台北，國立歷史博物館)、「楊三郎近作展」(1995，台灣台北，國父紀念館)、「楊三郎繪畫藝術研究展」（1997，台灣台中，台灣省立美術館展出）、楊三郎逝世四週年「楊三郎繪畫特展」（1999，台灣台北，國立故宮博物院）。 Born in Taipei, Taiwan, Yang went to Japan in 1923 then studied painting at the school of Fine arts in Kyoto and Kansai Academy of Art. In 1929, his work “still life” won the first prize of the 3rd Taiwan Exhibition. In 1931, he went to France with Liu Chishiang and his works were selected for the Autumn Salon in Paris in 1932. He contributed himself to art education after returning Taiwan. Yang received a special national art award in 1986 and cultural award by Government of Executive in 1992. “Fifty Years of Studying Art” at the Provincials Museum in 1973 and “Oil Paintings by Yang San-Lang” in 1979,and “Retrospective Exhibition of Yang San-Lang's Painting” in 1983 at the National Museum of History. Yang received a special national art award in 1986 for this great contribution to the Taiwanese art world.

秦宣夫 QIN

055

生於中國江蘇。幼時受到父親及著名畫家陳大羽的影響，學習書法與寫意中國畫， 1989年畢業於蘇州絲綢工學院（現為蘇州大學藝術學院）；後進入江南畫院，結識劉海栗，亞明等前輩畫家，期間曾遊歷雲南、西藏、新疆、蒙古及著名江南文化古鎮，創作深受啟發。其畫作屢次入選著名展覽並獲獎，作品《日落印象》入選全國和平環境藝術作品大展，獲優秀作品獎；《詩意》入選屈原杯海內外書畫大賽，獲二等獎；《太湖風情》之（一）選送加拿大參加國際風景畫大展，獲銀獎；《水天堂》第三次選送加拿大國際風景畫展，獲特別獎；《歲月》慶祝香港回歸藝術作品展，獲內地傑出畫家獎，並為香港藝術家聯合會收藏；《烏鎮大院》之（八）榮獲蘇州市美術作品展一等獎。曾參與2008、2009年臺北國際藝術博覽會；2009年上海藝術博覽會；2010年北京國際藝術博覽會、上海藝術博覽會以及上海臺北雙城文化創意產業博覽會等。著名作品包含水鄉系列、月季花系列、古鎮老宅系列等，皆廣泛為各界著名人士所收藏。

294

SANLANG (1907-1995)

Born in Jiangsu, China. Chen Erfu is a renowned painter enthusiastically working south of Yangtze. He graduated from the Art College of Suzhou University in 1989, where he was guided by Misters Zhoa Wuji and Chen Qizhang, both Art Masters. He now is a professional painter and president of Jiangnan Art Academy. He is a member of the Australian Association of Scholars and Notables, and is also a member of the Chinese Association of Artists. He has exhibited many times at home and abroad extensively and has won many awards in Canada, China and Hong Kong. His renowned works include Yangtze River Series, Chinese Rose Series and Historic Towns Series, and all of them are widely collected by celebrities in each fields.

XUANFU (1906-1998)

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生於廣西桂林，為20世紀中國著名畫家、美術史論家和美術教育家，1929年於清華大學外語系畢業後進入法國高等美術學校學習西畫，同時在巴黎大學藝術考古研究所、盧佛爾學校學習西方美術史。1934年回國後在北平藝術專科學校、清華大學、國立藝術專科學校任教。1942年創作的油畫《母教》，獲第3次全國美術作品展2 等獎。翌年應徐悲鴻聘，任中央大學藝術系教授。1945年在重慶舉辦首次個人油畫展。1979年後，主要以風景、靜物為主，畫風重意境和情趣表現，用筆揮灑淋漓，色彩鮮明。秦宣夫長期從事美術教育，曾任教育部美術教育委員會專門委員、國立藝專西畫科主任等職。 Born in Guilin, Guangxi Province, was a famous Chinese painter in 20th century, art history critic and art educator. In 1929 after graduating from Department of foreign Languages of the Tsinghua University, he entered the French High School of Fine Arts to learn Western painting and meanwhile learned Western art in the Archaeological Institute, University of Arts in Paris and Louvre School. After returning in 1934 he took a teaching post in Peking College of Art, Tsinghua University, National College of Arts. His oil painting “Mother teaching”, created in 1942, won 2nd prize in the 3rd National Art Exhibition. The following year, invited by Xu Beihong, he served as a professor of Fine Art Department at National Central University and held his first individual painting exhibition in Chongqing in 1945. After 1979, his works were mainly landscapes and still life. His style was focused on the performance of mood and taste, and his coloring vivid. Qin has long been engaged in art education and served as art education committee of the Ministry of education and the director of Western painting Department of National College of Art.

郎靜山 LONG

CHINSAN (1892-1995)

白髮一雄 KAZUO

SHIRAGA (1924-2008)

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生於中國江蘇。從李靖蘭老師學習繪畫、攝影及暗房技巧。1931年以作品《柳絲下的搖船女》（又稱《柳蔭輕舟》）入選日本國際攝影沙龍；1934年又以個人第一件「集錦攝影」作品《春樹奇峰》入選英國攝影沙龍，後逐漸於國際沙龍嶄露頭角。郎靜山一生有不少創舉，其中最為人稱道的該屬「集錦攝影法」，郎氏具備之深厚的國畫造詣與修養，將國畫中的畫理與攝影技巧融合為一，為其贏得了「影中有畫，畫中有影」的讚譽，而顯得別具風格。郎氏對推動現代中國攝影藝術有卓越的貢獻，入選世界各國攝影展覽作品達千件之多，曾出版多本個人攝影集，更被二十餘個世界級攝影學會和團體推舉為名譽會員和研究員，其作品廣為海內外重要美術館及私人珍藏。 Long Chinsan was born in Jiang Su, China. He learned painting, photograph and darkroom skill from Li Jing Lan. He has marked many milestones and the most highly appreciated one is his special “collective photograph skill”. The reason for the uniqueness is his accomplishment of Chinese painting, with which he combines with photograph. This skill won him the appraisal of perfect fusion of painting and photograph. Long devoted himself to and has tremendous contribution in Chinese contemporary photograph. Thousands of his works are participated in international exhibition; furthermore, he is elected as honorable member or researcher by more than 20 world class photo academies. His works are collected by famous museums and collectors.

草間彌生

生於日本尼崎市。日本知名畫家。1948年畢業於日本京都市繪畫專門學校日本畫系 (現為京都市立藝術大學)。1952年與金山明、村山三郎及田中敦子等日本藝術家組成「零協會」，後於1954年時加入以吉源志良為中心組成的「具體美術協會」，並開始以腳作為畫具，在畫布上創作。1955年參與第一屆在東京小原會管舉辦的「具體美術展」。 Born in Amagasaki, Japan. He studied at Kyoto City University of Arts, where he graduated in 1948 in traditional Japanese painting . In 1952, Shiraga founded, along with future fellow Gutai members Tanaka Atsuko, Kanayama Akira, and Murakami Saburo, the avantgarde artistic group “Zerokai”, which joined Yoshihara and the Gutai around 1954.And he started painting on the canvas with his feet slipping . In 1955, he participated in the Gutai's first exhibition in Tokyo.

YAYOI KUSAMA (b.1929)

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生於日本長野縣松本市。於京都市立工藝美術學校主修日本畫，1956年移居美國紐約，並開始展露她前衛的藝術創作才華。草間的作品曾於海內外多家著名藝術機構展出，1998年至1999年於東京當代藝術館、美國沃克藝術中心、紐約現代藝術館和洛杉磯縣立藝術館巡迴「草間彌生回顧展」； 1999年於紐約惠特尼美國藝術館舉辦「美國世紀」。近年著名展覽有：日本札幌當代藝術館展覽（2004）、「愛之夏，迷幻世紀的藝術」（2005，英國，利物浦泰德美術館）、「50/60年代國際先鋒藝術」（2006，法國，聖安提雅現代美術館）、「IDOL!」（2006，日本神奈川，橫濱藝術館）、「草間彌生．愛之點．點之戀」（2007，德國，慕尼克現代美術館）及「草間彌生個展」（2010，台灣台北，非畫廊）。 186

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Born in Matsumoto, Japan, and major in Japanese painting at Kyoto Fine Arts School of Craftsmanship. Kusama moved to New York City in 1957, and started to show her outstanding talent in avant-garde art. Selected exhibitions include, “Kusama's Retrospective”, Museum of Contemporary Art in Tokyo, Walker Art Center Minneapolis, MOMA New York and Country Museum of Art Los Angeles, 1998-1999; “American Century”, Whitney Museum of Art, New York, 1999; Museum of Contemporary Art, Sapporo, 2004; “Summer of Love- Art of the psychedelic Era”, Tate Liverpool, Liverpool, 2005; “International AvantGarde of the 50s and 60s”, Musee d'Art Moderne, Saint-Etienne, France, “IDOL!”, Yokohama Museum of Art, Kanagawa, Japan, 2006; “Yayoi Kasama, Dots Obsession , Love transformed into Dots”, Haus der Kunst, Munich, Germany, 2007, “ Solo Exhibition” Non-gallery, Taipei, 2010.

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李錫奇 LEE

SHICHI (b.1938)

高行健 GAO

XINGJIAN (b.1940)

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生於台灣金門。1955年入台北師範學校藝術科，1958年組織「現代版畫會」，1963 年加入「東方畫會」。1959年開始參加國際性大展，多次榮獲國際藝術大獎，2009 年獲總統府任聘為國策顧問。創作系列完整，曾參與國內外重要聯展，近年重要個展包含：「浮生十帖－錯位‧變置‧李錫奇個展」(2002，台灣台北，國立歷史博物館)、「李錫奇個展」(2004，瑞士日內瓦，Gulerir Leda Fletcher)、「李錫奇北京畫展」（2005，中國北京，中國美術館）、「七十‧本位‧李錫奇－走過臺灣現代藝術50年」(2006，台灣台北，國父紀念館)、「淬鋒‧本位‧李錫奇」(2009，中國，廣東美術館)。 Born in Quemoy, Taiwan, Lee Shichi studied in Taipei Municipal University of Education in 1955. Between the years of 1957 and 1958, Lee's artworks were selected both in the Students' Art Exhibition sponsored by the Education Council and in the Free China Art Exhibition organized by Tie-Hua Ho and the others who promoted "New Painting." And organized the East Painting Society in 1963. Switzerland invited him to hold a personal exhibition in 2004. Solo exhibitions: “The Ten Aspects of My Artistic Life individual exhibition”, Taiwan National Museum of History, Taipei, 2002; “70. orientation. Lee Shi-Chi : Modern Art in Taiwan Through The Past 50 Years”, National Dr, Sun Yat-sen Memorial Hall, Taipei, 2006; “Orientation．Tempered．Edge．Lee Shi-Chi.” Guangdong Meseum Of Art, China, 2009.

張念 ZHANG

NIAN (b.1964)

生於中國江西。為知名劇作家、小說家、畫家、導演，1980年代末前往歐洲，現為法國公民。1985年在北京與雕塑家尹光中舉辦泥塑繪畫展，開始受到海內外媒體的關注。1988年定居巴黎。1992年榮獲法國政府頒發的藝術與文學騎士勳章。1998年參加羅浮宮第十九屆國際古董與藝術雙年展。2000年小說《靈山》、《一個人的聖經》等著作，高行健成為首位榮獲諾貝爾文學獎的中文作家。2002年榮獲法國榮譽軍團騎士勳章。他的文學和繪畫皆具刻骨銘心的洞察力和語言的豐富機智。以水墨創作為主的作品表達了內省的深邃，風格簡約意喻深遠、扣人心弦，在具象與抽象之間，黑白對比的畫面深具空靈飄逸之感。榮獲2000年諾貝爾文學獎，並因此成為首位獲得諾貝爾文學獎的華語作家。 Born in Jiangxi, Chin. Gao is a play writer, novelist, painter, director, and now a French citizen. In 1985, he held a sculpture exhibition with Yin Guang-Zhong. It was then that Gao started to be noticed by worldwide media. Gao settled down in Paris since 1988, and later in 1992 received Chelavier de l'Ordre des Arts et des Lettres. His works were selected into XIXe Biennale Internationale des Antiquaires de Louvre in 1998. Gao was the recipient of the 2000 Nobel Prize in Literature "for an œuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama". Works like “Soul Mountain” and “One Man's Bible” made him the first Chinese writer win this prize. Two years later, he was given the title Chavelier de la Légiond’Honneur. His artistic style is no doubt simple but meaningful. Between concreteness and abstraction, the black and white scenery is fulfilled with sublime spirituality.

朱毅勇 ZHU YIYONG (b.1957)

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生於中國四川，1988年畢業於中央工藝美術學院，現生活工作於北京。1989年在「中國現代藝術大展」的行為作品「等待」（孵蛋）為其代表作。著名個展包括：「張念個展」（1987，中國北京，音樂廳畫廊）、「張念作品展」（1992，中國北京，當代美術館）、「移動的記憶」（2006，中國，上海東大名創庫）、「光芒時刻」（2006，中國北京，今日美術館），以及2008年奧迪汽車在中國北京今日美術館為他舉辦盛大的個展。曾參與展覽：「喻體與鏡像」（2005，中國北京，798時態空間）、「關係」（2005，台灣，台北美術館、高雄美術館）、「移動的社會主義—當代藝術展」（2006，中國北京，798時態空間）、「2006中國當代藝術文獻展」（2006，中國北京，中華世紀壇美術館）、「從西南出發」（2007，中國廣州，廣東美術館）。作品廣獲亞洲、美國、英國、瑞士、丹麥等藝術機構、企業及私人收藏。

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Born in Sichuan, China. He graduated fromChina Central Industrial art institute in 1988. Currently work and settle in Beijing. His representative works are performance art – “Waiting” (Hatching) in China Contemporary AR Exhibition, 1989. Solo exhibitions: Beijing Concert Hall Gallery, 1987; “Zhang Nian Artworks”, Beijing Modern Gallery, 1992; “Moving Memories”, Dongdaming Art Center, Shanghai; “Radiant moment”, Today Art Museum, Beijing. Group Exhibitions: “Allusion and Photography”, 798 Space, Beijing; “Relations”, Taipei Art Gallery, Gaoxiong Art Gallery, Taiwan, 2005; “Mobile SocialismContemporary Art Exhibition”, 798 Space, Beijing; “2006 Chinese Contemporary Art Document Art Exhibition”, World Art Museum, Beijing, 2006; “Set From Southwest”, Guangdong Museum of Art, Guangzhou, 2007; Audi Forum held a solo exhibition for him in Beijing today art museum, 2008.

生於中國重慶。1982年畢業於四川美術學院，後留校任教至今，現職副教授，並為中國美術家協會會員。個展包括：「朱毅勇油畫作品展」(1992，台灣，新美畫廊)、「朱毅勇油畫及素描作品展」(1995，香港)、「光影神韻－朱毅勇油畫作品展」 (1999，香港，少勵畫廊)、「光影神韻之二」(2004，香港)、「記憶」(2006，香港)、「紅星」（2008，美國紐約，798先鋒畫廊）、「中國記憶」(2011，香港)。參予聯展包含：「全國美展」（1980、1984，中國北京）、「春季沙龍展」（1982，法國）、「第一屆中國藝術節中國美術館部分藏品陳列展覽」（1987，中國北京）、「中國當代油畫展」（1987，美國紐約）、「中國油畫作品展」（1989，日本）、「中國現代美術大展」（1991，日本東京）、「慶祝中華人民共和國成立45周年四川省美術作品展覽」（1994，中國成都）、「中國藝術博覽會」（1994，中國廣州）、「東西匯合寫實派油畫展」（1998，德國柏林）、「米蘭藝術展」（2005、2006，義大利）、「展開的現實主義—1978年以來的中國大陸油畫」(2006，臺灣，臺北市立美術館)、「融合與創造—中國油畫名家學術邀請展」(2007，中國北京，首都博物館)、「紐約亞洲當代藝術博覽會ACAF」(2008，美國紐約)、「邁阿密巴塞爾藝術博覽會」(2008，美國邁阿密)、「Scope 國際當代藝術博覽會」(2009，美國紐約)、「洛杉磯藝術博覽會」(2009，美國洛杉磯)、「在場30年—四川美術學院當代油畫展」(2009，日本)、「女性形象之九」(2011，香港)、「藝術登陸新加坡博覽會」 (2011，新加坡)。作品廣為國內外收藏家和藝術機構收藏。

Born in Chongqing, China, Zhu graduated from the Department of Drawing in Sichuan Arts College majoring in oil painting in 1982. He stayed to teach in the school until now. He is a member of Chinese Artists Association. Solo Exhibitions:“Zhu Yi Yong Paintings”, Shinman Gallery, Taiwan, 1992;“Zhu Yi Yong Paintings”, Hong Kong, 1995;“Visual Poetry of Light and Reflection”, Hong Kong, 1999; “Visual Poetry of Light and Reflection Ⅱ”, Hong Kong, 2004;“Memories Series”, Hong Kong, 2006;“Red Star”, New York, U.S.A, 2008; “Memories of China”, Hong Kong, 2011. Group Exhibitions:“2nd National Youth Artworks Exhibition”, Beijing, China, 1980, 1984; “Spring Salon”, France, 1982;“The 1st China Art Festival”, Beijing, China, 1987;“Chinese Contemporary Oil Paintings Exhibition”, New York, USA, 1987;“Chinese Oil Painting Works Exhibition”, Japan, 1989;“Chinese Modern Arts Grand Exhibition”, Tokyo, Japan, 1991;“Sichuan Exhibition for the 45th Anniversary of the Establishment of the PRC”, Chengdu, China, 1994;“Chinese Art Expo”, Guangzhou, China, 1994;“East-West Realism Oil Painting Exhibition”, Berlin, Germany, 1998;“Milan Art Exhibition”, Italy, 2005;“The Blossoming of Realism—The Oil Painting of Mainland China since 1978”, Taipei Fine Arts Museum, Taiwan, 2006;“Asian Contemporary Art Fair (ACAF)”, New York, U.S.A, 2008;“Art Basel Miami Beach”, Miami, U.S.A, 2008;“Scope international Contemporary Art Fair”, New York, U.S.A, 2009;“Los Angeles Art Show (LA Art Show)”, U.S.A, 2009;“Art Stage Singapore”, Singapore, 2011;“Images of Women IX”, Hong Kong, 2011.His works are collected by collectors and art organizations both at home and abroad.

王元鼎 WANG

YUANDIN (b.1941)

陳蔭羆 GEORGE

CHANN (1913–1995)

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生於中國上海。幼時歷經文化大革命，曾輾轉旅居巴西、美國，後返回中國，期間刻苦習畫，成就卓著。歷任中國美術設計家協會秘書長、上海水彩畫研究會會員、美國華夏畫廊藝術顧問、美國東方藝術中心美術教研指導、美國中國藝術家聯合會、美國華人攝影家協會理事等職。自1958年開始，作品屢次入選著名展覽，並廣受國際讚譽；1993年榮獲加利福尼亞州政府頒發促進東西方藝術事業特殊成就獎。 1998至2004年，每年皆於香港、日本東京、銀座、新瀉、箱根、北海道、大阪等地舉辦個人畫展，共計數十餘次；1997至2010年參與上海藝術博覽會；2010年參與北京國際藝術博覽會。王氏畢生鑽研油畫、水彩，擅長人物、風景、靜物、工筆寫意等題材。作品廣為中國、香港、臺灣、日本、德國、巴西與美國等地收藏家所收藏。 Born in Shanghai,China.He had been through the Cultural Revolution during his childhood, and passed through Brazil and America, and then returned to China. Yet he studied assiduously during that period and finally reached remarkable achievement. He had served as secretary general of China Art designers Association, member of Shanghai water color research institute, artistic advisor of China Art Galley in America, art teaching and research guidance of America Oriental Art Center and director of Asian photographers' Association of Los Angeles. His works has been selected for many renowned exhibitions since 1958 and had been rewarded by the Gvernment of California for his special achievement in promoting Western and Asian arts. From 1998 to 2004, Wang held dozes of exhibitions in Hong Kong and Japan. His artworks were collected by private collectors around the world.

阿曼

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生於中國廣東。1934年進入美國洛杉磯奧蒂斯藝術學院就讀，師事布魯克及維色卡。就學期間因成績優異獲全額獎學金，並於1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展。1942-1946年間陸續於美國各大城市舉辦展覽。1947-1949年返回中國，於廣州市文獻館及上海舉辦個展。1950年返美，並開始研究抽象畫，於1969-1973年間應南加州帕撒狄納美術館之邀舉行個展，展出50 件抽象作品，其作品為聖地牙哥博物館及美國數個市立美術館珍藏。 Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master's degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles. More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibition at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

PIERRE FERNANDEZ ARMAN (1928-2005)

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生於1928年法國尼斯，是少數仍在世即被寫入西洋藝術史的藝術家之一。1949 年轉入羅浮美術館附屬藝術學校攻讀考古及東方藝術，1960年和一群藝術家、史學家、藝評家共同簽屬「新寫實主義宣言」。1967年代表法國參加蒙特婁世界博覽會，1974年在全美巡迴展出，1981年創作大件的「牆與工具」作品，1982年回顧展在全歐洲巡迴展出，1984年受法國總統之邀，製作銅製的法國國旗堆疊，放置在巴黎愛麗舍王宮。重要展覽：「第一次雕塑個展」（1959，義大利米蘭， apollinaire 畫廊）、「首次美國個展」（1961，美國紐約，Cordier Warren藝廊）、「新寫實主義」（1962，美國紐約、洛杉磯）、「個展」（1964，荷蘭阿姆斯特丹，Stedelijk博物館）、「阿曼回顧展」（1973，美國紐約，Andrew Crispo畫廊）、「神與女神」（1986，巴黎、紐約、多倫多）、「台北國際藝術博覽會-主題展」（1996，台灣）。

Born Armand Pierre Fernandez in Nice, France, Arman enrolled as a student at the École du Louvre in Paris in 1949, where he concentrated on the study of archaeology and oriental art. In 1951, Arman became a teacher at the Bushido Kai Judo School. In October 1960, along with many young artists, historians and art critics at that time, Arman founded the group Nouveau réalisme, the group of young artists defined themselves as bearing in common their "new perspective approaches of reality". He was selected as representative of France to attend the Exposition Universelle de Montréal Expo 67 at Montréal, Canada in 1967. In 1991, President Mitterrand awarded him the Honorary Knighthood in Palais de I'Elysee. Exhibition: "Mostra Personale di Arman", Galerie Apollinaire, Milan, Italy, 1959; "Arman", Cordier-Warren Gallery, New York, USA, 1961; "Arman, Montages", Dwan Gallery, Los Angeles, California., USA, 1962; "Arman", Stedelijk Museum, Amsterdam, Holland, 1964;“Arman: Retrospective”, Andrew Crispo Gallery, New York, USA, 1973;“Arman: Gods and Goddesses”, New York, USA, Paris, France, Toronto, Canada; Arman: The Exhibition of International Sculpture Master, Modern Art Gallery, Taiwan, R.O.C., 1996.

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巴勃羅．畢卡索 PABLO RUIZ PICASSO (1881-1973)

艾瑞卡．海斯圖．瓦尤尼 ERICA HESTU WAHYUNI (b.1971)

079

078

生於西班牙南部的馬加拉，1985年進入巴薩隆納的隆哈美術學校。其父於該校任教。1987年作品「科學與慈善」或馬德里全國美展榮譽獎，後來又在馬拉加得到該金牌獎。27歲布拉克第一次舉行立體派畫作展。1912年與布拉克合作紙貼畫，發展出合成立體主義。1954年開始創作德拉克洛瓦的「阿爾及利亞女人」變奏系列。 1957年畫委拉斯蓋茲「宮女」變奏40餘張。1959年做馬內「草地上的午餐」變奏系列。1963年繪製「畫家與模特兒」系列。同年巴塞隆納的畢加所美術館開幕。「畢卡索大型回顧展」（1966，巴黎皇宮，巴黎）。1973年4月8日於坎城的慕瞻市去世，享年92歲。

生於印尼日惹。自小學時期即開始習畫。1989年至1996年間就讀日惹印尼藝術協會(ISI)，也曾就讀於俄羅斯的Surikov藝術協會。1993年獲頒第九屆Dies Natalis ISI 最佳藝術獎項。艾瑞卡在印尼被喻為最有前途的藝術家之一，她的創作通常不矯飾的表現自我，也反映出她自身經歷和興趣。主要展覽包括：「當代藝術群展」、「東南亞繪畫盛會」、「峇里盛宴」（2005，新加坡）、「女性圖像藝術群展」（1999，菲律賓）、「At TRESORS 新加坡國際藝術博覽會」（1997，新加坡）、「新浪潮群展」｛1996，雅加達，印尼｝、「第六維」｛1995，雅加達，印尼｝、「縮影公園印尼女性藝術家展」（1994，印尼）、「國際繪畫競賽三年展」（1993，日本，大阪）、年「日惹文化藝術節繪畫展」（1991，印尼）。另外亦曾於新加坡（2001）及雅加達（2002，印尼）的林大畫廊舉辦個展。

Born in Malaga in southern Spain on 1881 October 25th. He went into Haroun School of Fine Arts in Barcelona in which his father was teaching. His works “Science and Charity” in 1987 won Honorary Award in Madrid National Art exhibition and then won Golden Award in Malaga. In 1908, he held his first cubism painting exhibition when he was 27. In 1912, he cooperated with Braque to do cut paper fragments, which develops into cubism. Form 1954 he began to create variation series of Delacroix's “Algeria woman”. In 1959, he created variation series of Manet's Lunch on the Grass. He painted a series of “Painter and Models” and the muse Picasso in Barcelona opened. 「Grand retrospective exhibition of Picasso」(1966, Grand Place, Paris). He died in Mougins near Canners on 8th, April, 1973 in 92 years old.

Born in Yogyakarta, Indonesian. She Learned painting when she was very little, and completed study at the Indonesian Institute of Arts and Surikov Art Institute. In 1933, Erica was awarded Best Art Prize of the 9th Dies Natalis ISI. Today, Erica is said to be one of the most prospective artists in Indonesian. Her artwork genuinely expresses who she is and reflects her life experience and interests. Selected group exhibitions: "Contemporary Art, Group Exhibition", "Balinese Feast: Group Exhibition" and "Celebration of South East Asian Paintings”, Jakarta, 2005. Group Exhibition: "Women Imaging: Women Group Exhibition", Philipines, 1999; "At Tresors: The International Fine Art Fair", Singapore,1997; "A New Wave Group Exhibition", Jakarta, Indonesia,1996; "Exhibition of Sixth Dimension ", Jakarta,1995; "Exhibition of Indonesia Woman Painters at the Taman Mini", Jakarta, Indonesia,1994; “International Triennial Competition of Painting”, Osaka, Japan,1993; "Painting Exhibition of the Cultural Festival of Yogyakarta (FKY) ", Yogyakarta, Indonesia, 1991.

努格羅霍維加亞摩 NUGROHO WIJAYATMO

楊柏林 YANG

POLIN (b.1954)

084

080

生於印尼。其身分為當代藝術家，活耀於印尼日惹。2007年獲頒第二十四屆「Best Graphic Art Work Dies Natalis」設計比賽之最佳藝術獎。2009年受到「The POWER OF DREAM Seven Star Art Space」（日惹博物館，印度）藝術聯展提名。主要展覽包括：「社會設計展」（2000，日惹）、「Performance Of Teeth」（2001，日惹）、「綠洲」（2008，日惹）、「Nice Nice」（2009，七星藝術空間，日惹）、「door2door therapy」（2010，日惹國際醫院，日惹）。 Born in Indonesia. A contemporary artists in Yogyakarta, Indonesia. In2007, Nugroho Wuayatmo was awarded Best Graphic Art Work Dies Natalis XXIV CONTENTS. And Nominated for the competition The POWER OF DREAM Seven Star Art Space in Jogja Nasuonal Museum, Yogyakarta in 2009. Selected exhibitions: “Social Design Exhibition”, Castle Museum, Yogyakarta,2000; "Performance Of Teeth", Suwung, Yogyakarta,2001; "Oasis", Griya SMSR, Yogyakarta, 2008; "Nice Nice", Seven Star Art Space, Yogyakarta,2009; "door2door therapy", Jogja International Hospital, Yogyakarta,2010.

298

生於台灣雲林，現為台灣亞細亞現代雕刻家協會理事長、中國文化大學駐校藝術家。除個人創作外，也從事公共藝術與景觀設計。曾榮獲雲林縣十大傑出青年以及眾多公共藝術徵選首獎。個人展覽包括：「楊柏林首次雕塑個展－『孕』系列」 (1985，台灣台北，春之藝廊)、「楊柏林雕塑個展－『天地』系列」(1989，台灣，台北市立美術館)、「雕塑個展－『靜坐』系列」(1989，台灣台北，皇冠藝文中心)。「雕塑個展－『飛行的種子』系列」（1989，台灣，楊柏林工作室）、「我在這裡－楊柏林個展」（2010，台灣，台北當代藝術館）。重要聯展：「韓國光洲美術館聯展」（境界）（2009，韓國）、「Scultura Internazionale a Racconigi, 2010」（2010，義大利杜林）。作品為台北市立美術館、高雄市立美術館、國立台灣美術館等單位典藏。 Born in YunLin, Taiwan, Yang is the chairman of The Association of Asian Contemporary of Taiwan and the Resident Artist at the Chinese Culture University. He also devotes him himself to public arts and landscape designs. Once won the Yunlin Country Top Ten Outstanding Youth and plenty of First Prize of the public art competitions. Solo Exhibitions: “1st Solo Sculpture Exhibition - Pregnant Series” , Spring Gallery, 1985; “Solo Sculpture Exhibition - Heaven and Earth Series”, Taipei Fine Arts Museum, Taiwan, 1987; “Solo Sculpture Exhibition - Meditation Series”, Crown Fines Arts Center, 1989; “Solo Sculpture Exhibition – Flying Seed Series”, Polin Yang Studio, 1989. “Here I Am - A Solo Exhibition by Poling Yang”, Museum of Contemporary Art Taipei, Taiwan, 2010. Joint Exhibitions: “Gwangju Museum of Art Korea Joint Exhibition”, Korea, 2009; “Scultura Internazionale a Racconigi”, Turin, Italy, 2010. His works were collected by the Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts and National Taiwan Museum of Fine Arts.

賈又福 JIA

YOUFU (b.1942)

嚴培明 YAN

PEIMIN (b.1960)

089 088

生於河北省肅寧縣，1965年畢業於中央美術學院，師承李可染先生。現為中央美術學院教授。其創作圍繞著中國北方的太行山，並於太行山從事山水畫創作及美術研究。1992年獲英國劍橋－世界名人傳記中心授予其「世界名人二十世紀成就獎」。 1996年獲中華人民共和國國務院國賓級專家稱號和證書。曾在中國美術館、臺北雄獅畫廊、香港榮寶齋和中央美院陳列館舉辦個人畫展。部分作品分別在美國、法國、瑞士、日本、南朝鮮、蘇聯等10餘個國家和地區展出。在北京榮寶齋出版社出版《賈又福談畫篇》、天津美術出版社出版《賈又福山水教學體系》、河北美術出版社出版《賈又福集：苦修集、懷鄉集、觀化集》。曾在中國美術館舉辦《賈又福工作室教學匯報展》、北京中國美術館舉辦「賈又福工作室師生作品展」等。 Born in Hebei, China. In 1965 he graduated from the Central Academy of Fine Arts where he studied and received most teaching and influence from Li Keran. He is currently the Professor of the Central Academy of Fine Arts, and an executive member of Chinese Artists' Association. In 1977 and onwards, he has visited the Taihang Mountains for artistic inspirations. He is particularly noted for his technical treatment of modulating ink tones and ink splashes. In 1981, he received award from Beijing Municipal Excellence Art Works. From 1982 to 1989, “Works of Jia You Fu” were exhibited in the U.S., France, Switzerland, Japan, South Korea, Soviet Union, India, Canada, Singapore, Hong Kong and Taiwan.

周春芽 ZHOU

CHUNYA (b.1955)

生於中國上海，現生活在法國第戎。1981-1986年間就讀於法國第戎國立美術學院。1988-1989年間於法國巴黎造型藝術高級研究院深造。1993-1994年間在義大利羅馬法蘭西學院學習。1995年至今在法國第戎國立美術學院擔任教授。是最早進入西方藝術界和藝術市場的中國當代藝術家之一，1989年舉辦首次個展「茶屋」，之後在法國每年皆舉辦個展並入選歐洲各重要展覽。聯展包括：「畫室88」（1988 年，巴黎現代藝術博物館）、「運動2」（1991年，龐畢度中心）、「中國前衛藝術」（1993年，柏林、鹿特丹、牛津等）、「威尼斯雙年展」（1995年）、「里昂雙年展」（1997年）、「光州雙年展」（2000年，韓國）、「上海雙年展」（2000年）、「釜山雙年展」（2002年，韓國）等國際大展。 Born in Shanghai, currently resides in Dijon, France. Since 1981 until 1986, Yan studied in Ecole Nationale des Beaux-arts Dijon. Then he studied in Institut des Hautes Etudes en Arts Plastiques de Paris afterwards from 1988-1989 and in Italian Académie de France in Rome from 1993-1994. Since 1995, he present professor in Ecole Nationale des Beaux-arts Dijon. Since his first solo exhibition “La maison du thé ,Musée Greuze”,in France in 1989, he had numerous solo exhibition every year and entered many significant exhibitions in Europe. Group exhibitions: "Studio 88" (1988, Museum of Modern Art of Paris), "Exercise 2" (1991, Centre de Pompidou), "Chinese Avant-garde Art" (1993, Berlin, Rotterdam, Oxford), "Biennale of Venice" (1995), "Biennale of Lyon" (1997), "Biennale of Gwangjiu" (2000, Korea), "Biennale of Shanghai" (2000), "Biennale of Pankoo" (2002, Korea) and other international reputed exhibitions and art fairs.

薛松 XUE

SONG (b.1965)

094 093 090

091

生於中國四川。1982年畢業於四川美術學院，1988年取得德國卡塞爾美術學院自由藝術系的碩士學位。1980年作品入選第二屆全國青年美展二等獎，日後開始參加多項展覽。近年重要個展包括：「周春芽個人作品展」（2002，挪威，314國際藝術中心；義大利，特蘭托現代當代藝術博物館）、「周春芽個展」（2010，中國，上海美術館）。曾參與的聯展包括：「周春芽」 (1997，香港，香港藝術中心)、「後八九中國新藝術展」（澳洲雪梨當代藝術館等）、「首屆上海雙年展」 (1996，中國上海，上海美術館)、「那麼中國呢？」(2002，巴黎，龐畢度中心) 、「首屆中國當代藝術雙年展」(2005，法國，蒙彼利埃市)、「亞洲火紅─Chaney 家族亞洲藝術品展」(2007，美國，休斯頓美術館) 、北京今日美術館「花間記」以及「綠狗」(2008，印尼，國家藝廊)。 Born in Chongqing, Sichuan, China. ZHOU graduated from Sichuan Academy of Fine Arts in 1982. In 1988, he received his MFA from Gesamthochschule, Kassel, Germany. During that time, Zhou’s style began to move towards a more metaphysical approach that incorporated Neo-Expressionistic elements. Zhou has held solo exhibitions at The Museum of Modern and Contemporary Art of Trento and Rovereto (MaTR), Italy in 2002; 314 International Art Center, Bergan, Norway in 2002, “Solo Exhibition”, Shanghai Art Museum, China,2010.Selected group exhibitions include “China’s New Art: Post-1989”, Hong Kong Arts Centre, Museum of Contemporary Art, Sydney etc, from 1993 to 1997; “The First Shanghai Biennale, 1996; “Alors, La Chine!”, The Pompidou Center, Paris, 2002; “First Contemporary Art of China Biennale”, Montpellier, France, 2005; “Red Hot! Asian Art from the Chaney Family Collection”, Huston Museum of Fine Arts, USA, 2007; “Blooming Stories Paintings＆ Sculptures by ZHOU Chunya”, Beijing Today Art Museum, China, 2007; “Green Dog”, Indonesia National Gallery, 2008.

生於中國安徽，畢業於上海戲劇學院舞臺美術系，現居上海。近年個展：「薛松個展」(2001，英國，倫敦當代中國畫廊)、「薛松」(2001，香港，世界畫廊)、「不搭界」(2002，中國上海，香格納畫廊)、「薛松作品展」(2003，中國上海，奧迪媒體中心)、「薛松新作品展」(2004，中國上海，香格納畫廊)、「薛松」 (2004，香港，世界畫廊)、「薛松個展」(2005，英國，倫敦當代中國畫廊)、「薛松個展」(2006，中國北京，帝門藝術中心)。參與的國際聯展包括：「巴黎—北京」(2002，法國巴黎，Escape Pierre Cardin)、「行而上2002上海抽象藝術展」 (2002，中國上海，上海美術館)、「？無關現實！2004中國當代藝術」(2004，中國上海，劉海粟美術館)、「限制與自由」(2005，中國武漢，美術文獻藝術中心)、「麻將」(2005，瑞士，波爾尼美術館)、「85致敬2005-1985」(2007，中國上海，多倫現代美術館)、「中國當代社會藝術展」(2008，俄羅斯莫斯科，俄羅斯國家美術館)、「回首˙解構經典—薛松作品展」(2009，中國上海，上海美術館)。其作品為世界許多重要機構及私人藏家所收藏。 Born in Anhui, China. In 1988, Xue Song graduated from the Stage Art Department of the Shanghai Theatre Academy. Now live in Shanghai. Recent solo exhibitions: “Ver Da GaXue Song 2002 Fashion Series”, ShanghART, Shanghai, 2002; “Xue Song Newworks”, The Scenery And Fashion of Today, ShanghART, Shanghai, 2003; “Xue Song”, Galerie du Monde, Hong Kong, 2004; “Xue Song Solo Show”, Chinese Contemporary Art Gallery, London , UK, 2005; “Xue Song Solo Exhibition”, Dimensions Art Center, Beijing, 2006. Recent group Exhibitions: “Paris- Pekin”, Escape Pierre Cardin, Pairs, France; “Metaphysics 2002”, Shanghai Art Museum, Shanghai, 2002; “?untelated to reality!, Shanghai Abstract Art”, Liu Haisu Art Museum, Shanghai, 2004; “Limitation and Freedom”, Wuhan Literature Art Center; “Mahjong”, Switzerland; “ 85 Salute 2005-1985”, Shanghai Duolun Museum of Modern Art; 2007, “Chinese Contemporary - Society Art Exhibition”, Russia National Art Museum Mosco; 2008 “ Foire Internationale d'Art Contemporain” Paris; 2009, “Classic-Xue Song Works Exhibition”, Shanghai Art Museum.

299

郭偉 GUO

WEI (b.1960)

米斯尼亞迪 I

NYOMAN MASRIADI (b.1973)

095

生於中國四川。1989年畢業於四川美術學院版畫系。曾於首屆廣州雙年展中獲提名獎（1992）；於首屆中國油畫雙年展獲學術獎（1993）。其展覽足跡遍佈世界各重要城市，曾參與「夢：2001中國當代藝術」 (倫敦)、「面對面-六個畫家和一個時代」（2004，台南）、「中國藝術雙年展」（2005，法國）、「虛虛實實亞洲當代藝術的再發現」（2006，韓國）、「兄弟」（2006，北京）、「交疊」（2007，紐約）等著名聯展；並多次與其兄弟郭晉聯合展出新作。近年個人展覽包含：「郭偉個人展覽」（2000，法國巴黎，LOFT畫廊）、「郭偉個人畫展」（2001，美國洛杉磯，FRUMKIN/DUVAL畫廊）、「郭偉個人畫展」（2001，美國舊金山，LIMN畫廊）、「郭偉個人畫展」（2002，澳門，東方藝術基金會）、「室內、蚊子與飛蛾」（2004，西班牙巴塞隆納、LOFT畫廊）、「網路筆記」個展（2005，中國北京，現在畫廊）、「關注當下」郭偉個展（2006，臺灣臺南，第雅藝術）。作品廣為世界各地藏家所收藏。

096

生於印尼峇里島。曾就讀印尼藝術大學，未完成學業即離開學校。他在印尼日惹與其他峇里島的藝術家一同鑽研峇里島的傳統文化及藝術啟發。米斯尼亞迪在九十年代後期才進入藝術界，當時他於學院中學習立體派畫風，常以黝黑、身形膨脹臃腫的人物為創作主題，造型源自於印尼現代化派中的立體風格，對當代議題的評論滑稽且深刻。爾後十年他持續探討這個英雄主題，他的風格從未改變過，黝黑、強壯就像英雄般擁有男子氣概，但是他們卻誇張的不像正常的比例幾乎充滿整個畫面，肌肉呈現的光澤更加凸顯嘲諷英雄色彩的意味，這些元素的結合形成米斯尼亞迪獨特且強烈的藝術特徵。1997年，獲選日惹印尼藝術大學「誕生日」最佳畫作獎。重要聯展包括：「新世紀畫像」（2000，雅加達艾德溫畫廊）；「Bersatu dalam Rasa」{2002，雅加達艾德溫畫廊}；「優美與恐怖」（2005，法國巴黎閣樓畫廊）。

Born in Sichuan, China. He graduated in 1989 from Sichuan Academy of Fine Arts. Currently lives and works in Sichuan Province, China. He was awarded prizes in The First Chongqing Biennale and The First Chinese Oil Painting Biennale. He has held many exhibitions in several major cities around the world. He has participated in the "Dream. 2001 Chinese Contemporary Art", London; "Face to Face. Six Artists and One Time", 2004, Taiwan;"Biennale del'art contemporain Chinois", 2005, France; "Unclear and Clearness". 2006, South Korea; "Brothers", 2006, Beijing; "Figurative Possibilities", 2007, New York. Recent individuals exhibitions include: “Guo Wei solo exhibtion”, 2000, France, Paris, LOFT Gallery; “Guo Wei solo exhibtion”, 2001, San Francisco, America, LIMN Gallery; “Guo Wei solo exhibtion”, 2001, LA, America, FRUMKIN/DUVAL Gallery; "Indoor With Mosquitoes and Moths", 2004, Barcelona, Spain; “Website Note” solo exhibition, 2005, Beijing, China; “Focus on the moment”, 2006, Tainan, Taiwan. His works were collected by the private collectors at home and abroad.

Indonesian artist I NyomanMasriadi was born in Baliin 1973. He pursued his art training in Yogyakarta – a city renowned for being a cultural and academic center in Indonesia. Instead of delving into Balinese traditions and culture as a source of inspiration like the typical Balinese artist, Masriadi carved a niche for himself by creating a style that is completely his own. His paintings' clean, simple forms and compositions belie their sophistication and intricacies. With these qualities, Masriadi brings a formidable and inimitable contribution to the landscape of Asian Contemporary Art. Masriadi marked the late 1990s as his official entry into the art world. In 1997, he was awarded the prize for Best Painting at Dies Natalis ISI Yogyakarta. His group exhibitions include: “Figur di Abad Baru”, Edwin's Gallery, Jakarta, 2000; “Bersatu dalam Rasa”, Edwin's Gallery, Jakarta, 2002; "Beauty and Terror", Galerie Loft, Paris, France, 2005.

李錠雄 LEE

凌健 LING

JUNGWOONG (b.1963)

JIAN (b.1963)

099

097

生於韓國慶北。韓國美術協會成員，分別於1985、1992、1993年獲得大韓民國美術大展特選，至今已於韓國舉辦個展逾20次，並於1996至2005間陸續參與國際重要展覽，包含「首爾藝術博覽會」(1993-1999)、「Stars展」（法國巴黎）、日本 NICAF（1999）、「上海藝術博覽會」(2003、2004以及) 「新加坡藝術博覽會」 (2004)。 Born in Kyungpook, Korea. Lee is a member of Korean Arts Association. He won a price of excellence at Korea International Gallery Fine Art Expo. (1985, 1992, 1993). Till now, Lee has held over twenty solo exhibitions in Korea. Lee not only makes a combination of modern aesthetics including performance art, abstract art, and realism, but also manages to present the essence of Oriental culture in the most succinct way.

300

100

生於中國山東。1982年入清華大學美術學院就讀，並於1986年畢業。1987年於奧地利維也納創作、生活；1989年生活、創作於德國柏林漢堡。2006年至今，創作於德國柏林及中國北京。1987年至2005年間，舉辦、參加過多次藝術作品展覽。近年個展：「水調歌頭－鏡中月」（2011，尤倫斯當代藝術中心，北京，中國）、「水調歌頭－鏡中月」（2010，今日美術館，北京，中國）、「回到北京」（2009，香港當代唐人藝術中心，香港）、「紅色種子」（2008，DF2畫廊，洛杉磯，美國）、「表面－變調」（2008，曼谷當代唐人藝術中心，泰國）、「最後的理想主義」（2007，Volker Diehl畫廊，柏林，德國）...等。近年群展：「第五屆成都雙年展」（2011，中國）、「中國金」（2008，馬約爾美術館，巴黎）、「亞洲當代藝術」（2008，莎爾斯堡，奧地利）、「藝術慢步」（2007，少勵畫廊，香港）、「第二屆當代藝術三年展」（2006，博福特現代藝術博物館，比利時）、「優雅之不足」（2005，米蘭，義大利）、「聞香識女人－中國當代藝術」（2005北京，上海，香港）...等。凌健確立了他的作品中肖像繪畫的美學風格，創造出一種被改造過了的靜態身體。對於藝術家而言，他創作中大多數的人物都來源自日常生活中的所見所感。 Born in Shandong, China. In 1982, he studied in Qinghua University Art College, Beijing, and graduated in 1986. In 1989, he lived and worked in Vienna. From 1987 to 2005, his works took part in many a exhibitions. Solo Exhibitions:” Prelude to Water Melody Moon in Glass”, Ullens Center for Contemporary Art( UCCA ) ,Beijing,2011; “Prelude to Water Melody - Moon in Glass”, Today Art Museum, Beijing, 2010; “Back to Beijing”, Tang Contemporary Art, Hong Kong, 2009; “Red Seed”, DF2 Gallery, Los Angeles, 2008; “sur-FACE: in transit”, Tang Contemporary Art, Bangkok,2008; “The Last Idealism” Gallery Volker Diehl , Berlin, 2007,etc. Group Exhibitions: “The Fifth CHENG DU Biennale” China, 2011; “China Gold”, Musee Maillol, Paris, 2008; “Asian Contemporary Art (Salzburg)”, Rudolf Budja Galerie, Austria, 2008; “Hong Kong Artwalk”, Schoeni Art Gallery, Hong Kong, 2007; “Beaufort 2nd Triennial of Contemporary Art”, PMMK _ Mus ee d Art Moderne, Beaufort, Belgium, 2006; “Gorgeous Isn"t Good Enough”, Spazio Pirelli, Bicocca, Milan, Rome, 2005; “Scent Of A Woman”, Contemporary Chinese Art sponsored by Escada, Beijing, Shanghai, Hong Kong,2005, etc.In recent years, Ling Jian established an esthetic style of human igure painting in his artistic works, representing a reformed, static body. For the artist, most of the characters in his works come from his daily life: what he sees and feels.

楊述 YANG

SHU (b.1965)

楊登雄 YANG

DIN (b.1958)

102 101

生於中國重慶，1985年進入四川美術學院研究所，1988年畢業後留任於四川美院。著名展覽包括：「生活的片段」個展（2001，香港）、「行而上2005」（2005，中國，上海美術館）、「重慶辣椒2006」（2006，中國，青島市美術館）、「意象武夷──中德兩國藝術家首次面對面互動」創作國際巡迴展、「從西南出發」當代藝術展（2007，中國，廣州美術館）、「貴州雙年展」（2007）、「我的蘋果」（2007，中國，北京美術館），作品被中國美術館等藝術機構及歐洲私人所收藏。 Born in Chingqing, China. First learning oil painting in 1975, and enrolled the graduate school of Sichuan Academy of Fine Arts in 1985, teaching after graduation. Yang was held a solo exhibition “Snatch of Life” in Hong Kong in 2001. Recent group exhibitions: “Metaphysics 2005”, Shanghai Museum of Fine Arts; 2005; “Chongqing chilli 2006”, Qingdou Museum of Art, 2006; “Set off From Southwest”, Guangzhou Museum of Fine Arts, “Quaizhou Biennial”, 2007. His works have been collected by many Museums of China, Hong Kong, Singapore US and Europe.

張遠 ZHANG

YUAN (b.1966)

生於中國廣東。自1980年起，定居法國巴黎。1987年畢業於巴黎國家高等藝術學院，同年榮獲法國特羅瓦省歐柏藝術藝術沙龍獎。自1990年起，多次於歐亞各地如巴黎、比利時、荷蘭、葡萄牙、日內瓦、香港、澳門、北京等舉行個展，並屢次獲邀於巴黎大皇宮進行沙龍聯展，作品廣受國際藏家厚愛及典藏。1993年至1994年於克雷佛教育中心擔任美術老師。其作品富含逍遙浪漫的詩意，同時也表達了藝術家嚮往超脫世俗寧靜的心境。 Born in Guangdong, China, and took up his residence in Paris, France in 1980. Graduated from L'cole Nationale Sup rieure des Beaux-Arts de Paris (Paris National Art School) in 1987, and had Awarded First Prize at the Aube Art Fair organized in Troyes, France, in the same year. Since 1990, he held solo exhibitions in France, Belgium, Netherlands, Taipei, Hong Kong and Macau, etc. He had been a professor at ASDASCS center in Clairvaux, France from 1993-1994. His paintings returned to the purest nature, expressing silence and inactive but lively atmosphere, which is very poetic, also demonstrated the artist's desire for ultimate calmness and peace of mind. Yang's works are beloved by collectors worldwide.

楊國辛 YANG

GUOXIN (b.1951)

106 105

生於中國湖北武漢。1989年畢業於江西師範大學美術系、1999年中央美術學院油畫系。2005年移居北京至今。近年展覽：「虛構的傳奇」（2008，北京，中國）、「隱蔽的秩序」（2007，北京，中國）、「堅硬的外殼」（2002，藝術展，北京）、「在市場與烏托邦之間」（2001，新學院當代藝術展）、「新配方」（2001，當代藝術七人聯展，上海）、「真實．可能」（2001，當代藝術展，北京）、「真實與虛幻」（2000，當代藝術展，北京）、「主題．媒體．意義」（2000，藝術展，北京）、「各就各位－架上媒介運用創造」（2000，北京，中國）。 Born in Wuhan, China. In 1989, Zhang graduated from Art Department of Nangchang. In 1999, attend in an advanced studies in the contemporary art. In 2005, move to Beijing. Selected exhibitions: ” Imaginary Legend”, Platform China, Beijing, China, 2008; “The Concealed Structure”, Platform China, Beijing, China, 2007; “Hard Crust” Art Exhibition, Beijing, China, 2002; “Reality-Possibility”, Beijing, China, 2001; “New Formula”, Shanghai, China, 2001; “Between the Market and Utopia”, Beijing, China, 2001; “Each One In Its Position”, Beijing, China, 2000.; “Principal-Media-Meaning”, Beijing, China, 2000; Reality and False”, Beijing, China, 2000.

生於中國湖北武漢。1991年畢業於湖北美術學院。目前任教於華南師範大學美術研究所。專攻油畫和陶藝。近年重要展覽包括：「湖北青年美術節展」（1986，中國，湖北）、「第7屆全國美展」（1989，中國，北京）、「中日青年文化交流展」（199１，日本）、並獲得1993年中國油畫年展銅牌獎及1995年中國油畫年展銅牌獎。「中國當代油畫藝術展」（1997 ，上海）、第 12屆「亞洲國際藝術展」（1997，澳門，China）；「窺見中國—中國當代油畫展」（1998，台灣）、第 13屆「亞洲國際藝術展」（1998，馬來西亞）。 Born in Wuhan, Hubei, China. Yang graduated from the Hubei Fine Arts Academy with a Master's degree in 1991. He is teaching at Art Institute of Huanan Normal University now. Yang specializes in oil painting and ceramics.His art works were exhibited at the Hubei Youth Festival in 1986; The 7th National Art Fair (Beijing) in 1989; China-Japan Cultural Exchange Show (Japan) in 1991. Yang received China Annual Exhibition of Oil Paintings bronze award in 1993 and 1995."The Annual Exhibition of Chinese Oil Paintings", Beijing, 1995; "The First Chinese Contemporary Academic Art Exhibition", Beijing and Hong Kong, 1996; "Chinese Contemporary Oil Paintings", Shanghai, China, 1997; "The 12th Asian International Art Exhibition", Macao, 1997; "Peek China—Chinese Contemporary Oil Paintings Exhibition" Taiwan and "The 13th Asian International Art Exhibition" in Malaysia, 1998.

301

季大純 JI

DACHUN (b.1968)

楊茂林 YANG

MAOLIN (b.1953)

107

生於中國江蘇。1993年畢業於中央美術學院油畫系四畫室，同年參加首屆中國油畫雙聯展，現在為職業畫家。他的畫具有一種文人畫氣息，人文主義色彩濃厚。他的作品在內地市場，乃至台灣和香港為代表的國際市場，都有較大的購藏群體，是一位優秀的中生代藝術家。近年展覽：「現實：今天與明天——中國當代藝術」（1996，國際藝苑美術館，北京，中國）、「其他的現實主義」（1997，柏林，德國，）、「中國當代畫家聯展」（劉海粟美術館，上海，中國）、「上海雙年展」（2000，上海美術館，中國）、「非常平常」（2001，上海美術館，中國）、「首屆中國藝術三年展」（2002，廣州藝術博物院，廣州，中國）、「馬德里藝術博覽會」（2003，西班牙）、「04年亞洲新意美術交流展」（2004，台南市立藝術中心，台灣）、「」（2005，東京，日本）。 Born in Jiangsu, China, 1968. In 1993, Ji Dachun graduated from the Central Academy of Fine Arts with a B.A. (Oil Painting). His artwork has sense of a scholar bouquet, and also humanism. He was invited to participate in "the First Oil Painting Biennial of China" and later took part in Chinese Contemporary Union Show in 1998, Shanghai. At the same time, his instinctive style engaged the attention of overseas market. In 1997, he attended "Exceptional Realism" Show in the House of World Cultures, Berlin, Germany. In 1999, BASE gallery in Tokyo held his first solo exhibition. Among young Chinese artists, he has an obviously unique style. Notwithstanding the multiplicity of art world, Ji Dachun work combines an intuitive understanding of human nature with a strong technique.

杜泳樵 DU

YONGQIAO (1934-2007)

110

生於中國四川。1956年畢業於西南美專，後留校任教，後任四川美術學院教授、中國美術家協會會員。杜泳樵以色彩造詣著稱，被視為「影響了整整一代人成長」的重要畫家，70至80年代活躍於中國畫壇的四川油畫家均深受教益。作品曾獲四川省青年美展獲二等獎、全國青年美展三等獎、中波友好文藝比賽二等獎。1997年「杜泳樵藝術回顧展」，應邀先後展於四川美院及四川美術館，同年製作電視專題片《天若有情－杜泳樵的繪畫》。部分作品為前蘇聯博物館、中國美術館及其它私人博物館典藏，私人藏家亦遍布中國、台灣、日本、新加坡、美國、加拿大與希臘等地。生平被收入《1949—1989中國美術年鑒》、《中國美術60年》、《世界華人藝術家成就博覽大典》等文獻圖錄。 Born in Sichuan, China. Du graduated from Sichuan Fine Art Institute in 1956, and stayed teaching in the same school. Then to be a professor of Sichuan Fine Arts Institute and a member of China Artists Association. . Du's work is marked by profound skills and outstanding accomplishment in expression. As a painter having been influencing many painters of generations, is known for his oil painting and watercolor. Some of his paintings are housed in the National Museum of Soviet Russia, in the National Art Museum of China and in some private museums. His biography is selected in some important literature such as The Yearbook of China Fine Arts: 1949—1989 and The 60 Years of China Fine Arts.

302

108

136

生於台灣彰化。1979年畢業於中國文化大學美術系，2002年畢業於國立藝術大學美術創作研究所。1985年為臺北畫派創始成員並被推選為第一任會長。1985年，楊茂林首次於台中市立文化中心舉辦個展－「101楊茂林個展」，其後著名展覽包括：「遊戲行為」（1987，台灣，台北市立美術館）、「台灣三百年作品展」 (1990，台灣，台灣省立美術館)、「台灣當代藝術展」(1995，義大利，羅馬)、「楊茂林個展」（2002，澳洲，墨爾本畫廊博覽會）。1990年期間受美國、日本文化影響，創作<文化篇>系列作品並開始進行多媒體與裝置藝術創作，具有鮮明的個人特色與藝術風格。其作品廣泛受到國際藝術家與收藏家喜愛。 Born in Changhua, Taiwan. Yang graduated from Department of Fine Arts of Taipei Chinese Culture University. Yang was first director of the “Taipei School” in 1985. His first personal exhibition at Taipei Fine Arts Museum in 1987. In 1990, he participated in the Taiwan Art Museum Exhibition 300 years of Taiwan Art. In 1995, his works were selected by the “Exhibition of Taiwanese Art” in Rome. During 1990s, his works have been influenced under the pop culture of Japan and United States. He created a series of works and started to work with multimedia and installation art. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and well recognized by international art critics and collectors.

伍步雲 WU

BUYUN (1904-2001)

112

生於中國廣東。20年代留學菲律賓大學攻讀美術，1936年返香港，正式從事美術創作生涯，專長西洋油畫。1946年任聘於香港英華書院，80年代初期，應中國文化部和中央美術學院邀請，出任客座教授，其後定居加拿大。伍步雲的作品充滿生活氣息，將畢生所見之湖光山色、四秀風光及各族特色呈現於畫布，極富民族情趣。曾於香港、中國、台灣與北美洲等地區舉辦個展，廣受迴響好評。出版有《伍步雲油畫集》、《伍步雲回顧畫集》、《伍步雲》、《伍步雲的藝術》以及《香港祖裔畫家系列》等書。 Born in Guangdong, China. Studied art in University of the Philippines in 1920's. Since 1936 returned to Hong Kong to began to embark on his career in painting there. In 1946, he taught painting at Ying Wa College, Hong Kong. In the early 1980's, he was invited to teach as a guest professor by Ministry of culture and Central Academy of Fine Arts. Then he moved to Canada. He paints from life, travels across the country to observe nature and landscape. Highly praised by collectors, he has held several personal shows in Hong Kong, China, Taiwan and USA. Published “Oil Painting of Wu Buyun”,”Wu Buyun”,”The Art of Wu Buyun”and ” Hong Kong Heritage: Paintings from Two Masters”.

陳景容 CHEN

CHINGJUNG (b.1934)

黃鋼 HUANG

GANG (b.1961)

140 116 117

生於台灣彰化。國立台灣師大藝術美術系畢業後，赴日留學，先後畢業於武藏野美術大學、東京學藝大學及東京藝術大學壁畫研究所，擅長油畫、素描、版畫、嵌畫、濕壁畫。回台後，先後任教於國立藝專、文化大學及師範大學，1977-1996年擔任師大美術系專任教授，現為師大名譽教授。曾獲頒四次文馨獎、吳三連文藝獎以及中華民國學會金爵獎。曾應聘為全國美展審查委員。出版有28本美術相關著作。著名展覽包括：「中華民國現代藝術展覽」(1975，法國巴黎)、「法國秋季沙龍」（1988）、「存在與意象：陳景容創作四十年展」(1997，台灣，台北市立美術館)、「台灣畫家國家美術協會S.N.B.A.聯展」(2003，法國巴黎，羅浮宮)、「陳景容個展」(2006，台灣台北，國立歷史博物館)、「陳景容創作五十年回顧展」 (2009，台灣台北，國父紀念館)。

Born in Nantou, Taiwan. Chen graduated from National Taiwan Normal University Arts Faculty, continue further study in Japan, 1960 graduated from Japan Musashino University. After his return to Taiwan, he became the chairman of the Fine Art Department of the National Academy of Arts. In 1975 Chen travel to Paris to participate in the World Convention of Fine Art Education, and then received the Golden Goblet Award from the Chinese Painting Society. Exhibitions were held frequently both nationally and internationally. In 1997, "Being and images:40years of Chen Ching-jung's vision" in Taipei Fine Arts Museum. In 2006“Chen Ching-jung Solo Exhibition” in National Museum of History,Taipei. In 2009," 50years of Chen Ching-jung's Retrospection" at National Dr. Sun Yat-sen Memorial Hall, Taipei. Chen also serves as a judge for the Taiwan National Fine Art Exhibitions.

方力鈞 FANG

LIJUN (b.1963)

119

生於中國河北。1989年畢業於中央美術學院版畫系。現居北京。方力鈞以「玩世現實主義」之風格立足當代藝壇，作品反映社會樣貌甚深，曾多次參予國內外重要展覽。著名聯展包含：「第六屆全國美展」(1984，中國廣州)、「中國現代藝術展」（1989，中國北京，中國美術館）、「中國新藝術展」（1992，澳洲）、「中國前衛藝術展」（1992，巡迴德國、荷蘭、丹麥）、「後八九中國新藝術展」 (1993，香港)、「東方之路」(1993，義大利，威尼斯雙年展)、「第四屆亞洲藝術展」(1994，日本，福岡美術館)、「開放的邊界」（1999，義大利，48屆威尼斯雙年展）等。近年重要國際性個展：「方力鈞作品展」(1995，法國巴黎)、「方力鈞作品展」(1988，荷蘭、美國)、「方力鈞作品展」(2000，新加坡)、「方力鈞亞洲當代藝術」(2001，德國)、「方力鈞」（2004，德國）。 Born in Hebei, and graduated from China Central Academy of fina arts. Now live in Beijing. Group exhibitions: “The 6th National Art Exhibition, Guangzhou”, Canton, china, 1984; "China Avant-Garde Art Exhibition”, National Art Museum, Bejing, China, 1989; “China's New Art, Post-1989”hong kong, 1993; “Fourth Asian Art Show”, Fukuoka Art Museum, Japan; “Open Boundary” The 48th Venice Biennale, Italy, 1999, etc. And Solo Exhibitions: “Fang Lijun” Galerie Bellefroid Paris, France, 1995, “Fang Lijun”,Netherlands and USA, 1988; “Fang Lijun”Singapore, 2000; "Fang Lijun, Asian Fine Arts", Germany, 2001; "Fang Lijun", Germany,2004.

生於中國北京。1984年畢業於中央工藝美院，並於1991年獲該校碩士學位，在學期間曾獲「平山鬱夫」獎學金。自1994年起，曾於多國舉辦展覽及參與聯展、博覽會等逾二十場。近期展覽：「亞洲現代藝術聯展」（2003，美國西雅圖，沃爾茨畫廊）、「中國藝術家聯合巡展」（2004，美國，匹茲堡藝術學院畫廊）、「韓國國際藝術博覽會」（2004，韓國首爾）、「北京藝術博覽會」（2006，中國北京）、「黃鋼個展」（2006，台灣台北，現代畫廊）。 Born in Beijing, China, he received a bachelor and a master's degree from the Central Academy of Arts and Crafts. He also received Hirayama Scholarship during that time. Since 1994, he has participated in over twenty exhibitions and art fairs. Recent exhibitions: “Asia Modern Art Group Exhibition”, Seattle, USA, 2003; “Group Exhibition of Chinese Artists”, the gallery of Art Institute of Pittsburgh, USA, 2004; “Korea International Art Fair”, Seoul, Korea, 2004; “Beijing International Art Exposition”, China, 2006; “Solo exhibition by Gang Huang”, Modern Art Gallery, Taipei, Taiwan, 2006.

邵飛 SHAO

FEI (b.1954)

121

生於中國北京。現任北京畫院專職畫師，亦為中國美術家協會會員。1984年獲北京市「慶祝建國三十五周年」畫展甲等獎，1991年獲北京市優秀獎。曾至世界各地舉辦個展，展覽地點包含：英國利物浦ACORN畫廊（1987）、挪威奧斯陸AKO HANDVEI KSTED畫廊（1987）、荷蘭鹿特丹DOELEN藝術中心（1988）、日本大阪現代中國藝術畫廊（1988、1990）、加拿大溫哥華亞洲藝術中心（1989）、臺灣高雄炎黃藝術館（1992）、新加坡文物館（1992）、香港藝術中心（1992）、澳門市政廳（1994）、北京中國美術館等（1998）、臺灣臺北天使美術館（2003）。其作品廣為中國美術館、北京市美協和香港美術館、臺灣炎黃藝術館、美國、加拿大藝術機構以及諸多國內外收藏家收藏。出版有《邵飛畫集》等五冊。 Born in Beijing, China. Currently she is the first class artist of Beijing Academy of Fine Arts and a member of China Artist Association. She won the First-Class Awards of "celebration of 35th anniversary of the founding of Beijing City" exhibition and Excellence Award of Beijing Municipal. She held the solo exhibitions around the world, including Liverpool, England (1987); Oslo, Norway (1987); Rotterdam, Netherlands (1988); Osaka Japan(1988、1990); Vancouver, Canada(1989); Kaohsiung, Taiwan(1992); Singapore(1992); Hong Kong(1992); Macau(1994) ,Beijing, China(1998); Taipei, Taiwan (2003). Her works were collected by The National Art Museum of China, Hong Kong Art Gallery, Taiwan Yanhuang Art Gallery and other private collectors in many countries.

303

胡善餘 HU

SHANYU (1909-1993)

張義雄 CHANG

YOSHIO (b.1914)

126

123

出生於廣東。1929年進國立杭州藝專，跟隨林風眠學畫。1932年往法國留學，並進入巴黎國立高等美術學院。1935 年返國後，任教於國立重慶師範大學、國立藝校及中央美術學校。1980年起曾於杭州、廣州、南京、昆明等地舉行個展，同時上海人民美術出版社出版畫冊。1933年上海美術館特別舉行胡善餘大型回顧展，其作品被大型機構以及私人收藏家廣泛珍藏。

生於台灣嘉義。1928年至1940年間就讀於日本，先後在武藏野美術大學、關西美術學校、東京川端畫學校及東京美術學校苦讀12年。畢業後在北京停留兩年半多，台灣光復後返台，於80年代始定居巴黎至今。先後在「台陽美展」中獲3次首獎，於「春季沙龍」受賞，並入選「秋季沙龍」，是台灣首位獲法國政府「藝術家年金」的畫家。曾應邀舉辦「張義雄80回顧展」(1994、台灣台北、市立美術館)、「張義雄90回顧展」（2004，台灣台北，歷史博物館）。

Born in Guangdong. In 1922, he entered the Hangzhou Fine Arts Academy, studying painting under Lin Fengmian. In 1932, he had opportunity to study in Ecole Nationale Superieure Des Beaux-Arts, Paris. He returned China in 1935, and taught at the Chungching National Normal School, National Academy of Art and Central Academy of Art. From 1980, he held solo exhibitions in Hangzhou, Guangzhou, Nanking and Kunming. “Hu Shanyu Oil Painting Anthology” was published by the Shanghai People's Fine Arts Society at the same year. In 1933, Shanghai Art Museum held a special large-scale retrospective for Hu. His works are housed in the collection of large organizations and private individuals.

Born in Jiayi, Taiwan, studied in Japan between 1928 and 1940, spending 12 years at Ueno University of Fine Art, Kansai school of Fine Art, Tokyo Kawada Painting School and Tokyo School Fine Art. Upon graduation, he stayed in Beijing for two and a half years, and returned to Taiwan after Taiwan Retrocession, and then moved to Janpan in 1960 and subsequently to Paris in 1980 where he resides to this day. He won three successive top prizes at the “Tai Yang Art Exhibition” and was honored at the Spring Saloon, and nominated at the Autumn Saloon, and was the first Taiwanese painter to receive the Artists Annuity “from the French Government. In1994, Chang was invited to stage a “Chang Yixiong 80th Retrospective Exhibition” at the Taipei Municipal Museum of Fine Art. “Chang Yixiong 90th Retrospective” was held in 2004 at the National Museum of History, Taipei, Taiwan.

薩爾瓦多．達利 SALVADOR

詹金水 JAN

DALÍ (1904-1989)

CHINSHUI (b.1953)

189

129

130

128

生於西班牙費格拉斯。1922年於馬德里的聖費南度藝術學院就讀。達利的創作深受不同藝術風格的影響，兼具古典與前衛形式，涵括文藝復興時期之古典風格，以及近現代之印象派、野獸派、立體派等，因此其作品呈現出多樣而特殊的面貌。達利非凡的才能與驚人的創造及想像力，造就其「超現實主義」宗師的地位，對後代的藝術創作具有深刻的啟發及巨大的影響。西班牙費格拉斯的「達利劇院博物館」現藏有最多達利的作品，其次則為佛羅里達州聖彼德斯堡的「薩爾瓦多‧達利博物館」。其作品也為其他歐美的藝術機構與私人藏家所收藏。 Born in Figueres, Spain, Salvador Dalí studied in the Academia de San Fernando in 1922. He was influenced by different art styles which include Renaissance classical style and the avant garde style at that time, such as Impressionism, Fauvism and Cubism. That made Dalí's works truly brilliant and special. His extraordinary talent and marvelous innovation as well as imagination make him a status of prominent surrealist master. The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. Dalí's works were also collected by some art institutions in Europe, America and private collectors.

304

生於台灣苗栗。擅長油畫。1984年入選台北市美術當代抽象畫展，1986年國立藝專美術科畢業。1987年曾獲第十一屆油畫展金牌獎，1988年獲邀參加東京亞細亞美術大展，1989年獲教育部文藝創作獎油畫金牌獎，台陽美展優選，同年前往歐洲自助旅遊。著名展覽包括：「詹金水個展」（1988，大家藝術中心）、「詹金水個展」（1990，台灣台北，印象畫廊）、「詹金水個展」（1991，台灣台北，印象畫廊）、「詹金水個展」（1992，台灣台北，愛力根畫廊）、「中國當代藝術大展」（1997，中國上海）、「境高無界—2008精選新作」（2008，台灣台南，亞帝畫廊）。出版三本個人畫集，作品為國立藝術學院（今國立台北藝術大學）收藏。 Born in Miaoli, Taiwan. Jan Chinshui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published three exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today's Taipei University of the Arts).

伊奇‧庫羅 IQI

QOROR (b.1984)

吳學讓 WU

HSUEHJANG (b.1924)

133

131

生於印尼。2007年開始他的視覺藝術職業生涯。他的作品靈感來源主要著重在性別、女權運動和時尚的啟發。以不同的角度，挑戰傳統教條與刻版性別身份。精選展覽：「東年南亞繪畫慶典」（2005，林大畫廊，新加坡）、「多樣性」特色設計聯展（2006，麥克唐納美術館，蘇臘巴亞，印尼）、「印尼設計大會」（2007，雅加達，印尼）、「森林憂鬱」（2009，泗水，印尼）、「愛情／謊言／歡愉／性慾」（2011，泗水，印尼）。 Born in Indonesia. Iqi Qoror started his career as a professional visual artist in the year of 2007. His works are mainly inspired by gender, feminism and fashion trend. Most of Iqi's works challenge the topics and persepctive of dogma, stereotyped sexual orientation and identity. Exhibitions: “Celebration of South East Asian Paintings”, Group Exhibition Linda Gallery, Singapore,2005; "United Character of Diversity" Character design exhibition, Mcdonald Gallery, Plaza Surabaya, Surabaya,2006; "Forum Design Indonesia", Jakarta, 2007; "Wood Mood", ORE-ARTSPACE, Surabaya, 2009; "Love/Lie/Laugh/Lust", CCCL Gallery, Surabaya, 2011

朱士杰 ZHU

SHIJIE (1900-1990)

134

生於中國廣東。朱士傑生於廣州。1912年跟隨畫家顏純生、樊少雲學習國畫，兼攻花鳥與山水。1922年與顏文樑、胡粹中共同創辦中國蘇州美專，長期擔任教務長一職。曾任教於現今南京藝術學院。朱士杰畢生投注油畫創作，並曾嘗試自製顏料與畫布，刻苦勤習。其作品主要以風景和靜物入題，風格樸實雅致，富有濃郁的鄉土氣息。1985年應邀於北京展出生平創作，作品為中國美術館、江蘇美術館典藏。 Born in Guangzhou. In 1912, He learned Chinese Painting with flower and bird, and landscape from Yan Chunsheng and Fan Shaoyun. He established “the Suzhou Academy of Fine Arts” with two other artists Yan Wenliang and Hu Cuizhong in 1922 and for long years served as dean. He has been taught in Nanjing University of the Art. Zhu had to selfmade painting materials such as canvass and paints, and practiced hard. In 1985, he was invited to exhibit all of his major works from his lifetime in Beijing. His work have been collected by the National Art Museum of China in Beijing and Jiangsu Fine Arts Museum.

176

生於中國四川。別號退伯，1948 年畢業於國立杭州藝專，師承林風眠、潘天壽、李可染等名家，為國際著名當代水墨畫家、美術教育家，現旅居美國加州。1984 年榮獲中華民國畫學會繪畫教育金爵獎，1985年獲頒中國文藝協會國畫繪畫金質獎章，為蔣勳讚譽為開創當代水墨新格局之先驅。曾與劉國松等人創辦中國現代水墨畫會。1970年首次於美國佛羅里達國際畫廊舉辦個展，自此於國內外舉辦多次著名個展：「吳學讓個展」(1989，台灣台北，國立歷史博物館)、「吳學讓七十回顧展」(1994，台灣，台北市立美術館)、「從傳統到現代—吳學讓彩墨畫展」 (1996，台灣台中，台灣省立美術館)、「故國神遊—吳學讓八十回顧展」、「故國神遊—吳學讓八十回顧展」(2004，台北台北，國立歷史博物館)、「千年墨韻揮灑古今—吳學讓水墨畫個展」（2009，名山藝術台北館、竹科館）、「吳學讓中國水墨畫展」(2010，中國、上海劉海粟美術館)。 Born in Sichuan, China. He graduated from National Hangzhou Academic Art College in 1984 ,and learned the painting skill under the Contemporary Chinese ink paintings of master Lin Fengmian、Pan Tianshou、Li Keran. Currently resides in California, USA. Recipient of ROC Chinese Painting Association Golden Award in painting education in1984 and Golden Award from Chinese Writers’and Artists’Association for painting in 1985. His work has been in display in Europe, America and Asia. Chiang Hsun called him the pioneer of the modern Chinese painting. In 1970, he had a first solo exhibition in Florida National Gallery, USA. Solo exhibitions: “Solo Exhibition” National Museum of History, Taipei, 1989; “Wu Hsueh-Jang Retrospective Exhibition at 70”, Taipei Fine Art Museum, Taiwan, 1994; “From Tradition to Modern—Xuerang Wu's color Chinese painting” Taiwan Museum of Art, Taichung, Taiwan, 1996; “Wu Hsueh-Jang Solo Exhibition—Millennium of Harmony, Expressing the past and the present’, Mingshan Art Taipei and Hsinchu Locations, Taiwan, 2009.

閔希文 MIN

XIWEN (b.1918)

142

生於中國江蘇。歷任上海戲劇學院舞台美術系副教授、教授，為中國美術家協會會員。1934年進入蘇州美專製版科，1941年自杭州國立藝專畢業並留校任教，師承吳大羽、方幹民、蔡威廉。1948年協助方幹民於上海創辦「中華藝術研究會」。其分別於1982、1987及1990年在中央美術學院舉辦個人展覽；1998年赴美國紐約舉辦個展；1995年首度於臺灣臺北舉行個展；2004年上海戲劇學院特別為其舉辦「閔希文油畫近作展」。其作品多次赴日本、美國、俄羅斯、新加坡、科威特等地展出，並為海內外收藏家珍藏。曾在各類美術專刊上發表論文，出版有《閔希文畫集》、《海上油畫續集》等。 Born in Jiangsu, China. He was admitted to the Department of Plate Making, Suzhou Art School in 1934, and then entered Hangzhou National College of Art in 1935, studying under Wu Dayu, Fang Ganming, and Cai Weilian. He graduated from Hangzhou National College of Art in 1941 and stayed at school to teach. He assisted Fang Ganming to establish Chinese Arts Research in 1948. Min had served as professor of Shanghai Theater and is a member of Chinese Artists Association. He has once held his solo exhibitions at The Central Academy of Fine Arts in 1982, 1987 and 1990, and then went to New York to exhibit his works in 1998. His works have been selected for exhibitions throughout the world for many times, and also been collected by private collectors at home and abroad.

305

蔡雲程 TSAI

YUNCHENG (1929-2009)

139

178

179

生於中國福建。10歲隨家人移居菲律賓，跟隨東南亞名師習畫，29歲參加菲律賓全國美術金牌獎，始引起國際注目。創立藍色畫派，使用代表寧靜、深邃致遠的藍色基調創作，繪畫獨具風格。七十年代起開始在美國紐約、洛杉磯、法國巴黎等地舉辦畫展。 1990年獲頒美國愛因斯坦國際學術基金會和平獎，是目前唯一獲此殊榮的華裔藝術家，1996年獲法國盧本斯國際藝術節獎章。被英國劍橋國際名人傳記協會列入世界名人錄，半個世紀以來獲獎無數。

Born in Fujian, China. Tsai immigrated to Philippine along with family at ten years old and studied the painting under famous Southeast Asia teachers. He won the champion in Philippines fine arts competition at age 29. From this time on, he begins as a budding artist in artistic world. He is the famous artist using a brush with blue paint, become one and the only found of the Blue School. After 1970s, he holds the exhibitions in places such as New York, Los Angeles, and Paris. Tsai was awarded the “1990 Albert Einstein International Academy Foundation Peace Award”, and 1996 Medal from Centen-Aire Peter Paul Rubens International Festival Paris, France. His name has been included in several major publications of “The International Who's who”, International Biography Center, Cambridge, England, and since half century has won award innumerably.

173

高惠君 GAO

HUIJUN (b.1966)

龐永杰 PANG

YONGJIE

(b.1968)

143

生於中國河北。1992年畢業於中央工藝美術學院。1995年參加北京中國藝術博覽會，獲優秀作品獎，同年也參與於德國舉辦之「中國現代藝術展」。1996至2002 年先後在北京、新加坡舉辦個人畫展，其後著名展覽包括：「油畫名家名作邀請展－中國巡迴展」(2002，中國北京)、「21位藝術家聯展開幕式」(2003，北京，犀銳藝術中心)、「當代藝術家21人聯展」(2003，中國北京，觀景廊)、「表情與狀態展」(2003，中國北京，泰康頂層空間)、「中國先鋒VANESSA ART HOUSE」 (2004，印尼雅加達)。其作品也為天津泰達當代藝術博物館收藏。 Born in Baoding, Hebei, China. Gao Huijun graduated from the Central Industrial Art Institute in 1992. He attended the Beijing China art exhibition, won the outstanding works prize, in the same year she also participated in the German China modern art exhibition. After 1996, he held solo exhibitions in Beijing and Singapore during 1996 to 2002. Exhibition by Twenty-one Contemporary Artists, Xray Art Center, Beijing, 2003; The Opening of a Joint Exhibition by Twenty-one Contemporary Artists, Panorama Gallery, Beijing, 2003; Picture if Asia Fine Art Auction, Larasati, Indonesia, 2003; China Avantgarde Vanessa art house Jakarta Indonesia, Articles in Publications. His works are also collected by Teda Contemporary Art Museum in Tianjin.

306

144

生於山東東明。1990年畢業於山東師範大學美術系。於1991年至1993年間在中央美術學院研修。現居於北京，為職業畫家。主要展覽：1995年於中國美術館辦個人油畫展、2000年於德國漢堡及北京舉辦個展、2003年參加荷蘭阿姆斯特丹藝術展。 Born in Dongming, Shandong, China. Pang graduated from the Shandong normal university fine arts department in 1990, and he pursued advanced studies in the Central Fine Arts academy during 1991-1993. Currently resides in Beijing, China. He held solo oil paintings exhibition in China Art Museum in 1995, and in Hamburg, Germany and Beijing in 2000, participated in the Dutch Amsterdam Art exhibition in 2003.

劉國樞 LIU

GUOSHU (b.1919)

石立峰 SHI

LIFENG (b.1968)

147

146

生於中國四川。中國第二代油畫家。1938年考入武昌藝術專科學校。1948年應聘為西南美術專科學校西畫科主任。1950年後分別任教於西南人民藝術學院及四川美術學院，1979年任四川美院繪畫系副主任、 1986年轉任重慶職工美專副校長。亦為中國美術家協會會員，美協四川分會常務理事。劉國樞畢生致力於美術教育，化育眾多英才，「四川畫派」中的重要畫家如羅中立、高小華、程叢林、何多苓、周春芽、朱毅勇等人皆受劉國樞教授之親自指導，為中國西南地區藝術教育貢獻良多。

生於中國河北石家莊，1991年畢業於河北師範學院，1992年成為職業藝術家。著名展覽包括：「第三屆中國油畫年展」(1995，中國北京，中國美術館)、「獨語空間」先鋒攝影展（2000，中國，北京音樂廳畫廊）、「相聚德勝門」中國前衛藝術作品展（2001，中國北京，藝森畫廊）、「中國當代藝術作品新春聯展」（2002，中國北京，炎黃藝術館）、「TAM」圖片展（2003，法國巴黎）、「中國當代藝術百人展」（2003，中國北京，大陸藝術家畫廊）、「重要的是汽車」（2003，中國北京，王府井名車港）、「首屆青年美展」（2003，中國北京，今日美術館）、「荒涼城市」前衛攝影展（2004，荷蘭鹿特丹）、當代藝術家二十一人聯展（2005，中國北京，希爾頓飯店觀景廊）、AAF中國當代藝術展（2006，中國北京，季節畫廊）、「第三屆人文奧運美展」（2006，中國北京，中華世紀壇）。「走出宋莊」當代藝術展（2007，中國北京、上海、瀋陽）、「中國當代藝術八人展」（2007，丹麥哥本哈根）、「STOCKHOLM藝術節」（2008，瑞典）、「遊戲異次元」（藝術+上海，上海）。

Born in Sichuan, China, Liu is the second generation of oil painting artist. He was admitted to the Wu Chang Academy of Fine Arts in 1938, and was invited to serve as the Director of the Department of Western Painting at Southwest Fine Art School in 1948. He taught at Southwest People Academy of the Arts and Sichuan Academy of Fine Arts since 1950s, also became a member of China Artists Association and acted as a managing director of its Sichuan branch during this period. Liu devoted himself to art education and training the new generation of art elites in China, renowned artist like Luo Zhongli, Gao Xiaohua, Cheng Conglin, He Duoling, Zhou Chunya and Zhu Yiyong were instructed directly by Liu Guoshu.

Born in 1968, in Hopei, China. Shi graduated from Hopei Normal School in 1991. He became a professional artist in 1992. Exhibitions: ”The 3rd Annual Chinese Oil Painting Exhibition”, Beijing, 1995; “photography exhibition”, Beijing, 2001; “Together at TehSheng Gate”, Beijing, 2001; “New Year Joined exhibition”, Beijing, 2002; “TAM Photo Exhibition”, Paris, 2003; “100 Chinese Contemporary Artists Exhibition ”, Beijing, 2003; “The important one is car”, Beijing, 2003; “The lst Youth Art Show of Museum of Today”, Beijing, 2003; “Barren City – Avant-garde Photography,” the Netherlands, 2004; “21 Contemporary Artists Joint Exhibition, Beijing Hilton Hotel, 2005; “The 3rd Humanities Olympic Art Exhibition,” The China Millennium Monument, Beijing, 2006; “Going out of Songzhuang,” Beijing, Shanghai, Shenyang, 2007; “Exhibition of Eight Chinese Contemporary Artists,” Copenhagen, Denmark, 2007; “Stockholm Art Fair,” Stockholm, Sweden, 2008 ;“Playful Dimension,” Art+Shanghai, Shanghai, 2008.

呂岩軍 LV

李小鏡 DANIEL

YANJUN (b.1956)

LEE (b.1945)

152 148

生於中國河北。早年受教於中國知名藝評家，現創作生活於北京。1992年在河北「群眾藝術藝館」舉辦個展。近年展覽包含：「宋莊藝術集市展」(2007，中國北京)、「宋莊生存現狀展」(2008，中國北京)、「宋莊美術館個展」(2009，北京)、「武妝－呂岩軍個展」(2009，中國北京，力波村畫廊)、「呂岩軍個展」(2012，新加坡，楊藝術中心)。 Born in Hopei, china. In early years, Lv learned from Li Xianting who is a famous an independent art critic in china. In 1922, he held “Hold Personal Exhibition” in People's art Center in Handan City, Hebei, China. He live in Beijing now. In recent years his exhibitions: “Art Group Exhibition In Songzhuang”, Beijing , china, 2007; “Surviving the Present Exhibition”, Beijing, China, 2008; “Scene Exhibition in A Area Art Museum”, Beijing, China, 2009.

生於中國重慶。畢業於美國費城藝術大學美術碩士，曾多次於美國、歐洲及亞洲各大城市重要美術館及藝廊舉行個展，深獲藝評及收藏家讚賞。1993-1995年間陸續於紐約O.K. Harris畫廊舉辦個展，並於1995年受邀於法國圖洛斯水之堡美術館展覽等。近年的創作多結合電腦合成及專業攝影技法，創造一系列半人半獸意象的作品，以一種概念性的演藝方式來探討攝影的原創性，其作品亦廣為世界知名美術館及私人企業收藏。 Born in Chongqing, China. Li received his master degree in Arts form the University of Philadelphia in 1972. Highly praised by critics and collectors, he has held several personal shows including major metropolitan art centers and galleries, the O.K Harris Gallery in New York in 1993 to 1995 and the Galerie du Chateau d'Eau, Toulouse, France in 1995. Li's works has been widely exhibited in the United States, Europe and Asia. In recent years, Li combines computer technologies and photographic techniques to create a series of works on half man and half beast, exploring the possibility of creativity in photography though a conceptual deductive method.

307

陳正雄 CHEN

CHENGHSIUNG (b.1942)

洪易 HUNG

YI (b.1970)

156

生於台灣台南。十四歲於北港佛像店做學徒，自此開啟其雕塑生涯。現為日本新構造社雕刻部會員，也是中華雕塑學會會員。至今獲獎無數，包括南美展市長獎（1970、1978）、年南美展柏川獎（1979）、第六屆吳三連先生文藝獎（1983）、日本新構造展雕刻大賞（1989）等。著名展覽包括：「日本新構造會員努力賞」(1984，日本)、「三義木雕博物館開館展」(1990，台灣苗栗，三義木雕博物館)、「個展」(1987，台灣台北，國立歷史博物館)、「國際藝術博覽會」 (2003，韓國首爾)、「上海藝術博覽會」（2007，中國上海）。台灣國立美術館、台北市立美術館與高雄市立美術館皆有典藏其作品。 Born in Tainan, Chen started his woodcarving career as an apprentice at the age of 14, and then went for an intern tour around Taiwan's local temples. He is the member of Japan Shinkouzou Art Association, Sculpture Division as well as The Sculpture Society of Taiwan. He has won many awards which include: Mayor's Award of Tainan Art Exhibition （1970、1978）, Wu SanLien Award（1983）and Sculpture Award of Shinkouzou Exhibition. Exhibition: “Great Effort Award of the Sinkouzou Exhibition”, Japan, 1987; “Solo Exhibition”, “Sanyi Wood Sculpture Museum Opening Exhibition”, Sanyi Wood Sculpture Museum, Miaoli, Taiwan, 1990; “Solo Exhibition”, National Museum of History, 1987; “International Art Fair”, Seoul, Korean, 2003; “Shanghai Art Fair”, Shanghai, China, 2007. Chen's works are collected by National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, and Taipei Fine Arts Museum.

金芬華 KING

FENHUA (b.1955）

158

生於臺灣高雄。1977年畢業於臺大商學系，後棄商全意投入繪畫創作。早期作品題材多以女人、花與貓為創作靈感，反映纖秀、虛渺的內心世界，近年則嘗試呈現水底視野中的格狀空間。至今於台灣舉辦個展逾10餘次，包含：今天畫廊(1984，臺北)、龍門畫廊(1989，臺北)、現代畫廊(1990、1991，2006，臺中)、第凡內畫廊 (1992，臺北)、現代藝術空間(1993、1997，臺中)、琢樸藝術中心(1994，高雄)、尊采藝術中心(1996，臺北)、新生活藝術館(1998，臺南)、誠品畫廊(2004，臺北)、新心藝術館(2006，臺南)、藝大利藝術中心(2010，臺北)。 Born in Kaohsiung, Taiwan, King Fenhua graduated from the Business School of National Taiwan University in 1977. She devoted herself to painting after graduation. Her early works are inspired by woman, flower and cat, reflecting the artist's elegant and illusory mind. Recently, King tries to present the checker space as a view looking in the water. She held solo exhibitions more than ten times in Taiwan, including: Today Gallery, Taipei, 1984; Lung Men Art Gallery, Taipei, 1989; Modern Art Gallery, Taichung, 1990, 1991, 2006; Modern Art Space, Taichung, 1993, 1997; J.P. Art Center, Kaohsiung, 1994; Liang Gallery, Taipei, 1996; Eslite Gallery, Taipei, 2004; Sing Art Gallery, Tainan, 2006; E.D.LEE Gallery, Taipei, 2010.

308

157

生於台灣台中，明道中學美工科畢業。作品風格獨特，顏色豐富、奇異線條、大膽的律動、活潑的生命力讓人感到喜悅。主要展覽：「普羅眾生」（2002，台北帝門藝術中心）；「台灣有藝術，藝術有希望」（2004，台北華山藝術區）；「有佛真好，亞洲城市連結網」（2005，韓國，首爾市立美術館）；「花枝招展」（2005，國立台灣美術館）；「藝術家的光影派對」（2006，台北，誠品畫廊）；「偶遇洪易」（2008，台北）。 Born in Taichung, Taiwan. He graduated from Mingdao Junior High School, majored in Fine Arts. His creation style in vivid and unique: rich color, intricate curves and audacious design together compose every pieces of his work. Main exhibitions: “Life in the World”, Dimension Endowment of Art, Taipei, 2004; “2005 Connecting Network for Asian Cities”, Seoul Museum of Art, Korea, 2005; “Me 2, Consensus and Childlike Public Art Exhibition”, Hong Kong, 2006; “Artists’ Party of Light and Shadow”, Eslite Gallery, Taipei, Taiwan, 2006; "Meet Hung Yi", Taipei, 2006.

丹尼．金．赫里揚托 DANI KING HERIYANTO (b.1980)

159

生於印尼蘇木當。2008年畢業於印尼日惹藝術學院美術系。2006年畫作獲爪哇巴東中心提名獎、2007獲單車設計賞、2009獲TujuhBintang最佳藝術獎，2010年獲選為雅加達最佳83位藝術家。Dani自2002年開始即積極參與各大展覽，地點含括印尼各大城市，如：雅加達、日惹、巴東、馬格朗、峇里等。近期個展《崛起》於新加坡ARTFRONT畫廊展出(2010)。其畫面平滑、筆觸細膩，柔美銳利又充滿幻想的風格，深受國際藏家喜愛。 Born in Sumedang, Indonesia, Dani graduated from Fine Art ISI Yogyakarta in 2008. He won the several awards since 2006, including the 20 nominees Mural Painting, Batang of Central Java in 2006; Nominees Polygon bicycle design in 2007; 50 Great Nominees of the power of dream, TujuhBintang art award in 2009; 25 Great Nominees of Suara merdeka Painting Competition.Semarang in 2010; 83 Great Nominees of the Jakarta Art Awards in 2010. Since 2002, Dani has been active in participating in the group exhibitions all around Indonesia more than 40 times. His recent solo exhibitions “Rise Up” was held at ARTFRONT Gallery in Singapore (2010). His works are appreciated and collected by international collectors all around the world.

權奇秀 KWON

KISOO (b.1972)

安卓 ENDRO (b.1983)

160

生於韓國。1998年畢業於漢城弘益大學碩士。創作範圍涵括繪畫、雕塑、和錄像。他最為人熟知的就是經常出現在作品裡的Dongguri (咚古力)，擬人化的造型，由簡約而充滿象徵性的黑色線條所組成，是一種充滿隱喻的、簡約的、機械化的現代主義思維與圖像。1996年入選第十五屆韓國藝術大賞決賽。近年個展包括：「四季」（2008，Parkryusook藝廊，首爾，韓國）、「Who’s Dongguri?」（2008，形而上畫廊，台北，台灣）、「黑色森林」（2006，藝術公園(Artpark) 藝廊，首爾，韓國）、「權奇秀動畫」（2005，Paik HaeYoung藝廊，首爾，韓國）、「哇!這是一朵花!」（2002，魚藝廊，首爾，韓國）、「1998個展」（1998，Kwanhoon藝廊，首爾，韓國）。 Born in Korea. Kwon's works in a wide range of media, including painting, sculpture and video. He is primarily known for his creation of Dongguri, a character that frequently appears in his work. The human-shaped figure formed by symbolized and purified black lines, is a mechanic and simplified image and thought of modernization full of metaphor. Selected for The 15th Grand Art Exhibition of Korea Finalist in 1996.Solo Exhilarations: “4 Seasons”, Parkryusook Gallery, Seoul, 2008; “Who's Dongguri?”, Metaphysical Art Gallery, Taipei, Taiwan, 2008; “Black Forest”, Artpark Gallery, Seoul, 2006; “Kwon, Ki Soo-Animation”, Paik Hae Young Gallery, Seoul, 2005; “A Red Fountain”, Gallery Fish, Seoul, 2004; “Wow, This Is A Flower!”, 'Congdu' In An Annex To The Woljon Art Center, Seoul ; Gallery Fish, Seoul, 2002; “The Show 1998”, Kwanhoon Gallery, Seoul, 1988.

王懷慶 WANG

HUAIQING (b.1944)

161

生於印尼日惹。1998年至2001年間於日惹藝術交流協。2001年於日惹印尼藝術學校(ISI)進行藝術研究。為當代藝術家，活耀於印尼日惹。近年展覽包括：「LIFE IS AMAZING」［2011，綠色藝術空間］、「BAZAAR ART FAIR」（2011，太平洋皇宮，雅加達，印尼）、「PSEUDO AGONY」（2010，Galeri畫廊，雅加達，印尼）、「seni rupa bersama ACTION `01」（2010，塔曼文化中心，日惹，印尼）、「印度希望之八位藝術家」（2010，不一藝術，香港）、「日惹藝術博覽會」（2009，塔曼文化中心，日惹，印尼）、「日惹藝術」（2006，日惹，印尼）、「關懷地震．日惹」（2006，Girang Gallery，日惹，印尼）。 Born in Yogyakarta, Indonesia. A contemporary artists in Yogyakarta, Indonesia. Then he studied in Indonesian Institute of the Arts in 2001. Selected exhibitions: "LIFE IS AMAZING", Green Art Space, 2011; “BAZAAR ART FAIR”, Pacific Palace, Jakarta, Indonesia; "PSEUDO AGONY", Galeri Canna, Jakarta ; “seni rupa bersama ACTION `01”, Taman Budaya, Jogjakarta ; “EIGHT PROMISING INDONESIAN ARTIST”, EDGE Gallery, Hong Kong, 2010 ; “Jogja Art Fair 2 ( JAF )”, Taman Budaya, Jogjakarta, 2009 ; “Art for Jogja”, TBY, Yogyakarta, 2006; “Peduli Gempa Yogyakarta”, Girang Gallery, Yogyakarta, 2006.

張振宇 CHANG

174 168

a. b.

生於中國北京，1969年畢業於中央美術學院，曾師學於吳冠中和袁運甫。文化大革命期間，王懷慶被送往農村，1979年回到中央美術學院進修藝術碩士項目， 1981年碩士畢業後，王懷慶以訪問學者身份前往美國（1987-1988），現任教於北京藝術學院。1999年，王懷慶在台灣台北大未來畫廊舉行個展，其著名聯展包括有：「中國美術館藏畫精品展」（1993，中國北京）、「中國藝術五千年展」（1998，美國紐約）、「上海雙年展」（2000，中國，上海美術館）、「首屆北京國際美術雙年展」（2003，中國北京，中國美術館）等。 Born in Beijing, China. Wang Huaiquing received his BFA in 1969 at the Central Academy of Arts and Crafts in Beijing. During the early 1970s, Wang studied with Wu Guanzhong and Yuna Yunfu. During the Cultural Revolution he was sent to the countryside and did not return to academia until 1979 when he enrolled in the MFA program at the Central Academy of Arts and Crafts. After graduating in 1981, Wang traveled to the United States as a visiting scholar (1987-1988). Unlike many of his contemporaries who embraced abstraction, Wang began painting Ming Dynasty furniture in a minimalist style during the 1980s. His first solo exhibition was held in Taipei at Lin and Keng Gallery (1999). Selected group exhibition include, Selected Works from the National Art Museum of China Collection, National Art Museum of China, Beijing (1993) ; China 5000 Years, Guggenheim Museum, New York and Bilbao (1998), Shanghai Biennale(2000) and Beijing International Art Biennale (2003).

CHENYU (b.1957)

175

生於臺灣臺中。獲國立台灣師範大學美術系學士學位、美國紐約州立大學藝術研究所碩士學位(MFA)。曾任教於復興商工美工科、美國紐約州立大學、元智大學及中原大學；歷任聯邦藝術新人獎審查委員、文建會公共藝術顧問、台北市文化局籌備委員、台北市立美術館館長等職。作品曾獲第二屆全國青年寫生比賽高中組第一名（1975）、全國大專書畫比賽水彩組第一名（1978）、雄師美術新人獎（1979）、第九屆全國畫展第二名（1979）、國軍文藝金像獎油畫類銀像獎（1982）、獲東方文化交流協會「藝術招待獎」（1984），並獲得美國紐約州政府三年全額公費留學獎學金。1979年至2006年曾於臺灣、日本、美國等地舉辦個展十餘次，地點包含台北市立美術館、美國紐約州康乃狄克美術館等知名藝術機構。出版有《張振宇作品集》《新人文主義作品集》《「前衛山水」作品集》等。作品廣為國內外美術館、文化中心及私人收藏。 Born in Taichung, Taiwan.He had received the bachelor degree of Fine Arts Department of The National Normal University and was awarded the Mater Degree by the Fine Arts Department of The State University of New York at Albany. He once taught in the Fu-Hsin Trade & Arts School, the State University of New York, Yuan Ze University and Chung Yuan Christian University; and had served successively as juror of Union Fine Art Award, artistic advisor of public arts of Council for Cultural Affairs, organizing commissioner of Taipei City Department of Cultural Affairs and The director of the Taipei Fine Arts Museum. His artworks have won several awards and he had held dozens of solo exhibitions in the worldrenowned art institutions in Taiwan, Japan and America from 1979 to 2006. His artworks were collected by museums, cultural centers and private collectors at home and abroad.

309

姜錫鉉 SUKHYUN

KANG (b.1980)

彭光均 PENG

KUANGJUN (b.1961)

177

生於韓國。2003年畢業於美國東岸羅德島設計學院美術系。其作品風格帶著中性的曖昧特質，主客觀交融的多元內涵，活潑優雅而不失童趣幽默，蘊藏寓言式的成人童話美學。近年個展：「素描與顏色」（2003，Designer Zoo藝廊，首爾，韓國）、「孤獨」（2003，藝廊/Cafe Miel，首爾，韓國）、「12月藝術娃娃雕塑展」（2007，首爾，韓國）、「12月聖誕夜雕塑展」（2007，首爾，韓國）、「我是一隻熊」（2008，形而上畫廊，台北，台灣）；近年聯展：「三個男人--獨自與在一起第二部」（2002，山丘上雀爾斯藝廊，首爾，韓國）、「RISD: ‘再審查’」（2005，Naos Nova藝廊，首爾，韓國）、「靜止與運動」（2006，第三藝廊，首爾，韓國）、「3L4D 動漫美學新世紀」（2007，國父紀念館，台北，台灣）。

180

生於台灣新竹。畢業於台北藝術大學，1992年獲得第十三屆全國美術展雕塑類第一名，1994年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎。著名展覽包括：「得意忘象」(1994，台灣高雄，杜象藝術空間)、「得意忘象」(1994，台灣台北，彩田藝術空間)、「探囊取物」(1998，台灣台中，首都藝術中心)、個展（1999，台灣新竹，敦煌藝術中心）、個展（2000，台灣花蓮，維納斯藝術中心）、個展（2001，台灣高雄，福華沙龍）、「不可思議」個展（2003，台灣臺北，觀想藝術中心）、個展（2005，台灣，新竹縣文化局）、「草動雲湧」個展（2007，台灣新竹，智邦藝術基金會）。高雄市立美術館典藏其作品「妙」。

Born in Korea. In 2003, graduated from the department of fine arts, Rhode Island School of Design on the east coast of the United States. Solo exhibitions: “Drawings & colors”, designer zoo Gallery, Seoul, Korea Solitude, Gallery/Cafe Miel, Seoul, Korea, 2003; “12. 'Art Dolls'”,Shinsegae Department Store, Korea, 2007. “12. 'Christmas Night'”, Donghoon Tower, Korea, 2007; “I am a bear”, Metaphysical Art Galler, Taipei, Taiwan, 2008. Group exhibitions: “3 Men Show ‘Alone Together Part II’”, Gallery Chairs on the Hills, Seoul, Korea, 2002; “RISD: Re-Examined”, Naos Nova, Seoul, Korea, 2005; “Stasis & Motion”, Triad Gallery, Seoul, Kroea,2006; “3rd Life 4th Dimension” , Sun Yat-Sen Memorial Hall, Taipei City, Taiwan, 2007.

Born in Hsinchu, Taiwan. Peng graduated from Taipei Art University in 1990, and won the first award of “13th National Art Exhibition of Sculpture in 1992. In 1994, won the excellent work of Taipei Fine Art Museum pair of year and the first prize of Taipei art sculpture exhibition. Solo exhibitions include:1994, Gaoxiong Du art gallery “too happy to get the elephant”、Taipei color field art space exhibition; In 1996 Taichung Jen Pin art center; In 1998 Taichung capital art center “took something from the pocket”; In 1999, Hsinchu Dunhuang art gallery exhibition; In 2000, Hualian Venus art center exhibition; In 2001, Gaoxiong Salon Exhibition; In 2003, Taipei View Thought art gallery “incredible” exhibition; In 2005, Xinzhu Culture exhibition; In 2007, Chih Pang art foundation “Grass and cloud movement ” exhibition. Gaoxiong art museum also collected his work “wonderful”.

德拉哥．馬林．薛林納 DRAGO MARIN CHERINA (b.1949)

曾茂煌 CHENG

MAOHUANG (b.1934)

181

生於克羅埃西亞，出身雕塑世家。現為世界著名的雕塑家、畫家和環境藝術家，是本質主義的啟發人之一。他先師從瑞典畫家西爾文學習繪畫，後又跟隨雕塑大師奧斯達˙內蒙和亨利˙摩爾學習雕塑藝術。1970年代後期，薛林納開始為名人造像，並著重在雕塑作品中表現心理狀態。1990年代後期，他致力於將雕塑藝術與環境保護加以有機的結合。薛林納在世界100多個重要畫廊和藝術館中舉辦過展覽，其作品為眾多國際性博物館所收藏；於世界各地的公共場所也可見其作品。1990年，日本大阪舉辦國際花博，其被邀請設計主題雕塑公園，並榮獲金獎而名揚全日本；2000 年為雪梨奧運會設計新穎的「光輝之塔」環境項目，以及負責2000年雪梨國王十字廣場環境雕塑地標專案等。 Born in Croatian, Drago Marin Cherina came from an old and well-known family of sculpture. He is now a prominent sculptor, painter and also an environment artist. He learned painting from S Sylwan and then learned sculpture from a great sculptor, Osakar Nemon and Henry Moore. Since late 1970s, Cherina has started making statues for celebrities, and by the end of 1990s, he has been committed to seek the balance and combination of sculpture and environment. Cherina has held exhibitions in morn than 100 galleries and museums in the world, and his works can also be seen at many public places. In 1990, he was invited to design the theme sculpture park of the International Flower Exposition in Japan, In 2000, he undertook design projects both for Sydney 2000 Summer Olympic Games and the King Cross landmark construction.

310

188

生於臺灣新竹。1956年畢業於省立師範專科學校。1968年作品榮獲全省教員美展油畫優選，自此益發努力創作，1970年代間，曾氏的作品榮獲多項重要美術獎，數度於省展、台陽美展、全國油畫展，台陽美術展及台北市美展中奪得優選，其中更獲第三十八及四十屆台陽美展油畫金牌獎。1981年在省立博物館舉行首次個展，其後陸續舉辦個展與回顧展，1988年作品《鄉趣》為國立台灣美術館收藏。 Born in Hsinchu, Taiwan. Cheng graduated from the Taiwan Provincial Hsinchu Provincial Normal College. He won a prize of excellence at the Taiwan Teacher Art Show in 1968, which encouraged him to devote himself to create oil paintings. In the 1970s, Cheng's works has won many important awards, including the Golden Prizes of the 38th and 40th Taiyang Fine Arts Exhibition. He held the first solo exhibition at Nation Taiwan Museum in 1981, and his work “Rustic Fun” has been collected by Taiwan Museum of Art by1988.

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ҐϵѨଷӶܰ፳ࠊණ‫ޑٽ‬ӈຠզ݉ଡ଼ѵȂ‫ש‬উҼණ‫ٽ‬ί ӗ݉ଡ଼໷ҭȈ

We offer professional service for art appraisal before auctions. Our other services include:

!!᛻೛ࠣ‫ې‬ଋᝰ‫׺‬

Bidding Service We could assist you to bid of the auctions worldwide and make suggestion for the sales of your collections.

‫ש‬উѠ்࣐ණ‫ܼٽ‬зࣩөӵᖟ՘ϟܰ፳ཽໍ՘᛻೛ࠣ! ᝰ‫׺‬Ȃ‫ٯ‬ණ‫ٽ‬я୶ܰ፳ࠣ‫ޠ‬஠ཿ࡛ឋȄ !!᛻೛ࠣӇϮ ‫ש‬উණ‫ٽ‬஠ཿ‫ޠ‬᛻೛ࠣӇϮȃ᛻೛ᒛၛᇅ‫׺‬ၦ࡛ឋȄ !!᛻೛ࠣᠧቌ! ‫ש‬উණ‫ٽ‬ᠧቌ݉ଡ଼Ȃձ࣐ߴᓏȃใଡ଼ȃ౱᠍೤დȃཐ ๢ਗᝧᇅܱ‫ܬ‬আູ୥ՄȄ !!ใଡ଼ᒛၛ ‫ש‬উѠ்࣐ණ‫ٽ‬ԥᜱ೏౪᛻೛ࠣȃѡုᇅ‫ڐ‬уԞᙡࠣ ใଡ଼ࣻᜱၦଊᇅ࡛ឋȄ !!᛻೛ࠣ፵আູ! ‫ש‬উѠ‫ڟ‬ֆ்࣐‫ޠ‬Ԟᙡࠣໍ՘ᠧቌȂ‫ٯ‬஡‫ڐ‬ձ࣐ᐋߴ ໍ՘আູȄ !!᛻೛ܰ፳Ҁൠၦଊ! ‫ש‬উණ‫ٽ‬ഷུ᛻೛ܰ፳ҀൠၦଊȄ !!ຶঢ়ᔗᛵϟᕋཿใ ‫ٸ‬ᐄϜ๽Җ୾‫ࡢݳ‬೤ۢȂδໍπ᛻೛ࠣҦຶРӶѯ‫ڦ‬ೳ޲Ȃ ຶРሰᛵһȶဤᅄቌȷԼϸϟϥ‫)ޠ‬ђঅ*ᕋཿใȄԫ๊ໍπ ᛻೛ࠣ)ҭᓄϲԥɎಓဵϟጢဵ޲*Ȃस߾ܼϜ๽Җ୾ძѵһ рຶРȂຶРณ໹МрᕋཿใȄ!ຶРसమܼϜ๽Җ୾ძ ѵ‫ڦ‬ೳȂᔗܼܰ፳Сࡤ‫ڎ‬ঐϏձЉϲпਫ८೾‫ޤ‬ҐϵѨȄ

Private Sales & Auction Information We conduct private art sales and provide investment advice. In addition, we also provide the latest information of global art market. Appraisal Service We provide appraisals to suit a variety of needs, including insurance, taxation, estate planning, charitable contribution and collateral loan purposes. Tax Consultation We may provide tax consultation on your collections. Loan Service We may assist you to capitalize on your collection with an art loan by using your fine ad decorative art or other valuable as collateral. We may issue funds with the ownership and a valuation by our recognition. Sales Tax Payable by the Buyer The Buyer shall pay for (value added) sales tax in the amount of 5 % of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the law of the ROC. The Buyer is not required to pay for sales tax if such imported works of art ( with* marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Zhong Cheng in writing within two working days following the auction day if he desires to collect the items auctioned outside the R.O.C.

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委託競投表格須於拍賣24小時前郵寄或傳真至：中誠國際藝術股份有限公司台北市大安區復興南路一段92之7號1F 電話：(886-2) 8773-3565 傳真：(886-2) 8773-2615

中誠拍賣委託競投表格拍賣名稱:

本公司將以電話方式進行確認，若於一個工作天還未收到確實回覆，敬請重新傳真表格或致電(886-2) 8773-3565。

中誠春季拍賣

□ 書面委託 □ 電話委託拍品標號

拍賣日期與時間:

名稱

最高競投價（新台幣，不含服務費）

2012年6月10日

NT$

02:30PM

NT$ NT$

重要事項

NT$

應中誠業務規則，本公司有權向支付現金的買家或新客戶索取有效身份證明文件、通訊地址證明及現金來源證明。

NT$

新客戶須向中誠提供政府發出附有閣下照片之證明文件及住址證明。

NT$ NT$

委託人姓名身份證字號

付款方式為免延誤拍賣品之送交，所有未曾參與中誠拍賣競投之人士，應在拍賣前向本公司提供往來銀行或其他適當之參考資料。如未能收到閣下之付款安排通知，本公司於收到並兌現閣下的支票後才送交拍賣品。款項可直接存入或電匯本公司於: 合作金庫銀行復興分行 (代號＃006) 戶口號碼：0914-717-237961 銀行地址：台北市復興南路一段237號 並請將閣下的姓名及發票號碼一併填寫於付款通知書上。

□ 發票如閣下競投成功並希望我們傳真或電郵發票給閣下，請於方格內√ 。副本將會隨後郵寄。 □ 付運如閣下競投成功並希望我們連絡閣下有關付運事宜，請於方格內√ 。

公

郵

司

寄

地

電

址

（宅）

（公）

（行動）

（傳真）

話

子

郵

件

往來銀行名稱帳

號

銀行聯絡人電

話

拍賣期間聯絡電話（請確保線路暢通）

本人同意接受此圖冊內列明之給買家業務規則及保證書，以及可於中誠索取的給賣家業務規則，是次拍賣會上的一切交易均受以上條款所約束。若競投成功，本人同意支付已刊載之買家支付之酬金。本人同意中誠使用本人資料及根據給委託競投者指引與給買家業務規則內而取得之其他資料。閣下如欲索取更多有關中誠個人資料政策或更改資料，請致電+886-2-8773- 3565。本人明白所有電話競投會被錄音。

簽署

日期

(本公司自取得閣下簽名後始接受競標) 319

ABSENTEE BID FORM Zhong Cheng Spring Auction

To allow time for processing, absentee bids should be received at least 24 hours before the sale begins. PLEASE MAIL OR FAX TO： ZHONG CHENG AUCTIONS CO., LTD 1F, No.92-7, Sec.1, Fusing S.Rd., Da-an District., Taipei, Taiwan Tel：(886-2) 8773-3565 Fax：(886-2) 8773-2615 We will confirm all bids received by phone. If you have not received our confirmation within one working day, please resubmit your bid(s) or contact us (+886-2-8773-3565)

This form is refer to □ Telephone Bids □ Absentee Bids SALE DATE 2012.6.10 02:30 PM

Lot Number

Lot Description

Maximum Taiwan Dollar (Excluding Premium) NT$ NT$

IMPORTANT

NT$

Zhong Cheng will require at least one government issued ID with photograph and proof of address prior to collection of purchases (do not send originals).

NT$ NT$ NT$

Please note that we may contact new clients to request a bank reference.

NT$

ARRANGING PAYMENT

Client Name

In order to avoid delay in clearing purchases, buyers who are unknown to us are advised to make arrangements for payment before the sale. If such arrangements are not made, payment will be cleared before purchases item are delivered. Payment may be made by direct debit or wire to Zhong Cheng's account at: Bank Name：

ID/ Passport No.

TAIWAN COOPERATIVE BANK, FU HSING BRANCH Swift No.：TACBTWTP091 Address： No.237, Sec.1, Fuhsing S Rd., Taipei, Taiwan, Account No.：0914-665-003801 Beneficiary Name： ZHONG CHENG AUCTIONS CO., LTD.

＊Please include you name, purchase item and lot number to us.

We reserve the right to seek identification of the source of funds received. Thank you for your cooperation.

□ INVOICE If you are successful

and would like your invoice sent to the above email or fax, please tick the box. A copy will follow by post.

□ SHIPPING If you are successful

and would like us to contact you regarding shipping, please tick the box.

Company Name Mailing Address

Telephone No.

（Zip Code

）

（H）

（O）

（Mobile）

（Fax）

Email Bank Name Account No. Contact at Bank Bank Telephone No.

Telephone No. during the sale I agree that I am bound by the Conditions of Business for Buyers and the Authenticity Guarantee which are published in the catalogue for the sale and the Conditions of Business for Sellers that are available from Zhong Cheng’s offices on request that together govern all purchases at auction that I make. If any bid is successful, I agree to pay the published Buyer’s Premium on the hammer price. I consent to the use of this information and any other information obtained by Zhong Cheng in accordance with the Guide for Absentee Bidders and Conditions of Business. If you would like further information on Zhong Cheng policies on personal data, or to make corrections to your information, please contact us on (886-2) 8773-3565. I am aware that all telephone bid lines may be recorded.

Signed (We must have your signature to execute this bid) 320

Dated

財團法人

台灣兒童暨家庭扶助基金會

參與扶幼工作，歡迎洽詢家扶基金會本部 04-22061234 或洽全國各地家扶中心 www.ccf.org.tw

ZHONG CHENG

TA I P E I

Chinese Contemporary Art & Sculptures

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