ZHONG CHENG
TA I P E I
Chinese Contemporary Art & Sculptures
1 6 December 2 0 1 2
ZHONG CHENG AUCTION Taipei 16 December 2012
財團 法人
台灣兒童暨家庭扶助基金會
朱德群-紅色意境
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
001
JU MING-Taichi Series- Single Whipe 朱銘-太極－單鞭下勢
002
1997
JU MING-Taichi Series - Taichi Arch 朱銘-太極－太極拱門
2000
JU MING-Taichi Series - Taichi Arch 朱銘-太極－太極如來
1990s
ZHOU CHUNYA-The Stone 周春芽－石頭
1993
YANG CHIHUNG-Golden Memories 楊識宏－流金歲月
2010
YAYOI KUSAMA-Hudson Waves 草間彌生－哈德遜河的波浪
1988
003
004
11月份 上海、北京、香港 顧問諮詢
005
Specialists and Client Services for Buyers and Sellers For assistance and further information about this sale, please contact and following: CUSTOMER SERVICE AND SPECIALISTS Taipei Vivian Hsiao Managing Director vivian@art106.com Wayne Hsiao Deputy General Manager wayne@art106.com Michelle Wang Sales & Marketing Dept. Supervisor michelle@art106.com Corrina Lee Art Administrator corrian@art106.com Jenny Chen Art Administrator art@art106.com Twinkle Hsu Marketing & Promotion Dept. twinkle@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615
Taichung Rebecca Hsieh Art Administrator rebecca@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 Oversea Wayne Hsiao Deputy General Manager wayne@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615
PHONE BIDS AND WRITTEN BIDS The clients who are 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 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.Buyers are advised to collect facilitating storage arrangements and handing procedures. Pers o nal a nd c o mpa ny che cks w ill 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 O f f i c e. S e r v i c e i s ava i l a b l e 0 9 :3 0 a m 18:30pm, Monday through Friday. 2. Our Professional administration department may make recommendations of arrangement or the most appropriate transportation for you Taipei Corrina Lee corrina@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 Taichung Rebecca Hsieh rebecca@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703
006
GENERAL CLIENT SERVICES For services of Buy & Sell, Appraisals & Valuations, Auction Schedule and Catalog Subscription, please contact: Michelle Wang michelle@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 OFFICIAL WEBSITE Please visit Zhong Cheng’s official website for more information www.art106.com OTHERS Zhong cheng is delighted 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.’
中誠國際藝術拍賣服務部門及一般客戶服務 關於本場次拍賣相關諮詢，請連絡
書面及電話委託投標
客戶服務
若您無法親臨拍賣現場，可以電話投標方
買賣諮詢、鑑價服務、拍賣時程、目錄
台灣北部地區
式競標；鑑於拍賣現場電話有限，尤其針
訂閱等相關業務，請洽：
蕭華薇
對需用外國語言服務之投標者，請於拍賣
總經理
前24小時通知我們為您安排。您亦可利
王芷涵
vivian@art106.com
用本圖錄後方之書面標單競投，請洽：
michelle@art106.com
蕭偉廷 副總經理 wayne@art106.com
電話：(886-2) 8773-3565 蕭偉廷
傳真：(886-2) 8773-2615
wayne@art106.com 電話：(886-2) 8773-3565
官方網站
傳真：(886-2) 8773-2615
各式資訊歡迎參閱中誠拍賣官方網站。 www.art106.com
王芷涵
付款事宜
業務行銷主任
有關付款詳細事宜，說明於本目錄後面，
michelle@art106.com
如您需要更進一步的諮詢，請洽：
李詩婷
鄒琬婷
藝術行政
財務部主任
corrina@art106.com
andrea@art106.com
狀況賣出，相關細項請參照目錄後
電話：(886-4) 2206-6599
之業務規則以及買家須注意事項。
陳雅惠 藝術行政 art@art106.com 許展碩 行銷企劃 twinkle@art106.com
其他 中誠樂意提供您本次拍賣當中任何 一項拍品的狀況說明書，惟準買家 需注意拍品均是以「當時認定」之
傳真：(886-4) 2205-0703 取貨及運輸 一、 所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫 存貨流通和集中安排辦理，本公司接受個 人及公司支票付款，惟需在兌現後始能提 貨。恕不接受信用卡和旅行支票付款。其
電話：(886-2) 8773-3565
他各項貨品可在中誠辦公室提領，上班時
傳真：(886-2) 8773-2615
間為週一至週五上午9:30至下午6:30。
台灣中南部地區
二、
謝欣潔
我們的專業行政部門可為您建議或安
藝術行政
排最適當的運輸方式，詳情請洽
rebecca@art106.com 電話：(886-4) 2206-6599 傳真：(886-4) 2205-0703 海外地區
台北 李詩婷 corrina@art106.com 電話：(886-2) 8773-3565 傳真：(886-2) 8773-2615
蕭偉廷
中南部地區
副總經理
謝欣潔
wayne@art106.com
rebecca@art106.com 電話：(886-4) 2206-6599 傳真：(886-4) 2205-0703
007
J
D
A ALFRED BASTIEN
巴斯天
007 008
DALI, SALVADOR
薩爾瓦多.達利 190 196 201
JAN CHINSHUI
詹金水
172
AYAKO ROKKAKU
六角彩子
017 018
DANI KING HERIYANTO
丹尼．金．赫里揚托 154
JIANG MINGXIAN
江明賢
050
DONG XIWEN
董希文
JOAN MIRO
米 羅
061 155 156
JU MING
朱 銘
037 058 076
116
B BERNARD BUFFET
貝納德．畢費 180 181 182 183
077 078 091
E ENDRO
安 卓
092 093 103
044 157
167 168 173 C
008
F
CHANG CHIATING
張佳婷
198
FEI YIFU
費以復
015
K
CHANG DAQIAN
張大千
051
FONG TENGCING
馮騰慶
170
KINICHIRO ISHIKAWA 石川欽一郎 143
CHANG WANCHUAN 張萬傳
053 162
FOUJITA TSUGUHARU
藤田嗣治 152 189
CHANG YOSHIO
張義雄
052
FU XIAOSHI
傅小石
CHAO CHUNGHSIANG 趙春翔
039
CHEN CHIKWAN
陳其寬
122
G
CHEN CHIN
陳 進
099
GEORGE CHANN
CHEN CHINGJUNG
陳景容
056
CHEN ERFU
陳二夫
100
H
CHEN TINGSHIH
陳庭詩
016
HONG JUILIN
洪瑞麟
CHEN XINMAO
陳心懋
063
HSIAO CHIN
CHEN YINHUI
陳銀輝
002 005 014
KUO JENCHANG
郭振昌
041
KUO WINLAND
郭文嵐
158
LAM WIFREDO
林飛龍
195
LEE JUNGWOONG
李錠雄
117
LI QUANWU
李全武
114
057 131 164
LI SHIHCHIAO
李石樵
075 097
蕭 勤
028
LI TZU (YU LI)
栗子(余麗) 107
HSIEH HSIAOTE
謝孝德
197
LI ZHONGSHENG
李仲生
011
029 161
HSU MINGHSIUNG
許敏雄
171
LIAO CHICHUN
廖繼春
034
CHENG MAOHUANG 曾茂煌
179
HU NIENTSU
胡念祖
145
LIAO YUAN
廖堉安
137
CHENG SHIFA
程十髮
032
HUANG MINGCHE
黃銘哲
003 108 135
LIEN CHIENHSING
連建興
040
CHIANG SOONG MAYLING 蔣宋美齡
147
HUNG TUNGLU
洪東祿
136
LIN DACHUAN
林達川
115
CHIU YATSAI
邱亞才
010 046 067
LIN SHIENMAO
林憲茂
048 049 113
CHU TEHCHUN
朱德群
086 087 138
I
LIU CHIWEI
劉其偉
001 132 160
CHUANG CHE
莊 喆
027
IIDA KIRIKO
LIU KENGI
劉耿一
144
CHUNG PANTI
鍾邦迪
178
LIU KUOSONG
劉國松
036
LIU YE
劉 野
064
146
L 陳蔭羆
012
飯田桐子 111
LONG CHINSAN
郎靜山
021 022 126
T
127 163
TAKASHI MURAKAMI
村上隆
YEN SHUILUNG
顏水龍
129
176 177 184
YOSHITOMO NARA
奈良美智 065 066 119
LUO ZHONGLI
羅中立
081 082
185 186 192
YU YUJEN
于右任
123
LU HSIENMING
陸先銘
109
193 194
YUAN XIAOFANG
袁曉舫
104
LUO RUEY
羅瑞忠
199 200
YUE MINJUN
岳敏君
187
YUN GEE
朱沅芷
006
YUYU YANG
楊英風
023 024 094
TOTOK SUDARTO
托卡．蘇達圖 153
TSAI YUNCHENG
蔡雲程
159 166
M MA PAISUI
馬白水
030 031
MAI TOSHIMITSU
今井俊滿 121
MARC CHAGALL
馬克．夏卡爾 191
NA HYOKAB
羅孝甲
072
NUGROHO WIJAYATMO 努格羅霍 維加亞摩 045
O OU HAONIAN
歐豪年
148
095 096
W WALASSE TING
丁雄泉
174 175
WANG HUAIQING
王懷慶
149
Z
WANG YUEHCHIH
王悅之
128
ZAO WOUKI
WU CHANGSHUO
吳昌碩
080
WU GUANZHONG
吳冠中
019 079
ZHAN WANG
展 望
088
WU HAO
吳 昊
004
ZHANG ZIZHENG
張自正
165
WU HSUEHJANG
吳學讓
124 125
ZHENG ZAIDONG
鄭在東
009 042 069
趙無極
035 062 139 140 141 142
134
P PABLO RUIZ PICASSO 畢卡索
060 188
X
PAN TIANSHOU
潘天壽
033
XUE SONG
PANG JIUN
龎 均
054 055 098
PANG YONGJIE
龐永杰
133
Y
PIERRE FERNANDEZ
阿 曼
059 102 110 120 151
S
ZHOU CHUNYA 薛 松
089 090
YANG CHENGYUAN
楊成愿
047
YANG CHIHUNG
楊識宏
038 070
YANG DIN
楊登雄
101
YANG GUOXIN
楊國辛
013 105
SAD JI
沙 耆
025 026
YANG POLIN
楊柏林
073
SHEN CHETSAI
沈哲哉
169
YANG SANLANG
楊三郎
130
SHIY DEJINN
席德進
074
YANG SHU
楊 述
106
SU WONGSHEN
蘇旺伸
043 071
YAYOI KUSAMA
草間彌生
020 112 118
周春芽
083 084 085
150 YEH TZUCHI
葉子奇
068 009
001
CHIWEI | LIU Raccoon
( 1912-2002 )
44.5×35.5cm Mixed Media on Paper Signed Liu Chiwei in Chinese phonetic and dated '94
很多，略可分為三大類：一為精寫畫；一為僅表現題 材的外觀；另一種則暗藏著深邃而不易見的內容，並 具作者特有的風格。有時『技巧』雖然未臻完全成
熟，但由於思想與感情的反應，也能發現其『表現』
劉其偉
的解決方法；從這類創作行為中，不論畫家或兒童，
浣熊 1994 綜合媒材 紙本 簽名：ㄌ一ㄡˊㄑ一ˊㄨㄟˇ '94 RACCOON
NT$160,000-200,000 US$5,400-6,700 010
劉其偉認為：「繪畫好似一篇文章的辭句，表現方法
同樣地也能創作一幅好作品。
002
|
CHEN YINHUI ( b.1931 ) Crane 33.5×24.4cm Oil on Canvas Singed Yin in Chinese and Chen in English, dated '91
陳銀輝 鶴
強烈黑線條勾勒出佇立在水中的鶴，粗獷具生命色 彩的線塊，畫出了力量，微微輕拍的羽翼，栩栩如 生地徜徉在休憩的氛圍內，在陳銀輝的畫作中那些 舉足輕重的黑色線條，是多一分太過繁複，少一分 略顯不足，但總能夠拿捏得恰當；歸功於多年對畫 中結構的分析和對顏色的探討，才足夠讓黑色這冷 酷、冷靜、看似不帶情感的中立色，在豔麗繽紛的 色彩中為畫面注入力度。
1991 油彩 畫布 簽名：銀 CHEN '91
NT$80,000-100,000 US$2,700-3,400 011
003
|
HUANG MINGCHE
( b.1948 )
The Rose 33×24.3cm Oil on Canvas Signed Che in Chinese Signed on the Reverse: Che in Chinese, dated 1987
黃銘哲 玫瑰花 1987 油彩 畫布 簽名：哲 背面簽名：哲1987
012
NT$50,000-80,000 US$1,700-2,700
黃銘哲1948年生於台灣宜蘭，是台灣戰後的第一代。早期作品以平面繪 畫為主，歷經70年代鄉土寫實繪畫，80年代人文溫情主義，90年代的半 抽象都會風格，後也從事立體作品的創作。黃銘哲的創作具有鮮明的自 傳色彩，無論是早期具象繪畫或晚期較為抽象的風格，皆可見黃銘哲多 情且敏感的個人色彩嵌入其中。此件《玫瑰花》是黃銘哲早年的油畫創 作，用色純粹構圖單純，捨棄透視空間的鋪陳與光影明暗的裝飾，整件 作品專注在花與葉的形體描繪，朵朵玫瑰各具造型姿態，無分主賓的佈 滿整張畫面，每一部分都是均質且細緻的描繪。《玫瑰花》將視覺以最 直接的方式擷取並轉化，呈現出創作者眼中的玫瑰，在去除空間光線等 現實干擾後，僅剩感受後的形體，所見的或許才是黃銘哲眼中最真實的 物件原形。
004
HAO | WU Girl
( b.1931 )
42×42cm Oil on Canvas Signed Wu Hao in Chinese, dated 1999
吳昊
吳昊早年投入畫家李仲生的門下學習，而後與畫室同學霍剛、蕭 勤、夏陽、歐楊文苑等人發起「東方畫會」。其獨特的風格和強烈 的色彩，在技法上以中國畫線條和平塗色彩來畫油畫，這可能與其 喜愛中國民俗藝術有關聯。 《女孩》沒有特殊表情與個性暗示的女孩，穿著鮮麗的服飾，令人 分不清其喜怒哀樂，背景繽紛的色彩與活潑的構圖中，非風景或特
女孩
定地方，與女孩搭配彷彿處於夢境的某一個片段或某個記憶深處；
1999 油彩 畫布 簽名：吳昊 1999
如此的高彩度與高明度的色彩配出深具民俗風的美感。
NT$70,000-100,000 US$2,300-3,400
013
005
YINHUI | CHEN Forest
(b.1931 )
32×41cm Oil on Canvas Singed Yin in Chinese and Chen in English, dated '86
陳銀輝
到音樂性」。線條的層次，構起了整個畫面的節奏性； 對比的配色更讓整幅作品「聲色」揚起。大面積的亮黃 林葉堆砌出視覺強烈的注視點，粗獷線條統一了比例平 衡。 綜觀基礎面的構圖物件，憑藉寫實鍛鍊出的風格強烈，
林
理性與感性的兼容並蓄，屢屢在新的試驗下，既不失形
1986 油彩 畫布 簽名：銀 CHEN '86
體的真實感不浮誇抽象，每次都能勾出力、鋪成色的給
NT$120,000-160,000 US$4,000-5,400
014
陳銀輝說：「我的畫是無聲的音樂，在畫面上可以感受
觀畫者一場視覺饗宴。
006
|
YUN GEE
( 1906-1963 )
Landscape with Pine Tree 23.5×18cm Ink and color on paper Signed Yun Gee in English
朱沅芷在老師歐菲德的影響下，熟悉西方繪畫流派的特色 呈現，尤其在共色主義、立體派和強調個人表現風格的精 神上。他喜愛使用冷暖、對比色調，完全以類似幾何形狀 的色塊形體，但鮮為人知的是，在他兩度旅居巴黎的期間 亦創作中國題材的繪畫。
朱沅芷
《高山聽松》畫面中其慣用的幾何造形減少，線條增多，
高山聽松
樹木、遠山與流水不用留白方式營造空間與體積感，而是
1932 彩墨 紙本 簽名：Yun Gee 蘇富比台北拍賣，1999年10月17日，編號32
NT$160,000-240,000 US$5,400-8,100
挑戰性的採用墨色深淺分佈，尤如油畫繪畫般的陰影方 式，創造景物實體的樣貌，呈現具像寫實的風貌。因此藝 評家認為：「他成功結合西方繪畫技法與東方神秘題材， 挪用歐洲現代風格，但仍維持中國特色。」
015
007
BASTIEN | ALFRED Still Life With Flowers and Porcelain
(1873-1955)
47.5×58cm Oil on Canvas Signed A Bastien in English
巴斯天 靜物花瓶 油彩 畫布 簽名：A Bastien
NT$80,000-100,000 US$2,700-3,400
016
巴斯天為比利時國王亞爾佩一世作畫。其中《騎馬肖像》和《花籃與水 果盤》等作品在1934、1935年間曾巡迴展出於上海與南京「比利時現 代繪畫展」，此一展覽被國外藝術史家看作20世紀前期在華舉行的最大 規模歐洲畫展。 此件靜物作品透過厚實油畫筆觸堆疊，與細緻的重點描寫，展現出巴斯 天在古典技法上的純熟。典雅的用色不見一般畫家描繪花卉時的俗艷， 透過深綠帶藍色的瓶身與層次豐富的白，點綴出橘紅花朵在形體上的細 緻處理，背景則以咖啡色作為基底，局部描寫後方牆面景框結構，在空 間上的建構主賓有秩， 整件作品祥和且雅緻。
008
BASTIEN | ALFRED Sunset Glow 48×60cm Oil on Canvas Signed A Bastien in English
巴斯天 晚霞
(1873-1955)
巴斯天為吳作人和沙耆留學時的指導教授，早於兩人留學之前他 已經被公認是比利時印象派的代表畫家之一，秉承印象派畫風， 在畫作上追求室外寫生。《晚霞》中除了房舍、草原與樹木的寫 實描繪外，更關注橘色晚霞流動灑落在大地上瀰漫的氣氛，進一 步的擴展到色彩互相影響所形成斑斕的色彩。畫面流溢出一種落 日餘暉，燃燒的天空正絢麗、迷人，讓人不覺沉浸在落日的奇幻 氛圍裡。
1925 油彩 畫布 簽名：A Bastien
NT$100,000-120,000 US$3,400-4,000
017
009
ZAIDONG | ZHENG Absurd Stones -3 Plum Blossom
( b.1953 )
Diamete：120cm Acrylic on Canvas Signed zheng Zaidong in Chinese, dated '07 With a certificate of authenticity from Gallery
鄭在東 怪石3梅 2007 壓克力 畫布 簽名：鄭在東 '07 附畫廊開立之原作保證書
NT$160,000-240,000 US$5,400-8,100 018
晚明張岱《陶庵夢憶》曾言：「人無癖不可與交，以其無深情 也；人無癖不可與交，以其無真氣也。」搜玩天然奇石自古以 來便是中國文人的嗜好，鄭在東以稚拙的線條及強烈個性化的 色彩描繪奇石、怪石的「瘦、皺、漏、透」；透過藝術的轉 化，將畫家、詩人收藏的實物，化作一種「再收藏」的結果。
010
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CHIU YATSAI
( b.1949 )
Wise Man 80×65cm Oil on Canvas Signed Yatsai in Chinese, dated '91
「我喜歡用意象的人生來寫實，來傳達面對生老病死的 感慨，描繪過周邊生活被傷害的小人物，捲進悲劇漩渦 時常是我作品中人物的縮影……」邱亞才在畫冊中的自 述如是說。 對社會人性的敏銳觀察，糅合自身豐富的文學素養，邱
邱亞才
亞才的人物肖像畫呈現出一種獨特的文人特質。變得花
智者
白稀疏的髮與鬆皺乾癟的面容，掩不住從《智者》眼神 中透露出的過盡千帆後才會有的淡然與開闊。
1991 油彩 畫布 簽名：亞才 91
NT$180,000-240,000 US$6,000-8,100 019
LI ZHONGSHENG Around the 1970’s and after. The major difference in paintings in this stage lies in the dialogues of elements on the canvas. The artistic expression can be shown simply by the thinking of how to use painting material and add environmental elements to the paintings. What are environmental elements? Besides the painter’s mental condition, he can make use of the objects around him. In Lee’s works created after the 1970’s, we can see that he very often employs non-traditional painting methods like scratching and stamping. According to his own articles, Lee started to use non-painting material like glass which can make cutting lines and paper since the 1970’s. He intends to develop a dialogue between another kind of painting method and non-painting material. The work “No.103”is a representative of this period. Based on the sophisticated foundation of abstract forms and the tranquil eastern concepts developed in the 1960’s, Lee uses the remaining traces left by non-painting material on the canvas to create “the emptiness of lines.” A piece of glass is given the function of a painting brush to show the radically changing cliffs, the huge flying white clouds, the numberless piles of clouds in red, yellow and blue colors. Lee makes use of these different painting and non-painting methods to present the painter’s mood when he is facing his canvas. Adding these kinds of environmental elements into paintings can often enliven the tensions inside the paintings. If the abstraction in the 1960’s can be called a relief style of “addition,” then we can say the works after the 1970’s are given the concept of “subtraction.” On the canvas where the additions and subtractions are interacting with each other, Lee has bestowed more individuality on the material and at the same time, he also combines his own fare with the environment together. That is to say he mixes his feeling at that specific moment with environmental elements and the painting material into one unity. With this concept, Lee creates a mental space with rich feelings and imaginations in his paintings.
中國傳統繪畫現代化的過程，經過了一個世紀的發展及演變，綜觀前輩畫家們的作 品中，足以匯整出清晰的軌跡，在他們當中，作為一位畫家，評論家及畫家的教育 家，李仲生無疑是特殊的一位。李氏作品早期屬於意識開萌期，留日階段、作品型 式大都仍直接承襲西方同年代之新藝術觀念，建立藝術表現上「反傳統」的原創意 識。七○年代後作品，畫面表現由單純繪畫性材料的思考運用，另加入環境元素。 七十年代以後的作品常見非傳統繪畫筆觸的刮痕及印痕，《抽象 No.103》，正是 這時期的代表。在六○年代發展的抽象形式與東方空靈意境的精煉基礎上，李氏於 畫面上利用非繪畫性材料所殘留的痕跡創造出「線之留白」，時而展現激昂變化的 側鋒，時而成就大筆觸的飛白；在紅黃藍之原色堆積層疊而成的雲嵐中，刮去的留 白像是其中舞動的精靈，抑揚頓挫的變化中，呈現舞者面對畫面時的心靈狀態。這 種環境元素滲入，往往使畫面的張力更具生命力，倘若六○年代的抽象是一種「加 法」浮雕式的抽象，那麼七○年代以後的作品便具有「減法」概念的空間作品，在 加減運用之下的畫面，李氏除了賦予畫面上材料本身更多的自主性之外，也同時將 自身及環境本身的偶發機緣結合在一起。
020
011
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LI ZHONGSHENG
(1912-1984)
Abstract No.103
李仲生
27×39cm Watercolor Ink on Paper
抽象No.103
ILLUSTRATED ''Li Chun-Shan'', Boya Publishing Co., Ltd, 1991, Page 196 With a certificate of authenticity of Mr. Li Chun-Shan's Works Identification of the signatory：Su Juiping, Hsiao Chin, Wu Hao and other artists.
水彩 紙本 圖錄 《李仲生》伯亞出版事業股份有限公司 1991年 第196頁 附李仲生先生作品證明書 鑑定簽署人：蘇瑞屏、蕭勤、 吳昊等多位藝術家
NT$200,000-300,000 US$6,700-10,100
021
012
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GEORGE CHANN The Lady 41×30.5cm Oil on Canvas Signed GEO Chann in English
( 1913-1995 )
陳蔭羆12歲時隨父親移民美國，在洛杉磯奧蒂斯藝術學院就 讀，接受了完整的西方美術教育，啟蒙恩師為美國當代名家布 魯克（Alexander Brook）及維色卡（Edouard Vysekal）。年少 時期的創作題材多貧困的華人、黑人與墨西哥裔孩童的肖像， 以社會寫實風格為主，體現出人文主義的內涵。 陳蔭羆的肖像作品，從《女士》蓬散的髮絲與紅外套的紋理可
陳蔭羆
見具像描繪的筆法，面部的光影對應到頭髮與人物陰影對比
女士
下，隨著光影的流動，使目光不自覺聚焦於人物臉上，那帶有
油彩 畫布 簽名：GEO Chann
NT$120,000-180,000 US$4,000-6,000 022
東方輪廓的五官，呈現出人物堅實的體感，更進一步訴說出充 滿悲天憫人的人道主義及對國家的關懷。
013
GUOXIN | YANG Leisurely
( b.1951 )
60.5×72.5cm Oil on Canvas Signed Yang Guoxin in English
楊國辛 悠閒 油彩 畫布 簽名：Yang Guoxin
楊國辛從學院派的蘇聯寫實主義手法轉到對抽象風格和美國普普風格 的實踐，楊國辛的作品題材非常關注周圍所發生的事件和身邊的社會 及道德問題，創作媒材多樣，其中油畫、雕塑、版畫、攝影、新媒體 等皆有涉略。 《悠閒》是80年代後期的作品，此時的創作明顯帶有蘇俄式學院風 貌，追求嚴謹的構思、高超的技巧，色彩講究濃重與明亮的色調，因 此畫面充滿張力且情緒飽滿；但中國傳統水墨精神，在心中仍根深蒂 固，畫面用色單純，筆觸率性寫意，其中不經意的線條與留白，隱隱 暗示水墨中特有的禪意，帶給觀者沉澱思緒後靜穆的想像空間。
NT$160,000-240,000 US$5,400-8,100 023
014
YINHUI | CHEN Le Taj mahal
(b.1931 )
53×65cm Oil on Canvas Signed Y. CHEN. In English, dated '78
陳銀輝
和思想。繪畫不是自然形象表面的描摹或再現，而是作者藉自然的形 態和色彩，甚至以心裡的影像來表現自我世界的一種藝術。」 《泰姬瑪哈陵》中建築物與天上的雲在體積感的勾劃上，呈現如畢卡 索「形的革命」，而紅、藍及黃間衝突對比與張力，如馬諦斯「色彩 的革命」。這樣的交錯呼應及靈活運用，彷彿神來之筆，讓物體的輪
泰姬瑪哈陵
廓與色彩有更自然的呈現！他說：「寫生的目的是要用自己的創作方
1978 油彩 畫布 簽名：Y. CHEN '78
式再現大自然。」
NT$280,000-360,000 US$9,400-12,100
024
陳銀輝曾說：「美術是主觀的成分較重的一門學問，要有個性、感情
015
YIFU | FEI Terrace
( 1913-1982 )
25×33.4cm Oil on Paper Signed Yifu in Chinese With a certificate of authenticity from Gallery
費以復 梯田 油彩 紙本 簽名：以復 附畫廊開立之原作保證書
費以復為中國美術家協會會員，擅長以印象派的西方畫法表現中 國本土的畫意和情趣。1933年入蘇州美專，與校長顏文樑成為亦 師亦友的忘年之交，繪畫風格受顏文樑古典寫實風格影響極深， 使他的畫作亦以結構嚴謹著稱。 《梯田》講述江南的特殊人文地理景觀，呈現出故鄉的寧靜及樸 美，灌滿水的梯田波光粼粼，成為畫面的焦點；遠山輔以藍與紫 做明暗，使整幅畫和諧繽紛，而不俗麗突兀。整體觀看採用高視 點眺望，全景架構來自中國水墨山水架構，並採以閃亮動人的色 彩，展現了中國式詩境的浪漫與寫意的率真。
NT$100,000-160,000 US$3,400-5,400 025
016
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CHEN TINGSHIH
( 1916-2002 )
AS00215 49×19.5×14cm Iron ILLUSTRATED "Speechless Great Talent: Chen Ting Shih Posthumous Art Work", National Taiwan Museum of Fine Art, 2003, Page 55 With a certificate of authenticity from Chen Ting-Shih Modern Art Foundation
陳庭詩 AS00215 鐵 圖錄 《大器無言–陳庭詩遺作彙編》國立臺灣美術館 2003年 第55頁 附財團法人陳庭詩現代藝術基金會開立之原作保證書
NT$300,000-400,000 US$10,100-13,400
Chen Ting Shih’s creation can be categorized into Modern Graphic art and sculpture. His language is clear and unique. His earlier works were known for a unique skill- graphic printing on sugarcane boards; and in his later years, he was a member of the Masters of Sculpture along with Yang Ying Feng and Ju Ming and began his development on iron sculpture especially focusing on materials such as waste iron and woods. "AS00215" is a restructure of waste iron, old machineries, furniture and faulty materials from the shiprecycling industry. Through this artwork, he is able to justify the reason for continual poem composing during his childhood when he was born deaf. The artist is able to feel and experience the different shapes and forms of waste iron and materials through his feelings when composing poems. His heart is liberated through the bundling, welding and hammering process. Chen Ting Shih is the pioneer artist in steel and iron sculpting who has made a breakthrough in two dimensional space to three dimensional and bringing this skills to an even greater extent internationally.
陳庭詩的創作可分為現代版畫及立體雕塑，他創造的語言清晰可辨，在前期 著名於其獨自研發的甘蔗板印製版畫技術，直至晚年從他加入「五行雕塑小 集」（成員有：楊英風、朱銘、陳庭詩等）後開始萌芽於鐵雕創作上，尤其 熱衷以廢鐵、朽木為主要材料。 《AS00215》他將拆船工業卸下的廢鐵、舊零件、老傢俱、壞工料和毀損棄 置的各種生活用品「重組」，藉此來表現由於自幼失聰，而從沒間斷的寫詩 習慣；在創作上慣性的藉著對詩的感受，以不規則的及經歷風霜腐蝕成紅、 黑、褐鏽跡斑斑的鐵蝕鐵塊等原始物件，融合心中的悸動，在鐵件綑綁、焊 接、敲打的程序中獲得心靈的自由。陳庭詩作為國內鐵雕焊塑的開拓者，不 僅僅走出了二次元的限制，更進入到三度立體的空間，拼造焊接出驚豔國際 的偉大格局。
026
027
017
ROKKAKU | AYAKO Take a walk
(b.1982)
45.5×53cm Acrylic on Canvas Signed Ayako Rokkaku in Chiense, dated 2008
六角彩子 散步 2008 壓克力 畫布 簽名：ロッカクアヤコ2008
NT$120,000-180,000 US$4,000-6,000
028
六角彩子為村上隆所推薦的藝術家，繪畫題材上經常使用小孩的 原型作為畫面的主角。並在第九屆Geisai藝術節上獲得極具聲望 的Akio Goto Prize獎。《散步》，以手指沾染壓克力顏料，輔以 蠟筆作畫，畫面中的大眼睛與手腳細長的小女孩漫步於繽紛多彩 的線條與玩具間。在夢幻的色彩中小女孩流露出不安份的眼神， 突顯輕快愉悅的散步與小女孩眉宇間流露的不安的形成了不協調 感，使畫面充滿張力及飽滿的生命力。
018
ROKKAKU | AYAKO Cigarette
(b.1982)
62.5×72cm Oil on Paper Signed on the Reverse: Ayako Rokkaku in Japanese, dated 2008
六角彩子 香菸
六角彩子是從22歲才開始繪畫的素人畫家，運用瓦楞紙作畫是她 一大特色，為村上隆在「Kaikai Kiki」所推薦的藝術家，在第四屆 Geisai藝術節上獲得Scout Prize獎，並在第九屆Geisai藝術節上獲 得極具聲望的Akio Goto Prize獎。 《香菸》畫出小孩子般的純真，卻著以人物憂鬱的眼神、緊閉的 嘴巴，映照到手中叼菸的姿勢，散發出強烈的衝突感。以繽紛且 夢幻的色彩輔以不安的眼神，來突顯身體語言與精神語言的不協 調，使畫面充滿張力和飽滿的生命力。
2008 油彩 紙板 背面簽名：ロッカクアヤコ 2008
NT$120,000-180,000 US$4,000-6,000 029
019
GUANZHONG | WU City Landscape
( 1919-2010 )
42×53cm Woodblock Print, 34/36 Signed Wu Guanzhong in Chinese, numbered 34/36 With a certificate of authenticity from Gallery
吳冠中
「人生短，藝術長」，既使在文革狂瀾的禁錮和壓迫下，吳
城市風景
冠中仍將藝術視為生命的昇華，是永恆的，是綿長的，就像
1991 木刻版畫 34/36 簽名：荼 九一吳冠中34/36 附畫廊開立之原作保證書
風箏不斷線似的，是一種堅持，也是一種渴望。
NT$120,000-200,000 US$4,000-6,700
030
"Life is short, but art endures." Even during the senseless imprisonment and oppression of the cultural revolution, Wu Guanzhong recognized ar t as an exalted and enduring expression of life, as an act of both hope and expectation, and of determination. --Hsiung Yi-Ching
-- 熊宜敬
a
020
KUSAMA | YAYOI a.Flower Basket
b
(b.1929)
b.Summer Flower a.31.5×39cm b.53.5×61cm a.Screenprint, 27/160 b.Screenprint, 28/100 a.Signed Y. Kusama in English and dated 1993, numbered 27/160 b.Signed Yayoi Kusama in English, dated 1990, numbered 28/100 ILLUSTRATED a.''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 115 b.''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 92
草間彌生 a.花籃 b.夏之花 a.1993 b.1990 a.絲綢版畫 27/160 b.絲綢版畫 28/100 a.簽名：Y. Kusama, 27/160, 1993 b.簽名：Yayoi Kusama, 28/100, 1990 圖錄 a.《草間彌生全版畫》阿部出版株式會社 2011年 第115頁 b.《草間彌生全版畫》阿部出版株式會社 2011年 第92頁
NT$100,000-140,000 US$3,400-4,700
草間彌生於五○年代時，以她的沉溺妄想、不斷重複、漫無止境又極具節奏韻律的 創作風格閃耀於藝術圈。2012年草間彌生與Louis Vuitton的合作，將色彩繽紛的圓 點，漫無止境的延伸、覆蓋、滿溢在Louis Vuitton的包包、高跟鞋、服裝和珠寶上， 這種目眩神迷的風格甚至延伸至全球的櫥窗設計，完美呈現一場以「迷戀」和「連 續性」為主調，結合藝術與時尚的經典奇幻之旅。
031
021
CHINSAN | LONG A Summer Idyll
( 1892-1995 )
23.4×34.4cm Photograph Silver Gelatin With one seal of the artist Private collection, Australia ILLUSTRATED ''SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971, Page51
郎靜山
面上，微光近暮的景致有著詩歌般和諧的氛圍。而小艇一派「野渡 無人舟自橫」的閒適瀟灑，為愉悅的一天劃下完美的句點。 郎靜山（1892-1995）祖籍浙江蘭谿，生於江蘇淮陰，父親為郎錦 堂將軍。自幼喜愛中國書畫，青年時期從上海南洋中學圖畫老師李 靖蘭處習得攝影原理、沖洗與曬印技術。 1930年代初起嘗試藝術創新，取多張底片局部接合配置或對底 片加筆修繪使成一新的影像，建構一種如中國山水畫意的攝影美 學，1934年＜春峰奇樹＞即為此類藝術手法的早期代表作。之後 更有以中國山水畫技法中「三遠近」的近、中、遠三疊式展演觀
閒艇悠悠
點，構圖空間層次更為繁複的作品。1941年出版《郎靜山攝影專
1938 銀鹽 相紙 鈐印：郎靜山 澳洲私人收藏
刊第二集》＜自序＞終將此技法稱之為「集錦照相」（Composite
圖錄 《中華大典六十年攝影選輯》中華學術院攝影研究所刊行 1971年 第51頁
NT$70,000-140,000 US$2,300-4,700 032
夏日傍晚的昆明湖畔，泛著金光的雲彩與鬱鬱的樹影映在澄靜的湖
Photography）。
022
CHINSAN | LONG Reviving of the Spring
( 1892-1995 )
30×35cm Photograph Silver Gelatin With one seal of the artist Private collection, Australia ILLUSTRATED ''SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971, Page14
郎靜山 木欣欣以向榮 1956 銀鹽 相紙 鈐印：郎靜山 澳洲私人收藏 圖錄 《中華大典六十年攝影選輯》中華學術院攝影研究所刊行 1971年 第14頁
NT$70,000-140,000 US$2,300-4,700 郎靜山從青年時代起，即嘗試用攝影創造中國文人畫的唯美意境，而古畫、古詩詞為其創作靈感的來源。他所創立的集錦攝 影，在形式上師法傳統國畫，追求古典意境，並以傳統繪畫藝術為媒介，以黑、白、灰三色，表現豐富多姿的黑白意蘊，融 「神、氣、韻」為一體，彰顯主題意趣，是中國繪畫風格與攝影技法的統一，獨具個人藝術風格，又有鮮明的民族特色。 033
023
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YUYU YANG
( 1926-1997 )
East West Gate 38×59×59cm Stainless steel, 17/20 Signed Yin Feng in Chinese and dated 1973, numbered 17/20 With a certificate of authenticity from Yu Yu Yang Foundation
楊英風 東西門 1973 不鏽鋼 17/20 簽名：'73英風17/20 圖錄 《楊英風全集第一卷》，藝術家出版社，台北，2005，彩色圖 版，頁258 附楊英風基金會開立之原作保證書
NT$140,000-200,000 US$4,700-6,700
《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.
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。 選不銹鋼材質，是因為磨光的鏡面效果，可把週遭複雜的環境轉化為如夢似幻的反射映象，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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024
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YUYU YANG
( 1926-1997 )
Leap of the Dragon 80×60×60cm Stainless steel, 12/20 Signed Yin Feng in Chinese and dated 1986, numbered 12/20 With a certificate of authenticity from Yu Yu Yang Foundation
楊英風 龍躍 1986 不鏽鋼 12/20 簽名：'86英風12/20 附楊英風基金會開立之原作保證書
NT$280,000-340,000 US$9,400-11,400
《龍躍》為不銹鋼「飛龍系列」的作品之一。從古至今， 「龍」象徵著對自然力量的崇敬與自覺，經過時間的洪流 後更凝聚了中國人的生活智慧與自然觀。《說文解字》： 「龍，鱗蟲之長，能幽能明，能細能巨，能短能長，春分而 登天，秋分而潛淵。」引發人們無窮盡的想像空間。《龍 躍》中龍昂首直上騰躍，龍身盤旋上升，藉著不銹鋼的潔淨 簡樸，從此褪去了千年來繁複裝飾的外表，轉用順暢的弧 面，簡潔的平面刻劃，展現出時代的精銳風貌。
036
037
沙耆
SADJI
沙耆曾是徐悲鴻與巴斯天的學生，並曾與畢卡索等人聯合展出，享譽 國外。其把東方的豁達襟懷和悲憫的同情心貫注於西方的精準技巧 中，為中西融合的藝術之路寫下輝煌的一段。 沙耆從早年的寫實風格轉向表現主義，畫面充滿象徵寓意，愈到晚年 印象派、野獸主義與抽象派的集結，使畫風愈趨狂放，解離的色彩、 跳躍的筆觸述說著無人能懂的內在心情；隨後在被確診為精神分裂症 後，反而成為趨使他創作的魔力，跳脫常理的非理性邏輯思維，牽動 著每一個觀者的意識形態。 梵谷曾告誡：「不要以為我故意拼命工作，使自己進入一種發狂的狀 態，相反，請記住，我被一個微妙的色彩平衡所吸引。」這一告誡正 是藝術為人類帶來的天籟之音，如果不仔細聆聽，文明就如殞落的流 星般黯然失色。 Sadji was a student of Hsu Bei Hong and Ba Si Tian, and has exhibited with artists like Picaso, winning international recognition. He has incorporated the magnanimous and sympathetic Chinese believes into Western precise skills, marking a milestone in the blend of East and West. From the early years practicing Realist approach, Sadji’s skills has transformed into Expressionist including metaphors into his artworks. He dedicated his later years in Impressionism, Fauvism and Abstract Expressionism. His artworks are getting wilder with colors, brushstrokes that speak of an internal language that nobody understands. After being diagnosed with schizophrenia, his illness became the magic of his creation that breaks off from rational logic, and his artworks influenced the ideology of the viewers. Van Goph warned, “Do not mistake me as a fanatic workers, rather, please remember that I am attracted by some wonderful balanced colors.” Art has brought the music of nature to us. If you don’t listen to it carefully, civilization will diminish like a shooting star in the sky.
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025
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SADJI
( 1914-2005 )
Knight
沙耆
《騎士》色彩層次豐富有變化，筆觸靈活有
44×33.5cm Watercolor Ink on Paper Signed Sadji in Chinese With one seal of the artist
騎士
流動性，光線柔和自然。雖以西方水彩顏料 作畫，但內容題材卻頗有唐人登科及第「春
水彩 紙本 簽名：沙耆 鈐印：耆
風得意馬蹄疾，一日看盡長安花」的得意喜 悅之情。
NT$250,000-350,000 US$8,400-11,700 039
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040
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SADJI
( 1914-2005 )
Tea Ceremony
沙耆
茶，歷經唐、宋的盛行，及明代的改革至今，已在中國
40×30cm Oil on Board Signed SADJI in English
茶道
流傳千年，沿伸為亞洲文化不可或缺的一環。人物蹲踞 微起身，手執茶壺，彷彿 斟茶動態躍然眼前。東方的
油彩 木板 簽名：SADJI
題材人物，採用西方式的人物構圖與顏料，多色的疊置
NT$500,000-650,000 US$16,800-21,800
的筆觸，建構起一個微妙的東西平衡。
將背景向後推移，顏色上更是鮮艷耀眼，輔以大塊奔放
027
CHE | CHUANG Landscape No.32
(b.1934 )
90×128.5cm Oil on Canvas Signed Chuang Che in Chinese, dated 1975
莊喆
莊喆，「五月畫會」的發起人，是中國現代抽象畫的先驅人物。 史丹佛大學教授蘇利文博士，在一本評介中國歷代藝術的巨著 中，寫至清末以後中國重要畫家時，就提到趙無極、莊喆、張大 千等人。莊喆創作的終極精神為：「通過抽象表現風格，重估中 國山水畫傳統，並使之與國際現代主義結合。」常以水墨、油 彩、壓克力顏料為主要媒材。
風景 No.32
《風景 No.32》中大地色系大面積洋洋灑灑的落於畫面，其他輔
1975 油彩 畫布 簽名：75 莊喆
以綠色、黃色及咖啡色的相互交接，形成飄渺的縫隙，小的如同
NT$500,000-600,000 US$16,800-20,100
渲染的漸層交接、大的如同列渠般出現毛邊或寫意留白，在色彩 與形式變化無窮之餘，他告誡自己別掉入玩弄技法的陷阱裡。莊 喆這樣的風格，在今天可說是美學上的一大進展，即是大家一致 認定形式與內容的合一，使藝術更臻完整。
041
HSIAO CHIN 蕭勤 蕭勤在台灣師範大學時，曾從朱德群學習素描。1965年在台北與吳昊、霍剛創辦 「東方畫會」。「中國美術現代化運動」的時代課題下，為中國傳統的思想與媒 材，找到了一個新的結合與呈現方式；並在國際前衛藝術的舞台上，提供了一個東 方人特有的觀點與形貌。 「太陽系列」時期畫作，受到西藏密宗與印度壇城宗教畫影響，畫面呈現出對稱性 與鮮豔的顏色。以能量來源的太陽為象徵，在畫面上詮釋性靈的光華波動與無遠彿 屆的磁場波動，表現以大塊平塗而強烈的色彩，增加出畫面的張力。一種未知的、 神秘的、震盪卻又平靜擴張的宇宙玄想。
042
028
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HSIAO CHIN
( b.1935 )
NANDA-29
蕭勤
100.5×100.5cm Oil on Canvas Signed Hsiao in English and Chin in Chinese, dated March 61 Signed on reverse: Hsiao in English and Chin in Chinese, dated 61 Iscription：In memory of Nanda
NANDA-29
ILLUSTRATED "Recycling of Culture - Chinese Abstract Art in Taiwan", Dimension Endowment of Art, 2000, Page 61 With a certificate of authenticity from Gallery
1961 油彩 畫布 簽名：HSIAO勤 三.61 背面簽名：HSIAO CHIN 1961 NANDA-29 款識 思萳妲而作 圖錄 《再造雙文化-華人抽象藝術在台灣》帝門藝術中心 2000年3 月 第61頁 附畫廊開立之原作保證書
NT$450,000-550,000 US$15,100-18,500 043
029
YINHUI | CHEN Relics of Rome
( b.1931 )
43.5×51cm Oil on Canvas Signed Y. CHEN. in English, dated '79
陳銀輝
Chen Yinhui has his own subjective opinions about color. He does not purely reflect the original colors observed from objects to the paintings but through selection and integral compliance of color. Again, he grants national and subjective colors to his paintings, not only to change the national color of original wood but also guide the observers to use another angle of appreciation. The important thing is, to inspire the potential capacity of human beings—imagination and new vision and feeling.
羅馬古跡 陳銀輝對於色彩有自己的主觀意見，不單純是將親眼所見的物體固有色描繪 1979 油彩 畫布 簽名：Y. CHEN. '79
到畫面上，而是經過篩選後，選擇與整體搭配的色彩，重新賦予自然主題的 顏色，不僅改變自然原本慣見色彩，更引導觀者用另一種角度欣賞，更重要 的是能激起人類潛在的想像力，以及新的視覺感受。強烈的表現性正是陳銀
NT$180,000-240,000 US$6,000-8,100
輝作品的特色，《羅馬古跡》主題雖單純，但他以平靜沉穩的深藍色作為主 要背景色調，將主體的白色烘托得更加鮮明，畫面中光線與色彩巧妙交流， 形與色的構成搭配充分展現 出羅馬古跡的宏偉。
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030
PAISUI | MA Riverside
( 1909-2003 )
馬白水
馬白水是前輩畫家中以水彩見長的畫家，主要描繪台灣的
40×54cm
河景
山川風光。其提倡「中西融匯，古今貫通」，把西方的水
Watercolor Ink on Paper Signed Ma Paisui in Chinese With one seal of the artist
水彩 紙本 簽名：白水 1970 鈐印：MA PAI SUI
彩和東方的水墨，加以融貫成為一體，而後以中國水墨的 畫法融入水彩畫，強調天人和一的人文思想。 《河景》大塊色面的平塗，筆觸簡單而不拖泥帶水，屋子 的紅、黃牆面，山與天空的映照，黃昏晚霞的光芒灑落其
NT$150,000-200,000 US$5,000-6,700
間。湖面水紋是其擅長的留白技巧，藉規律性的曲線代表 波浪，也象徵著船隻來往留下的痕跡，畫面寧靜愜意酣暢 淋漓。
045
趙澤修憶往八仙山寫生
Without being instructed by a cer tain mentor, Ma Pai Sui is a Contemporary Water Painting master and Art Educator with broad knowledge of Eastern and Western skills through self learning and dedication who is often inspired by natural sceneries. Realizing the complementing and similar characteristics of Eastern Water Ink and Western Water paintings, Ma Pai Sui gradually practiced his art believes and advocated “blending the east and west, connecting the past and now”. He has incorporated all kinds of elements in a harmonious and natural style to make happen a unique Modern Water Ink Painting style. Ma’s artworks are already embodied with style in his era and remain pure in current time with more style. Ma is indeed a thumb authority figure in Chinese Art History.
馬白水為當代水彩大師及美術教育家，由於年少時未跟隨特定 教師習畫，憑藉自身努力鑽研，廣泛熟悉中西技法，並從自然 風光中汲取靈感養分。有感於東方水墨與西洋水彩兩者相似亦 互補的特性，馬白水逐漸於作品中實踐此藝術概念，提倡「中 西融匯、古今貫通」，將各類元素和諧、自然地互納包容， 成就具獨特藝術性的現代水彩繪畫。於其所處的時代，馬白水 的水彩創作已調性獨樹，今日看來依然清新不減，反而更臻風 味，實無愧其於華人美術史歷程中的重要地位。 《八仙山雲海》完成於1958年，為1953年帶領學生至八仙山 寫生時所覽之風景。不若即景寫生，馬白水將底稿收藏靜置， 待心境與思想貫通時才提筆作畫。此幅作品的色彩、光影懷有 西洋寫實畫的調性，草地陰影、景物配色深淺，呼應來自右上 方的光源，巧妙地捕捉住流動的浮光掠影；然而構圖上卻具有 中國書畫「平遠法」的韻味，加之雲海、山貌皆以淡彩暈染， 呈現出鬱鬱蔥蔥，由近望遠，無限綿延之感。馬白水的創作概 念是信手捻來，不拘泥囿固，然實踐上卻是處慮鑽研，毫不苟 且。一幅《八仙山雲海》包容著中西審美逸趣，更傳達馬白水 自在脫俗的哲思。
平遠法參考圖例：趙孟頫《鵲華秋色圖》
兩位同學當作景點人物
馬老師怕冷晨昏晨昏都穿著冬衣
046
趙澤修深山取景
前排右馬白水老師永遠笑容滿面 後者為趙澤修隨隊攝影
趙澤修手稿
1953年旅遊八仙山合照，中間為朱德群
乘八仙山林場卡車登山
前排右二為馬白水老師、後排左一為劉國松 左二為趙澤修、後排右一為朱德群老師
1953年暑假，我們四四級全班去阿里山寫生旅遊一周，後又轉赴八仙山，於林場招待所再待了一週。當時隨隊的老師有朱德群、馬白 水、袁樞真及鄭月波等，每日寫生大有收穫。當時我是班長，負責募集旅費及隨隊攝影，總跟在朱老師、馬老師身後不時請教。 當時在八仙山上，我的畫架就在馬老師與朱老師之間，後來馬老師將他的《八仙山雲海》送給了我，而朱老師的《八仙山》則展出並印在 他的畫冊上。他們兩位大師的取景何其相似，但畫法不同。想我這學生當初和他們倆在一齊，何其幸運。 趙澤修 誌於夏威夷2012.3月 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 “Sea of Clouds inBa×ianshan” and Professor Zhu’s “Baxianshan” 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. Linus Chao written in Hawaii March, 2012
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
1955年師大藝術系畢業生，其中包括趙澤修劉國松、 郭東榮等人
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PAISUI | MA Sea of Cloud in Baxianshan ( 1909-2003 )
57.5×78cm Watercolor Ink on Paper Signed Paisui in Chinese, dated 1958
馬白水 八仙山雲海 1958 水彩 紙本 簽名：白水一九五八
NT$180,000-300,000 US$6,000-10,100
048
左一為趙澤修夫人李夢琴 中為程先生 右一趙澤修
趙澤修-與程十髮先生 1981年，時任夏威夷大學藝術系教授的趙澤修先生組織藝術參觀團，與上海中國畫院院長程十髮先生及其率領的書畫院學生，以藝會 友，親訪交流。此幅《少女與鹿》即為當時程十髮先生現場揮毫，並贈予趙澤修先生的佳作，畫面右側署「一九八一年七月二日 程十髮 贈美國夏威夷大學趙澤修教授藝術參觀團留念」，左下方則壓蓋「上海中國畫院」大印。當藝興高昂，往來交際唱和之間，趙澤修先生 亦即刻振筆，題李白詩「問余何意棲碧山，笑而不答心自閑」贈予程十髮先生，以表欣賞、感激之意。程十髮此作不僅呈現豐富的藝術 表現，更承載悠悠年歲裡，兩位藝術大師的知遇相惜；畫出中國現代水墨的調性，更訴出中國傳統文人之情思。
「用最古的筆法與最新的現實相結合，可以創造出中國畫的一條新路，同時又具有濃厚的民族色彩。」 ---程十髮 程十髮少時以繪製連環畫、年畫與插圖聞名，1957年入上海中國畫院，後成為名譽院長，為當代海派藝術集大成者。由於幼年貧困，程 十髮一生安貧樂道，以創作之趣為本，在最艱苦的環境與歲月，仍不懈地提升自身的藝術境界。其於紮實的國畫基底之上、又勤奮自學 西方素描，加上能取法自然，欣賞不同美學的開闊胸襟，使其創作不僅豐富中國畫的表現手法，更拓展審美空間，其為人風範與繪畫風 格，皆令人感佩景仰。
During his tenure as the art professor at the University of Hawaii in 1981, Zhao Zexiu organized a observation group to exchange art thoughts with the dean and students from Shanghai Chinese Painting Institute. This “Girl and Deer” is a on- site painting and gift from Cheng Shi Fa. On the right hand side of the painting he painted “In memory of the observation group with professor Zhao Zexiu at the University of Hawaii, July 2nd 1981.” At the height of the art exchange, Zhao Zexiu was inspired to take up his pen and wrote “You ask me why I dwell in the green mountain; I smile and make no reply for my heart is free of care.” It was a gift to represent admiration and gratitude to Cheng Shih Fa. The painting of Cheng not only is a rich artistic representation but also a medium to carry on throughout the years. The precious bonding of the two maters brought out the characteristics of Chinese Modern Water Ink painting and the affections of traditional literati. During his early years, Cheng Shi Fa is known for painting serial and illustration paintings. Admitted in Shanghai Chinese Painting College in 1957 and later became its honored dean, Cheng is indeed a recognized Shanghai art style master. Growing up with limited resources, Cheng has always remained content. Painting made his life complete even during hard times. He has never stopped improving himself. With solid foundation in Chinese painting, along with diligent Western sketching skills and an open minded attitude, his artworks are not only rich in style, but also expanded the aesthetic space. His artworks and style are admired by many.
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執筆者為趙澤修 旁白衫者為程十髮先生
《少女與鹿》創作於1981年，此時程十髮的國畫已達爐火純青的境界，提筆作畫總一揮則就，無論構圖、配色，甚至人物的風采、神韻 皆一氣呵成，態勢連貫。畫中少女的衣裝以彩墨交疊暈染，塑造出蓬鬆的層次，雖鮮豔多彩卻予人樸實內斂之感，亦突顯身段的靈巧纖 細，而頭頂的花朵設色清淡含蓄，增添人物的柔美之姿，輔以象徵溫馴的鹿殷殷在側，更襯其大方婉約。畫面大量留白，以動物流暢活 潑的輪廓與少女身軀的厚實感和諧互補，使構圖平衡聚焦且充滿趣味。《少女與鹿》不僅包容中西技法，亦完整呈現溫煦的畫面氛圍， 達到中國寫意抒情之境界，實為程十髮具代表的成熟之作。
趙澤修憶往 一九七六至八零年初期，我曾帶一些美國藝術界的朋友組團去中國參觀和交流， 見過許多畫家，有些並曾交換作品留念。 一九八一年夏先去北京工藝美院，拜會了張汀院長並和學院的教授們作了交談。次日飛往杭州，參觀浙江美術學院，和鄧野主任及師生 們進行半天的交流。 一九八一年七月二日上午應邀去上海中國畫院拜會程十髮院長，程先生熱誠接待、一見如故，並請來幾位畫院的書法家一起揮毫。在大 張的生宣上，程先生筆墨簡練，數幾分鐘就完成了一幅和諧生動的墨寶大作《少女與鹿》，並立刻題上筆贈趙澤修，又在下方加蓋了上 海中國畫院的大印。 後來幾次我去上海也都蒙他邀請，至他家中餐敘。三十多年了，每觀賞他的遺墨不勝感慨！思量自己也是垂垂老矣。 趙澤修 誌於夏威夷2012.8月
Memoir of Linus Chao From 1976 to the beginning of 80s, I have invited a group of friends from the American art world to China for intellectual exchange. We have met many artists and had brought back many souvenirs. During the summer of 1981, I worked at The Academy of Fine Art in Beijing and visited the Dean, Zhang Ding, and his fellow professors. I flew to Hangzhou the next day to visit Zhejiang School of Arts and engaged half a day of intellectual exchange with the department head, Deng Ye and his students. I was invited to visit the dean of Shanghai Chinese Painting College Cheng Shi Fa on July 2nd, 1981. His hospitality and passion made me feel at home and we have invited to create together with other renowned art masters. On the huge canvas, Cheng’s brushstrokes were simple and proficient. Within minutes, he completed the harmonious and lively“Girl and Deer”and gave it to me as a gift along with the chop of Shanghai Chinese Painting College. I have visited several times later to Shanghai and was hosted by him. Thirty years have passed, and I missed him greatly when I look at his gift which reminded that I have also aged. August, 2012, Shanghai
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CHENG SHIFA
(1921-2007)
Girl and Deer
程十髮
90×70cm Ink and Colour on Paper With one seal of the artist
少女與鹿 1981 彩墨 紙本 題識 一九八一年七月二日程十髮漫筆贈美國夏威夷大學趙澤修教授藝 術參觀團留念 鈐印：程十髮 中國畫院收藏
NT$700,000-1,200,000 US$23,500-40,300 051
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PAN TIANSHOU (1897-1971) Hen and Chicks
潘天壽
75.6×48cm Ink on Paper With one seal of the artist
抱雛圖
ILLUSTRATED： "Lion Art" Lion Art Publishing House, 1987, Page 106-107
水墨 紙本 題識：靁婆頭峰壽 藝術家鈐印 圖錄： 《雄獅美術》雄獅美術月刊社 1987年7月 第106-107頁
NT$1,500,000-2,300,000 US$50,300-77,200
民國初年，中國水墨畫於循依傳統與改革務新之辯中分道而行，潘天壽領軍延續古典之流，承繼明清技法基礎，以「復古為革 新」及強調民族意識的自覺，拓展傳統水墨的格局調性與審美視野，使古典技法與現代觀念得以互相接合，並延續新生，實為 現代中國美術史上的典範大師之一。 潘天壽幼年以純粹國畫技巧自學啟蒙，後隨李叔同習畫，並鑽研篆刻與書法，於各式元素中汲取對中國古典藝術的見解；任教 上海美術專門學校期間，更悉心通讀中外畫史及畫論，理論與實作併進，展開對中國傳統繪畫的全面研究。初學海派繪畫之 時，潘天壽與年屆八十的吳昌碩大師結交友好，受其影響啟發，獲吳稱「天驚地怪見落筆，巷語街談總入詩。」的讚評，然潘 天壽不願因循他人風格，始終抱持著探究自我神髓的覺悟，因而開創出構圖新穎強烈、筆勢挺俏奇險的潘式風采。 此幅《抱雛圖》，署靁婆頭峰壽，為潘天壽所作禽鳥畫之經典。不同於工筆花鳥講究纖靈輕巧，潘天壽自謙其翎毛畫是「一味 霸悍」，有份未經過份雕琢的自然。此圖中母雞的形體勾邊簡略，主要以深淺墨色做塊面層疊暈染，酣暢的大筆塗刷，輔以細 筆梳理穿插，呈現出豐實的體積與質量感。畫面將雛雞置於母雞前方，妥當的掌握三角平衡，而真正領導觀賞者視覺方向與氛 圍的實是母雞的神態，其目光堅忍銳利、身姿挺拔沉穩，頷首拱立，使畫面流淌一股蓄勢待發的動能，充滿活力生氣；雖不見 具體威嚇，但警戒之態使人為之屏息凝神，更彰顯了母性那柔情的剽悍，無畏無懼。潘天壽強調畫中之物本無情，是繪畫者賦 與形體意義與思想，因此他畫中的奇俏構圖便與性格上的堅挺風骨相融相生，也賦予中國現代水墨一復興剛健的精神。 During the beginning of MinGuo, Chinese Water Ink painting has diverted from the debate between the traditional and revolution. Pan Tian Shou led the classical believers and carried on the basics of Ming and Qing painting techniques to bring awareness of nationalism and the belief of retro is revolution and expanded the composition and aesthetic views of traditional water ink. He combined classical techniques with modern ideas. His innovation and continuity enabled him to become one of the representative art masters in Chinese Modern Art History. Inspired and self learned by pure Chinese painting skills in his early years, Pan Tian Shou has followed and practiced art with Li Shu Tong to study seal carving and calligraphy and extracted his interpretation of Chinese Classical Art from different elements. During his tenure teaching at the Art School in Shanghai, he has studies thoroughly of Chinese and Western art history and theories. He combined theory with practice to began his comprehensive study of Chinese Traditional Painting. When he first began Shanghai school of painting, Pan became good friends with art master Wu Chang Shuo who is nearly 80 years old and was greatly inspired by Wu. Wu recognized him with the following comments “among them, street talk can be understood as the reality of language in civil society, or as the strange and exotic speculation in the rumor.” Pan refuses to follow suit of others, and always believed in self realization to create a strong and adventuring composition and personal style.
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「一個作家應有一個作家的特點。八大有八大的特點，絕不與石濤相同；石濤有石濤的特點，絕不與石谿相同。若有模仿石 濤、八大絲毫不爽，甚至於神情氣韻足以亂真者，亦不過是一部照相機或印刷書畫機而已，絕不能成為一個有貢獻、有地位的 大作家。」
--- 潘天壽
“An artist should have a unique trait of his/her own. The Ba Da painters have their own characteristics that totally differ from Shi Tao. And Shi Tao has his own characteristic that differs with Shixi. If it’s mere mimic of Shi Tao and BaDa even to the extent of almost genuine, the artist is simply a camera or printing machine and can never become a great established artist.” -- Pan Tian Shou
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廖繼春
LIAO CHICHUN
廖繼春為台灣近代畫壇最具代表性的前輩西畫家。他在繪畫方面的成就輝煌，作品曾入選「帝展」「台展」並任 「省展」審查委員，在二戰後與陳澄波、顏水龍等成立「台陽美術協會」並支持「五月畫會」的成立。廖繼春最 引人稱頌的即擅於掌控光影與色彩，濃重的彩度及簡明的筆觸，配色明朗而不雜亂，繽紛歡愉中見緩和抒情，因 而被藝術史學家讚譽為「色彩的魔術師」。 《淡水觀音山》淡水的景色，是廖繼春喜愛的題材之一。但他放棄印象派追求繪畫中色彩造型的變革，將光與色 的科學觀念引入到繪畫中，表現更主觀與內在的自我；放棄了印象派注重的寫實表現與遠近法，畫面同一強度表 現，同時把對象都簡化成顏色組成的平面，以獨特的色感完成畫面。淡水河邊低矮房舍紅綠雜沓、斑斕，偏白色 塊的淡水河與條狀色帶的觀音山，展現台灣亞熱帶的自然與地域性的人文景觀。
Liao Chi Chun is one of the earlier Western painters representing Taiwan Modern Painting. His achievement in painting is spectacular, and his artworks were once selected to exhibit at the “Empire Exhibition” and “Taiwan Fine Arts Exhibition”, he was also one of the judges at the “Provincial Exhibition”. Post World War Two, he established “TaiYang Art Association” with Chen Deng Bo and Yan Shui Long. He also advocated the establishment of the “May Art Association”. Liao is most recognized in his amazing control of lights and colors; his sophisticated colors and simple brushstrokes bring out bright yet neat color schemes. The atmosphere is pleasant and warm; therefore, giving him the name as “The magician of colors”. “Danshui River and Buddha Mountain” presents the scenery in Danshui, and is one of the most liked topics. However, Liao discarded the revolutionary color schemes in Impressionism and included a scientific concept into his painting skills to present a more subjective and internal self. Even though he has discarded Impressionism, he still emphasizes on realism presentation and distant expressionism. Speaking of his performance in distance and space, the painting is presented through same strengths. At the same time, the artist has simplified the objects into colors to create a surface with a unique sense of color to complete the painting. The high and low rooftops along the rivers are composed of red and green; the fading Danshui River color block with the mountains across presented the natural and geographical humanistic scenery of the subtropical Taiwan with a taste of regional local and southern scenery.
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LIAO CHICHUN ( 1902-1976 ) Danshui River and Guan-Yin Mountain
廖繼春
38×46cm Oil on Canvas Signed Chichun in Chinese With a certificate of authenticity from Gallery
淡水觀音山 油彩 畫布 簽名：繼春 附畫廊開立之原作保證書
NT$4,500,000-6,000,000 US$151,000-201,300
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趙無極
ZAO WOUKI
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。 Zao Wouki journey of art in France began in 1948. The new waves of Western avant-garde movement have inspired his acknowledgement and awareness of Chinese art value and aesthetics. Deeply influenced by Eastern art philosophy, Zao Wouki connected this ideology with Western abstract expressionist art style to continually discover different symbols, characters, color blocks, spiritual movements or even Zen and Daoist experiments and creations. With the opening of discovery, Zao Wouki established a complete abstract expressionist painting style in the 1950s. His art style leaped from implying symbols to pure spiritual and emotional release. His thoughts and skills have matured and became his unique abstract style and won widespread recognition and identification.
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ZAO WOUKI
( b.1921 )
The Red Sun
趙無極
52×38.5cm Lithograph, 1/4 Signed Wouki in Chinese and Zao in English, numbered 1/4
紅太陽
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 3 1975 EXHIBITION 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. 058
1950 版畫 1/4 簽名：無極ZAO 1/4 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
NT$200,000-350,000 US$6,700-11,700
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LIU KUOSONG
( b.1932 )
Untitled 59.7×92.1cm Ink and Colour on Paper Signed Liu Kuosong in Chinese, dated 1986 With one seal of the artist
劉國松
Liu Kuo Song, recognized as an internationally renowned Modern Water Ink Artist, considers that artists should seek for his/her roots from traditions, and at the same time giving traditional painting new life. He is one of the most important advocates of Modern Water Ink artists and won the name “Father of Modern Water Ink Painting”. Liu Kuo Song took a bold move in utilizing western modern art to expand the materials and contents of water ink painting. The revolutionary skills, tools and colors are presented with rubbing, collage and spraying skills to bring out the effects of the texture. “Non-brushwork water ink” has sparked spontaneous and coincidental thoughts of modern water ink painting in the 90s.
無題 劉國松為享譽國際的現代水墨畫家，他在傳統中尋找根源，同時為傳統國畫注 1968 彩墨 紙本 簽名：劉國松 一九六八 鈐印：劉國松
入新生命，是現代水墨運動最重要的推手，被譽為「水墨現代化之父」。 劉國松大膽的借用西方現代藝術樣式，開闊了水墨表現的題材內容，並革新技 法、工具甚至顏料，採用拓印、撕貼、噴灑等表現技法，展現出明顯的肌理製 作效果。其以肌理代筆的「非筆墨性水墨」凸顯「書寫性」水墨材質的隨機性
NT$800,000-1,100,000 US$26,800-36,900
及偶然性，啟發九0年代對現代水墨的重新思考。
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JU MING
( b.1938 )
Taichi Series 40×20×20cm Stone Carving (One piece only) Signed Ju Ming in Chinese, dated '96 With a certificate of authenticity from Kalos Gallery
朱銘 太極系列 1996 石頭 單件 簽名：朱銘'96 附真善美畫廊開立之原作保證書
NT$1,600,000-2,400,000 US$53,700-80,500
“Taichi” is an exercise developed by the Chinese for physical strength enhancement. It is the best combination of man versus nature because man has used his/her own body to contact and mimic the natural phenomena of the universe.” Taichi, under Zhu Ming’s realization, has transformed from visible to invisible, similar in form and spirit. “Taichi Series” is Zhu Ming’s interpretation of the transformation between forms. It is resolute and steadfast, and the same time maintaining a peaceful and sophisticated atmosphere. The power of this artwork is direct and deep like a poised strength waiting. Through the carving knife and a×, Zhu Ming has fulfilled his artwork with the essence in life; the style is simple and a representation of life.
「太極」融會中國數千年文化傳統精華，亦是中華文化的表徵之 一。當年朱銘於楊英風門下習藝，為強健朱銘身體，楊英風曾建 議他學習太極，朱銘因而從身體擺動之間感受太極精神，並成功 將此複雜而深奧的哲理，凝鍊成現代的藝術語彙，將之內化成為 創作題材。朱銘說：「太極拳是古代中國人所創造的一種健身 術，他是我所知道人與自然結合的最好例子，是人用自己的身體 來接觸和模仿宇宙的自然現象。」太極的創作在朱銘的體悟下， 從有形到無形，兼備形似與神似。 《太極系列》朱銘詮釋太極拳架式中變招時的過渡，剛毅卻流露 出平和的氣韻，不疾不徐，沉穩持重，使人感受作品強大的重量 感，直接而深刻，猶如一股積澱的能量正畜勢待發。
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YANG CHIHUNG
( b.1947 )
Golden Memories
楊識宏
145×110cm Oil on Canvas
流金歲月
Signed on the Reverse: CHIHUNG YANG in English, dated 2010
2010 油彩 畫布 背面簽名：CHIHUNG YANG ©2010
NT$700,000-1,100,000 US$23,500-36,900
Yang Chi Hong once described his concepts and believes as “I am especially fond of the harmony and contrast between subjective and objective worlds; ambition and reality; rational and emotional; space and time; ying and yang; darkness and daylight, growth and death, love and hate, momentary and eternity. In fact, man or nature live in this interesting relationship. The inner world and the outer subjective reflect each other and the relationship is double-folded with the elements of contradictory, clashing, coordinating and sophisticated.” The artist’s life experiences are clustered on the canvas of“ Golden Memorise”, and time is as though the eternal change. The orange color tone brings out memories in the past as though life itself has been divided into pieces that rely on longing. The lines are mangled with a strong and decisive speed. It is as smooth as river water and metaphors the clash between consciousness and reality. A streak of light is revealed between the crack, and it is a reflection of the inner world. Continuing the spiritual discovery from ideal plant abstract aesthetics, the artist goes back to pure abstraction. Following the motivation of the inner world to capture and present different state of mind and the real deep inside. Yang combined water ink paining and western art old painting and presented lines and lights through light, heavy, slow and fast brushstrokes. The consciousness during creation becomes a sharp double-sided knife that in a way cuts through the shackles of water ink painting and in another way dissected western aesthetics. The artist guided views to travel between reality, consciousness and sub consciousness.
楊識宏曾如此自述創作理念：「我對於主客觀世界的對立與和諧並存、理想與現實的傾軋、理性 法則與感性原理的互滲、空間與時間的交錯、陰陽虛實的互動、黑暗與光明的對照、生長與腐朽 的並列、生與死的循環、愛與恨的交織、瞬間與永恆的消長等等，都特別感興趣。其實人或自然 都摻雜存在著這種弔詭的辨證關係。……人的內在心靈世界與外在客體現象也存在著相互投射； 虛實掩映的關係，同樣有這種矛盾、衝突、調和、圓融的二重性……。」 《流金歲月》存聚經驗於畫布，將駒隙光陰凝作不朽的恆常變動。橙黃的色調暈染成流淌於時間 長廊中的印象光景，恰如記憶在生命泉源的積累和沖刷下支離為零碎片段，靠著偶然的怦然感知 而若有似無的回味沉緬；畫面線條縱橫糾結，帶著一種強勁、果斷的生命力與速度感，如行雲流 水般暢快淋漓，宛若潛意識與現實的碰撞，在裂痕之間反而擦出一抹靈光、一面自我底心的沉沉 觀照。延續著植物美學時期對內在精神性探討的思路，從物象到意象，從意象到心象，楊識宏回 到純粹繪畫性與精神性的抽象表現形式，順依內在意識的驅動，捕捉、呈現不同的時空心境與自 我內裡最深層的真實；他結合水墨筆法與西畫油彩，透過筆觸的輕、重、緩、疾而揮掃出的線條 光影，將意識流創作變成是銳利的兩面刃，一面剖開水墨畫堅韌的皴法枷鎖，一面剖開西洋繪畫 窒悶的唯物史觀美學，引領觀畫者於現實、意識與潛意識之間迴盪與悠遊。
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Artworks are the only method of retrieving lost time. French litterateur --- Marcel Proust 藝術作品是復得失去的時間的唯一手段。 ---法國文學家 普魯斯特
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CHAO CHUNGHSIANG
( 1910-1991 )
Moon Crescent 139×69.5cm Acrylic on Paper Signed Chung Hsiang in Chinese and Chao in English, dated 1988 ILLUSTRATED “CHAO CHUNG -HSIANG” ,Alisan Fine Arts Limited,1997, Page 17
趙春翔 弦月 1988 壓克力 紙本 簽名：春翔Chao.88 N.Y.C. 款識：竹影月光共撩人 藏家購自香港藝倡畫廊 圖錄 《趙春翔畫續編》藝倡畫廊 1997年 第17頁
NT$2,300,000-3,000,000 US$77,200-100,700 Chao Chung Hsiang intentionally avoided mimicking Western painting and insisted on blending both Eastern and Western art techniques together. He applied water and acrylic paints on Chinese painting paper and incorporated elements utilized mainly by Chinese traditional literati, including bamboos, grass, flowers, birds and fish. He emphasized on the abstract elements. He made a breakthrough with transforming the brushstroke into modern objects that are concrete and also abstract; full of content and form. It has become his unique trademark. Childhood memory has always been inspiring to artists and Chao was no exception. Leaving home for education at early age, the moving and living in a foreign location made him miss the “natural art gallery” from his hometown and the merits of famers’ humbleness, honesty, morals, politeness and love for each other. He longed for him and his memories are fortified and simplified through the yearning during his years in America. His childhood memories are sublimated into a longing and praising of Chinese traditional culture. Despite the deep influence of L'école de Paris and abstractism, Chao still maintained a Chinese soul in him. Bamboo-mainly grown in the areas of the Yangzi River, southern and south western regions in China, it is closely related to the everyday lives of the Chinese. To the people, it provided the material for daily commodities. Literati loved bamboo for its firm and hallow nature which serves as a metaphor for noble people.“Moon Crescent”lightly rendered the thick ink to bring out the quote from “Mosses add their climbing color to the thick bamboo…”. The western abstract art style along with the vivid realist style opened up a new window for the blend of east and west and impressionist materials along with traditional poems.
童年記憶往往是藝術家靈感的泉源，趙春翔也是如此。自少年時期離家求學後，一直輾轉寄居異地、異域， 但始終不能忘懷故鄉的「大自然畫廊」和農家「敦厚坦誠、崇尚道義、互助友愛、敦鄰肅禮、長幼有序對人 接物的美俗」；趙春翔旅美居久思鄉，早年的美好記憶通過思念被強化、純化，童年印象也隨之被提升為對 故國精神文化傳統的戀念和讚揚；雖於歐美國家受巴黎畫派、抽象表現主義影響甚鉅，卻始終保持著一個中 國的靈魂。 竹，主要分布在中國大陸長江流域、華南、西南等地，用途極廣，與中國人生活息息相關。對老百姓來說， 竹提供衣食住行的材料，對它依賴甚深；文人愛竹，則因竹具有堅固挺直心空、貞節等君子品格，予人隱逸 高尚風範。《弦月》以淡濃墨色渲染「苔色連深竹」之景，以西方抽象繪畫即興滴流技法搭配瑰麗亮彩「寫 意」月輝流溢，題材印象與傳統文人詩畫大似，而表現方法則融合中西而別闢蹊徑。
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LIEN CHIENHSING
( b.1962 )
Detect I 97×194cm Oil on Canvas Signed Lien Chienhsing in Chinese, dated 1995 ILLUSTRATE "Lien Chien-hsing",Keelung City Cultural Affairs Bureau,Keelung,2004,page28
連建興 探I 1995 油彩 畫布 簽名：連建興 1995 圖錄 《抽象與寫實的對話-陶文岳V.連建興聯展》 魔幻寫真 連建興作品集 基隆文心叢刊-173 2004年 第28頁
NT$1,150,000-1,350,000 US$38,600-45,300 066
Growing up in Keelung, Lien Chien-hsing has witnessed the fall of fishery, mining and other traditional industries. The past prosperous industries gradually faded out, yet the fall brings out an amazing inspiration to him. Imagination without boarders but at the same time implementing eco-friendly care into his artworks is Lian’s mission as an artist. Using green and gray as the main color scheme in “Detect I”gray is related to architecture; green is related to plants. With few people in the background; a pond of green in the middle; green streams of light in the bottom; or sunlight from above stopped the viewers from seeing what’s underneath the water. A black panther looking into the water and the ripple growing stronger as it approaches left a question that is unexplainable that kept attracting us. Even though the scenery is presented with a realist approach, it is actually ideal scenery that connected the picture and the systematic structure. This is a representation of magic realist style.
連建興在基隆的成長背景中，看見了漁業蕭條，及金、銅、煤等傳統工業資源 的枯竭。造船廠及礦場的頹廢、敗壞，對他而言反而有種不可思議的魅力存 在。連建興喜歡天馬行空的遙想，同時在創作中注入他對各種環保、生態議題 的關心，並把傳達的工作視為藝術家的己任。 《探Ⅰ》中以綠色和褐色為主色調；褐色與建築土地相關，綠色則與植物有關 聯。描繪鮮少人煙的海濱處水廠，置中的深綠水池，底處滲透出青冷的燈光， 或是從天空灑下的日光；表面深淺不一的綠與漣漪，令人無法看清水底的情 況，池邊彷彿亟欲探究其虛實，只是越接近水面，越是瞧不清楚。雖以寫實描 繪場景，但卻是理想性的風景，藉著接合的圖像與系統性的建構出意義，這樣 的表現方式為其特有的寫實魔幻風格。
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KUO JENCHANG
( b.1949 )
Totem and Taboo-Five Fortunes
郭振昌
80×322 cm Mixed Media Signed KUO JENCHANG in Chinese and J.C. Kuo in English, dated 2005
圖騰與禁忌－五福
ILLUSTRATED 《Totem and Taboo: Solo Exhibition by J.C. KUO》, Taipei Fine Arts Museum, 2008, Page 94-95 EXHIBITION 《Totem and Taboo: Solo Exhibition by J.C. Kuo》, Taipei Fine Arts Museum, Taipei, 2008
2005 綜合媒材 簽名：郭振昌 2005 J.C. Kuo 圖錄 《圖騰與禁忌：郭振昌個展》，台北市立美術館， 2008，頁94-95 展覽 「圖騰與禁忌：郭振昌個展」，台北市立美術館，台北， 2008
NT$1,500,000-1,800,000 US$50,300-60,400 郭振昌是戰後第一代的台灣藝術家，曾學習於知名抽象藝術家李仲生的畫室。在抽象藝術和佛洛伊德精神分析 理論方面受到很大的啟蒙。展現出一種強烈的視覺觀點，其明度與彩度都極其鮮豔，更結合漢代畫像磚——尤 其是武梁祠—上的武士俠客與羽人的造形，攫取了部分形象，轉化成具個人化的黑色描線風格。 「圖騰與禁忌」的名稱源於佛洛伊德出版於1913年的同名著作。對於原始民族而言，無論圖騰或禁忌的規則， 均起源於族群自我生存的保護、延續與繁衍的心裡。在意義上加以擴大和衍生，可道出郭振昌對於台灣社會關 懷的情懷。 《圖騰與禁忌—五福》圖騰造型生動化活潑化，線描厚度的加粗，黑色帶狀輪廓線條相似於木刻版畫的效果般 戲劇化的呈現，這種粗黑線描人物造型，一方面具有代表歷史或文化的符號作用，同時又賦予爆發力的線條書 寫性，當中更帶著鮮明艷麗的美感，給予觀者想像與觀看上的視覺震撼。 068
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ZHENG ZAIDONG
( b.1962 )
鄭在東愛玩、會玩，但是他的「玩」
Mountain Scenery
是進取與悲觀同時存在的。世情多變
77×54.5cm Oil on Paper Signed Zheng Zaidong in Chinese, dated '98
生命無常，人生得意須盡歡，而行樂 要及時，鄭在東以自身感官經驗與藝 術敏感度將走過的名山勝水、騎樓街 景，化作一種融合了自我觀照的新式
鄭在東
山景
山水游賞冊。 起伏的山陵、散落的石塊以及阡陌水 潭是藝術家眼中的《山景》，但灰調
1998 油彩 紙本 簽名：鄭在東 '98
NT$80,000-100,000 US$2,700-3,400
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陰翳的美學、哀傷頹喪的氛圍是世人 眼底的鄭在東。
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SU WONGSHEN
( b.1956 )
a.Seashore's West b.Seashore's South a.66.5×51cm b.66.5×51cm Oil on Canvas a.Signed on the Reverse:Su Wongshen Seashore's West in Chinese, dated95´~ 96´ b.Signed on the Reverse:Su Wongshen Seashore's Southe in Chinese, dated95´~ 96´
a b
蘇旺伸
a.濱海之西 b.濱海之南 a.1995-1996 b. 1995-1996 油彩 畫布 a.背面簽名：蘇旺伸 海濱之西 95´~ 96´ b.背面簽名：蘇旺伸 海濱之南 95´~ 96´
NT$450,000-550,000 US$15,100-18,500
蘇旺伸濃郁的懷鄉與情感念舊，一直是其藝術當中一 個很重要的特質。80年代他嘗試各種題材與不同風格 的表現，包括「低限主義」的畫風；也試圖溶入水墨 的墨韻與形式。而後轉向「表現主義」的畫風，但他 並未跳脫對現實世界的觀照與反思。 《濱海之西》《濱海之南》畫面觀點採用傾斜角度的 鳥瞰視野，突顯了空間的景深感，也使物件的透視 呈現出更豐富的變化；更重要的是，筆觸的不安晃動 感、陰鬱的色調與斜視鳥瞰的角度，反而塑造了一種 視覺的懸疑及疏離感，輕易的觸動觀者反思─雖帶些 許的感傷與懷舊，卻很難產生真正的同情或憐憫。
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ENDRO Everlasting Beauty 100×100cm Oil on Canvas Signed Endro in English, dated 2011
安卓 永恆之美 2011 油彩 畫布 簽名： Endro 2011
NT$100,000-140,000 US$3,400-4,700 072
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NUGROHO WIJAYATMO Oriental Series 1# Promise 150 ×130cm Acrylic and Oil on Canvas Signed Nugroho in English, dated 2012
( b.1980 )
Nugroho Wijatyatmo's unique technic and brush strokes have been raved by numerous collectors around the region. He expresses the thoughts of every woman's feelings whether sadness, passion or happiness to his own art form.
努格羅霍 維加亞摩
努格羅霍．維加亞摩以獨特的繪畫技法及強烈的肌
東方系列#1 承諾
理筆觸，形塑個人的美感語彙；精巧、生動地呈現 出女性特有之纖細、敏感、熱切等萬種風情，深深
2012 壓克力 油彩 畫布 簽名：Nugroho 2012
NT$90,000-120,000 US$3,000-4,000
撩動觀者底心的觀照與共鳴。
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邱亞才用中國傳統的白描技術線所勾勒出的人物顯得細緻而富 詩意，性格與生活氣質躍然紙上；也學習西方當代藝術家的創 作手法，野獸派具有表現力的色彩，和莫迪里亞尼纖弱的人物 風格都進了他的畫布裡。 流浪的藍衣青年坐臥歇息於樹下，眼睛望著遠方、表情沉靜而
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CHIU YATSAI
( b.1949 )
Wandering Youth 91×73cm Oil on Canvas Signed Yatsai in Chinese
憂傷，是在探求明天不可預測的命運？抑或回憶昨日已逝去的 甜蜜？
邱亞才 流浪的青年 1990 油彩 畫布 簽名：亞才
NT$220,000-280,000 US$7,400-9,400
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YANG CHENGYUAN
( b.1947 )
Formosa 60.5×72.5cm Oil on Canvas Signed Yang Chengyuan in Chinese, dated 1993 ILLUSTRATE "Yang Cheng-yuan A Retrospective Exhibition" EXHIBITION National Taiwn Museum of Fine Arts A2 Gallery
楊成愿
福爾摩沙－台灣紀事總統府 圖錄 《楊成愿創作回顧展》 展覽 國立台灣美術館A2 Gallery展覽室 1993 油彩 畫布 簽名：楊成愿 1993.2
NT$180,000-240,000 US$6,000-8,100
楊成愿先生作品著重於觀念及思考，他說： 「創作的精神應從自己的文化系統出發」因而 逐步地重組、建構台灣文化的脈絡與記憶。到 了九○年代初期，將日本殖民時期的歷史活動 與痕跡，完成了文化反思的「近代建築」系 列。 《福爾摩沙-台灣紀事總統府》畫面一分為二， 右邊為台灣地形圖，左邊為象徵權力的總統府 為主題，再將台灣劃分將古地名標示於上，運 用並置的手法與象徵性的「符號」反映出周遭 平凡不過得的建築物所蘊含的歷史義涵，進而 打破時間的連續性與空間的完整性；從中窺探 藝術的根源，進而期望將日本統治時期的歷史 活動與痕跡做一文化反思。由於其藝術創作上 歷史性、藝術性及技法完美的結合，致其作更 被國立台灣美術館與台北市立美術館所典藏。 077
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LIN SHIENMAO
( b.1955 )
Sun Moon Lake with Cloud D 72.5×91cm Oil on Canvas Signed Shien Mao in English, dated 2012
林憲茂
日月潭行雲D 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$8,400-11,700
Lin Shien Mao excluded realist approach in natural scenery from aesthetic appreciation and came out with his unique kind that is sensual, rational, full of content and form, normal and unique. “Sun Moon Lake with Cloud D＂ is one artwork from the Sun Moon Lake series. The windy stream extends into the Aery mountains. The colorful brushstrokes give an aureola into the realist image. His concepts discovers image from sensations to create one that matches his logics and eventually discard them all to return to a stage of purity. This painting brings out the care and affection the artist has toward the world and common culture. It also matches Hegal’s belief “Art is the presentation of absolute ideology.”
林憲茂把自然景觀的寫實表現排除在《美學》之外，他體認出另 一種藝術美，這是一種「理想美」是感性和理性、內容和形式、 普遍性與特殊性的心靈統一。 《日月潭行雲》為日月潭印象系列作品之一，湖光山水從前景湖 水延伸溶入遠山飄渺中，大筆揮灑繽紛的色彩及筆觸，光景彷彿 染上一層光氳，在寫實表現形象中，添上一種浪漫的色彩；他的 創作理念從感性中摸索形象，形成與理念相符合的形象之後，再 丟棄這些形象而回復到純心靈的感覺。此畫彰顯出藝術家對入世 的關注與對認識出世方法上的卓越。亦正好符合黑格爾所說： 「藝術是絕對理念的表現。」
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LIN SHIENMAO
( b.1955 )
Sunset of Sun Moon Lake 72.5×91cm Oil on Canvas Signed Shien Mao in English, dated 2012
林憲茂 日月潭餘暉 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$8,400-11,700 ”Sunset of Sun Moon Lake”is presented with a non-traditional realist approach, rather with an imagism oil painting method. Through the for tification of abstr actism and the fading transparency, it not only presented Sun Moon Lake but also the internal thoughts through brushstrokes and coloring to express space and affection. Like Sullivan said “abstractism is a form created from objects in natural scenery.” This abstract concept combined subjective aesthetics with objective objects and liberated the constraints in form. It represents the care the artist has for the world, and the outstanding performance of non-worldly affairs.
《日月潭餘暉》非傳統寫實的描繪，而是採用意象油畫的方 式，藉著抽象的加強和透視深度的減弱，不單單寫實描繪了 日月潭此景，更從筆觸、用色上不時的透露出心緒思維，加 深了無垠的空間感與真實情感的流露。其中抽象這樣的概 念，就如同英國評論家蘇立文認為的：「抽象是指從自然物 象中抽離物象而形成某種形式。」其把主觀的審美意念與客 觀物象融為一體的積極表現，解放了一切形體的侷限性，這 種表現的獨特性，足以彰顯一個藝術家對入世的關注與對認 識出世方法上的卓越。
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JIANG MINGXIAN
( b.1942 )
The Church
江明賢
60×60cm Ink on Paper With one seal of the artist
教堂 水墨 紙本 藝術家鈐印
NT$160,000-200,000 US$5,400-6,700 082
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CHANG DAQIAN
( 1899-1983 )
Fishing Alone
張大千
48×17cm Ink on Paper Signed Daqian Chang in Chinese With one seal of the artist
秋江獨釣
畫面前景為山蔭樹梢，墨深入淺於後方，秋江 水色映其間，江水的岸邊若有似無淡墨勾勒山 形，近似細節淡雅，遠眺構思宏觀，山巒山壁
水墨 紙本 簽名：大千張爰 鈐印：大千
坐如泰山，秋江小船搖江邊，濃淡之間繪秋 高。
NT$220,000-300,000 US$7,400-10,100
083
052
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CHANG YOSHIO
( b.1914 )
Lanyu 24×33.5cm Oil on Canvas Signed CHANG Y. in English, dated '76
張義雄 蘭嶼 1976 油彩 畫布 簽名：CHANG Y. '76.
NT$120,000-200,000 US$4,000-6,700
084
被日本畫壇稱為「東方的野獸派」、「黑線條」畫家。在陳澄波 啟蒙後，對繪畫有高度的興趣，自此立志要當畫家，在赴日的苦 讀十二年之間，奠定良好素描基礎，一路上輾轉於大陸、台灣， 日本，最後定居於巴黎，過程雖長時間處於逆境，但張義雄以堅 忍的毅力及鬥志，追求藝術的真理，在苦境與無情的歲月中，造 就了他成為一位剛正不阿、個性強烈、硬骨子的畫家。 他的作品以靜物及風景畫為著稱，這幅《蘭嶼》拼板船用極為粗 獷鮮明的線條勾出其韌性著實的形體，明確感受到其島嶼生活所 面對海的波瀾壯闊，其討海精神也就正與張義雄個性不謀而合。
053
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CHANG WANCHUAN
( 1909-2003 )
Spectacles Caught in Lanyu 17×24.3cm Oil on Canvas Signed CHANG in English and Wanchuan in Chinese, dated 1973
「不擅談話，但酷愛繪畫。繪畫即是我的語言，也是我的思想、感 情的化身。沉默雖是我的外貌，但熱力即是我的內蘊。我的創作是 內省式的自剖，更是一場心靈的表白」。 張萬傳說過：「喜歡有個性的地方，古樸趣味、有斑駁歲月痕跡的 地方。」所以用狂放豪邁的筆觸，強調拼板船的歷史痕跡與蘭嶼的 簡樸率真。筆觸和用色的奔放、形體的厚重、風景明麗，儼然成為 張萬傳的風景畫特色；而他作畫的「直覺」，常是一氣呵成，他那
張萬傳
大筆一揮的線條、色系的膽大一直是他不變的張氏風格。
蘭嶼所見 1973 油彩 畫布 簽名：CHANG. 万. 張萬傳 1973 背面款識：蘭嶼所見
NT$60,000-90,000 US$2,000-3,000
085
054
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PANG JIUN
( b.1936 )
A Corner of The Courtyard 72.5×60.5cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2010
龎均不拘泥於傳統油畫的束縛，融入中國傳統寫意的瀟灑脫俗，凝聚東方味濃厚的文 人精神，以自由書寫的筆韻架構出具有哲學內涵的藝術品味，處處蘊藏類似書法般的 輕重徐疾、抑揚頓挫的表現力度與流動韻律以特殊的書法體簽名與自創的印章式落 款，使其自然而然與畫面相互產生共鳴，立即顯現其主觀的色彩及精神性。 『藝術是由觀念形態而形成視覺現象，即藝術。即使是宇宙、大自然之任何物質…一 個「樹根」、一塊天然的「石頭」，沒有任何加工，巧心人士看出它是「女人」或是
龎均 庭院的一角 2010 油彩 畫布 簽名：均 龎均 2010
NT$500,000-650,000 US$16,800-21,800 086
「老鷹」，它就成了「藝術品」──只是一件物質，注入了人的觀念而有了「生命」 和「意義」』、「不斷地寫生乃是藝術家創作之本。」龐均於《油畫技法創新論》如 此論述。 於是《庭院的一角》之中，日常生活常見黑瓦白牆的院落、錯落堆疊的石塊、古樸平 凡的迴廊漏窗與苔蘚，都因為藝術家巧思獨具細細描繪，而透露出優雅含蓄、舒緩安 謐的氣韻，以溫暖的鵝黃、微茫的淡灰與活潑的青綠，譜成一曲和諧的美妙樂章。
055
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PANG JIUN
( b.1936 )
Window 60.5×50cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2005
龎均出生於具藝術教養的家庭，五○年代畢業於北京 中央美術學院，具備完整的學院繪畫訓練，師承徐悲 鴻、林風眠與劉海粟等藝術大師，培養了堅實的造 型功力，並認真鑽研西方古典藝術和現代藝術，吸收 各自的專處，融合看似大相逕庭的油畫與水墨畫，以 和諧的色調與鮮活的筆觸，獨創出帶有東方寫意趣味
龎均 窗前
的油畫面貌，畫作呈現具有「東方人文表現主義」色 彩。 龎均以絢爛飽滿的色彩、直覺灑脫的線條結構寫生
2005 油彩 畫布 簽名：均 龎均 2005
《窗前》一角。畫中的櫻桃、梨子紅通瑰麗、鮮甜欲
NT$300,000-400,000 US$10,100-13,400
初始綻放時最美豔的一縷芬芳；畫面活潑生動表現出
滴的，令人欲生採擷下來大快朵頤之念；含苞欲放的 花朵，則透過視覺張力讓人不禁想探手，去確認其在 藝術家內心高漲的情感與對生活的熱愛。 087
088
056
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CHEN CHINGJUNG( b.1934 ) Church of St. Sergius 68.5×79cm Oil on Canvas Signed Ching Jung in Chinese and dated 1980
陳景容
聖喬治教堂 1980 油彩 畫布 簽名：景容1980
NT$400,000-500,000 US$13,400-16,800
陳景容為「五月畫會」發起人之一。其繪畫媒 材以油畫為主，風格多為大幅的冷清風景，低 彩度的神秘寂寞感為主體，是台灣超現實主義 的代表畫家。《聖喬治教堂》為威尼斯的一座 島嶼，前景由人物與船隻的深色色彩構成一條 隱約較深的橫帶，對望到隔著一層綠色河水的 聖喬治，可感受到水都的氣息。沒有華麗裝飾 的聖喬治教堂置於畫面的正中央。從前到後一 層層的布局展現出構圖的嚴謹，而在大片遼闊 天空的陪襯下瀰漫靜謐、孤寂的氣氛，消瘦的 人物，藉著色彩的明暗更顯得格外陰鬱。《聖 喬治教堂》也因為其恬靜素雅，而贏得了「水 邊貴婦」的美名。
089
057
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HONG JUILIN
( 1912-1996 )
Mount Fuji 45.7×53cm Oil on Canvas Signed 1967 With one seal of the artist
洪瑞麟 富士山 1967 油彩 畫布 簽名：1967 鈐印：洪
NT$600,000- 800,000 US$20,100-26,800 090
Mount Fuji’s slight change in appearance seems to reminds us of the changes in season and its eternal solidity. In this view, it can inspire many artists. The careful details of the work seem to be the artist introducing us to the numerous layers of perception. The painting is focused on its sole subject with no other interferences. Hong Jui Lin is gifted in life drawing, he can use simple line work to express the complexity of in- depth characteristics. His color tones are realistic and accurate in order to support his artistic view. To Hong “Beauty “ only exists within “Life”; And “Life” is beautiful on its own without the need of distortion or enhancement. All natural creations have no flaws, and one must stay true to nature in their work of art.
富士山的一動一靜，訴說著四季的變化與永恆的靜謐，在這一來一往之間的光景下孕 育出不少有感而發的畫作，畫面細微的部分，是作者想給予大眾視覺上多端的層次， 而畫面的整體性就順勢保存著該主題的原味。 擅長處理人物特質的洪瑞麟，不單單只是在線條上勾勒出厚重寫實的人物內在性格， 在其他寫生的畫作裡頭，色調的呈現拿捏到位，完全秉持他的藝術思想，對他而言 「美」乃是依附生命而生的，不須變造塗改，所有自然的景物都既無污穢，也無醜 陋，都要忠實真誠表現在每件作品。
058
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JU MING
( b.1938 )
Living World Series -Monks 136×70cm Mixed Media on Paper Signed Living World Series and Ju Ming in Chinese, dated 1994
朱銘 人間系列－佛陀 1994 綜合媒材 紙本 簽名：人間系列 朱銘'94
NT$180,000-200,000 US$6,000-6,700 《人間系列-佛陀》全畫以佛陀為主 體中心，面部僅以簡單點線描繪五官 表情，但在整體氣感之中，卻傳遞出 溫婉莊嚴的神色，彷彿了悟一切佛法 並迴向眾生。用色淡雅，筆墨間充滿 暈染韻味。
091
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PIERRE FERNANDEZ ARMAN Violin Europe 19×56×73cm Acrylic and Bronze 69/99 Signed arman in English With a certificate of authenticity from Gallery
阿曼 壓克力小提琴 壓克力 銅 69/99 簽名：arman 附畫廊開立之原作保證書
NT$500,000-650,000 US$16,800-21,800
Armand Fernandez (1928-2005) was born in Nice, France, worked together and established new realism with Yves Klein in the 60s. “Le Plein” echoed with Klein’s “Le Vide” to rebel against the unreasonable collection mechanism and stirred up a new realism movement in Europe’s art world. They are both prominent French artists. Armand’s artworks focus on discovering the material by cutting and dismantling objects with extreme materialistic and sampling skills. Though the unique art language and reinterpretion, viewers can experiences the artist’s uniqueness. “Violin Europe”, the violin is dissected and sealed in acrylic, the movement of the violin is completed prohibited and a mere visual presentation in this painting. The instrument is now an art object, but the dissected object is given a visual art rhythm. A new imagination and meaning is realized with the confused hearing and visual senses.
阿曼 ( 1928-2005 ) 生於法國尼斯，在60年代和克萊因等藝術家與藝評人共同創立新寫實主義，曾以“Le Plein＂一展與克萊因 “Le Vide＂相呼應，對抗當時藝壇不合時宜的收藏機制，於當時歐洲藝壇掀起一陣新寫實主義旋風，是歐洲當代藝術中十分重 要的法國藝術家。阿曼的作品皆致力於物質性的探討，以極物質化甚至標本化的方式將物件切割解離，透過其獨到的藝術語言 再造，是阿曼特有的表現形式。如此件《壓克力小提琴》，轉為拆解的小提琴封入壓克力之中，物件本身功能性透過此封存的 動作消弭，原本應作為樂曲演奏的小提琴，在阿曼的作品中僅存視覺上的感官體驗，樂器成為藝術物件，而那拆解後封存的片 塊卻給出專屬於視覺藝術的韻律，聽覺與視覺感官錯亂之下，似乎為其增添另一種想象與詩意。
092
( 1928-2005 )
060
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PABLO RUIZ PICASSO Imagination of Portrait 65×50cm Lithograph, 194/250 Signed 27.3.69 picasso IV in English PROVENACE Acquired from MAINICHI Auction
畢卡索
想像中之肖像 1969 版畫 194/250 簽名：27.3.69 picasso IV
( 1881-1973 )
” My mother said to me, ”If you are a soldier, you will become a general. If you are a monk, you will become the Pope.“ Instead, I w as a painter, and became Picasso. -- PABLO RUIZ PICASSO
「我媽跟我說過：『假如你是 軍人，你就會當上將軍。假 如你是神父，你就會當上教 宗。』到頭來我是個畫家，並 成了畢卡索。」－畢卡索
來源 現藏者購自日本東京每日拍賣行
NT$100,000-160,000 US$3,400-5,400
093
061
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JOAN MIRO
( 1893-1983 )
Bird And Stars at Night
米羅
34.7×50cm Mixed Media Signed Miro in English
夜晚的鳥和星星 1969 綜合媒材 簽名：Miro 附有米羅藝術基金會及當代藝術研究中心開立之鑑定書 並蓋印鑑定封蠟
NT$900,000-1,400,000 US$30,200-47,000
Joan Miro, Salvador Dali andPablo Ruiz Picasso are three Spanish artists with great contributions to the 20th Century Modern Art. Joan Miro is a Surrealism artist known as the father of Symbolism. He tried to destroy the dominating rationalism and logic to liberate it from unconsciousness and non-logic thinking and eventually realizing the profound visual world. Miro is a very profound and creative artist. With squares in different colors as the main theme, especially blue, red, yellow, green and black; with symbols representing the eye, moon, sun and stars became a characteristic of Miro. This uncoordinated composition is composed of bright colors on top of the surface and amoeba created with sharp lines, dots and colors. The poetic painting is mysterious with a clear presentation; implying picture; humorous and lighthearted approach, it also represents a child’s innocence.
米羅、達利及畢卡索三位是西班牙在二十世紀中對現代藝術極有貢獻的畫家。米羅是一名超現實主義的 畫家，亦被稱為象徵主義之父；他企圖要摧毀理性和邏輯的主宰，把無意識和非邏輯心靈的衝力從中解 放出來，並且探測不可見領域和視覺世界的奧秘。 米羅是非常多產的，畫風始終如一確又多變。《夜晚的鳥與星星》以各色方格為主的圖形，尤其是藍、 紅、黃、綠、黑這幾種顏色，繪出眼睛、月亮、太陽、星體等象徵符號，是米羅畫作語彙的典型特徵。 形像架構於平面的底層加上明亮的色彩，無形狀的阿米巴蟲成形於銳利的線條、點及花色，完全以不協 調的架構成圖。其畫作幻想神秘，表現明確極為清晰，畫面充滿了隱喻、輕鬆、幽默與輕快，表現孩童 般的純樸天真，並且富有詩意。
094
095
062
096
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ZAO WOUKI
(b.1921)
Etching with aquatint,1959
趙無極
Lithograph, 32/95 44×49cm Signed Wouki in Chinese and ZAO in English, dated '59
Etching with aquatint,1959
ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page76 With a certificate of authenticity from Gallery
圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》 Edition Heede & Moestrup (法國出版) 1994年，第76頁 附畫廊開立之原作保證書
石版畫 32/95 簽名：無極ZAO'59
NT$150,000-200,000 US$5,000-6,700
063
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CHEN XINMAO Historical Records Series Mixed Media on Canvas 92.5×69.5cm Signed Xinmao in Chinese With one seal of the artist
陳心懋 史書系列 綜合媒材 畫布 簽名：心懋 鈐印：懋
NT$200,000-300,000 US$6,700-10,100 抽象水墨與綜合媒材的交 錯互滲，是陳心懋從事水 墨新圖示探索的主要課 題。在他的實驗水墨作品 中，實物與平面結合，墨 跡與拼貼組合。一方面， 他使用傳統的筆墨材料， 介入現代人的精神生活； 另一方面，他引入了多種 非傳統、非繪畫性的材 料，卻又保留了東方美的 理念。之所以說陳心懋是 一個豁達的古典主義者， 不全是指他對一些具有古 典意義的象徵符號的借用 或固守於這個領地，更重 要的是，他以一種開放的 姿態看待著些歷史陳跡， 並將它們融入當下生活的 精神領域，從而溝通了物 質與精神兩個世界。---摘 錄 王生．皮道堅《重新解 讀：中國實驗藝術十年》
097
064
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LIU YE
( b.1964 )
Little Navy Looking at a Boat Silkscreen, 19/60 89×76cm Signed Ye in Chinese, dated 2009, numbered 19/60
098
劉野 小海軍看船 2009 絲綢版畫 19/60 簽名：R 野09 19/60
NT$150,000-200,000 US$5,000-6,700
YOSHITOMO NARA “Whether you like it or not, my artworks are more than a self-portrait. Instead, they are more like someone’s child or friend. Actually, I would like the viewers to own them and in a perfect world, I’d love to have a place in art history, even after my passing.”-----Yoshitomo Nara The gaze of the children in Yoshitomo’s portrait reveals loneliness, anger or indifference; as though expressing the dissatisfaction for society and implying the inner side of modern people. The implication or hinting atmosphere enabled Yoshitomo to differentiate from commercial iconographs. Her artworks are widely collected by many significant art museums.
「喜歡或不喜歡，我所創造的這些作品都不只是自畫像，而更像是某人的孩 子或朋友。其實我更希望它們是屬於觀眾的，或著最終能存在於藝術史上占 據一席之地，即便是在我離開之後。」— 奈良美智 奈良美智筆下的孩童，雙眸中透露的孤單、憤怒亦或不屑一顧，猶如在訴說 對社會的不滿，細膩暗喻著現代人的內在。因其作品總帶有隱匿式的氛圍或 暗示，而使得奈良的創作晉身當代藝術，與一般商業性質濃厚的插畫而有所 區別，亦成為重要美術館收藏標的。
099
065
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YOSHITOMO NARA
( b.1959 )
Untitled 29×21cm Watercolor Ink on Paper Signed Yoshitomo Nara in English, dated 1989 PROVENACE Acquired from MAINICHI Auction
奈良美智 無題 1989 水彩 紙本 簽名：Yoshitomo Nara 1989 來源 現藏家購自日本東京每日拍賣行
NT$350,000-550,000 US$11,700-18,500
100
066
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YOSHITOMO NARA
( b.1959 )
Innocent 20.8×14cm Pencil on Paper Signed YOSHITOMO NARA in English, dated 1997 PROVENACE Acquired from SHINWA Auction
奈良美智 天真無邪
Yoshitomo Nara dedicated her earlier years into creating iconographs. And during the late 1980s, she is known for drawing children as the main character with big rounded eyes, and this has become her signature. She is especially known for the different gazes full of affection; and beneath the innocent and cute look reveals a strong will and complicated emotions. It represents the co- existence between internal feelings and opposite emotions that sparked imagination. The most famous look is the sidelong glance. ‘’Innocent’’ is presented in pure and non-transparent color in the background. It directly brings out the existence of the figure and the simple lines personified the child’s life. The innocence and the sidelong glance that reveals a slight evil look also gives the viewers a lonesome feeling.
奈良美智早期創作以插畫為主。1980年代後期發展出以兒童人物角色為主的
1997 色鉛筆 廣告紙 簽名：YOSHITOMO NARA '97
創作風格，有著圓滾大頭、大眼睛的兒童儼然已成為奈良美智的標誌。其特色
來源 現藏家購自日本親和藝術拍賣株式會社
代表性之一為斜視的眼神。
在於塑造各種帶有情感的眼神，透漏可愛外表下藏匿著堅強意志和複雜情感， 詮釋人類心理情感深度與對立情緒間的並存，刺激創造性的想像力，其中最具 《天真無邪》純色而不含透視的背景，直接凸顯人物存在性，色鉛筆下的簡單
線條了賦予畫中兒童生命。孩童的天真，斜視眼神卻透漏著邪氣，看似目中無 NT$200,000-300,000 人，卻是一片藍的寂寥淡漠。 US$6,700-10,100
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CHIU YATSAI
(b.1949)
Philosopher 130×97cm Signed Yatsai in Chinese Oil on Canvas
邱亞才 哲學家 油彩 畫布 簽名：亞才
NT$650,000-800,000 US$21,800-26,800
Chiu Ya Tsai is a self-learned artist. He often utilized the famous tradition of Chinese autograph painting from the Han and Tang dynasties and is the only Taiwanese portrait painter who specializes in painting middle-class literati. The famous American art historian James Cahill believes that Chiu has carried on the cultural painting style from the Tang dynasty and said “While you appreciate the ancient glamorous Chinese portraits, you can feel the sophisticated artistic concepts of this Chinese ancient artist. His skills are not only extraordinary but also full of wisdom. The portrait also shows the sensitivity of the artist’s when he describes the delicate facial contour and the laying hands. The facial expression and form in “Philosopher” is androgynous. The head and shoulders are oval, enabling the features to be clearly presented. The pale face, prominent nose and thin eyes are presented in style similar to the Tang dynasty’s rendering method. The gaze of the characters is usually indirect to express the independent and intangible atmosphere. The por trait of the middle-class literati has fully grasped human’s affections and viewers can appreciate the artist’s noble morals.
邱亞才是一位自學成才的畫家。他經常徵引中國古代的漢唐兩朝的著 名肖像畫的優良傳統，並且是台灣唯一致力於中產階級知識份子的男 女肖像畫家。美國著名藝術史學家James Cahill 所言，其承襲唐朝俗文 化畫風正是：「欣賞古代雍容華貴的古代中國肖像時，將會察覺到中 國古代藝術家的深厚藝術心靈，不僅在清新脫俗的智慧和個人的繪畫 造詣，也表現出精微的性靈，精細的臉部曲線和平放的手部，舉手投 足都落落大方。」 《哲學家》主角的臉部表情與形式傾向於中性，而頭部與肩部同樣呈 現橢圓形，臉部斜面的目光使五官更為清晰。蒼白的臉部、勾勒尖挺 的鼻子與精細的眼眉，藉著渲染的方式，相似於唐朝肖像的渲染風格; 人物的目光不會直接朝向觀者，足以表達出獨立和空靈的氣息。其描 繪中產階級知識份子的肖像畫，充分掌握人類的情感，足以看出其崇 高的道德理念。
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068
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YEH TZUCHI
( b.1957 )
Island 60.5×50cm Oil over Tempera on Linen
葉子奇 島 卵彩 油畫 亞麻布
NT$300,000-400,000 US$10,100-13,400
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對葉子奇而言，繪畫一直是他生活的日記與生命的紀錄。 不論是靜物、風景還是人物，他寫實而帶有隱喻的手法， 具有一種變換自如的風格，充滿一種豐富又奇特的個人情 懷和一種如謎樣難解卻又客觀存在的精神象徵。 《島》是「獨白－離鄉愁之遠近」系列的作品，主題物像 是單一的，主觀的將古典主義的「中心法則」凝聚在十足 現代的空間構圖中。手法似乎簡單至極，但視覺上卻可感 受到一股寧靜而莊嚴的力道，有別於一般擁擠作態的靜物 畫，也非隨意擺放的習作；古典主義中「不移動的移動」 與「矛盾修飾法」、「極端控制的興奮」與「感情被鎮靜 於平穩之中」等美感法則，在葉子奇的畫裡得到印證。
069
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ZHENG ZAIDONG
( b.1962 )
Hot Spring in Beitou 45.5×53cm Oil on Canvas Signed Zheng Zaidong in Chinese, dated 1992
「我的繪畫好像一本私人日記， 記載著每個時段的生活畫面及面 對生活時的掙扎與幻想，假借一 些事物或典故勾畫出內心深處不 知名的畫面。」鄭在東常常將自 己的形象畫在作品裡，把自己和
鄭在東 北投泡湯樂逍遙 1992 油彩 畫布 簽名：鄭在東'92
NT$60,000-80,000 US$2,000-2,700
中國傳統山水以及台灣的風景畫 在一起，把藝術家的人文觀照融 入景色之中。 鄭在東使用色彩對比強烈的鉻黃 與鮮藍描繪《北投泡湯樂逍遙》 風景，而故意淡化的蒼白人像反 倒成了畫作中無法忽視的焦點
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YANG CHIHUNG
( b.1947 )
After Eruption
楊識宏
198×153cm Arcylic on Canvas
爆發之後
Signed on the Reverse: CHIHUNG YANG in English
1985 壓克力 畫布 背面簽名：CHIHUNG YANG
ILLUSTRATED "The Images of Mind:Chihung Yang's Painting", NATIONAL MUSEUM OF
圖錄 《楊識宏作品展—象由心生》,國立歷史博 物館，第144頁
HISTORY, Page 144
NT$750,000-900,000 US$25,200-30,200
One of the artists from the 80s, Yang Chihung trespasses between the Ancient Oriental memor y and Western Modernism. He has analyzed his dynamic life experiences into various image elements; he has blended symbolic concrete objects with symbols; incorporated the flowers, plants and natural imagery in Chinese traditional literati painting with the western colors and emotions. This artwork from the New Expressionism era represents layering meanings, and it is filled with implications and apposition presentation. However, the artist’s ultimate focus is still surrounded around “people”. In “After Eruption”, the unstoppable lava rushes out from the colors, blends in with the red sky and becomes a burning river streaming down. It surrounds sculptures, skeletons and shells; surprisingly, a streak of crystal blue appears at the end of the vines. The artist utilized the strong contrast between red and white; yellow and black to create a dramatic and mysterious painting which brings out the lively image after eruption. However, the streak of bright blue implies an unyielding will of life. "
八○年代的楊識宏於東方古老記憶與西方現代思潮中往復巡走，將自身多元生 命經驗重新分解成各種圖像元素，攙雜具有象徵性的具象物質與符號；融合中 國傳統文人畫中的花卉植物、自然氣象，以及西方觀物的色彩與形體情緒。在 此「新表現主義」時期的作品意象重疊，充斥圖形暗喻與並置主義，但藝術家 終極的關懷，仍然是環繞著「人」的主題思考。 《爆發之後》中，抑止不住的滾燙岩漿由墨色之中衝出、迸發並染紅天際，復 又化為熾熱河流帶著火光汩汩而下；環著雕像、顱骨、貝殼的藤蔓尖端竟淌下 一汪清藍。藝術家藉由紅與白、黃與黑強烈的色彩對比光影變化，營造出富有 戲劇張力又神祕深邃的畫面，生動地描繪了爆發之後的景象；但一抹鮮麗的 藍，卻是透露出生命不撓的意志。
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SU WONGSHEN
( b.1956 )
Wander 62×100cm Oil on Canvas
蘇旺伸通過北美館在1984年所舉辦的「中 華民國現代繪畫新展望展」是成為專職藝 術家重要的一道門。他的畫面沒有傳統西 畫經營風景畫的視點，多數畫面採用俯視 角，但俯角之下又有著其他視點，畫面的
ILLUSTRATED "Su Wong-Shen", The Eslite Corporation, 2003, Page 9 With a certificate of authenticity from Gallery
蘇旺伸
種跳脫視覺秩序，旨在呈現自我「視覺」 所認知的世界。 《遊蕩》中，狗以頭尾相連的形式，有的 甚至上下倒臥，這些串聯行進的狗，形成
遊蕩
一種盲目遊蕩的曲線，使畫面充滿不安的
2002 油彩 畫布 圖錄 《蘇旺伸》誠品畫廊 2003年 第9頁 附畫廊開立之原作保證書
氛圍，更瀰漫著一股抑鬱的騷動，無明確
NT$600,000-700,000 US$20,100-23,500
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經營不以單一視覺邏輯為焦點，反而是一
指標的行走路徑，使空間邊界如同蟻獸在 土層中的游走路徑般，隨意而無所界定， 土黃、灰、黑陰鬱的色調，不安的騷動情 緒彷彿社會空間裡現實的情況。
072
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NA HYO-KAB
( b.1962 )
Blue Face Oil on Canvas Signed on the Reverse: Na Hyo-kab in Chinese
羅孝甲素有「韓國畢卡索」之稱，是成都歷史 上第一個辦個人畫展的韓國人。《藍色臉龐》 在技法上，幾乎可用中軸線區分的簡潔構圖， 抽象的用黑色的線條表現蓬鬆舞動的頭髮，藍 色佈滿全臉，輔以大紅的唇，映襯於後方漸層
PROVENACE Acquired from Borobudur Auction,Singapore
NA HYO-KAB
粉紅色調的背景，配色強烈鮮豔。此畫作為其 喜愛的創作題材，構圖抽象與大膽的用色，戲 劇性的凸顯出人物內心的憂鬱。
藍色臉龐 100×130cm 油彩 畫布 背面簽名：羅孝甲 來源 現藏家購自新加坡寶得福拍賣行
NT$200,000-300,000 US$6,700-10,100 109
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YANG POLIN
( b.1954 )
Roam 48×36×102 cm Stainless steel
楊柏林
遨遊 2005 不鏽鋼3/8
NT$1,050,000-1,500,000 US$35,200-50,300
“Roam”is composed of lines full of live connected together. The connections are represented in spiral and connective tissues but the artist successfully created a smooth knot. The stainless material represents the reflection of the water traveling in the univer se creating an impar tial sur real confusion with a surprising curve. Through imagination, the stainless steel releases its greater power for us to experience how fast time passes, emotional transfer, and everchanging environment until today. Viewers can experience the momentum and strength created by the surrounding for momentum and force; to incubate the relationship between the artwork and space, and also aesthetics view from the environment.
《遨遊》由有生命力的線條交織組成，連 結的部分呈螺旋狀、結締組織般，但仍營 造出流暢滑順的串聯。不鏽鋼材質的映射 與反光如流動於銀河中的水，波光散射令 人目眩神迷不分虛實，突顯出令人驚嘆的 曲線。透過具像的不鏽鋼迸發出巨大的能 量，讓我們在靜止的瞬間，驚覺時光流逝 的飛快速度、思維心緒的轉換、萬象變化 的形態，令人感受到隨著周遭變化而產生 的動感及力量，醞釀作品與空間的關係， 及與環境之間協調的美感。
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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. Yang Po Ling is one of the ten outstanding youths from Yunlin country. His artworks are simple, full of the rhythm of land and culture. At the same time, his artworks reflected life. No one can doubt the prominence and significance Yang has in his sculptures. Self-learned, Yang realized how to transform his passion and creativity into outstanding artworks. Artworks are made copper, wood, sculptures and public art, they can be seen at the President’s Residence, Hua Shan Art District, Banchiao train station xinzhu Science District and the Kaohsiung Art Museum area. Until now, he has held four personal exhibition in Taiwan and various time in Japan, Hang Zhou, Italy and Korea.
I love sculpture. Like birds who love to fly freely; fish enjoy swimming in the water. Wild animals love to live in the grassland and the forest. - Extracted from “Yang Po Lin Sculptures” in 1985.
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。 楊柏林是雲林縣十大傑出青年之一，其雕塑作品樸實自然、有著大地的律動與人文的氣息，亦也反映了生活。在台灣 沒有人能懷疑其藝術地位和他的雕塑作品的重要性。他以自學的方式，將熱情與創意轉化成令人讚賞的創作。從銅、 木頭、雕塑到公共藝術，作品散見於台北總統官邸、華山藝術特區、板橋火車站、新竹科學園區、高美館園區等。迄 今在國內舉行個展4次，日本、杭州、義大利、韓國聯展多次。
我喜愛雕塑 就像鳥喜愛在天空飛翔 魚喜愛在水裏遨遊 野生動物喜愛在草原以及森林裡生活 ─〈摘自1985《楊柏林雕塑集》〉
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SHIY DEJINN 席德進祖籍四川，自小熱愛習畫，受導師龐薰 啟蒙，後畢業於杭州國立藝專，師事林風眠，並與趙無極、朱 德群、李仲生等畫家交際往來、切磋磨練；1948年社會局勢動盪之際，席德進懷著熾熱的心毅然前往台灣， 並與當地前衛畫派唱和並進，自此情植根留，這個南國島嶼成為其1961-1966年 遊歷美國、歐洲後回歸的唯一 故鄉。席德進將所有對生命經驗熱切的體悟、盼望，透過堅韌亦柔美的畫筆下凝聚新生；無論是底心的情感思 緒，亦或是對原鄉土地的 熱切執著，皆如款款細語般流淌於鮮明的畫布之上。他的繪畫是個人與社會互動下的 燦爛迸發，是生命美感的掙扎與碰撞，更是其精神哲思的體現與延續。
席德進《紅衣少年》１９６２年，油畫，90 x 64.5 公分，國立臺灣美術館典藏，此圖畫是 曾與席德進先生同住過的莊家村先生，然據莊 先生在＜我與席德進＞一文中說：「席不停的 揮動著畫筆，伴著南美熱情的曲 調，絢爛璀 燦的色彩充滿畫面：青春、活立及野性。畫中 的似乎不是我，而是畫家自己的化身，也難怪 他說這張畫是他那時期最滿意的佳作之一」 （洪文慶
「我經由中國人含蓄溫儒的生命態度中，將絢 爛轉為平淡，並且經由無現限延伸的水平線 中，體悟到臺灣平凡山水魅力。我的水彩追求 撲拙，意圖拋棄文明虛飾的外衣，同時也追求 現代美，在墨分五色的微妙變化中，顯出盎然 的生趣與無窮的變化。」 －席德進
2009 國立美術館席德進展覽
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SHIY DEJINN
(1923-1981)
Youth of Seashore 100×73cm Oil on Canvas Signed Shiy Dejinn in Chinese,dated 1960
席德進
海濱少年 1960 油彩 畫布 簽名:席德進 1960 來源 藏家購自藝術家本人
NT$5,000,000-7,000,000 US$167,800-234,900 《海濱少年》創作於1960年，是席德進早期經典的人物肖 像畫；此幅作品當時由藝術家本人親自釋出，被收藏逾三十 年未曝光，主題與媒材皆珍稀難得。畫面以正坐的少年為 主體，其隨性儉樸的衣著與輕鬆愜意的姿態，在清澈和諧的 藍白色調背景襯托下更顯澹然；而粗獷的線條刻畫出立體深 邃的五官，那偏側的臉龐、斜眺的目光與微揚的嘴角顯露任 意的自信，讓男孩與天空、大海的遼遠闊然產生連結，展現 出自由浪蕩的野性美感。藝術家透過奔放、紮實的筆觸，不 僅描摹人物表象，更捕捉其自然微妙的性情，彷彿感受到畫 家與被畫者兩者間的共鳴交流，正如藝術家本人所述：「一 幅畫是畫家與模特兒共同創造出來的。」席德進對同性的渴 求與愛慕宛如一種對自我及青春無止盡的追尋，他筆下的少 年始終懷具介於男孩與男人之間的體態魅力，象徵青春期時 對同性依戀的野性回歸；藝術家的情慾無比纖細、敏銳且熾 熱，卻一生都在社會的桎梏下扭曲奔騰，於是他將所有的掙 扎、渴慕與冀盼寄託於創作，接受如敻虹所言那：「血寫的 詩般的愛」，以他的藝術獻祭，在時代的洪流中將愛與青 春，一鑄成永恆。
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LI SHIHCHIAO
( 1908-1995 )
Vase of Flowers
李石樵
41×31.5cm Oil on Canvas Signed Shihchiao in Chinese, Dated 1987
瓶花 油彩 畫布 簽名：1987石樵
NT$1,500,000-2,000,000 US$50,300-67,100
Li Shih Chiao is one of the first generation Western painters in Taiwan. He is recognized as the “Painter among Painters”, “Nine Section painter” and “Marathon Runner”. With Chen Deng Po, Liao Chih Chun, Yan Shui Long, Li Mei Shu and Yang San Lang, they established the “Tai-Yang Arts Association. His artwork《Taipei Bridge》was exhibited at the first Taiwan Exhibition in 1927. He was enrolled in Tokyo Art School in 1931 and his artwork《The Lin Ben-Yuan Family Abode and Garden》was chosen to exhibit at the Empire Exhibition in 1933.
Li Shi Chiao once said “The emotions in life can be expressed through colors. Colors can express emotions; forms express rationality.” Dark green is used in the background and color of the vase to emphasize the red, white and orange roses in 《Vase of Flowers》. The green echoes with the purple table top. The painting is balanced and enabled the rose to become the main focus. The beautiful embellishing roses in the vase are arranged in a natural circle with colors rich and abundant. It catches the viewers’ attention by avoiding surface description and the subtle changes from light. The artist’s talent is greatly admired.
李石樵為台灣第一代西畫家，有「畫家中的畫家」「九段畫家」「萬 米長跑者」之譽。李石樵與陳澄波、廖繼春、顏水龍、李梅樹、楊三 郎等組成「台陽美術協會」。1927年以《台北橋》入選第一回台展， 1931年進入東京美術學校，1933年以《林本源庭園》入選帝展。
李石樵曾說：「生活的情感是從顏色方面來表現。顏色是表達情感， 形則是表達自己的理智。」 《瓶花》背景與瓶身使用深綠色表現，突顯出紅、白、橘的玫瑰花， 與粉紫桌面形成一呼應，避免畫面的不平衡，更讓玫瑰花跳脫成焦 點。瓶中的玫瑰花錯落有致，自然形成一個圓圈，色彩上採取一貫的 濃郁和豐富的變化，攫取眾人的目光，但脫離表象的描繪，捨棄因光 影所引起的微妙變化，令人讚佩其格局。
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JU MING
(b.1938)
Wood Buffalo 62×26×25cm Wood Signed Ju Ming in Chinese, dated '78
ILLUSTRATED “Taiwan's Painting＂Taiwan's Painting Publishing House, 1995, Page 12 With a certificate of authenticity from Anderson Art Maketing
朱銘 木牛 1978 木頭 簽名：朱銘'78 圖錄 《台灣畫》雙月刊第20期，台灣畫雜誌社， 1995年，第12頁 附安德昇藝術文化開立之原作保證書
NT$1,600,000-2,300,000 US$53,700-77,200 Ju Ming’s ealier works “Rural Series” in the 1970s utilized carts, cows and birds or historical figures often seen in rural as the main theme. They are presented through Ju Ming’s exquisite carving skills and are simple and pure full of rural affections. Ju Ming incorporated his affection for rural and traditional culture and gained resonance with his affection for his land and the original vitality and creation style. Wang Zong Yue from the Qing Dynasty said "Taiji, derived from the wuji, is the switch between movement and stillness. It is the mother of the yingyang…ever changing but comes in only one belief." Taichi is a practice based on the theories of taichi, including the comprehension of the universe and life. Utilizing the balance between the universe and life, the artist discussed the subtle change between movement and stillness; the real and the virtual. Ju Ming’s taichi series is also an understanding of the above mentioned Eastern philosophy, and through sculpture the artist created an invisible artistic concept. From the original form to the meaning and extending to being liberal and maintaining a stillness even during movement. Ju Ming made a breakthrough with his skills and forms and gave the artwork a sophisticated cultural meaning. It is known as the ultimate attainment of Chinese modern sculpture.
朱銘早期作品「鄉土系列」，在1970年代以農村、田野間時常可 見之物為題材的牛車、水牛、雞隻或歷史人物，在他一刀一斧之下 呈現。富有農村純樸情感，自然融合對鄉土和傳統文化的愛慕，藝 術家對於土地的情感容易得到共鳴，亦展現出朱銘源自草根的生命 力和創作風格。
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JU MING
( b.1938 )
Taichi Series - Underarm Strike
朱銘
29×15×31cm Wood (One piece only) Signed Ju Ming in Chinese,dated '82
太極系列－十字手
With a certificate of authenticity from Kalos Gallery
1982 木頭 單件 簽名:朱銘'82 附真善美畫廊開立之原作保證書
NT$3,100,000-3,900,000 US$104,000-130,900 With passion and ambition, Ju Ming created the “Taichi” series and quickly earned worldwide recognition. Taichi is a natur al expression of daily life but al so an extraordinary capture of life. After learning from Yang Ying Feng for a while, Ju Ming’s skills in sculpture and concepts gradually matured along with his taichi practice have enabled him to have an attitude as man and heaven as one; internally and externally becoming a symbol of taichi. During the process of creating, from the thousands of invisible and visible carvings, “Taichi Series - Underarm Strike”was created with ancient camphor wood. The master’s sophisticated skills can be seen with the preserved natural lines and texture. The unfinished surface represents a fun and interesting approach. The materials not only represented the content but also brought the viewers into a serene philosophical stage that highlighted the presentation of life. Art critic Taylor once mentioned in “The Times” in 1991, “Ju Ming is brought up in an authentic Chinese culture. He was born and educated in Taiwan; however, he trespass boarders and produced artwork that speaks of his style. It no doubt belongs to China but also a global language that is comprehensible to the world.”
朱銘以巨斧揮灑創作出「太極」系列，很快的引起國際藝壇的關注。太極源於生活 經歷的自然流露，亦也是一種不平凡的捕捉。隨楊英風習藝經歷一段時間後，雕刻 技巧與創作觀念都臻於成熟，加上太極拳練習與太極精神的適時導入，那種天人合 一的浩瀚氣度，發於中而形於外，促成「太極」形象卓然挺立。 在太極的創作過程中，從有形到無行的千雕萬鑿，其中《太極系列—十字手》媒材 使用古色古香的樟木，藉由刀鑿斧劈、鋼鋸裁切而後再順著自然紋理手撕，等展現 純熟的功力；切面的不加修飾，看似三鑿兩斧的切割，痕跡斑斑的外表既袒露出巧 奪天工的趣味，更使材料不僅僅在表現內容的載體，而是把人帶入寧靜而悠遠的哲 學境界，並轉化為內容本身，從而強化生命的表現力。 1991年《泰唔士報》藝評家泰勒提筆讚道：「朱銘的成長背景是道地中國的。他生 於台灣，在台灣受藝術訓練，但卻創造出了超越國界，高度個性畫的風格。那無疑 是中國的，卻又傳達一種全世界都能理解的語言。」
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JU MING
( b.1938 )
Tai Chi 104×78×46cm(含底座) Wood Signed Ju Ming in Chinese PROVENANCE JSL's Spring Auction 2007 sale,Lot 36 Collector bought from Ju Ming Solo Exhibition in Spring Gallery Taipei
朱銘 太極如來 木頭 簽名：朱銘 來源 購自景薰樓2007年春拍,Lot 36 前收藏家 於1982年購自台北春之藝廊 朱銘木雕個展
NT$10,000,000-12,000,000 US$335,600-402,700
Born in Miaoli county in Taiwan, Ju Ming began learning traditional sculpturing and painting in temples with Li Jin Chuan. He was incorporated to learning from Taiwanese sculpture master Yang Ying Feng when he was 30. The earlier artworks focused on Taiwanese local spirits and had his first exhibition debut at the National History Museum in 1976. His sculptures are full of life and presenting Taiwanese culture became famous overnight and won overall recognition in the art world. He held his first international exhibition in Japan in 1977 and later held exhibitions in Asia, Europe and America. He was invited to exhibit at place Vendôme in France and other international public spaces in 1997. These have established his achievements in world art.
朱銘出生於台灣苗栗縣，15歲與李金川師傅學習傳統廟宇的雕刻與繪畫，30歲拜 入台灣雕塑界大師楊英風門下。其早期的作品多以台灣鄉土精神為題材，1976於 國立歷史博物館舉辦首次個展，以其富含生命力與台灣文化主體價值的木雕作品 一戰成名，廣受藝文界熱烈迴響。1977年便於日本舉辦首次國外個展，爾後朱銘 積極地前往亞洲、歐美等國外舉辦展覽，並於1997年受邀至法國巴黎中心的梵登 廣場以及在其他國家的公共空間進行戶外展出，成就了朱銘在世界藝壇的地位。
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吳冠中
WU GUANZHONG Wu Guan Zhong spent his entire career in modernizing Chinese Water Ink. Based on his solid foundation in Chinese painting and self-realization, he has transformed and blended in Western painting elements. Along with his perseverance and passion, he created nationalist yet innovative paintings that are full of language. With his exquisite brushstrokes and magnificent concepts, he has expanded the way of how Eastern painting should be expressed and appreciated. He is indeed a prominent artist in the 20th Century.
吳冠中畢生探求中國水墨現代化，於純粹紮實的國畫基底上，自覺地 將西畫元素轉化融合，憑藉對藝術任真的執著及滿腔的熱忱，創作出 與民族情感相維相繫，卻風格新穎、語彙豐富的水墨作品。他以精湛 的筆法與開闊的意境，拓展了東方繪畫的表現方式及審美視野，是極 具20世紀時代表徵的重要藝術家。
吳冠中-《萬里長城》
吳冠中-《補網》
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GUANZHONG | WU Landscape
( 1919-2010 )
35.1×46cm Ink and Colour on Paper With one seal of the artist
吳冠中 風景 1980年代 彩墨 紙本 鈐印：八零年代、冠中寫生、荼 新加坡私人收藏
NT$2,200,000-3,200,000 US$73,800-107,400
"Landscape" was created in the 1980s and a representation of the artist’s breakthrough of content and form. The bold brushstrokes contoured the atmosphere, and passionately expressed the scener y captured by the eye. Investigated with abstract lines, the "Grand Wall" created in 1988 is a sophisticated masterpiece, and his explicit skills can be slightly obser ved from "Landscape". The special depth is brought out by independent dots and lines. The layering ink can be formed into floating clouds or thicker pieces that are smooth and grand. It reminds the viewer of Liu Bang’s majestic poem "Gale winds blow wild clouds fly. Home coming now, I've conquered all within four seas". Wu Guan Zhong has dedicated his career to practice this, the unbroken string of the kite, is a metaphor of connecting his race with the world. His artpieces must be innovative but at the same time honoring nationalism. The viewers will then be able to see a new era and appreciate the artist’s real passion. Combining the visual effects and spiritual concepts, a traditional innocence is among the canvas, enabling the viewers to feel his full vitality. "
《風景》創作於1980年代，吳冠中突破內容與形式的囿 限，大膽的以湧動、盤旋的墨染線條勾勒情境，表現所見之 景的流動幻化。以抽象流線描摹景緻的探索，吳冠中1988 年所繪《長城》可視為純熟大作，然而運筆造境的功力卻能 於此幅《風景》窺見端倪。獨立的彩點及線條架出空間深 淺，對比天地人物的幽邈，留白擦染留下無限遼遠的遐思， 無形大象之境應運而生。墨色聚染之處繾綣交疊，既能為吹 雪，亦可如湧雲，氣勢流暢舒張、恢弘壯麗，令人懷想起劉 邦《大風歌》中「大風起兮雲飛揚、威加海內兮歸故鄉」的 闊然況味。吳冠中畢生創作也是懷著如此的冀望，一句「風 箏不斷線」，期望將國族與世界連接起來，他的作品既要創 出嶄新的格局，又要與民族意識共生共榮，使觀者能於畫中 見著新天地，更體會其款款真情。融匯視覺呈現及精神意 念，一股滿懷傳統文化底蘊的自然美善便於畫面中完滿的宣 洩開來，使觀者感到躍動的生命活力。
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CHANGSHUO | WU Running Script 1926
(1844-1927)
86×31cm Ink on Paper With one seal of the artist
吳昌碩 吳昌碩一九二六年作行書立軸 1926 書法 紙本 題識： 鋒藏玄秘思無邪，若獲墜簡捫流沙。鼎系之辟魑魅，道彊其骨拘龍蛇。 滄海拂塵馬在野，古雪點素桃飛華。換鵝誰敢執數紙，乞書老嫗常咨 嗟。西崖刻竹精妙絕倫，而扇骨奏刀尤見活潑潑地。吾鄉蛟門布衣之流 亞耶。吳昌碩年八十三時在丙寅（1926年）。 鈐印：吳昌碩" 2006年春拍購於香港佳士得 中國近現代書畫(二)專場
NT$550,000-650,000 US$18,500-21,800
吳昌碩擅長書法，此行書立軸，題跋：「鋒藏玄秘思無邪，若獲墜 簡捫流沙。鼎系之辟魑魅，道疆其骨拘龍蛇。滄海拂塵馬在野，古 雪點素桃飛華。換鵝誰敢執數紙，乞書老嫗常諮嗟。西崖刻竹精妙 絕倫，而扇骨奏刀尤見活潑潑地。吾鄉蛟門布衣之流亞耶。 吳昌碩 年八十三時在丙寅。」用筆結構方正，樸茂雄健，古氣盤旋，能破 常規；其字體取篆、隸、狂草之長；對於用筆、題款、鈐印的疏密 輕重，匠心獨具。為此能自成一家。
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ZHONGLI | LOU The Reflection of a Man
(b.1948)
49×41.5cm Oil on Canvas Signed Luo Zhong Li in English and Luo in Chinese, dated 1990
羅中立 老人側影 1990 油彩 畫布 簽名：Luo Zhong Li羅 1990
NT$1,400,000-1,900,000 US$47,000-63,000
Luo Zhong Li once said "I need quantity to strengthen my skills and accumulate my experiences. However, I dedicate my life to describing rural local’s life." He discovered the limitless potential in life and dedicated his career to local painting with farmers as the theme. When viewing his artwork, the viewers are placed in a different time zone, as though they are experiencing the primal lives of the mountain villagers. His artworks carry out his belief of having a strong foundation of life and real affection. Luo created "The Reflection of a Man" in 19990, with an elderly Yi tribal as the central figure gazing far into the distance, but the detailed description enabled viewers to feel his every move in muscles and blood. The endless background shows the pure scenery of Da Ba mountain. This ordinary elderly has gone through difficulties in life, his face is full of wrinkles with a gaze that has realized life and witnessed the passing of Chinese history. Luo Zhong Li has completely expressed the "ugliness" of the farmer, and it has made his artwork more trustworthy and with life. This is an extension of the earlier artworks focusing on rural realist painting- the form is strong; the composition is delicate; the color is gentle and harmonious. It discovers the poetic meaning in the ordinary lives of the people of Shu Ba. "
羅中立曾說：「我需要一個量來錘鍊自己，累積經驗，而我始終以描繪農民鄉土 題材為職志。」其執著於鄉土繪畫，以農民題材油畫創作，挖掘出生命潛藏的感 動。觀其畫作，彷彿一陣時空錯位，置身於山民生活的原始景象生動強烈映入眼 簾，一如其所堅持作品要有堅實的生活基礎和真實情感。 此幅《老人側影》為羅中立1990年的創作，畫面中心以一名彞族老人為主體， 雖是側身遠眺，寫實細膩線條的描繪，幾乎可感受到其肌膚抖動、血液奔流；背 景的一望無盡，道盡大巴山上的景色純粹。而一位飽經滄桑卻有著堅毅奮鬥力的 普通老農民，其佈滿皺紋的臉、洞悉世俗的眼神，猶如見證了中華民族滄桑的 歷史。羅中立毫不掩飾地把農民的『醜』真實的表現，因而作品形象更加真實可 信，有血有肉。此作延續了羅中立早期鄉土寫實繪畫的風格，形體結實、結構精 緻，色彩溫潤和諧，駐足巴蜀農民的小人物生活，在平凡、普通的生活場景中探 掘詩意。
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ZHONGLI | LOU a.Midnight
(b.1948)
b.Township Night c.Lamp d.Eyes e.Rest f.Thunderstorm g.Father and Son h.Winter's Paddy Field i.Father and Son 58×47cm(×9) a.Lithograph, 69/99 b.Lithograph, 54/99 c.Lithograph, 56/99 d.Lithograph, 58/99 e.Lithograph, 45/99 f.Lithograph, 55/99 g.Lithograph, 68/99 h.Lithograph, 40/99 i.Lithograph, 74/99 a.Signed Lou Zhongli in Chinese, dated 2005, numbered 69/99 b.Signed Lou Zhongli in Chinese, dated 2005, numbered 54/99 c.Signed Lou Zhongli in Chinese, dated 2005, numbered 56/99 d.Signed Lou Zhongli in Chinese, dated 2005, numbered 58/99 e.Signed Lou Zhongli in Chinese, dated 2005, numbered 45/99 f.Signed Lou Zhongli in Chinese, dated 2005, numbered 55/99 g.Signed Lou Zhongli in Chinese, dated 2005, numbered 68/99 h.Signed Lou Zhongli in Chinese, dated 2005, numbered 40/99 i.Signed Lou Zhongli in Chinese, dated 2005, numbered 74/99" With a certificate of authenticity from Gallery
a.｜b.｜c.
羅中立 a.子夜 b.山鄉之夜 c.吹燈 d.吹瞳上 e.歇 f.雷雨 g.父與子 h.冬水田 i.父與子 2005 a.版畫 69/99 b.版畫 54/99 c.版畫 56/99 d.版畫 58/99 e.版畫 45/99 f.版畫 55/99 g.版畫 68/99 h.版畫 40/99 i.版畫 74/99 a.羅中立2005.10，子夜，69/99 b.羅中立2005.10，山鄉之夜，54/99 c.羅中立2005.10，吹燈，56/99 d.羅中立2005.10，吹瞳上，58/99 e.羅中立2005.10，歇，45/99 f.羅中立2005.10，雷雨，55/99 g.羅中立2005.10，父與子，68/99 h.羅中立2005.10，冬水田，40/99 i.羅中立2005.10，父與子，74/99" 附畫廊開立之原作保證書
d.｜e.｜f.
NT$550,000-650,000 US$18,500-21,800 132 g.｜h.｜i.
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CHUNYA | ZHOU The Human Sitting on the Sofa
( b.1955 )
周春芽 坐在沙發上的人體
77.5×51.5cm Charcoal on Paper Signed Zhou Chunya in Chinese, dated 1990, summer
1990 炭筆 紙本 簽名：1990年夏 周春芽
ILLUSTRATED "Contemporary Cinese Young And Middle Aged Artists Series：ZHOU CHUNYA", Sichuan Art Publishing House, 1992, Page 45
圖錄 《當代中青年美術家 周春芽》四川美術出版社 1992年 第45頁
NT$500,000-800,000 US$16,800-26,800
Chou Chun Ya enjoys blending the colors and lines with contrasting New Expressionism and Chinese Water Ink Painting. Chou categorizes himself as a painter who interacts with his own form and emphasizes on the intuition and personality in art. The "The Human Sitting on the Sofa" is black and sophisticated, along with a simple background, it is a symbol of life. The slightly deformed yet original object is presented with a strong and thick brushstroke as though the painting is surrounded by tens of thousands strings creating an invisible movement. Through the artist’s unique skills, he expressed with visual aesthetics but continued the direction in expressionism and the human form in different phases. This is certainly a classic and eternal painting theme.
周春芽喜愛將截然不同的新表現主義和中國水墨畫手法，同時融入在色彩與線條中，周春芽認為自己 屬於用形式來交流的畫家，並著重在藝術的直覺和個性上，在此幅《坐在沙發上的人體》，黑之沉 穩，背景簡約，充滿生命韌性的象徵，加上略為變形又保有原創的型體，力度感十足的渾厚筆觸，彷 彿給畫面數以萬計的線條纏繞，更加深了無形動感的存在，透過獨特的技法，建立了視覺美感的表 現，但仍延續表現主義的方向及每個時期裡頭"人形"，必定是經典永恆的繪畫主題。
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CHUNYA | ZHOU The Stone
( b.1955 )
72.5 ×61cm Oil on Canvas Signed Zhou Chunya in Chinese, dated 1993 With a certificate of authenticity from Gallery
周春芽 石頭 1993 油彩 畫布 簽名：1993 周春芽 附畫廊開立之原作保證書
NT$2,000,000-2,800,000 US$67,100-94,000
"The Stone", created in 1996, was an artwork representing the earlier stage of Zhou Chun Ya’s exploration of sophisticated concept and solid foundation to present an internal yet passionate aesthetics. He thought outside the bo× from the traditional sketching to create a steady yet elegant stone structure that is full of emotional tension. The artist layered colors with rubbing, turning, kneading and pressing brushstrokes to create a three dimensional space on the rock surface. Looking at it closely, it is like a representation of the origin chaos of universe that is mystical but comes in order and rhythm. Through positioning himself in the passing history and culture, Chinese literati personality matches with Zhou Chun Ya’s charisma and sparked aesthetics and atmosphere that belonged to the generation.
受到德國表現主義的激勵以及中國文人畫的浸染，自1990年代開始，周春芽便以中 國傳統繪畫題材為創作源頭，展開一連串繪畫形式的探索。他透過具有時代特質的 個人經驗，試圖延續對東方傳統文化的認知，並藉由不斷的吸納、反芻與琢磨，將 異文化的衝擊與新式媒材的啟發融併，轉化成個人的藝術語彙，進而開創出如中國 藝術評論家呂澎所謂－周春芽獨特的「新繪畫」風格，於當代啟動了中國的文人畫 傳統。 「山石系列」代表著周春芽藝術表現的起始、中國文化表徵的傳承。周春芽大量鑽 研古代山水圖冊，體會自然中「石頭」所匯聚、傳遞的原始力量，其不可預測的肌 理與斑紋，擴展、豐富筆墨的表現方式，因此文人雅士對於石頭的描繪，已不僅是 自然景觀的濃縮與再現，更融納繪畫者的個人氣質與寄託。周春芽筆下的石頭，即 是此般概念的新生，他以直覺的感知取代了溫潤的文人內涵，透過抽象表現的技法 去挖掘形式的結構、視覺的張力以及衝突的美感，將古典題材賦予新時代的氣質， 開啟跨越時空的遙想與對話。 《石頭》創作於1993年，時值周春芽探索形式的初期階段，長久蘊蓄的概念藉著紮 實的技法精準表達，呈現出一股內斂卻激烈的美感。跳脫基本的描摹，周春芽的石 頭結構沉穩典雅，富含情緒的張力，以擦、轉、揉、按的筆觸塗抹出色彩的層次， 於石塊表面上形塑出騷動、曖昧的三度空間；細看宛若天地洪荒、宇宙初始的渾沌 狀態，神秘莫測卻仍帶有既定的秩序與規律。藉著於歷史洪流及文化版塊中定位自 身，中國傳統的文人風骨與周春芽的才氣性情相輔相生，於畫布上迸發出一股具時 代特性的美感及氣韻。
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周春芽
ZHOU CHUNYA "Peach Blossoms Series"is one of the most important materials of Zhou Chun Ya’s freehand presentation. It is also a reflection of an artist’s maturity. The peach blossom is considered a reposition of Chinese literati and inspiration. Transforming poems and passionate emotions into internal implications that bring out warmth among this beautiful red background. Zhou blends western art with Chinese literati humor to present this peach blossom scenery with bold colors. Zhou has successfully given a modern interpretation to Chinese literati modesty. He constructed a bridge between the real and virtual and eliminated the border between time and culture. "Peach Blossoms Series"was created in 2010, the arrangement of elements, composition and choice of coloring is an extension and reflection of the current and past Zhou Chun Ya. Looking back at his art language in the 90s, the resolute and steadfast texture of "Stone"; the passionate and explosive "Green Dog" and the erotic "Red Man". Different emotions were expressed through different channels but intertwine together on the canvas, it totally presents the artist’s confidence and generosity. The peach blossom prosperously blooms and presents the most resplendent moment; the green grass looks like the fine fur on the green dog; the pink flowers reflect the lights and shadows. On the side a strange rock stands firmly without spoiling the balance of the picture. This impulse is controlled in a balance manner that is outgoing but also modest; it is a reflection of the overall emotions of the artist that is passionate and warm. Zhou Chun Ya has given "Peach Blossoms Series" splendid colors and harmonious atmosphere; the comfort for his heart and the scenery. Viewers can feel the warmth and liberty of the artist, and bring the experience to a rich and passionate level.
1986-1989年，留學異鄉的旅程開啟周春芽對形式及色彩的探索，德國表現主義的影響自此成為一種內在 的激勵與驅力，滋養其繪畫表現的技法；而在與異文化的接觸與激盪中，周春芽亦深刻的意識到自身文化 的緊密牽引，進而回溯求取，領悟中國文人畫的內涵。當代與傳統、西洋與東方，多樣的元素不停地磨練 著藝術家的感受性，並經由其個人生命經驗逐步吸納、轉化，於往後的各系列作品中發酵成熟。 「桃花系列」為周春芽「寫意表現」風格的重要題材之一，亦是藝術家日臻純熟的心境寫照。桃花自古便 是中國文人情感寄託與文思靈感的泉源，透過詩詞書畫將濃烈的情緒轉嫁成含蓄的譬喻，使人遙想一片嬗 紅的朦朧景致中懷帶的熱切暖意；而周春芽將西方藝術表現與東方文人雅士的逸趣融併，以大膽的色彩揮 灑出緋紅翠綠的桃花春景，於取材描摹間將中國文人內斂的暗示賦予當代性的指涉，憑藉原始熾熱的情感 架起虛實之間的橋樑，也消融了時空與文化的邊界。 《忽逢桃花林》創作於2010年，畫面的元素、構圖與配色的安排傳達出周春芽對過往與現狀的一種省視 與延續。回顧周春芽自1990年以來的藝術語彙，剛毅曲折的「石頭」肌理、騷動且具爆發力的「綠狗」 形象以及赤裸裸的情慾「紅人」，不同的情緒一直藉由相異的出口洩流，然而此時卻於畫布上和諧交匯， 呈現出藝術家自信且自由的豁然通達。嬌媚欲滴的桃樹挺傲蔓延，肆意的綻放最燦爛的一瞬，飽滿清翠的 短草彷若綠狗的細毛，在光影的流淌中疏密相映著嫩粉紅花，一柱奇狀山石豎立於側邊前景，不失主體存 在的平衡畫面的韻律，是周春芽唯一一幅以太湖石相映互襯的桃花系列作品。這股寫意式的衝動是有控制 的奔放揮灑，動靜相依，既外向卻也內斂，投射的是藝術家的綜合感受，是一股仍懷抱著熱切初衷卻逐漸 圓融溫煦的心境。周春芽賦予《忽逢桃花林》斑斕的色彩及和諧的意境，精神與景物相映託訴，柔暖又暢 意的調性使觀者如沐款款春風，深深感受到一股豐沛、熱情且旺盛的生命活力。
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CHUNYA | ZHOU Peach Blossoms Series
( b.1955 )
120×150cm Oil on Canvas Signed Zhou Chunya in Chinese and English, Dated 2010
周春芽 忽逢桃花林 2010 油彩 畫布 簽名：2010 周春芽Zhou Chunya
NT$10,000,000-13,000,000 US$335,000-436,200
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朱德群
CHU TEH-CHUN 朱 德群曾言道：「我的藝術之根和源在杭州藝專。」當時的杭州藝專在林風眠的 主持下，既傳授中國傳統書畫筆墨，亦深具法國現代前衛藝術學派的薰陶，創新 的視野 滋養著中國近現代藝術名家；師事吳大羽及潘天壽，朱德群體悟中西藝術 概念的相異及互通，成為他穩紮根基、揮灑才情的最初起點。1955年朱德群移居 法國，隔年俄國藝術家尼古拉·德·斯塔耶爾 (Nicolas de Stael)的回顧展開啟他對 自由形式的嚮往，受到當代藝壇的鼓舞，早期的具像畫風逐漸發展為純粹的抽象 探索，而後融東方筆墨韻味的西方油彩畫作應運而生。 朱德群依循老莊哲理向內 心探求，亦追隨文人寫意繪畫的傳統，將眼目所觀、情思所感透過流暢的線條、 豐潤的色調以及幻化的筆觸揮灑於畫布，形塑出無形的氣質 及韻調；融併中西藝 術媒材與創作精神，闢出一條深蘊東方內涵，卻又反映時代表徵的前瞻道路，成 就其自身劃時代的經典地位。
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1980年 代以後，朱德群對取自林布蘭的「光」進行深 度的詮釋，同時著意於中國傳統的筆墨形意，涵納多樣 的技法及更豐富的色彩表現，使跨越時空、文化的元素 結構、凝 聚於畫面，交織成懷帶詩性的和諧。西方藝術 給予朱德群突破窠臼，奔往形式自由的激勵，東方文化 卻是朱德群的美感底蘊，靈思的泉源；於是吳冠中言： 「朱德群 的作品確是遠看西洋畫、近看中國畫，….，朱 德群的抽象繪畫不受遠景近景具體物象的約束，他竭力 追求深遠的空間感與具體筆墨的韻律相結合，是縱深感 與形象性都得到最充分的發揮。」朱德群以豐沛的創作 能量及獨到的藝術語彙，將中西特色融匯成具時代特性 的表徵，開創華人現代藝術史的璀璨篇章。 《紅色意境》創作於1989年， 以黃、橙、橘、紅色調 為基底，層遞出富節奏感的視覺韻律。結合中國書畫筆 法的抑、揚、頓、挫，以及西方油彩筆觸的塗、染、 刷、抹；巧妙的將頓點、線條以及 塊面融合幻化，光影 的迷離浮動和氣韻的氤氳磅礡於此渾然而成。中心的深 藍色塊將視覺聚焦，彷彿穿透入無涯無盡的宇宙洪荒， 蓄積著所有生命能量的初始，而後 便是一次燦爛驚豔的 迸發，飽滿豐實的動能傾洩流淌。筆勢時而行雲流水， 時而力拔穹蒼；光影相襯輝映，躍動的片刻閃耀著熠熠 餘暉，彷彿將永恆凝於一瞬，留住 那歷久彌新的翩然神 采。朱德群跨越古典與現代，匯融東方與西洋，精湛呈 現具象的形式與抽象的氣韻，以畫筆成就一個世代的大 師風采。
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CHU TEH-CHUN (ZHU DEQUN) (b.1920)
朱德群
Rouge B
紅色意境
92×65cm Oil on Canvas Signed CHU TEH-CHUN in Pinyin; signed in Chinese（lower
1989 油彩 畫布 簽名：朱德群 CHU TEH-CHUN
right）; signed CHU TEH-CHUN in Pinyin; signed in Chinese; titled Rouge B in French; dated 1989（on other reverse）
NT$ US$ 145
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CHU TEH-CHUN (ZHU DEQUN) (b.1920)
朱德群
No. 471
綠野
65×92cm Oil on Canvas Signed in Pinyin and Chinese and dated 71; Signed in Pinyin and Chinese and titled on the reverse Executed in 1971
1971 油彩 畫布 款識： 朱德群 CHU TEH-CHUN 71（右下） CHU TEH-CHUN 朱德群No.471（畫背） 來源： 法國私人收藏
NT$ US$ 147
展望
ZHAN WANG Zhan Wang once said "if one doesn’t know his/her origin, his/her life will become dull and lifelessthis is the basic foundation of human mentality. Throughout history, artists have used different languages to explore this question, so have I. However, I do not utilize human figures but stones in my artworks. The origin of my universe begins from a rock, we all come from a rock." Zhan Wang’s artworks have been collected in "World Sculptures", "Chinese Fine Arts" and etc. His representative "Scholar Rocks"is the first Chinese contemporary sculptures collected by the Metropolitan Museum of Art and the Boston Museum of Art. It is also collected by several art museums and personal collectors from Swiss, Germany, the United States and Singapore. "Scholar Rocks"is the prominent artwork that brought attention internationally. "Scholar Rocks"is an extremely significant characteristic in Chinese landscape architecture which uses real mountain rocks to mimic a mountain. People used to call these rocks artificial mountain rocks. The rocks are meant to satisfy people’s imagination of returning to nature. "Scholar Rocks"utilized artificial glared stainless steel along with natural rocks to create the texture and forms of natural rocks that reflected the colors in the surrounding. With the change of time and space, many twisted and broken events are reflected on it. This subverted the real size of a mountain and the materials of the traditional artificial rocks. The artist tried to breakdown the deep rooted traditional culture with the existing culture.
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展望曾說：「如果不知道自己從哪兒來的，就會變成行屍走肉，人類的思考基本上 就是這一命題。歷代藝術家都在用不同語言探討，我也是根據這一命題來思考的。 只不過我的作品不用人，而是用石頭。我的宇宙源頭就是一塊石頭，我們都是從石 頭中來。」 展望作品曾被收入《世界雕塑全集》《中國美術全集》等。其代表作「假山石」是 美國大都會博物館與波士頓美術館等首次收藏的中國當代雕塑品。亦收藏於國內數 家美術館及瑞士、德國、美國、新加坡等私人收藏。「假山石」成為其聞名國際的 重要作品。
展望相關作品設立於LOUIS VUITTON 台北101旗艦店
「假山石」是中國式園林山水式建築中一項重要的特色，用真山石堆積成假山，因 此，人們習慣稱這些用來建造園林的石頭為假山石。本意是通過小塊的天然石滿足 人們對回歸大自然的假想所求。 《假山石》媒材使用人造的鏡面不鏽鋼材料，拓上天然的石頭，使創作呈現天然的 礦物紋理與造型，反射周圍環境的色彩，隨時間、空間的變遷而改變，迸發同時也 拼湊出反射於上扭曲及破碎的事物。此作顛覆真山的體積與傳統假山石的材質，在 建立既有傳統文化的想像中，同時亦瓦解了根深蒂固的文化傳統。
展望相關作品展覽於台北101大樓大廳
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WANG | ZHAN Scholar Rocks 113×85×80cm stainless Steel, 1/10
(b. 1962)
展望 假山石 2006 不鏽鋼 1/10
NT$3,200,000-5,000,000 US$107,400-167,800
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SONG | XUE The Beauty and the Pet
( b.1965 )
80×80cm Mixed Media on Canvas Signed xue Song in Chinese With one seal of the artist
薛松
The collage "The Beauty and The Pet" in pop culture is presented with the artist’s unique style in publication snap shots to create a contrast between the main object and secondary object. The main object is presented in its original pentagon shape and the secondary object is collaged with related images. During the process of creating, the artist outlined the images first then screened out the unrelated objects. With his artistic intuition and outstanding art language, the artist realized the innocent and purity of the scars left from burning from the initial stage and eventually began the "imagery meaning" creation. The turning point of the above mentioned is the remnant of a fire in the 90s which sparked the idea of destroying and recomposing old elements.
美女與寵物
此幅以普普風拼貼出的《美女與寵物》，處理畫面以他獨特的印刷品剪影方式，當作主體
2006 綜合媒材 畫布 簽名：薛松 背面簽名：薛松×ue Song 2006
與客體之間的對比，主體以慣用的五角星型呈現，而客體以大多數相關的形象拼貼而成，
NT$550,000-750,000 US$18,500-25,200
大火後的現場情景，往後併發他創作中於對舊的"素材"進行破壞和重新組合。
在創作時，先用畫筆勾勒出所需要的圖像，然後對主題所需要的物件進行篩選剪裁，藉 敏銳的藝術直覺和出色的藝術語言，很快由最初形式上的階段，意外體悟到燃燒痕跡的單 純，之後更觸動"圖像意義"的創作。而上述這些階段性的轉捩點，莫過於一場90年代意外
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SONG | XUE Horse
( b.1965 )
120×150cm Mixed Media on Canvas Signed xue Song in Chinese EXHIBITION "Awakening, La France Mandarin the French influence on Chinecse Art", National Art Museum of China, Beijing, 2005
薛松 與徐悲鴻對話-白馬 綜合媒材 畫布 簽名：薛松 展覽 「激醒－中法藝術的碰撞與融合」，中國 美術館，北京，2005年
NT$700,000-1,000,000 US$23,500-33,600
Xue Song’s artworks are based on the foundation of Chinese calligraphy art and embellished with Western painting language; the artworks come with an unique Contemporary Chinese art. The main theme of《Horse》is the famous horses of Xu Bei Hong. The poses are surfaced, and the description of the horses are simplified to the extent of only shadows of the contour. Within the contour, xue Song has filled the inner with Western painting brushstrokes. There are no trace of Chinese painting elements but only singular brushstrokes with no directions. The background is handled with similar methods that eliminated Chinese calligraphy but rather presented in colored lines, making it a symbolic background installation. The white horse carries western painting language. This contradictory representation can often be seen in xue Song’s artworks to reflect the intangible tug of war between Chinese contemporary and traditional art. Maybe the artist is wishing that Chinese traditional art can still create a new conversation under the influence of contemporary European art.
薛松的作品，以中國書畫藝術為基底套上西方繪畫語言，混生 出當代中國藝術的獨特面向，此件《與徐悲鴻的對話－白馬》 便以徐悲鴻著名的馬匹姿態作為畫面主體，但卻平面化的處 理，將對於馬的描繪簡化至輪廓剪影，而在這象徵中國書畫藝 術的輪廓之內，薛松以西方繪畫的筆觸填滿其內部，無方向性 且單一的筆觸使馬完全平面化，自然也失去的筆墨氣韻等中國 繪畫所注重的元素。背景的處理也可見相同的操作手法，失去 墨韻的書法，轉以色彩線條組成，成為具象徵性的背景鋪設。 在徐悲鴻的白馬之內，承載的是西方藝術的繪畫語言，這樣強 烈的對照常見於其作品之中，反映出中國當代藝術與傳統藝術 的無形拉扯，或許薛松在名稱上所言的對話，就是希望在以歐 洲中心主義的當代藝術影響之下，中國當代藝術仍能透過傳統 建立出特有的新對話關係。 152
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MING | JU Tai Chi Series-Single Whip (b.1938)
1981 47×24×31.5 cm Stainless Steel 2/2 Signed JU MING in Chinese and number 2/2 With a certificate of authenticity signed by the artist from Caves Art Gallery
NT$ 4,500,000-6,500,000 US$ 140,700-203,200
朱銘 單邊下勢 1981 47×24×31.5 cm 不銹鋼 2/2 簽名：朱銘 2/2 附敦煌藝術中心開立朱銘親簽保證書
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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.
這是一件實心的不鏽鋼《單邊下勢》，當時朱銘企圖突破翻銅的限 制，與一般不鏽鋼的創作方式，他試著將液狀的不鏽鋼導入其預先製 作之模型中，希望造就出一種前所未有的質感，但由於難度過高，總 共只完成二件。本件作品果然不負朱銘所期待的，閃耀著如古銀幣般 高貴內斂而溫潤的獨特光芒，其永恆而珍貴稀有。
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朱銘
JU MING From the beginning of the taichi series, Zhu Ming has dissociated from the traditional realist to impressionist and gradually deepened his art language and creation concepts; from simplifying to form and then to meaning in his artwork. "Taichi Series- Single Whip"is the 27th form in taichi series, it’s a descending pose and also the lowest positioned. Utilizing the strength from sitting to counteract the force from the opponent, and when the opponent strikes in vain, it strikes back. From the beginning of the taichi series, Zhu Ming has dissociated from the traditional realist to impressionist and gradually deepened his art language and creation concepts; from simplifying to form and then to meaning in his artwork. "Taichi Series- Single Whip"is the 27th form in taichi series, it’s a descending pose and also the lowest positioned. Utilizing the strength from sitting to counteract the force from the opponent, and when the opponent strikes in vain, it strikes back.
自太極系列起始，朱銘抽離傳統雕刻的寫實風格而轉入寫意，並逐步深化它的藝術 語彙及理念精神。從一開始的招式簡化，進而在創作中由「形」轉至「意」。「單 鞭下勢」為太極拳法中的第二十七式，是一個下沈姿勢，亦是太極拳招式最低的一 個式子，乃取其坐身揉避，變化敵力，令其落空，即乘勢前擊。 《單邊下勢》為朱銘的太極系列作品中，最負盛名之作，已廣獲許多博物館與機構 收藏。在朱銘的工法雕刻下，呈現大氣魄與生動的立體感，造形簡潔，體感強烈， 通過大塊面積切割及平衡造形，充分流露出強弓之弩、蓄勢待發的智勇情狀，於氣 沉丹田，沉靜的外表下蘊藏巨大能量。此件石雕的《單邊下勢》僅有十件，匠心獨 具只見輪廓不見五官呈現出武者內斂的神情，朱銘雖創作過多件《單邊下勢》但其 素材肌理及其神態、氣勢皆各有千秋，表現出不同時期朱銘對於「太極」的體悟及 成熟度的不同，儘管同一主題，卻各有其獨一無二的特質。
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MING | JU Taichi Series- Single Whip ( b.1938 )
82×36×52cm Stone Carving 8/10 Signed Ju Ming in Chinese and dated 1997, numbered 8/10 With a certificate of authenticity from Gallery
朱銘 太極－單鞭下勢 1997 石頭 8/10 簽名：朱銘'97 8/10 附畫廊開立之原作保證書
NT$7,500,000-9,000,000 US$251,700-302,00
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朱銘
JU MING Wang Zong Yue from the Qing Dynasty said "Taiji, derived from the wuji, is the switch between movement and stillness. It is the mother of the yingyang…ever changing but comes in only one belief." Taichi is a practice based on the theories of taichi, including the comprehension of the universe and life. Utilizing the balance between the universe and life, the artist discussed the subtle change between movement and stillness; the real and the virtual. Ju Ming’s taichi series is also an understanding of the above mentioned Eastern philosophy, and through sculpture the artist created an invisible artistic concept. From the original form to the meaning and extending to being liberal and maintaining a stillness even during movement. Ju Ming made a breakthrough with his skills and forms and gave the artwork a sophisticated cultural meaning. It is known as the ultimate attainment of Chinese modern sculpture.
清代王宗岳於《太極拳論》開宗明義論及「太極者，無極而生，動靜 之機，陰陽之母也……雖變化萬端，而理唯一貫。」太極拳術基植於 太極學理，含納對宇宙、人道的理解，取二元相生互制之說，探討靜 動、虛實間的變動幻化；朱銘的太極系列亦源於對此東方哲思的參透 理解，藉由實體雕刻鑿出無形氣韻，由最初的形式探究到意象外顯， 以至「屈伸開合聽自由」、「靜中觸動動猶靜」的神形階段，朱銘突 破雕刻技法與形式，賦予作品深厚的東方文化底蘊，堪稱華人現代雕 塑的極致展現。 「拱門」是兩方對招的延伸，探究二者間去就、剛柔、進退、靜動間 的相濟循環，形成「因敵變化示神奇」的運動狀態，朱銘將這兩者往 來的隨勢韻律續接連貫，由定點姿態轉為承轉動勢，呈現流暢通透的 意氣運行。此件《太極拱門》高77公分，有別於常見的圓弧及長方形 式，此作幾乎呈現三角形狀，姿態陡峭而俐落，朱銘以湛練的刀工與 沉定的心神精妙掌握太極神髓，捕捉交鋒時刻凝結的瞬間動勢，堅韌 果斷的刀法全然釋放蓄積的能 量，展現虛無空間中實體的魄 力與勁道，在強烈速度感的驅 策下，各步技巧招式於此相互 交融、貫穿始終，進而反璞歸 真，達到「全身透空，無形無 象」的最高境地。
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MING | JU Taichi Series - Taichi Arch ( b.1938 )
70×73×48cm Wood Signed Ju Ming in Chinese, dated 2000 With a certificate of authenticity from Gallery
朱銘 太極拱門 2000 木頭 簽名：朱銘2000 附畫廊開立之原作保證書
NT$10,000,000-12,000,000 US$335,600-402,700
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YANG | YUYU Tai Chi (2)
( 1926-1997 )
65×97×50cm Bronze, 15/20 With certificate of authenticity from Yu Yu Yang Foundation
楊英風 太極(二) 銅 15/20 簽名：英風 '72 台北 YUYU YANG 附楊英風基金會開立之原作保證書
NT$380,000-600,000 US$12,800-20,100
《太極（二）》此雕塑呈現簡潔的切割，暗示出行拳中太極的姿 態；凸面是臂，挖空的另一面，凹面似抱一個抽象的圓球般，這一 正一反如一虛一實的兩個弧形，就像太極拳法中的太極起勢。刻意 的傾斜的擺置，更突顯了靜中帶動的所蘊含之氣。大自然的氣是來 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 開始。楊氏「太極」相關主題的作品造型偏向抽象，呈現打太極拳 時的拳勢。面對《太極（二）》這樣的作品，似乎有一股循環不已 的氣，裊繞周遭，更與人形成一種交替轉換與生生不息的意境。
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YANG | YUYU Growth(1)
( 1926-1997 )
113×110×110cm Stainless steel, 8/9 Signed Yin Feng in Chinese and dated 1988, numbered 8/9 With a certificate of authenticity from Yu Yu Yang Foundation
楊英風 茁壯(一) 1988 不鏽鋼 8/9 簽名：'88英風8/9 附楊英風基金會開立之原作 保證書
NT$450,000-800,000 US$15,100-26,800
《Growth（1）》comes in a style like windy ropes tangled together and is similar to 《結圓‧結緣》which both tried to represent an image similar to Chinese knots. With a tree as the main theme in《Growth（1）》, it represents a prosperous and lively plant standing upright to the sky. The foundation is stable and enabled the tree to grow into a divine tree with a humble and soft heart. On mother earth, it receives nutrition from the rain and absorbs the essence. With the passing of time it will eventually grow even stronger and blesses the generations ahead, proving a place for people to rest.
《茁壯（一）》其造型彷彿繩結纏繞一般蜿蜒。此作 與《結圓‧結緣》造型相仿，主要形塑出類似中國結 的形象。《茁壯（一）》實際上是以大樹作為意象， 象徵綠意發華、生機盎然的巨樹，如地聳蒼龍勢抱雲 般伸展。底座為穩固的盤根奠基，向上則萌發為參天 巨林；其開闊豪壯的造型裡，蘊藏著一棵樸拙寬厚的 心。在大地上，欣受甘霖洗禮，納取地氣精華，仰望 日月光華的流轉遞移，終將日益茁壯，蔭惠子孫，為 人們創造一片休憩的悠閒天地。
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YANG | YUYU Cosmic Encounter
( 1926-1997 )
70×120×72cm Stainless steel, 8/10 With a certificate of authenticity from Yu Yu Yang Foundation
楊英風 天地星緣 1987 不鏽鋼 8/10 附楊英風基金會開立之原作保證書
NT$450,000-750,000 US$15,100-26,800 《天地星緣》為楊英風不銹鋼「宇宙系 列」的作品之一。「天圓地方」是中國 人對自然的設想，堪稱為一種「對稱」 「完整」之美的形容，更有一番豪放奔 騰的情懷之透射。中國人的陰陽觀念從 形而上到形而下，實體到虛幻，有稜角 與圓融完滿，楊英風一直是喜歡思索其 中進而創作。天地之間何其曠達與無邊 無涯，眾星循環其中，激發恆久的光 輝，因緣聚散，充盈起宇宙的絢爛之 美。是一份「緣」，完成生命的滋生， 由無數「圓」所組成的希望。
展覽：「楊英風高雄 '92個展」，大眾銀行總行， 高雄，1992年4月2日至4月11日
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SHIHCHIAO | LI Niagara Falls
( 1908-1995 )
45.5×53cm Oil on Canvas Signed Shi Qiao and dated 1974 in Chinese
李石樵 尼加拉瓜大瀑布 1974 油彩 畫布 簽名：一九七四 石樵
NT$600,000-900,000 US$20,100-30,200
李石樵為台灣第一代西畫家。1974年自 師大退休後，開始不時往返臺灣及美國兩 地。在1970年與1980年的風格偏向追求 高彩度的色彩效果，使其表象的寫實風格 傾向富麗。李石樵曾說：「每個顏色都有 很好的效果，最理想的表達方式，當我們 在欣賞其作品之際，強烈的高彩度震懾了 我們的視覺域。」 由《尼加拉瓜大瀑布》可見此畫面主要訴 求的重點「彩度」。從畫面左邊瀑布流洩 的邊緣延伸至畫面冒起的瀑布水氣，使觀 者把焦點集中，並襯托出瀑布上層的湛 藍、平靜河面的水藍與天空的藍綠色，上 述顏色均採用低明度、高彩度的詮釋，進 一步傳達出澎湃的活力，在天空、山麓、 瀑布上游及下游的塊面比例作分佈，以畫 面平順的筆觸呈現寫實自然景觀的同時， 並間接表達對土地的情感。此畫反映出畫 家所主張「從現實中探索美的題材與富有 美感價值的藝術」。
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JIUN | PANG Affectionate Flower
( b.1936 )
72×60cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2005 With one seal of the artist
龎均 小花情深 2005 油彩 畫布 簽名：龎均 2005 鈐印：均
NT$450,000-550,000 US$15,100-18,500
龎均生於油畫世家，有繪畫神童之稱；師承林風眠、徐悲鴻、 潘天壽與李可染等前輩。其為著名的中國油畫家，喜愛寫生。 評論家說：「龎均的最大成就是他創立的油畫東方風格，在油 畫色彩運用上，既有西方印象派後期和野獸派綜合的優點、有 西方式的熱情和爆發力，又有東方文人畫與詩情結合的詩情畫 意。」《小花情深》雖以油畫作為媒材，卻闊別了以顏色變化 組成真實物件的方式，相反的，採用了國畫中的精隨「線條」 加以詮釋物件的形象；即在寫生的當下經由自己的感想、思 想，對於當前的影像做出取捨、簡練，創造出自己的意境，獨 創出龐氏的「油畫東方風格」。
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CHIN | CHEN The Orchid
(1907-1998)
45.5×53cm Gouache Color on Silk
陳進 蘭花 膠彩 絹布
NT$800,000-1,000,000 US$26,800-33,600
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ERFU | CHEN Signed CEF 2012 in English, 2012 ( b.1965 )
Signed on the Reverse:Sunshine of noon Chen ErFu in English, dated 2012 80×100cm Oil on Canvas
陳二夫
正午的陽光 2012 油彩 畫布 簽名：CEF2012 背面簽名：正午的陽光 陳二夫2012年 附畫廊開立之藝術家親簽保證書
NT$……………………… US$………………………
陳二夫的繪畫流露出唯美寫實的風 采，透過光影的幻化流轉，將日常 景致呈現地優雅恬適，以細膩的情 思捕捉生活的處處美好。《正午的 陽光》畫面灑落金黃色的靜謐，照
畫作正面簽名
耀著鄉村農舍的質樸與恬淡，洋溢 著和煦安然的氛圍；直觀的視角牽 引觀者駐足沉緬，彷彿隔卻一切喧 囂紛擾，感受心靈被柔和的暖意安 撫滌淨，回歸最純粹，卻知足完滿 的生命樣態。
畫作背面簽名
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DIN | YANG Summer
( b.1958 )
80×80cm Oil on Canvas With a certificate of authenticity from Gallery
楊登雄
楊登雄為華裔旅法藝術家，其以傑出的表現榮獲藝術沙龍首
夏
獎。其擅長以全景環繞的方式和電影手法，繪出一個無垠的 世界。
油彩 畫布 附畫廊開立之原作保證書
NT$200,000-300,000 US$6,700-10,100
《夏》簡約主義的極致，將偏白樹枝以外的雜物隱沒，毫不 顧忌以簡約深藍色系大樹為背景，類似大片留白襯托面積相 對極小的主體，突顯了主體的存在，同時也表達了畫家嚮往 脫俗寧靜的心境；除主體樹枝外空曠簡潔，看似想像之景， 似真亦假。濃厚的肌理堆疊成特殊的視覺效果，一層層不同 色彩混合的顏料，無規律感卻具流滴感的筆觸，使肌理濃厚 呈現，表現自然界生氣勃勃呵和諧統一的氣息；簡易的空間 展現無盡的美感與思維。
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PIERRE FERNANDEZ | ARMAN, La Venus Musicale
( 1928-2005 )
45×20×20cm Bronze, 100/100 Signed arman bocquel Fd. in English, numbered 100/100
阿曼 La Venus Musicale 1998 銅 100/100 簽名：arman bocquel Fd. 100/100
NT$180,000-260,000 US$6,000-8,700
Armand was recognized as one of the artists in art histor y during his lifetime. He was a leader in New Realism and also a pioneer in contemporary art. His innovative ideas and skills secured his achievements in Contempor ar y ar t. 《L a Venus Music ale》is a representation of the mythical Venus. The artist has incorporated a lifeless instrument into the voluptuous figure and blended both lines and curves together as though classical music has slowly dripped into life and the ancient beauty carr ying music as the spirit. It is a symbol of hope and giving the artwork another interpretation or statement.
阿曼是在世即被寫入美術史的藝術家，為新寫實主義 的領導者，當代集積藝術大師，大膽的創意與手法， 讓他走在時代的最前端在當代藝術佔有一席之地。 《La Venus Musicale》維納斯神話氣質的展現，並將 無機物的樂器融入豐潤的人體，兩者線條及曲線性的 融合，仿佛樂章緩緩溶入生命及古典豐腴的女神形態 中，孕育的是音樂的靈魂，也是希望的象徵，表達出 其作品的另一種聲明或注解。
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MING | JU Tiger
( b.1938 )
Bronze, 28/30 Signed JuMing in Chinese, numbered 28/30 With a certificate of authenticity from Gallery
朱銘 十二生肖－虎 銅 28/30 簽名：朱銘 28-30 附畫廊開立之原作保證書
NT$350,000-450,000 US$11,700-15,100
朱銘壯年時期拜入台灣雕塑界大師楊英風門下，其融 合傳統木雕與現代雕塑的精神。1976年於國立歷史 博物館舉辦首次個展，創作了《同心協力》等以台灣 鄉土為題材且又富含生命力的木雕作品，當時正值台 灣文化主體性的議題沸揚之時，因此受到了藝文界熱 烈的迴響。其後，朱銘融合文化精神與太極招式的 「太極系列」作品，更確立了朱銘在雕塑界的地位。 朱銘提出了關於鄉土主義的《十二生肖》系列，回應 中國傳統中暗喻「諸事如意」的意涵。《十二生肖— 虎》的創作靈感來自對生活與自然的觀察，作品用線 條刻劃簡潔利落，並以大塊面的切割方式，展現虎的 粗獷與另人為之震懾的威嚇感。作品表現深藏東方之 精神性，融合傳統與現代的獨特藝術表現，其為台灣 美術界的代表藝術家之一。
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×IAOFANG | YUAN Fly Plan
( b.1961 )
120.5×90.5cm Oil on Canvas Signed xiao Fang in Chinese and xiao Fnag in English With a certificate of authenticity from Gallery
袁曉舫 飛行計畫 油彩 畫布 簽名：曉舫 xiao Fang 附畫廊開立之原作保證書
NT$280,000-500,000 US$9,400-16,800
袁曉舫為中國政治普普藝術的先驅。他是學中國 畫出生，對宋元山水畫有著特殊的偏愛。他改造 傳統山水畫藉著現代藝術的形式與觀念，訴求在 全球化的腳步中，強勢的西方文化正對傳統的中 國文化造成巨大的威脅，如何避免這一現象，顯 然是當務之急的問題，否則後果將不堪設想。 《飛行計畫》西式的戰機巡航於全球，優美與寂 靜的飛行於僅佔右下一角的土地之上，除去其他 繁複的細節，只為突顯那弔詭寧靜的氛圍。戰機 土地色調趨於粉色與玻璃般晶亮化，清涼感覺的 畫面讓人覺得舒適萬分，就像夏天的薄荷味；他 以時空交錯、矛盾衝突構成的畫面，反映來自內 心深處的呼喚！暗示著文化帝國主義已經偽裝成 漂亮時髦的高科技時髦產品，新的學習和接受與 新的文化抵制同樣地套上了時尚的外衣，讓人無 法分辨的影響著全球文化。
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GUOxin | YANG The Legend-Jiangnan 2009-2
( b.1951 )
140×140cm Oil on Canvas Signed Guo xin in Chinese and Yang Guo xin in English, dated 2009 ILLUSTRATED " YANG GUOxin", Ling Nan Art Publishing House, 2011, Page 80 With a certificate of authenticity from Gallery
楊國辛 傳說－江南2009-2 2009 油彩 畫布 簽名：國辛Yang Guo xin 2009 背面題識： 沙上不聞鴻雁信， 竹間時聽鷓鴣啼， 此情唯有落花知。 －蘇軾 圖錄 《景深》楊國辛作品，嶺南美術出版社， 2011年，第80頁 附畫廊開立之原作保證書
NT$550,000-750,000 US$18,500-25,200
楊國辛是中國普普的先驅，首創將照片、繪畫、絲網印刷混合應用，並嘗試擺脫純 繪畫侷限。楊國辛在2005年的創作「傳說江南」系列作品，成為湖北當代藝術群 體的重要代表，借由當代「江南」影像為切入點，實則表現當代物質社會下，一種 已流逝的文化傳統。
《傳說-江南2009-2》 背面題識： 沙上不聞鴻雁信， 竹間時聽鷓鴣啼， 此情唯有落花知。 －蘇軾 其使用了普普表現手法，把上述英譯蘇軾〈浣溪沙〉的片段拓印在畫面上，這種類 似中國書畫結合的方式，反映其對東西方傳統與當代兩種文明碰撞的思考。畫面文 字與圖像共同傾訴，當鷓鴣啼聲勾起畫中人對故舊的思念，使窗外無知的落花變成 了深知畫中人心情的知己，如此而賦予了此作一段悠遠的歷史景深。
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SHU | YANG Scrawl
( b.1965 )
90×70cm Oil on Canvas Signed Shu in Chinese, dated 2008
楊述 塗鴉 2008 油彩 畫布 簽名：2008.5述
NT$150,000-250,000 US$5,000-8,400
Graduating from the Si Chuan Art School, Yang Shu is indeed a talented art wiz. Oil paintings and composition are his main focus. They are his interpretation of scenery or the life-long realization of art or internal impulse while he taught. A natural abstract presentation inspired his artwork. "Colors and brushstrokes are the language of painting, presenting the relationship between viewers and the artworks." Therefore he greatly utilized abstract elements, symbols, Chinese characters and alphabets in his artworks. This "Scrawl" may seem simple and direct; however, it experiences the confusion he has in life and completely differentiated from the literal meaning. Even though it is mere presentation of alphabets and lines but when the contrasting elements gather together and presenting on this non-traditional composition, the artwork has become more than meaning and can be e×plored even more deeply.
四川美院出身的楊述，是個多才多藝的鬼才畫家，其油彩和構圖是他主要的創作手法，平常在他對景物的見解，或是在他出身的四川美 院授課方式，都能看到對藝術長期有著深刻的思考和心靈內在的衝動。很自然的抽象表現主義已成為楊述創作的一個源泉！ 而在他自述說起「色彩和筆觸是繪畫的語言，意有所指的是觀者與作品的關係。」所以善用大量的純抽象元素以及標記、符號、漢字、 字母等出現在畫作中。此幅《塗鴉》畫作看似簡單率直、隨興愜意，但事實上卻頻繁表達出他心中的困惑，完全跳脫字面上任何的涵義 所在，即使只是散佈字母、線條塊狀，但有股新的衝突使元素凝聚在一起，使之截然不同在傳統的構圖上，已衍然成為只能是「會意」 這途徑可以闡述的。 186
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TZU (YU LI) | LI Sutra Series- Lily
( b.1979 )
180×140cm Oil on Canvas Signed Lily in Chinese, dated 2007.10
栗子 (余麗)
栗子的作品講述愛的多面，愛的邪惡。幽靈
般若心經 彼岸花
般的形象吸引著我們去探索畫中更深遠的地 方，畫面中的場景令人暈眩，消瘦的人物使
2007 油彩 畫布 簽名：栗子 2007.10
我們感到不安。自成一格、不追隨主流中國 當代藝術的風格，在當今中國藝術圈中是個 異數。栗子積極往國際路線走，將使得她未
NT$280,000-450,000 US$9,400-15,100
來的藝術路程更具國際觀，本次拍品延續了 她輕盈淒美的氣圍。 187
a.國王
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HUANG MINGCHE
( b.1948 )
a.The King
a.國王
b.The Queen
b.皇后
a.45×37.8cm b.45×37.8cm Oil on Canvas a.Signed on the Reverse: Che in Chinese, dated 1990 b.Signed Che in Chinese, dated 1990
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黃銘哲
a.1990 b.1990 油彩 畫布 a.背面簽名：哲1990 b.簽名：1990哲
NT$220,000-300,000 US$7,400-10,100
b.皇后
1991~1993為黃銘哲的「都會時期」風格。黃銘哲在1992年應邀於國立美術館舉行個展—「國王的夢」。姑且迷信 世紀末的特異氛圍，但世紀尚未結束，藝術家就已迫不及待跌入末世的華麗之中。 《國王》頭像臨死般下垂，或是痛苦地轉向一旁。特意創造出一種既包含古典聖經題材畫作中，受難聖賢殉道的姿 態，反映出的是一種男性如困獸般的痛苦、情慾與焦慮。在這樣自戀頹唐的風格裡，他畫的男人「國王」系列，像是 「國王的夢」、「飛越城堡」等，他把自己比喻成城堡裡的孤寂國王，象徵自己愛情不順遂的遭遇和苦悶。在他的身 上，澎湃情慾在他的不同階段以不同的形式佔據。
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HSIENMING | LU Hurry
( b.1959 )
陸先銘
陸先銘的都會寫實作品，創造了無人可與之並提的鮮
疾
明風格。其展覽紀錄豐富，涵蓋國內外各大美術館、 畫廊，多年來已逾百餘次，其作獲德國路德維國際藝
67.5×52cm Mixed Media
1998 綜合媒材
ILLUSTRATED "Bold Designs" Voice from the Urban Periphery, Insian Gallery, 1998, Page 41 With a certificate of authenticity from Gallery
圖錄 《悍圖》都市邊緣的主流意志 陸先銘畫集 印象畫廊PART 1998 第41頁 附畫廊開立之原作保證書
術論壇等各大美術館、博物館及私人收藏。 《疾》人物呈現疾步快走的動態停格，右邊冷硬鏽蝕 的支撐柱，與衝忙的步伐有緊密的聯繫，畫面的沉重 緊張感，藉著蒙上秀蝕般的朦朧深紅、黑、灰等色調 與背景高架橋詮釋得淋漓盡致；高調繁華的現代化建 設，加快了城市對外的連結和溝通的速度，也造成人 際的疏離。其筆下的小人物每每出現失神與落寞，彷
NT$160,000-260,000 US$5,400-8,700
彿只能別無選擇的緊跟著環境變牽的步伐前進。陸先 銘：「身在資本主義社會裡的每個人，都好像籠子裡 的小老鼠，奮力在滾輪上奔跑。」
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PIERRE FERNANDEZ ARMAN (1928-2005) Mi-Siren 28.5×20×28cm Bronze, 35/80 Signed arman bocquel Fd. in English, numbered 35/80 With a certificate of authenticity from Gallery
阿曼 端坐的淑女 1996 銅 35/80 簽名：arman bocquel Fd. 35/80 附畫廊開立之原作保證書
NT$150,000-240,000 US$5,000-8,100
Pierre Fernandez Arman loves to venture diverse art styles. In 1996, the "Mi-Siren" with created with apportion of the human body technique. The full and voluptuous classical female figure is layed out, and new spaces were created in between through vertical and horizontal lines and giving the sculpture a different facet. The a p p e a r a n c e i s s a t u r a te d a n d sophisticated showing a contrast with the inner humbleness, and a combination of the appearance and inner message provokes deep and rich self reflection. Putting emphasis on both the composition and quality ; giving a new meaning to classical art fully show the aesthetics in Arman’s oeuvres.
熱愛嘗試各樣藝術表現手法的阿曼，1996年以解構人體的手法創作出《端 坐的淑女》，飽和圓潤的古典女體，受以垂直、水平的有力分割下進行開 展，一處新的空間就此創造出來、賦予創新的面貌――外觀的厚重飽實與內 裡掏蝕成虛空，兩種面貌剛柔並濟的併置於同一件軀體，給出深邃又豐富的 反思。阿曼寓理於趣、形質並重的風格，為古典藝術展現現代性的新意，並 將作品充分增添當代的美感思維。 191
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IIDA KIRIKO
(b.1970)
In To The Light 116.7×91cm Oil on Canvas Signed Kiriko Iida in English, dated 2009 With a certificate of authenticity from Gallery
飯田桐子 光 2009 油彩 畫布 簽名：Kiriko Iida 2009 附畫廊開立之原作保證書
NT$300,000-500,000 US$10,100-16,800
飯田喜愛探討永恆與瞬間的對比，當大地覆上純白無 暇的初霜，宛如作品中的留白；此時白色是最具包容 力的顏色，足以襯托出其他顏色的深度。如同初霜時 隱匿在白霜之下的大地，其實是別有風貌；雖然它不 一定是畫面的主角，但它的存在是必要。飯田作品中 人物的眼底抹上的那一道紅陰影，凝視前方，彷彿時 間靜止，而堅定的眼神，除了傳達出永恆的意念，亦 也透露出對下一個階段的期待！
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YAYOI KUSAMA
(b.1929)
Five Fortunes Coming Home a.8.5×7.5cm b.8.5×7.5cm c.8.5×7.5cm d.8.5×7.5cm e.8.5×7.5cm
a.ceramic 67/130 b.ceramic 67/130 c.ceramic 67/130 d.ceramic 67/130 e.ceramic 67/130
a.Yayoi Kusama 2002 67/130 b.Yayoi Kusama 2002 67/130 c.Yayoi Kusama 2002 67/130 d.Yayoi Kusama 2002 67/130 e.Yayoi Kusama 2002 67/130 With a certificate of authenticity from Gallery
草間彌生 五福臨門 2002 a.陶瓷 67/130 b.陶瓷 67/130 c.陶瓷 67/130 d.陶瓷 67/130 e.陶瓷 67/130 a.簽名：Yayoi Kusama 2002 67/130 b.簽名：Yayoi Kusama 2002 67/130 c.簽名：Yayoi Kusama 2002 67/130 d.簽名：Yayoi Kusama 2002 67/130 e.簽名：Yayoi Kusama 2002 67/130 附畫廊開立之原作保證書
NT$250,000-350,000 US$8,400-11,700
國內知名評論家陸蓉之把草間彌生比作20世紀國際藝壇最閃耀的女明星。她說：「但就具有標誌特性的獨特藝術風格以及開創 性來說，草間彌生的復活源自她的藝術本身。」草間彌生將日本人的名字寫入西方普普藝術史，並與安迪沃霍等一起參加在綠 色畫廊的群展。
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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。草間彌生說：「地球也不過是百萬 個圓點中的一個，畫好了圓點，就畫好了宇宙，畫好了世態人生。」因而創作出迷離的圓點、無限的網等當代藝術的符號，其創作的風 格跨越多種媒材，風行全世界，更影響了不同藝術思潮及學派。
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LIN SHIENMAO
(b.1955)
Elegant Dacing 72.5×60.5cm Oil on Canvas Signed Shien Mao in English, dated 2012
林憲茂 舞魅 2012 油彩 畫布 簽名：Shien Mao 2012 附藝術家親簽之原作保證書
NT$160,000-260,000 US$5,400-8,700
Taiwanese painter, Lin Shien Mao, the President of Chinese International Affairs Association, has won a prize in the 10th art exhibition and his artworks are collected. In the surreal environment presented in "Dancing Series", Lin practiced surrealism to express modern thinking. His approach is greatly recognized. With many dancing females in the painting, bright and contrasting colors, in "Elegant Dacing" it expresses a pose that is fast and eager with the leaping and bounding bodies. The figures and scenery no longer exist, yet they exist in the real and surreal. We care more about the scenery in our hearts; the exploding lines and romantic colors that willfully exist internally. The viewers are involuntarily involved in this "realistic and surreal" debate.
台灣畫家林憲茂為中華民國國際協會理事長，並在第十 屆美展贏得優選並獲收藏。林憲茂的作品「舞動系列」 虛擬造境的表現，沿用了超現實主義的精神，表達當代 人的所思所想，是值得被肯定的。 《舞魅》畫面中把多個舞蹈的女人填滿於畫面間，強烈 繽紛的色彩，在舞動飛躍之際其身體姿態的筆觸，表達 急速飛梭的姿態，節奏性地鋪陳出音樂性，所有的人物 及風景已經不復是真實的存在，它介於真實與虛妄之 間；我們更關心存在於心靈中的風景、爆發性的線條與 浪漫憂鬱的顏色，肆意的揮灑來表達內心狂想與凌空飛 昇的世界，使得觀賞者都無可避免地被捲入「真實與虛 幻」的辯證中。
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LI QUANWU
(b.1957)
Fragrance of Tea 76.5×76.5cm Oil on Canvas Signed Quan Wu in Chinese and dated 1994
李全武 茶香 1994 油彩 畫布 簽名：全武 Q.W.94
NT$280,000-400,000 US$9,400-13,400
Li Quanwu's fine skills at modeling forms and his mature expressive abilities, along with a distinctive individual style, have led critics to describe him as "a contemporar y realist painter who has received the essence of European classical realism while al so possessing an eastern poetic sensibility."
李全武被藝評家譽為「深得歐洲古典寫實繪 畫精髓，又兼具東方詩意的當代寫實主義畫 家」。其創作被中國美術館等單位收藏，並 與陳逸飛、陳丹青等知名的中國旅美畫家， 成為美國著名畫廊的簽約畫家。 《茶香》主角五官典型呈現東方古典美感， 以彷彿古典寫實的風格詮釋的淋漓盡致，描 摹端坐斟茶姿態，彷彿感受陣陣的茶香撲鼻 來。背景為唐周昉的簪花仕女圖，更突顯出 整個畫面的東方的氣息。其在肖像畫方面獨 到的理解和表現力，為他在肖像畫壇贏得了 廣泛的聲譽和地位。
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LIN DACHUAN Besides the River 38.5×31cm Oil on Canvas Signed D.T. Lin in English PROVENANCE Acquired from artist
(1912-1985)
林達川為地位及風格皆相當突出的旅日華裔畫家，曾師從林風眠及潘天 壽等近現代大師，後赴日向梅原龍三郎和安井曾太郎學習。當時日本美 術界正浸染於「準印象派」的光暈之中，林達川亦受到此種技法的啟發 與影響。旅日期間，他獲得全日本第六屆美術展覽會「無監查」與「依 囑」的榮譽資格，並加入日本美術家聯盟，為當時該聯盟中唯一的中國 籍畫家。憑藉著獨特的美感與熟稔的技法，林達川以一位客居日本的外 來藝術家的身份融入當地的藝術主流，並成為戰後日本美術界獲得最高
林達川
榮譽的華人畫家。
傍水依山
《傍水依山》一作主題鮮明、用色巧妙，形式結構皆搭配得宜。立體搶 眼的紅色建築聳立於畫面中央，在巍峨山勢及涓流河水的襯托下更顯別
油彩 畫布 簽名：D.T. Lin 現藏家購自藝術家本人
緻；徐徐微風似推著小船緩緩前行，使畫面充滿著流動的韻律。林達川 反覆使用揉、拂、點、塗的調色技法，搭配充滿動勢的筆觸及簡練的構 圖，呈現光影氤氳的景觀樣貌，展現中西技法交融的獨特魅力。整幅畫
NT$250,000-320,000 US$8,400-10,700 200
作滿溢活潑、自然的氛圍，傳遞出暢意舒適的感受，令人心神嚮往。
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DONG XIWEN (1914-1973)
A Girl of Tibetan People 80×69cm Oil on Canvas Signed Xiwen in Chinese, dated 1961
董希文 藏族少女 1961 油彩 畫布 簽名：希文 六一•二
NT$1,600,000-2,000,000 US$53,700-67,100
Dong Xi Wen is one of the most outstanding oil painters in Chinese art world in the 50s and 60s. His artworks have continually won recognition from famous artists such as Xu Bei Hong and Ai Zhong Xin. Chairman Mao once said "our paintings are invincible when compared internationally because we have our unique nationalist ethnicity." when he saw Dong's painting. Dedicating his earlier research to studying Dunhuang frescoes and utilizing it with oil painting, the artworks are completely fresh from the past presentation. Dong Xi Wen’s art skills represent Eastern art, focusing of expressing the strength and gaining materials from life experiences; the exploration of form comes from the affection in life. This female in "A Girl of Tibetan People" has a gentle body form but determined facial expression that contrast with the color clothing and background colors. The realist approach is presented by Dong Xi Wen after studying countless ancient paintings and understanding how the figures are presented with exquisite brushstrokes and colors. The artist have completely presented the Tibetan culture and customs, and viewers can experience the real lives of the Tibetans.
董希文是在中國50-60年代初活躍在畫壇上最傑出的油畫家，他的畫作多次得到徐悲鴻、艾中信等著名畫家的好評，亦得到毛澤 東的賞識，曾讚道：「我們的畫，拿到國際間去，別人是比不過我們的，因為我們有獨特的民族形式。」 早年投入西北敦煌壁畫藝術的研究，並運用於油畫創作之中，使畫風與過往截然不同，董希文的藝術手法是東方藝術的特點之 一，在畫作的感受上，重視表現力，取材於親身經歷過的周遭體悟，形式的探求完全出於對生活誠摯的情感。 這幅《藏族少女》此女性柔和的身段與堅毅面容，和對比衣裳的繽紛及身後的大地色彩，寫實般的生活感，出於董希文對古代無 名畫師的研究後，了解到他們對人物表現的呈現是非常善用筆觸的勾勒和用色獨到的方式，因此參透此技法後，董希文完整把藏 族地區的人文風情樣貌給表達出來，可感受到當時栩栩如生的塞外生活體悟，是十分感人的。
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LEE JUNGWOONG
(b.1963)
Brush
李錠雄
122×200cm Mixed Media on Korean Paper Signed Lee Jung Woong in Korean
毛筆
ILLUSRATED "Lee, Jung woog: Staric Brush with Splash Ink" GRS Gallery, Page 14 With a certificate of authenticity from Gallery
2006 綜合媒材 韓國紙 簽名浮雕：이정웅 圖錄 《李錠雄：墨韻中的禪靜》金德瑞藝術中心 第14頁 附畫廊開立之原作保證書
NT$1,100,000-1,500,000 US$36,900-50,300
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李錠雄的毛筆畫，是所謂「行為藝術－抽象美學－現實主義」等現代美學的集合體，不僅沿用深厚的西方美學，更巧妙融入 東方媒材與真實情感，以最簡潔的方式表達禪意的氣韻。 「無論從哪個角度看都不像是人所畫出來的，不得不對自己的眼睛產生疑惑。」創作於質地柔軟的傳統韓紙上，墨色的渲染 與顏料的重疊使作品更增加畫面立體感，與紙張原有的紋理皺摺做了自然完美的結合；這種精確描繪物體的筆觸手法，使毛 筆尖的每一根毛髮都如此逼真，甚至比照片更真實，彷彿伸手可觸。李錠雄的《毛筆》運用墨水的擴散和現實主義描寫，將 東西方的手法巧妙結合起來，不僅是其構思，那精練的畫面構成更是讓人讚嘆不已。 在墨漬上隨意擺放的毛筆，蘊涵力度與動感，透著深沉的禪意；似乎模擬了藝術家對作品陷入沉思的樣貌，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。
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YAYOI KUSAMA
(b.1929)
Waves on the Hudson River 45.5×38cm Oil on Canvas Signed Yayoi Kusama in English, dated 1988 With a certificate from Yayoi Kusama Studio
草間彌生 哈德遜河的波浪 1988 油彩 畫布 簽名：Yayoi Kusama 1988 附草間彌生工作室開立之作品登錄卡
NT$2,000,000-2,800,000 US$67,100-94,000
Yayoi Kusama is regarded as the most established Japanese artist, and she is also the pioneer of New York’s avant-garde art. She has influenced pop artist leader Andy Warhol. In 1993, she represented Japan to exhibit at La Biennale di Venezia and was recognized internationally. She was also one of the main contemporary artists such as Stephen Sprouse and Takashi Muradami that Louis Vuitton worked with. The final destination of "Waves on Husdon River" in her personal exhibition in 2004 was No.45 Quay of the Hudson River park. Even though it is the final destination, it is a new start for a new theme. The air along the river bank and the blue and green waters strongly contrast the curved red line with white contour. The beautiful sunshine of summer are embellished with the ripples and invisible breeze.
草間彌生被視為日本現存最偉大的藝術家，更成為紐約前衛藝術的先鋒人物，影響 力堪與普普藝術領袖安迪沃霍匹敵。在1993年她獨自代表日本參加威尼斯雙年展， 確立了自己在國際藝術的地位。路易威登（Louis Vuitton）曾經和 Stephen Sprouse、 村上隆等當代藝術家交流合作，其中更包括日本前衛藝術女王草間彌生。 《哈德遜河的波浪》其在2004年的大型個展旅程上，最終點是位於西邊的哈德遜河 公園45號碼頭，這裡是其點點之旅的句點，但卻是她另一個新題材的開始。在哈德 遜的水岸空氣中，水底藍綠的色彩拼接出水域的深淺，白色框紅邊的彎曲線使兩者 呈現鮮豔的對比，悠悠的流水因而活靈活現的流溢著，波光粼粼的水面，藉著一條 條波紋漣漪，那無形的微風徐徐吹拂與水面上，享受著夏日裡陽光的絢爛。
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YOSHITOMO NARA
(b.1959)
After the Acid Rain
奈良美智
54×44cm Lithograph 24/50 Signed Na in Japan characters and dated 2010, numbered 24/50
酸雨過後 2010 版畫 24/50 簽名：な 24/50, 2010
NT$160,000-250,000 US$5,400-8,400
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PIERRE FERNANDEZ ARMAN
(1928-2005)
Venus A Cordes 65×19×19cm Bronze, 39/80 Signed arman in English, numbered 39/80 With a certificate of authenticity from Gallery
阿曼 Venus A Cordes 2001 銅 39/80 簽名：arman 39/80 附畫廊開立之原作保證書
NT$180,000-260,000 US$6,000-8,700
Arman is the pioneer in New Realism and hold prominent status in the 20th Centur y art histor y. He is known for his skills in cutting and then piling up the objects such as instruments, Greek mythology gods, furniture, automobiles, tools and machineries. Through dissecting, dismantling and recomposing sculptures and instruments, "Venus A Cordes" is given a new form and function to preserve artworks with a different method and giving the original object a new facet and meaning. Venus and the instrument are cut with a perfect ratio to recreate a rhythm and melody. While viewing, viewers are placed in a simulated environment surrounded by music. This artwork fully represents the value of art and overturns the traditional aesthetic mentality.
阿曼為新寫實主義的創始者，在二十世紀藝術史占有 重要的地位。他以切割物件後再堆積組合成為其創作風 格，其切割的物件樂器、希臘神話之雕像、傢俱、汽機 車、工具與鐘錶零件到生活用品。《Venus A Cordes》藉 著雕像與樂器的切割、拆解及重組，不同於以往所存在 的型態與功能，進一步用不同的方式將之保存下來，更 將原有的事件賦予新的面貌與意義，女神維納斯與樂器 經歷完美比例的切割，將樂器混合改造，重創音樂的律 動與旋律，似乎在凝視此作即時，即刻會有音樂環繞響 起。此作體現出藝術價值與顛覆傳統美感的固守思維。
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IMAI TOSHIMITSU
(1928-2002)
Calvaire 100×80cm Oil on canvas Signed on the Reverse: Imai TOSHIMITSU in Chinese EXHIBITION "Nihon Bijyutsu Kai", Japan Art Association PROVENANCE Acquired from MAINICHI Auction
今井俊滿 加爾瓦略山 1951 油彩 畫布 簽名：今井俊滿 「第三回日本獨立展」免審查入選作品，日本美術協會 來源 現藏者購自日本東京每日拍賣行
NT$400,000-700,000 US$13,400-23,500
今井俊滿出生於日本京都，早期創作帶有野獸派風格。 1952年獲得第十五屆新制作協會沙龍的最佳新秀獎，旋即 前往巴黎，並參加由米歇爾‧塔皮耶（Michel Tapié）引領 之「非定型藝術（Art informel）」的先鋒運動，並由此在西 方社會文化之間，找尋自己的定位，也因塔皮耶的影響之 下，使他的創作轉向抽象風格。而後將「非定型藝術（Art informel）」運動傳入日本，在日本藝術界掀起巨大文化沖 擊。而今井的作品中帶有著東亞風格的感性，亦確立其於 藝壇中的重要地位。 此作《加爾瓦略山》為金井早期旅居巴黎時所創作，激 烈、厚重的機理，鮮明的黑色輪廓，於色彩堆疊之間，使 畫面呈現極為猛烈且震顫、充滿張力，色調深邃幽鬱與背 景的寧靜淡漠形成對比。十字架上的耶穌，表情平靜淡 定，憔悴纖細的身軀象徵著苦行與冰冷，深刻呈現耶穌基 督將背負世人之罪而受苦難時的行刑之處，莊嚴沉重，扣 人心弦。
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CHEN CHIKWAN
(1921-2007)
Family
陳其寬
34×45cm Ink and Color on Paper Signed Chen Chikwan in Chinese With one seal of the artist
閤家歡
NT$400,000-600,000 US$13,400-20,100
彩墨 紙本 簽名：陳其寬 寫 鈐印：陳其寬
陳其寬是一位成功的建築師，亦為傑出的畫家，一人能悠遊於兩個角色之間，且得以兼容並蓄，在中 外來說皆屬罕見，其以畫家的身分晉身國際藝壇，收藏群遍佈歐美亞洲。 陳其寬具備建築師的美學視野，融合抽象觀念，使用水墨素材，創造出一種新繪畫藝術，融合了追憶 和虛擬，加上強調此時此刻的「新」之探索，作品演變呈放射的、並置的和多次元的擴張狀態，在藝 術創作上深具獨特性。畫作具有裝飾性色彩、建築的線條和迷幻的空間，啟發了我們對週遭環境一種 新看法，風格深具啟示性與累積性成果，美術史學家吳訥孫讚譽陳其寬為「三百年來第一人」。陳其 寬融合西方的觀念、設計、表現方法，於中國畫的傳統上加以提升，創造出一種新的藝術，用以表現 對天、地、人，也就是時間、空間、人間的看法與感受。透過藝術家的巧思與銳眼，將宇宙中三度或 多度空間的事物，轉換到二度空間的平面上；再加上畫家的想像力、創造力，便組合出不受時空，邏 輯、大小等束縛的創新作品。 可愛頑皮的猴子是陳其寬多年來反覆應用的題材。他用極簡的書法線條，「寫」眾猴的表情、動作， 其百猴狀態，洋洋大觀，有喜悅、嬉戲、幽默與純真，寥寥數筆卻在在是人間縮影與藝術家生活趣 味。《閤家歡》畫中三隻小猴子手舞足蹈和滴溜溜的精靈眼睛，呈現歡愉活潑的熱鬧氣氛；大猴子橫 臥在旁、半支起身子笑看兒女遊戲，慈愛之情溢然紙上。
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YU YUJEN
(1878-1964)
Leaving the White Emperor Town for Jiangling a. 67.6×48.8cm b. 51.8×40.5cm Ink on Paper a. Signed Yu Yujen in Chinese With one seal of the artist b. Signed Yu Yujen in Chinese With one seal of the artist Private collection, Australia
于右任 a. 早發白帝城 b. 簽名照 水墨 紙本 a. 簽名：于右任 藝術家鈐印 b. 簽名：于右任 藝術家鈐印 澳洲私人收藏
NT$60,000-110,000 US$2,000-3,700
a. b.
于右任善草書，以碑入草，造詣甚 深。用心佈白，於寬博揮灑中別具神 韻。內文《早發白帝城》：「朝辭白 帝彩雲間，千里江陵一日還。兩岸猿 聲啼不住，輕舟已過萬重山。」其訴 說李白流放夜郎，行至白帝城(在今四 川奉節縣白帝山上)遇赦，將還江陵(今 湖北江陵)時作。用筆稚拙簡漫，堪稱 為「當代草聖」、「近代書聖」。
212
郎靜山攝影作品。
WU HSUEHJANG 吳學讓
吳學讓曾師承於林風眠、潘天壽、李 可染等名家。其傳統水墨是以大量的 工筆與寫意寫生作為基礎；加上他不 斷開拓創新的決心，從事現代繪畫之 研究，以書法文字與金石碑刻之線條 與結構突破傳統國畫形式，表現於繪 畫之中。 吳學讓的現代水墨讓人聯想到米羅或 保羅•克利這樣的西方當代大師。傳 統水墨曾師承於林風眠、潘天壽、李 可染等名家，並從事現代繪畫之研 究，提煉自中國的古典圖像與青銅器 銘文或兒童畫中，以書法文字與金石 碑刻之線條與結構突破傳統國畫形 式，呈現出兼具幻想與幽默之作品。
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WU HSUEHJANG Fortune and Emolument
《依樣葫蘆》葫蘆豐滿扎實的結於畫面中，葫蘆
69×44cm Ink and color on paper With one seal of the artist
本身以明暗與外圍似光暈般的暈染方式表現立體
吳學讓
擁成群來代替，形成富麗華貴的風貌。葫蘆與葉
依樣葫蘆 2003 彩墨 紙本 藝術家鈐印
NT$200,000-280,000 US$6,700-9,400 214
(b.1924)
感，並在葫蘆後以錯落漸層的葉片做以陪襯，畫 面中除去傳統水墨的大片留白，以大片的植物簇 的光圈、月暈使眼光聚焦。
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WU HSUEHJANG Family Happiness 44×69cm Ink and color on paper With one seal of the artist
吳學讓 天倫樂
(b.1924)
《天倫樂》母在前攜後面兩子的構圖，主體佔據整個畫布， 中間的大鳥以抽像的方式將立體拆解重組成平面，小鳥的外 形以似太極的圖示表現，並在外圍用暈染的方式突顯形象的 輪廓；線條上可見傳統水墨的痕跡，線條的力度與濃淡掌握 皆做了完美的詮釋，突破傳統國畫形式，構圖抽象和寫意緊 密交織，豐富人們的幻想空間。蔣勳讚譽其為開創當代水墨 新格局之先驅。
1993 彩墨 紙本 藝術家鈐印
NT$200,000-280,000 US$6,700-9,400 215
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LONG CHINSAN
(1892-1995)
To Anchor at Eve 24.4×35.4cm Photograph Silver Gelatin With one seal of the artist Private collection, Australia
郎靜山
暮色蒼茫，晚煙輕繚，在渺渺茫茫的江中，遠霧籠罩一片冥
煙江晚泊
濛，天水相連不辨涯岸。停靠岸邊的船隻漁火，是「雲水蒼 茫失江路」景色裡的溫暖光亮。
1938 銀鹽 相紙 鈐印：郎靜山 澳洲私人收藏
NT$70,000-140,000 US$2,300-4,700
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LONG CHINSAN
(1892-1995)
Harbour 23.3×30.6cm Photograph Silver Gelatin With one seal of the artist Private collection, Australia
郎靜山
夕陽西下，江面上波光粼粼，漁人帶著一日豐收朝著家的方
煙波歸舟
向航行。郎靜山蘊涵無限中國詩情畫意的水墨意境攝影魅 力，讓這稀鬆平常的景象成為動人心弦的絕妙作品。
銀鹽 相紙 鈐印：郎靜山 澳洲私人收藏
NT$70,000-140,000 US$2,300-4,700
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WANG YUEHCHIH Cottage with Shades of Green 27×22cm Oil on Paper Signed Yuehchih in Chinese With one seal of the artist
王悅之 綠蔭鄉居
218
(1914-1973)
王悅之1915年留學日本，1921年畢業後至中國大陸從事美術教育， 美術評論家安敦禮評價他是「中國西畫民族化的第一人」。王悅之是 最早進行油畫民族化探索的先行者，他的油畫不僅具有鮮明的中西融 合特徵，而且還具有強烈的時代感和現實主義精神，如《亡命日記 圖》、《棄民圖》、《台灣遺民圖》等人物畫都是膾炙人口的經典作 品。實際上，王悅之除了人物油畫具有深刻影響之外，他的風景油畫 立足於傳統繪畫美學內涵，採用絹本材料，使用狼毫毛筆以「稀油薄 塗」的技法，立軸的裝幀方式，還有他對畫面空間獨特的處理方法，
1928 油彩 紙本 簽名：悅之 藝術家鈐印
以及使用黑油彩等藝術特徵，都匠心獨具、極富魅力。
NT$300,000-400,000 US$10,100-13,400
且具有強烈視覺衝擊力。
他在日本學習時受到印象派畫風的影響，歸國後早期的風景油畫具有 印象派技法的表現特色，《綠蔭鄉居》為王悅之於杭州任職林風眠主 持的西湖藝術院時期作品，外光描繪細膩、色彩豐富斑斕、筆觸粗獷
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YEN SHUILUNG
(1903-1997)
Besides the Danshui River 45.7×53cm Oil on Canvas Signed S.T. YEN in English, dated 1993
顏水龍
顏水龍終其一生在油畫作品上追求簡潔俐落幹練的造型，他的作
淡水河邊
品沒有繁複的構圖和隱晦的氛圍，並且在畫作中包覆著浪漫詩意
1993 油彩 畫布 簽名：S.T YEN 1993.6
的情節，明亮溫暖的色彩基調包含著台灣各地陽光的熱情，突顯 畫作在地風情萬種的情懷以及對身邊事物的環境關懷，更油然而 生看重生活簡樸真實的美和台灣文化的純淨。
NT$500,000-700,000 US$16,800-23,500 219
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YANG SANLANG
(1907-1995)
A Scene in Europe 27×33.5cm Oil on Canvas PROVENANCE Acquired from artist
楊三郎 歐洲街景 油彩 畫布 現藏家購自藝術家本人
NT$280,000-350,000 US$9,400-11,700
楊三郎參加第一屆台灣美術展覽會與李石樵、 李梅樹、陳澄波、顏水龍、廖繼春等名畫家同 時入選並共同籌備台陽美術協會，不但為台灣 培養出許多畫壇精英，同時亦為本土美術注入 源源不斷的創意活水，為台灣藝術推廣盡上一 份心力。1932年前往法國留學亦於此時入選了 法國秋季沙龍。其深受法國印象派的影響，繪 畫以山林風景主題居多，偏好描寫美好的特殊 景觀，展現出明亮鮮豔的色彩與厚塗的油彩肌 理；對於柯洛（Corot）和莫內（Monet）的風 景畫特別嚮往，進而發展出揉合浪漫風景與光 影寫實的個人特色。 《歐洲街景》構圖嚴謹、取景明確，精準的匯 聚觀者的焦點，使人宛若親身佇立於建築前 方，仰頭欣賞那隨著光線變化而色彩浮動的磚 瓦壁牆。大地色系的氤氳處理使畫面充滿靜 謐、和煦的氛圍，柔美卻紮實的筆觸刷塗出豐 富的肌理，仔細端看更有賽尚慣用塊面處理的 餘味。此件作品呈現藝術家對構圖、光線及氛 圍的掌控，是幅溫馨寧靜、耐人品味的類印象 派畫作。
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HONG JUILIN
Still Life With Flowers and Porcelain 27.5×21.2cm Oil on Canvas Signed 1936 With one seal of the artist
洪瑞麟 靜物花瓶 1936 油彩 畫布 簽名：1936 鈐印：洪
NT$250,000-280,000 US$8,400-9,400 222
(1912-1996)
此幅《靜物花瓶》對於瓶身用暗色系巧妙的與背景做區隔，相 較於暗色系的大面積反更凸顯了畫面鮮明的對比，而花瓣用色 的輕柔被瓶身襯托出淡雅的氣息，在置中的架構下，等比的距 離，和諧的規律，無疑是給了濃厚的寂靜，而靜待感下的綻放 是亮麗的、緩慢的、朝氣與自信的，靜靜地不受外界干擾，自 有繽紛的獨樹一格。 透過筆下真切地流露出洪瑞麟畢生堅忍性情，時而作畫的屹立 不搖在艱苦環境中揮舞著畫筆、時而透過筆觸及色彩表達他隨 興有感而發的情感，在他樸實堅忍的畫作上不管是礦工畫、靜 物、風景都可感受到當下的氛圍存在。
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LIU CHIWEI
(1912-2002)
Qilin 38×51cm Mixed Medio on Paper Signed Liu Chiwei in Chinese phonetic, dated 1990
劉其偉 麒麟 1990 綜合媒材 紙本 簽名：ㄌㄧㄡˊ ㄑㄧˊ ㄨㄟˇ〡〩〩○
劉其偉的畫作受到臺灣人的喜愛，並有畫壇老頑童之稱。為了探討 現代藝術的本源而深入台灣、越南、菲律賓、婆羅洲、新幾內亞、 索羅門群島等地的原住民部落，並且將記錄所得成果貢獻給國家研 究單位，他和李仲生教授可說台灣現代繪畫之父。 《麒麟》為其第三時期的作品，題材的範圍包括中國民間藝術和歷 史故事傳說。麒麟沒有以搶眼的紅色為主體，但卻依然親近觀眾， 源自於柔軟的線條、柔和的渲染、朦朧的氛圍，並以白色似光暈般 的陰影，如此的氛圍，彷彿為大地帶來吉兆般。
NT$150,000-200,000 US$5,000-6,700
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PANG YONGJIE
(b.1968)
a.Door-God (1) b.Door-God (2)
《門神》是龐永杰著名的盛唐時期人物畫風格形象。龐永杰在人
a.Oil on Canvas a.150×100cm b.Oil on Canvas b.150×100cm a.dated 2001.8 b.Signed YONGJIE in Chinese
以抽象化的處理；在色彩上，對民間藝術高反差色彩觀做了高度
龐永杰
動的筆觸描繪得靈動活潑。
a.門神(一) b.門神(二)
「中國民間的東西很自由、質樸。真正的東方精神，有更積極的
2001 a.油彩 畫布 b.油彩 畫布
物形象造型和線條的表現上，大膽地從傳統藝術中擷取元素並加 的濃縮，並逐步融合為一種中性化的色調；在構圖上，既打破又 借鑑傳統繪畫的散點透視和西畫的焦點透視，在突出人物形象的 同時，卻採用平面化的表現手法，而環境和背景卻又被洗練和靈
一種東西。它雖然是對於世界的一種比較空靈、自由的認識，但 a.簽名：2001.8 b.簽名：永杰
NT$600,000-900,000 US$20,100-30,000
224
b.
它應該是積極的一種狀態，對於社會，對於人生。而不是所謂的 貴族化、權貴式的東西。」龐永杰的作品與士大夫所做的文人畫 有所區別，於民間傳統汲取養分，將傳統年畫、版畫中對線、形 的理解，融合現代表現技法，呈現出傳統與現代、東方與西方並 行不悖的藝術理念。
134
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ZHENG ZAIDONG
(b.1962)
Monologue 73×60.5cm Oil on Canvas Signed Zheng Zaidong in Chinese, dated 1998
鄭在東
鄭在東的創作題材向來不乏對自我的凝視與探討， 表面沉著靜默與內在洶湧澎湃的互動張力，讓人禁 不住想探入他的故事中。 《獨白》裡，觀畫人熟悉的沒有表情、似乎帶著點 無奈與空洞神色的圓臉男子，孑然坐於一張舊桌
獨白
前，與之相伴的是只酒瓶，而背後的路樹街景則是
1998 油彩 畫布 簽名：鄭在東 '98
無聲地歸屬於鬱鬱的藍、沉沉的夜。他似乎什麼也 沒說出口，卻又像是道盡了一切。
NT$100,000-120,000 US$3,400-4,000
225
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HUANG MINGCHE
(b.1948)
a.Pigeon A b.Pigeon B a.38×38cm b.38×38cm Oil on Canvas a.Signed Che in Chinese, dated 1983 b.Signed Che in Chinese, dated 1983
黃銘哲 a.鴿子A b.鴿子B 1983 油彩 畫布 a.簽名：哲1983 b.簽名：哲1983
NT$160,000-240,000 US$5,400-8,100
黃銘哲長期以來，其不同階段的繪 畫，獲得各類獎項、評論與收藏者的 肯定。《鴿子A》《鴿子B》為黃銘 哲藝術創作溫情主義時期，在八零年 代，其從歐洲回到台灣生活，身處異 鄉的漂浮感消失，取而代之的是種子 落地後抓取土地的扎實。雖藉著油彩 本身濃厚的材質來，描繪鴿子的形 象，不過在繽紛卻不強烈的色調與羽 毛細緻的筆觸上，彷彿水彩或色鉛筆 般透明酣暢，勾劃出淋漓清新如夢似 幻的視覺效果，整個畫面產生和諧一 致的靈動之美，其中更保留了鄉土寫 實中對物像的精細描寫。
226
a. b.
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HUNG TUNGLU
(b.1968)
Tai Chi 110×92cm 3D photo, 3D grid, Lightbox With a certificate of authenticity signed by the artist
洪東祿
洪東祿曾於臺北市立美館、義大利當代美術館、加拿大畫廊 舉行個展，且多次參加國際當代藝術大展。其從最初似普普 藝術中商品符號的挪用，至今日自行獨創的語彙，皆與當下 的流行文化相契合。 《太極》前方遊戲機的虛構玩偶與背景古老城都影像的構 圖，在色調的處理上輔以燈箱的光照呈現華麗飽和的樣貌，
太極
畫面採用3D材質，將遊戲人物以多層次的方式，層層疊疊的
2000 雷射輸出 黑網 平面3D影像 燈箱 附藝術家親簽之原作保證書
放置在一起，將其幼時習慣的遊戲畫面材質運用於創作上。
NT$250,000-350,000 US$8,400-11,700
畫面上沒有固定聚焦的主角，人物與背景處於一種晃動的狀 態，人物以太極招式在一種舞蹈的節奏情境裡連續播放，彷 彿玩3D遊戲般的親近觀眾，呈現出華麗迷幻的視覺影像，藉 此來表現新世代的享樂主義。 227
廖堉安1979年生於台灣台北， 於2003獲得台北美術獎。作品 乍看之下以很容易將其歸類為 時下常見的卡漫風格，但細看 其中的人物角色和情緒鋪陳， 似乎又不同於卡漫式的甜膩與 華麗，反而帶有某種嘲諷意 味。廖堉安的畫作，在平整如 壁紙花紋的塊面鋪陳下，以黑 邊勾勒出人物角色，這樣的分 佈使的角色無論在動態或神情 上，都顯得相對清晰，搭配作 品名稱中置入的敘事線索，讓 畫作中的角色有了被刻意限定 的非常態情緒與指涉。《紅了 雙眼的男孩》在角色動態的描 繪上帶有某種扭捏感，刻意營 造的表情與矯揉的肢體，都讓 這位「男孩」顯得焦躁甚至頓 挫，但對照於略帶文藝的作品 名稱，詭異的畫作角色與詩意 的畫作名稱，兩者中間似乎產 生了一道開放的隙縫，讓觀者 能夠意識且重新定義關係，將 作品名稱與內容的關係放置於 某種戲謔之下的再連結。
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LIAO YUAN
(b.1979)
The Red Eye Boy
廖堉安
162×130cm Acrylic on Canvas Signed on the Reverse: Liao Yu An in English and Chinese, dated 2007.1
紅了雙眼的男孩
EXHIBITION "Dath Pretentious" A Solo Exhibition By Liao Yu-An, Taipei, Taiwan, 2007
2007 壓克力 畫布 背面簽名：廖堉安Liao Yu An 2007.1 展覽 「活殺自在之術」，伊通公園，台北，2007
NT$200,000-300,000 US$6,700-10,100
228
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CHU TEHCHUN
(b.1920)
Olympic Centennial 62×89cm Lithograph, 205/250 Signed Chu Tehchun in Chinese and CHU TEHCHUN 92 in English, numbered 205/250 ILLUSTRATED "Overseas Chinese Fine Arts Series II: Chu Tehchun" Liao Chiung Fang, Artist Publishing Co., Taipei, 1999, black-and-white illustration, Page 295
圖錄 《華裔美術選集II：朱德群》藝術家出版社 台北 1999年 黑白圖版 第295頁 說明 1992年巴塞隆納奧運大會為慶祝百年在全球五大洲選拔出50位當代藝術 家，每人製作一幅，版畫各限量250件
NT$80,000-140,000 US$2,700-4,700
律動是朱德群眾多作品上的精隨，自始自終充滿筆墨之和諧，畫中詩
朱德群
的意象藉由點線與面給了畫面豐富的辭藻，並且渲染的韻味猶如詩的
巴塞隆納奧運版畫
詞意，實體的表徵已不在「技畫」之中，在感觸上早已抽離實體，並
1992 版畫 205/250 簽名：朱德群 CHU THE-CHUN 92 205/250
強烈帶入自我意識下的抽象感，以忘我的情感讓自我個體戶和外在形 體融合的境界。
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a.
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ZAO WOUKI
b.
(b.1921)
Elegy on Jean-Mari, 1978
趙無極
a.44.3×34.3cm b.44.3×34.3cm a.Lithograph b.Lithograph Signed Wouki in Chinese and Zao in English, dated 1978
Elegy on Jean-Mari, 1978
ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page162
1978 a.版畫 b.版畫 a.簽名：無極ZAO 78 b.簽名：無極ZAO 78 圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》 Edition Heede & Moestrup (法國出版) 1994年，第162頁
NT$100,000-200,000 US$3,400-6,700
230
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ZAO WOUKI
(b.1921)
a.Lithograph,1998 b.Untitled a. b. a. b. a.
50.5×70cm 47×58cm Lithograph, 66/99 Lithograph, 54/95 Signed Wouki in Chinese and ZAO in English, dated 1998, numbered 66/99 b. Signed Wouki in Chinese and ZAO in English, dated 1998, numbered 54/95
a. b.
ILLUSTRATED a. "ZAO WOU-KI The Graphic Work 1995-2000", Edition Heede & Moestrup, Page 6 b. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page113
趙無極 a.Lithograph,1998 b.Untitled a. b. a. b.
1998 a. 版畫 66/99 1968 b. 版畫 54/95 簽名：無極ZAO 98 66/99 簽名：無極ZAO 68 54/95
圖錄 a.《ZAO WOU-KI The Graphic Work 1995-2000》Edition Heede & Moestrup 第6頁 b.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》 Edition Heede & Moestrup (法國出版) 1994年 第113頁
NT$180,000-260,000 US$6,000-8,700
a. 趙無極把中國傳統繪畫中的水墨、書法帶入於抽象之間巧妙融於繪畫之中，而用勻 稱突顯整體性的色調創造出浪漫、有空氣感的空間效果。 b. 趙無極保有了他基本的繪畫形式，但隱約有自然主義風景畫的存在，他多用水墨套 色，十分自然輕窕怡然，其意境令人回味。 231
141
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ZAO WOUKI
(b.1921)
Untitled
趙無極
1998 56.4×32.1cm Lithograph, 59/100 Signed WOUKI in Chinese and ZAO in English,dated 1998
無題 1998 版畫 59/100 簽名：無極ZAO 98
NT$100,000-180,000 US$3,400-6,000
a. b.
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ZAO WOUKI
(b.1921)
Composition
趙無極
a.45×60cm b.47.5×67cm a.Lithograph b.Lithograph a.Signed Wouki in Chinese and ZAO in English, dated '78 b.Signed Wouki in Chinese and ZAO in English, dated '94
Composition
ILLUSTRATED a. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page 160 b. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page 203
a.1978 b.1994
a.版畫 101/150 b.版畫
a.簽名：無極ZAO 78 b.簽名：無極ZAO 94
圖錄 a.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》 Edition Heede & Moestrup (法國出版) 1994年，第160頁 b.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》 Edition Heede & Moestrup (法國出版) 1994年，第203頁
NT$160,000-200,000 US$5,400-6,700 233
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KINICHIRO ISHIKAWA
(1871-1945)
Lukang Longshan Temple
石川欽一郎
25.3×33.1cm Watercolor Ink on Paper Signed Ishikawa Kin in English
鹿港龍山寺
NT$120,000-200,000 US$4,000-6,700
光復後 水彩 紙本 簽名： ISHIKAWA.KIN
石川欽一郎，一八七一年生於靜岡市淺間神社附近，年輕時代學習英國傳統水彩畫，三十六歲赴台北擔任台灣總督府陸軍部 翻譯官，五十三歲再度來台任教台北師範學校。石川在台灣推廣水彩畫的貢獻卓著，學校教育方面，他也為許許多多台灣青 年，特別是那些有幸受師範教育的菁英分子，打開了西洋美術文化的視野，豐富他們的人生觀，培養他們終生對美術創作與 欣賞的愛好。 倪蔣懷、陳澄波、楊啟東、藍蔭鼎、洪瑞麟、李澤藩……這些台灣人所熟知的藝術家，全是出自石川欽一郎門下；台灣第一 代西洋美術畫家，有一半以上是石川欽一郎的弟子，另外一半則直接或間接受到他的影響，實為「台灣西洋美術之父」。石 川兩度來台，前後共計十九年，他開啟台灣西洋美術的大門，帶領台灣人積極發展美術運動，造就台灣的美術人才。 喜好周遊列國、勤於寫生的石川欽一郎，以田園風光、歷史古蹟為題材，以精、粗流利的筆法，採用明度、彩度較高的色 彩，高雅之中兼具各地的風土氣味，從其作品中就可感受到活潑生動的氣息。他曾經說過：「台灣廟宇往上翻轉如尖針般地 翹起的屋頂，帶有一點歌德風教堂的味道。……見到這樣的屋頂時，人們的心情就像快要被推上天空似的。……台灣的歌德 式建築卻還可以見到南國人民快活閃動的心情。」受學生之邀至彰化寫生的石川欽一郎，以輕快的筆觸、明亮的色彩描繪古 色古香的《鹿港龍山寺》，及明媚動人的南國風光。 234
144
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LIU KENGI
(b.1938)
Meinong Scenery 31.5×54.5cm Pastels on Paper Signed K.I.Liu in English, dated 1971
劉耿一
劉耿一，台灣前輩藝術家劉啟祥之子。盡其一生探究 藝術的本質，把社會的責任延攬上身，造就其繪畫中 悲天憫人的情懷。1970年代初，處在台灣意識的鄉 土運動中，其聆聽內心真實的情感，關注易被忽略的 世界角落，「頌揚自然原鄉」為此階段的明顯特色。 《美濃風光》由不同角度的房子一一堆疊建構而成，
美濃風光
紅色的屋頂白色的牆面矗立於土地上，同時映襯出天
1971 粉彩 紙本 簽名：K.I.Liu 71
空的藍，樸實的顏色、簡潔的筆觸，彷彿悠遊於鄉野 的懷抱裡，如此的靜謐刻畫，讓人不由自主懷想自己 與土地及家園的深切情感。
NT$80,000-100,000 US$2,700-3,400
235
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HU NIENTSU
(b.1927)
Landscape 47×74cm Ink on Paper With a certificate of authenticity from Gallery
胡念祖
年後成為胡念祖堅持的創作理念。胡念祖曾追隨過巨擘黃君 璧與溥心畬先生為師，此幅畫為贈予黃君壁的賀壽之作。 《潑墨山水》一入眼簾矗立於畫面左側，由濃墨與淡墨交疊 的山巒，以濕筆暈染層層擴展出；順勢而下為一佈上水紋的
潑彩山水
暈染平地，在山下的沖積交接，藉乾筆皴出數叢紋理，使畫
1988 水墨 紙本 附畫廊開立之原作保證書
面出現豐富的層次感，山頭上佈白的天與山嵐氤氳映襯到右
NT$120,000-200,000 US$4,000-6,700
236
「中學為體，西學為用」此一百年前用於改革的口號，一百
側陰暗的暈染，予人凌冽不可觸的氣勢，最後在山頭天外來 的幾筆粉綠，把整幅畫恢弘的氣勢表現得淋漓盡致。
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FU XIAOSHI
(b.1932)
Lady with Fan 70×47cm Ink and Colour on Paper Signed xiaoshi in Chinese With one seal of the artist Private collection, Australia
傅小石 團扇仕女圖 彩墨 紙本 簽名：小石 鈐印：傅小石 澳洲私人收藏
傅小石，江蘇省美術館專業畫家，自幼受父親傅抱石薰 陶，但並不滿足於仿效父親的作品，反而勇於探索刻意 求新，形成了自己獨創的潑墨沒骨人物畫風。特別擅長 以國畫技法表現油畫效果，形成立體、空間感極強的畫 面結構，這在目前國畫人物中極為少見。 《團扇仕女圖》仕女手持羅扇，佔據右半部畫面濃淡漸 層的搶眼墨帶，映襯到衣著橘綠的鮮豔搭配及波紋衣 飾，使目光不覺轉移到臉上，那中國千年來以白為美， 而敷以胡粉般的妝容，臉望向遠方的眼眸間流溢出哀傷 的氛圍。整幅畫作生動傳神，發人幽思。
NT$50,000-100,000 US$1,700-3,400 237
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CHIANG SOONG MAYLING Lady Appreciates the Plum Blossoms 39.5×72cm Ink on Paper Signed Mayling in Chinese With a certificate of authenticity from Gallery
蔣宋美齡 仕女賞梅圖 水墨 紙本 簽名：賞梅圖 甲寅新春 美齡 附畫廊開立之原作保證書
NT$60,000-120,000 US$2,000-4,000
238
(1897-2003)
蔣宋美齡鍾愛中國繪畫，在1951年拜國畫宗師黃君 璧習畫，爾後長達二十多年皆投入於中國繪畫藝術 之中。在蔣宋美齡晚年之時，更常於個人住所舉辦 小型個展，並邀請張大千、鄭曼青、黃君璧等國畫 大師至士林官邸對其作品進行點評，黃君璧曾讚譽 蔣宋美齡畫作豪邁具個性，不似一般閨秀柔膩。 此作《仕女賞梅圖》，流露著秀麗柔和的氛圍，在 用墨與筆觸線條的分部皆可見其細膩，曾擔任中華 民國第一夫人的蔣宋美齡，對於中國繪畫的執著與 追求可見一般。
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OU HAONIAN
(b.1940)
Out Of No Where 60×84cm Ink on Paper With a certificate of authenticity from Gallery
歐豪年 天馬行空 水墨 紙本 附畫廊開立之原作保證書
歐豪年1935年生於中國廣東，早年旅居香港，1970年後定居台灣，曾在文化大 學與台灣藝術大學任教，為嶺南派代表藝術家，師事於嶺南畫派大師趙少昂。嶺 南畫派為中國傳統國畫中的革命派，以創新為旨，主張融合中西方繪畫之精髓， 主張「折衷中外，融合古今」，意圖創作出具有時代精神的畫作，在二十世紀的 中國畫壇上，嶺南畫派、京津畫派和海上畫派可說是新派國畫的代表。 歐豪年在書畫創作、詩詞與國學的研究上皆具深厚涵養，作畫時重視寫生，筆墨 蒼勁豪邁亦帶禪意，以詩入畫。 張大千曾讚譽：「豪年道兄，纔一落筆，便覺 宇宙萬象，奔赴腕底，誠與造物同功。頃者訪美欣晤，爰書數語，以誌欽遲。」 兼具中西方繪畫美學的歐豪年，創作立足於本土，以東方人文精神為依歸，實為
NT$80,000-100,000 US$2,700-3,400
中國近現代書畫的代表性藝術家。
239
a.
149
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WANG HUAIQING
(b.1944)
a.Small Bench b.A Table in Two Dimensions a.88.5×76cm b.104.5×42.5cm Lithograph a.Signed Wang Huaiqing in Chinese b.Signed Wang Huaiqing in Chinese
王懷慶 a.小凳子 b.兩個時間裡的一張桌子 a.版畫 b.版畫 a.簽名：王懷慶 贈大衛先生 b.簽名：王懷慶 贈賽爾巴父子
NT$200,000-280,000 US$6,700-9,400
240
b.
王懷慶曾說：「傢俱本是立體的，可站立 的，硬讓我給『拍』成了平面，把『構造』 變成了『構成』。」其藝術風格綜合東方文 化底蘊與西方抽象形式，持續關注平面構成 與色彩空間的抽象關係，發展出獨具一方的 美學觀與藝術性格。
150
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YAYOI KUSAMA
(b.1929)
Yellow Punkin
草間彌生
72.4×60.5cm Screenprint, 36/120 Signed Yayoi Kusama in English and Pumpkin in Japanese, dated 1992, numbered 36/120
黃南瓜
ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 97 With a certificate of authenticity from Gallery
1992 絹印 版畫 36/120 簽名：Yayoi Kusama, かぼちゃ, 36/120, 1992 圖錄 《草間彌生全版畫》阿部出版株式會社 2011年 第97頁 附畫廊開立之原作保證書
NT$320,000-400,000 US$10,700-13,400
241
a.
151
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b.
PIERRE FERNANDEZ ARMAN (1928-2005)
a.Squeezed Blue Fiddle b.Parade 75×56cm a.Lithograph, 127/150 b.Lithograph, 63/150 a.Signed arman in English, numbered 127/150 b.Signed arman in English, numbered 63/150 With a certificate of authenticity from Gallery
阿曼 a.擠壓的藍色小提琴 b.遊行 1979 75×56cm a.版畫 127/150 b.版畫 63/150 a.簽名：127/150 arman b.簽名：63/150 arman 附畫廊開立之原作保證書
NT$80,000-120,000 US$2,700-4,000
242
152
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FOUJITA TSUGUHARU
(1886-1968)
Dream 53×70cm Lithograph, 9/50 Signed L. Foujita in English
藤田嗣治 夢 1947 版畫 9/50 簽名：9/50 L. Foujita
NT$150,000-250,000 US$5,000-8,400
243
153
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TOTOK SUDARTO
(b.1954)
Peace 100×100cm Acrylic on Canvas Signed Totok in English, dated 2012
托卡‧蘇達圖
Totok Sudarto abstract art works comes from within his experiences and emotions in his life. He was an army general in Indonesia who has seen many hardships during the revolution in Indonesia. Now retired from the army, he experiences his e×periences in his art works from the light of the sun to the pain of the revolution. Totok Sudarto's works are collected by many international collectors.
和平 托卡．蘇達圖的作品展現其生活經驗及主觀情緒。他曾於 2012 壓克力 畫布 簽名 ：Totok 2012
印尼革命時服役軍中，在人性的邊緣與暴力的前線見識生 命的百態，於是創作成為藝術家釋放內在直覺能量的出 口，將希冀與絕望、憤慨與激昂、消滅與新生…赤裸直率
NT$80,000-120,000 US$2,700-4,000
244
的攤灑於畫布之上，使觀者在視覺衝擊及刺激中，越發澄 澈的觀照內在心緒。
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DANI KING HERIYANTO
(b.1980)
The Ticket 140×160cm Oil on Canvas Signed Dani King Heriyanto in English dated 2012
丹尼．金．赫里揚托 入場券 2012 油彩 畫布 簽名：Dani King Heriyanto 2012
Dani "King" Heriyanto is a modern twist to show human behavior. LOVE, SADNESS, RE VENGE…somethings that we live and breathe in our daily life. In his art, a secret message that only the viewers would need to study and solve the myster y the ar tist is trying to relate in his art.
丹尼．金．赫里揚托將日常的生 活行為及生命經驗轉換為藝術語 彙，作品傳達出種種與觀者間無
NT$150,000-240,000 US$5,000-8,100
Indonesian artist Dani "King" Heriyanto painted the portrait of international star Dita Von Tesse. 印尼藝術家丹尼．金．赫里揚托為國際巨星 Dita Von Tesse繪製肖像。
可言狀的共感訊息，是兩者間悄 然的相互理解，也是一場無盡的 糾纏與解謎。 245
155
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JOAN MIRO
(1893-1983)
The Splits 85×60.5cm Print on Paper, 16/75 Signed Miro in English, numbered 16/75 With a certificate of authenticity from Gallery
米羅 分裂 1969 版畫 16/75 簽名：Miro 16/75 附畫廊開立之原作保證書
NT$100,000-180,000 US$3,400-6,000 246
Miro's surrealism painting has distinct personal style: simple shape, stress of brushwork, well-arranged background environment, fancy ideas, humorous interest and fresh feeling. Miro uses only few basic colors. He calculates them carefully but precisely. Breton onece said:"Perhaps Miro is the most surrealism painter among all of us.
米羅的超現實主義繪畫具有鮮明的個人風格；強調簡略的 形狀及筆觸的點法，精心安排背景環境，呈現奇思遐想及 幽默趣味。米羅的顏色簡單精細，準確致極。佈雷東說： 「米羅可能是我們所有人中最超現實主義的一個。」
156
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JOAN MIRO
(1893-1983)
Abstract
米羅
38×27.5cm Lithograph, 2/75 Signed Miro in English, numbered 2/75 With a certificate of authenticity from Gallery
抽象 版畫 2/75 簽名：Miro 2/75 附畫廊開立之原作保證書
NT$120,000-180,000 US$4,000-6,000
"It is always a man, a bird, or something else. For me painting is never form for form's sake." －Joan Miro
「一個人，一隻鳥或是別的。然而，對於我，繪畫不是為了形式而有形式。」－米羅
247
157
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ENDRO
(b.1983)
Room in my heart 145×145cm Oil on Canvas Signed Endro in English, dated 2010
安卓 心靈角落 2010 油彩 畫布 簽名：Endro 2010
NT$150,000-200,000 US$5,000-6,700
248
Endro looks at our dreams. Dreams that we desire in our daily lives, a garden of Eden; and it's usually blurred by obstacles. However, the droplets are hopes to see that one day.
安卓注視著我們的夢境，那些朦朧而模糊的，我 們終日期盼卻又因著困境而卻步的想望；而那清 澈的水滴便是唯一希冀，是望向初衷的一盞明 鏡，引領著觀者直視底心的渴求，滿懷勇氣的向 前邁進。
158
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KUO WINLAND
(b.1941)
Harmony 46×42×34cm Bronze A.P. Signed Land in Chinese and Kuo in English, dated 1997
郭文嵐 和諧 1997 銅 A.P. 簽名：P/A 嵐KUO 1997
郭文嵐1941年生於台灣台南，曾於1965年榮獲十大傑出青年金手獎雕塑第二 名，並多次受聘擔任高雄市立美術館典藏委員。郭文嵐受布朗庫西、阿普及摩 爾等現當代雕塑大師影響，題材以人體為主，雕塑是其最擅長的創作形式。台 南市文化中心音樂廳、高雄市立文化中心及台北新國泰大樓庭園，皆長期展示 郭文嵐戶外雕塑。 其創作多以青銅融入不鏽鋼作為創作材質，融合出帶有金屬光澤肌理的雕塑。 造型上則將物件形體單純化，表現出形體解離後的獨特美感，並以明快線條形 塑物件，以曲線作為抽象形體的構成元素，結合特有金屬肌理，發展出是形非 形，是體非體的獨特藝術語言。
NT$120,000-200,000 US$4,000-6,700
249
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TSAI YUNCHENG
(1929-2009)
Blue Symphony - Landscape 25 54.5×79cm Oil Crayon on Paper ILLUSTRATED "TSAI YUNCHENG" , Shanghai People's Fine Art Publishing House, 2007, Page 113
蔡雲程
蔡雲程用深淺交錯、如詩般的藍色表現中國書畫的
藍色交響曲-山水之二十五
墨染效果，並用自製的蠟筆繪畫產生油畫效果；將
1993 油蠟筆 紙本 簽名：CHUA Hu 呈YA 1993
傳統中國文人山水畫融合西方藝術理論與科學精 神，創作出既有中國詩畫情調，又兼具立體三維效 果與光影變化的作品。 風清月皎，峰巒起伏連綿，煙嵐雲岫如真似幻，而
圖錄 《蔡雲程畫集》人民美術出版社 2007年 第113頁
NT$80,000-120,000 US$2,700-4,000
250
澗水奔泉淙淙泠泠如歌，蔡雲程以他的「七度藍」 暈出一片寧謐景致。
160
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LIU CHIWEI
(1912-2002)
Sambar Deer
劉其偉同時是藝術家、原始探險家、人類文化研究者等多重
49×35cm Mixed Media on Paper
角色。其作品常以半抽象形式，透過想像將現實世界簡化變 形，呈現最原始純真的樣貌。《水鹿》身形色彩的漸層、優 雅的造型與柔軟的線條，充滿和諧相融，鹿與背景柔和的渲
劉其偉
染，朦朧的氛圍，彷彿夢裡那童趣的場景般討人歡心。其創
水鹿
作著重感情與思考，他曾說：「一個小女孩寫的家書也可以
1994 綜合媒材 紙本
是一篇感人的文章，或許文字並不流暢，但字裡行間真情流 露，足以令觀者動容。繪畫亦然，最重要的不是技巧，而是 如何傳遞一份真摰與情感。」
NT$200,000-240,000 US$6,700-8,100
251
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CHEN YINHUI
( b.1931 )
Woman of Malan
陳銀輝
45.5×38cm Watercolor Ink on Paper Signed Y.Chen in English, dated 1976
馬蘭婦人
圖錄 《陳銀輝精品收藏集（1957～1992）》 亞帝藝術文化有限公司 1992年 第39頁
1976 水彩 紙本 簽名：Y.CHEN '76
NT$80,000-120,000 US$2,700-4,000
ILLUSTRATED "CHEN YINHUI(1957~1992)" Arty Art Center, 1992, Page 39
陳銀輝的繪畫風格吸收立體派的造型理論及規則，又融合野獸派的色彩張力！陳銀輝曾說：「美術是主觀的成分較重的 一門學問，要有個性、感情和思想。繪畫不是自然形象表面的描摹或再現，而是作者藉自然的形態和色彩，甚至以心裡 的影像來表現自我世界的一種藝術。」 《馬蘭婦人》人物置中蹲踞於地，身著原住民傳統服飾，面容和藹可親，從身旁的竹編籃似乎剛忙於工藝，並悠遊休憩 於一片翠綠佈滿熱帶植物的叢林前；以水彩作畫，不同於油畫濃烈的顏色，水彩的乾濕濃淡變化與透明性質清新剔透， 加上大筆的人物勾劃呈現如夢似幻的視覺效果，人物與自然產生和諧一致的靈動之美。 252
162
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CHANG WANCHUAN
( 1909-2003 )
Still Life 38.3×26.5cm Watercolor Ink on Paper Signed Chang in English and Wan in Chinese
張萬傳 靜物 水彩 紙本 簽名：CHANG 万
NT$80,000-120,000 US$2,700-4,000
張萬傳在1924年即入「台灣繪畫研究所」，隨石川欽一郎習畫，並與野獸派畫家鹽月桃甫熟識。其認為：「野獸派那粗 礦的線條、濃麗的色彩，簡直與我的個性一拍即合。…感覺真是痛快淋漓。」 「直覺」是其作畫的根基，畫面背景大筆的揮灑、盤中香蕉與柿子高明度的大膽用色，隨著盤中物的反光點映照到後方 的玫瑰花瓶與蘋果，形成戲劇性的對比，聚焦出其野獸派的鮮明特色。他說:「繪畫即是我的語言，也是我的思想、感情 的化身。沈默雖是我的外貌，但熱力即是我的內蘊。我的創作是內省式的自剖，更是一場心靈的表白。」張萬傳澎湃的 情感隨著畫面上鮮明的色彩，躍然於我們的眼前。 253
163
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LONG CHINSAN
( 1892-1995 )
Peaks
郎靜山
唐人杜牧詩句「遠上寒山石徑斜，
33.9×26.8cm Photograph Silver Gelatin With one seal of the artist Private collection, Australia
白雲山舍
白雲生處有人家」敘述詩人漫遊山 中，於卷舒之中依稀可見人家的茅
銀鹽 相紙 鈐印：郎靜山 澳洲私人收藏
舍，使野外深山顯得頗有生氣。郎 靜山以西方攝影術融合中國文人畫 意，其「影中有畫，畫中有影」傳
NT$70,000-140,000 US$2,300-4,700 254
世傑作，於靜態風景的畫面中仍能 透出活潑動感。
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HONG JUILIN
( 1912-1996 )
Sailing 24.5×33.3cm Watercolor on Paper Signed J.L. Hung in English and dated 1978 With one seal of the artist
洪瑞麟 揚帆 1978 水彩 紙本 簽名：1978 J.L. Hung 鈐印：洪
NT$80,000-120,000 US$2,700-4,000
A sea filled with sailboats that are both nearby and floating into the distance is a way for the artist to demonstrate his skillful use of space and perspective within his work. Looking far ahead at the mystic atmosphere of nature, a hint of sun is hidden within the layers of clouds. The water horizon overlaps the clear sky putting its viewers at ease and in a dream-like state of mind. After retiring from the mines, Hong Jui Ling travelled to many places including Japan, the United States, throughout Southeast Asia and Taiwan. His inspiration comes from different sights of nature all across the world. Hong’s works are now known for its bright romantic color hues and his care-free manners, opposing to his early works of monochromatic color scheme. It is also how he received his new title as the “sunshine artist” Hong learned from Kinichiro Ishikawa’s impressionistic realism style, a style that emphasis atmosphere and rhythm and therefore softens reality. In the painting of 《Sailing》one can experience the elusive beauty of a quiet morning.
忽遠又忽近的揚帆，展現出距離之美，眺望遠處朦朧的自然，端詳近處又清晰愜 意，陽光漫射在雲層之間，交疊出的景色直接把海平面一線邊拉開，讓給人雲淡風 輕的悠然映入心頭。洪瑞麟自礦場退休後，旅行日本、美國、東南亞和台灣各地， 取材於自然風景，其作畫色彩較為炫麗，輕快明朗，畫風也由早期的單色調轉為絢 爛無比的色彩鋪陳，並因而得到了不同以往的礦工畫家稱號，亦然「陽光畫家」也 油然而生成為另一個封號。 洪瑞麟習承石川欽一郎的印象式寫實風格，由於強調氣氛和餘韻，使真實往往被柔 化，正巧此幅《揚帆》深刻呈現光線朦朧之美，與海面漂泊的淡雅之情。 255
165
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ZHANG ZIZHENG
( 1917-2000 )
Flutter 30.5×39.5cm Oil on Canvas Signed Zizheng in Chinese, dated 1969
張自正 飄
256
張自正為中國第二代留法畫家。早年受教於劉海 粟、倪貽德、王遠勃等人門下。《飄》中恣意的 筆法，不刻意用線條刻劃形體，採用大塊點或片
1969 油彩 畫布 簽名：自正69
狀流暢生動地揉入畫面，結合黃、橘與綠、藍色
NT$80,000-120,000 US$2,700-4,000
活的氣息。張自正自由的筆法與搶眼的配色，顯
調，展現光影明暗層次所營造的空間，以堆疊豐 厚的筆觸，予以強烈的劇場效果，但仍散發出生 露他獨樹一格的創作風格。
166
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TSAI YUNCHENG
( 1929-2009 )
蔡雲程
The 21st Century - Moon at Night
二十一世紀－夜月
90×64.5cm Oil on Canvas Signed Chua Hu in English and Cheng in Chinese, dated 2002
2002 油彩 畫布 背面簽名：CHUA Hu 呈 2002
NT$100,000-180,000 US$3,400-6,000 蔡雲程創立「藍色畫派」，用藍色替代水墨畫的墨色，讓顏料自然渲染與流淌於畫布上，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」。他的作品使人產生他稱之為無限立體延伸組合的聯想，可以把作品畫 面的深度拉的更遠且饒富意味。其以極少的顏色，單純只以構圖、意境和神韻去冥想。更進 一步把東方水墨畫貫徹進西方藝術理論和科學精神中。 257
167
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JU MING
( b.1938 )
Pair of Chicken
朱銘
朱銘動筆迅速、乾淨俐落、
49×32.5cm Ink on Paper Signed Ju Ming in Chinese With one seal of the artist
雙雞
墨色潔淨。在一虛一實間兩 相襯托，塑造畫面的韻律和
彩墨 紙本 簽名：朱銘 鈐印：朱銘
精氣的流動，此幅水墨作品 帶有強烈的人間性格、實屬 於台灣民間文化，有著較文
NT$50,000-80,000 US$1,700-2,700 258
人寫意畫且更為自由與隨機 的展現，別有趣味。
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JU MING
( b.1938 )
Living World Series - Shrimps 30×49cm Watercolor Ink on Paper Signed Ju Ming in Chinese, dated 2001.10 With one seal of the artist
朱銘
朱銘在「人間系列」繪畫中， 有一部分的靜物描繪採用台灣 生活常見之物如：晒魚干、瓶
人間系列－蝦
花、絲瓜、魚、梨、蟹等為題
2001 水彩 紙本 簽名：朱銘2001.10 鈐印：朱銘
材，表現出台灣的風土性，此
NT$30,000-50,000 US$1,000-1,700
在素簡之中，格外活潑生動與
作便是其一。整體透過色調的 熱鬧與沉靜對比襯托，顯得神 采奕奕卻又平和安樂，讓畫面 幽默詼諧。
259
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SHEN CHETSAI
( b.1926 )
Scenery of the Dream 24.3×33.4cm Oil on Canvas Signed Chetsai in Chinese, dated 1980
沈哲哉 夢中的風景 1980 油彩 畫布 簽名：1980 哲哉
NT$70,000-120,000 US$2,300-4,000
Shen Chen-Tsai’s creative inspiration often revolves around landscape and people. Shen did not receive traditional education from any art institution, however he was once the pupil of both Liao Chi-Chun and Guo Bo-Chan , therefore his color concepts and sketching foundation is strong as well as unique. Shen reflects his romantic side in his work, he start off by carefully examines his topic and then replacing what he sees with beautiful lines and a rich variety of colors, in his work he can often captures the soul of the people and the essence of the landscape. In this painting “Scenery of the Dream” he fully displays freedom within a surreal idea, striking brushstrokes, a balanced proportion , and the surprising mixture of colors, his goal was not to get restricted by his consciousness in order to allowed himself to produce such an unexpected yet natural creation.
沈哲哉的創作題材主要圍繞在風景和人物，雖未曾進入藝術學院深造，但 藉由廖繼春及郭柏川等大師的指導，沈哲哉的用色觀念和素描基礎均有很 深厚的底子，也因天性浪漫使然，對具體的觀察絲絲入扣，總能在畫作上 撇出有形態唯美的線條和無形卻又豐富無比的色域，其創作的筆下抓住不 少人物的氣息以及景色的悠然。 又誠如沈哲哉高彩度的原色表現，這張《夢中的風景》充分展現出夢境內 的奔放自在，其著力的筆觸、構成的比例，色系的融合，以不拘泥意識之 中為基準，完全拜潛意識下的緣故，很自然的搔弄你我於對自然形形色色 體感之間的定義。
260
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FONG TENGCING
(1933-2005)
Suzhou Scenery 65×80.3cm Oil on Canvas Signed Tengcing in Chinese, dated 1989 With a certificate of authenticity from Gallery
馮騰慶 蘇州風光
馮騰慶早年追隨李石樵習畫，一生致力 於美育，為傑出的台灣本土藝術創作 者。其擅以平面色塊堆疊或並排，結構 幾何圖形，表達台灣的鄉土情趣。所繪 景物，表現出韻味十足的陳舊感、印象 派的光影概念。《蘇州風光》畫面採用 黃與黛綠色為主調，厚塗的筆觸突顯顏
1989 油彩 畫布 簽名：騰慶 1989 附畫廊開立之原作保證書
色本身，更帶出古樸的韻味。畫家捨去
NT$60,000-120,000 US$2,000-4,000
動感。濃烈的畫面情緒下，觀者也跟著
景物細節的描寫，用深刻的線條痕跡描 繪水與船隻，彷彿行駛中的船隻引起水 面的搖晃，隱隱帶出江南水鄉寧靜時的 享受起畫家那恣意揮灑的快感。
261
171
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HSU MINGHSIUNG
( b.1955 )
Lover 72.5×60.5cm Oil on Canvas Signed Hsu Minghsiung in Chinese, dated 1993
許敏雄 戀人
262
許敏雄帶給觀者豐富的想像力，在畫作間還原 他所親驗的感觸，裡頭有著心的顏色、眼的架 構，這兩者層層的交疊下，編織出一幅幅絢爛 奇幻的童話世界，治癒人們的認知及感觸，回 到最初的純真。
1993 油彩 畫布 簽名：許敏雄 '93
這幅《戀人》有序的線條切割以及得宜的配色
NT$80,000-100,000 US$2,700-3,400
蘊的涵意象徵心靈的託付，深具撫慰、溫暖的
比重，細細觀看可發掘一筆觸的驚艷和一色塊 的和諧，其中兩人臥坐相互依偎，手裡玫瑰深 韻調。
172
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JAN CHINSHUI
( b.1953 )
Cymbidium Ensifolium 65×53cm Oil on Canvas Signed Chinshui in Chinese, dated 1991 With a certificate of authenticity from Gallery
詹金水
詹金水是華人藝術圈中「抽象山水」的翹楚，
觀音素心蘭
對油畫材質的研究與創新使用，成就了獨樹一
1991 油彩 畫布 簽名：金水1991 附畫廊開立之原作保證書
NT$50,000-80,000 US$1,700-2,700
幟的流溶風格，達成其對山嵐水氣等自然物像 簡潔明麗的表現，昇華了人文內涵的精神性。 《觀音素心蘭》肌理豐富飽滿，傳承中國傳 統水墨的精神，適當的留白經營出清幽深遠之 感，西方油彩與東方人文精神的詮釋在其創作 裡得到最佳演繹。 263
173
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JU MING
( b.1938 )
New Water Ink Painting
朱銘
66×49cm Ink on Paper Signed Ju Ming in Chinese, dated 2002 With one seal of the artist With a certificate of authenticity from Gallery
新水墨畫 2002 水墨 紙本 簽名：朱銘2002 鈐印：朱銘 附畫廊開立之原作保證書
NT$100,000-160,000 US$3,400-5,400
此為朱銘「三姑六婆」系列的題材，描寫台灣民間社會隨處可見的親切阿姑、阿婆，表現我們熟悉 的文化場域中處處可見的智慧通達、體貼溫馨的女性們。 264
174
TING | WALASSE a.Girl and Fan
a.
b.
c.
d.
( 1929-2010 )
b.Bright Spring c.Green Leaves and Purple Flowers d.Grape Juicy Lady a. 53×73.5cm b. 52×72.7cm c. 54×70.5cm d. 50.5×74cm a. Lithograph, b. Lithograph, 183/200 c. Lithograph, 113/200 d. Lithograph, A.P. a.Signed Ting in Englidh, dated 1970 b.Signed Ting in English, numbered 183/200 c.Signed Ting in English and dated 1981, numbered 113/200 d.Signed A.P. Ting in English
丁雄泉 a.女孩與扇子 b.燦燦春情 c.綠葉紫花 d.紫艷女子 a.1970 b. c.1981 d.1978/1981 a. 版畫 b. 版畫 183/200 c. 版畫 113/200 d. 版畫 A.P. a.簽名：70 Ting b.簽名：183/200 Ting c.簽名：113/200 Ting 81 d.簽名：A.P. Ting
NT$100,000-140,000 US$3,400-4,700 265
a. b.
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WALASSE TING
( 1929-2010 )
Morning Series
丁雄泉
a.59×89cm b.59×89cm
早安系列
a.Lithpgraph, Ed. 50 ex b.Lithpgraph, Ed. 50 ex a.Signed Ting in English, dated 1974 b.Signed Ting in English, dated 1974
a.1974 b.1974 a.版畫 五十件中之一件 b.版畫 五十件中之一件 a.簽名：Ting 74 b.簽名：Ting 74
NT$40,000-80,000 US$1,300-2,700 266
176
TAKASHI MURAKAMI
( b.1962 )
a.Dob and I b.KaiKai、KiKi and I c.Flower Smile 68×68cm (×3) a. Lithograph, 209/300 b. Lithograph, 200/300 c. Lithograph, 01/300
村上隆 a.DOB與我 b.KaiKai、KiKi與我－無論是好是壞，今天天氣晴。 c.滿溢笑容的花田 a. 版畫 209/300 b. 版畫 200/300 c. 版畫 01/300
NT$60,000-90,000 US$2,000-3,000
a.
b.
c.
267
177
TAKASHI MURAKAMI
Diamete: 70cm (×4) 268
b.
c.
d.
( b.1962 )
a.Flower Ball Red 3D From the realm of the dead b.Flower ball Brown c.Flower Ball Red 3D Goldfish d.Flower Ball Red 3D The Magic Flute a. Lithograph, 153/300 b. Lithograph, 57/300 c. Lithograph, 193/300 d. Lithograph, 31/300
a.
村上隆 a.花球(3D)從黃泉之國而來 b.花球 棕色 c.花球 金魚色(3D) d.花球紅(3D)魔笛 NT$80,000-120,000 US$2,700-4,000
a. 版畫 153/300 b. 版畫 57/300 c. 版畫 193/300 d. 版畫 31/300
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CHUNG PANTI
(b.1964)
Gone With the Wind 74×30×38cm Bronze With a certificate of authenticity from Gallery
鍾邦迪 雲想(之五)-飄 1998 銅 附畫廊開立之原作保證書
NT$80,000-120,000 US$2,700-4,000
鐘邦迪生於台灣台南，其作品「童顏樂土系列」及「雲想系列」曾多次受邀參與各公私立藝術展演空間展出與公 共藝術設置。鐘邦迪的銅雕以感性抒情的手法形塑女體蘊含之生命之美，在形體的掌握與空間的流動上皆透露出 輕盈流暢的韻律。 在其創作自述中曾言：「藝術創作是一種自我內在的修行，是由『心象』模擬，透過感性的思索，而後藉由創作 媒材來重現內心世界的情感，讓生命的觸動再生。」 此件《 雲想(之五)-飄》便充分展現了其對於生命情感的思索與再生，以人體動態為主軸構築而成的空間，結合抽 象流動與具象形塑，極具張力的人體凝聚出某種能量的移轉，在空間虛實之間給出一種詩韻般的律動。 269
179
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CHENG MAOHUANG
( b.1934 )
Streetscape
曾茂煌
91×73cm Oil on Canvas Signed Maohuang in Chinese, dated 1982
街景 1982 油彩 畫布 簽名：茂煌1982
NT$50,000-100,000 US$1,700-3,400
曾茂煌師承張義雄、廖德政，其作品榮獲多項重要美術獎，包括省展、全國油畫展、台陽美術展 與台北市美展。其繪畫的風格多為對故鄉之愛的情感抒發。《街景》取材自其遊歷國外街道的文 化風情，咖啡色系的石板地組合，隨著在靜謐悠閒道路上，行走過幾許輕快腳步的人，聳立於路 旁的屋牆明亮的立於此的，循著人們前往的方向與屋宇間所夾出一條天青的縫隙，預示著前方彷 彿光明一片，讓人懷抱無比期待。 270
180
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BERNARD BUFFET
( 1928-1999 )
La Place De L'Ormeau
貝納德．畢費
42.3×32.8cm Lithograph, 115/300 Signed Bernard Buffet in English, numbered 115/300 With a certificate of authenticity from Gallery
鐘樓與L'Ormeau廣場 1979 版畫 115/300 簽名：Bernard Buffet 115/300 附畫廊開立之原作保證書
NT$80,000-120,000 US$2,700-4,000
精裝版畫套書
271
181
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BERNARD BUFFET
( 1928-1999 )
Clown 71×48cm Lithograph, 39/120 Signed Bernard Buffet, numbered 39/120
貝納德．畢費 小丑
272
"Bon gré mal gré, nous avons du reconnaître en Bernard Buffet un témoin essentiel de notre temps" ― Pierre de Boisdeffre
版畫 39/120 簽名： Bernard Buffet 39/120
「不管願不願意，我們必須了解貝納德．
NT$150,000-200,000 US$5,000-6,700
畢費是我們這個時代的重要見證人。」 ― 法國文學評論家 皮耶．德．布阿德福爾
182
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BERNARD BUFFET
( 1928-1999 )
Matador 72.4×51cm Lithograph, 47/150 Signed Bernard Buffet in English, numbered 47/150
貝納德．畢費 鬥牛士 版畫 47/150 簽名： Bernard Buffet 47/150
NT$100,000-180,000 US$3,400-6,000 273
183
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BERNARD BUFFET
( 1928-1999 )
Carmen 72.3×53cm Lithograph, 5/30 Signed Bernard Buffet in English, numbered v/×××
貝納德．畢費 卡門 版畫 5/30 簽名： Bernard Buffet v/×××
NT$120,000-180,000 US$4,000-6,000
274
"Painting, we do not talk about it, we do not analyze it, we feel it." ― Bernard Buffet
「繪畫，我們不談它，我們不分析它， 我們感覺它。」
― 貝納德．畢費
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a.大眼水母
c.花球 sunflower
e.花球 Blood
b.大眼水母 白4
d.花球 Kindergarten
f.花球 Cosmos
TAKASHI MURAKAMI
( b.1953 )
a.Jerryfish Eyes b.Jerryfish Eyes White 4 c.Flowerball sunflower d.Flowerball Kindergarten e.Flowerball Blood f .Flowerball Cosmos
a. Lithograph, 79/300 b. Lithograph, 92/300 c. Lithograph, 103/300 d. Lithograph, 89/300 e. Lithograph, 127/300 f . Lithograph, 89/300
a.50×50cm b.50×50cm c.71 diamete d.71 diamete e.71 diamete f .71 diamete
a.Signed M and numbered 79/300 b.Signed M and numbered 92/300 c.Signed M and numbered 103/300 d.Signed M and numbered 89/300 e.Signed M and numbered 127/300 f .Signed M and numbered 89/300
村上隆 a.大眼水母 b.大眼水母 白4 c.花球 sunflower d.花球 Kindergarten e.花球 Blood f .花球 Cosmos
2011 a.版畫 79/300 b.版畫 92/300 c.版畫 103/300 d.版畫 89/300 e.版畫 127/300 f .版畫 89/300 a.簽名：79/300 M b.簽名：92/300 M c.簽名：M 103/300 d.簽名：M 89/300 e.簽名：M 127/300 f .簽名：M 89/300
NT$120,000-180,000 US$4,000-6,000
275
185
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TAKASHI MURAKAMI
( b.1962 )
a.Reversed Double Helix - black brown body b.Hypha Will Cover the World, little by little a.103×73cm b.65.8×130cm a.Lithograph, 138/300 b.Lithograph, 138/300
村上隆 a.二重螺旋逆轉－黑褐色 b.菌絲將逐步襲捲世界 a.2005 b.2007 a.版畫 138/300 b.版畫 138/300
NT$120,000-160,000 US$4,000-5,400
b. a.
276
186
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TAKASHI MURAKAMI
( b.1962 )
a.Melting DOB ( A ) b.Melting DOB ( D ) c.Melting DOB ( E ) 68×68cm (×3) a.Lithograph 101/300 b.Lithograph 152/300 c.Lithograph 152/300
村上隆 a.融化的 DOB ( A ) b.融化的 DOB ( D ) c.融化的 DOB ( E ) NT$160,000-240,000 US$5,400-8,100
2008 a.版畫 101/300 b.版畫 152/300 c.版畫 152/300
a. b.
c.
277
187
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YUE MINJUN
( b.1962 )
Hello Manet
岳敏君
53.5×76cm Lithograph, 46/60 Signed Yue Min Jun in English and dated 2001, numbered 46/60
你好馬奈 2001 版畫 46/60 簽名：Yue Min Jun 2001 46/60
NT$180,000-220,000 US$6,000-7,400
278
188
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PABLO RUIZ PICASSO
( 1881-1973 )
畢卡索
Shakespeare #4
莎士比亞#4
24×27cm Lithograph, 24/125 Signed 17.4.64 III
1964 石版畫 24/125 簽名：17.4.64 IV
PROVENANCE Acquired from MAINICHI AUCTION
來源 現藏者購自日本東京每日拍賣行
NT$80,000-140,000 US$2,700-4,700
"Good artists copy, great artists steal." ― Pablo Ruiz Picasso
「好的藝術家懂複製，偉大的藝術家則擅偷取。」
― 畢卡索 279
189
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FOUJITA TSUGUHARU
( 1886-1968 )
Mother and Daughter
藤田嗣治
45.5×38cm Lithograph 154/220 Signed L. Foujita in English, number 154/220 With a certificate of authenticity from Gallery
母女 1964 版畫 154/220 簽名：154/220 L. Foujita 附畫廊開立之原作保證書
NT$60,000-120,000 US$2,000-4,000 280
190
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SALVADOR DALÍ
( 1904-1989 )
El Gran Masturbador 52×66.5cm Lithograph, 109/300 Signed Dalí in English, numbered 109/300
達利 巨大的手淫者 版畫 109/300 簽名：Dali 109/300
NT$100,000-150,000 US$3,400-5,000
"The only difference between myself and a madman, is that I am not mad!" ― Salvador Dalí
「我和瘋子之間唯一的不同，就是，我並沒有發狂！」
― 達利
281
191
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MARC CHAGALL
( 1887-1985 )
Circus 59×72cm Lithograph, 429/500 Signed Marc Chagall in English
夏卡爾 馬戲 版畫 429/500 簽名：Marc Chagall
NT$120,000-180,000 US$4,000-6,000
"If I care from the heart, nearly everything works; if from the head, almost nothing."
― Marc Chagall
「假如我的創作發自內心，幾乎就會無往不利；假如是發自腦袋，幾乎就會一事無成。」
282
― 夏卡爾
192
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TAKASHI MURAKAMI
( b.1962 )
727-727 64×98.5cm Lithograph 151/300 Signed M, numbered 151/300
村上隆 727-727 2006 版畫 151/300 簽名： M 151/300
NT$160,000-240,000 US$5,400-8,100
283
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TAKASHI MURAKAMI 727 65×100cm Lithograph 88/300 Signed M, numbered 88/300
村上隆 727 2003 版畫 88/300 簽名： M 88/300
NT$160,000-240,000 US$5,400-8,100
284
( b.1962 )
194
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TAKASHI MURAKAMI
( b.1962 )
727-272 64×98.5cm Lithograph 155/300 Signed M, numbered 155/300
村上隆 727-272 2006 版畫 155/300 簽名： M 155/300
NT$160,000-240,000 US$5,400-8,100
285
195
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LAM WIFREDO
( 1902-1982 )
Abstract
林飛龍
45.5×60.5cm Lithograph 37/99 Signed Wilam in English, numbered 37/99 With a certificate of authenticity from Gallery
抽象 版畫 37/99 簽名：37/99 Wilam 附畫廊開立之原作保證書
NT$80,000-120,000 US$2,700-4,000
286
196
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SALVADOR DALÍ
( 1904-1989 )
Venus 73×54.5cm Lithograph, 151/300 Signed Dalí in English, numbered 151/300
達利 維納斯 版畫 151/300 簽名：Dali 151/300
NT$100,000-150,000 US$3,400-5,000 "Have no fear of perfection - you'll never reach it." ― Salvador Dalí
「不要害怕完美，因為根本不會遇到它。」
― 達利
287
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HSIEH HSIAOTE
( b.1940 )
Landscape of Riverside
謝孝德
77.5×108cm Watercolor Ink on Paper Signed Hsieh Hsiaote in Chinese, dated 2011
河畔風景 2011 水彩 紙本 簽名：2011謝孝德
NT$100,000-150,000 US$3,400-5,000
謝孝德是台灣新寫實主義的開創人，他認為東方藝術山水畫的表現是寫意、渲染的功夫，融合國畫潑墨山 水渲染的意境，結合西洋的透視觀點，並秉持「山不朦朧不是山，水不澄清不是水」的精神，組合成獨一 無二的山水構圖。此幅畫中岸上景色與山湖相映，中間隔著一條寧靜的河川，幾艘扁舟悠遊的飄盪，色彩 絢麗有如仙境，媒材技法表現出酣暢淋漓的舒適，令人心曠神怡。
288
198
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CHANG CHIATING
( b.1965 )
Pink Fish 38×46cm Oil on Canvas Signed Chia Ting in English, dated 1994
張佳婷 粉紅色的魚 1994 油彩 畫布 簽名：1994 Chia Ting
NT$30,000-60,000 US$1,000-2,000
張佳婷生於台灣台北，作品多以半具象手法描繪日常生活景物，甜美溫潤的用色和平面化的空間構圖常見 於張佳婷作品之中。《粉紅色的魚》在看似隨性的筆觸之下，卻有著和諧的畫面平衡，錯落的個別物件在 構圖上巧妙依偎聯結，精緻色彩配置讓平面化的空間藉由色彩堆疊出多種層次，生活中微小但美好的局部 是張佳婷想透過畫作呈現的，隨性而至卻又各安其所的生活片段，細看更可見在疊加顏料下那層細膩的日 常情感。
289
199
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LUO RUEY
羅瑞忠
Chess
對弈
112×145cm Chess Mixed Media on Canvas Signed Luo Ruey in English
綜合媒材 畫布 簽名：Luo Ruey 附畫廊開立之原作保證書
NT$100,000-150,000 US$3,400-5,000
290
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LUO RUEY
羅瑞忠
羅瑞忠是抽象表現畫家之一。「抽象表現
Outdoor Advertising
廣告街頭
主義」是受世界矚目的美國藝術，透過形
145.5×112cm Mixed Media on Canvas Signed Luo Ruey in English
綜合媒材 畫布 簽名：Luo Ruey
繪自然世界的藝術。
NT$180,000-300,000 US$6,000-10,100
形象，姿態前後傾倒晃動，專注凝視著佈
狀和顏色以主觀方式來表達，而非直接描 《廣告街頭》人物以黑線簡化描繪外貌的 告欄上的廣告傳單，更有人貼於佈告欄上 仔細一瞧，畫面運用抽象的表現，勾勒出 生動的場景；其以最簡單的手法表現最深 刻的思想，進而捕捉到事物最根本的形 象，引人入勝。 291
a.昆蟲達利與地底人
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SALVADOR DALÍ
b.非物質的蝴蝶
( 1904-1989 )
a.Insect b.Butterfly a.100×70cm b.100×70cm a.Lithograph 46/55 b.Lithograph 46/55 a.Signed J. Dalí in English and numbered 46/55 b.Signed J. Dalí in English and numbered 46/55
達利 a.昆蟲達利與地底人 b.非物質的蝴蝶 a.版畫 46/55 b.版畫 46/55 a.簽名：J. 46/55 Dalí b.簽名：J. 46/55 Dalí
NT$30,000-60,000 US$1,000-2,000
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劉其偉 LIU
CHIWEI (1912-2002)
陳銀輝 CHEN
001
YINHUI (b.1931)
005
014
029
161
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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。
生於台灣嘉義，國立台灣師範大學美術系畢業，曾任國立台灣師範大學美術研究 所教授。1961年獲扶輪社獎章，並任全省美展、北市美展、全國美展籌備委員 和審查委員。曾獲「金爵獎」、「中山文藝創作獎」、「吳三連藝術獎」、「楊 三郎獎」、「林本源中華文化教育獎」。著名展覽包括：「烏拉圭國際雙年展」 （1975）、「法國秋季沙龍展」（1991）、「法國現代藝術展」（1994）、 「五十年回顧展」（1995，全省美展）、「繽紛兩岸」(2000，台灣，國泰世華藝 術中心)、陳銀輝個展（2002，台灣，國泰世華藝術中心）、「大師風華」(2004， 台灣，國泰世華藝術中心)、「形色音韻—陳銀輝八十回顧展」（2009，台灣，台 北市立美術館）。
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 Jiayi, Taiwan, Chen graduated from Taiwan Normal University in 1954. He used to teach in the graduate school of National Taiwan Normal University Fine Art department. In 1961, he won a Rotary Club Medal. He was also an organization member and an examining member of the Provincial Art Exhibition, Taipei City Art Exhibition and National Art Exhibition. He once won the Golden Belt Award, Chungshan Literary Prize Award, Wu SanLien Award, Yang Sanlang Award and the Lin Ben Yuan China Culture Education Prize”. The exhibitions include: “flourishing two shores” and collection of bank, Cathay United gallery, 2000; “Chen Yin Hui Solo Exhibition”, Cathay United Gallery, 2002; “Master Grace” the oil painting association exhibition, Cathay United Gallery, 2004; “The Rhythm of Forms and Colors – Yin Huei Chen: A Retrospective Exhibtion”, Taipei Fine Arts Museum, 2009.
黃銘哲 HUANG
吳 昊 WU
MINGCHE (b.1948)
HAO (b.1931)
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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.
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生於中國南京，後遷居台灣。1950年受教於李仲生，為東方畫會創辦人之一，也 曾擔任中華民國版畫學會董事長、「財團法人李仲生現代繪畫文教基金會」董事 長、全國美展及全省美展評審委員等職。1972年榮獲中華民國畫學會「金爵獎」、 1979年於第六屆英國國際雙年版畫展獲「爵主獎」。吳昊參展紀錄豐富，包含巴 黎雙年國際青年藝展、第八屆國際版畫展、義大利國際藝術家展、義大利國際版畫 展、英國第六屆國際雙年版畫展、香港大會堂中國版畫家聯展、米蘭中國現代畫 家十人展等。更曾受邀舉辦「版畫及素描個展」(1973，德國)、「吳昊四十年創作 展」(1994，台灣台北，台北市立美術館)、「吳昊的繪畫歷程展」(1997，台灣台 中，台灣省立美術館)等個展。 Born in Nanjing, China, later migrated to Taiwan. Wu learned painting skill under the instruction of Li Zhongsheng in 1950. He was one of the founders of the Tom Fan Group, and once served as the chairman of Taiwan Society of Printmaking, president of Li Zhongsheng Foundation, and the appraisal committee member of the National Art Exhibition of the Republic of China. Wu has won several awards and once been traveling to Paris, Italy, England, Hong Kong and Germany. He was also invited to hold the solo exhibitions in Germany Taipei Fine Arts Museum and National Taiwan Museum of Fine Art, making him plentiful exhibiting records.
朱沅芷 YUN
GEE (1906-1963)
巴斯天 ALFRED
007
BASTIEN (1873-1955)
008
006
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.
鄭在東 ZHENG
ZAIDONG (b.1953)
生於比利時。巴斯天是比利時印象派的藝術家。1897年贏得Godecharle基金會 獎學金並進入巴黎藝術學院。1927年進入比利時皇家學院任教爾後擔任藝術學院 院長。巴斯天為吳作人和沙耆的指導教授，在早於兩人留學之前他已經被公認是比 利時印象派的代表畫家之一。曾為比利時國王亞爾佩一世作畫。其中《騎馬肖像》 和《花籃與水果盤》等作品在1934、1935年間「比利時現代繪畫展」巡迴展出於 上海及南京，此一展覽被國外藝術史家看作20世紀前期在華舉行的最大規模歐洲畫 展。在他執教的班上曾同時有過11個不同國籍的學生，吳作人就是其中之一，戰後 曾隨恩師參與創作周長150餘米的戰場全景壁畫。 Born in Belgian. Bastien was a Belgian Impressionism artist.. He won the Prix Godecharle in 1897 which helped him he enroll in the École Nationale Supérieure des Beaux-Arts Paris. After that, he enrolled in the Académie Royale des Beaux-Arts in Brussels in 1927. Before Wu Zuo Ren and Sha Qi went studying abroad as his students, he had already been recognized as one of the representative impressionist in the Belgian, and had painted for the King of Belgium. The "Horse Riding Portrait" and" Flowers and Fruit Bowl" and other works had been exhibited in series of "the Belgian Modern Painting Exhibition" in Shanghai and Nanjing from 1934 to1935. “The Belgian Modern Painting Exhibition” is seen as the largest European exhibition by the foreign art historians in China in the early 20th century. He had coached 11 students of different nationalities in the same class. And Wu Zuoren was one of the 11 students; after the war, Wu joined his teacher, Bastien, and participated in the creation of the battlefield panorama murals of 150 meters perimeter.
邱亞才 CHIU
YATSAI (b.1949)
069 009
134 042 010
046
067
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)。
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 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 AmericanCulturalCenter, 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.
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.
295
李仲生 LI
ZHONGSHENG (1912-1984)
陳蔭羆 GEORGE
CHANN (1913-1995)
011
生於中國廣東，畢業於東京大學美術系西洋畫科。1935年加入日本前衛美術團體─ 東京「黑色洋畫會」，並於同年編寫「二十世紀繪畫總論」。返國後，在1943年至 1946年間任教於杭州藝專，1945年與趙無極、關良、丁衍庸、林風眠及龐薰琹等 畫家參加重慶「現代繪畫聯展」，後轉任重慶國立藝專及廣州市立藝專教授。1949 年到台灣，先後任教於台北第二女子中學與彰化女中。李氏於1951年在台北開辦 「前衛藝術研究室」，其學生於1957年組成「東方畫會」。李仲生於1982年獲台 灣畫學會的「繪畫教育類」金爵獎。著名展覽包括：「中國現代畫展」（1965，義 大利）、李仲生首次個展(1979，台灣台北) 、李仲生紀念展（1984，台灣，台北 市立美術館）。李仲生辭世後，後輩依其生前之理念為基礎，籌組「財團法人李仲 生現代繪畫文教基金會」，積極提倡及推展現代繪畫，持續襄助台灣現代美術的發 展。
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. graduated from Tokyo University Department of Fine Arts, Western Paintings branch, Li joined a Japan progressive art group in Tokyo called the "Black Western Painting Society", compiled and written the "The Paintings In The 20th Century" at the same year. His works were seen in a group show- “the Modern Painting Exhibition” at Chongqin in 1945, along with other artists including Zhao Wuji, Guan Liang, Ding Yanyong, Lin Fengmian and Pan Xunqin. He later gave courses at the NationalChongqingArtCollege and the GuangzhouMunicipalArtCollege. After moving to Taiwanin 1949, he taught at the Second Municipal Girls' Senior High School and the Changhuo Girl's Senior High School. He is also the founder of the "Progressive Art Research Group" in Taipei 1951; his student founded the "Ton Fan Group" in 1957. He attended the "China Modern Art Exhibition" in Italy, 1965, and acquired the golden duke award in the "Painting Educational category" presented by Taiwan Painting Society in 1982.
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 PublicArchivesMuseum 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.
楊國辛 YANG
費以復 FEI
013
296
012
GUOXIN (b.1951)
105
YIFU (1913-1982)
015
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）。
生於中國江蘇，原名費彝復。自小喜愛繪畫，曾拜畫家沈柏文學習中國畫；1936 年畢業於蘇州美專西畫系，擅長油畫，師事呂斯百、顏文樑。歷任勵志社總社美術 科幹事、上海行知藝術學校教員、中央美術學院華東分院教師、浙江美術學院油畫 系副主任、副教授。其作品曾獲華京美展三等獎。近期展覽包括：「費以復個展」 （1997，台灣台中、高雄敦煌藝術中心）、「費以復‧老油畫回顧展」(2009，台 灣台北，敦煌畫廊)、「光陰的印紀」－費以復回顧展（2010，台灣台北，敦煌藝 廊）。
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.
Born in Jiangsu, China, studied in Suchou Art Institute, Department of Western Painting, Fei's talent is appreciated by the headmaster Yen Wenliang, and was taught by Lu Sibai in person. Taught at Central Art Academia in 1953, and was appointed to the director of the Zhejiang Art Association, the consultant of the Oil Paintings Research Society and the member of the China Art Association. Recent exhibition: “ Fei, Yi-Fu solo exhibition”, Caves Gallery in Taichung and Kaohsiung, 1997; “Fei, Yi-Fu: Old Oil Painting Retrospective”, Caves Gallery in Taipei, 2009; “Fei, Yi-Fu Retrospective”, Caves Gallery in Taipei, 2010.
陳庭詩 CHEN
TINGSHIH (1916-2002)
六角彩子 AYAKO
ROKKAKU (b.1982)
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016
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.
吳冠中 WU
GUANZHONG (1919-2010)
生於日本千葉。六角彩子從未上過任何藝術學校，其畫作技巧與本領皆為自學，並 從2002年起正式開啟其繪畫創作之路。她空手運用丙烯酸樹脂漆在紙板上作畫；其 畫作的主題以鮮明的色彩和花、動物、船及房屋等，並以眼睛大、胳膊長的小女孩 為主題，她通常採用特寫的手法來描繪。六角彩子曾在日本「第9屆藝祭藝術節」 上獲頒極具聲望的「後藤明男賞」獎。在2007年分別在荷蘭（德萊夫畫廊）、丹 麥（現代繪畫畫廊）、日本（Teo畫廊）等地舉辦個展，2008年則在德國（Wild畫 廊）、韓國（朱莉亞娜畫廊）舉辦個展。另外也參加過許多重要的國際藝術展，如 2007年的「科隆國際藝術展」（荷蘭）、上海、新加坡藝術博覽會；2008年的東 京、阿姆斯特丹、台北藝術博覽會。 Born in Chiba, Japan, Ayako Rokkaku has never received any academic art education but learned to paint on her own. She started her career in painting in 2002. She applies acrylic paint on cardboard sheets with her bare hands. Adolescent children are the main subjects in her work, and are mostly illustrated from close-up. Rokkaku has won the prestigious Akio Goto Prize at Geisai #9. Her works appeared in many solo exhibitions like shows held by Gallery Delaive (2007, Holland); by Gallerie Moderne (2007, Denmark); by Galerie Teo (2007, Tokyo); by Gallerie Wild (2008, Germany); Juliana Gallery (2008, Korea). And she has joined several international art fairs such as "Art Cologne" (2007, Holland); "Shanghai Art Fair 2007"; "Art Singapore 2007"; "Art Fair Tokyo 2008"; "Art Amsterdam" (2008); "Art Taipei 2008."
草間彌生 YAYOI
020 019
018
112
KUSAMA (b.1929)
118
150
079
生於中國江蘇。1942年畢業於國立藝術專科學校，1946年考取公費留學，1947年 入法國巴黎國立高等美術學院。1948年作品參加巴黎春季沙龍展和秋季沙龍展。吳 冠中1950年返國，先後任教於中央美術學院、清華大學建築系、北京藝術學院、中 央工藝美術學院。1991年，法國文化部授予其法國文藝最高勳位，1993年榮獲巴 黎市金勳章，2000年入選法蘭西學院藝術院通訊院士，是首位獲此殊榮的中國籍藝 術家，也是法蘭西學院成立近二百年來第一位獲此職位的亞洲人。吳冠中在美術創 作和美術教育上取得了巨大成就，其致力於油畫民族化和中國畫現代化的探索，繪 畫風格除反映中國繪畫的特點，也呈現東西方藝術的匯合，在海內外享有極高的聲 譽。
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）。
Wu Guan-Zhong was born in Jiangsu Province, China, in 1919, and graduated from National College of Art in Hangzhou. In 1947 Wu traveled to Paris to study at the École National Supérieure des Beaux Arts on a government scholarship, and then participated in The Paris Spring and Autumn Salon Exhibition. Since his coming back to China from 1950, he has lectured at numerous major art colleges. Recently, he was honored “ officier de l'Ordre des Arts et des Lettres” from the French Ministry of Culture (1991), “Gold Medal” from the Paris Municipal Government (1993); and lastly, the Corresponding member of Academie des Beaux-Arts de l'lnstitut de France (2000), which is the first Chinese artist to be awarded with this title in 200 years of establishment of the institute. Wu Guan-Zhong obtains great achievements on not only art creation, but education as well. He dedicates himself to explore and integrate oil painting and Chinese painting's characteristics. As a result, Wu receives a respectful standing in international art field.
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 Avant-Garde of the 50s and 60s”, Musee d'Art Moderne, SaintEtienne, 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.
297
郎靜山 LONG
021
CHINSAN (1892-1995)
沙 耆 SADJI (1914-2005)
022 163
025 126
127
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。
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。
Born in Zhejian, China. Originally named Sha Yinnian, Sa studied painting for nine years in Shanghai Changming College of Arts, ShanghaiArtSchool, Hangzhou College of Arts and Department of Arts in CentralUniversity. 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, ShanghaiArt Museum and National Museum of History.
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.
楊英風 YUYU
YANG (1926-1997)
023
094 024
095
298
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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)。 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.
莊 喆 CHUANG
CHE (b.1934)
蕭 勤 HSIAO
CHIN (b.1935)
027
生於中國北京，其父莊嚴為已故名書法家暨前北京故宮博物院副院長，故莊喆自小 培養出熱愛中國藝術的興趣。其後遷居台灣，畢業於國立師範大學美術系，加入 五月畫會，積極參與中國繪畫現代化運動。1966年獲美國洛克斐勒基金會贊助， 赴美考察國際當代藝術之發展。著名個展包括：「莊喆個展」(1966，美國紐約， 諾德內斯畫廊)、「莊喆個展」(1977，加拿大，蕭．雷明頓畫廊)、「莊喆個展」 (1985，美國加州，路易．紐曼畫廊)、「莊喆個展」(1992，台灣台北，臺北市立 美術館)、「國際華裔畫家抽象藝術展覽」(2002，香港，香港藝術公社)、「六十年 代台灣繪畫」(2003，台灣，台北市立美術館)、「新加坡藝術博覽會」(2005，新 加坡)、「主題．原象」(2005，台灣台北國立歷史博物館)、「莊喆個展」(2006， 台灣台北，亞洲藝術中心)、「嶺深道遠」(2007，中國北京，中國美術館)，廣為國 內外美術館及私人收藏。 Born in Beijing, China. Chuang's father was a great calligrapher, who was the vice-director of National Palace Museum in Beijing; Chuang was introduced to art by his father when he was young. He moved to Taiwan in 1948. After graduating from Taiwan National Normal University, he joined the Fifth Moon Group and actively pushed the modernization of Chinese painting. Awared a J.D. Rockefeller III Fund travel grant to study in the United States in 1966. He has held various solo exhibitions including :In 1996, New York Lee Nordness Gallery exhibition; In 1977 Canada Shaw-rimington Gallery exhibition; In 1985, California Louis Newman Gallery exhibition. And was invited by the Taipei Fine Art Museum to hold a solo exhibition in 1992. In 2002, Hong Kong Art Commune “International Exhibition of Abstract Art of Overseas”; In 2005, exhibited at Singapore International Art Fair, and exhibited “Primal Form” in National Museum of History; In 2006, Taipei Asia Arts Center exhibition; 2007“Deep Ridge VS Remote Way” in National Art Museum of China. Works are widely collected by the museums overseas.
馬白水 MA
030
PAISUI (1909-2003)
028
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.
程十髮 CHENG
SHIFA (1921-2007)
031
生於中國遼寧。1929年畢業於瀋陽遼寧省立師範專修科。曾於大陸執教多年，來 臺後曾任教於師範大學、國立藝專、中國文化學院等，曾擔任中國畫學會理事、省 展評審委員、教育部文藝獎美術組審查委員。著有《水彩畫法圖解》等書。1964 年獲歷史博物館主辦全國水彩畫展金罍獎、1965年教育部頒發文藝獎章、1979年 榮獲美國水墨畫協會年展頒發之華盛頓金牌獎。近期展覽包括：「馬白水八十回顧 展」（1990，台灣台中，台灣省立美術館）、「九十大型回顧展」（1999，台灣 台北，國立歷史博物館）、「美麗的福爾摩沙－馬白水水彩特展」（2002，台灣新 竹，智邦藝術空間）、「彩墨行旅：馬白水作品捐贈展」（2009，台灣，高雄市立 美術館）。 Born in Liaoning, China, Ma graduated from Liaoning Normal College in 1929 and taught in various high schools and colleges in Liaoning, Jilin and Beijing. He had membership in various art societies, including Art Society of China in Taiwan, Chinese Art Society, consultant of Chinese Water Color Painting Society, researcher of the Chinese Academic institute, judge of Chung Shan Literary Prize etc., In 1990 Taiwan Museum of FineArts held a workshop of "Ma Pai-sui Art Research" and complimented on his achievements. In 1999, "Color and Landscape: Ma Pai-sui Retrospective Exhibition at Age 90" was held in National Museum of History where more than 200 related books were published. In 2002, “Beautiful Formosa: Ma, Pai-Sui watercolor special exhibition” was held by Accton Arts. Ma Pai-sui passed away in New York in 2003.
032
生於中國上海。程十髮原名程潼，字十髮。1938年進入上海美術專科學校實習繪 畫。中華人民共和國成立後，進入華東人民美術社任美術創作員，創作大量的連環 畫作品。1957年參與籌建上海中國畫院，轉向專門國畫創作，在1984年出任上海 中國畫院院長。1957年國畫《歌唱祖國的春天》獲全國青年美展一等獎。1980年 於日本東京、大阪舉行個人展覽。1986年被列入英國康橋國際名人傳記中心所編 《世界名人錄》。1989年聘為全國七屆美展中國畫評委。1991年《 程十髮全家畫 展 》在上海美術館舉行。1995年先後於澳門市政廳、上海美術館舉辦《 程十髮作 品回顧展 》。1996年將家藏 122 件古字畫捐獻給國家。1998年赴加拿大舉辦《 程 十髮捐贈藏畫展 》。1999年舉辦《 程十髮、程多多父子繪畫、攝影展 》。2000年 在比利時舉辦《 程十髮、姚逸之師生國畫展 》。 Born in Shanghai, China. Cheng Shifa'soriginally named is Cheng Tung. In 1938, he enrolled in the Shanghai Fine Arts Schoolto learn painting.After the founding of the People's Republic of China, he entered in Shanghai People's Fine Arts Publishing House to serve as art creation members. And he created a large number of comics works.In 1957, he involved in building theShanghai Chinese Painting Institute, turned to the creation of specialized Chinese painting. In 1984, he served as the president of theShanghai Chinese Painting Institute. In 1980, he held solo exhibition in Japan. In 1986,he was included in the who is who in England. In 1989, he was appointed to judge of the Seventh of Chinese painting of National Art Exhibition of the Republic of China.In 1995, he held ChengShifa retrospectives in Shanghai Art Museum and in Edifício do Leal Senado. In 1999, he held exhibitions that about paintings and photography with his son.
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潘天壽 PAN
TIANSHOU (1897-1971)
廖繼春 LIAO
CHICHUN (1902-1976)
034
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。
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生於浙江寧海。自幼在家鄉冠莊西山的雷婆頭峰學校上學，晚年多以“雷婆頭峰壽 者’款于畫上，就是為紀念童年純樸的鄉居生活。1923年潘天壽應聘到上海美專任 職，並參與創辦上海新華藝專。1928年受聘於杭州西湖藝術院任中國畫系主任。其 的才華深受昊昌碩的賞識，潘天壽在藝術上亦也受到吳的影響甚深。在國畫上造詣 甚深，奠定了中國國畫教育的基礎。潘天壽藝術的可貴之處，在於他具有大膽的創 造精神，其常言：“荒山亂石，幽草閑花，雖無特殊平凡之同，慧心妙手者得之盡 成極品。＂
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.
Born in Zhejiang, China. Pan graduated from Zhejiang First Normal School (today the Hangzhou High School). He spent the better part of his life in painting and teaching of painting. He was indisputably one of the principal founders in the teaching of modern Chinese painting. For his inscriptions on paintings, he tended to employ the running-cursive script with a flat-tipped brush, which gave an impression of antiquity and artistic clumsiness that is in harmony with his painting style.
趙無極 ZAO
WOUKI (b.1921)
062
139
141
035
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。
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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) andgraduatedin 1941. In 1948, he went with his wife Lan-lan to Paris to live on the same block in Montparnasse where the classes of ÉmileOthonFriesz took place. His earliest exhibitions in France were met with praise from Miróand 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 awaredCommandeur de la lgiondHonneur. In 2002, he was selected as a member of the AcademieFrancaise. 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.
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朱 銘 JU
MING ( b.1938 )
076
077
037
058
091
092
103
078
168
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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。
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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”.
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劉國松 LIU
KUOSONG (b.1932)
036
楊識宏 YANG
CHIHUNG (b.1947)
038
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，感慨當代一昧模仿西方畫風與思 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）。
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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 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.
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.
趙春翔 CHAO
連建興 LIEN
CHUNGHSIANG (1910-1991)
CHIENHSING (b.1962)
040
039
生於中國河南。1931年畢業於河南第一師範學校藝術系，師學畫家李師晨及國學大 師李默生；1939年畢業於國立杭州藝術專科學校藝術系，曾受林風眠、潘天壽指 導。就學期間曾榮獲16項獎項，其作品亦為林風眠及滕固所收藏。1956年獲西班 牙皇家美術協會會員資格，遷居西班牙，1958年移居美國。旅美期間結識同時期美 國藝術家李奇登斯坦（1923-1997）與羅斯科（1903-1970）等人，並探索、發展 新的繪畫風格。1963年，代表中華民國於紐約古根漢美術館舉行個展與演講，往後 數年，也在美國各家畫廊及博物館舉行展覽和演講活動。1980年返台舉辦個展， 1984年成立個人畫室，1991年病逝於台灣。1999年，由30餘位海內外專家學者共 同執筆的「趙春翔紀念文集」於大陸出版。 Born in Henan, China. Chao graduated from Henan Normal School in 1931 and Hangzhou National Academy of Art in 1939. He won 16 prizes during this period, and his early works have been collected by his teacher Lin Fengmian and Teng Gu. In 1956, Chao received a scholarship to Spain where he later became a permanent member of the National Art Association of Spain. He then moved to USA in 1958 and devoted the next three decades to exploring and developing his own artistic style. While living in USA, Chao met his American contemporaries such as Roy Lichtenstein（1923-1997）and Mark Rothko（19031970）. In 1965, he held a solo exhibition and delivered a lecture at Guggenheim Museum in New York. In 1980, he returned to Taipei for a solo exhibition, and decided to establish an art studio 4 years later. The Chao Chunghsiang memorial was published in 1999 which was wrote and edited by more than 30 scholars and experts at home and abroad.
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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"
郭振昌 KUO
JENCHANG (b.1949)
蘇旺伸 SU
043
041
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.
安 卓 ENDRO (b.1983)
044
WONGSHEN (b.1956)
a.
b.
071
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 Wongshen 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.
努格羅霍 維加亞摩 NUGROHO WIJAYATMO (b.1980)
157
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）、「senirupabersama 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 Artsin 2001. Selected exhibitions:"LIFE IS AMAZING",Green Art Space, 2011; “BAZAAR ART FAIR”, Pacific Palace, Jakarta, Indonesia; "PSEUDO AGONY", Galeri Canna, Jakarta ; “senirupabersama 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;“PeduliGempa Yogyakarta”,Girang Gallery, Yogyakarta, 2006.
045
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, NugrohoWuayatmo was awarded Best Graphic Art Work DiesNatalis XXIV CONTENTS. And Nominated for the competition The POWER OF DREAM Seven Star Art Space in JogjaNasuonal 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.
303
楊成愿 YANG
CHENGYUAN (b.1947)
林憲茂 LIN
SHIENMAO (b.1955)
048
047
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 Francaised'ActionArtistique (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.
江明賢 JIANG
MINGXIAN (b.1942)
113 049
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.
張大千 CHANG
DAQIAN (1899-1983)
051
050
生於台灣台中。江明賢以水墨畫享譽經年，其作品融貫中西，有「台灣中生代最負 盛名的代表性水墨畫家」「跨海峽兩岸的藝壇史者」「在大陸舉辦台灣畫家個展第 一人」亦為著名美術教育家。1968畢業於臺灣師範大學藝術系。1974年畢業於西 班牙中央藝術學院碩士。曾擔任美國聖若望大學水墨畫教授，中國文化大學美術系 教授、臺灣師範大學美術系暨研究所教授、主任暨所長。曾在中國美術館、上海美 術館等舉辦個展。曾獲「青年學藝競賽國畫」第一名、「師大美術系系展國畫」第 一名等。在臺灣、歐洲、美國、日本、香港、中國大陸等地舉辦個展40多次，聯展 100多次。2005年北京中國美術館並舉行「江明賢作品學術研討會」計有台、日、 中、美、法等地之專家學者提出論文參與研討。2011年與大陸著名畫家宋雨桂擔任 兩岸主筆合繪「新富春山居圖」，於北京中國國家博物館隆重展出。出版有《中國 水墨畫之研究》和相關《畫集》十二部。 Born in Taichung, Taiwan. Jiang's ink painting renowned by years, his works mixed East and Western."Most prestigious of Taiwan Mesozoic representative ink painter" " Across the two sides of theStrait artist" "the first one displayed in China" He is known for Art educator. He graduated from Nation Taiwan Normal University in 1968 and graduated from Valencian Institute of Modern Art. He served as ink painting of St. John's University professor.Solo exhibition held in Taiwan, Europe, America, Japan, Hong Kong, China and other places 40 times and Group Exhibition held about 100 times."Jiang Ming Xian works Symposium"held in National Art Museum of China and experts and scholars around the world presented papers to participate. Jiang draw "New Dwelling in the Fuchun Mountains" with the famous painter Song Yugui from China and displayed in National Museum of China in 2011.
304
生於中國四川，為近代藝壇上成就最高的國畫家。年幼時，就跟隨母親學習繪畫， 對畫藝奠下基礎。青年時隨兄到日本東京，專攻繪畫，又研究染織工藝。回中國後 曾從李瑞清與曾熙習詩文書畫。後忽耽於佛學。喜臨摹清初四僧作品。1963年受聘 為南京中央大學美術系教授。善畫山水、花卉、人物，且尤擅畫荷花。工筆寫意， 俱臻妙境，30年代即與齊白石齊名，並稱「南張北齊」。40年代歸蜀，脫略石濤、 八大山人之初獷，蹤及唐寅、沈周等細潤之路。曾去敦煌臨摹壁畫和雕塑三年，畫 風為之一變，善用複比重色，被譽為「畫中李白」。50年代棲身海外，先赴印度展 出書畫，此後便旅居阿根廷、巴西、美國等地，並在世界舉辦個人畫展。他被西方 藝壇稱為「東方之筆」，與西方畢卡索齊名。他榮獲紐約國際藝術學會的金牌獎， 被推選為「全世界當代第一大畫家」並被世界輿論稱之為「當今最負盛譽的中國畫 大師」。張大千晚年仍從事中國畫的開拓與創新。1976年返臺北定居，完成巨作 《廬山圖》。 Born in Sichuan, China.Chang is the highest achievement of painting in modern art. In child, he followed his mother to study painting and lay the foundation for painting. The youth with the brother to Tokyo, Japan specialized in painting and researcheddyeing craft. After back to china he learned poetry and calligraphy from Li Ruiqingand Zeng Xi. He indulged in Buddhism.He loved to copy early Qing four monk's works. In 1963, he served as professor of art ofNational Central University.He is good at landscapes, flowers, people, and especially good at painting lotuses.Meticulous and freehand are perfect. In 1930s,Changwas as famous as Qi Baishi and were called the "South Chang Northern Qi."After he went to Dunhuang to copy murals and sculpture for three years, the style becamedifferent. He was known as "LiBai of Painting."Shelter overseas in the 1950s, he first went to India to exhibit the painting and calligraphy then he has lived in Argentina, Brazil, the United States and other places and held a solo exhibition in the world.The western art called Chang "oriental pen" and he is as famous as Picasso. He won the Gold Medal Award of International Society of Arts. Chang was elected as "the world's contemporary first big painter" the world's most prestigious contemporary Chinese painter "by world opinion.He twilight years are still engaged in the exploration and innovation of Chinese painting. Retuned to Taipei in 1976, he completed the masterpiece "Lushan."
張義雄 CHANG
YOSHIO (b.1914)
張萬傳 CHANG
WANCHUAN (1909-2003)
052 053
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 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.
龎 均 PANG
JIUN (b.1936)
055
162
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.
陳景容 CHEN
CHINGJUNG (b.1934)
098
054
生於中國上海。為中國第一代油畫家龐薰琹之子。龎均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.
056
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.
305
洪瑞麟 HONG
JUILIN (1912-1996)
057
畢卡索 PABLO
RUIZ PICASSO (1881-1973)
164 131
生於台灣臺北，父親擅詩畫，自小受其影響。1927年進入石川欽一郎及倪蔣懷的台 灣繪畫研究所，後在陳植棋鼓勵下赴日，1930年入川端畫學校的本鄉繪畫研究所， 1931年考入帝國美術學校（今武藏野大學）。1938年返台入倪蔣懷經營之礦場工 作，直至退休，其一生與礦工為伍，但從不間斷繪畫，被稱譽為「礦工畫家」。 1939年以「坑內工作」入選特展，1954年組紀元美術會，對於非主流美術活動貢 獻良多。1980年赴美定居，並至歐洲各地旅遊寫生，1987年洪瑞麟藝術工作室成 立，1996年12月逝世於美國。
060
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。
Born in Taipei,Taiwan. He ever followed Kinichiro Ishikawa to study painting in 1927 and decided to leave for Japan in 1930. He entered successively the Taiwan Painting Institute and the Imperial Fine Arts School in Tokyo. In 1938, he found a job with the Jui-fang Coal Mining Company to make a living. The working miners subsequently became a key inspiration for Hung. He had participated in the Taiwan Exhibition. The Hung Rui-Lin Art Studio was founded in 1987. Hung was dead of myocardial infraction in 1996.
阿 曼 PIERRE
188
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.
FERNANDEZ ARMAN (1928-2005)
059 102
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）。
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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 151 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.
米 羅 JOAN
MIRO (1893-1983)
陳心懋 CHEN
XINMAO (b.1954)
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063
156
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生於西班牙巴塞隆納，14歲進入巴塞隆納美術學校。早年接觸過許多前衛藝術家： 梵谷、馬蒂斯、畢卡索、盧梭等人的作品，也嘗試過野獸派、立體派、達達派、的 表現手法。米羅的秉性、直覺具有根本的反理性主義。他生來就是個無政府主義 者，本能性地反對一切傳統，一切對自然和博物館的迷信，於是他參加了達達政府 主義藝術運動。米羅的超現實主義繪畫具有鮮明的個人風格：簡略的形狀、強調筆 觸的點法、精心安排的背景環境及奇思遐想。超現實主義中心人物安德魯布赫東 (Andre Breton)曾說過：「米羅在完全達到自發性表現的最後障礙中一躍而過。」
出生於中國上海，1987年畢業於南京藝術學院美術系，獲碩士學位。個展：「陳心 懋首度個展」(1991，英國，牛津大學文化中心)。聯展：「全國青年美術作品展」 (1981)；「第三屆青年美術作品展」(1989，上海)；「為公平世界的藝術」巡迴展 (1992，英國)；「中國當代藝術文獻資料」(1994，上海)；「上海現代美術作品 展」(1995，德國)；雙年展「20+1」(1998，上海，中國、東京，日本)；「德國杜 塞爾多夫藝術展」(1999，德國)；「國際水墨雙年展」(2000)；「洛杉磯國際美術 雙年展」(2000，關山月美術館，美國)；「水墨在途-上海新水墨大展」(2007，朱 屺瞻藝術館、上海現代美術館)。
Born in Barcelona, Spain. He entered Barcelona School of Fine Art when he was 14 years old. His natural attitude and instinct possesses seesntial anti-rationalism. He was born and anarchist and he opposes all the traditions and all the blind faith of nature and museum by nature. So he took part in Dada Movement. Miro's surrealism painting has distinct personal style: simple shape, stress of brushwork, well-arranged background environment, fancy ideas, humorous interest and fresh feelings.
Born in Shanghai, China.Graduated in 1987 from NanJing Academy of fine Arts with master degree. Solo exhibition: “Culture Center of University of Oxford”, UK, 1991. Group Exhibition: “National Young Artists Exhibition”, 1989; “Art for a Peace World”touring exhibition, UK, 1992; “The Literature Exhibition of Chinese Contemporary Art”, Shanghai, 1994; “Shanghai Contemporary Art Exhibition”, Germany, 1995; “Shanghai Biennial” ; “20+1” exhibition, Tokyo, Japan, 1998; “Dusseldorf Art Exhibition ”, Germany, 1999.; “International Traditional Chinese Painting Biennial”, Shenzhen; “Los Angeles International Biennial”, USA, 2000.; “A way of Chinese Ink -2007 Shanghai New Chinese Ink Exhibition”, Zhu QiZhon Art Museum and Shanghai Duolun Museum of Modern Art.
劉 野 LIU
奈良美智 YOSHITOMO
YE (b.1964)
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064
出生於中國北京。中國當代著名藝術家。1984年畢業於北京藝術設計學院於。 1989年就讀於中央美術學院壁畫系，並參加由中國國家藝術博物館舉行的「絲綢 之路藝術展」。1990年進入了德國柏林藝術學院，並於1994年畢業，取得碩士學 位。1993年至2001年間，他曾在柏林、北京和倫敦舉行多次個展。 2001年，參加 第一屆於成都現代藝術館舉行之「成都雙年展」。2002年於德國、義大利分別舉行 “China art—中國當代藝術”展演。其作品廣為海內外美術館、博物館及私人藏 家收藏。 Born in Beijing, China. Liu graduated from Beijing Art and Design College in 1984. In 1989, he studied in the Mural Painting Department of Central Academy of Fine Arts and participated in the "Silk Road Art Exhibition" held by National Art Museum of China. In 1990, he entered the Plastic Art Department of Hochschule der Kunste (University of the Arts), Berlin and studied from Volker Stelzmann. He graduated in 1994 and acquired his Master degree. From 1993 to 2001, he has held several solo exhibitions in Berlin, Beijing and London. In 2001, he participated in the 1st Chengdu Biennial held by Chengdu Modern Art Museum. He took part in collective Exhibition of 33 Beijing Contemporary Artists and exhibited in "Chin Art" in Germany and Italy.
066
NARA (b.1959)
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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.
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葉子奇 YEH
TZUCHI (b.1957)
NA HYO-KAB (b.1962)
068 072
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.
楊柏林 YANG
POLIN (b.1954)
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生於韓國首爾。1997年畢業於紐西蘭旺格雷市諾斯蘭德理工學院美術系。1998年 新西蘭設計師協會會員。2007年曾在中國北京月球畫廊工作室工作。舉辦多場個 展，包括：2009年「當代油畫」燕姬緣美術館，中國成都。2008年「三個點」， NY畫廊，北京，中國。2007年「比和平」，如意畫廊，中國，上海莫干山。1998 年「瓶和杯」北方動力公司，藝術中心，Whangarei，新西蘭。重要群展，包 括：2008年「北京2008年奧運會」，A-空間，北京，中國。2008年「紅土地」， A-空間，北京，中國。2007年「中國當代和現代藝術」，婆羅浮屠拍賣，新加坡。 Born in Seoul, Korea.In 1997, he graduated from Art school of Northland Polytechnic, Whangarei, New Zealand. In 1998,he served as membership of New Zealand Designer Institute. In 2007,he worked at Moon Gallery Studio in Beijing, China. In solo exhibition:“Opening Show” held inHyunSam Culture develop Company in Chengdu, China, in 2009.“Contemporary Oil paintings” held in Yan Ji Yuan Art gallery in Chengdu, China, in 2009.“Three dots” held in NY gallery in Beijing, China, in 2008.“More than peace” held in Orange Gallery at Moganshan, Shanghai, China, in 2000. Selected group shows:“2008 Beijing Olympic Game” held in A-Space, Beijing, China. “Red Land” held in A-Space, Beijing, China, in 2008. “Chinese Contemporary and Modern Art” held in Borobudur Auction, Singapore, in 2007.
席德進 SHIY
DEJINN (1923-1981)
074
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。
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。
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.
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.
李石樵 LI
SHIHCHIAO (1908-1995)
吳昌碩 WU
生於中國浙江。吳昌碩與虛谷、蒲華、任伯年名為清 末海派四傑，更為「後海派」中的代表。中國近代傑 出的藝術家，是當時公認的上海畫壇與印壇的領袖。 10歲喜愛刻印章，其父加以指導，後精於篆刻，在 西泠印社成立於杭州後，曾為同道推認為首任社長。 30歲左右作畫，取諸家之長，兼取篆、隸、狂草筆 意入畫，尤擅長寫「石鼓文」，因此自成一家。其作 品重整體，尚氣勢，有金石之氣。對於用筆、施墨、 題款、鈐印的疏密輕重，匠心獨具。其藝術在中國與 日本有非常大的影響。吳昌碩的繪畫、書法、篆刻作 品集有《吳昌碩畫集》《吳昌碩作品集》《苦鐵碎 金》《缶廬近墨》《吳蒼石印譜》《缶廬印存》等， 詩有《缶廬集》。其作品藏於北京故宮博物院、上海 博物館、北京中國美術館等。
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生於台灣台北。早年就讀於臺北師範學校時，與石川欽一郎習畫。1929年赴日， 1931年入日本東京美術學院西畫科，作品曾多次入選帝展。回台後參加「赤島 社」，並與廖繼春、陳澄波、李梅樹等藝術家共同創立「台陽美術協會」。1974年 自台灣師範美術大學美術系退休後，李石樵即致力於繪畫創作，為台灣國家級畫家 之一。早期曾對抽象繪畫產生興趣，50年代開始嘗試多元化的創作題材，晚年再度 回歸寫實風格，然與早期作品相較，其作品已經跳離了早期寫實風格的厚重筆法。 Born in Taipei, Taiwan. Li studied at the Taipei Normal School under Ishikawa Kinichiro. He moved to Japan in 1929, and studied western painting at the Tokyo Fine Arts Institute. In 1931, after returning to Taiwan, he participated in the Ruddy Island Association and established Tai Yang Association. Since his retirement from National Taiwan Normal University in 1974, Li has devoted himself to painting. He was interested in abstract painting at the beginning of his art career. He tried to create diversified objects and returned to realistic style in his later year since 1950s.
羅中立 LUO
CHANGSHUO (1844-1927)
080
Born in Zhejian, China. Wu isLate Qing DynastyShanghai's style with Syu Yu, PuHua and Ren Bo Nian. Wu is modern China's outstanding artist. He was the leader of painting and seal in Shanghai. His father taught he to engrave seal because he is fond of it.On this account he was good at stone carving and became the first president of Xiling Seal Engrave. Started painting about 30 years old, he took advantage of various group such asseal script used throughout the pre-Han period, clerical script, wild cursive and added the lines to the painting. Wu is good at writing early form of Chinese characters inscribed in stone, a precursor of the small seal. His works focused on the overall, advocating momentum. He had special skills such as movement of pen, inscription and seals art thatall had good composition.His art infected Japan and China. Wu's painting, calligraphy andengraving seal's works were published to several books. His works were collected in The Palace Museum, Shanghai Museum, National Art Museum of China and so on.
ZHONGLI (b.1948)
081
出生於四川重慶。1978年進入四川美術學院油畫系就讀，於 1982年畢業後留校任教。1983年至1986年間，前往比利時留 學，在安特衛普皇家美術學院學習油畫。現任四川美術學院院 長與中國美術家協會理事長。羅氏曾舉辦多次海內外個展，如 比利時國家歷史博物館、美國紐約瓦列芬尼畫廊等，北京中央 美術館並將其創作列為典藏。 Born in Sichuan, Luo entered Oil Painting Department of Sichuan Art Institute in 1978. He went to study oil painting in Antwerp Royal Art Insitute in Belgium from 1983 to 1983. His works have been shown in numerous major exhibitions in China and overseas where they have received awards ad were widely collectd by the Central Art Museum in Beijing and many private collectors.
082
a. d. g.
b. e. h.
c. f. i.
309
周春芽 ZHOU
CHUNYA (b.1955)
朱德群 CHU
TEHCHUN (b.1920)
087 083
084
085
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.
展 望 ZHAN
WANG (b. 1962)
086
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.
薛 松 XUE
089
088
生於北京。1988年畢業於中央美術學院雕塑系，1995年中央美術學院研究生班結 業。現任中央美術學院雕塑系教授，工作與居住在北京。中國著名當代藝術家之 一，也是第一個作品被美國紐約大都會藝術博物館永久收藏的中國藝術家，更是第 一屆藝術與設計大獎賽候選人，曾多次參加威尼斯雙年展等國際當代藝術大展。 1990年開始從事超寫實主義雕塑創作，1991年參加新生代藝術展，1992年參加當 代青年雕塑家邀請展，1995年參加北京─柏林藝術交流展，批評家年度提名入選， 1997年參加東京97中國當代藝術展，同年參加「移動的城市」亞洲當代藝術巡迴 展。作品曾被收入《世界雕塑全集．東方部分》、《中國美術五十年》、《中國美 術全集》等，發表學術論文《觀念性雕塑─物質化的觀念》。 Born in Beijing, China.Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. He is known for being a contemporary Chinese sculptor, however, he is also known in other art forms such as: installations, photography and video. In 1990, he started creating sculptures of Pure Realism. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics. In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in "Moving Cities" Asian Contemporary Art Exhibition Tour. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore, etc.
310
138
SONG (b.1965)
090
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.
陳 進 CHEN
CHIN (1907-1998)
099
ERFU (b.1965)
100
生於台灣新竹。陳進是光復前台灣著名畫家當中唯一的女性，被譽為「閨秀畫家的 代表性人物」。她中學時期美術成績優異，得到當時日籍美術老師鄉原古統的賞 識，畢業後並接受老師的建議，遠赴日本考入東京女子美術學校就讀。1927年，以 一年級的三件學期作品《姿》、《罌粟》、《朝》參加第一屆台展東洋畫部，均獲 入選。並與林玉山、郭雪湖共獲「台展三少年」之美譽。1934年，以大姐陳新為模 特兒所繪製的《合奏》入選日本第十五回帝展，成為第一位入選帝展的台灣女畫家 並寫下九次入選帝展的輝煌紀錄，同時亦是第一位擔任台展審查委員的女性。陳進 執著一生，對藝術的追求與忠誠一直延續至今。她以其細膩獨到的慧眼，仔細觀察 周遭的人、事、物，並反映在她畫筆之下。陳進不僅在台灣畫壇上叱吒風雲，同時 也深受日本美術館的青睞，為此，台北市立美術館聯合日本三家美術館，開辦了一 場別具意義的陳進百歲紀念展。 Born in Hsinchu, Taiwan. Chen Jiais the only female painter before Taiwan recovery and praised as "Representative figures of painter who good at young lady'stheme." she was outstanding in art in secondary school for this reason her teacher GobalaKodoowho was Japanese suggested her went to Japanese Painting Department of the Tokyo Girls College of Art. In 1927, her work was selected, along with that of Lin Yu-shan and KuoHsueh-hu, to be shown at the first Taiwan Fine Arts Exhibition. Chen won 15th Empire Exhibition in 1934 and she was the first woman who be selected Empire Exhibition. A brilliant record of nine selected for the Empire Exhibition. And she also served as first female examiner of Taiwan Fine Art Exhibition.She persistent the pursuit and loyalty of art of life continue today.Chen had a special points of view about word surrounding us and reflected it to her works. Therefore Taipei Fine Arts Museum united three museums of Japan to held a solo exhibition of his works that year in dedication of his life.
楊登雄 YANG
陳二夫 CHEN
DIN (b.1958)
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。 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.
袁曉舫 YUAN
XIAOFANG (b.1961)
104
101
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'coleNationale 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.
生於中國湖北。畢業於湖北美術學院國畫系，現任教於湖北美術學院。曾參與的 聯展包括：「首屆廣州雙年展」（1992）、「中國油畫年展」（1993、1994、 1995）、首屆「中國油畫學會展」（1996）、「當代油畫藝術展」（1997，中 國上海）、第十三屆「亞洲國際藝術展」（1998，馬來西亞，國家美術館）、第 十四屆「亞洲國際藝術展」（1999，日本，福岡美術館）、「東北亞(中、日、韓) 及第三世界美術展」（1999，韓國，漢城美術館）、「重新洗牌—當代藝術展」 （2001，中國，深圳雕塑院）、第十六屆「亞洲國際藝術展」（2001，中國，廣 東美術館）、「首屆廣州當代藝術三年展-重新解讀」（2002）、「麻將─席克收 藏展」（2005，瑞士，伯恩美術館）、「AIAA亞洲國際藝術展」(2006，香港)、 「TAF臺北國際藝術博覽會」(2006，臺灣)、「共振—2007中國當代油畫邀請展」 (2007，中國，深圳美術館)。 Born in Hubei, China. Yuan Xiaofang graduated from the Hubei Institute of Fine Arts with a degree in Traditional Chinese painting in 1986. He currently lectures at Hubei Institute of Fine Arts. Selected group exhibitions include: “The First Guangzhou Oil Painting Biennial”, 1992; “Annual Exhibition of Chinese Oil Painting”, 1993-1995; “The First Academy Exhibition of Chinese Oil Painting”, 1996; “The Contemporary Oil Painting Exhibition”, Shanghai, 1997; “13th Asian International Art Exhibition ”, National Museum of Art, Malaysia, 1998; “14th Asian International Art Exhibition ”, Fukoku Art Museum, Japan,1999; “Exhibition of Fine Arts: Northeast Asia and the third World”, Seoul Art Museum, Korea, 1999; “Reshuffling Art Show“, of Shenzhen Sculpture Academy,2001; “16th Asian International Art Exhibition”, Guangdong Museum of Art, 2001; “The First Guangzhou Triennial”, 2002; “Mahjong: Contemporary Chinese Art from Sigg Collection”, Art Museum of Bern, Switzerland, 2005; “Asia International Arts & Antiques Fair”, Hong Kong, 2006; Taipei Art International Fair, Taiwan, 2006; "Resonance" - 2007 Contemporary Oil Painting Invitation Exhibition, Shenzhen Art Museum,China, 2007.
311
楊 述 YANG
SHU (b.1965)
106
栗子 (余麗) LI
TZU (YU LI) (b.1979)
107
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。
生於中國湖北。2003年畢業於湖北美術學院油畫系，2007年畢業於湖北美術學院 當代繪畫語言碩士。2003年於省油畫展獲優秀作品獎。著名展覽包括：「A.O.E 當代藝術展」(2005，中國武漢)、「耳語當代藝術展」，(2005，中國武漢)、 「十三個同學」(2006，中國武漢)、「放任自流-當代藝術五人展」（2007）、 「Liberalismo當代藝術展」(2007，羅馬，義大利)、「聚沙塔—2007中國新銳繪 畫獎」(2007，中國北京，炎黃藝術館)、「中國當代藝術藝術八人展」(2009，義 大利，拉齊奧切納美術館)。
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.
Born in Hubei, China. Yu graduated in 2003 from Oil painting Dept., Hubei Institute of Fine Arts, and graduated with a Master degree in 2007. Yu won the prize from “Provincial Oil painting Exhibition” in Wuhan, 2003. Exhibitions: “A.O.E” Contemporary Art Exhibition”, “Whisper- Contemporary Art Exhibition”, Wuhan, 2005 ; “Union Exhibition of the nine Academies”, Shenzhen, 2006; “ Five of Contemporary Art”, “LIberalismo Contemporary Art Exhibition”, Rome, Italy, “Gathering- New Artists of China 2007”, Yenhuang Art Museum, Beijing, 2007; “Eight China Contemporary Artists Exhibition”, 2009, Italy.
陸先銘 LU
飯田桐子 IIDA
HSIENMING (b.1959)
KIRIKO (b.1970)
109
生於臺灣臺北。1982年畢業於中國文化大學美術系。歷任華岡現代藝術協會、台北 畫派會長及悍圖社社長。曾獲第六屆雄獅美術新人獎首獎(1981)、中華民國現代美 術新展望優選(1988)、台北現代美術雙年展首獎(1992)以及第二屆廖繼春油畫創作 獎首獎(2002)。陸先銘曾於各國美術館與畫廊展覽，次數累積逾百次，紀錄經驗俱 豐。著名個展計有：「都市邊緣的主流意志」(1998，台北台灣，印象畫廊)、「人 文速寫」(2000，台灣台中，東海大學藝術中心)、「臺北‧新‧人類」(2003，台 灣台北，台北市立美術館)、「厝邊筆記」(2005，台灣台北，京華城生活廣場)、 「城市‧劇場」(2008，台灣台北，大未來畫廊)、「意念．程式．感官的對話-陸先 銘、何孟娟雙個展」(2009，台灣基隆，基隆市文化局)、「城市隨筆」(2010，台 灣台北，大未來畫廊)。作品廣為德國路德維國際藝術論壇、臺北市立美術館、臺灣 省立美術館、高雄市立美術館、Art in America年度當代藝術精選200件作品幻燈 全集、國立歷史博物館等各國美術機構與私人藏家收藏。 Born in Taipei, Taiwan, Lu received the B. A. in Fine Art from Chinese Culture University. He has been the Chairman of the Hua Kung Art Association, the director of the Taipei Painting Art Group, and the chairman of the Hantoo Art Group. Once won the New Talent Award of Hsiung-Shih Fine Arts in 1981, the First Prize of the Taipei Biennale of Contemporary Art in 1992, and the First Prize of Liao Chi-Chun Oil Painting Award. Lu has held numerous exhibitions in the art institutes and galleries around the world, and has joined over one hundred exhibitions through these years. Famous solo exhibitions included: “Bold Designs”, Impressions Art Gallery Part II, Taipei, Taiwan, 1998; “Cultural Sketch”, Tunghai University Art Gallery, Taichung, Taiwan, 2000; “Taipei‧New Image‧People”, Taipei Fine Arts Museum, Taipei, Taiwan, 2003; “Neighborhood Sketch”, Living Lounge Gallery, Taipei, Taiwan, 2005; “City‧Theater”, Lin & Keng Gallery, Taipei, Taiwan, 2008; “The Dialogue Between Thought Program Sense”, Keelung City Cultural Affairs Bureau, Keelung, Taiwan, 2009; “Urban Memoir”, Lin & Lin Gallery, Taipei, Taiwan, 2010. Lu's works are widely collected by private collector and art institutes such as Ludwig Forum for the International Art, Germany, Taipei Fine Arts Museum, Taiwan Museum of Art, Kaohsiung Museum of Fine Arts, “Art in America's 1995 Slides Survey of Contemporary Art” by Art in America, National Museum of History Republic of China etc.
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生於日本北海道。1991年畢業於北海道造形設計學院。近年個展包括：「Art Dish」（2006，日本東京）、「霜月 November – 飯田桐子個展」（2010，臺灣 臺北，索卡藝術中心；日本名古屋，IDF畫廊）、「霜月 November – 飯田桐子個 展」（2011，臺灣臺南，索卡藝術中心）。也曾參加多項聯展：「台北藝術博覽 會」（2008，臺灣臺北）、「大阪藝術博覽會」（2008，日本大阪）、「東京新 當代藝術博覽會」（2008，日本東京）。 Born in Hokkaido, Japan. IIDA Kiriko graduated from the Hokkaido Institute of Design in 1991. She has been held many solo exhibitions till now which include: "Platform Studio", 2004, Tokyo, Japan; "Art Dish", 2006, Tokyo, Japan; and group exhibitions in "Pickup Artists Exhibition" ,2007, Nagoya, Japan; "Art Taipei 2008", 2008, Taipei; "Art Osaka", 2008, Osaka; "Tokyo Contemporary Art Fair 2008", 2008, Tokyo, Japan.
李全武 LI
QUANWU (b.1957)
林達川 LIN
DACHUAN (1912-1985)
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出生於湖北武漢，畢業於湖北藝術學院美術分部。1982年在中央美術學院油畫系進 修，得到亦為著名油畫家的院長靳尚宜指導。1985年李全武移居紐約，並為美國著 名畫廊之一的紐約大中畫廊所接納為所屬畫家。十多年來，他在畫廊舉行多次個展 或聯展，並受邀赴美各大城市、香港、台灣、及中國大陸等地博物館、畫廊及政府 學術機構舉行展覽。他得過的重要獎項包括：第六屆中國全國美展金質獎、瑞士國 際藝術大展特別榮譽獎等，他的作品因展現深厚造型功力、純熟表現技巧，以及獨 特的個人風格，而被藝評家譽為“深得歐洲古典寫實繪畫精隨，又兼具東方詩意的 當代寫實主義畫家＂。
生於中國廣東。早年就讀於國立杭州藝專，1942年畢業於日本國立東京美術學校 （現為日本東京藝術大學），師從日本一代宗師梅原龍三郎和安井曾太郎，後以職 業畫家的身份躋身日本畫壇，並加入日本美術家聯盟。1949年油畫作品《窗前的景 致》榮獲「日本第五回美術展覽會」特選獎。1952年受聘於神奈川鶴見美術研究所 執教，同年在東京銀座舉辦個人展覽，並出版專輯。1953年歸國，執教於浙江美術 學院。其作品由中國美術館、地方博物館及國外藝術研究機構典藏。
Born in Wuhan, Hubei.Graduated from Hubei of Fine Arts. In 1982, further education in department of oil painting of Central Institute of Fine Arts. 1985 emigrant to New York, he holds exhibitions in Hong Kong, Taiwan and China many times. Awards: “6th China Gold Medal for Excellent Arts”、“Switzerland National Arts Exhibition honorary award” 、Li shows great skillful and unique personal style on his art works.
Born in Xinhui, China. Guangdong Province, Lin attended National Hangzhou Art College when he was young. In 1932 he went to Japan to study abroad, and learned from Ryuzaburo Umehara and Yasui Sotaro. Graduated from the National Art College in Japan, and advanced into the Japan art scene since then, and joined the Japanese artist alliance. In 1949, his painting, "The Window Scenery" was shown at the 5th National Art Exhibition of Japan where it won a prestigious award. In 1953 he returned to China and began to teach in Zhejing Academy of Fine Arts. A prolific painter whose oeuvres numbers close to one thousand, many of which are now housed in overseas collections, local museums and are in part among the collection housed at the China Gallery of Fine Arts. Publications include “Lin Dachuan's Paintings”.
董希文 DONG
李錠雄 LEE
XIWEN (1914-1973)
JUNGWOONG (b.1963)
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生於中國浙江。現代畫家、美術教育家。長於油畫與水粉畫，且具濃厚的生活氣 息，富有時代特點。1933到1939年間，初就學於蘇州美術專科學校，又見習於 上海美術專科學校，隨後到杭州藝術專科學校從林風眠與常書鴻學油畫。1943到 1945年間曾去東北寫生，得以臨摹敦煌壁畫。在北京藝術專科學校與中央美術學院 教學時，曾多次深入藏族地區作畫。1952年接受中國革命博物館的邀請，創作了 油畫《開國大典》。1955年沿當年紅軍長征路線進行寫生，帶回大批畫作。1964 年為人民大會堂中央廳進行創作。曾任第二屆全國政協委員。早期作品有《苗女趕 場》《戈壁駝影》《瀚海》等。解放後創作了《開國大典》《新解放區的生產自 救》《抗美援朝》《春到西藏》等和大批寫生畫稿，深受群眾喜愛。其作品典藏於 中國國家博物館與中國美術館等。 Born in Zhejian, China. He was modern painter and art educator. He was good at oil painting and gouache. His painting possessed strong flavor of life and full of the characteristics of the times.From 1933 to 1939, the studied in Suzhou MeishuZhuankeXuexiao,Shanghai Fine Arts School and Hangzhou College of Art from Lin Fengmian, Chang Shuhong learn painting.From 1943to 1945, he went northeast to sketch and copy Dunhuang mural. When he taught in China Central Academy Of Fine Arts, he drawn in Tibetan areas several times.In 1952, he incepted Museum of the Chinese Revolution's invitation to create the painting "founding ceremony." In 1955, he sketched along China's Red Army long March route and brought back a large number of paintings. In 1964, he created the painting for the Great Hall of the People in Beijing. He served as member of National Committee of the Chinese People's Political Consultative Conference. After China liberated, he created "the Birth of New China" "Campaign to Resist U.S. Aggression and Aid Korea" and so on. His works collected in Nation Museum of China and Nation Art Museum of China.
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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 atKorea 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.
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今井俊滿 IMAI
TOSHIMITSU (1928-2002)
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出生於日本京都。東洋當代野獸派代表、「非定形藝術」先驅，活耀於日本、巴 黎。於武藏高等學校(現為武藏大學)開始學習繪畫，1948年完成學業後，進入東京 藝術學院專攻油畫，後於1952年獲得第十五屆新制作協會沙龍的最佳新秀獎，並 前往巴黎，於大茅屋工作室學習，並於索邦（巴黎大學舊稱）主修中世紀歷史與哲 學。其早期創作偏向野獸派風格，1955年受到藝評家達皮埃的影響，使他的創作 轉向抽象風格。1953年今井受邀參加聖保羅雙年展；1956年回到日本舉辦群展； 1960年於威尼斯雙年展展出；1962年獲頒第五屆日本東京當代藝術展獎項，在日 本受到高度矚目。但今井不願自我侷限，並開始象徵性繪畫的實驗，1970年後他更 將文字與日本文化元素融入繪畫。在他最後期的作品中，他的創作轉向處理日本侵 華與二次世界大戰的主題。今井俊滿病逝於2002年。
陳其寬 CHEN
CHIKWAN (1921-2007)
122
生於北京。1944年畢業於中國南京中央大學建築系，1948年赴美國伊利諾州立大 學進修，1949取得建築碩士學位。並在美國加州大學洛杉磯分校藝術系修習工業及 設計、陶藝、繪畫等課程。1964年成立「陳其寬建築師事務所」，為世界各地規畫 建築物。1967年當選臺灣十大傑出建築師。1991年臺北美術館舉辦「陳其寬七十 回顧展」。2004年獲第八屆國家文化藝術基金會美術類文藝獎。陳其寬1952年開 始創作水墨畫，雖未受過正統的學院訓練，但作品《拔河》（1952）展現出其於繪 畫上的敏銳度。或許是受到建築繪圖精準確實的影響，加上其生活經歷，在表現感 性思維的同時，亦能具備深刻的透視思維，故水墨作品不同於傳統山水講求「三遠 式」空間表現，而有時空特質，創出獨特的個人面貌。
Born in Tokyo, Japan.His work brings the abstraction of the Japanese sensibility.Graduated from the Academy of Arts in 1948.In 1952, he was rewarded the prize for the best new artist at the 15th Shinseisaku Salon. Then Imai moved to Paris, he attended the Académie de la Grande Chaumière and the Sorbonne. Imai switched from representational to abstract art in 1955 under the influence by the critic, Michel Tapié. He participated in São Paulo Biennale of 1953 and the Venice Biennale of 1960. In 1962, Imai was awarded a prize at the 5th Exhibition of Japanese Contemporary Art in Tokyo. After 1970, he began to integrate words and Japanese elements into his pictures. In his last work, Imai turned to war as his theme. Toshimitsu Imai passed away after a long illness in 2002.
Born in Beijing,China. In 1949, he graduated from Illinois State University School of Architecture in the United States. In 1959, the British art critic Michael Sullivan called him "The Most Creative Chinese Painter". With an architect's aesthetic, Chen combined abstract concepts and monochrome ink to create a new kind of painting. He used a uniquely imaginative way to express a mystical, architectural, ethereal, and pure world seemingly beyond time and space. As a result, his works exude an aura of creativity and freedom.
于右任 YU
吳學讓 WU
YUJEN (1878-1964)
HSUEHJANG (b.1924)
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生於中國陝西，原名伯循。現代詩人、書法家。1903年（清光緒29年）舉人。 1906年追隨孫中山來台灣，加入同盟會。1910年曾與宋教仁等辦《民力報》。 1912年任南京臨時政府交通部次長。曾致力反對袁世凱稱帝的野心。1918年返陝 西，任靖國軍總司令。後曾任上海大學校長等；1931年後長期任國民政府監察院 院長。1964年台灣病故。擅長書法，得力於《鄭羲碑》《石門銘》精於筆法，善 草書，以碑入草，尤以唐代懷素的小草千字文用功甚勤，造詣甚深。用心佈白。曾 創標準草書社，並出版月刊，編撰《標準草書》。著有《右任文存》《右任詩存》 等。其作品典藏於台北市立美術館、高雄市立美術館、台北歷史博物與于右任書法 藝術館等。 Born in Shaanxi, China.He is modern poet and calligrapher. In 1903, he is a candidate of provincial examinations.In 1906, Yu followed the Sun Yet-sen to Taiwan to join the United League.In 1910,Yu founded " Financial resources of the people reported"with Song Jiao Ren. In 1912, he served as Ministry of Communications of Nanjing Provisional Government. He have committed oppose Monarchy ambitions.In 1918, he returned to Shannxi and he becamethesupreme of Nation-Pacifying Army at Shaanxi. Then he served as Shanghai University Presidents and The president of the Control Yuan Republic of the National Government.In 1964,he died in Taiwan. He is good at calligraphy especially Cursive that mixed inscription into the cursive. He learned from Huai Su's calligraphy.His works are collected in Taipei Fine Art Museum, Kaohsiung Museum of Fine Art, National Museum of History and Yu Yujen's Calligraphy Museum.
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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 Collegein1984, and learned the painting skill under the Contemporary Chinese ink paintingsof master Lin Fengmian、Pan Tianshou、Li Keran.Currently resides inCalifornia, 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 afirst 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.
王悅之 WANG
YUEHCHIH (1914-1973)
顏水龍 YEN
SHUILUNG (1903-1997)
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生於台灣台中，原名劉錦堂。其不同的名字分割出兩個階段的生涯。劉錦堂的藝 術風格有苦難時代的隱喻與象徵，他的表現力傳達出憂國憂民忍辱負重的深沈感 受。1920年隻身赴上海參加國民革命，認國民黨元老王法勤為義父，改名王悅之。 1921年東京美術學校畢業，任國立北京美術學校西畫教授。1922年與李毅士、吳 新吾、王子云等組織北京第一個研究西畫的團體「阿博洛學會」。1924年籌辦私立 北京美術學院，受聘擔任北京大學造型美術研究會導師。1929年在北平青年會舉辦 個人畫展。創作「棄民圖」為一生代表作，也是抗戰前期最早一幅抗日油畫，曾於 南京第二屆全國美展展出；作品「臺灣遺民國」、「亡命日記圖」於巴黎萬國博覽 會展出。
生於台灣台南。1922年留學於日本國立東京美術學校學習油畫與西畫。1929年赴 法國深造，受教於梵童根。1934到1937年與楊三郎、廖繼春等人合作，分別創立 台陽展與台陽美術協會，致力於台灣工藝美術的推動。1941年與張萬傳、陳德旺等 人組台灣造型美術協會。1950年後期作品限定於某些特殊題材，如台灣原住民、台 灣風景等。1982、1991年在國立歷史博物館舉行八十及九十歲回顧展，並在2007 年顏水龍獲台灣聯邦文教基金會設立的「台灣美術貢獻獎」表揚對台灣美術運動及 美術教育有貢獻的前輩美術家。其繪畫風格簡練，用色對比強烈溫暖，畫風傳達出 台灣特有的陽光與熱度。顏水龍亦列為台灣國家級畫家之一。
Born in Taichung, Taiwan.His original name called LiuJintang. The different name means different type of life. His style of art had metaphor and a symbol of the suffering time. The art works conveyed deep feelings of concern for the country and its people. In 1920, he went to Shanghai to participate in the NationalRevolutionary. Recognized KMTWang Faqin as a foster parent and renamed Wang YuehChih. In 1921, he graduated in and he served as professor ofwestern painting ofTokyo University of the Arts. In 1922, he organized "Apollo" with Liyi Shi, Wuxin Wu and Wang Ziyun. In 1924, he organizedChina Central Academy Of Fine Arts and was appointed to teacher of Peking University.In 1929, he held a solo exhibition in Peking. His masterpiece is "the Discarded Nationals." that the first AntiJapanese oil painting of before the war. His works were held in Exposition Universelle.
Born in Tainan, Taiwan.Yen was graduated from Tokyo Fine Arts School to learn fine art andoil painting in 1922. He left for French to study painting and followed van Dongen in 1929.Yen, YangSanlang and Liao Chichunestablished “Tai-Yang Art Exhibition” and “TaiYang Arts Association”. At the same time, he served as an adjudicator. Yen organized Taiwan Fine Arts Association with fellow artists Chang Wan-chuan, Chen Te-wan in 1941. Yen worked some special theme, such as Taiwanese aborigines, Taiwan's landscape.,late 1950. His 80-year and 90-year retrospectives were held successively by National Museum of History in 1982 and in 1991. Yen also gained award that Taiwan Federal & Culture & Education Foundation decided to set up“Award for Contribution to Fine Arts of Taiwan”to commend artist predecessors who made contribution to fine arts movements and fine arts education of Taiwan.Yen's style is concise and contrasting colors. It convey Taiwan'sunique sun and heat. Yen is the important artist of Taiwan.
楊三郎 YANG
龐永杰 PANG
SANLANG (1907-1995)
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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.
YONGJIE (b.1968)
133
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.
315
洪東祿 HUNG
TUNGLU (b.1968)
廖堉安 LIAO
136
出生於台灣。畢業於國立台南藝術學院造形藝術研究所。個展包括：「逛天堂」 (1997，台北，新樂園藝術空間)、個展(2001，美國紐約，456畫廊)、「洪東祿： 漫畫與當代藝術」(2001，加拿大，Hall-Ottowa畫廊)、「個展」(2002，義大 利，Marco Noire當代美術館)、「業」(2004，台北，大未來畫廊)、「安卓羅伊」 (2008，台北，伊通公園)。多次參加國際當代藝術大展：1999年第48屆威尼斯雙年 展、2000年法國阿爾國際攝影節、2000年台北雙年展、2001年西班牙拱之大展、 2004年上海雙年展等。作品亦被巴黎中國世紀基金會、義大利Marco Noire當代美 術館、台北市立美術館等收藏。其創作《涅槃》影像系列《虛擬即真實》，是全數 位化虛擬藝術的一種實踐。 Born in Taiwan. Graduated from National Taiwan College of Art Graduate Institute of Plastic Art. Solo Exhibitions including:“Barging into Heaven”(1997, New Paradise Art Space, Taiwan)、“Mangas and Contemporary Art by Hung Tung-Lu”(2001, HallOttowa Art Gallery, Canada)、“Hung Tun-Lu Solo Exhibitions”(2002, Marco Noire Contemporary, Italy)、“@-may Cyberspace”(2002, IT park Gallery, Taipei Taiwan)、 “Nivana”(2002, Taipei Fine Arts Museum, Taiwan )、“KARMA”(2004, Lin&Keng Gallery, Taipei, Taiwan)、“Android”(2008, IT park Gallery, Taipei, Taipei). He was invited to participate in several international exhibitions: Venice Biennial(1999), 3les Recontres internationals de la Photograph, Arles(2000), Taipei Biennial(2000), Arco(2001) and Shanghai Biennale(2004). His work in collected by China Century Foundation in Paris, Marco Noire in Italy and Taipei Fine Art Museum. His “Virtuality is Reality” From the “Nirvana” image series is an actual practice of totally digitalized virtual arts.
石川欽一郎 KINICHIRO ISHIKAWA (1871-1945)
YUAN (b.1979)
137
出生於台北。2005年畢業於國立台南藝術大學造形藝術研究所。2003年以「鳥人 自畫像」獲選台北美術獎首獎。其作品中的人物充滿活靈活現感，卻並非真實人 物，只是畫家想像世界中的合成角色。廖堉安不斷附與畫面人物中不同的面貌，企 圖捕捉住最貼近都會人群心底深處的影像。儘管只是藝術界的新秀，但已經舉辦過 多場個展：「自以為是…」（2003，台灣台北，新樂園藝術空間）；「不知所措」 （2004，台灣高雄，新濱碼頭）；「假寐」（2007，台灣台北，布查國際當代藝 術空間）「活殺自在之術？」（2007，台灣台北，伊通公園）；「不溫柔的愛撫」 （2008，台灣台北，亞洲藝術中心）。 Born in Taipei. Taiwan. Liao graduated from Tainan National University of ArtsIn 2003, he received a 1st price in Taipei Art Awards. Liao made for himself a theater of possibilities that has embraced deeply personal moments of his life and his insecurities, as well as some astute observation on the society in which he finds himself as a young artist. Being an emerging artist, Lao Yu-an already had several solo exhibitions., which including "I think what I am", Shin Leh Yu-an Art Space,Taipei, Taiwan, 2003; "Perplexity",Absolutely SPP, Kaohsiung, Taiwan, 2004; "Drowse", Butchart International Contemporary Art Space,Taipei, Taiwan, 2007; "Death Pretentious", IT Park, Taipei, Taiwan, 2007; "Fondle Without Tenderness" ,Asia Art Center, Taipei, Taiwan, 2008.
劉耿一 LIU
KENGI (b.1938)
144
143
生於日本靜岡。1888年入日本帝國遞信省東京電信學校，師小代為重學習西洋畫， 1889年開始接受淺井忠及川村清雄繪畫指導，1891年加入明治美術會，並曾留學 英國研習水彩。1907年被派任至臺灣，兼任台北師範學校圖畫科教師。石川欽一郎 兩度來台，前後共達19年，期間投身臺灣西畫啟蒙與教育，素有「台灣美術啟蒙之 父」之稱號。早期在臺曾發起藝術文化月例會，後期來臺積極推廣水彩畫，在《臺 灣日日新報》、《臺灣時報》、《臺灣教育》發表大量的畫作與文章，並指導「七 星畫會」、「臺灣水彩畫會」、「基隆亞細亞畫會」與各種美術講習會等。石川欽 一郎作育英才、提攜後進，於1920年代臺灣畫壇深具吸引力，學生有李石樵、倪 蔣懷、藍蔭鼎、李澤藩等人。在台期間促成官辦競賽性美展的成立，同時擔任審查 員，這項傳統歷經80餘年，深植臺灣文化藝術並使之發揚光大。 Born in Shizuoka, Japan. He came to Taiwan in 1907, during the period he was allocated to Taiwanese Government as a translator, and the teacher of Taipei Normal University. Within 19 years, his full dedication into art teaching and cultivation of Taiwanese first generation artists won him the title “Torchbearer of Modern Taiwanese Western Art.” He was an originator of the arts and culture monthly meeting, and then promoted the water color paintings in Taiwan. Many journals have published plenty of his artworks and articles; and he also put his all effort into instructing various art relative conferences. Kinichiro Ishikawa had great influence on the artistic field in 1920s and reached remarkable achievement in cultivating potential younger artists at that times.
316
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.
胡念祖 HU
NIENTSU (b.1927)
傅小石 FU
XIAOSHI (b.1932)
145
生於湖南省益陽縣，字心原，號石牛老牧，又號桃江遊子。1946年入南京美專攻 讀國畫選科，1948年師承國畫大師黃君璧研習山水畫藝，次年隨黃師來台；1951 年受聘於台灣省立師範學院 (今國立台灣師範大學)藝術系助教，並受教於溥心畬 研究北宗山水；1959年任教於國立台灣藝術專科學校（今國立台灣藝術大學）。 1966年，首次舉行個人畫展於中國郵報畫廊。1971年赴美國定居，並於1973 年入 美國紐約藝術學生聯合學院進修， 專攻山水創作並推廣文化藝術，期間更獲杜威大 學頒發榮譽藝術博士殊榮，享譽國際。1988年返國，專攻水墨山水創作。其作品多 次獲選出國參加各項重要國際展覽：「中日現代畫展」（1971、1972，日本，東 京）、「74年美國水彩畫展」（1974，美國，密蘇里州，春田博物館）、「紐約當 代中國藝術家聯展」（1985，美國，紐約）。
生於中國江西。1958年畢業於中央美術學院版畫系。其父為知名國畫大師傅抱石， 自幼深受父親繪畫所薰陶，但他不滿足於仿效父親作品而勇於追求新意，形成自己 獨創的潑墨沒骨畫風，作品生動傳神，酣暢淋漓，題材豐富。1979年作品參加「未 名畫展」後，曾在日本、新加坡、香港及北京、南京等地舉辦個人畫展。《琵琶 行》等作品為中國美術館所收藏。
Born in Hunan, China. In 1946, Hu was admitted to the Nanking College of Fine Arts majoring in Chinese Painting. In 1948, he studied Chinese landscape painting under the master painter, Huang Chun-Pi, and in the following year, he came to Taiwan with Huang. In 1951, he became a teaching assistant at the Taiwan Province Normal College (now the National Taiwan Normal University), where he also studied Chinese Northern-school landscape painting under PuHsin-yu. In 1959, Hu started teaching at the National College of Fine Arts (now the National Taipei University of Arts). He later resigned from his teaching post to concentrate in his landscape paintings. Hu has held more than a hundred exhibitions in Taiwan and abroad. He received an honorary doctorate of arts from Dewey University in the US where he also exhibited his works, marking a new page in East-West exchange.
Born in Jiangxi, China. Fu is the eldest son of master Chinese ink painter Fu Baoshi. He graduated with distinction from the Department of Printmaking at the Central Academy of Fine Arts in 1958. He was paralyzed except for his left hand due to his sufferings during those tough years. With his left hand that still functions, Fu has managed to create a large number of critically acclaimed ink artworks over the past three decades. Since the late 1980s, Fu has held his solo exhibitions in Singapore, Japan, Australia, the United Sates and in major cities on the Chinese mainland as well as Hong Kong and Macao SARs and Taiwan province. Some of his best ink paintings are in the collection of such prestigious art museums at home and abroad as the National Art Museum of China and Shanghai Museum of Fine Arts.
蔣宋美齡 CHIANG SOONG MAYLING (1897-2003)
歐豪年 OU
146
HAONIAN (b.1940)
148
147
生於中國上海。1907年搭乘「滿洲號」由上海赴美。1917年畢業衛斯理學院。 1917年回到上海。1927年宋美齡與蔣介石結婚。1943年宋美齡搭乘火車抵達華府 聯合車站，羅斯福總統夫婦親自迎接。同年，宋美齡獲邀前往參眾兩院進行演講， 隨後並進行夫人外交。1986年回台主持蔣介石百歲冥誕。1949年宋美齡隨蔣介石 去臺灣後，宋美齡業餘消遣為學習國畫。於是，聘請了當時臺灣知名的黃君璧和鄭 曼青兩位名家，其中黃君璧教她山水，鄭曼青則教她花鳥。她經常從臺北故宮博物 院借出古代名畫臨摹。宋美齡的繪畫講究佈局、用色與意境等。宋美齡除了是20世 紀中國乃至國際有影響的人物外，更在20世紀女畫家中佔有一席之地。 Born in Shanghai, China.In 1907, she aboard the Mandjour boat to American. In 1917, she went back to Shanghai then she married to Chiang Kai-shek in 1927.In 1943, she took train to Union Station and president Roosevelt couplespersonally greet. The same year, she was invited to go to speech to the House of Representatives.In 1986, she went back Taiwan to preside over Chiang Kai-shek hundred birthdays. In 1949, she started to learn Chinese painting. So, she hiredtwofamous painter that are Huang Jun-Bi and Cheng Man Ching. Huang taught her landscapes. Chengtaught her flowers and birds.She often copy ancient paintings by loaning from the National Palace Museum.Chiang's painting pay attention to the layout,color and conception.She is the international influential figures in the 20th century and she took an importantrole in female painter of the 20th century.
生於中國廣東。早年居於香港。在1970年後定居台灣，從事國畫創作，並起任中國 文化大學華岡教授至今。並曾兩任美術學系主任行政工作。四十年來歐氏作品曾應 港、日、星、馬、歐、美各國美術館個展數十次，蜚聲國際。並曾講學於美國史丹 佛大學、夏威夷大學及印地安那波里大學。1990年至1991年以英、法、德、奧、 荷、比、西七國博物館巡迴展，載譽歐陸，旋獲台灣行政院新聞局國際傳播獎章。 1993年更榮膺法國國家美術當局，巴黎大宮博物館特別獎譽，為中國畫獲此獎之第 一人。1994年被推崇為堅持東方人文精神之代表畫家。 Born in Guangdong, China.In the early years he lived in Taiwan.He engaged in Chinese painting's creation. Hewas appointed to a professor of Chinese Culture University.For four decades,Ou'sworks held solo exhibition in Hong Kong, Japan, Malaysia, Europe,American of the Art Museum, the world-renowned.He served as Stanford University,Hawaii Pacific Universityand Indiana University. From 1990 to 1991, he held tour exhibition inBritain, France, Germany, Austria,Netherlands ofmuseums.He won the GIO international spread of medals. In 1993 he was awarded the special accolades ofGrandPalaisofLasocibteNationale desBeausarts.In 1994, he is respected to adhere to the painters of on behalf the East of the human spirit..
317
王懷慶 WANG
HUAIQING (b.1944)
藤田嗣治 FOUJITA TSUGUHARU (1886-1968)
152 189 149
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).
托卡．蘇達圖 TOTOK
SUDARTO (b.1954)
153
318
生於東京。又名為LeonardFoujita。藤田為日裔法國作家。畢業於東京藝術學院。 1912年到倫敦，從此藤田一直留居於巴黎。藤田很快就融入了巴黎藝文圈，及巴黎 畫派，圈內成員有畢卡索、夏卡爾、史汀、莫迪里亞尼等人。雖其為東方人，但仍 在巴黎建立起名聲，被認為是唯一亞洲大師巨匠。1919年他的六幅畫入選秋季沙 龍。1920年再度以六幅油畫入選秋季沙龍。藤田在嘗試歐洲風格的創作之後，大約 在 1925年， 他又把法國油畫的技法應用於日本風格的繪畫 表現形式，以東方的毛 筆，創造出那種纖細與薄而透明的東方式油畫。藤田的作品題材多為風景、動物、 肖像和自畫像等。即時在今天仍是在法國最有名的日本畫家，其裸體油畫被稱為 「乳白色肌理」吸引西方藝術世界的好評如潮。其作品藏於東京國立近代美術館、 國立西洋美術館等日本二十間美術館。 Born in Tokyo, Japan.Foujita graduated from Tokyo University of the Arts. In 1912, he went to London and stayed in Paris. Fujita quickly participated in the arts circles of Paris, L'école de Paris, circle members had Picasso, Chagall, Sting, Modigliani and others. Although he is Asians,he still established a reputation in Paris. He is considered to be the only Asian Masters.Six of his paintings were selected in Autumn Salon in 1919 and in 1920. Foujita attempted to creation of European-style, about 1925, heapplied the French painting techniques in Japanese-style painting manifestations. And Oriental brush to create a kind of tenuous, thin and transparent of Oriental painting.His works' subjects are landscapes, animals, portraits and self-portraits.Nowadays in French, he is the most famous Japanese painter.He was known for nude painting that was called "milky skin" and attractedthe Western art world.His art of works were collected in The National Museum of Modern Art, The NationalMuseum of Western Art and so on.
丹尼．金．赫里揚托 DANI KING HERIYANTO (b.1980)
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生於印尼。為當代藝術家，活耀於印尼爪哇。 1977年，畢業於由印尼空軍學 院。隨即前往日本學習。其著名展覽包括：「Melihat Indonesia dari Bantul」 (2003，印尼日惹)、個展「Kembali kepada Rasa」(2004，印尼日惹)、2005年 至2009年間皆參與「日惹藝術節」、「個展」(2008，雷吉安酒店，印尼峇里島)、 個展「Aja Dumeh」(2010，印尼日惹)、「JogjaBangkit」(2011，日惹國家博物 館)。
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 Indonesia. A contemporary artists in Java, Indonesia. In 1977, graduated from Indonesian Air Force Academy. And study at Japan in 1977. Selected Exhibitions: “Melihat Indonesia dari Bantul”, Yogyakarta, 2003; Solo exhibition “Kembali kepada Rasa”, Yogyakarta, 2004;“Festival Kesenian Yogyakarta”, Yogyakarta, 2005, 2006, 2007, 2008; “Solo exhibition”,Legian Bali, 2008;Solo Exhibition “ Aja Dumeh”, Yogyakarta, 2010; “Jogja Bangkit”, Jogja Museum Nasional, 2011.
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 Suaramerdeka 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.
郭文嵐 KUO
WINLAND (b.1941)
蔡雲程 TSAI
YUNCHENG (1929-2009)
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出生於台南。1965年獲十大傑出青年金手獎雕塑第二名。多次受聘為高雄市立美術 館典藏委員，以及1998年國家文藝基金會第二屆文藝獎評審委員。郭文嵐的創作理 念，是以形體以單純化手法，表現成一種是形非形，是體非體的獨特美感。把寫實 的人體造型，還原成抽象線條，柔和的曲線具有輕快的律動感。加上以青銅融入不 鏽鋼所做的創作材質，互相融合後所產生出金銀色澤等肌理。再抽象造型與光澤感 兼備的作品中，有一種具吸引觀者的魅力。 Born in Tainan. In 1965, he won the 2nd Place of Golden Hand Award of Ten Outstanding Young Persons, and was frequently invited to exhibition as a judge. The concept of Kuo's creation is to integrate tangible, solid and non-solid into the artwork. Simplified body language has been transferred to abstract outline, giving out a tender curve as well as delightful dynamic. On the other hand, the combination of stainless stall and bronze material creates beautiful gold and silver colors that make artwork displayed with alluring beauty.
張自正 ZHANG
ZIZHENG (1917-2000)
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生於中國上海。1930-1934年就讀於上海美專西畫系，因成績優異而受教授倪貽 德、劉海粟的賞識。1945年赴法國里昂美術學院攻讀油畫，1950年在任微音創辦 之「東方畫室」執教。曾獲全國美展等多項大型美展獎項並至各處參展，1958年 代表中國當代藝術於歐美等地展出，反應熱烈，當時參展藝術家包括林風眠、李可 染、顏文樑等。1989年加入上海市美術家協會。作品並於新加坡、香港、台北等地 的藝術機構展出，出版品有《張自正畫集》。 Born in Shanghai, China. Zhang 1930 to 1934 at the Western Oil Painting Department of Shanghai Art School, where on account of his talents, he was greatly appreciated by Professors Ni Yide and Liu Haixu. In 1945, he studied Western painting in Shanghai under a French professor from the Lyon Art Academy. Zhang taught at the painting studio of Ren Weiin in 1950. In 1958, Zhang was invited to exhibit his paintings together with selected works of Lin Fengmian, Yan Wenliang and Li Keran in a traveling exhibition to promote Chinese art and culture in Europe and USA. Zhang has held solo exhibitions and group exhibitions in Singapore, Hong Kong, Taipei art galleries and art museums. Published “Painting of Zhang Zizheng”.
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.
沈哲哉 SHEN
CHETSAI (b.1926)
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出生於台灣台南。曾受業於廖繼春及郭柏川學習繪畫。就讀中學時，作品曾入選府 展、台陽展，歷年來作品獲得諸多大獎並舉辦多次個展。曾獲任中國油畫學會金爵 獎、國立歷史博物館金章獎等榮譽。1955年國立台灣美術館舉辦《沈哲哉七十回顧 展》。 Shen was born in Tainan, Taiwan. He studied painting under Liao Chichun and GuoPochuan. While studying in high school, his paintings were selected into the Palace Fine Exhibition and Taiyang Fine Arts Exhibition. Shen has been awarded by the China Oil Paintings Association and National Museum of History in Taiwan. In 1995, he was invited to hold a solo exhibition in National Taiwan Museum of Fine Arts.
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馮騰慶 FONG
TENGCING (1933-2005)
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MINGHSIUNG (b.1955)
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生於台灣桃園。1953年台北師範藝術科畢業。早年隨李石樵習畫，並且多次獲省 展、教員美展、台北市美展特選，馮騰慶一生從事美育，曾在多所國小任教，退休 時更榮膺師鐸獎。1987年並獲中華民國畫學會油畫金爵獎。馮騰慶曾於1988年創 辦莫內畫廊於台北，在1990年前後，儘管馮騰慶的作品在市場上大受歡迎，但他仍 保持一貫嚴謹創作的態度，例如養鴨人家的題材，曾經讓一些藏家望穿秋水。1992 年最後一次個展於台中現代畫廊，後來即未曾再做個人發表。爾後，他閉門從事創 作，沉浸於波納爾與莫內的光影色彩裡。直至今日，年輕一代藏家出現，對於馮騰 慶這樣一位30年代的畫家，代表一個由前輩到現代的中堅世代，特別值得留念。 Born in Taoyuan, Taiwan.Ping graduated in Arts of Nation Taiwan Normal University in 1953. Early years studied painting with LiShihchiao, he won several times in Taiwan Provincial Fine Arts Exhibtion,Faculty Art Exhibition and Taipei Fine Arts Exhibition. Ping's life engaged in aesthetic. He has taught at several elementary.In 1987, he won Jin Jue Award of Painting Association of the Republic of China.Ping established The Monet galleries in Taipei in 1988. Ping's works popular on the marketbut he remained consistent rigorousattitude, example Duckling theme had let some collectorsto eagerly look forward. The last solo exhibition showed in Modern Art Gallery, Taichung in 1992.After the last exhibition, he closed doors to create and immersed in the colors of light, shadow of Monet and Bonnard.Until today, the young generation collectors thought Ping such a painter in the 1930s who representatives from the predecessors to the backbone of modern generations, deserve memorable.
詹金水 JAN
許敏雄 HSU
CHINSHUI (b.1953)
生於台灣台中。1977年畢業於國立台灣藝術專科學校美術系西畫組。1995-1997年 年間就讀於美國加州舊金山藝術大學美術研究所。曾在國立台灣藝術大學與國立台 灣科技大學任教，並於華語雙周報擔任編輯，著錄多篇文章關於雕塑、圖像、繪 畫等，在專業書籍有《現代性圖像研究探究》專書。近年個展：「陽光照到的所 在」（2009，台灣台北99度藝術中心）、「秋之語錄」（2009，台灣台中雅特藝 術中心）、「桃花源」（2006台灣台北99度藝術中心）、「城市的興起」（2002 台灣台中私立逢甲大學藝術中心）、「城市的思索」（2001，台灣台中市文化局 大墩藝廊）、「世紀的街口」（2000，台灣台北印象藝術中心）、「人生舞台」 （1998，美國舊金山市立圖書館）（1997，聖荷拉市立圖書館）、「暗夜的舞 台」（1997，美國加州舊金山藝術學院畫廊）、「小丑與馬戲」（1993，台灣台 北印象藝術中心）、「年度影視國歌油畫專題展」（1992，台灣台北新生畫廊）。 Born in Taichung, Taiwan. Hsu was graduated from National Taiwan University of Arts in1997. From 1995 to 1997, he studied in California Institute of the Arts. He taught atNational Taiwan University of Arts and Nation Taichung University of Science and Technology. He served as editor in newspaper office and wrote some book about sculpture, painting, graphic and so on. Recent exhibitions: in 2009, solo exhibit in 99°Art Center Gallery, Taipei/Taiwan; in 2006, solo exhibit in 99°Art Center Gallery, Taipei/Taiwan; in 2002, solo exhibit in Art Center of the Feng Chia University, Taichung/Taiwan;in 2001, solo exhibit in Taichung Cultural Center, Taichung/Taiwan;in2000, solo exhibit at the Impression Gallery, Taipei/Taiwan;in 1998, solo exhibit at the Rose Garden Branch Library of San-Jose, USA; in 1997, solo exhibit at the University Art Gallery, SF, USA; in 1993, solo exhibit at Impression Gallery, Taipei/Taiwan; in 1992, solo exhibit at the New Life Gallery, Taipei/ Taiwan.
鍾邦迪 CHUNG
PANTI (b.1964)
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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).
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生於台灣台南。他自幼生長於眷村，不論是村外的農田或是建築工地上的沙土，都 串聯了記憶賦予了生命再生的力量，進而延伸至雕塑創作的成長。1989年獲得第一 屆金雕獎獲收藏獎。獲第五及第七屆奇美藝術人才培訓雕塑獎。1992年第40屆、 41屆南美展雕塑南美獎。在公共藝術有：「之初」（2001，高雄高等法院公共藝 術設置）、「安平風華」「劍獅」（2008，台南市西門國小公共藝術設置）等。 1997第44屆中部美展雕塑類—第一名。1999第4屆桃城美展立體類—第一名。2003 年南瀛藝術獎雕塑類—特優獎。近年個展：「鐘邦迪雕塑展」（2006，台灣台南成 功大學成大藝術中心）、「童顏樂土」（2004，台灣台南文化中心）、「鐘邦迪雕 塑創作展」（2003，台灣台中文化中心）、「雲想」（2000，台灣台南市文化中 心）、「談情塑愛」（1998，台灣台南縣立文化中心）。鍾邦迪的雕塑創作，不僅 在內造、外化，更在風格、精神與有無的新境再造，都予人美感共鳴及移情作用， 充分表達出生命的躍動，以及一種不可言喻的蘊涵。 Born in Tainan, Taiwan. When Chung was a child he grew up in the military dependents, irrespective of farmland outside the village or sandy on the construction. Above all, series of memory given to regeneration of life force, and then extended to the growth of the sculpture. In 1989, hewon the first Gold CarveMedal were collection Award. He was the fifth and seven Chi Mei artist training Sculpture Prize. The 40th, 41st of 1992 South Americasculptureexhibition, South America Award. In 2003, NAN YING Art Award,Certificate High Distinction. In Public Art: Taiwan High Court Kaohsiung public art setting, 2001.Recentexhibitions: CHUNG PAN-TI solo exhibition,Taichung culture center, 2003. "Cloud thought" Tainan Municipal Cultural Center, 2000. Chung Pan-Ti's sculpture in style and spirit give people the beauty of empathy, the full expression of life and movement, as well as the implication of an ineffable.
村上隆 TAKASHI
MURAKAMI (b.1962)
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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）。
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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.
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丁雄泉 WALASSE
TING (1929-2010)
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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。
貝納德．畢費 BERNARD
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.
BUFFET (1928-1999)
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生於法國巴黎。1944年進入巴黎美術學校，在伯納恩畫室指導下習畫兩年。1947年 畢費以《托腮男人》作品入選巴黎獨立沙龍 ，同年在巴黎藝術圖畫畫店舉辦首次個 展。這次展覽中巴黎美術館買下《小雞靜物》油畫。 從1940年代開始，畢費幾乎每 年舉辦一次展覽，他的主要巡迴展遍佈歐美和亞洲等地。1955年僅27歲的畢費被當 時的《藝術鑒賞雜誌》選為戰後十大傑出藝術家之首。1958年舉辦第一次巡迴展， 更被媒體譽為法國寫實主義繪畫的接班人。1973年日本大收藏家岡野喜一郎在靜岡 縣成立畢費美術館，畢費的成就受到極大的肯定。1974年入選為法蘭西學院所屬的 美術學院學士，此為法國藝術家最高榮譽象徵。1980年曾經得到騎士勳章與法蘭西 院士的榮譽。畢費為第二次世界大戰後，以粗黑的線條交錯描繪韻律簡潔著名。世界 著名的美術館皆展出其作品，亦為全球收藏家所喜愛。畢費的創作向來以悲劇主題貫 穿，無奈最終也以悲劇方式告別人世。1999 年10月4日畢費自殺的消息令全球美術界 譁然，當時巴黎文化部部長陶特曼說：「國家失去它最偉大的畫家之一。」
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Born in Paris, France. In 1943, Buffet entered the Ecole National des Beaux-Arts where he studied for two years. In 1947, he had his first solo exhibition in Paris, and later conducted exhibitions in New York, Geneva, Copenhagen, and etc. In 1948 ha won the “Prix de la Critique”. In 1955, the magazine Connaissance des arts selected top ten post-war artists, and Buffet, at the age of 27, was awarded the First Prize among the ten artists. In 1973, the first Bernard Buffet Museum was founded in Shizuoka, Japan. Buffet was the representative artist of anti-abstraction figurative art, and the thin, tough, and black outline was his personal stytle. Buffet's works is exhibited in plenty museums, including Contemporary Museum and Tate Gallery in London.
曾茂煌 CHENG
MAOHUANG (b.1934)
岳敏君 YUE
MINJUN (b.1962)
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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。
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 inHsinchu, 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.
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.
達利 SALVADOR
夏卡爾 MARC
DALÍ (1904-1989)
CHAGALL (1887-1985)
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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.
生於俄國。1907年到聖彼得堡斷斷續續學習了三年，最後投入巴克斯特門下的藝術 學校。1910年隻身前往法國。在法國，他受到後印象派、表現主義、立體派等思潮 影響，並於1914年在名為《突擊》的畫廊裡舉行了第一次個展。1917年俄國十月 革命，夏卡爾出任維傑布斯克地區藝術人民委員，著手在當地創辦美術學院和博物 館的計畫。1923年到二次大戰爆發時，夏卡爾待在巴黎並為《死靈魂》《欲言》 《聖經》蝕刻系列製作插圖。1946年在紐約現代藝術博物館舉辦大型回顧展後，美 國開始擁抱夏卡爾。在1948到1985年夏卡爾定居在法國且去世之前的這段時間， 他最有名的作品為紐約大都會歌劇院新館製作的兩個大型壁畫。「超現實主義」一 詞據說是阿波利奈爾（Apollinaire）為形容夏卡爾的作品所創造的；而畢卡索則評 論夏卡爾：「從馬蒂斯以後，他是唯一真正懂得色彩的人。」夏卡爾一生創舉無數 在西洋藝術史中占有一席之地，名聲更響徹國際藝壇，作品也為世界頂級藏家與博 物館爭相蒐藏。 Born in Russia. In1907 Chagall learned intermittently for three years in St. Petersburg, and finally learned from Leon Bakst's art school. Chagall went alone to France in 1910.In France he was influence by Post-Impressionism, Expressionnisme, Cubism, and so on. Der Sturm was displayed in first solo exhibition in 1914. October Revolution of1917, Chagall served as the People's Commissariat of Art of Vitebsk and heplanned to establish museum and gallery. From 1923 to the outbreak of the Second World War, Chagall stayed in Paris to producemetal etching for novel cover that areDead Souls, Bible and Fable. After the Museum of Modern Art held the Chagall's retrospective, American begin to embrace Chagall. From 1948 to 1985 that he dead, his well-known works are two fresco paintings in Metropolitan Opera House. Surrealist term Apollinairesaid Surréalisme to be created to describe the works of Chagall.Picasso commented Chagall: "After Matisse , he was the only one who really know what is color. "Works by Warhol are chased and collected by many top-notch collectors around the world.
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林飛龍 LAM
WIFREDO (1902-1982)
謝孝德 HSIEH
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生於古巴，華裔畫家。父親為廣東出生的中國人，母親為非洲黑人與印第安混血的 古巴土著。自幼即對繪畫有興趣。1918進入哈瓦納美術學院。1923年至西班牙馬 德里繼續研究藝術。1938年移居巴黎，與畢卡索、安德烈．布雷頓等名人交往並 吸收立體派之思維與技法，而後他與畢卡索成為莫逆之交。1941年從巴黎到紐約， 1942年回到古巴，那時的繪畫反映出其對西印度群島的巫毒教及熱帶原始林的喜 愛。自1942年起，林飛龍每年均在皮耶畫廊舉行個展，其鮮明的畫風非常受矚目。 終於在1964年榮獲古根海姆國際藝術大獎。因此他成為二次戰後超現實畫派重要成 員之一。在現代美術史上亦佔有重要的位置。 Born in Cuban, he was the ethnic Chinese artist. Lam'sfather was born in Guangdong, China.His mother was Cuban aboriginal that combination of African and Indian. He was interested in painting in childhood. In 1918 , enrolled in Écolenationaled'administration （ENA）. In 1923, he went to Madrid, Spain to research art.In 1938, he immigrated to Paris, his made celebrity that Picasso and Andre Breton frequent exchanged and absorbed the thinking and techniques of Cubism. After that the Picasso became his very good friends. In 1941, he left Paris to New York. In 1942, he went back to Cuban and he performed in the painting what he interested in Tropical virgin forests and West Indies voodoo.Since 1942, he held solo exhibition in Paris Pierre Gallery every year. His works' distinctive style is in the limelight. Finally he won the Guggenheim International Art Award in 1964.Therefore he became the important constituent of Surréalisme afterSecond World War.Healsooccupies an important position in the history of modern art.
張佳婷 CHANG
CHIATING (b.1965)
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生於台灣台北。張佳婷為90年代初在台灣嶄露頭角的新生代畫家，和當代藝術的繪 畫核心相比，她的作品不是對當代的批判，而是以審美性的生命觀來呈現其創作。 1988年，國立藝術專科學校西畫組畢業製作第一名。1989第四十三屆全省美展油 畫優選。1992年第十三屆全國美展油畫佳作。張佳婷個展多次在臺灣的真善美畫 廊舉辦，分別為1995、1996、1998、2000、2002、2006等，其他包括2005年在 台中市文化局大墩藝廊與2007年在北京畫院美術館舉辦個展。聯展：1992台中臻 品藝術中心新生代八人展、1992畫廊博覽會、1994 台北市立美術館「原色調三人 展」、1995畫廊博覽會、2003馬來西亞檳城理科大學藝術中心畫廊聯展、吉隆坡 SGM文化中心聯展、2004澳洲墨爾本MANNINGHAM畫廊。其精彩畫作有以花卉 為題材的油畫創作，記錄了許多花之半具像的作品系列，繁多的花材，透過多元空 間演繹花與四季、周遭現象的感情。 Born in Taipei, Taiwan. Chung Jia Ting is 90s the new generation of painter of Taiwan. To compared to the core of contemporary art, her works is not contemporary criticism, but rather to present their view of life. In 1989, he won the Merit Award in oil painting in the Taiwan Provincial Fine Arts Exhibition. In 1992, Chung won the Honorable Mention in oil painting in the Taiwan Provincial Fine Arts Exhibition. She display solo exhibition several times in KALOS GALLERY in 1995, 1996, 1998, 2000, 2002, 2006 and so on. In 2007, solo exhibition held in Art Museum of Beijing Fine Art Academy. Group exhibitions: "Original tone trio" in TFAM in 1994; group exhibited in The Penang Science University Art Centerin Malaysia in 2003; group exhibited in MANNINGHAM gallery in Australia in 2004. Her oil paintings mainly carry a floral theme. She has recorded a number of semi-concrete artwork series. A manifold of flowers appearing in different background manifested the sentiments endowed by flowers to the four seasons or the surroundings.
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HSIAOTE (b.1940)
生於台灣桃園。謝孝德堅持具像藝術，將機械文明取代眼睛無法瞬間捕捉的概念， 一直是他創作的信念。1965年畢業於國立台灣師範大學美術系後隨即留校任教。 1973至1974年間旅居法國巴黎並於羅浮宮藝術學院作研究，後返國撰寫《新寫實 主義》一書，成為台灣倡導新寫實主義的開創人。現任國立台灣師範大學美術系研 究所。在國內獲得獎項：台陽展、省展、全國展均獲得首獎多次，曾於日本、美國 及台港等地舉辦個展，作品獲國立歷史博物館、國立台灣藝術教育館、台北市立美 術館、國立台灣美術館、高雄市立美術館收藏，並屢獲獎項，包括1971年參加法 國康城國際雙年展獲國家獎，1979年參加英國克里夫蘭國際素描展獲優秀獎，於 1982及1983年被英國世界名人錄列為世界名人之一。 Born in Taoyuan, Taiwan. Hsieh insist in figurative. Using Mechanical civilization replace to the image that eye can not catch. Afterhe graduated from Department of Fine Arts, National Taiwan Normal University, he served as the teacher in NTNU.From 1973 to 1974, he traveled in Paris and researched in Ecole du Louvre. Then he went back to Taiwan. He wrote the "Neorealism" andbecame the founder of Taiwan Neorealism. Won awards in the Taiwan: Hsieh wonFirst Place AwardofTai-Yang Prize and Taiwan Provincial Fine Arts Exhibition several times, and displayed solo exhibition in Japan, American, Hong Kong and Taiwan.His works are collected in Nation Museum of History, Nation Taiwan Arts Education Center, Taipei Fine Arts Museum, Nation Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts.From 1982 to1983, Hsieh was classified as one of world celebrities by British word.
羅瑞忠 LUO
RUEY (b.1957)
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出生於台灣彰化。1970年畢業於國立台灣藝術專科學校(現國立藝術大學)。為知 名設計師，現生活創作致力於當代藝術。主要展覽包括：「美村藝術中心個展」 (1991)、「伯林藝術中心個展」(1993)、「松柏畫廊個展」(1995)、「美村藝術中 心聯展」(1998)、「新視覺畫廊個展」(2000)、「新視覺畫廊個展」(2003)、「梵 藝術中心聯展」(2005)。 Born in Changhua, Taiwan.LuoRuey graduated from National Taiwan University of Arts. He live and work in Taiwan now. Luo is a famous artist. SelectedExhibitions: “Mei-Tsuen Art Center Solo Exhibition”, (1991); “Bolin Art Center Solo Exhibition” (1993); “Sung-Bo Art Center Solo Exhibition”, (1995); “Mei-Tsuen Art Center Group Exhibition”, (1998); “New Vision Gallery Solo Exhibition”, (2000); “New Vision Gallery Solo Exhibition”, (2003); “Fine Art Center Group Exhibition”, (2005)
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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) 334
Dated
336
財團 法人
台灣兒童暨家庭扶助基金會
朱德群-紅色意境
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
1 6 December 2 0 1 2
ZHONG CHENG AUCTION Taipei 16 December 2012