中誠國際藝術2013年秋季拍賣目錄

Page 1

ZHONG CHENG TA I P E I Chinese Contemporary Art & Sculptures 1 5 December 2 0 1 3

台北 台灣台北市大安區復興南路一段92之7號 T.+886 2 87733565 F.+886 2 87732615

台中 台灣台中市北區大雅路288之2號8樓 T.+886 4 22066599 F.+886 4 22050703

Chinese Contemporary Art & Sculptures

中誠國際藝術2013秋季拍賣會 TAIPEI 15 DECEMBER 2013 台北 2013年12月15日


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- Arch 朱銘-太極系列-拱門

002

JU MING-Taichi Series - A Herd of Deer 1991

朱銘-太極系列-林中鹿群

1976

HUNG YI-Lucky Tiger 洪易-福虎

2009


YAYOI KUSAMA-Infinity Nets (GA.5) 草間彌生-無限的網 2001

SHIY DEJINN-Cottonrose Hibiscus 席德進-芙蓉

1975

XUE SONG-Sunglow 薛松-晚霞歸舟 2009

003


Sunday 15 December 2013

AUCTION 2013/12/15 (Sun) 2:30pm Fubon International Convention Center B2, No.108, Sec1, DunHua South Road Taipei, Taiwan

PREVIEW TAICHUNG Zhong Cheng Art Center 8F, No.288-2, Da-Ya Road, Taichung, Taiwan 11/2 (Sat) – 11/30 (Sat) 1:00pm~7:00pm

TAIPEI Fubon International Convention Center B2, No.108, Sec1, DunHua South Road, Taipei, Taiwan 12/13 (Fri) – 12/14 (Sat) 10:00am~7:00pm

004


中誠國際藝術 2013秋季拍賣會

拍賣 2013年12月15日(星期日)2:30 PM 富邦人壽國際大樓 國際會議中心 台北市敦化南路一段108號B2

預展 台中 11月2日(六)-11月30日(六) 1:00 PM ~ 7:00P M 中誠藝術展示中心 台中市北區大雅路288-2號8樓

台北 12月13日(五)-12月14日(六) 10:00 AM ~ 7:00 PM 富邦人壽大樓 國際會議中心 台北市敦化南路一段108號B2

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 Corrina Lee Executive Assistant corrina@art106.com Jessie Fu Art Administrator jessie@art106.com Sherry Shiang Art Administrator sherry@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615

Taichung Rose Chung Art Administrator rose@art106.com Karen Wang Art Planning Staff karen@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 Corrina Lee corrina@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 Jessie Fu jessie@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 Taichung Rose Chung rose@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: Sherry Shiang sherry@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 台灣北部地區 蕭華薇 總經理 vivian@art106.com 蕭偉廷

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 式競標;鑑於拍賣現場電話有限,尤其針 對需用外國語言服務之投標者,請於拍賣 前24小時通知我們為您安排。您亦可利 用本圖錄後方之書面標單競投,請洽:

買賣諮詢、鑑價服務、拍賣時程、目錄

蕭偉廷 wayne@art106.com

訂閱等相關業務,請洽: 項寗 sherry@art106.com 電話:(886-2) 8773-3565 傳真:(886-2) 8773-2615

副總經理 wayne@art106.com

李詩婷 corrina@art106.com

李詩婷

電話:(886-2) 8773-3565 傳真:(886-2) 8773-2615

執行助理 corrina@art106.com 項寗 藝術行政 sherry@art106.com

一項拍品的狀況說明書,惟準買家

傳真:(886-2) 8773-2615

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 他各項貨品可在中誠辦公室提領,上班時 間為週一至週五上午9:30至下午6:30。

藝術行政 rose@art106.com 王凱鈴 karen@art106.com

二、 我們的專業行政部門可為您建議或安 排最適當的運輸方式,詳情請洽

電話:(886-4) 2206-6599

台北

傳真:(886-4) 2205-0703

傅聖雅

藝術企劃

需注意拍品均是以「當時認定」之 狀況賣出,相關細項請參照目錄後

取貨及運輸

鍾治瑩

其他

有關付款詳細事宜,說明於本目錄後面, 如您需要更進一步的諮詢,請洽:

電話:(886-2) 8773-3565

台灣中南部地區

www.art106.com

中誠樂意提供您本次拍賣當中任何

jessie@art106.com

藝術行政

各式資訊歡迎參閱中誠拍賣官方網站。

付款事宜

鄒琬婷 財務部主任 andrea@art106.com 電話:(886-4) 2206-6599 傳真:(886-4) 2205-0703

傅聖雅

官方網站

之業務規則以及買家須注意事項。

jessie@art106.com 海外地區

電話:(886-2) 8773-3565

蕭偉廷

傳真:(886-2) 8773-2615

副總經理 wayne@art106.com

中南部地區 鍾治瑩 rose@art106.com 電話:(886-4) 2206-6599 傳真:(886-4) 2205-0703

007


D

A AI XUAN

艾軒

100

DING YANYONG

丁衍庸

029

ALFRED BASTIEN

巴斯天

002 006 031

DING YI

丁乙

101

JOAN MIRO

米羅

162

JU MING

朱銘

059 060 061 062 136 163

039 ANDRE BRASILIER

安德烈.布拉吉利 188

E

ANDY YANG

安迪.楊 115

ENDRO

AU HONIEN

歐豪年

AGUS PUTU SUYADNYA

阿格斯.普圖.蘇亞丹雅

K 安卓

030 113

F

068 079

L

FANG LIJUN

方力鈞

161

LAM WIFREDO

林飛龍

203

FU CHUANFU

傅狷夫

195

LE PHO

黎譜

085

LEE KUMO

李轂摩

172

LEE LIANG

李梁

169

LEE MINGCHUNG

李民中

171

LEE SHICHI

李錫奇

080 127

LEE TZEFAN

李澤藩

008 078 122

B 畢費

郭振昌

026

116

BERNARD BUFFET

KUO JENCHANG

197

G GAO YU

高瑀

120

C CHIEN CHIACHU

簡嘉助

201

H

CHANG LING

常陵

053

HO HUAISHUO

何懷碩

049

LI JIKAI

李繼開

121

CHANG YOSHIO

張義雄

134

HOU CHUNMING

侯俊明

052 112

LI JUNYANG

李俊陽

170

CHEN CHIN

陳進

035 065 084

HSIAO CHIN

蕭勤

021

LI SHANGXUE

李尚學

202

CHEN CHINGJUNG

陳景容

064 082

HSIAO JUSUN

蕭如松

003 081

LI SHIHCHIAO

李石樵

041

CHEN HSINGWAN

陳幸婉

126

HSIEH HSIAOTE

謝孝德

196

LIAO CHICHUN

廖繼春

073

CHEN LAIXING

陳來興

154

HUNG TUNG

洪通

028

LIN SHIENMAO

林憲茂

024 034 046

CHEN TINGSHIH

陳庭詩

011 012

HUNG YI

洪易

027 076 110

CHEN YINHUI

陳銀輝

022 088

CHENG SHANHSI

鄭善禧

141 164

CHIU YATSAI

邱亞才

CHU TEHCHUN

CLAUDE WEISBUCH

朱德群

069 LIN YILONG

林義隆

204

J

LIU CHIHSIANG

劉啟祥

042 123 135

017 018 070

JACQUES DEPERTHES 戴貝魯特 187

LIU CHIWEI

劉其偉

009 019 140

086 109

JEAN JANSEM

090 091 092

JEAN PIERRE CASSIGNEUL 尚.皮耶.卡辛紐 133 190

LIU JIUTONG

劉玖通

045 105

096 130 131

JEAN-MICHEL BASQUIAT 尚.米榭.巴斯奇亞 071

LIU KENGI

劉耿一

173

JI DACHUN

LIU KUOSONG

劉國松

093 107

LONG CHINSAN

郎靜山

001 038 066

克數德.維士巴修 178 179 180

強.詹森 189

季大純

128

194

083 117 145 008


M

T

YANG CHITONG

楊啟東

201

MA PAISUI

馬白水

111

TAI JINGNONG

臺靜農

014

YOSHITOMO NARA

奈良美智 114 151 186

MARC CHAGALL

夏卡爾

207

TAKASHI MURAKAMI

村上隆

175 176 177

YU CHENGYAO

余承堯

007 025 106

MR. RED

紅膠囊

132 138

183 184 185

YU YUJEN

于右任

032

MULYO GUNARSO

穆里歐.固納爾索 048

191 192 193

YUYU YANG

楊英風

010 023 054

P PABLO RUIZ PICASSO 畢卡索

TONY WONG

黃榮禧

153

TOTOK SUDARTO

托卡.蘇達圖 016

208

PAUL GUIRAMAND

保羅.賈曼

PENG KUANGJUN

彭光均

089

Z 198

168

ZAO WOUKI

W WALASSE TING

丁雄泉

趙無極

043 124 125

015 044 174

129 147 148

181 182

152 155 156 157

PIERRE FERNANDEZ ARMAN 阿曼

033 104 167

PU HUA

蒲華

067

WANG CHIHSIN

王霽昕

077

PU RU

溥心畬

013

WANG HUAIQING

王懷慶

020 146

ZHANG YU

張羽

119

WU CHANGSHUO

吳昌碩

037

ZHOU CHUNYA

周春芽

097 098

薛松

099

YANG CHIHUNG

楊識宏

087 108

YANG GUOXIN

楊國辛

118

R RAN INTING

藍蔭鼎

004

X

RAO SONGQING

饒松青

050

XUE SONG

ROBERT INDIANA

羅伯特.印第安納 072

RYOJI SUZUKI

鈴木良治 139

S

Y

SAD JI

沙耆

036 040

YANG POLIN

楊柏林

137

SALVADOR DALI

達利

199 200 205

YANG SANLANG

楊三郎

047 063 074

206

YANG XUYUYAN

楊許玉燕 075

SHEN CHETSAI

沈哲哉

005

YANG TAIYANG

陽太陽

SHIY DEJINN

席德進

055 056 057

YAYOI KUSAMA

草間彌生 102 103 142

058 094 095

051

143 144 149 150 158 159 160 165 166

009


001

|

LONG CHINSAN

( 1892-1995 )

New York

郎靜山

31×23.5cm Photograph Silver Gelatin With one seal of the artist

紐約

PROVENANCE Private collection, Australia

景,有別以往風格,朗靜山作品不只包含古畫 意境,也具有現代精神。作品裡夕陽西下,如

銀鹽 相紙 鈐印:郎靜山

鳥望下俯瞰整個紐約城市,微美夕陽搭配著聳 立的紐約大樓,城市空間美景自然流露於郎靜 山的紀實攝影,十分具現代感。

來源:澳洲私人收藏

NT$ 60,000-130,000 US$ 2,000- 4,400

010

《紐約》是郎靜山晚期出國時留下的異國風


002

BASTIEN | ALFRED Les Dunes Au Ciel Blue

( 1873-1955 )

41×58.5cm Oil on Canvas Signed A Bastien in English Signed on the frame's reverse:Alfred Bastien in English PROVENANCE Gallerie Matthys (Belgium)

巴斯天為比利時印象派的代表畫家 之一。其作品在1934、1935年間 「比利時現代繪畫展」巡迴展出於 上海及南京,並被國外藝術史家看 作20世紀前期在華舉行的最大規 模歐洲畫展。在《藍色沙灘》中巴 斯天自然揮灑、不拘繩墨的筆觸, 引領出隨風奔馳的雲朵,快速而輕

巴斯天

盈,在其豐富的層次中隱約透露出

藍色沙灘

青藍天空,仿若下一秒白雲將飄

油彩 畫布 簽名:A Bastien 框上簽名:Alfred Bastien 來源:Gallerie Matthys (比利時)

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

散,日光便會重返大地。大地色調 的表現帶點淡淡憂傷,沉靜穩重, 富饒的色彩相互交映,使人沐浴於 自然靜謐的氛圍中,心平而氣和。

藏家Gallerie Matthys 與作品合照

011


a. b.

003

|

HSIAO JUSUN

( 1922-1992 )

a. Chutung Senior High School

蕭如松

蕭如松曾任職竹東高中的美術老師直至退休,

b. Reflection

a.竹東高中

一生熱愛寫生,觀察大自然的真實面貌,捕捉

b.倒影

季節變化,完美景致呈現於畫布上;竹東高中

a.14.5×20cm b.14×19cm Watercolor on Paper a.Signed on the reverse: Art room in Chutung Senior High School on March of 1963, with TEMPERA b.With one seal of the artist

校址原為日據時期的竹東神社,早期保留許多 a.1963 b.1963 水彩 紙本 a.背面簽名:竹東高中美術教室後 1963年3月作TEMPERA使用 b.藝術家鈐印

日本建築和風的特色,優美校園景致,蕭如松

NT$ 140,000-280,000 US$ 4,700-9,500

快寫意的點描手法將倒影透過湖面如鏡般的顯

常以竹東高中為創作題材;《竹東高中》畫面 中前景微風徐徐吹彿著綠意盎然的草叢,延著 樹林小徑漫步至校園,遠處褐色調色系的朦朧 描繪,越發加強整體的縱深感。《倒影》以輕 示出來,背景化繁為簡點染出層層山坡,率性 簡化的筆觸,展現蕭如松的真性情。

012


004

INTING | RAN Landscape of Spring

( 1903-1979 )

24×26.5cm Watercolor on Paper Signed In-Ting in Chinese With one seal of the artist PROVENANCE The previous owner is Ho Hao-Tien who was the previous directors of National Museum of History

藍蔭鼎

藍蔭鼎的水彩畫蘊含中國水墨書法的傳統創新與

春滿乾坤

延續,並融合西洋水彩風格。早期受石川欽一郎 繪畫風格影響,技法單純簡樸,近似英國傳統畫

水墨 紙本 簽名:余承堯 藝術家鈐印

風。中期以後開始運用中國毛筆代替水彩筆,將 中國水墨書法中的點、挫、提等筆法,加上暈染 的層次感,賦予單純水彩濃厚的韻味與意境,由

來源:原藏者為前歷史博物館館長 何浩天先生

此亦成為藍蔭鼎的特殊風格。《春滿乾坤》描繪

NT$ 180,000-350,000 US$ 6,100-11,900

色迎風搖曳,自然生姿的鄉村之美,彷彿洗滌生

鄉下畜牧人家自然純樸的生活,屋前屋後竹林春 活中的紛擾,畫出藍蔭鼎心目中的世外桃園。構 圖方面以線條突顯速度感及方向感;遠山輔以藍 與白做明暗,高低對比來處理畫中賓主關係,使 整體畫面呈現和諧、寧靜、愜意。 013


005

|

SHEN CHETSAI Ballet Girl

沈哲哉從小習畫即展現出不凡的藝術天份,獲獎無數

33.5×24.5cm Oil on Canvas Signed Che-Tsai in Chinese, dated 2000 With a certificate of authenticity from Gallery

成就斐然,堪稱國內繪畫界的翹楚。師承廖繼春及郭

沈哲哉 芭蕾舞少女 2000 油彩 畫布 簽名:2000 哲哉 附畫廊開立之原作保證書

014

( b.1926 )

NT$ 160,000-300,000 US$ 5,400-10,200

柏川,經過紮實的設色和素描基礎訓練,奠下深厚的 素描基礎,對色彩敏銳度極高,夢幻瑰麗的浪漫色彩 全表現在畫布上。《芭蕾舞少女》描繪芭蕾舞少女愜 意坐姿的畫像,少女玲瓏剔透的臉龐,黑色明亮眼眸 看著手中捧花的神韻,彷彿期待美好事情到來;畫面 簡潔的構圖表現,線條流暢筆觸細膩有質感,透過高 彩度原色的表現,呈現粉彩迷濛的效果,女性之美以 唯美浪漫詮譯出來。


006

BASTIEN | ALFRED A Lady in Painting

( 1873-1955 )

38×55cm Oil on Fiberboard Signed A Bastien in English PROVENANCE Aquire from Horta Auction, Belgium, 2011

巴斯天 寫生仕女 1922 油彩 纖維板 簽名:A Bastien 來源:現藏者購自比利時Horta Auction,2011年12月

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

巴斯天為吳作人和沙耆留學時的指導教授,其秉承印象派畫風,在畫作上追求室外寫生的真實。在作品《寫生仕女》中,巴斯 天於人物上的描繪上不過度強調視覺表現,他使用簡潔放縱的筆法,勾勒出仕女專注寫生的優雅姿態,豐富的沉穩色彩層層交 疊,加上俐落的構圖,賦予了畫面一股和諧寧靜卻富有生命氣息的感染力。巴斯天巧妙運用色與光影變化掌握畫面輕重、主題 與背景的平衡,靜謐而雅緻,使觀者一起踏入印象派的古典世界。 015


007

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YU CHENGYAO

( 1898-1993 )

Calligraphy 64×34cm Ink on Paper Singed Yu Cheng-Yao in Chinese With one seal of the artist

余承堯 雲斷群芬

水墨 紙本 簽名:余承堯 藝術家鈐印

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

余承堯生於中國福建,詩書畫樣樣精 通,更是南管音樂家與推動者。從小 在群山包圍的閩南山村長大,也因 此,余承堯的水墨作品多描繪山水風 景,未受過學院派訓練的他,以大自 然為師,自創出獨具個人風格的細密 筆法,勾繪眼中峻奇的山水紋理。在 他的創作中,一切都為求自己眼中的 真,他認為創作皆需是要為真而作, 才能夠領悟其中真髓。在山水描繪中 以地質地貌作為參照,書法南管則儒 沒背後之思維氣質。余承堯的書法, 一如他的山水畫般不落俗套,率真又 不失細膩的筆法,處處流露出運筆時 蓬勃且不拘泥形體結構的特質,其神 采自然流放的淋漓之感,使余承堯的 書法獨樹一格,或許就如同他所言, 「寫書法就是寫自己的字」,如此單 純卻真誠。

016


008

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LEE TZEFAN

( 1907-1989 )

The Rose

李澤藩

50×34.5 Watercolor on Paper Signed Tze-Fan in Chinese, dated 1980.12-1 With a certificate of authenticity from Gallery

玫瑰花 1980 水彩 紙本 簽名:澤藩 1980.12-1 附畫廊開立之原作保證書

NT$ 200,000-300,000 US$ 6,800-10,200 李澤藩師承石川欽一郎,啟蒙時期透過石川老師引導,繪畫裡反映自己的感情、生活、環境觀點;「觀察詳細、描寫大方、色彩清新、 筆調活潑」是李澤藩作畫的座右銘。創作作品可看見用色、筆觸表現均流露英國水彩畫風之特色,中西繪畫技法融合,獨樹一格的寫實 創作風格,藝術成就是平凡踏實的腳步終至豐收,是一位非常傑出的美術家、教育家。《玫瑰花》此作是晚期李澤藩繪畫作品,已入老 練技法境界,畫面中紅色玫瑰花插置於藍色花瓶上置於中央,背景柔淡色彩襯托主體,空間關係具和諧美感;顏色飽滿鮮麗,筆觸綿密 精緻,而那豔麗火紅般的色彩有如李澤藩藝術生命之火旺盛的燃燒著,展現了淬鍊和昇華,高度成熟的表徵。 017


009

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LIU CHIWEI

( 1912-2002 )

Gibbon Series: Oh! I Hear the Rocks Singing

劉其偉

50×37cm Mixed media on Cotton Signed Liu ChiWei in Chinese phonetic alphabet and dated 2000, named HOMODRYAS BABOON in English

長臂猿系列-噓!我聽見石頭在唱歌

ILLUSTRATED "MAX C.W.LIU", Capital Art Corporation, Taipei, April 2007, Page 234

圖錄 《劉其偉畫集》,首都藝術事業有限公司,2007年4月, 第234頁

2000 綜合媒材 棉布 簽名:HOMODRYAS BABOON ㄌ一ˊㄑ一ˊㄨㄟˇ II000

NT$ 240,000-300,000 US$ 8,100-10,200 劉其偉的繪畫是寫意、寫情的,經過精心構圖、用心描繪出一幅幅充滿哲理且富有個性的動物作品,他曾說:「學習繪畫,在思想上所 下的工夫越多,則靈感的出現機會也愈多;感情越豐富,作品的內涵也越深。同時,也唯有這種『思想』的作品,才能擺脫庸俗,表現 出『真理』、『完整』與『自由』。」對自然及社會付出極多愛和關懷的劉老,他藉由繪畫訴說自己的理念,將生命賦予於作品中,傳 達奮鬥一生的美麗夢想。《長臂猿系列-噓!我聽見石頭在唱歌》用色飽滿沉穩,主角猿猴雖無全部的身形出現,但一目了然的臉部特徵 已無形中描繪出牠的體態輪廓,也透露出其神情的專注,彷彿在專心聆聽些什麼聲音。被劉啟祥擬人化的動物,不僅有了如人一般的表 情和情緒,同時也獲取了靈魂,活現於畫面之中。 018


010

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YUYU YANG

( 1926-1997 )

Gusrding Deities 56×13×13cm Bronze, 20/30 Signed Yin-Feng in Chinese, dated 1956 and numbered 20/30 ILLUSTRATED "Yu Yu Yang Corpus Volume 1", Artist Publishing Co., 2005, Page 112"With a certificate of authenticity from Gallery

楊英風 七爺八爺 1956 銅 20/30 簽名:英風一九五六 20/30 附畫廊開立之原作保證書 圖錄 《楊英風全集》,第一卷,藝術家出版社,台灣台北,2005年 12月,第112頁

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

1950年末期以降,臺灣藝文圈掀起了一陣西方前衛思潮,抽象畫 時代正式的來臨,而楊英風也在此時期發展了一系列簡化形式、簡 化拉長的雕塑,似乎在抽象風潮的前奏意識到了些端倪,於是暖身 開始跨越畫面「形象」並進入精神「意象」的創作,《七爺八爺》 便為此時期之作品。七爺八爺為民間信仰中百姓的保護神,在台灣 各地的城隍廟中都可以看到其神像,高者為七爺謝將軍,名必安, 意喻是謝神必安;矮者為八爺范將軍,名無救,意喻為惡則無救, 兩位職務為於城隍爺身邊專司逮捕惡人,並負責押謝至陰司法庭, 也有人說是負責將人帶往陰間的使者。楊英風於此件作品《七爺八 爺》中,將范謝將軍合為一體,上下相疊,頭上方的利刃猶如砍向 邪惡的刀劍,造形俐落流暢,並使用象徵、比喻的手法重新塑造出 人們心中固有的神佛形象,意象獨特詼諧,可看出他對造像藝術其 獨到的想法和詮釋。

019


陳庭詩

CHEN TINGSHIH 「藝術是沒有終極的,所有的創作都是過程的選擇。」 ---陳庭詩 陳庭詩幼年因故失聰,進而失語,無論是風或雨予他的都是一片寂 靜,一切有聲的、無聲的,於他生命的旅程上均成了永恆的休止 符。即或如此,他卻以加倍的寧靜去撞擊寂靜,衝擊淬煉出旺盛勃 發的藝術火焰,成就出豐富瑰麗的心靈世界。 在他的沉默世界裡,他睜開敏銳的雙眼,凝視人間與自然的錯落跌 宕。陳庭詩從未間斷作詩,並與著名詩人周夢蝶為畢生至交,時常 互贈詩詞,蔚為美談。陳庭詩用詩性感受去創作所有可能表達的媒 材與形式,用筆情墨韻以寫詩句感性的內涵,以版畫雕塑在視覺感 官上表現詩人內部生命脈搏之鼓動。人如其名,滿庭詩意,他以筆 墨、顏料寫詩,情意綿綿,巍峨流長,出色地傳達其微妙情感所具 有的衝撞力量。

陳庭詩〈中〉七十大壽宴會留影盧精華〈右〉井松嶺〈左〉〈畫家〉

020


011

TINGSHIH | CHEN Five Good Fortune (Bamboo and Plum) ( 1916-2002 )

45×70cm Ink and Color on Paper Signed Chen Ting-Shih in Chinese With one seal of the artist

陳庭詩 五福:三多(竹梅)

「梅開五福,竹報三多」:梅開五福;梅花的五個花瓣為五 福的象徵,五福意指長壽、富貴、康寧、好德與善終等五種 福氣。竹報三多;則以竹葉生成二字形狀的特徵,寓意多 福、多壽、多子。 《五福:三多(竹梅)》以嶙峋挺拔的綠竹、冷豔瑰麗的冬梅錯 落交織,展現東方藝術質地中飄逸深沉的雅士情懷。畫中題 字「梅開五福,竹報三多」,以篆體寫就,渾樸溫潤,幽淡

1985 彩墨 紙本 簽名:陳庭詩 藝術家鈐印

雋永,陳庭詩用筆墨在靜謐的想像空間中訴說著端正拔萃的

NT$ 160,000-280,000 US$ 5,400-9,500

畫面層次明徹清晰的展現,和諧多姿的色彩韻律,就是陳庭

人文精神。靈動清雅的梅花之紅點綴暈散,墨藍深幽的竹葉 離散疊合,渾樸裏見纖柔,壯美中隱含著謙遜睿智。那細膩 溫和的色彩,改變了傳統文人畫裡黑白墨色的古雅世界,而 詩所演繹的,一首運字精湛到位的詩。

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012

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CHEN TINGSHIH

( 1916-2002 )

Phalaenopsis 69×45cm Ink and Color on Paper Signed Ting-Shih in Chinese, dated Jicho year(1985) With one seal of the artist

陳庭詩 蝴蝶蘭香

022

行到水窮處 不見窮,不見水─ 卻有一片幽香 冷冷在目,在耳,在衣。 ---周夢蝶《行到水窮處》

陳庭詩深耕本土,出入國際,藝術成就備受國際藝壇肯 定。八○年代返台後,逐漸減少版畫製作,轉向水墨畫

1985 彩墨 紙本 簽名:乙丑春 庭詩 藝術家鈐印

的探索,同樣大獲好評。此幅《蝴蝶蘭香》展現了不同

NT$ 160,000-280,000 US$ 5,400-9,500

黃花寥寥,清冷雅致,幽香片片,予人疏宕淡遠的藝術

於以往版畫創作的雄渾華滋,而是細膩地探索水墨沉靜 空靈、幽香微溢的輕妙。畫中速折而灑脫方峻的椏葉, 顯得恣意隨興,跌宕奔放,既使有榮有枯也坦然自在。 享受。


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RU | PU Jinguashi

( 1896-1963 )

書法:18.5×15cm 水墨:24×15cm Ink and Color on Paper [R] Signed Xinyu in Chineses With one seal of the artist [L] Signed Xinyu in Chineses With one seal of the artist

溥心畬 登金瓜石 1957 彩墨 紙本 [右] 簽名:心畬 藝術家鈐印 [左] 簽名:心畬 藝術家鈐印

登金瓜石 曲折懸空棧 縈行渡石橋 路盤全闊迴 山盡海門遙 鐵壁連沙碾 雲英帶礫燒 天涯無雁信 殘月上寒湖 丁酉九月 心畬

溥儒,字心畬。與張大千齊名,故有「南張北溥」之稱。有別於 張大千潑墨展現的大山水氣勢,溥心畬的山水畫是細緻高雅,清

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

逸雅靜。雖無師承,便師於古法古畫,在細膩筆法下,別開蹊 徑,自成一格。蔣健飛曾稱讚溥心畬是「近代中國無以數計的畫

家中,唯一能繼承正宗傳統繪畫,而又獨得其意韻者。」 《登金 瓜石》筆少而神完,寥寥幾筆勾勒,便展現出山石體感,精準的 亮暗面,勾勒生動的畫面韻味,清新脫俗,適切留白營造出遼闊 空間,令觀者可遊於其中。

024


014

JINGNONG | TAI Quan Xue of Xunzi

( 1902-1990 )

70×34.5cm Ink on Paper Signed Tai Jin-Nong in Chinese With one seal of the artist

臺靜農 荀子 勤學篇

《勸學篇 荀子》 君子曰:學不可以已。青、取之於藍,而青於藍;冰、水為之,而寒於水。 木直中繩,輮以為輪,其曲中規,雖有槁暴,不復挺者,輮使之然也。故木 受繩則直,金就礪則利,君子博學而日參省乎己,則知明而行無過矣。故 不登高山,不知天之高也;不臨深谿,不知地之厚也;不聞先王之遺言, 不知學問之大也。干、越、夷、貉之子,生而同聲,長而異俗,教使之然 也。詩曰:「嗟爾君子,無恆安息。靖共爾位,好是正直。神之聽之,介爾 景福。」神莫大於化道,福莫長於無禍。吾嘗終日而思矣,不如須臾之所學

1968 水墨 紙本 簽名:臺靜農書 藝術家鈐印

也。吾嘗跂而望矣,不如登高之博見也。

NT$ 180,000-350,000 US$ 6,100-11,900

的書法,啟蒙自其家庭環境,父親雅好書藝,除了收藏法書碑帖外亦善書。

此《勸學篇 荀子》為民國57年時,臺靜農餽贈予友人羅大姒,恭祝其就任臺 北市立北安女子國民中學校(現為臺北市立北安國民中學)首任校長。臺靜農 其書風曾經受到魯迅、陳獨秀、沈尹默和胡小石等人,以及元代倪元璐與清 代王鐸等書風影響。來臺任教後,他寄情於書法,經潛心吸收多家精華後, 發展出獨具的風貌。臺靜農獨好行草篆隸縱合不拘不束的風格,並參考北碑 方折筆勢,陽剛凝重,雖少狂放筆致卻又奔放不羈,一筆一勾,顯露歷經滄 桑的堅忍生命力,獨樹一幟。 025


015

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WALASSE TING Cat

丁雄泉渾然天成的藝術才情、熱愛奔放的自由心性,

69.3×50.8cm Acrylic and Color Ink on Paper With one seal of the artist

塑成風流不羈的性格。喜於用彩筆歌頌女人,把女人

丁雄泉 貓 壓克力 彩墨 紙本 鈐印:採花大盜

NT$ 220,000-350,000 US$ 7,500-11,900 026

( 1929-2010 )

的媚、柔、豔、情畫了出來。下筆如揮刀,展現飛揚 快速酣暢淋漓,情感豐沛蘊含東方精神且極具爆發 力,作品色彩斑斕動感,樹立有別於主流畫風之外的 特殊風格,堪稱世界級當代藝術經典大師,實至名 歸。《貓》中貓咪回眸姿態,庸懶氣息卻散發著撫媚 氛圍,丁雄泉用貓來襯托女性的嬌媚與溫柔,隨心所 欲的塗抹純色,色彩鮮明而大膽,隱約釋放神秘與挑 逗的情感。


016

SUDARTO | TOTOK Hasrat (Desire)

( b.1954 )

100×120cm Acrylic on Woodblock Signed Hasrat and Totok in English With a certificate of authenticity from Gallery

Using abstract brushstrokes and bold usage of colours, Totok's artworks reflect his long and illustrious career as an Indonesian Air Force general since the 1970's. There is structure within the chaos he creates, skillfully controlling the mixing and blending of paint, expressing his emotions that relate to the subject of his works.

托卡.蘇達圖

印尼藝術家托卡.蘇達圖,善於利用抽象筆法及大膽用色方

慾望

式,來表現出自我的作品風格,,看似瘋狂混亂的結構,在

2012 壓克力 木板 簽名:''Hasrat'' Totok 附畫廊開立之原作保證書

純熟的繪畫技巧及顏料的運用搭配之下,傳達出濃厚且強烈 的內心渴望。

NT$ 100,000-180,000 US$ 3,400-6,100 027


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CHIU YATSAI

( 1949-2013 )

Confident Gentleman in Yellow

邱亞才一生多舛,幼年時期求學路上的坎坷苦悶及人際間的隔閡,造就其

80.5×65.5cm Oil on Canvas Signed Yatsai in Chinese

思維,也成就後來藝術創作路上的啟發與情感依歸。縱觀邱亞才的生平,

邱亞才

襯托出人物儒雅、沉靜的特性。邱亞才的創作深受畢卡索於「藍色時期

黃領紳士

(1900~1904)」的作品風格影響:人物置中的構圖、背景單一的冷調、前後

鬱抑、靦腆、少言的性格。直至兵役期間受到文學影響,為其打開視野與 環繞著對繪畫、文字與愛情的追尋,作品亦如是。《黃領青年》利用簡約 線條勾勒出畫中人物的性格與生活氣質;背景上使用大色塊的平面處理,

對比強烈表現人物憂鬱陰沉。畢卡索的藍色時期在其創作生涯中僅短短數 油彩 畫布 簽名:亞才

NT$ 250,000-400,000 US$ 8,500-13,600 028

年,卻帶給邱亞才創作上的深遠影響,此構圖形式亦貫穿其大部分的創作。


018

YATSAI | CHIU The White House

( 1949-2013 )

53.5×45cm Oil on Canvas Signed Chiu Yat-Sai in Chinese

邱亞才 白屋風景 油彩 畫布 簽名:邱亞才

邱亞才是台灣藝壇著名的素人畫家,雖無顯赫的經歷背景, 但卻才情洋溢、創作力勃發,在繪畫與寫作上皆有令人矚目 的成就。繪畫上受到莫迪里亞尼、畢卡索及梵谷的影響與啟 發,中西結合,詮釋新視覺,極具個人風格。屢獲文學獎、 出版數本小說,豐厚的文學底蘊,讓他的畫作除美學視野 外,更增添了耐人尋味的閱讀空間。曾說:「我的文采已經 寫在稿紙上,著色繪畫在油畫布上了。」邱亞才以文字、顏 料作媒,娓娓述說人世浮生的悲欣交集及侍病伴老歷程之 愛憎孤寂。創作上傾向於孤寂、憂鬱、內斂而沈靜的人物型 態,較少以靜物做為題材。此幅《白屋風景》藍色的天空以

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

大塊色面平塗,光影照映在明亮白皙的房屋側邊,下方的矮 房與白屋呈現明暗對比,巧妙層次中,使觀者眼簾墜入充滿 立體空間的深度感,將情緒收斂於色彩之中,散發寧靜幽微 的風景特色。 029


019

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LIU CHIWEI

( 1912-2002 )

The old man's holidays 39×29cm Pastel on paper Signed Liu Chi-Wei in Chinese phonetic alphabet and dated 1988

劉其偉 哥老爺的假期

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

1988 綜合媒材 紙本 簽名:ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 88

畫家克利說:「繪畫不是畫你所看到的,而是畫你心裡所想的,一隻眼睛觀看,令一隻感覺。」 這幅畫,仍是延續「郭老爺休假去」序列作品之一。 這幅畫,可能從非洲的圖騰獲得靈感,流露著神祕性、詩意、符號性和原始性趣。 這幅畫,以線條勾勒魚身性器官,畫面使用大量的白色增添想像的空間。 這幅畫,色彩、線條瀰漫詩意,細膩中不感覺瑣碎,對性的詮釋生動且蘊藉。 030


020

HUAIQING | WANG Pensive and Nude

( b.1944 )

134.5×104cm Lithograph, 40/99 Signed Wang Huai-Qing in Chinese, numbered 40/99

王懷慶 折枝野木 2008 版畫 40/99 簽名:40/99王懷慶

NT$ 200,000-280,000 US$ 6,800-9,500 031


021

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HSIAO CHIN

( b.1935 )

Spring Happiness

蕭勤

蕭勤56年代與吳昊、夏陽等藝術家創辦華

90×70cm Oil on Canvas Signed on the reverse: Hsiao in English and Chin in Chinese, named Spring, dated 2011 With one seal of the artist

春愛

人抽象藝術團體「東方畫會」。50年代後 遊學於歐洲,感受到西方文化的衝擊,深深

2011 油彩 畫布 背面簽名:春愛 Hsiao勤 2011 10/28 藝術家鈐印

體會中國文化的深厚與奧秘,專研老子、莊 子為本的道家思想,作品中抽象的繪畫形式 透露出耐人尋味的東方神韻。《春愛》作品 中畫出蕭勤感悟人世的顛簸,體會到生命的

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

本質,對宗教、玄學與神秘力量的探索,以 能量來源的太陽為象徵,線條的表現簡潔有 力,隨著情感波動而流露,彷彿賦予無限的 生命力,年復一年,春暖花開,成為新生命 的動能,給世人無盡的愛及溫暖。

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022

YINHUI | CHEN Yellow House

( b.1931 )

72×60cm Oil on Canvas Signed Hui in Chinese and Chen in English, dated 1961 PROVENANCE Private collection, Europe

陳銀輝

陳銀輝的作品介於抽象與具象、感性與理性之間,並

黃色房屋

且帶有豐富的詩意,創作風格明確,題材多元,尋求 創新突破,陳銀輝認為:「藝術是一門主觀成分相當

1961 油彩 畫布 簽名: 1961.8 輝CHEN

重的學問,要有個性、感性和思想。繪畫不是自然形 象表面的描摩或再現,而是借自然的型態和色彩,甚 至以心裡的影像來表現自我世界的一種藝術,這是主

來源:歐洲私人收藏

NT$ 200,000-280,000 US$ 6,800-9,500

觀的自我表現。不應該遷就於自然,而應該使自然從 屬於個人的藝術精神。」 而繪畫是陳銀輝一生最重要 的樂趣。《黃色房屋》此畫作房子以黃色大塊色面平 塗,明亮白色道路與房子相互融合,色彩線條層層堆 疊具有立體感,巧妙的將色塊緊密相扣,半抽象的獨 特畫風正是陳銀輝的創作特色。 033


023

YANG | YUYU East West Gate

( 1926-1997 )

楊英風

45×71×71cm Stainless Steel, 8/20 Signed Yin-Feng in Chinese, dated 1973 and numbered 8/20 With a certificate of authenticity from Yu Yu Yang Foundation

東西門

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

圖錄 《楊英風全集》,第一卷,藝術家出版 社,台灣台北,2005年12月,第258頁

1973 不鏽鋼 8/20 簽名:英風 ´73 8/20 附楊英風基金會開立之原作保證書

NT$ 120,000-300,000 US$ 4,100-10,200 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,毀會是宇宙動新匯整的唯一關鍵因素。此作《東西門》選用不銹鋼材 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如幻的反射映象,本身雖然是極其單純的, 但是經由擬像所反映出現的真實事態,來隱喻現實的不可預期性,在精神張力上相當密合。 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. 034


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SHIENMAO | LIN Colorful Carpios (C)

( b.1955 )

60.5×72.5cm Oil on Canvas Signed Shien Mao in English, dated 2012

鯉魚自古以來就是吉祥的象徵,古詩中鯉魚的形象通常被視 為一種精神寄託。由於鯉魚的「鯉」和「利」的諧音,故有 「得利」之說。中國人過年的文化中,「連年有餘」也多把 鯉魚象徵年年有餘(魚)之意。故「鯉魚」可成為創作的極佳 題材。相對於水墨,在油畫作上,鯉魚被作為抽象創作題

林憲茂 百鯉紅漾(C) 2012 油彩 畫布 簽名:Shien Mao 2012

材,至今仍不多見。《百鯉紅漾(C)》使動的能量流動於畫 面之上,穿梭於百鯉之中,速度感交織激盪成波,宛如臨滉 漾池中賞鯉魚奔騰暢游,悠然無憂,強勁有力的生命氣息表 露無遺。水藍清流流入赤紅之中,為強烈的澎湃帶來一道平 和,明亮鮮豔的色彩釋放源源不絕的能量,展露神秘而深邃 的優雅。

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

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025

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YU CHENGYAO

( 1898-1993 )

Poetry is the Best Article 96×45cm Ink on Paper Signed Yu Cheng-Yao in Chinese With one seal of the artist

余承堯 詩乃文章最美文 水墨 紙本 簽名:余承堯 藝術家鈐印

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

余承堯的繪畫雖起步較晚,但早年他 即常臨寫書法、閱讀古書,中年以後 更喜好作詩以及研聽南管,如此長期 的人文薰習,造就其獨樹一幟的文雅 風貌。余承堯自幼起便勤練字、好文 學,由古人的碑帖入門,17歲始自學 楷書、20歲開始研習草書,諸如顏真 卿的楷書、王羲之的行草、張芝的草 書,皆為其臨帖的範本,由中取法書 法精隨,並轉悟換化而成獨特風格。 余承堯終其一生只寫楷、草二體,認 為楷書及草書為書法的基石,底子打 穩,後勤練篆隸體,便可將字寫得 好。余承堯曾言:「寫字貴有個人風 格,不因襲別人。」其書法作品一如 其率真、質樸的個性,無視書法的筆 法規範,落筆一挑一側,流暢自如, 筆筆相連,字字棉若縈發,一氣呵 成,結構似無實有,氣勢磅礡,酣暢 淋漓,不落俗套的獨具韻味,更洋溢 如音律般優美流暢性。

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HONIEN | AU Flying Bird and Sea

( b.1935 )

95×55cm Ink and Color on Paper With one seal of the artist

歐豪年 浪濤飛鳥 1972 彩墨 紙本 簽名:中光賢兄清雲 壬子秋始 歐弟豪年並題唐人句 藝術家鈐印

NT$ 140,000-300,000 US$ 4,700-10,200

歐豪年為嶺南派代表藝術家,師事嶺 南畫派二代大師趙少昂。嶺南畫派為 中國傳統國畫中的革命派,以創新為 宗旨,主張引進西洋畫法,融合中 西繪畫之長,「折衷中外,融合古 今」,繪出現代水墨新格局。歐豪年 的創作風格自早年已顯露嶺南畫派以 自然為師的寫實特質,其後進而以寫 意的技法描繪自然,作品筆墨淋漓奔 放。日本評論家植村鷹干代曾評其作 品:「歐豪年之彩墨作品,在表現近 代感覺中,尤使人感受到中國人的豪 邁與莊嚴。」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,實為中國傳統國畫代 表性藝術家。此幅《浪濤飛鳥》為歐 豪年贈予友人中光先生之作,筆觸蒼 勁,溫潤設色,布景虛實相映,上景 飛鳥與下方浪濤作為主體,呈現寫實 的立體動態;背景由淡橘黃調數染成 景,靜謐溫和,愜意逍遙。動靜層次 對比,帶給觀者實像與空像的共鳴, 富饒寫意與生命力。

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027

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HUNG YI

( b.1970 )

Ichthyosaurus 81×50×120cm Paint on Fiber Reinforced Plastics, 5/6 Signed Hung Yi in Chinese, numbered 5/6, dated 2012

洪易的藝術氣息一向散發著繽紛的鮮度,強烈對比的色彩,穩定的手感圖案, 作品的細緻度及其用色為他最經典之風格。洪易常以動物題材創作,當觀者

洪易

面對熟悉的雕塑形象,自然會趨前、樂於親近,因而締結了群眾與作品的關

餘龍

係,藝術家也較易於從中傳達作品理念。《餘龍》外型特徵分別取自「魚」和

2012 纖維鋼塑 5/6 簽名:2012 洪易5/6

NT$ 850,000-1,250,000 US$ 28,800-42,400

「龍」,將兩者結合而成的混合體,渾圓可愛。魚在中國年節裡象徵豐饒富 庶、綽綽有「餘」的吉祥之意,而餘龍,是豐裕、富足、吉利、祥瑞與貴氣的 結合,這樣的諧音命名方式,亦是洪易在創作時的靈感來源之一。此件作品以 青花花紋繪製,結合傳統圖騰及新潮線條,激盪出獨特的雕塑風格,傳承專屬 於東方的文化語彙。 039


028

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HUNG TUNG

( 1920-1987 )

Blossoming 61×32cm Mixed media on Paper Signed Hung Tung in Chinese and dated 1972 With one seal of the artist With a certificate of authenticity from Gallery

洪通 花開富貴 1972 綜合媒材 紙本 簽名:洪通 六十一年 藝術家鈐印 附畫廊開立之原作保證書

NT$ 160,000-320,000 US$ 5,400-10,800

洪通繪畫創作乃自學而成,知名素人 畫家,終生居於台灣鄉間,年輕時接 觸宗教廟宇,曾做過廟宇乩童,五十 歲時開始專心繪作,天分無師自通, 畫風透露靈性且充滿民間趣味,經常 描述人、萬物天地關係,作品常可見 花草樹木及象形文字圖像,線條流動 猶如符咒一般,極具神秘感,更因其 天馬行空的用色及敘事性豐富的創作 風格,被稱為「靈異畫家」。《花開 富貴》作品中,可見分層畫法,洪通 筆下將人頭、獸身、花草營造樸實熱 鬧的圖像,繁複鮮麗的色彩,線條筆 觸綿密,人物手足具有連貫性,使那 些稚拙的造形有如織錦般洋溢著繽紛 而熱鬧的氣氛,呈現出均衡且對稱的 藝術美感。

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YANYONG | DING Calligraphy

( 1902-1978 )

96.5×40.5cm Ink on Paper With one seal of the artist

丁衍庸 黃河悠悠懷情詩意 水墨 紙本 藝術家鈐印

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

丁衍庸生於中國廣東,早年留學日本學習西洋 繪畫,在留學期間深受野獸派與表現主義影 響,學成歸國後成為當時中國新藝術運動重要 的一員,被譽為「東方馬諦斯」及「現代八大 山人」。其創作超越中西界限,融合並蓄,開 拓出屬於自己的強烈個人風格。丁衍庸的創作 首重文人畫精神,除旅日期間受西洋繪畫流派 影響外,在回國後傾情於八大山人,透過不斷 的臨摹與審視,從中創出獨具個人特色的畫 風。中西合璧的學習背景讓丁衍庸的繪畫顯得 自由奔放,其創作題材豐富,筆韻流暢簡練又 不失中國水墨韻味。如此件描繪魚蝦之作,構 圖上不見水墨畫的拘謹,但又充分展現出筆觸 線條與墨色之美。欣賞丁衍庸的畫作有如一邊 看著中國傳統的水墨韻味,又欣賞著西洋繪畫 的線條之美,毫無違和。

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| ENDRO We Belong Together

( b.1983 )

100×100cm Acrylic on Canvas Signed Endro in English, dated 2013 With a certificate of authenticity from Gallery

安卓 我要我們在一起 2013 壓克力 畫布 簽名:Endro 2013 附畫廊開立之原作保證書

Endro's paintings center around dreams and desires, which in many cases are what we strive to achieve, yet far from reality. He symbolizes this by blurring the background and placing hyper-realistic droplets of water to signify hope.

印尼的年輕藝術家安卓善於利用模糊的背景

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

及超現實細膩的寫實手法,細緻描繪水滴環 繞畫面,象徵逐夢之境,環繞在理想與慾望 之間,令人分不清是現實亦或夢境。

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BASTIEN | ALFRED Foret de Soignes 100×90cm Oil on Canvas Signed A Bastien in English PROVENANCE Private collection, Belgium

( 1873-1955 )

巴斯天

巴斯天是比利時印象派畫家之一,曾擔任比利時

蘇瓦尼森林

皇家美術學院院長。巴斯天秉承印象派畫風,把 光線的輝煌、色彩的亮度與純度加以強調,並以

油彩 畫布 簽名:A Bastien

眼睛所觸及知覺進而描繪,展現古典技法上的純 熟。蘇瓦尼森林位於比利時的布魯塞爾的郊區, 亦是巴斯天晚年居所,他時常帶著畫具前往森林

來源:比利時私人收藏

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

作畫,描繪著一幅幅優美的家鄉景致。《蘇瓦尼 森林》運用流暢細膩的筆觸,將森林步道以寫實 立體的空間表現,隨著兩排茂盛直挺的綠樹延伸 至盡頭,呈現出縱深的空間感。陽光照耀穿透於 蔥鬱樹林間,散落一片片光斑於地面上,構築出 靜謐的森林之美,使觀者彷彿置身於其中。 043


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YU YUJEN

( 1878-1964 )

Calligraphy 131×64cm Ink on Paper Signed Yu Yu-Jen in Chinese With one seal of the artist

于右任 字畫 水墨 紙本 簽名:伯平先生正 于右任 藝術家鈐印

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

于右任是詩人、革命家、教育家、書法 大師,其在書法上的成就更在學術與教 育界佔有舉足輕重的地位,在草書上尤 其擅長,被譽為「當代草聖」,民國初 年曾有「國民黨四大書法家」一說:楷 書譚延闓、草書于右任、隸書胡漢民、 篆書吳稚暉。 于右任曾在上海創辦標準草書社,以易 識、易寫、準確、美麗為原則,整理、 研究與推廣草書,整理成系統的草書代 表符號,而書法作為魏碑楷法的變體, 于右任對於南北朝的各種碑帖皆有深入 研究,而不同於魏碑方剛的書體,于右 任的字融合了魏碑書體的造形與圓筆運 用,更加入個人筆意的流動,下筆每每 看似隨性,卻字字有別,大小斜正皆恰 到好處,書風瀟灑奇偉又簡潔質樸,含 蓄之中變化萬千。

044


033

FERNANDEZ ARMAN | PIERRE Inclinaison

( 1928-2005 )

35×17×17cm Bronze, 7/50 Signed Arman in English, numbered bocquel Fd. 7/50 With a certificate of authenticity from Gallery ILLUSTRATED "The Exhibition of International Sculpture Master-Arman", Modern Art Gallery, 1996, page 20-21

阿曼 傾向 1992 銅 7/50 簽名:Arman, bocquel Fd. 7/50 附畫廊開立之原作保證書 圖錄 《國際大師雕塑展:阿曼》現代藝術空間 1996 第20-21頁

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

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

045


034

|

LIN SHIENMAO

( b.1955 )

Colorful Carpios(B) 72.5×91cm Oil on Canvas Signed Shien Mao in English, dated 2012

林憲茂 百鯉紅漾(B) 2012 油彩 畫布 簽名:Shien Mao 2012

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

《百鯉紅漾(B)》林憲茂從「經營布局」、「隨類賦彩」、 「氣場豐盈」「恍惚游移」四個主軸來把握畫面上的主調支 配,從而使整體表現具有獨立的審美形式。而「變奏」為 林憲茂新的創作方法與自我的偏愛,他結合了視覺美學上的 「韻律」「節奏」,讓鯉魚主體顯示慢游、悠游或急游等變 奏本質。他同時也移植了「色彩的躍動」與「虛與實」空間 概念,兼具整體和諧的靈動與生機,更增加了作品的「形而 上意指」。借助於畫面中那種時而緩慢神遊、時而像快速驚 雷的形色變奏,都能讓人體會畫家所欲呈現的是:生命中的 靈動與恍惚逍遙自在的道理。

046


047


035

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CHEN CHIN

( 1907-1998 )

The Green Lake 37×44cm Gouache Color on Paper Signed Chen Chin in Chinese with one seal of the artise ILLUSTRATED "Taiwan Fine Arts Series 2 Chen Chin", Atist Co. Ltd., Printed in Taiwan, 1993, Page 178

陳進 綠湖 1988 膠彩 紙本 簽名:陳進 藝術家鈐印 圖錄 《陳進 台灣美術全集2》,藝術家出版社,1992年3月,第178頁

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

陳進為台灣藝術史中女子學畫第一人,飄洋過海至日本至當時女子繪畫的最高 學府,東京女子美術學校求學。並以19歲之姿入選台展,與林玉山、郭雪湖並 稱「台展三少年」,名躁當代,為台灣藝壇極其重要的前輩女畫家。陳進師承 日本名家鏑木清方秀逸細膩、閨秀清婉的繪畫精髓,又深切契合了台灣本土的 人文精神,綻放出自成一派的格局。 日據時代膠彩畫的盛行,深深影響當時台灣的年輕藝術家,在人才輩出的年 代。陳進得以跳脫日式膠彩創作所著重的傳統限制,融合自身的氣質與人文精 神,風格細膩婉約,題材著重風土民情與生活點滴,透過優雅別緻的技法,一 筆一畫勾勒出當時社會環境中,端莊嫻淑、溫柔典雅的女性之美與生活之景。 《綠湖》洋溢野趣、綠波蕩漾,構築出一幅優美的湖光風情畫。春來江水綠如 藍,湖邊翠草碧連天。大樹蒼鬱勃發,綠意如燄,造型高聳如炬如巒,磅礡壯 麗。遊客歡暢嬉遊,小船與行人於高彩度的藍綠色調間點綴,具畫龍點睛之 效。畫面充滿輕快明朗的自然情調,色彩的濃稠凝鍊,呈現豐厚的體量感。筆 觸的湧動,更如波濤往復般酣暢淋漓,不同於傳統膠彩畫平扁雅逸的氣性,陳 進的膠彩作品展現出其獨樹一幟的藝術語彙。春風吹綠,波光瀲灩,陳進優雅 溫遜的藝術氣質如一縷煙似地,飄進這片壯闊華麗的風景,輕柔地為天地之美 好,譜一首纖婉的情歌。

048


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036

|

SAD JI

( 1914-2005 )

Still Life with Flowers in a Vase 55×46cm Oil on Canvas Signed SAD JI in English Provenance Aquire from Vanderkindere Auction, Belgium, 2011

沙耆早年師從畫家徐悲鴻,1937年經由徐悲鴻推薦赴比 利時皇家美術學院深造,留學期間師從印象派代表畫家巴 斯天,當時現代主義風潮席捲全歐,沙耆專研歐洲傳統繪 畫技巧,並掌握寫實主義的描繪方式,早期創作面貌色調 沉穩、層次豐厚,展現深厚的功底,具有極高的藝術價 值。《瓶花》創作於30至40年代,鮮豔瑰麗的瓶花置於 畫面中央,堅實的構圖,頌揚畫家心中的美好事物,柔淡 的漸層背景襯托主體使視覺上和諧融洽,色彩保持本身的

沙耆

純度和明度,光線變化的微妙畫風,由基本的單純化形態

嬌豔瓶花

而畫下永恆不變的立體空間,整體映入眼簾微美而浪漫。

1930-1940 油彩 畫布 簽名:SADJI 來源:現藏者購自比利時Vanderkindere Auction,2011年

NT$ 1,100,000-1,500,000 US$ 37,300-50,800

050


051


037

|

WU CHANGSHUO

( 1844-1927 )

Couplet Calligraphy in Stone Drum Scrip 142×29.5cm(2) Ink on gold-flicked Paper Signed Wu Chang-Shuo in Chinese and dated tenth month, dingsi year(1917) With three seals of the artist PROVENANCE Christies Hing Kong Autumn Auction 2005 "Fine Modern and Contemporary Chinese Paintings (II)", Lot 903

吳昌碩為中國近代藝壇巨擘、一代宗師。詩書畫印,樣樣精通; 開宗樹則,立派生輝;不僅揚名華夏,而且蜚聲海外。他的書 法、篆刻尤負盛名,自出機杼,成一家風骨。對石鼓文情有獨 鍾,一生臨摹不懈,曾自言:「余學篆好臨石鼓,數十載從事於 此,一日有一日之境界。」長年苦修,熟能生巧,對筆墨的掌控 收放自如,幻化出新的境界,或奇偉悠肆,或俊邁灑脫,姿態萬 千,予人豐富的審美感受。 石鼓文為先秦遺跡,於篆書體系承先啟後,承甲骨鐘鼎文字的渾 樸質地,又法度嚴謹、勻整妥帖,下啟日後小篆莊嚴挺拔的格 調。後世學篆者皆奉為正宗,無不臨習,康有為更賦予其「書家

吳昌碩

第一法則」的美譽。石鼓文風骨嶙峋又韻致楚楚,有秦朝霸主的

石鼓八言聯

強悍氣勢。然筆法圓融渾勁,結體豐厚勻稱。蘇軾的《石鼓歌》

1917 水墨 灑金紙本 簽名:吳昌碩 鈐印:後卿之印, 倉碩, 缶無咎

寫道:「舊聞石鼓今見之,文字鬱律蛟蛇走。」讚嘆石鼓文的雄 奇活躍,墨氣飽足。 吳昌碩的石鼓文臨摹之作,卻能在如此龐大優美的傳統下別開生 面。他主張遺貌取神,「臨氣不臨形」。追求石鼓之神髓而非求

來源:佳士得香港有限公司2005秋季拍賣, 亞洲當代藝術(二),Lot 903

NT$ 700,000-900,000 US$ 23,700-30,500

形似而已,掌握石鼓古拙中見真純的靈動氣韻,並且別闢蹊徑, 成功開創出自己獨樹一幟的藝術風貌。他貴在創新,曾砥礪指點 學習他的後輩:「學我,不能全像我。化我者生,破我者進,似 我者死。」吳昌碩筆下之石鼓,比原刻的石鼓文更加率性靈活、 內涵豐沛,擁有強烈的動態感。筆觸則遒樸雄健、老辣渾厚,注 重線條的粗細變化與行筆的輕重快慢,富有韻致。整體視覺細長 挺拔,上下舒展,個別字略呈斜勢,如魚躍鳶飛,活潑瀟灑,恣 意雄健而古氣盤旋,既融會篆刻用筆,又海納隸意。打破成規, 跳脫窠臼,將藝術家生命歷練與情懷貫注其中。吳昌碩曾說: 「十指參成香色味,一拳打破古來今。」為此能自成一家,建構 獨特的美學流派。因此,觀者從不當它作普通的古文臨摹本,而 視作藝術家筆下的優秀傑作來欣賞、收藏。

052


053


038

|

LONG CHINSAN

( 1892-1995 )

Fir Trees

郎靜山

以寫實的攝影手法呈現

40.5×30cm Photograph Silver Gelatin With one seal of the artist

娥嵋冷杉

濃厚的中國山水畫境,

PROVENANCE Private collection, Australia ILLUSTRATED "SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971

054

讓觀者如置身於水墨大 1938 銀鹽 相紙 鈐印:郎靜山

作裡,蒼霧漫漫,寂靜 襲捲而來。畫面中杉木 的一葉一枝清晰分明,

來源:澳洲私人收藏

漸層式地緩緩消失於遠

圖錄 《中華大典六十年攝影選輯》, 中華學術院攝影研究所,1971年

方,模糊於迷霧中,而

NT$ 60,000-130,000 US$ 2,000-4,400

動的氣息。

陽光隱隱灑下,讓朦朧 的冷杉林增添了一絲躍


039

BASTIEN | ALFRED The Soldier Sleeps

( 1873-1955 )

128×62cm Oil on Canvas Signed A Bastien in English

巴斯天 沉睡的士兵 油彩 畫布 簽名:A Bastien

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

巴斯天生於比利時,1897年至巴黎 藝術學院深造,是比利時公認的印 象派代表畫家之一,並曾為皇室宮 廷作畫。1927年時進入比利時皇家 學院任教,中國著名油畫家吳作人 和沙耆留學比利時期間都在巴斯天 的門下學習。 此作《沉睡的士兵》在光影的捕捉 與畫面調度上,頗有印象派畫家馬 奈早期創作中,描寫人物之感。畫 面中僅佇立一位倚槍休憩的士兵, 在其身後沒有任何場景的暗示或交 代,但在處理上卻充滿了空氣層 次。在觀賞這幅畫作時,從士兵衣 摺的明暗轉向人物在陰影中的側 臉,又延伸至背景那不純粹的黑, 以筆觸色調與層次鋪陳空氣流動之 感,明應該是類似牆面的背景卻因 色彩與空間感的營造成為一深延的 畫面,彷彿這沉睡的士兵是在畫面 的入口處靜靜守候,讓觀者可以藉 由他進入巴斯天的繪畫空間。

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040

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SAD JI

( 1914-2005 )

Autumn Scenery 33×40cm Mixed media on Board Signed Sad Ji in Chinese

沙耆 秋色望景 1939 綜合媒材 木板 簽名:沙耆

NT$ 950,000-1,200,000 US$ 32,200-40,700

沙耆於1937年遠渡重洋赴比利時,師從著名 於新寫實主義的畫家巴斯天,創作吸取佛羅倫 斯傳統、印象派、表現主義與西方近現代藝術 流派等精隨。《秋色望景》為沙耆在歐留學時 期的作品,色彩、用筆雖受印象派畫風影響, 但與在赴歐前所學於徐悲鴻而成的畫風仍大致 一脈相承。風格肅穆單純,筆觸悅人,色調溫 和,道出秋意涼爽及淡淡愁思,虛實相映的空 間布置和繪畫方式,充滿了東方氣息。在畫面 處理上,沙耆對於細節的刻畫點到為止,比起 刻意雕琢,他更注重於作品整體意蘊的掌控, 透過線條、筆觸及色彩傾訴心中的意念,營造 東方空靈之美的氛圍,使整體大於局部之和。

056


057


041

|

LI SHIHCHIAO

( 1908-1995 )

Vase of Flowers 41×32cm Oil on Canvas Signed Shih-Chiao in Chinese, dated 1976.6

“Any image can be viewed as a universe with its own time and space. It can be controlled and seen, artists should never allow an uncertain artwork, if you are painting Venus, then you should have full control of it!” --- Li Shih-Chiao

「任何看得見的形象,都是一種宇宙,自有其存在的

李石樵 瓶花 1976 油彩 畫布 簽名:1976.6 石樵

NT$ 1,100,000- 1,400,000 US$ 37,300-47,500

時間和空間。這應該是立體的,可以掌握的,畫畫絕 不允許捉摸不到的作品存在,畫維納斯就必須抱住 她!」

---李石樵

Li Shih-Chiao is one of the early art movement artists in Taiwan. He was selected by the “Taiwan Fine Arts E xhibition” and the “Empire E xhibition”. W ith his serious and critical thinking, he created a unique yet exquisite painting style. He devoted his career in art and education and founded the Tai-Yang Arts Association. His contribution won him a remarkable status in the Taiwanese art world. He was prolific and persisted in his faith.

李石樵是台灣早期美術運動的重要推動藝術家之一, 早年入選「台展」及「帝展」,其以誠懇嚴謹的創作 態度及富於思考、哲學批判的個性,創造氣質獨特且 高超技巧的繪畫風格,積極獻身於鄉梓畫壇,並持 續春風化雨、作育英才,更創辦「台陽美術協會」, 中華民國郵票 發行李石樵畫作《田園樂》

對台灣藝術界的發展與推廣有著舉足輕重的貢獻與地 位。李石樵畢生創作不綴,他抱持堅毅不移的信念與 精神,歷經日據時期的風起雲湧,也走過紊亂悲愴的 戰爭年代,也飽嚐光復初期困頓窒礙的辛酸苦淚,終 能秉承藝術道德為一貫圭臬,成一代藝術大家。 李石樵執著於藝術,而不執著於畫風,畫風豐富跌 宕,從早期的寫實具象,其後受到立體主義的啟示, 強調造型簡化並運用反透視的技法,形成明暗對比強 烈、抽象意味濃厚的風貌。而此幅《瓶花》作於畫家 移居美國之後,以粹煉後造型搭配鮮明的色彩,反璞 回歸最原初的寫實藝術語彙。描繪玫瑰插在花瓶內, 而花瓶上又被描繪,形成畫中有畫的意趣。李石樵運 用其素描精準高超的技巧,結構出清晰明快的輪廓、 簡潔有力的構圖。縱使用色濃麗,那溢散出的氣韻仍 舊清新雅致,不流於俗,足見台灣前輩畫家真醇渾厚

《李石樵:高彩‧智性》

058

的藝術魅力。


059


042

CHIHSIANG | LIU Donggang

( 1910-1998 )

38×45.5cm Oil on Canvas Signed C.LIOU in English ILLUSTRATED "The 10th Kigen Art Exhibition ", Insian Gallery, 1992, Page 6 "Master Pieces of Taiwan Precursor Artist", Liang Gallery, 1998, Page 101 "Treasury of Elders", Goethe Art Center, 2006, Page 284

劉啟祥

劉啟祥於1948年定居高雄後,持續在南部推

東港

廣美術教育,並組織「高雄美術學會」及舉辦 「南部展」,給予當時冷清的美術文化風氣熱

油彩 畫布 簽名:C.LIOU

情的關心與贊助。在教學、創作之餘,劉啟祥

圖錄 《1992年 第十屆紀元美展》,印象 畫廊,1992年,第6頁 《台灣前輩畫家的藏寶圖 (壹)》, 尊彩藝術中心,1998年,第101頁 《前輩寶典》,歌德藝術中心, 2006年,第284頁

求表面的華美亮麗,而是經營含蓄的內在美

NT$ 1,400,000-1,800,000 US$ 47,500-61,000

也喜愛出外寫生,而無論何種題材,他都不追 感,其最為特殊之處在於有股隱而未顯的情緒 潛藏畫作中,使作品流露出一種低調的抒情, 素雅而幽靜,淡淡的、優雅的、含蓄的感受投 入觀者心底,在他粗豪平整的寬大筆觸裡找尋 埋藏的心境語言。《東港》水面波光粼粼,隻 隻小船停靠岸邊,隨風浪浮動,安逸閒適的氣 氛環繞四周;劉啟祥使用厚重色彩並參入白 色,沖淡其濃烈,豐富了畫面的層次變化,而 恣意流暢的筆觸簡單勾勒出綠葉交疊的生動, 陽光灑落清楚帶出房屋及樹木的亮暗,整體色 調溫和宜人,讓人如沐浴於微風輕吹的岸邊, 悠然清靜。

060


043

WOUKI | ZAO Limitd Orchid Porcelain

( 1921-2013 )

直徑 25cm Watercolor on Porcelain Signed on the reverse: Wou Ki in Chinese and Zao in English, dated 1986 With a Letter of certificate Edited for the BSN group during its twentieth anniversary in 1986 Workshops Ségriès Moustiers

趙無極 蘭花 1986 水彩 瓷盤 簽名:無極ZAO 86 附趙無極為紀念BSN所繪製瓷盤的作品卡 盤身背面為法國知名陶瓷工作室l' atelier ségriès製作 署款資料及BSN慶祝企業二十周年紀念賀詞 註 此作品為趙無極1986年為慶祝BSN(曾是法國玻璃及 食品王國)成立二十週年所繪製之限量抽象蘭花瓷盤

NT$ 60,000-120,000 US$ 2,000-4,100 1986年為慶祝BSN企業二十週年的成立,特別邀請知名畫家趙無極繪製限量的抽象《蘭花》瓷盤,並由法國最負盛 名的陶瓷工作室l' atelier ségriès製作。這是一家專門手工生產17世紀或18世紀風格的西洋古陶瓷的工作室,曾經與知名精品 法國愛馬仕和紐約的提芬妮合作。 061


丁雄泉

WALASSE TING 一根草 一隻蚱蜢 一條鯨魚 一隻蚊蝶 一個洋蔥 一枚炸彈 混在一起像一個牛肉餅 加上 一瓶醬油 一壺尿 一瓶威士忌 就這樣 構成一個丁雄泉

One stray of grass A grasshopper A whale A butterfly An onion A bomb Mixed together, they look like a beef patty along with A jar of soy sauce A pint of urine A bottle of whiskey And so it becomes One Walasse Ting

---丁雄泉《四種我 之三》

--- Walasse Ting《 Third Episode of Me》

Walasse Ting, a world renowned poetry artist, once travelled to Paris and coexhibited with Cobra artists such as Pierre Alechinsky and Asger Jorn. The most visible attributes of Cobra artists are the unrestrained vivid colors and liberal symbols and images that are full of artistic concepts. The objects are often huge in size with abstract concepts. These characteristics can be clearly found in Walasse Ting’s art-pieces. However, there is a rich Eastern atmosphere underneath the bold and spectacular perspectives. Utilizing the strong visual language and thick brushstrokes with liberal colors, Walasse Ting created this “butterfly” which fully demonstrated the relationship between the artist and Cobra artists. ‘Butterfly’ speaks of youth innocence and a primal yet natural meaning. With rich imagination and art skills, Walasse Ting presented a strong and aggressive visual impact with cute and gentle themes.

丁雄泉為國際知名的詩人藝術家,曾於1950年代負笈法國巴黎,與眼鏡蛇 畫派(CoBrA)的藝術家,如阿雷欽斯基(Pierre Alechinsky)、喬恩(Asger Jorn)等 藝術家共同舉辦展覽,活躍於歐洲藝壇。眼鏡蛇畫派最具衝擊力的共通性格 是亮麗的色彩、顏料的不羈多變、自由的記號及形象,並擁有豐沛的藝術內 涵,且畫中內容經常形體壯碩、氣勢非凡,散發抽象氣息。這些特質於丁 雄泉作品中皆清晰可見,但在其絢爛大膽的畫風之下,卻隱含濃厚的東方 精神。而丁雄泉運用繽紛強烈的視覺語言、色彩奔放的厚重筆觸,創造出來 的這隻《蝴蝶》,則清晰體現了丁雄泉與眼鏡蛇畫派風格的延繫關係。《蝴 蝶》洋溢著兒童式的天真,以及勃勃的原始野性、自然坦率,丁雄泉一反常 態形式的規範,貫注豐沛想像與藝術勁道,讓可愛柔和的題材也激迸出狂狷 強悍的視覺衝擊。 062


044

TING | WALASSE Butterfly

( 1929-2010 )

49×61.5cm Oil on Canvas Signed on the reverse: Ting in English, dated 1961 With a certificate of authenticity from Gallery

丁雄泉 蝴蝶 1961 油彩 畫布 背面簽名:Ting 61 附畫廊開立之原作保證書

NT$ 400,000-550,000 US$ 13,600-18,600

063


001


劉玖通

LIU JIUTONG 劉玖通以其東西合璧的抽象藝術語彙、氣勢磅礡 的創作力道,嶄露頭角。其酣暢淋漓的藝術風貌 備受國際藝壇青睞,作品入選「法國巴黎當代國 際藝術評選展」、「米蘭當代藝術大展」,並於 世界各地舉行多次個展,廣獲好評。

064

With an abstract artistic language and majestic strength, Liu Jiu-Tong became a budding ar tist. The ar tworks won international recognition and were selected into “French Paris Contemporary International Art Exhibition” and “Milan Contemporary Art Exhibition”. The artist has also held many solo exhibitions all over the world. "Day and Night" describes the beautiful ripples of the rivers along with continuous roofs on both sides of the city of water. With the circle of life passing on with time, it reminds the viewers of Tang dynasty poet Zhang Ruo-Xu’s "Moonlight over Spring River". The river that runs across the canvas is steady and flows towards an elevated atmosphere of “Daoism” that passes through time and universe. With thick and rich layering of oil painting along with a concrete picture constructed by scraping, a unique language reinterpreted an abstract space with the deep yet magical changes of light reflections. Color blocks become the source of light that endlessly overlaps and created a magical yet comfortable atmosphere that allows viewers to understand the artist’s message of the realization and poetic concepts of life.


045

|

LIU JIUTONG

( b.1977 )

Day and Night 120×150cm Oil on Canvas Signed Liu Jiu-Tong in Chinese, dated 2009

劉玖通 不舍晝夜

逝者如斯夫!不舍晝夜。 ──《論語‧子罕》 此幅《不舍晝夜》描繪水鄉澤國,清亮的河水悠悠蕩蕩、 波光粼粼,兩旁層疊著起落有致的屋瓦房舍,燈火通亮, 經歷無窮盡地殞滅新生,令人想起唐朝詩人張若虛《春江花

2009 油彩 畫布 簽名:劉玖通2009

月夜》的悠悠懸想:「人生代代無窮已,江月年年望相似。

NT$ 1,100,000-2,000,000 US$ 37,300-67,800

「道」的終極命題。劉玖通以渾厚濃重的油彩線條堆疊、刮

不知江月待何人,但見長江送流水。」貫穿畫面的江水,平 穩奔流地穿越韶光、生死的大哉問,直抵宇宙的浩蕩蒼茫、 刀技法的揮灑創造堅實而立體的畫貌,獨樹一幟的藝術語彙 重新闡釋了抽象繪畫的空間內涵。畫面時而深邃,時而浮動 著光影瞬間的幻化。色塊透過光線的轉折及蛻變形成光源, 源源不絕地交錯漫延,如夢般迷濛幽然,讓觀者在絢麗竄梭 的筆調中沉澱,傳達生命起落的頓悟與詩意。

065


046

|

LIN SHIENMAO

( b.1955 )

Colorful Carpio(A) 91×117cm Oil on Canvas Signed Shien Mao in English, dated 2012

林憲茂從過去的舞動系列,再到日月潭的寫意動態山水。秉持其飛躍靈動的 筆觸,將其藝術視野延伸至磅礡絢爛的水中錦鯉,並將其命名為「百鯉紅 漾」創作系列。無論從表現手法上或是象徵意義上更延續了過往的「恍惚與 靈動」如「眼之不能見,耳之不能聽,用手更摸不著的模糊與神秘世界」, 就如河上公所謂的「無色曰夷,無聲曰希,無形曰微」。而「夷、希、微」 都是表現在任憑感官感受之下,亦未能全然掌握的恍惚神秘之意。其實林憲

林憲茂

之間,其意旨在於彰顯「超越有無、忘我之空靈境界」及「人類齊物逍遙、

百鯉紅漾(A)

自然養生的妙理」。

2012 油彩 畫布 簽名:Shien Mao 2012

《百鯉紅漾(A)》鯉魚躍然於蔚藍之境,充滿自由律動的靈魂,或急或緩地

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

066

茂的近日作品,不僅存在著恍惚之境,也似乎呼應了莊周夢蝶中的「恍惚」

自在流動於畫面中,無色、聲、形,僅能意會,以心感受其暢快消遙,而奔 放的筆法模糊了物與自然的邊界,解放了人與畫境之界線,讓觀者以開闊之 心,領會林憲茂的悠然之道。


067


楊三郎

YANG SANLANG

楊三郎畢生追尋藝術之美,在台灣前輩藝

此幅《鳳木花開》,透過畫面的營造,構

術家中聲望崇高,為台灣極其重要的藝術

築出空間綿延的視覺語彙。楊三郎筆下高

家。曾離鄉背井、負笈至日本及法國留

彩度的鳳凰花與鬱鬱蔥蔥的草道,以高對

學,進入關西美術學院,其後更入選法國

比度的姿態呈現,並透過筆觸的豐厚的質

秋季沙龍。楊三郎熱誠於推動台灣藝術,

量感、色彩深淺的錯落交疊,演繹出夏天

偕同顏水龍、陳澄波、李梅樹等美術界巨

旺盛蓬勃的生命力。天清氣朗,陽光正

擘創立「台陽美術協會」,策劃籌備藝文

濃,枝椏繁茂、花團錦簇,樹道綿延無

展覽,網羅當時首屈一指的藝術家,成功

盡,畫面洋溢著明敞輕快的氣氛,深刻地

推動了「台灣新美術運動」,此後楊三郎

展現出大自然中稍縱即逝的美好感動。

更有台灣美術發展之父的美譽。其繪畫奉 行印象派,細膩捕捉光影的游移變化,以 其敏銳的色感描繪親見風景。汲取歐洲藝 術理論,卻始終深耕本土,堅定地走出屬 於自己的創作路程,恣意揮灑對大自然的 嚮往與熱愛。 068


047

|

YANG SANLANG

( 1907-1995 )

Phoenix Flowers

楊三郎

40×46cm Oil on Canvas Signed S. Yang in English

鳳木花開

PROVENANCE East Gallery Acquired directly from the above by the present owner

1988 油彩 畫布 簽名:S. Yang 來源:台北東之畫廊 現藏者購自上述來源

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

069


048

|

MULYO GUNARSO

( b.1979 )

Tembok Batas (Boundary Wall)

穆里歐.固納爾索

70×80cm Acrylic on Canvas Signed MG Jogja in English, dated 2012 With a certificate of authenticity from Gallery

邊牆一隅 2012 壓克力 畫布 簽名:MG Jogja 2012 附畫廊開立之原作保證書

NT$ 60,000-120,000 US$ 2,000-4,100 Mulyo’s surrealist works touches on the adverse emotional effects of industrialization and modernization, where he feel s that nature is impor tant to the development of creativity. Mulyo has won many awards Osten Awards at the Republic of Macedonia Biennale of Drawing and winning the Highly Commended Award Professional Category at the 2nd UOB Indonesia Painting of The Year Competition.

070

印尼的超現實藝術家穆里歐.固納爾索, 近幾年來陸續榮獲多項大獎,如馬其頓雙 年展繪畫獎及印尼UOB等獎項。其作品以 逆向操作的手法,反映印尼工業化與現代 化的一面,藉由繪畫傳達對大自然的尊重 態度,並呼應世人更重視生態環境的維護 與發展。


049

|

HO HUAISHUO

( b.1941 )

Flying Ducks on Cold River

何懷碩

69×107cm Ink on Paper Signed Huai-Shuo in Chinese, dated 1972.04 With one seal of the artist

寒江飛鳧

PROVENANCE The Redcliffe Club of Chicago Private collection This art work from Benefit Sale in The Redcliffe Club of Chicago in 1973. All art objects, mostly far eastern, donated by friends of Radcliffe, for the scholarship fund.

1972 水墨 紙本 簽名:四月,一九七二,懷碩 鈐印:何 來源:The Radcliffe Club of Chicago私人收藏 此件作品曾於1973年於芝加哥Redcliffe俱樂 部舉辦之慈善義賣上公開展售,義賣所得做 為獎學基金

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

何懷碩以文學繪畫氣息表現著稱,畫作中常以冥思幻想的情境入題,繪畫技巧融入擬人、象徵、比喻手法,採超現實的 西方意念與中國造境,呈現自我想像與超越。此幅《寒江》由河面為起點,擦柔筆法的交疊肌理靈活運用,渲染出孤寂 船隻、凋零枯樹,在墨色濃淡間變化、營造出霧氣的迷濛,彼此相互牽引,揮灑出高寒、寂靜、黯鬱的蒼涼感受,整體 呈現靜澀寂寥的淒美感。 071


050

|

RAO SONGQING

( b.1970 )

No.3

饒松青

47×147cm Oil on Canvas Signed R S Q in English, dated 2008

No.3

2008 油彩 畫布 簽名:R S Q 2008

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

《No.3》此件作品以黑灰色調呈現,內斂地敘述人性的隱秘,容貌黯淡的孤獨男子表情茫然恐懼 的毅然佇立,彷彿內心傾訴著對未知人生的茫然無助,倏忽般的耀眼光線從男子身旁猛烈投射出 來,光線雷如雨下,猶如重新注入了一股堅毅正面的力量,刻畫出困獸猶鬥的精神,狂熱冷酷的筆 觸,畫面的佈局呈現驚人的和諧,表現主義手法使整幅畫作充滿了張力。

072


051

|

YANG TAIYANG

( 1909-2009 )

Calligraphy

陽太陽

46×70cm Ink on Pape Signed Yang Tai-Yang in Chinese With one seal of the artist

書法

PROVENANCE Private collection, Australia

水墨 紙本 簽名:八十陽太陽 藝術家鈐印 來源:澳洲私人收藏

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

陽太陽長期的藝術創作中以崇尚生活、表現自然為基調,擅長中國畫、水彩畫、油畫、書法及詩 文,是傑出的藝術美術家和藝術教育家,發展出許多成就貢獻,在近現代中國美術史上佔有重要地 位。早期在上海與倪貽德等畫家成立決瀾社,提倡新繪畫。60年代初,陽太陽提出漓江畫派文化 主張,與陽太陽生活地域環境有直接連結,在探索著中國美術創作的道路上,將人文地域與生活相 互融和,以豐富的傳統文化為創造物,把潛意識裡的平淡、恬靜心境發揮極致,蘊藏深邃意境。

073


052

|

HOU CHUNMING

( b.1963 )

Vampire and His Mother 217×77cm Oil Crayon on Paper Signed "a course in LegendHou Yu Shi-Ya" in Chinese, dated 1997.7.24 With one seal of the artist

侯俊明

吸血鬼和他的母親 1977 蠟筆 紙本 簽名:1997.7.24 六腳侯氏于旭亞的課 藝術家鈐印

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

侯俊明赤裸裸對性的描繪、無遮無攔的性意 識,既是他對社會體制和意識型態壓抑的一 種反叛,又是他對人性弱點和暗面的一種正 視。其作品兇悍,充滿叫囂,圖像與文字放 縱而狂野的表現,臺灣藝評界因而形容他的 創作為「叫陣的藝術」。侯俊明驚世駭俗的 作品中,無論象徵主義的圖文亦或隱喻手法 的意識精神,實質皆與他的內心、身處環境 及關注的社會事件息息相關,他從自我憂憤 出發,為真實人性造像,揭示、針砭和批判 的則是現實社會的種種非人性化的困境。 他日積月累的大量手稿,有寫生,有信手塗 鴉,這些圖像手法洗練,奇崛的線條和狂野 的想像,往往能抓住觀者的目光,破壞性的 張力,在第一時間造成了視覺震撼。

074


053

|

CHANG LING

( b.1975 )

Three-legged Toad Figure 130×162cm Oil on Canvas With a certificate of authenticity from Gallery

常陵對社會文化的關注與世界的聯繫,經過解構分析重組,激發文化議題,再 用自己的創作形式為表現題材,以堆疊狀似肉塊的形體繪畫,創作出「五花

常陵

肉」系列特有的風格。三腳金蟾蜍在中國古代是月光和金錢的象徵,有招財進

三腳金蟾圖

寶之意,是旺財的神獸;此件《三腳金蟾圖》畫面中以黑色為背景襯托出層層 肉塊堆疊的三腳蟾蜍,常陵藉由肉的元素,以一種黑色幽默般的詼諧姿態,主

2007 油彩 畫布 附畫廊開立之原作保證書

體酣暢淋漓透亮的繪畫方式,展現其強烈的生命力,釋放源源不絕的能量,激 發觀者強烈的視覺感官。

NT$ 280,000-400,000 US$ 9,500-13,600

075


054

|

YUYU YANG

( 1926-1997 )

Balance & Harmony 128×90×92cm Stainless Steel, 5/9 Signed Yu Yu Yang Yin-Feng both in Chinese and English, numbered 5/9 With a certificate of authenticity from Yu Yu Yang Foundation

楊英風

厚生

《楊英風美術館館刊 創刊號》

1993 不鏽鋼 5/9 簽名:'93 呦呦 楊英風 YuYu YANG Yang F. 5/9 附楊英風基金會開立之原作保證書

NT$ 220,000-400,000 US$ 7,500-13,600

1985年開始,楊英風以象徵現代科技文明 的磁帶為創作概念,利用蜷曲的帶狀造型延 伸、應用、組合,並使之承載了中國的文化 意義,發展出了一系列的不銹鋼作品。 楊英風說:「在中國『龍』、『鳳』是宇宙 天地力量的精華,文藝美術理想昇華超越的 抽像哲思之具體化。陰、陽,日、月則為生 美國洛衫磯恆信美術館典藏

命聚合、演化和展開的基本。我將象徵知 識、資訊、智慧和傳播迅速等特質的『磁 帶』,結合代表中國文化精華的龍鳳意象, 引日月之形為龍鳳的眼睛,以純樸、簡潔、 有力的造形,統攝傳統與現代,迴應宇宙自 然和文化日新又新的無限生機。」<楊英風 全集:第10卷> 《厚生》以磁帶造形構化出大小龍鳳,簡潔 有力的切割與不銹鋼的單一純粹相得益彰, 弧狀的曲線增加其形態的活潑歡躍之感,不 僅表現如家庭中親子相依相存的關係,更以 幼龍和雛鳳展現初心生命對大千世界的好奇 與成長的期盼。

076


077


席德進

LIU JIUTONG

Shiy De Jinn is a very unique artist in Taiwanese art world, one of a kind we can say. After graduating from Hang Zhou Art College, he began a long career of five decades and was never married, he viewed art as his eternal lover. He pursuit art with passion and devotion. His oil paintings and sketches come with simple brushstrokes, the lines are cold and stiff yet the colors are vivid. His water ink paintings are influenced by Lin Feng Min, keeping the essence and leaving a remarkable trademark of the beautiful Taiwanese landscape.

席德進是台灣畫壇中的一位怪傑,一個美麗的異端。他自杭州 藝專畢業,作畫五十年不輟,終生未婚,視藝術創作為永恆的 戀人。熱情與專情的追求,未嘗一日稍懈。他畫油畫與素描, 筆法俐落,線條冷硬,色彩強烈;畫水彩與水墨,則師承林風 眠,去蕪存菁、墨氣淋漓,為台灣的美麗山水,留下珍貴的藝 術墨跡。

席德進出席1981年生前最後一次個展,右起為李錫奇、盧精華。

078


我陪他 到處寫生

(文:盧精華/席德進基金會董事長) 席德進的一生中,寫生,幾可佔他藝術生活的全部,而且寫生 作品也幾乎佔他創作的總和。由於他執著於真實,所以他的作 品,均完成在真實景物之前。甚而,他從不將一些看不到的東

圖攝於1979年席德進於往埔里的途中寫生,圖右為盧精華;圖中為席德進;圖左 為紀慧能(畫家紀嘉華之父)。

西,陪襯或點綴到畫裏。他作畫,無論在室內或戶外,均堅持 這個原則。 國毛筆,其線條變化之多端及其敏感度之強,是西方繪畫工具 席德進野外寫生,在季節與時間上,有他自己的偏愛與選擇:

所沒有的。而毛筆的運用,有起、落、頓、銼、中鋒、偏鋒之

在一年之中,除了四、五兩個月份外,祇要天朗氣清,均是他

變化,一筆下去有濃淡、剛柔的變化,亦是西方畫筆所難及

奔向郊野寫生的季節。他曾說;「四、五月裏,景色是軟綿綿

的」。

的、色彩是暗漠的、不太清晰,缺少對比」。在一日之中,他 最喜愛畫晨景,他說:「晨景變化多,景物因色調更統一,因

在作畫之先,他從不打草稿,而是在凝視景物之後,直接畫

光的背射更單純、因霧氣更飄逸、因人少更覺出塵」。

上去。但落筆慎重,運筆豪放。他是由遠景畫起,漸漸由遠而 近,畫到水平線時,即將流到水平線以下水彩,用水刷洗掉,

在選景上,他喜歡有倒影的風景,如山巒之有湖水或河流者,

使其變成白色,然後再畫水平線以內的景物。

為上選。即使畫稻田,也喜歡插秧季、田裏灌滿著水。否則完 全表現山的雄偉氣魄,或山巒的層次變化,或者表現樹木的蒼

他畫雲霧及河川,是用洗淨的畫筆,依照實際景物的方位擦拭

勁,以山脉作為陪襯。在定方位上,他多採側式,即畫板與本

出來的,不是預留空白,每擦一筆之後即洗一次,使原有的色

人,均側面對著所要畫的景物,他很少正面對著景物作畫。

彩部份,現出白色的雲霧,河川形狀,相當傳神。而畫湖中的 水紋,亦採用這種方式。

在畫紙的處理上,亦即刷水於畫紙上的處理工作,是採橫刷 式,由紙的上方,一橫刷一橫刷地,排比式地刷到下方,然後

他在用色上,從未見他用單色過,而均是蘸多種顏料於色盤

再重複兩次,因此,顯得畫紙已充分含著水份,然後,等待片

中,加以攪拌,攪勻後再使用,但從未見他先試一試看,是否

刻,當畫紙上的水光消失後,才開始作畫。

調配得恰到好處,而就直接用上去,非常大膽,可見經驗老 到,而席德進用色確有獨到之處。

席德進在作畫之前,先將兩腿平行跨開一步,在將膝步弓起, 像練武功的式,而他與畫板之間的距離亦較一般人為大,手臂

席德進曾說:「西畫色彩的多端變化及其敏感度之強,超過了

伸得亦較長。據他說:這樣會使運筆更為靈活,更為準確,而

東方裝飾性,概念性的設色法」。而又說:「中國毛筆線條的

又能使出勁道。

多端變化及其敏感度之強,是西方繪畫工具所沒有的。這是中 國畫的優越處」。那麼,由席 進寫生習慣與歷程中,可以瞭

他的執筆法,採書法的「單鈎」法。他運筆時,大部分運臂,

解到,席 進新的創作途徑之軌跡了!

而少見運指與運腕,亦即指與腕不見活動。可見他將書法的運 筆用在作畫。他也常說:「書法在作畫上,將我引入一個新的

該文發表於1981年雄獅美術九月號127期「席德進紀念專輯」第二十八頁

試探與新的創作途徑」。而他所採用的水彩筆,亦是圓滿的 豪鋒。而非扁鋒,近似於毛筆。對於毛筆,他曾讚美過:「中

079


055

|

SHIY DEJINN

( 1923-1981 )

Cottonrose Hibiscus

席德進

56×75cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1975

芙蓉

PROVENANCE The Shiy De- Jinn Foundation Director Lu Ching-Hua

1975 水彩 紙本 簽名:席德進1975 來源:席德進基金會董事長 盧精華

NT$ 1,100,000-1,600,000 US$ 37,300-54,200

080


Through decades of painful search and exploration of the self, Xi Jin De has transformed from the early colorful oil painting to a poetic color ink painting. His journey has become a beautiful legend in Taiwan art history. In his middle age, he returned to pursuing Chinese philosophy in life and used water ink as a challenge. He holds strong responsibility for water ink painting and even while he was heavily sick, he still held “Modern water ink painting exhibition”, and published articles such as “the revolution of Chinese painting of the century” and “the exploration of modern Chinese painting”. “Cottonrose Hibiscus“ is a masterpiece of Xi Jin De. The pure black background is the embodiment of minimalist practice in Chinese painting. The green leaves are gentle and strong, bringing out strength in the soft background and is an example of the artist exquisite skills and control. The petals of the cotton rose are delicate and elegant. With such beauty, the artist still maintained his simple composition and minimal use of colors. It is a true depiction of Wang Wei’s poem “On the end of a branch, there are cotton roses. In the mountains, red stems grow. A house by the mountain stream is silent with no one present. The pedals are scattered, blossomed and withering.”The beautiful world created by Xi not only is a true description of literati poetic concepts but also comes with a deep philosophy.

席德進歷經數十年藝術的慘澹經營與自我定位的苦心探索, 從早期色彩斑斕的油畫至時間淬煉後昇華為唯美詩境的彩墨創 作,他美學追索的心路歷程,已然成為台灣藝術史上最美麗的 傳奇。中年之後,席德進回歸悠然恬澹的中國生命哲學,並以 水墨媒材為其創作的終極關懷與挑戰。他對水墨畫有著至死不 渝的情感執著,也有著悲壯的歷史擔負,即使身染重疾,仍甘 冒性命危險積極主辦「現代國畫試探展」,並發表〈近百年國 畫的改革〉及〈現代國畫試探〉等文章,苦心積慮地要為現代 國畫開拓嶄新大道。 此幅《芙蓉》正是席德進展現其筆墨涵養與意象化境的彩墨鉅 作。背景的純淨白色,體現中國書畫裡少即是多的精髓,含蓄 空漠而仿若仙境。《芙蓉》的濃綠葉片時而恣意渲染,時而昂 然挺立,柔中有剛,在清幽柔和的氛圍之中蘊藏著骨法用筆的 勁道,展現席德進對墨韻掌握的流暢穩重。而芙蓉花瓣的殷紅 跌宕,極為細膩多姿,典雅沉靜的氣韻汩汩流瀉而出,同時具 有詩的意境與美的極致。《芙蓉》縱然如此嬌豔娉婷,卻不見 奇特技法與奔放激情的流露,只見席德進以簡約的結構與單純 的色調繪出形色之外的幽玄理趣。正如詩佛王維的那首〈辛夷 塢〉所描寫的:「木末芙蓉花,山中發紅萼。澗戶寂無人,紛 紛開且落。」席德進所創造的美學世界,不僅洋灑著文人詩情 放逸的深刻表達,也同時流露出高深莫測的宗教禪意。

081


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056

|

SHIY DEJINN

( 1923-1981 )

Composed Blessing

席德進

67×136cm Ink and color on Paper Signed Shiy De-Jinn in Chinese With one seal of the artist

歲朝清供

PROVENANCE The Shiy De-Jinn Foundation Director Lu Ching-Hua

1980 彩墨 紙本 簽名:燕伯大人雅正 蜀人席德進 庚申春 藝術家鈐印

后里

來源:席德進基金會董事長 盧精華

NT$ 3,000,000-4,000,000 US$ 101,700-135,600

083


圖攝於1980年席德進於台中縣后馬場,作《歲朝清供》之日。

Shiy De-Jinn held a banquet at a horse training place in Taichung

time. In the painting, everything dies down and are stationery. It

Hou Li in 1980. It was a sunny day of Spring. With so many close

reminds the viewers of his inscription “returning the colors to the

friends around, Shiy happily improvised this large and grand

seasons; the fragrance to the land; the poses to the weather.” The

《Composed Blessing》. “Sui Zhao”- the beginning of the year

flowers will eventually wither and time will still pass on. Xi Jin

and also the first day of the lunar year. “Qing Gong” also known

De created an eternal propitious day enabling the viewers to sit

as an instrument for appreciation in the Qing dynasty including

together with the art master and enjoy and alleviate the loneliness

books, painting, ancient instr uments and v ases. Many ar t

and sorrow of life.

masters such as Zhang Da-Qian, Qi Bai-Shih, Wu Chang-Shuo all painted 《Composed Blessing》which meant a prosperous and

This piece 《Composed Blessing》 is a painting, Mr. Yan-Bo gave

harmonious year to celebrate the coming Chinese New Year.

to Lu Ching-Hua who was The Shiy De-Jinn Foundation Director as a present, before he pass away.

The conceited and passionate personality of Shiy De-Jinn is distilled into capturing the essence of innocence. The tranquil flowers blossom in the painting. Bringing out the active with silence, 《Composed Blessing》 is prosperous with blossoming flowers and vitality of Spring. The colors layer and smudge to form a interaction of the West and traditional Water Ink Painting that is sophisticated and earnest. The dark black rock lies in the bustling background. Blank spaces are kept for the artist to present solid ar t. Xi's steady and delicate brushstrokes enable viewers to experience an elegant texture and the sorrow of the passing of

084


1970年新春,席德進之摯友盧精華其老友燕伯先生適任職於

大片留白,畫家在虛空中揭示了充實飽滿的藝韻,而席德進細

台中縣后里馬場,乃邀其前往后里騎馬遊樂。當時天清氣朗,

膩沉穩的筆觸,呢呢喃喃,帶領我們輕撫時光的肌理,意會一

頗為盡興,時至傍晚,乃邀其至馬場旁的老友家盛宴款待。宴

個新春的降臨,其喜樂融融之情,盡在畫中。

罷,席德進雅興正濃,於是解開其行囊揮灑作畫,方成就此 尺幅寬大、氣象萬千的《歲朝清供》大作以應時令,作為答謝

該畫為燕伯先生晚年臨終前,饋贈給時任席德進基金會創會董

之意。「歲朝」,乃歲之朝也,為農曆正月初一,大年初始之

事長之盧精華先生,懸壁至今。

日。而「清供」又稱清玩,海納書畫、古器、盆景花卉及可賞 玩的清雅陳設。歷代著名書畫大家如張大千、齊白石,吳昌碩 都曾繪過《歲朝清供》,《歲朝清供》的寓意吉慶祥和、蘊含 豐富,適合雅俗共賞。新春年節將至,懸畫迎新,特有一番清 雅情趣。 席德進將其桀驁不羈的生命激情在淡雅的墨色中昇華,唯美動 人地捕捉天地純真優美的本質。畫面中花卉恣意綻放、枝椏交 織曲折,寧靜地灼灼其華。然而以靜顯其動,《歲朝清供》幽 香漫漫、春暖花開,旖旎多姿、盎然生氣的繁春盛景。顏料殷 艷地錯落暈散,形成西方色調與傳統水墨印象迭次的激盪,微 妙地傳達中國傳統文化的深邃情操、古雅穩重的東方氣韻。而 那塊墨黑的奇石,橫臥於熱鬧的繁花之後,沉穩如山。背景的 席德進相關著作書影

085


Shiy De Jinn once said “the pain of an artist may not be lack of substance or loneliness, rather it is the struggle inside him. He has given everything he has to art and nothing else makes him happy besides art. He might never find friendship or love; therefore, he has to insist on his faith and confidence in art to continue on.” His love and perfectionism for art along with the hard work in simulating ancient inscription enabled his brushstrokes to be strong and magnificent and allowed him to discover a new meaning and concept for art.

席德進對繪畫有早慧的天賦,經歷過現代藝術的洗禮、鄉土 與前衛的交涉矛盾,然後把關懷的目光射向中國傳統的書畫美 學。傾其所有的專注與熱情,竭盡所能地蒐羅、臨摹許多中國 古代碑帖。據好友盧精華所發表的文章中,席德進聽說台南名 書法家朱玖瑩藏有隸書原拓的《北海相景君銘》,即迫不及待 地約同盧精華驅車造訪,事先並未作任何聯繫,隨興所至,只 求一觀。不料頗受朱玖瑩先生歡迎,席德進說明來意要以為朱 老先生畫一幅六尺宣水墨人像作拍攝該銘文的條件,畫後雖疲 憊不堪,卻絲毫不以為苦,回程中仍連連樂稱:「真不虛此行

名書法家失玖瑩

086

啊!」。唐突熱情、真摯浪漫的席德進曾感性地談起:「一個藝 術家面臨的痛苦,並不一定是這些物質上的短缺或環境的孤立, 而是他內心的掙扎。他把所有心血和生命都交付於藝術的經營, 在藝術之外再也沒有別的安慰──他可能永遠找不到友誼,得不 到愛情,所以他必須堅持著對藝術絕對的信心與信仰,才能活得 下去、畫得下去。」憑藉對藝術的愛好及完美主義,苦習古代碑 帖造就出他雄勁筆力與浩大的氣勢,筆情墨韻的駕輕就熟更為日 後的繪畫開創了新的試探與內涵。 此幅《東坡懷情》以自具風格的隸書體寫就,厚重簡純,蒼勁壯 邁外更有古樸溫潤的自家情意。行筆極緩,如蝸牛爬步,席德進 曾對徐永進說過:「寫得慢,是用意念在寫。」筆隨意走,把深 沉繁複的情感全都細膩地刻進筆劃裡。而他的多情、用情之處, 無疑是對青春生命的永恆執迷、對藝術的海誓山盟。年歲漸長, 雖生華髮,依舊煥發如鷹雄態、勇者之姿:「做一名戰士,要死 在戰場;做一名畫家,要倒在畫架旁。」高華內斂、老而彌堅, 字裡行間奔騰的生命節奏與音樂般的抒情感動,使每一提按頓挫 都有了飛動飄逸的美感。

《北海相景君銘》拓本


057

|

SHIY DEJINN

( 1923-1981 )

Reminiscing Su Dongpo 136×69cm Ink on Paper Signed Shiy De-Jinn in Chinese With one seal of the artist PROVENANCE The Shiy De-Jinn Foundation Director Lu Ching-Hua

席德進 東坡懷情 水墨 紙本 簽名:席德進 藝術家鈐印 來源:席德進基金會董事長 盧精華

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

大江東去,浪淘盡,千古風流人物。 故壘西邊,人道是,三國周郎赤壁。 亂石崩雲,驚濤裂岸,捲起千堆雪;江山 如畫,一時多少豪傑。 遙想公瑾當年,小喬初嫁了,雄姿英發, 羽扇綸巾,談笑間,強虜灰飛煙滅。 故國神遊,多情應笑我,早生華發。 人生如夢,一尊還酹江月。 蘇軾 〈念奴嬌 赤壁懷古〉

087


058

|

SHIY DEJINN

( 1923-1981 )

Calligraphy of the Mount Tai Inscription

席德進

60.5×120cm Ink on Paper Signed Shiy De-Jinn in Chinese With one seal of the artist

臨泰山刻石

PROVENANCE The Shiy De- Jinn Foundation Director Lu Ching-Hua

1980 水墨 紙本 簽名:席德進 藝術家鈐印 來源:席德進基金會董事長 盧精華

NT$ 180,000-320,000 US$ 6,100-10,800 Calligraphy flourishes in thousand of forms, Shiy De Jinn has particular liking in Qin Seal Script and hanlian ancient style of calligraphy during the Han Dynasty. Through the flow of brushstrokes, both styles can easily present a vigorous mood which cursive style failed to reveal. Through the passing of time, Shiy De Jinn once said to Hsu Yong Jin that “calligraphy can be regarded as a clothe hanger, it presents the object clearly, you won’t be able t lie.” His steady brushstrokes are containing, showing the viewers about the subtle observation of life. The artwork brings out profound and smooth aspirations of the artist.

書法浩瀚如海,席德進特別推崇秦篆、漢隸,透過它的 起落與運行,輕易地展現了妍美輕逸的行草書所難以觸 及的渾雄境界。人世往復如濤,席德進曾對徐永進說 過:「書法像衣架,赤裸裸地把一個人掛了起來,騙不 了人。」他穩健提筆,內斂克己,錘鍊靈性與知覺的細 微體察,就算是臨摹之作,也同樣氣脈貫通、鎔鑄以席 德進不可抑止的藝術靈感。 此作為席德進臨摹李斯的《泰山刻石》,《泰山刻石》 年代淵遠,氣勢磅礡,上承石鼓遺緒,下開漢篆先河。 近代大家魯迅肯定其位於中國文字流變史中重要的樞紐 地位,是言「質而能壯,實漢晉碑銘所從出也」。歷史 價值無以計數,藝術境界則別開生面,雍容淵雅、勻 稱端寧,有廟堂崇偉莊嚴的大度,實不負「天下第一 名刻」的美譽。席德進的書法運筆出名地緩慢慎重,一 筆一劃都聚精會神,細心刻琢卻不顯匠氣。此幅《臨泰 山刻石》墨字樸拙豐勻,線條修長且疏密適宜,挺拔奇 偉,可承萬鈞,與原拓重如泰山的氣勢相契。席德進的 筆觸似錐畫沙,勁如屈鐵,不知有漢,無論魏晉,獨與 天地精神往來,細膩地刻印出生命的渾厚華滋。

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JU MING

( b.1938 )

Living World Series - The Womenfolk

朱銘

16×16×86cm Wood(One piece only) Signed Ju Ming in Chinese, dated 1992 With a certificate of authenticity from Caves Gallery

人間系列-三姑六婆 1998 木頭(僅此一件) 簽名:朱銘'92 附敦煌畫廊開立之原作保證書

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

“Living World Series” is created with the portraits of life as the theme. While Ju Ming travelled to New York alone in 1980, he overcame the challenges of material and venue and came out with his art works in a little garage. He once said “why do I want to sculpture “the living world”? I think I need to carve things that belong to life…”the living world” is more close to the heart and closer to the modern concepts of sculpture- liberal and at one’s pleasure.” I think daily observation and realization is the most direct reflection of the artists’ emotions. Differing from “the Taichi Series” that is simple and powerful, “the living world series” come with more narration- characters from life and presented with a lively composition through Ju Ming’s carving skills.《Living World Series - The Womenfolk》is carved in a relatively shorter period of time and composed with colorful attire. The artist excluded redundant details of the body and facial expression; rather, he captured the characters’ movements- like a group gossiping ladies who do not care about what others think.

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「人間系列」以人生百態為創作主題,是朱銘1980年代隻身前 往紐約時,在當地的小車庫中克服材料與場地等種種問題創作 出的作品。朱銘曾言:「我為什麼要刻『人間』呢?我認為需 刻一些生活的東西……『人間』比較生活化,製作態度也比較 接近現代雕刻的理念—隨性而自由。」。或許對於日常的觀察 與體認,是藝術家在身處異地時最直接的情感投射點,不同於 「太極系列」極簡有力的呈現手法,「人間系列」的彩繪木雕 多了「敘事」的想像依據,自生活中觀察揀選的人物,透過朱 銘特有的雕刻技法呈現出簡樸卻生動的表情姿態,某種隨性而 至的日常情懷油然而生。如這件《人間系列-三姑六婆》,快速 的雕刻刀法生動刻劃出人物姿態,以色塊妝點衣著結構,沒有 過多細節的五官與肢體,反而更顯精確的捕捉出人物的動態, 好似真看有一位閒坐閒聊閒適閒言閒語的三姑六婆,不顧旁人 眼光佇立著。


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JU MING

( b.1938 )

Taichi Series – Arch

朱銘

37×92×44cm Bronze, 18/20 Signed Ju Ming in Chinese, dated 1991, numbered 18/20 With a certificate of authenticity from Kalos Gallery

太極系列-拱門 1991 銅 18/20 簽名:朱銘 '90 18-20

NT$ 5,500,000-7,000,000 US$ 186,400-237,300

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Learning traditional temple sculpture from Li Jin Chuan since 15 and sculpture master Yang Ying Feng when he was 30. Suggested by Yang Ying Feng, Ju Ming began practicing taichi to train his weak physical. He transformed the energy into his artwork, and created the Taichi series. “Taichi Arch” is the final work of this series, differing from “Pushing Hands” which has two figures, Taichi Arch has transformed into an abstract form. After cutting away the connection of concrete objects, a stronger Taichi spirit can be released. Flowing lines and texture can be seen on the seamless figures symbolizing the never ending circle of life. From learning from concrete objects to injecting the artists’ strength and chi into the sculpture, “Taichi Arch” is an embodiment of the artists’ mindset that excluded details but rather pursuit the inner state of mind. Abstract sculptures can be seen as a true reflection of the artist.

朱銘生於台灣苗栗,創作融合傳統木雕與現代雕塑精神,並自其中發展出獨具個人特色與文化的藝術風 格。早期創作多自鄉土民情取材,因應當時台灣文化主體化議題,其極富生命力與鄉土情懷的木雕作品受 到藝文界廣大迴響。而後融合太極與文化精神的《太極系列》,更成為其最著名的創作系列。此系列作品 剛問世時,曾引起藝文屆一片嘩然,相對其之前《鄉土系列》的創作,無論在風格與技法上都有極大的轉 變,自早期與鄉土的融合轉向與自然的的結合,而這系列作品也為朱銘奠定了其特有的藝術風格。 朱銘15歲開始與李金川師傅學習傳統廟宇雕刻,30歲拜師雕刻大師楊英風,因其先天體質贏弱,在楊英 風的建議下開始修行太極,並將修行期間所獲得的能量轉入創作之中,以習太極之力刻出太極之氣,成就 此系列作品。而《太極拱門》則是這系列創作的終點,同系列中較早期的作品《推手》,仍保有兩個雕刻 形體間對峙的距離,而在《太極拱門》中已化為一氣相通的抽象形體,切斷與具象形體的連結之後,自雕 刻造型量體中釋放出更為生動的太極氣蘊精神。沒有縫隙的形體,只見紋絡自左而右又由右至左流動,彷 彿在其中無邊無際的循環生息。從起初仍須借由形象參照到最後將氣韻全然注入雕刻形體之中,《太極拱 門》一氣呵成的抽象形體其實 藏著創作者在創作中揮動自身忘我形態的凝結,不拘泥細節雕琢,而追求 意識的停留與注入,抽象的雕刻形體反應的是最為具象寫實的創作者自身。 093


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JU MING

( b.1938 )

Taichi Series – Shadow Boxing

朱銘

a.16×23×28cm b.16×20×33.3cm Wood(One piece only) a.Signed Ju Ming in Chinese, dated 1982 b.Signed Ju Ming in Chinese, dated 1988 With a certificate of authenticity from Kalos Gallery

太極系列-對打 a.1982 b.1988 木頭(皆僅此一件) a.簽名:朱銘 '82 b.簽名:朱銘 '88 附真善美畫廊開立之原作保證書

NT$ 5,500,000-7,000,000 US$ 186,400-237,300 094


Ju Ming incor por ated tr aditions and moder n in one in his sculptures and brought a brand new page to the dull traditional sculpture and elevated it into a form of ar t aesthetics. Deep philosophical thoughts and Eastern culture can be seen in the bold cuts, the sculptures also present an international visual language and the Tai chi series is the most representative. Giving up a high paying career of being a leading sculptist, he learned from Yang Ying Feng. Yang suggested Ju Ming to practice taichi to strengthen his physical, and it inspired Ju Ming to create the Tai Chi series. It presented Chinese traditional culture with concrete objects in an abstract form that breaks the barrier of language and country.

By capturing the spirits and forms of Tai chi, along with a modernist approach by keeping the essence and eliminating the redundant, Ju Ming created the “Taichi Series – Shadow Boxing”. Forgetting the form but focusing on the meaning, Ju Ming freely sculptured with rhythm and momentum; meanwhile he presented the yin and yang, active and stillness of taichi. Ju Ming believes that “the movement and flow of texture in ever y ar t work is presented in the form of internal vigor and needs; therefore, the sculpture can be presented in the most logical and natural form, this is the embodiment of “presenting the inner with the form.” The two opposing characters in the artwork is still and steady but also reveals enormous energy that is breathtaking and shaking. Everything is returned to the origin with taichi extending into the universe. Life is fulfilled and perfect, the sculpture is a perfect presentation of the artists rich aesthetics foundation.

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朱銘的雕塑創作融傳統與現代於一爐,為暮氣沉沉的傳統雕刻 打開嶄新的局面,成功地將雕塑藝術提升至文人美學之列。於 大刀闊斧中內蘊濃厚的哲學性思考,且散溢深沉的東方文化底 蘊,同時具備國際性的視覺表達語彙,而其最具代表性的創 作即為「太極」系列。朱銘於不惑之年放棄了在大雕刻廠首席 師傅的高薪,向雕刻大師楊英風學藝。期間楊英風建議身體瘦 弱的朱銘修習太極養身,然而領悟力極強的朱銘,卻從中體會 許多思想與心靈上的奧妙;於是氣勢磅礡的快意大作系列「太 極」,便在朱銘的領悟、通透下以藝術創作姿態成形於作品之 上,以具體物質的抽象表現將中國文化傳統話為跨語言、跨國 界的藝術創作。

朱銘掌握了太極的精神與形式的概念,並運用現代藝術的語 彙、斧劈技法等化繁為簡、去蕪存菁地創作了《太極系列─ 對打》。忘於形而奔於意,朱銘隨意雕琢、大刀闊斧,而律 動感與體量感於焉而生,同時展現太極剛柔相濟、動靜合宜的 美學。朱銘認為,「氣韻生動的作品,每一塊肌理的流動,都 依循著作品內在活力與動感的需要,而呈現出整體造型上最 合理、自然的律動,這就是『以裡達表』傳導出生命力的訊 息。」作品中雙人凝神聚氣的對招姿態,冷靜沉穩,卻蘊含 隨時蓄勁前擊的氣勢。而蓄勢待發的姿態氣勢內斂卻又震攝人 心,讓一切塵囂復歸寂靜,太極綿綿不絕的形意流轉,仿若延 伸至寬厚沉遠的宇宙空間,氣韻汩汩,圓潤完滿,闡釋藝術大 師深厚無疆的美學底蘊。

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林中群鹿

A Herd of Deer Ju Ming is a art master and highly recognized internationally. Initiated by his father, Ju Ming mastered from carving master Li Jin Chuan in his early years specializing in car ving and painting of traditonal temples and horned his skills in wood car vings. He introduced himself ot Yang Y ing Feng and began learning from him when he was 30s, and carried on Yang's spirits and concepts for modern sculpture. Also, he incorporated traditional wood carvings and modern concepts into his style to appreciate all living things and the power of the universe. Later,he internalized the concept and presented it in his artworks.He was brave and innovative,and his artworks speak of steady and sophistication with rich quality and volume. Like meditation,he realized that "art is aform of meditation"and his faith in life.

朱銘為舉足輕重的東方藝術大師,深受國際矚目。早年在父 親帶領下向雕刻師傅李金川拜師,學習傳統廟宇雕刻與繪 畫,踏入了木雕世界習得精湛熟練的木雕技巧;30歲時毛 遂自薦向楊英風為師,並承續了楊英風的創作精髓與現代雕 塑概念,再融合傳統民間木雕深厚底蘊與現代雕塑概念,從 中體會自然萬物、大氣運行的力道與蘊涵,內化為個人思想 體系後,表諸於創作上。創作上勇於嘗新,作品剛毅中流露 著綿延氣韻,沉穩持重,擁有豐厚的質感與量感。如同修行 般,「藝術即修行」是朱銘的體悟,也是他的畢生信仰。

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JU MING

( b.1938 )

A Herd of Deer

朱銘

170×40×68cm Wood(One piece only) Signed Ju Ming in Chinese, dated 1976

林中鹿群

PROVENANCE Propepty from an Asian private collector Acquired directly from the artist by the current owner in the late 1970s Christie's Autumn Auction 2012 Sale "Asian 20th Century Art", Lot 200

1976 木頭(僅此一件) 簽名:'76朱銘 來源:亞洲私人收藏 原藏者於1970年代末期直接購自藝術家本人 現藏者購自香港佳士得2012秋拍『亞洲二十 世紀藝術』,Lot 200

NT$ 6,500,000-7,500,000 US$ 220,300-254,200 098


In"A Herd of Deer",a herd of deer run roaring through steep rocks and forests.Under the depiction of this Chinese sculpture master,the steel mountains and continuous mountain ranges are presented with a tranquil aesthetic from.The herd is presented with aliberal and majestic atmosphere.The entire art work is the embodiment of zen.

《林中群鹿》刻劃群奔的鹿在巨岩峭壁、茂密叢林中奔騰跳躍。在這位東方雕刻巨 擘的巧手下,突兀高低、凝固如鐵的山石,綿延而漸層斜勢的林木,創造出鉛華洗 盡、萬籟俱寂的幽靜美域。而那群飛躍的群鹿,凝聚出自由無拘束的遼闊氣氛、天 地有情的莊嚴氣概,處處有禪機。

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楊三郎

YANG SANLANG

Yang San-Lang's talent can be seen in his early years;

楊三郎對藝術擁有早慧的天賦,然而在那個民風保守的

however, during an era of conservative time, “artist” can’t

時代,「畫家」尚不能成為一種職業,楊父並不贊同其

be regarded as an occupation. Yang’s father objected the

以繪畫為畢生職志的意願。於是生性熱情堅毅的楊三郎

idea of the career as an artist. Yet, Yang secretly saved up

便私下存錢,在十六歲那年,匆匆地留下一封道別信後

for tuition and secretly travelled to Japan at the age of 16.

便搭船赴日習畫。信中寫著:「兄長,我今天搭船前往

He wrote in the farewell letter, “Dear father, I am leaving for my destination, when I return, I will return as an artist.” Until now, this farewell letter is kept at his former residence which testifies his persistence and courage to pursuit his dream. He also began the first page in the art history of Taiwan, becoming a legendary of the era. Rooftops layered in《Summer in Spain》as though

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目的地,將來要作一個名畫家回家鄉。」這張信箋如今 彌足珍貴地留存在楊三郎的故居裡,述說著楊三郎不畏 艱難,為理想闖蕩的勇氣;也為台灣第一代畫家開拓台 灣美術風氣,那篳路藍縷的拓荒精神寫下傳奇的註腳。 此幅《西班牙夏日遠眺》中屋瓦層疊起伏、宛若壯麗山

mountains. With the sun shining, the houses contrast

巒般綿延無盡。日光灑落,房舍色調鮮朗明快、對比強

greatly in vivid colors. The ar tist excluded detailed

烈。但畫家不求細節的精確描繪,只以大筆勾勒出瞬發

depicture but bold description of what is seen. The blue

的印象。而蔚藍無邊的天際,更為活潑明快的風景平添

horizon brings a little melancholy. An eternal beauty is

一抹清雅淡鬱的氛圍。楊三郎以急速的畫筆,為瞬息萬

left under Yang San Lang’s fast brushstrokes.

變的天地風情留下亙古的美麗。


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YANG SANLANG

( 1907-1995 )

Summer in Spain

楊三郎

60.5×72.5cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from Yang Sanlang Art Museum

西班牙夏日遠眺

1977 油彩 畫布 簽名:S. YANG 附楊三郎美術館開立之原作保證書

NT$ 1,400,000-1,800,000 US$ 47,500-61,000

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陳景容

CHEN CHINGJUNG 享譽國際的陳景容,身為台灣超現實主義代表畫家,曾發起在

《維也納的馬車》以其堅實優異的素描基礎,描繪天色將晚的

台灣畫壇引領現代風潮的「五月畫會」。其作展現沉鬱的氣

沉鬱街景。畫面中央龐然佇立的白馬,乘載著清瘦憂愁的乘客

質,筆調嚴謹細膩,色調清冷孤寂,受過深厚藝術訓練的陳景

與馬伕,準備橫越荒涼杳然的維也納大街,築構出一幅深情至

容,既深諳西方先鋒藝術語言,又兼具知性善感的哲學幽思。

性、孤寂靜謐的絕美風景。陳景容並不刻意追求輪廓的精準刻

他曾說:「藝術是那樣的深奧,好像一口古井,不知道有多

繪,而是讓色彩和線條流暢地自在鬆放,以其擅長的輕逸、優

深。」陳景容以內斂堅毅的熱情,細密地挖掘著藝術這口深

美又含蓄的筆觸,營造出柔和淡雅的魔幻氛圍。鉛華洗盡,萬

井,畢生不輟。

籟俱寂,畫面中超現實的意境使人聯想到宇宙間神秘莫測的生 命意義、人類共感的美麗與哀愁。《維也納的馬車》達達地前 行,迴盪著舒緩的節奏與韻律,輕易地隔絕了畫外世界的沸騰 噪音,將觀者邀請至這個應許懦怯之地,溫柔地收留每個紛亂 流離的心靈。

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CHEN CHINGJUNG

( b.1934 )

A Viennese Horse Wagon

陳景容

65×91cm Oil on Canvas Signed Ching-Jung in Chinese

維也納的馬車

ILLUSTRATED "Chen ChingJung CollectionⅠ-Oil Painting and Fresco" NO.119 "Chen ChingJung Retrospective Exhibition", Taiwan Art Editor Committee, Page 42 EXHIBITION "Chen ChingJung Retrospective Exhibition", Taiwan Art Editor Committee

1979 油彩 畫布 簽名:景容 圖錄 《陳景容畫集(I)》油畫、濕壁畫,圖119 《陳景容回顧展》,台灣省立美術館編輯委員 會,台中市,1996,第42頁 展覽 「陳景容回顧展」,台灣省立美術館,1996年

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

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00103


陳進

CHEN CHIN 陳進有「台灣第一位閨秀畫家」之美稱,其藝術創 作既擁有優雅的書香文人氣息,又承傳日本膠彩畫 溫潤唯美的特性。她的彩筆實實在在地反映出女性 的楚楚柔情,也表現其持之以恆的堅毅性格。陳進 歷經過戰爭時代的流離紛亂,曾見證將近一世紀的 榮華繁盛,也目睹其白雲蒼狗的虛幻消弭。臺北市 立美術館更聯合日本三間美術館,為其開辦一場別 具意義的「陳進百歲紀念展」。陳進柔情而固執地 紀錄著的所見所感,述說著生命之美的恆久禮讚, 使其畫作迸發別具一格的時代性意義。此幅《野薑 花》中的柔婉枝椏由角落橫出,陰影的巧妙運用讓 葉片千柔百轉,宛若女子的嬌弱嫵媚。而中央蔓延 著純白冷艷的花瓣,典雅疏朗,散溢著浪漫柔美的 情調。《野薑花》仿若不是現實世界的產物,而是 在空茫的異地裡盈盈搖曳,幽香浮動,擁有清絕神 秘的況味。陳進細膩精致的描繪,使一株沉靜無語 的植物,綿綿碎碎,千迴百轉,天地皆感染其敏感 深邃的心思。

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CHEN CHIN

( 1907-1998 )

Ginger Lily

陳進

51×45cm Gouache Color on Silk Signed Chen Chin in Chinese With one seal of the artist

野薑花 膠彩 絹布 簽名:陳進 藝術家鈐印

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

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LONG CHINSAN

( 1892-1995 )

Country Road

郎靜山

筆直的大道,在強烈的透視下無限延伸,拉遠視野

26.5×33cm Photograph Silver Gelatin With one seal of the artist

大道通衢

並吸引了視線,路樹齊排街邊,蒼鬱的枝葉茂密生

PROVENANCE Private collection, Australia

長,而微微交錯的葉尖,宛如欲譜出條綠色隧道, 銀鹽 相紙 鈐印:郎靜山 來源:澳洲私人收藏

NT$ 60,000-130,000 US$ 2,000-4,400

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圓弧了畫面頂部,更圓滿了視覺效果,使觀者擁有 遠眺的舒適感。


067

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PU HUA

( 1832-1911 )

Four Hanging Scrolls of Bamboo

蒲華

蒲華以書入畫,擅長描繪山水與花卉,並精通書法。下筆

136×39cm(4) Ink on Paper Signed Pu Hua in Chinese With one seal of the artist

墨竹四聯屏

瀟灑恣肆,水墨淋漓、情意交融,發揮致極,因熱愛畫竹 而有「蒲竹」美譽。其貫用淡墨、漲墨與宿淡墨,讓墨其

1893 水墨 紙本 簽名:蒲華 藝術家鈐印

滲化,墨水柔中帶剛的氣韻,使傳統文人畫風獨具個人 魅力。《墨竹四聯屏》共四屏,竹石入畫,以草書繪竹,是 蒲華常見創作題材。石後竹葉頂天立地、枝葉靈動,揮筆 瀟灑自然,竹竿使用淡墨,竹葉轉為濃墨,乾濕濃淡搭配

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

得宜,竹枝挺拔瀟灑而抒發意興,整體流暢具有層次美感。 書法配合筆墨繪圖,文以傳心的心境而成畫面不可分割 的組合,讓墨竹畫寫實而不繁鎖。

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KUO JENCHANG

( b.1949 )

Picturing Taiwan 110×72.5cm Mixed media on Canvas with Wooden Frame Signed Kuo Jen-Chang in Chinese, J.C.KUO in English and dated 1994 ILLUSTRATED "J.C KUO'S PICTURING TAIWAN 1995", Elegance Gallerie Taipei, March 1995, page17

郭振昌 台灣造相 1994 綜合媒材 畫布 手工木框 簽名:郭振昌 94J.C.KUO 圖錄 《台灣造相 J.C.KUO´S PICTURING TAIWAN 1995》17 頁,愛力 根藝術有限公司,1995 年 3 月

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

Kuo’s formal language also reflects the hybrid nature of Taiwanese culture. From the friction existing among Taiwanese, Chinese, Japanese and Western elements, he has generated an individual system that is visually vivid, powerful in expressive vocabulary, and highly charged with artistic tension. This quality that is both distinctly Taiwanese and decidedly international is seldom seen among artists of the same generation.

郭振昌此件作品《台灣造相》,進一步提高畫面形式的對立 性、衝突性和矛盾性,甚至挑釁觀者的觀視心理,使其感受 強烈的視覺衝擊。郭振昌此一期間的創作,可以看成是他個 人對於新形勢的迫切探索與開拓,尤其強調畫面的擠壓感是 壓迫性,為畫作營造一種混亂不安的平衡。

愛力根藝術有限公司,1995 年 3 月出版

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LIN SHIENMAO

( b.1955 )

Sun Moon Lake 97×194cm Oil on Canvas Signed Shien Mao in English, dated 2012

林憲茂 日月潭 2012 油彩 畫布 簽名:Shien Mao 2012

NT$ 850,000-1,100,000 US$ 28,800-37,300

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The tranquil and great Sun Moon Lake always changes with the different reflection of lights. The morning is foggy and cloudy. In the day time, it’s bright and cozy. The evening shines in red as the sun sets. The stars shine at night. Sun Moon Lake’s sceneries are versatile and always changing. “Sun Moon Lake” comes in free and bold colors, the color blocks made the scenery abstract. Lin Shien-Mao painted with his personal believes and presented what is seen in an abstract yet delicate method. The rich colors are touching. His flowing and skillful techniques reveal his thoughts that make the painting still yet moving. The mountains are shaded with flowing mountain tops. The ripples of the lake enriched by beams of sunshine, it is elegant and natural. Lin Shien-Mao realized that art is a form of “ideal beauty” that is also rational and sensible; the content and form are united. The Sun Moon Lake series is presented by transforming the first impression into internal images. The brushstrokes show the affection and care the artist has for the world.The art language of Lin Shien-Mao has matured with time and the passing of time. After impact, stretch and adjustments, the ar tist found the most suitable way of expression to present the endless pursuit in him. He is focused and firm. His artworks are unique and genuine from the heart, and they are the blending of objective nature and subjective spirits. The images are objective and also subjective.

靜謐遼闊的日月潭,總隨時間變化而呈現不同的光線 景致,清晨的雲霧朦朧,白日的風光明媚,傍晚的夕 陽橘紅,晚間的星光閃爍,風貌多樣,瞬息萬變。《日 月潭》色彩的交縱豪放不羈,塊面色料抽象了山水景 色,抒情了潭水意象。林憲茂以畫筆注入靈魂,將眼 中所見、心中所感的日月潭之景用抽象技法細膩描繪 呈現,濃烈的色彩與情感幻化出另一種動人風情。俐 落舞動的筆觸流露其情感思維,靜中帶動的畫面,使 山嵐飄渺如煙,浮動山頭,使浪恬波靜的湖面在日光 灑落下更顯層次豐富,明亮了視覺效果,自然流溢優 雅氣質。林憲茂將自然美排除在「美學」之外,他體 認了藝術美是一種「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。日月潭風情系 列創作,以面對不完滿的客觀自然的第一印象,悟化 成理想的心象,其間的心筆墨痕,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。林憲茂 的繪畫語言,隨時間的洗滌和生命的歷練,日亦成熟, 在不斷碰撞、拉扯、調整下找到最適合自己的表達方 式,呈現其內心世界中不斷衝刺、奔跑,專注而不被 迷惑的個人風貌。作品的特色獨具,出自於對自然的 用心感悟,闡述心與天地對話,客觀自然與主觀精神 的交融,再現的意象既有客觀自然的高度概括特徵, 更包含了主觀意識的表達。 台灣當代畫家林憲茂藝術創作介紹專頁

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CHIU YATSAI

( 1949-2013 )

Youth 64×80cm Oil on Canvas Signed Yatsai in Chinese

邱亞才 青年 油彩 畫布 簽名:亞才

NT$ 250,000-400,000 US$ 8,500-13,600

邱亞才並未接受過任何學院教育,其創作全憑自修成學。他熱愛文 學創作,大量閱讀三島由紀夫、莎士比亞及杜斯妥也夫斯基等文 學大師作品,甚至司馬遷的《史記》亦對其有著深遠影響。經由 文學與自身的強烈共鳴,再者鉅著中對人物內在層次的細膩描寫、 人性複雜晦暗的憐憫與觀察,也為邱亞才日後的藝術風格和品味 取向,定下了基本的調性。藉由畫筆直嘆身埋人類理性面具下的 卑微、傲慢與脆弱,細膩優雅中洋溢著文人感懷落寞的頹靡氛圍。 邱亞才運用中國傳統的白描技術,勾勒出的人物雖顯得完美而細 緻,卻對比人性的包裝來突顯人生的荒謬與空乏。《青年》畫中 人物孤立置身於單色調平滑背景上,服飾顏色與背景營造出和諧 氣韻,臉部柳眉、鳳眼與小嘴的墨線勾勒與面部細緻蒼白的典雅 畫工,營造似唐朝典型人物畫般的精緻。其中臉部五官的表現宛 如「春蠶吐絲描」般細韌柔和、連綿不輟,進而塑造畫中主角的 內心世界而不拘泥表面的情感。

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“I knew I am going to be famous since I was 17 years old. Charlie Parker and Jimi Hendrix were always on my mind and enabled me to have a romantic imagination on how people became famous.” ---Jean-Michel Basquiat Jean-Michel Basquiat was a legendary neo-expressionist artist in contemporary art history and he began his career in the late 1970s in Soho, New York. It was an era of transformation between new and old, and the birth of new art forms, graffiti attracted the attention of the art world and the media.Later inspired and encouraged by Andy Warhol, Basquiat evolved into an acclaimed artist. Rene Ricard introduced Basquiat with the topic “The Radiant Child” in Artforum in 1981. This was also the turning point of Basquiat’s career. Ever since he stepped foot on the international stage, he successfully challenged racism and broke barrier of races. This graffiti kid from Soho has become a serious artist. Basquiat as an acclaimed artist yet drugs and alcohol addiction took his life while he was only 27. However, his remarkable art works impacted his era. Basquiat excels in utilizing the combination of lines and colors to create a unique art language. Liberally using different materials and techniques, his style is wild and wise; modern yet primal and successfully brought out sarcasm towards race, culture and the society. He once said “When I create, I try to think about life, not art.”

「從 17 歲開始,我就知道自己將來會成名。我想起自己心中的英雄人物:查理.帕克、吉米.漢德里克等,我對於人 們成名的方式,有一種充滿浪漫的幻想。」 --- 尚.米榭.巴斯奇亞 當代藝術史上極具傳奇性的表現主義藝術家-巴斯奇亞,崛起於二十世紀 80 年代初期的紐約蘇豪區,時逢新舊交替時 刻、新藝術思潮的興起,塗鴉藝術開始引起藝文圈及媒體的注意。之後更在安迪.沃荷 (Andy Warhol) 的賞識與鼓勵之 下大放異彩。1981 年美國著名詩人藝術家勒內.里卡德 (Rene Ricard) 在雜誌《藝術論壇》(Artforum) 以「光芒四射的孩 子」(The Radiant Child) 為題介紹巴斯奇亞,這亦成為其藝術生涯的轉折,自始踏上國際舞台,更成功挑戰主流白人優 越的文化品味,打破種族藩籬:這名來自紐約黑人區的塗鴉小子,此刻已換上了嚴謹的藝術家身分。如此傲視群倫的 巴斯奇亞,卻在短短的歲月間便燃盡所有光芒,生命葬送在毒品、酒精之中,雖留下無限遺憾,但其不凡的藝術思維 與創作卻照亮、衝擊了屬於他的年代。 巴斯奇亞擅長運用線條與色塊的組合,創造出獨特的藝術語彙,自由隨意的手法結合各種材料及技巧,風格富有野性 與機智、現代與原始等對立美學,並對種族、文化及社會的現實作出尖銳諷刺。其曾言:「創作時我沒有考慮藝術, 而是嚐試思考生命。」《SAMO with Ernok》畫中人物鮮明,以黑色顏料為基底描繪,鮮豔色塊與線條表現出器官、血管、 肢體,與紅色背景的搶眼形成對比。面部猙獰,左手撫著胃部,睜著雙眼看著右手的 Ernok,肢體動作好比童趣般的純 粹。而右上角的文字符號,猶如在試圖吶喊疼痛般的聲嘶力竭,更甚或希望藉由雙手、身體、牆面,傳達出對於生活 與社會的壓抑與反彈。整體看似幼稚,卻充滿原始的爆發力;乍看不美,而細看又饒富趣味和意境。

藝 術 家 傳 記 電 影《 巴 斯 奇 亞 傳 藝術家與作品合影 (Basquiat)》

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JEAN-MICHEL BASQUIAT

( 1960-1988 )

SAMO with Ernok

尚.米榭.巴斯奇亞

101×100.5cm Lithograph, P.P. 1/5 Signed and numbered P.P. 1/5 Signed and dated on the stamped certificate of authenticity by the executor Gerard Basquiat (Father of Jean-Michel) on the verso, numbered on the recto

SAMO with Ernok

The Screenprint printed and published by DeSanctis Carr Fine Art

2001 版畫 P.P. 1/5 簽名:P.P. 1/5 作品背面附藝術家父親 (Gerard Basquiat) 親簽之原作保證卡 版畫由 DeSanctis Carr Fine Art 印製及出版

NT$ 950,000-1,200,000 US$ 32,200-40,700

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ROBERT INDIANA

( b.1928 )

Love Poem

羅伯特.印第安納

61×51cm(15) Original Lithographs, 166/200 Signed Robert Indiana in English

愛情詩集 1996 版畫書 166/200 簽名:Robert Indiana

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

“Some people like to paint trees. I like to paint love. I find it more meaningful than painting trees.” ---Robert Indiana

「有些人喜歡畫樹木,但我喜歡畫『愛』,因為我發現比起畫樹,描繪愛更有意義。」

--- 羅伯特.印第安納

羅伯特 ‧ 印第安那為普普藝術大師,汲取大眾傳媒、流行文化等非抽象表現主義的 元素,在消融原有意義的同時萌發了新的內涵,慣以簡純的字元入作,形成極富詩 意及敘事性的藝術風格。而其家喻戶曉的創作就是以「LOVE」為主題的繪畫和雕塑, 世界各地的著名城市皆可見其珍跡。而最為國人熟知的,便是那座落於台灣地標「台 北 101」廣場處的雕塑,巨大而殷紅飽滿的英文字母,簡明而清晰地幾何線條,時 刻向熙來攘往的人們展示「Love」這舉世共通的語言,突破任何語言種族、東西文 化的藩籬,向世界祈祝繁榮與和平,並回歸至生命最真純善美的「愛」。 而此《愛情詩集》尺幅寬闊、 造型簡約,每首詩篇皆搭配 色調繽紛的「LOVE」圖騰, 羅伯特 ‧ 印第安那以深入淺 出的字句闡述著「愛」這個 生命的終極命題,使作品兼 具美術價值與深刻地文學底 蘊,為當代普普藝術寫下一 首首優雅動人的絕美詩篇。

台北著名地標「臺北 101」廣場

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廖繼春

LIAO CHICHUN

Liao Chi-Chun successfully transcended the barrier between old and new generation of Taiwanese art development. He devoted his life to art and education and continuously developed art. His lifelong credentials and achievements are widely recognized. With countless pupils, the art master still continued his vigor in creating and participated in various art exhibitions and won countless awards. He’s an affectionate ar tist with sensitive approach of colors. His style travels between classical and romantic; tradition and modern. His art language evolved from the Impressionist to Abstract Expressionist, he is even known as “Taiwanese Matisse”. His ar t works are always color ful, free flowing and vivid. The style is gallant but down to earth; harmonious but interesting. He is recognized as the magician of colors by many historians.

廖繼春在台灣藝術發展中超然而壯麗地跨越了新舊時代的鴻 溝,昂首闊步、承先啟後地成為那道永恆的虹彩。他畢生奉獻 於藝術與教育,並且不斷致力於繪畫研究,擁有可觀的繪畫資 歷與創作成就,極富畫壇威望。桃李天下之際,廖繼春仍保持 常春的創作活力,持續地創新精進,參加各式美術展覽、獲獎 無數,成為台灣極受推崇的藝術巨擘。他是一位純感性的畫家, 揮灑著凝練敏銳的色感,遊走於古典與浪漫、傳統與現代之間。 其藝術語彙一路由具象寫實過渡後印象派,更邁向抽象主義, 甚至有「台灣馬諦斯」的美名。廖繼春的創作總是色彩絢爛、 筆觸奔放,鮮明生動的鄉土色感躍然紙上,華麗而不張狂,和 諧卻不平淡,被藝術史學者讚譽為「色彩的魔術師」。 《色彩的魔術師 : 廖繼春教授百歲紀念畫展》

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1932 年展審查員在台北教育館前合影,這是首次有台灣人出任審查委員 ( 前排左起結 城素明、幣原校長、藤島伍二,後排右起陳進、鹽月桃甫、鄉原古統、木下靜涯、廖繼 春、小澤秋城 )

廖繼春民國 51 年赴歐美考察,攝於雅典劇場。

師大藝術系四十六屆畢業生與師長在謝師會上合影。第二排右起依序為陳慧坤、馬白 水、王壯為、金勤伯、廖繼春、莫大元、黃君璧、劉真、杜元戴、宗壽忱、孫多慈、吳 詠春。第三排右起依序為劉文瑋、孫家勤、何明。

他終其一生都是奉行著「作品溫和、注重技巧、有深度」的創作理念,此信念超越了任何畫派轉換及時代潮流。他於一九六二 年應美國國務院之邀赴美,曾受到紐約抽象表現主義的衝擊,斯時美國國勢正如日中天,紐約更執國際藝術市場於牛耳,然而, 這些憾人的強勢潮流及資訊,並沒有動搖廖繼春的基本創作人格。他抿於吸收新知及新潮,但能獨立消化而體現在自持的創作 路線之中。 廖繼春自美國返台後,畫風出現明顯的轉折與改變,在他那敏銳可塑的畫布上,開始出現了飄然的線形與遨翔的唯美色塊,此 幅《巴黎街景》便深刻地體現這樣的轉變。該畫以美國進口的壓克力顏料繪成,為實驗性質的大膽表現,因此數量稀少,彌足 珍貴。廖繼春逸筆草草,揮灑色料,隨意點染,描繪出巴黎街市風情,施色與用筆皆保留原來的油畫風格、瀟灑豔麗的色面構成。 線條恣意地橫出交織,速寫式的筆觸有若雕刻家大刀闊斧的勁道,而色調明快奔放,是台灣民俗色系的繪畫性延伸,自由地將 彩墨出神入化地盡情揮灑。

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073

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LIAO CHICHUN

( 1902-1976 )

Street of Paris

廖繼春

45.5×38cm Acrylic on Canvas

巴黎街景

ILLUSTRATED "Liao Chi-chun", Cathay Art Museum, 1981, color illustrated, p.71

1965 壓克力 畫布 圖錄 《廖繼春畫集》,國泰美術館,台北,1981,彩色圖版,第 71 頁

NT$ 7,000,000-9,000,000 US$ 237,300-305,100

Liao Chi-Chun once said “it’s natural to draw abstract expressionist artworks, because modern paintings have already transformed from visual presentation to the expression of the heart.” With simple, strong colors and contrasts, the artist has given a rich color texture to the painting. At the same time, he created an interesting composition with lines that are similar to the rhythm and flow of calligraphy. The flying colors do not aim to describe the sudden passing of natural scenery rather they aim to present a glamorous and colorful inner state of mind. Street of Paris at a short glance may look prosperous, but when you look closer, you won’t be able to see any passion or happiness nor the loud voices of struggle and criticism. You won’t even see deep philosophy or symbols. When you go beyond the vivid colors and slowly contemplate, only elegance and depth exist. Images and abstract expressionism make the entire painting a symphony. The shiny colors are a source of escape for the artist, he went beyond expressing objects to describing the truthful meaning in life.

廖繼春曾說:「畫抽象畫,是自然的趨向。因為現代繪畫已由外界視覺的,轉而為內心的感情的直接表現。」 廖繼春利用簡潔強烈的色彩,以高彩度的對比,賦予其作品濃郁豐厚的色感,同時在線條的構築中創建了 造型的趣味,處處充滿類似書法般的抑揚頓挫與流動節奏。他飛揚的色彩並不求描繪自然景色瞬發即逝的 印象,僅希望藉著燦爛華麗的色料揮灑,能夠把內在想像中飛揚的色感成功地傳達出來。因為入畫的色彩 鮮麗華美,使得《巴黎街景》在乍看之下似乎熱鬧非凡,然而在細膩地定神欣賞之後,卻看不見一絲興奮 的狂熱、歡騰,更找不出激越的痛苦吶喊、撕啞撻伐,甚至也不存在深奧的哲學謎語、高深玄虛的符號。 當觀者穿透了畫中流明炸裂的色彩、將之鬱鬱沉澱後,只見淡雅與濃郁並存,意象與抽象交融,稚拙與深 沈融匯一體,整幅畫就是一曲洶湧悠揚的交響樂章。而閃耀著的流光溢彩,是廖繼春寧靜澹遠的抒情桃花 源,靜默純樸地熠熠發亮,超脫了情感表象的傳達,而是如佛陀拈花微笑般,幽微地碰觸著生命中意蘊深 遠的悠揚真意。

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自人與土地的關係上審視,廖繼春的創作心路歷程顯得微妙且特殊。他從未以他的畫筆表現憤世與忌俗,也從不批判他所生存的 社會及時代。他的繪畫所表現的,是一種與世無爭的世界,這裡面沒有痛苦的心聲,也沒有激情的吶喊,更沒有生命與逆境衝突 的影像,此種創作心理,自然不太可能產生反應社會劇變血脈的時代巨構。因此廖繼春的畫也帶給人平和穩定的世象,發人深省 的的思想內蘊,這更奠定他成為台灣一代大師的評價。他的繪畫顯出了另一個同樣足以不朽的藝術特質-明朗合諧之美。使所有 勞力與勞心的人,來到他的畫作之前,能夠得到心靈的淨化與感情的憩息,他就是以此表現所觀的社會世象、歌頌自然的創作, 來向人間表明一個天才生命的意義。

a. c.

b. d. e.

a. 第一屆台灣美術展會場入口 ( 首屆省美展在畫家郭雪湖及楊三郎的奔走下,於中山堂盛大舉行 ) b. 台陽美術協會成立剪報 ( 台陽美術協會成立大會於一九三七年在台 北鐵道飯店舉行,發起人有當時台籍的畫壇健將李梅樹、顏水龍、陳澄波、陳清汾、楊三郎 ) c. 廖繼春入選兩次帝展及擔任台展審查員消息剪報之一 d. 廖繼春入選兩次 帝展及擔任台展審查員消息剪報之二 e. 台陽展剪報

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楊三郎

YANG SANLANG Yang San-Lang, a prominent ar tist in Taiwan, is influential in the Chinese world. He has held and won endless exhibitions and awards, and honored the highest achievement- “National Culture Award”. Yang’s status is so respected that while the chairman of Guo Min-Dang, Lian Zhan, visited China, he brought an art work of Yang San Lang as a gift with him to Leader of China, Hu Jin Tao. Yang advocated outdoor realist painting and opposed painting scenery based on photographs. He believes that only through what is seen an artist is able to present the magic on the canvas.

楊三郎為台灣極其重要的藝術家,於整個華人世界都十分具有影 響力。個展、獲獎不計其數,於晚年更獲頒象徵藝術最高榮耀的 「國家文化勳章」。且之前國民黨主席連戰訪陸的破冰之旅,便 是攜帶一幅楊三郎的畫作為禮,贈予中國國家主席胡錦濤,足見 楊氏於台灣美術發展洪流中的崇高地位。奉行印象派的楊三郎提 倡戶外寫生,反對將景緻攝影之後再描繪照片。相信唯有親眼所 見,才能真確地感受自然的幻變莫測、瑰麗神奇。

八十七年成立的楊三郎美術館

楊三郎紀念雕像

楊三郎至東北角卯澳漁村

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The dancing leaves of Autumn is presented as a poetry in"Golden Paris", the standing trees bring out the movement of the falling leaves. To strengthen the visual effects of texture and lines, he often used brushes and knifes to fulfill the content. With the changes of lights and reflections, the painting is presented in a warm and touching affection.

「咳巴黎!到過巴黎的一定不會再希罕天堂;嚐過巴黎的,老實說,連地獄都不想去 了。整個的巴黎就像是一床野鴨絨的墊褥,襯得你通體舒泰,硬骨頭都給熏酥了的—— 有時許太熱一些。那也不礙事,只要你受得住。讚美是多餘的,正如讚美天堂是多餘的; 咒詛也是多餘的,正如咒詛地獄是多餘的。巴黎,軟綿綿的巴黎,只在你臨別的時候 輕輕地囑咐一聲『別忘了,再來!』其實連這都是多餘的。誰不想再去?誰忘得了?」 ── 徐志摩〈巴黎的鱗爪〉 《黃金巴黎》裡有著詩意般地陶醉,落英繽紛的秋季,如夢一般的迷離景色。流淌蜜 色的樹道之後,龐然的建築巍然聳立,襯托出樹葉飛動的柔美動感,架構出動靜的對 照性。楊三郎為加強筆觸於畫面上所呈現的線條肌理,經常筆、刀並用,讓畫面體現 飽滿填實的體量感。光影的時序變遷、日光的游移瞬變,更以畫龍點睛之姿,飛躍於 美麗的巴黎風光中,甜蜜而和諧。而那沉澱於陽光未掠處的樹蔭之下,色料的延展幽 微如海濤暗湧的汩動。畫面蕩漾的美麗的巴黎丰采,楊三郎印象派的富麗筆觸,精彩 地以彩代文,描繪出近代文學巨擘徐志摩筆下,那令人分不清究竟置身天堂或地獄的 巴黎美景。

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074

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YANG SANLANG

( 1907-1995 )

Golden Paris

楊三郎

50×60.5cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from Yang Sanlang Art Museum

黃金巴黎 1979 油彩 畫布 簽名:S. YANG 附楊三郎美術館開立之原作保証書

NT$ 850,000-1,200,000 US$ 28,800-40,700

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楊許玉燕

YANG XUYUYAN As a female ar tist, Yang X u Yu -Ya n i s a c t i v e i n Taiwan contemporary art world. Her husband is the art master Yang SanLang who once said “my wife is my nurse, my baby sitter and also my critic.” Deeply in love, the couple held hands through troubled times. In the early years, Hsu Yu Yan assisted Yang in founding “Tai-Yang Art Association” and “Taiwan Art Exhibition”, she became an influential advocate in the development of art. In the later years, they travelled around the world and recorded the beautiful sceneries with realist approach. "Autumn in Paris"is created in 1979 while they travelled to Paris. The concept is rich and full of natural aesthetics. For her entire life, Hsu Yu Yan devoted herself to art and her family and succeeded in both. Her art work is also an embodiment of her gentle yet determined image. In "Autumn in Paris", her brushstrokes are similar to her husband Yang San Lang, but the colors are more warm and harmonious. The eye-catching trees shine in red yet do not oppress the eyes. Instead, the trees grow silently among this tranquil garden. She is like most traditional Taiwanese women who share the same beautiful values and are the greatest hands behind successful stories.

許玉燕以女性身分活躍於台灣現當代畫壇,丈夫為繪畫巨擘楊三 郎,他曾感性地表示:「太太是我的護士、保姆兼批評家」,夫 妻倆鶼鰈情深、相知相惜地走過風雨飄搖的大時代。早年許玉燕 曾協助摯愛楊三郎籌設「台陽美術協會」、「台灣省美術展」, 成為藝術發展的重要推手。晚年許玉燕與夫一同攜手踏遍世界各 地,以寫生方式記錄著世間的美好風情,此幅《紅葉巴黎》便是 1979 年兩人同遊巴黎的寫生之作。其創作意象豐沛,洋溢著獨特 地自然美學,優雅動人。許玉燕終其一生為藝術、為家庭奉獻, 兩者皆獲得豐碩成果。許玉燕的創作也渲染其堅毅溫柔的婦女形 象,如《紅葉巴黎》描繪美麗庭園,筆觸線條的延展舞動與丈夫 楊三郎相似,但色料的選用則更溫煦和諧。畫面中引人注目的高 樹殷紅亮麗,卻沒有張狂壓迫之感。而是完美沉靜地在這片幽謐 祥和的花園中恣意生長、無語榮枯。像眾多台灣傳統婦女般溫遜、 美麗,在家和子順的歡笑背後,靜靜地成就其偉大。

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075

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YANG XUYUYAN

( 1910-2012 )

Autumn in Paris

楊許玉燕

45.5×38cm Oil on Canvas Signed G. Kyog in English With a certificate of authenticity from Yang Sanlang Art Museum

紅葉巴黎 1979 油彩 畫布 簽名:G. Kyog 附楊三郎美術館開立之原作保証書

NT$ 100,000-200,000 US$ 3,400-6,800 127


076

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HUNG YI

( b.1970 )

Monoclonius 100×80×120cm Baked enamel on steel plate Signed Hung Yi in Chinese, dated 2012, numbered 2010 With a certificate of authenticity from Gallery EXHIBITION ''HUNG YI SOLO Exhibition'', In Sian Gallery, Taipei. 2011

洪易 獨角龍 2010 鋼板烤漆 鐵板 簽名:洪易 1/9 2010 附畫廊開立之原作保證書 展覽 「生藝興龍」個展,印象畫廊,台北, 2011

NT$ 550,000-800,000 US$ 18,600-27,100

洪易的作品中總是帶有濃厚的鄉土色彩,風格幽默趣味,由平面的畫布進入立體 雕塑世界,具親近感和正面能量,帶給社會喜悅與幸福感。《獨角龍》以童趣方 式呈現原本形像嚴肅的「龍」,圓弧的外觀塑造可愛感,大膽的用色、逗趣的神 情,引領觀者進入繽紛歡樂的世界。表面七彩的插畫、圖騰呈現獨特的民俗文化 氣息,再加上鮮紅色的手推車,吸睛討喜,令人會心一笑。洪易以自身生活為藝 術注入靈魂,其認為家鄉台灣無處不充滿生動的本土元素與靈感,為此擷取並靈 活運用,揉合於作品之中,創造出在地化的活潑風格,帶出美好與歡愉的氛圍, 更希望藉此宣揚這片土地的可愛和多元變化。

洪易個展「生藝興龍」台北印象畫廊 2011

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王霽昕

WANG CHIHSIN “When I’m in the ruins of a porcelain factory, I’m depressed but not just lonely, or oppressed, I actually feel a the hope of rebirth when I see the dust that glow under the sunshine under this giant roof.” —Wang Chin Xin Wang Chih-Xin has a unique art language and began his art creation in Jing De Town in 2006. His series of “The Lost Glory–Jingdezhen Series No. 25” won widespread recognition internationally. The artworks present his longing and sadness of the disappearance of the porcelain industry. His art concepts are deep of thoughts and wordly. “The Lost Glory–Jingdezhen Series No. 25” conveys the idealist thoughts behind the sadness and also reflects the change in society and self-examination of reality. With the passing of time and through the shiny lines and sophisticated brushstrokes, the artist created a possibility of the exploration of philososphy and art that slowly depicts the fall of this once prosperous industry. The factory space is extended as though a time machine. The unique historical background and ethnicity of Jing De Town made this artwork more influential and thought provoking.

每當置身廢棄的瓷廠遺址,我的情緒是憂傷的,但卻並不單是孤獨、壓抑,灰塵在巨大屋頂灑下的陽 光裡飛舞,空氣中萌發著再生的希望。

──王霽昕

王霽昕的藝術語彙獨樹一幟,自 2006 年赴景德鎮進行藝術創作,其「逝去的輝煌•景德鎮」系列在 國內外大展皆廣獲好評,其畫作中充滿對業已消逝的輝煌歷史的感傷與懷舊,擁有深刻思想性與積極 的入世主義。而此宏大尺幅、色料湧動的《逝去的輝煌─景德鎮系列 No. 25》代表著理想主義傷逝情 緒的抒發,同時也體現了創作者對社會變遷的反觀及對現實狀況的思索。王霽昕堅信「藝術需要真誠」 他真誠地描繪自己內心所看見的一切,並信賴內心的真實遠過於表象的真實。那些惶惶飛躍的線條、 頗具侵略性的光線,穿透並盈溢了這座景德鎮的荒棄廠房,呈現出迷亂不安、虛實流轉的空間敘事。 在歷史龐然的吸納與飛逝中,王霽昕透過熠熠輝煌的線條、綿密深沉的筆觸,創造了哲學與藝術探索 的契機,娓娓訴說世事從躁動磅礡走向寧靜蒼涼的過程。王霽昕描繪廠房空間的無限延展,仿若一悠 長神秘的時光隧道,而景德鎮擁有的特殊時空歷史背景、激昂強烈的民族情懷,更使此作極具衝擊與 深刻思想性。《逝去的輝煌─景德鎮系列 No. 25》在滿城飛絮的輝煌中流露出濃烈憂傷的懷舊調子, 在絢麗馳騁的基調中融入惆悵寧靜的空靈意境。

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077

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WANG CHIHSIN

( b.1966 )

The Lost Glory–Jingdezhen Series No. 25

王霽昕

95×160cm Oil on Canvas Signed Chih-Sin in Chinese, dated 2009

逝去的輝煌 - 景德鎮系列 No. 25 2009 油彩畫布 簽名:霽昕 2009

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

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078

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LEE TZEFAN

( 1907-1989 )

Riverside of City 25×38cm Watercolor on Paper Signed Tze-Fan in Chinese, dated 1974.12.31

李澤藩 城市河畔 1974 水彩 紙本 簽名:澤藩 1974.12.31

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

132

李澤藩創作題材遍及台灣、日本、美國等地風景畫,手法多元,以自 然風景畫為主。《城市河畔》此作品將建築的造形及色彩用畫筆呈現 了異國地方性風味,淡彩的手法表現,前景綠樹河畔,河面上明亮鮮 豔的遊船,中景的橋墩,後景漸層的造型建築延伸至遠方的朦朧描 繪,多層次而變化,使畫面整體的佈局表現出深遠的空間美感。


079

|

KUO JENCHANG

( b.1949 )

Sorrow

郭振昌

60×150cm Mixed media on Canvas (Triptych) Signed J.C.KUO in both English and Chinese, dated 1995

ILLUSTRATED "J. C. Kuo's '95-'96 Chronicles", Lin & Keng Gallery, Taipei, 1996, color illustrated EXHIBITION "J. C. Kuo's '95-'96 Chronicles", Lin & Keng Gallery, Taipei, 1996

1995 綜合媒材 畫布 ( 三聯幅 ) 簽名:郭振昌 95 J.C.KUO 圖錄 《郭振昌 9596 記事》,大未來畫廊,1996 年 展覽 「郭振昌 95~96 記事」,大未來畫廊, 台灣台北,1996 年

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

1995 年接近第一次全民總統大選的時期,黨派對立,世界媒體爭相報導;而同時中國大陸也對台灣展開積極的文攻武嚇,至 終演變成為台海飛彈危機,這一連串的政治紛擾,在郭振昌的作品中一一反映出來,希望透過批判性的色彩、圖像,來探討當 下的文化現象及台灣社會發展的問題。作品《擾》中左右兩邊的人像側臉,巨大粗曠,對立且衝突,藝術家運用剛強厚重的筆 觸描繪,增加畫面擠壓感和壓迫性,兩者的表情一為嚴肅凝重、一為似笑非笑,好似都在心中盤算著什麼計劃,深不可測;處 於中間的人因感受強烈的壓迫感而扭曲掙扎,如背景的紅色般竄動不安,悶熱難耐。而郭振昌曾說過,他時常將畫中嫵媚女性 的形象,來譬喻為媒體,當觀者被美麗的表象、媚惑的肢體所吸引時,也代表著人們的視聽輕易地被媒體報導所攻佔,豐富多 元卻雜亂無章的各式節目左右我們的思想,在渾沌紛擾的世界中,誰才能看得清楚真相?

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080

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LEE SHICHI

( b.1938 )

Language of Ink 0705

李錫奇

李錫奇 60 年代中期與眾多詩人及友人組織「現

121×121cm Mixed media on Paper Signed Shi-Chi in Chinese, dated 2007 With one seal of the artist

墨語 0705

代版畫會」,為「東方畫會」一員;60 年代至

2007 綜合媒材 紙本 簽名:錫奇 2007 藝術家鈐印

70 年代是台灣現代繪畫運動健將,也是 80 年 代台灣現代藝術專業藝廊最重要的推手。李錫 奇作品似於絢麗宇宙空間中的彩帶,細數空間 的情感,將人生感悟傾洩於創作上,流動著單 純色塊、粗曠的線條造型,帶著東方文明的精

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

134

神,起承轉合的揮灑墨韻和線條,莊嚴地呈現 在觀者眼前。


081

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HSIAO JUSUN

( 1922-1992 )

a. Campus b. Wuzhi Mountain c. Shangping River a.10×15cm b.10×15cm c.15×20cm Watercolor on Paper b. Signed JS and Titled in Chinese c. Titled in Chinese

蕭如松 a. 校園一角 b. 五指山 c. 上坪溪 水彩 紙本 b. 簽名:JS 題識:五指山遼繁 c. 題識:上坪溪上流

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

蕭如松喜歡遊走郊外,重視戶外寫生, 常以老家竹東為據點,將許多的自然 美景、山嵐野趣、鄉村之美透過蕭氏 的繪畫方式將平凡現實世界美感溶於 畫筆,傾瀉揮灑至畫布上,追求把家 鄉風景畫成為世界名畫的精神,創造 永恆不滅的藝術生命。畫面中房舍清 幽靜謐,樹木春風搖曳,以輕快寫意 的繪畫手法,從容率性的筆觸,光線 的明與暗,色調濃與淡的轉變,表現 豐富的層次空間,筆觸十分靈活,流 露出當時寫作輕鬆自在的心境。 a. b. c.

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082

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CHEN CHINGJUNG

( b.1934 )

Lady 53×41.5cm Oil on Canvas Signed Ching-Jung in Chinese and C.J.CHEN in English

陳景容 仕女 油彩 畫布 簽名:景容 C.J.CHEN

NT$ 200,000-350,000 US$ 6,800-11,900 136

陳景容為超現實主義風格代表畫家,藝術創作媒 材涵括了油畫、素描、濕壁畫、馬賽克嵌畫壁畫、 銅版畫、石版畫、水彩、彩瓷以及浮雕等等,最早 將正統繪畫修復觀念引進國內的專家;陳景容憑 著勤奮努力的過人天分對藝術熱情的投入,繪畫 創作多元,以豐厚的文學素養,創作出如詩意般 的恬靜氛圍,極具才華,是一位國內外響有聲譽 的傑出藝術家。《仕女》此作品畫面中消瘦的女 人沉穩安靜端坐著,表情淡淡哀愁,似乎若有所 思探討著內心世界,背景暗紅色的色調烘托出沉 鬱、孤寂的氛圍。


083

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LONG CHINSAN

( 1892-1995 )

Tackling The Rapids

郎靜山

郎靜山於西方的攝影藝術,加入東方的性格,

30×40cm Photograph Silver Gelatin With one seal of the artist

夕陽停舟

塑成強烈風格特色;作品從中國出發,在西方

PROVENANCE Private collection, Australia

獲得肯定,並獲得成就。《夕陽停舟》黃昏夕 銀鹽 相紙 鈐印:郎靜山

陽下,隨風吹彿著浪花,湖面上波光粼粼,船

來源:澳洲私人收藏

氛圍。

夫停舟上岸的人文生活景象,呈現寧靜和諧的

NT$ 60,000-130,000 US$ 2,000-4,400

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084

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CHEN CHIN

( 1907-1998 )

Ravine 76×56.5cm Gouache Color on Silk Signed Chen Chin in Chinese With one seal of the artist

陳進 幽谷 膠彩 絹布 簽名:陳進 藝術家鈐印

NT$ 1,550,000-1,800,000 US$ 52,500-61,000

陳進用畫筆懇切而忠實地記錄生活、刻 劃時代,無論是仕女人物、花卉、自然 風情畫,皆於她溫雅閨秀的細膩筆觸下 完美詮釋。此幅《幽谷》風煙蒼茫,描 繪壯麗的山川美景,厚實跌宕的筆法充 分發揮出水彩色料的渲染效果。聳立於 畫面兩側的是氣勢巍然的巨岩與疊嶂, 青青鬱鬱,厚實跌宕,展現難能的張 力。而從嶙峋峭壁中央貫穿而出的,是 清澈湛藍的涓涓細流,幽深不可測的 藍。其色溫潤飽滿,又與天際清淺淡雅 的灰白遙遙相映。陳進的每一彩筆都在 解構著大自然的鬼斧與神奇,奇險之於 又描繪出的靜謐的《幽谷》中柔美雅緻 的風貌。山谷空靈,悠蕩縹緲,彷彿能 消弭世間所有的繁膩與沉雜,讓一切的 疲憊與愁悶在此沉澱、洗濯滌盪。

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085

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LE PHO

( 1902-2001 )

Vase of Flowers 58.5×49cm Oil on Canvas Signed Le Pho in Chinese and English

黎譜 瓶花 油彩 畫布 簽名:黎譜 Le Pho

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

越南法籍的畫家黎譜,擁有越南馬諦 斯之稱。早期於巴黎進習藝術,並接 受野獸派大師馬蒂斯及皮耶 ‧ 波納 爾的指點,經過歐洲藝術洗禮,培養 出渾厚的西方繪畫底蘊。1930 年代, 黎譜遊歷歐亞,創作洋溢越南風情、 滲透中國文人畫氣息,同時還存有典 型法國印象派的藝術語言。而溫柔鮮 麗的花朵與女性是黎譜最具代表性的 繪畫主題,其女性題材深刻地彰顯母 性光輝與女性纖柔之美,並以女人般 荏苒細膩的色彩帶入花朵意象。此幅 《花》以的淺淡的混合色調為背景, 低彩度、半透明的筆觸交織,共同映 襯出中央花瓶的純粹白色,突顯出瓷 器光滑的釉面與冷冽的質感。鮮花淡 雅疏朗,展現清逸多姿、豐厚細膩的 層次感,而最引人注目的紅花數朵, 華美艷麗卻不流於俗,反而散發寧靜 悠遠的氣質。令人徜徉在黎譜莊重、 優美、靜悟的繪畫世界中。

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141


邱亞才

CHIU YATSAI 邱亞才從未受過專業的學院訓練,但憑藉著對藝術追尋 的苦修與熱情,營營汲取杜斯妥也夫斯基、莎士比亞的 文學鉅作中對人物內在層次的細膩描寫、人性複雜晦暗 的憐憫與體察。加上莫迪里亞尼的蒼白、頎長,將之融 匯進輕描淡然的筆觸中,成就其獨樹一幟的藝術語彙。 如他所說:「我的肖像畫其實是人性的肖像,畫中人物

的孤絕意識,是徘徊在聖賢的影子裡的獨白,形成其近 於文人畫家的獨特藝術風格。」 邱亞才的肖像畫總予人 孤寂內斂、清雅憂傷的印象。但在此寂寞色調之後,隱 藏的是對生命荒謬晦暗的同情理解、溫柔撫慰。借用席 勒的話說:一種感傷的,一種天真的。 他曾在畫冊中自述:「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,捲近悲劇漩渦時常是我作品中人物的縮影,刻意 以冷漠來突顯人生的荒謬與空泛。」 邱亞才的畫,就在 唯美優雅的層次中,擠開一線裂縫,暴露了人文的本質 問題。揭露那些揮之不去的憂傷、孤獨、焦慮和牢騷, 以及異化的疏離與孤寂,心靈的飄泊與放逐。此幅《婷 月(一)》中的女子螓首蛾眉,髮絲如瀑,神情安詳自在, 沐浴在背景深邃飽滿的黃 色中。著素雅的衣,優雅 地端坐,完全表現出東方 女性特有的溫柔端莊、清 麗嫻雅的氣質美。但她的 眼神卻在素淨的用色裡卻 透露著不尋常的孤獨,一 種難以企及的孤絕淡然、 遺世獨立的脫俗情懷,又 彷彿看透這險惡世界後復 歸嬰婗的寧靜、安穩。

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086

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CHIU YATSAI

( 1949-2013 )

The Lady

邱亞才

194×130cm Oil on Canvas Signed Chiu Yat-Sai in Chinese With a certificate of authenticity from Gallery

婷月 ( 一 )

ILLUSTRATED ''The Memory of Wisteria Teahouse - CHIU Ya-Tsai", Galerie Elegance Taipei,Oct 1995,Page 6-7

1995 油彩 畫布 簽名:邱亞才 附畫廊開立之原作保證書 圖錄 《紫籐記事 邱亞才》,愛力根畫廊,1995 年 10 月,第 6-7 頁

NT$ 1,200,000-1,500,000 US$ 40,700-50,800

143


“I understand that I as a mortal will be finally limited by my life-span. I could not paint forever. But I have set up my mind to be an excellent artist, using my color brush pens to create as long as my life is allowed. At the same time, I know well that my spirit and my paintings are uncased.” --- Chiu Ya-Tsai ”My Paintings and Thoughts”

「我的生命有限,不可能彩繪創作至永遠,在這有限的生命創作中,人這有形的生命有個終了的時候, 但是,我所創作的精神與作品是不會死的。」 --- 邱亞才〈我的繪畫思維〉

144


楊識宏

YANG CHIHUNG “The increasing prevalence of abstract disorders in Yang Shih Hong’s artwork is a source of the impact the artist wishes to bring to viewers, bringing viewers into the core of the stirring effect. His artworks touch deep into viewers’ hearts and unify the harmony. It can be regarded as a transformation process in which the artist cultures and discovers the unknown areas.” ---Jonathan Goodman

「楊識宏的作品中愈來愈多看似騷亂的抽象手法表現,但這些有規律的騷亂卻成為其繪畫作品中帶給人們 衝擊力量的來源,我們深陷在其作品創造的風暴核心之中。他的藝術作品蘊含豐富的內涵、觸及人們心靈 深處,一切的不和諧都轉化為一致性呈現出來;這種大幅變化可視為一種轉變的過程,畫家藉此培養自己 的感受力,探索藝術領域中仍未開拓的領域。」 --- 強納森.古德曼(Jonathan Goodman)

《CHIHUNG YANG Inner Vision‧Human Condition》, 亞 洲藝術中心

《歲月流光 楊識宏創作歷程 40 年》,國立台 灣美術館

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087

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YANG CHIHUNG

( b.1947 )

Shadow of Flower

楊識宏

173×221cm Acrylic on Canvas Signed on the reverse: CHIHUNG YANG and Title in English and dated 2007

花影 2007 壓克力 畫布 背面簽名:Chihhung yang ,Shadow Of Flower, ©2007

PROVENANCE Private Collection

來源:私人收藏

ILLUSTRATED "CHIHUNG YANG 40years of painting",National Taiwan Museum of Fine Arts, 2010, page 195 " C H I H U N G TA N G I n n e r V i s i o n ‧H u m a n Condition", Asia Art Center, 2007, Page 187

圖錄 《歲月流光 楊識宏創作歷程 40 年》,國立台灣美術館, 臺中市,2010,第 195 頁 《CHIHUNG YANG Inner Vision‧Human Condition》, 亞洲藝術中心,臺北市,2007,第 187 頁

NT$ 1,300,000-1,800,000 US$ 44,100-61,000

Post 1990, Yang Chi Hung enters the era of plant aesthetics. He transformed the thoughts on life and vanish into an appraisal of time. Intending to capture and discover the meaning of life which is short and temporary, the artist has to leave some tracks behind to make art meaningful. "Shadow of Flower"is rough and also elegant, trespassing between realism and abstract. The brushstrokes are liberal yet still reveal the delicate placement strategy. They also embellishes the atmosphere which is arranged similar to Chinese landscape water ink painting that is full of layers and the bright red brings out vitality.

自 1990 年後,楊識宏進入植物美學的時代,將過去對生命誕生、消逝的思考,轉化成對時光片 刻的禮讚,探尋、捕捉永恆的生命瞬間,其深感生命短暫,而藝術家必須透過創作留下一些痕 跡,這便是藝術的存在意義。在他顯現出鮮明的抽象主義藝術特質的語言形式背後,蘊藏著一 種「形而上」的美感,楊識宏將對生命和大自然的謳歌轉換成抽象的藝術形態,運用率性激躍 的色料上演著最華麗絢爛的歌舞。《花影》中的飛逸奔騰的白色顏料,如明亮躁動盛夏時節裡, 群花放肆地漫天飄舞。雖只一色,已海納千萬,盛放得無處不流光溢彩,目眩神迷。神迷之下, 淋漓揮濺的走勢、流淌逸散的趨向簡直像一場惶惶奔走、大規模的出逃,透露著畫家對生命困 境的拉扯、抵抗主流社會價值和對生命的詰問。飛濺的灰白筆觸是絕對動態,而紅色顏料的竄 動不安,更是生命底層最強勁飽滿的呼喊,血液鬧騰、熱情勃發。但貫穿全畫,深鬱滯澀的黑 色墨塊,卻浸透著一種難以言喻的凝鍊緊湊,安穩地散溢著東方味醇厚的文人思索。 楊識宏令人驚艷的藝術呈現,已然超脫傳統繪畫的具體形象,轉以色料的錯落推疊,煥發出俐 落渾厚的明暗關係,生滅不息。再通過宇宙宏觀、史詩般的筆幅,大膽而細膩地繪出清剛鬱勃 的生命勁道。

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088

|

CHEN YINHUI

( b.1931 )

Street of Tamsui City 61.5×51cm Oil on Canvas Signed YCHEN in English, dated 1960 PROVENANCE Private collection, Europe

陳銀輝 淡水街景 1960 油彩 畫布 簽名:1960 YCHEN 來源:歐洲私人收藏

NT$ 140,000-240,000 US$ 4,700-8,100 陳銀輝的造形繪畫趨於立體派,大膽的用色則效法於野獸派, 更模倣超現實派及抽象主義的情境與律動性,呈現出獨樹一幟 的現代繪畫風格。其曾自述:「繪畫不在於求形象;而在於表

現意境,過份的感性,雖然具有高度熱情,卻缺乏耐人尋味的 形式美與內涵;反之,過份理性,雖有造型與構成之裝飾美, 卻過份嚴謹而令人難以投入。」此作《淡水街景》主題雖單純, 但他以平靜沉穩的深灰、墨綠作為主要背景色調,將主體色塊 的房屋烘托得更加鮮明立體,畫面中光線與色彩巧妙交流,形 與色的構成搭配充分展現。

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089

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YUYU YANG

( 1926-1997 )

Return to the Beginning

楊英風

65×90×108cm Stainless Steel, 19/20 Signed Yin-Feng in Chinese, dated 1986 and numbered 19/50 With a certificate of authenticity from Gallery With a certificate of authenticity from Yu Yu Yang Foundation

回到太初

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

1986 不鏽鋼 19/20 簽名:'86 英風 19/20 附畫廊開立之原作保證書 附楊英風基金會開立之原作保證書 圖錄 《呦呦楊英風豐實的 '95》,楊英風美術館,1995 年, 彩色圖版,第 33 頁、第 45 頁 展覽 「當代藝術嘗試展」,國立故宮博物院,台北,1986 年 5 月至 1987 年 5 月 「Chelsea Harbor 展」,倫敦,1997 年

NT$ 140,000-280,000 US$ 4,700-9,500

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

《回到太初》一九九六年展於倫敦 Chelsea Harbor 展

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CHU TEHCHUN

( b.1920 )

Untitled 18×26cm Watercolor on Paper Signed Chu The-Chun in Chinese and English, dated 1964

朱德群 無題 1964 水彩 紙本 簽名:朱德群 CHU THE-CHUN 64

NT$ 600,000-750,000 US$ 20,300-25,400 “I listen to the universe, men, the east, and the west in mother nature. They are my inspirations which bring out the poetic feelings and intent. Art creation is pure and spontaneous and it resembles Chinese Daoism teaching that creation is "the pouring out of the romantic feeling in your heart." --- Chu The Chun In 1956, Chu Teh Chun visited the final exhibition of the last works of Nicolas de Stael at the Musée d'art Moderne national. Stael’s bold movement in using vivid colors and liberal st yle moving bet ween concrete and abstract was influential of Chu’s abstract creation. Abstract Expressionism struck the Paris art world in 1950 and inspired Chu to discard the restraints of forms and began to create abstract art works. This"Untitled"blends western painting skills and Chinese literati essence. The lines are like clouds and tides that shift with rhythm, they brought out the poetic affection of the artist. Chinese traditional water ink painting spirits can be seen in this western abstract style artwork.

「我在大自然中聆聽宇宙、聆聽人、聆聽東方、聆聽西方,得到我的 靈感源泉,賦予詩情和詩意。創作是純粹的自發的,像中國道家所說 的自然無為地『吐胸中之逸氣』。」 --- 朱德群 朱德群於 1956 年前往「巴黎國立現代美術館」參觀《尼古拉•德•斯 塔埃爾遺作回顧展》,斯塔埃爾畫中大膽生動的色彩運用,自由奔放 來往具象與抽象間的獨特畫風,對朱德群轉向抽象創作有著極大決定 性的影響。而 1950 年代抽象表象主義浪潮襲捲巴黎藝術圈,亦激勵 著朱德群逐漸捨去有形畫的限制,開始嘗試抽象畫創作。此幅《無題》 融合西方繪畫技藝,揮灑中國文人神髓,畫中線條,在輕重濃淡間, 如雲、如浪潮,時而擺動著跳躍的韻律,渲染出抒情詩意,在西洋的 抽象風格中,流露中國傳統水墨精神。

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CHU TEHCHUN

( b.1920 )

Tinta Sobre Papel 26×18cm Ink on Paper Signed Chu The-Chun in Chinese and English

朱德群 水墨 水墨 紙本 簽名:朱德群 CHU THE-CHUN

Chu Teh Chun has a profound liking for ancient literature. Through calligraphy, he has perfected the most precise style; through classical music, the spirits and Spontaneity pursuit in Western art are presented. Meanwhile, it also brought out thousand years of Chinese culture that slowly accumulated into the universe. He once said “I agree with Fan Kuan that learning from nature is better than learning from man, and the human heart is an ever greater source for learning than nature." By considering the painter dominant and that there was already a concept of abstraction. However, the Chinese people have not verbalized the term 'abstraction; yet it already exists in the artist's thought and then undergoes refinement. Through the blending and extract of the artist’s thoughts, nature brings out the artist’s imagination, personality and beliefs. The core of Chinese painting and abstract paintings match perfectly.”

朱德群熱愛古學詩詞,藉由書法練就「最精確的筆法」,再經由古典音樂的陶冶, 一筆一畫間不僅表現出西方藝術講求的精神性與自發性,同時亦將中國數千年文

NT$ 280,000-500,000 US$ 9,500-16,900

化涵養,逐步累積凝聚成森羅萬象的大千世界。其曾表示:「如范寬說過與其師

於人者,未若師之物;與其師之物,未若師於心,所謂師於心者,即是以畫家為 主宰,並已有抽象的概念。可是中國人沒有把抽象這兩個字講出來而已。大自然 經過畫家的思想融合和提煉,其中即是畫家的幻想力、修養和個性之內涵流露於 畫面上,中國繪畫和抽象畫的想法不謀而合。」

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瓷器背部 手繪「樂」

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CHU TEHCHUN

( b.1920 )

Modèle F26 56×38.5×16cm Painted Ceramic, 2/8 Signed Le and Chu Teh Chun in Chinese, dated 2005, titled F26, numbered 2/8

朱德群 Modèle F26

朱德群是以油畫的斑斕色彩展現中國水墨性靈精神的當代藝術大師, 多次榮獲藝術大獎,在世界各地舉辦無數個展。其創作更被巴黎藝術 博物館丶比利時現代美術館丶法國國家現代藝術基金會等二十多家國 際著名博物館珍藏,在世界藝壇留下璀璨的名姓。將大氣磅 的視野 揉合東方寫意情愫,虛實幻化、盡情遊嬉,讓濃郁潑辣的色塊、跌宕 靈動的線條勾勒牽曳,自在翻飛出宇宙極相。 朱德群將自然的抽象之美,延伸至純淨的陶瓷世界。《F26》以米白 色的瓷器為底,中央微微隆起,優雅地展現其豐盈而均衡的特質。筆 觸變化多端,時而粗獷如洪荒巨岩,洋溢簡率淋漓的震撼;時而如小

2005 手繪 瓷器,2/8 簽名:樂 朱德群 2005 F26 2/8

橋流水、含蓄溫婉,演繹著清妙樂曲般的優雅流暢。藉線條的疏密粗

NT$ 900,000-1,200,000 US$ 30,500-40,700

像一顆熾熱如熔岩的心落入魁偉的深海,翻滾沸騰,激盪交契,飽滿

細、色彩的深暗紅艷,形成明顯地對照關係,帶動視覺的流轉。而斑 斕的色點,滿城飛絮,恣肆流淌竄動,兩旁獷黑的大筆墨色巍然佇立, 了生命中所有的殘缺。 155


093

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LIU KUOSONG

( b.1932 )

Praise of River Mountain 40.5×95cm Ink and Color on Paper Signed Liu Kuo-Song in Chinese, dated 1968 With one seal of the artist

劉國松 山河頌 1968 彩墨 紙本 簽名:劉國松一九六八 藝術家鈐印

NT$ 1,200,000-1,600,000 US$ 40,700-54,200 156

Liu Kuo-Song began learning traditional painting since he was 14 and diverted to learning western painting at the age of 20. After graduating from Taiwan Normal University in 1956, he founded “May Art Group” and led an innovative era of new art trend and initiated Taiwanese modern art movements. He is a prominent advocate of water ink movement and also a talent in the Chinese art world in the 20th century. He began searching for his origin in the 60s and refused to follow the west blindly because of its limitations. Therefore, he went back to calligraphic ink painting. He innovated various ink rubbing techniques such as ink rubbing and blotting art language. His innovative spirits has transformed Chinese water ink painting and art language into an art that is with depth and width. His contribution is eminent. Liu said “we don’t not live in ancient China nor the modern west”. He has blended Chinese philosophy with western abstract concepts to create a unique abstract water ink painting. It’s a great milestone in the art history and he is recognized as “the father of the modernization of water ink painting”. "Praise of River Mountain"is expressed in Chinese landscape implications. The tranquil mountains with grass blowing along with the wind as though rendering rivers marching forward with great strength. It is the will of life and persistence. After realizing the amazingness of nature, the powerful strength and magnificence, the spirit and mind become transparent and full of the meaning and atmosphere of Chinese ink painting. The painting is presented with deep traditions and culture and the origin of life.


劉國松 14 歲開始學習傳統國畫,20 歲改學習西畫。56 年代台

此作《山河頌》具中國山水意象形式表述,山的寧靜沉穩,狂

灣師範大學畢業後,創立「五月畫會」,領導一代改革創新的藝

草筆法恣意揮灑,猶如河水波濤洶湧,一往無前,氣勢磅礡,

術潮流,帶動台灣現代藝術運動,是現代水墨運動重要的推手,

體現出一種精神空間的向上和不斷精進的生命意志,感悟到大

也是二十世紀中國美術界的一位奇才。60 年代初劉國松開始回

自然的奧妙構思、神奇力量及生命在天地間的輝煌,培育心靈

歸東方,因深感於崇尚西方繪畫受侷限,拒絕盲目尾隨西方,

力量的穿透力,畫作富含中國筆墨之精神和氣韻,藉著蘊蓄深

開始重回東方畫系,回到水墨渲紙,勇於創新的開發各種拓墨技

厚傳統文化山水意象,傾訴生命回歸的指向。

法,創造出拓墨法、水拓法、漬墨法等水墨藝術語言,對藝術追 求體現著不斷創新的精神,將中國水墨畫的轉型與藝術語言的轉 換,形塑出具深度及廣度的創作,對水墨的開拓及發展做出歷史 性的貢獻。劉國松說:「我們既不是生長在古代的中國,也不是 生長在現代的西方。」將中國固有的哲學思想與西方抽象的理念 融合,展現全新面貌,創作出獨樹一格的抽象現代水墨畫,是美 術史上重要的標竿,享有「水墨現代化之父」的美譽。

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席德進

SHIY DEJINN The rich and complicated vitality is the source of Shiy De Jinn’s creativity. His path on art is lonesome; from the vivid color, avant-garde to modern; all went through a series of challenges and anxiety. After all tough times and countless trial and error, he finally brought out the beauty of purity and simplicity in him. Turning strong nativist affection to simple and light colors; his painting comes with Chinese and western style, co-existing to embellish Taiwanese landscape. Shiy De Jinn’s entire career sought for natural beauty. “Nature” is the core of his life, he once praised nature as the most prominent god and said “I need nature to embark my soul. Through nature, my mind and body is filled with a strong whirl of energy and blending them together with my brushes and canvas into a painting.” According to Lu Jing Hua, who once followed him painting, Shiy De Jinn is strongly committed to realistic painting, he has step foot on the most remote and ordinary places in Taiwan waiting for remarkable and perfect scenery to appear. He never drafts rather he will concentrate on the details of the scenery and paint it directly on canvas with wild and bold strokes. His state of mind is already tranquil with light colors but strong vigor.

席德進開著小汽車至深山寫生

158

學生陳聖頌 ( 右 ) 拜訪席德進老師 ( 左 ),於畫室留下的影像


《山水.獨行──席德進》雄獅 圖書出版社,1996

《獻祭美神:席德進傳》聯合 文學,2005

1981 年 4 月 26 日,雜誌邀請攝 影家柯鍚杰為席德進留下永恆的 神貌,抱病的雙眼仍散發著炯炯 神色,見證藝術家強韌不屈的生 命火焰。此照刊登於一九八一年 六月號的雄獅美術月刊。

席德進繁複的創作生命,是畫作底蘊豐沛的養份。他在藝術之路上踽踽獨行,從早期的絢爛色彩、前衛而現代,經歷了一連串風霜與 思索,也面對過對畫風轉變的惶惶不安、迷航的焦慮。爾後,度過修行般的無數嘗試與苦修,席德進終於召喚出他純淨而樸素自然的 「原鄉」。把濃烈的鄉土情懷化作淡然簡練的墨色,繪出一幅幅既有中國畫的筆情墨韻,又兼具西畫豐饒色彩的台灣山水。 他一生崇敬自然,服膺自然之美。「自然」是席德進藝術生命的核心,他曾讚嘆自然是人間至善至美的神祇,更曾寫道:「我需要自 然,我將我的靈魂附托於自然,而來自那裏的一股澎湃力量湧進我的身心,於是我的筆與色在紙上順理成章地把這個瞬間的結合狀態, 化為一幅畫。」根據時常陪同席德進四處寫生的盧精華記述,席德進對寫生有著極端的堅持,以他無遠弗屆的足跡深入台灣最平凡的 角落,背著畫具,徜徉於山野林間,面對一片蒼鬱鄉野美景臨風而立,心甘情願地等待,只為理想景致的出現,若遲遲不見也絕不妥 協求全,並且「從不打草稿,而是在凝視景物之後,直接畫上去。但落筆慎重,運筆豪放」。面對畫布,他心靜有如獨處深山,色澤 輕描淡寫,卻內含筆力萬鈞。

席德進窵生台灣鄉村風光

席德進於畫室創作一景

159


"Ducks Play and Mountain Stream"is one of Shiy De Jinn greatest works in later years after a period of misery. He focused on his goal and persisted bringing in his happiness, lonesome, sadness and worries into his painting. Painting is his love; his spring; and also a consolidation of his happiness and sadness.

《山溪鴨戲》是席德進的晚年傑作,此時席德進已度過一連串流離 顛沛的歲月,忍受了許多漂泊的風霜,才尋著一個目標,執著一個 信念,席德進把他生命的快樂、憂戚、苦澀和無邊的寂寞,全部濃 縮在他的繪畫裡。繪畫就是他的愛,他的春天,他笑與淚的總結。 此幅《山溪鴨戲》描繪優美迷人的山光水色,運用大片渲染技法, 既超越了西方傳統的客觀描繪,也突破了中國傳統「似與不似」的 意象表達。畫中橫逸而過的一筆墨藍,或刷或輾地飛渡過整幅畫 面,繪出一份難能的張力,而前景那道筆直縝密的圍籬,細膩而孤 絕地鏈接起流水與天空。天空以沉著的深色顯示雄勁的氣勢,並充 分利用水的靈動特性及渲染效果,適切地把田園鴨群澹遠而和諧的 特質展現出來,使畫面沉浸在朦朧氣韻中,柔軟靜謐且生機無限。 席德進曾自述:「我經由中國人含蓄溫儒的生命態度中,將絢爛轉

為平淡,並且經由無線延伸的水平線中,體悟到台灣平凡山水的魅 力。我的水彩追求樸拙,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。」 《山溪鴨戲》褪去了文明矯飾華美的外衣,回歸土地的純厚、安詳, 席德進年輕時高漲的青春情慾已隱然昇華,不再躁動勃發,而轉向 與內心深處最真純的自己默然對坐,與萬古天地共同演繹著一抹荒 涼、蕭瑟。畫筆下那一片幽深沉鬱的風景,每每使我們呼吸到生命 跋涉的艱困與深意,而那份冷雋纖柔的寂寞,是畫家對藝術之美執 迷不休的永恆火焰,亦為熱愛台灣本土風光的執著。

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SHIY DEJINN

( 1923-1981 )

Ducks Play and Mountain Stream

席德進

56×76cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1978

山溪鴨戲

PROVENANCE The Shiy De-Jinn Foundation Director Lu Ching-Hua EXHIBITION "Shiy De-jinn Retrospective on the Anniversary of the Artist's Death-Calligraphy and Paintings Collection Exhibition"

1978 水彩 紙本 簽名:席德進 1978 來源:席德進基金會董事長 盧精華 展覽 「紀念畫家席德進逝世週年 - 席德進書畫收藏展」

NT$ 1,000,000-1,300,000 US$ 33,900-44,100

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095

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SHIY DEJINN

( 1923-1981 )

Pasture Cattle

席德進

66×44cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1977 With one seal of the artist

牛與牧者

PROVENANCE The Shiy De-Jinn Foundation Director Lu Ching-Hua

1977 彩墨 紙本 簽名:席德進 1977 藝術家鈐印 來源:席德進基金會董事長 盧精華

NT$ 900,000-1,200,000 US$ 30,500-40,700

During the later half of Shiy De Jinn’s life, he slowly shifted his focus back to the tranquility in Chinese painting. Voluntarily returned to his self and discovered his root. He embraced the strength of nature, some surging forward; some comes with subtle delicacy.

在席德進生命的後半段,他的畫逐漸從西方敏銳的激情,回流到中國的寧靜、悠遠。 他不由自主地精神還鄉,重新探索民族文化的根,擁抱自然深蘊的生機,大至阡陌 野嶺的澎湃,微至珠花細草的真實。席德進曾說:「最能表現中國毛筆的筆力、書

法勁道、線條變化的是寫意花卉。……畫者已將花、枝、葉融解在他的意念中,而 以抽象的、書法的手法寫出所表現的是作者的思想,胸中的逸氣。」 筆墨即是情感 的展現,灼亮的色彩是對青春的頌歌與讚嘆,而那沖淡古雅的墨色,便是中國畫裡 深邃儒雅的生命情操。 《牛與牧者》中花朵絢爛如雨,抽象躁動,恍若闇啞宇宙裡乍見旋滅的星光,如夢 似幻,喧騰繁盛,卻保有醇純之味,鮮麗而渾厚。而叢叢繁花中或遮或顯地牛與牧者, 依傍而行,牛頭微微一偏,仿若聞取花香,又似回頭顧盼主人。遠景留白,極盡空茫。 整幅作品如一首抑揚頓挫的交響曲,映入眼簾地先是花朵恣意動感的舞姿,是聲色 紅塵、熱鬧的大千世界。可前景的枝椏、遠處的牧者與牛卻靜謐安詳,沖刷生活、 滌蕩心靈,引領觀者去作饒富意味的冥想旅行,同時深刻地喚醒了人們對鄉村自然 的脈脈含情。

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朱德群

CHU TEHCHUN

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CHU TEHCHUN Chu Teh-Chun enjoys worldwide fame. He is the first Chinese ar tist enrolled into the Bachelor of Institut de France. Educated at Hang Zhou art school since 15 years old, under the instruction of the principle Lin Feng-Min, Chu is familiar with east and west painting theories. In terms of Western painting, he is fond of post-impressionist Wu Da Yu; in terms of Chinese painting, he is fond of landscape painting of Shi Tao, Chinese expressionist Pan Tian Shou. Receiving influences from various art forms, and later inspired by Western art master Cezzane, he successfully transformed from realism to abstract art form. He greatly admires the delicate interpretation of light and reflection of Rembrandt, his artworks were always full of light and reflection and bright colors. During his flight to Geneva in 1985, he was greatly moved by the magnificent snow capped mountainous Alps, and later created the “Snow scenes series” which won worldwide recognition and became a classical masterpiece. "Boyon"was created in the prolific 1987, and always kept in the hands of European collectors and never went into public for twenty years. Now reappearing, viewers can feel the artistic concept of the art master back then. The rich ink abruptly strokes the canvas, the sudden and vicious turns, the thick and exploding color blocks somehow come with a epic atmosphere. The delicate white slowly descending like flowers, like snow and also like the fading stars. The thin and thick lines of Chinese calligraphy represent the exquisite calligraphy skills of Chu Teh-Chun. They intertwine gracefully with the geometric blocks. Describing “a thousand hills, but no birds in flight; ten thousand paths, with no person's track”, the canvas is decorated with red and blue that is mysterious and romantic. The snowflakes fly and echoes with Chu Teh-Chun’s flowing brushstrokes. The atmosphere is splendid and resonant, the ar tist brushstrokes liberally flows within the silent and lonely space- a heaven on earth.

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朱德群享譽海外,為首位進入法國「法蘭西研究院美術院士」殊榮的華裔畫家。15 歲即進入杭州藝專,在當時校長林風眠領導之 下,熟稔中西繪畫理論。西畫方面崇尚後印象派之吳大羽,國畫則師承於偏愛石濤山水、奉中國寫意派理論的潘天壽。多方並進, 探索不綴,日後再從西方藝術巨擘塞尚、德 ‧ 斯塔埃爾的繪畫中獲得啟示,成功由具象寫實擺渡至抽象風格。同時驚艷於荷蘭藝 術家林布蘭對光影游移的細膩體察,此後,光線的流淌、宏亮的色澤變化便未在其繪畫中缺席。1985 年,朱德群飛往日內瓦途中, 經白雪暟暟的阿爾卑斯山,看見窗外被暴雪覆蓋的壯觀峰景,雲霧曼妙繚繞,心中無比感動,湧現唐詩意象。這份紛雪漫天的激 動,點燃了朱德群創作「雪景系列」的靈感星火。然而星星之火,足以燎原,雪景系列之創作僅短暫數年,卻絕世橫出,穿越古今, 匯聚中西,成為經典雋永的藝術瑰寶。 朱德群的創作兼具了東方藝術的細膩敏感與西方繪畫濃烈色彩的藝術語言,造就其獨具東方風格的新抽象美學。然創新中見傳統, 朱氏不僅擁有紮實的書法技法,更深受中國傳統文學薰陶,平時就以閱讀唐宋詩詞、大筆揮毫為樂,甚至有「20 世紀的唐宋畫家」 之美稱。而他善用色料,盡情揮灑,看似隨性不羈,實是得心應手。連結其淵博的哲思、豐沛的文學底蘊,激烈的筆墨碰撞之下 竟能煥發出沉穩莊嚴的氣度、汩汩的詩情畫意,徹底體現「詩中有畫,畫中有詩」的絕妙語境。

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朱德群

CHU TEHCHUN

好友吳冠中更曾以「大弦嘈嘈如急雨,小弦切切如私語」形容朱德群作品中酣暢淋漓的音樂氣質。畫面中線條律動而造就的節奏 感,點線的交織與竄動並結合飄忽明滅的光影,創造出如詩歌般時急時緩、抑揚頓挫的優美旋律。「粗獷的力溶於寧靜的美!」 朱德群的畫,波瀾壯闊如浩瀚汪洋,也可以悠揚靜謐如山間天泊。他師法自然,以形取神,得神則忘形。將自然之美與生命靈性 作水乳交融,徹底超脫了從主的隔閡關係、狹隘的物我概念,終於抵達神形兩忘、物我合一的境界。 而這幅《雪景》繪於朱氏創作力極其豐沛的 1987 年,一直於歐洲藏家手中珍藏,二十年多來從未曝光。如今重現拍場,讓人感 受當代大師飛雪漫天、物我兩忘的藝術境界!畫面中飽含墨色的畫筆驟然襲擊畫布,激烈急速的轉折、縱橫的馳騁散逸,濃稠的 墨塊爆裂噴散,頗有大江東去、豪壯的史詩情調。而細密飛白的斑點款款降息,如花落,如雪舞,又似熠熠群星的競逐。纖細、 粗獷的線條穿梭中國書法的靈秀逸趣,展現朱德群勤練書法後的行雲流水,並與跌宕多姿的幾何形狀羅列交織,優美輕盈地交疊, 卻不掩蓋。在「千山鳥飛絕,萬徑人蹤滅」的浩蕩干雲之間,點綴著的殷紅、蔚藍,沉緬著淡淡幽情、神秘精妙的浪漫詩性。雪 花依舊紛飛,朱德群的彩筆揮灑,凝聚出浩瀚寰宇的波瀾氣象,直抵深邃迷離的宇宙空間。盪氣迴腸,鏗鏘有聲,運筆態勢在顏 料乾涸處終墜於寂靜空靈,高昂的呼喊終成悄聲獨語,流水落花春去也,天上人間!

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CHU TEHCHUN

( b.1920 )

Boyon 55×75cm Mixed media on Paper, Mounted onto Board Signed Chu The-Chun both in Chinese and English, dated 1987 With a certificate of authenticity issued by Chu Ching-Chao from the Atelier Chu Teh-Chun

朱德群 雪景 1987 綜合媒材 紙本 裱於木板 簽名:朱德群 CHU THE CHUN 87 附朱德群工作室開立之原作保證書

NT$ 5,000,000-8,000,000 US$ 169,500-271,200

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周春芽

CHU TEHCHUN From the Taihu Scholar Rock that focuses on landscape, to the representative Dark Root and Green Dog until the Peach Blossom series, Zhou Chun-Ya continuously opened a new page for Chinese contemporary art. His artworks of different times have been widely celebrated by artist and collectors. He is honored as the best artist of colors in the Chinese Contemporary art world. Blending the east and west, Zhou combines strong Western new-expressionism with traditional and delicate brushstrokes and bold sculpture language of the Chinese. He holds complete control of colors and keeping the minimalist characteristics in Chinese painting; his art language is rebellious yet conforming to traditions. His artworks are presented with a unique and warm form, perfectly putting the east and west together through painting and sculpture. Zhou Chun-Ya’s artworks were never a testimony of reality. “Gentle violence “and versatile colors speak of his art language. He discarded all implying and symbolic metaphors, but instead he brings out the deepest and most fundamental of human hearts. Regardless in history or sociology, people always recognized his unique style. To him, painting is simply enjoying!

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從講究山水精神的太湖石、到極具代表性的黑根與綠狗,以及傳達熱烈情愛的桃花紅人系列,周春芽不斷為華人當 代藝壇寫下新頁,各個創作時期均受到收藏家與藝評家的推崇愛戴,更被譽為是中國當代繪畫界中對色彩把握最好 的藝術家。他東西合璧,以西方新表現主義的強烈意象,雜揉中國傳統的細膩筆法、澎湃的雕塑語言,對色彩掌握 度完整精確,同時留住少即是多的中國繪畫意境特質,動靜並存的豐富圖像語言,既叛逆又不脫離傳統,以一種自 我獨特性且充滿溫度的形式呈現,在繪畫平面和雕塑縱深之間、現代潮流與東方儒雅間作出完美地交融與滲透。 周春芽的創作從來都不是現實的實證,「溫和的暴力意味」、色彩庸常性狀態的擺脫與翻轉才是屬於他的繪畫語言。 所有婉轉的隱寓和深沉的象徵都被大刀闊斧地摒棄,但那些掩藏在人們內心最底層而又最本質的東西卻乾淨俐落地 被引導出來,在流淌的色彩情緒中放縱著真誠而原慾的魔幻奔想。無論是藝術史還是社會學,當別人競逐評析、總 結周春芽的獨特風格時,在他看來,創作的意圖,不過簡單到「畫畫就是過癮!」

上海周春芽藝術研究院

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中國知名藝評家李小山曾對周春芽有如此描述:「包含一種與眾不同的文氣和一種雍容的儒雅氣,

他的自我帶有古代文人的道義感,外表上看不出孤傲,卻有一層深沉的底蘊,就如徐悲鴻的那個 座右銘:人不可有傲氣,但不可無傲骨。 」周春芽外表儒雅,內心堅毅,傾注心力於真純熱情的 生命美學。一手創辦的「五彩基金會」,幫助災區殘疾少年們用藝術實現夢想。他的輕鬆與嬉戲 之中隱含入世的責任感,友善隨和的同時又體味著至高無上的孤獨。正是這種性格氣質和生活態 度,周春芽塑造了他的強勁而不失於紊亂、放縱而不流於塗鴉、簡純卻又複雜豐富的獨特風貌, 於畫布上迸發出一股深具時代特性的美感與氣韻。

周春芽與五彩基金會學員合影

周春芽為都江堰小學生上課

五彩基金會教師在為唐卡班學院上課

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ZHOU CHUNYA

( b.1955 )

Green Dog No.3

周春芽

150×120cm Oil on Canvas Signed Zhou Chun-Ya in Chinese and English, dated 2004, named No.3 With a certificate of authenticity signed by the artist

綠狗 No.3 2004 油彩 畫布 簽名:2004 No.3 周春芽 ZhouChunya 附藝術家親簽之原作保證書

NT$ 11,000,000-16,000,000 US$ 372,900-542,400 The “Green Dog” series is created to commemorate his beloved dog “Dark Root”; it is a representative artwork in his career. Zhou said “the character was never a dog, it may seemingly look like one, but in fact I’m painting a person.” The green dog uses Dark root as a prototype that is strong and sturdy, it has its own personality and soul. It is presented with a slightly threatening and unique style to bring out its primal impact and personality. This “Green Dog “employed large areas of light gray, placing the German shepherd in the middle with its head slightly tilted upwards. The simple forms brings out the well-stacked energy in carving; the flowing calligraphy expresses the speed; the strong boundaries to bring out the relationship between volume and momentum. The eye-catching green is romantic and expressionistic and the quiet before the storm. The entire artwork is solid and full of vitality. The natural characteristics of dogs naturally become the bridge of comprehension and purity in life. It echoes with the unspoken and complicated interpretation of life.

《綠狗》系列是周春芽為紀念過世的愛犬黑根,極具指標性的創作。周春芽說:「我從來 不是畫狗,我畫狗,其實是畫人。」筆下的綠狗以黑根為原型茁壯,終於脫出、昇華,擁 有了自己的脾性與靈魂,以一種輕微的威脅,獨特的寫意形式迸發出原始的衝擊和侵略性 格。此幅作品《綠狗》以空曠蒼茫的淺灰為底,巨大的德國牧羊犬置於中心,略為抬頭仰 望著,簡潔的形態卻擁有雕塑飽滿的體量感,流動的書寫展示勁道和速度,同時以界限分 明的正負空間來反襯體量和動態關係。而那動人奪目、反自然常態的綠色是浪漫的、抒情 的,包含了爆發前的寧靜的意境。整幅畫洋溢著填實的質感、豐沛的生命力,一切先聲奪 人的形體與色彩,創構出咄咄欲出的視覺衝擊。狗的自然性成為理解與聯繫生命純然本質 的依托,其中流露的深刻情感,溫柔而暴烈,恰如生命中無以言喻、真實複雜的表達。

周春芽畫室

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ZHOU CHUNYA

( b.1955 )

Horse

周春芽

100×80cm Oil on Canvas Signed Zhou Chun-Ya in Chinese With a certificate of authenticity signed by the artist

駿馬 1990 油彩 畫布 簽名:周春芽 附藝術家親簽之原作保證書

NT$ 6,500,000-8,000,000 US$ 220,300-271,200 "Horse"was created in 1990s, learning from the rich colors of neo-expressionism and extending the trials and exploration of landscape and flower themes. The colors are sensitive and overflowing, taking away the complicated background, the artist employed bold brushstrokes to subtly bring out an open sky. It feels like dusk and dust swirling in the horizon. The natural wildness released with light and strong brushstrokes echoes with the running horses and shining manes. The innocent gaze in this grand background tells a religious, noble and silent story.

於德國卡塞爾留學期間,深受歐洲繪畫理論洗禮,對印象主義、立體主義多有 浸淫,而新表現主義那種對粗野、原始之美的探索執迷,更為周春芽的藝術創 作帶來深遠的影響與啟發。周氏的繪畫風格驚異秀出、真誠迷人,創作個性率 性無拘,並滲透著深沉鬱勃的中國興味。而他的筆觸顫動而熱情、用色粗闊而 沉穩,以豐富的層次肌理置換了傳統筆墨柔淡纖弱的質地,以繁複錯落的體量 改變了文人繪畫扁平的特性。但入畫的選材卻極為簡練,「如果一片綠葉足以 表達春天,我會毫不猶豫地捨棄整片森林!」周春芽抒情款款,誠懇地用畫筆 傾訴生命的奧祕。 此幅《馬》繪於 1990 年代,周春芽借鑑了新表現主義濃烈張揚的色調,並承 接山石與花卉題材的嘗試與探索。色感敏銳奔放,線條飛騰、素描般的筆調有 如狂草,抹除了繁縟的背景元素,純以流淌的昏黃色料大筆刷洗,隱約的透白 與厚重筆觸交織出深遠浩蕩的天際。仿若是日落斜陽,平沙莽莽黃入天,塵土 飛揚,大漠蒼茫。天地之悠悠,浩瀚飄渺的寰宇之下原始的自然野性徹底釋 放,或輕靈、或強烈的筆劃恣意揮灑、噴濺,呼應馬兒的奔騰馳騁、鬃毛躁動, 激越著澎拜的生命律動。但在壯闊無疆的氛圍場景中,那一雙洪荒初始的純淨 眼神,無言之中瀰漫著宗教般的靜默、崇高,直抵生命的極限與荒蕪。

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XUE SONG He has given a passionate care and affection for life. Through a seemingly ridiculous and humorous method of burning and collage, the artist interpreted the generosity of culture and created a strong inner tension. The artist explored deeply into history and contemporary society, and condensed his unique language to enable his artworks to become a strong pillar in the art world.

薛松的作品近年來備受國際矚目,他獨樹一幟的普普藝術(Pop Art),在歷史與現實間重組創構 著荒誕卻真實的視覺圖像,他的藝術主題和內容在立足於紛繁世相之上,由中國過去三十年間 急劇的社會變遷所催化生發,並且不斷深入及拓展,和每一階段的新穎潮流、普羅流行息息相 關,薛松緊緊抓扣住時代的脈搏,創造出令人驚艷的時代意義。縱使時代瞬息萬變,薛松的藝 術中卻始終保留住中國文化裡淵遠流長的寬容仁厚、細膩雅緻,一份濃烈的人文精神。 1990年底的一場大火,薛松的畫室意外焚毀,滿目瘡痍的畫室不代表結束,而正是薛松浴火 重生、鳳凰涅槃的起始。薛松曾於訪談中說:「大火燒毀了我的很多物品,而這些有形的東 西,凝聚了我從一個小地方到大上海的全部足跡。剩下的就是焚燒過的痕跡和焦糊的味道。我 從這場大火中發現了某種『痕跡』,找到了一種能讓我說話的語言方式。」他賦予了焚燒感性 地生命與關懷,以燒烤、拼貼的形式出發,再透過荒誕幽默的表現手法,深刻地闡釋了文化的 兼容性,並且醞釀一股強勁的內在張力。對歷史經驗、當代社會的深層結構進行深入考察、挖 掘,從火場餘燼中創造出專屬於己的藝術語彙,宛如浴火鳳凰,在當代藝術的洪流滾滾中的成 功地建立了獨特定位與深刻價值。

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XUE SONG

( b.1965 )

Sunglow

薛松

60×240cm Mixed media on Canvas Signed Xue Song in Chinese With a certificate of authenticity signed by the artist

晚霞歸舟 2009 綜合媒材 畫布 簽名:薛松 附藝術家親簽之原作保證書

NT$ 1,100,000- 1,400,000 US$ 37,300- 47,500

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If you view traditional landscape as a tranquil and majestic part in art, what is Xue Song trying to depict in "Sunglow"- the tranquil mountain silently sitting in a civilized city or a haven in the eroding civilization?

《晚霞歸舟》中首先映入眼簾地,是那座聳立的巍峨山峰,瘦骨嶙峋、恬靜優雅,拔地而起的枯樹野木、奚落閒散的行 人。黑線粗獷豪邁地勾勒出嶺脈的輪廓,堅挺而富有韌性的筆觸極具表現性,稚拙粗野的衝撞著觀者的視感神經,顯得神 聖簡樸,內斂高華,宛若詩仙李白筆下玄秘遼闊的意境:「眾鳥高飛盡,孤雲獨去閒」。背景以印刷品剪裁拼貼出情慾橫 流的眾生圖像,赤裸裸地仰躺在滯澀濃重的山水之後,櫛比鱗次的掛晾在眾人面前。沉鬱的紅色是晚霞,又是灼燒沸騰的 慾望歌舞,而左上方飄然著一片孤雲,雅致的湛藍為背後的晚霞注入一劑振人心魄的沁涼。 薛松的作品具有雷霆萬鈞之勢,以文化圖像的拼貼複製、複製拼貼,用當代藝術以及觀念性的表現手法轉化了中國的水墨 傳統。然而那巨大殷紅、無可忽視的背景,卻是洪荒向晚、神明覆滅情慾圖像,和前方的傳統山水意象形成劇烈極端的反 差;清心寡慾與慾望橫流聚合的巨大矛盾,令人屏息無語。若把傳統山水看作幽靜美好且崇高性靈的部分,薛松想在《晚 霞歸舟》中述說的究竟是,在流光四溢的情慾眾生像中仍有那座靜謐如畫的山丘,抑或是,矯飾壅塞的慾望世界早已悄悄 包圍,正隨時欲蠶食鯨吞掉我們僅存的那座桃花源?

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AI XUAN

( b.1947 )

A Girl of Tibetan

艾軒

54×39cm Oil on Paper Signed Ai Xuan, Nyêmo and Yangzhu in Chinese, dated 1977.12 Signed on the reverse: Ai Xuan in Chinese, named a girl of Tibetan

藏族女孩

EXHIBITION "National Paintina Exhibition", Sichuan, China

展覽 「全國寫生書畫展」,中國四川

1977 油彩 紙本 簽名:央珠 1977.12 于尼木 艾軒 背面簽名:藏族女孩 艾軒

NT$ 1,000,000-1,600,000 US$ 33,900-54,200

The main character in"A Girl of Tibetan"wears a bandana and thick clothing. With the dif ferences in color and exquisite composition, the viewers stop their gaze on the dark and determined eyes looking far into the distance in this silent and lonesome silver world. The containing brushstrokes are influential, and Yuan Zheng Yang said

的靜謐荒原裡,「內心被強烈地震懾住了。他感到寂靜從四面 八方向他襲來,他感到遠方咄咄逼人的沉默。一股難以言喻的 孤寂感浸透他的全身。」凜冽的寒風、綿長的凍土帶在西藏高 原周旋合流,艾軒把藝術靈魂寄存於此,以一種自然主義的描 繪,深入藏民清亮的雙眼,觸碰生命中的沁涼與純真,譜出一 首首憂鬱動人的詩歌。

“in those eyes of the Tibetan girls, you can’t feel any emotions or meaning. As though they don’t belong to our time; however, they can see through us, our thoughts and emotions.” Ai Xuan found substance in the gaze of "A Girl of Tibetan", he skillfully blended the loneliness and mysterious characteristics together to create a tranquil and beautiful atmosphere. Not feeling the harsh Mother Nature, Ai Xuan slowly brought the viewers into a far away and mystical art world.

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《藏族女孩》包裹頭巾、身穿厚重棉襖,艾軒以色調的差異、 構圖的巧思,使觀者的目光集中於黝黑面容上那雙明澈堅毅的 眼睛,她孤獨地靜觀遠方,在白雪皚皚的異域中牽引出沉默無 語的孤寂迷茫。內斂的筆觸卻極具感染力,若以袁正陽的話來 說:「那些藏族女孩的眸子裡,感覺不出具體的情緒和意義, 她們似乎不屬於我們這個時代,但是,她們的眼睛卻能夠看清 我們,能夠看清我們全部的思想和感情。」艾軒在《藏族女

艾軒,以其純淨抒情的寫實主義畫風享譽國際,獲獎無

孩》的眼神裡深刻地寄託了自己的思緒和感情,並且別開生面

數,同時為中國美術家協會會員、國家一級美術師。為

地把孤寂的氣性與神秘飄忽的美妙巧妙地結合起來,讓浩瀚荒

著名詩人艾青之子,然而不同於父親以歌當哭的愛國情

野中瀰漫著淒美寧謐的氛圍。無感於冰雪紛飛、自然嚴峻,艾

懷,艾軒選擇以沉靜細膩的筆觸,將藝術視角投向冰雪

軒悃悃款款地,把觀者緩緩攜至悠遠、蒼涼的藝術秘境,浸透

封地的西藏高原。當他置身於西藏遼闊蒼茫而行將凍結

生命中的柔美與堅毅。



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DING YI

( b.1962 )

Apperance of Crosses 96-B27 51×68.5cm Mixed media on Paper Signed Ding Yi in Chinese, dated 1996, named Apperance of Crosses 96-B27 in English

丁乙 十示系列 96-B27 1996 綜合媒材 紙本 簽名:丁乙 1996 (Apperance of crosses 96-B27)

NT$ 260,000-320,000 US$ 8,800-10,800

「當時整個中國當代藝術的背景,是表現性、發現性的,我希望在 這樣的背景裡,有自己的定位和方向,希望自己的作品非常理性, 沒有太多能夠形象闡釋的系統,跟現實沒有太多的聯繫。」

---丁乙

在當代藝壇上被稱之為是中國當代藝術抽象繪畫先鋒的丁乙,80年 代中期開始走出敘事繪畫,展開抽象藝術創作。 丁乙的十字形的 抽象符號,是他被公認的標誌性風格,也是丁乙藝術的代名詞,從 1988年第一幅《十示》系列作品至今,以一橫一豎作品繪畫基本 單位、不斷重複、不斷排列組合的創作模式,通過藝術家嚴格限定 的「自動取色」原則,延展成極具視覺衝擊力和美感的作品。《十 示系列 96-B27》"十示"是印刷業的技術術語及符號,象徵著精確, 丁乙的創作以其為本質,精準地運用尺和膠帶定位,細心並規則地 重複描繪圖案,構造出細緻畫面,無數的符號縱橫交錯,如望不見 盡頭似的無限延伸。此種如同機械般的繪畫過程,既顯示出冷靜、 理性、固執、枯燥的特質,亦是對現在工業文明得一種反思,他 說:「我要濾去所有實際性,使繪畫僅僅回到形式的本質,形式即

精神。 」透過作品的靜心,人們的心情得以沉澱,並在繁雜的社會 中重新開始思考。丁乙作品中「極簡」的繪畫語言與「極多」的製 作方式,更為抽象繪畫賦予了更多的內涵。

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草間彌生

YAYOI KUSAMA

Yayoi Kusama- an artist with bright red hair, thick bangs and fierce sight, always dressed with colorful outfits. Her style can be seen in his artworks, and “as long as you begin to draw dots on the canvas, they can extend to the ground and then eventually onto your body.” Known as the polka dot queen, she has won her fame with her unique personality and queer style since the 1960s. Twice listed as one of the greatest 20 artists of the 20th Century by The Times, UK, the artist extended her career into the fashion industry and worked with Louis Vuitton. Sponsored by Lous Vuitton, she also exhibited her artworks such as paintings, sculptures, installation art and movies in the past years at Tate Modern. This achievement has won her a firm place internationally. Educated and growing up in a traditional society in Japan, the artist has unexpectedly developed seemingly rebellious and controversial artworks. In 1960s, she was totally unacceptable by the Japanese art world. However, after years and culture shock, she is recognized as one of the greatest artists. Her unique artworks have marked a permanent milestone in the art world. Growing up in a farming family, she has an interest in plants since early childhood. Pumpkins and flowers were her most passionate and familiar objects. During World War Two when people were deprived of food, the prolific and sturdy pumpkin has become a main staple for the Japanese. In Yoyoi Kusama’s eyes, pumpkins came in various shapes and forms, and grew a liking for them since she was a child. She imagined talking to them and the huge belly of the pumpkins made her feel secure. With the usual stacking of dots along with the web-shaped combination of lines in the background, "Pumpkin Towht Blue" is presented with two symbolic elements: pumpkin and endless webs. The blue color expresses a depressed tone that brings the viewers into a realistic or imaginative space as though they are experiencing the interaction and conversation between the artist and the pumpkin. The artwork brings out farm fun and longing for home.

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那頂著齊瀏海的鮮紅假髮、目光如炬,並習慣搭配飽和色彩洋裝的草間彌生,搶眼的造型一如其作品的延伸「只要開始在畫布 上面畫點點,接下來就會從桌子延伸到地板,最後一路畫到自己的身上。」。在當代藝壇上因獨特的性格、風格怪異強烈,素 有圓點女王之稱,自1960年代至今活耀於當代藝壇上,一生縱橫傳奇。英國《泰晤士報》曾二度將草間彌生列入『二十世紀 200名最偉大的藝術家』之一。2012年草間彌生跨足時尚圈,與法國品牌Louis Vuitton合作,不僅引領時尚風潮話題,更在Louis Vuitton的贊助下,同年於英國倫敦泰特現代美術館(Tate Modern)為其舉辦回顧展,展出歷年的繪畫、雕塑、裝置與電影等作 品,此殊榮再度奠定草間彌生在國際上不可取代的地位。草間彌生成長於深受傳統禮教束縛的日本,卻在美國發展出一系列看 似離經叛道、極富爭議的前衛創作,此舉在1960年代的日本藝壇是完全不被接受的,然而時間的洗禮、文化的衝擊,如今已是 公認日本現存最偉大的藝術家之一,其不凡經歷與風格獨特的創作,在藝術圈刻劃她永存人心的標記。 長年深受精神疾病所苦的草間彌生,視覺影響的幻象造就其對圓點的偏執,亦主宰著草間的心靈,為逃避重重環繞襲來的視覺 及幻聽,嘗試記錄描繪眼前的畫面,曾感嘆言:「我就是以這樣的方式,讓當下感受到的驚嚇和恐懼漸漸沉澱,這些經歷可以 說是我畫畫的初衷。」藉由反覆增殖的水玉和無限擴張的蜘蛛網創作,來治療心中的創傷,以此傳達內心深處的情感。 草間來自農產苗圃批發世家,令其自小便對植物十分有興趣,南瓜與花成了其創作時最熱衷、親切的主題。第二次大戰期間由 於糧食的缺乏,早熟、抗性強、產量高的南瓜成了日本人賴以維生的主食,故日本人對於南瓜有著獨特緬懷的情感;而在草間 彌生的眼中,南瓜的形狀均不盡相同、長短寬胖千變萬化,當其幼時在農場看見南瓜便被深深吸引,覺得在幻覺裡南瓜與其說 話時的造型可愛,胖胖的大肚子更帶給她強大的安定感。此幅《南瓜(藍)》以其一貫重複圓點堆疊而成,並結合背景由線條結 合的無限網狀,呈現其兩大象徵元素:「南瓜」和「無限的網」,藍色調的主色更添鬱抑情懷,不自覺令觀者進入真實或虛幻 的空間,彷彿能見草間與南瓜的情感交流與對話,並體現幼時的農野趣味及故土懷鄉之情。 187


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YAYOI KUSAMA

( b.1929 )

Pumpkin Towht Blue 45.5×53cm Acrylic on Canvas Singed Yayoi Kusama and Pumpkin Towht Blue in English,dated 2005 With a registration card issued by Yayoi Kusama Studio, Tokyo

草間彌生 藍色南瓜 2005 壓克力 畫布 簽 名 : Ya y o i Ku s a m a 2 0 0 5 P U M P K I N TOWHT BLUE 附草間彌生工作室開立之原作保證卡

NT$ 6,500,000-8,500,000 US$ 220,300-288,100

“As long as I can remember, Mother Nature, the universe, human beings, blood and flower s…have lef t a deep impression on me with magical, fearful or mystical ways. Closely intertwined with my life, the grudge behind the unknown has slowly pushed me towards the edge, making me live in a semi-insane state of life for a long time.” ---Yayoi Kusama"Mugen no Ami"

「大自然、宇宙、人類、血、花…自我懂事以來便以神 奇、恐懼或神祕的方式,在我的視覺、聽覺還有內心深 處留下深刻的印象。它們牢牢糾纏我的生命,這些未知 的、隱隱約約躲藏在靈魂背後的可怕東西,像怨靈一樣 頑固,一步一步把我逼到妄想的死角,讓我長年陷入半 瘋狂狀態。」

188

---草間彌生《無限の網 草間弥生自伝》


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YAYOI KUSAMA

( b.1929 )

Infinity Nets (GA.5)

草間彌生

22×27.3cm Acrylic on Canvas Signed on the reverse: Yayoi Kusama in English, dated 2001, named Infinity Nets (GA.5) in English With a registration card issued by Yayoi Kusama Studio, Tokyo

無限的網 2001 壓克力 畫布 背面簽名:Yayoi Kusama 2001 INFINITY NETS (GA.5) 附草間彌生工作室開立之作品登錄卡

NT$ 1,400,000-1,800,000 US$ 47,500-61,000

“I left for the United States when I was 28. If I hadn’t, I would’nt become who I am today. Before my trip, I lived in a very conservative environment, my dream was to leave and explore the world. I gave in all my efforts. I wanted to leave earlier, but it was really difficult back then especially when my mother strongly opposed me. That’s why everything was postponed to that age…” ---Yayoi Kusama"Mugen no Ami" New York went through a time of a mixture of new versus old during the end of 1950s. Street popular culture began to rise while art and humanity closely interacted. Yayoi was born in that era and led contemporary art trend. In 1959, she exhibited "Infinity Nets (GA.5)"which brought about a minimalist trend in the art world. Until the 1960s, she was still one of the very few artists who was invited to exhibit at Städtisches Museum in Leverkusen, Germany. She co-exhibited with famous artists such as Fontana, Kline and Rothko and won worldwide recognition.

「我在二十八歲的時候前往美國。我想當時如果沒有去美國的話,我就不會是今天的草間彌生了。去 美國之前,我活在一個非常保守的環境裡,我的夢想就是盡快離開那裡,出去看看世界,不斷為此努 力。原本我想更早出國,可是因為當時出國很困難,加上家人尤其是我母親激烈反對,所以才一直拖 到二十八歲....。」

---草間彌生《無限の網 草間弥生自伝》

1950年代末期的紐約藝術,正值新舊交融之際,街頭流行文化的興起,藝術與人文的密切交流,草 間彌生由此而生,引領當代藝術潮流。1959年,草間彌生佇留紐約期間第一次發表了《無限的網》 作品,這對當時有前衛城市之稱的紐約藝術界造成一股極簡藝術的旋風。時至1960年代草間是更是 極少數在美國創作的藝術家,卻能受邀至德國薩德奇斯美術館展出,並將《無限的網》與著名大師封 塔納、克萊茵、羅斯科的作品同時併列展出,蔚為佳話,雜誌媒體的熱烈報導,更令草間彌生在當時 漸躍上國際舞台。 草間彌生的《無限的網》源自幼年罹患的神經性視聽障礙,這場疾病使其所見世界景物彷彿隔著一層 斑點狀的網,環繞著宇宙空間,同時也代表著她的生命。對她而言,藝術是一種自救,更是一種自我 消融,「我能夠某種程度上活到現在而沒有自殺,純粹就是因為我用藝術抵擋我的病症。」此幅以憂 鬱沉穩的藍色為主體,時而聚、時而散的網狀線條層層相依相結,雖畫幅尺寸不大,卻令觀者視覺由 四方無限遍布延伸,似真似幻的網狀線條盤旋眼前,隔離時空,猶如走進了草間彌生的奇幻世界。

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阿曼

PIERRE FERNANDEZ ARMAN

"You break a straightforward crate, and what you get is a Cubist composition, you break a cello, and you end up with something romantic. " ---Arman Arman no longer uses instruments in her artworks in the 80s, instead she used green copper instruments to carve and sculpt. “Cutting” means decomposing the object, it is a brand new point of view and thoughts. Also, the object has its own rhythm after being cut. Arman views “accumulation” as a visual impact, it changes the form with quantity. it differs from the chosen and isolated. Arman’s accumulative art is open for society and culture, and presented in a rich and poetic form. "Table Double Gambit Base"is created with green copper, two cellos intertwine, the other scattering parts become the components between two cellos and the support of the table. The hallow interior enabled the inner to become a part of the exterior. It breaks the form of interior and exterior, taking about the boundaries. Through Arman’s sculpture, an instrument is recreated and reinterprets the rhythm and melody of music. Viewing these re-structured green copper, viewers are able to listen to the unique melody of each sculpture.

「當你打破一塊直條板,你得到的是一種立體主義的結構;而當你破壞一個大提琴,其終了是一些浪漫的事。」

---阿曼

80年代的阿曼,不再直接以樂器為創作素材,而改為對青銅鑄成的樂器雕塑進行切割與集積。「切割」象徵著對於物體的分 解,是由全新的視點觀看與思考,且切割後的物體,在重新構成時便擁有了它自身的節奏感;而阿曼認為,"集積"所帶來的視 覺衝擊,是以數量改變性質,不同於杜象的現成物是被選擇、被隔離且反對美學的,阿曼的集積藝術是對社會生活與文化內涵 開放,並以豐饒的、充滿詩意的形態呈現其作品。 《Table Double Gambit Base》便為青銅鑄造,兩支被剖半的大提琴垂直交錯,分解的其他零件亂中有序地焊接成琴與琴之間的 連結與支撐桌面的結構,而空心的內部,讓原來的內在成為外部的構造之一,打破了原本內、外隔離無交集的形式,使得內、 外之間的界限徹底消失。阿曼透過雕塑的創作,將樂器改造,重新詮釋音樂的律動與旋律,凝視著這些重組過後的青銅碎片, 仿若聽見屬於每一件雕塑的獨特樂音。 192


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PIERRE FERNANDEZ ARMAN

( b.1928-2005 )

Double Gambit Table Base

阿曼

80×80×75cm Bronze, 6/8 Signed Arman in English, numbered 6/8

雙提琴桌子

This work is recorded in the Arman Studio Archives New York under number APA# 8401.86.011.

1986 銅 6/8 簽名:Arman 6/8 此件作品登錄於美國紐約阿曼工作室內,可根據編 號:APA#8401.86.011紀錄查詢。

NT$ 1,300,000-1,600,000 US$ 44,100-54,200 193


Growing up in the North West highlands, Liu Jiu-Tong went through all the vicissitudes of life and developed a strong personality. The rumbling yellow sands, standing on top of the land, standing firm and deep roots in life that reflect reality. With the accumulation of deep culture and homeland nurture, Liu Jiu-Tong came up with his own aesthetics concepts and language. Graduated from the Art Institute of Xi An and influenced by the majestic and grand style of ChangAn art group, Liu Jiu-Tong later worked in Beijing and resided in Shanghai where international cultural exchanges were happening and enabled his art language to evolve rapidly. He revolutionized the traditional realist approach and combined skills from the each and west, he extended the early concrete realist to semi-abstract realist approach. Also deeply influenced by the Shanghai style culture, his artworks were presented with tension and lively rhythm of life. 《Snow Shanghai : The City》perfectly combines the old Shanghai culture and modern city atmosphere that is abstract and majestic and deeply described the poetic and beauty of Shanghai.

劉玖通成長於西北高原,感然其滄桑、堅韌的個性。同時隨著滾滾黃沙,立足黃土,札根生活,反 映現實。並憑藉著深厚的文化積累、濃郁的鄉土風情,沉澱新的審美情懷和語言方式,形構了獨特 的藝術風貌。劉氏畢業於西安美術學院,感染長安畫派氣勢巍峨、雄渾大器的風格。而後前往北京 從事藝術創作、上海定居,各國文化在此激盪交流,劉玖通的創作語彙也急速地轉變。在美院的寫 實傳統中革新,融會中西觀念與技法運用,將初期的具象寫實延伸至大寫意、半抽象磅礡風格。且 濡染上海的「海派文化」薰陶催化,畫作呈現出難能的張力與蓬勃旺盛的生命韻律。 《雪景上海─城市一隅》湧動著大片灰白,將城市的絢爛與滄桑演繹得奔放凌厲。高聳入雲、細挺 直拔的尖頂,在抽象墨韻的溶解下彎曲、流淌,氣勢雄渾的大城風光添增幾許舒暢灑脫之感。迅疾 轉折的筆墨、粗獷四濺的彩料,皆暗示著劉玖通多元融合、澎湃洶湧的藝術氣性。他揮毫自逸、純 任自然,並極具巧思地以濃郁的油彩色塊層層相疊,搭配刮刀技法創構出立體效果,突破傳統繪畫 的扁平限制,遊走在雕塑縱深與繪畫平面之間,形成一種與東方載體迥異的動勢與質地。《雪景上 海─城市一隅》完美地結合了老上海的文化底蘊和現代都市新氣息,以薄厚與虛實交織,磅礡又內 斂的抽象特性,深刻描繪出上海城市的詩情畫意、奇幻瑰麗,洋溢著凝重純美的藝術光芒。

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LIU JIUTONG

( b.1977 )

Snow Shanghai : The City 150×160cm Oil on Canvas Singed Liu Jiu-Tong in Chinese, dated 2009

劉玖通 雪景上海-城市一隅 2009 油彩 畫布 簽名:劉玖通2009

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

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YU CHENGYAO

( 1898-1993 )

Landscape

余承堯

137×68.5cm Ink and Color on Paper Signed Yu Cheng-Yao in Chinese With one seal of the artis

千山萬水 彩墨 紙本 簽名:余承堯作 藝術家鈐印

NT$ 1,300,000-1,500,000 US$ 44,100-50,800 余承堯是台灣美術史上足以雄峙百代的巨碑,以現代水墨見長。雖無師承,亦未受過學院式美術教育,生性淡泊 名利,一生經歷傳奇。早年投筆從戎、後退伍從商,直至歲逢耳順前夕方始作畫。其所繪製筆墨山水,源自行走 於中國、台灣數十載的山川名岳經歷。師法於自然,不墨守傳統常規,亦不取法於今,余承堯曾言:「繪畫要為 真而寫,纔能得其真髓。」 因鍾情閱讀古書詩詞及賞聽南管,而濡沐水墨畫背後的思維氣質與內涵,其中以北宋范寬的《谿山行旅圖》最能 與之產生共鳴,故此余承堯常至故宮臨摹其「峰巒渾厚,勢壯雄強」的蒼勁氣韻。余獨創之繁複點線節組而成的 皴擦筆法、層層塊狀山石與山峰堆疊相連的峻奇山水,刻畫獨樹一幟的繪畫語彙與構圖形式,展現出現代山水的 新格局。知名藝術史家蘇立文曾讚揚:「他徹底地拒絕(或從未曾學過)皴法的傳統語彙,並且發明了他自己的 一套語彙。這可能會是一個危險的追求:既不理會傳統手法,同時又選擇了不去適應西方的寫實主義,因而使他 進入一個無所適從的途徑。但他卻適得其所。如同湯瑪斯.哈代(Thomas Hardy)寫過的評論,他的成就是『在無 形式中創造了形式』。」 「畫幅要畫得滿滿的,那種密實的感覺很好,天空不可留太多。」是余承堯一貫的構圖格局,雖形式封閉,卻因 恰到好處的「留白」,使得畫中空間更顯開闊,一如清代著名畫家王翬曾於其畫論中提及之中國山水的「繁不可 重,密不可窒」,並由此產生「象外之境」。《千山萬水》以其細膩厚實的筆調,綿密堆疊出層層青翠山壑,綠 意盎然,更添富凹凸山石的明暗立體,勾勒肌理的巧妙變化。畫面跌宕起伏舒展延伸,高低間似遠而近,前景順 流而下的溪川,與遠方高聳入天、淡藍輕染的峻嶺相映成趣,體現質樸靜謐的壯麗山川景色,更顯富饒的山水意 境,承載千年以來中國文人山水的內蘊精神,並重新組構余承堯的生平經歷與對於山水的感悟。

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劉國松

LIU KUOSONG Liu Kuo-Song, founded the “May Ar ts Group” in the 1960s, is a pioneer in Taiwan Modern Ar ts Activities. With his visionar y courage and abilities, he advodated “modernizing Chinese painting”, and was honored as “the father of the modernization of water ink painting” by artists from both straits. Water ink is his symbol of life with his obvious Chinese hidden beneath. He regarded water ink as the symbol of Chinese painting spirit and spent years indulging in transforming traditional painting. Art critic Jia Fang-Zhou said “many artists create on theories yet Liu Kuo-Song creates by practicing and transforming water ink painting into a form of spirit and then into the eyes of modern people”.” Liu Kuo-Song created paper rubbing and ink staining techniques through trials and errors to maintain Chinese literati charisma with gray and white lines, and enriched the oil painting with rendering. Liu Kuo-Song innovative theories and excellent quality secured his prominent position in Chinese art development. He has held over hundreds of solo exhibition and his artworks are collected by more than 80 museums. He was honored the highest ‘National Arts Award” in Taiwan, and “Lifetime achievement Chinese artist” in China.

劉國松,1960年代發起「五月畫會」,為台灣現代美術運動的領導人物。劉氏 以其高瞻遠劉國松,1960年代發起「五月畫會」,為台灣現代美術運動的領導 人物。劉氏以其高瞻遠矚的勇氣及識見提出「中國畫的現代化」的訴求,兩岸 藝術界譽為「水墨現代化之父」。水墨是他的生命符號,其間蘊藏鮮明的東方 性格,他把水墨視作中國繪畫精神的象徵,潛心地鑽研、醞釀及改良轉化傳統 國畫技法。美術評論家賈方舟說:「很多藝術家都在用理論開道,而劉國松是 用實踐開道,他將水墨畫從技法推進到精神,繼而推進到當代人的視角。」劉 國松創作性地技巧實驗,創造了中國水墨畫的拓墨法和漬墨法,令傳統水墨畫 裡出現了灰白橫逸的線條,使畫面既存有中國文人畫的風骨格調,又渲染了油 畫填實的豐厚感。劉國松的極具創發性的藝術理論、絕佳的繪畫質量,於華人 藝術發展中占有舉足輕重的地位。他在全世界舉辦超過百次個展,作品為世界 80餘座美術館、博物館收藏,曾獲臺灣藝文界最高榮譽「國家文藝獎」,以及 中國藝文界最高榮譽的「華人藝文終生成就獎」,蜚聲國際。

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"Clouds" reveals a liberal yet delicate atmosphere, it’s like a strong blowing wind and avalanche. The white and gray lines are detailed and smooth, layering different mountaintops among the faint clouds. Embedding a detached atmosphere of traditional realist and the rich philosophy behind the calligraphy like brushstrokes, "Clouds" combusts strong artistic chemistry to bring out the artists talents and unique aesthetic perspective from combining the east and west.

《雲影》洋溢著狂放不羈的細緻感,如疾風馳聘、崩雪流溢。灰白色的線條細膩流暢,在輕煙飄渺的水雲間 堆疊層層濃淺不一的灰濛峰巒,融入中國傳統寫意的瀟灑脫俗,以書法般恣意轉折的筆韻架構出渾厚的哲學 內涵,綻放出璀璨的藝術光芒,具體而微地彰顯劉國松深厚的藝術內涵與中西藝術跌宕合璧下的獨特美學。

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LIU KUOSONG

( b.1932 )

Clouds

劉國松

61.3×93.4cm Ink on Paper Signed Liu Kuo-Song in Chinese, dated 2006 With one seal of the artist

雲影 2006 水墨 紙本 簽名:劉國松二○○六 藝術家鈐印

NT$ 1,800,000-2,300,000 US$ 61,000-78,000 199


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YANG CHIHUNG

( b.1947 )

Epic of Time 113×163cm Acrylic on Canvas Signed on the reverse: CHIHUNG YANG and Title in English and dated 2007 ILLUSTRATED "CHIHUNG YANG Recent Paintings", ChinaSquare Publishing,lnc.,2008,Page 37

《CHIHUNG YANG Recent Paintings》, 中國廣場

楊識宏 史詩年華 2007 壓克力 畫布 背面簽名:CHIHUNG YANG ,Epic of Time, ©2007 圖錄 《CHIHUNG YANG Recent Paintings》,中國廣場, 2008,第37頁

NT$ 950,000-1,200,000 US$ 32,200-40,700 Through depicting his state of mind naturally, Yang Chi-Hng had a deep realization about the passing of time. He once said, “the older I get, the stronger I feel about time. Time flies and you have to be living in the moment to feel it. Everything in the universe changes spontaneously.” Recently, Yang released a lot of space in his painting hoping to tell more and enable the viewers to see infinite possibilities. This is his attempt after becoming more simple and far-sighted. The content has become richer and more touching. We can see time but it truly exists, and the artist wishes to grasp the moment to leave a deep memory in life . "Epic of Time"shows a strong contrast between black and white. The dark brings out the strong reflection of white. It’s like the passing of time, spontaneous and turbulent. With strong energy flowing within, the ar tist blended the outside world with his believes and brings the viewers into a stirring time and space. The sophisticated layer changes are visual and spatial and even spiritual tension. Transforming the initial impact and speed into a delicate realization of life, the artist perfectly froze time and enabled the viewers to reinterpret their experience.

當楊識宏透過描繪自然體現心象的同時,他對於時間的思考隨光陰流逝而越顯 深刻。他曾說:「年紀越大,對於時間的感受性越強,時間很快就會過去,這 是一種生命的過程、情境,沒有到那個階段就比較沒有辦法體悟的感覺。時間 一晃就過去了,宇宙自然的變化就只是一瞬間。」近幾年,楊識宏釋放了許多 空間在畫作中,希望使畫面訴說更多的故事,讓觀者讀出無限的可能,這是他 心境變得淡遠後所作的嘗試,雖然視覺呈現更單純了,但內容卻也更豐富且動 人了。時間看不到,卻確實存在著,畫家希望透過創作抓住剎那之間,就像是 雕刻一段段的時光般地留存記憶。 《史詩年華》擁有黑與白的純粹對比,黝暗的黑底突顯出了白色光影的強勁有 力,像時間瞬逝的快速、騷亂,充沛的能量竄動其中,大器及雄偉的畫面呈 現,透過內在精神與外在世界的融合,引領觀者進入擾動的時空場域,釋放出 強大的感受力。畫家筆下純熟的層次變化,不僅是視覺上的張力,也是空間的 張力,更是心靈的張力,初見的強烈衝擊和速度感,在細細品味過後,轉化成 細膩的生命力表現,而凍結住的時光片刻,是藝術家的心境呈現,更是觀者重 200

新詮釋的可能。


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YATSAI | CHIU Gaze

( 1949-2013 )

100×80cm Oil on Canvas Signed Chiu Yat-Sai in Chinese ILLUSTRATED "Chiu Ya-Tsai Biography", Geothe Art Center, Page 77

邱亞才 凝視 油彩 畫布 簽名:邱亞才 圖錄 《邱亞才傳記》,歌德藝術中心,第77頁

NT$ 800,000-1,500,000 US$ 27,100-50,800

「若在唐代,邱亞才的人物畫可稱為是世俗畫裡的典範,即便他們傾向選擇有教養的人物……但卻依舊揭露了他們背後深思 熟慮的一面。沒有深奧的智慧與獨特性,反而是很清醒的、可辨識的側面,在人物的姿態上更是加以著墨:像是稍微傾斜的 頭、姿態優雅的手。」

──美國歷史學家James Cahill

邱亞才色藝雙全,除優異的繪畫天賦更兼具文采。莎士比亞、杜思妥也夫思基等世界名著中深刻繁複的人性刻劃,皆成為邱 亞才藝術創作的靈感泉源。其作總流露出精準懇切的形造表塑,以及沉穩安逸的獨特氣質,其中最難能可貴的是,那一雙 雙,仿若歷經境遇變遷的從容以代的和平眼神。邱亞才賦予了肖像人物豐沛的生命厚度與深度,簡單的東西向來更是能直刺 內心,藝術家以簡約的線條與用色,描繪出畫中人纖柔文雅的外型、內斂沉靜的氣韻,而且體態修長,帶有憂鬱的詩意。不 難發覺邱氏的藝術創作脈絡,承襲自早期現代藝術家,如畢卡索、莫迪里亞尼,甚至馬諦斯等高雅嫻麗的肖像作品。 藝術家走過青春盛大的愛與死,歷經流離滄桑的歲月,凝聚洶湧的文學美感及淳厚哲思,賦予了藝術創作極致的美感與靈 魂。邱亞才於其文學作品《情慾手記》中自序:「藝術希望我們認識深一些的東西,他不只是需要關心屬於人生表象的,同 時也包涵有本質的問題。」邱亞才的文學與繪畫,皆以其深沉靜默的目光,透視靈魂深處的空靈與灰澀,沉潛的寧靜。《凝 視》中幽藍深邃的背景與男子飄逸飛揚的服飾相映,飄揚的衣襬如夢中之景,精神的純粹在簡潔深沉的背景襯托下更顯得突 出,擁有不可捉摸的神祕況味。而男子的面目以細緻的線條構築輪廓,而選用沉鬱簡練的色調勾勒出人物外形、背景,畫面 瀰漫著靜默奇異的氛圍。而畫中主角的姿態雖略顯憂傷,卻非長吁短嘆的悽苦愁容,甚至有一抹意味深長的微笑,充滿過人 的自信與翩翩的風采,更是耐人尋味、引人深思。邱亞才那種將畫作視為「自我存在的延伸」的創作風格,確實地體現了東 方藝術中,將創作視為一面反映自身的鏡子的寫意傳統,優雅動人地呈現出邱亞才溫柔寂靜、沉鬱典雅的靈性。

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HUNG YI

( b.1970 )

Lucky Tiger 100×153×124cm Baked Enamel on Steel Plate, 1/6 Signed Hung Yi in Chinese, numbered 1/6 and dated 2009

洪易 福虎 2009 鋼板烤漆 1/6 簽名:洪易1/6 2009

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

Despite receiving traditional art institute academic training, Hung Yi thought out of the box and became a unique artist. Before his art career, he has went through decades of drifting and wandering. He once owned nine night clubs and beverage stores, the years in the business became his inspiration in the later years. His artworks always speak of reality and they are full of passion and fun. His art language is direct and sincere, he doesn’t criticize but only aim to send the purest happiness, warmth and pleasure. With the passing of time, Hung Yi left behind the superficial and focused on the discovery of the self. He thought “no matter what I draw, I need to connect myself to it so that I can continue creating. Only then, I’ll be able to understand the meaning of it to my mind and life.” He emphasizes on the proactive attitude for life in traditional culture, but he never avoided rural folk traditions. He didn’t care about criticism and focuses on his sincerity instead. His native affection, the weird lines, the rich texture and vivid colors boldly and close to the heart construct the Taiwan visual images.

洪易畢業於美術設計科系,然而洋溢無限想像與自由氣息的獨特風格,卻是美學體制之外的異數。在以藝術家作 為人生職志之前,洪易已經歷經過十多年精彩的漂浪人生。他曾開過九家諸如Pub、泡沫紅茶等複合餐飲之類的 食店,而這些繁囂擾攘、送往迎來,細瑣而沸揚的市井生活,成為日後創作生涯中取之不盡的豐沛養分與靈感。 因此他的作品是絕對入世,飽含了熱情澎湃與日常隨意的溫暖童趣。他的藝術語彙坦白而直接,從不故作艱深的 矯揉作態,也從不聲嘶力竭地批判撻伐,只傳達最直覺單純的歡樂、溫暖與愉悅。 在宏偉的大敘事逐漸消逝的當代,洪易拋開了繁複的表面論述,專注於個人內在的探索。洪易認為「不論畫什麼 都要跟自己結合,你的創意才不會中斷,這時候你才能去體驗創作的意義,才會有自己的想法和生命。」他十分 看重傳統文化中對生命的積極態度,且從不避諱民間草根或是俗豔風格中常被認為難登大雅之堂的品味取向。他 並不在意他人所給予的價值評斷,一心跟隨內在那股懇切而真誠的創作能量。洪易以在地性的感性語彙、奇異的 線條、飽滿的質感以及絢麗鮮活的強烈原色,大膽而親切地構築出繽紛逗趣的台灣視覺意象,流露出濃濃的草莽 氣息。《福虎》體型龐大、色彩強豔,題材姿態不著痕跡地與傳統民俗產生聯想與聯結,原本兇猛的虎態在洪易 的翻轉創新之後卻讓人不禁莞爾、會心一笑,洋溢著生猛旺盛的民俗美感與鄉土活力。洪易獨特的藝術巧思,消 弭了藝術的菁英藩籬,破除與生活日常的隔閡,並保留住最本質的在地精神。老辣與童稚並存,狡黠與幽默同 在,激迸出生命源源不絕的熱情與強度。 204


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MA PAISUI

( 1909-2003 )

Views in Taiwan - The beauty of Taroko (24 pages in total) a.Taroko - Spring Wind b.Changchun Shrine - Summer Rain c.Jinheng Bridge - Autumn Leaves d.Jiucyudong - Winter Snow e.Cihmu Pavilion - Sun Lignt f.Pagoda - Moon Light

馬白水

46×20.5cm(24) Watercolor on Paper Signed Paisui in Chinese, dated 1997 Signed on the reverse: Ma Paisui in Chinese, dated 1997 With one seal of the artist

1997 水彩 紙本 簽名:白水1997 背面簽名:馬白水1997 藝術家鈐印

ILLUSTRATED "Ma Bai Sui - The Beauty of Taroko", Tzuoyang Publishing Company, 1997, Page16-Page27

台灣風情 - 太魯閣之美 六之一 1-4太魯閣口春風 六之二 5-8長春祠 夏雨 六之三 9-12靳珩橋 秋葉 六之四 13-16九曲洞 冬雪 六之五 17-20慈母亭 日光 六之六 21-24天祥塔 月色

圖錄 《馬白水 台灣風情畫輯》,左羊出版社,1997年,第16至27頁

NT$ 1,000,000-1,500,000 US$ 33,900-50,800

Ma Pai-Shu , recognized as the pioneer in Taiwanese art world, has won endless rewards such as Jin Lei Award of the first national water painting art exhibition and gold award of the annual exhibition of the United States water ink association. In 1999, the National Museum of History held “A retrospective of Ma Pai-Sui at ninety. The early works of Ma are deeply influenced by English water ink tradition with delicate and clear colors tones that bring out a colorful picture with simple forms and compositions. He was prolific and continually challenged himself to become better. His art language gradually become sophisticated and successfully incorporated eastern sensual into western ration. He broke through the barriers and limits of arts and created his unique style. "Views in Taiwan - The beauty of Taroko" is one of Ma Pai-Sui’s later work, it is presented in a semi- Chinese art scroll composition which extends into pages. 24 pages of spectacular Tarko scenery, each page can stand on its own or put together as a whole. This unique presentation enables the viewers to appreciate them like a slowly moving shot, stopping their gaze on the Eternal Spring Shrine Trail, the Swallow Grotto, the Tunnel of Nine Turns and Ci Mu Ting. Ma Pai-Sui has a special liking for outdoor landscaping and has a extremely delicate observation and realization for natural scenery. "Views in Taiwan - The beauty of Taroko" presents Tarko from dust till dawn and even the changing of seasons with clouds surrounding the magical mountains. Ma Pai-Sui reproduced the magnificent Tarko landscape. Behind the sophisticated brushstrokes, the artist hid his longing for home and the deep affection for Taiwan.

馬白水為台灣美術畫壇巨擘,獲獎無數,如首屆全國水彩畫展金罍獎、美國水墨畫協會年展金牌獎等殊 榮。1999年,國立歷史博物館更為其舉辦《彩墨千山—馬白水九十回顧展》。馬白水早期的創作深具英 國水彩傳統,以細膩的透明色調和簡潔造型創構出色彩瑰麗的畫面。創作力勃發,不斷自我挑戰、精益求 精,馬白水的藝術語彙愈見成熟,他成功地將東方筆墨的感性神髓貫注於西方明亮色彩的理性中,中西融 匯,古今貫通,突破藝術的藩籬與侷限,演繹出獨樹一幟的新水彩風貌。 《台灣風情─太魯閣之美》為馬白水晚期鉅作,以類似中國畫卷的結構呈現,並以冊頁方式延展開來,24 幅的優美壯麗的太魯閣風光,既可獨立成景,又能作拼接、全幅連結而觀,幅面寬廣、氣勢雄渾。此作特 殊的呈現方式,讓觀者的目光可如鏡頭般緩慢運行,流連忘返於長春祠、靳珩橋、九曲洞、慈母亭,以及 天峰塔等著名勝景。馬白水熱愛寫生,並對自然景致的遞嬗變遷有著的極其細膩的觀察與體會,《台灣風 情─太魯閣之美》描繪太魯閣從白晝至夜晚、甚至是四季更迭的美景變幻,雲彩飄渺,輕盈地繚繞群巒, 使峽谷景色更加奇幻莫測。馬白水經典地重現了太魯閣山水的雄渾壯麗,在其生動洗練的彩墨背後,散溢 著悠揚動人的思鄉情懷與對台灣風情的深刻愛戀。 206


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CHUNMING | HOU Pleasure Tableaux

( b.1963 )

108.5×69.5cm(8) Woodcut Painting (one set of eight prints) Signed, inscribed and dated Liu Jiao Hou Shi; Taipei; 1992 in Chinese With one seal of the artist (8) EXHIBITION "Pleasure Tableaux", Up Gallery, Kaohsiung, 1992 "Collision between Taboo and Desire: Hou Chun-Ming's work of Print 1992-2008", National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2009

侯俊明 極樂圖懺 1992 木刻 版畫 簽名:單刷 歲次壬申年六腳侯氏版印 藝術家鈐印 (8) 展覽 「極樂圖懺」,阿普畫廊,高雄,1992 「六腳侯氏:衝撞在慾望與禁忌之間的版畫創作1992-2008」,國 立台灣美術館,台灣台中,2009年

NT$ 950,000-1,300,000 US$ 32,200-44,100

Hou Chun-Ming boldly challenged the taboo and shocked the Chinese art circle in the early 1990s through avant-garde creation in the forms of installation art and engraving. In 1995, "the 46th Venice Biennial" had brought Hou Chun-ming, then only 32- years -old, up to the world stage, prosperous and successful, and second to none. In Taiwan, he has challenged the bottom line of the moral and aesthetics in respect of black-and-white images, together with the unreasonable Hou's literal writing, which titled him "Six Feet Hou". Hou works in the 90s were predominantly prints that challenge social taboos. In fact, its meanings do not lie only on the decisive lines craved on woodblocks, but the complicated collaboration and its subsequent experience and reflection imposed on the viewers. The forms of the works are diverged. There are pieced works and in albums; some of them consist only of a singular motif, others with a half of the plane covered with words. With this undefined collage and the prints represented by words, should his works be considered as simplistic tolk cravings, or a display of the archaic but socially critical languages? There are questions to be considered during the appreciation process. Since the themes are sex taboo and relationship between the sexes, Hou’s representation has its focus on bodies. But they are never our understood ordinary appearance. Shifting amog male, female and androgynym, the open display of desire and exaggeration of sexual organs are commonly found in his works.

侯俊明成名甚早,作品以版畫及裝置藝術為主,以狂亂 行樂圖 極樂圖懺(壹) 【釋文】沒有人能真切的明白你在做什麼,但你們仍應相知相惜。

顛覆、衝突大膽為其經典印象,其曾回憶說:「從成長 的過程來說,我是受現代藝術訓練出身的,但在現代藝術 裡,是很不屑去敘述的,不允許作品夾帶文學、歷史、

自焚圖 極樂圖懺(貳)

政治……它們要求藝術的純粹性。比如說我記得那時候在

【釋文】自我保護者永難自我完成,你當赴湯蹈火勇於付出。

學校裡,如果那個畫裡面有多一點的敘述就會被嘲笑:

游子圖 極樂圖懺(叁)

『啊,你是在畫插圖嗎?』所以我後來會使用這麼大量的

【釋文】背井離鄉無處棲息,你當廣結善緣,無家卻處處是家,無

文字,其實是一個反叛。」

妻卻人人可妻。 激進圖 極樂圖懺(肆) 【釋文】懸浮無依的被流放,任何努力都是徒然,但你仍應保持抗 爭的姿態。

相對於八0年代末期藝術家採用的激烈抗爭手法,被稱為 台灣「俗辣美學」與「起乩神學」代表作《極樂圖懺》以 傳統木刻版畫形式,仿中國古文經典及現代廟宇時常所見 「懺文」及佛家經書「勸善文」,古書風貌上圖下文排版

孤寒圖 極樂圖懺(伍)

格局,以性愛題材與怪誕畫風,勇於突破傳統社會禁忌,

【釋文】心靈的分享是困難的,肉體的共享是危險的,你當學習自處

建構出慾望與權力的「警世」經典,雖是極盡誘惑與淫穢

自得其樂

之能事,卻又充滿反諷的勸世意味。

造孽圖 極樂圖懺(陸) 【釋文】求愛不得是一輩子最大的屈辱與折難,但愛的痛苦卻仍甜過

作品外觀上,集結成冊的書本形式,曖昧的搭配乃至於文

世上所有的歡樂。

字的表現重點,究竟是富民俗性拙樸的刻工,或字句上文

偽善圖 極樂圖懺(柒) 【釋文】不要恐懼你自身的慾望,人生的真義即在於以善良形象對慾 望做積極的實踐。

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言卻富社會性的鋪陳,都是在觀賞過程中會不斷浮現的問 題。藝術家所選用的表現方式,讓人聯想起中國最早的木 刻版畫乃是佛經,宋代後書本印刷與年畫才逐漸興盛,但 侯俊明卻「託此結構將都會邊緣人予以神聖化之功俸/嘲

重生圖 極樂圖懺(捌)

謔」,便是如《極樂圖懺》中編排形式,主題衝突與反

【釋文】脫離女人,你將枯槁而死,唯有深度結合的性交儀式,才

諷,巧妙鑲嵌中國神話傳統,達到形式與內容的呼應,更

能使你重獲新生。

傳達直指人心與社會百態的企圖。


壹 貳 參 肆 伍 陸 柒 捌

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ENDRO

( b.1983 )

Everlasting Love 100×100cm Acrylic on Canvas Signed Endro in English, dated 2013 With a certificate of authenticity from Gallery

安卓 永恆的愛 2013 壓克力 畫布 簽名:Endro 2013 附畫廊開立之原作保證書

NT$ 120,000-180,000 US$ 4,100-6,100 210


114

NARA | YOSHITOMO Sleepless Night Sitting

( b.1959 )

15×19×28cm Fiberglass, 4/300 With a certificate of authenticity signed by the artist and a wooden box

奈良美智 失眠夜坐著 2007 玻璃纖維 4/300 附藝術家親簽之原作保證書及木盒

NT$ 500,000-650,000 US$ 16,900-22,000

《失眠夜坐著》於2007年奈良美智首次與香 港玩具創作公司HOW2WORK聯合設計的一款 雕塑,花費三年時間打造,全身以玻璃纖維製 成,外加植毛效果,全球限量300件,每件皆 有奈良美智的親筆簽名。這個失眠的大眼娃娃 本是奈良美智筆下的其中一個人物,靈活的表 情、困惑無奈的眼神,生動訴說著失眠的夜 裡,獨坐在小木椅上,抬頭仰望天空,就這樣 過了一個無眠的晚上。

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YANG | ANDY Impulse 1

( b.1985 )

40×60cm Acrylic on Woodblock With a certificate of authenticity from Gallery

安迪.楊 衝動 2013 壓克力 木板 附畫廊開立之原作保證書

NT$ 80,000-12,000 US$ 2700-4100

The recipient of a large number of prestigious international awards such as D&AD UK, Communication Arts US and Cannes Lion, Andy Yang’s paintings are reactions to music soundscapes composed beforehand by the artist to create a trance-like painting style strongly rooted in Abstract Expressionism.

作品風格特色強烈的安迪.楊,是代表性的新加坡年輕藝術家之一,近年榮獲多項國際性著名大獎,諸如英國的 D&AD、美國的Communication Arts 及坎城影展的獎項。其抽象作品獨具音樂的律動性,他喜歡像作曲般,事前 先勾勒出音符的節奏與動感,進而創造出具狂野的抽象繪畫。

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AGUS PUTU SUYADNYA

( b.1985 )

Sale Our Soul

阿格斯.普圖.蘇亞丹雅

130×150cm Oil on Canvas Signed Suyadnya Yogya in English, dated 2013 With a certificate of authenticity from Gallery

出賣靈魂 2013 油彩 畫布 簽名:Suyadnya Yogya 2013 附畫廊開立之原作保證書

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

Using elephants as a symbol of spirituality and nature, Agus highlights the disord between man and nature, and the importance of reaching a harmonic balance to sustain the future of mankind.

泰國藝術家阿格斯.普圖.蘇亞丹雅,作品以大象的神聖與大自然間的環環相扣,傳達自然與人類之間的微妙關 聯。其作品擅以目前現代化社會發展所造成的環境議題,與自然間需要的協調性,強調重視自然生態的重要性, 藉此探套如何達到並保持兩者之間的和諧及平等對待。

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LONG CHINSAN

( 1892-1995 )

Classic Dance

郎靜山

郎靜山獨創「集錦攝影」技法,乃

44×35cm Photograph Silver Gelatin With one seal of the artist

月中嬋娟

集合多張底片景物,放映於同一張

PROVENANCE Private collection, Australia

感光紙上之創作。郎靜山生前曾 銀鹽 相紙 鈐印:郎靜山

說:「照相如果只有技巧,讓鏡頭

來源:澳洲私人收藏

改變,沒有藝術就差了;我做成功

改變或化學改變,都只是科技上的 的一件東西,就是把中國藝術放在

NT$ 60,000-130,000 US$ 2,000-4,400

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照相裡。」


118

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YANG GUOXIN

( b.1951 )

Into Procedure

楊國辛

70×70cm(2) Oil on Canvas Signed Yang Guo Xin in English and dated 93

進入程序

ILLUSTRATED "Yang Guoxin", Hebei Fine Arts Publishing House, Dec 2007, page58 "ARTCO", ARTOUCH, Aug 2006, page160 EXHIBITION "The 1st Chinese Contemporary Painting Exhibition", Los Angeles, USA, 1993

1993 油彩 畫布 簽名:Yang Guo Xin 93 圖錄 《楊國辛》,河北美術出版社,2007年12月,頁58 《今藝術》,典藏雜誌社,2006年8月,頁160 展覽 「中國現代繪畫第一回展」,洛杉磯,美國,1993年

NT$ 160,000-280,000 US$ 5,400-9,500

楊國辛生於中國武漢。畢業於湖北美術學院研究所,現為華南師範大學美術系教授。其創作以現實生活與社會觀 察為基底,融合抽象繪畫、蘇聯寫實主義與英美普普藝術,創造出極具個人特色的藝術風格,是90年代後於中國 當代藝術圈開始興盛的中國普普藝術潮流的代表人物之一。 作為中國普普藝術的先驅,楊國辛的創作中使用多種媒材技法,將照片、油彩、絲網印刷並行使用,使其作品充 滿層次的堆疊,在《進入程序》系列中,他自現實生活抽取出帶有某種意義的圖像,透過普普藝術經常使用的複 製與挪用,對同樣的圖像樣本進行多次重組,這樣的處理方式賦予了同一張臉孔不同的「繪畫」表情,就像在進 行一場中國式的繪畫實驗。以此件作品言之,猙獰且焦慮的人像在同樣尺寸的畫面中央固著,但堆疊其上的顏料 與筆觸讓觀者延伸出不同的閱讀路徑,有序的圖面並置對應其上失序的繪畫痕跡,究竟是自日常現實中脫序抑或 在藝術中進入程序?延續自60年代英美的普普藝術脈絡,楊國辛同樣在藝術與大眾之間拉出一道難以歸類的界 線,而這些看似熟悉的面孔表情,自日常現實被選取出的圖像,更加深了其中專屬中國的文化特性。 215


「張羽的一指彈─文化與精神的探 尋」展覽海報

119

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ZHANG YU

( b.1959 )

Fingerprints 2006.7-3

張羽

75×75cm Ink and Wash on Xuan Paper Signed Zhangyu in English and dated 2006

指印 2006.7-3

ILLUSTRATED ''Zhang Yu's One-finger Chan'', Daxiang Art Space, May 2009, Page 22 EXHIBITION "Zhang Yu's One-Finger Chan Cultural and Spiritual Exploration", Daxiang Art Space, Taichung, Taiwan, Jun 19 - Aug 9, 2009

2006 水墨 紙本 簽名:Zhangyu 2006 圖錄 《張羽的一指禪》,大象藝術空間館,2009年5月,第22頁 展覽 「張羽的“一指禪"─文化與精神的探尋」,大象藝術空間 館,台灣,2009年6月19日- 8月9日

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

Zhang Yu, an important representative artist of contemporary ink and wash, is the leading figure of mainland China’s experimental ink and wash. He started his exploration in the contemporary ink and wash in 1984. Among Chinese contemporary ink and wash, Zhang Yu is the model of bothinnovative and creative artist. He managed to propel the development of contemporary ink and wash in China through two ways: art practice and publication during severe circumstances and the harsh conditions of that time.In the contemporary ink and wash of China, Zhang Yu’s recent style and skill has surpassed the fixed ideas provided in the mediums. His creativity has gone beyond behavior and its trace. Zhang Yu’s works are masterpieces.

張羽是中國大陸實驗水墨的領軍人物,是當代水墨具有代表性的重要藝術家。張羽自1984年後就開始他 的當代水墨探索,是這個領域中真正具有當代性、創造性的藝術家。他以藝術的真誠,從藝術實踐和出版 兩方面推進大陸當代水墨的發展。張羽的指印作品,其創作方法超越了媒介的特質,通過行為和行為的痕 跡,呈現大師般的氣度。

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高瑀個展「不現實」展覽海報

120

YU | GAO Shade of the Moon

( b.1981 )

50×50cm Pencial on Paper Signed on the reverse:Gao Yu and titled in Chinese, dated 2009 EXHIBITION "Gao Yu: Singing Star", Primo Marella Gallery, Milan, 2009

高瑀 月之暗面 2009 素描 紙本 背面簽名:《月之暗面》高瑀 2009 展覽 「高瑀:會唱歌的星星」,瑪蕊樂畫廊,米蘭, 2009年4月4日-5月23日

NT$ 140,000-260,000 US$ 4,700-8,800

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李繼開

LI JIKAI 121

| LINo JIKAI Other Way

( b.1975 )

90×65cm Acrylic on Canvas Signed Li Jikai both in Chinese and English ILLUSTRATED "Li Jikai", Shanghai People's Art Publishing House,Shanghai, China, 2007 (illustrated, p. 224) "ARTCO", May issue, Taiwan, 2007 "Li Jikai Note", RCM Gallery, Nanjing, China, 2007 (illustrated, unpaged) EXHIBITION "Clear",Shanghai, China, Shanghai Museum of Art, 2007 "Clear",Beijing, China, Today Art Museum, 2008

李繼開 沒辦法 2005 壓克力 畫布 簽名:Li Jikai 繼開 2006 李繼開 圖錄 《李繼開》,上海人民美術出版社,中國上海,2007年,第224頁 《典藏.今藝術》(5月刊) 台灣,2007年 《Li Jikai Note》,南畫廊 中國南京, (圖版,無頁數) 展覽 「清空—李繼開個展」,上海美術館,上海中國,2007 「清空—李繼開個展」,北京今日美術館,北京中國, 2008

NT$ 260,000-340,000 US$ 8,800-11,500

「我的創作衝動來源於自己的瑣碎生活,自己的情感,對過去回憶的模糊及對未來的懷疑。」

---李繼開

有別與其他同年代藝術家,李繼開對自我內心世界進行剖析和解讀時,藉由情感表達之間,本能地走向更深層次的 心理刻畫。畫中的招牌人物常是病態而憂鬱的如玩偶般的小男孩,目光呆滯、姿態僵硬,或站立於碩大的蘑菇,或 匍匐、或躺在長條木箱中,原本該屬於年輕人的朝氣與生命力的東西蕩然無存。身著各種裝束及大大的頭儼然已成 其靈魂人物特徵,猶如代表著孩童時代的玩伴,它的存在也是童年記憶、個人成長的印證。在作品中,男孩被賦予 了人的特徵,以平靜、堅韌的方式頑強地對抗著外界的衝擊。李繼開曾表示:「我的繪畫主要還是以自己的內心世 界出發,現實世界或者流行文化等元素可能都會用,但都不會是現成的照搬。藝術創作說到底是生命力的釋放,跟 想像力有關係。」其探索心靈潛意識,找尋自我,藉著符號表達內心的語言,使觀者進入他的內心世界裡。《沒辦 法》以淡灰色為主調,坐在高台上的男孩閉著雙眼,安靜木然的神情,彷彿事不關已的面對這個世界,置身於自我 潛意識的內心聖殿,脫離現實生活,整體營造出特殊氛圍,畫出自我關照的虛擬形象,以此來表現少年的自虐與傷 害、孤獨與徬徨的情緒,言訴著行為的「被規誡」,以及「青春殘酷」的傷害感。 220


221


122

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LEE TZEFAN

( 1907-1989 )

Lakeside of San Francisco

李澤藩

38×26.5cm Watercolor on Paper

舊金山湖邊 水彩 紙本

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

李澤藩主張:「繪畫的韻律與生活息息相關,要有真實的生活和思想才是根本之道。」他將鍾愛的家鄉之景,自 然之物貫串一生的創作,呈現的是細膩觀察、敏銳記憶和精緻想像的巧妙調和,深刻的情感撲面而來,讓人感動 於傳統建築之美、地方人文之溫厚、和自然風景之璀璨美好。《舊金山湖邊》遠眺城市風景,閒適而自在,邊際 海面帆影波動,蒼蒼樹影倒映水面,寧靜平和,極富質樸意蘊。李澤藩筆下畫面深遠無界,營造出遼闊視野,色 彩渾厚亮麗,筆觸平實有力,傳達出穩重內斂之美。

222


123

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LIU CHIHSIANG

( 1910-1998 )

Bouquet

劉啟祥

45×53cm Oil on Canvas Signed C. Liou in English, dated 1989

花卉

ILLUSTRATED "Sound of tranquility : a retrospective of Liu Chi Hsiang", Kaosiung Museum of Fine Arts, 2004, Page 219 "Taiwan Fine Arts Series 11 Liu Chi Hsiang", Atist Co. Ltd., Printed in Taiwan, 1993, Page 199

1989 油彩 畫布 簽名:C. Liou-89 《空谷中的清音:劉啟祥》

圖錄 《空谷中的清音:劉啟祥》,高雄市立美術館,高雄市,2004 年,第219頁 《台灣美術全集11 劉啟祥》,藝術家出版社,台灣台北,1993年,第199頁

NT$ 500,000-800,000 US$ 16,900-27,100

劉啟祥晚年得病痊癒後,體力大不如前,除了少數風景畫外,創作題材便以人物及靜物為主,取材於生活週遭,也因定居在高 雄小坪頂鄉間,心境受到大自然的薰陶而愈趨寧靜,與世無爭,而畫家的生活方式時常決定了作品的呈現形式,繪畫技巧的簡 樸便是為此時期的另一特點,簡單而自由奔放的風格,呈現出一種處在閒散、靜觀中的「牧歌情懷」,優雅閑靜。 《花卉》少了早年以畫刀、調色刀作畫的有力表現,而純以畫筆隨意塗抹,薄薄的色彩,輕鬆揮灑,交織出不同風味的曼妙效 果,粉紅色的雞冠花搖曳生姿,似在淡綠的舞台前共舞同樂,熱鬧歡欣。而劉啟祥性格沉靜而好深思,隨著年歲增長,作品帶 有越多的想像,表現愈為主觀,往往會因畫面需要,而任意增減畫中景物,變造自然以符合創作的內在精神,這使得劉氏經常 在寫意及寫情的畫作中透露出幾許浪漫的情感,和諧抒情,雋永而純粹。 223


124

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ZAO WOUKI

( 1921-2013 )

A la gloire de l'image et art poétique, 1976

趙無極

50×75cm Lithograph, 18/99 Signed Wou-ki in Chinese and ZAO in English, dated 1976, numbered 18/99 With a certificate of authenticity from Gallery

A la gloire de l'image et art poétique, 1976

ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 274 The Lithograph printed by Bellini, Paris. Published by Ediciones Polígrafa, Barcelona.

1976 版畫 18/99 簽名:18/99 無極ZAO 76 附畫廊開立之原作保證書 圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》,Edition Heede & Moestrup(法 國出版),1994年,第153頁 版畫由 Ediciones Polígrafa, Barcelona出版, 在Bellini, Paris印製

NT$ 160,000-320,000 US$ 5,400-10,800

224


125

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ZAO WOUKI

( 1921-2013 )

A la Gloire de l'image 273

趙無極

40×67cm Lithographic, 29/99 Signed Wou-ki in Chinese and ZAO in English, dated 1976 With a certificate of authenticity from Gallery

無題

ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 274 The Lithograph printed by Bellini, Paris. Published by Ediciones Polígrafa, Barcelona

1976 鐫刻石板 29/99 簽名:無極ZAO 76 附畫廊開立之原作保證書 圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》,Edition Heede & Moestrup(法 國出版),1994年,第153頁 版畫由 Ediciones Polígrafa, Barcelona出版, 在Bellini, Paris印製

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

225


126

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CHEN HSINGWAN

( 1951-2004 )

Abstract 45×45cm Mixed media on Canvas Signed Wan in Chinese, dated 1989

80年代陳幸婉的藝術創作有了關鍵的發展,受到抽 象表現主義的影響及李仲生自動性技法的啟發,她 因而展開了複合媒材的創作歷程,發展出獨特的繪 畫語言。作品《抽象》表達作者個人的心象,以畫 布為平面構成的主要元素,神秘而厚重的色調,多

陳幸婉

層裱貼的肌理,幾近於古蹟般永恆的焦點,是作者

抽象

自1986年旅法回國之後,以帆布為新素材所呈現

1989 綜合媒材 畫布 簽名:'89 婉

出極具變化、簡練、清澄的形式。而抽象的創作方 式對於陳幸婉而言,並非只是追求畫面的視覺效果 亦或純粹的抽象結構,而是藉由揮灑顏料以滿足內 心需求的表達、抒發自我。

226

NT$ 140,000-220,000 US$ 4,700-7,500


127

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LEE SHICHI

( b.1938 )

Deep Black Series 9203

李錫奇

46×80cm Mixed media on Canvas Signed Shi-Chi in Chinese, dated 1992

鬱黑系列9203 1996 綜合媒材 畫布 簽名:錫奇1992

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

李錫奇歷經多個世代,受到背景時代的影響,將其豐富的生活經驗及感悟投注於創作中,因藝術表現及媒材的創 新多元,刻畫出多變的抽象題材;90年代,李錫奇發現中國文化漆器之美,將工藝藝術化、傳統現代化為目標, 運用生漆為創作材料堆疊,將對遠古的厚重回溯,對現實的沉鬱訴說,以遠古圖騰創作出「鬱黑系列」。《鬱黑 系列9203》此件作品以獨特的抽象美感形式表現,生漆堆疊收縮產生強烈皺紋肌理效果,呈現斑駁的古痕,色 與空的交會融合,線條如銀河般的流暢,寧靜而有力量,猶如在浩瀚的宇宙空間。

227


季大純

JI DACHUN 128

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JI DACHUN

( b.1968 )

Smoking Man 100×34.3cm Oil and Pencial on Canvas Signed Da Chun in Chinese in the age of 30

「一個人在畫畫的時候,是處在孤寂的生涯裡。當你多少年都沉 浸在同一種心緒中時,你就會覺得,你的努力,再大的努力,即 使沒有結果,也還是應該的。你不會去計較那是東方的還是西方 的,是古代的還是現代的,其實它們並沒有區別,它們就是你心 裡那個空空的山谷。」

季大純 吸菸者

---季大純

季大純鮮明有趣的創作風格廣受矚目,創作主題、內容、風格不 受約束,作品散發文人畫氣息,富有詩意與禪意,以當代精神生

1988 油彩 鉛筆 畫布 簽名:大純 三十

活的寓言式繪畫帶領觀者進入他的創作世界。傳統中國男人的形

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

霧的閒情男子,卻又散發出一種不動聲色的超凡幽默感,表現出

象亦是季大純喜愛的元素之一《吸菸者》作品中木訥而茫然的主 角在一片空白的背景襯托下,透露出無奈、寂寞的情緒,吞雲吐 超現實主義的情感效果。季大純曾說:「畫出來的東西,就是沒 有內容也可以。一種空的東西,一旦說出來就是不對的,重要的 是準確的過程和什麼時間結束,對於看畫的人來說,他有多少東 西畫面上就應該反映出多少,他的心裏不應該是喜悅的,是蒼涼 的吧。」單純描繪中蘊含了普世的價值觀,猶如觀其畫作將自身 的情感投入時,畫中主角即成為了內心的寫照,簡練純淨,卻又 夾雜了絲絲狡黠,似有耐人尋味的隱喻深埋其中,令人留連忘 返,淡然卻深刻。

228


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ZAO WOUKI

( 1921-2013 )

XXIV Sonnets de Shakespeare

趙無極

35×28cm(7) Illustrated by Zao Wou-Ki 7 original etchings Limited to 195 Signed by the artist Zao Wou-Ki and author Yves Bonnefoy colophon in English

莎士比亞的十四行詩之24

ILLUSTRATED " Z A O W O U- K I T h e G r a p h i c Wo r k A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, No. 366-372 The lithographs book published by Les Bibliophiles de France in 1994, translated by Yves Bonnefoy

1994 版畫書 限量195份(莎士比亞十四行詩篇共82頁,趙無極 版畫7頁) 由藝術家趙無極和法國詩人伊夫.博納富瓦於版權頁簽署 圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》Edition Heede & Moestrup (法國出版) 1994 年,編號366-372 版畫書於1994年由 Les Bibliophiles de France出版

NT$ 650,000-900,000 US$ 22,000-30,500

Now, when I look back over that period, I feel I was consistent from beginning to end. I was faithful to my original intent, I never tried to cover up difficulties, and I was never fooled by technique. I wanted to forget technique and create something else. After these different phases, I finally recognized and applied my knowledge of Chinese painting to express what I wanted to expressK I began to see images and lines that led me back toward the symbols and motifs I had studied as a child. ---Zao Wou Ki

「現在,我重新回顧這段歷程,覺得它是始終一致的,我一直忠於最初的執著,不錯想掩飾困難,不 曾以技巧矇騙,希望忘卻技丐,去創道其他的東西。經歷了不同的階段,我承認充分運用了我對中國 繪畫的知識來表達我想表達的……我看見一些形象、線條,它們將我誘向從小就學會的符號。」

---趙無極

趙無極的藝術極致,能築構成一個深邃渺遠的意境,經歷歷史長河淘洗、超越地域界限的文化精蘊融 會其中,重新煥發燦然光采,情韻生動,氣象萬千,使人對整個宇宙、歷史、人生產生一種富有哲理 性的省思和感悟。法國藝術評論家阿倫.儒弗瓦曾於巴黎《美術》雜誌提出:「趙無極的作品清晰地 反映了中國人看宇宙萬物的觀點。遙遠和朦朧反映出默念的精神,而非默念的具體事物,這種看法已 成為最新銳而又廣為全人類接受的看法」,其認為趙無極的作品是中國哲理體驗和審美境界的極致表 現,而這種風格也得到美術史家的充份肯定。《莎士比亞的十四行詩之24》透過迷濛滄茫的灰白暗喻 中國水墨畫煙雲翻騰、晦冥變化的山水景觀、及東方藝術一貫空靈、冥思的精純境界,結合法國詩人 伊夫.博納富瓦的優美詞句,向莎士比亞的精神致上崇高的敬意。

230


231


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CHU TEHCHUN

( b.1920 )

Saison Blue (a set of 6) 45×35.5cm(6) Original lithographs and Calligraphy, 31/99 Signed CHU THE CHUN both in Chinese and English, numbered 31/99 With a page of authenticity signed by artist and a calligraphic poem

朱德群 藍季 (六件一組) a.

b.

d.

e.

f.

g.

c.

2006 版畫書 31/99 簽名:31/99 朱德群CHU THE CHUN 附藝術家親簽頁面及書法詩

NT$ 240,000-550,000 US$ 8,100-18,600

232


131

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CHU TEHCHUN

( b.1920 )

Modèle F21

朱德群

52×53cm Painted Ceramic, 12/40 Signed Chu The-Chun both in Chinese and English, deted 2002 Signed on the reverse:F21, numbered 12/40 With a certificate of authenticity from Gallery

Modèle F21 2002 手繪 瓷器 12/40 簽名:朱德群CHU THE CHUN 02. 背面簽名:F21 12/40 附畫廊開立之原作保證書

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

《Modèle F21》中朱德群以春天氣息的紅、黃、綠等色彩構成畫面,俏麗色彩交相輝映,豪宕筆墨氣魄宏大,由 西方抽象表現主義為起點,以獨特的東方語言表現對大自然的感悟,藝術家以崇尚自然之心,提煉出抽象山水之 境,豐富多彩的流動時空,能於畫面打破時間與空間的限制,成為觀者與自然心靈交相融會的處所。

233


132

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MR. RED

( b.1971 )

Unknown Place in Cosmo

紅膠囊

97×130cm Mixed media on Canvas Signed Mr.Red in English, dated 2008

宇宙岬的奢黮裡 2008 綜合媒材 畫布 簽名:Mr. Red 二○○八 背面簽名:GOLD 殺黮麓 時光悠轉 為在曾經與振作之 間的我而作

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

紅膠囊於2006年全心投入當代藝術創作領域,陸續參加上海、日本等大型國際藝術博覽會,廣受好評。相異於 一般當代藝術家直接的繪畫語彙,他的基礎來自於做插畫家時的說故事能力,擬人的動物、現成物拼貼、圖樣化 的花朵、現代生活物品與自身投射的頭像,每一個物件、色彩都有其衍生之意義,經相互聯結後才能完整了故 事。《宇宙岬的奢黮裡》其畫面鋪排豐富飽滿、華麗趣味,饒富故事性,靛藍色的色調讓人如在宇宙中飛行般, 遼闊深遠而充滿神秘感,給予觀者無限的想像自由。 234


133

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JEAN PIERRE CASSIGNEUL

( b.1935 )

Au Jardin Du Luxembourg

尚.皮耶.卡辛紐

140.5×191cm Lithographs on Four Wood Panel Screen, 91/100 Signed Cassigneul in French, numbered 91/100 Signed on the Reverse: Cassigneul in French, dated 1984

盧森堡公園 1984 版畫 屏風 91/100 簽名:91/100 Cassigneul 畫背簽名:Cassigneul 1984

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

235


134

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CHANG YOSHIO

( b.1914 )

Grocery Store 60×50cm Oil on Canvas Signed Chang Y in English, dated 1980 PROVENANCE ALPHA ART GALLERY

張義雄1914年生於台灣嘉義,從小熱愛繪畫,早年長期赴日習 畫,但在求學的過程上一直不順遂,後歷經戰亂回到台灣。一生 都沉浸在繪畫之中,從未放下畫筆的張義雄,卻苦無伯樂,直到 1960年代才有機會躍上國際舞台,在一次的個展中,有位美國 藏家收購了他64件畫作,如此特殊的際遇讓張義雄一圓巴黎創 作的夢想,雖旅途中再度遭遇困境,遇人不淑歷經磨難,甚至因 故停流東京長達數年,但最終仍如願前往巴黎繼續創作。或許就

張義雄

是這樣困頓多舛卻不曾放棄的生命經驗,讓張義雄的畫作總比別

雜貨舖

人多了些深沉的敘事色彩,執韌的筆觸與沉穩的色調塑造出其特 有的繪畫風格。就如此件畫作,描繪的僅是日常街景一隅,但在

1980 油彩 畫布 簽名:CHANG Y '80

張義雄的畫筆下,單棟房舍幾乎貼邊的佈滿畫面,好似堅定且毫 無猶疑的穩固著,成為不在改變的永恆風景,也或許就這是般對 藝術的執念,才能支撐張義雄艱苦但豐富的創作生涯。

來源:太極畫廊

236

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


135

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LIU CHIHSIANG

( 1910-1998 )

Nude

劉啟祥

50×60cm Oil on Canvas Signed C. Liou in English, dated 1981

橫臥裸女

ILLUSTRATED "Sound of tranquility : a retrospective of Liu Chi Hsiang", Kaosiung Museum of Fine Arts, 2004, Page 132

1981 油彩 畫布 簽名:C. Liou-81 圖錄 《空谷中的清音:劉啟祥》,高雄市立美術館, 高雄市,2004 年,第132頁

NT$ 600,000-900,000 US$ 20,300-30,500

劉啟祥的藝術世界一向是祥和的,因為喜愛自然的寧靜和諧,他偏好和緩而溫暖的色調,並善用白色,經調色琢磨後使白色色料 豐富且極具層次,也唯有對色彩感覺敏銳的人才能體會出劉啟祥看似平淡的畫面中極其微妙的諸色變化。《橫臥裸女》為劉啟祥 在1981至1982年間留下的多幅裸體人像畫作之一,這幾幅作品的表達方式,類似他所繪寫的風景,主要在撐開構圖的格局進行 形體的研究。此畫作的整體空間安排,不講求前、中、遠景的關係,而讓視覺焦點落在人體上,在女子形象上的描寫則盡量精簡 濃縮,雖有姿態變化,卻力求以簡單的筆法去掌握、顯現量感,明顯在畫面的形色構成多於物像樣貌或質感呈現,少了強調人的 表情,僅約略指涉了神韻。 237


136

|

JU MING

( b.1938 )

Living World Series - Endless 52×31×17cm Stainless Steel, 17/200 Signed Ju Ming in Chinese, Audi A Masterpiece in English, dated 2007, numbered 17/200 With a certificate of authenticity from Caves Gallery

朱銘 人間系列-生生不息 2007 不鏽鋼 17/200 簽名:2007 朱銘 Audi A Masterpiece 17/200 附敦煌畫廊開立之原作保證書

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

朱銘的「人間系列」關注著人間百態,表現俗世人間的眾生樣貌,製作的態度接近現代雕刻理念, 透過形式的技術性挑戰,跳脫了傳統的雕塑媒材,極具生活化的現實再現。《人間系列-生生不息》 此作品是朱銘大師2008年與Audi共同合作,為Audi A6 2.8 FSI quattro上市所特別打造,人間系列超 然的創新風格,藉由兩位女子親暱互動,象徵著亙古不朽的動人情感,詮釋Audi 四環光環所代表的 「四時運轉、生生不息」;作品以不銹鋼的潔淨簡樸為媒介,局部運用色彩塊面融入光影炫人的光線 裡,以細膩的感觸琢磨,將女子柔性婉約的動姿、膚態、服飾透過朱銘大師的精湛功力刻畫出來,極 具自然生動的立體感。

238


a.

137

POLIN | YANG a. Clairvoyance

b.

( b.1954 )

b. Clairaudient 119×68×56cm(2) Bronze a.Singed Yang Po-Lin in Chinese b.Singed Po-Lin in Chinese, dated 1983

楊柏林藝術家,他的創作卻橫跨雕塑、繪畫、與 公共藝術,對多種創作媒材的混搭運用具有其獨 到的見解。作家蔣勳曾言 「楊柏林只是在本能 的、直覺的世界裡孕育他的藝術」,藝術家倪再 沁更形容為「在學院內外遊走的天才」。此件作 品是楊柏林較早期的銅雕,以寫實手法刻劃出千

a.

里眼與順風耳,和後期作品常見的現代主義風格

楊柏林

相差頗大。但在這件作品中,其實隱約可看出楊

a.千里眼 b.順風耳

柏林詩意感性的創作思考。千里眼與順風耳在楊

1994 銅 a.簽名:楊柏林 b.簽名:柏林 83

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

柏林的手下顯得格外安靜,似乎正迎風站立,執 行著自己的工作卻若有所思,與一般習慣的動態 誇張表情兇惡形象截然不同。 b.

楊柏林曾言:「我的雕塑其實都是詩的語言。 轉一個弧度,轉一個面向,就能看到不同景 象。」,或許在這件早期的作品中,我們就能對 其中的詩意略窺一二。 239


138

|

MR. RED

( b.1971 )

Sensitive Words 97×130cm Mixed media on Canvas Signed Mr. Red in English, dated 2008

紅膠囊運用探討宗教或生活所引發的靈感,架構 出華美繁麗的想像世界,畫家腦海裡的無垠創意, 一次次的蛻變、累積、堆疊出他的藝術能量。《敏 感話》饒富細節,寓意引人入勝。背景以多篇老 子的道德經垂直鋪成,如:「執大象,天下往。

紅膠囊

往而不害,安平太。樂與餌,過客止。道之出口,

敏感話

淡乎其無味。視之不足見,聽之不足聞,用之不

2009 綜合媒材 畫布 簽名:Mr. Red 二○○八 背面簽名:敏感好消息

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

240

足既。」篇篇主旨圍繞著虛心、謙遜、虛懷若谷 的得道之人,唯有以一顆謙卑之心處世,才能廣 納各方意見,身處任何地方而保有清淨之心,以 圓滿和諧的信念,達到天、地、人、我的共贏; 中心畫面則是擁有翅膀的狗臉男孩,嘴上戴了個 套子,背後的光環如聖人般綻放光芒,似乎訴說 著善為道者受人崇敬之意。


a. b.

139

|

RYOJI SUZUKI

( b.1973 )

a. Sleepy Man b. Had Puffy a.53×45.5cm b.22.5×15.5cm Oil on Canvas a. Signed on the reverse: Ryoji Suzuki in English, named Sleepy Man in Japanese, dated 2006 b. Signed on the reverse:Ryoji Suzuki in English, named Had Puffy in Japanese, dated 2005

鈴木良治 a. 發睏的人 b. 浮腫了 2006 油彩 畫布 a. 簽名:眠たい人 Ryoji Suzuki 2006 b. 背面簽名:ふくらんじゃった Ryoji Suzuki 2005

NT$60,000-120,000 US$2,000-4,100

日本藝術家鈴木良治,創作手法細膩、用色古典,擅長使用顏料堆疊所產生的漸層感與獨特的描繪肌理 方式繪圖。作品中常見以略顯童趣稚嫩的人物為主角,大大的頭、單薄纖瘦的身軀,神情帶著陰沉沮喪, 時而笑中帶點感傷無奈之情,輕微的敘事性,構圖以光亮與黑暗的對比呈現主題,試圖藉此傳遞自身童 年時期的故事傳說與經驗、想像,個人意識感濃厚。

241


140

|

LIU CHIWEI

( 1912-2002 )

Gibbon Series: Mother and Child 50×37cm Mixed media on Cotton Signed Liu ChiWei in Chinese phonetic alphabet and dated 2000, named TAIWAN MONKEY in English ILLUSTRATED "MAX C.W.LIU", Capital Art Corporation, Taipei, April 2007, Page 229

劉其偉 長臂猿系列 - 母子情 2000 綜合媒材 棉布 簽名:TAIWAN MONKEY ㄌ一 ˊ ㄑ一 ˊ ㄨㄟ ˇ II000 圖錄 《劉其偉畫集》,首都藝術事業有限公司,2007 年 4 月,第 229 頁

NT$ 260,000-320,000 US$ 8,800-10,800 動物為劉其偉最愛的繪畫題材,因此他動物系列的作品量相當豐沛。90 年代過後生態保育的觀念興起,劉其偉便以野生動 物為題大量創作,以表達他對動物的關愛及內心話語,劉其偉認為:「繪畫不只是畫你所看到的,也得畫你心裡所想到的。

像這樣,將你心愛的事物重新組合,並以自己滿意的線條和動人的色彩把他畫出來。 」《長臂猿系列 - 母子情》勾勒出動物 間溫馨細膩的親子情感,幼猴稚嫩的表情天真討喜,灰暗的大地色調配上猿猴紅潤的皮膚,格外顯出牠們可愛的生命氣息。 劉其偉讓長臂猿母子佔滿了整個畫面,背景以簡單筆劃帶過,突顯出動物造型,而畫面肌理豐富,使觀者能感受到作品的設 242

計感、裝飾性。


a. b.

141

|

CHENG SHANHSI

( b.1932 )

Double Happinesses 直徑 37.3cm 高 54cm Céramique émaillée Signed and Titled on the Porcelain

鄭善禧生於中國福建,1950 年來到台灣,是國內知名的水墨畫 家,更是兩岸著名的畫瓷大師。其畫風生動樸趣,甚至可以用 「可愛」來形容,他筆下的動物們皆帶著自然愉悅的神情姿態, 看似樸拙的筆觸又不失傳統技法的展現。鄭善禧與陶瓷有著深 厚的淵源,在求學期間便曾以陶瓷作為創作媒材,於 1982 年 加入瓷揚窯後,積極投入畫瓷創作,在 1983 年舉辦畫瓷個展,

ILLUSTRATED " G l a z e - p a i n t e d Po r c e l a i n b y C h e n g S h a n - H s i " , Department of Fine Arts, National Taiwan Normal University, 1986.3, Page 39

對畫瓷始終秉持著熱誠與堅持,廣達窯、自然窯、市拿陶瓷、 阿亮陶寮及台華窯等,都曾有他彩繪陶瓷的足跡。 素有「畫壇老頑童」之稱的鄭善禧,作畫風格廣泛,從傳統陶

鄭善禧

器紋飾、現當代藝術繪畫風格,到生活經驗小事都是他創作靈

雙喜青松筒

感的來源,而其自在不造作的造形筆韻,與生動樸趣的繪畫風

1985 釉彩陶瓷 背題紅字雙喜,寫青松及喜鵲一對。

格,加上貼近民生趣味的取材,讓他的作品一直廣受大眾歡迎。

圖錄 《鄭善禧彩磁畫集》,國立臺灣師範大學美術系,台灣 台北,1986 年 3 月,第 39 頁

NT$ 400,000-500,000 US$ 13,600-16,900 243


142

|

YAYOI KUSAMA

( b.1929 )

a. Flower b. Pumpkin YB-B a. 33×24cm b. 24×28.5cm a. Lithograph, H.C. b. Lithograph, 91/120 a. Signed Yayoi Kusama in English, named Flower in Japanese, dated 1997, numbered H.C. b. Signed Yayoi Kusama and named A PUMPKIN YB-B in English, dated 2004, numbered 91/120 ILLUSTRATED a. ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 140, No.235 b. ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 188, No.327

草間彌生 a. 花 b. 南瓜 YB-B a.1997 b.2004 a. 版畫 H.C. b. 版畫 91/120 a. 簽名:H.C. 花 1997 Yayoi Kusama b. 簽名:91/120 A PUMPKIN YB-B 2004 Yayoi Kusama 圖錄 a. 《草間彌生全版画 1979~2011》,阿部 出版株式會社,2011 年,第 140 頁,編 號 235 b. 《草間彌生全版画 1979~2011》,阿部 出版株式會社,2011 年,第 188 頁,編 號 327

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

a. b.

244


143

|

YAYOI KUSAMA

( b.1929 )

Hat (Red) 45×52.5cm Lithograph, 9/100 Signed Yayoi Kusama in English and named hat in Japanese, dated 1983, numbered 9/100 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 23

草間彌生 帽子 ( 紅 ) 1983 版畫 9/100 簽名: 9/100 1983 帽子 Yayoi kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社,2011 年,第 23 頁

NT$ 300,000-400,000 US$ 10,200-13,600 245


a. b.

144

|

YAYOI KUSAMA

( b.1929 )

a. Women b. Flying Eyes in the Sky a. 76×56cm b. 76×56cm a. Screenprint, 35/120 b. Screenprint, 35/120 a. Signed YAYOI KUSAMA in English, named WOMEN, dated 2006, numbered 35/120 b. Signed YAYOI KUSAMA in English, named Flying eyes in the sky in Japanese, dated 2006, numbered 35/120 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 201 Korean and Japanese and Chinese Contemporary Prints Work The two screenprints published by KPAPC (Korea Print Art Promotion Committee)

草間彌生 a. 女人 b. 空中飛舞的眼睛 2006 a. 絲網版畫 35/120 b. 絲網版畫 35/120 a. 簽名:35/120 WOMEN 2006 YAYOI KUSAMA b. 簽名:35/120 空を飛ぶ目 2006 YAYOI KUSAMA 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社, 2011 年,第 201 頁 收錄於『韓.日.中現代版畫集』 版畫由『社團法人 韓國版畫美術振興會』出版

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

246


145

|

LONG CHINSAN Pagoda Fairyland 38×30.5cm Photograph Silver Gelatin With one seal of the artist

( 1892-1995 )

雲霧飄渺,彌漫山間,座落於樹林裡的寶塔 遺世絕俗而悠然自適,遠眺山稜疊伏,俯瞰 土地萬象,空靈之氣在山谷中穿梭迴盪,宛 若仙境般靜謐清幽。饒富詩境的中國山水景 色,郎靜山以獨特的攝影之眼與熟練技術將

PROVENANCE Private collection, Australia

之發揮至極。

郎靜山 仙山寶塔 銀鹽 相紙 鈐印:郎靜山 來源 澳洲私人收藏

NT$ 60,000-130,000 US$ 2,000-4,400 247


146

|

WANG HUAIQING

( b.1944 )

a.Half Table, Half Chair b.Another Space a. 95×74cm b. 96×67cm a. Lithograph, 34/60 b. Lithograph, 14/50 a. Signed Wang Huai-Qing in Chinese b. Signed Wang Huai-Qing in Chinese, numbered 14/50 a. Lithograph, 34/60 b. Lithograph, 14/50 a. Signed Wang Huai-Qing in Chinese b. Signed Wang Huai-Qing in Chinese, numbered 14/50

王懷慶 a. 半桌半椅 b. 另一空間 a.2008 b.1993 a. 版畫 34/60 b. 版畫 14/50 a. 簽名:王懷慶 b. 簽名:14/50 王懷慶

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

a.

248

b.


a. b.

147

|

ZAO WOUKI

( 1921-2013 )

Etching with aquatint,1986 a. 41.2×56cm b. 56.1×41.1cm a. Lithograph, 96/99 b. Lithograph, 95/99 a. Signed Wou-Ki in Chinese and Zao in English, dated 1986 b. Signed Wou-Ki in Chinese and Zao in English, dated 1986 ILLUSTRATED 1. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 182 2. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 325

趙無極 Etching with aquatint,1986 a.1986 b.1986 a. 版畫 96/99 b. 版畫 95/99 a. 無極 ZAO 86 b. 無極 ZAO 86 圖錄 1.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》, Edition Heede & Moestrup (法國出版), 1994 年,第 181 頁 2.《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》, Edition Heede & Moestrup (法國出版), 1994 年,第 182 頁

"Picasso taught us how to draw a Picasso, Cezanne taught me how to appreciate the essence of our Chinese paintings." ---Zao Wou Ki

「畢卡索教會我們如何去畫畢卡 索,但塞尚教會我如何去凝視我們 中國畫的本質。」

--- 趙無極

NT$ 220,000-400,000 US$ 7,500-13,600

249


148

|

ZAO WOUKI

( 1921-2013 )

Composition 2006 99×81cm Lithograph, 21/90 Signed Wou-Ki in Chinese and Zao in English

趙無極 Composition 2006 2006 版畫 21/90 簽名:無極 ZAO

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

250


149

|

YAYOI KUSAMA

( b.1929 )

Butterfly 45×53cm Lithograph, 35/100 Signed Yayoi Kusama in English and Titled Butterfly, dated 1985, unmbered 35/100 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 55, No.81

草間彌生 蝴蝶 1985 版畫 35/100 簽名:35/100 Butterfly 1985 Yayoi Kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社, 2011 年,第 55 頁,編號 81

NT$ 300,000-400,000 US$ 10,200-13,600 251


150

|

YAYOI KUSAMA

( b.1929 )

Hat 45×52.5cm Screenprin, 26/100 Signed Yayoi Kusama in English, named Hat in Japanese, numbered 26/100 and dated 1983 ILLUSTRATED "All Prints of KUSAMA YAYOI 1979~2004" Japan, ABE PUBUSHING LTD, February 2005, Page 98

草間彌生 帽子 1983 絲網版畫 簽名:26/100 帽子 Yayoi Kusama 1983 圖錄 《草間彌生全版畫集》,日本 - 阿部出版 株式會社出版,2005 年 2 月,第 98 頁

NT$ 160,000-250,000 US$ 5,400-8,500 252


Nar a Yoshitomo is one of the most influential members of the New pop movements in Japan in the 90s. The cute face with a little anger and sarcasm made it to the cover page of J a p a n e s e c o nte m p o r a r y w r i te r Yoshimoto Banana. The accessories such as t-shir t s and w atches have captured people’s hearts and became a very popular figure. In fact, he wishes to approach with a naïve perspective and go back to the origin to capture the essence through geometrization, deforming and imaginative figures that is direct in presenting the meaning behind.

奈良美智身為九零年代日本新普普藝 術運動最具影響力的成員之一,其筆 下一臉怒氣卻又帶點嘲諷口吻的可愛 臉孔,不僅登上日本當代作家吉本芭 娜娜的小封面,再藉由周邊 T 恤、手 錶等商品深入人心,已然躍身成大受 歡迎的公眾人物。事實上也是企圖以 孩童純真的角度,回歸到原始,捕捉 物像的精髓,企圖經由幾何化、變形、 幻想的人物造型,產生一種直截了當 的表現力。「圖書內一幅簡單的圖案 就包含著一整個故事。」奈良美智把 訊息濃縮在簡單的線條形體中,透過 細膩童趣的圖像傳遞,猶如私人日記 般的誠實批露自身的經歷,幽默、詼 諧、諷刺,卻也敏感脆弱的叫人心疼。 《捧著小船的女孩》寫意的粗線條, 未經刻意修飾的水彩暈染,中央站立 的女孩雙眼迷離且神情茫然,微微仰 頭上望,兩手細細捧著猶如承載渴望 的玩具小船,腳邊波紋似如枷鎖禁錮 著女孩的方向,寂寞的身影卻帶著幾

151

|

YOSHITOMO NARA

( b.1959 )

Girl With a Ship 27.5×19.5cm Watercolor on Paper Signed Yoshitomo Nara in English, dated 1991

分倔強,似乎在尋求著能否有人注意 到自己的存在。此作創作於德國留學 時期,作為交通工具的船在此延伸為 連繫的符號,寄託一個遊子對家鄉的 濃厚感情,亦消解作為異鄉人的寂寥。

奈良美智 捧著小船的女孩 1991 水彩 紙本 簽名:Yoshitomo Nara 1991

NT$ 800,000-1,200,000 US$ 27,100-40,700 253


152

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ZAO WOUKI

( 1921-2013 )

趙無極

Limited Orchid Porcelain

蘭花

直徑 25cm Watercolor on Porcelain Signed on the reverse: Wou Ki in Chinese and Zao in English, dated 1986 Edited for the BSN group during its twentieth anniversary in 1986 Workshops Ségriès Moustiers

1986 水彩 瓷盤 背面簽名:無極 ZAO 86 盤身背面為法國知名陶瓷工作室 l'atelier ségriès 製作署款 資料及 BSN 慶祝企業二十周年紀念賀詞

NT$ 60,000-120,000 US$ 2,000-4,100

旅法畫家趙無極其是當今國際知名的抽象大師,在 1986 年為慶祝 BSN 企業二十週年的成立,特別邀請 知名畫家趙無極繪製限量抽象蘭花瓷盤。《蘭花》繪於 1986 年,並由法國最知名的陶瓷工作室 l'atelier ségriès 製作。這是一家專門生產 17 世紀或 18 世紀風格的西洋古陶瓷,以手工製作聞名,力求精緻完美。 曾經為知名精品法國愛馬仕和紐約的提芬妮合作陶瓷工藝。 254


153

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TONY WONG

( 1948-2012 )

Conception 83.5×75cm Oil Pastel on Black Rag Paper Signed on the reverse: named Conception in English, sized 32×29 1/2, T.W.H Wong in English Provenance Ruth Siegel, Ltd. Gallery, New York (label on verso) Private Collection

黃榮禧 概念 1985 油彩 粉彩 亞麻紙本 背面簽名:Conception, 32×29 1/2, T.W.H. Wong 來源 紐約 Ruth Siegel Gallery 私人收藏

NT$ 180,000-350,000 US$ 6,100-11,900 「藝術來自心中,來自情緒,非常個人,有很多不可言說神秘的部分」 --- 黃榮禧 黃榮禧的創作具有顯著的故事性,敘事風格濃烈,卻不提供具體情境線索,保留觀者自身詮釋的開放性,以形象暗喻 故事,使作品富饒寓意。舉凡中西民間神話、傳說故事或寓言,皆為其創作的題材、靈感來源。此作《概念》以畫面 中央作為構圖軸心,厚重細膩卻不規則的色彩,與筆觸層層堆疊交映;畫布四周剪裁扭曲,拋開一般方正形式,呈現 猶如夢境般的空間格局,視覺觀感強烈。畫中裸身人體斜躺在地,與上方飛鳥的互動造就觀者想像空間,意境深遠。

255


154

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CHEN LAIXING

( b.1949 )

Agriculture 130.5×95cm Oil on Canvas Signed Chen Lai-Xing in Chinese, dated 1992

陳來興忠於自己的感觸和觀察,繪畫靈感來自生活環境的千變 萬化,關注土地上的事物表象更關切著社會運作與走向,藝術 創作與現實結合,作品反映出工商社會成長的面貌,運用自己 獨特繪畫語彙,將內心的自然意境栩栩如生的動態感呈現。陳 來興用「雙腳走街頭,雙手畫庶民」的行動來表達對台灣這塊

陳來興

土地的熱愛。農業是一個文化的興盛關鍵,也是人民身心健康

農耕

的依賴,此作《農耕》中以深沉的色調背景烘托出農夫持著鋤

1992 油彩 畫布 簽名:陳來興 1992

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

256

頭辛苦耕作,運用個人獨特的三維空間繪畫,形成深而遠的空 間,筆觸狂亂中散發著強烈的力量,思古幽情,畫出鄉土美好 的農業景色。


155

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ZAO WOUKI

( 1921-2013 )

a.Etching with aquatint,1989 b.Epitaph Karl Amadeus Hartmann, 1964 a. 39×54.2cm b. 47×37cm a. Lithograph, E.A. b. Lithograph, 29/100 a. Signed Wou-Ki in Chinese and Zao in English, dated 1989 b. Signed Wou-Ki in Chinese and Zao in English, dated 1964 ILLUSTRATED 1. " Z A O W O U- K I T h e G r a p h i c Wo r k Catalogue Raisonné", Edition Heede Moestrup, Copenhagen 1994, Page 82 2. " Z A O W O U- K I T h e G r a p h i c Wo r k Catalogue Raisonné", Edition Heede Moestrup, Copenhagen 1994, Page 209

A & A &

b. The Lithograph printed by Willi Fisher, Munich. Published by Richard P Hartmann, Munich in 1966.

趙無極 a.Etching with aquatint,1989 b.Epitaph Karl Amadeus Hartmann, 1964

b. a.

a.1989 b.1964 a. 版畫 E.A. b. 版畫 29/100 a. 無極 ZAO 89 b. 無極 ZAO 64 圖錄 1. 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》, Edition Heede & Moestrup ( 法 國 出 版 ), 1994 年,第 189 頁 2. 《ZAO WOU~KI The Graphic Work A Catalogue Raisonné 1937~1995》, Edition Heede & Moestrup ( 法 國 出 版 ), 1994 年,第 209 頁 b. 版畫於 1996 年由 Richard P. Hartmann, Munich 出版 ; Willi Fischer, Munich 印製

NT$ 220,000-400,000 US$ 7,500-13,600

257


a. b.

156

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ZAO WOUKI

( 1921-2013 )

Composition a.47.5×67cm b.40×67cm a.Lithograph, 97/99 b.Lithograph, E.A. a.Wou Ki in Chinese and Zao in English, dated 1994 b.Wou Ki in Chinese and Zao in English, dated 1976 ILLUSTRATED a. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 203 b. "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 152

258

趙無極 Composition a.1994 b.1976 a. 版畫 97/99 b. 版畫 E.A. a. 簽名:無極 ZAO 094 b. 簽名:無極 ZAO 076 圖錄 a. 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》 Edition Heede & Moestrup ( 法國出版 ) 1994 年,第 203 頁 b. 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》 Edition Heede & Moestrup ( 法國出版 ) 1994 年,第 152 頁

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


157

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ZAO WOUKI

( 1921-2013 )

Elegy on Jean-Mari, 1978 58×48cm Lithograph , E.A. Signed Wou-ki in Chinese and Zao in English, dated 1978, numbered E.A. ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 295 The Lithograph printed by Bellini, Paris. Published by Éditions Regard, Genève.

趙無極 Elegy on Jean-Mari, 1978 1978 版畫 E.A. 簽名:EA 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 版畫由 Éditions Regard, Genève 出版 , 在 Bellini, Paris 印製

NT$ 100,000-200,000 US$ 3,400-6,800 259


158

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YAYOI KUSAMA

( b.1929 )

Flowers(1) 53.3×61cm Screenprin, 7/100 Signed yatoi kusama in English, named FLOWER(1), dated 1985, numbered 7/100 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 58, no. 086

草間彌生 花 (1) 1985 絲網版畫 7/100 簽名:7/100 FLOWERS(1) 1985 yayoi kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社, 2011 年,第 58 頁,編號 086

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

260


159

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YAYOI KUSAMA

( b.1929 )

Pumpkin 22.8×29.8cm Lithograph, 17/120 Signed Yayoi Kusama in English, named Pumpkin in Japanese, numbered 17/20 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 77, no. 139

草間彌生 南瓜 1996 版畫 17/120 簽名:17/20 かぼちゃ Yayoi Kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社, 2011 年,第 77 頁,編號 139

NT$ 240,000-350,000 US$ 8,100-11,900

261


160

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YAYOI KUSAMA

( b.1929 )

Flower 61×51cm Lithograph, P.P. Signed Yayoi Kusama and Titled Flowers C in English, dated 2005, numbered P.P. ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 198, No.348

262

草間彌生 花 2005 版畫 P.P. 簽名:P.P. 花 FLOWERS C 2005 Yayoi Kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版 株式會社,2011 年,第 198 頁,編號 348

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


161

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FANG LIJUN

( b.1963 )

Swimming Series 55×75cm Lithograph, 35/99 Signed Fang Li-Jun in Chinese, dated 2006, numbered 35/99 Korean and Japanese and Chinese Contemporary Prints Work

方力鈞 游泳系列 2006 版畫 35/99 簽名:方力鈞 2006 35/99 收錄於『韓.日.中現代版畫集』

NT$ 160,000-240,000 US$ 5,400-8,100 263


162

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JOAN MIRO

( 1893-1983 )

Self-portrait 72×53.5cm Signed Miró in Spanish 112/125 With a certificate of authenticity from Gallery EXHIBITION "Miró 80", Musée Isetan, Tokyo, 1980

米羅 自畫像 版畫 112/125 簽名:Miró 附畫廊開立之原作保證書 展覽 「米羅特展」,伊勢丹美術館,東京,1980 此件作品於 1980 年東京伊勢丹美術館米羅 特展宣傳主圖,由 Poligrafa, SA 出版

264

NT$ 90,000-160,000 US$ 3,100-5,400


163

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JU MING

( b.1938 )

Buddha Head 9×10×26cm Bronze, 83/120 Signed Ju Ming in Chinese With a certificate of authenticity from Caves Gallery

朱銘 佛頭 銅 83/120 簽名:朱銘 附敦煌畫廊開立之原作保證書

NT$ 160,000-300,000 US$ 5,400- 10,200 朱銘 15 歲時在父親帶領下至媽祖廟向 雕刻師傅李金川拜師,接受傳統佛像 雕刻的啟蒙,自此奠下雕刻的根基, 秉承師父對傳統題材的熱度,掌握雕 刻的精髓,運用精湛的功力,將東方 神聖的佛陀像,塑造神威顯赫的莊嚴 靜穆感,容貌寧靜、端祥展現形而上 的力量,神恩普照著信徒,一如宗教 藝術所追求的境界。

265


164

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CHENG SHANHSI

( b.1932 )

a. Repeat b. Actor Play a.27.5×24.5cm b.27.5×24.5cm Ink and Color on Paper a.Titled in Chinese With one seal of the artist b.Titled in Chinese With one seal of the artist

鄭善禧 a. 舊事重提 b. 畫戲 1985 ( 乙丑年 ) 彩墨 紙本 a. 藝術家題識、鈐印 b. 藝術家題識、鈐印

NT$ 160,000-220,000 US$ 5,400-7,500 鄭善禧的繪畫有一種樸拙的美感,能 夠擁有這樣的作畫風格不是件容易的 事,必須忘卻或隱匿掉曾經熟悉的技 法與刻畫能力,才能夠釋放出屬於自 己的創作能量。 在鄭善禧畫作中,總有著「反樸歸真」 的簡單感動,對於生活情懷的捕捉, 藉由筆墨轉譯;對於創作,他已經完 全與生活合而為一了。鄭善禧以日常 生活經驗小事作為創作靈感來源,營 造出的畫面總是活潑繽紛,流暢的運 筆與設色勾勒出市井小民生活情調, 搭配其別具特色的圓融題字,一幅幅 趣意盎然的生活小品就這樣留存了下 來,值得細細觀賞體會。

a. b.

266


165

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YAYOI KUSAMA

( b.1929 )

A Pumpkin YOR-A 24×28.5cm Lithgraph, A.P. Signed Yayoi Kusama in English, numbered A.P., named A PUMPKIN YOR-A in English, dated 2004 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 187, No.326

草間彌生 南瓜 YOR-A 2004 版畫 A.P. 簽名:A.P. A PUMPKIN YOR-A 2004 Yayoi Kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社, 2011 年,第 187 頁,編號 326

NT$ 280,000-350,000 US$ 9,500-11,900 267


166

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YAYOI KUSAMA

( b.1929 )

Ashtray 67.8×84.4cm Lithograph, 50/50 Signed Yayoi Kusama in English, Ashtray in Japanese, dated 1988, numbered 50/50 ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 77, no. 118

草間彌生 菸灰缸 1988 版畫 50/50 簽名:50/50 灰皿 1988 Yayoi Kusama 圖錄 《草間彌生全版画 1979~2011》,阿部出版株式會社, 2011 年,第 77 頁,編號 118

NT$ 240,000-350,000 US$ 8,100-11,900

268


167

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PIERRE FERNANDEZ ARMAN

( 1928-2005 )

Greeting 31×10×15cm Bronze, 7/8 Signed Arman in English, numbered bocquel Fd. 7/8 With a certificate of authenticity from Gallery

阿曼 致敬 1986 銅 7/8 簽名:Arman, bocquel Fd. 7/8 附畫廊開立之原作保證書

NT$ 260,000-320,000 US$ 8,800-10,800 法裔美籍的雕刻家阿曼,生於法國尼斯,是二十世紀後 半期最重要的法國當代藝術家之一,更是少數在世時便 被寫入藝術史的當代藝術家。其作品常見對於物件的切 割、拆解、堆疊、集積後重新組譯詮釋,形成特有的藝 術風格。 此件作品《致敬》中便可見其對於物件切割解離的藝術 手法,一對相識的男女卻擁有各自拆解的容貌,片狀抽 離的身體切面是藝術家給予的新三度 ( 雕塑 ) 空間,觀者 難以擁有一個固定且合乎尋常觀看經驗的視點,需要不 斷移動腳步來擁有每一角度的閱讀可能。而這樣重新排 列組合後的雕塑物件,讓作品產生新的律動,彷彿帶有 音樂性的視覺樂章。

269


168

|

PENG KUANGJUN

( b.1961 )

Posture 34×34×65cm Bronze, 1/10 Signed Kuang Jun in Chinese, dated 2006, numbered 1/10

《姿》生動呈現人體的優雅姿態及動人神韻,而少 女背後的琉璃翅膀有如精靈翅膀般俏麗清澈,半透 明的彩色薄片緩和了金屬堅硬、冷冽的絕對印象, 賦予雕塑靈秀脫俗的生命感。彭光均高超的塑造技 巧與獨特的素材搭配、上色技術,讓作品擁有獨樹 一格的風格表現,融合寫實的細膩風情和寫意的情

彭光均

感想像,在動、靜之間的體態呈現,變化多端而風

姿

姿綽約,如跳舞女孩延伸、柔軟的肢體語言,個個

2006 銅 1/10 簽名:2006 光均 1/10

NT$ 140,000-260,000 US$ 4,700-8,800

270

訴說著扣人心懸的優美故事。


169

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LEE LIANG

( b.1985 )

The Six of Heartfelt Wishes 120×80cm Oil on Canvas Signed Lee Liang in Chinese and dated 2013.03 Signed on the reverse: Lee Liang and title in Chinese, dated 2013.03

李梁 心聲之六 2013 油彩 畫布 簽名:李梁 2013.3 背面簽名:《心聲之六》李梁 2013.13

NT$ 160,000-320,000 US$ 5,400-10,800

「藝術不再是美醜問題,而是生活的鏡像。」 --- 李梁 李梁的作品中,時常以「內心的真實」為主題,藉由藝術去探討、捕捉內心流露出的隻字片語,試圖在抽像與具象間,找到更貼近人們內 心精神世界的表達方式。《心聲之六》畫面運用「不確定」與「模糊」的處理手法,令色層、敘事、光影皆呈現於一種未知的狀態,結合 柔美動態的花卉、金魚,劃分為獨立空間,與憂鬱藍色調點綴的海景、女子行走的背影相互輝映,故事氛圍濃烈,留予觀者無限想像。

271


170

|

LI JUNYANG

( b.1967 )

Goddess Mazu 73×240cm 73×60cm(4) Acrylic on Canvas

李俊陽 媽祖點讚圖 壓克力 畫布

李俊陽未接受學院訓練,造就其極具彈性的轉換創意,形成 主流之外另類難解的創作美學。其展覽不斷,資歷豐富,為 2002 年亞洲文化協會視覺藝術類授獎人、美國舊金山赫德蘭 藝術中心駐村藝術家,作品更被博物館珍藏。李俊陽擅以各種 符號的挪用共構創造神祕混沌的社會現象,並將複雜深刻主體 認同潛藏在繽紛暢意的嬉戲背後。此幅《媽祖點讚圖》中媽祖 手持 iPad,傳遞訊息給八方眾神、十方法界,各界仙人腳踩 祥雲漂浮山水之間領受媽祖聖意。背景以沉穩古金色為底,湖 綠、桃紅色流瀉奔放,暢快淋漓,色彩濃艷中見雅致。此作體

NT$ 160,000-320,000 US$ 5,400-10,800

272

現李俊陽的心靈世界,漂浮著台灣世俗宗教的圖騰與符號,充 滿了台灣民俗信仰的神祕色彩、生命經驗和哲學辯證。


171

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LEE MINGCHUNG

( b.1961 )

The Light in Darkness 55.5×47cm Oil on Canvas With a certificate of authenticity from Gallery

李民中

李民中十分擅長運用顏色及掌握顏

黑暗裡的光線

色, 其 天 馬 行 空 不 受 約 束 的 創 作 風 格,作品藝術性極高,細膩有質感的

1991 油彩 畫布 附畫廊開立之原作保證書

筆觸整體恣意流暢,運用豔麗的對比 色彩,高彩度色彩層層堆疊,營造出 奇幻的視覺畫面,倏忽地被吸進李民

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

中的神祕空間裡,將觀者帶領至無窮 無盡的想像之中。 273


172

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LEE KUMO

( b.1941 )

Guan Yu 54×136cm Ink on Paper Signed Lee Kumo in Chinese, dated 2000 With seven seals of the artist

李轂摩 關公 2000 水墨 紙本 簽名:李轂摩恭繪 庚辰秋 藝術家鈐印

「精忠沖日月,義氣貫乾坤。」

--- 關聖帝君明聖真經

NT$ 80,000-160,000 US$ 2,700-5,400 對李轂摩來說,藝術即生活,他的題 材通俗,搭配饒富趣味的詞句,畫境 輕鬆幽默,卻又潛藏哲理,濃厚的人 情味充滿在一筆一劃之間,讓觀者體 會到生活之美及含蓄的生命力。李轂 摩有紮實的書畫根基,但不拘泥故步, 他的傳統人物既有古法又得新意,富 含禪意,如入妙境。

274


173

|

LIU KENGI

( b.1938 )

Reflection on the Lake 39×54.5cm Oil on Canvas Signed Ken-Gi in Chinese, dated 1973

劉耿一受到父親劉啟祥及印象派影響,從 小耳濡目染,創作以寫生描繪周遭生活景 象為題材,思索提煉藝術的本質,主觀的 情感投射於大自然天地的視覺變化,以繪 畫抒發感性的內在情懷,形象流動而內

劉耿一

斂。《湖光樹影》畫面中直挺的樹木靜置

湖光樹影

於幽謐的綠湖中,樹影透過藍綠色湖面的 光反射形成,色彩、形體隨著光影變化呈

1973 油彩 畫布 簽名:耿一 '73

現微妙畫風,整體展現均衡的美感。

NT$ 80,000-120,000 US$ 2,700-4,100

275


174

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WALASSE TING

( 1929-2010 )

Peches et Fleurs 120×160cm Lithograph, A.P. Singed Walasse Ting in English, dated 1990

丁雄泉 桃和鮮花 1990 版畫 A.P. 簽名:Walasse Ting 90

NT$ 240,000-320,000 US$ 8,100-10,800

276


175

|

TAKASHI MURAKAMI

( b.1962 )

a. Kaikai with Moss b. Kiki with Moss 69×69cm(2) a.Lithograph, 28/300 b.Lithograph, 207/300 a.Signed M in English, numbered 28/300 b.Signed M in English, numbered 207/300

村上隆 a. Kaikai with Moss b. Kiki with Moss 2004 a. 版畫 28/300 b. 版畫 207/300 a. 簽名:M, 28/300 b. 簽名:M, 207/300

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

a. b.

277


a. b.

176

|

TAKASHI MURAKAMI

( b.1962 )

a. Jellyfish Eyes, Max and Simon in the Strange Forest b. Black Black Beard 69×69cm(2) a.Lithograph, 189/300 b.Lithograph, 132/300 a.Signed M in English, numbered 189/300 b.Signed M in English, numbered 132/300

村上隆 a. 水母眼睛,馬克斯和賽門在怪異森林 b. 黑色的黑色的俏鬍子 a.2005 b.2003 a. 版畫 189/300 b. 版畫 132/300 a. 簽名:M, 189/300 b. 簽名:M, 132/300

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

278


a.

177

|

TAKASHI MURAKAMI

b.

( b.1962 )

The Blessed Lion (a set of 2) 70×140cm(2) a.Lithograph, 41/300 b.Lithograph, 76/300 a.Signed M in English, dated 2010, numbered 41/300 b.Signed M in English, dated 2010, numbered 72/300

村上隆 福臨之獅 ( 兩件一組 ) 2010 a. 版畫 41/300 b. 版畫 76/300 a. 簽名:M, 41/300 b. 簽名:M, 76/300

NT$ 160,000-300,000 US$ 5,400-10,200

279


178

|

CLAUDE WEISBUCH Musique de chambre 18.5×23.5cm Pencil on Paper Signed Weisbuch in French

( b.1927 )

克勞德.維士巴修 室內交響 素描 紙本 簽名:Weisbuch

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

280


179

|

CLAUDE WEISBUCH Violoniste 16.5×12.5cm Pencil on Paper Signed Weisbuch in French

( b.1927 )

克勞德.維士巴修 提琴手 素描 紙本 簽名:Weisbuch

NT$ 100,000-200,000 US$ 3,400-6,800 281


180

|

CLAUDE WEISBUCH Autoportrait 20×13.5cm Pencil on Paper Signed Weisbuch in French

( b.1927 )

克勞德.維士巴修 自畫像 素描 紙本 簽名:Weisbuch

NT$ 100,000-200,000 US$ 3,400-6,800 282


181

|

WALASSE TING

( 1929-2010 )

a. Composition with Lady and a Cat b. Erotic Composition - Red Hair Lady c. Erotic Composition - Black Hair Lady a.55×75cm b.43×58cm c.72×57cm a.Lithograph, 116/125 b.Lithograph, E.A. 70/70 c.Lithograph, 42/90 a. Signed Ting in English, dated 1986, numbered 116/125 b. Signed Walasse Ting in English, numbered E.A. 70/70 c. Signed Ting in English, dated 1977, numbered 42/90

丁雄泉 a. 藍髮仕女與白貓 b. 嬌豔紅髮 c. 黑髮女郎 a.1986 b.1979 c.1977 a. 版畫 116/125 b. 版畫 E.A. 70/70 c. 版畫 42/90 a. 簽名:116/125 Ting 86 b. 簽名:E.A. 70/70 Walasse Ting c. 簽名:42/90 Ting 77

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

a. b. c.

283


182

|

WALASSE TING

( 1929-2010 )

a.Nude and Flowers b.Blue Hair c.Girl With A Green Cat d.Pink Fleck Blanket a.69×97cm b.71×101cm c.71×101cm d.69×97cm a.Lithograph, 185/200 b.Lithograph, 111/200 c.Lithograph, 183/250 d.Lithograph, 179/200 a.Signed Ting in English, dated 1988, numbered 185/200 b.Signed Ting in English, dated 1988, numbered 111/200 c.Signed Ting in English, dated 1987, numbered 183/250 d.Signed Ting in English, dated 1985. numbered 179/200

丁雄泉 a. 裸女與花 b. 藍髮女子 c. 女郎與綠色的貓 d. 斑點毯 a.1988 b.1988 c.1987 d.1985 a. 版畫 185/200 b. 版畫 111/200 c. 版畫 183/250 d. 版畫 179/200 a.185/200 Ting 88 b.111/200 Ting 88 c.183/250 Ting 87 d.179/200 Ting 85

NT$ 120,000-200,000 US$ 4,100-6,800 284

a.

b.

c.

d.


183

|

TAKASHI MURAKAMI

( b.1962 )

a. Cosmos b. Cube c. Cube 2 60×60cm(3) a.Lithograph, 69/300 b.Lithograph, 72/300 c.Lithograph, 24/300 a.Signed M in English, numbered 69/300 b.Signed M in English, numbered 72/300 c.Signed M in English, numbered 24/300

a. c. b.

村上隆 a. Cosmos b. Cube c. Cube 2 2010 a. 版畫 69/300 b. 版畫 72/300 c. 版畫 24/300 a. 簽名:M, 69/300 b. 簽名:M, 72/300 c. 簽名:M, 24/300

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

285


184

|

TAKASHI MURAKAMI

( b.1962 )

a. Flowers, Flowers, Flowers b. Flower Superflat 70×70cm(2) a.Lithograph, 78/300 b.Lithograph, 265/300 a.Signed M in English, numbered 78/300 b.Signed M in English, numbered 265/300

村上隆 a. Flowers, Flowers, Flowers b. Flower Superflat a. 2010 b. 2004 a. 版畫 78/300 b. 版畫 265/300 a. 簽名:M, 78/300 b. 簽名:M, 265/300

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

a. b.

286


185

|

TAKASHI MURAKAMI

( b.1962 )

Gunegune DOB Special Version 103×73cm Lithograph, 40/100 Signed TAKASHI in English, dated 1997, numbered 40/100

村上隆 Gunegune DOB Special Version 1997 版畫 40/100 簽名:TAKASHI 97 40/100

NT$ 40,000-80,000 US$ 1,400-2,700

287


a. b.

186

|

YOSHITOMO NARA

( b.1959 )

Cosmic Girl Eyes (Close/Open) 64×48cm(2) Print, edition of 500 Two offset lithographs printed in colors, Courtesy Stephen Friedman Gallery, London.

奈良美智 宇宙女孩 - 睜眼閉眼 2008 版畫 限量 500 套 此作品為奈良美智 2008 年在英國倫敦 Baltic Centre for Contemporary Art 個展所創作的 500 張限量海報

NT$ 55,000-120,000 US$ 1,900-4,100

288


187

|

JACQUES DEPERTHES

( b.1936 )

Landscape

戴貝魯特

76×101cm Lithograph, 237/250 Signed Jacques Deperthes in French, numbered 237/250

風景 版畫 237/250 簽名:237/250 Jacques Deperthes

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

289


188

|

ANDRE BRASILIER

( b.1929 )

Horse Racing

安德烈.布拉吉利

43×64cm Lithograph, 16/100 Signed André Brasilier in French, numbered 16/100

賽馬 版畫 16/100 簽名:16/100 André Brasilier

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

290


189

|

JEAN JANSEM

( 1920-2013 )

Lying Girl

強.詹森

54×76cm Lithograph, 51/120 Signed Jansem in English, numbered 51/120

靜躺的芭蕾女孩 版畫 51/120 簽名:51/120 Jansem

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

291


190

292

|

JEAN PIERRE CASSIGNEUL

( b.1935 )

At the Waterfront

尚.皮耶.卡辛紐

76×56cm Lithograph, 139/200 Signed Cassigneul in French, numbered 139/200

海之音 1997 版畫 139/200 簽名:139/200 Cassigneul

NT$ 60,000-120,000 US$ 2,000-4,100


a. b.

191

|

TAKASHI MURAKAMI

c. d. ( b.1962 )

a.From the perceived debris of the universe, we are still yet unable to reach the stage of nirvana b.The road to illumination stretches too far ahead. How can I fend off the crashing waves of earthly desires? I am there in a mournful beast. The husk of humanity, too cruel. c.Initiate the speed of cerebral synapse at free will d.My arms and legs rot off 70×82cm(4) a.Lithograph, 220/300 b.Lithograph, 160/300 c.Lithograph, 228/300 d.Lithograph, 96/300 a.Signed M in English, numbered 220/300 b.Signed M in English, numbered 160/300 c.Signed M in English, numbered 228/300 d.Signed M in English, numbered 96/300

村上隆 a.感知宇宙碎片仍無法成涅槃 b.道路太遠如何避塵自我野獸人性的殘酷 c.將自由地觸動腦中速度 d.我的胳膊與腿皆腐爛 a.2008 b.2008 c.2007 d.2008 a.版畫 220/300 b.版畫 160/300 c.版畫 228/300 d.版畫 96/300 a.簽名:M, 220/300 b.簽名:M, 160/300 c.簽名:M, 228/300 d.簽名:M, 96/300

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

293


a. b.

192

|

TAKASHI MURAKAMI

( b.1962 )

a.Bokan-camouflage pink b.Bokan-camouflage green 50×50cm(2) a.Lithograph, 24/300 b.Lithograph, 59/300 Two offset lithographs printed in colors, each signed and dated in black or metallic silver ink, on smooth wove paper

村上隆 a.Bokan-camouflage pink b.Bokan-camouflage green 2011 a.版畫 24/300 b.版畫 59/300 a.簽名:M 24/300 b.簽名:M 59/300 Bokan-camouflage pinK 原版於2011年由紐約蘇富比 拍出154萬美元,為年度拍賣第二高價的日本藝術品

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

294


193

|

TAKASHI MURAKAMI

( b.1962 )

a.Flowerball Brown b.Kansei Abstraction c.Flower Ball Red 3D The Magic Flute 直徑70cm(3) a.Lithograph, 30/300 b.Lithograph, 116/300 c.Lithograph, 47/300 a.Signed M in English, numbered 30/300 b.Signed M in English, numbered 116/300 c.Signed M in English, numbered 47/300

村上隆 a.花球 茶色 b.澗聲 抽象 c.花球 紅(3D)魔笛

a. b. c.

a.2010 b.2010 c.2010 a.版畫30/300 b.版畫116/300 c.版畫47/300 a.簽名:M, 30/300 b.簽名:M, 116/300 c.簽名:M, 47/300

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

295


194

|

LIU CHIWEI

( 1912-2002 )

Frog

劉其偉

15×20cm Watercolor on Paper Signed Liu Chi-Wei in Chinese phonetic and dated 1997 With one seal of the artist

青蛙 1997 水彩 紙本 簽名:ㄌ一ㄡˊㄑ一ˊㄨㄟˇ 1997 藝術家鈐印

NT$ 70,000-100,000 US$ 2,400-3,400

劉其偉擁有強烈的人格特質,觀賞他的作品,不需要想得太深遠太複雜,純真、詼諧、誠懇、睿智是從畫面最直接流露的情 感,就如同見到充滿愛心和魅力的劉老本人一般,純粹、真摯,讓觀者不自覺地一起暢遊於動物世界中,歡欣而無憂。他曾經 說過:「一個小女孩寫的家書也可以是一篇感人的文章,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。」作品《青蛙》,流暢的筆劃線條簡單到位,色彩自如揮灑,整體畫 面乾淨俐落,優雅自然。 296


195

|

FU CHUANFU

( 1910-2007 )

Gentleman Cautious 24×64cm Ink on Paper With one seal of the artist

傅狷夫 君子慎獨 1995 水墨 紙本 藝術家鈐印

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

「君子慎獨」乃說明君子閒君獨處時,行為仍然謹慎不苟且。 書法的美在於空間之運用、線條之起落與墨跡之分布。傳狷夫的書法成就,足以媲美繪畫藝術的創作,人稱「書畫 雙絕」,實當之無愧,他的篆、隸、楷的厚重與行草書的豪邁,可說是其個性與見解的抒發,姚夢谷言:「狷夫之 書藝如此,由心達意,以意運氣轉腕,力亦隨之,不論從他晝的線條或款字的變化上,都能看出息息相關之處。」

297


196

|

HSIEH HSIAOTE

( b.1940 )

Riverside

謝孝德

77.5×108.5cm Watercolor on Paper Singed Hsieh Hsiao-Te in Chinese, dated 2011

垂釣河畔 2011 水彩 紙本 簽名:2011謝孝德

NT$ 80,000-120,000 US$ 2,700-4,100

博學多才的謝孝德,曾至法國巴黎羅浮藝術學院進修,經長年的繪畫經驗,將東方藝術山水畫與西方透視觀點結合發揮的淋漓 盡致,在藝術創作路上,始終秉持著「山不朦朧不是山,水不澄清不是水」的精神。《垂釣河畔》此幅畫以湖面為起點,河畔 與岸藉由色彩的流動自然相接,漁船靜謐的停駐於湖上垂釣點綴於中,襯托山川流水之美成為焦點;由近望向遠方,山貌與雲 海交織如仙境般的美感。

298


197

|

BERNARD BUFFET

( 1928-1999 )

Still Life

畢費

52×34.5cm Lithograph, 72/80 Signed Bernard Buffet in French, numbered 72/80

靜物 版畫 72/80 簽名:72/20 Bernard Buffet

NT$ 60,000-120,000 US$ 2,000-4,100

299


198

|

PAUL GUIRAMAND

( 1926-2008 )

Blue Sunset 52×69cm Lithograph, 56/200 Signed Guiramand in French, numbered 56/200

保羅.賈曼 藍色夕陽 版畫 56/200 簽名:56/200 Guiramand

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

300


199

|

SALVADOR DALI

( 1904-1989 )

The First Study For The Madonna Of Port Lligat

達利

55.5×44cm Lithograph, 4/50 Signed moseum and Dalí in Spanish, numbered 4/50

利加特港聖母的第一幅習作 版畫 4/50 簽名:moseum 4/50 Dalí

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

301


200

|

SALVADOR DALI

( 1904-1989 )

Life of Time

達利

100×69.5cm Lithograph, 46/55 Signed J Dali in English, numbered 46/55

生命之舞 版畫 46/55 簽名:J 46/55 Dali

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

302


[a] 簡嘉助為中部藝術界的重量級人物,曾於日本 「白亞展」、「日現展」中獲獎,且得到國立 歷史博物館「金章證書」的優異肯定。作育英 才數十年,投入藝術活動更是不遺餘力,成為 許多畫會展覽的靈魂人物。簡嘉助與王守英、 謝峰生、倪朝龍、曾得標等人創立「具像畫 會」,於當時畫壇有舉足輕重的地位,倡揚藝 術應根植土壤的理念,以畫筆抒懷對故鄉的豐 情。他以深沉的文化關懷來體現生活的溫度, 再透過彩筆表現出自己獨特的視覺個性。《林 間屋舍》以蘊蓄凝鍊的風貌呈現,他的獨到筆 觸,使水彩畫擁有油畫的濃烈色感、明快鮮 活的氛圍,但仍保有鄉間的恬靜優雅。最遠處 以淡然的青色勾染,蔥鬱繁茂之外增添一抹空 茫。簡嘉助不著痕跡地描繪出深刻化的寫實, 原始自然的生命力不時躍然紙上,豪邁的激情 裡蘊含著溫遜和靜美。

[b] 楊啟東與藍蔭鼎、李澤藩同被後人推崇為台灣 水彩畫壇三大巨擘。獲獎、參展無數,如「大 潮會展」、「日展」及法國「春季沙龍展」, 同時也積極辦展、創立畫會,推廣美術教育, 桃李天下。楊啟東最常勉勵藝術同好的座右銘 是:「人生晨露,藝術千秋」,其對藝術追求 的汲汲熱忱,使得蒼鬱混融的畫面中也渲染了 深厚的人文底蘊。早年於台北師範學校得到藝 術啟蒙,跟隨石川欽一郎習得英國式水彩畫輕 妙流暢的特質,後獨創啟東式的不透明水彩, 沉潛豐厚,凝練卻動感。這幅《盛夏鄉林》呈 現原樸的自然美,以細膩豐富的色彩變化、磅 礡鮮活的層次感受,描繪台灣壯闊蓊鬱的山 巒。遠看綿延無窮的峰勢,近攬迎風彎曳的樹 林,蒼翠華麗的律動之中洋溢著草根粗邁的豪 氣,然而靜心細觀,卻能領會一抹若有似無、 飄渺淡然的鄉愁。

201

|

a.CHIEN CHIACHU ( b.1938 ) b.YANG CHITONG ( 1906-2003 ) a.Forest Houses b.Summer Landscape

a.31×40cm b.22.5×30cm a.Watercolor on Paper b.Watercolor on Paper a.Signed Chia-Chu in Chinese, dated 1983 b.Signed Tong in Chinese, dated 1964 With one seal of the artist

a.簡嘉助 b.楊啟東 a.林間屋舍 b.盛夏鄉林 a.1983 b.1964 a.水彩 紙本 b.水彩 紙本 a.簽名:嘉助'83 b.簽名:東 64 藝術家鈐印

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

303


[阮籍永懷詩兩首 釋文] 其一 炎暑惟茲夏。三旬將欲移。 芳樹垂綠葉。清雲自逶迤。 四時更代謝。日月遞差馳。 徘徊空堂上。忉怛莫我知。 願覩卒歡好。不見背別離。 其二 灼灼西隤日。餘光照我衣。 回風吹四壁。寒鳥相因依。 周周尚衛羽。蛩蛩亦念饑。 如何當路子。磬折忘所歸。 豈為夸譽名。憔悴使心悲。 寧與燕雀翔。不隨黃鵠飛。 黃鵠游四海。中路將安歸。

202 LI SHANGXUE

( b.1961 )

Poetry in the Life of Ruan Ji 175×44cm(2) Ink on Paper With seals of the artist With an inscription written by Yang Ren-Kai

李尚學 阮籍詠懷詩二首 2002 水墨 紙本 藝術家鈐印 古書畫鑑定名家楊仁愷為李尚學篆刻印譜題字

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

304


203

|

LAM WIFREDO

( 1902-1982 )

Multipliés de Membres de Loa a.64×49.5cm b.68×54cm a.Lithograph, 6/20 b.Pencil on Paper a. Signed Wilam in English, numbered 6/20 With a certificate of authenticity from Gallery

林飛龍 垂直注目 a.1973 a. 版畫 6/20 b. 鉛筆 紙本 a.簽名:VI/XX Wilam 附畫廊開立之原作保證書

NT$ 60,000-12,000 US$ 2,000-4,100

a. b.

305


204

|

LIN YILONG

( b.1987 )

Rings of Saturn 01.02.03 23×30.5cm a.Lithograph, 5/10 b.Lithograph, 5/10 c.Lithograph, 5/10 a.Signed Rings of Saturn and Lin Yi-Long in Chinese, dated 2012 b.Signed Rings of Saturn and Lin Yi-Long in Chinese, dated 2012 c.Signed Rings of Saturn and Lin Yi-Long in Chinese, dated 2012

林義隆 土星環01.02.03 2012 a.版畫 5/10 b.版畫 5/10 c.版畫 5/10 a.簽名:5/10 土星環 林義隆 2012 b.簽名:5/10 土星環 林義隆 2012 c.簽名:5/10 土星環 林義隆 2012

a. b.

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

c.

林義隆的創作技巧細緻卻結構完整,語彙繽紛卻不失主軸,構圖綿密、裝飾性十足。作品獲國立台灣美術館、台北市立美術館典藏。銅 版為其主要的創作媒材,林義隆精準地掌握其「灰色地帶」,細膩算計著未知元素的質感與光影,將感官吸取的養分,具體而微地展現 其幽深的空間性及綺麗感。《土星環》系列共三件作品,場景綿延至畫作之外,彷彿超現實的異星球之旅。林義隆透過「實驗室」的概 念,去培養出一盒盒非常態的生命體,這些生命體不完全是全新未見的,而是透過自身感官再去轉化成新的符號,藉由這些圖像將腦內 的畫面重新塑造出來成為一個類似劇場,靜止分割的新空間,創造出看似華麗卻又荒蕪的神祕之境。林義隆細膩地揮灑每一個物體間的 意識形態,並大膽展露出它們神秘幽微的內心世界。 306


a. b.

205

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SALVADOR DALI

( 1904-1989 )

a.The Temptation of St.Anthony b.The Angelus a.51×67cm b.56×44cm a.Lithograph, 58/199 b.Lithograph, 70/300 a.Signed Dali in English, numbered 58/300 b.Signed Dali in English, numbered 70/300

達利 a.聖丹東尼的誘惑 b.考古地理學 a.版畫 58/199 b.版畫 70/300 a.簽名:58/199 Dali b.簽名:70/300 Dali

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

307


a. b.

206

|

SALVADOR DALI

( 1904-1989 )

a.El Gran Masturbador b.Venus a.52×66.5cm b.73×54.5cm a.Lithograph, 120/300 b.Lithograph, 34/300 a.Signed Dali in English, numbered 120/300 b.Signed Dali in English, numbered 34/300

達利 a.巨大的手淫者 b.維納斯 a.版畫 120/300 b.版畫 34/300 a.簽名:120/300 Dali b.簽名:34/300 Dali

NT$ 60,000-120,000 US$ 2,000-4,100

308


207

|

MARC CHAGALL

( 1887-1985 )

Lovers Over Paris

夏卡爾

61×79cm Lithograph, 481/500 Signed Marc Chagall in French With a certificate of authenticity from Gallery

巴黎戀人 版畫 481/500 簽名:Marc Chagall 附畫廊開立之原作保證書

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

309


208

|

PABLO RUIZ PICASSO

( 1881-1973 )

The Dream

畢卡索

37.5×27.5cm Lithograph, 108/500 Signed Collection Domaine Picasso in English, numbered 108/500 With a certificate of authenticity from Gallery

夢 版畫108/500 簽名:108/500 Collection Domaine Picasso 附畫廊開立之原作保證書

NT$ 50,000-100,000 US$ 1,700-3,400 310


郎靜山 LONG

CHINSAN (1892-1995)

001

083

038

066

117

145

生於中國江蘇。從李靖蘭老師學習繪畫、攝影及暗房技巧。1931年以作品《柳絲下 的搖船女》(又稱《柳蔭輕舟》)入選日本國際攝影沙龍;1934年又以個人第一件 「集錦攝影」作品《春樹奇峰》入選英國攝影沙龍,後逐漸於國際沙龍嶄露頭角。 郎靜山一生有不少創舉,其中最為人稱道的該屬「集錦攝影法」,郎氏具備之深厚 的國畫造詣與修養,將國畫中的畫理與攝影技巧融合為一,為其贏得了「影中有 畫,畫中有影」的讚譽,而顯得別具風格。郎氏對推動現代中國攝影藝術有卓越的 貢獻,入選世界各國攝影展覽作品達千件之多,曾出版多本個人攝影集,更被二十 餘個世界級攝影學會和團體推舉為名譽會員和研究員,其作品廣為海內外重要美術 館及私人珍藏。

Long Chinsan was born in Jiang Su, China. He learned painting, photograph and darkroom skill from Li Jing Lan. He has marked many milestones and the most highly appreciated one is his special “collective photograph skill”. The reason for the uniqueness is his accomplishment of Chinese painting, with which he combines with photograph. This skill won him the appraisal of perfect fusion of painting and photograph. Long devoted himself to and has tremendous contribution in Chinese contemporary photograph. Thousands of his works are participated in international exhibition; furthermore, he is elected as honorable member or researcher by more than 20 world class photo academies. His works are collected by famous museums and collectors.

阿佛雷德.巴斯天 ALFRED

蕭如松 HSIAO

BASTIEN (1873-1955)

JUSUN (1922-1992)

002

031

006 039

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.

003

081

生於台北,新竹師範學院畢業。其作品曾獲台陽展佳作獎、全省美展文協獎及主席 獎、台北西區扶輪社美術獎、中國學會1972年度最優水彩畫家金爵獎。蕭氏曾應邀 參加中日交換展、美國新港中國當代畫家聯展、費城中國文化展,並曾任中國畫學 會、台陽美術協會會員、青雲美術會會員,在台灣畫壇佔有一席之地。 Born in Taipei, Hsiao graduated from Hsingtsu Normal School. Hsiao has won numerous awards including the Excellent Work Prize at the Taiyang Show, the Literal Award and the Chairman Award presented by the Fine Arts Exhibition of Taiwan Province, and the Golden Knight Award presented by the Art Society of China in 1972. He has been invited to participate in the Exchange Exhibition of the Fine Arts between China and Japan, the Joint Exhibition of Contemporary Chinese Artists in Philadelphia.

311


藍蔭鼎 RAN

INTING (1903-1979)

沈哲哉 SHEN

CHETSAI (b.1926)

004

生於台灣宜蘭,是台灣知名水彩畫家。曾跟隨日本大師石川欽一郎(1871-1945)習 畫,對藍蔭鼎一生的繪畫發展有很深的啟悟。後於1923年赴日學習油畫及水彩畫。 1929年獲選為英國皇家水彩協會會員。其作品曾應邀於歐洲、北美、亞洲等地區 展出,作品廣為國內外機構所收藏。台灣光復後,創辦《台灣畫報》與《豐年月 刊》,並擔任社長。1971年榮獲歐洲藝術評論學會及美國藝術評論學會徵選為世界 十大水彩畫家之一,享譽國際。1952年入選為法國水彩畫協會會員。1962年日內 瓦國際年鑑推薦他為當代最傑出藝術家之一。1973年出任華視董事長,卒於1979 年,享年77歲。藍氏一生的水彩畫創作與啟發多以台灣風俗民情為題材,畫風將水 墨技法與西洋水彩畫融為一體,生動自然。1991年台北故宮博物院舉辦其紀念展, 1998年歷史博物館也再次舉辦藍氏回顧展,並出版其繪畫世界之經典。其著名作品 「養鴨人家」由倫敦劍橋美術館所收藏(1966)。

005

出生於台灣台南。1938年進入省立台南一中就讀,曾受業於廖繼春及郭柏川學習繪 畫。曾任台南美術研究會評議員、台陽美術學會會員、省展評議院、台南家專美術 系教師、服務教育界40餘年,目前已退休,專事創作,並旅居日本、美國兩地。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》。

Born in Yilan. Ran is the best known artist of Taiwan. Ran studied watercolor painting from,Ishikawa Kinichiro (1871-1945), and he was deeply influenced by his mentor. In 1929, Ran went to Japan to study painting and watercolor technique. In 1929, he was named honorary member of the British Royal Watercolor Association and was invited as a guest lecturer in Europe, North America and Asia. He then became the editor of Taiwan Pictoral Magazine and Good Harvest Magazine. In 1962, Ran was included in a list of the greatest artists of modern times in the International Geneva Yearbook. In1973, He served as president of China Television System and passed away in 1979. His subject matter was mostly the everyday lives of Taiwanese village people which he vividly depicted and combining the technique of Chinese Calligraphy and watercolor together to achieve his unique expression of pictorial space. In 1991, National Palace Museum held the memorial exhibition of Ran. In 1998, the National Museum of History in Taipei held the retrospective exhibition of RAN INTING and also published a catalogue of Ran's collection.

Shen was born in Tainan, Taiwan. Shen Che-tsai entered Provincial Tainan First Senior High School and studied with Kuo Po-chuan (1901-1974) and Liao Chi-chun. He has served as the councilor of Tainan Art Research Association, member of Taiyang Fine Arts Association, judge of Taiwan Provincial Fine Arts Exhibition, professor of Tainan Woman's College of Arts and Technology.He taught for 40 years and retired only recently. 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.

余承堯 YU

李澤藩 LEE

CHENGYAO (1898-1993)

TZEFAN (1907-1989)

078

007

025

106

生於中國福建。早年投筆從戎,先於1920年赴日本早稻田大學攻讀經濟,後轉入日 本陸軍士官學校,1923年返回中國任教於黃埔軍校,1946年以中將官階退伍。其 自56 歲才開始作畫,沒有師承,卻為傳統水墨開拓出新視野,實為水墨畫壇中的 傳奇巨擘。1966年余氏作品首次公開展示於「中國山水畫的新傳統」聯展,於美國 各州巡迴展出四年;1985年獲邀參加「中國傳統繪畫新潮流」聯展,足跡踏至美國 與法國;1986年其以88歲高齡於台北雄獅畫廊舉辦首次個展;1987年於香港大會 堂舉辦海外首次個展;1988年台北歷史博物館舉辦「余承堯九十回顧展」,並出版 大型畫冊「千巖競秀」。余承堯先生於1889年獲聘中華民國文化資產維護學會名譽 會員;1990年,其作品「群山如劍斷雲間」為台中省立美術館永久典藏。

312

Born in Fujian, China. Yu studied economics in Waseda University in Japan in 1920 at first. Later he turned to study in Imperial Japanese Army Academy, and then he went back to China, hired by R.O.C. Military Academy in 1923. He was retired in 1946 by the position of lieutenant general. He started to draw the painting at 56 years old without instructors, yet created the new version of traditional Ink and Wash Painting, and became the legend of the art circle. His artworks were first shown in 1966 in public, and then have been making an exhibition tour in all the states of America for 4 years. He was very honor to be invited by the show of “New Wave of Chinese traditional painting”, which made him renowned in America and France. The first solo exhibition at Lion Gallery in Taipei was in 1986, the next year he held the oversea exhibition at The Hong Kong City Hall. “The 90's retrospective exhibition of YU CHENGYAO's works” was held in National Museum of History in 1988, publishing the large album of paintings at the same time. Mr.YU CHENGYAO was the honorary member of China Educational and Cultural Exchange Association in 1988. He's masterpieces was collected by National Taiwan Museum of Fine Art in 1990.

008

122

生於臺灣新竹。就讀於臺北師範學校時,受到石川欽一郎先生啟發,自此潛心繪畫 創作。畢業後先後任教於新竹第一公學校、新竹師專、師範大學、臺灣省教師研習 會、國立藝專,致力美術教育與推廣。其作品於早期臺展、府展以及光復後的臺灣 美術展、全省教員美展等屢次獲獎,此後並擔任審查委員,也舉辦多次個展,於臺 灣水彩畫壇占有一席之地。1974年榮獲中華民國畫學會金爵獎,1983年為行政院 文建會評選為臺灣十位前輩畫家之一,1994年李澤藩美術館創立,展示李澤藩精華 作品,同時深耕藝術推廣。 Born in HsinChu, Taiwan. Mr.Lee's initation to art was by Mr. Ishikawa Kinichiro when he studied in Taipei Normal School, and had been assiduously creating the paintings since then. After graduating from the Normal School, he taught successively at Hsinchu First Public School, Hsinchu Teachers College, National Taiwan Normal University, Taiwan Teachers Research Association and National Art Institute. Throughout his career, he was both an ardent art educator as well as a devoted practicing artist. Mr. Lee won many prizes and awards from the period of Japanese colonial and after the war. He held several solo exhibitions and adjudicated various official exhibitions. His achievements earned him the Golden Cup Prize from the Artists Association of Republic of China in 1974, and was elected to Ten Outstanding Taiwanese Artists by Council for Cultural Planning and Development in 1983.


劉其偉 LIU

CHIWEI (1912-2002)

楊英風 YUYU

YANG (1926-1997)

023

009

019

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 194 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。 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”.

陳庭詩 CHEN

TINGSHIH (1916-2002)

140 089 010

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.

溥心畬 PU

RU (1896-1963)

生於中國北京,為中國近代著名書畫家之一。本名 愛新覺羅.溥儒,字心畬,滿族宗室,與清皇帝溥 儀為堂兄弟。1912年清朝覆亡後,隱居北京西山戒 臺。1924年重返恭王府,1925年與滿族畫家共創 「松風畫社」,1930年偕妻子羅清媛舉行首次畫 展而知名。1934年起任教於北平藝術專科學校(今 中央美術學院)、杭州藝術專科學校(今中國美術學 院)。1949年移居台灣,任教於台灣省立師範學院 (今臺灣師範大學),並於台北臨沂街開設畫室「寒 玉堂」。1954年《寒玉堂畫論》一書獲得教育部第 一屆美術獎。1955年受韓國漢城大學頒贈名譽法學 博士後赴日旅居。30年代中期與張大千齊名,並譽 「南張北溥」,又與吳湖帆並稱「南吳北溥」,與 黃君璧、張大千以「渡海三家」齊名。

011

012

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.

054

013

Born in Beijing, China. He also known as Pu Xinyu , was a painter and calligrapher. He is a member of the Manchu imperial family, born near the end of the Qing Dynasty. Puru was reputed to be as talented as the artist Chang Dai-chien. In Taiwan, Puru made a living by selling paintings and calligraphy works during the first months of his arrival in Taipei. He was appointed in October 1949 as a professor of the Fine Arts Department of the National Taiwan Normal University. In 1959, he held a two weeks long art exhibition in the National Museum of History with 318 works on display.

313


臺靜農 TAI

JINGNONG (1902-1990)

托卡.蘇達圖 TOTOK

SUDARTO (b.1954)

014

生於安徽省霍邱縣葉家集鎮。著名作家、文學評論家。原名傳嚴,字伯簡,20年代 初改名為靜農,晚號靜者,筆名有青曲、孔嘉、釋耒等。幼承庭訓,讀經史,習書 法,中學後入北京大學國文系旁聽,後北京大學研究所國學門肄業,奠定了國學基 礎。早年是“未名社”成員,1925年春初識魯迅,後兩人關系密切,友誼深厚。 1927年後,任教於輔仁大學、廈門大學、山東大學及齊魯大學等。抗戰後,舉家 遷四川,任職國立編譯館。1946年赴台,後任台灣大學中文系教授。台靜農治學 嚴謹,在文學、藝術、經史等多種領域均涉之甚深,並以人格耿介、文章書畫高絕 馳名。其書法廣泛涉獵金文、刻石、碑版和各家墨跡,篆、隸、草、行、楷諸體皆 精。亦擅篆刻、繪畫。有《靜農論文集》、《靜農書藝集》、《台靜農散文集》、 《台靜農短篇小說集》等行世。 Born in Anhui, China. A well-known writer and literary critic long-term concentrated study of Chinese classical literature. history and art. profound knowledge each with a unique academic ideas. In his early years, he was an "Unnamed community members” affiliated with Lu Xun. He had taught at Fu Jen Catholic, Qilu, Shandong, Xiamen Zhu University and Sichuan Jiangjin Women's Teachers College. In his late years, he was a professor of National Taiwan University and a book writer. His calligraphy medium ranged from ink inscriptions, Stele, Beiban and other ink mediums. He is also good at carving, painting. Before the out break of the War of against Japan, he taught at Fu Jen Catholic University, Shandong University. After the war, he went to Taipei and became the professor and chairman of the National Taiwan University

丁雄泉 WALASSE

016

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)、「Jogja Bangkit」(2011,日惹國家博 物館)。 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.

TING (1929-2010)

181 044 015

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 174 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。 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.

314

182


邱亞才 CHIU

017

YATSAI (b.1949)

王懷慶 WANG

018

HUAIQING (b.1944)

146

020 086

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: 070 109 「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 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.

蕭 勤 HSIAO

CHIN ((b.1935)

021

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).

陳銀輝 CHEN

022

YINHUI (b.1931)

088

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)。

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)。

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.

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.

315


林憲茂 LIN

024

SHIENMAO (b.1955)

034

歐豪年 AU

HAONIEN (b.1940)

046

026 069

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.

Born in Guangdong, China. In the early years he lived in Taiwan. He engaged in Chinese painting's creation. He was appointed to a professor of Chinese Culture University. For four decades, Ou's works held solo exhibition in Hong Kong, Japan, Malaysia, Europe, American of the Art Museum, the world-renowned. He served as Stanford University, Hawaii Pacific University and Indiana University. From 1990 to 1991, he held tour exhibition in Britain, France, Germany, Austria, Netherlands of museums. He won the GIO international spread of medals. In 1993 he was awarded the special accolades of Grand Palais of Lasocibte Nationaledes Beausarts. In 1994, he is respected to adhere to the painters of on behalf the East of the human spirit.

洪 易 HUNG

洪 通 HUNG

027

YI (b.1970)

076

110

生於台灣台中,明道中學美工科畢業。作品風格獨特,顏色豐富、奇異線條、大膽 的律動、活潑的生命力讓人感到喜悅。2000年獲選為「20號倉庫—鐵道藝術網絡 台中站」駐站藝術家。主要展覽:「普羅眾生」(2002,台北帝門藝術中心); 「台灣有藝術,藝術有希望」(2004,台北華山藝術區);「有佛真好,亞洲城 市連結網」(2005,韓國,首爾市立美術館);「花枝招展」(2005,國立台 灣美術館);「藝術家的光影派對」(2006,台北,誠品畫廊);「偶遇洪易」 (2008,台北)。 Born in Taichung, Taiwan. He graduated from Mingdao Junior High School, majored in Fine Arts. His creation style in vivid and unique: rich color, intricate curves and audacious design together compose every pieces of his work. Main exhibitions: “Life in the World”, Dimension Endowment of Art, Taipei, 2004; “2005 Connecting Network for Asian Cities”, Seoul Museum of Art, Korea, 2005; “Me 2, Consensus and Childlike Public Art Exhibition”, Hong Kong, 2006; “Artists’ Party of Light and Shadow”, Eslite Gallery, Taipei, Taiwan, 2006; "Meet Hung Yi", Taipei, 2006.

316

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。

TUNG (1920-1987)

生於台灣台南,又名洪朱豆,台灣知名素人畫家。 50歲時開始拜師學畫,於1972年以作品《一說為 樹下》嶄露頭角;1973年時雄獅美術四月號出版 「洪通特輯」,藝術界開始討論和研究洪通其人其 畫;1976年於台北美國新聞處林肯廳舉辦「洪通首 次個展」成為全台焦點人物,受媒體後炒作之久。 1986年資助其繪畫的妻子辭世,令其精神飽受打 擊。1987年洪通於南鯤鯓的家中睡夢中去世,享壽 67歲。其畫作元素多元,神祕的文字畫與用色豐富 的畫風至今仍為人稱道,因作品的特殊風格,洪通 又被稱為「靈異畫家」。重要展覽包括:「狂熱的 生命-洪通逝世10年回顧展」(1996,美國紐約, 紐約文化中心)、「台灣樸素藝術展」(1997,台 灣台北,台北市立美術館),「素人的靈現 -國際 028 界外藝術」(2004,美國,聖塔菲爾國際民俗藝術 館)、「反思-70年代台灣美術 發展」(2004,台 灣台北,台北市立美術館舉辦)、2006年《飛躍》獲選入「台灣美術發展 1950- 2000」展覽,先後在北京中國美術館、台北市立美術館展出。 Born in Tainan, Taiwan. Hung Tung was one of Taiwan's most famous self-taught artists. In 1970, at the age of 50, Hung Tung felt a desire to paint; this turning point marked the beginning of his career as an artist, and started to attract significant attention in 1972 when his painting “Under the Tree” came to public notice. In 1976, Hung Tung's first solo exhibition, held at the American Cultural Center in Taipei, brought him nationwide fame. In 1986, Hung’s wife passed away. He was deeply affected by her death, and died in his sleep himself the following year, at the age of 67. Selected exhibitions: “An Eccentric World – the Art of Hung Tung”, Taipei Cultural Center, New York, 1996; “Taiwanese Naive Art”, Taipei Fine Arts Museum, Taiwan, 1997. In 2004, several of Hung's works – including “Dedicated to Ho Cheng-kuang” and “American Paradise” – were shown in the “Vernacular Visionaries: International Outsider Art in Context” exhibition at the Museum of International Folk Art in Santa Fe; the catalogue for this exhibition was published by Yale University. Also in 2004, six paintings by Hung Tung (including “Festival”) were included in the exhibition “Reflections of the 70s – Taiwan Explores its Own Reality” at the Taipei Fine Arts Museum. In 2006, Hung Tung’s painting “Flying” was included in the “Odyssey of Art in Taiwan, 1950 – 2000” exhibition, which was held successively in the National Art Museum of China in Beijing and the Taipei Fine Arts Museum.


丁衍庸 DING

029

YANYONG (1902-1978)

生於中國廣東,在中國畫壇與林風眠、關良素有「廣 東三傑」之稱,三人在畫壇各佔有一席之地。早年留 學日本,專攻油畫,在東京美術學校習畫,受野獸派 風格的影響甚深。1925年回到中國展開教學生涯。 1949年遷居香港。晚年致力於中國畫,並且經營出 一種自然的表現主義風格。並將古典的篆刻趣味帶進 他的繪畫作品中。此外,丁氏終身從事藝術教育,為 新亞書院藝術專修科(其後發展為香港中文大學藝術 系)創辦人之一。他的作品多次於香港及海外展覽, 也曾經在香港、澳洲、台灣舉辦個展。

Born in Guangdong, China. Ding, Lin Fengmian, and Guan Liang was titled "Three Heroes of Guangdong" in Chinese painting.These three people respectively hold their space in the painting world. He studied painting at the Tokyo College of Fine Arts, and devoted to oil painting in his early years and had been influenced by Matisse, post-impressionism, cubism and fascism. In 1925, he retuned to China and taught Western painting at various art colleges. In 1949, he settled in Hong Kong. He later turned to Chinese painting and carry on the nature style of expressionism. He also takes the interest of classical carving and calligraphy into in his drawing work. In addition, he lifelong is engaged in the artistic education. He was invited in planning the establishment of the Department of Fine Arts, New Asia College. Later he served as a lecturer at the Department of Fine Arts,Chinese University of Hong Kong. Ding's works were widely exhibited in Hong Kong and over-seas. His works were features in solo exhibitions held in Hong Kong, Australia and Taiwan.

于右任 YU

YUJEN (1878-1964)

安 卓 ENDRO (b.1983)

030

113

生於印尼日惹。1998年至2001年間於日惹藝術交流協。2001年於日惹印尼藝術學 校(ISI)進行藝術研究。為當代藝術家,活耀於印尼日惹。近年展覽包括:「LIFE IS AMAZING」[2011,綠色藝術空間]、「BAZAAR ART FAIR」(2011,太平洋 皇宮,雅加達,印尼)、「PSEUDO AGONY」(2010,Galeri畫廊,雅加達, 印尼)、「seni rupa bersama ACTION `01」(2010,塔曼文化中心,日惹, 印尼)、「印度希望之八位藝術家」(2010,不一藝術,香港)、「日惹藝術博 覽會」(2009,塔曼文化中心,日惹,印尼)、「日惹藝術」(2006,日惹,印 尼)、「關懷地震.日惹」(2006,Girang Gallery,日惹,印尼)。 Born in Yogyakarta, Indonesia. A contemporary artists in Yogyakarta, Indonesia. Then he studied in Indonesian Institute of the Arts in 2001. Selected exhibitions: "LIFE IS AMAZING", Green Art Space, 2011; “BAZAAR ART FAIR”, Pacific Palace, Jakarta, Indonesia; "PSEUDO AGONY", Galeri Canna, Jakarta ; “seni rupa bersama ACTION `01”, Taman Budaya, Jogjakarta ; “EIGHT PROMISING INDONESIAN ARTIST”, EDGE Gallery, Hong Kong, 2010 ; “Jogja Art Fair 2 ( JAF )”, Taman Budaya, Jogjakarta, 2009 ; “Art for Jogja”, TBY, Yogyakarta, 2006; “Peduli Gempa Yogyakarta”, Girang Gallery, Yogyakarta, 2006.

阿曼 PIERRE FERNANDEZ ARMAN (1928-2005)

104 033

032

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 became the supreme 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.

167

生於1928年法國尼斯,是少數仍在世即被寫入西洋藝術史的藝術家之一。1949 年轉入羅浮美術館附屬藝術學校攻讀考古及東方藝術,1960年和一群藝術家、史 學家、藝評家共同簽屬「新寫實主義宣言」。1967年代表法國參加蒙特婁世界博 覽會,1974年在全美巡迴展出,1981年創作大件的「牆與工具」作品,1982年 回顧展在全歐洲巡迴展出,1984年受法國總統之邀,製作銅製的法國國旗堆疊, 放置在巴黎愛麗舍王宮。重要展覽:「第一次雕塑個展」(1959,義大利米蘭, apollinaire 畫廊)、「首次美國個展」(1961,美國紐約,Cordier Warren藝 廊)、「新寫實主義」(1962,美國紐約、洛杉磯)、「個展」(1964,荷蘭 阿姆斯特丹,Stedelijk博物館)、「阿曼回顧展」(1973,美國紐約,Andrew Crispo畫廊)、「神與女神」(1986,巴黎、紐約、多倫多)、「台北國際藝術博 覽會-主題展」(1996,台灣)。 Born Armand Pierre Fernandez in Nice, France, Arman enrolled as a student at the École du Louvre in Paris in 1949, where he concentrated on the study of archaeology and oriental art. In 1951, Arman became a teacher at the Bushido Kai Judo School. In October 1960, along with many young artists, historians and art critics at that time, Arman founded the group Nouveau réalisme, the group of young artists defined themselves as bearing in common their "new perspective approaches of reality". He was selected as representative of France to attend the Exposition Universelle de Montréal Expo 67 at Montréal, Canada in 1967. In 1991, President Mitterrand awarded him the Honorary Knighthood in Palais de I’Elysee. Exhibition: "Mostra Personale di Arman", Galerie Apollinaire, Milan, Italy, 1959; "Arman", Cordier-Warren Gallery, New York, USA, 1961; "Arman, Montages", Dwan Gallery, Los Angeles, California., USA, 1962; "Arman", Stedelijk Museum, Amsterdam, Holland, 1964;“Arman: Retrospective”, Andrew Crispo Gallery, New York, USA, 1973;“Arman: Gods and Goddesses”, New York, USA, Paris, France, Toronto, Canada; Arman: The Exhibition of International Sculpture Master, Modern Art Gallery, Taiwan, R.O.C., 1996.

317


陳 進 CHEN

035

CHIN (1907-1998)

沙 耆 SAD

JI (1914-2005)

065 084

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 Jia is the only female painter before Taiwan recovery and praised as "Representative figures of painter who good at young lady's theme." she was outstanding in art in secondary school for this reason her teacher Gobala Kodoo who 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 Kuo Hsuehhu, 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.

吳昌碩 WU

CHANGSHUO (1844-1927)

040

036

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。 Born in Zhejian, China. Originally named Sha Yinnian, Sa studied painting for nine years in Shanghai Changming College of Arts, Shanghai Art School, Hangzhou College of Arts and Department of Arts in Central University. In 1937, he went to seek advanced study in Belgium Royal Institute of Fine Arts on the recommendation of Xu BeiHong, , and in 1942 his "Flautist" was shown at the Petite Galerie and acquired by the royal family. Sa conducted a systematic study on traditional European paintings. He has held exhibitions with famous Modernistic painters like Picasso and immediately became well known in Europe. In 2001, “Sad Ji Seventy-year Retrospective” was held in National Art Museum of China, Shanghai Art Museum and National Museum of History.

李石樵 LI

SHIHCHIAO (1908-1995)

037

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。

318

Born in Zhejian, China. Wu is Late Qing Dynasty Shanghai's style with Syu Yu, Pu Hua 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 as seal 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 that all had good composition. His art infected Japan and China. Wu's painting, calligraphy and engraving 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.

041

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.


趙無極 ZAO

WOUKI (1921-2013)

124

125

043

129

147

155

157

148

152

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(19001991)、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。

156

Born in Beijing, China. Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988) and graduated in 1941. In 1948, he went with his wife Lan-lan to Paris to live on the same block in Montparnasse where the classes of Émile Othon Friesz took place. His earliest exhibitions in France were met with praise from Miró and Picasso. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing's China Art Gallery. His work is found in major public collections such as the Musée d'art moderne in Paris.

319


劉啟祥 LIU

CHIHSIANG (1910-1998)

042

045

135

SANLANG (1907-1995)

Born in Shaanxi, China, He graduated from Xi'an Fine Arts University in 2000. From 1999 till 2003 he lived in Beijing and then moved to Shanghai in 2004. He established his personal studio in 2006. Since first solo exhibition held in 2005, Liu has been participating actively in many shows. He attended the Shanghai Contemporary in 2007, and the Summer Jewel Group Exhibition in New Gallery on OLD BAILEY in 2011. He held solo exhibitions at Top Gain Gallery in 2007. Liu's works were presented in the abstract form, featuring the grandeur atmosphere, yet containing the humble temperament, which makes them appreciated by collectors at home and abroad.

穆里歐.固納爾索 MULYO GUNARSO (b.1979)

063

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 074 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.

320

105

生於中國陝西。2000年畢業于西安美術學院,1999年至2003年於北京創作與生 活,2004年轉至上海定居,2006年建立個人工作室。2005年於逸致畫廊舉辦個人 作品展,2006年參加上海藝術博覽會,2007年參加滬港藝術交流展,同年於頂盛 美術館舉辦個人展覽,2011參予奧畫廊舉辦之「閃爍瑩夏」聯展。劉玖通作品以抽 象形式展現磅礡氣魄,同時又深蘊內斂氣質,深受國內外藏家喜愛,為上海之新銳 藝術家。

Born in Tainan, Taiwan, Liu went to Japan for abroad study in 1923, studied in Tokyo Aoyama Gakuin High School Department. Liu was graduated from Arts Initiative Tokyo, Department of Fine Arts. After he came back to Taiwan in 1932 he had his fist solo exhibition, and went to France for abroad study with Yang San-lang in the same year. Liu had won the "Ni Ka Shou" as the highest honor in Japan, came back to Taiwan and joined Taiyang Art Association during the WWII, founded Kaohsiung Art Research Group in 1952. Liu had held many solo and retrospective exhibitions locally and internationally.

047

JIUTONG (b.1977)

123

生於台灣台南。1923年赴日留學,就讀 東京青山學院中學部。1930年畢業於東 京文化學院美術系。回台後於1932年舉 辦首次個展,同年與楊三郎一起前赴法國 留學。1933年以《紅衣少女》入選巴黎 秋季沙龍。1935年在東京舉行個展,作 品曾獲日本「二科賞」最高榮譽獎,二次 大戰後於回台,於1941年接受台陽美術 協會邀請成為其會員,並於1952年創立 「高雄美術研究會」。劉啟祥生前曾多次 在台灣及海外均舉辦個展及回顧展,為台 灣美術界先驅。

楊三郎 YANG

劉玖通 LIU

048

生於印尼,當地知名的藝術家,榮獲非常多的獎項。其著名的個展包括: 「日常 生活」FSR ISI 印尼日惹,「瓜哇繪畫」Grand Mercure Hotel印尼日惹等其他。 群展包括:「顏色顏色」雅加達藝術獎2008,「夢的力量」印尼日惹美術館七星 獎2009年, 「符號」 第25屆ISI印尼日惹展覽館2009, 「Mitra」印尼雅加達 Mon Décor Art Space 2009, 「獨立聲音3代60年藝術比賽展覽」Semarang Gallery, 印尼三寶瓏 2010 等其他。 Born in Indonesia. He is local talented artist who won several awards. Solo Exhibitions: “Everyday Life” FSR ISI Yogyakarta, “Sketch of Jogja Exhibition” Museum longue Grand Mercure Hotel Yogyyakarta. Group Exhibitions: “Color-color exhibition” Jakarta art award, Jakarta Indonesia 2008, “The Power of The Dream” Seven Star Art Award, Jogja National Museum 2009 “ExpoSign” 25th ISI Yogyakarta, Jogja Expo Center 2009, “ Mitra” Mon Décor Art Space Jakarta 2009, ‘ Art competition Exhibition 60 Years of Independent Voice 3G ( Three Generations), Semarang Gallery, Semarang and many others.


何懷碩 HO

HUAISHUO (b.1941)

饒松青 RAO

SONGQING (b.1970)

050 049

生於廣東,台灣國立師範大學美術系畢業、美國紐約聖約翰大學藝術碩士。現任台 灣師範大學美術系及研究所教授。擅長山水、書法身兼作家、文學家也是藝評家的 角色,曾獲得第十七屆十大傑出青年。何懷碩風景式的國畫有別於傳統,擅長運用 反虛為實的技法,帶有文學表現意味的神秘色彩,個人風格獨特強烈,大多來自內 心的冥想構思,營造出鬱勃、深沉、幽邈的意境,自稱是一種夢幻的寫實。曾於 歐、美、中港台等地多次展出,在美術界廣為知曉,作品被美術館、博物館及收藏 家等收藏。除了繪畫之外,著作極多,包括《懷碩三論》、《何懷碩文集》、《繪 畫獨白》、《苦澀的美感》、《域外郵稿》、《給未來的藝術家》等眾多著作。 Born in 1941 in Guangzhou, where he studied at the Academy of Fine Arts from 1956 to 1960. He moved to Hong Kong in 1960, and then to Taiwan in 1961, where he was given the Ministry of Education Award by the Department of Fine Arts at the National Normal University. After gaining his M.A. at St. John's University in New York, he returned to Taiwan to teach at the National Normal University. He also spent time studying in Korea, and has worked with a number of prestigious instutions in Taiwan, including the National Museum of History and the Taiwan Provincial Art Museum.

侯俊明 HOU

出生於湖北,1990年就讀於軍藝,1993年參加北京青年油畫,北京國際藝苑。 1993年圓明園藝術家群體展,1994年新鑄杯中國油畫大展、中國美術館。「對 與存在的驚奇」四人展天放畫廊(1997);「給定與超越」70年代藝術家群體展 (1999);年環宇藝術中心畫展(2001)。其作品曾在《今日中國美術》、《中國當代 藝術》、《藝術窗口》、《藝樹狀態》發表。 Born in Hubei province, Rao Songqing was educated at Art Academy of People's Liberation Army in 1990. He exhibited in “China Youth Oil Painting Exhibition” and “Beijing International Art Palace Exhibition” in 1993.In the same year, he also participated in “Yuan Ming Garden Group Artists Exhibition”. In 1994, “Chinese Traditional and Oil Painting’ sponsored Award Art Exhibition, held by the National Art Museum of China. Exhibitions are: 「Correct and Exist's Surprised」 Four Artists Show, Tian Fang art gallery(1997), 「Bise and Beyond」70s Group Artists Exhibition(1999), Universal Classic Arts Center(2001). His works were featured in《Chinese Art Today》, 《Chinese Contemporary Art》,《Art Window》and《China-Pub.com》.

CHUNMING (b.1963)

052

生於臺灣嘉義。1987年畢業於國立藝術學院美術系。1990年起於臺北、香港、 日本等地舉辦個展。重要國際展覽包括:「第四十六屆威尼斯雙年展」(1995, 台灣,台灣館) 、「台灣當代藝術」(1995,雪梨當代藝術館,澳洲) 、「貨櫃 96洋藝術節」(1996,丹麥哥本哈根) 、「INSIDE OUT:NEW CHINESE ART」 (1998,美國紐約) 、「正言世代」(2004,康乃爾大學,紐約)、「JAALA協會 第十五屆雙年展」(2006,東京都立美術館,日本)。九O年代以裝置、版畫形 式進行藝術創作,大膽挑戰禁忌、富儀式性,近年創作轉向心靈探索的隨手畫 和自由書寫,作品廣為國內外美術館及私人藏家所珍藏。

112

In 1963, Hou Chun-ming was born in Chiayi, Taiwan, and he graduated from the National Institute of Fine Arts, Taipei. Hou has held solo exhibition in Taipei, Hong Kong and Japan since the 1990s. The important exhibition he participated in including The 46th Venice Biennale (Taiwan Pavilion, 1995); Container ’96Art Across Ocean (Copenhagen, Denmark, 1996); “Inside Out: New Chinese Art”(New York 1998); Contemporary Taiwanese Art in the Era of Contention(Herbert F. Jonson Museum of Art, Cornell University, New York, 2004) The 15th JAALA Biennale (Tokyo Metropolitan Museum, 2006). Hou employed ceremonizing installations and wood block prints to defy social taboos, and turned to create free writing and drawing of mind mining recently. His works are widely collected by both local and foreign musume.

321


陽太陽 YANG

TAIYANG (1909-2009)

常陵 CHANG

LING (b.1975)

051

生於廣西桂林,又名陽雪塢;晚號蘆笛山翁,80歲後稱畫童。1931年畢業於上海藝 專,1935年入日本大學研究各國繪畫藝術並積極創作。1937年放棄去巴黎進入世 界畫壇的計畫回國,投入抗戰,發表詩文,創作大批繪畫作品,反映鬥爭生活,創 編《詩創作》雜誌。1957年陽太陽與傅抱石率中國美術家代表團赴東歐羅馬尼亞、 捷克斯洛伐克、蘇聯等國訪問交流,並多次應邀赴日本、美國、加拿大等國舉辦個 人畫展,並應邀在臺灣文化交流訪問100天,舉辦巡迴個展7次。1980年任廣西首 屆研究生碩士導師。陽太陽是中國美術家和藝術教育家,擅長中西繪畫、書法和詩 文,是一位德高望重、成就傑出的藝術家。陽太陽是灕江畫派的開拓者、旗手和領 軍人物。 Born in Guilin, Guangxi province, he is also named Yang Xuewu. In his late year, he is known as Ludi shanweng. He graduated from the Shanghai Arts College in 1931 and further his studies in Nihon University in Japan in 1935. In 1937, he abandoned his plan to Paris to become an artist and returned home to participate in the war against Japan. He published poetry and painted a large number of paintings reflecting the struggles of life. He then established a magazine. In 1957 Yang Taiyang and Fu Baoshi led the Chinese artists to countries in Eastern Europe including Romania, Czechoslovakia and the Soviet Union for exchange visits. He was invited to Japan, the United States and Canada for holding solo exhibitions and was invited to have a 100-day cultural visit to Taiwan, and held 7 solo exhibitions. Yang Taiyang is a Chinese artist and art educator, specializing in Chinese and Western paintings, calligraphy and poetry, and is a highly respected, outstanding artists. Yang Taiyang is the pioneer, standard-bearer and leader of Lijiang River School of Painting.

席德進 SHIY

053

生於台灣花蓮。2004年畢業於法國國立巴黎高等藝術學院,師事波坦斯基,韋勒 蒙及布斯塔蒙。2003年成立COLOCOLOC藝術團體於巴黎。著名展覽:「五花 肉之第一花」個展(2005,台灣台北,一票人畫廊)、「毛囊展」個展(2005,台灣 台北,關渡自強284)、「五花肉系列-開天闢地」(2007,台灣台北,也趣畫廊)、 「肉-花園一遊,」(2007,瑞士日內瓦,蕾達畫廊邀請個展)、「五花肉系列-肉 兵器」(2007,台灣台北,關渡美術館)、「常陵個展」(2008,台灣台北,印象畫 廊);「華西街」(2008,美國紐約,駐美國台北經濟文化代表處邀請)。 Born in Hualien, Taiwan. He was graduated from Ecole Nationale Superieure Beaux-Art de Paris (D.N.S.A.P), and studied under Cristian Boltansky, Jean-Luc Vilmount and Jean-Marc Bustamant. In 2003, he held art group “COLOCOLOC” in Paris. Exhibitions: “The First Flower of the the Streeky Pork”, A lot of People-Gallery, Taipei, Taiwan, 2005; “Hair Follicle”, Art Space 284, Taipei, Taiwan, 2005; “Streaky Pork Series: Epoch-Making”, Aki Gallery, Taipei, Taiwan, 2007; “Flesh Duet (Flesh Landscape in Garden)”, Lede Fletcher Gallery, Geneva, Switzerland, 2007; “Streaky Pork Series: Flesh Weapons”, Kuandu Museum of Fine Arts, Taipei, Taiwan, 2007; “Chang-Ling Solo Exhibition”, Impressions Contemporary Space, Taipei, Taiwan, 2008; “Snake Alley” invited by Taipei Economic and Cultural Representative Office in the U.S., New York, the U.S, 2008.

DEJINN (1923-1981)

058 055

056

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。

094

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.

322

057

095


朱 銘 JU

MING (b.1938)

062

060

059

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。 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

陳景容 CHEN

064

CHINGJUNG (b.1934)

136

061

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”.

蒲 華 PU

163

HUA (1832-1911)

082

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.

067

生於中國浙江,原名成,字作英,號胥山野史,種竹道人。擅長山水畫、花鳥畫、書法,喜 愛畫竹,而有「蒲竹」美譽。蒲華與任伯年、虛谷、吳昌碩齊名「海派四家」。年幼喜愛讀 書,由外祖父教讀,具有天賦,即能作文,二十一歲考中秀才,但因個性使然,追求自由, 後專心致於藝術創作。蒲華書法以帖學為根基,參以碑法;畫作則是瀟灑雅致、筆墨流暢、 氣勢磅礴、柔中帶剛,其中繪畫墨竹、梅、菊、牡丹花等題材取得卓越成就,現受到專家、 畫家及學者的推崇。曾與吳世晉等人結辦鴛湖詩社,組織上海書畫研究會,著有《芙蓉庵燹 餘草》。 Born in Jiaxing in the Zhejiang province. His style name was 'Zuo Ying'. Pu was a Chinese landscape painter and calligrapher during the Qing Dynasty (1644–1912). He was talented in painting ink bamboo and landscapes which executed free and easy strokes comforting no conventional pattern,and he was also excelled in calligraphy. He painted landscapes and ink bamboo in an unconventional style of free and easy brush strokes.

323


郭振昌 KUO

JENCHANG (b.1949)

尚.米榭.巴斯奇亞 JEAN-MICHEL BASQUIAT (1960-1988)

079

071

068

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.

羅伯特.印第安納 ROBERT

INDIANA (b.1928)

072

生於印第安納州的紐卡斯爾,此後移居印第安納波利斯並從當地的阿森納技術中學 畢業。是美國知名普普運動藝術家。1954年移居紐約,開始了他的波普藝術生涯。 採用獨特的圖像,繪製商業與藝術融合的存在主義,風格大膽、簡潔,常使用標誌 性圖像。作品構成多源於大眾傳媒、流行文化和商業廣告這些非抽象表現主義的元 素,這些在當時與眾不同的藝術特徵使他的作品更富有詩意和敘事性。印第安納的 許多作品都包含字元,例如使用「EAT」、「HUG」和「LOVE」等,他所使用的 這些字母和數字簡明又清晰,並且在消解原有意義的同時也萌生了新的含義。

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Born in New Castle, Indiana. An American artist associated with the Pop Art movement. He returned to America in 1954 and settled in New York City. There he began making art with his distinctive "hard edge" style. Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like EAT , HUG , and, his best known example, LOVE . In 1962, Eleanor Ward's Stable Gallery hosted Robert Indiana's first New York solo exhibition. He has since enjoyed solo exhibitions at over 30 museums and galleries worldwide. A retrospective of his work was exhibited in 1999 at the Portland Museum of Art in Maine, covering 40 years of his work, from 1958 to 1998. In 2013, the Whitney Museum of American Art mounted a retrospective of his work entitled "Robert Indiana: Beyond LOVE."

生於美國紐約。巴斯奇亞以紐約塗鴉藝術家的身分獲得大眾認識,後來成為一位成 功的1980年代表現主義藝術家。1980年之後巴斯奇亞開始參加畫展。1981年詩人 藝術家瑞內.裡卡德在美國〈藝術論壇雜誌 〉以光芒四射的孩子的標題介紹巴斯奇 亞,而這成為他藝術生涯的催化劑。1982年參加國際策展人歐利瓦策劃的義大利、 美國超前衛畫家聯展,先後入選惠特尼雙年展、德國檔大展,開始和安迪.渥荷往來 及合作。1988年巴斯奇亞因服用藥物過量去世,其作品至今仍深深影響著當代的藝 術家,而且價值不斐。其作品主題經常圍繞著自傳、黑人英雄、漫畫與卡通、解剖 學、塗鴉,以及和塗鴉有關的象徵符號。 Born in New York, America. Basquiat was an American artist. He began as an obscure graffiti artist in New York City in the late 1970s and evolved into an acclaimed Neo-expressionist and Primitivist painter by the 1980s. From 1980 onwards, Basquiat started to take part in art exhibi- tions and in 1981, the poetartist Rene Ricard introduced Basquiat in Anforum Magazine with a major article entitled "The Radiant Child".In 1982, he was featured in the international show Trasavanguardia: Italic/America curated by Achille Monito Oliva and was also invited to exhibit in the Whitney Biennial and Germany's Documenta.Basquiat's subjects were typically autobiographical, centering around black heroes, characters from comics and cartoons, anatomy, graffiti, and graffiti-related signs and symbols such as the royal crown, and the copyright mark.

廖繼春 LIAO

CHICHUN (1902-1976)

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 073 獲中華民國畫學會金爵獎,1970年於國立 台灣美術館舉辦個展,同年獲中山學術文 藝創作獎。此前,廖繼春的藝術成就已備受肯定,曾獲中國畫會中國畫金盃獎及孫 逸仙基金文獻獎。1976年因癌症病逝於台北。同年,國立歷史博物館舉辦「廖繼春 遺作展」。2002年,台北故宮博物館舉辦「廖繼春百歲紀念展」。台北文化基金 會為紀念廖繼春而設立「廖繼春油畫創作獎」,以表揚在油畫藝術有突出成就的畫 家。廖氏一生藝術創作與教學並行不輟,畫作靈活運用色彩,色彩斑斕瑰麗,節奏 明快,明朗而有深度,歡悅中又見抒情。 Born in Taichung, Liao first graduated from the Taipei Normal School in 1922. He proceeded to study at the Tokyo Fine Arts College and returned to Tainan to teach after graduating in 1927. During the same year, Liao co-founded the “Ruddy-Island Association” and was awarded to paint at the first Taiwan Art Exhibitions. He continued to exhibit at imperial Exhibitions and Provincial Art Exhibitions and co-founded the “Taiyang Art Association” in 1934. In 1947, Liao took up a teaching position at the Taiwan Normal College (now National Taiwan Normal University) where he remained until his retirement. He also founded his own studio in Taipei in 1954. In 1957, the “Fifth Moon Association” was founded under his encouragement and support; he joined the association in 1962. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yatsen Foundation's Literary Awards. From 1960s onwards, Liao was frequently invited to various venues as a visiting artist and held numerous exhibitions abroad. He held his last solo exhibition at the National Taiwan Arts Museum in 1970 before dying of lung cancer in 1976. The National Museum of History in Taipei held a solo exhibition of his works that year in dedication of his life. In 2002, the National Palace Museum in Taipei held a grand memorial exhibition in celebration of his 100th birthday. The Taipei Culture Foundation commemorates Liao by annually awarding the Liao Jichun Oil Painting Award, a scholarships awarded to outstanding oil painters.


楊許玉燕 YANG

XUYUYAN (1910-2012)

王霽昕 WANG

CHIHSIN (b.1966)

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075

生於台灣台北。十四歲時開始習畫,1960年在台北市中山堂舉行第一次個展。素以 女性纖柔之感性,描繪自然,喜愛花、庭園、風景等題材;筆觸細膩綿密、獨樹一 格。1929年與同在日本留學的楊三郎先生結婚,對台陽美展及其他美術活動之推展 貢獻良多。早年她曾放下最愛的畫筆,退居幕後協助持家,並積極協助楊三郎籌設 「臺陽美術協會」、「臺灣省美術展」等工作。直到晚年,才又重拾畫筆描繪自然 的美好風景。終其一生為藝術與家庭付出,卻始終謙沖為懷。1989年於台北縣立文 化中心舉行「許玉燕八十回展」。1998年於台北市立美術館展出「意象與美學-台 灣女性藝術展」。 Born in Taipei, Taiwan. She started learning drawing in age 14 and had her first exhibition in ZhongSangTang in Taipei. Her style of drawing was very feminine and tender, the stoke was very exquisite and pay all the attention to details. She enjoyed drawing flower, gardens and scenery subjects. She married to the famous Taiwanese artist Yang SanLang in 1929, and was fully participated in TaiYang Art Association and other art activities. Art and family have taken the most important roles in Yang's life. XuYuYang's age 80 retrospective art exhibition was held in Taipei Provincial cultural center in 1989. Her paintings were also exhibited in “Imagism and beauty of Taiwan female artists” in Taipei Municipal Art Museum in 1998.

李錫奇 LEE

SHICHI (b.1938)

生於中國山東。1986年就讀黑龍江省藝術學校,1994年入中央美術學院油畫系, 現生活、創作於北京。1992年參予「深圳繪畫邀請展」、北京中國美術館「北大荒 版畫展」,作品《午夜薩克斯》於同年獲黑龍江省美術館收藏,1993作品於中國美 術館「全國工業版畫展」展出,2006年陸續參予國內外大型展覽,包括「廣州世界 藝術博覽會」、「第九屆北京國際藝術博覽會」、「上海中國雙年展」、「宋莊首 屆藝術節」,並至美國RMCAD畫廊舉辦展覽。2007年受邀上海春季沙龍展,2008 年榮獲全中國2008青年美術家提名展油畫組金獎。其作品為美術機構、基金會及各 國藏家蒐藏。 Born in Shandong, China. Wang enrolled in 1986 in the Helongjiang Academy of Fine Art, and then in 1994 studied at the School of Oil Painting in the Central Art Academy. Currently he resides and works in Beijing. He participated in the "Northern Wilderness Print Exhibition" organized by the National Art Museum of China in Beijing in 1992, and in the same year his work "Midnight Saxophone" was collected by the Heilongjiang Provincial Art Gallery. In 1993, he entered the "National Industrial Print Exhibition" organized by the National Art Museum of China in Beijing, and attended some internationally exhibitions in 2006 which included: “Guangzhou International Art Fair”, “The 9th Beijing International Art Expo”, China Shanghai International Biennial”, “First Songzhuang Art Festival” and exhibit his works at RMCAD gallery in the US. Wang Chihsin was invited to ART Shanghai in 2007 and won the first prize of oil paintings from 2008 China Young Artists Nomination Exhibition. His works are collected by art institutes, foundations and private collectors worldwide.

黎 譜 LE

PHO (1902-2001)

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生於台灣金門。1955年入台北師範學校藝術科,1958年組織「現代版畫會」, 1963年加入「東方畫會」。1959年開始參加國際性大展,多次榮獲國際藝術大 獎,2009年獲總統府任聘為國策顧問。創作系列完整,曾參與國內外重要聯展,近 年重要個展包含:「浮生十帖-錯位 變置 李錫奇個展」(2002,台灣台北,國 立歷史博物館)、「李錫奇個展」(2004,瑞士日內瓦,Gulerir Leda Fletcher)、 「李錫奇北京畫展」(2005,中國北京,中國美術館)、「七十‧本位‧李錫奇- 走過臺灣現代藝術50年」(2006,台灣台北,國父紀念館)、「淬鋒.本位.李錫奇」 (2009,中國,廣東美術館)。 Born in Quemoy, Taiwan, Lee Shichi studied in Taipei Municipal University of Education in 1955. Between the years of 1957 and 1958, Lee's artworks were selected both in the Students' Art Exhibition sponsored by the Education Council and in the Free China Art Exhibition organized by Tie-Hua Ho and the others who promoted "New Painting." And organized the East Painting Society in 1963. Switzerland invited him to hold a personal exhibition in 2004. Solo exhibitions: “The Ten Aspects of My Artistic Life individual exhibition”, Taiwan National Museum of History, Taipei, 2002; “70. orientation. Lee Shi-Chi : Modern Art in Taiwan Through The Past 50 Years”, National Dr, Sun Yat-sen Memorial Hall, Taipei, 2006; “Orientation.Tempered.Edge.Lee Shi-Chi.” Guangdong Meseum Of Art, China, 2009.

生於越南。因父親為官員,自幼接受全面性的教育。黎譜起初在河內Ecole des Beaux藝術學院就讀,之後他前往巴黎,就讀巴黎高等美術學院。1933年返回到河 內,被任命為河內巴黎高等美術學院教授。1937年,他受邀法國國際博覽會擔任博 覽會評審委員,此後在法國短暫居住。他的第一次個展於1938年舉行,並在西貢 美術國際展覽獲獎,黎譜每年皆收邀參加巴黎Salon d’Automne and the Salon des Independants之展覽。此外,巴黎現代藝術博物館更將黎譜作品收為的永久 館藏。 Born in Vietnam, son of Le Hoan, a senior mandarin. Le Pho received a comprehensive education, including training in brush training. He was in the first class of artists that graduated from the Ecole des Beaux Art de l'Indochine in Hanoi. After completing his education, Le Pho returned to Vietnam to teach at the Ecole des Beaux-Arts for four years. Following trips to Europe and to China in the early 1930's, Le Pho returned to Paris in 1937 where he eventually married and lived until his death in December 2001. His works are in the permanent collections of Museum d’Art Moderne in Paris, the Vietnam Museum of Modern Art, and the Oklahoma Art Center.

325


朱德群 CHU

TEHCHUN (b.1920)

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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。

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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.


楊識宏 YANG

CHIHUNG (b.1947)

劉國松 LIU

KUOSONG (b.1932)

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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 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.

周春芽 ZHOU

CHUNYA (b.1955)

生於中國安徽。1949年定居台灣,1956年畢業於台灣師範大學美術系,隨即創立 「五月畫會」,發起現代藝術運動。1961年間,感慨當代一味模仿西方畫風與思 潮,故倡導中國畫的現代化。自1965年起,劉國松已在世界各地展出個展八十餘 次;1959年參加巴西「聖保羅國際雙年展」、法國「巴黎青年雙年展」;1963年 發明粗筋棉紙-劉國松紙,並藉此創造出自我獨特畫風;1968年當選台灣「十大 傑出青年」;參與美國俄亥俄州馬瑞埃塔學院藝術中心「主流’68」國際美展,並 獲「傑出畫家獎」;1985年首次應法國「五月沙龍」之邀,作品於巴黎大皇宮展 出;1991年獲李仲生現代繪畫文教基金會「現代繪畫成就獎」。近期展覽包括: 「宇宙心印-劉國松七十回顧展」(2002)、「宇宙心印:劉國松繪畫一甲子」 (2009,臺灣臺北,國父紀念館)、「劉國松創作大展-八十回眸」(2011,中國 北京,中國美術館)。 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.

薛 松 XUE

SONG (b.1965)

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098

生於中國四川。1982年畢業於四川美術學院,1988年取得德國卡塞爾美術學院自 由藝術系的碩士學位。1980年作品入選第二屆全國青年美展二等獎,日後開始參 加多項展覽。近年重要個展包括:「周春芽個人作品展」(2002,挪威,314國 際藝術中心;義大利,特蘭托現代當代藝術博物館)、「周春芽個展」(2010, 中國,上海美術館)。曾參與的聯展包括:「周春芽」 (1997,香港,香港藝術中 心)、「後八九中國新藝術展」(澳洲雪梨當代藝術館等)、「首屆上海雙年展」 (1996,中國上海,上海美術館)、「那麼中國呢?」(2002,巴黎,龐畢度中心) 、 「首屆中國當代藝術雙年展」(2005,法國,蒙彼利埃市)、「亞洲火紅─Chaney 家族亞洲藝術品展」(2007,美國,休斯頓美術館) 、北京今日美術館「花間記」以 及「綠狗」(2008,印尼,國家藝廊)。 Born in Chongqing, Sichuan, China. ZHOU graduated from Sichuan Academy of Fine Arts in 1982. In 1988, he received his MFA from Gesamthochschule, Kassel, Germany. During that time, Zhou’s style began to move towards a more metaphysical approach that incorporated Neo-Expressionistic elements. Zhou has held solo exhibitions at The Museum of Modern and Contemporary Art of Trento and Rovereto (MaTR), Italy in 2002; 314 International Art Center, Bergan, Norway in 2002, “Solo Exhibition”, Shanghai Art Museum, China,2010.Selected group exhibitions include “China's New Art: Post-1989”, Hong Kong Arts Centre, Museum of Contemporary Art, Sydney etc, from 1993 to 1997; “The First Shanghai Biennale, 1996; “Alors, La Chine!”, The Pompidou Center, Paris, 2002; “First Contemporary Art of China Biennale”, Montpellier, France, 2005; “Red Hot! Asian Art from the Chaney Family Collection”, Huston Museum of Fine Arts, USA, 2007; “Blooming Stories Paintings& Sculptures by ZHOU Chunya”, Beijing Today Art Museum, China, 2007; “Green Dog”, Indonesia National Gallery, 2008.

生於中國安徽,畢業於上海戲劇學院舞臺美術系,現居上海。近年個展:「薛松 個展」(2001,英國,倫敦當代中國畫廊)、「薛松」(2001,香港,世界畫廊)、 「不搭界」(2002,中國上海,香格納畫廊)、「薛松作品展」(2003,中國上海, 奧迪媒體中心)、「薛松新作品展」(2004,中國上海,香格納畫廊)、「薛松」 (2004,香港,世界畫廊)、「薛松個展」(2005,英國,倫敦當代中國畫廊)、「薛 松個展」(2006,中國北京,帝門藝術中心)。參與的國際聯展包括:「巴黎—北 京」(2002,法國巴黎,Escape Pierre Cardin)、「行而上2002上海抽象藝術展」 (2002,中國上海,上海美術館)、「?無關現實!2004中國當代藝術」(2004, 中國上海,劉海粟美術館)、「限制與自由」(2005,中國武漢,美術文獻藝術中 心)、「麻將」(2005,瑞士,波爾尼美術館)、「85致敬2005-1985」(2007,中國 上海,多倫現代美術館)、「中國當代社會藝術展」(2008,俄羅斯莫斯科,俄羅斯 國家美術館)、「回首˙解構經典—薛松作品展」(2009,中國上海,上海美術館)、 「薛松“新海派繪畫“」(2013,新加坡,MOCA當代美術館)。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.

327


艾軒 AI

XUAN (b.1947)

生於中國河北。1967年畢業於中央美 術學院附中。現任北京市政府高級文藝 職稱評審委員,北京畫院油畫創作室主 任,中國美術家協會會員,北京畫院藝 術委員會委員,國家一級美術師。文化 大革命初期曾作為知識青年下鄉勞動, 後在成都軍區文化部創作組任美術創作 員。作品曾多次入選全國美展,並於第 二屆亞洲美術展(日本)與第十八屆國 際美術展(巴黎)獲賞。八十年代初期 與四川美院畫家密切往來,與何多苓共 同作油畫《鄧小平》和《第三代》, 《第三代》於1984年參加第六屆全國 美展,同時期開始創作西藏題材作品。 1984年進入北京畫院油畫創作室工作。 1987年赴美國俄克拉荷馬大學任訪問學 者一年,1992年作品《荒原往事》入選 第二屆中國油畫展。1996年與羅中立、 100 王沂東、曹力等共同參加在美國舉辦的 中國油畫大展。2004、2005年間與楊飛 雲、陳逸飛等人先後成立「北京寫實畫派」和「中國寫實畫派」。1999年作品入選 中國美術百年;2004年作品編入《中國油畫十家》。出版有《艾軒和他的藝術》、 《艾軒寫實主義油畫技巧》、《中國當代寫實派—艾軒油畫藝術》等。作品廣為中 國、美國、新加坡、香港、台灣、德國、加拿大和日本的私人及博物館收藏。 Born in Hebei Province, China. Ai Xuan graduated from the High School of the Central Academy of Fine Art. In the first four years of the Cultural Revolution, he worked as a farmer in Hebei Province. Then he returned to Chengdu, Sichuan Province and worked as an art designer for the army. In the early 1980s, acquainted with artists from Sichuan Art Academy, he collaborated with the painter, “Deng Xiaoping” and “Third Generation”. The latter was selected and exhibited in the Sixth National Art Exhibition. It was also during this period that Ai Xuan started painting Tibetan subjects. In 1984, Ai Xuan began working ar the Oil Paintings studio of Beijing Painting Academy. In 1992, his work was selected and exhibited in the second China's Oil Painting Exhibition. In 1996, Ai Xuan, Cao Li, Wang Yidong, Luo Zhongli and others participated in the Chinese Oil Painting Exhibition in the US. He also the co-founder of the Beijing Realism and the Chinese Realism School, established in 2004 and 2005, respectively. His paintings have been collected by China's National Art Gallery, other institutions and private collectors.

馬白水 MA

PAISUI (1909-2003)

丁乙 DING

YI (b.1962)

101

生於中國上海,現創作生活於上海。1983年畢業於上海市工藝美術學校,1990年 畢業於上海大學美術學院,現為上海視覺藝術學院老師。1993年丁乙參加了“第 45屆威尼斯雙年展”。 2005開始年加入復旦大學上海視覺藝術學院任教。 2006年 開始與留德藝術家艾未未牽線,復旦視覺傳達學院全體學生赴德國參加07年第十二 屆卡塞爾文獻展。主要展覽包括:「十示89—98丁乙作品展」(1998,北京國際藝 苑美術館,中國)、「丁乙紙本展」(1995,西西里島科米索Galleria-digliArchi畫 廊,意大利)、「丁乙十示系列」(2002,WALDBURGER畫廊,德國柏林)、「丁乙 Ding Yi」(2007,KARSTEN GREVE畫廊,法國巴黎)。 Born in Shanghai, China. Ding Yi is an artist in China most well-known for his “Appearance of Crosses” abstract paintings. Together with his contemporaries Xu Hongming, Li Huasheng and Yu Youhan, these abstract works from China is known as “Chinese Maximalism”, a term coined by GAO Minglu where the intention for abstraction in China differs that from the west .Aside from painting, Ding Yi is also the first Chinese artist to collaborate with French luxury fashion label Hermès and has his own line of silk scarves in the “Hermès Editeur” collection

奈良美智 YOSHITOMO

NARA (b.1959)

186 111

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.

328

114

151

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.


草間彌生 YAYOI

102

KUSAMA (b.1929)

103

143

144

142

149

158

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 150 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)。

159

165

160

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, Saint-Etienne, France, “IDOL!”, Yokohama Museum of Art, Kanagawa, Japan, 2006; “Yayoi Kasama, Dots Obsession , Love transformed into Dots”, Haus der Kunst, Munich, Germany, 2007, “ Solo Exhibition” Non-gallery, Taipei, 2010. 166

329


安迪.楊 ANDY

YANG (b.1985)

阿格斯.普圖.蘇亞丹雅 AGUS PUTU SUYADNYA (b.1985)

115

安迪楊生於新家坡,為當地知名的插圖藝術家,贏過無數個有名望的獎項。 近年著名的展覽有: 「附件」 新加坡The Asylum 2007,裝置藝術展於新加坡知名 的ION CENTER 2008,「相信看見的」2010英國渣打銀行為支持亞洲盲眼人文展 覽館,「情緒」個人展於新加坡Instinct畫廊等其他展覽。 Yang was born and bred in Singapore. He has been working as a professional illustrator and artist who is a familiar face in the creative circle. He has garnered a number of prestigious advertising awards under his wings throughout his career.“Attachments”, The Asylum Singapore 2007, “Ion Center@ Orchard Outdoor Installation” Singapore 2008, “Seeing is Believing 2010 Curated by Singapore Charted Bank to support the blind Asian Civilizations Museum” Singapore 2010, “ Emotion Solo Exhibition” Instinct Gallery Singapore 2011 and many other exhibitions.

楊國辛 YANG

GUOXIN (b.1951)

118

生於中國湖北武漢。1991年畢業於湖北美術學院。目前任教於華南師範大學美術 研究所。專攻油畫和陶藝。近年重要展覽包括:「湖北青年美術節展」(1986, 中國,湖北)、「第7屆全國美展」(1989,中國,北京)、「中日青年文化交流 展」(1991,日本)、並獲得1993年中國油畫年展銅牌獎及1995年中國油畫年展 銅牌獎。「中國當代油畫藝術展」(1997 ,上海)、第 12屆「亞洲國際藝術展」 (1997,澳門,China);「窺見中國—中國當代油畫展」(1998,台灣)、第 13屆「亞洲國際藝術展」(1998,馬來西亞)。 Born in Wuhan, Hubei, China. Yang graduated from the Hubei Fine Arts Academy with a Master's degree in 1991. He is teaching at Art Institute of Huanan Normal University now. Yang specializes in oil painting and ceramics.His art works were exhibited at the Hubei Youth Festival in 1986; The 7th National Art Fair (Beijing) in 1989; China-Japan Cultural Exchange Show (Japan) in 1991. Yang received China Annual Exhibition of Oil Paintings bronze award in 1993 and 1995."The Annual Exhibition of Chinese Oil Paintings", Beijing, 1995; "The First Chinese Contemporary Academic Art Exhibition", Beijing and Hong Kong, 1996; "Chinese Contemporary Oil Paintings", Shanghai, China, 1997; "The 12th Asian International Art Exhibition", Macao, 1997; "Peek China—Chinese Contemporary Oil Paintings Exhibition" Taiwan and "The 13th Asian International Art Exhibition" in Malaysia, 1998.

330

116

生於印尼峇里島上的著名都市丹帕沙,印尼藝術家,畢業於IFSR ISI日惹藝術 大學。曾榮獲多次著名藝術獎項,分別於2010年、2008年、2006年以作品 「Contemporaneity」、「Warna-Warni Jakarta」、「Kisi-Kisi Jakarta」榮獲 雅加達藝術獎提名。主要展覽包括:「Bali Making Choice」(2011,Mon Décor 畫廊,印尼雅加達)、「Homo Substitutio」(2011,LVS Gallery,南韓首爾)、 「Bazzaar Art Jakarta」(2010,麗思卡爾頓酒店,太古廣場,印尼雅加達)、「印 尼藝術家群展」(2009,M畫廊,南韓大邱市)。 Born in Denpasar, Indonesia. Graduated from IFSR ISI Yogyakarta (University of Art). Award included: "Contemporaneity",Nominator Jakarta Art Award, 2010; "Warna-Warni Jakarta",Nominator Jakarta Art Awards, 2008; "Kisi-Kisi Jakarta", Jakarta Art Awards, 2006. Exhibition included: "Bali Making Choice", Mon Decor Gallery at National Gallery, Jakarta, 2011; "Homo Substitutio" LVS Gallery,Seoul, Korea, 2011; "Bazzaar Art Jakarta" The Ritz Carlton Jakarta, Pacific Place, Jakarta, 2010; "Indonesian Artist", M Gallery , Daegu City, South Korea, 2009.

張 羽 ZHANG

YU (b.1959)

119

生於中國天津,畢業於天津工藝美術學院,先後任教於天津交通職業學院(副教 授)、比利時安特衛普皇家美術學院、天津南開大學、北京電影學院、天津美術學 院。現為職業藝術家於北京。近期個展:「色筆墨:中德藝術交流展」(1999,中 國北京,德國駐華大使館)、「張羽實驗水墨展」(2001,英國倫敦,紅樓基金會)、 「張羽實驗水墨藝術展」(2004,美國紐約,古豪士當代藝術畫廊)、「指印──張 羽」(2006,英國倫敦,古豪士當代藝術畫廊)、「指印:張羽作品展」(2007,美 國紐約,古豪士當代藝術畫廊)、「指印──張羽」(2008,中國北京,蘇河藝術 〔798〕)、「張羽的“一指禪”-文化與精神的探尋」(2009,台灣台中,大象藝 術空間館)、「指印──張羽修行的痕跡」(2009,台灣台北,關渡美術館)。作品廣 獲亞洲、美國、英國、瑞士、丹麥、俄羅斯等藝術機構、企業及私人收藏。 Born in Tianjin, China. Zhang from Tianjin Academy of Arts and Crafts,Tianjin,China. He became the associate professor of Tianjin Traffic Vocational College, China. And lectured at the Antwerp Royal Art Academy in Belgium, the Department of Oriental Art at Tianjin, Beijing Film Academy and the Department of Painting at Tianjin Academy of Fine Arts. Now living and Working in Tianjin and Beijing. Recent selected exhibitions:“Colour and lnk: China-Germany Art Exhibition in Germany Embassay in China, Beijing, China, 1999.“Ink Paintings by Zhang Yu in Red Mansion Foundation, London, UK, 2001.“Divine Light: Ink Paintings by Zhang Yu in Goedhuis Contemporary, New York, U.S.A, 2004.“ Fingerprints in Goedhuis Contemporary, London, UK, 2006.“Fingerprints -Zhang Yu in Goedhuis Contemporary, New York, U.S.A, 2007.“Fingerprints-Zhang Yu in Creek Art(798), Beijing, China, 2008.“Zhang Yu's instant Zen: Exploration for Culture and the Spirits in Daxiang Art Space, Taichung, Taiwan, 2009.“Fingerprints-The Trace of Zhang Yu's Practice”in Kuandu Museum of Fine Arts, Taipei, Taiwan, 2009. Zhang's works are included in Asia, U.S., U.K. museum and private collections.


高 瑀 GAO

YU (b.1981)

李繼開 LI

120

生於中國貴州,2003年畢業於四川美術學院油畫系,現工作生活在北京。2006年 在北京舉辦個展「標本」,2007年在北京舉辦個展「五行山」。2004年參加深圳 何香凝美術館舉辦的「少年心氣—中國新銳繪畫」展;2005年參加上海證大現代藝 術館舉辦的「自我造局—中國當代繪畫」展、上海明園藝術中心聯合北京今日美術 館舉辦的「70後藝術:市場改變中國之後的一代」畫展、北京星空間聯合深圳何香 凝美術館舉辦的「下一站,卡通嗎?」畫展;2006年參加北京阿拉里奧畫廊舉辦的 「超驗的中國」畫展、北京星空間舉辦的「壞孩子的天空」畫展;2007參加諾基亞 「時尚,角度至上」主題創作。 Born in Guizhou, Gao Yu graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor's degree. In 2006, he held "Specimen" a solo exhibition in Beijing; and in 2007, a solo exhibition "Five Elements Mountain" in Beijing. He attended the exhibition known as "Ideal of A New Generation–the Chinese New Generation" in He Xiangning Art Museum, Shenzhen in 2004; in 2005 he took part in "The Self-Made Generation - A Retrospective of New Chinese Painting" exhibition in Zendai Moma, Shanghai, "Post 70s - The Generation Changed By the Market" exhibition co-organized by Shanghai Mingyuan Art Center and Beijing Today Art Museum and "Next Station, Cartoon?" exhibition co-organized by Star Gallery and Shenzhen He Xiangning Art Museum; in 2006 he attended "Beyond Experience: New China" exhibition held by Beijing Arario Gallery and Star Gallery's "Naughty Kids" exhibition; he participated in Nokia's art works creation known as "Fashion! The Top One is Prism!".

陳幸婉 CHEN

HSINGWAN (1951-2004)

121

生於中國四川。1999年畢業於四川美 術學院油畫系,2004年獲該院碩士學 位。曾參與展覽包括:「Fun-藝術作 品展」(1999,中國重慶)、重慶美術館 開幕展「實驗中的美術教育」和首屆 「重慶油畫展」(2002)、「方向-四川 美術學院『中國元素』學術主題年系列 展」及「形蝕-李繼開、劉靖作品展」 (2003,中國重慶)、「輕裝上路-重 慶、香港交流展」(2004,香港藝術公 社)、「少年心氣-中國新銳繪畫展」 (2004,中國廣東,何香凝美術館)、 「下一站,卡通嗎?」(2005,中國北 京)、「變異的圖像-中國當代油畫邀請 展」(2006,中國,上海美術館)、「男 孩與鏡像」(2007,德國)、「清空- 李繼開個展」(2008,中國北京,今日 美術館)、「小世界─李繼開的繪畫」 (2008,瑞士)。

Born in Szechuan, China. Li graduated from Sichuan Fine Arts Academy of Oil Painting Department in 1999, and received his MFA in Oil Painting from SAFA in 2004. Selected exhibitions include: “Heart and eye: Conceptual Photography form the West of China”, Chongqing and Kunming; “Fun”, Chongqing in 1999; “the opening Exhibition of Chongching Fine Art Museum” and “Oil Painting Exhibition of Chongching”, 2002; “Direction- the series exhibition of Sichuan Fine Arts Institute”, “Eclipse-Li Jikai and Liu Jing”, 2003; “Backpacker, Hong Kong & Chongqing Art Exchange” and “Ideal of New Generation”, He Ziangning Art Museum, 2004; "Mood of the Youth—Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists", He Xiangning Art Museum, Shenzhen,2004; "Next Stop, Cartoon?", Gallery 3818, 2005; "Variable Images—Chinese Contemporary Oil Paintings Invitational Exhibition", Shanghai Art Museum, 2006; ”Boy and His Mirror Image”, Germany, 2007 ; "Clear ─ Li Jikai Solo Exhibition", Today Art Museum, Beijing, China, 2008; "Small Worlds: Paintings of Li Jikai ", Art Seasons Lake Zurich, 2008.

季大純 JI

DACHUN (b.1968)

生於中國江蘇。1993年畢業於中央美術學院油畫系 四畫室,同年參加首屆中國油畫雙聯展,現在為職 業畫家。他的畫具有一種文人畫氣息,人文主義色 彩濃厚。他的作品在內地市場,乃至台灣和香港為 代表的國際市場,都有較大的購藏群體,是一位優 秀的中生代藝術家。近年展覽:「現實:今天與明 天——中國當代藝術」(1996,國際藝苑美術館, 北京,中國)、「其他的現實主義」(1997,柏 林,德國,)、「中國當代畫家聯展」(劉海粟美 術館,上海,中國)、「上海雙年展」(2000,上 海美術館,中國)、「非常平常」(2001,上海美 術館,中國)、「首屆中國藝術三年展」(2002, 廣州藝術博物院,廣州,中國)、「馬德里藝術博 覽會」(2003,西班牙)、「04年亞洲新意美術 交流展」(2004,台南市立藝術中心,台灣)。

126

生於台灣台中龍井鄉,為雕塑家陳夏爾之女。畢業於國立藝術專科學校美術科西 畫組,師承李仲生。1975年與中部青年畫家陳世興等人組成「夏畫會」,並於台 北省立博物館聯展。1990年赴瑞士巴塞爾藝術家工作室創作半年,1991年獲教育 部甄選赴巴黎國際藝術村創作一年。1995年獲文建會甄選赴美國研習創作半年。 長年旅居巴黎,並多年遊行於台灣、歐洲及埃及等地尋求創作靈感與元素。曾獲 「中國現代繪畫新展望」首獎、「當代抽象畫」第三獎、李仲生基金會「現代繪畫 創作獎」,並多次參與海外畫展。重要展覽:「媒體、環境、裝置」(1988,台灣 省立美術館)、「巴黎國際藝術展」(法國巴黎,1988)、「中華民國當代藝術展」 (1995,雪梨當代美術館,澳洲)、「意象與美學-台灣女性藝術展」(1998,台 北市立美術館)、「比較沙龍」(2004,巴黎歐德耶藝術空間Espace Auteuil,法 國)、「蔓蕪」(2006,高雄市立美術館)。 Born in Taichung, Taiwan. Chen is the daughter of well-known sculptor Chen Hsia Yu. In 1972, graduated from National Taiwan Academy of Arts with Oil Painting Department. In 1975, she organized “Xia Group” with Chen Shih Xing and held an exhibition in Taipei Museum. Inspired by her teacher Li Chung Sheng, she started the mixed media experimental creation. Since 1990, She tried another media-ink for futher tentation. No mater mixed media of painting, ink or half-solid works, they all divulge her passion of life. Journey across Taiwan, Europe and Egypt accumulated her unique aspects and cultural accomplishments. Main Exhibition: “Media, Environment, Appliance”(Taiwan Art Museun, 1988 ); “Paris International Art Fair”(1992, Paris, France); “ROC Contemporary Art”(1995, Sydney Modern Art Museum, Australia); “Image and Esthetics-Taiwan Female Art Exhibition”(Taipei Fine Art Museum, Taiwan, 1998); “Comparision Salon”(Espace Auteuil, Paris, France, 2004); “Sprawl”(Kaohsiung Museum of Fine Art).

JIKAI (b.1975)

128

Born in Jiangsu, China, 1968. In 1993, Ji Dachun graduated from the Central Academy of Fine Arts with a B.A. (Oil Painting). His artwork has sense of a scholar bouquet, and also humanism. He was invited to participate in "the First Oil Painting Biennial of China" and later took part in Chinese Contemporary Union Show in 1998, Shanghai. At the same time, his instinctive style engaged the attention of overseas market. In 1997, he attended "Exceptional Realism" Show in the House of World Cultures, Berlin, Germany. In 1999, BASE gallery in Tokyo held his first solo exhibition. Among young Chinese artists, he has an obviously unique style. Notwithstanding the multiplicity of art world, Ji Dachun work combines an intuitive understanding of human nature with a strong technique.

331


紅膠囊 MR.

RED (b.1971)

132

尚.皮耶.卡辛紐 JEAN PIERRE CASSIGNEUL ( b.1935)

138 133

生於台灣,本名郭法宏。私立復興商工美工科、私立東方工商專校美工科、國立雲 林科技大學視覺傳達設計技術系畢業。 紅膠囊創作的領域及媒材方式十分廣泛,展 現跨界的能量。早期以插畫及圖文作品知名,作品曾獲《中國時報》開卷好書獎, 《聯合報》讀書人獎,《誠品好讀》年度圖文書之最,講義雜誌2005年最佳漫畫類 作家獎。其結合水彩、水墨畫根底,及電腦繪圖數位藝術的畫風,相當受到矚目。 尤其圖文書廣受年輕讀者群歡迎,多次進入暢銷排行榜。 除此之外,紅膠囊也曾跨 足裝置藝術、電音派對VJ秀、網站設計、商品設計、車身彩繪等媒材。並曾參與電 視戲劇演出。 近年潛心油畫創作,現為專職畫家,活躍於國內外展覽及藝博會。

190

生於法國巴黎。是當代華人畫家吳冠中留法時的同門師弟。曾於法國Académie Charpentier美術學院學習,後畢業於法國美術學院。於法國美術學院就讀期間, 深受教授Jean Souverbi立體畫派影響。1956至1960年間工作於Chapalain-Midy 的工作室,並向其學習繪畫技巧。卡辛紐在17歲時即舉辦第一次個展,至1956年結 識日本畫商為永清司,並且成功將其作品發揚至日本。1965年後常於巴黎、日本及 美國巡迴展出,作品調性艷麗,色彩豐富,且富羅曼蒂克的畫風。

Born in Taiwan. Kuo Fa Hong, known as Mr. Red, the red capsule graduated from the Art Depertment of Fu-Hsin Trade and Arts School, the Art Department of Dongfang High School of Industry and Commerce and the Department of Visual and Communication Design of National Yunlin University of Science and Technology. Mr. Red’s artworks cover a wide genre and materials. He is known for illustration painting and compositions in the earlier years, he won The Best Reading Book Award from China Times, the Reader Award from United Daily News, Annual Best Graphic-Literary Book Award from Eslitebooks, and Best Author in the category of comic book from Jiang-Yi Magazine. He has gained attention with his foundation in Chinese ink and water along with digital visual language. He is most popular among young readers and his books won several best sellers. Other than that, he also worked with installation art, VJ shows, website design, product design, car paintings. He even participated in performing television drama. His focus has shifted to oil painting in recent years and still active among exhibitions and art expos domestic and internationally.

Born in Paris, French. He studied art at the Académie Charpentier and under Jean Souverbie who had cubist influences in his work and was head professor at the Ecole des Beaux-Arts in Paris. Between 1956 and 1960 Cassisneul was instructed by Chapelain-Midy and worked in his studio. In 1965 he met Kiyoshi Tamenaga, who would become his art dealer in Japan, he would his work many times in Japan. In 1968 Wally Findley becomes his dealer in the USA. Throughout the 1970's Iean Pierre Cassigneul exhibited extensively in Europe, Japan and the USA.Cassigneul is a painter, lithographer and illustrator. He created beautiful portraits of youung woman with big very fashionable hats. He was trongly influenced by expressionist painter Kees van Dongen.

張義雄 CHANG

楊柏林 YANG

YOSHIO (b.1914)

POLIN (b.1954)

137

134

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.

332

生於台灣雲林,現為台灣亞細亞現代雕刻家協會理事長、中國文化大學駐校藝術 家。除個人創作外,也從事公共藝術與景觀設計。曾榮獲雲林縣十大傑出青年以及 眾多公共藝術徵選首獎。個人展覽包括:「楊柏林首次雕塑個展-『孕』系列」 (1985,台灣台北,春之藝廊)、「楊柏林雕塑個展-『天地』系列」(1989,台 灣,台北市立美術館)、「雕塑個展-『靜坐』系列」(1989,台灣台北,皇冠藝 文中心)。「雕塑個展-『飛行的種子』系列」(1989,台灣,楊柏林工作室)、 「我在這裡-楊柏林個展」(2010,台灣,台北當代藝術館)。重要聯展:「韓 國光洲美術館聯展」(境界)(2009,韓國)、「Scultura Internazionale a Racconigi, 2010」(2010,義大利杜林)。作品為台北市立美術館、高雄市立美 術館、國立台灣美術館等單位典藏。 Born in YunLin, Taiwan, Yang is the chairman of The Association of Asian Contemporary of Taiwan and the Resident Artist at the Chinese Culture University. He also devotes him himself to public arts and landscape designs. Once won the Yunlin Country Top Ten Outstanding Youth and plenty of First Prize of the public art competitions. Solo Exhibitions: ” 1st Solo Sculpture Exhibition - Pregnant Series” , Spring Gallery, 1985; “Solo Sculpture Exhibition - Heaven and Earth Series”, Taipei Fine Arts Museum, Taiwan, 1987; “Solo Sculpture Exhibition - Meditation Series”, Crown Fines Arts Center, 1989; “Solo Sculpture Exhibition – Flying Seed Series”, Polin Yang Studio, 1989. “Here I Am - A Solo Exhibition by Poling Yang”, Museum of Contemporary Art Taipei, Taiwan, 2010. Joint Exhibitions: ”Gwangju Museum of Art Korea Joint Exhibition”, Korea, 2009; “Scultura Internazionale a Racconigi”, Turin, Italy, 2010. His works were collected by the Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts and National Taiwan Museum of Fine Arts.


鈴木良治 RYOJI

SUZUKI (b.1973)

鄭善禧 CHENG

141

139

生於日本千葉縣,1999年畢業於日本多摩美術大學版畫系。其作品曾參與過的個 展如下:神宮苑畫廊(2006,東京);Artis神樂坂畫廊(2008,東京);德島眉 峰畫廊(2009,德島);「箱子系列」(2009,維也納)。以及群展「人與人 展」(2006,大阪)、「人人展」(2008,德島)、「大阪藝術博覽會2008」 (2008,大阪)、「藝祭2008」(2008,東京)。 Born in Chiba Prefecture, Japan. Ryoji Suzuki graduated from the Department of Print of Tama Art University in 1999. His solo exhibition history as below: Gallery Jinguen (2006, Tokyo); Artis Kagurazaka Gallery (2008, Tokyo); Bihoh Gallery (2009, Tokushima); "Box Series" (2009, Vienna) ; and group shows in "Hitotohito" (2006, Osaka); "Hitobito" (2008, Tokushima); "Art Osaka 2008" (2008, Osaka); "Geisai 2008" (2008, Tokyo).

黃榮禧 TONY

WONG (1948-2012)

SHANHIS (b.1932)

164

生於中國福建。五、六歲時,父親請畫師為父子倆繪「課子圖」引發了他對繪畫的 濃厚興趣。他以創作水墨書畫為主。1950年遷居台灣,考取台南師範學校美術師範 科,畢業後分發嘉義民雄國校任教,1956 年轉職台北木柵中興小學。1957 年考取 國立台灣師範大學美術系,畢業後任台中師範專科學校助教。1965-1976 年任台中 師專教授,期間曾旅居美國兩年。1977 年任台灣師範大學美術系教授至1991 年退 休。1996 年獲第一屆國家文化藝術基金會國家文藝獎美術類。2006 年獲國立師範 大學榮譽教授 Born in Fujian, China. In 1950, he immigrated in Taiwan. In 1953, he graduated from the National Tainan Teachers College, majoring in Arts. In 1960, he graduated from National Taiwan Normal University, also majoring in Arts. Next, he worked for “Taichung Teachers Academy”, National Taichung Teachers College, and National Taiwan Normal University, teaching students the techniques of ink paintings. In 1969, he exhibited his artworks for the first time. Among all his artworks, he has won the first prize in the 1965, 1966, 1968, and 1969 provincial traditional Chinese painting competitions for teachers; the second during 1967, the first in the 1965 and 1967 provincial traditional Chinese painting competitions, and won the “Cultural and Art Award IX” and “Traditional Chinese Painting Prize IX” from Cultural and Art Council during 1968.

陳來興 CHEN

LAIXING (b.1949)

154 153

生於中國廣東,後移居美國紐約。1972年畢業於芝加哥藝術學院。1973年畢業於 加州大學柏克萊分校,獲文學碩士學位、1975年獲美術碩士學位。1975年,黃榮 禧進入伊利諾州州立大學任教。1977年他放棄教職,轉往紐約藝壇發展。其婉約抽 象主義風格的象徵派油畫作品尤為著名。1984年曾代表美國參加義大利威尼斯雙年 展。其作品先後在紐約、三藩市、洛杉磯、芝加哥、休士頓、台北、香港等各大城 市辦展。作品廣受香港美術館、史丹福美術館、台北市立美術館、華納兄弟影音公 司、H.B.O.所典藏。黃榮禧於2012年病逝於紐約。 Born in Guangdong province, China. Wong moved to New York City. Wong graduated from The Art Institute of Chicago in 1972 and received his MA degree from University of California, Berkeley in 1973. In 1975, he also received MFA from Berkeley. His symbolist artworks of delicate restraint abstract style are distinct. Wong represented by American Pavilion at Venice Biennale in 1984. His artworks have been exhibited in New York City, San Francisco, Los Angles, Chicago, Huston, Taipei and Hong Kong.

生於台灣台中。1972 年畢業自國立藝專美工科,曾任秀水國中美術老師。1977 年首度於台北舉行個展,其後陸續於臺中文化中心(1978)、臺北美國文化中 心(1981)、臺北紫藤廬(1984)、臺中金石藝廊(1989)、淡水藝文中心 (1993)、彰化縣文化局(2002)、宜蘭文化局等地舉辦個展,並在臺北市立美術 館、國立臺灣美術館舉辦超過二十次展覽。1984年受邀參加由香港漢雅軒舉辦之「台 灣新繪畫聯展」, 1988年前往美國舉行巡迴演講畫展。陳來興的繪畫多以描繪台灣風 貌與生活為主,充滿本土生命力,並創造出其獨特的「表現派」風格。出版有《陳來 興畫集》、《陳來興油繪集》等。 Born in Taichung. Chen Laihsin graduated from the National Junior College of the Arts in 1972. He had served as the teacher of Hsiushui Junior High School. He held his first solo exhibition in Taipei In 1977, and was invited to exhibit at the Taipei American Culture Center in 1981. He then successively exhibited his works at King Stone Gallery in Taichung, Tamsui Center of Arts and Culture, ChangHua County Cultural Affairs Bureau ,Taipei Fine Arts Museum and National Taiwan Museum of Fine Arts and so on. In 1984 some of Chen's works were selected for the exhibition of new Taiwanese painters held by the Hanart T Z Gallery in Hong Kong, and in 1988, he traveled the US on a lecture-exhibition tour. Chen's paintings mainly depict life and natural scenery in Taiwan which full of local vitality.

333


方力鈞 FANG

LIJUN (b.1963)

米 羅 JOAN

MIRO (1893-1983)

161

生於中國河北。1989年畢業於中央美術學院版畫系。現居北京。方力鈞以「玩世 現實主義」之風格立足當代藝壇,作品反映社會樣貌甚深,曾多次參予國內外重 要展覽。著名聯展包含:「第六屆全國美展」(1984,中國廣州)、「中國現代藝 術展」(1989,中國北京,中國美術館)、「中國新藝術展」(1992,澳洲)、 「中國前衛藝術展」(1992,巡迴德國、荷蘭、丹麥)、「後八九中國新藝術展」 (1993,香港)、「東方之路」(1993,義大利,威尼斯雙年展)、「第四屆亞洲藝術 展」(1994,日本,福岡美術館)、「開放的邊界」(1999,義大利,48屆威尼斯雙 年展)等。近年重要國際性個展:「方力鈞作品展」(1995,法國巴黎)、「方力鈞 作品展」(1988,荷蘭、美國)、「方力鈞作品展」(2000,新加坡)、「方力鈞亞洲 當代藝術」(2001,德國)、「方力鈞」(2004,德國)。 Born in Hebei, and graduated from China Central Academy of fina arts. Now live in Beijing. Group exhibitions: “The 6th National Art Exhibition, Guangzhou”, Canton, china, 1984; "China Avant-Garde Art Exhibition”, National Art Museum, Bejing, China, 1989; “China's New Art, Post-1989”hong kong, 1993; “Fourth Asian Art Show”, Fukuoka Art Museum, Japan; “Open Boundary” The 48th Venice Biennale, Italy, 1999, etc. And Solo Exhibitions: “Fang Lijun” Galerie Bellefroid Paris, France, 1995, “Fang Lijun”,Netherlands and USA, 1988; “Fang Lijun”Singapore, 2000; "Fang Lijun, Asian Fine Arts", Germany, 2001; "Fang Lijun", Germany,2004.

彭光均 PENG

KUANGJUN (b.1961)

168

334

162

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。」 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.

李 梁 LEE

LIANG (b.1985)

169

生於台灣新竹。畢業於台北藝術大學,1992年獲得第十三屆全國美術展雕塑類第 一名,1994年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎。著名展覽 包括:「得意忘象」(1994,台灣高雄,杜象藝術空間)、「得意忘象」(1994, 台灣台北,彩田藝術空間)、「探囊取物」(1998,台灣台中,首都藝術中心)、個 展(1999,台灣新竹,敦煌藝術中心)、個展(2000,台灣花蓮,維納斯藝術中 心)、個展(2001,台灣高雄,福華沙龍)、「不可思議」個展(2003,台灣臺 北,觀想藝術中心)、個展(2005,台灣,新竹縣文化局)、「草動雲湧」個展 (2007,台灣新竹,智邦藝術基金會)。高雄市立美術館典藏其作品「妙」。

生於中國洛陽,新銳藝術家,現居住於北京。2003進入中央美術學院就讀,2011 碩士畢業於中央美術學院油畫系二畫室,並取得文學碩士學位,現為職業畫家。

Born in Hsinchu, Taiwan. Peng graduated from Taipei Art University in 1990, and won the first award of “13th National Art Exhibition of Sculpture in 1992. In 1994, won the excellent work of Taipei Fine Art Museum pair of year and the first prize of Taipei art sculpture exhibition. Solo exhibitions include:1994, Gaoxiong Du art gallery “too happy to get the elephant”、Taipei color field art space exhibition; In 1996 Taichung Jen Pin art center; In 1998 Taichung capital art center “took something from the pocket”; In 1999, Hsinchu Dunhuang art gallery exhibition; In 2000, Hualian Venus art center exhibition; In 2001, Gaoxiong Salon Exhibition; In 2003, Taipei View Thought art gallery “incredible” exhibition; In 2005, Xinzhu Culture exhibition; In 2007, Chih Pang art foundation “Grass and cloud movement ” exhibition. Gaoxiong art museum also collected his work “wonderful”.

Born in Luoyang, China. He was accepted by Central Academy of Fine Art and Style after graduating from senior high. Scholarship was offered to him from Central Academy of Fine Art where he studied oil painting the next year. His oil paintings “Young Women” was released, then. In 2005, he once again received the scholarship. His work “Still life” first won the Best Color prize of Studio Open Day of Department of Oil Painting, then was selected into top works of the year in Central Academy of Fine Art in 2005 and in the end was collect by a gallery later. His work “The Wall” was in a charity auction at Beijing JingXi School and was sold to private collector in 2006. In 2007, his series “April” was selected as Excellent Works in the 5th Academy Light Exposition.

曾參與之聯展與個展:油畫作品《仕女系列》參加北京京西學校「我們—六人展」 (2006)、油畫作品《四月系列一》入選「中央美術學院第五屆“學院之光”畢業生作品 展」(2007)、《鏡子系列之三,之四》參加「中央美術學院油畫系畢業作品展」(2007)、 「亦幻亦真 當代藝術作品展」「青春地平線」(2008,北京)、油畫作品《紅帆船系列》入 選「藝術中國-全國畫展」並收藏(2010)、「暗香—中央美術學院優秀研究生李梁,萬嶺作 品展」(2011,北京,感嘆號藝術空間)、「內心的真實—李梁作品展」(2012,臺北)。


李俊陽 LI

JIUNYANG (b.1967)

李民中 LEE

MINGCHUNG (b.1961)

170

生於台灣台東。桃園大溪大道藝術館第一屆駐館藝術家、台中二十號倉庫第一屆、 第二屆駐站藝術家、2002年亞洲文化協會視覺藝術類授獎人、美國舊金山赫德蘭 藝術中心駐村藝術家。曾經為金枝演社設計的舞台作品有《群蝶》、《可愛冤仇 人》、《玉梅與天來》。美術設計作品則有2005《祭特洛伊》。在他的作品裡, 隱藏著許多台灣的視覺符號。曾於多地舉辦個展。著名聯展包括:《百花齊放The Flowers Are All Out-大度山人文工作者群展》油畫(1995,台中理想國狀況藝術 空間)、台中二十號倉庫第一屆駐村藝術家複選文件展》(1998,台中二十號倉 庫)、《驅動城市2000中途站Actuate The City 2002》裝置聯展(2002,臺北華 山藝文特區)、《神遊台北-第四屆台北藝術節》(2002,台北松山菸廠)、《群 魔亂舞-台灣當代素描展》(2002,台北誠品畫廊)、《台灣當代行為錄象展》 (2003,高雄豆皮文藝咖啡館)、《鬼姑娘》木偶創作(2003,台北西田社劇 團)、《兄弟姐妹大明星》CO4前衛文件展(2004,台北華山藝文中心)、《[七 彩迷魂妙]平行輸入展》(2005,台北當代美術館)、《五形‧五行-台灣當代常民 劇場》(2005,高雄市立美術館)。 Born in Taitong, Taiwan. A famous artist in Taiwan. Selected solo exhibitions: ”Dead Plot And New Life's Coming “ (Utopia Gallery, Taichung, Taiwan, 1995); “Rainbow, Souls”(Xage gallery, Taichung, Taiwan, 1997); ”The Sacrament Of My Childhood”(Museum of Dadao, Taoyuan ,Taiwan, 1998); “Come Out From A Helpless Impasse:The Black Sacrifice” (stock 20, Taichung, Taiwan, 2000); “Flying Dance of Leaves with Feather Prints“ (Headlands Center for the Arts, San Francisco, USA, 2003). Selected group shows: “The Flowers Are All Out “ (Utopia Gallery, Taichung, Taiwan, 1995); “The first resident artist of Stock 20 exhibition“ (Stock 20, Taichung, Taiwan, 1998); “Actuate The City 2002” (Huashan Art District, Taipei, Taiwan, 2002); “Taipei Arts Festival 2002“ (Taipei, Taiwan, 2002); “Taiwan contemporary sketch“ (ESLITE gallery, Taipei, Taiwan, 2002); “CONTEMPORARY PERFORMINE & VIDEO ART IN TAIWAN” (Dogpig Art Café, Kaohsiung, Taiwan, 2003); “CO4 Taiwan Avant-garde Documenta” (Huashan Art District, Taipei, Taiwan, 2004); “Pseudo Hackers’ Art in Parallel Zones” (MOCA, Taipei, Taiwan, 2005); “A Theater of Taiwanese Common Culture” (Kaohsiung Museum of Fine Arts, Taiwan, 2005); “FOOTPRINS INTO THE FUTURE” (Palazzo delle arti Napoli, ITALY, 2007)

李轂摩 LEE

172

KUMO (b.1941)

生於台灣南投縣草屯人,農耕世家,性情純真樸 實,細膩生動的書畫風格在田園野趣的創作中 嶄露無疑。曾舉辦「走過書畫半世紀」(2009)、 「一波三折屋漏留痕-七十回顧展」(2010,高雄 文化中心)、「百年百幅」(2011,台中市立港區 藝術中心)、「自在 從心所欲」(2013,中華文化 總會)等逾20次個展。曾參與「海華藝術季三人 聯展」(1989,舊金山、巴黎)、「海峽兩岸當代 水墨繪畫聯展」(1992,臺灣美術館)、「亞細亞 美術招待展」(1994,韓國)、「華東六省一市府 協聯展」(2003,江西)、「傳統與實驗-雙年展」 (2006,河創時書法藝術基金會)等數十個聯展。

Born in Caotun Township, Nantou County, Taiwan. He became a professional and active artist at a very young age and ever since has established himself as one of the iconic figures in the ink painting field of Taiwan. At the end of 1975, together with more than ten painters from Nantou region, Ku-mo Lee decided to establish Nantou County Art Association. He served that position for 12 years as a result of term renewal. Ever since, various activities held by the Association as well as juror invitations of art exhibitions of different places followed one after another. Lee has enjoyed various international exhibitions.

171

生於臺灣臺北。1985畢業於中國文化大學美術系,1990年入巴黎第八大學入學, 2006年獲台北藝術大學美術創作研究所碩士學位。作品曾入選台北市立美術館「新 展望」(1988、1990)、巴黎大皇宮「新真理沙龍」(1989)、巴黎大皇宮「青 年繪畫沙龍」(1989)等著名展覽;1985年獲「雄獅新人獎」佳作。1991至2006 年陸續舉辦9次個展,參與國內與國際性聯展達五十餘次,著名者包括:「第八屆 亞洲國際美展」(1993,日本福岡)、「法 台青年三人聯展」(1994,法國巴 黎,聯合國教科文組織巴黎總部)、「千濤拍岸」(2001,臺灣臺中,國立台灣美 術館;臺灣臺北,關渡美術館)、「原鄉與流轉─台灣三代美術」(2004,美國肯 塔基,路易維爾大學美術館)、「悍圖社聯展」(2005,臺灣臺中,國立台灣美術 館)、「愛之維谷─台灣當代繪畫的迴旋曲式」(2005,韓國光州,光州市立美術 館;臺灣臺中,國立台灣美術館;臺灣臺北,關渡美術館)、「巨視.微觀.多重 鏡反─台灣當代藝術特展」(2006,臺灣臺中,國立台灣美術館)。作品為台北市 立美術館、國立台灣美術館及帝門教育基金會等藝術機構典藏。 Born in Taipei, Taiwan. Lee graduated from Fine Arts Department of Chinese Culture University in 1985, enrolled Université Paris 8 in 1990 and was awarded the Master degree by Graduate School of Fine Arts of Taipei National University of the Arts in 2006. His artworks had once been selected for several renowned exhibitions, including “Contemporary Art Trends in R.O.C.”, Taipei Fine Arts Museum, 1988,1990,”Salon de la Jeune Painture”, Galeries Nationales du Grand Palais, Paris,1989 and “Salon realite Nouvelle”, Galeries Nationales du Grand Palais, Paris,1989. He had held nine solo exhibitions from 1991 to 2006 and participated in more than fifty group exhibitions at home and abroad. His artworks have been collected by Taipei Fine Arts Museum, National Taiwan Museum of Fine Art and Dimension Endowment of Art.

劉耿一 LIU

KENGI (b.1938)

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」 173 (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.

335


村上隆 TAKASHI

MURAKAMI (b.1963)

175

176

183

177

191

185 184

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)。

192

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. 193

336


維士巴修 CLAUDE

WEISBUCH (b.1927)

戴貝魯特 JACQUES

DEPERTHES (b.1936)

178 179

180

生於法國。就學於南錫國立美術學校,精通於各種版畫製作,善於描繪人物、馬、 音樂歌劇等。1951年起,維士巴修開始在巴黎畫壇嶄露頭角,於當代青年畫家展、 洛頓沙龍、巴爾赫哥爾畫展及巴黎「時代證人畫展」都可見維氏的作品。1957年首 次個展,於在巴黎主辦藝評家大獎的聖‧柏拉西得 (Galerie Saint-Placide) 畫廊 展出,畫題大都以義大利假面舞劇中的駝背丑角或法國木偶劇中的滑稽人物為主, 畫面簡化到一切對主題沒有用處的細節皆被排除。1960年代後,維士巴修逐漸發展 出自己獨特的風格,用色漸少但線條更趨於流暢。1961年獲得藝評家大獎,從此聲 名遠播,與易北畫廊簽約連續開個展,畫展足跡遍至歐洲各地、美國及日本。1968 年被認命為法國版畫協會專任會員,並應邀至聖‧艾蒂安藝術學院當任教授。1970 年起和巴黎Tamenaga畫廊開始長期的合作關係,作品亦開始被巴黎市立現代美術 館收藏。1988年法國文藝古堡-修濃索城堡為他舉辦首次回顧展,全球22個收藏其 作品的美術館,包括紐約現代美術館、巴黎龐畢度中心及比利時皇家學院美術館等 代表皆應邀出席,無疑地,維士巴修已成為法國當代代表性畫家之一。 Claude Weisbuch is a distinguished professor in the department of Materials, school of engieering, UCSB. Weisbuch has been a researcher at the Laboratoire de Physique de la Matière Condensée at the Ecole Polytechnique as a director of research for the Centre National de la Recherche Scientifique (CNRS) since 1997. He is co-author of Quantum Semiconductor Structures: Physics and Applications (1991), a widely used, graduate-level text, and co-editor of five other books: Physics and Fabrication of Microstructures and Microdevices (1986); Physics, Fabrication and Applications of Multilayered Structures (1988); Confined Electrons and Photons: New Physics and Applications (1995); Microcavities and Photonic Bandgaps (1997), and Confined Photon Systems (1999). Weisbuch a fellow of the American Physical Society in 1993, he received the 1999 Welker Prize for his fundamental contributions to the understanding of the physics of quantum semiconductor structures and the development of novel optoelectronic device concepts.

安德烈.布拉吉利 ANDRE

BRASILIER (b.1929)

188

出生法國。安德烈的父親賈克‧布拉吉利 (Jacques Brasilier) 也是位畫家。1949年 就讀於巴黎國立美術學院 (Ecole des Beaux-Arts),1952年獲佛羅倫斯-布魯塞爾 獎 (Prix Florence-Blumenthal),隔年並獲得羅馬大賞 (Grand Prix de Rome)。 1954-1957年住在義大利的美第奇別墅 (Villa de' Medicis),1956年時他參與了許 多巴黎的團體展。其作品以美麗及優雅的女人、令人崇仰的裸體以及高貴的男士為 名,且多以盧瓦爾河谷 (Val-de-Loire) 的背景,有著壯麗的風景以及迷人小鎮。他 的作品裡描述著寧靜、舒服的世界,是個簡單的理想國度,以其抽象化的造型和明 快的色彩,描繪出詩意的場景,為現代 法國具象畫壇的大師。 Born in Anjou, France. His father Jacques Brasilier is also an artist. Brasilier has spent more than half a century creating canvasses that are a blend of abstraction, expressionism, and something distinctly his own. His works often feature themes and motifs like horses, nature, music, and women. Brasilier's art is known around the world, from Japan to the United States. He was recently the subject of an exhibition/retrospective at St. Petersburg, Russia's renowned Hermitage Museum. The Net Cristal team caught up with him to find out about his views on art, inspiration, and what's going on next in his busy calendar of events.

187

生於法國休利奴。1954年至1958年間就讀於日內瓦裝飾美術學校。1961年在日內 瓦開第一次個展。1970年經常在歐洲及美國等地展出。戴貝魯特的作品為巴黎近代 美術館、日內瓦歷史美術館等眾多美術館所收藏。其作品常以黑色為基本色調的描 繪在古典的構圖中顯現出美麗的調和、為各大美術館所收藏。 Born in Suresnes, France. Jacque Deperthes studied at Installation Art School of Geneva between 1954 to 1958. He held his first solo exhibition in 1961 in Geneva and often exhibited in Europe and United States in 1970 Deperthes’ artworks are widely collected by many art museums such as Musée d'Art moderne de la Ville de Paris and Les Musées d'art et d'histoire - Ville de Genève. He often used black as the basic tone to bring out the beautiful harmony in classical composition.

強.詹森 JEAN

JANSEM (1920-2013)

189

生於土耳其的法國藝術家。強˙詹森於希臘渡過童年時期,1938年畢業於巴黎高等 裝飾藝術學院。1939年首次於法國巴黎沙龍展展出個人畫作,1950年再度前往希 臘旅遊寫生。地中海的光景使詹森習得光線的運用,存於童年記憶中的人物形象也 被喚醒,農夫、漁人或商旅等形象,皆成為此時期描繪的主體。後強˙詹森作品多 以描繪具體人、物為主,尤以女性題材居多。至今獲獎豐富,曾於世界各地舉辦展 覽。 Born in Seuleuze (Bursa), Jean Jansem was a French artist who spent his early childhood in Salonique, Greece. He graduated from École Nationale Supérieure des Arts Décoratifs, Paris in 1938 and had his first painting shown at the Salon des independants, Paris in 1939. In 1950 he went to Greece and it was in the Mediterranean that he discovered light, until then his painting had been somber. Throughout the Greek countryside he eagerly sketched the shadowy figures who had surrounded him in his infancy and who until then had remained hidden in his subconscious mind - peasants, fishermen, tradesmen. Jean Jansem works in a figurative style, and mostly depicts women. He has won many awards and held plenty of exhibitions worldwide so far.

337


傅狷夫 FU

CHUANFU (1910-2007)

謝孝德 HSIEH

HSIAOTE (b.1940)

195 196

生於中國浙江,為當代著名書畫家,以其獨創畫風描繪臺灣風景,形成一派畫風, 對臺灣水墨畫壇有深遠影響。其8歲時便隨著父親勤習書法,研讀古文詩詞,一度 師事杭州藝專校長陳之佛,20歲時已習得傳統山水畫工。1934 年適逢戰亂投身軍 旅,巴蜀九年的山水體會,使他眼界大開,期間並請益於陳之佛、徐悲鴻、黃君 璧、傅抱石等。1949年隨國民政府來台,1961 年開始任教於政工幹校與國立藝 專,受到臺灣沿海和山林自然景物的啟發,興起其注入山水畫中之靈感。其獨創 「點漬法」、「裂罅皴」兩種技法,而有「傅家山水」之稱,不僅開創台灣山水的 恢宏意境,也為水墨畫史立下劃時代的里程碑。對傳統水墨因而有了新的面貌。 Born in Hangzhou, China. Fu was a descendant of a scholar who passed the imperial examinations. His father encouraged him to cultivate the art of Chinese calligraphy. At the age of 17, he started studying Chinese painting. Armed with a good foundation. Fu, who received formal training in traditional Chinese painting in China, taught over a 10-year period, starting in 1962, at the National Taiwan University of the Arts, formerly known as the National Taiwan Academy of the Arts.The collection being put on view has Fu employing "cracking-chapping-wrinkling" and misting methods. Misting and blank spaces are his methods to capture the moods of the different seasons. He combines painting and calligraphy in his works. A number of his most representative works became the permanent acquisitions of the Taipei Fine Arts Museum when his former student Huang Kuang-nan was the director. Fu's exhibition in Taipei will include many works on loan from museums and collectors in Taiwan.

貝納德.畢費 BERNARD

BUFFET (1928-1999)

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. After he 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" and became the founder of Taiwan Neorealism. Won awards in the Taiwan: Hsieh won First Place Award of Tai-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.

保羅.賈曼 PAUL

GUIRAMAND (1926-2008 )

197 198

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。」

338

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.

生於法國北部的盛康坦。1945年進入巴黎國立美術學院就讀,與布拉吉利、卡多 蘭、吉尼斯及巴東一同師事法國畫壇長老─布利風頌 (Brianchon),1952年獲得羅 馬大獎。1956年在巴黎畫派中展覽中受注目。1957年在曼哈頓雙年展獲馬爾波羅 獎。1962年起在日內瓦、芝加哥、巴黎、日本等地舉辦個展。賈曼的畫風含蓄而大 膽,充滿動感的線條像思緒般的交織在畫布上,組織細密。擅長以鮮艷的色彩在單 純的背景中表達出強烈的情感,其精準平衡的構圖、略帶超現實的空間,讓觀賞者 產生無限的遙思,被譽為當代具象色彩派的代表之一。 Born in the town of Saint-Quentin, France. Figurative painter, sometimes close to abstraction, it is one of the young artists of the New School of Paris. In the early thirties he moved to Paris and became a witness to the violence of war torn France. Two years later he began to study design at the Ville de Paris. Under the guidance of Professor Maurice Brianchon, Guiramand continued his studies at the L’Ecole des Beaux- Arts School in 1943. Brianchon was most influential to Guiramand in his career. In 1952, he won first prize Rome1 he lived in Rome at the Villa Medici in 1953 to 19,562. On his return from Rome, he exhibited worldwide. Focusing on all technical, it will initiate in 1953 the engraving and lithography workshop Maurice Mourlot. It illustrates, in 1960, the works of Apollinaire and Hemingway will then move towards the mosaic.


薩爾瓦多.達利 SALVADOR

199

DALI (1904-1989)

簡嘉助 CHIEN

201

200

206

205

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.

楊啟東 YANG

CHIACHU (b.1938)

CHITONG (1906-2003)

生於台灣雲林。師承李澤藩、劉文煒。1966臺灣省立師範大學美術系畢業,長於水 彩、粉彩、油彩、美術教育。曾任教於國立台中教育大學,現任臺陽美術協會常務 理事、臺灣水彩畫協會會員。1984年作品《思》、1985年作品《遙想》獲全省公 教美展第一名;1985年作品《張小姐》獲第三回日本現代水彩畫會大阪府和事賞、 《紅衣》獲日本第七回白亞畫會展會員努力賞;1988年參加日本第十一回現代水 彩畫會展於大阪美術館;1989年參加日本I.F.A國際美展大阪府美術館;1989-2007 年參加第十二至十七屆全國美展於臺灣藝術教育館;1990年於歷史博物館等舉辦 三次個展;1995年臺灣美術館邀請舉辦「簡嘉助的繪畫世界」個展;1999年參加 「跨世紀亞太水彩畫展」、2000年參加「亞洲水彩畫聯盟展」於臺灣藝術教育館; 2008年參加「臺灣當代水彩大展」於中正紀念堂。著有《簡嘉助水彩畫選集》等文 刊。 Born in Yunlin County, Taiwan. Chien was educated by Li Ze Fan and Liu Wen Wei and graduated from National Taiwan Normal University Department of Art in 1966, he specializes in water painting, pastel painting, oil painting, and art education. He once taught at National Taichung University of Education and is currently the executive council member of the Tai Yang Art Association and a member of the Taiwanese Water Ink Painting Association. He participated in the 11th Modern Water Ink Painting Exhibition in Osaka Art Museum in 1988; IFA International Art Exhibition in 1989; the 12th to 17th National Art Exhibition at National Taiwan Arts Education Center in 1989-2007; three personal exhibitions at the National Museum of Taiwan History in 1990; personal exhibition “Jian Jia Zhu's world of painting” in Taiwan Art Museum in 1995; the Cross-century Asian Water Ink Exhibition in 1999; Asia Water Ink Painting Joint Exhibition in 2000 at National Taiwan Arts Education Center in 2000; Taiwan Contemporary Water Ink Exhibition in 2008 at Chiang Kai Shek Memorial Hall. His publications include “Jian Jia Zhu's water ink painting collection”.

李尚學 LI

201

生於台中豐原,小學畢業後北上就讀台北師範學院,1920年進入台北師範學校授業 於石川欽一郎學習水彩畫,台北師範畢業後回到中部任教於台中商職(今國立台中 技術學院),畢生致力於繪畫創作。作品曾入選「帝展」共十六次以及日本「大潮 會展」、「日展」、法國「春季沙龍展」,更屢次獲得國際大獎,深受肯定。積極 參與主導「中部美展」及「鯤島美展」,還創立了春秋美術會及中部水彩畫會,為 台灣畫壇最資深的水彩畫家之一。於2003年病逝於台中,享年98歲。 Born in Taichung, Taiwan. Yang studied watercolor painting at Taipei Normal School under Ishikawa Kinichiro after graduated from elementary school. He moved back to Taichung after graduated and taught at the Taichung Commercial Vocational School (National Taichung Institute of Technology). He won the highest honors at the Imperial Art Exhibition and was selected to the Exhibition for sixteen times. He also won an honorable mention in "Japan Art Exhibition of National Teacher", "Japan Art", and "Salon du Printemps". Yang was active to participated and led "Central Taiwan Art Exhibition" and "Whale Island Art Exhibition, and also created the Chuen-Chiou Art Association, and Central Taiwan Watercolor painting association. Yang was one of the most distinguished watercolor painters in Taiwan. He died in 2003 in Taichung at the age of ninety-eight.

202

SHANGXUE (b.1961)

生於台灣台中。畢業於中華民國陸軍軍官 學校,青少年時期開始喜於書畫美術,自 1978年研習書法至今,孜孜不倦,勤臨摹 名家碑帖,諸如柳公權、顏真卿及隨代、 清代書法皆為其效法對象。1982年受姚文 枬的啟蒙,始接觸篆刻。之後更勤習北魏 及唐代書法與隸書,2009年跟隨書法名家 莊光日習草書。1998年加入高雄市篆刻學 會歷任學會理事。主要展覽包括:「高雄 市畫會美術季 篆刻學會作品展」(2000)、 「高雄市美術家聯展」(2001、2003)、 「篆刻書法暨文房五寶展」(高雄市文化 中心,2003)、「篆刻書法暨印石心覺」 (高雄市工博館,2006)、「翰墨秀金石情 書法篆刻聯展」(台灣高雄,韓國濟州, 2007)。

Born in Taichung Taiwan and studied at the Republic of China Military Academy. Early interests in paintings since he was a teenager until today from 1978, he practiced by copying famous masterpieces such as Liu Gong Quan, Yan Zhen Qing and calligraphy of the Sui and Qing dynasties. Inspired by Yan Wen Zhan and began seal carving in 1982. Later he indulged himself in calligraphy and clerical script of the Bei Wei and Tang dynasties and began practicing cursive calligraphy with Zhuang Guang Ri in 2009. He was a council of seal carving association of Kaohsiung for years since 1998. His major exhibitions included "Kaohsiung painting association art season-seal carving exhibition' (2000), "Kaohsiung Artist co-exhibition" (2001, 2003), 'Seal Carving calligraphy and the five treasures of Calligraphy exhibition" (Kaohsiung Cultural Center, 2003), "Seal Carving and Seal Stone Exhibition" (Kaohsiung, 2006), "Co-exhibition of calligraphy and carving, Han Mo Xiu and Jin Shi Qing" (Kaohsiung, Taiwan and Jeju, Korea, 2007).

339


林飛龍 LAM

WIFREDO (1902-1982)

林義隆 LIN

YILONG (b.1987)

204

203

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's father 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 École nationale d'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 after Second World War. He also occupies an important position in the history of modern art.

馬克.夏卡爾 MARC

CHAGALL (1887-1985)

生於台灣宜蘭。2009年畢業於國立台北藝術大學美術系版畫組,之後考入國立台 北藝術大學美術創作碩士班繼續深造。以版畫創作見長,曾多次獲得藝術獎項包 括:2010年榮獲「第十五屆大墩美展」版畫類組優選、2010年入選「中華民國第 14屆版畫雙年展」、2010年入選「中華民國第25屆版印年畫」、2011年榮獲「龍 顏基金會第五屆藝術創作獎」。主要個展包括:「異次元的存在-林義隆版畫個 展」(2011,光喆藝術空間,高雄,台灣)、「平行宇宙-林義隆/曾建穎雙個展」 (2011,南海藝廊,台北,台灣);聯展包括:「2012台中藝術博覽會」(2012,台 中長榮桂冠酒店,台中,台灣)、「台灣-韓國國際版畫展─撞擊.繁衍」(2011, 國立台灣藝術大學藝術博物館,台北,台灣)、「台北國際當代藝術博覽會Young Art Taipei」(2011,王朝大飯店,台北,台灣)、「2011藝術家博覽會」(2011, 剝皮寮歷史街區/駁二藝術特區,台北/高雄,台灣)、「2011西班牙版畫博覽會」 (2011,馬德里,西班牙)。 Born in Yilan, Taiwan. Lin graduated from National Taipei University of the Arts in printmaking, BFA in 2009. And study in National Taipei University of the Arts institute of Fine Arts printmaking group, MFA now. Award included: Young Artist Collection ”National Taiwan Museum of Fine Arts” in 2011; “The 14th International Biennial Print Exhibition, R.O.C” in 2010; “The 15th Da-Duen Art Exhibition” in 2010; “The TRUTH PURITTY and GRACE of BENQ AWARD” in 2009. Exhibition included: “YI-LUNG LIN SOLO EXHIBITION of PRINT”, Lighten Art Gallery, Kaohsiung, 2011; “Long Yen Foundation :The 5th Art Scholarship”, Taipei, Taiwan, 2011; “Parallel universes”, Nanhai Gallery, TaipeiGroup Exhibitions, 2011; “T-ART in Taichung”, Taichung, Taiwan,2012; “TaiwanKorea International Print Exhibition”, Taipei, Taiwan,2011; “Taipei Contemporary Hotel Art Fair”, Young Art Taipei, Taipei, Taiwan, 2011; “The 14th International Biennial Print Exhibition, R.O.C ”, Taichung, Taiwan, 2010.

畢卡索 PABLO

RUIZ PICASSO (1881-1973)

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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。

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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 he planned to establish museum and gallery. From 1923 to the outbreak of the Second World War, Chagall stayed in Paris to produce metal etching for novel cover that are Dead 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 Apollinaire said 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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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 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.


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楊識宏 花影 173×221cm 2007 壓克力 畫布


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