中誠國際藝術2014年秋季拍賣目錄 by 中誠藝術拍賣

ZHONG CHENG

TA I P E I

Modern And Contemporary Art

21 December 2014

ZHONG CHENG 中誠

MODERN AND CONTEMPORARY ART Sunday 21 December 2014

MODERN AND CONTEMPOR ARY ART

Specialists and Client Services for Buyers and Sellers For assistance and further information about this sale, please contact the 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 Virginia Hsiao Virginia@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

ZHONG CHENG 中誠

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

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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。

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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

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之業務規則以及買家須注意事項。

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蕭偉廷

傳真：(886-2) 8773-2615

副總經理 wayne@art106.com 蕭又華 Virginia@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

MODERN AND CONTEMPOR ARY ART

001 LONG CHINSAN

古剎掃塵

Keeper of The Temple Gate

1939 銀鹽相紙鈐印：郎靜山

38 x 29.5cm Photograph on Gelatin Silver Print With one seal of the artist PROVENANCE: Private collection, Australia

郎靜山

( 1892-1995 )

來源：澳洲私人收藏

ILLUSTRATED: ''SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971

圖錄：《中華大典六十年攝影選輯》，中華學術院攝影研究所刊行，1971 年

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

「我做集錦照片，是希望以最寫實、最傳真的攝

ZHONG CHENG 中誠

影工具，融合我國固有畫理，以一種『善』意的理念，實用的價值，創造出具有『美的作品』。」 --- 郎靜山

002 WALASSE TING

丁雄泉

( 1929-2010 )

西瓜

Watermelon

壓克力紙本藝術家鈐印：採花大盜

36 x 48cm Acrylic on Paper With one seal of the artist

NT$ 120,000-200,000 US$ 4,000-6,600

丁雄泉為國際聞名的詩人藝術家，繪畫作品充滿了繽紛多彩的美女與花卉，因而有「採花大盜」之稱號。曾受新具象繪畫、超寫實藝術、普普藝術、觀念藝術與極限藝術的啟發與刺激，卻不屬於任何流派，在瞬息萬變的國際藝壇中，依舊能展現其特立獨行的獨特風格。丁雄泉以瑰麗的色彩級大膽的表達方式著稱，他從生活中尋求靈感，使用純粹的艷麗色彩、流暢且不受拘束的線條、誇大富有創意的造型作畫，華麗絢爛繽紛成為他的作品相當具有代表性的特色。女人、花、鳥、動物、水果等日常生活中隨處可見的事物，都是他所要表現的主題。然而這些隨處可拾的題材，呈現在他的畫作中，卻彷彿跳脫出物體的框限，由一個「物」化為一個代表性的「色彩」，使之作品更加凸顯其單純鮮明的色彩形象。

MODERN AND CONTEMPOR ARY ART

003 ALFRED BASTIEN ( 1873-1955 )

My Dear Colette 50 x 60cm Oil on Canvas Signed A. Bastien and titled in French

NT$ 160,000-320,000 US$ 5,300-10,600

巴斯天

巴斯天在 1897 年贏得 Goude Charle 基金會獎學金而得以進入巴黎藝術學院深造，1927 年進入比利時皇家學院任教並三度擔任藝術學院院長。他是比利時公認的「印象派」代表畫家，秉承印象派畫風，將光線的色彩、亮度與純度加以強調，展現技法上的純熟。在作品《親愛的柯蕾朵》中，巴斯天油彩筆法細膩有質感，追逐光影變幻間的紛呈色彩，補捉柯蕾朵在光線下栩栩如生的天真動姿，描繪出嬰幼兒吹彈可破的粉嫩肌膚。構圖上背景與主體相互平衡，整體充滿情感及對光的表現，自然營造出完美生動的氣氛感。

親愛的柯蕾朵 1930 油彩畫布簽名：Ma chère petite Colette 26 juin 1930 ; A. Bastien

ZHONG CHENG 中誠

歐洲藏家與藝術品合影

004 YANG CHIHUNG

「每一幅作品，若是精誠所至，就像一粒種子，雖然是靜默

( b.1947 )

的，但卻擁有它自己的生命。它也是一個『親密的宇宙』

Mustard Leaves and Other Things

（Intimate Universe），從這裡你可以進入一個藝術家內心的

56.6 x 76.2cm Mixed Media on Paper Signed C. Yang in English, dated 1983 Signed on the reverse: Chi-Hung Yang and titled in English, inscribed 22 1/4 x 30 inchs and Mixed Media on Paper, dated 1983

NT$ 220,000-280,000 US$ 7,300-9,200

楊識宏芥菜葉與靜物 1983 綜合媒材紙本簽名：C. Yang '83 背面簽名：ChiHung Yang，Mustard leaves and other things 1983， Mixed media on paper，22 1/4 x 30inchs

世界裡。」

---楊識宏《植物的美學自序》

從學生時期對自我「存在」的思考，到出社會後進入「都市文化」層面的反思，更在旅居美國後深刻體驗到「文化異同」之感，楊識宏在創作生涯中歷經多次風格的轉變，而 1990 年他開始發展對植物美學的探討，透過生長與枯萎的生命情境，讓他在自然的迴圈中不停地思索生死命題。由其逐年漸增的生命體會，便可觀出藝術家的創作語彙從「物象」到「心象」，再從「心象」到「意象」的脈絡發展。《芥菜葉與靜物》呈現了強烈的繪畫性和表現性，無論是觸及自然的再現，亦或通俗符號的演繹，楊識宏都以粗曠純粹的筆觸企圖表達某種內心的想像與視景，讓觀者在細節中感受他渾然天成的創作韻味。

MODERN AND CONTEMPOR ARY ART

005 GEORGE CHANN

陳蔭羆

( 1913-1995 )

紅帽少年

Boy with Red Hat

1940 年代油彩畫布簽名：GEO. CHANN

50.5 x 40.5cm Oil on Canvas Signed GEO. CHANN in English

附藝術家親屬開立之原作保證書 With a certificate of authenticity signed by the artist's family

NT$ 140,000-280,000 US$ 4,600-9,200

ZHONG CHENG 中誠

陳蔭羆的藝術生涯起於 1940 年代，12 歲於中國完成中學後隨著父親移民至美國， 1934 年進入洛杉磯奧蒂斯藝術學院就讀，進而接受了完整的西方美術教育，傳承西方繪畫傳統的學養脈絡。1941 年於洛杉磯郡立美術館舉辦個展，成為了第一位受邀舉辦個展的華裔藝術家。早期常以貧困的華人、墨西哥人、小孩及老人為創作對象，充分傳達對弱勢的關懷之情，體現出人文主義的內涵。此作《紅帽少年》陳蔭羆肖像畫的運筆下，由於早年移民在外的敏感身分，受到美國排華政策的影響，造成的社會階級與生活差距，對於成長環境切身的感受與反省做為投射，作品以社會寫實風格為主，以熟捻的筆觸勾繪出天真無邪的人物，帶有濃濃的人道主義情懷的氛圍。

006 TANG HAIWEN

唐海文

( 1927-1991 )

抽象水墨

Abstract

彩墨紙本簽名：Tang 海文

12 x 18.2cm Ink and Color on Paper Signed Tang in English and Hai-Wen in Chinese PROVENANCE: Private collection, USA

NT$ 180,000-260,000 US$ 5,900-8,600

來源：美國私人收藏

唐海文五十年代的作品多為具象，六十年代以後定於抽象，隨著畫風轉變，後期作品集中於紙上藝術創作，作品被全球眾多機構所收藏，廣受國際藏家歡迎，是現代水墨畫的重要人物之一。自由奔放的筆勢及強烈表現主義的風格為他的創作特色，唐海文深研中國傳統藝術，將道家的精華發揮得淋漓盡致，汲取中國傳統文化精神融入西方的技法，透過寫意的渲染技法表現出源自於東方的生動氣韻，無盡的抽象水墨意境，流暢的表現於創作上，呈現出自然美感的形而上思維，作品以三聯的形式創作，手法創新，體現出與眾不同的現代性。

MODERN AND CONTEMPOR ARY ART

007 YUYU YANG ( 1926-1997 )

Rest 19(L) x 23(W) x 31(H)cm Bronze, 24/30 Signed Yin-Feng in Chinese, dated 1956, numbered 24/30 With a certificate of authenticity from gallery

NT$ 120,000-240,000 US$ 4,000-7,900

楊英風憩 1956 銅 24/30 簽名：一九五六、八月英風作於台灣台北 24/30 附畫廊開立之原作保證書

「在楊英風一系列的女體雕塑當中， 1958 年前雕的多半是完整女體，而模特兒則是其於台灣師範學院求學時期，毛遂自薦的女同學，其雖具有堅實的寫實功力，但作品並非只是複製西方人體比例的素描，而是以西方藝術技能來觀察，展現自己生活的東方世界的比例美。此作勾勒出一女體，斜倚靠矮褟、兩腳層疊向後、略帶睡意的樣貌，其優雅舒泰的身姿與神情，是在不受雕塑家影響下泰然自若的真我呈現，軀體動作不大，亦無特別扭轉的動勢，但卻給人嫻靜優美的入定之感。楊英風從生活中擇取一常見姿態，經由藝術化的描繪，反令人發掘另一番新境地之美感；此一女體已出現日後特有的收提腰腹，急速收束而成軀體一中心劃分線的表現方法，將在下一時期與其他新發展的風格，有著截然不同於此時的樣態。」－楊英風數位美術館

ZHONG CHENG 中誠

008 LINUS ZAO ( b.1930 )

Celebrating New York at Time Square 56 x 56cm Watercolor on Paper Signed Linus Chao in English With one seal of the artist ILLUSTRATED: "LINUS CHAO Watercolors", Art Book Co., Ltd, Taipei, Taiwan, November 30, 2013

NT$ 100,000-180,000 US$ 3,300-5,900

趙澤修時代廣場慶新年 2000 水彩紙本簽名：Linus Chao 藝術家鈐印：趙

圖錄：《趙澤修水彩畫集》，藝術圖書公司，台灣台北，2013 年 11 月 30 日趙澤修先生，曾受教於朱德群、馬白水、胡念祖、傅儒、黃君璧等藝壇名師，並為卡通大師－華特．迪士尼 (Walt Disney) 在世時所收唯一華人弟子。留美返台後，趙澤修先生投身動畫製作領域，成就卓越；1969 年獲頒金馬獎個人特別獎項，被譽為「臺灣動畫之父」、「臺灣的華特．迪士尼 (Walt Disney)」。趙澤修先生之繪畫創作以水彩畫著名，得獎無數，曾於 1969 年榮獲台灣中國畫學會般「第六屆金爵獎」。後受聘於夏威夷大學，自始定居於夏威夷大島市，歷經 30 餘載光陰始終致力於創作、講學不懈，1997 年當選為「夏威夷大島一代奇人」，深獲國際藝文界讚揚與關注。

「京城多少看花人！」趙澤修的畫作題材廣泛，有秀麗的灕江山水、群岳百川，有晨曉落英、絢麗花卉，亦有個性突出、富有生活氣息的人物與駿馬。《時代廣場慶新年》創作於 2000 年，紀錄紐約時代廣場歡慶新年熱鬧之景。煙火燦爛，霓虹閃爍，美國旗幟飄揚，黑色線條搭配攝影構圖技巧，勾勒出大樓林立的立體感，酣暢淋漓筆觸巧妙捕捉光影流動，懷有西洋寫實調性，並以紅黃色調細細點綴霓虹照耀，對比強烈。奔放自如的視覺張力，使畫面充滿故事情節與敘事性，極富設計與裝飾的唯美風格，更傳遞出詩情畫意的藝術性。趙澤修創作生涯數十載，窮盡畢生精力探索藝術萬象，並將生命經驗寄情於畫筆之上，注入中國傳統情懷，刻劃人文情思，更傳達藝術家真切內斂的哲思。

MODERN AND CONTEMPOR ARY ART

009 LONG CHINSAN ( 1892-1995 )

欣賞

Appreciate

銀鹽相紙鈐印：郎靜山

27 x 32.5cm Photograph on Gelatin Silver Print With one seal of the artist PROVENANCE: Private collection, Australia

NT$ 80,000-140,000 US$ 2,600-4,600

郎靜山

ZHONG CHENG 中誠

來源：澳洲私人收藏

郎靜山從青年時代起，即嘗試用攝影創造中國文人畫的唯美意境，而古畫、古詩詞為其創作靈感的來源。他所創立的集錦攝影，在形式上師法傳統國畫，追求古典意境，並以傳統繪畫藝術為媒介，以黑、白、灰三色，表現豐富多姿的黑白意蘊，融「神、氣、韻」為一體，彰顯主題意趣，是中國繪畫風格與攝影技法的統一，獨具個人藝術風格，又有鮮明的民族特色。

010 LIU CHIWEI

劉其偉

( 1912-2002 )

老人與海

Old Man and Sea

1999 綜合媒材畫布簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 1999

54.5 x 39.5cm Mixed Media on Canvas Signed Liu Chiwei in Chinese phonetic and dated 1999 With a certificate of authenticity from gallery

附畫廊開立之原作保證書

劉其偉的創作，曾受到非洲原始藝術以及西洋藝術家 Paul Klee 的影響，70 年代後的作品都可見其童趣、反璞歸真的畫風。此幅《老人與海》的自畫像，受美國作家海明威《老人與海》一書所影響，書中主角與劉老的個性與做事風格不謀而合，主角為捕撈大魚，過程中不斷地奮戰，雖然最後僅取回偌大的魚骨，但他還是用盡全力戰勝大魚。就如劉其偉抱著勇於挑戰、永不妥協的精神在他的生命中闖蕩，他用老人與海的恆心毅力，在失敗中越挫越勇，也以這股力量，作為他持續向前的動力，劉老曾說：「生命要用才有價值。用它，等於活著；做了，也才是活到了！」

NT$ 240,000-360,000 US$ 7,900-11,900 MODERN AND CONTEMPOR ARY ART

011 TAI JINGNONG ( 1902-1990 )

Plum Blossom 106 x 39cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 140,000-280,000 US$ 4,600-9,200

臺靜農詠梅 1970 水墨紙本款識：庚戌年筆靜農於歇腳庵釋文：冉冉迴溫吹盈盈發故枝獨來盟寤寐僲影寫參差表物餘凝雪酣春暈薄脂無言哀窈窕負汝月明時散原老人句靜農臺靜農先生，原名傳嚴，二十年代初，改名靜農，自伯簡，晚號靜者，筆名有青曲、孔嘉、釋耒等。(1902 年 ) 生於安徽省霍丘縣葉家集鎮，為當地世家。目前所見臺靜農的繪畫有百餘幅，其中畫梅最多，約佔九成以上，水仙、松、菊、竹、蘭、芭蕉、葡萄亦有少量，大多寫意之筆，少數梅花作品精工細染，清雅動人。臺靜農所畫梅花，可略分三類：一是精工細染的，屬來台的早期著作；二為書法入畫的，在寥寥數筆中，亦可見其蒼勁挺拔之姿；三是枝繁花茂的，風格主要踵武揚中八怪之一的金農前賢。一般文人墨戲，往往不計工拙，但臺靜農雖是寫字之餘，遣興畫梅，但其造詣極高，頗得張大千、莊嚴所稱許。

ZHONG CHENG 中誠

012 HU NIENTSU ( b.1927 )

TAI JINGNONG ( 1902-1990 )

An Old Man with Crutch 32.4 x 30.9cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

胡念祖臺靜農持杖老人 1969 彩墨紙本款識：古木荒江冷翠殘苔夕照紅老夫携杖立不畏有西風己酉夏仲念祖作圖帥南撰句靜農記藝術家鈐印

胡念祖擁有堅實的傳統水墨基礎，又具西方當代的創新觀念，其繪畫能融會古今、貫通中西，綜合了傳統與現代，調和出筆墨之趣。胡念祖為人淡泊名利、謙虛為懷，一心一意專注於繪畫創新之上，他的求變精神發展於不同的技法與工具上，除了傳統水墨外，拓、灑、潑、染、噴與蛇紋皴法等技巧皆為其所擅用，他以其獨特墨韻和詩意開創出水墨畫壇的嶄新大道。張大千曾題贊其畫曰：「古稱得筆法易，得墨法難；得墨法

易，得水法難，今觀念祖道兄大作，筆墨水俱入神化，非近百年來所有也，佩歎無似！」《持杖老人》為臺靜農題字、胡念祖作畫，其精準的細節描繪，將枯樹下老人不畏西風之氣，以細膩柔和的筆觸表露無遺，意韻盎然。

MODERN AND CONTEMPOR ARY ART

013 YU YUJEN ( 1878-1964 )

Calligraphy 96.5 x 15cm(2) Ink on Paper Inscribed and signed in Chinese With one seal of the artist

NT$ 180,000-300,000 US$ 5,900 -9,900

于右任獻錢尚父水墨紙本款識：巨民先生正于右任藝術家鈐印釋文：滿堂花醉三千客，一劍霜寒四十州。于右任，生於中國陝西，原名伯循。現代詩人、書法家。于右任曾經是政治犯、革命報人、是時運不濟的督軍、終老任內的監察院院長，但同時，他也是當世紀最受推崇的詩人，以及無人能企及的草書書法家。其書法最為人稱之處，在於不論書行草各體，均能展現出豪健磅礡、雄渾壯闊，這實因出自其深厚的漢魏碑學內涵。于右任書法的大氣魄是公認近代最傑出的，其藝術性亦因此而彰顯。其作品有下列七項主要特性：一、雄渾 ( 具尚武精神 )，二、寬博 ( 似隸書結構 )，三、率意，四、波磔，五、伸展 ( 字不感拘束 )，六、樸素，七、不平衡。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，並博得「草聖」之美名。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。

ZHONG CHENG 中誠

014 HUANG JUNBI ( 1898-1991 )

Painting On-Site, Lalu Island of Sun Moon Lake 29 x 60cm Ink on Paper Inscribed and signed in Chinese With one seal of the artist

NT$ 100,000-200,000 US$ 3,300-6,600

黃君璧日月潭光華島寫生 1962 水墨紙本款識：澤修夢琴伉儷留念壬寅冬於日月潭黃君璧藝術家鈐印趙澤修憶往黃老師及師母同學生趙澤修、李夢琴夫婦同遊日月潭，在光華島上流連半小時，於日月潭教師會館貴賓室作此畫，並題贈趙氏。 --- 趙澤修誌於夏威夷 2014.9 月黃君璧與張大千、溥心畬三人合稱「渡海三家」，是傳統水墨國畫中前輩藝術家的代表人物。綜觀黃君璧一生，自廣州培正中學任教開始，投身美術教育長達七十餘年，其間與徐悲鴻共同執教

11 年，與名家們培養出深厚情誼。1949 年黃君璧渡海來台後，即擔任國立師範大學美術系的教授兼主任，主持師大美術系長達二十年。桃李滿門、作育英才無數，包括楊英風、劉墉、趙澤修等人皆為其學生，就連第一夫人蔣宋美齡都曾向他習畫。在 1967 年時，為慶祝黃君璧 70 歲誕辰，蔣宋美齡女士也親繪一幅山水畫，並由蔣介石先生親自題字作為賀禮。黃君璧因此有「國師」的美稱。黃君璧的水墨筆意追隨古典文人典範，師法董源，卻習古不泥、創新現代，墨趣意境賞心悅目，尤以畫瀑布、雲海聞名於世。他曾於書中自序內寫道：「平生作畫，偏愛山水，草木幽林，嫌其寂靜，行雲

流瀑，始覺奔馳，耽其景而賓其靜，比年作品，多取白雲飛瀑為題。」他之所以擅長畫飛瀑，是周遊列國、觀察世界各種瀑布的形態，反覆寫生，寫生進而寫神，神采奕奕、氣勢磅礡。畫家在白雲筆意中透視人生、於飛瀑墨韻裡照映著塵世的大千觀想。此作《日月潭光華島寫生》創作於 1962 年，為黃君璧的學生、有「台灣動畫之父」之譽的趙澤修先生之藏品，是為當年黃君璧夫婦偕同趙澤修、李夢琴夫婦同遊日月潭光華島的寫生之作。黃君璧於畫上題字並贈予趙澤修夫婦，以一幅畫道盡數十載的回憶歷歷，不僅別具意義，更是承載著一段師承間的深厚情誼，見證一代大師風範的傳承。《日月潭光華島寫生》遠處山陵重疊、群峰挺峙，近嶺則雲環翠岫、群樹秀拔。簇簇幽林，顯得縱橫穿錯，卻又脈絡清晰。潭上一葉扁舟，悠然瀟灑之境，為霧靄微微間增添幾許禪意，深蘊濃厚的中國古雅韻味。黃君璧揮灑著筆墨的動態氣勢與變化節奏，讓繁密的空間結構蘊藏著東方情境的哲思與壯美想像。

MODERN AND CONTEMPOR ARY ART

015 WU CHANGSHUO ( 1844-1927 )

Plum Blossom 27.5 x 50cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 350,000-500,000 US$ 11,600-16,500

吳昌碩梅雪烹茶 1920 水墨紙本款識：梅梢春雪活火煎，山中人兮仙乎仙。會津先生正庚申孟冬吳昌碩時年七十又七藝術家鈐印

ZHONG CHENG 中誠

吳昌碩所繪花卉題材甚豐，但特偏愛「梅」。曾題「苦鐵道人梅知己。」詩句，借以抒發憤世嫉俗的心情。梅花具有「冰肌鐵鼓絕世姿，世間桃立安得知。」之孤傲冷豔、輕易豪放的氣度，故吳昌碩將畫梅視為一種緣物寄情，以「梅」入題的作品因而成了藝術家畢生所繪量最多的題材之一。此幅《梅雪烹茶圖》，為吳昌碩 77 歲時所作，左上提「梅梢春雪活火煎，山中人兮仙乎仙。」取「梅雪烹茶」之意，古時常以此描寫文人的雅興情致。梅花以淺墨勾勒，巧兒生機靈動，枝幹筆墨蒼勁，加以交錯卻雜而不亂，行筆辛辣，蒼潤相濟，更顯灑脫隨意。尺幅雖小，卻顯大氣。

016 LIU CHIWEI ( 1912-2002 )

Poyo Bird 55 x 39.6cm Mixed Media on Paper Signed Liu Chi-wei in Chinese phonetic alphabet and dated 1994 (Chinese numerals) With a certificate of authenticity from gallery

NT$ 280,000-500,000 US$ 9,200-16,500

劉其偉婆憂鳥 1994 綜合媒材紙本畫布簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 〡ㄆㄆㄨ

劉其偉的創作歷程可大致分為四個時期，而在退休之後，則大量著筆於動物繪畫。此時生態保育觀念為各界所重視，劉老也延續其對大自然之熱愛，一手執筆寫作，一手拿筆繪畫，透過嚴謹的文字和抽象的畫作，將愛與關懷之心，充分流露於作品之中，讓人感受那源源不絕的生命力。《婆憂鳥》系列為劉老最具代表性的作品，內容描述著劉老家鄉傳說中的一個淒美的故事：「從前有一個窮苦人家，五月節那天，小孫兒纏著祖母，嚷著要吃粽子，因為家窮沒錢買米裹粽，祖母只好用泥土包了一個假粽，騙孫兒開心。孫兒無知，竟把粽子吃到肚裡就死了。祖母自從失去了孫兒，非常傷心。後來小孫兒變成了一隻非常美麗的可愛小鳥，每逢黃昏便飛到家門前大樹的枝頭，叫著：『婆憂！婆憂！』」劉老對此鳥情有獨鍾，鳥兒雞蛋形的軀體，紅黑分明的羽毛色彩，清晰的輪廓與簡單的造形，具有表現派畫家克利清純、天真的風格，藝術家以最單純的能量賦予婆憂鳥生命，以最初衷的心情描寫動人的童年故事。

附畫廊開立之原作保證書 MODERN AND CONTEMPOR ARY ART

017 PIERRE FERNANDEZ ARMAN ( 1928-2005 )

Zeus, Slide of Deity 12(L) x 12(W) x 28(H)cm Bronze, 5/8 ILLUSTRATED: "Arman", Edition GKM Siwert Bergström, Malmö, Sweden, 1989, Page 76 Signed arman in English, numbered 5/8 With a certificate of authenticity from gallery

NT$ 280,000-360,000 US$ 9,200-11,900

阿曼 Zeus, Slide of Deity 1986 銅 5/8 圖錄：《Arman》，Edition GKM Siwert Bergström，瑞典馬爾摩，1989 年，第 76 頁簽名：arman bocquel Fd. 5/8 附畫廊開立之原作保證書阿曼，新現實主義與波普藝術運動的代表人物，其一生的藝術創作都以「毀壞 - 拼接」為表現形式，以切割組合的藝術手法完美的從直觀表象提煉上升到超然藝術精神的主觀意象。阿曼最為人所稱道的創作風格是將物件經對角、橫向、縱向切割後，再集積形成一藝術作品。 1960 年與法國藝評家雷斯塔尼和其好友克萊因等人創立當時極為前衛的新寫實主義畫派，以「對真實事物重新感覺和認識的方法」為主要理念。他不囿於單一畫派美學，揮灑自如的走過普普藝術、行動藝術、觀念藝術甚至抽象表現藝術，繼而能成就他個人鮮明豐富的創作歷程。1991 年他被授予法蘭西共和國文學藝術騎士勳章。其創作歷程可分為六個重要時期：「集積」、「垃圾桶」、「憤怒」、「切割」、「燃燒」、「慶典」。

ZHONG CHENG 中誠

018 TANG HAIWEN ( 1927-1991 )

Abstract 12 x 21cm Ink and Color on Paper Signed Tang in English and Hai-Wen in Chinese

NT$ 300,000-400,000 US$ 9,900-13,200

唐海文抽象山水彩墨紙本簽名：Tang 海文

唐海文畢生過著一種流浪的生活，其開闊的胸襟使他擁有來自各種身分、各種國家的朋友，雖然為人低調，但他以善於接納之心關懷、善待朋友，Jean Irigoyen 神父曾形容他：「性格裡有一種擁抱世

界的渴望；一生脫離不了貧困，雖然一無所有，卻也擁有全部。」唐海文的藝術就如其人，畫面廣闊開放的戲劇效果，融入了中國道家思想及對宇宙萬物的無垠感動，在和諧的氣氛中流轉出氣勢磅礡的筆勢，讓水墨舞動於虛實之間，擺盪於天地之外，自然生成出傳統與現代的完美結合。唐海文常以二聯、三聯的創作形式，表達作品的律動與態勢，《抽象山水》便以青綠的色調揮灑出寫意的自然動勢，捕捉大地能量的原始精神，充分展現中國傳統繪畫「詩中有畫，畫中有詩」的情懷與西方現代主義印象派的恣意筆觸，完整透露出藝術家創作的思想意境。

MODERN AND CONTEMPOR ARY ART

019 PAN CHAURSEN ( b.1938 )

青蘋果

Green Apple

1992 油彩畫布簽名：CHAUR-SEN 1992

61 x 72.5cm Oil on Canvas Signed Chaur-Sen in English, dated 1992

NT$ 120,000-200,000 US$ 4,000-6,600

潘朝森

ZHONG CHENG 中誠

潘朝森擅於審視與記錄生活中的各種美感，常以豐富飽滿的色彩以及勾勒鮮明的線條呈現感動與趣味。此幅《青蘋果》即具備了潘氏藝術的經典語彙，畫面上多樣層次的綠色，相互增補襯托，進而點出主題印象；閉目未語的少女，正若有所思般躊躇徘徊，然暗色背景中襯托的是代表幸福的青鳥，圍繞在宛若蘋果般青澀的女孩身旁，似乎象徵著期待的美好光明即將到來，彷彿為此畫中畫的故事，註定了一個完美的結局。「愛與美」始終是潘朝森的對藝術創作的信念，其源源不絕的生命力總帶給觀者無限的樂觀與希望。

020 WU HSUEHJANG ( 1924-2013 )

Consummate 36 x 55.5cm Ink and Color on Paper Signed Tui-Bo in Chinese, dated 2012 With one seal of the artist

NT$ 180,000-360,000 US$ 5,900-11,900

吳學讓圓滿 2012 彩墨紙本簽名：退伯二○一二藝術家鈐印：吳

吳學讓，字退伯，一生勤勉於學，個性謙讓淡泊，畢業於國立杭州藝專國畫科，師承林風眠、潘天壽、李可染等前輩大師，畢業後渡海來臺進入嘉義中學任教，展開在臺藝術創作與美術教育生涯，栽培無數的藝術學子。吳學讓在六十年代開始對保羅．克利等西方藝術大師進行深入了解，以西畫理論和技法融合於國畫創作中，展開現代風格的水墨畫，從傳統跨現代水墨，作風大膽創新，創作出精彩豐富的傳世佳作。吳學讓曾說：「我是從我的幻想中構思，用書法的

線條，畫出符號似的形象，採取了印章的結構佈局，述說我心中的故事。」擅長以篆刻佈局、行書線條等古典元素融入畫作之中，極具吳氏風格的表徵。此一作《圓滿》，即表達著家庭成員互動的融洽，以陽光照耀下的造型語彙，表現出團聚、團圓之和樂感，其象徵著在時光的流逝下，表現出人類歷史的深遠流長，在時空的延續下連成一串，構成家庭、世系、歷史及人類的文明。

MODERN AND CONTEMPOR ARY ART

021 JU MING ( b.1938 )

Living Series 10(L) x 15(W) x 31(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 2005 With a certificated of authenticity issued by Kalos Gallery

NT$ 320,000-500,000 US$ 10,600-16,500

朱銘人間系列 2005 木頭 ( 僅此一件 ) 簽名：朱銘 2005 附真善美畫廊開立之原作保證書在「人間系列」中，朱銘揉合了傳統木雕技法與現代藝術抽象之概念，呈現出富於哲思的雕刻精神。將其作品定名為「人間系列」，其實是對人生百態的抽樣呈現。從作品中可以發現朱銘對「人」極感興趣，他曾說過，身為一個人，對「人」自然比較瞭解，因此可以隨心所欲地創作，展現出人世間各種不同的面貌。朱銘不刻意、自由、隨興的利用各種材質，創作出不同的人間風貌。他們有各自的喜悲、各自的生活方式；他們貼近的也許就在我們周圍，也可能疏離的我們終其一生都未可相識，但我們都在這「人間」。當我們自認以一種旁觀的立場在欣賞「人間」作品，與作品對望的同時，又何嘗不是如同鏡面反射般，存在著一種相互觀望與審視。無論欣賞或反思，人間作品蘊藏無限奧妙，又豈能一眼看透，一言說盡？其中真理只能待個人去體會了。

ZHONG CHENG 中誠

022 SHEN CHETSAI ( b.1926 )

Before Dancing 60.5 x 50cm Oil on Canvas Signed Che-Tsai in Chinese, dated 1980 With a certificate of authenticity from gallery

NT$ 300,000-480,000 US$ 9,900-15,800

沈哲哉舞前 1980 油彩畫布簽名：1980 哲哉附畫廊開立之原作保證書

沈哲哉自幼習畫即顯露出不凡的藝術天份，受到廖繼春及郭柏川的指導，經過紮實的設色和素描基礎訓練，奠下深厚的素描基礎，對色彩敏感度極高，擅長以簡潔的構圖搭配夢幻的色彩，一九四一年唸中學時入選第六屆台灣總督府「府展」，十八歲舉辦首次個展，屢獲全省美展、教師展、台陽獎等，一生獲得多數獎項、成就非凡，堪稱國內繪畫界的翹楚。創作題材主要圍繞風景和人物，此芭蕾舞少女系列作品《舞前》，沈哲哉以乾擦層層塗刷施上魔術般的色彩，獨特的詮釋出芭蕾舞者蘊含內斂的性格，透過高彩度原色的表現，情感自然流露，呈現出如夢幻般的寧靜，唯美而浪漫，展現沈哲哉一生所喜愛的題材及氛圍。

MODERN AND CONTEMPOR ARY ART

023 GEORGE CHANN

山崖之舟

Boat under Cliff

1950 年代油彩畫布簽名：GEO. CHANN 藝術家鈐印：陳

41 x 31cm Oil on Canvas Inscribed and signed in Chinese With one seal of the artist With a certificate of authenticity signed by the artist's family

NT$ 120,000-240,000 US$ 4,000-7,900

陳蔭羆

( 1913-1995 )

ZHONG CHENG 中誠

附藝術家親屬開立之原作保證書

陳蔭羆，早年隨父移民至美國，在美國洛杉磯奧蒂斯藝術學院接受繪畫訓練，多次於美國各大城市舉辦展覽，二次大戰後，於 1947 年短暫的返回中國，前後時間達三年之久，主要居住於香港，在這段時間內與黃君璧、趙少卿書畫大師往來密切，重拾了中國傳統書畫，相互交流，並曾擔任嶺南大學客座講師。期間走過香港、杭州及上海等地，旅行經驗為陳蔭羆增添大量的創作養分，這期間完成親見的山水風景及靜物畫作，在上海、廣州、香港等地舉辦過展覽。1949 年自中國返美，便專心自己的藝術創作，深入探索，一生創作出許多獨樹一格的精彩佳作。陳蔭羆曾說道：「我認為中國畫家用心靈作畫，西方畫家則用眼睛作

畫。我最愛的中國畫家為石濤，因為他以獨特的方式表現了中國傳統。」，以中國傳統山水畫的方法，創作出《山崖之舟》一幅，在畫面上利用顏料的材質特性，將畫面塑造出立體具實的質感，營構出山水千巖萬壑，加入了傳統書法與文字的力量，體現出對傳統山水圖式與精神的歷史傳承，創造獨特的中國山水表現風格，也說明心系母國文化與人民之情感，使人目不暇給。

024 WALASSE TING ( 1929-2010 )

Nude 60 x 90cm Acrylic on Canvas With one seal of the artist With a certificate of authenticity from gallery

NT$ 450,000-600,000 US$ 14,900-19,800

丁雄泉裸女壓克力紙本藝術家鈐印：採花大盜附畫廊開立之原作保證書

丁雄泉一生忠於自我的感受，率真豪邁，熱愛女體，美女變成了他代表的符號，也取得了相當的成就。《裸女》畫面中女性粉嫩赤裸的身體，嬌媚的眼神，絢爛的花朵茂盛綻放，美酒陪伴其中，宛如行雲流水般宣洩內心底層的秘密，用顏色表現出奔放歡愉，再用肢體表情表現出嬌羞誘惑，流露出對生命的熱情與狂喜。丁雄泉利用飽和的色彩，來表現滿滿的春色，色與色之間的對比呼應，色塊間自然地滲透混合在一起，一切都這麼的融洽協調，美的旋律愉悅的輕和著。 Walasse Ting, born in Wuxi, Jiangsu, grew up in Shanghai and enrolled in Shanghai Training School of Fine Arts in his teenage years. He left for Hong Kong in 1946 and travelled to Paris in 1952. During his time in Paris, He met Ecole de Cobra artists such as Pierre Alexhinsky, Asger Jorn and Karel Appel, whom’s work he admires. He was invited to exhibit at several art galleries in Paris and Brussel. In 1958, he once again picked up his luggage, and travelled to New York where he was strongly captivated by the style of Abstract expressionism. Wallace Ting is so fond of the female physics, that beautiful women have become his trademark in art. The females he paints, especially the ones post 1970s, are very colorful and vibrant. His portraits of women are different from the traditional women. Instead, with gentle and rounded lines, he paints women in bold postures, and alluring facial expression. In the painting “Nude” the attractive female is the main focus of the work, she is decorated with blooming flowers, a yellow fan and also a wine glass that is accompanied by two cups. The work is both provocative but not arrogant; the painting gives off an effortless vibe. Wallace playfully transforms the provoking image and invites the viewers to fall in love with him for the woman in the painting.

MODERN AND CONTEMPOR ARY ART

025 JAN CHINSHUI ( b.1953 )

Autumn Scenery 122 x 145.5cm Oil on Canvas Signed Chin-Shui in Chinese, dated 2010 With a certificate of authenticity from gallery

NT$ 320,000-500,000 US$ 10,600-16,500

詹金水深秋晨霧 2010 油彩畫布簽名：金水 2010 附畫廊開立之原作保證書詹金水，早年旅居歐洲，思索畫作的文化涵意及自己的價值觀，豐富深入的旅行體驗，從中啟發創作靈感，在熟練的技法下，以自創半抽象藝術形式，表現出中國傳統繪畫裡特有的山水意境，在於追求人倫的和諧與天人合一的境界，畫作融合了東方人文傳統和對大自然的省思，樹立出獨樹一幟的流溶風格，是藝術界抽象山水的翹楚。《深秋晨霧》詹金水以其研究多年而自創的特殊技法，以油水不相容的特性，瀟灑的筆觸製造出斑駁厚實的肌理，在油畫上呈現特殊質感及光澤，刻畫出渾然天成的光影與水氣，營造出空靈幽秘玄境，蘊含了濃厚的美學精神，獨具雋永的藝術韻味。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

026 HUANG MINGCHE ( b.1948 )

Story of Life 240 x 100cm Oil on Canvas Signed on the reverse: Che and titled in Chinese, inscribed 100 x 240 cm, dated 2013 in oil EXHIBITION: "Invitational Exhibition of 14 Taiwan Modern Artist", Carrie Chang Fine Arts Center of Tamkang University, Taipei, Taiwan, November 8th to December 22nd, 2013

NT$ 850,000-1,200,000 US$ 28,100-39,600

黃銘哲浮生錄 2013 油彩畫布背面簽名：哲，浮生錄油畫 100 x 240 2013 展覽：「台灣現代繪畫 14 名家邀請展」，淡江大學文錙藝術中心，台灣台北，2013 年 11 月 8 日至 12 月 22 日「在寂寞的流浪中，我更感受藝術和人生的真諦，

我慢慢步入人心靈的探討，步入另一種新階段的探索。」

---黃銘哲

黃銘哲早期以平面油畫創作為主，自 70 年代的鄉土寫實時期，他刻劃了臺灣鄉間的純樸風貌，即便身在歐美也依然保持這種風格；到了 80 年代發展出細緻的人文溫情主義，以傳統思想、倫理、傳承為創作主軸，用農人精神耕耘每一塊畫布；90 年代半抽象的華麗都會風貌，黃銘哲將克琳姆的綺麗繽紛的裝飾風格揉和自身的藝術特質，創造出具有東方神秘色彩的造型語彙；1996 年他毅然決然地踏入金屬立體作品的世界，在三維的空間裡，他以簡潔、圓潤、具有厚度的形象轉化情慾的表現，並以單一的色彩強調立體造型的純粹線條。黃銘哲對多元創作的濃厚興趣與發展，不僅能看到藝術家的人生詩篇及他對創作本質的探討與堅持，更可以反映出社會變遷的環境對話。黃銘哲在重拾畫筆後，以立體作品的簡潔明朗延伸出了新的繪畫意象，他在點、線、面的精鍊架構中，用飽含勁道的色彩、筆力展現更接近內在的心緒變化，密切地與藝術家的呼吸、生命及整個自然連繫。《浮生錄》以大量的金黃色鋪成，富有層次的色調變化勾勒出抽象的肢體表情，其獨特而深邃的大眼，象徵著作品與藝術家自身的同步，亦是凝視著觀賞者的存在。

ZHONG CHENG 中誠

027 CHO YEOUJUI ( b.1950 )

One of Jiu Fen 106 x 152cm Oil on Canvas Signed Cho in English and dated 1990 With a certificate of authenticity from gallery

NT$ 750,000-1,000,000 US$ 24,800-33,000

卓有瑞九份之一 1990 油彩畫布簽名：cho 90 附畫廊開立之原作保證書

「風殘破敗的角落，一直是我創作的主題，它斑駁的痕跡，往往帶有人文和時間的烙印，也顯示了人世的滄傷及歷史的緬懷，將存在於世界各角落的建築景觀個人化，形成一格的主觀視覺，藉而抒發個人的心緒節拍；在空間上天羅地網，在時間上罩古籠今。」

---卓有瑞

卓有瑞以「照相寫實主義」（又名超級寫實主義）作為他的創作軸心──並首先在台灣採用幻燈片投映技術輔助，勾畫初稿；在 70 年代初以 15 幅巨型香蕉油畫欲比擬生命的興衰、卻被當時的保守社會誤為是女性意識崛起而轟動一時。儘管 80 年代於美國創作時，面臨到照相寫實主義受極限藝術影響而逐漸退潮，卓有瑞仍堅持其創作方向，運用照片作理性精準的描繪，呈顯現代社會中的心靈畫面。卓有瑞著迷於歷經時空洗禮的牆面，取世界各城市之景來描繪歷史的軌跡，投射內心敏銳的感悟，寫實斑駁肌理的畫面，傳遞出抽象思維，孕藏著耐人尋思的哲理。 1990 年所作的《九份之一》的超寫實的技法，是經歷過人生種種歷練的心靈，面對平凡的物質，找到一種詮釋物體存在和生命的哲學。牆是一種隔閡之壁，是一種安身居家之壁，是人類文明的發展見證。牆經過物質洗禮，生命運行風、火、水、土、氣的考驗過程，歲月的紀錄風化火焚，牆成為具有時間跡痕的永恆景觀，它是藝術家心裡的一面鏡子，產生無限的感情對牆壁磚石的質感、斷痕、裂紋、漬斑等種種細節，有著不尋常的興致，青苔小草在縫隙掙扎茁冒，在陽光下呼吸生養，和陰影籠罩下的粗石古牆形成對比，迎面便是一堵屋牆與鐵窗攔截視界，歲月沈澱下的斑剝，強忍一份無奈地屏息以待。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

028 LIN SHIENMAO ( b.1955 )

滿天星

Serissa

2011 油彩畫布簽名：Shien Mao 2011

65 x 53cm Oil on Canvas Signed Shien Mao in English, dated 2011

NT$ 160,000-220,000 US$ 5,300-7,300

林憲茂

ZHONG CHENG 中誠

林憲茂非科班出身，是一位底子雄厚且才華洋溢的藝術家，在心靈層面追求不斷的提升與契合，依循著生活體驗及感悟，將其融於作品之中，隨著時間流逝對於美的歷練再加以進化，以卓越的繪畫技巧加上執著的創作態度，創作出許多暢快淋漓作品。此一作《滿天星》，是林憲茂難得瓶花創作，以黑色作為背景襯托出鮮豔亮麗的瓶花，飽滿而綻放，運筆揮灑自如，灑脫之中帶點柔和，其大膽的用色即顯露出浪漫風格。

029 CHIU YATSAI

邱亞才

( 1949-2013 )

藝術家

Artist

1992 油彩畫布簽名：92 邱亞才

80 x 65cm Oil on Canvas Signed Chiu Ya-Tsai in Chinese and dated 1992 ILLUSTRATED: "CHIU YA-TSAI", Royal Lin Art Center, Taipei, Taiwan 1992, plate 118

NT$ 500,000-700,000 US$ 16,500-23,100

圖錄：《邱亞才 CHIU YA-TSAI》，官林藝術出版，台灣台北， 1992 年，圖版 118

邱亞才專注於社會眾生的肖像描繪，將人類面容下繁複的社會性與文學性表現得深刻而含蓄，鑒於對台灣獨特的社會環境與文化脈絡的理解，以及對文學的傾心熱愛，他筆下的形象往往帶著智者聖賢們孤絕於世、看淡紅塵的凝視神情，在畫裡朦朧微暗的亮度裡增添幾許異樣、醇厚之感受，讓浮躁的身心頃刻安寧。《藝術家》繪於 1992 年，在藝術家看似喧鬧華璨的舖色中，那份落寞、沉鬱的文人情懷透過淺淡的臉龐和失語的眼神深深地釋放出來，而粗獷寫意的線條，更是觸及心靈內在柔軟而幽靜的部分。邱亞才以他未經學院雕琢的筆觸，一筆一畫，誠實地、孤獨地、不假外求地回歸到一個藝術家的本色，展演藝術最至善、至真的醇美境地。

MODERN AND CONTEMPOR ARY ART

030 JAN CHINSHUI ( b.1953 )

Seascape 97 x 130cm Oil on Canvas Signed Chin-Shui in Chinese, dated 2004 With a certificate of authenticity from gallery

NT$ 240,000-360,000 US$ 7,900-11,900

詹金水海天一色 2004 油彩畫布簽名：金水 2004 附畫廊開立之原作保證書詹金水此一系列的創作，多是他對於中國邊疆景緻的記憶與書寫，無論是西藏千仞絕壁的雄偉震撼，亦或是冰源流瀑的壯麗美景，都渾然天成地一一呈現在其作品中；而於質地上，他則透過化學溶劑乙烯，與油彩溶合出新的繪畫肌理，展現如陶瓷釉燒的特殊質感與光澤，並製造出厚實、斑駁的濃烈色塊，造就磅礡山水、氣勢凜然的深遠詩境。詹金水認為好的藝術作品擁有三大特性，即為結合「文化性」、「時代性」及「個人特性」。他吸取西方繪畫的創新，以中國山水文化為涵養背景，從藝術價值襯托個人韻味做為出發，在作品中追求人倫的和諧、天人合一之境界。《海天一色》的寬闊有著無限延伸的可能性與想像空間；蔚藍氣韻由上而下地延展開來，漸層的渲染色澤凝聚著一股力量，飽滿而極富張力，流動於畫面之中；多元豐富的色彩和質地，洗鍊紮實，自然簡潔，深刻流露其獨樹一幟的藝術風格。

MODERN AND CONTEMPOR ARY ART

031 ENDRO

此時此刻

A Moment Like This

2013 油彩畫布簽名：Endro 2013

145 x 300cm Oil on Canvas Signed Endro in English, dated 2013 With a certificate of authenticity from gallery

NT$ 450,000-650,000 US$ 14,900-21,500

安卓

( b.1983 )

ZHONG CHENG 中誠

附畫廊開立之原作保證書

安卓注視著我們的夢境，那些朦朧而模糊的，我們終日期盼卻又因著困境而卻步的想望；而那清澈的水滴便是唯一希冀，是望向初衷的一盞明鏡，引領著觀者直視底心的渴求，滿懷勇氣的向前邁進。 Endro's painting is a study of dreams. Like a dream, his painting is vague and often blurred, yet, within its uncertainties hides our deepest desire and our biggest obstacles. The water droplets are a symbol of hope; it clarifies our doubts so we can fearlessly pursuit our own Garden of Eden.

MODERN AND CONTEMPOR ARY ART

032 YANG CHIHUNG

意象的排索

Image Puzzle

1982 油彩畫布簽名：Image Puzzle; 1982 ; Chihung Yang

152 x 198cm Oil on Canvas Signed Chihung Yang and titled in English, dated 1982 ILLUSTRATED: "The Images of the Mind: Chihung Yang's Painting", National Museum of History, Taipei, Taiwan, 2004, Page 149

NT$ 1,100,000-1,600,000 US$ 36,300-52,800

楊識宏

( b.1947 )

ZHONG CHENG 中誠

圖錄：《象由心生─楊識宏作品展》，國立歷史博物館，台灣台北， 2004 年，第 149 頁

「繪畫就是我對這轇輵的真實生命情境具體而微的靈視與觀照。至於所謂東方與西方的精神內涵或者新與舊的表現形式，也是自然而然地兼容並蓄於行像思維和繪畫語言的構成中。」 ---楊識宏透過對於生命無止盡的探問與關懷，楊識宏以其偏執善感的創作情懷，在物象與心象之間悠遊自在、生滅不息。在漫長的流光歲月裡，創作風格幾經跌宕，一路琢磨壯闊，從學生時期對生命意義及存在的思考，進出社會職場而展開對都市文明的探索，出國體驗文化的差異及生命的病痛，衍生探討萬物興亡、宇宙運行的奧秘，發展出植物美學與意識流等系列的開發研究，後又將面對死亡的思考轉化為對生命的讚嘆。楊識宏那鬱勃抒情、宏觀壯闊的藝術語彙，以及對生命的深沉思索與持續不歇、澎湃的創作能量，令他成為繼華人抽象表現主義大師趙無極、朱德群之後備受期待的抽象畫家。他於 1979 年旅居美國，歷經異鄉較為艱苦的適應期，紐約蓬勃、熾烈的藝術氛圍，以及文化匯聚、思潮覺醒的時代帶予楊識宏巨大的創作刺激，然而藝術家深沈而開闊的線條，始終勾聯著中國傳統裡虛實神形的精神體悟。經歷孤獨摸索的創作思考與歷練，作品愈見成熟大器，畫筆揮灑之間洋溢著東方浪漫，也在西方現代的藝術殿堂悠悠巡走，掌握住西方觀物的形體意緒，又細膩動人地呈現出內心的想像與視景。1982 年起，楊識宏即順利於紐約多家畫廊、藝術中心連續展出，那些意像突兀、膽魄淋漓的作品深受國際藝壇的欣賞與肯定。楊識宏《意象的排索》即成於 1982 年，為「加與減」系列精品。藝術家將生活中的小物件、飛鳥蟲魚等等圖像進行排索和併置，把各種生活經驗的片段汲取、散置、夾陳於同一平面，重覓藏匿期間的真實。並精采地融入數學符號來勾勒出演算歷程，彷彿思考路徑的指引，而「＋」、「－」甚至「×」背後的隱喻與暗示，更讓圖像在舊有的蘊意中延湧出無窮的想像，既見國際大家繪畫語言的滋養，又見南國遊子明豔郁勃的生命力。藝術家情思湧動，透過超現實的顛覆與錯置，讓作品洋溢著優雅、文明與人性的光輝。奚淞嘗言：「對楊識宏來說，每幅畫都是一個故事，裡面可能是歷史、可能是生死輪迴，或者是現代的疏離與溝通。他毫不膽怯地將各種互相牽連呼應的題材儘可能地放進同一幅畫布裡面去，而到達飽和狀態。」透過精巧配置的構圖經營、色料暢然的橫溢塗抹，《意象的排索》既含蓄又強烈、引人入勝，那童趣粗邁、簡練而砍定的黑獷線條，濃郁大膽的色彩，竟能細膩深渾地揭示出文本 (text) 中潛在的多義性 (polysemy)，引惑觀者墜入無限廣闊的詮釋空間，飽滿地傳達出磅礡的詩意美學。 “Painting to me is the observation and realization of life. The Eastern and Western spiritual concepts, it is expressive in the form of the new and the old, and the language of art naturally composes art.” ---Yang Chi Hung. Through continually exploring and caring about life, Yang Chi-Hung’s creation in object and his mind are liberal and prolific. From contemplation of the meaning of life and existence during his student years to the exploration of civil after working to experiencing cultural differences while abroad to going through vicissitudes of life and death, Yang Chi-Hung’s art style went through different phases along time. He later developed plantation aesthetics and stream of consciousness, and then praising life from realizing life and death. His art language is energetic and magnificent. His prolific artworks secured his position as one of the greatest abstract painters after Zao Wu-Ki and Chu Teh-Chun. “Image Puzzle” was completed in 1982 and is one of the masterpieces of the “plus and minus” series. The artist incorporated and assembled little objects in life such as birds, bugs and fish into the same surface along with life experiences. He tries to search for reality and skillfully employed mathematics symbol to calculate the process like guidance. The implication and metaphor of the “plus sign” and “minus sign” and “multiple sign” created a limitless imaginary space to nurture international art language and also a way to experience the artist’s vitality. The artist’s passion and surreal composition enabled the artwork to be elegant, civil and full of humanity. Xi Song once said “Every piece of art work is a story of Yang Chi Hung, it can be history or about life and death or maybe about the indifference and communication of the modern world. He courageously put together all kinds of subjects into one canvas until saturated.” Through skillful allocation and composition, the colors are flowing and liberal. “Image Puzzle” is humble yet strong and leads viewers into the simple but innocent lines with rich colors that reveal polysemy in the text in details. Viewers enter a boundless world that is poetic and full of aesthetics magnificence.

MODERN AND CONTEMPOR ARY ART

033 CHUANG CHE ( b.1934 )

The Blue Memory 127 x 168cm Oil on Canvas Signed Chuang Che in Chineses, dated 2000 PROVENANCE: Asia Art Center

NT$ 1,100,000-1,800,000 US$ 36,300-59,400

莊淡藍之憶 2000 油彩畫布簽名：莊喆 '00 來源：亞洲藝術中心

莊喆的創作結合了中國水墨藝術基本元素與國際間現代藝術的自由元素，在自然山川的根源中，持續探究抽象的傳達方式。自 60 年代起，他開始抽離中國傳統山水的繪畫形式，獨留東方藝術的精髓 --「自然」，將之以現代繪畫的表現方法巧妙融入抽象藝術中，切實達成結構的平衡，在時而混亂、時而平靜的氣韻裡強調自然力量的本質。對莊喆來說，自然是一切藝術的意涵及來源，是一種不定形的力量，他排除抄襲自然外形，以一種「畫之道」和「自然之道」並行的概念，在互相參照中，走出一條透過純粹的個人觀念再現自然的繪畫之路，讓自然演繹到平面之外的內部精神、抽象狀態裡，創造關乎於動、衝突、力等動態呈現的獨立層次。莊喆透過敏銳、生動的技巧展現出自然風景的多變，他以柔和的弧線表現山坡，較為陡峭的型態則為高山，更用圓形筆法代表太陽和月亮，多樣傳達出各種自然的型態。《淡藍之憶》以豐富層次的水藍色姿態奔放於畫面之上，其濃淡、剛柔、疏密皆恰如其分地表現出藝術家情緒的張力與情感的釋放，舒適而超逸的律動在柔潤肌理中暢達流動，虛實波動間強烈感受自然氣息的潑灑，莊喆用來自萬物的感知釋放能量，讓觀者在一舞一劃間掀起心中的陣陣漣漪。 Chuang Che's creation combined the basic elements of Chinese water ink art and the free elements of International Modern art. With the foundation of natural landscape, he continued to discover an abstract expression. And starting from the 60s, he diverted from the traditional landscape painting but keeping the only essence "nature" and skillfully presented it in abstract art to reach a structural balance that is sometimes in disorder sometimes at peace to emphasize on the simplicity of the power of nature. Chuang Che's creation combined the basic elements of Chinese water ink art and the free elements of International Modern art. With the foundation of natural landscape, he continued to discover an abstract expression. And starting from the 60s, he diverted from the traditional landscape painting but keeping the only essence "nature" and skillfully presented it in abstract art to reach a structural balance that is sometimes in disorder sometimes at peace to emphasize on the simplicity of the power of nature. "The Blue Memory" is presented with a rich layer of water blue on the canvas, the thick and light; Strong and gentle; condensed and diffused are perfect mediums for the artist's emotions and tension that comfortably flow within the texture and powerfully present the nature atmosphere. Chuang Che allowed the viewers to experience the ripples created by the energy of objects.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

034 HUANG GANG ( b.1961 )

Red Star 122 x 122cm Mixed Media on Wooden Panel Signed Huang Gang in both Chinese and English, dated 2009

NT$ 700,000-1,200,000 US$ 23,100-39,600

黃鋼紅星 2009 綜合媒材木板簽名：Huang Gang 黃鋼 2009 黃鋼，1961 年生於北京，其童年到青年時光正是處於文化大革命的動亂時期，伴隨著文化運動的反思、啟發，也促使他確立了往後藝術人生的志向。80 至 90 年代時，西藏題材的藝術創作開始流行，人們傾心於那獨特的風土人情及純粹壯美的自然景觀，黃鋼亦於那時對西藏的文化、宗教、藝術產生濃厚興趣，對此展開研究，而這深深影響了他往後的藝術道路。黃鋼利用中國的符號性語言，從本質的精神層面出發，在東方的藝術邏輯中找尋出具有當代性的普世藝術價值，強烈的視覺張力和自然流暢的宏大氣勢從作品流淌而出，既滿載衝突的元素，卻又調和而完整。《Red Star》將藏族的高原犛牛皮革製舊皮箱拆解後，以拼貼的方式重新組成畫面，蘊含著藏人生活及文化傳承的象徵；而紅五角星的圖象則是一個現代中國的直接表徵，代表著革命、暴力與激情。兩者以強烈對比、矛盾的文化屬性共同存在於畫面中，對藝術家來說，它們不僅僅是現成物質，更是一種文化載體，經過破壞、再建構的過程，將傳統與現代、世俗與政治巧妙融合，深切地探討現存體制下中國多重的文化現象。

中誠2014春季拍賣lot107《佛之語》

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

035 GAO XINGJIAN

「我在水墨中固守筆墨趣味的同時，也追

( b.1940 )

求傳統水墨畫中沒有的質感，企圖把水墨

Shadow

的神韻同油畫的感性融為一體。我不祇注重水墨滲透的效果，也同時給不同的圖象

105.5 x 113.7cm Ink on Paper Signed Gao Xingjian in English, dated 2004

不同的質感，因此不祇水墨有層次，圖象之間也形成不同質的層次，虛實既來自構圖，也來自圖象質的差異。」

NT$ 1,200,000-2,000,000 US$ 39,600-66,000

高行健影 2004 水墨紙本簽名：Gao Xingjian 2004

ZHONG CHENG 中誠

時間與空間，藉由水墨與圖像的交疊層次變化，呈現心象、境界的交融，創造生命意境的互動，渾化宇宙，綿延而雋永。即使旅法將近三十年，高行健的思想仍多所融入佛的思想與禪意，達到沒有任何主義流派可以捕捉的禪之境界，展現「新東方精神」。

---高行健首位獲得諾貝爾文學獎的華語作家－高行健，集小說家、劇作家、畫家、攝影師、電影及戲劇導演之身分於一身，在藝術上的全才型表現，令華人藝壇為之喧騰。高行健的水墨創作，以內省為焦點出發，透過寫意描繪出內心世界和情感。表現環繞在中國傳統意境與西方抽象之間，以現代主義的美學思維及當代人的實存狀況之中突破與融合。虛實相生的意境，幻化

《影》深淺墨色自上垂直而下，劃分出闊然天地，抽象與具象之間，渲染出朦朧氤氳之境。高行健結合類似攝影技巧的構圖手法，在平面繪畫中構築出另一氛圍空間，在看似開放卻又無路可逃的矛盾情境中，畫中人物微渺地立於其中，如一粒沙塵那樣輕薄，既象徵了個人被拋於世間的宿命，也呈現了個人在孤身轉化困局之後的孑然和退讓，哀而不傷。作品中融會文學般的敘事美感，開啟文人畫的新意境，超然灑脫，卻又婉轉流長。一如高行健所堅信創作是生命存在的證明，唯有在文學和藝術的創作中才得以自救，創作如同證詞。

036 PIERRE FERNANDEZ ARMAN ( 1928-2005 )

Zeus, Orbes 12(L) x 12(W) x 28(H)cm Bronze, 6/8 Signed arman in English, numbered 6/8 ILLUSTRATED: "Arman", Edition GKM Siwert Bergström, Malmö, Sweden, 1989, Page 79 With a certificate of authenticity from gallery

NT$ 280,000-360,000 US$ 9,200-11,900

阿曼 Zeus, Orbes 1986 銅 6/8 簽名：arman bocquel Fd. 6/8 圖錄：《Arman》，Edition GKM Siwert Bergström，瑞典馬爾摩，1989 年，第 79 頁附畫廊開立之原作保證書法裔美籍藝術家阿曼，1928 年生於法國尼斯，除了是二十世紀後半期最重要的法國藝術家之一，亦在二十世紀藝術史中佔有相當重要的地位。他以切割物件後再堆積組合為其創作風格，其切割的物件從樂器、希臘神話之雕像、傢俱、汽機車、工具與鐘錶零件到生活用品。將生活中所熟悉的物品，重新拆解又組合，賦予全新的面貌與意義。《Zeus, Orbes》中，阿曼將希臘神話宙斯青銅雕像作切割並延伸，這些經分割、拆解與集積後的物品，呈現出一種「量」的感覺。這樣切割延伸所改變雕像本質的作法，不僅賦予古典藝術現代性的新意，也是作品更增添美感，並形成阿曼雕塑的另一註冊商標。法國總統席哈克曾說：「阿曼是一位孜孜不倦的創作者，其對當代藝術的貢獻是非常巨大且深遠的。」阿曼的離去並未使他的藝術畫下句點，相反的，他求新求變的精神永久持恆，其作品的影響性與藝術代表性，將永存人心。

MODERN AND CONTEMPOR ARY ART

037 ALFRED BASTIEN

臥女圖

Nude

油彩畫布簽名：A. Bastien

65 x 80cm Oil on Canvas Signed A Bastien in English

NT$ 240,000-360,000 US$ 7,900-11,900

巴斯天

( 1873-1955 )

ZHONG CHENG 中誠

巴斯天為吳作人和沙耆的藝術指導教授，而在早於兩人之前其已經被公認是比利時印象派的代表畫家之一，他秉承著此畫風，把光線的輝煌、色彩的亮度與純度加以強調，將霎那景象化成永恆的一瞬間。巴斯天在《臥女圖》中以深沉優雅的色調帶出室內風景，用細膩光感真實地呈現主題，朦朧透亮的光影灑落於裸女絕美的背部曲線，自然落下的白毯就如同光的流瀉，匯集了目光的焦點。藝術家不羈的筆觸模糊了畫面細節，卻更突出他對色與光的掌握，純熟地呈現其真切的視覺感受。

038 ALFRED BASTIEN ( 1873-1955 )

Green Forest 40.5 x 60.5cm Oil on Canvas Signed A. Bastien in French

比利時籍的藝術家巴斯天，作品曾經在 1934、1935 年間巡展於上海與南京的「比利時現代繪畫展」，此展覽被國外藝術史學家看作 20 世紀前期在華舉行的最大規模歐洲畫展。《綠林幽道》展現巴斯天在古典技法上的純熟，細緻的光影佈局、變化，柔和地描繪出林間光線灑落的愜意，低頭休憩的馬匹，更增添了畫面靜謐的生命氣息，典雅又厚實的油彩層次，透過豐富筆觸的堆疊，輕盈的浪漫從中流淌而出。

With a certificate of authenticity from gallery

NT$ 140,000-280,000 US$ 4,600-9,200

巴斯天綠林幽道油彩畫布簽名：A. Bastien 附畫廊開立之原作保證書

歐洲古道的伐木馬車

MODERN AND CONTEMPOR ARY ART

039 LONG CHINSAN ( 1892-1995 )

棠梨枝上白頭翁

The Grey Starling

1971 銀鹽相紙鈐印：郎靜山

26.5 x 25cm Photograph on Gelatin Silver Print With one seal of the artist PROVENANCE: Private collection, Australia ILLUSTRATED: ''SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971

NT$ 80,000-140,000 US$ 2,600-4,600

郎靜山

ZHONG CHENG 中誠

來源：澳洲私人收藏圖錄：《中華大典六十年攝影選輯》，中華學術院攝影研究所刊行， 1971 年

郎靜山的攝影仿國畫、重意境、師古法，在形式上模仿傳統國畫，題材和主題意趣，多取自古畫、古詩詞，是中國繪畫風格和攝影技法的統一，既具有個人的藝術風格，又有著鮮明的民族特色。正如美國攝影學會會長甘乃第所指出的：「郎先生為中國人，並

且又研究中國繪畫，所以他是以中國繪畫的原理，應用到攝影上的第一個人。」

040 LONG CHINSAN

郎靜山

( 1892-1995 )

游鴨

Young Ducks

銀鹽相紙鈐印：郎靜山

30 x 40cm Photograph on Gelatin Silver Print With one seal of the artist PROVENANCE: Private collection, Australia

來源：澳洲私人收藏

郎靜山是我國攝影界重要的先驅，在國際藝壇同樣備受讚譽；郎靜山自幼習畫，因此對中國書畫抱持高度的熱忱與理想，爾後習得西方攝影術相關的拍攝、沖印技巧後，便期待將西方現代最重要的發明與中國水墨畫意結合。

NT$ 80,000-140,000 US$ 2,600-4,600

MODERN AND CONTEMPOR ARY ART

041 CHIU YATSAI ( 1949-2013 )

Youth in Red 105 x 64cm Oil on Canvas Signed Chiu Ya-Tsai in Chinese

NT$ 750,000-1,000,000 US$ 24,800-33,000

邱亞才紅衣青年 1982 油彩畫布簽名：邱亞才

在邱亞才的創作生命中，台北的「紫藤廬」茶館對其創作的影響甚巨，全盛時期的邱亞才在成為專職創作者之後，幾乎維持著「白天在家畫畫，晚上在紫藤廬寫作」這種規律的創作模式在進行著，而也因為 1981 年開幕營業的紫藤廬，是當時非常具有代表性的「文藝青年場所」，總是匯集了各式各樣的藝術創作者、作家、詩人、藝文圈人士等到訪，令內向不善交際的邱亞才，也在此意外地打開了其人脈與創作的市場。在這個地方，紫藤廬身為茶館的安靜氛圍，大大地影響了邱亞才的繪畫，透過在茶館對各行各業來往客人的觀察，邱亞才的肖像畫從《憂鬱少年》時略顯飛揚的筆觸和繪畫肌理，更安靜、更內斂地悄悄轉變成如同此作《紅衣青年》般的風格。初看此作，我們可以看出邱亞才在視覺形式上，受到義大利畫家莫迪里亞尼的影響：以被拉長而略顯消瘦的臉龐更加凸顯了畫中主角的憂鬱，刻意簡化的身形動作和近乎平塗、豪無一物的背景，讓觀者不得不直接凝視置中構圖在畫面裡，這位「紅衣少年」複雜卻又平淡的表情，但相較于莫迪里亞尼「抽空」人物眼神的疏離感，邱亞才更多的是將其對於人性的觀察，赤裸裸地表現在畫布上。再細看下去，包括邱亞才自己在受訪中，曾不止一次地表示畢卡索「藍色時期」對他的啓蒙，《紅衣少年》散發出來的悲觀氣質和更為平均、冷調的平塗筆觸，不需要透過言語，即可經由這輕薄卻又嚴肅的視覺，一絲不掛地將生命給展示出來。不具任何藝術學院養成背景（僅僅在青年時期短暫畫過連環漫畫，但幾乎與其成名創作毫無風格相關）的邱亞才，以自身的天賦冷眼對抗外在世界的轉變，或許我們可以將他一幅幅面帶憂愁的畫中人物，想像成藝術家在面對「人」這個複雜的情感動物時，隨時在心裡轉換角色的自畫寫真。 In Chiu Ya-Tsai's career, the Wistaria Tea House in Taipei was the most influential. Before becoming a professional artist, Chiu followed a routine of "painting at home during the day time and writing at the Wistaria Tea House at night." The Wistaria Tea House was the hub for all kinds of creative artists and poets ever since it began business in 1981. It allowed the shy Chiu Ya Tsai to expand his social network. The tranquil atmosphere at the teahouse influenced his artistically, as he was able to observe different types of characters. His brushstrokes were more liberated in the early portrait painting of "A Man Feel Blue", yet in his later works, his painting style became more quiet and reserved as shown in "Youth in Red". At first glimpse, Chiu’s visual form strongly resembles the Italian painter Modigliani. He emphasizes the depression of his subject by extending his lines and creating slimmer facial feature. The simplified body movements and the yellow background pulled the viewers with little effort. The youth in red shirt is shown with an expression that is both complicated and dull. Modigliani presents a "withdrawal" gaze within his subject; whereas Chiu Ya-Tsai faithfully presented a simplified form of his detailed observation. During interviews, Chiu Ya-Tsai revealed more than once that Picasso's "Blue Period" is a strong inspiration in his work; it enables him to create "Youth in Red" as both reserved but full of emotions. The silence in his painting is what makes them engaging and attractive. Chiu is a self-taught artist, who received no proper degree from art institutes. Yet, he competes with others in the art world with his gift of painting and dedication. Many viewers regard the depressed character as a reflection of Chiu.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

042 LO SHYHCHARNG

羅世長

( b.1945 )

歸航

Sailing Homeward

1992 油彩畫布簽名：世長人

53 x 72.5cm Oil on Canvas Singed Shyhcharng Ren in Chinese ILLUSTRATED: "Heritage Arts Auctions", Heritage Arts Int'l Ltd., Jan 1997, Lot 048 EXHIBITION: "Lo's Exhibition", Galerie Elegance, Taipei, Taiwan, 1992

圖錄：《傳家藝術精品拍賣會》，傳家藝術國際股份有限公司，1997 年元月，Lot 084 展覽：《羅世長》，愛力根畫廊，台灣台北， 1992 年

With a certificate of authenticity from Gallery

NT$ 140,000-200,000 US$ 4,600-6,600

ZHONG CHENG 中誠

附畫廊開立之原作保證書

羅世長，台灣新竹人。1945 年出生於日本長野，次年即隨父母返台原籍。台大人類學系畢業後，留校任助教三年多後前往加拿大進修。出國前曾兩次入選台陽美展、台北市美展、全省美展及全國美展。羅世長體驗到藝術唯有在去蕪存菁之後，真情才得以流露。因此，他一直朝著反璞歸真的方向努力，盡可能把畫面還原到只有單純的色彩和僅容辨認的簡約景象。化繁為簡，表現出對大自然的一種真誠關懷。《歸航》色彩雋永沉靜，在灰、藍與白色等淡色系構成的畫面中，適切的表達出晨間薄霧景致，與獨特寧靜的氛圍，淡雅的畫面與其內在心緒相互呼應，藉由細膩講究的色彩，透過清冷色調與日常所見之山水構圖，探討自身與自然環境的相互關係，述說寧靜、甚至浪漫與寂寥的內心世界。

043 YU PENG

于彭

Nude

2009

( 1955-2014 )

108 x 77.5cm Mixed Media on Paper Signed Yu Peng in Chinese, dated 2009

NT$ 240,000-360,000 US$ 7,900-11,900

林間美人綜合媒材紙本簽名：于彭寫二○○九

于彭的藝術創作多元，包含了水墨、版畫、油畫、粉彩、素描、陶藝等，風格率真獨特，且不讓人有負面之感，油畫山水傳達天師道一貫意義，人物則為纖細的金童玉女，花花草草象徵著典型世界，完整而帶有朦朧感，他說：「朦朧會讓人感覺寬闊，有形的東西反而讓人覺得是造出來的。」好友詩人許悔之也稱于彭：「他的人和他的畫，是敦厚又溫煦的儒者與求道欲

羽化登仙的修道人，兩者之間辯證不斷而又根莖交纏的一體。既回顧人間，又神遊、縱浪大化之間。」《林間美人》色調單純，除了女子的膚色與鶴嘴的紅，皆以灰白構成；亂中有序的筆觸，少了規律的秩序，卻多了自然的灑脫及意境，輕重交織，如天然山林般自由滋長。

MODERN AND CONTEMPOR ARY ART

044 TANG HAIWEN ( 1927-1991 )

Untitled 70 x 100cm Ink and Color on Paper Signed Tang in English and Hai-Wen in Chinese PROVENANCE: Hotel Drouot Etude Leroux, Paris, 1992 Private collection, Europe

NT$ 550,000-850,000 US$ 18,200-28,100

唐海文無題彩墨紙本簽名：Tang 海文來源：福德奧拍賣，勒胡拍賣公司，巴黎，1992 年歐洲私人收藏自幼成長於傳統中國家庭的唐海文，深受中國文化的薰陶，從小便隨祖父勤習書法，對於線條的運用自然嫻熟。16 歲時赴法國巴黎求學，長年旅居國外，雖未接受過任何藝術訓練，但很快受到當地藝術文化所吸引，流連於畫廊與博物館間，自習成才。歐洲藝術在戰後漸漸自「巴黎畫派」轉移為「抒情抽象」，而總覽唐海文的作品，可見自 60 年代中期之後亦漸由具象轉為抽象表現。唐海文在中國傳統文化、藝術及書法中得到啟示，遂將東方傳統的書寫藝術形式與思想融入西方的技法，自成一家風範。從東方線條跨越到西方線條的表現形式，並將中國哲學思想對於萬物宇宙的觀念融入創作，將廣闊天地的整體概念與無限的宇宙揮灑在畫面之中，作品充滿創造的能量與合諧，與筆墨頓挫揮灑的恣意，在具象與抽象、寫意與神會之間，使水墨結構與空間虛實產生對應的關係，又在筆勢中融入冥想之氣的流轉，如同無形的舞蹈在靈虛中擺盪奔騰。唐海文重視內在探求，並以線條、暈染、符號締造抽象創作。在《無題》中，以墨韻抒發一是流動，淡淺、皴縮間自由遊戈出思緒的脈絡，一如其所言：「我的畫既非抽象亦非具象，

它不描繪世界並意圖跨越意識的世界，來呈現與自然及其律動相關的新形式。」

MODERN AND CONTEMPOR ARY ART

045 TANG HAIWEN ( 1927-1991 )

Untitled 70 x 100cm Ink and Color on Paper Signed Tang in English and Hai-Wen in Chinese

NT$ 600,000-800,000 US$ 19,800-26,400

唐海文無題彩墨紙本簽名：Tang 海文自小便離開故鄉，旅居於各國的唐海文，擺脫了國籍、地域的限制，擺脫了傳統與現代的界限，以一種恣意灑脫的自由感打破中西畛域，用任性、簡約、自然的筆觸呈現出形而上的現實和純粹狀態。他的水墨畫沒有傳統意義上的拘束，對藝術家來說水墨僅是一個創作媒介，其靈動的筆墨印象、奔放的悠遠墨色，蘊含了澎湃強烈的表現主義風格，他以西方幾何抽象的筆法勾勒出「似景非景；見山非山」的哲學體悟，並將中國道家精神揮灑在一筆一劃的氣韻之中，飄逸的黑白線條自然流暢地表現在畫面上，瞬間的凝結在淵深時空中，恆久停留。《無題》以 70 x 100 公分的藝術家標準雙聯作尺幅，貫串出融合東、西方文化特色的水墨抽象世界，這是唐海文表現空間的虛實與大自然運行中「一分為二、二融成一」的創作概念，而其雙聯的形式更增大畫面的空間意象，將既有的邊框在虛實竄動中無盡延展，擴張無形的自然能量。著名的法國收藏家兼策展人古獨奇先生說：「唐海文隱退了，他不是要

我們看，而是要我們想，要我們在他的繪畫這面透明的鏡子裡，自我觀照和回憶。」

MODERN AND CONTEMPOR ARY ART

046 HSIAO CHIN ( b.1935 )

Onde Magnetiche Salare 78 x 110cm Acrylic on Canvas Signed Hsiao in English and Chin in Chinese

NT$ 700,000-1,200,000 US$ 23,100-39,600

蕭勤太陽磁光壓克力紙本簽名：Hsiao 勤蕭勤是台灣現代繪畫的先行者，亦是「東方畫會」的創立者之一。他曾自言：「我不是一個創作家，我是一個傳達者」，透過繪畫去追隨、探問人生和宇宙之間的大哉問。雖然在西方藝術脈絡之中，以壓克力和紙本這種較為現代化手法創作的蕭勤，應屬於抽象表現主義的其中一名佼佼者，但其對於「圓」的異常執著與迷戀，卻又透露出東方哲學觀點對其的影響。蕭勤大部份的抽象繪畫皆以形式上的「圓形」作為畫面的主要佈局，並使用最簡約的暖色來焠鍊抽象的最低限意涵。在道家的觀念裡，「圓」乃太極，可生陰陽兩極，萬事萬物皆透過「圓」作為轉化，進而生生不息。蕭勤的創作不但運用了這個概念，近年更在「圓」的基礎上進一步發展了《太陽磁光》。而國立臺灣美術館也展出了一件《磁光》，與本次拍品十分相似（下圖）。漩渦亦是圓的一種，但不同於最初始圓的「面」，漩渦以無止盡的「線」去組構了圓，這使得圓本身的哲學概念表現在蕭勤創作中的時候，畫面一瞬間從太初的靜態能量，轉換成了永無止息的動態伸展，為其龐大的思考提供了更強大的張力。畫面中紅色的漩渦圓心不斷往外擴散直至橘色、黃色，在畫面最外圍的臨界點甚至變成了爆炸、散狀的不規則潑灑水痕，彷彿宇宙的生機，就在畫面中的短短時間內已拓展至無垠，而藝術家似乎亦在完成創作的時刻獲得了階段的精神性滿足，直至下一個困惑又在宇宙、在人生之中倏地出現，如此周轉，自強不息。

國立臺灣美術館展覽作品：蕭勤《磁光》

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

047 YUYU YANG ( 1926-1997 )

Return to the Beginning 65(L) x 90(W) x 108(H)cm Stainless Steel, 19/20 Signed Yin-Feng in Chinese, dated 1986, numbered 17/20 ILLUSTRATED: "Yu Yu YANG's Lifescape Sculpture 95", Yu Yu Yang Museum, 1995, Page 33&45 "Yuyu Yang Corpus Volum I", Artist Publishing Co., Taipei, 2005, Illustrated, Page 293 (different edition) EXHIBITION: "A Taste of Our Modern Arts", National Palace Museum, Taipei, May 1986 to May 1987 "Chelsea Harbor", London, UK, 1997 With a certificate of authenticity from Yu Yu Yang Foundation

NT$ 240,000-360,000 US$ 7,900-11,900

楊英風回到太初 1986 不鏽鋼 19/20 簽名：'86 英風 17/20 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《楊英風全集》，第一卷，藝術家出版社，台灣台北，2005 年 12 月，第 293 頁 ( 另一版本 ) 展覽：「當代藝術嘗試展」，國立故宮博物館，台灣台北，1886 年 5 月至 1987 年 5 月「Chelsea Harbor」，英國倫敦，1997 年附財團法人楊英風藝術教育基金會開立之原作保證書

「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。」

ZHONG CHENG 中誠

--- 楊英風

MODERN AND CONTEMPOR ARY ART

048 CHEN CHENGHSIUNG ( b.1942 )

Bodhidharma 60(L) x 43(W) x 78(H)cm Copper, 3/10 Signed Chen Cheng-Hsiung in Chinese, numbered 3/10 With a certificate of authenticity signed by the artist

NT$ 450,000-600,000 US$ 14,900-19,800

陳正雄達摩 2007 紅銅 3/10 簽名：陳正雄 3/10 附藝術家親簽之原作保證書台灣雕刻大師陳正雄，十四歲開始拜師學藝，從民間傳統雕刻出發，奠定深厚紮實的基礎，創作題材從傳統的歷史人物、神佛羅漢，逐步延伸至日常生活的人物百態，創作迄今不間斷，連年獲得南美展最高榮譽獎項，獲獎無數、成就斐然。在雕刻風格上，保留了刀筆刻鑿材質表面所形成的結構意義，使作品在光線照射下呈現不同的光澤。此一作《達摩》，達摩是中國禪宗的始祖，也是一位武學高手，拳法中的太祖拳，相傳為祖師所傳。陳正雄將達摩的武學精髓表現得淋漓盡致，陽剛有力的刻鑿出達摩的精神架勢，展現力與美的融合，透過作品闡述深刻的人生哲理，堅定人的信念，雄渾深厚的雕刻藝術，散發出對世態淡然的智慧高度。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

049 HUANG YAOTANG ( b.1948 )

West Temple 100 x 70cm(2) Oil on Canvas

NT$ 280,000-450,000 US$ 9,200-14,900

黃耀堂西方神殿 2007 油彩畫布

ZHONG CHENG 中誠

黃耀堂 70 年代即旅居歐洲，後定居於比利時並專職創作，在當地僑界的藝術圈頗負盛名。在歐洲長達 40 年的生活中，黃耀堂藉由遊歷的觀察，將歐洲的各色各樣建築與風景，以複合媒材的拼貼輔以水墨、油彩的呈現方式，呈現一種具有立體空間感，卻仍深具東方特色的抽象畫作，令人想起西班牙藝術家 Antoni Tapies 的複合媒材作品 -- 那種將媒材本身肌理作為空間層次展現的獨特手法。而與 Antoni Tapies 相比，黃耀堂繪畫中的水墨（及其留白）特性，和他獨到詮釋、可視為其招牌符號的凸狀物（黃耀堂自承其靈感來自青銅器上的『乳丁紋』），比之西方同類型的藝術家，更多了一層媒材以外的東方文化意涵。此作《西方神殿》為黃耀堂 2007 年的作品，一式兩幅的聯屏規格、一紅一綠的強烈對比，除了浮現出在畫布最底層那隱約的神殿建築之外，對一個長期受西方生活、歷史文化熏陶的華人而言，東西方文化就在此無縫融合、內化為藝術家自我的象徵。

050 CHEN TINGSHIH

陳庭詩

( 1916-2002 )

晝與夜 #44

Day and Night #44

1980 版畫 12/40 簽名：Day and Night #44 12/40 Chen Ting-Shih 1980

60 x 60cm Lithograph, 12/40 Signed Chen Ting-Shih in English, numbered 12/40, titled Day and Night #44 ILLUSTRATED: "Asking the Heaven：Chen Ting-shih Memorial" ,Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2005, P.135 EXHIBITION: “Asking the Heaven：Chen Ting-shih Memorial”,Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2005

圖錄：《天問──陳庭詩藝術創作紀念展》，高雄市立美術館，台灣高雄，2005 年，第 134 頁展覽：「天問─陳庭詩藝術創作紀念展」，高雄市立美術館，台灣高雄，2005 年

NT$ 160,000-320,000 US$ 5,300-10,600

MODERN AND CONTEMPOR ARY ART

051 PENG KUANGJUN ( b.1961 )

Wander 39(L) x 51(W) x 67(H)cm Bronze, Lazurite, AP1 With a certificate of authenticity signed by the artist

NT$ 380,000-500,000 US$ 12,500-16,500

彭光均漫 2008 銅琉璃 AP1 附藝術家親簽之原作保證書彭光均曾表示，人體的雕塑傳統與刻劃內在心靈的傳統，不應在經歷過千年傳載後輕易地被放棄，他遵循西方古典主義以至羅丹之道，並將所有注意力聚焦於「少女」主題的探索。其雕塑作品所傳達的，不僅是三度空間的分割與結合，而更是一種美的知覺與感性。彭光均細膩呈現女孩們的纖纖體態，或延展，或舞動，氣韻飄逸，風采動人，令人不難在其簡約的設計風格中體會藝術家極富感染力的創作能量，他淬煉出東方的美與純真的性情，揉合出唯美優雅又細緻純粹的少女，翩翩搖曳於其舞台之上。《漫》中的纖細女子身著金色洋裝，並擁有蝴蝶般的美麗琉璃翅膀，其精緻的色彩調配，豐富而充滿生命力，營造出如精靈似華麗夢幻的視覺經驗，輕盈的姿態仿若下一秒即將離地，振翅翱翔於天際。

ZHONG CHENG 中誠

052 TANG HAIWEN ( 1927-1991 )

No.189 70 x 100cm Ink on Paper ILLUSTRATED: "Breeze from Paris: Lalan,T'angHaywen, Hsuing PingMing, Pan Yulin, Sanyu", Eslite Gallery, Taipei, 2014, colour illustrated, Page 82 EXHIBITION: "Breeze from Paris: Lalan,T'angHaywen, Hsuing PingMing, Pan Yulin, Sanyu", Eslite Gallery, Taipei, 2014 With a certificate of authenticity from gallery

NT$ 600,000-800,000 US$ 19,800-26,400

唐海文 No.189 1970-1973 水墨紙本

圖錄：《來自巴黎的微風》，誠品畫廊，台北，2004 年，彩色圖板，82 頁展覽：「來自巴黎的微風 - 謝景蘭、曾海文、潘玉良、熊秉明、常玉」，誠品畫廊，台北，2014 年附畫廊開立之原作保證書唐海文的《No.189》為其 70 年代的精華創作。唐海文曾自言：「我的畫既非抽

象亦非具象，它不描繪世界並意圖跨越意識的世界，來呈現與自然及其律動相關的新形式。」我們可以試圖理解這段話：若以東方的繪畫邏輯來理解其畫作，可以從《No.189》中解構出諸如皴法、韻味、寫意等關鍵字，對於水墨畫的形式來說，它並非「絕對的抽象」，甚至在基本的材質運用上，也以傳統的紙本「雙聯屏」（一幅兩式）作為繪畫基底的呈現，但《No.189》最終的畫面卻因為墨韻的深淺分佈，出現有如煙火爆炸後的焦琢痕跡，成功地突圍傳統，體現了當代水墨的新意境。若以西方藝術脈絡來看，《No.189》的紙本創作所製造的大量留白層次，對於同期的西方抽象繪畫、甚至是同期的華人藝術家趙無極、朱德群來說，屏除了顏色的紛擾，其紙上的黑白是可以「薄」得那麼令人驚豔、那麼令人印象深刻，它不但沒有「描繪世界」，更無對於構圖、佈局的思考，單純地以東方繪畫特有的筆墨節奏一氣呵成，對於西方藝術來說，這又是「絕對的抽象」。而唐海文即綜合了東西方的「矛盾」，在「絕對的抽象」的有無間，衝突渲染出屬於自己的世界。一紙一世界，一筆一天堂，若氣走至此，薄如蟬翼亦能充滿力量、充滿禪機。

MODERN AND CONTEMPOR ARY ART

053 CHEN CHINGJUNG ( b.1934 )

Buffalo 46 x 53cm Oil on Canvas Signed Ching-Jung in Chinese and Chen in English, dated 1993

NT$ 200,000-320,000 US$ 6,600-10,600

陳景容牛油彩畫布簽名：景容 Chen 1993

ZHONG CHENG 中誠

陳景容是國內外藝術界享有聲譽的藝術家，創作種類豐富多元，作品蘊含渾厚的文學與音樂素養，陳景容曾說：「始終穿越我內心世界的乃是─ 寂靜與哀愁」。作品風格多為冷清的風景，低彩度的神秘感為主，帶有古典色彩與灰色絕美的超現實風格，畫風充滿獨樹一幟的韻味，其作品呈現出對人生的哲學表達，創作出猶如畫家個性一般，平和敦厚而靜謐的氛圍。此作品《牛》畫面中牛隻靜謐的穿梭在廣闊的草原上，內斂的經過謹慎思考而嚴謹的構圖，筆調細膩且堅定，以灰冷色調烘托出淡淡哀傷的孤寂美感，卻不失強烈的生命力，有一股遼闊寬廣的感受。

054 TANG YIKLUNG ( b.1964 )

在中國，踏遍大江南北；在台灣，走遍山海景色，鄧亦農曾說：「大自然是我繪畫藝術靈感源泉，特

Mountain Scenery

別是自然界中那份綠意及水光倒影，更是奏響我藝術生命的歌。」他的油畫情景生動，色彩豐富，

97 x 145.5cm Oil on Canvas Signed YL in English ILLUSTRATED: "Tang YIK-LUNG At Ali Mountain", East Gallery, Taipei, Taiwan, 2012.03, Page 9

NT$ 550,000-750,000 US$ 18,200-24,800

鄧亦農晨光照耀下的群山 2011 油彩畫布簽名：YL

色調也極其優美，而促成這些優點的便可說是他直接面對自然的大量寫生。藝術家透過對大自然的尊敬與對話，努力追求大地萬千氣象的變化，既不主觀臆造又不盲從鎖碎細節，造就其極富生命力和韻味的油畫作品。 2011 初春，在櫻花盛開的季節，鄧亦農來到了阿里山。站在雲端的高山上，遠眺群山，美景盡收於眼前，他以拿手的俄羅斯繪畫風格，寫那濃郁的山色和櫻花盛綻的景致，而《晨光照耀下的群山》便為此行的美作之一。晨光初照的天空，在空氣中透出一股暖意，未散的晨霧讓遠山好似籠罩著一層白紗，朦朦朧朧，有著微茫之美，而樹梢在曙光照射下，帶來了黃橘色的濃郁色彩，就如希望般地照耀大地，使人不禁期待，在片刻過後，櫻花與綠葉交織的春景將以何種美貌映入眼簾。

圖錄：《鄧亦農在．阿里山》，東之畫廊，台灣台北， 2012 年 3 月，第 9 頁

MODERN AND CONTEMPOR ARY ART

ZHONG CHENG 中誠

055 CHEN HUANZHEN ( b.1966 )

Deep Thought 91(L) x 33(W) x 38(H)cm Stainless Steel, 7/8 Signed Huan-Zhen in Chinese, dated 2004, numbered 7/8 ILLUSTRATED: "Huan-Zhen Chen", Fei Hwang Art Center, 2011, Page 27-28 With a certificate of authenticity from gallery

NT$ 500,000-700,000 US$ 16,500-23,100

陳煥禎冥想 2004 不鏽鋼 7/8 簽名：煥禎 04 7/8

圖錄：《陳煥禎作品集》，飛皇藝術中心，2011 年 8 月，第 27-28 頁附畫廊開立之原作保證書陳煥禎以泥土雕塑寫實人物為主要創作路徑，他結合傳統的表現形式和時代當下的文化氛圍，用嶄新的觀念呈現出耳目一新的風格，重新詮釋現代「人」的生活特性與面貌。他以女人的形象作為關注焦點，其溫柔、細緻的特質獨具美感與純淨感受，透過人體的眼神、肢體與細微表情變化，傳遞出細膩而內斂、隱晦的情感樣貌。陳煥禎通過造型美感、線條、體積、空間來體現藝術既有的價值，並在作品中運用符合當前地域時空的文化語彙，融合自身所觸及的生活經驗本質，成為傳統技法與現代內涵交集出的個人藝術思維。《冥想》呈現出人類的內在情感意念的傳達，藝術家以不明確彰顯的精神表現雕塑，將豐厚的內心情緒隱藏在姿態優雅的少女中，化作一縷寫意的寧靜感。裸身的女子雙手環胸，以嬰兒般的趴跪方式閉眼冥想，純真的想像與空靈的意境描述出對生命的思索，探討靈魂存在的意義。

MODERN AND CONTEMPOR ARY ART

056 ENDRO ( b.1983 )

幻覺般的美

Illusion Of Beauty

2013 油彩畫布簽名：Endro 2013

120 x 100cm Oil on Canvas Signed Endro in English, dated 2013 With a certificate of authenticity from gallery

NT$ 120,000-200,000 US$ 4,000-6,600

安卓

ZHONG CHENG 中誠

附畫廊開立之原作保證書

印尼的年輕藝術家安卓善於利用模糊的背景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。 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.

057 TOTOK SUDARTO

托卡．蘇達圖

( b.1954 )

愛如潮水

Surge of Love

2013 壓克力畫布簽名：Surge of Love Totok 2013

100 x 120cm Acrylic on Canvas Signed Totok in English, titled Surge of Love, dated 2013 With a certificate of authenticity from gallery

NT$ 120,000-200,000 US$ 4,000-6,600

附畫廊開立之原作保證書

托卡．蘇達圖的作品展現其生活經驗及主觀情緒。他曾於印尼革命時服役軍中，在人性的邊緣與暴力的前線見識生命的百態，於是創作成為藝術家釋放內在直覺能量的出口，將希冀與絕望、憤慨與激昂、消滅與新生…赤裸直率的攤灑於畫布之上，使觀者在視覺衝擊及刺激中，越發澄澈的觀照內在心緒。 Totok Sudarto's abstract art works comes from within his experiences and emotions in his life. He was an army general in Indonesia who has seen many hardships during the revolution in Indonesia. Now retired from the army, he expresses his experiences in his art works from the light of the sun to the pain of the revolution. Totok Sudarto's works are celebrated by international collectors.

MODERN AND CONTEMPOR ARY ART

058 MA PAISUI ( 1909-2003 )

a. Peonys b. Peonys a. 30.5 x 40cm b. 30.5 x 40cm Watercolor on Paper a. Signed Pai-Sui in Chinese, dated 1984 With one seal of the artist b. Signed Pai-Sui in Chinese, dated 1984 With one seal of the artist

NT$ 260,000-400,000 US$ 8,600-13,200

馬白水 a. 玉面桃花 b. 富貴花 a. 1984 b. 1984 水彩紙本 a. 簽名：白水一九八四藝術家鈐印 b. 簽名：白水一九八四藝術家鈐印馬白水為當代水彩大師及美術教育家，由於年少時未跟隨特定教師習畫，憑藉自身努力鑽研，廣泛熟悉中西技法，並從自然風光中汲取靈感養分。有感於東方水墨與西洋水彩兩者相似亦互補的特性，馬白水逐漸於作品中實踐此藝術概念，提倡「中西融匯、古今貫通」，將各類元素和諧、自然地互納包容，成就具獨特藝術性的現代水彩繪畫。於其所處的時代，馬白水的水彩創作已調性獨樹，今日看來依然清新不減，反而更臻風味，實無愧其於華人美術史歷程中的重要地位。

a. b.

ZHONG CHENG 中誠

059 HU CHICHUNG ( 1927-2012 )

Girl with Red Flowers 53.2 x 45.5cm Oil on Canvas Signed Chung in Chinese

NT$ 80,000-160,000 US$ 2,600-5,300

胡奇中少女紅花 60 年代油彩畫布簽名：中

胡奇中，生於浙江，早年在大陸從軍，為海軍軍中的畫家，1949 年辭鄉渡海來台，1955 年以台灣射擊神槍手身分至美國參錦標賽，飽覽美國西部的美術館及博物館，胡奇中被抽象表現主義的畫作深深影響，回到台灣後， 1956 年在高雄舉辦首次個展，次年與畫友創辦四海畫會，後加入由劉國松與台灣師範大學美術系校友一同組成的五月畫會，六十年代後開始轉往印象主義，其創作花草少女的作品被連載瓊瑤小說的皇冠雜誌長期做為封面，風靡於一時。於七十年代移居美國加州，在楊令茀、張大千及鄭月波居住的卡美爾小城設立畫室，以職業畫家為生。作品早期以畫馬及少女著稱，曾多次參加巴黎國際青年雙年展，巴西聖保羅國際雙年藝展等，廣為各地展出，是台灣現代繪畫運動的主要代表人物之一。胡奇中曾在海邊習畫，意外的一陣風將畫作全沾黏到沙粒，胡奇中發覺到作品反而有不一樣的美感及真實性，別出心裁的將沙子融入顏料創作，自成獨特的創作風格。此一作《少女紅花》，胡奇中筆下的少女，彷彿籠罩著一層薄霧，添增了如詩幻境的效果，存著厚重的肌理之美，花容月貌的少女綻放一抹微笑，流露出女性的浪漫柔美氣質，優雅迷人極具韻味。 MODERN AND CONTEMPOR ARY ART

060 CHUANG CHE ( b.1934 )

Pure and Fresh 127 x 168cm Oil on Canvas Signed Chuang Che in Chineses, dated 2000 PROVENANCE: Asia Art Center

NT$ 1,100,000-1,800,000 US$ 36,300-59,400

莊喆清新 2000 油彩畫布簽名：00' 莊喆來源：亞洲藝術中心

莊喆生於北京，其父親為已故名書法家暨前北京故宮博物院副院長，自小受父親影響便得已接觸中國歷代書法真跡，在藝術背景薰陶之下，培養出熱愛中國書畫藝術的興趣。莊喆於師範大學美術系畢業後加入「五月畫會」，積極參與中國繪畫現代化運動，為五月畫會重要成員。自六十年代開始，莊喆嘗試傳統山水畫的改變，以抽象變形方式尋覓探求現代造型符號，不斷從自然界獲得靈感，展現對自然山水的審美與藝術營構的能力，畫面形式增添了新的繪畫語言。莊喆累積豐沛的藝術成就使眾人驚豔，對於視覺空間的掌握相當非凡，力求厚度與質感表現。後期赴美研究當代世界繪畫，現居紐約。莊喆在《清新》一作中，結合了中國藝術基本元素與國際現代主義的自由元素，創作靈感來自於對自然萬物的體悟，視自然為藝術真正來源與意涵。透過現代抽象繪畫的表現過程，經由內心轉化將所想的各種視覺與觸覺之形體，進入超形象創作傾向，以東方藝術概念用西方現代技法呈現，將彩墨線條延展，透過多樣化的自然融合，表現出情感與張力的釋放，構圖豐富多彩而沉穩奔放，建立出嶄新的視覺活動空間，形塑出東方意韻的抽象語彙。 Born in Beijing, Chuang Che’s father is the late calligraphy and also the vice curator of Beijing National Museum. Influenced by his father from early years, he was nurtured with calligraphy and art background, he loved Chinese art with a passion. After graduating from the Art Department of National Normal University and joined “The May Art Association” and actively participated in the modernization of Chinese painting. He was one of the prominent members. “Pure and Fresh” combined the basic elements of Chinese art and free elements of International modernism. He is inspired by the realization of all things in the universe and views nature as the mother and meaning of art. Through abstract expression, and internalizing all sorts of visual and sensation objects, his art style inclined toward super image to present Eastern art concepts with Western modern techniques. The ink lines are extended and through a variety of combination to present the emotion and tension, the composition is rich, abundant, steady and liberal to create a brand new visual space and to form an abstract Eastern art language.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

061 PAN CHAURSEN ( b.1938 )

Hometown 73 x 91cm Oil on Canvas Signed Chaur-Sen in English, dated 1992

NT$ 260,000-340,000 US$ 8,600-11,200

潘朝森念故鄉油彩畫布簽名：CHAUR-SEN 1992

ZHONG CHENG 中誠

蕭如松曾對潘朝森評語：「他的畫是『人間

性』的探索，他的畫面常有『謎』一樣的人生質疑，充滿挑戰和無奈的感受。」潘朝森在困苦的環境中，以鍥而不捨的精神，不斷地自我挑戰與嘗試，他用畫筆勾勒出夢想，並在堅持中實踐了創作。《念故鄉》以橘紅的色調帶出漁港小鎮的夕暉斜照，天空與河水大片地被染色，安靜而憂傷的氛圍彌漫畫面。雙手交叉並抱著一隻小狗的女子，靜靜坐在漁港邊，臉頰像是被夕陽暈染般的紅潤，她雙眼緊閉，就如與世隔絕似地沉浸在一片幽寂中，一種自我拘囚的孤單情感逐漸擴散，而藝術家在製造憂鬱氛圍的同時卻又隱約透露出人類對愛的渴望與對情感的執迷，讓觀者陷入了漫蕩虛無的謎樣錯覺中。

062 CHEN TINGSHIH

陳庭詩

( 1916-2002 )

晝與夜 #89

Day and Night #89

1985 版畫 16/60 簽名：Day and Night #89 16/60 Chen Ting-Shih 1985

90 x 90cm Lithograph, 16/60 Signed Chen Ting-Shih in English, numbered 16/60, titled Day and Night #89 ILLUSTRATED: "Asking the Heaven：Chen Ting-shih Memorial", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2005, P.134

圖錄：《天問──陳庭詩藝術創作紀念展》，高雄市立美術館，台灣高雄，2005 年，第 135 頁

NT$ 240,000-320,000 US$ 7,900-10,600

MODERN AND CONTEMPOR ARY ART

063 HSIAO CHIN

蕭勤

( b.1935 )

徐徐然

Unhurried

1999-2009 壓克力畫布

80 x 100cm Acrylic on Canvas

附藝術家親簽之原作保證書

With a certificate of authenticity signed by the artist

NT$ 900,000-1,300,000 US$ 29,700-42,900

「藝術創作是在傳達心靈成長的訊息和過程，宇宙的大能量是我創作中源源不絕的重要靈感。」

---蕭勤

1952 年，蕭勤向李仲生學畫，不同於當時強調基礎訓練的學院派，李仲生相當重視個別差異與引導式的教學，這讓蕭勤了解藝術創作不是模仿外在的世界，而是一種內面的探討，是對自己生命與生活的分析和認識。在因材施教的個人化指導下，蕭勤奠定了自主的學習、探索方法，這為他日後的留歐生涯帶來源源不絕的創作靈感，並使他開始研究老莊思想及中國水墨與西方抽象繪畫的融合表現。在歷經了道家思想的啟發後，蕭勤更深入探討佛家與禪宗的理論與哲思，他說：「禪宗幫助我去凝視許多生命、宇宙的價值。」他在作品裡注入越來越多這些古老質樸的智慧，以對「動」的禮讚來表達對中國傳統文化的尊敬，氣和宇宙等主題在其中生生不息地凝聚著能量，企圖捕捉人與宇宙最初的原始關係。《徐徐然》中的氣在凝聚中擴散，以點、線、面各個不同層次的對比體現氣場的動態，在安穩寧靜的宇宙天地之間，用一種緩慢的方式流動，時而集結，時而離散，透露出畫面肌理的不可預測性，蕭勤以此傳達一種未知的、神秘的、熾烈而具有擴張的思想，在鮮麗色彩中，探討無限境界的自然力量。

"Art Creation is a translation of inner growth and process, the great energy of the universe is my most important inspiration." ---Hsiao Chin. From 1952, Hsiao Chin was a student of Li Zhong-Sheng, who taught differently from the traditional academy, which focused on foundational training. Instead, Li focused on guidance for individual development. This inspired Hsiao Chin to create not by mimicking, but by discovering and analyzing the inner-self. Through Li's personalized teaching, Hsiao Chin secured his foundation in innovation. His open-mindedness to new ideas enables him embrace many new concepts during his trip in Europe. He also studied Lao Zhuang's philosophy, which further stimulated him to blend traditional Chinese water-ink composition with Western abstract painting style. After being inspired by Daoism, Hsiao Chin further explored the theories and philosophy of Buddhism and Zen. He said "Zen enabled me to look deeper into the value of life and universe." In his artwork, he incorporated more and more ancient wisdom; he expressed his respect of Chinese traditional culture with movement". Chi and the universe continuously carry on energy to capture the origin relationship between man and the universe. The atmosphere in "Unhurried" gathers together and spreads out in dots, lines and forms in different layers to contrast with the flow. Moving in a slow pace between the tranquil universe, sometimes gathering together, sometimes scattered. An unpredictable texture is used to express the unknown, mysterious and passionate thoughts that explore the natural power with vivid colors.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

064 JU MING ( b.1938 )

Taichi Series 46(L) x 53(W) x 88(H)cm Bronze, 6/8 Signed Ju Ming in Chinese, dated 1995, numbered 6/8 With a certificated of authenticity issued by Kalos Gallery

NT$ 3,800,000-4,800,000 US$ 125,400-158,400

朱銘太極系列 2006 銅 6/8 簽名：朱銘自 '95 6/8 附真善美畫廊開立之原作保證書

朱銘於而立之年時放棄在大雕刻廠首席師傅的高薪，毅然轉而拜楊英風為師，從工藝雕刻正式踏入藝術雕塑的領域，這個人生的轉捩點，也使他從一位「工藝師」蛻變成一位「藝術家」。在 8 年的學習期間中，楊英風曾建議身體瘦弱的朱銘修習太極養生、強健體魄，而領悟力極高的朱銘，便在學習中悟得太極「內外相合」的精髓，並從中體會出許多思想及心靈上的奧妙。他將自然萬物、大氣運作的力道與內蘊內化成個人的藝術語彙，進而創作出一系列氣勢磅礡的《太極》雕塑，其寫意簡潔的抽象運動形體，和渾然天成的氣韻展現，透散出一股浩然之氣，日本京都國立近代美術館館長河北倫明也說道：「朱銘是有重量感的，這點和日本近代雕刻家相同；朱銘是有動感的，這也和日本近代雕刻家相同。但是日本雕刻家中卻沒有人像朱銘一樣兼具兩種特性。」《太極系列》以陰陽平衡、相生相剋、相輔相成的概念展現作品的氣度與生命力，其質樸的肌理和線條構築了去蕪存菁的人物形象，洗鍊的美感由內而外體現天人合一的精神，達到神似而非形似的境界，並融合出中國傳統文化底蘊與現代藝術語言。 When studying under Yuyu Yang, the doyen of Taiwanese sculpture, Ju practiced tai-chi on a daily basis. In addition to staying healthy, Ju was able to grasp the essence of the ancient sport. He began to ponder conveying his insights through works of sculpture. Tai-chi became the language, in which his sculpture was written. As Ju Ming explains, "Tai-chi is a method of maintaining your health through regular exercise, but at the same time, it is the best example of achieving oneness between the individual and nature". For Ju Ming "Taichi" is a way of directly experiencing and emulating the natural phenomena that makes up our universe. Ju Ming is devoted to the pursuit of this "natural harmony", both in his life and his art. Having internalized Tai-chi's principles, he strives to share his wisdom with others through his art, melding taichi and artistic skills into straightforward, unembellished manifestations of "man's oneness with nature"

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

065 JU MING ( b.1938 )

Taichi Series 41(L) x 21(W) x 49(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 1998 With a certificated of authenticity signed by the artist from Jun Youn Sculpture Gallery

NT$ 3,800,000-4,800,000 US$ 125,400-158,400

朱銘太極系列 1998 木頭 ( 僅此一件 ) 簽名：朱銘 '98 附雋永藝術中心開立之藝術家親簽原作保證書

ZHONG CHENG 中誠

太極拳本身可以說是一種動與靜的運轉，在運轉變異之際，必須體悟靜中求動、動裡養靜的意義，精神思緒與身體四肢要能感受天地萬物的氛圍、並順應自然。也因為如此，朱銘的《太極》並未有個別的面相，他們處之天地、代表著一種形而上的力量與精神，從一開始的招式簡化，進而在創作中由「形」轉至「意」，「不單是刻這一招或那一招，而是走到這一招到下一招之間的演變。」他說。以慢打快、以靜制動，朱銘在雕塑上呈現一種平衡和拉鋸，一種似前又後、既收且放的內蘊能量，完整展現時刻都在進行的動勢與創作直覺，渾然天成而洋溢著生機。朱銘在創作歷程中，逐漸打破太極固定招式的侷限，同時不斷地簡化作品形式，增強體量感與空間意識，用沉著的氣勢訴說出動態運行間微妙的均衡狀態。《太極系列》拋開寫實，保留氣度，藝術家以著重精神、靈性的創作思維帶出自然流暢的人物姿態，其清爽俐落的刀法、鮮明靈動的神韻，開發出獨立而自覺，並承襲本身文化傳統的突破性風範。 Taichi Series along the fast-moving process of creation, Ju Ming makes no mistakes with every mark he leaves on the sculpture. He reaches the perfect balance of control, which only comes from years of experience and excellent techniques. This Taichi sculpture is a perfect example of balance, with its right arm embracing, and left arm holding, a harmony is achieve when contracting and releasing are both presented. Furthermore, the right foot of the sculpture is grounded, while the left is lifted, the unrestrained movements are prevalent. Through the remnant carving traces, viewers can see the original strength and speed in the moment of creation. The visual effect transforms into the movements and strength of the artwork. The art works is reflective of the essence of Taichi: "man and nature as one".

MODERN AND CONTEMPOR ARY ART

ZHONG CHENG 中誠

066 JU MING ( b.1938 )

Living Series 36(L) x 27(W) x 95(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 2004 With a certificate of authenticity issued by Kalos Gallery

NT$ 2,600,000-3,800,000 US$ 85,800-125,400

朱銘人間系列－彩繪木雕 2004 木頭 ( 僅此一件 ) 簽名：2004 朱銘附真善美畫廊開立之原作保證書

朱銘早在 1980 年代便隻身前往紐約尋找創作靈感時期，受到在地自由奔放的藝術風氣且極具活力樂觀的氣息而有所震撼，而當時正是普普藝術在美國風行的年代，發現中國傳統文化與西方文化的差異性，在追尋創作過程中得到啟發，開始了藝術生涯的一個突破，使朱銘人間系列更加具有開放性。朱銘曾說：「人間就是刻現代的生活，是一個總結，鄉土與太極都在裡面。」相較之下與簡結有力的太極系列在藝術型態上具有不同的表現方式，但其核心精神都是以人為主，在藝術修行中有所體悟，以尊重自然、順應自然的創作精神發展出人間系列。人間代表著朱銘創作歷程，醞釀思索著生活化且具自由的精神，也反映以人為本的宇宙觀。而在東方傳統的雕刻藝術中，木雕是重要的一種表現形式，從古至今，代表著文化的傳與維繫，更是藝術創作的理路與活水。朱銘雕刻《人間系列 - 彩繪木雕》此一作，以人為中心，觀察生活周遭生活與事物，作品展現母親的嫻熟端莊，將孩子親密的依偎在自己的懷中，溫柔中流露出為人母的堅毅精神，木材表面保留刀下經過的痕跡與切面孔隙，同時也存留質地獨特樸拙的韻味，再以顏色妝點衣飾、髮色結構，用簡化的語言生動的刻畫出動態美感，流露悠然自得的神情，散發傳統女性身上的純樸氣質，呈現樂天知命的人生觀。 Wood carving takes a very important role in Chinese traditional sculpture. From the ancient till present, it exists in every corner in life, it represents the inheritance and connection of culture, and it is even the theory and life of art creation. Ju Ming's "Living World Series "are wood carvings that have opened a new page in creation conception. They come with Ju Ming's different recognition of occupations, and have dynamic and open-minded characteristics. The topics range from lives of people, women who are fond of town gossips, modern females, athletes to monks, all of them came from a split second inspiration. "The World Series" is presented in a confident posture. The legs stand firmly on the ground, the shoulder and arms are united, Ju Ming exquisitely presented the imposing manner and charm of the characters. As a creative artist, he observed and appreciated life. To be more specifically, what he wanted to engrave is every touch of moment in our lives. In fact, as the creator, he thinks that the Living World Series truly shows the idea: and no matter the material or the attitude of creating it, its free style reflects more conceptions of modern sculpture.This work is made of a whole piece of wood; some mass, simple cuttings easily bring out the character's emotion, along with partial colors increase a kind of freshness to the sculpture. But as the same time, it still keeps the original down to earth quality of wood. Ju ming Chooses a natural way to show his idea, and skillfully presents human's most natural appearances.

MODERN AND CONTEMPOR ARY ART

067 JU MING

朱銘

( b.1938 )

太極系列－對招

Taichi Series – Shadow Boxing

1998 銅 1/8 簽名：朱銘 1/8 '98

27(L) x 52(W) x 22(H)cm Bronze, 1/8 Signed Ju Ming in Chinese, numbered 1/8, dated 1998 With a certificate of authenticity issued by Lotus Art Gallery With a certificate of authenticity issued by Galerie Vedovi

附荷軒新藝空間開立之原作保證書附 Galerie Vedovi 開立之原作保證書

NT$ 2,600,000-3,500,000 US$ 85,800-115,500

朱銘從 15 歲開始便隨李金川師傅學習傳統廟宇雕刻，在 1968 年時拜師於雕塑名家楊英風。楊英風認為朱銘身子雖然結實，但過於清瘦，便鼓勵其學太極，以便強身、磨練意志。因而在學習太極的過程中，朱銘領悟了身、心、力量的來源與制衡，以及天人合一，物我兩忘的哲理，遂開始創作「功夫系列」。 1976 年楊英風受國立歷史博物館之邀，舉辦展覽，但後因展覽檔期前作品準備不及故而推薦朱銘的作品，自此朱銘以《同心協力》等由台灣鄉土為題材且又富含生命力的木雕作品一鳴驚人，時值台灣文化主體性的議題沸揚之時，因此受到了藝文界熱烈的迴響。其後，朱銘融合文化精神與太極招式的「太極系列」作品，更確立了朱銘在雕塑界的地位。朱銘的太極系列大致分為以展現個體技巧與姿態的「單人動作」、以及講究兩股力量之間對立關係的「雙人對打」。朱銘的太極雕塑注重「以裡達表」，他解釋道：「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。」在單一人物的太極雕塑中，太極的力量和節奏透過身體的運動和姿勢來表達。但太極在本質上可謂兩極相生，即「陰」與「陽」兩極的相互關聯、循環往復，合而為一，而構成和諧而有力的運動。此件《太極系列 - 對招》創作於 1998 年，作品在動靜、虛實的兩相對峙間，將太極拳隨屈即伸、剛柔並濟的精隨展露無疑。在朱銘隨意雕琢、大雕闊斧之下，忘形奔意，流暢律感的線條便油然而生。朱銘認為，貫徹了藝術修行，藝術語言就會自然形成。人物形象的虛化，形似與神似間僅餘招意和力量，無形無意，流轉不息，成功傳達朱銘「生生不息，永恆無垠」的創作理念，完滿詮釋藝術家靈覺深處的感受及道悟中國傳統思想涵養的精粹。 Ju Ming was a disciple of Li Jin Chuan to practice traditional temple carvings since 15 years old, and later became a student of sculpture master Yang Ying Feng in 1968. Yang Ying Feng suggested Ju Ming to practice Tai Chi to strengthen his physical and later inspired Ju Ming to create the Tai Chi series. Invited by the National Art Museum in 1976, Yang Ying Feng held an exhibition and referred Ju Ming artworks. Since then, Ju Ming surprised the art work with "In One Heart" that is rich of Taiwanese rural and lives during the peak of the search of cultural identity and won wide recognition. The later "Tai Chi series" secured his prominence in the sculptor world. The Tai Chi series can be generally divided into the "singular movements" which represents the individuals techniques and poses and the "Boxing" which focuses on the tug of war between two powers. Ju Ming emphasizes on "expressing the inner" and he said "the flow of each texture on a lively artwork follows an internal vigor and need. And the textures most logical and natural movement are the embodiments of my belief." Ju Ming presented the strength and rhythm of Tai Chi through the body movement and postures. But, the essence of Tai Chi speaks of the relationship between the "yin" and "yang" that circulates back and forth and eventually becoming a harmonious and powerful exercise. "Taichi Series – Shadow Boxing" was created in 1998, presenting a tug of war between movement and stillness; reality and false. It truly presented the essence of Tai Chi- tampering force with mercy. Under the bold cuts by Ju Ming, the flowing and rhythmic lines are created. He believes that an art language will come naturally when the artist follows through his practice and beliefs. By blurring the human form and spirits, the sculpture successfully delivered Ju Ming concepts and perfectly translated his realization of Chinese traditional philosophy and charisma.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

068 ZHU YIYONG ( b.1957 )

Tea Tasting 130 x 89cm Oil on Canvas Signed Zhu Yi-Yong in Chinese, dated 2006 With a certificate of authenticity from gallery

NT$ 1,200,000-2,200,000 US$ 39,600 -72,600

朱毅勇茗香 2006 油彩畫布簽名：朱毅勇 2006 附畫廊開立之原作保證書藝術家本人與作品合影

朱毅勇早年深受寫實畫家及學院派的影響，在 80 年代即以「四川畫派」中堅的身分享譽畫壇，曾在「鄉土寫實主義」中掀起了一股懷斯畫風，他借鑒西方現代藝術的風格，抒發對中國鄉土的情感，在本土當代藝術發展中表現持續不斷的創新能力。 90 年代後朱毅勇以古典女性形象驚艷藝術圈，扎實的基本功、高超的人物塑造力，詮釋傳統東方女性唯美優雅的古典情懷，並藉由場景的描繪，靈活運用室內、宮燈、明式家具以及鏤空的表現，使空間流轉之中更具穿透感，古今重疊，流露情韻風趣。《茗香》乃「燈籠系列」的作品之一，以追求意味濃郁的新古典主義風格。朱毅勇藉由光影的表現，呈現出一如古典繪畫般，強烈卻和諧的明暗對比，不經意地流洩出神秘莊肅的氣息與氛圍。溫暖的燈籠給整個畫面帶來溫馨可人的棕色調，這種本具備古典意味的色調，更好地烘托出朱毅勇懷舊的古韻情思，勾勒出自然閒逸的恬淡心境。再藉由「紅燈籠」襯托古今，使得舊時光的往事如墨暈開，清晰可見那時光影交映的檐廊，大紅燈籠高高懸掛，樓閣處處燈火如花，而那名優雅恬靜的女子，就正於燈火珊處，此時的美好，於記憶深處深深烙印著。《茗香》一作中，女子手捧茶杯，細細品茗，回眸一笑，轉瞬永恆。而簡樸古式的服飾，卻細膩的將繡工精準描繪，更顯韻味，一如既往的體現了其堅實的造型能力、敏銳的色彩及精巧的構思。朱毅勇將對於中國本土記憶的獨特眷戀寄情於畫中，使鄉土色彩更添柔情。 Influenced by realism and academism in the early years, Zhu Yi -Yong is recognized as one of the prominent artists of the "Sichuan Art Association." He once started a "native realism" movement which used western modern art as a medium to express Chinese native affections and continued to innovate in the development of native contemporary art. During the post 90s, Zhu Yi -Yong surprised the art world with classical female images, his solid foundation and superb ability to form figures have translated the elegance of Chinese women. And through the scenery, he has faithfully utilized the inner space, lights, furniture and see through spaces and presented the painting in a fashion that trespasses the past and present.

"Tea Tasting"belongs to one of the "Lantern" series- a new classicalism style art work. "Red Lantern" is presented like a classical painting, and the artist employed lights and the contrast between to reveal the mystic atmosphere. The warm lanterns gave a warm brown color tone and it perfectly embellishes the classical nostalgic atmosphere Chu Yi Yong wanted to present. The "Red Lantern" reveals the past and enables viewers to see how lights tier up where red lanterns hang high with lights flickering like flowers along the attic and the elegant lady sitting quietly over there. In "Tea Tasting", the lady holds a tea cup devouring the tea; she glanced back and gave a smile that will be remembered forever. Her simple outfit is delicately painted by the artist's solid foundation in styling and usage of colors and composition. Zhu Yi-Yong expressed his long for China's nostalgic past into his painting, and gave a sense of gentleness in the nativism painting.

ZHONG CHENG 中誠

069 HSIAO CHIN ( b.1935 )

Serene Heart 100 x 130cm Acrylic on Canvas Signed on the reverse: Hsiao in English and Chin in Chinese, dated 2006, inscribed 100x130cm and Acrylic, titled

NT$ 1,300,000-1,800,000 US$ 42,900-59,400

蕭勤寧靜之心 2006 壓克力畫布背面簽名：Hsiao 勤零六「寧靜之心」 "cuore di serenita" Acrylic 100x130cm

「我試著將自身的體悟、精神和生命的能量轉換為作品，以傳遞永不絕望的救贖精神。我不可能只為藝術而藝術，我做藝術是為了更大的理想，這個更大的理想並非由我來創造，而只是由我來傳達。」

---蕭勤

蕭勤為五十年代著名東方畫會成員之一，是中國當代藝術的急先鋒，更是在歐洲推動東西方當代藝術交流的第一人。蕭勤以藝術作為生命探索，具宏觀的視野及跨文化的豐富經驗，經過東西方文化的融會貫通及內化，將東方的哲理用西方的繪畫形式表現，勘探東方精神及靈性的造化，從生命的始源探索與思考，作品蘊含禪意的哲學思想，以「心」來傳達對寧靜境界的追求，體會到生命的本質，體悟到愛是萬事萬物的根本，愛也是聯繫一切的源頭，生命中的大愛猶如宇宙的無邊無際，蕭勤在藝術道路上，追求著永恆生命的能量，領悟透徹的生命哲學思考。

"I try to transform the energy of my realization, spirit and life into my artwork to pass down an indomitable spirit. I do not create for the sake of art instead I create for a bigger ambition. I am not the creator of this ambition, I am only the messenger." ---Hsiao Chin. Hsiao Chin is one of the members of the Eastern Art Association of the 50s, he is one of the pioneers of the Chinese contemporary art and also an advocate of eastern and western art in Europe. Hsiao Chin discovers life through art; he approaches with a macro perspective and transcultural rich experience. Through understanding and internalizing western and eastern art and presenting it in art form, the artist discovers and thinks from the origin of life. The art work is philosophical, and pursuits a tranquil state through the heart and realizing that love connects everything in life, love is like the universe without boundary. During his career, he always sought after the energy of eternal life and realizing the philosophy of life.

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MODERN AND CONTEMPOR ARY ART

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070 PU RU

( 1896-1963 )

October 61.5 x 11.8cm (2) Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 360,000-550,000 US$ 11,900-18,200

溥心畬十二月令－孟冬十月水墨紙本款識：孟冬應鍾之月西山逸士溥儒藝術家鈐印釋文：蒙密雪低寒竹葉，葳蕤春上早梅稍。

溥儒，字心畬，號西山逸士、羲皇上人，為前清恭親王奕訢之孫，自小生長在恭親王府中，恭親王擁有豐富的藝術收藏，耳濡目染下培養出對詩書畫的知識與眼界。而在中國文化傳統的嚴謹教育之下，幼年便開始勤讀詩書，以理學入手，然後及爾雅、說文，至漢儒訓詁之學，旁及諸子百家之書，以至古文詩詞，一生天資穎悟、用功不懈，蘊育出貴族文人的氣質，奠定其深厚的文學修養基礎，因而有極高的藝術成就展現。一九四九年渡海來台，與張大千、黃君璧並稱為「渡海三家」。「月令」是上古一種文章題材，記述每年十二個月份的時令及政府執行的祭祀禮儀、職務、法令、禁令等；後將中國古樂的十二律與十二月相互配對，十二律則有十二月的別名。爾後，月令與習俗、對聯結合，以當月習俗或當令花事為內容，成為獨特的月令對聯。溥氏深厚的書法底子，流露出一股濃郁芳馥的書卷氣習。

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071 AU HONIEN ( b.1935 )

Walking Alone 97 x 30.3cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 280,000-500,000 US$ 9,200-16,500

歐豪年孤行圖 1985 水墨紙本簽名：乙丑三月嶺南歐豪年藝術家鈐印釋文：陶淵明《歸去來辭》歸去來兮，田園將蕪胡不歸？既自以心為形役，奚惆悵而獨悲？悟已往之不諫，知來者之可追，實迷途其未遠，覺今是而昨非。舟搖搖以輕颺，風飄飄而吹衣。問征夫以前路，恨晨光之熹微。乃瞻衡宇，載欣載奔。僮僕歡迎，稚子候門。三徑就荒，松菊猶存。攜幼入室，有酒盈罇。引壺觴以自酌，眄庭柯以怡顏。倚南窗以寄傲，審容膝之易安。園日涉以成趣，門雖設而常關。策扶老以流憩，時矯首而遐觀。雲無心以出岫，鳥倦飛而知還。景翳翳以將入，撫孤松而盤桓。歸去來兮，請息交以絕遊。世與我而相遺，復駕言兮焉求？悅親戚之情話，樂琴書以消憂。農人告余以春及，將有事乎西疇。或命巾車，或棹孤舟，既窈窕以尋壑，亦崎嶇而經丘。木欣欣以向榮，泉涓涓而始流。羨萬物之得時，感吾生之行休。已矣乎！寓形宇內復幾時？曷不委心任去留，胡為遑遑欲何之？富貴非吾願，帝鄉不可期。懷良辰以孤往，或植杖而耘耔。登東皋以舒嘯，臨清流而賦詩。聊乘化以歸盡，樂夫天命復奚疑？

歐豪年為「嶺南畫派」代表藝術家，師事於嶺南畫派大師趙少昂。嶺南畫派為中國傳統國畫中的革命派，以創新為旨，主張融合中西方繪畫之精髓，「折衷中外，融合古今」為其宗旨，意圖創作出具有時代精神的畫作。歐豪年在書畫創作、詩詞與國學的研究上皆具深厚涵養，作畫時重視寫生，筆墨蒼勁豪邁亦帶禪意，以詩入畫。張大千曾讚譽：「豪年道兄，纔一落筆，便覺宇宙

萬象，奔赴腕底，誠與造物同功。頃者訪美欣晤，爰書數語，以誌欽遲。」《孤行圖》以一首《歸去來兮辭》入題，將陶淵明寄身於天地間的淡然閒適表露無遺，畫面中僅以人物作為主體，手持的鋤頭與菜籃，強調陶淵明歸於田園之樂的樸實率真心境。歐豪年兼具中西方繪畫的美學精神，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。

MODERN AND CONTEMPOR ARY ART

103

072 WU CHANGSHUO ( 1844-1927 )

Lotus 132 x 31cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 700,000-900,000 US$ 23,100-29,700

吳昌碩蓮石圖 1917 水墨紙本款識：臨撫石鼓瑯邪筆，戲為幽蘭一寫真。中有離騷千古意，不須携去賽錢神。丁巳孟冬七十四歲安古吳昌碩藝術家鈐印

吳昌碩是晚清著名畫家，書法家、篆刻家，為「後海派」中的代表。是中國近代藝壇巨擘、一代宗師。詩書畫印，樣樣精通，不僅揚名華夏，而且蜚聲海外，他的書法、篆刻尤負盛名。對石鼓文情有獨鍾，一生臨摹不懈，長年苦修，熟能生巧，對筆墨的掌控收放自如，俊邁灑脫，姿態萬千。吳昌碩的藝術貴在創造，他以書法入畫，藝術上別辟蹊徑。原先專注在詩、書、篆刻方面，直至歲逢而立之後方始學畫，求教於畫家任伯年，並以石鼓文的篆法入畫，令任伯年頗為激賞，並嘆言吳昌碩必成畫壇的中流砥柱。齊白石亦曾說：「我欲九原為走狗，三家門下轉輪來。」言詞間流露對於吳昌碩的崇敬之情。而日本畫壇更稱其為唐代之後第一人。觀其之作，畫起大落，善於留白，或對角欹斜，氣象崢嶸，構圖塊面體積感極強。最擅長寫意花卉，所作花卉木石，筆力雄渾老辣，力透根背，受徐渭及八大山人影響甚深。因將之功夫深厚的篆法融入繪畫，故而形成富有金石味的獨特畫風，其曾說：「我平生得力之處，在於能以作書之法作畫。」在繼承前人畫蓮的基礎上，吳昌碩擅於粗筆大抹，不求形似，水墨氤氳。《蓮石圖》構圖盈滿，層次鮮明，自右上傾瀉至左下，提款落於左上空白之處，使整體疏密有致。蓮花、巨石以淡墨細繪，輔以濃墨枝幹銜接，濃淡相宜。全圖筆勢如龍飛，舒放自如，有意在筆先之妙。蒼潤的墨染，始而在雄厚恣意的筆法之間透露出澈盈心靈，有大雅之趣貌，一如「蓮，花之君子也。」獨具格調韻味。

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MODERN AND CONTEMPOR ARY ART

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073 CHEN TINGSHIH

海韵 #9

The Rhythm of the Sea #9

1985 版畫 3/50 簽名：The Rhythm of the Sea #9 3/50 Chen Ting-Shih

62.5 x 62.5cm Lithograph, 3/50 Signed Chen Ting-Shih in English, numbered 3/50, titled The Rhythm of the Sea #9

NT$ 240,000-320,000 US$ 7,900-10,600

106

陳庭詩

( 1916-2002 )

ZHONG CHENG 中誠

074 TONY WONG

黃榮禧

( 1948-2012 )

欺瞞

Flam I

粉彩油彩亞麻紙本背面簽名：T.W.H. Wong

75 x 75cm Oil and Gouache on Paper

NT$ 160,000-320,000 US$ 5,300-10,600

黃榮禧，出生於中國廣東，幼年隨家人移居美國紐約，因生長和求學背景，讓黃榮禧同時熟悉中國傳統文化和西方文學藝術思潮，揉合西方新表現主義，具有強烈個人風格特色。黃榮禧幼年聽祖母講過許多中國民間故事，擅於援引中西民間神話、寓言及傳說故事，作品存在著敘事性質，融入自己所創造的幻想形象，透過自由意識的轉化形成獨特的藝術形式及創作語彙，表達出現代人的欲求與想望等。黃榮禧曾說：「我的畫能說故事，但卻沒有固定的意義。其最終意義應該由看畫者自行引申完成。」以形象暗寓故事，畫面的人物主體作為視覺聚焦軸心，創造出具有豐富觸覺性的意象世界，背後所蘊含的意義與本質，給予觀者閱讀及詮釋的開放性。

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075 LIN SHIENMAO ( b.1955 )

Colorful Carpio 112 x 145cm Oil on Canvas Signed Shien Mao in English, dated 2013

NT$ 700,000-950,000 US$ 23,100-31,400

林憲茂百鯉紅漾 2013 油彩畫布簽名：Shien Mao 2013

林憲茂創作風格由具象轉為抽象表現主義，由過去描述人體舞蹈的舞動系列，延伸至日月潭的動態山水寫意系列，而後選擇鯉魚作為創作題材。中國民間將鯉魚視為吉祥及美好的象徵，被視為一種精神寄託，也因鯉魚的「鯉」與「利」的諧音，故有「得利」之說。林憲茂堆積豐沛的情感將鯉魚作為極佳的創作題材，在《百鯉紅漾》中，從表現手法或是象徵意義上延續過去恍惚與靈動的特性，運用豐富的色彩及生動的線條，讓鯉魚主體結合視覺美學上的韻律節奏，自由奔放的筆觸捕捉光影的動態美感，整體呈現出具有獨立的審美形式。 Lin Shienmao is a self-taught artist that has perfected his individual abstract style. His works are best known for his unique consistencies and the essence of speed. In "Colorful Carpio" the colorful brushstrokes captures the movements of the delicate lights and shadows that is created by the waves of the water. Lin uses vibrant colors and strong textures to bring life to his subjects. The result is a playful yet complete composition. This painting brings out the sensitivity and care Lin Shienmao has towards the world. It is a visual delight of Hegel's philosophy "Art is the presentation of absolute ideology"

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076 LIN SHIENMAO ( b.1955 )

明潭櫻紅

Sun Moon Lake

2012 油彩畫布簽名：Shien Mao 2012

61 x 146cm Oil on Canvas Signed Shien Mao in English, dated 2012

NT$ 400,000-550,000 US$ 13,200-18,200

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林憲茂

ZHONG CHENG 中誠

英國評論家蘇立文認為：「抽象」是指從自然物象中抽離物象而形成某種形式。就如林憲茂日月潭系列作品，他從自然界物象中抽取出意象，減弱畫面的空間深度，並以堆疊的方式表現視覺上無限的空間與真情實感，藝術家將眼中所見、心中所感的日月潭美景用注入靈魂的畫筆揮灑而下，幻化成另一種動人風情。《明潭櫻紅》以藍紫色調濃烈地舞動潭水，筆觸不羈而交縱層疊出抽象視野，豔紅的櫻花在枝頭綻放，強烈筆觸及情感透散於遼闊的美景之中，自然流溢出奔放而優雅的氣質。

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077 CHANG CHENYU

張振宇

( b.1957 )

蘭嶼

Orchid Island

1989 油彩畫布簽名：振宇 '89

72.5 x 90.5cm Oil on Canvas Signed Chen-Yu in Chinese, dated 1989

附畫廊開立之原作保證書 With a certificate of authenticity from gallery

NT$ 200,000-300,000 US$ 6,600-9,900

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張振宇探索藝術的本質，追求心靈層面的自由，認為藝術可以返璞歸真，回歸真善美找到感動的單純本質，創作題材豐富多元，作品的景象不僅是描繪自然更是心靈的投射，直探深邃的心靈空間，表達內在的心象世界。將中方和西方融貫為一體，結合了文學與哲學，展現天人合一、與世無爭的情懷。《蘭嶼》一作，細刻蘭嶼具有的豐富人文歷史及自然生態，張振宇透過油彩掌握其精華，形體的厚重、風景的色彩，加上強而有力的筆觸，創作出高彩度的色塊所成的獨特美感效果，同時將情感注入畫作讓人可以感受到生命底層澎湃的創作能量，絢爛色彩下的蘭嶼特色及風情在恣意狂放下充分展現給觀者不同的視覺效果。

078 ZHENG ZAIDONG

鄭在東

( b.1953 )

山景

Mountain Scenery

1990 油彩畫布簽名：鄭在東 '90

53 x 45cm Oil on Canvas Signed Zheng Zai-Dong in Chinese, dated 1990

NT$ 80,000-140,000 US$ 2,600-4,600

鄭在東年輕時主修的是電影，並曾積極接觸過多元的創作媒材，但到後來鄭在東發現只有繪畫能夠真正地以個人為出發點進行創作。而這樣的轉捩點促使他開始探尋能夠真正觸發他創作激情的媒材；因此自身的生命經歷成為鄭在東的創作基礎，他的題材幾乎來自於生活周遭的地景、人、事、物。鄭在東的創作往往在表現主義的風格中，帶有一點惆悵且浪漫的中國文人氣息；換句話說，鄭在東以油彩進行傳統文人式的考察，便是企圖逃脫中西兩方的藝術窠臼，使創作能夠真正回歸到自我所處的生命狀態中，從中找尋自身生命的崇高精神。

MODERN AND CONTEMPOR ARY ART

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079 HUANG MINGCHE ( b.1948 )

Cheers Wine Glass 300 x 100cm Oil on Canvas Signed on the reverse: Huang Ming-Che in Chinese, inscribed 100 x 300 cm and Oil, dated 2013

NT$ 1,100,000-1,500,000 US$ 36,300-49,500

黃銘哲將進酒系列 2012-2013 油彩畫布背面簽名：黃銘哲 2013 油畫 100x300 展覽：「匯聚 - 兩岸當代藝術交流展」上海市徐匯藝術館 (2013/9/20~10/20) 正修科技大學藝術中心 (2013/11/22~12/27) 桃園縣政府文化局 (2014/1/8~2/16) 宜蘭縣政府文化局羅東文化工廠．天空藝廊 (2014/3/7~4/27) 中國，台灣，2013-14 年

1948 年出身於宜蘭的黃銘哲，1976 年赴歐美遊學，1980 年返台後，連續榮獲兩屆全省美展油畫第一名的殊榮，從此獲得全省美展永久免審查資格。早期畫作多為寫實具象的農家生活，以寫實的風格描繪家鄉父老迎著晨曦，日出而作的農村簡樸生活，黃棕色的色調，烘托出美麗溫馨的家。之後逐漸轉變為半抽像繪畫，再到現在立體造型的抽像結構，風格領域多變，關心的議題亦轉向都會。黃銘哲的畫常是他心境的呈現，具有濃厚自傳性的詭魅色彩，戲劇性的構圖森冷的氛圍充滿象徵性與神秘感。其作品風格變化既不追隨流行，亦不附庸風雅，實為一位真誠對待自己創作想法的藝術家。黃銘哲早期的創作以平面繪畫為主，80 年代的人文溫情主義是其中的代表，那時期的作品內容可以看出他對創作本質探究的堅持，也反映出藝術家對於社會環境變遷的敏感度。仔細究之，黃銘哲從寫實到抽象，再由平面到立體的創作脈絡清晰可辨，他的藝術與人總是一致，命運的過程都在創作上留下步步軌跡。「我的藝術每一步都可以追溯到我對生命體會的變化。」他說。黃銘哲的創作中最突出的特質是作品中線條的表現，在畫中每一條線凝結著藝術家最切身的體驗與感受。《將進酒系列》系列線條流暢、簡潔，色彩濃烈有力，從畫面中可深刻感受到藝術加生命力十足且企圖心旺盛。

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115

080 HSIAO CHIN ( b.1935 )

Xian 75 x 94cm Acrylic on Paper Signed Hsiao in English and Chin in Chinese, dated 2009

NT$ 550,000-650,000 US$ 18,200-21,500

蕭勤胘 2009 壓克力紙本簽名：Hsiao 勤 2009

蕭勤 1952 年進入李仲生畫室習畫，接受現代畫會觀念的指導，學畫初期，李仲生發現蕭勤對顏色特別敏銳，建議他看西方畫家馬提斯和杜菲的作品，汲取技巧及色彩表達的方式，再加入個人和東方文化背景元素。1955 年得到西班牙政府提供的留學生獎學金遠赴西班牙進修，參觀當地的美術學院，認為傳統教學無法給予他渴望的養分，因而決定以自己方式自我學習，之後受聯合報邀約於每月在報刊上撰寫專欄，介紹歐洲的藝術家及其畫風，開啟台灣畫壇在歐洲藝術的視野。1956 年與李仲生畫室成員創東方畫會，為八大響馬成員之一。之後轉往義大利、紐約創作與教學，波瀾壯闊的人生歷程，開創了屬於自我的藝術道路。由於遊歷歐洲，感受到西方當代思潮的衝擊，使蕭勤深深體會中國文化及哲學思想的深厚與奧秘，藉以探索自我心靈，深入專研老子、莊子的道家思想，成為其精研的重心所在，並將東方哲學觀進行轉化，把中國水墨畫的思維融入至西方繪畫裡。蕭勤說：「對我來說，人生每個不同的階段是一種『輪

迴』，離開了這裡，還有另一處。像似一個圓般的，是一種非時間性、物質性的境界。」洞悉人世的蕭勤，充滿宗教玄思以及理想精神，以自然、能量以及生命相關表現，使作品充滿了強烈生命感，展現出永恆的生命能量。

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117

081 CHEN CHINGJUNG

陳景容

( b.1934 )

榕樹下

Under the Banyan Tree

1991 油彩畫布簽名：景容 1991

38 x 45cm Oil on Canvas Signed Ching-Jung in Chinese and dated 1991

附藝術家親簽之原作保證書 With a certificate of authenticity signed by the artist

NT$ 160,000-240,000 US$ 5,300-7,900

陳景容一生致力於藝術的推廣與創作，他的油畫特色多以大幅的清冷風景、人像與石膏像，和低彩度的神秘寂寞感為主，並揉合了古典色彩與超現實主義的獨特美感，加上堅實的素描基礎與縝密的構圖安排，在國內藝壇中建立其獨樹一幟的個人風格。作品靜謐憂傷，卻同時充滿著生命力，頗是耐人尋味。《榕樹下》以深沉的綠色籠罩整片樹林與道路，豐富的層次在幽暗中默默竄動著，微光下隱隱透露出一幢白色房屋，坐落在小路旁與自然為鄰，遠離於煩囂，悠然地獨立於世，如詩般的恬靜氛圍彌漫在畫面中，卻難掩孤寂空曠的感慨。

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082 YUYU YANG ( 1926-1997 )

Shadow Mirror 43(L) x 135(W) x 77(H)cm Stainless Steel, 16/20 Signed Yin-Feng in Chinese, dated 1983, numbered 16/20 ILLUSTRATED: "Yuyu Yang Corpus Volum I", Artist Publishing Co., Taipei, 2005, Illustrated, Page 284(different edition) With a certificate of authenticity from gallery

NT$ 120,000-200,000 US$ 4,000-6,600

《分合隨緣》為楊英風不銹鋼「宇宙系列」的作品之一。楊氏對浩瀚無垠的宇宙自有一番體認，進而反映在一系列的不銹鋼雕塑作品上。不銹鋼是其最喜歡的材質，特性是堅硬，具有強烈的現代感，並代表了現代科技的進步；不銹鋼材質作雕塑，那種磨光的鏡面效果可以反映出周遭景物，轉換成如夢似幻的影像，也符合宇宙萬物虛虛實實的意象。據楊氏自述其理念：「這是兩件一組的造型，

凹凸鏡面的變化虛虛盈盈，上方有圓碟，在鏡面的反映中，象徵細胞分裂再生，萬物繁衍不息。亦如太空巡遊，在宇宙中會合分離，互傳訊息。隨著角度、位置的差異，映照出四周不同的景象，有若心境反射，人世間萬事聚散分合、虛實盈虧，皆隨緣而變。」

楊英風分合隨緣 1983 不鏽鋼 16/20 簽名：'83 英風 16/20 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 284 頁 ( 另一版本 ) 附畫廊開立之原作保證書

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083 HSI SHIHPIN ( b.1977 )

Horus–The Fatal Gryphon with Phoenix tail 60(L) x 246(W) x 256(H)cm Stainless steel, Acrylic, Titanium plating, 1/3 With a certificate of authenticity from gallery

NT$ 750,000-1,000,000 US$ 24,800-33,000

席時斌荷魯斯－命運的鳳尾獅鷲 2013 不銹鋼有機玻璃鈦金鍍膜 1/3 附畫廊開立之原作保證書

數以百計的零件精密地構圖、切割、組裝，以堅韌之姿、生動之態挺拔於眾人眼前，這足以令人驚呼的繁複藝術品設計，便是擅於結構性雕塑及裝置藝術的席時斌所作。他在自述中曾寫到：「在工作中，我們觀察的對象從浴室的昆蟲、路邊的小花，紐約的建築細部，再到俄國的數學理論。對想像的實踐從鉛筆的手繪，轉化為精密的數位製圖，再到攝氏 1500 度的雷射軌跡。」細微的觀察和專注的實踐建立了藝術家的成就，席時斌與協同創作者侯武雄、曾紹博所組的工作室，合作對象跨越了國際品牌、國內外企業、畫廊及美術館，而作品的私人收藏也已從亞洲延伸到歐美地區。席時斌在 2012 年美國駐村的期間看了很多鷹的雕塑，回國後因緣際會便以鷹首獸為題完成此創作。荷魯斯，是埃及神話中有著隼首人身的神祇，祂代表法老王，也就是王權的象徵，而埃及人也視其為鷹神。獅鷲則可以在許多神話、傳說中發現其記載，中國祆教和文學作品愛麗絲夢遊仙境也都可以找到祂的蹤跡，祂擁有獅子的身體及鷹的頭、喙及翅膀，能稱霸於天空與陸地，自神話時代以來，獅鷲獸就作為守護家庭與財富的神獸，流傳至今。《荷魯斯 - 命運的鳳尾獅鷲》中俐落的骨架及繁麗的線條意象凝聚了獅鷲的霸氣、奇幻色彩，並在其中交融協同創作者的不同風格，無論是造型可愛的小猴子或是充滿活力與變化的喜鵲，都在與獅鷲相互對映之下產生對話與故事，就如同藝術家提到：「當藝術創作從私人的靈感侷限，伸展到組織的行動，我們體認到創作的可能性也在彼此差異之間。」《荷魯斯 - 命運的鳳尾獅鷲》結合了多種生物的部分形態，作品形式上帶有西方的神秘色彩，但細節卻皆來自藝術家的自身記憶，他將其化作鏤空線條，透過豐富的符號重組、不鏽鋼的華麗切割及熟練的解構手法，用平面單元組成完整的立體造像，以獨特的美感經驗，展現東西方相融後的文化傳統。 His Shih-Pin, an expert in constructive sculpture and art deco, has presented a visual surprise to the world through the composition, cutting and assembly of hundreds of components into a steadfast and lively art work. He once said "at work, the objects of my observations vary from the bugs in the bathroom, little flower by the road, the details of a building in New York to mathematic theories in the Soviet Union. I draw them with my pencil and transform them into a detailed digital composition more than 1500 celcius laser trekking." His detailed observation and focused practice enabled him to succeed. Along with Hou Wu Xiong and Tseng Shao Bo, His Shih-Pin set up a work shop to collaborate with internal brands, enterprises, art galleries and museums, his art works are also widely collected from Asia to North America. After observing many eagle sculptures in the US in 2012, he completed this artwork with the griffin as the main subject. Horus, worshipped by the Egyptians as the falcon deity, is depicted as the man with the falcon head, it represents the Farrah and also a symbol of power and authority. The griffin is recorded in many story myths such as Chinese Zoroastrianism and Alice in Wonderland. It has the body of a lion, the head, beak and wings of a falcon. It rules the land and sky, and is regarded as the protector of the home and wealth since ancient mythologies until today. The brisk structure and complicated lines represent the domineering falcon in "Horus–The Fatal Gryphon with Phoenix tail". The colors are magical and incorporated different styles of the co-creators. The cute monkeys and lively pigeons created different conversations and stories with the griffin. The artist mentioned "we realized the possibility of creation and the difference between us through extending our inspirations into a collaborative action." "Horus–The Fatal Gryphon with Phoenix tail" combined the forms of many beings and incorporated with a mystical western color. The details are from the artist's memories which he has made it into a lineal form. And through the rebuilding of sophisticated symbols, clean cuts and experienced decomposition of stainless steel, the artist created a three dimensional object with his unique aesthetic experience and brought out the traditional culture of the east and the west.

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121

084 CHEN CHENGHSIUNG ( b.1942 )

Fisherman Series 47(L) x 47(W) x 67(H)cm Wood Signed Chen Cheng-Hsiung in Chinese, dated 1985 With a certificate of authenticity from gallery

NT$ 1,800,000-2,300,000 US$ 59,400-75,900

陳正雄討海人系列 1985 樟木簽名：陳正雄 1985 附畫廊開立之原作保證書

陳正雄是位出身漁家，受過傳統佛像木雕工藝訓練的台灣雕刻家。因為出身和所學，他的雕刻作品除了部分的佛像、觀音之外，大多圍繞在社會底層的老百姓、漁工、勞工等具有勞動階級身份的人身上，將這些建構社會的形形色色。《討海人系列》是陳正雄知名的作品系列之一，可以從幾個面向來觀其創作：以雕刻作品的最外在形象來說，由於青年時期曾長期接受基本紮實的佛像雕刻訓練之故，我們可以在《討海人系列》中發現其如羅漢、金剛、菩薩一般的姿勢動態。以本件作品為例，討海人單手靠在膝上凝望著前方（或許是靠它吃飯的那一片大海），姿態內斂、剛毅而凝重，彷彿經過了多年的修行，才得以站出如此一個沒有絲毫累贅的相貌。而在木頭上的刀法運用，陳正雄既不同於極度寫實的雕刻家，亦不似「氣隨意走」的現代雕刻主義，反而是折衷地在其間，以一種近乎十九世紀末印象派風格的筆觸呈現出來，看似樸拙有力，卻又修行般地細膩，而這樣的「西式」刀法和陳正雄所描繪的底層勞工形象恰如其分地融合在一起。陽剛的刀法就像勞工的汗水，加之自我融會貫通的中西方藝術脈絡，一刀刀地體現在其作品之中。《討海人系列》的創作過程並無實際的模特兒作為再現的依歸，而是一種「討海人」的共相，這樣的共相不但超越了作品再現性的桎梏，更多的是表現雕刻家洞悉了的生活，對於整個社會群體何以構成的生命觀察。

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085 CHEN CHINGJUNG ( b.1934 )

Moonlight Walker 195 x 96cm Oil on Canvas Singed Ching-Jung in Chinese and Chen in English, dated 2006 ILLUSTRATED: "Chen Chingjung Fifty Years Retrospective Exhibition Collection", National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, 2009.04, Page 84

陳景容月夜行者 2009 油彩畫布簽名：景容 Chen 06 圖錄：《陳景容創作五十年作品選集》，國立國父紀念館，台灣台北，2009 年 4 月，第 84 頁

NT$ 3,000,000-4,000,000 US$ 99,000-132,000 素有台灣畫壇「超現實主義」繪畫先鋒之稱的陳景容，擅長油畫、素描、版畫、嵌畫、濕壁畫，一生致力於藝術推廣與創作，並樂於奉獻在教育工作上。早年曾赴日留學，先後取得武藏野美術大學西畫系、東京藝術大學壁畫研究所學位，回台後從事美術教育，更是最早引進繪畫正統修復觀念的專家。近年旅居法國，遊覽世界各地，作品質量俱精。他在專業上的才華和努力提攜後進的心力更值得受世人的表彰、尊敬及肯定。其作品曾榮獲中國畫會金爵獎 (Golden Goblet Awards)、吳三連文藝獎、文建會文馨獎等多項褒獎；身為法國秋季沙龍、藝術家沙龍、獨立沙龍會員的陳景容，多次於沙龍中入選、獲獎；更曾連續入選日本版畫展，深獲國際肯定。其作品廣受公家機構及私人藏家蒐集，包括台灣各大美術館收藏的油畫及素描，法國國家圖書館收藏的三十件素描及版畫。陳景容近年來多次走訪各地，曾遠赴南亞旅遊寫生，在一次柬埔寨之行中，巧然遇見暮色之下站在湖岸邊各自帶著不同思緒與神情的五名僧侶，那極富神秘的氛圍，深深觸動他敏感的藝術神經，領悟到平實、靜觀和東方神秘之美，更進而開啟新的創作方向。有別於以往多以歐洲廣場、騎士形象的題材，融入更富含寓意的靜觀禪意。作畫風格安靜卻又富有生命力的陳景容，喜歡以大幅的清冷、風景、人體與石膏像，以低彩度的神秘寂寞感為繪畫主體。勇於挑戰各種不同畫作的他，以堅實的素描、嚴謹的構圖為基礎，強調精準及暗部細節的明晰度，空曠的空間、遼闊的地面、寧靜的人或物，在灰色調的氣氛裡，帶有超現實的意境，可謂台灣超現實風格的代表畫家。他的作品中有冷靜、沉穩的氛圍、灰暗之間有生命的讚頌、孤寂中望向內心深處。厚蘊文學與音樂涵養的陳景容，對藝術追求的熱情與執著及堅持理想追求完美、勤奮不懈的精神，與其生命和藝術創作已融為一體。《月夜行者》以灰藍夢境般的朦朧色調調和出夜色景致，堅實優異的素描基礎、輕逸含蓄的筆觸，柔和古典、超現實、寫意的風格特色。畫面中行者面帶憂愁思緒，凝望遠方，似是若有所思，眼神卻堅定不移，沉鬱的筆觸在畫面中幽幽婉轉，萬籟俱寂之景，卻不失強烈生命力，藉由超寫實的手法，令觀者猶如置身其中。月光皎潔，卻是長路漫漫，雖不知行者該往何處，淡淡哀愁更添懷古幽思與生命哲學，耐人尋味。 Chen Ching-Jung, known as the pioneer of surrealism in Taiwan, excels at oil painting, sketching, graphic art, Mosaic painting and fresco painting. Devoting his career in art promotion and creation, Chen Ching-Jung also enjoyed art education. Once studied in Japan in his early years and earned Masters in the department of western painting in Musashino University, and the department of mural painting in Tokyo University of the Arts. After returning to Taiwan, he continued in art education and was one of the earliest experts who brought in the idea of painting conservation. In recent years, he lives in France and travels around the world and his productions are widely recognized. His talents and guiding and supporting younger talents are recognized and respected. His artworks won the Golden Goblet Awards, the Wu San Lien Award, the Wenxhin Award; he is also a multiple nominee and winner of the French Salon. He is also continuously elected into the Japan graphic art exhibitions. His artworks are collected by public and private collectors, including the oil paintings and sketches collected by major art museums in Taiwan and more than 30 sketches and graphic paintings collected by the French National Library. Chen Ching Jung's art style is tranquil yet full of life. He enjoys incorporating big spaces of emptiness, scenery, humans and plasters into his painting, and using mystical and solitude colors are the main object. He is brave in challenging different artworks, with solid foundation in sketching and composition, he precisely dealt with the clarity of darker areas. The spacious sky, the grand ground, the tranquil person or object all speak of a surreal atmosphere in the grayish background. He is truly a representative artist of surrealism. His art works are tranquil and steady, and they look deep into the heart and praise life. Chen Ching Jung rich and solid foundation in literature and music enabled him to pursue for perfection with passion and persistence. His life and art has become one. "Moonlight Walker" brought out the beauty of the night sky with a grayish merky tone. The excellent skills in sketching and humble brushstrokes are presented in a classical, surreal and expressionist style. The person in the painting is depressed and gazing into the distance. His thoughts and the stern gaze is full of life yet presented in a depressing brushstroke. The surrealist approach enables the viewers to situate themselves in the artist's world. Walking along an endless road with no direction, the bright moonlight brings out the slightly sentimental philosophy of life.

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086 CHEN CHONG ( b.1982 )

Flowers in Vase 145 x 80cm Oil on Canvas Signed Chenchung in Chinese and dated 2006

NT$ 200,000-320,000 US$ 6,600-10,600

陳冲瓶花 2006 油彩畫布簽名：2006 chenchung 嫩紅花朵順著枝椏的優雅姿態伸展，圖像經創作者的視覺轉化後，以精簡筆法再造形體韻味，筆觸中呈現多層次的色料變幻，瓶身與花枝椏被悄然並列於同一個空間，《瓶花》跳脫出裝載體與被裝載物的絕對關係，引發思維的另一番碰撞與構思，純熟筆意之間富韻哲理與詩意。 T he you ng a nd del icat e f lower s elegantly extended along the branches. A f ter visua l izing t he image, t he author remade an aroma with clean and precise br ushstrokes. Layers of versatile colors are shown in the brushstrokes. The vase and f lower branches are arranged in the same space. "flower in vase" detaches itself from the absolute relationship between the container and object, it has evolved into new impact and thoughts, and implied philosophical and idyllic meanings through the sophisticated brushstrokes.

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087 YANG CHIHUNG

楊識宏

( b.1947 )

吶喊

Scream

1985 綜合媒材紙本簽名：C. Yang '85 背面簽名：ChiHung Yang, Scream '85, Mixed media on paper, 22 1/4 x 30inchs

57 x 66.8cm Mixed Media on Paper Signed C. Yang in English, dated 1985 EXHIBITION: New Aspect Art Center, Taipei, Taiwan Kaohsiung Cultural Center, Taiwan

NT$ 240,000-400,000 US$ 7,900-13,200

展覽：台北新象藝術中心、高雄文化中心

台灣抽象畫家楊識宏，學生時代師承廖繼春、楊三郎等前輩藝術家。一九七九年離開台灣，移居紐約這塊都市叢林，朝向遙遠的未知，而未知變成楊識宏對藝術創作與生命覺醒的呼喚，開始進入對文明考古的深掘及反思，開啟了楊識宏的文明考古時期，受到西方的文化、思維等的迥異而有所衝擊，這時期的創作反思著人類的處境、時代潮流等達觀為題材，作品優游虛與實之間，在藝術性及意涵上皆充滿強烈與飽滿的表現。此一作《吶喊》，作品在抽象與具象之間來回，兼具濃厚的象徵主義，畫面中主角麋鹿使力的朝天吶喊，反映著對人文環境的關懷及依戀，充斥在周遭的植物影子不經意的出現，也代表著一種堅毅、生長、不屈不撓的生命。楊識宏用畫筆描繪出人生智慧的累積，使其內在精神得以舒展，展現出藝術純粹的繪畫性與極其強烈的生命意念。

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088 TANG HAIWEN ( 1927-1991 )

Untitled 70 x 100cm Ink and Color on Paper Signed Tang in English and Hai-Wen in Chinese PROVENANCE: Hotel Drouot Etude Leroux, Paris, 1992 Private collection, Europe

NT$ 500,000-700,000 US$ 16,500-23,100

唐海文無題彩墨紙本簽名：Tang 海文來源：福德奧拍賣，勒胡拍賣公司，巴黎，1992 年歐洲私人收藏

唐海文過著順應自然、無為而為的道家生活，探索出獨一無二的繪畫語言，自幼隨祖父習書法，受到中國傳統文化、藝術及書法的啟發下，汲取中國傳統文化的養分，對於中國書法線條運用駕輕就熟。一九四八年遠赴巴黎遊學，流連於法國巴黎各大博物館與畫廊，逐漸開始其藝術生涯，自習成材，和趙無極、朱德群為西方藝術界所熟知的藝術家。唐海文將東方傳統的書寫形式及思想融入西方的繪畫技巧，在探索創作道路過程，將對於宇宙萬物的哲學思維與創作做結合，主要靈感來自於中國傳統書法和道家的思想，體現出簡約之道。一九五五年首辦個展之後，陸續於歐美各地展出，直至一九九一年病逝巴黎。唐海文的雙聯作《無題》，作品融合東西方文化特色，運用黑與白、虛與實的抽象水墨意境，空間表現虛實與大自然運行中一分為二、二合為一的抽象水墨世界，將飄逸的書法線條，以流暢恣意的方式自然呈現，表現出靈動、悠遠，充滿能量的繪畫風格，散發獨特的個人東方特質。

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089 TANG HAIWEN ( 1927-1991 )

律動

Rhythm

水墨紙本簽名：Tang 海文

29 x 42cm Ink on Paper Signed Tang in English and Hai-Wen in Chinese PROVENANCE: Private collection, USA

NT$ 200,000-450,000 US$ 6,600-14,900

130

唐海文

ZHONG CHENG 中誠

來源：美國私人收藏

唐海文生長於傳統的中國家庭，在中國傳統的背景及書法的薰陶下，對於線條運用十分嫻熟，早年以自修方式赴藝術之都法國遊學，飽覽西方的藝術文化，在創作上融合中國傳統的哲學思想，整合東西方藝術，兼具獨特西方與東方的美感。《律動》此作，運用東方水墨將書法靈動的飄逸線條融合西方的表現形式，賦有律動感，將意境幻化，墨色虛實濃淡相輔相成，體現實中有虛，虛中有實的道家精神，蘊藏著含蓄之美，將道家一分為二、二合為一的概念表現於紙上，與太極陰陽對稱有異曲同工之妙，傳遞著藝術家對宇宙生命的領悟，創造能量與合諧，呈現簡約的境界。

090 TANG HAIWEN ( 1927-1991 )

a.Untitled b.Untitled a. 28.7 x 35cm b. 29 x 36cm a. Ink on Paper b. Ink on Paper a. Signed Tang in English and Hai-Wen in Chinese b. Signed Tang in English and Hai-Wen in Chinese

NT$ 160,000-320,000 US$ 5,300-10,600

唐海文 a. 無題 b. 無題 a. 水墨紙本 b. 水墨紙本 a. 簽名：Tang 海文 b. 簽名：Tang 海文唐海文出生於傳統中國文化家庭，自小就和祖父學習書法，奠定了他對東方線條運用地自然嫻熟。而他成年後便赴巴黎學習，在這期間遊歷了法國各大美術館、博物館和戲院，以自習的方式逐漸確立其藝術生涯的志向。放棄了家族期望的唐海文，也不願再回歸極可能失去自由的家庭，於是便長年飄泊旅居於國外，他說：「為

了追求真實，成就需來自於誠摯的付出。」在他的藝術路途上，水墨是最重要的創作媒材，他很自然地將中國文化的思想轉移至繪畫上，融入東方哲學對宇宙萬物的觀念，以充滿能量的筆觸將廣闊天地與無垠宇宙揮灑在畫面中。《無題》恣意的筆墨頓挫如詩般地和諧，飄逸流暢的線條捕捉了自然生命的力量，唐海文的墨色在留白間創造出新的脈動，徘徊於具象、寫意中，呈現其獨特的藝術感動。 a. b.

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091 TANG HAIWEN ( 1927-1991 )

Untitled 70 x 100cm Ink on Paper Signed Tang in English and Hai-Wen in Chinese With a certificate of authenticity from gallery

NT$ 600,000-800,000 US$ 19,800-26,400

唐海文無題 70 年代水墨紙本簽名：Tang 海文附畫廊開立之原作保證書

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旅居法國的藝術家唐海文，自 1955 年首辦個展之後，即受到東西方藝術界不小的矚目，其作品從 50 年代的具象繪畫過渡到 60 年代，即以抒情抽象（yrical abstraction）的創作手法作為一生的風格標誌。《無題》以筆墨速寫，不同於西方的抒情抽象作品油彩、水彩等斑斕繽紛的色彩堆疊，唐海文僅僅依靠墨的特性和水的流動軌跡，輔以大量留白，在輕薄的棉紙上「掃」出了更有層次的畫面，使畫作在西方繪畫的脈絡底下，同時充滿了東方韻味。雖為興之所至，但若細看其筆觸，我們依然可以從墨韻的濃淡與筆跡的皴痕，發現其作有著相當程度的傳統水墨之功力與奇趣。水墨寫意不寫形，佳作不在形似或講求技法如何高深，反而是筆墨翻騰之處，需與創作者的心靈保持高度同步。因此《無題》的珍貴，即是藝術家在黃金年代，融合了東西方各自的藝術精華以後，對其生命與心靈最好的再現。

092 YUYU YANG ( 1926-1997 )

Growth (2) 43(L) x 56(W) x 63(H)cm Stainless Steel, 19/20 Signed Yin-Feng in Chinese, dated 1988, numbered 19/20 ILLUSTRATED: "Yuyu Yang Corpus Volum I", Artist Publishing Co., Taipei, 2005, Illustrated, Page 305 (different edition)

本件《茁壯 ( 二 )》完成於 1988 年，是楊英風首度以「中國結」為主要意象而創作出的系列作品。1991 年，他更進一步作出《結》與《結圓 ‧ 結緣》兩件雕塑，其造型不同於藝術家慣用的龍、鳳及宇宙等主題，而是以繩結的蜿蜒，纏繞出彎曲糾結的不鏽鋼作品。《茁壯 ( 二 )》的造型取自於繩結，實際是模擬樹木壯大的意象，楊英風以靈動彎曲的帶狀不鏽鋼穿梭成結，向下能發展碩實穩固的盤根奠基，向上則能成長為參天巨林，其象徵著綠意華滋、生機盎然的樹苗，將勢如蒼龍抱雲聳地而起，在遼闊的大地上，吸取地氣精華而日益茁壯，綠樹蔥蘢直至濃蔭蔽空，為人們創造一片憩息的悠閒天地。

With a certificate of authenticity from gallery

NT$ 120,000-200,000 US$ 4,000-6,600

楊英風茁壯 ( 二 ) 1988 不鏽鋼 19/20 簽名：'88 英風 19/20 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 305 頁 ( 另一版本 ) 附畫廊開立之原作保證書

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093 YUYU YANG ( 1926-1997 )

Flying Dragon 130(L) x 160(W) x 220(H)cm Stainless Steel, 7/9 Signed Yang Yin-Feng in Chinese, dated 1990, numbered 7/9 ILLUSTRATED: "Yuyu Yang Corpus Volum I", Artist Publishing Co., Taipei, 2005, Illustrated, Page 316-317 (different edition) With a certificate of authenticity from Yu Yu Yang Foundation

NT$ 3,600,000-4,500,000 US$ 118,800-148,500

楊英風飛龍在天 1990 不鏽鋼 7/9 簽名：'90 楊英風 7/9 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 316-317 頁 ( 另一版本 ) 附財團法人楊英風藝術教育基金會開立之原作保證書

楊英風是眾所皆知台灣現代雕塑的大師之一，生前創作舉凡繪畫、版畫、雕塑、景觀規劃等等，面向極為廣泛且作品無數。其中最為人所知的即是在各種公共空間所現地製作的大型雕塑作品，加上楊英風極為熱衷於推廣研究「景觀」與「藝術」之間的各種連結關係，以及其身為一位虔誠的佛教徒之故，對於（尤其是）北魏時期大佛造像、佛家哲學的領悟等等，使其作品從命名至造型，皆充滿了對於環境、宇宙、生命、自然等等要件的圓融轉譯。楊英風最為知名的作品，大多都是尺幅巨大的景觀公共藝術，並在其後以不定量的版數複製小件作品。此《飛龍在天》是其創作生涯後半段，以不鏽鋼作為材質的傑作之一，原件於 1990 年由中華航空出資、台北燈會邀請製作（現已移至苗栗西湖度假村），是一條長達三十一點五公尺的巨龍，本作為其小尺寸的少量版數版本。無論是大尺寸的原件或小尺寸的複本，《飛龍在天》都以不鏽鋼「光滑」、「銳利」、「明亮」的特質，簡化古典美學中「龍」的造型，將其文化造型的象徵性減至最低之後，專注於飛龍「向上」所產生的動態美感，我們在《飛龍在天》裡看不到熟悉的龍麟、龍尾甚至龍鬚，僅僅只需靠圓融精煉的「龍首」帶動視覺，輔以不鏽鋼予人具有力道的特質，由基座的迂迴盤旋而後扶搖直上，便能清楚感受到「飛龍」何以「在天」的舞動美感。易經言：「飛龍在天，利見大人」，以歷史和社會的角度來看，1990 年的《飛龍在天》期許了國家對於社會的高度發展，在大環境飛騰底下能更重視人民的期望，而今日小尺幅的《飛龍在天》在收藏家手中，透過美學與歷史的交互賞析，也可以帶來個人對於「氣場」與「飛騰」的不同意義與期待。 Yu Yu Yang is one of the most famous sculptors in Taiwan, he was prolific in painting, graphic painting, sculptures, and landscape planning. Among all, the best known is the large scale sculptures in numerous public areas. Yu Yu Yang was also a passionate advocate for studying various relationships between "landscape" and "art". Known as a devoted Buddhist, the influence of his realization of Buddhist sculptures from the North Wei dynasty and Buddhist philosophy can be seen in the naming and form of his artwork. He provided a complete translation for the environment, universe, life and nature. Yu Yu Yang's most famous artworks are mostly large scale scenery public art and the numerous miniature copies. "Flying Dragon" was created during the latter part of his career, it was made of stainless steel. It was founded by China Airlines and produced by the Taipei Lantern Association (now relocated to Xihu Resort, Miaoli). A huge dragon with a length of 31.5 meters, it is one of the few limited editions made in a smaller scale. Regardless of the original size or copy version, "Flying Dragon" composes of characteristics such as "smooth", "sharp" and "bright". Simplifying from the classical dragon design and minimizing the cultural symbol, the artist focuses on the "uplifting" movement of the flying dragon. The familiar dragon scale armor, the tail and even the whiskers cannot be seen, viewers can only see the visual effect of the dragon head. Along with the strength presented by stainless steel, intertwining upwards from the base, viewers can experience the momentum aesthetics of the dragon. Quoting from the Yijing: "while the dragon soars in the sky, meeting a great person will be advantageous", and from a historical and social perspective, "Flying Dragon" from the 1990s answered to the highly developed society. Only under such a great environment, the government will care more about the people's expectations. The miniature "Flying Dragon" can also bring a different meaning and anticipation for a personal "chi" and "soaring" through appreciation of aesthetics and history.

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094 CHIU YATSAI

邱亞才

( 1949-2013 )

教授

Professor

1989 油彩畫布簽名：亞才

194 x 130cm Oil on Canvas Signed Ya-Tsai in Chinese ILLUSTRATED: "Chiu Ya-Tsai", Goethe Art Center, Taichung, Taiwan, 2006.8, Page 18-19

圖錄：《邱亞才 Chiu Ya-Tsai》，歌德藝術中心，台灣台中，2006 年 8 月，第 18-19 頁附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 3,800,000-5,000,000 US$ 125,400-165,000 邱亞才是台灣當代炙手可熱的藝術家，其獨樹一幟的藝術思維直剖人生百態、紅男綠女的情慾與憂感，深受藏家追捧蒐羅，喜愛者遍及世界各地。從不迎合、取悅市場主流，並以其深沉靜默的目光，透視靈魂深處的空靈與灰澀，使作品充溢某種揮之不去的唯美、哀愁的預感。他以畫筆為刃，在混沌繁雜的現代社會中切開一道裂縫，把生命與人文的本質問題暴露出來，也揭示藝術家內心延綿洶湧的疏離與孤寂、懷才不遇的傷感，他那靜謐寂寥的絲絲絮語，終成紛繁喧囂的藝術生態中最響亮耀眼的標誌。邱亞才的作品充滿文學性浪漫的情調，他從文字裡咀嚼人性幽微，賦予畫作深刻地生命內涵，才情縱橫，出版小說與散文集如《情感老虎》、《蝴蝶養貓》、《母老虎與馬狗先生》及其他數本，以細膩澄澈的文字記敘生活況味，在傾斜瑣碎的塵世裡，踽踽堅持他的藝術之路。豐厚的文學底蘊，更讓邱亞才的藝術畫作擁有難以企及的深度。美國著名藝術史學家 James Cahill 曾說，邱亞才承襲的唐朝俗文化畫風正是：「欣賞古代雍容華貴的古代中國肖像時，將會察覺到中國古代藝術家的深厚藝術心靈，不僅在清新脫俗的智慧和個人的繪畫造詣，也表現出精微的性靈」。在藝術家眾多的人物肖像畫中，逸筆草草，對形貌的寫實描繪並非他意欲表現的重點，邱亞才從來不特意在繁瑣的情緒上著墨，也不特意呈現人生現實的得意失落，而那些無以言說的精神層次，卻能夠精準確鑿地邱亞才簡化而深刻的筆觸下具體呈現。而描繪對象本身的性格和氣質等非具象的特徵，才是藝術家企圖掌握的；對此，邱亞才自稱是「分析心理的印象畫」。如此幅《教授》，消弭時空背景的所有線索，彷彿在宇宙中漂泊。但漂泊也是回歸，離散的思緒凝聚成心靈文化裡最澄淨豐沛的本質。在《教授》中深邃如燦爛星空的湛藍背景，那種神秘的不安定性、超現實地閃著幽藍輝煌，迷惑著觀者的雙眼，既如寶石般華燦，又似海洋般深黯、寧靜深沉，也如長路漫漫，何處是歸途。邱亞才以畫筆刷洗、呵護一個晦暗又純真的世界，在《教授》淨白的臉龐上流露著敏感與憂鬱，五官輪廓鮮明，簡短俐落的髮與鬍、高挺瘦長的鼻翼，隱隱散溢一份桀傲飛揚的神采與詩意的氣性。那披掛的黑色大衣，一路延伸到畫布盡頭，搭以濃稠如黑洞的暗調背景，暗喻現代文明中逐漸失落的自我、社會發展下迷失憂狂的精神狀態，而中央佇立的教授本身蒼白而知性的面容，便成為那無邊孤寂的荒地中唯一的澄明與光芒。引領觀者航向記憶裡晦暗的往事與寓意深長的瞬間，那靜謐與漠然氛圍，蕩氣迴腸的，直指生命洪流中永無止盡的追索與探問。 Chiu Ya-Tsai is a rising artist in Taiwanese contemporary art with artworks collected internationally. His unique thoughts directly see through the outlook of life, the love and hate between men and women. He never caters to the mainstream, yet he sees through the emptiness and sorrow deep into the soul with his silent gaze. The artwork is a premonition of beauty and sorrow. With his brushstrokes, Chiu Ya-Tsai cuts deeply into the confusing modern society and exposed the essential problems of life and humanity. It also reveals the distance and lonesome of the artist. His silent language has become the most eye-catching symbol of the prosperous art world. James Cahill, a renowned American art historian said, Chiu Ya-Tsai has inherited the Tang dynasty art culture and said "while you appreciate the portraits of Chinese nobel, you will be able to feel the depth of the artist. The symbols are not only the embodiment of the artist's talent and wisdom, but also reveal the spirit behind." Among many portraits by other artists, Chiu Ya-Tsai never intentionally focus of the detailed emotions nor the rise and fall in life. However, he focused on the unspeakable spiritual level and precisely presented by his brushstrokes. The characteristic and charisma is captured by the artist. Chiu Ya-Tsai calls it "psychological analysis impressionism". Traces of time and background is diminished in "Professor", as though viewers are drifting in the universe. Drifting is also a form of return, which brings back the purest and richest foundations of the mind and heart. The dark blue background in "Professor" is mystical and unsteady. It is surreal like a twinkling sky that dazzles the viewer's gaze. It is glamorous like a gem but also deep and tranquil like the ocean. The journey is long without seeing an end. Chiu Ya-Tsai pampered the dark and pure world with his brushstrokes, a sense of sentimental expression can be seen on the clean face of "Professor". The clear contour of the face with sharp simple hair and beard; the slim and tall nose reveal a sense of confidence and poetic charisma. The black trench coat extends to the end of the canvas along with the dark and sophisticated background metaphors the loss and depression in the civilized world. The standing professor in the middle has a pale and intellectual expression; he has become the only light among the endless solitude. Like a pioneer, he leads the viewers into the past, and explores the infinite exploration of life.

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095 CHIU YATSAI ( 1949-2013 )

A Man Feel Blue 57 x 56cm Oil on Canvas Signed Yai-Tsai in Chinese, dated 1979

NT$ 300,000-550,000 US$ 9,900-18,200

邱亞才憂鬱少年 1979 油彩畫布簽名：1979 亞才

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邱亞才是台灣頗具特色的一名素人藝術家，大器晚成的他，除了繪畫，亦先後自費出版了多部小說，而無論是他的繪畫還是文學作品，總是以人物的描寫為主，圍繞著種種關於「人性」的各式生命樣態，透過對於人物大量的描寫（無論是文學抑或繪畫），我們常常能在其小說中找到與畫中人物的關聯和對照。因此，我們可以很容易地在他的作品中看出一股深沈的文學性，與同期的台灣畫家相比，其富含隱喻和表情的肖像畫，在至今的藝術圈中仍獨樹一格。在邱亞才從 30 歲開始，那不算長的 20 年創作生涯中，其作品的產出量並不算特別的豐富，加之其慣於修改塗抹舊作的習慣，更顯得其作品的珍貴價值。此作《憂鬱少年》屬於邱亞才早期的創作，我們可以從畫面中富有表現性的筆觸和粗糙的質感，以及少年雙手捧著臉，彷彿若有所思的神情之中，感受到藝術家對於「人」這個個體的情感描繪，這樣的情感面向甚至延伸到後方背景那彎曲的地平線、不具再現意圖的樹叢與張狂筆觸的天空，都在在揭示藝術家個性中內向、沈悶，卻又不得不透過各種方式與外在世界溝通的焦慮感。雖然，《憂鬱少年》在筆觸形式上是外放的，但那充滿灰度的色調和厚塗的顏料層，以及近乎精煉、簡約、受到唐代文人畫影響的五官描寫，更讓我們感受到藝術家對人之所以身而為人，那近乎偏執的觀察與渴求。

096 LIU XIN ( b.1957 )

Potrait of the Youth 75.5 x 50.7cm Oil on Canvas Signed L.Xin in English, dated 2009.6

NT$ 340,000-500,000 US$ 11,200-16,500

劉昕青春的側寫 2009 油彩畫布簽名：L.Xin.09.6

中國藝術家劉昕，有著獨到的寫實風格，在《青春的側寫》一作的畫面中，我們可以看見其對於油畫的薄塗技巧，該如何恰到好處地運用在古典寫實的肖像畫中。有別於古典肖像畫常常帶來的莊嚴感和戲劇性，劉忻筆下少女的臉龐可說是毫無「裝飾」，甚至其最初的打底肌理，即便在畫面完成後，仍還隱約透在畫中少女的洋裝上，光影的色澤與衣擺的皺摺產生微微呼應，彷彿少女的神情與身影便是青春本身，更是一首薄如蟬翼的詩。雖然《青春的側寫》採用了非常古典，類似於十八、九世紀美國鄉村油畫中的橢圓形肖像構圖，但「青春」一直就不構成肖像畫文化裡時常出現的身份象徵，但劉昕透過寧靜的繪畫張力，將此無名少女最全觀的刻畫，更顯青春對於創作者的深刻。

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097 SAD JI

沙耆

( 1914-2005 )

鮮花與金橘

Still Life

油彩木板簽名：SAD JI

26 x 34cm Oil on Wooden board Signed SAD JI in English PROVENANCE: Acquired from Vanderkinderee, Belgium

來源：現藏者購自比利時 Vanderkinderee 拍賣會

NT$ 700,000-900,000 US$ 23,100-29,700

有「東方梵谷」之稱的沙耆，為中國當代著名油畫家，早年曾師事劉海粟、徐悲鴻及林風眠。 1937 年在徐悲鴻的推薦下，遠赴比利時深造，為最早留學比利時的藝術家之一，自此將近十年間，沙耆在異鄉大放異彩。旅居比利時時期曾多次舉辦個展，1940 年沙耆與畢卡索等世界名家在比京阿特利亞蒙（ATRIOME）舉辦畫展，得到了當地美術界的高度讚賞。更以最優異的成績從比利時皇家美術學院畢業，並獲其授予的「優秀美術金質獎章」。1946 年回國後，沙耆因深受精神疾病所苦，隱居故鄉沙村。再加上戰亂及文化革命的苦難折騰接踵而來，父親亡故、妻離子散的孤苦寂寥讓他的精神疾病更加惡化，沙耆把病中紊亂的內心波瀾傾注在顏料的塗抹上，在命運的痛擊中頑強掙扎，以執著熾烈的藝術心靈詠唱出生命的凱歌。直至 1952 年某一歐洲藝術代表團訪問中國，向周恩來總理談起這位曾留學比利時的中國畫家，並高度評價沙耆的藝術成就。上世紀 80 年代，沙耆的畫展震撼畫壇，引起激烈回響，由此沙耆的畫作價值漸漸被世人關注。沙耆終其一生歷經璀璨，卻也漂泊艱辛，經歷際遇，致使生命的裂變，長年精神疾病纏苦，時而清醒、時而瘋癲。《鮮花與金橘》是沙耆經典的藝術風格之作，表現出印象派、野獸派、表現主義的特徵。案上靜物本是色彩的化身，每一朵花瓣、金橘各有筆法，色塊堆疊間，描繪生機輕盈有致，恰到好處的斜角構圖，更使整體秩序井然交錯。用筆粗放，用色果敢、毫不含糊，表現出沙耆的超凡氣質與「道之為物，惟恍惟惚」的意象境界，隨心運筆之間，表現出質地的厚度，並將時間與光影凝鍊在瞬間，豪邁的筆觸中蘊含著謙遜和靜美。

Known as the east Van Goph, Sad Ji is a famous oil painting artist. In his earlier years, he was taught by Liu Hai Su, Hsu Bei Hong and Lin Feng Mian. Referred by Hsu Bei Hong in 1937, he travelled far to Belgium for further studies and became one of the earliest artists in Belgium. A decade later, Sad Ji excelled with great performance. He held several individual exhibitions in Belgium, and in 1940 he exhibited at Atriome with famous artists such as Picasso and won wide recognition by the art world. Later, he graduated with honors from the Royal Academy of Fine Arts of Brussel and was honored the "Golden Award of Excellent Art". After returning to China in 1946, he lived in reclusion due to suffering from years of mental disease. Along with troubles in war time and the Cultural Revolution; the death of his father and a family wrench apart worsened his disease. He has vented out his troubled mind into his painting. He struggled hard against the hardships in life.

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098 ALFRED BASTIEN ( 1873-1955 )

美酒龍蝦

Still Life

油彩畫布簽名：A. Bastien

70 x 90.5cm Oil on Canvas Signed A. Bastien in French PROVENANCE: Acquired from Hôtel de Ventes Horta, Belgium

NT$ 260,000-450,000 US$ 8,600-14,900

142

巴斯天

ZHONG CHENG 中誠

來源：現藏者購自比利時拍賣會 Hôtel de Ventes Horta

巴斯天是比利時印象派代表畫家，曾前住巴黎藝術學院深造，並為皇室宮廷作畫。歷經第一次世界大戰並接受入伍徵招，隨軍隊出征，戰後曾參與創作周長 150 餘米的戰場全景壁畫，期間創作許多戰爭題材作品，故有「戰爭藝術家」之稱，一生創作無數，廣為各地藏家所收藏。《美酒龍蝦》此為一靜物作品，巴斯天運用精湛的繪畫技巧，紮實的透過油畫筆觸細膩堆疊，描繪出珍貴的美饌佳餚，構圖上前後有致，均衡的空間之中強調色彩的美與藝術表現，表現出古典技法上的純熟，予以觀者視覺上的饗宴。

099 HSIAO CHIN

蕭勤

( b.1935 )

無題

Untitled

1984 彩墨紙本畫布簽名：Hsiao 勤 84

36 x 55cm Ink and color on Paper, mounted on Canvas Signed Hsiao in English and Chin in Chinese, dated 1984

NT$ 100,000-200,000 US$ 3,300-6,600

蕭勤是臺灣 50 年代著名「東方畫會」的成員之一，並且也是當時少數深入內在永恆、以藝術作為生命探索的藝術家。蕭勤說：「我來到這世上，只是作為一個傳達訊息的工具而已。」對他而言，每一幅創作都只是在描繪生命中既有的真理，他希望藉由自身的天賦，能帶給世人更多生命宇宙中深刻的哲學語彙。 1981 至 1990 年代為蕭勤 - 氣系列發展的時期，他脫離了前期凝寂沉思的生命情境，轉往一個奔放、動態的氣場流動，《無題》便運用如音樂般躍動的飛舞線條呈現，在看似紊亂的筆觸中藏有大筆揮灑的豪放及墨色規律的脈動，色彩的點綴更增加了鮮活生命的力量，巨大能量的氣韻環繞在畫面之中，是藝術家對大自然體悟的濃厚感受。

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100 HSIAO CHIN ( b.1935 )

畫來對自己的人生始源的探討，人生經歷的紀錄及感受，和人生展望

Torrent

的發揮。」

95 x 260cm Acrylic on Paper, Canvas Signed Hsiao in English and Chin in Chinese, dated 2002

NT$ 1,200,000-1,600,000 US$ 39,600-52,800

蕭勤鴻流 2002 壓克力紙本麻布簽名：Hsiao 勤 02

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「對我來說，作畫這件事的第一重要性，並非『作畫』，而是透過作

ZHONG CHENG 中誠

---蕭勤

1935 年在上海出生、後於台灣長大，並已在意大利生活了逾半個世紀的蕭勤，早年受教於台灣抽象藝術先驅李仲生門下，專心習畫，並在老師鼓舞之下，注入將中國藝術帶往世界藝壇的決心。1955 年，在台灣與其位藝術家聯合成立了華人抽象團體「東方畫會」，引起藝壇關注。但因對於當時台灣藝術環境不滿，遂於 1956 年前往歐洲，展開近乎一輩子的跨洋藝術旅程。當時的歐美藝壇，各種新型藝術的誕生，受到鼓舞的蕭勤，在西班牙結識「非形象藝術」「行動藝術」表現形態，在此衝擊之下，蕭勤開始在畫布上演繹自身的思緒與對於藝術表現的個人理解。蕭勤的藝術事業在 1960 年代至 1970 年代早期再次出現重要的改變，並於此時明確選擇了自己的藝術道路，在藝術語言中融合了老莊的道家思想、禪學及印度玄學等各式哲理，藉以探索內在心靈，建立自我依存的觀點，並將之作為畫面呈現的根本形式。另一方面，蕭勤也廣泛接觸關於太空、宇宙等神秘未知的文化資訊，以此增廣思考的範疇與深度，把自己置入一個無限廣大的存在空間，對他來說，這不僅是個物理知識的世界，更是一個哲學、理念的精神世界。

蕭勤的藝術，在「中國美術現代化運動」的時代課題下，為中國傳統的思想與媒材，找到一個新的結合與呈現的方式；在國際前衛藝術的舞臺上，他也提供了一個東方人特有的觀點與形貌。回省蕭勤於西班牙、義大利、荷蘭、倫敦、巴黎、紐約 ... 等西方國家的創作經歷，在西方異質文化的圍攻中，他自身的文化根性反倒被�烈地凸顯，在體認「傳統是資產」與自我風格的革新中，他不斷走在世界藝林的前端。1959 年即於米蘭定居的蕭勤，曾自述道：「米蘭是我成長成熟之地；其次，是我比較文化之所在；第三，是我以作品換取生存的命脈。」也因此，1997 年米蘭舉辦「狂飆的六十年代」具有史觀定格的大型國際展，蕭勤是唯一被納入的亞洲藝術家。義大利總統更於 2005 年頒贈「團結之星」(Star of Solidarity) 騎士勳章，肯定他對藝術的貢獻。《鴻流》中，由左而右流動的剛健線條，筆氣強穩，脈絡橫通，一氣呵成之姿，成功營造出作品的肌理和質感，恰似大氣的波動和震盪，白色基底營造樸質虛幻空間，進而建構一幅神秘的宇宙意象。一如蕭勤對形與線的協調，和不同文化融合上的持續探討。其曾言：「在今天，對我來說，

我的畫屬於中國的抑是世界性的，已無太大意義。我已在嘗試超越這些界限，作些沒有思想界限，沒有技巧界限的繪畫。」 "To me, the importance of painting is not painting itself, rather it is the process of self exploration of life's origin that matters. It records life experiences and feelings; and a fulfillment of one's dreams." ---Hsiao Chin

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席德進基金會創會董事長廬精華珍藏席德進精品專拍前言本公司於此秋拍中將推出，由席德進基金會創會董事長，也是席德進生前最信賴的摯友盧精華先生手中徵得了第一手珍品五幅。作品類型分別為水彩山水、花卉，及彩墨番鴨。其氤氳的山水、嬌豔的花卉，以及席式經典的蘆溪佳侶，件件精采，數十年來未曾曝光，如今絕世橫出，殊為難得，故特此誠摯邀請，諸方藏家與藝術雅好者共同此參與此次盛會，是盼！

146

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中誠呈現：盧精華重要私人收藏

席德進簡述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，終其一生皆狂熱於繪畫，孤傲如鷹，我行我素，終生未婚，視藝術創作為永恆的戀人。他的油畫與素描，筆觸俐落、線條冷雋如利刃，色彩則灼亮如火；畫水彩與彩墨，以中國書法根基之墨氣淋漓，以敏銳激情的雙眼描繪出台灣的山川風土人情，並為台灣的美麗山水，留下珍貴的藝術畫作，為台灣畫壇世不多出的奇葩！「我掌握了這塊土地的真實，它不是來自理論，不是來自宣傳，而是來自我忠實的生活，來自我無遠弗屆的足跡，來自我關懷的視野。」席德進艱辛的創作生命，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。根據時常陪同席德進四處寫生的盧精華先生的記述文章所說：「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，背著簡單的畫具，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。」席德進最愛寫生，尤其喜歡氤氳出塵、霧氣瀰漫，山色層層疊疊，有河流寧靜流淌之山巒。席德進創作，從來不打草稿，而是在凝視景物之後，直接揮灑在畫紙上。但落筆慎重，運筆豪放，一筆下去竟孕有豐富的濃淡、剛柔之變化。在面對畫布，他心靜有如獨處深山，色澤輕描淡寫，卻內含筆力萬鈞。席德進晚期的水彩畫，色調蒼鬱、淒美飄逸，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毅力。他在古老混沌的民間文化中，挖掘出藝術的活泉；在天地遼闊的鄉野山巒間，流盪出神秘清新的美感。封面畫作介紹此次秋拍呈現的《蘆溪佳侶》，為席德進 1980 年作品，當年他住院檢查出罹患了胰臟癌，雖需苦飲膽汁，但仍堅持作畫、出外寫生。《蘆溪佳侶》筆力依然雄健，而背景湧動著赭藍的光彩，正是藝術家不屈的執念，最樸實動人的追尋。1981 年，席德進因胰臟癌惡化，病軀一日日瘦癯下去，卻仍提筆作畫，煥發出勇者之姿：「做一名戰士，要死在戰場；做一名畫家，要倒在畫架旁。」一代藝術狂人，終在 8 月 3 日凌晨與世長辭，藝文界哀慟萬分，詩人余光中也以「你一走，台北就空了。」的詩句，感性追念，令人皆有同感焉。結語花開終究飄零，流光似水而生命有時而盡，席德進以滿腔的藝術熱情、豐沛的情感，以及真摯動人的愛與美，迸發出一幅幅優美的「席式山水」，在蕭瑟的天地間，展演物我兩忘的自然之美，供我們安頓身心的苦鬱憤悵。席德進一生守著藝術，也飽嘗了愛情的唯美與空寂，並以生命的孤獨，妝點出藝術的永恆。如席德進所提的感性字句：「將鮮豔還給季節，芬芳還給大地，姿態還給風雨。」在一幅幅席式精品面前，讓我們與大師的雅致閒情並肩而坐，興許來點珍釀的美酒，與君歌一曲，與爾同銷萬古愁。

席德進點燃日場熱情 2014 蘇富比東南亞現當代日場拍賣，席德進《台北孔廟》( 左 )、《遠眺觀音山》( 右 )，成交價均達 196 萬港元。

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Preface The Zhong Cheng Autumn auction is proud to present five precious masterpieces solicited from Shiy De-Jinn's best friend- the founder chairman of Shiy De-Jinn Foundation. The genres cover landscape and flower water painting and Muscovy ducks color painting. The atmospheric landscape, dazzling flowers and the classical couples are enchanting. They have never been debut for decades and now the time has come. Therefore, we sincerely welcome collectors and art lovers to join us in this event! Shiy De-Jinn's introduction Shiy De-Jinn can be viewed as a person with special charisma, or an oddball artist. After graduating from the Hangzhou Art School, he devoted his life in painting in solitude, as a loner he remained single his entire life and viewed art creation as his eternal lover. His oil painting and sketches are sharp and simple, with lines stern as knives and colors vivid like fire. The water and color ink paintings are based on Chinese calligraphy and presented the landscape and civilization with passionate observations. His paintings have preserved precious memories of the beautiful Taiwan landscape, and his status as the best artist in Taiwan is undoubted. "I captured the reality of this land; it is not from theory or propaganda. Instead, it is faithful to my life and my footsteps and my vision." The hardships in Shiy's career nurtured his creativity. He was a lonely artist and went through challenges and contemplation. The early works were bright and avant-garde and the later works were anxious and lost. After ascetic trials, he finally discovered the pure and plain "origin".

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中誠呈現：盧精華重要私人收藏

He has presented the thick affection of his love for the land with a simple ink color and presented prolific atmospheric paintings that also reveal western art style. According to Lu Jing Hua, who often accompanied Shiy while sketching, "Shiy De-Jinn was extremely persistent and footsteps were set deep into the furthest areas in Taiwan with simple tools. He enjoyed his time among the woods and beautiful scenery in front of him; he waited patiently for the perfect timing to appear without any compromise." Shiy De-Jinn enjoyed sketching the most, especially the atmospheric and foggy mountains with river running through the tranquility. Shiy never drafted, and always painted directly onto the canvas. He was cautious and brave to bring out rich and plain; strong and gentle. Facing the canvas, his mind was calm; the colors are plain and light, but full of power and strength. The water ink paintings in his late career were beautiful and drifting, the scenery was deep and depressed to express the hardship and persistence in life. Within this confusing civil culture, he discovered the birth ground of art; within the majestic landscape, he revealed a mystic aesthetics. Cover page painting introduction The Autumn auction presents"The Couple", created by Shiy De-Jinn in 1980. The same year, he was diagnosed with pancreatitis. Despite going through daily treatments, he still persisted with painting and sketching. "The Couple" was presented with strong and powerful brushstrokes. The background is blue and a portrayal of the persistence of the artist and the most faithful search. In 1981, Shiy De-Jinn's pancreatitis deteriorated and his health worsened; however, he still held his paint brush like a warrior, "as a warrior, I will die in battle field; as an artist, I will end beside my easel rack." This great artist passed away in the morning of 3rd August. The art world grieved and poet Yu Guang Zhong wrote with affection: "Taipei has emptied because you have left." Conclusion Flower blossoms will eventual wither, and there will always be birth or death. Shiy De-Jinn presented prolific paintings with his passion and touching affection, his elegant "Shiy's landscape" has touched us and enabled us to entrust our minds. He devoted his life to art and experienced the beauty and emptiness of love; he embellished the eternity of art with solitude. Quoting from Shiy De-Jinn, "I wish to give vividness back to the seasons; the fragrance back to mother earth; and postures back to the winds." Setting gaze upon these masterpieces, viewers are allowed to sit side by side with the art master; we can drink and sing along with him to commemorate the passing of time.

席德進《遠眺雲山－埔里牛眠山》（局部）

席德進 ( 左 ) 與盧精華 ( 右 ) 出遊寫生合影

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101 SHIY DEJINN ( 1923-1981 )

Jou-Jou Mountain, Nantou 66 x 101cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1979 With seals of the artist on the reverse

NT$ 4,500,000-6,000,000 US$ 148,500-198,000

席德進山光水色─南投九九峰 1979 水彩紙本簽名：席德進 1979 畫背藝術家鈐印：席氏書畫、席德進兩方

席德進一生崇敬自然，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。」九九峰位於南投縣草屯鎮境內，諸峰獨立，尖山嶙峋，綿延壯麗，為南投名景，也是席德進特別偏愛的寫生地點。完成於 1979 年的《南投九九峰》，飄逸靈秀，水氣氤氳，雄偉壯闊的山峰層次井然，在日光的襯托下，田野及層層疊帳的山巒，無一不具席德進的一家成法。

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「也許我自己愛過獨來獨往的生活，以致在心中常常是孤單的，而人們，透過我的作品，又對我、生了一份情，或許他們希望我能繼續活下去，為他們再畫些作品出來欣賞。」

---席德進

在席德進晚近的日子裡，因與病魔的搏鬥而飲盡生命的苦泉。然而在其畫中並無膽汁的苦味，反而道出人間的情趣。完成於 1980 年的《蘆溪佳侶》，反而呈現某種宗教般的肅穆與暢懷，充分顯現出人間的純善、溫情與關愛，更是人間的溫暖與莊嚴。

"I'm always lonely, and that's probably because I enjoy being alone. People, through my artworks, feel for me and wish that I continue on to present more art works." ---Shiy De-Jinn During the late years of Shiy De-Jinn, he suffered greatly from illness. However, none of his sufferings are revealed in his art works. Instead, a sense of relaxation can be felt. Completed in 1980, "The Couple" presented a religious solemnity and relief, it thoroughly reveals the innocence, warmth and affection between people.

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1980 年 8 月，席德進因胰臟癌入榮總醫院開刀，被切除膽囊的他，仍不忘寫生，隨身背著膽汁瓶，喝下流出來的膽汁。 MODERN AND CONTEMPOR ARY ART

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102 SHIY DEJINN ( 1923-1981 )

The Couple 70 x 138cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1980 With one seal of the artist

NT$ 4,300,000-6,000,000 US$ 141,900-198,000

席德進蘆溪佳侶 1980 彩墨紙本簽名：席德進一九八○ 藝術家鈐印：席德進印、席式書畫、四川南部縣人、谷風清賞

《蘆溪佳侶》的佈局十分現代，以淺藍與輕雅的橘色分割出四大區塊，配色高雅不俗。以雙色層疊，在背景作水平的平塗與渲染，創造出豐富的層次感，形成西方色調與傳統水墨印象的迭次激盪，也能感受溪水的汩汩潺動。而穿貫畫面的蘆葦枝葉，書法線條飛揚，輕盈地隨風蕩漾，筆觸洗鍊迅疾，錯落有致，時而昂然挺立，柔中有剛，與番鴨的沉厚墨色形成對比。而這對《蘆溪佳侶》一隻低臥休憩，另一隻卓然站立，一靜一動，兩相依偎，流露出清雅動人的情意與遐思，柔軟靜謐且生機無限。從畫的底蘊綜觀來看，在他辭世的前一年，席德進以內心最溫柔的情意，把桀驁不羈的生命激情在淡雅的色彩中予以昇華，唯美動人地捕捉了天地淳真自然的本質，將之濃縮進這幅《蘆溪佳侶》中，呈現藝術家心中的至真、淳美。 "The Couple" is presented in a modern style, with light blue and elegant orange, the canvas is divided into four areas. With duo colors layering and horizontal painting and layering in the background, the painting is rich and full of western color tones and traditional impressionist approach. The branches that break through the painting are flowing and liberal, the brushstrokes are light and rapid that created a contrast with the sophisticated ducks. In "The Couple", one duck is laying and resting; the other standing. One still and the other moving, the atmosphere is moving and full of imagination. In general, the painting reveals the deepest affection of Shiy De-Jinn a year before he passed away. His passion in life is elevated to elegant colors and capturing the essence of nature; all of these can be seen in "The Couple", the best embodiment of the artist's innocence and beautiful mind.

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103 SHIY DEJINN ( 1923-1981 )

Niumian Mountain, Puli 57 x 76cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1979 With seals of the artist on the reverse

NT$ 2,300,000-3,500,000 US$ 75,900-115,500

席德進遠眺雲山─埔里牛眠山 1980 水彩紙本簽名：席德進 1979 背面簽名：藝術家鈐印

「敞開你的心靈，去承受眼前的平凡，從平凡中，發現神奇。重新去看一朵雲，一片草地、一幅遠山，用自己的氣質去解釋它。我堅持直接面對自然作畫。是因為自然的千變萬化莫測。那種氣候、那種微妙的色彩，非待在畫室中用一套公式來界限自然，反覆製造風景的畫家所能夢想得到。我需要自然，我將我的靈魂託付於自然，而來自那裏的一股澎拜力量湧進我的身心，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。我在捕獲一種美，一些飄渺的神韻，一個生命的原體，一種地方的性格。」

---席德進語錄

牛眠山位於南投縣埔里鎮的牛眠里，遠瞰此山，有如一頭耕作後的牛伏臥在田間，呈酣睡狀，故命名為「牛眠山」。席德進喜愛開著汽車、載著畫具，四處寫生，他說：「只要哪兒的美感動了我，我就畫它。」在這幅《埔里牛眠山》一畫中，席德進的用色異常洗鍊，而運筆雄渾，色彩自然的潤合，畫出氤氳的雲山與樸質的田野。而其水彩顏料在畫紙上看似偶然浸散的效果，其實這正是席德進的功力，其美感所在。胸有成竹，不侷成法，實為席德進山水身家獨具的風貌，令人難以學步。

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104 SHIY DEJINN ( 1923-1981 )

Narcissus 66 x 111cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1980 With seals of the artist on the reverse

NT$ 4,000,000-6,000,000 US$ 132,000-198,000

席德進水仙花怒放 1980 水彩紙本簽名：席德進 1980 背面簽名：藝術家鈐印黃庭堅書法

「西方人畫花，是插在瓶中，已加上了人工的改變，而中國人尊重自然，追求天趣。中國畫的花卉，更非植物標本，畫者已將花、枝、葉融在他的意念中，而以抽象的、書法的手法寫出。所要表現的是作者的思想，胸中的逸氣。」

---席德進語錄

宋代詩人、四大書法家之一的黃庭堅（山谷）以「淩波仙子生塵襪，水上輕盈步微月。」，來形容水仙花於盈盈水間，清雅盛放的優雅姿態。而席德進在 1980 年完成的《水仙花怒放》，以渾厚茂密的濃綠為主體，並沉穩勾勒、架構出水仙沉靜生長，散發出清香高雅的格調。席德進爐火純青的水彩技法，讓水仙花宛如被晨曦照拂，其用筆如黃庭堅（山谷）之長槍大戟的筆勢，淋漓酣暢，充滿陽剛之氣，勢態勁挺，充分表現出席氏的豪放性格與自家面目，為一上上佳作。春節將屆，依中國人的習俗，在春節前就將蒜頭般的水仙花根莖排列在水仙盆中，加上水擺在客廳中醒目的地方，在春節前就已成為一盆盛開的水仙花，有迎接新春到來的意涵，而水仙花的怒放，更是一種美好的吉兆，也就是說，《水仙花怒放》更是新的一年，家業興隆的好兆頭。

"The westerners present flowers in a vase and I think it is already artificial. On the other hand, the Chinese pursuit a natural state therefore our flowers are not specimen but presenting flowers, branches and leaves in an abstract and calligraphic style. We aim to present the author's thoughts and inner state of mind." ---Shiy De-Jinn memoir. Huang Ting Jien, a poetic and calligrapher of the Sung Dynasty described water lilies like "beautify fairies walking elegantly like they are walking on water". "Narcissus" was created in 1980, the main color theme is a thick and sophisticated green which steadily contours and composed the elegant and fragrant water lilies. Shiy's sophisticated foundation in water ink painting presented the water lilies as though they are shining under the warm sun; the light green is vivid and pure. With the Chinese New Year approaching and according to Chinese traditions, the Chinese will line up the water lily roots in a vase and place it in the living room where it can be seen easily. When the Chinese New Year comes, the flowers have bloomed and represent the coming of a new year. The blossom represents lucky; in other words, "Narcissus" is a symbol of a new prosperous year.

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105 SHIY DEJINN ( 1923-1981 )

Poinsettia 57 x 77cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1977 With seals of the artist on the reverse

NT$ 750,000-1,200,000 US$ 24,800-39,600

席德進聖誕紅 1977 水彩紙本簽名：席德進 1977 背面簽名：藝術家鈐印

「中國人順從自然，以純自然為尚，所以畫花卉生長的姿態。中國人走中庸之道，以不變應萬變，在『氣韻生動』、六法中打轉。……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。大千的荷幹，一筆直下，通達上下，這是西方畫筆所無法達到的效果。中國有一筆畫，也是在表現筆勢的力量流暢，一氣呵成。」

---席德進語錄

《聖誕紅》濃豔活潑，怒放的花朵，象徵著生命力的頑強。在席德進 1981 年 2 月 22 日的日記裡，也就是他生命末尾的最後幾個月，仍然洋溢著對青春的讚嘆與熱愛：「你知道嗎我多想飛舞起來，飛舞才是我的真我，讓狄斯可音樂燃燒我，讓我陶然其中，那青春的男性的活力，那狂熱的撲向愛的企求，那野性的，肉體的渴慕，把我拉回到青少年的時辰，這時才是我，永遠年輕的我。」聖誕紅的熊熊光芒，是席德進當時永恆不滅的熱情與執念，而他作品《聖誕紅》，正是以他書法的功力，及用色的獨到，在熱情奔放、衝擊之下的產物，誠非偶然，具有強烈的感染力。在西方，「聖誕紅」代表聖誕節的即將來臨，而中國的基督徒也時興栽種聖誕紅，也代表新的一年即將誕生，所以中國人的家園中，也習慣栽植聖誕紅應景，亦代表家庭的祥瑞。 "The Chinese follow nature as respect the growth of the flowers in painting. The Chinese follow the doctrine of the mean and coped with changes by following through the fundamental principle vivid artistic conception. Expressionist flowers can present the strength and power and changes in lines in calligraphy. The stem of the flower goes straight vertically in the painting, this cannot be done by the western paintbrush. The straight brushstroke can be a presentation of flowing strength in unity." --- Shiy De-Jinn memoir. The blossoming bright flowers in "Poinsettia" represent the strength of life. Written in Shiy Der Chin's diary on 22nd February, 1981, during the last few months of his life, he was still passionate and amazed by youth, "do you know how much I want to fly, it is the real me. I want to be ignited by music and enjoy myself with the vitality of a young male. The passion, wildness, and the desire of the physical pulled me back into the time when I was young. That will be the eternal me." The burning glaze of Poinsettia symbolizes Shiy Der Chin's eternal passion and persistence. His art work "Poinsettia" is a true testimony of his calligraphy talents and unique skills in using colors. It is a creation of passion and impact, it is truly influential. In the western world, "Poinsettia" represents to coming of Christmas. Chinese Christians also regard Poinsettia as a representation of a coming new year. Therefore, Chinese also grow Poinsettia to represent the peace and harmony of the family.

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MODERN AND CONTEMPOR ARY ART

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106 LIU KUOSONG (b.1932)

Le Soleil 100 x 70cm Ink and Color on Paper Signed Liu Kuo-SoAng in Chinese, dated 1974 With one seal of the artist PROVENANCE: Acquired from Les Galeries Defacqz, Belgium (Lot 176 / 11 April 2014)

劉國松太陽 1974 彩墨紙本簽名：劉國松一九七四藝術家鈐印來源：現藏者購自比利時 Les Galeries Defacqz 拍賣會 (Lot 176，11 April 2014)

NT$ 1,800,000-3,200,000 US$ 59,400-105,600

1969 年，受美國阿波羅八號太空船自月球背面所拍回的地球映像的啟發，劉國松將藝術視角轉向「太空」，傳統思維裡的「仰望」徹底改變，跳脫古時的無語望蒼天的處境，轉以合乎現代經驗的高空俯視，描繪月亮、地球、太陽和天體運行。在這著名的「太空系列」中，劉國松利用幾何方圓的配置所構成的獨特語彙，受西方現當代藝術觀念洗禮，如波普藝術 (Pop Art)、硬邊藝術 (Hard-Edge) 等拼貼圖像及幾何圖形的技法運用，但主要的靈感來源乃是中國元宵花燈的造形。在傳統裡求創新，劉國松把空間意識中「天」與「地」跟藝術造形裡的「圓」與「方」完美地統合為一，達成中國傳統所謂的「方象地形，圓應無窮」的文化內涵及美學特質，迸發出藝術史上前所未有的「宇宙圖式」，既保有傳統的東方精神，又能出入於西方的知性形式，賦予其獨創性的視覺語言和普遍性的價值。《太陽》輝煌熠熠、渾厚奇特，金黃色的陽光灑滿混沌宇宙，以及風起雲湧、海河磅礡的地球。劉國松畫筆慷慨豪邁，仍不失雅致優美的文人特質，將中國傳統寫意的幽靜脫俗與迷茫意境，通過行草恣意轉折的筆韻隱入無盡的時空，墮入玄秘深渾的宇宙，在宇宙中感受造化的秩序與變幻。詩人余光中曾引蘇軾〈前赤壁賦〉，來形容畫中所傳達出的玄秘體驗：「哀吾生之須臾，羨長江之無窮。挾飛仙以遨遊，抱明月而長終。」劉國松先以大筆揮寫出饒富動感的書法線條，並敷以湛藍與金黃，再搭配各種墨色渲染，以及劉氏獨創「抽筋剝皮皺」的處理技法，使簡潔有力的畫面擁有活潑而自然的韻律感，以及豐沛的肌理層次。而那冉冉耀升、散染著金透光輝的太陽，在熱烈的光芒裡忽隱若現，永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。東方藝術一向尊崇「自然」的意蘊，而水墨媒材的創作更是得之自然的美學思想。唐代詩畫大家王維，於其《畫學秘訣》寫道：「夫畫道之中，水墨最為上，肇自然之性，成造化之功。」而劉國松數十年來所鑽研力行的「非筆墨性水墨畫」，讓當代水墨就此跳脫千年來畫筆的拘束，與其自身水潤的特性緊密相繫，恣意流淌，幻化無窮，創造出「可控制的偶然效果」，讓水墨媒材擁有空前豐沛的表達能力。劉國松為當代水墨的第一大家，確實當之無愧。 Inspired by the pictures taken by Apollo 8 from the moon in 1969, Liu Kuo-Song has changed his perspective towards "the space" from the traditional "admiration". Trespassing the ancient approach of looking depressed into the sky and converted to sketching the cycle of the moon, earth and the sun. In the famous "Space series", influenced by western contemporary art concepts, Liu Kuo-Song utilized a unique language composed by geometric squares and circles to present collage geometric techniques such as pop art and hard-edge art. However, the main inspiration comes from Chinese lanterns. Being innovative but still following traditions, Liu Kuo-Song perfectly combined the "sky" and "earth" and "round" and "square", echoing with the traditional cultural and aesthetics characteristics. An innovative “universal graphic form” is created that is oriental and also western; giving it a visual language and popular value. The glistening and magnificent "Le Soleil" shines throughout the universe and beautiful earth. Liu Kuo-Song's brushstrokes are generous and bold but still maintaining the elegance of literati. With free flowing brushstrokes, he expressed the tranquil Chinese traditional impressionist art style and leaving the viewers to experience the changes and orders of the mystic universe. Yu Guang Zhong, a Taiwanese poet once quoted from Su Shih’s "Fu on the Battle of Red Cliffs" described as "so I lament that human being’s life is so ephemeral in contrast to this everlasting Yang-zi River. I wish we could fly with a fairy in the immense space eternally as the Moon has." With bold brushstrokes, Liu Kuo-Song striked calligraphy lines that are full of motion, and then with bright blue and golden yellow along with other ink colors blending and the unique “Modern ink painting", the painting is presented with a brisk and natural rhythm and rich textures. The rising golden sun is partly visible under the strong glisters. It echoes the solid foundation of the artist's skills and the unique aesthetics view from the impact of the eastern and western art styles.

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林風眠 LIN FENGMIAN 「他的作品，以莫大的激情，宣洩了淒美、荒寒、孤獨、悲辛、驚怖與乎壯闊、雄渾、豐盈、欣悅、渴望等等複雜豐富的感受。而極守其有餘不盡，收斂含蓄的原則；好似樂曲醞釀到高潮，便不再敷衍，戛然而止，留下無聲的餘韻。」 --- 何懷碩林風眠自幼獲深厚的繪畫涵養，20 歲即旅居法國，就讀巴黎國立高等美術學院，師從學院派大師柯蒙（Fernand Cormon），精熟西方現代藝術理論。1926 年歸返中國後，以不懈的開拓精神，將當時席捲巴黎的現代主義引入中國，並將其理論思想運用於大膽的藝術實驗，為中國現代繪畫開闢了一條將中國傳統精神和西方現代觀念、形式相融合並注重本體語言探索的嶄新道路。1928 年，林風眠創立杭州藝專，不但集結吳大羽、潘天壽等繪畫大師，在其開放、自由的辦學宗旨與藝術主張下，更一手栽培出許多蜚聲中外等不同領域之巨擘如趙無極、朱德群、吳冠中、李可染、席德進、趙春翔、艾青等人。席德進曾經讚譽恩師林風眠是「改革中國畫的先驅」，他說：「林風眠在中國畫的新領域裡，獨自衝向了一個高峰，把所

有的人拋得遠遠的。他顯得奇異、分離，像一個巨人，使同道者無法與他並列，無法企及。」林風眠自覺地擺脫腐舊的傳統桎梏，批判地吸納西方之所長，涵納歐洲現代的印象主義、野獸派、超現實主義，以及表現主義，並融會中國傳統的石刻、敦煌，民間瓷畫和皮影戲、漆器等加以轉化，使得其作品深具時代之精神，並擁有開闊的視野，造就林氏浪漫迷人的獨特風貌。完成於 1960 年代的《荷塘》，描繪一片靜穆蒼涼的荷景，荷花相交而砌，幽麗而野逸，筆觸豪邁、運色大膽，但其中自顯細膩精緻。畫面的色調和意境皆清新淡雅，青黃配色在背景荒涼昏黯的襯托下更顯突出，在沉鬱的天地間流露出生命的天真與昂奮，然而在昂揚中仍有淡淡的哀傷。林風眠逸筆草草，《荷塘》卻展現形式結構的均衡與韻律，諸如分割的畫面、幾何圖形的配置，為典型的方紙布陣的繪畫。吳冠中曾說：「林風眠之採用方形，

決非偶然興之所至，而是基於他的造型觀。方，意味著向四方等量擴展，以求最完整、最充實的內涵。」而林風眠將圓潤如荷葉，搭配蘆葦迎風傾斜的姿態；溪水與岸的平直相倚，及荷葉層疊的密集圓形，形成動勢和平靜的對抗，卻能達到完善的、毫無嫌隙的調和與統一。《荷塘》裡清幽溪流的水平切面，就如同五線譜一般，譜出最具時代感的藝術大師優美恆常的樂曲，賦予天地一份美麗的尊嚴。

"His art works are presented with complex emotions such as passionate, intriguing, lonely, sentimental, scary, majestic, rich, pleasant or desire. Following a conservative principle, the art style reaches the peak like a melody and stops and leaving the viewers with limitless inspirations." --- He Huai-Shuo.

Trained for solid foundation since childhood, Lin Feng-Mien travelled to France at the age of 20 and studied at the école nationale supérieure des Beaux-arts in Paris, he was a student of Fernand Cormon and was an expertise in Western Modern Art theories. After returning to China in 1926, he continued on exploring and led Paris modernism into China and employed the theories in bold art experiments. He opened up a new path which blended Chinese traditional spirits and western modern concepts. In 1928, Lin Feng-Mien founded the Hang Zhou Art Academy, and he worked together with art masters such as Wu Da-Yu and Pan TianShou. Advocating a liberal and open-minded principle, he educated many internationally renowned artists such as Zho Wu-ki, Chu TehChun, Wu Guan-Zhong, Li Ke-Ran, Shiy De-Jinn, Zhao ChunHsiang and Ai Qing. Shiy De-Jinn once honored Lin Feng-Mein as the "pioneer of the Chinese painting revolution". He said "In the new field of Chinese painting, Lin Feng Mien created a peak; he was way ahead of everyone. He may look like a loner or a divergent, but he was a giant which followers couldn’t keep up with." Breaking through the restraints of traditional art style, he learned from the west and Impressionism, Fauvism, Surrealism and Expressionism in Europe, he incorporated Chinese traditional stone sculpture, the Dun Huang murals, the folk porcelain paintings, shadow plays and lacquerware and transformed them into artworks of the era that is majestic and attractive. Completed in 1960s, "Lotus Pound" depicts a tranquil lotus leaves scenery. The color tone and atmosphere is elegant; the green and yellow background pops out within the depressed tone. The innocence and passion of life is revealed. Lin Feng Mein's brushstrokes are liberal, "Lotus Pound" expresses a balanced construction and rhythm. The canvas is divided into geometric assembly, it is a classical squared paper style. Wu Guan-Zhong once said "Lin Feng-Mien employed squares, they are not incidents; they are the foundation of his creation. Square- represents equal expansion of four sides, pursuing a complete and sophisticated inner state." Lin Feng-Mien embellished the round lotus leaves with wind-blown reeds; the river and banks are horizontal, the lotus layer into a concentrated round shape to form a tug of war between movement and stillness. It reaches a state of complete harmony and unity. The rivers in “Lotus Pound” are cut horizontally like a musical score sheet. It is the most elegant and eternal melody constructed by the most modern art master, and at the same time, respecting the earth.

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107 LIN FENGMIAN (1900-1991)

Lotus Pound 67 x 69cm Ink and Color on Paper Signed Lin Feng-Mian in Chinese With one seal of the artist ILLUSTRATED: "LIN FENGMIAN", Lin&Keng Gallery Published, 1999, Page19

NT$ 8,000,000-10,000,000 US$ 264,000-330,000

林風眠荷塘 1960-1970 彩墨紙本簽名：林風眠藝術家鈐印圖錄：《林風眠百年紀念專輯》，大未來畫廊，台灣台北，1999 年，第 19 頁

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108 LUO ZHONGLI (b.1948)

A Farming Girl 38 x 44cm Oil on Canvas Signed Luo in English With a certificate of authenticity from Gallery

NT$ 950,000-1,350,000 US$ 31,400-44,600

羅中立放牛女 1996 油彩畫布簽名：Luo 附畫廊開立之原作保證書

羅中立執著於鄉土繪畫，以農民題材油畫創作，挖掘出生命潛藏的感動。在羅中立的寫實景觀裡，不僅忠實農民日出而作、日落而息的生活寫照。觀其畫作，彷彿一陣時空錯位，置身於山民生活的原始景象生動強烈映入眼簾，一如其所堅持作品要有堅實的生活基礎和真實情感。在長期的藝術探索過程中，將其藝術視野深沉而溫柔地描準自然淳樸的山野鄉間，羅中立擅以樸拙粗獷的筆觸畫下農民生活的點點滴滴，並試圖在樸拙自然的表現風格中發掘美的本質，並尊重熱愛這種樸質、單純、善良的生命底蘊。他刻劃熟悉的大巴山農民艱苦而平凡的鄉野生活，用畫筆傳達他們的悲歡離合、喜怒哀樂。他細緻而迫真地表現了樸素自然的鄉村情調，大巴山殷實的土地、淳樸的民風都成為他藝術創作裡豐饒的土壤。羅中立曾表示︰「我是一輩子都不會離開農民的」。《放牛女》創作於 1996 年，羅中立以樸實的角度，透過細膩的筆觸，刻劃下清新的農村鄉野氣息。少女與牛隻走在田野間，陣陣徐風吹拂著一旁的稻野，並令小溪流激起微微漣漪，藝術家對於土地的深刻情感表露無遺，平凡踏實，自在蕩漾。細觀羅中立作品，能體悟其對於歷史與社會的觀察，並透過長年以農村為題的創作，細細緬懷、回味過去純樸農業文明中可貴的民情風土。 Luo Zhong-Li devoted his career to rural paintings with topics related to farmers and to discover the potential touching moments in life. In his expressionist paintings, they not only depict the daily lives of the farmers but also lure the viewers into the primal scenery of the farmers' lives. The paintings are full of affection and down to earth characteristics. During the long search of art, Luo Zhong-Li excels at presenting rural lives with bold and thick brushstrokes and tries to discover the beauty essence and at the same time respecting the beloved home and life. He presented the ordinary hardships of the people of Da Ba Mountain, and expressed their vicissitudes in life with his paintbrush. With a delicate approach, he presented the simple and beautiful land and people which greatly inspired him. Luo Zhong-Li said "I will never leave the rural people." "A Farming Girl" was created in 1996, through delicate brushstrokes, Luo Zhong-Li presented his observation of the pure rural lives. The teenage girl and cows walk between the meadows that have been blown by the breeze. The ripples of the river speak of the deep affection of the artist for this ordinary land. If you observe his artworks closely, you’ll be able to realize his observation of history and society. And through creating artworks related to the rural farms, you’ll be able to feel the precious rural civilization.

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109 ZHAN WANG

展望

( b. 1962 )

假山石 #61

Artificial Rock #61

2003 不銹鋼 1/8 簽名：#61 展望 2003 8/1

50.8(L) x 15.3(W) x 83.9(H)cm Stainless Steel, 1/8 Signed Zhan Wang in Chinese, titled #61, dated 2003, numbered 1/8 With a certificate of authenticity from Gallery PROVENANCE: Artist’s Studio, Beijing, China

附畫廊開立之原作保證書來源：藝術家北京工作室

NTD 5,500,000-7,000,000 USD 181,500-231,000

展望曾說：「如果不知道自己從哪兒來的，就會變成行屍走肉，人類的思考基本上就是這一命題。

歷代藝術家都在用不同語言探討，我也是根據這一命題來思考的。只不過我的作品不用人，而是用石頭。我的宇宙源頭就是一塊石頭，我們都是從石頭中來。」展望作品曾被收入《世界雕塑全集》《中國美術全集》等。其代表作「假山石」是美國大都會博物館與波士頓美術館等首次收藏的中國當代雕塑品。亦收藏於國內數家美術館及瑞士、德國、美國、新加坡等私人收藏。「假山石」成為其聞名國際的重要作品。「假山石」是中國式園林山水式建築中一項重要的特色，用真山石堆積成假山，因此，人們習慣稱這些用來建造園林的石頭為假山石。本意是通過小塊的天然石滿足人們對回歸大自然的假想所求。《假山石 #61》媒材使用人造的鏡面不鏽鋼材料，拓上天然的石頭，使創作呈現天然的礦物紋理與造型，反射周圍環境的色彩，隨時間、空間的變遷而改變，迸發同時也拼湊出反射於上扭曲及破碎的事物。此作顛覆真山的體積與傳統假山石的材質，在建立既有傳統文化的想像中，同時亦瓦解了根深蒂固的文化傳統。

Zhan Wang once said "if one doesn't know his/her origin, his/her life will become dull and lifeless- this is the basic foundation of human mentality. Throughout history, artists have used different languages to explore this question, so have I. However, I do not utilize human figures but stones in my artworks. The origin of my universe begins from a rock, we all come from a rock." Zhan Wang's artworks have been collected in ”World Sculptures", "Chinese Fine Arts" and etc. His representative 「Scholar Rocks」is the first Chinese contemporary sculptures collected by the Metropolitan Museum of Art and the Boston Museum of Art. It is also collected by several art museums and personal collectors from Swiss, Germany, the United States and Singapore. 「Scholar Rocks」is the prominent artwork that brought attention internationally. 「Scholar Rocks」is an extremely significant characteristic in Chinese landscape architecture which uses real mountain rocks to mimic a mountain. People used to call these rocks artificial mountain rocks. The rocks are meant to satisfy people's imagination of returning to nature. "Artificial Rock #61" utilized artificial glared stainless steel along with natural rocks to create the texture and forms of natural rocks that reflected the colors in the surrounding. With the change of time and space, many twisted and broken events are reflected on it. This subverted the real size of a mountain and the materials of the traditional artificial rocks. The artist tried to breakdown the deep rooted traditional culture with the existing culture.

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110 YUE MINJUN (b.1962)

Re-Portrait Series 2012-3 30 x 24cm Oil on Canvas Signed yue in English, dated 2012 Signed on the reverse: Yue Min-Jun in Chinese With a picture of the artist taken with the artwork

NT$ 900,000-1,500,000 US$ 29,700-49,500

岳敏君再肖像系列 2012-3 2012 油彩畫布簽名：2012 yue 背面簽名：岳敏君附藝術家與作品之合影照片

崇尚自由的岳敏君，處在一個世界的終結與時代的轉折點，他經歷了文化大革命的尾巴，從粉碎四人幫到改革開放到經濟全球化的發展，整個中國的現代化進程快速地在眼前掠過，這些激盪的社會浪潮與變化，造就了他對社會改革的敏銳感，他以豐富的層次將現實畫入其獨有的藝術語彙中，絢爛奪目的風格透露出叛逆與自我解放的態度，岳敏君說：「我

覺得在繪畫的創作裡，所有的情感都是自然的流露，而不是有意、刻意要把它抽離出來，然後表現出來，我是從一個形式技巧的角度進入，但是這種情感的東西慢慢流露出來的最後把內心的感受展現出來，我覺得最終是不自覺的一種傳達。」岳敏君近期的《再肖像系列 2012-3》，再現了藝術家對人物形象的整體掌控，他以立體派的方式，將畫面扭曲變形，形成一種破碎、分離的感覺，讓觀者在稜角下找尋完整的人物表徵，挑戰視覺辨析的極限。岳敏君取材自日常報刊、雜誌中的圖像及親朋好友的人像照片，他將取得的照片先揉成一團，以期在重新展開的圖片上造成無數的隨機皺褶，並再用墨筆隨意地滑過折痕，讓墨水沾染皺摺上的邊角，整體看起來就像是還沒按黑線折好的 3D 列印面具，人物的表情與肢體變化滑稽而歪曲，藝術家最後則以此意象，展開其創作。岳敏君認為我們在現實世界中所接觸來自各種載體的圖像資訊都是不實在的，所以他以類似立體派的形象展現，體現出人物圖像被蹂躪過後的視覺經驗，色彩、線條與塊面的撞擊，使他的作品更具繪畫性，而後更用此為基礎，將稜角的畫像壓平，製造出平面化的線條表現，創造出《表皮》系列。 Yue Min-Jun is an advocate for freedom, he lived in a time of termination and turning points where he has went through the end of the Cultural Revolution where world economy gradually globalized and witnessed the modernization of China. These drastic social movements enabled him to become sensitive towards social reform. With his unique art language and rich context in painting; his dazzling art style that is rebellious and self- liberation. Yue Min-Jun said "I think everything comes natural, nothing is presented with intention. I come from a technique perspecitve, but eventually the inner part has to be revealed naturally." "Re-Portrait Series 2012-3" is Yue Min-Jun’s recent work, he represented the control artists have for human figures with Cubism He deformed the painting into a broken and isolated atmosphere allowing the viewers to search for complete human traits to challenge their visual. Yue employed portraits from the daily newspapers and magazines and crumbled them to create numerous folds and then casually drew across them to allow ink to sink into the corners of the folds to create a incomplete 3D mask look. The facial features and deformed body created a funny look; the artist eventually began to create with this image. Yue Min-Jun consider the informational images downloaded from different sites are unreal; therefore, he presented a visual experience and impact between colors, lines and blocks with a Cubism form. With this as the foundation, he flattened the angles to create a lineal presentation – the "Skin" series.

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111 FANG LIJUN (b.1963)

No. 12 122 x 80cm Woodblock Print, 24/25 Signed Fang Li-Jun in Chinese, titled No. 12, numbered 24/25, dated 1996 ILLUSTRATED: (1)"Li Luming ed., Fang Lijun", Hunan Fine Arts Publishing House, China, 2001, Page 131 (2)"Fang Lijun: Life is Now", CP Foundation, Jakarta, Indonesia, 2006, Page 119

NT$ 280,000-500,000 US$ 9,200-16,500

方力鈞 No.12 1996 木刻版畫 24/25 簽名：1996 No.12 24/25 方力鈞圖錄： (1)《方力鈞》，湖南美術出版社，中國，2001 年，第 131 頁 (2)《Fang Lijun - Life is now》，印尼雅加達，2006 年，第 119 頁

生於 1963 年的方力均，與中國一起經歷了文革、改革開放、天安門事件，到經濟快速發展的今日，在中國集體性的社會中，方力均依然保持本色，維持其不亢不卑的創作態度，在變化、懷疑中建設自我的精神價值，以自然節奏探索心靈的深層感受，他認為，每個人都是體制的製造者，也是受害者，必須要判斷自身與體制該保持何種關係，而他所創造的，便是一種非官方的個人歷史，他說：「當然每個人都會對文化和歷史都有自己的態度，我的態度則是，一邊享受現實生活的美好，一邊又挑它的毛病！」

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112 WANG GUANGYI

大批判系列 - 藝術國族

Great Criticism Series: Art Nation

2005 壓克力畫布畫背簽名：2005 年 Wang Guang Yi 王廣義 140 x 180cm

140 x 180cm Acrylic on Canvas Signed on the reverse: Wang Guang Yi in English and Chinese, inscribed 140 x 180 cm and dated 2005 PROVENANCE: Private Collection, USA Private Collection, Taipei

來源：美國私人收藏台北私人收藏

With a certificate of authenticity signed by the artist

附藝術家親簽之作品保證書

NT$ 4,500,000-6,000,000 US$ 148,500-198,000

176

王廣義

(b.1957)

ZHONG CHENG 中誠

「畫的形式要比想的形式好，展覽出來就更好，印刷出來再附上英文介紹就最好。因為當代是一個印刷品崇拜的時代。我希望自己的浪漫主義衝動能夠成為一部可供人們不斷翻閱和闡釋的歷史事實。」 --- 王廣義王廣義，為中國當代極其重要的藝術巨擘，為國際藝展的常客，並與張曉剛、岳敏君、方力鈞等人齊名。身為中國前衛藝術運動的領軍者之一，王廣義廣為人知的特點就是冷靜分析的解構風格，目的就是以批判性的手法揭露他成長年代令人窒息的視覺、創意文化，並且持續探索圖像的荒誕性。儘管他的作品顯然源自西方的波普藝術，卻也傳承對中國共產主義，抑或中國輕率擁抱資本主義社會消費精神的尖銳批評。他的「大批判系列」主題來自中國政治宣傳海報的巔峰時期，當時的海報結合三種理想的革命時期典型人物：亦即勞工、農夫與解放軍。他習以顯眼強烈的配色，紀錄下那個風起雲湧、上山下鄉的時代，並以其獨樹一幟的藝術語彙，傳達結合當今流行的西方商標結合，寓意明確。王廣義感性地說：「我從一個小的藝術史走到了一個大的藝術史，從藝術家的藝術走到了人民的藝術」。在《大批判系列─藝術國族》中，漆黑背景搭以如火焰般的紅色圖騰，創造出戲劇般的緊張感。中央是一群武裝的工農兵，舉槍或前刺，彷彿大聲吆喝，激情而高昂，並且高舉手中的紅皮書──「毛語錄」，在代表共產黨的紅色背景前奮發前進，處處透現共產主義、政治革命的氣息。王廣義極力描繪文革時期被稱作「革命英雄」的工農兵們，在他看來，「這曾經是政治力量的代表，也是政治控制的物件」。而在這極富諷刺意味的場景中，藝術國族的字樣「ART NATION」，則以象徵純潔的白色繪製，清晰有力地重重烙下。王廣義將文化大革命的瘋狂時代與藝術相結合，在兩種意識形態及視覺系統之間找到平衡，並且強而有力地融合在一起，把既有的現代性的內在秩序與價值尊嚴撕開一條裂縫，將背後涵義看似荒誕但極其真實的表現出來。

"The form of drawing needs to be better than the though process, it is even better if the work is exhibited, and includes a printed English introduction; because the contemporary era, is a period that worships the reproduction. I hope my romanticism can become a movement that will be written in history, and be continued read and interpreted" ---Wang Guang-Yi Wang Guang-Yi, one of the most prominent artists in Chinese contemporary art, is a well-known name amongst international exhibitions. He is recognized along with Zhang Hsiao Gang, Yue Min Jun and Fang Li Jun. As one of the leading activists in Chinese modern art movement, Wang Guang-Yi is known for his calm and analytic composition art style which aims to reveal the overwhelming visual and creative culture; he further explores the absurdity of images. His art works may seemingly belong to the Western Pop art style, but he also carried on communist ideas and sarcasm regarding China’s ideal of capitalism. "Great Criticism Series" was created during the peak of his political campaign poster, which included three typical characters of the revolution period- the laborer, the farmer and the Chinese People's Liberation Army. He is used to employing strong colors to record the turbulent of the time and with his unique approach he sends a clear message of blending the western trademarks within his work. Wang Guang-Yi said "I have went through the transformation of art history; and changed my perspective from an artist to the people." The red flame created a dramatic tension against the black background in "Great Criticism Series: Art Nation". A group of armed peasants holding gunfire, marching forward bravely, they are both passionate and ready to fight. The peasants hold a red book in hand; the title reads "Quotes from the Chairman Mao" whom, represents the communist. In this sarcastic atmosphere, viewers can see the nationalist "Art Nation" caption painted in bold white contrasting the red and dark background. Wang Guang-Yi combined Cultural Revolution and art; he tore apart the internal orders and values of modern society and presents to us the absurd reality that is hidden away.

趙無極 ZAO WOUKI 趙無極，1921 年生於北京，成長於上海，後於 1935 年進入杭州美專學習並留任講師。他天資異秉，年少氣高，在當時封閉滯礙的美術風氣下甚為苦悶，只能從外來的雜誌、印刷品內一窺畢卡索、馬蒂斯、莫迪里亞尼這些現代派大師的藝術。憑藉著對新藝術的自信與熱情，趙無極以 24 歲之齡，集合了十四五個新銳畫家，讓第一屆獨立美展在極為困苦中誕生。可惜據他〈我的自白〉內所敘：「大半的批評家都以既成的字句來責罵我們，說我們是怪誕的畫，胡鬧的畫，是種技術遊戲而已。」這種保守派的壓力讓趙無極更堅定積極的去追求新的風格，終於於 1948 年離鄉背井，懷抱著巨大的希冀與創作欲望來到了巴黎。在 1950 年代初期，趙無極尋訪旅遊歐洲各大都市，遊歷西班牙、義大利、荷蘭、德國、比利時與瑞士等國，細膩觀察知名建築的空間布置，並觀覽博物館、美術館典藏的名畫與雕塑，其後，他的作品分別在巴黎、紐約各地展覽。對於紐約，趙無極曾於《我的自白》一文內自剖：「我曾去紐約細覽古今名畫，紐約這個都市的魅力幾乎奪去我的魂魄，也深深地感覺到紐約在世界畫壇的重要性。……紐約畫壇與巴黎畫壇在完全不同的兩個世界，強有力地象徵著這所謂現代的『豐饒的混亂』時代的偉大。」對趙無極影響最深的無疑是巴黎，然而五�年代紐約風起雲湧的藝術運動，也對浸潤歐洲古典藝術甚深的趙無極有重要的啟發。紐約畫派抽象表現主義的繪畫以書法式的筆跡為主導，顯然影響了趙無極，他早年對中國書法的興趣較偏向若隱若現的微妙變化，而非肆縱地揮灑，而在抽象表現主義的滋養下，趙無極開始把即興的筆觸融合到構圖裡。曾受教於趙無極的中國美術學院院長許江，曾對歐美抽象主義的差異性如此描述：「與美國濃烈肥碩的抽象表現風相比，歐洲的抽象語言更顯單純和細膩，就像一份語言的菜餚，經歷了二戰前後一場場藝術運動的燉燒，戰爭災難的末世觀與思想反省，將所存無多的現實，專注凝縮而為即時生存的濃湯。」自此後，趙無極發展出他抒情抽象的風格，揮灑出極富韻律、光彩流散的繪畫空間，被譽為「西方現代抒情抽象派大師」，從此與美國抽象表現主義各具韻味、分庭抗禮。趙無極於先後在聲名顯赫的巴黎法蘭西畫廊及紐約庫茲畫廊舉辦畫展，並逐步開展他的國際性巡迴展。自從 1958 年之後，趙無極索性把作品的完成日期寫於畫布之後，並以之來命名作品，而作品本身也漸趨全然的抽象表達。趙無極於其自傳中敘述：「我不需要

再創些符號，這些符號是了解繪畫時的指標、也是限制，我的靈感源頭是我的內在世界，隨著我的好惡，通過各種色彩的運用，表達出來。」到 1960 年代，趙無極的藝術風格基本形成。《14.06.61》即繪於 1961 年的夏天，趙無極時值不惑之年。這時候的他油畫技巧日臻嫺熟，色彩變得豔麗明亮，畫面側重對空間和光線的追求，蘊含天、地、水、火等種種自然元素，氣氛愈趨靜謐和諧，擁有中國精深博大的典雅風韻。他認為，畫家要用畫來說話，其一直堅持「畫家說得越少越好」。也就是同一年，趙無極認識到自己身在異鄉之中，從而返歸中國精神的歷程：「巴黎對我的藝術生命發展當然有決定性影響，可是在我成長於巴黎的過程中我更逐漸發現了中國。」趙無極 1960 年代的作品，擁有恣意縱橫的東方意象，創造玄冥的詩意幻境，以及中國山水的內在意涵。南朝名僧宗炳在他的意氣飛揚的《畫山水序》中寫道：「夫聖人以神法道，而賢者通；山水以形媚道，而仁者樂。」解釋當藝術家受自然之「象」所感動，即能揭示天地大道的神與形，而將此感覺幻化為繪畫時，觀者就能與之共鳴，在凝視之中與自然合一，把握萬物的整體與內涵。

趙無極 ( 右一 ) 與好友 Jean- Paul Riopelle, Germain, Vieira da Silva, Pierre Loeb, Georges Mathieu 在 Galerie Pierre. 1952. Denis Colomb 攝影

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《14.06.61》的色調溫柔嫻雅，略顯陰柔，而中央纖細線條所吐露的脈脈柔情，深邃、洶湧地凝聚向畫面無止盡地穿透的溢美之情。然而在一片清雅詩意之中，那極富力度勁道的線條，也演繹了趙無極最狂飆飛動的抽象能量。趙無極的作品總是涵蓋、濃縮了大自然的景象與時空，藝術家本人視此為於自然靜默的召喚，如風的凝聚、如山川的匯流，趙無極用畫筆演繹自然的風暴與寧靜，並讓它們款款降息，和諧共存。著名藝術評論家賈方舟，曾如此描述趙無極的藝術特徵：「當他從那些神秘符號轉向對神秘空間的再現時，我們愈加感到一種

東方精神的凝聚。他的作品的基本結構是在鬆散中聚集。他用細碎尖利的筆觸將想像中的物質加以凝聚並使之碰撞，像攝影師一樣以高倍的清晰度，將它們『聚焦』，從而形成一個處於對抗、衝突中的視覺中心，而將其餘的部分推到遠處，將其疏散、淡化、虛化。這樣的圖式成�他六、七十年代的基本特徵。」在《14.06.61》的中央，色彩強烈的中心地帶，一片氣韻盎然的褐色調性裡，迸發出閃電的雷火、澎拜的激情，深邃而澄澈，筆跡纖長、運筆快速，迴盪著一股宏遠的氣勢。趙無極致力捕捉大自然裡氤氳磅礡的氣氛，他既引納西方繪畫中的光線，塑造出空間的實體感，也同時灌注了中國傳統文人置身於宇宙自然間的抽象概念，他也大方告白：「我畫的是一種很浪漫的畫。」在趙無極揮灑不拘的油彩下，《14.06.61》形成一個永遠處於沸騰、衝突，又平穩和諧的動態漩渦，彷彿擁有心臟脈搏，跳動不休。趙無極特別著重色彩與筆觸交會中溢放的光亮，顏色在空間裡恣意流淌、填實生命，同時顯示出光的流佈。與趙無極私交甚篤的法國詩人，亨利 ‧ 米修（Henri Michaux）曾說：「趙無極的畫已脫了形，但與自然的形仍骨肉相連，仍是帶韌性的，不詭異也不陌生，流動的溫暖的顏色變成已經不是顏色，而是光，放色的激流似的光。」甚為精闢動人。在趙無極的淵遠流長的藝術生命裡，包蘊著東西方古典詩性的精魂。他不但汲取了中國文化和藝術的精髓，並成功以抽象的浪漫傳達了中國意境，並以抒情磅礡的筆觸，將觀者帶入宇宙洪荒中恣意悠遊，擁有精深的文學性與汩汩的詩意。趙無極的藝術成就極受西方重視，於歐美風起雲湧的現代藝術史上佔有一席之地，亦備受東方推崇，他的作品遍藏於世界各國重要的美術館，其藝術的尊崇地位不言可喻。趙無極以平實謙沖的態度，力證了東西方藝術在詩性世界的殊途同歸，並呈現出時代的創造性轉換和提升，創發出無分地域、國際性的視覺語彙，在世界藝術的舞台上，成為最首屈一指的繪畫大師和最響亮的旗幟。

Zao Wou-Ki born in Beijing in 1921 grew up in Shanghai and was later enrolled in the Art Academy of Hangzhou in 1935, later in his life he taught there afterwards. He was a born artist; living in a time of isolation, he could only admire the great works of modernist artists Picasso, Matisse, and Modigliani from foreign magazines and publications. At the age of 24 with confidence and passion for modern art, Zao Wou-Ki gathered 14 to 15 new artists and founded the first individual art exhibition. According to his narration in "My Monologue", he said, "most of the critics rebuked us with words saying that our artworks are absurd and nonsense and merely a game of technique display." The conservative pressured Zao Wou-Ki to pursuit a new style; in 1948 he decides to move to Paris in search for new ideas. During the beginning of 1950s, Zao Wou-Ki travelled to many major cities in Spain, Italy, Netherlands, Germany, Belgium and Switzerland. He carefully observed the space and form of all the historic architectures and invested his time in quietly studying the masterworks exhibited at museums. After years of studying, his artworks were finally exhibited at both Paris and New York. Zao said in

1974. Herni Cartier-Bresson 攝影

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ZHONG CHENG 中誠

"My Monologue", "I have closely observed masterpieces from the past and now at New York, it is a city that has almost captured my soul, I learned the importance this city holds for the development of the art world…" The setting of New York and Paris are two completely different worlds; however both cities represent the greatness of the modern "rich and fertile confusion." While Paris will always remains his most beloved city, the art movements of the 50s in New York was also a great influence in his work. With calligraphy style brushstrokes, and the New York abstract expressionism Zhou Wou-Ki was greatly inspired. In his earlier career, he was more interested in the subtle changes of Chinese calligraphy; however, being nurtured by abstract expressionism, he began to improvise brushstrokes into the composition. Hsu Jiang, the director of Chinese Art Academy, was once taught by Zao, in regards to the differences between European abstract expressionism, he said "compared to the rich and fertile abstract expressionism in the United States, the European is more simple and delicate. It's like a dish that has been cooked by art movements after World War II, doomsday thoughts and contemplation, the result was a very thick stew." Zao Wou-Ki develops his own abstractionism that is full of rhythm and light flowing spaces. He is recognized as the "master of Western contemporary abstraction" he held prominent status along in the United States. Zao Wou-Ki has held exhibitions at the famous Galerie de France in Paris and the Kootz Gallery, N.Y. and later participates in international exhibitions. He has included the completion dates on his artworks since 1958 and naming them with dates instead of a title. His art works became more and more abstract. He described in his autobiography "I don't need to create more symbols because they are guidelines but also restraints to understanding the painting. I am inspired by what is inside me, it changes with my mood and through different colors, I can express them clearly." Zao has officially developed his art style in 1960s. "14.06.61" was painted in the summer of 1961, Zao was in his forties and his oil paintings skills have matured by using brighter colors and focusing on the space and lightings including elements from the heaven, earth, water and fire. The atmosphere is growing more tranquil and harmonious. He believes that artists must speak less and leaves more for the viewer’s imagination. In the same year, he traveled back to China bringing with him his new gained wisdom. "Paris has prominent influence on my career, but I have discovered more about China during my stay in Paris." The artworks in 1960s are oriental and poetic; focusing on the landscape of China. Zong Bing, a famous monk in the Nan Dynasty describes that artists are usually touched by the "image" and therefore when they transform the emotion into a painting, the viewers will be able to echo with the artist. The color tone in "14.06.61" is soft and elegant; however, the dim line in the middle speaks of the deep and strong emotions. In this poetic atmosphere, the strong line reveals Zao Wou-Ki’s ability to present abstract paintings. His artworks always include the nature's scenery and time. He regards this as a calling from nature; it’s like the wind gathering, rivers compiling, Zao enabled them to co-exist in harmony with his brushstrokes. Jia Fang Zhou, a famous art critic, described the characteristics of Zao's art and said, "when he presents these mystic symbols in the form of space, we can feel the focus of oriental spirits. The composition of his artworks is assembled by scattered different element together. With his sharp and detailed brushstrokes, he clashes imaginary objects together, but like a photographer he focus in on his subject and leaving the rest blurred and unclear. This is the signature characteristic of his style in the 60s and 70s." In the center of "14.06.61" the bright colors captures our attention, while the brown tone surrounding reveals a solid vibrant texture that is built through long and rapid brushstroke. Zao captures the grand atmosphere of nature by incorporated the dark and lightness traditionally shown in western painting, to create a space that is both abstract and underlining the traditional Chinese water-ink painting. Zao said, "I'm painting a very romantic art piece, under the free flowing oil paintings - like a pumping heart that is hidden under our skin "14.06.61" is presented as conflicts in composed in harmony. Zao Wou-Ki focuses on the impact of his colors and brushstrokes. The colors are liberal and fulfilling. Chao Wu Ji's close friend, Henri Michaus, a French poet once said "Zao Wou-Ki's painting has breakthrough from restraints but still maintaining the connection with nature that is strong, familiar and not absurd. The warm colors are no longer colors, but lights that is passionate and spontaneous." Throughout Zao Wou-Ki's career, he is known for his poetical manner of painting style of the east and west. He not only learned from the essence of Chinese culture but also expressed the Eastern elegance through a Western perspective. With romantic and magnificent brushstrokes, he brings the viewers into a universe where one can get lost in the freedom of literature and poetic concepts. Zao Wou-Ki’s art works are greatly recognized by the West that puts him in a prominent place in modern art history, his art is also greatly respected in the East. Many major international museums collect his art works. With a humble attitude, Zao's art represents that regardless of nations, art is capable of uniting cultures as a whole. Zao Wo-Ki is a pioneer and leader of the art world, his painting communicates the visual language that can be understood universally.

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113 ZAO WOUKI (1921-2013)

14.06.61 81 x 65cm Oil on Canvas Signed on the reverse: Zao Wou Ki in English, titled 14.6.61 PROVENANCE: Mr. and Mrs. John Cowles, New York. Kootz gallery, New York, USA Private collection, Minneapolis (MN), USA Private collection, Durango (CO), USA Private collection, USA (2014) ILLUSTRATED: (1) "Zao Wou-Ki", Leymarie Jean , Paris, éditions Hier et Demain, Barcelone, Edicione Poligrafa, 1978, ill. coul. No.86, Page 136 (2) "Zao Wou-Ki", Leymarie Jean, New York, Rizzoli International Publications, 1979, ill. coul. No.86, Page 136 (3) "Zao Wou-Ki", Leymarie Jean, Paris, Éditions Cercle d'Art, Barcelone, Ediciones Poligrafa, 1986, ill. coul. No.86, Page 136 (4) "Zao Wou-Ki", Abadie Daneil and Contensou Martine, Gennevilliers, Art Mundi, 1988, ill. coul. no.21 (5) "Zao Wou-Ki", Abadie Daneil and Contensou Martine, Barcelone, Ediciones Poligrafa, 1989, ill. coul. no.21 (6) "Zao Wou-Ki", Abadie Daneil and Contensou Martine, Taipei, Cultural Edition Co. Ltd., 1993, ill. coul. no.21 With a certificated of authenticity issued by Foundation Zao Wou-Ki

NT$ 18,000,000-28,000,000 US$ 594,100-924,100

趙無極 14.06.61 1961 油彩畫布畫背簽名：Zao Wou Ki 14.6.61 來源： Mr. and Mrs. John Cowles, New York. 美國紐約 Kootz gallery 美國明尼亞波利斯私人收藏美國杜蘭戈私人收藏美國私人收藏圖錄： (1)《趙無極》，Hier et Demain 出版，Leymarie Jean 編，法國巴黎，1978 年，圖版 86，第 136 頁 (2)《趙無極》，Rizzoli International 出版，Leymarie Jean 編，美國紐約，1978 年，圖版 86，第 136 頁 (3)《趙無極》，Celrcle d'Art 出版，Jean Leymarie 編，法國巴黎，1986 年，圖版 86，第 136 頁 (4)《趙無極》，Abadie Daneil 與 Contensou Martine 編，Ars Mundi 出版，法國巴黎，1988 年，圖版 21 (5)《趙無極》，Poligrada 出版，Abadie Daneil 與 Contensou Martine 編，西班牙巴塞隆納，1989 年，圖版 21 (6)《趙無極》，Cultural Edition Co. Ltd. 出版，Abadie Daneil 與 Contensou Martine 編，台灣台北，1993 年，圖版 21 附趙無極基金會開立之原作保證書

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周春芽 ZHOU CHUNYA 周春芽成名極早，卻似乎總是游離於各種潮流之外。1980 年代，四川美院的「傷痕藝術」聞名中國，當同儕們正在用畫筆描繪、撫平歷史傷痛，並將人道主義情感寄託於社會寫實的時候，年僅 25 歲的周春芽卻被藏區粗獷斑斕的野原生活吸引，創作了《藏族新一代》，並參加了第二屆全國美展，當年的美展一等獎為羅中立轟動全國的《父親》，二等獎即是周春芽的《藏族新一代》。而至於沒有加入「傷痕美術」的原因，周春芽於訪談中曾表示：「當時也做

過多次情節性圖解傷痕題材的嘗試，但最後還是沒有畫下去，可能是我自己進入不了那種太複雜的思維。當時就願意寫生，因為在寫生中我面臨的是一個非常直接的有血有肉的自然，這樣就使藝術的表現一直處在自己的情感激動之中。」 1986 年，周春芽懷著對西方藝術的憧憬與追求，開始於德三年的留學生涯。艱苦困頓的外國生活磨練他的意志，同時也走遍歐洲各大美術館和博物館，當時德國新表現主藝風靡歐洲，色彩斑斕與強烈的渲染力令他震撼，但「但我並

不滿足於他們那種一味張揚的美學趣味，總覺得他們的繪畫缺少耐看的東西。我喜歡中國古代文人繪畫，儘管也排斥文人們那種做作、矯情甚至是故弄玄虛的成分，但他們的細膩、敏感和那種充滿神秘意味的繪畫氣質的確讓我著迷。從力量來看，中國畫家遜色於西方畫家，但我們比他們敏感，我很早就自覺到了這一點，因此，我從廿世紀九十年代中期開始就逐漸走出了新表現的影子，獨立表達的願望日益強烈。」可以說，絕對西方式的文化體驗，卻激發了藝術家對自身文化綿延深厚的眷戀與熱情。 1990 年代，周春芽自德國回國，當其他人對「前衛」和「另類」趨之若鶩，他卻像早年沒有參與同學熱衷的「傷痕美學」的創作那般，也沒有參加當時的玩世現實主義、政治波普潮流。周春芽在感覺中而非簡單地在理性中挖掘藝術的可能性。他避開當世主流，轉而在傳統東方的語彙中尋找一種契合自我氣質的表現性語言，以此克服中西在文化語境和審美內涵上的差異。他開始從中國傳統文化中尋找思想靈感，正如周春芽在日後的回憶中說道：「我一頭扎進了

中國傳統繪畫之中，開始系統的研究古代人文繪畫，尤其是在元四家、八大、董其昌的圖示形態中找到了我的興趣點，這是我繪畫生涯的重要轉折點：我決心走出一條出人意料的全新之路。」講究山水精神的「太湖石」系列就這樣誕生，那變幻的色彩、濃厚的傳統意味，成功詮釋出一種介於新表現主義的瑰麗色彩、中國水墨的大寫意之間的藝術符號。並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。

Zhou Chun Ya won his fame in early years, but seems like he always diverted from different trends. During the 1980s, "scar art" of the Sichuan Art Institute lifted a burst of whirlwind in China. While his peers sketched with the paintbrush to soothe out historical pain and entrusted the humanism into social reality, Zhou Chun Ya, at the age of 25, was attracted by primal lives and created "New Generation Tibetan". He attended the second National Art Exhibition. The winner of that year was Luo Zhong Li's "Father" and the second runner up was Zhou Chun Ya's "New Generation Tibetan". The reason for not joining "scar art" as Zhou Chun Ya explained in an interview, "After several trials of scar art themes, I decided to quit because I can't enter that complicated thoughts. I wanted to sketch, because I am facing a natural and passionate state." In 1986, with a dream of pursuing western art, Zhou Chun-Ya began three years of study in Germany. The hardship during his stay trialed his will and at the same time he travelled throughout major art museums and galleries in Europe. Neo Expressionism was popular in Europe at that time, the vivid colors and strong rendering powers shocked him, but "I’m not content with lame aesthetics fun, something is always missing in their paintings. I enjoy Chinese ancient literati painting, even though I don’t like the lame or deliberate parts, but I am fond of the detailed and sensitive charisma. Speaking of strength, Chinese artists are weaker, but we are more sensitive and I have realized this long time ago. Therefore, I broke through from the shadow of new expressionism in the mid-1990s and my desire grew stronger and stronger." The absolute western culture experiences inspired the deep longing and passion for his culture. Zhou Chun-Ya returned from Germany in 1990s, everyone was fond of "avant-garde" and "eccentric" style, but he did not participate in the popular "scar art", neither did he participate in cynical realism and political pop trend. Zhou ChunYa discovered the possibilities of art. He avoided the mainstream and transformed into an Eastern language to overcome the cultural barrier and differences between the East and West. Seeking for inspirations in Chinese traditional culture, as written in Zhou Chun Ya's memoir "I indulged into Chinese traditional painting and became to systematically study ancient literati, and found my passion from the Four Masters of Yuan Dynasty, Eight Great, and Dong Chi-Chang. This is an important turning point of my career, and I’m devoted to my path." The "taihu rock" series was created with versatile colors and rich traditional meaning. The artist successfully expressed an art symbol that is between neo expressionism and Impeessionistic Painting Style. The painting is a perfect infiltration of modernism and eastern elegance.

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114 ZHOU CHUNYA (b.1955)

Green Dog (4) 107.5 x 76cm (4) Oil on Paper Signed Zhou Chunya both in Chinese and English, dated 2002 (4) With a certificate of authenticity signed by the artist

NT$ 9,000,000-12,000,000 US$ 297,000-396,000

周春芽綠狗 (4) 2002 油彩紙本簽名：2002 周春芽 Zhou Chunya (4) 附藝術家親簽之作品保證書

「我畫的很多話都是預先設計好的，都知道自己要達到一個什麼效果。但就是畫綠狗完全沒有設想。就是一個念頭，最後就是一個觀念。後來我也沒有想到綠狗會成為一個標誌，很難預料的一個結果。這完全是個意外。」 --- 周春芽〈綠狗是個意外〉

正因為「綠狗是個意外」，那毫無預期、渾厚爆發的磅礡色彩才如此吸引注目。在周春芽漫長悠遠的創作進程中，「綠狗」絕對是最具代表的繪畫主題。1986 年至 1988 年，周春芽前往德國卡塞爾大學深造，浸潤於印象派、立體主義與表現主義之中，並被當時正在茁壯的德國新表現主義深深觸動。他的筆法逐漸脫離西藏時期的寫實淳厚，變得激烈低沉、斑斕壯闊，「沒有那三年，我很難讓自己的藝術走得更遠」。留德期間他的創作逐漸變化，洋溢著新表現主義的濃烈色彩與視覺震撼，反自然的色彩肆無忌憚地高張飛揚，成為日後的「綠狗」系列的潛流與養分。 1994 年，朋友送給周春芽一隻德國狼狗，在這之前，他從來沒有養過狗。但他很喜歡這隻狗，有時黑根會變得十分凶，但牠一直很喜歡牠的主人。然而九○年代的中國城市，是不允許飼養大型寵物的，因此周春芽只好將牠藏在家裡。從送來的那天開始，他們就一直朝夕相處，甚至同床共眠。很快，血緣來自異國的愛狗黑根，成為周春芽最鍾愛的繪畫主題。實際上，周春芽坦言「嚴格意義上我不是畫狗的藝術家，也許我餵養貓，就畫貓了。」這種命運般的邂逅與巧合，讓這條凶狠而忠實的德國狼狗幻化為作品裡忽隱忽現的永恆靈魂。剛開始以黑根為創作目標，起先是畫黑色的，但在 1997 年的某一天，周春芽「畫著畫著突然產生一個念頭：能不能畫成綠色的」（周春芽〈綠狗是個意外〉），於是，他首次將黑根完全描畫成綠色，那鮮活明艷的色彩，成為藝術家本人的符號象徵、一個顯眼迷人的時代標誌。周春芽懇切地表示：「其實，『綠狗』在某種程度上正象徵著我自己，它的形象以及所處的場景實際上都是我文化性格及現實生存境遇的投射」。而在 2007 年的某次訪談中，周春芽感性地流露出對黑根的眷戀：「在四川畫家紛紛赴京尋找發展的那個年代，我選擇留在成都，孤獨有時候是一種平靜。北京也許有更多的機會，更好的市場，但那不是我關心的 ...... 成都的生活是平靜而又悠閒的，在這種舒緩的創作節奏中，只有黑根是我最好的伴侶，而我也將所有大膽離奇的想像賦予了這條狼狗。」直到 1999 年，黑根因病去逝，周春芽悲痛莫名，以致無法提筆創作，直到 2001 年，周春芽終重新舉起畫筆，將私密情感轉化為豁達的體認，顏料恣意地揮灑暈染，似乎是生命張力自然的外擴與爆發，幻化為一隻隻濃綠洶湧的狗。此時浴火重生的綠狗系列，已不再指向現實生活中的具象目標，反而幻化為藝術家的態度、精神、深思與藝術信仰的總結。而完成於 2002 年的四幅《綠狗》，畫面上擁有許多的留白，而在大幅的純白背景的襯托之下，那些綠色就更顯得透明、純淨，幾乎如同空氣。而那鮮亮渾厚的綠色，就更加凝聚了藝術家所有思考。每一筆寬闊活潑的筆觸都是一揮而就，沒有考慮細節與安排，那單色性的濃鬱色料與恣情寫意的走筆，演繹著藝術家動靜並存的圖像語言，以及大膽的創意、無羈的自由。周春芽從內部建構了綠狗們骨瘦如柴、姿態各異的氣質與靈魂，為了熟悉瞭解這些狗，周春芽會以相機拍下他們各種不同的姿勢，對於他來說，狗已經成為了自身生活的象徵，象徵著一種非常「原始」、「保持著原貌」的生活。

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四隻《綠狗》無論是迎頭昂首、垂尾畏縮，還是有些笨拙、敏感的神色，都精采絕倫、神形兼具。筆觸的無拘無束，彷彿不經意地信手拈來，在旺盛的生命力中透露著某種衝突性的含蓄與內斂。而那狂縱迷人的綠色，像是幻境，又似隱喻，但又真實無比，可以是暴風前的寧靜，也傾訴著生命未經加工的原貌。關於綠狗的一切，都和生命之璀璨、生活的激情懷想密不可分。《綠狗》裡泗漫的情感恣意淋漓，周春芽奔放不羈的才情賦予綠狗們最鮮活、原始的生命能量，畫出藝術家與愛狗互相度化的永恆情緣。 "A lot of my paintings are planned for a certain effect. But the green dog is an exception, it's just an idea and eventually a concept. I never thought the green dog would become a trademark, it’s unpredictable. It's a pure accident." Zhou Chun Ya〈Green "Dog is unexpected" The surprising element of "Green Dog is unexpected" attracted viewers the most especially the unpredictability and powerful colors. During Zhou Chun Ya’s long career, the 「Green Dog」 is definitely the most representative art work. From 1986 to 1988, Zhou Chun-Ya travelled to Germany and studied at the University Kassel of Germany. He studied Impressionism, Cubism and Expressionism and was deeply touched by the growing new Expressionism in Germany. His brushstrokes slowly deviated from the solid realist approach during Tibetan era and became more aggressive and majestic. "Without the three years, I can't go on any further in my career." During his stay in Germany, his art style changed and revealed the rich colors and visual shocks of neo expressionism. The unnatural colors pop up and became the nutrients of the 「Green Dog」series. In 1994, Zhou Chun-Ya received a German shepherd from his friend, it was his first dog but he loved him deeply. Heigen can be viscous but he loved his owner. Large pets were prohibited during the 90s in China so Zhou had to hide him at home. From the day Heigan came, they lived together and shared the same bed. Heigan became Zhou Chun-Ya's favorite theme. In fact, he admitted that “strictly speaking, I’m not an artist who paints dog. Maybe if I had a cat, I’d be painting a cat." The coincidence and encounter in fate enabled the faithful German shepherd an eternal soul.

Heigan passed away due to illness in 1999 and it brought great grievance to Zhou Chun Ya to the extent that he almost stopped painting. He finally held himself together in 2001 and transformed his love into a blessing. He freed his brushstrokes on the canvas like an expansion and explosion of life into a green dog. The rebirth of the green dog series is no longer an object in life, but instead it is the attitude, spirit, thoughts and faith of the artist. The artist intentionally left many blank areas in the four "Green Dog" completed in 2002. Embellished by the white background, the green became more transparent and pure like air. The rich and bright green, gathers the artist's thoughts. Every brushstroke is majestic and lively without deliberate arrangements. The mono color and liberal brushstrokes reveal the imagery language and bold creativity. Starting from the inside, Zhou constructed the skinny dogs in different poses and charisma. In order to understand these dogs, Zhou Chun-Ya took pictures of them. The dog has become the symbol of his life that represents "primal" and "keeping the origin state". The four "Green Dog" can be looking up or down; some look dumb or sensitive are all exquisite artworks. The brushstrokes are unrestrained as though they are done ad-hoc. They reveal a clashing conservative attitude. The attractive green is like a mystery; it's metaphoric but also real. It's like the calm before the storm and speaks of the original face of life. Everything about the green dog is closely related with life and passion. "Green Dog" expresses full affection. Through the talents of Zhou Chun-Ya, he revealed the eternal love between Heigan and him through unrestrained emotions and vibe in life.

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115 ZHOU CHUNYA (b.1955)

Spiritual Landscape 62 x 51cm Oil on Canvas Signed Zhou Chun-Ya both in Chinese and English, dated 2004 ILLUSTRATED: "Dream of Landscape - Oil Paintings of renowned Chinese Oil Painters", General editorship by Chinese Oil Painting Publishing House and Anhui Artists Association, 2004, Page 58

NT$ 2,800,000-3,500,000 US$ 92,400-115,500

周春芽山水精神 2004 油彩畫布簽名：周春芽 Zhou Chunya 2004 圖錄：《山水夢境 - 中國著名油畫家油畫作品集》，中國油畫雜誌社，2004，第 58 頁

周春芽通過對傳統國畫的山水、石頭和花卉的宣洩表達，發展出一種介於水墨大寫意、新表現和抽象主義之間的油畫，既是中西文化不同空間的對比與交融，又是傳統與當代藝術時間跨度的對話與冰融。周春芽以以油彩奔騰，精彩地重新詮釋中國山水的浩蕩精神，以西方顏料演繹東方藝術裡「墨分五色」的濃淡變化、暈染效果，兼具蒼勁筋道、紋理明切，帶有跌宕起伏的動勢，一面模擬著山水石頭的肌理變化，同時帶動視覺的流轉與遞嬗，蘊藉深沉況味，獨具一格。此幅《山水精神》成於 2004 年，周春芽揮灑濃墨重彩，以冷峻的灰白色調，濃稠的東方水墨線條融以德國新表現主義的油畫語言，宣告與傳統山水符號的柔淡纖弱的質地徹底決裂，走向大破大立、奔放迸烈，著力表現當代中國的「山水精神」，心隨物走，畫由心生。周春芽的油彩墨料恣意遊走，造就宛如草書般的筆走龍蛇，充分發揮速度感，同時影射時空的流轉變遷，在虛實濃淡間恣意纏結、覆蓋，線條與色彩富於變化，流滴噴灑的彩料將山壑的實形，化作若有似無的虛境，並保留水墨媒材的滋潤與韻感，產生廣闊的空間感，詩情畫意。《山水精神》青山煙雨，在堅壑中見蒼茫，中央清雅淡逸的幽綠，如靜謐深潭、遠古綠水，帶著幾分迷離、幾分禪意，在四方圍繞的山石裡愈見深度，從而表現出難能的深邃距離感，並襯托出山壑石頭的豐實嶙峋，恰巧回應了藝術家性格中宏觀磅礡的氣勢，同時也顛覆觀者對山水作品輕逸遊賞的審美習慣。 Through traditional landscape paintings of mountains, rivers, stones and flowers, Zhou ChunYa developed a type of oil painting that is categorized between water ink impressionism, new expressionism and abstract expressionism. The style is a contract and combination of the east and west culture. It is also a conversation and bond between traditional and contemporary art. With the flowing oil painting skills, Zhou Chun-Ya has skillfully presented the magnificence of Chinese landscape. He presented the five sub-colored inks of Chinese art with western pigments; the brushstrokes are strong with texture and mimic the texture changes of the rocks and landscape. The artist's unique style has brought out the flow and passing visually. "Spiritual Landscape" is completed in 2004, Zhou Chun-Ya employed thick ink and sophisticated colors; through a cold grayish color tone, think Chinese water ink lines are presented with the oil painting language of German neo expressionism. It is a declaration of the split of traditional landscape symbols and the fragile and weak texture. The art style has marched towards an outburst of enthusiasm to present the contemporary Chinese landscape spirit. The mind follows the object and the painting is created from the mind. Zhou ChunYa's oil paintings are liberal, like a flying dragon roaring across the canvas with speed that also reflects the changes of time. The lines and colors are full of changes, creating a faint atmosphere but still retaining the moisture and rhythm of water ink pigments. The painting brings out a spacious yet poetic feeling. The green mountains and foggy rain in "Spiritual Landscape" is firm and vast. The elegant splash of light green in the middle is indistinct and with deep meditation purpose. The depth is brought out by the surrounding rocks and at the same time presented a distance. The sophisticated rocks echoes with the artist personality and at the same time subvert the aesthetics values of landscape paintings.

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116 ZHOU CHUNYA (b.1955)

Sexual Passion 73 x 61.3cm Oil on Canvas Signed Zhou Chun-Ya in Chinese, dated 1995 With a certificate of authenticity from gallery

NT$ 2,800,000-4,000,000 US$ 92,400-132,000

周春芽情慾 1995 油彩畫布背面簽名：周春芽 1995 附畫廊開立之原作保證書

周春芽在石頭的結構和紋路裡發掘出人體的意象，完成於 1995 年的《情慾》，可視為「山石」系列的延伸。墨黑、沉鬱，卻流動著隱而不發的慾望，以渾厚多變的視覺元素和媒材質感呈現出朦朧的女體輪廓，諸如闊厚豐滿的肌膚、骨骼嶙峋的線條。然而，使用沉重黑色以描繪應該柔美、浪漫的女體，初見總令人震撼，然而周春芽於《花間記》的訪談中，曾如此解釋自己作品裡被視為「離經叛道」的特質：「我的作品形態和色彩無疑是離經叛道的，解構、消解乃至破壞的意義大於建設意義。

如果我的繪畫成立，那麼，那種『習以為常的正統視覺』將難以容忍我這肆無忌憚的挑釁，這讓我覺得非常興奮、過癮」。周春芽刻意為之的結果，這幅《情慾》裡的濃墨油彩幾乎結成的「硬殼」，覆蓋整個畫面，和《綠狗》保持大塊空白的方式大異其趣，顯示其繁複精采的藝術語彙。周春芽精彩地運用光線的轉折、視覺的伸縮，讓線條在空間中流轉、展開，使作品具有縱深的厚度，體積與空間渾然一體，讓作品出現三維的立體效果，使其飽滿而鮮活，筆法奔騰不羈仍不失韻律，予以觀者最強烈的視覺衝擊。

Zhou Chun-Ya discovered human imagery through the structure and texture of rocks. "Sexual Passion" was completed in 1995, it can be regarded as an extension of the「Mountain Rock」series. Dark black, gloomy and desire atmosphere contours the female with thick and versatile visual elements and materials. For example, the thick and voluptuous skin and contours. The artist used deep black colors to sketch gentle and romantic female figures. The initial gaze is always shocking; however, during the interview in "Blooming Stories", Zhou Chun-Ya explained that his art works are regarded as divergences. "My art form and colors are deviance. Destruction is greater than construction. If my paintings are recognized, then I don’t think the norm can tolerate my differences. This makes me very excited and content." The result of Zhou Chun-Ya's deliberation is the thick oil painting "Sexual Passion". A hard shell almost covered the entire painting, and it differs greatly with the large blank areas left in "Green Dog", it is a perfect representation of Zhou's complex art language. Zhou Chun-Ya skillfully utilized the reflection of lights, extension of the visual to make the line flow and expand to create a depth of the artwork. The size and space become into one to create a three dimensional effect. The atmosphere is thick and vivid; the brushstrokes are liberal but rhythmic to create the strongest visual impact.

192

ZHONG CHENG 中誠

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193

117 SHI CHONG (b.1963)

Monogatari - Water, Art and the Human Series 27 x 39.5cm Oil on Canvas Signed Shi Chong in Chinese, dated 2006 ILLUSTRATED: (1)"Monogatari - Water, Art and the Human" Shi Chong Collection , Blue Dreamland Gallery, Chengdu, Sichuan, China, 2006, Page 6 (2)"The Fine Arts World", Shanghai Brilliant Publishing House, China, April 2008, Page 6-7

NT$ 1,200,000-1,800,000 US$ 39,600-59,400

石冲物語－水，空氣和身體系列 2006 油彩畫布簽名：石冲 06 圖錄： (1)《物語 - 水、空氣和身體》石冲作品，藍色空間畫廊出版社，中國四川成都，2006 年，第 6 頁 (2)《美術天地》，上海錦繡文章出版社，中國，2008 年 4 月，第 6、7 頁

石冲是當代中國藝術圈中最負盛名與爭議的藝術家之一，其融合了行為藝術、裝置、古典油畫甚至觀念藝術等多重媒材的「繪畫」作品，不斷突破自己，乃至突破整個中國藝術圈對於西方前衛藝術的模仿和桎梏，為「當代中國繪畫」下了極為重要的定義，石沖歷年來的創作不但獲獎無數，更一度在北京的藝術拍賣會上，打破自己的拍賣行情。本件《物語—水、空氣和身體》是其系列作之一，非常具有衝突性地以「古典技法」作為創作手法，去打破觀者習慣性地面對女體「圓潤、完整、優美」的「古典想像」，女體在這裡被解構成某種肉色的片段物件，在其表面那些似水似油的液體之間更被模糊了其對於「繪畫」、「古典」的定義。《物語—水、空氣和身體》用寫實觀念的變化去破壞寫實繪畫的慣性，可以說，古典的寫實技法是石沖（選擇繪畫工具以質疑繪畫）創作的不充分條件，但同時（寫實手法）卻也是其創作的必要條件，人物在古典的技法中被簡化、解析成象徵符號，透過加入多重層疊的布、石膏等絕對的「物質性」肌理展現，重新破格解釋了關於身體（創作者的身體、模特兒的身體，甚至整個藝術觀念中出現的各種『身體』）的想像和象徵，體驗在某種將所有物質都于以陌生化的狀態之下，焦慮、緊張卻又不脫離古典審美機制底下的另一種「大生命」。 Shi Chong is one of the most famous and controversial artists in Chinese contemporary art. His art style incorporated performance art, installation art, classical old painting and even concept art. He continues to breakthrough and mimicked western avant-garde art to define a very significant meaning for "Contemporary Chinese painting." He has won numerous awards over the years and even broke his own bidding price in an action in Beijing. "Monogatari - Water, Art and the Human Series" belongs to one of the series that brings impact with classical skills and surprising the viewers with the classical stereotyping of female figures as "voluptuous, complete and elegant." The female figures are divided into segments of nude colors, and the oil-water like surface blurred the definition of painting and classical. "Monogatari - Water, Art and the Human Series" surpassed realist painting habits with realist concepts. Shi Chong employed classical realist painting as his inspiration but meanwhile realist skills are also essential in his art works. Human figures are simplified and analyzed into symbols through classical techniques and with layers of objective texture such as cloth and plaster, the artist re-interpreted the body (the creator’s body, the model's body or even any kind of bodies from the art concept. All objects experience a brand new environment, the tension and anxiety from within created a bigger meaning.

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118 ZHOU CHUNYA (b.1955)

Red Rock Series - Walnut High Back Chair (a set of four pieces) 40(L) x 47(W) x 110(H)cm French Walnut Seat Frame, Sponge, Silk Velvet, Brass Rivet Button (only one set) With a certificate of authenticity signed by the artist This power of attorney is to certify that this work can only be used by the artist for the authorization of fabric patterns, and for this work only.

NT$ 600,000-800,000 US$ 19,800-26,400

周春芽紅石頭系列胡桃木雕刻高背椅四件套組法國原產古董胡桃木雕刻框架高級海綿進口絲絨黃銅扣釘 ( 僅此一套 ) 附畫廊開立之藝術家簽名原作授權書註：此授權書茲證明本作品面料圖案為藝術家授權使用，僅此一件

196

ZHONG CHENG 中誠

《紅石頭系列胡桃木雕刻高背椅四件套組》是由歐洲進口、原產於法國的古董椅，與當代藝術家周春芽的畫作《石頭系列—雅安上里（三聯畫）》所結合而成，一套四件，獨一無二，不會再製。 1990 年代，周春芽從德學成歸國，並從德國新表現主義的角度理解的中國傳統繪畫，尤其是以文人畫獨特的「筆情墨趣」和「寄情山水」的概念與精神。所創作出的將藝術作品別開生面，他以強艷而大膽的用色重新詮釋了傳統文化中的清雅、人文題材，將之賦予了德國新表現主義熱情、強勁的獨特風貌。1994 年，他開始進行《石頭系列─雅安上里》的系列創作。大膽的紅色色調顛覆了傳統青山綠水式的刻板印象，顯得熱烈非凡、抽象神秘，色澤豐富，肌理繁複，深深展現了油畫語言的特長。而這個獨具意義的系列，也獲得 1994 年度的中國美術批評家年度提名展的殊榮。在此《紅石頭系列胡桃木雕刻高背椅四件套組》中，歐洲古董的含蘊沉積，搭配周春芽藝術作品中膨湃的當代爆發力，兩相結合，迸發出歷久彌新的美好姿態。

周春芽《石頭系列—雅安上里（三聯幅）》，1994 年

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黑棕色的手工雕刻胡桃木椅，是由歐洲巧匠運用傳統技藝雕鑿而成，歷經歲月洗禮，泛出沉澱色澤。

漫捲的花葉圍繞，妝點出哥德式的肅穆嚴謹。

路易十六式的方形楔塊接頭，美觀直線的轉折，刻上古拙花型，繁複中點綴質出樸之美。

"Red Rock Series-Walnut High Back Chair (a set of four pieces)" imported from Europe, the antique chairs were produced in France. The set of chairs are one of a kind and will not be reproduced. This is the collaboration between antique furniture and the rising Chinese contemporary artist Zhou Chunya's Painting "Red Rock Series on in Ya'an Triptych" 1990s is the year when Zhou Chunya returned home from his study in Germany. Taking what he learned from the German expressionists, Zhou gained a brand new perspective when looking at traditional Chinese ink paintings. He was especially captivated by the spirit of the old scholar style of "Playful Calligraphy" and "Thoughtful Landscape". Through these inspirations Zhou's art found a new direction, he uses bold colors to re-define the elegance of traditional scholarly subjects. Within his art a strong German expressionist influence shines through his display of passionate and bold technique. In 1994, he begins the "Rock series on in Ya'an" A fearless red layered in rhythm to create the traditional landscape, the work engages the viewers with the warmth of the color, and the mystery within the abstraction. The fullness in every color and the complex textures are all dedicated to Zhou's years of practicing and experimenting. Many Chinese art critics were so moved by his work, they even recommended the series for the honor roll award in 1994. "Red Rock Series-Walnut High Back Chair (a set of four pieces)" the antique European furniture, and Zhou Chunya's artwork creates a dynamic duo. The two directly contrast one another; the frames of the chair provide the elegant historical form and foundation, while the art depicted provides a representation of the new and raw voice of expression. The combination of the old and the new creates an extraordinary energy.

198

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

199

119 ZHOU CHUNYA (b.1955)

Green Dog Series - Beech Armchair 55(L) x 56(W) x110(H)cm French Beech Seat Frame, Sponge, Silk Velvet, Brass Rivet Button (one piece only) With a certificate of authenticity signed by the artist This power of attorney is to certify that this work can only be used by the artist for the authorization of fabric patterns, and for this work only.

NT$ 800,000-1,100,000 US$ 26,400-36,300

周春芽綠狗系列櫸木大扶手椅法國原產古董櫸木雕刻框架高級海綿進口絲絨黃銅扣釘 ( 僅此一件 ) 附畫廊開立之藝術家簽名原作授權書註：此授權書茲證明本作品面料圖案為藝術家授權使用，僅此一件。

200

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

201

"Green Dog Series - Beech Armchair" was imported from Europe and produced in France. The antique furniture joins forces with the signature "Green Dogs" series by Chinese contemporary artist Zhou Chunya. "Green Dog 2004 No.9" is originally a 200 x 250cm oil painting created in 2004; the artwork is both shocking and grand in size. The posture of the green dog demonstrates bold expression of freedom. Zhou Chunya uses minimal but precise brushstrokes to convey the energy in his work, the dog almost appears to be alive and "breathing" even "flying" beyond the frames. The freedom shown in the painting is in harmony with Louis the XIII style chairs which represents characteristics of prestige grace. Louis the XIII (1601-1643) of the house of Bourbon was the first to introduce comfort in furniture during the late Renaissance period, an important pioneer in the millstone of furniture design. The work "Green Dog Series - Beech Armchair" is lavishly styled, finding a perfect balance between nobility and comfort. Zhou's painting and Louis the XIII’s style armchair are made in different eras, yet they both inherent the quality of progressiveness. The green dog within the painting "Green Dog 2004 No, 9" extends his body in a prestige manner, providing a source of "life" to the antique furniture; through the rebirth of the antique, the overall piece translates contemporary elegance. 雕刻細緻的一爪獸腳，亦是路易十三時期喜愛的裝飾風格。

方形楔塊接頭，裝飾古樸花型。

路易十三風格的櫸木扶手椅，來自法國。延續古典時期的直線簡約，加入了對稱的浪漫曲線，就是法式巴洛克時期的風貌。手工雕刻的爵床葉裝飾，層層對開於寬大圓滑的扶手，挺實的靠背予人舒適依靠。

《綠狗系列櫸木大扶手椅》是由歐洲進口的法國古董椅，與當代藝術家周春芽最為著名的「綠狗系列」裡非常重要的畫作 ──《Green Dog 2004 No.9》兩相結合而成的美麗作品。創作於 2004 年的《Green Dog 2004 No.9》，擁有 200x250cm 的尺幅，氣勢宏偉。綠狗的動姿更是大膽而自由，純粹而大氣。周春芽通過簡潔動人的筆觸賦予了作品滿滿的生命活力，讓綠狗可以「呼吸」，甚至「飛翔」起來。而與之結合的古董大扶手椅，寬厚方正、莊重典雅，是法國波龐王朝 (Bourbon) 的路易十三世 (1601-1643) 風格的精品，在後文藝復興時代，路易十三世更是第一位將「舒適」元素融入椅子設計的創始者，可視為家具設計的重要里程碑。此件《綠狗系列櫸木大扶手椅》造形華美，舒適之餘仍不失王者風範，更難能可貴地是，這時空背景差異甚大、卻同樣動人的兩者，能夠毫無矛盾地完美契合。《Green Dog 2004 No.9》中綠狗飛身、挺立於天地的動感姿態，賦予了這張法國古董椅全新的生命，締造出這個雅緻而現代的藝術珍品。

底部中央加上 H 型的橫槓，是標準的路易十三時期慣用技法，為了防止椅腳因搬動而變形。

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203

120 ZHOU CHUNYA (b.1955)

Green Dog into Taihu Lake Stone 85(L) x 39(W) x 83(H)cm Bronze, AP 1/8 Signed Zhou Chun-Ya in Chinese, dated 2005, numbered AP 1/8 With a certificate of authenticity from gallery

NT$ 2,800,000-3,600,000 US$ 92,400-118,800

周春芽綠狗化成太湖石 2005 銅 AP1/8 簽名：周春芽 05 AP1/8 附畫廊開立之原作保證書

204

ZHONG CHENG 中誠

完成於 2005 年的《綠狗化成太湖石》，承續周春芽 1990 年代初期對太湖石的探索，並結合最為著名的「綠狗系列」，恣意洋溢著生命的律動，且兼具騷人墨客的風韻。周春芽一直對雕塑情有獨鍾，認為在雕塑純粹的結構、體積和形態構成的世界裡，沒有具體敘事的囉嗦與繁瑣，簡潔的形態更能體現造型藝術的內在品格，更具有普遍而恆定的象徵性。在此《綠狗化成太湖石》中，綠色的狗微微歪頭、低視的姿態，呈現出某種溫柔可親的特質。周春芽在雕塑中沿用他筆法的勁道與大膽的用色，肌理層疊、色彩濃鬱，並且融匯了「太湖石」與「綠狗」的肌理結構，在生命與非生命、具象與抽象之間來回脈動，動靜之間，張力互顯。那張揚著「爆發前的寧靜意境」的綠狗，彷彿時空凝結，微微低頭，就這麼化成一座遺世獨立、野趣奔放的太湖石。在藝術家刻意的經營下，擁有了濃重深厚的肌理效果和體量感，飽滿而填實，而太湖石原先在傳統文化中被賦予的認知與精神，也在周春芽的藝術語彙重新詮釋與解讀之下，再也無法回歸到純粹的東方文化想像中，而是充滿直覺、本能，並強調想像力的解放，是藝術家對萬千世界的體悟、抒發胸臆的結晶。 Completed in 2005, "Green Dog into Taihu Lake Stone" carries on the discovery by Zhou Chun Ya of the taihu stone in early 1990 and combined it into the most famous "green dog series". It reveals the flowing rhythm of life and an attractive charisma. Zhou Chun Ya was always fond of sculptures, he considers the structure, size and form have no concrete complications, the simple form can present the inner side of the artist and it symbolizes eternity. In "Green Dog into Taihu Lake Stone", the green dog slightly tilts its head looking down, the dog is gentle and friendly. In this sculpture, viewers can see the usual strong brushstrokes and bold colors; the layered texture and thick colors. Combining the texture of taihu rock and green dog, the style traverses between life and non-life; abstract and concrete; stillness and movement. The green dog represents "the calm before the storm"; it stills the time and gazing down and becomes a unique and free taihu rock. The artist deliberately created a thick texture and heavy effect; the sculpture is full and concrete which are exactly the characteristics of the taihu rock traditionally. With Zhou Chun-Ya’s translation and interpretation, he can no longer go back to pure Chinese culture; instead, it is full of instinct and innate ability. He focuses on liberating the imagination, and it is a realization and embodiments of the artist toward the world.

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205

121 XUE SONG (b.1965)

The Red Flag Fly West in the Wind 120 x 100cm Mixed Media on Canvas Signed Xue Song in Chinese

NTD 750,000-900,000 USD 24,800-29,700

薛松紅旗漫捲西風綜合媒材畫布簽名：薛松

「天高雲淡，望斷南飛雁。不到長城非好漢，屈指行程二萬。六盤山上高峰，紅旗漫捲西風。今日長纓在手，何時縛住蒼龍？」 ---《清平樂．六盤山》毛澤東薛松的作品具備思考性。火燒的各總書籍流行圖像，即有滅而再生、生生滅滅、滅滅生生的意思，又直接切入社會文化的焦點，把國際性的問題視覺化為我們日常性的省思對象。薛松在眾多世俗，完全商品化了的波普藝術泛濫時期，堅持自己的藝術的嚴肅性，保持了一種穩定的個人風格和嚴肅的藝術傾向。薛松在他的創作中把注意力轉向改編大師經典系列的自然延續，在重現作品的形式方面，薛松表面上忠實原作，極盡拷貝之能事，但作品融合了中國的傳統思想和當代影響，利用多種不同的材料去表達不同的意圖，因而顯得意味深長。

「燒剩下的灰渣我都不浪費，蘸了膠水，粘上去『勾線』。」 --- 薛松薛松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。《六盤山》為毛澤東在 1935 年 10 月所作的一首詞，征戰期間，翻越六盤山時的詠懷之作，抒發了「長纓在手」定當「縛住蒼龍」的革命豪情。薛松藉由圖像的結合，重現當年毛澤東登上六盤山主峰，面對西部的高天白雲，清朗秋氣，再凝望陣陣南飛的大雁，一抒胸中情懷，以閑遠歡欣之氣眺望又要開始的新的征戰，並

與蒙特裡安對話 NO.11 Dialogue with Mondrian NO.11

206

ZHONG CHENG 中誠

抒發雄心壯志之像，情景交織，渾然一體。 The sky is high, the clouds are pale, We watch the wild geese vanish southward. If we fail to reach the Great Wall we are no men, We who have already measured twenty thousand miles. High on the crest of Mount Liupan Red flags wave freely in the west wind. Today we hold the long leash in our hands, When will we bind the Dragon? ---Mount Liupan by Mao Ze-Dong Xue Song's artworks provoke the viewers to investigate. The burning and collaging of books and imagery, proclaims the concept of death and rebirth. His art directly visualized the fundamental question of life. Xue Song insisted on the seriousness of his art, rather than following the footsteps of commercialized Pop culture of his time. His artistic approach is both innovative and consistent. Xue Song incorporates classical masterpieces in his work as his inspiration. On the surface, it may appear to be mimicking, yet in fact, the masterworks is in dialogue with Chinese traditions and contemporary influences. Without restrictions for his medium, the artist creates a sophisticated composition that stimulates the mind of the viewers. For decades, Mount Liupan, was one of the most representative poems by Mao Ze Dong. It was sung in praise of the people. When Mao Ze Dong reached the peak of Liupan Mount, he looked down from above and realized that beneath the grand landscapes of Northern China lies the arduous journey of the long march. Now, everything is history, whatever happens to those who are still fighting in the south? After conquering 25,000 miles of difficult roads, nothing brings down the red army of soldiers; whom, created the new world. This emotional outburst inspired Mao Ze Dong to write this poem that has been passed down from generation to generation.

MODERN AND CONTEMPOR ARY ART

207

122 LUO ZHONGLI

羅中立

(b.1948)

比利時

Belgium

1996 油彩畫布紙板簽名：Luo 中立

38 x 52cm Oil on Canvas, mounted on Paperboard Signed Luo in English and Zhong-Li in Chinese ILLUSTRATED: "China Oil Painters, Luo Zhong Li", An Album of Landscape in Watercolor and Oil, China Academy of Art, Hangzhou, China, 2005, NO.352

圖錄：《中國油畫家．羅中立》水彩、油畫風景集，中國美術學院出版社，中國杭州，2005 年，編號 350

NT$ 800,000-1,200,000 US$ 26,400-39,600 「我需要一個量來錘鍊自己，累積經驗，而我始終以描繪農民鄉土題材為職志。」 --- 羅中立被譽為「二十世紀中國畫壇旗幟」的羅中立，出生於四川重慶，1968 年自四川美院附中畢業，畢業展上，以一系列描繪農民日常生活的《故鄉組曲》深刻表達對於鄉土的熱情。1980 年即以構圖宏偉、超寫實主義完成其代表作《父親》，精湛而深情地刻畫出中國農民的典型形象，撼動畫壇，不僅揭開了中國藝術史上「傷痕美術」的扉頁，更引領一股反思真相、追尋鄉土風情的寫實主義風潮。在該畫完成後的兩三年間，羅中立創作了一系列揭示社會問題的經典作品如《春蠶》、《歲月》等等，在屆時風起雲湧的美術發展中成為一面標幟，與當時藝文界大量的藝術創作組成了一波波宏揚理性、高揚人性的藝文浪潮，開拓一條關懷鄉土、人文主義的康莊大道。歸國後「打定十年不鳴，一面執行教鞭，一面推出以農村為題材的作品」，默默推動著鄉土繪畫的發展。歐洲的留學經歷，讓他堅定地把目光投向自己深愛的大巴山農村，在三十多年的藝術探索中，他走入了浪漫質樸的農村生活，也走進了大巴山農民的內心，並確立了自己魔幻與現實交織的獨特繪畫語言。此後的作品風格相較於《父親》時期，苦澀的批判意味已然幾乎殆盡，不變的是他依舊無保留地表現質樸鄉村人物的生活真實面。《比利時》創作於 1996 年，以粗曠、奔放深色線條，令畫面恣意脈動，將歐陸民風深刻寫實留影。羅中立善於捕捉基層、樸實的勞動人民的形象，把人物形象誇張，風格更加粗獷，在各個物體的刻畫上更加主觀。畫家往往是對景速記，寫生作畫，抓住在特定季節、光線、氛圍和心情中的眼前景物，並留下那一頃刻的感覺和感動。作為中國學院派實力人物的代表之一，今天的羅中立仍然是富有創造力的藝術家，不斷提煉著自我的藝術精神和風格，構成獨有的藝術圖式，亦形成了樸實有力的畫風。故因其風格獨特、散溢著濃烈藝術氣息的作品，深受中外藏家廣泛地推崇與蒐集。 Luo Zhong-Li, known as the "Flagship Artist of the 20th Century" in Chinese art history, was born in Chongqing, Sichuan province. Graduated from Sichuan art academy in 1968, Luo painted a series titled "Hometown" in which depicts the hardworking farmers and their passion for their land. He completed the hyper-realistic painting of “Father” in 1980s, the painting came as a shock to the art world, as it portrays the all the imperfections of traditional Chinese farmers. This masterpiece began a new chapter of "Scar Art" in Chinese art history, starting a realist trend. Two to three years later, Luo ZhongLi created a series of classics such as "Spring Silkworms" and "Days" which targets social problems. Luo was a true pioneer in the development of art history. He led several art movements to promote his humanistic concerns. "Belgium" was created in 1996, the bold and liberated dark contour lines stimulate the visual with a true presentation of the European folks. Luo Zhong-Li excels at capturing the lives of the poor and the working class. The folks are presented in an exaggerated manner; the style is both vulgar and bold. The artist quickly sketches the scene and captures the season, lights, atmosphere and emotions of what was presented before him. As one of the representatives of the Chinese art academy, Luo Zhong Li is still an active artist today who unceasingly breaks from traditions. He is known for his unique art composition that is both simple but powerful. His artworks are celebrated and collected worldwide.

208

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

209

123 XU BING (b.1955)

Stone Path: Ruined 100(L) x 58(W) x 16.5(H)cm Stone PROVENANCE: Acquired directly from the artist

NT$ 340,000-550,000 US$ 11,200-18,200

徐冰石徑系列：頹

「你要說的話是過去沒人說過的，在現有詞庫中還沒有的，你必須找到一種新的方式去說，從而擴展了舊有的藝術領域」 --- 徐冰。 1987 年徐冰開始了《天書》的創作，他花了三年的時間製造了四千多個無人能懂的字體，並讓這些文字以最大限度地像漢字而又不是真正的漢字，他依照康熙字典的筆畫順序，平行對位地編造假字，並用宋代的活字印刷術將這些字印成線裝書和長卷，讓觀者混淆在錯誤的書冊文字中，徐冰以阻絕溝通的方式來達到溝通，在充滿矛盾與抽象的表象裡，衝擊人們對文化的思考，進而打開更廣闊的思為空間。徐冰赴美生活後，因感受到不同語言的溝通問題，於是開始著手《新英文書法》的創作，他將英文字母以中國書法的形式重新編寫，發明了外形似漢字的英文單詞書寫方法，不同於《天書》的不可閱讀性，《新英文書法》是貨真價實的文字，藝術家結合兩種截然不同的書寫體，更為此寫了一套教育系統，讓各國人們都可提起毛筆，探討更廣義的文化經驗。《頹》為石徑系列作品中的其中一個石頭，徐冰將中國詩句英譯，並以新英文書法鐫刻單字在每個石塊上，石頭依序在樹林中蜿蜒成小徑，引導人們邊走邊讀，當路走完了，詩詞也畫下句點了。

石頭來源：現藏者得自藝術家本人

"What you are going to say is unprecedented and does not exist in the current language. You need to find a new form to present it and expand the current art world." ---Xu Bing. Xu Bing began "Book from the Sky" since 1987 and spent three years creating four thousand characters no one could understand. He made these characters similar to Chinese characters. He followed the orders of the Kang Xi dictionary and created these fake characters. With the Sung Dynasty removable type printing technique, he bind these characters into books and long scripts to confuse viewers. Xu Bing communicated with these communication blocks that are contradictory and abstract and creating an impact on how people view culture. He expanded the thoughts of the viewers. After living in the US, and encountering language barrier, he began "New English Calligraphy" creation, whereas he reconstructed the English alphabets with Chinese calligraphy and invented a writing technique that looks similar to Chinese characters. Unlike "Book from the Sky" that can't be read, "New English Calligraphy" are real characters. The artist combined two vastly different characters and created an education system which enables any foreigner to write and explore a wider cultural experience. "Ruined" is one of the rocks of the Stone Series. Xu Bing translated Chinese poems into English and carved each vocabulary onto each rock. The rocks line up into a small path in order to guide viewers to read and walk along. When they finish walking the path, they have also finished reading the poem.

210

ZHONG CHENG 中誠

124 JU MING (b.1938)

Dragon 52(L) x 16(W) x 33.5(H)cm Bronze, 8/20 Signed Ju Ming in Chinese, numbered 8/20, dated 1999 With a Certificated of authenticity signed by artist from Giotto Co., Ltd.

NT$ 400,000-600,000 US$ 13,200-19,800

朱銘飛龍 1999 銅 8/20 簽名：朱銘 8/20 '99 附吉優特國際股份有限公司開立之藝術家親簽保證書

1970 年代台灣美術在鄉土文學運動的推波助瀾之際，開始萌發「回歸鄉土，認同台灣」的訴求，企圖在動盪不安的社會氛圍中重新尋找本土的文化根基，朱銘此時也在藝術創作中提出了關於鄉土主義《十二生肖》系列。「龍」在東方文化上不僅象徵著良善、正氣與瑞兆，飛騰起的龍身活靈活現，昂首擺尾的姿態帶來正向光明的力量，更有地位崇高、令人敬畏與崇拜的別具意義在。根據神話傳說，人類始祖伏羲、女媧因為龍身人首，故被稱為「龍祖」。華夏民族的先祖炎帝、黃帝，在古籍傳說中都和龍都有密切的關係。古往今來，中華文化下帝王自稱為「真龍天子」，華夏子民亦自稱為「龍的傳人」。此件《飛龍》的創作靈感來自於朱銘對生活與自然的觀察，作品用線條刻劃簡潔利落，並以大塊面的切割方式，展現龍的粗獷與令人為之震懾的威嚇感。作品表現深藏東方之精神性，融合傳統與現代的獨特藝術表現，靈活流暢的雕刻線條，更使《飛龍》的韻律感油然而生，活靈活現。 Encouraged by the nativist movement in 1970s, artists began to pursuit a concept of "returning to the rural and recognize the Taiwanese identity." The artists intended to search for the cultural foundation under the turbulent atmosphere in society. Ju Ming presented "Chinese Zodiac" series related to nativism. The dragon is a metaphor for pureness, righteousness and a sign of luck. The flying dragon is vividly presented that brings a bright future, it also represents nobility and respect. According to ancient Chinese mythology, Fuxi and his sister Nuwa are presented in the form of a dragon and therefore known as "the ancestors of the dragon". The great emperors such as Yan Di, Huang Di were also greatly related to the dragons. Since ancient times, Chinese emperors regard themselves as the son of the dragon, and the people regarded as the descendants of the dragon. Inspired by the observation of life and nature, Ju Ming created "Dragon". The simple and clean cut lines with big surfaces represent the breathtaking masculinity of the dragon. The artwork is the embodiment of Chinese philosophy that blends in traditional and the contemporary. The flowing and skillful lines enabled "Dragon" to look more lively and true to life. MODERN AND CONTEMPOR ARY ART

211

125 JU MING (b.1938)

Living Series a.8(L) x 9(W) x 20(H)cm b.9(L) x 7(W) x 14.5(H)cm c.8(L) x 10(W) x 27.5(H)cm d.8(L) x 9.5(W) x 15(H)cm e.10(L) x 8(W) x 14(H)cm f.8.5(L) x 8.5(W) x 20(H)cm g.6(L) x 5.5(W) x 23(H)cm Pottery Signed Ju Ming in Chinese, dated 1980

NT$ 1,500,000-1,800,000 US$ 49,500-59,400

朱銘人間系列 1980 陶土簽名：朱銘 '80

a. b. c. d. e. f.

212

ZHONG CHENG 中誠

歷經《太極系列》單色、單純的創作後，朱銘以充滿人文情懷及生活情調的內蘊，賦予《人間系列》世俗樣貌多變的百般姿態，表達出人世間的繽紛情景。此系列作品最初藝術家以木頭來展現粗曠的氣魄，而後發展至陶土，再從由陶土帶來的靈感衍生出海綿及不鏽鋼的嘗試，其中陶土便可說是朱銘《人間系列》創作媒材實驗的基礎。他以雙手為工具，靠著對陶土的自然感受捏塑出陶的形態，在快速的捏、扭、拍、黏下，人物的頭部、身軀、衣著等簡單形象因應而生，不拘的造型不被基本程序所束縛，表面的裂紋和粗粒真正展現出陶土的本質，不加修飾的質樸美感與刻意省略的人物細節，讓他的陶塑散發出自然生動的多樣情緒，就如朱銘所說的「縱手放意，無心而得」，他解釋道：「所謂『無心』，就是沒有經過思考，這是我的主張，在創作中，不必想，也不可以想！不必想，

會維護住創作的單純性，因為它直截了當；不可想，則堅守了創作的嚴肅性，因為它不變質。」《人間系列》是朱銘作品重要的蛻變，若太極系列蘊涵了人類的宇宙觀，人間系列則表達世間喜怒哀樂的面貌，兩者都是藝術家經年累月的成績，而其創作出的豐富雕塑，切實為他締造一個意蘊飽滿的異想世界。

MODERN AND CONTEMPOR ARY ART

213

126 JU MING (b.1938)

Living Series 27(L) x 35(W) x 58.5(H)cm ( 含底座 12cm) Pottery, Glaze Signed Ju Ming in Chinese, dated 2003 With a certificated of autheneicity from Nonprofit Organization Juming Culture & Education Foundation

NT$ 850,000-1,000,000 US$ 28,100-33,000

朱銘人間系列 1982-1986 陶土釉料簽名：朱銘 2003 附財團法人朱銘文教基金會開立之原作保證書

朱銘師事楊英風，卻走出了和老師完全不一樣的路。在奠定了台灣現代雕塑地位、大受國際好評的《太極系列》後期，朱銘突破了自我的格局，創造了新一批的雕塑作品《人間系列》，如同其在創作自述裡所言，「我認為必須刻一些生活的東西……『人間』比較生活化，製作態度也比較接近現代雕刻的理念—隨興而自由。」正因人間百態，朱銘運用了各種不同的媒介，如木雕、海綿、青銅、陶土、保麗龍、不鏽鋼等等材質，來刻畫世間各行各業、喜怒哀樂皆有所不同的各式人物。如果說《太極系列》是對於人精神性的動態掌握與簡化，「意」大於「藝」（工藝），尺幅巨大以利掌握和呈現「無形」的天地精髓，那《人間系列》就是回歸到現實本身，以一種極為入世的眼光，與真人同高（甚至更小）的比例，細碎而綿長的、材質多樣化的產出，以「藝」帶出「意」，用更加樸質的角度貼近觀眾的心理。因此，除了美術館，我們更可以在臺北街頭發現《人間系列》的蹤跡。而自《人間系列》最早期的「三軍」以全彩呈現開始，《人間系列》發展至後期，朱銘更捨棄了對於顏色的再現使用，僅僅以白色，或甚至直接呈現材質本身的顏色，使作品更能被觀者專注於本體的造型與動態（此件人間系列作品即為陶土捏製）。眾生本來即有百態，對朱銘而言，顏色到最後只是人與人之間的不同包裝，唯有透過觀察與深刻的創作，方能將世上形形色色「人」的本質，以他們最純粹的樣貌，透過修行般的一斧一鑿，從材質之中解放出來。

214

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

215

127 YANG SANLANG (1907-1995)

Riverside 63 x 75.5cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from Yang San Lang Art Museum

NT$ 1,500,000-2,000,000 US$ 49,500-66,000

楊三郎河畔油彩畫布簽名：S. Yang 附楊三郎美術館開立之原作保證書

楊三郎於 1907 年生於新北市，16 歲時不顧家人反對獨自乘船赴日學習美術工藝，並在 25 歲時至法國持續留學深造，在 1927 年時，楊三郎以作品《復活節時候》入選第一屆台展，於畫壇展露頭角。 1932 時與畫家劉啟祥一同至法國留學，並於歐洲各大博物館瀏覽、觀摩所藏名畫，次年便入選法國秋季沙龍。載譽返台的楊三郎，熱誠地開拓台灣美術風氣、推動文藝界的整合與規劃，並偕同廖繼春、陳澄波、李梅樹等美術界巨擘創立「台陽美術協會」，策劃藝文展覽，網羅當時首屈一指的藝術家，成功推動了台灣新美術運動。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，贈予當時的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。台灣油畫界一帶大師張三郎，個人崇尚自然，作品以風景畫為多，人物為少。由於天性追求天真與熱情，一腳踏進美術殿堂便再也沒有回頭過。對他而言，自然界多采多姿的變化，款擺出源源不絕的生命與姿態，可以隨心去畫，而且完全負責。楊三郎以西洋畫見長，在不同生命階段，不斷累積生命能量，畫風亦不停成熟突破，為畫壇提供無止盡的新意。因善於描繪大自然環境中自然展現的光影躍動，故因此被歸類於強調光線變化的印象派。《河畔》畫面均衡富足，楊三郎以巧妙的空間構圖，創造出磅礡鮮活的層次感受。特以流淌的溪水貫穿中央，襯托出遠景的密林、中景的農舍橋墩，精采地架構出動靜的對照性。而楊三郎浪漫細膩的寫實筆調，讓畫面洋溢著一種靜謐典雅的氣質、幽邃美好的鄉野風光。 Yang San-Lang born in 1907 is one of the first generation Taiwanese artists. He has solid foundation in painting skills and devoted to varies art movements that greatly influenced the art history. He is also known as the "Father of Art Movement" in Taiwan. 1927, his artwork "Easter Time" was exhibited in the first Taiwan Art Exhibition and that was when he first became famous. In 1932, he travelled to France with painter Liu Qi-Xiang and observed all masterpieces in major museums in Europe. The following year, he was elected to participate in the France Autumn Salon. He returned to Taiwan with great honors and enthusiastically led Taiwanese art and advocated integration and planning of the art world. Along with Liao Ji-Chun, Chen Deng-Po and Li Shu-Mei, they founded "Taiyang Art Association". He planned and held art exhibitions and collected artworks from major talents at that time. The Taiwan New Art Movement was a success. When the chairman of Kuoming Dang visited China, he brought along Yang San Lang's paintings as a gift to the National Chairman Hu Jin-Tao. It serves as the evidence of the importance of Yang in Taiwanese art development. "Riverside", the solid layers of oil paint and the warm color tone enriched the humanistic feeling of the painting. Despite liberal brushstrokes, the reflection of lights presented the water, architecture and background sky to be rich and full of layers. The white reflection at the bottom extends to the middle until a stone bridge. Following the gaze and looking up from the architecture at the furthest, it connects to the sky- a seemingly effortless presentation in impressionism. If it were not for the artist's solid foundation in live sketching, a presentation of the imagination is almost impossible. In other words, only through continual practicing and self-improving, the artist can paint with confidence.

216

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

217

128 YANG SANLANG

威尼斯所見

Seeing in Venice

油彩畫布簽名：S. Yang

60.5 x 50.2cm Oil on Canvas Signed S. Yang in English ILLUSTRATED: "YANG SAN-LANG", Liang Gallery, Page 6 With a certificate of authenticity from Yang San Lang Art Museum

NT$ 750,000-1,000,000 US$ 24,800-33,000

218

楊三郎

(1907-1995)

ZHONG CHENG 中誠

圖錄：《楊三郎》尊彩國際藝術中心， 2011 年，第 6 頁附楊三郎美術館開立之原作保證書

楊三郎於 1907 年生於新北市，16 歲時獨自乘船赴日學習美術工藝，並在 25 歲時至法國持續留學深造，學成返台後積極推動台灣美術發展，與前輩大師陳澄波等十四人組成「赤島社」。由於天性追求天真與熱情，一腳踏進美術殿堂便再也沒有回頭過。台灣油畫界一代大師楊三郎，個人崇尚自然，作品以風景畫為多，人物為少。對他而言，自然界多采多姿的變化，款擺出源源不絕的生命與姿態，可以隨心去畫，而且完全負責。 Yang San-Lang is one of the famous Taiwanese artists in the beginning of the 20th Century, equally famous with Yan Shui Long, Li Mei Shu, Liao Chi Chun, and Chen Deng Po, he is also one of the founders of the Tai Yang Art Association. Coming from a noble family, Yang San Lang received art education in Japan in his teenage years, later went to France to continue his studies in his 40s, his artworks are deeply influenced by the western art and sceneries are his main themes with "life sketching" as the most prominent concept.

129 LIU JIUTONG (b.1977)

Watery Town in China Series 100 x 80cm Oil on Canvas Signed Liu Jiu-Tong in Chinese, dated 2009

NT$ 700,000-1,000,000 US$ 23,100-33,000

劉玖通中國水鄉系列 2009 油彩畫布簽名：劉玖通 2009

「在我的認知中，山水是有生命靈性、有姿態表情的，我喜愛與山水相處互動、對望交談，然後把山水和自己心靈的交感觸動，轉化為畫布上的色彩圖像。」 --- 劉玖通劉玖通，以其東西合璧的抽象藝術語彙、氣勢磅礡的創作力道，在畫壇嶄露頭角。其酣暢淋漓的藝術風貌備受國際藝壇青睞，他擅長將渾厚濃重的油彩線條細密堆疊，並以刮刀技法的平塗揮灑，讓作品擁有堅實立體、詩意澎湃的畫貌。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。此幅《中國水鄉系列》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，劉玖通以渾厚濃重的油彩線條堆疊、刮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。

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130 BERNARD BUFFET

畢費

(1928-1999)

瓶花

Vase de Fleurs

1958 油彩畫布簽名：Bernard Buffet 58

65 x 46cm Oil on Canvas Signed Bernard Buffet in English, dated 1958 PROVENANCE: David et Garnier Gallery, Paris Christie's New York 1993 Spring Auction, Lot 318 Private Collection, Australia

來源：巴黎 David et Garnier 畫廊紐約佳士得 1993 年春季拍賣會 Lot 318 澳洲私人收藏

NT$ 2,200,000-3,600,000 US$ 72,600-118,800

畢費出生在有藝術搖籃之都美稱的巴黎，在青年時期便已才華盡顯，20 世紀 50 年代聲名遠播整個歐美藝壇。 1948 年當時僅 20 歲的畢費，榮獲聖普拉希畫廊頒佈之「藝評獎」，一舉成名。1956 年他被世界著名雜誌《巴黎競賽》以專題報導，並形容他為「年輕百萬富翁藝術家」。1958 年舉辦第一次回顧展時，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三島的駿河町成立「貝納德．畢費美術館」，並尊稱其為「法國的藝術教宗」，畢費的成就受到極大的肯定，此座美術館至今已收藏畢費作品達上千張以上。畢費個性沉默寡言，但其畫作卻出奇豐富。因成長於飽受戰火時期的歐洲，深諳社會的醜陋及人生的哀愁苦悶，並將其反映在作品上，常以憂鬱的小丑人物、灰色調的都會建築、嚴峻的宗教故事入題。畢費為「反抽象主義」中「具像繪畫」的代表人物之一，而貧苦、失血的色彩，充滿哀愁的傳達方式，更形成了畢費在「表現主義」上的新面貌。作品常見以黑色勾勒瘦長粗曠的有力輪廓與線條，搭配上白灰底色或是強烈色調的黑黃紅，具有強烈個人風格，張力十足的表現手法，向來能撼動人心，不少台灣前輩藝術家亦深受其影響，包括席德進、李石樵等知名畫家。《瓶花》創作於 1958 年，堅韌有力的剛勁線條、渾厚恣意的筆觸勾勒出整體輪廓，雖是靜態的景物，卻隱隱流露著不安分的律動感。僵直的粗黑色線條刻劃瓶花型態，向上伸展的枝葉彷彿欲衝破界限的限制，整體布局帶給觀者強烈的視覺衝擊。背景以褐黃色調大面積的堆疊，甫以紫藍的花朵，與鮮艷的綠葉加強對比襯托，散發著一種耐人尋味的蒼涼與蕭瑟，增強畫作的感染力。畢費以日常生活之景，影射社會下的真實面貌，情感深刻反而更能直指人心。 Buffet was born in Paris, known as the birthing bed for art and was recognized for his talents in his early teenage years throughout the 1950s. At the age of 20, he was awarded with the Prix de la Critique in 1948 and became a well- known talent in the art world. In 1956, he was interviewed and reported by the world famous magazine "L'introduction brève" and described as "the young millionaire artist". In 1958, he held his first retrospective exhibition and was described as “the Successor of French Expressionist Artist". In 1973, the "Bernard Buffet Museum" was founded by Kiichiro Okano, in Surugadaira, Japan and he was respected as the "French Art Pope", which were evidence of his establishment and collects thousands of Buffet’s art works. "Vase de Fleurs" was created in 1958, the stern and powerful lines; thick and liberal brushstrokes bring out the entire contour. Even though it is a still object, it reveals an unsettling rhythm. The still and strange dark black lines form the vase's form, the upward stretching branches look like they are going to break through the barrier giving the viewers a strong visual impact. Large scale of brown is piled in the background and then with blue-violet flowers and vivid green leaves to bring out the contrast. The atmosphere is lonesome and soughing which make the painting more influential. Buffet painted from an ordinary daily life to reflect the reality of society. The affection is deep and straight into the viewers’ hearts.

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131 JEFF KOONS (b.1955)

Balloon Venus Dom Pérignon 32.5(L) x 35.5(W) x 61.5(H)cm High chromium stainless steel with transparent color coating

NT$ 750,000-1,000,000 US$ 24,800-33,000

傑夫．孔斯氣球維納斯 2013 不鏽鋼透明色料粉紅香檳 (Rosé Vintage) 品牌 Dom Pérignon

222

ZHONG CHENG 中誠

被譽為 20 世紀最具影響力藝術家之一的傑夫．孔斯，1955 年出生在美國賓夕法尼亞州。在其作品中，擅長從大眾文化間抽取物件及印象，在將之重新組合詮釋，他從心理層面去解析大眾心理，利用極具戲劇性的手法與淺意識中的想像組合在一起。並將「俗艷」、毫不遮掩、刺激感官的大眾商品，藉由消費行為與話題操作，成功創造嶄新藝術型態。擅長製造話題及推銷自我的孔斯，認為「吸睛」就是作品創造的目的之一，有人認為他的作品過於粗俗、譁眾取寵，亦有人認為他走在時代尖端賦予藝術不同的精神。昆斯曾自言：「我做的，其實就

是如果披頭四 (Beatles) 是藝術家的話，他們會做的作品。沒有人會說披頭四的音樂上不了檯面，因為他們的音樂符合了大眾的品味，而這正是我想做的。」《氣球維納斯》為傑夫．孔斯與全球頂級香檳品牌「香檳王 (Dom Pérignon)」的跨界合作，將其自 2008 年開創的大型雕塑「氣球維納斯」再次重新打造，設計成可精準容納香檳瓶身的佳釀包裝。《氣球維納斯》作為「古代 (Antiquity)」系列作品之一，靈感來自於舊石器時代雕塑「維綸多爾夫的維納斯 (Venus of Willendorf)」。以鏡面反光的妖嬈曲線展現特殊魅力的《氣球維納斯》，與香檳王 2003 年份粉紅香檳 Rose Vintage 共同詮釋陽剛與柔美的對立與共生，更顯玩味，經典創意十足。全球僅發行 650 組，限量發售。

Recognized as one of the most influential artists in the 20th Century, Jeff Koons was born in Pennsylvania US in 1955. He excels at finding objects and impressions from common culture and then combining them in a different translation. He analyzed the psychology of the mass and combined dramatic techniques and imagination of the subconscious together. He successfully presented an avant-garde art form through consumerism and popular topics to present popular frippery products. An expert in creating topics and self-marketing, Koons believes that an attention getter is the purpose of art creation. Some consider his artworks too vulgar and claptrap; some things that he is the pioneer in a different art spirit. Koons said "if the Beetles were artists, they will create what I am doing now. Nobody will say that their music isn’t up to par because they cater to the mass and this is exactly what I’m aiming for." "Balloon Venus Dom Pérignon" is a crossover collaboration with Dom Pérignon, Koons rebuilt his big sculpture “Balloon Venus Dom Pérignon” that was created in 2008 and designed it into a container perfect for the Champaign. "Balloon Venus Dom Pérignon" is one of the antiquity series that was inspired by the Venus of Willnedorf of the old stone age sculpture. Through the mirror reflection of Balloon Venus’s enchanting curves, the artist created a contrasting yet harmonious translation with Rose Vintage of 2003. It brought out a more interesting approach that is full of creative ideas. A limited 650 sets worldwide sold exclusively.

MODERN AND CONTEMPOR ARY ART

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132 PIERRE FERNANDEZ ARMAN (1928-2005)

La Phantome 50(L) x 45(W) x 130(H)cm Iron, 7/8 Signed arman in English, numbered 7/8 With a certificate of authenticity from gallery

NT$ 650,000-850,000 US$ 21,500-28,100

阿曼自由女神 2000 鐵 7/8 簽名：arman 7/8 附畫廊開立之原作保證書

出生於法國尼斯的阿曼，乃是少數仍在世即被寫入西洋藝術史的藝術家之一，其創作強調「對真實事物重新感覺和認識的方法」，為法國「新寫實主義」(Nouveau Realisme) 的創立者與代表畫家。二十世紀中期，當歐洲藝壇尚由抽象藝術主導之時，阿曼卻在參觀了達達藝術家史維特茲 (Kurt Schwitters) 的展出後，轉而以物體為主的創作型態。藉由切割物件後再堆積的創作方式，將日常生活中所熟悉的、消費性的物品，以不同方式保存下來，更將原有的事物賦於新的面貌與意義，進而發掘物體潛在的功能。前法國總統席哈克 (Jacques René Chirac) 讚譽其「阿曼是一位孜孜不倦的創作者；對當代藝術的貢獻是非常巨大而深遠的。」「集合藝術」被限定為指包含在箱子或畫框內實際物件的組合。阿曼是 50 年代集合與新寫實主義的代表。在這一波戰後反傳統反美學的思潮不僅影響了當代的美學體驗，更啟發現代觀念藝術的發展。自由女神像，又稱「自由照耀世界」，位於美國紐約附近的自由島。雕塑表達了對美國新移民的歡迎，也成為美國和自由的標誌。《自由女神》外表的設計大膽而簡潔清楚，沒有過分刻畫細節，強調手舉的火炬、頭帶的傘狀帽與手持的美國獨立宣言，同時小心對待放大了的細節及其帶來的多樣性。通過對形式的片狀切割與重疊，使雕像整體具有概括性的特徵，產生類似於速寫般的感覺。

Arman, born in Nice, France, is one of the few artists being written into western art history during his lifetime. His artworks emphasize on a new feeling and approach towards reality and objects. He is the founder and representative artist of the French Nouveau Realisme. During the mid-1900s while abstract art is the mainstream in the European art world, Arman began creating concrete objects after visiting the exhibition of the Dadaism artist Kurt Schwitters. Through dissecting and accumulation, the artist will be able to give a new form and meaning to the once familiar consumerism objects and preserve them in different ways. The artist can also discover the objects' potential use. The former French president Jacques Rene Chirac honored him as a diligent creator and has a prominent influence on contemporary art.

224

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MODERN AND CONTEMPOR ARY ART

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133 SHI LIFENG (b.1968)

Childhood 192 x 130cm Oil on Canvas Signed Shi Lifeng in English and dated 2006 ILLUSTRATED: "Century Impression" Oil Painting Nominate Award - Chinese Art Magazine, Shanghai Suo Mei Art Gallery, Dec 2006, Page 15 EXHIBITION: "Century Impressions" Oil Painting Nominate Award - Chinese Art Magazine, Shanghai Suo Mei Art Gallery, 2006.12.16-12.26

NT$ 300,000-500,000 US$ 9,900-16,500

石立峰童年之一 2006 油彩畫布簽名：shi lifong 2006 圖錄：《印象．世紀文本》油畫提名展，中國美術雜誌社，上海索美畫廊，2006 年 12 月，第 15 頁展覽：「印象．世紀文本」油畫提名展，中國美術雜誌社，上海索美畫廊，2006 年 12 月 16 日 -12 月 26 日

石立峰以 80 年代社會主義現實為出發點，以「紅人」系列表達中國當代藝術中的個人主義，以具批判性的紅色為概念，隱喻當今中國政治及社會上各種悲喜交集的生存矛盾，以及人類命運的升遷和沉浮。《童年之一》以充滿動力的一群紅色人偶為主導，看上去沒有具體年齡、職業、性格特徵，他們成群結隊地奔跑、跳躍、攀爬和墜落，為尋覓希望鋌而走險，試圖著擺脫現有的困境或者絕境。似而努力向上的正面力量，細細品來卻頓感箇中的困頓與掙扎，不由得發人深省。

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134 HSIAO CHIN (b.1935)

Perpetual Youth 79 x 110cm Acrylic on Paper Signed Hsiao in English and Chin in Chinese, dated 2011

NT$ 600,000-700,000 US$ 19,800-23,100

蕭勤永久的青春 2011 壓克力紙本簽名：Hsiao 勤 2011

「對我來說，人生每個不同的階段是一種『輪迴』，離開了這裡，還有另一處。像似一個圓般的，是一種非時間性、物質性的境界。」 --- 蕭勤以極廣泛的創作面貌和多元的媒材運用，蕭勤嘗試變化各種創作的可能性，並將東方哲學中靜謐、樸素的生命觀，融入其中，藉此探索自我內在心靈，展現出不同於西方現代主義的抽象藝術。蕭勤認為，其創作慣始於捕捉「一」，再漸而將其成熟變為「一切」，他夢想著一個沒有空間的空間，能打破平面的限制，以展現生命之能量，他說：「人們可

在有限的空間中學習，並走向達到一種無限大的能量和探索，超越這個時間與物質的世界、來瞭解生命更深刻的意涵。」藝術家在有限的畫布上轉化出無限的宇宙能量，在自然隨意的意境中，形構出流暢、瀟灑又自如的形式，色彩內斂而飽滿，大塊留白呈現出浩瀚無際的空間，體現了道家及玄學之空靈狀態和精神。

MODERN AND CONTEMPOR ARY ART

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135 CHEN SHUJIAO (b.1951)

白衣觀音

Guanyin in White

1997 膠彩紙本簽名：淑嬌敬繪藝術家鈐印：陳

65.5 x 50cm Gouache Color on Paper Signed Shu-Jiao in Chinese With one seal of the artist

NT$ 140,000-220,000 US$ 4,600-7,300

228

陳淑嬌

ZHONG CHENG 中誠

陳淑嬌 1983 年開始師承謝峰生學習膠彩畫，曾授教於劉啟祥、林玉山、郭雪湖、沈哲哉、王守英等名師習畫，並於東海大學美術系接受林之助之指導。陳淑嬌擅長仕女膠彩畫，作品將傳統繪畫基礎及現代藝術的理念相互融合，筆觸極為細膩，用色典雅，具有中國畫工筆之美，多次在台灣主要美展獲獎，曾在國內外舉行許多畫展，與海外藝術界進行國際文化交流，成就斐然。《白衣觀音》此尊觀音著白衣，佇立在蓮池之上，身著白袍顯示聖潔、淳淨的菩提之心，其姿儀悠閒自在，面部慈眉善目，既神聖又慈祥的流露出肅穆莊嚴之氣度，可敬可親，將慈光照耀世人。陳淑嬌賦予藝術嶄新的生命，以脫俗自在的姿態呈現善的本質，讓觀者意識中自然孕出一股祥和的自在感。

136 YU PENG (1955-2014)

New Sight For Lohan 22.5 x 16.5cm ( 書本 Book) 7.5 x 5.4cm ( 畫面 Image) Album of 24 leaves, Ink on Paper

NT$ 100,000-200,000 US$ 3,300-6,600

于彭以衝突、率真的風格，在中國水墨畫中開啟了全新的領域。他在繪畫中，展現了無與倫比的現代性與全面性，並體現了傳統文化與當代生活的融合，于彭認為，歷史本身就是一種緬懷，而他落實於日常生活狀態中的復古，便是一個遙想、思念歷史的具體行動：「對我來說，這種生活方式和風格，

是一種選擇；而我也相信，實踐出來的東西，就有一定的說服力—有這樣的生活，生命才有這樣的律動，而我的創作也必然和生活息息相關。」其遺世獨立、超然物外之性格，打造了如戲劇般的社會形象和生命經驗，他說：「我存在的價值，就是讓自己開心就好。」

于彭羅漢新解二十四開冊頁

MODERN AND CONTEMPOR ARY ART

229

137 PU JIN

(1893-1966)

Calligraphy 88.5 x 31.5cm Ink and Color on Silk Inscribed and signed in Chinese With seals of the artist

NT$ 180,000-360,000 US$ 5,900-11,900

溥伒伯樂相馬圖彩墨絹布款識：圉人爭喜得驊騮，撥入天閒早見收。今日有誰憐駿骨，西風沙苑蒺藜秋。雪齋溥伒藝術家鈐印愛新覺羅・溥伒是道光皇帝的直系後人，也是皇族出生的畫家中，成名較早的一位。他幼年時飽讀詩書經史，能文善賦，長於書畫，加上在宮中有很多機會觀摩珍貴藏畫，故其山水常以古代名格為母本，承襲了前輩畫家的某些特色。溥伒在民國時期以畫藝聞名於北京藝壇，他的山水、花鳥、人物、鞍馬均極具風采，用筆純熟、筆墨清新，無論是山林樹木、河川瀑布、廟宇人物皆能得古人之精要，綿密工致、恬淡自然的風格則保留了中國傳統的繪畫意境，呈現出典雅而溫和端莊的藝術氣質，以及對悠然平淡的理想生活之追求。

230

ZHONG CHENG 中誠

138 SUN CHIACHIN

孫家勤

(1930-2010)

仕女圖

Lady

彩墨紙本款識：一鳴先生方家教正山東孫家勤畫藝術家鈐印

24.3 x 27.7cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

孫家勤自幼便習畫奠定紮實基礎，少時曾師從「四友畫舍」陳林齋啟蒙其人物畫，另外也學習山水、花鳥、走獸。他在戰亂後輾轉至台灣入師大美術系就讀，並在留校任職期間與好友喻仲林、胡念祖共創「麗水精舍畫室」，以傳遞文化、培育後進為使命。在他於師大任教十一年後，孫家勤毅然決然遠赴巴西與張大千習藝，是張大千的閉門弟子，他以繼承和光大「大風堂」藝術精神為己任，人物、山水、花鳥與敦煌佛畫更是無所不精，承古人之底蘊而開創傳統水墨的新思維。《仕女圖》為孫家勤早期作畫風格，他當時專攻國畫人物，畫風清新秀雅，筆觸細膩脫俗。藝術家以其堅實根柢及剛勁筆力，決定性地直接賦予女子形象、質感與神韻，如出蠶吐絲的細緻線條，勾勒出畫面的雅緻氣韻。

MODERN AND CONTEMPOR ARY ART

231

a. b.

139 HU NIENTSU (b.1927)

山水

Landscape

a.1965 b.1968 水墨紙本 a. 款識：一鳴吾兄漢琦小姐嘉禮乙巳春月益陽胡念祖當賀藝術家鈐印 b. 款識：一鳴吾兄雅正戊申十月胡念祖徐瑩戲寫於無名巨谷藝術家鈐印

a.47.2 x 81.5cm b.41.5 x 59.5cm Ink on Paper a. Inscribed and signed in Chinese With seals of the artist b. Inscribed and signed in Chinese With seals of the artist

NT$ 160,000-320,000 US$ 5,300-10,600

232

胡念祖

ZHONG CHENG 中誠

胡念祖，字心原，號桃花江遊子，又號石牛老牧，奉國畫大師黃君璧為師，研習山水畫藝，並得溥心畬指點北宗山水畫法，嗣後開創自己獨特的風格，曾與好友孫家勤、喻仲林合組畫室，由臺靜農取名為「麗水精舍」，成為台灣首創的工作畫室，彼此相互切磋畫藝，貢獻於水墨教育。胡念祖創作理念為朦朧看世界、意象寫山河，不重形似、加求神韻，領悟出墨韻與筆韻首重氣韻，吸取現代創作概念同時也保持著傳統筆墨精神。胡念祖精研西洋畫，中西融合，古今貫通，筆墨功力紮實，將渾然天成的自然山水景觀為創作題材，其蒼渾深秀、巍峨傲岸的百態風情，在古典氣韻之中蘊含了現代風格，淋漓盡致表現於紙上，創造出山高水長、筆墨飛揚，令觀者心神嚮往的水墨世界。

140 HUO CHUNYANG

霍春陽

(b.1964)

逸音勻

Calligraphy

2004 彩墨紙本款識：瑞鳥憐幽石綠筱媚細竹甲申春陽作藝術家鈐印

96.5 x 52.5cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist ILLUSTRATED: "The 16 artist of Contemporary Chinese Paintings collection", hebei fine arts publishing house, China, 2011, Page 120

圖錄：《當代國畫十六大菁英作品集》，河北美術出版社，中國河北， 2011 年，第 120 頁

霍春陽，生於河北清苑，畢業於天津美術學院，並留校任教。霍春陽傾心元、明、清的文人畫傳統，精研歷代中國哲學思想，經過對中國傳統文化深刻的領悟以及對自然之美的悉心體會，潛心追求空靈的藝術境界，情感乃至於學識修養，以淨化人的心靈為創作宗旨，作品被各界譽為「當代逸品」。創作上，主攻寫意花鳥，運用熟練的筆墨能力，以簡單寧靜的特色卓然自立，融入內心的思想和情懷，顯示厚重豁達的性格及人格修養，達到一種超越藝術語言和物質世界的自由安詳，作品散發出超凡脫俗的意境，表現易於理解卻又耐人尋味的藝術特色，形成具時代特徵的個人畫風。

NT$ 160,000-320,000 US$ 5,300-10,600 MODERN AND CONTEMPOR ARY ART

233

141 YU CHUNGLIN (1925-1985)

a. The Lonely Fly b. Two Sparrows a.30 x 30cm b.24 x 27.3cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

喻仲林 a. 孤飛 b. 雙雀 a.1969 b.1962 彩墨紙本 a. 款識：五十八年九月仲林寫藝術家鈐印 b. 款識：一鳴先生方家正之壬寅夏日山東喻仲林寫於麗水精舍藝術家鈐印喻仲林的繪畫以工筆為形而以寫意為骨，花鳥精細寫實，在黑白對比的水墨渲染下，呈現其自然意趣，透過藝術家的技巧流露，雀鳥色彩融合在一片淡雅之中，既能見其一根根彩羽之精妙，亦可讚嘆其水墨描繪意境之流暢，實為工筆花鳥畫的一大突破。范伯洪曾言：「他有一方圖意，『不古不今，自

出新意』。可以看出他創作的態度，無意之間透露幾分自許，自金師入宋後，一以寫生參悟宋人，雙勾寫翎毛，沒骨畫葉，意筆出枝幹，有宋畫嚴謹，明清的瀟灑，兼南田清逸。」此二幅《孤飛》、《雙雀》以簡潔的筆觸，俐落的勁道，將麻雀生動之姿細膩勾勒，生命力便隨之綻放，藝術家以淡墨暈染背景，在深淺層次中更得以感受喻仲林的藝術精神，兼容了對自然之美的客觀表現與主觀的個人意境表達。

a. b.

234

ZHONG CHENG 中誠

142 YU CHUNGLIN

喻仲林

(1925-1985)

雀鳥高飛

Flying Sparrow

1945 彩墨紙本款識：己酉初夏寫於麗水精舍仲林藝術家鈐印

49.2 x 32.3cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

喻仲林以工筆花鳥畫聞名，循院體為依歸，他保留了傳統宋人院畫的「工」，及文人水墨繪畫的「意」，並在師古之外汲取西方材料之長，開創水墨用料的新局面。他曾說道：「我最崇拜宋

代的花鳥，能於寫實而重意境。後來趨向文人畫，布白大膽，而色彩與構圖均不及前人繁複。我現在取文人畫的高簡，將色彩用得更單調。而且常用透視法，甚至利用攝影的角度投入畫面，但反對自己的作品中滲入西畫的成份。我一直認為造形通於意境，意境通於思想。一個畫人沒有自己獨特的造形，便談不上創作。」《雀鳥高飛》以寫意墨韻揮灑，筆觸在濃淡水墨間交錯調和，渲染的技法更呈現出畫面多源層次的豐潤特質，工筆翎毛的表現精麗而雅緻，尺幅間充滿氣韻，生意盎然。

MODERN AND CONTEMPOR ARY ART

235

143 CHIANG CHINGKUO (1910-1988)

Calligraphy 96.5 x 26cm Ink on Paper Inscribed and signed in Chinese With one seal of the artist

NT$ 120,000-240,000 US$ 4,000-7,900

蔣經國蝶舞蘭石圖 1966 水墨紙本款識：少谷先生惠鑒民國五十五年蔣經國藝術家鈐印蔣經國，曾任中華民國總統、中國國民黨主席、行政院院長及國防部部長，其致力推動的十大建設、南北高速公路、翡翠及石門水庫等建設和戒嚴令的解除都加速了臺灣的發展，儘管在他逝世後有許多正面及負面的評價，仍無法改變其在歷史上舉足輕重之地位。除了政治生涯上的成就外，蔣經國的書法、繪畫在目前的各大拍場也皆有所見，宋楚瑜曾說：「因為蔣夫人很會畫山水，他 ( 蔣經國 ) 後來也很認真的在畫。」蔣經國早年為了排遣工作上的煩悶，有段時間他拜了國畫家高逸鴻為師，定期請高先生到長安東路的寓所教他畫國畫，他尤其喜歡畫梅，其神韻頗得高逸鴻真傳，可惜經國先生到晚年時，因體力和心力都大不如前，便沒有再舉筆繪畫了。

236

ZHONG CHENG 中誠

144 LU FOTING

呂佛庭

(1911-2005)

橫貫東路

Pine

水墨紙本款識：橫貫東路松泉岡之古松奇檜皆棟樑之材正為漢唐盛世之蕭張衛霍房杜姚尉令寫其頂天立地者敬贈主席洋港先生呂佛庭藝術家鈐印

135.5 x 69.5cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 160,000-320,000 US$ 5,300-10,600

呂佛庭的繪畫，從師古、師自然、師心乃至無意無象的境界，他成就於身體力行地遊歷千山萬水，並結合其佛理之參研，為自身藝術另闢一條別於傳統的繪畫途徑。佛老常以書法、詩文輔其畫作，加上他修得的佛學素養，使畫風顯得調合、圓融、樸厚、含蓄而不矯飾，與佛老淡泊無爭、精勤不懈的精神著實相互呼應，誠所謂「畫如其人」，相得益彰。《橫貫公路》為呂佛庭寫生期的作品，此時期的畫風延續 1947 年以前的仿古期，並以自然為師積極地進行寫生，最具代表性的長城萬里圖、長江萬里圖及橫貫公路圖多是完成於這段期間。

MODERN AND CONTEMPOR ARY ART

237

145 HUANG ZHOU (1925-1997)

小雞圖

Poults

彩墨紙本款識：黃冑藝術家鈐印

47 x 35cm Ink and Color on Paper Signed Huang Zhou in Chinese With one seal of the artist ILLUSTRTED: "Greatest Master In Chinese Art - Huang Zhou", Pearl River Literature and Art Publishing House, Hong Kong, China, 2006, Page 172

NT$ 1,000,000-1,800,000 US$ 33,000-59,400 238

黃冑

ZHONG CHENG 中誠

圖錄：《中國藝術大師．黃冑》，珠江文藝出版社，中國香港，2006 年，第 172 頁

黃冑為了繪畫，足跡踏遍了祖國邊疆、海島、高原、牧區，他將情感投入畫中，以速寫貫串生活，筆下關於人物、動物的千姿百態無不精采生動，透過細膩的觀察研究，藝術家將現實生活中樸實無華的感動、天地自然間的旺盛生命力在筆墨中表露無疑。黃冑說：「我的繪畫，都是從生活中來的，生

活是源泉、是根。任何藝術家都要靠自己的努力，不能靠天才，努力不能在房子裡努力，離開生活就沒有激情，畫也慢慢變顏色。」為了畫雞，黃冑曾為此親自養雞。他每天定時給小雞餵水、餵食，以近距離的方式觀察牠們的一舉一動，從《小雞圖》其靈動、鮮活的神態便可知藝術家速寫的精闢功力，與對世間萬物的細緻感情，通過簡潔筆觸的發輝，小雞們活潑地躍然於紙上。

146 JIN QINBO (1910-1998)

a. Autumn Mountain b. Mountain Scenery 25 x 27cm(2) a. Ink on Paper b. Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

金勤伯 a. 秋山幽居圖 b. 只緣身在此山中 1961 a. 水墨紙本 b. 彩墨紙本 a. 款識：辛丑初秋用倪迂筆寫秋山幽居圖勤伯藝術家鈐印 b. 款識：一鳴吾兄雅屬金勤伯藝術家鈐印金勤伯出身於古瓷書畫收藏世家，其家學淵博，年少時與大伯父及姑母勤習山水、花卉、翎毛畫等，練就精湛紮實的基本功力，接觸豐富的書畫收藏，在耳濡目染之下受益良多，使畫藝精進，具有深厚的國學修養，後半生奉獻於美術教育，被譽為台灣書畫界院畫花鳥工筆風格第一人，對台灣工筆花鳥畫壇影響甚深。金勤伯擅長山水、花鳥、人物等主題。此二幅山水畫表現層次之豐潤特質，色澤妍麗，細膩婉麗，構圖巧變新意，將其深厚的文學修養與筆墨精神契合，寫實與寫意融會充滿氣韻，生意盎然，令觀者彷彿神遊於其中。

a. b.

MODERN AND CONTEMPOR ARY ART

239

147 KAO YIHUNG (1908-1982)

金魚

Goldfish

1954 水墨紙本款識：梓良先生雅屬甲午歲闌逸鴻藝術家鈐印

70 x 35cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

240

高逸鴻

ZHONG CHENG 中誠

高逸鴻，1908 年出生於浙江省臨安縣，別號蘭香館主。早期作品偏重於水墨寫生，致力於工筆，擅長花卉、翎毛、蟲魚寫生，並受清朝新羅人影響頗深，晚期作品從用筆觸蒼潤厚重轉趨寫意，並且融合書法入畫頗有新意。 1951 年後始精研書法，期能意到筆隨、從心所欲。其書法兼擅四體，行書尤為精妙，筆勢磅礡。高逸鴻是一位傑出的畫家，也是一位卓越的書法家，他的字有頻魯公的底子，有褚河南的筋絡，再以石鼓、漢隸的筆意，融入宋明的韻致，揉合成他後期的行草。

148 KAO YIHUNG

高逸鴻

(1908-1982)

吉祥大富貴

Lucky and Wealth

1977 彩墨紙本款識：丁巳年仲秋高逸鴻藝術家鈐印

84 x 147cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 80,000-160,000 US$ 2,600-5,300

高逸鴻，浙江臨安人，別號蘭香館主，畢業於浙江大學。因家中藏書豐富，飽讀詩書，自幼培養對繪畫的興趣，九歲時因臨摹傳神而被譽為神童，奠立良好的繪畫基礎。早期作品致力於工筆畫，擅長花卉、蟲魚、翎毛畫，晚期創作以書法入畫，水墨形式表現出寫意的風格。1972 年加入西冷書畫社研究，與唐雲、傅狷夫等人成為畫友，擅以書畫會友，相互切磋，精進畫藝，曾組織過七友畫會、六儷畫會、王寅畫會。高逸鴻早期曾傳藝給其弟子，晚期則專心從事創作，並曾擔任已故總統蔣經國先生的國畫老師。創作上技法工整細緻，在《吉祥大富貴》一作中，畫中的牧丹象徵著富貴，畫面左邊佇立著一隻公雞，公雞會報曉，因公雞的「公」與功名的「功」同聲，「雞鳴報曉」的「嗚」與「名」的同聲，牧丹配上公雞，即有「富貴功名」之含義，也代表富有和高貴的嚮往。

MODERN AND CONTEMPOR ARY ART

241

149 JIANG ZHAOSHEN

秋日草原圖

Autumn Prairie Scenery

1991 彩墨紙本款識：辛未秋日草原江兆申畫藝術家鈐印

49 x 62cm Ink and Color on Paper Inscribed and signed in Chinese With one seal of the artist

NT$ 280,000-400,000 US$ 9,200-13,200

242

江兆申

(1925-1996)

ZHONG CHENG 中誠

江兆申出生於書生世家，年幼時由雙親教導讀書習字，並由舅父指導作畫，在傳統家庭教育及許多篆刻名家的薰陶之下，對篆刻、詩文及書法的涵養既富，奠下根基，孕育了日後藝術創作的基礎，藝術成就斐然。1949 年江兆申渡海來台後擔任中學教師，次年師承溥心畬，潛心習畫。曾任台灣故宮博物院研究員、書畫處處長、副院長。在繪畫方面，以山水為主創作，此《秋日草原圖》一作，以傳統的技法表現出蒼鬱厚重與樸實，前景茂林濃淡交織排列，後方巨巖聳立，整體觀照自然，寓意清遠，形韻兼具，墨色暈滲出水氣，濃淡乾濕的墨色變化，其功力深厚，創造優美靜謐的文人山水畫。

150 KANO TANREI (1857-1931)

Circa 199 x 86cm Ink and Gold on Silk Signed Kano Tanrei rokujugosai hitus and inscribed it Painted at the age of Sixty-five With one seal of the artist

NT$ 260,000-360,000 US$ 8,600-11,900

狩野探令龍門圖 1992 水墨絹本款識：狩野探令六十五年筆藝術家鈐印狩野探令出生於江戶時代日本山形縣戶澤藩下，原姓荒木，名為丈太郎，別號六陶居士，日本著名皇室御用畫家。一開始隨鍛冶橋狩野派的門人菊下淵齊、菊守利學習傳統美術，後前往東京，師事十代傳人狩野探美。曾向江戶陶製所的納富介次郎學習油畫與陶繪技術。其為日本美術協會一員，作品曾多次獲得高額獎金，並歷任審查員和理事。亦加入日本畫會，以幹事及審查員身份活躍藝術圈。與狩野忠信及岡倉秋水合組「狩野會」，極力復興狩野畫派藝術。大正 5 年許可承襲「狩野」姓氏，故改姓之。「狩野派」是日本繪畫史上最大的畫派，活躍於 15 世紀至 19 世紀之間，傳人長期作為皇室、將軍、武士御用畫師，故在日本美術史上占據重要地位，對於日本古美術界的發展影響甚深。狩野派的畫風雖在題材及用墨技巧上偏向中國傳統水墨技法，但表現方式卻富含日本武士文化的獨特韻味。色彩濃烈、線條明快、作風粗曠、明暗分明為其特色。其中「鍛冶橋」派以儒家倫理觀念的歷史人物出發，恢復狩野派早期繪畫的柔和色調與圖案著稱，並影響往後狩野派繪畫發展。《龍門圖》為此派門人狩野探令之作。

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a . b . c. d. e.

151 HUANG JUNBI (1898-1991)

CHEN LIFU (1900-2001)

DONG ZUOBIN (1895-1963)

MA GONGYU (1893-1969)

ZHAO HENGTI (1880-1971)

Calligraphy

a. Inscribed and Signed in Chinese With one seal of the artist b. Inscribed and Signed in Chinese With one seal of the artist c. Inscribed and Signed in Chinese With one seal of the artist d. Inscribed and Signed in Chinese e. Inscribed and Signed in Chinese With one seal of the artist a.26.8x19.3cm b.26.5x19.3cm c.27x19.5cm d.27.8x19.3cm e.26.8x20.5cm Ink on Paper

NT$ 100,000-200,000 US$ 3,300-6,600

244

ZHONG CHENG 中誠

黃君璧陳立夫董作賓馬公愚趙恆惖書法選集水墨紙本 a. 款識：黃君璧謹啟藝術家鈐印 b. 款識：陳立夫藝術家鈐印 c. 款識：作賓藝術家鈐印 d. 款識：馬公愚八月五日 e. 款識：趙恆和南九月十一日藝術家鈐印

152 CHENG SHANHSI

鄭善禧

( b.1932 )

鍾馗

Zhong Kui

1976 水墨紙本款識：丙辰冬日善禧寫於台中之拙廬藝術家鈐印

24.5 x 27cm Ink on Paper Inscribed and signed in Chinese With seals of the artist

NT$ 160,000-240,000 US$ 5,300-7,900

鄭善禧生於福建，1977 年任教於台灣師範大學美術系， 1991 年自師大退休，1996 年榮獲國家文藝獎，作品風格廣泛，藝術表現兼具傳統國畫的詩書畫涵養，是國內知名的水墨畫家也是著名的畫瓷大師。鄭善禧自幼常於空暇時到戲台、廟宇觀看匠師雕刻神像、漆門神，為之後的民間鄉土風格打下了基礎。鍾馗是中國民間傳說中驅鬼逐邪之神，也是中國著名的民間神祇之一。《鍾馗》可見鄭善禧運筆靈活流暢，畫中鍾馗身著官袍，鐵面鬍鬚，描繪得妙趣橫生，呈現幽默達觀的情懷，畫中搭配自由圓融的題字，成畫面不可分割的組合，充滿拙樸的風格特色。

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245

LOT153 ZHANG JIE ( b.1963 )

Splendid in Distance III 130 x 150cm Oil on Canvas Signed Zhang Jie both in Chinese and English, dated 2007.11 ILLUSTRATED "BEYOND MOUNTAINS-ZHANG JIE's Oil Painting", SO Art Space, Page 4-7

NT$ 450,000-580,000 US$ 14,900-19,100

張杰遠山也精采之三 2007 油彩畫布簽名：張杰 zhang jie 2007.11 圖錄：《山外有山 - 張杰油畫作品集》，SO 藝術空間，第 4-7 頁

「張杰目前為四川美術學院副院長，他的繪畫通過景物去整合元素，又通過元素去肢解景物。由於受過正統及長久的學院教育，豐厚的學歷使他不僅懂得一筆一畫的規矩和精緻，而且更明白控制一幅畫的總體規格所需要的那種嚴謹中的隨機應變。他善於用刀在畫布上的刮抹中去找尋一些令人愉悅的效果，這樣就使得他的畫在精心設計中又不失繪畫性的輕鬆和凝重。縱使在閱讀他的作品時常常被那些迷人的效果麻痺而忘記了再那些效果後面所隱沒的虛靜風景和淡泊心情。在《痕》系列作品中看到了類似安賽姆．基佛那樣的高視平線的“鷹眼式視野”，它帶給人從高空俯瞰世界的印象。」 ---摘錄自《張杰油畫》，四川美術學院，1999年 “His affinity to the painting elements and his interests in the method of working is more intensive than that of the natural scenery. In another word, his painting is not to ask what is the scenery, but to integrate the entire element by scenery, and dissect the sceneries by elements. Since he has received academic education for a long time, with a rich cultivation of art study, he is not only able to understand rules and subtitles of strokes, but is also aware of the flexibility in strictness needed in controlling the whole structure of a painting. He is good at searching for pleasant edict in the movement of knives on canvas, and then he use the changing strength of brushes to fix and enrich the theme and connotation of the pictures, which makes his painting full of careful design as well as relaxation solemn.” ---Excerpt from 《WORKS OF ZHANGJIE》Sichuan Fine Arts, 1999

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154 CHEN TINGSHIH

陳庭詩

( 1916-2002 )

夢在冰河 #8

Dreaming in The Glacer #8

1974 版畫 23/30 簽名：Dreaming in The Glacer #8，23/30，Chen Ting-Shih 1974

60 x 60cm Lithograph, 23/30 Signed Chen Ting-Shih in English, dated 1974, numbered 23/30, titled

附畫廊開立之原作保證書 With a certificate of authenticity from gallery

NT$ 160,000-320,000 US$ 5,300-10,600

248

ZHONG CHENG 中誠

155 RAN INTING ( 1903-1979 )

Country Roads of Taiwan 17.5 x 27.5cm Ink on Paper Signed Ran In-Ting both in Chinese and English With one seal of the artist

NT$ 180,000-240,000 US$ 5,900-7,900

藍蔭鼎

藍蔭鼎出生於宜蘭，國際知名水彩畫家，是日本畫家石川欽一郎的門生之一，受其影響深遠，獲得新的藝術視野，同時獲得石川欽一郎提拔，受其推薦至日本留學習畫。擅長水彩、水墨及素描，中期確立自己的風格，堅持自己的繪畫道路，建立出與眾不同的繪畫風格。因藍蔭鼎出生於台灣農家，關愛農民的一切，而堅持著農村是他的生命、就是他的生活，在耳濡目染之下，以台灣風土人文為主，創作題材始終堅持鄉土路線。在技法上融合了西洋水彩畫的方法與東方水墨的思維，描繪出家鄉的水氣與純樸，充滿著對台灣的鄉土情懷，曾被歐美藝術評論學會列為世界十大水彩畫家。此作《台灣鄉間》藍蔭鼎運用中國水墨書法中的點、挫、提等筆法，將深淺墨色做暈染，色調濃淡的變化，毛筆勾勒的流暢線條帶有速寫之感，具灑脫的寫意態度有一股濃烈的東方民族特有的精神，將安靜古樸的鄉村之美透過畫筆傳達出另一種質樸自然的人文精神。

台灣鄉間水墨紙本簽名：蔭鼎 RAN-INTING Formosa 藝術家鈐印

MODERN AND CONTEMPOR ARY ART

249

156 SU XIAOBAI ( b.1949 )

于溪

Untitled

1990 彩墨紙本簽名：Xiaobai 一九九○年于溪藝術家鈐印

31.7 x 34.4cm Ink and Color on Paper Signed Xiao-Bai in English, dated 1990 With seals of the artist

NT$ 260,000-400,000 US$ 8,600-13,200

250

蘇笑柏

ZHONG CHENG 中誠

蘇笑柏於 1987 年獲得德國文化藝術獎學金，前往杜塞爾多夫藝術學院學習及大師班深造，師從克拉菲克、里希特及呂佩爾茨等藝術大師，經歷西方前衛藝術的洗禮改變了蘇笑柏對藝術的觀念。九十年代作品逐漸遠離具象創作，用旁觀者的角度，去審視中國與德國的文化，將在德國學習的現代色彩理論融合於傳統材料中，其作品建構出不同文化和藝術表現方式之間的橋樑，建立東西方之間的對話，欲傳達極致的表現內容及純粹的藝術語言。蘇笑柏作品被中國、台灣和德國的美術館收藏，是中國頂尖的當代藝術家之一。蘇笑柏掌握整體協調性，關注色彩與材質的細節，致力營造純淨又富有細節變化的畫面，水墨張力引發產生的強烈情感，抽象中追求寫意的境界，展現出中國水墨不同面貌，以創新的藝術語言傳達予觀者不一樣的藝術魅力。

157 SHEN CHETSAI

沈哲哉

( b.1926 )

比利時風景

Belgium Scenery

1989 油彩畫布簽名：1989 哲哉背面簽名：比利時風景

31.5 x 41cm Oil on Canvas Signed Che-Tsai in Chinese and dated 1989 Signed title in Chinese on the reverse ILLUSTRATED: "Shen Che-Tsai 75th Retrospective Exhibition", Tainan Municipal Arts Center, 2002, Page 248

NT$ 160,000-320,000 US$ 5,300-10,600

圖錄：《沈哲哉七十五回顧展》，台南市立藝術中心，2002 年，第 248 頁

沈哲哉師承廖繼春、郭柏川，經過紮實訓練，對於設色觀念及素描基礎相當紮實，因浪漫的天性使然，喜歡美好事物的他，作品透過自身的情感流露，呈現出豐富的色彩及柔美的氛圍，單純而美麗，即展現深厚的繪畫功力。而風景畫作是沈哲哉擅長創作的題材之一，此作《比利時風景》為沈哲哉描繪比利時的在地風情，運用流暢的筆觸，將特色的建築景緻，結合城市裡運河，彼此水道交錯，營造出具有氛圍及豐富的層次感，利用顏料堆疊帶有律動感的色塊，將比利時的浪漫的氣息盡情呈現於畫布上。

MODERN AND CONTEMPOR ARY ART

251

158 CHANG YOSHIO ( b.1914 )

街景

Street View

1983 油彩畫布簽名：Y.Chang '83

41 x 31.5cm Oil on Canvas Signed Y.Chang in English, dated 1983

NT$ 160,000-320,000 US$ 5,300-10,600

252

張義雄

ZHONG CHENG 中誠

年屆百歲的藝術家張義雄，自幼喜愛塗鴉，自十歲時親見陳澄波於嘉義圓環一帶寫生畫作，便萌發當畫家的志願，而受到陳澄波的啟蒙、鼓勵下，開始走入創作道路，早年即隻身赴日本求學研習繪畫，並奠定良好的素描基礎，後定居日本十年，又轉赴巴黎，於巴黎生活期間亦屢次入選法國藝術家沙龍展，晚年重回日本定居，國內外獲獎無數，享譽國際。此作《街景》畫作筆觸粗獷有力，揉合東西方技法及造型，質感肌理表現出強烈個人特色，營造出富有詩意的歐洲文化氣息，整體充滿人文內涵的典雅氛圍。

159 ALFRED BASTIEN

巴斯天

( 1873-1955 )

布魯日

Bruges

油彩畫布簽名：A. Bastien

73.3 x 53cm Oil on Canvas Signed A. Bastien in French

NT$ 180,000-280,000 US$ 5,900-9,200

布魯日為比利時西北部的著名城市，在歐洲素有北方威尼斯之稱，也在 2000 年被登錄為世界遺產。此幅《布魯日》便是著墨於城市與運河的緊密相依，磚造的哥德式建築比鄰於岸邊，在豔陽下溫和寧靜地矗立於眼前，挺著堅毅之姿，而背光陰影卻略顯其寂寥之態，仿若是城鎮由興轉衰，而後才又漸漸恢復光榮景象的守護者。歐洲藏家與藝術品合影

MODERN AND CONTEMPOR ARY ART

253

160 WANG XINFENG ( b.1952 )

Morning ; Evening ; Night 66 x 66cm(3) Acrylic on Canvas Signed Wang Xin-Feng in Chinese ILLUSTRATED: “Rivers of Taiwan-Wang Xin-Feng”, THE 201 ART, Taichung, Taiwan, 2014, Page 64-69

NT$ 360,000-450,000 US$ 11,900-14,900

王信豐朝見行草，暮見行草，夜見行草 2013 壓克力畫布簽名：王信豐圖錄：《臺江永痕王信豐 /2014》，THE 201 ART 順天建築文化藝術中心，台灣臺中，2014 年，第 64-69 頁出身南部高雄的王信豐，在 40 歲以前專情於水墨畫的創作，繪畫主題幾乎不脫從心境底下指涉的現實故鄉中之自然風景，並已在此時期創作呈現了其作品成熟的人文高度。而在 40 歲之後，王信豐轉而嘗試運用相對於水墨，屬於「新式」媒材的壓克力創作，並試圖運用此西方媒材所帶來更多樣的變化，將故鄉高屏溪的身影納入畫中，流露出對台灣土地的真切情感。此三件一組的《朝見行草，暮見行草，夜見行草》三連屏作品即是其 2013 的上乘佳作，透過「朝、暮、夜」的主題規劃，將一天之中不同時刻的光影投射，再現於畫中的大河上。白色的河與黑色河床，其走向和流動因為光影變化而呈現了僅剩黑白的線條對比，交叉縱橫直至地平線的尾端，直接將河流的意象，透過實覺轉化為我們所熟悉的、講究氣韻生動的「行草」造型，這個巧妙的轉化，更富含著對於「土地在地性」與「文化精神性」的高度融合，令人得以面對作品朝思暮想，夜裡再次咀嚼一番。

朝早行草

MODERN AND CONTEMPOR ARY ART

255

暮見行草

256

ZHONG CHENG 中誠

夜見行草

MODERN AND CONTEMPOR ARY ART

257

161 LU RONGCHEN

呂榮琛

( b.1963 )

夜之誘惑 II

The Temptation of Night II

1993 油彩畫布簽名：榮琛 1993 背面簽名：Lu Rong Chen 1993 Paris 73 x 60cm 20F 夜之誘惑 II

60 x 73cm Oil on Canvas Signed Rong Chen in Chinese and dated 1993 Signed on the reverse: Lu Rong Chen 1993 Paris 73 x 60cm 20F and titled in Chinese

NT$ 120,000-240,000 US$ 4,000-7,900

258

ZHONG CHENG 中誠

旅法二十年的呂榮琛，飽覽不同形式的藝術創作，作品流露出東方文化的質感，呂榮琛曾說：「創作是我生活和品味的總和。」透過內心的感受轉化為美麗的色彩情感，藉由抽象筆觸訴說思鄉情懷，展現個人內心風景的變化。《夜之誘惑Ⅱ》呂榮琛自由的抽象語彙，作品極具情感渲染力，透過繪畫將內心的心象世界隱入至畫作裡，虛幻且真實，是一種心靈的自然流露。畫作中的色彩如漸層般的轉換，使畫面達到和諧、平衡的狀態，整體充滿磁性的力量，引發一股光與影交疊之韻律，呈現出淡淡的空靈禪意，引領觀眾可以細細品出箇中的豐富層次。

162 LEE LIANG

李梁

( b.1985 )

困

Trapped

2014 油彩畫布簽名：困李梁 2014.3 藝術家鈐印背面簽名：《困》李梁 2014.3 布面油畫

120 x 99cm Oil on Canvas Signed Lee Liang and titled in Chinese, dated 2014.3 With one seal of the artist Signed on the reverse: Lee Liang and titled in Chinese, dated 2014.3, oil on canvas

NT$ 180,000-360,000 US$ 5,900-11,900

對藝術家來說，畫面中的每個情緒都道出了其內心的真實感受。李梁以寫實的手法堆疊出抽象的故事，切身而私密的，在失焦的背景中，朦朧的光點透散，增添了虛擬與真實的交錯、融合，他以具體的形象拉近與觀者的距離，以重疊的感動取得與生活的共鳴，人們在畫面裡找到了自己的影子，也從中釋放難以傾訴的感情。李梁說：「精神需要自

由，人性本身是自由和無聲的，但身處世界，條條框框無處不在，好比被俘的奴隸，掙扎，困惑。」他在《困》中表達被束縛的情緒，被制約的女子、牆緣寞落的背影、奔走的馬匹，任一形象都清晰而明瞭，也都各自代表了藝術家所謂心中的真實。

MODERN AND CONTEMPOR ARY ART

259

163 HSU GUANGDI ( b.1949 )

打工的男人上路了

The Man on His Way to Work

1991 油彩畫布簽名：徐光弟 1991.9

60.5 x 80cm Oil on Canvas Signed Hsu Guang-Di in Chinese, dated 1991.9 ILLUSTRATED: "Oil Painting Art Of Xu Guangdi" Contemporary Chinese Artists Oil Painting Albums, Tian Jin Yang Liu Qing Fine Arts Press, April 2009, Page 18 EXHIBITION: "Sacrifice of the Youth" The 9th Exhibition, China Artists Association, 1993

NT$ 280,000-400,000 US$ 9,200-13,200

260

徐光弟

ZHONG CHENG 中誠

圖錄：《徐光弟油畫藝術／徐光弟繪》中國當代實力派油畫精品叢書，天津楊柳青畫出版社，天津，2009 年 4 月，第 18 頁展覽：「第九屆新人新作展」，中國美術家協會， 1993 年

《打工的男人上路了》再現了中國西南方的彝族風情，是以鄉村寫實風格見長的中國藝術家徐光弟代表作之一。此作完成於 1991 年，雖以「打工的男人」作為畫作名稱，但實際上呈現的是這位「男人」的第一人稱視角：在霧靄蒼茫、劉仲著灰調空氣的西南高地上，男人望向送別自己的妻小，踏上外出打工的漫漫長路。除了精確的置中構圖、細膩的描繪彝族文化等，徐光弟的高明之處，在於透過傳統的寫實風格，不著痕跡地將彝族社會風光的各種氣味、顏色和情緒，透過個人身份去賦予其更深層的意義。觀者在欣賞的過程中，彷彿透過畫面中妻子和小孩的眼神，直接觸及了對於藝術家所欲表達之「身份」的認同，視線所及亦呼應了藝術家對於畫面形式的精準掌握，因此讓對話透過了筆觸，無限地傳達下去。

164 LONG CHINSAN

郎靜山

( 1892-1995 )

觀靜自得

Apprehension

1930 銀鹽相紙鈐印：郎靜山

37.5 x 28.5cm Photograph on Gelatin Silver Print With one seal of the artist PROVENANCE: Private collection, Australia ILLUSTRATED: ''SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971

來源：澳洲私人收藏圖錄：《中華大典六十年攝影選輯》，中華學術院攝影研究所刊行，1971 年

NT$ 60,000-120,000 US$ 2,000-4,000 MODERN AND CONTEMPOR ARY ART

261

165 ALFRED BASTIEN ( 1873-1955 )

Farmhouse 31 x 41cm Oil on Canvas Signed A Bastien in English

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

262

ZHONG CHENG 中誠

巴斯天農舍一隅油彩畫布簽名：A. Bastien

巴斯天生於比利時，是當地公認的印象派代表畫家，為吳作人和沙耆留學比利時的指導教授，並曾為比利時國王亞爾佩一世作畫。創作題材常以印象派古典風格描繪靜物及風景。此作《農舍一隅》，巴斯天秉持著印象派畫風，追求戶外寫生，作品取材於農家生活的小景，描繪庭院的一角，畫面空間緊湊，將光影明暗變化通過印象派的表現手法把自己視角中的景色描繪在畫布上，在風景畫中展現不同凡響的精湛造詣，追求整體效果的體現，風景畫技生動自然，追求真實的視覺感受。

166 ZHOU RONGSHENG

周榮生

( b.1951 )

天池白馬

White Horse at Heaven Lake

彩墨皮紙藝術家鈐印

90 x 85cm Ink and Color on Paper With one seal of the artist ILLUSTRATED: "Long- Shen Chou", Dun-Huang Art Publishing House Co., Ltd., Taipei, Taiwan, November 1992, No.8

NT$ 200,000-380,000 US$ 6,600-12,500

圖錄：《周榮生 Long-Shen Chou》，敦皇藝術股份有限公司，台灣台北， 1992 年 11 月，編號 8

探看周榮生的所有創作，形式上大致可分為二，一是以較為寫意的傳統捲軸形式，描繪如五代以降的士人水墨畫風格，歌詠心中的風景；另一則是用上設色重彩，以大格局的結構，再現蒙古高原的各種人事物風光，但這個再現並非表象的，更多的是藝術家所欲給出的隱喻。《天池白馬》屬於後者，在畫面中，一匹駿俏且壯碩的白馬佇立高原、望向遠方天池，白馬的身形幾乎佔據了構圖的二分之一，身軀的肌理描寫也巧妙地呼應了高原的地形，而在大量的白中，遠方天池的那一點藍，點出了整個畫面的亮點，白馬彷彿若有所思，給出觀者一個指引和隱喻，在這片廣漠的高地上，如何透過夢境般的「現實」，和藝術家的精神相互對話。

MODERN AND CONTEMPOR ARY ART

263

167 PENG KUANGJUN ( b.1961 )

Posture 34(L) x 34(W) x 65(H)cm Stainless Steel, 7/10 Signed Kuang-Jun in Chinese, dated 2006, numbered 7/10 ILLUSTRATED: (1)"Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, 2009, Page4-5 (2)"Art Taipei 2007", Caves Gallery , 2007, Page18-19 EXHIBITION: (1)"Peng Kuanjun-Slender Talk Fragrent Cheek" ,William Art Space, Taipei, Jul 10-25, 2009 (2)"Peng Kuanjun 2008",Caves Gallery , Taipei, 2008 (3)"Art Taipei 2007", Caves Gallery , Taipei, 2007 With a certificate of authenticity signed by the artist

NT$ 160,000-320,000 US$ 5,300-10,600

彭光均姿 2006 不鏽鋼 7/10 簽名：2006 光均 7/10 圖錄： (1)《彭光均纖語香腮》，威廉當代藝術空間，2009 年，第 4-5 頁 (2)《彭光均 2007 台北藝術博覽會》，敦煌畫廊，2007 年，第 18-19 頁展覽：「纖語香腮彭光均個展」，威廉當代藝術空間，台北，2009 年 7 月 10-7 月 25 日「春在枝頭－彭光均 2008 雕塑展」，敦煌畫廊，台北，2008 年「台北藝術博覽會 2007」，敦煌畫廊，台北，2007 年附藝術家親簽之原作保證書看似冷硬沉重的不鏽鋼，在彭光均的手眼巧構下化為繞指柔，他加入琉璃材質與色彩，令毫無生氣的不鏽鋼幻化而成目眩神迷的藝術品。優雅的體態和內斂的表情，不管是帶著琉璃羽翼裸身欲飛、或是沉靜獨坐、裸身遠眺皆帶有一分飄逸、優雅的氣韻。彭光均說：「創作過程就如禪定。」他認為：「色本天成非我創。」因此盡其可能的回歸本性，此讓他的作品，獨具一份少有的適意《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感想像，在動、靜之間的體態呈現，變化多端而風姿綽約，如跳舞女孩延伸、柔軟的肢體語言，個個訴說著扣人心懸的優美故事。

264

ZHONG CHENG 中誠

168 PENG KUANGJUN ( b.1961 )

Raise 20(L) x 20(W) x 80(H)cm Wood (One piece only) Signed Kuang-Jun in Chinese, dated 2001 5/6

NT$ 280,000-400,000 US$ 9,200-13,200

彭光均揚 2001 木雕 ( 僅此一件 ) 簽名：2001 光均 5/6 彭光均創作早期的風格較為寫意，多以簡單的線條勾勒出半抽象的人物體態；近期的人物則用寫實的手法細膩塑造，尤以姿態的優雅展現和表情的豐富神韻最令人驚歎，時而少女輕柔、時而迷濛深邃，不同的形貌皆有其靈動之處，飄逸風采泉湧而至，它們恰如其分地扮演好藝術家眼中的恆久之姿，用細緻的氣韻訴說出各自的悠悠情感。彭光均曾經表示，在表現人體的雕塑及刻劃內在心靈的傳統上，一個歷經千年的傳承不應該輕易地被放棄，他持續將信手拈來的才華化作一件件優雅的作品，以風華絕代的感染力傳達其雕塑的獨特適意。

MODERN AND CONTEMPOR ARY ART

265

169 ZENO CHEN ( b.1962 )

Ever 90 x 135cm Epson Ultra Chrome HDR Ink print， Hahnemühle Fine Art Baryta 325 gsm (Unique) Signed Zeno Chen in English, numbered single and dated 2012 With a certificate of authenticity from gallery

NT$ 180,000-340,000 US$ 5,900-11,200

陳志駒滄海 2012 Epson Ultra Chrome HDR 墨水數位輸出德國 Hahnemühle 無酸基亮白含鋇相紙 325 磅單版簽名：2012 Zeno Chen single 附畫廊開立之原作保證書

陳志駒專注攝影長達 20 多年，時時突破框架而以創作意念訴求更精準的個人體察，之間他曾為理解視覺肌理而自身學習油畫技巧，把攝影延伸至影像藝術範疇，縝密釋放了被攝影侷限的通俗框架。陳志駒的鏡頭下非但有繪畫性肌理的精確佈局，透過個人美學修養，終究促使了攝影全然接軌於當代藝術的面向，建構其極具美術風格的攝影語境。他說：「如何穿透數位看似不真實的表面，讓想像造境而來的美感直達我們心中的奧祕，這是以美學思維作為創作基礎的，攝影依然不能回避這個省思。無論『攝影』或『畫筆』，都僅是表達創作的媒介與載體，希冀能窺見屬於這世代更具表達個人創作性的攝影作品。」《滄海》一作，藉由影像細節巧妙變化，構築色彩且堆疊如繪畫深淺的俯瞰透視，透過他敏銳雙眼與細膩情感的串動，鏡頭下一幅如詩如歌的文采，脈絡流暢了全景的永恆，這是台灣影像藝術家置身時間、空間的宇宙思維之美。

266

ZHONG CHENG 中誠

170 ZHAN QIANYU ( b.1952 )

Rock by The Sea Series #20 72.5 x 91cm Glue-color Paint and Gold Foil on Paper Signed Qian-Yu in Chinese With one seal of the artist ILLUSTRATED: "Inheritance and Innovation: Estern Gauache Painting Exhibition by Chan Chien-Yu", National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2009.3, Page 46 With a certificate of authenticity signed by the artist

NT$ 260,000-400,000 US$ 8,600-13,200

詹前裕海岩 ( 二十 ) 1999 膠彩金箔紙本簽名：前裕藝術家鈐印圖錄：《傳承與開創－詹前裕膠彩畫展》，國立台灣美術館，台灣台中，2009 年 3 月，第 46 頁附藝術家親簽之原作保證書詹前裕畢業於國立台灣師範大學美術系，曾跟隨台灣膠彩畫前輩林之助學習，憑藉著生活體驗創造出具有個人特色的膠彩畫風。膠彩使用天然礦物作為顏色原料，色料華麗厚重，突顯礦物質顏料及金箔的色彩魅力，且透過陽光折射散發的光澤呈現出晶瑩透亮的美感。《海岩 ( 二十 )》繪畫結構堅實且完整，詹前裕使用常用的貼金箔技法，將金色的海岩與蔚藍的海洋呈現強烈對比，波濤洶湧的浪海拍打著岩石激起的浪花斑斑，海岩造型與氣勢足以撼人心扉，深深刻畫出歲月留下的跡痕，添加了動感與強烈生命力，詹前裕以寫生方式描繪台灣嶙峋礁岩陽剛雄渾的視覺映象，與海浪形成剛柔相濟的特色表現。

MODERN AND CONTEMPOR ARY ART

269

171 TSAI YUNCHENG

二十一世紀 - 夜月

21th Century - The Night Moon

2002 油彩畫布背面簽名：CHUA HU 呈 2002

89.5 x 65cm Oil on Canvas Signed on the reverse: CHUA-HU in English and Cheng in Chinese, dated 2002 ILLUSTRATED: “Album of Chua Hu”, Chinese Art Publishing Company, Hong Kong, 2005, color illustrated, Page 139

NT$ 200,000-380,000 US$ 6,600-12,500 270

蔡雲程

( 1929-2009 )

ZHONG CHENG 中誠

圖錄：《蔡雲程畫集》，中國藝術出版社，香港， 2005 年，彩色圖版，第 139 頁

蔡雲程出生於書香門第的家庭，幼年時期即對繪畫畫產生濃厚興趣，九歲開始習畫，十歲隨家人旅居菲律賓，後師從東南亞名師習畫，為海外華人藝術家。蔡雲程曾說：「我選擇藍

色是因為其較具詩意，同時藍色具有多重色調，可產生無限的空間感。」蔡雲程富有抒情詩人的氣質，作品中揉合東方繪畫技巧和中國古典藝術訓練，用藍色替代中國畫的黑墨，創立獨樹一格的「藍色畫派」，區分出七種色度來代替水墨的「墨分五色」，將東方水墨融入西方藝術理論及科學精神，畫中藍色的雲霧烘托著月亮玉盤不落，以其深沉的藝術領悟力，構成一幅寧靜、優美的藍色世界。

172 CHENG MAOHUANG

曾茂煌

( b.1934 )

懸魚

Fishes

2005 油彩畫布簽名：茂煌 2005.12

72.5 x 100 cm Oil on Canvas Signed Mao-Huang in Chinese, dated 2005.12

NT$ 100,000-200,000 US$ 3,300-6,600

曾茂煌出生於新竹，在學期間師承張義雄、廖德政，受到兩位老師薰陶、啟蒙，對繪畫產生濃烈興趣，繪畫風格多為對故鄉之愛的情感抒發，將藝術視為生命的一部分，其作品榮獲多項重要美術獎，包括省展、全國油畫展、台陽美術展與台北市美展。曾茂煌作品在現實生活中取材，洋溢著濃稠的鄉土情懷，作品善用畫刀的刮、抹、塗等技法，處理色面的分割，產生具有節奏的造型美感，簡潔流暢的線條筆觸表現，給人一種親切、具有韻律的和諧感。

MODERN AND CONTEMPOR ARY ART

271

173 HSIEH HSIAODE ( b.1940 )

雄偉的觀風高山

Mountain Scenery

2009 油彩畫布簽名：2009 HSIEH HSIAO DE

91 x 116cm Oil on Canvas Signed Hsieh Hsiao-De in English, dated 2009

NT$ 160,000-320,000 US$ 5,300-10,600

272

謝孝德

ZHONG CHENG 中誠

謝孝德為臺灣「新寫實」主義第一人，他在倡導新藝術運動上不遺餘力，並曾兩度被列入世界名人錄。他在 70 年代初期，多以自身成長背景為繪畫題材，內容描寫客家農家生活的純樸與貧苦； 1975 年赴美研究現代藝術，畫風轉變，趨向具有隱諷性與批判性意識的寫實繪畫；而在創作後期，謝孝德逐漸潛心發展寫意水彩，渲染出一幅幅細膩的湖光山色。《雄偉的觀風高山》以遼闊的視野眺望對岸山脈，河面小船悠悠而流，山腳下的矮房比鄰而座，在大量藍色揮灑的畫面中格外顯眼，湛藍的水氣、雲氣隨著群山躍動，樹影、光影繽紛於波紋和山線之間，絢麗美景，實令人心曠神怡。

174 LIANG YIFENG

梁奕焚

( b.1937 )

女人與靜物

Woman and Still Life

2008 油彩畫布簽名：LIANG 奕焚 '008 背面簽名：梁奕焚

145 x 112cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2008 Signed on the reverse: Liang Yi-Feng in Chinese With a picture of the artist taken with the artwork

附藝術家與作品之合影

梁奕焚是一位外放、幽默、活動力旺盛的藝術家，作品產量極快也極大。曾在紐約 SOHO 旅居多年的他，作品備受西方藝術圈與藏家的肯定。畫如其人，梁奕焚此作《女人與靜物》顯示出其受到高更、馬蒂斯、畢卡索等的高度影響，充滿大膽的顏色（如畫中女人的黑色皮膚與白色勾勒線條）、原始的圖騰（如桌布與洋裝的花紋裝飾）和扁平破壞透視的視角觀點（如桌面與桌上的花瓶、水果之間的關係），強烈的風格和配色，在其 90 年代中至 2010 年前後達到巔峰（2014 年，梁奕焚以拙趣盎然的水墨小品作為主要創作），而此完成於 2008 年的《女人與靜物》，更是構圖與結構高度完整的佳作。

NT$ 160,000-320,000 US$ 5,300-10,600 MODERN AND CONTEMPOR ARY ART

273

175 HSIEH HSIAODE ( b.1940 )

Landscape of Riverside 78 x 108cm Watercolor on Paper Signed Hsieh Hsiao-De in Chinese, dated 2011

NT$ 80,000-160,000 US$ 2,600-5,300

謝孝德河上風光 2011 水彩紙本簽名：2011 謝孝德

274

ZHONG CHENG 中誠

謝孝德畢業於台灣師範大學美術系，曾遠赴法國巴黎羅浮藝術學院進修，經過多年的素描鍛鍊，練就紮實的描寫功力，將國畫潑墨山水渲染的意境結合西洋的透視觀點融入其作品中，創作堅持具象藝術，擅長素描、油畫、水彩、嵌畫與雕刻，在海內外舉辦多次個人畫展，享譽國際，是台灣新寫實主義的開創人。謝孝德認為：「東方藝術山水畫的表現是寫意、渲染的功夫，

他融合國畫潑墨山水渲染的意境，結合西洋的透視觀點，並秉持『山不朦朧不是山，水不澄清不是水』的精神，組合成獨一無二的山水構圖。」《河上風光》此一作，流暢的筆觸勾勒出仙境般的山水美景，獨特的筆法，純熟的技巧掌握住水與色彩的流動，漁船悠遊於江面上，天然造化的自然之美無限延伸，構築出一幅幽邃靜謐的湖光風情畫，映入眼簾，心怡神悅。

176 YOSHIO YOSHIMURA

吉村芳生

( 1950-2013 )

新聞力量和自畫像 ( 巴黎 )

Newspaper and Self-portrait in Paris

鉛筆報紙簽名：No.1050 パリにて芳生 2012.11.14

45 x 32cm Pencil on Newspaper Signed Yoshio in Japanese and dated 2012.11.14, titled

NT$ 80,000-160,000 US$ 2,600-5,300

吉村芳生深受安迪．沃荷的影響，於東京藝術學校研習版畫，並於日本、美國與英國等地榮獲許多獎項，作品更在國內外藝術博物館展出，包括東京當代藝術博物館、廣島市藝術博物館及比利時的文化部，尤其特別受日本、亞洲、歐洲及美國的收藏家追捧，是國際知名的日本藝術家。《新聞力量和自畫像 ( 巴黎 )》2012 年來到巴黎，吸取了當地報紙做為畫紙，運用精湛細膩的繪畫技巧，在緊密羅列的文字背景上，以鉛筆將自己的容貌繪於其中，產生出一種純粹與複雜兼具的和諧感受。

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177 WANG WANCHUN ( b.1956 )

禪境

Zen

壓克力畫布簽名 : 王萬春

145 x 110cm Acrylic on Canvas Signed Wang Wang-Chun in Chinese

NT$ 300,000-500,000 US$ 9,900-16,500

276

王萬春

ZHONG CHENG 中誠

王萬春，1956 年出生於宜蘭。少時受藍清輝與陳忠藏的畫作啟發，立志成為畫家。母親的去世，帶給其內心極大的震盪，開啟往後的半隱居生活，藉由遠離塵囂以喚醒「潛藏心靈暗處的脈動」。王萬春的作品，大多是對生命的體悟與哲思，孰真孰幻難以分辨。畫面中的留白之處，其弦外之音不禁使人低迴品味。作品中的人物、場景、及日常生活的物件，像是在互相對話或與觀者交談。人物通常代表畫家本身，亦可將其視為融入自身生命經驗來體會解讀的觀者。《禪境》中沉澱平和裡帶著隱遁山水的寂靜。厚實的筆觸與深沉的色調，充滿著強烈、交雜詩意的意境美感。

178 SHEN NA ( b.1979 )

Woman on the Verge of a Nervous Breakdown 14 99.5 x 129cm Oil on Canvas Signed Shen Na both in Chinese and English, dated 2007

NT$ 80,000-160,000 US$ 2,600-5,300

沈娜生於四川，畢業於四川美術學院油畫系碩士班，並留校任教。作品創作常以中國當代都市女性以及同志愛的情欲為題材。沈娜的新女性繪畫，以卡通造型的創作形式表現，粉紅鮮豔的背景上塑造出不同於以往的女性形象，沈娜曾說：「我其實是想借她們的形象來描繪現代社會帶給女性的傷

害，表面的歡娛其實只是表像，身體和行為上的放縱，其實是內心的無助和對現實的逃避罷了。」將女性另一面的任性妄為，想哭、想亂性、想鬧、想垂涎，以誇張表情形象賦予人性和個性的內在陳述，隨心所欲的形式揮灑於畫面上，風格獨特吸引觀者的眼球。

沈娜崩潰邊緣的女人 14 2007 油彩畫布簽名：SHEN NA 沈娜 2007

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179 PEN TZUCHIANG ( b.1960 )

Peking Opera Girls 54 x 39.5cm (7) Pencil on Paper Signed Tzu-Chiang in Chinese, dated 2003 (7)

NT$ 140,000-280,000 US$ 4,600-9,200

彭自強國劇女子 2003 素描紙本簽名：自強 2003 (7)

278

ZHONG CHENG 中誠

彭自強自幼習水墨畫，十六歲入門習畫專攻水彩，個性瀟脫而豪邁，畫風具有強烈的個人色彩，感性與知性包含於其中，善於捕捉具韻律的神情，創作題材廣泛，從風景、樂隊演奏、運動競技、舞蹈至國劇臉譜等，創作風格筆觸不拘小節，人物表情生動，呈現強烈生命力。此作品《國劇女子》彭自強以快速有力的筆法，將國劇人物每個角色的神情與形象表達的神形具備、栩栩如生，從不同角度表現國劇的藝術特點及造型美感，結構成彭自強的素描魅力，也展現出敏銳的觀察力。

180 PEN TZUCHIANG ( b.1960 )

Musical Instrument Series 54 x 39.5cm (5) Pencil on Paper Signed Tzu-Chiang in Chinese, dated 2003 (5)

NT$ 80,000-160,000 US$ 2,600-5,300

彭自強

彭自強自幼習水墨畫，後專攻水彩，在水彩領域創造出自我風格，具有敏銳的觀察力及創造力，作品具強烈生命感、張力十足。創作題材廣泛，多以交響樂、京劇人物、風景、人物等為主，曾舉辦多次個展。《樂器系列》在彭自強自由奔放的筆觸下，對細節的準確掌控，畫面流動效果的營造，將樂隊人物演奏之神情描繪得出神入化，以動感的曲線來表現出演奏者身體的動勢，使每個人物充滿體積感與量感，整體明亮簡潔。

樂器系列 2003 素描紙本簽名：自強 2003 (5)

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181 CHU TEHCHUN ( 1920-2014 )

Apaisement 162 x 200cm Velvet Weaves on Wall hanging Signed Chu Teh-Chun both in Chinese and English, dated 1990 On the Reverse with Chu Teh Chun's authorization of Silk Flannel Tapestry

NT$ 800,000-1,000,000 US$ 26,400-33,000

朱德群靜 1990 絲絨織壁掛簽名：朱德群 CHU TEH-CHUN 90 畫背附有朱德群之授權書

280

ZHONG CHENG 中誠

華裔旅法藝術家朱德群，雖將生涯的大部分時間都留在法國進行創作，並以極為抒情的「抽象風景畫」風格廣為人知，朱德群的畫作裡濃郁且揮灑的豐富色彩，總是在顏料的濃淡間不經意地充滿了詩意。但，比起當時的西方繪畫，若仔細依照時間脈絡來賞析其作品，我們可以發現，影響朱德群最多的，其實是其自青少年在中國時期，耳濡目染地與父親學習中國傳統書畫，此影響讓朱德群即便到了法國，除了將水墨畫的「濃、淡、乾、濕、黑」等筆法特質轉譯在油彩與畫布上，更在深受北宋范寬影響的脈絡中，運用不同筆刷的特徵和對顏料時間的掌握，快速地或渲染、或乾皴，營造出大山大水的磅礡氣釋。拿著油畫筆的朱德群，更多時候看起來像個任性的書法家，對於「書寫」的節奏掌握如同演奏一首盛大的交響樂，我們可以在《靜》的色彩明亮之處，找到一些細膩的休止符，感受其點點色塊的寧靜，但卻又總是在意猶未盡時，倏地在畫面的某個轉角轟然出現極為大氣的、黑棕色的、濃烈的八部合奏。這種充滿戲劇性的旋律，在《靜》的畫面色調中，卻又不意外地讓觀者嗅出一點林布蘭對於光線掌握的味道（朱德群亦曾自承受其影響）。此件《靜》的絲絨織壁掛，猶如一張不斷重複播放的發燒黑膠唱片，可以永遠地澎湃下去。

182 ZAO WOUKI ( 1921-2013 )

Limited Orchid Porcelain 直徑 25cm(2) Watercolor on Porcelain Signed Wou-Ki in Chinese, Zao in English, dated 1986

NT$ 140,000-220,000 US$ 4,600-7,300

趙無極蘭花 1986 水彩陶瓷簽名：無極 ZAO 86 備註：此瓷盤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。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 (1966-1986) 所繪製限量抽象蘭花瓷盤。《蘭花》繪於 1986 年，並由法國深具代表性的知名陶瓷工作室 l' atelier ségriès 製作。l' atelier ségriès 專門生產 17 世紀或 18 世紀風格的西洋古陶瓷，以手工製作著稱，力求精緻完美。曾與知名精品法國愛馬仕和紐約的蒂芬妮合作陶瓷工藝。

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183 CHIANG KAISHEK ( 1887-1975 )

親簽文字

Signature

水墨紙本簽名：蔣中正

31 x 63cm Ink on Paper Signed Chiang Chung-Cheng in Chinese

NT$ 80,000-160,000 US$ 2,600-5,300

282

蔣中正

ZHONG CHENG 中誠

先總統蔣中正，畢業於保定軍校和日本陸軍士官學校，而後又擔任黃埔軍校校長，他的一生，有大半時間都在履行軍人的天職，也因此造就其不苟言笑、倔強、固執的個性。而書如其人，蔣中正的書法筆直字正，嚴謹內斂，他以楷書為主要書寫字體，受柳公權、歐陽詢影響較大，晚年則多了趙孟頫的影子，從他頓挫分明、骨力雄強、章法嚴謹的字型架構中，便能體會出其不屈不撓的性格和剛堅強健的軍人風範了。

184 YUE MINJUN x KAWS; ( b.1962 ) ( b.1974 )

ZHOU CHUNYA ( b.1955 )

LIU YE ( b.1964 )

ZHOU TIEHAI ( b.1966 )

JIN NU ( b.1984 )

Art Toys 10(L) x 12.5(W) x 30(H)cm 17(L) x 35(W) x 30(H)cm 14(L) x 15.5(W) x 30(H)cm 19(L) x 14.5(W) x 30(H)cm 28(L) x 19(W) x 21(H)cm Resin, Pile Coating, FRP, Ceramics, ABS Plastics, Crystal Pitch, Glass Fiber Reinforced Plastics Edition 26/100 (5) Signed in Chinese/Pinyin/English, numbered '26/100' (bottom of each) ILLUSTRATED: “MOT Style”, Vol.1, JUT Living Development Co., Ltd., Taipei, Taiwan, July, 2008. EXHIBITION: “Art for the Masses”, MOT/Arts, Taipei, Taiwan, 27 June-27 July 2008 (different edition exhibited)

“Art Toys”, Art Taipei, Taipei, Taiwan, August 2010 (different edition exhibited) “Art Toys”, Art Taipei, Taipei, Taiwan, August 2011 (different edition exhibited) “Art for the Masses”, Hua Gallery, London, UK, June 2012 (different edition exhibited) “Art for the Masses”, Red Star Gallery, Beijing, China, July 2012 (different edition exhibited) “Art Toys”, Art Taipei, Taipei, Taiwan, August 2012 (different edition exhibited) With a certificate of authenticity signed and numbered by the artist Each accompanied with an original box

NT$ 400,000-500,000 US$ 13,200-16,500

岳敏君 x KAWS、周春芽、劉野、周鐵海、金釹 Art Toys 2008 樹脂植絨 FRP 陶瓷 ABS 塑膠水晶樹脂強化玻璃纖維 , 26/100(5) 簽名：金釹；劉野；周春芽；Zhou Tie Hai；Yue Minjun KAWS

圖錄：《MOT Style》第 1 期，忠泰生活開發股份有限公司，台北台灣，2008 年 7 月展覽：「Art for the Masses」，MOT/Arts，台灣台北，2008 年 6 月 27 日 -7 月 27 日 ( 展品為另一版數 ) 「Art Toys」台北國際藝術博覽會，世界貿易中心展覽大樓一館，台灣台北， 2010 年 8 月 ( 展品為另一版數 ) 「Art Toys」台北國際藝術博覽會，世界貿易中心展覽大樓一館，台灣台北， 2011 年 8 月 ( 展品為另一版數 ) 「Art for the Masses」，HUA 畫廊，英國倫敦，2012 年 6 月 ( 展品為另一版數 ) 「Art for the Masses」，紅星畫廊，中國北京，2012 年 7 月 ( 展品為另一版數 ) 「Art Toys」台北國際藝術博覽會，世界貿易中心展覽大樓一館，台灣台北， 2012 年 11 月 ( 展品為另一版數 ) 每套限量作品皆附有藝術家親自簽名的保證書與編號皆附作品原裝盒

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283

185 ANDY WARHOL ( 1928-1987 )

Kiss 20.3(L) x 13.3(W) x 31.7(H)cm Acrylic, Screenprint on Paper, AP

NT$ 600,000-850,000 US$ 19,800-28,100

安迪．沃荷吻 1966 壓克力絹印 AP

284

ZHONG CHENG 中誠

「你只需要看著我的繪畫、我的電影和我的樣子，這就是我。在這些表面之下什麼也沒藏著。」 --- 安迪．沃荷安迪．沃荷善以藝術來表達叛逆創新的精神，他以刻意單調、無聊和重複的表現手法，將大眾消費的商品形象、媒體追逐的名人形象作為創作的焦點，在批判、顛覆和炒作中拉抬藝術品和藝術家的價值。他對現代商業主義與消費主義看似擁抱實則反諷的作風，讓廣大的普普世界產生對未來發展的深刻反思，其影響更是深植於現代生活的藝術、設計和視覺影像中。此件作品《吻》，出自於安迪．沃荷所執拍的電影「吻」中之片段。電影底片依序排列，在經過細膩地轉換後，以絹版印刷製造出大量影像，強烈的黑白對比描繪出重點輪廓，一目了然地表現了清晰主題。電影「吻」是 1963-1964 年間，安迪．沃荷所拍的一系列短片的合輯，在每部短片中，演員都做了 3 分鐘的接吻表演，藝術家用這部電影，表達對美國海斯法案中禁止演員接吻超過 3 秒鐘的不滿與嘲諷。

186 JEFF KOONS ( b.1955 )

Paddle Ball Game 31.5(L) x 20.3(W) x 6(H)cm Thermoprint on Birch wood with metal and string Edition 900 Foundry/Publisher Deutsche Guggenheim Stamped, as issued, Signed with incised marks to reverse: Copyright Jeff Koons 2000 for the Deutsche Guggenheim Berlin

NT$ 80,000-160,000 US$ 2,600-5,300

傑夫．孔斯 Paddle Ball Game 2000 樺木金屬細繩全球限量 900 件由德意志古根漢姆美術館統一鑄造與發行背面印屬：版權由傑夫．孔斯於 2000 年授予柏林德意志古根漢姆美術館

1955 年出生的普普藝術家傑夫．孔斯，擁有俗艷王子的稱號，其藝術風格遊走於庸俗及批判的邊緣，他在可愛的卡通意象下隱藏衝突的矛盾，格外發人省思。傑夫．孔斯的作品大多巨大而奪目，色彩鮮明艷麗，其最為知名的雕塑便是以堅硬的不鏽鋼材質仿造充氣塑膠的質感，如金屬兔子、氣球狗等，在冷冽的鏡面鋼材與眾所皆知的童趣造型下，形成強烈的對比與反差。《Paddle Ball Game》是以聖誕老人九隻馴鹿之一的魯道夫為主題，將其特色的紅鼻子做為延伸重點，與兒時玩具結合，成為一互動式的作品，讓人在把玩之間意會藝術家的獨特創意。

T h is k itsch rei ndeer paddle was produced for t he Deutsche Guggenheim "EasyFun-Ethereal" exhibit in 2000. The exhibit, by bad boy of the artworld Jeff Koons, featured paintings commissioned by Deutsche Bank for the Berlin Guggenheim. The paddle is reminiscent of those paintings, which featured, among other things, smiling sandwiches floating against a background of splashing milk, in a slick photorealist style.

MODERN AND CONTEMPOR ARY ART

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187 YASUHITO UDAGAWA ( b.1967 )

Panda 19(L) x 17(W) x 21(H)cm Mixed Media

NT$ 240,000-360,000 US$ 7,900-11,900

宇田川譽仁大熊貓 2006 綜合媒材

286

ZHONG CHENG 中誠

宇田川譽仁生於日本東京，大學畢業後便在建築事務所工作，直至 1996 年成為 Shovel Head Craft Factory 工作室的藝術家，從此展開他的創作生涯。宇田川譽仁從小就熱愛親手製作的物件，他擅長運用各種精密的金屬、電子零件、紙黏土和木頭等材料，細膩塑造出各種自然形態的動物和昆蟲，其強烈的機械風格讓作品產生出突變的異樣感，既似變種生物卻又充滿童趣，它們以一種動態的瞬間凝結在時空中，藝術家賦予了這些神秘的物件生命，並使之在無限的想像空間中誕生。

188 WU TIENCHANG ( b.1956 )

A Gentleman with Nose Ring 45(L) x 45(W) x 60(H)cm Mixed Media

NT$ 280,000-450,000 US$ 9,200-14,900

吳天章

「藝術家應該也要有如魔術師入行時對技藝祕密的誓言。」 --- 吳天章當代藝術家吳天章，早在 80 年代後期，便以新本土意象的平面繪畫崛起；2000 年初開始，透過數位影像技術，以「安排式攝影」創作一系列驚悚有力的作品；而後更以魔術般的動態視覺風格探討虛實、真假的對立，演繹出一場辯證美學。《帶著鼻環的紳士》為 2009 年「感動生肖」公益助學計劃的作品之一，學學文創邀請臺灣當代藝術家與設計師，以洪易設計之牛造形素胚為基底來進行創作，並將義賣所得資助經濟弱勢兒童接受藝術課程。《帶著鼻環的紳士》穿上吳天章影象中華麗的人物服裝，打上鮮豔的腮紅，其獨特的風格在雕塑上呈現出另一種趣味性。

帶著鼻環的紳士綜合媒材

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189 PIERRE FERNANDEZ ARMAN

阿曼

( 1928-2005 )

刷子

Les Pinceaux

1989 鐵 64/100 簽名：Arman bocquel Fd. 64/100

20(L) x 27(W) x 26(H)cm Iron, 64/100 Signed Arman boequel in English, numbered Fd. 64/100

附畫廊開立之原作保證書 With a certificate of authenticity from gallery

NT$ 140,000-240,000 US$ 4,600-7,900

288

ZHONG CHENG 中誠

阿曼將日常生活中熟悉的、消費性的物品，以不同的方式保存下來，更將原有的事物賦於新的面貌與意義，進而發掘物體潛在的功能。這些經由分割、拆解以後的物品，以重覆、複製的手法呈現出量的感覺，作品更常是人類生活與情感的集積。《刷子》單一隻刷子本身似乎無法察覺時間的流逝，但當刷子被納入堆積組合的雕塑後，刷子即潛藏於過去，被轉化成考古物件；歷史中的每一段時光馬上就會被現在的時間所覆蓋，因此這一刻使用的東西，下一刻即變成歷史。刷子旋轉朝上的集積，似乎預示著時間的流逝，與人類日常生活時光的見證。

190 HUANG MINGCHE ( b.1948 )

Sense and Sensibility 29(L) x 29(W) x 268(H)cm Stainless Steel, 9/100

NT$ 80,000-160,000 US$ 2,600-5,300

黃銘哲生命之光不鏽鋼 9/100 90 年代過後，黃銘哲的作品逐漸從平面繪畫轉化為立體創作，他冒著失去市場的極大風險，跟隨內心的聲音、欲望，義無反顧地投入大型雕塑的造型世界。藝術家以堅硬的不鏽鋼材質打造溫柔的絕美弧度，將女人軀體般的完美曲線拉長、抽高，一件件有機形態的作品便呈現於觀者眼前，乾淨俐落、活力盎然又充滿趣味。從平面延伸到立體的概念，顯現出黃銘哲清晰的創作脈絡，他以冒險家的精神和幻想家的理想，發展出屬於自身的藝術語言。《生命之光》為黃銘哲《昇華系列》的其中一件，高挑的造型細緻而優雅，兩端的尖銳在視覺上不斷延伸，中間的鋼材也要被拉扯成直線似的，一股強勁而柔軟力量附著在作品上，就如藝術家的情感般，堅定執著。

MODERN AND CONTEMPOR ARY ART

289

191 ZAO WOUKI

聖茹瓦爾的旅行：霧色風景

Montagnes Embrumées (Misty Mountains)

2006 絲網版畫 64/99 簽名：無極 Zao 64/99

27.5 x 20.5cm silkscreen, 64/99 Signed Wou-Ki in Chinese and Zao, numbered 64/99 ILLUSTRATED: "Zao Wou-ki-Carnets de voyages 1948-1952," Albin Michelle, Albin Michel Editions, Paris, France, 2006, color illustrated, Page 95 This print executed in 2006 in an edition of 99 and 24 AP for the limited edition of the book "Zao Wou-Ki - Carnets de voyages 1948-1952".

NT$ 180,000-320,000 US$ 5,900-10,600

290

趙無極

( 1921-2013 )

ZHONG CHENG 中誠

圖錄：《趙無極旅行圖文手記 1948-1952》，阿爾班 ‧ 米歇出版社，法國巴黎，2006 年，彩色圖版，第 95 頁註：此件版畫與單本書籍《聖茹瓦爾的旅行 1948-1952》組發行於 2006 年，限量 99 件與 24 件 AP 版。

192 ZAO WOUKI

趙無極

( 1921-2013 )

聖茹瓦爾的旅行：紅色太陽

Soleil Couchant (Sleeping Sun)

2006 絲網版畫 64/99 簽名：無極 Zao 64/99

27.5 x 20.5cm silkscreen, 64/99 Signed Wou-Ki in Chinese and Zao, numbered 64/99 ILLUSTRATED: "Zao Wou-ki-Carnets de voyages 1948-1952," Albin Michelle, Albin Michel Editions, Paris, France, 2006, color illustrated, Page 100 This print executed in 2006 in an edition of 99 and 24 AP for the limited edition of the book "Zao Wou-Ki - Carnets de voyages 1948-1952".

圖錄：《趙無極旅行圖文手記 1948-1952》，阿爾班 ‧ 米歇出版社，法國巴黎，2006 年，彩色圖版，第 100 頁註：此件版畫與單本書籍《聖茹瓦爾的旅行 1948-1952》組發行於 2006 年，限量 99 件與 24 件 AP 版。

NT$ 180,000-320,000 US$ 5,900-10,600

MODERN AND CONTEMPOR ARY ART

291

193 YAYOI KUSAMA

無限網 1958

Infinity-Nets 1958

1982 版畫 36/50 簽名：36/50 Infinity-Nets 1958 Yayoi Kusama '82

33 x 39.8cm Lithograph, 36/50 Signed Yayoi Kusama and titled Infinity Nets 1958 in English, dated 1982, numbered 36/50

NT$ 200,000-260,000 US$ 6,600-8,600

292

草間彌生

( b.1929 )

ZHONG CHENG 中誠

194 YAYOI KUSAMA

草間彌生

( b.1929 )

無限的網

Infinity-Nets

1953-1984 石版畫 1/30 簽名：1/30 Infinity Nets 1953-1984 Yayoi Kusama

31 x 40.5cm Lithograph, 1/30 Signed Yayoi Kusama and titled Infinity Nets in English, dated 1953-1984, numbered 1/30 ILLUSTRATED "Collection of Print Works: Yayoi Kusama", Abe Corporation, Japan, 2011, Illustrated, Page 37, Plate 46

圖錄：《草間彌生全版畫集》，阿部株式會社，日本， 2011 年，彩色圖版，第 37 頁，編號 46

NT$ 220,000-260,000 US$ 7,300-8,600

MODERN AND CONTEMPOR ARY ART

293

195 WALASSE TING

丁雄泉

( 1929-2010 )

桃與鮮花

Fisheries and Flower

1990 版畫 250/250 簽名：Ting '90 250/250

120 x 160cm Lithograph, 250/250 Signed Ting in English, dated 1990, numbered 250/250

NT$ 200,000-300,000 US$ 6,600-9,900

294

ZHONG CHENG 中誠

196 WALASSE TING ( 1929-2010 )

a. Erotic Composition - Red Hair Lady b. Erotic Composition - Blue Eyes Girl c. Erotic Composition - Blue Hair Girl a.43 x 58cm b.43 x 58cm c.43 x 58cm a. Lithograph, 65/80 b. Lithograph, 65/80 c. Lithograph, 65/80 a. Signed Ting in English, numbered 65/80, dated 1979 b. Signed Ting in English, numbered 65/80, dated 1979 c. Signed Ting in English, numbered 65/80, dated 1979

NT$ 120,000-200,000 US$ 4,000-6,600

丁雄泉 a. 嬌豔紅髮 b. 持扇的藍眼女子 c. 藍髮女孩 a.1979 b.1979 c.1979 a. 版畫 65/80 b. 版畫 65/80 c. 版畫 65/80 a. 簽名：65/80 Ting 79 b. 簽名：65/80 Ting 79 c. 簽名：65/80 Ting 79

a. b. c.

MODERN AND CONTEMPOR ARY ART

295

197 YAYOI KUSAMA

帽子

Hat

1983 版畫 60/100 簽名：60/100 1983 帽子 Yayoi Kusama

45 x 52.5cm Lithograph, 60/100 Signed Yayoi Kusama in English, dated 1983, numbered 60/100, titled Hat in Japanese ILLUSTRATED: "All Prints of KUSAMA YAYOI 1979-2011 " ABE PUBUSHING LTD, Japan, February 2011, Page 23

NT$ 220,000-300,000 US$ 7,300-9,900

296

草間彌生

( b.1929 )

ZHONG CHENG 中誠

圖錄：《草間彌生全版畫 1979-2011》，阿部出版株式會社，日本，2011 年，第 23 頁

198 YAYOI KUSAMA

草間彌生

( b.1929 )

蝶

Butterfly

1985 絲網版畫 35/100 簽名：35/100 BUTTERFLY 1985 Yayoi Kusama

45.5 x 53cm Lithograph, 35/100 Signed Yayoi Kusama and titled Butterfly in English, dated 1985, numbered 35/100 ILLUSTRATED: "All Prints of KUSAMA YAYOI 1979-2011 " ABE PUBUSHING LTD, Japan, February 2011, Page 55

圖錄：《草間彌生全版畫 1979-2011》，阿部出版株式會社，日本，2011 年，第 55 頁

NT$ 220,000-300,000 US$ 7,300-9,900

MODERN AND CONTEMPOR ARY ART

297

199 ZAO WOUKI

Composition 2006

2006 版畫 80/90 簽名：無極 ZAO

75.5 x 56.5cm Lithograph, 80/90 Signed Wou-Ki in Chinese and ZAO in English

NT$ 180,000-240,000 US$ 5,900-7,900

298

趙無極

( 1921-2013 )

ZHONG CHENG 中誠

200 WALASSE TING

a. b. c. d.

丁雄泉

( 1929-2010 )

a. 持扇女郎

a. Hidden Smile

b. 女郎與貓

b. Woman and Cat

c. 斑點沙發

c. Pink Fleck Sofa d. Geishas with Red Horse a.53 x 72cm b.55 x 75cm c.46 x 65cm d.52 x 65cm a. Lithograph, 171/200 b. Lithograph, H.C. c. Lithograph, 168/250 d. Lithograph, 24/200 a. Signed Ting in English, numbered 171/200 b. Signed Ting in English, numbered H.C., dated 1985 c. Signed Ting in English, numbered 168/250 d. Singed Ting in English, numbered 24/200

d. 女郎與紅馬 a.1981 b.1985 c.1987 d.1981 a. 版畫 171/200 b. 版畫 H.C. c. 版畫 168/250 d. 版畫 24/200 a. 簽名：171/200 Ting b. 簽名：H.C. Ting 85 c. 簽名：168/250 Ting d. 簽名：24/200 Ting

NT$ 120,000-200,000 US$ 4,000-6,600

MODERN AND CONTEMPOR ARY ART

299

201 ZAO WOUKI

Etching with Aquatint, 1963

1963 版畫 28/90 簽名：28/90 無極 ZAO'63

55 x 37.5cm Lithograph, 28/90 Signed Wou-Ki in Chinese and ZAO in English, dated 1963, numbered 28/90 ILLUSTRATED: "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 93

NT$ 180,000-240,000 US$ 5,900-7,900

300

趙無極

( 1921-2013 )

ZHONG CHENG 中誠

圖錄：《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 19371995》，Edition Heede & Moestrup( 法國出版 )，1994 年，第 93 頁

202 ZAO WOUKI

趙無極

( 1921-2013 )

Lithography, 1988

1988 版畫 32/99 簽名：32/99 無極 ZAO'88

68 x 48cm Lithograph, 32/99 Signed Wou-Ki in Chinese and ZAO in English, dated 1988, numbered 32/99 ILLUSTRATED: "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 187

圖錄：《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 19371995》，Edition Heede & Moestrup( 法國出版 )，1994 年，第 187 頁

NT$ 140,000-220,000 US$ 4,600-7,300

MODERN AND CONTEMPOR ARY ART

301

a. b. c. d.

203 WANG YIDONG

a. 回娘家

a. Going Back to Parents' Home

b. 返娘家

b. Going Back to Parents' Home

c. 待嫁女孩

c. The Girl to be Married d. Peonys a.51.7 x 41cm b.41.2 x 41cm c.62 x 41cm d.58.8 x 42cm a. Lithograph, 18/99 b. Lithograph, 18/99 c. Lithograph, 18/99 d. Lithograph, 18/99 a. Signed Wang Yidong in English, titled in Chinese, dated 2006, numbered 18/99 b. Signed Wang Yidong in English, titled in Chinese, dated 2006, numbered 18/99 c. Signed Wang Yidong in English, titled in Chinese, dated 2006, numbered 18/99 d. Signed Wang Yidong in English, titled in Chinese, dated 2006, numbered 18/99 With a certificate of authenticity signed by the artist

NT$ 160,000-320,000 US$ 5,300-10,600

302

王沂東

( b.1955 )

ZHONG CHENG 中誠

d. 牡丹 a.1997 b.1998 c.1995 d.1993 a. 版畫 18/99 b. 版畫 18/99 c. 版畫 18/99 d. 版畫 18/99 a. 簽名：回娘家 18/99 Wang Yidong 2006 b. 簽名：返娘家 18/99 Wang Yidong 2006 c. 簽名：待嫁女孩 18/99 Wang Yidong 2006 d. 簽名：牧丹 18/99 Wang Yidong 2006 附藝術家親簽之原作保證書

204 CHU TEHCHUN

朱德群

( 1920-2014 )

初夏

Early in the Summer

2005 版畫 E.A. 簽名：E.A. 朱德群 CHU THE-CHUN

65 x 88cm Lithograph, E.A. Signed Chu Teh-Chun both in Chinese and English, numbered E.A. ILLUSTRATED: (1)"CHU TEH-CHUN The Graphic Work 2000-2008", Hoke Art, Taipei, Taiwan, 2008, Page 34 (2)"Chu Teh-Chun The Graphic Work 2004-2008", Mingshan Art, Taipei, Taiwan

NT$ 140,000-220,000 US$ 4,600-7,300

圖錄： (1)《朱德群石版畫 2000-2008》，霍克國際藝術，台灣台北，2008 年，第 34 頁 (2)《朱德群 2004-2008 原創石版畫》，名山藝術，台灣台北

MODERN AND CONTEMPOR ARY ART

303

205 WU GUANZHONG

野生動物園

Wild Zoo

1994 版畫 11/100

68 x 136.5cm Lithograph, 11/100 Inscribed and Signed Wu Guan-Zhong in Chinese, dated 1994, numbered 11/100 With one seal of the artist

NT$ 180,000-280,000 US$ 5,900-9,200

304

吳冠中

( 1919-2010 )

ZHONG CHENG 中誠

簽名：憶印尼野生動物園一九九四年吳冠中 11/100 藝術家鈐印

吳冠中在 1990 年代先後至法國、日本、英國、印尼等地創作與辦展，延續 80 年代開拓的創新之路，1990 的藝術在東、西方文化特色間獲得了突破性的均衡。《憶印尼野生動物園》之中囊括了體態各異，栩栩如生的動物之姿，深沉的墨色彰顯出繁密濃重的力量，顯現出旺盛的生命力，將回憶中熱帶氣候的鮮明感受、活現於藝術的妙筆生花內。

a. b. c.

206 PIERRE FERNANDEZ ARMAN

阿曼

( 1928-2005 )

Trio a Cordes

1987 a. 版畫 8/20 b. 版畫 8/20 c. 版畫 8/20 a. 簽名：VIII/XX arman b. 簽名：VIII/XX arman c. 簽名：VIII/XX arman 限量精裝版畫套組

97 x 67cm(3) a. Lithograph, 8/20 b. Lithograph, 8/20 c. Lithograph, 8/20 a. Signed arman in English, numbered VIII/XX b. Signed arman in English, numbered VIII/XX c. Signed arman in English, numbered VIII/XX

NT$ 80,000-160,000 US$ 2,600-5,300

MODERN AND CONTEMPOR ARY ART

305

207 HSIAO CHIN

a. 再生之始－ 4

a. L'inizio Della Rinascita - 4

b. 紅雲

b. Nuvola Rossa

a. 版畫 21/50 b. 版畫 33/50 a. 簽名：21/50 Hsiao 勤 b. 簽名：33/50 Hsiao 勤

a.88 x 127cm b.98.5 x 139cm a. Lithograph, 12/50 b. Lithograph, 33/50 a. Signed Hsiao in English and Chin in Chinese, numbered 21/50 b. Signed Hsiao in English and Chin in Chinese, numbered 33/50 With a certificate of authenticity from Gallery

NT$ 80,000-160,000 US$ 2,600-5,300

306

ZHONG CHENG 中誠

蕭勤

( b.1935 )

附畫廊開立之原作保證書

a. b. c. d.

208 HSIAO CHIN

蕭勤

( b.1935 )

無題

Untitled

a.1962 b.1962 c.2011 d.1966 a. 版畫 44/80 b. 版畫 44/80 c. 版畫 216/360 d. 版畫 6/12 a. 簽名：44/80 Hsiao 勤 62; 藝術家鈐印 b. 簽名：44/80 Hsiao 勤 62; 藝術家鈐印 c. 簽名：216/360 Hsiao 勤 11 d. 簽名：VI/XII Hsiao 勤 66; 藝術家鈐印

a.53 x 43cm b.56 x 49cm c.59 x 45cm d.30 x 40.8cm a. Lithograph, 44/80 b. Lithograph, 44/80 c. Lithograph, 216/360 d. Lithograph, 6/12 a. Singed Hsiao in English and Chin in Chinese, numbered 44/80, dated 1962, with one seal of the artist b. Singed Hsiao in English and Chin in Chinese, numbered 44/80, dated 1962, with one seal of the artist c. Singed Hsiao in English and Chin in Chinese, numbered 216/360, dated 2011 d. Signed Hsiao in English and Chin in Chinese, numbered VI/XII in Roman numerals, dated 1966, with one seal of the artist

NT$ 120,000-200,000 US$ 4,000-6,600 MODERN AND CONTEMPOR ARY ART

307

郎靜山 LONG

CHINSAN (1892-1995)

009

楊識宏 YANG

004

039

001

040

164

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.

陳蔭羆 GEORGE

CHANN (1913-1995)

CHIHUNG (b.1947)

032

087

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.

趙澤修 LINUS

ZAO (b.1930)

008 005

023

生於中國廣東。1934年進入美國洛杉磯奧蒂斯藝術學院就讀，師事布魯克及維色卡。就學期間因成績優異獲全額獎學金，並於1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展。1942-1946年間陸續於美國各大城市舉辦展覽。1947-1949年返回中國，於廣州市文獻館及上海舉辦個展。1950年返美，並開始研究抽象畫，於1969-1973年間應南加州帕撒狄納美術館之邀舉行個展，展出50 件抽象作品，其作品為聖地牙哥博物館及美國數個市立美術館珍藏。 Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master's degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles. More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibition at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

308

ZHONG CHENG 中誠

生於中國山東濟南。1955年畢業於台北國立師大藝術系，赴美後入紐約帕爾遜美術學院獲藝術碩士，1959年至1964年間在東京映動畫廠及好萊塢迪斯尼動畫片廠工作。1965返台在台北創「澤修美術製作所」，為台灣動畫片先驅，有「台灣卡通之父」、「台灣華特迪士尼」之稱。第一部製作的動畫為1968年的《石頭伯的信》及 1969年《龜兔賽跑》。1971至2003年任夏威夷大學美術教授及自由畫家。1960年至今，曾在各地展出水彩畫，如日、韓、加、家、澳洲、巴西、中、台各地等，獲獎頗多。其水彩畫題材豐富，對雨、雪、山、水更為鍾情，常把「一瞬」之間的燦爛和輝煌把握入畫，揮筆不拘法則；凡聚散藏露，疏密呼應，將有限變為無限，淋漓灑脫的把詩意、哲理、情思貫入畫的深處。 Born in Jinan, Shan Dong, Linus Zao graduated from the Art Department of National Taiwan Normal University and later received masters from the Parsons Art Academy. He worked at the Tokyo Animation Studio and Disney Hollywood from 1959 to 1964. He returned to Taipei in 1965 and founded the “Linus Art Studio”; he is a pioneer of Taiwanese animation and known as the “father of Taiwanese cartoon” and “Taiwan's Walter Disney”. His first animation was “Uncle Stone's Letter” in 1968 and “Tale of a Turtle And a Rabbit” in 1969. From 1971 to 2003, he taught at the University of Hawaii and freelance painter. From 1960 till today, he exhibited at many places such as Japan, Korea, Canada, Australia, Brazil, China and Taiwan and won numerous awards. His water paintings are rich in theme and especially fond of the rain, snow, mountains and water. He often incorporated “the moment” into his paintings, his brushstrokes are liberal. His art works are poetic, philosophical and full of affection.

丁雄泉 WALASSE

TING (1929-2010) 生於中國江蘇，為國際聞名的詩人藝術家。青年時曾入上海美術專科學校就讀， 1946年遷居香港。1952年前往法國發展並結識眼鏡蛇畫派成員。1960年移居紐約，發展出新畫風，成為美國普普藝術家一員。2001年起定居於荷蘭阿姆斯特丹。曾出版《一分人生》詩集，內容涵括多位美國及歐洲藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學金，並出版以女性為題材的情色素描與繪畫書籍《朱唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊；其色彩鮮豔之作品廣為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館等。 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.

002

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195

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MODERN AND CONTEMPOR ARY ART

309

巴斯天 ALFRED

BASTIEN (1873-1955)

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 003 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。

037

038

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 098 165 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.

唐海文 TANG

006

159

HAIWEN (1927-1991)

018

044

045

090 052

088

生於中國福建。自幼隨祖父學習書法。1937年抗日戰爭爆發後，舉家遷居越南，後受藝術熱忱之驅使，於1948年赴巴黎自修遊學，長期旅居並揚名於國外。其作品透過純熟的線條運用，跨越東西技法呈現中國傳統哲思，於1955年舉辦首次個人展覽後，持續旅行、展覽於各地，足跡遍及歐美大陸，包含：摩洛哥拉巴特烏達易斯博物館（1959）、瑞典斯德哥爾摩密德索馬花文化中心（1965）、法國沙波多隆聖十字修院博物館（1972）、法國尼斯彭雪德博物館（1980）、法國維特埃城堡維特埃藝術博物館（1984）、法國巴黎拉丁美洲館（1987）、丹麥阿爾圖斯美術館（1995）、摩納哥海洋生態博物館（1996）等。唐海文終其一生以獨特的藝術視野與作品結交異地同好，1991年逝世後，台北市立美術館於1997年為其舉辦「作品回顧展」；同年，日本東京資生堂基金會也舉行「唐海文個展」；法國巴黎亞洲藝術館於2002年為其舉行大型回顧展，完整地呈現其繪畫風貌。其作品為多所法國現代美術館及私人收藏，包括巴黎現代美術館及賽努希爾博物館。 310

ZHONG CHENG 中誠

089

Born in Fujian, China, Tang studied Chinese calligraphy under the instruction of his grandfather, and left for France to seek further education in arts in 1948. He held some sole exhibitions all over Europe, including: Oudaias Museum in Rabat, Morocco in 1959, Midsomma Garden Culture Center, Stockholm, Sweden in 1965, Sables d'Olonne, France in 1972, Ponchettes Museum in Nice, France in 1980, Chateau de Vitre, France in 1984, Paris, France in 1987. Tang never went back to his homeland, China for the rest of his life, yet he traveled all around the Europe and America, and knew numerous friends from all over the world. After Tang passed away in Paris in 1991, The Taipei Fine Arts Museum organized a 091 retrospective exhibition of his work entitled "The Tao of Painting." in 1997; In 2002, the Musée des Arts Asiatiques-Guimet in Paris presented a retrospective of Tang works entitled "Paths of Ink." The Shiseido Foundation in Tokyo has also exhibited the work of Tang in the same year. Tang's work is either held privately or in the collections of several museums in Europe and America, including The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d'Art Moderne de la Ville de Paris.

楊英風 YUYU

YANG (1926-1997)

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092

007 047

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)。

劉其偉 LIU

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.

CHIWEI (1912-2002)

臺靜農 TAI

093

JINGNONG (1902-1990)

012

010

016

生於中國福建，原名劉福盛。1920年移居日本，先後畢業於日本神戶英語神學院以及東京鐵道教習學院。1945年來台，1949年開始自修水彩畫並於1951年舉辦首次個人水彩展。1962年獲中國畫學會第一屆水彩畫家金爵獎，1996年獲中國文藝協會「文藝獎章」，2001年獲文建會第四屆「文馨獎」金獎及特別獎，2002年獲總統頒發「褒揚令」。其水彩畫和油畫作品受到臺灣人的喜愛。在臺灣畫壇尊稱他為「劉老」，有畫壇老頑童之稱。近期展覽有：「80年回顧展」（1990，台灣台中，台灣省立美術館）、「巴布亞原始藝術展─劉其偉的新幾內亞行」（1994，台灣台中，國立自然科學博物館）、「探索90─劉其偉捐贈展」（2001，台灣台中，國立臺灣美術館）、「劉其偉歐亞繪畫巡迴展」（2001，愛爾蘭，詹姆斯喬艾思文化中心）。著有《現代藝術研究基本理論》、《水彩技巧與創作》及《台灣土著文化藝術》等書。 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”.

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 011 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.

MODERN AND CONTEMPOR ARY ART

311

胡念祖 HU

NIENTSU (b.1927)

012

于右任 YU

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。

139

生於湖南省益陽縣，字心原，號石牛老牧，又號桃江遊子。1946年入南京美專攻讀國畫選科，1948年師承國畫大師黃君璧研習山水畫藝，次年隨黃師來台；1951 年受聘於台灣省立師範學院 (今國立台灣師範大學)藝術系助教，並受教於溥心畬研究北宗山水；1959年任教於國立台灣藝術專科學校（今國立台灣藝術大學）。 1966年，首次舉行個人畫展於中國郵報畫廊。1971年赴美國定居，並於1973 年入美國紐約藝術學生聯合學院進修，專攻山水創作並推廣文化藝術，期間更獲杜威大學頒發榮譽藝術博士殊榮，享譽國際。1988年返國，專攻水墨山水創作。其作品多次獲選出國參加各項重要國際展覽：「中日現代畫展」（1971、1972，日本，東京）、「74年美國水彩畫展」（1974，美國，密蘇里州，春田博物館）、「紐約當代中國藝術家聯展」（1985，美國，紐約）。 Born in Hunan, China. In 1946, Hu was admitted to the Nanking College of Fine Arts majoring in Chinese Painting. In 1948, he studied Chinese landscape painting under the master painter, Huang Chun-Pi, and in the following year, he came to Taiwan with Huang. In 1951, he became a teaching assistant at the Taiwan Province Normal College (now the National Taiwan Normal University), where he also studied Chinese Northern-school landscape painting under Pu Hsin-yu. In 1959, Hu started teaching at the National College of Fine Arts (now the National Taipei University of Arts). He later resigned from his teaching post to concentrate in his landscape paintings. Hu has held more than a hundred exhibitions in Taiwan and abroad. He received an honorary doctorate of arts from Dewey University in the US where he also exhibited his works, marking a new page in East-West exchange.

吳昌碩 WU

CHANGSHUO (1844-1927)

015

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。

072

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.

312

ZHONG CHENG 中誠

YUJEN (1878-1964)

013

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 Yetsen 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.

黃君璧 HUANG

JUNBI (1898-1991)

生於中國廣東。字君翁，原名韞之，號君璧，南海祿舟人，中國著名畫家。成長於藏有豐盛古董、字畫的富裕環境。年少時就讀於家中的私館，1912 年始學西洋畫，師事理瑤屏。後於1919年畢業於廣東公學，喜觀賞、收藏 014 字畫。17歲時拜李瑤屏為師習畫，1921年經李瑤屏推薦，任教於廣州培正中學，開始繪畫教學之路。1922年於楚庭美術院研究西畫。1927年又任廣州市立美術專科學校教務長。 1937年任徐悲鴻主持的中央大學美術系教授，兩人共同執教長達11年。1949年遷居台灣，任台灣師範學院(今台灣師範大學)藝術系教授、主任。多次在台北、加拿大、美國、新加坡、南韓舉辦個人畫展。 1968年獲紐約聖若望大學學質獎章。擅長畫山水，傳統功底深厚，經歷了現代中國畫的繼承、演變、革新的過程。他從學中國畫之日起就兼學西畫，是一位兼通西畫的中國畫家，西方藝術界稱其為「中國新古典派」，與張大千、溥心畬同被尊稱為「渡海三家」。 Born in Guangdong, China. He was a famous modern 151 artist adept at landscape painting. He once studied under Li Yao-ping to learn Chinese drawing and then entered Chu-ting Art Institute to learn western painting. He graduated from Guangdong Public School in 1919. He once initiated a school to teach painting and therefore was respected as teachers with many good pupils. He is regarded as a very indispensable artist and educator in the history of the Chinese art in the 20th century. Huang Junbi enjoyed equal fame with Xu Beihong and Chang Dai-Chien and had good friendship with them. The three artists are of great influence to the orientation of the modern Chinese painting art. It greatly influenced the development of his art to Taiwan after his arrival on the island in 1949. He not only made a combination between the traditional ink and the Taiwan landscape but also explored a new space for the ink painting ground.

馬公愚 MA

GONGYU (1893-1969)

生於中國浙江溫州。本名範，初字公馭，後改公禺、公愚，晚號冷翁，因其齋名 “畊石簃”，故又署畊石簃主，清年間永嘉城區百里坊人。永嘉馬氏，自清以來，以詩文、金石、書畫傳家凡二百年。曾祖昱中、祖父蘭生，均工詩文書畫。公愚幼承家學，稍長曾師承瑞安孫詒讓、究心周鼎秦權、石刻奇字。後與兄孟容就讀溫州府中學堂。建國後，任上海文史館館員、上海中國畫院畫師，還兼任中國文字改革委員會委員，並參加中國美術家協會上海分會、上海中國書法篆刻研究會等。其素有“藝苑全才”之譽。其書法，篆、隸、真、草，無一不精，真草取法鐘、王，筆力渾厚，氣息醇雅；篆隸更具功力，書名遍播大江南北。繪畫擅長山水、花卉、鳥魚等，篆刻取法秦漢，探本求源，無絲毫近人習氣，但均為書名所掩。 Born in Wenzhou, Zhejiang, China. His real name is Van, the word public Yu, Zhejiang Yongjia Town (now Wenzhou) people. Gong-Yu was for the Family Learning, slightly longer had studied under Ryan Summary of, and Ding Qin rights, stone odd word study cardiac weeks. After studying brother Meng content Wenzhou Fuchu school. He Known as "Art Gallery rounder" reputation. Its calligraphy, seal, scribe, really, grass, all fine. Former Shanghai MuseumLibrarian, Shanghai Chinese Painting artist, Chinese language reform committee.

董作賓 DONG

ZUOBIN (1895-1963)

生於中國河南南陽。原名作仁、字彥堂、號平廬。清光緒二十一年生，卒於民國五十二年，年六十九歲。畢業自國立北京大學研究所國學門。以精研甲骨文、擅書甲骨文著稱；間刻印章，頗有秦漢遺意。與羅雪堂、王觀堂、郭鼎堂，人稱當世甲骨權威（四堂）。嘗被選為中央研究院院士，寓台後，始為國立台灣大學院教授、歷任中央研究院歷史語言研究所所長。香港大學榮譽史學教授。著有殷歷譜、中國年曆總譜、董作賓學術論著、及平廬文存。 Born in Nanyang, Henan Province,China. Dong was best known as an archaeologist. He was one of the so-called “Four Scholars of the Oracle Bones,” and worked at various archaeological sites in China over his long career. Like many scholars, in addition to his research on oracle bones he also practiced calligraphy and copied the oracle bone script. In addition to his academic success, Dong Zuo-Bin navigated the complex Chinese political landscape during periods of great change throughout his life. Oracle Bone script is an ancient Chinese writing system, with examples coming from as early as the 14th century BC. These characters were found written in animal bones or turtle shells used in divination. Although the characters appear pictorial, it is very functional and has thousands of characters. Using the oracle bone script in calligraphy may be a reference to scholarship or antiquity.

陳立夫 CHEN

LIFU (1900-2001)

生於中國浙江。名祖燕，字立夫，另外曾化名李融清、辜君明。1924年獲美國匹茲堡大學採礦學碩士學位。陳立夫與兄陳果夫是中國國民黨重要人物，28歲時出任國民黨中央黨部秘書長，經歷任組織部長、教育部部長、立法院副部長等一系列高職。晚年受招回臺灣後專注於文化上的工作，在蔣介石授命下於臺中市中國醫藥學院擔任董事長，將中國醫藥學院提昇到現今的規模並成立中國醫藥學院附屬醫院，尤其對中醫的保存以及貢獻功不可沒。90歲那年，以一生寫書法募款所得成立「財團法人立夫醫藥研究文教基金會」，用以鼓勵國內外從事中醫藥及文化學術高深之研究及推廣，對中華文化以及儒家思想也有極大貢獻。雖返華後主動退出政壇，但因是國民黨元老並對中華文化貢獻許多，仍非常受兩岸政治人物、學者及中醫界人士尊敬。 Born in Zhejiang, China. Chen Li-Fu was a Chinese bureaucrat, politician, and anticommunist in the Republic of China In 1925, Chen formally joined the Kuomintang in San Francisco after receiving his master's degree in mining engineering at the University of Pittsburgh. On January 9, 1926, Chiang Kai-Shek hired Chen as his confidential secretary. Chen was later promoted in 1927 to head the Investigation Section of the Organization Department of the Kuomintang. In 1938, Chen was again promoted, becoming the minister of education. Chen held this position until 1944.Chen Lifu was the younger brother of Chen Guofu. As a result of the two brothers significant influence in the Kuomintang government, they formed a political faction known as the CC Clique.

趙恆惖 ZHAO

HENGTI (1880-1971)

生於中國湖南衡山。字夷午、彝五，號炎午。1920～1926年湖南軍政首領。二次革命和國民黨內反孫中山派系的代表人物之一，勢力後臺為直系軍閥吳佩孚。1904 年武昌方言學堂畢業，後赴日本留學，入東京振武學校。1909年回國，隨蔡鍔主辦廣西陸軍小學堂，歷任廣西常備軍協統、廣西督練公所會辦。抗日戰爭爆發後任軍事委員會軍事參議官，1939年8月任湖南省臨時參議會議長。於抗戰勝利後為省參議會主席。1947年在原籍湖南省衡山縣當選為第一屆國民大會代表。1949年前往香港，後遷往台灣，1951年在台灣任總統府資政。晚年信奉佛教。 Born in Hunan. He was a general and warlord of Hunan during the Warlord Era. In 1922, he was made commander of the New Xiang Army of the Beiyang Government. A trusted subordinate of Tan Yankai, he went to war with Tan with the support of Wu Peifu and forced Tan's resignation from the governorship of Hunan on 25 November 1920. Zhao Hengti then became the military governor of Hunan from 26 November 1920 to 11 March 1926. He was also the civil governor at the same time except between November 1920 and 6 April 1921. Like Chen Jiongming, Zhao was an advocate of a federalist constitution, but Mao Zedong thought his motive was to retain his own power rather than improve the governance of his country.[1] After a conflict with Zhao Tang Shengzhi was driven south into the arms of Chiang Kaishek, who gave him command of the Eighth Army of the National Revolutionary Army. On 11 March, Tang's troops had deposed Zhao and replaced him as the military and civil governor of Hunan as part of the opening campaign of the Northern Expedition.

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MODERN AND CONTEMPOR ARY ART

313

阿曼 PIERRE

FERNANDEZ ARMAN (1928-2005)

189

017

036

132

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）。

潘朝森 PAN

CHAURSEN (b.1938)

061

019

生於台灣新竹，畢業於台中師專美勞科，師承蕭如松，1955年入台北師範學校藝術科。1966年發起組織「世紀美術協會」。曾獲「台陽美展」首獎、省立美展第三名、省教員美展第一名、中華民國畫學會「金爵獎」、法國貝茲耶國際沙龍藝術成就獎章等殊榮。主要展覽：代表台灣參加「聖保羅雙年國際展」(1969，巴西)；作品《思》代表台灣參加法國坎城國際展，並榮獲「國家榮譽獎」、「個展」 (1974，台灣台北，國立歷史博物館) 、「法國秋季沙龍」(1991，法國)、高雄市立美術館開館聯展(1994，台灣高雄)、「愛與美七十回顧展」(2007，台灣台北，國父紀念館)。 Born in Hsinchu, Taiwan, he was inspired by Hsiao Ru-Sung in high school time, and attended in Taipei Normal College, Art Department in 1955. In 1966, he organized “Century Art Association”. Pan has been awarded first prize of the Tai Yang Art Exhibition, first prize in Provincial Teacher Art Exhibition, third prize in Provincial Art Exhibition, Golden Goblet Award from The Art Society of China and France Best Achievement Medal. Major exhibitions: Represented Taiwan to the Brazil St. Paul Biennial International Exhibition in 1969. In 1972, painting “Ponder” presented in French Cannes International Exhibition and received “Honor of the Country” prize. “Solo Exhibition”, National Museum of History, Taipei, 1974; “Le Salon d'Automne”, France, 1991; ”Kaohsiung Museum of Art Openings Group Exhibition“, Kaohsiung, Taiwan, 1994; “Love and Beauty Memorial Exhibition”, National Dr. Sun Yat-sen Memorial Hall, Taipei, 2007.

314

ZHONG CHENG 中誠

206

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.

吳學讓 WU

HSUEHJANG (1924-2013)

020

生於中國四川。別號退伯，1948 年畢業於國立杭州藝專，師承林風眠、潘天壽、李可染等名家，為國際著名當代水墨畫家、美術教育家，現旅居美國加州。1984 年榮獲中華民國畫學會繪畫教育金爵獎，1985年獲頒中國文藝協會國畫繪畫金質獎章，為蔣勳讚譽為開創當代水墨新格局之先驅。曾與劉國松等人創辦中國現代水墨畫會。1970年首次於美國佛羅里達國際畫廊舉辦個展，自此於國內外舉辦多次著名個展：「吳學讓個展」(1989，台灣台北，國立歷史博物館)、「吳學讓七十回顧展」(1994，台灣，台北市立美術館)、「從傳統到現代—吳學讓彩墨畫展」 (1996，台灣台中，台灣省立美術館)、「故國神遊—吳學讓八十回顧展」、「故國神遊—吳學讓八十回顧展」(2004，台北台北，國立歷史博物館)、「千年墨韻揮灑古今—吳學讓水墨畫個展」（2009，名山藝術台北館、竹科館）、「吳學讓中國水墨畫展」(2010，中國、上海劉海粟美術館)。 Born in Sichuan, China. He graduated from National Hangzhou Academic Art College in 1984 ,and learned the painting skill under the Contemporary Chinese ink paintings of master Lin Fengmian、Pan Tianshou、Li Keran. Currently resides in California, USA. Recipient of ROC Chinese Painting Association Golden Award in painting education in1984 and Golden Award from Chinese Writers’and Artists’Association for painting in 1985. His work has been in display in Europe, America and Asia. Chiang Hsun called him the pioneer of the modern Chinese painting. In 1970, he had a first solo exhibition in Florida National Gallery, USA. Solo exhibitions: “Solo Exhibition” National Museum of History, Taipei, 1989; “Wu Hsueh-Jang Retrospective Exhibition at 70”, Taipei Fine Art Museum, Taiwan, 1994; “From Tradition to Modern—Xuerang Wu's color Chinese painting” Taiwan Museum of Art, Taichung, Taiwan, 1996; “Wu Hsueh-Jang Solo Exhibition—Millennium of Harmony, Expressing the past and the present’, Mingshan Art Taipei and Hsinchu Locations, Taiwan, 2009.

朱銘 JU

MING (b.1938)

065

021 064

124

067 066

126 125

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 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”.

MODERN AND CONTEMPOR ARY ART

315

沈哲哉 SHEN

CHETSAI (b.1926)

詹金水 JAN

CHINSHUI (b.1953)

025

157

030

022

出生於台灣台南。曾受業於廖繼春及郭柏川學習繪畫。就讀中學時，作品曾入選府展、台陽展，歷年來作品獲得諸多大獎並舉辦多次個展。曾獲任中國油畫學會金爵獎、國立歷史博物館金章獎等榮譽。1955年國立台灣美術館舉辦《沈哲哉七十回顧展》。 Shen was born in Tainan, Taiwan. He studied painting under Liao Chichun and Guo Pochuan. While studying in high school, his paintings were selected into the Palace Fine Exhibition and Taiyang Fine Arts Exhibition. Shen has been awarded by the China Oil Paintings Association and National Museum of History in Taiwan. In 1995, he was invited to hold a solo exhibition in National Taiwan Museum of Fine Arts.

生於台灣苗栗。擅長油畫。1984年入選台北市美術當代抽象畫展，1986年國立藝專美術科畢業。1987年曾獲第十一屆油畫展金牌獎，1988年獲邀參加東京亞細亞美術大展，1989年獲教育部文藝創作獎油畫金牌獎，台陽美展優選，同年前往歐洲自助旅遊。著名展覽包括：「詹金水個展」（1988，大家藝術中心）、「詹金水個展」（1990，台灣台北，印象畫廊）、「詹金水個展」（1991，台灣台北，印象畫廊）、「詹金水個展」（1992，台灣台北，愛力根畫廊）、「中國當代藝術大展」（1997，中國上海）、「境高無界—2008精選新作」（2008，台灣台南，亞帝畫廊）。出版三本個人畫集，作品為國立藝術學院（今國立台北藝術大學）收藏。 Born in Miaoli, Taiwan. Jan Chinshui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published three exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today's Taipei University of the Arts).

黃銘哲 HUANG

MINGCHE (b.1948)

卓有瑞 CHO

YEOUJUI (b.1950)

027

026

生於台灣台北。畢業於國立台灣師範大學畢業，首位以幻燈機輔助繪畫。1957年展示爭議性的「香蕉系列」後赴美進修，並於1977年獲美國紐約州立大學奧伯尼分校藝術碩士，其後旅居紐約是蘇活區，創作及展覽至今。曾於台北、香港、日本、美國舉辦十八次主要個展及七十多次聯展。近年展覽包括：「凝視的詩意－台灣當代攝影與繪畫的多重現實景觀」(2004，巴黎台灣文化中心／法國、渥太華市府美術館／加拿大)、「亞洲融合畫廊展」(2005，紐約亞洲美術館／美國)、「光景－在理性與感性之間」(2005，台北市立美術館／台灣台北)、「台灣美術發展 1950-2000」(2006，中國美術館／中國北京)、「首屆MOCA雙年展：入境：中國無章美學」(2006，上海當代藝術館／中國上海)、「靈光再現－台灣美展80年」 (2009，台灣國立美術館／台灣台中)。於2005年時榮獲帕洛克克里斯娜基金會獎學金。作品廣為香港、台灣、美國著名美術館及重要私人藏家所收藏。

079

生於台灣宜蘭。1976年於省立博物館舉辦首次個展，同年赴英國里茲大學修習美術。1978年和美國Semions畫廊簽約經紀畫家。1981與 1982年連續兩年榮獲全省美展油畫第一名。近年個展及參展：「上海－臺北風華再現」(2001，中國，上海美術館新館)、「信仰的打造－黃銘哲立體作品個展」(2001，台灣，臺北市立美術館)、第十六屆全國美術展覽(2002)、「璀璨風華2003臺灣藝術珠寶展」(2003，台灣台北，國立歷史博物館)、「板塊位移」(2004年，美國紐約． 456畫廊)、黃銘哲個展「面對現實」(2005，台灣台北，印象畫廊)、「非常厲害—設計中的藝術•藝術中的設計」(2005，台灣台北，當代藝術館)。

316

Born in Yilan, Taiwan. He went to study at Reeds University, England in 1976 after his first solo exhibition in provincial museum. In 1978, he signed on with Semions Gallery (USA) as his agent. For two successive years in 1981 and 1982, he won the first prize in oil painting in the Taiwan Provincial Fine Arts Exhibition. His works have been exhibited all over the world since 1981. Exhibitions: “Shanghai- Taipei, Huang Mingzhe solo Show”, Shanghai Art Museum, 2001; “16th National Art Exhibitions”, 2002; “The 2003 Exhibition of Artistic Jewelry from Taiwan”, National Museum of History, 2003; “Blocks shifting 6 Contemporary Artists”, 456 Gallery, New York, 2004; “Face the Reality”, Impressions Art Gallery; “Well Done! The Art of Design World”, Museum of Contemporary Art, Taipei, 2005. ZHONG CHENG 中誠

190

Born in Taipei, Taiwan. Cho received her BFA from National Taiwan Normal University in Taipei and is the first using slide projector in painting. Her “Bababa Series” astonished the conservative society in 1975. She recived her MA from State University of New York at Albany in 1979 and since lived in Soho, New York City as a professional artist. She has held 18 major solo art exhibitions and 70 more group shows at U.S. and Asia. Recent selected exhibitions: “Eye Dream – Multiple Realities in Taiwan Contemporary Photography and Painting”, Centre culture et d’information de Taipei at Paris, Paris, France, 2004; and City Hall at gallery, Ottawa City Hall, Ottawa, Canada. “Asian Fusion Gallery” at Asian Cultural Center, New York, USA, 2005. “Lightscape-Between Mind and Matter”, Taipei Fine Art Museum, Taipei, Taiwan, 2005. “The Odyssey of Art in Taiwan 1950-2000”, National Art Museum, Beijing, China, 2006. “MOCA Shanghai Biennial Entry Gate: Chinese Aesthetics of Heterogeneity”, Museum of Contemporary Art, Shanghai, China, 2006. “Recurrence of the Aura: A Retrospective on the 80 Years Taiwan Arts Exhibition”, National Taiwan Museum of Art, Taichung, Taiwan, 2009. In 2005, she received PollockKrasner Foundation Grant. Her works are included in Hong Kong, Taiwan, USA private collections and museums.

林憲茂 LIN

SHIENMAO (b.1955)

邱亞才 CHIU

YATSAI (1949-2013)

095 029

075

041

028

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 076 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），2014年受邀赴紐約黃氏藝廊舉辦第24次個展「色域飛昇－舞魅系列」舞聲魅影的空間美學。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.

安卓 ENDRO (b.1983)

094

生於台灣宜蘭。1979年在台北美國文化中心舉辦首次個展，1984年在香港漢雅軒畫廊展出成功後，便陸續參與許多大型展覽，包括：「The Minds I」（1987，美國紐約，亞洲藝術中心）、「現代水墨展」（1988，台灣台北，國立歷史博物館）、「台灣美術三百年」（1989，台灣台中，國立台灣美術館）、「畢卡索，達利與邱亞才等聯展」（1995，瑞士，薩加拉畫廊）、「朱銘、邱亞才雙人展」（1999，瑞士藝術博覽會）、「朱銘、邱亞才雙人展」（2001，美國紐約，萬玉堂）、「台灣八十年代新表現主義回顧展—鄭在東、陳來興、邱亞才」（2004，台灣台中，靜宜大學藝術中心）以及於2006年參加新加坡、上海、北京藝術博覽會等。邱氏以肖像畫著名，作品洋溢一種文人典雅氣息，深受其早年從軍時涉獵歷史經典創作的影響。 Born in 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.

莊喆 CHUANG

CHE (b.1934)

031 033

056

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.

060

生於中國北京，其父莊嚴為已故名書法家暨前北京故宮博物院副院長，故莊喆自小培養出熱愛中國藝術的興趣。其後遷居台灣，畢業於國立師範大學美術系，加入五月畫會，積極參與中國繪畫現代化運動。1966年獲美國洛克斐勒基金會贊助，赴美考察國際當代藝術之發展。著名個展包括：「莊喆個展」(1966，美國紐約，諾德內斯畫廊)、「莊喆個展」(1977，加拿大，蕭．雷明頓畫廊)、「莊喆個展」 (1985，美國加州，路易．紐曼畫廊)、「莊喆個展」(1992，台灣台北，臺北市立美術館)、「國際華裔畫家抽象藝術展覽」(2002，香港，香港藝術公社)、「六十年代台灣繪畫」(2003，台灣，台北市立美術館)、「新加坡藝術博覽會」(2005，新加坡)、「主題．原象」(2005，台灣台北國立歷史博物館)、「莊喆個展」(2006，台灣台北，亞洲藝術中心)、「嶺深道遠」(2007，中國北京，中國美術館)，廣為國內外美術館及私人收藏。 Born in Beijing, China. Chuang's father was a great calligrapher, who was the vice-director of National Palace Museum in Beijing; Chuang was introduced to art by his father when he was young. He moved to Taiwan in 1948. After graduating from Taiwan National Normal University, he joined the Fifth Moon Group and actively pushed the modernization of Chinese painting. Awared a J.D. Rockefeller III Fund travel grant to study in the United States in 1966. He has held various solo exhibitions including : In 1996, New York Lee Nordness Gallery exhibition; In 1977 Canada Shaw-rimington Gallery exhibition; In 1985, California Louis Newman Gallery exhibition. And was invited by the Taipei Fine Art Museum to hold a solo exhibition in 1992. In 2002, Hong Kong Art Commune “International Exhibition of Abstract Art of Overseas”; In 2005, exhibited at Singapore International Art Fair, and exhibited “Primal Form” in National Museum of History; In 2006, Taipei Asia Arts Center exhibition; 2007“Deep Ridge VS Remote Way” in National Art Museum of China. Works are widely collected by the museums overseas. MODERN AND CONTEMPOR ARY ART

317

黃鋼 HUANG

GANG (b.1961)

高行健 GAO

XINGJIAN (b.1940)

035

034

生於中國北京。1984年畢業於中央工藝美院，並於1991年獲該校碩士學位，在學期間曾獲「平山鬱夫」獎學金。自1994年起，曾於多國舉辦展覽及參與聯展、博覽會等逾二十場。近期展覽：「亞洲現代藝術聯展」（2003，美國西雅圖，沃爾茨畫廊）、「中國藝術家聯合巡展」（2004，美國，匹茲堡藝術學院畫廊）、「韓國國際藝術博覽會」（2004，韓國首爾）、「北京藝術博覽會」（2006，中國北京）、「黃鋼個展」（2006，台灣台北，現代畫廊）。 Born in Beijing, China, he received a bachelor and a master's degree from the Central Academy of Arts and Crafts. He also received Hirayama Scholarship during that time. Since 1994, he has participated in over twenty exhibitions and art fairs. Recent exhibitions: “Asia Modern Art Group Exhibition”, Seattle, USA, 2003; “Group Exhibition of Chinese Artists”, the gallery of Art Institute of Pittsburgh, USA, 2004; “Korea International Art Fair”, Seoul, Korea, 2004; “Beijing International Art Exposition”, China, 2006; “Solo exhibition by Gang Huang”, Modern Art Gallery, Taipei, Taiwan, 2006.

Born in Jiangxi, Chin. Gao is a play writer, novelist, painter, director, and now a French citizen. In 1985, he held a sculpture exhibition with Yin Guang-Zhong. It was then that Gao started to be noticed by worldwide media. Gao settled down in Paris since 1988, and later in 1992 received Chelavier de l’Ordre des Arts et des Lettres. His works were selected into XIXe Biennale Internationale des Antiquaires de Louvre in 1998. Gao was the recipient of the 2000 Nobel Prize in Literature "for an œuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama". Works like “Soul Mountain” and “One Man's Bible” made him the first Chinese writer win this prize. Two years later, he was given the title Chavelier de la Légiond’Honneur. His artistic style is no doubt simple but meaningful. Between concreteness and abstraction, the black and white scenery is fulfilled with sublime spirituality.

羅世長 LO

于彭 YU

SHYHCHARNG (b.1945)

042

生於日本長野縣。1946年隨父母返台原籍。台大人類學系畢業並留校任助教三年， 1974年前往加拿大攻讀研究所。所獲獎項包括：「新竹縣學生藝術大賽」，第一名，1954年，台灣新竹；「多倫多Willowdale藝術展」，最佳風景獎，1985年，加拿大多倫多；「中國國際名人研究所字典工作編輯部」，銅牌，1996年。個展包括：「ROM俱樂部展」(安大略博物館，加拿大安大略，1984)、「瓊斯畫廊展」 (瓊斯畫廊，加拿大，1992年)。1993年曾在台灣多處畫覽展出，2007年曾致香港藝術畫廊展。 Born in Nagano, Tokyo. He moved to Taiwan with parents in 1946. Arrived in Canada for graduate studied in 1974. Awards: “The Student's Fine Arts Contest of Hsin Chu County”, First Prize, 1954 and 1963; “The Willowdale group of Artists Show”, Toronto, Canada, The Best Landscape award, 1985; “The Lexicographical Work Editorial Department of China International Master Reserch Institute”, Bronze Medal, 1996. Solo Exhibitions: “ROM Club Exhibition”, Royal Ontario Museum, Canada, 1984; “Lo Shyh-Charng Solo Exhibition”, Asia Art Center, Taiwan, 1991; “Lo Shyh-Charng Solo Exhibition”, Petley Jones Gallery, Canada, 1992. Recent exhibition: “Art Gallery Exhibiton”, Hong Kong, 2007.

318

生於中國江西。為知名劇作家、小說家、畫家、導演，1980年代末前往歐洲，現為法國公民。1985年在北京與雕塑家尹光中舉辦泥塑繪畫展，開始受到海內外媒體的關注。1988年定居巴黎。1992年榮獲法國政府頒發的藝術與文學騎士勳章。1998 年參加羅浮宮第十九屆國際古董與藝術雙年展。2000年小說《靈山》、《一個人的聖經》等著作，高行健成為首位榮獲諾貝爾文學獎的中文作家。2002年榮獲法國榮譽軍團騎士勳章。他的文學和繪畫皆具刻骨銘心的洞察力和語言的豐富機智。以水墨創作為主的作品表達了內省的深邃，風格簡約意喻深遠、扣人心弦，在具象與抽象之間，黑白對比的畫面深具空靈飄逸之感。榮獲2000年諾貝爾文學獎，並因此成為首位獲得諾貝爾文學獎的華語作家。

ZHONG CHENG 中誠

043

PENG (1955-2014)

136

生於臺灣臺北。自小對泥塑及傳統皮影戲產生濃厚興趣，影響其日後繪畫創作。由於不甘被傳統學院派囿限，故從未曾接受正統學院美術教育，先後跟隨陳亦耕、鄧國清及李其茂等老師學畫。22歲時成為全台第一位街頭畫家，26歲赴希臘及中國遊歷，後開始思索文化定位問題。1980年於台北舉辦首次個展，後參與國內外展覽達二十餘次。近年個展包括：「清奇古怪」（2001，香港，漢雅軒）、「于彭空間──行動書法」（2003，臺灣臺北，漢雅軒）、「于彭空間」（2004，中國北京，紫苑茶館）、「魂遊象外」（2004，法國巴黎，蒙馬特洗滌船畫廊）、「欲仙欲死」（2004，臺灣臺北，大未來畫廊）、「如花美眷似水流年──于彭專展」（2005，中國北京，果園）、「草堂計畫－桂蔭廬」（2007，中國北京，三尚藝術中心）。其作品為世界各國主要美術館及畫廊收藏，包括香港藝術館、台北市立美術館、舊金山亞洲藝術博物館、國立台灣美術館、紐約大都會美術館、波士頓博物館以及大英博物館等。 Born in Taipei, Taiwan. Yu did not enter to any art college and he did not want to submit himself to a formal artistic training. Yu learned painting under Chen Yikeng, Teng Kuoching, and Li Chimao. Other influences on Yu's paintings, include his work in clay sculpting and puppetry, both interests since childhood. Yu held his solo and joint exhibition in Taipei in 1980 and since then he has held over twenty solo and joint exhibitions in Taiwan and overseas. His works are in the collections of major museums and art galleries in Asia and the West, including the British Museum in London, Hong Kong Museum of Art, Taipei Fine Arts Museum, National Taiwan Museum of Fine Art, The Metropolitan Museum of Arts and Museum of Fine Arts, Boston.

蕭勤 HSIAO

CHIN (b.1935)

069

046

080

100

063

099

134

207

生於中國上海，父親蕭友梅是中國現代音樂的重要啟蒙者。1949年來台，1951年進入臺北師範學校藝術科系，向朱德群學習素描，作品多次參加過全國性及國際性展覽。1955年獲西班牙政府獎學金，1959年第一次在義大利舉行個展，同年遷居米蘭。先後工作於巴黎、倫敦與紐約等地。1961年發起「龐圖藝術運動」，1978年創辦「太陽國際藝術運動」，1989年發起「國際無藝術運動」活耀於國際藝壇，1996 年任職於國立台南藝術學院教授，2000年應邀參加第七屆義大利威尼斯建築雙年展，2002年獲國家文藝獎，2005年被義大利總統授予「義大利團結之星騎士」勳章；近期展覽有：「榮源─蕭勤七十回顧展」 (2006，中國北京，中國美術館)。 Hsiao was born in Shanghai, China. His father Hsiao Yumei, was an important composer in modern music in China. After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei. He also studied drawing under Chu Tehchun. In 1955, he received a scholarship from Spain government. In 1959, his first solo show in Italy, and he moved to Milan. In 1961, he promoted international “Punto Art Exercise”. In 1996, he works as the professor at Tainan National College of Arts. He was invited to “The 7th Bi-Yearly Architecture Exhibition of Venice” in 2000. He was award National cultural and art prize in 2002. In 2005, he was conferred by the Italian President C. A. Ciampi the honorable title of “Kinght of Itlian Solodarity Star”; "Glory to the Source, A retrospective exhibition of Hsiao Chin" National Art Museum of China, 2006, Beijing, China.

208

MODERN AND CONTEMPOR ARY ART

319

陳正雄 CHEN

CHENGHSIUNG (b.1942)

048

Born in Tainan, Chen started his woodcarving career as an apprentice at the age of 14, and then went for an intern tour around Taiwan's local temples. He is the member of Japan Shinkouzou Art Association, Sculpture Division as well as The Sculpture Society of Taiwan. He has won many awards which include: Mayor's Award of Tainan Art Exhibition （1970、1978）, Wu SanLien Award（1983）and Sculpture Award of Shinkouzou Exhibition. Exhibition: “Great Effort Award of the Sinkouzou Exhibition”, Japan, 1987; “Solo Exhibition”, “Sanyi Wood Sculpture Museum Opening Exhibition”, Sanyi Wood Sculpture Museum, Miaoli, Taiwan, 1990; “Solo Exhibition”, National Museum of History, 1987; “International Art Fair”, Seoul, Korean, 2003; “Shanghai Art Fair”, Shanghai, China, 2007. Chen's works are collected by National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, and Taipei Fine Arts Museum.

TINGSHIH (1916-2002)

050

062

073

154

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.

320

ZHONG CHENG 中誠

YAOTANG (b.1948)

084

生於台灣台南。十四歲於北港佛像店做學徒，自此開啟其雕塑生涯。現為日本新構造社雕刻部會員，也是中華雕塑學會會員。至今獲獎無數，包括南美展市長獎（1970、1978）、年南美展柏川獎（1979）、第六屆吳三連先生文藝獎（1983）、日本新構造展雕刻大賞（1989）等。著名展覽包括：「日本新構造會員努力賞」(1984，日本)、「三義木雕博物館開館展」(1990，台灣苗栗，三義木雕博物館)、「個展」(1987，台灣台北，國立歷史博物館)、「國際藝術博覽會」 (2003，韓國首爾)、「上海藝術博覽會」（2007，中國上海）。台灣國立美術館、台北市立美術館與高雄市立美術館皆有典藏其作品。

陳庭詩 CHEN

黃耀堂 HUANG

049

出生於台灣澎湖。黃耀堂70年代開始旅居歐洲，目前定居比利時。畢業於東海大學，1975年前往英格蘭進入利物浦大學攻取建築碩士。1977年首次個展於布魯塞爾ANNEVANHORENBEECK畫廊。 1987年聯展於比利時布魯塞爾GALERIEDE PRET D'OEUVRE'。 1999年在台灣首次個展於高雄山美術館。出版有《黃耀堂畫集》1999年8月山美術館。多次參加國際性現代繪畫展覽，並且是華人藝術家在比利時相當活躍的當代藝術家。 Born in Penghu, Taiwan. Huang studied architecture at Tunghai University, Taiwan, and later, at the University of Liverpool, England, where he received his Master's Degree of Architecture in 1975. He came to Brussels in 1976 and has since worked as architect, designer and artist. Huang has lived in Brussels for over 30 years. Huang creates art that strives to build bridges between East and West cultures.

彭光均 PENG

051

KUANGJUN (b.1961)

167

168

生於台灣新竹。畢業於台北藝術大學，1992年獲得第十三屆全國美術展雕塑類第一名，1994年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎。著名展覽包括：「得意忘象」(1994，台灣高雄，杜象藝術空間)、「得意忘象」(1994，台灣台北，彩田藝術空間)、「探囊取物」(1998，台灣台中，首都藝術中心)、個展（1999，台灣新竹，敦煌藝術中心）、個展（2000，台灣花蓮，維納斯藝術中心）、個展（2001，台灣高雄，福華沙龍）、「不可思議」個展（2003，台灣臺北，觀想藝術中心）、個展（2005，台灣，新竹縣文化局）、「草動雲湧」個展（2007，台灣新竹，智邦藝術基金會）。高雄市立美術館典藏其作品「妙」。 Born in 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”.

陳景容 CHEN

053

CHINGJUNG (b.1934)

YIKLUNG (b.1964)

081

085

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.

陳煥禎 CHEN

鄧益農 TANG

HUANZHEN (b.1966)

054

生於中國湖南常德，19歲時曾榮獲香港青年繪畫比賽冠軍。1990年赴廣州美術學院求學，之後於1993年時進入北京中央美術學院就讀並至台灣各地旅遊寫生。1998 年轉赴香港旅遊寫生，甚至在2001年時更赴內蒙古遊覽當地風貌並於紀錄於作品之上。2004年後定居於中國北京。2009年以「無題」一作，入選中國全國美展。主要個展包括：「台北新綠」(1988年，東之畫廊，台灣台北)；「台灣風景」(1989 年，東之畫廊，台灣台北)；「古城煙波」(1990年，東之畫廊，台灣台北)；「黃金歲月」(1997年，東之畫廊，台灣台北)；「水中天地．有光的世界」(2001年，東之畫廊，台灣台北)；「綠野之歌」(2002年，東之畫廊，台灣台北)。 Born in Chang De in Hunan, China, Tang Yiklong was a champion of the Teenagers Painting Competition in Hong Kong. In 1990, he travelled to Guang Zhou Art Academy for further studies, and later transferred to Central Art Institute in Beijing in 1993 and set footsteps all over Taiwan. In 1998, he relocated to Hong Kong to continue sketching and even to Inner Mongolia in 2001. He resided in Beijing, China after 2004. In 2009, he was elected to exhibit in China National Art Exhibition with “Untitled”. His major solo exhibitions include 「Taipei New Green」(1988，East Gallery，Taipei, Taiwan)；「Landscapes of Taiwan」(1989，East Gallery，Taipei, Taiwan)；「Ancient City」(1990，East Gallery， Taipei, Taiwan)；「The Golden Years」(1997，East Gallery，Taipei, Taiwan)；「Water World．Light of the world」(2001，East Gallery，Taipei, Taiwan)；「The Song of Greenland」(2002，East Gallery，Taipei, Taiwan)。

托卡．蘇達圖 TOTOK

SUDARTO (b.1954)

055 057

生於台灣台北。為國立台灣藝術大學藝術學士、國立台灣藝術大學美術研究所碩士。陳煥禎獲獎、展覽經驗俱豐，曾獲第57至59屆全國美展雕塑類優選，2007年獲大墩獎雕塑類第一名，同年獲高雄獎優選－雕塑類首獎，2009年獲第11屆中國全國美展優秀獎。近年重要個展：「意象抒情」陳煥禎雕塑個展(2004，台北縣藝文中心)、北莊藝術中心常態展(2005-2008)、「都市心靈空間」雕塑個展(2007，台灣台北，國父紀念館德明藝廊)、「凝視」 (2009，台灣台北，飛皇藝術中心)、「我心深處」陳煥禎雕塑個展(2010，台北縣藝文中心藝文館)。其作品為龍華科技大學藝文中心、台灣大學附設醫院、國父紀念館、新北市政府等機構典藏。 Born in Taiwan, Chen graduated from National Taiwan Art University. Solo exhibition: “Sculpture Exhibition” Sun Yet-San Memorial Hall De-Ming Gallery, 2007; National Taiwan University Hospital Hallway invitation exhibition; Taipei County Art Center, 2004. Group Exhibitions: “Impression and the New Impression sculpture exhibition”, 2003; “Famous Artists Excellent Art Works Exhibition”, 2004 and 2005; Taipei County Artist Exhibition, 2007. Chen was invited to enroll the Taiwan Worldwide Chinese Art Creative Association Annual 2006. Awards: The 16th Taiwan Art Exhibition, Golden Dragon of Sculpture. The 57th-59th Taiwan Art Exhibition- Sculpture Section, Excellent Prize; Feiyao 99 Taiwan Sculpture Exhibition, Award; The 23th Taipei City Art Exhibition. His work was collected by Longhua Science Technology Art Center.

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.

MODERN AND CONTEMPOR ARY ART

321

馬白水 MA

PAISUI (1909-2003)

胡奇中 HU

CHICHUNG (1927-2012)

058

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.

朱毅勇 ZHU

YIYONG (b.1957)

059

生於中國浙江，70年代移居美國加州，舉辦過多場畫展，為五月畫會成員之一。早年以畫馬及少女著稱，作畫的方式獨樹一格，結合畫筆及天然的砂粒而成，增加了作品的立體感。「砂畫」成了這位大師作品中最大的特色。1949年隨軍隊移居台灣，開始繪畫創作。1955年以台灣射擊神槍手身份來美國參加錦標賽，遊覽美國西部的藝術博物館，被抽象表現主義的畫作深為觸動，感覺到自己幼年起的畫家之夢被真實地喚醒。回台灣後，組建“四海畫會”，有時用油彩在麵粉袋上作畫，後加入“五月畫會”，是台灣現代繪畫運動的主要代表人物之一。 Born in Zhejiang, China, Hu Chichung immigrated to California, US in the 70s. He held several art exhibitions and is one of the May Art Association members. In the early years of his career, he is known for painting horses and teenage girls. His art style is unique combining the brushstroke and natural sand stones to add a more cubical feeling to his art works. “Sand Painting” became the most unique characteristics of the artist. In 1949, he relocated to Taiwan along with the army and continued art creation. In 1955, he attended the shooting championship as a representative of Taiwan and visited the art museums in the west coast. He was deeply touched by abstract expressionist art works and they echoed with his childhood dreams. After returning to Taiwan, he founded the “Si Hai Art Association” when he sometimes will paint on flour bags. Later he joined the May Art Association and became of the representatives of Taiwanese modern art movements.

溥心畬 PU

生於中國重慶。1982年畢業於四川美術學院，後留校任教至今，現職副教授，並為中國美術家協會會員。個展包括：「朱毅勇油畫作品展」(1992，台灣，新美畫廊)、「朱毅勇油畫及素描作品展」(1995，香港)、「光影神韻－朱毅勇油畫作品展」(1999，香港，少勵畫廊)、「光影神韻之二」(2004，香港)、「記憶」 (2006，香港)、「紅星」（2008，美國紐約，798先鋒畫廊）、「中國記憶」(2011，香港)。參予聯展包含：「全國美展」（1980、1984，中國北京）、「春季沙龍展」（1982，法國）、「第一屆中國藝術節中國美術館部分藏品陳列展覽」（1987，中國北京）、「中國當代油畫展」（1987，美國紐約）、「中國油畫作品展」（1989，日本）、「中國現代美術大展」（1991，日本東京）、「慶祝中華人民共和國成立45 周年四川省美術作品展覽」（1994，中國成都）、 068 「中國藝術博覽會」（1994，中國廣州）、「東西匯合寫實派油畫展」（1998，德國柏林）、「米蘭藝術展」（2005、2006，義大利）、「展開的現實主義—1978年以來的中國大陸油畫」(2006，臺灣，臺北市立美術館)、「融合與創造—中國油畫名家學術邀請展」 (2007，中國北京，首都博物館)、「紐約亞洲當代藝術博覽會ACAF」(2008，美國紐約)、「邁阿密巴塞爾藝術博覽會」(2008，美國邁阿密)、「Scope 國際當代藝術博覽會」(2009，美國紐約)、「洛杉磯藝術博覽會」(2009，美國洛杉磯)、「在場30年—四川美術學院當代油畫展」(2009，日本)、「女性形象之九」(2011，香港)、「藝術登陸新加坡博覽會」(2011，新加坡)。作品廣為國內外收藏家和藝術機構收藏。

322

Born in Chongqing, China, Zhu graduated from the Department of Drawing in Sichuan Arts College majoring in oil painting in 1982. He stayed to teach in the school until now. He is a member of Chinese Artists Association. Solo Exhibitions: “Zhu Yi Yong Paintings”, Shinman Gallery, Taiwan, 1992; “Zhu Yi Yong Paintings”, Hong Kong, 1995; “Visual Poetry of Light and Reflection”, Hong Kong, 1999; “Visual Poetry of Light and Reflection Ⅱ”, Hong Kong, 2004; “Memories Series”, Hong Kong, 2006; “Red Star”, New York, U.S.A, 2008; “Memories of China”, Hong Kong, 2011. Group Exhibitions: “2nd National Youth Artworks Exhibition”, Beijing, China, 1980, 1984; “Spring Salon”, France, 1982; “The 1st China Art Festival”, Beijing, China, 1987; “Chinese Contemporary Oil Paintings Exhibition”, New York, USA, 1987; “Chinese Oil Painting Works Exhibition”, Japan, 1989; “Chinese Modern Arts Grand Exhibition”, Tokyo, Japan, 1991; “Sichuan Exhibition for the 45th Anniversary of the Establishment of the PRC”, Chengdu, China, 1994; “Chinese Art Expo”, Guangzhou, China, 1994; “East-West Realism Oil Painting Exhibition”, Berlin, Germany, 1998; “Milan Art Exhibition”, Italy, 2005; “The Blossoming of Realism—The Oil Painting of Mainland China since 1978”, Taipei Fine Arts Museum, Taiwan, 2006; “Asian Contemporary Art Fair (ACAF)”, New York, U.S.A, 2008; “Art Basel Miami Beach”, Miami, U.S.A, 2008; “Scope international Contemporary Art Fair”, New York, U.S.A, 2009; “Los Angeles Art Show (LA Art Show)”, U.S.A, 2009; “Art Stage Singapore” , Singapore, 2011; “Images of Women IX” , Hong Kong, 2011.His works are collected by collectors and art organizations both at home and abroad.

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年與滿足畫家共創「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。

070

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.

歐豪年 AU

HONIEN (b.1935)

黃榮禧 TONY

WONG (1948-2012)

生於中國廣東。早年居於香港。在1970年後定居台灣，從事國畫創作，並起任中國文化大學華岡教授至今。並曾兩任美術學系主任行政工作。四十年來歐氏作品曾應港、日、星、馬、歐、美各國美術館個展數十次，蜚聲國際。並曾講學於美國史丹佛大學、夏威夷大學及印地安那波里大學。1990年至1991年以英、法、德、奧、荷、比、西七國博物館巡迴展，載譽歐陸，旋獲台灣行政院新聞局國際傳播獎章。1993年更榮膺法國國家美術當局，巴黎大宮博物館特別獎譽，為中國畫獲此獎之第一人。1994年被推崇為堅持東方人文精神之代表畫家。 Born in Guangdong, China. In the early years he lived in Taiwan. He engaged in Chinese painting's creation. He was appointed to a professor of Chinese Culture University. For four decades, Au'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.

074

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.

071

張振宇 CHANG

CHENYU (b.1957)

077

生於臺灣臺中。獲國立台灣師範大學美術系學士學位、美國紐約州立大學藝術研究所碩士學位(MFA)。曾任教於復興商工美工科、美國紐約州立大學、元智大學及中原大學；歷任聯邦藝術新人獎審查委員、文建會公共藝術顧問、台北市文化局籌備委員、台北市立美術館館長等職。作品曾獲第二屆全國青年寫生比賽高中組第一名（1975）、全國大專書畫比賽水彩組第一名（1978）、雄師美術新人獎（1979）、第九屆全國畫展第二名（1979）、國軍文藝金像獎油畫類銀像獎（1982）、獲東方文化交流協會「藝術招待獎」（1984），並獲得美國紐約州政府三年全額公費留學獎學金。1979年至2006年曾於臺灣、日本、美國等地舉辦個展十餘次，地點包含台北市立美術館、美國紐約州康乃狄克美術館等知名藝術機構。出版有《張振宇作品集》《新人文主義作品集》《「前衛山水」作品集》等。作品廣為國內外美術館、文化中心及私人收藏。 Born in Taichung, Taiwan.He had received the bachelor degree of Fine Arts Department of The National Normal University and was awarded the Mater Degree by the Fine Arts Department of The State University of New York at Albany. He once taught in the Fu-Hsin Trade & Arts School, the State University of New York, Yuan Ze University and Chung Yuan Christian University; and had served successively as juror of Union Fine Art Award, artistic advisor of public arts of Council for Cultural Affairs, organizing commissioner of Taipei City Department of Cultural Affairs and The director of the Taipei Fine Arts Museum. His artworks have won several awards and he had held dozens of solo exhibitions in the worldrenowned art institutions in Taiwan, Japan and America from 1979 to 2006. His artworks were collected by museums, cultural centers and private collectors at home and abroad.

鄭在東 ZHENG

ZAIDONG (b.1953)

078

生於台灣台北。畢業於台北世界新聞專科學校。鄭在東活躍於1980與1990年代的台灣藝壇，作品風格是由人性的深層面出發。自1980年起，作品多次於國內外參與展出，如：美國文化中心、台北市立美術館、歷史博物館等，1992年榮獲雄獅美術創作獎。現今工作室設立於上海，成為第一位正式轉往上海發展的台灣藝術家。近年的展覽包括：「新形象—中國當代繪畫廿年」(2001，中國北京、上海、四川、廣東美術館) 、「巴黎-北京」(2002，法國巴黎，Espace Cardin藝術中心) 、「超越界線」(2004，中國上海，滬申畫廊)、「鄭在東、周春芽、劉煒三人展」 (2004，中國上海，滬申畫廊)、「高山流水」(2004，中國，上海美術館)、「鄭在東水墨展」(2006，香港漢雅軒)、「浮生邈邈─鄭在東個展」(2009，台灣台北，紫藤廬)。 Born in Taipei, Taiwan. Zheng graduated from the Taipei World Vocational School of Journalism. Active in the Taiwan art world during the 1980's and 1990's, he created gloomy and reminiscent oil paintings. Since 1980s he held many exhibitions in Taiwan and overseas like American Cultural Center, Taipei Fine Art Museum, Taiwan National Museum of History. He received the Shiung-Shih Award for Creativity in 1992. Zheng relocated to Shanghai and became the first Taiwanese artist who develops his career in Shanghai. Recent selected exhibitions: “New Image- 20 years of Chinese Contemporary Painting”, Beijing, Shanghai, Sichuan and Guangdong Art Museums, 2001;“Paris-Beijing”at Espace Pierre Cardin, Paris in 2002; “Cross the Limit” and “Zheng Zaidong, Zhou Chunya and Liu Wei” at Shanghai Hushen Gallery,2004; “Mountain and the River”, Shanghai Art Museum, 2004; “Ink Paintings by Cheng Zai-Tung” at Hanart TZ Gallery, Hong Kong in 2006; “Zheng Zaidong Exhibition” at Wistaria Tea House, Taipei in 2009. MODERN AND CONTEMPOR ARY ART

323

席時斌 HSI

SHIHPIN (b.1977)

陳冲 CHEN

CHONG (b.1982)

083

生於台灣台北，畢業於國立台北藝術大學造型藝術研究所。專長複合媒材之雕塑與裝置，創作的多變性，外顯於令人驚艷的多種材質、顏色、處理、尺寸的組合，內在則專注於揀擇日常物象的結構與形貌，透過「分解 / 重組」的手法打造出隱性奇異的形體與空間。歷年參與多次公共空間環境藝術改造工程，以及國際藝術家駐村計畫，並在2008高雄獎入選、2010台北獎入選，以及2011 Taipei Art Fair MIT新人推薦區。作品曾在北京今日美術館、上海美術館、韓國Haslla Art World展出，並入選或獲邀與台灣東和鋼鐵企業、愛馬仕( Hermes )、路易威登( Louis Vuitton )、法拉利( Ferrari )…等企業品牌進行合作發表藝術作品。自2006年起陸續發表個人創作，現居住創作於台北。 Born in Taipei, Taiwan. He received a MFA degree with a major in Plastic Arts from Taipei National University of the Arts. Hsi is good at selecting basic structure and form from daily objects. Through the technique of constriction/ destruction, he creates covert and peculiar forms and spaces; moreover, he reveals the paradox thinking of construction and abolition by using the spiritual technique of classic drill and the creation loop of nature interpretation. By this way, he hopes to represent the new form of contemporary sculptures in this digital era. His distinctive presentation in plastic arts has led him to participate in many times of Public space improvement projects, environmental art plans and international artistin-residence programs for years. He received selected Awards of Taipei Awards 2010 and Kaohsiung Awards 2008, and 2007 Outstanding Art Work Prize of Fine Arts Department, Taipei National University of the Arts.

劉昕 LIU

XIN (b.1957)

086

生於中國河南。為80年代後出生的藝術家，2004年畢業於湖北美術學院油畫系，現居住在武漢。主要展覽包括：2004年，「湖北美術學院畢業展」，湖北美術學院展覽館；2005年，「募捐」- 武漢「撘白」行為藝術活動；2006年，「限制與自由」春市，武漢美術文獻藝術中心；「機會主義的春天」，武漢美術文獻藝術中心；「自由」，北京聖東方畫廊。 Born in Henan. He is an artist who was born after the 80's. Graduated from Dept. of Oil Painting. Hubei Institute of Fine Arts, now live in Wuhan. Joint exhibition: 2004, “Graduation display of Hubei Institute of fine Arts”, Hubei fine arts school art center; 2005, “Contributions” performance, Wuhan; 2006, “Limit and Freedom”, Wuhan Fine Art Literature Center; “Spring of Opportunism”, Wuhan Fine Art Literature Center; “Freedom”, Sheng Dong Fand Gallery, Beijing.

沙耆 SAD

JI (1914-2005)

096

生於中國湖北武漢，畢業於湖北美術學院，現為中國美術家協會會員及湖北省美術家協會會員、湖北省美術學院特聘藝術家和武漢畫院簽約畫家；作品曾多次榮獲中國的各大重要獎項，包括全國美展、全國油畫展、全國美術作品展等，備受藝壇肯定。1994年以油畫作品《楚姑》入選第八屆全國美展和第八屆湖北省美展、2002 年以油畫作品《翕樂》獲紀念延安講話發表60周年全國美術作品展優秀作品獎、 2002年「紀念延安講話發表60周年」湖北省美展銅獎、2003年以油畫作品《驚蟄》入選全國第三屆油畫展、2003年獲湖北省第二屆油畫展油畫藝術獎、2004年以作品《家園》獲得湖北省展金獎並入選第10屆全國美展。風格如遊吟詩人般，作者以小尺寸的靜物、風景、人物為傾訴的對象，表現其中的真與美，作品氣質靜謐，質樸無華、色彩凝練。 Born in Wuhan, Hubei province in China, Liu Xin graduated from the Art Academy of Hubei Province. He is currently a member of the Chinese artist Association and HuBei Province Artist Association. He is a guest painter of the Hubei Art Academy and contractor artist of WuHan Painting Academy. His art works have won many major awards in China including the National Art Exhibition, the National Oil Painting Exhibition, and The National Art Exhibition. He is greatly recognized by the art world. In 1994, he was elected to the 8th National Art Exhibition and the 8th Hubei Province Art Exhibition with ”Chu Gu”. In 2002, he won the Excellent Prize from the 60th anniversary of National Art Exhibition. In 2002, he won the Bronze Award from Hubei Art Exhibition. In 2003, with his oil painting “Jingzhe”, he was nominated to attend the 3rd National Oil Painting Exhibition. In 2003, he won the Art Award at the 2nd HuBei Province Oil Painting Exhibition. In 2004, he won the money award at the Hubei Provincial Exhibition and was elected into the 10th National Art Exhibition. His style is poetic, and expresses his emotions with mediums such as small size still objects, scenery and people. He skillfully presented the truth and beauty of the objects. His paintings are tranquil, simple and rich in color.

324

ZHONG CHENG 中誠

097

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.

席德進 SHIY

DEJINN (1923-1981)

101

102 103

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。

劉國松 LIU

104

105

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.

KUOSONG (b.1932)

林風眠 LIN

FENGMIAN (1900-1991)

106

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.

107

生於廣東。1918年參加政府贊助的赴法勤工儉學，1923年畢業於法國巴黎高等美術學校。 1925年返國擔任北平國立藝專校長，之後接受蔡元培之邀，赴杭州藝專擔任校長，極力鼓吹新藝術運動，趙無極、吳冠中、席德進等人皆為其學生。1950年任教中央美術學院華東分校院教授。1951年離開華東分院，定居上海。1960年任職中國美術協會上海分會副主席。1967年文化大革命中被捕入獄，1972年獲釋。1977年離開上海赴香港定居。1991年病逝香港。他先學習歐洲油畫，後研究中國傳統繪畫，並從傳統藝術中探索自己新的藝術道路，並在美術教育事業做出卓越的努力，成為一代典範。 Lin was born in Guangdong. In 1918, Lin traveled to France on a government sponsored work study program and graduated from Paris Senior Art Institute in 1923. In 1925, he came back to China becoming principal of Beijing Academy of Fine Arts. Upon Tsai Yuanpei's invitation Hangzhou Academy of Fine art. In 1950, he was a professor at the Central Academy of Fine Arts of Huadong Institution. Lin stayed in Shanghai since 1951 after leaving Institution of Huadong. He was vice-chairman of National Artist Association Shanghai branch in 1960. Lin was in prison during Cultured Revolution period in 1967 and was released in 1972. He moved to Hong Kong in 1977 and died in 1991. He studied west oil painting at beginning and on devoted into Chinese ancient paintings.

MODERN AND CONTEMPOR ARY ART

325

羅中立 LUO

ZHONGLI (b.1948)

SONG (b.1965)

121

122

108

薛松 XUE

出生於四川重慶。1978年進入四川美術學院油畫系就讀，於1982年畢業後留校任教。1983年至1986年間，前往比利時留學，在安特衛普皇家美術學院學習油畫。現任四川美術學院院長與中國美術家協會理事長。羅氏曾舉辦多次海內外個展，如比利時國家歷史博物館、美國紐約瓦列芬尼畫廊等，北京中央美術館並將其創作列為典藏。 Born in Sichuan, Luo entered Oil Painting Department of Sichuan Art Institute in 1978. He went to study oil painting in Antwerp Royal Art Insitute in Belgium from 1983 to 1983. His works have been shown in numerous major exhibitions in China and overseas where they have received awards ad were widely collectd by the Central Art Museum in Beijing and many private collectors.

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.

岳敏君 YUE

MINJUN (b.1962)

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Born in Daqing, Heilongjing, China. Yue graduated in 1985 from Hebei Normal University. He has show his works in exhibitions around the world since “S Plastic Art Exhibition” in Hebei Exhibition Hall in 1987. Selected exhibition: “Toward a New Image-Twenty Years of Contemporary Chinese Painting”, a traveling exhibition in Beijing, Shanghai, Guangzhou and Chengdu, 2001; “Shanghai Biennale”, China, Shanghai Art Museum, 2004, 2008; “L'art a la plage FRANCE/CHINE”, France, plage de Pampelonne, 2004. Solo Exhibition: “Yue Minjun: Manipulation”, Beijing, One World Art Center, 2002; “The Reproduction of Idols: Yue Minjun 2004-2006”, China, Shenzhen, He Xiangning Art Museum, 2006; “Looking for Terrorists”, China, Beijing Commune, 2006, “Yue Minjun and the Symbolic Smile”, New York, U.S.A, Queens Museum, 2007; “Yue Minjun: Looking for Art” China, Beijing Commune, 2007; “Yue Minjun: The Archaeological Discovery in A.D. 3009”, Beijing, Today Art Museum, 2009. Yue's works are widely collected by museums and private collectors overseas. ZHONG CHENG 中誠

LIJUN (b.1963)

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生於中國黑龍江省。1985年畢業於河北師範大學美術系。自1987年參加河北省展覽館舉辦的「S造型藝術展」起，他的作品持續在全世界重要大城市展出。曾參與聯展包括：「新形象－中國當代繪畫藝術二十年」(2001，巡迴中國北京、上海、廣東、四川)、「上海雙年展」（2004、2008，中國，上海美術館）、「沙丘雕塑－法國／中國」（2004，法國，龐珀洛訥海灘）。近期個展包含：「岳敏君作品展－處理」（2002，中國北京，世方藝術中心）、「複製的偶像：岳敏君作品 2004-2006」（2006，中國深圳，何香凝美術館）、「尋找恐怖主義分子」（2006，中國，北京公社）、「岳敏君：標誌性笑容」（2007，美國紐約，昆斯美術館）、「岳敏君：尋找藝術」（2007，中國，北京公社）、「岳敏君：西元 3009年之考古發現」（2009，中國北京，今日美術館）。作品廣為世界各大博物館及私人機構收藏。

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方力鈞 FANG

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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.

趙無極 ZAO

WOUKI (1921-2013)

113

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生於中國北京。1941年畢業於杭州藝專，曾任該校講師，受業於林風眠（1900-1991）、吳大羽（19031988）。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。

王廣義 WANG

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Born in Beijing, China. Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988) and graduated in 1941. In 1948, he went with his wife Lanlan 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.

GUANGYI (b.1957)

石冲 SHI

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CHONG (b.1963)

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生於中國哈爾濱市。畢業於浙江美術學院油畫系。自1980年起參加國內大型重要美術展覽與活動，是中國波普藝術最早的開創者之一，他的作品廣於各大美術館收藏。重要參展包括：1993年於荷蘭鹿特丹美術館及英國牛津現代美術館舉行的「中國前衛藝術」，2002年於巴西FAAP美術館的「中國的現代性」展覽與北京「20世紀中國油畫展」及「新形象：當代繪畫20年」；2003年在印尼的「第一屆CP雙年展」，同年在巴黎龐畢度中心舉辦「中國怎麼樣？」；「美麗的諷刺」(2005，阿拉裏奧北京藝術空間)，「江湖」(2006，美國提頓畫廊)。 Born in Harbin, China. Wang graduated from the Zhejiang Institute of Arts in 1984. He is one of the important figures of the Chinese Pop Art movement. From the 1980s onwards, Wang has participated in many major exhibitions overseas, such as the joint exhibitions of the “China Avant-Garde” at the Kunsthal in Rotterdam, Holland and the Museum of Modern Art, Oxford, England in 1993; In the same year, Wang was also invited to participate in “The 45th Venice Biennial”; In 1999, he was also invited to the “Inside Out” exhibition at the San Francisco Museum of Modern Art; 2002, “Chinese Modernity Exhibition”, FAAP Museum, FAAP Museum, Brasil and “20th Centry Chinese lol Painting Exhibition and New image: 20 year of Chinese Contemporary Art” in Beijing. Also “The CP Biennale” in 2003 in Indonesia; “Alors, la Chine?” at the Centre Pompidou in Paris in 2003.

生於中國湖北黃石。1987年畢業於湖北美術學院油畫專業，曾在湖北省歌舞團任美術設計，曾任湖北美術學院美術系油畫副教授。現為清華大學美術學院副教授、美術分部副主任、油畫工作室主任。歷年重要展覽包括：「第一屆中國油畫展」 (1987年，中國，上海美術館)、「第一屆中國油畫年展」(1991年，獲銀獎，北京，中國美術館)、「國際藝苑青年油畫展」(1992年，第二屆美術獎，中國北京)、「中國油畫現狀展」(1994年，香港大學博物館)、「1979年以來的中國當代藝術展」(1995年，聖塔莫尼卡藝術中心，西班牙)、「變化-中國當代藝術展」(1995 年，瑞典，哥德堡美術館)、「首屆當代藝術學術邀請展」(1997年，獲文獻獎，北京中國美術館，香港)、「二十年啟示錄-中國重要藝術家作品展」(1998年，北京市勞動人民文化宮)、「上海國際雙年展」(2000年，上海美術館)、「芝加哥國際藝術博覽會」(2001年，美國芝加哥)、「第一屆北京國際美術雙年展」(2003年，北京中國美術館)、「第三屆中國油畫展」(2003年，獲中國油畫藝術獎，北京中國美術館)、「東方既白”百年中國繪畫展」(2003年，法國巴黎)、「“關於美”藝術展」 (2005年，世界文化宮，德國柏林)、「首屆中國藝術年鑑展」(2006年，北京中華世紀壇)、「今日美術展」(2006年，北京中國美術館)、「中國寫實油畫研究展」 (2006-2007年，上海美術館，北京中國美術館)。 Born in Huangshi, Hubei Province, China. Shi is one of the most important figures in the Chinese Photo-realism movement. He graduated from the Oil Painting department of Hubei Academy of Fine Arts in 1987. Current: a vice professor in Art School of Tsinghua University. Shi was among the new generation of painters in the 1980s, and was contributed to the development of a new 20th century Chinese art movement, later called Neo-figurative. In 1991, Shi created “Dried Fish”, a work that depicts the installation of a plaster fish in a photo-realistic style. This would mark the beginning of Shi's much-acclaimed 1990s period, in which he produced important works that brought installation and performance to the canvas for the first time, winning the respect of his peers and critics. Shi currently lives and works in Wuhan, Hubei province, China. MODERN AND CONTEMPOR ARY ART

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周春芽 ZHOU

CHUNYA (b.1955)

120

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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)。

徐冰 XU

BING (b.1955)

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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.

楊三郎 YANG

SANLANG (1907-1995)

123

生於中國重慶，成長於北京。1981年畢業於中央美術學院版畫系，並留校任教。 1987年獲中央美術學院文學碩士學位，2010年美國哥倫比亞大學授予其人文學榮譽博士學位。1990年赴美，爾後定居紐約至今。1999年獲得美國文化界最高獎－麥克阿瑟獎，2003年獲第十四屆日本福岡亞洲文化獎，2004年獲首屆威爾士國際視覺藝術獎，2006年獲第三十六屆版畫藝術終生成就獎。其作品多次參予重要國際當代美術展覽，如：第45屆威尼斯雙年展，也曾於紐約現代美術館、舊金山現代美術館、東京國際視覺傳達中心，紐約PS1、加拿大國家藝廊、澳洲國家藝廊、和南非、倫敦等地展出。作品廣為海內外藏家欣賞收藏。 Born in Chongqing, Chain yet grew up in Beijing. Xu Bing graduated from the Central Fine Arts Institute Print Department in 1981, and stayed teaching in the same school; he then received the Master of Arts degree from central fine arts institute in 1987. In 2000, Columbia University in the City of New York gave him the Honorary Doctor Degree of Humanities. Xu went to America in 1990, and settled down in New York since then. In 1999 he obtained the Genius Award from MacArthur Foundation which is the highest artistic honor in the United States, and then the 14th Fukuoka Asian Culture Prize in 2003, 1st Wales International Visual Arts Prize in 2004 and Prize for Lifetime Achievement from Southern Graphics Council in 2006. He has participates in many important international contemporary fine arts display for several times, such as the 45th session of Venice biannual exhibition, and was shown his works at Museum of modern Art in New York, the San Francisco Museum of Modern art, the Tokyo international vision transmission center, New York PS1, Canada, Austria, South Africa, London, and so on. His works are collected and appreciated by collectors at home and abroad.

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ZHONG CHENG 中誠

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生於台灣台北。先後在日本京都美術學校以及日本關西美術學院習畫。作品《靜物》榮獲第三屆台展特選；1932年入選法國巴黎秋季沙龍。1933年返台後，全心投入推展臺灣美術教育。曾榮獲1986年國家文藝獎、1992年行政院文化獎。著名展覽包括：「楊三郎油畫個展」(1973，台灣台北，國立歷史博物館)、「楊三郎油畫個展」(1983，台灣台北，國立歷史博物館)、「楊三郎近作展」(1995，台灣台北，國父紀念館)、「楊三郎繪畫藝術研究展」（1997，台灣台中，台灣省立美術館展出）、楊三郎逝世四週年「楊三郎繪畫特展」（1999，台灣台北，國立故宮博物院）。 Born in Taipei, Taiwan, Yang went to Japan in 1923 then studied painting at the school of Fine arts in Kyoto and Kansai Academy of Art. In 1929, his work “still life” won the first prize of the 3rd Taiwan Exhibition. In 1931, he went to France with Liu Chishiang and his works were selected for the Autumn Salon in Paris in 1932. He contributed himself to art education after returning Taiwan. Yang received a special national art award in 1986 and cultural award by Government of Executive in 1992. “Fifty Years of Studying Art” at the Provincials Museum in 1973 and “Oil Paintings by Yang San-Lang” in 1979,and “Retrospective Exhibition of Yang San-Lang's Painting” in 1983 at the National Museum of History. Yang received a special national art award in 1986 for this great contribution to the Taiwanese art world.

劉玖通 LIU

JIUTONG (b.1977)

貝納德．畢費 BERNARD

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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。

BUFFET (1928-1999)

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 130 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。」

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.

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.

傑夫．孔斯 JEFF

石立峰 SHI

131

KOONS (b.1955)

186

生於美國約克，賓夕法尼亞州，美國當代著名普普藝術家之一，擅長大膽地運用俗艷地圖像或造型創作，有「俗艷王子(Kitsch)」之稱。先後畢業於芝加哥藝術學院和馬德里藝術學院。成名前為生活曾短暫從事金融工作，1980年代在紐約East Village舉辦展覽，開始受到注目。2007年時作品《懸掛之心》曾在紐約拍出2600 多萬美元的高價紀錄，更是拍賣場上作品最具價值的在世藝術家。昆斯借鑒了杜象的挪用與拿來主義，讓精美的現代商品絲毫不損地轉入藝術狀態，勇於挑戰傳統美學。被認為是繼安迪．沃荷之後最重要的普普藝術家。2008年在法國凡爾賽宮舉辦第一次回顧展，同年於芝加哥當代美術館展出十，打破博物館遊客參觀紀錄。2009 年在英國倫敦的蛇形畫廊舉辦首次專題展「傑夫．孔斯：大力水手系列」。作品廣為美國、英國等多處現當代美術館和藝術機構收藏。 Born in York, Pennsylvania. He is an American artist known for his reproductions of banal objects. He lives and works in both New York City and his hometown of York, Pennsylvania. Jeff Koons rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era. Since a 1980 window installation at the New Museum of Contemporary Art in New York, Koons' work has been widely exhibited internationally in solo and group exhibitions. Considered as his first retrospective in France, the 2008 exhibition of 17 Koons sculptures at the Chateau de Versailles also marked the first ambitious display of a contemporary American artist organized by the chateau. The May 31 – September 21, 2008 Koons retrospective at the Museum of Contemporary Art, Chicago , which was widely publicized in the press, broke the museum's attendance record with 86,584 visitors.

LIFENG (b.1968)

生於中國河北石家莊，1991年畢業於河北師範學院，1992年成為職業藝術家。著名展覽包括：「第三屆中國油畫年展」 (1995，中國北京，中國美術館)、「獨語空間」先鋒攝影展（2000，中國，北京音樂廳畫廊）、「相聚德勝門」中國前衛藝術作品展（2001，中國北京，藝森畫廊）、「中國當代藝術作品新春聯展」（2002，中國北京，炎黃藝術館）、「TAM」圖片展（2003，法國巴黎）、「中國當代藝術百人展」（2003，中國北京，大陸藝術家畫廊）、「重要的是汽車」（2003，中國北京，王府井名車港）、「首屆青年美展」（2003，中國北京，今日美術館）、「荒涼城市」前衛攝影展（2004，荷蘭鹿特丹）、當代藝術家二十一人聯展（2005，中國北京，希 133 爾頓飯店觀景廊）、AAF中國當代藝術展（2006，中國北京，季節畫廊）、「第三屆人文奧運美展」（2006，中國北京，中華世紀壇）。「走出宋莊」當代藝術展（2007，中國北京、上海、瀋陽）、「中國當代藝術八人展」（2007，丹麥哥本哈根）、「STOCKHOLM藝術節」（2008，瑞典）、「遊戲異次元」（藝術+上海，上海）。 Born in 1968, in Hopei, China. Shi graduated from Hopei Normal School in 1991. He became a professional artist in 1992. Exhibitions: ”The 3rd Annual Chinese Oil Painting Exhibition”, Beijing, 1995; “photography exhibition”, Beijing, 2001; “Together at TehSheng Gate”, Beijing, 2001; “New Year Joined exhibition”, Beijing, 2002; “TAM Photo Exhibition”, Paris, 2003; “100 Chinese Contemporary Artists Exhibition ”, Beijing, 2003; “The important one is car”, Beijing, 2003; “The lst Youth Art Show of Museum of Today”, Beijing, 2003; “Barren City – Avant-garde Photography,” the Netherlands, 2004; “21 Contemporary Artists Joint Exhibition, Beijing Hilton Hotel, 2005; “The 3rd Humanities Olympic Art Exhibition,” The China Millennium Monument, Beijing, 2006; “Going out of Songzhuang,” Beijing, Shanghai, Shenyang, 2007; “Exhibition of Eight Chinese Contemporary Artists,” Copenhagen, Denmark, 2007; “Stockholm Art. MODERN AND CONTEMPOR ARY ART

329

陳淑嬌 CHEN

SHUJIAO (b.1951)

溥伒 PU

JIN (1893-1966) 出生中國北京，名伒，滿族，愛新覺羅氏，字雪齋、又字學齋，號雪道人、又號南石居士、松風主人，筆名南石、邃園、樂山等，堂號怡清堂、松風草堂。現代琴(古琴)壇、畫壇的一代宗師。生於清皇世家，正藍旗。自幼習儒學、書法、國畫。青少年時，習古琴、三弦。辛亥革命後，離開政界，以書畫為生。溥雪齋曾任輔仁大學美術系主任、北京文史館館員、北京畫院名譽畫師、書法研究社社長、中國美術家協會北京分會副主席、中國美術家協會會員、中國文聯常務理事、古琴研究會副會長、民族音樂研究所特約演奏員等職。代表曲目有《梅花三弄》、《普庵咒》、《鷗鷺忘機》、《流水》等。50年代，溥雪齋錄有多首琴曲，藏中國藝術研究院音樂研究所音響庫。文學著作有《古琴音樂活動在北京》等。 Pu Jin was a member of the Manchu imperial family and a cousin of the last emperor of China, Pu Yi, and the renowned painter Pu Ru. Pu Jin lived through the fall of the Ching Dynasty founded by his ancestors. He were educated in the Chinese classics and learned traditional styles of painting and calligraphy. Highly accomplished as a copyist of paintings from the Sung and Yuan Dynasties, Pu Jin became a professor and later Dean of the College of Art at Furen Catholic University in Beijing. In addition to landscapes and horses, Pu Jin also painted tigers and human figures, including an image of Zhong Kui, the Demon Queller. Pu Jin was also working at the Beijing Research Institute of Culture and History. He was also good at playing Guqin and served as the president of the Guqin Research Association in Beijing. His painting of a wearily trudging horse, and the poems inscribed on the scroll by Manchu noblemen and Chinese officials who had served the fallen dynasty, draw on artistic and literary traditions in which horses could symbolize both individuals and the Chinese empire itself.

135

生於台灣台南市，作品曾獲四次台陽美展第一名；第三屆南瀛獎及全省美展教育獎，參與過當代美展、歷史博物館當代人物藝術展、省立美術館開館展、巴黎現代藝術展，及中韓、中日、中港交流展等。現為台灣省膠彩畫協會常務理事、中部美術協會、台陽美術協會會員，並任台中市文化局文化中心、社會局長青學苑膠彩畫研習班教師。 Chen Shujiao from Tainan City, Taiwan. Her work has won first place four times in the Taiyang art exhibition, the third annual Nanying award, and the education award for the Provincial Art Exhibition. She has participated in the contemporary art exhibition, the history museum's contemporary figure art exhibition, the opening exhibition of the provincial art museum, the modern art exhibition in Paris, and exchange exhibitions between Taiwan and Korea, Japan and Hong Kong.

孫家勤 SUN

CHIACHIN (1930-2010)

137

霍春陽 HUO

CHUNYANG (b.1964)

138

生於中國遼寧大連，祖籍山東泰安，為北洋軍閥孫傳芳幼子，著名畫家，是張大千的關門弟子，精於山水花鳥。自幼隨母親學畫，少年時曾於北京拜畫家陳林齋為師，學習人物畫。17歲時，考取北京輔仁大學美術系，但因戰爭而中斷學業。1949 年，隨國民黨政府來到台灣，1956年考取台灣師範大學美術系。畢業後留校擔任助教、講師，學畫於黃君璧、溥心畲先生。1964年赴巴西，拜入張大千門下，在八德園習畫三年，於破墨山水之基礎上，發展出獨特的寫意花鳥。後定居於巴西聖保羅，為聖保羅大學創設中文系，在此擔任教授。1992年以交換教授身分返回台灣後，受聘於國立臺灣師範大學美術系、中國文化大學美術系擔任教授，並在各大學教授藝術相關課程。2010年病逝於台灣三軍總醫院。 Born in Dailian, Liaoning. Sun is the youngest son of the warlord-general Sun ChuanFang, he lived with his mother and was initiated by her into the world of flower painting. Growing up, he went to Beijing to study figure painting under Chen Lin-Zhai. This apprenticeship period was followed by his entrance into the Department of Arts at Fu-Jen Catholic University in Beijing. In 1956, he came to Taiwan and studied in the Department of Fine Arts at National Taiwan Normal University. After graduation, he remained at NTNU as a teacher and, along with Hu Nain-Zu and Yu Chang-Lin, organized the Li-Shui Art Studio, the first artistic group in Taiwan.In 1963, Sun Chia-Chin was introduced to Chang Dai-Chien. The very next year he resigned from his teaching post and left for Brazil to study under Chang, who later saw him as his last close disciple. During his three years' study with Chang, Sun focused on the figure painting of the Tang and Song dynasties. He also gained access to the manuscripts of the Dunhuang murals that Chang personally copied in the grottoes. In the field of landscape painting, Sun also emulated Chang's style. In 1992, Sun returned to Taiwan as an exchange professor at National Taiwan Normal University. And became a profrssor at Chinese Cultural University.

330

ZHONG CHENG 中誠

140

生於中國河北省清苑縣。1969年畢業於天津美術學院並留校任教，現為碩士生導師。中國美術家協會會員、中國書法家協會會員、天津市美術家協會副主席、中央文史研究館書畫院院部委員、天津文史館館員、中國青年美協顧問、《人民日報》神州書畫院特聘畫家、新華社新華書畫院特聘畫家、中央電視台書畫院特聘畫家,享受國務院特殊津貼。 Born in Qingyuan County, Hebei Province in 1946, graduated in Tianjin Academy of Fine Arts in 1969 and since then he has been a teacher there. At present he is a professor and the head of Traditional Chinese Painting department, a member of Chinese Artists' Association, a member of Chinese Calligraphists' Association, standing director of Chinese Artists' Association, Tianjin Branch, a member of China's Eastern Fine Arts Exchange society, a guest painter of Tianjin Painting Academy, Specially invited artist of Shenzhou Painting and Calligraphy Academy of PEOPLE'S DILY, a specially-invited artist of Xin Hua Agency, and a specially-invited artist in Painting and Calligraphy Academy of CCTV.

喻仲林 YU

CHUNGLIN (1925-1985)

141

蔣經國 CHIANG

生於浙江省奉化縣。字建豐，為中華民國先總統蔣中正之長子，亦是中華民國政治家暨中國國民黨領導人，並為中華民國第六、第七兩任總統。曾前往蘇聯留學，先後就讀莫斯科中山大學和列寧格勒托爾馬喬夫軍政學院軍事政治研究院。在蘇聯期間，蔣經國接受正統馬列主義教育，成為社會主義堅定擁護者。返回中國後，蔣經國加入中國國民黨，並擔任江西省第四區行政督察專員等職務。他成為三民主義忠實信徒，在中華民國政府撤往臺灣後，開始從事政治與情報機構重要工作，包括國防部政治部主任、中國青年反共救國團主任、行政院國軍退除役官兵就業輔導委員會主任委員、中華民國國防部部長、行政院院長等職。蔣經國書畫造詣極高，在其父蔣介石督促下潛心修習書法，並受母親蔣宋美齡影響，曾隨高逸鴻學畫，學習國畫達5年之久。作品風格樸實淡雅，筆墨圓潤，自成一家風範。

142

Born in Fenghua, Zhejiang, China, with the courtesy name of Jianfeng. Kuomintang (KMT) politician and leader, was the son of Generalissimo and President Chiang Kai-shek and held numerous posts in the government of the Republic of China (ROC). He succeeded his father to serve as Premier of the Republic of China between 1972 and 1978 and was the President of the Republic of China from 1978 until his death in 1988. Under his tenure, the government of the Republic of China, while authoritarian, became more open and tolerant of political dissent. Towards the end of his life, Chiang relaxed government controls on the media and speech and allowed native Taiwanese into positions of power.

生於中國山東。喻仲林幼年因失恃之痛，前往山東依附舅父許宗海。由於其外公藏書甚豐，及舅父的薰陶之下，喻仲林自幼對繪畫產生濃厚興趣。十三歲那年因遇對日抗戰開始，僅讀至中學就停止學業，投身抗戰。1949年喻仲林隨國民政府遷台，任職國防部，公暇之餘重拾畫筆。曾至台灣師範大學藝術系當旁聽生。在名家金勤伯指導下，也奠定了其繪畫的基礎。「苦畫」有成，曾舉辦過多次畫展及個展，及國內外邀請展。與孫家勤、胡念祖組成「麗水精舍」。六十二年應邀至日本主持中國近代畫家展，六十四年應夏威夷大學之聘，教授繪畫並舉行畫展。曾獲六十四年中國畫學會金爵獎、第五屆中興文藝獎。繪著有《喻仲林畫集》、《翎毛畫入門》、《喻仲林花鳥畫冊》、《扇面喻仲林工筆花鳥畫稿》。 Born in Shandong in 1925. Yu was brought up by his uncle, Hsu Zong-hai, an ardent lover of painting and calligraphy, who cultivated Yu's interests in painting. He came to Taiwan in 1949 and worked in the Ministry of Defense. In his leisure time, Yu sat in classes in the Department of Fine Arts, National Taiwan Normal University. He also studied with the famous artist Jing Ching-bo and focused on flower and bird painting and its meticulousness of style. In 1956 Yu founded the Li Shui Studio with fellow artist Hu Nian-zu and Sun Jiaqing. For more than thirty years, Yu kept painting and showing his works, winning critical acclaim as well as important awards

143

呂佛庭 LU

黃冑 HUANG

FOTING (1911-2005)

生於中國河南泌陽縣，乳名天賜，字幅亭，後改為「佛庭」，號半僧。幼承家學，5歲起學書，6歲詠詩，8歲開始學畫，10歲正式歸依三寶，茹素念佛，持之以恆，直到95歲去世為止，於繪畫、書法、詩詞、佛學之鑽研均未曾間斷。1931-1934年就讀於私立北平美專國畫系時，曾受教於齊白石、秦仲文、王雪濤、徐燕蓀、許翔階、吳鏡汀等名師，復隨管平湖學古琴，張東學漢隸，由宋元名畫入手，深紮根基。曾先後在北京、開封、武漢、南京等地舉辦個展，甚得佳評。曾應聘任於省立南洋師範學校。1948年自大陸渡台，曾任教於台東師範，1949年應聘任教於台中師範、師專，於 1964年升等為教授，直至1973年退休為止，其間除了曾借調教育部美育委員會專任駐會委員兼國立台灣藝術館美術組主任（1956年）之外，亦曾兼任文化大學藝術研究所、國立台灣師大美術系、國立台灣藝專等校教授，並應聘擔任教育部學術審議委員。呂氏繪畫以山水最擅，書法融合篆、隸、楷成獨特之楷隸書風， 144 1970年代起，更結合古文字學和書法-而創作「文字畫」，在畫界獨樹一格。此外，於畫史和畫論著述極豐，有《中國畫史評傳》、《中國書畫源流》、《中國繪畫思想》、《石濤大師評傳》、《文字畫研究》等十多種專書行世，津梁學界甚多。 Born in Henan province, China. Tian-si was his official first name, but later he called himself Fo-ting to show his reverence for Buddhism. Lu started to study painting at the age of five. Flowers and birds were the first subjects that he learned to paint, and these were followed by figures, and then finally landscapes. He was also a good player of traditional Chinese musical instruments, qin, a poet, and a master of calligraphy. He devoted himself to art education, and, as an outstanding teacher and artist, he was awarded the National Award for Arts, the First Grade Cultural Award of the Ministry of Education, and the National Cultural Award of the Executive Yuan. In 2005, at the age of 95, Lu died from heart and respiratory failure, and just before his death, he received the tonsure ceremony and was given a Buddhist name Wan-seng, fulfilling his longtime wish to become a Buddhist monk.

CHINGKUO (1910-1988)

ZHOU (1925-1997)

145

生於中國河北蠡縣人，原姓梁，名淦堂，字映齋。中國知名當代畫家、長安畫派代表人物。師從趙望雲，早年參加革命，任西北軍區戰士讀物出版社編輯。曾為中國美協常務理事，北京炎黃藝術館館長。1942年任蠡縣中學美術教員。1946年任陝西省西安雍華圖書雜誌社主編。1949年5月參加中國人民解放軍從事部隊美術工作，任西北軍區政治部文化創作員，美術組組長。1955年任總政治部文化部創作員。1959年，任中國人民革命軍事博物館美術公司顧問。1981年任中國畫研究院副院長。黃冑擅於畫出新疆人物，動物，人民生活，與風景之美。2011年榮獲列名世界拍賣收入記錄第13名寶座而成為世界上最有名的畫家之一。有大量藝術作品及《黃冑作品集》《黃冑談藝術》等三十餘部著作傳世。 Born in Li County, Hebei Province, China. Huang Zhou was a Chinese artist and collector who made great contributions to boosting modern Chinese art. He was also known as Liang Yezi, or Miao Di. He having witnessed the development of new China. Unlike his predecessors such as Xu Beihong and Jiang Zhao, who had studied abroad and applied the precise anatomy approach to traditional Chinese painting, Huang learned from Chinese artists Zhao Wangyun and Han Leran, who added traditional Chinese cultural elements to painting. Shortly after Xi'an was liberated on May 20, 1949, Huang joined the People's Liberation Army to record the life and work of that period via paintbrush for a magazine. Huang combined Western sketching skills and traditional Chinese painting to capture the movement of people and animals, which proved to be a huge success. His figure paintings depicted the vivid life scenes of Chinese ethnic groups and ordinary people, revealing a harmonious relationship between humans and nature. He led mainland Chinese painting to a new era. MODERN AND CONTEMPOR ARY ART

331

金勤伯 JIN

QINBO (1910-1998)

高逸鴻 KAO

YIHUNG (1908-1982)

148 146

生於中國浙江吳興，世居上海及北平。本名開業，後改名勤伯，號繼藕、景北，齋名「倚桐閣」、「雲水居」。金勤伯的大伯父金城是清末著名書畫家及收藏家，其認為金勤伯在藝事上具有天份，值得教誨，十四歲起便開始親授各項畫科，以古人工筆著手，學習精工手法。1921年在大伯金城推薦下加入「中國畫學研究會」，並連續六年參加在北平中國畫學的國畫公展。1928年，十八歲伯父過世改從身為花卉名家的姑母金章學畫，得姑母真傳。1929年十九歲的金勤伯考入燕京大學生物系。1937年經由湖社師兄陳緣督推介給時任北京輔仁大學美術系主任的溥伒，受聘為代課教師，後曾轉往上海藝專任教，從此走上教書生涯。1946年再度赴美深造，取得生化碩士學位後，即全心朝向繪畫興趣發展。於1949年渡海來台，寓居台北青田街一日式平房。1950年參加第五屆台灣省全省美展獲國畫部第四名。1951年參加第六屆台灣省全省美展獲國畫部第二名。1957年起連續擔任多屆台灣省全省美展國畫部評審委員。1959年9月應美國國務院之邀，赴美國羅德島設計學院（Rhode Island School of Design）講學一年，並舉辦「金勤伯國畫展」。 Born in Zhejiang, China. Nephew of Jin Cheng. His father, Jin Qiong-lin, was a collector. Grown in prominent industrialist family. Jin Qin-Bo graduated from Yan-Jing University with BA in liberal arts in 1933. In 1937, Jin caught in Beijing by Japanese occupation. In 1947, His father sent him to England and France for further study. Then in 1949, he moved to Taiwan. In 1940, He joined faculty of Nan Yang Normal University with Pu Ru and Huang Jun-Bi. Jin went to Rhode Island School of Design as Visiting professor in 1959. In early 1960s, He taught in Iowa City, where his painting showed influence of abstract expressionism. Later he taught in New Asia College. Chinese University of Hong Kong and returned to Taiwan in 1966, where he taught in several colleges. In 2004, Jin held solo exhibition in National History Museum, Taipei.

江兆申 JIANG

ZHAOSHEN (1925-1996)

147

生於浙江臨安，本名崇堯，別號蘭香館主，抗戰期間遍遊名山大川，擅長水墨與花鳥，其畫風生機蓬勃。高逸鴻以書畫會友，曾組織七友畫會、六儷畫會、壬寅畫會，並擔任已故總統蔣經國先生的國畫老師。 1950年代起，書法兼擅四體，尤其行書特別受收藏家推崇與收藏。高逸鴻9歲時便因臨摩傳神而被譽為神童，早期作品致力於工筆，擅長花卉、翎毛、蟲魚，晚期創作融合書法入畫，改用水墨形式表現出寫意風格。

Born in Linan, Zhejiang province, Kao Yihung's original name was Chongyao, also known as the curator of Lanhsiang. He travelled through famous mountains and rivers during the war time. He excels at water ink paintings and flowers and birds with a vivid art style. He met his friends through painting and organized the Seven Friends Art Association, the Six Couple Art Association, Renyin Art Association, and taught the late President Chiang Chingguo Chinese painting. Since 1950s, he is skilled at the four forms in calligraphy and widely recognized in running script. Known as the genius child at the age of nine, his early works focused on skills in painting flowers, feathers, bugs and birds; his later works incorporated calligraphy and presented expressionism in water ink form.

狩野探令 KANO

TANREI (1857-1931) 生於日本山形縣。本姓荒木，名為丈太郎，別號六陶居士，日本著名皇室御用畫家。一開始前往江戶跟隨鍛冶橋的狩野家門人菊川淵齊及橘守利學習繪畫，後拜入狩野探美門下修習藝術。曾與狩野忠信、剛倉秋水等人籌組狩野會，致力於狩野一派的復興，並於大正5年許可承襲「狩野」姓氏。亦身為日本畫會幹事、正派同士會幹事。主要作品《琴棋書畫》、《昭代嘉祥》。 Born in Yamagata prefecture, his real name was Araki Jotaro. He went to Edo to study under Kikukawa Ensai and Tachibana Moritoshi, who were the pupils of the Kajiyabashi branch of the Kano school. He joined the Nihon Bijutsu Kyokai and received many high prizes. He also founded the Kano-kai (Kano Association) with Okakura Shusui and Oka Fuho, devoting himself to the revival of the Kano School. After this he was permitted to prefix his name with Kano in 1916.

149

生於中國安徽歙縣。字茮原，齋名靈漚館，著名書畫、篆刻家，中國書畫研究學者，曾任臺北國立故宮博物院副院長兼書畫處處長。江兆申出身書香世家，師事溥心畬。1949年隨師去台灣，曾任台灣故宮博物院研究員，書畫處處長，副院長。工書畫，篆刻，書習歐，褚，參以北碑用筆，自成一家，篆刻以微派入手，參以浙派。1965年在台北市中山堂舉辦個人書畫篆刻作品展覽。《關於唐寅的研究》一書，獲嘉新優良著作獎。「花蓮記遊冊」十二開，獲中山文藝獎，1973年籌辦「吳派畫九十年展」。1974年以「依巖」二字巨榜，獲教育部六十三年書法獎。1991 年自國立故宮博物院退職之後，移居南投埔里建「揭涉園」。1992年「戊辰山水冊」為大英博物館收藏，於臺北市立美術館舉行「江兆申書畫展」，次年選擇五十件作品巡迴展出，首展在北京中國美術館，續展於安徽省黃山市博物館。 Born in Anhui province, coming from a long family origin he has been exposed to traditional poetry paintings early. In 1949, Jiang came to Taiwan to follow his studies of poetry with Pu Ru and also becoming the curator for the Taipei National Palace Museum. His pen stroke presents a sense of confidence and at ease, water ink vividly painted on and each layer rich to present a clean elegance of self original style. Jiang Zhao-Shen is adept in book painting seals, artistic style appreciations and the history of art. Due to his painting name he inherits a tradition and contributes a new achievement to Chinese water ink painting. He is also appraised by both Taiwan and China as a model for artists and has been dubbed the name “Chinese final stroke literati painter.”

332

ZHONG CHENG 中誠

150

鄭善禧 CHENG

SHANHIS (b.1932)

152

張杰 ZHANG

JIE (b.1963)

153

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

生於中國重慶，1988年畢業於四川美術學院油畫系，現任四川美術學院副院長、教授、中國美術家協會會員、重慶美術家協會理事。作品曾入選第三屆亞歐藝術雙年展、第七屆全國美展、中國油畫展紀念演講五十週年、全國美展、首屆中國油畫年展、首屆中國風景畫大展等全國性大型美展；曾四次榮獲省優秀作品獎。許多作品曾赴美國、日本、香港、台灣、加拿大、南斯拉夫、土耳其、剛果等國家和地區展出，作品曾參加臺灣蘇富比和國內大型拍賣會，受到廣泛好評並被許多博物館和收藏家收藏。

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.

Born in Chongqing, China, and graduated from the Sichuan Fine Arts Academy Oil Painting Department in 1988, presently as the professor of Sichuan Fine Arts Academy, the member of Chinese Artist Association, the vice-chairman of Chongqing Culture Development Research board. His works were selected by the 3rd of Asia and Europe art Biennale, the 7th National Art Exhibition, the 50th anniversary of Chinese oil painting commemorate lectures, the 1st Annual Chinese Oil Painting Exhibition, the 1st China Landscape Painting Exhibition and other nationwide art exhibitions and receive the province outstanding prize. Works are exhibited at US, Japan, Hong Kong, Taiwan, Canada, Yugoslavia, Turkey, Congo…, And also participate in Sotheby's Taiwan and the domestic auctions. His works were collected by many museums and the collectors worldwide.

藍蔭鼎 RAN

蘇笑柏 SU

INTING (1903-1979)

155

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)。 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.

XIAOBAI (b.1949)

出生於中國武漢。1985年至1987年間就讀於北京中央美術學院，後轉赴德國進修，入德國杜塞爾多夫藝術學院，先後於1990年、 1992年自研究生班與大師弟子班畢業。自 1997年起至今皆受邀擔任德國杜塞爾多夫藝術藝術家協會年度特邀評委，更於1989年獲德國藝術學院年度獎進而赴巴黎M.Ernst藝術家工作室交流。1984年其作品首度入選「第六屆全國美展」，自始展露藝壇，爾後陸續參與眾多國際性聯展與藝術博覽會，足跡遍及中國、德國、西班牙、新加坡、台灣。近年重要個展包含：「大漆－蘇笑柏的新紀 156 元」(2006，德國杜塞爾多夫，B’特馮畫廊)、「蘇笑柏繪畫作品展」(2006，德國馬爾堡，司馬福斯畫廊)、「一路平安－蘇笑柏畫展」(2007，德國漢堡，卡瑪畫廊)、「大象無形－蘇笑柏繪畫展」(2007，中國，上海美術館)、「考工記－蘇笑柏作品展」(2008，中國北京，今日美術館)、「蘇笑柏藝術作品巡迴展」(2008，德國， ZDF德國國家電視台)、「澄懷觀道－蘇笑柏作品展」(2008，中國北京，台灣台北，大未來畫廊)、「色彩王朝」(2009，德國諾伊斯，蘭根基金會)、「陳蔭羆蘇笑柏雙個展」(2011，台灣台北，大未來林舍畫廊)。其作品廣為國際性藏家蒐藏。 Born in Wuhan, China. Su studied at the Beijing Central Acedamy of Fine Arts during 1985 to 1987, then went for further study In Germany, entering the Dusseldorf Academy of Fine Arts. He completed the graduated studies in 1990 and the Student of Master class in 1992. Since 1997, Su has been specially inviting to be member of jury of the “Annual Art Exhibition NRW” in Germany every year, and he won the scholarship of the German Academy of Fine Arts for the M. Ernst studio in Paris in 1989. Since his work was seleted into “The 6th National Exhibition of Fine Arts” in 1984, Su has become famous gradually on the international art scene, he then participated in many important and renowned art expositions and group shows in China, Germany, Spain, Singapore and Taiwan. Su's recent important solo exhibitions include:”The Exhibition of Xiaobai Su's Artworks”, Galerie Schmallfuss, Marburg, Germany, 2006; “Lacquer: Xiaobai Su's New Epoch”, Galerie Beethovenstrasse, Dusseldorf, Germany, 2006; “Wish you a safe journey: An Exhibition of Xiaobai Su's Paintings”, Galerie Kammer, Hamburg, Germany, 2007; “Intangible Greats, Shanghai Art Museum”, Shanghai, China, 2007; “The Exhibition of Xiaobai Su's Artworks”, Today Art Museum, Beijing, China, 2008; “Tour Exhibition of Xiaobai Su's Artworks”, ZDF, Germany, 2008; “Clarify My Mind to View the World: A solo Exhibition of Xiaobai Su”, Lin&Keng Gallery, Beijing, China, 2008; “The Dynasty of Colors”, Langen Foundation, Nuessm, Germany, 2009; “George Chen Xiaobai Su”, Lin&Lin Gallery, Taipei, Taipei,2011. His works are collected by the international collectors worldwide. MODERN AND CONTEMPOR ARY ART

333

張義雄 CHANG

YOSHIO (b.1914)

王信豐 WANG

XINFENG (b.1952)

160

158

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.

呂榮琛 LU

RONGCHEN (b.1963)

161

呂榮琛1963年出生於台灣屏東。1987年畢業於台灣文化大學美術系。1993年首次個展於巴黎第八區 BOULAKIA RIVE DROlTE 畫廊。2003年巴黎ART FAN 展覽。 2005年台灣新苑畫廊個展。 2006年巴黎 ART FAN 展覽。台灣現代藝術空間聯展．巴黎 LANSBERG 畫廊聯展。2007年巴黎 LEE 畫廊個展。巴黎 ST GERMAL DES PRES 現代藝術個展。香港現代藝術博覽會。 Born in Taitung, Taiwan. He graduated from Chinese Culture University-Taiwan, major in Fine arts. In 1993, he had his first solo exhibition at BOULAKIA RIVE DROITE gallery in 8th district in Paris. In 2003, he exhibited in Paris ART FAN. In 2004, he had solo exhibition at Shin Yuen gallery in Taiwan. In 2006 he again exhibited in Paris ART FAN, united exhibition in Taiwan modern art space and attended Paris LANSBERG gallery exhibition. In 2007 he had solo exhibition in LEE gallery, Paris. He is having a solo exhibition in Paris ST. GERMAL DES PRES modern art. He is attending Hong Kong Modern Art Fair.

334

ZHONG CHENG 中誠

生於台灣高雄，1973年畢業於東方工專美工科。早期王信豐多以自然風景為主題的水墨畫為繪畫重心，已嶄露不凡風格。年過不惑之際，王氏進一步以台灣本土歷史故事入畫。長年醉心於水墨畫，自1998年開始，嘗試運用複合媒材，研究壓克力顏料，並遴選補捉自己最熟悉的故鄉高屏溪身影，流露出對台灣土地的深切情感。其作曾榮獲1972年台陽美展水墨佳作，並蒙國立台灣美術館、高雄市立美術館典藏。主要展覽包括： 1997年「火燒島紀行」，台北市立美術館，台北，台灣；2006年「島嶼之歌」, 高雄市立美術館，高雄，台灣。 Born in Kaohsiung, Taiwan ,Wang Hsin-feng graduated from Department of Arts and Crafts, Tung Fang Design Institute in 1973. Wang used to focus on landscape ink painting theme with extraordinary style in his early years. Over Wang's forty, the artist furthermore started to add Taiwanese history element into his works.After concentrating on ink painting for many years, Wang Hsin-feng began to make use of multiple media since 1998. He did research on acrylic and chose Kaoping River as the main theme in his paintings which reveals Wang's strong sense of belonging to his motherland, Taiwan. Wang's ink painting was awarded from Tai-Yang Art Exhibition. Wang Hsin-feng's works were also collected by magnificent art institutions such as National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts.Selected exhibitions:“Record of The Trip to The Island of Fire” Taipei Fine Art Museum, Taipei, Taiwan, 1997;“Songs of the Island” Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2006

李梁 LEE

LIANG (b.1985)

162

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。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)。 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.

徐光弟 HSU

GUANGDI (b.1949)

周榮生 ZHOU

RONGSHENG (b.1951)

166

163

生於中國四川重慶，畢業於四川美術學院，是中國美術家協會的一員。作品參加過國內外的許多展覽，獲得不少的好評與獎項。1980年代的文化反思熱潮，讓徐光弟將創作主題轉移到表現四川涼山彝族的鄉土風情上。他不辭勞苦地深入涼山邊緣的彝族村寨，以畫筆記錄下彝族的生活寫照，成為一位引人注目的鄉土寫實畫家。作品多次赴美國、日本、香港等地展覽，廣為中國美術家協會、四川美院陳列館、冶金部、美國格林威冶藝廊及國內、外收藏家收藏。

生於內蒙古開魯，為河北撫寧人。1985年畢業於北京師範學院美術系。現任中國美術家協會理事，內蒙古美術家協會主席，內蒙古文聯副主席，內蒙古中國畫藝委會主任，國家一級美術師，享受國務院政府特殊津貼專家，中國當代工筆劃學會會員。1997年被中國文聯及中國美術家協會評為「中國畫壇百傑」，作品曾三次獲得中國美術家辦理之「全國中國畫展覽獎」、內蒙古自治區藝術創作「薩日納」獎。 1988年以來，先後在中國台灣、香港及日本舉辦個人畫展，在美、俄、澳大利亞、新加坡、馬來西亞、埃及等十餘個國家和地區舉辦聯展。作品多次被國家選送境外展出，並參加法國秋季沙龍美展和香港第二屆亞洲藝術博覽會。大量作品被中國美術館等國內外藝術機構及私人收藏。

Born in Chongqing, Sichuan in China, graduated from the Art Institute in Sichuan and is an associate of the Chinese Artist Association. His artworks were widely exhibited and won widespread recognition and awards. During the cultural movement in 1980s, Hsu Guangdi changed his focus to presenting the rural beauties of Yi people of Liang Mountain in Sichuan. He searched deep into the mountains of the ethnic group and recorded their lives with his paintbrush. His dedication was recognized as a rural realism artist. His artworks were exhibited many times in the United States, Japan and Hong Kong; and are widely collected by the Chinese Artist Association, Sichuan Art Museum, the Ministry of Metallurgical Industry, the Greenwich Art Gallery and international collectors.

Born in Kailu, Inner Mongolia, Zhou Rong Sheng is a native from Funing, Hebei. Graduated from The Normal University of Beijing in 1985, he is currently a council of the Chinese Artist Association; Chairman of Inner Mongolia Artist Association; Vice Chairman of the Literature Association of Inner Mongolia; Director of the Chinese Painting Association of Inner Mongolia; and the National Graded A Art Instructor; a sponsored Level A Art Instructor and a member of the Chinese Calligraphers Association. He was recognized as one of the “hundred talented artists” by the Chinese Artist Association in China. His artworks won “National Art Exhibition” three times and the “Sarina” Award by the Inner Mongolia institute in 1997. He has held personal exhibitions in Taiwan, Hong Kong and Japan since 1988, and held co-exhibitions in the United Stated, Soviet Union, Australia, Singapore, Malaysia, and Egypt. His artworks were often sent abroad to exhibit and attended the French Art Salon and the 2nd Asia Art Expo in Hong Kong. Many art pieces are collected by international art institutes and personal collectors.

陳志駒 ZENO

詹前裕 ZHAN

CHEN ( b.1962 )

QIANYU (b.1952)

169

生於台灣台北。由紀實攝影起步，透過鏡頭之眼與被攝物之間，探索主客關係。近年則以被攝物作為創作素材，加以疊合、拼接，精心變造成為一藝術家介入主觀的造像世界，呈現獨具詩意的新美感經。曾獲時報文學獎第十屆新詩首獎為出發點，從文是視覺轉換為創作視覺，多次參加國內外個、聯展及經常受邀演講。2012年獲美國IAF（International Art Festival）藝術大賽，兩件作品同獲頒攝影類首獎，並於新澤西州MoRA博物館（The Museum of Russian Art）舉辦海外首次個展。 2013年印度One Eyeland Fine Art榮獲銅牌，2014年獲美國IPA、莫斯科MIFA等國際攝影大賽職業組多項榮譽獎銜。其他展覽包括：「凝視－陳志駒攝影個展」 (恆畫廊，台灣台北，2012年)、「國際藝術節得獎人個展」(俄羅斯藝術MoRA美術館，紐澤西，2013)、「風．雲陳志駒影像創作展」(觀想藝術中心，台灣台北)、「蓮荷國」(恆昶攝影藝廊，台灣台北)以及2014「昨天今天明天」八樓當代藝術影像個展。 Born in Taipei, Taiwan. Zeno Chen started with documentary photography to discover host-guest relationship between objects being photographed through camera lenses and in recent years, he has used photographed objects as imaging source materials, superposing and slicing them to transform into subjective artist-intervened imaging that portrays a unique poetic experience in a new sense of aesthetics. Selected joint exhibitions: 2009, Elsa Art Gallery, Taipei; 2010, Fish Art Center, Taipei; 2012, Galerie Pierre, Taichung.Major solo exhibitions: 2012, “Stare: Zeno Chen Solo Exhibition”, Galleria H., Taipei; “Solo Exhibitions of The International Art Festival Award Recipients”, The Museum of Russian Art, New Jersey; 2013, “Climate of the Sentimental”, Guan Xiang Art Gallery, Taipei, “The Beauty of Lotus and Waterlily from Imagination”, Fujifilm Taiwan Gallery, Taipei.In 2012, Chen was awarded First Prize in the photography category by New York International Art Festival.

170

生於台灣苗栗。1975年自台灣師範大學美術系畢業，後入中國文化大學藝術研究所攻讀，於1980年畢業，並留校擔任講師。1985年適逢林之助教授到東大教授膠彩畫課程，遂跟隨林老師一起致力膠彩畫的推廣，並在林之助移居美國後，繼續膠彩畫的傳承推廣工作。2003年兼任台灣師範大學美術系教授，2007年擔任東海大學基督教會執事會主席，現任東海大學美術系主任。曾先後發表個展多次，於2009年時應邀於國立台灣美術館舉辦「傳承與開創—詹前裕膠彩畫展」。並為省美館、國美館先後出版溥心畬、張穀年、林之助、郭雪湖等前輩繪畫藝術研究專書。 Born in Miaoli, Taiwan, Zhan Qianyu graduated from the Art Department at the National Normal University in 1975. Later, he gained his masters at the Chinese Cultural University and graduated in 1980 and continued teaching. In 1985, Professor Lin Zhi Zhu taught acrylic painting at Tunghai University and he followed suit and continued promoting after Lin Zhi Zhu moved to the United States. In 2003, he also taught at the Art Department of National Normal University; in 2007, he was the chairman of the Christian Church of Tunghai University, and the current director of the Art Department at Tunghai University. He held several individual exhibitions and in 2009 he held “Legacy and Innovation- Zhan Qianyu Acrylic Exhibition” at the National Taiwan museum. He also published his studies on Pu Hsin Yu, Zhang Gu Nian, Lin Zhi Zhu and Guo Xue Hu with the Provincial Art Museum and National At Museum.

MODERN AND CONTEMPOR ARY ART

335

蔡雲程 TSAI

YUNCHENG (1929-2009)

曾茂煌 CHENG

MAOHUANG (b.1934)

172 171

生於中國福建。10歲隨家人移居菲律賓，跟隨東南亞名師習畫，29歲參加菲律賓全國美術金牌獎，始引起國際注目。創立藍色畫派，使用代表寧靜、深邃致遠的藍色基調創作，繪畫獨具風格。七十年代起開始在美國紐約、洛杉磯、法國巴黎等地舉辦畫展。1990年獲頒美國愛因斯坦國際學術基金會和平獎，是目前唯一獲此殊榮的華裔藝術家，1996年獲法國盧本斯國際藝術節獎章。被英國劍橋國際名人傳記協會列入世界名人錄，半個世紀以來獲獎無數。 Born in Fujian, China. Tsai immigrated to Philippine along with family at ten years old and studied the painting under famous Southeast Asia teachers. He won the champion in Philippines fine arts competition at age 29. From this time on, he begins as a budding artist in artistic world. He is the famous artist using a brush with blue paint, become one and the only found of the Blue School. After 1970s, he holds the exhibitions in places such as New York, Los Angeles, and Paris. Tsai was awarded the “1990 Albert Einstein International Academy Foundation Peace Award”, and 1996 Medal from Centen-Aire Peter Paul Rubens International Festival Paris, France. His name has been included in several major publications of “The International Who's who”, International Biography Center, Cambridge, England, and since half century has won award innumerably.

謝孝德 HSIEH

173

HSIAODE (b.1940)

Born in Hsinchu, Taiwan. Cheng graduated from the Taiwan Provincial Hsinchu Provincial Normal College. He won a prize of excellence at the Taiwan Teacher Art Show in 1968, which encouraged him to devote himself to create oil paintings. In the 1970s, Cheng's works has won many important awards, including the Golden Prizes of the 38th and 40th Taiyang Fine Arts Exhibition. He held the first solo exhibition at Nation Taiwan Museum in 1981, and his work “Rustic Fun” has been collected by Taiwan Museum of Art by1988.

梁奕焚 LIANG

YIFENG ( b.1937 )

175

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.

336

生於臺灣新竹。1956年畢業於省立師範專科學校。1968年作品榮獲全省教員美展油畫優選，自此益發努力創作，1970年代間，曾氏的作品榮獲多項重要美術獎，數度於省展、台陽美展、全國油畫展，台陽美術展及台北市美展中奪得優選，其中更獲第三十八及四十屆台陽美展油畫金牌獎。1981年在省立博物館舉行首次個展，其後陸續舉辦個展與回顧展，1988年作品《鄉趣》為國立台灣美術館收藏。

ZHONG CHENG 中誠

174

生於台灣彰化。畢業於台北師範藝術科。1958-1963年從李仲生先生研究現代藝術，曾任中部美術協會會員。中華民國現代版畫會員。中華民國雕塑學會會員。 1982年發起創立現代眼畫會。1985年任李仲生現代藝術文教基金會理事。1987年設繪畫工作室於紐約蘇活區。他的畫作先後創作出五百號、一千號甚至二千號作品，獲得收藏家及畫廊的青睞，大量收藏他的創作。梁奕焚於紐約創作，在東方與西方的衝擊下，創作獨樹一格，極具東方地域特殊風格。 Born in Changhua, Liang graduated from National Taiwan Normal University in 1957. Since then, he has engaged in many art activities and associations. At the age of 21, Liang studied modern art with Lee Chung-Sheng. Rich colors and fluent brush marks are the most recognizable characteristic in his paintings. Liang explores the possibility of free-style art form that is beyond the descriptions of East, West, modern, or tradition. When Liang was selected into The Biena Internaional de Sao Paulo, he has participated frequently in many other local and international exhibitions. Till now, he has already participated over 150 exhibitions, and more than 5000 of his works are collected.

吉村芳生 YOSHIO

YOSHIMURA (1950-2013)

王萬春 WANG

177

176

生於日本山口縣，日本知名版畫、鉛筆畫家。1971年畢業於山口藝術短期大學，之後曾短暫進入職場從事設計相關工作，但因與藝術夢想相差遙遠便辭職，便進入創形美術學校專攻版畫學，並於1979年畢業。就學期間作品曾於國內外獲獎無數： 1978年獲選Shell Art Award美術賞展，並於東京銀座畫廊舉行首次個展、1979年及1982年接獲入選邁阿密國際版畫雙年展。1985年回到故鄉山口定居，並多次舉行個展。主要展覽包括：「730日的自畫像」(1991年，下關市立美術館，日本)、「六本木Crossing 2007：向未來的脈動」(2007年，森美術館，日本)、「煉獄的茶室」(2009年，萩美術館，浦上記念館，日本)、「一人愉快藝術」(2009年，廣島是現代美術館，日本)。 Born in Yamaguchi Prefecture, Japan. Yoshio graduated from Yamaguchi College of Arts in 1971 and Sokei Academy of Fine Art & Design. He won several awards: Shell Art Award (1978), Merit Award in International print biennale (1982 in Miami), Wasaku Kobayashi Award (1984 in Yamaguchi), Special prize in Sesshu Grand prix Masuda Art Awards (2000), Gran Prix in Yamaguchi Prefectural Art Awards (2007). National Taiwan University.

沈娜 SHEN

WANCHUN (b.1956)

NA ( b.1979 )

生於台灣宜蘭縣五結鄉，畢業於國立藝專美術科。在王萬春的畫中，單一元素經常和另一單一元素串聯在一起，組合成各種不同的意義。在他的畫作中，他想要表達的是一種空無的意境，而為了展現這種意境空無的空間感，王萬春每每都將有形的物件壓縮成簡潔而有力的造形，尤其是他的人物，常常被放在不起眼的角落邊，但卻以十分精細的手法呈現。在他近期的作品中，甚至可以看到這些元素演變成凹或凸的浮雕立面，懸浮於畫面之上，既真實又虛幻。 Born in Yilan, Taiwan, and graduated from National Taiwan University of Arts. In his painting, he often combines one element and another into different meaning. What he tries to convey is a kind of void conception. To present it, he always contracts concrete objects into terse and stylish design, especially human figures in his painting that in most cases, are put in unnoticed corners, but are depicted with extremely delicate skills. Upon his recent works, audience even sees elements evolving into embossment, which shows an effect of real and virtual picture floating on canvas.

彭自強 PEN

TZUCHIANG (b.1960)

180

179 178

2004年畢業於四川美術學院油畫系碩士班，並留校任教。2005年於北京四分之三畫廊參加「語言的閣樓」中國頂尖女性藝術家展，同期北京現在畫廊展出《雲雨》，2006年應邀新加坡、北京、上海藝術博覽會參展。沈娜的繪畫引入了關於女性同性戀的形象主題，表現出新一代繪畫對於漫畫視覺模仿的開始。 born in Sichuan of China. In 2004, Shen received master's degree in the Oil Painting Department of Sichuan Fine Arts Institute (MFA). Now a Lecturer of Fine Arts Department. In 2005, Shen presented the Attic of Language Works of The Top Female Artists of China in Beijing 3/4Art Gallery. At the same year, “Cloud and Rain” in Beijing Art Now Gallery. In 2006, Shen was invited Singapore, Beijing, and Shanghai Art Exhibitions. Shen's working has introduced about the feminine homosexuality vivid subject, has displayed the new generation of drawing regarding the cartoon vision imitation start.

生於中國四川重慶。自幼習水墨畫，長大後專攻水彩，中體西用，在水彩的世界展現水墨的張力，時而雲氣萬千，時而風淡雲輕，在水彩的領域自成一格，實有名家之氣。

彭自強的畫給人一種強烈的張力，彷彿能將觀賞者的情緒帶入畫中，他天生本能有著導演般銳利的觀察力與創造力，用他的方式盡情揮灑著屬於他的迷彩世界。近幾年作品大多以平劇人物、交響樂、芭蕾舞、風景、人物做為創作主題，畫作風格筆觸大膽灑脫，不拘泥小節，表情生動，展現超強之生命力。 Born in Taipei. Pen studio was established in 1988. He has held 12 individual exhibitions during 1988-1990. Prizes and past exhibitions include “ The 18th Taipei Art Exhbition”, “ 54th Tai-Yang Exhibition, western painting award”, 1991; The work “Tainan Fishing Port” was on the cover of Reader's Digest in July, 1996. Other solo exhibition include: 2000 G. Zen Art Gallery in Kaohsiung, and aquapelle painting exhibition at Northern Banker Art Center in Taipei. In 2002 aquapelle painting at ORME Gallery.

MODERN AND CONTEMPOR ARY ART

337

KAWS (b.1974)

周鐵海 ZHOU

出生美國紐澤西州，原名為Brian Donnelly。1966年畢業於紐約視覺藝術學院美術插畫學系。曾短暫作為自由漫畫家任職於迪士尼，更參閱製作過知名卡通「101忠狗」、「阿德日記」、「拽妹黛薇兒」。90年代後期Kaws開始投入設計生產限量版玩具，更一炮打響全球玩具藝術收藏界的熱潮。1991年開始在街頭進行塗鴉，不同一般在牆上的街頭藝術，他喜歡在品牌廣告或海報上進行創作。1999年Kaws在巴黎開畫展，同時推出作品集Kaws Exposed，作品開始被人賞識，日本雜誌也大力推薦，同年Kaws與realmad HECTIC和Bounty Hunter合作推出首隻以米老鼠為藍本的Figure，名為Kaws Companion，更被放在紐約SOHO區的紐約新當代藝術館內展出。成名之後的Kaws經常受到各方邀請，在倫敦、紐約、東京等地開設個人畫展，繼續創作Kaws的“惡搞”風格，同時也推出個人作品集。

生於中國上海。1987年畢業於上海大學美術學院，1998年獲瑞士中國當代藝術協會頒發的中國當代藝術獎金。展覽經歷：2010年「甜點：上海當代美術館周鐵海藝術展」，上海；2006年「另一種歷史：周鐵海藝術展」，上海；2005年「蒙彼利埃／中國」：MC1中國當代藝術雙年展，法國蒙彼利埃，第一屆布拉格雙年展，布拉格；2004年「影像生存」，第五屆上海雙年展，中國上海；2003年「周鐵海新作展」，米蘭；2002年第四屆光州雙年展，光州；2001年成都雙年展，四川； 2000年巴塞爾藝術博覽會，巴塞爾；1999年第48屆威尼斯雙年展，威尼斯。

Born in New Jersey, USA. Brian Donnelly is currently best known as the artist KAWS He graduated from the School of Visual Arts in New York with a Bachelor of Fine Arts in illustration in 1996. After graduation, KAWS briefly worked for Disney as a freelance animator painting backgrounds. He also contributed to the animated series 101 Dalmatians, Daria and Doug. In the late 90s, KAWS began to design and produce limited edition vinyl toys, "an instant hit with the global art toy-collecting community," especially in Japan, where this genre is well respected and widespread. KAWS' acrylic paintings and sculpture have many repeating images, all meant to be universally understood, surpassing languages and cultures. One of KAWS' early series, Package Paintings, was made in 2000. This series, entitled The Kimpsons, subverted the famous American cartoon, The Simpsons.

金釹 JIN

NU (b.1984)

生於中國河北秦皇島，2007年畢業於中央美術學院雕塑系，是中國80年代後最受矚目的藝術家之一，現生活工作於北京。她的作品寫實並帶有濃郁的童話氣息，在學院派寫實裡宛如一泓清水，簡約、澄明地給予人直率的美感，不帶著對現代社會否定和諷刺的意味，也沒有青春的殘酷，有的是溫情脈脈的氣場，連創傷都帶著唯美的味道。現生活工作於北京。作品在中國各大城市展出，並出版畫冊。 Born in Hebei, China. She is an artist that graduated from the China Central Academy of Fine Arts in 2007. Now live and work in Beijing. Jin Nu’s works features realism, giving off a thick sense of fairy tale; they’re just like a clear, transparent creek in the realistic academic main stream that brings spontaneous beauty to the viewers without negation or irony toward the modern society, neither the cruelness of being youth. There's just lasting tenderness, even the trauma goes along with a taste of sweet. Jin Nu is currently live and work in Bejing, her works can be seen in various big exhibitions in China as well as her art albums are published.

TIEHAI (b.1966)

Born in Shanghai, China. He graduated from shanghai University, Department of Fine Art, is now living in Shanghai. He started his ironic theme of the absurdity of how Chinese contemporary market works since late 90s; he had also taken parts in the international exhibitions such as Venice Biennale, Kassel Documenta and etc. He's also the candidate of the Chinese Art and Design Campaign. Representative works include “the series of fake magazine cover,” “the tonic series” which featuring Chinese paintings style and “super stars of the 80s.” Besides, there's also “Placebo” series, featuring a camel image which is from the cigarette advertisement decomposing the Western classic masterpieces.

劉野 LIU

YE (b.1964)

出生於中國北京。中國當代著名藝術家。1984年畢業於北京藝術設計學院於。 1989年就讀於中央美術學院壁畫系，並參加由中國國家藝術博物館舉行的「絲綢之路藝術展」。1990年進入了德國柏林藝術學院，並於1994年畢業，取得碩士學位。1993年至2001年間，他曾在柏林、北京和倫敦舉行多次個展。 2001年，參加第一屆於成都現代藝術館舉行之「成都雙年展」。2002年於德國、義大利分別舉行 “China art—中國當代藝術”展演。其作品廣為海內外美術館、博物館及私人藏家收藏。 Born in Beijing, China. Liu graduated from Beijing Art and Design College in 1984. In 1989, he studied in the Mural Painting Department of Central Academy of Fine Arts and participated in the "Silk Road Art Exhibition" held by National Art Museum of China. In 1990, he entered the Plastic Art Department of Hochschule der Kunste (University of the Arts), Berlin and studied from Volker Stelzmann. He graduated in 1994 and acquired his Master degree. From 1993 to 2001, he has held several solo exhibitions in Berlin, Beijing and London. In 2001, he participated in the 1st Chengdu Biennial held by Chengdu Modern Art Museum. He took part in collective Exhibition of 33 Beijing Contemporary Artists and exhibited in "Chin Art" in Germany and Italy.

展望 ZHAN

WANG (b. 1962)

109

生於北京。1988年畢業於中央美術學院雕塑系，1995年中央美術學院研究生班結業。現任中央美術學院雕塑系教授，工作與居住在北京。中國著名當代藝術家之一，也是第一個作品被美國紐約大都會藝術博物館永久收藏的中國藝術家，更是第一屆藝術與設計大獎賽候選人，曾多次參加威尼斯雙年展等國際當代藝術大展。 1990年開始從事超寫實主義雕塑創作，1991年參加新生代藝術展，1992年參加當代青年雕塑家邀請展，1995年參加北京─柏林藝術交流展，批評家年度提名入選， 1997年參加東京97中國當代藝術展，同年參加「移動的城市」亞洲當代藝術巡迴展。作品曾被收入《世界雕塑全集．東方部分》、《中國美術五十年》、《中國美術全集》等，發表學術論文《觀念性雕塑─物質化的觀念》。

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338

ZHONG CHENG 中誠

Born in Beijing, China. Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. He is known for being a contemporary Chinese sculptor, however, he is also known in other art forms such as: installations, photography and video. In 1990, he started creating sculptures of Pure Realism. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics. In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in "Moving Cities" Asian Contemporary Art Exhibition Tour. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore, etc.

朱德群 CHU

TEHCHUN (b.1920-2014)

181

204

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。

蔣中正 CHIANG

KAISHEK (1887-1975)

183

生於中國浙江奉化溪口，逝世於臺灣台北士林官邸。字介石，原名瑞元，譜名周泰，學名志清。是中國政治人物及軍事家也是影響中國近代史的重要人物。歷任黃埔軍校校長、國民革命軍總司令、國民政府主席、行政院院長、國民政府軍事委員會委員長、中國國民黨總裁、三民主義青年團團長、第二次世界大戰同盟國中緬印戰區最高統帥、中華民國總統等職。作為黃埔軍校創校校長，在國民革命軍中，「校長」一詞屬蔣專有；作為國民革命軍總司令，被尊為「國民革命軍之父」、「中華民國國軍之父」。

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.

Born in Xikou, Fenghua, Zhejiang, China. He is known as Chiang Chieh-shih. Chiang was a Chinese military and political leader who led the Kuomintang (Chinese Nationalist Party) for five decades and was head of state of the Chinese Nationalist government between 1928 and 1949. At the age of 18 he went to military training college in Japan. He returned to China in 1911 to take part in the uprising that overthrew the Qing Dynasty and established a Chinese republic. Chiang became a member of the Chinese Nationalist Party, founded by Sun Yat-sen. Chiang is a Chinese political leader best remembered for being China's national leader during the brutal Japan-China war that began in 1937. He led the Guomindang army before becoming the Republic of China's leader in 1928. His government fled to Taiwan in 1949, but he continued to serve as president from 1950 until his death in 1975. Chiang was the son of a salt merchant and grew up in the densely populated province of Zhejiang. He received a traditional Chinese schooling which centered around Confucianism, a religious system based on the Chinese philosopher Confucius.

安迪．沃荷 ANDY

宇田川譽仁 YASUHITO

WARHOL (1928-1987)

生於美國賓夕威尼亞州。當代美國畫家，為普普藝術著名代表人物。1949年畢業於現今的卡內基美隆大學，獲平面設計學士學位。1952年赴紐約，以設計商業廣告維生，同時嘗試藝術創作。1950年代，沃荷以成功插畫家身分立足紐約；自1960年代，他始投身繪畫創作，以通俗用品、漫畫與廣告為題材繪製作品，將藝術創作焦點轉介到大眾文化，著名的康寶湯罐頭系列即誕生於此時期。同時，沃荷也涉足電影拍攝、成立「工廠」工作室，並登上各大主流雜誌與媒體。1970年代後，他創作了一系列名人的絹印肖像，著名包括伊麗 185 莎白泰勒(Liz Taylor)、傑克甘迺迪(Jackie Kennedy)、詹姆士狄恩(JamesDean)、馬龍白蘭度(Marlon Brando)、瑪麗蓮夢露(Marilyn Monroe)、「貓王」艾維斯普萊斯利(Elvis Presley)與毛澤東等；更於1986年創作出其最具紀念性的作品「最後的晚餐」。安迪沃荷身兼畫家、攝影師、商人、導演、明星與作家，一生創舉無數，於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爭相蒐藏。 Born in Pittsburgh, Pennsylvania. Andy Warhol was an American painter, printmaker, and filmmaker as well as the leading figure in the visual art movement known as pop art. Graduated from Carnegie Mellon University in 1949, earning a Bachelor of Fine Arts degree in Pictorial Design, he moved to New York in 1952, and became one of the most successful commercial illustrator of the 1950s. From 1960, Warhol devote more energy to painting. He based on comics and ads to create artworks that suited the popular culture. The famous Campbell's Soup Can series was debuted during this period. At the same time, Warhol started dabbled in film making, and establish “The Factory” studio. By the mid1960s he was a frequent presence in magazines and the media. Throughout the 1970s and 1980s, Warhol was a prolific artist, producing numerous works, creating many celebrities’ portraits in silk prints. Warhol's final two exhibitions were his series of “Last Supper” paintings. Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and member of highly diverse social circles. His name is written in the Western art history, and his status in the international art scene is high. Works by Warhol are chased and collected by many top-notch collectors around the world.

UDAGAWA (b.1967)

生於日本東京。大學畢業後於建築事務所任職長達7年之久，1966年起成為Shovel Head Craft Factory 的藝術家，1991-2003年間曾為 Nikkei Win PC電腦雜誌製作封面作品，1999-2000年間曾於S.M.H.雙月刊模型雜誌刊登期專欄系列。 2004起開始為Nikkei Win PC電腦雜誌畫專欄插圖，並為電腦季刊 Pasokonno Jisaku製作封面作品。主要展覽包括：「我是好奇的突變體」個展，1998年，Soutetsu 畫廊，日本橫濱；「我們相遇的那天」個展，1999年，Asakusa畫廊，日本東京；「打破慣例的那天」個展，2000年，Conscious Dreams Kokopelli，阿姆斯特丹，荷蘭；「重生」個展，2003年， 187 Living Design畫廊，日本東京新宿；「時間步行者」個展，2006 年，Kaze畫廊，日本東京銀座；「上海藝術博覽會參展」，2008年中國上海；「台北當代藝術博覽會聯展」，2009年，台灣台北；「Tour」，2009年，Nike Japna本社，日本東京。 Born in Tokyo, Japan. After graduating from the university, working at a architect's office during 7 years. Since 1996, being a studio artist "craft factory SHOVEL HEAD". From 1997 to 2003, made cover object for the monthly computer magazine “Nikkei Win PC”. From 1999 to 2000, had column serial for the bimonthly model magazine “S.M.H”. From 2004 to 2009, dreg illustration for a column of “Nikkei Win PC”. Since 2004, making cover piece for the quarterly computer magazine “Pasokon no Jisaku”. In 2007, 2008 , and 2010, participated in Shanghai Art Fair. The opportunity to express the creation on publication is increasing. Selected exhibitions: “Bokuwa Kikaina Mutant ( I am a curious mutant )”, Soutetsu gallery, Yokohama, Japan, 1998; “Kimini Deau Hi ( The day we meet )”, gallery ef, Asakusa Tokyo, Japan, 1999; “The day breaks as usual”, Conscious Dreams KOKOPELLI, Amsterdam, Holland, 2000; "RE-BIRTH", at Living Design Gallery OZONE, Shinjuku,Tokyo, Japan, 2003; "THE TIME WALKER", Kaze Gallery , Ginza, Tokyo, Japan, 2006; "TOUR", NIKE JAPAN, Tennozu, Tokyo, Japan, 2009. MODERN AND CONTEMPOR ARY ART

339

吳天章 WU

TIENCHANG (b.1956)

草間彌生 YAYOI

KUSAMA (b.1929)

193

188

生於台灣台北。1980年畢業於文化大學美術系，為「台北畫派」創始成員之一，乃台灣前衛藝術最出色的人物之一。他的繪畫風格經過了從政治反諷向黑色幽默的轉變。1980年代末吳天章開始製作「傷害症候群」，以社會性題材關心時代議題，繪畫裡所有的元素都是受傷的、暴動的，以表現當時台灣所處的時代。1990年代，吳天章開始以影像作為創作手法，除了攝影，他也特別著重在畫框與材質的選用，他常用人造花、亮片、金蔥布、絨布、皮料、雷射的亮帶等材質，以及仿製50年代流行於台灣「沙龍攝影」的場景，以表現這時期的創作主題──「虛假」的特質。近年曾參加義大利威尼斯雙年展、日本福岡亞洲美術館等重要國際大展，聲名大噪。 Born in Taipei, Taiwan. He graduated from Chinese Culture University in 1980 and was one of the founding members of the "Taipei Painting Association." The style he has changed from irony to black humor. In the late 1980s, Wu started to create the "Trauma?series that reflected the social issues of concern. All the elements in the painting are scars and violence, implying the age at that time. In 1990s, Wu employed image into his creation. In addtion to photography, he also pays special heed to the frame and material used. He often used artificial flower, sequins, velvet, cord and leather, imitating the "Salon photography" which was popular in Taiwan in the 1950s. These techniques and materials present the main theme of the works of this period, "Pretence."In recent years, he participated in the Venice Biennale and that of Fukuoka Asian Art Museum in Japan and became a well-known figure.

王沂東 WANG

YIDONG (b.1955)

203

340

197

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生於日本長野縣松本市。於京都市立工藝美術學校主修日本畫，1956年移居美國紐約，並開始展露她前衛的藝術創作才華。草間的作品曾於海內外多家著名藝術機構展出，1998年至1999年於東京當代藝術館、美國沃克藝術中心、紐約現代藝術館和洛杉磯縣立藝術館巡迴「草間彌生回顧展」；1999年於紐約惠特尼美國藝術館舉辦「美國世紀」。近年著名展覽有：日本札幌當代藝術館展覽（2004）、「愛之夏，迷幻世紀的藝術」（2005，英國，利物浦泰德美術館）、「50/60年代國際先鋒藝術」（2006，法國，聖安提雅現代美術館）、「IDOL!」（2006，日本神奈川，橫濱藝術館）、「草間彌生．愛之點．點之戀」（2007，德國，慕尼克現代美術館）及「草間彌生個展」（2010，台灣台北，非畫廊）。 Born in Matsumoto, Japan, and major in Japanese painting at Kyoto Fine Arts School of Craftsmanship. Kusama moved to New York City in 1957, and started to show her outstanding talent in avant-garde art. Selected exhibitions include, “Kusama's Retrospective”, Museum of Contemporary Art in Tokyo, Walker Art Center Minneapolis, MOMA New York and Country Museum of Art Los Angeles, 1998-1999; “American Century”, Whitney Museum of Art, New York, 1999; Museum of Contemporary Art, Sapporo, 2004; “Summer of Love- Art of the psychedelic Era”, Tate Liverpool, Liverpool, 2005; “International Avant-Garde of the 50s and 60s”, Musee d’Art Moderne, SaintEtienne, France, “IDOL!”, Yokohama Museum of Art, Kanagawa, Japan, 2006; “Yayoi Kasama, Dots Obsession , Love transformed into Dots”, Haus der Kunst, Munich, Germany, 2007, “ Solo Exhibition” Non-gallery, Taipei, 2010.

吳冠中 WU

GUANZHONG (1919-2010)

205

生於中國山東，1972年進入山東省美術學校，曾任教於山東藝術學校美術科。 1978年考入中央美術學院油畫系，畢業後留校任教，是中國美術家協會會員。王沂東對家鄉沂蒙山有著深厚的情感，山村的人物和景色接成為其繪畫的主題，其作品曾在新加坡、法國、義大利、日本和美國展出。1987年在紐約哈夫納畫廊舉辦個展。作品《古老的山村》被中國美術館收藏。王沂東試圖在一個很寫實的畫面裡發現種很抽象的感覺，這種抽象並非一般意義上的簡單抽象，也不是純粹為了刺激人的感官，而是為了服務於整體畫面所要傳達的某種感情或情緒。於是作品中，單純的黑、白色彩與中性的褐色調構成了藝術上的純凈，也給作品蒙上一層苦澀的情緒。

生於中國江蘇。1942年畢業於國立藝術專科學校，1946年考取公費留學，1947年入法國巴黎國立高等美術學院。1948年作品參加巴黎春季沙龍展和秋季沙龍展。吳冠中1950年返國，先後任教於中央美術學院、清華大學建築系、北京藝術學院、中央工藝美術學院。1991年，法國文化部授予其法國文藝最高勳位，1993年榮獲巴黎市金勳章，2000年入選法蘭西學院藝術院通訊院士，是首位獲此殊榮的中國籍藝術家，也是法蘭西學院成立近二百年來第一位獲此職位的亞洲人。吳冠中在美術創作和美術教育上取得了巨大成就，其致力於油畫民族化和中國畫現代化的探索，繪畫風格除反映中國繪畫的特點，也呈現東西方藝術的匯合，在海內外享有極高的聲譽。

Born in Shandong, China. He enrolled to the School of Fine Art in Shandong University of Technology in 1972, and had served there as a teacher. In 1978, he was accepted by the Oil Painting department of Central Academy of Fine Arts, had served there as well, he is now a member of Chinese Artist's Association. He has profound emotions for his hometown, Yimeng Mountain, villages and people on the mountain become the theme in most of his paintings. His works had been exhibited in Singapore, France, Italy, Japan, and the United States. In 1987 he held a solo exhibition in Hafner Gallery, New York. The work, Ancient Village is collected by National Art Museum of China. Wang tried to discover various abstract feelings from a realistic picture, this kind of abstract isn't abstract by its meaning, it's not for stimulating people's senses, it simply served to deliver some kind of emotion or feeling that the whole picture was meant to give. Therefore in his works, the black, the white, and the brown-based colors formed a kind of artistic purity; they also covered the whole picture with some kind of sadness.

Wu Guan-Zhong was born in Jiangsu Province, China, in 1919, and graduated from National College of Art in Hangzhou. In 1947 Wu traveled to Paris to study at the École National Supérieure des Beaux Arts on a government scholarship, and then participated in The Paris Spring and Autumn Salon Exhibition. Since his coming back to China from 1950, he has lectured at numerous major art colleges. Recently, he was honored “ officier de l’Ordre des Arts et des Lettres” from the French Ministry of Culture (1991), “Gold Medal” from the Paris Municipal Government (1993); and lastly, the Corresponding member of Academie des Beaux-Arts de l’lnstitut de France (2000), which is the first Chinese artist to be awarded with this title in 200 years of establishment of the institute. Wu Guan-Zhong obtains great achievements on not only art creation, but education as well. He dedicates himself to explore and integrate oil painting and Chinese painting's characteristics. As a result, Wu receives a respectful standing in international art field.

ZHONG CHENG 中誠

客戶服務‧Zhong Cheng Services

客戶服務

Customer Services

本公司除在拍賣前提供物件評估服務外，我們亦提供下列服務項目：

We offer professional service for art appraisal before auctions. Our other services include:

藝術品委託競投我們可為您提供於世界各地舉行之拍賣會進行藝術品競投，並提供出售拍賣品的專業建議。藝術品仲介我們提供專業的藝術品仲介、藝術諮詢與投資建議。藝術品鑑價我們提供鑑價服務，作為保險、稅務、產權規劃、慈善捐獻與抵押借貸參考。稅務諮詢我們可為您提供有關處理藝術品與其他收藏品稅務相關資訊與建議。藝術品質借貸我們可協助為您的收藏品進行鑑價，並將其作為擔保進行借貸。藝術拍賣市場資訊我們提供最新藝術拍賣市場資訊。買家應繳之營業稅依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交「落槌價」百分之五的(加值)營業稅。此等進口藝術品(目錄內有＊符號之編號者)，若係於中華民國境外交付買方，買方無須支付營業稅。買方若欲於中華民國境外取貨，應於拍賣日後兩個工作天內以書面通知本公司。

Bidding Service We could assist you to bid on the auctions worldwide and make suggestion for the sales of your collections. Private Sales & Auction Information We conduct private art sales and provide investment advice. In addition, we also provide the latest information of global art market. Appraisal Service We provide appraisals to suit a variety of needs, including insurance, taxation, estate planning, charitable contribution and collateral loan purposes. Tax Consultation We may provide tax consultation on your collections. Loan Service We may assist you to capitalize on your collection with an art loan by using your fine ad decorative art or other valuable as collateral. We may issue funds with the ownership and a valuation by our recognition. Sales Tax Payable by the Buyer The Buyer shall pay for (value added) sales tax in the amount of 5 % of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the law of the ROC. The Buyer is not required to pay for sales tax if such imported works of art ( with* marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Zhong Cheng in writing within two working days following the auction day if he desires to collect the items auctioned outside the R.O.C.

MODERN AND CONTEMPOR ARY ART

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The following provisions are entered into by and between Zhong Cheng Auctions (hereinafter referred to collectively as “the Company”), as the auctioneer, and the Seller (hereinafter the “Seller”). The Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”). Both the Buyer and the Seller shall review and accept all provisions hereunder.

I.The Buyer Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made and between the Seller, through the agency of the Company, and the Buyer. ■

■ Before the auction A.Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. While we usually offer authentication opinions for review, we provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined of the Agreement). B.Important Notice The descriptions of auction items will mention obvious defects of the items as much as possible; however, they do not necessarily include all flaws, defects, or incomplete aspects. C.Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lot or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. D.Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions. ■ At the auction A. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. B. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. C. Refusal of admission The Company has the right, at our own discretion, to refuse admission to the premises or participation in any auction and to reject any bid. D. Registration before bidding A Prospective buyer must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. E. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. F. Absentee bids The Company will make reasonable effort to bid for the prospective buyers who instruct us to bid on their behalf by using the form attached the catalogue. Written bids form should be delivered to the Company prior to the auction. If we receive written bids on a particular lot for identical amounts, and the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with it. G. Telephone bids The Company will make reasonable efforts to contact the bidder to

342

ZHONG CHENG 中誠

participate in the auction by phone. The prospective buyer should request such arrangements prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. H.Currency converter The currency converter will be utilized at the auction. Errors may occur in the operation of the currency converter and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom. I.Video or digital images There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. J.Auctioneer's discretion The auctioneer reserve the absolute right to reject any bid, push for bids at his own discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. K.Successful bids and risk transfer Under the discretion of the auctioneer, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer means the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot but not its title (including frames or glass where relevant) passed to the buyer at the expiration of seven working days from the date of the sale or on collection by the buyer if earlier. ■ After the auction A. Buyer's premium The Buyer shall pay the hammer price plus the buyer's premium to the Company and any applicable taxes. For hammer price below NT$20,000,000 (included), the buyer's premium shall be calculated at 18% of the hammer price. For hammer price higher than NT$20,000,000, the first NT$20,000,000 should be calculated at 18%, and the rest of amount shall be 12%. B. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the R.O.C. government or elsewhere). The Buyer shall be responsible for paying any applicable taxes as required by the law. C. Payment a.The Buyer should provide his name and permanent address to the Company upon the successful bid. All payments due (including the hammer price, buyer's premium and any applicable taxes) shall be paid within 7 days after the auction. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment is made other than NT dollars, the buyer shall pay the related expense incurred, including bank charges and foreign exchange service fees. b. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer's Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. c. It is Zhong Cheng's policy to request any new clients or purchasers preferring to make a cash payment to provide proof of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card or driver's licence) and confirmation of permanent address. Thank you for your cooperation. d. Cheques and drafts should be made payable to Zhong Cheng's. Although personal and company cheques drawn in NT dollars on Taiwan Cooperative Bank is accepted, you are advised that property will not be released until such cheques have cleared unless you have a pre-arranged Cheque Acceptance Facility. Forms to facilitate this are available from the Finance Department in Zhong Cheng. Bank transfers should be made to: TAIWAN COOPERATIVE BANK. FU HSIN BRANCH Swift No. : TACBTWTP091 Beneficiary name: ZHONG CHENG AUCTIONS CO., LTD. Beneficiary account number (13 digits): 0914 665 003801 * Please include your name and invoice number with your instructions to your bank.

D. Storage Storage and handling charge may apply. E. Collection, packing and shipping Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). The Company will provide shipping company upon the buyer’s request and do not accept any liability if any damage occurred by the shipping company. F. Remedies for non-payment or non-collection of purchases The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: a. An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, we have the right of charging also 1% selling price (including of harmmer price and the commission) multiplied by the numbered of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. b. The Company reserves the right to refuse the Buyer to make on behalf of others, bids in any future auctions and/or to require a deposit from the Buyer before accepting any future bids made by the Buyer. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: c. To take legal action to the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such legal action based on a total claim. d. To cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. e. To arrange a public or private re-sale of the Lot. If the reselling price is lower than the payment, the differences and other expenses incurred shall be responsible by the Buyer. G. No collection of the purchases The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the item, regardless payment is made or not. Such storage cost will be borne by the Buyer. H. Export permit Unless otherwise agreed by the Company in written, the process of applying the export permit does not affect the Buyer's responsibility to make the payments within 7 days. If the Buyer requests the Company to apply the export permit on his or her behalf, the Company is entitled to charge the related expenses. ■ The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. ■ Return of payments for forgery If the Lot is considered as a forgery by the Buyer, the Buyer should inform the Company in written notice within 14 days. The written comment should under the following condition and the transaction will be cancelled and payments made will be returned to the Buyer. It is unnecessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer does not reserve the right to claim interests under any circumstances. A.The written report (produce evidence) should be provided by two individual experts and agreed by the Company. B.The Buyer must return the Lot to the Company within the following 21 days and the condition of the item must be the same as on the auction day. C.The Buyer has absolute right to the Lot and the Lot is free from the third party rights of claims. D.The Company will refund to the Buyer any amount paid to the Company after receiving the amount returned by the Seller.

II. The Seller

■ Zhong Cheng as the agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lots is the agreement by and between the Buyer and the Seller. ■ Expenses The Seller shall bear costs relating to the following:

a.Packing if the Lot and shipping to the Company for the action b.Any applicable shipping insurance c.The packaging and shipping if the item is delivered back to the Seller. d.Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e.Any applicable custom duties f.Catalogue illustrations g.Any repairs made to the Lot as per prior agreement with the Seller h.Framing and mounting i.Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations. j.Any independent professional opinions which the Company deems proper. k.Collect 50% of the insured amount as part of the general expenses of the Company in the event the Lot is not successfully auctioned l.The storage of the Lot after the auction (if applicable) m.The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided. n.Any marketing and promotional expenses ■ Insurance coverage to be arranged by the Company a.Unless otherwise agreed by the Company, the Lot will be automatically insured under the Company art relic policy in the amount as deemed appropriate by the Company undertakes to be successfully during the auction. b.The Company will collect 1% of the hammer price from the seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder any legal responsible for any legal responsibilities incurred therefrom. c.The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller's risk upon the expiry of 7 days. d.We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions or weather. 4.No insurance purchased by the Seller and risk transfer If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments and the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim without any conditions. ■ Commitments made by the Seller with respect to the Lot a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above mentioned, the Seller must guarantee, if requested, to identify fully the Company and/ or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. d. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising here from, whether caused by the Lot or the auction proceeds. ■ Auction arrangements a.The Company has its discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. The Company reserves the right to withdraw the lot without obtaining the consent of the Seller. b.If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller. ■ Auction rules a.The Company will auction the item according to the Reserve. The Reserve may not be higher than the minimum of the estimates set in the catalogue. The Company is entitled to auction the item at a price lower than the Reserve, If the lot is sold according to the above principle, the Company is responsible to pay the Seller the difference between the closing price and the Reserve. b.The seller may not increase the price of sale without fair reasons, nor

participate in the bidding of his/her/its auction item(s), however, Zhong Cheng is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. ■ After the auction a. Settlement After the payment is made by the Buyer, unless the Company receives a notice claiming such auction item is a forgery (as defined in the Agreement), the Company will pay the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Forgery If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in the Agreement) or stolen good or involved in any illegality within ten (10) days after the auction date, the Company may decide upon its sole discretion as follows: (1) If the Buyer does not pay the payable payment in full yet, the Company has the rights to withdraw the transaction; (2) If the Buyer has paid the payable payment in full, the Company may return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company's decision and handling in accordance with this Lot and make any claim or allegation; (3) The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three days of such notification. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Unsuccessfully auctioned items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$1,000 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 60 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction. ■ Photographs and display The Company owns the copyright in all images, illustration and written material produced by or for the Company's relating to a lot including he contents of this catalogue, is and shall remain at all times the property of the Company and shall it be used by the Buyer, nor by anyone else, without the Company's prior consent. ■ Tax The payments payable by the Seller to the Company does not include any commodity or service tax or any other value added tax (whether imposed in the Taiwan or elsewhere). The Buyer should be responsible for paying such taxes pursuant to the tax rates and time provided by the law if there is any such applicable tax. If the Company is commissioned by the Seller to auction in Taiwan, the Company must pay the income tax for the Seller pursuant to the R.O.C. laws.

III.Terms of definition

Some of the phrases commonly seed herein are defined as follows: 1.“Buyer” means the highest bidder accepted by the auctioning party. 2.“Hammer price” means the highest bid with respect to one particular auction item accepted by the auctioning party. 3.“Buyer's premium” means the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in this Agreement. 4.“The Reserve” means the lowest price agreed by the Company and Seller. price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Forgery If the Buyer convinces the Company that the Lot is a forgery (as defined in the Agreement) within 14 days following the auction day, then (1) If the Buyer has not paid all or part of the payment, the Company is entitled to call of the transaction and/or (2) If the Company at that time has paid all or part of the payments payable to the Seller, the Seller must return all the payments made to the Company if requested. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Unsuccessfully auctioned items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$300 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction.

IV. Terms applicable to both the Buyer and the Seller

1. Copyright The copyright of all the images, photographs and written material in connection with the Lot belongs to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent form the Company. 2. Notices All the notices distributed according to the Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed as received on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the R.O.C. laws. The Buyer and Seller shall submit to the exclusive jurisdiction of the Taiwanese court for the interests of the Company. 5. Any discrepancy between the Chinese and English version of this Terms and Conditions of Business, the Chinese version shall prevail.

MODERN AND CONTEMPOR ARY ART

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Ⅰ. 買家代理人中誠國際藝術股份有限公司（以下稱本公司）作賣家代理人，除另行協定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。

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拍賣前 1.鑑定物品本公司鄭重建議，競投人應於拍賣進行之前親自鑑定有興趣競投之物品。本公司通常會有鑑定意見書可供索閱。本公司除就膺品（如本拍賣交易條款所界定者）作出之證明外，不對買家作任何保證。 2.拍品狀況之重要注意事項請準買家注意，在儘可能的範圍內，目錄中對於拍賣品特性之描述，皆已提及顯著的損壞，惟不包括所有的a 缺陷、瑕疵與不完整。 3.目錄說明本公司於目錄或鑑定意見書對任何拍賣品之作者、來歷、日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引參考，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應為拍賣品會成功拍賣價格之依據或拍賣品作其他用途之價值陳述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及/或修整資料。此等資料僅作為指引參考，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 4.買家之責任有關物品狀況及目錄說明所提述事項，買家需於拍賣前充分詳閱，並確認自身對於該物品感到滿意。

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拍賣時 1.買方應繳之營業稅依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符號之編號者），若係於中國民國境外取貨，應於拍賣日後兩個工作天內以書面通知本公司。 2.估價目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會需以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當日匯率，折合所繳付之等值貨幣計算。 3.拒絕入場本公司具有絕對之決定權拒絕任何人士進入拍賣場地、參與拍賣，亦可拒絕接受任何競投。 4.競投之前作出登記準買家在作出競投前，必須填妥及簽署登記表格，並提供身分證明。準買家應注意，本公司亦有權要求對買家作出信用核查，亦有權對買家收取一定成數之保證金。 5.競投者為買家除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 6.委託競投書面競投且經本公司確認，本公司將盡適當努力代其競投。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投

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ZHONG CHENG 中誠

價，則該拍賣品會歸其委託競投最先送抵本公司之人。除非在競投時有其他委託，此項書面競投的執行是本公司的免費服務。本公司不會對因未能執行之書面競投，或在當中出現任何錯誤或遺漏負任何責任。 7.電話競投如準買家於拍賣前與本公司完成競投前相關作業，本公司將盡適當努力聯絡競投者，使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或任何準買家均不負責任何責任。 8.貨幣兌換顯示版拍賣會上，本公司會使用貨幣兌換顯示版，匯率按拍賣日當天銀行開市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。該貨幣兌換顯示版在操作時難免會出現錯誤。買家因依賴貨幣兌換顯示版(而非因以新台幣競投)而蒙受之任何損失，本公司概不負責。 9.錄映影像在若干拍賣中會有影像投射，有關操作上的失誤或影像素質參差不齊之情況，本公司不負任何責任。 10.拍賣官之決定權拍賣官具有絕對決定權，亦即有權拒絕任何競投、以其決定之方式推動出價、將任何兩件或多件拍賣推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，與如遇有誤差或爭議，將拍賣品重新拍賣。如在拍賣後有任何爭議，將會以本公司的拍賣紀錄為依歸。 11.成功競投與風險移轉在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家之成功拍賣合約之訂立。拍賣品之風險及責任，不包括其所有權(包括框架及玻璃)，在成交日起七個工作天期滿或在買家於期滿前提取該物品時，拍賣品與風險責任轉移到買家。拍賣後 1.買家支付之服務費買家除支付落槌價外，另須支付服務費予本公司。落槌價於新台幣貳仟萬元(含)以下者，服務費率以18%計算；超過新台幣貳仟萬元的部分，服務費率以12%計算。 2.稅項買家支付本公司之所有款項均不包括任何貨物稅、服務稅或其他增值稅。（不論由台灣政府或別處所徵取）。如有任何相關稅項產生，買家須負責按有關法律所規定之稅率及時間繳付稅款。 3.付款 a.成功拍賣後買家須向本公司提供其姓名及永久地址。如遇要求，亦需提供付款銀行之詳情。買方需於拍賣日期後七天內悉數支付所有交易款項（包含落槌價、拍賣支付之酬金，以及任何適用之增值稅）。 b.買家如未向本公司支付所應付之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，本公司將向買家收取所產生之任何外匯費用，這包括銀行收費與兌換貸幣之規費及匯差。以新台幣以外之貸幣付款予本公司之匯率，依拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑證為準。 c.中誠之政策是要求選擇以現金付款之任何新客戶或買家提供身份證明(通過出示帶有照片並由政府發出之證明，如護照、身分證或駕駛執照)並確認固定地址。多謝合作。 d.支票及匯票請以中誠為抬頭人。雖然以合作金庫銀行台幣開出之個人及公司支票均獲接納，惟敬請留意，除非閣下已預先安排支票受納設施，否則本公司須待支票

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兌現後方會將閣下所購得之物品交付。如欲作出是項安排，請向中誠之財務部索取表格辦理。銀行轉帳須存入以下戶口：合作金庫銀行復興分行(006) 帳戶名稱：中誠國際藝術股份有限公司帳戶號碼：0914-717-237961 *閣下向銀行發出指示時請附上閣下之名稱及發票號碼。 4.包裝及搬運搬運及包裝已購拍賣品時，本公司將善盡責任處理。惟七天期滿後或自領取時起，拍賣品風險全由買家承擔。本公司可在買方要求下提供承運廠商資料，但並不負任何法律責任。 a.不付款或未領取之已購拍賣品補救辦法如買家未在七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： (1)在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1%計算之違約金。將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下買家之款項。 (2)在將來的任何拍賣中，有權拒絕買家或由他人代其所作出之競投，或在接受其任何競投前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者外，另有權採取下列措施： i.代賣家針對買家進行法律程序，追討整筆欠款，連同此項以悉數賠償為基準之法律程序之訴訟費。 ii.取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品之交易。 iii.安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付款而引致之任何費用一併向買家索償。 b.未領取已購之拍賣品如已購得之拍賣品未能在成功拍賣七天內領取，不論是否已付款，本公司將安排貯存事宜，費用由買家承擔。 c.出口許可證 (1)除本公司另有書面同意外，買家希望申請出口許可證，並不影響買家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 (2)如買家要求本公司代為申請出口許可證，本公司有權收取增值稅與其他相關費用。 (3)如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買家因此產生之利息與其他已產生之費用。 5.本公司之法律責任本公司有責任在第六條所列之情況退還款項予買家。除此之外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之僱員或代理人，均無就任何拍賣品作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6.交易取消買方如認定拍賣品係為膺品，需於拍定售出日起十四個工作天內，以書面通知本公司，且須符合下列條件，始得取消交易，並將其支付本公司之款項無息全數退回，並不得請求其他賠償。 a.由三位獨立專家提出書面說明（出示證據），並經本公司認可。 b.買家應於拍定售出日起二十一個工作天內，將購得之

拍賣品退回本公司，且本公司收到該拍賣品時，該拍賣品之狀況需與拍賣當日相同。 c.買家對該拍賣品擁有絕對所有權，並未在該拍賣品上設定任何債權，且與任何第三人之索償無涉。 d.賣家需繳回相關費用後，本公司始得退還買家。

Ⅱ. 賣家代理人中誠國際藝術有限公司（以下稱本公司）作為賣家代理人，賣家拍賣品的成交合約，則為買家與賣家之間的合約。

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相關費用 1.賣家需負責與下述項目有關之相關費用： a.將拍賣品包裝並運予本公司作拍賣。 b.任何適用之運送保險。 c.如拍賣品交回賣家其包裝與付運。 d.受保於本公司之藝術精品保單〈下文另有解釋〉 e.任何適用之關稅。 f.目錄插圖費用。 g.預先與賣家協定之對拍賣作品做出之任何修整。 h.裝框、裱畫之費用。 i.本公司相信為擬定目錄說明須由外界專家做出之鑑定。 j.本公司相信為適當之任何外界專家意見。 k.拍賣品拍賣後之儲存〈如適用〉 l.本公司之行政費用，成功拍賣或未能成交，數目為因閣下而引致之一切費用支10%。 m.任何市場推廣費用。 2.拍出者，本公司自「拍定價」中扣除依「規定比率」計算之佣金，因未能拍出而私下議價者亦同。

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保險 1.除非與本公司另有協定，否則拍賣品將自動受保於本公司藝術精品保險單，保額為本公司當時認為適當者。然而保額並非本公司承諾拍賣品會成功拍賣之款額。 2.本公司將向賣家收取落槌成交價之百分之一作為保險費，未成交則收取委託底價之百分之一作為保險費。如由本公司安排運送，本公司將向賣家收取額外款項，作為運送保險費。在賣家的要求下，本公司可提供承運廠商資訊予賣家，惟本公司不承擔任何有關方面之法律責任。 3.拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能成功拍賣，逾期後風險全由賣家承擔。 4.由蛀蟲、空氣或氣候轉變對拍賣品造成之損壞，本公司概不承擔法律責任。

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賣家不購買保險之風險移轉如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至買家付清款項為止。賣家須保障本公司、本公司之僱員與代理人，以及買家（如適用）免負因拍賣品而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任，而不論索償產生之任何原因。

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賣家就拍賣品所作之承諾 1.賣家為拍賣品之唯一物主，具備將所有權轉讓予買家之無限制權利，並與一切第三人權利或索償（包括版權索償）無涉； 2.賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第三人未能遵守此等規定以書面通知本公司； 3.賣家已將其所知之有關拍賣品任何重大修改以及第三人就拍賣品之所有權、狀況或歸屬以書面通知本公司。 4.如上述1-3項，有任何不確實之處，賣家須應要求保證完全償還本公司及/或買家一切因之而引起之索償、費用

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之或開支，而不論是因拍賣品還是因拍賣收益而引起。拍賣安排 1.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進場競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完全之決定權，本公司在未徵得賣方同意下有權撤回拍賣品。 2.如本公司或賣家撤回拍賣品，本公司得收取賣家委託底價40%之費用，另加一筆相等於拍賣品按保險值成功拍賣本公司應得之服務費之款項，以及任何適用之增值稅與保險費和其他開支。

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拍賣守則 1.本公司將會參照底價將拍賣品拍賣。底價不得高於目錄所印估價之下限。如競投價不能達到底價，本公司在任何情況均不負有任何責任。但本公司有權將拍賣品以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成交價與底價之差額。 2.賣家不得隨意哄抬價格，不得參與競標標的作品，亦不得聘請任何人代賣家參與競標，但本公司有權代賣家以不超過底價之價格參與競標。

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成功拍賣後 1.結算在買家付款後，除非本公司收到通知該拍賣品為膺品（如本交易條款界定者），否則，本公司會於成功拍賣日期後六十天，將一筆相等於成交價扣除賣家應支付所有費用之款項支付賣家。如遇買家延遲付款，則本公司將在買家付款後七天內支付賣家。如因任何理由而使本公司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣款項退還予本公司。除賣家另有書面指示外，本公司以新台幣付款。如賣家要求以新台幣以外之貨幣付款，本公司將向賣家收取所產生之任何外匯費用。但如屬買家匯入其他貨幣時，本公司有權以其他貨幣支付。若賣家要求轉換成新台幣支付，本公司將向賣家收取所產生之任何外匯費用。 2.買家不付款如買家在拍賣日期後七天內未有支付應付之全部款項，本公司即有權代賣家就付款、貯存與保險而協定特別條款，並採取本公司認為需要的任何步驟以向買家收取其應付之款項。但本公司並無責任支付賣家款項，亦無責任代賣家採取任何法律行動。本公司將與賣家討論採取適當行動以向買家追討拍賣款額。 3.膺品如在拍賣日期後十日內，經買家提出證明並經本公司認同該拍賣品為膺品（如本業務規定界定者），則(1)如買家尚未支應付之全部款項，本公司有權取銷交易。(2)如買家已支付款項時，本公司得無條件退還買家交付之拍賣落槌價（本公司得扣除因此所致之費用及相關處理費用）予買方時，而拍賣品將由本公司退回賣家或送交司法單位處理，賣方不得異議，或對本公司主張任何權利或請求。 (3)如本公司屆時已支付賣家全部或部份應付款項，賣家須三天內無條件將該款項悉數退還本公司。在後一情況下，本公司將行使留置權，有權留置屬於賣家之任何物品以作為應退還款項之擔保品。 4.未能成功拍出之拍賣品任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，在本公司發出通知，要求賣家領回拍賣品三十五天內，賣家必須領回拍賣品。任何此等拍賣品如在三十五天過期後仍未領回，每天每件將徵

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收貯存費新台幣壹仟元整，並加收貯存期間產生之保險費用。任何此等拍賣品如在拍賣日期後或上述通知日期後六十天內（以較早日期為準）未被領回，本公司可決定是否將該拍賣品進行處置。處置包括將拍賣品移往第三人之貨倉，開支費由賣家承擔，與將該拍賣品按本公司認為適當之條款（包括有關估計與底價之條款）公開拍賣。本公司其後會將拍賣所得扣除所有相關費用後支付予賣家。任何拍賣品如在拍賣中收回或未能成功拍賣，本公司獲授權在拍賣後的二個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費用後之款額），私下出售拍賣品，或按本公司與賣家另行同意之較低價格私下出售。在此情況下，賣家就該拍賣品而對本公司所負有之責任，與拍賣品成功拍賣時相同。圖片與圖示本公司對拍賣品之圖示、錄影或將拍賣品複製影像具有非排他性之權利。此等影像一切權利均屬本公司所有，且本公司有權以任何適合之方式使用。

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其他事項 1.稅項賣家支付予本公司之所有款項不包括貨物稅、服務稅或其他增值稅(不論由台灣或別處所徵收)，如有任何相關之稅項產生，賣家須依據有關法律規定之稅率及時間繳付稅款。

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Ⅲ. 本規定所用詞彙之意義在下列規定中，某些常用詞彙需加以解釋。此等詞彙如下： 1.「買家」：指本拍賣公司所接受之出價最高者。 2.「落槌價」：指本拍賣公司就一拍賣品而接受之最高出價之價款。 3.「買家支付之服務費」：指買家按落槌價之某一百分比而支付之費用。 4.「底價」：指本公司與賣家協定之最低價格。 5.「膺品」：指拍賣品構成模仿，模仿之原構想及其整體執行均具有欺詐意圖，就拍賣品作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義，任何拍賣品均不會因為有任何損壞及/或任何形式之修整（包括重新上漆）而成為膺品。

Ⅳ. 買家與賣家均適用之條件 1.版權與拍賣品有關之一切影像、圖示與書面材料之版權，屬於本公司之財產。未徵得本公司事先書面同意，買家或任何人均不得使用。 2.通知根據本交易條款發出之通知，均須以書面發出。如採用郵遞發出，則在付郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後第五個工作天。 3.可分割性如本交易條款有任何部份遭任何法院認定無效、不合法或不可強制執行，則該部分可不予理會，而本交易條款之其他部份在法律許可之最大範圍內須繼續有效及可強制執行。 4.法律及管轄權本交易條款依據中華民國法律規限，本交易條款之解釋與效力均適用台灣法律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。

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Modern And Contemporary Art

21 December 2014