中誠國際藝術2023年秋季拍賣目錄 by 中誠藝術拍賣

MODERN AND CONTEMPORARY ART

現代與當代藝術

微風南山藝文中心 Breeze Nan Shan Exhibition Center

中誠2023秋季拍賣會現代與當代藝術拍賣 2023 年 12 月 10 日 ( 日 ) 2:30 PM 台北微風南山藝文中心台北市信義區松仁路 100 號 3 樓更多資訊，請聯繫：02 8773 3565

投標牌號分級新制度之重要告示自 2020 年秋季拍賣會，中誠將實施投標牌號分級制度，

台中預展

並針對欲競投高預估價拍品之競投者，收取預付保證

台中豐藝館

金。以下條款為詳細敘述：

台中市西區五權西路一段 110 號 B1 11/24 ( 五 )

11/26 ( 日 ) 11:00 - 18:00

預先登記及保證金新制中誠可要求有意競投在目錄內預估價低標為新台幣 30

台北預展

萬元以上 ( 含 ) 之競投者，在完成預先登記程序時，交

微風南山藝文中心

付新台幣 30 萬元或其他由中誠決定之更大金額的保證

台北市信義區松仁路 100 號 3 樓

金，以作為參加中誠拍賣的保障。

12/8 ( 五 )

12/9 ( 六 ) 10:00 - 19:00

投標牌號分級說明預先登記的投標牌，將以預估價低標為基準分為以下兩

MODERN & CONTEMPORARY ART AUCTION

Sunday 10 December 2023 at 2:30 PM

種類型： a. 淺藍色投標牌：準買家欲競投之拍賣品，其預估價低標為新台幣 30 萬元以下者。 b. 深藍色投標牌：準買家欲競投之拍賣品，其預估價低標為新台幣 30 萬元以上 ( 含 ) 者。

TAIPEI Breeze Nan Shan Exhibition Center 3F, No.100, Songren Road, Xinyi District, Taipei Please call + 886 2 8773 3565 for further information

TAICHUNG VIEWING Fong Yi Exhibition Center B1, No. 110, Section 1, Wuquan W. Road, West District, Taichung Friday 24 November

Sunday 26 November 11:00 - 18:00

TAIPEI VIEWING Breeze Nan Shan Exhibition Center 3F, No.100, Songren Road, Xinyi District, Taipei Friday 8 December

Saturday 9 December 10:00 - 19:00

MODERN AND CONTEMPOR ARY ART

中誠國際藝術拍賣客戶服務及諮詢部門中誠台北辦公室

書面及電話委託投標

官方網站

電話：02 8773 3565

若您無法親臨拍賣現場，可以電話及書面

歡迎參閱中誠拍賣官方網站。

傳真：02 8773 2615

投標方式競標；鑑於拍賣現場電話有限，

www.art106.com

E-mail: art@art106.com

尤其針對需用外國語言服務之投標者，請於拍賣前 24 小時通知我們為您安排。您亦可利用本圖錄後方之書面標單競投。

蕭華薇

副總經理

品的狀況說明書，惟準買家需注意拍品均

付款事宜

是以「當時認定」之狀況賣出，相關細項

有關付款詳細事宜，說明於本目錄後面，

請參照目錄後之業務規則以及買家須注意

如您需要更進一步的諮詢，請洽：

事項。

蕭偉廷財務部經理鄒琬婷藝術總監蕭又華

電話：04 2206 6599 分機 108 傳真：04 2205 0703 E-mail: andrea@art106.com

業務主任陳羽希

取貨及運輸一、所有拍品在貨款結清後，即可出貨；

藝術行政姚景祥

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

藝術行政

他各項貨品可在中誠各辦公室提領，上班

楊硯晴

時間為週一至週五上午 9:30 至下午 6:30。

藝術行政

二、我們的專業行政部門可為您建議或安

宋采霓

排最適當的運輸方式，詳情請洽：台北辦公室

藝術行政吳婕如

陳羽希電話：02 8773 3565 分機 13 傳真：02 8773 2615

美編設計吳婕如

E-mail: yuxi@art106.com

台中辦公室黃彥菱

中誠台中辦公室電話：04 2206 6599 傳真：04 2205 0703 E-mail: art@art106.com

行政助理黃彥菱

英文服務藝術總監蕭又華電話：02 8773 3565 分機 16 Email: virginia@art106.com

ZHONG CHENG 中誠

其他中誠樂意提供您本次拍賣當中任何一項拍

總經理

電話：04 2206 6599 分機 107 傳真：04 2205 0703 E-mail: art@art106.com

ZHONG CHENG TAIPEI OFFICE

PHONE AND WRITTEN BIDS

OFFICIAL WEBSITE

TEL: +886 2 8773 3565 FAX: +886 2 8773 2615 E-mail: art@art106.com

The clients who are not able to attend the auction are welcome to complete our phone/written absentee bid form attached in the back of this auction catalogue to place their 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 visit Zhong Cheng’s official website www.art106.com

Managing Director Vivian Hsiao Deputy General Manager Wayne Hsiao

OTHERS Zhong Cheng is delighted to provide condition report of any sale items. For more information, please refer to the Transaction Agreement for Buyers in the back on this catalogue.

CLIENT ACCOUNT & PAYMENT Creative Director Virginia Hsiao Sales Executive Yu Xi Chen Art Administrator

Payment details are described at the back of the catalogue. If you need any futher information, please contact our financial department. Andrea Tsou TEL: +886 4 2206 6599 #108 FAX: +886 4 2205 0703 E-mail: andrea@art106.com

Jing Xiang Yao

STORAGE AND SHIPPING Art Administrator Yan Qing Yang Art Administrator Tsai Ni Sung Art Administrator Jieru Wu

All the items will be available for collection as soon as the payment is settled. Zhong Cheng can assist buyers to arrange storage and shipping or you are also welcome to use your own carrier. Personal and company checks will be accepted. The items may be picked-up from Zhong Cheng’s Taipei and Taichung Office, we are available from 9:30am-6:30pm, Monday to Friday. Please k indly make an appointment with us ahead of time.

Graphic Designer Jieru Wu

ZHONG CHENG TAICHUNG OFFICE TEL: +886 4 2206 6599 FAX: +886 4 2205 0703 E-mail: art@art106.com Administrator Assistant Yena Huang

TAIPEI OFFICE Yu Xi Chen TEL: +886 2 8773 3565 #13 FAX: +886 2 8773 2615 E-mail: yuxi@art106.com TAICHUNG OFFICE Yena Huang TEL: +886 4 2206 6599 #107 FAX: +886 4 2205 0703 E-mail: art@art106.com

ENGLISH SERVICE Art Director Virginia Hsiao TEL: +886 2 8773 3565 #16 E-mail: virginia@art106.com

MODERN AND CONTEMPOR ARY ART

SPRING AUCTION INFORMATION 中誠 2023 秋季拍賣會資訊

SPECIALISTS AND AUCTION ENQUIRIES 客戶諮詢與服務部門

INDEX OF ARTISTS 藝術家索引

MODERN AND CONTEMPORARY ART 現代與當代藝術 (LOT101-LOT283)

328

CLIENT SERVICES 中誠之服務

329

CONDITIONS OF BUSINESS 拍賣業務規則

337

BIDDER REGISTRATION FORM 投標者登記表格

339

ABSENTEE BID FORM 委託競投表格

MODERN AND CONTEMPORARY ART

現代與當代藝術

INDEX OF ARTISTS

藝術家索引 A AKIHIKO YOSHIDA (NIKICHI)

吉田昭彥 ( 仁吉 )

111, 112

ALEX FACE

亞歷克斯．費斯 ( 帕查拉波爾．唐魯恩 )

ANDRÉ BRASILIER

安德烈．布拉吉利

164, 200

AYAKO ROKKAKU

六角彩子

109, 110

貝納德．畢費

162, 248

B BERNARD BUFFET BYUN SEHEE

272

LIU KUOSUNG

劉國松

LIU WENYU

劉文裕

201

LU RONGCHEN

呂榮琛

229, 230

LUO FAHUI

羅發輝

213

M MAIKO KOBAYASHI

小林麻衣子

271 105, 106

邊世喜

MAYUKA YAMAMOTO

山本麻友香

C CAO XIAODONG

142

曹小冬

208

MEGURU YAMAGUCHI

山口歷

CHAN YUFAN

詹喻帆

206

MIWA KOMATSU

小松美羽

CHEN XINMAO

陳心懋

178

MOÏSE KISLING

莫依斯．奇斯林

CHENG SHIFA

程十髮

169, 170

MR.DOODLE

Mr.Doodle

CHIU YATSAI

邱亞才

193

CHU TEHCHUN

朱德群

241, 242, 243

CLAUDE WEISBUCH

克勞德．維士巴修

188

D DAMIEN HIRST

N NAOKI GUJO NIKKI

P PABLO RUIZ PICASSO

130, 274, 275

124 104, 126, 138 163 218 269, 270

公庄直樹 Nikki

141

巴勃羅．畢卡索

276

達米恩．赫斯特

134

PAN DEHAI

潘德海

215

DANIEL ARSHAM

丹尼爾．阿爾軒

268

PAN YULIANG

潘玉良

244

DAO HAIPHONG

陶海豐

231

PENG KUANJUN

彭光均

DAVID SHRIGLEY

大衛．史瑞格里

E EDGAR PLANS

137, 239, 240

228

PEX (PITAKPONG JAMESRIPONG) Pex ( 皮達蓬．詹姆士里蓬 )

259, 283

艾德加．普連斯

252

PHILIPPE HIQUILY

菲利普．伊其理

189

江上越

PIERRE FERNANDEZ ARMAN

費爾戴儂．阿曼

G GEOFFREY BOUILLOT

119

165, 186, 187

杰弗里．布約

254

PU HSINYU

溥心畬

GEORGE CONDO

喬治．康多

133

GUY BARDONE

居．巴赫東

199

ETSU EGAMI

H HAN CHOONGSEOK

韓忠錫

R RENÉ GENIS RYOICHI YAMAZAKI

257, 258

S SALVADOR DALI

171, 172 198

賀內．吉尼斯

103

山崎龍一

277, 278

薩爾瓦多．達利

HE QING

賀青

207

SATORU KOIZUMI

小泉悟

107

HISANORI KOJIMA

小島久典

122

SATOSHI SAITOH

齊藤智史

108

HO KAN

霍剛

SHEN CHETSAI

沈哲哉

184

HOU CHUNMING

侯俊明

SHIY DEJINN

席德進

157, 158, 159, 160

HSIAO CHIN

蕭勤

HSIUNG PINGMING

熊秉明

175, 176

天野健

許文融

177

W WANG PANYOUN

125

HSU WENJUNG

王攀元

202

HSUEH PAOSHIA (AVA)

薛保瑕

139

WANG RENJYE

王仁傑

227

HUANG BENREI

黃本蕊

135, 136

WIM DELVOYE

威姆．德爾瓦

HUANG POREN

黃柏仁

221

WU HAO

吳昊

225, 226

HUNG YI

洪易

徐冰

222

IKUMI NAKADA

中田郁美

楊成愿

203

INVADER (FRANCK SLAMA)

Invader ( 法蘭克．史拉瑪 )

J JEFF KOONS

217 128, 129, 191, 192

219, 220 280

魏樂唐

JU MING

朱銘

JUYI SUNG

Juyi Sung

T TAKASHI MURAKAMI TAKERU AMANO

X XU BING Y YANG CHENGYUAN

村上隆 260, 261, 262, 263, 264, 265, 266, 267, 279

149

237, 238

YANG CHIHUNG

楊識宏

146

131

YANG GUOXIN

楊國辛

211, 212

161

YANG SANLANG

楊三郎

179, 180, 183

155, 166, 167, 168, 224

YAYOI KUSAMA

草間彌生

117, 118, 127

YEH TZUCHI

葉子奇

273

YOSHIMASA TSUCHIYA

土屋仁応

101, 102, 116

傑夫．昆斯

JOHN WAY

K KANESAWA SYU

181, 182

255, 256

金澤修

195

KAWS (BRIAN DONNELLY) x UNDERCOVER KAWS ( 布萊恩．唐納利 ) x Undercover

251

YOSHITOMO NARA

奈良美智

113, 114, 249, 250

KAWS(BRIAN DONNELLY)

KAWS ( 布萊恩．唐納利 )

132

YOSHITOSHI KANEMAKI

金卷芳俊

281, 282

KOBAYASHI TAKANOBU

小林孝亘

121

YU YOUREN

于右任

173, 174

KOHEI NAWA

名和晃平

123

YUAN XIAOFANG

袁曉舫

210

YURA OTA

Yura Ota

120

YUSUKE TODA

戶田悠理

253

L LEIGH WEN

鄭麗雲

LI CHEN

李真

LI MINGTSE

李明則

216

YUYA HASHIZUME

橋爪悠也

LI SHIHCHIAO

李石樵

156

YUYU YANG

楊英風

LIANG YIFENG

梁奕焚

235, 236

Z ZAO WOUKI

196, 197

趙無極

190, 246, 247

LIEN CHIENHSING

連建興

204, 205

ZHAN WANG

展望

154

LILY (YU LI)

栗子 ( 余麗 )

194

ZHANG JIE

張傑

209

LIN HSINGYUEH

林惺嶽

214

ZHENG LU

鄭路

LIN WANSHIH

林萬士

223

ZHOU CHUNYA

周春芽

LIU CHIWEI

劉其偉

232, 233, 234

LIU JIUTONG

劉玖通

143, 144, 145

147, 148 150, 151, 185

115

ZHOU CHUNYA X JAIME HAYON 周春芽 X 亞米．海因

MODERN AND CONTEMPOR ARY ART

140 152, 245 153

現當代藝術 MODERN AND CONTEMPORARY ART LOT 101-283 2023 AUTUMN AUCTION 12.10. 2023 14:30

日本當代美學範式 ── 受容、變容與形容西元一八五三年，美國海軍軍官馬修．卡爾布萊斯．培里 (Matthew Calbraith Perry) 率艦叩關日本，揭開長達兩百二十年之長的鎖國帷幕，於是藍天黑夜中，一顆永恆不墜之星冉冉初升。時至今日，那道潤物無聲的光芒，儼然成為一種美學範式，不斷超越――並且創造，藝術文化能夠概括的各種極限。上古、中世和近世（江戶時期）的日本，藉著地緣關係，與中、韓兩國互通了千年的有無，例如，佛教、茶道、花道和香道等，亦在這些時期傳入。千年以來，日本不曾停歇，日以繼夜地將他者文化，經由「受容」與「變容」，最後，完成屬於自己的「內在解釋」。在接受藝術的過程中，接受者多少會將其套用於個人的文化背景和生活環境，加以應用、修改或簡易地複製；至於創作，則是不外乎基於已知，或從推翻已知，或與已知辯論而起，因此，理想中，一件真正偉大的作品，將剝奪觀者的任何期望，「它」會是一個完全獨立的生命體。然而，若藝術僅僅作為一種無生命的媒介，究竟如何才能以「獨立的生命體」之名存在？請看，日本當代藝術―― 熟練掌握元素力量的名和晃平，拿捏住每一瞬間的偶然與刻意為之的節點，著墨於幾何圖形中的重複路徑，化時間形成有形之體，呈現出既繁複又無比清晰的發生軌跡，使時間不再難以捉摸，變得富有邏輯，且值得耐人尋味。以「界外」系列為人熟悉的山口歷，其作品無不洋溢著蓬勃的生命張力，自由奔放地展現藝術家的純粹真我。「創造前所未有的事物！」沒有人能他更透徹地琢磨這句箴言，透過標誌性的飛濺塗鴉，山口歷的每一筆、每一刀，都全心全意地奉獻出整副心神，去演一場收合生命中一切經驗以及體察與觀想的嘉年華，反映了構築世界不同視角。

ZHONG CHENG 中誠

神話，乍聽之下，也許頗有些距離感，不過這位使用超扁平風格表述神話的藝術家――天野健，可不這麼想，經過他巧妙的拆解、擺放、搭配和建構，神話（畫）裡別添了一抹另類的黑色幽默，其最早的人物系列「維納斯」，不論在人物姿態或用色上，更是維妙維肖地和現生活產生了互動，使神話所蘊含的美與寓意，成為具有現代意義的思想載體。「天眼作為一種進入神靈界的門。」小松美羽看得最清楚，也比誰都悟得深，能量在吐息間融合、循環、流動，與她合而為一，跨越語言的感受，就用藝術來表現。小松美羽式的祈禱，有嚴肅的沉思，亦能見到豁然開朗的啟蒙，從而一窺萬物根源，發生淨化。草間彌生，作為日本現代藝術的代表，如雷貫耳之名，其來有自。她的作品是一面鏡子，一面能同時看到正面與反面的鏡子――被放大到無限的延展性，沿著畫中地出的藤蔓匍匐前進，很久以後，才回過神來，細數那超現實的迷幻狀態，無法自拔。草間彌生的世界，符合普世價值，稀鬆平常地步入市井巷弄，另一面卻雋刻著代表二十世紀的非凡象徵，彷彿有源源不絕的，莫名強烈的情緒迎面奔湧而來，可奇妙的是，你竟然絲毫不懼，大張雙臂擁抱它，進入它，成為它。除了融合了淵遠流長的古典傳統，擁有獨樹一幟的審美態度，還始終具備恰到好處的一點兒前衛、叛逆和溫柔，在自然環境中，在人際關係裡，甚至在社會體制的內外，大膽卻又禮貌地向來者提出挑戰，這一場場戰績，並無誰輸誰贏之論，反倒像達成了某種共識般，不輕易去定義「藝術」云云，但又締造出一個嶄新、和平的次元時空，不知不覺間，你已然為心醉神迷，色授魂與，享無上之樂。

MODERN AND CONTEMPOR ARY ART

Celestial Japan: A Contemporary Aesthetic Paradigm Embracing, Transfiguring, and Envisioning In the annals of history, the year 1853 bore witness to a pivotal

experiences, introspection, and contemplation. His art mirrors

moment when the United States Navy officer, Matthew Calbraith

diverse perspectives in shaping our world.

Perr y, made landfall in Japan. This heralded the end of a cloistered era spanning two centuries, and in the ethereal embrace of both day and night, a resplendent and enduring star began its ascent. In the modern epoch, this luminous phenomenon has morphed into an aesthetic paradigm, a relentless force that not only transcends but also forges new boundaries, encapsulating the vast spectrum of artistic and cultural exploration. Throughout Japan's ancient, medieval, and early modern periods, the nation's geographic proximity to China and Korea facilitated a profound exchange of ideas, spanning a millennium. Concepts such as Buddhism, the Way of Tea, Ikebana, and Kōdō found their way into the Japanese cultural tapestry during this time. Japan's unceasing engagement with these external influences, characterized by 'acceptance' and 'transformation,' eventually led to the crystallization of a unique 'internal interpretation.' In the process of embracing art, recipients often imbue it with the nuances of their own cultural background and life circumstances. They apply, adapt, or even replicate it in simplified forms. When it comes to creation, artists either build upon existing knowledge, overturn conventions, or engage in thought-provoking dialogues. The highest echelon of ar t, in an ideal sense, subver ts all expectations and stands as an entirely self-contained entity. However, the question remains: How can art assume the status of an 'independent entity' when it is perceived as an inanimate medium? This is where contemporary Japanese art emerges. Hiroshi Nomura, a virtuoso in harnessing elemental forces, orchestrates the delicate ballet bet ween spontaneit y and deliberate choice within the briefest moments. His intricate geometric compositions give life to time, rendering it tangible and revealing complex yet unequivocally lucid trajectories of events. Time, in his hands, is no longer elusive; it is endowed with logic and is deserving of deep contemplation. Yutaka Yamaguchi, renowned for his 'Beyond Borders' series, exudes an exuberant life force, unapologetically expressing his true self. 'Create something never seen before!' Few have embodied this maxim as resolutely as Yamaguchi. Through his iconic splattered graffiti, every brushstroke and cut constitutes a wholehearted offering, a carnival that condenses a lifetime of

ZHONG CHENG 中誠

At first glance, the realm of mythology might appear distant, yet artist Ken Arai, who expresses myths through a super-flat style, vehemently disagrees. Through his artful deconstruction, rearrangement, composition, and reconstruction, myths acquire an alternative touch of dark humor in Arai's work. His early character series, 'Venus,' meticulously engages contemporary life, both in the characters' poses and the choice of colors, making the beauty and symbolism of myths relevant to the modern world. Miwa Komatsu, more than anyone else, comprehends that the 'Third Eye' serves as a portal to the spiritual realm. Energy merges, circulates, and flows within her, uniting her with the world, transcending language, and expressed through art. Komatsu's prayers seamlessly blend deep contemplation with illuminating moments, providing a glimpse into the origins of all things and a sense of purification. Yayoi Kusama, a luminary in modern Japanese art, requires no introduction. Her art functions as a mirror, simultaneously revealing both the front and back, infinitely magnified. Her signature cascading vines, unfurling across her painted universes, beckon viewers into surreal, hypnotic realms that are irresistible to escape. Kusama's domain resonates with universal values, seamlessly integrating into everyday streets and alleyways. Simultaneously, it is etched with extraordinar y symbolism, representing the zenith of the 20th century. Profound, inexplicable emotions flood towards you, and astonishingly, you embrace them with open arms, becoming an intrinsic part of the art. Incorporating a deep-rooted classical tradition and a unique aesthetic sensibility, Japan has consistently maintained a delicate balance of avant-garde, rebellion, and gentleness. In natural landscapes, interpersonal relationships, and even within the intricate structures of society, it boldly yet courteously challenges newcomers. These encounters are not about triumph or defeat but rather converge in a shared understanding that refrains from facile definitions of 'art,' fashioning a novel, harmonious dimension in both space and time. Unbeknownst to you, you find yourself bewitched, bestowed with transcendental connection and the purest form of elation."

MODERN AND CONTEMPOR ARY ART

101 YOSHIMASA TSUCHIYA ( Japanese, b.1977 )

Chimera 40 x 20 x 30 cm Resin, edition of 188 Trademark YOSHIMASA TSUCHIYA MEGUMI OGITA GALLERY APPortfolio Ⓡ and edition number With a certificate of authenticity signed by the artist The work is accompanied by its original wooden box.

NT$ 50,000-90,000 US$ 1,600-2,800

ZHONG CHENG 中誠

土屋仁応奇美拉 2022 樹脂限量 188 件註冊商標 YOSHIMASA TSUCHIYA MEGUMI OGITA GALLERY APPortfolio Ⓡ 跟版數附藝術家親簽之原作保證卡附原廠包裝木盒

土屋仁応在學生時期學習了傳統佛像的製作技術，想要傳達佛像般神秘的神態，便學習傳統佛像採用水晶琉璃來製作眼珠。生物的姿態與靈性始終是其創作的主題，創作的動物跨越現世與異界，陶瓷般細膩的木雕及底層帶著粉紅的乳白色系，像是清透的肌膚底下流動著血液，有著生命般的木雕作品呈現，比起陶瓷更多了份溫度。多半藝術家在創作的過程中總事先做好了計畫，提前賦予作品使命象徵，對土屋仁応來說，比起強制決定，讓作品自然發展出它自己的形體、顏色與姿態，是更理想的狀態。《Chimera》又譯為《奇美拉》為希臘神話中的神獸，意指一種變態的生命有機體，吸引所有生物，具備了非自然的複雜性和不特定的力量。

102 YOSHIMASA TSUCHIYA ( Japanese, b.1977 )

Fox 26.5 x 13 x 29 cm Resin, 180/188 Trademark YOSHIMASA TSUCHIYA MEGUMI OGITA GALLERY APPortfolio Ⓡ and numbered 180/188 With a certificate of authenticity signed by the artist The work is accompanied by its original box.

NT$ 50,000-70,000 US$ 1,600-2,200

土屋仁応狐狸 2022 樹脂 180/188 註冊商標 YOSHIMASA TSUCHIYA MEGUMI OGITA GALLERY APPortfolio Ⓡ 180/188 附藝術家親簽之原作保證卡附原廠包裝紙盒

土屋仁応主要以古老的神話傳說和夢境為靈感來源，從中提煉出深邃、漫幽、純潔、優雅的靈獸形象。擁有佛像雕刻背景的他，到雕刻靈獸也熟稔、自然地將日本禪心帶入其中，近看能見雕具帶過之處煥發溫慢和定性，遠看整體細品造形又能感受「為」與「不為」的渾然天成；時常令觀者不自覺凝視，最後透過靈獸更深一步地進入土屋仁応獨道的禪境。最後隨著時間推移，靈獸也在各自殊異的凝視中，自然地發展出自己的屬性，靈獸便成就了一種永恆，那就是永續地脫離人類所寄託的固有框架，不斷編織自己的故事；而土屋仁応則曾表示那正是他創作時所想像的最理想狀態。

MODERN AND CONTEMPOR ARY ART

103 RYOICHI YAMAZAKI ( Japanese, b.1976 )

Untitled 25 x 17.2 cm Pencil and Colored Pencil on Paper Signed Ryoichi Yamazaki in English and dated 2021 With a certificate of authenticity from gallery

NT$ 30,000-40,000 US$ 900-1,300 山崎龍一無題 2021 鉛筆色鉛筆紙本簽名：2021 Ryoichi Yamazaki 附畫廊開立之原作保證卡

「即使你這樣看著我，我甚麼也不會說」 --- 截自山崎龍一首部作品集《Leave me alone》以色鉛筆及鉛筆細緻又混雜的筆觸，山崎龍一描繪出畫中身穿連帽衫的孩子，那膽怯不安卻透露一絲堅定的神情，一種其實關心著他人卻堅持表現無動於衷的矛盾。搭配留白的背景，和那隻被緊握著，頭卻向外垂掛的兔子布偶，襯托出主角與外界微妙的距離感。我們或許難以看出他對布偶的疼愛，卻能感受布偶帶給他安全感的重要性。這件於二〇二一年完成的作品突顯了藝術家長期對文化結合症候群 (Culture-bound syndrome) 的研究和掌握度，及另一種有別於雕塑作品，簡單且生動的詮釋手法。

ZHONG CHENG 中誠

104 MIWA KOMATSU

小松美羽

( Japanese, b.1984 )

確認之刻 ( 見定めの時 )

Time of Judgement

2018 絲網印刷版畫 17/50 簽名：17/50 Komiwa

44.2 x 53 cm Screenprint, 17/50 Signed Komiwa in English and numbered 17/50 With a certificate of authenticity from gallery

附畫廊開立之原作保證書

一九八四年出生於日本長野縣的小松美羽是日本銅版畫家，據說具通靈能力的她，小時候曾被神獸狛犬所救，此後便常以神獸為主題創作，二〇一四年與庭園設計師石原和幸跨界合作的有田燒狛犬作品《天地的守護獸》榮獲金徽章獎，並收藏於大英博物館，成為該館所典藏在世藝術家中最年輕的一位。《確認之刻 ( 見定めの時 )》畫裡生動的靈性氣氛充滿故事性，外型相當具象，藉著神獸靈動如漩渦的雙眼，觀者彷彿踏入小松美羽眼中的奇幻世界。

NT$ 70,000-180,000 US$ 2,200-5,700

MODERN AND CONTEMPOR ARY ART

105 MAYUKA YAMAMOTO

山本麻友香

( Japanese, b.1964 )

粉紅怪獸

Pink Monster 12.5 x 16 x 29 cm Polystone, edition of 120 Signed Mayuka in English Trademark ©MAYUKA YAMAMOTO 2021 ©GALLERY TSUBAKI 2021

2021 寶麗石粉樹脂限量 120 件簽名：Mayuka 註冊商標 © MAYUKA YAMAMOTO 2021 © GALLERY TSUBAKI 2021 附藝術家親簽之原作保證卡

With a certificate of authenticity signed by the artist

附原廠包裝紙盒 The work is accompanied by its original box.

NT$ 90,000-120,000 US$ 2,800-3,800

ZHONG CHENG 中誠

擅長繪畫小男孩與動物主題的山本麻友香，筆下的男孩總是帶著純真可愛，卻又夾雜著纖細憂鬱的情緒，從畫作到雕塑，同樣讓人從作品中細細品味，讓人感受溫柔又帶著隱隱的憂傷與不安。帶著可愛野獸頭套，像是想要隱藏自己那抹神情難辨思緒的眼神，參雜些許悲傷和鄉愁的複雜內心，宛如野獸頭套想要表示出安寧平和，面具下卻又是流露出膽怯及試探，同樣能在雕塑作品中體悟到男孩纖細又複雜的情緒。

106 MAYUKA YAMAMOTO ( Japanese, b.1964 )

a. Pink Monster b. Blue Monster 70 x 52 cm (2) Screenprint, edition of 80 (2) a. Signed Mayuka and titled Pink Monster in English, edition number b. Signed Mayuka and titled Blue Monster in English, edition number With a certificate of authenticity from gallery (2)

NT$ 200,000-300,000 US$ 6,300-9,400 山本麻友香 a. 粉紅怪獸 b. 藍色怪獸 2021 絲網印刷版畫限量 80 版 (2) a. 簽名：pink monster Mayuka 跟版數 b. 簽名：blue monster Mayuka 跟版數附畫廊開立之原作保證書 (2)

a. b.

MODERN AND CONTEMPOR ARY ART

107 SATORU KOIZUMI

小泉悟

( Japanese, b.1983 )

空桶 ( 兩件一組 )

Empty Bucket (a set of two) 16 x 15 x 30 cm (2) a. Red Birch, edition of 100 b. Polystone, edition of 230 a. Signed on the bottom of left foot: Satoru Koizumi in English Trademark on the bottom of right foot: APPortfolio and edition number b. Signed on the bottom of left foot: Satoru Koizumi in English Trademark on the bottom of right foot: APPortfolio Ⓡ and edition number With a certificate of authenticity from manufacturer and signed by the artist (2)

2019 a. 紅櫸木限量 100 件 b. 樹脂限量 230 件 a. 左腳底簽名：SATORU KOIZUMI 右腳底註冊商標 APPortfolio Ⓡ 跟版數 b. 左腳底簽名：SATORU KOIZUMI 右腳底註冊商標 APPortfolio Ⓡ 跟版數附藝術家親簽之原廠保證卡 (2) a. 附原廠包裝木盒 b. 附原廠包裝紙盒

a. The work is accompanied by its original wood box. b. The work is accompanied by its original box.

NT$ 150,000-240,000 US$ 4,700-7,500

a. b.

ZHONG CHENG 中誠

108 SATOSHI SAITOH ( Japanese, b.1982 )

■ 18 x 13 x 31 cm Cinnamomum Camphora, Ash, Glue (unique work) Signed on the bottom: Saitoh in graphics extended by Japanese, dated 2022 EXHIBITION:

"Satoshi Saitoh Solo Exhibition," S+Arts Gallery, Japan, Tokyo, May 6th-15th, 2022 With a certificate of authenticity from gallery

NT$ 130,000-180,000 US$ 4,100-5,700 齊藤智史 ■

齊藤智史在一九八二年出生於日本長野縣，畢業於東京造形大學雕塑系。齊藤的雕塑創作以樟木作為主體並施以日本畫用的灰和顏料。出生於園藝家庭的齊藤成長環境總是圍繞着樹木，對於齋藤來說，木雕是表達一個場景的不可或缺的方式，他將周圍的各種元素像是地域文化、生物的活動、社會、情感、思想等緊密交織在一起。齊藤的作品中既有安穩沉靜的偶像，也有抽象的立體作品。透過這些作品，藝術家表達出人類記憶的曖昧和懷舊情懷。齊藤從二〇〇九年開始在東京及長野舉辦多次個展，也曾在二〇一四年、二〇一六年、二〇一七年參加高雄藝術博覽會、台北國際當代藝術博覽會，在二〇一八年參加福爾摩沙國際藝術博覽會，在二〇一八年和二〇一九年參加台北國際藝術博覽會；也曾至倫敦、米蘭、巴黎、布魯塞爾及德國等地參加藝術博覽會。

於二〇二二年獨家代理的日本畫廊舉辦齊藤智史的個展「小孩子」，並且在開展前作品就已全數售完，追捧的藏家來自世界各地，台灣當然也在其中，但是畫廊配量僅有極少的作品來到台灣，可說是想購入也得碰運氣的收藏珍品。作為二〇二二年個展的其中作品《■》以楠木曠野般的獨特纖維質地雕塑出樸拙趣味的娃娃，像是戴上連帽衣的孩子，臉龐用紅潤帶橘的暖，特別凸顯於淡冷色的整體，滲透和暈開帶出溫潤的可愛表情，置若茫然、放空地看向前方，深邃不見底的眼神不禁令人想一窺其中神秘，吸引觀眾停留凝視卻又會隨同平靜放空，能有這樣的魅力不僅是齊藤對刻畫情緒、造型的適度分寸，也源自於藝術家對三維形式的敏銳觀察，讓抽象精闢地介入、保留自然材料本該有的能量，由此得出在空間上、在感受上「真正立體」的雕塑。

2022 彩繪楠木灰膠 ( 僅此一件 ) 底部簽名：2. 22. 斉 ( 圖形 ) 展覽：

「齊藤智史 - 小孩子」，S+Arts 畫廊，日本東京，2022 年 5 月 6 日至 15 日附畫廊開立之原作保證書

MODERN AND CONTEMPOR ARY ART

109 AYAKO ROKKAKU

六角彩子

( Japanese, b.1982 )

無題

Untitled

2021 鉛筆 93 色絲網印刷紙本限量 200 版簽名：2021 ロッカクアヤコ跟版數

73 x 103 cm Pencil and Silkscreen in 93 Colors Printed on Corona Magnani Paper, edition of 200 Signed Ayako Rokkaku in Japanese, dated 2021, and edition number

NT$ 300,000-400,000 US$ 9,400-12,600

ZHONG CHENG 中誠

六角彩子為村上隆所推薦的藝術家，並在第九屆 Geisai 藝術節上獲得極具聲望的 Akio Goto Prize 獎。六角彩子自己分析她畫畫的三個風格特點：「單純的塗鴉」、「發掘自我的行為」、「小孩的圖畫」。她擅於使用雙手沾取各種繽紛的顏料來繪畫，沒有過度謹慎的構圖，像小孩般塗抹著色彩，想到什麼畫什麼，經由身、心至雙手投入繪畫中，主題多為無辜大眼女孩、花草樹木和動物的題材。六角彩子喜愛近距離的觀察生活中的自然草木，隨筆塗鴉的可愛模樣已形成她獨具特色的個人風格。此作《無題 ( 手拿花 )》中，古靈精怪的大眼女孩捧著花朵，身穿華麗細緻花紋的飄逸服飾，乘著風帶領著她的花草軍團和附近的動物們，一同踏上奇幻世界的探險之旅。興奮雀躍的同時，前方的未知世界正在等待他們的探訪，然而，女孩的神情流露出既期待又不安的情感，緊張顧慮的情緒與大膽冒險的行徑形成的不協調感，加上如此夢幻繽紛的色彩，使得畫面充滿情緒張力，以及飽滿的生命力。

110 AYAKO ROKKAKU

六角彩子

( Japanese, b.1982 )

無題

Untitled

2021 鉛筆 67 色絲網印刷紙本限量 200 版簽名：2021 ロッカクアヤコ跟版數

73 x 103 cm Pencil and Silkscreen in 67 Colors Printed on Corona Magnani Paper, edition of 200 Signed Ayako Rokkaku in Japanese, dated 2021, and edition number

NT$ 300,000-400,000 US$ 9,400-12,600

六角彩子的作品風格充滿了卡通童幻的元素，呈現出夢幻斑斕的氛圍感，主要是受到義大利貧窮藝術 (Arte Povera) 的影響，她喜歡用瓦楞紙及舊廢棄物等隨手可得的日常材料進行創作，透過手指與顏料恣意塗抹，並從藝術創作體認到生活的真實，也或許正因她未受過正式的藝術訓練，作品更多了一份自由純樸的率真，讓畫面四溢活潑張力。此作《無題 ( 手拿信 )》中，可以發現整體畫面圍繞了多種重複性的彩色符號，而些許凌亂的塗鴉繪製手法，使得畫面充滿豐沛的渲染能量，張力十足，這也是六角彩子經常使用的繪畫形式。她繪畫的人物通常是極端的「逃離與追尋」、「遠目與凝視」，風格也深受日本卡通漫畫文化的影響，畫中呈現的即是經典厭世神情的大眼女孩扁著嘴卻欲言又止的樣貌，手裡拿著的貌似是一封道歉信，憤怒情緒與躊躇不前的姿態，顯現出傲慢孩子氣的面貌。六角彩子賦予人物鮮明的特質，使得畫面更加具有故事性，就像是一個活靈活現的卡通角色。

MODERN AND CONTEMPOR ARY ART

111 AKIHIKO YOSHIDA (NIKICHI)

吉田昭彥 ( 仁吉 ) 永遠的花 2022 肉桂木 ( 僅此一件 ) 底部雕刻簽名：仁 2022

( Japanese, b.1954 )

Eternal Flower 20.5 x 37 x 36 cm Cinnamon Wood (unique work) Signature engraved on the bottom: Ni in Japanese and dated 2022 EXHIBITION:

"Nikichi' s Wood Sculpture Exhibition," Ginza Mitsukoshi- Seventh Floor Art Gallery, Japan, Tokyo, October 19th-October 25th, 2022

NT$ 420,000-480,000 US$ 13,200-15,100

ZHONG CHENG 中誠

吉田昭彥擁有靈魂雕刻家的美稱，二十四歲時在禮文島開設了一家商店，從事木雕創作至今四十餘年，過去數十年間，製作了逾一萬件藝術品，而他的作品裡是找不到兩件一模一樣的，這是他對創作的堅持。

展覽：

摯愛的離世對他的創作生涯帶來極大的改變，心愛的妻子病逝，他陷入沉痛的泥沼，被負面情緒壟罩，對於未來感到迷茫，體力、精力也逐漸下降，煎熬的日子日復一日，當他振作重新面對低潮的自己，投入創作、找尋新的題材，回過神來，家裡已被動物們包圍，而破碎的心也在不知不覺中得到治癒。

「仁吉木雕展」，銀座三越七樓藝廊，日本東京， 2022 年 10 月 19 日至 10 月 25 日

相互依偎的北極熊雙手溫柔的捧著花朵，時間也感覺走慢了，似乎就凝結在這一刻，思念的心情展露無遺，原來妻子的精神一直陪伴在他身旁。「我會支持你，我會綻放在你的心中，我會成為永不凋謝的花朵。」

--- 吉田昭彥

112 AKIHIKO YOSHIDA (NIKICHI) ( Japanese, b.1954 )

Phantom Blue Poppy Flower 20 x 25.5 x 64.5 cm Wood Sculpture (unique work) Signature engraved on the bottom: Ni in Japanese

NT$ 400,000-500,000 US$ 12,600-15,700

吉田昭彥 ( 仁吉 ) 幻幽的藍色罌粟花 2022 木雕 ( 僅此一件 ) 底部雕刻簽名：仁

吉田昭彥在人生歷經重大轉變時，為了尋求心靈慰藉，所創作出的作品，同時也觸動了每位觀者的心弦。擬人化的動物雕塑，形成風格獨特的神話世界，動物們有著自己的職業、想法、喜怒哀樂，記錄著藝術家每天的所思所想，也可以說是藝術家的心靈日記，而我們在觀賞時也能很輕易的將自身情感投射到動物雕像上，每一塊木頭都成了一座心靈棲息地。利用整塊木頭雕刻而成的作品，絲毫沒有傳統木刻的沉滯及粗獷，看上去反而是十分輕盈靈動，溫潤圓滑的外型，輕輕闔上的雙眼，微微上仰的嘴角，作品的每一面都能讓人感到平靜與祥和，藝術家為這些原本沒有感情的木頭注入了新的生命，而抬頭仰望的姿勢也帶給了觀者充滿希望的氛圍。「那朵幻幽的藍色罌粟花，我確信它還在那裡，在風中搖曳，一定是 ...」吉田昭彥為每件作品創作了情感豐沛的詩句，這些作品是他對人生的理解及自我的療癒過程。

MODERN AND CONTEMPOR ARY ART

113 YOSHITOMO NARA

奈良美智

( Japanese, b.1959 )

春天小姐

Miss Spring

2012-2021 Takeo Deep PV Hakou 紙上數位印刷版畫 87/100

27.9 x 22.8 cm Digital Pigment Print on Takeo Deep PV Hakou Paper, 87/100 With a certificate of authenticity 1. Miss Spring, (2012/2021) is available as an edition of 100 prints, produced in Tokyo by Phaidon and Artspace under the direction of the artist. 2. Each print comes accompanied by a hardback copy of the 2020 Phaidon monograph Yoshitomo Nara. 3. The work is accompanied by its original box.

NT$ 250,000-300,000 US$ 7,800-9,400

ZHONG CHENG 中誠

附原廠保證卡 1. 此作《春天小姐》(2012/2021) 版畫共限量 100 版，由紐約藝術出版社 Phaidon 與 Artspace 在藝術家的指導下於東京製作。 2. 每版均附有 2020 年 Phaidon 所專著出版之奈良美智精裝畫冊。 3. 附原廠包裝紙盒。

二〇一一年的一場大規模地震掀起強烈海嘯，導致福島核電廠系統失效，引發嚴重的核災難，重創了日本的東北地區。奈良美智是在這個地區長大的，當時他接觸了受災地區的人們，感傷與憐憫之情受到災後創傷觸動，而後他創作了《春天小姐》，抒發他所經歷的感受和沈思，並乘載著溫暖和希望於藝術上作出貢獻。畫中高額頭、大眼睛的女孩，睜著玻璃珠般靈動的雙眼，神情堅定地看向前方，種種豐沛情感從眼底流露出來；衣服上的色彩交織，以及頭髮上的半透明光點，猶如人們的各種情緒與期望轉化成色塊和光點印在女孩身上。繽紛色塊塗料層層堆疊，重重層次都是一段段的歷練和成長，亦或是刻骨銘心的故事、相互慰藉與幫助的回憶錄，透過繪畫將其感動注入於畫布之中。

114 YOSHITOMO NARA

奈良美智

( Japanese, b.1959 )

開飛機的女孩

Girl Riding on a Plane

2008 手工編織傳統阿富汗掛毯背面標籤商標：lammfromm

33 x 32 cm Handwoven Afghanistan Tapestry Label of trademark on the reverse: lammfromm Produced for the NPO, MOGU VILLAGE Project (MVP). Mr. Nara provided job opportunities for people in Afghanistan. Each Tapestry is handwoven by craftsmen in Afghanistan. The work is made in the traditional way of Afghan kilim flower blankets and colored with natural plant dyes.

NT$ 80,000-150,000 US$ 2,500-4,700

此作品為奈良美智與非營利組職、阿富汗 MOGU 村落合作計畫之作品，為阿富汗人民提供了就業機會。每件作品皆由阿富汗匠人手工製作，採用阿富汗基里姆花毛毯的傳統製作方式，並以天然植物染料上色。

《開飛機的女孩》與奈良美智以往作品形式不同，非常罕見的掛毯作品，是二〇〇八年藝術家與非營利組織、阿富汗 MOGU 村落合作，使用基里姆花毯的傳統製作方式，採用天然的花草樹木染色，精心編織而成。該活動為長期受戰爭所苦的阿富汗人民提供就業機會，傳統基里姆花毯製作手法相當費時，在多重繁瑣的步驟下，最終的成品被親切地稱為「女兒」。奈良美智一直以來透過作品倡導世界和平、反對戰爭，用自身的力量，對援助被戰火波及的人民不遺餘力，希望有一天飛機不再是戰爭的工具，僅是愉悅出遊的象徵。

MODERN AND CONTEMPOR ARY ART

115 YUYA HASHIZUME

橋爪悠也

( Japanese, b.1983 )

淚眼與足球

Eyewater ver. Football 65.2 x 45.6 cm Acrylic Paint on Canvas Signed on the side of canvas: Yuya. H. in English Signed on the reverse: dated 2021

2021 壓克力畫布畫布框側面簽名：Yuya. h. 背面簽名：2021 附藝術家親簽之原作保證書

With a certificate of authenticity signed by the artist

NT$ 300,000-480,000 US$ 9,400-15,100

橋爪悠也受到漫畫大師藤子不二雄所影響，以大師的弧線架構和圓潤繪畫風格為基礎，運用平整且簡易的線條，加上他獨特的繪畫手法，勾勒出具有療癒感的人物插畫。橋爪悠也善於感受生活周遭的情感變化，細膩敏感的思緒轉化於創作中，情緒畫面張力十足，呈現出情感表露瞬間的狀態。由單色背景襯托的扁平動漫風格人物，眼角含淚並即將落下的瞬間，這是橋爪悠也最受歡迎的「Eyewater」系列的風格。而後他陸續將各種生動可愛的動物、日常生活中的用品與物件加入作品中，風格人物搭配古靈精怪的動物，以及物件的融入，使其畫面更加地豐富和具有活力感。

ZHONG CHENG 中誠

畫作《淚眼與足球》中，女孩身穿運動服，手裡抱著足球與水瓶，眼角含淚欲墜，無奈地嘟著嘴，表情委屈，眼神透露出傷感，神情有些不情願，有如不想參與足球訓練的學生。橋爪悠也以繪畫狀態的敘事方式來呈現漫畫分鏡手法，將一個主要分鏡的內容延伸與擴展，人物、動物及物件之間相互作用和互動，展現具有故事性的情感表達與畫面張力，給予觀者盡情發揮想像來解讀故事的發展，加上簡約美感的線條，以及色彩的巧妙搭配，創造出屬於橋爪悠也獨樹一格的故事感繪畫風格。

MODERN AND CONTEMPOR ARY ART

116 YOSHIMASA TSUCHIYA

土屋仁応

( Japanese, b.1977 )

黑貓

Black Cat

2015 水晶手工彩繪於日本樟木 ( 僅此一件 ) 底部簽名：土屋仁応

21 x 6.5 x 15.3 cm Crystal and Colored on Japanese Camphor Wood (unique work) Signed on the bottom: Yoshimasa Tsuchiya in Chinese EXHIBITION:

"Yoshimasa Tsuchiya's Wood Sculpture Exhibition - Cat Party," Nihombashi Mitsukoshi Main Store, Japan, Tokyo, November 4th-10th, 2015

展覽：

「土屋仁応木雕展 - 貓聚會」，日本橋三越總店，日本東京，2015 年 11 月 4 日至 10 日附藝術家親簽之原作保證書

With a certificate of authenticity signed by the artist

NT$ 320,000-400,000 US$ 10,000-12,600

土屋仁応一九七七年出生於日本神奈川縣，二〇〇一年於東京藝術大學雕塑系取得學士學位後，於同校文化財保存研究所習得傳統雕刻技法並取得碩士與博士的學位。土屋仁応在學習傳統佛像的製作與修復的過程中，被佛像以水晶鑲嵌眼珠，莊嚴而神秘的神態深深感動，他將這種神佛創作中最崇高，以及具有靈性的特質和點睛的效果，運用在其雕塑創作之中。

法。有日本神之使者之稱的鹿、狐狸、長頸鹿、兔子，再到麒麟、獨

土屋仁応以日本神話靈獸作為創作的題材，其創作的神獸木雕擁有著流暢柔美的線條和純淨嫩白的配色，帶領著觀者在這股神聖寧靜的力量的影響之下，從而直視與審視內心對於世間萬物的意念和真實的想

的色澤，以及靈巧輕盈的細緻質感，其中伴隨著神秘靜謐的氛圍，彷

ZHONG CHENG 中誠

角獸、食夢貘、美人魚等幻獸，這些動物一直都是土屋仁応木雕系列中的常駐角色。此作《黑貓》的深色系色調有別於土屋仁応大多數的經典創作，並非為透嫩的乳白色系基底，不過，灰黑色的靈氣貓咪同樣有著均勻飽滿彿有種神奇的淨化療癒魔力環繞在身邊，並引領著觀者窺探其擁有平靜沉穩能量的異世界。

MODERN AND CONTEMPOR ARY ART

117 YAYOI KUSAMA ( Japanese, b.1929 )

Wind 65.6 x 53.8 cm Lithograph, edition of 60 Signed Yayoi Kusama in English, titled in Japanese, dated 1999 and edition number ILLUSTRATED:

"Yayoi Kusama Prints," Abe Publishing Ltd., Tokyo Japan, 2011, Page 149, No.252 (another edition)

NT$ 350,000-500,000 US$ 11,000-15,700 草間彌生風 1999 版畫限量 60 版簽名：風 1999 Yayoi Kusama 跟版數圖錄：

《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京， 2011 年，第 149 頁，編號 252 ( 另一版數 )

ZHONG CHENG 中誠

118 YAYOI KUSAMA ( Japanese, b.1929 )

Flowers 33 x 24 cm Lithograph, 19/125 Signed Yayoi Kusama in English, titled in Japanese and dated 1997, numbered 19/125 PROVENANCE:

Zhong Cheng 2013 Spring Auction, LOT 138 (b) ILLUSTRATED:

"Yayoi Kusama Prints," Abe Publishing Ltd., Tokyo Japan, 2011, Page 140, No.235 (another edition)

NT$ 380,000-500,000 US$ 11,900-15,700 草間彌生花 1997 版畫 19/125 簽名：19/125 花 1997 Yayoi Kusama 來源：

中誠拍賣 2013 年春季拍賣會，編號 138 (b) 圖錄：

《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京， 2011 年，第 140 頁，編號 235 ( 另一版數 )

MODERN AND CONTEMPOR ARY ART

119 ETSU EGAMI

江上越

( Japanese, b.1994 )

無題

Untitled

2019 壓克力畫布簽名：Egami Etsu 2019

32 x 41 cm Acrylic on Canvas Signed Egami Etsu in English and dated 2019

NT$ 250,000-350,000 US$ 7,800-11,000

ZHONG CHENG 中誠

日本當代藝術的發展從戰後開始可分為三代，活躍於五〇至七〇年代的第一代藝術家，因歷經戰爭，社會長期籠罩在一片愁雲慘霧之中，創作的作品氛圍沉重；八〇年代興起的第二代藝術家，作品輕鬆活潑，外界對於日本的可愛動漫文化印象，在這一代的作品裡發揮的淋漓盡致；例如，村上隆即是代表藝術家之一。而江上越所屬的第三代，他們成長在國際化的時代，具有更開闊、更國際化的視野，並且渴望把身上的標籤撕下，以自我出發，凝視內心，將其展現。在日本長大的江上越同時也曾在美國、歐洲與中國有過成長經歷，豐富的海外生活體驗，成為她往後創作發展的基礎。不同國家、不同的語言的文化衝擊，讓她開始思考人類交流的可能性，江上越筆下的畫作色彩豐富、構圖直接，多重平行和蜿蜒曲折的線條，相近色和互補色的配合碰撞，再以簡潔通透的筆觸表現，猶如背景個性迥異的雙方，經由交流而融入彼此。

120 YURA OTA ( Japanese, b.1982 )

Hito 145.5 x 97 cm Oil on Canvas Signed Yura O in English With a certificate of authenticity from gallery

NT$ 200,000-300,000 US$ 6,300-9,400 Yura Ota 人 2006 油彩畫布簽名：YURA O 附畫廊開立之原作保證書 Yura Ota 出生於一九八二年，是一位來自日本的藝術家，他喜愛繪畫人們認真地生活著的舉止型態，彷彿人們在未知情況下，由高處視角被拍下的畫面；不過，Yura Ota 只擷取與人們相關聯的部分，捨棄了其他部分的景物，將重點放在琢磨人們的行為和姿態上，使得更加清晰地看見人們形體與動作上的細節。他透過像是窺視與遙望的構圖形式，展現人們相對之渺小的存在，以及呈現出人們努力勤奮地過著生活的樣貌；同時，體現人們正在做著喜愛事情的模樣，其中透露出豐沛地熱情與動力，充滿著體驗和挑戰人生的動能量。

從 Yura Ota 的作品中，可以發現主要視角皆位於高空處往下俯瞰著人們，像是在觀察著人們的一舉一動，而周圍卻沒有任何一絲街道景物和生活場景，僅有人們與搭配物件，整個畫面大部分區域都是一片平坦的空無，猶如建造家園遊戲的布置畫面，而且是尚未完成布局的狀態。留白處給予觀者有無限的想像空間，並且賦予畫面擁有多種面向場景搭配的可能性，感受與幻想畫中的人們在不同時空和景象中過著日子的樣貌，如此一來，每位觀眾的想法彷彿帶給畫面裡的人們有著各式各樣的生活型態與感官體驗。

MODERN AND CONTEMPOR ARY ART

小林孝亘 (Kobayashi Takanobu) 擅長捕捉物件和場景實質存在狀態的氛圍感，並以質樸純粹的形體描繪感受，畫面呈現簡單純淨，恬淡的色彩，宛如有一股柔和的暖陽與輕盈的微風散落於畫的每個角落，而隱沒於畫中深沉的情緒緩緩地傳遞而來。每一件物體都有其特徵或屬性，這也正是物體被賦予意義的來源，當意義被除去時就呈現出了本質。任何物體都擁有著自身的情緒性格與特質，並夾雜著環境的氣息。小林孝亘藉由這些物體獨有的物體性，描述著內心深處的感知，體現著一種「物境」的概念，也意旨描繪著一種「存在」。此作《夢。我們的夢想》中的男子神情平靜的閉著雙眼，彷彿沉浸於美好的夢境之中，也可能只是閉著眼睛思考與建構著人生方向和夢想藍圖。小林孝亘微妙地運用明暗光亮、色調的配置，以及柔軟輕盈的質感調和，使得整體畫面散發出輕柔愜意的氛圍，而平穩寧靜的存在狀態顯得更加具有真實感。人們睡著的樣貌猶如鏡中之像，在一般的情況下，人們看不見自己睡著的模樣，而人們會在周遭物件和環境中反射出的自己，以及他人眼中描述的自己，深感體會與省思，才能感受到自身的存在與本質。

121 KOBAYASHI TAKANOBU

小林孝亘

( Japanese, b.1960 )

夢。我們的夢想

Dream. Dreaming Us 90 x 90 cm Oil on Canvas Signed on the reverse: Takanobu Kobayashi, Bangkok and Tokyo in English, titled in English and Japanese, dated 2001-2002 ILLUSTRATED:

"Kobayashi Takanobu - Dream. Dreaming Us," Seigensha Art Publishing, Inc. Japan, Kyoto, 2014, Page 82 With a certificate of authenticity from gallery

NT$ 300,000-500,000 US$ 9,400-15,700

ZHONG CHENG 中誠

2001-2002 油彩畫布背面簽名：Dream. dreaming us - 私たちを夢見る夢 20012002 Bangkok Tokyo Takanobu Kobayashi 圖錄：

《小林孝亘 - 我們的夢想》，株式会社青幻舎，日本京都， 2014 年，第 82 頁附畫廊開立之原作保證書

122 HISANORI KOJIMA

小島久典

( Japanese, b.1986 )

擬蝶形花

Interdiu Papiliomimus

2022 手工上漆日本絲柏木

42 x 37 x 12 cm Urushi, Japanese Cypress

NT$ 300,000-400,000 US$ 9,400-12,600

小島久典一九八六年出生於日本廣島縣，二〇一〇年畢業於東京藝術大學雕塑系，師從深井隆，他也是曾任東京藝術大學副校長的知名雕刻家藪內佐鬥司的著名學生之一。目前，他在東京藝術大學保護與修復系擔任助理，教授年輕學生，同為文化財保存研究木雕修復專攻的講師。多年修復技法的嚴謹訓練，熟悉文物脆弱和稀有的特性，以及透過作品身上的細微線索，培養出推斷物件當時情況的敏銳觀察力，皆成了使小島久典的創作更加精巧的養分，而「作品」和「藝術品」的分別，就在深厚的技藝和容易被忽視的細節下顯而易見。巧手雕刻出的蝴蝶，細緻入微，看似每片獨立且薄如紙張的蝶翼，事實都是相互連接的，每個波浪起伏銜接極為流暢，運刀方式與速度都需經過極為精細的設計、計算，再配合高超的技巧才能完成。部分蝶翼鏤空的設計，在光影的照射下，凸顯出虛實的層次，絲毫感受不出木頭的重量感，僅留下木材散發出的溫潤感。手工上漆的漸層過渡細膩猶如渾然天成，蝶翼的翅脈也一一被精心雕琢出來，和木材原有的紋理相互配合。全展的蝶翼氣勢引人入勝，卻不帶攻擊性，而是能令觀者感受到平靜穩定，如同蝴蝶翩翩飛舞的的瞬間，被凝結在此刻，時間、呼吸都被靜止了，而我們正欣賞著牠典雅的姿態。

MODERN AND CONTEMPOR ARY ART

The Moment # 6

KOHEI NAWA 時刻 # 6 名和晃平藝術家名和晃平 Artist Koehi Nawa

名和晃平生於一九七五年於大阪日本。他於京都市立藝術大學獲得學士學位，並於京都市立藝術大學繼續深造，獲得碩士學位。在接受嚴格的藝術教育後，他開始在國際藝術界嶄露頭角。他成為法國羅浮宮金字塔下首位展出的亞洲藝術家，這是一個極具歷史性和象徵意義的成就。他的藝術成就和國際影響力在全球藝術舞台上受到高度重視，這也反映出名和晃平在當代藝術界的地位和他在藝術創作中的卓越成就。他目前除了擔任京都藝術與設計大學（研究生院）的教授，也持續在他成立位於京都伏見名為 SANDWICH 創意空間持續專注於個人創作。名和晃平以其「Pixcell 雕塑」系列而聞名，這個系列為他贏得了國際盛譽，展現了他運用多媒材來傳達獨特世界觀的非凡能力。他探索了細胞和表層的深刻概念，引發觀眾對現實與本質之間錯綜複雜的關係進行反思。在他的藝術創作中，名和晃平經常使用流動且透明的材料，並在探索社會、科學、數位與文化等議題的同時，突破感官體驗的界限，挑戰傳統感知的觀念。除了探索這些深刻的主題之外，名和晃平的藝術之旅延伸到多個創意領域，包括時尚、音樂和設計。他與眾多著名品牌的合作彰顯了他作為藝術家的多才多藝。然而，開啟了新的創作系列，從三維立體雕塑轉至二維平面空間意象的表現形式，

ZHONG CHENG 中誠

也就是名和晃平最廣為人知的「時刻」系列。在《時刻 #6》，名和晃平利用一個特製的裝置，該裝置在畫布上由一個點施加一致的壓力，畫布被傾斜，使墨水能夠由一個點流向另一個點。這個過程的結果非常精確與克制，顏料時刻經歷的動作過程皆收錄於畫布之中，但名和晃平決定在原本嚴謹的過程中引入一個隨機元素，他在畫布上隨機插置了大頭針。因此墨水會跳過這些障礙物，並在線條中創造微小但可察覺的間隙。點與網格、線與形狀、整齊的排列與隨機的無固定結構，互相交織的重複行徑，形成既清晰又繁雜的精緻思路軌跡。透過非傳統的藝術創作方式，他採用了一種令人聯想到墨水滴落的技巧，並加入了當代的元素。名和晃平的表現形式，正是在偶然事件和細緻掌控之間的微妙平衡中，捕捉在他面前展開的意外現象。每一刻都成為一幅畫作，記錄了顏料的精妙舞蹈，因為它們在他面前不斷演變。這些點滴時刻在畫布上交織出獨特的藝術作品，其中包含著點與網格、線條和形狀、有序排列和不規則流動結構的複雜思維模式。將無形的運作時刻瞬間就此呈現於觀眾的眼前，透過繪畫形式與技術來探討時間流逝和變化的概念。

名和晃平《參數 #4》丙烯酸在紙上的木質面板，90 x 160cm，私人收藏 Kohei Nawa, Parameter #4, Acrylic on Paper on Wooden Panel, 90 x 160cm, Private Collection

名和晃平《絲絨 - 以太 R》綜合材料，21.2 x 8 x 8cm，限量 10 版，私人收藏 Kohei Nawa, Velvet – Ether (R), Mixed Media, 21.2 x 8 x 8cm, Edition of 10, Private Collection

Born in 1975 in Osaka, Japan, Kohei Nawa is an ar tist of

including societal constructs, scientific paradigms, digital culture,

remarkable distinction. With a bachelor's degree from Kyoto City

and beyond. In doing so, he disrupts established perceptions

University of Arts and a subsequent master's degree from the

and prompts viewers to question the world through an altered

same institution, he embarked on a journey that would establish

lens. Moreover, Nawa's artistic pursuits extend far beyond the

him as a trailblazing figure in the global art arena. His crowning

traditional boundaries of his craft, branching into the realms of

achievement was becoming the first Asian artist to showcase his

fashion, music, and design. Collaborations with illustrious brands

work beneath the hallowed Pyramid of the Louvre Museum in

underscore his versatile and multifaceted artistic identity.

France, a historic and emblematic milestone. Nawa's artistry transcends borders, resonating on an international scale and captivating audiences worldwide. His oeuvre reflects his elevated status in the contemporary art realm and his unparalleled creative prowess. Currently, in addition to his role as a professor at Kyoto University of Art and Design's Graduate School, he continues to channel his creative energies into his personal endeavors through the innovative space known as "SANDWICH"

Notably, Nawa embarked on a transformative journey with the inception of his "Moment" series, marking a shift from threedimensional sculptures to the portrayal of spatial imagery in two dimensions. This shift is epitomized in "Moment #6," where Nawa employs a custom device to apply uniform pressure from a single point onto a tilted canvas. The result is a precisely controlled process that captures the intricate dance of pigments as they journey from one point to another. Yet, Nawa introduces

in the picturesque district of Fushimi, Kyoto.

an element of chance by randomly placing pins on the canvas,

At the heart of Nawa's artistic legacy lies the celebrated "Pixcell

discernible voids within the lines.

Sculpture" series, an oeuvre that has garnered global acclaim. This series serves as a testament to his extraordinary capacity to convey a singular perspective by melding diverse materials. Within these works, he delves into profound concepts of cells and surfaces, prompting contemplation of the intricate interplay between reality and essence.

leading the ink to skip these obstacles, leaving behind subtle but

In this artistic alchemy, points and grids, lines and shapes, str uctured order and spontaneous f low intric ately weave together. Each canvas becomes a canvas of moments, a visual record of the serendipitous movements of pigments, provoking contemplation of the ephemeral nature of time and the perpetual dance of change. Through this unique fusion of mediums and

Intriguingly, Nawa's artistry often embraces flowing, translucent

techniques, Nawa invites us to explore the profound concept of

materials, challenging the conventional boundaries of sensory

fleeting moments and their indelible impact on our perception of

perception. His exploration spans a rich tapestry of themes,

the world.

MODERN AND CONTEMPOR ARY ART

123 KOHEI NAWA ( Japanese, b.1975 )

Moment # 6 94 x 156 x 5 cm Mixed Media on Paper With a certificate of authenticity from gallery

NT$ 580,000-750,000 US$ 18,200-23,500 名和晃平時刻 # 6 2014 綜合媒材紙本附畫廊開立之原作保證書

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

The RD NO. 20

YAMAGUCHI MEGURU RD NO. 20 山口歷

山口歷，一九八四年出生於東京澀谷，二〇〇七年移居紐約，現於布魯克林居住及創作。在技法、形式、風格、觀念都延續日本戰後具體派 (Gutai) 宣言：「創造前所未有的事物！」的價值革新與再建立，為此關於山口歷的美學脈絡可溯源自日本戰後藝術流派「具體派」摒棄常規創作工具，藉以重新審視人類精神與物質維度的實驗於藝術創作上觀點的啟發。而山口歷則以當代文明與文化日常產物作為創作素材，恰好以一種全新的姿態回應了日本傳統「浮世繪」對時代、社會、風俗之描摹，並透過具體派的形式、觀念提煉成作品，相對地也撐開具體派過渡至「集體精神」、「全新物質的面向」。在看似歐美調性的表象下，蓄含著立基日本藝術史之後的全新路徑，已然在一個宏大架構中進行當代變奏的突破。為探尋繪畫的新可能，山口歷另闢新徑，創作混亂、生動、紛雜而濃墨重彩的抽象圖案，以另類的手法表現繪畫中最基本的元素之一：筆觸。一如具體派大師白髮一雄 (Kazuo Shiraga) 棄畫筆，以雙足繪畫以研究身體與物質的關係，山口歷亦透過鑽研筆觸脫離畫布之法，探索擺脫平面創作侷限的可能。這幅《RD NO. 20》，每一筆，即使只簡單地採用了幾個顏色，亦能生生不息地，譜寫出一種律動感，其漸層、光澤、凹陷或是尖凸，無不瀟灑至極。在名為「創作」的萬花筒下，藝術家一揮一毫，能夠把眼見寰宇，耳聽八方，把所見所聞，經過當下的內化，頃刻間即興發揮，成為某個橫亙永恆的唯一。藝術家此次嘗試跳出圭臬，不以四方形當作完成標準，像是在真空狀態下，仍使勁全力想要鼓動翅膀的飛禽，缺少了那一角，或者說，即使弄丟一個看似必要的條件，究竟是如失左膀右臂，還是其實才找得到，跟隨直覺而生的真正出口。一旦作品殘留著某些固有的、眾所周知的形影，對創作者，尤其是拿前衛和獨創為準則的山口歷而言，縱然會達成一定程度的協調，但不免會漸漸地顯得無聊。

藝術家白髮一雄 Artist SHIRAGA KAZUO

ZHONG CHENG 中誠

他的藝術實踐橫跨多個古今流派，已然在群雄薈萃的交響樂中，奏出一段氣勢磅礡的實驗性快板。話鋒至此，當我們再度看向「創造前所未有的事物！」與山口歷的創作相互呼應，更能反映出藝術家透徹地琢磨這句箴言，透過標誌性的飛濺塗鴉，上演了一場收合生命中一切經驗以及體察與觀想的嘉年華，反映了構築世界不同視角。山口歷認為，宇宙由不斷流動且持續變幻的能量所塑造，譬如一朵雲，但它也可以成為雨，成為海，成為生命，輕易地給出定義或解釋，反而為思想堆砌了水泥石牆。能量在濃淡曲折之間擺迴，作品中，蘊具其內的恣意如塵沙飛揚。

歌川國芳 (1797-1861) 《玉朝及其兒子被天狗所拯救》1848-1852 © 大英博物館托管會 Utagawa Kuniyoshi (1797-1861), Tametomo and his Son Rescued by Tengu, 1848-1852 © The Trustees of the British Museum

山口歷《Dnershed 身份》壓克力畫布錶木板， 20.7 x 21 x 4.7cm，私人收藏 Yamaguchi Meguru, Dnershed Identity, Acrylic on Wooden Canvas, 20.7 x 21 x 4.7cm, Private Collection

Reki Yamaguchi, born in Tokyo's Shibuya district in 1984, made

and the material, Yamaguchi Reki pushes the boundaries by

a significant move in 2007 when he relocated to New York.

experimenting with techniques that liberate brushwork from the

Presently, he resides and crafts his art in the vibrant borough

confines of a two-dimensional canvas.

of Brooklyn. His creations are an exquisite fusion of Hip Hop, classical influences, jazz notes, and the raw energy of street culture. Not content with the conventional constraints of the art world, Yamaguchi breathes new life into his works with bold, powerful strokes that infuse them with an unceasing dynamism. In 2016, he gained recognition for his "Boundary" series, which pulsates with a boundless vitality and an unrestrained expression of the artist's purest self.

In his work, RD NO. 20, every brushstroke, even when employing just a handful of colors, emanates a vibrant, rhythmic pulse. These strokes gracefully create gradients, imbue surfaces with luster, and craft intricate reliefs. It's as if, under the ever-shifting kaleidoscope of the creative process, the artist captures the entire world, channeling the sights and sounds of the world around him into the present moment and spontaneously translating them into a timeless masterpiece. In this endeavor, the artist seeks to

In his relentless quest for fresh possibilities in the realm of

transcend the conventional norms and standards, painting outside

painting, Yamaguchi charted an unorthodox path. His creations

the lines. It's akin to a bird in a vacuum, still fervently trying to

are a whirlwind of chaos, vivid hues, intricate complexity, and

take flight, whether with a missing element or, to put it another

the lavish use of abstract patterns. What sets his approach apart

way, by losing what may seem indispensable. The true exit lies

is his innovative handling of one of the fundamental aspects of

in following one's intuition. Even when certain familiar and well-

art—brushwork. Echoing the trailblazing spirit of abstract master

known forms persist in the artwork, for an artist like Yamaguchi,

Kazuo Shiraga, who famously cast aside traditional brushes to

who upholds avant-garde and originality as guiding principles,

paint with his feet and explore the interplay between the body

excessive conformity gradually loses its allure.

MODERN AND CONTEMPOR ARY ART

124 MEGURU YAMAGUCHI ( Japanese, b.1984 )

RD NO. 20 110 x 106 x 2.5 cm Acrylic and Epoxy Resin on Wood Signed on the reverse: Meguru and titled in English, dated 2018 EXHIBITION:

"Restricted District Scope," GR gallery, Miami, USA, December 4th - 9th, 2018

NT$ 1,300,000-1,500,000 US$ 40,800-47,100 山口歷 RD NO. 20 2018 壓克力環氧樹脂木板背面簽名：RD NO20 meguru 2018. 展覽：

「受限區域視野」，GR 畫廊，美國邁阿密，2018 年 12 月 4 日至 9 日

藝術家山口歷 Artist Yamaguchi Meguru

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

藝術家天野健 Artist Takeru Amano

ZHONG CHENG 中誠

The Artemis & Actaeon

TAKERU AMANO 狩獵女神阿緹密絲與阿克泰恩天野健

MODERN AND CONTEMPOR ARY ART

《阿克泰恩被狗攻擊》菲亞納的噴泉，皇家公園，卡斯特拉，意大利 Actaeon Attacked by Dogs, Fountain of Fiana and Actaeon, Royal Park, Castra, Italy

一九七七年出生於東京的天野健(天野タケル) 其父親是日本殿堂級

而天野健在這美學思潮下，則是從希臘神話故事與歐洲古典藝術中

的動畫師-天野喜孝，因此天野健從小就伴著舞台設計、服裝設計、

便找到了屬於他自己的創作語彙，將超扁平風格融入神話元素、神聖

插畫、動畫美術、電玩美術…等創作滋養，這樣的環境啟發了他那

莊嚴構圖、幾何視覺平衡構成…等條件中，便讓天野健畫中的題材

得天獨厚的藝術家基因，勢必也讓天野健踏入藝術創作的道路。在

對象變成Q版可愛的面目，一切再有晦澀的事物都像是更接近人們的

一九九七年旅居美國學習版畫創作，並在當地接觸到新普普藝術

日常世界，這也是「扁平化」後的魅力。當中，天野健從最早的人物系

(Neo-Pop Art)、新表現主義(Neo expressionism)…等後現代主義藝術飽滿盛況，直到二〇〇〇年從紐約學成返日，模索後找到了屬於自

列- 「維納斯(Venus)」將這位希臘女神若隱若現的完美女體形象發

己並且跳脫父親帶給他的藝術脈絡，正逢當年代醞釀成熟的日本文

臘女神與其現代化姿態的作品。

化風潮蓄勢席捲全球，起初從科幻電影興盛，日本也在其中發展並在娛樂文化與藝術脈絡中逐漸形成一套專屬的動漫風格，伴隨著現代文明與生活的演變趨勢，娛樂文化的視野逐漸也從對科幻想像併行著消費文化的延伸，動漫世界收縮至一種對日常生活的親近，流行起一種吸收魔幻視覺元素、動畫風格由技術轉為主體的日本新普普藝術路徑-「超扁平畫派(Superflat)」。

《狩獵女神阿緹密絲與阿克泰恩》一作中女神原形就是希臘神話的狩獵女神- 阿緹密絲(Artemis)，呈現跪坐將一隻手放在變成牡鹿的阿克泰恩(Actaeon) 背上，另一隻手則有意地遮擋胸部避免曝光，再現奥維德《變形記》記載底比斯國王子阿克泰恩因為在基賽龍山偶然看見赤裸的阿緹密絲沐浴，而受到憤怒的阿緹密絲處罰變成一頭牡鹿的故事。轉變為天野健筆下的現代而扁平化作品，這樣的神話除

超扁平畫派的先驅- 村上隆認為日本社會就是「超扁平風格」，將來

了變得更富饒新舊時代的曲異同歸趣意，在不論是人物姿態上、表情

大眾文化、社會制度及藝術都會變得扁平化。在村上隆提出的超扁平

上、用色上、畫面和視角構圖上增添了一種幽默的戲劇感。如此創作

意義中，所謂的扁平是畫板的二度平面，而立體和深度則表現在畫作

形式不管是借古喻今、還是以今論古，天野健的作品所轉化的美與其

的投射。因此即便都是超扁平的畫風，不同藝術家對於作品的呈現，

故事都成為了帶來逗趣和無限想像的載體，或許這也是人們不論面對

也會有所差異，從藝術家的創作動機、圖像運用、色彩構圖，呈現各自

生活或是神話，其中真正重要的能量。

獨有的風格與氛圍，辨識出二度空間中潛沉的立體世界觀。

揮在畫中，並與現代生活的象徵物互動呼應，而後發展出一系列以希

ZHONG CHENG 中誠

In the year 1977, in the vibrant city of Tokyo, Takeru Amano was

the projection of images. Despite the shared Superflat aesthetic,

born into a world steeped in artistry. What made his upbringing

individual ar tists brought their own unique perspectives,

particularly unique was the fact that his father happened to be the

motivations, and approaches to their works. They breathed life

renowned Japanese animator, Yoshitaka Amano. Growing up,

into the two-dimensional canvas, creating hidden depths and a

Takeru was immersed in a tapestry of creative disciplines, from

three-dimensional world within their art.

stage and costume design to illustration, animation art, and even video game aesthetics. This rich and diverse environment served as fertile soil for nurturing Takeru's innate artistic talents, setting the stage for his journey into the world of artistry.

In this artistic wave, Takeru Amano found inspiration in Greek mythology and classical European art. He seamlessly integrated the Superflat style with elements of mythology, sacred and harmonious compositions, and geometric

In 1997, Amano embarked on a life-changing

visual balance. His distinctive touch

journey to the United States, where he

was to reimagine complex and esoteric

delved into the realm of printmaking. During

subjects with a "chibi" charm, making

this time, he found himself amidst the

them feel approachable and relatable,

flourishing landscape of post-modern art,

thereby capturing the enchantment of

being exposed to movements like Neo-

"flattening."

Pop Art and Neo-Expressionism. It was in

In his initial series, featuring the Greek

this vibrant artistic setting that he began

goddess Venus, he masterfully captured

to shape his own artistic identity. By the

the elusive perfection of this mythological

time he returned to Japan in 2000, he was

figure in his signature style. Building upon

determined to forge a path uniquely his own,

this, he extended his creative journey into

one that would transcend the artistic legacy

a series that depicted Greek goddesses

of his celebrated father.

in modern, relatable scenarios.

This per iod c oinc ided with the global

In this remarkable work Ar temis and

ascent of Japanese popular culture, as

Ac taeo n, breat he s new li fe into t he

it evolved from the heyday of scienc e

Greek goddess Artemis, rendering her

fiction films into the distinctive anime style

in a c ontemporar y, f lat st yle. In this

that would become a def ining facet of

reinterpretation, Artemis kneels, gently

entertainment culture and art. As modern

placing one hand on the back of Actaeon,

society continued its transformation and

who has metamorphosed into a deer. Her

di ve r si f i c at i o n, e nte r t ainm e nt c ulture

other hand discreetly shields her chest,

gradually expanded its horizons. What was once purely a realm of imaginative science fiction narratives expanded to encompass elements of everyday life. This marked the transition from a focus on technical prowess

maintaining her modesty. Amano's playful 《波留克列特斯的持矛者雕像》© 那不勒斯國家考古博物館臧 Doryphoros of Polykleitos, © Naples National Archaeological Museum

to the animation style itself becoming a primary artistic medium, giving birth to what would later be known as the "Superflat" art movement. At the forefront of the Super f lat movement was Takashi Murakami, who posited that Japanese society itself embodied a "superflat" style, where the boundaries between popular culture, societal structures, and art became flattened. In Murakami's conceptualization, "flatness" referred to the two-dimensional

approach infuses humor and drama into Ovid's tragic tale of Actaeon's ill-fated encounter with the bathing Artemis in the woods. Through character postures,

expressions, the use of color, and composition, Amano's work exudes a sense of whimsy and theatricality. Whether using ancient myths to comment on modern life or vice versa, Amano's art transforms both narrative and myth into vehicles of amusement and boundless imagination. In doing so, his work underscores the profound energies that underlie both life and mythology.

canvas, with depth and dimensionality being conveyed through

MODERN AND CONTEMPOR ARY ART

125 TAKERU AMANO

天野健

( Japanese, b.1977 )

狩獵女神阿緹密絲與阿克泰恩

Artemis & Actaeon

2016 壓克力麻布背面簽名：Takeru Amano 2016

163 x 206 cm Acrylic on Linen Signed on the reverse: Takeru Amano in English and dated 2016 ILLUSTRATED:

"Icons," Shibuya Tsutaya, Japan, Tokyo, 2020, color illustrated EXHIBITION:

"Icônes II," Art Statements, Hong Kong, July 21st-September 30th, 2016

NT$ 1,500,000-1,700,000 US$ 47,100-53,400

ZHONG CHENG 中誠

圖錄：

《經典偶像》，澀谷蔦屋，日本東京，2020，彩色圖版展覽：

「經典偶像 II」，Art Statements，香港，2016 年 7 月 21 日至 9 月 30 日

MODERN AND CONTEMPOR ARY ART

藝術家小松美羽 Artist Miwa Komatsu

The VR Prayer: Vermilion Bird

MIWA KOMATSU VR 祈禱：朱雀小松美羽

「長野縣是我成長的地方，我一直住在那里，直到我 18 歲。這個地方是日本擁有最高山脈的縣份。這意味著我們的視野更狹窄，總是感覺山近在咫尺，這裡有著極強的大地能量，滋養著居住在這里的人們。這個地方仿佛靠近天堂，因此我感覺自己能夠與外太空建立聯繫，將地球和天空、宇宙力量以及自己聯繫在一起。高山的地勢使我能夠想像與外部世界深刻的聯繫，遠超越物理界限。」 --- 小松美羽

ZHONG CHENG 中誠

小松美羽生長在大自然條件很豐富的日本長野縣，她形容自己從小就很容易鄉野間迷路，看到很多稀奇古怪的生物，最後都是一隻看起來像是大狼的生物帶她找到回家的路，直到過幾年跟家人去神社時，發現那隻狼就是神社門口的守護獸狛犬；從此她深深為各種守護獸 / 靈著迷，而長大成為畫家後，就熟練地把自己天眼看到的靈獸畫出來，這也是她每次作畫前都要有一段很長的冥想時間，用精神與感官為介質，完全進入天地靈氣的奇幻領域，並且沉浸在那無形的世界。在二〇一九年由 HTC VIVE ORIGINALS 公司，聯合導演 - 劉思明、當代藝術家 - 小松美羽、台灣知名音樂人 - 黃凱，運用 VR( 虛擬實境 ) 技術透過情境、視覺、聽覺…等沉浸體驗，製作具象化小松美羽的靈獸與其世界之 VR 沉浸藝術作品《INORI》。其中小松美羽也為其新媒體作品，特別創作數件「VR 祈禱」系列神獸作品來作為構建虛擬實境的橋樑和角色；並且該作品還獲得入圍了二〇一九年第七十六屆威尼斯電影節、英國雨舞影展…等殊榮，在影展期間除了展示小松美羽的原畫作品外，還開放現場互動。而此件《VR 祈禱：朱雀》也是當中被製作成 VR 影像的原型作品之一。「小松美和是一位來自東方的藝術家。她能看到神秘生物的色彩和靈魂，這是她藝術作品的主要靈感來源。當一個藝術家完成一件獨特的藝術作品時，我相信創作最神秘的不是最終的結果，而是沉思與啟蒙之間的轉折點。那一刻，當內心的靈魂被火花點燃時，那是一層層記憶的積累。它可以來自過去，也可以來自現在，可以是精神的，也可以是人性的。我遇到了這段經歷，並為之著迷，但一直沒有找到合適的藝術家和媒體來記錄這段經歷，直到我遇到了小松美和。借助實時

引擎和沈浸式 VR 技術，我終於可以記錄下藝術家腦海中珍貴的神性瞬間。藝術家對上帝、對人民的愛，就發生在那一刻，向宇宙傳遞最真誠的祈禱。」

---《INORI》導演劉思明

將小松美羽的「天眼作為一種進入神靈界的門」創作方法，轉譯為所有人都可以參與的 VR 頭戴式設備，形成一座門，讓所有人都能進入小松美羽所處的神靈世界，沉浸地體驗常年啟蒙小松美羽的神性精神。《VR 祈禱：朱雀》一作描繪五行神獸之一的朱雀頭部，也是構建《INORI》的五行世界代表之一；在 VR 中觀眾會受狛犬的引領進入火山赤紅的環境中，而透過掌心之石召喚就會見到守護火元素的朱雀。正如原畫中朱雀帶著充斥能量的火紅雙眼，以綻放舞動的姿態現身，藉由畫作厚實飽滿的線性筆觸、賦滿神秘的冷暖色調，帶動佇立於前的觀眾隨之顫動，感應暖陽般的能量並驚嘆朱雀威嚴的神性，身上向外擴張的黑線猶如一對擴張的翅膀，蔓延成為灰燼，醞釀為飄落飛舞花瓣，親觸後化為枝木，生長為生機蓬勃的生命之樹，更迭調和著與其他元素的轉瞬，透過五行的守護獸，所有元素無限地循環。在本源能量場域被具體且具象地顯現，企圖讓觀眾於小松美羽式的祈禱，從中窺測一切事物的根源、對自身靈魂的淨化與生命延展。這一路，隨行的狛犬神獸會用牠們的光輝，引導觀眾找到自我昇華的光芒，這是小松美羽的「VR 祈禱」難以言喻的體驗；回看現實，每件該系列的畫作也多了一層令人品味的維度。

小松美羽展 - 挑戰岡本太郎的靈性和曼陀羅」岡本太郎美術館，日本川崎市，2022 年 6 月 25 日 - 8 月 28 日 “Miwa Komatsu Exhibition - Spirituality and Mandala Challenging Taro Okamoto” Taro Okamoto Museum, Kawasaki City, Japan, June 25th - August 28th, 2022

MODERN AND CONTEMPOR ARY ART

Komatsu Miwa grew up in Nagano Prefecture, Japan, surrounded

technology to create the immersive art piece "INORI." This work

by abundant natural beauty. She describes herself as someone

aimed to visualize Miwa Komatsu's spiritual creatures and her

who easily got lost in the countryside as a child and encountered

world through immersive experiences involving situations, visuals,

many strange creatures. Every time she got lost, a creature that

and sounds.

looked like a large wolf would eventually guide her home. Years later, during a visit to a shrine with her family, she discovered that the wolf-like creature was the guardian beast, Komainu, at the shrine's entrance. Since then, she has been deeply fascinated by various guardian spirits and creatures.

series specifically for this new media artwork, serving as bridges and characters in the virtual reality. "INORI" received recognition at prestigious events such as the 76th Venice Film Festival and the Raindance Film Festival in the UK. During these exhibitions,

As she grew up to become an artist, Miwa developed the skill

Miwa Komatsu's original artwork was showcased, and interactive

of painting the spiritual creatures she saw with her "inner eye."

experiences were made available to the audience. "VR Prayer:

Before each painting, she would enter a deep state of meditation,

Suzaku" is one of the prototype works that were adapted into VR

using her mind and senses as a medium to immerse herself

imagery.

completely in the mystical realm of the natural world and its unseen entities.

Miwa Komatsu also created several pieces in her "VR Prayer"

"Miwa Komatsu is an artist from the East. She can see the colors and souls of mysterious creatures, which are the primary sources

In 2019, with the collaboration of HTC VIVE ORIGINALS, director

of inspiration for her art. When an artist completes a unique

Liu Siming, contemporary artist Miwa Komatsu, and renowned

artwork, I believe the most mysterious aspect is not the final result

Taiwanese musician Huang Kai, they used VR (Virtual Reality)

but the turning point between contemplation and enlightenment.

ZHONG CHENG 中誠

That moment, when the soul within ignites, accumulates layers of

environment, where they can summon Suzaku, the guardian of

memories. It can come from the past or the present, be spiritual

the fire element. Just like in the original artwork, Suzaku appears

or human. I encountered this experience and was fascinated by

with fiery eyes full of energy, dancing in a vibrant posture. The

it, but I couldn't find the right artist and medium to document it

thick, rich brushstrokes and mysterious warm and cool tones in

until I met Miwa Komatsu. With real-time engines and immersive

the painting engage the audience, making them resonate with

VR technology, I can finally capture the precious divine moments

the warm energy and awe-inspiring divinity of Suzaku. The black

in the artist's mind. The artist's love for God and the people happens in that moment, conveying the most sincere prayer to the universe."

--- Director Liu Siming of "INORI"

Miwa Komatsu's method of using her "inner eye" as a gateway to the world of spirits is translated into VR headsets accessible to everyone, creating a doorway for all to enter her spiritual

lines expanding from Suzaku's body resemble wings, evolving into ashes, then transforming into floating petals upon touch. They grow into flourishing trees, seamlessly transitioning with other elements, representing the infinite cycle of all elements. In this tangible and concrete field of primal energy, the aim is to allow the audience to glimpse into Miwa Komatsu's form of prayer and experience the purification of their own souls and the extension of life. Along this journey, the guardian Komainu

world. Participants can immerse themselves in the divine spirit

spirits accompany the audience, guiding them towards their

that has enlightened Miwa Komatsu throughout the years. "VR

inner enlightenment with their radiance. This is the indescribable

Prayer: Suzaku" portrays the head of Suzaku, one of the Four

experience of Miwa Komatsu's "VR Prayer." Looking back at

Symbols, and represents the elemental world in "INORI." In

reality, each piece in this series gains an additional layer of depth

VR, the audience is guided by Komainu into a fiery volcanic

and meaning.

MODERN AND CONTEMPOR ARY ART

126 MIWA KOMATSU

小松美羽

( Japanese, b.1984 )

VR 祈禱：朱雀

VR Prayer: Vermilion Bird

2018 壓克力畫布背面簽名：2018 KoMiwa 小松美羽

91 x 72.7 cm Acrylic on Canvas Signed on the reverse: Ko Miwa in English and Miwa Komatsu in Chinese, dated 2018

展覽：

EXHIBITION:

「小松美羽：神祈」，白石畫廊，台灣台北，2019 年 12 月 7 日至 2020 年 1 月 5 日

"Miwa Komatsu: Prayer," Whitestone Gallery, Taipei, Taiwan, December 7th, 2019-January 5th, 2020

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 1,600,000-2,100,000 US$ 50,200-65,900

於白石畫廊舉行「小松美羽 - 神祈」展覽開幕 The opening of the “Akiha Komatsu - Divine Prayer” exhibition is held at Shirayuki Gallery

“Nagano Prefecture is where I grew up and have lived there until I was 18 years old. This is the prefecture in Japan that has the highest mountains in the country. It means that one gets a narrower view of the sky and it always feels like the mountains are close to you, there is a great sense of earth energy nourishing people who live there. This place felt close to the heavens and therefore I felt that I could establish a connection with the outer space, linking Earth and Sky, cosmic forces and me. Being so high up enabled me to imagine a deep sense of connection with the outside world, far beyond physical borders.” ---Miwa Komatsu

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

The Pumpkin

YAYOI KUSAMA 南瓜草間彌生

藝術家草間彌生 Artist Yayoi Kusama

草間彌生《無限網》1961 © YAYOI KUSAMA Yayoi Kusama and Infinity Net, 1961; Artwork © YAYOI KUSAMA

草間彌生 (Yayoi Kusama) 是現今日本最重要和最著名的藝術家之一，她的作品以多維、多媒體、多元化而聞名於世。然而，如果要選擇她最具代表性的符號，那南瓜絕對是一個首選。在她的南瓜系列作品中，不僅僅有令人驚艷的藝術，還有深刻的象徵和生命力的流動。本文將深入探討草間彌生的南瓜畫作，探討這些作品背後的意義以及她在藝術史上的地位。她的藝術生涯涵蓋了多種媒體，包括繪畫、雕塑、裝置藝術、表演藝術和文學。她的藝術風格難以歸類，但它經常與極簡主義、抽象表現主義和波普藝術相關聯。無論如何，她的藝術總是充滿了對生命、愛、死亡和無限的思考。在草間彌生南瓜作品前，無限的網系列從一九五九年紐約發跡，將自己精神世界的見聞與感受以不斷擴散、連續、密集的碎狀筆觸，如蕾絲般包覆的形式語彙表達出來，從剛開始的畫布到畫架，再到整個房間與展場，讓觀眾從理解到進入與草間彌生共感沉浸，這也由於困擾草間彌生的幻覺復發加重，在那以後，她一直在不同的媒材和題材中反覆使用這個語彙。而南瓜主題尤其是她藝術世界中的一個重要象徵，這個看似簡單的主題承載了豐富而多維的意義。南瓜代表了她的童年回憶。她在日本農村長大，那裡的南瓜田充滿了生機和顏色。南瓜的形狀和色彩在她的腦海中留下了深刻的印象，成為了她藝術中的常駐主題。草間彌生的作品常常受到她對精神疾病的鬥爭的啟發，同時重新梳理南瓜對她生命的意義，最後她認為南瓜代表了生命的生生不息，正如南瓜的種子無盡地生長和繁衍。南瓜成為了她對生命、愛和死亡的象徵，也代表了無限的多維性。在草間彌生的作品中，南瓜經常在不同的媒體和風格中出現，如平面畫作、雕塑、裝置藝術，以及她的著名的「無限之屋」(Infinity Mirrored Rooms) 裡。

這種多維性反映了她的藝術探索多樣性，以及她面向世界、宇宙無限可能性的信仰。草間彌生的南瓜畫作常常以極簡的方式呈現，以單一的南瓜形象為主。然而，這種簡單的形式背後隱藏著豐富的象徵和情感。草間彌生的南瓜畫作是對現實的重新詮釋，她將一個日常物件提升到藝術的層次；這種轉化表現了藝術家的獨特視角和創造力，同時也向觀眾傳達了藝術的力量，它可以改變我們對世界的看法，使平凡的事物變得非凡。南瓜也成為了草間彌生自我認同和身份的探索材料之一。草間彌生在自己的作品中經常以南瓜自己的形象呈現，這種自我投射的方式反映了她對自我認識和身份的思考。這也與她的無限之屋作品相呼應，觀眾在其中看到無數的自己，反映了自我認識的多面性。最後，南瓜畫作代表了對於無限之美的追求。草間彌生的南瓜畫作中常常有無限重複的圖案，這些圖案創造出一種無限的視覺效果。這種無限性引領觀眾進入一種超越現實的狀態，使他們沉浸在藝術之中，並感受到無限之美的存在。草間彌生的南瓜畫作在藝術界享有極高的地位，被譽為當代藝術的經典之一。她的南瓜系列作品不僅在世界各地的畫廊和博物館展出，還成為藝術市場上的常勝軍。深受收藏家和藝術愛好者的喜愛，其價值也持續攀升。而草間彌生的南瓜作品之所以如此受歡迎，是因為它們具有普世的意義和深刻的象徵，並融合了草間彌生的童年記憶、生命力的流動、無限的多維性以及對於藝術的無限追求。在進入草間彌生的宇宙後，藉由這些元素精巧地揉合，觸動每個觀眾的內在與感官，思考生命、希望和無限的主題。

「草間彌生：無限鏡回顧展」美國華盛頓赫希杭博物館 (2017) Installation, Yayoi Kusama: Infinity Mirrors, Retrospective Exhibition, Hishhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, USA (2017) Artwork: ©Yayoi Kusama

MODERN AND CONTEMPOR ARY ART

草間彌生《南瓜 YY》1996，版畫限量 120 版， 22.8 x 29.8cm，私人收藏 Yayoi Kusama, Pumpkin (YY)), 1996, Print, Edition of 120, 22.8 x 29.8cm, Private Collection

草間彌生《黃色南瓜》日本直島海灘 Yayoi Kusama's Yellow Pumpkin on Naoshima Beach, Japan©Yayoi Kusama

Yayoi Kusama is undeniably one of the most prominent and

to employ this unique artistic vocabulary across a diverse range

celebrated contemporary artist in Japan today. Her body of work

of media and themes. The pumpkin theme, in particular, holds

is distinguished by its multidimensionality, multimedia approach

profound significance within her artistic universe—a seemingly

and diversity. However, if one were to select her most emblematic

straightforward subject that unfolds into a multidimensional

symbol, the pumpkin would undeniably take center stage. Within

tapestry of meanings.

her remarkable pumpkin series of artworks, one finds not just visually captivating art but also profound symbolism and a vibrant, pulsating life force. In this article, we embark on an in-depth exploration of Yayoi Kusama's pumpkin paintings, delving into the rich tapestry of meanings they encapsulate and her esteemed position within the annals of ar t histor y. Kusama's ar tistic journey transcends numerous mediums, encompassing painting, sculpture, installation art, performance art, and literature. While her artistic style eludes easy categorization, it often intersects with minimalism, abstract expressionism, and pop art. Regardless, her art consistently pulsates with reflections on life, love, death, and the infinite. Before Yayoi Kusama's renowned pumpkin works, her Infinity Net series made its debut in New York in 1959. She employed a continuous, interconnected web of densely layered, intricate brushstrokes that resembled delicate lacework. This technique allowed her to convey the sensory impressions and emotional

The pumpkin, for Kusama, serves as a emotional conduit to her childhood recollections. Raised in rural Japan, she was surrounded by vibrant and colorful pumpkin fields. The shapes and hues of pumpkins left a lasting impression in her mind, leading to their perpetual presence in her art. Kusama's creative works often find inspiration in her personal struggles with mental illness, inviting her to reevaluate the role of pumpkins in her life. Ultimately, she perceives pumpkins as symbols of life's unending cyclical nature, much like how pumpkin seeds germinate and proliferate ceaselessly. Pumpkins, for Kusama, encapsulate reflections on life, love, death, and the boundless multidimensionality of existence. In Yayoi Kusama's artworks, pumpkins frequently appear in various medium and styles, including paintings, sculptures, installation art, and her iconic Infinity Mirrored Rooms. This intrinsic multidimensionality is a mirror of her artistic quest for diversity and her unshakable faith in the infinite potentialities within our world and the cosmos.

landscape of her inner world. What began as intricate canvases

Kusama's pumpkin paintings often adopt a minimalist approach,

soon extended to encompass entire rooms and exhibition spaces,

focusing primarily on a single, iconic pumpkin motif. However,

immersing viewers in Kusama's artistic realm. This immersive

beneath this apparent simplicity lies a rich symbolism and

quality owes its existence to Kusama's recurring hallucinations,

emotion. Kusama's pumpkin artworks are a reinterpretation of

which grew more intense over time. Consequently, she continued

reality, elevating an everyday object to the realm of art. This

ZHONG CHENG 中誠

草間彌生《南瓜 BB-C》 2004，版畫限量 80 版，24 x 28.5cm，私人收藏 Yayoi Kusama, A Pumpkin BB-C, 2004, Print, Edition of 80, 24 x 28.5cm, Private Collection

藝術家草間彌生 Artist Yayoi Kusama

transformative process showcases the artist's unique perspective

meld intricately, stirring the inner senses and thoughts of each

and boundless creativity, while simultaneously transmitting

viewer, prompting profound reflections on life, hope, and the

the profound potency of art—the ability to metamorphose our

boundless themes that define our existence.

perception of the mundane into the extraordinary. Pumpkins have also become a means for Yayoi Kusama to explore her identity and self-awareness. In her works, Kusama often presents herself as a pumpkin, reflecting her introspection into questions of self-identity. This self-projection resonates with her Infinity Mirrored Rooms, where viewers encounter myriad reflections of themselves, portraying the multifaceted nature of self-awareness. Finally, pumpkin paintings signify a pursuit of boundless beauty. Yayoi Kusama's pumpkin works often feature patterns of infinite repetition, generating a visual effect of boundlessness. This infinite quality transports viewers into a realm beyond the constraints of reality, immersing them in art and allowing them to experience the presence of infinite beauty. Yayoi Kusama's pumpkin paintings hold a significant position in the art world, acclaimed as classics of contemporary art. Her pumpkin series not only graces galleries and museums across the globe but also commands a formidable presence in the art market. Eagerly sought after by collectors and art enthusiasts, their value continues to soar. The widespread appeal of Yayoi Kusama's pumpkin works can be attributed to their universal significance and profound symbolism, inter woven with her c hildhood memories, the ceaseless flow of vitality, multidimensionality, and her unwavering dedication to the world of art. As one immerses themselves in Yayoi Kusama's artistic universe, these elements

Jackson Pollock 作品 © The Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York Jackson Pollock Artwork © The Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York

MODERN AND CONTEMPOR ARY ART

127 YAYOI KUSAMA ( Japanese, b.1929 )

Pumpkin 14.2 x 18 cm Acrylic on Canvas Signed on the reverse: Yayoi Kusama in English, titled in Japanese and dated 1997 PROVENANCE:

Mainichi Auction, Japan, June 6th, 2020 Lot 242 This work is accompanied by a registration issued by YAYOI KUSAMA Inc.

NT$ 9,000,000-15,000,000 US$ 282,600-471,000 草間彌生南瓜 1997 壓克力畫布背面簽名：yayoi kusama 1997 かぼちゃ來源：

日本 Mainichi 2020 年 6 月 6 日拍賣編號 242 附株式會社草間彌生藝術品登錄書

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

128 HSIAO CHIN ( Taiwanese, 1935-2023 )

Verso Il Giardino Eterno - 51 80 x 130 cm Acrylic on Canvas Signed on the reverse: Hsiao in English, Chin and dated 1993 in Chinese, titled in Chinese and Italian, size 80 x 130 cm With a certificate of authenticity from gallery

NT$ 1,100,000-1,600,000 US$ 34,500-50,200 蕭勤往永久的花園之 51 1993 壓克力畫布背面簽名：Hsiao 勤九三「往永久的花園之 51」 "Verso il giardino eterno - 51" 80 x 130 cm. 附畫廊開立之原作保證書

「作畫對我來說並非『作畫』，而是通過作畫來對我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的發揮。換句話說，我的作品的基礎，與其說是純藝術的或純繪畫的或唯美的，不如說是更屬於哲學、玄學及神秘學探討的範疇。」 --- 蕭勤

龐圖 (Punto) 國際藝術運動在一九六六年結束之後，蕭勤展開了截然不同的事業旅程，包括先到倫敦工作半年，再到紐約旅居並發展六年，直至一九七二年才回歸米蘭，並於一九七八年及一九八〇年重新踏足闊別二、三十年的台灣與中國大陸。蕭勤此時之行跡，體現了他對於全球藝術發展的敏性，以及廣泛的活動能力，譬如一九六六年他在倫敦雖然只有短短半年，已經在當時非常重要的前衞畫廊「信號倫敦」(Signals London) 展出，並與旅英華人藝術家林壽宇聚首。一九六八及一九六九年，又結識了羅斯科 (Mark Rothko) 及德庫寧 (Willem de Kooning)；此外，他在一九七七年於米蘭發起「國際 SURYA 運動」，以及一九八九年在丹麥哥本哈根發起「國際 SHAKTI

ZHONG CHENG 中誠

運動」，均可視為「龐圖國際藝術運動」之延續，而蕭勤的抽象繪畫，亦在「禪」與「炁」的方向持續發展。某次訪談中蕭勤提到創作的機動性，更強調了機遇性，這種機遇性的肯定，一方面是從「宇宙不斷凝散」的變化原理而來；另一方面是把「佈置、佈局」的要求開放出來。一九七六、七七年之後，蕭勤的畫作經常出現一大幅空白的布上，或是一線波浪剛剛馳入，或見幾度馳行的顏色即將馳出，或一些淋漓的活動從邊緣灌過，或似狂風回南搖北而去，或如潑彩剛潑出而凝掛如瀑布在太空之中，蕭勤無疑也是對自然行止的機遇性有著巨大的信念，而這個信念的哲學根源顯然是道家對萬物萬象萬變有自律的肯定。

一九九〇年蕭勤歷經痛失女兒 - 莎芒妲 (Samantha) 這段他人生中最黑暗的時光，同時也標誌著他藝術生涯中的一個重要轉折點。面對巨大的衝擊，或許需要空間自我療癒、或許想找個地方自我保護，蕭勤因而創作出「永久的花園」系列作品，此件作品正是該系列的其中之一，將波瀾的現實隔絕畫中的寂靜之外，在藝術家親自灌溉的花園中，望入那勻稱淡藍漣漪，洗滌身心；這是對於生命的重新靜思，也是藝術家和自我進行的對話。

如雲霄絲連，又有若浪粼粼之幽幽，出其不意的色塊潰散或努力的挽

一九九三年《往永久的花園之 51》是蕭勤從悲傷中頓悟出生命的珍貴永恆；運用鮮豔的色彩為主體，以豪放恣意的揮筆刷出大面積橫條藍色，搭配溫吞漫遊的曲線，每一筆刷濃淡之間的淺淺空白使畫面猶

境，容納自己的精神世界。女兒的逝世並不是結束，而是她走入了無

留，肌理的躁動與靜思的能量完美地平衡其中，「動」與「靜」，「時間性」及「永恆性」揉合於一體。即便是置身於外的觀者也能從中感受到廣闊的治癒、共感那新生的意象；這不只是蕭勤的自我療癒蟬域，觀者更彷彿能在這能量情境中進行一場無聲的對話。蕭勤的花園並非真實存在，亦非虛構，是像一面鏡子折射出蕭勤的心垠的宇宙，也進入了蕭勤的心田，並在蕭勤繪製的連接無垠宇宙的永久花園互相陪伴。

MODERN AND CONTEMPOR ARY ART

蕭勤藝術家蕭勤 Artist Hsiao Chin

HSIAO CHIN

「我覺得我只是一個『傳達者』，而不為我曾是一個『獨創的表現者』而驕傲，因為唯有如此『心虛』及『無我』，我才能感受到及接受更多的東西將之傳達出來」 --- 蕭勤超過一甲子的創作歲月中，蕭勤歷經旅居西方外部環境的變遷、發起國際藝術運動、自身創作意識的轉型，甚或遭遇人生悲痛打擊，創造出「非形象藝術」、「行動繪畫」、「道」、「靜觀內省」、「硬邊」、「禪」、「炁」、「宇宙風景」、「度大限」、「美麗新世界」、「永恆的花園」、「三昧地」以及「光明彼岸」…等系列藝術創作的璀璨光譜，探討不同生命議題與宇宙原理，反映跨文化多元思想，體現「超以象外，得其圜中」的藝術境界。《新世界之六》作為蕭勤「美麗新世界」的系列之一，以浩瀚的畫布為空間，構思震盪能量中的漩渦圓之形並以高視波的紅設色，左下角動向性的縱線以靈活機動的姿態露出段落並保留向畫外延伸的可能：一面兼得造型形式的平衡、一面得宜地控制極端彩度的冷暖協調，賦予此件作品讓觀眾隨之亦動亦靜的感染力，那也是蕭勤的作品最迷人的地方，他用一幅幅作品開啟了一扇扇「大門」，而當他完成一件作品後，他則更像是一位引路人，指引觀眾隨同以觀之心境連結無垠宇宙之淨化與啟迪。

ZHONG CHENG 中誠

當近距離觀之，則可見巨大的紅色圓點實由多個點狀小塊面統攝構成，如同排列著無數能量的原子，呈現隱形的龐大勢能。每一筆的紅色狀若「小我」的細微積累，似蕭勤以生命寫就的點滴業力，凝聚成緊密而勃發的姿態，實現其對個人生命大境以及宇宙「大我」精神的雙重表露。除此之外，他更以點狀噴繪的方式，在圓點和縱線周圍灑上斑駁的細小彩點，使之紛紛向外散溢至留白空間，使中心與四周形成統一的有機體，小我與大我匯通相連，象徵無限宇宙中生生不息的生命力。在萬象的湧動中，藝術家若獲新生的力量，自精神浩嘆中載寓生命感悟所得的宇宙天地。蕭勤在此完美地融入道家「易有太極，是生兩儀，兩儀生四象」的宇宙觀，展磅礡動勢，萬千恢弘。此作之獨特的構型首見於蕭勤一九九七年的《新世界之六》，核心的巨大圓形以四象環繞，詮釋了宇宙運行不息的意境。而他以六十二歲高齡完成此幅，足見其駕輕就熟、臻於化境的藝術成就。他將多年的創作思想融會貫通，過往的形式探索已淬鍊為成熟的藝術語彙，思想亦達至圓滿的心靈世界，心即宇宙，大智孕生，呈現生命本源的無限。

129 HSIAO CHIN

蕭勤

( Taiwanese, 1935-2023 )

新世界之六

The New World - 6 150 x 150 cm Acrylic on Canvas Inscription on the reverse: titled The New World - 6 in Chinese and English, media Acrylic on Canvas in Chinese ILLUSTRATED:

1. "Hsiao Chin - Gathering Force," Dimensions Art Center, Taipei, Taiwan, 1997, Page 117 2. "Hsiao Chin," Dimensions Art Center, Taipei, Taiwan, 1998, Page 121 With a certificate of authenticity from gallery

1997 壓克力畫布背面款識：「新世界之六」 "The New World - 6" 布上压克力画圖錄：

1. 《蕭勤 - 聚合能量》，帝門藝術中心，台灣台北，1997 年，第 117 頁 2. 《蕭勤》，帝門藝術中心，台灣台北，1998 年，第 121 頁附畫廊開立之原作保證書

NT$ 1,800,000-2,800,000 US$ 56,500-87,900 MODERN AND CONTEMPOR ARY ART

The Rising Earth

LIU KUOSUNG 升起的地球劉國松

「他向西方拿來，又向祖上拿來，為抒胸中塊壘，擇一切手段，點、線、面塊、行雲流水、剝皮抽筋…竭力想從傳統的紙質發揮創造獨特的新肌理效果。」 --- 吳冠中

劉國松受譽為「現代水墨畫之父」，其藝術創作無論在西方或中國藝壇皆享有崇高地位。他以創新的視角和獨特的藝術風格，融合傳統水墨畫的詩意與現代科技元素，創作出一系列令人驚艷屏息的太空水墨畫，其中二〇〇五年作品《升起的地球》即展現了他對於宇宙的無限追求，以及對於生命、時間和永恆的思考。太空畫系列是劉國松的一大創新，他的發想源於一九六八年的美國太空船阿波羅八號拍攝的地球照片。這幅真實的地球照片與中國傳統的「天圓地方」觀念形成鮮明對比，如此奇特的景觀激發了劉國松對於太空主題的深深迷戀。他在創作太空畫時，運用自己獨創的紙筋和拓墨法，表現出豐富的肌理和層次感，使畫面顯得更加豐富多彩。太空畫系列從一九六九年的《地球何許？》一直延續至今，劉國松不斷地尋找和革新，使作品中的想像力和奇幻感得到最大程度的發揮。在《升起的地球》這幅作品中，劉國松所傳達的不單是對於宇宙的無限追求，更蘊含了對生命、時間和永恆的思考。地球的升起象徵著生命的循環和永恆的流動，這種生命的流動和宇宙的運行將無始無終、無邊無際，劉國松以這種流動的生命觀，表達了對於宇宙和生命的無盡嚮往，以及對於時間和永恆的追求。他的畫作中，有限的畫面蘊含著無限的感受，也透露出淡淡的鄉愁，引領觀者進入無窮無盡的幻想世界。

作品畫面下方以極為生動的色彩和流暢的筆觸，表現了地球從黑暗中升起的構圖，透過精準劃切高光面，就僅以四分之一的態勢，卻能形同一顆輝映百里的神秘明珠，磅礡中帶著細膩優雅、蓄勢昇揚，拉鋸著上方渾圓的皎月，穩住整幅作品的視覺重量，讓作品散發著寧靜的氣息，而星際間的宇宙元素則點綴在畫面之中。這種畫面的絢爛和震撼力，讓人感受到宇宙之美的無限遐想。一直以來劉國松的創作就善於運用水墨的深淺和色彩的明暗，使畫面充滿層次和動感，這種對色彩的精準不僅強化了作品的可觀、可思、可深入的共感涵養，更賦予了藝術家輸入在作品內部的詩意與情感。從總體看來，劉國松以詩意和奇幻的手法，將宇宙之美和生命之奧秘呈現在畫布上，觸動人們內心最深處的情感，也象徵著人類在太空探索的希望與勇氣，也寓意著人類對於宇宙奧秘的無盡探求。以太空的主題呼應東方天人合一、物我相融的思維，寄蜉蝣于天地，渺蒼海之一粟。他的藝術創作如同一場心靈之旅，帶領觀者感受宇宙的無窮魅力和生命的永恆流動；而《升起的地球》除了是一幅令人著迷的宇宙水墨畫，也是劉國松藝術生涯中的一個生命篇章。

MODERN AND CONTEMPOR ARY ART

A View from the Moon : Artist Liu Kuo-Sung on his 90-year Career Marr ying East and West "Casting his gaze both to the Western world and his ancestral heritage, Liu Kuo-Sung embarked on a creative journey marked by boundless ingenuity. Armed with a myriad of techniques—points, lines, solid blocks, and fluid brushwork—he sought to unravel the inner impediments of his soul, ultimately birthing a distinctive tapestry that seamlessly wove together the traditional and the modern," as eloquently articulated by artist Wu Guanzhong. Studying Chinese painting under Pu Hsin-Yu and Huang Junbi and Western painting under Liao Chi-Chun and Chu Teh-Chun, Liu Kuo-Sung soon established himself as the "Pioneer of Modern Ink Painting," occupies an exalted echelon within both Western and Chinese art realms. His creative oeuvre, characterized by an innovative perspective and a signature artistic style, harmoniously blends the poetic nuances of traditional ink painting with modern science. The result is a breathtaking collection of space-themed ink paintings. His 2005 masterpiece Rising Earth, serving as a poignant testament to his ceaseless exploration of the cosmos and his profound musings on life, time, and eternity. 1

The Space Painting series stands as a testament to Liu KuoSung's remarkable innovation. Its origin can be traced back to the iconic 1968 photograph of Earth captured by the American Apollo 8 spacecraft—a stark departure from the traditional Chinese concept of a "round sky and square earth" kindled Liu Kuo-Sung's fascination with the cosmos. In the creation of his space-themed paintings, he harnessed his unique technique, employing paper sinews and ink rubbing to craft intricate textures and layers that imbue his works with a vibrant and multicolored tapestry. The Space Painting series, which began with "Where Is Earth?" in 1969, continues to evolve as Liu Kuo-Sung ceaselessly explores new frontiers, harnessing his boundless creativity and unique vision. In Rising Earth, Liu Kuo-Sung transcends the boundaries of mere artistic expression, offering a profound meditation on the universe and the essence of existence. The Earth's ascent serves as a powerful metaphor for the cyclical nature of life and the eternal dance of the cosmos. Liu Kuo-Sung's portrayal of this flowing vitality, entwined with the ceaseless celestial movements, underscores his deepseated yearning for the boundless universe, an unquenchable thirst for an understanding of time and eternity. Within his artwork, the finite confines of the canvas give rise to boundless emotions, delicately hinting at a poignant undercurrent of nostalgia, inviting viewers into an infinite realm of imagination.

I feel like art or culture should be borderless, that going forward it should all be global, not nationalist. --- Liu Kuo Song

Beneath the primary composition of Rising Earth, a vibrant palette and fluid brushwork come together to vividly depict the Earth's emergence from the abyss of darkness. Liu's precise technique carves highlighted surfaces, conjuring a celestial pearl that illuminates the expanse below. This radiant tableau exudes an aura of serenity within the visual weight of the artwork, while celestial elements are subtly interwoven throughout the composition. This vivid and aweinspiring portrayal beckons viewers to contemplate the grandeur of the universe. Throughout his illustrious career, Liu's mastery of ink's

depth and the interplay of color imbue his artworks with layers and vitality. This meticulous use of color not only enhances the visual allure of his works but also infuses them with profound resonance and emotional depth. In summar y, Liu Kuo-Sung, through his lyrical and fantastical approach, lays bare the celestial beauty of the cosmos and the enigmatic essence of life upon the canvas. He plumbs the depths of the human soul, symbolizing humanity's indomitable spirit and courage in its quest for celestial exploration. His art embodies humanity's boundless pursuit of the universe's mysteries while echoing the Eastern philosophy of unity between heaven and humanity, where the individual becomes a minuscule yet integral part of the vast cosmic tapestry. Liu Kuo-Sung's artistic creations serve as a transcendent odyssey, guiding viewers to immerse themselves in the infinite allure of the cosmos and the timeless flow of life. Rising Earth transcends being a mere masterpiece; it represents a profound chapter in Liu Kuo-Sung's artistic journey.

1. 藝術家劉國松 Artist Liu Kuo-Sung 2. 趙無極《7. 11. 66》油彩畫布，Ø 71 cm 私人收藏 Zao Wou-Ki, 7. 11. 66, Oil on Canvas, DiameterØ 71 cm, Private Collection 3. 皮埃爾・蘇拉吉《畫作－ 1958 年 10 月 30 日》倫敦蘇富比 2014 年 10 月 17 日編號 29 成交價 GBP 2,658,500 Pierre Soulages, Peinture 30 Octobre 1958, 1958 , Sotheby's London, 17 Oct 2014, Lot 00029, sold for GBP 2,658,500 © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris 4. 哈伯堇遠鑧發現銀河系中的新恆星 Hubble Observes Infant Stars in Nearby Galaxy Credit: NASA, ESA, and the Hubble Heritage Team (STSCI/AURA) - ESA/Hubble Collaboration

130 LIU KUOSUNG

劉國松

( Taiwanese, b.1932 )

升起的地球

The Rising Earth 129.5 x 65 cm Mixed Media on Paper Signed Liu Kuosung and dated July 2005 in Chinese With one seal of the artist ILLUSTRATED:

"The Universe in the Mind: A Retrospective of Liu Kuo-Sung," Taoyuan County Government Cultural Bureau, Taoyuan, Taiwan, 2007, Page 29 With a certificate of authenticity from gallery

NT$ 3,800,000-4,500,000 US$ 119,300-141,300

ZHONG CHENG 中誠

2005 綜合媒材紙本簽名：劉國松二〇〇五 . 七鈐印：劉國松印 ( 白文 ) 圖錄：

《宇宙心印 - 劉國松回顧展》，桃園縣政府文化局，台灣桃園，2007 年，第 29 頁附畫廊開立之原作保證書

The Balloon Dog (Blue)

JEFF KOONS 氣球狗 ( 藍 ) 傑夫．昆斯

「我所創作的藝術不是關於判斷的藝術，而是關於接納的藝術，我認為接納是藝術的最高階段。」 --- 傑夫．昆斯 (Jeﬀ Koons) 傑夫．昆斯生於美國約克，賓夕法尼亞州，被譽為二十世紀最具影響力藝術家之一，擅長大膽地運用俗艷的圖像或造型創作，在其作品中，傑夫．昆斯借鑒了杜象的挪用與拿來主義，從大眾文化間抽取物件及印象，再將之重新組合詮釋，讓精美的現代商品絲毫不損地轉入藝術狀態，他也被認為是繼安迪．沃荷之後最重要的新一代普普藝術家。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，成功創造嶄新藝術型態。最為知名的雕塑便是以堅硬的不鏽鋼材質模仿充氣塑膠的質感，如金屬兔子、及氣球狗等，在冷鏡面鋼材與童趣造型下，形成強烈的對比與反差，而此系列的發想，是源自傑夫．昆斯與妻子的婚姻劃下句點後，想要與疏遠的孩子有更多交流，從一九九四年開始創作「慶典」系列，藝術家曾自述：「慶典系列的動物們並無任何隱藏的意涵，就只是純粹的幸福與快樂。」「慶典」系列成了藝術家個人最具代表性的里程碑，屢於市場締造佳績，氣球狗與氣球動物們，以可愛圓潤的造型、鮮豔飽和的色彩和精心保留的細節，一一勾起人們童年美好的回憶。總是要在特別的節日裡，才有可能獲得的氣球動物，魔術師一出場，小朋友們一擁而上、爭先恐後，深怕遲了一步自己就得不到，你我是否也都曾經在那道長長的隊伍裡滿懷期待，幻想著獲得後的喜悅，如今想起，內心依然保

ZHONG CHENG 中誠

有一絲激動。透過觀賞作品，感受到節慶與派對時的歡樂氣氛，再經由細緻光亮的鏡面反光映出自己，在觀賞的同時，我們的表情也映在了上面，與藝術品結合。《氣球狗》向觀者傳遞了樂觀積極的能量，而藝術家也不願替作品下太多註解，不同的人有不同的生活經歷，造就不同的看法，藝術能帶給人無限的想像與希望。

"The art I create is not about judgment; it's about acceptance. I believe acceptance is the highest form of art." --- Jeff Koons

Born in York, Pennsylvania, Jeff Koons is celebrated as one of

The "Celebration" series became a significant milestone in

the most influential artists of the 20th century. He is known for

the artist's career, achieving unparalleled success in the art

boldly incorporating popular imagery and forms into his creations.

market. The balloon dogs and other balloon animals, with their

Drawing inspiration from Duchamp's appropriation and ready-

endearing rounded contours, vibrant and saturated palettes, and

made art, Koons plucks objects and impressions from popular

meticulously preserved intricacies, kindle cherished memories

culture and masterfully reinterprets them. This metamorphosis

of youth for many viewers. These balloon animals, typically

elegantly transforms everyday object into works of art. In art

presented only on special occasions, would lead to the excitement

history, Koons follows in the illustrious footsteps of Andy Warhol,

of children happily gathering around a magician, all eager to claim

solidifying his status as a prominent figure in the realm of

one for themselves. You might even recall your own time spent in

contemporary Pop art.

anticipation, queuing in lengthy lines and daydreaming about the

Koons delves into the psyche of the masses, artfully weaving dramatic techniques together with the imager y of the subconscious mind, to create a new artistic form. One of his most renowned sculptures imitates the texture of inflatable balloon using rigid stainless steel materials. Examples include

happiness that lay in possession. Even now, the mere recollection elicits a palpable sense of exhilaration. Through the contemplation of these artworks, we are transported into a realm of festivity and delight. The polished, reflective surfaces mirror not only our expressions but also our connection with the artwork itself.

the metal rabbit and balloon dogs. These works exhibit a striking

Balloon Dog conveys an aura of optimistic and positivity, and

contrast and juxtaposition between the cold, mirrored steel

Koons refrains from providing excessive explanations for his

and the playful, childlike forms. In these works, an intriguing

artworks, He understands that each person brings their unique

dichotomy takes center stage—a stark contrast between the

life experiences to the table, thus shaping their individual

cool, reflective steel and the playful, whimsical forms. The

perspectives. Art, in its sublime capacity, has the power to awaken

genesis of this series stemmed from a heartfelt desire in Koons to

boundless imagination and nurture an eternal wellspring of hope

reconnect with his child following the dissolution of his marriage.

within us all.

In 1994, he embarked on the creation of the "Celebration" series, characterizing it as a pure embodiment of "happiness and joy" devoid of hidden meanings.

傑夫 . 昆斯《氣球狗盤子》 2015，金屬瓷限量 2300 版，26.7 x 26.7 x 12.7cm，私人收藏 Yayoi Kusama, Ballon Dog Plate, 2015, Porcelain on Metal Plate, Edition of 2300, 26.7 x 26.7 x 12.7cm, Private Collection

MODERN AND CONTEMPOR ARY ART

ZHONG CHENG 中誠

131 JEFF KOONS

傑夫．昆斯

( American, b.1955 )

氣球狗 ( 藍 )

Balloon Dog (Blue) 15.8 x 48 x 40 cm Glazed Porcelain, edition of 799 Print signed: JK and Jeff Koons, titled, Limited Edition / Fine Porcelain in English, dated 2021 and edition number With a certificate of authenticity from Bernardaud 1. The work is accompanied by its original box. 2. With acrylic display box and base.

NT$ 750,000-1,200,000 US$ 23,500-37,700

2021 精緻陶瓷限量 799 件印刷簽名：BALLOON DOG (BLUE) JK JEFF KOONS LIMITED EDITION / FINE PORCELAIN 跟版數 ' 21 附 Bernardaud 原廠保證書 1. 附原廠包裝盒 2. 附壓克力展示盒與底座

The Pinocchio

KAWS(BRIAN DONNELLY) 小木偶 KAWS ( 布萊恩．唐納利 ) 美國藝術家布萊恩．唐納利 (Brian Donnelly)，別名為 KAWS，一九七四年出生於美國新紐澤西州，他從小就喜歡卡通漫畫，童年時期受到街頭文化影響深厚，並於九〇年代初期開始創作自己的街頭藝術，他不像其他街頭藝術家喜歡直接在牆面塗鴉，反倒會將一些品牌的海報撕下，帶回家重新塗鴉繪製後再貼回街頭，後來這樣的「二次創作」形式闖出了些許名氣，逐漸打開了知名度。KAWS 曾表示他選定的任何素材，只是純粹地喜歡，不需要太深究背後的動機與原因；就像他的別名「KAWS」並沒有任何含意的，僅僅是喜歡這四個英文字母外觀上的和諧。而他也始終忠於自我，毫無疑問地，他已成為目前最具影響力的現代藝術家之一，其作品範圍更包含了當代藝術、產品設計、油畫、壁畫、大型雕塑及公仔等。惡搞是街頭藝術的創作靈魂，帶有顛覆傳統建制的意味，不過， KAWS 希望的是走入大眾視野，他以「XX」眼睛及骷髏頭造型來創作，是因為全世界都對這些符號有所共嗚，也憑借著反複使用著名卡通、吉祥物或人物角色的詮釋而被認可，又與全球知名品牌合作，挑戰了人們對藝術分類其高低價值的觀念，將流行文化、符號解構或抽象化，從而創造出一種獨特並且通用的視覺語言。 KAWS 最具有知名度的創作系列，就是翻玩其他卡通角色所推出的公仔，將眼睛的部分劃上兩個大「XX」，頭部變成骷顱，耳朵有兩個

ZHONG CHENG 中誠

大骨頭，日本大師手塚治虫的原子小金剛，以及迪士尼的米奇亦被 KAWS 翻玩，掌握了傳達街頭文化的資本祛魅共享精神，生產出標誌性的「XX」符號、翻轉社會肢體象徵、體態變型。KAWS 的藝術風格融合了流行文化、卡通、塗鴉和現代藝術的元素，充滿詼諧與幽默的素材，並引發人們對當代社會和文化的思考，藉由他的二創精神，巧妙地運用與和諧地搭配，創造出既擁有可愛的獨特外表，又帶有深度和反思的象徵意涵。這次 KAWS 與迪士尼 (Disney) 聯合打造木製特別版的「小木偶皮諾丘 (PINOCCHIO)」人偶雕塑，向迪士尼 (Disney) 的經典卡通「小木偶奇遇記」致敬。邀請了 Medicom Toy 及成立至今已經有 70 多年歷史的日本著名家具公司 Karimoku 合作製作雕塑，由其公司的資深工匠謹製。以原木組裝而成的「小木偶皮諾丘 (PINOCCHIO)」手部能夠遮蔽雙眼，亦同時能夠打開來，將 KAWS 標誌性的「XX」眼睛呈現出來。當時，此「小木偶皮諾丘 (PINOCCHIO)」人偶雕塑全球限量推出 100 隻，並以抽籤方式在 KAWSONE 出售。總的來說，KAWS 總是以令人驚艷的創作形式展現於大眾面前，如此極具特殊魅力和影響力的作品，深受世界各地的收藏家和愛好者的高度關注，亦被視為極具收藏價值的投資，經常以驚人的價格在拍賣會上售出。

American artist Brian Donnelly, better known as KAWS, was

reimagining of f igur ines inspired by well - known c ar toon

born in 1974 in New Jersey, United States. His lifelong passion

characters. He adorned them with his signature "X X" eyes,

for cartoons and comics, combined with a deep immersion in

transformed their heads into skull-like forms, and added oversized

street culture during his formative years, laid the foundation for a

bone-like ears. Characters such as Osamu Tezuka's Astro Boy

remarkable artistic journey. In the early 1990s, he began crafting

and Disney's Mickey Mouse received the KAWS treatment. This

his unique brand of street art, setting himself apart from other

artistic approach allowed him to capture the essence of street

artists in the field. Unlike those who directly adorned walls with

culture while fostering a sense of shared spirit and belonging.

graffiti, KAWS had a distinctive approach. He would selectively

It also gave rise to the iconic "XX" symbol, challenging societal

procure posters from established brands, bring them home, infuse

norms and physical conventions, all the while maintaining an

them with his artistic vision, and then return them to the urban

endearing and thought-provoking allure.

landscape, thereby birthing a form of "reappropriation" that soon earned him recognition and burgeoning fame.

K AWS's artistic style seamlessly fuses elements of popular culture, car toons, graf f iti, and modern ar t. His works are

For KAWS, his choice of artistic materials stems solely from a

imbued with humor and whimsy, inviting viewers to contemplate

genuine affinity for them, without the need to scrutinize underlying

c ontemp orar y so c iet y and c ulture. T hrough his spir it of

motives or reasons. Much like his alias "KAWS," which carries

reappropriation, he skillfully amalgamates and harmonizes diverse

no specif ic connotation but rather captivates through the

elements, crafting artworks that possess both an adorable, unique

aesthetic harmony of its four letters, he remains unwaveringly

exterior and profound symbolic depth.

true to himself. Undoubtedly, he has emerged as one of the most influential contemporary artists of our time, spanning a vast creative spectrum that encompasses contemporary art, product design, oil painting, murals, large-scale sculptures, and figurines, showcasing his boundless versatility and artistic prowess.

One remarkable collaboration saw KAWS team up with Disney to create a special wooden edition of the Pinocchio figurine, paying homage to Disney's timeless classic Pinocchio. This collaborative project, under taken with Medicom Toy and the illustrious Japanese furniture company Karimoku, boasting over seven

Central to street art is the spirit of subversion and parody,

decades of heritage, showcased KAWS's mastery. The figurine,

challenging traditional institutions. However, KAWS aspired to

meticulously crafted from assembled raw wood, featured hands

break into the mainstream consciousness. He harnessed the

that could conceal the eyes and open to reveal KAWS's iconic

universally resonant power of "XX" eyes and a skull-inspired

"XX" eyes. A limited global release of only 100 of these Pinocchio

motif, tapping into the collective subconscious. Through his

figurines was facilitated through a lottery system on KAWSONE.

reinterpretations of beloved cartoons, iconic mascots, and famous characters, coupled with high-profile collaborations with global brands, KAWS defied conventional hierarchies in the art world. He reshaped and abstracted elements of popular culture, crafting a distinct and universally comprehensible visual language. One of K AWS's most iconic series involves his imaginative

In summary, K AWS continually astounds with his innovative mo des of ex pres si on. H is wor ks, c harac ter ized by t heir extraordinary charm and far-reaching influence, have garnered immense attention from collectors and enthusiasts worldwide. They are not only prized investments but also regularly command astonishing prices at auctions.

MODERN AND CONTEMPOR ARY ART

132 KAWS(BRIAN DONNELLY)

KAWS ( 布萊恩．唐納利 )

( American, b.1974 )

小木偶

Pinocchio 21.9 x 19.1 x 39.1 cm Wood, edition of 100 Signed on the bottom: Kaws in English and edition number Trademark © Disney MEDICOM TOY 2017 JAPAN カリモク The work is accompanied by its original wooden box.

NT$ 2,200,000-2,600,000 US$ 69,100-81,600

ZHONG CHENG 中誠

2017 木雕限量 100 版腳底簽名：KAWS.. 跟版數註冊商標 © Disney MEDICOM TOY 2017 JAPAN カリモク附原廠保證卡

MODERN AND CONTEMPOR ARY ART

133 GEORGE CONDO ( American, b.1957 )

Drawing Paintings 17.8 x 18.2 cm (2) Offset Lithograph, edition of 400 (a set of two) Published by Skarstedt Gallery, New York. Released on the occasion of George Condo: Drawings and Paintings, 4 November-17 December, 2011.

NT$ 90,000-180,000 US$ 2,800-5,700 喬治．康多繪畫 2011 膠印石版畫限量 400 版 ( 兩件一組 ) 此版畫為 2011 年 11 月 4 日至 12 月 17 日「喬治．康多：繪圖與繪畫」個展，由紐約 Skarstedt 畫廊發行與發表。

喬治．康多 (George Condo) 以他的「人造現實主義」風格在當代藝術界嶄露頭角，他的作品融合了抽象和具象的元素，以幽默和深度探討人性和心理。使其無論藝術市場上的銷售表現和社會參與都突顯了康多作為藝術家和思想家的重要地位。《繪畫》是一幅充滿生命力和情感的藝術品。作品呈現出對於人性、情感和心理的深刻剖析。他將不同情感和心理狀態融合在一張畫布上，以卡通風格的獨特表現，展示出一幅充滿詼諧和變幻的畫面，這些變形的形象凝聚著康多對情感和內心世界的深入觀察，同時也反映了人性的複雜性。

ZHONG CHENG 中誠

134 DAMIEN HIRST

達米恩．赫斯特

( British, b.1965 )

圓形旋轉畫

Spin Painting - Circle DiameterØ 52 cm Acrylic, Metallic Paint on Paper Signed on the reverse: Damien Hirst in English Print signed on the reverse: Damien Hirst © Damien Hirst in English With Artist Studio Imprint

NT$ 140,000-200,000 US$ 4,400-6,300

2009 壓克力金屬塗料紙本背面簽名：Damien Hirst 背面印刷簽名：Damien Hirst © Damien Hirst 藝術家工作室壓印

達米恩．赫斯特 (Damien Hirst) 一九六五年生於英國布里斯托，畢業於倫敦大學金匠學院，是新一代英國藝術家的主要代表人物之一。他主導了九〇年代的英國藝術發展並享有極高的國際聲譽，並且於一九九五年獲得英國當代藝術大獎特納獎。至今在世界各地舉辦了超過八十場個展，並參加了逾兩百六十場群展。於當今藝壇極富影響力，他的創作涵蓋多種媒材，包括雕塑、繪畫、素描和裝置，旨在探究藝術、生命和死亡之間的複雜關係，以其大膽前衛而衝突的死亡美學開創出不同於現世的特立風格。旋轉畫系列為達米恩．赫斯特一九九〇年代後，極具辨識性的平面系列，利用特製機器旋轉畫板，在之中噴灑顏料，讓顏料由中心點向外甩出，呈現出放射肌理、這也使多重色彩搭配仍可以保持自然多變。達米恩赫斯特曾表示：「我喜歡這台機器，我喜歡它的運作方式，顏料的軌跡像是暗示著生命。這是原子在我們體內移動的方式，也是我們所站立的星球運行軌跡，以及太空中所有其他行星圍繞我們移動的方式。」

MODERN AND CONTEMPOR ARY ART

135 HUANG BENREI

黃本蕊

( Taiwanese, b.1959 )

SOS....ssss

SOS....ssss 51 x 40.5 cm Acrylic on Canvas Signed BR in English and dated 2008 Signed on the reverse: Huang Benrei in Chinese and titled in English, dated 2008

2008 壓克力畫布簽名：BR 08 背面簽名：SOS....ssss 黃本蕊 ' 08 附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 360,000-480,000 US$ 11,300-15,100

黃本蕊一九五九年出生於台北，畢業於國立台灣師範大學美術系，隨後前往美國紐約進修，於視覺藝術中心學院 (School of Visual Arts) 插畫研究所研習，並從事童書插畫工作長達二十年。插畫的用途是搭起文學作品與讀者之間的橋梁，賦予故事情節視覺與感受上更加地豐富；而身為藝術家以後，她開始盡情揮灑內心的想法，不需要依附於文學內容來繪畫，也不再需要對任何人交代，從而開始將兔子尼尼以更加多元化的形式，與社會和日常生活連結。黃本蕊找回早期對於繪畫純粹熱愛的心，展開以兔子尼尼為主角的繪畫創作系列。黃本蕊的母親屬兔，並姓「倪」，因而將創作主角命名為「尼尼」。藉由兔子的形象以詼諧幽默的表達方式，展現自己對社

ZHONG CHENG 中誠

會現象的感悟。而這隻兔子面無表情，甚至不具性別，以一個全然中性的演出者姿態演繹關於人生的各種道理。此作《SOS....ssss》中，兔子尼尼身後大量的漂流瓶，彷彿在暗示著求救的「SOS」信號，探討水域環境和安全的疑問和顧慮。兔子尼尼安然地在水中玩耍，殊不知遠處可能有著危險的處境，究竟瓶子裡頭裝著什麼樣的信息呢？整個場景呈現出有所保留的狀態，物件消失在畫布之外，再加上兔子尼尼面無表情地盯著漂流瓶，給人看似疑惑，亦或是徬徨的情緒，讓觀者細細地推敲著欲傳達出的徵兆和意象。黃本蕊經常在畫中為兔子尼尼設置一個獨特的場景，其中暗藏著一些隱喻的蛛絲馬跡，引領著人們反思各種重要的社會議題。

MODERN AND CONTEMPOR ARY ART

136 HUANG BENREI

黃本蕊

( Taiwanese, b.1959 )

救援計劃 101

Rescue Mission 101 - in Dark Water 51 x 40.5 cm Acrylic on Canvas Signed BR in English and dated 2008 Signed on the reverse: Huang Benrei in Chinese, titled in English and Chinese, dated 2008

2008 壓克力畫布簽名：BR 08 背面簽名：Rescue mission 101 - in dark water 救援計劃 101 黃本蕊 ' 08 附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 360,000-480,000 US$ 11,300-15,100

黃本蕊曾經表示在創作上有受到超現實主義的影響，因此在她的創作中可以看到類似超現實主義的奇想風格，不過，黃本蕊的創作態度及核心理念與其稍有些不同。超現實主義表達的是穿透現實世界的理性、律法和約束，嚮往無意識或幻境所召喚出來的真實。儘管創作靈感都是來自日常生活，黃本蕊則是以童話般的敘事方式傳達想法，並利用兔子尼尼作為化身，在畫中安排各種場景和事件的意象，表達對於人生的看法，亦或是生活的哲理。此作《救援計劃 101》彷彿在暗示著自然生態的環境議題，兔子尼尼將一隻奄奄一息的魚兒從混濁的暗綠色河水裡救出，可以發現魚兒是沒有眼睛的，象徵著由於水質被嚴重的汙染，原本應該乾淨清澈的河

ZHONG CHENG 中誠

水，河底美麗的生態樣貌完全深不可見，如同沒有眼睛般的黑暗，而身後還有許多的魚兒露出嘴巴大口大口地呼吸著新鮮空氣，可見水下已是缺氧的狀態。黃本蕊的每一件作品背後都有她的人生經歷及小故事，亦或是想要探討的社會議題。她巧妙地運用色彩的搭配，並添入獨特造型和場景等特殊元素，主角兔子尼尼以開放式的情緒詮釋來傳達的主題意涵，畫面貌似簡單明瞭，卻又存在著無限的發想空間，給予每位觀者在欣賞她的作品時，依據不同人各種當下的情緒，進而會產生不同的想法與解釋。

MODERN AND CONTEMPOR ARY ART

137 DAVID SHRIGLEY ( British, b.1968 )

Untitled (Please Excuse My Awful Behaviour) 76 x 56 cm Acrylic on Paper Signed on the reverse: DS in English and dated 2021 PROVENANCE:

Stephen Friedman Gallery, London

NT$ 300,000-500,000 US$ 9,400-15,700 大衛．史瑞格里無題 ( 請原諒我的惡劣行為 ) 2021 壓克力紙本背面簽名：DS 2021

來源： Stephen Friedman 畫廊，英國倫敦

大衛．史瑞格里《Counter Edition》 2018，版畫限量 125 版， 76 x 56cm，私人收藏 David Shrigley, Counter Edition, 2018, Screenprint, Edition of 125, 76 x 56cm, Private Collection

「我從未想過我會成為成功的藝術家，也沒有指望能靠做藝術生活，我只是在做我想做的事情。」 --- 大衛．史瑞格里(David Shrigley)

以幽默機智而聞名的英國視覺藝術家大衛．史瑞格里，在歐美當代藝術界的人氣不容小覷，近年作品更是在台灣成為引起熱潮。他的畫作描繪容易引發共鳴的日常掙扎和失落，他能夠通過諷刺幽默的視覺表現方式敘述故事，甚至以一種全新、輕鬆的藝術面向涉及常被人們忽略的議題，觀眾能共鳴歡笑、一面又開放人們細細理解。大衛．史瑞格里的創作題材包括靈光乍現的想法以至對生活和世界的個人經驗、見解。對自己作品的概括是「盡可能的物美、價廉」，作品簡單直球，沒有過分隱晦或深層的美學思維，比起看重形式，「想法」與「被引起的想法」是大衛．史瑞格里認為更重要的部分。他別具特色的畫作通常由密集而不平整的線條、隨性的字跡和失衡的造型構圖組成，這些都讓史瑞格里成為辨識度甚高的英國藝術家。他的創作也橫跨多種媒材，如畫作、雕塑、攝影與動畫等，透過多元的創作方式，讓大眾在史瑞格里的藝術中找到對生活的新鮮感。

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ZHONG CHENG 中誠

此件原畫作品《無題 ( 請原諒我的惡劣行為 )》在畫面中開頭寫上「Please forgive my awful behaviour」並配上帶著紅色高彩度，看起來情緒敏感激昂的棕熊，最後右下角再寫解釋棕熊為什麼要請求牠的「惡劣」，因為「I am in the foulest of moods」表示著牠處於最壞的心情。看似天真逗趣的說明、配上惹人可愛的稚氣兇猛，卻似乎反映出動物與人類共存下所不得不採取的反應，甚至史瑞格里早已後設了有觀眾站在畫前時，畫面真正連結著人類對於森林中動物的刻板印象。然而有了這個刻板印象的人們卻總是忘記背後的原因，如此一來，「I am in the foulest of moods」更像是人類代替主角棕熊解釋牠的不友善，甚至代替牠發聲原諒。在史瑞格里這樣幽默、逗趣的圖像故事中，經常藉以傳遞著對於環境保護反向敘述，試圖輕鬆地提醒忙於進步的人們駐足想想，當然地，史瑞格里勢必開放品味作品的人們無限的想像，這也是他所想秉持「想法」的藝術價值。

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101

138 MIWA KOMATSU ( Japanese, b.1984 )

VR Prayer: Door and Fetuses 41 x 41 cm Acrylic on Canvas Signed Ko Miwa and titled VR in English, dated 2018 With a certificate of authenticity from gallery

NT$ 200,000-300,000 US$ 6,300-9,400 小松美羽 VR 祈禱：眼睛與胎兒 2018 壓克力畫布簽名：VR 2018 KoMiwa 附畫廊開立之原作保證書

102

「眼睛除了能見到邪惡、不好的東西外，我認為人彼此之間也能通過眼神達到交流。看到一個人的眼睛富有力量時，也可以得到他的力量，因此眼睛這個元素才會成為我創作重要的要素之一。」---小松美羽

"Besides being able to see evil and negativity, I believe that people can also communicate through their eyes. When you see that a person's eyes are filled with power, you can also gain their strength. That's why the element of the eye becomes an important aspect of my creations." --- Miwa Komatsu

小松美羽從小就發現自己能看見離世生命的精神形體，最後透過感應與冥想，與另一個世界相互連結。對小松美羽而言，眼睛是一個非常重要的元素，他利用各種色彩來傳達不同的情緒，格外彰顯了眼睛為靈魂之窗的意義，亦有點睛的效果，並將神祕世界的靈氣氛圍展現於其中。畫作中胎兒細胞頭部中央同樣有著顯著的眼睛點綴其中，使得胎兒更具有生命力量。以絢爛色彩且懾人心魄的視覺衝擊，以及一筆一畫細緻地勾勒筆觸，帶領觀者一同欣賞獨特的靈魂之美；反映出自然與其生命週期的特殊聯結，從而使作品傳達出深刻的沈思和對生死存亡之美的獨到見解。

Miwa Komatsu discovered from a young age that she could see the spiritual forms of

ZHONG CHENG 中誠

departed souls. Through intuition and meditation, she established a connection with another world. For Miwa Komatsu, the eyes are a profoundly significant element. She uses various colors to convey different emotions, highlighting the eyes as windows to the soul and achieving a captivating effect. Her artwork is imbued with the mystical aura of the otherworldly. The central part of the fetal cell's head in her paintings is adorned with prominent eyes, imbuing the fetus with a powerful sense of life. With vibrant colors and a mesmerizing visual impact, as well as intricate strokes meticulously crafted one by one, Miwa Komatsu leads viewers to appreciate the unique beauty of the soul. Her work reflects the special connection between nature and its life cycle, conveying profound contemplation and a unique perspective on the beauty of life, death, and survival.

MODERN AND CONTEMPOR ARY ART

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139 HSUEH PAOSHIA (AVA) ( Taiwanese, b.1956 )

Refining 40 x 80 cm Acrylic on Canvas With a certificate of authenticity from gallery

NT$ 300,000-500,000 US$ 9,400-15,700 薛保瑕精煉 2013 壓克力畫布附畫廊開立之原作保證書

首位擔任國立台灣美術館「女性」館長的薛保瑕，善以東方美學視角審視抽象繪畫，創作時講究書法式的律動及筋骨，為台灣抽象代表畫家之一。薛保瑕作畫時不打草稿，九〇年代開始，覺得自己已經可以進行到以文本的關係，解讀自己的抽象語言，開始以多張畫布合併的形式表現作品，他認為創作者本身是第一個讀者，將作品當成文本，一個文本一個逗號，讀完後再連接下一張變成分號，再接一張就會變成句號，雖說是抽象創作，卻是有脈絡的連續發展。二〇一〇年後，薛保瑕發展出在畫面中徒手畫上九個圓點的系列作品，後加上的圓，把原有的線條覆蓋，我們以為這些線條是被捨去了，但從其他角度看，這些透過圓點所顯現出的肌理，展示了創作的過程，表現出時間，再分別以三種不同顏色帶出平面繪畫空間的連動性，或許捨的另一個面向就是得，這些圓點更加完整了作品傳達的意念。

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ZHONG CHENG 中誠

Hsueh Pao-Shia, the first woman to hold the esteemed position

Upon completing one canvas, she seamlessly connects it to the

of Director at the National Taiwan Museum of Fine Arts, offers a

next, transforming the pause into a semicolon. As her abstract art

profound and thought-provoking journey through abstract painting.

unfolds, it does so in a coherent and unbroken narrative.

Her work showcases a profound Eastern aesthetic perspective, emphasizing the importance of calligraphic rhythms and skeletal structure, establishing her as one of Taiwan's foremost abstract painters.

Post 2010, Hsueh Pao-Shia embarked on a unique series of works. She manually painted nine circles within the canvas. As these circles are overlaid, it may appear as though they erase the original lines. However, looking from another perspective,

Hsueh Pao-Shia is a painter who doesn't rely on drafts. It was

the texture revealed through these circles becomes a testament

in the 1990s when she felt that her artistic language could be

to her creative process. This showcases the passage of time

interpreted in the context of textual relationships. She began to

and is brought to life with three different colors, highlighting the

express her creations by merging multiple canvases, viewing

interconnectedness of her two-dimensional canvas. Perhaps what

herself as the primary reader of her work. To her, each piece is

seems to be discarded in one aspect becomes the element that

akin to a textual passage; each canvas represents a comma.

completes the artwork's intended message.

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105

140 ZHENG LU ( Chinese, b.1978 )

Bow Without an Arrow No. 3 Artwork: 49 x 112 x 168 cm Pedestal: 110 x 110 x 2.5 cm Stainless Steel, 3/4 Signed on the pedestal: Zheng Lu in Chinese, dated 2011, numbered 3/4 EXHIBITION:

"Zheng Lu Solo Exhibition --- Bow Without an Arrow," Mot/Arts, Taipei, Taiwan, November 5thDecember 18th, 2011 (another edition) With a certificate of authenticity from gallery

NT$ 650,000-1,100,000 US$ 20,400-34,500 鄭路張弓無箭 No. 3 2011 不鏽鋼 3/4 底座簽名：鄭路 2011 3/4

展覽：「鄭路個展 --- 張弓無箭」，明日創藝，台灣台北，2011 年 11 月 5 日至 12 月 18 日 ( 另一版數 ) 附畫廊開立之原作保證書

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中國中青輩藝術家鄭路，於一九七八年出生於內蒙古，曾就讀魯迅美術學院、中央美院，擅長以東方文化為內核，融會西方現代雕塑藝術。在校期間他曾贏得法國 LVMH 青年藝術家大賽大獎，隨赴法國高等美術學院研習深造，此段時間拓寬了創作的視野，落實書法形象的意識層面進入具象的表現中。文人家庭出身的他，自父親與祖父的教授下，習得書法文字與中國傳統文化的幽深，便將自幼耳濡目染的中國書法轉化為創作元素，特別是以傳統詩詞歌賦的平面篆體文字，結合不鏽鋼，形成獨具特色的現代立體雕塑，「文字」也奠定鄭路創作的母體精神。

《張弓無箭 No.3》以不銹鋼與銅打造，人體律動姿態的線條流暢且足具力度，也是鄭路同一系列中少見的雙人物雕塑。構成人物主體綿延不絕的鏤空篆體文字取自宋代文豪蘇軾之《水龍吟．次韻章質夫楊花詞》：「似花還似非花，也無人惜從教墜。拋家傍路，思量卻是，無情有思」，讓作品從形式上、材質上、情境上，成為了思想與理念敘述的多維載體。而將其置於展示空間時，文字散發了詩詞歌賦的抒情氣息，並透過鏤空手法呈現的光影，降低媒材本身的陽剛沉重，更是在冰冷的不銹鋼材質中，隱然透出一絲歷史的微溫，透過作品展開一場歷史與時空的對話。

鄭路《張弓無箭》系列作品亮相於二〇一一年，此系列發想源自道家經典《列子》中「不射之射」的道理，書中有道：「至為為不為 , 至言為無言 , 至射為不射。」後來，在莊子的《田子方》也具體談到過類似的故事。一般的競技箭術之射在於鎖定贏的目標，偏離便是輸，但是所謂「不射之射」，卻代表領悟生命的手段，沒有輸贏，忘卻自己和目標，不刻意追求其之最，而是將其融入自然之中，便能達到某種最高境界。無為而無不為；無言而無不言；無射而無不射。

「張弓無箭是一種生命的理想狀態，得意已忘形，而當人能依心靈來射箭，即能邁上一條解脫之路，這是悟道見性的禪的境界。」 --- 鄭路

Chinese artist Zheng Lu, born in 1978 in Mongolia, embarked on a remarkable artistic journey that harmoniously fused Eastern cultural elements with the avant-garde sensibilities of Western contemporary sculpture. His artistic odyssey began at the Lu Xun Academy of Fine Arts and continued to flourish at the China Central Academy of Fine Arts. During his academic pursuit, Zheng Lu's undeniable talent shone brightly when he won the prestigious LVMH Young Artist Award in France. This honor granted him the opportunity to further enrich his creative perspective on a global stage.

devoid of action, words without words, and shooting without shooting.

Zheng Lu's artistic journey has been deeply influenced by his heritage. Hailing from a family rooted in traditional literati culture, he imbibed the rich essence of calligraphy and Chinese tradition from his father and grandfather. Zheng Lu seamlessly translated this early influence into a diverse palette of artistic elements, employing traditional Chinese poetry and prose, specifically in the square seal script. These elements were harmoniously integrated with the sleek modernity of stainless steel, giving birth to his distinctive three-dimensional sculptures. This fusion of "text" became the very essence of Zheng Lu's creative approach. In 2011, Zheng Lu unveiled his Bow without an Arrow series, a conceptual exploration rooted in Daoist philosophy found in the classic "Liezi." Within its pages, we find profound wisdom: "The highest excellence is like that of water. The excellence of water appears in its benefiting all things, and in its occupying, without striving (to the contrary), the low place which all men dislike." In the realm of archery, traditional competitions focus on hitting precise targets, with any deviation viewed as a failure. However, the concept of Bow without an Arrow transcends the binary notions of success and failure. It represents an understanding of life's means—a state where winning and losing, self and goal, become irrelevant. Instead, it involves surrendering to the natural flow, achieving a higher state of existence. It is action

鄭路在多年來不斷的個人實踐當中，逐漸構建出自身的創作語言系統，正如《張弓無箭 No.3》典型地證明，鄭路藉由形塑出人體，承載著歷史的多重對話，探索語言、圖像、文化觀念之間的錯置，也體現了藝術家的無所執著，運用智慧跳脫一切知見，探求心靈的至臻，使心境澄清，意韻無窮。

Zheng Lu's vision is eloquently embodied in his sculpture Bow without an Arrow No.3, masterfully crafted from stainless steel and copper. The sculpture captures the graceful, powerful contours of the human form in motion. Notably, this piece is a rare dual-figure sculpture within Zheng Lu's oeuvre. The continuous hollow square seal script, serving as the backbone of the figures, draws inspiration from the poetry of Su Shi, a literary luminary of the Song Dynasty. Su Shi's verses, inscribed within the figures, read, "Resembling flowers but not quite, yet no one pities their fall, they are thrown from the home's edge to the roadside, where, without intentional pursuit, they are absorbed by nature." This sculpture transcends mere physicality; it narrates thoughts and ideas through its form, material, and context. When displayed in an exhibition space, the text infuses the atmosphere with the lyrical essence of poetry and song. The interplay of light and shadow within the hollowed spaces tempers the inherent hardness of stainless steel, exuding a subtle warmth—a touch of history. Within the cool, resolute structure, a delicate dialogue unfolds, forging connections between history and space. Throughout the years, Zheng Lu has painstakingly crafted his unique artistic language and system through unwavering dedication to his craft. Bow without an Arrow No.3 stands as a testament to his ability to employ the human form as a canvas for multifaceted dialogues with history. It explores the intricate interplay of language, imagery, and cultural concepts. More importantly, it mirrors the artist's profound detachment—a transcendence of conventional wisdom through wisdom itself. Zheng Lu's art seeks the zenith of the human experience, offering a clarion call to introspection and evoking boundless artistic meaning.

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107

141 NIKKI ( American, b.1996 )

Pinky Rabbit 111 x 111 cm Mixed Media on Canvas Signed on the reverse: Nikki in English With a certificate of authenticity signed by the artist (on the back of the painting)

NT$ 460,000-800,000 US$ 14,400-25,100

108

ZHONG CHENG 中誠

Nikki 粉紅兔 2021 綜合媒材畫布背面簽名：NIKKI 附藝術家親簽之原作保證書 ( 畫背 )

Nikki 出生於一九九六年，現居於美國紐約，以插畫、兒童繪本創作為主。色彩運用繽紛鮮明，擅長繪畫活潑俏皮的小女孩人物，並融合諸多日本與美國當代藝術家標誌性創作元素，賦予新意。Nikki 喜愛將大小不同的不規則幾何圖形融入於創作之中，使其整體更具有細節感及獨特性，並運用一貫的明亮色系作為搭配的背景，融合童趣意象的配件，以及元氣十足的可愛元素，使作品充滿了春日繽紛的活力氣息。此作品同樣地以大眼女孩作為畫面主體，並以朦朧質感的粉嫩色系作為背景，搭配繽紛色調的幾何圖案洋裝和兔子造型頭飾，呈現出可愛童趣的意象；藍色雪亮的大眼看向一旁，古靈精怪的想法由驚訝表情中流露出來，周圍閃爍著思想光點，靈光乍現，新奇點子不斷地冒出，猶如發現了新世界般的樣貌。

142 BYUN SEHEE ( Korean, b.1990 )

My Beloved World #12 60.6 x 60.6 cm Acrylic on Canvas Signed on the reverse: Byun Sehee and titled in Korean, size 60.6 x 60.6, media in English, dated 2022

NT$ 200,000-240,000 US$ 6,300-7,500

邊世喜我心愛的世界 #12 2022 壓克力畫布背面簽名：사랑하는 나의세 계 #12 60.6 x 60.6 Acrylic on Canvas 2022 변세희

「我是在韓國的小島－濟州島畫畫的邊世喜」藝術家這樣介紹自己，濟州島屹立於朝鮮海峽的蔚藍海水之上，擁有令人驚歎的極美景致，這座小島也孕育出了邊世喜獨特討喜的藝術風格。她的創作一般都是小時候的記憶片段加上想像的故事，賦予感情後轉移到畫面中，她想訴說的是非常個人化、坦率的故事，也想藉由作畫來進一步了解自我。她擅長在日常生活中找尋創意，眼睛所看得到的物件，不論是自由生長的植物、兒時記憶的玩具、陽光照射下閃閃發亮的金屬或是感興趣的古典書籍，都能為她帶來小創意。邊世喜稱畫作裡的角色們為朋友，這些朋友們正忙著幫聖誕樹戴上聖誕帽、掛上伯利恆之星，流心巧克力與草莓蛋糕上的擬人草莓，替畫面加了甜蜜的氛圍，雪人小熊、小天使和許多來自不同地方的好朋友們也一同來慶祝，在飄著綿綿雪花的聖誕節裡，好不熱鬧。

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143 LIU JIUTONG ( Chinese, b.1977 )

Purple Smoke Rising in the East 90 x 60 cm Oil on Canvas Signed Liu Jiutong and Shanghai in Chinese, dated 2022 Signed on the reverse: Liu Jiutong and Shanghai in Chinese, size 60 x 90 cm, dated 2022

劉玖通紫煙東升 2022 油彩畫布簽名：刘玖通 . 上海 2022 背面簽名：尺寸：60 x 90 cm. 刘玖通 . 上海 2022 附藝術家親簽之原作保證書

With a certificate of authenticity signed by the artist

NT$ 300,000-600,000 US$ 9,400-18,800

劉玖通遒勁有力大筆揮下氣勢懾人山山水水，質感於有形之中，妙趣於靈性之內，其畫象布色，構茲雲嶺，透過西方的抽象技法，闡釋傳統山水涵養心靈、吐納紓懷之精神，豪灑縱意蒼勁之筆，敷染山川渾厚草木華滋，開創當代山水嶄新風貌，提煉超然象外的心中丘壑。林壑幽邃的《紫煙東升》，帶領觀者進入神思飛揚的雲林森渺之中，重山環繞一汪碧綠如鏡，潭映眾山倒影，峰峰相連天際間朝露乍現，破曉晨霧徘徊崇嶺之美不勝收，始知「雲日相輝映，空水共澄鮮」景色繾綣、造化如詩，是以水天共色蘊奇於此，全畫山青水白，霧

享譽畫界的劉玖通，壯闊磅礡唯美的藝術語彙深受中外好評，充滿前景的他正受兩岸三地的華人矚目，「大寫意」抽象美學擷取靈山秀水，創造獨有的詩性藝術表現，其自述道「在即興的塗抹之際，似乎是山水之靈牽引著線條，我只感到與山水交融、合為一體，那是一種極為暢快的幸福感；或許可以說，我的山水畫都是和山水之靈一同創作而成。」

Liu Jui-Tong, a renowned artist, masterfully wields his brush

poetry. The unity of water and sky in this painting, with its misty

to create landscapes that are not only power ful but also

shades of green and white, creates a dreamlike atmosphere. After

thought-provoking. His artwork seamlessly integrates digital

traversing these vast rivers and mountains, the artist conveys

technology, media, and traditional painting, breaking free from the

not only the physical landscape but also his own emotions,

conventional boundaries of visual art. Through his unique lens of

thus imbuing the artwork with a lively and captivating story. The

Eastern aesthetics, he examines abstract painting, paying careful

brushwork reflects a state of artistic transcendence.

attention to calligraphic rhythms and the essence of forms. He stands as one of Taiwan's distinguished abstract painters.

Liu Jui-Tong, acclaimed in the art world, creates grand, poetic, and visually stunning ar t works, drawing praise from both

In the depths of the painting, Purple Smoke Rising in the East, Liu

domestic and international audiences. With a promising future

Jui-Tong guides the viewer into a realm of inspired contemplation,

ahead, he captures the essence of landscapes with his "Great

amidst a boundless forest of clouds. Encircled by towering

Freehand" abstract aesthetic, crafting a unique and poetic artistic

mountains, a serene lake mirrors the vibrant blue sky. Each peak,

expression. He describes this creative process as an almost

like a link in a celestial chain, emerges through the morning mist

spontaneous dialogue between the spirit of the mountains and

as dawn breaks. The beauty of these majestic peaks, veiled in the

waters, conveying a profound sense of happiness as he merges

gossamer morning fog, is breathtaking, and one realizes that the

with the essence of the natural world.

landscape appears like a painting, where nature itself becomes

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靄漫漫透著濛濛墨韻氛圍，在踏遍巨川大嶂之後，藝術家全然達物隨己形，更融景致與心緒塗布成靈動絕美的華章，運筆顯已臻至化境。

ZHONG CHENG 中誠

144 LIU JIUTONG

劉玖通晚煙十里

( Chinese, b.1977 )

The Clouds and Smoke at Night are Ten Miles Away 160 x 100 cm Oil on Canvas Signed Liu Jiutong and Shanghai in Chinese, dated 2021 Signed on the reverse: Liu Jiutong and Shanghai in Chinese, size 160 x 100 cm, dated 2021

2021 油彩畫布簽名：刘玖通 . 上海 2021 背面簽名：尺寸：160 x 100 cm. 刘玖通 . 上海 2021 附藝術家親簽之原作保證書

With a certificate of authenticity signed by the artist

NT$ 850,000-1,700,000 US$ 26,700-53,400

劉玖通自一九七七年生於陝西綏德，走過黃沙路漫漫，培養出無畏風沙的豪情之志；二〇〇〇年於西安美術學院畢業後，初期歷經自我的追尋與摸索，一九九九年至二〇〇三年於北京創作與生活；爾後，鑒於滬上地區的經商蓬勃與發達，轉至上海定居並建立起個人工作室、作為現職藝術家，逐漸塑形了自我的定位。其獨特優美的意境在當代藝術領域中備受推崇，深受中外好評，作品曾入選「法國巴黎當代國際藝術評選展」、「米蘭當代藝術大展」，並於世界各地舉辦多次個展，廣獲佳評。追隨著趙無極、朱德群等等先驅之輩的腳步，劉玖通抽象的語彙秉持著中國書畫形神的本，以東方水墨「以白計黑」的空間留存，將「抽象性」置入城市的輪廓之中，北宋山水大家郭熙有云：「畫者

Liu Jui-Tong, born in 1977 amid the sands of Sui De, Shaanxi, has embarked on an awe-inspiring artistic odyssey, forged in the crucible of life's arduous journey. After his graduation from Xi'an Academy of Fine Arts in 2000, he commenced a phase of selfexploration and introspection. Between 1999 and 2003, he resided in Beijing, an era that became pivotal for his creative evolution. Subsequently, he recognized the burgeoning opportunities in Shanghai and established a personal studio, marking the genesis of his current role as a professional artist. His art, characterized by a uniquely captivating aesthetic, has garnered global acclaim in the realm of contemporary art. His works have graced prestigious exhibitions such as the "Contemporary International Art Review" in Paris, France, and the "Milan Contemporary Art Exhibition." Liu Jui-Tong has further manifested his artistic brilliance through a series of solo exhibitions worldwide, consistently eliciting resounding praise. In the footsteps of luminaries like Zao Wou-Ki and Chu TehChun, Liu Jui-Tong remains rooted in the heart of traditional Chinese painting and calligraphy. He artfully infuses the Eastern ink painting principle of "ink calculation with white" into the city's iconic silhouettes. Drawing inspiration from the Northern Song dynasty landscape master Guo Xi, who wisely noted, "Painters should create with this concept in mind, and critics should also critically examine with this concept in mind. This is what it means not to lose the original intent." Guo Xi further elaborated, stating,

112

ZHONG CHENG 中誠

當以此意造，而鑒者又當以此意窮之。此之謂不失其本意。」並說「境界已熟，心乎以應，方始縱橫中度，左右逢源。」闡述畫面中「意」的重要，意到則氣隨，人與自然、情與景隨即合一。留白致使空間昇華，予以觀者至多的想像；劉玖通藉由富含東方寓意的抽象畫，展現出山水畫悠悠千年的深厚底蘊。全圖尺幅甚大，氣勢沉雄，劉玖通擅長以肌理的表現，結合書法線性力度、水墨筆法的抑揚頓挫。油料於畫布上游移，筆勢縱橫錯落，顯露幾分輕鬆快意，熟稔表現了基本功的深厚，以及對於這一城市的觀察；以暖調做為基底，烘染江河煙雲繚繞，光影聚焦於畫面中心，點點色彩分配的細膩，房舍齊聚、人聲熙攘、船舶歸鄉，流瀉出北方男兒對於生活次要居所的一股柔情。

"When the boundaries have been mastered, the heart responds, and the balance of the vertical and horizontal, the left and right, becomes harmonious." These insights emphasize the pivotal role of "intent" within a painting, the key to infusing vitality into art, aligning people with nature and uniting emotions with scenes as one. The strategic use of open spaces elevates the composition, inviting viewers to engage their imagination uninhibitedly. Liu JuiTong, through his allegorical abstract works, steeped in Eastern symbolism, unveils the profound legacy of traditional Chinese landscape painting, a heritage that has endured for millennia. His works often feature grand dimensions and exude a profound sense of grandeur. Liu Jui-Tong excels in creating textured forms, adroitly blending calligraphic linear forces with the ebb and flow of ink and brushwork. His paint dances across the canvas with an apparent ease and unrestrained enthusiasm, testifying to his consummate mastery of the fundamentals and his astute observations of the urban landscape. His choice of warm undertones as the foundational palette skillfully conjures forth an exquisitely illuminated vista of rivers, mist, and cloud formations. The interplay of light and shadows converges at the canvas's core, and his nuanced application of colors unveils intricate details. Houses cluster together, voices harmonize, and vessels return home, poignantly capturing the sentimental bond that northern souls hold for their secondary dwelling place.

145 LIU JIUTONG ( Chinese, b.1977 )

Thousands Miles of Mountain Overall size: 130 x 278 cm Oil on Canvas (Triptych) Signed on the reverse: Liu Jiutong and Shanghai in Chinese, size 158 x 130 cm + 60 x 130 cm. (2) and Overall size 278 x 130 cm (middle) Liu Jiutong and Shanghai in Chinese, size 60 x 130 cm (left and right) With a certificate of authenticity signed by the artist

NT$ 1,800,000-3,000,000 US$ 56,500-94,200 114

ZHONG CHENG 中誠

劉玖通萬里有山 2023 油彩畫布 ( 三拼組合 ) 背面簽名：組画尺寸：158 x 130 cm + 60 x 130 cm. (2) 278 x 130 cm 刘玖通 . 上海 . ( 中間 ) 組：60 x 130 cm 刘玖通 . 上海 . ( 左右 ) 附藝術家親簽之原作保證書

「哲學」、「藝術」和「信仰」古往今來都是作畫的關鍵意涵，而後現代抽象畫往往跨越並融合了上述三者。西方抽象藝術自始至二十世紀下半葉，東方抽象領域方出現趙無極、朱德群等巨擘打出名堂，開啟「中學為體，西學為用」的劃時代與文化的藝術之河。繼兩位前輩之後，東方抽象第二代藝術家 - 劉玖通當仁不讓，孜孜不倦地開拓華人抽象繪畫的道路，並在這個領域屢創新意，是為當今藝術界承先啟後的重要人物。一樣米養百種人，何況一支敏感的畫筆，在不同畫家指下皆存不同靈魂，大抵僅能以本源、道途、歸處三個階段，堪堪概括一些畫風、畫派，如與劉玖

通同樣身處形名之中，探其虛實的北宋郭熙，他曾說「詩是無形畫，畫是有形詩」，幸許我們能以這段話理解劉玖通的抽象山水。享譽畫界的劉玖通，壯闊磅礡唯美的藝術語彙深受中外好評，充滿前景的他正受兩岸三地的華人矚目，「大寫意」抽象美學擷取靈山秀水，創造獨有的詩性藝術表現，其自述道「在即興的塗抹之際，似乎是山水之靈牽引著線條，我只感到與山水交融、合為一體，那是一種極為暢快的幸福感；或許可以說，我的山水畫都是和山水之靈一同創作而成。」劉玖通以畫筆揮灑滿是東方詩性之作，帶入中國人文底蘊之力量與意象，並引領出其中的高山流水之意境，層層推展其恰如其分而又渾然壯闊之無垠大景。他喜愛使用厚重油彩堆疊於畫布，再以刮刀技法創造畫面凹凸之感，張力四溢，下筆間游刃有餘。

畫作《萬里有山》遒勁有力大筆揮下，映在巨尺幅的畫幅呈氣勢凌人，赤紅暖意映照山川，交互黃陽之光牽引畫面山岳宏偉造形，大寫意之下任其山脈、雲煙細節綻開和交融，猶如正值脈動吐息的山靈，其溫流韻律盪樣其中，一脈紆緩的流水漫遊川林之間。劉玖通運用層層顏料堆疊，表現出渾厚豐美的肌理，展現其奔放豪邁氣魄之餘，亦透露其中內斂、細膩之處；蘊含東方底蘊的抽象山水，以薄厚與虛實交織出空濛杳靄的靈性氛圍，透出一絲如夢般迷濛幽然的興味，詩意盎然，既有大器純熟的筆調又有細膩繁美的構圖，在具象與抽象間調和的恰到好處，一如劉玖通曾言：「我愛山水，也愛繪畫，於是山水成為我繪畫最主要的題材。在我的認知中，山水是生命靈性、有姿態表情的，我愛與山水相處互動，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」，將對於山水的嚮往之情，伴隨著藝術家深厚的文化積累，化作詩意澎湃，於畫中展現柔韌的內蘊情懷。

MODERN AND CONTEMPOR ARY ART

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YANG CHIHUNG

September 2007 2007 年九月楊識宏

2013 探索嬾道於紅樹林工作室拍攝楊識宏的創作歷程 A photo of Yang taken during the Discovery Channels documentation of him at his studio in Hongshutin, Taiwan. (Photo by Agnes Hsu.)

身為戰後台灣美術史時代轉折的標竿，楊識宏是獨特而不可或缺的存在，受梵谷傳記感動而得到啟發，開始以藝術家為職志。楊識宏於八〇年代初到紐約，歷經迥異文化的接觸與洗禮，激盪出以新表現主義及帶有浪漫與象徵主義的後現代繪畫語言，征服當時西方藝壇，並受國際藝壇矚目成為焦點，楊識宏對於人文思潮的引介及關懷，灌注予作品濃厚的文學特質與底蘊，促使他成為第一位成功進入畫廊體系的華人藝術家，更是當代華人最重要的抽象表現主義藝術家。楊識宏在創作生涯中歷經多次風格的轉變，由其逐年漸增的生命體會，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。走過探索自我存在的學生時期，歷經紐約藝術蓬勃發展的八〇年代，萌發植物美學哲思的九〇年間，顯現光與生命的昂揚新世紀，色料暢然恣溢橫抹，濃黑深渾的線勾勒醇厚的詩意人生，對於藝術與自然的禮讚，藝術家在蘊含東方詩性的唯美中，同

時展現堅韌的生命力度，傳達「得象忘言，得意忘象」之畫境。其二〇〇三年以東方水墨為材，初試啼聲便在韓國「世界書藝雙年展」斬獲佳績，至二〇〇七年後將水墨融合印象、超現實、抽象表現、攝影等其一生的藝術經歷，藉狂草之勢疾馳書畫，將人與生命、與自然最本質也真實的關係裱於畫上。《2007 年九月》在展闊的視野中浮現起恢弘大氣，頂空伴隨著一抹橙紅，靜觀畫布上堆疊的色料，顯現出質地、彩料色澤與筆觸的細微律動，依稀保有畫筆佇留的時間感，流動的氛圍在畫外依然並存著，傳達出自然界源源湧出的能量與無私情感。擷取部分水墨經典的潑灑滴流特質、將實體的自然之景轉化為抽象意念融於創作內，其重視心靈觀感與內涵的表達，楊識宏的抽象畫總是充滿著空間感與人文素養，每次重新端詳他的畫，都能得到一個新的觀賞角度，用不同角度去詮釋，所得到的感受性也不同，給予的想像空間相當豐富。

藝術家楊識宏 2013 年於紐約 Crosby Street 工作室創作 Yang Chihung painting at his Crosby Street studio in New York

As a pivotal figure in the post-war era of Taiwanese art history,

acclaim at the "World Calligraphy Biennial Exhibition" in Korea.

Yang Chihung emerges as an exceptional and irreplaceable

Starting in 2007, Yang Chihung seamlessly merged his lifelong

presence. His journey into the world of art was sparked by the

artistic experiences, spanning impressionism, surrealism, abstract

inspiring biography of Vincent van Gogh. In the early 1980s, Yang

expressionism, and photography, into his ink painting. With the

Chihung made a significant move to New York, immersing himself

vigor of wild cursive script, he eloquently transcribed the profound

in a rich tapestry of diverse cultures and artistic influences.

interplay between humanity, life, and nature onto the canvas.

This transformative experience ignited the birth of a new artistic language, characterized by elements of Neo-Expressionism, Romanticism, and Symbolism, which captivated the Western art scene of the time. He rapidly garnered international recognition, establishing himself as a focal point in the global art community.

In the following painting, September 2007, a magnificent and expansive landscape unfurls, with a touch of orange gracing the vast sky. Upon closer examination, the intricate interplay of texture, color pigments, and brushstrokes reveals subtle rhythms. It appears to capture the essence of time, a moment when the

Throughout his illustrious career, Yang Chihung underwent a

brush lingered, while the flowing ambiance continues to extend

fascinating evolution of style. His artistic lexicon mirrored his

beyond the canvas. This conveys the perpetual energy and

evolving life experiences, progressing from "representation"

selfless emotions emanating from the natural world. Yang Chihung

to "sensation," and then further evolving from "sensation" to

adeptly incorporates the splattering and dripping techniques

"impression." Having journeyed through his formative years

reminiscent of classic ink painting, transforming tangible natural

exploring self-discovery, immersing himself in the vibrant New

scenes into abstract concepts within his creations.

York art scene of the 1980s, and delving into the realms of botanical aesthetics and philosophical contemplation during the 1990s, he welcomed the new millennium with a vibrant celebration of light and life. In 2003, he ventured into the realm of Eastern ink painting,

With a focus on expressing inner emotions and profound depth, his abstract paintings consistently exude a sense of spatial awareness and humanistic qualities. Each encounter with Yang Chihung's artwork promises a fresh perspective, diverse interpretations, and a rich tapestry of imagination.

skillfully employing ink and watercolor. His work was met with

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146 YANG CHIHUNG ( Taiwanese, b.1947 )

September 2007 170 x 221 cm Mixed Media on Canvas Signed on reverse: Chihung Yang in English and September of Year 2007 ILLUSTRATED:

"CHINA CHINA-Chinasquare NewYork & Beijing," Chinasquare Publishing, August 2008, Page 22 With a certificate of authenticity signed by the artist

NT$ 1,800,000-2,500,000 US$ 56,500-78,500 楊識宏 2007 年九月 2007 綜合媒材畫布背面簽名：Chihung Yang and September of Year 2007

圖錄：《CHINA CHINA-Chinasquare NewYork & Beijing》，中國廣場，2008 年 8 月，第 22 頁附藝術家親簽之原作保證書

藝術家楊識宏 ( 高媛攝影 ) Artist Yang Chihung (Photo by Gao Yuan)

118

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

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147 LEIGH WEN ( Taiwanese, b.1959 )

Galaxy I 152 x 183 cm Oil on Cotton Linen Signed Leigh Wen in English and Chinese, dated 2017 Signed on the reverse: titled, media in English and Chinese, size 152 x 183 cm, dated 2017 With a certificate of authenticity signed by the artist

NT$ 1,600,000-2,500,000 US$ 50,200-78,500 鄭麗雲星河 I 2017 油彩棉蔴布簽名：Leigh Wen 2017 郑麗雲背面簽名：GALAXY I 星河 I 油彩棉蔴布 Oil on Cotton Linen 152 x 183 cm 2017 附藝術家親簽之原作保證書

旅美近四十年的藝術家鄭麗雲，足跡所至遍布世界各地，在意與不意間，自然界中一動一靜，一顰一笑，皆能當作可喜、可怒、可哀或可樂之靈感，不論是使用為人熟知的，抑或有些陌生的媒材，鄭麗雲總會出其不意，令人耳目一新，使意識如涓涓細流，柔中帶剛地運著指尖颯颯而出，呼吸吐納般自然地傳達到作品身上。水墨之「道」，是有無相生，如零一相對，哲學家們總是對這之中的界限與邏輯朝思暮想；鄭麗雲則索性打碎，因為正是最明白藝術本質，即使再怎麼紛亂，都是人類受到日月星辰、風雲霧雨或陰晴圓缺等來自周遭自然與事物狀態的啟發後，藉由創造力拋光打磨，再次賦予了「精神」，聚焦、省察並拓展「生命」存在的意義，從此源源不絕地發現世界大千中萬般美好。朦亮，朧白；縹青，碧藍，明暗自重心處逐漸暈散，厚實卻絲毫不笨重的漸層一環一環地渲染。人啊，總是富有企圖的，我們開墾土地，潛進海洋，也幻想振翅高舉，遨遊青空，探索宇宙奧妙，然而天穹之上，太陽系外，究竟浩瀚幾何，渺小之如你我，尚不能妄有譫語。不過，僅僅立於這幅畫前，觀者和它，它和群鳥，群鳥和星辰，星辰之間，畫框內薄薄一張畫紙――「宇宙」之奧盡在不言，四方縱橫，上下捭闔，為「宇」；億萬光年處閃爍著的星點，是古往今來，曰「宙」，空間與時間順理成章地延續，以恰到好處的節奏，溫柔摧毀物理結構，再有條不紊地，為觀者編織出，既超脫了時空制約，又這麼理所當然的一方留白。藝術家以線性語彙，詮釋表達東方美學中「玄」與「寂」，並以光色調度時空，讓覺知無限延伸。其創作擅長捕捉各種光彩和意象，觀者不禁置身一片廣袤無垠，隨之浮沉漂泊，卻所到皆安。鄭麗雲的創作幾乎經過打底，再用顏料覆蓋，重複刮除的過程。初看這幅作品，一定會被不規律的線條給晃花眼，乍一看似乎無跡可尋，其實每一筆都灌注了心念思緒，真摯地傳達某些訊息，就像聆聽脈搏時，無時不在感受著生命力的勃發。

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148 LEIGH WEN ( Taiwanese, b.1959 )

Hibiscus X 158 x 151 cm Oil on Linen Signed Leigh Wen in English and dated 2017 Signed on the reverse: Leigh Wen and titled, media in English, size 151 x 158 cm, dated 2017 With a certificate of authenticity signed by the artist

NT$ 2,500,000-3,200,000 US$ 78,500-100,500 鄭麗雲朱槿 X 2017 油彩蔴布簽名：Leigh Wen 2017 背面簽名： Hibiscus X 151 x 158 cm Oil on Linen 2017 Leigh Wen 附藝術家親簽之原作保證書

旅美台灣畫家鄭麗雲，從事專業繪畫四十年，職業生涯獲獎無數，同時亦為美國聯邦政府合作畫家，多次參與美國國務院合作計畫，並榮登美國國務院藝術大使。但是她的藝術生涯卻並非如此順風順水，從最初選擇藝術開始便不受傳統觀念父親待見，命運的考驗也不曾休止，她因版畫接觸過多強酸，罹患皮膚癌，接著又因趕畫，從鷹架上摔落，摔斷骨盆，路途上的阻礙不勝枚舉，而放棄卻從未在她的選擇，藝術就是鄭麗雲內心世界的救贖。展現女性堅毅面貌的盛花系列，花朵怒放的氣勢令人折服，花之初萌、茁壯、盛開、凋謝，正形同人的生、老、病、死。所以藝術家對「花」，除卻美，便是對生命的體認。鄭麗雲身為女性又接受六、七〇年代崛起的歐美「女性主義藝術」之思潮激勵，透過自己的直覺並參考「花語」或「花的象徵意義」，來表達她對女權英雄敬謝之意。花的花蕊由數個雄蕊圍繞著雌蕊，雌蕊象徵的是女性的力量，獨

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立、堅強地生存在由男性主導的世界中，鄭麗雲筆下的花卉高雅富生命力，與以往嬌弱的形象背道而馳。鮮紅色的朱槿花是代表墨西哥女性藝術家－芙烈達．卡蘿，朱槿花花色明快艷麗，花瓣豪邁奔放，但是在熱情的外表下，卻有著獨特纖細的心，它的花心是由多數小蕊連結起來，包在大蕊外面所形成的，結構相當細緻。鄭麗雲自述她的創作受到傳統水墨的啟發，畫作中最有鑑別度的刻痕，即是以山水畫的「皴法」為基礎作發展，藉由刮除顏料產生的線條作為創作符號，精準的控制色彩漸層與圖面的空間感，形成別具風格的「減法藝術」，《朱槿 X》充分表現出她對於線條疏密掌握及分布運用的了解，同時也可透過她的筆觸線條牽引，窺見她的人生歷練及顛簸、感受幽微的思緒。線條賦予每一片花瓣擁有可乘載之力，它的存在並非輕描淡寫，如同女性致力突破社會既定的審美與文化桎梏，追求身、心、靈之自由及獨立。

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溫．德爾維於 2019 年在比利時布魯塞爾的布魯塞爾皇家美術館舉辦的展覽 Wim Delvoye's exhibition at Musée Royaux des Beaux-Arts de Bruxelles, BRUXELLES (Belgium), 2019

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Concrete Mixer 混凝土攪拌機威姆．德爾瓦

「如今，許多人就像18世紀的魯德派一樣害怕進步，走進工廠摧毀機器。他們認為自己的生命受到威脅。現代的魯德派想要阻止試管嬰兒、基因工程、人工智慧等等。但這不是我。我喜愛電腦，熱愛一切新事物。我的問題不是它是好是壞；我的問題是它是否嶄新。如果是，那就去做，後來再問問題。我們生活在一個令人驚奇的時代，一切都在變化中。這將是一次巨大的轉變。儘管我的作品不看起來像未來主義，但我非常具未來派思維。」---溫·德爾維

「德爾瓦參與了一種藝術創作方式，重新調整了我們對如何創造美的理解」- 著名藝評家羅伯特．恩賴特 (Robert Enright) 在藝術雜誌《邊境穿越》評價比利時的新觀念藝術家威姆．德爾瓦 (Wim Delvoye)，曾給活豬紋身並製成標本販售、以機器模擬排泄系統的《Cloaca》等作品，其中衝擊對人性探索的相關議題，充滿創新前衛的創作理念和多元化的媒材使用而聞名。他的藝術實踐跨足了繪畫、雕塑、裝置藝術等多個領域，挑戰傳統藝術的界限。德爾瓦的創作理念經常圍繞著工業化、美學和社會現象，他尋求將工業和藝術結合，引發觀眾對於當代社會的深刻反思。作品展示了對於材料的創新使用、對工藝的熱情以及對當代文化和價值觀的批判性觀察。

物品披覆繁複無用的誇飾性裝飾花紋，藝術家傳達出調換價值、消弭相對意義的概念，顛覆性和諷刺性的方式挑戰了傳統的藝術思維。哥德式風格在歷史上與宗教和精神層面有著深層的連結，巴洛克式大教堂建築的精緻細緻和優雅風格賦予了這個工業設備一種古老而精緻的美感，這種美學與現代工業重型機械形成鮮明對比。威姆·德爾瓦通過挪用與轉化的手法，呈現出歷史裝飾和工業設計的非典型而有趣的融合，將神聖與世俗融為一體，引發了關於工具和裝飾、實用性和審美之間關係的思考，質疑何謂神聖的，什麼是功利的。也強調了現代與傳統之間的關係，以及歷史對於當代藝術的影響。藝術家之所以與眾不同，就是他能以不同的角度看待這世界，通過作品闡明自己的理念，引領觀眾作深層次思考。「維姆．德爾瓦耶的優

《混凝土攪拌機》以宗教藝術為題材，這件「哥德式機械」使用最先進的雷射切割技術，在不鏽鋼上雕刻出精細的紋路細節，呈現出優雅而莊重的感覺。建立在比利時超現實主義傳統的基礎上，藝術家將中世紀工藝與機器時代技術並置，將人們熟悉的生產力標誌工具轉變為華麗、非功利的物品，帶有著強烈悖論的色彩，彷彿製造出過去與現在相遇。此外，通過對工業工具的審美轉化，引發了關於物品本質和藝術的重要課題。混凝土攪拌機由原本只是建築工地上的日常機械工具，經過德爾瓦的重新詮釋，將象徵工業等現代科技文明的符號昇華為藝術品，體現了工業與美學的融合。但同時，也被視為將實用性的

勢在於他能夠透過將美術和民間藝術相結合，以嚴肅的態度對抗諷刺來製造衝突」- 第九屆卡塞爾文獻展的組織者揚·霍特 (Jan Hoet)

作品細節圖 Detailed Image of the work

藝術家威姆．德爾瓦，與團隊於工作室內，攝影師：Patricia Mathieu Artist Wim Delvoye, with his team in the studio, Photographer: Patricia Mathieu

將哲學思想、材料的創新使用和對工藝的結合，加上藝術形式的多樣性，威姆．德爾瓦代表了當代藝術的多樣性和反思性，受到當代藝術廣泛認可及讚譽。藝術家鼓勵觀眾思考藝術的定義和意義，模糊了傳統藝術與當代藝術實踐之間的界限，其作品多年來在全球展出，包括羅浮宮博物館、古根漢收藏館、現代藝術與當代藝術博物館、羅丹博物館等知名美術機構。

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“Nowadays, many people are like the 18th-century Luddites who were afraid of progress and went to the factories to destroy machines. They thought their life was in danger. Modern Luddites want to stop IVF, genetic engineering, AI, and so on. That's not me. I love computers. I adore anything new. My question is not whether it's good or bad; my question is whether it is new. If it is, do it and ask questions later. We are living in an amazing time when everything is changing. It's going to be a big transition. I'm very futurist, although my work doesn't look futurist.” --- Wim Delvoye

Wim Delvoye, the celebrated Belgian conceptual ar tist, is

piece of art, symbolizing the harmonious merger of industry and

renowned for his groundbreaking and avant-garde creative

aesthetics. Simultaneously, it is a testament to the transformation

concepts, as well as his diverse use of various artistic media.

of practical items into complex, non-functional pieces, conveying

His unconventional works have included live pig tattoos, the

the concepts of reevaluating worth and dismantling relative

creation of specimens for sale, and the invention of the machine-

meanings. This subversive and satirical approach relentlessly

like "Cloaca" that simulates a digestive system. Delvoye's

challenges conventional artistic paradigms.

artistic pursuits span a multitude of disciplines, from painting to sculpture and installation art, effectively pushing the boundaries of traditional artistic expression.

The Gothic style, historically associated with religion and the spiritual realm, has bestowed upon this industrial apparatus a sense of age-old elegance. The delicate and ornate stylings

At the heart of Delvoye's creative philosophy lies the fusion

reminiscent of Baroque cathedral architecture stand in stark

of industrialization, aesthetics, and societal observations. He

contrast to the mechanical heaviness of modern industrial

relentlessly strives to unite the worlds of industry and art, thereby

machinery. Through his appropriations and transformations,

provoking profound contemplations on contemporary society

Wim Delvoye presents an unconventional and fascinating fusion

amongst his spectators. His creations are a testament to his

of historical adornment and contemporary industrial design,

mastery of materials, his unwavering dedication to craftsmanship,

marrying the sacred with the profane. In doing so, he urges

and his insightful critiques of contemporary culture and values.

us to reflect on the intricate relationships between tools and

In the following works, Concrete Mixer draws its inspiration from religious art. This "Gothic-style machine" is etched onto stainless steel using cutting-edge laser technology, resulting in intricate and delicate patterns that evoke a sense of grace and grandeur.

ornamentation, functionality and aesthetics, and to question what qualifies as sacred or utilitarian. This also underscores the interplay between modernity and tradition, as well as the profound influence of history on contemporary art.

Rooted in the rich tradition of Belgian surrealism, Delvoye

What sets Delvoye apart as an artist is his ability to perceive the

juxtaposes medieval craf tsmanship with the technological

world from unique vantage points and articulate his thoughts

marvels of the modern era, transforming everyday symbols of

through his creations, leading viewers to engage in profound

productivity into ornate, non-utilitarian objects. The result is

introspection. Jan Hoet, the organizer of Documenta IX, aptly

an art form teeming with paradoxical elements, as if forging a

noted, "Wim Delvoye's strength lies in his ability to generate

connection between eras long past and our present moment.

conflict by juxtaposing fine ar t and folk ar t with a profound

Moreover, through the aesthetic metamorphosis of industrial tools,

seriousness that challenges irony."

he raises essential questions regarding the essence of objects and the nature of art. Concrete Mixer, once a mundane fixture on construction sites, is reborn in Delvoye's interpretation as a

By mer ging phil o so phic al c o nc ept s, innovat ive mater ial applications, and the mastery of craftsmanship with a plethora of artistic forms, Wim Delvoye personifies the diversity and introspection of contemporar y ar t. His work has garnered extensive recognition and acclaim within the field, encouraging audiences to ponder the definitions and meanings of art while blurring the lines between traditional and contemporary artistic practices. His exhibitions have graced prestigious art institutions worldwide, including the Louvre Museum, the Guggenheim Collection, the Museum of Modern and Contemporary Art, and the Rodin Museum, to name but a few.

藝術家威姆．德爾瓦，攝影師：Patricia Mathieu Artist Wim Delvoye, Photographer: Patricia Mathieu 佩吉．古根海姆展示藝術家溫．德爾沃耶名為《Torre》的作品，採用國際哥特式風格，位於威尼斯格蘭德運河上的露台上（2009） Peggy Guggenheim collection presents Wim Delvoye's creation, “Torre” in the international gothic style, on the terrace of Palazzo Venier Dei Leoni, Venice (2009)

149 WIM DELVOYE ( Belgian, b.1965 )

Concrete Mixer 35 x 63 x 84 cm Laser - Cut Stainless Steel With a certificate of authenticity signed by the artist

NT$ 4,200,000-6,000,000 US$ 131,900-188,400 威姆．德爾瓦混凝土攪拌機 2011 雷射切割不鏽鋼附藝術家親簽之原作保證書

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LI CHEN

Dragon-Riding Bodhisattva 大士騎龍李真

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藝術家李真 Artist Li Chen

來自雲林的銅雕藝術家李真，一九六三年出生於以裝潢建材行為業的家庭，從小耳濡目染，對各式材料已有多樣的認識基礎，早期並沒有太多對創作的意圖和想法，只是循著家中的環境，協助家業。後來，因緣際會下，進入傳統佛像的雕刻業，並以此業維生數年。在執業期間，因為傳統佛像的普遍需求，不同的佛像中都有因循的規則要配合，長久下來，李真發現自己更想要嘗試創作，而不是全然走前人走過的路。初嘗試下，帶著過去積累的一切，李真試圖傳達的想法催生出《水月觀音》，李真擅長的輕盈感、圓融且充滿溫暖的雕塑風格，已見開端，《水月觀音》恰到好處的融合了傳統與創新，不只撼動傳統佛像雕塑的世界，並引起仿效，也開拓了國內外藝術圈對佛雕的理解。從此以後，李真便開始了一系列融合傳統與現代、結合佛家與道家思想的銅雕創作，並在世界各處嶄露頭角。李真在創作初期經過大量攝取佛道學經典，觀摩博物館或古蹟裡的佛像，在藝術作品的追求上，他通過雕塑傳達東方文化的博大精深的精神與內涵，展現質樸素簡的個人風格。二〇〇一年的作品《大士騎龍》可視為李真創作的代表力作，它是一九九九年《大士》的創作延伸，原型則來自佛教觀音大士，而其大願為救度世間一切苦難眾生、素以慈悲為懷之形象示向眾生，李真則是以「圓滿」之姿重新詮釋，其大士，左手持甘露淨瓶、右手印相施依印，雙臂不遺展開，胸懷遼闊穩立天地，呈飽滿之圓月襯出深而多層的墨漆能一展海納一切世間業力之態勢，首向下垂簾俯視而雙眼平靜閉合，心念大願傾聽世間、內觀慈悲嘴角淡抹一笑又得莊嚴之相。御駕神龍，奔於滔天之觀音大士形象，源自民間洪流旱災背景下，釋迦如來請觀音大士前往佈法，故喚地龍化作蓮台為其護法渡洋而去，

李真「李真台灣大型雕塑首展」展於台北台灣中正紀念堂 (2011) Li Chen, “Greatness of Spirit Li Chen Premiere Sculpture Exhibition” National Chiang Kai-Shek Memorial Hall in Taipei, Taiwan (2011)

信徒們識見大士騎龍化身寶相後供奉而尊為龍頭觀音，並列為觀音三十三之二應化身 - 「辟支佛身」，而龍的形象相傳甚多，在李真所塑之龍則以足踏於龍珠、爪融處亦形蓮花、造形與空間互會成祥雲，寓奔騰天火之上，配上豐盈之軀、背如玄武龜甲般的現代造型賦予堅實孔武的活力，龍顏則敦厚沉穩，觀凝八方，在三維形式下卻兼具活潑生動不流於過度攏沉嚴肅，側則如「鼎」般屹立於地。隨同傳頌觀音大士無邊功德，樂於為民消災解厄，庇佑眾生安居樂業的美善。作品還能見李真洞悉佛理經典，從內在向外訴諸塑形的轉合，讓作品脫離經典傳說既有的框架，最終「以型化形」、「以形述型」更能形容李真作品達到的境界，大士與龍和諧一體精髓，「淨化」、「施善」、「包容」也不再僅是一種宗教語境的依附，更是一種深入而中性的靈性能量傳遞，令人體會一種安穩撫慰、平靜安定。運用內斂沉穩的思維，賦予以純真、圓融、智慧的當代形象化身。李真以「虛空」為其重要的創作美學概念，「空」與「虛」是中國文化中佛學及道學的重要思想，佛學中的「空」并不是代表沒有，而是代表一個巨大寂靜的生滅智慧境界。因此李真淬煉了繁複精細的木雕工法，以簡代繁，將渾圓的造型綫條提升至心靈層面的精神依托，用積累多年的禪思冥想刻畫出屬於當前時代精神的暖心創作，不僅升華了藝術創作的美學概念，更將美學延伸至人性純真的善美圓融，因此其作品，實體之中灌入的是一種精神之氣的虛空，用誇張、通體漆黑懾人的物質精神，內其傳達的確是天真爛漫、喜悅滿足的精神概念。正因如此，即便他的作品體看似體積碩大，却不顯笨重壓迫，猶如飄浮於空中，及人一種「既重又輕」的感官體驗，實乃精神與物質能量完美結合之典範。

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134

ZHONG CHENG 中誠

Originating from Yunlin, the bronze sculptor Li Chen was born

in a benevolent mudra, her outstretched arms exude warmth and

in 1963 into a household deeply rooted in the world of interior

encompass the cosmos. The full moon backdrop accentuates the

design and construction materials. His early upbringing exposed

deep and multi-layered ink wash, evoking the omnipresence of all

him to a diverse array of materials, laying the foundation for his

worldly karma. Her eyes, closed in meditation, radiate tranquility

multifaceted understanding of craftsmanship. Initially, Li didn't

and a faint smile, reflecting her attentive listening to the world's

harbor grand ambitions for artistic pursuits; he simply followed the

cries for help.

family's trade.

In the following work, Riding the Divine Dragon, the Bodhisattva

Yet destiny had its own plans for him. Through a series of

soars atop a colossal dragon, symbolizing a celestial voyage.

serendipitous events, Li found himself drawn into the realm of

The legend traces back to a folk tale during a severe drought,

traditional Buddhist sculpture, making a living in this field for

where a plea to Guanyin Bodhisattva led to her sending a dragon

several years. During this time, as he chiseled away at traditional

to unleash torrents of rain. Devotees hailed her as the "Dragon-

Buddhist statues, he began to notice the constraints imposed

Headed Guanyin," elevating her to one of the "Thirty-Three

by time-honored conventions. A longing to explore his unique

Manifestations of Guanyin."

creative path gradually took root within him.

Li Chen's profound grasp of Buddhist philosophy becomes evident

Harnessing his honed skills and accumulated experiences, Li

in his ability to transcend the confines of traditional narratives,

embarked on a creative odyssey that gave birth to "Water Moon

breathing life into his creations. His sculptures transcend

Guanyin". This sculpture, marked by its ethereal grace, rounded

tradition to "form with form" and "shape with shape." This artistic

contours, and an inherent sense of warmth, marked the genesis

philosophy liberates his work from conventional constraints,

of Li's artistic expression. "Water Moon Guanyin" achieved a

allowing him to explore new dimensions of artistic expression.

sublime fusion of tradition and innovation, not only challenging the established norms of traditional Buddhist sculpture but also serving as a source of inspiration to others, expanding the boundaries of understanding in the realm of Buddhist sculpture on both the domestic and global stages.

Infused with introspection and a serene demeanor, Li infuses his contemporary sculptures with purity, harmony, and wisdom. He places great emphasis on the concept of "emptiness," a foundational element in Chinese Buddhism and Daoism. In these traditions, "emptiness" does not denote nothingness but rather

From that pivotal point onward, Li Chen embarked on a series

a profound state of transcendent wisdom and serenity. Li Chen

of bronze sculptures that seamlessly intertwined traditional and

adeptly employs a minimalist approach in his wood carving

contemporary elements, weaving together the philosophies of

techniques, simplifying complexity and elevating contours to

Buddhism and Daoism. His works garnered recognition and

resonate with the spiritual dimensions within.

acclaim on an international scale.

His sculptures possess a unique quality where, despite their

In the initial stages of his artistic journey, Li immersed himself

substantial physical presence, they appear to float with a sense

in Buddhist and Daoist scriptures, while also studying ancient

of "weighty lightness." The exaggerated, entirely black materiality

Buddhist sculptures in museums and historical sites. Through

conceals a spirit that emanates childlike wonder, joy, and

his ar tistr y, he aimed to convey the profound spiritual and

contentment. This juxtaposition of material and spirit represents

philosophical dimensions of Eastern culture, infusing his creations

a harmonious fusion of spiritual and material energies, offering

with the simplicity and elegance that defined his unique style.

viewers a profound sense of solace and serenity.

One of his most iconic masterpieces, Dragon-Riding Bodhisattva

Through his art, Li Chen not only redefines aesthetics but also

completed in 2001, stands as a magnificent extension of his 1999

extends the concept of beauty to encompass the innate purity,

creation, "Bodhisattva." This sculpture draws its inspiration from

harmony, and completeness of the human spirit. His sculptures

the Buddhist Guanyin Bodhisattva, renowned for her boundless

embody a spiritual emptiness that seamlessly connects the

compassion and her mission to alleviate the suffering of all

material and spiritual realms, creating a perfect fusion of form and

sentient beings. Li Chen reimagines her in a "complete" form.

essence.

With one hand holding a vase of nectar and the other gesturing

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150 LI CHEN ( Taiwanese, b.1963 )

Dragon - Riding Bodhisattva 93.5 x 77 x 112.5 cm Bronze, edition of 8 Signature engraved: Li Chen in English, dated 2001 and edition number With one seal of the artist ILLUSTRATED:

1. "Li Chen 1992-2002 Sculpture," Asia Art Center, Taipei, Taiwan, 2004, Page 8283 2. "Li Chen in Venice 52nd Venice Biennale - Energy of Emptiness," Asia Art Center, Taipei, Taiwan, 2007, Page 118-129 and Page 219 3. "Li Chen in Beijing - In Search of Spiritual Space," Asia Art Center, Taipei, Taiwan, 2008, Page 50-57 and back cover 4. "Li Chen: Mind, Body, Spirit," Singapore Art Museum, Singapore, 2010, Page 94-103 color illustrated; Page 183 black-and-white illustrated (another version) 5. "Great of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan," Asia Art Center, Taipei, Taiwan, 2011, Page 59 and Page 78-79 (another version) EXHIBITION:

1. "Li Chen - Energy of Emptiness, 52nd Venice Biennale," Italy, Venice, June 8thNovember 21st, 2007 2. "Li Chen: In Search of Spiritual Space," National Museum of China, Beijing, China, April 29th-May 11th, 2008 3. "Li Chen: Mind, Body, Spirit," Singapore Art Museum, Singapore, September 17th-December 9th, 2009 (another version) 4. "Great of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan," Chang Kaishek Memorial Hall, Taipei, Taiwan, November 6th-December 4th, 2011 (another version) 5. "Li Chen' s Major Sculpture Solo Exhibition," Place Vendome, Paris, France, September 2nd-29th, 2013 (another version) With a certificate of authenticity from gallery

NT$ 11,000,000-15,000,000 US$ 345,400-471,000

李真《大士騎龍》展於「精神．身體．靈魂李真 2009 年個展」新加坡國家美術館 Li Chen, Dragon - Riding Bodhisattva, exhibiting at“Mind, Body, Soul: Li Zhen Solo Exhibition” (2009), National Gallery Singapore, © COPYRIGHT ASIA ART CENTER

136

ZHONG CHENG 中誠

李真大士騎龍 2001 銅雕限量 8 件雕刻簽名：2001 Li Chen 跟版數雕刻鈐印：李真

圖錄： 1. 《1992-2002 李真雕塑》，亞洲藝術中心，台灣台北， 2004 年，第 82-83 頁 2. 《第 52 屆威尼斯雙年展 - 李真：虛空的能量》，亞洲藝術中心，台灣台北，2007 年，第 118-129 頁、第 219 頁 3. 《李真：中國美術館個展 - 尋找精神的空間》，亞洲藝術中心，台灣台北，2008 年，第 50-57 頁、封底 4. 《李真：精神、身體、靈魂》，新加坡美術館，新加坡， 2010 年，第 94-103 頁 ( 彩色圖版 )；第 183 頁 ( 黑白圖版 ) ( 另一版次 ) 5. 《大氣 - 李真台灣大型雕塑首展》，亞洲藝術中心，台灣台北，2011 年，第 59 頁、第 78-79 頁 ( 另一版次 )

展覽： 1. 「第 52 屆威尼斯雙年展 - 李真：虛空的能量」，義大利威尼斯，2007 年 6 月 8 日至 11 月 21 日 2. 「李真：尋找精神的空間」，中國美術館，中國北京， 2008 年 4 月 29 日至 5 月 11 日 3. 「李真：精神、身體、靈魂」，新加坡美術館，新加坡， 2009 年 9 月 17 日至 12 月 9 日 ( 另一版次 ) 4. 「大氣 - 李真台灣大型雕塑首展」，中正紀念堂，台灣台北，2011 年 11 月 6 日至 12 月 4 日 ( 另一版次 ) 5. 「李真 2013 巴黎凡登廣場大型雕塑個展」，凡登廣場，法國巴黎，2013 年 9 月 2 日至 29 日 ( 另一版次 ) 附畫廊開立之原作保證書

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LI CHEN

Wisdom Bodhisattva and Fulfillment Bodhisattva 文殊與普賢李真

138

ZHONG CHENG 中誠

「藝術本來就沒有疆界，它是內在的東西，一種精神性的服務，一種心靈精神的交流。」--- 李真

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一九六三年出生於台灣雲林的李真，創作以東方儒、佛、道之三教思想為基礎，相互攝取精髓活用在一件件細膩儒雅的雕塑作品中，兼具東方玄學精神，修心、空無、自然為一體的極簡風格。從較早期的轉化傳統佛像的虛實聚化，修心運手，專注於法相、體態的莊嚴造型，如一九九二年《水月觀音》、一九九六年《一葉觀音》 … 等，約莫一九九八年開始簡化佛像造型，考量周圍空間動向、處理材質以拂化繁，讓三教思想與藝術創作從內到外、從心念到表現完美結合。福相喜氣卻不失形的氣撼莊嚴、象的神性空靈。不僅備受國內藝術市場推崇、參展於各大機構單位，也遠播國際舞台，二〇〇七年更曾受邀參展威尼斯雙年展，成為百年來首位以個人名義受邀威尼斯雙年展舉行個展的華人藝術家。李真的招牌佛像，亦或是修行人，其中富含寄託性安寧靜思的能量，正是當今社會渴求的人文治癒，為此可說其魅力跨越了國籍、信仰、文化等價值觀，一如《文殊與普賢》作品雖取於大乘佛教《華嚴經》所描述的「釋迦三聖」其中－左脅侍「文殊菩薩」、右脅侍「普賢菩薩」為原型，但是在實際挪用於李真雕塑語彙時，其帶給觀眾的第一感受更為親切，更不帶任何條件認知的符號，取而代之的是圓潤大氣、緩動而靜的視覺姿態，雙對面部呈現安然的神韻，乃至座下幻獸不再勇武悍拔呈現憨厚溫順之趣味。李真以當代藝術的創作手法，將佛學和道家等提供靈感的形象完美融合。作品中動感的弧形與流動的線條型態，使靜態雕塑有如「氣」的微妙變化產生游移不定的視覺轉換，加之以黑色質感的色彩擴張，使得作品有如充斥著飽滿的氣體或能量，既有收斂的情感特質，又成功製造出雲遊質地，讓外觀視覺心理有「既重若輕」的玩味。李真巧妙地利用顏色 (color) 和形式 (form) 的對比，在靜與動、重與輕的對立和平衡中，創造一種「虛空美學」；同時，觀者亦能透過視覺傳遞而喚起一種內在的聽覺通感，彷彿能親身感覺到一種飽滿而餘音裊裊的寺廟鐘聲自其作品而出，成功地為東方美學創造性地轉換成了當代藝術語彙，型塑既是傳統又是現代的一種新東方美學的表現方式。從作品溯源到製作過程不免看出藝術家作為超乎常人的修為定性，耐心地層層推磨出最低限而精準的「少即是多」、「多而不如空」禪修美學涵養，而又其「空」化作為一「自在無為」，從內至外，才能讓作品本身即可勾起著微妙的冥想。最終，就算不熟悉文殊菩薩所代表「智慧」，或許也不明白普賢菩薩所行願「無邊功德」，仍然可以在李真的雕塑中感受到那些來自中性的慈悲與其中帶來平靜治癒的能量；用藝術創作畫破疆界，這也是為何李真的作品在國內外藝術學術與市場上、收藏界能夠立於恆久不衰的地位。

「每件作品都像是我的孩子……多數作品都帶著我的情感依戀。他們訴說著我的人生故事。」--- 李真 “Every work of art is like a child… Most of the works carry emotional attachment. They tell the story of my life.” --- Li Chen

藝術家李真 Artist Li Chen

In 1963, the world welcomed a Taiwanese artist, Li Chen, born in

experience a synesthetic connection as if they can personally hear

the picturesque region of Yunlin. Li Chen's art is a mesmerizing

the resonant sound of temple bells echoing from his artworks.

tapestr y that weaves the rich tapestries of Confucianism,

This successful creative transformation has ingeniously adapted

Buddhism, and Taoism into his intricate sculptures, adding a dash

Eastern aesthetics into contemporary art vernacular, providing a

of Eastern metaphysical wisdom. His style is a testament to the

representation of a new Eastern aesthetic that's both traditional

fusion of these traditions, culminating in a minimalist aesthetic

and modern.

that seamlessly marries spiritual cultivation, emptiness, and the harmony of nature.

A glance at Li Chen's works and his creative process reveals the artist's extraordinary dedication to spiritual cultivation. He

In his early works, Li Chen embarked on a transformation of

patiently sculpts and refines his pieces, adhering to the philosophy

traditional Buddhist iconography, demonstrating a profound focus

of "less is more" and the Zen aesthetic of "less is more, and more

on the dignified portrayal of form and the spiritual essence of the

is nothing." He channels the concept of "emptiness" as "effortless

Dharma. This journey is exemplified in masterpieces such as

action" from within to without, evoking a subtle meditation. Even

Water and Moon Guanyin from 1992 and One-Leaf Guanyin from

if one is not familiar with the symbolism of Manjushri Bodhisattva

1996. Around 1998, Li Chen embarked on a journey to simplify

representing "wisdom" or Samantabhadra Bodhisattva and their

the forms of his Buddhist sculptures, allowing for a deeper

vow of "boundless merits," they can still sense the compassion

convergence of the three philosophical traditions and artistic

and the tranquil healing energy stemming from neutrality within Li

expression, harmonizing the inner realms of thought with their

Chen's sculptures. Li Chen's ability to transcend borders through

external manifestations. His sculptures, with their jubilant and

artistic creation is a testament to why his works continue to hold a

auspicious charm, radiate an ethereal spirituality that captivates

prominent and enduring position in the domestic and international

all who behold them. This artistic journey has led to adoration in

art and collecting communities. Li Chen eloquently reminds us,

the domestic art market and international acclaim, with Li Chen

"Art knows no boundaries; it's something intrinsic, a spiritual

becoming the first Chinese artist to host a solo exhibition at the

service, a form of communication for the soul."

Venice Biennale in over a century in 2007. Li Chen's sculptures, whether they depict Bodhisattvas or spiritual practitioners, resonate with a profound sense of serenity and introspection. They offer a much-needed source of humane healing that transcends borders, faiths, and cultural boundaries. Take, for example, in the following work, Wisdom Bodhisattva and Fulfillment Bodhisattva, inspired by the "Three Sages of Shakyamuni" as described in the Mahāvaipulya Buddhāvatāra Sūtra— "Manjushri Bodhisattva" on the left and "Samantabhadra Bodhisattva" on the right. When reimagined by Li Chen, the initial impression it imparts is one of familiarity, devoid of any predetermined symbols. Instead, it offers a rounded, serene visual posture, and even the mythical creatures beneath display a more docile and gentle disposition, casting aside their fierce demeanor. Li Chen masterfully employs contemporary artistic techniques to harmoniously blend Buddhist and Daoist inspirations. The dynamic arcs and flowing lines in his works infuse static sculptures with subtle shifts akin to the ebb and flow of "qi," expanding the color palette with black textures that create an illusion of fullness, as though they are filled with gas or energy. This imbues his works with both a sense of restrained emotional qualities and a playful, cloud-like texture, offering a visual and psychological balance of "both heavy and light." Li Chen adeptly uses color and form contrasts to create a "void aesthetic," allowing viewers to 藝術家李真 Artist Li Chen

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151 LI CHEN ( Taiwanese, b.1963 )

Wisdom Bodhisattva and Fulfillment Bodhisattva a. 45.5 x 64 x 65 cm b. 40 x 56.5 x 65 cm Bronze, edition of 8 (a set of two) Signature engraved: Li Chen in English, dated 2001 and edition number (2) With one seal of the artist (2) ILLUSTRATED:

1. "Li Chen Sculpture 1992-2002," Asia Art Center, Taipei, Taiwan, 2004, Page 80-81 (another version) 2. "Li Chen in 52nd Venice Biennale - Energy of Emptiness," Asia Art Center, Taipei, Taiwan, 2007, Page 110-115 colorillustrated; Page 218-219 black-and-white illustrated (another version) 3. "Li Chen in Beijing - In Search of Spiritual Space," Asia Art Center, Taipei, Taiwan, 2008, Page 40-49 color illustrated; Page 196-197 black-and-white illustrated (another version) With a certificate of authenticity from gallery

NT$ 6,000,000-8,000,000 US$ 188,400-251,200 李真文殊與普賢 2001 銅雕限量 8 件 ( 兩件一組 ) 雕刻簽名：2001 Li Chen 跟版數 (2) 雕刻鈐印：李真 (2)

圖錄： 1. 《李真雕塑 1992-2002》，亞洲藝術中心，台灣台北， 2004 年，第 80-81 頁 ( 另一版次 ) 2. 《李真第 52 屆威尼斯雙年展 - 虛空中的能量》，亞洲藝術中心，台灣台北，2007 年，第 110-115 頁 ( 彩色圖錄 )；第 218-219 頁 ( 黑白圖錄 ) ( 另一版次 ) 3. 《李真中國美術館個展 - 尋找精神的空間》，亞洲藝術中心，台灣台北，2008 年，第 40-49 頁 ( 彩色圖錄 )；第 196-197 頁 ( 黑白圖錄 ) ( 另一版次 ) 附畫廊開立之原作保證書

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a. b.

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ZHOU CHUNYA

Peach Bronze 桃花繪周春芽

藝術家周春芽 Artist Zhou Chunya

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ZHONG CHENG 中誠

「藝術家沒有固定的創作方式，任何表現材料都是媒介，關鍵是思想、題材。對於畫家而言，雕塑是一種新的嘗試，無論是從色彩關係到立體結構都是一次挑戰，所以我從來不敢稱自己是雕塑家。」--- 周春芽

周春芽的「桃花系列」肇始於二〇〇五年，但在更早的一九九七年，「桃花」便曾出現在其畫布上朵朵綻放：「但那時桃花只作為次要陪襯。桃花的溫和豔麗和狼狗的暴力並置在一起，形成一種強烈的視覺和心理反差，讓我著迷。」而《桃花繪》創作於二〇一三年，承續了周春芽對桃花系列近十年來的潛心探索，在藝術家的巧手之下，這件尺幅碩大、氣勢磅的雕塑，卻能同時擁有桃花的旖旎爛漫、艷勃渾厚的迷人特質，不僅是「溫和而暴力」另一層面的展現，更模糊了「平面繪畫」與「立體雕塑」間的界限，讓兩者精彩地融合為一體。周春芽拒絕將《桃花繪》打磨，刻意地保留、創造其嶙峋手感，在其捏塑的過程中，動態的筆觸被凝結成靜止的瞬間，在那些起伏縱橫之處，就仿若枝枒原生自然的樣貌，更是油畫的濃墨重彩、粗獷的線條。線條在雕塑上行雲流水、肆意遊走，沿用其繪畫大筆刷抹的勁道，直追中國傳統文人畫中筆隨意走的寫意趣味。

藝術家周春芽位於工作室作畫 Artist Zhou Chunya painting in his studio

在藝術家刻意地追索下，華豔絢爛、妍麗多姿的桃花，擁有了濃重深厚的肌理效果和體量感，飽滿而填實。而立體枝枒時而繁密、時而疏鬆的律動感，更賦予並加強了《桃花繪》昂揚延展的生命能量，在「形體表現」與「書寫情趣」之間，展現出完美的平衡點。正如藝術評論家漆瀾所說：「他不會單邊的去修飾，不會把作品打磨的光鮮誘人，很多地方留下了反美學的修辭，其形態存在於緊張和抗辯的語境中。這是美和醜的臨界點，看似精心創作，但又展現出漫不經心的舒坦和自由。」周春芽被譽為是中國當代繪畫界中對色彩把握最好的藝術家，雖然他曾聲稱，油畫是他最喜愛的藝術語言，但雕塑卻讓他在畫布之外，找到了更自由的表現形式。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、自在的表現形態，更能體現造型藝術的內在品格。周春芽憑借著熱情與敏銳知覺，揮灑著西方的自由狂放和東方的典雅，煥發屬於新時代的藝術語彙。《桃花繪》毫不矯作的自然之態，直探情慾、直覺的本質趨向，是藝術家對萬千世界的體悟、抒發胸臆的結晶。

周春芽《桃花風景系列—花香襲人》2006 ，油彩畫布， 200 × 250 cm Zhou Chunya “Peach Blossoms Series 2OO6: Flower Fragrance” 2006, Oil on Canvas, 200 x 250cm

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“An artist does not have a consistent way of creating, any expressive material can be used as medium. The key is to contemplate what the subject is. To a painter, sculpture is a new experiment, from colors relations to the construction of the three-dimensional form, everything is a challenge. So I never dare call myself a sculptor.” --- Zhou Chunya

Although Zhou Chunya’s “Peach Blossom” series begun in 2005,

said, oil painting is his favorite form of artistic expression, however

the flower already appeared in his painting in 1997, “But at the

sculpture helped him achieve a more liberating manifestation

time the peach blossoms only served as a form of embellishment.

outside the restriction of the canvas. Within the sculpture’s simple

The gentle and eye-catching flowers were placed next to the

structure of composition, volume, and form, there are no concrete

aggressive German shepherds. The combination creates a

narrative and burdens, alternatively it is a concise and liberated

dynamic visual effect and psychological contrast. I was very

artistic expression that is even more expressive in conveying

intrigued.” Peach Bronze was created in 2013-2014, continuing

the work true essence. By following his passion and intuition,

Zhou Chunya’s exploration in the decade-long series. The artist

Zhou Chunya embraced the free and wild manner of the western

skillfully executed the grand and prevailing sculpture by hand

abstract expressionist, but also recalling the classical aestheticism

to demonstrate the splendid and mesmerizing qualities of the

of the East. His artwork represents the artistic vocabulary of a

peach blossom. Zhou Chunya’s demeanor of “gentle but violent”

new generation. Peach Bronze’s unpretentious and natural state

tendency creates a new form of expression that blurs the state of

explores the indispensable presence of lust and instinct; the work

“painting” and “sculpture,” moreover, the two genre of expression

also represents the artist’s profound understanding of the world

formulates a brilliant union.

and the crystallization of his artistic journey.

Zhou Chunya refused to polished the sur face of the Peach Bronze sculpture, instead he left behind raw hand texture as his way of preserving nature’s authentic shape. During the process of molding, it seems as if the movements in his brushstrokes are suddenly turned still, he conveyed the volatility of the raw branches by imitating nature’s course. The immensity of oil paint formed thick bold lines that ran across the sculpture spontaneously like flowing water. With the expert control of large brushstrokes, Zhou Chunya’s work resonance in the figurative charm of traditional Chinese art. The ar tist por trayed the vibrant, splendid peach blossoms with weight and solidity through the density of his texture. The lifelike branches are partially intertwined while other section are loosely arranged. The work’s vigorous vitality is exemplified in the upward-expanding composition of the tree. In between “presentation of form” and “figurative charm” Zhou Chunya found the perfect balance. Art critic Chi Lan said, “He will not singularly modify the work into a polished and vibrantly attractive piece, instead many fragments of the work purposely announced antiaestheticism. The existence of the subject embodied a tense and rebellious vocabulary, arriving at the intersection of attractiveness and unpleasantness , the seeming ly meticulous c r eation unexpectedly presents a sense of ease and freedom.” Zhou Chunya is renowned for demonstrating the best control of colors among Chinese Contemporary art scene. Although he once

周春芽《瘦西湖邊的那棵桃樹》2019, 油彩亞麻布 150x120cm 中誠 2019 春季拍賣，編號 192，2160 萬台幣成交 Zhou Chun-Ya, The Peach Tree by Slender West Lake, 2019, Oil on Linen, 150x120cm, Zhong Cheng's 2019 Spring Auction, Lot 192, US$ 687,898

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152 ZHOU CHUNYA ( Chinese, b.1955 )

Peach Bronze 78 x 113 x 150 cm Acrylic on Bronze, edition of 8 Signed on the bottom: Zhou Chunya in Chinese and dated 2014 Engraved signature on the bottom: Zhou Chunya in Chinese and English, dated 2013 and edition number EXHIBITION:

1. "Impression of Peach Blossom - The Bronze Artwork by Zhou Chunya," Aurora Museum, Shanghai, China, May 5th-31st, 2015 2. "Language of Flowers," Asia University Museum of Modern Art, Taiwan, Taichung, October 6th, 2018-April 7th, 2019 (another edition)

NT$ 8,500,000-12,000,000 US$ 266,900-376,800 周春芽桃花繪 2013-2014 壓克力銅雕限量 8 件底部簽名：2014 周春芽底部雕刻簽名：2013 周春芽 Zhou Chunya 跟版數

展覽： 1. 「桃花繪 - 周春芽銅雕藝術」，震旦博物館，中國上海，2015 年 5 月 5 日至 31 日 2. 「花語花博」，亞洲大學現代美術館，台灣台中，2018 年 10 月 6 日至 2019 年 4 月 7 日 ( 另一版數 )

周春芽為《桃花繪》親筆上色 Artist Zhou Chunya hand-painted the colors for Peach Blossom Sculpture

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149

ZHOU CHUNYA X JAIME HAYON

Alive and Kicking (Rose Gold Version)

Alive and Kicking ( 玫瑰金版 ) 周春芽 X 亞米．海因

周春芽於一九五五年起，試著以他心愛的德國牧羊犬「黑根」作為繪畫的創作主題，周春芽在其身上找到了動物散發出的狂野之美與天生的活力，非常的直接而原始，於是於日後就此開啟了「綠狗」這個經典的當代藝術形象。周春芽曾說：「我畫綠狗，實際上不是只在畫綠狗──只是一個媒介，一扇把人引向廣闊世界的窗戶。所以，任何藝術作品都要體現藝術家本人的思想、觀念。」與此同時，周春芽理解與兼納德國表現主義和中國傳統繪畫的書寫性，逐步吸收、轉、畫，也於往後的各系列作品，成功發酵成熟。自二〇〇八年起，MOT/ARTS 推動了三次「ART FOR THE MASSES」的大型跨界合作計畫，邀請當代許多藝術家與設計大師，演繹一種「全新藝術收藏型態」，將藝術家的原創作品經過衍生開發和設計，構成新的作品方式及其呈現方式。「ALIVE」以生命力為訴求，期盼賦予觀者不同的生活憧憬，而「KICKING」則是在充滿生命力般的狀態下，加入更多爆發力的展現，希冀提供觀者更多的衝擊與感動。藝術家之原創作品通過這樣的衍生過程，將觸角伸入日常生活中的細節，形成了一種新的立體呈現型態，推動了更為廣泛的藝術收藏風潮。在《Alive and Kicking ( 玫瑰金版 )》中，周春芽不僅再現張狂綠狗的各種姿態，揮別濃豔的綠蘊生命力，更以柔麗唯美、耀眼高貴的玫瑰金色為狗兒帶來與眾不同的新鮮感受，展現原慾蔓生而出的蓬勃生機。狗兒或跳、靜、轉、憩、凝之種種生命力，透過周春芽的三十二座金狗演繹著。收藏外櫃則是透過西班牙鬼才設計師 - 亞米．海因 (Jaime Hayon) 以木紋質感表現，木紋訴說著生命的痕跡及它的文化累積涵養，細膩活潑的線條表現，呈現沉著卻帶有些許跳躍之感。亞米．海因的作品總能帶給人幸福、愉悅、驚奇的感受，並且具有強烈的識別度，其優雅細緻的圓弧曲線之設計語彙，就像是帶有生生不息的生命力，更能表達出自身對於生命的熱情豐沛綻放，也令觀者得以真實地直視這股蠢蠢欲動的生命力量。

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“Zhou Chunya’s art piece contains a continuous intrinsic nature, the dog drawn by the artist’s pen is effusing with energy, and the piece flourishes with unrestrained, blooming peach blossoms that embody a basic tonality. The rich imagination and candidness found in the art piece designed by Jaime Hayon also resonate in Zhou’s artwork. The art pieces of these two artists make up a single creative entity, which is the most important foundational aspect of this exhibition. The elements of this art entity may come from the varying art concepts of two different artists; however, what the exhibition has done is not simply place one piece of art on top of another but create a new piece of art by combining these two artists’ work. This kind of creative exhibition completely complements the distinguishing traits of these two artists, which are candidness, harmonizing, and vitality.” --- Lu Peng, Director of Chengdu Museum of Contemporary Art

Sinc e 20 0 8, M OT/A RTS has launc hed three large - sc ale

In “Alive and Kicking (Rose Gold Version)”, Zhou Chunya not only

interdisciplinary cooperative projects successively for ART FOR

recreates the many expressions and postures of his untamed

THE MASSES, inviting contemporary artists and designers to

green dogs, he also used gold for the first time to present the

present their vision of a better tomorrow. In every project, the

dog which he has drawn for dozens of years. Gilded with a

interdisciplinary collision of imagination and creativity always

copper-zinc alloy and rose gold makes the dog shimmer in each

inspire amazing new forms. The project ART FOR THE MASSES

of its confident postures. In the past, Zhou Chunya involuntarily

of MOT/ARTS refer to a brand new way of art collection. Artist’s

chose green to interpret the vibrant and explosive force of life.

original works are explored and transformed into something new

Regardless of whether it is jumping, still, turning, resting, or fixing

through design and presented in a different manner. In 2012,

its eyes on the viewer, the energy of these gold dog can be seen

MOT/ART invites Chinese contemporary artist Zhou Chunya and

in 32 versions.

Spanish designer Jaime Hayon.

The patterns seen and felt on the wooden exterior of this piece’s

The “ALIVE” in ALIVE and Kicking signifies the force of life. It

cabinet are the work of Spanish designer and eclectic genius

vibrates and flourishes because of desires, emotions, passions

Jaime Hayon. The standing cabinet inspired by a classical

and dreams. The libido’s drive and impulse of instinctual emotion

treasure cabinet, was made by a fine, Italian carpenter. With

allow life itself to overcome all odds to pursue its dreams and

quality mahogany and delicate luster, it was hand-made with

desire. “KICKING” is an explosive force surges with the vibration

traditional methods.

of life. When people confront vitality and desire honestly, the passionate and excited drive and momentum of life also burst forth. Life that vibrates with desire brings a surging explosive force with its robust power and is welcomed in a more exciting and lively way. Artist’s original works stretches into the details of life, shaping a new kind of three-dimensional presentation and encouraging a broader scope of are collection.

Jamie’s designs are always delightful, amusing, and unexpected. Known for his highly distinctive work, he gracefully designed the elegant arcs and curves while the “language of his design” still embodies a sense of vitality that will never stop breathing. Unlike his past designs, Jamie expresses a great sense of transparency through the glass of the cabinet, from which Zhou Chunya’s golden dog catches everyone’s eye.

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153 ZHOU CHUNYA X JAIME HAYON ( Chinese, b.1955 ) ( Spanish, b.1974 )

Alive and Kicking (Rose Gold Version) Action figure: 11 x 22 x 8 cm (32) Cabinet: 190 x 160 x 60 cm Copper Alloy, Gold Plating, Rose Gold Plating, Tainted Mahogany, edition of 8 EXHIBITION:

1. " Zhou Chun-Ya + Jaime Hayon, Alive and Kicking," Museum of Contemporary Art Chengdu, Chengdu China, October 24thNovember 3rd, 2012 2. "Art Taipei 2013," Taipei World Trade Center, Taipei Taiwan, November 8th-November 11th, 2013

周春芽 X 亞米．海因 Alive and Kicking ( 玫瑰金版 ) 2012 銅合金鍍金鍍玫瑰金桃花心木限量 8 件

展覽： 1. 「周春芽 +Jaime Hayon 展現爆發生命力」，成都當代美術館，中國成都，2012 年 10 月 24 日至 11 月 3 日 2. 「台北國際藝術博覽會」，台北世貿中心，台灣台北， 2013 年 11 月 8 日至 11 月 11 日附藝術家親簽之原作保證書

With a certificate of authenticity signed by the artist

NT$ 4,000,000-5,000,000 US$ 125,600-157,000

「周春芽的作品蘊含著一種綿延的內在性，充滿活力的筆觸下的狗以及肆意開放的桃花的基本調性就是生命力的綻放；而亞米．海因的設計作品充滿想像力的開放性正好與周的作品相呼應，這是兩位藝術家的作品在一個展覽中構成一個創意的整體的最重要的基礎，儘管這個整體的要素來自兩位藝術家各自的藝術理念，但是，展覽已經將兩位藝術家的藝術構築為一個新的作品，而不是一次簡單的疊加。這樣的展覽創意，也完全符合兩位藝術家的藝術特徵：開放、融合以及充滿活力。」 --- 成都當代美術館館長呂澎

ALIVE AND KICKING 外櫃手稿 The sketch of ALIVE AND KICKING

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153

ZHAN WANG

Artificial Rock #61 假山石 #61 展望

藝術家展望工作室中的作品，牆上《鏡花園系列 - 三個對窗之圓形》（2019）攝影師：Boris Shiu，© 安邸 AD Artworks in the studio, Mirror Garden Series - Circular Forms on Three Windows, Photographer: Boris Shiu © 安邸 AD

藝術家展望，位於北京順義工作室，攝影師：Boris Shiu © 安邸 AD Artist Zhan Wang, Located in Shunyi Studio, Beijing, Photographer: Boris Shiu © 安邸 AD

展望是中國最早以超級寫實的方法進行創作的雕塑家，代表作《坐著的女孩》已成為中國美術史的經典作品。他也是最早以「中山裝」作為象徵性符號元素創作空殼雕塑的藝術家，一九九四年為此舉辦個展，連同另外四位雕塑家的系列個展，被認為是中國當代新雕塑的開始。展望的行為表演《94 清洗廢墟》也是較早的關注城市變化中藝術與社會變革矛盾關係的作品。從一九九五年開始創作的以不鏽鋼材料製作的「假山石」系列，更曾蒙美國大都會博物館 (Metropolitan Museum of Art) 與波士頓美術館 (Museum of Fine Arts, Boston) …等歐美機構典藏的中國當代雕塑，亦於國內數家美術館及瑞士、德國、美國、新加坡等私人收藏；一鳴成為展望的最重要代表作品。而空殼的假山石承襲了中山裝的衣服空殼和運用符號和材料的觀念，成為他後來很多新作的原型，不銹鋼假山石探討了自然文明與工業文明的關係，預示和建構了一種特殊的中國方式。

「假山石系列」的其中《假山石 #61》一作，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，又因人工落成滑潤渾然的造型，反射周圍環境的情境，爾後交會著隨機斷面、扭曲甚至洞口，隨著時間、空間、光線的變遷而改變，迸發同時也拼湊出反射於上的扭曲及破碎的事物。此作顛覆真山的體積與傳統假山石的材質，將其語彙移植的展望《假山石》選擇用不鏽鋼的材質加以拋光，做出鏡面的效果，得以反射周圍環境的狀況，這樣的創作形式直接性地揭露人類工業文明融入自然環境後的文化語義衝突，也因為「拋光後的不鏽鋼」複製了「天然石頭肌理和造型的變化」，致使其鏡面在反射現實世界的物象時，都會變得扭曲和破碎，因此本身包含了人與自然的矛盾和對抗的涵義。展望的作品時常巧妙地運用展示場所特有的空間結構，帶入透視學的視角觀點，使其作品呈現出既沈靜又祕密的特質，藉此隱喻人與人之間既對話又疏離且私密的多重心理。最後宏觀地回應於東方歷史既有的傳統文化想像與流行，又同時探問了傳統文化的內涵失落。

「假山石」是東方文人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。

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ZHONG CHENG 中誠

藝術家展望，攝影師：鄧明昌 Artist Zhan Wang, Photographer: Ming-chang Deng

Zhan Wang, a pioneering Chinese sculptor, is celebrated for his

Artificial Rocks bear significant importance in the context of

early use of super-realistic techniques. His work, “Seated Girl,"

traditional Eastern literati gardens, where the arrangement of

has ascended to iconic status in the annals of Chinese art history.

small natural stones into artificial rock formations offers an avenue

Zhan Wang also stands as one of the first artists to adopt the

for people to fulfill their yearning to reconnect with nature.

"Zhongshan suit" as a symbol within the realm of empty shell sculptures, a significant milestone in the world of contemporary Chinese sculpture. The year 1994 marked a pivotal moment when he curated an exhibition that, in tandem with similar series by four other sculptors, is recognized as the genesis of contemporary Chinese sculpture. Zhan Wang's performance piece, "94 Cleaning Ruins," notably explored the intricate interplay between art and societal transformation amid the backdrop of urban evolution.

One piece from the Artificial Rock Series, specifically Artificial Rock #61, distinguishes itself by the utilization of polished stainless steel overlaid with the textures and shapes of natural stones. This juxtaposition allows the artwork to encapsulate both the mineral authenticity of nature and the sleekness of human intervention. Its reflective surface, in a state of harmonious interaction with the environment, mirrors the surrounding scenery, adapting and transforming in response to the passage of time,

From 1995 onwards, Zhan Wang ventured into the creation

shifts in spatial dynamics, and variations in light conditions.

of the Artificial Rock series, employing stainless steel as his

These transformations produce captivating distor tions and

medium. This series has garnered acclaim and found homes in

fragmentations, encapsulating the very essence of humanity's

esteemed institutions such as the Metropolitan Museum of Art

battle for balance between nature and industrial society.

in the United States and the Museum of Fine Arts in Boston. It has also been collected by various art galleries within China and private collectors from Switzerland, Germany, the United States, Singapore, and beyond. The Artificial Rock series has become an emblematic representation of Zhan Wang's artistic vision. It ingeniously delves into the relationship between natural and industrial civilization, offering a uniquely Chinese perspective on the matter.

Zhan Wang's artwork masterfully weaves its context, utilizing the distinctive spatial architecture of exhibition venues, embracing a vantage point that presents a composition marked by both tranquil elegance and concealed intrigue. At its core, his work offers a complex exploration of multilayered human psychology, where dialogue, detachment, and privacy intermingle. Broadly speaking, his oeuvre resonates with the historical narrative of the East, harmonizing with the unfolding narrative of modern China.

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154 ZHAN WANG ( Chinese, b.1962 )

Artificial Rock #61 15.2 x 50.8 x 83.8 cm Stainless Steel, edition of 8 Signature engraved: Zhan Wang in Chinese and titled 61#, dated 2003 and edition number PROVENANCE:

The current collector acquired the work from the artist in his Beijing studio

展望假山石 #61 2003 不鏽鋼限量 8 件雕刻簽名：61# 展望 2003 跟版數

來源：現藏家購自於藝術家本人北京的工作室附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 3,500,000-4,500,000 US$ 109,900-141,300

「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

藝術家展望 Artist Zhan Wang

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JU MING

Taichi Series-Single Whip (1995) 太極系列 - 單鞭下勢 (1995) 朱銘

朱銘《踢腿》銅雕，185 x 190 x155cm，法國巴黎 Ju Ming, Spin Kick, Bronze, 185 x 190 x155cm, Paris, France

朱銘的作品《太極單鞭下勢》運輸至凱旋門巴黎 (1997) Ju Ming's work, Taichi – Single Whip transporting to Arc de Triomphe, Paris (1997)

以太極拳調養與修行期間，朱銘體會到自然萬物、大氣運作的能量與蘊涵，內化為個人內觀體系後，漸熟捻於雕刻創作上。於是，氣勢磅礡的快意大作「太極」系列，便在朱銘的領悟與體會下以藝術創作成形，「太極系列」雕塑的形與象意涵，將東方文化傳統化為超越語言、國界的藝術創作。在朱銘眼中，「太極系列」是他個人風格的關鍵代表，而他所要表達的那份生命力，是由內而外，而非由外而內。太極拳看似柔軟無力，實則陰陽相生、柔中寓剛、剛柔並濟、動靜相隨，它以架勢誘導身體產生調和動作的均衡，氣體運行，而達平與靜的效果。太極拳講究勻、慢、柔、圓，充分體現美學思想，宛如不同的人練太極同一招式時，會展現不同的力度。朱銘在「太極系列」創作同時參照、融合架上雕塑與空間環境雕塑，引進現代雕塑的新觀念。朱銘的雕塑作品為現代化的公共空間賦予廣闊的視覺創造以及經典人文圖景。其中尤以「太極系列」之獨特的視覺符號和雕塑形態，成為都市生活的互補和自然造化的延伸。作品形成以靜制動的視覺張力，震撼人心的體量感，具有特定的時代感召力，富有當代審美精神的想像和陶冶。此尊一九九五年《太極系列 - 單鞭下勢》相較更早期的木雕原型，在簡化的幾何形體中明顯降低了更多細節描寫，動作的具象與否不再重

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要，隨著造型的逐漸抽象化，藝術家將焦點轉向肢體與塊面分割的渾然動勢，太極講求以靜制動、後發制人，雕塑外型向上的犀利角度轉折趨向剛實不惑，與向下之微彎手呈柔漸進剛硬，揣其狀態則可尋四方循環之意，可見朱銘對於太極的形意掌握，將老子所闡述的「柔之剛、靜之動、曲之直」關係化為視覺形式。單鞭下勢的單式強調以沉身的態勢下撲閃避，再順勢起身反擊對手；藉由坐身揉避以化散敵方正面衝擊的力量，趁敵力落空之際，出其意表以制敵。朱銘此件單鞭下勢姿態精準刻劃出看似退守的蓄勢待發，在靜定穩重的態勢中，凝聚下一刻乘勢前擊的無形張力。這種人體內在力量也可從西方雕塑家喬爾．夏皮羅 (Joel Shapiro) 探討平衡的雕塑中體驗。太極拳練至深時，實際上是無招無式，首重在「意」，這也很好地說明太極系列從七〇年代發展至九〇年代的一大進展。朱銘說道：「太極拳是由中國人所創造的一種健身術，它是我所知道的一個『人與自然結合』的最好例子。它是用人自己的身體來接觸和模仿宇宙中的自然現象。」朱銘對動感的表現，是帶有東方文化的婉約含蓄特質，在《單鞭下勢》中以靜態刻畫動勢之意，靜中含動，動中能靜。人物形體造型偏向渾厚、靜態、沉潛，是蓄勢待發隨時一躍而起，又是抱元守一以為靜觀其變。動與靜，猶如一陰一陽，相生相連又相輔相成，運其循環不斷，又回到中國文化所追求的生生不息的永恆生命力。朱銘反覆錘鍊太極招式後所體會的動靜相生的意義，使他在藝術形式上建立出一流暢自然，儼然氣韻盎然的東方大家風範。

In Ju Ming's perspective, the "Tai Chi Series" stands as a pivotal representation of his distinctive artistic style. He conveys the essence of life from within, drawing inspiration from an inner source. Tai Chi, although appearing gentle and seemingly powerless, is, in reality, a dynamic interplay of yin and yang, a harmonious blend of softness and firmness, and a coexistence of movement and stillness. It fosters a state of balanced harmony, where energy flows and tranquility reigns within action. Tai Chi places emphasis on qualities such as evenness, slowness, softness, and roundness, embodying aesthetic ideals. Interestingly, different individuals practicing the same Tai Chi posture may manifest varying degrees of force. Thus, when Ju Ming sculpts each Tai Chi piece, he breathes into them a unique vitality, coupled with a precise grasp of Daoist symbolism within the form. While crafting the Taichi Series, Ju Ming combines elements from both on-stage and environmental sculptures, introducing innovative concepts from contemporary sculpture. His sculptures bring modern public spaces to life, infusing them with expansive visual creativity and classic humanistic imagery. Within this collection, the distinctive visual symbols and sculptural forms of the Taichi Series extend the harmonious relationship between urban life and the natural world. These sculptures generate a visual tension that balances stillness with motion, evoking a sense of grandeur, carrying a distinct contemporary allure, and nurturing contemporary aesthetic sensibilities. In the specific sculpture, Taichi Series - Single Whip, created in 1995, Ju Ming masterfully reduces the level of detail compared to his earlier wooden prototypes. Whether the movements are more figurative or abstract becomes less significant. The artist's focus shifts toward the dynamic interplay between limbs and blocklike forms. Tai Chi places great emphasis on stillness controlling

movement and responding to the opponent's actions. In this sculpture, the form adopts a sharp upward angle, symbolizing firmness and unwavering determination. Meanwhile, the hand that bends slightly downward symbolizes suppleness within strength. When analyzed in terms of body posture, it implies a circular and harmonious flow, reflecting the Daoist philosophy of "soft conquering hard," as embodied in Laozi's teachings. Ju Ming precisely captures this aspect of Tai Chi's philosophy in his artwork, depicting a poised stance that conceals a poised, impending strike beneath its seemingly defensive posture. As Tai Chi practice advances to a higher level, it transcends specific techniques, emphasizing the impor tance of "yi" or intention. This philosophy succinctly captures the progress made in Ju Ming's Taichi Series from the 1970s to the 1990s. Ju Ming once said, "Tai Chi is a form of fitness created by the Chinese. It is the best example I know of 'the union of man and nature.' It uses the human body to contact and imitate the natural phenomena of the universe." Ju Ming's expression of dynamism retains the subtlety and modesty inherent in Eastern culture. In the following work, Single Whip Downward Pose, he portrays the essence of movement within a static stance, embodying a stillness that contains dynamic potential. This portrayal conveys the philosophy of being both in motion and at rest. The figure's physical form leans towards the solid, static, and contemplative, ready to burst into action at any moment, and yet, it remains poised in a state of serene observation, attuned to the unfolding changes. The interplay between movement and stillness, like yin and yang, mutually sustains and complements each other, creating a continuous cycle—much like the eternal vitality sought in Chinese culture. Ju Ming's relentless exploration of the concept of movement within stillness reflects the timeless essence of a master of the East.

朱銘出生前兩年的家庭合照（1936） Ju Ming's Family two years before his birth (1936)

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155 JU MING ( Taiwanese, 1938-2023 )

Taichi Series - Single Whip (1995) 23 x 34 x 40 cm Bronze, 1/10 Signature engraved: Ju Ming in Chinese, dated 1995, numbered 1/10 With a certificate of authenticity from Giotto international inc.

NT$ 1,800,000-2,400,000 US$ 56,500-75,400 朱銘太極系列 - 單鞭下勢 (1995) 1995 銅雕 1/10 雕刻簽名：朱銘自 95 1/10 附吉優特國際股份有限公司開立之原作保證書

"Ju Ming's sculptures possess a profound sense of gravity, a quality shared with modern Japanese sculptors. They also exude a dynamic quality, another characteristic reminiscent of modern Japanese sculptors. However, what sets Ju Ming apart is his remarkable ability to seamlessly combine these two attributes."---Mr. Noriaki Kōhoku (The Director of Tokyo National Kyoto Museum)

朱銘與他的「太極」系列，於香港交易廣場，1986 Ju Ming and his Tai Chi series at Exchange Square, Hong Kong, 1986 Image: Courtesy of artist / photographer unknown

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156 LI SHIHCHIAO ( Taiwanese, 1908-1995 )

Cherry Blossoms 60.5 x 72.5 cm Oil on Canvas Signed Shihchiao in Chinese and dated 1987 With a certificate of authenticity from gallery

NT$ 1,200,000-1,800,000 US$ 37,700-56,500 李石樵櫻花 1987 油彩畫布簽名：1987 石樵附畫廊開立之原作保證書

「生活的情感是從顏色方面來表現。顏色是表達情感，形則是表達自己的理智。」--- 李石樵李石樵的作品以早期深厚的素描功夫為基礎、深入研究所累積的色彩質感，造型結構和空間的穿透性等經驗，讓他總是游刃有餘的創造出一個個明亮澄靜、散發永恆光芒的個人風格世界。五〇年代開始嘗試多元化的創作題材，晚年再度回歸寫實風格，其作品已經跳離了早期寫實風格的厚重筆法。他性情誠懇嚴謹，反映於作畫時的態度，理性經營畫作佈局，氛圍與調性，但愈發晚年作品愈加流洩一股真情感，這份感性來自於他對繪畫的持續不懈，他一生除了創作也奉獻於教學中，孜孜不倦，他重思辨的理性畫風，對造形與色彩的探討對學生啟發良多，生活可謂充實多彩。七〇年代後，李石樵移居美國，作品題材與風格正式從隱含批判性的肖像畫、紀實創作，轉向風景畫與靜物畫為主，特別是獨鍾花卉類型的創作，並且不論是色彩上、輪廓上、肌理上都變得更為鮮活開朗還有一絲悠遊平靜的顯露；如果說六〇年代前李石樵的作品是台灣歷史的縮影，那麼七〇年代後的風景與靜物畫可說是李石樵一生兢業與不懈後的豁然祥和、返樸對寧靜的純淨追求。一九八七年的《櫻花》以李石樵擅長的寫生、寫景、更寫花卉靜物的多重匯集而成，推測取材於最早移植日本櫻花樹的華盛頓 ( 約一九一二年開始 )，而在當年就已佈滿華盛頓特區的潮汐池，或許櫻花每年僅有一次的短暫花開，讓曾留學日本的李石樵不惜特別安排前往取景。在表現上彰顯晚期對色彩關係與自然光的研究，特別是明度與彩度控制的詮釋上，構圖上挑選一顆壯碩、枝節流暢的櫻花樹入畫，在明媚的陽光下光線竄淌，李石樵將最美的瞬刻紀錄下，櫻花以白色的姿態綻開，如一縷縷雲煙和著清新微風挾帶淡香撲面而來，僅此一顆櫻花，就在畫中展開了嗅覺、空間的可感知；僅是綿密櫻花當中的多重層次就足以供人細細賞味。在一片滋潤的綠地與樹叢、行人悠悠來往，李石樵安靜地坐在這顆櫻花樹前，望相這純潔櫻花，或許當時他的雙眼捨不得一刻的離開，深怕錯過一瞬的細節，執筆的手從未停下深怕錯過再微小的享受，盡情沐浴在清風暖陽之下。

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SHIY DEJINN

Mountain Beyond the Hengshan River 河橫山外山席德進

席德進繪畫創作中以水墨形式表現的水彩畫作品，咸認為是其繪畫的代表，其中以台灣古建築和自然景物為題材的寫生作品更為人所稱頌。這些作品不僅展現了席德進精進的繪畫技巧，更交織出其對於傳統與現代美學觀和在地的人文與自然的思維，席德進將傳統與現代和臺灣景緻融合的作品，讓日常所見的臺灣古厝建築和自然景觀，呈現既平淡靜謐又永恆之美，獨道的美感表現，讓席德進成為臺灣美術發展的重要藝術家；而在東西方創作媒材、觀念碰撞的時代，席德進的作品更是交融提煉出台灣氣質的成功前轍。藝術家席德進，其藝術生命的遊歷旅程，正好和台灣美術自一九四五至一九八〇年間的本土與國際藝術歧異發展的路徑交錯，受其恩師林風眠的影響，拋棄學院所學技法，走入台灣鄉土，直面並擁抱自然，遍訪台灣山川風景，他說：「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。」

藝術家席德進 ( 左一 ) 在草屯通往埔里的大橋上畫九九峰的起點，盧精華董事長（左二）陪同寫生 Artist Shiy Dejinn (first to the left) painting at the starting point of Nantou Jiujiu Peak on the bridge from Xaotuan to Puli, accompanied by Chairman Lu Jing-Hua (Second to the Left)

席德進善以現場寫生將自然山川中流動的空氣與空間的真實感，作精神的交融，展現自然平凡卻莊嚴靜穆的生命力，以一種雄渾俐落、靜謐細緻的色韻變化，暈染出山水自然之美，用水墨畫的觀念跳脫水墨的傳統框架，讓台灣開始擁有在地「真正的山水畫」。再看到藝術家於〈探索中國文化的根 --- 席德進談他的山水〉訪談錄中敘述：「我的山水是臺灣的山水，是現代風格的山水，是經過傳統文化的提升、民族特性的洗禮。是永恆的山水，是萬古常新的山水，是可以信服、寄託的山水，是席德進的山水！」

1980. This period was marked by a dynamic interplay between local artistic expressions and global influences. Influenced by his mentor, Lin Feng-Mien, Shiy Dejinn boldly departed from the conventional techniques acquired during his studies, opting instead to immerse himself in Taiwan's rural landscapes. Here, he engaged directly with nature, exploring the island's mountains and rivers, inspired by their ever-evolving, unpredictable beauty. As he passionately conveyed, "I insist on painting nature directly because of its infinite variability and unpredictability. The climate, the subtle hues—it's a realm that no artist confined to a studio,

Renowned artist Shiy Dejinn predominantly expresses his artistic

reliant on formulaic approaches to depict landscapes, could ever

vision through the mediums of ink and watercolor, a style widely

dream of."

celebrated as emblematic of his creative genius. His renditions of Taiwan's ancient architecture and natural landscapes have earned him distinctive acclaim. These artworks not only serve as a testament to Shiy Dejinn's masterful painting techniques but also seamlessly intertwine his deep reverence for both traditional and contemporary aesthetics, coupled with a profound connection to the local culture and the natural world.

Shiy Dejinn's exceptional ability to capture the essence of moving air and the profound sense of space within Taiwan's natural landscapes, through on-site sketching, bears witness to his deep affinity with the seemingly ordinary yet profoundly dignified vitality of nature. His artistic style is characterized by a dynamic interplay of robustness, finesse, and tranquility, employing subtle shifts in color and tone to bring to life the exquisite beauty of Taiwan's

Shiy Dejinn's artistry excels in harmonizing tradition, modernity,

mountains and waters. His innovative approach to ink painting

and the intrinsic essence of Taiwan's landscapes. Through his

transcends the confines of traditional ink art, giving birth to an

skillful brushwork, he brings forth the everyday allure of ancient

authentic genre known as "Taiwanese landscape painting."

Taiwanese structures and the breathtaking serenity of natural vistas, encapsulating a timeless beauty that resonates with viewers. This unique artistic expression has firmly positioned Shiy Dejinn as a pivotal figure in Taiwan's art scene, particularly during an era characterized by the convergence of Eastern and Western

In an illuminating interview titled "Exploring the Roots of Chinese Culture: Shiy Dejinn on His Landscape Paintings," the artist elaborates on his philosophy: "My landscapes are uniquely Taiwanese, painted in a modern style, elevated by traditional

creative mediums and ideologies.

culture, and infused with our nation's essence. They are timeless

Shiy Dejinn's artistic journey beautifully intersects with the vibrant

one can trust and find solace in. These are the landscapes of Shiy

tapestry of Taiwanese art spanning the years from 1945 to

Dejinn!"

landscapes, perpetually rejuvenated by the ages—landscapes

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157 SHIY DEJINN ( Taiwanese, 1923-1981 )

Mountain Beyond the Hengshan River 65 x 110 cm Watercolor on Paper Signed Shiy Dejinn in Chinese and dated 1979 With one collector's seal of Mr. Lu Ching-Hua on the reverse PROVENANCE:

This work belongs to the collection of Shiy De-Jinn Foundation, Founding Director Mr. Lu Ching-Hua

NT$ 750,000-850,000 US$ 23,500-26,700 席德進河橫山外山 1979 水彩紙本簽名：席德進 1979 背面鈐印：盧精華藏 ( 朱文 )

來源：席德進基金會創辦董事長盧精華收藏

作品《河橫山外山》，席德進用水墨畫的無骨法再揉合水彩畫渲染來繪製，將物件印象話、單純化，祛除皴筆與輪廓線，簡化山勢前後方向的動線，構成簡要的幾重左右延伸，並控制山巒層盛疊嶂、氤氳靉靆，用視覺輕重、深淺表現空氣狀況、空間關係，甚至另方面能平衡畫面美感構圖，這種形式的台灣山水是席德進經由傳統水墨畫的轉化，重新再創造出來的永恆山水，席德進將物像簡化的方式不僅與傳統水墨畫相同，如德國藝術史學者 - 卡爾．巴特 (Kurt Badt) 曾提出對簡潔性藝術的一種定義：「洞察本質性之東西，把其餘不重要之東西服從於它，這就是最顯明，最有秩序化，也就是藝術應走的簡潔化的方法。」

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158 SHIY DEJINN ( Taiwanese, 1923-1981 )

Bamboo Shadows in Mountain Stream Zhushan Township 57 x 77 cm Watercolor on Paper Signed Shiy Dejinn in Chinese and dated 1979 With two seals of the artist on the reverse PROVENANCE:

This work belongs to the collection of Shiy De-Jinn Foundation, Founding Director Mr. Lu Ching-Hua

NT$ 450,000-550,000 US$ 14,100-17,300 席德進山溪竹影 - 竹山鎮 1979 水彩紙本簽名：席德進 1979 背面鈐印：席氏書畫 ( 白文 )、席德進印 ( 白文 )

來源：席德進基金會創辦董事長盧精華收藏

竹山鎮位於台灣南投，據席德進的摯友 --- 席德進基金會創辦人盧精華回憶，席德進一向熱愛寫生，且對寫生的景色更是千挑萬選。當時他與席德進一同住在其夜間部學生的家中。學生家居於竹林間，景色靜謐幽美，也方便讓席德進寫生取景。隔日一早，席德進便背起畫具，沿著小屋外的曲徑而行，直通竹山鎮的山清水秀。席德進望向天地遼闊、眼追雄山之影，沐浴晨光，提起大筆拌著濕氣與幽霧將它們一起畫入此幅《竹山鎮 - 山溪竹影》之中。《竹山鎮 - 山溪竹影》一作景色的層次構置十分巧妙。遠景，是層巒疊嶂、山巒疏影，更行更遠還生；中景，作畫水分控制得宜，留出柔潤山溪掠過後纏綿於霧氣中，周邊零星翠樹挺拔而枝葉則隨輕風朝露輕拂搖曳；而近景，水田動靜相佐而動向拉出透視層次，由遠而近、由幽幽到滔滔地向觀者席捲而來，攜著氤氳的水氣，讓畫面既保有拂曉晨曦的朦朧感，又散溢著朝陽霧氣中的清新感，猶如親臨當年席德進於此寫生之所感。山溪與竹影，一個溫文賦詩，一個生機勃發，兩股迥異卻又同樣強大的生命力，山外有山，林外有林，其層次博大精深，在席德進的巧筆之下，一草一木都直指所悟的精神韻律與個人情感，呈現了台灣原滋原味、天地山色的勃然浩渺、江山自然而無盡之態，也如入仙人之境。

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MODERN AND CONTEMPOR ARY ART

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159 SHIY DEJINN

席德進

( Taiwanese, 1923-1981 )

山林靜漁人忙

Serene Mountain 69 x 83.5 cm Ink and Color on Paper Signed Shiy Dejinn and dated 1980 in Chinese With two seals of the artist and one collector' s seal

1980 彩墨紙本簽名：席德進一九八〇年鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、谷風清賞 ( 紅文 )

來源：席德進基金會創辦董事長盧精華收藏

PROVENANCE:

This work belongs to the collection of Shiy De-Jinn Foundation, Founding Director Mr. Lu Ching-Hua

NT$ 550,000-650,000 US$ 17,300-20,400 席家山水，雄渾蒼茫，透過實地體察自然寫生，藝術家曾言：「只要哪兒的美感動了我，我就畫它。」席德進面對造化落筆作畫，將靈魂託付於斯，壯美無垠的澎湃力量湧入身心，筆與彩紛落紙上交融旋舞，化為山、化為水，降生凝為生命的大美，極繪飄渺山河一瞬成永恆。席氏胸中原自有丘壑，故不拘成法，坐看雲水時，將畫紙浸潤飽含氤氳水氣，凝神下筆，展露自信不凡，長久積累運筆流轉功力，致使寥寥數筆而竟形神畢現，墨之變化無窮在於用水，凡山及水色，盡用空青，而顯「朝雲靉靆，行露未晞。」於渲染雲霧蒸湧波瀾壯闊，群山入沒於朝霧雲海間，隱隱若現，濕潤水氣潤澤大地，天地間留有一片空茫古雅，席德進曾自述：「我經由中國人含蓄溫儒的生命態度中，將絢爛轉為平淡，並且經由無限延伸的水平線中，體悟到台灣平凡山水的魅力。我的水彩追求樸拙，意圖拋棄文明虛飾的外衣，同時也追求現代美，在墨分五色的微妙變化中，顯出盎然的生趣與無窮的變化。」席德進師承杭州美院，與其師同醉心於民間傳統藝術蘊含純樸、渾厚、簡約、蒼古勁道的特質，抒情柔美中西合璧之氣韻，與孜矻不懈的研究精神，是為現代藝術史之中水彩技法獨具一格，不世出而難再得才華橫溢之俊傑。原籍四川，在大時代的動盪下抵台，根歸落土並在山水間闢出一條屬於自身獨特的美學之路，蔣勳道：「作為一個台灣的畫家，他所承受的影響之複雜，無論歐美或中國大陸的畫家都無法比擬，也使台灣的藝術家特別辛苦，在多種傳統裡，莫所適從，席德進自然也經歷了這個階段…然而他從台灣出發，才可能是中國的，才可能是世界的。」作為傳統水墨與新水彩技法的開拓上，席氏以墨入彩，佈局嚴謹，並踏遍大山大水，必靜待佳時，等美景乍現，方才動筆，獨有的水彩融合了油畫色彩的豐潤和水墨氣韻的靈動，山水稜線在藝術家大筆轉折間敷染出屬於寶島的好山好水，《山林靜漁人忙》綿延群峰與渺遠的雲霧震懾心魄，令人遙想宋詩：「曉霧忽無還忽有，春山如近復如遙。」山脈橫亙綿延，如是霧湧雲蒸一水山盡得席氏理念精髓。《山林靜漁人忙》清逸曠遠，淡雅恬適，雙舟輕泛悠悠漫漫，綠意遍灑江岸，在席氏晚年以臻至爐火純青而江東方皴擦點捺的筆墨線條，與西方渲染絢麗多姿的水彩技法相融，在藝術家的生命中如此傾注心力於近現代國畫的改革，因而自述道：「我們主張世界大同，跟隨西方文化的傳統走，參與世界性的藝術創作，是一條路，這樣可以激勵與提升中國新文化的誕生，但同時我們也要有一批人，接著母體文化傳統走。這是更為真誠、切實的一條路，來創造自己的新文化。我們繼往開來，必然是站在自己傳統文化的基礎上去做。」( 席德進〈現代國畫試探〉，雄獅美術，第 117 頁 ) 一生念茲在茲開拓創作道路，席人雖已遠，然其「筆墨是中國、構圖是現代、情感是民族、活是台灣」精神終將長存不滅。

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MODERN AND CONTEMPOR ARY ART

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160 SHIY DEJINN ( Taiwanese, 1923-1981 )

Begonia 137.5 x 34.5 cm Ink and Color on Paper Signed Shiy Dejinn in Chinese With three seals of the artist and one collector' s seal PROVENANCE:

This work belongs to the collection of Shiy De-Jinn Foundation, Founding Director Mr. Lu Ching-Hua

NT$ 450,000-550,000 US$ 14,100-17,300 席德進海棠花彩墨紙本簽名：席德進鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、四川南部縣人 ( 白文 )、谷風清賞 ( 紅文 )

來源：席德進基金會創辦董事長盧精華收藏

此幅《海棠花》，墨韻濃烈、筆勢流暢，並以長條幅的配置，使人感受其枝椏連延、昂然挺立的姿態，蘊藏著骨法用筆的勁道，也展現席德進對墨韻掌握的流暢穩重。席德進曾在〈我畫 ‧ 我想 ‧ 我說〉一文中提到：「把墨韻轉為色韻，重新建立設色的方法，再經過自己的思索，來把佈局、空間安排處理。不以水墨自動技法花招而撩人。應以沉著穩健的筆勢達到內涵的充實。」《海棠花》以長軸畫面精心安排畫面佈局，墨筆俐落往而不返，絲毫不見造作之感，並讓花朵與綠葉相交掩映其間，不得不令人聯想到金代詩人元好問的詩句：「枝間新綠一重重，小蕾深藏數點紅。」情趣清雅、妙得天然。

The following artwork Begonia is a splendid creation characterized by its bold ink strokes and fluid brushwork. Its elongated format allows viewers to experience the continuous and proud posture of the subject, exuding the vigor of brushwork techniques while also exemplifying Shiy Dejinn's mastery of ink aesthetics. In his essay, "I Paint, I Think, I Speak," Shiy Dejinn once articulated his approach, stating, "I translate ink aesthetics into a symphony of colors, meticulously reconstructing the art of palette selection. Through thoughtful contemplation, I curate the composition and spatial arrangements, avoiding any superficial or contrived ink techniques. My goal is to imbue each piece with depth and substance through a steady and composed brushwork." Begonia meticulously arranges its composition within its vertical canvas. The ink brush flows elegantly, without a trace of artificiality, as it weaves a seamless interplay between the flowers and the lush green leaves. This evokes the poetic essence of Song Dynasty poet Yuan Haowen, who wrote, "Amidst the branches, new greens layer upon layer, small buds hide a few red dots." The result is a masterpiece that radiates with refined elegance and innate beauty.

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173

161 JOHN WAY ( Chinese-American, 1921-2012 )

Abstraction 75 x 55 cm Oil on Canvas Signed John Way in English and dated 1995 ILLUSTRATED:

"John Way," Shanghai Art Museum, Shanghai, China, August, 2001, Front cover and Page 206

NT$ 320,000-500,000 US$ 10,000-15,700 魏樂唐抽象 1995 油彩畫布簽名：John Way 95.

圖錄：《魏樂唐八十回顧》，上海美術館，中國上海，2001 年 8 月，封面、第 206 頁

魏樂唐善於從中國畫法的線條之中，尋找出他的靈感，漢字本就是大自然中各種形態的美感集結而成的文字，而書法的表現，更是各種律動的演繹，是風起雲湧、是月明星稀，是輕舞楊柳、是巨浪滔天，而藝術家細細的觀察，將這些特性轉化成他的繪畫元素，企圖找出大自然的規律。此件一九九五年之《抽象》特別突出線條的舞動揮灑動感，藉著線條的長短粗細、強弱濃淡、疾徐舒揚來表達一種抽象結合書法的美感；圖中黑色筆觸又常以一種迅捷有力的氣勢衝破明淨柔和的空間，動與靜，剛與柔等因素的錯位便營造出一種視覺衝擊力。作品似若成形能隨之多變翻轉的有機草書字樣，即便開放地去除字義，仍保留氣韻生動的精神，於色彩之間躍動，共構一個個新鮮、瀟灑秀逸的視覺形象。 John Way excels at discovering inspiration within the lines and techniques of Chinese calligraphy. Chinese characters themselves are a convergence of the aesthetic forms found in nature, while calligraphy is an interpretation of various rhythms, capturing the spirit of nature's diverse expressions – from the gusty winds and turbulent clouds to the bright moon and sparse stars, from the gentle swaying of willow trees to the towering waves of the sea. With a keen eye, the artist transforms these characteristics into elements within his paintings, aiming to unveil the patterns of nature. His 1995 work Abstract prominently showcases the dynamic motion of lines. Through variations in line length, thickness, strength, as well as light and shade, the artist combines abstraction with calligraphic beauty. The black brush strokes in the painting often burst forth with a swift and powerful momentum, disrupting the serene and soft spaces. The juxtaposition of movement and stillness, strength and gentleness, creates a compelling visual impact. The artwork appears like an everchanging and rotating organic cursive script, with its expressive meaning removed. It retains a vivid spirit, dancing among the colors, forming a series of fresh, graceful, and delightful visual images.

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BERNARD BUFFET

Le Voilier 小帆船貝納德．畢費

MODERN AND CONTEMPOR ARY ART

177

藝術家貝納德．畢費 Artist Bernard Buffet

二十世紀的藝術舞台上，藝術家們探索各種風格和主題，正是這樣的環境促成了至今後現代藝術與當代藝術蓬勃百花齊放的景緻，表達藝術家內心感知的情感或美學觀點。其中，法國藝術家貝納德．畢費 (Bernard Buffet) 以其獨特的帆船主題油畫，為觀眾帶來了一場情感與視覺的盛宴。他的作品不僅是對帆船的描繪，更是一場關於人生、自由和探索的詩意之旅。一九二八年出生的畢費，藝術天賦早在童年時期就嶄露頭角，年僅十五歲入取巴黎國立高等美術學院（École Nationale Supérieure des Beaux-Arts）接受正統的美術教育。二十歲就舉辦了首次個展，並榮獲評論獎的殊榮（Prix de la Critique）。在他職業生涯早期，就得到知名畫商莫里斯．加尼爾（Maurice Garnier）的長期支持。他的創作主題相當廣泛，如宗教、風景、肖像和靜物等主題都受眾人喜愛。一九四六年，他的首幅自畫像，在巴黎美術館的「未滿三十歲沙龍」（Salon des Moins de Trente Ans）上展出。此後，他每年至少舉辦一次重要個展。一九五五年，他被知名《藝術知識》雜誌（Connaissance des arts）授予第一名獎，並被評選為戰後十大最傑出的藝術家之一。四十六歲時，成為國立美術學院（Académie des Beaux-Arts）院士中最年輕的一位畫家。

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日本畢費美術館 Musee Bernard Buffet, Surugadaira, Japan

畢費的作品充分體現了戰後時代的特徵，靜物畫中透露出貧困之感，昏暗的巴黎風景以及富有憂鬱情感的人物形象。他以獨具特色的黑色線條和有限的灰色調構建了這些作品，這反映了二十世紀四十年代中後期讓保羅．沙特（Jean-Paul Sartre）制定的法國存在主義哲學。有別於當年風行的抽象表現主義 (Abstract Expressionism) 風格，畢費傾向於用具象的方式表達情感和思想，一九五〇年代後期，畢費開始創作小丑題材的作品，黑白相間的裝扮，突顯了生活中明暗、快樂與悲傷的永恆共存。他的作品在一片現實主義的風潮中，呈現出一種獨特的審美觀。他的畫風兼具現實與夢幻，創造出一種超越時空的氛圍。在畢費的畫作中，帆船成為了藝術家情感的載體，將他對生命意義的思考融入其中；透過精湛的筆觸和豐富的色彩，他成功地將這些情感轉化為視覺形式，觸動了觀眾的內心共鳴。儘管受到公眾的崇拜，但畢費始終遭受法國評論家和同行的貶低。他的一夜成名、令人不安的藝術風格、堅決反對抽象藝術的立場以及奢華的生活方式，都引起嫉妒和拒絕。然而，在海外，尤其是在英國、美國和日本，畢費的作品開始受到認可和讚賞。知名藝術家法蘭西斯．培根（Francis Bacon）承認自己被畢費的裸體和色情作品深深觸動，而普普藝術之王安迪．沃荷（Andy Wahrol）則在一次採訪中表示，他認為畢費是法國當代最重要的藝術家。一九七三年，奧加野喜一郎（Kiichiro Okano）於日本靜岡縣成立畢費美術館，永久在日本展示這位法國藝術家的作品。

畢費的帆船油畫一直是他的代表系列之一，也是他情感豐富的藝術世界體現。此幅《小帆船》畫作附有莫里斯．加尼爾（Maurice Garnier）親筆簽名的鑑定證書，同時也被納入畫冊中。回顧一九八二年，畢費的藝術創作有限，使得這段時期的每一件作品都顯得相對珍貴。而在這些稀世之作中，此作在莫里斯畫廊舉辦的《畢費：一九八二年繪畫》展覽中被視為重要焦點。當年它被巧妙地放置在畫廊的重要牆面，策略性地迎接著每位踏入畫廊的訪客。《小帆船》延展出人生的遠方與未知呈現，源自他的帆船鮮少有靠岸的時刻，有意無意地影射著自己或人們時常無處安放的鄉愁情懷。

「藝術是什麼 --- 我願意立即用最簡單的方式來說：『藝術是幻象或直覺。』，藝術家造了一個意象或幻影，而欣賞藝術的人則把他的目光凝聚在藝術家所指示的那一點，從他打開的裂口朝裏看，並在自己身上再現這個意象。」--- 節錄貝內德托．克羅齊 (Benedetto Croce)《美學原理美學綱要》，外國文學出版社，一九八三年，第十八頁。

此件《小帆船》作為畢費長年累積的帆船系列，相較之下船支顯為嬌小無助，更不同於早年勁道銳利的筆觸，用色上雖不比早年人物系列來得鮮豔高彩，但比起他生涯中期的創作，晚後期如此作中又用回更多的顏色，整體卻更趨向冷色調，甚至連同黃色系的調色，也悄悄地、如此自然地冷下。少了畢費通常在中大尺幅作品中慣以氣勢如虹的震撼力，畫中的小帆船在偌大的空間加上色調的寒冷，反映出更多畢費晚期的心中的孤獨、無力與寡言，微妙地又富含著少見的秀氣。

畢費的帆船主題作品在他的生前和之後都受到了高度的關注。他的作品被廣泛展出，吸引了眾多藝術愛好者和專業人士的關注。然而，他的影響力不僅僅體現在他的創作作品中，更在他對後世藝術家的啟發上。他的獨特風格和情感豐富的表達，影響了許多後來的藝術家，引領他們對主題和形式進行深入思考。畢費的帆船主題油畫不僅僅是一幅畫作，綜觀一覽，更是一種對生命的隱射、一個時代下的國家氣息的深刻詮釋，體現存在主義式的美學，並深刻地影響著當代藝術家的發展。

ZHONG CHENG 中誠

In the grand tapestry of 20th-century art, artists embarked on a

cooler tones that include various shades of yellow, it subtly and

journey of exploration, delving into various styles and themes.

naturally embraces a cooler aesthetic. The diminutive sailboat

This dynamic environment laid the foundation for the vibrant

within the vast expanse, combined with the chilly color scheme,

blossoming of both post-modern and contemporary art, as artists

encapsulates Buffet's late-life sense of solitude, vulnerability, and

sought to convey their innermost emotions and profound aesthetic

introspection, all delicately veiled in an uncommon grace.

perspectives. Among these luminaries, the French artist Bernard Buffet stands as a testament to artistic brilliance, particularly in his mesmerizing sailboat-themed oil paintings. Buffet's creations extend beyond mere depictions of sailboats; they transcend into a poetic odyssey, an exploration of life's essence, freedom, and the human spirit.

Buffet's artworks epitomize the defining characteristics of the postwar era, with his still-life paintings evoking a sense of austerity, his portrayal of dusky Parisian landscapes, and his haunting character portraits. Executed with his signature black lines and a limited grayscale palette, these works serve as a poignant reflection of the French existentialist philosophy that prevailed

Born in 1928, Buffet's artistic talent emerged at an early age. By

in the mid-20th century, as championed by Jean-Paul Sartre.

the tender age of 15, he secured admission to the prestigious

In stark contrast to the prevailing abstract expressionism of the

École Nationale Supérieure des Beaux-Arts in France, embarking

time, Buffet chose to express his emotions and thoughts through

on a formal journey of artistic education. At the early age of 20,

figurative art. In the late 1950s, Buffet embarked on a journey

he unveiled his maiden solo exhibition, a watershed moment

of depicting clowns, marked by their black-and-white makeup

accompanied by the prestigious Prix de la Critique. The early

reminiscent of Harlequin symbolism. These paintings accentuated

chapters of Buffet's career saw unwavering support from the

the eternal interplay of light and shadow, joy and sorrow in human

renowned art dealer Maurice Garnier, enabling the artist to

existence. His works resonated deeply with the public, particularly

traverse a broad spectrum of creative themes, from religious

in the aftermath of World War II.

motifs to landscapes, portraits, and still lifes, all of which captured the collective imagination. The year 1946 marked the unveiling of Buffet's first self-portrait at the "Salon des Moins de Trente Ans" at the Paris Museum, igniting a prolific period marked by annual prominent solo exhibitions. By 1955, he had clinched the top prize from the esteemed magazine "Connaissance des arts" and secured a coveted spot among the ten most outstanding artists of the post-war era. At the age of 46, Buffet became the youngest painter to be inducted as an academician at the Académie des Beaux-Arts.

Despite his success, Bernard Buffet faced criticism and rejection from French art critics and his contemporaries. His meteoric rise to fame, his disconcerting style, his unwavering stance against abstract art, and his opulent lifestyle all fueled feelings of envy and exclusion. However, on the international art stage, especially in the United Kingdom, the United States, and Japan, Buffet's work began to earn recognition and appreciation. The renowned artist Francis Bacon openly acknowledged the profound impact of Buffet's nudes and erotic paintings, while the Pop Art maestro Andy Warhol asserted in an interview that Bernard Buffet was the

Buffet's sailboat-themed oil paintings constitute a prominent pillar

most significant French contemporary artist. In 1973, the Bernard

of his oeuvre, serving as a canvas for his emotionally charged

Buffet Museum was founded in Japan by collector Kiichiro Okano,

artistic world. The Little Sailboat, accompanied by Maurice

dedicated to preserving and showcasing the remarkable body of

Garnier's personally signed certificate of authenticity, holds a

work crafted by this distinguished French painter.

distinguished place in his portfolio. Reflecting on the year 1982, a period marked by limited output, each work from this time frame radiates a heightened sense of preciousness. Among these treasures, The Little Sailboat emerged as a focal point in the "Buffet: Painting of 1982" exhibition held by the Maurice Gallery. It was strategically positioned on a prominent gallery wall, beckoning visitors with its depiction of the distant and the unknown, an embodiment of Buffet's propensity for embarking on uncharted journeys or grappling with the nostalgia that often finds no resting place.

As Benedetto Croce once succinctly put it, " What is ar t - I would like to say immediately in the simplest way: 'Art is illusion or intuition.' The artist conjures an image or illusion, and the connoisseur focuses his gaze on the point indicated by the artist, peering inward through the rift the artist has opened, and recreating this image within himself." Buffet's sailboat-themed artworks transcend mere canvases; they embody a profound perspective on life, a poignant interpretation of the zeitgeist, and an existentialist aesthetic, profoundly shaping the development of contemporary artists. Bernard Buffet's sailboat-themed works

Contrasting with the dynamism and sharpness of his earlier

have not only graced the art world but have also left an indelible

brushwork, The Little Sailboat exudes fragility and vulnerability,

mark on the hearts and minds of those who have had the privilege

relying on a more restrained color palette. While it departs

of experiencing his unique artistic journey.

from the vibrant hues of his earlier works, even embracing

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162 BERNARD BUFFET ( French, 1928-1999 )

Le Voilier 97 x 130 cm Oil on Canvas Signed Bernard Buffet in English and dated 1982 With a certificate of authenticity from Maurice Garnier gallery, France

NT$ 6,500,000-10,000,000 US$ 200,000-300,000 貝納德．畢費小帆船 1982 油彩畫布簽名：Bernard Buffet 1982 附法國莫里斯．卡尼爾畫廊開立之原作保證書

「我們的愛誕生於聖托佩……我知道為什麼我愛那些樹木和船桅……」---安娜貝爾．畢費（引自《聖托佩前世今生》1981） "Our love was born in Saint-Tropez... I know why I love trees and the boat masts..." ---Annabel Buffet, Saint-Tropez d'hier et d'aujourd'hui, 1981

貝納德．畢費《自畫像》1981 年作油彩畫布 116x81cm Bernard Buffet, Self Portrait, 1981 Oil on Canvas, 116x81cm

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MOÏSE KISLING

Jeune Garçon en Noir 黑衣男孩莫依斯．奇斯林

藝術家莫依斯．奇斯林，銀質印刷品，攝影師 Marcel de Renzis Artist Moïse Kisling, 13.8 x 10.7cm, vintage silver gelatin print Photographer: Marcel de Renzis

藝術家莫依斯．奇斯林，於自家工作室，巴黎，六月 1949 Artist Moïse Kisling, in his studio. Paris, June 1949

莫依斯．奇斯林 (Moïse Kisling) 出生於波蘭克拉科夫的一個猶太家庭，父親是裁縫師傅，期盼著兒子將來能當工程師，但他卻想成為藝術家。就讀克拉科夫美術學院時，遇見了他的啟蒙導師從約瑟夫．潘其維齊 (Jozef Pankiewicz)，由於曾在巴黎接受過印象派的洗禮，認為巴黎是藝術的天地，因此，鼓勵他前往法國的藝術之都巴黎。二十世紀初的巴黎，從野獸派、立體派到各種現代藝術運動接續地蓬勃發展。於是在一九一〇年，莫依斯．奇斯林懷抱著理想與憧憬來到了巴黎，並落腳於蒙馬特區及蒙帕納斯區。

莫依斯．奇斯林早期受到了保羅．塞尚 (Paul Cézanne)、安德烈．德蘭 (André Derain) 和立體派的影響，較重視圖像的結構，以沉重但簡化的形式與暗色調的色彩來描繪人物、風景及靜物畫。一九一五年以後，開始轉向表現主義風格。一九二〇年代初期，其繪畫風格達到了成熟階段，結合精確的繪圖技巧與鮮明的色彩；經常以簡潔明瞭的方式來呈現主題，強調流暢圓潤的形式與生動的色彩。

一九一〇年至一九二〇年左右，蒙帕納斯成為巴黎藝術活動的中心。一群離鄉背井的藝術家，抱著對於藝術的熱愛與追尋而聚集在巴黎，共同分租住在塞納河左岸的蒙帕納斯閣樓和小屋，來自世界各地不同的文化背景，說著不同的語言，彼此相互交流著，漸漸地建構出一個充滿彈性、多元、自由及具有創造力的小天地，如此多樣化的創作風格難以歸類和劃分，因此，藝術研究者依據他們活躍的區域統稱為「巴黎畫派」。主要人物包含西班牙的巴勃羅．畢卡索 (Pablo Picasso)、波蘭的莫依斯．奇斯林 (Moïse Kisling)、俄羅斯的馬克．夏卡爾 (Marc Chagall)、白俄羅斯的柴姆．蘇丁 (Chaim Sutin)、日本的藤田嗣治 (Léonard Tsuguharu Foujita)、義大利的亞美迪歐．莫迪里亞尼 (Amedeo Modigliani) 等。

莫依斯．奇斯林和他的好友亞美迪歐．莫迪里亞尼的多數作品都是在描繪人物，通常都面無表情，描繪對象多為友人、妻子、女演員、模特兒、少年、少女等。或許是受到歐洲手工娃娃造型的影響，莫依斯．奇斯林所描繪的人物輪廓多為圓臉，並有著一雙杏仁大眼和櫻桃小嘴，寫實的外貌與經過調整的身形，姿態與神情呈現出高傲冷豔的美感；而部分作品中人物的瞳孔被去除，改為將整個眼睛塗黑，這樣的描繪方式可能是受到了亞美迪歐．莫迪里亞尼的影響。他在陰影處理的方式上與其他人較為不同，利用強化整體畫面的光影細節，加上獨有的透明感繪畫技巧，使畫面呈現出細緻的質感，原本已具有輪廓深度的人物，顯得鮮活突出，立體感十足。

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莫依斯．奇斯林《琪琪·德·蒙帕納斯（裸體坐像）》1925，69 x 49 cm Kiki de Montparnasse (Nu Assis), 1925 , 69 x 49 cm

Moïse Kisling, born into a Jewish family in Krakow, Poland, defied

Kisling's ar tistic journey initially bore the influence of Paul

his father's hopes for a future as an engineer, instead nurturing

Cézanne, André Derain, and the Cubist movement, placing

his ambition to become an artist. While studying at the Krakow

a profound emphasis on the structural aspects of imagery.

Academy of Fine Arts, Kisling found inspiration and guidance

He employed simplified forms, a subdued color palette, and

in Jozef Pankiewicz, his mentor who had been influenced by

dedicated himself to the depiction of figures, landscapes, and still-

Impressionism in Paris and considered the city the ultimate artistic

life. However, a transformative shift occurred post-1915, leading

haven. Encouraged by Pankiewicz, Kisling set his sights on

Kisling toward Expressionism. By the early 1920s, his painting

Paris, the epicenter of the art world, where the early 20th century

style reached maturity, combining precise draftsmanship with

witnessed the flourishing of various modern art movements, from

vibrant colors. His signature style often showcased subjects in a

Fauvism to Cubism.

lucid, unembellished manner, highlighting the elegance of smooth,

Around 1910, Montparnasse emerged as the epicenter of artistic

rounded forms and a vivid color palette.

activity in Paris. Kisling, along with a group of artists driven

Moïse Kisling, along with his friend Amedeo Modigliani, primarily

by their profound passion for art, settled in Paris from diverse

depicted figures in their works. Their subjects, often portrayed

corners of the world. They shared living spaces in the attic lofts

expressionless, ranged from friends and wives to actresses,

and cottages on the Left Bank of the Seine, hailing from diverse

models, boys, and girls. Kisling's figures exhibited distinctive

cultural backgrounds and speaking different languages. Through

round faces, almond-shaped eyes, and dainty cherr y-like

this convergence, they gradually established a flexible, diverse,

mouths—a style possibly influenced by the European tradition of

liberated, and creative microcosm. The multitude of artistic styles

crafting dolls. While some of his works depicted figures with their

they represented defied easy classification, leading art historians

pupils removed and eyes entirely blackened, an approach likely

to collectively refer to them as the "Paris School." Prominent

influenced by Amedeo Modigliani. Kisling's method of handling

figures in this movement included Pablo Picasso from Spain,

shadows set him apart, utilizing strong contrasts and intricate light

Moïse Kisling from Poland, Marc Chagall from Russia, Chaim

and shadow details. This distinctive technique breathed life into

Sutin from Belarus, Tsuguharu Foujita from Japan, and Amedeo

the figures, enhancing their three-dimensional presence.

Modigliani from Italy, among others.

184

莫依斯．奇斯林《塔斯醫生的小孩，路易和柔卡》1930，油畫，100 x 73 cm Moïse Kisling, Zoucha et Louis Tas, 1930, Oil on canvas, 100 x 73 cm

ZHONG CHENG 中誠

藝術家莫依斯．奇斯林，1916 年 Artist Moïse Kisling, 1916

163 MOÏSE KISLING ( French-Polish, 1891-1953 )

Jeune Garçon en Noir 81 x 60 cm Oil on Canvas Signed Kisling in English and dated 1918 PROVENANCE:

Christie's Auction, London, November 30th, 1993 Lot 193 ILLUSTRATED:

"Kisling 1891-1953. vol. III," Jean Kisling, Paris, France, 1995, Page 143, illustrated No.18 With a certificate of authenticity signed by Jean Kisling

NT$ 3,800,000-5,000,000 US$ 119,300-157,000 莫依斯．奇斯林黑衣男孩 1918 油彩畫布簽名：Kisling 1918

來源：倫敦佳士得 1993 年 11 月 30 日拍賣編號 193

圖錄：《奇斯林 1891-1953. 第三卷》，約翰．奇斯林，法國巴黎，1995 年，第 143 頁，圖版第 18 號附約翰．奇斯林親簽之原作保證卡

此作《黑衣男孩》中，由於男孩的眼睛採用了將瞳孔去除並塗黑的繪畫方式，加劇了深邃眼眸中的幽暗氣息，展現出沉著思慮的樣貌。觀察其眼窩、鼻樑和臉型的周圍區塊，可以發現顯著的陰影漸層與明暗對比，並搭配標誌性的櫻桃小嘴，使得男孩在原本表情嚴肅的輪廓之下，套入如此精巧地明暗修飾手法與繪畫風格後，五官顯得更加精緻靈巧，其中伴隨著一股傲氣和優雅的氣質。整體衣著色彩為飽和的深色系，並有著細緻的物料材質筆觸，透過光影的處理突顯出身形、姿態及衣服的形貌和細節。在他靈活運用光影的繪製下，淺色綿密肌理的背景使得人物跳脫出畫面，形體更加立體鮮明，呈現出人物與環境之間的空間感；充滿靜謐氛圍的背景，配上栩栩如生的獨特風格人物，令人有種虛實相融的感覺。 In Kisling's masterpiece The Boy in Black, the removal of pupils and their replacement with obsidian-black eyes intensified the enigmatic quality of the boy's gaze, evoking an aura of profound contemplation. Closer inspection revealed a meticulous rendering of shadow gradients around the boy's eye sockets, nose bridge, and facial contours, complemented by the hallmark cherry-like mouth. These delicate nuances, brought to life through masterful interplay between light and shadow, endowed the boy's features with heightened elegance and intricacy. The color palette for the attire predominantly consisted of rich, dark hues, meticulously textured through the stroke of his brush. Kisling's adept manipulation of light and shadow breathed dimension into the figures, creating a palpable sense of space between subject and surroundings. Set against a tranquil backdrop, this composition seamlessly wove together reality and illusion, resulting in a harmonious amalgamation of both realms.

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「安德烈 . 布拉吉利 – 永恆時刻！」展於南韓首爾藝術中心（SAC）2022 年 12 月 20 日 - 2023 年 4 月 9 日 “André Brasilier – Eternal Moment!” Exhibition at Seoul Arts Center (SAC), South Korea, December 20, 2022 -April 9, 2023

ANDRÉ BRASILIER

Village Enneigé 鄉村雪景安德烈．布拉吉利

安德烈 . 布拉吉利《粉紅色天空的騎馬》， 2022，油畫，130 x 162 cm André Brasilier, Cavalcade au ciel rose, 2022, Oil on canvas, 130 x 162 cm

安德列．布拉吉利 (André Brasilier) 的藝術風格一直以來都為人津津樂道，他被視為現代法國藝術的重要代表之一。儘管其藝術生涯貫穿七十多年，布拉吉利的作品一直保持著對大自然的深沉熱情。他被歸類為抽象表現主義，但他的風格不受傳統界限的約束，常常融合抽象和具象元素，使畫面充滿詩意和浪漫。他的作品常常以大自然、音樂和女性等主題為特色，並通過柔和的色彩和流暢的線條來營造出夢幻的情感。在《鄉村雪景》這幅畫中，我們可以見識到布拉吉利的獨特風格如何融入對大自然的賞識之中。走進安德列布拉吉利的《鄉村雪景》，仿佛引領我們進入了一個極為私人且神秘的冬季仙境。銀白色的世界像是畫面上的留白，富有詩意，加上簡單又流暢的筆觸，迷人而美麗的色彩，安靜的氣息中透露出細膩的情感。布拉吉利以柔和的藍色、粉紅色和白色主導整個畫面，柔和的色調營造出一種安寧和和平的氛圍。這些色彩的選擇是布拉吉利對大自然美麗的詮釋，使人感覺出一種溫暖和安慰的情感，也恰到好處地突顯了冬季景色的寧靜和寂靜。

安德列．布拉吉利受訪時曾表示：「我喜歡用大尺寸的繪畫來表達自己。對我來說，大尺寸作品的影響力可以讓觀眾更好地吸收它。一幅大型畫布甚至可以對觀看它的人產生一種著迷的力量。當我繪畫時，我想在我的動作中感受到生命，就像在馬匹上馳騁或大海的逆流中發現生命一樣。」藝術家對繪畫的激情和對大尺寸作品的偏好使他能夠創作充滿生命力的作品，吸引觀眾的注意，身臨其境感受其中的悸動。「在我看來，一幅畫是個實物，但它必須代表一種源自於生活的情感。在我的畫布上，我試圖在兩者之間建立和諧。」--- 安德列．布拉吉利《鄉村雪景》將觀眾引向一個充滿靜謐和奇幻色彩的自然世界，現實的景致卻流露出超現實的氛圍，使人像是在夢境般漂浮著，和藝術家產生情感上的共鳴。無疑地，布拉吉利對大自然的無限熱情在畫布上得到了極致展現。

André Brasilier 's ar tistic st yle has long been a source of

André Brasilier once aptly remarked, "I prefer to express myself

fascination, and he is rightfully regarded as one of the foremost

through larger-than-life paintings. To me, the impact of a sizable

representatives of modern French art. Across his illustrious

work allows the viewer to more fully immerse themselves in it. A

seven-decade career, Brasilier has remained unwavering in

large canvas possesses the uncanny ability to exert a magnetic

his deep-seated passion for nature. While often categorized

pull on those who gaze upon it. When I paint, I seek to infuse my

as an abstract expressionist, his artistic approach knows no

movements with the essence of life, much like the exhilaration

traditional boundaries. He seamlessly inter weaves abstract

of riding a horse or discovering life's vibrant pulse within the

and representational elements, endowing his canvases with an

counter-current of the sea." The artist's fervor for painting and

exquisite sense of poetry and romance. His oeuvre consistently

his inclination toward grandiose canvases enable him to craft

delves into themes such as nature, music, and the female form,

artworks that are not only attention-grabbing but also immersive,

all brought to life through a masterful orchestration of soft hues

inviting viewers to share in the emotional resonance they evoke.

and flowing lines. Village Enneigé, a remarkable work by Brasilier, provides a remarkable glimpse into the fusion of his unique style with his profound reverence for the natural world. Stepping into the realm of André Brasilier's Village Enneigé is akin to entering a profoundly personal and enigmatic winter wonderland. The world he paints, glistening in silver and white, serves as a poetic canvas for his artistry. His brushwork is elegant in its simplicity, and the colors he employs are nothing short of captivating and beautiful. In this tranquil realm, one can perceive an undercurrent of delicate emotions. Within this masterpiece, Brasilier skillfully employs gentle shades of blue, pink, and white to create an ambiance of serenity and peace. These colors are a testament to Brasilier's interpretation of the natural world, invoking

"In my view, a painting is not merely an object; it must convey emotions drawn from life's wellspring. On my canvas, I strive to create a harmonious union between these two realms." - André Brasilier Village Enneigé beckons the viewer into a realm replete with stillness and an otherworldly tapestry of colors, all while retaining an authentic connection to the natural world. As it captures the essence of reality, it also exudes a surreal ambiance, causing viewers to feel as though they are adrift in a dreamscape and forging a deep emotional c onnection with the ar tist. Unquestionably, André Brasilier's boundless passion for nature finds its ultimate expression upon the canvas.

feelings of warmth and solace, all while masterfully underscoring the serene stillness of the winter landscape.

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164 ANDRÉ BRASILIER ( French, b.1929 )

Village Enneigé 162 x 114 cm Oil on Canvas Signed André Brasilier in French With a certificate of authenticity from gallery

NT$ 2,800,000-3,300,000 US$ 87,900-103,600 安德烈．布拉吉利鄉村雪景 1976 油彩畫布簽名：André Brasilier. 附畫廊開立之原作保證書

安德烈·布拉西里耶的作品經常以馬匹、自然和音樂等主題和圖案為特色。在與大自然的親密交流中，他從大自然的語言、聲音和顏色中汲取靈感，揭示出我們周圍自然之美。 André Brasilier’s works often feature themes and motifs like horses, nature, music. In an intimate communion with nature, he draws his inspiration from its language, sounds, and colors, thus revealing the natural beauty of our surroundings.

190

ZHONG CHENG 中誠

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191

165 PIERRE FERNANDEZ ARMAN ( French-American, 1928-2005 )

Table de Violons With glass table size: 127 x 127 x 58.5 cm Sculpture size: 102 x 102 x 40 cm Bronze, edition of 8 Signature engraved: Arman and inscribed bocquel Fd. in English, and edition number ILLUSTRATED:

"The Exhibition of International Sculpture Masters - Arman," Modern Art Gallery, Taichung, Taiwan, 1996, Page 36 (another edition) With a certificate of authenticity signed by the artist

NT$ 1,300,000-1,600,000 US$ 40,800-50,200 費爾戴儂．阿曼提琴桌子 1992 銅雕限量 8 件雕刻簽名：arman bocquel Fd. 跟版數

圖錄：《國際大師雕塑展 - 阿曼》，現代畫廊，台灣台中，1996 年，第 36 頁 ( 另一版數 ) 附藝術家親簽之原作保證書

八〇年代的阿曼，不再直接以樂器為創作素材，而改為對青銅鑄成的樂器雕塑進行切割與集積。「切割」象徵著對於物體的分解，是由全新的視點觀看與思考，且切割後的物體，在重新構成時便擁有了它自身的節奏感；而阿曼認為，「集積」所帶來的視覺衝擊，是以數量改變性質，不同於杜象的現成物是被選擇、被隔離且反對美學的，阿曼的集積藝術是對社會生活與文化內涵開放，並以豐饒的、充滿詩意的形態呈現其作品。《提琴桌子》(Table de Violons) 主體造型為六把提琴並以青銅鑄造形式表現，上下六支提琴被剖半的大提琴橫豎約三十度角交錯，剖出的提琴顯現空心的內部，讓原來的內在成為外部的構造之一，打破了原本內、外隔離無交集的形式，使得內、外之間的界限徹底消失，而分解的其他零件亂中有序地銜接成琴與琴之間支撐桌面的結構。同時整體發揮了新寫實主義 (Nouveau Realism) 的美學觀念，將人類文化衍生物與工業化技術調和，讓無機物再度重返 / 流變為有機狀態，而這種「有機」卻有別於前現代社會的自然有機意義，則是透過人工無序重組後發掘的文明自然。最終作品以家具作為人文意象的姿態被陳列，重新融入人們的生活空間，強調著新穎、昂揚的人類自然美感，提琴作為完形語彙以詩性的典雅，猶如發出音樂般相隨歌頌。阿曼最經典的雕塑的創作，即正是樂器題材，一面藉以突破著消費社會中的全新美學觀點，一面抒發自身培養的興趣愛好，同步富含詮釋音樂的律動與旋律意涵，凝視著這些重組過後的青銅碎片，仿若聽見屬於後現代社會文明與文化產生的獨特音符。

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「當你打破一塊直條板，你得到的是一種立體主義的結構；而當你破壞一個大提琴，其終了是一些浪漫的事。」--- 費爾戴儂．阿曼(Pierre Fernandez Arman)

MODERN AND CONTEMPOR ARY ART

193

166 JU MING ( Taiwanese, 1938-2023 )

Buddha 32.7 x 51 x 58.8 cm Tectona Grandis (unique work) Signature engraved: Ju Ming in Chinese and dated 1991 With an artwork appraisal report from NPO Juming Culture and Education Foundation

NT$ 7,000,000-10,000,000 US$ 219,800-314,000

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ZHONG CHENG 中誠

朱銘佛 1991 柚木（僅此一件）雕刻簽名：' 91 朱銘附財團法人朱銘文教基金會之作品鑑定報告書

「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。」--- 朱銘

朱銘的雕塑自從「鄉土」系列後「太極」與「人間」系列非常注重「以裡達形」，從中通透作品對「象」的觀看與掌握，為此當觀眾在面對其作品時「以形觀象」就是一個非常重要的品味方式。通常從題材上就能看出一位藝術家日常中所關懷的內觀情境，再來才是轉化成創作顯現藝術家對其心得，最後就是作品呈現出的雙向性「結果」，而在這基本觀念下觀察朱銘的作品就能凸顯其脫穎之處，首先不論在他任何時期作品題材都主要圍繞在「城 / 鄉間」、「天人」、「神仙」，並在發展運用的表現技法以不同姿態造就，梳理出的系列更像是朱銘在每一階段用以不同的方法顯現其心得，例如朱銘作品用樸實肌理 ( 鄉土 ) 帶出台灣在地辛勤向上的韌性精神、用探形闊斧 ( 太極 ) 引出道家太極觀的天地精髓、用低限粗獷 ( 人間 ) 發掘人文的自然本質。

拳印」形象，又是此作一精湛之點，手位擺放與角度自然，兩掌相叉，右手在下，左手在上，大拇指相柱，在臍處作入定相，雙腕處仰掌皆呈刁專表現不遺差遲、指處關節與掌間肌肉協調通暢，將智拳印應有的力量之感、大願之態表現之，通徹真理智慧之勢。平日心念修持的朱銘，不論在每個創作系列時期，都不時會將心中所內觀、覺悟，展現在佛像創作中，而在朱銘生涯中的佛像作品中，當屬此件知命之年的作品多層、深邃而精彩，在表現語彙上、形象語彙上，甚至在材質和空間呼應…等，展露尊身靈現四橫的內在與外在的美學。

此件一九九一年《佛》作品，非常難得地總和了朱銘三大表現系列的特點。材質上選用木理通直的柚木，有萬樹之王美稱的柚木相較其他木材，獨具有的天然紋理走線循序漫雅、觀賞上多了一種平靜，猶如呼應著佛像題材的一縷幽幽香檀煙絲；柚木還有在保存上的優點，密度較高與富含天然油脂相較不易受潮並且是木材中最堅硬的、抗酸抗氧化耐性較好而穩定，再是柚木天然的柚質香氣除了具備抗蟲蛀之外，這種香氣還能讓人精神放鬆、舒暢，將此作品擺放於空間中呼應著該形象大日如來的三種禪象：「光明遍照」、「智慧遍照」、「破煩遍照」。而在朱銘的單一件木雕中，選用珍貴的柚木材料來創作也更是稀有臻品。飽滿樸實的曲線雕琢正覺凜然、剛正不阿，柚木帶自然喝成黃橙色，光照之下更呈從底透金銀之潤色，不帶虛飾真正反映金身之尊貴，朱銘刀鋒刻虛實但心思嚴謹整密，一面平衡佈局作為藝術創作的視覺表現性，一面見得雕佛之人需懷四大皆空與向佛之虔誠，心無雜念雕刀所落之處便是覺悟正果，朱銘以「形」手法之曉以大義，細緻的雕琢中兼具斷然地宏斧，訴諸向佛心法與形的本質同時一絲不苟的「為之」卻在不論近詳或遠觀中歸向「自然」的本真。雕走至此大日如來之法相，也甚為雕佛之關鍵；代表釋迦如來應化身，義為太陽，受尊為金剛經中五方佛中央主持，頭戴五佛寶冠、紺髮拂肩、耳戴金璫，而型訴形聚天雲盤旋之意象，此作成於朱銘知命之年，已有大師底氣自若坦然卻謙敬細磨於心中如來尊容，能從整尊雕塑面部是最細膩的特徵看出，並且當下心與手如靜水才能造就法相端正莊嚴，忠實大日如來為「太陽」之氣宇軒昂。最後大日如來手契呈「智

藝術家朱銘 Artist Ju Ming

MODERN AND CONTEMPOR ARY ART

195

167 JU MING ( Taiwanese, 1938-2023 )

Taichi Series - Single Whip (1986) 26 x 44 x 28 cm Copper Signature engraved: Ju Ming in Chinese and dated 1986

朱銘太極系列 - 單鞭下勢 (1986) 1986 銅雕雕刻簽名：朱銘 ' 86 於 2023 年已送交財團法人朱銘文教基金會鑑定

It has been submitted to the NPO Juming Culture and Education Foundation for appraisal in 2023.

NT$ 2,800,000-3,000,000 US$ 87,900-94,200

此件作品《太極系列 - 單鞭下勢》創作於一九八六年，朱銘進入太極系列創作前期，更難得之處在於此件為朱銘早期使用木頭雕刻後翻製銅雕的作品。在準而渾然天成的大塊切面上，朱銘當年尚以更細琢綿密的線性雕工處理，混合天然木紋的肌理或走勢，在精細的翻模後讓銅雕透澈木雕才有的氣質和溫度，不止遠觀有氣魄，近觀則有妙趣。在雄渾之「形」中呈現太極拳法之一單式 - 單鞭下勢，俐落切割於其人體核心與下盤，細膩揣摩其單式力感位置與肢體平衡。且不止於單一視角的視覺經營，環顧 360 度視角可以看到作品因為不同削切角度、面積、次數、導角與否，產生不同的力量傾向與肢體平衡之引導視覺體驗，特別在於相對位置的對應處理，例如作品由正、反面看去整體呈現向右銳角三角型，人體力感由向上的手部以大切面表現，彷若由上向下將氣運入；從背面看去蹲姿臀部與下盤反之則猶如從下往上，將氣送出，觀察作品左右視角也亦然如此。由粗納轉細吐、從剛硬轉柔韌、陰陽轉合，顧及後現代雕塑的構圖美感之餘，還將太極拳法技術的精髓深藏於作品的「形」之中。關於「太極」一詞，到《周易．繫辭》中清楚解釋：「易有太極，

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ZHONG CHENG 中誠

是生兩儀，兩儀生四象，四象生八卦」之記載。按此解釋，太極是無極混沌之後生成萬物象過程，過程有虛實可粗分兩儀，指的是天地或陰陽。四象和八卦則分別指四季和八種自然現象等。朱銘從實踐太極拳，再將其融會於雕塑形式上，而不同於身體實踐太極拳由內向外，雕塑作為一種精神表現的介質時，則需由外向內觀察，也就是看入作品的「象」之中。在太極系列中最為經典的單鞭下勢來說，此動作是太極招式中唯一兼具快慢、突進與收受、亦柔亦剛，屬最能體現太極價值於一瞬的招式、也是現實中門檻標準最高的太極招式，然而在雕塑作品還能傳達貼合太極精神，可說是一大可貴。作品《太極系列 - 單鞭下勢》就運用了拙又準的切、刻、磨技術。既像自然生長也是刻意加工，讓兩儀象徵於作品虛實和天地空間，併生雕塑與肢體四面空間導向、四面則又產生對角之八相，從整體看來作品又趣味地保持歸於原始之態。以一招式精闢統合太極十三勢對於「氣」、「體」、「自然」進出歸一，既始既終、天地人合一渾圓之「象」。

「太極拳是由中國人所創造的一種健身術，它是我所知道的一個『人與自然結合』的最好例子。它是用人自己的身體來接觸和模仿宇宙中的自然現象。」---朱銘

MODERN AND CONTEMPOR ARY ART

197

168 JU MING ( Taiwanese, 1938-2023 )

Buddha 18 x 21.5 x 52.4 cm Bronze, edition of 30 Signature engraved: Ju Ming in Chinese and edition number

朱銘如來佛 1986-1988 銅雕限量 30 件雕刻簽名：朱銘跟版數附財團法人朱銘文教基金會之作品鑑定報告書

With an artwork appraisal report from NPO Juming Culture and Education Foundation

NT$ 250,000-500,000 US$ 7,800-15,700

太極時期下所創作的《如來佛》以朱銘經典手法大切面形塑探象，無過多或繁瑣的磋磨與執著，交會著向佛修行心念，呈現大徹大悟的決然，終而讓朱銘以太極為方法的象之探索與佛之悟觀產生互文意義。正如道家以象為天地萬物根本，此作品則用象之本身再一層次地表達命名所期許「如來」(तथागत)，該詞是佛陀十號之一的稱呼，也是經籍《成實論》(Tattvasiddhi) 所釋：「如來者，乘如實道來成正覺，故曰如來。」如實即為透徹真理，乘其而來時就便已有佛性，故稱為如來者。彷彿朱銘透過藝術創作一面體現著對佛性的崇敬、一面展現對佛陀的尊敬、更是一面向內覺察自我的修持。乃至於朱銘神佛題材作品的莊嚴、宏偉，不全然來自尺寸，而是作品的紋理質地與散發的氣韻。從青年時期的廟宇雕刻家到成為嚴格意義上的藝術家，再從鄉土到太極創作時期，神佛題材總是伴隨在其中；不分尺寸大小，皆反映出朱銘內在修行的深刻之相。而這也源自朱銘平日力行於生活的內在修持，認為創作應與生活緊緊相和，生活即為藝術生命的態度，他曾說：「研究藝術應如和尚修佛的態度一樣，從吃飯、穿衣、睡覺等等，一切的生活行為都只為修佛，絕無他念，也無他求，全力以赴，永不改變。藝術修行理應如此。」 During the Tai Chi period, artist Ju Ming unveiled his mesmerizing creation - Buddha, employing his signature sculpting techniques with a masterful touch. This masterpiece delves into the realm of sculpture without the burden of excessive intricacy, embodying the very spirit of Buddhist contemplation. It ultimately reveals a profound enlightenment, allowing Ju Ming to explore the symbolism of Buddha through the lens of the Tai Chi philosophy. Much like Taoism's reverence for symbolism as the core of the universe and existence, Buddha aptly captures the essence of its name. The term Buddha is one of the ten titles attributed to enlightened beings, and it is beautifully elucidated in the

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Tattvasiddhi scripture: "The Tathagata is one who has come thus, having arrived at reality, therefore called the Tathagata." To "come thus" is to arrive at a profound truth, signifying the innate Buddha nature within. It is this realization that earns the designation of "Tathagata." Through his artistic creation, Ju Ming beautifully intertwines his reverence for the Buddha nature, deep respect for the Buddha, and a personal journey of self-awareness and spiritual devotion. Ju Ming's ar tistic reper toire features deities and Buddhas that emanate a grandeur and solemnity that transcend mere dimensions. Their magnificence is not merely a product of their physical size but is rather born from the tactile quality of their forms and the ethereal resonance they emit. Ju Ming's artistic evolution, from his early days as a temple sculpture artist to a celebrated fine artist, and from rural-themed creations to the Tai Chi period, consistently weaves deities and Buddhas into the tapestry of his work. Regardless of their dimensions, each piece is a profound reflection of Ju Ming's inner spiritual odyssey. This commitment to spirituality in art emanates from Ju Ming's daily practice of living with mindfulness. He firmly believes that artistic creation should harmonize seamlessly with life itself. Life, in Ju Ming's eyes, mirrors the very essence of an artist's journey. He poignantly once expressed, "The study of art should be approached with the same attitude as a monk's Buddhist practice. From the simplest daily tasks of eating, dressing, and sleeping, every action forms part of the practice, devoid of extraneous thoughts or desires. Wholehear ted dedication, unwavering commitment, and an unchanging spirit—this should define the path of artistic practice."

MODERN AND CONTEMPOR ARY ART

199

169 CHENG SHIFA ( Chinese, 1921-2007 )

Calligraphic Couplet 134 x 33.5 cm (2) Ink on Paper Signed Cheng Shifa in Chinese With two inscription and three seals of the artist PROVENANCE:

Private Collection, Asia

NT$ 100,000-180,000 US$ 3,100-5,700 程十髮七言對聯 1991 水墨紙本款識：辛未首夏集唐人詩句簽名：程十髮鈐印：三釜書屋 ( 朱文 )、程潼之印 ( 朱文 )、十髮 ( 白文 )

來源：亞洲私人收藏釋文：煙開蘭葉香風暖，鶯囀皇州春色闌

程十髮生於上海松江，一九三八年進入上海美術專科學校，曾任華東人民美術出版社創作員，留有許多連環畫作品，並參與中國畫院籌備事務，出任院長。此《七言對聯》書寫春色浪漫的鳥語花香，兼具視、聽與嗅覺撫觸而來，五感酣暢，好不快意，心曠而神怡。

200

ZHONG CHENG 中誠

170 CHENG SHIFA ( Chinese, 1921-2007 )

Girl and Deer 90 x 70 cm Ink and Color on Paper With inscription and one seal of the artist With one seal of the China National Academy of Painting PROVENANCE:

Private Collection, Asia

程十髮少女與鹿 1981 彩墨紙本款識：一九八一年七月二日程十髮漫筆贈美國夏威夷大學趙澤修教授藝術參觀團留念鈐印：程十髮 ( 朱文 )、中國畫院收藏 ( 白文 )

「用最古的筆法與最新的現實相結合，可以創造出中國畫的一條新路，同時又具有濃厚的民族色彩。」--- 程十髮

來源：亞洲私人收藏

NT$ 600,000-1,000,000 US$ 18,800-31,400 MODERN AND CONTEMPOR ARY ART

201

171 PU HSINYU ( Chinese, 1896-1963 )

Pointing in Nature 84.7 x 39 cm Ink on Paper Signed Hsinyu and dated 1951 in Chinese With one inscription and three seals of the artist PROVENANCE:

Mr. Liu Muzeng' s collection

NT$ 600,000-1,000,000 US$ 18,800-31,400 溥心畬野林點石圖 1951 水墨紙本款識：石音橫霞骨樹老倒點心畬辛卯四月為慕曾先生作鈐印：明夷 ( 朱文 )、舊王孫 ( 朱文 )、溥儒 ( 白文 ) 簽名：心畬

來源：劉慕曾先生收藏

溥心畬出身恭親王後裔，幼年於恭王府中豐富的書畫珍藏，培養琴棋書畫等美學造詣，並自行融會貫通，成為詩人、書法家、畫家。承襲中國宋文人精神內核，在動盪的大環境下依舊修身修為，保持著堅毅的君子之儒。劉慕曾，本名先榮。因崇敬曾國藩，更名慕曾。曾任台灣省政府主任秘書、行政院參事兼機要室主任。為知名書畫藏家，收藏許多民初書法大家作品。《野林點石圖》為溥心畬為劉慕曾所作，亦或是朋友之間的傾訴，兩人對現實生活的共感。畫面中人物倚坐石上，欣賞著骨樹繚繞蜿蜒的姿態。背後山間透過筆墨蒼鬆勁枝之勁，以大斧般劈出山巖之勢，對應著石音橫霞，骨樹老倒，傾訴著茫然飄移的無奈。詩意的氛圍，加上瀟灑的書法注入畫中，整體呈現，清超俊秀、典雅整飭。無愧溥心畬被喻為「中國文人畫的最後一筆」。

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172 PU HSINYU ( Chinese, 1896-1963 )

Couplet Calligraphy 132 x 27.5 cm (2) Ink on Paper (a set of two) Signed Pu Ru and dated 1950 in Chinese With one inscription and two seals of the artist PROVENANCE:

Mr. Liu Muzeng' s collection

NT$ 180,000-240,000 US$ 5,700-7,500 溥心畬行書七言聯 1950 水墨紙本 ( 兩件一組 ) 款識：蠖盦先生教正鈐印：舊王孫 ( 朱文 )、溥儒 ( 白文 ) 簽名：庚寅冬溥儒

來源：劉慕曾先生收藏

釋文：山雲欲起還依岫潭月孤圓坐諷書

溥心畬曾自述：「一生之學在經史，餘事為詩，其次書法，畫再次耳。」承繼著中國傳統文人精神，其底蘊深厚。七言聯體現溥心畬在文學和文化方面的造詣。詞句抒發了對自然、生活和人生的思考，這些思考與他的書法相互融合，賦予了作品更深層次的內涵和情感。此件書法可以見得溥心畬的書法韻律和節奏感，每個字的筆劃都顯得沉穩而有力，同時又不失流暢和自然。他的字體不拘泥于傳統，化蒼勁為瀟灑，墨如其人，浩然正氣，展現自由和獨立的書寫風格，令人感受到他對書法的深刻理解和掌握。

MODERN AND CONTEMPOR ARY ART

203

173 YU YOUREN ( Chinese, 1878-1964 )

Couplet Calligraphy 68.1 x 16.6 cm (2) Ink on Paper (a set of two) Signed Yu Youren in Chinese With one inscription and one seal of the artist PROVENANCE:

Mr. Liu Muzeng' s collection

NT$ 120,000-240,000 US$ 3,800-7,500 于右任草書五言聯水墨紙本 ( 兩件一組 ) 款識：立民先生簽名：于右任鈐印：右任 ( 朱文 )

來源：劉慕曾先生收藏

釋文：清悟開世運大利及人群

被譽為「一代草聖」，于右任於一九三二年在上海創辦「標準草書社」，廣集同好學人，系統化歷代草書，歸納出「易識、易寫、準確、美麗」四項原則，來推廣草書的實用性。融會中國傳統書法並賦予其新的精神，帶給後世深遠的影響。于右任的書法落筆激情四溢、氣勢凜然，筆過字跡則存飄逸灑脫風采，亦不失草書應有的豪爽氣概。每一個字都似乎在紙上跳躍舞動，瀟灑靈動，以其激情四溢的筆墨和深刻的藝術內涵從中脫穎而出，呈現出渾然天成的書法韻味。

204

ZHONG CHENG 中誠

174 YU YOUREN ( Chinese, 1878-1964 )

Calligraphy 62 x 39 cm Ink on Paper Signed Yu Youren in Chinese With one seal of the artist PROVENANCE:

Mr. Liu Muzeng' s collection

NT$ 90,000-150,000 US$ 2,800-4,700 于右任書法條幅水墨紙本簽名：于右任鈐印：右任 ( 朱文 )

來源：劉慕曾先生收藏

釋文：天生豪傑必有所任，今日者拯斯人於塗塵。為萬世開太平，此吾輩之任也

MODERN AND CONTEMPOR ARY ART

205

175 HSIUNG PINGMING ( Chinese, 1922-2002 )

Hard Earth 25 x 32.5 cm Ink on Paper Signed Pingming in English and dated 1969 ILLUSTRATED:

"Hsiung Pingming," Fairmate Art Gallery, Taipei, Taiwan, 1996

熊秉明堅硬的大地 1969 水墨紙本簽名：Ping Ming 1969

圖錄：《熊秉明》，飛元藝術中心，台灣台北，1996 年

展覽：

1. "Hsiung Pingming Sketch Exhibtion," Fairmate Art Gallery, Taipei, Taiwan, 1996 2. "An Odyssey Abroad and Back - Hsiung Ping-ming's Art," National Art Museum of China, Shanghai Art Museum, Kunming Museum, National Museum of History, Mountain Art Museum, Beijing, Shanghai, Kunming, Taipei, Kaohsiung, 1999

1. 「熊秉明素描展」，飛元藝術中心，台灣台北，1996 年 2. 「熊秉明的藝術 - 遠行與回歸巡迴展」，中國美術館、上海美術館、昆明市博物館、國立歷史博物館、山美術館，北京、上海、昆明、台北、高雄，1999 年

With a certificate of authenticity from gallery

附畫廊開立之原作保證書

EXHIBITION:

NT$ 180,000-280,000 US$ 5,700-8,800

熊秉明的速寫水墨畫作品《堅硬的大地》以山景與其連貫的大地為主題，深刻而堅挺的筆觸與精簡的造形，呈現熊秉明對自然的讚美和對人生哲理的思索，透過山嶺與大地環境觀察表現，啟發精神共感。畫面中，峻嶺如刀刻般屹立，蒼松傲然挺立其間。透過行雲般水墨筆觸，熊秉明在紙上勾勒出山川的輪廓，這些線條不僅傳達著山嶺的高聳，更帶來一種堅毅與堅強的感覺，將山景中的宏偉與壯闊表現得淋漓盡致。在墨色的瀰漫下，山峰與中近景的光影變化微妙豐富，讓觀者感受到畫面的遠近交錯，營造出層次分明的景深、空間…等效果。《堅硬的大地》簡約而充滿力量的筆觸技法，使得作品的情感更加凝縮而深沉。作品中的空白處理對比著筆觸成為一種視覺動向，將觀眾的目光循序引導至主題本身，在細細品味的同時，也帶來一股寧靜安穩的力量。最終而知，山嶺在熊秉明的筆下不僅是巍然屹立的印象，更是生命力的象徵，引領觀者進入對自然的感悟與人生的省思之中。

176 HSIUNG PINGMING ( Chinese, 1922-2002 )

Cyan Mirror 25 x 19 cm Watercolor on Paper Signed PM in English and dated 1968 ILLUSTRATED:

"Hsiung Pingming," Fairmate Art Gallery, Taipei, Taiwan, 1996 EXHIBITION:

1. " Hsiung Pingming Sketch Exhibtion," Fairmate Art Gallery, Taipei, Taiwan, 1996 2. "An Odyssey Abroad and Back - Hsiung Ping-ming's Art," National Art Museum of China, Shanghai Art Museum, Kunming Museum, National Museum of History, Mountain Art Museum, Beijing, Shanghai, Kunming, Taipei, Kaohsiung, 1999 With a certificate of authenticity from gallery

NT$ 180,000-280,000 US$ 5,700-8,800 熊秉明青色的鏡 1968 水彩紙本簽名：PM 10. 4. 68

圖錄：《熊秉明》，飛元藝術中心，台灣台北， 1996 年

展覽： 1. 「熊秉明素描展」，飛元藝術中心，台灣台北，1996 年 2. 「熊秉明的藝術 - 遠行與回歸巡迴展」，中國美術館、上海美術館、昆明市博物館、國立歷史博物館、山美術館，北京、上海、昆明、台北、高雄， 1999 年附畫廊開立之原作保證書

熊秉明的作品充滿了詩意和哲思，他的風格融合了東方的哲學思想和西方的現代藝術元素。他以簡潔的線條和濃縮的色彩，以隱晦、抽象的表現方法，呈現對自然、人生和宇宙的思索，給人以深刻的觸動和啟發。而他的作品不僅反映了個人的藝術追求，更為台灣藝術界帶來了重要的創新和啟發。熊秉明的藝術創作不僅僅受到國內外藝術界的肯定，也為台灣藝術在國際間的曝光作出了重要貢獻。他的作品常常受到收藏家和藝術愛好者的追捧，並在世界各地的畫廊和博物館展出。其作品《青色的鏡》畫面主體以深邃的面部形象為中心點，四周採用大地色勾勒出一個充滿靜謐和深度的背景；反向主體性質形式讓一面寬大的鏡子照映化外世界的人們，而表面漾著一片無垠的藍。卻由於藝術家的後設巧思，讓觀者佇足於前時有心理、視覺上互動，令這片鏡中藍與臉龐不僅是種表現，更是種介質，顯現觀眾們的集體淺意識。

MODERN AND CONTEMPOR ARY ART

207

177 HSU WENJUNG ( Taiwanese, b.1964 )

Autumn Scenery 60.4 x 96.2 cm Ink and Color on Paper Inscribed and signed Hsu Wenjung in Chinese With three seals of the artist

NT$ 150,000-250,000 US$ 4,700-7,800

208

ZHONG CHENG 中誠

許文融蒼茫秋景 1990 彩墨紙本款識：歲次庚午孟秋於臺中許文融寫意鈐印：許 ( 白文 )、文融 ( 朱文 )、戲墨 ( 朱文 )

一九六四年出生於彰化。許文融自國立台灣藝術大學畢業後，後又前往美國取得 ST. Louis Fontbonne 學院藝術碩士學位。多次舉辦個人創作展覽及參加各項公辦展覽競賽，曾累膺四年全省美展第一名及獲得全國大專美展、國軍文藝金像獎、金獅獎等競賽首獎多次，並取得全省美展永久免審查殊榮，更於二〇〇二年當選全國十大傑出青年，同年亦獲吳三連文藝獎中山文藝創作獎殊榮。創作除水墨、墨彩更觸及於雕塑，致力以近代西方的美學概念，融合東方藝術，體現我方文化的深厚氣韻。許氏善於以敏銳觀察力經營畫面，多以孕育其所生長的土地作抒懷，此品同是屬他早期風格，墨寫田園鄉間的風光旖旎；部局平穩紮實，前景牛支邁步奔馳，濃墨或點或染，精熟表現水牛形態；中景一望，久觀而無忘之，細細皴染的秋芒隨風而舞，層疊敷墨一片銀白芒花，如有白雪紛紛，視線隨心而轉，淡青一抹遠方綠意，筆法悠然自適、景色蘊緻動人；一掃秋日消愁，繪出寶島樸實而和樂的一景，極盡幽遠雅逸之趣。

陳心懋

「那麼多的好畫，當然也有國畫，都比我好得遠。我於是著迷，總想自己也能畫到如此，方解恨。也許這是每一個少年幼時都有的經歷。後來文革，沒有事做。游來蕩去之餘，也試著來做這使自己「解恨」的事，不料就一直畫了下來。不管願不願意，畫畫已成了我的職業，我生命的一個重要組成

史書系列 - 碑系列之一

部分。」--- 陳心懋

178 CHEN XINMAO ( Chinese, b.1954 )

The Historical Series I 48 x 62 cm Mixed Media on Canvas Signed Xinmao in Chinese With one seal of the artist

NT$ 120,000-180,000 US$ 3,800-5,700

1993 綜合媒材畫布簽名：心懋鈐印：陳

陳心懋不但承繼了中國水墨細膩寫意的精神，更以開拓者的姿態去大膽的對材料做各種轉換，不循前人的路，而是去對不同的材料進行研究與應用，嘗試傳統之外的材料，且運用不同材質物料去翻轉匯融，進而產生了對觀者而言更為深刻的時間感。如其《史書系列 - 碑系列之一》作品創作於一九九三年，為陳心懋在其「中國畫改革」後期最為重要的時期，不但展現了陳心懋對中國傳統水墨藝術精神的深化與提升，更可見其對當代藝術反思後所進行的跨界與突破。即魯虹所云：「『史書系列』與『遺產系列』是陳心懋近年創作的作品，這些作品強調肌理、材料、構成在畫中的突出地位，強調水墨表現與各種材質的協調，既融通了原始與現代的因素，也溝通了物質與精神的因素，其表現方式肯定是傳統水書畫所無法取代的。」

MODERN AND CONTEMPOR ARY ART

209

179 YANG SANLANG ( Taiwanese, 1907-1995 )

Spring No. 2 65 x 80 cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from gallery

NT$ 1,250,000-1,600,000 US$ 39,200-50,200

210

ZHONG CHENG 中誠

楊三郎春天之二 1984 油彩畫布簽名：S. Yang 附畫廊開立之原作保證書

《春天之二》以其慣用構圖方式，以綠油混合黃綠樹林配上紅褐色，呈現春轉夏的季節之象，冷暖色的調控用以深情的筆觸捕捉豔陽下流動的光，敏銳地將色彩面向平衡、造型面向平衡之構圖處理得恰到好處，彩度永不以低鳴示人，保持昂揚熱情的彩度是楊三郎最具標誌性的「態度」，而即便如此楊三郎卻能夠精準地保持物與物的關係，讓空間感自然產生，並將本應繁雜的景緻犀利簡化，吸引觀眾流連於前豁然欣喜。很難想像，這樣的作品是以寫生充滿干擾、雜訊、變動狀況下所完成，除了足見楊三郎熟捻的觀察判斷、手與眼的協調一致，更可以感受到畫家面對自然的禮讚時，當下的那股無法自拔的感動，最後成形一幅充滿感染力的畫作，那股無法言說、甚至超越親眼所見的感動，是錘鍊於一身的藝術家最樸實的永恆。透露大自然的生命力，意趣萬千，靜謐閒逸，色彩的渲染之下更顯靈動活潑。「如何把大自然轉化為一幅畫，我做了六十多年的功夫… 唯有直接面對自然，才能感受人我與天際間的合一，才是最純粹、動人的自然容顏！」楊三郎終其一生與「寫生」為伍，毫無保留的追逐自然，即便晚年時身體諸多不適，仍想像著過往走遍的各地風情，在病床旁立起畫架作畫，此情此景，滿是生命與大自然交替的痕跡。

楊三郎充滿虔敬地說：「大自然是我最好的老師！」走向後印象派情感的表現。美術史上舉足輕重的楊氏，是「台陽美術協會」創辦人，膝下培養出許多畫壇菁英，積極的投入推動台灣美術運動，為畫壇增添生命力，是台灣極其重要的前輩大師，並曾道：「藝術家在自己的每件作品裡，都應該有

180 YANG SANLANG ( Taiwanese, 1907-1995 )

Chiayi Park 53.5 x 65.5 cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from gallery

NT$ 750,000-950,000 US$ 23,500-29,800

屬於這張畫的靈魂。」

楊三郎嘉義公園油彩畫布簽名：S. Yang 附畫廊開立之原作保證書

楊三郎描摹景色繪以和諧的構圖，布局平穩開展，此件《嘉義公園》取材於位在中山路與啟明路口，鄰近當今的嘉義市立棒球場、嘉義植物園 ( 嘉義樹木園 )，現今已是與二〇一五年新闢的都會森林公園共同組成的嘉義都會森林公園。疏朗的雲朵繾綣漂浮，樹影婆娑搖曳的林野間，倒映在湖泊之中與層層水波嬉戲般煥發粼粼之光，古典褐色基調表現將畫面景物皆抹上夜色日落時分，恬淡而靜謐的風情，使觀者身心隨之沉澱。楊氏作品可見以白色點綴其間，帶出空氣流動通透感，從中亦能區分水境之景與實體的曖昧關係，光影韻律錯落有致，彷彿吹送初春般清新而颯爽的氣息。楊三郎曾言：「我是大自然的尊敬者；一生的任務只在追求藝術的完美。」喧鬧的城市之中特例之外的幽靜林間，形成有趣的關係，油彩層疊塗布深邃的層次感，在冷暖色調的交錯點綴，明與暗如交響樂曲的強弱奏鳴，使畫面融合詩意的蔚然景致，淬鍊出自然文雅之氣。 MODERN AND CONTEMPOR ARY ART

211

181 HO KAN ( Taiwanese, b.1932 )

Untitled 40 x 40 cm Oil on Canvas Signed on the reverse: Ho Kan in English and Chinese, dated 2005 With a certificate of authenticity from gallery

NT$ 220,000-320,000 US$ 6,900-10,000

212

ZHONG CHENG 中誠

霍剛無題 2005 油彩畫布背面簽名：HO-KAN 霍剛 2005 附畫廊開立之原作保證書

霍剛，一九三二年出生於中國南京，一九四九年隻身隨國民革命軍遺族學校前來臺灣，台北師範學院藝術科畢業後進入李仲生畫室學習，其思想畫藝受影響深遠，一九五七年霍剛與其他七位畫友，即李元佳、吳昊、歐陽文苑、夏陽、蕭勤、陳道明、蕭明賢組成「東方畫會」，以宣示東方脈絡為主體發展的藝術團體理念，明確的目標路徑、精準的力行，成功在國際間迴響「東方繪畫專屬脈絡」的奔騰與聲音，受當時報章媒體稱之為「八大響馬」，這稱號十足表露出這些年輕人的衝勁、叛逆性和創造力。而團體當中的霍剛不間斷地探索現代繪畫的可能性，旅歐期間發展出具有東方意象的冷 / 理性抽象風格，至今仍持續在藝術道路上耕耘不懈。此件二〇〇五年的《無題》畫面藉以暗紅線劃分中央十字，區隔出四等分視覺空間，並由四個白色長方體將等分出的視覺空間輕量化。簡明又沉澱的神秘氣質，低調和緩地拉出一層心理上或視覺體驗上的三維空間；不論那因人而異地看作是種「撕裂」或是一種「增幅」，在看似冷靜、理性的表現下，靜觀時卻能瞧見筆觸起伏、幾何構圖，甚至色彩變化，最後令人隨之共鳴，連結著殊異的淺意識與經驗。霍剛的作品並非敘述一個情緒、並非開示一個道理、並非模仿一種形式…，而是創造了一個介質，當人們站在畫前感受到滋養而出的無限生機；畫內、畫外，心理到現實，每個人都賦予了「無題」道盡一切的能量。

182 HO KAN ( Taiwanese, b.1932 )

Untitled 40 x 30 cm Oil on Canvas Signed on the reverse: Ho Kan in English and Chinese, dated 1998 With a certificate of authenticity from gallery

NT$ 180,000-280,000 US$ 5,700-8,800

霍剛無題 1998-1999 油彩畫布背面簽名：HO-KAN 霍剛民八七附畫廊開立之原作保證書

霍剛是現代抽象畫家，一九五一年向李仲生學習現代藝術，其思想畫藝受影響至為深遠。一九五七年霍剛與其他七位畫友，即李元佳、吳昊、歐陽文苑、夏陽、蕭勤、陳道明、蕭明賢組成「東方畫會」，被當時藝壇譽為「中國八大響馬」。霍剛的作品主要以點、線、面為造型基礎。從一九五〇年代的超現實主義風格，到一九七〇年代受西方藝術思維影響，逐漸轉向幾何的表現主義發展。結合東方書法、金石印刻等創作元素，以極簡且富有詩意的視覺語言，發展出個人特有的東方抒情抽象，藝術家理性的思維與神秘的虛、實空間相互呼應。這幅一九九九年所創作的《無題》作品，如以具象化來欣賞，能想像畫面是一座水上樂園，從高空往下俯瞰的樣子。畫中有深淺不同的藍色，可以明顯分辨出不同的區塊，像是不同深淺水位的水域，黑色區域像是大理石紋理的陸面區域，綠色區域像是綠意植栽；中央則是經常出現在霍剛畫作中的圓點，浮游在線條和幾何圖形之間，彼此在畫面中相互動著，使得有種畫龍點睛的效果。利用色塊、線條及幾何相互碰撞，讓人像是進入了異想空間，無論怎麼解釋都會有新認知的感受。

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183 YANG SANLANG ( Taiwanese, 1907-1995 )

Spanish Street Scene 53 x 45.5 cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from gallery

NT$ 500,000-700,000 US$ 15,700-22,000

214

ZHONG CHENG 中誠

楊三郎西班牙街景 1982 油彩畫布簽名：S. Yang 附畫廊開立之原作保證書

楊三郎對藝術擁有早慧的天賦，然而在那個民風保守的時代，「畫家」尚不能成為一種職業，楊父並不贊同其以繪畫為畢生職志的意願。於是生性熱情堅毅的楊三郎便私下存錢，在十六歲那年，匆匆地留下一封道別信後便搭船赴日習畫。信中寫著：「兄長，我今天搭船前往目的地，將來要作一個名畫家回家鄉。」這張信箋如今彌足珍貴地留存在楊三郎的故居裡，述說著楊三郎不畏艱難，為理想闖蕩的勇氣；也為台灣第一代畫家開拓台灣美術風氣，那篳路藍縷的拓荒精神寫下傳奇的註腳。此幅《西班牙街景》中歐式建築層疊起伏、宛若壯麗山巒般綿延無盡，而深入無邊的天際，更為活潑明快的風景平添一抹清雅淡鬱的氛圍。房舍色調鮮朗明快、對比強烈。楊三郎的印象派從不求細節的刻畫，只以大筆勾勒出瞬發的多變印象，楊三郎急速的畫筆，為瞬息萬變的天地風情留下亙古的美麗。

184 SHEN CHETSAI

沈哲哉

( Taiwanese, 1926-2017 )

比利時古堡 1990 油彩畫布簽名：1990 哲哉

Belgian Castle 60.5 x 72.5 cm Oil on Canvas Signed Chetsai in Chinese and dated 1990 PROVENANCE: 1. Mr. Qiu Yonghan' s Collection 2. Private Collection, Asia

NT$ 400,000-500,000 US$ 12,600-15,700

來源： 1. 邱永漢先生舊藏 2. 亞洲私人收藏

沈哲哉出生於台南新營，就讀台南一中，在校期間受業於廖繼春老師，廖繼春對於色彩的運用思維先進，對沈哲哉往後作畫時有相當大的啟發，中學時期的水彩畫作入選府展，燃起了沈哲哉對繪畫的興趣，也更加堅定了走向藝術創作之路的決心。沈哲哉：「生活如果太深奧就沒辦法畫了，我就是快快樂樂的畫。」一九五二年在沈哲哉的四處奔走邀請台南各地美術同好下，促成台南美術研究會的成立，並推舉郭柏川擔任會長，南美會成為台南美術發展代名詞，多年來發掘無數後輩畫家及培育許多繪畫愛好者，而沈哲哉的素描透過郭柏川的指導，筆觸更加自由瀟灑、油畫創作更趨成熟。畫作兼具純粹造型與浪漫色彩，擅長營造唯美氛圍，是他鮮明的特色，運用顏料厚塗，把畫布做出肌理，讓顏色層次大為突出，增加畫面質感，充滿可閱讀性。

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215

216

ZHONG CHENG 中誠

185 LI CHEN

李真

( Taiwanese, b.1963 )

無憂國土

Pure Land

1998 銅雕 66/99 雕刻簽名：李真 66/99 1998

16 x 45 x 27 cm Bronze, 66/99 Signature engraved: Li Chen in Chinese, dated 1998 and numbered 66/99 ILLUSTRATED:

"Li Chen Energy of Emptiness 52nd International Art Exhibition - La Biennale de Venezia," Asia Art Center, Taipei Taiwan, 2007, Page 30-41 (another version)

圖錄：《李真 - 虛空的能量：第 52 屆威尼斯國際藝術雙年展》，亞洲藝術中心，台灣台北，2007 年，第 30-41 頁 ( 另一版次 )

展覽：

"Li Chen in 52nd Venice Biennale - Energy of Emptiness," Te l e c o m I t a l i a F u t u r e C e n t e r, I t a l y Ve n i c e , J u n e 10-November 21, 2007 (another version)

「第 52 屆威尼斯國際藝術雙年展—尋找精神的空間．虛空中的能量：李真雕塑展」，未來展望美術館，義大利威尼斯，2007 年 6 月 10 日至 11 月 21 日 ( 另一版次 )

With a certificate of authenticity from gallery

附畫廊開立之原作保證書

EXHIBITION:

NT$ 550,000-750,000 US$ 17,300-23,500

李真於二〇〇四年以一件大型作品「無憂國土」參加「義大利威尼斯國際雕塑及裝置開放展」，深獲當地重要策展人 Paolo De Grandis 的青睞，親自來台灣邀請李真為二〇〇七年第五十二屆「威尼斯雙年展會外展個展」之候選人。李真的作品讓人感受到生命的和諧及省思，不失禪意，圓滿而大氣，精簡中有渾然天成的氣韻之美，表現出獨特的新東方精神與意境，成功將中國佛、道、儒等思想融入現代雕塑創作中。一如《無憂國土》作品中的小孩無憂無慮飄然於頂峰，養空神遊，消遙而自在。從物理結構方式而言應是飄浮不安定的，李真確能巧妙處理雕塑形體姿態與表情，尤其是雙腿交叉的部份，悠然自如，澄澈童稚。這渾圓線條充滿氣體張力與能量，並使用中國墨黑色帶有霧亮質感的生漆，增加銅質本身新變化，創造出特殊的效果。在一次訪談中，李真曾提到自己與佛家思想最矛盾之處：「佛家強調無我，然而堅持創作出符合心中想法的雕塑的自己，不正正是無我的相反？」但，正是因為這種時時刻刻皆意識到的矛盾，不斷挖深李真的思想、以更遼闊的心神看待身處的人間世。而他的作品中，也因隨處可見的極端矛盾的呈現，產生一股極耐人深思的張力。 In 2004, Li Chen made a significant mark on the global art stage when he participated in the Venice International Sculpture and Installation Open Exhibition, unveiling a monumental piece titled "The Land of No Worries." This awe-inspiring creation caught the discerning eye of the renowned Italian curator, Paolo De Grandis, who journeyed all the way to Taiwan to personally extend an invitation to Li Chen, urging him to become a contender for the prestigious Venice Biennale Exhibition in 2007.

Li Chen's artistic creations resonate with an exquisite harmony, a reflective depth, and a Zen-like simplicity. They exude a sense of completeness and spaciousness, radiating a natural, unadorned beauty that encapsulates a distinct essence, emblematic of the New East. With a masterful touch, he seamlessly weaves together the rich tapestry of Chinese Buddhist, Taoist, Confucian, and other philosophical traditions into the fabric of modern sculpture. Take, for instance, the sculpture in question: within its contours, a child is portrayed, carefree and suspended in a state of effortless levity, transcending the mundane worries of existence to revel in the boundless realm of unfettered freedom. Despite the apparent fragility of its physical form, Li Chen's craftsmanship imbues the sculpture with an air of serene poise, a purity reminiscent of childlike innocence. The flowing lines, brimming with vitality and tension, are accentuated by the artist's judicious use of black Chinese ink and matte-textured lacquer upon bronze, creating a captivating and wholly distinctive effect. In a candid interview, Li Chen once contemplated the intriguing paradox between his art and Buddhist philosophy, musing, "Buddhism, after all, advocates the notion of 'no-self,' yet here I am as an artist, persistently crafting sculptures that echo the cadence of my own thoughts. Does this not stand in stark contrast to the very concept of 'no-self'?" Paradoxically, it is precisely this conscious acknowledgment of the contradiction that propels Li Chen's contemplative journey to greater depths, allowing him to perceive the intricacies of the human realm with a panoramic perspective. His artworks, unflinchingly presenting these profound contradictions, generate a profound tension that beckons viewers to engage in introspective contemplation of the highest order.

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186 PIERRE FERNANDEZ ARMAN ( French-American, 1928-2005 )

Chello 16 x 13 x 37 cm Bronze, edition of 50 Signed Arman and inscribed bocquel Fd. in English, and edition number ILLUSTRATED:

"The Exhibition of International Sculpture Masters - Arman," Modern Art Gallery, Taichung, Taiwan, 1996, Page 23 (another edition) With a certificate of authenticity from Arman Sculpture Foundation

NT$ 200,000-280,000 US$ 6,300-8,800 費爾戴儂．阿曼大提琴 1992 銅雕限量 50 件簽名：Arman bocquel Fd. 跟版數

圖錄：《國際大師雕塑展 - 阿曼》，現代畫廊，台灣台中，1996 年，第 23 頁 ( 另一版數 ) 附阿曼雕塑基金會開立之原作保證書

費爾戴儂．阿曼 (Pierre Fernandez Arman) 出生於一九二八年法國尼斯，乃是少數仍在世即被寫入西洋藝術史的藝術家之一。一九九一年十一月密特朗總統於巴黎愛麗斯宮 (Palais de l´Elysée) 頒騎士勳章給阿曼，一九九三年阿曼更獲得法國國家榮譽勳章。他以切割物件後再堆積組合為其創作風格，而其切割的對象則從樂器、希臘神話之雕像、傢俱、汽機車、工具與鐘錶零件到生活用品。經由藝術創作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，進而發掘文明與文化產物潛在的後現代社會美學。一九九二年作品《大提琴》描繪象徵永恆之美的維納斯，傾斜的切割半身與提琴彼此交錯環繞，彎曲的琴頸、單手環胸與臉部輕轉的維納斯，形成了一種旋轉的動態及音樂性的律動，更呈獻出維納斯肌理線條的典雅與古典的雕刻風格。

「阿曼是個孜孜不倦的創作者，其對當代藝術的貢獻巨大且深遠。」--- 第二十二任法國總統賈克．席哈克 (Jacques René Chirac)

218

ZHONG CHENG 中誠

187 PIERRE FERNANDEZ ARMAN ( French-American, 1928-2005 )

Zingaro 14 x 36 x 42 cm Bronze, 7/99 Signed Arman and inscribed bocquel Fd. in English, and numbered 7/99

費爾戴儂．阿曼 (Pierre Fernandez Arman) 是國際間享譽盛名的重要藝術家之一，亦為法國「新現實主義」的創立者與代表畫家。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，再予以組合的藝術手法，完美的從直觀表象提煉上升到超然藝術精神的主觀意象。此件《馬》以切割的手法展現馬匹正處飛躍、雄偉地前肢向上仰起的姿態為形式表現，並滿載九〇年代阿曼的希臘雕塑切割時期對「力」、「美」、「自然」的啟發。將兩匹馬上下豎剖並綻開，而阿曼這一時期作品題材常使用生物動態性質，令他慣用的新寫實主義的探索方法，受到動態形式而增添了未來主義式 (Futurismo) 的連續動態與多面性特質。

With a certificate of authenticity

NT$ 300,000-400,000 US$ 9,400-12,600 費爾戴儂．阿曼馬 1997 銅雕 7/99 簽名：arman bocquel Fd. 7/99 附原作保證卡

MODERN AND CONTEMPOR ARY ART

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188 CLAUDE WEISBUCH

克勞德．維士巴修

( French, 1927-2014 )

戰鬥

Fighting

油彩畫布簽名：Weisbuch

55 x 46 cm Oil on Canvas Signed Weisbuch in English

NT$ 200,000-300,000 US$ 6,300-9,400

220

ZHONG CHENG 中誠

克勞德．維士巴修 (Claude Weisbuch) 生於法國洛林，善於版畫製作，出身科班的他被視為新表現主義正統的代表人物，一九六〇年代，逐漸發展屬於自己的識別風格，其動感富有音樂性與戲劇性的人物構圖，充滿律動與光影的變化，是頗具知名的巴黎派畫家；作品收藏於全球重要的美術館內，包括紐約現代美術館、巴黎龐畢度中心及比利時皇家學院美術館，畫展足跡遍至歐洲各地、深入美國及日本。用色單純與流暢的線條，與簡化凝練的畫面是其極具性格的特徵。此件一九八八年作品《戰鬥》畫面捕捉一名騎士駕馭駿馬，操作急轉彎或即將衝刺的瞬間。一應維士巴修畫魂成型的繪畫表現，筆觸勾勒瀟灑快速、輕重分明產生陰影和光線效果，加以筆法頓挫分明，令此作品充滿了戰鬥姿態下的雄武氣魄並營造出一種動態感和深度。在描繪沙場中面臨戰鬥準備的同時，主角騎士右手向上高舉，宣示歐洲騎士的崇高精神，並巧妙地讓構圖成黃金視覺三角，讓畫面透視更有循序的衝擊張力，也集其藝術家對於歐洲騎士精神的深刻揣摩。維士巴修的作品以非典型古典寫實，精闢拿捏自身文化精神的本真，並以其精湛的技巧和藝術表現力，總能讓觀看時獲得移情體驗，令觀眾仿佛親臨其中、起伏於作品之中的昂揚奔騰。

189 PHILIPPE HIQUILY ( French, 1925-2013 )

La Môme Au Masque 21 x 45 x 118 cm Bronze Signature engraved: Hiquily in English ILLUSTRATED:

"The Exhibition of International Sculpture Masters," Modern Art Gallery, Taichung, Taiwan, 1995, Page 81

NT$ 450,000-650,000 US$ 14,100-20,400

菲利普．伊其理戴面具的孩子 1989 銅雕雕刻簽名：Hiquily

圖錄：《國際大師雕塑展》，現代藝術空間，台灣台中，1995 年，第 81 頁

菲力浦‧伊其理 (Philippe Hiquily) 的藝術觀念深受立體主義影響，並受到了西班牙畫家和雕塑家胡裡奧‧岡薩雷斯 (Julio Gonzalez) 的啟發。他的雕塑專注於對形狀和材料的探索，利用金屬板材為主要材料，有別於傳統的鑄造方法，以切割和焊接等方式使金屬成型。伊其理的作品融合現代主義的設計、昆蟲學的外觀以及人類性慾的元素。其藝術風格雖然在超現實主義和抽象主義之間擺盪，但作品展現出一種獨特的美學，引人入勝。《戴面具的孩子》簡約而直接，透過寓意及簡化的窄平面表現女體。受到太平洋和非洲藝術的啟發，表現出對性的幻想和原始天性的熱情。雕塑的形象整體簡化，四肢細長，軀幹佔視覺主體，呈現出華而古怪的外觀，充滿了超現實主義的奇幻色彩，似乎在探索身份和自我之間的微妙關係，呈現出獨具的完美平衡。

MODERN AND CONTEMPOR ARY ART

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190 ZAO WOUKI ( Chinese-French, 1921-2013 )

龐狄莎「向趙無極致敬」特別珍藏限量葡萄酒十四支裝

The Pont des Art Hommage à Zao Wou-Ki

2010-2011 葡萄酒，木箱烤漆限量 50 件

Wine Cabinet: 77.3 x 36.5 x 26.6 cm Wine, Crate and Paint, edition of 50 The type of wine, production regions and year are as followed: 1. Grand Vin De Bourgogne: Pouilly-Fuissé (2010) 2. Bordeaux: Rive Droite (2010) 3. Grand Vin De Bourgogne: Cȏte de Nuits-Villages (2010) 4. Bordeaux: Rive Gauche (2011) 5. Grand Vin De Bourgogne: Réserve Spéciale- Nuits-Saint-Georges (2010) 6. Bordeaux: Sauvignon Blanc (2010) 7.Grand Vin De Bourgogne: Cȏte de Nuits-Villages (2011) 8. Grand Vin De Bourgogne: Meursault (2011) 9. Bordeaux: Rive Gauche (2010) 10. Grand Vin De Bourgogne: Pommard-Premier Cru (2011) 11.Bordeaux: Sauvignon Blanc (2011) 12.Grand Vin De Bourgogne Reserve Speciale- Nuits-Saint-Georges (2011) 13.Bordeaux: Rive Droite (2011) 14.Grand Vin De Bourgogne: Pouilly-Fuissé (2011)

NT$ 160,000-300,000 US$ 5,000-9,400

222

趙無極

ZHONG CHENG 中誠

十四支葡萄酒的類別、產區及年份如下： 1. 勃根第佳釀：普利雪 (2010) 2. 波爾多：右岸 (2010) 3. 勃根第佳釀：夜丘 (2010) 4. 波爾多：左岸 (2011) 5. 勃根第佳釀：夜聖喬治特選珍藏 (2010) 6. 波爾多：長相思 (2010) 7. 勃根第佳釀：夜丘 (2011) 8. 勃根第佳釀：梅索 (2011) 9. 波爾多：左岸 (2010) 10. 勃根第佳釀：波瑪一級 (2011) 11. 波爾多：長相思 (2011) 12. 勃根第佳釀：夜聖喬治特選珍藏 (2011) 13. 波爾多：右岸 (2011) 14. 勃根第佳釀：普利雪 (2011)

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

191 HSIAO CHIN ( Taiwanese, 1935-2023 )

A Star is Born No.3 43 x 65 cm Acrylic on Paper Signed Hsiao in English, Chin and titled in Chinese, dated 2003 EXHIBITION:

"Maybe there' s light - Contemporary Artist' s Journey of the Concealed Earth," Da Xiang Art Space, Taichung, Taiwan, March 3rd-April 15th, 2018 With a certificate of authenticity from gallery

NT$ 200,000-280,000 US$ 6,300-8,800

蕭勤星之誕生之三 2003 壓克力紙本簽名：星之誕生之三 Hsiao 勤 03.

展覽：「彷彿若有光 - 當代藝術家的境界行旅」，大象藝術空間館，台灣台中， 2018 年 3 月 3 日至 4 月 15 日附畫廊開立之原作保證書

此作《星之誕生之三》創作於二〇〇三年，是蕭勤的「美麗新世界」時期，在經歷了人生種種的歷練和感悟，由宗教哲理帶來的省思、精神意識的覺察、內在心靈感知，再回到了生命起始於宇宙的原點，蕭勤開始探尋宇宙萬物的誕生和能量磁場的感應，獲取新靈感於一系列的創作，這也是他對於跨越千禧年用藝術回應生命的禮讚，並乘載著樂觀與喜悅的能量，使世界充滿希望與祝福。畫面中浩然潔淨的白色空間，用突兀而深沉的黑色漩渦意味了宇宙的滋養能量，交會於左下角紅色活力，有動感地孕育星體和生命的象徵，源自初始爆發的能量；在無垠的宇宙中，能量磁場相互依偎與碰撞，創造出多種樣貌的新世界。蕭勤以厚實有力且豪邁的筆觸，呈現出星系誕生之際的震撼氣勢，以及存在其中的星體和空間漩渦，生氣蓬勃地生存意志，同時，傳達著生命誕生之悸動與欣喜的意象。

MODERN AND CONTEMPOR ARY ART

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192 HSIAO CHIN

蕭勤

( Taiwanese, 1935-2023 )

藍雲

Blue Cloud

1986 壓克力畫布簽名：Hsiao 勤八六 .

84 x 94 cm Acrylic on Canvas Signed Hsiao in English and Chin in Chinese, dated 1986

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 800,000-1,000,000 US$ 25,100-31,400

蕭勤出生於上海，一九四九年跟隨家人移居台灣，一九五二年跟隨李

Under Li Zhongsheng's instruction, which emphasized the unifi-

仲生學畫，一九五五年蕭勤和夏陽、吳昊、李元佳、陳道明、蕭明賢、

cation of heart, hand, eye, and mind, Hsiao Chin sought common

歐陽文苑及霍剛等人，創立台灣第一個抽象繪畫團體「東方畫會」，

ground between the essence of Chinese traditional art and the

也被稱之為「八大響馬」。這個時期正是蕭勤研究現代藝術的起始點，

expressions of modern art. He delved into the perceptual process,

也是他創作生涯的轉捩點。李仲生教學強調心手眼腦的合一運用，在

exploring emotional responses, nurturing creative thinking, and

中華傳統藝術菁華與現代藝術表現中，找尋其共通點並加以提煉融

cultivating a unique visual language enriched with cultural and

合；領悟其感受過程，探尋心境衍生想法，啟發建構思維，創造出具

emotional depth.

有文化涵養及思緒感知的樣貌。

Hsiao Chin displayed a keen sensitivity to colors, which led Li

蕭勤對於色彩方面的感受性較強，李仲生建議他研究與學習高更和馬

Zhongsheng to recommend that he study the techniques of artists

諦斯等畫家在線條與色彩的運用。他喜愛並利用西方藝術直觀感受的

like Gauguin and Matisse regarding the application of lines and

表現手法，也嘗試從金石鐘鼎文字、平劇、書法和篆刻中尋求靈感，

colors. Hsiao Chin admired and employed the intuitive methods of

應用東方書畫白描的技法，探索東西方特質構思於繪畫創作。而後的

Western art, while also drawing inspiration from Chinese culture,

創作生涯，蕭勤透過對於人生的感悟、省思和情緒的抒發，與接觸各

including inscriptions on bronze and stone vessels, Peking opera,

式各樣的文化背景、藝術人文、宗教哲理和思想，進而創造屬於他獨

calligraphy, and seal engraving. He experimented with Eastern

特的繪畫世界觀，並在各個發展時期呈現於人們的眼簾。

ink and wash techniques, fusing Eastern and Western elements in his artwork. Throughout his career, Hsiao Chin's art was shaped

此作《藍雲》創作於一九八六年，而一九八一年至一九九〇年代是蕭勤創作「氣系列」作品的時期，此時期的蕭勤運用寬版的中式羊毫排

by his reflections on life, his exploration of various cultural backgrounds, artistic humanism, religious philosophies, and thought,

筆，在畫布上重複運筆，反覆交錯中釋放情感於筆觸。他藉由壯麗的

ultimately resulting in a unique worldview that evolved through

自然天象與景觀，詮釋能量氣息和宇宙萬物之間的共振效應，將通天

different phases of his development.

領悟之道形象表現出來。藍雲色彩深淺勻潤，氣勢席捲而來，暗藏雲霧之後的是，翩翩舞動墜落的能量散片，和雨水融合成繽紛絢麗之景象；厚重深淵隱約透露出光彩，如同呈現人生境遇和驚喜，以及情緒

224

The following artwork Blue Cloud was created in 1986, during a period from 1981 to the 1990s when Hsiao Chin was producing

陰晴轉變過程一般，其意象耐人尋味。

works from his "Qi Series." During this time, he used a wide Chinese Yanghao brush to repetitively apply ink on canvas, releasing

Hsiao Chin, born in Shanghai in 1949, relocated to Taiwan with

emotions through each brushstroke. Through the portrayal of

his family in 1949. In 1952, he began his artistic journey under

magnificent natural phenomena and landscapes, he interpreted

the guidance of Li Zhongsheng. In 1955, Hsiao Chin, along with

the resonance between energy and the universe. Blue Cloud

Xia Yang, Wu Hao, Li Yuanjia, Chen Daoming, Hsiao Mingxian,

features harmonious shades of blue, and its energy sweeps in

Ouyang Wenyuan, and Huo Gang, co-founded the first abstract

like a cascade. It hides the energies dispersing, akin to dancing

painting group in Taiwan known as the Eastern Painting Society, often referred to as the Eight Big Xiangmas. This period marked

raindrops after the mist clears. Subtle radiance emerges from profound depths, symbolizing life's experiences and surprises, along

the starting point of Hsiao Chin's exploration of modern art and

with the ever-changing course of emotions. The imagery invites

was a pivotal moment in his artistic career.

contemplation.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

225

193 CHIU YATSAI

邱亞才

( Taiwanese, 1949-2013 )

雅仕

Gentleman

油彩畫布簽名：邱亞才

117 x 91 cm Oil on Canvas Signed Chiu Yatsai in Chinese ILLUSTRATED:

"Chiu Yatsai," Goethe Art Center, Taichung, Taiwan, 2013, Page 86-87

圖錄：《邱亞才》，歌德藝術中心，台灣台中， 2013 年，第 86、87 頁附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 700,000-1,000,000 US$ 22,000-31,400 一九四九年生於台灣宜蘭，邱亞才一生命運多舛，幼年時期求學路上的坎坷苦悶及人際間的隔閡，造就其鬱抑、靦腆、少言的性格，直至兵役期間受到文學影響，為其打開視野與思維，也成就後來藝術創作路上的啟發與情感依歸。退伍之後，他開始透過閒暇時間繪畫，因仰慕畫家洪通在美國新聞處舉辦畫展的成功，開始持續拿畫前往《藝術家》雜誌社請教主辦洪通畫展的社長，並持續一年多時間，最終在一九七七年獲得臺北市美國新聞處舉辦首次個展的機會，往後更成為台灣最著名的肖像畫畫家之一。邱亞才終生創作不輟，特別鍾情肖像畫，作品中大部分的人物並非確有其人，大多是從記憶與想像而來，其人物的臉型與五官加上中國的白描技法，筆下紳士，衣冠楚楚，但表情卻顯現出無限孤寂感。藝術家在肖像畫上深受漢唐時代畫風的啟發，如人物的鉤狀鼻、杏眼，鵝蛋臉，且特別強調人物的眼神，認為眼睛是人類最傳神的地方，但畫中人物眼神卻沒有與觀者發生任何的交集，散發一種無以名狀的疏離之感。畢卡索創作的「藍色時期」啟發，邱亞才大量使用藍色以傳達寂鬱的氛圍，在空蕩的背景中木然獨立的人物，予人一種孤獨、蒼涼、沉靜、抑鬱的感受，籠罩於男子周圍的靜謐，壓抑的情感暗藏於心底洶湧澎湃，纖細筆觸輕描淡寫的繪出人物輪廓，密實且暗沉的色料凸顯了人物性格，反映了人性與文化間衝突與矛盾之感，畫布中盈滿了淡淡的悲懷情緒，其曾說過：「畫中人物的優雅正是我一直想要的美好。流露的落寞孤寂，剛好反映我生命中所嚐過的辛酸。」內心獨白只有自己方能理的透徹，邱亞才用畫筆書寫生命篇章，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，展現屬於其時代性的肖像畫風。 Born in Yilan, Taiwan in 1949, Chiu Ya-Tsai's life was marked by a tumultuous journey. His early years were defined by the hardships of his educational path and the barriers in his interpersonal relationships. These experiences molded his character into one that was introverted, reserved, and reticent. However, it was during his military service that the influence of literature began to shape his perspectives, igniting the spark that would later fuel his artistic creativity and emotional refuge. Upon completing his military service, Chiu Ya-Tsai embarked on a journey of artistic expression during his leisure hours. Inspired

226

ZHONG CHENG 中誠

by the success of the American exhibitions by the painter Hong Tong, he embarked on a year-long quest for guidance from the president of the "Artist" magazine, which organized Hong Tong's exhibitions. His persistence bore fruit in 1977 when he secured the opportunity to hold his inaugural solo exhibition in Taipei, ultimately establishing himself as one of Taiwan's most celebrated portrait artists. Chiu Ya-Tsai's commitment to his craft remained unwavering throughout his life, with a distinct inclination toward the art of portraiture. Interestingly, most of the figures in his works were not real individuals but products of his vivid memory and boundless imagination. Employing the traditional Chinese brushwork technique, he portrayed these figures as refined gentlemen, yet their countenances betrayed an underlying sense of profound solitude. Influenced by Picasso's “Blue Period," Chiu Ya-Tsai masterfully harnessed the power of blue to convey an atmosphere of melancholy in his art. His compositions featured solitary figures standing against empty backgrounds, evoking emotions of isolation, desolation, serenity, and introspection. The silence that enveloped these male figures concealed their tumultuous emotions, which surged beneath the surface. With a deft and nuanced brushstroke, Chiu Ya-Tsai delicately outlined the contours of his subjects, while employing rich, dark hues to highlight their individuality. This technique mirrored the inherent conflicts and contradictions between human nature and culture, imbuing each canvas with an understated but poignant sense of melancholy. Chiu Ya-Tsai once remarked, "The gracefulness of the characters in my paintings embodies the beauty I have always sought. The loneliness and solitude they exude perfectly mirror the hardships I have endured in life." His inner dialogue remained a deeply personal and introspective journey, one that he transcribed onto the canvas with an unadulterated, solitary honesty. Through his art, he eloquently conveyed the purest and most authentic essence of the craft, representing a distinctive portrait style that was undeniably emblematic of his era.

MODERN AND CONTEMPOR ARY ART

227

194 LILY (YU LI) ( Chinese, b.1979 )

Green Clothes 170 x 120 cm Oil on Canvas Signed Lily in English and dated 2006

NT$ 260,000-360,000 US$ 8,200-11,300

228

ZHONG CHENG 中誠

栗子 ( 余麗 ) 青衣 2006 油彩畫布簽名：Lily 2006

一九七九年生於中國湖北，二〇〇三年畢業於湖北美術學院油畫系，二〇〇七年獲湖北美術學院當代繪畫語言碩士，並於二〇〇三年於省油畫展獲得優秀作品獎。栗子的作品講述愛的多面與邪惡，以淡藍、淡灰、灰黑色為主色調，單純在色彩上沒有採用豔麗多彩和厚重的塗抹，簡潔而純凈，陰鬱、冷靜的色調中似乎隱隱地滲透著人生的苦難，在畫面形式和思想間建立起一種轉換與平衡。余麗在作品所創造的畫面形象，削弱了與世俗感覺有關的各種聯想，變成意象性的符號。《青衣》為自古中下階層的代表，余麗採用由主題的內容表達和情感的詮釋來決定形象之間的各種關係，畫面簡單而純靜，哀悼的色體使觀者感受這股幽微力量，在對立的因素中尋找到奇異的美感。余麗的作品氛圍如同觀看現代舞蹈，讓人體驗到一種陰暗與美麗，痛苦與愛戀，生與虛幻的「人生險境」。

195 YEH TZUCHI ( Taiwanese, b.1957 )

Monologue 38.5 x 38.5 cm Tempera and Oil on Linen Signed Tzuchi in Chinese and dated 20022013 With a certificate of authenticity from gallery

NT$ 320,000-500,000 US$ 10,000-15,700

葉子奇獨白 2002-2013 卵彩油彩亞麻布簽名：子奇 2002-2013 附畫廊開立之原作保證書

《獨白》從取名至取材皆有巧思相互呼應，獨自在水底的白色鯉魚，我們無法推求牠是否正在前進，抑或是正在休憩，僅能感受到這個瞬間被藝術家凍結在畫境，居中構圖的風格，展現出震懾人心的力度。「我的繪畫所呈現的是某一個特定時間、在空間中物化和凝結的瞬間。」--- 葉子奇對葉子奇而言，繪畫一直是他生活的日記與生命的紀錄，以純熟的寫實技巧，使對象凝結於特定情境中，在戲劇性的光線下描摹感受的細節。他採取威尼斯學派的古典獨特技法，在油畫的基礎上添加了卵彩，讓畫面更顯得潤澤柔美，不論是靜物、風景還是人物，透過這種古典氣氛的烘托，結合寫實冷靜的描繪，隱喻且神秘，充滿豐富又奇特的個人情懷和如謎樣難解卻又客觀存在的精神象徵，使得葉子奇在當代畫壇更加獨樹一幟。 MODERN AND CONTEMPOR ARY ART

229

196 YUYU YANG ( Taiwanese, 1926-1997 )

Advent of the Phoenix III 53 x 63 x 68 cm Stainless Steel, 16/20 Engraved signature on the pedestal: Yuyu Yang in Chinese and English, Yang YF in English, dated 1970 and numbered 16/20 ILLUSTRATED:

"YUYU YANG CORPUS Volume 1," Artist-Magazine, Taipei Taiwan, 2005, Page 237 (another edition) With a certificate of authenticity from Yuyu Yang Art Education Foundation

NT$ 600,000-900,000 US$ 18,800-28,300 楊英風鳳凰來儀 ( 三 ) 1970 不鏽鋼 16/20 底座雕刻簽名：' 70 呦呦楊英風 Yuyu YANG Yang YF. 16/20

圖錄：《楊英風全集第一卷》，藝術家出版社，台灣台北，2005 年，第 237 頁 ( 另一版數 ) 附財團法人楊英風藝術教育基金會開立之原作保證書

230

ZHONG CHENG 中誠

現代雕塑的形與象美學在楊英風的作品中得到了完美的展現。他的雕塑既保留了不鏽鋼冷酷堅固的特性，又通過精準的切割、凹揉、佈局，巧妙地運用曲線、空間和比例結構，使作品在動態中凝結，能觀其自然元素的柔和和細膩。例如，他可能將堅硬的不鏽鋼塑造成柔和的樹枝，表現出生命的流動和變化；或者將不鏽鋼雕刻成流水的形態，彰顯出自然的力量和生命的脈動。這種抽象與具象的結合，不僅能夠感受到自然之美、空間體驗，更能使觀者與作品建立更深層次的聯繫，進入生命、存在和變化的深刻思考。單純、光潔的不銹鋼鏡面反射，將周遭環境與觀者納入作品中，《鳳凰來儀 ( 三 )》以中國的靈禽瑞鳥—鳳凰為主題，豎立於國際名建築家貝聿銘設計中國館前，以曲線、圓弧的視點柔化環境的氛圍，使作品與環境相諧，達到「天人合一」之境。體認到東西文化的美學差異，楊英風捨棄西方科技及物質的過度使用與發展，師法自然、美化自然、保護自然，於七十年年代提出「景觀雕塑」的開創性觀念：及體認到雕塑藝術的「景」是「外在的型」，須與周遭的自然環境相融相應；而「觀」是人類的「內在精神狀態」，人類的倫理生活深受自然、宇宙的影響。因此終其一生以中國魏晉時期樸實、自然、圓融、健康的生活美學為其創作的核心精神，並藉此來提昇改善大眾的生活環境與品質。

197 YUYU YANG ( Taiwanese, 1926-1997 )

The Farmer 30 x 26 x 102 cm Bronze, edition of 30 Signed Fang Produced, dated March 1952 in Chinese and edition number "YuYu Yang Corpus Volume - 1," Artist-Magazine, Taipei, Taiwan, December 2005, Page 94-95 With a certificated of authenticity signed by family member

NT$ 400,000-600,000 US$ 12,600-18,800 楊英風農夫立像 1952 銅雕限量 30 件簽名：風作一九五二年三月跟版數

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 94-95 頁附藝術家家屬簽名楊英風作品保證書

《農夫立像》完成於一九五二年，是楊英風在《豐年》雜誌擔任美術編輯期間所做。這件看似未完成的作品，其實是楊英風研究、學習羅丹雕塑的具體成果。這位抬頭挺胸的年輕農夫，下半身尤其右半側幾乎完全隱藏在堆疊的泥土之中，僅在上半身作較完整的塑形，上身骨架與肌肉的正確比例展現出勞動者的力量，而面部的神情沈穩而寧靜，與身體的肌肉力感形成對比，一如羅丹及其先輩米開朗基羅的手法，生命來自未被喚醒的石頭之中，生命也來自泥土大地的傳承之中，楊英風成功的將西方石雕的手法，轉化東方泥塑的表現，讓觀眾在視覺上更容易集中在那位專注前行的農夫臉部。冰冷銳利的不銹鋼雕塑，嚴然成為一般人認知楊英風的概括映象，然而在這些經典之前，我們並不熟悉他早期走進農村、深入名間的「豐年時期」。這段時期細膩寫實的功力，與黃土水注重古典式的理想主義略有不同，楊英風鉅細靡遺地刻畫著當時台灣一分一吋的風土民情。

MODERN AND CONTEMPOR ARY ART

231

198 RENÉ GENIS ( French, 1922-2004 )

Platycodon Blanc 73 x 50 cm Oil on Canvas Signed René Genis in French Signed on the reverse: René Genis and titled in French

白桔梗 1992 油彩畫布簽名：René Genis 背面簽名："FLEURS BLANCHES À L'OPALINE" René Genis

圖錄：

"Espaces du Silence - Rene Genis," Galerie Elegance, Taipei, Taiwan, 1992, Color catalog

《寧靜的國度 - 吉尼斯》，愛力根畫廊，台灣台北，1992 年，彩色圖版

With a certificate of authenticity from gallery

附畫廊開立之原作保證書

ILLUSTRATED:

NT$ 200,000-280,000 US$ 6,300-8,800 232

賀內．吉尼斯

ZHONG CHENG 中誠

身為巴黎新具象畫派的重要成員，吉尼斯在越南出生，九歲與家人回到法國波爾多，並在巴黎國立裝飾藝術學院學習藝術。賀內．吉尼斯將東方異國風情與法式的田園風景結合在一起，營造出特殊的藝術魅力，充滿了多元文化元素。吉尼斯的創作概念強調對色彩的半透明運用，以及色彩區域之間的波動。這種技巧使他的畫作在形式和顏色之間創造了獨特的平衡，同時凸顯了材料特性和細節觀察，同時展現了對現實世界的細節。《白桔梗》散發著一種寧靜的美。吉尼斯注重對現實的重新詮釋，並以抽象表達。透過對細節的觀察和色彩的精細運用，和諧地表現出藝術家對大自然之美的敬畏和對生命的膜拜，以及他對當下時刻的珍惜。作品超越了時間和空間的限制，成為對大自然的頌歌，使觀眾沉浸在寧靜和美好之中。

199 GUY BARDONE ( French, 1927-2015 )

Le Grand Pin-Provence 92 x 73 cm Oil on Canvas Signed Bardone in French With a certificate of authenticity from gallery With pictures of the artist and artwork.

NT$ 200,000-280,000 US$ 6,300-8,800 居．巴赫東普洛文斯的大松樹 1990 油彩畫布簽名：Bardone. 附畫廊開立之原作保證書附藝術家與作品之合影

居．巴赫東 (Guy Bardone) 出生於東法的聖克勞德，是法國自由具象派 (Figuration Libre) 的關鍵成員之一。就讀於國立巴黎高等裝飾藝術學院時，向莫里斯．布立風頌、卡瓦耶、德努瓦耶等大師學習，期間還結識了畫家好友吉尼斯 (René Genis)。一九五三年，受邀參與巴黎加列拉宮時尚博物館的重要聯展「當代繪畫的名人與啟示」，一九五四年，首次參與夏邦提耶畫廊的「巴黎畫派」展覽。一九八六年，在雪儂梭堡展開大型回顧展。一九五二年獲法國學院藝術評論獎，一九五七年獲格林希爾茨基金獎。作品典藏於巴黎市現代美術館、法國國立圖書館、龐畢度中心、瑞士納沙泰爾美術館、日本山形美術館與台南奇美博物館等。

巴赫東擅長創作大自然，並且取材的方式不同於印象派以整體風景入畫，而是用聚焦性的視角捕捉某大自然留下的角落，從畫作先是一映所引導的某「主角」漸漸用色彩與筆觸的協調出一種純屬天成般的適恰，所鋪墊色彩、筆觸，讓總和為一件件帶有季節感的作品。時常四處旅遊捕捉靈感的巴赫東，一覽其作可說是包羅四季萬象，在其中不同聚焦的角落散皆發出耐人細品的感動與藝術家的浪漫，就好比《普洛文斯的大松樹》取材地點於美國與加拿大邊界的普洛文斯島 (Province Island)，高彩度的紅花漾在青藍色的大樹，互補成春夏季節的細微交融，光影隨著筆觸彷彿每分秒時間正在畫作上流動，波光粼粼為空間動態，觀向中景是作品的主角，一顆高聳壯碩的大松樹，讓清風撫得微微傾斜，而在它周圍一切都是如此渺小，同時令人讚嘆它那浩然蓬勃的生命力；或許巴赫東在當年現場正是如此受到它的吸引，佇立在心曠神怡的自然曼妙中無法自拔。

MODERN AND CONTEMPOR ARY ART

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200 ANDRÉ BRASILIER ( French, b.1929 )

White Dove and Chantal DiameterØ 49.5 cm Ceramic, 6/30 Engraved on the reverse André Brasilier in French and inscribed SASSI - MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, numbered 6/30 With a certificate of authenticity from gallery

NT$ 80,000-150,000 US$ 2,500-4,700

234

ZHONG CHENG 中誠

安德烈．布拉吉利白鴿與香黛兒 1987 彩繪陶瓷盤 6/30 背面陶瓷工作室刻印：SASSI - MILICI「VALLAURIS」 EMPREINTE ORIGINALE A. BRASILIER 6/30 背面刻印：André Brasilier 附畫廊開立之原作保證書

201 LIU WENYU ( Taiwanese, b.1956 )

Abstract 116 x 91 cm Oil on Canvas Signed Mifune Buniu in English and dated 1984 Signed on the reverse: Mi Fune y-Buniu in English and Liu Wenyu in Chinese, dated 1984 With a certificate of authenticity from gallery

NT$ 160,000-200,000 US$ 5,000-6,300 劉文裕

一九五〇年代西方抽象表現主義風潮發展，除了源自西方現代繪畫感性至上的潛意識線性表現書寫外，另一分支則深受東方日本現代禪意冥想美學觀所影響，呈現出帶有中國書法線條筆韻的抒情抽象繪畫作品。

抽象 1984 油彩畫布簽名：Mifune. Buniu 84 背面簽名：Mi FUNE y-Buniu 84 劉文裕 Mifune 附畫廊開立之原作保證書

《抽象》便可窺探出，自一九八四年後，劉文裕可說是延續了歐洲五〇年代抽象繪畫帶有東方書法概念式氣韻空間的探討，同時受到長年浸潤在法國不列塔尼半島鄉居歲月，由真實的客觀具象中汲取靈感，如土壤、岩石、木材… 等，擷取其自然的造形、跡痕及象徵。看得出中華文化的根源，線條流露著隨意灑脫之手工，

甚至有著中國書法行文之堅實，賦予畫面詩意空間及飄逸氣質。因襲法國巴黎學派 (Paris school) 的優雅氣息，將其細膩講究落實於畫境中，因此儘管畫面以黑色、及使用各種技法將混濁色彩塗、抹、滴、灑、拓…配合自動性技法縱橫的解放畫面，但他仍能把持「圓潤」的基調，嚴佈其畫面，這其中不乏艱難地在一種無形的力量下完成自我，而且是一絲不茍的。畫面中所呈現出的弧線、線條、筆觸各種構成、甚至元素，皆呼應藝術家本身因其真實觸動而起，與內心景象交織為一種進行式的再詮釋。

MODERN AND CONTEMPOR ARY ART

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202 WANG PANYOUN ( Taiwanese, 1912-2017 )

Landscape 31.5 x 41 cm Oil on Canvas Signed Wang. P.Y. in English With a certificate of authenticity from gallery With pictures of the artist and artwork.

NT$ 360,000-550,000 US$ 11,300-17,300

236

ZHONG CHENG 中誠

王攀元風景 2003 油彩畫布簽名：WANG. P.Y. 附畫廊開立之原作保證書附藝術家與作品之合影

由於年少的顛沛流離，歷經孤苦的生活及見證大時代洪流下的歷史離散。在王攀元的創作中，能感受到悲劇式的色彩，透過簡單的符號及渲染的畫面，呈現出韻意幽然的意境。有著印象派光影的流動，亦有著中國水墨空靈的氛圍。王攀元的風景彷彿是一場寧靜的詩篇，畫作中融匯了他對自然界的深刻感悟，以及對人生的內在追求。在王攀元的作品中，蘊含了隱喻與符號，畫面上的奔犬象徵著藝術家自身；房屋則代表著故鄉、愛人、溫暖等意象。《風景》呈現出一種內省和詩意的畫境，觀者彷彿能夠沉浸其中，感受到大自然的神秘和生命的深刻。夢境般的場景有著情感的傳達，一種對於生命和世界的思考，如同一首美麗的詩，在我們心中掀起波瀾並緩緩回盪。

203 YANG CHENGYUAN ( Taiwanese, b.1947 )

Architecture in Modern Taiwan 53 x 64 cm Oil on Canvas Signed Yang Chengyuan in Chinese and dated 1992.12

NT$ 60,000-120,000 US$ 1,900-3,800

楊成愿台灣近代建築 1992 油彩畫布簽名：楊成愿 1992.12

楊成愿創作的主題向來都是呈現系列素質，如早期的「化石與空間系列」、一九九〇年的「台灣名蹟系列」、一九九二年的「台灣時空系列」及一九九三年開始的「台灣近代建築系列」。在楊成愿一脈的系列創作中，鮮明的展現其關注的主題與焦點，從對時空的轉換與生命的遞嬗之探討，逐漸轉移到其生長的環境「台灣」之上，如「台灣名蹟」、「台灣時空」、「台灣近代建築」等。而就畫風言，其較傾向於超現實主義。楊成愿「台灣近代建築」系列的作品。在該系列作品中。楊成愿有意識地本土化的關懷，將圖像化的近代建築、台灣地圖、日式漢字、量規…等並置，試圖轉化為視覺的思維，並將日本人佔據台灣時的歷史活動與痕跡做文化的反思。

MODERN AND CONTEMPOR ARY ART

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204 LIEN CHIENHSING ( Taiwanese, b.1962 )

Call Forth the Energy 112 x 194 cm Oil on Canvas Signed Lien Chienhsing in Chinese and dated 2004 ILLUSTRATED:

1. "Lien Chien Hsing," Eslite Gallery, Taipei, Taiwan, 2004, Page 29 2. "Dialogue Between Abstraction and Realism - Lien Chien Hsing' s Art Work," Keelung Municipal Cultural Center, Keelung, Taiwan, 2004, Page 55 EXHIBITION:

1. "Desolate Scenery and Magic," Eslite Gallery, Taipei, Taiwan, June 5th-27th, 2004 2. "Lien Chien Hsing and Tao Wen Yueh, Double solo exhibition - Dialogue Between Abstraction and Realism," Keelung Municipal Cultural Center, Keelung, Taiwan, 2004 3. "I Hope to Stroll the Island and Gaze Upon It with Sheer Sensibility," Yu-Hsiu Museum of Art, Taiwan, Nantou, October 2nd, 2016-January 26th, 2017 With a certificate of authenticity from gallery

NT$ 850,000-1,300,000 US$ 26,700-40,800 連建興奮起之虎 2004 油彩畫布簽名：2004 連建興

圖錄： 1. 《連建興》，誠品畫廊，台灣台北，2004 年，第 29 頁 2. 《抽象與寫實的對話 - 魔．幻．寫．實連建興作品集》，基隆市立文化中心，台灣基隆，第 55 頁

展覽： 1. 「荒景魔幻」，誠品畫廊，台灣台北，2004 年 6 月 5 日至 6 月 27 日 2. 「連建興、陶文岳雙個展 - 寫實與抽象的對話」，基隆市立文化中心，台灣基隆，2004 年 3. 「我願望散步島國只深深的凝視 - 連建興的荒景魔幻」，毓繡美術館，台灣南投，2016 年 10 月 2 日至 2017 年 1 月 26 日附畫廊開立之原作保證書

238

ZHONG CHENG 中誠

連建興在基隆的成長背景中，看見了漁業蕭條，及金、銅、煤等傳統工業資源的枯竭。昔日興盛的產業日漸凋零。目睹造船廠及礦場的頹廢、敗壞，對他而言反而有種不可思議的魅力存在。連建興喜歡天馬行空的遙想，同時在創作中注入他對各種環保、生態議題的關心，並把傳達的工作視為藝術家的己任。一九九五年，他和友人組成「肉腳二人組」，以十年時間有計畫性地攀越台灣南北高山行腳和寫生，尋找具有個人情感的廢墟遺址，如金瓜石、基隆八斗子和瑞濱海邊煤礦區等，再將這些自然與人工場景重新拼組，加入對動植物的主觀想像，形成「魔幻寫實」風格的系列畫作。「魔幻寫實」形塑出有如在鏡頭特寫取景下，對真實世界所凝結／複攝出帶有虛構景深的支架場景，在其畫面上形成一種柔性的空間構成效果，

在畫作中雖以寫實技法描繪場景，卻總帶有超現實之感，當景物被描繪的過分真實，觀者與之的距離就越加遙遠而無法測量，那就像是記憶之中被凝滯的時空片刻，僅存於記憶，無從確認卻無限真實。被稱之為百獸之王的老虎，不在密林中矯健威武的獵食，卻在偌大的廢棄建築空地裡表演跳火圈，台下沒有觀眾與掌聲，形單影隻，但牠依然用力奮起跳躍，展現英姿的瞬間被凝結於畫境，畫中蕭瑟空蕩的景物與主角老虎和燃燒熊熊火焰的火圈有極大的對比，卻也更凸顯了英勇老虎的淒涼。畫作隱喻了許多議題，訓練有素的老虎，忘記了牠的本質，昔日的風光不再，牠也就被困在圈圈裡，怎麼跳也跳不出去，違反自然帶來的是毀滅，而唯一不滅的是身為百獸之王的驕傲。

MODERN AND CONTEMPOR ARY ART

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205 LIEN CHIENHSING ( Taiwanese, b.1962 )

The Meditation of Home 97 x 194 cm Oil on Canvas Signed Lien Chienhsing in Chinese and dated 2004 ILLUSTRATED:

1. "Lien Chien Hsing," Eslite Gallery, Taipei, Taiwan, 2004, Page 6-7 2. "Dialogue Between Abstraction and Realism Lien Chien Hsing' s Art Work," Keelung Municipal Cultural Center, Keelung, Taiwan, 2004, Page 65 EXHIBITION:

NT$ 750,000-1,000,000 US$ 23,500-31,400 連建興故鄉冥想 2004 油彩畫布簽名：2004 連建興

圖錄： 1. 《連建興》，誠品畫廊，台灣台北，2004 年，第 6-7 頁 2. 《抽象與寫實的對話 - 魔．幻．寫．實連建興作品集》，基隆市立文化中心，台灣基隆，第 65 頁

展覽： 1. 「荒景魔幻」，誠品畫廊，台灣台北，2004 年 6 月 5 日至 6 月 27 日 2. 「連建興、陶文岳雙個展 - 寫實與抽象的對話」，基隆市立文化中心，台灣基隆，2004 年附畫廊開立之原作保證書

240

ZHONG CHENG 中誠

連建興出生於一九六二年，生長在基隆，一九八四年畢業於中國文化大學美術系西畫組，二〇〇四年獲取國立台北藝術大學碩士學位。二〇〇三至二〇〇四年創作的「荒景與荒謬」系列，延續了自一九九一年以來特有的「魔幻寫實」風格，以廢墟荒地造景，置入虛構的角色，透過幻想將其感受心境投射於繪畫之中，營造出情境式的心靈世界，其中蘊含著濃濃的土地情感和環境關懷。他藉由生活遊歷中尋找感動，利用藝術改造現實場景，並創造出夢境般的魔幻世界。繪畫對他來說，是一個靜心的過程，亦是玩樂後的吸收和沉澱，許多的魔幻場景都是連建興童年記憶的反芻，藉此揭示人們對

自然資源的大肆攫取，隱喻當時工業文明對於環境的破壞。此作《故鄉冥想》即是連建興回憶童年故鄉的場景，記憶片刻促使內心一陣漣漪，感受拉回當時的心境與觀感，他細微地刻劃著每一處的細節，像是光影的分布、深淺的變化，紋理細膩的處理，物件生鏽、銅綠等現象的表現，栩栩如生的動物與植物，加上獨特的魔幻風格濾鏡，使得畫面既熟悉真實又新奇虛幻，呈現出幽靜孤寂的氛圍，以及悠然自若的狀態，寫實逼真的景象中瀰漫著一股神祕靜謐，彷彿現實世界被施予了幻境魔法。

MODERN AND CONTEMPOR ARY ART

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206 CHAN YUFAN

詹喻帆

( Taiwanese, b.1983 )

月球上的曙光

Dawn on the Moon

2012-2013 油彩畫布簽名：Chan. Yu. Fan. 2012-2013.12

130 x 194 cm Oil on Canvas Signed Chan Yufan in English and dated 2012-2013.12

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 200,000-400,000 US$ 6,300-12,600 詹喻帆將真實世界的元素轉化為虛擬載體，並通過有系統的構圖將其巧妙地嵌入畫面之中。他的作品探索了超現實世界的最深層領域，尋求自我詮釋，重新審視個人成長經驗。獨特的藝術創作方式為觀眾呈現出一個充滿隱喻和象徵的藝術境界，並且描繪了一種存在於虛構世界的停滯時刻，這一瞬間既保留了內在的無限空間，又吸引了觀眾的注意。觀眾仿佛被邀請進入這個虛構的世界，與其中的元素互動，思考自己的體驗和情感。

242

ZHONG CHENG 中誠

《月球上的曙光》呈現出視覺與情感的交織盛宴，藝術家獨特的視覺語言，利用橫向的構圖將視線引導至兩側，創造出視覺上的開闊感，而不同高度的人物和元素則賦予了畫面動態和層次感。這種構圖的巧妙運用使觀眾不僅感受到音樂團隊的統一，還能感知到他們的多樣性和個性的展現。情感表達方面，樂團成員的眼神都聚焦在同一個方向上，傳達出團結、目標一致的資訊，流露出對音樂和藝術的熱情和承諾，以正面的姿態迎接著畫面左前方的曙光。集體統一的動作和目光傳達出團隊的協作和共同目標，仿佛在等待著一場新的開始，觀眾可以感受到他們的決心和希望。

207 HE QING ( Chinese, b.1962 )

Beautiful Dream 132 x 96 cm Oil on Canvas Signed He Qing in Chinese and dated 2010 Signed on the reverse: He Qing in English and dated 2010

NT$ 400,000-700,000 US$ 12,600-22,000

賀青華夢 2010 油彩畫布簽名：2010 賀青背面簽名：HE QING 2010

賀青的藝術創作善以人物作為主題，憑藉著色彩與形體去彰顯他們的性格，跨越技巧的將心靈內在的情操傳達給人們，並藉以古典主義中具有超越時代的永恆性質，將人物的精神予以永久流傳。賀青重視畫面從內而外的張力，使之呈現出內歛、大氣的震撼效果，在層次感、重量感中將油彩的表現力發揮到極致，同時在空間處理上追求東方藝術的寫意，在展現力度、韻味、浪漫和具有厚度感的風格中，賀青從容而自信的建構出別具一格的藝術世界，亦曾被評為日本最具影響力的華人藝術家之一。賀青筆下的女性形象擁有著唯美寧靜的氣質，《華夢》作品中的主角更亦顯得莊重且智慧，聰穎的眼神透露出溫柔卻又具堅定的意念。藝術家在金黃色調的明暗處理下，將獨特的多層次薄畫法和油畫厚重筆觸相結合，呈現濃郁的歷史氛圍，華服絲綢的柔順與透明質感，更烘托出《華夢》的如詩如夢、朦朧的時空之感。 MODERN AND CONTEMPOR ARY ART

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208 CAO XIAODONG ( Chinese, b.1961 )

Dot 94 - 41 120 x 120 cm Oil on Canvas Signed on the reverse: Cao Xiaodong and titled in Chinese, Oil on Canvas, Pine Fragrance and Combustion, size and dated 1994

曹小冬點 94 - 41 1994 油彩畫布背面簽名：曹小冬《點 94 - 41》布面油彩香蕉水燃燒 120 x 120 1994 年

NT$ 400,000-600,000 US$ 12,600-18,800

曹小冬善於抽象作品，受超現實主義影響的他，身為藝術群體「紅色‧旅」的主要成員之一，在八五美術新潮時期，運用西方媒材和東方畫法取得平衡點，特殊的筆觸技法，以密集點狀極簡風格來表達出獨有的美感，其作品帶有秩序與結構的均勻，跳脫出傳統畫的框架與限制。

sense of beauty. Cao's works radiate a uniformity and order that boldly defy the traditional confines of the art world. In the early 1990s, Cao Xiaodong embarked on a groundbreaking series of works centered around the concept of the "point." Using a heated stylus to delicately sear the canvas, he

從九〇年代初期開始，曹小冬利用「點」進行了一系列的創作，運用臘點灼燒畫布，創造出規矩排列的點狀圖像。運用實驗抽象幾何的形式，物質痕跡的停留使繪畫進入新的層次，蔓延擴展至整幅畫布的深淺痕跡，更凸顯了整齊劃一的「點」，光影流動穿梭於其中，在二維的畫布上延伸出獨特的空間幻覺，引領觀者進入引發更為深層的省思，也將傳統深奧的文化帶入中國式當代抽象畫的新境界，展現獨到的藝術語體，不但延續了「八五美術新潮」時期的激情，也突破了時代的禁錮，更獨創其平面抽象物質化的藝術世代。

meticulously constructed a grid of point-like images, each one

曹小冬長期的實驗創作、媒介探索、語言轉譯，建構出自身與藝術的不斷探尋下所生成新的自我，而特殊新穎而引起關注的技法，直抵深層的命題：「繪畫，究竟是什麼？」因此如禪宗般專注的創作過程，澄淨而燒熔了萬般雜念，這種探索而近乎修煉的過程，摒除外在的干擾要素，終達超脫的精神和神秘心靈體驗，能讓藝術家思考創作的低限，與行為藝術模式的濃厚實驗性質。

tional culture and ushering in a new era of Chinese contempo-

Cao Xiaodong is a master of the abstract art form. Influenced by surrealism, he stands out as a key member of the Red Traveler art movement during the avant-garde wave of the 1980s. In a period where art met unbridled experimentation, he skillfully found equilibrium by blending Western materials with Eastern painting techniques. His signature style, characterized by a unique brushwork technique that employs densely clustered points in an ultra-minimalist approach, exudes an unparalleled

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perfectly placed. His experimentation with abstract geometric forms, along with the residual materiality, elevated his paintings to new heights. The interplay of deep and shallow imprints across the canvas underscored the precision and uniformity of these "points." Within this two-dimensional canvas, light and shadow intermingled seamlessly, conjuring a unique spatial illusion. Viewers were thus prompted to embark on a journey of profound introspection, transcending the boundaries of tradirary abstract art. Cao Xiaodong's artistry reflects the culmination of extensive experimentation, medium exploration, and linguistic translation, giving rise to a distinctive artistic identity. His innovative techniques have ignited curiosity and stirred essential questions about the very essence of painting: "What is the true nature of art?" Much like Zen practice, his dedicated creative process has purified his mind from external distractions, leading to a spiritual and mystical experience that soars beyond the ordinary. This, in turn, has provoked the artist to question the fundamental limits of artistic expression and infuse it with the richly experimental nature of performance art.

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209 ZHANG JIE ( Chinese, b.1963 )

Elegant Green 130 x 150 cm Oil on Canvas Signed Zhang Jie in Chinese and English, dated 2007.5.20 Signed on the reverse: titled and signed Zhang Jie and inscribed Chongqing Sichuan Art Academy in Chinese ILLUSTRATED:

"Beyond Mountains - Zhang Jie' s Oil Painting," S.O Art Space

張傑飄逸的綠 2007 油彩畫布簽名：張杰 Zhang Jie 2007.5.20 背面簽名：《飄逸的綠》張杰重慶四川美術學院

圖錄：《山外有山 - 張傑油畫作品集》， S.O 藝術空間

NT$ 260,000-360,000 US$ 8,200-11,300

張傑現為四川美術學院的院長，他的繪畫通過景物去整合元素，又通過元素去支解景物。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製，而且更明白控制一幅畫的總體規格所需要的那種嚴謹。《飄逸的綠》夢幻地呈現陽光迤邐下的山景變換，豐富的色彩纏綿交疊，天光雲影相映成趣；畫面左下方見得樹梢飄逸搖擺、朦朧幽幻，筆觸與色彩交替成既動且靜的姿態，最終撲面而來的明亮、溫暖予人豁然愉悅之感。畫面上的刀痕刮抹則為張氏獨道的巧思，令人聯想起水墨皴法韻味並形塑實質感，更增添畫面抒情偶發的趣味。張傑的作品既有具象寫實的基調，也飽含抽象寫意的繪畫性；而在具備視覺張力的山水背後，則娓娓道來張傑獨鍾的靜謐風光與恬淡情感。「給繪畫一個動機，便是藉由自然介的事物迫不及待的傳遞出個人內心的慾望。無怪乎繪畫源於兩個截然不同的世界：可感知的世界和人的內心世界。藝術家的作品往往誕生於繪畫之外精神之中的衝擊和需要，這時繪畫的聯想已經外化於每個靈魂各體的獨特成分，而所選擇的色彩和圖像不僅借以幫助畫家除去內心所要拋棄的，更使對象在其心裡成為有生命力的東西，有價值的反應出自身繪畫外的情緒和慾望。同時繪畫還解決了如何從對我們自身的束縛中解放出來的問題。」--- 張傑 Zhang Jie currently serves as the Dean of Sichuan Fine Arts Institute. His art integrates elements through the depiction of landscapes while simultaneously dissecting these elements through the portrayal of nature. With a background in traditional and extensive academic education, his profound artistic knowledge enables him to master the intricacies of every brushstroke and refine his work. Zhang Jie also possesses the rigor necessary to control the overall composition of a painting.

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In the following work Elegant Green, a dreamlike landscape unfolds with the changing sunlight, where rich colors intertwine and complement the interplay between light and shadow. The trees in the lower left corner of the painting sway gracefully, creating a hazy and ethereal atmosphere. The brushwork and color intermingle in a dynamic yet tranquil posture, ultimately revealing a bright and warm sensation. The distinctive use of incised and scraped marks on the canvas demonstrates Zhang's unique approach, evoking the charm of ink painting techniques and giving texture to the scene, adding a delightful and spontaneous aspect to the image. Zhang Jie's works maintain both a realistic and an abstract, expressive quality. Beyond the captivating visual elements of his landscapes, they also narrate Zhang's deep appreciation for serene natural beauty and a sense of tranquility. He once expressed, "To give painting a motive is to transmit the desire of one's inner self through objects in the natural world. It's no wonder that painting is rooted in two utterly different worlds: the perceptible world and the inner world of human beings. An artist's work often stems from the impact and need in the spirit, beyond the realm of painting. At this point, the associations in painting have externalized into the unique components of every individual soul. The chosen colors and images not only help the artist discard what needs to be eliminated from within but also enable the subject to become a vibrant entity in their heart, reflecting emotions and desires beyond the canvas. Simultaneously, painting addresses the question of how to liberate ourselves from the constraints of our own being." — Zhang Jie

MODERN AND CONTEMPOR ARY ART

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210 YUAN XIAOFANG ( Chinese, b.1961 )

Falcon - Flight Plan 160 x 120 cm Oil on Canvas Signed Xiaofang in Chinese and English, dated 1997 "Yuan Xiao Fang: Plurality Space," Hunan Fine Arts Publishing House, Hunan, China, 2006, Page 45

袁曉舫英隼 - 飛行計畫 1997 油彩畫布簽名：曉舫 xiaofang 1997

圖錄：《袁曉舫：複數空間》，湖南美術出版社，中國湖南，2006，第 45 頁

NT$ 550,000-750,000 US$ 17,300-23,500

袁曉舫生於中國湖北，畢業於湖北美術學院國畫系，並任教於湖北美術學院。曾參與的聯展包括：「首屆廣州雙年展」、「中國油畫年展」、首屆「中國油畫學會展」、「當代油畫藝術展」( 一九九七，中國上海 )、第十三屆「亞洲國際藝術展」( 一九九八，馬來西亞，國家美術館 )、第十四屆「亞洲國際藝術展」( 一九九九，日本，福岡美術館 )、「東北亞 ( 中、日、韓 ) 及第三世界美術展」、「重新洗牌—當代藝術展」、第十六屆「亞洲國際藝術展」( 二〇〇一，中國，廣東美術館 )、「首屆廣州當代藝術三年展 - 重新解讀」、「麻將 - 席克收藏展」( 二〇〇五，瑞士，伯恩美術館 )、「AIAA 亞洲國際藝術展」、「TAF 臺北國際藝術博覽會」、「共振 - 二〇〇七年中國當代油畫邀請展」( 二〇〇七，中國，深圳美術館 )。袁曉舫身為積極地反映時空背景當代藝術家，對於中西文化碰撞的深刻反思，表現出對環境之敏銳地省思能力，具備勇於突破的精神與足以推進時代的創造力。

Yuan Xiaofang, born in Hubei, China, graduated from Hubei Institute of Fine Arts and is currently a faculty member at the same institution. He has actively participated in numerous exhibitions around the world. Yuan Xiaofang is a contemporary artist known for his keen reflections on the collision of Chinese and Western cultures in the contemporary context. His work reflects his profound capacity for introspection and his willingness to break boundaries, showcasing a creativity that propels the era forward.

袁氏透過獨特的藝術語彙，《英隼 - 飛行計畫》將以往的青綠山水及備具未來感的飛機形象，在此巧妙融合成同質性高的文化符號，試圖捕捉現今全球化與社會的本質面貌，隱喻性的象徵或許是袁曉舫前瞻性的宣示，透過特有的形式將之表露與呈現。

In the words of "Yuan Xiaofang's Multiple Spaces" published by Hubei Fine Arts Publishing House, "In Yuan Xiaofang's work 'Flight Plan,' the artist not only ingeniously transforms abstract cultural contradictions into tangible forms but also cleverly weaves in the subtle and complex psychological feelings of modern people. The gentle green landscapes stand out prominently against the cold, rigid airplane forms, creating a powerful visual contrast. The absence of human figures in the painting evokes a sense of bewilderment in humanity."

「袁曉舫的作品『飛行計畫』當中，作者不但巧妙地將抽象的文化矛盾轉變成了具體可感的形象，也機智地揉進現代人微妙而複雜的心理感受。柔美的青綠山水格外醒目，與飛機的冷凝鐵硬正好形成了強烈的視覺反差；見物不見人的畫面，令人感受到人的迷惘與方向的迷失。」(《袁曉舫複數空間》，湖北美術出版社 )。藝術家挪用青綠山水既有文化符號，山水與戰機因上下並置而形成一種特殊的關係，突顯東方及其傳統文化在全球化時代的特殊遭遇。

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Through his unique artistic language, Yuan Xiaofang, in the following work Falcon - Flight Plan, skillfully combines the traditional imagery of green landscapes with futuristic airplane forms to create a homogeneous cultural symbol. His aim is to capture the essence of globalization and contemporary society, and the symbolic metaphors within his art may be seen as a forward-thinking declaration, presented through a distinct form.

The artist appropriates the preexisting cultural symbols of green landscapes and juxtaposes them with fighter jets, creating a unique relationship between landscape and warplanes. This highlights the unique encounter of the East and its traditional culture in the era of globalization.

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211 YANG GUOXIN ( Chinese, b.1951 )

Good Fruit 112 x 163 cm Oil on Canvas Signed Yang Guoxin in English and dated 2003

NT$ 550,000-800,000 US$ 17,300-25,100 楊國辛好果子 2003 油彩畫布簽名：Yang Guoxin 2003

《好果子》系列作品是一次對當代消費文化的深刻探討，楊國辛將日常生活中的水果，變幻成高度飽和、栩栩如生的畫面。色彩鮮豔、光影奪目的水果似乎充滿了誘人的生命力。然而，作品並非只是對水果的簡單寫實，而是背後承載深刻的社會寓意。通過《好果子》，楊國辛傳達了對消費主義、物質主義以及追求時尚和外在表像的反思。水果的光滑外表和鮮豔顏色，象徵著當代社會追求外在美的傾向，以及社會上對外表和表面價值的過度關注，而忽略了真正重要的內在品質。楊國辛承襲蘇聯寫實主義到美國波普風格的實踐，他通過將日常物品提升到藝術品的地位，提醒我們審視當代社會的價值觀。這種對比，既是對消費文化的諷刺，也是對人們對外在美的過度迷戀的警示。觀眾在作品中看到了水果的誘人之美，但也被引導思考其中更深層次的社會問題。

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MODERN AND CONTEMPOR ARY ART

251

212 YANG GUOXIN

楊國辛

( Chinese, b.1951 )

進入程序之一

Step of Formulation

1993 油彩畫布 (4) 簽名：Yang Guoxin 93 (4)

70 x 70 cm (4) Oil on Canvas (4) Signed Yang Guoxin in English and dated 1993 (4) ILLUSTRATED:

1. "Fine Art Literature No.12," Hubei Fine Arts Publishing House, Hubei, China, 1998 2. "Artco Monthly," Diancan Art & Collection Ltd., Taipei, Taiwan, August, 2006, Page 160 3. "Yang Guoxin," Hebei Fine Arts Publishing House, Hebei, China, 2007, Page 58

圖錄： 1. 《美術文獻 ( 第 12 輯 )》，湖北美術出版社，中國湖北，1998 年 2. 《典藏今藝術》，典藏藝術家庭，台灣台北，2006 年 8 月，第 160 頁 3. 《楊國辛》，河北美術出版社，中國河北，2007 年，第 58 頁

NT$ 600,000-800,000 US$ 18,800-25,100

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楊國辛的藝術作品如同一場深刻而引人思考的視覺探索之旅，他以獨特的方式融合了數位技術、媒體和傳統繪畫，打破了視覺藝術的傳統界限，並探討了數位時代對我們的視覺經驗所帶來的影響。

Yang Guoxin's art serves as a profound and thought-provoking visual exploration. He uniquely integrates digital technology, media, and traditional painting, breaking the traditional boundaries of visual art and examining the impact of the digital age on our visual experiences.

楊國辛的創作題材多關注於周遭事件和社會道德問題。走進他的作品，我們發現一個令人驚奇的世界，充滿著新奇的視覺質感。他以電腦處理基本的圖像素材，透過對色調、光線和對比度的獨特處理，創造出一種迷人的新現實感。然而，他的創作並不止於此，他巧妙地將數位工具與繪畫結合，為作品賦予了一種獨特的個性和觸感。

Yang Guoxin's works often revolve around current events and social moral dilemmas. Stepping into his creations, one encounters a world filled with astonishing visual textures. Using basic digital image materials, he employs distinctive manipulation of color, light, and contrast to craft a captivating sense of a new reality. Yet, his art goes beyond this; he skillfully blends digital tools with painting, infusing his works with a distinctive personality and tactile quality.

《進入程序之一》模糊了虛擬與真實、主觀與客觀、表現與再現的界限。楊國辛試圖傳達出人類逐步的數位化，進入程序之中。他以一種當代藝術的觀念主義方式創作，挑戰了傳統藝術。其具有某種照相寫實主義的風格，又通過思想上的深度和哲學性，呈現出反風格和非物質化的本質。

Entering the Program One, blurs the boundaries between the virtual and the real, the subjective and the objective, expression and representation. Yang Guoxin seeks to convey the gradual digitization of humanity, entering the program. He approaches his art in a conceptual, ideational manner of contemporary art, challenging traditional paradigms. It carries a semblance of photorealistic style, yet it delves into the depths of thought and philosophy, representing the essence of anti-style and immateriality.

楊國辛的藝術作品是一場文化的對話，它借用了西方藝術形式，卻不失中國傳統文化的深刻思考。他的作品不僅是一個藝術家的視覺實驗，也是對當代社會和文化議題的深刻反思。

Yang Guoxin's art is a cultural dialogue, borrowing from Western art forms while retaining a profound reflection on Chinese traditional culture. His work is not just a visual experiment by an artist but also a profound contemplation of contemporary social and cultural issues.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

253

213 LUO FAHUI ( Chinese, b.1961 )

The Rose Upon City Sky 110 x 100 cm Oil on Canvas Signed Luo Fahui in English and Fahui in Chinese, dated 2006 ILLUSTRATED:

"Luo Fahui-The Creator of Deep Desire," HeBei Educational Published House, Hebei, China, December 2006, Page 104

NT$ 400,000-600,000 US$ 12,600-18,800 羅發輝城市上空的大花 2006 油彩畫布簽名：2006 Luo Fahui 发輝

圖錄：《羅發輝 - 深度欲望的製造者》，河北教育出版社，中國河北，2006 年 12 月，第 104 頁

羅發輝是一位畫法細膩的畫家，色彩感覺敏銳而微妙，畫作特別善於運用冷色調的對比，空靈而不虛弱，簡練而不單薄。羅發輝的「玫瑰」系列油畫，已看不到奧基佛筆下那朵玫瑰的優雅明快的色彩和健康情調，取而代之的是現在語境下某種陰郁內心的圖解。顯然「玫瑰」被賦予了性和肉慾的隱喻，但具有琉璃質感的花朵和肉色的花蕊透露出更多的是肉身的易朽和內心的深刻危機。原本象徵著浪漫愛情的「玫瑰」意象退去了偽裝，將藝術家對肉身和欲望的思考暴露在世人面前。 Luo Fahui is an artist with exquisite skills and acute color tastes. This piece of works is good at using the comparison of cold tone to present a depressed-looking rose under modern context. Obviously “Rose” has been endowed with a metaphor of sex and fleshliness. However, the encaustic flower and flesh-colored pistil reveals much the spiritual crisis from the heart, the rose, which represents the romantic love commonly, becomes a reflection of flesh and desire under the artistic treatment of Fahui.

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MODERN AND CONTEMPOR ARY ART

255

214 LIN HSINGYUEH

林惺嶽

( Taiwanese, b.1939 )

鷹崖

Eagle Cliff

1992 油彩畫布簽名：林 1992 LIN

112.2 x 145.5 cm Oil on Canvas Signed Lin in Chinese and English, dated 1992 ILLUSTRATED:

1. "Paintings by Lin Hsing-Yueh' 92," East Gallery, Taipei, Taiwan, 1992, color cover 2. "China Times: Art/Life Column," December 6th, 1992, color picture report With a certificate of authenticity from gallery With a newspaper containing a report on the art work is attached.

圖錄： 1. 《林惺嶽畫集 ' 92》，東之畫廊，台灣台北，1992 年，封面圖版 2. 《中國時報：藝術 / 生活專欄》， 1992 年 12 月 6 日，彩色圖版報導附畫廊開立之原作保證書附包含作品報導的報紙一份

NT$ 700,000-900,000 US$ 22,000-28,300

此畫作完成於一九九二年，是藝術家林惺嶽創作後期中，極俱代表性的生態寫實風格作品。在歷經自小以來生命無數逆流，以及時代改革開放後的社會變遷，林惺嶽的繪畫語言由沉鬱、荒誕及神秘的超現實主義，轉為以詮釋大自然為主體意識載體的寫實派，並藉由明亮而豐饒的形象，探索台灣山川溪谷的巍峨意境。畫面中林惺嶽以獨道的取景手法，描繪出一個面朝大

竟然就超現實了。」平安抵台的他潛心油畫創作，並於一九八二年受聘於國立藝術學院，一九八七年歷經戒嚴解除。生活穩定及得到精神解脫使他開始邁開大步踏遍台灣山川、溪流與海岸，創作出一系列沛然湧動的油畫作品。林惺嶽曾表示，一個前衛的人物，首先須了解自身生長環境及同胞的處境。「平易近人」是使民眾覺醒的關鍵，從而啟蒙社會，而寫實畫所傳遞的力量就如同白話文運動般強大，是作為民眾與藝術之間的重要橋樑。

海，凝視崖邊的奇特視角，如此構圖給予觀者身歷其境般的臨場感，同時也突顯畫中央「鷹崖」氣勢磅礡，卻有些高處不勝寒的魅力。懸崖上方群鷹翱翔，蒼翠的青苔覆蓋在黃褐色的岩石上，林惺嶽以絢麗又溫和的色彩，透過不同調性及光影將大海、雲層以及天空的層次襯托出來，使畫面蔚為壯觀，散發震懾人心的穿透力，像是引導著觀者拋下雜念前行，將那一望無際的海洋盡收眼底。提及林惺嶽寫實畫風的形成，可回溯至他於一九七八年搭乘從西班牙返台的客機誤入蘇聯領空大難不死的經歷，當時他感嘆道 :「還不知道現實是怎麼一回事，

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身為一位跨世紀國寶級畫家，林惺嶽以過人的天賦及知識華人美術史爭取解釋權，也堅信本土藝術只要立足家鄉，就能邁向國際。晚年行動不便的他，忍受病痛折騰猶能大筆揮灑鉅幅畫，這股強韌的生命力激盪出其獨特的人生史觀及土地情感。「從被迫孤獨到享受孤獨」，林惺嶽曾如此形容自己，執意將持續作畫直到生命終結、畫筆從手中掉落的那一刻。這份精神猶如《鷹崖》所呈現；翱翔於懸崖之巔的飛鷹，看似已抵達盡頭、山窮水盡，卻依然能在前方迎接浩瀚無垠的大海與蒼穹，使自身達到天地遼闊，追求無我的境界。

MODERN AND CONTEMPOR ARY ART

257

215 PAN DEHAI ( Chinese, b.1956 )

Portrait 100 x 68 cm Oil on Canvas Signed Pan Dehai in Chinese and English, dated 1999

NT$ 250,000-300,000 US$ 7,800-9,400 潘德海肖像 1999 油彩畫布簽名：潘德海 Pan de hai 1999

潘德海，中國吉林四平人，擅以油畫、水彩揭露人與環境的關係。追朔他如何能細膩地洞悉一代中國人的社會百態，並以充滿歷史性的敘事，與文學性的形象相佐，皆因其自青壯時期，即不斷接觸俄羅斯巡迴展覽畫派的風格和連環畫作品，此類藝術與當時保守觀念大相逕庭，便開闊了潘德海的眼光，又以列賓、華山川、賀友直等藝術家使他最難以忘懷。而後八五新潮掀起了中國當代藝術的巨浪，潘德海乘風破浪同毛旭輝、張曉剛、葉永青等人創立「西南藝術研究群體」，以西方哲學、文學和心理學的基礎，關注人類生命的意義，並融入法國哲學家柏格森「綿延」之說，將自由的創造意識反映在本質的體察、挖掘與強烈激情之中，故被喻為「生命之流」，為中國當代藝術的進化向前推了一把。更為之讚嘆的是，苞米 ( 又稱玉米 ) 竟也能在潘德海手中呈現出一個神秘的世界，既複雜、怪異，又難以琢磨，卻不難在繁衍的排序裡，察覺壓抑的情緒，及生命流動之感。直至九十年代後，潘德海從苞米符號中，反思、改造、延伸，全然新意的「胖子」系列創作，以豐滿遲鈍，膨脹慾望的印象，疊加另一層語意的象徵、隱喻和諷刺趣味。如《肖像》，潘德海對社會說不盡的話語，都寄託於這些圓潤有如氣球般的身材，來表露人之所處、所想、所望。

258

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216 LI MINGTSE ( Taiwanese, b.1957 )

Rising Thoughts: Extremely Concerned 53 x 45.5 cm Acrylic on Canvas Signed Tse in Chinese and dated 1994 With a certificate of authenticity from gallery

NT$ 180,000-280,000 US$ 5,700-8,800

李明則起心動念：太在乎 1994 壓克力畫布簽名：則 1994 附畫廊開立之原作保證書

畫中的佛陀頭像，原應是潔淨無瑕的白，卻被混濁淆雜的色彩覆蓋，佛像的耳、鼻、口更是斑駁最為嚴重的部分，如此件作品名稱，對於事物太過在乎而產生的執念、惡意，侵入了原來接受、判斷訊息的感官並將其蒙蔽，太在乎便是貪，而貪是佛教文化裡說的毒，一旦發作，會使人心猶如烈火焚燒般的炙熱痛苦。《地藏經》有言：「起心動念，無非是業」，因為有了心念，再經由身、口、意動作，所以從心的造作開始就是業的產生。從取名到畫作的題材都顯現了藝術家對於貪、嗔、癡等慾念的感悟，也因受到佛教的影響，而創作出《起心動念》系列作品，發人深思其中哲理。

MODERN AND CONTEMPOR ARY ART

259

217 HOU CHUNMING ( Taiwanese, b.1963 )

The First Year of Mi-Shia Era 210 x 115 cm (2) Acrylic and Paper mounted on Wood Board (2) Signed The First Year of Mi-shia and A-Li Temple painted in Chinese

NT$ 450,000-700,000 US$ 14,100-22,000

260

ZHONG CHENG 中誠

侯俊明米夏元年系列 2005 壓克力紙本裱貼於木板 (2) 簽名：米夏元年阿麗神宮繪

侯俊明早期創作風格豪放不羈，他直視人類原始的生命力和對自身內在的對話，結合台灣民俗文化的元素，創作出抒發內在慾望意象和自我審判的作品，如此充滿前衛和批判性的題材挑戰禁忌，衝破台灣社會的道德價值與審美，震撼了整個藝術圈。《米夏元年系列》則呈現了侯俊明一種極具深度和情感共鳴的生涯體會。為紀念兒子「米夏」的誕生，侯俊明在其新的角色有了新的體悟。《米夏元年系列》中表現出對家庭情感的深刻思考和表達，以對植物的刻畫，詮釋孕育新的生命。人類與自然世界相結合，創造出令人印象深刻且奇幻的生物形象，展現了他對於守護家庭和扎根於世界的渴望。正如其自述：「我若無法安頓好我自己，家總會是在他方。年少要反叛離家，是因為生命本身賁張，不得不以破壞的方式來擴大生存的空間，長出獨特的生命花朵。中年就得整裝返家。獻上果實。為新生的嬰兒給出自己，這才能完成生命的循環。才活得完整。」

「我的作品是根據個人情感而走，由本能去創作人物，而且這些角色都是快樂的。對我來說，這就是我創造藝術的目的，讓自己快樂，並希望能讓別人快樂。」 --- Mr.Doodle

218 MR.DOODLE ( British, b.1994 )

Tortoise Love 20.3 x 25.4 cm Acrylic on Canvas Signed label on the reverse: Mr Doodle and titled in English, dated 2018 With a certificate of authenticity signed by the artist

Mr.Doodle 烏龜之戀 2018 壓克力畫布背面標籤簽名： TORTOISE LOVE MR DOODLE ！ 2018 附藝術家親簽之原作保證書

「Mr.Doodle」( 塗鴉先生 ) 本名 Sam Cox，自一九九四年出生起便開始了他在地球上的塗鴉之旅。從小時候在家中的家具上塗鴉，繼而延伸到他整個臥室，直至筆跡填滿每一吋空間，球鞋、衣服、床鋪、房間等，只要物件質地容許上色，他就能即興揮筆。後來他發現家中已不足以作為他的畫布，於是開始在附近的餐廳和學校的牆上塗鴉。他的靈感與風格就來自童年時期漫畫與電玩遊戲的視覺印象，並以日積月累的練習獨創出直覺的塗鴉模式。他可以在任何地方不假思索的即席創作，且作畫速度極快，又能兼備畫作的主題結構，在密密麻麻的黑色線條細藏快樂的角色，反映藝術家真性情的人生。遠望他的塗鴉，好像正欣賞一幅密集式迷宮；近看之後，你會發現這堆塗鴉是有故事性。

NT$ 150,000-250,000 US$ 4,700-7,800

MODERN AND CONTEMPOR ARY ART

261

219 HUNG YI ( Taiwanese, b.1970 )

Papercutting Bird 60 x 40 x 150 cm Baked Enamel on Steel Plate, edition of 9 Signed Hung Yi in Chinese, dated 2010 and edition number With a certificate of authenticity from gallery

NT$ 560,000-700,000 US$ 17,600-22,000 洪易剪紙鳥 2010 鋼板烤漆限量 9 件簽名：洪易 2010 跟版數附畫廊開立之原作保證書

洪易的作品集齊台灣文化的元素，其中最為明顯的特色之一就是他將台灣民俗圖騰轉化後融入雕塑中。這些圖騰可以是傳統的宗教符號、部落紋飾，或是代表特定節慶和儀式的圖案；最終匯集出一種全新的台灣文化風格。帶有民俗節慶特色的《剪紙鳥》造型活潑逗趣、色彩豔麗，充滿吉祥富貴喜氣，厚實的體態與緊密的紋案，張開雙手擁抱群眾的姿態，是藝術家創作的初衷，更是打破藝術與民眾的隔離，以親切、可愛的動物，讓藝術走入人群，帶給人們歡笑、活力、喜悅與富足的心願。童真純樸與當代前衛鮮豔並存，傳統圖案元素與當代語彙的融合，創作出洋溢熱情生命力和歡愉童趣的迷人作品，並蘊含著對庶民生活世間百態的反思。其活潑生動的線條、高彩度的明豔色調帶給人們喜悅的氛圍，實踐藝術家傳遞幸福予美麗寶島子民的理念，傳遞溫暖的祝福。

262

ZHONG CHENG 中誠

220 HUNG YI ( Taiwanese, b.1970 )

Circus 25 x 27 x 73 cm Bronze and Titanium-Plated Stainless Steel Surface, 25/25 Engraved signature: Hung Yi in Chinese, dated 2016 and numbered 25/25 With a certificate of authenticity from gallery

NT$ 220,000-350,000 US$ 6,900-11,000 洪易馬戲團 2016 銅不鏽鋼鍍鈦 25/25 雕刻簽名：洪易 25/25 2016 附畫廊開立之原作保證書

沒有距離感並貼近生活的創作，使觀賞者能更輕鬆、無壓力的欣賞作品並了解其中趣意，流暢圓滑的線條營造動物有機造型，不鏽鋼鍍鈦的金屬光澤鏡射出觀賞者與環境之間的關係，進而產生連結互動，實現了洪易「生活即藝術，藝術即生活。」的精神理念。

「馬戲團的小丑給人歡笑給人戲謔，就像深處的我，創作屬於洪易世界的馬戲團。有喜有樂，有實有夢，小丑踏穩石山上，就像我站在台灣這塊土地上，透過創作將喜悅和歡樂傳遞給全世界。」 --- 洪易

MODERN AND CONTEMPOR ARY ART

263

221 HUANG POREN ( Taiwanese, b.1970 )

a. The Guard b. I' m Not Happy Now! a. 24 x 20 x 19 cm b. 33 x 16 x 21 cm a. Bronze, 29/30 b. Bronze, 28/30 a. Engraved signature: PR on the right foot and the bottom, numbered 29/30 b. Engraved signature: PR on the right foot and the bottom, numbered 28/30

黃柏仁 a. 保全 b. 不爽 2005 a. 銅雕 29/30 b. 銅雕 28/30 a. 簽名雕刻：PR 底部雕刻簽名：30-29 PR b. 簽名雕刻：PR 底部雕刻簽名：30-28 PR

ILLUSTRATED:

圖錄：

1. "Huang Po-Ren Sculpture," Taichung City Cultural Center, Taiwan, Taichung, 2005, Page 66-67 2. "The Dog' s Notes," Powen Gallery, Taipei, Taiwan, 2014, Page 12 & Page 20-31 3. "Taiwanese Artist Being Active On The International Stage - Poren Huang and The Dog' s Notes," Art Investment, Taipei Taiwan, November 2015, issue no.97, Page 234 4. "Bright Star overseas - Poren Huang," Art. Investment, Taipei Taiwan, January 2016, issue no.99, Page 131

1. 《黃柏仁雕塑》，台中縣立文化中心，台灣台中，2005 年，第 66-67 頁 2. 《狗札記 - 黃柏仁》，紅野畫廊，台灣台北，2014 年，第 12 頁、第 20-31 頁 3. 《台灣藝術家站上國際舞台 - 黃柏仁「狗札記」》，典藏今藝術，台灣台北，2015 年 11 月號，第 97 期，第 234 頁 4. 《邁向海外的耀眼新星》，典藏今藝術，台灣台北，2016 年 1 月號，第 99 期，第 131 頁

EXHIBITION:

1. "The Dog' s Note - HUANG Po-Ren Solo Exhibition," Powen Gallery, Taipei, Taiwan, September 16th-October 5th, 2014 (another edition) 2. "The Artistic Conversation of Love Dogs, Adore Dogs," Powen Gallery, Taipei, Taiwan, May 15th-June 12th, 2014 (another edition) 3. "The Dog' s Note - HUANG Po-Ren Solo Exhibition," Williamsburg Art & Historical Center, New York, USA, November 7th-December 6th, 2015 (another edition) 4. "The Dog' s Notes - Poren Huang Solo Exhibition," Offline Gallery, New York USA, December 10th, 2015-January 17th, 2016 (another edition) 5. "The Dog' s Notes - Poren Huang Solo Exhibition," Okker Art Gallery, Amsterdam, May 7th-June 5th, 2016 (another edition) With a certificate of authenticity from gallery (2)

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

展覽： 1. 「狗札記黃柏仁雕塑展」，紅野畫廊，台北，2014 年 9 月 16 日至 10 月 5 日 ( 另一版數 ) 2. 「愛狗，敬狗的對話藝術 - 狗札記‧黃柏仁個展」，紅野畫廊，台北，2014 年 5 月 15 日至 6 月 12 日 ( 另一版數 ) 3. 「狗札記黃柏仁雕塑個展」，紐約 WAH 藝術中心，紐約， 2015 年 11 月 7 日至 12 月 6 日 ( 另一版數 ) 4. 「2016 狗札記個展」，Ofﬂine 藝廊，美國紐約，2015 年 12 月 10 日至 2016 年 1 月 17 日 ( 另一版數 ) 5. 「狗札記：黃柏仁雕塑個展」，Okker 藝廊，阿姆斯特丹， 2016 年 5 月 7 日至 6 月 5 日 ( 另一版數 ) 附畫廊開立之原作保證書 (2)

《保全》一作中台灣犬口中含著門鑰匙，並以堅挺向前專注造型美感，呈現台灣犬特有的保衛精神，帶給人們平日裡可靠的安全感。《不爽》則以台灣犬正在抬腿撒尿為造型，並擺出一副不甚喜悅的神情，但是總能逗得人們憐愛，讓人想要前去關心牠。

a. b.

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ZHONG CHENG 中誠

「這個作品真正讓我感興趣的東西在於對人的思維局限性的改造，這個東西帶有一種解放性，這種解放性是對於人的思維而言的。」 --- 徐冰

222 XU BING ( Chinese, b.1955 )

Men / Women 22 x 15 cm (2) Woodblock Prints (a set of two) Signed Xu Bing in Chinese and dated 1999 (2) EXHIBITION:

"Xu Bing: Thought and Method," Center for Contemporary Art, Beijing China, July 21stOctober 21st, 2018

徐冰男人 / 女人 1999 木刻版畫 ( 兩件一組 ) 簽名：Xu Bing 1999 (2)

展覽：「徐冰：思想與方法」，尤倫斯當代藝術中心，中國北京，2018 年 7 月 21 日至 10 月 21 日

徐冰自一九八七年創作「天書」系列，初試啼聲便一舉震驚藝術圈。開創獨到的經典藝術語彙，以英文字母重新組裝成中文漢字的手法，讓觀眾重新組職文字的「能指」與「可指」，突破確立而普遍的語言象徵，乃至於社會文明的構通意識。從殷商甲骨文開始的漢文字，以象形、聲形、意形…等成型，而徐冰的「新英文書法」讓成型文字失序，重新將深刻在人心中的文字意義打碎重組文字的「形」，反方向地望文生義，甚至分支出每個人理解的文明符號與象徵。

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

MODERN AND CONTEMPOR ARY ART

265

223 LIN WANSHIH ( Taiwanese, b.1964 )

Nostalgic 91 x 117 cm Oil on Canvas Signed Wanshih in Chinese and Lin in English, dated 1994. 2. PROVENANCE:

Current collector purchased directly from the artist This artwork is the same series as the piece that the artist participated with and won the Nanying Award from the Tainan City Cultural Bureau in 1994.

NT$ 300,000-500,000 US$ 9,400-15,700

266

ZHONG CHENG 中誠

林萬士懷古 1994 油彩畫布簽名：萬士 . Lin 94. 2.

來源：現藏家購自藝術家本人此作品為藝術家於 1994 年參與台南市文化局之南瀛獎得獎作品同系列。

南瀛獎曾與全國美展、全省美展並列為全國三大美展，同時也被譽為台灣藝文獎項中最難獲得的獎項之一，其中油畫類作品更是歷屆南瀛獎的重點項目，藝術家林萬士曾於一九九四年南瀛獎，榮獲油畫類第一名的殊榮，而此次上拍的作品正是當年得獎的同一系列畫作《懷古》。林萬士近期的創作，較多描繪的是靜態風景，融入家鄉宜蘭海邊記憶，借用大自然的水波、礫石、島嶼的景象作為創作的出發處，風格上趨向於精簡、冷調、理性。此幅將近三十年前的作品，依然可以感受到林萬士作品裡獨特的寂靜感，背景斑駁的古老壁畫，更是體現了時間的凝結，壁畫是歷史最悠久的繪畫形式之一，記錄了當時人們的日常生活、表達內心願望甚至是宗教信仰等，而畫中妙齡少女的胴體正表現出人類原始的姿態，細緻的肌膚、勻稱的線條、婉約的半臥姿，兩種截然不同的題材，出現在同一個畫境裡，卻精巧的相互輝映著，作品不經意的流露出淡淡的詩意，令觀者在隱隱浮現的詩意氛圍下，沉入林萬士所構築的淡雅之境。

224 JU MING

朱銘

( Taiwanese, 1938-2023 )

魯班

Lu Ban

1988 銅雕 2/50 雕刻簽名：朱銘 2/50

18 x 13.2 x 34.2 cm Copper, 2/50 Signature engraved: Ju Ming in Chinese, numbered 2/50

附財團法人朱銘文教基金會之作品鑑定報告書

With an artwork appraisal report from NPO Juming Culture and Education Foundation

NT$ 450,000-600,000 US$ 14,100-18,800

「太極拳是古代的中國人所創造的一種健身術，它是我所知道的一個人與自然結合的最好例子。首先，它適用人自己的身體四肢、五官、血液、呼吸來接觸，模仿宇宙中的自然現象，譬如有一個動作叫做『雲手』，就是模仿天空雲朵的的形態與變化，也就是模仿空氣的流動與變化。還有『轉身擺蓮』，模仿一朵將開的蓮花。見過風中搖擺的蓮花嗎？高高的、超然的仿立在枝葉上，無拘無束、無畏無性，但是在天地之間，仍然一貫保持著謙虛恭謹的線條，跟自然的精靈、太陽、月亮、星星、風、水作無盡的交通、互道無限的讚美。我發現太極拳是人與自然之間，結合關係最明顯、最密切的一種。它是以人的本身為基礎出發，去接觸大自然，最後又回到『人的本位』。而我的藝術，也就是要在人的本位上去追求自然的韻律，所以我發覺太極拳與我的藝術精神有相同、相通的本質。」--- 朱銘

朱銘在太極系列的創作進程中，時常也會將中國古歷史的傳奇人物，作為創作的參考，將這些人物以朱銘獨特的「探形」之悟重新詮釋該人物，或許恰能證明，在明確定義上「太極系列」反應的是朱銘從內觀之悟，掌握觀「形」的方法，而絕非拘束於「太極造型」的表象意義。《魯班》一作，其原型魯班是春秋末葉著名的工匠，對建築及木工等貢獻流傳著許多的傳說，認為是魯班所設計的工具及建造法則，被後世尊稱中國工匠師祖。規矩勤奮、工具巧妙創新的魯班精神，透過朱銘刻鑿出魯班手持著工具非凡氣魄的動勢，表達出對工匠祖師的尊敬、崇拜。

267

225 WU HAO ( Taiwanese, 1931-2019 )

Three Horses 81.5 x 81.5 cm Oil on Canvas Signed Wu Hao in Chinese and dated 1998 With a certificate of authenticity from gallery

NT$ 460,000-650,000 US$ 14,400-20,400

268

ZHONG CHENG 中誠

吳昊三馬圖 1998 油彩畫布簽名：吳昊 1998 附畫廊開立之原作保證書

中國八大響馬之一吳昊，以中國傳統畫的墨線移植到扁平繪畫技術進行油畫創作，並首創將油畫的綿密厚實帶入版畫、用木刻的勁道探索油彩的形式，而其獨特的視覺風格與吳昊所喜愛中國民俗藝術有深遠的影響。藝評家蕭瓊瑞更曾對吳昊的創作讚譽：「油畫中蘊含著版畫的趣味，版畫中透露著油畫的肌理」。「『正面性』、『平面性』、『繁複性』，仍是民間藝術的特點，再加上木刻版畫中的黑色線條的分割，吳昊機巧地扮演了現代與傳統間最成功的調和者。」--- 台灣美術史研究者 - 蕭瓊瑞《三馬圖》東方意象十足的女孩經常是吳昊表現的主題，如傳統戲影人物平面化，沒有特殊表情與個性暗示的女孩，穿著鮮麗的服飾，令人分不清其喜怒哀樂，背景繽紛的色彩與活潑的構圖中，非風景或特定地方，馭三彩馬向前奔馳，與女孩搭配彷彿處於夢境的某一個片段或某個記憶深處，挑動觀者心靈深處的縷縷懷舊幽情。

226 WU HAO ( Taiwanese, 1931-2019 )

Vaudeville 91 x 91.6 cm Oil on Canvas Signed Wu Hao in Chinese and dated 1990 PROVENANCE:

Current collector purchased directly from the artist ILLUSTRATED:

"Wu Hao 1960-1990," Lung Men Art Gallery, Taipei, Taiwan, 1990, Page 53 EXHIBITION:

"Wu Hao 1960-1990 artworks exhibition," Lung Men Art Gallery, Taipei, Taiwan, November 10th-December 2nd, 1990

NT$ 400,000-550,000 US$ 12,600-17,300

吳昊戲耍 1990 油彩畫布簽名：吳昊 1990

來源：現藏家購自藝術家本人

圖錄：《吳昊 1960-1990》，龍門畫廊，台灣台北，1990 年，第 53 頁展覽：「吳昊 1960-1990 作品展」，龍門畫廊，台灣台北，1990 年 11 月 10 日至 12 月 2 日

吳昊的作品靈感皆自生活，少小離家的吳昊，使其早期作品帶有鄉愁與童年回憶，如孩童、玩具、藝人等，造型則來自民間藝術的綜合與轉換，帶有年節喜慶與親切感。《戲耍》一作為吳昊早期創作的典型，表現方法雖往往是平面性的視覺傳達，但事實上，當佇立於前近距端詳，畫中極具繁複整密的細緻才令人看清，色塊當中有點、點聚合走向成為線性，層層平穩地顯現，豐富了繪畫性的內涵以及如同版畫製版刻琢趣味；而在構圖方面則是單一單維度的「正面性」，讓畫中空間像民間圖騰般呈現，由色彩編織成一朵絢爛熱鬧的煙花，映襯出單純樂活的民俗情調，也回應著畫中三位乘馳於駿馬背上進行高難度騎術特技的人物。

MODERN AND CONTEMPOR ARY ART

269

227 WANG RENJYE ( Taiwanese, b.1962 )

王仁傑綠光、故里、草木深

Green Light, Hometown, Deep Vegetation

2013 油彩畫布

116 x 255 cm Oil on Canvas

展覽：

EXHIBITION:

"Voice In Empty Mountains - Solo Exhibition By Wang Ren-Jye," NYCU Arts Center, Taiwan, Hsinchu, December 2nd-December 27th, 2014 With a certificate of authenticity from gallery

「空山人語響 - 王仁傑個展」，交大藝文空間，台灣新竹，2014 年 12 月 2 日至 12 月 27 日附畫廊開立之原作保證書

NT$ 300,000-450,000 US$ 9,400-14,100

270

「一直以來我就是喜歡使用詩或具東方詩性色彩、線條、構圖與個人符號等融合，以畫作表達對生命哲學的感受，我視畫作為儲存記憶的空間，或是紓解不安的場所，是種抒發情感的方式，也是我用來呈現樂觀、積極、愉悅的正面力量。」--- 王仁傑

盛，多年無人住，華麗蒼涼中帶有絲絲淡淡的寂寞與溫柔。自然的寧靜和生命的存在交織在一起，流露出一股靜謐之美。豐富的視覺層次引領觀眾進入抽象的山水空間，像是身處在壯闊的山谷間追溯原鄉的回音，沉浸在無限思緒之中。

《綠光、故里、草木深》是一次對東方山水詩意的意境的詮釋，同時也是對畫家個人情感和創作哲學的深刻探討。藝術家重組了東西方的藝術語言，將東方書寫性的線條融入色彩的空無之境中，以詩意的形式探討自然、家鄉和情感，將個人情感昇華為永恆的記憶。像是經驗著東方山水詩的精髓，舊時的故居草木茂

王仁傑強調生活中的抽象體驗，希望透過畫作傳達一種冥想和紓壓的意境，使觀眾能夠將自己的心靈融入畫作之中，獲到慰藉和尋求答案。儘管追求解放畫面形式，王仁傑不忘自己基因中的文化底蘊，他傳達對大自然的想像和生命體驗的內心悸動，同時建立了東方抒情美學的一個高峰。

ZHONG CHENG 中誠

228 PENG KUANJUN

彭光均

( Taiwanese, b.1961 )

伸

Stretch

2006 不鏽鋼花崗岩琉璃 7/10 雕刻簽名：2006 光均 7/10

38 x 90 x 60 cm Bronze, Granite and Glass, 7/10 Signature engraved: Kuanjun in Chinese, dated 2006 and numbered 7/10 ILLUSTRATED:

"Peng Kuan-Jun 2008 Sculpture Exhibition," Caves Gallery, Taipei, Taiwan, 2008, Page 30 (another edition) EXHIBITION:

1. "Peng Kuan-Jun 2007 Sculpture Exhibition," Caves Gallery, Taipei, Taiwan, May 25th-June 30th, 2007 (another edition) 2. "Peng Kuan-Jun 2008 Sculpture Exhibition," Caves Gallery, Taipei, Taiwan, August 16thSeptember 2nd, 2008 (another edition)

NT$ 200,000-350,000 US$ 6,300-11,000

圖錄：《春在枝頭 - 彭光均 2008 雕塑展》，敦煌畫廊，台灣台北， 2008 年，第 30 頁 ( 另一版數 )

展覽： 1. 「彭光均 2007 雕塑展」，敦煌畫廊，台灣台北，2007 年 5 月 25 日至 6 月 30 日 ( 另一版數 ) 2. 「春在枝頭 - 彭光均 2008 雕塑展」，敦煌畫廊，台灣台北，2008 年 8 月 16 日至 9 月 2 日 ( 另一版數 )

一九六一年生於台灣新竹，一九九〇年畢業於台北藝術大學，一九九二年獲「第四屆台北縣美展」雕塑類第一名、「第十三屆全國美展雕塑類」第一名，一九九四年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎，是台灣中生代雕塑家。二〇一〇年彭光均的作品已在台北、上海、馬來西亞藝博會及北京世紀翰墨畫廊展出並受到許多藏家的喜愛與收藏。彭光均喜愛運用各種材質於雕塑創作中，該作品《伸》採用了不鏽鋼、花崗岩及琉璃的材質，各盡其責，展現透光亮澤與細緻輕盈的質感，融合成既微妙又和諧的狀態；在他巧妙地建構下，模特兒的獨特姿態與神韻，從神情到整個體態與動作的呈現，以寫實形態作為情感抒發，並透過觀察來演繹及延伸其寫意表現於創作上，添加概念想法和著重表達的特點，靈巧姿態中賦予細膩情緒和特殊造型，進而塑造出富有靈性和內斂優雅的樣貌。

MODERN AND CONTEMPOR ARY ART

271

229 LU RONGCHEN ( Taiwanese, b.1963 )

Silver Lake 61 x 73 cm Oil on Canvas Signed Rongchen in Chinese and dated 1993 Signed on the reverse: Lu Rongchen, Paris in English, dated 1993, sized 73 x 60 cm and 20F, titled in Chinese With a photo of authenticity signed by artist

NT$ 80,000-160,000 US$ 2,500-5,000

272

ZHONG CHENG 中誠

呂榮琛湖光 1993 油彩畫布簽名：榮琛 1993 背面簽名：Lu Rong Chen Paris 1993 73 x 60 cm 20F 湖光附藝術家親簽之作品照片

旅法二十載的呂榮琛，曾與畫家趙無極、朱德群相互交流切磋，其畫風亦受多種流派影響，承襲了上一代東方抽象畫家的抽象潛質，同時融和自身經歷的深厚積澱，呂榮琛曾言：「創作是我生活和品味的總和。」觀其作品，便能感受畫中所蘊含深沉凝練、細謹幽美的美學情思。《湖光》畫面一如其名，表現隱匿在幽黯湖中的一絲微光。精確的線條交錯，呈現出光與影的交錯脈動，濃厚的油彩堆疊，自然流露出心之所嚮，畫家擅長於和諧中顯現出迷離魔幻之意境，東西方交融間營造絢麗悸動人心的美，藉以傳達出更深一層的象外之境。

230 LU RONGCHEN

呂榮琛

( Taiwanese, b.1963 )

綠意

Green 81 x 116 cm Oil on Canvas Signed Rongchen in English and dated 1993 Signed on the reverse: Lu Rongchen, Paris in English, dated 1993, sized 50P and 116 x 81 cm, titled in Chinese With a photo of authenticity signed by artist

NT$ 200,000-400,000 US$ 6,300-12,600

1993 油彩畫布簽名：Rong Chen 1993 背面簽名：Lu Rong Chen 1993 Paris 50P 116 x 81 cm 綠意附藝術家親簽之作品照片

呂榮琛以藝術為志業，從西方表現主義的薰陶開始，把持不斷精進的創作態度，匯集不同形式的藝術精華，傳承前輩東方抽象開拓的境界，由之發展心性的表現與感動。透過內心的感受，以揮灑的筆觸，點綴溫柔的深思，呂榮琛曾如此自述：「創作是生活和品味的總和。」《綠意》一作以中階色調鋪張整體，畫心如滋長般蔓延的光芒，當中適恰地點綴淡紅從視覺上支撐開意象空間，猶如輝光冉冉之生命動態，再深望入，能覺知那是在觀眾心中澎湃湧動的生命本源。在形式上，該作熟稔運用流動的油性與水性、色相冷暖、明度牽引、彩度轉折以及光與影在畫面中交替辯證，順勢表現出宇宙自然、與內心交感而成的波瀾壯闊交響詩歌，以及汩汩湧動的生命和詩意。在自然意象與內心共感中，斑斕色彩盡顯繽紛意境，同時富涵自由的抽象語彙，給予觀者一種沁入心脾的清新之感，彷若幽林深處輕透靈動的綠意生機一傾而出。

MODERN AND CONTEMPOR ARY ART

273

231 DAO HAIPHONG ( Vietnamese, b.1965 )

Moonlit Night 95 x 90 cm Oil on Canvas Signed Phong in English and dated 2006 PROVENANCE:

Apricot Gallery, Vietnam Hanoi With a certificate of authenticity from gallery

NT$ 80,000-160,000 US$ 2,500-5,000

274

ZHONG CHENG 中誠

陶海豐月光之夜 2006 油彩畫布簽名：PHONG 2006

來源：

「我追求藝術之美，即使是在最普通的事物中，也期望在一瞬間的靈感中揭示它們真正的、高貴的本質。」 --- 陶海豐陶海豐的創作基於他記憶中或身邊的越南景色，雖然畫作中較少出現人物，但卻充滿著生命力，以及濃烈的民族文化。

杏子藝廊，越南河內附畫廊開立之原作保證書

《月光之夜》利用深色調的銳利喚起了孤獨感，寧靜平和的夜晚場景，營造出迷人的幻境，讓人感到仿佛置身於夢境之中。畫中的顏色柔和而富有層次感，以畫筆和調色刀將顏料刮擦並堆積，營造出經過歲月風化的牆壁和屋頂的印象，搭配漂泊的船隻，呈現戲劇性的鄉村生活。畫面中的細節被簡化到最少，但每一個元素都散發出一種神秘的吸引力，似乎是一個魔法般的瞬間，使觀者沉浸在寧靜之中。

232 LIU CHIWEI ( Taiwanese, 1912-2002 )

African Antelope 37 x 51 cm Mixed Media on Cotton mounted on Cardboard Signed Liu Chiwei in Chinese phonetic alphabet, dated 1986 in Suzhou Code With a certificate of authenticity from gallery

NT$ 180,000-280,000 US$ 5,700-8,800

劉其偉非洲羚羊 1986 綜合媒材棉布裱於紙板簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 〡〩〨〦附畫廊開立之原作保證書

劉其偉為台灣藝壇的重要巨匠，也是位富有冒險精神的探險家，豁達樂觀的個性探索過國內、外十多個原始部落。創作風格受到原始藝術的圖騰符號與克利繪畫的影響，以半抽象的形式，將現實世界加以變形、解構，詮釋出帶有濃烈原始文化色彩的意境。他的藝術作品在展現對原始文化的深厚熱情的同時，也融合了對自然界的崇尚。《非洲羚羊》帶觀眾探索了一個極具原始美感的畫面，作品充滿了野性和活力。畫面的主角是一群羚羊，象徵著生命的力量和戰勝困難的勇氣。它們結群成隊自由奔跑，形象簡單而生動，作者以流暢的筆觸捕捉到它們的速度和輕盈感，呈現出生命的躍動和大自然的神秘。綜觀劉其偉的一生，他是一位生命實踐者，為生存而奮鬥。保育生態、熱愛生命、珍惜資源。以「愛」和對生命的「尊重」為其中心思想貫穿創作核心。透過愛傳遞情感，使作品流露出感動人的力量，也深刻地反映了藝術家對自然和原始藝術的熱愛。

MODERN AND CONTEMPOR ARY ART

275

233 LIU CHIWEI ( Taiwanese, 1912-2002 )

Paiwan Tribe's Totem 38 x 51 cm Mixed Media on Cotton mounted on Cardboard Signed Liu Chiwei in Chinese phonetic alphabet, dated 1980 in Suzhou Code

劉其偉排灣族的圖騰 1980 綜合媒材棉布裱於紙板簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 〡〩〨〇附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 140,000-200,000 US$ 4,400-6,300

276

《克利教學筆記》：「美術並不重視人們已經看到的東西，而是藉由創造使人們看到事物。」這是克利的美學理念。克利認為，藝術家的使命就是通過一種感情的表現手法，來描繪宇宙世界。也就是運用精確的技巧及顫動的線條。儘管這些線條所表達的內容不同，但都代表了一些具體形狀的原始風貌。這一點或許可以說明克利何以十分欣賞兒童或原始民族自然創作的繪畫作品。劉其偉長期關切原始藝術和少數民族保有的原始文化風貌，這種跨越時空的朦朧曖昧情境，透過暈染色澤邊緣淡失的效果，蘊生異域性的神秘氣質。他隨興塑造出個人幻想世界，以律動的線條，轉現情感的脈搏，甚至披露他個人隱暱空間迷漫的遐想，無論情慾的或是靈性知悟的，都能流現一種天真無邪的意趣。

變革表現中。他也和克利以及其他二十世紀大多數的成名藝術家一

劉其偉的繪畫受克利很大的影響，相較二人的作品，不論在符號象徵、童趣上都可看出很多相似之處。但是劉其偉的作品，和克利卻是似而不類，尤其在精神及感念方面，劉其偉表現的是東方的傳神，而克利著力於形式的變幻，一種是無定形的名狀，一種是名狀於定形的

繪畫，忘記了人生的許多痛苦、我由衷讚美大自然的恩賜和偉大；因

ZHONG CHENG 中誠

樣，多產而廣為流傳，一方面創出傳世名作，也同時畫出大量畫作自娛反娛人，尤以畢卡索為極甚。劉其偉，像西方的現代主義啟蒙者，都是理想主義的實踐者，以反覆不辭辛勞的努力，來印證驗明他們的理念和心靈世界，和中國文人寓情於空靈的氣韻非常不同。但是，劉其偉卻仍然承繼了中國文人對「氣節」的執著，他畫出自己的氣質，有異於克利、米羅等西方繪畫以符象的「形」喻義傳神。身分多元的劉其偉，其一生熱愛探險，喜歡走別人沒走過的路，亦在繪畫上勇於探索、實驗，將所感所思，透過豐富多變的色彩、和原始率真的風格，將觀者帶入一場場他的生命冒險中。曾自言：「我因為此我對自己渺小的生命，不論是悲喜和哀樂，也將視它為美麗的一首詩歌。」就像其畫作一樣，劉其偉以他的愛心、童心、寬容心，灌溉出一個自然萬物皆平等的有情世界。

a. b.

234 LIU CHIWEI ( Taiwanese, 1912-2002 )

a. Mountain Zebra b. Pencil Sketch on Paper 20 x 30 cm (2) a. Watercolor on Paper b. Charcoal on Paper a. Signed Liu Chiwei in Chinese phonetic alphabet and titled in English, dated 1984 b. Signed Liu Chiwei in Chinese phonetic alphabet, and South Africa in English abbreviations, dated 1984 in Suzhou Code With a certificate of authenticity from gallery

NT$ 80,000-160,000 US$ 2,500-5,000

劉其偉 a. 山斑馬 b. 南非素描 1984 a. 水彩紙本 b. 炭筆紙本 a. 簽名：Mountain Zebra ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ ' 84 b. 簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 〡〩〨〤 1984 S.A. 附畫廊開立之原作保證書

劉其偉的藝術之路充滿著獨特的探險精神，這位在三十八歲才開始提起畫筆的台灣藝術家兼人類學家，以對人類原始藝術之美的追求，將藝術與科學、抒情與自然性完美結合。他的作品傳遞著深刻的情感和關懷，尤其是他對野生動物生態的熱愛，傳達出畫家對當地文化的尊重。如他在一九八四年所創作的《山斑馬》及《南非素描》，以極簡的色彩和造型，精妙地捕捉了動物的神韻，將觀者帶入一種近距離的情感連結，感受到生物的存在。動物主題與原始文化考察經常作為劉其偉的創作主題，但他的作品並不只是寫實的描繪。相反，他將自己的情感、憂慮和對自然界的關懷融入每一筆每一畫中。這樣的創作方式讓他的畫作充滿生命力，同時也深刻關切動物們因人類發展文明而逐漸受困的現實情況。

MODERN AND CONTEMPOR ARY ART

277

235 LIANG YIFENG ( Taiwanese, b.1937 )

Black Bathing Beauty 80 x 116 cm Oil on Canvas Signed Liang in English and Yifeng in Chinese, dated 2005 With an artwork appraisal report from Duo Yun Xuan Art Studio

NT$ 60,000-80,000 US$ 1,900-2,500

278

ZHONG CHENG 中誠

梁奕焚沐浴黑美人 2005 油彩畫布簽名：LIANG 奕焚 2005 附朵雲軒開立之藝術品鑑定書

梁奕焚的「黑美人」系列作品令人陶醉於其深刻的情感表達和獨特的藝術手法。作品展現了他對鄉土情懷的深刻理解，將臺灣的民俗元素與現代藝術相巧妙地融合。背景豐富的色彩對應黑底的人物，精確的白色輪廓散發了原始的野性。使我們感受到了畫背後蘊藏的情感。黑美人似乎是一種象徵，她們的眼神充滿深思和力量，幽幽地訴說著臺灣的故事。梁奕焚的作品不單是色彩和線條的交織，更是對文化和歷史的致敬。獨特的生命力和獨特的魅力，刻畫出臺灣鄉土情懷的深刻內涵。梁奕焚的「黑美人」系列作品除了富含藝術為方法的敘述，甚至對臺灣在地互文意義的有珍貴貢獻。

236 LIANG YIFENG ( Taiwanese, b.1937 )

Black Beauty 91 x 116.5 cm Oil on Canvas Signed Liang in English and Yifeng in Chinese, dated 2015 With a certificate of authenticity from gallery

梁奕焚黑美人 2015 油彩畫布簽名：LIANG 奕焚 2015 附畫廊開立之原作保證書

梁奕焚曾於一九九八年的藝術宣言提及，高更、馬諦斯、畢卡索等人早就把藝術的傳統及思想的屏障打破。他承襲野獸派大膽狂野的風格，解構學院制式的繪畫觀念，將東西方，文明和原始做結合，並內核台灣本土文化，建構出獨具的藝術形式。梁奕焚以簡約的線條勾勒出女子的姿態。黝黑的肌膚使觀者專注在女子神韻，使其直接感受女子的情緒。梁奕焚筆下的女性散發著溫柔婉約、含蓄慵懶、優雅端莊等特質，有著對東方古典女性的頌揚。

NT$ 80,000-160,000 US$ 2,500-5,000

MODERN AND CONTEMPOR ARY ART

279

237 INVADER (FRANCK SLAMA)

Invader ( 法蘭克．史拉瑪 )

( France, b.1969 )

2023 水晶裱鋁板微噴版畫限量 812 版背面標籤簽名：invaDER

Rubik Camouflage (NVDR 1-2) 100 x 100 cm Diasec-Mounted Giclée Print on Aluminium Composite Panel, edition of 812 Signed label on the reverse: Invader in English

NT$ 120,000-140,000 US$ 3,800-4,400

280

ZHONG CHENG 中誠

魔方迷彩 (NVDR 1-2)

匿名法國街頭藝術家 Invader ( 法蘭克．史拉瑪 )，他在巴黎發起藝術流派運動「Rubikcubism」，以風行於七〇年代的魔術方塊為概念，創作一系列方塊建構的像素風格，呼應了一百年前的立體主義風格。至今，世界各地都可見 Invader 的創作。這種被視為挑戰傳統、入侵的表現手法，使他迅速晉升成最具影響力的街頭藝術家行列，也被備受大眾及藝術市場矚目。《魔方迷彩 (NVDR 1-2)》展現了 Invader 的創新思維和藝術實驗精神，他以魔術方塊的概念和其瓷磚馬賽克風格融合，鮮豔的色彩和立體的效果創造出一種獨特的融合藝術。也是這樣的創作反映出他對於流行文化和當代藝術的敏銳感知，並通過獨特的媒材和技巧，將過去與現在融合在一起，讓人在欣賞中感受到了他獨特的藝術世界。

238 INVADER (FRANCK SLAMA) ( France, b.1969 )

Invaded Cube (NVDR 1-1) 100 x 100 cm Diasec-Mounted Giclée Print on Aluminium Composite Panel, edition of 459 Signed label on the reverse: Invader in English

NT$ 120,000-140,000 US$ 3,800-4,400

Invader ( 法蘭克．史拉瑪 ) 入侵魔方 (NVDR 1-1) 2023 水晶裱鋁板微噴版畫限量 459 版背面標籤簽名：invaDER

《入侵魔方 (NVDR 1-1)》以 Invader ( 法蘭克．史拉瑪 ) 標誌的馬賽克風格呈現，利用小磁磚的形式拼湊而成。畫面上鮮豔的色彩和平衡的構圖相互輝映，展現出藝術家對於色彩和形狀的細膩掌控，藉以將遊戲元素、色彩和幾何形狀融合成一個充滿活力和趣味性的藝術品。 Invader 以兒時電玩角色「太空侵略者」為靈感，創作出一系列街頭馬賽克塗鴉；而他的作品不單是歷史流行物的圖像，更凝聚了 Invader 對科技和當代文化的思考。利用象徵數位科技的像素風格外星生物，跳脫螢幕幻化為現實街景出現的塗鴉，從美學視角來看，塗鴉也是將藝術從美術館、藝廊等，白盒子裡、品味區分的約束釋放到日常街景、大眾視野，不只在街景留下風景，也在行人心中留下足跡，企圖為熙來攘往的人流中帶來貼近生活的驚喜。

MODERN AND CONTEMPOR ARY ART

281

239 DAVID SHRIGLEY ( British, b.1968 )

Untitled (Just Fly Away) 75 x 56 cm Screenprint, edition of 125 Signed on the reverse: DS in English, dated 2023 and edition number

NT$ 120,000-150,000 US$ 3,800-4,700

282

ZHONG CHENG 中誠

大衛．史瑞格里無題 ( 盡管飛去 ) 2023 絲網印刷版畫限量 125 版背面簽名：DS 2023 跟版數

240 DAVID SHRIGLEY ( British, b.1968 )

Untitled (The Elephant, Every Time I Think of Him, I am Happy)

大衛．史瑞格里無題 ( 大象，我每次想到他都很快樂 ) 2023 絲網印刷版畫限量 125 版背面簽名：DS 2023 跟版數

75 x 56 cm Screenprint, edition of 125 Signed on the reverse: DS in English, dated 2023 and edition number

NT$ 120,000-150,000 US$ 3,800-4,700

MODERN AND CONTEMPOR ARY ART

283

241 CHU TEHCHUN

朱德群

( Chinese-French, 1920-2014 )

巴塞隆納奧運版畫

Olympic Centennial

1992 石版畫限量 250 版簽名：朱德群 CHU TEH-CHUN' 92. 跟奧運鋼印與版數

62.8 x 90 cm Lithograph, edition of 250 Signed Chu Tehchun in Chinese and English, dated 1992, with the Olympic steel seal and edition number ILLUSTRATED:

"Overseas Chinese Fina Arts Series (II): Chu Teh-Chun,Taipei," ArtistMagazine, Taipei, Taiwan, 1999, Page 295 In 1992 Barcelona Olympics, to celebrate the centenary of the Olympic Games, 50 contemporary artists were selected from five continents around the world, each of them produced one print for the occasi.

NT$ 150,000-200,000 US$ 4,700-6,300 284

ZHONG CHENG 中誠

圖錄：《華裔美術選集 (II) - 朱德群》，藝術家出版社，台灣台北，1999 年，第 295 頁 1992 年巴塞隆納奧運會，為慶祝奧運會百年，在全球五大洲選拔出 50 位當代藝術家，每人製作一幅，版畫各限量 250 件。

242 CHU TEHCHUN ( Chinese-French, 1920-2014 )

Morning of Esprit 60 x 81 cm Lithograph, 21/150 Signed Chu Tehchun in Chinese and English, numbered 21/150 ILLUSTRATED:

"Chu Tehchun - The Graphic Work 2000-2008," Hoke Original Print, Taipei, Taiwan, September, 2008, Page 24

朱德群晨 2002 石版畫 21/150 簽名：21/150 朱德群 CHU TEH-CHUN

圖錄：《朱德群石版畫 2000-2008》，霍克國際藝術，台灣台北，2008 年 9 月，第 24 頁

NT$ 70,000-100,000 US$ 2,200-3,100

MODERN AND CONTEMPOR ARY ART

285

243 CHU TEHCHUN ( Chinese-French, 1920-2014 )

Joyous Moment 97 x 70 cm Lithograph, 3/150 Signed Chu Tehchun in Chinese and English, numbered 3/150 ILLUSTRATED:

"Chu Tehchun - The Graphic Work 2000-2008," Hoke Original Print, Taipei, Taiwan, September, 2008, Page 30

NT$ 70,000-100,000 US$ 2,200-3,100

286

ZHONG CHENG 中誠

朱德群歡樂時光 2004 石版畫 3/150 簽名：3/150 朱德群 CHU TEH-CHUN

圖錄：《朱德群石版畫 2000-2008》，霍克國際藝術，台灣台北，2008 年 9 月，第 30 頁

244 PAN YULIANG ( Chinese, 1895-1977 )

Reclining Nude 26.5 x 34.5 cm Lithograph, 132/200 Signed Pan Yulin in English and numbered 132/200

NT$ 120,000-210,000 US$ 3,500-6,600

潘玉良側臥裸女石版畫 132/200 簽名：Pan Yu Lin 132/200

潘玉良將傳統國畫中的白描法以及印象派點彩技法合而為一，以細膩流暢的線條勾勒出裸女恬靜安謐的姿態，並以生動的筆觸來呈現背景光影的變化，堆疊出與主體之間的層次，形成寧靜又飽滿的整體視覺效果。構圖中女人躺臥在畫面中央，以裝飾著寶石及圖騰花樣的床單來烘托身軀，微微誇張的形體，豐滿的肌膚以及慵懶的神情，體現出東方女性的外在曲線美和柔中帶剛的內在韻味。潘玉良以東方繪畫中充滿情感的線條和西畫形體的透視表現，進行了自我探索，並堅守「由古人中求我，非一從古人而忘我」的藝術準則。儘管早期以「西畫家」著稱，國畫創作仍是潘玉良後期最主要的繪畫手法，更是由此而形成了她獨有的繪畫語言。

MODERN AND CONTEMPOR ARY ART

287

245 ZHOU CHUNYA ( Chinese, b.1955 )

Vase Flowers 53 x 64 cm Lithograph, edition of 99 Signed Zhou Chunya in Chinese and edition number

NT$ 80,000-150,000 US$ 2,500-4,700

288

ZHONG CHENG 中誠

周春芽瓶花版畫限量 99 版簽名：周春芽跟版數

周春芽是中國新繪畫重要代表人物，是中國重要的表現及抽象派畫家之一，留德歸國後，創作力源源迸發，歷經「山石」、「綠狗」、「花」與「桃花」等標誌性的系列作品，不斷轉折變化，同時亦乘載了其自身深具風格的文人美感。《瓶花》筆法熱情豪邁，毫不猶疑，呈現出一股動感、搖曳的瞬間，彷彿可見細枝的劇烈晃動。周春芽誇張了瓶花的傳統造型，瓶花不再只是靜物，充分表現出情感起伏，「花卉」自古以來即為中國傳統文人雅士的寄情與訴託，周春芽以抽象表現主義手法熟練呈現畫面，保存了中國傳統文化的中庸和內斂的元素，同時突顯出西方繪畫領域中對色彩的注重，畫中對空白的處理、線條疏密、線與面的對立、紅與綠的對比使畫面充滿生氣與活力，生命力躍然於上，真誠的創作表達出內心的複雜情感。

246 ZAO WOUKI ( Chinese-French, 1921-2013 )

Garden at Night 44 x 57 cm Lithograph, 71/95 Signed Wou-Ki in Chinese and ZAO in English, numbered 71/95, dated 1954 ILLUSTRATED:

"ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995," Edition Heede & Moestrup, Denmark, Copenhagen, 1994, Page 61, No. 87

NT$ 240,000-300,000 US$ 7,500-9,400

趙無極夜晚的花園 1954 石版畫 71/95 簽名：71/95 無極 ZAO 54

圖錄：《趙無極版畫集 19371995》，Edition Heede & Moestrup，哥本哈根丹麥，1994 年，第 61 頁，圖 87

一九四八年，趙無極赴法國巴黎留學，而後移居於此，這個時期的畫風開始趨向於抽象形式，當時的趙無極亦非常著迷於商朝甲骨文，其一九五〇年代的作品中，初見簡單的圖形嘗試，隔著畫布隱約有原始雕刻和岩畫的影子，恰恰展現畫家捕捉基本力量與型態的天賦。一九五〇年代的趙無極突破具象畫的極限，轉向抒情抽象的行雲流水，積極由西方現代藝術回歸中國傳統。此作《夜晚的花園》中，趙無極以色塊並置來進行空間處理，不使用明確的圖形，簡化主題輪廓，紛雜色塊中夾雜著精準細緻的線條，運用像是符號般的簡易圖樣來表達形體，錯中複雜卻精確地傳達著意境，完美呈現神秘幽靜的夜晚色彩，以及花園生氣蓬勃的情境，如此特殊的繪製手法，各司其職地相互交織出既獨特又強烈的視覺感受。

MODERN AND CONTEMPOR ARY ART

289

「我要畫一些看不見的東西、要畫出生命的形體、要畫自然的風、要 --- 趙無極畫一些動態、一些色彩的誕生與融合。」

247 ZAO WOUKI

趙無極

( Chinese-French, 1921-2013 )

構圖

Composition

1961 石版畫 93/125 簽名：93/125 無極 ZAO 61

39 x 55 cm Lithograph, 93/125 Signed Wou-Ki in Chinese and ZAO in English, numbered 93/125, dated 1961 ILLUSTRATED:

"ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995," Edition Heede & Moestrup, Denmark, Copenhagen, 1994, Page 83, No. 131 (another version)

NT$ 200,000-280,000 US$ 6,300-8,800

290

ZHONG CHENG 中誠

圖錄：《趙無極版畫集 1937-1995》， Edition Heede & Moestrup，哥本哈根丹麥，1994 年，第 83 頁，圖 131 ( 另一版次 )

一九五七年的紐約之旅為趙無極帶來全新的視野，他認識了許多抽象表現主義畫家與其優異獨特的作品，於是開始嘗試更大膽的風格做出改變。他將其充滿自由、狂暴及清新的各種特性融入創作之中，並吸取美國抽象畫家的繪畫特點與其自由的風格。以往經常出現的類似甲骨文形狀，取而代之的是更為抽象的型態，隨著時間的推移，以及長時間的琢磨，其構圖逐漸形成極其高雅細緻的質感。此作《構圖》創作於一九六一年，一九六〇年代是趙無極的「狂草時期」，表現不復早年遒勁之剛，色彩上轉以廣袤柔緩，筆觸細碎卻暗含力道，畫作氛圍經過稀釋，任色彩、明暗和結構在表面徜徉，像曦微之際，亮歸亮，卻裹著薄薄一層泛著光的灰，予人親暱然而縹緲的微妙感覺。

248 BERNARD BUFFET ( French, 1928-1999 )

Le Vieux Pont 85 x 131 cm Serigraph Wool Blanket, edition of 200 Print signed: Bernard Buffet in English and dated 1975 PROVENANCE:

Galerie Maurice Garnier, Paris, France This work is published by the Galerie Maurice Garnier in Paris and Printing Editions D'art Corot (65 Champs-Elysées, Paris).

貝納德．畢費薩謝鎮 - 老橋 1975 絹印羊毛毯限量 200 件印刷簽名：1975 Bernard Buffet

來源：莫里斯．卡尼爾畫廊，法國巴黎此作品由巴黎 Maurice Garnier 畫廊與 Editions D'art Corot ( 香榭麗舍大街 65 號，巴黎 ) 印刷共同出版發行。

NT$ 150,000-300,000 US$ 4,700-9,400

MODERN AND CONTEMPOR ARY ART

291

249 YOSHITOMO NARA ( Japanese, b.1959 )

123 擊鼓女孩

123 Drumming Girls

a. 4.7 x 6.3 x 15.2 cm b. 5 x 6.9 x 15 cm c. 5 x 5.1 x 14.1 cm Painted Cast Vinyl, limited edition (3) Trademark © YOSHITOMO NARA (3) The work is accompanied by HOW2WORK's original toy box (3) On the toy box: Trademark Yoshitomo Nara 2020 Produced by How2work (3)

NT$ 30,000-60,000 US$ 900-1,900

292

奈良美智

ZHONG CHENG 中誠

附 HOW2WORK 作品原廠紙盒包裝 (3) 外盒註有 Yoshitomo Nara 2020 Produced by How2work (3)

觀看奈良美智的方式須要結合藝術、童趣與音樂，他熱愛音樂，常將藝術視為音樂的另一個載體。在《123 擊鼓女孩》奈良美智招牌的、帶有點倔強的小女孩，正是直接結合音樂元素的作品，由三位小女孩所組成一體的另類女團，並且一應收覽三種豐富的表情，當中有懷疑、有期盼，還有像是二號女孩全然陶醉喜愛事物的樣子，皆在細緻的立體化製作中生動地呈現。

250 YOSHITOMO NARA ( Japanese, b.1959 )

a. Pup Cup b. The Little Wanderer a. 18 x 18.5 x 23 cm b. 18 x 18 x 26 cm PVC (2) Signed Na in Japanese (2) Trademark © Yoshitimo Nara 2003 (2)

《夢遊娃娃》與《小狗咖啡杯》一樣擁有軟萌的外型，底下有安裝輪子，使他們可以在現實世界中自由漫步，緩緩飄逸。神情閉眼放鬆、造型柔和、色彩淡雅，伴隨著無盡的暖意，療癒無處可愛與不想長大的人們。

附原廠包裝盒 (2)

The work is accompanied by its original box (2).

NT$ 60,000-120,000 US$ 1,900-3,800

a. b.

MODERN AND CONTEMPOR ARY ART

293

251 KAWS (BRIAN DONNELLY) X UNDERCOVER ( American, b.1974 ) x ( Japanese, b.1969 )

"Teaser" Collection Poster 36.4 x 25.6 cm (5) Offset Lithograph (a set of five) Print signed: KAWS in English (5) 1. With series introduction cover. 2. This print set was specially crafted to commemorate KAWS' involvement with Japanese designer- Jun Takahashi (Undercover's) Spring/Summer 2000 collection. The work was published in 1999

NT$ 150,000-200,000 US$ 4,700-6,300 KAWS ( 布萊恩．唐納利 ) x Undercover 「預告片」收藏海報 1999 Offset lithograph ( 五件一組 ) 印刷簽名：KAWS (5) 1. 附系列介紹封面 2. 此套作品是紀念 KAWS 與日本設計師高橋盾 (Undercover) 合作的 2000 年春夏流行系列而製作；作品於 1999 年發表推出。

294

ZHONG CHENG 中誠

此套《「預告片」收藏海報》為紀念 Kaws 在 Undercover 二〇〇〇年春夏系列中的合作參與。攜手 Undercover 主理人高橋盾 (Jun Takahashi) 於一九九九年和 Kaws 合作推出了五幅一套的品牌設計與 Kaws 風格結合之作品，也為隔年 Undercover 春夏系列發表做了一個完美的預告。在這五幅畫面當中，Kaws 難得重現早年的經典創作手法，以街頭惡搞式的廣告塗鴉，將現實人物與自己標誌性元素融為一體。不經令人憶起精彩的九〇年代，由藤原浩、NIGO、高橋盾等人所領軍的「裏原宿潮流」，憑藉其影響力為國際間的街頭藝術家提供多方位的發展模式。從合辦個展、跨界合作、到設立品牌，Kaws 可說是發揚九〇年代末東京街頭與流行文化的關鍵推手之一。

252 EDGAR PLANS ( Spanish, b.1977)

NBA X Edgar Plans 75th Anniversary Series 15 x 15 x 27.5 cm (4) Polystone and Painted Alloy, 218/400 (Flyman 23) Polystone and Painted Alloy, 165/300 (Artist) Polystone and Painted Alloy, 296/300 (Lakers) Polystone and Painted Alloy, 273/300 (Celtics)

艾德加．普連斯 NBA X Edgar Plans 75 週年紀念系列 2022 寶麗石彩繪合金 218/400 ( 喬丹 23) 寶麗石彩繪合金 165/300 ( 藝術家 ) 寶麗石彩繪合金 296/300 ( 湖人 ) 寶麗石彩繪合金 273/300 ( 塞爾提克 ) 側面刻印簽名：EDGAR PLANS (4)

Signature engraved on side: Edgar Plans in English (4)

附原廠保證卡 (4)

With a certificate of authenticity (4)

附原包裝紀念箱與防偽說明卡 (4)

With original packaging souvenir box and anti-counterfeiting instruction card (4).

NT$ 160,000-180,000 US$ 5,000-5,700

MODERN AND CONTEMPOR ARY ART

295

253 YUSUKE TODA ( Japanese, b.1991 )

YUM with Friends 65 x 65 cm Acrylic and Oil Stick on Canvas Signed on the reverse: Yusuke Toda and titled in English, dated 2023 With a certificate of authenticity signed by the artist

NT$ 100,000-180,000 US$ 3,100-5,700

296

ZHONG CHENG 中誠

戶田悠理 YUM 與朋友們 2023 壓克力油彩蠟筆畫布背面簽名：2023 "YUM with Friends" Yusuke Toda 附藝術家親簽之原作保證書

戶田悠理的藝術作品以其獨特的卡通角色「YUM」以及其陪伴的朋友們為主題，呈現了一個令人陶醉的、單色調的世界，充滿著寧靜與恬淡。每一個角色都充滿了情感和靈魂，被放置在充滿夢幻的環境中，使觀眾被別致的氛圍所吸引。戶田悠理創作的靈感源自於母親的離世而回憶起童年的時光。藝術家冀望以 YUM 系列作品為觀眾創造了一個深思熟慮的、令人陶醉的藝術世界，畫中的世界一片灰黑，只有主角色彩繽紛，藝術家相信自己的作品能夠傳達幸福感，期待觀眾聚焦在生活中的美好和捕捉幸福的瞬間。

254 GEOFFREY BOUILLOT ( French, b.1990 )

Ryusei 73 x 61 cm Acrylic on Canvas Signed on the side of canvas: Bouillot in English Signed on the reverse: Geoffrey Bouillot, titled and Tokyo in English, ブヨモソ in Japanese and Collection in English, dated 2022 With a certificate of authenticity signed by the artist

NT$ 100,000-140,000 US$ 3,100-4,400

杰弗里．布約龍星 2022 壓克力畫布畫布框側面簽名：BouilloT 背面簽名："Ryusei" Geoffrey Bouillot. Tokyo 2022 ブヨモソ Collection 附藝術家親簽之原作保證書

杰弗里‧布約（Geoffrey Bouillot）將法國魅力與日式優雅獨特地融合在一起，探索著多種藝術流派的融合，包括普普藝術、立體主義和未來主義，為當代藝術注入了生命力。他的作品常以黑白灰度為主調，採用獨特的線條和形狀，將抽象與現實交融。布約的畫作中充滿了獨特的符號與古代文明的啟發，營造出一種神秘而深遠的氛圍。《龍星》受到日本流行文化《寶可夢》的啟發，藝術家創造一系列獨特的假怪獸。利用標誌性的單色風格，以簡潔的線條裝飾著幾何藝術，讓觀眾專注於角色複雜的細節，從獨特的形狀到特徵標記，使畫面充滿力量和優雅，喚起了觀眾的想像力，也勾勒出藝術家對文化融合和跨界創新的深刻理解。

MODERN AND CONTEMPOR ARY ART

297

255 JUYI SUNG ( Korean, b.1996 )

Cozy House 45.5 x 45.5 cm Oil on Canvas Signed on the reverse: Juyi Sung, titled and media in English, dated 2022 With a certificate of authenticity from gallery

NT$ 70,000-130,000 US$ 2,200-4,100

298

ZHONG CHENG 中誠

Juyi Sung 舒適之家 2022 油彩畫布背面簽名：COZY HOUSE Oil on Canvas. 2022 JUYI SUNG 附畫廊開立之原作保證書

每個人的童年珍貴回憶和喜愛的物品都不一樣，有的是具有意義價值的，有的則是純粹喜歡的，抑或是珍藏的寶貝和禮物。日常生活中微小的美好事物總能帶給人們心靈上的安慰和解脫，暫時忘卻煩惱和焦慮，沉浸在回憶之中，而這些溫暖的時刻往往被人們給忽視，並沒有好好地記錄下來。此作《舒適之家》中，Juyi Sung 以經典的童趣空間小屋為主體，裝載著童年的回憶物品和收藏的禮物，每件物品都是一段段精彩的故事，像是在紀錄成長的歷程。畫面呈現溫韾柔和的氛圍，淡雅舒心的熟悉空間，加上滿滿的童趣元素，使人回溯到童年記憶中的片刻場景。Juyi Sung 透過重新發現日常物品中舒適的內在價值，從而指引人們回想起童年的美好時刻和懷抱的夢想。

256 JUYI SUNG ( Korean, b.1996 )

Snuggle Season 60.5 x 72.5 cm Oil on Canvas Signed on the reverse: Juyi Sung, titled and media in English, dated 2022 With a certificate of authenticity from gallery

NT$ 130,000-150,000 US$ 4,100-4,700

Juyi Sung 相擁相依的季節 2022 油彩畫布背面簽名：Snuggle Season Oil. 2022 JUYI SUNG 附畫廊開立之原作保證書

Juyi Sung 出生於一九九六年，是一位來自韓國的新興藝術家，他喜愛將日常生活中的居家用品放入創作之中，像是櫥櫃、沙發、被子、毯子、衣物、枕頭和絨毛玩偶等，其描繪的特點在於利用柔和色調，以及精心刻畫這些織物的紋理細節。他總是繪畫著象徵童年回憶的景象和玩樂小天地，童趣空間裡存儲和保護著人們滿滿的回憶和珍貴物品，掀起了人們各式各樣的童年記憶，進而引起共鳴。此作《相擁相依的季節》中，兔子玩偶安逸地躺在厚實柔軟的被子與枕頭上，表現的意象像是在說，最舒適安穩的地方就是家，讓人有歸屬感的空間裡裝滿了珍貴的人事物；兒時玩樂時光的回憶觸動了內心的童真，溫暖與療癒了人們的心靈，也融化了寒冬的冷凜。

MODERN AND CONTEMPOR ARY ART

299

257 HAN CHOONGSEOK ( Korean, b.1981 )

The Hedgehog Dilemma Towards Each Other 37.9 x 45.5 cm Acrylic on Korean-Cotton Signed on the side of canvas: Choong Seok in English With a certificate of authenticity from gallery

NT$ 120,000-160,000 US$ 3,800-5,000

300

ZHONG CHENG 中誠

韓忠錫彼此之間的刺蝟困境 2023 壓克力韓國棉布畫布框側面簽名： choong seok 附畫廊開立之原作保證書

一群刺蝟在寒冷的天氣想要靠近彼此來相互取暖，但是當兩隻刺蝟碰在一起時，又會被彼此的刺所刺傷，因此之間需要保持一段安全距離。這是德國哲學家阿圖爾．叔本華所提出的「刺蝟困境」。韓忠錫擅長繪畫動物及人物角色，並且從「關係」這個詞語中發想創作。在大雪紛飛的冬日裡，兩隻貓頭鷹靜靜地待在一起，牠們之間保持著一個說不出遠近的微妙距離，瞇著細細的眼睛用餘光看著觀者，也間接營造了對觀者的距離感，反而吸引著我們更想走近看清神秘的眼神裡透露什麼訊息。圓滾滾的身軀，頭頂著厚厚的積雪，想必牠們已佇立許久，似乎也正在思考如何突破牠們的「刺蝟困境」。

258 HAN CHOONGSEOK ( Korean, b.1981 )

Never Give Up 91 x 116.8 cm Acrylic on Canvas Signed on the side of canvas: Choong Seok in English

NT$ 400,000-600,000 US$ 12,600-18,800

韓忠錫永不放棄 2020 壓克力畫布畫布框側面簽名： choong seok

韓忠錫為韓國當代藝術家，創作內容大多以「關係」為出發，韓國的歷史發展及風俗民情，大大的影響他們一生的待人處事，嚴謹的人際交往社會行為準則，使人與人之間豎立一道名為禮儀的高牆，而南北韓劍拔弩張的緊張關係，也讓社會多了一絲冷漠。韓忠錫筆下可愛如卡通般的角色，除了男孩、女孩外還有四種動物，貓頭鷹、狗、貓咪、兔子，他們皆以相似的表情注目著觀眾，在逗趣的外型與活潑溫暖的配色下，想表達的情緒卻是一種自我保護、防禦的心理狀態。畫作裡的粉紅兔子，乘坐著坦克車，伸出短短的手比了一個倒讚，想要傳達的是對戰爭的反對，這輛坦克車不是冰冷堅硬的鋼鐵，而是溫潤簡易的木頭造型，木頭沒有辦法經歷轟炸、惡劣環境，且木製的履帶有稜有角，不良於行，堅定的展現出不願戰爭的的態度，戰爭付出的代價太大，沒有任何人能承受，期許世界可以一起為了和平「永不放棄」。

MODERN AND CONTEMPOR ARY ART

301

259 PEX (PITAKPONG JAMESRIPONG) ( Thailand, b.1971)

New Road 150 x 150 cm Acrylic on Canvas Signed Pex in English and dated 2021 With a certificate of authenticity from gallery

NT$ 350,000-500,000 US$ 11,000-15,700 302

ZHONG CHENG 中誠

Pex ( 皮達蓬．詹姆士里蓬 ) 新的路程 2021 壓克力畫布簽名：Pex 2021 附畫廊開立之原作保證書

自一九九一年 Pex 獲得視覺傳達藝術學士學位。多年來先是擔任各種雜誌的自由插畫師，而後意識到，成為一名漫畫藝術家和動畫師使他的生活更加有趣。二〇一五年，他所創造的角色「Mari」栩栩如生，可愛的形象備受大眾喜愛，也開始了他的美術畫家生涯。以「Mari」為媒介，Pex 的一系列作品展現了一種深刻的情感表達，呼籲觀眾重新探索內心深處的純真。俏皮可愛的人偶背後蘊含了他對於社會複雜情感的揭示，讓觀眾更深層次地思考人性和情感的交織。 Pex 不僅僅是在呈現一種藝術風格，更是在呈現人們內心世界的複雜性，並以一種嶄新的視角來啟發觀眾去看待自己的情感和想法。此作品以其獨特的創意和深刻的情感，為我們呈現了一個充滿可能性藝術世界和嶄新的路程。

260 TAKASHI MURAKAMI

村上隆

( Japanese, b.1962 )

DOB 與我

Me and Mr. DOB

2009 膠印版畫限量 300 版簽名：M 跟版數

68 x 68 cm Lithograph, edition of 300 Signed M in English and edition number

NT$ 40,000-80,000 US$ 1,300-2,500

MODERN AND CONTEMPOR ARY ART

303

261 TAKASHI MURAKAMI ( Japanese, b.1962 )

a. Inside the Rainbow's Heart b. Burying My Face in the Field of Flower c. Beyond the Dimensions DiameterØ 71 cm (3) a. Lithograph, 135/300 b. Lithograph, 135/300 c. Lithograph, 135/300 a. Signed M in English and numbered 135/300 b. Signed M in English and numbered 135/300 c. Signed M in English and numbered 135/300

NT$ 180,000-300,000 US$ 5,700-9,400 村上隆 a. 彩虹的心中 b. 把臉埋在花田中 c. 超越維度 2022 a. 膠印版畫 135/300 b. 膠印版畫 135/300 c. 膠印版畫 135/300 a. 簽名：M 135/300 b. 簽名：M 135/300 c. 簽名：M 135/300

a. b. c.

304

ZHONG CHENG 中誠

262 TAKASHI MURAKAMI ( Japanese, b.1962 )

a. And Then x 6 (Marine Blue: The Superflat Method) b. And Then x 6 (Red: The Superflat Method) 50 x 50 cm (2) a. Lithograph, 79/300 b. Lithograph, 80/300 a. Signed M in English and numbered 79/300 b. Signed M in English and numbered 80/300

NT$ 100,000-160,000 US$ 3,100-5,000 村上隆 a. 然後 x 6 ( 海洋藍：超扁平主義 ) b. 然後 x 6 ( 紅色：超扁平主義 ) 2013 a. 膠印版畫 79/300 b. 膠印版畫 80/300 a. 簽名：M 79/300 b. 簽名：M 80/300

a. b.

MODERN AND CONTEMPOR ARY ART

305

263 TAKASHI MURAKAMI ( Japanese, b.1962 )

Hypha Will Cover the World, Little by Little 65.5 x 130 cm Lithograph, edition of 300 Signed M in English, dated 2007 and edition number

NT$ 60,000-120,000 US$ 1,900-3,800

306

ZHONG CHENG 中誠

村上隆菌絲將逐步襲捲世界 2007 膠印版畫限量 300 版簽名：M 07 跟版數

264 TAKASHI MURAKAMI ( Japanese, b.1962 )

Black Beard 68 x 68 cm Lithograph, edition of 300 Signed Takashi in English, dated 2004 and edition number

村上隆黑色的俏鬍子 2004 膠印版畫限量 300 版簽名：TAKASHI 04 跟版數

NT$ 40,000-80,000 US$ 1,300-2,500

MODERN AND CONTEMPOR ARY ART

307

265 TAKASHI MURAKAMI ( Japanese, b.1962 )

a. Kaikai Kiki & Me: On the Blue Mound of the Dead b. Flowers and Death and Me and... c. Obliterate the Self and Even a Fire is Cool 50 x 50 cm (3) a. Lithograph, 127/300 b. Lithograph, 75/300 c. Lithograph, 153/300 a. Signed M in English and numbered 127/300 b. Signed M in English and numbered 75/300 c. Signed M in English and numbered 153/300

NT$ 120,000-240,000 US$ 3,800-7,500 村上隆 a. Kaikai Kiki 與我：在藍色死者墳堆上 b. 花與死與我與 ... c. 抹殺自我，火也涼 2013 a. 膠印版畫 127/300 b. 膠印版畫 75/300 c. 膠印版畫 153/300 a. 簽名：M 127/300 b. 簽名：M 75/300 c. 簽名：M 153/300

a. b.

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266 TAKASHI MURAKAMI

村上隆

( Japanese, b.1962 )

我睜開雙眼卻看不到風景。我將目光鎖定在我的內心

I Open Wide My Eyes but I See no Scenery. I Fix My Gaze upon My Heart

2007 膠印版畫限量 300 版簽名：M 07 跟版數

70 x 80 cm Lithograph, edition of 300 Signed M in English, dated 2007 and edition number

NT$ 40,000-80,000 US$ 1,300-2,500

MODERN AND CONTEMPOR ARY ART

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267 TAKASHI MURAKAMI

村上隆

( Japanese, b.1962 )

Mr. Dobtopus A 與 B

Mr. Dobtopus A&B

2017-2018 a. PVC 限量 400 件 b. PVC 限量 800 件

a. 29 x 33 x 26 cm b. 20 x 32 x 24 cm a. PVC, limited edition of 400 b. PVC, limited edition of 800

附原廠包裝紙盒 (2)

The work is accompanied by its original box (2).

NT$ 90,000-150,000 US$ 2,800-4,700

a. b.

310

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268 DANIEL ARSHAM

丹尼爾．阿爾軒

( American, b.1980 )

RIMOWA Eroded Attaché

RIMOWA Eroded Attaché

2019 石膏玻璃碎片 RIMOWA 手提箱限量 500 件

Sculpture: 20 x 29 x 9 cm Suitcase: 38 x 45 x 14 cm Plaster with Glass Fragments and RIMOWA Briefcase, edition of 500 EXHIBITION:

"Perpetual Present - DANIEL ARSHAM," How Art Museum, Shanghai, China, June 29thOctober 24th, 2019 (another edition) With a certificate of authenticity from RIMOWA

NT$ 80,000-120,000 US$ 2,500-3,800

展覽：「現在 ‧ 在現 - 丹尼爾．阿爾軒」，昊美術館，中國上海，2019 年 6 月 29 日至 2019 年 10 月 24 日 ( 另一版數) 附 RIMOWA 原廠保證書

來自美國的新生代藝術家 - 丹尼爾．阿爾軒 (Daniel Arsham) 是天生的色盲，卻因為其不同的創作角度使缺陷成為他的特色，熱愛考古且擅長闡述過去與未來的關係。此次他與 RIMOWA 合作，以時空旅行為主題，同時打造「現在」及「過去」的斑駁行李箱雕塑作品，限量發售 500 套，每一件皆標示了編號。 RIMOWA 選擇了名為「Classic Attaché」的舊型號手提箱，讓 Arsham 以沙粒、火山灰、玻璃等材料，創作出雕塑版本。雕塑手提箱外型帶有侵蝕、水晶化效果，看上去就似一個真正的手提箱，經過長時間遺失於歷史時空中，直至今日才在遺跡中被人發掘，飽經風霜後得以重見天日，藝術家保留了雕塑創作的原始白色，以考古和珍貴作品專用的白手套來觸碰，呈現其特別的作品互動觀念，提供觀者思考該物質來自不同界域的價值可能。

MODERN AND CONTEMPOR ARY ART

311

269 NAOKI GUJO

公庄直樹

( Japanese, b.1982 )

沐浴在陽光下

Basking in the Sun

2023 手工彩繪榧木 ( 僅此一件 ) 底部簽名：G.

11 x 15 x 18 cm Colored on Grand Torreya (unique work) Signed on the bottom: G in Graphics With a wooden box signed by the artist.

NT$ 130,000-150,000 US$ 4,100-4,700

附藝術家親簽之作品木盒

「沒有什麼比安穩的睡眠更令人滿足的了。我認為這對動物來說也是一樣的。動物在睡覺時會做什麼樣的夢？我想像人的夢境和動物的夢境，並將它們變成藝術品。」 --- 公庄直樹公庄直樹出生於一九八二年，是一位來自日本的藝術家，二〇〇七年畢業於京都市立藝術大學美術學部工藝漆藝系，二〇〇九年獲取漆器專業的碩士學位，他喜愛將腦中的想像與夢境裡出現的生物作為靈感，創造出各式各樣新奇的角色，而這些角色大部分都是處於睡眠的狀態，增添了些許的神祕感，以及猜疑想法的模糊地帶。原先僅存在於公庄直樹的幻想之中，而他的創作使得這些可愛的靈氣動物無限的存在於觀眾的心中。《沐浴在陽光下》的九尾狐尾巴霧白色的暈染，使整體色澤明亮，襯托出狐狸本身精細的工藝與彩繪。瞇起的雙眼彷彿是一隻沐浴在暖陽下沉睡的九尾狐寶寶，看著靈獸如此安穩的可愛睡顏，就能感受到一股溫暖平和的療癒力量環繞在周圍，令人感到心曠神怡、神采奕奕！

312

ZHONG CHENG 中誠

270 NAOKI GUJO

公庄直樹

( Japanese, b.1982 )

秋天的顏色

Autumn Colors 14 x 19 x 24 cm Colored on Torreya Grandis and Ginkgo Biloba (unique work) Signed on the bottom: G in Graphics With a certificate of authenticity from gallery

NT$ 130,000-150,000 US$ 4,100-4,700

2022 手工彩繪香榧木銀杏木 ( 僅此一件 ) 底部簽名：G. 附畫廊開立之原作保證書

公庄直樹在孩童時期經常在大自然中玩耍，喜愛觀察各種各樣的昆蟲和動物，對於尋找奇特生物產生極高的好奇心，總是被一些特殊的形狀和圖案所吸引。有時候，這些生物甚至會出現在他的夢境之中，公庄直樹透過回憶和想像來表達那些存在於夢境裡的神秘生物；並經由現實生活中所觀察到的元素，與幻想之境出現的超現實素材，進而創造出許多擁有自由靈魂與神秘色彩的療癒生物。《秋天的顏色》就如其名，秋天就會想到楓葉，橘黃色的尾巴在狐狸身後四散開來，猶如一大片蓬鬆柔軟的楓葉，襯托出狐狸本身精細的工藝與彩繪；而柔和的暖色調加上靈動生物的安定能量，使人心緒平穩，療癒著觀者的心靈，就像是秋天般的舒適感。

MODERN AND CONTEMPOR ARY ART

313

271 MAIKO KOBAYASHI ( Japanese, b.1977 )

Moving Colours 60 x 60.2 cm Coloured Pencils and Oil Pastels, Screenprint, edition of 50 Signed MK in English, dated 2023 and edition number With a certificate of authenticity from manufacturer and signed by the artist Each archival pigment print has been uniquely handfinished by the artist in coloured pencil and oil pastel – drawing out the soft tactility of her tender creation.

NT$ 60,000-80,000 US$ 1,900-2,500 314

ZHONG CHENG 中誠

小林麻衣子移動的色彩 2023 彩色鉛筆油畫棒絲網印刷版畫限量 50 版簽名：MK ' 23 跟版數附藝術家親簽之原廠保證卡每張版畫都由藝術家以彩色鉛筆和油畫棒親手上色完成，以呈現她溫柔創作的柔和觸感。

藍色、黃色和棕色的不規則色塊相互交疊旋轉著，像是某個奇幻空間即將形成抑或是瓦解的過程。而在這感受時空流動的背景中，一個有著圓頭及大垂耳的米白色生物就如時間靜止般的在畫面中央。它悲傷倦怠的姿態、低垂空洞的神情和周遭產生了一個奇妙對比。「我們的精神狀態是一個極其脆弱的東西，注意力往往很容易被外在事件所吸引。」小林麻衣子說道，當受環境影響時她會拼命地觀察及思考，通過創作來延伸感覺，將心中無形積累的東西表現出來。就如跟隨畫面中她親手繪製的彩色蠟筆線條般，從中尋找通往思想源頭的線索。

a. b.

272 ALEX FACE (PATCHARAPOL TANGRUEN)

亞歷克斯．費斯 ( 帕查拉波爾．唐魯恩 )

( Thailand, b.1981 )

2020 絲網印刷版畫 27/50 (2) a. 簽名：27/50 Alex Face b. 簽名：27/50 Alex Face

a. Playground's Border No.1 b. Playground's Border No.2 40 x 80 cm (2) Screenprint, 27/50 (2) a. Signed Alex Face in English and numbered 27/50 b. Signed Alex Face in English and numbered 27/50

a. 遊戲場邊界 No.1 b. 遊戲場邊界 No.2

NT$ 70,000-140,000 US$ 2,200-4,400

MODERN AND CONTEMPOR ARY ART

315

273 KANESAWA SYU ( Japanese, b.1992 )

a. Night and Pendulum b. Distant Memory Universe (Sky) 27.5 x 27.5 cm (2) Acrylic on Canvas (2) Signed Syu in English (2) Signed on the reverse: Kanesawa Syu and titled in Japanese, dated 2022 (2)

NT$ 80,000-100,000 US$ 2,500-3,100 金澤修 a. 夜與鐘擺 b. 遙遠的記憶宇宙 ( 天空 ) 2022 壓克力畫布 (2) 簽名：Syu (2) a. 背面簽名：夜と振り子金澤シュウ 2022 b. 背面簽名：遠い記憶の宇宙金澤シュウ 2022

金澤修（Syu Kanesawa）是當代日本藝術界嶄露頭角的新銳藝術家，以其獨特的視覺風格和創作理念而聞名。他的作品展現了對虛構和現實世界之間的微妙聯繫的深刻思考。金澤修的創作理念關於人與人之間的聯繫。即使在網路普及的時代，人類之間仍然很難輕鬆地相互交流。因此，藝術家創造了一種想像中的生命形式，稱之為 "Contactor"，以代替他自己進行與他人的接觸。這種創作理念強調了模糊性和未知性的價值，透過藝術家創造的未知空間來連接不同元素，使一切變得更加柔和，彼此間相互聯繫。

a . b.

316

ZHONG CHENG 中誠

274 LIU KUOSUNG ( Taiwanese, b.1932 )

Four Season Porcelain Plates Diameter Ø 23 cm (4) Ink and Color on Porcelain Plates (4) Print signed: Liu Kuosung in Chinese, dated 1999 (Spring version) With two seals from the artist (Print on each artwork) With a certificate of authenticity sealed by the artist

劉國松四季系列瓷盤春芽、夏林、秋陽、冬雪 1999 彩墨瓷盤 (4) 印刷簽名：劉國松一九九九 ( 春芽 ) 印刷鈐印：劉 ( 朱文 )、國松 ( 白文 ) (4) 附藝術家鈐印之原作保證卡

NT$ 90,000-150,000 US$ 2,800-4,700

劉國松，生於安徽，遷台後進入師範大學美術系，在東方美學薰陶與西方藝術思潮、繪畫技法的激盪下，走上繪畫革新的道路；致力於歐美藝術新觀念技巧的引入，建立中國繪畫的新傳統，劉國松深受傳統哲學思想重視人與自然和諧的宇宙觀影響，師法自然、講求氣韻；在東方與西方、傳統與現代之間，以水墨繪寫出天地自然的靈動、抽象詩意境界的迷離邈遠，深具時代性與獨特性。本系列創作瓷盤為一九九九年限量發行，四季如詩在藝術家筆下呈現各具風姿的韻情，嬌柔明媚的春芽、蓊鬱蒼蒼的夏林、暖拂溫煦的秋陽、皚皚映照的冬雪，感受大自然散發獨特魅力與風采，在瑰麗自然中領略天地大美與徜徉藝術家獨有風格之中。

MODERN AND CONTEMPOR ARY ART

317

275 LIU KUOSUNG ( Taiwanese, b.1932 )

Ripples: Jiuzhaigou Series, No.12 (Art Table Lamp) 20 x 38 x 49 cm Light Bulbs and Mixed Media Print signed: Liu Kuosung and dated 2001 in Chinese, with one seal of the artist

NT$ 60,000-100,000 US$ 1,900-3,100

318

ZHONG CHENG 中誠

劉國松漾 - 九寨溝系列之 12 ( 藝術桌燈 ) 燈泡、綜合媒材印刷簽名：劉國松二〇〇一跟藝術家鈐印

《漾：九寨溝系列之 12》是劉國松在二〇〇一年創作的水墨作品，屬於他的九寨溝系列之一。這一系列作品受到了九寨溝風光的啟發，特別是九寨溝海子的美景。劉國松第一次參觀九寨溝後，被其美麗的湖泊和水景深深吸引，九寨溝因特殊的礦物質沉澱，使各個湖泊在陽光下呈現出多彩的色彩。藝術家以此為創作靈感，嘗試再現水面上波光粼粼的景象。劉國松進行了多次實驗，包括嘗試不同種類的中國畫紙，以及運用水拓和漬墨的技巧。最終，他成功地採用了描圖紙和漬墨法來表現九寨溝的獨特之美。漬墨法利用墨的滲透性來創造出自然效果，而不是依賴傳統的毛筆技巧。這種方法使作品呈現出一種自然、靈動的氛圍，使畫面充滿了活力和動感，同時又保留了水墨畫獨有的靜謐之美。

「我們盡我們所能看到的，賦予形與色彩自身的意義；在題材裡，我們保有發現新事物、新感受所帶來的喜悅；題材必須是樂趣的來源。何必多談我們的藝術？想看的人都可以來看！」 --- 巴勃羅．畢卡索 (Pablo Ruiz Picasso)

276 PABLO RUIZ PICASSO ( Spanish, 1881-1973 )

Dans Van de Jeugd Diameter Ø 24 cm Limoges Porcelain, edition of 1000 Print signed: Picasso in English and 25.7 61. Print on the reverse: Distribue par editions Bernanrd Van Dyck, Limoges France, and edition number

NT$ 40,000-60,000 US$ 1,300-1,900

巴勃羅．畢卡索青春舞曲 1960 利摩日瓷盤限量 1000 版印刷簽名：Picasso 25.7 61. 背面印刷：「Distribue par editions Bernanrd Van Dyck」Limoges France 跟版數

被譽為二十世紀最偉大的藝術家之一，畢卡索幼年即顯現出眾的藝術才華，於一八九八年，其與巴塞隆納的前衛派藝術界經常往來，更接觸了充滿民間藝術的人道主義色彩和象徵主義主題的環境，也對其往後的成長產生了深刻的影響。《青春舞曲》中畢卡索鍾愛的鴿子形象成為了和平的象徵，青年們踏著輕快的步伐圍成圈，歡欣鼓舞的姿態以及明麗活潑的塗色表現出靈動的青春意象，簡略的形狀賦予圖像形式上的自由，靜態的畫裡展現出源源不絕的青春活力，稚拙中透顯出具想像力的藝術語言。

MODERN AND CONTEMPOR ARY ART

319

277 SALVADOR DALI ( Spanish, 1904-1989 )

a. Mad Tristan b. Christ of Gala a. 25 x 39 cm b. 34.3 x 34 cm a. Lithograph, 1341/2000 b. Lithograph, 45/2000 a. Signed Dali in English and numbered MCCCXLI/MM b. Signed Dali in English and numbered XLV/MM

NT$ 70,000-100,000 US$ 2,200-3,100 薩爾瓦多．達利 a. 瘋狂崔斯坦 b. 加拉的基督 b. 1984 a. 石版畫 1341/2000 b. 石版畫 45/2000 a. 簽名：MCCCXLI/MM Dali b. 簽名：XLV/MM Dali

a. b.

320

ZHONG CHENG 中誠

278 SALVADOR DALI ( Spanish, 1904-1989 )

La Fecundidad 38 x 33 cm Limited Silver Relief, I/323 Relief signed: Salvador Dalí and title in Spanish With a certificate of authenticity signed by the artist on the reverse

NT$ 60,000-100,000 US$ 1,900-3,100

薩爾瓦多．達利 La Fecundidad 1980 限量銀浮雕編號 I/323 浮雕簽名：LA FECUNDIDAD - SALVADOR DALÍ 附藝術家親簽之原作保證書 ( 背面 )

達利 (Salvador Dali) 生於西班牙費格拉斯，創作深受不同藝術流派的影響，兼具古典與前衛形式，涵括文藝復興時期之古典風格，以及近現代之印象派、野獸派、立體派等，因此其作品呈現出多樣而特殊的面貌。其作品兼容達達主義與超現實主義 (Surrealism)，同時受到理論背景為弗洛伊德的精神分析學說影響，以一種離奇古怪、夢境般的形式，將軟化變形的鐘錶在枝頭上融化，呈現夢及潛意識狀態。《La Fecundidad》中無法辨識面容的女子高舉雙臂，力與美構成的流暢線條，使女體充盈著生命張力，作為女性生育能力之象徵的穗花顯露，卻蘊藏一種詭譎神秘的氛圍，銀浮雕的材質投射出藝術家無以名狀的心理狀態，非邏輯性的視覺刺激著觀者的想像空間，達利獨有的奇詭想像力在此作中表露無遺。

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321

279 TAKASHI MURAKAMI ( Japanese, b.1962 )

a. Mr. DOB b. Superflat Museum: One Complete Sets a. 19.7 x 28.7 x 23.5 cm b. Figure Box: 4 x 9.1 x 13 cm (10) a. PVC, edition of 750 b. PVC, edition of 30,000 (10) a. Trademark © TM/KK COMPLEXCON "BAIT" "SWITCH" ® a. The work is accompanied by its original box. b. A complete PVC painted character and figure assembly kit (10 figures in total), each in a original carton with a booklet and numbered certificates, edition of 30,000 (10).

村上隆 a. Mr. DOB b. 超扁平博物館：一組套 a. 2016 b. 2004 a. PVC 限量 750 件 b. PVC 限量 30,000 件 (10) a. 註冊商標 © TM/KK COMPLEXCON "BAIT" "SWITCH" ® a. 附原廠包裝紙盒 b. 一套完整的 PVC 彩繪人物和人物組裝套件 ( 共 10 個人物 )，每件原廠包裝紙盒內皆配有小冊子和編號證書，限量發行 30,000 件 (10)。

NT$ 60,000-100,000 US$ 1,900-3,100

a. b.

322

ZHONG CHENG 中誠

280 IKUMI NAKADA ( Japanese, b.1982 )

Cloud Killers - Puku & Niko a. 33.5 x 27 cm (2) b. 12.5 x 12.5 x 19.5 cm (left) 12.5 x 10 x 19.5 cm (right) a. Autographed Poster (a set of two) b. Polystone, Hand-Painted, 101/120 a. Signed Ikumi Nakada in English (2) b. With a certificate of authenticity signed by the artist b. The work is accompanied by its original gallery box.

NT$ 50,000-70,000 US$ 1,600-2,200 中田郁美雲朵殺手 - 兩隻小章魚 b. 2020 a. 親簽海報 ( 兩件一組 ) b. 寶麗石粉樹脂手工塗漆 101/120 a. 簽名：IKUMI NAKADA (2) b. 附藝術家親簽之原作保證卡 b. 附原畫廊包裝盒

a. b.

MODERN AND CONTEMPOR ARY ART

323

281 YOSHITOSHI KANEMAKI

金卷芳俊

( Japanese, b.1972 )

人物隨想 01

Caprice Figurative 01

2020 樹脂限量 120 組 ( 兩件一組 )

17.8 x 16.5 x 33.7 cm (2) Resin, edition of 120 (a set of two)

附藝術家親簽之原作保證卡 (2)

With a certificate of authenticity signed by the artist (2) The work is accompanied by its original box (2).

NT$ 120,000-180,000 US$ 3,800-5,700

附原廠包裝紙盒 (2)

《人物隨想 01》是擁有十多張臉孔的女孩，雖然身體是一個普通少女，但是頭部由十多張臉以環形組成，無論前面還是後面都能看到少女的臉孔，每張臉都擁有不同的表情、心境，呈現出人所蘊藏的不同面貌，表面行為和內在想法之間的瞬捷、心猿意馬的矛盾。金卷芳俊的雕塑常是一個人有著多張臉或是同樣的人有著不同的兩種服裝、表情…等。關注人們的漫長時間軸，他將這些不同面貌全都具體化出來，掌握了一種簡而有力的語彙，濃縮在雕塑中，而雕塑所表現了超越時間、空間、時代的精神面貌。

「他並未追隨其中任何一種特定風格，而是反覆琢磨現代年輕人的形象，持續製作多面多臂像。」 --- 日本美術史學者 - 山下裕二

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282 YOSHITOSHI KANEMAKI ( Japanese, b.1972 )

Caprice Papyrus 03 (Edition Print) 43.2 x 32 cm (2) Print on Lenticular Lens, edition of 110 (a set of two) Print signed: Yoshitoshi Kanemaki in English (2)

金卷芳俊隨想草圖 03 ( 限量版畫 ) 2020 光柵印刷版畫限量 110 版 ( 兩件一組 ) 印刷簽名：Yoshitoshi Kanemaki (2) 附畫廊開立之原作保證卡 (2)

With a certificate of authenticity from gallery (2)

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

MODERN AND CONTEMPOR ARY ART

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283 PEX (PITAKPONG JAMESRIPONG) ( Thailand, b. 1971)

I'm Back!!! 35.5 x 25.2 cm Watercolor and Marker on Paper Signed Pex in English and dated 2020 With a certificate of authenticity from gallery

NT$ 50,000-100,000 US$ 1,600-3,100

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Pex ( 皮達蓬．詹姆士里蓬 ) 我回來了！！！

Pex 以一系列瑪莉的遊樂場與我的素描本為主題創作，於世界巡迴展出。標誌性的角色「Mari」，備受大眾及市場青睞，推動泰國現代藝術登向國際的舞台。

2020 水彩麥克筆紙本簽名：Pex 2020

「我個人有一個信念，那就是在每個人的內心深處，還有一個隱藏的孩子。」--- Pex ( 皮達蓬．詹姆士里蓬 )

附畫廊開立之原作保證書

Mari 代表者 Pex 的心靈成長紀錄，透過作品展現出內心的躊躇與勇氣，這種情感的表達引發觀眾共鳴，讓人們從中找到自身心理的共同感受。二〇二〇年新冠疫情的影響，整個世界與人類的生活發生了巨大的改變。Pex 以 Mari 輕鬆戲謔的態度表現出新冠帶來的衝擊，也流露出畫家對社會的關懷與展望。

投標牌號分級新制度之重要告示自2020年秋季拍賣會，中誠將實施投標牌號分級制度，並針對欲競投高預估價拍品之競投者，收取預付保證金。以下條款為詳細敘述：

預先登記及保證金新制中誠可要求有意競投在目錄內預估價低標為新台幣30萬元以上(含)之競投者，在完成預先登記程序時，交付新台幣30萬元或其他由中誠決定之更大金額的保證金，以作為參加中誠拍賣的保障。

投標牌號分級說明預先登記的投標牌，將以預估價低標為基準分為以下兩種類型： a. 淺藍色投標牌：準買家欲競投之拍賣品，其預估價低標為新台幣30萬元以下者。 b. 深藍色投標牌：準買家欲競投之拍賣品，其預估價低標為新台幣30萬元以上(含)者。

MODERN AND CONTEMPOR ARY ART

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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。

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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.

拍賣業務規則下列條款，係作為本公司作為拍賣公司與賣家訂立合約，亦為賣家之代理人與買家訂立合約之條款。買家及賣家請務必細讀，並接受下列條款規定。

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，準買家應於拍賣進行之前親自鑑定有興趣競投之物品。本公司就任何拍賣品及拍賣證明文件之真偽，均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，惟不包括所有的缺陷、瑕疵與不完整。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣品狀態不作任何承諾或保證。 3.符號表示以下為小目錄所載符號之說明ｏ保證項目拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家佣金。 4.目錄說明本公司於目錄中或有狀態陳述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。 5.買家之責任有關物品狀況及目錄說明所提述事項，買家有責任自行查明並瞭解，並就拍賣品為自己獨立之判斷及評估，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。 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

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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.拒絕入場拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣。 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。準買家如希望確保競投成功，應親自出席競投。 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，如未能聯絡或無法參加電話競投，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板，匯率轉換顯示板僅供參考。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。 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20%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）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。

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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，以本公司發出之憑證為準。 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，不論是明示或暗示均無就任何拍賣品作出任何保證。任何種類之任何擔保，均

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不包含在本條之內。 6. 膺品/贓物之退款如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。但如： a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見，或 b.證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退款： (1)買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關拍賣品乃膺品之詳細理由及證據；且 (2)買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況應維持與拍賣當日相同，不得有任何損壞；及 (3)送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第三人之索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證拍賣品是否屬於贗品結果與買家出示證據相衝突者，應以本公司驗證結果為準。

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之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

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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。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、費用之或開支，而不論是因拍賣品還是因拍賣收益而引起。

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拍賣安排 1.本公司對目錄內拍賣品之描述與圖示方式、作品估價、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，本公司亦擁有無須賣方同意即可撤回拍賣品之權利。 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.賣家不得以自己或第三人名義隨意哄抬價格，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，唯本公司有權代理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

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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，買家使本公司相信或懷疑該拍賣品為膺品（如本業務規定界定者）或贓物或涉及任何不法情事者，本公司得自行決定，則 a.如買家尚未支應付之全部款項，本公司有權取銷交易；及/或 b.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。 c.如本公司屆時已支付賣家全部或部份應付款項，賣家並應於本公司通知後，於三天內無條件將該款項悉數退還本公司。在本項規定之a. b. c.三種情況下，賣家應於十日內付清相關退還款、基本支出費用，及賠償本公司因此所致之所有損失、損害及相關費用等。逾期退還、給付者，賣家應另外支付按不超過臺灣銀行放款利率加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。本公司亦得自行選擇將賣家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下賣家之款項，賣家絕無異議。且，本公司將行使留置權，將在本公司控制下之屬於賣家之任何物品留置作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，賣家絕無異議。

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其他事項 1.稅制 a.標的成交後，賣家委託者應提供護照、身份證、公司登記資料等符合中華民國稅法規定與稅捐機關要求的各項證明文件，或開立統一發票給本公司。 b.委託者如屬台灣公司法人，請以落槌價或委託底價(如委託底價高於落槌價)內含5%營業稅開立統一發票給本公司。 c.委託者如為台灣個人或於課稅年度居住台灣滿183天之外籍人士，其能提供符合中華民國稅法規定與稅捐機關要求的身份證明文件與相關資料予本公司者，應自行辦理年度所得稅申報。委託者於申報所得稅時，如能提出交易時之成交價額及成本費用之證明文件者，其財產交易所得之計算，依法核實認定。其未能提出計算所得之證明文件者，則應以落槌價或委託底價(如委託底價高於

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Terms and Conditions of Business

落槌價)之6%作為財產交易所得併入年所得中申報綜合所得稅。 d.委託者如為不符合上述之外籍人士，本公司將依法代扣落槌價或委託底價 (如委託底價高於落槌價)之3%。作為拍出後之所得稅，由本公司代為申報並繳交稅捐單位。如稅捐單位調整稅率，本公司得根據新訂稅率計算稅款並代扣及申報。 2.電氣及機械部件拍賣品如含有任何電氣或機械部件，賣家須負責確保此等部件處於安全操作狀況。賣家須全部償還本公司一切因賣家違反上述保證及擔保而引起之損害、索價、費用或開支。另有特殊附加條件對此等項目適用，有關條件可向本公司索取。

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.智慧財產權與拍賣品有關之一切影像、圖示與書面材料之相關智慧財產權(包括但不限於著作權、專利等)，於任何時候均屬於本公司之財產及所有。未得本公司事先書面同意，賣家、買家或任何人均不得使用。 2.通知 a.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，即視為收件人已合法收受；如收件人在海外，則為付郵寄出後第五個工作天，視為收件人已合法收受。 b.本公司根據本業務規則、委託授權書或買家所提供之聯絡資料對賣家或買家發出之通知，凡已依據委託授權書後附或買家所提供資料上所載的地址、電子郵件地址或傳真號碼統稱「聯絡方式」)以書面發出該通知者，均視為該通知已有效發出。若賣家或買家之聯絡方式有變更時，應立即以書面通知本公司。 3.可分割性 a.如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執行，則該部分可不予理會，而本業務規則之其他條款仍繼續有效及可強制執行。 b.本業務規則第二條買家條款項下之各條款，專屬適用本公司與買家間法律關係，賣家不得主張適用。本業務規則第三條賣家條款項下之各條款，專屬適用於本公司與賣家間法律關係，買家不得主張適用。 4.本業務規則同時存在中文及英文版本，如二版本內容有所歧異，應以中文版條文為準。 5.本業務規則得隨時由本公司修改，買方及賣方均同意遵守修改後之業務規則。 6.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。

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. we provide no guarantees to the buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates. 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. The Company does not guarantee that the Lots on auction are in good working condition and the description in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a Prospective Buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of face, not for representations or warranties. C. Symbol Key The following key explains the symbol you may see inside the small catalogue. ｏGuaranteed Property

The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium. D. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and conditional reports or certificates thereof 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. E. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying him/herself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgments or estimation independently regarding the Lot.

■ 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 auction is held at the premises of the Company or any location where the Company has control of the auction. The Company has full discretion, to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. 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. The prospective Buyer should attend the auction in person if they wish to ensure a successful bid. G. Telephone Bids The Company will make reasonable efforts to contact the bidder so he/she may participate in the auction by phone if 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 or any failure to participate in the auction by phone under any circumstances. H. Currency Conversion Board The currency converter board will be utilized at the auction. The currency conversion board is not absolutely reliable and it is for reference only. The auction will be conducted in New Taiwanese dollars. Errors may occur in the operation of the currency converter board 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 reserves 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.

MODERN AND CONTEMPOR ARY ART

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■ 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 20% of the hammer price. For hammer price higher than NT$20,000,000, the first NT$20,000,000 should be calculated at 20%, 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 (1) The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, buyer’s premium and any applicable taxes) shall be paid within 7 days after the auction. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has 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. (2) 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 by the Company on the auction date and should be based on the certificates issued to such exchange rate. (3) 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 license) and confirmation of permanent address. Thank you for your cooperation. (4) 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: (1) 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

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ZHONG CHENG 中誠

or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. (2) 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: (3) 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. (4) 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. (5) 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 The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: A. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or B. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of a catalogue or a procedure unreasonably expansive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer’s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit. The Buyer must return the Lot to the Company within 14 days following the said notice and the condition of the item must be the same as on the auction day and without damage. (2) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern and third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who received the original invoice on which such Buyer’s name is recorded from the Company when the Lot is sold. Such buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer.

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 absolute discretion over the

Terms and Conditions of Business

description of the auction in the catalogue, display layouts, estimate price, 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 Price. 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 with his own or other third parties’ names, nor participate in the bidding of his/her auction item(s) with his own or other third parties’ name, however the Company 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. Counterfeits If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction 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, and shall pay the Company fees and expanses, and any and all losses, damages or related expanses and fees. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Bank of Taiwan plus ten percent (10%) per annum. In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensation for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries payment due to the Seller in other transactions. 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 the 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. The company is entitled to use such images in any manner it deems appropriate, and the Seller can not object. ■ Other Matters a. Taxes (1) The Seller shall provide passport, ID, company registration document or other necessary document or invoices to the Company for tax filing according to the tax laws of the Republic of China (Taiwan) or requirements of competent revenue agency. (2) If the Seller is a Taiwanese company (or other types of legal entity except for individual), the Seller shall issues an invoice amounting the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) with the 5% VAT included in such amount. (3) If the Seller is an individual who has domicile in Taiwan and resides in Taiwan, or who has no domicile in Taiwan but resides in Taiwan for a period of more than 183 days during a taxable year, and the Seller can provide sufficient and appropriate evidence for such standing to the Company, the Seller shall include the income derive from the transaction in the annual consolidated income tax report. The income amount will be the actual profit if the Seller can provide evidence of the sell prices as well as the original cost for obtaining such item(s). Where no sufficient evident of actual profit could be provided, the Seller shall include in the income tax report an income of 15% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) as the income derived from such property transaction. (4) Where the Seller is not Taiwan resident as described above, Seller agrees that the Company deducts 3% from the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) as income tax to the competent revenue agency according to the tax laws of the Republic of China (Taiwan). The amount to be deducted and filled with competent revenue agency by the Company shall be subject to change once the applicable tax rate is adjusted. b. Electrical and Mechanical Parts The Seller must be responsible for maintaining the safe operating condition of the electrical and mechanical parts of the Lots. The Seller must compensate the Company all damages, the claims, costs and expenses arising out of any violation of the said guarantee and warranty by the Seller. There are other special additional conditions apply to this provision. The relevant conditions are available at the Company.

5. “Forgery” means the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is for less than the value it should have according to the description in the catalogue, Therefore, no auction item will become a forgery as a result of any damage and/or any repairing in any manner (including repaints).

IV. Terms applicable to both the Buyer and the Seller

1. Intellectual Property Rights Intellectual property rights, photographs (including but without limitations, the copyright or patent) of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer, Seller or any person may not use such items without obtaining prior written consent from the Company. 2. Notices a. 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 served on the fifth working day following delivery by mail. b. Any written consultations, inquiries, and notification (hereinafter “communication”) made by Zhong Cheng Auction to the Mandator concerning matters as outlined in the Agreement will be deemed sufficient if the communication is made in writing and sent to that other party in accordance with that other party’s address, e-mail address or fax number as listed in this Agreemenet (the “contact information”). The Mandator shall notify Zhong Cheng in writing where there is a change in the contact information. 3. Severability a. 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. b. The condition of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply. 4. This Agreement is entered in to the parties in English and Chinese, If there is any conflict with two versions, the Chinese version shall prevail. 5. This agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer and the Seller agree to obey the revision or modification. 6. Jurisdiction The Transaction Agreement are governed under the R.O.C. law and the interpretation and effect of the Rules shall be subject to the laws of Republic of China. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of Taiwan Taipei District Court as the first instance for the interests of the Company.

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.

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ġࡅř٘‫׵ۦ‬ ʟȾѸՐΫԆ‫ײ‬ӽʦȩϜ ġࡅ ΉՅѸՐĚ 2023 ƌͳȇȋͳ‫׵ۦ‬

ѸՐūʿȇĲǍ ŭ ʃ ū 2023年12月10日 14:30 ѸՐŞŽ Ųɣϒͪ ‫ۦ‬Ǌġķ фЀ̤Ʊ‫ץ‬Ҟ‫؟‬മɢ ̶ ֛

ƧᐓĪ̟҆śଋĒơѸՐթΫԆѸՐ Ȟ뼷ɐฒჹŗĪȩϜ뼷ŗϔѪȗΫԆ ‫ײ‬ӽʦǟˠ뼶 ġࡅř٘‫ܕ׵ۦ‬΍ĈՃȓѣ фЀ̤ęȫҞമİɢ˗ь ̶ ( ǖƹ쨰 ̘Ŭ쨰 ȶđƂּ쨰 ɷŝȇՐŝƥʸ‫ך‬ǏѸՐЋϪᾞĲ ȢКŪӐ ƦᐓĪǟĦɷŝκ‫ݯ‬ǏѸՐ Ěʨ޿ŷŗĤф੊ж‫ޚ‬ѸՐȞƥɷɌ ͌Ӎ΀̜ɷŝƥ͘ů뼶 ˅ġࡅˠӨ‫צܩ‬뼷ǕȓѣĈ‫ˋܧ‬ж ‫ޚ‬ƌ̇ĀɷŝͱĤϢдऄȾĈвǻ΍ սǆǊɫ뼵ʘ࣋ŞɨսǆӍƌ̇č۷ սǆ뼶ĤϢд‫ˋݯ‬ġࡅ͎ࣂ؈ࡺţś ઐĈᐓĪ̆ǦƥսǆǊɫ뼵ʐɨӍ‫ݫ‬ Ǆսǆ뼷թ౷‫ܧ‬ġࡅīˋ‫ݫ‬Ǆзս뼶 ǕĉǜǋˈɩթᆯࡳǕʍԊʮԉǆ ƥƉǨĈˠӨ‫̖ צܩ‬ȎĄĈՃ̝ս뼵 ă‫ݹ‬ȺŴᑦᝎ̝ࠪǅ‫ܩ‬ǭ 뼷ǕơѸՐ ĚĘĀĂНιͲߴɩŗĘʰЃǨ‫޿ך‬뼶 ܼഢΫŪβ뼷Ǖĉǜǋж‫ޚ‬Ǣ၅ɚƥҔ ᾞ͌ȇ˖Ө͘뼶

ѸՐЋĻͳȩՐŝĦ΀̜ѸՐȞͯǉĂˍ͌ŗŧ˧ഢΫ뼶ѸՐЋƑĻͳȩՐŝŗ ˈΨΫԆͱഢΫƥƶКďѸՐȞǟśഢΫˢχРĖЪ͌뼶 ġࡅăĚˈઘᤂĂпſʻ쨞ͱȠǅծ੊쨟ƥƌ̇Ѓּ뼶˅ġࡅˠӨ‫צܩ‬뼷Ǖȓѣ Ĉ‫ˋܧ‬ж‫ޚ‬ƌ̇ĀɷŝͱĤܵϢऄȾĈвǻŒսǆǊɫ뼵ʘ࣋ŞɨսǆӍƌ̇č ۷սǆ뼶 ‫׼‬Ǐϯȗ뼵ƾ‫ؾ‬ˠӨ뼵̤ɀȖЗŗӍġࡅ͎ࣂƥ˖Өͱ‫܍‬ʑझ‫ܩ‬ǭƥůऻ뼷ġࡅ ĻĨˋϢдđ͎́ࣂȺĊĉѻնͱˋǉƁƶऄȾĈȯѻն뼷ƧƱᆼѻնǅ뼶ġࡅ ćλȦīϢдǆ‫ڪ‬ǜǋǡțăĚț˾ǅĊĉѻնǟȺŴůऻ뼶ĦᑞǄϢдǨđ́ ƥ˖Ө뼷ġࡅĈĻĨˋǉƁƶ뼷ƧৈӨȓѣໞ‫܋‬ѻն뼶֭֫ġࡅ؈ॸ뼷țđ́˾ ǉƁƶऒȶϢдƥॕ२뼷țϢдĀѻն̝‫ݦ‬뼶ǕĉǏˤѸՐΫԆ‫ײ‬ӽʦȩϜ‫ہ‬፴ 뼷 ̢ ǜ ǋ Ĉ ȯ ໞ ‫ ܋‬뼶 Ǖĉǜǋġࡅ̹ůǕĉѻնӍ֭֫ƉࢽະഢΫ͠ϱ‫ڇ‬ȇƉɷŝ ˠӨ‫צܩ‬ʮƦȾīƥȺŴѻն뼶

ǕĉƢિƧΫԆŪβ뼷Ǖĉ˅‫ޚ‬ƥ‫ן‬ɷ͌ЃĦŕŷƥҔᾞ͌ȀĘ˖Ө͘뼷˖Ө͘ ֘ŕŷҔᾞ͌୹ŗ˖Ө͘߀īƥ뼶 ɷŝ‫פ‬ж‫ޚ‬Ҕᾞ͌ʋ뼷Ԩ‫ݯ‬ж‫˖ޚ‬Ө͘ȇǕȓ ѣ뼷Ҕᾞ͌ǏĤф੊ пʻ ߒ ŗĪ͠뼷˖Ө͘߀ŗ ̟Κ쨱ɸļĤф੊ пʻĀˌŒ뼷˖Ө͘߀ŗ ̟Κ 뼶ǕĉǜǋˈɩթᆯࡳǕϝԊǨɚǨĈ ˠӨ‫צܩ‬뼶

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338

ZHONG CHENG 中誠

委託競投表格

委託競投表格須於拍賣會開始前24小時傳真至：中誠國際藝術股份有限公司

中誠2023秋季拍賣會

台北市大安區仁愛路四段33號10F-2

現代與當代藝術

電話：(02) 8773- 3565 傳真：(02) 8773- 2615 Email： ar t@ar t106.com 本公司將以電話方式進行確認，若未收到確實回覆，敬請主動來電查詢確認。

□ 書面委託

□ 電話委託

拍賣日期與時間: 2023年12月10日 14:30 拍賣地點: 微風南山藝文中心台北市信義區松仁路100號3樓

重要事項： (1)應中誠業務規則，本公司有權向支付現金的買家或新客戶索取有效身份證明文件、通訊地址證明及現金來源證明。新客戶須向中誠提供政府發出附有閣下照片之證明文件、住址及銀行證明，並授權中誠得向銀行查證。 (2)本人亦明白中誠為方便顧客而提供代為投標的服務，中誠不因怠於投標而負任何責任。倘中誠就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。 (3)本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。(買家除支付落槌價外，另須支付服務費與本公司，落槌價於新台幣 2000萬元(含)以下者，服務費率以20%計算；超過新台幣2000萬元的部分，服務費率以12% 計算)。

本人同意接受並遵守本圖錄內列明之給所有業務規則(特別是有限保證、不負其他瑕疵擔保等規定)，本次拍賣會上的一切交易均受以上條款所約束。若競投成功，本人同意支付已刊載之落槌價與服務費。本人同意中誠使用本人資料及根據給委託競投者指引與給買家業務規則內而取得之其他資料。本人明白所有電話競投會被錄音。

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WRITTEN AND TELEPHONE ABSENTEE BID FORM

The absentee bid form must be received by Zhong Cheng Auction 24 hours prior to the sale. The signed and dated form can be mailed, emailed or faxed to: ZHONG CHENG AUCTION CO., LTD

Zhong Cheng Autumn Auction 10 December 2023 at 14:30 Modern and Contemporary Art

10F-2, No. 33, Sec. 4, Ren’ai Rd., Da-an District., Taipei, Taiwan Tel：+886-2-8773-3565 Fax：+886-2-8773-2615 Email：art@art106.com We confirm all bids by phone. If you do not received our confirmation, please do not hesitate to contact us. This form is refer to □ Telephone Bids □ Absentee Bids

IMPORTANT (1) The sale will be conducted in accordance with Zhong Cheng’s Condition of Business and bidding and buying at the Sale will be regulated by these Conditions. Zhong Cheng has the right to request buyers in providing government issued photographic proof of ID, together with proof of address and bank reference. New clients must provide all the following documents. Failure to provide this may result in your bids not being processed. (2) I understands, Zhong Cheng auction provides the bidding service for the convenience of their customers. Zhong Chen Auction shall not be held liable for any failure to execute a bid. If Zhong Cheng Auction receives more than one bid at the same price with regard to a particular auction item, priority will be given to the bidder whose bid was received first. (3) I understands if the bid I placed was successful, I shall pay for the final hammer price, the service fee and any applicable sale tax. (The service fee of each lot payable by the buyer: The buyer shall pay the hammer price and, in addition, the service fee to Zhong Cheng Auction. If the final hammer price is below NT$ 20,000,000, the service fee shall be caculated at 20% of the hammer price. For final hammer price above the sum of NT$ 20,000,000, the service fee shall be caculated at 12% of the hammer price). By signing this form, I agree to be bound by Zhong Cheng’s Terms and Conditions of Business published in this catalogue, and all the terms and conditions of the auction applies. (Especially the limited guarantee and exclusive warrantees that may be provided for certain items) If any bids are successful, I agree to pay the published Buyer’s Premium on top of the final hammer price. I consent to the use of this information and any other information obtained by Zhong Cheng in accordance with the Guide for Absentee Bidders and Conditions of Business. If you would like further information on Zhong Cheng policies on personal data, or to make corrections to your information, please contact us at +886-2 8773-3565. I am aware that all telephone bid lines may be recorded.

Agent

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ZHONG CHENG 中誠