中誠國際藝術2015年秋季拍賣目錄 by 中誠藝術拍賣

ZHONG CHENG

TA I P E I

Modern And Contemporary Art

20 December 2015

ZHONG CHENG 中誠

MODERN AND CONTEMPORARY ART Sunday 20 December 2015

MODERN AND CONTEMPOR ARY ART

Specialists and Client Services for Buyers and Sellers For assistance and further information about this sale, please contact the following: CUSTOMER SERVICE AND SPECIALISTS Taipei Vivian Hsiao Managing Director vivian@art106.com Wayne Hsiao Deputy General Manager wayne@art106.com Virginia Hsiao Creative Director virginia@art106.com Lucie Chen Art Administrator lucie@art106.com Felicia Peng Art Administrator felicia@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615

Taichung Anna Huang Art Administrator anna@art106.com Erica Hou Art Administrator erica@art106.com Karen Wang Creative Chief Editor karen@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 Oversea Wayne Hsiao Deputy General Manager wayne@art106.com Virginia Hsiao Art Director virginia@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615

ZHONG CHENG 中誠

PHONE BIDS AND WRITTEN BIDS The clients who are not able to attend the auction are welcome to bid by phone or may use the bidding forms attached at the back of the auction catalogue to place your bids. Due to the limited phone line services at the auction, please inform us at least 24 hours prior to the auction for arrangements. Particularly for foreign language assistance.Please contact: Wayne Hsiao wayne@art106.com CLIENT ACCOUNT & PAYMENT Payment details are described at the back of the catalogue. If you need any futher information, please contact our financial department. Andrea Tsou andrea@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 STORAGE AND SHIPPING 1. All the items will be available for collection as soon as the payment is settled.Buyers are advised to collect facilitating storage arrangements and handing procedures. Pers o nal a nd c o mpa ny che cks w ill be accepted, and the items will be available for collection as soon as the checks are cashed. Credit cards or traveler’s checks will be accepted, please contact our financial department for detail information. Other items may be collected at Zhong Cheng O f f i c e. S e r v i c e i s ava i l a b l e 0 9 :3 0 a m 18:30pm, Monday through Friday. 2. Our Professional administration department may make recommendations of arrangement or the most appropriate transportation for you Taipei Lucie Chen lucie@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 Taichung Anna Huang anna@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703

GENERAL CLIENT SERVICES For services of Buy & Sell, Appraisals & Valuations, Auction Schedule and Catalog Subscription, please contact: Felicia Peng felicia@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 OFFICIAL WEBSITE Please visit Zhong Cheng’s official website for more information www.art106.com OTHERS Zhong cheng is delighted to provide you the condition report of any of the items 48 hours before the auction. However, the buyers should fully compreheand that all items at the auction are sold ‘as is’. For details, please refer to the Transaction Agreement at the back of the catalogue. Please refer to the ‘Transaction Agreement to the Buyers.’

中誠國際藝術拍賣服務部門及一般客戶服務海外地區

中南部地區

蕭偉廷

黃鈺琦

台灣北部地區

副總經理

anna@art106.com

蕭華薇

wayne@art106.com

電話：(886-4) 2206-6599

關於本場次拍賣相關諮詢，請連絡

總經理 vivian@art106.com

蕭又華藝術總監

蕭偉廷

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傳真：(886-4) 2205-0703

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客戶服務買賣諮詢、鑑價服務、拍賣時程、目錄訂閱等相關業務，請洽：彭靖蓉 felicia@art106.com 電話：(886-2) 8773-3565 傳真：(886-2) 8773-2615 官方網站

陳盈穎藝術行政

蕭偉廷 wayne@art106.com

lucie@art106.com 付款事宜彭靖蓉藝術行政 felicia@art106.com 電話：(886-2) 8773-3565 傳真：(886-2) 8773-2615

有關付款詳細事宜，說明於本目錄後面，如您需要更進一步的諮詢，請洽：

各式資訊歡迎參閱中誠拍賣官方網站。 www.art106.com 其他中誠樂意提供您本次拍賣當中任何一項拍品的狀況說明書，惟準買家

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需注意拍品均是以「當時認定」之狀況賣出，相關細項請參照目錄後之業務規則以及買家須注意事項。

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取貨及運輸一、所有拍品在貨款結清後，即可取貨；買家請儘早通知安排取貨事宜，以利倉庫存貨流通和集中安排辦理，本公司接受個人及公司支票付款，惟需在兌現後始能提貨。恕不接受信用卡和旅行支票付款。其他各項貨品可在中誠辦公室提領，上班時間為週一至週五上午9:30至下午6:30。

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二、我們的專業行政部門可為您建議或安排最適當的運輸方式，詳情請洽

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陳盈穎

藝術主任

lucie@art106.com 電話：(886-2) 8773-3565 傳真：(886-2) 8773-2615

MODERN AND CONTEMPOR ARY ART

101 LONG CHINSAN ( Chinese, 1892-1995 )

Crane 60 x 33cm Photograph on Gelatin Silver Print Inscribed with one seal of the artist

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

郎靜山鶴銀鹽相紙款識：幽禽棲盡好花枝丙申春三月方季吾兄祖葆夫人俪荃靜山集錦鈐印：靜山集錦被後世公推為「亞洲攝影之父」的郎靜山，年少時曾習於中國傳統國畫，為其「集錦攝影」奠下了扎實的藝術基礎，而集錦攝影也反映了當時中國畫意攝影的潮流，以西方照相技術融合中國水墨意境，中體西用，於相紙上展現如畫般的精美凝鍊。郎靜山曾言：「我主張在技巧上，應吸收西

方科學文明，使照相不再是件難事；但要談到藝術視界，無論取景或色調，我都認為應多研究國畫中蘊含的旨趣。」。此作採用斜角線構圖，整幅畫面從佈局、結構、透視、色調皆採用中國繪畫傳統方式呈現。雖是相片，棲息於枝頭的鶴、振翅飛揚的鶴，一靜一動，剎那間，無法言喻的精妙，隨著畫面延伸至無盡的悠遠處，幽美渾然之感表露無遺，同時亦觸探了觀者的視覺侷限。

ZHONG CHENG 中誠

102 AU HONIEN

歐豪年

( Chinese, b.1935 )

秋蟬

Cicada

彩墨紙本簽名：豪年鈐印：歐

34 x 43.5cm Ink and Color on Paper Signed Honien in Chinese With one seal of the artist

NT$ 80,000-120,000 US$ 2,500-3,700

歐豪年以兼容並蓄中西技法進行創作，蘊含傳統文人精神筆墨之趣，承先啟後更為嶺南畫派探索出新的藝術表現風貌。「透過寫生，重新去體會，能把平常對這些景物的固有觀念打破，豐富自己看法及筆調。」其畫重視紮實寫生，骨法用筆於景物勾勒，奔放流暢的線條頗具禪意，揮灑積墨蒼潤兼備，恬淡曠遠留有一片自在閒暇。觀察自然得物外之趣，「散影玉階柳，含翠隱鳴蟬」寄寓詠物言志與寫意豪情的風格詮釋，烘托大地一片生機。

MODERN AND CONTEMPOR ARY ART

103 TANG HAIWEN

( Chinese-French, 1927-1991 )

寫意

Vivid

水墨紙本簽名：Tang 海文

15 x 17cm Ink on Paper Signed Tang in English and Hai-Wen in Chinese

NT$ 80,000-120,000 US$ 2,500-3,700

曾海文 ( 唐海文 )

ZHONG CHENG 中誠

無限生機萌發延展，曾海文振筆疾飛其氣透貫，在有限的空間創作無邊無際的虛實新域，若暈若染，潛伏無窮活力奔放寫意，耐人尋味的線條中生趣勃發，一如視名利若浮雲的他，隨興之所至、心之所安，畫以明道盡顯天真自然。

104 LIU CHIWEI

劉其偉

( Taiwanese, 1912-2002 )

虎

Tiger

1996 綜合媒材簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 1996

51 x 40cm Mixed media Signed Liu Chi-Wei in Chinese phonetic, dated 1996

NT$ 120,000-200,000 US$ 3,700-6,200

在亞洲許多國家的文化中，虎是美麗、勇敢、力量的象徵，人們畏懼虎的兇猛，又希望具有虎的強壯，以征服它來證明力量。此一作品《虎》為畫壇老頑童劉其偉以幼虎為畫作的主角，黃黑相間的色彩，襯著流暢的黑線條，虎王的英姿躍然紙上，而睥睨斜視的眼神，令人不寒而慄。在他筆下的虎呈現不同的風格，可愛得讓人想親近。

MODERN AND CONTEMPOR ARY ART

105 LIU CHIWEI

劉其偉

( Taiwanese, 1912-2002 )

金門歐亞水獺

Kinmen Eurasian Otter

綜合媒材簽名：Ranger Max Liu

39.5 x 53cm Mixed media Signed Ranger Max Liu in English

「大自然是上帝的作品，畫家和大自然是平行的，大自然給畫家啟發，畫家則賦予大自然新的生命。」 NT$ 140,000-220,000 --- 劉其偉 US$ 4,300-6,800 劉其偉筆下繪製過諸多野生動物系列作品，於 1995 年投入自然保育的行列，曾擔任過金門、雪霸、玉山國家公園榮譽森林警察。年近四十歲才踏上畫家之路，走訪多個部落，感受了大自然原始的愛，將深切關懷自然的情感帶入畫作中，情意真摯湧現。此作以歐亞水獺作為主體，短小的四肢、渾圓的身體以及靈動的雙眼，模樣甚是討喜。藝術家透過畫作，欲喚起人們正視歐亞水獺瀕臨絕種的危機，對保育野生動物不遺餘力，之後更將畫作贈予金門國家公園管理處。

ZHONG CHENG 中誠

106 HSIAO YI

( Taiwanese, 1956-2006 )

Buddha 11(L) x 15.5(W) x 71(H)cm Bronze 2/12 Signed Hsiao Yi in Chinese, dated 1993, numbered 2/12 With a certificate of authenticity from gallery

NT$ 130,000-200,000 US$ 4,000-6,200

蕭一佛中佛 1993 青銅 2/12 簽名：蕭一 93 2/12 附畫廊開立之原作保證書蕭一於 1956 年出生於嘉義布袋，1973 年時受到佛像雕刻的啟蒙，1977 年開始從傳統雕刻轉向自由創作。 1981 年首次個展於春之藝廊，至今在台灣及海外各地仍舉辦多場展覽。在民間傳統工藝的薰陶與雕刻的鍛鍊下，以粗獷刀法所刻劃出的痕跡不失圓融性，創作層次和豐富度也顯得豪放廣闊，表現出創作者真實的內在。此次作品《佛中佛》闡釋人生的感受，進而提出佛性與人性的見解，進而敘述每件事物都有一體兩面，同時也呈現出深沉的思維與生命力，將生活中的感受深刻表現在作品裡。

MODERN AND CONTEMPOR ARY ART

107 GEORGE CHANN

( Chinese-American, 1913-1995 )

Youth 51 x 41cm Oil on Canvas Signed GEO CHANN in English

NT$ 110,000-200,000 US$ 3,400-6,200

陳蔭羆青年油彩畫布簽名：GEO CHANN

ZHONG CHENG 中誠

「西方人用眼睛來作畫，中國人用心靈來作畫。」

--- 陳蔭羆

畫中人像身著中國式傳統藏青色馬褂，形態狀似小孩，卻透不出該年齡應當有的一絲稚氣，微皺的眉頭，眼神底盡是蒼茫，將黃褐色攪和般的融入背景中，濃稠的更顯出悲天憫人的胸懷。寫實的反映了藝術家在早年移居美國後，在當地的切身感受，敏感身分加上美國排華政策影響，更強化了其身為中國人的文化與身分認同情感，深厚的文化血緣表露無遺。 “Westerners create with their eyes, Chinese create with their heart”

--- George Chann

In this painting, the subject is dressed in traditional Chinese gown; his body resembles a child’s yet trace of innocence and naiveness is lost. A deep frown and empty gaze, the beige skin almost blends into the background. The painting reflects Chann’s personal experience when he first arrived in the U.S. The racial differences emphasize his self-awareness of identity. Elements of traditional heritage and emotional context are sensitively portrayed in conveying his deep reminisce for the East.

108 RAN INTING

藍蔭鼎

( Taiwanese, 1903-1979 )

原住民婦人

Aboriginal Woman

水彩紙本簽名：蔭鼎 Ran-InTing FORMOSA 鈐印：鼎

32.5 x 24cm Ink and Color on Paper Signed Ran-InTing Formosa in English and In-Ting in Chinese With one seal of the artist PROVENANCE: Bonhams, Fine Chinese Works of Art and Paintings, 23 June 2015, Lot.7381

NT$ 260,000-360,000 US$ 8,000-11,100

來源：邦瀚斯，中國精緻藝品與書畫， 2015 年 6 月 23 日，Lot7381

藍蔭鼎受業於石川欽一郎，作品多次入選日本帝展與台展。曾獲選為英國皇家水彩協會會員，亦於 1971 年榮獲為歐、美國藝術評論選為世界十大水彩畫家之一。藍蔭鼎的畫作一直都以台灣的人文、土地為創作對象，並運用自身對中國水墨精髓的承繼去革新現代水彩畫意境。此幅《原住民婦人》即表現了藍蔭鼎以中國水墨筆法入畫的突破性技法，將水墨濃淡夾雜使用，以渲染帶出神情動態的層次感，進而捕捉生動誠摯的神韻，使其能以畫筆對觀者揮灑出人物精神的感染力。而此畫亦多以枯褐、棕綠等彩度低的色調來呈現，同時配合肌理去表現出人物與物件誠懇醇厚之質感。

MODERN AND CONTEMPOR ARY ART

109 HO CHAOCHU ( Taiwanese, b.1931 )

a. Cityscape b. Guandu Bridge c. Still Life a. 45 x 60cm b. 21 x 27cm c. 24.5 x 33.5cm Oil on Canvas (3) a. Signed Ho chaochu in English, date 1989 b. Signed Ho chaochu in English, date 1984 c. Signed Ho chaochu in English, date 1990

NT$ 160,000-240,000 US$ 5,000-7,400

何肇衢 a. 城市風景 b. 關渡大橋 c. 靜物 a. 1989 b. 1984 c. 1990 油彩畫布 (3) a. 簽名：Ho chaochu 1989 b. 簽名：Ho chaochu '84 c. 簽名：Ho chaochu 1990 何肇衢為國內畫壇重要的代表人物，他的畫風由早期暗藍調的具體景物，到中期作品色彩亮麗半抽象，轉變到後期回歸寫實的圓熟畫風，每個時期都有強烈的個人風格。在其畫風演變的過程中，反映台灣這幾十年來繪畫的動向。他的畫風明亮、正向，以色塊方式切割現實世界，深受後期印象派與立體派的影響。

a. b. c.

ZHONG CHENG 中誠

110 YUAN CHINTA

袁金塔

( Taiwanese, b.1949 )

說魚

Speak Fish

2005 綜合媒材紙本手工製作書冊簽名：二○○五年歲乙丑 9 月金塔鈐印：袁、金、塔

29 x 20cm (23) Mixed media on Paper Inscribed and Signed Chin-Ta in Chinese With three seals of the artist

NT$ 160,000-300,000 US$ 5,000-9,300

情感敏銳豐富的袁金塔，自小於農村環境中生長，對生活中的枝微末節觀察入微。就讀師大美術系時，表現傑出，從此奠定了將繪畫與教學作為一生職志的想法。慣於用多種媒材融於水墨中，塑造出其不羈的創作特質。說魚一詞，其來有自，源自於匯集文化涵養，情意真摯的純文學之作─詩經，袁金塔《說魚》一作，使溫柔婉約的詩經有了一番新的詮釋。以魚的形象圖註了男女間的情愛，〈衡風〉中的雙魚之吻表達肉體歡愉之情，〈關雎〉形影不離的魚隻呈現追求窈窕淑女的情意。以現代的設計手法鎔鑄於古典的柔直情懷中，將水墨藝術推陳至另一種形式，不斷的求新求變，袁金塔的創作能量在嬗變中增厚養分。

MODERN AND CONTEMPOR ARY ART

111 LONG CHINSAN

千手觀音

A Thousand Hand Buddha

1938 銀鹽相紙簽名：Chinsan Long 鈐印：郎靜山

40 x 28.5cm Gelatin Silver Print Signed Chinsan Long in English With one seal of the artist PROVENANCE: Private collection, Australia ILLUSTRATED: ''Selected Works of Chin-San Long," Photographic Research Institute of College of Chinese Culture, 1971

NT$ 80,000-120,000 US$ 2,500-3,700 20

郎靜山

( Chinese, 1892-1995 )

ZHONG CHENG 中誠

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

郎靜山創立的集錦攝影，在形式上師法傳統國畫，追求古典意境，並以傳統繪畫藝術為媒介，以黑、白、灰三色，表現豐富多姿的黑白意蘊，融「神、氣、韻」為一體，彰顯主題意趣，是中國繪畫風格與攝影技法的統一，獨具個人藝術風格。

112 LONG CHINSAN

郎靜山

( Chinese, 1892-1995 )

仙山寶塔

Pagoda Fairyland

銀鹽相紙鈐印：郎靜山

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

來源：澳洲私人收藏

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

NT$ 80,000-120,000 US$ 2,500-3,700

MODERN AND CONTEMPOR ARY ART

113 ZHAO XIU

趙

( Chinese, b.1980 )

雅園清音

Elegant Garden

2013 彩墨紙本款識：癸巳年趙修鈐印：趙修 ( 白文 )、修 ( 朱文 )、未樂 ( 朱文 )、會古通今 ( 白文 )

47.5 x 144cm Ink and Color on Paper Signed Zhao Xiu in Chinese, dated 2013 With four seals of the artist With a certificate of authenticity from gallery

NT$ 70,000-120,000 US$ 2,200-3,700

附畫廊開立之原作保證書譯文：凌晨帘幕卷輕霜呵手試梅妝都緣自有离恨故畫作遠山長自春來慘綠愁紅芳心是事可可月上花梢鶯穿柳帶犹压香衾臥暖酥消膩雲亸終日厌倦梳裹無那恨薄情一去音書無个早知恁麼悔當初不把雕鞍鎖向鳮窗只与蛮笺向管拘束教吟課鎮相隨莫拋躲针线闲拈伴伊坐和我免使年少光阴虚過夢後楼台高鎖酒醒帘幕低垂去年春恨却来时落花人獨立微雨燕双飛記得小蘋初見两重心字罗衣琵琶弦上說相思當時明月在曾照彩雲归癸巳年趙脩 2007 年畢業於中央美術學院國畫系，於北京、上海、山東、南京、深圳舉辦多次個展與聯展，深獲好評，多幅作品受到私人藏家與公司收藏，於 2009 年主編《八零水墨》雜誌。趙修偏愛園林景色，於《雅園清音》一作中寄託其對於文人士大夫古典高雅生活情趣的嚮往。追求恬靜閒適的虛靈之境，淡逸勁爽的筆觸裡盡是文人情懷，隱含著藝術家逃離真實世界的浮華，透過水墨修養自身的心性，凝鍊藝術於個人內在知覺，進而臻至完滿的自我狀態，展現傳統水墨進入當代的逸趣。

ZHONG CHENG 中誠

114 LIU CHUNLIN ( Chinese, 1872-1944 )

Calligraphy 131.5 x 31.5cm Ink on Paper Inscribed with two seals of the artist

NT$ 220,000-300,000 US$ 6,800-9,300

劉春霖中堂水墨紙本款識：著尚先生正之鈐印：劉春霖字潤琴（白文）、甲辰狀元（朱文）釋文：陰晴朝暮幾回新，已向虛空付此身。出本無心歸亦好，白雲還似望雲人。蘇軾《和文與可洋川園池三十首‧望雲樓》劉春霖，博學多聞、才情橫溢，於詩書畫均有極高造詣，是為中國科舉制度末代狀元。尤工書法，「楷法冠當世，後學宗之」，有「大楷學顏（真卿）、小楷學劉（春霖）」之美譽。其書風清逸嚴謹剛勁，圓勻平正結構精密，娟雅秀麗為館閣體之典型，《中堂》濕潤的墨韻飽含金石筆趣，隱約可見北碑與唐風之影響。觀其一生顛沛流離於晚清社會動盪之下，仍奉獻教育資助興學、奔走賑災不遺餘力，寄寓詩文間的淡淡愁緒書懷，為憂國憂民忠直耿介的他寧退不仕、「浩然直養氣無虧，根直天人俯仰時。」高風峻節的人格寫照。

MODERN AND CONTEMPOR ARY ART

115 JU MING

( Taiwanese, b.1938 )

Taichi Series - Single Whip 28.5(L) x 14.4(W) x 18.2(H)cm Unsaturated polyester resin, calcium carbonate, oil color paste 245/300 With a certificate of limited reproduction from Ju Ming Museum

NT$ 130,000-240,000 US$ 4,000-7,400

朱銘太極 - 單鞭下勢 2015 不飽和聚酯樹脂碳酸鈣油性色母 245/300 附朱銘美術館開立之限量複製品證明書

ZHONG CHENG 中誠

藝術家的授權之下，朱銘美術館依據 1975 年創作之「太極系列－單鞭下勢」作品，以 1：1.5 之比例縮小複製而成，為朱銘的太極系列作品中，最負盛名之作。在精湛工法雕刻下，呈現宏大氣魄與生動立體感，通過大塊面積切割披鑿，充分流露出蓄勢待發的智勇情狀，於氣沉丹田似沉靜的外表下蘊藏巨大能量。匠心獨具呈現出武者內斂的神情，進而在創作中由「形」轉至「意」。太極系列在朱銘的體悟下，從有形到無形，兼備形似與神似，傳承起傳統美學中天人合一的思維。

116 JU MING

朱銘

( Taiwanese, b.1938 )

人間系列 - 生生不息

Living World Series - Endless

2007 銅鍍鎳 189/200 簽名：朱銘 2007 Audi A6 Masterpiece 189/200

33.2(L) x 24.5(W) x 52.5(H)cm Nickel-Copper, 189/200 Signed Ju Ming in Chinese, inscribed Audi A6 Masterpiece, dated 2007, numbered 189/200 With a certificate of authenticity from Lee Chi Creativity Co., Ltd

NT$ 320,000-460,000 US$ 9,900-14,200

附李記創意股份有限公司開立之限量複製品保證書朱銘以「人間系列」關注人生百態，表現俗世人間的眾生樣貌，製作的態度接近現代雕刻理念，透過形式的技術性挑戰，跳脫傳統模式與雕塑媒材限制，企圖打造現代人文思維下的經典風華。《人間系列 - 生生不息》由朱銘於 2008 年與汽車大廠 Audi 奧迪共同合作，為 Audi A6 2.8 FSI quattro 上市所特別打造。「人間系列」超然的創新風格，藉由兩位女子親暱互動，象徵著亙古不朽的動人情感，詮釋 Audi 奧迪的 LOGO 四環光環所代表的「四時運轉、生生不息」。作品以不銹鋼的潔淨簡樸為媒介，局部運用色彩塊面融入光影炫人的光線裡，以細膩的感觸琢磨，將女子柔性婉約、動姿、膚態、服飾透過朱銘大師的精湛功力刻畫出來，極具自然生動的立體感。

MODERN AND CONTEMPOR ARY ART

117 CHEN CHENGHSIUNG ( Taiwanese, b.1942 )

Contented Mind 48(L) x 38(W) x 90(H)cm Bronze, 5/12 Signed Chen Cheng Hsiung 1997 in Chinese and numbered 5/12

NT$ 260,000-380,000 US$ 8,000-11,800

陳正雄常樂 1997 銅 5/12 簽名：陳正雄 5/12 1997 陳正雄曾獲吳三連文藝獎，亦多次入選省展並得獎，獲獎不斷且揚名海外。而作品更廣泛收藏於各地美術館與基金會等。陳正雄選擇以飽嘗人生苦樂的老者作為《常樂》的塑像，以大開大合的流暢刀法行雕走刀，使其筋骨皮肉的形貌熱則盡顯精神之堅韌、歷練之飽滿。而《常樂》一詞所表為一種心態與內心活動，因此在神情的捕捉上更顯關鍵，細看老者之眉眼與笑意刻畫得極為傳神，毫無顧忌且怡然自若的坐態更顯對世俗俗務的無心與不羈，眼神悠然瞻望遠方似是內心無牽無掛而平和隨意。陳正雄手落的每一刀，都使得純粹的物件多一分真實與生命。使《常樂》不單為美學欣賞之作品，更是提升了作品精神層次之境界。

ZHONG CHENG 中誠

118 JU MING

朱銘

( Taiwanese, b.1938 )

人間系列

Living World Series

1988 綜合媒材紙本簽名：金陵畫廊開幕朱銘黃炳松先生贈 '88.9.17

55 x 95cm Mixed media on Paper Inscribed and signed Ju Ming in Chinese, dated 1988.9.17

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

朱銘的「人間系列」因洞察人性，刻劃出人生百態而廣為人知。此作為其將人間系列延伸出的平面畫作，不特意勾勒的線條描繪出看似身著傳統服飾的非洲女子，以濃筆繪製，形象鮮明，另一方以淡筆描繪，渾圓的胸部與本應為黝黑的膚色以留白方式呈現，輔以略刷的筆觸，輕鬆卻不流俗，色墨交溶間別有一番韻味，兩相比較，相映成趣。簡潔的畫面構成，飽含了其對人以及社會的關懷。朱銘透過異材質表達出不同語境下的人間，用畫筆展現出其流利的創作語體。

MODERN AND CONTEMPOR ARY ART

119 LI ZHONGSHENG ( Taiwanese, 1912-1984 )

抽象

Abstract

壓克力紙本

27 x 38cm Acrylic on Paper PROVENANCE: The Li Zhong-Sheng Foundation Former Director General Cheng Yen-Ping

NT$ 240,000-300,000 US$ 7,400-9,300

李仲生

ZHONG CHENG 中誠

來源：前李仲生基金會總幹事程延平

生於廣東，於廣州美專、上海美專、日本東京大學藝術系西洋畫科，練就其扎實的素描基礎與繪畫功力。亦於東京前衛美術研究所受到前衛藝術思潮的薰陶。受教於巴黎畫派日裔新具象畫家藤田嗣治，啟發李仲生對於「繪畫的精神性」的重視。1949 年到台灣，藉由教學與寫作，致力推動台灣的現代繪畫，被譽為中國現代繪畫先驅。李仲生教學不輟，其畫室的學生組成的「東方畫會」，是第二次世界大戰後台灣美術史上重要的現代美術團體。隱藏於混沌的筆觸中，或剛或柔，或濃或淡，或實或虛，皆化為強烈的情感凝縮於此，展現濃厚的東方神秘之感。隱晦的將情思寄託於潑灑的筆觸上，塗抹似的灰，一層層和諧的交融於其中，色料在未定的疆域上奔走，既抽離又似被禁錮般的在畫面中央凝滯。線條與色彩相互交疊纏繞，營造出介乎於動與靜的衝突空間，濃稠暗鬱的色調被暖色軟化，漾滿生命豁然開朗的心境，精神性的流動在李仲生的作品上表露無遺。

120 HO KAN

霍剛

( Taiwanese, b.1932 )

無題

Untitled

2001 油彩畫布

60 x 50cm Oil on Canvas

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

NT$ 80,000-160,000 US$ 2,500-5,000

來台就讀時，追隨李仲生習畫，其後為創立「東方畫會」八大響馬其中一員，吸取最新、最現代的西方觀念與技法，影響了傳統繪畫的藝術發展。霍剛的創作受書法與金石印刻影響，自形、音、義中抽離，於單一元素排列構成的極簡空間內展現東方抒情美學，獨特的色料結合純粹的形體，蘊含宇宙萬物凝縮於物件的精實意味，具有超現實主義的純意念性構圖，引領觀者探求無盡且深邃的想像世界裡。

MODERN AND CONTEMPOR ARY ART

121 PAN CHAURSEN

潘朝森

( Taiwanese, b.1938 )

港灣

Harbor

1982 油彩畫布簽名：CHAUR.SEN 1982

61 x 121.5cm Oil on Canvas Signed CHAUR.SEN in English, dated 1982

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

ZHONG CHENG 中誠

「會畫畫的是畫家，會創作的是藝術家。」 --- 潘朝森潘朝森其畫布空間性充滿抒情憂傷之靜謐氛圍，飽含恬靜卻又流露出虛無的觀者視角。他以畫筆描繪出對景觀與土地的熱愛，也表現了藝術家浪漫創作情懷與善感的筆墨。

122 DONG SHAWHWEI

董小蕙

( Taiwanese, b.1962 )

白瓶玫瑰

Roses in White Vase

1995 油彩畫布簽名：S.Hwei 1995

45 x 53cm Oil on Canvas Signed S.Hwei in English, dated 1995

董小蕙自幼熱衷繪畫，1984 年畢業於台灣師範大學美術系。1992 年美術研究所碩士。她多次赴歐美旅遊寫生，逐漸成為專業畫家。1994 年到 2003 年這十年間舉行七次油畫個展。她的繪畫風格受到莫內、梵谷及波納爾等畫家的影響，著重光影與色彩的情境變化；此幅《白瓶玫瑰》畫風所表現出的光影和色彩的變化清新、柔和且自然。

NT$ 120,000-180,000 US$ 3,700-5,600

MODERN AND CONTEMPOR ARY ART

123 HSIAO YI

( Taiwanese, 1956-2006 )

Guan Gong 21(L) x 18.5(W) x 59(H)cm Wood (One piece only) Signed Hsiao Yi in Chinese, dated 1986

NT$ 240,000-360,000 US$ 7,400-11,100

蕭一關公 1986 木頭 ( 僅此一件 ) 簽名：蕭一 '86 蕭一，其藝術創作脫胎於傳統民俗文化的神佛像雕刻，作品真實呈現藝術家對於生活感知的體悟，以減法創作哲學一刀一鑿削去木料，將內在的精神與心性展現於外，達到物我合一、我心即佛的境界。關公凝神若思，神情莊嚴肅穆，形象威武彪悍，頷腮美髯、忠義雙全，身著甲冑、足蹬高靴，豪放粗獷之刀法與質樸富有生命力的造型，凝聚了濃烈的情感與風格，及隨性揮灑豪邁不羈恣意的美感，且保有木料溫潤的色澤與紋理。「蕭一是我二十

歲開始創作時自己取的名字，因為『一』這個字，代表的是獨特、唯一的，代表我是個不一樣的人。」忠於自我全心投入創作的蕭一，將最純粹的內心情境刻印於木雕之上，留下生命走過的痕跡。

ZHONG CHENG 中誠

124 JU MING

( Taiwanese, b.1938 )

Lu Ban 18.1(L) x 13.3(W) x 33.8(H)cm Bronze Signed Ju Ming in Chinese

NT$ 200,000-360,000 US$ 6,200-11,100

朱銘魯班 1988 銅簽名：朱銘朱銘少年時期跟隨傳統藝師學藝，習得一手精湛的木刻技巧，掌握雕刻的精髓，融合傳統木雕與現代雕塑的精神。此作《魯班》所刻為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。

MODERN AND CONTEMPOR ARY ART

125 LIU CHIWEI

( Taiwanese, 1912-2002 )

非洲樂園

African Paradise

1999 綜合媒材畫布簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 1999

33 x 29cm Mixed media on Canvas Signed Liu Chi-Wei in Chinese phonetic, dated 1999 With a certificate of authenticity from gallery

NT$ 180,000-240,000 US$ 5,600-7,400

劉其偉

ZHONG CHENG 中誠

附畫廊開立之原作保證書

熱愛大自然的劉其偉，曾兩次到訪非洲，進入部落，蒐集原始藝術資料，其認為棲息於叢林與人類共依存的動物是彌足珍貴的，將內心對於大自然的篤愛透過繪製動物毫無保留的呈現。非洲叢林的動物們伴隨著鮮潔明麗的色彩，原始的背景色襯托出主體，靈動的生命力在畫面中展現。羚羊正餵食著新生的小羊，溫馨的母子親情延綿出柔直情懷，鳥兒身體飽含溫柔華美的朱紅色，動物與自然共生互愛，營造出藝術家內心的和諧樂園。靈巧的用色遊走於畫布之間，純粹的釋放出劉其偉天真爛漫的生命華彩。

126 LIU CHIWEI

劉其偉

( Taiwanese, 1912-2002 )

鴯

Emus

水彩紙本

35 x 27cm Watercolor on Paper ILLUSTRATED: "Wildlife-God's Script," The Chinese Natural Resources Conservation Association, 1991, Page 14

NT$ 140,000-220,000 US$ 4,300-6,800

圖錄：《野生動物 - 上帝的劇本》，中華自然資源保育協會， 1991 年，第 14 頁

劉其偉身兼畫家與人類學家、作家、保育工作者等多重身分，在二戰因緣際會下得以深入世界上原始地區進行田野調查，身影足跡踏遍各大洲以追索藝術人類學與原始美學風貌，邊陲地帶獨特的人文風土民情，與自然保育情懷於其畫筆下流露，真切深摯感性動人。鴯鶓為澳洲國鳥，是現存世上除了鴕鳥以外最大的鳥類，僅分布於澳大利亞，在傳統文化的象徵中，鴯鶓有預知降雨的神奇能力，能感知天氣變化，並繪製於國徽之上為澳洲代表動物之一。此作品富含韻律感的線條簡練純粹，為畫家長期寫生與強調速寫的生命力量展現，天真質樸幻化一片赭紅大地，瀰漫粗獷神秘氣息與重視生態保育的呼籲，使觀者徜徉於自然之真不忘深切反思。

MODERN AND CONTEMPOR ARY ART

127 CHEN TINGSHIH ( Taiwanese, 1916-2002 )

Shine 45(L) x 23(W) x 67(H)cm Iron Signed Chen Ting-Shih in English, dated 1998 ILLUSTRATED: "Chen Ting-Shih Sculptures," Capital Art Center, 1999

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

陳庭詩耀 1998 鐵簽名：Chen Ting-Shih 98 圖錄：《陳庭詩雕塑集》，首都藝術中心，1999 年 1960 年代末期至 1980 年代，被譽為「十項全能的藝術家」的陳庭詩將重心轉移至鐵雕創作，晚年獨居於台中，運用廢棄的鐵件焊出一件件生命之作。雖自幼失聰，卻無法抹滅其原生的藝術創作本能。耀，如字面解釋，光耀而鮮明，與黯淡無光的廢鐵意象，產生強烈對比，反而擴大了作品被理解的面向。陳庭詩感知鐵件所蘊藏的藝術價值，於冰冷中傳達無限溫情，將宇宙觀融入作品，純粹簡潔的形體，透出合宜的靜謐，不矯揉造作反而更能體會真摯的力量。

ZHONG CHENG 中誠

128 CHEN XINMAO

陳心懋

( Chinese , b.1954 )

史書系列碑系列之一

The Historical Series I

1993 綜合媒材畫布簽名：心懋鈐印：陳

48 x 62cm Mixed media on Canvas Signed Xin-Mao in Chinese With one seal of the artist

NT$ 120,000-180,000 US$ 3,700-5,600

「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部分。」 --- 陳心懋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 1993 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墨畫所無法取代的。」

MODERN AND CONTEMPOR ARY ART

129 YUYU YANG

( Taiwanese, 1926-1997 )

The Flight of Absolute Virtue 112(L) x 60(W) x 108(H)cm Stainless Steel, 3/9 Signed Yuyu Yang Yin-Feng in Chinese and English, dated 1989, numbered 3/9 With a certificate of authenticity from Yu Yu Yang Foundation

NT$ 350,000-460,000 US$ 10,800-14,200

楊英風至德之翔 1989 不鏽鋼 3/9 簽名：'89 呦呦楊英風 Yuyu YANG F. 3/9 附財團法人楊英風藝術教育基金會開立之原作保證書

「鳳是中國人最為喜愛的靈禽瑞鳥，其擇至德之世而降的韻格，傳達出對於理想境界的憧憬，彷彿一切美與善均乘鳳翼翩然而來。挽暢凝煉的曲度及冰潔表面所紋之雲水，象徵了翱翔在山巔水湄間的自在悠然；加上不銹鋼的質樸精準，更映現出航空事業廣闊而精銳的領域。一對幼鳳隨於身際構成一幅相應成倫的和諧畫面，跳出大愛演化培成之無私，以此寓意華航訓練中心為培訓航空專業人才之搖籃，並以傳統哲思及美學意象型塑華航精神之傳承。」 --- 楊英風《至德之翔》成於 1989 年，鳳凰乃平和之世祥瑞象徵，為楊氏所深愛的創作題材之一，此作品是藝術家為中華航空公司訓練中心所設計之景觀雕塑。明快光潔的現代媒材展現流暢的造型，以美善之姿舉翼翱翔與幼鳳深具傳承意象，「鳳凰之翔，至德也。」深具雋永哲思與經典況味。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

130 YUYU YANG

( Taiwanese, 1926-1997 )

Return to the Beginning 60(L) x 60(W) x 75(H)cm Stainless Steel, 12/20 Signed Yuyu Yang Yin-Feng in Chinese and English, dated 1986, numbered 12/20 With a certificate of authenticity from gallery

NT$ 260,000-360,000 US$ 8,000-11,100

楊英風回到太初 1986 不鏽鋼 12/20 簽名：'86 呦呦楊英風 Yuyu YANG F. 12/20 附梵藝術中心開立之原作保證書

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

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

131 YUYU YANG

( Taiwanese, 1926-1997 )

擎天門

Heaven's Pillar

1975 銅雕 25/30 簽名：YUYU YANG 英風刻 '75 台北 25/30

48(L) x 40(W) x 36(H)cm Bronze 25/30 Signed Yuyu Yang Yin-Feng in Chinese and English, dated 1975, numbered 25/30 ILLUSTRATED: "Yuyu Yang vol.1," Artist, Dec 2005, Page 266 With a certificate of authenticity from gallery

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

楊英風

ZHONG CHENG 中誠

《擎天門》儼然矗立，氣韻卓然不凡，以一石當關之勢聳立撐起一方天地，使觀者能望之慷慨激昂，浩然之氣由心而生。楊英風自述道：「作品涵意鼓勵為

圖錄：《楊英風全集創作篇第一卷》，藝術家出版社，台灣台北，2005 年，第 266 頁

人應頂天立地，尤其希望各行各業能團結一起向共同的目標努力發展，像擎天門一樣凝聚力量奮而向上，終必克服所有困難，珍惜寶島的福份機緣並使之綿延久遠。球場本是快樂休閒的所在，於此將「擎天門」這結合力與美的作品適當置放，使球友在運動中潛移默化，受其陶冶產生聯想，更強化力量的凝聚，培養宏觀的氣勢與心胸，發揮於工作時，必可使事業更大展宏圖。這也是景觀雕塑的精神所在。」作品大型原件典藏於苗栗全

附梵藝術中心開立之原作保證書

國高爾夫球場，藝術家將建築設計與景觀結合，傳遞和諧共生之哲理廣披於眾。

132 LIU KENGI

劉耿一

( Taiwanese, b.1938 )

虹

Rainbow

油彩畫布簽名：耿

42.5 x 52.5cm Oil on Canvas Signed Ken in Chinese

受其父親也是台灣前輩藝術家劉啟祥啟蒙，踏入藝術一途至今已五十餘年。個性內斂卻富含充沛情感的劉耿一，筆下的景色鮮明活躍，感知人類於大自然中的和諧與矛盾，透過迷濛的粉彩肌理，幻動中反映其真實的心靈感受。不停歇的創作生涯，其浪漫的藝術血液，流動穿透於其熱切的生命之流中，汩汩湧現於畫。

NT$ 50,000-100,000 US$ 1,500-3,100

MODERN AND CONTEMPOR ARY ART

133 YU PENG

( Taiwanese, 1955-2014 )

Plant Life 112 x 72.5cm Mixed media Signed Yu Peng in Chinese, dated 1972

NT$ 280,000-380,000 US$ 8,700-11,800

于彭植栽 1972 綜合媒材簽名：于彭 1972 《植栽》筆觸揮灑自如，奔放繁密。乍看大器直率，實則有細膩精準的構圖與佈局，畫面僅以黑白二色作為視覺呈現，非但不顯單調枯燥，反而越看越覺平穩簡欲、引人入勝。畫中植栽盆子甚小，而枝根愈是往上愈發繁盛，似極欲破框而出，成樹大之美與氣勢。此畫成於八十年代，為于彭少有且個人風格濃厚的大幅作品。于彭選擇以單純的墨色作為植栽的繪色，擺脫色彩元素之拘束，而以線與線的肌理去刻畫出植栽不甘屈於小盆、奮力挺拔之精神，從作品展現他簡樸古意的生活情思與「今之古人」的精神內涵。

ZHONG CHENG 中誠

134 LI MINGTSE

( Taiwanese, b.1957 )

The Art of Seduction 75 x 29cm Acrylic on Canvas Signed Tse in Chinese Signed on reverse: Li Ming Tse and title in Chinese, inscribed 75x29cm and Acrylic on Canvas in Chinese, dated 2007

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

李明則花枝招展 2007 壓克力畫布簽名：則 2007 背面簽名：題目：花枝招展年代：2007 作者：李明則媒材：壓克力顏料‧畫布尺寸：75x29 公分李明則成長於台灣鄉土運動蓬勃的 70 年代，1981 年他以《中國風》畫作獲選「雄獅新人獎」正式登上畫壇舞台。他的藝術繪畫是以台灣的平民景觀為創作來源。他的畫作有的是一份單純的淡泊與自在。此幅《花枝招展》充滿故事的敘述性，結合幻影和現實感，有著一般平民傳統的感情和對歷史的情懷；寄情畫布的他，人生幾乎全寫在畫布上，觀其畫作就像在瀏覽他人生的種種經歷與成長過程。

MODERN AND CONTEMPOR ARY ART

135 YANG CHENGYUAN ( Taiwanese, b.1947)

台灣近代建築

Architecture in Modern Times

1992 油彩畫布簽名：楊成愿 1992.12

53 x 64cm Oil on Canvas Signed Yang Chengyuan in Chinese, dated 1992.12

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

楊成愿

ZHONG CHENG 中誠

楊成愿曾任全國美展評審委員及國立台灣美術館典藏委員，國美館亦於 2009 年隆重策劃了「楊成愿創作回顧展」。此外，楊成愿更曾獲西班牙費路爾（FERROL）國際版畫展獲特別榮譽獎、I.M.A 國際現代美展版畫銀牌獎、西班牙 FERROL 國際版畫第三席獎等，囊括了國內外各項版畫、油畫類獎項，可謂其創作生涯質量俱豐之雙壁。楊成愿創作的主題早期多呈現系列素質，如「化石與空間系列」、「台灣時空系列」與「台灣近代建築系列」，皆藉由畫面精緻的空間形式、物件符碼調配與色彩的重置去展現對自身文化的情感，並彰顯出他所關注的人文主題，以及對時空的轉換與生命的遞嬗之探討。在該系列作品中，楊成愿將近代建築、台灣地圖、日式漢字、量規等轉化為圖像式的思維，將生活與歷史等意義以視覺符碼重新在作品中對話，不但有藝術家自身省思與實踐，更豐富作品意義且將作品提升到個人之上的境界。

136 YANG CHIHUNG

楊識宏

( Taiwanese, b.1947 )

隨筆Ⅰ

Freehand I

2002 綜合媒材紙本簽名：c. yang. 2002

55 x 75cm Mixed media on Paper Signed c. yang in English, dated 2002 With a certificate of authenticity from gallery

附畫廊開立之原作保證書

在 1998 到 2010 的創作年間，藝術家將前一時期的植物美學創作風格轉趨向有機抽象。此作名為隨筆，好似在閒散的心境下，無任何負擔也無任何華麗的雕琢下所繪製。葉，應當是生生不息，恣意綻放其原生生命力，但畫中所呈現出一種永恆的意境，將稍縱即逝的生命轉為永恆的藝術之美展露無疑。在單純的墨色中凝結了最純粹的本質，清麗恬淡地使人目光不自覺駐足許久，沉沉實實地落入每個觀者的心裡。

NT$ 180,000-280,000 US$ 5,600-8,700

MODERN AND CONTEMPOR ARY ART

137 HSIAO CHIN

( Taiwanese, b.1935 )

飛行 VIII

FugaVIII

1974 壓克力畫布背面簽名：Fuga VIII Hsiao 勤 1974

60 x 40cm Acrylic on Canvas Signed on the reverse: Hsiao in English and Chin in Chinese, titled in Italian, dated 1974 Include a photograph of the work signed by the artist

NT$ 300,000-480,000 US$ 9,300-14,900

蕭勤

ZHONG CHENG 中誠

附藝術家親簽之作品相片

以天地色彩渲染寬闊心境，畫家蕭勤大膽使用明快果決的冷冽藍色調，調和出一片蔚藍海洋般的寬廣景緻。讓人自眼前延伸開展，三道明快色調交織其中，宛如飛行航道俐落快意，任隨飛航其上，眺望遠方波光粼粼前景，善用色塊所醞釀出的視覺層次感，讓人思緒中，擁有著廣闊哲理，同時隱隱蘊含一絲禪意，讓人凝望時，宛如洞穿一切紊亂思緒，回歸到純粹狀態，於抽象表現手法中，孕育出反思，造就畫家鮮明個人繪畫風範，造就畫如其人的灑脫飄逸氣質。

138 ENDRO

安卓

( Indonesian, b.1983 )

夢想與你同行

One Big Dream with You 120 x 100cm Oil on Canvas Signed Endro in English, dated 2015 Signed on the reverse: Endro and title in English, inscribed 100x120 and oil on canvas

2015 油彩畫布簽名：Endro 2015 背面簽名：Endro One Big Dream with You 100 x 120 oil on canvas

With a certificate of authenticity from gallery

附畫廊開立之原作保證書

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

NT$ 120,000-160,000 US$ 3,700-5,000

MODERN AND CONTEMPOR ARY ART

139 LINUS ZAO

( Taiwanese, b.1930 )

雨後

After the Rain

2015 水彩紙本簽名：2015 Linus Zao

60 x 45.5cm Watercolor on Paper Signed Linus Zao in English, dated 2015

NT$ 90,000-160,000 US$ 2,800-5,000

趙澤修

ZHONG CHENG 中誠

趙澤修出生於山東濟南一舊官宦之家，從小受父親影響，熱愛書法及繪畫藝術。於 1949 年赴台灣求學，在台灣師範大學美術系主修水彩和設計，師承馬白水。1963 年留學美國，1965 年學成返台，其所編導的動畫「龜兔賽跑」開創了台灣彩色動畫片的先河，為台灣動畫的啟蒙與發展盡心盡力，被譽為「台灣動畫之父」、「台灣的華特‧迪士尼」。1997 年當選為夏威夷「夏威夷大島一代奇人」。其一生中閱經歷精彩，於繪畫、動畫、攝影、書法、建築、雅玩、收藏、美食方面悉皆涉獵，其中，又以水彩畫最為精妙，也是藝術家最喜愛的一門。此作一觀，便能感受其傾瀉而下的磅礡之感，更有李白在「望廬山瀑布」一詩中所提「飛流直下三千尺，疑是銀河落九天。」的恢宏壯闊，強勁的水勢如銀河倒瀉般，與突兀崢嶸的岩石激盪出的水花霎時化為點點繁星，奔灑飄飛於瀑面。趙澤修善於營造氛圍以及效果呈現，此作令人如臨其境般，於感官上便能直接感受那奇妙壯觀、瑰麗雄奇的浩瀚場面，瀑淙轟響不絕於耳，轟振河谷。趙澤修將生命經驗寄情於山水上，將情思貫於畫中，重視意境的追求，將人生哲學與藝術哲學交融，繪成一幅幅氣勢雄偉的生命之作。

140 ALFRED BASTIEN

巴斯天

( Belgian, 1873-1955 )

深秋水塘

Étang en Sous-Bois

油彩畫布簽名：A Bastien

95 x 93cm Oil on Canvas Signed A Bastien in English

光線自由穿梭於林間，灑落於小徑，澄淨的湖面上倒映著漾滿生機氣韻的景色。畫面靜謐且雅緻，呈現藝術家構圖之精妙得宜。飄悠的雲朵點綴於光潔透藍的天空中，蓊鬱的樹林透出一絲秋意，秋高氣爽。藝術家透過畫筆細膩堆砌繁盛秋景，臻至純熟的印象表現技法。

NT$ 280,000-420,000 US$ 8,700-13,000

MODERN AND CONTEMPOR ARY ART

141 ZHANG NIAN ( Chinese, b.1964 )

Nest - Chinese Dream No.25 100 x 80cm Oil on Canvas Signed Zhang Nien in Chinese, dated 2007 Signed on the reverse: Title and Zhang Nien both in Chinese and Eglish, inscribed 100x80cm, dated 2007 LLUSTRATED: "Zhang Nian-Wait," Hunan Fine Arts Publishing House, 2007, Page 107

NT$ 180,000-240,000 US$ 5,600-7,400

張念巢 - 中國之夢 No.25 2007 油彩畫布簽名：張念 2007 背面簽名：巢 - 中國之夢 100x80cm 張念 ZHANG NIAN 2007 圖錄：《張念‧等待》，湖南美術出版社，2007 年，第 107 頁生於四川，是中國當代著名行為藝術家。1989 年於中國美術館舉行的「中國現代藝術大展」，也是行為藝術第一次在國家美術館公開向中國觀眾展示。張念身體力行，將自己融入行為藝術創作中，揶揄了理論，用作品展現其對新生的渴望，並命名為《孵蛋》，突破了大眾的思維也造成了影響力。張念擅於運用鮮明的意象去闡明個人立場，同時也批判其感知的時代變化。「等待」一直是張念藝術生涯中的主題，隱喻其內心渴望現實理想的到來，正如同生於 1960 年代的藝術家們，懷有等待的心境，殷切企盼著美好的藝術新世代來臨。在《巢─中國之夢》系列中，「鳥巢」隱藏著孕育孵化的涵義，兩株高聳的樹混揉在混沌不明的天空中，在超現實的情境裡，偶然閃現一絲光亮，暗喻新時代的步伐，隨著中國北京奧運的展開，正昂首闊步的踏出，蘊育許久的藝術，期待破繭而出，張念用創作去展現、回應屬於他的世代的藝術激情。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

142 LIN SHIENMAO ( Taiwanese, b.1955 )

Carpio Series III 43 x 51cm Oil on Canvas Titled and signed Shien-Mao in English and Chinese, dated 2015.03.24 With a certificate of authenticity signed by the artist

NT$ 110,000-150,000 US$ 3,400-4,600

林憲茂鯉漾系列 III 2015 油彩畫布簽名：ShienMao 24.03.2015 鯉漾系列林憲茂附藝術家親簽之原作保證書水波盪漾中可清晰看見，羣鯉於水面下斑斕波動，象徵對生命激情、湧動，在肌理相互重身中，水花霎時飛濺，將原本群眾生命重量，頓時輕盈飛揚，當絢麗魚群彼此親密輕啄，相濡以沫、互親互愛時，剎那之間，身影活躍於紙上，使人由衷感受對奔放生命的純然喜悅。

MODERN AND CONTEMPOR ARY ART

143 YANG SANLANG

水岸風光

Waterfront Scenery

油彩畫布簽名：S.Yang

38 x 46cm Oil on Canvas Signed S.Yang in English PROVENANCE: Acquired from the Artist's Family

NT$ 500,000-700,000 US$ 15,500-21,700

楊三郎

( Taiwanese, 1907-1995 )

ZHONG CHENG 中誠

來源：藝術家家屬收藏

《水岸風光》畫面和諧閑靜，色調柔和宜人，青綠河面滿映點點小舟，街燈與樓房交織閒適寧謐之街景。楊三郎擅用筆觸色彩去豐富畫面質感，著重光影時序之呈現，且此作肌理簡潔卻強烈，更顯景致之靜謐、別緻，恰切而冉冉的融河天、融舟樓於畫布之上，使其流光溢彩、沁透人心。一代油畫大師楊三郎晚年曾云：「假使有來生，還是想當畫家。」更可見其一生奉行藝術之創作與熱情，且不但屢獲國際獎項與重視，晚年更獲頒藝壇極高肯定與榮耀的「國家文化勳章」，以彰顯他一生對台灣藝術的推動與促進。

144 YANG SANLANG

楊三郎

( Taiwanese, 1907-1995 )

雲海

Sea of Clouds

油彩畫布簽名：S.Yang

38.5 x 46cm Oil on Canvas Signed S.Yang in English PROVENANCE: Acquired from the Artist's Family

NT$ 500,000-700,000 US$ 15,500-21,700

來源：藝術家家屬收藏

「性格豪放爽朗、下筆奔放，不拘泥於細部描繪而追求大張力，因此能夠呈現大自然無比的氣勢。」 --- 林惺獄台灣早期擁有極高聲望與知名度，並對台灣美術推動有莫大貢獻的一代油畫大師──楊三郎，曾任台灣省美展委員，並與李石樵、陳澄波、廖繼春籌組台陽美術協會。亦曾赴日、法，並榮獲台展特選首獎及入選法國秋季沙龍等，獲獎無數。而《雲海》中將片片白雲以筆揮灑、堆疊作翻騰蔓延的碎浪，展現其極富韻律與動態感，且畫布上方以鮮豔飽滿之鵝黃點亮畫面，與下方山景呈現高對比的鮮活景致。不僅捕捉了大自然轉瞬即逝之美，亦將遠闊的山林天景凝煉出一番獨具印象畫風之光景。

MODERN AND CONTEMPOR ARY ART

145 TANG HAIWEN

( Chinese-French, 1927-1991 )

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

NT$ 390,000-580,000 US$ 12,100-18,000

曾海文 ( 唐海文 ) 悠遠水墨紙本簽名：Tang 海文近現代中國美術史之中，極具傳奇色彩的曾海文風骨獨樹一幟，其大膽突破且求新求變的精神不拘一格，展現超然的大師風範。生於福建廈門的富裕之家，並隨家人遷徙於越南西貢唐人街區，於大時代的輪轉下赴法習醫，誰能料他竟從此著迷於藝術的世界中，從而定下創作的終身職志，以無欲無求寡薄之姿飄居花都，即便是畫紙用罄，隨手拈起舊報紙作畫亦是其樂自得。畫作既成，不慕榮利的他隨遇而安，視浮華與財富如煙雲，於數十載繪畫人生間揮灑肆恣。如此秉彝天性的曾海文，雲遊異域仍未捨古老東方哲學的思索，老莊道家思想給予形而上的美學概念，以及豐沛的創作能量，畫家於雙聯尺幅上恢弘縱橫，觀其作雄勁之力傾注其中，運筆之勢大開大闔，徜徉在漫漫天地之間，翱翔於蒼茫無盡荒野，開闊悠遠，一如曾海文的生命哲思，畫面一分為二，然一為全，全又合一，而臻至「天得一以清；地得一以寧」大道之境。抽象畫作其意並不在於追尋畫面上的造形，更深入至精神上的共鳴與感知。曾海文以融匯東西的抽象水墨技法，精湛的筆氣墨韻奔馳披靡於抽象的世界之中，創造磅礡極富層次的張力佳作，直至今日畫作仍持續與觀者互動，得以滋養豐潤了彼此生命，如曾海文曾言「這種交流的持續，終究證明了畫家所竭盡的力量。」淋漓盡致的水墨交響激盪，綻放無限的生命之華。

MODERN AND CONTEMPOR ARY ART

146 DING YI

( Chinese, b.1962 )

Eight Leaves Picture 27 x 47.5cm Mixed media on Paper Titled and signed Ding Yi in Chinese, dated 2009. 6

NT$ 400,000-600,000 US$ 12,400-18,600

丁乙八葉圖 2009 綜合媒材紙本簽名：八葉圖丁乙 09.6 丁乙，被視為中國最成功的當代藝術家之一。其於創作上有一標誌性風格，利用十字形的圖案重複且細緻地構築畫面。十字的重複性呈現出直接的抽象視覺效果。既似閃爍的星辰又如翠綠的葉片，漾滿畫面，自色彩與形式的脈絡中，顯現有機的變化性。由符號交織而成的構圖意象，動靜之間，鮮明的美學情思豐彩湧現。藝評家侯瀚如有感於丁乙的十示創作曾於書裡寫道：「所有的影響都經過他有智慧的消化，成為微妙含蓄的『支援系統』，而非明顯可見的關聯。丁乙成功地建立了屬於他自己的語言體系，他抱著超凡的决心和毅力使用這些再簡單不過的符號，甚至到一種偏執式的著迷的地步；這時，繪畫的『內容』其實已成為對『內容』的否定。」。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

147 YEH HUOCHENG ( Taiwanese, 1908-1993 )

Cigarettes Sisters 72 x 91cm Oil on Canvas Signed Huo-Cheng in Chinese

NT$ 1,500,000-2,600,000 US$ 46,400-80,500

葉火城捲煙姊妹油彩畫布簽名：火城葉火城，1908 年出生於臺中豐原，近現代美術史上此地誕生傑出畫家廖繼春，及著名油畫家― 葉火城，其畢業於臺北第二師範學校演習科，師事石川欽一郎，並於在校時從其習得水彩畫作，優異稟賦天份的他，1927 年水彩作品《豐原一角》入選第一回「臺灣美術展覽會」，榮耀光彩備至，隨後更入選多屆美展，並得全省美展之永久免審殊榮。《捲煙姊妹》為畫家早期作品，創作以人物為主題，細膩雅緻的筆觸勾勒，將婦女工作捲煙中的時光如實紀錄呈現，仿若使觀者走入畫作中美好純真年代，構圖古典嚴謹，受石川影響有著濃烈學院之寫生精神與風格，色料塗布厚實能感受豐潤的質地，肌理分外鮮明蘊含飽滿的活力，在衣飾細節處與桌面物件質感的處理上，更突顯畫家用心獨具於色彩及材質的展現，鮮活生動而富含繽紛層次。喜愛描繪純樸景致風光的藝術家，以溫煦的金橙、紅褐等熱情的暖色，層疊塗染出豐富細膩的島嶼人文，充滿了對土地蘊含真摯深沉的情感。身為心懷熱忱的藝術家與教育工作者，葉氏培育英才不遺餘力，投入畢生精力於美術教學和推廣活動，任中部地區國校之校長，此外他和李石樵、林有德等畫家創立了「葫蘆墩美術研究會」，並為「中華民國油畫學會」常務理事、「臺陽美術協會」會員，得以滋潤培育臺灣中部為數極豐之藝術家，其成就與春風化雨的點滴灌溉，讓中部地區美術能扎根萌發，成長茁壯結出豐碩的甜美果實，於近現代臺灣美術史上，留下燦爛輝煌的篇章。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

148 LU TIEZHOU

( Taiwanese, 1899-1942 )

Peacocks and Peonies 175 x 112cm Gouache on Paper Signed Tie-Zhou in Chinese With one seal of the artist

NT$ 1,600,000-2,600,000 US$ 49,500-80,500

呂鐵州富貴長春膠彩紙本簽名：鐵州鈐印：鐵州生於桃園大溪，自幼對繪畫產生濃厚興趣，早年以臨摹方式學習傳統文人及民間畫師的創作技法與形式。後赴日本習畫，向福田平八郎學習「圓山四條派」的花鳥畫，承襲了日本近代寫實主義的畫風。返台後，屢屢於美展中獲獎，曾於台北設立「南溟繪畫研究所」，為當時唯一正式傳授、學習東洋畫的地點，培育出不少膠彩畫家。呂鐵州的藝術創作階段，正也展現台灣繪畫自傳統邁入現代化的過程。工於花鳥畫的呂鐵州，於《富貴長春》一畫中，透過潔白無瑕的白牡丹與艷麗嬌媚的紅牡丹相襯，展現了牡丹貴為花中之王冠絕群華之姿。凝神一看，佇立於畫面中央的孔雀，振其如彩緞般的尾翼，頗有風采，營造出一股動勢，錯落有致的花朵襯出孔雀的高雅，牽引著觀者的視線，自上方清逸的梅花至下方繁盛的牡丹，益發富貴之景。細膩溫潤的筆法、精妙安定的構圖、典雅的配色安排與細緻的敷染工夫，皆展現呂鐵州卓越獨到的日本膠彩畫風格。

MODERN AND CONTEMPOR ARY ART

149 CHEN YINHUI

山地婦人

Aboriginal Lady

1980 油彩畫布簽名：Y.CHEN 80

65 x 53cm Oil on Canvas Signed Y.CHEN in English, dated 1980 With a certificate of authenticity from gallery

NT$ 350,000-450,000 US$ 10,800-13,900

陳銀輝

( Taiwanese, b.1931 )

ZHONG CHENG 中誠

附畫廊開立之原作保證書

陳銀輝於台灣嘉義縣出生，自幼展現繪畫天份，創作生涯從具象表現出發，色彩層次豐富，線條輪廓穩重。最後則發展出獨特介於抽象與具象、感性與理性之間及隨心所欲的「陳銀輝風格」。《山地婦人》色彩鮮明，筆觸輕鬆，承襲他一貫風格，雖然筆調一如往常稀鬆，乍看甚至有點像塗鴉，但實有別於陳銀輝其它作品，此作將老婦人的神韻與五官描畫得極為細緻、深刻，使其情緒從平面畫布中轉為立體，尤為其眼神，沉穩從容、略顯憂愁卻不失溫和，儼然展現了歷經歲月洗鍊所流露的眼神。而臉上的幾道皺紋，則是婦人在山地中生活大半輩子，看盡人生百態，感受人情與世事之結晶。細看此畫，近看線條粗略、細膩有致，遠看卻更使人不自覺動容，為家愁思的眼神、為家付出的皺紋，再再將婦人純樸無私的性格展露無遺。

150 CHANG PINGNAN

張炳南

( Taiwanese, 1924-2014 )

九九峰

Ninety - Nine Peaks

2000 油彩畫布簽名：炳南 2000 背面簽名：九九峰 2000 年作張炳南作 30F

72 x 91cm Oil on Canvas Signed Ping-Nan in Chinese, dated 2000 Signed on the reverse: Title and Chang Ping-Nan in Chinese, dated 2000

張炳南師承自葉火城、李石樵二位名師，1970 年以作品《漁村》獲得台灣省展第一名，而後作品多次獲獎於各地美展。為了提升自己創作的層次，曾赴歐洲各國寫生考察，足跡遍佈台灣各鄉村小鎮，為故鄉風土之美留下深刻的印記。此幅《九九峰》對光影的捕捉分寸拿捏及濃淡彩度的掌控，在渾厚的筆觸下，隱藏在畫布底層有力的線條展現耀人的生命力，真誠地表達心中嚮往的永恆之境，並傳達了他那股創作的熱情，以及沉穩動人的誠摯情感。

NT$ 600,000-800,000 US$ 18,600-24,800

MODERN AND CONTEMPOR ARY ART

151 LIN SHIENMAO ( Taiwanese, b.1955 )

Carpio Series II 60 x 72cm Oil on Canvas Titled and signed Shien-Mao in English and Chinese, dated 2015.3.20 With a certificate of authenticity signed by the artist

NT$ 220,000-300,000 US$ 6,800-9,300

林憲茂鯉漾系列 II 2015 油彩畫布簽名：ShienMao 20.03.2015 鯉漾系列林憲茂附藝術家親簽之原作保證書當天色光景漸暗，天光墜入渲染夜色之中，唯有仰靠畫家以畫筆精準勾勒出，天地之間，宛如神啟般的動人美麗，捕捉萬物四時運轉，分分秒秒、變化萬千的生命悸動。當天邊新月乍現，紫夜垂暮，羣魚湧現交錯之外，唯有水面一池平靜，宛如暗示作畫者平穩心境，雖有激動之處，仍懂得節制滿腔奔放情感，唯有當激情平復之後，泛紫天光倒映於湖面上，生命走向跌宕精彩之處，交織迷惑、深情繁複情感，泛起漣漪彼此相連，留下滿池餘韻，引人入勝。

MODERN AND CONTEMPOR ARY ART

丁雄泉 WALASSE TING 「每一次我看見美麗的女人就會連想到鮮花，鮮花的美使我空靈，使我惆悵，使我愛，使我新鮮，使我不同，使我重生，使我用許多許多的色彩，把我豐富的情感在畫面上表現出來。我一生畫圖，要表現新鮮，像初生的春天，畫上的女人、貓、鮮花、鳥，都在表現新鮮，在新鮮中藏著美。」

--- 丁雄泉 1970 年代起，丁雄泉由抽象藝術走向寫意的具象創作，多以螢光色壓克力顏料作亮麗妍豔之潑灑，融合東西方的表現精神，形塑自身強烈鮮明、激情夢幻之風格。而其畫作中多有女人、花草、馬、貓、鸚鵡與魚兒等，且丁雄泉所繪女體則多以率性真摯、坦白而不扭捏之手法細膩的捕捉了女性之柔媚與情感。配以彩度飽滿、明麗奪目的媒材運用，彰顯其創作中對藝術與美的極高歌頌。 “Every time I see a beautiful girl I relate her to fresh flowers. The beauty of fresh flowers is serene, it makes me melancholy, able to love, to refresh, to be different, to be reborn, to use so many so many colors. My rich emotions are expressed in my art. For my whole life I painted to express freshness similar to the first spring. The women, cats, flowers and birds in my paintings are all representation of fresh, within the freshness is where the beauty hides.” --- Walasse Ting In the beginning of 1970s, Walasse Ting uses abstract approach to express poetic essence through figurative subjects. His use of neon acrylic colors further emphasizes vitality and boldness in his paintings. The aesthetic spirits of the East and West join force and takes form of a bright and vibrant dream; often depicting subjects like women, flowers, horses, parrots and carp. He conveys the shy yet flirtatious characteristics of women with direct and delicate brushstrokes. The highly saturated imageries captured the viewer’s gaze, and announce high appraisal for the beauty of creation.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

152 WALASSE TING

( Chinese-American, 1929-2010 )

A Cat and Two Girls 88 x 95cm Mixed media on Paper With one seal of artist

NT$ 1,200,000-1,800,000 US$ 37,200-55,700

丁雄泉貓與雙姝綜合媒材紙本鈐印：採花大盜

丁雄泉精力充沛也經歷豐富。從上海到香港，再前往法國，後赴紐約，抽象表現主義的影響下，使其筆下鮮明艷麗的女性形象躍然於畫布上，並於八零年代達至高峰，其後轉移到荷蘭阿姆斯特丹，設立工作室也定居於此。其作品典藏於許多世界級的藝術博物館。畢生熱愛繪畫與女人，熱情的行事作風，豪邁不羈的生命態度，皆盡情揮灑於畫布，呈現其極富明麗色彩的一生。頭戴鮮花，執扇掩面，軟語呢喃，靦腆的注視彼此的雙姝，溫婉柔媚之情，若隱若現的流淌於畫布上。扇面上融入藝術家的畫作，其一扇為具暗示性的女人與馬，另一扇則漾滿了生機氣韻，有別於其它鮮豔色彩創作，更從中突顯其清麗樸實之美。丁雄泉曾道：「每一次我看見美麗的女人就會聯想到鮮花，鮮花

的美使我愛，使我新鮮。我畫上的女人、貓、鮮花、鳥，都在表現新鮮，在新鮮中藏著美。」。如其所言，丁雄泉擅於用鸚鵡、花朵、貓兒以襯托女性的嬌媚，畫如其人，藝術家將其感受生活所湧現的瑰麗色彩，傾灑於畫，如初春含苞待放的花朵般，綻放新鮮，也綻放了丁雄泉心裡真實且自由的美。 Walasse Ting was energetic and seasoned. He moved from Shanghai to Hong Kong, and from there, he moved to France and New York. Abstract expressionism influenced him and made way for the vivacious women in his paintings. After reaching his peak in the 80s, he moved to Amsterdam and established his studio. His artworks are now part of world-class museums. Throughout his life, he loved painting and women. His passionate and uninhibited lifestyle also manifests itself on the canvas, reflecting his colorful life. With flowers on the heads and faces half covered by the fan, two women are talking and gazing softly into each other's eyes. The entire painting is overflown with subtle tenderness. Ting's art is also featured on the fans. One shows a woman and a horse, a sexual innuendo, and the other is beaming with vitality, which set this painting apart from his other flamboyant pieces. Ting once said, “Whenever I see beautiful women, I think of flowers, and the beauty of which enables me to love. It is invigorating. I try to capture this feeling when I paint women, cats, flowers and birds, and the beauty hidden within.” True to his words, Ting was skilled at using parrots, flowers and cats to set off the flirtatious women. He painted with passionate feelings toward his colorful life. Like budding flowers in early spring, they blossom into invigorating, liberating and genuine beauty from Walasse Ting's heart.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

153 WALASSE TING

( Chinese-American, 1929-2010 )

Open All Windows and Let Me In 90 x 98cm Acrylic on Paper With one seal of artist With a certificate of authenticity from gallery

NT$ 1,200,000-1,800,000 US$ 37,200-55,700

丁雄泉 Open All Windows and Let Me In 壓克力紙本鈐印：採花大盜附畫廊開立之原作保證書生於中國江蘇，後移居香港，於 1952 年赴法國，結識了諸多反形式主義運動「眼鏡蛇畫派」的藝術家們，如：阿貝爾 (Karel Appel)、瓊恩 (Asger Jorn)、阿雷欽斯基 (Pierre Alechinsky) 等，共同舉辦了多場展覽，其著重於藝術原始主義和民間民俗藝術之原始狀態，透過色彩、構圖與形體傳達情緒，使丁雄泉的畫中充滿了原生藝術的自然魔力。1958 年轉往美國，受抽象表現主義影響，藝術家使用螢光色彩傳達情感，開啟鮮豔濃烈的創作之路，進而成為聞名國際的詩人藝術家，亦曾出版多本詩集，字裡行間盡是多情浪漫，曾邀請其二十八位紐約藝術家朋友創作版畫，共同出版了《一分錢人生》詩畫集。其畫絢麗多彩，創作題材多元，多以鮮花、美女、馬匹入畫，更自詡為「採花大盜」，為二十世紀的藝術史增添了亮麗的色彩。幻動鮮明的色料，漾滿春意氛圍，在纏綿的情意裡透露出藝術家創作的豐沛能量。畫風受馬諦斯影響，不拘線條、用色奔放，視覺感官構築而成的感性團塊，艷麗而不流俗。丁雄泉喜愛欣賞女人，將柔美的體態轉化為畫中曲線，儘管線條隨性不拘，細膩如絲的情意卻盈滿畫面，其筆下的女人舉止溫雅，手執繪有象徵性的扇，馬隻寓意為雄性，守護著女子，鸚鵡與魚使用鮮麗討喜的高彩度，感知靈動的生命力，也透出藝術家作畫當下的喜悅之情。畫中美女好似被花朵所簇擁著，繁花如熾，嬌艷欲滴，鮮麗的爭相綻放，點綴女人的嬌羞，眼底盡是柔媚。源自中國水墨畫的筆觸，下筆簡潔俐落，流麗的勾勒一情一景，女子的一顰一笑躍然紙上，一把攫住觀者的目光。豪邁不羈的丁雄泉，用喜悅的生命創作，將「美」凝縮於畫裡，展現了女人的柔情似水，風情萬種，恣意揮灑其一生的濃彩。 Walasse Ting was born in Jiangsu, China. He moved to Hong Kong and later went to France in 1952, where he became acquainted with artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky. Together they engaged in the anti-formalist COBRA movement, as well as organized a number of joint exhibitions. Ting focused on primitivism and the original state of folk arts, where emotions are revealed through color, composition, and form, providing his works

ZHONG CHENG 中誠

a natural source of vitality. Ting moved to the U.S. in 1958, and was strongly influences by Abstract Expressionism. He began to use florescent colors to convey his expressions, embarking on a bright and rich creative journey. Later, Ting became a world-renowned poet and artist. He had published a number of poetry collections, in which romantic sentiments flow from between the lines. Ting had invited twenty-eight artists he befriended in New York to create prints together; the result was published and titled One Cent Life, featuring a collection of poetry and paintings. Ting's works are bright and colorful; with distinct features that sets him apart from others. Flowers, beautiful women, and horses are his most common depicted subjects, as the selfproclaimed “Flower Thief,” he had brought vibrant colors to the art history of 20th century. Bright and dynamic paints with spring-like atmosphere, the artist's rich creative energy flows through his lingering emotions. Ting's extravagant yet elegant style is strongly affected by Matisse, featuring free flowing lines, bold colors, and sensual blocks constructed by visual perceptions. Ting loved to admire women, transforming their tender figures into the curves in his painting. Although the lines are spontaneous and unrestricted, intricate affections overflow the canvas. The ladies he portrayed are elegant, with symbolic fans in their hands. The horse being a symbol of masculinity protects the women from danger. As for the parrot and fish, Ting uses bright and high saturated colors to translate vitality, which also reveals the artist's joy at the moment of creating. The beautiful ladies depicted in the work are surrounded by flowers. The fiery blossoms are tender, bright, and thriving, further contrasting the ladies' shyness and tenderness. Ting adopts techniques from Chinese ink-drawings by swift and simple brushstrokes he sensitively captured the ladies' vivid and flirtatious glances and smiles, as well as the eyes of the viewers. The free-spirited Ting creates with joyous energy of vitality, interpreting “beauty” into bright colored paintings that exhibit unique tenderness, affection for nature, and charms of women.

MODERN AND CONTEMPOR ARY ART

154 JU MING

( Taiwanese, b.1938 )

Cattle Herder 56(L) x 10(W) x 15.5(H)cm Wood (One piece only) Signed Ju Ming in Chinese With a certificate of authenticity from gallery

NT$ 1,800,000-2,800,000 US$ 55,700-86,700

朱銘歸牧 1980 年代木雕（僅此一件）簽名：朱銘附畫廊開立之原作保證書

感於楊英風運用多種材質於雕塑創作的強烈震撼下，三十歲的朱銘毅然決然拜於其門下，自此，其工藝雕刻創作正式進入了藝術創作領域。1976 年於國立歷史博物館的首次個展中，受到了鑑賞家與藝術工作者的重視，轟動藝壇，使朱銘聲名大噪，渾然純樸之作開拓了中國現代雕塑的新視野。七零年代，台灣鄉土文學如火如荼的展開，朱銘充滿鄉土形象的作品，呼應了當時時代背景，使其日後被視為台灣鄉土運動的重要象徵。落霞殘照，倦鳥歸巢，鎮日孜孜不倦辛勤工作的人們與牛隻隨著夕陽西沉，儘管路上積滿泥濘，踏上歸返的路程滿載歡欣，少女愜意的躺臥於牛背上，享受片刻小憩，藝術家對於鄉土的依戀之情穿透始終。清爽俐落的刀法，或粗獷，或細膩，刻鑿出純淨質樸的鄉間景象，原色木雕創作，在木質紋理的流動以及塊面的量感中，充分表現鄉土情懷亦傳達材質本身的語言。朱銘不受形式侷限，將雕塑精神內蘊發揮的淋漓盡致，透過雕塑直抒胸臆，創作痕跡鮮明開展於觀者眼前，刀刀精彩，匠心獨運的展現其體內積累許久的深湛工夫。

At the age of thirty, Ju Ming strived when learning under the instruction of Yu Yu Yang. He later entered the field of artistic pursuit through wood carved sculptures. In 1976, he held his first solo exhibition at the National Museum of History. His progressive vision of Chinese modern sculptures captured the attention of the art scene and became a sensation. During 1970s, Taiwanese local literatures were extremely popular, Ju Ming’ subjects also revolves around the topic of heritage, echoing this time, which is now recognized as an important Taiwanese Oriental Movement. When the sun starts to set, farmers are on their way home from a day of hard work. The cattle set foot on the muddy path home, while the young peasant girl joyfully rides on the back finally enjoying a moment of rest. The artist’s attachment towards the local life is deeply portrayed in his artwork. The fresh and precise cut of his knife, skillfully articulate the rounded and more delicate curves of the pure virtuous countryside scene. Ju Ming purposely emphasizes the original flow and texture of the wood in its natural condition, conveying a vocabulary of reminiscence for nature and home. Instead of being bound by restrictions, Ju Ming executes the potential of his medium through its form and structure; every cut on the wooden sculpture is full of excitement revealing confidence and preciseness from years of practice.

MODERN AND CONTEMPOR ARY ART

155 JU MING

( Taiwanese, b.1938 )

Squarish Cauldron 75(L) × 57(W) × 50(H)cm Bronze Signed Ju Ming and word “lmitate” in Chinese With a certificate of authenticity from Ju Ming Museum With a certificate of authenticity from Ju Ming Culture & Education Foundation

NT$ 2,800,000-3,800,000 US$ 86,700-117,600

朱銘四方鼎 1989 銅「仿」字號簽名：朱銘仿附朱銘美術館鑑定報告附朱銘文教基金會開立之保證書

《四方鼎》是朱銘少有的仿古之作，殷商時期的文物形式開展出威嚴之氣，並將青銅的素材賦與了時代感，色澤層層疊疊、彰顯出其本質中隱含的形態與精神氣韻，讓人無法分辨是自然的時間軌跡或是人為的處理印記。厚實且關注細節的藝術表現、將歷史感與亙古的美學重現。「鼎」是古代王宮貴族使用的銅器，代表國家、地位以及個人身分的意義，是每場祭典與盛大場合中不可或缺的禮器。朱銘的《四方鼎》更是其中身分地位顯著的代表，由形制、花紋、雕塑、銘刻結合而成的青銅，其方正造型呈現出氣勢的泰若穩重，鼎身上刻有神獸與鳳鳥的紋飾，各面皆有守護者啣含著圓鎖，保護著每項期許與諾言。在頂端的紮實平蓋中，鑄留有八個小孔洞，每到鼎內的爐火升起、煙霧繚繞，《四方鼎》內的白茫熱氣隨著八方孔洞直升而上，象徵著君王聲勢威震八方、國土民安四海昇平。而擁有翅膀的神獸各於立於四個鼎腳，足部有力而體態雄壯，以守護之姿看顧遼闊的領地、庇護著人民百姓。透過朱銘的重現，《四方鼎》表露的時代精神也藉此在這個世代延續。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

ZHONG CHENG 中誠

“Squarish Cauldron” is one of the rarest artwork of Ju Ming's that models after an antique. The historical relic from the Yin Shang Dynasty is both dignified and majestic. A hint of modernism shines through the green copper and the multi-color layers, revealing sense of mystic essence and spirits. Viewers are left unable to distinguish whether the texture and colors are a result of time or of man-made production. The solid yet detailed art form is a representation of aesthetic resurrect from history and for eternity. Cauldron is an ancient vessel used by the nobles, it represents the status of the country and meaning of personal identity, and it is also a crucial item for performing ritual and other significant events. In Ju Ming's “Squarish Cauldron” it represents status, through style, pattern, shape and inscription combined with green copper, the work command essence of honor and respect. Within the carved inscription are imageries of godly beasts including the legendary phoenix. Each surface depicts a guardian protecting the wishes and vows of the people, by withholding a rounded lock in their mouth. A total of eight small holes are drilled on the lid, permitting smoke to rise through its containment. This symbolizes God's blessing of peace and prosperity for the people. Each legs of the Cauldron is taken over by flying godly beasts, who stands firmly and of elegant posture. They withhold the responsibility to carry the pressure of the Cauldron, and to ensure the safety of the people and their land. Ju Ming's Squarish Cauldron continued the spirit of the generation before and carries it forward to the next.

MODERN AND CONTEMPOR ARY ART

156 YE YUSHAN ( Chinese , b.1935 )

Nude 25(L) x 15(W) x 70(H)cm Wood (One piece only) Signed Yu-Shan in Chinese With a certificate of authenticity from gallery

NT$ 800,000-1,100,000 US$ 24,800-34,100

葉毓山裸女木雕（僅此一件）簽名：毓山附畫廊開立之原作保證書葉毓山自幼深受民間藝術年畫及皮影藝術的影響，而後在四川美術學院與中央美術學院就讀，師事被譽為「中國現代雕塑事業奠基人」的劉開渠先生。葉毓山以擅長表現重大革命歷史題材與紀念碑式的大型雕塑著稱。於 1962 年完成第一座雕塑《毛主席全身雕像》，自此便在藝術界一舉成名。葉毓山不僅是位雕塑大師，還是位美術教育家，在擔任四川美術學院院長期間，設立了藝術創作基金，鼓勵年輕的在校學子們積極創作。經過葉毓山積極接洽，中國美術館於 1982 年展出「四川美術學院油畫作品展覽」，成果斐然，「四川畫派」也應運而起。因秉持著「出作品、出人才」的理念，也培育了諸多位具有影響力的藝術家們。葉毓山更於今年 6 月獲頒「中國雕塑終身成就獎」。婀娜的體態、輕閉的雙眼、女子舉起了手與微掂起的雙腳，好似浸淫於自己的世界裡，舞態生風，栩栩如生。刻於木頭上的裸女，卻不覺其生硬緊繃，反倒是蘊含生命般的躍然於木頭上。藝術家運用木頭材質的特性，刻出有稜角的背景對比人體皮膚在木紋肌理下更顯的光滑細緻，剛柔並濟之中，調和出均衡之美。優美的、柔順的、純淨的、細膩的，藝術家藉此作將內在的情蘊形塑成外在形式的樣貌，使觀者於觀看的當下便能感知此作的韻味。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

157 CAO XIAODONG ( Chinese, b.1961 )

94 - F - P 120 x 120cm Mixed media on Canvas Signed Cao Xiao-Dong in Chinese, inscribed oil on canvas and 120 x 120cm, dated 1994

NT$ 450,000-600,000 US$ 13,900-18,600

曹小冬 94 - F - P 1994 綜合媒材畫布簽名：曹小冬《94-F-P》布面油彩丙烯噴漆紙二甲苯燃燒 120 x 120cm 1994

於中國「85 美術新潮」時期，曹小冬身為南京最重要的藝術群體「紅色‧旅」的主要成員之一。「85 美術新潮」是一種以現代主義為特徵的美術運動，年輕藝術家們帶有強烈的人文主義色彩並試圖從西方現代藝術中尋找新的血液，進而引發全國的藝術新潮。當時的曹小冬展現出強烈的「超現實主義」，其作品強調線條的秩序與結構的均勻，理性又純粹的跳脫出傳統畫的限制。從九零年代初開始，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，精確無誤的產生一種冰冷的距離感，與灼燒時生成的熱能延伸而出的不規矩線條紋路產生強烈對比。其於具文化象徵性的框架裡，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，取代了畫筆的筆觸肌理，展現出更深遠的純然抽象創作。蔓延擴展至整幅畫布的深淺痕跡，更凸顯了整齊劃一的「點」，光影流動穿梭於中，在二維的畫布上延伸出獨特的空間幻覺，既迷幻又真實，引領觀者進入引發更為深層的省思。曹小冬貫穿了八十年代直到當下，長期的實驗創作、媒介探索、語言轉譯，建構出藝術家本身與藝術的不斷探尋下所生成新的自我。依託著更巨大的內蘊，將中國深奧的文化帶進入中國式當代抽象畫的境界，展現獨到的藝術語體，延續了「85 美術新潮」時期的激情，突破了時代的禁錮，獨創其平面抽象物質化的藝術世代。 During China's “85 New Wave” period, Cao Xiao Dong was the most important member of the “Red • Tour” art movement in Nanjing. “85 New Wave” is a Modern art movement characterized by young artist with strong humanistic minds that seeks new elements from Western Modern art, and thus leads the international art style. At the time Cao

ZHONG CHENG 中誠

Xiao Dong stood out with strong surrealist approach, emphasizing order and structure in uniform lines, rational yet, break free from conventional restrictions. Starting from early 1990s, Cao Xiaodong used “dots” to create series of paintings, through the method of wax dripping on canvas; he organized rows of even-sized dots, with consistency and accuracy. The results generate a sense of distance for the viewers; however the burning heat that came from the process of wax dripping, leaves behind spontaneous lines that contrast with the previous and creates an unspoken balance. Within the frames of cultural symbols, the experimental abstract geometric forms leave material traces; this allows the painting to enter a new level of abstraction, by replacing the texture of brushstrokes, we encounter an unintentional, uncontrollable pureness of abstraction. The pattern extends to the edges of the canvas with unrestricted depth of shades, further highlighting the uniformed “dots”. Lights flew through the two dimensional canvas, expanding its course to create unique illusion of space. It is dream-like yet realistic leading the viewers into profound reflection. From the 1980s until present, Cao Xiaodong had long been experimenting with different media and explored translations in different languages, the constant search for a new self, constructs the artist he is today. Relying on great intrinsic, the profound Chinese culture has successfully transitioned into the abstract realm of Chinese contemporary arts. Presenting individual artistic genre, it is a continuation of passion from the “85 New Wave” period, also a progression from the previous time; it is a generation of originality that can executes balance in new abstract materials.

MODERN AND CONTEMPOR ARY ART

158 LUO FAHUI ( Chinese, b.1961 )

Rose 110 x 100cm Oil on Canvas Signed Lou Fa-Hui in Chinese, dated 2006 EXHIBITION: “Floating Desire-Oil Painting Show of Luo Fahui,” Art Gallery of China Academy of Art, Hangzhou, China, 2006 “Coordinates of Roses,” Beijing Art, Beijing, 2007

NT$ 400,000-600,000 US$ 12,400-18,600

羅發輝玫瑰 2006 油彩畫布簽名：2006 Lou FaHui 展覽：「漂浮的欲望 - 羅發輝油畫作品展」，中國美術學院美術館，杭州中國，2006 「玫瑰座標」，北京藝術，北京，2007 年

「在細部的描繪上有豐富的變化，其間包含溫馨與柔情，使他的作品耐看、空靈而不虛弱、簡練而不單薄。這裡有充滿憐惜之意的夢想，儘管人在浩瀚的空間中是渺小的」。 --- 王林此幅《玫瑰》中花瓣邊緣羽化、色調稀薄、平滑光潔，花心的幽深洞穴特寫放大並精雕細琢，構圖飽滿充滿迷幻色彩。在滿是物慾堆疊的都市中騰空而起，籠罩在城市之上，且玫瑰形體十分擬人，一如女體般凹凸有致，而膜瓣又如肌膚般光滑細緻、剔透晶亮，花心便如眼眸，似紅似紫，幽暗、溫暖、光滑、柔軟。又藉由周圍灰暗的花瓣襯托，將對女性的憂傷、深情、疼惜都毫無保留的呈現在畫布上，任憑慾望縱情漂浮在他畫布的想像之上，以獨特的視角及手法構築出羅發輝對女體所見、所轉化之美、之詠嘆。

MODERN AND CONTEMPOR ARY ART

159 MA PAISUI

花系列 No.2

Flower Series No.2

1984 水彩紙本簽名：白水一九八四鈐印：MA PAI SUI

31.5 x 41cm Watercolor on Paper Signed Pai-Sui in Chinese, dated 1984 With one seal of the artist

NT$ 160,000-240,000 US$ 5,000-7,400

馬白水

( Taiwanese, 1909-2003 )

ZHONG CHENG 中誠

1909 生於遼寧省本溪縣，1929 年畢業於瀋陽遼寧省立師範美術科，來台後任教於台灣師範大學美術系教授，曾受聘為省展評審委員、教育部文藝獎美術組審查委員。1979 年美國水墨畫協會年展榮獲華盛頓金牌獎。他擅長旅行寫生，年少時憑藉自身鑽研，從自然中汲取靈感，有感於東方水墨與西洋水彩兩者相似亦互補的特性，馬白水逐漸於作品中實踐此藝術概念。馬白水的水彩創作已調性獨樹，今日看來仍清新不減，反更臻風味，實無愧其於華人美術史歷程中的重要地位。

160 TANG HAIWEN

曾海文 ( 唐海文 )

( Chinese-French, 1927-1991 )

顫動

Flicker

水墨紙本簽名：Tang 海文

30 x 42cm Ink on Paper Signed Tang in English and HaiWen in Chinese

NT$ 120,000-200,000 US$ 3,700-6,200

「我的畫即非抽象亦非具象，它意圖跨越意識的世界，呈現自然及其律動相關的新形式。我要將自己化為自然的力量，並透過筆墨來具體呈現。」 --- 曾海文旅法畫家曾海文，自幼從祖父習書法，運筆動勢及線條轉折間早已了然於心，將內在深處的能量付諸筆墨，雙聯的紙幅間，甫落筆即滴流沿淌成一新世界，作品的生成是如此玄妙，彷彿有其冥冥之力藉著畫家降生，朝向未知的彼方流轉迴盪。狂舞揮灑的墨跡震撼人心，筆勢縱橫參透造化，已達渾然忘我、快然自足之境，得真意而忘其形，偶現的一點一劃充滿生命動能與鮮活之感，酣暢淋漓，奔騰澎湃。一生恣意漂泊，隨性灑脫不在意追名逐利的他，筆下起伏跌宕蘊涵生命的厚度，遠觀有其勢、近看有其質，匯聚天地紋理及精神哲思於方寸，詠萬物之真諦，歎造化之無窮。

MODERN AND CONTEMPOR ARY ART

161 CHUANG CHE ( Taiwanese, b.1934 )

The Wings of Phoenix III 127 x 168cm Mixed media on Canvas Signed Chuang Che in Chinese, dated 1998

NT$ 1,500,000-2,200,000 US$ 46,400-68,100

莊喆鳳凰之翼 1998 綜合媒材畫布簽名：莊喆 98 生於中國北京。1958 年加入了「五月畫會」，積極參與中國繪畫現代畫運動。曾獲美國洛克菲勒三世基金會資助，赴美研究當代世界繪畫。作品自 1965 年開始於各大城市舉行個人展覽，之後旅居美國紐約，專注於抽象繪畫創作。莊喆將中國文人畫精神滲入了西畫抽象創作，展現出其獨到的新穎水墨畫風。本幅作品「鳳凰之翼」完成於 1998 年，莊喆運用中國傳統五色，在代表大地的黃色基底上，右側畫面有不凡的赤色氣韻，畫面以黑、赤、青、白用色，輔之以狂草般的書法表現，展現出鳳凰來儀、飛舞而上、接引祥瑞的形象，也展現出中華民族形成、融合、發展的歷史中，所展現的生命、活力與激情。單純有力的線條、充滿厚實感的抽象筆觸、變幻豐富的色彩層次，表現出深遠的景深與空間，不僅是再造的一種形象，他一方面脫離了現實中具體的形象，也重新將這不易表達形象賦予了一種真實性。作品中，神秘的鳳凰型態於莊喆筆下濃密且奔放的線條中解放，背景在灰暗與明亮兩種截然不同的色調中產生了時間的元素，彷彿時間不再是被禁錮的法則，而是任其隨意遨遊的異想天地。 Born in Beijing, China, Chuang Che joined May Association of the Art in 1958 and was actively involved in the modern painting movement in China. He was sponsored by Asian

ZHONG CHENG 中誠

Cultural Council, which was founded by Rockefeller III, to study contemporary painting in the United States. His solo exhibitions started in 1965 in major international cities. He moved to New York since then and focused on abstract painting. His paintings fuse the essence of Chinese literati paintings with western abstraction, pioneering a new style in ink painting. Chuang created The Wings of Phoenix in 1998. He used the five traditional colors over the earth tone background. On the right, an extraordinary force of red is forming, while the black, red, blue and white roar through the canvas in the Chinese cursive style, like a rising phoenix dancing upward for the blissfulness. It is also a symbol of the ethnic fusion throughout the history of China, of vitality, energy and passion. The lines are simplistic and yet forceful. The strokes are solid and yet abstract. They morph with the rich layers of colors, creating a sense of depth and space. Chuang was not merely recreating an image. He moved away from the figurative, but gave this elusive image a sense of reality. The mystical phoenix is liberated by Chuang's dense and boundless lines. The contrasting light and darkness in the background create a time continuum as if time is no longer bound by its own rules, but set free into this world.

MODERN AND CONTEMPOR ARY ART

162 CHUANG CHE ( Taiwanese, b.1934 )

Serene 112 x 98cm Oil on Canvas Signed Chuang Che in Chinese, dated 1979

NT$ 550,000-800,000 US$ 17,000-24,800

莊喆寂靜 1979 油彩畫布簽名：莊喆 79 莊喆以書法筆勢墨運入畫，此一赴美時期的作品抒情超然空靈，貫串東西技法獨有雅致具識別性的詩意氛圍，烘染薰托出純淨寂寥、靜謐無聲的幽微之境。融匯蒼潤濃淡疏密於筆法中，極富層次暈染的線條運墨而五色具足，如此昇華提煉的抽象理念與東方語彙，賦予觀者澄境透澈的宏觀美學視野。由於家學淵源深得國畫墨跡神髓，然探索現代媒材之表現與抒發，是藝術家終生追尋不懈的漫漫創作之路，身為抽象繪畫的開拓者，畫面更使用特殊的表現技法讓油彩與清水互不相容的效果，產生獨特的裂紋美感，及如噴薄繚繞如夢又似幻的輕柔雲霧飄散，寂靜純粹而意韻悠然。

MODERN AND CONTEMPOR ARY ART

163 ZHANG JIE

( Chinese , b.1963 )

Echo Valley 130 x 150cm Oil on Canvas Signed Zhang Jie both in Chinese and English, dated 2007.10 Signed on the reverse: Zhang Jie and title in Chinese, inscribed Chongqing Sichuan Fine Arts Institute in Chinese

NT$ 450,000-550,000 US$ 13,900-17,000

張杰山谷回聲 2007 油彩畫布簽名：張杰 Zhang jie 2007.10 背面簽名：《山谷回聲》張杰重慶四川美術學院 1963 年生於四川重慶。畢業於四川美術學院油畫系。作品曾入選多個全國性大型美展並參與眾多學術性美展。遠赴美國、日本、加拿大、土耳其、剛果等多地展出，深受好評，並被許多博物館和收藏家收藏。亦被收編入《中國當代美術家人名大辭典》之中。現任四川美術學院副院長、教授。鎔鑄東方的水墨與西方的油畫，透過畫筆反璞歸真，營造出靜觀的格局，張杰的畫就有這麼一股力量。隱藏著一種精神性的後韻，細膩的情懷總將觀者的視線拉回到畫所透出的本質上。山鳴鼓應，從畫布中隨著藝術家的情緒開展，埋伏在山谷間的動勢，蠢蠢欲動，好似隨時都要迸發。山谷伴隨畫筆所構築而成的疊加狀態，以其特有的節奏不停更迭，逃離了畫的框架而綿延不絕，張杰將自身對於自然關注，與崇敬山林的激情如實的揮灑在畫作上。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

164 HUANG MINGCHE ( Taiwanese, b.1948 )

Story of Life 240 x 100cm Oil on Canvas Signed on the reverse: Title and Che in Chinese, inscribed oil on canvas and 100 x 240cm, dated 2013

NT$ 950,000-1,200,000 US$ 29,400-37,200

黃銘哲浮生錄 I 2013 油彩畫布背面簽名：哲浮生錄 I 油畫 100 x 240cm 2013

「在寂寞的流浪中，我更感受藝術和人生的真諦，我慢慢步入人心靈的探討，步入另一種新階段的探索。」 --- 黃銘哲黃銘哲早期以平面油畫創作為主，自 70 年代的鄉土寫實時期，他刻劃了臺灣鄉間的純樸風貌，即便身在歐美也依然保持這種風格；到了 80 年代發展出細緻的人文溫情主義，以傳統思想、倫理、傳承為創作主軸，用農人精神耕耘每一塊畫布；90 年代半抽象的華麗都會風貌，黃銘哲將克琳姆的綺麗繽紛的裝飾風格揉和自身的藝術特質，創造出具有東方神秘色彩的造型語彙；1996 年他毅然決然地踏入金屬立體作品的世界，在三維的空間裡，他以簡潔、圓潤、具有厚度的形象轉化情慾的表現，並以單一的色彩強調立體造型的純粹線條。黃銘哲對多元創作的濃厚興趣與發展，不僅能看到藝術家的人生詩篇及他對創作本質的探討與堅持，更可以反映出社會變遷的環境對話。黃銘哲在重拾畫筆後，以立體作品的簡潔明朗延伸出了新的繪畫意象，他在點、線、面的精鍊架構中，用飽含勁道的色彩、筆力展現更接近內在的心緒變化，密切地與藝術家的呼吸、生命及整個自然連繫。《浮生錄》以大量的金黃色鋪成，富有層次的色調變化勾勒出抽象的肢體表情，其獨特而深邃的大眼，象徵著作品與藝術家自身的同步，亦是凝視著觀賞者的存在。

ZHONG CHENG 中誠

165 CHEN ERFU

陳二夫

( Chinese, b.1965 )

早春

Early Spring

2013 油彩畫布簽名：CEF2013 背面簽名：《早春》－木湖陳二夫 2013 年

100 x 80cm Oil on Canvas Signed CEF in English, dated 2013 Signed on the reverse: Title and Chen Erfu in Chinese, dated 2013 PROVENANCE: Acquired directly from the artist

NT$ 600,000-850,000 US$ 18,600-26,300

來源：購自藝術家本人

陳二夫擅繪光影水波，以扎實細膩的繪畫技巧創造了許多經典的系列畫作，如《水鄉系列》、《月季花系列》等皆是。而此幅《早春》表現了陳二夫對光影氛圍的精準掌握，全畫以綠色系為基調，但在畫布上卻能將單一色系變幻出了春色宜人的無窮與韻味。如在樹梢迎光面以嫩黃澄青的芽綠表現出生意盎然的清新氣息；沿著視線滑下，在頂端被樹葉稍稍遮蔽的陰影處，則是點染上蔥翠的碧綠帶出光線撒落的層次感，石橋邊則是描繪上色澤更深的草綠，而湖面對光影微微的反射與漂浮著若有似無的青苔更顯此處的寧靜悠然。整幅畫用色高妙有致、層次交融，以格外溫柔的手法展現了《早春》明朗溫暖、沁人心脾的樣貌。 MODERN AND CONTEMPOR ARY ART

166 HUNG YI

( Taiwanese, b.1970 )

Monkey and Banana 119(L) x 80(W) x 140(H)cm Paint on Steel Sheet with Marble Base 3/6 Signed Hing Yi in Chinese, dated 2011, numbered 3/6 EXHIBITION: “Fantasy World of Hung Yi,” Shin Kong Mitsukoshi, Taipei, Taoyuan, Hsinchu, Taichung, Chiayi, Tainan, Kaohsiung, Taiwan, 2013 With a certificate of authenticity signed by the artist

NT$ 850,000-1,200,000 US$ 26,300-37,200

洪易猴子香蕉 2011 鋼板烤漆大理石 3/6 簽名：洪易 3/6.2011 展覽：「洪易的異想世界」，新光三越，台灣台北、桃園、新竹、台中、嘉義、台南、高雄，2013 年附藝術家親簽之原作保證書

「生活即藝術，藝術即生活。」--- 洪易 “Life is aesthetic, aestheticism is life”--- Hung Yi

ZHONG CHENG 中誠

富含鮮明飽滿的原色、濃郁地台灣文化況味，以及圓潤可愛的造型，即是洪易最有特色的標誌性元素。來自台中畢業於美工科的他，在十年的創業生涯打拚中閱歷人世情狀，由市井生活中對社會現象與人文脈絡的觀察，結合傳統民俗圖騰與當代雕塑媒材，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。神采奕奕的面容與歡展笑靨使人開懷，《猴子香蕉》更蓄藏著無盡的財富於細節之中，綜合傳統語彙及當代符碼的討喜設計讓人莞爾一笑，用色繽紛大膽且澎湃，生動的線條勾勒出屬於在地的獨特風味，上揚輕咧的笑容裡含著可掬的喜氣，「靈猴獻寶蕉好運」的正面能量感染觀看的老少，使眉頭隨之舒展、笑顏逐開，無邊喜氣滾滾而來。純樸幽默與前衛藝術語言精彩呈現，更承載滿滿鄉土的情感、對社會功利主義的觀察及思考，逗趣獨特的風格博君一粲，正如藝術家戲謔詼諧以寓理之境笑看人生。 The vividly portrayed sculptures embody both delightful contour forms and meaningful Taiwanese cultural symbols, the innovative and bold style belong to no other but artists Hung Yi. Born in Taichung, Taiwan, Hung Yi graduated from Graphic Design major. In his ten years of entrepreneurship, he observed the diversity of life, market value and context of social phenomenal. These dynamic and whimsical steel sculptures were the results of unifying traditional folk-culture totem elements and contemporary art medium. Hung Yi's art convey joy while reflecting on the daily lives of individuals. The unique presentation of lively lines and bold color scheme is aim to spread the beautiful culture of the island people. The beaming and playful expression of his art brings an unconscious smile upon the observers. In Monkey and Banana, hidden details of prosperity are placed spontaneously in repetition. Variety of traditional numerals and modern wealth symbols are translated into a favorable unique pattern. Hung Yi is renowned for his bold use of primary colors and lively construction. The positive energy of his sculpture is contagious for viewers of all ages. Lighthearted humor and advance aesthetic language is carefully presented, withholding traditional culture reminisce and present day analysis of social behaviors. Hung Yi's sculptures perfectly capture the spontaneity of everyday life.

MODERN AND CONTEMPOR ARY ART

167 LI SHUANG

( Chinese , b.1957 )

Flowers, Birds and You 114 x 195cm Oil on Canvas Signed Li Shuang both in Chinese and English, dated 2007 ILLUSTRATED: “Li Shuang 2008 Solo Exhibition,” Caves Art Center, 2008, Page 51

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

李爽花鳥你們 2007 油彩畫布簽名：李爽 li shuang 2007 圖錄：《李爽 2008 上海個展》，上海敦凰藝術中心，2008 年，第 51 頁

生於北京，曾在中國青年藝術劇院從事舞台美術的工作。1979 年，一批藝術家們組成了「星星畫會」，李爽既是「星星畫會」裡創始人之一，也是唯一的女性成員。而「星星畫會」作為一個非官方的民間畫會組織，曾在當時舉辦了兩屆的「星星美展」，不順從政治化主流而追求真實的內心，更在當時藝文界造成了一股轟動。隨後受到中國官方的強力壓制，而迫使藝術家們走上街頭、高喊「藝術自由」，成為了中國現代藝術自主的先鋒力量。李爽所繪製的人物肖像，面容慈藹，宛如佛像般的靜謐優雅，細長的丹鳳眼正靜觀著這變幻多端的世界。背景以豐潤的紅色襯托出畫中人物深婉含蓄之美，其身後的竹，清秀且瀟灑，高雅、純潔的姿態反映了藝術家沉穩的精神意識境界。「五、二、十九」，畫面中的數字，代表著人、動物與花木所組成的一首圓舞曲，看似突出卻又巧妙和諧的融入李爽筆下的意境中。重疊的人像，虛實相生般讓思緒穿梭於表象之間，觀其畫，好似時間凝結，潛藏於內心的沉靜，於形體之外展現。在歷經一番顛簸後，李爽藉由創作，尋覓到了真實的自己。

100

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

101

168 YANG SHU

( Chinese, b.1965 )

Graffiti 146 x 117cm Oil on Canvas Signed Yang Shu in Chinese, dated 1997

NT$ 400,000-600,000 US$ 12,400-18,600

楊述塗鴉 1997 油彩畫布簽名：楊述 1997

畢業於四川美術學院油畫系，出於學院，其畫作卻跳脫學院派的限制。於充滿塗鴉風格的表現主義繪畫中塑造出鮮明的個人形象。1995 年獲贊助赴荷蘭 Rijksakademie 進修，西方文化對於藝術的態度，使其重新省思自身。現任教於四川美術學院。楊述恣意的選擇創作題材，擷取元素與符號形象，建構出奇幻卻需一番思索的世界。局部的符號、隨性的筆觸、神秘的形體、創作的肌理、塗抹的顏料交疊混揉於畫面中，從柔和的色調轉趨為進入一場暴風雨中的陰鬱，在視覺上產生一種暗示性的分界線，每一形體模糊的存在，虛幻之中隱藏著一股巨大能量，看似隨時要迸發。絢爛的色料，奔走於每一處，筆隨意轉，巧妙製造出一個個獨立的空間，各自擁有寬裕從容的氛圍，適足剛好。未乾的顏料，流淌出一絲絲的白色線條，在藝術家未預設草稿的畫裡，混亂中顯現出規則與秩序感。童心未泯的隨性塗鴉在藝術家筆下的色彩斑斕中蘊釀出希望，於隱喻和抽象間游移。對於自我生命的梳理以及對於自由繪畫的追求，楊述實驗性的創造出具有語言性的塗鴉，釋放出生命中的喜與悲，展示了繪畫表現的可能性，也重新定義出既粗獷又雅緻的塗鴉藝術。

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Yang Shu graduated from Sechuan Fine Arts Institute. However, he is not bound by the academic background. He found his own path in expressionism with the graffiti style. In 1995, he received funding to study in Rijksakademie in the Netherlands. The Western approach toward art made him rethink his own. Currently holding a teaching post at Sechuan Fine Arts Institute, he exercises great liberty in choosing his subjects, symbols and elements. He creates a world of fantasy, and a world that is thought-provoking. The partial symbols, the casual strokes, the mysterious forms, as the texture and colors intertwine, a stormy darkness brews underneath the soft tones. A visual distinction is born. Behind each ambiguous existence is enormous energy, ready to explode. Willing the brushstrokes with his mind, Yang lets the vibrant colors run abound, creating independent and yet expansive dimensions that are unhurried and ample. The half-dried paint drips down into slivers of white, creating a sense of order among the chaos in an unscripted world. The child-like graffiti exudes hope between the metaphorical and the abstract in a prismatic world created by the artist. This is Yang's attempt to define his own life and pursue the freedom to paint. In this experiment, he creates his own lexicon with graffiti, which radiates the joy and sorrow in life, the possibilities in painting, and a new definition for the rustic and yet sophisticated art of graffiti.

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169 CHEN ERFU

秋的氣息 ( 三 )

Autumn

2012 油彩畫布簽名：CEF2012 背面簽名：《秋的氣息》陳二夫 2012 年

80 x 100cm Oil on Canvas Signed CEF in English, dated 2012 Signed on the reverse: Title and Chen Erfu in Chinese, dated 2012 PROVENANCE: Acquired directly from the artist

NT$ 550,000-800,000 US$ 17,000-24,800

104

陳二夫

( Chinese, b.1965 )

ZHONG CHENG 中誠

來源：購自藝術家本人

陳二夫自幼在父親的薰陶下走上中國書畫創作一途，其後受藝術大家趙無極與陳其章之指導，作品更多次在國內外展覽並被廣泛性的收藏。此幅畫作中表現出一貫細膩且深具層次之筆觸，更以濃郁飽滿的色彩帶出光影灑落之韻致。使光影與景物交錯相融，描繪出秋之深涼與恬靜。且畫面中大量的金黃色調不但飽和了整幅畫作，更遙應了「霜葉紅於二月花」之意境。《秋的氣息 ( 三 )》雖繪秋意，卻因作畫手法而為畫面營造了一番和煦溫靜的舒適感，亦從中彰顯了天地萬物在更迭變換之中所展現的美，使觀者觀畫不但領其意也能暢其心。他將對生活細微的體察與情感投注於畫紙上，再結合對光影技法的掌握，成功地開創了自身對於水鄉景物的當代寫實風格。

170 XU MING

徐鳴

( Chinese-Canada, b.1945 )

蓮潭幽靜

Lotus Pond

2007 油彩畫布簽名：Xu Ming 背面簽名：徐鳴 Xu Min 蓮潭幽靜 2007 200 x 100cm

100 x 200cm Oil on Canvas Signed Xu Min in Chinese Signed on the reverse: Titled in Chinese and Xu Min both in English and Chinese, inscribed 200 x 100, dated 2007

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

旅外著名的華裔藝術家。幼年受到父親的影響，接觸大量的藝術創作，耳濡目染下使其投身藝術這條道路。旅外三十餘年寫生的歲月裡，大自然帶給徐鳴豐沛的創作能量，孕育其率真和諧的藝術本質。在繪畫表現上，受到傅抱石的水墨畫與歐洲印象派影響，使其創作融合了東方的水墨以及西方印象派畫風的精髓，展現了獨到新穎的「意象畫派」。早年曾師從嶺南畫派大師趙少昂，得其撞粉畫法，融匯於畫作中，釋放出徐鳴內在的生命華彩。磅礡的筆觸盈滿整幅畫作，展現水墨的大氣，卻不失畫中的空靈意境，同時融入印象派畫風，感知光影的變化與色彩的躍動性，使日常生活所見之蓮潭，頓時生意勃發，動靜間，幽靜之景隨想而見。藝術家將個人所體會萬物間精神所在，運用蒼勁雄渾的筆觸，恣意揮灑於畫布上，色彩濃淡有致，寓景于情，強烈的氣場穿透畫面，藉由畫筆體現昇華。澄澈透明的潭面映照出青翠的綠，靈巧的紅好似魚兒悠遊其中，生趣盎然，沉靜的藍帶出此作的意象，低斂而不盛氣凌人。不追隨固有的形式，也不侷限風格，使徐鳴更能遵循自身的思想去創作，展現其成熟精確的繪畫表現。

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171 AI XUAN

( Chinese, b.1947 )

A Girl of Tibetan 54 x 39 cm Oil on Paper Signed Ai Xuan, Nyemo and Yangzhu in Chinese, dated 1977.12 Signed on the reverse: Titled and Ai Xuan in Chinese EXHIBITION: “National Paintina Exhibition,” Sichuan, China

NT$ 2,000,000-3,000,000 US$ 61,900-92,900

艾軒藏族女孩 1977 油彩紙本簽名：央珠 1977.12 於尼木艾軒背面簽名：藏族女孩艾軒展覽：「全國寫生書畫展」，中國四川艾軒，以其純淨抒情的寫實主義畫風享譽國際，獲獎無數，同時為中國美術家協會會員、國家一級美術師。為著名詩人艾青之子，然而不同於父親以歌當哭的愛國情懷，艾軒選擇以沉靜細膩的筆觸，將藝術視角投向冰雪封地的西藏高原。當他置身於西藏遼闊蒼茫而行將凍結的靜謐荒原裡，「內心被強烈地震懾住了。他感到寂靜從四面八方向他襲來，他感到遠方咄咄逼人的沉默。一股難以言喻的孤寂感浸透他的全身。」凜冽的寒風、綿長的凍土帶在西藏高原周旋合流，艾軒把藝術靈魂寄存於此，以一種自然主義的描繪，深入藏民清亮的雙眼，觸碰生命中的沁涼與純真，譜出一首首憂鬱動人的詩歌。《藏族女孩》包裹頭巾、身穿厚重棉襖，艾軒以色調的差異、構圖的巧思，使觀者的目光集中於黝黑面容上那雙明澈堅毅的眼睛，她孤獨地靜觀遠方，在白雪皚皚的異域中牽引出沉默無語的孤寂迷茫。內斂的筆觸卻極具感染力，若以袁正陽的話來說：「那些藏族女孩的眸子裡，感覺不出具體的情緒和意義，她們似乎不屬於我們這個時代，但是，她們的眼睛卻能夠看清我們，能夠看清我們全部的思想和感情。」艾軒在《藏族女孩》的眼神裡深刻地寄

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託了自己的思緒和感情，並且別開生面地把孤寂的氣性與神秘飄忽的美妙巧妙地結合起來，讓浩瀚荒野中瀰漫著淒美寧謐的氛圍。無感於冰雪紛飛、自然嚴峻，艾軒悃悃款款地，把觀者緩緩攜至悠遠、蒼涼的藝術秘境，浸透生命中的柔美與堅毅。 The main character in A Girl of Tibetan wears a bandana and thick clothing. With the differences in color and exquisite composition, the viewers stop their gaze on the dark and determined eyes looking far into the distance in this silent and lonesome silver world. The containing brushstrokes are influential, and Yuan Zheng Yang said “in those eyes of the Tibetan girls, you can’t feel any emotions or meaning. As though they don’t belong to our time; however, they can see through us, our thoughts and emotions.” Ai Xuan found substance in the gaze of A Girl of Tibetan, he skillfully blended the loneliness and mysterious characteristics together to create a tranquil and beautiful atmosphere. Not feeling the harsh Mother Nature, Ai Xuan slowly brought the viewers into a far away and mystical art world.

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108

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172 QIN FENG

( Chinese, b.1961 )

Avaricious City No.2 197.5 x 120cm Ink and Color on Paper Signed Qin Feng in English PROVENANCE: Acquired directly from the artist

NT$ 800,000-1,200,000 US$ 24,800-37,200

秦風慾望城市 No.2 2007 彩墨紙本簽名：Qin Feng 來源：購自藝術家本人生於新疆。幼年時自學繪畫無師自通。於 1993 年創辦了中國第一家職業畫家作品陳列館（阿芒拿美術館）。曾受德國政府邀請擔任中德藝術交流大使，並任教於德國藝術大學。2008 年曾任哈佛大學亞洲中心當代藝術研究員。作品於世界多個著名博物館、藝術機構及個人收藏。是被國際藝術機構收藏作品最多的當代藝術家之一。現任教於中央美術學院擔任研究生導師，將其藝術理念授之於人。自 2000 年後，秦風的作品轉趨為視覺化。「水」、「圓」、「方」等意象進入畫裡，延續了中國東方古人的空靈，大筆揮毫出水墨的新層次，濃筆的氣勢澎湃襯出圓框間淡筆的柔情萬千，承傳了中國山水的氣韻，以新穎的手法表現後現代水墨的特點，更多了一些時代的蓄勢。以符號融匯於西方抽象概念呈現出新的當代語體。自成天地，不卑不亢，溫柔與奔放處掌握的恰到好處，於簡約中體現藝術家的浩然之氣，一筆一畫皆壯闊其藝術胸壑的發軔。 Born in Xinjiang, China, Qin Feng is a self-taught painter, and he founded China's first gallery for works by professional Chinses painters (Ammonal Gallery) in 1993. Qin was invited by the German government as the Chinese art ambassador to Germany, and lectured at Berlin University of the Arts. Since 2008, Qin has been a research associate for contemporary art at Fairbank Center for Chinese Studies, Harvard University.

His works have been collected by renowned museums, art institutions, and private collectors around the world. He has the most works collected by international art institutions among Chinese contemporary artists. Currently, Qin Feng teaches at Central Academy of Fine Arts, serving as a mentor to graduate students and passing down his philosophy in aesthetic. Since 2000, Qin Feng's art have become more visualized. Images of “Water,” “Circle,” and “Square” have been incorporated in his paintings as a continuation of the emptiness and spirituality within ancient Chinese ink drawings. Qin takes ink drawing to another level with his paintbrush. Thick strokes create imposing presence that sets off the tenderness of the lighter ink color within the circular frame, manifesting the inherited quality of traditional Chinese ink drawings; through new methods, unique features of post-modern ink painting are created with added temporal implications. Qin fuses symbols with Western abstract concept to give rise to a new contemporary language. He has created a world of his own, where he is not superior or inferior to others, reaching a fine balance between tenderness and wildness. Through simplicity, Qin showcases the righteous quality of an artist, as he further develops his art through each and every stroke.

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邱亞才 CHIU YATSAI 身兼雙重身分的邱亞才，既是作家也是畫家，無論何種身分，皆以自由的視角執筆詮釋「人」。於畫上運用中國傳統的白描人物技術，表現了人的原型，勾勒其氣質，綻放筆下人物的生命風采。青年時期接觸了莎士比亞、杜斯妥也夫斯基等大師，使邱亞才從文學中發現了存在價值，也開啟其對「人」的關注，透過現實與超現實間理解了人性的層次，形形色色的人們皆進入了畫布中，優雅的、陰鬱的、樸實的、自信的、落寞的，從表相到內裡透出了藝術家生命裡的獨白。

opened his observation for “people”. Between the real and the surreal level of humanity, all kinds of people have made their appearance in his work. He painted people that were elegant, blue, humble, confident, and even lonely; through appearance he reveals the inner monologue of an artist's life. Chiu once said, “Painting is symbolic to my explanation of life's meanings, the brush is my tool for self-expression, which expresses my complex inner depression and lonely relations with people”

一改陰鬱的背景色調，黃褐色顏料混抹間營造出溫和純淨之感，氣宇軒昂的教授正坐於畫面中央，展現出非凡的氣勢，溫文儒雅的文人氣質自藝術家胸臆中散發並傳遞於畫布上，不為時代所限制也不被學院流派所拘泥，蘊有自信及自傲的人物神情，正是邱亞才筆下所創造出的經典。藝術家敏銳的體察「人」，捕捉細膩的神韻情思，透出與世無爭的優雅，昂然於世間，單純的肖像表現，白描技法的運用，重視筆法的勾勒，呈遞外柔內剛之意蘊，每每皆能攫取觀者的目光，感受畫所傳達的震撼。畫中人物占據了極大部分，素淨的背景，捨去其餘的物質，不多加矯飾，線條的粗細頓挫，使畫面視覺凝縮於人物主體上，一如素雅的整體，教授的面容冷靜的看似毫無心緒起伏，目光望向深遠的彼端，實則經歷了冷暖錘鍊，牽引出內心激昂的強烈氣場。《教授》繪於 1990 年代中後期，藝術家繪畫特質的表現更為清晰，不琢磨於外在形象，輕筆描繪便能感知潛藏於內心的性格，典雅修長的人物，流露出孤絕心靈且遺世獨立。真實生活的邱亞才與其畫的人物肖像形成了一種反差，是內心希冀完美特質的縮影亦是與世界摩擦而導致的濃郁疏離之感，邱亞才用繪畫不斷梳理自身的過去，堅韌的生命形象似無聲卻有意的現於畫布，引發深遠的詩意情懷。

A change from the usual dark backgrounds, a warm brown pigment generates a gentle and pure atmosphere. The dignified professor sits in the center of the canvas, showing extraordinary momentum and literati temperament that spreads throughout the entire painting. Unrestricted by time and conventional art education, Chiu Ya-Tsai perfectly captures the confidence and pride of the professor. The artist's keen awareness of “people” enables him to convey delicate unspoken emotions; revealing grace through simple lines and forms. He is very experienced in drawing techniques and often paid careful attention to the curves of each and every line. Chiu's paintings are quick to grasp the viewers' attention with astonishment. The figure occupies majority of the painting, leaving behind a simple refined background, discarding all additional distraction, and decoration motifs. Thus, his drawing lines appeared thicker, and further emphasize the subject of the figure. The professor's face conveys calmness with gaze looking afar, beneath the unengaged appearance is a man of experience, well-temper and a passionate heart. Professor created in late 1990s, towards the mid-late stage of the artist's life. Paintings from this period are more distinct in individual style, and with experiences come with less hesitation in pondering the execution of the work. The elegant slender figure reveals a sense of loneliness. In reality, the artist paints the opposite of his life; he incorporates his desired qualities into the people within his paintings. As an artist Chiu Ya-Tsai often felt like an outsider. Through paintings he finds vitality that lived on, and a place to express his profound poetic sentiments.

Possessing dual identities, Chiu Ya-Tsai was both an author and artist. Regardless of which identity, he began his artistic interpretation by studying “people”. Under the influence of ancient Tang dynasty, Chiu inherited the drawing style of classical elegance. At an early age he read works by Shakespeare, Dostoyevsky, and other great masters, through literature he discovered the value of existence, and thus

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173 CHIU YATSAI

( Taiwanese, 1949-2013 )

Professor 130 x 97cm Oil on Canvas Signed Chiu Ya-Tsai in Chinese, dated 1992

NT$ 2,400,000-3,200,000 US$ 74,300-99,100

邱亞才教授 1992 油彩畫布簽名：邱亞才 92

「繪畫是我解釋人生意義的象徵，畫筆是我自我表述的工具，表達出內心抑鬱的複雜意識及孤獨的人我關係。」 --- 邱亞才

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MODERN AND CONTEMPOR ARY ART

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174 PANG JIUN

( Chinese, b.1936 )

Waterside Town 60 x 73cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2010 With a certificate of authenticity from gallery

NT$ 1,000,000-1,200,000 US$ 31,000-37,200

龎均水鄉古居 2010 油彩畫布簽名：均龎均 2010 附畫廊開立之原作保證書龎均在繪畫上獨創「油畫東方風格」，用色溫潤運筆流暢，畫面中常見二度與三度空間的並存結構。以西方繪畫的觀點論之，色塊組成的結構風景同時扮演著實景的物件與繪畫的平面，但就題材和運筆之氣，又可覓得其中所帶有東方文人畫哲思。此件龎均於 2010 年創作的《水鄉古居》，可窺見其對於眼見與筆現之間獨具一格的轉換形式，風景的遠近在此不以透視作為處理方式，而是透過光影的強弱與色面的分佈將景色移轉入畫布的平面之中，極為細膩的色調轉換對應於不拘泥形體的隨性筆觸，構築出自主觀看的繪畫風景。在龎均的風景裡，所見他所見，寫意也寫實。

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175 SHIY DEJINN

( Taiwanese, 1923-1981 )

Hsinchu Wuzhi Mountain 66.5 x 111cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1979

五指山因地形而得名 "Wuzhi Mountain" received its name because of the unique topographical shape.

PROVENANCE: From the collection of Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 1,500,000-2,200,000 US$ 46,400-68,100

席德進新竹五指山 1979 水彩紙本簽名：席德進 1979

本圖於昭和八年由新竹州商工聯合會發行中島一晴畫 Map issued by Commercial & Industrial Society of Hsinchu Prefecture in 1933. Painted by Makaima Kazuhare

來源：席德進基金會創會董事長盧精華

「敞開你的心靈，去承受眼前的平凡，從平凡中，發現神奇。重新去看一朵雲、一片草地、一幅遠山，用自己的氣質去解釋它。我堅持直接面對自然作畫，是因為自然的千變萬化莫測。那種氣候、那種微妙的色彩，非待在畫室中用一套公式來界線自然，反覆製造風景的畫家所能夢想得到。我需要自然，我將我的靈魂託付於自然，而來自那裏的一股澎拜力量湧進我的身心，於是我的筆與色在紙上順理成章地把這個瞬間的結合狀態，化為一幅畫。我在捕獲一種美，一些飄渺的神韻，一個生命的原體，一種地方的性格。」 --- 席德進五指山位於新竹縣頭前溪南源上坪溪的西側，高 1061 公尺，五指山因有五峰相連，恰如伸開五指而得名。清代淡水廳治中有所謂「全淡八景」，其中「指峰凌霄」一景即是指五指山。日治時期五指山名列台灣十二勝景之一！其崚勢險峻、山色格外壯麗。席德始終堅持寫生，「不裝巧取，皆得天真」，他信仰著土地的淳厚與安詳，並以其無遠弗屆的足跡，深入台灣的鄉間曠野，把濃烈的鄉土情懷化作渾厚簡練的墨色，幻化為一幅幅令人流連驚嘆的「席氏山水」。而嵐氣氤氳、視野遼闊的五指山角，便是他十分喜愛的寫生地點。天地的大美，是席德進晚期藝術生命的核心信仰，他曾寫道：

「我需要自然，我將我的靈魂附托於自然，而來自那裏的一股澎湃力量湧進我的身心，於是我的筆與色在紙上順理成章地把這個瞬間的結合狀態，化為一幅畫。」此幅《新竹五指山》，呈現以藝術家最擅長的繪畫手法，便是將整張畫紙充分打濕、飽含水氣之後，將大筆一劃而過，帶出山巒的磅礡氣勢。而對攝影美學也頗有研究的席德進，把攝影中「三分法」的構圖技巧，鎔鑄進繪畫美學之中。將《新竹五指山》的景色一分為三，近取其質，遠取其勢，讓觀者目光隨

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著山形的深遠對比、色彩的濃淡轉變而層層推移，使作品擁有豐富的視覺層次，創發出迤邐不絕的壯美山色，更顯此作內藴的深邃悠遠。《新竹五指山》不見人跡，惟見江流行舟，承載了無限江天。席德進所創造的美學世界，不僅洋灑著文人詩情放逸的深刻表達，也同時流露出高深莫測的宗教禪意。席德進融山川高遠、江流汩湧於一爐，充分體現了中國傳統人文山水中「山為德、水為性」的禪悟精神，以及知山樂水的圓覺之境。 The majestic and steep terrain of Wuzhi (Five Fingers) Mountain in Hsinchu makes it one of the top 100 mountains in Taiwan. It is named for the five peaks connecting with each other like the five fingers. His nostalgia toward the home soil is embedded in the ink, deep and incisive, creating "Shiy's landscape" that marvels the world. The grandeur of nature became Shiy's core belief. He once wrote, "I need nature, to which I have given my soul. From it, a powerful force surges though me, unifying my paintbrush and the colors into one, and creating the painting." Hsinchu Wuzhi Mountain exemplifies Shiy's most skilled techniques, dampening the entire paper until it is saturated with moisture, and delineating the imposing mountains with a wide stroke over the paper. Shiy is well versed in photography, and therefore applied the rule of thirds in his paintings, where the composition is divided into three. The visual layers transcend into the expanses of mountains, epitomizing the profound depth of his painting. The profound world of aesthetics that Shiy had created is overflown with poetic sense that is found in literati tradition. He combined the splendor and philosophy of mountains and rivers as the moral guidance and water as the cultivator of temperament, which culminates in the realm of enlightenment and harmony found in traditional landscape paintings.

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陳景容為國立台灣美術館創作的門廳壁畫之同期作品

陳景容，長期旅居法國巴黎，以低彩度的神秘寂寞感為主體，既為台灣超現實主義風格的引進者亦為其重要的代表性畫家。早期在台灣畫壇相當活躍，曾為知名的「五月畫會」的重要成員，師從廖繼春，畢業於師範大學美術系，且於日本武野藏美術大學、東京藝術大學研習。此外，獲獎經歷亦相當豐富、多次入選法國沙龍展，曾為吳三連文藝獎得主、更曾榮獲省美館大壁畫首獎，在國內外藝術界皆廣為人知並享有極高聲譽。此畫與陳景容為國立台灣美術館創作的門廳壁畫鉅作之同期作品，同時對兩幅悉心局部的分別創作，費時長達四年，為當時藝壇所轟動。表現了陳景容的繪畫中一貫所蘊含豐厚的文學元素，且多有如詩如樂般的恬靜與柔和氛圍。而其作品亦常偏用冷暗色系、削瘦憂愁的人物，荒涼的風景等，帶出幽微的寂靜與孤美的感受，然而，卻又使觀者強烈感受到作品中所蘊藏的對生命熱切的愛與能量。此幅《棲蘭山苗圃的聯想 - 十年樹木百年樹人》以周圍低彩度之冷藍色調與畫布中心橘紅色調相映，非但使畫面精神閃爍，更呈現了其「十年樹木，百年樹人」之創作精神，在越暗的周遭中更因此顯得越熱切的光明。且此作糅和了古典色彩與超現實主義的神祕風格，使陳景容此類內斂而深入之創作樹幟了他個人強烈而迷人的創作風格。 Chen Chingjung lived in Paris for the majority of his life, best known for his subjects illustrated in low saturated colors set in mysterious and isolated mood. As one of the first Taiwanese surrealist painter, his approach influenced many significant artists at the time. He was very active in the early art scenes of Taiwan, and was a well-known member of the "Salon de Mai" art movement. He was taught by artist Liao Chi-Chun, and graduated

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from the Fine Arts Department of National Taiwan Normal University. He pursued further studies in Musash Ino Art University and Tokyo Gakugei University. His works received multiple awards and were frequently nominated for the French Salon. Furthermore, he received first prize from the Wu San Lien Award foundation, and US Pavilion Province for his mural creation. As an internationally known artist, Chen had an honorable and successful reputation. The following painting was created in the same time as Chen Chingjung painted a large mural for the entrance of National Taiwan Museum of Fine Arts. He would work back and forth between the details of the two paintings, which took nearly four years for completion. When it was finally finished, it took the art world by surprise. Chen Chinjung's consistent and rich literary elements were presented throughout the poetic, quiet and soft atmosphere of the piece. The painting is built up of cool and dark color combinations, portraying figures that are slim and sullen in a desolated setting. The work expresses beauty in a faint quiet and solitary manner. Yet during careful observations, viewers were overwhelmed with a strong sense of affection and enthusiasm for life. In Ten Years to Grow Trees, but a Hundred Years to Rear People the cool blue tones that surrounded the edges of the work, perfectly echo the orange and red center. Not only to make the work appear more vibrant, it also represents the essence of "ten years to grow trees, but a hundred years to rear people," when surrounded by darkness, the focus becomes clear. By rendering classical color palate and mystic surrealist ideas, Ching Chinjung's apprehensive meaningful ideas come to light and develop into strong individual artistic character.

176 CHEN CHINGJUNG

陳景容

( Taiwanese, b.1934 )

棲蘭山苗圃的聯想 - 十年樹木百年樹人

Ten Years to Grow Trees, but a Hundred Years to Rear People

1978 油彩畫布簽名：景容 1978 CHEN CHING-JUNG 背面簽名：陳景容棲蘭山苗圃的聯想十年樹木百年樹人

130 x 195cm Oil on Canvas Signed: Ching-Jung in Chinese and Chen Ching-Jung in English dated 1978 Signed on the reverse: Chen Ching-Jung and title in Chinese

NT$ 1,500,000-2,400,000 US$ 46,400-74,300

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177 YANG CHIHUNG

楊識宏

( Taiwanese, b.1947 )

進化論

Evolution

1985 壓克力畫布背面簽名：Chihung Yang EVOLUTION, 1985 acrylic on canvas 66 x 66 inches

167 x 167cm Acrylic on Canvas Signed on the reverse: Chihung Yang and title in English, inscribed acrylic on canvas and 66 x 66 inches in English, dated 1985 ILLUSTRATED: "The Images of the Mind: Chihung Yang's Painting," National Museum of History, Taipei, Taiwan, 2004, Page 147 "Passing Time, Streams of Light: Yang Chihung's 40 Years of Painting," National Taiwan Museum of Fine Arts, 2010, Page 88 EXHIBITION: "The Images of the Mind: Chihung Yang's Painting," National Museum of History, Taipei, Taiwan, 23 September-24 October, 2004 "National and International Artists Studio Program," New York Clocktower Gallery, New York, 1985

圖錄：《象由心生─楊識宏作品展》，國立歷史博物館，2004 年，第 147 頁《歲月流光 - 楊識宏創作歷程 40 年》，國立台灣美術館， 2010 年，第 88 頁展覽：「象由心生—楊識宏作品展」，國立歷史博物館，台灣台北， 2004 年 9 月 23 日 -10 月 24 日「國家與國際工作室計畫藝術家聯展」，紐約鐘塔畫廊，美國紐約，1985 年附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 1,400,000-2,400,000 US$ 43,300-74,300

1947 年生於台灣桃園。就讀美術藝專時期，師事廖繼春、楊三郎等前輩藝術家，在此時奠定紮實的油畫底子。1979 年移居美國後，畫風逐漸傾向「新表現主義」，伴隨著具東方色彩的象徵主義以及浪漫主義。在八零年代美國興起一股當代繪畫潮流中，獲得藝評界的讚賞與肯定，成為少數以職業藝術家身份在美國活躍的華裔藝術家之一。數十年的創作歷程中，創作風格的轉變，也帶出了藝術家不同時期的情感表現。此幅作品是楊識宏移居美國後的作品，整體的紅帶出強烈的生命意象，正也呼應了藝術家本身對於生命興衰所感，畫面中似岩壁的背景所出現的羚羊骨頭、鹿角、植物、鎖鏈與木頭蘊含了對考古的深掘，看似鮮明的圖像卻又流露出不明就裡的隱晦之感，骨頭為無生命的象徵，而植物蘊藏生機的表徵，讓畫面呈現出相互對比的關係，畫面左下方的木頭被切穿後，竟流出鮮血一般的紅，賦予了木頭生命，實則充滿了強烈的生命依戀。在粗獷與細膩交互下，感受了藝術家的創作張力。 Yang Chihung was born in Taoyuan, Taiwan. As a student at National Academy of Arts, Yang studied under established artists such as Liao Chi-Chun and Yang SanLang, gaining sound fundamentals of oil painting. After moving to the U.S. in 1979, Yang's style began to incline

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towards "Neo-Expressionism," coupled with Symbolism and Romanticism with Oriental flavors. Yang garnered much praise and recognition in the wave of contemporary painting in the U.S. during the 1980s, becoming one of a handful successful Chinese professional artists that were active on the U.S. art scene Yang's creative style has changed through his career spanning over decades, which also manifests the artist's different emotional expressions at different periods. This painting was created after the artist had moved to the U.S. The overall red hue suggests powerful livelihood, which echoes the artist's reflections on the rise and fall of life. The background that resembles a rock wall features a skull of gazelle, antlers of a deer, a plant, a chain, and a wood log, symbolizing archaeological excavation. The seemingly straightforward composition somehow exerts a misunderstood ambiguity. The skull is the symbol of life, the plant represents vitality, and the two create a contrasting relation in the painting. The wood log in the bottom left corner spills bloody red paint after it is cut open; this gives the log life, but also fills the painting with a powerful longing for life. Through interweaving rusticity and intricacy, Yang puts his creative tensions on full display.

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178 SAD JI

( Chinese, 1914-2005 )

Still Life 53 x 35.5cm Oil on Canvas Signed SAD JI in English

NT$ 1,800,000-2,400,000 US$ 55,700-74,300

沙耆靜物 1930 年代油彩畫布簽名：SADJI 此幅《靜物》為受譽為「中國的梵谷」沙耆所繪，沙耆初時習畫於杭州西湖藝專，師從徐悲鳴，受其所薦，而遠赴比利時皇家藝術學院深造，後受業於巴斯天。期間不斷練習與精進，遂使其畫功臻入化境。終獲了比利時極為難能可貴的「優秀美術金質獎章」，不但震驚了當時比利時藝壇，更同時獲得藝術界一片的重視與肯定。沙耆有多幅繪製瓶花與靜物等作品，而此作《靜物》於其中而言更是顯其素雅與美好之氛圍。其用色精采、佈局平穩，色彩之堆疊更是精準的帶出了光影之層次。且肌理之細膩紛呈亦凸顯了藝術家本人在作畫時極為獨到的觀察與熱切的創作能量。使觀者不僅所見靜物，也同時感染其畫作中歲月靜好之心境。而沙耆多年旅歐所積纂的繪畫造詣在《靜物》中亦十分懇切如實的展現，尤其習歐式古典之餘，更通融了自身中國傳統繪畫之長，使兩者兼容並蓄，在畫布上交織出一番東西相融、既瑰麗又簡淨的獨特沙氏風格。

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MODERN AND CONTEMPOR ARY ART

125

179 QIN FENG

秦風

( Chinese, b.1961 )

慾望城市 No.4

Avaricious City No.4

2007 彩墨紙本簽名：Qin Feng

198 x 121cm Ink and Color on Paper Signed Qin Feng in English PROVENANCE：: Acquired directly from the artist

來源：購自藝術家本人

NT$ 800,000-1,200,000 US$ 24,800-37,200 「我通常會用『水墨』這樣一種語言形式和表現形式，來作為主體創作的基本特徵，但我應用的材料實際上是離開了傳統定義的水墨材料的，筆墨紙硯，我已經完全離開了。」

---秦風

秦風喜用水墨，既輕盈又厚重，輕盈的是，揮灑之間即展現出自然的真，而墨筆揮毫的厚重也透出一股豪氣。於畫作裡便能感知中國東方文化內，其「氣」與「勢」的共存，深厚的文化底蘊將藝術家與畫作之氣融為一體，貫通始終。秦風於本質上將媒介做了替換，於視覺上保有水墨的特質，實際上，融匯東方與西方的材質，展現其創新的水墨語體。悠然的筆墨符號裡，匯聚山水，雄渾、勁健、飄逸、灑脫，飄忽於天地之間。觀其畫，筆意或剛或柔，不斷變化，墨色明晰的躍動展現筆觸的力量及速度，生命的韻律流轉湧現，秦風體現了自身文化蘊含的精神性，自然而然的滲透於畫裡，引領觀者進入無邊際的視野中，幽美渾然之感似無聲卻有意的穿透畫作，落入每個觀者的心底。

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MODERN AND CONTEMPOR ARY ART

127

180 LIN SHIENMAO ( Taiwanese, b.1955 )

Carpio Series I 172 x 221cm Oil on Canvas Titled and signed Shien-Mao in English and Chinese, dated 2015.3.15 With a certificate of authenticity signed by the artist

NT$ 1,400,000-1,800,000 US$ 43,300-55,700

林憲茂鯉漾系列 I 2015 油彩畫布簽名：ShienMao 15.03.2015 鯉漾系列林憲茂附藝術家親簽原作保證書有別於一般作畫者致力追求捕捉清晰身影，畫家林憲茂，勇於將生命波折動盪，化作筆下蘊含詩意形象，巧妙運用光影變化，勾勒出羣鯉悠遊神韻，以湧動疊身，襯托鯉漾之情。月光柔和光暈蕩漾，當魚群潛入水面之下，安穩入眠同時也是三兩，於湖面上平靜中略見波濤，似有風吹拂、波動，吹皺一池平穩池水，畫家林憲茂運用禪意，巧妙刻劃水韻流動，同時能見若隱若現鯉魚之漾，蘊含東方含蓄之美。當成羣鯉魚，隨日光隱沒山頭，於一輪滿月之下時，靜伏波光粼粼水面之下，等待黎明再起，雖斑斕色彩不再如白日湧現，反而於月光照映之下，渲染出如潑墨般美感，將畫家對待人生的眷慕情愫，在一輪明月凝視之下，清澈鏡面如夢似幻。

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181 WANG YONG ( Chinese, b.1948 )

Calligraphy 67 x 102cm Ink on Paper Inscribed with three seals of the artist With a certificate of authenticity from gallery

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

王鏞傅青主詩二首水墨紙本款識：傅青主索居無筆，偶折柳枝作書，輒成奇字率意二首。歲次丙寅年月鈐印：四毋齋（朱文）、王鏞（朱文）、戊子生（朱文）附畫廊開立之原作保證書釋文：腕拙臨池不曾柔，鋒枝禿硬獨相求，公權骨力生來足，張緒風流老漸收，隸餓嚴家卻蕭散，樹枯冬月突顛由，插花舞女當嫌丑，乞米顏公青許留。王鏞書法作品別出一格，跌宕灑脫從容俊逸，字如其人，人如其字。自幼習晉唐名家楷書，取法六朝碑碣，加以篆刻樸拙之風，筆力遒勁，書風古茂峻奇，每每自出新意。師承李可染與梁樹年，研習多載於詩、書、畫、印，積累得卓著成就，以篆隸草行楷五體為綱，加之其蒼厚耿介的性靈才情，提筆揮灑馳騁，豪魄直率之精神為當代中國流行書風開拓先驅。《傅青主詩二首》落筆鋒腹並用，鮮明的風格獨出胸臆，自成一家風骨。究其創作理念溯源明末清初書法家傅山，上追秦漢，雜臨諸家，廣徵博引金石古文鎔鑄各書風於一體；論書之道寧拙毋巧，並評析名家之作。此幅作品點線布局疏密有致，相映迴互成趣，汲取大塊之美躍然紙上，為書法藝術「無聲之音，無形之相」抽象之美的展現。

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131

182 NI TIAN

( Chinese, 1855-1919 )

Horse Feeding 141.5 x 79cm Ink and Color on Paper Inscribed and Signed Ni Tian in Chinese With two seals of the artist

NT$ 580,000-850,000 US$ 18,000-26,300

倪田飼馬彩墨紙本款識：光緒戊申三月上吉邗上倪田墨耕寫於璧月庵鈐印：倪田之印（白文）、墨耕（朱文）倪田，為清光緒年間海上畫派舉足輕重之畫家，初師王素，後學任頤，兼得華喦法之靈秀線條與任派古拙質樸氣息。綜觀《飼馬》全畫以寫意簡筆墨線勾勒，蒼勁古樸點皴出意趣渾茫的質地與肌理，健筆縱橫亦剛亦柔，精妙遒勁更顯駿馬之態靈動英姿卓絕。畫者取其村野蒼蒼，草木昂然挺拔，綴以嶙峋奇岩，並設色點染青苔蔥蘢，清新明麗敷彩郁茂秀潤，盡展豪放酣暢水墨淋漓風韻，意境清新明快爽朗，底蘊樸厚沉雄宜於古今共賞。終身鬻畫滬上的倪田，兼任上海書畫研究會庶務協董，精於人物花鳥山水走獸各科，師造化取法自然體現於畫境之中。自十九世紀中葉上海開埠以來，海上畫派的發展可說是近現代繪畫史縮影，傳承文人美學與體現民間題材，其影響近代五十年的國畫風格不言可喻。

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133

183 PU RU

( Chinese, 1896-1963 )

a. Chrysanthemum b. Orchid 67 x 34cm (2) Ink on Paper (2) Signed Hsin-Yu in Chinese With three seals of the artist With one collector's seal ILLUSTRATED: "Painting and Calligraphy of Pu Ru," Taiwan Literature and Art, 1992, Page 66-77

NT$ 680,000-1,000,000 US$ 21,100-31,000

溥心畬 a. 菊 b. 蘭水墨紙本 (2) a. 款識：心畬鈐印：舊王孫（朱文）、溥儒（白文）、羲皇上人（朱文）鑒藏印：天籟 b. 款識：心畬鈐印：舊王孫（朱文）、溥儒（白文）、羲皇上人（朱文）鑒藏印：天籟圖錄：《溥儒書畫集》，寶島文藝出版社，1992 年，第 66、67 頁釋文： a. 浥露滋黃華，東籬有佳色。至今重九日，猶憶陶彭澤。 b. 蘭葉春葳蕤，桂華秋皎潔。欣欣此生意，自爾為佳節。誰知林棲者，聞風坐相悅。草木有本心，何求美人折。張九齡《感遇十二首》其一

生於貴冑之家，溥心畬自幼承庭訓，於大內墨跡名作擷精取華，其飽讀詩書自謂所學「詩文第一，書法第二」，繪畫遠承宋元，人物、花鳥、山水兼善，是為文人雅致抒情之作，天真淡遠秀潤而獨具清新之氣。歷經朝代更迭，自後潛心於丹青筆墨鑽研，雋永詩文寫景入境，書畫相得益彰有「文人畫的最後一筆」之譽。秋菊野逸，布局疏密濃淡有致；春蘭飄香，淡暈微風飄舞紛然，揮灑勾勒即景成趣，枝葉穿插掩映盡展千姿萬態，精細微妙皴擦點染，一動一靜於天地間留有一方隱逸逍遙之景。作畫力主寫實並貴由悟而得，「畫山水花鳥，如身在畫中，心悟神契，體物察微，如臨其境，慎思明辨，必期一樹一石，無違於理。孟子曰：思則得之。」重臨摹以致筆墨錘鍊間能得古法形廓氣勢，加之以情觀物、以心感物，形塑細膩典雅的個人特質。其書筆氣靈透瀟灑曠遠，畫意承古典、闢新境，由過往煙雲入空靈澹泊，盡展心境恬淡從容寧靜以致遠。

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a. b.

MODERN AND CONTEMPOR ARY ART

135

184 CHANG DAQIAN

張大千

( Chinese, 1899-1983 )

松亭漁隱

Lonely Fisherman

1946 彩墨紙本款識：植源五兄博教。丙戌十二月，大千張爰。鈐印：張大千、寂笑齋鑒藏印：陳業

52.5 x 28.6cm Ink and Color on Paper Signed Chang Daqian Yuan, dated bingxu, the tewlfth lunar month With two seals of the artist, chang da qian, ji xiao zhai With one collector's seal, Chen Ye PROVENANCE: Private Collection, San Francisco Sotheby's New York, Fine Classical Chinese Paintings & Calligraphy, New York, 20 March 2014, Lot.720

來源：舊金山私人收藏紐約蘇富比，中國古代書畫， 2014 年 3 月 20 日，Lot 720

NT$ 2,200,000-3,000,000 US$ 68,100-92,900 張大千是藝術史上永恆的傳奇，超然自外於這個近代歷史的主流，閒雲野鶴，不食人間煙火。他的藝術創作，從內容到形式，是傳統精麗的華彩延展了最後的光輝與繁華。他是今之古人，也是一位古典浪漫的耽美主義者。張大千出生於 1899 年，正值歷史的大變革，當中國的古老城堞為西洋的船堅炮利所轟毀之際，時代顫慄的脈搏卻未敲擊在他身上。反而是那敦煌古畫、淵遠流長的繪畫精神，悠悠如兩朵浮雲，承載著這位徐悲鴻所稱譽的「五百年來第一人」，飄然遠引。張大千論才華，超卓不凡；論氣慨，磅礡四極。他集千年來中國繁富壯美的文化於一身，恢弘大度、兼容並蓄，孜孜不倦地詮釋中國繪畫傳統的精華與優勝。然而其藝術風貌跌宕多變，早年的文人水墨清新秀逸，一轉而為盛年時的精麗雄渾，再變則為晚年旅居歐美時所創的浪漫灑脫之潑彩風格。而 1940 年代初，張大千與弟子遠赴敦煌考察，自籌龐大開支，在荒漠艱困的石窟中臨摹高古的梵像、壁畫，時日達兩年七個月，從中獲得的巨碩豐厚的藝術滋養，作家高陽曾言：「他在敦煌兩

年有餘的生活本身，便是一大成就」。張大千自敦煌之行後，掌握古畫意境的高妙心得，並積累豐厚的純熟技法，此幅《松亭漁隱》完成於 1946 年，構圖精深、意境高古，畫面中央的汩汩江水巧妙留白，湖中一小舟，風帆滿張、蒼天遙遙，營造出遼闊清遠的空間感。張大千特意不著墨波瀾滔滔，僅以逸筆草草，卻能深入文人書畫堂奧，極繪「一葉輕舟泛渺茫」的磅礡氣勢。近景的松柏、丘嶺刻畫清晰、勁挺剛毅，用筆細膩，墨分五彩，以簡馭繁，又具張大千獨到的瀟灑韻致；左下角的高士昂首遠眺，將作品內涵與東方墨客騷人的千年文化接軌，迸發出動人心魄的美學感動，獨步古今。 In art history, Chang Daqian is an eternal legend and will always be remembered as the most prodigious Chinese artists of the twentieth century. The content and form of his creations are

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extended expression of glory and elegance from the past. He was a present day scholar and a classical romantic. Chang Daqian was born in 1899, during the time of political climate. When old Chinese cities were invaded by Western enemies, Chang remain unmoved by the fear that was brought upon his people. Instead, he seeks out ancient aesthetic literature with the aim to preserve the historical essence of the East by sustaining the arts of the past. Xu Beihong used the phrase "One man every five hundred years" to describe the unique significance of Chang Daqian as an individual. It was only in later years when Chang Daqian mastered the ink-splashing technique that created spontaneous abstract composition; the inspiration came from his travel to Europe and America. In 1940, Chang travelled deep into the Dunhuang dessert with one of his student. Since his journey to Dunhuang, Chang Daqian mastered the technique in portraying atmospheric sceneries. The work Lonely Fisherman completed in 1946, focused on precise composition within scholarly temperaments. The center of the painting was cleverly left blank to represent the abundant supply of water, from afar depicts a single sail boat progressing into the distance. The artist skillfully depicts negative space enabling a strong sense of dimension and depth. Contrary to delicate brushworks, Chang Daqian chose to use free flowing lines to portray his subjects. Thus, the work suggests a modern minimalist take on conveying traditional themes. Close up of pine trees and hills are illustrated in clear resolute details, accompanying realistic texture that can only be captured by the variation of shades. The context of the work embraces East millennium culture that integrates with present day perspectives. The work is exceptional to either ancient or modern expressions; instead it is in the innovative style of Chang Daqian’s timeless aesthetics.

MODERN AND CONTEMPOR ARY ART

137

138

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MODERN AND CONTEMPOR ARY ART

139

185 QI BAISHI

( Chinese, 1864-1957 )

a. Gourds b. Loquat 135 x 44.5cm (2) Ink on Paper (2) a. Inscribed with one seal of the artist b. Inscribed with two seals of the artist

NT$ 6,000,000-8,000,000 US$ 185,800-247,700

齊白石 a. 瓜蟲 b. 枇杷水墨紙本 (2) a. 款識：杏子塢老民製鈐印：白石翁 ( 白文 ) b. 款識：三百石印富翁製于京華鈐印：木居士 ( 白文 )、白石翁 ( 白文 ) 齊白石生於湖南湘潭，字萍生，號白石、白石翁、杏子塢老民，自幼即無師自通嗜愛繪畫，少年習木工時得雇主珍藏畫譜，其孜孜不倦逐頁臨摹，積累養分得茁壯萌發；其後拜胡沁園為師學花鳥工筆草蟲、從譚溥學山水，並從文人處多學詩文，自始揮灑筆墨開展書畫人生。至中年，始「五出五歸」遍遊中原大江南北，拓展視野宏廣眼界；因戰事烽火避居北京，以鬻畫刻印為生，其畫風於初時因與潮流不相合，而不受時人所愛，然受陳師曾鼓舞生信心「自創風格，不必求媚世俗。」於此力圖衰年變法，對後世影響深遠至廣，得入藝術堂奧成就自身筆墨畫韻無限丰采。其畫率真自然，流露老農「以農器譜傳吾子孫」之願，採故鄉風土摘擷入畫，力主寫生且更求若非實物，一生未敢落筆；農作豐收飽滿瓜果、蟲草萬物生意盎然，皆在藝術家筆下轉變為文人畫體材，帶入大地樸實謙遜飽含春泥馥蘊，齊氏開闢前所未有的新境得紳雅俗世讚聲不絕，得確立其畫壇地位，享有「南吳北齊」盛譽，達中國近現代寫意花鳥頂峰。觀其作布局更富奇思異構，可謂妙味滿溢，皴擦點染強調飛白之蒼潤取其氣、破墨之濃淡取其韻，瓜果枝葉豐富鮮活生趣，絲絲品來形神兼備，寫意造境臻至爐火純青，揮寫奔放雄渾滋潤明快，酣暢飽含剛健鋒勁，老辣童稚於潑墨大筆暈染間，展現新穎人間真意。作品中筆墨之韻顯於物形神髓，落筆簡潔勾勒精確點出物之精氣風姿，畫外有畫、簡而不空，意境純然樸厚天趣橫生。對人間以農為本的真情流露，真摯動人的藝術語彙無需矯飾，只得熱愛生命與萬物箇中奧妙將之繪於紙上，一生勤耘作畫硯耕不懈，高潔性靈卓然不群，懷鄉的翰墨文思在一代大家身上盡顯光璨生命之輝。

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a. b. MODERN AND CONTEMPOR ARY ART

141

186 QI BAISHI

( Chinese, 1864-1957 )

a. Chrysanthemum b. Grass and Shrimp 135 x 44.5cm (2) Ink on Paper (2) a. Inscribed with two seals of the artist b. Inscribed with one seal of the artist

NT$ 6,000,000-8,000,000 US$ 185,800-247,700

齊白石 a. 菊 b. 草蝦水墨紙本 (2) a. 款識：天工造化用心奇艸木秋來落葉稀獨有菊花生信異風寒霜冷正開時白石山翁并題鈐印：木居士 ( 白文 )、白石翁 ( 白文 ) b. 款識：蘭能作劍人若殺蝦可為龍海無渾余庚申句白石山翁鈐印：白石翁 ( 白文 )

「作畫妙在似與不似之間，太似為媚俗，不似為欺世。」 ---齊白石齊白石承金石一脈傳統，兼併懷鄉題材得融匯畫風新貌，開展更為遼闊的表現領域，由早年工筆轉為率真自性，輕灑數筆即滿盈生命意象使人耳目一新；觀其菊，精神抖擻凜然非常，枝葉穿插交互掩映、外顯光采煥發之氣象，配以題字蒼蒼、信心奕奕，頗富益壽延年吉慶寓意，實屬花開見喜精彩紛呈美好佳作。齊氏之蝦盛名遠播堪稱畫壇一絕，始於觀察臨摹力求繪顯蝦的靈動鮮活，更為深入畫境蓄養蝦於水盂，日日摹畫終至悟出簡筆寫意――以少勝多，將蝦腹之節簡鍊括約，如此一來騰躍鮮活、挺拔有力，節與節相間筆斷而意在，悠遊浮動敏捷有神，栩栩如生。蝦鬚根根分明，炯炯有神，濃淡點抹蘸墨注水，蝦體通透色分深澹，於形於質於動皆只只活靈活現。其書法篆刻自成一家，畫印書詩人稱四絕。早年取法秦漢碑版並工篆隸，饒有鄉風古拙奇趣，篆法印風奇偉風貌嬗變，廣臨諸家書帖，詩文書寫闡釋性靈為主，讀來清新俊朗不落俗舊，畫與文相輔參照，更顯特出卓絕。「師古人不如師造化，師造化不如師心源。」因而傾心鑽研用筆落墨、構圖題詞自出胸臆，運墨出神入化超越舊時代的形式窠臼，獨出磅礡雄偉大快寫意一派。湘下老農以融渾鄉土草木蟲鳥的畢生熱情貫注用筆，源源不絕的創意淋漓湧現於水墨澆落，灌溉一片生機交響大地，一生念茲在茲於「為萬蟲寫照，為百鳥張神，要自己畫出自己的面目。」其師古不泥最終拋卻前人筆墨要義，以疾馳透朗健筆大步邁開，開創屬於自身的任意明快、率性純然的藝術大道，徜徉肆恣煥發光彩活力，齊氏之作飽蘸人生五味，散發恬然適性別有新意，圖開畫展文人藝術新篇章。

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a. b. MODERN AND CONTEMPOR ARY ART

143

187 LIAO CHICHUN

廖繼春

( Taiwanese, 1902-1976 )

風景速寫 ( 五件一組，雙面畫 )

Landscape Sketches (Five piece a set, double sided)

油性粉彩紙本

25.5 x 35.5cm (10) Oil Pastels on Paper (10) PROVENANCE: Private Collection, Asia Christie's Asian 20th Century Art (Day Sale) May 26th, 2013 Lot 3623 ILLUSTRATED: "Liao Chi-Chun," Cathay Art Museum, 1981, Page 173,179,181,183,185

來源：亞洲私人收藏佳士得，亞洲二十世紀藝術 ( 日拍 ) 2013 年 5 月 26 日，LOT 3623 圖錄：《廖繼春畫集》，國泰美術館，台北，1981 年，第 173、179、181、183、185 頁

NT$ 3,600,000-5,200,000 US$ 111,500-161,000

此幅《風景速寫》為台灣現代主義表現先驅、備受台灣畫壇敬重的前輩畫家廖繼春所繪，此作除了展現廖繼春對於色彩繁複細膩的掌控之外，濃重彩度運用更顯得構圖明朗歡悅的表現，且在其率性適意創作筆下，凸顯了他對生活日常景致的活潑想像與情感。廖繼春對色系的調配往往有視覺上的明快與繽紛，以色線一邊勾勒、又一邊模糊抽象與具象之界限，在色塊之間變化多彩、收放自如，架構出一片彩筆奔躍且滿溢希望的抒情世界。而其如此「奔放的筆觸以及大膽的色調」可歸因於曾師事日本東京美術學校教授田邊至寫實典雅風格、日

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ZHONG CHENG 中誠

本野獸派主義大師梅原龍三郎之啟迪，且同時更與陳澄波一同扎實精進，更使彼此教學相長，感染了陳澄波畫作的那股嚴謹的寫生手法，而逐漸形塑了自有色彩斑斕且天真抒情的畫風，返台後，其作品《靜物》於第一屆台展獲得特獎，隔年亦以《街頭》、《夕暮的迎春門》、《龍のわろ壺》榮獲第二屆台展「無鑒察」展出之殊榮。此外，《有香蕉樹的院子》，更入選第九屆日本帝國美術展覽會，成為繼陳澄波後第二位入選帝展的臺灣畫家。廖繼春以其紮實功夫、色彩掌握、畫面節奏為台灣早期繪畫開拓出一番涵納現代主義而流光溢彩的的廖氏光景。

MODERN AND CONTEMPOR ARY ART

145

楊英風

YUYU YANG 「鳳是中國人最為喜愛的靈禽瑞鳥，其擇至德之世而降的韻格，傳達出對於理想境界的憧憬，彷彿一切美與善均乘鳳翼翩然而來。挽暢凝煉的曲度及冰潔表面所紋之雲水，象徵了翱翔在山巔水湄間的自在悠然。」

---楊英風

《鳳凰來儀》為楊英風應葉公超先生的委託為一九七○年大阪萬國博覽會中華民國館的前庭展出。其意為「鳳凰象徵中國人對於超然理想境界

的神往；在中國思想中，鳳是太平祥和的挺現；傳說中鳳擇『至德之世』而降，唯有太平之世才能一睹中國人最喜愛的瑞鳥芳蹤，似乎一切真善美均是乘著鳳翼翩然而來。」在中國古老的傳說裡，只在天下太平才能看見鳳凰；同時也代表了未到來的理想世界。楊英風製作「鳳凰來儀」時，雖使用機械線條，但在鋼鐵材焊接時，卻要求絕對樸實，遂使幾合圖景變得相較柔和。且以黑色為底襯托其含蓄與沉穩、以鮮豔的紅色讓人感受源源不絕的生命力，而其身體的彎曲的曲線及身上的羽毛四處延展、向外飛翹，底部以四根羽翼下肢支撐，整體外型更是為人驚異此豔紅之偌大鳳凰展翅高飛，翱翔於空之氣勢與神情。此雕塑楊英風擇以中國的靈禽瑞鳥為主題，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。此乃由於他體認到東西文化的美學差異，於是斷然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。並於七十年代提出「景觀雕塑」的開創性觀念：認為雕塑藝術的「景」是「外在的型」，須與週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。且不銹剛性真質堅，既貼近科技時代的精純，又能隱現中國宋瓷的明澈、純凈的精美神韻，因此便以不銹鋼為雕塑素材，通融中國文化溫柔敦厚的生活理念，同時藉由磨光的鏡面效果，寓意其反射了複雜的環境如夢似幻之映象。一方面遙思神古對理想世界的憧憬，一方面又反思現代。此件雕塑不論是媒材取用抑或創作理念，皆再再的展演了楊英風一生中對藝術與環境相容相生的至高追求。鳳凰神飛氣揚之意象，除了象徵了太平等寓意，更象徵了藝術家本人其藝術造詣上之淋漓盡致、臻入化境。 "Phoenix is considered to be Chinese' favorite mystic and most prestige birdlike creatures, it is said to present itself only during a time of peace and harmony, thus, everything that is true and beautiful will come along with it. Its smooth and concise curves, with surface similar to snow; cold and sharp, it is a symbol of deities that takes flight freely between mountain cliffs and oceans view" ---Yuyu Yang

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Commissioned by Ye Gong Chao, the Advent of the Phoenix III was created to be exhibited at the Taiwan Pavilion, Osaka Expo in 1970. "Phoenix is a symbol of Chinese people's ideals and their yearning for deities. Furthermore, it is also a representation of peace and harmony. In ancient Chinese mythologies, only when the world is in peace we will be able to capture a glimpse of the legendary Phoenix and experience all the virtue and beauty of the world." The presence of Phoenix became a symbol for the utopian world. In creating Advent of the Phoenix III, Yu Yu Yang used mechanic lines and asked for solid fuming to make the geometric picture gentler. An additional black based was added to bring out the steadiness and conservative of Taiwan pavilion. The bright red represents vitality and livelihood; its contour body and feather are extended and spreading. With only four feathers supporting the entire body, the artist implies its elegant posture as in motion to take flight into the sky. Yu Yu Yang chose to depict the subject of Phoenix with smooth curving lines, further emphasizing its continuous harmony that eventually evolves heaven and earth. As an artist Yang was aware of the difference in methods between the West and East. In result, he dismissed the Western's overproduction of mechanical technology and medium. Instead, he approached from a natural perspective with the aim to protect and beautify nature. In 1970s, he established an innovative theory titled "Scenic View Sculpture". The Scene exists in the appearance of the form, and it is required to correspond and reflect its surrounding environment. Whereas the View, is focused on the viewers' psychological state of mind which is deeply intertwined with nature and our universe. Yu built his aesthetic philosophy on the beliefs of Chinese Wei and Jin Dynasties whom believed nature, simplicity and harmony as the core of vitality. Stainless steel was chosen for his main medium, for its strong and steady quality, also for its pureness in form, since it was developed in the early stage of technological era. The surface of the work is reflective, similar to a looking glass that imprints our dreams and the complexity of our environment. On the one hand, it discussed God's ancient vision of an ideal world while the other expressed modernity. From medium to aesthetic philosophy, Yang pursuit the highest form of art by executing on his ideals. The Phoenix is an image of freedom, deities, harmony and most important of all it represents the artist's creative mind.

188 YUYU YANG

( Taiwanese, 1926-1997 )

Advent of the Phoenix III 230(L) x 400(W) x 300(H)cm (Including Base: 230(L) x 400(W) x 335(H)cm) Stainless Steel, 6/9 Signed Yu Yu Yang in Chinese and English, numbered 6/9 ILLUSTRATED: ''Yu Yu Yang'', Hsiung-Shih Art Book, 2004, Page 127 "Yu Yu Yang'', Taipei Fine Art Museum, 2005, Page 110-111 ''Yu Yu Yang Volume 5'', Artist Publishing, Page 78-99 ''Yu Yu Yang: Vanguard on Native Soil", Kaohsiung, Page 168-169 EXHIBITION: "1970 Osaka World Exposition," Osaka, Japan, Mar 15-Sep 13,1970 "Yu Yu Yang Exhibition," Taiwan Museum of Art, Taipei, Oct 2-Nov 21,1993 "Yu Yu Yang Special Exhibition 61-77," National Museum of History, Taipei, Dec 14, 2000- Jan 14, 2001 "Shanghai Grand Theater Gallery," Shanghai, 2004 "Yu Yu Yang," Taipei Fine Art Museum, Aug 27-Nov 13, 2005 "Yu Yu Yang Memorial Exhibiton," Kaohsiung Museum of Fine Arts, Nov 26, 2005- Feb 26, 2006 With a certificate of authenticity from Yu Yu Yang Foundation

NT$ 8,000,000-9,000,000 US$ 247,700-278,600

楊英風鳳凰來儀 ( 三 ) 不鏽鋼 6/9 簽名：呦呦楊英風 Yuyu YANG Yang F. 6/9 圖錄：《景觀自在 - 楊英風》，雄獅出版社，2004，第 127 頁《楊英風》，台北市立美術館，2005，第 110-111 頁《楊英風全集第五卷》，藝術出版社，第 78-99 頁《楊英風 - 站在鄉土上的前衛》，高雄市立美術館，第 168-169 頁展覽：「1970 大阪萬國博物館」，大阪，日本，1970 年 3 月 15 - 9 月 13 日「楊英風 - 甲子工作紀錄展」，台灣省立美術館，1993 年 10 月 2 日 -11 月 21 日「楊英風 61-77 創作特展」，國立歷史博物館，2000 年 12 月 14 日 -2001 年 1 月 14 日「2004 上海大劇院博覽會」，上海，中國，2004 年「楊英風」，台北市立美術館，台北，2005 年 8 月 27 日 -11 月 13 日「楊英風紀念展」，高雄市立美術館，高雄，2005 年 11 月 26 - 2006 年 2 月 26 日附財團法人楊英風藝術教育基金會開立之原作保證書

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「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。成功的作品絕不是任意加一塊或減一塊所能造就，它有一個接近本能、獨立單一的生命條件，這才是自然天成。」

---朱銘

國際的雕刻大師朱銘初時隨雕刻師李金川學習雕刻與繪畫手藝，後放棄雕刻大廠首席師傅高薪，在而立之年拜雕刻大師楊英風為師，便是由此，開啟了朱銘的「太極系列」以及他從「工藝師」轉為「藝術家」之關鍵。朱銘初拜楊英風為師時，楊英風認為他力量不夠、身體孱弱，因而建議他去學習太極以強健體魄、韜養意志。遂不知朱銘悟力極強，便由學習太極的過程中重新創作並展演了自己的藝術生涯之高峰。「萬物動而生陽，靜而生陰，動極而靜，靜極復動。」如此一動一靜，往來反覆，相互轉化之過程便是太極。朱銘便是從中理解了太極之中所蘊含的東方文化無限生機，並由其中的文化精神自我內化，轉煉為自身藝術創作之原動與題材。且其成就斐然，享譽國際，既為東方藝壇上一道卓絕的文化風景，亦為朱銘自身藝術生涯開闢出全新雕刻語彙。

朱銘

JU MING

此作《太極》定如樹、穩若山，表現了「起勢」之沉穩定然，且鋒芒內斂、不疾不徐，刀刀劈鑿中皆帶入太極之急應緩隨、刀斧中亦保留了木痕紋理之厚實與天成，且運用現代雕塑中較為厚重的量感與簡約的下刀，保留了其動靜之中的重度與速度，塊面大袖亦顯其俐落與寫意。朱銘曾對其作品創作有過一段描述：「當藝術家縱手放意、快速創作的時候，必須專注在千雕萬鑿上，所有的精神都放在瞬間的當下，作品每一秒的模樣都在改變，我們的心思沒有餘力再三思考，只能靠直覺帶領我們完成作品。」在《太極》更是應證了此番說法，他在細節的處理大而化之，在宏觀的作品塊體結構加強動作厚度、凸顯精神層次，以表意性的刀法與力道去刻畫出氣勢內斂卻又懾人心魄之作。作品乍觀之下昂首不亢、無分動靜，更深入觀之，則見形意在每個刀痕與切面上流轉起伏，且可感其「縱手放意」之忘我形象，猶似雕像之中真有其人，正悠悠有致的欲開展一招一式。《太極》肌理質樸而又威勢儼然，神態剛毅而又沉靜和諧，由內而外，讓創作回歸到作品本身需要與表現，不額外、不主觀增減，成就其「以裡達表」之傑作。「太極系列」的抽象形象不但呈現了朱銘渾厚的東方精神，更是融併中西文化意象而成。此外，也流露有楊英風重精神與重靈性之風格，朱銘受其影響，進而在大刀闊斧的精湛擺劃下，開創了自身「人合自然」、「內外相合」的渾然鉅作。「朱銘的雕塑藝術將形象描繪與象徵手法相結合，以最細微的筆觸捕捉作品的神似與形似。」精準地說明了朱銘拋開形式、寫實之桎梏，走向抽象表意、反璞歸真之大境。朱銘將具體動勢轉化為抽象藝術表現，且力透本質的直指《太極》中深藏的精神性，便成就其氣勢撼人的快意大作──《太極》。

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189 JU MING

朱銘

( Taiwanese, b.1938 )

太極

Taichi

1980 木雕 ( 僅此一件 ) 簽名：朱銘 80 Ju Ming

86(L) x 70(W) x 148(H)cm Wood (One piece only) Signed Ju Ming in Chinese and English, dated 1980 With a certificate of authenticity from gallery

附畫廊開立之原作保證書

NT$ 10,000,000-13,000,000 US$ 309,600- 402,500 "The texture of a piece of artwork with vivacious spirit is pulsating with the inner force and dynamic, and in turn creating a form with the most sensible and natural rhythm. The surface is a medium that manifests what’s within, vitality. One cannot create successfully with careless addition or reduction. It must be intrinsic and independent. That is the natural state." ---Ju Ming Ju Ming, now a master sculptor with international caliber, started his career with Master Lee Ching-Chuan, who taught him sculpture and painting. However, he later gave up the lucrative pay as the chief sculptor at a major factory and decided to study after Yuyu Yang. This marks the beginning of Ju's Taichi Series and his transformation from an artisan to artist. Initially, Yang thought he was too weak and recommended that he should practice Taichi. What started out as physical discipline became mental training. He is a quick learner. From Taichi, he reinvented himself and brought his career to a new height. "Yang rises from the dynamic, while ying is born out of the still. The extreme of dynamic is stillness, while the ultimate stillness is dynamic." The two alternates, transforms, and morphs. This process is called Taichi. Ju Ming's insight into the infinite possibilities of eastern philosophy is derived from Taichi, which he internalized into his art. His achievement is acknowledged worldwide, and he is now a cultural phenomenon, creating a brand new set of lexicon for his own career and in the art of sculpture. Calm and steady like the mountains and trees, Taichi shows the reserved and composed momentum of one poised to strike. Each cut is like a Taichi movement, countering the fast with the slow. Maintaining the texture of natural wood grain, Ju applies the solid and incisive cuts found in modern sculpture while capturing the

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volume and velocity between the dynamic and the still. The sleeves, depicted with large blocks, are decisive and telling. He once remarked on creating art, "When an artist lets go and creates with speed, attentions must be paid to each stroke, and directed toward the moment. The work of art is changing every second and there is no time for second guessing. It can only be completed intuitively." Taichi is a testimony to his statement. He relaxes the details, while strengthening the overall depth, highlighting the spirituality, and creating this restrained and yet breathtaking piece with expressive knife work and motion. At first glance, the piece seems neutral and indistinctive. However, a closer look would render that each knife stroke and each cut is imbued with meanings. The spirit takes over and runs freely, as if the sculpture is coming to life, ready to make the first move with ease. The texture is unadorned and solemn, the expression stern and yet serene. The outer form is a manifestation of the inner state. His art is about art, nothing superfluous, nothing subjective, simply a true work of art that transcends from within. The Taichi Series shows Ju's profound understanding of eastern philosophy. It is also a fusion between the east and west. In addition, it shows remnants of Yuyu Yang's emphasis on spirituality. Under Yang's influence, Ju created a masterpiece with his decisive knife work. It unites human beings with the nature, the internal with the external. "Ju Ming's sculpture combines the narrative and symbology, and captures the form and spirit in the most subtle manner." The statement precisely describes how he moves beyond the confines of form and reality, and embraces abstraction and expressionism. He returns to the basics and transforms the figurative into abstraction with a piercing force that penetrates the spirit of Taichi, a magnum opus that astonishes the world.

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190 JU MING

朱銘

( Taiwanese, b.1938 )

太極 - 拱門

Taichi Series - Arch

1993 木雕 ( 僅此一件 ) 簽名：朱銘 '93

45(L) x 27(W) x 53(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 1993 With a certificate of authenticity from Ju Ming Culture & Education Foundation

附朱銘文教基金會開立之保證書

NT$ 4,800,000-6,000,000 US$ 148,600-185,800

「現在，我讓雙手連接起來，一連接，氣的流動、肌肉的牽動，就相互貫通、活絡，合為一體，轉化成拱門的造型。」

---朱銘

朱銘受到建築學上的拱門所啟發，發展出玄妙至極的「拱門」系列，使太極在後期昇華，達到整個系列的巔峰。作為最終型態的子系列，拱門系列在兩人對招的基礎上加倍抽象，演化為二元對立的辯證。「拱門」是兩方對招的延伸，探究二者間去就、剛柔、進退、靜動間的相濟循環，形成「因敵變化示神奇」的運動狀態，朱銘將這兩者往來的隨勢韻律續接連貫，由定點姿態轉為承轉動勢，呈現流暢通透的意氣運行。此件《太極系列 - 拱門》姿態陡峭而俐落，剛柔並濟間顯現浩然之氣，朱銘以湛練的刀工與沉定的心神精妙掌握太極神髓，捕捉交鋒時刻凝結的瞬間動勢，展現虛無空間中實體的魄力

與勁道，各步技巧招式於此相互交融、貫穿始終，進而反璞歸真，達到「全身透空，無形無象」的最高境地。木身在大刀闊斧的劈鑿之中，保留了自然的切面與紋理，賦予「天人合一」的氣度與生命力，在藝術家大巧不工的斧鑿錘鑄間完全體現。朱銘嘗試用雕刻代替文字，詮釋他靈覺深處的感受、智覺理解的太極陰陽之道。那近似拱門的外觀，有如風化的天然岩石，人體驅殼全然消失，僅餘招意和力量。太極拳術基植於太極學理，含納對宇宙、人道的理解，取二元相生互制之說，探討靜動、虛實間的變動幻化；藉由實體雕刻鑿出無形氣韻，由最初的形式探究到意象外顯，以至「屈伸開合聽自由」、「靜中觸動動猶靜」的神形階段，突破雕刻技法與形式，賦予作品深厚的東方文化底蘊，在歷經二十餘年的「太極系列」創作過程，朱銘最後以帶有極簡抽象意涵的巨大「拱門」作為了句號，是為華人現代雕塑的極致展現。

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Li Chen displayed twelve giant sculptures at the Place Vendôme in Paris (2013) 李真在巴黎旺多姆廣場展示十二尊大型雕塑（2013）

1963 年生於雲林，是極受矚目的當代藝術家。其雕塑創作融入佛學以及道家精神，同時結合當代思惟，形塑出既富含禪意又創新的「虛空」美學。自 2000 年起，陸續於紐約、哥本哈根、巴黎、北京等多個國際重要城市展出，私人及公共收藏遍佈全世界，更於 2007 年成為首位於威尼斯雙年展舉辦個展的華人藝術家。此作為藝術家「大氣神遊」系列，運用墨色生漆的手法，並在銅雕藝術中展現出「按金」、「按銀」的獨創技巧。李真更受邀於今年坎城影展上成為首位展出的藝術家。鎔鑄東方佛像的精美凝鍊與當代的簡潔純粹，光滑質材的觸覺感知，圓潤的體態饒富興味。右手捧著代表物質的金山，左手拿著喻為精神的銀海，隱喻凡世豐饒的物質生活，省思生命的寓意濃厚，與墨黑銅雕所呈現出素淨之感產生強烈對比。臻至空靈的東方氣韻，樸質而厚實的散逸開展。飽滿的身軀蘊藏福相，圓融的神情使觀者不自覺踏入虛空中，自發性的構築出完滿的精神性空間。「大氣神遊」系列中，看似「既重又輕」的銅雕，隱含道家「精、氣、神」的意象本質，強烈的氣場穿透，超脫凡俗。李真曾言：「藝術的偉大在於『分享』，藝術

的成就在『真實與虛幻』之間。我不只在做雕塑，我在創造幸福，創造一種讓人享受的東西。」。其創作展現了合宜的靜謐狀態，如他所言，在有形與無形中，帶領觀者反璞歸真，於自在溫潤的美學裡豐厚生命。 Li Chen, a contemporary artist born in Yunlin, has enjoyed wide recognition. His sculpture combines the Buddhist and Taoist philosophy, as well as contemporary ideology. The result is the aesthetics of void and emptiness. His work has been exhibited

in major cities throughout the world, including New York, Copenhagen, Paris and Beijing, and is among private and public collections worldwide. He was the first Chinese artist to hold a solo exhibition in Venice Biennial in 2007. This piece is from the series of Spiritual Journey Through the Great Ether. He uses dark raw lacquer, and created an innovative technique that involves applying gold and silver leaves onto the bronze sculpture. He is also the first artist to exhibit his artwork at the International Cannes Film Festival this year. This piece combines the intricacy of Buddhist statutes and contemporary simplicity, while the sleek texture and the plump figure intrigue. The gold mountain in the right hand represents the material world, while the sea of silver in the left represents the spiritual realm, a reflection toward the materialistic mundane contrasted by the clean and unadorned darkness of the bronze. The ethereal air spreads among the solid and austere. The plump body and the peaceful expression draw the viewers into a meditative state of nothingness, and complete the spiritual realm in itself. In Landscape in Heaven, the bronze sculpture seems substantial and yet light, encompassing the Taoist principle of "essence, chi and spirit." The piercing aura seems out of this world. Li once said, "The greatness of art lies in 'sharing', while the accomplishment of art lies between 'reality and virtuality'. I am not merely creating a sculpture, but happiness and something enjoyable." His work appears to be in a perfect state of tranquility. Between the form and formless, he leads the viewers back to the beginning, to be nourished within beauty.

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191 LI CHEN

( Taiwanese, b.1963 )

Landscape in Heaven 53(L) x 45(W) x 82(H)cm Bronze 5/8 Signed Li Chen in English, numbered 5/8 With one seal of the artist ILLUSTRATED: "Li Chen 1992-2002 Sculpture," Asia Art Center, 2004, Page 78-79 "Li Chen in 52nd Venice Biennale- Energy of Emptiness," Asia Art Center, 2007, Page104-107 "TOP 10 Chinese Contemporary Sculpture Exhibition," Asia Art Center, 2007, Page 51 "Li Chen- In Search of Spiritual Space," Asia Art Center, 2008, Page 31-51 EXHIBITION: "Li Chen - In Search of Spiritual Space," National Taiwan Museum of Fine Arts, National Art Museum of China, Beijing, 29 April-11 May, 2008 With a certificate of authenticity from gallery

NT$ 2,900,000-3,600,000 US$ 89,800-111,500

李真天界山水 2001 銅 5/8 簽名：Li Chen 5/8 鈐印：李真圖錄：《李真雕塑 1992-2002》，亞洲藝術中心，2004 年，第 78、79 頁《李真第 52 屆威尼斯雙年展──虛空中的能量》，亞洲藝術中心，2007 年，第 104-107 頁《中國當代雕塑十人展》，亞洲藝術中心，2007 年，第 51 頁《李真中國美術館個展──尋找精神的空間》，亞洲藝術中心，2008 年，第 31-35 頁展覽：「李真：中國美術館個展 ‧ 尋找精神的空間」，中國美術館，中國北京， 2008 年 4 月 29 日 - 5 月 11 日附畫廊開立之原作保證書

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朱德群

CHU TEHCHUN 「朱德群先生的作品，以其色彩之艷麗豐富和光線之透徹明亮而符合繪畫之特質；而其間所反映的那種以虛心接納萬物與萬變、主客體互融的情懷，卻來自中國精神，中國文化為他的創作奠定了底蘊。而朱德群先生的繪畫世界，並不承載具體的形象，卻充滿撲朔迷離的光影變化、絢爛繽紛的色彩組合、氣韻生動的點線揮灑以及出其不意的空間運動。在那裏，自然之景與畫家之情交融合一，化作奇妙夢幻、化作象外之象。」

---上海博物館副館長陳燮君

"Mr. Chu The-Chun's work incorporates vibrant and rich colors as well as light that is appropriate qualities for paintings; it reflects the acceptance for all that is ever-changing, and embrace the union that comes from Chinese essence, using Chinese culture as the foundation of his creation. In the aesthetic world of Chu, figurative representation do not exist, yet the changes of light bounces from combinations of radiant colors, the vividness is convey through dots and lines of unexpected movements. In there, the scenery of nature and the artist’s sentiments comes into a union, transcending into a wonderful dream, an ecstasy"

158

ZHONG CHENG 中誠

---President of Shanghai Art Museum Chen Xiejun

享譽海外的旅法抽象藝術家朱德群，為首位擁有法國「法蘭西研究院美術院士」殊榮的華裔畫家。15 歲即進入杭州藝專，在當時校長林風眠領導之下，熟稔中西繪畫理論。西畫方面崇尚後印象派之吳大羽，國畫則師承於偏愛石濤山水、奉中國寫意派理論的潘天壽。多方並進，探索不綴，後亦從西方藝術巨擘塞尚、德 ‧ 斯塔埃爾的繪畫中感獲啟示，成功由具象寫實擺渡至抽象風格，同時驚艷於荷蘭藝術家林布蘭對光影游移的細膩體察。此後，光線的流淌、宏亮的色澤變化便未曾在其繪作中缺席。

Zhong Cheng 2013 Spring Auction Lot.091 Chu Teh-Chun, 25, 10, 1976 Hammer Price: US$ 661,980 中誠 2013 春季拍賣 Lot.091 朱德群 25.10.1976 成交價：NT$ 20,060,000

Renowned Chinese-French abstract painter Chu Teh-Chun, was the first Chinese artist to become a member at the Académie des BeauxArts of France. At the age of fifteen he studied at the Hang Zhou Art Academy under the instruction of principle Lin Feng-Mian, where he learned aesthetic theories of the East and West. In terms of Western approach he is fond of the post-impressionist painter Wu Da Yu. Whereas Chinese concept, he was interested in the landscape paintings of Shi Tao and Chinese expressionist Pan Tian Shou. Receiving influences from various art forms, Chu was later inspired by Western impressionist painter Cezaane. Thus, he successfully transformed realism to abstract art form. He greatly admired the delicate interpretation of light and reflection by Rembrandt. In result light, reflection and bright colors became important elements within Chu Teh-Chun's artwork.

淨白峰巒起伏、山勢迤邐，粒粒珠雪噴薄而出，霎時天飛地旋、霎時瑩雪紛紛。又見雪絲狂舞、霜雪飛撒，以大筆淋漓、狂亂飛揚之氣勢，交織出雄奇壯麗、奧賾深邃的雪景之作 ---《冬之雪舞》。朱德群曾在 1985 年前往瑞士時，途經阿爾卑斯山，為大雪紛飛的磅礡雪景所震懾，進而靈感湧溢，由此開創雪景系列之絕美珍品。此作景觀之大，所繪卻不僅如此，更重現了他在面對美不勝收的山巔雪景的深深情意，雲雪層次之光芒、飛霜亂雪之狂力，再再的將觀者拋擲到他初見雪景的大驚大喜、瘋狂悸動之中。亦足以見朱德群渾厚的中國文化底蘊，如何將書法線條的精妙韻味，交融於西方技法中對光線流動的透徹掌握。走出了傳統水墨文化之路數，改以所學所悟詮釋己身淵源流長的抽象繼承。無怪乎法國現代繪畫史家稱其為「把東方藝術的細膩與西方繪畫的

濃烈融匯得最成功的畫家。」朱德群此幅雪景抽象畫，以躍動的冷暗色塊象徵了高山雲嶺的寒冬冷意，凸顯了雪色之明亮清澈，且運筆飛快，以細筆疊合嶾嶾雪峰之輪廓，以粗筆渲染光線漸層之動勢，遂使畫面氣韻流動於川谷之中，或推或還，彼此渲染、散逸、交融、共生，將雪僅落下一瞬的須臾生命凍結為畫布上的永生，以畫筆承載情感，穿透、流轉於其中，併發出

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朱氏獨有且極受外媒推崇的「夢的風景畫」。此乃由於朱德群擅以自然作為創作的靈思源泉，卻不走全然寫實，而走奔歛自如、詩意率真的抽象描繪，誠如其所言：「不求形似，重於神似」，以抽象凝鍊時序與景致，以色彩聚焦心境與感受，便是他求神不求形的創作母題。京華時報曾有過一段對於朱德群抽象畫的精闢描寫：「他以西方

繪畫理論，延續中國水墨中點、線、面的美學形式與概念，在藝術上擘劃出一個重要的里程碑。」實實在在的道出朱德群三十年來在抽象創作領域的不懈修養，以及他將中西抽象美學共融的高深造境。古有王維「詩中有畫，畫中有詩」，而今朱德群此作畫中非但有詩，更甚之，有情、有意、有他一生在抽象形式領域極為躍動與真誠的生命力。而一切皆歸因於從杭州藝專整日練習木炭素描的紮實基礎，其後因戰亂抵台仍創作不輟，1955 年赴法深造、苦心鑽研，終在異鄉憑己學成為中西抽象繪畫之集大成者。《冬之雪舞》或可視為他一生創作經歷之映照，不為外人知也不向外人道的努力與堅持，在漫長急風的雪舞混沌中，悠悠流轉出淡然卓絕之微光，終將發光、發熱。朱德群以心養畫，以情作筆，因對宇宙萬物有感而描之、繪之，進而賦予無情物深情、有限物無限，「凝神注想，流盼運腕，不意如是，而忽然如是。」當復如是。有此境界，乃朱德群經生命歲月之多番洗鍊，而達至情至性、大美無言之境。

陳蔭羆 GEORGE CHANN 以拼貼、描繪、書寫、糊裱構築其抽象繪畫的偌大藝術宇宙觀，更進一步糅和東方書法墨意與西方抽象表現主義之形式，於畫布中展演跌宕奔騰之輝煌氣勢，更呈現了藝術家對於其根源文化的番反思與回歸，成就陳蔭羆自身前衛磅礡的中國式抽象畫風。陳蔭羆，1913 年生於中國廣東，少年時期即隨父徙美，1934 年獲洛杉磯奧迪斯藝術學院（Otis Institute of Art）全額獎學金，接受正規堅實的素描、寫實油畫訓練，並以優異成績獲得學士及碩士學位，西方藝術造詣甚深。四○年代即以草根階層

Expanses of snow-capped mountains cascade. Roaring flurries drift and swirl, dazzling at times, unbound at times. The untamed splashes interweave into the profound mystique of magnificent natural wonder ---Snowy Dance.

的寫實肖像作品，受洛杉磯郡立美術館館長麥堅尼（Roland J. McKinney）的賞識，先後在美國著名的博物館、美術館、畫廊舉辦個展，深獲重要媒體的讚譽。1942 年的《舊金山紀事報》（San Francisco Chronicle）曾記載：「陳蔭羆那感情充沛的兒童與成人畫像，已經達到無懈可擊的境界。他十分成功地表達了模特兒的憂愁、沉思與渴望」，讓陳蔭羆來到他藝術生涯的第一個高峰。 1947 年是一個重要的年份，在離鄉 21 年後，陳蔭羆首次回到中國、應邀擔任廣東嶺南大學的短期客座講師，職教其間，結交同為美術系教師的趙少昂、黃君璧，因而對傳統書畫的精深博大有更深沉的體識。這三年內，陳蔭羆創作力豐沛，並在上海、廣州、香港等地舉辦展覽。自中國訪美之後，他的作品風格驟然轉化，融入中國書法符號、精深的哲學文化

Chu's journey to Switzerland brought him though the Alps in 1985. He was captivated by the majestic snowy mountains, which inspired his winter series. Snowy Dance depicts more than the imposing landscape, but his heart-felt emotions toward the splendor of wintery mountains. Layers upon layers, blow by blow, he brought the viewers back to the day he first witnessed such stunning scene, to feel his immense joy. Chu's profound understanding of Chinese culture is evident in how he fused the nuances of Chinese calligraphy with the principles of Western art, in the attentive details and the fluidity of light and shadow. He moved beyond traditional ink and roamed in the realm of abstraction freely. He is truly deserving of the remarks by French art historian as "most successfully melding the intricacy in Eastern art with the deep saturation of Western paintings."

內蘊，且受 1950 年代達到全盛時期的美國「抽象表現主義」（Abstract Expressionism）所影響，並表示非常欽佩其抽象表現主義運動的領軍人物傑克森 ‧ 波洛克（Jackson Pollock）、麥克．托比（Mark Tobey），他們氣勢磅礡、奔放大膽的線條帶給陳蔭羆帶來嶄新的衝擊，陳蔭羆的繪畫風格就此改弦易轍，同時更啟發他著眼於中國古老的各式銘文與碑拓，探索其中的蘊藉神髓，創發出專屬於他的「中國式抽象畫」，將世界最古老的中國文明的書法寫意的靈魂，凝練為一幅幅雄渾神秘、情意飽滿的磅礡畫作，卻以當時最前衛流行的抽象表現主義來呈現。 1951 年，洛杉磯的詹姆士 ‧ 維吉維諾藝廊，舉辦「美法傑出畫家作品聯展」（Small Painting By French & American Masters），展出世界畫壇大師級的藝術作品，諸如梵谷、雷諾瓦、烏特羅等，而陳蔭羆也以美國傑出藝術家的身分同堂並列展出。其作品更被中國上海美術館、廣東美術館、聖地牙哥博物館及美國數個市立美術館永久收藏。上海美術館執

In Snowy Dance, Chu used dynamic blocks of dark and cold hues for the steep, wintry mountains to set off the bright, lucid snow. His brushstrokes fly through, creating the silhouettes with layered thin lines and the momentous gradient of light with the thick. The air comes alive, emanating through the valleys, back and forth, and creating a symbiosis that blends and dissipates. The ephemeral snowfall is captured and perpetuated for eternity. Laden with emotions, his paintbrush penetrates and flow through the canvas, evolving into his signature, the acclaimed "dream-like" landscape. Chu was inspired by nature, and yet he was not bound by the figurative. Instead, he embraced the freedom in abstraction. As he said, "Stay true to the spirit, not the form". He distilled the seasonal landscapes with abstraction and consolidated the emotions with colors. That is his motif. Beijing Times once observed, "He set a milestone in art by building the aesthetic traditions and concepts in Chinese ink upon the theories

from Western paintings." This is a faithful portrayal of Chu's relentless practice in abstract art in the past 30 years, and his achievement in the fusion between East and West. Tang Poet Wang Wei was renowned for the vivid images his poems portray and poetic sense his paintings inscribe. Chu’s Snowy Dance is not only poetic, but also filled with emotions and his lifelong passion for abstraction. It can be attributed to his time in the National School of Fine Arts in Hangzhou, where he sketched with charcoal daily, a discipline he carried with him to Taiwan after WWII. He headed to France in 1955, and it was on this foreign soil that he masterfully merged Chinese and Western abstraction. Snowy Dance sheds lights on his lifelong creative journey and the untold stories of his diligence and persistence. A dim light grew in the midst of whirling specks of snow, glowing and radiating. Chu painted with his heart and soul, and with his sentiments toward all living beings, enabling the impassive with passion, the finite with infinity. As Qing Dynasty painter Zhang Geng wrote of the highest form of painting, "The paintbrush follows not the deliberate contemplation of the mind, not the thoughtful gazes through the eyes, but the spontaneous ingenuity from the heart." Chu's lifelong journey culminated in a sublime state, where the splendid lies in the inexplicable.

行館長李向陽曾說：「回眸百年來中國美術的歷史進程，

我們雖忘不了那些求學歐洲的投石者，卻數不清那些是闖蕩北美的問路人；而陳蔭羆，應該是一位有所建樹的現代藝術急先鋒。」此幅《抽象構成》約創作於 1965-1970 年間，正是陳蔭羆創作能量最豐沛、風格發展完備的時期。墨黑的粗獷線條在偌大的畫布上蜿蜒遊走，鋪陳出青銅斑鏽、碑拓風霜的渾實質感。此時陳蔭羆以脫離早期的書寫性，無意具體呈現碑帖文

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Zhong Cheng 2013 Autumn Auction, Lot. 096 Chu Teh-Chun, Boyon Hammer Price US$486,750 中誠 2013 秋季拍賣 Lot.096 朱德群《雪景》成交價 NT$ 14,750,000

192 CHU TEHCHUN

( Chinese-French, 1920-2014 )

Snowy Dance 73 x 100cm Oil on Canvas Signed Chu Teh-Chun both in Chinese and English, dated 1986 Signed on the reverse: Chu Teh-Chun both in Chinese and English, titled Emotion Hivernale in French, dated 1986 PROVENANCE: Private Collection, France With a certificate of authenticity issued by family members of Chu Teh-Chun

NT$ 32,000,000-42,000,000 US$ 990,700-1,300,300

朱德群冬之雪舞 1986 油彩畫布簽名：朱德群 CHU TEH-CHUN 86 背面簽名：朱德群 CHU TEH-CHUN 86 Emotion hivernale 來源：法國私人收藏附朱德群親屬開立之原作保證書

字的字義，反而著重圖紋結構中所蘊藏的奧祕。在線與面的跌宕之間，層次與顏彩豐富得不可思議，疏密、剛柔的各式組構反覆縱橫，斑斕的色彩在其間跳躍、喧騰，那樣洪荒古老的殷紅，如灼灼火光映照出華夏歷史的淵遠流長，創造了一個帶有深濃懷古情懷的空間，顯示出肅穆寧靜、凝斂穩重的氣氛；而深淺不一的青綠與鵝黃，則述說著東方文化中的溫和恭謙、對遠古文明已逝的滄桑悲涼、變奏後的鄉愁。而陳蔭羆擅長駕馭其嫻熟的繪畫材料，合以中國書法中行文之意象，饒含行、草、篆、隸等豐富的視覺中文字態，並將紙片、殘經、刻石、碑拓等片段樣貌，鎔鑄於畫布之上，既發揮了質料之肌理質感與特色，亦將文字符號之魅力另作轉化與呈現。藉著漢字的符號之轉煉，以拼貼、破碎、揉合等手法構成筆勢的韻味考究的畫面，再進而運動壓、擦、刮、磨等技法層層糊裱到畫布上，並次次疊蓋與灑染，遂使古今元素以紛陳破碎之表象作內裡之交融共生，不僅展現了陳蔭羆中西抽象並有的文化精神，亦表現了古今歷史的浮想聯翩。那隨興生發、即意構成的線條韻律，在畫布上展演一曲曲似無停歇的狂舞，彷彿是陳蔭羆旅美多年，陳年鬱積的懷鄉情感，所進行的一次完整而大規模的傾洩，既擁有狂烈如熾的熱情，卻兼有倏然寂寥的冷峻。陳蔭羆將對中國文化濃烈的懷鄉情意轉化為磅礡生動的筆觸、灑脫富麗的色彩，注入變化微妙的線條轉折中，演繹著藝術的華光、展現著東方深邃神秘的宇宙哲

Mark Tobey, Celebrazione notturna (1971) 麥克 • 托比《夜晚的慶典》1971

George Chann with his painting 陳蔭羆與他的作品

Written Over the Plains, Mark Tobey (1950) 麥克• 托比《寫在平原》1950

學。而書法碑帖中波瀾萬千、飽含情意的墨韻也無聲入畫，透過《抽象構成》一作，我們得以見證陳蔭羆如何吸納西洋繪畫精髓，再以抽象藝術向東方神髓致敬；執西式的抽象表現主義之筆，展演出中國意蘊中的空境玄靈、浩然大氣！ Incor porating elements of collage, sketches, traditional calligraphy and mounted composition thus creates an abstract oil painting that covey universal concept. It emphasis on conjoining calligraphy of the East and abstract expression of the West, the result on the canvas reveals majestic strength that is similar to large quantities of rock falling freely from a cliff. The presentation originates from the artist's ideals, reflection and return of culture. Successfully, George Chann finds individuality in his bold, innovative, Avant-Garde Chinese abstract style. George Chann was born in Guangdong Province, China in 1913. He moved to the United States with his father during his teenage years. In 1934, he studied sketch and oil painting with a full scholarship at Otis Institute of Art in Los Angeles, where he earned his bachelor's and master's degrees. His understanding in western art is profound. In the 1940s, his realistic grassroots portraits were recognized by Roland J. McKinney, Art Director of the Los Angeles County Museum of Art and started holding solo exhibitions in renowned museums and galleries in the United States with wide acclaims. San Francisco Chronicle remarked in 1942 that George Chann's portraits of adults and children are impeccable. He fully depicted the contemplation, poignancy and longing from the models. It brought Chann to the first height of his career. 1947 was a significant year. George Chann returned to China for the first time after being away for 21 years as the visiting instructor at Lingnan University in Guangdond. It was during this time that he befriended Chao Shao-An and Huang Jun-Bi, which led him deeper into the traditional Chinese painting and calligraphy. Chann was prolific in the following 3 years with exhibitions at Shanghai, Quangzhou and Hong Kong. His style took a drastic turn after his trip to the United States, assimilating Chinese calligraphy with profound cultural and philosophical nuances. Abstract Expressionism, which peaked in the United States in the 1950s, influenced him greatly. He admires the

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iconic figures, Jackson Pollack and Mark Tobey, whose bold lines with powerful momentum brought fresh impact. Since then, Chann's style changed completely. He explored the essence of the traditional bronze inscriptions and stone rubbings, and created his own style – Chinese Abstract. The quintessence of traditional Chinese calligraphy, the concept of xieyi, transformed in his hands into splendid, mysterious and expressive paintings, however, in the most avant-garde style – Abstract Expressionism. In 1951, Los Angeles James Vigeveno gallery hosted the exhibition Small Painting by French & American Masters where George Chann displayed his artworks alongside worldclass artists such as Van Gogh, Renoir, Chagall and many more. His works are currently in the permanent collections of various museums such as the Shanghai Art Museum and San Diego Museum of Art. Executive Director Li Xiangyang of Shanghai Art Museum once said: "Looking back over the past one hundred years in ancient Chinese art history, we always remember those pioneers who studied in Europe, yet we do not know much about the pathfinders in North America. George Chann should be considered an achieved contemporary art trailblazer." This painting, Abstract Composition, was created between 1965 and 1970, a period during which Chann's creative energy peaked, and his style fully developed. Bold ink black lines roam the large canvas, set forth the sturdy textures of rusty bronze and weathered stone tablet rubbing. During this period, Chann abandoned the element of writing from his earlier stages, and had no intention to concretely present the meanings and characters of the tablet rubbings; instead, he emphasized the secrets hidden within the structure of patterns. Gorgeous colors dance and clamor among all kinds of rhythmic components, loose, dense, hard, or soft, are all interweave with one another. Such ancient and primitive red illuminates the long history of China like burning torches, creating a nostalgic space presenting a solemn, tranquil, refined, and prudent atmosphere. The green and yellow of various shades, on the other hand, narrate the tender

Jackson Pollock, Lucifer (1947) 傑克森•波洛克《路西弗》1947

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humbleness of the Oriental culture, grievance for the lost ancient civilization though a variation of nostalgia. George Chann is an expert in manipulating all types of materials; in calligraphy he combines the different styles of handwriting from Rao, Loose, and Scribe into a rich visual presentation of Chinese calligraphy. He also uses paper, Chinese scripture, rubbles and tablets on the surface of his canvas, in result, a variety of texture, form and color enriches the traits of Chinese characters. The characters are repeatedly deconstructed, collage, reconstruct, until a rhythmic imagery begans to form. The process includes complex techniques of pressure pressing, scraping, sanding until layers and layers of mediums are properly arranged and dyed in various colors. Oriental elements are intermixed with expressive process of reducing and assembling; this display of abstraction combines the essence of East and West, as well as providing links to the past and present. The spontaneous rhythm of lines seem to be performing a wild continuous dances on the canvas; similar to the outburst of George's nostalgic affection after years of living overseas in the United States. His emotions transition from time to time between intense fiery reminisce to desolate coldness. Chann transforms his intense sentimentality for the Chinese culture into vibrant, robust brushstrokes and vividly rich colors. He injects them into lines with subtle and delicate changes, showcasing the magnificence of art by displaying the Oriental mystery and profound philosophy of the universe. The ink motions are full of twists and turns, with attachment to emotions encompassed within calligraphy rubbings silently appearing in the painting. Through Abstract Composition, we are given an opportunity to witness how George Chann absorbs the essence of Western painting, while paying tribute to the Oriental spirit through abstract art. With paintbrush of Western abstract expressionism, Chann exhibits the arcane mysteriousness and embracive righteousness of the Chinese culture.

193 GEORGE CHANN

( Chinese-American, 1913-1995 )

Abstract Composition 173 x 181.3cm Oil on Canvas Signed GEO.CHANN in Englich

NT$ 4,800,000-7,500,000 US$ 148,600-232,200

陳蔭羆

抽象構築 1965-1970 油彩畫布簽名：GEO.CHANN

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194 LIU KUOSONG

劉國松

( Taiwanese, b.1932 )

熱浪

Tropical Wave

2002 綜合媒材紙本簽名：劉國松二○○二鈐印：劉

49.4 x 75.3cm Mixed media on Paper Signed Liu Kuo-Song in Chinese, dated 2002 With one seal of the artist ILLUSTRATED: "Hight,．Dream,．Evolution, Paintings of Liu Kuo Sung," Capital Art Center, 2008 EXHIBITION: "Hight,．Dream,．Evolution," Capital Art Center, 2008

圖錄：《突兀．夢幻．蛻變劉國松畫集》，首都藝術中心，2008 年展覽：「突兀．夢幻．蛻變」，首都藝術中心，2008 年

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

NT$ 1,800,000-2,500,000 US$ 55,700-77,400 劉國松求學期間曾師從溥心畬及朱德群，使他在傳統國畫打下相當深厚的基礎，其畫中雅致古典的文人氣質也是源自於此，朱德群在西畫方面採學院派的訓練，使他歷經印象派、野獸派、立體派、超現實主義而進入抽象繪畫領域。1956 年，由於不能滿足於中國傳統繪畫的保守性，劉國松在台灣創立了五月畫會。同時他也和同儕在尋得戰後西方抽象主義運動的旨趣後，大膽在自己的作品中運用類似的嘗試。他們的突破啟動了當代中國藝術創作的重要轉變。此後，劉國松就不斷地利用他的藝術能量打破當代藝術的侷限，並注入新觀念。太陽、月亮是劉國松精典的作品，以日之升落、月之盈虧、展現循環的大自然運行及宇宙的遼闊氣勢。此件作品「熱浪」以炙熱的太陽為主題，長方形的紙張呼應圓形的太陽，精準拼貼的圓形輪廓呼應了此時西方的硬邊藝術。劉國松的創作展現了強烈的創作活力與融合了中國書法線條與西方結構的美感特質。 In the years of educational pursuit, Liu Kuo Sung was taught under the instruction of artist Pu Ru and Chu TehChun, whom helped shaped his fundamentals in Chinese traditional paintings, that later developed into classic scholarly essence in style. His mentor, Chu Teh-Chun, learned Western painting style from the Beaux-Arts

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Institute in Paris; therefore he was able to introduced Liu Kuo Song to a deep understanding of western art history such as Impressionism, Fauvist, Cubist, Surrealist, and later abstraction. In 1956, Liu Kuo Song became restless with the conservative way of Chinese paintings approach; this influenced him to fund the May Art Association shortly after moving to Taiwan. The Post War abstract movement also contributed to Liu's creativity, it encouraged him to experiment boldly in his art, and enabled him to achieve an important turning point within Chinese contemporary art history. Ever since then, Liu Kuo-Song is known for testing the boundaries and always experimenting with new and unique ideas. The sun and moon are classic subjects in Liu Kuo Song's artwork, from series of raise and descent of the sun to various phases of the moon; we sense the artist's strong enthusiasm for the wonders of our galaxy. In the work Tropical Wave, the sun is the main depicted subject. The rectangular frame of the work further emphasized the perfectly rounded sun. The concise placement of the rounded contour echoes the Hard Edge Painting Movement of the West. Liu Kuo Song's creations are overflowing with vitally and innovative energy that comes from the union of Chinese calligraphic lines and Western composition.

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195 CHIU YATSAI

( Taiwanese, 1949-2013 )

Youth Man Wearing a Blue Coat 130 x 97cm Oil on Canvas Signed Ya-Tsai in Chinese ILLUSTRATED: "Chiu Ya-Tsai," Goethe Art Center, Taipei, 2012, Page 74

NT$ 1,900,000-2,800,000 US$ 58,800-86,700

邱亞才著藍大衣的青年油彩畫布簽名：亞才圖錄：《邱亞才》，哥德藝術中心，台灣台北，2012，第 74 頁

「我觀察現實，沉浮於想像，以繪畫其色，以文鋪成章。」 ---邱亞才自小因生性害羞以及不善言語表達，遭受同儕的排擠，童年的經歷，使其內心更為內縮進而對人際關係產生濃郁的疏離感。紫藤廬茶館於當時在台灣的歷史、政治和文化的發展上具有重要的意義性，文人雅士及藝術家多聚集於此，邱亞才便為其中之一，在紫藤廬茶館寫作的時期，於茶館往來頻繁的形形色色的人們，其舉止、相貌、談吐、氣質皆影響邱亞才筆下的人物繪畫甚多。不隸屬於任何畫派也不沿襲任何風格，邱亞才將自身經歷融於畫裡，獨具匠心的展現其內斂的藝術精神涵養。深沉的透不出一絲光線的背景，身著藍衣的青年踽踽獨行，不發一語的望著前方那幽深的望不到盡頭的道路，在暗夜中，臉色顯得更為蒼白的男子，陰鬱且帶著一種與世間疏離的神情。邱亞才筆下的人物，隱含著其內心的理想式投射，個人於真實生活的經歷，童年記憶的晦暗，愛情生活的孤獨，不為外人所理解，因此將畫裡的人物塑造成一種自負的形象，自信又孤傲的獨走在人生道路上。受畢卡索創作的「藍色時期」啟發，邱亞才大量使用藍色以傳達寂鬱的氛圍，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，展現屬於其時代性的肖像畫風。

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196 ZHOU CHUNYA ( Chinese, b.1955 )

Nude 80 x 100cm Oil on Canvas Signed Zhou Chun-Ya in Chinese, dated 1995 With a certificate of authenticity signed by the artist

NT$ 5,200,000-6,500,000 US$ 161,000-201,200

周春芽黑線條的女人 1995 油彩畫布簽名：1995 周春芽附藝術家親簽之原作保證書身為新繪畫的先驅和代表者之一的周春芽，生涯跨越了中國藝術史上的「傷痕」時期、「鄉土繪畫」、「85 新潮」等重要進程，其每一時期的創作主題皆汲取於生活周遭，藝術家不跟隨潮流，筆隨意轉，體現中國傳統氣質並揉合當代語彙，每每獨創出極富個人風格的藝術表現，將豐沛的能量灌注於畫筆上盡情創作。赴德國深造時，受德國當時新表現主義影響，藉由粗糙的紋路以傳達強烈情感的具象表現，粗獷的筆觸與扭曲的形態迸發出震撼力十足的視覺效果。知名藝評家馬俊子曾於文中提到：「周春芽是邁向中西交匯地帶的畫家，他的

風格、語言、觀念和方式與國際當代畫家一樣，都在關注當下。他的技藝精湛，吸收西方當代藝術成果，是國際化的做法，既叛逆又不脫離傳統，既強調追求自我個性又不侷限於本土。」，更闡述了周春芽於當代藝術的卓越表現。厚重結實的濃黑筆觸，靈動的線條纏繞於女子身上，若隱若現的胴體與模糊難辨的臉部極具抽象意識，迴旋的黑線勾勒出藝術家心底混沌未定的疆域，激盪交纏間，引發觀者的無限遐思。於異鄉留學時，周春芽感知了中國傳統的文人氣質，1990 年代，面對中國現代藝術的沉寂，其深入了傳統國畫研究，傳統水墨所展現的廣博大氣也影響了其後的創作。《黑線條的女人》畫中強烈剛毅的筆觸蘊含中國古代寫意畫的簡練，扭曲的形式表現了內心對於現實恐懼而生的情感，表現主義與寫意技法雖來自不同的文化背景，卻在周春芽筆下和諧的舒展並體現。《黑線條的女人》呈現了藝術家內心的躁動，震顫纏結中看似混亂卻有秩序的包覆著蜷縮的女體姿態，被禁錮的狀態透過有限的線條延伸出無限且複雜的情感。疏密的線條糾結於畫面下方，卻於上方創造出大塊的留白，於視線上引起集中於主體的效果，藝術家從另類的角度解析了東西交融的藝術思維，神秘的畫跡傳達深層的心緒，透出其創作脈絡有跡可尋。周春芽回到中國，使創作回歸到自己的語言中，也為當代藝術開闢了新的時代語境。

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Zhou Chunya Nude As a pioneer and new up and rising artist, Zhou Chunya encountered a number of art movements throughout his life, ranging from "Scar Art," "Local Art," to "85 New Wave" each period with its own significant subject that reflects the important issues of their time. However, Zhou was never interested in following trends; instead his instinct guided him to create contemporary vocabulary that spoke traditional Chinese essence. His art communicates strong individual characteristics and powerful vitality that is transparent in all his creations. When he moved to Germany, he was deeply influenced by the Abstract Expressionists, with their coarse brushworks and intense emotions generating into astonishing visual effects. Well known art critic Ma Junzi once said, "Zhou Chunya approached the intersection between arts of the East and West. His style, language, concept and approach determine him to be an international contemporary artist, who was always aware of the present. With experienced and precise techniques, he absorbed the fruit of Western contemporary art. In a universal way, he is rebellious yet continuing traditions, emphasizing the pursuit of individuality yet not restricted by culture." Thick solid black strokes cleverly wrapped around a womanâ&#x20AC;&#x2122;s body, the looming contour revealed non detailed features and the face is even distorted dramatically. The revolving black lines captured the artist's unsettled territory, between stirring and the entangled, viewers are provoked to imagine. During his studies in Germany, being in a foreign land made the artist more aware of his Chinese heritage. Thus, in 1990, he devoted time and effort to understand traditional Chinese ink-drawings and calligraphy. In results, literati temperaments were later exhibited in all his creations. In the painting Nude, strong and resolute brushstrokes imply the freehand technique of ancient Chinese ink-drawing, where realistic forms are distorted to focus on raw emotions. The Abstract Expressionists also work in freehand; however Zhou communicates the same idea but based on different cultural value and background. Within Nude presents the artistâ&#x20AC;&#x2122;s restlessness, the seemingly chaotic lines is placed orderly to gesture the womanâ&#x20AC;&#x2122;s posture and curves. The state of being tangled extends to infinite and sophisticated emotions. The lines become denser as we approach the bottom of the painting; negative space is left in the above area to not distract our gaze from the focus of the work. The artist observes and dissects his subject from alternate perspective, the mysterious atmosphere suggest complex sentiments, and reveal traces of different cultural influence. Upon his return to China, his creativity found a language of his own, one that would open a new contemporary era.

周春芽花卉周春芽被譽為中國當代最具代表性的藝術家之一，尤以融併中西繪畫元素而獨樹一格的畫風最為人稱道。畢業於四川美術學院的他，除了長期浸染在中國傳統繪畫技藝之外，更因曾經歷時代與社會變動之洗禮，以致期間的焦灼與困惑轉煉為深化他創作的動力。而後又因遠赴德國深造，接觸西方新表現主義，終而形塑了他自身獨特、極美、且具標誌性的創作精神與風格。《花卉》展現了周春芽對色彩極為出色的掌握，既非中國傳統純粹淡雅的配色，也不似後期桃花系列的強烈濃郁。此幅《花卉》繪製於 1988 年，是周春芽在德學卡賽爾綜合大學的最後一年所繪，明顯已非早期偏向冷色調的描繪，而是逐漸在作品中流溢出暖熱的氣息。隨著對色彩的駕馭越臻成熟，內心的情感也越能如實而懇切的表現出來。而花團的形也藉著筆觸將肌理多層疊加，因此花雖色澤溫潤，形卻是強烈而立體，像是下一秒就要從畫框迸發出來一般生動靈現。因此用色雖無桃花系列的妖治狂放，卻藉由用筆與構圖使畫面達到更為細緻的飽滿與和諧。此幅畫不同於後期桃花系列的視覺遠景，而是視線的聚焦、是對生活微小細節的凝視。這樣對生活的觀察與省思構築了周春芽在繪畫技法上的細膩與真誠，亦切合了他對生命的熱愛與率真。他的畫是藝術，他本身的思想與覺察更是從生活中所煥發出的藝術，深深展現了為藝術所召喚的蓬勃創作生命力。 Zhou Chunya is regarded as one of the most representative contemporary Chinese artists, and is praised for his unique style that fuses elements of both Eastern and Western painting. As a graduate of Sichuan Fine Arts Institute, Zhou has long indulged in traditional Chinese painting. He experienced the change of

times and social upheaval, thus converted the distresses and uncertainties during this period into his creative drive. Zhou studied overseas in Germany, and was exposed to western NeoExpressionism, which ultimately shaped his unique, extremely beautiful, and iconic creative spirit and style. Flowers exhibits Zhou Chunya's mastery over colors – not the elegant and pure traditional Chinese color combination, nor is it similar to the powerful and rich colors of the later Peach Blossoms series. This painting, Flowers, was painted in 1988, which was the last year Zhou studied in the University of Kassel in Germany. It is obvious that Zhou had already deviated from cooler color tones from his earlier stage, and a hint of warmth had gradually begun to flow in his creations. As his use of colors became more mature, he was able to honestly and earnestly express emotions within. Through brushstrokes, Zhou layers the texture for the shape of the flowers, and thus, despite their warm and tender colors, the flowers' shapes are powerful and threedimensional, so vivid that they seem to be jumping out of the restricted frame. The colors in this painting are not as luscious and vibrant, but Zhou uses paintbrush and composition to give the painting more delicate richness and harmony. Unlike the later Peach Blossoms series, this painting does not depict a distant view; rather, it shows a focused perspective conveying the artist's gaze at the minor details in life. This kind of sensitive observation and reflection on life construct the delicacy and honesty in Zhou Chunya's painting techniques, and correspond to his passion and sincerity towards life. Zhou's painting is art, and his thinking and insight are art from life, fully manifesting his robust creative vitality in art.

197 ZHOU CHUNYA ( Chinese , b.1955 )

Flowers 65.5 x 85cm Oil on Canvas Signed Zhou Chun-Ya in Chinese, dated 1988. 12. 26 With a certificate of authenticity signed by the artist

NT$ 3,500,000-4,200,000 US$ 108,400-130,000

周春芽花卉 1988 油彩畫布簽名：周春芽 26.12 1988 附藝術家親簽之原作保證書

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198 XUE SONG

薛松

( Chinese, b.1965 )

回娘家

Back Home

綜合媒材畫布簽名：薛松

120 x 100cm Mixed media on Canvas Signed Xue Song in Chinese

NT$ 750,000-900,000 US$ 23,200-27,900 薛松，擅以貌似壓克力或是油畫顏料的特殊技法謬惑觀者的第一印象，但實以採取燒烤和拼貼的方式全然手工製作，他的不可複製性為作品最好的價值。《回娘家》這幅畫使用焚燒和拼貼獨特的創作方式將歷史和文化碎片化。畫面中藍色澄淨的湖泊，深邃的泥土加上嶙峋枝椏的樹木巧妙的拼湊出回娘家的畫面。由此畫我們可以發現裡面的形像是由幾十張甚至數百張碎片所構成，每一張碎片的形像在空間上都是獨立而存在的，好像顛覆了我們對現實世界的刻板表現，進而從中尋找藝術的真實感受。

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199 XUE SONG

薛松

( Chinese, b.1965 )

豐子愷古詩新畫系列

Chinese Literature Series - Feng Zhi Kai

綜合媒材畫布簽名：薛松

60 x 60cm Mixed media on Canvas Signed Xue Song in Chinese

NT$ 260,000-360,000 US$ 8,000 -11,100 薛松的由燒過的印刷品碎片構成的中國文字和圖像在波普藝術中具有特殊性，他將已經成為歷史的符號再次作為新的素材來構成新的形象歷史，使外來的文化與歷史符號成為自己藝術的形象資源，這種刻意的製作使他的作品顯得具有公益的形象資源，這種刻意的製作是他的作品顯得具有工藝的性質。不過，在眾多世俗的、完全商品化了的波普藝術氾濫時期，薛松堅持自己藝術的嚴肅性，保持了一種穩定的個人風格和嚴肅的藝術傾向。

---呂澎

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高行健

GAO XINGJIAN 高行健一生轉換駕馭於各種身分之中，除了文學家與畫家之外，也身兼劇作家與導演，在各領域中皆擁有不凡之影響力與貢獻，其中更以文學與繪畫領域最為人稱道。其文學作品不但被翻譯超過三十五國語言，更在 2000 年以《靈山》、《一個人的聖經》等著作獲得諾貝爾文學獎，成為首位獲得該獎項的華語作家，蔚為當代華人文壇之盛事。此外，高行健從小熱衷繪畫、不但以畫養文，更在畫中注入對生命與日常的哲思與意念。高行健於 1950 年代後期在北京舉辦個展時引起關注，並在其後赴德獲得一致的盛譽與好評。外國報刊更讚其：「令人吃驚的水墨技巧創造出一個非常豐富的內心世界，恍惚於神秘與哲學、詩與光之間。」高行健的畫作不受傳統水墨畫之拘束，擅以水墨駕馭西方抽象畫，並用水墨層次之轉換展現玄妙奇幻的空間感。空靈純美的墨色揮灑不僅帶入詩意，更使禪意入畫。此幅《夢之屋》畫面上方佈滿渾厚墨黑，漸向家屋湧入，將那些不知所云的困惑與憤懣傾灌於家之中。而畫面下方卻一片亮白明淨，似是消融一切於無形，還給大地一個純粹的原貌。既如人人心中美好的家之所在，總是容納人生一切的不快；又如人之執念，再多的執念只要心中放下，便又是一純然恬靜之天地。高行健不但以中國水墨技法演繹西方抽象精神，更運用或濃或淡之水墨轉折意境，使其兼容抽象與寫實、傳統與當代。在他的畫之中有與無、虛與實不再對立，而是彼此交纏堆疊遂生發出更高之上的美學轉化與反思。 Gao Xinjian possessed a diversity of identities throughout his life. Among writer and artist, he was also a playwright and director. Although he had extraordinary influences and contribution in various fields, it was in the field of literacy and painting where he was most established. His writings were translated

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into more than thirty-five languages. In the year 2000, writings such as Soul Mountain and One Man’s Bible were awarded by the Nobel Prize for greatest literature. He became the first Chinese writer to receive such an award; it was an honorable moment for all Chinese literary circles. Starting from an early age Gao Xingjian was devoted to drawing, and thus developed scholarly temperaments. Ideas and philosophy from his daily-life were carefully recorded in his artworks. In late 1950s, Gao hosted an exhibition in Beijing that blew everybody away, the reviews were full of positive remarks and approval. Oversea newspaper stated, "Truly remarkable ink-drawing techniques that create a rich inner world, trance between mystery and philosophy, poetry and radiance" Not restricted by conventional ink-drawings, the same medium is transformed into dynamic western abstraction under Gao's innovation. Revealing a mystical sense of dimension created only through expertise in appropriate shading and layering. In La Maison en Reve, the dark shades were symbolic to negative emotions such as, confusion, disappointment and anger which are all fixated on the small household. The remaining image is left blank and in peace, referring to the return to nature. The work discussed the idea of home where unconditional love and acceptance are constantly provided, but too often taken for granted. Undesired emotions are provoked by inflexible minds; though his painting Gao explained, if the stubbornness are demolished, calmness will be able to return once again. He conveyed traditional Chinese essence with abstraction and transition of light to dark ink. Atmospheric imagery is further presented with abstract and figurative forms. The work is both classical yet contemporary, while examining the highest form of aesthetic reflection.

200 GAO XINGJIAN

高行健

( Chinese-French, b.1940 )

夢之屋

The Dream House (La maison en rêve)

2011 水墨畫布簽名：Gao Xingjian 2011

97 x 129cm Ink on Canvas Signed Gao Xingjian in English, dated 2011

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 800,000-1,200,000 US$ 24,800-37,200

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生於 1929 年的草間彌生，無疑是當代藝術界中舉足輕重的代表人物，她的姓名與西方當代重要的藝術家如克來因 (Yves Klein)、瓊斯 (Jasper Johns) 與歐登柏格 (Claes Oldenburg)、安迪．沃荷 (Andy Warhol) 等當代藝術巨擘並列，也絲毫不遜色。如今已年屆八旬的她，仍擁有豐沛的創作能量，作品更見深度、畫風圓熟。其無窮無盡、如真似幻的重複符號，顛覆了傳統的藝術框架，並為抽象主義、情感主義、普普藝術和簡約主義帶來了深廣影響，英國《泰晤士報》更二度將草間彌生列入「二十世紀 200名最偉大的藝術家」之一。 2012 年，草間彌生更跨足時尚圈，與法國精品 Louis Vuitton 合作，不僅引領時尚風潮話題，更體現其藝術風格的自由無拘。草間彌生的作品被世界頂級的藝術機構廣泛收藏、展出，諸如紐約現代藝術博物館、惠特尼美術館，以及巴黎龐比度中心，而近年來最為人所知的巡迴展覽，即為亦在台灣引起風潮的「夢我所夢」（Yayoi Kusama: A Dream I Dreamed）。該展覽於 2013 年七月在南韓大邱美術館揭幕以來，便宛如旋風般席捲多間亞洲頂尖的美術館、博物館，展覽極受歡迎且盛況空前，再次映證草間彌生鼎足於藝壇的崇高地位。草間彌生奇幻澎湃的藝術靈感，源自幼年罹患的神經性視聽障礙，這場疾病使她的所見世界，都彷彿隔著一層斑點狀的網。在她而言，藝術創作是一種自我治療，那不知從何而生滅的網點，是草間彌生通過細密而重複的動作，以對抗心中的恐懼與壓迫，她曾自述：

「藝術家一般不會直白道出他們的內心狀況，但我直接把自身問題和恐懼當作創作題材，我不斷將圖案重複再重複，直至我完全沉浸在整個過程為止。」也因此，那纏結繚繞的點與線、無處不在而又難以捉摸的圖樣，正是草間彌生凝視生命困境後自我昇華後的動人呈現。此幅《花》成於 1981 年，鮮豔明黃、佈滿圓點，背景深沈黝黯如靜謐深海，搭配經典的網狀線條，微妙地暗示著繁殖、生長的命題，呈現出藝術家高度風格化的獨有美學。而「花卉」始終是草間彌生重要的創作母題之一，花朵的柔弱與迷人、枝葉的纏繞與柔軟，象徵著天地萬物的生機無限。那交錯纏結的網狀線條，不斷地增生綻放，展現恣意旺盛的生命能量、如夢似幻的神祕魅惑，鋪張出狂放不羈的細緻感。《花》的中央以圓點圖案向外延展，縝密羅列的圓點，是草間彌生極具標誌性的視覺符號，她曾自述：「圓點是不能單獨存在的，

就像人與人的交往一樣。三三兩兩和更多的圓點變成一種運動。地球不過是宇宙百萬顆恆星中的一個圓點。圓點是通往無限的一種方式。」緻密排列的圓點是生命細膩至極後的細胞意象，也是藝術家內心世界中席捲而來的奇幻風暴。

Born in 1929, Yayoi Kusama is an influential artist in the Contemporary art world. Her name is compared alongside with important western artists such as Yves Klein, Jasper Johns, Claes Oldenburg and Andy Warhol. Currently, at the age of eighty, her creativity remains fruitful, her art continued to be insightful and her style convey maturity. Through surreal and unlimited repetition of symbol, her art turned the framework of traditions upside down. Her creativity strongly influenced the Abstract Expressionist movement, Pop Art and Minimalists. According to the British News, Yayoi Kusama is listed on "200 Most Important Artist of the 20 th Century." In 2012, Yayoi Kusama crossed over to the fashion industry by collaborating with luxury brand Louis Vuitton. The collaboration led the fashion world by storm, and further emphasized the individuality of her artistic expression. Her paintings are shown and within the collection of major art institutes and museums including the New York Museum of Contemporary Art, Whitney Museum, and the Pompidou Center in Paris, France. Her recent toured exhibition titled "Yayoi Kusama: A Dream I Dreamed" began in July 2013 at the Seoul Arts Center, and later took place in all the major art museums in Asia. The exhibition was well received by the public, thus re-establishing her renowned status. Yayoi Kusa ma's a r t ist ic i nspi rat ions ca me f rom hallucination and severe obsessive thoughts that started in her childhood. The sickness made her see the world through a web of polka dots. According to her the creative process became a form self cure. To rid of the

fear and pressure from the hallucination, She would carefully imitate the repeated motions to re-create what she sees. She once said, "Artist don't usually direct their inner conditions into their creations, yet I used my problems and fear as my subject, I would recreate them again and again, until I am so deep in the process that I no longer fear" Thus, the intertwining and unlimited dots and lines may reveal no origin and convey no subject, yet it is the real reflection of Yayoi Kusama's self improvement process presented in works of art. The painting Flower was created in 1981, presented in bright yellow hue and covered in polka dots, the dark background contrast the classic web. In a discreet way, the artwork hints at fertility and life. The painting is created in the artist's signature individual style. Flower is an important genre in Kusama's art. She is especially fond of its fragileness and attractiveness in combination wit h stems a nd tender lea fs. To her, t he subject symbolizes the virility of nature, through dream like and mysterious aura the flower is depicted in sensible details. The center of Flower is made up of polka dots extending outwards. The perfectly ordered polka dots are Yayoi Kusama's signature visual motifs. She explained "Dots do not exist alone, similar to the relationships between people. When you have two to three or more, the dots become a movement. The earth is just a single dot within the billions of stars in our universe. A dot can be interpreted in unlimited ways." Finely organized dots can also represents life's delicateness such as cells, or an artist's inner world.

201 YAYOI KUSAMA ( Japanese, b.1929 )

Flower 41 x 31.8cm Acrylic on Canvas Signed Yayoi Kusama in English, dated 1981 With a certificate of authenticity from Yayoi Kusama Studio

NT$ 4,800,000-6,000,000 US$ 148,600-185,800

草間彌生花 1981 壓克力畫布簽名：1981 Yayoi Kusama 附藝術家工作室開立之原作保證書

「我的一生，我活著的每一個日子，都與藝術相關。要是人可以有來世，我還想再做藝術家。無論生與死，藝術對於我來說就是一切。」

---草間彌生

"My whole life, and every single day that I lived, it is all related to art. If reincarnations do exist, I hope to be an artist again. Life or death, to me, art is everything" ---Yayoi Kusama

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田中敦子 TANAKA ATSUKO 「具體派」肇始於 1954 年的日本戰後時期，兼容並蓄了歐美抽象藝術的奔放風格，以及日本藝術的傳統美感。他們強調藝術家的自主精神，不斷衝撞固有的枷鎖，甚至傳統的自由概念挑戰。「具體派」摒除了傳統藝術家的創作方式，取而代之的是愈加奔放、大膽的表達途徑。細數其流派的藝術成員，從創辦領袖吉原治良、上前智祐，以及「用腳作畫」的白髮一雄，至今皆赫赫有名。而其中唯一一位女性藝術家，便是在 1965 年的第二屆具體藝術展上，身穿由無數閃爍的霓虹燈泡、燈管所拼合編織而的《電氣服裝》登場的田中敦子。田中敦子當年 24 歲，《電氣服裝》的大膽前衛便令她在藝壇上一鳴驚人。她打破創作物料和形式的限制，回歸物件的純粹本身，單單以材質的特性、色彩以及形體來體現美感，成功探索了未知的領域，徹底實踐了具體派「藝術家的精神並不試圖改變物質，而是讓物質呈現本身的特質」的藝術理念。那霓虹燈管不斷閃爍的燦亮，不只映照在她纖瘦的臉龐上，也預示了日後的「行為藝術」、「動力藝術」、「裝置藝術」、「觀念藝術」等重要思潮，而「具體派」成員所信仰的純粹、本質的創作模式，更給予了世界各類藝術中的先鋒們某種光芒或啟示，終成藝術史上最絢爛不羈的傳奇景觀。在時光的長河中昂然卓越的藝術品，不僅僅是因為藝術形式的表現，更重要的是文化觀念的闡釋與驗證。而創建至今逾六十年的「具體派」，並未因歲月的綿長而被遺忘，其創作理念如今看來依舊前衛、值得探索。近年來，世界頂級的藝術機構更為其舉辦了一系列的「具體」藝術展，包括紐約現代美術館、斯德哥爾摩當代美術館、洛杉磯當代藝術博物館皆迴響熱烈，

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其中更以 2013 年，紐約古根漢美術館 (Guggenheim) 所舉辦的《具體：燦爛的遊樂場》(Gutai: Splendid Playground) 最受矚目。從永垂不朽的藝術經典《電器服裝》起，直至 2005 年藝術家離世，田中敦子的創作從未間斷，始終擁有充滿激進、前衛的先鋒精神。從六○年代跨媒介的創作軌跡以降，過渡至充滿獨特色彩的「線與圈」的主題，皆展現出朝氣蓬勃的精神面貌，已然超越了「具體派」群體的界限，展示其成熟精湛的個人藝術風格。此幅《83D》完成於 1983 年，呈現出複雜的霓虹圓圈構圖，飽滿的色彩強而有力地展現頑強的生命，畫面中圓圈幾何的配置，呼應著《電氣服裝》錯雜閃爍的燈管和燈泡，彩度鮮明的線條在畫面上震顫交錯、縱橫，每一筆畫皆充滿力量、色感豐滿深刻，創造出眩目迷幻的視覺效果。《83D》中相互纏結的圓圈，在線條的視覺帶動下，彷彿以一種近乎催眠的慢速旋轉著，彷彿看見光線輕盈的流動、能量的竄動，卻表達出寧靜、質樸的美感。此作《83D》，既飽含了當代的空間結構，又結合了各種實驗、幾何與色彩元素，並暗示著人類與科技的動態關係，以及身體與物件之間的存有命題。田中敦子操舞著濃厚的彩筆，在畫布上組構出自己腦中所想像的事物秩序，持續顛覆、挑戰著世俗傳統的美感標準，其作品在世界各地的知名機構廣泛展出，近年來更在東京都現代美術館、第五十三屆威尼斯雙年展中亮相，懇切地向世界展演其自我的存在段落和生命體積，以及觀看萬物的絕妙理解、恆定不滅的內在真理。

The Gutai art group was founded in Japan's postwar period in 1954. It is inclusive of styles from the unrestrained European abstraction to traditional Japanese aesthetics. Emphasis is placed on artistic independency, rejecting conventional limitations and challenges traditional concept of freedom. Gutai replaced doctrinal creative approach with innovative and bold expressions. The members include the founder of the group Yoshihara Jiro, Shimamoto Shozo, known as the "foot painter" Kazuo Shiraga and the only female artist Atsuko Tanaka. In 1965, for the second Gutai art exhibition Tanaka appeared in a dress consists of electrical wires and lit up neon colored lightbulbs, a creation she titled Electric Dress. At an early age of twenty-four, Tanaka's Electric Dress was bold and avant-garde taking the art scene away by storm. She breaks away from the restrictions of materials and showcase her object in its purest form. Her creation further accentuates the object's property of shape and color, reflecting the beauty and success of achieving the unknown territory. Her practice represents the very heart of Gutai "The artist is not trying to change the spirit of the material; rather to help the material's individuality to shine through." The florescent bulbs lit up the artist's face in various colors, and also predicted the future of "Performance Art," "Kinetic Art," "Concept Art" and many other important art movements. The Gutai group believes in pure, basic property of creation process, granting the world endless possibilities for the future of art. Sixty years have passed since the beginning of the Gutai group yet from present day aesthetic perspectives, the concept and presentation of the movement is still relevant and even progressive. The world's top art institutes have all held an art exhibition that discussed the Gutai Art Association, from Museum of Modern Art New York, Museum of Contemporary Art San Diego to Museum of Contemporary Art Los Angeles. Furthermore, the Guggenheim museum in New York held an exhibition titled "Gutai: Splendid Playground" in 2013 and the result was very well received.

Since the birth of the classic Electric Dress the artist continued to create until she passed away in 2005. Atsuko Tanaka had the constant passion and bravery to experiment. From 1960, when she questioned the material of creation to the unique and vibrant series of Lines and Circles, her optimism has assist her in achieving beyond the limits of Gutai, demonstrate her powerful individuality. The painting 83D was completed in 1983, presenting complex colorful circles that filled the composition. The vibrancy in colors gesture to strong vitality and energy, and the circles within the painting are organized into a configuration that echoes the sophisticate blinking of lights coming from the Electric Dress. Through highly saturated lines, the work creates a visual effect that is complex, direct, dazzling and powerful in every stroke. In D, the circles that overlaps one another, creates movement for the eyes. As if the circles are revolving calmly to a slow rhythm, lights can be seen as trespassing energy. The painting is full of excitements yet as a whole it conveys a quiet and elegant aestheticism. In the painting 83D, contemporary arrangement of space is present, uniting many practice from geometric form to color theories, it hints the relationship between human and technology, questioning the relevance of the artist when machinery is able to perform the creation process. Atsuko Tanaka painted with dancing colors and thick brushstrokes; on the surface of the canvas she organizes the imageries and thoughts of her mind. Successfully challenging conventional standards of aestheticism, her works are displayed internationally by many important institutions. In recent years, Tanaka's works were present in the Museum of Contemporary Art Tokyo as well as the 53rd Venice Biennale. Tanaka presents her life's work with sincerity and unique perspectives. She explored endless progressive possibilities, thus, her whimsical creations are appreciated and celebrated even after decades have passed.

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202 TANAKA ATSUKO ( Japanese, 1932-2005 )

83D 100 x 80cm Synthetic Polymer Paint on Canvas Titled and signed Tanaka Atsuko in English, dated 1983

NT$ 7,200,000-8,500,000 US$ 222,900-263,200

田中敦子 83D 1983 合成樹脂漆畫布簽名：'83D Tanaka Atsuko

Atsuo Tanaka's signature artwork Electric Dress was displayed at the Guggenheim museuem for the Gutai: Spendid Playground Exhibition 田中敦子永垂不朽的藝術經典《電器服裝》，展於紐約古根漢美術館所舉辦的《具體：燦爛的遊樂場》

「我對具體派藝術群體深表敬意，我更認為當中四位藝術家應與享譽國際的人物齊名，包括白髮一雄、嶋本昭三、吉原治良及田中敦子。」

---米歇爾．塔皮耶

"I pay deep respect to the Gutai art group and I believe within the group are four artists that deserve international recognition. They are Kazuo Shiraga, Shimamoto Shozo, Yoshihara Jiro and Atsuko Tanaka"

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---Michael Tapie

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白髮一雄 SHIRAGA KAZUO 在二戰解放後的 1954 年間，吉原治良主導的具體派，發起了具體美術協會，白髮一雄也是其中的一員。具體美術協會的展開，在日本美術史上占有一席重要的地位，更在國際上受到高度評價。以具體派成員為核心，一批前衛的藝術家於此時展現獨到的藝術特質，逃離傳統框架，透過平面繪畫、行動藝術、裝置創作引領社會大眾進入新的思惟模式。「具」引申為技巧，而「體」代表身體，由此兩種元素組為具體二字，開啟了新的藝術潮流，以原始的身體表現，透過平面或立體表現真實的藝術。白髮一雄於畫中展現了強烈的流動性，氤氳環繞於流轉的色料之中，透明的筆意、凸起的顏料凝結塊，欲語還休，呈現出於虛幻空間的暗示性。在無意識與有意識間進行創作，其將積澱於心的感性團塊舒展並巧妙融入創作裡，意到筆隨，酣暢淋漓展現於畫，正如其所言：「關於我的藝術行為，是將不可視的精神通過身體行為表現出來。」其畫更具有一股穿透性，包蘊時空一體的理念，展現超然於畫外的永恆，生生不息的躍動，在一次次的迴旋間，屏息等待，激發出更為真切的藝術胸懷。 After WWII, the Gutai group led by Yoshihara Jiro founded the Gutai Art Association in 1954, and Shiraga Kazuo was a member. The establishment of Gutai Art Association was a key milestone within Japan’s art history; it was even an event that was highly regarded internationally. With members of the Gutai group as the core, a flock of Avant-Garde artists showcased their unique artistic approach which breaks free from traditional rules; through painting, performance art, and installations, they introduced to the society a new way of thinking. Gu can be interpreted as techniques and Tai as body, the combination of the two jumpstarts a new art movement, where artists used primitive body parts to create art which represents imageries of three-dimensional expressions. Shiraga showcases powerful fluidness, with smoke twisting and lingering in the paints, transparent intent of the brush, and protruding texture made up of dried paint. The artist does not communicate fully to his audience; instead, he left a hint of suggestiveness presented within a surreal setting. Creating between consciousness and unconsciousness, Shiraga flattens out the emotional lumps accumulated within and masterfully incorporates the emotions into his painting. If his brush is an extension of his mind, then the canvas is where he may fully express himself. Just as Shiraga once said, "In my art, I express the invisible spirit through physical actions." Shiraga's paintings are penetrative, while embodying the concept of time and space as one, displaying an eternity that goes way beyond the frames of the paintings. The eternal energy waits quietly, inspiring real artistry between each twist and turn.

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203 SHIRAGA KAZUO ( Japanese, 1924-2008 )

Shirosono 54.5 x 37cm Acrylic on Paper Signed Shiraga in Chinese With one seal of the artist Signed on the reverse: Title and Shiraga Kazuo in Chinese, dated 1997

NT$ 800,000-1,000,000 US$ 24,800-31,000

白髮一雄白苑 1997 壓克力紙本簽名：白髮鈐印：白背面簽名：平成九年六月白髮一雄白苑

Zhong Cheng 2012 Spring Auction Lot.058 Shiraga Kazuo, Cleansing Fire Hammer Price US$55,17 中誠 2012 春季拍賣 Lot.058 白髮一雄《淨火》成交價 NT$ 1,652,000

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204 ANDY WARHOL

安迪 ‧ 沃荷

( American, 1928-1987 )

毛澤東

Mao

91.4 x 91.4cm Screenprint on Beckett High White paper 42/250 Signed on the reverse: Andy Warhol in English, numbered 42/250 and stamped COPYRIGHT © ANDY WARHOL 1972 PRINTED AT STYRIA STUDIO INC. PROVENANCE: Private Collection, Asia ILLUSTRATED: "Andy Warhol Prints: A Catalogue Raisonné 19621987," Distributed Art Publishers, Inc., New York, 1997, Page 79 "Andy Warhol Giant Size," Phaidon Press, London, 2009, Page 507

來源：亞洲私人收藏圖錄：《安迪．沃荷版畫編年目錄 19621987》，分佈藝術出版社，美國紐約， 1997 年，第 79 頁《安迪．沃荷巨大尺寸》，費頓出版社，英國倫敦，2009 年，第 507 頁

NT$ 1,200,000-1,500,000 US$ 37,200-46,400

「如果你想了解我，不要往深處想，我就在最表面的地方，背後沒有東西了。」被譽為 20 世紀藝術界最有影響力的人物之一也是視覺藝術運動普普藝術最有名的開創者之一。透過發達的傳播媒體，影響商業藝術的發展，其經常使用絹印版畫技法以重現圖象，題材從著名的商標、美元標誌到家喻戶曉的名人，實際將高雅的藝術大眾化，改變人們對於藝術的接受態度，回歸至物質的現實層面。安迪沃荷前衛的藝術作風，引領了當時紐約進入新的當代藝術層次。創作生涯中擅長使用廣為人知的名人肖像，結合新穎的色

---安迪沃荷

Andy Warhol is one of the most influential artist of the 20th Century, as well as the most significant member and founder of the Pop Art movement. The advance of communication media and commercial art allowed silkscreen prints to mass produce. The subjects of Andy's lithograph range from famous logos, dollar signs, to well-known celebrities. He transformed the exclusive and luxurious impression of Fine Arts into popular art that can be accessible by all. Andy Warhol changed the way art is viewed; he returned materialism to a rational level, leading New York into new contemporary art era.

調，交融出一系列的重複圖像。1972 年，美國總統訪中，中西的破冰，產生極具時代的話題性，喜愛流行事物的安迪沃荷，將取材於政治性名人毛澤東的形象鎔鑄於普普藝術之中，政治的意識形態與西方潮流的當代思維碰撞激盪出新的時代語境，於此之前，毛澤東的肖像藝術在中國多為政治宣傳及發聲之用，毛澤東更認為「為藝術的藝術，超階級的

藝術，和政治並行或互相獨立的藝術，實際上是不存在的。」。七十年代末期，隨著西方現代思潮於中國的開展，資本主義以及商品的消費性對於普普藝術形成一股推波助瀾的趨勢，明麗多彩的配色引發肖像畫的革新，其中的政治成份已轉化為通俗性的大量複製品，安迪沃荷的藝術手段將「政治普普」創造出極大的利益化。

"If you want to know all about Andy Warhol, just look at the surface of my paintings, and films and me, and there I am. There’s nothing behind it" ---Andy Warhol

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He often uses well-known celebrity portraits, combined and blends with different colors to produce a series of repeated images. In 1972, U.S. President Richard Nixon visited China, for the purpose normalizing the relations between the two countries. The event became a controversial topic at the time thus, inspired Warhol to use political figure Mao Ze Dong as the main subject of his art. Among the political ideologies and Western trend of contemporary mindset, the collision sparked context of a new era. Before Andy's creation, the portrait of Mao in China was strictly used for political propaganda; furthermore, the Mao once stated "There is in fact no such thing as art for art's sake, art that stands above class, art that is detached from or independent of politics." In the late 70s, when Western modernist art became more accepted in China, capitalism and consumer goods fueled a high demand for Pop art. The bright and colorful portraits were revolutionary with its context of popular political figure. Andy Warhol successfully created a series of "Political Pop" that would change the art world as we know it.

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Yuan Yuan's art studio 袁遠工作室

袁遠 YUAN YUAN 穿越拱形門廊，彷彿走入後殖民歷史建築散發的華麗蒼涼裡，透著一絲獨有的憶往昔崢嶸歲月之感，依稀窺探其當年風華與浩蕩乾坤。斑駁的牆面與滿院荒無，裊無人煙今與昔對比之下，特殊視角構圖取景，使觀者如佇足凝視一片陽光輕灑的閑靜午後，僅有光線映照在潔白的織物上，愈發引人無限遐思。主修油畫的袁遠，旅居歐美深受當地建築氛圍洗禮，將古典建築元素如幾何拱廊、結合愛奧尼亞和科林斯柱式的風格，以及細膩刻畫的門扉與復古磚紋，精細的筆觸描繪出物件的質地，特殊的顏料上色手法，使畫面呈現出有如經年累月洗禮而剝落的痕跡；深受古老的內部空間所著迷的他，以生活經驗為想像的基礎，建構出介於寫實與魔幻的敘事性場域。當傳統與現代交會，城市景觀迅速更迭的今日，袁遠作品探討建築與人類活動空間的歷史記憶，在世界上各主要城市的展覽皆頗受好評，促使人們反思都市發展下舊城區所見證的過往風華，並受時空牽引觸動泛起濃濃戀舊懷緬追昔之情。 The arched colonnades are gateways into a post-colonial past, elaborate and yet bleak. Traces of reminiscence seep through, giving hints to the extraordinary past of splendor and magnificence, while the mottled walls and desolation serve as a stark contrast to the bygone days. The unique perspective and composition place viewers right at the scene, gazing into a sun-basked leisure afternoon. The only light reflects off the pristine fabrics, leaving room for imagination. Yuan Yuan, who studied oil painting, was profoundly influenced by the local architecture when he resided in Europe and the United States. He combines the classical architectural elements such as the geometrically shaped arcades, Ionic and Corinthian columns, finely painted doors and retro brick patterns. His exquisite touches and unique color applications faithfully portray the texture and the dated, flaking look. Mesmerized by the historic interior, he draws inspiration from his life to construct a field of narrative between reality and fantasy. As tradition crosses path with the modern world, as rapid changes sweeps the urbanscape, Yuan explores the historical memory of architecture and where human activities take place. His exhibitions, which were well received in major international cities, impel the public to reflect on the former glory of historic districts under urban development, while triggering a strong sense of nostalgia.

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205 YUAN YUAN ( Chinese , b.1973 )

Puerto Rico Sheets 190 x 157cm Oil on Canvas Signed Yuan Yuan in Chinese, dated 2013 Signed on the reverse: Title and Y.Yuan in English, Yuan Yuan in Chinese, dated 2013 With a certificate of authenticity signed by the artist

NT$ 2,200,000-3,000,000 US$ 68,100-92,900

袁遠波多黎各一隅 2013 油彩畫布簽名：袁遠 2013 背面簽名：《Puerto Rico Sheets》y. yuan. 2013 袁遠 2013 附藝術家親簽之保證書

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206 HUNG YI

( Taiwanese, b.1970 )

Sheep 51(L) x 83(W) x 91(H)cm Baked Enamel on Steel Plate 6/9 Signed Hung Yi in Chinese, numbered 6/9, dated 2014 With a certificate of authenticity from gallery

NT$ 650,000-950,000 US$ 20,100-29,400

洪易羊 2014 鋼板烤漆 6/9 簽名：洪易 6/9 2014 附畫廊開立之原作保證書鮮明的色彩與歡樂童趣的造型，洪易的《羊》繽紛絢麗、圓潤福態充滿吉祥寓意喜氣洋洋，親切可掬的藝術擁抱普羅群眾，更受大眾所樂愛擁抱，讓藝術走入生活親近民間，是藝術家一貫創作的初衷。擷取民俗線條語彙與多彩圖騰，斑斕紋路布滿表面，鮮活充滿靈動意趣更饒富在地特色，可親可愛可喜釋放生命的溫暖能量，扭旋的羊角展現精湛的工藝，炯炯有神的目光一把攫住觀者的視線，獨特的造型傳達藝術家豐沛奔馳的想像力，「羊眉吐氣樂團圓」吉慶紛呈溫馨愉悅之感如春風襲來。洪易跟隨內心堅定的志向而不移的創作態度，傳達在地風土人文，其表示「吸取台灣土地當下養份長成一朵花」根植於斯而走向國際，一路走來始終帶給觀眾歡樂洋溢、溫情滿人間的真摯感動。

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207 HSIAO CHIN

旋

Revolved

2013 壓克力畫布簽名： Hsiao 勤 2013

135 x 293cm Acrylic on Canvas Signed Hsiao in English and Chin in Chinese, dated 2013

NT$ 2,800,000-3,500,000 US$ 86,700-108,400

208

蕭勤

( Taiwanese, b.1935 )

ZHONG CHENG 中誠

展現抽象與美的哲思，以東方美學傳達藝術與生命軌跡，蕭勤以簡練的造型語彙表達豐富的人生歷程與道之感悟，「藝術不

成問題，生命才是大哉問，我只是透過藝術創作完成這一生使命而已。」蕭勤如是說。如此豁達的態度更顯藝術家盡情揮灑的豪情寫意，昇華並將現代藝術推向至下一個卓著不凡的里程碑。紀錄心靈思維之幽茫渺渺，將大自然萬物造化之源明淨澄澈如詩歌譜於畫布之上，《旋》之浩然氣韻達「大音希聲，大象無形」道之至境，如長虹之彩徹雲衢，似歌律曹曹動心魄，顏彩渾厚傾注滔滔汩汩噴湧而出，五色繽紛燦如繁星煙花滿夜空，鮮活開闊的宏大布局與蒼廣袤然純白天地，盡顯飛白之似雲如嵐使人驚嘆的淋漓華滋。漫漫人生一路從無間斷的嘗試探索，最終直至物我兩忘的超越境界，詮釋物象、抽象而達寫意造境，終至心象而然欲辯已忘言之無可名狀，「故立象以盡意，而象可忘也；重畫以盡情，而畫可忘也。」蕭勤每每帶給觀者是與湧現無盡之愛與能量，瀰漫至深至遠純粹無限的感動。 Presenting the philosophy of beauty and abstraction with Eastern aesthetics, the artist successfully conveyed life's path and meanings. Hsiao Chin's concise and simplistic style expressed a

rich vocabulary of life's wisdoms and sentiments. "Art is not a problem. Life is however the big question. I simply create art to complete my life's mission" Hsiao Chin said. His open-mindedness emphasized the artist's spontaneous and poetic character, as an artist he brought modern art to extraordinary and remarkable new heights. An expert in recording the delicate thoughts of the mind, Hsiao Chin used nature as his main source of inspiration. He turned nature into music notes that dances upon the large canvas. In the painting Revolve, it reference to the phrase "The finest music will outdo its harmony, and the best style will exceeds its form." Similar to a stream of rainbow that moves in the rhythm of a whimsical song, vibrant colors emerge and falls freely like the falling stream of water that breaks up into splashing droplets, it's vitality is similar to the burst and radiance of fire-works on a dark night. The background is purposely left blank to contrast the brilliant colors. Ancient scholar once said, "Object translates meanings, when meanings are achieved form can be eliminated. Thus, when art is truly expressive, its form can be discarded completely." Hsiao Chin brings the viewers endless passion and verve, diffused with pure and infinite sentiments. MODERN AND CONTEMPOR ARY ART

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208 YANG CHIHUNG ( Taiwanese, b.1947 )

Adagio (D) 116 x 87cm Acrylic on Canvas Signed on the reverse: Title and Chihung Yang in English ILLUSTRATED: "The Images of the Mind: Chihung Yang's Painting," National Museum of History, Taipei, Taiwan, 2004, Page 37 With a certificate of authenticity signed by the artist

NT$ 600,000-750,000 US$ 18,600-23,200

楊識宏慢板 D 2004 壓克力畫布簽名：Chihung Yang Adagio(D) 圖錄：《象由心生─楊識宏作品展》，國立歷史博物館，2004 年，第 37 頁附藝術家親簽原作保證書

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

---強納森．古德曼

被譽為最重要的華人抽象表現主義藝術家之一，楊識宏躍過了植物美學時期歌頌生命的創作風格，於《慢板 D》一作中，將蘊有傳統中國繪畫的氛圍聯結西方抽象表現主義，展現其意識流動的精神能量。以自然中的基本元素為核心，墨色飄灑中型塑出植物的形體，靜謐且深邃的色調伴隨著濃烈的情感與凝鍊簡約的形象，介乎於抽象與真實之間，藝術家封存生命的永恆性於畫，畫面的力度沉潛於裡層，極富詩意的展現幽美渾然之感，沉靜中悄然透露和諧的生命寓意亦透出藝術家靜觀而自得的藝術本性。

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209 CHUANG CHE

莊吉吉

( Taiwanese, b.1934 )

壘岸餘暉

Sunset over Mountain Lake Shore

2005 油彩畫布簽名：05 莊喆背面簽名：壘岸餘暉 2005

127 x 178cm Oil on Canvas Signed Chuang Che in Chinese, dated 2005 Signed on the reverse: Titled and dated 2005 ILLUSTRATED: "Deep Ridge- Remote Way: Solo Exhibition in National Art Museum of China," Asia Art Center, 2007, Page 145 EXHIBITION: "Deep Ridge-Remote Way: Solo Exhibition in National Art Museum of China," National Art Museum of China, Beijing, 2007 With a certificate of authenticity from gallery

圖錄：《莊喆 —嶺深道遠 2007 北京中國美術館個展》，亞洲藝術中心有限公司，2007 年，第 145 頁展覽：「嶺深道遠」個展，中國美術館，中國北京，2007 年 8 月 27 日 -9 月 4 日附畫廊開立之原作保證書

NT$ 1,700,000-2,400,000 US$ 52,600-74,300 恣意磅礡氣勢雄渾油彩揮灑於畫布，莊喆道法自然，唯心唯覺，結合東方文人精神與西畫媒材，捨去物相摹其形似技法，探索自然本源穿梭於抽象與具象之間，將山川巍峨奇崛凝練成簡約線條語彙，透過心靈與感官體驗呈現悠然神往之景，敷染天光餘暉灑落於大地。《壘岸餘暉》作品結構布局緊密有著輕靈的光影律動，用色綺麗更顯層次錯落有致，深幽暈影平遠俯視愈發大地靜謐廣袤，遼闊之美一覽無遺。誕生於書香門第，莊喆父親為前故宮副院長莊嚴先生，在濃厚的藝術氣息薰陶下成長的他，古老的傳統文人精神深植於心；受業於朱德群並致力於中國繪畫的現代化，留美及遊歐開拓視野並於抽象表現主義思想啟發後，重新思考中西繪畫交融的無限可能；從書法線條中筆勢結構選萃，

「用筆的抑揚頓挫、疏密轉折、空間調配、大小變化這些都成了我的另一種視覺基礎訓練。」在數十載悠悠歲月間融薈東西為繪畫注入新的形式，尋找自我生命的奧義，闡釋天地山水質有而趣靈，得自然之勢萬趣融其神思。 Paint splashes across the canvas ambitiously. Chuang Che takes inspiration directly from nature and translates it into his own creations. From combination of Eastern essence and Western media; he abandons the imitation of nature and explores his environment alternating between abstract and figurative forms. Towering mountains are condensed into simple vocabulary of free flowing lines. Chuang Che's psychological and

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sensory experience creates dreamlike scenarios, comparable to the twilight sky spilling its radiance onto the land. In Sunset over Mountain Lake Shore, the intertwining structural composition presents an ethereal light rhythm, in additional to the texturize layering of colors. Shadows of the wind and mountains possess opaque presence; the tranquilized landscape is both calm and inviting. Bor n into a scholarly family, Chuang Che's father was the formal vice president of National Palace Museum. Growing up within intellectual temperament, traditional erudite enthusiasm is deeply rooted in his character. Under the instruction of master Chu Teh-Chun, he aims to modernize conventional Chinese ink-drawings. On his travel to Europe and America, his aesthetic horizon expanded drastically when encountering Abstract Expressionist style. He reexamines the infinite possibilities of uniting aestheticism of the East and West. In his practice of traditional ink-drawing he finds relevance in each and every brushstroke. "The traditional penmanship of flow, pause, density transition, space allocation, and changes in size, all became a different form of fundamental visual training for me." Chuang Che reckons new elements of union between two heritages into years of ancient wisdom. In seeks for life's meaning, he finds answers within nature and its ever-changing spirits.

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210 LU RONGCHEN ( Taiwanese, b.1963 )

Heart of Fire 161 x 112cm Oil on Canvas Signed Rong-Chen in Chinese and Lu in English, dated 2014 Signed on the reverse: Title and Lu Rong-Chen both in English and Chinese, dated 2014 With a certificate of authenticity from gallery

NT$ 500,000-900,000 US$ 15,500-27,900

呂榮琛心之火 2014 油彩畫布簽名：榮琛 Lu 2014 背面簽名：呂榮琛 2014 心之火 Lu Rong Chen 附畫廊開立之原作保證書

「我的作品源自於『寫實』，受到六○年代抒情抽象的啟發，應用自己喜愛的水染及乾溼方法，在素描中集合韻律，在結構中找尋『心靈的圖像和夢境』，沒有特別的預設，可能是一段很長的思考，也可能是即興的揮灑，更可能是受到某種刺激、感動、頹喪而爆發出的結晶。」 ---呂榮琛旅法 20 年呂榮琛，觀察著不斷蔓生流轉的大千世界，其抽象創造色彩純烈、氣脈湧動，返台後汲取故鄉養分，畫風更加純熟、沉穩，面對生活環境的轉變，他依然懇切地堅持著藝術之路，並以無邊的熱情，建立了屬於他的抽象繪畫語彙，呂榮琛曾感性的說：「在思紊前仆後繼的過

程中，平凡的走出，一切論定也只能是自己那顆熾熱的心」。此幅《心之火》成於 2014 年，黝暗的游氣在畫面下方滾滾翻騰，彼此衝擊舞動、冉冉翻卷。呂榮琛調動著油彩的細膩變化，塗鴉飛灑，畫出層次分明的抽象風景，而那深邃黟黑的黯色背景，詭秘如夜中暗海、遠古洪荒，藏著無限而不可見的漩渦；而粗獷而緊勁的墨黑線條，便是寧靜而極富韻律的浪花，卻在翻騰至空之際，碎散出滿室的流雲溢彩、青山煙雨，在最濃厚的油彩之中，跳躍、迸發了東方傳統式的原風景，並且爆裂成熠熠的火焰，照亮了恍兮惚兮的無垠宇宙、每一顆徬徨無依的心。 "The origin of my artwork comes from 'realism' after being influenced by the lyrical abstraction of 1960s. It inspired my

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favor application of wet stained also wet and dry method. I set the rhythm in my sketches in search for the 'spiritual imageries and dreams' within its structure. There is not a particular plan, but a long period of consideration. It may be a spontaneous splash, or an explosion to emotions such as excitement, sentiments and depression." --- Lu Rong-Chen After being in Europe for more than twenty years, the artist carefully observed the ever-changing world that is expressed through his abstract composition with intense colors and vibrant movements. When returning to Taiwan, his painting style progress with more maturity, calmness yet still reflects the ever-changing environment. He earnestly adhere the pursuit of art, with boundless enthusiasm he established his individual abstract vocabulary. Lu once said, "The progress began with entangled thoughts that is later conveyed by calmness. The motivation is dependent on the passion of my heart" . The painting Heart of Fire completed in 2014 depicts dark color tones that rise from beneath, where striking waves of movement slowly fades away when crossing one another's path. The delicate change of colors revealed through graffitilike splashes, portray layers of abstract scenery. The dark background conveys an ancient, isolated mystic sea, with unlimited whirlpools hidden within. The rugged dark lines depict quiet yet rhythmic waves with the occasion of clouds and misty mountains. Traditional style of landscape bursts into sparkling flames and lit up all the anxious and lonely hearts with the beauty of our vast universe.

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211 LU RONGCHEN ( Taiwanese, b.1963 )

June Day 130 x 194cm Oil on Canvas Signed on the reverse: Title and Lu Rong-Chen both in English and Chinese, dated 2015 With a certificate of authenticity from gallery

NT$ 550,000-1,000,000 US$ 17,000-31,000

呂榮琛六月天 2015 油彩畫布背面簽名：呂榮琛 2015 六月天 Lu Rong Chen 附畫廊開立之原作保證書生於屏東。畢業於台北文化大學美術系。為了喜愛的藝術，毅然決然的前往法國。旅法的 20 年間，呂榮琛在巴黎踏尋世界各地的藝術經典，更曾與知名的華人大畫家趙無極、朱德群等相互交流、學習，其畫作也受到了各派系的影響，在激盪中增厚藝術養分，成為了法國政府認可的藝術家。曾於巴黎第八區 BOULAKIA RIVE DROlTE 畫廊舉辦個展。氣韻的流動穿梭於呂榮琛的畫作之中，上浮、下沉的反覆交織重疊，凝聚成一股動勢，明晰的躍動裡蘊藏幽微的本質。承傳了上一代東方抽象畫家的抽象潛質，加上自身所經歷的深厚積澱，進而開拓出謹細幽美之畫風。呂榮琛曾言：「正與反之力量、美與醜之氣質，常

常會令我感動，不斷地尋求天資的激情，盡量地避開肉體所需之現實，狂傲地揮灑，蘊含著一股衝動，有溫柔的深思，細膩的雕琢，有素描的結合。」，其精確的線條掌握，呈現出光與影的交錯，如畫作《六月天》的字面涵義，六月天變幻莫測的使人難以捉摸，浮動的黑色線條，躍動的軌跡，朦朧的幻象，強而堅的陰柔隨之起舞。天與地的模糊分界，往上騰起隨即向下墜落，閃現的紫增添了一層魔幻，筆觸與顏料間透出無窮的美學情思，遠望平靜而和諧，近觀則激昂而澎湃。由外至內，層層推近，呂榮琛的畫作轉化其內心感受，引領觀者進入寬闊而深遠的迷幻想像裡。

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212 HSIUNG YU ( Chinese, b.1975 )

花園

Garden

2006 油彩畫布簽名：熊宇 2005 背面簽名：《花園》 150 x 120cm 2006 熊宇

120 x 150cm Oil on Canvas Signed Hsiung Yu in Chinese, dated 2005 Signed on the reverse: Title and Hsiung Yu in Chinese, inscribed 150 x 120cm, dated 2006

NT$ 750,000-950,000 US$ 23,200-29,400

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熊宇

ZHONG CHENG 中誠

生於四川省成都市，於 2000 年起活躍於當代藝術領域，作品曾多次參加國內外重要展覽。是中國油畫「四川畫派」的新秀，也是中國當代藝術中堅力量 70 後重要的標誌性藝術家。其繪畫以具卡通風格形象作為代表，展現其強烈的個人特質。熊宇的作品具備四川畫派獨有的豪爽與求新求異的特點，又擁有古典主義背景，使其在創作形式上不落俗套的創造出極富想像的空間。作品雖喚作《花園》，在畫面中卻無瞧見任何一株花朵，反倒是秋意濃厚的氛圍盈滿整個空間。優美典雅的女子佇立在旁，純淨清澈的雙眼，極為平靜的端看一切，黃澄澄的植物讓畫面產生了遠近錯落的距離，在二維空間的畫布上營造出三維的空間感，女子卻似獨立在外。觀者在觀看同時正與藝術家的情感相互連接著，浸淫在這幅超現實的世界裡，於此同時，觀者也成了這錯置空間中的一介角色，參與了藝術家的幻境。熊宇用新穎、自主與幻變流動的意識逃離了現實的禁錮，創立出其獨到的藝術語言。

213 CHEN CHENGHSIUNG

陳正雄

( Taiwanese, b.1942 )

看海的日子

The Days Spent Looking at Sea

1993 銅 4/12 簽名：陳正雄 1993 4/12

28(L) x 29.5(W) x 67.5(H)cm Bronze 4/12 Signed Chen Chen-Hsiung in Chinese, dated 1993, numbered 4/12

附畫廊開立之原作保證書

「海，一片湛藍的大海――我又來看海」這是民歌《看海的日子》中觸動人心的歌詞，捕捉漁民生活的縮影，刻劃倚靠海維生的討海人望向大海的一景，陳正雄以其老辣精練的雕塑功力，展現出漁人面對變化莫測海洋看天吃飯的心境，使人不禁為之動容。所有的滄桑與盼望凝結成一瞬，在其刀下均如實呈現，他們甘於面對老天的安排，心中只有祈求沒有埋怨，單純而真切，顯露出人性靈中最具光輝的一面。

With a certificate of authenticity from gallery

NT$ 150,000-250,000 US$ 4,600-7,700

MODERN AND CONTEMPOR ARY ART

219

214 LIANG YIFENG

三個女人

Three Women

2014 油彩畫布簽名：LIANG 奕焚 2014

160 x 300cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2014 With a photo of the artist and the artwork

NT$ 500,000-600,000 US$ 15,500-18,600

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梁奕焚

( Taiwanese, b.1937 )

附藝術家與作品之合影

1937 年出生於彰化的梁奕焚，浸淫在藝術創作已有五十幾載。自 1995 至 1999 年，連續數年在紐約 SOHO 區畫廊舉辦個展，並廣受各界好評，身處紐約這個時尚之都，能讓人們屏除種族的隔閡與文化的差異。梁奕焚將台灣鄉土民俗色彩及人文玄學意義，成功地轉化成具有現代美感的野獸派藝術，也以此黑底白線勾勒、具莊嚴恬靜的畫面征服了無數外國人及本國藝術愛好者的心。 --- 擷自《文化部》

MODERN AND CONTEMPOR ARY ART

221

215 HOU CHUNMING ( Taiwanese, b.1963 )

The Pillow Diaries ( Total of 22 ) 84 x 35.5cm (22) Lithograph, 24/72 Signed Liu Chiao Hou Shin in Chinese, dated 2006 ILLUSTRATED: "Journal by Pillow," Hou Junming, Page2-4

NT$ 600,000-800,000 US$ 18,600-24,800

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侯俊明枕邊記 ( 全套 22 件 ) 2006 版畫 24/72 簽名：六腳侯氏 2006 于火燄山腳農會圖錄：《六腳侯氏─枕邊記》，中華文化藝術基金會，第 2-4 頁

侯俊明赤裸裸對性的描繪、無遮無攔的性意識，既是他對社會體制和意識型態壓抑的一種反叛，又是他對人性弱點和暗面的一種正視。其作品兇悍，充滿叫囂，圖像與文字放縱而狂野的表現，臺灣藝評界因而形容他的創作為「叫陣的藝術」。侯俊明驚世駭俗的作品中，無論象徵主義的圖文亦或隱喻手法的意識精神，實質皆與他的內心、身處環境及關注的社會事件息息相關，他從自我憂憤出發，為真實人性造像，揭示、針砭和批判的則是現實社會的種種非人性化的困境。

216 CHEN HUANZHEN

陳煥禎

( Taiwanese, b.1966 )

靜思

Meditation

2004 銅 8/10 簽名：煥禎 04 8/10

65(L) x 52(W) x 75(H)cm Bronze 8/10 Signed Huan-Zhen in Chinese, dated 2004, numbered 8/10 EXHIBITION: "Soft Image: Chen Huanzhen Sculpture Exhibition" Long Hua Art Center, Taoyuan, Taiwan 2004 With a certificate of authenticity from gallery

展覽：「意象抒情：陳煥禎雕塑展」，龍華科技大學藝文中心，台灣桃園，2004

舉辦多場個展，作品多次獲獎，更獲得新北市政府、國父紀念館等典藏，於 2006 年受邀登錄台灣全球華人藝術創作發表協會創作年鑑。擅以女體做為創作主體，表達細膩溫婉之美，由內向外顯現其情感與理念。閒散的午後，女子躺臥於沙發上，肢體因沉睡而隨性擺放，承載女子身體的沙發，於此刻扮演極重要的角色，自成一種靜謐的空間狀態。藝術家精確的掌握人體肌理、五官線條、衣服皺褶、沙發質感，時間凝滯於此刻，而生命也在慢速中舒展。日常生活熟悉的事物，融入藝術家自身的文化經驗與情思，巧妙提取色彩以及符號，形塑了個人當前的時代美學。

附畫廊開立之原作保證書

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

MODERN AND CONTEMPOR ARY ART

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217 CHEN TINGSHIH ( Taiwanese, 1916-2002 )

Lantern Fair 61 x 121cm Lithograph, 14/18 Signed Chen Ting-Shih and titled in English, dated 1970, numbered 14/18 ILLUSTRATED: "Chen Ting-Shih," Hsiung-Shih Art Book, 2004, Page 68-69

NT$ 420,000-600,000 US$ 13,000-18,600

陳庭詩燈會 1970 版畫 14/18 簽名：Fair Lantern，Chen Ting-Shih 1970，14/18 圖錄：《神遊 ‧ 物外 ‧ 陳庭詩》，雄獅圖書股份有限公司， 2004 年，第 68、69 頁

陳庭詩於 1950 年代曾參與「五月畫會」及「現代版畫會」，其作品題材多變、媒材廣袤，涵蓋書法、水墨、版畫，鐵雕、壓克力畫等截然相異的藝術領域，好友劉國松更讚其「十項全能」。創作質量俱精，馳譽文化界，為台灣現代藝術引領風騷的先驅藝術家。其作立意簡練純淨、內涵深厚凝重，多彩的形式通上下古今，真摯的內容究天地人間之極。其版畫作品以形象和色彩的純與淨，應對著陳庭詩心中空靜、玄密的精神世界，此幅《燈會》，羅列著碩大而簡潔的幾何圖形，揭示形象和色彩的純淨之至。深沉的墨黑，彷彿從飽滿、閃耀的紅色中激射而出，傳達出宇宙洪荒的歷史滄桑感，以及原始野性的粗獷氣勢。右方羅列的圖形，暗示著日月陰晴圓缺、萬物運行的禪悟與淬鍊。而在「甘蔗板」一次次滾印中，呈現出的割裂線條，雜駁斑斕，為畫面增添一抹猶如地崩天裂的震憾效果，讓觀者感受山川大地、日月運行的博大情懷、亙古天籟。 Cheng Ting-Shih joined the "Fifth Moon Group" and "Modern Printmaking Association" in the 1950s. His works feature diverse themes and wide range of media, including calligraphy, ink painting, iron sculpture, and acrylic paintings. Cheng's close friend Liu Kuo-Sung praised him as "Jack of all trades" as Cheng worked with different forms of art. All of Cheng's works showcase outstanding creativity and quality, and he is highly recognized in the art circles as one of the pioneers that paved the way for Taiwan's contemporary art. Cheng's works are simple and pure, manifesting deep meanings. The artist links old and new through his colorful style, and the sincere contents explore diverse topics of the world. The pure and clean shapes and colors in this print correspond to Cheng's tranquil and mysterious spiritual world. Lantern Fair features large and simple geometric shapes, displaying the extreme purity of shape and color. Pitch black ink rays seem to be radiating outward from the saturated and glittering red, conveying the universe's sense of history, and the bold rustic presence of primitive instincts. The images lined up on the right imply the cycles of sun and moon, and the enlightenment and sophistication of the way of the universe. Cane fiber board, having been through a roller press over and over again, presents cut and broken lines to add a shocking effect as if the world is coming tumbling down, so that viewers can feel the inclusiveness and eternal harmony of mountains, rivers, earth, and the way of the universe.

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MODERN AND CONTEMPOR ARY ART

225

218 LIANG YIFENG

神獸

Nian

2010 油彩畫布簽名：LIANG 奕焚 2010

200 x 130cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2010 ILLUSTRATED: "Liang Yi-fen Fine Works Retrospective," TOP Art, Taipei, Taiwan, 2014, Page 6 With a photo of the artist and the artwork

NT$ 260,000-320,000 US$ 8,000-9,900

226

梁奕焚

( Taiwanese, b.1937 )

ZHONG CHENG 中誠

圖錄：《梁奕焚精品回顧展》，拓樸藝術，台灣台北，2014 年，第 6 頁附藝術家與作品之合影

梁奕焚 1937 年出生於台灣彰化。1965 年入選巴西聖保羅國際雙年展。他的筆觸大膽、線條粗獷、色彩強烈，他認為現實的美，與藝術表現上的美是截然不同的，藝術是一種創造。他企圖追求一種自由藝術形式，擅於使用童年記憶、日常生活、台灣民俗、以及原住民的生活為題材。他的創作在東、西方的衝擊下，創作獨樹一格，極具東方地域特殊風格。

219 TSAI WEICHENG

蔡尉成

( Taiwanese, b.1971 )

無所畏

Unafraid

2007 銅雕 6/12 簽名：2007 成 12-06

54(L) x 78(W) x 80(H)cm Bronze 6/12 Signed Chen in Chinese, dated 2007 numbered 6/12 with one carved seal by the artist ILLUSTRATED: ''Tsai Wei Cheng Sculpture Album-72 Series'', Tsai Wei Cheng, 2009

圖錄：《蔡尉成雕塑選集 - 七十二系列》，蔡尉成，台中， 2009 年

蔡尉成經常被藝評形容為一位以「悟道」角度看待生命的雕塑家。《無所畏》一作，運用鮮明的齊天大聖孫悟空形象，蘊有其七十二變的含意，感知人世間的瞬息萬變，通達宇宙中唯一不變的即是「變」，透過探求心靈進而昇華出渾厚而深遠的生命狀態。簡練的肢體線條、豐盈圓潤的體態，融入潑墨般的斑駁色，純真的孫悟空無所畏懼的跨坐於齜牙咧嘴的獅身上，和諧的反差形象，塑造出豁達的生命態度，反映了藝術家面對未知的變動下，依然保有恬靜與閒適的心態，隨著心緒變動形塑作品的蔡尉成體認出「藝術著重在創作精神，培養藝術性命的根本就是創作」並融於作品，介乎現代與古典的形式脈絡中，展現其詼諧又內斂的雕塑語境。

NT$ 650,000-800,000 US$ 20,100-24,800

MODERN AND CONTEMPOR ARY ART

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a. b.

220 KAO CHIWEI ( Taiwanese, b.1964 )

a. Abstract b. Child a.85 x 85cm b.53 x 41cm Oil on Canvas (2) a.Signed Chi-Wei in Chinese, dated 2006

NT$ 160,000-240,000 US$ 5,000-7,400

228

ZHONG CHENG 中誠

高其偉 a. 抽象 b. 小孩 a.2006 b.1992 油彩畫布 (2) a. 簽名：2006 其偉

高其偉，1987 年國立臺灣藝專美術科西畫組畢業，1996 年美國 ST.Louis Fontbonne 學院藝術碩士。他追求純粹，探索自我內在的開始，其作品由具體轉為抽像，創作態度由意識的呈現到無意識的摸索。他以即興的手法以及刮染的方式，直接將顏料擠在畫布上，不做任何預設立場，單純以加減的動作，呈現個人最真實的內心世界。這樣純粹的浪漫，是藝術家無法擺脫的宿命。他以童心為出發點，靈感來自現代家庭生活的體驗。作品以多元形式表達懷舊、記憶、時代危機感，並暗喻現代人疏離的親子關係。

a. b. c. d.

221 ZHENG HONGLIU ( Chinese, b.1925 )

a. Insurgent b. Yan Chi Mountain Entrance c. Attending Lectures d. Children a. 28 x 36cm b. 38 x 53cm c. 26 x 35.5cm d. 27.5 x 22cm a. Oil on Canvas b. Oil on Canva c. Pencil on Paper d. Pencil and charcoal on Paper a. Signed on the reverse : Chen Hong-Liu in Chinese, inscribed 2006 b. Signed on the reverse : Chen Hong-Liu in Chinese, inscribed 2006 c. Signed Hong-Liu in Chinese, dated 1963 d. Signed Hong-Liu in Chinese, dated 1963 ILLUSTRATED: "Zheng Hou-Liu paintings," People's Fine Arts Publishing House, 2003, Page 42,67,71,70

NT$ 250,000-320,000 US$ 7,700-9,900

鄭洪流 a. 起義者 b. 燕赤地區山口 c. 聽課 d. 小孩 a.1960 年代 c.1963 d.1963 a. 油彩畫布 b. 油彩畫布 c. 素描紙本 d. 素描紙本 a. 背面簽名：鄭洪流歲在二○○六年 b. 背面簽名：鄭洪流歲在二○○六年 c. 一九六三年洪流鈐印：鄭洪流 d.1963 年洪流鈐印：鄭洪流圖錄：《鄭洪流繪圖作品集》，人民美術出版社，2003 年，第 42、67、71、70 頁備註：本拍品創作於 20 世紀 60 年代，並於 2003 年出版於《鄭洪流繪畫作品集》，創作時作者沒有簽名，獻背面簽名為 2006 年作者補題。

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229

222 CHUANG CHE ( Chinese, b.1934 )

Abstract 118.5 x 82.5cm Mixed media on Canvas Signed Che Chuang in Chinese, Dated 1970

莊吉吉抽象 1970 綜合媒材畫布簽名：莊喆 70

NT$ 450,000-600,000 US$ 13,900-18,600 「介於東西方傳統過渡融合的大方向，我自己一直不願去畫定界限，是否有這條路恐怕現在仍不到見證的階段，水到渠成是現象，也是必然律，藝術確可成累積。」 ---莊吉吉莊喆乃當代畫壇主要人物之一，自幼於中國書畫藝術的耳濡目染下，文人氣質自胸臆中散發。此作為莊喆早期之作，整體觀來，濃厚的中國式氣息蘊含其中。隨著畫齡的增長，莊喆曾言：「畫自有其象」。觀乎自然，得乎於心，憑藉藝術家自身思辨與感觸，進而創作出獨具匠心的文人畫作。兩道墨跡簡潔有力，剛直墨黑的筆勢，使觀者頓時震懾住，引發其東方哲學底蘊形而上的思索。莊喆在六十年代的作品中，使用貼裱的方式呈現幾何性的構圖，展現其肌理觸感。鮮明的色塊與隨性書寫的字體交疊舞動，造形滲合筆法，形塑出既動且靜的空間關係。蘊含語意的傳統東方書法與西方單純符號相互渾融下，抽象的滲透入整幅畫作，精簡的「形」凸顯出不朽的生命意涵與對自然的體現，平衡且自由的建構出中西並行的橋梁。在多元媒介的使用與交織下，藝術家直觀的抒發內心，思想不為形體所侷限，透過形式去探求純粹的本質。在藝術語言的實踐上，真實的呈遞了心理現實。觀其畫，隱含於內的細膩哲思，自龐然筆觸裡蟄伏而出，倏地映入觀者眼簾。

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223 LI JISEN

( Chinese, b.1970 )

Assault on a Tample 180 x 150cm Oil on Canvas Signed Li Ji-sen in English and Wan in Chinese, dated 2007 Signed on the reverse: Title in Chinese, Li Ji-sen in English and Wan in Chineseh, inscribed 150x180cm, dated 2007 With a certificate of authenticity from gallery

NT$ 450,000-600,000 US$ 13,900-18,600

李繼森攻占中國亭 2007 油彩畫布簽名：李繼森 Li jisen 2007 背面簽名：《攻佔中國亭》 150 x180cm 李繼森 2007 Li jisen 附畫廊開立之原作保證書

「作為我們人，本身又有著出奇的一致性和統一性，以至於每個人在特定的歷史或環境下表現出對統一所造成的麻木和束縛而做出自然的順從」 ---李繼森李繼森的畫裡時常出現一種人物形象，重覆的臉龐呈現出奇異的角度，仰面專注凝視著上方，動作、神情、手勢隱含著象徵性，有人雙手合十而有人指向不知名的他處，帶有猜測、疑惑的意味。其作品透出既現實又有非現實之感，面對著日新月異不斷變動的社會，藝術家因有所感進而藉由畫作欲針砭現實，平凡的日常生活景象使觀者自發性的產生現場感受，人物形象的複數化代表了大眾，盲從的意識行為，使個體化意識消逝，取而代之的是千篇一律的面孔與喪失對社會以及對自我的批判性。介乎真實與荒誕之間，透過畫面視覺呈現，李繼森投射了個人的意識於場景，傳遞其所關注對人整體狀態的闡釋。

232

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

233

224 HSIAO CHIN

( Taiwanese, b.1935 )

FugaVII 70 x 60cm Acrylic on Canvas Signed on the reverse: Hsiao in English and Chin in Chinese, titled in Italian, dated 1974 Include a photograph of the work signed by the artist

NT$ 500,000-600,000 US$ 15,500-18,600

蕭勤飛行 VII 1974 壓克力畫布背面簽名：Fuga VII Hsiao 勤 1974 附藝術家親簽之作品相片蕭勤畫風向來以富滿東方哲思與抽象意境，令人留下深刻印象，大膽明快用色節奏，反映了作畫者無暇心境，在劃分為二過程中，銳利斜角涉入其中，有如象徵一道天啟，成為自在飛翔於天際的成長啟蒙，宛如自茵茵綠草地上，飛行，忽地拔高而起，成為串聯天地之間一縷強韌絲線，在簡約線條中，運用明快色彩，精準勾勒飛行無懼意涵，擁有深刻意涵，刻畫出波折人生所行曲徑，擁有玄思哲理，同時將人生觀注入其中，讓人感受到極簡背後，所蘊含的強勁力道。

234

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

235

225 LEE LIANG ( Chinese, b.1985 )

Inside Out 146 x 116cm Oil on Canvas Titled and signed Lee Liang in Chinese, dated 2012 With a photo of the artist and the artwork

NT$ 260,000-350,000 US$ 8,000-10,800

李梁內外 2012 油彩畫布簽名：內外李梁二零一二附藝術家與作品之合影

「藝術不是美醜問題，而是生活的鏡像。」

---李梁

繪畫對於李梁就如同生活裡的一面鏡子，映照其真實的內心世界，不同時期的創作主題呈遞其於繪畫道路上不斷的突破自我，同時以旁觀者的角度做為出發點探索人性的真實，於潛意識中，使自己置身於外，面對畫所構築的世界，追尋畫底最深處，感知蘊藏於內在的本質。紅帆船象徵其內心對遠方以及未來的憧憬，自虛擬駛向真實，超越了時間與空間的束縛，尋求個人生存意義的穿透，心之所向成就了其藝術語言的實踐。

MODERN AND CONTEMPOR ARY ART

237

226 NATAN ELKANOVICH ( Moldova, b.1966 )

瑪莉蓮

Marilyn

2014 綜合媒材壓克力簽名：Natan Elkanovich

40 x 40cm Mixed media on Acrylic Signed Natan Elkanovich on the side

NT$ 300,000-380,000 US$ 9,300-11,800

238

納坦

ZHONG CHENG 中誠

納坦 Elkanovich，曾任服裝設計師，從事過電影媒體等相關產業，也曾憑藉著他過人的天賦與才華，在 2005 年奪下以色列阿斐獎，是等同奧斯卡最佳服裝設計的極重要獎項。《瑪莉蓮》為納坦 My Icons 系列之名作，此系列多以電影界巨星、音樂家、文學家及貢獻卓著等偉人為創作主角，再以意想不到的新穎媒材作為不同人物的視覺表現，利用材質的特殊性帶出人物的神韻及精神。既映照出藝術家的精神世界與創作靈感，更呈現名流風采與帶給世人無盡的遐思。

227 LIU CHIWEI

劉其偉

( Taiwanese, 1912-2002 )

愛神伊拉斯

Eros 33 x 29cm Mixed media on Paper Signed Liu Chi-Wei in Chinese phonetic, dated 1988

1988 綜合媒材紙本簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 〡〩〨〨 '88

With a certificate of authenticity from gallery

附畫廊開立之原作保證書

NT$ 240,000-320,000 US$ 7,400-9,900

原始的禮讚與神秘的生命力崇拜，劉其偉畫筆下的《愛神伊拉斯》展現豐沛飽滿線條輪廓，與細膩溫潤的肌膚色澤，其身為人類學家的視角見聞淵博，而呈現獨特的原始文化及風貌，以孕育萬物之始與生生不息的愛神 Eros 為創作母題，賦予人們源源不絕的活力與濃烈的愛意，就如劉其偉曾道：「藝術的最高任務，不是唯美，在於愛。」展現自然永恆的生命之力，與真摯澎湃的熱情。一生四處探險與深入原始部落，豐富了他獨一無二的人生經歷，永保開闊的思懷與關注人與自然的互動，其心如赤子而得有「藝術老頑童」之稱。真實原始的美感經驗帶予感官強烈的衝擊，藝術人類學所探索的原始美學與思維，傳達觀者真、善、美與強烈直觀的愛及生命能量 MODERN AND CONTEMPOR ARY ART

239

228 CHANG WANCHUAN

張萬傳

( Taiwanese, 1909-2003 )

花與少女

Flower and Girl

1982

40 x 32cm Oil on Paper Signed Chang in English and Wan in Chinese Signed on the reverse: Title in Chinese, Chang in English and Wan in Chinese, dated 1982

油彩紙本

NT$ 120,000-180,000 US$ 3,700-5,600

240

「我不擅談話，即酷愛繪畫。繪畫即是我的語言，

ZHONG CHENG 中誠

簽名：CHANG 万背面簽名：花與少女 8F CHANG 万 1982

也是我的思想、感情的化身。沈默雖是我的外貌，但熱力即是我的內蘊。我的創作是內省式的自剖，更是一場心靈的表白。」 ---張萬傳張萬傳為人稱譽為台灣的「野獸派的鼻祖」，貫以豐厚之色彩堆疊出熱烈而獨特的畫風，且畫作中往往帶有台灣日常文化情景，以情合筆，而用色豪放、筆帶抒情，兩者同流，更顯其才華滿溢。《花與少女》此作筆觸粗廣豪放，色彩鮮豔且濃厚強烈，構圖飽滿張力十足，卻又透露著細膩與典麗之質感。少女神情俏皮生動，與花相映，遂令畫面活潑有致、妍麗繽紛、滿是歡愉暢然之意。

229 CHEN HSINGWAN

陳幸婉

( Taiwanese, 1951-2004 )

不必說了

Don't Say Anything

1990

91 x 116cm Mixed media on Canvas ILLUSTRATED: "Chen Hsing-Wan Solo Exhibition," National Taiwan Museum of Fine Arts, 1990, Page 33 EXHIBITION: "Chen Hsing Wan Solo Exhibition," National Taiwan Museum of Fine Arts, Taichung, Taiwan, 10 November-6 December, 1990

綜合媒材畫布圖錄：《陳幸婉個展》，台灣省立美術館，1990 年，第 33 頁展覽：「陳幸婉個展」，台灣省立美術館，台灣台

台灣雕塑家陳夏雨之女，畢業於國立藝術專科學校 , 曾入李仲生門下。作品嘗獲台北市立美術館首屆新展望獎、李仲生現代繪畫創作獎。創作歷程從 70 年代晚期至 2004 年之間，藝術行旅跨越亞洲、歐洲甚至於埃及各區域，體悟不同文化豐饒的養分，使其藝術視野更有深度。在創作形式上的推演轉化下，風格從揮灑逐漸走向內斂。創作理念從對生命的探索出發，追尋一種單純、沒有矯飾並合乎自然的純真原形與精神。過程中，尤對時間、生命、人類死亡及戰爭等主題有深刻的省思與體悟。

中，1990 年 11 月 10 日 -12 月 6 日

NT$ 260,000-360,000 US$ 8,000-11,100

MODERN AND CONTEMPOR ARY ART

241

230 LEE LIANG

李梁

( Chinese, b.1985 )

祝福

Blessing

2014

120 x 100cm Oil on Canvas Signed Lee Liang and title in Chinese, dated 2014. 7

油彩畫布簽名：祝福李梁 2014.7 附藝術家與作品之合影

With a photo of the artist and the artwork

NT$ 160,000-220,000 US$ 5,000-6,800

242

ZHONG CHENG 中誠

李梁畢業於中央美術學院油畫系，後取得文學碩士之文憑。擅於古典寫實之畫風、亦擅描繪內心幽微的探索，以無聲的繪畫表現心靈的純真之境。畫中百合所散發的清朗寧靜氣息，則承載李梁自身東方美學對自然之美的詮釋。

231 PEN TZUCHIANG

彭自強

( Chinese, b.1960 )

指揮家

Orchestras Conductor

2003

60 x 72.5cm Oil on Canvas Signed Pen Tzu-Chiang in Chinese and English, dated 2003 With a certificate of authenticity from gallery

NT$ 200,000-320,000 US$ 6,200-9,900

油彩畫布簽名：自強 2003 Pen,Tzu-Chiang 附畫廊開立之原作保證書

「我將人生當作品，我不在乎最後畫出來的是什麼畫派的風格，我在乎的是，我還是不是那個拿畫筆的人」

人稱「水彩畫界的一匹黑馬」的彭自強， 16 歲便沉浸於水彩畫中，自此，其畫作呈遞了一生的明麗色彩。近幾年作品以京劇人物、交響樂、芭蕾舞等作為創作主體。善於捕捉人物神情的彭自強，於此作裡，精準的控制水分與色彩以及敏銳的體察，進而描繪出人物細膩的神韻狀態，活靈活現的以特有的節奏創造出畫作輕盈的靈動感，譜出俐落且質樸的樂章。彭自強喜用山馬筆作畫，蒼勁雄渾的筆觸，運用在水彩上，鮮潔有力，色彩層次流淌於畫布上，流暢的技法與透明感的色料營造出其特有的畫風。

──彭自強

MODERN AND CONTEMPOR ARY ART

243

232 DENNIS HWANG

( Chinese-American, b.1941 )

風景

Landscape

1991

117.3 x 84cm Mixed media on Canvas Signed Hwang in English and Zhi-Chao in Chinese, dated 1991

NT$ 160,000-240,000 US$ 5,000-7,400

244

黃志超

ZHONG CHENG 中誠

綜合媒材畫布簽名：志超 Hwang 91

1941 年出生於福建廈門，後移居台灣，1971 年應美國國務院邀請，赴美作文化藝術交流展。他是紐約新素材的表現派畫家，作品風格融合了東西方文化。如同此作品，筆觸揮灑豪邁的將東方的藝術融入西方現代繪畫技法中，以較為抽象、寫實的風格，運用不協調的線條與狂放強烈的色彩盡情地讓中國傳統的水墨書法與野獸派大膽搶眼的色彩構圖相互激盪，讓整個空間呈現出超現實的感覺。

233 DENG JIANJIN

鄧箭今

( Chinese, b.1961 )

女人像

Portrait of a Woman

2005

60 x 50cm Oil on Canvas Signed DENG JIANJIN in English, dated 2005. 10

NT$ 160,000-240,000 US$ 5,000-7,400

油彩畫布簽名：DENG JIANJIN 2005.10

生於廣東，畢業於江西陶瓷學院美術系，現任廣美油畫系第四工作室主任。在早期作品中常常表現出他自己的形象，後將社會現實當成是一種異在的物件來描繪。喜歡運用矛盾的衝擊感表現出「互相糾結，恐慌」的狀態。讓他人看到這些相互矛盾過程中對現實世界的理想和尋求。作品中『女人像』展現出空間的倒錯感，用複合及重疊的形象，表現群體中錯綜複雜的社會關係和相互壓力。

MODERN AND CONTEMPOR ARY ART

245

234 KO SHIHCHUNG

a. b. c. d. e.

( Taiwanese, b.1966 )

a. Orange Land b. Shine Brightly c. In Search of Lost Time d. Forest at First Light e. The Golden Years 28 x 35cm (5) Mixed media on Paper (5) Signed Ko Shih-Chung in Chines, dated 2009 (5)

NT$ 160,000-240,000 US$ 5,000-7,400 「對我來說繪畫創作的意義，是將現實世界中的事物以新

柯適中

的視覺符號精密的整構而化為美感與秩序的具體呈現，目

a. 橙色大地

的並非那麼明確，他的面貌變化猶如我們的思維活動。」

b. 光輝燦爛

---柯適中

c. 似水年華 d. 林間曙光 e. 金色歲月 2009 (5) 綜合媒材紙本 (5) 簽名：柯適中 2009 (5)

246

ZHONG CHENG 中誠

柯適中畢業於國立台灣藝術專科學校美術科西畫組，並赴美攻讀美術研究所，而後任教於南開科技大學文化創意與設計系，展覽經歷豐富的他，對藝術形式探索執著與追求，開拓真善與美的創作之路。如詩如歌般韻致流動，點染敷彩以多樣媒材表現出《漂浮的風景》；藝術家將感官體驗到的自然之景予以內化、重構，斑斕線條與奔放色彩躍然紙上，鮮妍繽紛充滿直率的意趣。

235 SHAO HSUAN ( Chinese, b.1982 )

Untitled 79.5(L) x 35.5(W) x 21(H)cm Bronze 2/8 Signed Shao Hsuan in Chinese, numbered 2/8 With a certificate of authenticity from gallery

NT$ 100,000-180,000 US$ 3,100-5,600

邵旋無題 2009 銅 2/8 簽名：邵旋 2/8 附畫廊開立之原作保證書 2003 年湖北美術學院雕塑系畢業， 2011 年湖北美術學院雕塑系，碩士學位。從他的雕塑中可看出他擅長物化記憶裡的幽默與荒誕。他認為文字、雕塑及繪畫彼此間是相通的，只是創作者心裡想要表達的主體，在形式上而言不是那麼具體，只須找到合適的方法表達出來就可以。在他腦中存有各種的回憶，他利用合適的表達方式做成雕塑物，這就是他回憶空間東西物化的展現。

MODERN AND CONTEMPOR ARY ART

247

236 CHEN YANGCHUN

春意

Spring Essence

1993

37 x 55.5cm Ink on Paper Signed Chen Yang-Chun both in English and Chinese, dated 1993 With a certificate of authenticity from gallery

NT$ 160,000-220,000 US$ 5,000-6,800

248

陳陽春

( Taiwanese, b.1946 )

ZHONG CHENG 中誠

水彩紙本簽名：一九九三陽春 CHEN YANGCHUN 附畫廊開立之原作保證書

陳陽春擅長將東方水墨技巧和意境融入山光水影間，利用西方水彩透明特性將所汲取真實世界的靈感，藉由水墨寫意的方式點出東方文化深邃的韻味，充分體現出「水墨式水彩畫」的獨特精髓。《春意》中女子輕盈飄逸的形象展現了東方仕女獨樹一幟的風格。

237 CHEN YANGCHUN

陳陽春

( Taiwanese, b.1946 )

醉心

Indulged

1993

55.5 x 37cm Ink on Paper Signed Chen Yang-Chun both in English and Chinese, dated 1994 With a certificate of authenticity from gallery

水彩紙本簽名：一九九三陽春 CHEN YANGCHUN

1968 年畢業於國立台灣藝術大學，常接受各國水彩展覽的邀約，並多年榮獲外交部文化大使。作品備受國內外收藏家肯定。此幅《醉心》淡雅悠遠，輕盈曼妙，經由毛筆的筆尖細膩描繪運用下，所畫出的中國繪畫能傳達出獨特的東方情感。

附畫廊開立之原作保證書

NT$ 160,000-240,000 US$ 5,000-7,400

MODERN AND CONTEMPOR ARY ART

249

238 HSIEH HSIAODE ( Taiwanese, b.1940 )

淡水教堂

The Church in Danshui

2011 水彩紙本

77.5 x 108cm Watercolor on Paper Signed Hsieh Hsiao-Te in Chinese, dated 2011

NT$ 50,000-100,000 US$ 1,500-3,100

250

謝孝德

ZHONG CHENG 中誠

簽名：2011 謝孝德

謝孝德堅持具像藝術，將機械文明取代眼睛無法瞬間捕捉的概念，一直是他創作的信念。《淡水教堂》更是把水墨渲染的意境與水彩結合的天衣無縫。紅色教堂在後方群山襯托下，如夢似幻猶如仙境般，更顯閒逸恬靜。

239 HSIEH HSIAODE

謝孝德

( Taiwanese, b.1940 )

風景

Landscape

2011 水彩紙本

79 x 110cm Watercolor on Paper Signed Hsieh Hsiao-Te in Chinese, dated 2011

簽名：2011 謝孝德

謝孝德畢業於台灣師範大學美術系，此幅《風景》以寫意的中國山水手法呈現，遠處小漁船飄盪在寧靜的湖面上，前方的鴨群悠閒的在湖上優游著，畫面空間感顯得遼闊深遠，讓觀者沉浸在閒適的景色中。

NT$ 60,000-120,000 US$ 1,900-3,700

MODERN AND CONTEMPOR ARY ART

251

240 JU MING

( Taiwanese, b.1938 )

人間系列 - 絲瓜

Living World Series - Loofah

2002

14.4 x 23cm Ink and Color on Paper Signed Ju Ming in Chinese, dated 2002 With one seal of the artist

NT$ 30,000-50,000 US$ 900-1,500

252

朱銘

ZHONG CHENG 中誠

彩墨紙本簽名：朱銘 '02 鈐印：朱銘

朱銘在「人間系列」繪畫中，其主題靜物描繪採自民間生活常見之物如：瓶花、絲瓜、梨等為題材，表現出台灣的風土情狀，透過飽滿色彩與圓潤造型，顯得樸拙可愛與平和安樂之感，讓畫面在素簡外亦充滿活潑與幽默物趣。帶有簡潔與童趣的繪畫，卻深深蘊含禪意與哲理，《絲瓜》隱喻著「瓜瓞綿綿」之意，象徵子孫綿延不絕、人間世代傳承不斷的佳意。

241 XU JINXIONG

徐進雄

( Taiwanese, b.1943 )

阿里山中秋月雲海

Alishan Autumn Moon Landscape

1995

80 x 100cm Oil on Canvas Signed Xu Jin-Xiong in Chinese Signed on the reverse: Title and Xu Jin-Xiong in Chinese, dated 1995-2006

油彩畫布簽名：徐進雄背面簽名：阿里山中秋月雲海徐進雄畫公元 1995-2006 年

徐進雄習畫數十載，並得名師指導積累雄厚繪畫功底，遠赴美日精進深造，作品頗獲讚賞肯定。此作塗布濃厚鮮妍油彩層疊敷染，呈現阿里山明媚秀麗的無限風光，皎潔的月光與翻滾奔騰的雲海，交織如夢似幻的柔美月夜，群峰層巒疊嶂波瀾壯闊之景，使觀者飽覽風光盡收眼底。

NT$ 160,000-240,000 US$ 5,000-7,400

MODERN AND CONTEMPOR ARY ART

253

242 CHENG MAOHUANG

曾茂煌

( Taiwanese, b.1934 )

淡水教堂

The Church in Danshui

2006

100 x 72.5cm Oil on Canvas Signed Mao-Huang in Chinese, dated 2006. 9

油彩畫布簽名：茂煌 2006.9 圖錄：

ILLUSTRATED: "Cheng Mao-Huang 80th Birthday Retrospective Exhibition," Top Art, Taipei, Taiwan, 2014, Page 29

NT$ 80,000-160,000 US$ 2,500-5,000 254

ZHONG CHENG 中誠

《曾茂煌 80 回顧展》，拓樸藝術，台灣台北，2014 年，第 29 頁

曾茂煌師承廖德政、張義雄，受到兩位老師啟蒙，對繪畫產生濃烈興趣。繪畫風格多為對故鄉的情感抒發，將藝術視為他生命的一部分。其作品洋溢著濃稠的在地情懷，他也善用畫刀的技巧，讓畫面產生具有節奏的造型美感，畫中的淡水教堂利用簡潔流暢的線條筆觸表現，給人一種親切的和諧感。

243 HSU MINGHSIUNG

許敏雄

( Taiwanese, b.1955 )

露臺之櫻

Sakura Garden

2015

24.5 x 33.5cm Oil on Canvas Signed Ming-Hsiung in Chinese, dated 2015

油彩畫布簽名：敏雄畫 2015 附畫廊開立之原作保證書

With a certificate of authenticity from gallery

許敏雄 1987 年獲全國油畫展銀牌獎，1999 年獲美國亞太藝術研究院繪畫特優獎。許敏雄畫風多元，思維敏銳，以瑰麗鮮明的色彩，將他對人生體驗入微的深刻體悟透過細膩的筆觸表現出來。他的作品也帶給觀者豐富的想像力，在畫裡頭有「心」的顏色、以及「眼」的架構，在這兩者的交疊之下，編織出一幅奇幻的童話世界，讓人們回到最初的認知及純真。這幅《露臺之櫻》得宜的配色比重，一次次都可發掘每一道筆觸的驚艷和每一色塊的和諧，使得每個細節被精彩放大，給予了畫作生動活潑的情感表現。

NT$ 40,000-120,000 US$ 1,200-3,700

MODERN AND CONTEMPOR ARY ART

255

244 CHU TEHCHUN

朱德群

( Chinese-French, 1920-2014 )

藍色印痕

Blue Impression

1995

202 x 161.5cm Velvet Weaves on Tapestry 3/6 Signed Chu Teh-Chun both in Chinese and English

絲絨織壁掛 3/6 簽名：朱德群 CHU TEH-CHUN 畫背附有朱德群授權書

On the reverse with Chu Teh-Chun's authenticity of Silk Flannel Tapestry

NT$ 800,000-1,000,000 US$24,800-31,000

256

ZHONG CHENG 中誠

華裔旅法藝術家朱德群，深獲國際畫壇推崇與肯定。自小便受父親雅好書畫的薰陶，學習中國傳統書畫，熱愛中國詩詞的朱德群，將深厚的藝術涵養潛移默化的轉譯於其創作中。赴法國習畫，之後法國政府授予其法蘭西藝術學院院士的榮銜，更是第一位獲頒此頭銜的華裔藝術家。融匯西方繪畫的鮮麗色彩、明晰的光影躍動與東方文人墨韻、容納萬物的情懷，將流動的線條混揉模糊的形體，撲朔迷離的光影明滅可見，朦朧的精神底蘊皆伴隨著朱德群的一揮一毫飄忽於天地之中。於自成一體的世界裡，藝術家自由揮灑，揮毫出筆墨間的情思也潑灑出天地萬物於一瞬的壯闊之氣，讚頌自然也嶄露其生命的華彩。

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

245 CHU TEHCHUN

( Chinese-French, 1920-2014 )

a. Pastoral b. Weald c. Autumn d. Quietude e. Spring f. Sandstorm

a. 63 x 82cm b. 70 x 91cm c. 90 x 75cm d. 90 x 75cm e. 82 x 63cm f. 63 x 82cm Lithograph, 127/150 (6) Signed Chu Teh-Chun both in Chinese and English, numbered 127/150 (6)

NT$ 900,000-1,200,000 US$ 27,900-37,200

朱德群

a.2008

a. 田園

b.2007

b. 曠野 c. 金秋

c.2006 d.2006 e.2007

d. 平靜

f.2008

e. 迎春

版畫 127/150 (6)

f. 黃沙天

簽名：朱德群 CHU TEH-CHUN 127/150 (6)

MODERN AND CONTEMPOR ARY ART

257

246 JU MING

( Taiwanese, b.1938 )

Lion 13(L) x 15(W) x 25.5(H)cm Bronze Signed Ju Ming in Chinese, dated 1982

NT$ 160,000-320,000 US$ 5,000-9,900

朱銘雄獅 1982 銅簽名：朱銘 82 《雄獅》在基座塊體上僅僅露出一顆獅頭，藝術家以豪邁粗獷的手法雕刻，紮實的功力揮灑出渾厚飽滿的生命力，散發著寫意瀟灑之美，就如朱銘所說「縱手放意，無心而得」的觀點，堅守創作本質且隨心所欲地發揮，渾然忘我。

258

ZHONG CHENG 中誠

247 JU MING

朱銘

備註：

( Taiwanese, b.1938 )

人間系列 - 十二少女

本款複製品依據朱銘先生於 1996 年創作之『人間系列—

Living World Series - Twelve Girls

1996

67(L) x 10.5(W) x 18(H)cm Unsaturated polyester resin, calcium carbonate, environmentally-friendly water based mineral paint 67/300 With a certificate of limited reproduction from Ju Ming Museum

不飽和聚酯樹脂碳酸鈣水性環保礦物顏料 67/300 附朱銘美術館限量複製品保證書

彩繪木雕』作品，以 1:7.1 之比例縮小複製而成。木雕原作為朱銘美術館收藏，尺寸為 479x72x129 公分《人間系列》源於朱銘對宏大時代中微小生活的貼近觀察，盡展世間百態眾生萬相，形塑其獨特的創作風格臻於大成，以天地為師更以人為本，體現生命的力量精彩紛陳，溫煦人文情懷暖拂入心，輕鬆逗趣的日常即景歡笑洋溢。

NT$ 100,000-180,000 US$ 3,100-5,600

MODERN AND CONTEMPOR ARY ART

259

248 LIANG YIFENG ( Taiwanese, b.1937 )

a. Petite World b. Life as a Dream a. 24.5 x 27cm b. 27 x 24.5cm Watercolor on Paper Signed Yi-Feng in Chinese With two seals of the artist

NT$ 30,000-50,000 US$ 900-1,500

梁奕焚 a. 小小世界 b. 人生如夢水彩紙本簽名：奕焚鈐印：天放翁、梁

a. b.

260

ZHONG CHENG 中誠

249 LIANG YIFENG

梁奕焚

「梁奕焚把他自己的台灣鄉下童年每日的記憶復甦了，創造

( Taiwanese, b.1937 )

相伴

出一種獨有的藝術形式，既非東方亦非西方，既不現代也不

Together

2014

傳統，而是超越時空，無始無終卓越的人間性。」

100 x 80cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2014 With a photo of the artist and the artwork

油彩畫布

──美國藝評家馬格麗特

簽名：LIANG 奕焚 2014 附藝術家與作品之合影

曾向現代化大師李仲生習畫，影響其一生的藝術觀念，後至美國旅居十餘年，連續於紐約蘇活區舉辦個展，備受讚賞，也鼓舞了早期旅美的台灣藝術家，毅然決然返台後，持續致力於現代畫創作。

NT$ 60,000-120,000 US$ 1,900-3,700

MODERN AND CONTEMPOR ARY ART

261

250 YOSHITOMO NARA ( Japanese, b.1959 )

在浮動的世界不好玩

In the Floating World No Fun!

1999

41 x 29cm Lithograph, 22/50 Signed Nara in English, dated 1999, numbered 22/50

NT$ 120,000-240,000 US$ 3,700-7,400

262

奈良美智

ZHONG CHENG 中誠

版畫 22/50 簽名：Nara 22/50 99

251 YAYOI KUSAMA

草間彌生

( Japanese, b.1929 )

花

Flowers

1985

45.5 x 53cm Lithograph, 13/100 Titled and signed Yayoi Kusama in English, numbered 13/100

版畫 13/100 簽名：13/100 FLOWERS Yayoi Kusama 圖錄：

ILLUSTRATED: "YAYOI KUSAMA PRINTS 1979-2011," ABE Publishing LTD., Japan, 2011, Page 57, no.84

《草間彌生全版画 1979-2011》，阿部出版株式會社，日本，2011 年，第 57 頁，編號 84

NT$ 180,000-240,000 US$ 5,600-7,400

MODERN AND CONTEMPOR ARY ART

263

252 YAYOI KUSAMA

無限的網

Infinity - Nets

1953-1984

31 x 40.5cm Lithograph, 1/30 Signed Yayoi Kusama and titled Infinity Nets in English, dated 1953-1984, numbered 1/30 ILLUSTRATED： "ALL PRINTS OF YAYOI KUSAMA," ABE Publishing LTD., Japan, 2011, Page 37, no.46

NT$ 180,000-280,000 US$ 5,600-8,700

264

草間彌生

( Japanese, b.1929 )

ZHONG CHENG 中誠

石版畫 1/30 簽名：1/30 Infinity Nets 1953-1984 Yayoi Kusama 圖錄：《草間彌生全版畫集》，阿部株式會社，日本， 2011 年，彩色圖版，第 37 頁，編號 46

253 YAYOI KUSAMA

草間彌生

( Japanese, b.1929 )

無限網 1958

Infinity - Nets 1958

1982 版畫 36/50

33 x 39.8cm Lithograph, 36/50 Signed Yayoi Kusama and titled Infinity Nets 1958 in English, dated 1982, numbered 36/50 ILLUSTRATED: "YAYOI KUSAMA PRINTS 1979-2011," ABE Publishing LTD., Japan, 2011, no.14

簽名：36/50 Infinity Nets 1958 Yayoi Kusama 82 圖錄：《草間彌生全版畫 1979-2011》，阿部出版株式會社，日本，2011 年，編號 14

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

MODERN AND CONTEMPOR ARY ART

265

254 YOSHITOMO NARA

Mellow girl

2009

直徑 Diameter Φ 30cm Lithograph, 29/50 Signed Na in Japenese, dated 2009, numbered 29/50

NT$ 180,000-280,000 US$ 5,600-8,700

266

奈良美智

( Japanese, b.1959 )

ZHONG CHENG 中誠

版畫 29/50 簽名：29/50 な 09

255 YOSHITOMO NARA

「要是能有一個擺在房間的藝術品就好了……」

---奈良美智

( Japanese, b.1959 )

Doggy Radio x Rimowa 45(L) x 40(W) x 30(H)cm Fiberglass x Aluminum 139/200 With a card of authenticity authorized by the artist

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

奈良美智

《Project Doggy Radio》是奈良美智近年來除個人畫作之外唯一的藝術項目，也是奈良美智於 2012 年開始，由日本橫濱開始的世界巡迴展中最先曝光的展品。《Project Doggy Radio》出自於奈良美智對於藝術與生活結合的想法，經過長時間的思考，由手稿到手模的製作，完整呈現「想讓小狗在房間內跑進跑出」的初衷。介面與內部技術由台灣 SAYERS STUDIOS 設計（Yamaha Lab 獨家音樂系統協力），可做收音機、擴大機、另可連接 iPod、AUX 及藍芽音樂輸出，並由香港玩具創作公司 HOW2WORK 完成外觀製作，而內部 YAMAHA Lab 特調環繞音響能讓小狗肚子的喇叭清楚地播放音樂，採用雙重數位訊號處理器 (Dual DSPs)，搭配 Yamaha Lab 獨家專利揚聲技術，材質選料各式纖維及羊毛等物質組合而成精密震膜，確保聲音品質，降低失真率。透過輕撫小狗下巴即可調整音量大小，而經由觸轉小狗鼻頭則可調整收音機頻道，項圈上按鈕能調整音源輸出 (FM/Radio Wireless/USB IN/AUX IN)，亦搭載無線傳輸音樂 (Bluetooth) 功能，造型可愛時尚，操作簡單，使用便捷。

小狗音響 ×Rimowa 行李箱 2011 玻璃纖維 x 鋁合金材質 139/200

《Projet Doggy Radio》後期加入「能將牠帶著走吧？！」的念頭，呼應著生活與旅行、藝術結合，委託德國 RIMOWA 製作的行李箱也應運而生，共同完成奈良美智的創作理想：「藝術與音樂甚至旅行的結合，終有生活化的實現可能。」

附藝術家開立之原作保證卡

MODERN AND CONTEMPOR ARY ART

267

256 DAMIEN HIRST

達米恩 ‧ 赫斯特

( British, b.1965 )

Diamond dust - OC 7650

2010

74 x 71.5cm Silkscreen print, 23/50 Signed D Hirst in English, numbered 23/50

絹版畫 23/50 簽名：D hirst 23/50 附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 300,000-420,000 US$ 9,300-13,000

268

ZHONG CHENG 中誠

257 DAMIEN HIRST

達米恩 ‧ 赫斯特

( British, b.1965 )

Diamond dust - OC 7640

2010

74 x 71.5cm Silkscreen print, 24/50 Signed D Hirst in English, numbered 24/50

絹版畫 24/50 簽名：D hirst 24/50 附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 300,000-420,000 US$ 9,300-13,000

MODERN AND CONTEMPOR ARY ART

269

258 WU GUANGZHONG

吳冠中

「我體會形式美感都來源於生活，我年年走江湖，

( Chinese, 1919-2010 )

白首憶童年

眾裡尋她千百度，尋找的就是形式美感。正因我的

Reminiscence of Home

1993

感情是鄉土培育的，忠實於自己的感受和情思，挖

版畫 16/50

掘來的形式美感的意境便往往是帶泥土氣息的。」

70 x 136cm Lithograph, 16/50 Titled and signed Wu Guang-Zhong in Chinese, dated 1993, numbered 16/50 With three seals of the artist

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

270

ZHONG CHENG 中誠

簽名：白首憶童年 16/50 吳冠中一九九三

---吳冠中

鈐印：八十年代、荼、吳冠中印鑒藏印：榮寶齋製

吳冠中此作如其名，刻畫出江南水鄉靜雅嫻美之印象，以點墨與細筆描繪春風拂面、柳葉飄飄之氛圍，畫中一池塘水色清暖、碧水綿延，盡顯江南風光無限明媚。

259 ZHOU CHUNYA

周春芽

( Chinese, b.1955 )

剪羊毛

Sheep Shearing

2006

78 x 109cm Wood Carved Lithograph, 66/99 Signed Zhou Chun-Ya in Chinese, dated 2006, numbered 66/99

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

木刻版畫 66/99 簽名：66/99 2006 周春芽

「每個人對藝術的理解不一樣，我的藝術是希望

1981 年創作的版畫《剪羊毛》是周春芽在四川美術學院的畢業作品，並以此作品在中國美術界最重要的「中國美展」中獲獎。《剪羊毛》表現得極為寫實細膩，不僅投射出藝術家本身的創作語言，更以粗獷純樸的畫面、人物濃厚色彩的描繪，帶出作品深層對於本質的思索。

大家忘記痛苦，畢竟我們經歷的痛苦太多了。」 ──周春芽

MODERN AND CONTEMPOR ARY ART

271

a. b.

260 WANG YIDONG

a. 卜算

a. Fortune Teller b. On the Edge of the Yi River

b. 沂河邊上

a. 98 x 79.8cm b. 95 x 64.8cm a. Lithograph, 31/99 b. Lithograph, 12/99 a. Signed tittle and Wang Yidong in Chinese, numbered 31/99 b. Signed tittle and Wang Yidong in Chinese, numbered 12/99 With a certificate of authenticity from gallery

NT$ 160,000-280,000 US$ 5,000-8,700

272

王沂東

( Chinese, b.1955 )

ZHONG CHENG 中誠

a. 2003 b. 2002 a. 版畫 31/99 b. 版畫 12/99 a. 簽名：31/99 卜算王沂東 Wang Yidong b. 簽名：12/99 沂河邊上王沂東 Wang Yidong 附畫廊開立之原作保證書

261 WANG YIDONG ( Chinese, b.1955 )

a. The Red Hydrangea b. Quiet Silver Birch Forest a. 64.3 x 97cm b. 93 x 74.6cm a. Lithograph, 31/99 b. Lithograph, 31/99 a. Signed tittle and Wang Yidong in Chinese, numbered 31/99 b. Signed tittle and Wang Yidong in Chinese, numbered 31/99 With a certificate of authenticity from gallery

NT$ 160,000-280,000 US$ 5,000-8,700

王沂東 a. 紅繡球 b. 靜靜的白樺林 a. 2004 b. 2007 a. 版畫 31/99 b. 版畫 31/99 a. 簽名： 31/99 紅繡球王沂東 Wang Yidong a.

b. 簽名： 31/99 靜靜的白樺林王沂東 Wang Yidong 2007

b. 附畫廊開立之原作保證書

MODERN AND CONTEMPOR ARY ART

273

262 ZAO WOUKI

無題 1986

Untitled 1986

1986 版畫 20/99

46 x 61cm Lithograph, 20/99 Signed Wou-Ki in Chinese and Zao in English, dated 1986

NT$ 120,000-200,000 US$ 3,700-6,200

274

趙無極

( Chinese-French, 1921-2013 )

ZHONG CHENG 中誠

簽名：無極 ZAO 86

263 CHU TEHCHUN

朱德群

( Chinese-French, 1920-2014 )

曠野

Wilderness

2007 版畫 E/A

70 x 91cm Lithograph, E/A Signed Chu Teh-Chun both in Chinese and English

簽名：朱德群 CHU TEH-CHUN 圖錄：

ILLUSTRATED: "CHU TEH-CHUN The Graphic Work 2000-2008," Hoke Art, Taipei, Taiwan, 2008, Page 39

《朱德群— 朱德群石版畫 2000-2008》，霍克國際藝術股份有限公司，2008 年，第 39 頁

NT$ 120,000-200,000 US$ 3,700-6,200

MODERN AND CONTEMPOR ARY ART

275

264 ZAO WOUKI

( Chinese-French, 1921-2013 )

Orchid 直徑 Diameter Φ 25cm (2) Watercolor on Porcelain Signed Wou Ki in Chinese and Zao in English, dated 1986 Note: Edited for the BSN group during its twentieth anniversary in 1986 Workshops Ségriès Moustiers

NT$ 120,000-200,000 US$ 3,700-6,200

趙無極蘭花 1986 水彩陶瓷 (2) 簽名：無極 ZAO 86 備註：此瓷盤背面為法國知名陶瓷工作室 l' atelier ségriès 製作署款資料及 BSN 慶祝企業二十周年紀念賀詞。為趙無極 1986 年為慶祝 BSN( 曾是法國玻璃及食品王國 )，成立二十週年 (1966-1986) 所繪製限量抽象蘭花瓷盤。《蘭花》繪於 1986 年，並由法國深具代表性的知名陶瓷工作室 l' atelier ségriès 製作。l' atelier ségriès 專門生產 17 世紀或 18 世紀風格的西洋古陶瓷，以手工製作著稱，力求精緻完美。曾與知名精品法國愛馬仕和紐約的蒂芬妮合作陶瓷工藝。背面說明：B.S.N. 1966-1986 二十週年紀念發行 BSN 堅持永續發展誠心感念一切的創意與支持 86 年 6 月趙無極

276

ZHONG CHENG 中誠

265 HSIAO CHIN

蕭勤

( Taiwanese, b.1935 )

伊莫拉陶盤

Imola ceramica

1984 陶盤

直徑 Diameter Φ 41cm Ceramic Plate Signed HC in English Signed on the reverse: IMOLARTE IMOLA CERAMICA in English, dated 1984

簽名：HC 背面簽名：IMOLARTE IMOLA CERAMICA 1984

《伊莫拉》陶盤上畫的是幅抽象畫，筆法看似規則卻又蘊藏著豪邁的性格表現，雖然看不出所繪是何物，但以其色彩及畫家風格，此幅畫的呈現方式定是屬於中國的作品。如果從構圖上來看，我們或許可以將其想像是一股東方力量正準備捲土重來。在這樣的筆觸下更顯得作品張力十足。

NT$ 70,000-100,000 US$ 2,200-3,100

MODERN AND CONTEMPOR ARY ART

277

266 CHEN CHINGYAO ( Taiwanese, b.1976 )

a. T'ien-Kung K'Ai-Wu—Southeast Asia Ricksha Picture b. T'ien-Kung K'Ai-Wu—Wheeled Vehicle with Two Flags Picture 120 x 120cm (2) Laser Photographic Paper 3/6 (2) Signed on the reverse: Titled in Chinese and Chen ChingYao both in English and Chinese, dated 2007, numberd 3/6 EXHIBITION: "Tien-Kung KAi-Wu," VT Art Salon, Taipei, Taiwan, 23 June21 July, 2007"

NT$ 100,000-180,000 US$ 3,100-5,600

陳擎耀 a. 天公開勿─南洋獨推車圖

b. 天公開勿─雙幡肆轅車圖

2007 雷射相紙 3/6 (2) 背面簽名： a. 天公開勿 - 南洋獨推車图 3/6，陳擎耀，CHEN-CHING YAO，2007 b. 天公開勿 - 双幡肆轅車图 3/6，陳擎耀，CHEN-CHING YAO，2007 圖錄：「天公開勿 - 陳擎耀個展」，非常廟藝術空間，台灣台北， 2007 年 6 月 23 日 -7 月 21 日

「藉由古今交錯、時空跳躍的對比結合，顛覆一般人的慣性思考，以詼諧帶點諷物的意味企圖表現出台灣勞工階級的轉變與產業結構逐漸變遷，讓全球化消費的勞力和婚姻流動，在無厘頭的嬉鬧聲中坍塌瓦解。」 ---陳擎耀「天公開勿」系列創作之發想，是為陳擎耀服役於鄉村時對當代社會現象細微觀察，其嗜讀玩味古書，作品脫胎自《天工開物》古代典籍，進而交會迸發出莞爾詼諧與深刻意涵，藉玩古以喻今，呈現新移民下的文化變遷與族群議題的反思等社會風貌。而探討南洋新移民與台灣社會文化樣貌的《天公開勿 - 雙幡肆轅車圖》，洋溢歡樂活潑的幽默氛圍，搖舉雙幡的天真無邪笑靨感染了觀者，將較為嚴肅的認同議題含藏於笑容之後，試圖透過作品與觀者對話，並建構多元族群融合下所孕育出新時代台灣社會的脈絡。藉由藝術家設計鮮明的日常生活形象，點出角色與權力結構間微妙的關係，引申全球化席捲後工業社會的圖像與議題。

278

ZHONG CHENG 中誠

267 JEFF KOONS ( American, b.1955 )

Jeff Koons: Hulk Elvis (With Signature and Scribble by the artist) 31.3 x 31.3cm Book Signed Jeff Koons in English, dated 12/17/09

NT$ 80,000-150,000 US$ 2,500-4,600

傑夫 ‧ 孔斯 Jeff Koons: Hulk Elvis 藝術家親簽塗鴉畫冊 2009 書冊簽名：Jeff Koons 12/17/09

備註：《Jeff Koons: Hulk Elvis》為紐約高古軒畫廊為藝術家傑夫．孔斯所出版的畫冊，並於 2009 年 12 月 17 日出版當天，由藝術家本人在高古軒畫廊的書店進行簽名售書活動。此本畫冊以傑夫孔斯《巨人貓王 (Hulk Elvis)》系列作品名稱命名之，除了收錄此系列油畫作品外，更添加繪製猩猩、藝妓、大鳥、自由鐘、蒸氣發動機、馬車等各種形象創作。此外，《Artforum》資深編輯斯科特．羅斯科普夫的評論文章，以及曾與侯瀚如、郭曉彥一起策劃第二屆廣州三年展的漢斯．尤利斯．奧布里斯特對於傑夫．昆斯所做的訪談亦收錄在畫冊中。

MODERN AND CONTEMPOR ARY ART

279

a. c. b. d.

268 HSIAO CHIN

( Taiwanese, b.1935 )

a. Pure State b. Born c. Countless as the Grains of Sand d. Run a. 56 x 49cm b. 39.5 x 49cm c. 49 x 40cm d. 49 x 69cm a. Lithograph, 44/80 b. Lithograph, 30/50 c. Lithograph, 16/50 d. Lithograph, 23/40 a. Signed Hsiao in English and Chin in Chinese, numbered 44/80, dated 1962 with one seal of the artist b. Signed Hsiao in English and Chin in Chinese, numbered 30/50 c. Signed Hsiao in English and Chin in Chinese, numbered 16/50 d. Signed Hsiao in English and Chin in Chinese, numbered 23/40 with one seal of the artist

280

ZHONG CHENG 中誠

ILLUSTRATED: "Infinity of Chi - Retrospective of Hsiao Chin ," Kaohsiung Museum of Fine Arts, 2010, Page 155

d. 1971

EXHIBITION: "Infinity of Chi - Retrospective of Hsiao Chin," Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 9 October 2010-13 March 2011

d. 版畫 23/40

a. 版畫 44/80 b. 版畫 30/50 c. 版畫 16/50 a. 44/80 Hsiao 勤 62；鈐印：蕭勤 b. 30/50 Hsiao 勤 c. 16/50 Hsiao 勤 d. 23/40 Hsiao 勤 71；鈐印：蕭勤

NT$ 120,000-200,000 US$ 3,700-6,200

圖錄：《蕭勤—向大師致敬系列：大炁之境 -- 蕭勤

蕭勤

75 回顧展》，高雄市立美術館，2010 年，第 155 頁

a. 純然之境 b. 降生

展覽：

c. 恆河沙數

「大炁之境」向大師致敬系列蕭勤 75 回顧展，

d. 運行 a. 1962

高雄市立美術館，台灣高雄，2010 年 10 月 9 日 -2011 年 3 月 13 日

269 WALASSE TING

丁雄泉

( Chinese-American, 1929-2010 )

桃與鮮花

Fisheries and Flowers

1990

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

版畫 250/250 簽名：Ting 90 250/250

NT$ 80,000-160,000 US$ 2,500-5,000

MODERN AND CONTEMPOR ARY ART

281

270 WALASSE TING

( Chinese-American, 1929-2010 )

a. Erotic Composition - Red Hair Lady b. Erotic Composition - Blue Eyes Girl c. Erotic Composition - Blue Hair Girl 43 x 58cm (3) Lithograph, 65/80 (3) Signed Ting in English,dated 1979, numbered 65/80 (3)

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

丁雄泉 a. 嬌豔紅髮 b. 持扇的藍眼女子 c. 藍髮女孩 1979 (3) 版畫 65/80 (3)

簽名：65/80 Ting 79 (3)

a. b. c.

282

ZHONG CHENG 中誠

271 WALASSE TING

( Chinese-American, 1929-2010 )

a. Cat and Nude b. Cat and Nude c. Flower and Girl 72 x 101cm (3) a. Lithograph, 200/200 b. Lithograph, 147/200 c. Lithograph, 185/200 a. Signed Ting in English,dated 1985, numbered 200/200 b. Signed Ting in English,dated 1985, numbered 147/200 c. Signed Ting in English,dated 1985, numbered 185/200

NT$ 100,000-180,000 US$ 3,100-5,600

丁雄泉 a. 貓與裸女 b. 貓與裸女 c. 花與女郎 1985 (3) a. 版畫 200/200 b. 版畫 147/200 c. 版畫 185/200 a. 簽名：Ting 85 200/200 b. 簽名：Ting 85 147/200 c. 簽名：Ting 85 185/200

a. b. c.

MODERN AND CONTEMPOR ARY ART

283

a. b. c. d.

272 WALASSE TING

( Chinese-American, 1929-2010 )

a. Flower and Girl b. Beauty Holding a Fan c. Are You Looking at Me d. Cat and Nude 72 x 101cm (4) a. Lithograph, 184/200 b. Lithograph, 145/200 c. Lithograph, 142/200 d. Lithograph, 148/200 a. Signed Ting in English, dated 1985, numbered 184/200 b. Signed Ting in English, dated 1985, numbered 145/200 c. Signed Ting in English, dated 1985, numbered 142/200 d. Signed Ting in English, dated 1985, numbered 148/200

NT$ 120,000-200,000 US$ 3,700-6,200

284

ZHONG CHENG 中誠

丁雄泉 a. 花與女郎 b. 持扇佳人 c. 你在看我嗎 d. 貓與裸女 1985 (4) a. 版畫 184/200 b. 版畫 145/200 c. 版畫 142/200 d. 版畫 148/200 a. 簽名：Ting 85 184/200 b. 簽名：Ting 85 145/200 c. 簽名：Ting 85 142/200 d. 簽名：Ting 85 148/200

郎靜山 LONG

CHINSAN (1892-1995)

歐豪年 AU

HONIEN (b.1935)

111

102 112 101

生於中國江蘇。從李靖蘭老師學習繪畫、攝影及暗房技巧。1931年以作品《柳絲下的搖船女》（又稱《柳蔭輕舟》）入選日本國際攝影沙龍；1934年又以個人第一件「集錦攝影」作品《春樹奇峰》入選英國攝影沙龍，後逐漸於國際沙龍嶄露頭角。郎靜山一生有不少創舉，其中最為人稱道的該屬「集錦攝影法」，郎氏具備之深厚的國畫造詣與修養，將國畫中的畫理與攝影技巧融合為一，為其贏得了「影中有畫，畫中有影」的讚譽，而顯得別具風格。郎氏對推動現代中國攝影藝術有卓越的貢獻，入選世界各國攝影展覽作品達千件之多，曾出版多本個人攝影集，更被二十餘個世界級攝影學會和團體推舉為名譽會員和研究員，其作品廣為海內外重要美術館及私人珍藏。

生於中國廣東。早年居於香港。師事嶺南畫派巨擘趙少昂先生，為嶺南畫派傑出代表傳人。在1970年後定居台灣，從事國畫創作。四十年來歐氏作品曾應港、日、星、馬、歐、美各國美術館個展數十次，蜚聲國際。1990年至1991年以英、法、德、奧、荷、比、西七國博物館巡迴展，載譽歐陸，旋獲台灣行政院新聞局國際傳播獎章。1993年更榮膺法國國家美術當局，巴黎大宮博物館特別獎譽，為中國畫獲此獎之第一人。1994年被推崇為堅持東方人文精神之代表畫家。廣泛的旅遊經驗，使自然成為歐豪年山水畫中的主題。曾言：“美源於自然”，其作品常表現出與自然的互動關係。主要展覽：「博物院館所藏歐豪年作品特展」（2014，台灣台北，中央研究院嶺南美術館）。

Long Chinsan was born in Jiang Su, China. He learned painting, photograph and darkroom skill from Li Jing Lan. He has marked many milestones and the most highly appreciated one is his special “collective photograph skill”. The reason for the uniqueness is his accomplishment of Chinese painting, with which he combines with photograph. This skill won him the appraisal of perfect fusion of painting and photograph. Long devoted himself to and has tremendous contribution in Chinese contemporary photograph. Thousands of his works are participated in international exhibition; furthermore, he is elected as honorable member or researcher by more than 20 world class photo academies. His works are collected by famous museums and collectors.

Born in Guangdong, Au moved to Hong Kong in his early years. He studied under the instruction of Zhao Shaoang, who taught him the Lingnan School style of painting. Au soon became an outstanding successor of the style. For four decades, his works held solo exhibition in Hong Kong, Japan, Malaysia, Europe, America and many art Museums. From 1990 to 1991, he held exhibition tour in Britain, France, Germany, Austria, and Netherlands, Belgium, Greece museums. He won the Rotary International Communication Award by the GIO of Taiwan. In 1993 he was also awarded the special accolades of Grand Palais of Lasocibte Nationaledes Beaus Arts. He was regarded as the representative for Eastern Essence painter in 1994. Extensive travel experience made landscape his main creative subject. Au once said “Beauty comes from nature”, in his work strong admiration and intimacy for nature is conveyed. Main exhibition: “Museum's collection Au Honien's Featured Exhibition” (2014, Taipei, Taiwan, Lingnan Fine Arts Museum).

曾海文(唐海文) TANG

蕭一 HSIAO

HAIWEN (1927-1991)

103 145

生於中國福建。自幼隨祖父學習書法。 1937年抗日戰爭爆發後，舉家遷居越南，後受藝術熱忱之驅使，於1948年赴巴黎自修遊學，長期旅居並揚名於國外。其作品透過純熟的線條運用，跨越東西技法呈現中國傳統哲思，於1955年舉辦首次個人展覽後，持續旅行、展覽於各地，足跡遍 160 及歐美大陸，包含：摩洛哥拉巴特烏達易斯博物館（1959）、瑞典斯德哥爾摩密德索馬花文化中心（1965）、法國沙波多隆聖十字修院博物館（1972）、法國尼斯彭雪德博物館（1980）、法國維特埃城堡維特埃藝術博物館（1984）、法國巴黎拉丁美洲館（1987）、丹麥阿爾圖斯美術館（1995）、摩納哥海洋生態博物館（1996）等。唐海文終其一生以獨特的藝術視野與作品結交異地同好，1991年逝世後，台北市立美術館於1997年為其舉辦「作品回顧展」；同年，日本東京資生堂基金會也舉行「唐海文個展」；法國巴黎亞洲藝術館於2002年為其舉行大型回顧展，完整地呈現其繪畫風貌。其作品為多所法國現代美術館及私人收藏，包括巴黎現代美術館及賽努希爾博物館。 Born in Fujian, China, Tang studied Chinese calligraphy under the instruction of his grandfather, and left for France to seek further education in arts in 1948. He held some sole exhibitions all over Europe, including: Oudaias Museum in Rabat, Morocco in 1959, Midsomma Garden Culture Center, Stockholm, Sweden in 1965, Sables d’Olonne, France in 1972, Ponchettes Museum in Nice, France in 1980, Chateau de Vitre, France in 1984, Paris, France in 1987. Tang never went back to his homeland, China for the rest of his life, yet he traveled all around the Europe and America, and knew numerous friends from all over the world. After Tang passed away in Paris in 1991, The Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled "The Tao of Painting." in 1997; In 2002, the Musée des Arts Asiatiques-Guimet in Paris presented a retrospective of Tang works entitled "Paths of Ink." The Shiseido Foundation in Tokyo has also exhibited the work of Tang in the same year. Tang's work is either held privately or in the collections of several museums in Europe and America, including The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d'Art Moderne de la Ville de Paris.

YI (1956-2006)

生於台灣嘉義。1973年於屏東學習傳統雕刻，受傳統佛像雕刻的啟蒙。1977年開始脫離傳統轉而自由創作，以真實生活體會為創作題材，思索人性與佛性的對立與矛盾。1981年首次個展於春之藝廊，至今已舉辦多場個展及參展於台灣各地、香港、新加坡等。其作品包括許多主題與對象，諸如人體、頭像、動物、摩托車等，在台灣民間生活中，融入現代簡約的元素。作品中隨處可見他如何將自身對禪修的體悟與創作的詮釋上作巧妙地融合，同時並呈現出深沉的思維與生命力。晚年潛居台北縣三芝鄉山間創作，仍以人物的木刻創作為多。作品風格洋溢樸拙，造型多變，極富禪意。近期展覽：「《禪‧易》蕭一個展」（2010，台灣台北，大未來林舍畫廊） Born in Chiayi, Taiwan, Hsiao Yi began his artistic training as an apprentice in craftsmanship at the Buddhist and Taoist temples in 1973. He created freely instead of imitating traditional sculptures in 1977. His first solo exhibition was held by Spring Gallery in 1981. Since then, he held many solo exhibitions in Taiwan, Hong Kong, Singapore and more. His artworks revolve around the topic of human forms, animals, motorcycles, and other elements of Taiwanese folk life, in which he translates into simplistic modern sculptures. His work discussed spiritual meditation, creativity, and vitality. In his old age he moved deep into the mountains of Taipei County to continue his artistic creation. His recent exhibition includes: “Zen, Yi –Hsiao Yi Solo Exhibition” (2010, Taipei, Taiwan)

106

123

MODERN AND CONTEMPOR ARY ART

285

劉其偉 LIU

CHIWEI (1912-2002)

生於中國福建，原名劉福盛。1920年移居日本，先後畢業於日本神戶英語神學院以及東京鐵道教習學院。1945年來台，1949年開始自修水彩畫並於1951年舉辦首次個人水彩展。1962年獲中國畫學會第一屆水彩畫家金爵獎，1996年獲中國文藝協會「文藝獎章」，2001年獲文建會第四屆「文馨獎」金獎及特別獎， 2002年獲總統頒發「褒揚令」。其水彩畫和油畫作品受到臺灣人的喜愛。在臺灣畫壇尊稱他為「劉老」，有畫壇老頑童之稱。近期展覽有：「80年回顧展」（1990，台灣台中，台灣省立美術館）、「巴布亞原始藝術展─劉其偉的新幾內亞行」（1994，台灣台中，國立自然科學博物館）、「探索90─劉其偉捐贈展」（2001，台灣台中，國立臺灣美術館）、「劉其偉歐亞繪畫巡迴展」（2001，愛爾蘭，詹姆斯喬艾思文化中心）。著有《現代藝術研究基本理論》、《水彩技巧與創作》及《台灣土著文化藝術》等書。 105

Liu was born in Fujian, China, his given name was Liou Fu-Sheng. He immigrated to Japan in 1920. He began to study watercolor painting by himself in 1949. Liu held his first exhibition in 1951. In 1962, he was awarded First Prize in watercolors by the Art Society of China in Taiwan in 1962. His watercolor and oil paintings are most popular in Taiwan where he was called Liou Lao as a respectful name. The other name: Wua Tan Lao Wan Tong which describes his playfulness of his personality. He has published extensively, including “The Theory of Modern Painting”,“Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”.

104

125

陳蔭羆 GEORGE

CHANN (1913-1995)

107

193

生於中國廣東。1934年進入美國洛杉磯奧蒂斯藝術學院就讀，師事布魯克及維色卡。就學期間因成績優異獲全額獎學金，並於1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展。1942-1946年間陸續於美國各大城市舉辦展覽。1947-1949年返回中國，於廣州市文獻館及上海舉辦個展。1950年返美，並開始研究抽象畫，於1969-1973年間應南加州帕撒狄納美術館之邀舉行個展，展出50 件抽象作品，其作品為聖地牙哥博物館及美國數個市立美術館珍藏。近期則有大未來林舍畫廊分別於2010、2014舉辦的「陳蔭羆個展」。 Born in Guangdong, China, Chann entered the Otis Institute of Arts in Los Angeles where he was taught by Alexander Brook. His outstanding marks were rewarded with a full scholarship at the institute, where he also received his master's degree in 1940. His first individual exhibition was held the following year at the California Art Club in Los Angeles, and since then held many more solo exhibitions in different cities within the US from 1942-1946. From 1947 to 1949 he returned to China and exhibited at the Public Archives Museum in Guangzhou and Shanghai. In 1950, he yet again returned to the US and was focused in abstract painting. During the year of 1969-1973, fifty of his abstract paintings were exhibited at the Pasadena Fine Arts Museum; the works are now in the collection of San Diego Museum of Art and other art museums. Recent exhibition: “George Chann Solo Exhibition” (2010, 2014, Taipei, Lin Lin Gallery).

286

ZHONG CHENG 中誠

126

藍蔭鼎 RAN

INTING (1903-1979)

生於台灣宜蘭，是台灣知名水彩畫家。曾跟隨日本大師石川欽一郎(1871-1945)習畫，對藍蔭鼎一生的繪畫發展有很深的啟悟。後於 1923年赴日學習油畫及水彩畫。1929年獲選為英國皇家水彩協會會員。其作品曾應邀於歐洲、北美、亞洲等地區展出，作品廣為國內外機構所收藏。台灣光復後，創辦《台灣畫報》與《豐年月刊》，並擔任社長。1971年榮獲歐洲藝術評論學會及美國藝術評論學會徵選為世界十大水彩畫家之一，享譽國際。 1952年入選為法國水彩畫協會會員。1962年日內瓦國際年鑑推薦他為當代最傑出藝術家之一。1973年出任華視董事長，卒於1979年，享年77歲。藍氏一生的水彩畫創作與啟發多以台灣風俗民情為題材，畫風將水墨技法與西洋水彩畫融為一體，生動自然。1991年台 108 北故宮博物院舉辦其紀念展，1998年歷史博物館也再次舉辦藍氏回顧展，並出版其繪畫世界之經典。其著名作品「養鴨人家」由倫敦劍橋美術館所收藏(1966)。 Born in Yilan, Taiwan, Ran In-Ting is considered a well-known watercolorist painter of Taiwan. He was an apprentice of Japanese Artist Ishikawa Kinichiro (1871-1945) whom deeply influenced his style of painting. In 1929, he traveled to Japan to pursuit further study in watercolor techniques. In 1929, he was selected as an honorary member of the British Royal Watercolor Association, thus invited to display his works in Europe, North America and different parts of Asia. He later became the editor for “Taiwan Pictorial Magazine” and “Good Harvest Magazine”. In 1971, he was on the list of “World's Top 10 Watercolorists” written by the American and European Art Critic Associations. In 1952, he was elected as a member of France Watercolor Association. Later in 1962, Ran was included in another list for the “Greatest Artists of Modern Times” published by the International Geneva. In1973, He served as the president of “China Television System”. He lived till the age of seventy-seven. His lifetimes of watercolor creations are deeply inspired by the culture and heritage of Taiwan. In 1991, Taipei National Palace Museum held a “Memorial Exhibition for Ran, and in 1998 the National Museum of History held a “Retrospective Exhibition” in his honor; they published an art catalogue featuring his classics. His famous work “Duck Feeder” is now in the collection of London Cambridge Museum.

227

何肇衢 HO

CHAOCHU (b.1931)

袁金塔 YUAN

CHINTA (b.1949)

109

生於台灣新竹。父親何信嚴為民間佛像畫師，自小受到父親的影響，對繪畫產生濃厚的興趣。1952年畢業於省立台北師範學校藝術科，後專任美術教授，勤於繪畫，具有深厚的繪畫根基。曾榮獲台陽獎、金爵獎、中山文藝獎、法國坎城國際美展及東京亞細亞現代美展等大獎的肯定，深受畫壇重視。1961年，何肇衢受邀成為台陽美術協會會員，創下最年輕的入會紀錄。曾擔任高雄市立美術館及省立美術館及台北市立美術館之油畫典藏委員、中山文藝獎評審委員、中國油畫協會理事、全省美展評審等。參與多個個展與聯展：「2010台灣現代畫─迴游海上詩路」(2010，馬祖，石獅，泉州，德化，金門)、中華文化總會「百歲百畫」聯展(2011，台灣，國父紀念館中山國家畫廊)、「現代．迭起－2013台灣當代的藝術」(2013，台灣，國父紀念館)、「光景寫意－何肇衢八十近作油畫展」(2013，新竹生活美學館)。 Born in Hsinchu, Taiwan and graduated from Fine Art department of National Taipei University of Education. He displayed outstanding artistic talent at a young age. While in school, his work was chosen for provincial and Taiyang Art Exhibition. After graduation, he became a professional art instructor. He continued to create Art works, even after retirement. His oil paintings have won the Taiyang award thrice, the golden duke award, the National Honor Award, and the Zhongshan Fine Arts Award. In the beginning, he placed emphasis on realism, then progressed to a blurry, abstract state, and after that moved on to the realm of new imagery.

趙修 ZHAO

XIU (b.1980)

110

生於臺灣彰化。1975年畢業於國立師範大學美術系，後獲紐約市立大學美術研究所碩士。現職國立臺灣師範大學美術系兼任教授與萬能科技大學創意藝術中心主任。袁金塔長年專注於現代水墨的創作與教學，近來提倡「時尚水墨」，欲結合文化創意產業；近年也從事陶瓷創作，進一步打破媒材限制，結合水墨、陶藝、聲音影像等範疇進行跨領域創作。個人展覽：「不紙這樣─袁金塔水墨紙藝多媒材作品展」 (2013，彰化藝術館、台中文化創意園區國際展演館)、「袁金塔水墨多媒材作品展」（2014，門羅展覽廳與麥菲利展覽廳Monroe and MacFeely Galleries、葡萄牙里斯本東方博物館）。 Born in Changhua, Taiwan, Yuan Jinta graduated from the Fine Arts Department of National Taipei Normal University in 1975, he later received a master's degree from New York University. He is currently a professor in the Fine Arts Department of National Taipei Normal University and the Artistic Director of Vanung University. He had devoted his life on research, creating and educating on modern ink-drawings. In recent years, he experimented with the limit of materials, by combining water ink, ceramic and video works. Solo exhibitions include “Not Only Paper: Yuan Jinta Ink-Drawing Multimedia Exhibition” (2013, Chuanghua Museum, Taichung Cultural Creative Park); “Yuan Jinta: InkDrawing Multimedia Exhibition” (2014, Monroe and MacFeely Galleries)

劉春霖 LIU

字潤琴，號石雲，善書法，尤以小楷為著。小楷筆力清秀剛勁，深得世人推崇。時有“大楷學顏（顏真卿），小楷學劉（劉春霖）之譽。近代書法家，中國科舉制度中最後一位狀元。他在詩書畫上均有極高的造詣，尤擅小楷，其小楷書法有“楷法冠當世，後學宗之”之譽。其狀元及第後，授翰林院修撰，旋被派往日本，入東京法政大學深造。辛亥革命後一度隱居家中。在徐世昌、曹錕當大總統期間，被授予總統府秘書幫辦兼代秘書廳廳長。曾兩次代表徐世昌到山東曲阜主持孔子大成節典禮，並因此名噪一時。日本侵略中國後，拉攏他出任“滿洲國教育部長”等偽職，他保持晚節，堅辭不就。劉春霖患有心髒病，經受日偽打擊後，病情逐漸加重，經多方醫治無效，於1944 年1月18日逝世於北京，時年72歲。

113

生於中國山東齊河。2007年畢業於中央美術學院國畫系，現居北京。作品保有傳統文人清新雅致的氣息，由臨摹古畫中探索自身的繪畫語言，厚植學識修養與練習直至純熟的技術，並透過寫生尋找自己繪畫的本質。展覽經歷：「山東濰坊風箏節系列展——中央美術學院師生山水畫聯展」（2007，中國水墨藝術研究院，山東）、「中日韓亞洲藝術交流展」（2010，韓國文化院，北京）、「遊山玩水」青年畫家邀請展（2010，798藝術區，北京）、「如是自在」當代水墨名家雅集（2011，炳文藝苑，北京）、「造化‧心源」青年國畫家提名展（2014，炎黃藝術館，北京）、「修」趙修山水作品展（2015，798藝術區，北京）。其作品《千峰梅雨》、《瓊花一夜滿空山》獲得私人收藏。 Zhao Xiu was born in Shandong, China. He graduated from the Traditional Painting Department of Central Academy of Fine Arts in 2007. He is currently living in Beijing, China. Zhao's paintings maintained traditional literati elegance, through years of exploring and imitating ancient Chinese paintings; he finds an innovative way to convey traditional essence through refreshing new presentation. Recent exhibitions include: “Shandong Weifang Kite Festival Series Exhibition: Central Academy of Fine Arts Student and Teachers Group Exhibition” (2007, Chinese Painting Research Institute, Shandong); “Japan and South Korea Asian Art Exhibition” (2010, Korean Culture Centre, Beijing); “Sightseeing Journey” (2010, 798 Art District, Shandong); “Contemporary Ink Masters Gathering” (2011, Bingwen Art Garden, Beijing); “Heart Source, Good Fortune: National Young Artists Nomination Exhibition” (2014, Yanhuang Art Museum, Beijing); “Meditation: Zhao Xiu Watercolor Works Exhibition” (2015, 798 Art District, Beijing). His paintings “Thousand Peak Rain Season” and “Qionghua, a Night of Empty Mountain” are now in private collections.

CHUNLIN (1872-1944)

114

Liu Chun-Lin studied calligraphy at an early age, his lower case calligraphy are created handsomely and won the respect of many. Liu and Yen Chen were known as the best reputable calligraphers, one for lower-case and the other for capitalcase. In modern calligraphy, he was the last person to pass the Chinese imperial examination system- the highest form of institute at the time. His poetry and paintings are of honorable reputation even till present day, and is still regarded as the best in lower case calligraphy. After receiving third place in the Xiuzhuan Academy Award, he was sent to Japan to study at the Tokyo Hosei University. After the Revolution, he lived in a secluded home. During the Cao Kun period, he became the Presidential Deputy Secretary and the Executing Secretary of the Director of Office. He represented the Presidence twice for the Sichang Confucius in Qufu, Shandong Dacheng Day Ceremony. During Japan's invasion of China, he was offered the honorary “Manchukuo Minister of Education” however, he rejected the offer, and remain loyal to his country for the rest of his life. In later years, Liu Chun-Lin suffered from heart disease, and after multiple treatments he passed away on January 18th, 1944 in Beijing, China at the age of 72 years old.

MODERN AND CONTEMPOR ARY ART

287

朱銘 JU

MING (b.1938)

118 115 154

116 124

155

240

189

190

生於台灣苗栗。早期向李金川學習木刻，其後與楊英風學現代雕塑。1976年於國立歷史博物館舉辦首次個展，創作了〈同心協力〉等以台灣鄉土為題材且又富含生命力的木雕作品。其後，朱銘融合文化精神與太極招式的「太極系列」作品，更確立了朱銘在雕塑界的地位。1997年應邀至法國巴黎中心的梵登廣場展出。1999年朱銘美術館在臺北縣金山鄉開幕，使其作品與自然環境相互呼應。2004年獲頒九十三年行政院文化獎，亦為台灣對文化界人士所頒發的最高榮譽獎項。朱銘的作品被世界各大城市美術館、教育機構和政府珍藏，其善於發揮各種材質的特性，不僅具有很強的現代感，而且繼承了中國傳統雕刻的精髓，創造出一種與自然渾然一體的精神境界。近期展覽：「刻畫人間」朱銘雕塑大展（2014，香港，香港藝術館）。 Born in Miaoli, Taiwan, Ju Ming started his artistic training with Lee Chinchun, and was later taught by Yu Yu Yang to learn about modern sculptures. In 1976, the National Museum of History hosted his first solo exhibition, featuring works like “Together” and other wooden sculptures surrounding the subject of traditional Taiwanese heritage. Ju Ming demonstrates the Eastern essence and empowerment that is conveyed through his “Tai-chi” Series, further establishing his status in the sculpture world. In 1997, his works were exhibited abroad in Paris Vendome Exhibition Center. He established the Ju Ming Museum in Chishan, Taipei in 1999. In the year of 2004, He won the 93rd annual award hosted by the Ministry of Culture. Ju Ming's artworks are collected across the world by major museums, educational foundation, and within governmental collections. Recent exhibition: “Portrayed World” Ju Ming sculpture exhibition (2014, Hong Kong Museum of Arts).

288

ZHONG CHENG 中誠

246

247

陳正雄 CHEN

CHENGHSIUNG (b.1942)

李仲生 LI

ZHONGSHENG (1912-1984)

119

117

213

生於台灣台南。十四歲於北港佛像店做學徒，自此開啟其雕塑生涯。現為日本新構造社雕刻部會員，也是中華雕塑學會會員。至今獲獎無數，包括南美展市長獎（1970、1978）、年南美展柏川獎（1979）、第六屆吳三連先生文藝獎（1983）、日本新構造展雕刻大賞（1989）等。著名展覽包括：「日本新構造會員努力賞」(1984，日本)、「三義木雕博物館開館展」(1990，台灣苗栗，三義木雕博物館)、「個展」 (1987，台灣台北，國立歷史博物館)、「國際藝術博覽會」(2003，韓國首爾)、「刀鋒入木」（2012，苗栗三義）、「生之痕木雕創作個展」(2013，台中，鶴軒藝術)。台灣國立美術館、台北市立美術館與高雄市立美術館皆有典藏其作品。 Born in Tainan, Taiwan, at the tender age of 14, Chen began his wood-carving career as an apprentice at a local temple, where he created Buddhist sculptures. He is currently a member of the Japan Shinkouzou Art Association, and The Sculpture Society of Taiwan. He has won many awards including: “Mayor's Award of Tainan Art Exhibition”(1970、 1978); “Wusanlien Award” (1983); “Sculpture Award of Shinkouzou Exhibition” (1989, Japan). Important exhibitions include: “Award of the Sinkouzou Exhibition” (1984, Japan); “Solo Exhibition” (1987, Taipei, National Taiwan Museum of History); “Sanyi Wood Sculpture Museum Opening Exhibition” (1990, Taiwan, Sanyi Wood Sculpture Museum); “International Art Fair” (2003, Seoul, Korea); “Wood Sculpture Exhibition” (2013, Sanyi Sculpture Society); “Life and Scar: Wood Sculpture Solo Exhibition” (2013, Taichung, Ho Ho Arts). Chen's works can be seen in the collection of National Taiwan Fine Arts Museum, Taipei Fine Arts Museum, and Kaohsiung Museum of Fine Arts.

霍剛 HO

KAN (b.1932)

生於中國廣東，畢業於東京大學美術系西洋畫科。1935年加入日本前衛美術團體─ 東京「黑色洋畫會」，並於同年編寫「二十世紀繪畫總論」。1945年與趙無極、關良、丁衍庸、林風眠及龐薰琹等畫家參加重慶「現代繪畫聯展」，後轉任重慶國立藝專及廣州市立藝專教授。1949年到台灣，先後任教於台北第二女子中學與彰化女中。李氏於1951年在台北開辦「前衛藝術研究室」，其學生於1957年組成「東方畫會」。著名展覽包括：「中國現代畫展」（1965，義大利）、李仲生首次個展(1979，台灣台北) 、李仲生紀念展（1984，台灣，台北市立美術館）。李仲生辭世後，後輩依其生前之理念為基礎，籌組「財團法人李仲生現代繪畫文教基金會」，積極提倡及推展現代繪畫，持續襄助台灣現代美術的發展。 Born in Guangdong, China, Li graduated from the Fine Arts Department at the University of Tokyo, where he focused on studies of Western paintings. Li joined a progressive art group in Tokyo called the "Black Western Painting Society" in 1935. In the same year, he compiled and written the "The Paintings In the 20th Century". In 1945, he participated in a group show titled “the Modern Painting Exhibition” in Chongqin province, along with artists like Zao Wou-Ki, Guan Liang, Ding Yanyong, Lin Fengmian and Pan Xunqin. He later taught at the National Chongqing Art College and the Guangzhou Municipal Art College. After moving to Taiwan in 1949, he taught at the Second Municipal Girls’Senior High School and the Changhuo Girl's Senior High School. He also founded the "Progressive Art Research Group" in 1951 in Taipei, where his student founded the "Ton Fan Group" in 1957. Li Zhongsheng's Important exhibitions include: "China Modern Art Exhibition" (1965, Italy); “Li Zhongsheng Solo Exhibition” (1979, Taipei, Taiwan) and “Li Zhongsheng Remembrance Exhibition” (1984, Taipei Fine Arts Museum). After the passing of Li, his students from the past founded the “Li Zhongsheng Foundation for the Culture and Education of Modern Arts“, where they actively promote and assist the development of Modern Arts in Taiwan.

潘朝森 PAN

CHAURSEN (b.1938)

121

120

生於中國南京，本名霍學剛。畢業台北師範學校藝術科，寄讀於師大附中時，認識了來自上海美專的李文漢，開始接觸藝術、西畫等理論。後入李仲生畫室學習，畢業後開始教職工作，投入推展兒童發展自由畫，同時致力繪畫創作，作品素描、油畫、水墨均有接觸，選題常以風景、靜物為主，偏好藍、綠、灰等冷色調。1956年與友共創八大畫會；1964年前往法國，之後轉往義大利定居米蘭至今。出國後風格調整，減少線條筆觸，色彩也轉向明朗，曾獲「義大利Gubbio市國際藝術發展獎」、「第五屆李仲生基金會現代繪畫獎成就獎」等。 Born in Nanjing, China, Ho Kan graduated from the Fine Arts Department of National Taiwan Normal University. When he was in high school, he met artist Li Wenhan from Shanghai Art College who introduced him to Western art theories. He later entered Li Chung-Sheng's art studio, upon graduation he started promoting art education for children, on the side he also focused on creating pencil sketches, oil paintings, to ink-drawing. He often depicts subjects like scenery and still life using mostly cold color palate. In 1956, he co-founded the “Eight Great Outlaws” with several other artists. In 1964, he travelled to France and later immigrated to Italy, currently he is living in Milan. Since he travelled abroad, his style has changed drastically to more simple and vibrant creations. He won the Italy Gubbio National Art Fair Award, the 5th Li Chung-Sheng Foundation Modern Painting Award and many more.

生於台灣新竹，畢業於台中師專美勞科，師承蕭如松，1955年入台北師範學校藝術科。1966年發起組織「世紀美術協會」。曾獲「台陽美展」首獎、省立美展第三名、省教員美展第一名、中華民國畫學會「金爵獎」、法國貝茲耶國際沙龍藝術成就獎章等殊榮。主要展覽：代表台灣參加「聖保羅雙年國際展」(1969，巴西)；作品《思》代表台灣參加法國坎城國際展，並榮獲「國家榮譽獎」、「個展」 (1974，台灣台北，國立歷史博物館) 、「法國秋季沙龍」(1991，法國)、高雄市立美術館開館聯展(1994，台灣高雄)、「愛與美七十回顧展」(2007，台灣台北，國父紀念館)。此外，2008年更為吳三連藝術類西畫類得主。 Born in Hsinchu, Taiwan, Pan Chaursen was taught under the instruction of artist Hsiao Ru-Sung in high school, soon later he graduated from the Fine Arts Department of Taipei Normal College in 1955. In 1966, he organized the “Century Art Association” and received multiple awards ever since. He was awarded first place in the Tai Yang Art Exhibition, first place in Provincial Teacher Art Exhibition, third place in Provincial Art Exhibition, Golden Goblet Award from the Art Society of China and France Best Achievement Medal. His major exhibitions include: “Brazil St. Paul International Biennial Exhibition” (1969, Brazil) In 1972, his painting “Ponder” was present at the French Cannes International Exhibition and received “Honor of the Country” prize. “Solo Exhibition” (1974, Taipei, National Museum of History); “Le Salon d'Automne” (1991, France) “Kaohsiung Museum of Art Openings Group Exhibition” (1994, Kaohsiung, Taiwan) “Love and Beauty Memorial Exhibition”(2007, Taipei, National Dr. Sun Yat-sen Memorial Hall); “Wusanlian Art Awards” (2008, Taiwan)

MODERN AND CONTEMPOR ARY ART

289

董小蕙 DONG

SHAWHWEI (b.1962)

陳庭詩 CHEN

127

122

62年生於台灣台北，自幼熱衷繪畫 ,1984年畢業於國立台灣師範大學美術系西畫組。 1992年國立台灣師範大學美術研究所理論組碩士畢業。1993年旅居歐系國家寫生創作。1994年到2003年間舉行七次油畫個展，並出版多本畫集。她早期的繪畫風格由印象派的抒情寫生入手，後受到莫內（Claude Monet、梵谷（Gogh Vincent van）、波納爾（Pierre Bonnard）等畫家的影響，著重光影與色彩的情境變化，繪畫風格清新自然。其畫作不僅為國內許多鑑藏家所稱許，也多為歐洲人士所收藏。

217

生於中國福建。1948年來臺，年幼失聰反使其更專注於創作。歷任五月畫會、現代版畫會、國際藝術協會會員、台灣中部雕塑學會評議員、現代眼畫會會長。是台灣現代藝術發展先趨之一。是全方位的藝術家，其金石、詩書、字畫樣樣精通，甘蔗版畫、水墨、壓克力彩畫、鐵雕十項全能，晚年獨居台中太平，熱衷鐵雕藝術創作。曾多次參與歐美亞等地海外聯展，並定期參與五月畫會展覽及多項個人展覽。 1959年起連續五屆受邀參展巴西聖保羅雙年展，1970年獲得韓國版畫雙年展首獎，並於1999年受邀參加在西班牙、法國巡展的「二十世紀金屬雕刻家大展」，與法國雕塑大師塞薩、畢卡索等同堂發表。是少數列名<二十世紀美術史>的亞洲藝術家（Art of the 20th century法國著名藝評家Ferrier著）。近期展覽：「玄機─陳庭詩現代藝術創作展」（2014，台灣新竹，交大藝文空間）

Born in 1962 in Taipei, Taiwan, Don Xiao-Hui had a passion for art since a young age. She graduated from the Western Painting Department of National Normal University of Taiwan, and in 1992 she received her master's degree from the same institute. In 1993, she traveled to Europe for creative inspirations. From 1994 to 2003, she held a total of seven oil painting solo exhibition, and published multiple catalogues. In her early works represent strong influence of the Impressionist artists Monet, Van Gogh and Bonnard. Her paintings focus on the change of light, and convey traditional color theories. Her oil paintings are well received in Taiwan, and within several European private collections.

Born in Fujian, China, Chen lost his hearing at an early age, thus enabled him to develop extraordinary concentration. Chen moved to Taiwan in 1948 and participated in various artistic circles including the Fifth Moon Group, the Modern Graphic Art Association and the Modern Eyes Group. As a multimedia artist, he works with poetry, calligraphy, lithographs, ink, acrylic painting and more. In his old age, when he lived in solitary in Taiping, Taichung he was especially passionate about iron sculptures. He participated in numerous exhibitions in Europe, United States, Asia and other overseas regions. He regularly exhibited with the Fifth Moon Group on top of his own solo shows. Since 1959, Chen was invited by Sao Paulo Biennial for five consecutive years. In 1970, he was awarded first prize at the First International Biennial Exhibition of Prints in Seoul, Korea. In 1999, he exhibit in Spain and France for the show “Metal Sculptor of the 20th Century Exhibition” along with Cesar, Picasso and other renown artists. He was the few artists to be mentioned in the famous French art historian, Ferrier's book “Art of the 20th Century”. His recent exhibition includes: “Mystery- Chen Ting-Shih Modern Art Exhibition” (2014, Taipei, Taiwan)

陳心懋 CHEN

劉耿一 LIU

XINMAO (b.1954)

128

出生於中國上海，1987年畢業於南京藝術學院美術系，獲碩士學位。個展：「陳心懋首度個展」(1991，英國，牛津大學文化中心)、「石語‧史記—陳心懋作品展」 (2010，香港，中央圖書館)、「心象‧墨相—陳心懋作品展」(2015，上海，芊荷藝術空間)。聯展：「國際水墨雙年展」(2000，深圳)；「洛杉磯國際美術雙年展」 (2000，美國)；「水墨在途-上海新水墨大展」(2007，朱屺瞻藝術館、上海現代美術館)；「水墨新境—中國當代水墨展」(2010，上海，M藝術空間)；「墨-界—藝術家聯展」(2012，江蘇)；「水墨的邏輯-25位藝術家的25種表達群展」(2013，北京)；「大象無形—當代中國抽象藝術邀請展」(2014，北京，今日美術館)。 Born in Shanghai, China, Chen Graduated in 1987 from NanJing Academy of Fine Arts with a master's degree. Solo exhibitions include: “Chen Xinmao First Solo Exhibition” (1991, UK, University of Oxford Culture Center), “Excavation of Spiritual Stone Series- Chen Xinmao” (2010, Hong Kong, Hong Kong Central Library); “Chen Xinmao Exhibition” (2015, Qianhe Art Space). Group Exhibitions include: “International Traditional Chinese Painting Biennial” (2000, Shenzhen); “Los Angeles International Biennial” (2000, USA); “A Way of Chinese Ink: Chinese Contemporary Ink Exhibition” (2010, Shanghai, M Art Space); “Ink World: Group Exhibition” (2012, Jiangsu); “Ink Logic: 25 Artists, 25 Expressions Group Exhibition” (2013, Beijing); “The Great Form Has No Shape: Invitation Exhibition of Contemporary Chinese Abstract Art” (2014, Beijing, Today Art Museum).

290

TINGSHIH (1916-2002)

ZHONG CHENG 中誠

KENGI (b.1938)

生於日本東京，父親為台灣著名畫家劉啟祥。1946年返台，19691980任教於屏東國中，1981年辭去教職並移居高雄，自始成為專業畫家。曾遊歷日本、歐洲、美洲與紐西蘭等地，以汲取創作靈感。曾榮獲：台陽展之「台陽賞」(1963)、全省美展優選（1963）、中華民國畫學會油畫類「金爵獎」(1986)。 1962年，首次於高雄市台灣新聞報畫廊舉辦個展，近期展覽包括：「大地行吟：劉耿一繪畫及造型藝 132 術展」，並出版專輯（2001，台灣台北，亞洲藝術中心）、「美術高雄2001：後解嚴時代的高雄藝術」聯展（2002，台灣，高雄市立美術館）、「我與我：藝術家自我探索與刻畫」聯展（2002，台灣，高雄市立美術館）、「亞洲新意美術交流展2004」（2004，台灣台南，市立文化中心）、「劉耿一新作展」（2007，紐西蘭，因第果畫廊）、「鳳邑‧風華I－藝術先行者」聯展（2008，高雄縣文化局）、近作巡迴展「映在潮水中的時光」(2010至2011年9月，台灣創價學會錦州、台中、景陽、鹽埕藝文中心)，並出版專輯、「劉耿一回顧展－生命感知與詠嘆」(2011，台北市立美術館)、「異想與實存之間—劉耿一個展」(2014，台南)。 Born in Tokyo, Japan. Liu returned to Taiwan in 1946 and taught at Heng Chun Junior High School in Pintung. Since he resigned from school and moved to Kaohsiung in 1981, he then became a professional artist. He traveled to Japan, Europe, America and New Zealand to gain inspiration of artistic creation. Awards: Tai-Yang Prize of Tai-Yang Art Association Yearly Exhibition(1963), Chin Chueh Prize for oil paintings by R.O.C. Painting Society. His first one-man show of oil and oil pastel paintings was held at Gallery of Taiwan Daily News, Kaohsiung, 1962. Recent exhibitions: One-man show of oil pastel paintings and sculptural furniture “, Asia Art Center, Taipei, 2001; ”Art of Kaohsiung 2001: Art in Kaohsiung after the Lifting of Martial Law" ,Kaohsiung Museum of Fine Arts, 2002; "I-ness: About Me－ Artists' Exploration and Depictions of the Self", Kaohsiung Museum of Fine Arts, 2002; "New Expression of Asian Art" , Tainan Municipal Culture Center, 2004; Solo Exhibition of paintings "Pohutukawa Suite" , Indigo Gallery, kerikeri, New Zealand, 2007; "Elegance and Intellectual Brilliance of Kaohsiung County, I Art Forerunners" , Kaohsiung County Culture Center, Kangshan, 2008; "Time Reflected upon the Tide: Recent Works by Liu Keng-I" traveling to four arts centers of Taiwan Soka Association: Taipei, Taichung, Doouliow, Kaohsiung (until September 2011) and “Aria of Life: The Art of Liu Keng-I”, Taipei Fine Arts Museum, 2011.

楊英風 YUYU

YANG (1926-1997)

131 129

130

生於台灣宜蘭。曾進修於日本東京學校建築系、北平輔仁大學美術系及國立台灣師範大學藝術系，後前往義大利羅馬藝術學院學習雕塑，受業於季安保理（Pictro Giampoli），並獲推薦加入義大利錢幣徽章雕塑家協會，成為台灣早年少數的銅章雕塑家。1964至1966年間，獲頒義大利奧林匹克繪畫金章獎、雕塑銀章獎與第二屆世界和平文化藝術大獎。早期作品有人文主義的風格，後期則以現代主義的抽象組合造型、不銹鋼材質和中國式的藝術思維聞名於世。展覽：「無相無形─楊英風與造像藝術」(2011，馬來西亞，佛光山東禪美術館)、「呦呦英華～楊英風藝術研究中心十二年特展」(2011-2012，台灣新竹，交大藝文空間)、「太初‧有道─楊英風展」(2014，中央研究院)。

于彭 YU

133

Yu Yu Yang was born in Yilan, Taiwan. He studied architecture at the Tokyo Art School in Japan, Fine Arts at Fu Jen University in Beijing, and Sculpture at the National Academy of Art in Rome. Where he studied under the supervision of Pictro Giampoli. Recommended by Giampoli as the first Taiwanese member, Yang was invited to join the “Italian Association for Bronze Coin Making Artists.” During 1964-1966, he held exhibitions in Italy and was awarded a gold metal in painting and a silver medal in sculpture at the Olimpiadi d’ Artee Cuture Abano. He also won the World Peace Prize from the Culture and Arts by the Roc's Literature and Arts Society. Recent exhibitions include: “Yu Yu Yang Sculptural Art Exhibition” (2011, Malaysia, Fo Guang Shan Art Museum); “Yu Yu Yang Research Center 12 Years Special Exhibition” (2011-2012 Hsinchu, National Chiao Tung Art Center); “Yu Yu Yang Solo Exhibition” (2014, Sinica Academy).

PENG (1955-2014) 生於臺灣臺北。自小對泥塑及傳統皮影戲產生濃厚興趣，影響其日後繪畫創作。由於不甘被傳統學院派囿限，故從未曾接受正統學院美術教育，先後跟隨陳亦耕、鄧國清及李其茂等老師學畫。 22歲時成為全台第一位街頭畫家，26歲赴希臘及中國遊歷，後開始思索文化定位問題。1980年於台北舉辦首次個展，後參與國內外展覽達二十餘次。近年個展包括：「如花美眷似水流年──于彭專展」（2005，中國北京，果園）、「草堂計畫－桂蔭廬」（2007，中國北京，三尚藝術中心）、「永康記遊粉彩素描個展」（2009，台北，紫藤廬文化基金會）、「神遊者」（2010，杭州，三尚當代藝術館）、「我的山海經── 于彭個展」(2014，台南，加力畫廊)。其作品為世界各國主要美術館及畫廊收藏，包括香港藝術館、台北市立美術館、舊金山亞洲藝術博物館、國立台灣美術館、紐約大都會美術館、波士頓博物館以及大英博物館等。

Born in Taipei, Taiwan, Yu was interested in clay sculpting and pottery since early childhood, thus influence his artist style in present day. He did not attend any art institutes as he did not want to submit to formal artistic training. He learned painting under the instruction of Chen Yi-keng, Teng Kuo-ching, and Li Chi-mao. At the age of twenty-two, he became the first street artist in Taiwan. He travelled to Greece and China four years later; he began to question and explores different cultural status. In 1980, held his first exhibition in Taipei and since then held over twenty solo and joint exhibitions in Taiwan and overseas. Recent exhibitions include: “Yu Peng Solo Exhibition” (2005, Beijing, Orchard); “Cottage Project Gui Yin- Lu” (2007, Beijing, San Shan Art Center); Yongkang Pastel Sketch Solo Exhibition” (2009, Taipei, Wistaria Cultural Foundation); “Yu Peng Solo Exhibition” (2014, Tainan, InArt Space). His works within the collection of British Museum in London, Hong Kong Museum of Art, Taipei Fine Arts Museum, National Taiwan Museum of Fine Art, The Metropolitan Museum of Arts and Museum of Fine Arts, Boston.

李明則 LI

188

MINGTSE (b.1957) 生於高雄岡山，1969年開始接觸漫畫，進而學習繪畫，1977年昆山中學高職部美工科畢業。1981年獲雄獅美術「新人獎」。言簡意賅的「變」，在李明則的作品中，經常不按邏輯地出現，一種跳脫現實的錯愕，卻沒有太強迫性的壓力，而是溫和而自在的「超現實」。2008及2009舉辦「英雄本色」形而上畫廊、「喆園春宴」環境裝置藝術、「新高潮一後工業」新思惟人文間等聯展。個人展覽：「看透自己─ 裝置藝術展」(2001，高雄豆皮文藝咖啡館)、「四海一家─李明則2004年個展」（2004，台北大趨勢畫廊）、「我愛台灣．更愛南台灣」（2009，高雄市立美術館）、「後桃花源記」蘇旺伸李明則雙個展山藝術．北京林正藝術空間（2010）。

134

Born in Kaohsiung, Taiwan, Li Ming-Tse first encountered art in 1969. He graduated from the Art Design major of Kuen Shan Senior High School in 1977. In 1981, he won the title of New Talent from Lion Art Award. “Change” is an element that he often incorporates in his work, his painting style is always unexpected, escaping realism but soft spoken. From 2008-2009 he held various exhibitions from “Hero Art Exhibition” at Art Map Gallery, “Chuang Garden Spring Festival: Environmental Installation Work” and “New Climax: Post Engineering Group Exhibition.” His solo exhibitions include: “See Through Yourself: Installation Exhibition” (2001, Kaohsiung Art Coffee House); “Li Ming-Tse 2004 Solo Exhibition” (2004, Taipei Main Trend Gallery); “I Love Taiwan, Love Tainan More” (2009, Kaohsiung Art Museum); “Post Peach Blossom Journal” (2010, Mountain Art, Beijing Lin Chang Gallery)

MODERN AND CONTEMPOR ARY ART

291

楊成愿 YANG

CHENGYUAN (b.1947)

楊識宏 YANG

CHIHUNG (b.1947)

136

135

生於台灣花蓮。1971年畢業於台北師範大學美術系。1981年於日本大阪藝術大學油畫研究科畢業。回國後加入十青版畫會，從事創作與教學工作，對版畫推廣活動亦不遺餘力。在楊成愿作品中異質符號並置其間，彼此雖無邏輯必然性，但在符號本身的意義外，其試圖讓符號之間產生多重對話，形成語法關係並進而衍生出新的意義。作品先後榮獲1982年中日交流展油畫藝術招待獎、1986年西班牙費路爾（FERROL）國際版畫展獲特別榮譽獎、1989年中華民國國際版畫雙年展「文建會主委獎」、1991年中華民國國際版畫雙年展「國家文藝基金會獎」、南京三版展「特別獎」及1998年台灣文藝協會「中興獎章」等殊榮。1987年首次個展於台北雄獅畫廊，2009年「楊成愿創作回顧展」於國立台灣美術館展出。作品獲日本田川市美術館及多數國家購藏。 Born in Hualian, Taiwan, Yang graduated from the Taiwan National Normal University in 1971 with a Fine Arts degree, and further completed his masters in the Oil Painting Department of Osaka University of Arts in 1981. Yang's painting was awarded at SinoJapanese Exchange Exhibition in 1982, the Print Festival of Museo Municipal de Ferrol Spain in 1986, International Biennial Print Exhibition in 1989 for the “CCA Chairman Awards”, International Biennial Print Exhibition in 1991 for the “National Culture and Arts Foundation Awards”, Nanjing 3rd Edition Exhibition “Special Awards”, Taiwanese Art Association “ZTE Awards” in 1988, and many more honorable mentions. His first solo exhibition was held at Taipei Lion Gallery in 1987. In 2009 the National Taiwan Museum of Fine Arts hosted the “Yang Cheng-Yuan: A Retrospective Exhibition”. His artworks are within the permanent collection of Japanese Tagawa Museum of Arts and other important international museums.

蕭勤 HSIAO

177

208

生於台灣桃園，1968年畢業於國立台灣藝專。最重要的華人抽象表現主義藝術家之一。1979年移居美國紐約至今。2004年出版攝影集《台灣文化人攝影紀事》，同年榮膺國立台灣藝術大學傑出校友。創作及展覽至今，在台北、香港、北京、漢城、倫敦、紐約、芝加哥等地舉辦五十餘次個展及兩百多次聯展。近期個展：《繪畫40年》(2010 ,國立台灣美術館)、《通道存在的》(2011,北京亞洲藝術中心)、《思維空間》(2012 ,台北亞洲藝術中心)以及近期《複調的詩學－楊識宏個展》(2014 ,亞洲藝術中心年度大展)於台北一館與二館空間舉辦，分別以「時光刻痕」、「當代視域」呈現他不同時期的創作軌跡。作品廣獲國內外藝術機構、企業及私人收藏。 Born in Taoyuan, Taiwan, Yang Chihung graduated from National Taiwan College of Art in 1968. He is one of the most important abstract expressionist painters of Asia. He immigrated to New York from 1979. In 2004 he published a photography series titled “Taiwan Culture and People Photography Journal.” In the same year, he was honored by National Taiwan College of Art for Successful Alumni. His held many exhibitions since from Taipei, Hong Kong, Beijing, Han City, London, New York, Chicago and many other locations. His solo exhibitions exceeded over fifty, and over two hundred group exhibitions. Recent exhibitions include: “Painting 40 Years” (2010, Taipei Fine Arts Museum); “Existing Passageway” (2011, Beijing Asian Art Center); “Thought Space” (2012, Taipei Asia Art Center); and most recent exhibition “The Poetics of Polyphony: Yang Chihung Gallery”(2014, Asian Art Center) presenting the “Time Scar” and “Modern Perspective” series. Yang's works are included in domestic and overseas museum and private collections.

CHIN (b.1935)

207

265

137 224

生於中國上海，父親蕭友梅是中國現代音樂的重要啟蒙者。1949年來台， 1951年進入臺北師範學校藝術科系，向朱德群學習素描，作品多次參加過全國性及國際性展覽。1955年獲西班牙政府獎學金，1959年第一次在義大利舉行個展，同年遷居米蘭。先後工作於巴黎、倫敦與紐約等地。1961年發起「龐圖藝術運動」，1978年創辦「太陽國際藝術運動」，1989年發起「國際無藝術運動」活耀於國際藝壇，1996年任職於國立台南藝術學院教授，2000 年應邀參加第七屆義大利威尼斯建築雙年展，2002年獲國家文藝獎，2005年被義大利總統授予「義大利團結之星騎士」勳章；近期展覽有：「榮源─蕭勤七十回顧展」(2006，中國北京，中國美術館)。「蕭勤回顧展」(2008，義大利，巴爾瑪大學)。「蕭勤 - 無限之旅」回顧展(2009，米蘭三年展)。 292

ZHONG CHENG 中誠

Hsiao Chin was born in Shanghai, China. His father Hsiao Yumei, was an important modern music composer in China. After moving to Taiwan in 1949, Hsiao enrolled in the Fine Arts Department at the National Taiwan Normal University in 1951. He was a student of Chu TehChun; his works were often selected for 268 International Exhibitions. In 1955, he received a scholarship from the government of Spain. He held his first solo show in Italy in 1959, and soon moved to Milan. He worked in Paris, London, New York and many other countries. In 1961, he promoted the “Punto Art Movement” and he also founded the “Sun International Art Movement” in 1978 and the “In formalism Art Group in 1989. He taught at the Tainan National College of Arts in 1996, and was invited to “The 7th Biennial Architecture Exhibition of Venice” in the year 2000. He was awarded the National Cultural and Art prize in 2002. In 2005, he was conferred by the Italian President C. A. Ciampi the honorable title of “Knight of Italian Star of Solidarity”. Recent exhibitions include: "Glory Source- A retrospective Exhibition of Hsiao Chin" (2006, Beijing, National Art Museum of China); “Hsiao Chin Retrospective Exhibition” (2008, Italy, Parma University); “Hsiao Chin- Unlimited Journey Retrospective Exhibition” (2009, Milan).

安卓 ENDRO (b.1983)

趙澤修 LINUS

138

生於印尼日惹。1998年至2001年間於日惹藝術交流協會。2001年於日惹印尼藝術學校(ISI)進行藝術研究。為當代藝術家，活耀於印尼日惹。近年展覽包括：「LIFE IS AMAZING」［2011，綠色藝術空間］、「BAZAAR ART FAIR」（2011，太平洋皇宮，雅加達，印尼）、「PSEUDO AGONY」（2010，Galeri畫廊，雅加達，印尼）、「seni rupa bersama ACTION `01」（2010，塔曼文化中心，日惹，印尼）、「印度希望之八位藝術家」（2010，不一藝術，香港）、「日惹藝術博覽會」（2009，塔曼文化中心，日惹，印尼）、「日惹藝術」（2006，日惹，印尼）、「關懷地震．日惹」（2006，Girang Gallery，日惹，印尼）。 Born in Yogyakarta, Indonesia, from 1998-2001 Endro was an active member of the contemporary art scene in Yogyakarta. He studied in Indonesian Institute of the Arts in 2001, and later devoted his life the artist path. Recent exhibitions include: "LIFE IS AMAZING" (2011, Green Art Space); “BAZAAR ART FAIR” (2011, Pacific Palace, Jakarta, Indonesia); "PSEUDO AGONY" (2010, Galeri Canna, Jakarta) “Seni Rupa Bersama ACTION `01” (2010, Taman Budaya, Jogjakarta); “EIGHT PROMISING INDONESIAN ARTIST” (2010, Hong Kong, EDGE Gallery); “Yogyakarta Art Fair 2” (2009, Taman Budaya, Jogjakarta); “Art for Jogja” (2006, Yogyakarta, TBY) “Peduli Gempa Yogyakarta” (2006, Yogyakarta, Girang Gallery).

巴斯天 ALFRED

BASTIEN (1873-1955)

ZAO (b.1930)

生於中國山東濟南。1955年畢業於台北國立師大藝術系，赴美後入紐約帕爾遜美術學院獲藝術碩士，1959年至 1964年間在東京映動畫廠及好萊塢迪斯尼動畫片廠工作。1965返台在台北創「澤修美術製作所」，為台灣動畫片先驅，有「台灣卡通之父」、「台灣華特迪士尼」之稱。第一部製作的動畫為1968年的《石頭伯的信》及1969年《龜兔賽跑》。1971至2003年任夏威夷大學美術教授及自由畫家；2015年捐贈《龜兔賽跑》動畫影片予中國電影資料館。1960年至今，曾在各地展出水彩畫，如日、韓、加、家、澳洲、巴西、中、台各地等，獲獎頗多；2008 年第十七屆「趙澤修、李夢琴夫婦藝術雙年展」於大島希洛Wailoa藝術中心展出，2010年，趙澤修帶領美國畫家 139 團隊回台辦「世界水彩畫聯展」。其水彩畫題材豐富，對雨、雪、山、水更為鍾情，常把「一瞬」之間的燦爛和輝煌把握入畫，揮筆不拘法則；凡聚散藏露，疏密呼應，將有限變為無限，淋漓灑脫的把詩意、哲理、情思貫入畫的深處。 Born in Jinan, Shan Dong, Linus Zao graduated from the Fine Art Department of National Taiwan Normal University in 1955, he later completed his masters at Parsons School of Design in the United States. He worked for Tokyo TOEI Animation Studio and Disney Hollywood Studio from 1959 to 1964. When returning to Taipei in 1965, he founded the “Linus Art Studio”, as the pioneer of Taiwanese animation he was recognized as the “Father of Cartoon” and “Walter Disney of Taiwan”. His first animation was produced in 1968, titled “Uncle Stone's Letter”. He soon completed his second animation “Tale of a Turtle and Rabbit” in 1969. He taught at the University of Hawaii and worked as a freelance painter from 1971 to 2003. Linus Zao exhibited his art internationally in Japan, Korea, Canada, Australia, Brazil, China and Taiwan where he won numerous awards. In 2008, his works were displayed at the 17th “Linus Zao, Li Mongchin Art Biennale” exhibition held by Wailoa Art Center. In 2010, he led a group of American painters to exhibit for the “World Watercolor Exhibition” in Taiwan. Zao's watercolor paintings have diverse themes from rain, snow, mountains to oceanviews, the artist easily captures the moment of nature through poetic, philosophical and romantic manner.

張念 ZHANG

NIAN (b.1964)

140

生於比利時。巴斯天是比利時印象派的藝術家，享譽歐洲畫壇多年。最初先後在比利時根特、布魯塞爾皇家美術學院習畫。1897年贏得Godecharle基金會獎學金並進入巴黎藝術學院深造。1927 至1945年執教於比利時布魯塞爾皇家美術學院，期間三次連任院長職務。曾為比利時國王亞爾佩一世作畫並且經常受邀在國內外舉行展覽，畫作廣被國際重量級美術館收藏。1934、1935年間「比利時現代繪畫展」巡迴於上海及南京舉行，被藝術史家視為20世紀初期中國首見的最大規模歐洲畫展，《比利時國王騎馬肖像》和《花籃與水果盤》等油畫是焦點展品。巴斯天藝事生涯和中國甚有淵源，與畫家徐悲鴻熟識，吳作人與沙耆即經由徐悲鴻推薦進入布魯塞爾皇家美術學院師事其門下，在他執教的班上曾同時有過11個不同國籍的學生。 Born in Belgian, Bastien was a Belgian Impressionism artist. He first enrolled in École Nationale Supérieure des Beaux-Arts Paris. He later won the Prix Godecharle scholarship in 1897 and was granted advance studies in Académie Royale des Beaux-Arts in Brussels. From 1927 to 1945, he taught at the first enrolled institute and was appointed as the Dean for three consecutive years. He painted for the King of Belgium and was invited to exhibit in many oversea countries. Museums are also collectors of his works. From 1934 to 1935 Bastian's artworks were shown in “Belgium Modern Painting Exhibition” in Shanghai and Nanjing. The show was considered to be the largest European art exhibition in China during the early 20th Century. His paintings “The Belgium King Riding Horse Portrait” and “Flowers and Fruit Basket” were the center of attention. Artist Xu Beihong was a close friend of the artist, he recommended Wu Zuo Ren and Sadji to be taught under Bastien's instructions. As an instructor, he used to teach a class with more than eleven different nationalities.

141

生於中國四川，1988年畢業於中央工藝美術學院，現生活於北京。1989年在「中國現代藝術大展」的行為作品「等待」（孵蛋）為其代表作。著名個展包括：「移動的記憶」（2006，上海，東大名創庫）、「光芒時刻」（2006，北京，今日美術館），以及 2008年奧迪汽車在北京今日美術館為他舉辦盛大的個展。曾參與展覽：「移動的社會主義—當代藝術展」（2006，北京，798時態空間）、「2006中國當代藝術文獻展」（2006，北京，中華世紀壇美術館）、「從西南出發」（2007，廣州，廣東美術館）、「1980年代—溫普林中國前衛藝術檔案展」（2009，上海，多倫現代美術館）、「微觀的世界」張念個展（2014，北京，樹下畫廊）。作品廣獲亞洲、美國、英國、瑞士、丹麥等藝術機構、企業及私人收藏。 Born in Sichuan, China, Zhang Nian graduated from China Central Industrial art institute in 1988. He is currently working in Beijing. In 1989, within the exhibition of “Chinese Modern Art Exhibition” his performance art piece titled “Waiting”-symbolic to the idea of hope became his signature work. Important exhibition include “Moving Memories” (2006, Beijing, Dondaming Art Center); “Radiant Moment”(2006, Beijing, Today Art Museum); “Socialist Movement- Contemporary Art Exhibition” (2006, Beijing, 789 Model Space); “2006 Chinese Modern Art” (2006, Beijing, Beijing World Art Museum); “Starting from SouthWest” (2007, Guangzhou, Guangzhou Museum of Art); “1980s- Chinese Avant-Garde Exhibition” (2009, Shanghai, Duolun Museum of Modern Arts); “Microscopic World: Zhang Nian Solo Exhibition” (2014, Beijing, Tree Gallery). His art is celebrated in Asia, U.S., England, Switzerland, Denmark and collected by foundations, corporate and private collections. MODERN AND CONTEMPOR ARY ART

293

林憲茂 LIN

SHIENMAO (b.1955)

生於台灣台中。出身醫生世家，自小無拜師學畫，為自學型成功畫家。1988-1993年分別前往東南亞及北、中、南歐旅行寫生，足跡遍及歐洲、中美洲等40餘國，20 07年成為中興新村駐村藝術家。曾榮獲全省美展優選（1980、1983、 1984）、全國青年創作獎（1981）、雄獅新人獎優選（1983）。1977年，首次於台中美國新聞處舉辦個展，其後著名個展包括：「個展」（1981，台中市立文化中心）、「德國首屆國際藝術節個展」（1996，波羅的海城市）、「巡迴個展」（1997，德鴻畫廊、台中鼎峰藝術中心、台北國際世貿藝術博覽會）、「風華再現」個展（2006，南投文化中心）、「林憲茂油畫創作展」（2013，台中台灣大道市政大樓）等，至今參與展覽逾五十次。 Born in Taichung, Taiwan. Lin Shien-Mao was born into a family of doctors. He is a successful self-taught artist. From 1988 to 1993, he traveled to morn than forty counties in the world to paint. He devoted himself fully to art, and became the artist-in-residence in Chunghsing Village in 2007. He won many awards including the following: Optimization of the Provincial Art Exhibition, 1980, 1983, 1984; Creative Award by the National Youth, 1981; Lions Art Award Selection, 1983. His first solo exhibition was held in the United States News Centre in Taichung. Lin had participated in more than fifty exhibitions. His important exhibitions include “Solo Exhibition” (1981, Taichung Cultural Affairs Burea); “Germany's 1st National Art fair Solo Exhibition” (1996, Baltic Sea City); “Toured Solo Exhibition” (1997, Der-Horng Art Gallery, Taichung Peak Gallery, Taipei International Art Fair); “Solo Exhibition” (2006, Nantou Cultural 180 Affairs Bureau); “Lin Shien-Mao Oil Painting Exhibtion” (2013, Taichung).

丁乙 DING

楊三郎 YANG

SANLANG (1907-1995)

142 143

151

YI (b.1962)

144

1907年生於台灣台北。先後在日本京都美術學校以及日本關西美術學院習畫。作品《靜物》榮獲第三屆台展特選；1932年赴法研習繪畫，其作品屢次獲選於台展、日本春陽展，在畫壇上漸露頭角。1933年返台後，全心投入推展臺灣美術教育。曾榮獲1986年國家文藝獎、1992年行政院文化獎。著名展覽包括：「經典大展」 (2010，印象畫廊，臺北，臺灣) 、「100年的世紀盛宴—楊三郎回顧展」(2011 ,尊彩藝術中心，臺北，臺灣) 、「100年國寶藝術家特展」(2011,印象畫廊，臺北，臺灣) 、「楊三郎紀念展」(2014,印象畫廊，臺北，臺灣)。 Born in Taipei, Taiwan in 1907, Yang Sanlang studied painting at the school of Fine arts in Kyoto and Kansai Academy of Art. His artwork Still Life won first place at the Taiwan Exhibition and the Japanese Chuyan Exhibition, since then his recognition established. In 1933, he devoted himself to promoting art education upon returning to Taiwan. In 1986, he won the National Cultural Awards, and in1992, received a special awards from the Government Executive for his dedication to Aesthetics. His recent exhibitions include: “Classic Exhibition” (2010, In Sian Gallery, Taipei); “100 Years Century Feast – Yang Sanlang A Retrospective” (2011, Liang Gallery, Taipei); “100 Years National Treasure Artists Special Exhibition” (2011, In Sian Gallery, Taipei); “Yang Sanlang Remembrance Exhibition” (2014, In Sian Gallery, Taipei).

葉火城 YEH

HUOCHENG (1908-1993)

146

生於中國上海，現創作生活於上海。1983年畢業於上海市工藝美術學校。1988 年，丁乙開始畫《十示》。「十示」是印刷業術語，也是精確的象徵，其將十字引入自己的畫中，形成純抽象的視覺效果。1990年畢業於上海大學美術學院，現為上海視覺藝術學院老師。1993年丁乙參加了「第45屆威尼斯雙年展」。2005年加入復旦大學上海視覺藝術學院任教。2006年與藝術家艾未未牽線，帶領復旦視覺傳達學院全體學生赴德國參加07年第十二屆卡塞爾文獻展。是第一個被愛馬仕邀請設計絲巾的中國藝術家。參與個展與聯展：「十示」(2012，瑞士聖莫里茨，KARSTEN GREVE畫廊)、「第四屆藝術長沙」(2013，湖南，長沙市博物館)、「全球化的城市，超現實的城市」(2014，西班牙，瓦倫西亞現代藝術學院)。 Born in Shanghai, China, Ding Yi graduated from Shanghai Art and Design Academy in 1983. Starting in 1988, he began a series of abstract works titled “Appearance of Crosses,” in professional printing terms it stood for a symbol of accuracy. The composition of repeated crosses created an abstract visionary effect. In 1990, after he graduated from Shanghai University of Art, he remained at the institute as a professor teaching visual effects. In 1993, he participated in the 45th Venice Biennial Exhibition. In 2005, he taught at the Fudan University. In 2006, together with artist Ai Wei Wei, they led the Visual Communication Department of Fudan University to participate in the 12th Kassel Domenta in Germany. Ding Yi is also the first Chinese artist to collaborate with French luxury fashion label Hermès and has his own line of silk scarves in the “Hermès Editeur” collection. Recent exhibitions include: “Appearances of Crosses” (2012, Karsten Greve Gallery); “The 4th Salon of Chansha” (2013, Chansha Museum); “Universal City, Surreal City” (2014, Spain, Instituto Valenciano de Arte Moderno).

294

ZHONG CHENG 中誠

147

生於台灣台中。台北第二師範學校畢業，曾任國民學校教員及校長，南亞塑膠工業股份有限公司美術顧問，明志工專設計科主任。自1927年起，作品多次入選台展及府展。1959年擔任全省美展審查委員〈第14屆至27屆〉，1965年任私立明志工專董事。曾任台陽美術協會會員、中國美術家協會會員、中華民國油畫學會理事長。 1993年逝世，享年85歲。2013及2014在台中美術家資料館展出「敘景寫物-葉火城與豐原班油畫展」 Born in Taichung, Taiwan. Yeh graduated from the Taipei Second Normal College, he later became a professor and principal at the school, as well as a consultant at Nan Ya Plastics Corp and the director for Mingchi Institute of Technology. Since 1927, his paintings were frequently selected in the Taiwan Exhibition and Taiwan Governor-General Exhibition. In 1959, he was part of the jury committee for the 14th and 27th Provincial Fine Arts Exhibition. In 1965, Yeh was a director at the Mingchi Institute of Technology. He was a member of the Taiyang Fine Art Association, Chinese Artists Association and ROC Oil Painting Association. The artist passed away at the age of 85 in 1993. From 2013 to 2014, Taichung Artist Research Institute exhibited “Yeh Huo-Cheng Oil Painting Exhibition” in his honor.

呂鐵州 LU

TIEZHOU (1899-1942)

1899年出生於台灣桃園大溪，為大溪仕紳呂鷹揚之長男。自幼受庭訓，於傳統文學藝術的涵養甚深，故早年熱衷於學習傳統水墨畫。1907年進入大溪公學校就讀，1913年入台灣總督府工業講習所木工科就讀，後因健康因素而輟學。1928年於「台展」受挫，之後赴日學畫，投考京都市立繪畫專門學校，因而受京都地區寫實風格的影響，之後於台展中屢屢得獎，成為30年代台灣花鳥畫界的「麒麟兒」，其門下弟子遍佈台灣北中南，並於畫展屢創佳績，形成一股呂鐵州花鳥畫派勢力，1942年由於趕作台展作品，心臟麻痺而逝，得年僅四十四歲。 148

陳銀輝 CHEN

YINHUI (b.1931)

生於台灣嘉義。自幼即表現出繪畫天份，就讀嘉義中學時，受到吳學讓先生的啟蒙，兼及傳統水墨與現代水彩的學習，從而奠定深厚的繪畫基礎。國立台灣師範大學美術系畢業，曾任國立台灣師範大學美術研究所教授。於1995年自師大退休後，慨然捐出其退休金，成立「陳銀輝油畫創作獎學金」，以鼓勵學生努力創作，培育藝術界後進不遺餘力。1961年獲扶輪社獎章，並任全省美展、北市美展、全國美展籌備委員和審查委員。曾獲「金爵獎」、 149 「中山文藝創作獎」、「吳三連藝術獎」、「楊三郎獎」、「林本源中華文化教育獎」。展覽：「形色音韻—陳銀輝八十回顧展」（2009，台北，臺北市立美術館）、「形色×交響──陳銀輝油畫創作展」（2013，台北，中華文化總會）、「陳銀輝84回顧展」（2014，台北，國父紀念館中山國家畫廊）。

Lu Tieh-Chou was born in Daxi, Taoyuan, Taiwan. He was the eldest son of local gentry Lu Ying-Yang. Lu received traditional Chinese education in literature and art from an early age, and therefore his first passion was to study traditional Chinese literati painting. Lu entered Daxi Public School in 1907, and the Woodcraft Department, Industrial Training Institute under the Taiwan Governor-General Office in 1913; however, due to health issues, Lu did not graduate. Lu was not selected to the 1928 Taiwan Fine Arts Exhibition, and later he went to study painting in Japan. Lu entered the Kyoto City Painting School, and was influenced by the realistic style in the Kyoto region. Later, Lu frequently won prizes at the Taiwan Fine Arts Exhibition, becoming Taiwan's brightest star of bird-and-flower painting in the 1930s. His students came from all over Taiwan, and had all achieved great successes at the Taiwan Fine Arts Exhibition, forming a force of Lu Tieh-Chou's bird-and-flower painting. In 1942, Lu Tieh-Chou died from cardio arrest working on a painting for the Taiwan Fine Arts Exhibition at the age of 44.

Born in Jiayi, Taiwan, Chen graduated from Taiwan Normal University in 1954. He used to teach the graduate program at the Fine Art department of National Taiwan Normal University. In 1961, he won a Rotary Club Medal. He was also an organization member and an examining member of the Provincial Art Exhibition, Taipei City Art Exhibition and National Art Exhibition. In 1995 he retired from his position at the school, and used his retirement to fund the Chen YinHui Oil Painting Scholarship to encourage aesthetic creativity. He was the winner of the Golden Belt Award, Chungshan Literary Prize Award, WuSanLien Award, Yang Sanlang Award and the Lin Ben Yuan China Culture Education Prize. Recent exhibitions include: “The Rhythm of Forms and Colors – Yin Huei Chen: A Retrospective Exhibtion” (2009, Taipei Fine Arts Museum); “Forms x Orchestra: Chen YinHui Oil Painting Exhibition” (2013, Taipei, General Association of Chinese Culture); “Chen Yin-Hui 84 Years: A Retrospective” (2014, Taipei, National Dr. Sun Yat-sen Memorial Hall).

張炳南 CHANG

葉毓山 YE

PINGNAN (1924-2014)

生於中國四川，擅長雕塑。1956年四川美術學院畢業，1963年北京中央美術學院雕塑研究生班畢業，1979年赴西德考察美術教育，1983 年任四川美術院長，現任四川省文化廳藝術委員會主任、全國城市雕塑藝術委員會委員。其多次榮獲中國獎項包括：作品《春、夏、秋、冬》獲1987年全國首屆城市雕塑優秀作品獎，《歌樂山烈士紀念碑》獲全國城市雕塑最佳作品獎，《杜甫》獲第六屆全國美展銅牌獎。 2015年，中國雕塑學會正式授予葉毓山「中國雕塑終身成就獎」，時代的烙印、歷史的機遇和個人的歷練共同鑄就了他質樸剛健的雕塑風格。

150

1924年生於台中縣豐原市從商業學校畢業，進入師範學校修業 ,取得教師資格。之後對於美術產生興趣。師承自葉火城、李石樵二位名師，1948年首次獲獎於中部美展，而後作品多次獲獎於各地美展，於1970年以作品〈漁村〉獲得台灣省展第一名。1975年應日本美術教育聯誼會邀請前往日、韓美術考察並加入東南美術會。 1983 應台北市省立博物館、台中市文化中心邀請舉行從畫三十五週年六十歲紀念油畫個展。1997 應省立美術館邀請舉行從畫五十年油畫展，展出一百幅精品。 2000年獲行政院文建會第三屆文馨獎表揚，2003 現任中部美術協會評議委員，東南美術會會員，葫蘆墩美術會評議委員。 Chang Bing-Han was born in 1924 in Fengyuan, Taichung. After Chang graduated from business school, he entered teachers college and became a qualified teacher. Later, Chang found interest in art and studied painting under Yeh Huo-Cheng and Lee Shih-Chiaou. Chang won his first award at the Central Taiwan Arts Exhibition in 1948. Later on, Chang won numerous awards at various regional arts exhibitions. In 1970, Chang received the First Prize at the Taiwan Provincial Fine Arts Exhibition with work “Lights on Fishing Boats”. Chang was invited by Japan Fine Arts Education Association to visit Japan and South Korea and joined the Southeast Art Association in 1975. In 1983, Chang received invitations from Taiwan Provincial Museum and Taichung City Cultural Center to hold a oil painting solo exhibition celebrating his 35th anniversary as a painter and sixtieth birthday. In 1997, Taiwan Provincial Fine Arts Museum invited Chang to hold his 50th anniversary oil painting exhibition, which featured 100 outstanding works. Chang received the recognition of the Third Arts and Business Award by Council for Cultural Affairs, Executive Yuan, in 2000. Chang is currently a member of the review committee of Central Taiwan Arts Association, Southeast Art Association, and the review committee of Huludun Art Association.

YUSHAN (b.1935)

156

Born in Sichuan, China, Ye specialized in sculpture. He graduated from the Sculpture Department of the Sichuan in 1956, and in 1963 he received masters from the Central Institute of Fine Arts. In 1979, he visited West Germany on an inspection tour for the education of Fine Arts. In 1983, he was appointed as the professor and director of the Sichuan Institute of Fine Arts. Currently, he is the director of Sichuan Culture and Arts Committee and a member of the Nation Sculpture Committee. He won many awards in China, his creation “Spring, Summer, Autumn, Winter” won the First National City Sculpture Award, “Ko Le Mountain Martyr Memorial” won Best Work for the National City Sculpture Award and “Du Fu” won a Bronze Medal at the 6th National Fine Art Exhibition. In 2015, the Chinese Sculpture Institute awarded Ye Yushan the “Chinese Sculpture Lifetime Achievement Award.”

MODERN AND CONTEMPOR ARY ART

295

丁雄泉 WALASSE

TING (1929-2010)

269

152

270

153

272

生於中國江蘇，為國際聞名的詩人藝術家。青年時曾入上海美術專科學校就讀，1946年遷居香港。1952年前往法國發展並結識眼鏡蛇畫派成員。 1960年前後移居紐約，發展出新畫風，成為美國普普藝術家一員。2001 年起定居於荷蘭阿姆斯特丹。曾出版《一分人生》詩集，內容涵括多位美國及歐洲藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學金，並出版以女性為題材的情色素描與繪畫書籍《朱唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊，其色彩鮮豔之作品廣為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館等。展覽：「丁雄泉回顧展－從狂狷豪邁到絢麗色彩」（2010，台灣台北，台北市立美術館）、「採花記－丁雄泉個展」（2011，中國北京，索卡藝術中心）。

296

271

ZHONG CHENG 中誠

Born in Jiangsu, China, Wallace Ting was enrolled in Shanghai School of Arts. He moved to Hong Kong in 1946. Then he moved to Paris in 1952, where he formed close relations with members of the “Cobra Art group”. In 1960, he immigrated to New York, where he became involved with Pop artists. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published “Red Mouth”, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam and published a collection of poems titled “1 Cent Life” surrounding the original prints of many American and European artists. Ting exhibited all around the world, also published numerous art catalogues. His vibrant paintings and lithographs are widely collected by museums including: Metropolitan Museum in New York, MoMA, Guggenheim Museum and many more. Important exhibition: “From Heroic Expression to Resplendant Color: Walasse Ting Retrospective Exhibition” (2010, Taiwan, Taipei Fine Art Museum); “The Floral Journal- Walasse Ting Solo Exhibition” (2011, Beijing, Soka Art Center)

曹小冬 CAO

XIAODONG (b.1961)

羅發輝 LUO

FAHUI (b.1961)

157

生於中國江蘇，畢業於江南大學工業設計學院，現居北京。早期以油畫為主，而後開始創作點抽象繪畫，並同時從事觀念攝影。作品帶有個人的內在記憶，且突顯時代與個體的精神氣質。展覽經歷：「態度II藝術展」（2007，東廊藝術畫廊，上海）、「舊影另存」曹小冬個展（2007，空間畫廊，北京）、「曹小冬」個展（2009，EGG畫廊，北京）、「象由心生—中國抽象藝術第四回展」（2011，偏鋒新藝術空間，北京）「隱‧象」個展（2014，EGG畫廊，北京）。從不斷實驗中追尋繪畫的本質，其在藝術語彙的探索，豐富了中國當代藝術的表現，從傳統歷史汲取養分，為現代社會找尋精神的依歸。 Born in Jiansu, China, Cao Xiaodong graduated from College of Industrial Design, Jiangnan University, and currently lives in Beijing. Early on, Cao focused on oil painting, then he turned to create spot abstract paintings, while also being engaged in conceptual photography. His works embody personal private memory, and showcase the quality and spirit of the times and individuals. Cao has participated in or held exhibitions including Attitude II Exhibition (2007, Eastlink Gallery, Shanghai), “Save Image As” Cao Xiaodong Oil Painting Solo Exhibition (2007, Gallery Beijing Space, Beijing), “Cao Xiaodong” Solo Exhibition (2009, EGG Gallery, Beijing), “Visible Soul – The Fourth Chinese Abstract Art Exhibition” (2011, PIFO Gallery, Beijing), and “Behind the Appearance” (2014, EGG Gallery, Beijing). Through continued experimentations, Cao searches for the essence of painting, and his exploration of artistic vocabulary has enriched the expressions of Chinese contemporary art. Cao absorbs traditions and history, and attempts to find the spiritual home for the modern society.

馬白水 MA

PAISUI (1909-2003)

159

生於中國遼寧。1929年畢業於瀋陽遼寧省立師範專修科。曾於大陸執教多年，來臺後曾任教於師範大學、國立藝專、中國文化學院等，曾擔任中國畫學會理事、省展評審委員、教育部文藝獎美術組審查委員。著有《水彩畫法圖解》等書。1964 年獲歷史博物館主辦全國水彩畫展金罍獎、1965年教育部頒發文藝獎章、1979年榮獲美國水墨畫協會年展頒發之華盛頓金牌獎。近期展覽包括：「馬白水八十回顧展」（1990，台灣台中，台灣省立美術館）、「九十大型回顧展」（1999，台灣台北，國立歷史博物館）、「美麗的福爾摩沙－馬白水水彩特展」（2002，台灣新竹，智邦藝術空間）、「彩墨行旅：馬白水作品捐贈展」（2009，台灣，高雄市立美術館）、「寰遊鑑境－馬白水的水彩藝術展」(2010,台灣台中,國立台灣美術館) Born in Liaoning, China, Ma Paisui graduated from Liaoning Normal College in 1929, he later taught in various high schools and colleges in Liaoning, Jilin and Beijing. He was an active member in several art associations, including Art Society of China in Taiwan, and Chinese Art Society. Furthermore, he was a consultant for the Chinese Watercolor Painting Society, researcher for the Chinese Academic institute and the judge of Chung Shan Literary Prize. Recent exhibitions include: "Ma Pai-Sui 80 Years Retrospective" (1990, Taiwan Museum of Fine Arts); "Color and Landscape: Ma Pai-sui Retrospective Exhibition at Age 90" (1999, National Museum of History); “Beautiful Formosa: Ma, Pai-Sui watercolor special exhibition” (2002, Accton Arts Space); “Color Journey: Ma Pai-Sui Charity Exhibition” (2009, Taiwan, Kaohsiung Art Museum); “Ma Pei-Sui Watercolor Exhibition” (2010, Taichung, National Taiwan Museum of Fine Arts).

158

生於中國重慶。畢業於四川美術學院油畫系，現為四川教育學院美術系教授。自 1990年至2003年陸續於美國西雅圖、英國倫敦、北京、成都、台灣、香港等地舉辦過個人展覽。其作品「童年」由中國美術館收藏；「陽光普照」被台灣山美術館收藏；「玫瑰2001-NO.5」為上海美術館收藏。近期展覽有：「意象武夷-中德兩國藝術家首次面對面互動創作國際巡迴展」(2006，中國，上海美術館)、「赤山水綠水－中德藝術家作品巡迴展」(2007，德國，盧貝克美術館)、「視覺感動」 (2008，中國，上海美術館)、「仙境」(2008，西班牙，Dolores Desierra畫廊)、「日本第35屆AJAC展」(2009，日本，東京都美術館)、「中國新視覺」(2009，法國，La Maison Loo)、「春華劫」個展(2010，中國，菲籽畫廊)、「浮生物語」個展(2012，中國，蘇州美術館)、「依然香如故」群展(2014，中國，先鋒當代藝術中心)。 Born in Chongqing, China, Luo graduated from the Oil Painting Department of Sichuan Fine Arts Institute, currently a professor at the Sichuan Fine Arts Academy. From 1990 to 2003, he has held several solo exhibitions in Seattle, London, Beijing, Chengdu, Taiwan and Hong Kong. His work“Childhood”is within the collection of the National Art Museum of China.“Sunshine Everywhere”is within the collection of The Mountain Museum in Taiwan. His painting“Rose 2001-No.5”is among the collection of Shanghai Museum of Fine Arts. Recent Exhibitions include:“Sinnibild in Wuyi”(2006, China, Shanghai Art Museum) ;“Red Mountains＆Green Water”(2007, Germany, Lübeck Museum); “Moved by Vision”(2008, China, Shanghai Art Museum);“Fairyland”(2008, Spain, Dolores Desierra Gallery); “Japan's 35th AJAC Exhibition”(2009, Japan, Tokyo Art Museum);“Chine-Nouvelles Visions”, (2009, France, La Maison LOO);“Luo Fahui Solo Exhibition”(2010, China, Feizi Art Gallery);“Solo Exhibition”(2012, China, Suzhou Museum);“Still Perfumed Before: Group Exhibition”(2014, China, Avant-Garde Art Center).

張杰 ZHANG

JIE (b.1963)

163

生於中國重慶，1988年畢業於四川美術學院油畫系，現為四川美術學院院長、中國美術家協會會員、重慶市文化發展研究會副會長。作品曾入選第三屆亞歐藝術雙年展、第七屆全國美展、中國油畫展紀念演講五十週年、全國美展、首屆中國油畫年展、首屆中國風景畫大展等全國性大型美展，2014年參加南京國際美展；曾四次榮獲省優秀作品獎。許多作品曾赴美國、日本、香港、台灣、加拿大、南斯拉夫、土耳其、剛果等國家和地區展出，作品曾參加臺灣蘇富比和國內大型拍賣會，受到廣泛好評並被許多博物館和收藏家收藏。並出版有《傳統與現代——張杰油畫集》。 Born in Chongqing, China, Zhang Jie graduated from the Sichuan Fine Arts Academy Oil Painting Department in 1988; presently he is the professor of Sichuan Fine Arts Academy, a member of Chinese Artist Association, and the vice-chairman of Chongqing Culture Development Research board. His works were nominated for the 3rd Asia and Europe Art Biennale, the 7th National Art Exhibition, the 50th anniversary of Chinese oil painting Commemorate Lectures, the 1st Annual Chinese Oil Painting Exhibition, the 1st China Landscape Painting Exhibition and many other nationwide art exhibitions. In 2014, he entered the Nanjing International Art Exhibition, and was a four-time winner for provincial outstanding prize. His works exhibited in US, Japan, Hong Kong, Taiwan, Canada, Yugoslavia, Turkey, Congo and more. His creations can also be seen in international and domestic auction, collected by many important museums and private collectors. Publication includes “Tradition and Modern—Zhang Jie Oil Painting Series.”

MODERN AND CONTEMPOR ARY ART

297

莊喆 CHUANG

CHE (b.1934)

209

161

Born in Beijing, China, Chuang Che's father was a well-known calligrapher, who was also the vice-director of National Palace Museum in Beijing. Thus, Chuang was introduced to traditional Chinese art at an early age. He late moved to Taiwan and after graduating from Taiwan National Normal University, he joined the Fifth Moon Art Group. He was actively promoting the Modern Chinese Art. In 1966, he was given the J.D. Rockefeller III Fund to study in the United States. He has held various solo exhibitions including: “Chuang Che Solo Exhibition” (1996, New York, Lee Nordness Gallery); (1977, Canada, Shaw-Rimington Gallery); (1985, California Louis Newman Gallery); (1992, Taipei Fine Art Museum); “International Oversea Abstract Artist Exhibition” (2002, Hong Kong Art Community); “60 Years of Art in Taiwan” (2003, Taiwan, Taipei Fine Arts Museum); “Singapore International Art Fair” (2005, Singapore); “Subject Primal Form” (2005, Taiwan, National Museum of History); “Chuang Che Solo Exhibition” (2006, Taiwan, Asia Art Center); “Deep Ridge vs. Remote Way” (2007, Beijing, China Art Museum); “Chuang Che: A Retrospective Exhibition” (2015, Taipei Fine Arts Museum). His works are in the collection of various museums and private foundations.

生於中國北京，其父莊嚴為已故名書法家暨前北京故宮博物院副院長，故莊喆自小培養出熱愛中國藝術的興趣。其後遷居台灣，畢業於國立師範大學美術系，加入五月畫會，積極參與中國繪畫現代化運動。1966年獲美國洛克斐勒基金會贊助，赴美考察國際當代藝術之發展。著名個展包括：「莊喆個展」(1966，美國紐約，諾德內斯畫廊)、「莊喆個展」(1977，加拿大，蕭．雷明頓畫廊)、「莊喆個展」(1985，美國加州，路易．紐曼畫廊)、「莊喆個展」(1992，台灣台北，臺北市立美術館)、「國際華裔畫家抽象藝術展覽」(2002，香港，香港藝術公社)、「六十年代台灣繪畫」(2003，台灣，臺北市立美術館)、「新加坡藝術博覽會」(2005，新加坡)、「主題．原象」(2005，台灣台北國立歷史博物館)、「莊喆個展」(2006，台灣台北，亞洲藝術中心)、「嶺深道遠」(2007，中國北京，中國美術館)、「莊喆回顧展—鴻濛與酣暢」(2015，臺北市立美術館)，廣為國內外美術館及私人收藏。

162

黃銘哲 HUANG

MINGCHE (b.1948)

生於台灣宜蘭。1976年於省立博物館舉辦首次個展，同年赴英國里茲大學修習美術。1978年和美國Semions畫廊簽約經紀畫家。由紐約返台後，全心參與台灣藝術。1981與1982年連續兩年榮獲全省美展油畫第一名。於1996年創作首件立體雕塑，開展其藝術生涯的另一高峰。雕塑形態取自其平面繪畫中的元素，顯現其一致的創作思維。作品獲國立美術館、台灣省立美術館、台北市立美術館、高雄市立美術館典藏。也獲選各公私立單位委託公共藝術工程設計與製作。展覽：「千錘百鍊」 THOROUGHLY TEMPERED 黃銘哲個展(2010，印象畫廊當代館)、「黃銘哲精品油畫展」(2014，拓樸藝術藝廊)、「存在的追尋與實踐」─黃銘哲個展(2015，臻品藝術中心)。 Born in Yilan, Taiwan, Huang Ming-Che studied abroad at Reeds University, England in 1976 after his first solo exhibition in the Provincial Museum. In 1978, he signed on with Semions Gallery (USA) as his agent. For two successive years in 1981 and 1982, he won first prize in oil painting in the Taiwan Provincial Fine Arts Exhibition. In 1996, his first sculpture created another peak in his artistic career. His works are within the collection of Taiwan National Museum of Art, Taiwan Provincial Art Museum, Taipei Fine Arts Museum, and Kaohsiung Art Museum. His recent exhibitions include: “Thoroughly Tempered: Huang Ming-Che Solo Exhibition” (2010, In Sian Gallery); “Huang Min-Che Oil Painting Exhibition” (2014, Top Art Gallery); “Huang Min-Che Solo Exhibition” (2015, Gallery Pierre).

164

298

222

ZHONG CHENG 中誠

陳二夫 CHEN

ERFU (b.1965)

169 165

生於中國江蘇。幼時受到父親及著名畫家陳大羽的影響，學習書法與寫意中國畫， 1989年畢業於蘇州絲綢工學院（現為蘇州大學藝術學院）；後進入江南畫院，結識劉海栗，亞明等前輩畫家，期間曾遊歷雲南、西藏、新疆、蒙古及著名江南文化古鎮，創作深受啟發。其畫作屢次入選著名展覽並獲獎，作品《日落印象》入選全國和平環境藝術作品大展，獲優秀作品獎；《詩意》入選屈原杯海內外書畫大賽，獲二等獎；《太湖風情》之（一）選送加拿大參加國際風景畫大展，獲銀獎；《水天堂》第三次選送加拿大國際風景畫展，獲特別獎；《歲月》慶祝香港回歸藝術作品展，獲內地傑出畫家獎，並為香港藝術家聯合會收藏；《烏鎮大院》之（八）榮獲蘇州市美術作品展一等獎。其著名作品包含水鄉系列、月季花系列、古鎮老宅系列等，皆廣泛為各界著名人士所收藏。 Born in Jiangsu, China, since a tender age Chen Erfu was influenced by the works of artist Chen Dayu and his father, which resulted in his educational pursuit in calligraphy and painting. In 1989, he graduated from the Suzhou University of Art. He later enrolled in the Jiangnan Art academy where he became acquainted with Liu Haisu and many other artists; they travelled to Yunnan, Tibet, Xinjiang, Mongolia and old towns in search of creative inspirations. His work such as “Sunset Impression” was nominated and awarded. Other honorable mentions include “Poetic Essence” which was also selected and “Pacific Customs” which both received second place in overseas competitions. His work titled “Age” celebrates the return of Hong Kong, the painting in now in the collection of Hong Kong International Artist Association. His renowned works include Yangtze River Series, Chinese Rose Series and Historic Towns Series that are now in the collection of private and public collections.

洪易 HUNG

YI (b.1970)

李爽 LI

SHUANG (b.1957)

167

206 166

生於台灣台中，明道中學美工科畢業。作品風格獨特，顏色豐富、奇異線條、大膽的律動、活潑的生命力讓人感到喜悅。主要展覽：「雕塑、自然與建築、現代與過去經驗」第六屆Racconigi國際雕塑雙年展（2010，義大利杜林，Racconigi 皇家行宮）；「CIGE中藝博國際畫廊博覽會」（2010，中國北京，中國國際貿易中心）；「ART TAIPEI台北國際藝術博覽會」（2010，台灣台北，世貿一館）；「喜相逢」福祿壽國際雙年展（2010，台灣彰化，福興穀倉）；「麗臨台灣」桃園國際機場二期航站區公共藝術（2011，台灣桃園）；「洪易個展─動物派對」（2013，台灣台北）。

生於中國北京。曾在中國青年藝術劇院從事舞臺美術工作，「星星畫會」創作人之一。1979年和1980年組織第一、二屆「星星美展」，1983年移居法國。自1979年以來，曾參加國內、國際性大型聯展40餘次。多幅作品被法國艾培市立美術館、韓國漢城近代藝術國立美術館、日本福岡亞洲近代現代藝術博物館及各國收藏家廣泛收藏。曾參與展覽包括：「三月沙龍」（2001，瑞士日內瓦）、「米蘭藝術博覽會」（2002，義大利米蘭）、「歐洲藝術博覽會」（2002，瑞士日內瓦）、「歐洲藝術博覽會」（2003，瑞士日內瓦）、「中法文化節」（2004，法國巴黎，國家圖書館MK2展廳）、「新加坡藝術博覽會」（2005）、「藝術北京2006」（2006，中國北京）、「中國國際畫廊博覽會」（2006，中國北京）、「中國國際畫廊博覽會」（2007，中國北京）、「夢蝶—李爽個展」（2010，中國北京）、「邂逅‧李爽拼貼藝術展」（2014，中國北京）。出版品：《爽》(臺北市聯合文學，1999年，李爽／阿城合著)。

Born in Taichung, Taiwan, he graduated from Mingdao Junior High School, majored in Fine Arts. His artistic style in vivid and unique: rich with intricate curves and audacious design, transcends a joyful spirit. Main exhibitions: “Life in the World”, Dimension Endowment of Art, Taipei, 2004; the 6th Racconigi International Sculpture Biennial (2010, Italy Cuneo); exhibited in CIGE (2010, Beijing, China); Art Taipei (2010, Taipei, Taiwan), “Joyful Reunio” 2010 International Art Biennial (2010 Chuanhua, Taiwan); “Welcome to Taiwan” Public Art, Taiwan International Airport Terminal 2, (2011, Taoyuan, Taiwan); "Hung Yi Solo Exhibition-Animal Party", Pavilion of New Fashion and Outdoor Area, (2013, Yuan Shan Park Area, Taipei Expo Park, Taipei, Taiwan).

Born in Beijing, China, Li Shuang used to work as a stage designer for the Chinese National Youth Art Theatre. She was one of the founding members of the 70's Chinese art association called “Star Painting Group”. Li exhibited in “The Star Show” in 1979 and 1980. She immigrated to France in 1983. Her works are in the collection of many important institutes including Epernay Museum, Seoul National Museum and Fukuoka Asian Art Museum. Recent exhibitions include: “Salon de Marche” (2001, Geneva, Switzerland); “Art Milan” (2002, Milan, Italy); “European Fine Art Fair” (2002-2003, Geneva, Switzerland); “Culture Festival between French and China” (2004, Paris, MK2 National Library); “Art Singapore” (2005, Singapore); “Art Beijing 2006” (2006, Beijing); “CIGE”(2006, Beijing); “CIGE”(2007, Beijing); “Butterfly Dream: Li Shuang Solo Exhibition”(2010, Beijing); “Le Shuang Collage Art Exhibition” (2014, Beijing). Publication “Li” (UNITAS, 1999).

楊述 YANG

徐鳴 XU

SHU (b.1965)

MING (b.1945)

170

168

生於中國重慶，1985年進入四川美術學院研究所，1988年畢業後留任於四川美院。著名展覽包括：「生活的片段」個展（2001，香港）、「行而上2005」（2005，中國，上海美術館）、「重慶辣椒2006」（2006，中國，青島市美術館）、「意象武夷──中德兩國藝術家首次面對面互動」創作國際巡迴展、「從西南出發」當代藝術展（2007，中國，廣州美術館）、「貴州雙年展」（2007）、「我的蘋果」（2007，中國，北京美術館）、「雨&光」楊述個展（2014，中國，千高原藝術空間），作品被中國美術館等藝術機構及歐洲私人所收藏。 Born in Chingqing, China, Yang Shu enrolled in the graduate program at the Sichun Academy of Fine Arts in 1985. In 1988, he graduated and remained to teach at the school. Important exhibition includes: “Snatch of Life: Solo Exhibition” (2001, Hong Kong); “Metaphysics 2005” (2005, China, Shanghai Art Museum); “Chongqing Chilli 2006” (2006, China, Qingdao Art Museum); “Sinnbild in Wuyi”, “Set off From Southwest” (2007, China, Guangzhou Museum of Fine Arts); “My Apple” (2007, China Beijing Art Museum); “Rain and Shine” (2014, China, Thousand Plataus). His works are acquired into private and public collections such as museums in China, Hong Kong, Singapore, U.S. and Europe.

旅外著名華裔畫家，祖籍浙江寧波奉化人，聯合國世界文化藝術發展基金會書畫藝術委員會藝術總監。畢業與南京輕工美專、香港嶺南藝苑，1967年赴新疆繪畫， 1986年移居加拿大溫哥華至今。現北京設有工作室。1979年在新彊省美展獲優秀獎；1983年在日本亞西亞國際現代畫展獲優秀獎；更獲得2008年首屆阿里郎國際美術展獲金獎。個人展覽：2010年北京飯店船藝術館、北京紅子蘭藝術中心舉辦； 2012年北京紅子蘭藝術中心；2013年寧波美術館；2014年台灣長流美術館舉辦。 As a well-known Chinese painter who traveled aboard, his ancestors are natives of Ningbo, Zhejiang Fenghua people. He was the artistic director of painting calligraphy art committee of the United Nations Culture and Art Development Foundation. He graduated from the Nanjing Light Industrial Art College, and Hong Kong Lingnan Art School. In 1967, he travelled to Xinjiang to paint, and later moved to Vancouver, Canada in 1986, where he won the first Arirang International Art Exhibition in 2008. His solo exhibitions include (2010, Beijing Hotel Boat Art Museum); (2012, Beijing Red Arts Center); (2013, Ningbo Museum of Arts); (2014, Taiwan Long Stream Art Museum).

MODERN AND CONTEMPOR ARY ART

299

艾軒 AI

XUAN ( b.1947 )

生於中國河北。1967年畢業於中央美術學院附中。現任北京市政府高級文藝職稱評審委員，北京畫院油畫創作室主任，中國美術家協會會員，北京畫院藝術委員會委員，國家一級美術師。文化大革命初期曾作為知識青年下鄉勞動，後在成都軍區文化部創作組任美術創作員。作品曾多次入選全國美展，並於第二屆亞洲美術展（日本）與第十八屆國際美術展（巴黎）獲賞。八十年代初期與四川美院畫家密切往來，與何多苓共同作油畫《鄧小平》和《第三代》，《第三代》於1984年參加第六屆全國美展，同時期開始創作西藏題材作品。1984年進入北京畫院油畫創作室工作。1987年赴美國俄克拉荷馬大學任訪問學者一年，1992年作品《荒原往事》入選第二屆中國油畫展。1996年與羅中立、王 171 沂東、曹力等共同參加在美國舉辦的中國油畫大展。2004、2005年間與楊飛雲、陳逸飛等人先後成立「北京寫實畫派」和「中國寫實畫派」。1999年作品入選中國美術百年；2004年作品編入《中國油畫十家》。出版有《艾軒和他的藝術》、《艾軒寫實主義油畫技巧》、《中國當代寫實派—艾軒油畫藝術》等。作品廣為中國、美國、新加坡、香港、台灣、德國、加拿大和日本的私人及博物館收藏。 Born in Hebei Province, China. Ai Xuan graduated from the High School of the Central Academy of Fine Art. In the first four years of the Cultural Revolution, he worked as a farmer in Hebei Province. Then he returned to Chengdu, Sichuan Province and worked as an art designer for the army. In the early 1980s, acquainted with artists from Sichuan Art Academy, he collaborated with the painter, “Deng Xiaoping” and “Third Generation”. The latter was selected and exhibited in the Sixth National Art Exhibition. It was also during this period that Ai Xuan started painting Tibetan subjects. In 1984, Ai Xuan began working ar the Oil Paintings studio of Beijing Painting Academy. In 1992, his work was selected and exhibited in the second China's Oil Painting Exhibition. In 1996, Ai Xuan, Cao Li, Wang Yidong, Luo Zhongli and others participated in the Chinese Oil Painting Exhibition in the US. He also the co-founder of the Beijing Realism and the Chinese Realism School, established in 2004 and 2005, respectively. His paintings have been collected by China's National Art Gallery, other institutions and private collectors.

邱亞才 CHIU

173

YATSAI (1949-2013)

195

生於台灣宜蘭。1979年在台北美國文化中心舉辦首次個展，1984年在香港漢雅軒畫廊展出成功後，便陸續參與許多大型展覽，包括：「The Minds I」（1987，美國紐約，亞洲藝術中心）、「現代水墨展」（1988，台灣台北，國立歷史博物館）、「台灣美術三百年」（1989，台灣台中，國立台灣美術館）、「畢卡索，達利與邱亞才等聯展」（1995，瑞士，薩加拉畫廊）、「朱銘、邱亞才雙人展」（1999，瑞士藝術博覽會）、「朱銘、邱亞才雙人展」（2001，美國紐約，萬玉堂）、「台灣八十年代新表現主義回顧展—鄭在東、陳來興、邱亞才」（2004，台灣台中，靜宜大學藝術中心）、「邱亞才個展」(2009，台灣台北，旻谷藝術中心)。邱氏以肖像畫著名，作品洋溢一種文人典雅氣息，深受其早年從軍時涉獵歷史經典創作的影響。 Born in Yilan,Taiwan. Chiu's first solo exhibition was held at the American Cultural Center, Taipei in 1979. He has participated in many grand exhibitions overseas since the successful “The New Painters from Taiwan” exhibition at Hanart TZ Gallery, Hong Kong1984. His work has been shown at significant museums and galleries including: “The Minds I”, Asia Art Center, New York, 1987; Taiwan National Museum of History, Taipei, 1988; In 2004, his works were shown in the Art Center of Provence University “The 80's of Taiwan NeoExpressionistic retrospective exhibition.” Chiu is noted for his elegant portraits of literary quality, which were strongly influenced by his studies and knowledge of Eastern and Western classics and history during his military service.

300

ZHONG CHENG 中誠

秦風 QIN

FENG (b.1961)

172

179

出生於新疆。1985年畢業於山東工藝美術學院，1996-1999受德國柏林市政府邀請任藝術大使，曾任教於柏林藝術大學。1999年至今生活在美國波士頓，2009年任教北京中央美院擔任研究生導師。近年個展有：2007年於德國柏林Raab畫廊、紐約Ethan Cohen畫廊、北京中央美院；2010年波士頓博物館、北京當代藝術館； 2011年香港藝術中心。現於紐約、北京、上海、雲南等地創作與生活，其作品被多間著名博物館、藝術機構及私人收藏家收藏。 Born in Xinjiang, China, Qin Feng graduated from Shandong University of Art in 1985. From 1996-1999, he was invited by the government of Germany to became the Arts Ambassadors of Berlin and to teach at the Berlin University of Arts. He moved to Boston in 1999 and lived there ever since. In 2009, he taught the master students at the Beijing Central Art Academy. Recent exhibitions include: Berlin Raab Gallery, New York Ethan Cohen Gallery and Beijing Central Art Academy in 2007, Boston Museum, Beijing Contemporary Art Museum in 2010, Hong Kong Art Center in 2011. He lived and worked from New York, Beijing, Shanghai and Yunnan. His works are now in the collection of museums, art institutions and private collection.

龎均 PANG

JIUN (b.1936)

174

生於中國上海。為中國第一代油畫家龎薰琹之子。龎均11歲時即於上海舉行首度個展，18歲畢業於北京中央美術學院，自此開始專業創作的藝術生涯，並致力倡導中國現代藝術運動。1980年遷居香港，1987年定居台灣，並任教於國立台灣藝術專科學校，期間個展三十餘次，並出版多部油畫技法、寫生哲學等相關書籍，對台灣的人文及藝術教育貢獻卓著。其作品廣為兩岸三地多處知名博物館、美術館及藝術學院所典藏，並列入英國劍橋世界名人錄(IBC)「伍佰第一」之列。 Pan Jiun was born in Shanghai, China. His father was a very well known painter who introduced him to art at a very young age. At the age of 11, Pang Jiun held his first solo exhibition. By the time he was 18, he already graduated from the Central Academy of Fine Arts in Beijing, and was following his chosen path of becoming a professional artist, as well as promoting the Chinese modern art movements. In 1980 he moved to Hong Kong and late to Taiwan, to teach at the National Taiwan University of Arts in 1987. During this time Pang held more than thirty art exhibitions and published multiple books regarding art theory, techniques and more. He made huge contribution to Taiwanese cultural aesthetic and education. His art is well known in Taiwan, China and Hong Kong, and are in the collection of many important museums, schools. The International Biographical Centre gave Pang Jiun recognition on the list of outstanding intellectuals for his influential accomplishments.

席德進 SHIY

DEJINN (1923-1981)

陳景容 CHEN

CHINGJUNG (b.1934)

176 175

生於中國四川。 1938-1941於成都省立技藝專科學校習畫，接受龐薰琹指導素描； 1942進入杭州藝專，受教於林風眠，1948年遷台任教於省立嘉義中學。1975年獲得中山文藝創作獎。1957年在台北舉辦首次個展，作品《賣鵝者》於巴西聖保羅雙年展獲獎；1962年與廖繼春應美國國務院之邀訪美，之後旅訪歐洲寫生創作，並先後於華盛頓亨利畫廊、巴黎與香港舉辦個展。1966年返台並任教於淡江大學及師範大學，致力於臺灣民間藝術的研究與創作，後陸續於臺北藝術家畫廊、臺北鴻霖畫廊、省立臺中圖書館、臺北龍門畫廊、臺北與高雄美國新聞處以及阿波羅畫廊等處舉辦個展，近期個展：「臺灣頌──席德進逝世30週年精品展」於國立台灣美術館展出(2011)。出版有《席德進素描集》、《席德進的回聲》及《席德進看歐美藝壇》、《席德進畫集》等。 Born in Sichuan, China. During the time in Hangzhou Nation College, he studied under Lin Fengmian. In1948, he graduated from the Hangzhou National College of Art. After graduation, he returned to Taiwan to teach at the Provincial Chiayi High School. In 1957, he held his first solo exhibition in Taipei. Shiy accepted invitation of the U.S. State Department to visit U.S. with Liao ChiChun in 1962. Afterward, he went to Paris to study for three years and successively held solo exhibitions in Washington, D.C., Paris and Hong Kong. After returning to Taiwan, he taught at TamJang University and National Taiwan Normal University. In 1975, he won the Chungshan Literary Prize Award. Recent solo exhibition: Ode to Formosa : Exhibition in Commemoration of the 30th Anniversary of the Deceased Master Shiy De-jinn was held at National Taiwan Museum of Fine Arts in 2011.

沙耆 SAD

178

JI (1914-2005) 生於中國浙江。原名沙引年。早年在上海昌明藝專、上海美專、杭州藝專和中央大學藝術系習畫九載。師從著名畫家徐悲鴻。1937年在徐悲鴻推薦下赴比利時皇家美術學院深造，並在寫實派畫家巴思天 (A. Bastien)院長的指導下，以出色的成績兩度獲得比利時皇家美術學院優秀美術金質獎。1940年，與畢卡索等歐洲著名畫家一起參加比利時布魯塞爾阿特利亞蒙展覽會。後多次在畢底格拉美術館等地舉辦個人畫展。1942年其作品《吹笛女》於畢底格拉美術館展覽，並獲皇室所收藏。1945年底，旅行歐洲（英國、荷蘭等國）寫生。展覽：「魔鬼與天使的交響詩：沙耆回顧展」（2010，台灣台北，敦煌畫廊）、「孤寂的綻放-向大師致敬˙沙耆百年紀念展」（2014，台灣桃園，卡門畫廊）、「志願無倦——沙耆早年油畫藝術展」（2014，杭州，浙江西湖美術館）

Born in Zhejian, China. Originally named Sha Yinnian, Sadji studied painting for nine years in Shanghai Changming College of Arts, Shanghai Art School, Hangzhou College of Arts and Department of Arts in Central University. In 1937, he went to seek advanced study in Belgium Royal Institute of Fine Arts on the recommendation of Xu BeiHong, , and in 1942 his artwork titled "Flautist" was shown at the Petite Galerie and acquired by the royal family. In 1945, Sadji conducted a systematic study on traditional European paintings. He held exhibitions with famous Modernistic painters like Picasso and became well known in Europe. Main Exhibition includes “Devils and Angels Symphonic Poem: Sadji Retrospective Exhibition” (2010, Taipei, Caves Gallery); “100 Years of Sadji” (2014, Taoyuan, Carmine Gallery); “Sadji's Early Oil Painting Exhibition” (2014, Hangzhou, Zhejiang Provincial Museum).

生於台灣彰化。國立台灣師大藝術美術系畢業後，赴日留學，先後畢業於武藏野美術大學、東京學藝大學及東京藝術大學壁畫研究所，擅長油畫、素描、版畫、嵌畫、濕壁畫。回台後，先後任教於國立藝專、文化大學及師範大學，1977-1996年擔任師大美術系專任教授，現為師大名譽教授。曾獲頒四次文馨獎、吳三連文藝獎以及中華民國學會金爵獎。曾應聘為全國美展審查委員。出版有28本美術相關著作。著名展覽包括：「中華民國現代藝術展覽」(1975，法國巴黎)、「法國秋季沙龍」（1988）、「存在與意象：陳景容創作四十年展」(1997，台灣，台北市立美術館)、「台灣畫家國家美術協會S.N.B.A.聯展」(2003，法國巴黎，羅浮宮)、「陳景容個展」(2006，台灣台北，國立歷史博物館)、「陳景容創作五十年回顧展」 (2009，台灣台北，國父紀念館)、「陳景容80回顧展」(2015，台灣台中，港區藝術中心)。 Born in Changhua, Taiwan, Chen graduated from the Fine Arts Department of National Taiwan Normal University and he continued further study in Japan. In 1960 he graduated from Japan Musashino University, Tokyo with a master's degree. After his returning to Taiwan in 1977-1996, he became the chairman of the Fine Art Department for the National Academy of Arts. He was a four-time winner of the Wenxin Award, Wusanlian Foundation Award and Chinese Art Society Award. Later, he was even selected as a candidate on the jury committee for the National Art Exhibition. He published a total of 28 art related books. Important exhibitions include: “Chinese Art Society Modern Art Exhibition” (1975, Paris France); “Salon d'Automne Exhibition” (1988, Paris, France); "Being and Images: 40 Years of Chen Ching-Jung's Vision" (1997, Taiwan, Taipei Fine Arts Museum); “Taiwanese Artist Association: S.N.B.A Group Exhibition” (2003, France, Louvre); “Chen Ching-Jung Solo Exhibition” (2006, Taiwan, National Museum of History); “50 years of Chen ChingJung's Retrospective Exhibition” (2009, Taiwan, National Dr. Sun Yat-sen Memorial Hall); “Chen Ching-Jung's 80 years Retrospective Exhibition”(2015, Taiwan, Taichung City Seaport Art Center).

王鏞 WANG

YONG (b.1948)

181

生於北京，一九七九年考取中央美術學院中國畫系李可染、梁樹年教授研究生，攻山水畫和書法篆刻專業，得到葉淺予、梁樹年等先生的指導。一九八一年在研究生畢業展中獲葉淺予獎金一等獎並留校執教。作品曾多次在國內外展出和發表，被多家美術館、博物館收藏，並出版專集數種。現任中央美術學院教授、中國美術家協會會員、東方美術交流學會副理事長、《東方藝術‧書法》雜誌主編。作為當今富有獨立見解和開拓精神的藝術家，在書、畫、印三方面都取得了較高的成就。近年展覽：「寸耕心跡—王鏞書法近作展」（2014，山東濟南） Born in Beijing, Wang entered China Central Academy of Fine Arts, and became a graduate student under Professor Li Keran and Professor Liang Shunian. Wang focused on the areas of landscape painting, calligraphy, and seal-carving, under the guidance of Ye Qianyu and Liang Shunian. At the graduation exhibition by graduate students in 1981, Wang won the top prize of Ye Qianyu Prize, and became a member of the faculty. His works have been featured at numerous domestic and oversea exhibitions, and collected by many galleries and museums; Wang has also published a number of catalogues. Currently, Wang is a professor at China Central Academy of Fine Arts, a member of Chinese Artists Association, the Vice-Chairman of Oriental Arts Exchange Association, and editor-in-chief of Oriental Art – Calligraphy. As a contemporary artist with independent views and pioneering spirit, Wang has great achievements in calligraphy, painting, and seal-carving. His most recent exhibition: Exhibition of Wang Yong's Recent Calligraphic Works (Jinan, Shandong, 2014)

MODERN AND CONTEMPOR ARY ART

301

倪田 NI

TIAN (1855-1919) 初名寶田，字墨畊，別署墨畊父，號墨道人、墨翁，又號璧月盦主，江蘇江都人，僑上海。畫人物仕女及佛像皆取景高遠，線條流暢，尤善畫馬及走獸，能隨手揮灑，不用巧筆起稿。光緒中行商到滬，愛任頤畫，即參用任法。水墨巨石，設色花卉，腴潤遒勁，意境清新而富野趣。1910 年任上海書畫研究會庶務協董，其畫在海上擅勝一時。兼工山水，但不多見，賣畫滬上三十年，卒年六十五。代表作品有《四紅圖》、《紫藤白頭圖》、《鍾馗仕女圖》。傳世作品有《寫吳昌碩六十六歲肖像》軸，現藏上海博物館。 First name Po Tin, Ni Tian was born in Jiangsu, Jiangdu who later moved to Shanghai China. As an artist he can paint ladies and religious statues in soft and free-flowing lines, when painting horses and other animals, his paints with strength and requires no need of drafting. During the time of Guangxu, he travelled to Shanghai to work. Ni Tian is favorable of painting; ink stone and colors of flowers are subjects that can often be seen in his works. In 1910, he became the General Director of Shanghai Painting Research Association. His representative works include “Four Red Map”, “Wisteria White Map”, “Zhong Kui Ladies.” While the painting “Portrait of Sixteen YearsOld Writer Wu Changsuo” is now in the collection of Shanghai Museum.

182

張大千 CHANG

DAQIAN (1899-1983) 生於中國四川，為近代藝壇上成就最高的國畫家。年幼時，就跟隨母親學習繪畫，對畫藝奠下基礎。青年時隨兄到日本東京，專攻繪畫，又研究染織工藝。回中國後曾從李瑞清與曾熙習詩文書畫。後忽耽於佛學。喜臨摹清初四僧作品。1963年受聘為南京中央大學美術系教授。善畫山水、花卉、人物，且尤擅畫荷花。工筆寫意，俱臻妙境，30 年代即與齊白石齊名，並稱「南張北齊」。 40年代歸蜀，脫略石濤、八大山人之初獷，蹤及唐寅、沈周等細潤之路。曾去敦煌臨摹壁畫和雕塑三年，畫風為之一變，善用複比重色，被譽為「畫中李白」。50年代棲身海外，先赴印度展出書畫，此後便旅居阿根廷、巴西、美國等地，並在世界舉辦個人畫展。他被西方藝壇稱為「東方之筆」，與西方畢卡索齊名。他榮獲紐約國際藝術學會的金牌獎，被推選為「全世界當代第一大畫家」並被世界輿論稱之為「當今最負盛譽的中國畫大師」。張大千晚年仍從事中國畫的開拓與創新。1976年返臺北定居，完成巨作《廬山圖》。

184

Born in Sichuan, China, Chang Daqian learned the foundation of art from his mother at an early age. During his teenage years, he traveled to Tokyo, Japan with his brother, where he specialized in drawing. When retuning to China, he learned poetry and calligraphy from Li Ruiqing and Xeng Xi. As a firm believer in Buddhism, he is an expert in depicting elements of nature, such as landscape, people and flowers especially lotus. In 1930s, Chang was as famous as Qi Baishi and they were referred to as "South Chang, Northern Qi." After a three-year quest to imitate murals and sculptures of Dunhuang cave, his style took a drastic transition. He was known as the "Li Bai of Painting." Shelter overseas in the 1950s, he first arrived in India to exhibit his painting, then lived in Argentina, Brazil, the U.S where he also exhibited his works. The western art circles gave Chang Daqian the name "oriental brush" and his fame was comparable to Picasso. He received a gold medal from the International Society of Arts. He was also elected for "First of the International Contemporary Painter”, and given the title “The World's Most Prestigious Contemporary Chinese Painter”. In his twilight years, he still engaged in the exploration and innovation of Chinese painting. "

302

ZHONG CHENG 中誠

溥心畬 PU

RU (1896-1963)

生於中國北京，為中國近代著名書畫家之一。本名愛新覺羅．溥儒，字心畬，滿族宗室，與清皇帝溥儀為堂兄弟。自小跟隨宮廷畫家學習書法，臨摹家藏各代名家墨蹟。青年時代至德國留學，獲得生物和天文兩博士學位後返為中國。之後隱居在北京西山的戒檀寺，故取號「西山逸士」。1925年與滿足畫家共創「松風畫社」， 1930年偕妻子羅清媛舉行首次畫展而知名。1949年移居台灣，任教於台灣省立師範學院(今臺灣師範大學)，並 183 於台北臨沂街開設畫室「寒玉堂」。1954年《寒玉堂畫論》一書獲得教育部第一屆美術獎。詩文書畫，皆有成就，畫工山水、兼擅人物、花卉及書法，昔時與張大千有「南張北溥」之譽，又與吳湖帆並稱「南吳北溥」，與黃君璧、張大千以「渡海三家」齊名。 Born in Beijing, China, Pu Hsinyu is a well-known painter and calligrapher. He was born in the royal Imperial Manchu family as the grandson of the Emperor, near the end of the Qing Dynasty. He learned calligraphy at an early age by imitating works that he finds in the family's art collections. In his teenage years, he travelled abroad to pursuit further education in Germany, where he graduated with dual doctorate degrees in Biology and Astronomy. He then returned to China and lived a secluded life in the Je Tai Monastery at His-Shan (West Mountain) of Beijing in 1925. Thus, was given the title “Hermit of West Mountain”. He was one of the founders for the “Song-Feng Painters Group” in 1925. He hosted his first major art exhibition with his wife in 1930 and was famous ever since. In 1949 he immigrated to Taiwan where he taught at the National Taiwan Normal University and opened the “Hanyu Tong studio”. In 1954, he published the “Hanyu Tong Aesthetic Theory” and received first place from the Education Department of R.O.C. Pu Ru was skilled in calligraphy, literature, poetry and various subjects. His fame was on a par with that of Zhang Da-Chian, they were often referred as “Zheng in the South and Pu in the North” for their recognized accomplishments.

齊白石 QI

BAISHI (1864-1957)

185

186

齊白石，湖南湘潭人，是當代中國的國畫畫家。原名齊純芝，字渭清，祖父取號蘭亭，老師取名齊璜，號瀕生，別號寄萍老人、白石山人，後人常將「山人」二字略去，故後常號「白石」。齊白石也和張大千並稱「南張北齊」。初習雕花木工兼習繪畫，並拜蕭薌陔為師，後拜名士胡沁園、陳少蕃等為師。中年後始周遊天下，至南北各地遊歷，飽覽名山大川，使他開闊了眼界，師法大自然，充實了作品「造化」。期間，作品之寫畫風格由工筆畫轉為寫意畫，亦受陳師曾影響，畫風自成一家。晚年細心觀察蝦、蟹、青蛙的游泳姿態，其畫自然恬靜，人物、山水、花鳥、草蟲、蔬果、玩具都可入畫，如其自身所云：「作畫妙在似與不似之間，太似為媚俗，不似為欺世。」1953年獲選為中國美術家協會主席；1957年出任北京中國畫院名譽院長。 Qi Bai-Shi born in Xiangtan, Hunan, he is an influential contemporary Chinese painter. Qi Baishi and Zhang Daqian were notable as the best painting in the south and north. He began his artistic training in learning carpentry carved paintings under the instruction of master Xiao Xiang-Gai, Hu Shinyuan, Chen Siu-Fan and more. In his middle age, he traveled the world from the north to south enjoying the mountains and rivers. The journey broadened his horizons, and allowed him to enrich his work through imitating nature. In his later years, he carefully observe shrimp, crab, frogs, he would paint the quiet nature of landscape, flowers, birds, fruit, vegetable and even toys. "A wonderful painting is to paint between figurative and realistically, when the work is too realistic it is too kitsch yet when it is too figurative it is deceiving." In 1953, Qi Baishi was elected as the Chairman of Chinese Art Association. In 1957 he became the honorary president of Beijing Chinese Painting.

廖繼春 LIAO

CHICHUN (1902-1976)

187

出生於台中豐原。1909年在台中公園第一次看到油畫後開始往美術領域發展。1922年台北師範學校畢業後返鄉任教，次年北上台北學習素描， 1924年與陳澄波赴日，考取東京美術學校圖畫師範科。1927年畢業返國，擔任台南長老教會中學校教員，同年獲第一屆台展特選，並與畫友創立「赤島社」，其後多次入選帝展及台展等大型美術展覽。1934年與陳澄波、楊三郎、李梅樹等畫友再組「台陽美術協會」，於1937年舉辦首次個展。1947年受聘任教台灣省立師範學院至退休。1954年於台北市成立廖繼春畫室，並鼓勵學生成立五月畫會。1960年代以後曾多次出國訪問舉辦展覽，曾獲中華民國畫學會金爵獎與中山學術文藝創作獎。1970年於國立台灣美術館舉辦個展。此前，廖繼春的藝術成就已備受肯定，曾獲中國畫會中國畫金盃獎及孫逸仙基金文獻獎。台北文化基金會為紀念廖繼春而設立「廖繼春油畫創作獎」，以表揚在油畫藝術有突出成就的畫家。廖氏一生藝術創作與教學並行不輟，畫作靈活運用色彩，色彩斑斕瑰麗，節奏明快，明朗而有深度，歡悅中又見抒情。

李真 LI

Born in Taichung, Liao first encountered oil painting in the Taichung National Park in 1909; it is this experience that made he decide to follow his pursuit of becoming an artist. He graduated from the Taipei Normal University in 1922, and continued his study at the Tokyo Fine Arts College. When he returned to Taiwan, he taught at the Tainan Senior Church Group; in the same year, he co-founded the “RuddyIsland Association”. He continued to exhibit in imperial Exhibitions and Provincial Art Exhibitions. He cofounded the “Taiyang Art Association” in 1934 with his artist friends. In 1947, Liao took up a teaching position at the Taiwan Normal College where he remained until his retirement. In 1957, his students under his encouragement and support founded the “Fifth Moon Association.” In 1960, he was frequently invited to various venues as a visiting artist and held numerous exhibitions abroad. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yatsen Foundation's Literary Awards. He held his last solo exhibition at the National Taiwan Arts Museum in 1970 and received national recognition. The National Museum of History in Taipei held a solo exhibition of his works that year in dedication of his life. In 2002, the National Palace Museum in Taipei held a grand memorial exhibition in celebration of his 100th birthday. The Taipei Culture Foundation commemorates Liao by annually awarding the Liao Jichun Oil Painting Award, a scholarships awarded to outstanding oil painters.

CHEN (b.1963)

劉國松 LIU

KUOSONG (b.1932)

194 191

生於台灣雲林。早期製作傳統佛像就有特殊表現，其後李真融入自我攝心之情感，涉略佛學、道家等經典，更結合當代思維使其雕塑作品上有著創新的突破，呈現既古典又現代的面貌。個展：「新東方精神」(2008，中國北京)、「李真：精神‧ 身體‧靈魂」(2009，新加坡，新加坡國家美術館) 、「夜光盈昃－《天燧》」 (2010，上海，上海藝術博覽會國際當代藝術展) 、「大氣：李真台灣大型雕塑首展」(2011，台北，中正紀念堂) 、「造化之《不生不滅》：千歲與草民」(2012，西雅圖，弗萊伊美術館) 、「李真2013巴黎凡登廣場大型雕塑個展」(2013，巴黎，凡登廣場) 、「華人藝術紀─李真文獻展」(2014，台北，亞洲藝術中心) 、「荒徒─李真凡夫系列首展」(2014，北京，亞洲藝術中心) 。 Born in Yunlin, Taiwan, Li Chen used to create traditional religious statues in his early years. His combination of emotional sentiments, leanings of Buddhism, Taoism and other classics, allows his creation to achieve a breakthrough in the genre of contemporary art sculptures. The appearance of his sculptures are presented in both classical and innovation manner. His main exhibitions include: Exhibition: "New Oriental Spirit" (2008, Beijing, China); "Li Chen: Mind ‧ Body ‧ Soul" (2009, Singapore, Singapore National Gallery); "Noctilucent - Tian Suei'' (2010, Shanghai, Shanghai Art Fair International Contemporary Art Fair); "Li Chen the First Sculpture Exhibition" (2011, Taipei, Chiang Kai-shek Memorial Hall); "No Birth No Death" (2012, Seattle, Frye Art Museum); "Li Chen 2013 Paris Vendome Sculpture Exhibition" (2013, Paris, Place Vendôme), "Chinese art ─ Ji Li Zhen literature Exhibition" (2014, Taipei, Asia Art Center); "Shortage-Li Zhen Bono First Exhibition Series" (2014, Beijing, Asia Art Center).

生於中國安徽。1949年定居台灣，1956年畢業於台灣師範大學美術系，隨即創立「五月畫會」，發起現代藝術運動。1961年間，感慨當代一味模仿西方畫風與思潮，故倡導中國畫的現代化。自1965年起，劉國松已在世界各地展出個展八十餘次；1959年參加巴西「聖保羅國際雙年展」、法國「巴黎青年雙年展」；1963年發明粗筋棉紙－劉國松紙，並藉此創造出自我獨特畫風；1968年當選台灣「十大傑出青年」；參與美國俄亥俄州馬瑞埃塔學院藝術中心「主流’68」國際美展，並獲「傑出畫家獎」；1985年首次應法國「五月沙龍」之邀，作品於巴黎大皇宮展出；1991年獲李仲生現代繪畫文教基金會「現代繪畫成就獎」。近期展覽包括：「宇宙心印－劉國松七十回顧展」（2002）、「宇宙心印：劉國松繪畫一甲子」（2009，臺灣臺北，國父紀念館）、「劉國松創作大展-八十回眸」（2011，中國北京，中國美術館）、「劉國松」個展（2015，新加坡，當代美術館）。 Born in Anhui, China, Liu Kuo-Song moved to Taiwan in 1949. He graduated from the Fine Arts Department of National Taiwan Normal University in 1956. He is the founder of the “Fifth Moon Art Association,” and the leader of Chinese contemporary painting movement. His works have been exhibited more then eighty times around the world since 1965. He has held several academic positions, including the Dean of the Fine Arts Department at Hong Kong Chinese and Tainan National University of Arts. Liu's works are widely housed by museum and art organizations internationally. Recent exhibitions include: “The universe in the mind: a retrospective of Liu, Kuo-Song” (2002); “The Universe in the Mind: Master Liu Kuo-Song Painting 60 Years Retrospective Exhibition” (2009, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan); “A Creation Exhibition by Liu Guosong —Looking back at 80” (2011, The National Art Museum of China, Beijing, China); “Liu Kuo-Song Solo Exhibition” (2015, Singapore, Contemporary Art Museum).

MODERN AND CONTEMPOR ARY ART

303

朱德群 CHU

TEHCHUN (1920-2014)

192

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生於中國江蘇。1941年畢業於杭州藝專，在學期間，其創作深受潘天壽與吳大羽影響。1944至1949年任教於南京中央大學工學院，1951至1955 年任教於臺灣師範學院。1955年移居法國，1957年獲巴黎春季沙龍銀牌獎，並於法國當地舉行多次個人展覽。1987年於國立歷史博物館舉行回顧展，1997年法國政府授予法蘭西學院藝術院士榮銜；2001年在巴黎及韓國舉辦個展；2003年為上海大劇院進行大幅創作；2006年獲頒歐洲傑出人才獎；2008年適逢八十八大壽，在台北國立歷史博物館舉辦回顧展； 2014年於巴黎逝世，享年94歲。由於對中國書畫技法與古典詩詞的喜愛，讓朱德群能夠遊刃有餘地將書法水墨詩意靈活融匯在畫布之上，成就其畫作中東西交融之逸趣。

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ZHONG CHENG 中誠

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Born in Jiansu, China, Chu Teh-Chun graduated from the Hangzhou School of Fine Arts in 1941 where he was deeply influenced by artist Pan Tienshou and Wu Dayu. From 1944-1949, he taught at the Nanjing National Central University, and continued teaching from 1951-1955 at the Taiwan Normal University. He immigrated to France in 1955, and won silver for the Paris Salon de Printemps. Since then, he held many solo shows in Europe. In 1987, the National Museum of History in Taiwan organized a Retrospective Exhibition for the artist. In 1997, the French Institute recognized Chu's contribution to the arts and selected him as a member of the Academy of Fine Arts. In 2001 he continued to host solo exhibitions in both Paris and Korea. Later in 2003, he completed the large mural titled Symphony Festive commissioned by Shanghai Grand Theatre. He received “European Talent Award” in 2006. In 2008, the National Museum of History held another “Retrospective Exhibition” in his honor when he was eighty-eight years old. The artist passed away at the age of ninety-four in 2014. He is recognized as one of the most distinguished Chinese abstract painter of the century.

周春芽 ZHOU

CHUNYA (b.1955)

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Born in Sichuan, China, Zhou Chunya graduated from Sichuan Academy of Fine Arts in 1982. In 1988, he received his MFA from Gesamthochschule, Kassel, Germany. In 1980 he was received second place for the 2nd National Youth Exhibition. His recent important exhibitions include: “Zhou Chunya New Works Exhibition”(2002, Italy, Museum of Modern and Contemporary Art of Trento and Rovereto); “Zhou Chunya Solo Exhibition” (2002, Bergan, Norway, 314 International Art); “Solo Exhibition” (2010, China, Shanghai Art Museum); “Zhou Chunya New Works” (2013, China, Nanjing University of Art). Group exhibitions include: “Zhou Chunya” (1997, China, Shanghai Art Museum);“Alors, La Chine!” (2002, Paris, Pompidou Center); “First Contemporary Art of China Biennial” (2005, France, Montpellier); “Red Hot! Asian Art from the Chaney Family Collection”(2007, Huston Museum of Fine Arts, USA); “Blooming Stories: Paintings＆Sculptures by Zhou Chunya”, (2007, China, Beijing Today Art Museum); “Green Dog” (2008, Indonesia National Gallery). In 2003, he was selected as the 6th Biennial Academic Committee Director. In 2015 “Peach Blossom: Zhou Chunya Sculpture exhibition” was presented at the Shanghai Aurora Museum.

生於中國四川。1982年畢業於四川美術學院，1988年取得德國卡塞爾美術學院自由藝術系的碩士學位。1980年作品入選第二屆全國青年美展二等獎，日後開始參加多項展覽。近年重要個展包括：「周春芽個人作品展」（2002，挪威，314國際藝術中心；義大利，特蘭托現代當代藝術博物館）、「周春芽個展」（2010，中國，上海美術館）、「周春芽新作展」（2013，中國，南京藝術學院）。曾參與的聯展包括：「周春芽」 (1997，香港，香港藝術中心)、「後八九中國新藝術展」（澳洲雪梨當代藝術館等）、「首屆上海雙年展」(1996，中國上海，上海美術館)、「那麼中國呢？」(2002，巴黎，龐畢度中心) 、「首屆中國當代藝術雙年展」 (2005，法國，蒙彼利埃市)、「亞洲火紅─Chaney家族亞洲藝術品展」 (2007，美國，休斯頓美術館) 、北京今日美術館「花間記」以及「綠狗」 (2008，印尼，國家藝廊)。2013年獲任第六屆成都雙年展學術委員主任。 2015年「桃花繪─周春芽銅雕藝術展」於上海震旦博物館展出。

薛松 XUE

SONG (b.1965)

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高行健 GAO

XINGJIAN (b.1940)

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生於中國安徽，畢業於上海戲劇學院舞臺美術系，現居上海。近年個展：「薛松個展」(2005，英國，倫敦當代中國畫廊)、「薛松個展」(2006，中國北京，帝門藝術中心)、「回首．解構經典—薛松作品展」(2009，中國上海，上海美術館)、「薛松“新海派繪畫“」(2013，新加坡，MOCA當代美術館)、「基因圖譜—薛松1995 - 2014作品展」(2014，香港，季豐軒畫廊)。參與的國際聯展包括：「？無關現實！2004中國當代藝術」(2004，中國上海，劉海粟美術館)、「限制與自由」 (2005，中國武漢，美術文獻藝術中心)、「麻將」(2005，瑞士，波爾尼美術館)、「85致敬2005-1985」(2007，中國上海，多倫現代美術館)、「中國當代社會藝術展」(2008，俄羅斯莫斯科，俄羅斯國家美術館)、「薛松、魏光慶—中國波普藝術展」(2015，舊金山，太平洋博物館)。其作品為世界許多重要機構及私人藏家所收藏。 Born in Anhui, China, Xue Song graduated from the Stage Art Department of the Shanghai Theatre Academy. He currently lives in Shanghai. Recent solo exhibitions: “Xue Song Solo Show” (2005, UK, Chinese Contemporary Art Gallery, London); “Xue Song Solo Exhibition”(2006, Beijing, Dimensions Art Center); “Return: Deconstructing Classics” (2009, Shanghai, China, Shanghai Museum of Arts); “Xue Song: New Ocean Movement” (2013, Singapore, Museum of Contemporary Art); “DNA: Zue Song 1995-2014 Works Exhibition” (2014, Shanghai, Lee Funghan Gallery). Recent group Exhibitions: “Unrelated to Reality: Shanghai Abstract Art” (2004, Shanghai, Liu Haisu Art Museum); “Limitation and Freedom” (2005, China, Wuhan Literature Art Center); “Mahjong” (2005, Switzerland); “ 85 Salute 2005-1985” (2007, China, Shanghai Duolun Museum of Modern Art); “Chinese Contemporary - Society Art Exhibition”(2008, Russia National Art Museum Mosco); “ Foire Internationale d'Art Contemporain”(2009, Paris); “Xue Song & Wei Guangqing: China Pop” (2015, San Francisco, Pacific Heritage Museum). Xue Song's works are in the collection of many important private and public institues.

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生於中國江西。為知名劇作家、小說家、畫家、導演，1980年代末前往歐洲，現為法國公民。1985年在北京與雕塑家尹光中舉辦泥塑繪畫展，開始受到海內外媒體的關注。1988年定居巴黎。1992年榮獲法國政府頒發的藝術與文學騎士勳章。1998 年參加羅浮宮第十九屆國際古董與藝術雙年展。2000年小說《靈山》、《一個人的聖經》等著作，高行健成為首位榮獲諾貝爾文學獎的中文作家。2002年榮獲法國榮譽軍團騎士勳章。他的文學和繪畫皆具刻骨銘心的洞察力和語言的豐富機智。以水墨創作為主的作品表達了內省的深邃，風格簡約意喻深遠、扣人心弦，在具象與抽象之間，黑白對比的畫面深具空靈飄逸之感。榮獲2000年諾貝爾文學獎，並因此成為首位獲得諾貝爾文學獎的華語作家。 Born in Jiangxi, China, Gao Xinjian is a playwright, novelist, painter, director, and now a French citizen. In 1985, he held an exhibition with sculptor Yin Guang-Zhongs soon after he started to receive attention from international media. He lived in Paris since 1988, where he was later awarded “Chelavier de l’Ordre des Arts et des Lettres” in 1992. His works were selected for the 19th Internationale des Antiquaires Biennale at the Louvre in 1998. In the year 2000, Gao was the recipient for Nobel Prize in Literature for his work “Soul Mountain” and “One Man's Bible” which also made him the first Chinese writer to receive such honor. Two years later, he was given the title “Chavelier de la Légiond Honneur” for his contribution to France. His linguistic and artistic expression is simple but rich of meaningful wisdom. Between concreteness and abstraction, within the black and white scenery is fulfilled with sublime spirituality.

MODERN AND CONTEMPOR ARY ART

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草間彌生 YAYOI

KUSAMA (b.1929) 生於日本長野縣松本市。於京都市立工藝美術學校主修日本畫，1956年移居美國紐約，並開始展露她前衛的藝術創作才華。草間的作品曾於海內外多家著名藝術機構展出。1999年於紐約惠特尼美國藝術館舉辦「美國世紀」。近年著名展覽有：日本札幌當代藝術館展覽（2004）、「愛之夏，迷幻世紀的藝術」（2005，英國，利物浦泰德美術館）、「50/60年代國際先鋒藝術」（2006，法國，聖安提雅現代美術館）、「IDOL!」（2006，日本神奈川，橫濱藝術館）、「草間彌生．愛之點．點之戀」（2007，德國，慕尼克現代美術館）及「草間彌生個展」（2010，台灣台北，非畫廊）。 2013年起，展開長期的《夢我所夢》（A Dream I Dreamed）亞洲巡迴展覽。更在2015年於台中國立美術館展出，吸引大批民眾慕民而來。 Born in Matsumoto, Japan, Yayoi Kusama majored in Japanese painting at the Kyoto Fine Arts School of Craftsmanship. She moved to New York City in 1956, since then, she held many exhibitions to present her avant-garde style. Important exhibitions include: “American Century” (1999, Whitney Museum of Art, New York); “Yayoi Kusama Exhibition” (204, Museum of Contemporary Art, Sapporo) “Summer of Love- Art of the psychedelic Era” (2005, Tate Liverpool, Liverpool); “International Avant-Garde of the 50s and 60s” (2006, Musee d’Art Moderne, Saint-Etienne, France); “IDOL!” (2006, Yokohama Museum of Art, Kanagawa, Japan); “Yayoi Kasama, Dots Obsession, Love transformed into Dots” (2007, Haus der Kunst, Munich, Germany); “Solo Exhibition” (2010, Non-gallery, Taipei). Starting in 2013, her long-term exhibition “A Dream I Dreamed” toured all of Asia; in 2015, the exhibition arrived in Taiwan and was shown in National Taiwan Museum of Fine Arts. The result was very well received and her aesthetic creativity became an international sensation. 201

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田中敦子 TANAKA

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ATSUKO (1932-2005)

白髮一雄 SHIRAGA

KAZUO (1924-2008)

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出生於大阪。 1951年於藝術的京都市立學院（藝術今京都市立大學）退學後至大阪市博物館藝術研究所學習，進而對抽象繪畫有所興去而深入研究。之後更以燈泡、燈管、閃爍燈光等「電衣」為日本藝術界所重視。亦與白髮一雄等知名藝術家為日本具體派協會代表性成員，其畫作多以不規則的圓圈與曲線纏繞交織而成，自成一格，為其特有且具高辨識度之畫風，更從中傳達了自身精神世界之想像，其前衛創作之精神能量更為獲得國際高度讚譽與肯定。 Born in Osaka, Japan, Tanaka Atsuko studied at the University of Tokyo in 1951, soon after leaving the institute, she entered the Master's Program at the Osaka Art Museum for further education where she began to research abstract expressions. She is best known for her creation “Electric Dress” that marked an important milestone in the art history of Japan. Along with artist Shiraga Kazuo, they are significant members of the avant-garde Gutai Art Association. She often incorporates elements of circles and line to created spontaneous compositions. Her artistic style is both expressive and unique, constantly challenging the boundaries of traditions. Her progressive spirits and creativity are deeply admired internationally.

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ZHONG CHENG 中誠

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生於日本尼崎市。日本知名畫家。1948年畢業於日本京都市繪畫專門學校日本畫系 (現為京都市立藝術大學)。1952年與金山明、村山三郎及田中敦子等日本藝術家組成「零協會」，後於1954年時加入以吉源志良為中心組成的「具體美術協會」，並開始以腳作為畫具，在畫布上創作。1955年參與第一屆在東京小原會管舉辦的「具體藝術展」，展覽中進行了一場名為《挑戰泥土》的表演藝術。 Born in Amagasaki, Japan, Shiraga Kazuo graduated from the Traditional Japanese Painting Department of Kyoto City University of Arts in 1948. In 1952, Shiraga founded an art association titled “Zerokai” along with artist Tanaka Atsuko and Murakami Saburo. In 1954, they all joined Yoshihara Jiro's “Gutai Art Group.” It is during this time, he started experimenting with using his feet in replacement of paintbrush. In 1955, during his first Gutai's art exhibition in Tokyo, he showcased a performance art piece titled “Challenge Mud.”

安迪．沃荷 ANDY

WARHOL (1928-1987)

生於美國賓夕威尼亞州。當代美國畫家，為普普藝術著名代表人物。1949年畢業於現今的卡內基美隆大學，獲平面設計學士學位。 1952年赴紐約，以設計商業廣告維生，同時嘗試藝術創作。1950年代，沃荷以成功插畫家身分立足紐約；自1960年代，他始投身繪畫創作，以通俗用品、漫畫與廣告為題材繪製作品，將藝術創作焦點轉介到大眾文化，著名的康寶湯罐頭系列即誕生於此時期。同時，沃荷也涉足電影拍攝、成立「工廠」工作室，並登上各大主流雜誌與媒體。 204 1970年代後，他創作了一系列名人的絹印肖像，著名包括伊麗莎白泰勒(Liz Taylor)、傑克甘迺迪(Jackie Kennedy)、詹姆士狄恩(JamesDean)、馬龍白蘭度(Marlon Brando)、瑪麗蓮夢露(Marilyn Monroe)、「貓王」艾維斯普萊斯利(Elvis Presley) 與毛澤東等；更於1986年創作出其最具紀念性的作品「最後的晚餐」。安迪沃荷身兼畫家、攝影師、商人、導演、明星與作家，一生創舉無數，於西洋藝術史中占有一席之地，名聲更響徹國際藝壇，作品也為世界頂級藏家爭相蒐藏。 Born in Pittsburgh, Pennsylvania. Andy Warhol was an American painter, printmaker, and filmmaker as well as the leading figure in the visual art movement known as pop art. Graduated from Carnegie Mellon University in 1949, earning a Bachelor of Fine Arts degree in Pictorial Design, he moved to New York in 1952, and became one of the most successful commercial illustrator of the 1950s. From 1960, Warhol devote more energy to painting. He based on comics and ads to create artworks that suited the popular culture. The famous Campbell's Soup Can series was debuted during this period. At the same time, Warhol started dabbled in film making, and establish “The Factory” studio. By the mid-1960s he was a frequent presence in magazines and the media. Throughout the 1970s and 1980s, Warhol was a prolific artist, producing numerous works, creating many celebrities’ portraits in silk prints. Warhol's final two exhibitions were his series of “Last Supper” paintings. Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and member of highly diverse social circles. His name is written in the Western art history, and his status in the international art scene is high. Works by Warhol are chased and collected by many top-notch collectors around the world.

呂榮琛 LU

RONGCHEN (b.1963)

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1963年出生於台灣屏東。1985年於台北成立工作室。1987畢業於中國文化大學美術系。1990年出國深造，開啟了專業經理人、策展人、藝術家等多重身份的生涯。 1993年首次個展於巴黎第八區 BOULAKIA RIVE DROlTE 畫廊。隨後在法國、香港與台灣台北、高雄、屏東舉辦多次聯展與個展。近期展覽：「呂榮琛2013個展」（2013，高雄，荷軒新藝空間）、「黑色的溫存呂榮琛個展」（2015，高雄，琢璞藝術中心）、「心靈．夢境呂榮琛收藏展」（2015，台北，首都藝術中心）、「夏日之戀呂榮琛收藏展」（2015，台中，景薰樓333藝廊）。 Born in Pintung, Taiwan, Lu Rongchen established his work studio in 1985, before graduating from Chinese Culture University in 1987 with a Fine Arts degree. Shortly, in 1990, he travelled abroad and worked as a professional art dealer, curator and artist. In 1993, he had his first solo exhibition at BOULAKIA RIVE DROITE gallery in 8th district in Paris. Recent exhibitions include: “Lu Rongchen 2013 Solo Exhibition” (2013, Kaohsiung, Lotus Art Gallery); “Lu Rongchen Solo Exhibition”(2015, Kaohsiung, J.P. Art Center); “Spiritual Dreamlands: Lu Rongchen collection exhibition” (2015, Taipei, Capital Art Center); “Lu Rongchen Collection Exhibition” (2015, Taichung, JSL 333 Art Gallery).

袁遠 YUAN

YUAN (b.1973)

袁遠生於中國浙江，畢業於中國美術學院油畫系，創作主要探討建築空間與人們過往活動的痕跡。其作品色調濃重幽密，使歷史建築散發的華麗蒼涼裡，透著一絲獨有的憶往歲月之感。獲得收藏包括北京DSL Collection的中國當代藝術收藏系列，及POMERANZ COLLECTION 藏於維也納，奧地利。展覽經歷：「摸象」袁遠個展（2008，小平畫廊，上海）、「極夜」個展（2009，小平畫廊，上海）、「蒸氣房間」個展（2011，Mitterrand 畫廊，巴黎）、「袁遠」個展（2012，馬凌畫廊，香港）、「賓至如歸」個展（2012，香格納畫廊，上海）、「袁遠」個展 205 （2014，巴塞爾藝術展，香港）。當傳統與現代交會，城市景觀迅速更迭的今日，袁遠作品深深喚起建築與人類活動空間的歷史記憶共鳴，在世界上各主要城市的展覽皆頗受好評。 Yuan Yuan was born in Zhejiang Province in China, and graduated from the Department of Oil Painting, China Academy of Arts. Yuan's creative theme mainly explores architectural space and traces of men's past activities. His works display heavy, thick, dense, and secluded colors, injecting a unique sense of nostalgia to historic architectures’ glamorous yet arid ambience. Yuan's paintings have been chosen to Beijing DSL Collection's Contemporary Chinese Collection, and Pomeranz Collection in Vienna, Austria. Past exhibitions include: The Blind Man and The Elephant – Yuan Yuan Solo Exhibition (Xiaoping Gallery in Shanghai, 2008), Polar Night – Yuan Yuan Solo Exhibition (Xiaoping Gallery in Shanghai, 2009), Steam Rooms – Yuan Yuan Solo Exhibition (JGM Gallery in Paris, 2011), Yuan Yuan (Edouard Malingue Gallery in Hong Kong, 2012), Yuan Yuan: Imagined Memory – A Home from Home (ShanghART H-Space in Shanghai, 2012), and Yuan Yuan (Art Basel Hong Kong, 2014). In today's world where tradition meets modernity, and urban landscapes rapidly changing, Yuan Yuan's works trigger resonances of historic memory between architectures and the spaces of human activities, winning praises at exhibitions held in major cities around the world.

熊宇 HSIUNG

YU (b.1975)

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出生於四川成都。1999年畢業於四川美術學院油畫系，同年考取四川美術學院造型藝術系油畫專業研究生，2002年獲四川美術學院油畫系碩士學位並任教於四川大學藝術學院。是中國油畫「四川畫派」的新秀。2004年作品參加深圳「少年心氣－中國新銳繪畫獎作品展」獲頒銅獎。作為70，80的標誌性藝術家，在他的繪畫裡可以找到七十年代中後期一代人的許多特徵，比如夢想，漫畫的視覺風格，幻覺似的體驗，形象和顏色的酷，透過超現實的、虛擬世界的生物來構建屬於自己的藝術語言。個展與聯展：「藍樹林─熊宇新作展」（2015，中國成都，千高原藝術空間）、「熊宇─時間的節點」（2013，中國成都，千高原藝術空間）、「2013庫里蒂巴雙年展」（2013，巴西庫里蒂巴）、「威尼斯雙年展平行展-未曾呈現的聲音」（2013，義大利威尼斯）。 Born in Chengdu, Sichuan, Xiong Yu graduated from the Sichuan Academy of Fine Arts in 1999. He received his master's degree and taught at the art institute in 2002. He was the newest addition to the Sichuan School style of Chinese oil painting. In 2004, his artwork received a bronze medal at the "Teenage Heart Qi - Chinese New Painting Exhibition Award". In his work elements from the late 70s and 80s generation such as dreams, cartoon's visual style, form and color, are realistically portrayed through creatures of virtual world to establishing his individual artistic language. Exhibitions include "Blue Forest ─Xiong Yu New Works" (2015, in Chengdu, China, Kuril Art Space); "Xiong Yu ─ Time Node" (2013, in Chengdu, China, A Thousand Plateaus Art Space); "2013 Curití Pakistan Biennale" (2013, Curitiba, Brazil); “Venice Biennale parallel exhibition - Never Rendered Sound " (2013, Venice, Italy). MODERN AND CONTEMPOR ARY ART

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梁奕焚 LIANG

YIFENG ( b.1937 )

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生於台灣彰化。畢業於台北師範藝術科。1958-1963年從李仲生先生研究現代藝術，曾任中部美術協會會員。中華民國現代版畫會員、中華民國雕塑學會會員。於1965年入選巴西聖保羅國際雙年展。1982年發起創立現代眼畫會、中華民國現代畫學會，1985年任李仲生現代藝術文教基金會理事。1987年設繪畫工作室於紐約蘇活區。他的畫作先後創作出五百號、一千號甚至二千號作品，獲得收藏家及畫廊的青睞，大量收藏他的創作，被收藏的畫作將近五千幅。梁奕焚於紐約創作，在東方與西方的衝擊下，創作獨樹一格，極具東方地域特殊風格。近年展覽：「看與不看‧想與非想」（2013，台東美術館）、「梁奕焚創作個展」（2014，台中，韋瑞畫廊）、「中西融合‧台灣黑美人－梁奕焚精品油畫展」（2015，台灣台北，拓樸藝術）。

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249

侯俊明 HOU

Born in Changhua, Taiwan, Liang graduated from National Taiwan Normal University in 1957. From 1958-1963 he studied under the instruction of Li Chung-Sheng to research Contemporary Art. He was a member of the Taichung Art Association, Republic of China Contemporary Print Art Group, and Taiwan Sculpture Association. In 1965, he helped organized the Li Chung-Sheng Art Foundation. In 1987, he had his own painting studio in New York. Rich colors and fluent brush marks are the most recognizable characteristic in his paintings. His recent exhibitions include: “Seeing and Not Seeing, Thinking but Not Thinking” (2013, Taiwan, Taitung Museum of Arts); “Liang Yifeng Solo Exhibition” (2014, Taichung, Wei Rei Gallery); “East and West united: Taiwanese Black Beauty- Liang Yi Feng Oil Painting Exhibition” (2015, Taipei, Top Art Gallery).

CHUNMING (b.1963)

215

生於臺灣嘉義。1987年畢業於國立藝術學院美術系。1990年起於臺北、香港、日本等地舉辦個展。重要國際展覽包括：「紙符—媒介的延伸」 (2009，香港唐人藝術中心)、「Always (as it was)」（2009，泰國唐人藝術中心）、2010「想像藝術節」(2010，法國巴黎聖傑曼畫廊）。個人展覽部分：「侯俊明的復活宣言」（2009，嘉義市政府文化局）、「侯俊明東京個展」（2010，小和田愛畫廊東京）、「亞洲人的父親訪談展」(2010，VER Gallery 泰國)。近年創作轉向心靈探索的隨手畫和自由書寫，作品廣為國內外美術館及私人藏家所珍藏。

308

ZHONG CHENG 中誠

Born in Chiayi, Taiwan, Hou Chunming graduated from the National Institute of Fine Arts Taipei in 1987. He held solo exhibition in Taipei, Hong Kong and Japan and many other countries since the 1990s. His important exhibitions include: “Paper Symbol- Media Extended” (2009, Hong Kong, Tang Ren Art Center); “Always (as it was)” (2009, Thailad, Tang Red Art Center); “Imagination Art Festival” (2010, France, Paris, Garmain Gallery). Solo exhibitions include: “Hou Chunming Resurrection Announcement” (2009, Chiayi Cultural Affairs Bureau); “Hou Chunming Tokyo Solo Exhibition” (2010, Ai Kowada Gallery); “Asian Father's Interview Exhibition” (2010, VER Gallery, Thailand). Hou employed ceremonizing installations and wood block prints to defy social taboos, and turned to create free writing and drawing of mind mining recently. His works are widely collected by both domestic and overseas museums.

陳煥禎 CHEN

HUANZHEN (b.1966)

蔡尉成 TSAI

WEICHENG (b.1971)

216

生於台灣台北。為國立台灣藝術大學藝術學士、國立台灣藝術大學美術研究所碩士。陳煥禎獲獎、展覽經驗俱豐，曾獲第57至59屆全國美展雕塑類優選，2007年獲大墩獎雕塑類第一名，同年獲高雄獎優選－雕塑類首獎，2009年獲第11屆中國全國美展優秀獎。近年重要個展：「意象抒情」陳煥禎雕塑個展(2004，台北縣藝文中心)、北莊藝術中心常態展(2005-2008)、「都市心靈空間」雕塑個展(2007，台灣台北，國父紀念館德明藝廊)、「凝視」 (2009，台灣台北，飛皇藝術中心)、「我心深處」陳煥禎雕塑個展(2010，台北縣藝文中心藝文館)、「情感的印記」陳煥禎雕塑個展(2014、台灣新北、新莊文化藝術中心)、「堆疊的軌跡」陳煥禎雕塑展(2015、台灣高雄、國立中山大學)。其作品為龍華科技大學藝文中心、台灣大學附設醫院、國父紀念館、新北市政府等機構典藏。

219

生於台灣台中，畢業於台中大甲高中美工科，身為雕塑家的他以西遊記孫悟空作為題材，展現內斂、幽默詼諧的雕塑語言，帶有東方神秘含蓄的精神，將和諧溫潤的銅及剛毅冰冷的不銹鋼兩種材質作最完美的結合。曾獲多屆全省美展優選，並涵括多項公共藝術設計，作品《恰恰》獲彰化縣金馬路公共藝術徵件典藏。展覽經歷：「袖珍雕塑藝術展」（2002，名展藝廊，高雄）、「蔡尉成」個展（2007，鶯歌陶華灼藝廊，台北）、「蔡尉成」個展（2011，大美無言藝廊，台中）、「蛻變」個展（2013，秋紅谷藝文空間，台中）、「彩衣」蔡尉成雕塑展（2015，大美無言藝廊，台中）。創作靈感來自生活之樣態，並飽涵悟道者對人生舉重若輕的豁達態度。

Born in Taipei, Taiwan, Chen Huanzhen graduated with a master's degree from the Fine Arts Institute of National Taiwan University of Arts. Chen won numerous awards and is very experienced in hosting exhibitions. He was a winner of the 57-59th National Sculpture Exhibition; in 2007 he also won first place in the Dadun Sculpture competition. In the same year, he won a prized for the Kaohsiung Sculpture Contest. In 2009, he won the 11th Chinese National Art Exhibition Awards. His most recent Exhibitions include: "Images Lyric Chen Huanzhen Solo Sculpture Exhibition” (2004, Taipei County Arts Center); Northern Banker Art Center exhibition (2005-2008); "The City of Mind- Solo Sculpture Exhibition (2007, Taipei, Sun Yat-sen Memorial Hall and Deming gallery); "Stare" (2009, Taipei Taiwan, Fei Huang Art Center); "The Depths of Heart" (2010, Taipei, New Taipei City Art Center); "Stamp Emotion" (2014, Taipei, Xinzhuang Culture and Arts Center), "Stack Trace" (2015, Kaohsiung Taiwan, National Sun Yat-sen University). His artworks are within the collection of LungHua University of Science and Technology, National Taiwan University Hospital, National Dr. Sun Yat-sen Memorial Hall, New Taipei Government and many more institutes.

高其偉 KAO

Born in Taichung, Taiwan, Tsai Wei-Cheng graduated from Taichung Dajia Engineering high school. As a sculpter he finds inspiration from the famous Chinese mythology “Journey to the West.” His creations are presented with restraint and light humor, conveying subtle oriental spirit. The harmonious warm copper and stainless steel comes together in a balance union. He won many provincial exhibitions including design for public art. His artwork “Cha Cha” won the Chunghua County Public Art Awards. Recent exhibitions include: “Sculpture Exhibition” (20002, DMWE Gallery, Taichung); “Tsai Wei-Cheng Solo Exhibition” (2007, THZ Gallery, Taichung); “Metamorphosis Solo Exhibition” (2013, Maple Garden Park, Taichung); “Colorful Clothes: Tsai Wei-Cheng Sculpture Exhibition” (2015, DMWE, Taichung).

CHIWEI (b.1964)

鄭洪流 ZHENG

HONGLIU (b.1925)

221

220

高其偉生於臺灣新竹，畢業於國立臺灣藝專美術科西畫組，並赴美取得碩士，任教於國立臺灣藝術大學美術系，作品探討當代社會人類處境，對於臺灣文化的脈動有著濃厚的情感與關懷。獲得收藏包括文建會、國父紀念館、國立歷史博物館、國立臺灣藝術教育館、國立臺灣藝術大學、龍華科技大學藝文中心。展覽經歷：高其偉創作個展（1996，ATHLETIC CLUB畫廊，美國密蘇里州）、「94-98旅美創作展」（1998，太平洋文化基金會藝廊，台北）、「歲月」個展（2001，台灣藝術教育館，台北）、「遺忘的角落」個展（2004，龍華科技大學藝文中心，桃園）、「行走的人─高其偉油畫個展」（2011，國父紀念館，台北）。曾獲教育部文藝創作獎；文藝金獅獎油畫第一名殊榮，著有《當代素描之定義和養成要素》、《遺忘的角落－高其偉作品集》。 Kao Chiwei was born in Hsinchu, Taiwan. He majored in western painting at the National Taiwan College of Arts, and obtained a master's degree in the U.S. Kao currently lectures at the National Taiwan University of Arts, and his works explore human circumstances in the contemporary society. Kao displays rich emotional connections and deep concerns for Taiwan's culture. Kao's works have been selected for the collections of the Council for Cultural Affairs, Sun Yat-Sen Memorial Hall, National Museum of History, National Taiwan Arts Education Center, National Taiwan University of Arts, and Lunghwa University Arts Center. Past exhibitions held by Kao include Kao Chiwei Solo Exhibition (1996, ATHLETIC CLUB, Missouri), Works in America 94-98 (1998, Pacific Cultural Foundation Gallery, Taipei), Years – Kao Chiwei Solo Exhibition (2001, National Taiwan Arts Education Center, Taipei), Forgotten Corners – Kao Chiwei Solo Exhibition (2004, Lunghwa University of Science and Technology, Taoyuan), and Walking Man – Kao Chiwei Oil Painting Solo Exhibition (2011, Sun Yat-sen Memorial Hall, Taipei). Kao has won the Literature and Arts Creation Award of the Ministry of Education, and the top prize of the Golden Lion Awards in the oil painting category. Kao has publication includes Definition and Development Keys of Contemporary Sketching and Forgotten Corners: Catalogue of Kao Chiwei's Works.

鄭洪流生於中國重慶，畢業於國立重慶師範美術科，其擅長油畫，代表作有《風景這邊獨好》，現為中國美術家協會會員，畫作獲得機構包括中國美術館、軍事博物館等收藏。作品多次參加全國美展和各地展出，展覽經歷：「軍魂－藝術文獻展」（2007，中國人民革命軍事博物館，北京）、「走向新中國的偉大征程」群展（2009，深圳博物館新館，深圳）。鄭洪流其作深含古典風格壯麗闊遠，充滿澎湃之情深深喚起大眾歷史記憶共鳴，身為一級美術師的他影響廣泛，作品廣為大眾知曉熟悉，有著濃厚的大時代底蘊。 Zheng Hongliu was born in Chongqing, China, and graduated from Department of Fine Arts, Chongqing National Normal College. Zheng is an established oil painter, and his most famous work is Landscape Here is Beyond Compare. Zheng is currently a member of the China Artists Association, and his works are in the collections of major institutions such as the National Art Museum of China and the Military Museum of Chinese People's Revolution. Zheng is a frequent participant of numerous national and local art exhibitions, including: Spirit of a Soldier – Documentary Exhibition (2007, Military Museum of Chinese People's Revolution, Beijing), and Great March towards New China (2009, Shenzhen Museum New Hall, Shenzhen). Zheng's works showcase a classical style with magnificent beauty and passion, which trigger strong resonance with people's historical memory. Zheng is also influential as a first-class artist, where his works that fully capture the times are well known by the Chinese public.

MODERN AND CONTEMPOR ARY ART

309

李繼森 LI

JISEN (b.1970)

李梁 LEE

LIANG (b.1985)

225

223

生於中國天津。1992年畢業於天津美術學院，1994年進修於中央美術學院油畫系，現為職業畫家。李繼森的作品帶有一種既現實又非現實的感覺。其藝術作品具有強烈而又明確的符號化、類型化、複數化、象徵性、儀式化、觀念化和圖像化傾向。在繪畫手法上，實現畫面效果的把握和藝術觀念傳達出人的心理活動，反映了當代人關注內心與個體的自我批判。展覽：「自然最美」陳流、李繼森作品展(2010，北京，世紀翰墨畫廊平藝術空間)、「靈魂在高處—李繼森油畫作品展」 (2011，北京，798藝術區706北三街鼎峰空間)。

230

生於中國洛陽，新銳藝術家，現居住於北京。2003年考入中央美術造型學院基礎部，獲得中央美術學院獎學金，發表油畫作品〈女青年全身像〉。2004年進入中央美術學院油畫系，2005年再次獲得中央美術學院獎學金，作品〈靜物〉獲得油畫系畫室開放日最佳色彩獎，並入選為中央美術學院2005年度優秀作品，後被畫廊收藏。現為職業畫家。李梁：「藝術不是美醜問題，而是生活的鏡像。」因此在畫作中，其急切地盼望能夠直接表達出最真實的感受，與最真實的生活。個展：「暗香—中央美術學院優秀研究生李梁，萬嶺作品展」(2011，北京，感嘆號藝術空間)、「內心的真實—李梁作品展」(2012，臺北) 、「意向—李梁油畫作品展」 (2015，北京，萬國藝術空間)。

Born in Tianjin, China, Li graduated from the Tianjin Academy of Fine Arts in 1992. In 1994, he continued his studies in the Central Academy of Fine Arts. Currently he is a professional artist. His style is known for strong symbolic, ceremonial, conceptual meanings. Through surrealist manner, he reflects his sensitive observation on our Contemporary society as a whole and individually. His Recent exhibitions include: “Beauty of Nature: Chen Liu, Li Jisen Exhibition” (2010, Beijing, Han Mo Art Gallery); “Li Jisen Oil Painting Exhibition” (2011, Beijing, 798 Art District)

Born in Luoyang, China, Lee Liang is an up and coming artist, currently working in Beijing. He was accepted to Central Academy of Fine Art in 2003 where he received scholarship when he presented the oil painting titled “Young Women”. In 2004, he transferred from fundamental program to oil painting major. His painting “Still life” was awarded for Best Color, and even nominated for the 2005 Best Works of Central Academy of Fine Arts. The painting was later in the collection of a gallery owner, and Lee once again received scholarship in 2005. As a professional artist now, Lee once said “Art is not a matter of beauty; instead it should be a reflection of daily life.” His recent exhibitions includes: “Fragrance- CAFA outstanding graduates Li Liang, Wan Liang Exhibition” (2011, Beijing, Exclamation Art Space); “Inner Truth- Li Liang Exhibition” (2012, Taipei); “The Intention- Li Liang Oil Painting Exhibition” (2015, Beijing, IWC Art Space)

納坦 NATAN

張萬傳 CHANG

ELKANOVICH (b.1966)

WANCHUAN (1909-2003)

226

出生於摩爾多瓦共和國，1976年與家人移居以色列。在申卡學院特拉維夫服裝設計的工程和設計，贏得了博鰲亞洲論壇。畢業後，曾任高級服裝設計師、從事以色列電影和電視行業，2005年，他獲得了夢寐以求的阿斐獎，在以色列相當於奧斯卡獎最佳服裝設計的獎項。在“我的圖標”系列，他畫著深深影響了他的生活的著名人物的肖像。透過畫名人肖像，納坦真誠的讚揚他們所做的工作與付出。“我畫的著名人物，深深的影響著我的生活和大量貢獻，我的父母和教師，我的精神世界和世界觀，這些人都是我的'保姆'，現在畫他們，我表示，沒有一絲淡淡的譏諷，我非常讚賞和無盡的感謝他們，建設我的內心世界。“ - 納坦Elkanovich Born in Moldova, Natan Elkanovich moved to Israel with his family in 1976. He earned his BFA at the Shenkar School of Engineering and Design in Tel-Aviv. Since graduation, he worked as a senior costume designer for the Israeli Motion Picture and Television industry. In 2005 he won the coveted Ophir, the Israeli equivalent of the Oscar award for best costume design. In the My Icons series, he painted portraits of people who deeply influenced his life. By painting them, Natan pays a sincere tribute to them for the work they did. “I paint famous people that had a deep impact on my life and contributed heavily, as my parents and teachers, to my spiritual world and world view. These people were my ‘babysitters’, and by painting them now, I express, without the slightest hint of cynicism, my great appreciation and endless thanks to them for building my inner world.” – Natan Elkanovich.

310

ZHONG CHENG 中誠

228

生於台灣台北。中學時代跟隨石川欽一郎習畫，1929年入倪蔣懷籌組之「臺灣繪畫研究所」，後1930年赴日留學，進入川端畫學校及本鄉繪畫研究所研習西畫。 1938年返台後曾加入台陽美術學會，退出之後與陳德旺等人組成「行動美術會」。曾任教於廈門美術學校、國立藝術專科學校油畫科，以及臺灣建國中學、延平中學與國立藝專。其作品曾多次入選東京第一美展、日本春陽會展、府展特選、台展等；1954年首次於台北舉辦個展，1966赴日本舉行個展，1971年再度舉辦個展於台北中山堂。1980年創立台北美術會並任會長。其作品廣為藝術機構與私人藏家所珍藏。 Born in Taipei Taiwan. Studied painting under Ishikawa Kinichiro while he was in high school. In 1929, he went to Japan to study at the Kawabata Painting Institute and Hongoo Art Institute. Zhang returned to Taiwan in 1938 and joined the Taiyang Fine Arts Association. After his withdrawal from the Association, he formed the MOUVE paintings at the Amoy Fine Arts College in China and Taiwan National Art College. His Works have been selected by 1st art exhibition of Tokyo. He taught in department of oil at Shiamen University and Institution of National art. In 1980, he formed Art Museum of Taipei and Appointed as Chairman. His works were collected wildly by many art institutions and private collectors.

陳幸婉 CHEN

HSINGWAN (1951-2004)

彭自強 PEN

TZUCHIANG (b.1960)

229

生於台灣台中龍井鄉，為雕塑家陳夏爾之女。畢業於國立藝術專科學校美術科西畫組。師承李仲生，受其觀念啟發，做大量的自動性素描練習，也將此自動性技法運用於複合媒材。繪畫中嘗試以雕塑常用的石膏入畫，增加畫面的肌理與量感。1975 年與中部青年畫家陳世興等人組成「夏畫會」，並於台北省立博物館聯展。1984 年作品獲台北市立美術館首屆新展望獎與北美館首屆抽象繪畫第三獎。長年旅居巴黎，並多年遊行於台灣、歐洲及埃及等地尋求創作靈感與元素。重要展覽：「巴黎國際藝術展」(法國巴黎，1988)、「中華民國當代藝術展」(1995，雪梨當代美術館，澳洲)、「意象與美學－台灣女性藝術展」(1998，台北市立美術館)、「比較沙龍」(2004，巴黎歐德耶藝術空間Espace Auteuil，法國)、「蔓蕪」(2006，高雄市立美術館)。 Born in Taichung, Taiwan, Chen is the daughter of the well-known sculptor Chen Hsia Yu. She graduated from the Oil Painting Department at the National Taiwan Academy of Arts. She was later taught by Li Zhongsheng, whom, refined her sketching skills and inspired her to work experiment with mixed-media. In 1975, she organized the “Xia Painters Group” with Chen Shihxing, and held an exhibition at the Taipei Fine Arts Museum. In 1984, her artwork received the New Trend Prize and Third Place in abstraction category hosted by the Taipei Fine Arts Museum. She lived in Paris for the majority of her life, yet journey across Taiwan, Europe, and Egypt accumulated her unique aspect and cultural accomplishments. Important Exhibitions include: “Media, Environment, Appliance” (Taiwan Fine Art Museum, 1988 ); “Paris International Art Fair”(1992, Paris, France); “R.O.C. Contemporary Art” (1995, Sydney Modern Art Museum, Australia); “Image and Aesthetics-Taiwan Female Art Exhibition” (Taipei Fine Arts Museum, Taiwan, 1998); “Comparison Salon”(Espace Auteuil, Paris, France, 2004); “Sprawl” (Kaohsiung Museum of Fine Arts, 2006).

黃志超 DENNIS

HWANG (b.1941)

232

1941年生於中國福建廈門。近年作品偏向抽象與超寫實畫風，或以文字象形之趣渲染為畫，或於山水變形中嵌入符號。1971 應美國國務院邀請，赴美作文化藝術交流展，後旅居紐約至今。個展部分：2000年賓州美極畫廊「散髮系列」、2005 台北天使美術館「散髮系列」、2006 台北天使美術館「西湖遊記系列」。聯展部分：1988 美國紐澤西西東大學「山野聯展」、1989 美國紐約美華藝術中心丁雄泉、黃志超、陳昭宏「紐約三劍客」聯展、1991 台北台北市立美術館「台北－紐約：現代藝術的遇合」、美國紐約台北藝廊「台北－紐約：現代藝術的遇合」。 Born in Fujian Province, China, Dennis’ recent creations are in abstract surrealist style; he would use elements of Chinese literary characters to create dyed imageries, or by turning water and mountain sceneries into Chinese symbols. In 1971, he was invited by the State Council of America to visit for the purpose of artistic cultural exchange. He later moved to New York and lived there ever since. His solo exhibitions include “Hair Series” (2000, Beyond Art Gallery); “Hair Series” (2005, Taipei Angel Art Museum); “Journey to the West” (2006, Taipei Angel Art Museum). Group exhibitions include “Mountain Group Exhibition” (1988, New Jersey University Art Center); “New York Three Musketeers” (1989, New York Chinese American Art Center); “Taipei to New York: Contemporary Art Union” (1991, Taipei Fine Arts Museum).

231

生於中國四川重慶。自幼習水墨畫，長大後專攻水彩，中體西用，在水彩的世界展現水墨的張力，時而雲氣萬千，時而風淡雲輕，在水彩的領域自成一格，實有名家之氣。彭自強的畫給人一種強烈的張力，彷彿能將觀賞者的情緒帶入畫中，他天生本能有著導演般銳利的觀察力與創造力，用他的方式盡情揮灑著屬於他的迷彩世界。近幾年作品大多以平劇人物、交響樂、芭蕾舞、風景、人物做為創作主題，畫作風格筆觸大膽灑脫，不拘泥小節，表情生動，展現超強之生命力。 Born in Chongqing, China, Pen Tzuchiang practiced tranditional ink-drawings since early childhood. When he matured, he specialized in watercolor, presenting the western media through trandtional techniques of the East. Pen's paintings are powerful, allowing the viewers to be drawn into the mood of his art. With natural intuition, observant eyes and fruiteful creativity Pen convey a dreamy world of ideals. In recent years his subject mostly revolves around orpera singers, orchestra musicians, ballet dancers and more. Under his precise brushstroked, he perfectly capturs the vivividness and sentiments of the perfomers in action.

鄧箭今 DENG

JIANJIN (b.1961)

鄧箭今生於中國廣東，畢業於江西景德鎮陶瓷學院美術系，作品呈現後現代社會人們生活之中內心的掙扎與精神的異化，目前任教於廣州美術學院，為該院講師。獲得收藏包括廣州美術館、廣東美術館、上海美術館、中國美術館、成都上河美術館、義大利雷委內青年藝術中心、深圳美術館。展覽經歷：「情．禁」個展（2009，今日美術館，北京）、「欲の幻境」個展（2012，東京畫廊，北京）、「他是我們的深淵」個展（2013，扉藝廊，廣州）、「下一 233 站，廣州」廣州當代藝術展（2014，廣州美術學院大學城美術館，廣州）、「當代進行時—2015中國當代藝術邀請展」（2015，明園美術館，上海）。曾獲獎項：《中國油畫雙年展》學院獎、《第三屆中國油畫年展》銀獎、《首屆美術文獻提名展》文獻獎等殊榮。 Deng Jianjin was born in Guangdong, China, and graduated from Fine Arts Department of Jingdezhen Ceramic Institute in Jiangxi. His works depict the inner struggles and spiritual alienation of people living in the post-contemporary society. Deng is currently a lecturer at Guangzhou Academy of Fine Arts. His works are included in the collections of the Guangzhou Art Museum, Guangdong Museum of Arts, Shanghai Art Museum, National Art Museum of China, Chengdu Shanghe Art Museum, Montova Youth Palace Museum in Italy, and Shenzhen Art Museum. His past exhibitions include: Lust – Suppression: Deng Jianjin Solo Exhibition (2009, Today Art Museum, Beijing), Dreamlands of Desire (2012, Tokyo Gallery, Beijing), He is Our Abyss (2013, Fei Gallery, Guangzhou), Next Stop, Guangzhou – Guangzhou Contemporary Art Exhibition (2014, Guangzhou Academy of Fine Arts Gallery, Guangzhou), and Chinese Contemporary Art Invitational Exhibition 2015 (2015, Ming Yuan Art Gallery, Shanghai). Deng has received numerous honors and awards including the Academy Award at the China Oil Painting Biennale, Silver Award at the Third Annual China Oil Painting Exhibition, and Documentary Award at the First Documentary Exhibition of Fine Arts. MODERN AND CONTEMPOR ARY ART

311

柯適中 KO

SHIHCHUNG (b.1966)

234

出生於台灣南投。畢業於國立台灣藝術學校美術科西畫組，及美國密蘇里州Fontbonne Colleg美術碩士。現任教於私立南開技術學院藝術鑑賞科副教授。舉辦過之個展： 2000年於台南第雅畫廊、竹東名冠藝術館；2002年台中大古畫廊個展；2006年於台中市文化局；「路程‧空間」(2007，台中由鉅藝術中心、北京金德瑞藝市中心、上海金瑞德藝術中心、法國GSR Gallery)；2010舉辦「在形色的天空下」油畫創作全國大專院校巡迴展；藝文走廊－風景．隨想（2011；埔里鴨子咖啡館及國立暨南大學)、2012在南投縣政府文化局－自然的原相個展；2013 台中市立大墩文化中心－界域；2015年在南投舉辦創作個展；作品曾多次獲獎及被台中國立美術館及國立歷史博物館等典藏。 Born in Nantao, Taiwan, Ko Shihchung graduated from the Western Painting Department of National Taiwan University of Art, he received his master's degree from Fontbonne College. He currently teaches at the Private Tainan University of Technology as the Co-professor and Art Counselor. His solo exhibitions include: (2000, Tainan, Di Ya Gallery); (2000, Sunny Art Museum); (2002, Taichung, Dagu Gallery); (2006, Taichung Cultural Affaire); “Journal, Space” (2007, Taichung GSR Gallery, Beijing and Shanghai China Plas Art Center, France GSR

邵旋 SHAO

HSUAN (b.1982) 邵旋生於中國甘肅，畢業於湖北美術學院雕塑系，創作主要帶有詼諧幽默趣味，其作品予人獨特鮮明的視覺印象。獲得收藏包括作品《突然開始不忍心》和《因為他正在離開》被湖北省藝術館收藏。展覽經歷：「回顧與展望」湖北省當代雕塑藝術展（2008，湖北省藝術館，武漢）、「重新閱讀」群展（2010， K11藝術空間，武漢）、台北國際博覽會（2011，台北）、「時間之外」東湖當代雕塑藝術展（2013，華僑城生態藝術公園，武漢）、「屏山雕塑展」邀請展（2014，深圳），曾獲殊榮包括2013年作品《生命像一粒種子》獲東湖全國雕塑家邀請賽十強，同年獲湖北美術學院國家獎學金，及湖北省青年雕塑藝術展優秀獎項。

235

312

ZHONG CHENG 中誠

Shao Hsuan was born in Gansu, China, and graduated from Department of Sculpture, Hubei Art Academy. Shao's works showcase a humorous style and give unique visual impressions. Works “Suddenly Sympathetic” and “Because He is Leaving” are collected by Hubei Art Museum. Shao has participated in and held exhibitions including “Review and Outlook” Hubei Province Contemporary Sculpture Exhibition (2008, Hubei Art Museum, Wuhan), “Re-Read” (2010, K11 Art Space, Wuhan), Art Taipei 2011 (2011, Taipei), “Beyond Time” Donghu Contemporary Sculpture Exhibition (2013, OCT Ecological Park, Wuhan), and Pingshan Sculpture Exhibition (2014, Shenzhen). Shao won the recognition of Top Ten Sculptors at Donghu National Sculpture Invitational Competition for “Life is Like a Seed” in 2013. Shao was also rewarded the National Scholarship from Hubei Art Academy, and Outstanding Award at Hubei Young Sculptors Exhibition in the same year.

Gallery); “Under the Colorful Sky” (2010, National University Tour Exhibition); “Aesthetic Hall: Scenery Thoughts” (2011, Puli Duck Coffee Shop of National Chi Nan University); “The Natural Form Solo Exhibition” (2012, Nantou Province Cultural Center); “Solo Exhibition” (2013, Taichung Dadun Culture Center); “Solo Exhibition” (2015, Nantou); his art works are collected by National Museum of Fine Arts and National History Museum.

陳陽春 CHEN

236

YANGCHUN (b.1946)

237

生於雲林北港。畢業於國立台灣藝術大學，曾任台北市美展評審委員、全省學生美展評審委員與國內外知名院校教授，更有著「水彩畫大師」、「儒俠」、「文化大師」等享譽國際之美譽。陳陽春以水彩畫最為人稱道，尤擅將東方水墨技法與意境結合西方水彩之水分掌握與光影控制。水彩畫大師馬白水曾讚「陽春白雪，畫如其人，自在逍遙，風流瀟灑，中西融匯，古今貫通」。其作品更於國內外各地皆有所珍藏，至今亦舉辦了將近兩百次個展，每每為人驚艷、佳評如潮。近期個展：「陳陽春水彩畫招待展」(2010，首爾)、「台灣采風個展」(2012，馬德里，駐西班牙代表處)、「台灣采風—陳陽春大師水彩畫展」(2013，德國，駐德代表處)、「2014台灣之美全美巡迴展」(2014，西雅圖、金山灣區、洛杉磯、澄縣、芝加哥、亞特蘭大、休士頓、華府、紐約、波士頓)、「藝宛陽春─陳陽春水彩畫暨數位版畫展」(2015，台北，淡水文化園區)、「陽春三月─陳陽春水彩大師個展」 (2015，雲林，環球科大藝術中心)。 Born in Yunlin, Paka, Chen graduated from the National Taiwan University of Arts, he was the judge for Taipei City Art Exhibition and Student Art Exhibition, also a well-known professor at many reputable educational institutes. He is known as a “Watercolor Master”, “Confucius”, “Cultural Master” along with other honorable titles. Chen Yangchun mastered the watercolor medium through incorporation of traditional Chinese ink techniques and the control of light and shadow from Western paintings. Chen has hosted more than two hundred solos exhibitions. His recent exhibitions include: "Chen spring watercolor Entertain Exhibition" (2010, Seoul); "Taiwan Caifeng solo" (2012, Madrid, Spain); "Taiwan Caifeng- Watercolor Exhibition" (2013, Germany); "2014 The beauty of Taiwan US Tour" (2014, Seattle, Golden Bay Area, Los Angeles, Cheng County, Chicago, Atlanta, Houston, Washington, New York and Boston); "Yi Wan Yangchun -Watercolor Digital Exhibition" (2015, Taipei, Danshui Cultural Park); "Spring in March-Chen Watercolor Masters Exhibition" (2015, Yunlin, Universal HKUST Arts Center).

謝孝德 HSIEH

HSIAODE (b.1940)

238

徐進雄 XU

JINXIONG (b.1943)

239

生於台灣桃園。謝孝德堅持具像藝術，將機械文明取代眼睛無法瞬間捕捉的概念，一直是他創作的信念。1965年畢業於國立台灣師範大學美術系後隨即留校任教。 1973至1974年間旅居法國巴黎並於羅浮宮藝術學院作研究，後返國撰寫《新寫實主義》一書，成為台灣倡導新寫實主義的開創人。現任國立台灣師範大學美術系研究所。在國內獲得獎項：台陽展、省展、全國展均獲得首獎多次，曾於日本、美國及台港等地舉辦個展，作品獲國立歷史博物館、國立台灣藝術教育館、台北市立美術館、國立台灣美術館、高雄市立美術館收藏，並屢獲獎項，包括1971年參加法國康城國際雙年展獲國家獎，1979年參加英國克里夫蘭國際素描展獲優秀獎，於 1982及1983年被英國世界名人錄列為世界名人之一。展覽：「謝孝德寫意造境精品展」(2012，國立新竹生活美學館)、「遊情寫意」─謝孝德精品典藏展(2014，國立彰化生活美學館)。

241

出生於台南縣大灣村，為前輩畫家郭柏川的入室弟子， 1969年以第一名畢業於中國文化學院美術系西畫組，在校期間得門師廖繼春、李梅樹、李石樵等大師指導，其後更曾赴日、美深造專攻西畫，並於1975年返台任教中國文化學院，目前在家鄉開畫室指導學生。亦曾榮獲各項國際獎項如美國費城水彩畫比賽第2名、台南市美術研究會第17屆南美展的「曙光獎」等。其畫作與書法之造詣更名列美、日及中三國名人畫冊。

Born in Taoyuan, Taiwan, Hsieh Hsiao-De was devoted to the figurative style. Upon graduating from the Department of Fine Arts at the National Taiwan Normal University, he remained in the institute to teach. From 1973 to 1974, he traveled to Paris and did research on the Art School of Louvre. When he returned to Taiwan. He published a book titled "Neorealism” thus became the founder of Neorealism in Taiwan. Hsieh won numerous awards in Taiwan. He received First Place in the Tai-Yang Art Awards, and also receiving multiple awards from the Taiwan Provincial Fine Arts Exhibition. He held solo exhibition in Japan, American, Hong Kong and Taiwan. His works are collected in Nation Museum of History, Nation Taiwan Arts Education Center, Taipei Fine Arts Museum, Nation Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts. His exhibitions include “Hsieh Hsiao-De Poetic Scenery Special Works Exhibition” (2012, National Hsinchu Art Museum); “Travel Literature: Hsieh Hsiao-De Special Works Exhibition” (2014, National Chuanghua Art Museum).

Born in Tainan Province, Taiwan, Xu Jin-Xiong studied under the instruction of Guo BoChuan. In 1969, he graduated as the first in his class from the Western Painting Department of Chinese Culture University. His instructors at the school include artist Liao Chi-Chun, Li Mei-Shu and Li Shi-Chiao. He later visited Japan and American to focus on Western paintings. In 1975, he returned to Taiwan to teach at his university. He also opened an art studio where he teaches a number of students. He received second place in the Philadelphia Watercolor Competition, special awards in the 17th Tainan Art Research Fair and more. His paintings and calligraphy are widely celebrated in the US, Japan and China.

曾茂煌 CHENG

許敏雄 HSU

MAOHUANG (b.1934)

MINGHSIUNG (b.1955)

243 242

生於臺灣新竹。1956年畢業於省立師範專科學校。1968年作品榮獲全省教員美展油畫優選，自此益發努力創作，1970年代間，曾氏的作品榮獲多項重要美術獎，數度於省展、全國油畫展、台陽美術展及台北市美展中奪得優選，其中更獲第三十八及四十屆台陽美展油畫金牌獎。1981年在省立博物館舉行首次個展，其後陸續舉辦個展與回顧展，1988年作品《鄉趣》為國立台灣美術館收藏。多次遠赴歐洲、東歐、美國、日本等美術館考察，目前為專業畫家。分別在美國、台北兩地作畫的習慣，使其作品揉合東西雙方的浪漫。近期個展與聯展：「曾茂煌經典回顧展」 (2015，拓樸藝術藝廊)、「大地之歌」—風景油畫展(2015，雅逸藝術中心)。 Born in Hsinchu, Taiwan, Cheng Mao-Huang graduated from the Taiwan Provincial Hsinchu Provincial Normal College in 1956. He was awarded at the Taiwan Teacher Art Show in 1968, and was later encouraged to pursuit an artistic career. In 1970s, his works has won many important awards, including fires place in the 38th and 40th Taiyang Fine Arts Exhibition, National Oil Painting Exhibition Awards, and Taipei City Art Exhibition Award. He held his first solo exhibition at Nation Taiwan Museum in 1981, and his paintings have been in the museum's collection since. He visited art museums of many countries including Europe, Middle East, America and Japan for inspiration. He works has an art studio in Taiwan and the US. His most recent exhibitions include: “Cheng Mao-Huang: A Retrospective”(2015, Top Art Gallery); “A Song of Nature: Oil Painting Exhibition” (2015, Julia Gallery).

生於台灣台中。1977年畢業於國立台灣藝術專科學校美術系西畫組。1987年獲全國油畫展銀牌獎，1999年更獲頒美國亞太藝術研究院繪畫特優獎，並榮獲傑出華人藝術成就獎推薦，實為國際級藝術大師。1995-1997年間就讀於美國加州舊金山藝術大學美術研究所。曾在國立台灣藝術大學與國立台灣科技大學任教，並於華語雙周報擔任編輯，著錄多篇文章關於雕塑、圖像、繪畫等，在專業書籍有《現代性圖像研究探究》專書。展覽：「豐華」許敏雄收藏展（2010，飛皇藝術中心）、「夜戲」許敏雄2012油畫個展（2012，國立新竹生活美學館）、「星光馬戲團」許敏雄台北上海同步個展（2013，台北、上海）。 Born in Taichung, Taiwan. Hsu Ming-Hsiung graduated from the Fine Arts Department of National Taiwan University in 1997. He won a silver medal at the National Oil Painting Exhibition in 1987. In 1999 he received an honorary award from the Asian Pacific Art Institute of America. From 1995 to 1997, he studied at the California Institute of the Arts. He taught at the National Taiwan University of Arts and National Taichung University of Science and Technology. He served as the editor in chief in the newspaper office and wrote several book on sculpture, painting, graphic and other aesthetics. His recent exhibitions include: “Hsu Ming-Hsiung Collection Exhibition” (2010, Fei Hwang Art Center); “Hsu Ming-Hsiung Oil Painting Solo Exhibition” (2012, National Hsinchu Art Museum); “Hsu Ming-Hsiung Solo Exhibition” (2013, Taipei, Shanghai).

MODERN AND CONTEMPOR ARY ART

313

奈良美智 YOSHITOMO

250

254

NARA (b.1959)

Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artists is infatuated with subjects with big heads and big eyes; he is well known in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today his works are in collection of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other wellknown museums in the world.

GUANGZHONG (1919-2010)

258

生於中國江蘇。1942年畢業於國立藝術專科學校，1943年重慶大學建築系任助教。1946年考取公費留學，1947年入法國巴黎國立高等美術學院。1948年作品參加巴黎春季沙龍展和秋季沙龍展。1950年歸國後，先後任教於中央美術學院、清華大學建築系、北京藝術學院、中央工藝美術學院。教學之餘探索油畫民族化及中國畫現代化。曾獲法國文藝最高勛位及巴黎市金勳章。2000年入選法蘭西學院藝術院通訊院士，是首位獲此殊榮的中國籍藝術家，也是法蘭西學院成立近二百年來第一位獲此職位的亞洲人。繪畫風格除反映中國繪畫的特點，也呈現東西方藝術的匯合，在海內外享有極高的聲譽。個展曾於美、英、法、新加坡及香港地區等博物館舉行。 Wu Guanzhong was born in Jiangsu Province, China. He graduated from the National College of Arts in 1942, and became a teaching assistant for the faculty of Urban Planning and Architecture at Chongqing University. In 1947, Wu traveled to Paris and studied at the École National Supérieure des Beaux Arts on a government scholarship. In 1948, he participated in the spring and autumn season Salon exhibition. Upon his return in 1950, he taught at several institutes including China Central Academy of the Arts, School of Architecture- Tsinghua University, and School of Arts Peking University. Aside from teaching, he explores the oil painting culture and the modernization of Chinese ink drawings. In 1991, he was honored the “Officier de l’Ordre des Arts et des Lettres” from the French Ministry of Culture. In 2000, he became the first Asian artist to receive the title of Corresponding member by the Academie des Beaux-Arts de l’lnstitut de France in its 200 years of establishment. Wu Guanzhong's painting style reflects not only tradition Chinese painting characteristics, but also the combination of Western influences. He is a respectable artist in the international art field; he held multiple solo exhibitions in U.S, England, France, Singapore, Hong Kong and other major Museums across the globe.

314

ZHONG CHENG 中誠

HIRST (b.1965)

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生於日本青森縣弘前市，現居於東京。早期的作品以插畫性質為多，但在1980年代後期即發展出他以小人頭像為主的風格；奈良美智對於大頭和大眼型的小人相當著迷，他的特色在於塑造各種帶有情感的眼神，其中最著名的是斜視的眼神（有人說是代表憤怒，有人則說是代表了邪惡）。在1990年代後期，他也開始創作立體作品，並採用不同媒材拼組的方式。今日他的作品已被許多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝術博物館等。

吳冠中 WU

達米恩‧赫斯特 DAMIEN

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1965年生於英國布里斯托，是新一代英國藝術家的主要代表人物之一。赫斯特主導了90年代的英國藝術發展並享有很高的國際聲譽。1986年就讀於倫敦大學金匠學院。1995年獲得英國當代藝術大獎特納獎。他的創作基於概念藝術為出發點。個人展覽：「不確定年代中的浪漫」白立方畫廊，倫敦，英國，2003年、「痛苦與狂喜；1989－2004年作品選」考古博物館，那不勒斯，意大利，2004年、「我腦海中永恆的美麗」蘇富比，倫敦，英國，2008年、「神學，哲學，醫學，公義」安德烈．卡拉絲畫廊，蘇黎世，瑞士，2010年、「達明．赫斯特－回顧展」泰特現代美術館，倫敦，英國，2012年。 Damien Hirst was born in Bristol, London in 1965. He is the most prominent member of the group known as the Young British Artists, who dominated the art scene in the 1990s. He is internationally renowned. In 1986 he was studying in the Goldsmith, University of London. He is the winner of the 1995 Turner Prize. His creations are mostly categorized as concept art. Solo exhibitions include: “Romance in the Age of Uncertainty” (2003, London, White Cube Gallery); “The Agony and the Ecstasy: Selected Works from 1989-2004” (2004, Museo Archeologico Nazionale di Napoli, Naples, Italy); “Philosophy Medicine, Installations Art, Theology Philosophy” (2004, Andreas Klarstrom Gallery, Switerland); “Damien Hirst: A Retrospective” (2012, Tate Modern Museum, London).

趙無極 ZAO

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WOUKI (1921-2013)

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生於中國北京。1941年畢業於杭州藝專，曾任該校講師，受業於林風眠（19001991）、吳大羽（1903-1988）。畢業之後校長林風眠勸其到法國留學，於是在 1948年偕妻子謝景蘭赴巴黎留學，並結交不少歐洲藝術界人士。從1959至1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年代時趙無極成為巴黎最傑出的中國畫家。1981年在法國大皇宮展出，並獲得「榮譽軍團司令勛章」。2002年榮膺為法蘭西學院院士。他的作品廣被世界各地的私人藏家及博物館珍藏。1993和1995 年應邀在台北及高雄市立美術館展覽。1994年獲得日本天皇美術獎。1998年更經由法國文化部策劃其回到中國上海博物館、北京中國美術館、廣東美術館舉辦回顧展。他的作品中，承襲中國傳統內涵，並取中國書法和山水畫的線條與氣韻，在畫布空間中，巧妙地以抽象方式表達真實事物，創造出現代繪畫的新領域，避開抄襲與舊有形式，以嶄新姿態與形式呈現出他的藝術新領域。第二次世界大後，成為巴黎畫派最具影響力的畫家之一，也是西方藝壇上成就最傑出的一位中國藝術家。 Born in Beijing, China, Zao Wou-Ki studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). He graduated in 1941 and was persuaded by Lin Fengmian who encouraged them to pursuit art in France. Thus, in 1948, Zao and his wife moved to Paris. From 1959-1965, he held annual solo exhibition in New York Kootz Gallery. In 1970, he was considered the most successful Chinese Painter living in France. Later in 1981, his works were displayed in Galeries Nationals du Grand Palais and was awarded “Commandeur de la lgiond Honneur”. In 2002, he was selected as an honorable member of the Academie Francaise. His work can be found Musée d'art moderne in Paris and other public and private collections. From 1993-1995, he was invited to exhibit in Taipei and Kaohsiung Art Museum. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show took place in 1998 that toured three major museums: Shanghai Museum of Art, Beijing's Chinese Art Museum and Guangdong Museum of Arts. After WWII, Zao Wou-ki is considered to be one of the most influential artist in Parisian art movement, as well as the most successful Chinese painter of today.

王沂東 WANG

YIDONG (b.1955)

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出生於山東蓬萊縣，1972年考入山東藝術學校美術科後，開始學習繪畫。後於 1978年入中央美術學院油畫系。學習期間曾先後赴山東大漁島、河北承德、新疆伊犁、吉林延邊、山東蒙陰、費縣、沂水、沂源、沂南等地寫生采風。曾參加過「法國第十屆世界藝術節」、日本「第六屆亞洲美展」等，其作品《農家母女》更在全國第六屆美術作品展覽獲優秀獎（北京市美術家協會收藏）。2004年10月起任北京畫院專業畫家，北京畫院藝術委員會委員，中國美術家協會理事，中國美術家協會油畫藝術委員會委員，北京市美術家協會副主席。曾在美國、香港、澳門、德國等國家舉辦個展，其作品多次在全國性美展中獲獎。

陳擎耀 CHEN

CHINGYAO (b.1976)

Wang Yidong was born in Sandong province, China. He was admitted into the Fine Arts Department of Sandong School for the Art in 1982. Later in 1978, he focused in oil painting at the Central Academy of Fine Arts. During his studies, he would visit the Shandong Fishing Island, Hebei Chenge, Yili, Yanbian Jilin, Shandong Mengyin, Fei County, Yishui, Yiyuan, Yinan and more for outdoor sketching. He participated in the 10th France World Art Festival, Japan's 6th National Art Exhibition. His painting won numerous awards. His painting “Farmer and Her Daughter” won the International 6th Art Exhibition Award in Beijing city. Since October 2004, he became a professor at the Beijing Art Academy, the Vice Chairman of the Beijing Art Association, member of Chinese Art Association, and member of the Oil Painting Committee of Chinese Artist Association. He held solo exhibitions in the United States, Hong Kong, Macau, Germany and other countries.

傑夫．孔斯 JEFF

KOONS (b.1955)

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生於台北，畢業於國立藝術學院。實踐大學媒體傳達系兼任講師，現在以專職藝術家身份活躍於台北藝壇。曾於1999年及2000年分別獲得台中港區藝術中心台灣藝術新貌獎及台北美術館台北獎首獎殊榮，並於2009年獲得美國亞洲文化協會台北分會劉國松創作獎助並赴紐約進修，同年獲韓國Open Space Bae藝術村邀請赴韓國釜山進行交流展覽。個展與聯展：「陳擎耀展」（2013，釜山，美古畫廊）、「國際收音機體操」（2012，日本，福岡亞州美術館）、「2014 昌原雕塑雙年展」（2014，韓國昌原市）、「Asia Anarchy Alliance 亞細亞安那其連線」（2014，東京、台北關渡美術館）。 Born in Taipei, Taiwan, Chingyao graduated from the National Institute of Arts. As an active member in the art scenes, Chen also gives lectures at Shih Chien University teaching multimedia production. In 1999 and 2000, he was awarded by both Taichung City Seaport Art Center for “New Emerging Artist Awards” and Taipei Fine Art Museum for “Honorable Awards”. In 2009, American Asian Cultural Council offered Chen and Liu Kuo Song the opportunity to pursuit further artistic education in New York. In the same year, he was invited to be the resident artist at Korean Open Space Bae TAV (2009). More recent exhibitions include; “Chingyao Chen Exhibition” (2013, Busan, Meigu Gallery), “International Radio Exercise” (2012, Japan, Fukuoka Asian Art Museum), “2014 Changwon Sculpture Biennale” (2014, Changwon, Korea), “Asia Anarchy Alliance” (2014, Tokyo, Taipei, Kuandu Museum of Fine Arts)

生於美國約克，賓夕法尼亞州，美國當代著名普普藝術家之一，擅長大膽地運用俗艷地圖像或造型創作，有「俗艷王子(Kitsch)」之稱。先後畢業於芝加哥藝術學院和馬德里藝術學院。成名前為生活曾短暫從事金融工作，1980年代在紐約East Village舉辦展覽，開始受到注目。2007年時作品《懸掛之心》曾在紐約拍出2600 多萬美元的高價紀錄，更是拍賣場上作品最具價值的在世藝術家。昆斯借鑒了杜象的挪用與拿來主義，讓精美的現代商品絲毫不損地轉入藝術狀態，勇於挑戰傳統美學。被認為是繼安迪．沃荷之後最重要的普普藝術家。2008年在法國凡爾賽宮舉辦第一次回顧展，同年於芝加哥當代美術館展出時，打破博物館遊客參觀紀錄。近期個展則有：2014於「惠特尼美國藝術博物館」舉辦「傑夫‧孔斯回顧展」、2015 年於紐約「GUY HEPNER」舉辦「傑夫‧孔斯個展」等。作品亦廣為美國、英國等多處現當代美術館和藝術機構收藏。 Born in York, Pennsylvania, Jeff Koons is an American Pop artist known for his reproductions of banal objects. Known as the “Kitsch Prince”, Koons graduated from the Maryland Institute College of Art in Baltimore and the School of the Art Institute of Chicago. Before his fame, he used to work in Financial Industry. He rose to prominence in the mid-1980s when his exhibited at the New Museum of Contemporary Art in New York. In 2007, his work “Hanging Heart” was auctioned in New York setting a high record of 2600 million USD. Koons challenge traditional aesthetic theories, and is considered the next most important Pop artist after Andy Warhol. In 2008, he held his first Retrospective Exhibition that took place in Chateau du Versailles. In the same year, he exhibited in Chicago Contemporary Art Museum, breaking the record for numbers of visitors! Recent exhibitions include: “Jeff Koons: A Retrospective” (2014, Whitney Museum of American Art); “Jeff Koons: Solo Exhibition” (2015, Guy Hepner) and many more. His works can be found in the collection of modern and contemporary art museums as well as public and private foundations. 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。

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.

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The following provisions are entered into by and between Zhong Cheng Auctions (hereinafter referred to collectively as “the Company”), as the auctioneer, and the Seller (hereinafter the “Seller”). The Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”). Both the Buyer and the Seller shall review and accept all provisions hereunder.

I.The Buyer Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made and between the Seller, through the agency of the Company, and the Buyer. ■

■ Before the auction A.Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. While we usually offer authentication opinions for review, we provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined of the Agreement). B.Important Notice The descriptions of auction items will mention obvious defects of the items as much as possible; however, they do not necessarily include all flaws, defects, or incomplete aspects. C.Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lot or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. D.Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions. ■ At the auction A. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. B. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. C. Refusal of admission The Company has the right, at our own discretion, to refuse admission to the premises or participation in any auction and to reject any bid. D. Registration before bidding A Prospective buyer must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. E. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. F. Absentee bids The Company will make reasonable effort to bid for the prospective buyers who instruct us to bid on their behalf by using the form attached the catalogue. Written bids form should be delivered to the Company prior to the auction. If we receive written bids on a particular lot for identical amounts, and the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with it. G. Telephone bids The Company will make reasonable efforts to contact the bidder to

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participate in the auction by phone. The prospective buyer should request such arrangements prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. H.Currency converter The currency converter will be utilized at the auction. Errors may occur in the operation of the currency converter and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom. I.Video or digital images There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. J.Auctioneer's discretion The auctioneer reserve the absolute right to reject any bid, push for bids at his own discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. K.Successful bids and risk transfer Under the discretion of the auctioneer, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer means the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot but not its title (including frames or glass where relevant) passed to the buyer at the expiration of seven working days from the date of the sale or on collection by the buyer if earlier. ■ After the auction A. Buyer's premium The Buyer shall pay the hammer price plus the buyer's premium to the Company and any applicable taxes. For hammer price below NT$20,000,000 (included), the buyer's premium shall be calculated at 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 a.The Buyer should provide his name and permanent address to the Company upon the successful bid. All payments due (including the hammer price, buyer's premium and any applicable taxes) shall be paid within 7 days after the auction. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment is made other than NT dollars, the buyer shall pay the related expense incurred, including bank charges and foreign exchange service fees. b. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer's Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. c. It is Zhong Cheng's policy to request any new clients or purchasers preferring to make a cash payment to provide proof of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card or driver's licence) and confirmation of permanent address. Thank you for your cooperation. d. Cheques and drafts should be made payable to Zhong Cheng's. Although personal and company cheques drawn in NT dollars on Taiwan Cooperative Bank is accepted, you are advised that property will not be released until such cheques have cleared unless you have a pre-arranged Cheque Acceptance Facility. Forms to facilitate this are available from the Finance Department in Zhong Cheng. Bank transfers should be made to: TAIWAN COOPERATIVE BANK. FU HSIN BRANCH Swift No. : TACBTWTP091 Beneficiary name: ZHONG CHENG AUCTIONS CO., LTD. Beneficiary account number (13 digits): 0914 665 003801 * Please include your name and invoice number with your instructions to your bank.

D. Storage Storage and handling charge may apply. E. Collection, packing and shipping Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). The Company will provide shipping company upon the buyer’s request and do not accept any liability if any damage occurred by the shipping company. F. Remedies for non-payment or non-collection of purchases The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: a. An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, we have the right of charging also 1% selling price (including of harmmer price and the commission) multiplied by the numbered of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. b. The Company reserves the right to refuse the Buyer to make on behalf of others, bids in any future auctions and/or to require a deposit from the Buyer before accepting any future bids made by the Buyer. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: c. To take legal action to the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such legal action based on a total claim. d. To cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. e. To arrange a public or private re-sale of the Lot. If the reselling price is lower than the payment, the differences and other expenses incurred shall be responsible by the Buyer. G. No collection of the purchases The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the item, regardless payment is made or not. Such storage cost will be borne by the Buyer. H. Export permit Unless otherwise agreed by the Company in written, the process of applying the export permit does not affect the Buyer's responsibility to make the payments within 7 days. If the Buyer requests the Company to apply the export permit on his or her behalf, the Company is entitled to charge the related expenses. ■ The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. ■ Return of payments for forgery If the Lot is considered as a forgery by the Buyer, the Buyer should inform the Company in written notice within 14 days. The written comment should under the following condition and the transaction will be cancelled and payments made will be returned to the Buyer. It is unnecessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer does not reserve the right to claim interests under any circumstances. A.The written report (produce evidence) should be provided by two individual experts and agreed by the Company. B.The Buyer must return the Lot to the Company within the following 21 days and the condition of the item must be the same as on the auction day. C.The Buyer has absolute right to the Lot and the Lot is free from the third party rights of claims. D.The Company will refund to the Buyer any amount paid to the Company after receiving the amount returned by the Seller.

II. The Seller

■ Zhong Cheng as the agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lots is the agreement by and between the Buyer and the Seller. ■ Expenses The Seller shall bear costs relating to the following:

a.Packing if the Lot and shipping to the Company for the action b.Any applicable shipping insurance c.The packaging and shipping if the item is delivered back to the Seller. d.Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e.Any applicable custom duties f.Catalogue illustrations g.Any repairs made to the Lot as per prior agreement with the Seller h.Framing and mounting i.Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations. j.Any independent professional opinions which the Company deems proper. k.Collect 50% of the insured amount as part of the general expenses of the Company in the event the Lot is not successfully auctioned l.The storage of the Lot after the auction (if applicable) m.The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided. n.Any marketing and promotional expenses ■ Insurance coverage to be arranged by the Company a.Unless otherwise agreed by the Company, the Lot will be automatically insured under the Company art relic policy in the amount as deemed appropriate by the Company undertakes to be successfully during the auction. b.The Company will collect 1% of the hammer price from the seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder any legal responsible for any legal responsibilities incurred therefrom. c.The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller's risk upon the expiry of 7 days. d.We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions or weather. 4.No insurance purchased by the Seller and risk transfer If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments and the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim without any conditions. ■ Commitments made by the Seller with respect to the Lot a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above mentioned, the Seller must guarantee, if requested, to identify fully the Company and/ or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. d. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising here from, whether caused by the Lot or the auction proceeds. ■ Auction arrangements a.The Company has its discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. The Company reserves the right to withdraw the lot without obtaining the consent of the Seller. b.If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller. ■ Auction rules a.The Company will auction the item according to the Reserve. The Reserve may not be higher than the minimum of the estimates set in the catalogue. The Company is entitled to auction the item at a price lower than the Reserve, If the lot is sold according to the above principle, the Company is responsible to pay the Seller the difference between the closing price and the Reserve. b.The seller may not increase the price of sale without fair reasons, nor

participate in the bidding of his/her/its auction item(s), however, Zhong Cheng is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. ■ After the auction a. Settlement After the payment is made by the Buyer, unless the Company receives a notice claiming such auction item is a forgery (as defined in the Agreement), the Company will pay the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Forgery If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in the Agreement) or stolen good or involved in any illegality within ten (10) days after the auction date, the Company may decide upon its sole discretion as follows: (1) If the Buyer does not pay the payable payment in full yet, the Company has the rights to withdraw the transaction; (2) If the Buyer has paid the payable payment in full, the Company may return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company's decision and handling in accordance with this Lot and make any claim or allegation; (3) The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three days of such notification. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Unsuccessfully auctioned items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$1,000 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 60 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction. ■ Photographs and display The Company owns the copyright in all images, illustration and written material produced by or for the Company's relating to a lot including he contents of this catalogue, is and shall remain at all times the property of the Company and shall it be used by the Buyer, nor by anyone else, without the Company's prior consent. ■ Tax The payments payable by the Seller to the Company does not include any commodity or service tax or any other value added tax (whether imposed in the Taiwan or elsewhere). The Buyer should be responsible for paying such taxes pursuant to the tax rates and time provided by the law if there is any such applicable tax. If the Company is commissioned by the Seller to auction in Taiwan, the Company must pay the income tax for the Seller pursuant to the R.O.C. laws.

III.Terms of definition

Some of the phrases commonly seed herein are defined as follows: 1.“Buyer” means the highest bidder accepted by the auctioning party. 2.“Hammer price” means the highest bid with respect to one particular auction item accepted by the auctioning party. 3.“Buyer's premium” means the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in this Agreement. 4.“The Reserve” means the lowest price agreed by the Company and Seller. price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Forgery If the Buyer convinces the Company that the Lot is a forgery (as defined in the Agreement) within 14 days following the auction day, then (1) If the Buyer has not paid all or part of the payment, the Company is entitled to call of the transaction and/or (2) If the Company at that time has paid all or part of the payments payable to the Seller, the Seller must return all the payments made to the Company if requested. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Unsuccessfully auctioned items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$300 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction.

IV. Terms applicable to both the Buyer and the Seller

1. Copyright The copyright of all the images, photographs and written material in connection with the Lot belongs to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent form the Company. 2. Notices All the notices distributed according to the Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed as received on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the R.O.C. laws. The Buyer and Seller shall submit to the exclusive jurisdiction of the Taiwanese court for the interests of the Company. 5. Any discrepancy between the Chinese and English version of this Terms and Conditions of Business, the Chinese version shall prevail.

MODERN AND CONTEMPOR ARY ART

319

拍賣業務規則

Ⅰ. 買家代理人中誠國際藝術股份有限公司（以下稱本公司）作賣家代理人，除另行協定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。

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拍賣前 1.鑑定物品本公司鄭重建議，競投人應於拍賣進行之前親自鑑定有興趣競投之物品。本公司通常會有鑑定意見書可供索閱。本公司除就膺品（如本拍賣交易條款所界定者）作出之證明外，不對買家作任何保證。 2.拍品狀況之重要注意事項請準買家注意，在儘可能的範圍內，目錄中對於拍賣品特性之描述，皆已提及顯著的損壞，惟不包括所有的a 缺陷、瑕疵與不完整。 3.目錄說明本公司於目錄或鑑定意見書對任何拍賣品之作者、來歷、日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引參考，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應為拍賣品會成功拍賣價格之依據或拍賣品作其他用途之價值陳述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及/或修整資料。此等資料僅作為指引參考，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 4.買家之責任有關物品狀況及目錄說明所提述事項，買家需於拍賣前充分詳閱，並確認自身對於該物品感到滿意。

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拍賣時 1.買方應繳之營業稅依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符號之編號者），若係於中國民國境外取貨，應於拍賣日後兩個工作天內以書面通知本公司。 2.估價目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會需以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當日匯率，折合所繳付之等值貨幣計算。 3.拒絕入場本公司具有絕對之決定權拒絕任何人士進入拍賣場地、參與拍賣，亦可拒絕接受任何競投。 4.競投之前作出登記準買家在作出競投前，必須填妥及簽署登記表格，並提供身分證明。準買家應注意，本公司亦有權要求對買家作出信用核查，亦有權對買家收取一定成數之保證金。 5.競投者為買家除非登記時已書面協定，競投者僅為第三人之代理人，而該第三人為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 6.委託競投書面競投且經本公司確認，本公司將盡適當努力代其競投。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投

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320

ZHONG CHENG 中誠

價，則該拍賣品會歸其委託競投最先送抵本公司之人。除非在競投時有其他委託，此項書面競投的執行是本公司的免費服務。本公司不會對因未能執行之書面競投，或在當中出現任何錯誤或遺漏負任何責任。 7.電話競投如準買家於拍賣前與本公司完成競投前相關作業，本公司將盡適當努力聯絡競投者，使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或任何準買家均不負責任何責任。 8.貨幣兌換顯示版拍賣會上，本公司會使用貨幣兌換顯示版，匯率按拍賣日當天銀行開市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。該貨幣兌換顯示版在操作時難免會出現錯誤。買家因依賴貨幣兌換顯示版(而非因以新台幣競投)而蒙受之任何損失，本公司概不負責。 9.錄映影像在若干拍賣中會有影像投射，有關操作上的失誤或影像素質參差不齊之情況，本公司不負任何責任。 10.拍賣官之決定權拍賣官具有絕對決定權，亦即有權拒絕任何競投、以其決定之方式推動出價、將任何兩件或多件拍賣推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，與如遇有誤差或爭議，將拍賣品重新拍賣。如在拍賣後有任何爭議，將會以本公司的拍賣紀錄為依歸。 11.成功競投與風險移轉在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家之成功拍賣合約之訂立。拍賣品之風險及責任，不包括其所有權(包括框架及玻璃)，在成交日起七個工作天期滿或在買家於期滿前提取該物品時，拍賣品與風險責任轉移到買家。拍賣後 1.買家支付之服務費買家除支付落槌價外，另須支付服務費予本公司。落槌價於新台幣貳仟萬元(含)以下者，服務費率以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）。 b.買家如未向本公司支付所應付之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，本公司將向買家收取所產生之任何外匯費用，這包括銀行收費與兌換貸幣之規費及匯差。以新台幣以外之貸幣付款予本公司之匯率，依拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑證為準。 c.中誠之政策是要求選擇以現金付款之任何新客戶或買家提供身份證明(通過出示帶有照片並由政府發出之證明，如護照、身分證或駕駛執照)並確認固定地址。多謝合作。 d.支票及匯票請以中誠為抬頭人。雖然以合作金庫銀行台幣開出之個人及公司支票均獲接納，惟敬請留意，除非閣下已預先安排支票受納設施，否則本公司須待支票

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兌現後方會將閣下所購得之物品交付。如欲作出是項安排，請向中誠之財務部索取表格辦理。銀行轉帳須存入以下戶口：合作金庫銀行復興分行(006) 帳戶名稱：中誠國際藝術股份有限公司帳戶號碼：0914-717-237961 *閣下向銀行發出指示時請附上閣下之名稱及發票號碼。 4.包裝及搬運搬運及包裝已購拍賣品時，本公司將善盡責任處理。惟七天期滿後或自領取時起，拍賣品風險全由買家承擔。本公司可在買方要求下提供承運廠商資料，但並不負任何法律責任。 a.不付款或未領取之已購拍賣品補救辦法如買家未在七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： (1)在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1%計算之違約金。將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下買家之款項。 (2)在將來的任何拍賣中，有權拒絕買家或由他人代其所作出之競投，或在接受其任何競投前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者外，另有權採取下列措施： i.代賣家針對買家進行法律程序，追討整筆欠款，連同此項以悉數賠償為基準之法律程序之訴訟費。 ii.取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品之交易。 iii.安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付款而引致之任何費用一併向買家索償。 b.未領取已購之拍賣品如已購得之拍賣品未能在成功拍賣七天內領取，不論是否已付款，本公司將安排貯存事宜，費用由買家承擔。 c.出口許可證 (1)除本公司另有書面同意外，買家希望申請出口許可證，並不影響買家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 (2)如買家要求本公司代為申請出口許可證，本公司有權收取增值稅與其他相關費用。 (3)如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買家因此產生之利息與其他已產生之費用。 5.本公司之法律責任本公司有責任在第六條所列之情況退還款項予買家。除此之外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之僱員或代理人，均無就任何拍賣品作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6.交易取消買方如認定拍賣品係為膺品，需於拍定售出日起十四個工作天內，以書面通知本公司，且須符合下列條件，始得取消交易，並將其支付本公司之款項無息全數退回，並不得請求其他賠償。 a.由三位獨立專家提出書面說明（出示證據），並經本公司認可。 b.買家應於拍定售出日起二十一個工作天內，將購得之

拍賣品退回本公司，且本公司收到該拍賣品時，該拍賣品之狀況需與拍賣當日相同。 c.買家對該拍賣品擁有絕對所有權，並未在該拍賣品上設定任何債權，且與任何第三人之索償無涉。 d.賣家需繳回相關費用後，本公司始得退還買家。

Ⅱ. 賣家代理人中誠國際藝術有限公司（以下稱本公司）作為賣家代理人，賣家拍賣品的成交合約，則為買家與賣家之間的合約。

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相關費用 1.賣家需負責與下述項目有關之相關費用： a.將拍賣品包裝並運予本公司作拍賣。 b.任何適用之運送保險。 c.如拍賣品交回賣家其包裝與付運。 d.受保於本公司之藝術精品保單〈下文另有解釋〉 e.任何適用之關稅。 f.目錄插圖費用。 g.預先與賣家協定之對拍賣作品做出之任何修整。 h.裝框、裱畫之費用。 i.本公司相信為擬定目錄說明須由外界專家做出之鑑定。 j.本公司相信為適當之任何外界專家意見。 k.拍賣品拍賣後之儲存〈如適用〉 l.本公司之行政費用，成功拍賣或未能成交，數目為因閣下而引致之一切費用支10%。 m.任何市場推廣費用。 2.拍出者，本公司自「拍定價」中扣除依「規定比率」計算之佣金，因未能拍出而私下議價者亦同。

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保險 1.除非與本公司另有協定，否則拍賣品將自動受保於本公司藝術精品保險單，保額為本公司當時認為適當者。然而保額並非本公司承諾拍賣品會成功拍賣之款額。 2.本公司將向賣家收取落槌成交價之百分之一作為保險費，未成交則收取委託底價之百分之一作為保險費。如由本公司安排運送，本公司將向賣家收取額外款項，作為運送保險費。在賣家的要求下，本公司可提供承運廠商資訊予賣家，惟本公司不承擔任何有關方面之法律責任。 3.拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能成功拍賣，逾期後風險全由賣家承擔。 4.由蛀蟲、空氣或氣候轉變對拍賣品造成之損壞，本公司概不承擔法律責任。

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賣家不購買保險之風險移轉如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至買家付清款項為止。賣家須保障本公司、本公司之僱員與代理人，以及買家（如適用）免負因拍賣品而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任，而不論索償產生之任何原因。

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賣家就拍賣品所作之承諾 1.賣家為拍賣品之唯一物主，具備將所有權轉讓予買家之無限制權利，並與一切第三人權利或索償（包括版權索償）無涉； 2.賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第三人未能遵守此等規定以書面通知本公司； 3.賣家已將其所知之有關拍賣品任何重大修改以及第三人就拍賣品之所有權、狀況或歸屬以書面通知本公司。 4.如上述1-3項，有任何不確實之處，賣家須應要求保證完全償還本公司及/或買家一切因之而引起之索償、費用

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之或開支，而不論是因拍賣品還是因拍賣收益而引起。拍賣安排 1.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進場競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完全之決定權，本公司在未徵得賣方同意下有權撤回拍賣品。 2.如本公司或賣家撤回拍賣品，本公司得收取賣家委託底價40%之費用，另加一筆相等於拍賣品按保險值成功拍賣本公司應得之服務費之款項，以及任何適用之增值稅與保險費和其他開支。

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拍賣守則 1.本公司將會參照底價將拍賣品拍賣。底價不得高於目錄所印估價之下限。如競投價不能達到底價，本公司在任何情況均不負有任何責任。但本公司有權將拍賣品以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成交價與底價之差額。 2.賣家不得隨意哄抬價格，不得參與競標標的作品，亦不得聘請任何人代賣家參與競標，但本公司有權代賣家以不超過底價之價格參與競標。

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成功拍賣後 1.結算在買家付款後，除非本公司收到通知該拍賣品為膺品（如本交易條款界定者），否則，本公司會於成功拍賣日期後六十天，將一筆相等於成交價扣除賣家應支付所有費用之款項支付賣家。如遇買家延遲付款，則本公司將在買家付款後七天內支付賣家。如因任何理由而使本公司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣款項退還予本公司。除賣家另有書面指示外，本公司以新台幣付款。如賣家要求以新台幣以外之貨幣付款，本公司將向賣家收取所產生之任何外匯費用。但如屬買家匯入其他貨幣時，本公司有權以其他貨幣支付。若賣家要求轉換成新台幣支付，本公司將向賣家收取所產生之任何外匯費用。 2.買家不付款如買家在拍賣日期後七天內未有支付應付之全部款項，本公司即有權代賣家就付款、貯存與保險而協定特別條款，並採取本公司認為需要的任何步驟以向買家收取其應付之款項。但本公司並無責任支付賣家款項，亦無責任代賣家採取任何法律行動。本公司將與賣家討論採取適當行動以向買家追討拍賣款額。 3.膺品如在拍賣日期後十日內，經買家提出證明並經本公司認同該拍賣品為膺品（如本業務規定界定者），則(1)如買家尚未支應付之全部款項，本公司有權取銷交易。(2)如買家已支付款項時，本公司得無條件退還買家交付之拍賣落槌價（本公司得扣除因此所致之費用及相關處理費用）予買方時，而拍賣品將由本公司退回賣家或送交司法單位處理，賣方不得異議，或對本公司主張任何權利或請求。 (3)如本公司屆時已支付賣家全部或部份應付款項，賣家須三天內無條件將該款項悉數退還本公司。在後一情況下，本公司將行使留置權，有權留置屬於賣家之任何物品以作為應退還款項之擔保品。 4.未能成功拍出之拍賣品任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，在本公司發出通知，要求賣家領回拍賣品三十五天內，賣家必須領回拍賣品。任何此等拍賣品如在三十五天過期後仍未領回，每天每件將徵

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收貯存費新台幣壹仟元整，並加收貯存期間產生之保險費用。任何此等拍賣品如在拍賣日期後或上述通知日期後六十天內（以較早日期為準）未被領回，本公司可決定是否將該拍賣品進行處置。處置包括將拍賣品移往第三人之貨倉，開支費由賣家承擔，與將該拍賣品按本公司認為適當之條款（包括有關估計與底價之條款）公開拍賣。本公司其後會將拍賣所得扣除所有相關費用後支付予賣家。任何拍賣品如在拍賣中收回或未能成功拍賣，本公司獲授權在拍賣後的二個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費用後之款額），私下出售拍賣品，或按本公司與賣家另行同意之較低價格私下出售。在此情況下，賣家就該拍賣品而對本公司所負有之責任，與拍賣品成功拍賣時相同。圖片與圖示本公司對拍賣品之圖示、錄影或將拍賣品複製影像具有非排他性之權利。此等影像一切權利均屬本公司所有，且本公司有權以任何適合之方式使用。

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其他事項 1.稅項賣家支付予本公司之所有款項不包括貨物稅、服務稅或其他增值稅(不論由台灣或別處所徵收)，如有任何相關之稅項產生，賣家須依據有關法律規定之稅率及時間繳付稅款。

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Ⅲ. 本規定所用詞彙之意義在下列規定中，某些常用詞彙需加以解釋。此等詞彙如下： 1.「買家」：指本拍賣公司所接受之出價最高者。 2.「落槌價」：指本拍賣公司就一拍賣品而接受之最高出價之價款。 3.「買家支付之服務費」：指買家按落槌價之某一百分比而支付之費用。 4.「底價」：指本公司與賣家協定之最低價格。 5.「膺品」：指拍賣品構成模仿，模仿之原構想及其整體執行均具有欺詐意圖，就拍賣品作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義，任何拍賣品均不會因為有任何損壞及/或任何形式之修整（包括重新上漆）而成為膺品。

Ⅳ. 買家與賣家均適用之條件 1.版權與拍賣品有關之一切影像、圖示與書面材料之版權，屬於本公司之財產。未徵得本公司事先書面同意，買家或任何人均不得使用。 2.通知根據本交易條款發出之通知，均須以書面發出。如採用郵遞發出，則在付郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後第五個工作天。 3.可分割性如本交易條款有任何部份遭任何法院認定無效、不合法或不可強制執行，則該部分可不予理會，而本交易條款之其他部份在法律許可之最大範圍內須繼續有效及可強制執行。 4.法律及管轄權本交易條款依據中華民國法律規限，本交易條款之解釋與效力均適用台灣法律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。

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ZHONG CHENG 中誠

ZHONG CHENG

TA I P E I

Modern And Contemporary Art

20 December 2015