ZHONG CHENG
TA I P E I
Modern And Contemporary Art
14 June 2015
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ZHONG CHENG 中誠
MODERN AND CONTEMPORARY ART SUNDAY 14 JUNE 2015
MODERN AND CONTEMPOR ARY ART
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MODERN AND CONTEMPOR ARY ART
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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 Effy Chen Art Administrator effy@art106.com Sophie Chen Art Administrator sophie@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615
Taichung Rose Chung Art Administrator rose@art106.com Karen Wang Art Planning Associate karen@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 Oversea Wayne Hsiao Deputy General Manager wayne@art106.com Virginia Hsiao virginia@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615
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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 Effy Chen effy@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 Taichung Rose Chung rose@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703
GENERAL CLIENT SERVICES For services of Buy & Sell, Appraisals & Valuations, Auction Schedule and Catalog Subscription, please contact: Sophie Chen sophie@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 OFFICIAL WEBSITE Please visit Zhong Cheng’s official website for more information www.art106.com OTHERS Zhong cheng is delighted to provide you the condition report of any of the items 48 hours before the auction. However, the buyers should fully compreheand that all items at the auction are sold ‘as is’. For details, please refer to the Transaction Agreement at the back of the catalogue. Please refer to the ‘Transaction Agreement to the Buyers.’
中誠國際藝術拍賣服務部門及一般客戶服務 關於本場次拍賣相關諮詢，請連絡 台灣北部地區 蕭華薇 總經理 vivian@art106.com 蕭偉廷
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MODERN AND CONTEMPOR ARY ART
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MODERN AND CONTEMPOR ARY ART
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001 CHEN TINGSHIH ( Chinese, 1916-2002 )
Couplet Calligraphy 135 x 34cm (2) Ink on Paper Inscribed and Signed Chen TingShih in Chinese With one seal of the artist
NT$ 80,000-160,000 US$ 2,600-5,200
陳庭詩 書法五言聯 水墨 紙本 款識：建平先生雅屬 長樂八六 歲陳庭詩 藝 術 家 鈐 印： 陳 庭 詩 印（ 白 文）、長樂（朱文 )、長樂老人 ( 朱文 ) 釋文： 建業無何說，平居有所思。 出身書香門第，自小吟詩作畫 的陳庭詩，八歲時因故失聰， 進而失語，卻在時代的淬煉下， 成就出豐富瑰麗的藝術世界， 其創作包羅水墨、書法、金石、 版畫、彩墨、鐵雕，更涵蓋了 東西方、傳統與現代、具象與 抽象，無一不使人窺見了宇宙 運行之奧妙，並沉浸在那片默 然無聲之中。
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ZHONG CHENG 中誠
002 JIN QINBO
( Chinese, 1910-1998 )
Peonies 79.5 x 38cm Ink and Color on Paper Inscribed and Signed Jin Qin-Bo in Chinese and dated 1979 in the Chinese sexagenary cycle With five seals of the artist
NT$ 100,000-200,000 US$ 3,300-6,500
金勤伯 富貴壽考圖 1979 彩墨 紙本 款識：富貴壽考己未初冬吳興金勤伯 藝術家鈐印：金開業印 ( 白文 )、勤 伯 ( 朱文 )、吳興 ( 朱文 )、金勤伯 ( 白 文 )、靜中自樂 ( 朱文 ) 金勤伯，本名開業，號繼藕，浙江吳 興人，出身古瓷書畫收藏世家，名聞 中國，成長於上海與北平，遠親近戚 中不乏藝術家、收藏家、實業家至政 治家等，對民國時期中國藝壇有著極 大的貢獻。金勤伯在獨厚的環境中孕 育，自幼跟從北方畫壇領袖—大伯父 金城、三姑母金章習畫，後承許多大 家，更至全國第一大收藏家龐虛齋處 摹畫，留學英美，向西方介紹中國繪 畫。除嶄露精湛的藝術，也在「有 筆有墨謂之畫」的堅持中，力求宋代 院體畫嚴謹的風格，領略幾盡失傳的 填金、填綠的技巧。因此，金勤伯獲 美讚，為戰後臺灣院體花鳥畫的拓荒 者，提供現代花鳥畫「借古以開今」 的契機。
MODERN AND CONTEMPOR ARY ART
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003 CHANG WANCHUAN ( Taiwanese, 1909-2003 )
裸女
Nude
油彩 木板 簽名：CHANG 万
27 x 22cm Oil on Board Signed Chang in English and Wan in Chinese With a certificate of authenticity from gallery
NT$ 80,000-160,000 US$ 2,600-5,200
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張萬傳
ZHONG CHENG 中誠
附畫廊開立之原作保證書
張萬傳是台灣前輩畫家重要的代表之一，他的畫風始 於野獸派、表現主義的啟迪，後受巴黎畫派影響，並 融入台灣原鄉藝術，他的風格豪邁狂野，筆觸瀟灑自 由，展現出獨特的藝術風貌。張萬傳筆下的《裸女》 線條流暢優美，他在畫面上能掌握裸女瞬間的動感， 常混和濃烈的紅、黃、藍色使用並佐以黑色的線條， 他在畫面上探索人體與空間的布局，在氣氛上力求畫 面中的形色交融，因而形成了自我風格強烈的特色。
004 HONG JUILIN
洪瑞麟
( Taiwanese, 1912-1996 )
城市風景
City Landscape
1973 水彩 紙本 款識：箱根 1973 藝術家鈐印：礦山人
24.8 x 34cm Watercolor on Paper Signed Hakone in Chinese, dated 1973 With one seal of the artist
生於臺北大稻埕，其父擅於中國傳統書畫，洪瑞麟自幼 耳濡進而對繪畫產生興趣，1927 年進入臺灣繪畫研究所 接受石川欽一郎指導，學習水彩、素描。洪瑞麟晚期的 畫作多以歌頌太陽和大然為主，如《城市風景》，畫面 以大色塊的手法處理，用色大膽燦爛，海天一色，景色 由遠到近，觀者彷彿能感受到那徐徐吹來的暖風，和開 闊景色所帶給他的感動。
NT$ 100,000-200,000 US$ 3,300-6,500
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005 YU YUJEN
( Chinese, 1878-1964 )
于右任肖像照
Yu Yu-Jen's Photography
水墨 相紙 款識與簽名：于右任 鈐印：右任
28.5 x 21 cm Ink and Photograph Inscribed and Signed Yu Yu-Jen in Chinese With one seal of the artist PROVENANCE: Chinese American Private Collection
NT$ 100,000-200,000 US$ 3,300-6,500
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于右任
ZHONG CHENG 中誠
來源： 旅美華僑早期收藏
于右任，晚號「太平老人」，是 中國近代最具地位書法家，涵養 造詣震幅臺灣書法風氣，首次出 現碑學壓倒館閣帖的趨勢，晚年 更尤為草書影響書風至鉅，受到 世人尊崇，臨摹者絡繹不絕。
006 ALFRED BASTIEN
巴斯天
( Belgian, 1873-1955 )
馬廄
The Horse Stable
油彩 畫布 簽名：A Bastien
50 x 60cm Oil on Canvas Signed A. Bastien in French PROVENANCE: Centre d'Art de Rouge-Cloître, Auderghem, Belgium
來源： Centre d'Art de Rouge-Cloître, 奧德爾赫姆，比利時
巴斯天秉承印象派畫風，追求戶外寫生，此幅《馬 廄》取材於生活，描繪馬廄一景，構圖主要置於畫 面中央，左方兩名工人正勤奮搬運東西，而右方棕 色馬匹則安靜地待在一旁，一動一靜形成對比，搭 以光影的巧妙安排，令畫面既是祥和靜謐，卻又自 在閒逸。
NT$ 140,000-220,000 US$ 4,600-7,200
MODERN AND CONTEMPOR ARY ART
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a. b.
007 TANG HAIWEN
( Chinese-French, 1927-1991 )
a. 紅色抽象
a. Red Abstract
b. 黑色抽象
b. Black Abstract
彩墨 紙本 a. 簽名：Tang 海文 b. 簽名：Tang 海文
a. 25 x 33.5cm b. 23 x 32.5cm Ink and Color on Paper a. Signed Tang in English and Hai-wen in Chinese b. Signed Tang in English and Hai-wen in Chinese
NT$ 160,000-240,000 US$ 5,200-7,800 16
曾海文 ( 唐海文 )
ZHONG CHENG 中誠
唐海文擅長運用黑白、虛實和無盡的抽 象水墨意境，將中國書法的飄逸線條， 流暢自然的表現在創作上。其作品以寫 意的渲染表現出源自東方的氣韻生動， 從東方線條跨越到西方線條，作品於具 象與抽象、寫意與神會之間徘徊，讓水 墨結構與空間虛實產生對應的關係，又 在筆勢中融入冥想之氣的流轉，如同無 形的舞蹈在靈虛中擺盪奔騰。
008 PU RU
溥心畬
( Taiwanese, 1896-1963 )
桐廬舟中遇雨
Calligraphy
水墨 紙本 款識：桐廬舟中遇風心畬 藝術家鈐印：溥儒 ( 白文 )、朗庵珍 稀 ( 朱文 )、眉心齋 ( 朱文 )、廣陵汪 氏收藏 ( 朱文 )
24 x 33.4cm Ink on Paper Inscribed and Signed Xin-Yu in Chinese With four seals of the artist
NT$ 120,000-240,000 US$ 3,900-7,800
釋文： 江上連朝雨，雙臺黛色深； 閒隨漁父去，遙結水心雲。 雖有扁舟興，無人共入林； 巖陵何敢望，余亦芥千金。 《桐廬舟中遇雨》溥心畬
清代皇親貴裔大多雅好書畫與鑑賞，而 出身滿清皇室的溥心畬，在中國傳統禮 教與學識的培養之下，自幼飽學詩書， 深諳理學，乃至爾雅、說文、漢儒訓詁 之學皆有涉略，旁及諸子百家之書、古 文詩詞，蘊育出貴族文人的氣質，奠定 其深厚的文學修養基礎。早年習畫多由 觀摹皇室大內收藏入手，故其畫風多擬 悟自古人書法帖、名畫及書香詩文蘊籍 而成，其中書法以「南宗」為法，注重 線條鉤摹，較少烘染，意境雅淡致遠， 俊逸出塵，結構謹嚴，筆法挺勁。 《桐廬舟中遇雨》筆勁蒼健，流暢爾雅， 墨如其人，意態氣正，展現出溥心畬極 高的文采與藝術展現。
MODERN AND CONTEMPOR ARY ART
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009 TAI JINGNONG
( Taiwanese, 1902-1990 )
Calligraphy 101 x 34cm Ink on Paper Inscribed and Signed Tai Jin-Nong in Chinese and dated 1988 in the Chinese sexagenary cycle With four seals of the artist
NT$ 260,000-360,000 US$ 8,500-11,800
臺靜農 論書表 1988 水墨 紙本 款識：梁虞龢論書戊辰端午臺靜農於龍波丈室 鈐印：隆德 ( 朱文 )、靜者八十歲後作 ( 白文 )、 臺靜農 ( 白文 )、龍坡丈室 ( 朱文 ) 釋文： 夫古質而今妍，數之常也；愛妍而薄質，人之情 也。鐘、張方之二王，可謂古矣，豈得無妍質之 殊？且二王暮年皆勝於少，父子之間，又為今古。 子敬窮其妍妙，固其宜也。然優劣既微，而會美 俱深，故同為終古之獨絕。 臺靜農早年是中國著名的現代小說家，晚年卻成為 著名的書法家。臺靜農的書法風格獨特，常以紀錄 心靜抒寫。其篆書多為筆畫方折硬瘦、大小參差的 銘文，或是質樸率真近於古隸的刻石；隸書方面用 筆抖動卻流暢自然；草書多與行書混用，陽剛凝重 卻沒有放逸灑脫；行書是臺靜農書法成就中最高的 一項，剛勁挺拔，渾厚雄健。臺靜農善於取法於古 人作為養分，融合深具個人風格的筆法創造出書法 的新風貌。
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ZHONG CHENG 中誠
010 HUANG JUNBI
( Chinese, 1898-1991 )
The Snow Plum 67 x 32.5cm Ink on Paper Inscribed and Signed Huang Jun-Bi in Chinese, dated 1975 in the Chinese sexagenary cycle With two seals of the artist
NT$ 120,000-240,000 US$ 3,900-7,800
黃君璧 雪梅 1975 水墨 紙本 款識：老樹有餘韻，別花無此姿。 乙卯秋日黃君璧 鈐印：黃君璧 ( 白文 )、白雲堂 ( 白文 ) 黃君璧為傳統水墨國畫中前輩藝術 的代表人物，與張大千、溥心畬合 稱「渡海三家」，對台灣國畫藝壇 影響深遠。投身美術教育長達七十 餘年，曾與徐悲鴻共同執教，因而 培養出深厚情誼。其桃李滿門，作 育英才無數，包括楊英風、劉墉、 趙澤修等人皆為其學生，前第一夫 人蔣宋美齡亦曾向其學畫，故有「國 師」之稱。黃君璧水墨筆意追隨古 典文人典範，師法董源，卻習古不 泥、墨趣現代創新。 此作《雪梅》運墨流暢，筆情恣意， 細筆寫梅，勾勒清新可人之感，濃 墨粗線略做鉤斫，加強枝幹強勁生 命力，濃淡對照，更顯寒梅傲骨之 態，並以蒼健筆觸題下宋朝詩人張 道洽之詩「老樹有餘韻，別花無此 姿。」藉以詠嘆梅花獨特的韻味。
MODERN AND CONTEMPOR ARY ART
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011 PU RU
( Taiwanese, 1896-1963 )
Zhong Kui 78 x 30cm Ink and Color on Paper Inscribed and Signed Xin-Yu in Chinese and dated 1958 in the Chinese sexagenary cycle With one seal of the artist PROVENANCE: Acquired directly from the Chou Hui-Ying's family
NT$ 550,000-650,000 US$ 18,000-21,200
溥心畬 鍾馗 1958 彩墨 紙本 款識：鬚髯
毛磔寶劍動星辰 浩 氣吞河 嶽 英靈役鬼神 戊戌五月五日 心畬 藝術家鈐印：溥儒之印 來源： 現藏者購自丒輝英家族 溥心畬出生於皇室，是道光皇帝的曾孫，常 以「舊皇孫」的印章署名在其書畫作品上 面，其山水作品，與張大千先生齊享「南張 北溥」的稱譽，觀察溥心畬的作品，具有淡 雅清俊的文人特質，溥心畬先生的作品所呈 現的是一種純粹的中國色彩，溥心畬先生崇 尚儒家思想與中國文學，在他的畫中表露無 遺，深厚的書法底子，畫中可見其筆意精隨 流暢的運用，畫中的顏色皆使用淡潤的顏色 一層一層的堆染上去，使得畫面顯得清淨秀 潤。而鍾馗鬼怪故事是溥心畬先生喜愛的小 品佳作，他以精粹的繪畫技巧，簡潔乾淨的 背景，細膩地勾勒出鍾馗的神韻風采，富饒 趣味。
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ZHONG CHENG 中誠
012 YU YUJEN
( Chinese, 1878-1964 )
Couplet Calligraphy Calligraphy 150 x 40cm (2) Ink on Paper Inscribed and Signed Yu-Jen in Chinese With one seal of the artist
NT$ 450,000-650,000 US$ 14,700-21,200
于右任 草書五言聯 水墨 紙本 款識：瀉光先生正之右任 鈐印：右任 ( 朱文 ) 被譽為「一代草聖」的于右任，原名 伯循，字誘人，並以「誘人」諧音「右 任」為名；別署「騷心」、「髯翁」， 晚年自號「太平老人」，高風亮節、 淡泊名利。民國年初曾有「國民黨四 大書法家」一說：楷書譚延闓、草書 于右任、隸書胡漢民、篆書吳稚暉。 于右任以易識、易寫、準確、美麗的 原則，開創標準草書，成為中國書法 承先啟後最具指標性的人物。終其一 生留下墨跡作品甚豐，創造碑帖融合 的藝術，神韻自然圓融，見其字如見 其人，展現溫潤儒雅的氣質。
MODERN AND CONTEMPOR ARY ART
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013 TANG HAIWEN
( Chinese-French, 1927-1991 )
Sans Titre 70 x 100cm Ink and Color on Paper Signed Tang in English and Hai-wen in Chinese
NT$ 550,000-650,000 US$ 18,000-21,200
曾海文 ( 唐海文 ) 無題 彩墨 紙本 簽名：Tang 海文 「我的畫既非抽象亦非具象，它不描繪世界並意圖跨越意 識的世界，來呈現與自然及其律動相關的新形式。」 --- 唐海文 這位自幼成長於中國傳統家庭的藝術家，除了深受中國文化的 薰陶外，更於 16 歲時旅居法國巴黎，他擺脫了國籍、地域的限 制，超越傳統、現代的界限，以一種恣意灑脫的自由感投奔藝 術文化的懷抱。而唐海文並未接受過任何藝術訓練，單靠著信 念，流連於畫廊與博物館間，自習成才。因此，並不難在作品 裡發現中國傳統繪畫「詩中有畫；畫中有詩」的珠璣，以及西 方現代主義印象派的筆觸，這些皆完整透露出藝術家創作的思 想脈絡，這樣廣闊開放的畫面，非但融入了中國道家思想，更 是對宇宙萬物的無垠感動。一紙一世界，一筆一天堂，其與趙 無極、朱德群同期旅法的華人藝術家，各自渲染出屬於自己的 世界，呈現出自然美感的形而上思維。 "My painting is neither abstract or non-figurative, furthermore it does not depict the world , its intention is to cross the consciousness of our world, to present nature and associated rhythm in new manner." ---Tang Haiwen Tang Haiwan, grew up in a traditional Chinese family, other than being influenced by the cultured that he grew up in, he left for Paris at the age of 16 to escape nationality, geographical constraints, to go beyond the traditional, modern boundaries in an art pursuit for absolute freedom of expression. Tang Haiwan had never received proper training in aesthetic practices, depending on faith alone; he lingers in art galleries and museums for his own aesthetic education. Therefore, it is not difficult to discover the traces of Chinese tradition painting concept, "Poetry within the painting, painting within the poem"
MODERN AND CONTEMPOR ARY ART
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014 TANG HAIWEN
( Chinese-French, 1927-1991 )
Rhythm 70 x 100cm Ink on Paper Signed Tang in English, Hai-Wen in Chinese
NT$ 400,000-600,000 US$ 13,100-19,600
曾海文 ( 唐海文 ) 韻律 水墨 紙本 簽名：Tang 海文 唐海文，生於福建廈門的富裕家庭，原名曾天福，自幼隨 祖父習寫書法，使得嫻熟線條上的運用，後獨自赴巴黎遊 學發展，與趙無極、朱德群等，為同期旅法的華人藝術家， 在透過汲取各大美術館和畫廊新知後，融入原就擅長的黑 白、虛實和無盡抽象，揮灑於水墨意境，並將創作重心放 在表現中國畫裡的「天空留白處」，追求中國傳統文人繪 畫「詩中有畫；畫中有詩」的精神，勾勒出藝術家在思維 上「似景非景；見山非山」的哲學體悟。鑒其所見所聞， 逐以發展到作品的空間表現上，以「一分為二、二融成一」 的陰陽無垠，使二聯、三聯的創作形式，足以涵蓋對天地 萬物消長、相合的律動與態勢，讓唐氏水墨掌握了瞬間的 永恆，呈現出屬於唐海文的繪畫新境界。然而，能擁有如 此令人稱羨的無羈藝術人生，實際上，也是唐海文揮別了 家族的名望，同時放棄對功名物質的追逐，以篤實堅定的 心，志向走上藝術創作之路，被形容「性格裡有一種擁抱
世界的渴望，因此一生脫離不了貧困，雖然一無所有， 卻也擁有全部。」
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015 TANG HAIWEN
( Chinese-French, 1927-1991 )
Abstract a. 11 x 16.3cm b. 13 x 15.8cm c. 12.5 x 15.8cm Ink and Color on Paper a. Signed Tang in English, Hai-Wen in Chinese b. Signed Tang in English, Hai-Wen in Chinese c. Signed Tang in English, Hai-Wen in Chinese
NT$ 140,000-180,000 US$ 4,600-5,900
曾海文 ( 唐海文 ) 寫意山水 彩墨 紙本 a. Tang 海文 b. Tang 海文 c. Tang 海文 唐海文，擅長將中國書法的飄逸線條，用筆 觸揮灑在畫布間，唐海文忠於中國思想哲學， 重拾一種古典的觀念，以色彩、線條、意境 來引發我們精神上的感受與共鳴，唐海文的 作品自由奔放，彩墨所揮灑出來的筆觸可以 讓我們感受到他對藝術的狂熱，他的作品更 結合了老莊思想，無爭、無為的生活態度， 只追求藝術創作，實為中國近代繪畫之翹楚。
a. b. c.
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ZHONG CHENG 中誠
016 LIU CHIWEI
劉其偉
( Chinese, 1912-2002 )
平安馬
Horse of Peace
2001 綜合媒材 棉布 簽名：ㄌ一ㄡ ˊ ㄑ一 ˊ ㄨㄟ ˇ 〢○○〡
33.5 x 45cm Mixed Media on Cotton Signed Liu Chi-wei in Chinese phonetic alphabet and dated 2001 (Chinese numerals)
NT$ 180,000-240,000 US$ 5,900-7,800
在繪畫創作上，劉其偉崇尚原始主義，並 喜愛嘗試綜合媒材的運用，他不著重高超 技巧的使用，以古拙線條體現周遭生活， 也因如此，使得觀者與藝術品間的距離縮 短，更使藝術展現出它的高度親和力。劉 其偉善用各種媒材，再以半抽象的方式呈 現；《平安馬》看似隨意的筆觸，卻充分 展現出台灣人樸質、刻苦耐勞且堅毅的生 命力。
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017 CHEN CHINGJUNG ( Taiwanese, b.1934 )
高山老婦
Old Woman of Tayal
1993 油彩 畫布 簽名：景容 '93
52.1 x 44.2cm Oil on Canvas Signed Ching-Jung in Chinese, dated 1993
NT$ 320,000-420,000 US$ 10,500-13,700
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陳景容
ZHONG CHENG 中誠
陳景容先生是當代一位極具才華的藝術家，就讀於 台灣師範大學美術學系，畢業後赴日本留學深造， 他除了是一位藝術家外，更是台灣最早引進繪畫正 統修復觀念的專家，陳景容更是對提攜後輩不遺餘 力，桃李滿天下。陳景容畫家的作品蘊含豐厚的文 學和音樂素養，他的作品常給人「寧靜」和「哀愁」 兩種感受；有著如詩般的多愁善感，但也溫和如古 典音樂般。如此幅《高山老婦》的冷色調呈現出的 寂靜、孤寂，臉上的黥面更是展現出老人歷練人生 歷練的洗禮後，所展現的強韌生命力，老人的臉部 表情沉穩、平和，看似若有所思，但卻掩蓋不了那 內歛的執著與堅毅。
018 CHEN YINHUI
陳銀輝
( Taiwanese, b.1931 )
嬌豔紅花
Red Flowers
1985 油彩 畫布 簽名：銀 CHEN '85
53.5 x 45cm Oil on Canvas Signed Chen in English and Yin in Chinese, dated 1985
NT$ 240,000-380,000 US$ 7,800-12,400
外表溫文儒雅的陳銀輝，畢業於國立台灣師範大 學美術系，他在個性上較為拘謹，但在他的創作 上卻是毫無保留的分享，因此曾經獲獎無數。他 的作品裡總是會有一個主色調，再搭配對比色調 的交錯呼應，讓顏料在畫面上交織出旋律，陳銀 輝說過他的畫是無聲的音樂，在畫面上可以感受 到音樂性。此幅《嬌豔紅花》色彩奔放，花的根 看似凌亂的線條，但在陳銀輝的處理下，它們相 互重疊交錯，光線色彩形成交流，雖然複雜卻有 種協調的氣氛，紅花也在對比色的底色襯托下， 更富有生命力度。
MODERN AND CONTEMPOR ARY ART
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019 PANG JIUN
( Chinese, b.1936 )
Purple Balloon Flower 60.5 x 50cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2006
NT$ 300,000-400,000 US$ 9,800-13,100
均 紫色桔梗花 2006 油彩 畫布 簽名：均龎均 2006 龎均，出身於藝術世家，從小受到父母親的薰陶，涉獵廣泛，見識多廣，師承徐悲鴻名 下，接受徐悲鴻寫實體系教育，受過有系統、嚴格的藝術訓練，培養紮實的造型功力，並 在十八歲即畢業於北京中央美術學院。 身為藝術家，龎均是一位有想法、有研究的實踐家；龎均認真的鑽研古典與現代，並巧妙 的結合理應是互相對立的古典藝術與現代藝術，運用西方油畫豐富的藝術語言，融合了東 方傳統水墨的寫意灑脫，創造出獨特的東方油畫風格，龎均以凝聚濃厚東方的文人精神， 從心所欲地繪出具有哲學內涵的藝術品味，從龎均的作品當中，可以看見他對藝術的虔誠 與磨練，以自由豪放、氣韻生動的筆法，抒發西式的熱情與爆發力，色彩運用大膽豐富， 強烈鮮明的形象，便形成了獨樹一幟的龎均風格。 《紫色桔梗花》，紫色是一種給人高貴、神聖的色彩，含苞待放的桔梗花更顯得嬌豔優雅， 刻意使用白色為背景基調，更加襯托出桔梗花的鮮活旺盛生命力，而畫面下方格紋相間的 深色花布，把整個畫面的層次感加重，跳脫平面思維走向二度空間，似有若無的畫風，總 是令觀者感到新鮮與趣味十足。
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020 JU MING
( Taiwanese, b.1938 )
人間系列－婦人
Living World Series: Woman
2005 木頭 ( 僅此一件 ) 簽名：朱銘 2005
21(L) x 13.5(W) x 30(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 2005 With a certificated of authenticity issued by Kalos Gallery
NT$ 500,000-650,000 US$ 16,300-21,200
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朱銘
ZHONG CHENG 中誠
附真善美畫廊開立之原作保證書
朱銘出生於台灣苗栗通霄，是台灣當代的著名的雕塑藝術 家，他的創作簡單明快，善於運用發揮各種材質的特性， 線條簡約具有很強的現代感，具有現代感之餘又繼承了中 國傳統的精隨，創造出一種與自然渾然天成的精神境界。 朱銘擅以木頭做為主要創作媒材，在雕塑表面保留刀鋸的 切面痕跡，一如《人間系列－婦人》，以不工整的刀鑿痕 跡劈畫出早期傳統婦女身上的樸質氣息，並運用青藍、粉 紅、靛紫等素雅的顏色，在木頭上妝點服飾，更順應木頭 溫潤的質感及自然的紋理，生動地詮釋出婆婆媽媽擅有的 行為舉動，面帶笑容，更是神情溫柔堅毅。雖無搶眼的色 彩與造型，但好比一本耐人尋味的書，值得讓觀者細細品 嘗，趣味無窮。可說是藉由朱銘之手，看盡了人間百態。
021 JU MING
朱銘
( Taiwanese, b.1938 )
人間系列－女子
Living World Series: Lady
2004 木頭 ( 僅此一件 ) 簽名：朱銘 2004
20(L) x 11(W) x 33.5(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 2004
附真善美畫廊開立之原作保證書 With a certificated of authenticity issued by Kalos Gallery
NT$ 500,000-650,000 US$ 16,300-21,200
朱銘曾在 1980 年代初期到過紐約，在那充滿自由奔放 的藝術風氣感染下，使得朱銘的人間系列也感染了當 地活力樂觀的氣息，詮釋出他對現代女性的想像。如 同《人間系列－女子》，作品主角毫不扭捏的隨意之 舉，在朱銘的巧斧天功下，大方的展露出自己的身體 線條，猶如在宣示女性對自己身體的自主權利，舉手 投足間更充分地散發現代女性的自信與驕傲。「人間 系列」乃朱銘為生活常見之小人物為對象所創，由此 誕生以人間百態為主題的系列創作。朱銘透過多樣的 材質，富有趣味的形式，以簡化的語言，隨興自由且 生動地刻劃出動態的美感，並由此紀錄、演繹著藝術 家所見、所體會到的風華絕代的形色人間。
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022 HUANG MINGCHANG ( Taiwanese, b.1952 )
Wind in Rice - Rice Field Series 52 x 72cm Oil on Canvas Signed Hunag Ming-Chang in Chinese and Huang m.c. in English, dated '05
NT$ 500,000-700,000 US$ 16,300-22,900
黃銘昌 禾風 - 水稻田系列 2005 油彩 畫布 簽名：黃銘昌 Hung m.c. '05 黃銘昌的繪畫取自對鄉土的深厚情感，以寫實手法見長，卻不僅是攝影鏡頭獵取下的切面空間， 而是透過細緻描繪與嚴謹結構組合出的鄉土意象，進而成就台灣新寫實風格。黃銘昌出生在富饒 自然風景與田野景觀的台灣花蓮瑞穗，1975 年於中國文化學院美術系畢業後，1977 年前往法國巴 黎美術學院深造，旅居當地長達七年。獨在異鄉的遊子寂寥心境令其感觸良多，便而將之融於創 作之中。在旅歐期間所繪《巴黎閣樓》、《電話亭》等作，已顯露出現代主義式的寫實情調，並 流露著異鄉人的情懷，亦在此時期成就黃銘昌的超現實主義風格。黃銘昌返台後，轉而以犀利的 筆觸描寫台灣鄉土田園風景物象，藉由歌頌台灣農村的稻田風景，抒懷心中寧靜的故鄉。 70 年代台灣鄉土運動的的發展，自文學界蔓延到美術界，藝術家紛紛踏入鄉村田野，尋求農村、 稻田、斷垣、殘壁等充滿鄉土氣息的懷舊題材。然而在此之中，黃銘昌以「照相寫實」細膩視角， 刻畫水稻田的迷人風貌，回味家鄉瑞穗的田野景緻，「稻田系列」油然而生。他說：「水稻田是 我兒時的遊樂場，田裡有青蛙、蝌蚪、蝴蝶，我在稻禾間尋找著無盡的寶藏。」故而在畫布 上一筆一稻辛勤耕耘，種下的不只是追尋童年的回憶，更日對於鄉土的狂熱眷戀，一如其所言：「稻 田就像潮間帶，連接著住家與大自然，是人為的自然，有著野生的趣味。」此《禾風 - 水稻 田系列》創作於 2005 年，藉由色調與光影的捕捉，細膩描繪稻禾在田野間的變化，如織緞般的綿 密線條，串出層層風吹搖曳的千層穗浪。黃銘昌的創作思維既不穿越虛擬時空，亦不虛幻，更不 批判。在如今前衛藝術觀念與媒材的不斷翻新趨勢下，藝術家仍保持純粹的中心思想，透過雙眼 如實繪畫，堅實而優雅細密，散發出質樸的原始野趣，一如其人的樸實善良。 The development of Taiwan's local art movement in the 70s progressed from literary world to the art world. More and more artists seek out rural subjects as a consequence of nostalgic theme. Huang Ming Chang uses photorealistic manner to illustrate Wind in Rice- Rice Field Series. Huang Ming Chang described his inspiration with the following, "It was my playground when I was young, there were frogs, tadpoles, and butterflies. I found endless treasure in the paddy." His works are more than a depiction of childhood memories but a passionate yearning for nature and its land. The rice field would connect the houses with nature; it is an artificial nature with wild treasures. This painting was created in 2005, through the captivating tones and shadows; it composed the rice field in the paddy vividly. For this particular painting, Huang aimed to keep it direct and simple. The trend of new replacing the old in modern era became his main concept, at the end, artists will still believe in their central ideas, through eyes he composed his pieces with sincerity, persistency but also delicacy.
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ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
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023 LUO FAHUI
( Chinese, b.1961 )
The Rose 110 x100cm Oil on Canvas Signed Luo Fahui in English, dated 2008
NT$ 400,000-600,000 US$ 13,100-19,600
羅發輝 玫瑰 2008 油彩 畫布 簽名：2008 Luo Fahui 羅發輝曾說「畫畫實際上是我表達思想、精神，以及情感中願望得 以實現的一條獨立路徑。」從《玫瑰》敏銳而微妙的表現，善用對比， 使花朵空靈而不虛弱，簡潔而不單薄。他落筆刻畫出情感的風景，探 索著欲望的深度，以近乎迷幻的視角，將女性的驕傲和困惑都呈現得 淋漓盡致，筆筆觸動人們內心深處，也同時讓觀者皆能以自己的角度， 解讀出個性化的涵義。若是融合玫瑰古語下的陰鬱，更是賦予花「性」 和「慾」的隱喻。 羅發輝選擇了玫瑰，可以是眷戀青春、膜拜愛情的象徵，卻也是內省、 激情、形式化的在慾望空間中縱情漂浮，在失語的夢幻裡放棄判斷。 這樣鮮活誇張的形象和虛假灰暗的色彩矛盾地並存著，情感被理智割 裂，理智又被情感迷惑，《玫瑰》令人信服地超越了意識的真空狀態。
MODERN AND CONTEMPOR ARY ART
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024 ZHANG JIE
( Chinese, b.1963 )
Return No.2 130 x 150cm Oil on Canvas Signed Zhang jie both in Chinese and English, dated 2007.11 ILLUSTRATED: ''Zhang Jie'', SO Art Gallery, Shanghai, China, page 45
NT$ 450,000-550,000 US$ 14,700-18,000
張杰 歸之二 2007 油彩 畫布 簽名：張杰 Zhang Jie 2007.11 圖錄： 《張杰 - 山外有山》，SO 藝術空間，中國上海，第 45 頁 四川美院副院長—張杰，有著長久且正規的美術學院教育學歷，這 使他奠定了堅實的繪畫基礎，細數已創作過許多不同的作品，以油 彩繪畫多引人注目。細琢那一筆筆的刻畫足以彰顯精緻，而為控制 一幅畫的總體規格，張杰仍不時必須於嚴謹中隨機應變，也令人期 待一幅結構完整的山水風景，究竟將動人的驚喜藏於何處。如此注 重枝微末節的張杰，除了為展現視覺效果十足的山水之外，其實更 是於每一幅作品中，隱藏他獨鍾的靜謐和恬淡意境，表達著他對自 然與生命的熱愛與探索。 《歸之二》這幅作品中，便是經典緊扣著張杰獨具的靈巧思緒，追 求在精心中平衡繪畫的輕鬆和凝重，讓觀者透過景物去想像，再由 想像去融入景物，貫徹其變化萬千，脫俗不凡的畫風，既動且靜的 姿態，帶給人愉悅舒適之感。
38
ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
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025 KWON KISOO
四季 - 白 2
4 Seasons - White II
2007 壓克力 畫布 背面簽名：권기수權奇秀 KWON KISOO 2007
162 × 130cm Acrylic on Canvas Signed on reverse: KWON KISOO both in Chinese and English and dated 2007 ILLUSTRATED: ''Kwon, Ki-soo, 4 seasons'', Parkryusook Gallery, 2008, page 7 EXHIBITION: ''Kwon, Ki-soo, 4 seasons'', Parkryusook Gallery, Seoul,Feb 12–Feb 29 2008 With a certificate of authenticity from gallery
NT$ 480,000-600,000 US$ 15,700-19,600 40
權奇秀
( Korean, b.1972 )
ZHONG CHENG 中誠
圖錄： 《四季 - 權奇秀畫集》，朴麗淑畫廊，2008 年，第 7 頁 展覽： 「四季」個展，朴麗淑畫廊，韓國首爾，2008 年 2 月 12 日 -2 月 29 日 附畫廊開立之原作保證書 韓國藝術家權奇秀涉略繪畫、雕塑、和錄像，其中以「咚古力（Dongguri）」的擬人化創作最富盛名， 作品由簡約而強調象徵的線條組成，充滿隱喻，將過往的唯心主義植入到當代唯物主義之中，尋求更 深層次的意義，也是藉著權奇秀自身對社會的關懷，以及渴望能為世人帶來快樂的心思，成功塑造醒 目的圖騰與符號，使之成為一個近乎貼心的、溫暖的代表詞。此作在韓國經濟最不景氣時，以療癒之 姿，大受歡迎，呈現出時下大眾的時尚與消費文化，當中運用的普普語言和媒材，透過多層次的意涵， 打造一個「輕盈與沈重並存的世界」。
026 YOSHITOMO NARA
奈良美智
( Japanese, b.1959 )
無題 95-35
Untitled 95-35
1995 綜合媒材 紙本 簽名：Yoshitomo Nara 1995
14 x 17.4cm Mixed Media on Paper Signed Yoshitomo Nara in English, dated 1995 PROVENANCE: Tomio Koyama Gallery, Tokyo Sotheby's Hong Kong, Contemporary Asian Art, 7 October 2012, Lot 832 ILLUSTRATED: ''Yoshitomo Nara: The Complete Works 1984-2010'', Bijutsu Shuppan Sha, Tokyo, Japan, 2011, page 82
NT$ 550,000-650,000 US$ 18,000-21,200
來源： 小山登美夫畫廊，東京 香港 蘇 富 比， 亞 洲 當 代 藝 術，2012 年 10 月 07 日，Lot 832 圖錄： 《奈良美智作品全集 1984-2010》， 株式會社美術出版社，日本東京， 2011 年，第 82 頁
奈良美智，畢業於日本愛知縣立藝術大學，隨後他 遠赴德國杜塞道夫藝術學院留學，在德國生活了 十二年，現時於東京工作，與安藤忠雄、村上隆、 三宅一生，並列日本最具影響力之當代藝術家。 系列作品中，總是對大眼睛和大頭的兒童形象相當 執著，筆筆巧墨於塑造各種帶有情感的眼神，其中 以「斜視的眼神」最顯聲名。而這些創作的源起， 全然來自於他訪港時，看見一位可愛而邪惡的小 女孩，從此「她」成為奈良美智的代言人，並使 腦海中的一些意念、印象，得以寄託而化作作品， 風格亦與他熱愛的龐克搖滾音樂、動漫等流行文化 一脈相承，能夠略見奈良美智自身與社會間碰撞、 掙扎而產生的情感，一種喧囂的孤獨情緒。近年 來，他與日本暢銷作家吉本芭娜娜合作插畫小說， 火紅日本及台灣，持續以獨特風格，充分地發掘並 呈現了童稚世界中的細膩意味，將傳統藝術教育與 前衛的藝術探索融於一體，是眾多重要美術館與藝 術機構爭相收藏的對象。
MODERN AND CONTEMPOR ARY ART
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027 YAO JUICHUNG ( Taiwanese, b.1969 )
忘德賦 - 武陵聞香
Wonderful : Sniffing Aroma of Flowers in Wu-Ling Farm
2007 彩墨 金箔 紙本
100 x 68cm Ink and Color, Gold Foil on Paper ILLUSTRATED: ''Yao Jui-Chung'', Garden City Publishing Ltd., Taipei, Taiwan, 2008, page 408 With a certificate of authenticity signed by the artist
NT$ 220,000-320,000 US$ 7,200-10,500 42
姚瑞中
ZHONG CHENG 中誠
圖錄： 《姚瑞中 Yao Jui Chung》，田園城市 文化，台灣台北，2008 年，第 408 頁 附藝術家親簽之原作保證書
姚瑞中在 2007 年早春，參加了蘇格蘭格蘭 菲迪的駐村計畫，蘇格蘭高地安逸的生活， 讓他抽離台北繁忙的生活，有多於的時間 能靜下心來聆聽內心聲音，並以簡單的紙 筆速寫了近年來的生活點滴。高地夜晚相 當安靜，常讓他一畫就是通宵，也是在此 期間造就了《忘德賦》系列作品。此幅《武 陵聞香》是畫家臨摹陳洪綬的《喬松仙壽 圖》以及《歸去來兮圖》所繪之作，他以 中國歷朝傳統山水大家為構圖的參考範本， 邊畫邊決定內容及上色，以印度粗糙手工 紙配合春蠶吐絲的映筆法，一筆一畫之間， 隨著心情起伏而變動，寄情於景中，刻畫 出影射世局的敗壞及想奔離世俗進而隱退 江湖慾望。
028 HSIAO CHIN
蕭勤
( Taiwanese, b.1935 )
天安門事件系列
Tiananmen Square Protests Series
1989 壓克力 紙本 簽名：Hsiao 勤八九
50.3 x 53cm Acrylic on Paper Signed Hsiao in English and Chin in Chinese, dated 1989 PROVENANCE: Sotheby's Hong Kong, Chinese 20th Century Art, 6 October 2014, Lot 5149
NT$ 420,000-520,000 US$ 13,700-17,000
來源： 香港蘇富比，二十世紀中國 藝 術，2014 年 10 月 6 日， Lot 5149
上海音樂學院創辦人蕭友梅之子－蕭勤，童年在濃厚藝 文氣息環境下成長，雖未追隨父親的音樂造詣，卻成為 華人現代藝術的先行者，先後在巴塞羅那、米蘭、紐約、 巴黎、倫敦、德國各地旅居，付諸創作，將父輩留下的 基因，以迥然不同的方式甦醒、滋長、擴散，化為繪畫 作品，從視覺呈現給世人充滿著旋律、節奏、激情的交 響，並突破封閉的個體，向廣袤的宇宙轉移、跳躍、遊 暢。綜觀作品脈絡，多重地在人、自然、能量，以及生 命裡周旋，仿如從其中窺見蕭勤的一生，烙印「一筆精 華皆盡於此」的哲學，經由筆觸分享他感悟到的真諦， 其已凌越現世的豁達於太虛，用生命迸發出燦爛的光 輝，蕭勤指稱整個生命就是「無限的學習」，然而他的 簡單，反而是最不易的境界，卻也引領觀者在面對他的 畫作時，得以細細品味那酸甜苦辣的關鍵。
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029 YANG CHIHUNG ( Taiwanese, b.1947 )
Born in Flame 128 x 97cm Mixed Media on Paper Signed Chihung Yang in English, titled Born in Flame both in English and Chinese, mixd media on paper, sized and dated 1984
NT$ 500,000-650,000 US$ 16,300-21,200
楊識宏 生於火焰 1984 綜合媒材 紙本 背面簽名：Chihung Yang，Born in Flame，1984，mixed media on paper，50x38 inches，生於火焰 八○年代的紐約充滿蓬勃熾烈的藝術氣息，給予旅美移居的楊識宏巨大的創作刺激，然而藝術家 深沈而開闊的線條，卻始終勾聯著遙遠的東方氣韻、對生命的深刻省思，以及探索自然與人性之 間的沉沉觀照。美國藝評家艾柏格曾評到：「楊識宏的繪畫是對自然的沈思。它們探究自然與
精神性的交匯，用生動有力的繪畫性語言、洞察力與研析來發展這個語言，拓展了繪畫的 語言以及視覺思考之表現的可能性。」 創作於 1984 年的《生於火焰》，滾燙的火紅不斷竄動，充滿原始氣息的化石、骨骼都在火光中閃 耀熠熠，如遠古石窟壁畫上所繪的動物，則義無反顧地往火焰中心飛跳而往。畫面洋溢洪荒初始 的史前氛圍，籠罩在極致濃烈的野性之中，鎔鑄了古典的莊嚴、現代的惶惑與浪漫主義的激情。 楊識宏特意選用樸拙濃烈的色彩，閃耀的橘紅色貫穿全畫，強勁而飽滿，如火花搖擺般保持著絕 對的動態，將一切的熱烈、瘋狂、虔誠與純淨，都融匯成一個不可分割的整體，熱情勃發的能量 感染了整個畫布。 楊識宏以凌厲奔放的線條、激躍絢爛的色料，譜寫了一曲和諧卻又強烈的樂章。《生於火焰》以 無畏而雄辯的氣勢，引領觀者進入想像的叢林、史前的洞窟，讓他們嗅見野性的氣息，聽聞原慾 的呼吼。然而在畫面右下角，卻出現人類的手撫摸一株花草的畫面，歌頌生命、宗教般靜默的虔 誠意念汩汩流出，賦予作品某種崇高、神祕而充滿希望的隱喻。 New York was flourished with dynamic art in the eighties that stimulated Yang Chi-Hung's aesthetic creativity when he lived there. However, the artist's free and profound brushstrokes; that hold associations with the deep inspiration of life and exploration between nature and humanity, is intimately connected to the far Eastern essence. American critique Eiberg once remark Yang ChiHung's paintings stating, "Yang Chi-Hung represents direct thoughts towards nature. The thoughts observe the natural and spiritual interactions among the world. He communicates a physically powerful and lively aesthetic language, carrying strong observation skills, broadening the possibility of visual contemplation and interpretations."
MODERN AND CONTEMPOR ARY ART
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030 ZHENG ZAIDONG
誠品畫廊的藝術總監趙琍，讚許鄭在東是台灣文 人畫的最後代表，趙琍說「鄭在東的人、畫、空
風景
Landscape
1998 油彩 畫布 簽名：鄭在東 '98
間是合一的，讓人感覺舒服的，他的人就像他 居住的空間，同時也像是生活在畫裡的情境， 使用簡樸但很有味道的家具，將常民生活裡的 精緻文化體現到底。」鄭在東早期都是以散發自
附畫廊開立之原作保證書
我的情感做為創作出發點，赤裸裸剖析自己，真 實反映自己的人生觀，他不新不舊、不東不西的 創作風格讓他獨樹一幟。
80 x 100cm Oil on Canvas Signed Cheng Tsai-Tung in Chinese and dated 98 With a certificate of authenticity from gallery
NT$ 220,000-320,000 US$ 7,200-10,500
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鄭在東
( Taiwanese, b.1953 )
ZHONG CHENG 中誠
031 WU HSUEHJANG
吳學讓
( Chinese, 1924-2013 )
雙雀
Sparrows
1987 彩墨 紙本 款識：一九八七年丁卯之春 退白於洛城 鈐印：吳 ( 朱文 )、吳學讓 ( 白文 )
68.5 x 47cm Ink and Color on Paper Inscribed and Signed Tui-Bo in Chinese, dated 1987 in the Chinese sexagenary cycle With two seals of the artist
NT$ 220,000-320,000 US$ 7,200-10,500
「學貴專精，當仁不讓；退思勵進，寧為笨伯。」 書畫大家張光賓曾作詩如此形容吳學讓的篤實學養 及謙遜性格。自學生時代，吳學讓便已受張大千、溥 心畬、鄭午昌等師長的落款讚揚或補筆共繪，突顯其 深厚的繪畫基本功底。1960 年代後期作品作風大膽 創新，結合書法線條與幾何造型，呈現半具象的水墨 畫，稱為「新派繪畫」。吳學讓的傳統水墨從工筆開 始，以寫意花鳥見長，細細琢磨，傳統喜鵲、水仙、 梅蘭竹菊皆是其筆下常見題材。《雙雀》一幅顯現出 吳學讓的繪圖精湛而筆法老練，左密右疏斜角的留 白，恰到好處烘托繁而不雜的脫俗景象，淺絳設色描 繪枝葉花蕊，用墨淡雅，濃淡相宜，依偎盤踞枝上的 一雙雀鳥安靜閒適，整體生趣動容。
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032 LINUS ZAO
( Taiwanese, b.1930 )
Entering Into the Sea 122 x 132cm Watercolor on Paper Signed Linus Zao both in English and Chinese, dated 2015
NT$ 220,000-320,000 US$ 7,200-10,500
趙澤修 入海 2015 水彩 紙本 簽名：2015 Linus Zao 趙澤修 在台成就卓越的動畫大師─趙澤修，藝術領域涉獵廣泛，舉凡攝影、建築、造園、書法、雅玩、收藏、美食等無一不擅。其中以「水 彩畫」在他的藝術創作上最俱特色和風格，「水彩畫家」也是最為鍾愛的身份。觀其一生雖是身分多元，但閱經歷精采。曾受教於朱 德群、馬白水、胡念祖、溥儒、黃君璧等藝壇名師，並為卡通大師─華特．迪士尼 (Walt Disney) 在世時所收唯一華人弟子。留美返台後， 趙澤修先生投身動畫製作領域，成就卓越；1969 年獲頒金馬獎個人特別獎項，被譽為「臺灣動畫之父」、「臺灣的華特．迪士尼 (Walt Disney)」。趙澤修先生之繪畫創作以水彩畫著名，得獎無數，曾於 1969 年榮獲台灣中國畫學會般「第六屆金爵獎」。後受聘於夏威 夷大學，自始定居於夏威夷大島市，歷經 30 餘載光陰始終致力於創作、講學不懈，1997 年當選為「夏威夷大島一代奇人」，深獲國 際藝文界讚揚與關注。 趙澤修的水彩創作，不講透視、不求遠近，強調氛圍營造及效果呈現，追求的是筆意下的暢快淋漓，再加以中國水墨技巧中「善用留 白」、「簡化去俗」，增添作品的詩性韻調。在諸多題材中趙澤修尤愛畫「水」，水無定型，但隨其動態卻是變化萬千，不論江海激 流抑或細雨瀑布，皆在藝術家筆下幻化成動人之景。此幅《入海》創作於 2005 年，奔騰的山瀑壯闊心志，細膩筆墬堆疊奇岩雄壁， 布局錯落有致；垂直傾瀉而下的瀑布激流猶如輕紗薄霧，然而與岩石交錯碰撞間，又激灑出些許跳珠濺沫，潺潺若有聲。《入海》的 動靜相生之景由筆留下綿延深遠之情，不僅寓有燦爛一瞬的哲理學思，更是輝煌把握的人生感悟。趙澤修把聚散藏露，疏遠呼應，痛 快的將情思貫入畫中，甚將對生效的感應也能畫聲為影的淋漓表達，營造奔歛自如的視覺張力，傳遞濃厚深刻的人文情思，更顯趙澤 修窮盡一生的藝術能量。 The well-known master of animation Linus Zao, was a multimedia artist that is capable and talented in creating film, architecture, scenic garden, calligraphy. His areas of knowledge are also well-rounded extending from collecting antiques to tasting exquisite cuisine. Entering into the Sea is completed in his signature style. As the title Watercolorist remains his favorite identity. He has many identities that is a consequence of a life filled with grand experiences. Linus was taught under the instructions of Chu Teh-Chun, Ma Pai-Sui, Wu Nientsu, Puru, Huang Jun-Bi and other great artists. He was the sole Asian apprentice of Walt Disney in his time. After retuning to Taiwan from America, Linus Zao dedicated all his energy into the world of animation. Being far ahead of others in his field, he won the Golden Horse Award in 1969 and was honored the title Father of Taiwanese Animation, and even the name Walt Disney of Taiwan. He also won numerous awards for watercolor creations, in 1969 he was reward by Taiwanese Chinese Ink Drawings during the 6 th Annual Golden Nobility Award. He moved to Hawaii due to a job opening in the National University of Hawaii, he later became a permanent resident of Hawaii spending thirty years of his life on his artistic pursuit. In 1997 he was elected as Hawaii First Generation Wonder, earning the affection of international aesthetic appreciation. Linus Zao's watercolor works are not concerned about opacity, perspectives, instead it emphasize on strengthening an atmospheric effect. He approaches his subject with confident yet moving brushstrokes. Incorporating the traditional ink drawing techniques of leaving white, simplicity, to create poetic aspect into his composition. Zao's favorite subject has always been water, water taking no definite form, yet adaptable to its surrounding environment, it's every-changing essence from waterfall to light rain are all reasons for Linus' fascination. Entering into the Sea painted in 2005 depicts a grand waterfall with streams soft as silk. The detailed paid in the portrayal of rocks also demonstrate expertise in composition. The soft stream and rocks intermix creating dynamic droplets that fly in all directions. The quiet yet lively portrayal of Entering into the Sea is in fact very philosophical; it holds beliefs to the idea of Carpe Diem-seizing the day. Linus Zao seems to simultaneously hide and express his emotions; he depicts only true emotion into his paintings. Consequently, the work is a visual delight translating poetic thoughts and even more so Linus Zao's endless artistic energy.
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ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
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033 WU JUNGTZU ( Taiwanese, b.1948 )
Fei Bai Zen-Master 19.5(L) x 13.5(W) x 30(H)cm Wood (One piece only) Signed Tzu in Chinese, dated 1991 With a certificate of authenticity from gallery
NT$ 240,000-360,000 US$ 7,800-11,800
吳榮賜 飛鈸禪師 1991 木頭 ( 僅此一件 ) 簽名：一九九一 賜 附畫廊開立之原作保證書 吳榮賜以氣勢萬鈞的木雕造形國際揚名，無論是降龍羅漢的金剛怒目，抑或僧侶佛者的慈目低眉， 皆煥發出流芳千世流傳的，新加坡、法國、比利時，以及哥斯大黎加的博物館皆盛情邀展。吳榮 賜的雕刻生涯，由夜夢雕刻觀音佛像開始催化，因緣際會下，至台北拜福州名師潘德為師學藝， 開啟木雕生涯。四十五歲時，因學者漢寶德先生的一番話，而「放下刻刀，重拾書本」，開始從 國中補校一路念到研究所，不時將所學融會貫通，呈現在木雕作品之中，造就了此位國際級的木 雕藝術家。 吳榮賜擅以圓弧刀面呈現物像的線與面，那流暢的雕法就如同流水粼粼的波紋，因而名之「波紋 刀法」（或稱漣漪刀法、殘影刀法），他以刻法的精粗疏密之分，暗示了靜動狀態的流轉。此作《飛 鈸禪師》融合民間的神話傳奇，將那英氣勃發、偉岸俠義的羅漢神韻刻劃地維妙維肖。飛騰而出 的鈸力勁十足，禪師仰天豪望的姿態、堅毅的臉龐，更是吳榮賜內在精神的具體投射，滿溢戲劇 張力，充滿無限想像。
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034 CHEN CHENGHSIUNG ( Taiwanese, b.1942 )
收成
Harvest
2004 銅 5/12 簽名：陳正雄 2004
80(L) x 64(W) x 39(H)cm Bronze, 5/12 Signed Chen Cheng-Hsiung in Chinese, dated 2004 With a certificate of authenticity from gallery
NT$ 280,000-380,000 US$ 9,200-12,400 52
陳正雄
ZHONG CHENG 中誠
附畫廊開立之原作保證書
陳正雄，十四歲便跟隨唐山老師傅學習傳統雕刻 技藝，外出到全台各地廟宇工作，在這期間穩紮 穩打地打下了深厚的基本功夫，自我摸索、研究， 他認為只要存心拼命，做什麼都可以成功。陳正 雄的作品多以他熟悉的人物族群和他們的日常為 主題，尤其對老人與勞動人物琢墨許多，特別是 勞動者的身材都較為壯碩，他的作品把力與美展 現淋漓盡致，並把動態美凝結在那一瞬間。
035 HSIAO YI
蕭一
( Taiwanese, 1956-2006 )
裸女
Nude
1989 木頭 ( 僅此一件 ) 簽名：蕭一 '89
40.5(L) x 18.5(W) x 20.5(H)cm Wood (One piece only) Signed Hsiao Yi in Chinese, dated 1989 With a certificate of authenticity from gallery
附畫廊開立之原作保證書
蕭一，習傳統雕刻於屏東，並受到佛像雕 刻的啟蒙，在如此台灣民間工藝的鍛鍊下， 蕭一以恣意的刀法體會真實的生活，其創 作深度盡在詮釋對世間萬物的各種體悟， 非但造型多變，且極富禪意，更是他足以 發洩各種想法的天地，一個蕭一真正可以 存在的地方。
NT$ 160,000-240,000 US$ 5,200-7,800
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036 LIN CHIHCHU ( Taiwanese, b.1917 )
鳥
Bird
膠彩 日本紙 簽名：之助 藝術家鈐印：林之助 ( 朱文 )
27.3 x 24.3cm Glue Colour on Paper Signed Chin-Chu in Chinese With one seal of the artist
NT$ 140,000-220,000 US$ 4,600-7,200
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林之助
ZHONG CHENG 中誠
林之助，生於日據時代，自幼就如願赴日習畫，而非選擇當時台灣 子弟習醫的理想。考進東京武藏野美術大學後，有幸師事山口蓬春、 川崎小虎等人，作品更入選日本最富盛名的「帝展」。林之助返台 定居後，創作裡多了份台灣味，並先後榮獲台灣府第一名，奠定他 在台灣畫壇的地位，甚至發起「中部美術協會」，團結台灣中部畫 家。同時，林之助為了使拿手的畫風與東洋畫有所分界，將其正名 為「膠彩畫」，自成一格。從《鳥》觀其創作的歷程，早期在日本 及台灣參展的作品，多以人物畫為主；中期轉以花鳥畫和風景為大 宗，這其間「日本畫的西畫法」發展，對林之助有著極大的影響， 林之助廣納二十世紀西方的理念及技法，持續為膠彩畫另闢蹊徑。
037 CHEN YINHUI ( Taiwanese, b.1931 )
Woman of Malan 45.5 x 38cm Watercolor Ink on Paper Signed Y.Chen in English, dated 1976 ILLUSTRATED: ''CHEN YINHUI(1957~1992)'', Arty Art Center, 1992, page 39
NT$ 60,000-100,000 US$ 2,000-3,300
陳銀輝 馬蘭婦人 1976 水彩 紙本 簽名：Y.CHEN 76 圖錄： 《陳銀輝精品收藏集（1957~1992）》 ， 亞帝藝術文化有限公司，1992 年， 第 39 頁
陳銀輝的繪畫風格吸收立體派的造型理論及規則，又融合 野獸派的色彩張力！陳銀輝曾說：「 美術是主觀的成分 較重的一門學問，要有個性、感情和思想。繪畫不是自 然形象表面的描摹或再現，而是作者藉自然的形態和色 彩，甚至以心裡的影像來表現自我世界的一種藝術。」 《馬蘭婦人》人物置中蹲踞於地，身著原住民傳統服飾，面 容和藹可親，從身旁的竹編籃似乎剛忙於工藝，並優遊休憩 於一片翠綠佈滿熱帶植物的叢林前；以水彩作畫，不同於油 畫濃烈的顏色，水彩的水色乾濕濃淡變化與透明性質的透明 酣暢，加上大筆觸的揮灑的人物勾劃呈現出淋漓清新在如夢 似幻的視覺效果，人物與自然產生和諧一致的靈動之美。
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038 CHEN TINGSHIH
日與夜 #76
Day and Night #76
1983 版畫 7/50 簽名：Chen Ting-Shih，Day and Night #76，7/50
60 x 60cm Lithograph, 7/50 Signed Chen Ting-Shih in English, titled Day and Night #76 and numbered 7/50
NT$ 160,000-240,000 US$ 5,200-7,800
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陳庭詩
( Chinese, 1916-2002 )
ZHONG CHENG 中誠
039 ALFRED BASTIEN
巴斯天
( Belgian, 1873-1955 )
樹林
Forest
油彩 畫布 簽名：A Bastien
34 x 44cm Oil on Canvas Signed A. Bastien in French
此幅《樹林》，巴斯天運筆流暢細膩，明亮天空和蓊 鬱的森林寫實描繪，其中景色細緻的光影變化，用 典雅厚實的油彩堆疊呈現，為靜謐的森林更添層次。
NT$ 60,000-80,000 US$ 2,000-2,600
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040 ALFRED BASTIEN ( Belgian, 1873-1955 )
尼烏波爾特港灣
Nieuwpoort in the Belgian Coast
油彩 畫布 簽名：A.Bastien
80 x 100cm Oil on Canvas Signed A. Bastien in French PROVENANCE: Acquired from auction house in Belgium
NT$ 300,000-400,000 US$ 9,800-13,100
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巴斯天
ZHONG CHENG 中誠
來源： 比利時拍賣會
尼烏波爾特港灣位於比利時北部，巴斯天恣意運筆於印 象派語彙之中，構築出海納港灣的寬廣無邊。《尼烏波 爾特港灣》整體畫面視覺集中於左下區塊，顏色較深暗 的海與微傾斜船隻以三角形狀相呼對映，氛圍營造強 烈，隱約透露出微微陰鬱的氣息，大片天空拓寬了整幅 畫的空間感，而後方的海平面卻又柔和平靜，海灣之景 之靜皆盡收眼底。
041 SAD JI
沙耆
( Chinese, 1914-2005 )
虎群
The Tigers
水彩 紙本 簽名：沙耆 SADJI
58.5 x 73cm Watercolor on Paper Signed Sad Ji both in Chinese and English
NT$ 480,000-580,000 US$ 15,700-19,000
沙耆生肖屬虎，在畫作中最常出現的也是老虎，這幅《虎 群》在構圖上為偕伴攜幼的虎群，溫馴、和樂，而「虎 視眈眈，其欲逐逐」的提字卻顯露著神秘、甚至帶有一 些自相衝突之感，將虎兇狠覬覦的欲望掩飾地不著痕跡。 在沙耆心中，這類形象就像是一種精神符號，他不時懷想 著它們，用它們表達自己對往日時光與理想境界的投射， 通過它們緩解被壓抑的潛意識。因此，他被譽為中國能真 正透過油畫完成自我精神突圍的畫家。
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042 SAD JI
( Chinese, 1914-2005 )
Forest Walk 22 x 27cm Oil on Board Signed Sad Ji both in Chinese and English
NT$ 750,000-1,000,000 US$ 24,500-32,700
沙耆 林間慢行 油彩 木板 簽名：沙耆 SADJI 沙耆，曾負笈比利時深造，旅歐十年期間，沙耆得到當地 藝術界的高度評價，但後來罹患精神疾病，自 1946 年返國 後，一直隱居家鄉，過著孤單寂寥的生活，且漸漸地遠離 藝術界的潮流，沙耆的畫蘊藏著東方的空靈之美，他燃燒 自己靈魂追求藝術的美，使沙耆有了「中國梵谷」的稱號。 《林間慢行》中除了行人、樹木的寫實描繪外，更關注在 橘色晚霞流動灑落在大地上瀰漫的氣氛，以及冬景雪地的 堆疊，進一步的擴展到色彩互相影響所形成斑斕的色彩。 畫面流溢出一種落日餘暉，燃燒的天空正絢麗、迷人，讓 人不覺沉浸在落日的奇幻空間裡。
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043 BENVENUTO CELLINI ( Italian, 1500-1571)
Merourio 112(L) x 32(W) x 21.5(H)cm Bronze, 16/20 ILLUSTRATED: ''Italy Bellini Meseum Renaissance Art Collection Exhibition'', Liu Hai Su Art Meseum, Shanghai, China, 2004, Page 9 With a certificate of authenticity from Italy Bellini Meseum
NT$ 500,000-700,000 US$ 16,300-22,900
切利尼 梅爾古里奧保護神 15 世紀 (15th Century) 青銅 16/20 圖錄： 《義大利貝利尼博物館文藝復興時期藏品選》，劉海粟美術館，中國上海，2004 年，第 9 頁 附義大利貝里尼博物館開立之保證書 切利尼，是雕塑家、珠寶工藝師、美術理論家和作家，亦是風格主義裝飾派的代表 人物之一，他是當時曾主張恢復雕塑作品中英雄氣概的唯一藝術家。《梅爾古里奧 保護神》又名墨丘利，是羅馬神話人物之一，是為天王朱庇特和女神邁亞所生，他 擁有過人的智慧和溝通能力，因此在奧林匹斯山上擔任眾神的使者及翻譯，所以也 被稱為商業之神，再者他動作敏捷，可靈活在天空穿梭，人們時常將他視為旅行和 出入平安的保護者。此座《梅爾古里奧保護神》頭戴翅帽，腳踏帶有羽翼的鞋，象 徵思想敏捷、移動神速，墨丘利雙手上舉、抬高右腿及兩眼注視著天空，表現出整 體雕塑的上升感，好似下一秒將會騰空而起，躍入雲端。
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044 AI XUAN
( Chinese, b.1947 )
馬背上的漢子
The Man on Horseback
2005 油彩 畫布 簽名：艾軒
42 x 53cm Oil on Canvas Signed Ai Xuan in Chinese
NT$ 550,000-750,000 US$ 18,000-24,500
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艾軒
ZHONG CHENG 中誠
艾軒在 1970 年代曾擔任成都軍區駐軍藝術家長達 11 年，期間多次前往西藏寫生， 對荒涼偏僻的高原之景情有獨鍾，而後長期堅持以西藏風土人情為題進行創作，擅 於營造悠遠而靜謐的氛圍，將情感蘊藏在理性協調的秩序中，搭以低彩度的色調運 用，詮釋出自然和人物精神的內斂，在如此沈靜而空曠的意境裡引發共鳴，誠如藝 術家所言：「西藏這個地方本身就讓人感覺一種巨大的不可超越的力量。它
是亙古不變的、莊嚴的，人面對它往往是無可奈何的。我借助西藏這種狀態 表達了自個兒的感覺。」 「馬匹」之於藏族而言與生活密不可分，更是西藏草原文化上的重要角色。創作於 2005 年的《馬背上的漢子》，僅以單一的白、褐兩色劃分天地，令視野對比強烈， 更恰到好處的打破畫面四方格局限制，營造蒼茫遼闊之感。畫面筆法洗鍊而細膩， 精緻勾勒草原健馬的氣宇軒昂，男子伏於馬背上眺望遠方，西藏高原上的蒼穹蕭瑟 盡收眼底，寂寥轉瞬間，唯耳語嘆息流於草原風聲。艾軒將藝術靈魂寄存托於畫筆 之上，以自然主義的視野，深入藏民清亮的雙眼，企圖觸碰生命中的沁涼與純真。
045 PANG MAOKUN
龐茂琨
A Girl of Yi Minority
2009 粉彩 紙本 簽名：龐茂琨 2009
( Chinese, b.1963 )
53 x 37cm Pastel on Paper Signed Pang Mao-Kun in Chinese, dated 2009
NT$ 350,000-600,000 US$ 14,700-21,200
族少女
「彛女─ 我的一段神話」 在面對自己以前的畫時，常常有種陌生之感，再也無法回憶起那些畫中的每一個細節的由 來，它們虛遠而神秘，似乎永遠被封存在那沉靜而自足的空間裡，連同那些活力與粗率。 重溫過去的東西不免叫人產生由距離帶來的珍惜之情，回顧十多年前自己那批以彛女為題 材的作品，這種感受特別強烈。儘管這些畫在母題上受制於大的背景和潮流，四川畫派 的「傷痕」和「鄉土」也深深地影響著我，但仍然可以從中分辨出由秉性散發出的自我， 看得出自己更著迷於那些與我們的生命意識密切相關的原初活力，以及一種近乎宗教似的 眷戀自然的情懷。我竭力將對美的幻想與體驗寄託於其中，由此，彛女的形象恰恰成為了 這一時期精神與情感外化的符號，因為這些形象或動態多半出自我的記憶和想像，更趨於 一種內心體驗，藉此來印證某種審美上的理想，而這種理想符號留存在一個相對封閉的世 界，其中明顯的記錄著我的慾念，感傷和神話。 文 / 龐茂琨 2004 年 12 月於四川美術學院 發表於《中國當代美術名家素描精品 - 龐茂琨色粉 彛女》2005 年
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046 YE YONGQING ( Chinese, b.1958 )
Bird 100 x 80cm Oil on Canvas Signed Ye Yong-Qing both in Chinese and English, dated 2006 PROVENANCE: Sotheby's Hong Kong, Contemporary Asian Art, 4 April 2011, Lot 1030
NT$ 650,000-750,000 US$ 21,200-24,500
葉永青 鳥 2006 油彩 畫布 簽名：叶永青 Ye YongQing 2006 來源： 香港蘇富比，亞洲當代藝術，2011 年 4 月 4 日， Lot 1030
「我常常感到我的生活就像一隻不斷遷徙的鳥，總是在不同的城市中遷徙， 向碎片一般沒有固定的居所，我畫畫並且把我的創作整理成為一種方式：我 對準一個靶子並繼續前進。」 --- 節錄自葉永青《寫給栗憲庭的信》，寫於 1991 年 在藝文界有「葉帥」之稱的葉永青，畢業於四川美術學院，與張曉剛、王廣義等 人齊名。在歷經了 85 美術新潮運動的洗禮之後，1986 年和好友張曉剛、周春芽、 毛旭輝、潘德海等，組成「西南藝術群體」以新具象風格為主要的創作走向，重 視直覺感受，強調生命經驗與價值。 葉永青在 1997 年之後活動空間不斷擴張，同時身兼藝文空間創建者、策展人、藝 評家、藝術經紀人、城市規畫等多重身份，奔赴世界各地工作。如此奔波繁忙的 生活模式，令葉永青自身猶如在天空不斷飛翔的「鳥人」一般，故自 2000 年開始 醞釀觀念藝術，以一管墨和一支細小的「眉筆」，「慢速塗鴉」逆向思維方式行 走天涯，遂以「鳥」為其獨特的藝術標記與符號。「塗鴉給人快速、簡潔的印象，
但如果我用很成熟的方式來描繪幼稚的東西；用很慢的過程去構造很快的意 象。讓人乍看誤以為是孩子的畫，但又猛然發現畫中耐人尋味的內涵，這中 間的過程是充滿玩味的，甚至對我來說是在設個騙局、陷阱般，幽觀賞者一 默，上演一場無傷大雅的戲謔遊戲。」葉永青顛覆傳統邏輯，把鳥變成調侃、 戲謔的幽默素材，於文人情操與戲謔人生中穿梭自如，更在中國當代藝壇，博得 一個乍聽來奇怪，卻又實至名歸的「鳥人」稱號。 此幅《鳥》創作於 2006 年，以及細緻的筆觸，一點一畫描繪出制式卻抽象的線條， 構築鳥的神韻，活靈活現，既是刻意呈現，卻又展現出不經意的率性。大面積的 留白，一如中國水墨畫強調的「虛空」境界，雖是迥異於傳統思維的反差哲思， 強調現代簡約理想，然而在畫面中又得以顯現葉永青承襲五千年文化的涵養風骨， 文人之氣盡凝聚於線條之上。「別人常問我你畫鳥是代表甚麼？我畫鳥就是沒
有甚麼意思，任何一個老百姓，沒有任何藝術修養，都會明白我在畫鳥，令 每個人都可以用自己的幻想完成我的作品，題材根本不是特別重要。國畫經 常畫花鳥，是表示優雅的，但鳥亦是罵人的話，是粗口，與傳統是一種反差， 就是這種荒誕性，我覺得很有趣，表達了不同的可能性。」葉永青以簡單的 媒材從事繁複細密的繪畫過程，讓圖式的展現的即興感，顛覆傳統文人畫中對於 花鳥的講究，但每一筆勾勒卻都能看到近似偏執的執著。
"I often see my life as like that of migratory bird moving among several different cities, fragmented and with no fixesd abode. I paint and put together my creations the same way: I hit one target and move on" ---Quated from "Letter to Li Xian-Ting"by Ye Yong-Qing, 1991 In 1997 Ye Yong-Qing was constantly expending his areas of expertise. He was a founder of a public art space, curator, artist, art agent, city planner, and his occupations often required him to travel various destination. Through his busy lifestyle, Ye started to identified himself with birds that never stopped flying. Since the year 2000, he began to investigate perceptual drawing, with a single small brush and ink, he slowly construct graffiti of a bird. The Birds were so unique it soon became his signature. "Graffiti can give off the impression on fast and simple, but I hope to approach Graffiti through mature manner, my slow progress can construct an impression of quick sketch, one may even be mislead to think it was a child's painting. However, they would notice the inner depth when they look closely. The process of creation to me was very playful, it felt as if I was creating a trap and waiting for the audience's reaction. It is like presenting a harmless prank" Ye said.
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047 YANG SHU
( Chinese, b.1965 )
Scribble 150 x 120cm Oil on Canvas Signed Shu in Chinese, dated 1997
NT$ 400,000-600,000 US$ 13,100-19,600
楊述 塗鴉 1997 油彩 畫布 簽名：述 97 楊述，1965 年出生於重慶，畢業於四川美術學院油畫系，於 1995 年間曾到阿姆斯特丹進修。楊述憑藉著才氣和敏感作畫，隨心所 欲地選取形式、畫法，把各種真實的形象符號化、色彩化，再用 幾近於塗鴉的方式呈現出來。 畫面中的大筆觸自由任性的遊走在畫布上，以其破壞感和野蠻性 讓人為之一震，但卻猶如醍醐灌頂般使得畫面更加鏗鏘有力，楊 述總是用出人意料的方式展現繪畫的可能性，並傳達出理想主義 的信念。畫面中紅黑兩種顏色區分為上下兩地區塊，紅色的筆觸 自由奔放，用街頭塗鴉以抽象的方式賦予符號圖案，造就他自我 的獨特風格，他快速下筆的快感，讓觀者也猶如心靈得到釋放一 樣舒暢，畫中情感滿溢的抒發，都是畫家最直接赤裸的呈現。
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048 CHIU YATSAI
( Taiwanese, 1949-2013 )
A Lady in Red and Yellow 130 x 98cm Oil on Canvas Signed Ya-Tsai in Chinese With a certificate of authenticity signed by the artist
NT$ 1,500,000-2,100,000 US$ 49,000-68,600
邱亞才 紅黃相間女子 1998 油彩 畫布 簽名：亞才 附藝術家親簽之原作保證書 愛繪畫、喜撰文，並以此為生的邱亞才，總用熱烈的心態描繪、描寫人物，將自己沉浸在人性與藝術的純真簡樸中，然而在 他的內心，時常潛藏著許許多多構成思想的精靈，繁絮地圍繞在他的想像、情緒和憂愁上，從主觀的見識，建置在客觀的觀 察上，亦以寫實的鋪陳，為創作展開主幹，不只關心屬於人生表象的，同時也包含本質的探索。 《紅黃相間女子》映入眼簾的第一印象是線條與用色的簡約，並且人物高雅、內斂，體型瘦長，帶有憂鬱的詩意，氛圍瀰漫 著平和寂靜的靈性，也可以從細緻的輪廓略見東方藝術精神，邱亞才對美的要求，以及水準的強調，直指當代中國繪畫中的 新古典主義。 於是，在邱亞才平民與雅儒的主角選材上，繪的是典型的鵝蛋臉與深邃眼眸，以體現儒家「畫家應畫具有教化意義的主題， 以在社會上達到教化道德之利，提升並可評估人們的心靈」之道。同時，這一路的執拗，也佐證了那些曾排擠邱亞才的 人，並非令他覺得貧窮、或不被需要，而是使他發現了，他屢屢拒絕向社會規範妥協的迷惘靈魂，正式反擊制式教育中，盡 量不要告訴別人自己內心的那一面，為他渾沌不快樂的童年，扳回一城。至今，更媲美朱銘為台灣重點當代藝術家，成為各 大拍賣會上膾炙人口的作品。 He loves to paint, he loves to write, Chiu Ya-Tsai devoted his entire life to be the author of creations. He portrays his figures with great enthusiasm, while allowing his mind to sink in the simplicity and innocence of art and humanity. However, in his mind hides numerous fairies that construct his thoughts, they intimately enclose on his imagination, emotions, and depression from a subjective point of view. Constructing on objective observation through realistic elaboration, not only is he concerned about the representation that belong to life itself but also the intent to exploring the subconscious mind. In this painting, A Lady in Red and Yellow, the simplicity of lines and colors creates an elegant figure, an introvert with elongated features. The painting suggests a sense of poetic melancholy atmosphere that is both peaceful yet lonely. Through the delicate contour, depicts the essence of oriental aesthetic. Chiu Ya-Tsai's requirement for beauty and standards are emphasized, it directly represents the Neo-Classical doctrine within contemporary Chinese paintings. Thus, in his civilian selection for subjects, he paints the timeless oval face and deep eyes, to reflect his notion, "Artist need to paint subjects for moral education, in order to achieve enlightenment within the community, in result one's work can enhance and examine one's soul.” Through his determination, we verify his past of feeling like an outsider by others; they either made him feel poor or unwelcomed. However his main realization was turned to the repeated refusal to social norms is actually compromise of lost soul, he official made his counterattack on standards of education, attempting to not reveal his inner thoughts, he takes force from his unhappy childhood, as his source of creation. Today, his artworks are greatly valued in auction houses everywhere.
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049 HUANG MINGCHE ( Taiwanese, b.1948 )
Cheers Wine Glass 3/10 300 x 100cm Oil on Canvas Signed on the reverse: Huang Ming-Che and titled in Chinese, inscribed 100 x 300cm and Oil, dated 2013 ILLUSTRATED: ''Hui Aggregation - Cross-Strait Contemporary Art Exchange'', Loftyart Gallery, Taipei, Taiwan, 2013, page 33 EXHIBITION: ''Hui Aggregation - Cross-Strait Contemporary Art Exchange'', Shanghai Xuhui Art Museum (2013.09.20~10.20) Cheng Shiu University Art Center (2013.11.22~12.27) Cultural Affairs Bureau of Taoyuan County (2014.01.08~02.16) Luodong Cultural Working House of Cultural Affairs Bureau of Yilan County (2014.03.07~04.27) ''Huang Ming-Che Fine Works Oil Paintings Exhibiton'', Top Art, Taipei, Taiwan, 2014.06.20~07.20
NT$ 950,000-1,250,000 US$ 31,000-40,800
黃銘哲 將進酒系列 3/10 2013 油彩 畫布 背面簽名：黃銘哲，2013，油畫，100x300，將進酒系列 3/10 圖錄： 《匯聚－兩岸當代藝術交流展》，高士文化藝術，台灣台北， 2013 年，第 33 頁 展覽： 「 匯 聚 - 兩 岸 當 代 藝 術 交 流 展 」， 上 海 市 徐 匯 藝 術 館 (2013/9/20~10/20)，正修科技大學藝術中心 (2013/11/22~12/27)， 桃園縣政府文化局 (2014/1/8~2/16)，宜蘭縣政府文化局羅東文 化工廠．天空藝廊 (2014/3/7~4/27)，中國，台灣，2013-14 年 「黃銘哲精品油畫展」，拓樸藝術，台灣台北，2014 年 6 月 20 日至 7 月 20 日 出身於宜蘭農村的黃銘哲，在靦腆外表下藏著浪蕩不羈的靈魂， 而他在藝術上的每一步，都足以追溯到他對生命體會的轉變。起 初作為農家子弟卻不願務農的黃銘哲，機緣下透過邱錦益、黃春 明等老師的提攜，培養他繪畫及敘事的能力，這正好賦予他豐富 情感與龐大焦慮一處得以宣洩的地方，故不難發現黃銘哲的作品 中，總有著濃厚自傳性的詭魅色彩。然而未能進入學院學畫的黃 銘哲，靠著到處看畫展和揣摩，充實自已的美感及技法，其中影 響他畫風至深的畫家有克林姆、席勒、魏斯等人。又為求精進， 黃銘哲不斷在視覺的造型思維中撕裂自己，使得畫風更為抽象， 關心的議題亦轉向都會，因此逐漸享譽畫壇。但黃銘哲始終衷於 自己創作的念頭，許以「立體化」突破他的平面作品，所以義無 反顧地投身立體雕塑的創作，這也開啟了他創作生涯的新頁。反 觀《將進酒系列》亦皆是黃銘哲性情所感而筆之所至。
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050 JAN CHINSHUI
詹金水
( Taiwanese, b.1953 )
天光初露
Landscape
2005 油彩 畫布 簽名：80F 天光初露 詹金水 2005 年
145 x 112cm Oil on Canvas Signed Jan Chin-Shui and titled in Chinese, dated 2005 With a certificate of authenticity from gallery
NT$ 360,000-460,000 US$ 11,800-15,000
附畫廊開立之保證書
詹金水，台灣苗栗人，國立藝專美術科畢業， 以「苦行僧」自喻，擅長油畫，視創作為一種 「修行」，終其一生奉獻與追尋。並曾獲邀參 加法國巴黎藝術學院交流展，旅行歐洲十國、 參觀五十餘所美術館，從自身文化深耕，累積 創作的養分，樹立自己的風格，也穩健抽象山 水的創作內涵。詹金水能說是深入學習了古典 繪畫，並融通人文，洞悉印象派到立體派的抽 象美學脈動，爾後再回到自己的傳統，活出有 源有本的藝術生命，存「隨緣而畫，無為而 畫」的心。
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051 YANG SANLANG ( Taiwanese, 1907-1995 )
Northeast Corner of Island 50 x 60cm Oil on Canvas Signed S. Yang in English
NT$ 1,000,000-1,200,000 US$ 32,700-39,200
楊三郎 東北角望龜山 油彩 畫布 簽名：S.Yang 楊三郎，台灣畫家，父親是著名詩人。小時候偶見第一 位將油畫技術與素材引入台灣的畫家—鹽月善吉的油 畫，自此對繪畫萌發熱忱，立志成為畫家。於是飄洋過 海至日本習畫，進入關西美術學院，並遊學歐洲，更入 選法國秋季沙龍。因此楊三郎作品深受法國印象派的影 響，其中尤受莫內、柯洛兩人影響最深，創作內容多以 山林風景為主，其次才為靜物、人物。其個性豪放爽朗、 彩筆十分浪漫，不拘泥於細部描繪而追求大張力，構圖 呈現無比的氣勢。楊三郎足跡遍及國內外，並將台灣大 自然的多彩多姿，發展出不盡不竭的畫作，堪稱「台灣 油畫界一代大師」。
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052 YUYU YANG
( Taiwanese, 1926-1997 )
Dragon's Song in the Cosmic Void (I) 112(L) x 80(W) x 112(H)cm Stainless Steel, 4/9 Signed Yu Yu Yang both in Chinese and English, Yang Yin-Feng in Chinese, dated 1991, numbered 4/9 ILLUSTRATED: ''Yuyu Yang Lifescape Sculpture'', Yuyu Yang Lifescape Sculpture Museum, Taipei, 1995 ''Landscape Architecture -Free- Yuyu Yang'', Hsiung Shih Books Pte. Ltd., Taipei, 2004, color illustration, page 162 EXHIBITION: ''Yuyu Yang Exhibition'', Johnson & Johnson Sculpture Grounds, N.Y. USA., 20 May - 30 September, 1995 ''Yuyu Yang'', Chelsea Harbour, London, 1996 With a certificate of authenticity from gallery
NT$ 320,000-460,000 US$ 10,500-15,000
楊英風 龍嘯太虛 ( 一 ) 1991 不鏽鋼 4/9 簽名：'91 呦呦楊英風 Yuyu YANG Yang F. 4/9 圖錄： 《呦呦楊英風─豐實的 '95》，楊英風美術館，台灣台北，1995，彩色圖版 《景觀．自在．楊英風》，雄獅圖書股份有限公司，台灣台北，2004，彩色圖版，第 16 頁 展覽： 「雕塑大地」春夏季「楊英風大雕塑個展」，紐澤西州，展期自 1995 年 5 月 20 日至 1995 年 9 月 30 日 「楊英風個展」，倫敦 Chelsea Harbor，1996 附畫廊開立之原作保證書 楊英風，字呦呦，生於日治臺灣，幼年即隨父母經商赴北平求學，對藝術充滿熱忱的他，不僅利用課餘時間 到處寫生，亦曾師事郭柏川和淺井武、差川典美，直至中學畢業後考入東京美術學校，才意外得雕塑大師羅 丹的學生—朝倉文夫啟蒙，開始楊英風對雕塑、景觀等環境藝術的創作之路。而後經東京、台北、羅馬、義 大利等地方淬鍊，成就楊英風成為台灣早年少數的銅章雕塑家，更於海內外舉辦過外數十次展覽，以此引介 中國現代藝術。回顧其畢生創作，超過六十載，屢屢榮獲獎項，亦以現代主義的抽象組合造型、不銹鋼材質 和自然圓融的藝術思維聞名於世，堪稱台灣「公共藝術」的先驅。
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053 YUYU YANG
鳳淩霄漢
Phoenix Scales the Heavens
1990 不鏽鋼 5/20 簽名：'90 呦呦楊英風 Yuyu YANG Yang F. 5/20
76(L) x 40(W) x 72(H)cm Stainless Steel, 5/20 Signed Yu Yu Yang both in Chinese and English, Yang Yin-Feng in Chinese, dated 1990, numbered 5/20 ILLUSTRATED: ''Yuyu Yang's Lifescape Sculpture'', Shin Kong Mitsukoshi, Taipei, Yuyu Lifescape Sculpture Museum, 1995, color illustrated, p. 33 & p.45 EXHIBITION: ''Yuyu Yang's Lifescape Sculpture'', Shin Kong Mitsukoshi, Taipei, Sept. 28 to Oct. 10, 1995 With a certificate of authenticity from gallery
NT$ 240,000-360,000 US$ 7,800-11,800 78
楊英風
( Taiwanese, 1926-1997 )
ZHONG CHENG 中誠
圖錄： 《呦呦楊英風展─大乘景觀雕塑》，雕 刻之森美術館，日本箱根，1997 年， 彩色圖版，頁 54 （戶外大型雕塑） 《呦呦楊英風─豐實的 '95》，（新光 三越展目錄），楊英風美術館，台北， 彩色圖版，頁 33 & 頁 45（大型雕塑） 展覽： 「呦呦楊英風展─大乘景觀雕塑」，雕 刻 之 森 美 術 館， 日 本 箱 根，1997 年 8 月 2 日至 10 月 26 日（戶外大型雕塑） 附畫廊開立之原作保證書
楊英風認為不鏽鋼性真質堅，既貼近 科技時代的精純，又能隱現中國宋磁 的明澈、純凈的精美神韻，便開始以 不銹鋼雕塑作為其創作中心。其強調 作品與環境的整體性，搶眼且存在感 十足，這正是與中國文化溫柔敦厚的 生活理念息息相關。《鳳凌霄漢》是 為 1990 年北京亞運會所設計，會後製 成大型雕塑置於北京國家奧林匹克體 育中心。鳳凰是中國人最喜愛的靈禽 瑞鳥，象徵中國人對於超然的理想境 界的神往。傳說鳳擇「至德之世」而 降，唯有太平盛世才能一睹神鳥的蹤 跡，似乎一切真善美，皆是乘著鳳翼 翩然而來。此件為楊英風的不鏽鋼鳳 凰系列之一，羽翼成熟穩健層層開展 出，翔凌霄漢的鳳凰，簡潔有力的五 道鋼片，精準有緻的合為一隻凌霄展 翼的鳳凰。翱翔的鳳凰予人光彩耀目、 神采飛揚的形象，象徵著以智慧迎向 未來，開創無限生機及繁榮盛世的永 續經營。
054 YUYU YANG
楊英風
( Taiwanese, 1926-1997 )
豐年
Harvest Year
1973 銅 14/30 簽名：YU YU YANG '73 英風 14/30
59(L) x 10(W) x 15(H)cm Bronze, 14/30 Signed Yu Yu Yang in English and Yin-Feng in Chinese, dated 1973, numbered 14/30 ILLUSTRATED: ''Yuyu Yang Corpus Volum I'', Artist Publishing Co., Taipei, 2005, Illustrated, page 256 (different edition) With a certificate of authenticity from gallery
圖錄： 《楊英風全集》 ，第一卷，藝術家 出版社，台灣台北，2005 年 12 月， 第 256 頁 ( 另一版本 )
楊英風生於台灣宜蘭，他並沒有將自己定位在 單純的油畫家、版畫家或雕塑家的位置上，他 勇於嘗試各種媒材，一生創作風格多變，累積 的作品逾三千多件，他的作品不論視覺型的寫 實或內省型的抽象作品，都充滿豐富的內在思 想且造型多變。如此件《豐年》藝術品，是以 抽象的方式來表現藝術家內心的情感，作品強 調感情的率直，追求自由的表現，尤其銅氧化 後所呈現的綠鏽，樸質而簡率，表現出傳統農 業社會的純樸、務實精神。楊英風他可說是台 灣第一位將雕塑帶入抽象階段的標竿，涵蓋層 面廣泛，在台灣現代雕塑佔有一席重要的地位。
附畫廊開立之原作保證書
NT$ 100,000-200,000 US$ 3,300-6,500
MODERN AND CONTEMPOR ARY ART
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055 LIN SHIENMAO ( Taiwanese, b.1955 )
Colorful Carpios 122 x 152.5cm Oil on Canvas Signed on the reverse: Lin Shien-Mao both in Chinese and English, titled Colorful Carpios series in Chinese and dated 28.12.014 With a certificate of authenticity signed by the artist
NT$ 750,000-1,000,000 US$ 24,500-32,700
林憲茂 百鯉紅漾 2014 油彩 畫布 背面簽名：Shien Mao 28.12.014 百鯉紅漾系列 林憲茂 附藝術家親簽之原作保證書 「我在藝術領域盡力而為，是能使我獲得信心與安寧的方法，我堅持 走這一條孤獨的創作道路。」 --- 林憲茂 《百鯉紅漾》畫中構圖大膽，能見扭曲、分割，色彩與筆觸皆肆意奔放的 效果，若從磅礡氣勢中窺探細膩處，顯而易見的昰林憲茂那股追求騷動的 動態美感，存在著既深邃又神秘的氣質。擅長油畫的他，也從體驗藝術創 作的孤寂中，逐漸表現出鮮明的繪畫格調，藉著思辨人生哲學，瞭解回歸 自我的真正意涵，主導自己更主觀的畫作，使創作不僅限於是情緒的寄託， 也是使人類能夠超越自我的啟迪。再者，結合當代藝術環境，林憲茂的作 品更是使觀者意識到思想變革的重要性，讓所有人事物以至風景、書畫等， 得已突破一切形體的侷限性，超乎真實與虛妄之間，真正敞開心靈視角， 享受如此爆發性的線條與浪漫的顏色。 "The way I gain my confidence and peace is to try my best in art, I insist to dedicate my life on this lonely path of creation" ---Lin Shienmao In Colorful Carpios, Lin Shienmao depicts bold composition, distorted and deconstructed color blocks and unrestraint yet vivid brushstrokes. Paying special attention to details, the beauty of dynamic that Lin seeks to represent is both profound and mysterious. Lin as an expert in depicting movements within the oil painting media, through his lonely journey of aesthetic creation, he was lead to reconsider the meaning of life. During his exploration, he discovered the truth of self-return; when his paintings are subjective, thus, the creation is no longer limited to emotional sustenance. Combined with modern aesthetic, Lin Shienmao's paintings influenced his viewers to realize the importance of mind reform. In order to breakthrough the limits of conventional boundaries, one must first possess an open-minded perspective and enjoy the spontaneous romance of life.
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056 ENDRO
( Indonesian, b.1983 )
With You in the Garden of Dreams 200 x 300cm Oil on Canvas Signed Endro in English, dated 2015 With a certificate of authenticity from gallery
NT$ 450,000-650,000 US$ 14,700-21,200
安卓 夢中花園與你共遊 2015 油彩 畫布 簽名：Endro 2015 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.
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057 FEI YIFU
( Chinese, 1913-1982 )
重慶梯田
Chongqing Terrace
油彩 畫布 藝術家鈐印：費以復
61 x 86cm Oil on Canvas With one seal of the artist
NT$ 420,000-620,000 US$ 13,700-20,300
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ZHONG CHENG 中誠
費以復一生勤奮作畫，時常遠行登高山寫生作畫，最難以忘懷的是 故鄉的寧靜、樸素；水鄉潺潺的流水聲、田野間的輕鬆愉悅，那輕 鬆自在的氛圍以及心曠神怡，我們常常可在畫中感受到。費以復對 莫內的畫情有獨鍾，因此它融合印象派的精神，但相較於印象派， 費以復的畫風又多了點江南田園詩意的浪漫，他的畫是一種牧笛式 的抒懷，介於中國式的浪漫和寫實主義之間。費以復的作品多是以 故鄉的山川美景為主。 這幅《重慶梯田》畫筆依著當地特有的地理環境，曲折蜿蜒，色調 由後方的冷色調隨著視線向中間集中慢慢轉為暖色系，其構圖視角 的配置，讓整個畫面盡收眼底看起來更加開闊開朗。
058 CHEN ERFU
陳二夫
遲日江山麗，春風花草香。泥融飛燕
( Chinese, b.1965 )
田園春色
子，沙暖睡鴛鴦。
Idyllic Spring
---杜甫《絕句》 2013 油彩 畫布 《田園春色》極繪初春燦爛、明淨絢麗的 簽名：CEF2013 景色，芳草明媚、綠樹妖嬈，畫面水氣瀰 漫，彷彿是從溪流中蒸騰而出。色彩濃而 附畫廊開立之原作保證書 不豔，渲染著靜謐而閒適的氛圍。陳二夫 以其紮實的造型功力，將水光瀲灩、春色 空濛的良辰美景傳達得淋漓盡致，展覽無 數，在世界藝壇上佔有一席之地。
100 x 80cm Oil on Canvas Signed C.E.F. in English, dated 2013 With a certificate of authenticity from gallery
NT$ 750,000-950,000 US$ 24,500-31,000
MODERN AND CONTEMPOR ARY ART
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059 HUANG POREN ( Taiwanese, b.1970 )
Taking Care of You 24(L) x 24(W) x 63(H)cm Bronze, 3/12 Signed PR in English, dated 2006, numbered 3/12
NT$ 120,000-240,000 US$ 3,900-7,800
黃柏仁 暖冬 2006 銅 3/12 簽名：12-3 2006.PR
黃柏仁，台灣台中的雕刻家，承襲家族木雕事 業，因而影響其志趣，在復興商工雕塑組畢業 後，拜師於郭清治，早期雕塑的媒材是以木雕、 石雕及鐵雕為主，其中以鐵雕作品《神射手》 榮列高中美術教科書之課程，後來致力於金屬 雕塑創作，多年來參與國內外畫廊與藝術博覽 會之展出。黃柏仁常運用俐落的線條、塊面詮 釋作品，並透過塑體的各種姿態，連結觀者自 己的個性與經驗，使之發想出多變的解釋空 間。其雕塑可愛卻不僅止於討喜的外表，內容 更具藝術療癒的功能，潛移默化地感染了與之 互動的人們，將今日社會中情緒不穩或憂鬱的 現象，透過巧思來排遣，薰陶人心的正能量。 《暖冬》再現藝術家意欲傳遞的時代反思，呼 喚人性，用生活百態之轉喻，勸說人間。
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060 CHEN XINMAO ( Chinese, b.1954 )
Series of Historical Record No.2 125 x 85cm Mixed Media on Canvas Signed Xin-Mao in Chinese Signed on the reverse: Chen XinMao in Chinese, dated 1990
NT$ 260,000-360,000 US$ 8,500-11,800
陳心懋 書法系列 No.2 1990 綜合媒材 畫布 簽名：心懋 背面簽名：陳心懋 1990
陳心懋的藝術世界不但極為幽深， 並且自我意識的維度十分寬廣。從 上世紀八十年代起，開啟了他的水 墨實驗，以一位「先鋒者」的姿態， 探索中國畫的創新之路。美國著名 學者暨策展人巫鴻稱陳心懋為「後 天文化大革命」一代的實驗藝術家。 幼年的陳心懋曾隨自己的父親學習 書法和國畫，影響其創作深遠，幾 十年來的潛心致力於對中國水墨的 研究，現在他仍然繼續探索如何融 合不同的材料如木、紙、竹等來進 行藝術的創作。《書法系列 No.2》 藉由各種媒材的組合拼貼，企圖跳 脫毛筆書寫紙上的限制，強健有力， 卻又饒富中國傳統古色韻味。
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061 CHEN HUANZHEN ( Taiwanese, b.1966 )
Woman 54(L) x 25(W) x 76(H)cm Bronze, 3/8 Signed Huan-Jen in Chinese, dated 2006 and numbered 3/8
NT$ 300,000-400,000 US$ 9,800-13,100
陳煥禎 慧心 2006 銅 3/8 簽名：煥禎 06 3/8
藝術家陳煥禎畢業於國立台灣藝術大 學藝術碩士，雕刻技術未受過正統訓 練，一切靠著自學以及經驗累積，而 獲得多項雕塑殊榮。其創作以泥土雕 塑的寫實人物為主，並以女人形象刻 劃，認為女性的優美體態和柔媚身形， 非常適合用來表達細緻的內在情感， 再透過造型、線條、體積、空間來體 現藝術既有的價值，進而從自身所處 的時代文化裡，找尋得以建構作品意 義的象徵符號，相互呼應，重新詮釋 現代人生活的特性與面貌。能說陳煥 禎是藉由作品的眼神、肢體與表情等， 傳遞由內而外的意念，騷動觀者心中 的情感，成就傳統技法與現代內涵交 集的藝術思維。
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062 JU MING
( Taiwanese, b.1938 )
Living World Series - Endless 32.5(L) x 25.2(W) x 52.6(H)cm Stainless Steel, 180/200 Engraved on the back Ju Ming in Chinese, inscribed Audi A6 Masterpiece, numbered 180/200 and dated 2007 With a certificate of artwork reproduction issued by Lee Chi Creativity Co., Ltd., Taipei.
NT$ 320,000-460,000 US$ 10,500-15,000
朱銘 生生不息 2007 不鏽鋼 180/200 簽 名： 朱 銘 2007 Audi A6 Masterpiece 180/200 附李記創意股份有限公司限量複製品 保證書
朱銘以「人間系列」關注人間百態，表 現俗世人間的眾生樣貌，製作的態度接 近現代雕刻理念，透過形式的技術性挑 戰，跳脫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。
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063 PANG JIUN
( Chinese, b.1936 )
Conversation Between Color Blue and Color Yellow 60.5 x 50cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2005
NT$ 300,000-400,000 US$ 9,800-13,100
均 藍與黃對話 2005 油彩 畫布 簽名：龎均 均 2005
龎均出生名門，書香門第，又是藝術世家，父親龎薰琹曾留學法國， 母親也曾到日本留學過，從小耳濡目染的龎均，十一歲就和姊姊在 上海舉辦聯展，十八歲畢業於北京中央美術學院，師承徐悲鴻門下， 接受了徐悲鴻的寫實體系教育，打下了堅實的基本功力。 「藝術不能停止，創作必在自我。」龎均認為藝術是情感的抒發， 沒有情緒的作品是沒有藝術價值的，因此他只依循感覺和情緒作決 定，在畫布上盡情地揮灑自己的情與思，擇善固執、鍥而不捨的持 續創作，凝結成對藝術的追求。他認為西方油畫總是缺少了中國美 學的「氣韻」，在龎均經過不斷研究與實驗，他的油畫創作正是結 合水墨之道與油彩之法的呈現，融合了西方藝術表現手法和東方的 人文思想，建立了獨特的東方油畫表現主義。 《藍與黃的對話》用色大膽豐富，黃與藍對比色在龎均的安排下， 卻能統一協調，活潑濃厚、熱情洋溢的畫風，是那麼的清新、俐落， 令人陶醉之中。龎均對瓶花的描繪並沒有拘泥於傳統油畫的寫實描 繪，反而在當中帶入一些中國傳統書畫的灑脫寫意，瓶花生意盎然， 傳達出一種意想不到的張力和力量，整幅作品筆觸彷彿音樂旋律般 的變化多端。
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064 YANG SANLANG
楊三郎
( Taiwanese, 1907-1995 )
老街後巷
Back Lane of Old Street
1959 油彩 畫布 簽名：S.Yang
72.5 x 60.5cm Oil on Canvas Signed S. Yang in English ILLUSTRATED: "YANG SAN-LANG", Liang Gallery, Taipei, Taiwan, page 191 With a certificate of authenticity from Yang San Lang Museum
圖錄： 《楊三郎》尊彩國際藝術中心，台灣台北， 2011 年，第 191 頁 附楊三郎美術館開立之原作保證書
NT$ 1,250,000-1,650,000 US$ 40,800-53,900
楊三郎在前往法國留學期間，深受現代藝術思潮影響，在臨摹大師名作的過程中學習西方用色與技法， 作品也逐漸從外光派與印象派的光影描繪轉為後印象派的情感表現，在藝術創作上更直接強調主觀感 受，用以敏銳的感性方式來體會自然萬物。以此呼應 20 年代的亞洲畫壇，在經過西洋繪畫的衝擊與 洗禮之後，對於東方傳統藝術美學思維的反思與革新。 楊三郎重視實地寫生中，對於生命與自然奧祕的探索，如其所言：「寫生並不僅去描繪外形，而 是要表現地域的不同色彩、不同味道。」此幅《老街後巷》創作於 1959 年，古典式樣的紅磚屋 瓦建築，以立體主義觀點呈現多從角度，粗線條勾勒方式，著重建築物的描寫，刻畫古雅特徵人文景 色。高對比色彩手法加強景物的對話性，由上而下的光影折射加深景物的細膩變化，鮮豔的藍天白雲 突顯前景房屋的錯落有致，綠樹造景細細點綴更添活潑逸趣之感，垂直線條構築層次，展現寫生景致 中的精確構圖功力。由油彩堆疊的肌理經營之下，營造出整體畫面的和諧度，在思古幽情中隱隱散發 悅人的親切質感。 While studying in France, Yang San Lang was influenced deeply by modern art. He practiced skills and obtained knowledge of colors from the West, indirectly shifted his style from plein airism and impressionism to post-impressionism. He focused on direct emotional subjectivity and experiencing nature with instinctive aspects and sensitivity. It was considered a development of Asian art in the 1920s, when Eastern traditions were innovating and influence by Western aesthetic historical structure and reference. Yang San Lang had always valued the experience of exploring lives and nature from drawing plein airs. He stated, "Plein air painting is not only outlining contours, but presenting colors in various regions atmosphere." Back Lane of old Street was created in 1959. The classic red tiles of the architecture are aligned with sharp angles suggesting the idea of cubism. Thick and bold lines outline the antique buildings and their rich affections. The high contrasts in colors emphasize the dialogue of each object, including lights and shadows that come in from the top that enrich delicacy of the painting. Vibrant sky and the scenic clouds add depth to the foreground as well as the whole painting, corresponding with the trees that embellish the piece with a dashing touch. Lastly, the vertical lines and layers work together with the festive colors to create a full and cordial piece that gives off waves of kind textures and quality of feel.
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065 PANG JIUN
( Chinese, b.1936 )
Chinese New Year 90 x 71.5cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2010
NT$ 900,000-1,200,000 US$ 29,400-39,200
均 新年到 2010 油彩 畫布 簽名：龎均 2010 均
龎均出生於上海的藝術世家，父親龎薰琹曾留學法國，母親也曾到日本留學過；從小接受藝術薰陶的龎均，在 十一歲便跟姊姊一起舉辦聯展，十三歲便考入杭州美院成為大學生，後轉學至中央美術學院師承徐悲鴻，培養了 堅實的造型功力。龎均是位實踐家，他善於思考，他一直在古典和現代中找平衡點，並把寫實的西方藝術哲學融 合東方文人思想，建立了圖特的東方油畫表現主義。龐均著名於他獨特的油畫創新技法及技法哲學的理論之談， 以及他對建立一個能在西方媒體表現出對東方情感和中國風格的堅持，令他馳名藝界。他認為西方油畫技法固然 重要，但對當代中國畫家而言，同樣必要的是對中國人文思想的認知，從而提出一個對油畫的新穎及個人化的體 會。因而均的畫作中有著他獨特中國風格以及後印象主義與野獸派的設色及感覺而馳名。均成功地融和了中國人 文思想與西方畫藝，促成了一個集兩家大成，又富有個人特色的畫風。 此幅《新年到》便是為了因應中國農曆新年歡慶的年節氣氛。畫面中各類的迎春玩物，以吉祥寓意賀春誌慶，充 滿濃厚的年節歡樂氛圍。龎均善於保留油畫描繪物象的具體性，但又融合了中國傳統水墨文人畫的寫意，且對色 彩有獨到的見解，用色清新雋永，整幅作品氣韻生動，充滿爆發力。藝術家創作過程中著重於情感的抒發，因此 他筆下的畫作，都滲透著情與思，龎均認為沒有情緒的作品是沒有文化價值的，如此般的寫意油畫，實是完整的 體現了他獨特的美學涵養。龎均曾自述：「沒有畫什麼特別的東西，只是畫自己的『心』，對任何平淡事 物的感覺，不是由『形式』決定的，而是由感覺與情緒決定的。」可見龎均的創作以內心為導航，以抒情 為筆意揮灑目的，更寓含濃厚的文人氣息。 Pang Jiun was born in a family with of solid art background in Shanghai. His father Pang Xunqin studied in France and his mother in Japan. Started training since early age, Pang Jiun conducted his first exhibition with his sister at the age of eleven and was accepted to Hangzhou Academy of Fine Arts, he later transferred to the Central Academy of Fine Arts as a student under Xu Beihong, who helped solidify his skills. Pang Jiun is a practician, constantly pondering over the balance point between classicism and modernism. He also enhanced a unique identity of Chinese expressionism in oil painting by incorporating the realistic Western theory and the literati concepts of the East. Chinese New Year created by Pang Jiun was in respond to the festive ambience of Chinese New Year celebration. Each toy, object, couplet and poster contains heavy celebratory mood that pleasantly infects the audience. He was adept at maintaining concrete forms of objects illustrated by oil paint while performing spontaneous brushworks of ink-drawings. His distinct perception towards color theory, had brought his paintings alive with stimulating flavor of colors. Pang Jiun had always focused on expressing emotions, allowing all his thoughts and affections to penetrate through his works. He believed that works without delicacy hold no cultural value. The detailed and freehand oil paint well embodies Pang Jiun's unique educated aesthetic legacy. He once described, "I am not drawing anything peculiar, just my own "heart", my feelings towards ordinary subjects are not determined by static forms and structures, but emotions". Thus it can be seen that Pang Jiun lets his feelings take control of his production, permitting his instinct to manage and generate the heavy sense of literati.
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ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
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066 HONG LING ( Chinese, b.1955 )
荷塘
Lotus Pond
1991 油彩 畫布 簽名：洪凌 91.3
80 x 80cm Oil on Canvas Signed Hong Ling in Chinese and dated 91.3
NT$ 600,000-800,000 US$ 19,600-26,100
96
洪凌
ZHONG CHENG 中誠
洪凌，白族，雲南人，生於北京，畢業於北 京師範學院美術系，擅以油畫潑灑山水，捕 捉壯闊氣勢，綜觀其創作脈絡，從寫實趨以 抽象，主要納為「皖南系列」畫的是寫實山 水；「胡同系列」描繪他生長的北京街景； 「人體系列」則受到席勒等表現主義畫家影 響。洪凌被稱為「凡塵中的隱士」，追求的 創作是由內而發，注重精神涵養上，東方與 西方、傳統與現代，文化精華的吸收融匯。 自作品《寒雪》入選「中國油畫年展」並獲 優秀作品獎後，洪凌於香港、法國、新加坡 及台灣、北京、上海等重要展覽會上，都受 到藝術界和收藏家的高度評價，堪稱充分地 利用了自身特有的激情與智慧，一舉把華人 對大自然的視野，盡收畫裡。
MODERN AND CONTEMPOR ARY ART
97
067 LIU JIUTONG
中國水鄉之水上人家
Watery Town Series - People Who Live Above Water
2010 油彩 畫布 簽名：劉玖通 2010
80 x 160cm Oil on Canvas Signed Liu Jiu-Tong in Chinese, dated 2010
NT$ 950,000-1,250,000 US$ 31,000-40,800
98
劉玖通
( Chinese, b.1977 )
ZHONG CHENG 中誠
劉玖通，擅以書法線條、水墨筆韻描繪具有東方詩意的抽象作品，酣暢淋漓的藝術風貌備受國際藝壇青睞，更因獨特東西合璧的抽象藝術語彙、氣 勢磅礡的創作力道，在畫壇嶄露頭角，深受中外好評。作品常見細密堆疊渾厚濃重的油彩線條，並以刮刀技法平塗揮灑，加以立體視覺構圖，融入 如夢似幻的場景之中，一如齊白石所強調的「在似與不似之間，不似之似」的藝術情境，師法古人的山水胸襟，與詩詞入畫的抽象功力，藉由油 彩堆疊出富含東方底蘊的抽象山水。作品曾入選「法國巴黎當代國際藝術評選展」、「米蘭當代藝術大展」，並於世界各地舉行多次個展，廣獲佳評。
江南好，風景舊曾諳。日出江花紅勝火，春來江水綠如藍，能不憶江南？ ---白居易《憶江南》 《中國水鄉之水上人家》為「中國水鄉系列」作品之一，以江南水鄉澤國入景抒情，清亮的江水悠悠蕩蕩、波光粼粼，兩旁層疊著起落有致的屋瓦 房舍，燈火通亮，經歷無窮盡地殞滅新生。劉玖通以濃厚的油彩線條堆疊，輔以刮刀技法的揮灑創造堅實而立體的畫貌，獨樹一幟的藝術語彙重新 闡釋了抽象繪畫的空間內涵。畫面時而深邃，時而浮動著光影瞬間的幻化。色塊透過光線的轉折及蛻變形成光源，源源不絕地交錯漫延，如夢般迷 濛幽然，讓觀者在絢麗竄梭的筆調中沉澱，傳達生命起落的頓悟與詩意。 MODERN AND CONTEMPOR ARY ART
99
068 CHIU YATSAI
邱亞才
( Taiwanese, 1949-2013 )
音樂家
The Musician
油彩 畫布 簽名：邱亞才
162 x 130cm Oil on Canvas Signed Chiu Ya-Tsai in Chinese ILLUSTRATED: "CHIU YA-TSAI", Modern Art Gallery, Taiwan, No. 8 EXHIBITION: "Chiu YaTsai Solo Exhibition", Modern Art Gallery, 1993
圖錄： 《邱亞才畫冊》，現代藝術空間，NO.8 展覽： 「邱亞才個展」，現代藝術空間，1993 年
NT$ 2,500,000-4,000,000 US$ 81,700-130,700
「我沿著溪水邊的道路走，仰頭看到天空中的月娘翻過這個山頭，停在那枝白楊的樹上，爬上我家後邊的叢林上面。如 果是沒有月娘的夜，那沿路走來的沉默像是個容易感傷的少年郎那般，我目視著蔚藍的黑暗走去，或者你現在心情慘淡 沮喪，想像自己是個哲學家，那麼你走的這條道路那條小徑，會認為夠得上是廣博辯物的道路小徑。原來我們的想像 啦、思緒啦、憂愁呀！幾乎每一種心靈的出發，每一種思想的所得，都潛在著許許多多構成詩詞的精靈。」 ---邱亞才《自述之一》 邱亞才的年幼時代，個性沉默寡言，心智發育比別人慢，對於知識和教養，皆無從消化分解，所以沒能完成中學教育，卻也因著上天 給予邱亞才不同於凡人的經驗，使他擁有較多的自己，也保有自然原始的意識，大大減少了往後創作的束縛，從人生的喜、怒、哀、 樂，把心酸苦楚化為人物畫的靈魂，台北知名文化沙龍「紫藤廬」，即是他創作一隅。受中國歷史、莎士比亞、杜斯妥也夫斯基等大 師的書籍薰陶，邱亞才逐漸尋獲自己存在的價值，並以此豐富往後繪畫中的人物深度，他筆下的文人肖像，受唐代繪畫的影響至鉅， 如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖瘦，雌雄莫辯。然而，邱亞才在阿茲海默症的侵襲下，記憶宛如沙漏不斷流失，創作主 題上趨傾於孤寂、憂鬱、內斂而沈靜，直探深埋人類理性面具下的卑微、傲慢、頹廢與脆弱，仿若極欲透徹那些鬱暗又複雜的心思。 但除了繪畫之外，文字也是他善於表述的工作，如此天賦才情，曾使邱亞才於香港、瑞士、摩納哥、紐約等，與畢卡索、朱銘等大家 並列展出，亦能互相輝映、毫不遜色，蒙受國內外收藏家青睞。如今「我的文采已經寫在稿紙上，著色繪畫在油畫布上了」，這是邱 亞才遺留人間的文人感懷，夾雜落寞的頹靡氛圍，伴著畫中人物的孤寂，徘徊在聖賢影子裡的獨白。邱亞才以他未經學院雕琢的筆觸， 一筆一畫，誠實地、孤獨地、不假外求地回歸到一個藝術家的本色，展演藝術最至善、至真的醇美境地。 "I stroll along the river, raise my head and see Yue Niang over the hill, resting on that poplar, and disappear into the forest behind my house. During the night when Yue Niang is away, I look into the dark, walk along the silent road like a mourning young man. Or you might feel blue, if imagine yourself as a philosopher, you will think of the road as a path of knowledge. In the end our imagination, thoughts and sorrow originate from our soul, every result comes from the poetic spirits that lies within contemplation." ---Chiu Ya-Tsai Chiu Ya-Tsai was able to transform every aspect and expression of life into spiritual tangible drawings, as seen in his famous work of Taipei culture salon, Wistaria House. After encountering Chinese history, Shakespear, Dostoyevsky's great literature, Chiu Ya-Tsai finally started to treasure his personal value, indirectly adjusted his characters in painting with deeper and richer contours. Under the influence of ancient Tang dynasty, he inherited certain signature features such as the hook-like noses, almond-shaped eyes, oval faces and thin bodies; with almost identical features for both male and female. However, ever since Chiu Ya-Tsai started battling Alzheimer's disease, memories of his beginning started to fade. The themes of his works soon silently reflected solitude, depression, and restrain. The works severely dig under rationality, revealing one's vulnerability, pride, degeneration and weakness, as if observing the dark and complex humanity. Despite painting, Chiu Ya-Tsai was also adept in formulating complex thoughts. With such gifted talent, he was honored to co-exhibit and display his art with Picasso, Ju Ming, and other eminent artists in various countries like Hong Kong, Switzerland, Monaco, New York and many more, impressing viewers all around the world.
100
ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
101
069 HSIAO CHIN
蕭勤
( Taiwanese, b.1935 )
道之變異
Variazione Del Tao
1963 油彩 畫布 簽名：Hsiao 勤 1963 背面簽名：Hsiao 勤，2011.10.28，Variazione Del Tao，道之变異
80 x 130cm Oil on Canvas Signed Hsiao in English and Chin in English, dated 1963 Signed on the reverse: Hsiao in English and Chin in Chinese, dated 2011.10.28, titiled in Chinese and Spanish PROVENANCE: Private Collection, Europe Christie's Hong Kong, Chinese 20th Century Art, Day Sale, 30 May 2010, Lot 1421 With a certificate of authenticity signed by the artist
來源： 歐洲私人收藏 香 港 佳 士 得， 二 十 世 紀 中 國 藝 術， 日 拍， 2010 年 5 月 30 日，Lot 1421 附藝術家親簽之原作保證書
NT$ 1,300,000-1,500,000 US$ 42,500-49,000
「生命是永恆的創作，一項永恆成長的挑戰。」 ---蕭勤 蕭勤，師承朱德群學習素描，奠定良好的繪畫基礎，後追隨台灣現代藝術之父－李仲生，非但挖掘了蕭勤對現代藝術的潛質， 也建造了他探索現代藝術的勇氣和決心，爾後，蕭勤創「東方畫會」成為「八大響馬」成員之一，作品陸續參加國際性展覽， 在畫壇展露頭角。然而，藝術創作對於蕭勤而言，卻非在爭名逐利，而是傳達心靈成長的訊息和過程，宇宙的大能量，更是 他腦海中源源不絕的重要靈感。同時，蕭勤也期盼，觀者在欣賞畫作時，可以從自身的生命經驗出發，用宏觀的角度，接收 到不同層面的啟發，讓繪畫能夠擁有跨越國籍、地域及各方語言的屏欄，成為一個完整的橋梁，共同感知所見、所得，實際 成就無垠境界。蕭勤亦曾在旅居時，撰寫專欄向台灣畫壇推介歐洲現代藝術、思潮及畫家，此舉對身處異鄉的他帶來深深衝 擊，以致蕭勤開始思源，並醒悟自身文化的重要，就此深耕於研究老莊、道家等中國思想，在經過西藏曼達拉壁畫的洗禮後， 融合佛家和禪宗的理念，巧琢中國水墨畫的思維、把意境帶入西方繪畫的表現手法裡，用畫布詮釋一個既靜止又變動的世界。 "Life is a creation of eternity, an infinite battle for improvements"
---Hsiao Chin
Hsiao Chin, educated by master Chu Teh-Chun, he inherited the techniques of contouring and precise sketching, building a firm foundation for his aesthetic training. Also receiving instruction from Li Chun Shan- Father of Taiwanese Modernism, Hsiao Chin's potential for Modern Art was fully explored. Through learning, he was allowed and encouraged to discover all the possibilities within Modern art. Hsiao Chin founded the Ton Fan Art Group in 1956, and was a member of the Eight Highwayman of the East, with purpose of bringing modern Taiwanese painting into international art exhibitions. However to Hsiao, fame was not his goal for aesthetic expression. His aim is to communicate the growth of spirits, and to emphasize the psychological journey. The energy of the universe was his main inspiration for many works. Hsiao Chin also anticipate for his viewers to go on a spiritual journey when encounter his art works. With an open-minded perspective, and various levels of inspiration, he art works were able to communicate to all nationality, culture differences, and languages. His art became the perfect bridge to connect different ideas, and culture. Hsaio Chin lived in Europe for a period of time; he wrote many articles supporting Modern European philosophy and aesthetic to stimulate the Taiwanese art movements. Living in a foreign country alone prompt Hsiao to consider the importance of his origin, and his own culture. He therefore started to investigate Zhuang, Taoism and other Chinese philosophy. After a Tibetan mandala mural baptism, and an integration of Zen, Buddhist philosophy; Hsiao sucessfully master the union of Eastern drawing element into oil paint and canvas.
102
ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
103
中誠 2012 春季拍賣會 Lot 43 太極系列 - 單鞭下勢 成交價 $8,024,000
中誠 2012 秋季拍賣會 Lot 93 太極拱門 成交價 $7,670,000
中誠 2011 秋季拍賣會 Lot 49 太極 - 雲手 成交價 $7,670,000
104
ZHONG CHENG 中誠
朱 銘 JU MING 「太極」一詞源自《易傳》：「易有太極，是生兩儀。兩儀生四象，四象生八卦。」是中國思想史上的重要概念。太極一般是 指宇宙最原始的秩序狀態，出現於陰陽未分的混沌時期之後，而後形成宇宙的本源。朱銘因學習太極拳，對中國傳統哲學內涵及養生 哲學有著深刻體悟與認識，且對中國文化精神理解透徹，遂以太極雕刻表現「陰陽」、「造形」、「連貫的氣」、「整體一元」等中 國文化精神的底蘊。朱銘經過多年的演練和思考，對太極精神有了更深刻體會和感悟，遂於 1980 年代前後，以粗獷、質樸，結合中 國傳統文化與現代藝術語言的「太極系列」雕塑聞名於世。 經一系列獨具個人特色的太極作品入世，自有形到無形的表現手法，動感流暢中融會中國精神的雕塑隨物而生。牛津大學美術史學家 蘇立文 (Michael Sullivan) 曾論及：「太極同時也是一種儀式性的格鬥形式，兩個形體相互對峙。在太極對招中，藉由參與者 的移動，他（較少是她）得以勝過自己。古代的軍事分析師孫子寫道：『知己知彼，百戰百勝。』」爾後經過「推手」、 「對打」作品的千鑿萬雕，朱銘不再偏重精神上對太極的內省與冥思，更著重在相生相成、相互牽引的概念上，相對立的個體更標誌 太極主題的深化與創新，抽象精神的雕塑表達方式更趨前邁進新一階段，更啟發「拱門」的型塑演化，朱銘如是詮釋：「以前的推手， 兩個個體間還有間距，而現在，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。」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。 "Taichi" is originated from <Yijing> and described as "Yi has Tai Chi, then gave birth to two appearances, and then four images. The four images gave birth to eight guas, and the eight guas control good or bad conditions which control future's development." It is the most important concept in Chinese philosophy. Taichi means the original order of the universe and is presented during the time of yin and yang confusion, and later became the origin on the universe. Ju Ming learned Taichi and realized and acknowledged the Chinese traditional philosophy. He has a full understanding of Chinese culture and presented the "yin and yang", "forms", "continual chi" and "whole as one" with taichi sculpture. After years of practice and contemplation, he has a deeper realization for taichi. And during 1980, he combined Chinese culture with modern art language and gave birth to the famous "taichi series". By introducing taichi series that is rich in personal character, his approach went from visible to invisible to create a sculpture that is full of Chinese culture. Michael Sullivan of Oxford University said "Taichi is also a form of combat, when two objects are opponents. In the taichi combat and through the participants' movements, he will conquer himself. The ancient military analyst Sunzi wrote: Know your enemy and know yourself, and you can fight a hundred battles without defeat." After "Pushing" and "Sparring", Ju Ming no longer focuses on self reflection and contemplate but more on the relationship concept, creating an innovative theme in taichi. The abstract approach is more innovative and inspired the evolution of "Arch". Ju Ming said "There is still a space between the two opponents in Pushing. However, now I connect the nads together, along with the chi and movements of the muscles, everything becomes one, and transformed into the form of an arched door." After twenty years of evolving the "Taichi series", Ju Ming ended it with the extremely simple but greatest implication "Arch".
中誠 2011 秋季拍賣會 Lot 92 太極系列 - 單鞭下勢 成交價 $9,386,192
中誠 2010 秋季拍賣會 Lot 60 太極 成交價 $15,340,000
MODERN AND CONTEMPOR ARY ART
105
070 JU MING
( Taiwanese, b.1938 )
Taichi Series - Arch 43(L) x 12.8(W) x 23.3(H)cm Wood (One piece only) Signed Ju Ming in Chinese, dated 1996 With a certificate of authenticity signed by the artist from Caves Art Gallery
NT$ 3,600,000-4,200,000 US$ 117,600-137,300
朱銘 太極系列 - 拱門 1996 樟木 ( 僅此一件 ) 簽名：朱銘 '96 附敦煌藝術中心開立朱銘親簽保證書
此件《太極系列 - 拱門》創作於 1996 年，作品既穩如泰山，又動若 浮雲，兩相對峙，剛柔並濟間表現一種浩然之氣，融合中國園林天地 圓融的東方哲學思想，其中蘊含陰陽平衡、相生相剋、相輔相承的太 極概念，達到神似而非形似的境界。木身在大刀闊斧的劈鑿之中，保 留了自然的切面與紋理，面面菱角間的撕裂傷痕，宛若速度及力量加 諸在靜態的雕塑上，賦予「天人合一」的氣度與生命力，在朱銘精巧 的斧鑿錘鑄間完全體現。 "Taichi Series:Arch" is created in 1987. It is firm like a rock yet the atmosphere is flowing like clouds. Strength and gentleness both prevail and combines the Chinese philosophy of man and universe in harmony. After grand carving, the artist preserved the natural surface and texture of the wood, the tear and scar are evidence of strength and speed on the still sculpture. It is given the vitality of man and universe as one, Ju Ming indeed has perfectly presented the idea through his talented sculpting skills.
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071 JU MING
( Taiwanese, b.1938 )
Taichi Series – Single Whip 58(L) x 29.5(W) x 41.4(H)cm Bronze, Artist Proof Signed Ju Ming in Chinese, dated 1991 With a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation
NT$ 5,600,000-6,500,000 US$ 183,000-212,400
朱銘 太極系列 - 單鞭下勢 1991 銅 藝術家保留版 簽名：朱銘 自 '91 附財團法人朱銘文教基金會作品鑑定報告書
自太極系列起始，朱銘抽離傳統雕刻的寫實風格而轉入寫意，並逐步深 化它的藝術語彙及理念精神。從一開始的招式簡化，進而在創作中由 「形」轉至「意」。「單鞭下勢」為太極拳法中的第二十七式，是一個 下沈姿勢，亦是太極拳招式最低的一個式子，乃取其坐身揉避，變化敵 力，令其落空，即乘勢前擊。 《單邊下勢》為朱銘的太極系列作品中，最負盛名之作，已廣獲許多博 物館與機構收藏。在朱銘的工法雕刻下，呈現大氣魄與生動的立體感， 造形簡潔，體感強烈，通過大塊面積切割及平衡造形，充分流露出強弓 之弩、蓄勢待發的智勇情狀，於氣沉丹田，沉靜的外表下蘊藏巨大能量。 此件石雕的《單邊下勢》僅有十件，匠心獨具只見輪廓不見五官呈現出 武者內斂的神情，朱銘雖創作過多件《單邊下勢》但其素材肌理及其神 態、氣勢皆各有千秋，表現出不同時期朱銘對於「太極」的體悟及成熟 度的不同，儘管同一主題，卻各有其獨一無二的特質。 From the beginning of the taichi series, Zhu Ming has dissociated from the traditional realist to impressionist and gradually deepened his art language and creation concepts; from simplifying to form and then to meaning in his artwork. "Taichi Series- Single Whip" is the 27th form in taichi series, it's a descending pose and also the lowest positioned. Utilizing the strength from sitting to counteract the force from the opponent, and when the opponent strikes in vain, it strikes back.
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廖繼春 LIAO CHICHUN 廖繼春的繪畫遊走於古典與浪漫、傳統與現代之間，其藝術語彙一路由具象寫實過 渡後印象派。1962 年五月，廖繼春應美國國務院之邀赴美，停留四個月左右，是 年十二月再前往歐洲，遍觀各大美術館、博物館，眼界大開、畫風漸變，並於當地 累聚相當豐富、質量俱佳的作品，一系列以希臘雅典、西班牙特麗羅、義大利威尼 斯、法國巴黎，以及以色列伯利恆等城市取景而成的創作，磅礡誕生。 廖繼春浸潤西方藝術思維，深受野獸主義、抽象繪畫影響及美國抽象表現主義的強 烈衝擊，歸國以後，廖繼春在接受《雄獅美術》訪問時說：「如夏卡爾所說，他
之前來巴黎並非學習那裡的畫，只是接受那裡的刺激而已。這種種的因素 使我盡速地覓求了新的自己的方法。」在廖繼春敏銳可塑的畫布上，開始出現 飄然的線形與翱翔的唯美色塊，與異國情調濃厚的異鄉題材。此幅《凱旋門》取材 自巴黎的旅遊印象，色彩穠麗奔放，在形、色、線的組合排列之間，產生突破性的 視覺意象，在現實與夢幻間取得一個完美的平衡點，標誌了他藝術生涯中呈現的重 要轉折。 此幅《凱旋門》成於 1971 年，收錄於貳本圖錄，且為《廖繼春 經典回顧展》畫集 的封面作品，極富收藏價值。《凱旋門》的筆觸奔放成熟，融貫了台灣鄉土的明朗 與溫暖，以及色彩奔騰的野獸派意趣。畫面中央以淺藍、深藍與米白色的短橫線創 造水平的穩定感，飽滿豐厚的色彩，是台灣民俗色系的繪畫性延伸。顏色交錯縱 橫，線條恣意地橫出交織，速寫式的筆觸有若雕刻家大刀闊斧的勁道，而色調明快 奔放，是台灣民俗色系的繪畫性延伸，自由地將彩墨出神入化地盡情揮灑。 《凱旋門》流光溢彩、色感渾厚，但細細端詳，卻流露著寧靜淡遠、優美明朗的氛 圍，讓人心曠神怡、恣意徜徉，如佛陀拈花微笑般，信手拈來盡是返璞歸真之美， 幽微地碰觸著生命中意蘊深遠的悠揚真意。也因此，不論美術思潮與學院環境如何 流變，廖繼春都深受各方擁戴而屹立不搖，在這位美術巨擘逝世近三十年後，「台 灣美術貢獻獎」決定表揚對台灣美術運動及美術教育有貢獻的前輩美術家，首屆得 獎者即為廖繼春，更奠定他成為一代藝術大師的評價。 Liao Chi-Chun's paintings are often wandering between classical and romantic, traditional and modern. From realism to post-impressionism on May 1962, Liao received an invitation from the United State Council to spend four months touring and visiting all the art galleries and museums within the country. This experience expanded his artistic horizon drastically; furthermore it revolutionized his style of painting. He created series of paintings for different cities, including Athens, Greece, Spain, Venice, Italy, Paris, French and Israel. The Western art movement of Fauvism strongly influenced Liao Chi-Chun, however the Abstract and Abstract Expressionism fascinated him the most. After his return to Taiwan, he told us, "According to Chagall, he is not here to learn how to draw like a French person, he simply takes all the stimulations from them. All these factors are what inspires my learning." In this painting, we are invited to view the grand landmark of Paris- the Arc de Triomphe. The painting depicts an exotic and mysterious subject to Eastern cultural of the time. Arc de Triomphe was completed in 1972; it is also the cover painting for The Retrospective of Liao Chi-Chun catalogue, within the catalogue depicts many works of Liao throughout his life. Through Liao's paintings we sense a combination of the warmth and friendly nature of Taiwanese culture, as well as wild energy of Fauvist movement. The juxtaposition of vibrant colors is in contrast with one another, further emphasized by the tone and values that are bold and stimulating.
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072 LIAO CHICHUN
廖繼春
( Taiwanese, 1902-1976 )
凱旋門
Trumphal Arch
1971 油彩 畫布 簽名：繼春 C.LIAO
43 x 51cm Oil on Canvas Signed Chi-chun in Chinese and C. LIAO in English PROVENANCE: Acquired directly from the artist's family by the previous owner Ever Harvest Art Gallery, Taipei Private collection, Taiwan Christie's Hong Kong, Asian 20th Century & Contemporary Art, Evening Sale, 26 May 2012, Lot 2020 ILLUSTRATED: "Taiwanese Art 123", Celebrated Art Gallery, Kaohsiung, "Taiwan, December, 1993, color illustrated, no. 4 LIAO CHI-CHUN Retrospective Exhibition", Top Art, Taipei, Taiwan, March, 2015 EXHIBITION: "20th Anniversary Memorial Exhibition of Liao Chi-chun", Ever Harvest Art Gallery, Taipei, Taiwan, January 12 – February 9, 2002
來源： 原藏者購自藝術家家屬 日升月鴻藝術畫廊，台北 私人收藏，台灣 香港佳士得，二十世紀亞洲當代藝術，夜拍，2012 年 5 月 26 日，Lot 2020 圖錄： 《台灣美術 123》，台灣高雄，1993 年 12 月出版， 彩色圖版，編號 4 《廖繼春 經典回顧展》，台灣台北，2015 年 3 月 出版，彩色圖版，封面，編號 47 展覽： 「廖繼春逝世二十周年紀念特展」，日升月鴻藝術畫 廊，台灣台北，展期自 2002 年 1 月 12 日至 2 月 9 日
With a certificate of authenticity from gallery 附畫廊開立之原作保證書
NT$ 8,500,000-10,000,000 US$ 277,800-326,800
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073 KUO JENCHANG
台灣圖像與影像 - 八家將 I
Icons and Images of Taiwan-Eight Generals I
1993 壓克力 畫布 簽名：郭振昌 '93 J.C. Kuo
56 x 47cm (8) Acrylic on Canvas Signed Kuo Jen-Chang in Chinese and J.C. Kuo in English, dated 1993 PROVENANCE: Acquired directly from the artist ILLUSTRATED: Icons and Images of Taiwan J.C.Kuo, Gallerie Elegance, Taipei, Taiwan, 1994, page 22-25
NT$ 900,000-1,500,000 US$ 29,400-49,000
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郭振昌
( Taiwanese, b.1949 )
ZHONG CHENG 中誠
來源： 原藏者購自藝術家本人 圖錄： 《郭振昌 1994 台灣圖像與影像》，愛力根畫廊，台灣台北， 1994 年，第 22-25 頁
Marilyn Manroe by Andy Warhol ( 郭振昌深受普普藝術影響 )
李仲生老師的作品
台灣當代繪畫的發展裡，郭振昌因受到普普藝術影響，大膽地拼貼傳統和民俗的素材，使藝術、生活、文化之間的關連更加緊密，然而師承 李仲生的他，在其畫室習畫時，也被教導學習西方藝術之際，要思考如何帶入東方文化的元素的觀念，對往後他的創作有著深遠的啟示。也 造就藝評家王嘉驥認為，在郭振昌的作品中，「有些元素併在一起其實是硬碰硬、彼此無法相容，就好像台灣人說話很大聲的習慣， 每個人都有話要講、每個人也都想大聲表達自己的想法」，如此說法，也實在地印證了郭振昌的創作態度，與他始終堅持「反映時代的 誇張、不實及混亂」的概念相輔相成。 再者，郭振昌的成長歷程中，因曾獲美國亞洲基金會贊助，全心投入台灣民俗藝術研究，並實際參與民間田野調查工作，故見證了台灣社會 半世紀以來的變化，所以他堅信「凡是能將現在生活的特質表現出來的，就是寫實」。然而，原就擅長將神話與傳奇衍變為鮮明圖像敘 事的他，也開始擷取中國漢唐時期人物的造型，以及中國民間藝術的圖騰符號，結合強烈的西方語彙，創作出台灣當代社會多元文化並列的 氣氛與內涵。這《台灣圖像與影像 - 八家將 I》就是郭振昌撻伐台灣政治、社會、倫理脫序亂象的開路先鋒，能見他於系列作中以近乎嚴厲的 批判口吻，毫不留情地呈現其「嘲諷」和「反美學」本色，為畫作營造出一種混亂不安的衝擊，展現極深的人文關懷。郭振昌的藝術，經常 是將我們時常所忽略或冷漠以對，甚至過度熱衷的議題，他再次透過特有的藝術語言反映給我們，使我們能以當下為立足點，思辨現代，並 保有高度的自覺、自知。 In the art history of Taiwanese Contemporary Art, Kuo Jen-Chang whom was under the inspiration of Pop Art, bravely incorporates elements from traditional folk cultures into his medium. Art, life and culture are linked intimately in his artworks. Under Lee Zhong Sheng's instruction, he was taught to consider how Eastern culture can be related to Western art. This concept became a strong influenced in his artistic style. Art critique, Wang Chia Chi illustrates Kuo Jen-Changs art works as "Opposing elements are reinforced together, no elements are willing to be outshined. Similar to the Taiwanese culture, where everyone held true to their opinion, and are eager to express their individual ideas." The following quote verified Kuo Jen-Chang's creative attitude towards, and his belief of "Mirror the fabrication, unrealistic and chaotic modern era" An expert in transforming legends and mythologies itto brightly saturated pictures, Kuo Jen-Chang finds his inspiration from characters of the Chinese Han and Tang dynasty, as well as symbols and patterns from Chinese folk culture. Combining the material with solid Western terminology, he successfully interpreted the quality and depth of the multicultural Taiwanese modern society. Icons and Images of Taiwan-Eight Gernerals I is one of the earlier pieces that Kuo Jen-Chang created to illustrate the chaos of Taiwanese politics, society and ethics. Audience can encounter the harshness and strong voice of mocking and anti-aesthetics from the series. At the same time the force of impact and unsettlement contradictorily bring intense affliction to humanity. Kuo Jen-Chang's works often revisit current issues that have been neglected or overly discussed through his modified language of art. It encourages viewers to set foot at instant moment as they reflect upon current society with higher and more responsible awareness.
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074 YEH TZUCHI
鄉愁在浴室
Nostalgia from the Bathroom
1991-1994 油彩 畫布 簽名 : 子奇 1991-94
86 x 218cm Oil on Canvas Signed TzuChi in Chinese and dated 1991-94 ILLUSTRATED: "ART TAIPEI 2008", Elsa art gallery ,2008,Page 12
NT$ 2,600,000-3,800,000 US$ 85,000-124,200
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葉子奇
( Taiwanese, b.1957 )
ZHONG CHENG 中誠
圖錄： 《2008 台北國際藝術博覽會 B07》， 雲清藝術中心，2008，第 12 頁
畫家葉子奇自幼於鬱鬱花蓮玉里成長，爾後北上赴學精進畫藝，度過熱烈少年時期，三十而立遠赴紐約深造。早年於台灣底脈扎根，近二十年於美 國開花綻放，如此寬廣遼闊人生向度，使其作品緊緊扣合別離母題，尤其葉子奇壯年毅然抉擇返鄉，原以將在異地落葉生根，最後於懷土開枝散葉。 豐饒交錯人生經歷，中西文化底蘊交融，為其作品增添深邃復返哲思。 靜物歷經峰迴路轉，幾經凝結淬鍊，才能臻至藝術傳世境地，成為藝術家獲攫靈感啟發。葉子奇曾自云「靜物對我，是室內的風景；風景對我， 是室外的靜物。」在靜物畫作當中，傍隨其目光，領略無邊鄉愁風景，〈鄉愁在浴室中〉為葉子奇系列作品之一，延伸過往局部取代整體繪畫精湛 手法，藝術家動用所有感官極致，將靜物油畫引領至哲理層次，層疊柑橘果皮與水龍頭，蘊含水氣與乾燥意象同時並存；空氣中飄逸金屬冷冽氣味， 滿室盈滿溫暖鵝黃光線。於浴室極窄空間之內，相互烘襯、投射情感思緒，真切感染藝術家所要傳遞，蓬勃思愁情感張力。 手掌大張於方吋之間，丈量此岸與彼方遙遙之距，凝滯的瞬間詩意寫實，而交錯掌紋清晰可見，開展出有如阡陌縱橫地圖，暗示人生實難，大道多歧。 實為亙古不移人生母題。在宇宙天地之間，纏繞諸多選擇，然萬物生滅，均無圓滿無憾境地，因而成為藝術家不斷追溯、復返的核心意識。整潔牙 刷有如象徵著日常一絲不苟秩序，在每回洗滌過後，重新整頓面貌返回現實，遊子所開啟的是日復一日有鄉歸不得嶄新日子，在此畫中不僅擁有時 間推移想像，更暗示著韶光一去不復返的流動慨歎。 唯有在浴室內，攬鏡獨處以無語自我對話，傾訴無盡鄉愁，側耳傾聽發自內心深處，最樸素無華家鄉話語，才能臻至無窮懷思境地。對此，葉子奇 對於離鄉與歸根，曾自述「對於藝術家來說，只要能夠繼續創作就是家鄉」，異鄉人在他方，筆到之處即是故鄉，唯有以韶光不斷砥礪創作， 將無以名狀懷鄉思愁，化作有形，遂以無窮追思。
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075 LIU KUOSONG ( Taiwanese, b.1932 )
Rising Sun 88.5 x 52.5cm Ink on Paper Signed Liu Kuo-Song in Chinese, dated 2011 With one seal of the artist
NT$ 1,500,000-1,800,000 US$ 49,000-58,800
劉國松 旭日東升 2011 水墨 紙本 簽名：劉國松 二○一一 藝術家鈐印：劉國松
東方傳統藝術一向尊崇「自然」的意蘊，而水墨媒材的創作更是得之自然的美學思想。唐代詩畫大家王維，於其《畫學 秘訣》寫道：「夫畫道之中，水墨最為上，肇自然之性，成造化之功。」而擁有「現代水墨之父」、「中國現代繪 畫先驅」等美名的劉國松，數十年來所鑽研實踐的「非筆墨性水墨畫」，揚棄了傳統水墨非毛筆不可的古老觀念，結合 西方拼貼技法以及不斷的實驗精神， 創造現代新水墨的表現形態。在台灣、亞洲，甚至全世界的藝壇，劉國松都擁有舉 足輕重的影響力。大英博物館特別收藏其重要作品《日月浮沉》；山東博物館則為其設立了劉國松美術館專館，劉氏在 全世界舉辦超過百次個展，收藏遍布世界各地，並獲臺灣藝文界最高榮譽「國家文藝獎」，以及中國藝文界最高榮譽的「華 人藝文終生成就獎」。 《旭日東升》完成於 2011 年，脫胎於 1970 年代經典雋永的「太空圖式」系列，描繪日出之時的壯麗景觀，朝氣蓬勃、線 條雄辯，極繪其「白線的張力」。劉國松的畫筆慷慨豪邁，仍不失雅致優美的文人特質，在抑揚頓挫之間，留下自成韻 緻之功。畫面中那顆火紅的太陽，冉冉東升，灰白色的線條細膩流暢，在輕煙飄渺的水雲間堆疊層層濃淺不一的灰濛天地， 將中國傳統的幽靜脫俗與迷茫意境之韻，傳達得淋漓盡致、詩情畫意。 Eastern tradition art have always-paid tremendous respect to Nature, the idea is clearly illustrated in Chinese ink drawings. Artist Wang Wei of the Tang dynasty reveals in his book "Secrets of Drawing", "In Art, Chinese ink medium can be considered at the top of the pyramid in reflecting the natural state nature". Notorious title such as Father of Modern Ink, Pioneer of Modern Chinese Ink and other extravagant names all belongs to artist Liu Kuo Song. Years dedicated in exploring the method of Non-Brush Ink Drawing, Liu threw away the traditional practice of brush and paper. He incorporated Western technique of collage, with determined mind; he invented a complete innovative expression for the language of ink drawings. Liu Kuo Song is influential not only in Taiwan, and Asian but even the international art scenes. National Art Museums included the masterpiece Rising Sun into their collection. The Sandong National Science Museum even dedicates an art museum to Liu Kuo Song. Liu participated in more than hundreds of exhibitions around the globe, his art works are collected internationally. He won many awards including the highest honor from Taiwan's National Literature Aesthetic Award, as well as China's Asian Artist Lifetime Achievement Award. Rising Sun completed in 2011, evolved from the 1970 classic series of Universe Composition, depicting the astonishing sunrise, with vibrant energy and powerful lines. Liu surprised us with element of white outline contouring. Liu Kuo Song with confidence in his calligraphy techniques brings his scholarly persona into his art. Within the center of the picture depicts a bright red sun, rising from the east surrounded by grayish-white lines, symbolizing the many layers of clouds and mist. Liu Juo Song is the master of transforming traditional institution Chinese drawing into lively expression of poetic aesthetic.
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076 YANG CHIHUNG
楊識宏
( Taiwanese, b.1947 )
負旋律
Negative Melody
2004 壓克力 畫布 背面簽名：Chihung Yang，Negative Melody，©2004
160 x 111.8cm Acrylic on Canvas Signed on the reverse: Chi-Hung Yang in English, titled Negative Melody in English, dated 2004 ILLUSTRATED: "The Images of the Mind: Chihung Yang's Painting", National Museum of History, Taipei, Taiwan, 2004, page 42
圖錄： 《象由心生─楊識宏作品展》，國立歷史博物館， 台灣台北，2004 年，第 42 頁
NT$ 1,100,000-1,400,000 US$ 35,900-45,800
「生命是一種神秘與超越，它超越了浩瀚無垠的時間和空間，而且歷久彌新。自然界所潛伏的自然力量是那麼叵測 奧妙，儘管螫伏了幾百個晝夜，如果是一粒種子，它就能吐露新生。」 此幅《負旋律》完成於 2004 年，以大筆自由流淌著薄暮輕盈的彩料，深淺交織的色塊構圖，營造空間結構的聚合與割裂，深邃 而豐饒而具視覺張力。楊識宏兼顧情感的表達與技法的發揮，使不和諧所產生的緊張與和諧產生舒緩互為因果；線條與色塊之間， 時而相附和，時而相背離，時而緊湊、時而舒展，讓作品處於恆久的運行狀態，平衡不息，而且旺盛蓬勃，洋溢著生命循環，綿 延無盡之感。那湛藍、褐黑的闊筆線條極富韻律地昂揚迴旋，款款降息於畫布四方，生成為飽滿的種子，又似跳躍的音符，誠如 楊識宏嘗言：「我常感覺植物花木的生長與枯萎之生命情境，猶如一首優美的音樂，就像阿比諾尼，最令人柔腸寸斷 的『慢板』，那種淒美的哀怨；那種短暫的永恆，常讓我低迴不已。」 楊識宏曾自言，生命中充滿背反律則，而其創作的表現語彙與內容裡，也充滿了「二律背反」的隱喻。「二律背反」為德國哲學 家康德 (Immanuel Kant，1724-1804) 在其代表作《純粹理性批判》中提出的概念，意指對同一對象或議題所形成的兩種理論或學說， 雖然各自成立但卻彼此矛盾衝突的現象。而此「二律背反」所呈現出的二元對照和雙重性，以及兩極分化的相引與互斥，諸如空 間與時間的交錯、黑暗與光明的兩面性，甚至是生死循環、愛恨交織、枯榮並列的辯證關係，都成為楊識宏在畫筆揮灑間極欲呈 現、長久思索的創作母題。 《負旋律》極繪其溫柔繾綣、敦厚飽滿，由淺褐色塊構成的背景，以及湛藍、墨黑的線條相互對照，如種子枝椏般蜿蜒而上，擁 有一種潛伏的能量，看似柔軟，實則堅韌，暗喻生命宇宙、植物自然的枯榮反覆，以及時間流動消逝的本質。既表現空間的縱深 與遼闊，也呈現時光荏苒的悠揚與無盡，氣韻和中國傳統山水繪畫遙遙相應，皆致力於傳達永恆不滅之美。美國藝評家艾柏尼即 言：「在楊識宏的繪畫理，有一些傳統中國繪畫的氛圍。他的表現方法卻與最近的現代畫家之實驗有緊密的關聯，
特別是抽象表現主義。作品不是完全抽象，但是藝術家之中心關注是純粹的繪畫表現、肌理、線條、形與色彩的提 升之可能性。」《負旋律》將時間、空間與光影凝鍊在瞬間，蘊藏起時間的意象，勾起內在神隨的起伏跌宕，散發出逍遙自足、 悠揚寧靜之美。 "Life is all about mystery and transcendence. It outdistances the immense dimensions of space and time, nevertheless unshakable. Nature conceals power that is so profound and unpredictable. Despite the countless days and nights, a seed can break the idleness and generate life." Negative Melody was completed in 2004, composed of extravagant colors that flow freely between the intertwined color compositions. It builds a space that structures union and isolation, deep yet fertile for the height of its visual tension. Yang Chi-Hung reached both the display and technique of emotions, enabling the anxiety of disharmony and the comfort of peace to compliment one another. The painting is constantly operating and active from the attachment, diversion, tension and peace occasioned between the lines and colors. It is so vibrant that it relatively represents the circular of life and its everlasting eternity. The blue and dark brown strokes dance agreeably along the borders of the canvas, resembling seeds originating and dancing musical notes. As Yang Chi-Hung said, "I recurrently encounter the growing and dying stages of plants. It reminds me of a beautiful melody, like Albinoni's heartbreaking piece, 'Adagio', the kind of graceful melancholy, the kind of temporary eternity that makes me ponders aimlessly."
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077 HUANG MINGCHE ( Taiwanese, b.1948 )
Cheers Wine Glass 2/10 300 x 100cm Oil on Canvas Signed on the reverse: Huang Ming-Che and titled in Chinese, inscribed 100 x 300 cm and Oil, dated 2013 ILLUSTRATED: "Hui Aggregation-Cross-Strait Contemporary Art Exchange", Loftyart Gallery, Taipei, Taiwan, 2013, page 32 EXHIBITION: "Hui Aggregation-Cross-Strait Contemporary Art Exchange", Shanghai Xuhui Art Museum (2013.09.20~10.20) Cheng Shiu University Art Center (2013.11.22~12.27) Cultural Affairs Bureau of Taoyuan County (2014.01.08~02.16) Luodong Cultural Working House of Cultural Affairs Bureau of Yilan County (2014.03.07~04.27) "Huang Ming-Che Fine Works Oil Paintings Exhibiton", Top Art, Taipei, Taiwan, (2014.06.20~07.20)
NT$ 950,000-1,250,000 US$ 31,000-40,800
黃銘哲 將進酒系列 2/10 2013 油彩 畫布 背面簽名：黃銘哲，2013，油畫，100x300，將進酒系列 2/10 圖錄： 《匯聚－兩岸當代藝術交流展》，高士文化藝術，台灣台北， 2013 年，第 32 頁 展覽： 「 匯 聚 - 兩 岸 當 代 藝 術 交 流 展 」， 上 海 市 徐 匯 藝 術 館 (2013/9/20~10/20)，正修科技大學藝術中心 (2013/11/22~12/27)， 桃園縣政府文化局 (2014/1/8~2/16)，宜蘭縣政府文化局羅東文 化工廠．天空藝廊 (2014/3/7~4/27)，中國，台灣，2013-14 年 「黃銘哲精品油畫展」，拓樸藝術，台灣台北，2014 年 6 月 20 日至 7 月 20 日
黃銘哲是出身於宜蘭的農家子弟，但叛逆的他不愛拿鋤頭，而喜 歡在畫布上冒險，黃銘哲的畫多半是以隱喻、象徵的方法在撰寫 他的「自傳」。黃銘哲曾經說過「我的藝術每一步都可追朔到我 對生命體會的轉變」，因此黃銘哲的作品風格、主題隨著他生活 體驗的不同，時代的變遷而有所改變，但沒有改變的是他流利的 線條和鮮明的色彩。黃銘哲早期的創作主題多為寫實具象的農家 生活，但之後逐漸轉為抽象，關心的議題也從農家生活轉向都會 體驗。 《將進酒系列》以一貫的流暢線條細筆描繪，由現實轉為抽象的 表現手法，人型逐漸接近為獸型，圖像進而慢慢退掉，轉化成為 線條；黃銘哲用奔放交錯的線條，創造出肌理層次，用線條繪出 最切身的感受和體驗，在黃銘哲的藝術王國中，他稱自己是孤寂 國王，但我們在他《將進酒系列》的畫布戰場上，仍然可以感受 到他戰鬥力十足，企圖心旺盛的出征。
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078 PEN TZUCHIANG
彭自強
( Chinese, b.1960 )
提琴手
Violin
2003 油彩 畫布 簽 名： 自 強 2003 Pen Tzu-Chiang
72.5 x 61cm Oil on Canvas Signed Pen Tzu-Chiang both in Chinese and English, dated 2003
NT$ 200,000-320,000 US$ 6,500-10,500
彭自強是一位天才型的水彩畫家，是國內極少數專一從事 水彩創作的藝術家，舞動彩墨的好手。他承認求學階段的 他也愛油畫，但畫油畫成本也較為昂貴，因此才改選相對 較為便宜的水彩作為創作工具，並一頭栽入水彩畫的鑽 研中，進而對水彩情有獨鍾，他曾說過「水彩迷人的地
方是他的世界變化萬千，常常有不可預測的美感效 果，讓人驚嘆不已！」彭自強運用水彩豪邁不拘的瀟 灑，搭配水墨的張力，更是一絕。他天生有著敏銳的觀察 力與創造力，以光影交錯的鋪陳手法，搭配靈活的筆觸， 畫作強烈的張力，彷彿能將觀賞著的情緒帶入畫中，彭自 強的作品，灑脫又精準，畫裡的人物表情生動，充滿生 命力。畫家彭自強喜愛用山馬筆作畫，彭自強愛那筆的剛 正不阿，也喜愛那滄桑帶勁的筆觸。他正以豐富的人生歷 練，自由奔放的洗鍊粗獷筆法，向我們展現他的人生。
MODERN AND CONTEMPOR ARY ART
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079 LIN SHIENMAO ( Taiwanese, b.1955 )
Colorful Carpios 90.5 x 116cm Oil on Canvas Signed on the reverse: Lin Shien-Mao both in Chinese and English, titled Colorful Carpios series in Chinese and dated 30.12.014 With a certificate of authenticity signed by the artist
NT$ 450,000-650,000 US$ 14,700-21,200
林憲茂 百鯉紅漾 2014 油彩 畫布 背面簽名：Shien Mao 30.12.014 百鯉紅漾系列 林憲茂 附藝術家親簽之保証書
「視覺的記憶比實際認知性的記憶還要生動」 ---林憲茂 出生於台中大里醫生世家的林憲茂，因無法抗拒對藝 術的熱愛，一無反顧的摒棄衣缽，執意走上創作的道 路，並企圖表現二十世紀的孤獨、壓抑，和人類在解 放中恍惚、癡情的神韻，作品中引經據典，藉著康定 斯基、波洛克、德庫寧等大師的經典，創造人物形像 與背景融合的異質空間，鋪陳出當代最流行的虛擬觀 念，將一個或多個物件充滿畫面，圍繞奇異狂暴的色 彩，使遍及東南亞、歐洲、美國、中南美、俄羅斯等 四十餘國的觀者，皆無法逃脫「對與錯」、「好與壞」、 「真實與虛幻」的辯證，徹底顯現審美主體與客體之 間的視覺意義。
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080 CHEN WENHSI
( Chinese Singaporean, 1906-1992 )
Lotus and Double Mandarin Ducks 68 x 67.5cm Ink and Color on Paper Singed Wen-Hsi in Chinese with two seals of the artist With a certificate of authenticity from gallery
NT$ 1,200,000-1,600,000 US$ 39,200-52,300
陳文希 荷花鴛鴦鳥 1970 彩墨 紙本 款識：文希指繪 藝術家鈐印：文希 ( 白文 ) 附畫廊開立之原作保證書
陳文希，生於中國廣東省揭陽縣一戶大家庭，有著鄉 野間無憂無慮的童年生活，這使他有更多機會接近盎 然、瑰麗的事物，也藉著探索和追尋，孕育了他對繪 畫的熱情。就讀藝術專科學校後，受教於潘天壽等名 師，使得陳文希在年輕時期，便能藉機展現其藝術天 賦，先後展露於汕頭、廣州、香港、上海等城市，又 在全國美展上，受到徐悲鴻的賞識和讚揚，但作為一 個銳意求新、求變的畫家，他並不滿足已取得的藝術 成就，勤勞自學，繼而大刀闊斧地汲取畢加索、莫奈、 馬蒂斯等大家的藝術營養而融會貫通。 談到創作，他以獨特的猿猴和鷺鷥為其代表佳作，視 他們為天真無邪的孩子，以至於嚴謹地要求，在畫作 上必然將牠們描繪地躍躍紙上，所以陳文希以眷養的 方式朝夕摹形，並且維持這種觀察作畫的生活數十年 如一日，使他的畫藝不斷更新、進步，成就獨特的中 西畫風，奠定了他在國際藝壇上的名望。然而，決意 畢生傾獻於藝術的陳文希，除了獨自的創作從未間斷， 幾乎到了廢寢忘餐的程度之外，也同時熱心藝術教育 事業，組織了春陽畫社，關心藝術新苗的成長，桃李 滿園，學生遍布五洲四海，為弘揚中國傳統民族藝術 作出了卓越的貢獻、為國畫之鄉增添了無限光采，並 受到各界的高度重視、尊崇與廣泛喜愛。
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081 CHEN TINGSHIH ( Chinese, 1916-2002 )
a. Pine b. Lotus c. Plum a. 100.5 x 34.5cm b. 90.5 x 33cm c. 69.2 x 33.5cm Ink and Color on Paper a. Signed Ting-Shih in Chinese, dated 1996 in the Chinese sexagenary cycle With one seal of the artist b. Signed Chen Ting-Shih in Chinese, dated 1998 in the Chinese sexagenary cycle With two seals of the artist c. Inscribed and Signed Chen Ting-Shih in Chinese, dated 1987 in the Chinese sexagenary cycle With one seal of the artist
NT$ 160,000-240,000 US$ 5,200-7,800
陳庭詩 a. 松 b. 荷 c. 梅 a.1996 b.1998 c.1987 彩墨 紙本 a. 款識：丙子歲暮 庭詩 鈐印：陳庭詩 ( 朱文 ) b. 款識：戊寅三月 陳庭詩 鈐印：長樂老人 ( 白 文 )、陳庭詩 ( 朱文 ) c. 款識：森男吾兄大雅教正 丁卯春日 長樂陳庭 詩寫 鈐印：陳 ( 朱文 )
陳庭詩是台灣藝壇上現代藝術發展先趨的代 表性人物，他自幼飽讀詩書、習字作畫，從 傳統出發的基礎功力紮實，1970 年代後，投 入現代水墨畫的領域，如此三幅作品，賓主 安排，騷墨配置都不著痕跡的展現，水墨恣 意暢快，層層色彩暈染、交疊，畫面鏗鏘有 力，藝術在孤寂中展現強而有力的生命力， 與他傳奇的一生相輝映。
a . b.
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c.
MODERN AND CONTEMPOR ARY ART
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082 HUANG LEISHENG
黃磊生
( 1928-2011 )
四季一春
Cascading Wisterial
2011 彩墨 紙本 款識：磊生 藝術家鈐印：黃磊生 ( 朱文 )、鳥語花香 ( 朱文 )、 黃磊生八十歲後所作 ( 白文 )
98 x 108cm Ink and Color on Paper Inscribed and Signed Lei-Sheng in Chinese With three seals of the artist ILLUSTRATED: "Splash and Splendor-The Style of Huang Leisheng's Ink Paintings", Taiwan Soka Association, Taipei, Taiwan, 2014, Page 24 The trial issue of Art Appreciation VOL.01, JD Becca International Arts, Taipei, Taiwan, cover "Chinese Paintings by Wong Lui-Sang", National Chiang Kai-shek Memorial Hall, Taipei, Taiwan, 2011, page 32-33
圖錄： 《淋漓盡華滋 黃磊生的水墨風韻》，台灣創價學會， 台灣台北，2014 年，第 44 頁 《藝術鑑賞》試刊號 VOL.01，九鼎國際藝術股份 有限公司，台灣台北，封面 《嶺南新韻 六彩潤活－黃磊生彩墨藝術》，國立中 正紀念堂管理處，台灣台北，2011 年，第 32-33 頁
NT$ 1,400,000-2,400,000 US$ 45,800-78,400
真是個「鳥語花香」的好季節！春櫻浪漫的華彩麗景，美不勝收；其幽境迷人，教人為之 動容，心為之讚歎。畫之右側聶立櫻樹，筆力猶勁，樹幹呈現斜立「↙」，指向著佐伸展 「←」的樹枝，樹枝上頭依偎著一對色彩鮮麗的鳥兒，在這淡淡幽藍的蒼芎間，被亮麗的粉 櫻包圍著，巧妙點綴出作品的焦點中心，不僅生動，且光彩繽紛。 ---節錄自《淋漓盡華滋 黃磊生的水墨風韻》，台灣創價學會，台灣台北，2014年，第44頁 身為一代嶺南畫派大師，黃磊生雖然師承古法卻不拘泥於傳統，精通嶺南畫派神髓，並兼具現代精神。 不僅繼承了嶺南畫派賦色艷麗的傳統及撞粉、撞色、撞水等技法，又吸取西畫長處加以揉合，憑藉藝術 家深厚的東方美學基礎，融合西方畫理的繪畫探索，走出深具獨特的藝術之路。黃磊生除筆法技巧的功 底深厚之外，在構圖與色彩運用上均有獨到之處，寫生之外，更強調作品光彩與渲染的運用，藉以抒發 更具深意的寫實景象，觀期墨筆，如畫似詩。張大千曾道：「讀磊生道兄之畫，感覺清新怡悅，潑 墨敷彩，有獨到之處，信是當今藝壇之秀。」讚譽黃磊生風韻不凡的藝術情操及對中國水墨情思的 高深素養。 此幅《四季一春》為黃磊生為妻子於 2011 年所繪之作。以春季櫻花盛開之貌借景抒情，滿樹瓊花，一遍 春意盎然，枝枒上一對雀鳥相互依偎，以見證夫妻二人結縭相守多年的情深義重。畫面整體疏落有致， 細筆柔皴層層花朵，堆疊粉色櫻花絢爛；右側斜立蒼勁俊拔櫻花樹幹，僅採深淺墨色運筆勾勒線條，未 多加色彩渲染。整體筆觸靈動，色漫物像，不拘成法，用色淡雅空靈，虛實相生的精巧布局，層次分明， 更流露隨胸中意趣而成的雅致，韻味無窮，顯示藝術家扎實的繪畫技巧與構圖功力。黃磊生對妻子的情 意，隨著畫筆流溢於紙上，滿是傾訴結褵多年的愛戀與感謝。
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083 HUANG LEISHENG
黃磊生
( Taiwanese, 1928-2011 )
月映蘆花動
The Reeds Swaying under the Moon
2010 水墨 紙本 款識：月映蘆花動 庚寅之春 磊生 藝術家鈐印：黃磊生 ( 白文 )、天地不老四序皆春 ( 朱文 )
182 x 73cm Ink on Paper Inscribed and Signed Lei-Sheng in Chinese With two seals of the artist ILLUSTRATED: "Splash and Splendor-The Style of Huang Leisheng's Ink Paintings", Taiwan Soka Association, Taipei, Taiwan, 2014, page 24 "Chinese Paintings by Wong Lui-Sang, National Chiang Kai-shek" Memorial Hall, Taipei, Taiwan, 2011, page 116-117
圖錄： 《淋漓盡華滋 黃磊生的水墨風韻》，台灣創價學會， 台灣台北，2014 年，第 24 頁 《嶺南新韻 六彩潤活－黃磊生彩墨藝術》，國立中正 紀念堂管理處，台灣台北，2011 年，第 116-117 頁
NT$ 1,600,000-2,600,000 US$ 52,300-85,000
清代末期發源自廣東的「嶺南畫派」，以「折衷中西，融匯古今」理念出發，創立迄今成就輝煌，是現代新國畫的翹楚，主張引進西 洋畫法，融合中西繪畫之長，並保留中國傳統水墨特色，進而開創中國現代水墨新格局，影響深遠，蔚為當今藝壇之主流。
「磊生仁棣，國難當前，還能苦學，天資聰穎，獨鍾繪藝，日有精進，前途未可限量，因書『藝術忘憂』四字，以為鼓 勵，努力不懈也！」 ---趙少昂 一九五七 黃磊生為嶺南派第三代傑出代表畫家之一，師承嶺南宗師趙少昂。1928 年生於廣東臺山，自幼聰穎好學，在家學淵源之下，飽讀詩書， 尤喜丹青。初時研習西畫，勤學水彩技法，輔以臨摹明清大家水墨意境，融會中西繪藝，奠定深厚繪畫基礎。因心儀嶺南名家趙少昂， 在旅居香港後，於 1949 年時隨即拜入趙少昂門下，在嶺南理念薰陶之下，自此不僅得到良好師承，並致力中西水墨於一爐，取二者 之長，成就自我風格。其作品更博得藝壇盛譽，曾榮獲日本「亞洲青年畫展」水墨畫首獎、美國「費里斯曼」藝術獎肯定，蜚聲國際。 1960 年移居美國後，於舊金山開設「國風藝苑」，宣揚中華文化、作育英才無數。 黃磊生作品取材廣泛，皆深具豐富的內涵與哲理，水墨題材常見之花卉、山水、禽鳥、人物畫，無一不擅。因遊歷經驗甚豐，作品多 藉由體會大自然山川變幻意境寫生而來。此幅《月映盧花動》筆觸蒼渾雄健，以乾筆勾勒，濕墨渲染，敷色濃淡有致，細細描繪蘆花 飄動搖曳之姿，筆法間展現「墨捲波濤、筆縮雲煙」之妙，更添蘆花隨風擺動的韻律。加以西畫構圖著重之透視、渲染、空靈手法， 使月色在暈染織下更顯靈韻，雖是黑夜蕭瑟，月明蘆花千里，卻反顯恣意靜謐。 "Huang Lei-Sheng, even when faced with national crisis, he studied hard, with gifted talents, he gave complete devotion to the visual arts. With consistency in progress, his future promises endless possibilities. Influenced by the book "Through Art, Sorrow is forgotten" these words became his encouragements for creating continously." ---Chao Shaone. 1957 Huang Lei-Sheng, as the third generation outstanding representive of Lingnan School Style, he learned under the instruction of master Chao Shaone. Eager to exceed in watercolor, he imitated the master ink painters of Ming and Qing dynasty in order to establish solid aesthetic foundation. Under the instruction of Lingnan ideas, he established his own aesthetic language. He was awarded by Japan's Asian Youth Art Exhibition for first prize in ink drawing, and also rewarded by United States' Feilisiman Art Award receiving international recognition. In 1960, he moved to the States to open a National Wind Art Gallery in San Francisco to promote and educate many on Chinese culture and aesthetic. Huang Lei-Sheng's works explores a wide variety of subjects completed with rich content and profound philosophies. Huang was well traveled in his lifetime; consequently his artworks are truthful representations of his realistic life experiences. In the Reeds Swaying under the Moon, his vigorous brushstrokes, dry brush technique, rendering of wet ink, and delicate use of color shades, sensitively illustrates the movement of the aloe plant. Between each brushstrokes withhold the "Bold waves of ink, delicate brush of clouds and smoke" the wind within the painting sung a delightful rhythm. With blending, the moonlight became livelier than ever, although within the bleak of night, the moon shines on the aloe flower that is thousand of miles away, translating a quiet and peaceful temperament.
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Lots 111-121
ZHONG CHENG PRESENTS: THE IMPORTANT PRIVATE COLLECTION OF MR. LU JING HUA FEATURING EXCLUSIVE WORKS BY SHIY DE-JINN
中誠獻呈： 席德進十幅珍品專拍 2014 年 12 月 21 日，中誠國際藝術隆重推出的「席德進精品專拍」，品項珍稀 罕有，保存毫無瑕疵，雖然起拍價格稍高，但仍深得各位藏家信賴與支持，五件 作品全數高價易手！ 此回中誠推出的 2015 春拍，延續去年秋拍熱度，再次推出由席德進基金會創會 董事長，也是席德進生前摯友，年逾八十一的盧精華先生手中徵得的第一手珍 品，珍藏已逾三十餘年，引薦 10 幅席德進晚年之水彩及彩墨的經典畫作，亦示 「十全十美」之意。 席德進將盧精華先生的家視為自己的家，時常進住盧家，席德進時常與他談論藝 術書法，相應快活！而今，席德進作品能廣為人知，熱潮持續上升，財團法人席 德進基金會居功厥偉，但當年奔走成立基金會卻是千辛萬苦，屢經波折。基金會 的順利設立，幕後最大的推手當為盧精華先生。 本次推出盧精華先生珍藏的十件精品，為席德進晚期的水彩畫、彩墨畫各五幅， 提供給藝術收藏及藝術愛好者共賞之。此時的作品色調蒼鬱、豐潤飄逸，席德進 一生飽嘗了愛情、唯美與空寂，並以生命的孤獨，妝點出藝術的永恆，在蕭瑟的 天地間，展演物我兩忘的自然之美，毫無任何贅言與矯飾，被視為他一生藝術成 就的最高體現。張大千讚其畫作稱：「大筆淋漓，雄奇秀拔而沉重渾厚」，名畫 家吳昊先生更說過：「在國內畫壇裡，席德進的水彩畫還沒有別人能超越他。」 道出一代大師的傳奇丰采。
MODERN AND CONTEMPOR ARY ART
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在畫家黃義永家當眾揮毫
雙眼似鷹的席德進，在埔里的高崗上，捕捉可以畫的景致 ( 谷風攝 )
席氏熱情，孤飛雄鷹 席德進踏實而絢爛的創作生命，是畫作底蘊豐沛的養份，他以孤飛雄鷹的姿態，俯視永恆的台灣山川與風物，向遠處翱翔，帶引我們去看更廣闊的 天地（見圖一）。席德進的涉獵極廣，水墨、素描、油畫、書法皆卓然有成，無一不精，又對藝術理論深有研究，筆耕不綴，永遠是一個前衛的先 行者。他銜接西方的繪畫傳統走下去，習自法國藝術家畢費 (Bernard Buffet) 的銀鈎鐵畫，線條線條冷峻、色彩灼亮如火；也從中國書畫的傳統走出來， 將「墨分五色」的畫境融以水彩及彩墨表現地淋漓盡致，並在古老混沌的民間文化中，挖掘出藝術的活泉。 1980 年，他住院檢查出罹患胰臟癌，然而身體的病痛並未擊倒他，他持著熱情鏗鏘的彩筆，在朋友的安排下到台中的盧家，坐盧家的專車，無遠弗 屆地深入台灣最平凡的角落，徜徉於南投縣埔里鎮的山野林間，去領受雲山清溪、曠野樹影的風韻。據時常陪同席德進四處寫生的盧精華（谷風） 於〈我所知道的席德進〉中所述：「席德進腰間繫著積存膽汁的瓶子，不時要飲食苦汁，不時又要承受奔波勞頓之苦，在埔里、在鹿谷、在梨山、 在南投遇有好景致時就停了下來，選好角度，立好畫架，然後拿起畫筆，兩腿分開再弓起，當手中的畫筆揮動時，像武士揮舞著寶劍與惡魔作戰， 每一回合至少是三、四十分鐘，面不改色，當一幅畫完成時，已是疲憊不堪了，但是，他堅持馬不停蹄，向下一個戰場出發。」 勇者如斯，席德進在生命最後的創作階段，他身上吊著流出自身膽汁的瓶子，以虔敬朝聖之心，穿梭於亂草荒野間，擁抱自然深蘊的生機，大至阡 陌野嶺的澎湃，微至珠花細草的真實。那些煙光雲影、青山綠水、暫駐的野雁、靜臥的水牛，以及歷經風霜的古廟與老屋，這些大美不言的存在， 才是他最願神交並為之感染的對象。本次呈獻的一幅幅的席氏經典畫作，徹底地褪盡單薄的繁艷，獨自流芳，不知有漢，無論魏晉，獨與天地精神 往來，細膩地刻印出生命的渾厚華滋。
花謝在我的墳上，是我的紅外套 盧精華於典藏雜誌的訪談中回憶，席德進在病榻前完成自己的墓園草圖，與李乾朗討論後十分滿意。待李乾朗離開後，他突然又從病床上坐起，疾呼： 「老哥，你過來！設計圖裡忘記塞東西進去，要栽種兩棵木棉進去。」盧精華回說：「我一定照辦，你放心吧！你忘了你還指定我為你的唯一代言人， 要我主導基金會，你不是常說：『老哥是最值得信賴，做事最有板有眼嗎？』席德進回答說，「因為這個紅在調色盤裡不容易調得出來。」又說，「我 希望木棉花謝了都落滿我的墳墓上，作為我的紅外套」。現在大肚山的墓園裡左、右一棵木棉花正美麗盛開著，大肚山花園公墓也因席德進墓園而 聲名大噪。藝術家的性情與風範令人景仰，而盧精華鐵肩擔道義的精神，在人文精神淡薄的時代更顯得可佩！ 席德進是孤飛的大鷹，朝永恆的藝術信念展翅飛翔，他把瘦癯的身軀挺立於風中山巔、曠野沙洲，飯後昂首將那瓶從體內滴流出來的黑色膽汁一飲 飲盡，那份椎心動性的苦，兩千多年前勾踐嚐過，而今席德進也嚐過，勾踐為國家；席氏為藝術，臨生命艱困而不皺眉，他飲盡生命的苦泉，照見 藝術的甘醇，並以魔術般的彩筆，為自己繪上傳奇而永不褪色的線條。如雨後光霽映現的虹彩，以藝術的天才妝點生命的寂寥，他的創作永遠深入 民間、向泥土扎根，把生命一切的快樂、憂戚、苦澀和無邊的寂寞，全部濃縮進崢嶸秀潤的山水裡，為天地點染了繁複璀璨的豐美色彩。
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中誠呈現：盧精 華 重 要 私 人 收 藏
Zhong Cheng Presents: The Exclusive Shiy Dejinn Sale featuring 10 Outstanding Works On December 21st, 2014, Zhong Cheng Auction offered the Exclusive Sale of Shiy Dejinn, the works were extremely rare and preserved in excellent condition! Although, the starting price was relatively high, with the support and trust from our beloved collectors, all five pieces were sold successfully at an impressive value! For our 2015 Spring Auction, Zhong Cheng is carrying on the Shiy fever from our last Autumn Sale; Once again, we present Shiy De-Jinn's work from the artist's best friend and director of the Shiy De-Jinn foundation-Mr. Lu Jing-Hua. The age eighty-one collectors, Lu Jing-Hua used to acquire artworks directly from Shiy, furthermore these precious works remain in his private collected for more than thirty years. This auction, we recommend our collectors 10 works from the artist's final years. The 10 paintings vary from watercolor and color-ink medium, the number 10 was especially chosen to express perfection. Shiy De-Jinn viewed himself as a member of Lu Jin-Hua's family; he often stayed over, and the two friends would discuss their different perspectives on the aesthetic and calligraphy. The fame and progressive growth in value for Shiy's artworks owed its credit to the Shiy Dejinn Foundation. To fund the foundation was not an easy task. It took an extraordinary amount of work and dedication; the success of the foundation is all thanks to Shiy's biggest supporter, Mr. Lu Jing-Hua. This auction we introduce a total of 10 exclusive paintings acquired from Mr. Lu Jing-Hua. All works were created during Shiy's final years, five in watercolor, and the other five in color-ink; for the appreciation of our collectors and art lovers. Paintings from this period are slightly sad and drifting, Shiy have experienced a lifetime of love, beauty and loneliness, furthermore a solitary life, it made him realize the eternity of timeless aesthetic. To Shiy, the depiction of nature's beauty in this bleak world, without any burden or pretense, is regarded as the highest form of expression in his lifetime artistic achievement. Zhang DaQian complimented the artworks, saying "Large brush of dripping expressions, with magnificent force". The famous painting Mr. Wu Hao even said "In our domestic art scene, no one can yet surpass Shiy's watercolor works." the approval of Shiy's aesthetic practice was given by many master artists.
The Art Enthusiasts Shiy, Similar to a Lone Eagle in the Sky The sensible and splendid creative life of Shiy De-jinn, served as the abundant nutrient for his work. He viewed the eternal mountains and streams of Taiwan through eagle like stance, with the aim to show us a worldly perspective (picture 1). Shiy De-jinn was an expert in inkdrawings, pencil sketches, oil paintings, and calligraphy. He was also very knowledgably in art history and art theory. As a progressive pioneer in aesthetic he adapted and continued the Western painting traditions. He adapted the sharp lines of French artist Bernard Buffet's; and also incorporated techniques from traditional Chinese paintings such as the five shades of ink into his watercolor and colored ink drawing. Within the diverse aesthetic approach of Chinese traditions, he was able to discover his own artistic path. In 1980, he was diagnosed with pancreatic cancer, however the illness did not conquer him. Instead, he took his paintbrush; under the arrangements of his friends he arrived at Lu's house in Taichung. He got in Lu's family car and drove to nature's every corner.
席大師在草屯通往埔里的大橋上作畫
席大師與盧精華合影於埔里臺灣地理中心
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中誠呈現：盧精 華 重 要 私 人 收 藏
He wandered to the mountains of Puli, Nantou, to feel the Yunshan stream, and wild shadowy charm of the forest. Lu, who often accompanied Shiy on his en plein air travels, written in the book The Shiy De-Jinn I Know, Lu said "Shiy Dejinn would carried a bottle of bile on his waist, he frequently have to consume the bitter taste of the bile, and suffered physical exhaustion due to his condition. Once he finds a splendid view in Puli, Lugou, Li or Nantao, he would pick a good spot to set up his easel and pick up his paintbrush. The way he paints with his paintbrush is similar to a warrior holding his sword battling the devils; each round was around 30-40 minutes without catching a breath. By the time he finished a piece, he would be exhausted, however, he insisted on continuing to the next round without any rest" The warrior like Shiy, spent his final years embracing the vitality of nature and shuffling through the wilderness with a sincere heart, he painted magnificent mountain scenery to the exquisite details of plants. The unspoken beauty of shadows within clouds, green landscape, wild geese, calming buffalos, temples, and old houses, are all subjects adorned by Shiy. This auction, we bring our collectors the most classic pieces by the legendary artist Shiy De-Jinn, each work engraved the delicacy of life and nature's true essence.
The Flowers Withered on My Grave, It Will Be My Red Coat Lu told Art Investment magazine during an interview that, Shiy completed his cemetery sketch while he was ill and he was very satisfied with his work after a discussion with Lee Ganlang. After Lee left the room, he sat up again from the hospital bed, saying "Brother, come here! I forgot to include two kapoks in my cemetery design". Lu Jin-Hua said in respond, "I will get it done, not to worry! Have you forgotten that you chosen me as your one and only spokesperson to lead the foundation? Didn't you always tell me that I'm the most reliable and trustworthy person?" Shiy continued, "To make the red of kapok on a palate, is not an easy task. I would like the fallen paddles to be my red coat, after they withered on my grave." The kapok are now blooming beautifully in the Cemetery of Da-du Mountain, because of Shiy, it is now a famous destination. The romantic and passionate character of Shiy is simply captivating; furthermore, the loyal and ethical Lu seems more admirable than ever in our era where scholarly essences are less valued and pursuit. Like a giant lone eagle, Shiy Dejinn f led towards the eternal faith of aesthetic pursuit, he stands undefeated on the peak of the mountaintop, even when his body was ill and exhausted. He swallowed the bitter taste of the bile juice confidently. Thy physical pain is similar to the pain Gou experienced two thousand years ago. Today, Shiy suffered the same way. Gou suffered for a nation, and Shiy did it for art. They approach life's end with no misery, he drank the misery of the world yet shine light on the sweetness of art, with a seemingly enchanted paintbrush, and he painted himself a legendary path. Similar to the calm after the storm, through life's loneliness, he explored his genius within aesthetic. His creations will forever penetrate our minds. He condensed his life experiences of happiness, sadness, suffering, and loneliness all into his colorful depiction of mountains and other natural sceneries.
席大師在草屯通往埔里的大橋上作畫
MODERN AND CONTEMPOR ARY ART
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084 SHIY DEJINN
( Taiwanese, 1923-1981 )
Boat over the River 42.5 x 61.5cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1981 With three seals of the artist PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 350,000-600,000 US$ 11,400-19,600
席德進 蘆溪泊舟 1980 彩墨 紙本 簽名：席德進 1980 藝術家鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、 谷風清賞 ( 紅文 ) 來源： 席德進基金會創會董事長 盧精華
「我們主張世界大同，跟隨西方文化的傳統走，參與世界性的藝術創作，是一條路，這樣可以激勵與提升中國新文化的 誕生，但同時我們也要有一批人，接著母體文化傳統走。這是更為真誠、切實的一條路，來創造自己的新文化。我們繼 往開來，必然是站在自己傳統文化的基礎上去做。」 ---席德進〈現代國畫試探〉，完稿於一九八○年八月，病中 席德進與杭州藝專的恩師林風眠，情若父子，共為中國傳統書畫的革新努力。此幅成於 1980 年的《蘆溪泊舟》，頗具林風眠式的彩 墨語彙，蘆葦偃仰、枝葉疾飛，深具動感與詩意。席德進極力把握中國筆墨的優越性，將書法的用筆勁道帶進畫裡，充分發揮了筆勢 的抑揚頓挫、變化多端，密不透風，疏可走馬。 《蘆溪泊舟》裡色層堆疊的構圖方法，是席德進最為精擅的，在大筆橫曳的背景中經營濃淡，色調的變化一氣呵成、行雲流水，深刻 展現了席德進水彩技法的純熟運用。同時雜揉了水墨的深遠意境，以及水彩的渲染技法，創造了寬闊無窮的空間感。溪河邊獨自停駐 一孤舟，不見漁人，在蒼茫的大地裡更顯寂寥。創作《蘆溪泊舟》的 1980 年，席德進已發覺自己罹患胰臟癌，雖積極治療，但病軀 仍一日日瘦 癯 下去，而《蘆溪泊舟》的沉鬱氣氛，也令人感染到藝術家壯志未酬的遺憾，也甚有杜甫〈旅夜書懷〉中所述的「飄飄何 所似，天地一沙鷗」的孤絕不遇之感，此畫可與其恩師林風眠相互應。 "We follow the tradition of Western culture and join the worldwide art creation, it is a way to inspire and elevate the new born Chinese culture. Meanwhile, we have to carry on our own tradition, this is a more sincere path to create our new culture. We follow the past and herald the future, it must be done by standing on the foundation of own tradition."
---Shiy Dejinn (Modern Painting Exploration) finalized in 1983 August, during his illness.
The layering composition within the painting was presented in Shiy De-Jinn's signature skills. With a large brush that swipes across the page creating the aura of perspective. He combined the profound conceptual ink with the blending technique that watercolor required, showcasing the sense of space that can only be achieved with endless practice. A single boat quietly sits on the river, with no fisherman in sight, the picture suggest isolation and loneliness. This painting was completed in 1980, the same year Shiy was diagnosed with pancreas cancer, although he attempted many treatments, his sickness only got worst. The painting expressed Shiy's regret for his unfulfilled ambition.
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085 SHIY DEJINN
( Taiwanese, 1923-1981 )
Mountain Scenery 66.5 x 48cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1981 With three seals of the artist PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 450,000-700,000 US$ 14,700-22,900
席德進 方外禪話 1981 彩墨 紙本 簽名：席德進 1981 藝術家鈐印：席氏書畫 ( 白文 )、席德進印 ( 白文 )、谷風清賞 ( 紅文 ) 來源： 席德進基金會創會董事長 盧精華
《方外禪話》完成於 1981 年，當年席德進 59 歲，命運弄人，正登上了藝術的巔峰，卻也來到生命的末尾。他 對藝術仍有萬般憧憬、滿腔熱情，卻天妒英才、病從天降。席德進知曉自己病情嚴重，對摯友說：「我不會向
生命屈服，萬一不幸，我在台灣孑然一身，我將把我的藝術交託給你們，希望我的藝術生命能夠永 存。」並在眾多好友的協助下，辦起生前最後一場畫展，在 1981 年六月，席德進穿起一襲清朝一品官袍服， 面容清癯、雙眼炯炯，深具大師風範。展覽的規模之大、轟動程度均前所未有，賞畫賓客如潮水，百餘位藝文 界人士均到場祝賀。席德進選擇以他獨特的方式，為自己絢爛如星，卻亦如流星般早逝的生命，譜下最美麗的 終曲。 詩佛王維曾言：「凡畫山水，意在筆先」，而《方外禪話》的重山疊翠、氣勢巍峨，用色斑斕，構成俐落大 器，充滿豪情瀟灑的天地氣象，也正是藝術家內心真實的反映。《方外禪話》中紫藍的高峰拔地而起，直聳入天， 參天古樹的葉叢茂密，而天邊更有山嵐一抹，天山雲影共徘迴。令人聯想詩人李白〈獨坐敬亭山〉詩中所述的 「眾鳥高飛盡，孤雲獨去閒」。席德進將畢生的愛與美獻予藝術，深入走訪台灣美麗的群山、鄉野，視作方外 桃源，並以與山澗老樹，相看兩不厭。 據陪同席德進去埔里作畫的好友盧精華稱：「此畫是在埔里的一座規模不大的廟宇前的景致，遊罷回台北後， 在畫室中用宣紙畫出此一景致，山峯下樹林中倆位出家人在樹下交談，方外人即是出家人，禪話就是倆人參禪 後，話中另有機鋒的對話，故稱之禪話、禪悅。」 This painting was completed in 1981 when Shiy De-Jinn was fifty-nine year old. Ironically, when his artistic career was reaching for heights, his life journey was slowly coming to an end. His passion and devotion for art remain unmoved; when he realized the seriousness of his condition he told his closest friends "I will not admit defeat to life. If the misfortunate occurred, I have no relatives in Taiwan, I shall leave my art to you, I hope the existence of my art can be preserved for eternity." With the help of many friends he successfully hosted the final exhibition of his life. On June 1981 Shiy dressed in a Qing dynasty traditional Chinese gown to the opening of his final art show. It was a large-scale exhibition that moved many, guests were pouring into the exhibition space, the most important people of the art world arrived as well to give their blessings. Shiy De-Jinn chose to uniquely present himself as the bright shinny star he is, his life ended too soon similar to the faith of a shooting star, he composed a beautiful finale for his life.
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086 SHIY DEJINN
席德進
( Taiwanese, 1923-1981 )
漁人啟航
Boats by the Riverbank
1979 彩墨 紙本 簽名：席德進 一九七九 藝術家鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、 谷風清賞 ( 紅文 )
42 x 76cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1979 With three seals of the artist PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
來源： 席德進基金會創會董事長 盧精華
NT$ 650,000-1,000,000 US$ 21,200-32,700
1979 年五月，席德進飛往香港，會見杭州藝專的恩師林風眠，相談勝歡，並於日記末尾感性記下：「這兩代藝術家 的碰面，他依然雄心萬丈，要去了解最新的藝壇趨向，作為他再出發的起點，而我將接下他的棒來，繼 續完成創造新中國畫的使命。」席德進回國後，立刻振筆疾書、彙整資料，完成了《改革中國畫的先驅者──林 風眠》，向恩師致敬，師生情誼綿長動人。然而兩年過後，席德進遽然離世，林風眠深為扼腕，長嘆：「可惜，可惜， 他剛找到自己的風格，就死了。」 中國畫的革新與發揚，是席德進的終極關懷，他晚年時曾言：「年齡越大，我越喜歡起書法和中國文人山水畫來。」 他對水墨畫有著至死不渝的情感執著，也有著悲壯的歷史擔負，極欲建立現代國畫的新里程碑。即使身染重疾，仍甘 冒性命危險積極主辦「現代國畫試探展」，並發表〈近百年國畫的改革〉及〈現代國畫試探〉等文章，倡言現代水墨 畫的革新，以及對於中國美學的文化認同，苦心造詣地，要為現代國畫開拓嶄新的大道。 成於 1979 年的《漁人啟航》，用色濃重，山巒壯麗，拔地而起，宏偉之至。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。將景色後一分為三，讓視覺隨著色彩推移、延伸，值得細品。席 德進向來尊重中國筆墨的優越性，並將之發揚光大、獨樹一幟，他的水墨畫，多不含傳統的皺筆筆法，並將「以線整 面」的理念予以擱置。而是採用了水彩的著色法，及其特有的「溼中溼」表現方式相融合，使作品餘韻無窮，墨氣淋 漓、色韻飽滿，《漁人啟航》就此從國畫的精深中另闢蹊徑、別開生面，抵達全新的藝術境界。 Innovation and development of Chinese Paintings have always been Shiy Dejinn's main concern. He once said in his late years, "The older I am, my interest for calligraphy and Chinese literati landscape paintings grew." He had always maintained his strict emotions towards color-ink paintings, as he solemnly took on the historical responsibility in art and culture. With his determination, he had set up the milestone of modern Chinese painting. Boat over the River was presented in 1979, with its magnificent mountains and landscapes celebrated by substantially relentless use of colors. Shiy De-jinn also applied his photographic knowledge into his work when he arranged the composition with the Rule of Thirds. The composition in turn, brings attention to a fuller movements and an expansion of colors. Shiy De-jinn took advantage of the privileges Chinese ink drawing can offer. He proudly advocated ink paintings by creating a new routine of his own, involving scarce amount of tradition brush strokes, discarding the conventional idea of "complete the work with lines". Instead, he related his craftsmanship with watercolors, generating the unique blend of Wet on Wet technique that fabricated the lingering charm of colors and ink. Boat over the River, with new characteristic, had created an innovated style of painting, pushing the boundaries within art history.
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087 SHIY DEJINN
( Taiwanese, 1923-1981 )
Landscape 57 x 76.5cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1981 PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 900,000-1,600,000 US$ 29,400-52,300
席德進 山光出峽 1981 水彩 紙本 簽名：席德進 1981 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 式來界限自然，反覆製造風景的畫家所能夢想得到。」 ---席德進《席德進水彩畫集1977：我畫‧我想‧我說》 《山光出峽》繪成於 1981 年，正是席德進與病魔抵抗最盛之時，1981 年 3 月 24 日的日記中寫道：「只有作畫，才值得拼命，想 到梵谷的『生命的追求』，最後在人生的終途上，也要發射出一些光來。」在生命最後的章節裡，席德進仍經常拖著膽汁瓶、 駛著小汽車，出外作畫，燃燒生命的火光，照亮被長期淹埋、忽視的台灣民間藝術，念茲在茲的，永遠是再多畫幾幅台灣的好山好水； 最不甘心的，也是那些未竟繪畫過的台灣風景。 《山光出峽》的景色綿延壯麗，寫實又寫意，天地的大美在他的畫筆下楚楚動人。尤其是從山巒之間灑落的日光，更是畫龍點睛，日 光往天際散溢，又向田野流瀉，沃野千頃，氣勢磅礡。美麗的華光從畫面中心延展開來，組成平衡且深具動感的構圖。無論嶺脈或田 野，皆感染了純淨、莊嚴的氛圍，光輝燦爛。在樸真淳厚之外，亦擁有中國式的精深內蘊、溫雅安逸的生命頓悟。 Landscape depicts a magnificent scenery, realistic and yet abstracted, the world itself looks delicate in its beauty under his stroke. Spectacular beams spread from the scenery, forming a balanced yet dynamic structure. Mountains, green fields, of all parts of nature are infected by purity, the stately ambience, all appeared brilliant and sensational. Beside purity and realism, it also has a grip of Chinese profundity, with a refined flash of realization in a life's journey. Landscape was painted in 1981, during the time when Shiy De-jinn was battling with a chronical disease. An entry of his diary dated March 1981 noted, "Only painting is what's worth the price. Like Van Gogh's "Pursue of Life", one should always shine even at the edge of death." Throughout the final chapter of his life, Shiy De-jinn continued to paint, burning the flaming desire in him, giving light to Taiwanese folk art what was years concealed and disregarded, painting the island's magnificent landscape one after the other. But what lies parallel, the rest of the beauty that lies untouched.
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088 SHIY DEJINN
席德進
( Taiwanese, 1923-1981 )
霧籠山村
The Village Under the Foggy Mountains
1980 水彩 紙本 簽名：席德進 1980
57 x 76.5cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1980
來源： 席德進基金會創會董事長 盧精華
PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 800,000-1,500,000 US$ 26,100-49,000
「作為一個台灣的畫家，他所承受的影響之複雜，無論歐美或中國大陸的畫家都無法比擬，也使台灣的藝術 家特別辛苦，在多種傳統裡，莫所適從，席德進自然也經歷了這個階段……然而他從台灣出發，才可能是中 國的，才可能是世界的。」 ---蔣勳 席德進下筆灑脫，一筆定江山，成於 1981 年的《霧籠山村》，深藍色的峰巒筆觸簡淨，卻極綿延無窮之韻。層巒綠野， 乍看單純，細窺之後卻極富變化，並擁有溫潤的水感。在作畫之前，席德進總慣以大筆，將畫紙完全打濕，讓色料一附 著上去，便很自然地流暈渲染開來，朦朧了色與紙之間的界限。 對於水墨、水彩皆有深厚造詣的席德進，喜將水彩顏料調得有如國畫的墨韻，墨色濃郁、更顯天地莊嚴。席德進駐足於 空濛的山色中，去捕捉微妙的山水真相，把稍縱即逝的美景，凝結在他的畫紙上。《霧籠山村》綠野蔥蔥，樹林羅列， 更有一古屋畫龍點睛。席德進對於台灣屋宇的熱愛與研究眾所皆知，他曾形容：「既不對抗自然，也不被自然奴役， 為的是取得和諧。」背著膽汁瓶的藝術家，在幾經波瀾、千帆過盡後，終站上藝術、生命的頂峰，他的繪畫不再吶喊張揚， 也不存在誇華的艷麗，而是回歸藝術的溫淳、土地的靜謐，演繹生命的堅韌與大美。 "As a Taiwanese painter, the multi influences Shiy encountered are incomparable to artists of other nations. Consequently Taiwanese artists are faced with the difficulty to express their individuality, due to their adaptation to diverse cultural traditions. Naturally, Shiy Dejinn faced the same challenge… However, because he started in Taiwan, it became possible for China, it became possible for the rest of the world." ---Jiang Hsun Shiy completed the painting in 1981 with unrestraint but precise brushstrokes; the dark blue mountain peak stretched endlessly across the page, layers by layers. The peaceful and simplistic green field, with closer observation one may find variation in shades and texture, possessing an element of moist effect. Before the execution of each work, Shiy used a large brush to wet the entire paper, thus pigment may attach to the page more easily, furthermore it will smudged and blend naturally, blurring the boundary between colors and edges of paper. Shiy once said "Neither against nature nor enslaved by nature, for the purpose to achieve harmony." The artist who carried a bottle of bile juice, after experiencing countless waves of struggle and many battles later, he stands on the climax of his life and aesthetic journey. His paintings are no longer exaggerated and overly embellish, instead it returns to the tenderness of art, calmness of nature and beauty of life.
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「這裡的山是台灣的山，也是席德進的山，這裡的筆墨是秦漢的書法，這裡的意境是現代的 中國的意境。因為我的素描根好，所以對造型的把握十分準確，因為我的涉獵廣，所以我的 水彩融合了油畫色彩的豐潤和水墨氣韻的靈動，是一般水彩畫家畫不出來的，也是西方畫家 畫不出來的──這種的山水的稜線是我勤練毛筆所得來，你看每一轉折都有學問在，每一頓 挫都有精神在，這就是現代的中國畫，道道地地的席德進的畫。」
---席德進（郭沖石〈無限延伸的水平線〉，見《懷思席德進》，第56頁）
席德進以敏銳激情的雙眼描繪天地風景，運之以他縹緲壯美的紫色，染出一片山水。據藝評家鄭惠美 所述：「紫色系溯自古代人認為藍代表男性，紅代表女性，而介於藍、紅之間的淡紫色，用 來形容同性戀，恰如其分。」此幅《埔里山光》以神秘輕邈的紫色大筆橫曳，成就了綿延壯麗的山川， 盡情展演其優雅、清新的唯美主義。有「小洛陽」美稱的埔里，位於寶島中心，氣候怡爽、好山好水， 群山圍繞，更擁有嵐霧豐沛的山巒田野，席德進許多重要的寫生作品皆完成於這裡。 "The mountains here are Taiwanese mountains, but also the mountains of Shiy De-Jinn. The ink drawing here is of of Qin Han calligraphy, and the aura here depicts the Chinese modern aura. Due to my excellence in sketching techniques, I have confidence in accurate styling. Due to my diverse experiences, my watercolor depicts the vibrancy of oil paint, and the spirits of movements found in ink-drawing. Ordinary watercolorist are not able to achieve this, neither can Western oil painters. My sharp and precise strokes that made up of mountain and watery scenery can only be accomplish through calligraphy practices. Every turn requires certain scholarly questioning, every pause inherited spirits, and this is modern Chinese painting-the works of Shiy De-Jinn" ---Shiy De-Jinn (Guo Chong Xi, "Unlimited Extension of the Horizontal Lines" Missing Shiy De-Jinn P.56) With sensitivity and passionate eyes, Shiy De-Jinn depicts the magnificent sceneries of our world with his signature purple, dying the color of the mountains and water. According to art critique Zheng HuiMei "The shade of purple in ancient time symbolizes both masculinity and femininity, as it is a color created by the fusion of blue and red; providing a similar description for homosexuals." (Sacrifice of God: Shiy De-Jinn's biography, Zheng Hui-Mei, United Literature Publish Company., Taipei, 2005, P297) Shiy De-Jinn mysteriously captures the delightfulness of nature, through passionate and elegant expression, stimulating and humbly presented, the wild nature is presented with sunlight of early morning; transmitting a refreshing energy within the air.
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089 SHIY DEJINN
( Taiwanese, 1923-1981 )
Landscape in Puli 66 x 111cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1980 PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 1,200,000-1,900,000 US$ 39,200-62,100
席德進 埔里山光 1980 水彩 紙本 簽名：席德進 1980 來源： 席德進基金會創會董事長 盧精華
席德進畫集封面 ( 埔里山光遠景 )
成於 1980 年的《埔里山光》，與 1981 年集結出版的《席德進畫集 1981》之封面作品為同一景色（見圖二），僅遠景與近景之別， 實屬難得。席德進一向熱愛寫生，立畫架、尋方位，並對眼前風景千挑細選，若興致正盛、美景當前，時常會忍不住再畫一幅。有次 摯友盧精華陪同他去埔里賞遊作畫，發掘一處面對山巒的好景致，但待畫具安排妥當，他竟不畫了，率性地躺在草叢中看藍天白雲， 他說：「雲霧太濃，層次不清，遠山畫不到，要等霧散再畫！」霧未散去，絕不動筆，便如此等待了整個上午。席德進就是如此堅持 現場寫生的藝術家。 席德進創作，從來不打草稿，他面對群巒壯闊，而是在凝視景物之後，直接畫上去。但落筆慎重，運筆豪放，一筆下去竟孕有豐富的 濃淡、剛柔之變化。在層次的渲染中，可感受流動的空氣和氤氳的水氣，既擁有拂曉晨曦的朦朧感，又散溢著朝陽霧氣中的清新感， 又有雨後天晴的明麗清朗。面對水彩畫紙，藝術家心靜有如獨處深山，卻內含筆力萬鈞。《埔里山光》的嵐氣奔騰，行雲流水，猶如 海流的激嘯，大筆橫曳，濃淡、虛實變化萬千。正如北宋文人韓拙在其《山水純全集》內所言：「夫通山川之氣，以雲為總也。」 雲霧繚繞，既以水形成，又隨群山形狀而幻化，讓畫作更加生機蓬勃、吞吐天地。 而《埔里山光》另一極端迷人之處，在於景色構置的層次，遠景，山巒疏影、迷人嵐氣，更行更遠還生，迢遠無窮；中景，翠樹挺拔、 田野羅列，色彩快速流動，近景則鬱鬱蒼蒼，樹木堅實、溪水清朗，倒影清晰可見。席德進以景色的推移，暗示了江山無盡之態，使 得《埔里山光》更為壯闊渾厚、氣勢磅礡，實為極其難得的佳作。 Completed in 1980, Landscape in Puli shares the same mountain scenery with the cover of Shiy De-Jinn Art Magazine published in 1981 (See picture two) With identical viewpoint, the only difference between the two painting is that one presented in a more distant view than the other. Shiy Dejinn had always been passionate about landscape drawing. He would often set up his canvas, in search for the best angle, and then strictly embrace the scenery with his drawing materials. Often times, when his subject provided excessive inspirations, he would express his exhilaration by painting multiple pieces. Without doing any rough drafts, Shiy Dejinn usually transform his target onto his canvas directly and immediately after gazing at the magnificent nature in front of him. His solid and cautious brushstrokes evolve changes between full interactions between strong and weak essences, thick and light qualities. Another most alluring component of the piece would stand between the layers of composition built by the shadows and outlines of the deep mountains, brilliantly portraying the boundless yet yearning open space. In the mid ground align the tall trees that compliment the flowing water and reflections of all forms, merged by smoothing colors of ink and watercolor. Shiy Dejinn had adopted the dramatic forms of natural landscapes, brilliantly indicating the endless sovereignty of the river. The grandiose and flamboyant atmosphere and spirit have earned great value to the painting.
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090 SHIY DEJINN
( Taiwanese, 1923-1981 )
Autumn Harvesting 70 x 137cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1976 With three seals of the artist PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 1,200,000-2,500,000 US$ 39,200-81,700
席德進 秋收後的田莊 1976 彩墨 紙本 簽名：席德進 1976 年 藝術家鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、盧精華 ( 紅文 )
席大師在盧家即席作畫神情
來源： 席德進基金會創會董事長 盧精華
此幅《秋收後的田莊》成於 1976 年秋天，極繪金黃的秋收後的農家樂，意境幽遠，橙黃秋樹、紫藍群山，以及清潤的田野， 靜謐安詳、萬古常新。席德進熱愛台灣的本土風光，曾在《臺灣遊記》中寫道：「我渴慕鄉土的氣息，我生長在農家，我永 遠屬於她。」他以萬物有情的目光探尋天地大美，並以他熱情的畫筆，深刻地喚醒了人們對鄉村自然的脈脈含情。 《秋收後的田莊》色彩鮮亮，並以一種對照的方式，不停息地相互追逐、嬉戲著，構築出天地遼闊、豐美的意蘊。遠方橫曳 的山嶺是極簡的，莊嚴肅穆，而中景的座落著席德進熱愛的古屋民舍，屋瓦線條俐落強勁，古意盎然。而每一筆勾勒與直線， 都是席德進深刻鑽研書法的成果。那清藍的水田，呈棋盤狀羅列，深具席德進的水彩特色，溫潤淋漓。而整幅作品最引人注 目的，莫過於畫面兩側，兩相對照、金黃壯麗的樹，繁盛的花朵灼亮如火，絢爛喧騰，動勢十足，卻保有醇純之味。構思平 中見奇，近取其質，遠取其勢，不落尋常蹊徑，鮮麗的花葉、渾厚的枝幹枯潤相間，有虛有實，繁而不亂，在行筆嚴謹處， 有縱橫奇峭之趣，既詩意，又鮮麗。 「筆墨是中國、構圖是現代、情感是民族、生活是台灣。」席德進一生崇敬自然，服膺自然之美，對於台灣原始的鄉 野風光，更灌注了滿腔的熱情與執著。《秋收後的田莊》裡遠景留白，極盡空茫，襯托出花樹鮮黃燦爛的色調，以及傳統水 墨的山水印象，兩者迭次激盪，微妙地傳達中國傳統文化的深邃情操，以及古雅穩重的東方氣韻（見圖三）。 This painting was completed in 1976 during the autumn season. The landscape of Taiwan was Shiy's favorite subject, he once mentioned in Journey of Taiwan – "I adore the refreshing breath of countryside, I was raised in an agricultural family. Forever, I belong to her." Shiy treated every existence of nature with full appreciation, with passionate brushstrokes; he awakens our affection for the beauty of nature. "The calligraphy is Chinese, the composition is modern, the emotions are cultural, and the life is Taiwan." For Shiy De-Jinn's entire life, he valued and admire nature, he is especially passionate and towards the wild nature of Taiwanese sceneries.
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091 SHIY DEJINN
( Taiwanese, 1923-1981 )
Narcissus 45 x 67cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1980 With three seals of the artist PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 350,000-550,000 US$ 11,400-18,000
席德進 水仙花 1980 彩墨 紙本 簽名：席德進 一九八○年 藝術家鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、 四川南部縣人 ( 白文 ) 來源： 席德進基金會創會董事長 盧精華
「西方人畫花，是插在瓶中，已加上了人工的改變，而中國人尊重自然，追求天趣。中國畫的花卉，更非 植物標本，畫者已將花、枝、葉融在他的意念中，而以抽象的、書法的手法寫出。所要表現的是作者的思 想，胸中的逸氣。」
---席德進
此幅《水仙花》完成於 1980 年，墨色氤氳、筆勢沉穩，席德進曾言要給予花朵以新的生命，並用「現代眼」去觀察， 以爐火純青的彩墨技法，讓歷史悠久的花卉主題，賦予新的時代意義。宋代文人、書法家黃庭堅，曾以「淩波仙子生 塵襪，水上輕盈步微月」來形容水仙花於盈盈水間，清雅盛放的優雅姿態。在《水仙花》之中，水仙恬靜生長，枝椏 的濃綠筆直，是書法恆久鍛鍊後的俐落體現，而點綴其間的純白花朵，如夢似幻，展耀著溫潤的英姿與光華。席德進 一生守著孤獨，將生命的豐盈與美好皆奉以藝術，水仙花的堅毅、脫俗，正是藝術家的高潔品格的最佳註腳。 Western artist often paints flowers only after it have been trimmed and properly arranged in a vase. Chinese artist on the other hand respect nature, and appreciate it in its most natural form. These is why the Chinese painters often arranges the flowers, branches and leafs soley in their mind, and express what they see through abstraction and calligraphy manner. ---Shiy De-jinn Narcissus was completed in 1980. He presented his work through steady gestures. He wanted to endure a new life for flowers and observes them from the modern points of view. He gave the historic flora theme a brand new meaning through consummate technique. Narcissus grew in sound and peace, the branches are perfectly straight and clear, this exquisite expression took a lot of practice in calligraphy. The pure white flower within the picture blooms lively. Shiy Dejinn spent his life in solitude; he dedicated the ample and the beauty of life to art. We can say Narcissus, representing determination, is the best footnote of the noble character to the artist.
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092 SHIY DEJINN
( Taiwanese, 1923-1981 )
Cotton Rose 111 x 66cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1976 PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 1,000,000-1,900,000 US$ 32,700-62,100
席德進 芙蓉 1976 水彩 紙本 簽名：席德進 1976 來源： 席德進基金會創會董事長 盧精華
「最能表現中國毛筆的筆力、書法勁道、線條變化的是寫意花卉。大千的荷幹，一筆直下，通達上下，這是西方畫筆所 無法達到的效果。中國有一筆畫，也是在表現筆勢的力量流暢，一氣呵成。」 ---席德進（《席德進紀念全集II油畫》，台灣省立美術館出版，1994年，第43頁） 名畫家羅青曾在〈繁華落盡見真純〉中言道，席德進早期的線條，勁瘦如鐵，陽剛太過，陰柔不足。然而「自從他細心在線條中 滲入書法之書法，強而有力的線條開始剛中帶柔，極富彈性，孕含著生機一線，耐人尋味。」而此幅《芙蓉》，翠綠枝葉、 水氣酣然，那殷紅柔美的花朵更擁有豐富層次，色感濃烈、娟麗大氣，正是其展現筆墨涵養與意象化境的大幅水彩鉅作。席德進擅於 在水彩畫中，融入國畫的設色技法，餘韻無窮，妙得天然，此舉唯有對兩者媒材的運用皆得心應手方可達致。 席德進獨樹一格的畫風，使得水彩質地的《芙蓉》，也擁有了中國傳統繪畫的筆情墨韻。席德進以簡約的結構、單純的色調，繪出形 色之外的幽玄理趣，正如詩佛王維的那首〈辛夷塢〉：「木末芙蓉花，山中發紅萼。澗戶寂無人，紛紛開且落。」所描寫的那 般靈空奇妙，仿若仙境。 "What expresses most about Chinese calligraphy—the strength, the curves—is the realism and perspective in nature and plants. The extensive stems of water lilies, a stroke through and through one after the other, couldn't be found in the western art. A stroke shows the flow in strength, a style of unity."
---Shiy De-jinn (The Commemorative Collections of Shiy De-jinn II Oil Painting, Taiwan Museum of Art, 1994, p. 43.)
The painting Cotton Rose has a naturalness in its branch, the acuity in steam, the lush, crimson petals, and the use of vivid colors, are the practice of self-restraint in writing and perfecting the imagery in substantial watercolor painting. Shiy De-jinn is well-known for his watercolor painting, in which he blended in the technique used in Chinese art. The lasting impression and the richness in nature, only the ones who mastered both skills are able to define. His unique taste along with the grasp of Chinese traditional painting made Cotton Rose exclusive. Shiy De-jinn's simple yet concise structure and purity in tone emitted a sense of peculiarity. Like the poet Wángwéi once expressed in his poem, the portray of dreamy and intriguing eccentricity.
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093 SHIY DEJINN
( Taiwanese, 1923-1981 )
Poinsettia 111 x 66cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1976 PROVENANCE: The Shiy De-Jinn Foundation Director Lu Jing-Hua
NT$ 1,000,000-1,500,000 US$ 32,700-49,000
席德進 搖曳生姿聖誕紅 1976 水彩 紙本 簽名：席德進 1976 來源： 席德進基金會創會董事長 盧精華
在西方文化中，「聖誕紅」代表著聖誕佳節的即將來臨，而今全球化潮流影響，東方民族也時興起栽種聖誕紅，紅花喜氣，既代 表新的一年即將誕生，更代表闔家祥瑞、喜慶洋洋。此一巨幅《搖曳生姿─聖誕紅》水彩畫完成於 1976 年，席德進日日臨帖不 懈已近十年，艷麗、怒放的紅花，搭配嫩綠的枝枒，搖曳生姿、昂然挺立、柔中有剛，反映其天然純粹的情致，其枝椏間亦蘊含 著動態的語言。在一片清幽柔和的氛圍之中，枝椏纖韌逎勁，如水墨畫般一揮而就，蘊藏著骨法用筆的勁道，展演席德進對墨韻 掌握的流暢穩重，足見其一家之成法。 《搖曳生姿─聖誕紅》搖曳生姿、昂然挺立、柔中有剛，反映其天然純粹的情致。花瓣殷紅、昂然茁壯，象徵著生命力的頑強。 在席德進 1981 年 2 月 22 日的日記裡，也就是他生命末尾的最後幾個月，仍然洋溢著對青春的讚嘆與熱愛：「你知道嗎我多想
飛舞起來，飛舞才是我的真我，讓狄斯可音樂燃燒我，讓我陶然其中，那青春的男性的活力，那狂熱的撲向愛的企 求，那野性的，肉體的渴慕，把我拉回到青少年的時辰，這時才是我，永遠年輕的我。」（《孤飛之鷹：席德進七○ 至八○年代日記選》，聯合文學出版社有限公司，台北，第 118 頁） 《搖曳生姿─聖誕紅》鎔鑄了藝術家瀟灑狂放、如火般熊烈的意念，色彩淋漓，生命力澎湃，並蘊含著無盡的語言與動作，在色 彩恣意流淌之際，又擁有東方詩意的高雅、唯美，讓作品擁有震撼、懾服人心的力量。 In the western culture, Poinsetta (Christmas red) represents the approaching of Christmas holidays, and through the trending of our modern society, the eastern population started planting Christmas poinsettias, cheerful and optimistic, symbolizing the start of new year, magnifying family reunion with joy and blessing. "Poinsetta" was accomplished in 1976, 10 years after Shiy De-jinn's committed and diligent effort, the elegant blossoming of red petals, along with the raw yet firm in the green branches, reflexes his pure temperament, as if the twigs themselves contain activeness in speech. Amidst the beautiful and secluded ambience, his stroke of the branches illustrates his mastery in painting, with precise fluency and steadiness. Shiy De-jinn's diary entry in February 22nd, 1981, towards the end of his life, still praised the brimming of youth and passion, "You know what? I want to fly. Fluttering is me, the flaming of pop, disco sensation, living the freedom, the youthful, masculine vigor, the wild and thirst for the physical body, bring me back to my boyhood. This is me, the forever enthusiastic me." (Unitas, Udngroup, Taipei, p. 118)
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094 LIU KUOSONG ( Taiwanese, b.1932 )
Autumn Forest 46 x 89.2cm Ink and Color on Paper Signed Liu Kuo-Song in Chinese, dated 2005 With one seal of the artist With a certificate of authenticity from gallery
NT$ 1,350,000-1,600,000 US$ 44,100-52,300
劉國松 秋林 2005 彩墨 紙本 簽名：劉國松 二○○五 藝術家鈐印 附畫廊開立之原作保證書
西軒草詔暇，松竹深寂寂。月出清風來，忽似山中夕。因成西南夢，夢作游仙 客。覺聞宮漏聲，猶謂山泉滴。
---白居易《夢遊仙遊寺》 此幅《松林》繪成於 2005 年，線條橫豎交織，洋溢著狂放不羈的細緻感，如疾風馳聘、 崩雪流溢。灰褐色的線條細膩流暢，閃耀著不墜的光芒，營造出松林靜謐、明月清風的 景色，神秘悠然，彷彿夢境，絢麗而又玄祕。 《松林》融入中國傳統寫意的瀟灑脫俗，以書法般恣意轉折的筆韻架構出渾厚的哲學內 涵，令傳統水墨畫裡出現了橫逸流淌、氣象萬千的線條姿態，使畫面既存有中國文人畫 的風骨格調，又渲染了油畫填實的豐厚感。將中國波瀾萬千、壯闊的大山大水情韻，皆 大美無言地融入繪畫，具體而微地彰顯，劉國松深厚的藝術內涵及中西藝術跌宕合璧下 的獨特美學。
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ZHONG CHENG 中誠
The painting Autumn Forest completed in 2005, with intercrossing lines of different directions, provided sense of refinement and delicacy within the wild and bold expression. The grayish brown colored lines demonstrated gracefully movements, with shine that cannot be hidden; Liu Kuo-Kong perfectly captured the peaceful essence of forest in autumn. Illustrating bright moonlight and gentle breeze, the mysterious yet leisurely atmosphere seems to suggest a dream. A dream that is splendid and unknown. Autumn Forest incorporate the unrestrainting poetic essence of Chinese tradtional culture, through calligraphic rhythm compose the spirits of profound philosophy. The free stream expression of traditional ink drawings are brought to life, the everchanging lines inhereit Chinese scholarly foundation and characteristic, the dyed-ink resembles the texture in oil painting, details are unified to present overall strength, Liu Kuo Song's wise aesthetic insights and fusion of West and Eastern culture sparks a deightful unique aesthetic expression.
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ZHONG CHENG 中誠
我畫看不見的東西，生命的 氣、風、動力、形體的生命、 色彩的開展與融合。 --- 趙無極
華人抽象大師趙無極，名垂世界現代藝術史，在他淵遠流長的藝術生命裡，包蘊著東西方古典詩性的精魂。他不 但汲取了中國文化和藝術的精髓，並成功以抽象的浪漫傳達了中國意境，並以抒情磅礡的筆觸，將觀者帶入宇宙 洪荒中恣意悠遊，擁有精深的文學性與汩汩的詩意。他作為「抒情抽象主義」的領軍人物，在歐美風起雲湧的現 代藝術史上佔有一席之地，並以平實謙沖的態度，力證了東西方藝術在詩性世界的殊途同歸，國際頂級機構的邀 約也紛至沓來，作品遍藏於各國頂級的美術館。趙無極無分地域、鎔鑄東西的視覺語彙，在世界藝術的舞台上昂 然獨立，成為最首屈一指的繪畫大師和最響亮的旗幟。
虛實相生 臻至空靈 1972 年，趙無極的第二任妻子陳美琴逝世，他藉中國紙墨以遣悲懷，但隨即發覺中國書畫蘊含的藝術能量，此時 期的水墨作品相當可觀。1973 年開始，趙無極的創作風格丕變，藝術家本人也對此頗有自覺，據《趙無極自畫像》 中陳述：「我知道，從 1973 年開始，我的畫風變了，因為我的朋友常常這麼說，尤其常常這麼寫，也
許這時我成熟了，過去累積的努力，有了成果我越來越愛畫，越來越有話要說，也越來越怕自我重複。 我畫我的生活，但也想畫一個眼睛看不見的空間、一個夢的空間，一個使人永遠感覺和諧的所在，即 使用的是充滿矛盾力量的不安的形式。每一幅畫，從最小到最大的，都是這夢的空間的一部分。」（《趙 無極自畫像》，趙無極、梵思娃 ‧ 馬凱，藝術家出版社，2008 年，第 147 頁）創作於 1974 年，歷時三年始完成 的《07.08.74-24.08.77》，洽見證了趙無極此時關鍵性的風格轉折與流變，而趙無極與第三任妻子梵思娃 ‧ 馬凱 （Francoise Marquet）也結識於此時，並於 1977 年共結連理。《07.08.74-24.08.77》不但見證了趙無極與梵思娃 ‧ 馬凱女士相識相愛至結婚的歷程，也鎔鑄了他對中國水墨的深刻實踐與探索。 趙無極不但以渾厚油彩來表現書法的筆勢精髓，更刻意將墨在宣紙上的渲染效果嫁接至油畫裡，而最值得注意的 是，畫面中出現大片的「白」，乍看之下虛空，卻暗含了各種怒放的光線、韻律節奏與千變萬化的色彩，極具空靈、 浩瀚無限，是一個生命機體的動態呈現。 中國傳統繪畫，講究透氣、氣韻、空靈、呼吸。而不著以墨色之處，則稱作「虛白」或「留白」，但這並不是無 意義的空白，而是難以言喻的想像空間，是靈魂所在的地方，是人們情思神遊之所，永遠不會盈滿或枯竭，是虛 實相生、生滅循環的境界。所謂「畫留三分空，生氣隨之發」，如宋代馬遠的《寒江獨釣圖》，畫面中的留白， 便精彩地演繹了水波粼粼的感覺。趙無極曾對此有一番解釋：「畫滿容易畫空難。在傳統中國畫裡，中國宣
紙幫了很多的忙，空就是不用著墨就可以。但油畫裡的『空』起碼在我的油畫中的『空』，是要『做』 出來的，要慢慢的建造，越大張越累人。有些人也像中國畫一樣，留空便了。但我覺得油畫中的空， 是一種生活的空間，要生活在裡頭，要在裡面經歷。實與空要相連。空實是同一空間的不同的層面。」
宋代馬遠 寒江獨釣圖
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ZHONG CHENG 中誠
Joseph William Turner, Vama on the Santa Maria della Salute, Venice, 1843
Joseph William Turner, Rain Stream and Speed- The Great Western Railway 1844
Zao Wou-Ki is widely renowned as one of the original Chinese abstract artists in the modern contemporary world of art, combining essence of both western and eastern cultural as well as their aesthetic views. He not only was able to successfully depict the Chinese perceptions, but also brought the viewers into timeless and poetic infinite world by his signature bold yet lyrical lines and colors. Concentrating on his unique expressive style, he soon became an icon of lyrical abstractionism. Large corporations, collectors and the art industry have acknowledged the poetic symphony of east and west culture brought by his paintings. His works can now be seen in countless museums and galleries all over the world while the artist himself also gained considerable prestige from his creativity and humble characteristic.
Figurative and Abstract Zao Wou-Ki's second wife, May, passed away in 1972. Eagerly seeking for inspirations and recovery from his lost, he turns to the familiar medium of traditional Chinese ink drawing for comfort. Ink drawings from this period of Zao's life embody many emotions and are particularly valuable. Since the beginning of 1973, Zao became aware of the transition in his style, it shifted drastically as a consequence of a series of life changing events he had encountered. He said, "I noticed a change in my style, it was around the early 1973, my friends would often tell me so. Perhaps, it is because I've matured, or perhaps it is the accumulation of my hard works in the past. Once I start to see results in my art; I began to paint more. The more I paint, the more I have to say in my work. I was also aware to not repeat myself. Through my art, I illustrate not only my life, but also a surreal space that cannot be seen by the naked eyes, it is a dimension for dreams, a place where the simultaneous serenity is eternal, even if contradictions and uncertain forms are what it takes to influence the audience. Every piece of my art, not depending on size, belongs to this dream. (Zao, Wou-Ki, and Francoise Marquet. "Self Portrait of Zao Wou-Ki." Artist Magazine. N.p.: 2008. P.147. Print.) Started in 1974, Zao Wou-Ki spent three years completing the painting"07.08.74-24.08.77". It is during this time; Zao Wou Ki met his third wife, Francoise Marquet. The event is one of the major triggers responsible for the dynamic transformation in his style. The two were soon married in 1977. "07.08.74-24.08.77" is a painting that witness the love encounter and journey of Zao and lady Marquet, it is also a painting that was created at the prime of Zao's traditional Chinese ink period. Zao Wou Ki expresses the essence of calligraphy through oil medium; he intentionally transfers the vigorous ink strokes and soft rendering into his oil paintings. Within the large "blank" space of the work, it suggests everything but desolation. Moreover, it humbly reveals all types of extraordinary shine, elegant rhythms and infinite colors; the combination of these following elements is a presentation of all the emotions and actions that occur in one's life. Traditional Chinese ink-drawings emphasize on opacity, mobility, spirits and the importance of breathing. Often, the uncolored spaces are referred to as Negative spaces or Blank spaces. On the contrary of insignificant, the void dimension represents the sacred space where spirits may linger and minds may wonder. It demonstrates how silence plays a stronger influence establishing life and deaths. In Angler On a Wintry Lake, Chinese painter of the Song Dynasty, also believes in the concept of "Less is more." The blank space illustrated in the historical work, is important in narrating the calmness of the water. Zao Wu Ki responded, "It is rather simple to fill up a canvas, but challenging to illustrate blankness. In traditional Chinese drawings, shuan paper allows blank areas to look lively even without application of ink. On the other hand, it is difficult to apply the same method with oil paintings. In oil, one must "create" the emptiness by slowly building the base, the larger the canvas the more complex it becomes. Some artist will leave areas of their canvas blank similar to the method of shuan paper. However, in my opinion vacant areas in oil paintings are associated with a dimension of life. In order to apply livelihood, one must go through experiences, where both fullness and hollowness are interconnected. The void and the existing belong to the same dimension but are related on different levels."
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沖虛空靈 逍遙四方 在《07.08.74-24.08.77》中，節奏緩慢的黑色默線緩緩汩動，極富規律地震顫纏結， 如在雲霧間翻騰的蛟龍，又如莊子筆下奮翅而飛、動蕩鼓怒的大鵬鳥，周遭的游氣 如塵埃滾滾、野馬奔騰，那粗獷的墨黑線條在匯聚之處衝擊、舞動，甚至爆裂開來， 那是一切潛能與變化編結而成的樞紐，匱乏與充實、安穩與衝擊皆在此相遇，並冉 冉上升，在未經界定的大片空白內時而彌散，時而隨風飄逝，有時似輕靈的薄霧、 時而又怒氣衝天，豪氣升騰。筆觸柔軟中兼藏緊勁，生動、靈活地交織出無限和詩 意的空間，上無所極，凌空下視，亦復蒼茫。 趙無極以抽象的宇宙景觀來描繪內心感受的真實，追求對有限時空的超越，以及對 外在客觀現實束縛的擺脫，極富老莊禪機。在《07.08.74-24.08.77》中，清楚地揭示 了某種東方精神的凝聚與散逸，他以細碎快捷的筆觸，將想像中的元素加以凝聚， 並使之交迸、聚焦，在畫面的中心地帶，仿若狂風暴雨、白燄沸騰，深邃而澄澈， 趙無極以抒情磅礡的筆觸，將觀者帶入宇宙洪荒中恣意悠遊，正是莊子《齊物論》 裡遼闊無比的自由：乘雲氣，騎日月，而遊於四方之外。 趙無極以抽象之筆，將中國千年的寫意美學精粹的元素，用西方的媒材來作創新的 轉化表現，其畫作的佈局配置、色彩的揮灑方式，與英國 19 世紀國寶畫家威廉‧透 納 (William Turner，1775-1851) 有所共鳴，透納晚年的作品，一改對細節的精求與掌 握，以抽象的筆觸，捕捉天地水火等大自然的元素，並且更側重於空間、光線的追求， 與趙氏作品的氛圍有許多相應之處，趙無極曾說：「我畫看不見的東西，生命的氣、 風、動力、形體的生命、色彩的開展與融合」。 趙無極從西畫的氣勢雄偉的表現出發，並充分掌握了西方抽象繪畫的「節奏變化」， 再與中國書畫的「氣韻生動」完美融合，抵達「至小無內、至大無外」的抽象境界， 將傳統中國的沖虛空靈，賦予了極前衛的現代性格。 《07.08.74-24.08.77》中央有如虛空之漩渦的景象，是宇宙氣息、生機蓬勃的震顫， 趙無極快捷的筆觸，把觀者的注意吸納至畫面磅礡的中心，先是痛快淋漓，再隨著 氣韻蒸騰、裊裊散溢，抵達天人合一、物我兩忘之境。
Freedom and Non-materialistic In the composition of�07.08.74-24.08.77�, subtle rhythm of black brushstrokes moves tenderly and smoothly resembling calming streams, in addition to another layer of thin lines that reveal the expansion of moving Earth, comparable to a dragon swirling through a sea of clouds and also a bird spreading its wings soaring towards a great height. Then comes the interruption of swirling dusts and horses thunderous galloping are forced in by the rebellious dancing black strokes. The alluring chaos rises within the calm whites, causing battles between tranquility and noise, emptiness and blankness. The elements of the painting take viewers on a journey between a breezy sympathetic space yet aggressive and exposed emotion. The abundant feelings are attributed to Zao Wou-Ki's festive combination of soft and daring techniques that grasps onto the poetic spiritual level. Zao Wou Ki, with his abstract rhythm of palette, was able to produce traditional interpretations of Chinese aesthetic views by utilizing Western oil painting materials. The primitive composition style and textual system of colors remind viewers of the 19th century English master painter, William Turner, (William Turner, 1775- 1851). His late work emphasize on intricate details, abstract and figurative elements. And more importantly, space, light, and many others that resembles Zao's forms of communication and ideas were noticeable as well. Zao once mentioned, "I paint the intangibles, breath and forms of life, wind, energy, the merging and separating of colors." Expressing strong voices from Western oil paint resource, Zao Wou-Ki not only was able to conquer the rhythmic movement of abstract approach, but also enriched the ancient Chinese accentuation of aesthetic energy and spirit. Reaching the perception of limitless abstraction, the traditional spirit of Chinese calligraphy art was brought to inherit the futuristic characteristics of modern art.�07.08.74-24.08.77�allures viewers to the center of the canvas, first to develop a sense of unfilled universe and chaotic livelihood. Then, transitioning and leading by Zao Wou Ki's brisk strokes, viewers experience an evolution of sense through dynamic freedom, rising heat of aesthetics, and lastly the ascending mist that lands on the non-form world where human and heaven are combined. Ultimately removing the separating line between human and nature.
095 ZAO WOUKI
( Chinese-French, 1921-2013 )
07.08.74-24.08.77 95 x 105cm Oil on Canvas Signed on the reverse: Zao Wou-ki both in Chinese and English, titled 7.8.74-24.8.77 ILLUSTRATED: "Zao Wou-Ki", Leymarie Jean, Paris, Éditions Cercle d'Art, Barcelone, Ediciones Poligrafa, 1986, ill. coul. No.500, Page 374 With a certificated of authenticity issued by Zao Wou-Ki Foundation
NT$ 25,000,000-38,000,000 US$ 817,000-1,241,800
趙無極 07.08.74-24.08.77 1974-1977 油彩 畫布 畫背簽名：無極 ZAO ZAO Wou-Ki, 7.8.74-24.8.77 圖錄： 《趙無極》，Jean Leymarie 編，Celrcle d'Art 出版，法國巴黎； Poligrafa 出版，西班牙巴賽隆納，1986 年，圖版 500，第 374 頁 附趙無極基金會開立之原作保證書
朱德群 CHU TEHCHUN
華人抽象藝術大師朱德群，藉著平生壯遊，俯仰古今、� 通中西，為首位進入法國「法蘭西研究院美術院士」殊榮 的華裔畫家。自 1955 年居旅巴黎，深受歐洲抒情抽象派啟發，經歷二、三十年的孜孜探索，朱德群從對巴黎的艷 羨與驚嘆中沉澱，靜濾出中國文化的精妙神髓，容納西方表現主義的技法及中國山水畫的形意傳統，並連結其淵 博的哲思、豐沛的文學底蘊，其激烈的筆墨激迸之下，竟能煥發出沉穩莊嚴的氣度、汩汩的詩情畫意，幻化出豐 富細膩的東方情思。 The Asian master of abstraction, Chu Teh-Chun has travelled to many corners of the world. He is the first Asian painter to be honored into the Académie des Beaux-Arts. He immigrated to Paris since 1955; he was strongly influenced by the European style of Romantic Abstraction. After twenty to thirty years of exploration, Chu went from curiosity and in awe by Paris, to finding his spirits of origin within the Chinese culture. Interpreting Western Expressionism and Asian calligraphic mountain scenery, he connects his art to ideas of philosophy. His scholarly understanding of the world turns each brushstrokes into meaningful expression. His art commands respect from his viewers, though poetical rhythm he depicts his imagination with the sensitivity and details of Eastern application.
中誠 2013 秋季拍賣 Lot.096 朱德群《雪景》 成交價 TWD 14,750,000
096 CHU TEHCHUN
( Chinese-French, 1920-2014 )
Entre Ciel et La Terre 116 x 89.5cm Oil on Canvas Signed Chu Teh-Chun both in Chinese and English, titled Entre ciel et la terre in French With a certificate of authenticity issued by Chu Teh-Chun's workshop
NT$ 12,000,000-15,000,000 US$ 392,200-490,200
朱德群 天地交響 1988 油彩 畫布 簽名：CHU TEH-CHUN 朱德群 "Entre ciel et la terre" 附朱德群工作室開立之原作保證書
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《天地交響》成於 1988 年，盡情流溢著歡快的色彩、狂放的優 雅，清新流麗、雄奇壯麗，朱德群的畫筆，在蒼茫空靈的空間中 縱橫馳騁，極盡豐姿。他以大排刷筆流暢移動，傳統國畫中順鋒、 挑鋒、逆鋒等運筆技法清晰可見，用色沉穩，筆觸卻熱情奔放有 如狂草。各式繽紛點線的交織與竄動，結合成飄忽明滅的光影， 創造出如詩歌般時急時緩、抑揚頓挫的優美旋律，好友吳冠中即 言：「作品像是一部運動的合聲，朱德群將他運動的節奏
之美統一在和諧的色調之中，讓人隔著水晶看狂舞，而聽 不到一點噪音，粗獷力容於寧靜的美。」整幅作品就是一曲 以色彩譜寫的樂章、一首雄偉壯闊的交響樂，磅礡的美感隨著色 彩躍動、跌宕，盪氣迴腸，鏗鏘有聲。 七○年代初，朱德群在阿姆斯特丹參觀了林布蘭（Rembrandt） 的紀念展，驚艷於林布蘭對光影游移的細膩體察，此後，光線的 流淌、宏亮的色澤變化便未在其繪畫中缺席，更成為其作品中的 標誌性元素。法國藝評家穆能（Raoul-Jean Moulin）曾對其作品 有如此形容：「在他手中，畫筆要找回中國書法的韻律，
使彩色有節奏，使一片沉默、黯淡、深沉的色階，透過透 明光線的轉調，呈現出如閃光似的火花。」《天地交響》 的火花從畫面中央熱鬧繁盛之處透露出來，搭配構圖的沉穩大 器，創造出空間縱深與高遠之感，光線的跳動，使畫面更加豐沛、 溫暖，朱德群以畫筆凝聚跨越時空、文化的元素結構，交織成懷 帶詩性的優雅和諧。 法蘭西學術院士程抱一曾言：「人、天與地構成宇宙三才。 一切自身存有都是特殊存在，因此人再次將天地之德統合 於自身；為了人自身的完成，使天地和諧是人的責任。」 《天地交響》取象於宇宙天地，背景色調蔚藍迷茫，凝聚出浩瀚 寰宇的波瀾氣象，直抵深邃迷離的宇宙空間。跌宕多姿的幾何形 狀羅列交織，色塊撲朔迷離，各種飽滿的色彩，殷紅、青綠色飛 揚舞動，在沁涼的底色中噴散開來，創造出冷暖兩極的對比效 果。而畫布上，雄渾厚塗、精簡細描之筆共存共生，蒼穹、大地， 疾風、火焰各式意象飄逸飛縱、體態絕出，更顯構圖空間的張力 十足，營造出跌宕起伏的視覺震撼，以及天地合一、物我兩忘的 精妙神髓。
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Entre Ciel et La Terre painted in 1988, with splendid diversity of colors, wildly elegance, refreshing and smooth movements, creating a monumental masterpiece. Chu's brushstrokes creates an unknown but in-depth dimension filled with lines and form that are in full motion. He employs large brushes to create free and soothing lines. In traditional Chinese ink drawings the technique of "calming lines", "Teasing lines" and "Contradictory lines" are all clearly depicted. Chu's experienced use of colors, brushstrokes and passion similar to a wild grass field. All forms of delightful lines and shapes intermix into a rhythmus harmony. The combination of moving light and shadows, creates meaningful and interesting lyrics. His good friend Wu Guanzhong one said "Art is similar to an exercise of uniting sounds, Chu Teh-Chun through exercising the rhythm with harmonious colors, he creates a wild dance that can be viewed through crystals. Noises are dismissed in his work, all that is left surrounding the viewers is a bold presentation of beauty in silence". The entire work is a song with colorful melody and lyrics, a song that is played by a powerful orchestra carrying the harmony through plentiful delights. In early1970s, Chu visited the Rembrandt Exhibition in Amsterdam. He strongly admires Rembrandt's sensitivity to light and shadow movements, the stream of light, and changes in color through lights were not absent in Rembrandt's paintings. It became one of the importance elements in Chu's art woks. French art critique Raoul-Jean Moulin gave praise to Chu's paintings; he once stated "In his hands, the brushes finds the tempo of Chinese calligraphy, colors of the rhythm transforms the silent, opaque, dark color scales with unseen stream of light, creating a flashing spark". This very spark born within the center of Entre Ciel et La Terre, incorporating steady yet proud composition, a height of perspective, the dancing shine adds juxtaposition and warmth. Chu Teh-Chun uses his paintbrush to push the boundaries of time and space, elements of cultural construction, immerging lyrical sophistication and harmony. A scholar of the AcadĂŠmie des Beaux-Arts once said, "Human, sky and earth creates our universe. Everything have a reason of being, therefore human once again combined the earth and the sky, in order to represent self. For our purpose of being, we are responsible for the harmony between earth and sky". Entre Ciel et La Terre is a title that associates with our universe, the thoughtful blue background seemingly depicts the arrival and leaving of our space dimension. In contrast with the ever-falling warm colors of geometric rock form, seems to be dancing within the canvas. The canvas is made up of bold gestures precise markings; the two survive side by side. Elements of nature such as earth, wind and fire and all co-existing, further emphasize Chu's excellence in creating powerful composition; that illustrates the stimulating visual effect of merging the sky and earth.
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周春芽 ZHOU CHUNYA 周春芽被譽為是中國當代繪畫界中對色彩把握最好的藝術 家，同時也是中國最早徹底放棄文學性主題的畫家之一。在 中西古今、無常與永恆的糾結與衝撞中，周春芽的濃墨重彩 撲朔迷離地揮灑著西方的自由狂放和東方的典雅。 周春芽外表儒雅，內心堅毅，舉手投足透露出一種不張揚的 激情與自信，或許正是周春芽獨特的人格魅力成全了他在當 今中國畫壇的號召力。飛揚怒放的顏料呼應他真純熱情的生 命美學，於畫布之外，周春芽一手創辦了「五彩基金會」， 幫助災區殘疾少年們用藝術實現夢想。他的輕鬆與嬉戲之中 隱含入世的責任感，友善隨和的同時又體味著至高無上的孤 獨。正是這種性格氣質和生活態度，周春芽塑造了他的強勁 而不失於紊亂、放縱而不流於塗鴉、簡純卻又複雜豐富的獨 特風貌，於畫布上迸發出一股深具時代特性的美感與氣韻。 周春芽的創作從來都不是現實的實證，「溫和的暴力意味」、 色彩庸常性狀態的擺脫與翻轉，才是屬於他的繪畫語言。所 有婉轉的隱寓和深沉的象徵都被大刀闊斧地摒棄，但那些掩 藏在人們內心最底層而又最本質的東西卻乾淨俐落地被引導 出來，在流淌的色彩情緒中放縱著真誠而原慾的魔幻奔想。 無論是藝術史還是社會學，當別人競逐評析、總結周春芽的 獨特風格時，在他看來，創作的意圖，不過簡單到「畫畫就 是過癮！」 Zhou Chunya is acclaim to be the most skillful artist in control of color application. Furthermore, he is also one of the first artists to completely abandoned literary philosophy as his core aesthetic subject. Composing elements of cultural shock between the East and the West; and the intertwinement of eternity and ever-changing variables, Zhou Chunya's vigorous and vibrant artistic style fiercely combined the independence of the West and the elegance of traditional East. Zhou Chunya's paintings are not depictions of reality, but rather a language of aesthetic expression composed through "Gentle Violence" and trivialized color arrangements. All indirect metaphors and implications of symbols are discarded to further emphasize the most basic and instinctive essence that genuinely dances upon the enchanting stream of colors. Despite the opinions and judgments upon his unique aesthetic approach, to Zhou Chunya, his passion for creation is as simple as his statement "Drawing is exhilarating!"
097 ZHOU CHUNYA ( Chinese, b.1955 )
Peach Blossom in Spring Essence 150 x 120cm Oil on Canvas Signed Zhou Chun-Ya both in Chinese and English, dated 2013 With a certificate of authenticity signed by the artist
NT$ 11,000,000 -15,000,000 US$ 359,500-490,200
周春芽 桃花簾外春意暖 2013 油彩 畫布 簽名：2013 周春芽 ZHOU CHUNYA 附藝術家親簽之原作保證書
「人類與生俱來的欲望，也是旺盛生命的表現。正如同春天綻放的桃 花一般，我為何又要迴避？」
---周春芽
周春芽的《桃花簾外春意暖》繁茂盛放，艷勃渾厚，粗獷的線條在畫布上肆意 流淌，暢快淋漓的刷抹，極盡情慾撩人之致。桃花盛開，妍麗多姿，吸引歷代 騷人墨客為之吟詠，《詩經》以「桃之夭夭，灼灼其華」形容春天之繁茂， 延引為女子之美麗；唐代詩人吳融也曾寫道：「滿樹如嬌爛漫紅，萬枝丹彩 灼春融」。桃花，彷彿永遠與爛漫春季、風月豔情，以及美麗的女子緊密相繫。 而周春芽的桃花，更是繼承了中國詩詞的艷情傳統，與愛情的濃情蜜意。 2005 年三月，周春芽在成都龍泉山遊玩時，注意到遍山盛放的桃花，被桃花 「野」、「豔」，以及放縱不羈的生命能量深深吸引。從此之後，一朵朵絢爛 旖旎的桃花，便在周春芽的畫布上恣意綻放。 此幅《桃花簾外春意暖》完成於 2013 年，桃花怒放在繁盛的春景之間，花朵迎面撲來，完全捨棄了柔美溫煦的 花朵特質，反而感染了狼狗所具的侵略性格，瀰漫著原始衝擊之感，令人聯想 到經典的「綠狗系列」。無論是流淌的山石、綠色的狼狗，還是張狂的桃花， 周春芽皆以主觀的情意，擊破萬物自然間的無形限制，消融了時空與文化的邊 界，賦予其旺盛的生命力，形塑傳統與當代相容並蓄的風骨氣韻。 盛唐詩聖杜甫，曾謂之桃花輕薄，寫道「癲狂柳絮隨風去，輕薄桃花逐水 流」。縱言「輕薄」，實則引聚了散漫、慵懶、妖冶、狂艷等各式情緒，充斥 著野性本能、生命原慾的衝動。 周春芽嘗言：「桃花色彩曖昧，外圈是白的， 中間是紅的，在中國傳統文化中，桃花和情感、性愛聯繫得比較緊密， 體現生命。走到桃花林裡，我就會心花怒放，朝氣蓬勃。」 此幅《桃花簾外春意暖》色彩斑斕、嫣紅怒放，只見滿樹如火灼燒的花朵盛開， 毫不客氣地占領整個畫面，潑辣生動，又是無窮妖嬈。蒼勁昂然的枝椏延展伸 張，極富古意。花朵的美好，象徵著生命中最絢爛的青春年華，旺盛、奔放。 在周春芽的巧筆之下，本應柔美、溫煦寧靜的桃花，卻在枝椏繁盛之間爭奇鬥 豔；在濃墨重彩的擺渡之下，極盡華豔招搖。衝擊性的色彩相互交迸，引爆了 勃勃生機，迎面襲捲而來！
MODERN AND CONTEMPOR ARY ART
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098 ZHOU CHUNYA
周春芽
( Chinese, b.1955 )
山石圖
Stone
1999 油彩 畫布 簽名：1999 周春芽 ZHOU CHUNYA
100 x 80cm Oil on Canvas Signed Zhou Chun-Ya both in Chinese and English, dated 1999
附藝術家親簽之原作保證書
With a certificate of authenticity signed by the artist
NT$ 6,500,000-8,000,000 US$ 212,400-261,400
「我喜歡古典文人筆下石頭的形態，但不滿足於那種過於溫和、內向的性格，我想到一種張揚而冒險的嘗試---借助這 種典雅的形態去傳達一種暴力甚至是色情的意味。」 ---周春芽 1999 年，愛犬「黑根」因病去逝，周春芽悲痛萬分，赴蘇州參觀各個園林，遂以油彩奔騰，精彩地重新詮釋中國山水的浩蕩精神，創 發出深具歷史感，又融渾厚、複雜、恐怖、優美於一身的「太湖石」系列作品。此幅《山石圖》正成於此時期，洽見證了周春芽此時 的風格轉折。他在這件作品中宣告與傳統山水符號的柔淡纖弱的質地徹底決裂，把西方的濃厚油彩揮灑出的東方水墨神隨，流淌不拘、 一氣呵成，精彩地演繹出「墨分五色」的濃淡變化、暈染效果，立即提示其與蘇軾、黃賓虹與「元四家」等文人趣味奠基者的內在關聯。 正如周春芽所言：「我感謝『表現主義』，感謝『文人畫』，是它們給予了我張揚自我藝術個性的理由。」周春芽發展出的油畫系統， 兼容了中國的水墨傳統、德國新表現主義，以及前衛而現代的抽象主義，獨樹一幟，動人心脾。 心隨物走，畫由心生，周春芽的畫筆疾走，把中國最古雅悠遠的母題畫得如此抽象而激情噴張，《山石圖》是群山穹宇、風起雲湧的 微縮，淋漓奇異、奔放迸烈，恰巧回應了藝術家性格中宏觀磅礡的氣勢。周春芽捨棄了客觀的自然法則，採取主觀心象的結構與色彩， 並以水墨的書寫性表現力度，再以戲劇化的明暗差異以增強空間與物件的厚度，傳達深遠澎湃的力量。 在《山石圖》之中，渾厚的黑色在虛實濃淡間恣意纏結、覆蓋，並且暈染、散漫，擁有了水墨媒材的潤澤感。豐富的細節和肌理置換 了傳統筆墨柔淡纖弱的質地，以繁複錯落的體積結構改變了文人繪畫扁平的視覺特性，將作品提升到另一境界。周春芽的油彩墨料恣 意遊走，造就宛如草書般的筆走龍蛇，不僅刻畫出空間的縱深感，也傳達出時間的流轉變遷。千山萬壑在此集聚，流水奔騰於其間， 萬物化為一體，既深具實體感，又是若有似無的虛境，天地大美的莊嚴和渾茫在此縱情表演，周春芽以懇切之筆，舞出山水性靈的渾 厚華茲。 "I really like the way literaris had recorded the forms and characters of rocks, but not the overly reserved and soft disposition. I have come up with a way of adventure, by means of a classic form to express the fashion of violence or even the sexual indication." ---Zhou Chunya Zhou Chunya lost his beloved dog, Hei-Gen, in 1999, reminders of their visits to various gardens and parks in SuZhou. He beautifully reannotated Chinese landscapes and its mighty spirits by the fierce application of oil paint, creating the Tai-Hu rock series. It generates deep sense of history with a body containing contents of complication, honesty, horror and grace. Stone was created during the same time Zhou Chunya experienced a transformation in his style. He used this painting to announce his relationship with the soft and vulnerable qualities of traditional landscape symbols as coming to an end. Instead, he practically adapted Western oil paint medium with the Eastern concepts of traditional ink-drawings. Wild and without formality, the piece was accomplished within one breadth without obliterating the performance of sub-color ink. The variation between color gradation and rendering of shades implies the relation with the founders of literary taste such as Su Shi, Huang Binhong, and Yuan Four. Just like Zhou Chunya had said, "I appreciate expressionism and literati paintings. It's them who had provided me reasons to promote my characteristic of art." As one's heart follows along materialistic movements and pictorial images it forms under spiritual development, Zhou Chunya's strokes intense and flowing, bringing the classic and distant Chinese history to a state of passionate abstraction. Stone is a diminutive model of the striking mountains and elegant skies. Zhou Chunya abandoned the subjective rule of nature, retrieved objective structural composition and colors, and strengthened the focus with linear calligraphic qualities of ink drawings. Furthermore, he utilized the contrast between light and dark to dramatically prompt the density of the objects and space, passing on the expanded surging force. The loose forms of Zhou Chunya's colors and medium have created a script-like free characteristic. It not only sculpts the depth of the space, but also catches onto the everfleeting moments. The earnest strokes exquisitely draw out the spirits of the clear and devastating scenes and landscapes.
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099 ZHOU CHUNYA
周春芽
( Chinese, b.1955 )
倒著的人體
Lying Figure
1996 油彩 畫布 簽名：1996 周春芽 背面簽名：周春芽 1996《倒著的人體》
100 x 80cm Oil on Canvas Signed Zhou Chun-Ya in Chinese, dated 1996 Signed on the reverse: Zhou Chun-Ya and titled Lying Figure in Chinese, dated 1996
附藝術家親簽之原作保證書
With a certificate of authenticity signed by the artist
NT$ 6,000,000-8,000,000 US$ 196,100-261,400
周春芽成名極早，卻似乎總是游離於各種潮流之外。1980 年代，四川美院的「傷痕藝術」聞名中國，當同儕們正在用畫筆描繪、撫平歷史傷痛，並 將人道主義情感寄託於社會寫實的時候，年僅 25 歲的周春芽卻被藏區粗獷斑斕的野原生活吸引，創作了《藏族新一代》，並參加了第二屆全國美展， 當年的美展一等獎為羅中立轟動全國的《父親》，二等獎即是周春芽的《藏族新一代》。而至於沒有加入「傷痕美術」的原因，周春芽於訪談中曾 表示：「當時也做過多次情節性圖解傷痕題材的嘗試，但最後還是沒有畫下去，可能是我自己進入不了那種太複雜的思維。當時就願意寫生，因為 在寫生中我面臨的是一個非常直接的有血有肉的自然，這樣就使藝術的表現一直處在自己的情感激動之中。」 當八五新潮在中國如火如荼地展開之際，1986 年，周春芽避開當時的美術主流，選擇去往德國卡塞爾美術學院留學，深受歐洲繪畫理論洗禮，對印 象主義、立體主義多有浸淫，新表現主義對粗野、原始之美的張揚與讚頌，色彩斑斕與強烈的渲染力也深深令他震撼，他為那種熾烈的真實而心動 不已。然而一首悠揚的中國古曲，卻喚醒他濃烈的思鄉情懷，據周春芽自述：「這種纏綿、矛盾的複雜情感被一首古典《塞上曲》深深打動。」 自德回國後，他避開當世主流，轉而在傳統東方的語彙中尋找一種契合自我氣質的表現性語言，中國傳統文人畫的內涵與意蘊都是他潛心研究的目 標，諸如名家王蒙、八大山人、董其昌，以及黃賓虹的風格都令他心馳神往。步入九○年代，講究山水精神的「山石」系列就這樣誕生，他選擇了 「石頭」這個充滿傳統山水意味的母題，以西方油畫的媒介形式、技法來表現這個富有歷史感與人文精神的中國符號，並在繪畫平面和雕塑縱深之 間、現代潮流與東方儒雅間作出完美地交融與滲透。 周春芽在石頭的結構和紋路裡發掘出人體意象，此幅《倒著的人體》創作於 1996 年，承繼了「山石」系列的磅礡與細膩，作品的線條迅捷、肌理強烈， 流淌著隱而不發的慾望，在刷染擦疊之間，流淌著黃賓虹式的「黑、密、厚、重」，並賦予渾厚多變的視覺元素，精彩展演著女體溫潤的輪廓，以 及筆墨活躍的動勢。而背景的大片留白，使整體畫面上展現鮮明的國畫痕跡，在筆墨轉折、色感錯落之間，暗示出形體豐沛的量感。在《倒著的人 體》中，充斥著傳統繪畫裡皺法的轉用，以及宛如書法勾折的撇捺，精彩地與現代油畫的豐厚色感相互交融，一氣呵成、極富韻律，周春芽以西方 油畫的渾厚技法，呈現出中國筆墨裡「知白守黑」的豐富內涵，充分表達出東方的藝術神髓，與其內在精神的所觀所感。 Zhou became famous very early but it seemed as if he always drifted away from various trends. In 1980, the Sichuan Academy of Fine Arts was the birthplace of Scar Art, a celebrated art movement in China. When Zhou Chunya’s peers were using their paintbrush to heal the historical wounds through depiction of the humanitarian emotional sustenance to social realism, the 25-year-old Zhou was more fascinated by the rough life in Tibetan. he created a series called the "New Generation of Tibetans" and participated in the second session of the National Art Exhibition. First place for the art exhibition went to Luo Zhongli sensational "Father", the second place was given to Chunya's "New generation of Tibetans". Not a follower of the Scar Art movement, Zhou explained, "I did attempt to do it, but I couldn't bring myself into that complicated mindset. Instead I was more willing to do a still life drawing, in which, I'll be facing a very straightforward nature, thus making the performance of art stays in their own emotions. " When the '85 New Wave started in China in 1986, Zhou avoided the aesthetic representation and choose to go study in Kassel, Germany for further art education. He was deeply influenced by European painting theories and fascinated in Impressionism and Cubism. However it was Neo-Expressionism that made the strongest impression on him. When he returned to Taiwan, he devoted his time in developing an expressional language that could match our temperament. Both connotation and inner meaning of Chinese traditional paintings were his research objectives. In the 90s, he chose Rock as his subject for a series of paintings, through the structures and techniques of Western oil paintings combined with expressions of historical and humanity essence in Chinese symbol; He had successfully created a middle ground for Modern art and Eastern traditions. Zhou constructed the image of human body through quality of lines and structures often found in rocks. This painting was created in 1996, which inherited the delicacy of Mountain Rock. He gave this painting various perspectives, and also perfectly depicting the outline of the female body. With a white background, it transcends traces of traditional Chinese painting. This painting showcase expertise in traditional painting techniques and moreover blends flawlessly with modernity. Though the presentation of Western oil paintings, he effectively incorporated essences of Chinese ink painting. In result, the aesthetic aim of rendering inner strength and spirits of Eastern cultural was thoughtfully communicated through Zhou Chunya's art works.
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ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
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100 ZHOU CHUNYA ( Chinese, b.1955 )
JAIME HAYON ( Spanish, b.1974)
Alive and Kicking 14(L) x 5(W) x 8(H)cm (30) 53(L) x 40(W) x 23(H)cm ( 外盒 Box) 130(L) x 55(W) x 81.5(H)cm ( 玻璃櫃 Vitrine) Epoxy resins, lacguer, 53/88 Signed on the bottom Zhou Chunya in Chinese and numbered 53/88 (each sculpture) Signed on bottom Jaime Hayon in English and numbered 53/88 (Vitrine) EXHIBITION: "Alive & Kicking", Museum of Contemporary Art Chengdu, Sichuan, China, Oct. 24 - Nov. 3, 2012 with a certificate of authenticity signed by the artist and placement instructions
NT$ 480,000-700,000 US$ 15,700-22,900
188
ZHONG CHENG 中誠
周春芽 亞米．海因 Alive and Kicking 2012 亮面漆木 53/88（玻璃櫃） 簽名：周春芽 53/88（每件雕塑） 簽名：Jaime Hayon, numbered 53/88（玻璃櫃） 展覽： 「Alive and Kicking 爆發的生命力：周春芽＋亞米。 海因 」，成都當代美術館，中國四川，展期自 2012 年 10 月 24 日至 11 月 3 日 附藝術家親簽之原作保證書、作品擺放示意圖
《Alive and Kicking》是一個討論原生慾望隨心智成長而轉換的創作， 以跨界的形式探討藝術的張力與生命的熱情，生命因為擁有慾望、情 感、熱情與夢想而蓬勃躍動，周春芽與亞米．海因 (Jaime Hayon) 正視 人性本能的慾望和衝動，並將之融入當代設計的思想。「綠狗系列」 是周春芽最負盛名的代表作，綠狗或坐、或躺、或站，擁有各種情緒 和姿態，而「綠狗」更是一個符號，一種象徵，在反自然色彩的呈現 上，更加表現出人性的無盡欲求；而盛裝著人性慾望的載體，是由西 班牙的天才藝術家亞米．海因 (Jaime Hayon) 操刀，他以昆蟲甲殼、塊 狀作為發想的靈感，一如既往地玩心駕馭創作，在優雅與實用性中間 取得平衡，線條有機俐落且極富當代性格。一個盛載夢想的慾望之匣， 與數大便是美的慾望之綠狗一起勾勒出你我心底的原慾狂想。
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101 YOSHITOMO NARA ( Japanese, b.1959 )
Sleepless Night Sitting 15(L) x 19(W) x 28(H)cm Fiberglass, 265/300 With a certificate of authenticity signed by the artist and a wooden box
NT$ 500,000-800,000 US$ 16,300-26,100
奈良美智 失眠夜坐著 2007 玻璃纖維 265/300 附藝術家親簽之原作保證書及木盒 《失眠夜坐著》於 2007 年奈良美智首次與香 港玩具創作公司 HOW2WORK 聯合設計的一 款雕塑，花費三年時間打造，全身以玻璃纖 維製成，外加植毛效果，全球限量 300 件， 每件皆有奈良美智的親筆簽名。這個失眠的 大眼娃娃本是奈良美智筆下的其中一個人物， 靈活的表情、困惑無奈的眼神，生動訴說著失 眠的夜裡，獨坐在小木椅上，抬頭仰望天空， 就這樣過了一個無眠的晚上。
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102 ZHAN WANG ( Chinese, b. 1962 )
Artificial Rock A-63 57(L) x 49(W) x 33(H)cm Stainless Steel, 1/4 Signed Zhan Wang in Chinese, titled A-63, dated 2007, numbered 1/4 With a certificate of authenticity signed by the artist
NT$ 1,600,000-2,000,000 US$ 52,300-65,400
展望 假山石 A-63 2007 不鏽鋼 1/4 簽名：A-63 展望 2007 1/4 附藝術家親簽之原作保證書 展望，1962 年出生於北京，畢業於中央美術學院雕塑系，展望是中國當代身價最高的觀 念雕塑家，而他也是中國當代藝術家在世界藝壇的重要代表人物之一，展望的作品形式廣 泛，舉凡雕塑、裝置、攝影及多媒體等都有涉略。展望是一位非常具有實驗精神的當代藝 術家，對於作品的材料、造型都勇於嘗試，而「石頭」則是展望所迷戀的元素，因此在 90 年代初期，展望以中國庭園山水為發想，展望經過一系列的試驗後，以《假山石》系 列聞名國際。 「假山石」是以中國古代園林中的太湖石為原型，用不鏽鋼手工打造出來的光滑閃亮亮石 頭，製作過程相當複雜，且難度高，此項技術已於 2002 年獲得了國家專利。「假山石」 是展望力求將西方觀念融合傳統文人經典的藝術創作，它以再造自然為其創作的主軸設計 理念，吸收東方和西方，傳統與現代的藝術發展，融合再加以運用，「假山石」系列的石 頭作品在古代與現代的交融轉化中，找到了人們對回歸大自然的渴望，也在真實與造假之 間，幻化成另一種具時代性的符號。展望用自己的方式，擺脫了傳統的負擔，並開闢另一 條找尋自我根本、尋求夢想的道路。 Zhan Wang was born in Beijing in 1962, he graduated from Chinese Central Academy of Fine Arts majored in three-dimensional sculptures. He soon became the most valuable conceptual artist in China. As one of the most important modern Chinese artist, he is an expert in multiple medium of expression; his aesthetic knowledge expands from 3-dimentional sculptures to installations, photography and much more. Zhan Wang is a modern artist that is driven by curiosity; he experimented with diverse materials and models. In the early 90s, Zhan Wang become conscious of his obsession towards rock form; soon after he created a series of rock focus on Chinese landscapes, garden scenery, and other form of sculptures. However, it was the discovery of the Artificial Rock that brought him under the international spotlight. Artificial Rock derived from the Taihu stones originated from ancient Chinese garden. In his creation, the smooth and glossy texture of the surface was handcrafted from stainless steel; the process of creation involve a highly complex procedure, requiring techniques that he has exclusive right to starting from 2002. Artifi cial Rock A-63 projects Zhan Wang's ambition for embracing Western perception and traditional aesthetic intellect. The project focused on nature recreation as it aesthetic aim. The Artificial Rock series has absorbed and combined both the East and the West; traditional and modern art development advancing each element to arrive in their ultimate form. During the act of integration, humans have found their need to return to nature, symbolic to present time where one is born and raised unable to distinguish between real and counterfeit. Zhan Wang with a purpose to aesthetic creations, found a distinct way to migrate from traditional burdens, while simultaneously creating a self-originated path of his dreams. 192
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103 LIANG QUAN ( Chinese, b.1948 )
Untitled 90 x 120cm Ink, Color Collage on Rice Paper Signed Liang Quan in Chinese, dated 2013
NT$ 1,400,000-2,200,000 US$ 45,800-71,900
梁銓 無題 2013 水墨 色 宣紙 簽名：梁銓 2013
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梁銓 1948 年出生於上海，乃中國改革開放後首批前往海外留學的藝術家之一。不僅是當 今藝壇上深具國際化影響力的抽象水墨代表藝術家，更是當代水墨畫的先鋒。梁銓對於形 式的探索始於青年時代，始終以沉著態度追求獨特的藝術道路，與漸趨浮誇繁華的燈紅酒 綠藝術環境保持距離，在西方後現代主義中反對約定俗成的理念影響之下，掘入中國傳統 美學思維，藉由抽象派畫作中發現與禪宗佛教一脈相承的純粹，進而建構理性克制的藝術 語彙。如同藝術評論家夏可君所言：「他的水墨的知覺模式在於，以細碎的繁複來實 現空靜，這在傳統中是不可想像的。」從某種意義上來說，梁銓的水墨開創了一條既 觀照自我內心同時又彰顯東方文人智慧的獨特之路。 梁銓的創作過程自上世紀 70 年代起，歷經早期西方學院訓練以及抽象表現主義、德國新表 現主義影響而成的「寫實時期」、「重彩時期」，後在回歸自我本質的探索之中，在佛學 禪意的薰陶之下，以傳統水墨試圖喚醒內心所塵封的自然知覺，以期達「空」之境界，呈 現「空寂時期」的系列創作。此幅《無題》為「空寂時期」的作品之一，梁銓摒棄複雜的 形式與技巧，以井然有序的抽象線條、撕紙與淡墨染成的色塊組合堆疊而成，跳脫色彩對 於視覺的衝擊張力，企圖在空白結構中追尋秩序，一如唐代柳宗元之詩「千山鳥飛絕，萬 徑人蹤滅。」的「寂寥」之景，更如佛學上的「物空非空」，形而上的精神追求。無論是 細碎的繁複色塊線條，亦或精緻的留白，皆使畫面散發雅致的自然情趣，層次分明的視覺 效果，使中國傳統文化的精髓油然而生。
104 LIU WEI
( Chinese, b.1965 )
Portrait Sketch 7 x 8cm ( 畫 Painting) 20 x 20.5cm ( 框 Framed ) Charcoal on Paper PROVENANCE: Ray Hughes Gallery, Sydney, Australia Acquired directly from the gallery above
NT$ 140,000-220,000 US$ 4,600-7,200
劉煒 人像素描 2000-2003 炭筆 紙本 來源： 澳洲 悉尼 Ray Hughes Gallery 現藏者購自上述畫廊
劉煒生於北京，1989 年畢業於中央美術 學院版畫系，曾被譽為最有才情的中國 當代藝術家之一，而這一系列的人像素 描一共有 20 件，在這個系列作品當中， 可以看得出劉煒他對於面相形式的強烈 興趣，也可感受到他精湛的繪畫技巧， 只用了幾筆便讓畫中人物的臉部表情自 然呈現，作品中人物的特徵活靈活現以 及情感也都被生動地刻畫出來。
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105 XUE SONG ( Chinese, b.1965 )
In Dialogue with Mondrian 120 x 100cm Mixed Media on Canvas Signed Xue Song in Chinese Signed on the reverse: titled In Dialogue with Mondrian in Chineses,120 x 100cm Xue Song in Chinese and English, dated 2006
NT$ 750,000-900,000 US$ 24,500-29,400
薛松 與蒙德里安對話 2006 綜合媒材 畫布 簽名：薛松 畫背簽名：《与蒙德里安对话》，120cmX100cm，薛松，Xue Song，2006
薛松，出生於中國安徽省，畢業於上海戲劇學院美術系，現居上海，專職作畫。擅以貌似 壓克力或者油畫顏料的特殊技法謬惑觀者的第一印象，卻實以採取燒烤和拼貼的方式，細 工於畫布上完成，全然手工製作，如此的不可複製性，也為他的作品附上最好的保證與價 值。在《中國瓷器》中，簡而有力的畫面，是薛松一貫創作的霸氣，他巧妙的安排每個塊 面與視框的距離，彼彼平衡視覺的美感。再細察拼貼般的瓷器構圖，更默然地隱含了東、 西方的概念、技藝、符號，將許多對於現代和傳統的思索，呈現出層次和空間感。若追溯 以往，薛松諸多的取材，也皆是那些三十年代的電影明星和文化精英，十足反映他遊走過 的種種歷史記憶、城市變革、消費奇觀，都滲透在畫作之中，令人們能從枝微末節處，傾 聽到上海不同年代的呼吸，觸摸到城市發展的脈搏。如今，薛松這條藝術創作道路上已走 過了 18 個春秋，他不惜餘力地，仍透過社會、政治、傳統，人文、時尚、審美，坦然面 對浩瀚的歷史、紛繁的世相，砰然於圖像的毀滅與再生中，探尋著藝術的真實和虛幻。 Born in Anhui Province, China, Xue Song graduated from the Stage Art major of the Shanghai Theatre Academy; he currently resides in Shanghai, and is focusing on his aesthetic career. He is known for utilizing materials seemingly identical to acrylic and other pigments to confound the audiences' first impressions. Xue Song's work are mostly created in collages, delicately formed through process of paper burning and rearrangement by crafts. The nonrepetitive process creates each work with individuality, which makes every piece of his production unique and guaranteed in quality. The simple yet powerful images in "In Dialogue with Mordrian" best reflects Xue Song's aggressive attitude towards production. The spaces between every collage piece are thoughtfully arranged to its most efficient distance in order to bring out the most balanced visual effect. Looking closer at each vase, one can discover realms of Western and Eastern cultures within the compositions, in addition to the techniques and symbols as they simultaneously reflect and reinforce space and levels through deep contemplations of modern convention. Xue Song earlier works are closely related to subject of celebrities and the 1930 culture, they relate back to his personal experience, memories, and opinions towards segments of history, city, and commercial development. His aesthetic offer journeys to different time periods of Shanghai, touching base on the heart of society prosperity and growth. Xue Song has been sending messages through his work, with each carrying various approaches and voices for the past eighteen years. Today, he will continue to commit himself fully to the exploration of art between reality and delusions. Through social, political, conventional, humanist aesthetical approaches, he will closely observe and evaluate the vast social events and history by deconstructing and recreating images.
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106 PAN DEHAI ( Chinese, b.1956 )
Portrait 100 x 68cm Oil on Canvas Signed Pan De-Hai both in Chinese and English, dated 1999
NT$ 800,000-1,000,000 US$ 26,100-32,700
潘德海 肖像 1999 油彩 畫布 簽名：潘德海 Pan de hai 1999
潘德海，中國吉林四平人，擅以油畫、水彩揭露人與環境的關係。追朔他如何能細膩地洞悉一 代中國人的社會百態，並以充滿歷史性的敘事，與文學性的形象相佐，皆因其自青壯時期，即 不斷接觸俄羅斯巡迴展覽畫派的風格和連環畫作品，此類藝術與當時保守觀念大相逕庭，便開 闊了潘德海的眼光，又以列賓、華山川、賀友直等藝術家使他最難以忘懷。而後八五新潮掀起 了中國當代藝術的巨浪，潘德海乘風破浪同毛旭輝、張曉剛、葉永青等人創立「西南藝術研究 群體」，以西方哲學、文學和心理學的基礎，關注人類生命的意義，並融入法國哲學家柏格森 「綿延」之說，將自由的創造意識反映在本質的體察、挖掘與強烈激情之中，故被喻為「生命 之流」，為中國當代藝術的進化向前推了一把。更為之讚嘆的是，苞米（又稱玉米）竟也能在 潘德海手中呈現出一個神秘的世界，既複雜、怪異，又難以琢磨，卻不難在繁衍的排序裡，察 覺壓抑的情緒，及生命流動之感。直至九十年代後，潘德海從苞米符號中，反思、改造、延伸， 全然新意的「胖子」系列創作，以豐滿遲鈍，膨脹慾望的印象，疊加另一層語意的象徵、隱喻 和諷刺趣味。如《肖像》，潘德海對社會說不盡的話語，都寄託於這些圓潤有如氣球般的身材， 來表露人之所處、所想、所望。 Pan Dehai, from Jilin Siping, China, specializes in revealing relationships between human and its surroundings with mainly oil paint and watercolor. His ability to observe closely at Chinese society and accurately present it in a historical literary manner should be attributed to his youth. Pan Dehai’s perspective was broadened by the interactions with the Russian paintings and series of work on tour that held a rather adverse perception from the general public. He especially had a deep impression on artists such as Repin, Huashan Chuan, and He Youzhi. During the 85 New Wave Movement, Pan Dehai grasped onto the rise of vitals in Chinese Modern Art and founded Southwestern Art Research Group with Mao Xuhui and Zhang Xiaogang. They embraced the fundamentals of Western philosophy, literature and psychology for the studies of meaning behind human life. The theory Durée by French philosopher Henri Bergson was also applied to reflect freedom of creation onto the study of the core. The discoveries and strong emotional communication, so called the "Flow of Life", could be seen as a huge accomplishment in the Chinese Modern Art evolution. Even more astonishing, Pan Dehai was able to project a mysterious world through images of corns. His works are so complex, eccentric and unexpectedly chaotic, yet includes the obligatory compliments of suppression and the flow of life. Up till the nineties, Pan Dehai had developed levels of introspection, transformation and expansion from the original corn symbol. The new "Obese" series as created a new layer of symbolic meaning of humorous satire through the dull, swollen images of desire. As seen in Self-portrait, Pan Dehai has trusted these round, balloon-like bodies for the sustenance of his voice towards the society, revealing people’s thoughts, desires, and wills.
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107 TANG ZHIGANG ( Chinese, b.1959 )
China Fairytale Series - Shooting 74 x 105cm Watercolor on Paper Signed Tang in English, dated 2010 PROVENANCE: Acquired directly from the artist
NT$ 900,000-1,200,000 US$ 29,400-39,200
唐志岡 中國童話系列 - 射擊 2010 水彩 紙本 簽名：Tang 2010 來源： 原藏者購自藝術家本人
唐志岡，1959 年生於中國雲南，他生於軍隊，長於部隊，畢業於 中國解放軍藝術學院油畫專業，也是因為如此，使其作品取材獨 樹一幟。由於生活背景的特殊，更令其藝術品帶有強烈自傳色彩 的個人風格，如《中國童話故事》系列，具有一種頑童心態，看 似詭異瘋狂卻又都只是在敘述唐志剛童年生活中所見的那些難以 忘懷的片段。 1998 年是唐志岡的作品歷經重要轉變的一年，他沒有隨著當時的 繪畫潮流，以社會生活的題材來創作，而是以他最熟悉、最能打 動他的軍旅生活記憶作為主要創作題材，但他並不再只是單純地 描繪士兵的日常生活，反而加大了反諷的意味。《中國童話故事 射擊》正是此時期的作品之一，佈局上童趣詼諧，巧妙隱含故事 性，身著綠色軍裝的孩童，手持槍枝行射擊之舉，看似天真幽默， 卻顯「成人」意味濃厚，進而諷刺當今中國政治、社會面下的表 裡不一。而近年來，唐志岡的手法越發純熟，他以西畫的語言手 法來講述一個中國的童話，唐志岡的作品色彩變得越來越鮮亮， 且富有強烈的當代感；他以輕快、活潑的兒童形象來消解這個世 代所蔓延的焦慮和心理負擔。
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108 CHIU YATSAI
邱亞才
( Taiwanese, 1949-2013 )
女人
Woman
130 x 97cm 油彩 畫布 簽名：邱亞才
130 x 97cm Oil on Canvas Signed Chiu Ya-Tsai in Chinese
NT$ 2,600,000-3,200,000 US$ 85,000-104,600 「我們觀察人事，要透徹的把那鬱暗又複雜的心思表露出來，向來就是我們寫作的正理。」 ---邱亞才 邱亞才，生於台灣宜蘭，非學院派畫家，自幼對正規學業不感興趣，退伍後才開始有所追求文字藝術，同時深刻觀察著人性 言行，他自稱自己就宛如城市裡的漂泊者，常將身邊不經意而過的人，都落在創作上，日落以前繪畫、夜暝來時寫小說，日 復一日、年復一年。至此之後，邱亞才逐漸聲名，文章多見於報章，同時以肖像畫著稱，風格簡潔明朗，形態深受漢朝到唐 朝肖像畫影響，於是箇中人物，修長優雅，目光往往不與觀者對視，安靜悠然，卻能從中感受到人事的複雜和深沉，好比反 應了邱亞才獨立的人格，以及對事態細膩的感驗。 邱亞材的作品曾於台北春之藝廊、歷史博物館及省立美術館等處展出，熱潮於香港、美國等地，東西方國域皆有他的足跡， 晚年的邱亞才，最後仍不敵阿茲海默症的消磨，因多重器官衰竭離去人間，僅留下繪畫、小說文集，讓後人還能依藉，來回 首其平凡卻又不凡的孤寂人生。 邱亞材以自身的天賦冷眼對抗外在世界的轉變，以細膩的筆觸描寫深沉心境，傳達著世間的紅男綠女所遭臨的生命歡欣和漩 渦，以及他們的生老病死和惆悵。邱亞才用繪畫的方式來解釋尋找人生的意義和象徵；此幅《女人》所欲追尋的意圖，亦絕 不僅限於描繪主角的外型與外貌，在邱亞才的畫筆款款、隱喻的巧思裡，體現了中國藝術的神髓，將繪畫視作自身靈魂的延 伸。 "When we observe life, we must completely reveal the melancholy and complicated emotions of their minds. It is the truth we must withhold." ---Chiu Ya Tsai Chiu Ya-Tsai was born in Yi-lan on the East coast of Taiwan. He was neither educated in art school nor interested in proper education. Only after his completion of military service, that he began to pursue knowledge of literature and aesthetics, meanwhile observing the behavior and physiological aspect of humanity. He called himself a wanderer of the city; he would often illustrate strangers who unintentionally passed by. For day after day and year after year, he paints before sunset and writes novels during the night, gradually he became famous as his articles were often published in the newspaper. His portrait paintings, on the other hand, were celebrated for it simplistic yet vibrant style. His aesthetic approach was strongly influenced by the characteristics of Tang Dynasty; the features of his subjects were elongated to transcend elegance and grace. The character's gaze is almost never in contact with the viewers, although the atmosphere of the painting is calm and serene, yet it reveals the complicity and profound mind of humanity. His aesthetic perfectly resembles the artist’s unique characteristics and sensitivity to his real life experiences. Chiu Ya-Tsai's works was exhibited at Taipei Spring Gallery, National Museum of History, National Museum of Fine Arts and more. His artworks can be found in Hong Kong, United Stated and other places, appreciation for his expands from the East to the West. The most significant exhibitions of his lifetime was also his last, it took place at the Ming Art Gallery. In Chiu Ya-Tsai's later years, he suffered from Alzheimer's disease, and passed away due to multiple organs failure. He left our world paintings and novels as a reminder of his remarkable but isolated life. Chiu Ya-Tsai with gifted talents stood against the mainstream of the world. He composed the profound wisdom of the minds through delicate brushstrokes, in attempt to translate the joy and sadness of life, not excluding the melancholy of birth, aging, illness and death. Chiu Ya-Tsai used his paintings to seek the meaning and symbolism of one's life journey. In Woman, Chiu investigated beyond the appearance, through the variation of his brushworks, he silently reflects the essence of Chinese traditional aesthetic, through aesthetic Chiu can further extends his the reflection of his mind.
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109 YANG SANLANG
楊三郎
( Taiwanese, 1907-1995 )
流金秋雪
Gilded Mountainscape
油彩 畫布 簽名：S.Yang
97 x 130.5cm Oil on Canvas Signed S. Yang in English
附楊三郎美術館開立之原作保證書
With a certificate of authenticity from Yang San Lang Art Museum
NT$ 2,800,000-3,200,000 US$ 91,500-104,600
生於 1907 年的楊三郎，為台灣第一代藝術家，與顏水龍、李梅樹、廖繼春、陳澄波等齊名，亦同為「台陽美術協會」的創立者之一。 其擁有堅實優異的繪畫技巧，畢生追尋藝術之美，在台灣前輩藝術家中聲望崇高。一生潛心推動各項藝文運動，為美術發展史上帶來無 可取代的巨大影響，「楊三郎是臺灣美術史中一位帶頭衝鋒陷陣的人」，其友人曾如此讚嘆，楊三郎因而有台灣美術發展之父的美譽。 出生士族的楊三郎，自幼家境優渥，父親為地方著名士紳，更是台北大稻埕的著名詩人。因對美術有極大的抱負與興趣，在 16 歲的青 年時期即渡海前往日本，進入關西美術學院研習美術，1932 時與畫家劉啟祥一同至法國留學，並於歐洲各大博物館瀏覽、觀摩所藏名畫， 次年更入選法國秋季沙龍。回台後便投入各項美術運動，開拓台灣美術風氣。楊三郎深受日本外光派與法國印象派之影響，畫風崇尚自 然寫意，擅於客觀的臨摹中添上直觀的情懷，筆觸大方恣肆，卻結構和諧，光影寫實的柔和技法極具審美意趣。 「寫生」幾乎佔據楊三郎的創作生涯，他強調為孕育自我對蒼芎的情意與感知，需要實地置身於大自然中，醉心景物之美，故走訪世界 各地，以自然為師的態度，用畫筆詮釋於畫布之上。楊三郎對於山勢、林相、季節、氣候皆能表現出其獨特的見解，隨興筆觸，自在奔 放，善用色彩層疊堆積，游刃有餘，細膩卻不失張力。《流金秋雪》以其慣用構圖方式，前景紅褐配色樹林，帶入秋意的季節主題，與 後方綠色山巒、第三層的白色雪山帶出和諧有序的水平線條構圖，呈現大山的磅礡氣勢，卻在山勢陵線所構築的空間感中，透露大自然 的生命力，意趣萬千，靜謐閒逸，色彩的渲染之下更顯靈動，雖是蕭瑟之秋，卻是活潑悠然之景。「如何把大自然轉化為一幅畫，我 做了六十多年的功夫……唯有直接面對自然，才能感受人我與天際間的合一，才是最純粹、動人的自然容顏！」楊三郎終其一 生與「寫生」為伍，毫無保留的追逐自然，即便晚年時身體諸多不適，仍想像著過往走遍的各地風情，在病床旁立起畫架作畫，此情此景， 滿是生命與大自然交替的痕跡。 Born in 1907, Yang San Lang was one of the first generation artists, notable as other famous Taiwanese artists such as Yen Shui Lung, Li Mei Shu, Liao Chi Chun, Chen Cheng Po. He was also one of the founders of Tai-Yang Art Association. His articulate drawing skills and sense for art has always been celebrated among artists at early age. Yang San Lang became an influential father of art had he spent most of his life contributing to countless art movements and events. An acquaintance of his once said, "Yang San Lang had always been the one who charged and break through battle lines in Taiwanese art industry." Yang San Lang was born in a wealthy land-owning family, his father was also a well-known poet in Dadaocheng, Taipei. At the age of sixteen, he traveled to Japan with his strong passion for art; he studied at the Dayton Art Institute. He later pursued his continued education in France in 1932 with artist Liu Chih Siang. He took the opportunity to visit museums and galleries looking for inspirations that earn his nomination at Le Salon d'Automne the following year. Later, Yang San Lang traveled back home looking for ways to promote aesthetic in Taiwan. A mix of Japanese plein airism and France impressionism can be observed from Yang San Lang's paintings. He concentrated on the depiction of nature, expressing subtle emotions through objective drawings and sceneries. His controlled and unrestrained brushstrokes collectively show structural order. His other signature techniques include the use of light and shadows, which he bring into each painting to emphasize the sense of fleeting moment and his interest in the essence of his subject. Yang San Lang spent almost his entire art career painting plein air. It is a way the artist had chosen to celebrate human's affection and the objective perspective for nature. In order to record and appreciate nature, one must travel and retain what the nature has to teach onto a canvas. The artist was especially skillful at illustrating sceneries of mountains; woods, seasons, and weather, for each there was a unique way of interpreting. His spontaneous mood was projected through free lines and layers of colors, accomplished with intricate details and tension. In Gilded Mountatinscape he applied his classic composition by presenting the autumn mahogany woods in the foreground. Green vibrant mountain hills are placed behind the layer, followed by the white snowy ridges in the background. The layers come together to harmoniously deliver a parallel horizontal composition. The mountains hold great momentum that simultaneously express their peacefulness and particular charm through the ability of life. Although the setting is in rustling fall, the colors used in the painting have successfully furnished a lively vibe. Yang San Lang's passion for plein air was recognized. In his late years, he remained determined to travel and see more of the world. Even by the hospital bed, he would set up his canvas without giving up on recording the environment around him, filling the room with traces of interacting lives and nature.
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110 CHEN CHIN
( Taiwanese, 1907-1998 )
Beauty under the Moon 169.4 x 116.1cm Glue Colour on Paper Signed Chen Chin in Chinese With one seal of the artist PROVENANCE: Formerly the property of Mr. Yang Zhao-Jia (Acquired from the artist directly) Private Collection, Asia (Acquired from the family of Mr. Yang Zhao- Jia) Christie's Hong Kong, Asian 20th Century Art, Day Sale, 24 November 2013, Lot 0214
NT$ 1,650,000-2,000,000 US$ 53,900-65,400
陳進 月下美人 膠彩 紙本 簽名：陳進 藝術家鈐印：進 來源： 楊肇嘉舊藏 ( 直接得自藝術家本人 ) 亞洲私人收藏 ( 購自楊肇嘉家屬 ) 香港佳士得，二十世紀亞洲藝術，日拍，2013 年 11 月 24 日，Lot 0214
陳進，又名陳進子，一九○七年生於新竹香山士紳世家，繪畫天賦啟蒙於日本水彩畫大 家—鄉原古統，因此習得東洋畫畫風，而在風氣未開的時代，女流習畫能得長輩支持實 數不易，陳進卻幸運的備受鼓勵考取東京美術學校，以女子之姿打破成規，更在一年級 時，以膠彩畫〈罌粟〉、〈潮〉、〈姿〉入選第一屆台灣美術展覽會，與林玉山、郭雪 湖被譽為「台展三少年」，震驚畫壇。其畢生對繪畫專注而沈迷，加上虔誠信佛，使得 繪畫風格即便寫實，仍不脫閨秀氣質與靈性，也全然顛覆女性不能成為職業畫家的論述， 在臺日兩地畫壇嶄露頭角。陳進作品尤以「人物」是她最擅長的創作題材，因此，無意間， 她的彩墨也為當代臺灣女性的流行時尚留下珠璣。談起她另一個作為母親的身份，天倫 之樂昇華了她的作品，將母性的愛用畫筆揮灑，使得家庭、事業兩兩兼顧。桂月先生曾 親書「神似」二字，送給陳進作為紀念，正意味著她畫裡的人物，每每都像《月下美人》 般巧笑倩兮，美目盼兮，素以為絢兮，神韻自然到位。
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111 SAD JI
( Chinese, 1914-2005 )
Imperial Concubine 42 x 34.5cm Oil on Canvas, Mounted on Board Signed Sad Ji both in Chinese and English With one seal of the artist PROVENANCE: Aquire from Vanderkindere Auction, Belgium
NT$ 1,000,000-1,200,000 US$ 32,700-39,200
沙耆 貴妃 1930 年代 油彩 畫布 裱於木板 簽名：SAD JI 沙耆 藝術家鈐印：耆 來源： 比利時 Vanderkindere 拍賣會
沙耆生於 1914 年浙江寧波，曾負笈比利時深造。旅歐十年間，沙耆的作品曾與畢卡 索等西方藝術大師共同展出，也多次舉辦個人展覽，並得到當地藝術界的高度評價， 但終因精神壓力太大，導致罹患精神疾病，自 1946 年返國後，沙耆一直隱居家鄉， 過著孤單寂寥的生活，漸漸地遠離人群、遠離社會、遠離藝術界的潮流。 沙耆是家鄉鄉親口中會畫畫的瘋子，但這個瘋子的畫卻蘊藏著東方的空靈之美，以東 方題材搭配西方的繪畫手法，看似亂塗畫、毫無章法的作品，卻猶如巨大磁場強力吸 引著觀者的目光，他燃燒自己靈魂追求藝術的美，使他有了「中國梵谷」的稱號，這 個曾經幾乎被人遺忘的畫家，卻在過了近半世紀，再次證明了自己的價值。 此幅《貴妃》，形象簡潔、構圖生動，貴妃和服侍她的仕女，色彩單純樸素，留白的 背景，以速寫式的線條和色塊勾勒出穿她們身上的服飾，使得畫中的貴妃洋溢著濃郁 的東方情調且顯典雅，現在就讓我們好好浸淫在沙耆燦爛輝煌的藝術景象中。
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112 SAD JI
沙耆
( Chinese, 1914-2005 )
水果靜物
Still Life with Fruits
1930 年代 油彩 畫布 裱於木板 簽名：SAD JI
38 x 44cm Oil on Canvas, Mounted on Board Signed Sad Ji in English PROVENANCE: Aquire from Vanderkindere Auction, Belgium
來源： 比利時 Vanderkindere 拍賣會
NT$ 1,150,000-1,350,000 US$ 37,600-44,100
1937 年，沙耆經徐悲鴻推薦，遠赴比利時皇家美術學院深造。在新寫實派畫家巴斯天院長的指導下， 沙耆深刻熟稔了各時期歐洲繪畫經典，自此將近十年間，沙耆在異鄉大放異彩。旅居比利時時期曾多次 舉辦個展，1940 年沙耆與畢卡索等世界名家在比京阿特利亞蒙（ATRIOME）舉辦畫展，得到了當地美 術界的高度讚賞。這是藝術家一生最意氣風發的時代，創作一系列質量俱精的珍品，此幅《靜物》也完 成於此時。 1946 年回國後，沙耆受精神疾病所苦而隱居故鄉，但接踵而來的戰亂與文化大革命的苦難，以及父親 亡故、妻離子散的孤苦寂寥，都使他的精神疾病更加惡化，沙耆把病中紊亂的內心波瀾傾注在顏料的塗 抹上，在命運的痛擊中頑強掙扎，以執著熾烈的藝術心靈詠唱出生命的凱歌，而擁有「東方梵谷」之美 稱。 《靜物》呈現沙耆經典的藝術語彙，刮刀層層的堆砌，質感豐厚，看似隨心所欲、用筆粗放，實則佈局 精細、毫不含糊，沙耆以果敢粗獷的色彩，將時間與光影凝鍊在瞬間。畫中的白色瓷瓶與鮮果井然交錯， 純白的布料與深褐色的背景、湛藍的瓶形色對比，造型堅實，豪邁的筆觸中蘊含著謙遜和靜美。 沙耆終其一生奉獻於藝術，歷經璀璨丰華，卻也走過難以言喻的漂泊艱辛，時而清醒、時而瘋癲，構成 他獨特的藝術魅力和傳奇的生命歷練。雖然螫伏數十年，但藝術的美好不會被埋沒，沙耆在八○年代所 舉辦畫展震撼了中國，引起激烈回響、輝耀青史，至今不綴。 In 1937, Sad Ji with the recommendation of Hsu Bei Hong, he travelled to Belgium's finest Royal Academy of Art. It was during the Art movement of Impressionism, Sad Ji receive guidance from his principle Bastian. Sad Ji read and re-read the history of classical European Fine Arts. After nearly ten years time, Sad Ji started showcasing his art works in this foreign country. He held many exhibitions in Belgium, in 1940 he was even in the same exhibition as Pablo Picasso and Beijing artist Atriome. He received high praise from the art world, at the height of his career. This was the year when many classics were created, also the year when Still life with Fruits was created. In 1946, Sad Ji returned home due to mental illness. The occurring events of war, Cultural Revolution, the passing of his father only worsen his condition. The sick Sad Ji express all his hatred and chaotic thoughts onto the canvas, his shaken faith were express through the music of his art, similar to Van Gogh’s mental but beautiful mind. In Still life with Fruits, Sad Ji presented the classic aesthetic language of applying layers and layers of paint with palate knife. The thick application may seen to be apply with instinct, however the composition was planed and organized. Sad Ji unafraid to use dark and bold colors, he capture the moment and sealed it within his canvas with accurate lights and shadows. Within the picture of white vase and fresh fruit, the brown background and pure white fabric are in direct opposition. The bright blue vase on the other hand, compliments the orange fruit. His subjects are well depicted, with wild brushstrokes that is also humble and elegant. Sad Ji, dedicate his whole life to art. He had experienced the height of his career, but was also forced to a mental place where he felt hopeless and was almost driven wild. His unique artistic charm and legend are made up of years of experience. Although he isolated himself for many years, the beauty of his art will not be buried long. Sad Ji in the 1980s hosted an exhibition in China that shocked the world. His determination and passion for art remain till the day he died.
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113 PIERRE FERNANDEZ ARMAN ( American-French, 1928-2005 )
Table Double Gambit Base 70(L) x 70(W) x 75(H)cm Bronze, 3/8 Signed Arman in English, numbered 3/8
NT$ 900,000-1,200,000 US$ 29,400-39,200
阿曼 雙提琴桌子 銅 3/8 簽名：arman 3/8
阿曼，出生於法國尼斯，為新現實主義與波普藝術運動的代表人物，亦是少數仍在 世時即被寫入西洋藝術史的藝術家之一。論起他的創作風格，便是運用生活中熟悉 的、消費性的物品，將其以對角、橫向、縱向的方式切割後，再堆積組合的原理， 加以創作，使物品能換個方式被保存下來，為此也是致力於建構對真實事物的重新 感覺和認識，賦予它自身的節奏感，讓觀者聽見屬於每件雕塑的獨特樂音，如此一 來兩者間即可從直觀的表象中，提煉到藝術精神的主觀意象上。然而，阿曼如此寓 理於趣、形質並重的作風，全起於他理性與感性並齊的個性：「當你打破一塊直
條板，你得到的是一種立體主義的結構；而當你破壞一個大提琴，其終了 是一些浪漫的事」。反觀《雙提琴桌子》，阿曼不僅以充滿詩意的形態呈現社會 生活與文化內涵，並打破了原本內、外隔離的形式，使得界限徹底消失。 Arman, born in Nice, France, is a largely influential artist often associated with Pop Art and Neorealist movement. He was most well-known for his sculptures created from readymade objects. These mass-produced items were deconstructed in all directions and rearranged into completely new form. The creative procedure allows certain parts of the readymade to be preserved, yet reborn in an absolute innovative and aesthetic manner. The new abstract accumulations are seen as repeated forms that hold deeper meanings than just functional consumer products. These sculptures invite the viewers to develop new perspectives and to feel each unique rhythm of symphony. Arman responds directly to present-day environmental and social issues while strengthening his subjective views through art. The distinct style of his was shaped by his strong-mindedness yet witty persona. His characteristics performed corresponding amount of rationality and perceptual aspects; which later impacted on his concentrations on both forms and qualities of lives. He once stated, "When you destroy a piece of wood, you receive a cubist structure. In contrast, once you destroy a cello, it is nothing but romantic." Looking back at the Table Double Gambit Base, Arman not only poetically presented the secluded social and cultural connotations; he also decoded the original boundaries between internal and external forms of objects and lives.
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114 PABLO RUIZ PICASSO ( Spanish, 1881-1973 )
Picasso: Dibujos - Gouaches - Acuarelas (SALA GASPAR CATALOGO) 24.4 x 19.5cm ( 書 Book) 46.5 x 36cm ( 版畫 Lithograph) 29.5 x 24.7cm ( 書盒 Case) Crayon on Paper, Book Lithograph, H.C. Signed Picasso 24.6.61 PARA (book) Signed Picasso and numbered H.C. (Lithograph) With a certificate of authenticity from gallery NOTE: "Picasso: Dibujos - Gouaches – Acuarelas" and "Sala Gaspar. Dibujos de Picasso. April 1961" comes in a set. "Picasso: Dibujos - Gouaches – Acuarelas" was published in 1961, the same year of publication as the exhibition catalogue of "Picasso's Sala Gaspar, Barcelona". It contained a collection of 72 paintings and list of exhibition works, printed in color. Limited 1000 editions include the artist's signature. "Sala Gaspar. Dibujos de Picasso. April 1961" was the very cover of the catalogue.
NT$ 2,800,000-3,600,000 US$ 91,500-117,600
畢卡索 Picasso: Dibujos - Gouaches - Acuarelas 親簽塗鴉畫冊與版畫組 1961 蠟筆 紙本 書冊 版畫 H.C. 簽名 (book)：Picasso 24.6.61 PARA 簽名 (Lithograph)：H.C. Picasso 附畫廊開立之原作保證書 備註： 此為《Picasso: Dibujos - Gouaches - Acuarelas》展覽圖錄與《Sala Gaspar. Dibujos de Picasso. April 1961》版畫兩件一組作品。《Picasso: Dibujos - Gouaches - Acuarelas》出版於 1961 年，同年度畢 卡索於巴塞隆納薩拉加斯帕爾 (Sala Gaspar, Barcelona) 畫廊之展覽畫冊，內刊載 72 件作品及展覽 清單，彩色印刷，限量 1000 本，並有藝術家親簽蠟筆塗鴉於內頁。而《Sala Gaspar. Dibujos de Picasso. April 1961》為此展覽圖錄封面。
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ZHONG CHENG 中誠
版畫 H.C
親簽塗鴨于畫冊上
從啞啞學語時，畢卡索就以第一個發聲「皮茲、皮茲」，即西班 牙語「鉛筆（lápiz）」的簡短發音，掀開藝術的扉頁。生長在藝 術家庭的孩子，父親不僅是素描教師，也是畫家，專攻自然素描 鳥類等動物，畢生擔任藝術教授和當地美術館館長，他竭盡所能 將所長皆賦予兒子，直至發現畢卡索天賦異稟的能力已然青出於 藍。爾後，依靠自己靈感的畢卡索，尋尋覓覓中，特別崇拜埃爾 ‧ 格雷考的特色，那樣近乎拉長的肢體、醒目的顏色、神秘的面容， 都深鑿他的內心，著實影響他的畫風。綜觀畢卡索創作分嶺，藍 色時期，他習以運用內斂的象徵手法，專注表現窮人哀感的地方， 甚有時以娼妓與乞丐作為主題，可於當時《青年藝術》雜誌中見 其插圖；玫瑰時期，因墜入愛河，色調始為暖和，畫面層次含意 深遠，亦觸及塞尚的形式架構、非洲藝術，和古伊比利藝術中嚴 峻的純樸感；進入原型立體派階段後，開始融會貫通多種風格作 畫，強調曲線、雕刻質感，確立自身創作印象，廣受風靡，成就 畢卡索與馬塞爾 ‧ 杜象和亨利 ‧ 馬蒂斯三位，被譽為在二十世 紀現代藝術的代表人物，各在繪畫、雕塑、版畫及陶瓷上都有顯 著的啟迪。
Among the vast numbers of artists, Picasso was especially fond of El Greco's aesthetic style. The elongated limbs, vibrant colors and mysterious expression had marked a deep impression on Picasso; he soon projected onto his own artistic creation. During the Blue Period, he painted essentially with techniques of reserved symbolism, focusing on disclosing sorrow of the impoverished community. Prostitutes and beggars played huge roles in various paintings, as seen in the Youth Art magazine back in the days. Picasso later shifted from blue to warm colors in pigments, an evident reflecting his status of being in love, the images produced during this period became more complex and emotionally meaningful. The works also contained elements of Cézanne's signature structures, African art and a sense of simplicity from ancient Ibérica art. Transforming to the early stage of Cubism, Picasso started incorporating multiple styles of drawings, emphasizing the curves of lines, higher quality in sculpting, and creating a signature style for his paintings as he became well recognized by the society. Along with Marcel Duchamp and Henry Matisse, they were perceived as the leaders of the twentieth century art, they each present great impact influence paintings, sculptures, printmaking, and potteries.
MODERN AND CONTEMPOR ARY ART
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115 YANG CHIHUNG ( Taiwanese, b.1947 )
Daydream 170 x 220cm Acrylic on Canvas Signed C. Yang in English Signed on the reverse: Chihung Yang in English, titled Day-dream in English, inscribed charcoal and Acrylic on Canvas, 67 x 87 inches EXHIBITION: "Yang Chi-Hung in New York 20 Years - The locus of Fire and Ice", solo exhibition, Mountain Art Museum, Kaohsiung, Taiwan, 1999 "Looking for the Light", solo exhibition, Hudson Gallery, New York, USA, 1999
NT$ 1,600,000-2,000,000 US$ 52,300-65,400
楊識宏 白日夢 1983 壓克力 畫布 簽名：C.Yang 背面簽名：Chihung Yang，Day-dream，charcoal and Acrylic on Canvas，67x87 inches 展覽： 「楊識宏紐約二十年─火與冰的軌跡」個展，山美術館，台灣高雄，1999 年 「光之追尋－楊識宏個展」，厄汶頓赫德遜畫廊，紐約，1999 年
「在楊識宏的繪畫裡，自然浩嘆它敵不過時間。但它是一個多麼吸引人的哀愁、那麼有說服力、那麼機敏，然而又保有 樂觀主義於內。就像這些繪畫中所暗示的大膽的美一樣，自然夢見一個榮光之回饋的夢；征服了它年去年來的枯朽。」 ---大衛‧艾柏尼 此幅《白日夢》成於旅美初期的 1983 年，各種生活的物件圖像、趴臥的裸女等進行排索和併置，楊識宏將各種經驗的片段汲取、散置、 夾陳於同一平面，重覓藏匿其間的真實。背景含混的豐富色彩，圖像漂浮、意象突兀，讓畫面呈現彷彿是午寐之時，半夢半醒，意識 正朦朧間所作的《白日夢》。楊識宏透過精巧配置的構圖經營，以及色料暢然的橫溢塗抹，讓物件間既疏離又緊密，彼此無關而又相 互交引，勁氣相連，而形成含有魔力的符碼，在繽紛華燦的空間之中，讓原有的意義產生擴散和延展，延湧出無窮的想像。奚淞即道：
「對楊識宏來說，每幅畫都是一個故事，裡面可能是歷史、可能是生死輪迴，或者是現代的疏離與溝通。他毫不膽怯地 將各種互相牽連呼應的題材儘可能地放進同一幅畫布裡面去，而到達飽和狀態。」 "Yang Chi-Hung's paintings contain the magnificence of nature that cannot compete with time. Yet, it is projecting the sorrow that is so attractive, persuasive and intelligent. At the same time optimism hides within. Just like the audacious beauty these paintings present, naturally rewarded with a glorious dream; conquering the withering of the past years." ---David Aiboni Day Dream was created in 1983, during Yang Chi-Hung's early times in America. Yang Chi-Hung had re-arranged, organized derived, and combined segments of life experiences, such as the naked woman and daily items, onto a single surface. He explored the new combinations and elements for the hidden reality. The obscured lively colors topped with floating items and abrupt forms have created a setting of pleasant afternoon, combining a sense of dim consciousness to the dreamy Day Dream. Yang Chi-Hung's effort on building the composition and color choices successfully portrayed the closeness but distant relationship between forms of objects. Unrelated but attracted, the items generate a force that brings the breadth to life, providing boundless meanings that allow imaginations to be unconditionally expanded.
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MODERN AND CONTEMPOR ARY ART
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116 JU MING
( Taiwanese, b.1938 )
Taichi Series 30.2(L) x 17.3(W) x 26.2(H)cm Copper, 9/10 Signed Ju Ming in Chinese, dated 1995, numbered 9/10 With a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation
NT$ 1,100,000-1,400,000 US$ 35,900-45,800
朱銘 太極系列 1995 銅 9/10 簽名：自 朱銘 9/10 '95 附財團法人朱銘文教基金會作品鑑定報告書
朱銘，本名朱川泰，為家中么子，由於出生時父母親的歲數相加為 92 歲，故童年小名「九二」，生於台 灣苗栗通霄的窮苦農家。其雕刻生涯啟蒙於鎮上媽祖廟的雕刻師－李金川師傅，學習的是傳統廟宇的工 藝，並建立繪稿的基礎。而經過數次參加雕塑類比賽後，決心踏尋一條通往藝術創作的道路，因此拜入 台灣雕塑界大師－楊英風門下，進入人生的轉捩點。為徒八年期間，受「重精神、重靈性」的創作理念 影響，逐步掌握了藝術生命的本質，使朱銘拋開形式、擺脫寫實、保留神韻，發展出獨特風格，並以台 灣文化主體性的議題，受到了藝文界熱烈迴響，繼再現「太極系列」作品，確立了在雕塑界的地位。雖 已然在台灣藝壇立足，但他並未以此自限，反而展開了藝術生涯的另一個突破，醞釀、思索一種生活化 且具自由精神的創作主題，深化它的語彙及精神體悟，從有形到無形，兼備形似與神似，一切均信手拈來。 即便如今年過七旬，朱銘仍以旺盛的精力，使徒般的熱情，獻身修行於藝術。 Ju Ming, original named Ju Chuan Tai, was the youngest of the family. He was given the nickname Nine Two, as that was the sum of his parents' ages when he was born. Beginning his life in a low-income agriculture family in TongXiao, Miao Li, Ju Ming was inspired by a Matsu temple sculptor named Lee Jin Chuan. He was taught to draw basic drafts and acquired knowledge of traditional temple manufacturing techniques. After attending numerous sculpture-related competitions, Ju Ming decided to go down the path of aesthetic pursuit. He soon became the apprentice of Taiwanese master sculptor, Yu Yu Yang for nearly eight years. The concept of spiritual and essence struck him to manage the foundation of aesthetic life. He breaks away from conventional boundaries; withdrawal himself from reality, while maintaining the true essence in order to successfully develops his own distinct style. His artworks discussed the current issues reflected upon Taiwanese culture. Not before long, Ju Ming start to received supporting feedbacks and recognition from the art industry, he continued to showcased his Taichi Series, consequently establishing a significant status among the international art scenes. Setting foot in Taiwanese art industry only made him more unsatisfied rather than feeling accomplished. Nevertheless, it motivated him to expand, break through original aspects, and ponders over the free spiritual subject that can transcend more relevancies to daily lives. He progressively deepened the meaning and spiritual connection of each sculpture. Today, Ju Ming traveled between what is visible and invisible, between reasoning and mythologies. He presented his upmost sincere expression through the forms of sculpture. Ju Ming had devoted more than seven decades of his life to the progression of artistic pursuit, yet he still remains very enthusiastic till this day; preserving his absolute passion for art.
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MODERN AND CONTEMPOR ARY ART
219
117 JU MING
( Taiwanese, b.1938 )
Buffalo and Cowboy 40.2(L) x 23.1(W) x 37.3(H)cm Bronze, 3/20 Signed Ju Ming in Chinese, dated 1998, numbered 3/20 With a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation
NT$ 380,000-500,000 US$ 12,400-16,300
朱銘 水牛與牧童 1998 銅 3/20 簽名：朱銘 3/20 '98 附財團法人朱銘文教基金會作品鑑定報告書
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ZHONG CHENG 中誠
朱銘，本名朱川泰，日治臺灣新竹州苗栗郡通霄莊人，他以充沛的睿 智、非凡的膽識和勤力奮勉的精神，在雕刻藝術上，取材於現實，參 悟生活，收攬自然神韻，創造出深含東方內蘊，又獨具個性面貌的雕 塑風格，堪稱在當代傳承與開拓上，重量級的楷模。遍及在香港、新 加坡、東京、巴黎、倫敦、紐約，以及所處之台灣，不論春草茵茵的 公園、夏日炎炎的海灘，秋風瑟瑟的曠野、冬雪皚皚的廣場，或在古 老庭院、現代建築，朱銘的雕塑無所不在，陪伴著所有脈動一同呼吸 著、運動著，仿若原本就是造化中的部分。並善於透徹哲學和內在感 受，能從不同的造型語言中相互呼應，使東西藝術的因子，在各個層 面，都得以交錯融合、達到爐火純青、天衣無縫的境界。朱銘全然在 前人的基礎上，充分發揮出自身潛力，成為華人世界最具代表性的雕 塑家之一。
118 JU MING
( Taiwanese, b.1938 )
Living World Series: Monks 138 x 69cm Ink and Color on Paper Signed Ju Ming and titled Living World Series: Monks in Chinese, dated 1994 With one seal of the artist
NT$ 200,000-380,000 US$ 6,500-12,400
朱銘 人間系列 - 佛陀 1994 彩墨 紙本 簽名：人間系列 朱銘 '94 藝術家鈐印
朱銘的人間系列關注世間百態，並以細膩的感 觸呈現主角的氣質。朱銘以順暢線條與純粹的 色塊即勾勒出《佛陀》畫中的人像造型，其袈 裟自然垂擺出皺摺曲線，和尚以安詳的神態靜 思，發散出極富哲理的深思，以及對於人文的 關懷。 Ju Ming's Living World Series care about the conditions in life, and presented the character's charm with a detailed touch. The smooth lines and pure color blocks contour the image in Monks, his robe hangs naturally with curves, the monk peaceful and tranquil. It gives a deep philosophical thought and the care for humanism.
MODERN AND CONTEMPOR ARY ART
221
119 JU MING
( Taiwanese, b.1938 )
Living World Series - The Story of the Skirts 54.5(L) x 35(W) x 77.2(H)cm Bronze, 7/8 Signed Ju Ming in Chinese, dated 2006, numbered 7/8 ILLUSTRATED: "Story of Skirts", Jun Youn Sculpture Gallery, Taipei, Taiwan, Jun 2006, front cover and page 48" With a certificate of authenticity from Jun Youn Sculpture Gallery
NT$ 1,700,000-2,000,000 US$ 55,600-65,400
朱銘 人間系列 - 裙的故事 2006 青銅 7/8 簽名：朱銘 7/8 2006 圖錄： 《朱銘 裙的故事》，雋永雕塑畫廊，台灣台北，2006 年 6 月，第 48 頁及封面 附雋永藝術開立之原作保證書
「裙的系列」動態感相較以往更加強烈，姿態動作也複雜得多；最大的不同在於，這些劇烈的動 作打破了朱銘最被熟悉的結實量塊感，而必須延伸出線條感的表現，除了人物的髮型與衣服還以 大塊面處理，最明顯的不同是手腳都變得纖細修長，這樣的嚐試觸及雙重挑戰：在翻模鑄銅時， 「獨樹一幟」的手或腳，會造成技術上的難度；甚至在雕作之時，纖細的手腳細節，也勢必影響 下刀時的手法與節奏，要兼融大刀法和小細節實非易事。早年朱銘初試工夫系列時，曾表現出 衣袖摺痕，逐漸才隱化於虎虎生風的大斧批刀法，在小品中嘗試小細節的巡迴以及複雜的動作構 成，用以強化動態感，未嘗不是又一種實驗。於是，大風起兮裙飛揚，凡人只見旖旎風光，我們 卻窺見一個始終不斷思考創新境的藝術家。 ---摘錄自《朱銘-裙的故事》，2006 "The Movement In The Story of The Skirt" is stronger than his past works, the form and the shape of the body are much more complex. The challenge to jun Ming is to break what he is good at in expressing sturdy, solid and huge quantitative mass to work toward the expression of linear and delicate form. Making the mold for the arms and legs was challenged and difficult. It demanded full attention from the sculp for on the process of refining the details of the arms and legs which would affect the cut and the rhythm during the sculpting. It is not easy for sculptor to mastering the big chisel yet paying attention to details. In the work of Ju Ming's martial arts sculptures which displayed the delicacy of the details in the folds of the sleeves. What we have seen is an srtist who is innovative in his studio of the world of mortals. ---Excerpt from "Ju Ming-Story of Skirts", 2006
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MODERN AND CONTEMPOR ARY ART
223
120 CHANG YOSHIO ( Taiwanese, b.1914 )
Park 43 x 52.5cm Oil on Paper Signed Chang Y. in English, dated 1954 With a certificate of authenticity signed by the artist
NT$ 260,000-360,000 US$ 8,500-11,800
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ZHONG CHENG 中誠
張義雄 公園 1954 油彩 紙本 簽名：CHANG Y. 54 附藝術家親簽之原作保證書
旅居巴黎的台灣前輩畫家─張義雄，兒時偶遇陳 澄波於嘉義圓環一帶寫生，進而萌生畫家職志。 其作品以靜物及風景畫著稱，並喜歡依自己的主 觀來取捨，改變形色。早期作品風格黑獷而粗厚， 被日本畫壇譽為「東方的野獸派」畫家。隨生活 日益安定，作品基調改而以白色與中間色作調和， 創造色層之美，格調高雅。
121 HO CHAOCHU
何肇衢
( Taiwanese, b.1931 )
靜物
Still Life
1989 油彩 畫布 簽名：Ho Chau Chu 1989
71 x 48.5cm Oil on Canvas Signed Ho Chau-Chu in English, dated 1989
NT$ 160,000-240,000 US$ 5,200-7,800
何肇衢為台灣畫壇中生代的代表人物之一，是戰後成長的少數傑 出油畫家。創作從自然寫生開始，不刻意追求形式上的表現，跨 越印象派的色彩與光影的捕捉，並對色彩強烈反應。曾有一段不 短的時間，他在後期印象派塞尚的色與形中掙扎，在野獸派的色 彩中追求色彩的魅力。直到後來終能把兩者調和，依立體派的形 象切割，組合成新的自然秩序，並以野獸派的色彩表現來顯現繪 畫的空間氣氛，營造成新的自己風格，一如其所強調「我的塊
面變化是從得來的靈感，就像我畫建築物的分割塊面就是 受塞尚的影響。」，他的繪畫理念同時也受到畢卡索、布拉克、 尼柯森和維庸的影響。此幅《靜物》以藍灰色調塊面為主體，並 以獨特的「白」色堆疊運用，創造獨具韻味的「空氣感」，雖是 靜物，卻在視覺上產生和平的舒展，更使油彩風格更具現代性與 自律性。
MODERN AND CONTEMPOR ARY ART
225
122 TANG YUN
( Chinese, 1910-1993 )
Magpies standing on the Banana Leaf 92.5 x 43.5cm Ink and Color on Paper Inscribed and Signed Tang Yun in Chinese With one seal of the artist PROVENANCE: Yong Ya Tang
NT$ 160,000-240,000 US$ 5,200-7,800
唐雲 蕉葉喜鵲 彩墨 紙本 款識：杭人唐雲畫于大石斋 鈐印：藥翁 ( 白文 ) 來源： 雍雅堂
海派書畫家之一的唐雲因詩詞書畫造詣極高，自 學成才，故在少年時有「杭州唐伯虎的美稱」。 唐雲的花鳥取法八大、冬心，新羅諸家；山水自 元代四家入手，兼涉明代沈石，清代石濤。用墨 大膽，特點明略，筆末細細收拾，收放自如，兼 具雄厚與清逸於一身，更使化作清麗灑脫，生動 意趣。
226
ZHONG CHENG 中誠
123 HSIAO CHINHSING
蕭進興
( Taiwanese, b.1953 )
成都到蘭州之趣
Landscape
1992 彩墨 紙本 款識：成都到蘭州途中之黃土高原景 觀 在黎明之時觀賞更為迷人 壬申之 秋 蕭進興作 藝術家鈐印：蕭 ( 朱文 )、進興 ( 白文 )、 布袋郎 ( 朱文 )、不可說 ( 朱文 )
75 x 112cm Ink and Color on Paper Inscribed and Signed Hsiao Chin-Hsing in Chinese, dated 1992 in the Chinese sexagenary cycle With four seals of the artist
NT$ 120,000-240,000 US$ 3,900-7,800
蕭進興來自台灣西部的布袋小鎮，就讀國 立藝術專科學校美術科國畫組，而後於國 立台灣藝術大學造型藝術研究所畢業，逐 漸發展重彩的應用，使對地理形貌的描 寫，有著餘韻不絕的特有境界。為求靈感， 蕭進興，足跡遍佈台灣城鄉原野和高山峻 嶺，也因他始終堅信涉獵越廣、眼界越開， 故曾數度赴大陸，將他自身對台灣山水的 深情，融入名山大川的讚嘆，揮灑筆墨之 間，也實實在在地呈顯這位台灣畫家從中 國傳統筆墨路線開創的新格局。
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124 LIU CHIWEI
( Chinese, 1912-2002 )
Body (III) 33 x 27 cm Mixed Media on Canvas Signed Liu Chi-wei in Chinese phonetic alphabet and dated 1996 ILLUSTRATED: "Son of the Nature-Max Liu", Chi-Chan Art Space Co.,LTD., Kaohsiung, Taiwan, 1996, page 118 With a certificate of authenticity signed by the artist
NT$ 160,000-240,000 US$ 5,200-7,800
228
ZHONG CHENG 中誠
劉其偉 人體 ( 三 ) 1996 綜合媒材 畫布 簽名：ㄌ一ㄡ ˊ ㄑ一 ˊ ㄨㄟ ˇ'96 圖錄： 《自然之子─劉其偉》，積禪藝術事 業股份有限公司，台灣高雄，1996 年， 第 118 頁 附藝術家親簽之原作保證書
素有「藝壇老頑童」之稱的劉其偉，擅以 動物、人物為題入畫。細觀劉其偉人物畫 作中的特色，能發現他常運用線條的勾 勒，使輪廓能區隔出主體與背景，並以型 態、色彩、肌理為主要表現元素，著重感 性出發，再以理性修正，追求呈現純粹且 完整的內心世界。
125 HONG JUILIN
洪瑞麟
( Taiwanese, 1912-1996 )
阿坤伯
Miner
1955 水墨 紙本 簽名：1955 J. Hong
32.5 x 25cm Ink on Paper Signed J. Hong in English, dated 1955 PROVENANCE: Magnet Art Gallery, Taipei, Taiwan Acquired by the present owner from the above gallery With a certificate of authenticity from gallery
來源： 吸引力畫廊 現藏者購自上述來源
「環境」在洪瑞麟的繪畫中佔有非常重 要的角色，題材總離不開日常生活下的 所見所感。洪瑞麟在礦坑工作三十五年， 漫長的生活中，使他展現對勞動者的悲 憫與關懷，素以「礦工畫家」著稱。在 他的思想裡，藝術的美乃是依附生命的 真誠而生，不須變造塗改，而擅長處理 人物特質的他，無疑在線條上，忠實真 誠的勾勒出人物的內在性格，使之在畫 家的彩筆下鮮活起來。
附畫廊開立之原作保證書
NT$ 100,000-200,000 US$ 3,300-6,500 MODERN AND CONTEMPOR ARY ART
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126 HSIAO CHIN
( Taiwanese, b.1935 )
Discendenza Dramatical 100 x 80cm Acrylic on Canvas Signed on the reverse: Hsiao in English and Chin in Chinese, dated 2000-2007, titled Discendenza Dramatical in Chinese and Spanish, inscribed 100 x 80cm and acrylic on canvas in Chinese
NT$ 1,100,000-1,400,000 US$ 35,900-45,800
蕭勤 劇降 2000-2007 壓克力 畫布 背面簽名：Hsiao 勤，2000/2007，discendenza dramatical，布上壓克力，100x80cm
「對我來說，作畫這件事的第一重要性，並非『作畫』，而是透過作畫來對自己人生始源的 探討，人生經歷的記錄及感受，和人生展望的發揮。」 ---蕭勤 有「台灣現代藝術大師」美稱的蕭勤，前後旅居於西班牙、義大利、紐約等地進行藝術創作，他在「中 國美術現代化運動」的時代課題上，為傳統的思想與媒材，找到了一個新的結合、與呈現方式，提供東 方人特有的觀點與形貌，並曾榮獲義大利總統頒贈「團結之星」騎士勳章，然而，更重要的，是他透過 藝術，展現了敏銳的心靈，在孤寂漫漫的宇宙逆旅中，以獨特的領悟和因應態度，深受所有人敬愛。當 然，這條藝術創作的道路上，無不能少精神導師李仲生，承蒙他心靈的啟發，以及強調眼、腦、心、手 並用的觀念，對蕭勤有著顯著的影響，而企圖走出屬於自己風格的他，更汲汲營營地接觸廣泛藝術和經 典大家之作，研究馬蒂斯和杜菲，甚至是高更的作品，但卻非拘泥於形式上的汲取，更多是精神層面的 昇華，再從自身熱愛的色彩出發，透過符號性的構成，融貫西方、卻若隱若現中國文字的珠璣，其中的 圓點、方形等，仿若卦象變化無窮，耐人尋味，孕育著一個猶未可知的神秘世界，且長存於世代流轉之 中，傳送同其悠遠、飄忽的意念。於是，這幅《劇降》不僅帶來蕭勤「宇宙在吾心」視野，也達成生命 徹悟後的圓滿。 "To me, the most important process of creation is not in 'creating' itself, but how one can reflect their life through art, life journey and experiences and recorded, in order to further investigate one's true potential" ---Hsiao Chin The lovely title Master of Taiwanese Modern Art was given to compliment Hsiao Chin. He lived in many places throughout his life including Spain, Italy, New York, and many other destinations for his pursuit of art. Being a participant of the Chinese American Modern Art Movement; though traditional medium he proposed a new manner of presentation that creates emphasis on Eastern perspective and character. The president of Italy knighted him with a "Corporation Star" for his dedication and aesthetic discovery. Furthermore, it is through art, he demonstrates the sensitive observation of his spirits; on his lonely travels, his unique epiphany and attitude won him respect and affections from those around him. For his journey of aesthetic pursuit, he could not have done it without the spiritual guidance of his instructor, Lee Chuan Sun. Whom, taught him the concept to see, think and feel with his heart and hands. Hsiao was strongly influenced by Lee's teachings; he started seeking for his own unique style, by understanding classical masterpieces, and understanding the new art scene. He studied works by Matisse, Duffet and Gauguin, however not by imitating their style but through observing the psychological essence of their works. For his own paintings, he likes to depict various bright colors and symbols that signify Eastern culture. Sometimes abstract Chinese calligraphy may be discovered in his dots and forms. The shapes that takes place in his work, varies from circles, rectangles and unexpected geometry. Filled with possibilities of the world's unknown, it is understood even by the turn of century, delivery the same unique philosophy. In Discendenza Dramatical Hsiao Chin brings us the perspective looking from the "Heart of the Universe", also achieving the goal of reaching a deeper understanding of our world.
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127 HSIAO CHIN
( Taiwanese, b.1935 )
Torrent 136 x 297cm Acrylic on Canvas Signed Hsiao in English and Chin in Chinese, dated 2013
NT$ 2,500,000-3,500,000 US$ 81,700-114,400
蕭勤 橫行 2013 壓克力 畫布 簽名：Hsiao 勤 2013
232
ZHONG CHENG 中誠
拜二十世紀中外歷史的戲劇性，及其個人特質所賜，蕭勤因緣際會 置身於中國現代美術史上的第一，在華人藝術世界中，可謂一個活 生生的傳奇人物與歷史見證，作品也以繪畫哲學道盡人生百態，而 獲得東西方藝壇的矚目和肯定，廣為美術館、博物館等國內外四十 餘處公私立單位收藏。雖然沒有一張高等教育以上的文憑，卻靠著 藝術成就陸續獲聘於知名大學任教，並於退休後，依然衷於啟發後 進不遺餘力。蕭勤可說修持人生與窮究藝事皆秉持經紀之道，參修 佛教禪宗思想更是對他影響至鉅，透過純化理念、形象異中求同， 從現實超脫至精神性的世界，不受時空地域限制、不隨波逐流，同 時也意識到，一旦放任情緒波動主導創作，作品不免因流於情緒宣 洩而顯得膚淺單薄，於是潛心孕育詩意及冥想，講究平衡感，遠離 歷史盲目的暴力，使畫中華麗的色彩與氣勢恢弘的筆觸，相互呼應， 顯示了中國宇宙觀中相生相剋的原則，宛如飛越道家天空的神秘巨 龍，在浩瀚之間游移，「自然是所來之處，也是歸去的地方」 蕭勤總能在其中保持和諧寧靜，而非執念。
The combination between the dramatic history of the twentieth century and his unique interpretations, Hsiao Chin incidentally arrived at the top of Chinese modern art industry. He is a legend and the testimony of history. His philosophical illustrations of life have drawn large attention and recognition from around the world, also popular among private and public museum and gallery collections. Although Hsiao Chin does not own any high-degree diplomas, he nevertheless worked very hard to achieve where he is today. Hsiao Chin had maintained his spiritual training in life parallel to his art inquiries. Buddhist aspirations and religious practices have affected his perspectives as well. Through authentic theories, he looks for common characteristics between various forms, skipping from reality to the spiritual world. He is neither bounded by time nor location and was never swayed by currents of outside thoughts. He realized that once a painting is mainly manipulated by emotions, it would soon become too subjective and shallow. Instead, he focuses on the innate poetry for meditation in order to find balance. Staying away from blinded historical violence will bring the paintings glamorous colors and extensive brushstrokes. The complimentary elements perfectly present the reinforcement of the universe within the idea of Chinese philosophy, metaphorical to a large mysterious dragon circling around the universe. "Nature is an origin as it is also a home to retrieve," Hsiao Chin always manages to find peace while staying away from madness.
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128 CHU TEHCHUN
( Chinese-French, 1920-2014 )
Harmonies Diophanes 201 x 200cm Velvet Weaves on Wall Hanging, 2/6 On the reverse with Chu Teh Chun's authorization of Silk Flannel Tapestry
NT$ 800,000-1,000,000 US$ 26,100-32,700
朱德群 氣韻隱含 絲絨織壁掛 2/6 簽名：朱德群 CHU TEH-CHUN 90 畫背附有朱德群之授權書
華裔旅法藝術家朱德群，雖將生涯的大部分時間都留在法國進 行創作，並以極為抒情的「抽象風景畫」風格廣為人知，朱德 群的畫作裡濃郁且揮灑的豐富色彩，總是在顏料的濃淡間不經 意地充滿了詩意。但，比起當時的西方繪畫，若仔細依照時間 脈絡來賞析其作品，我們可以發現，影響朱德群最多的，其實 是其自青少年在中國時期，耳濡目染地與父親學習中國傳統書 畫，此影響讓朱德群即便到了法國，除了將水墨畫的「濃、淡、 乾、濕、黑」等筆法特質轉譯在油彩與畫布上，更在深受北宋 范寬影響的脈絡中，運用不同筆刷的特徵和對顏料時間的掌握， 快速地或渲染、或乾皴，營造出大山大水的磅礡氣釋。拿著油 畫筆的朱德群，更多時候看起來像個任性的書法家，對於「書 寫」的節奏掌握如同演奏一首盛大的交響樂。 《氣韻隱含》的色彩明亮之處，找到一些細膩的休止符，感受 其點點色塊的寧靜，但卻又總是在意猶未盡時，倏地在畫面的 某個轉角轟然出現極為大氣的、黑棕色的、濃烈的八部合奏。 這種充滿戲劇性的旋律，此件《氣韻隱含》的絲絨織壁掛，猶 如一張不斷重複播放的發燒黑膠唱片，可以永遠地澎湃下去。
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129 MICHAEL LIN
福爾摩沙
Formosa
羊毛 毯子
200 x 300cm Wool blanket PROVENANCE: Chinese American Private Collection
NT$ 350,000-450,000 US$ 11,400-14,700
236
林明弘
( Taiwanese, b.1964 )
ZHONG CHENG 中誠
來源： 旅美華僑收藏
林明弘是台灣當代知名的藝術家，跨國界成長的背景，讓林 明弘在處理花布時，能抽離主觀的想法、傳統與現代的激盪， 文化主義的抬頭更讓林明弘的花布圖騰轉化成另一種情感的 表現，在國際上受到矚目。 此件《福爾摩沙》，是取以「Formosa」葡萄牙語中美麗的意 思，更是 15 世紀大航海時代，葡萄牙人在發現台灣島時所留 下之名，讚譽寶島之美。林明弘藉著花布為媒介，喚醒對台 灣本土的記憶，以台灣傳統的圖樣結合美學，換化成另一種 「美」的特殊表現。《福爾摩沙》採用 100% 紐西蘭純羊毛手 工編織而成，並比一般的手工地毯更為精緻細膩，需耗時三 年才得以製作完成，精準細緻的質感，讓藝術家對作品品質 的要求表露無遺。
130 ENDRO
安卓
( Indonesian, b.1983 )
無題
Untitled
2014 油彩 畫布 簽名：Endro 2014
100 x 120cm Oil on Canvas Signed Endro in English, dated 2014
在各式朦朧的慾望及夢境中，有與現實相悖的 遐想，亦有我們渴望觸及的初衷，一切美好事 物的象徵在安卓的畫中呈現，以倏忽即逝的姿 態存在，模糊浮盪，而藉由清透的水滴，觀者 得以窺探，進而感受那真切的本質。
附畫廊開立之原作保證書 With a certificate of authenticity from gallery
NT$ 140,000-180,000 US$ 4,600-5,900
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131 EDO PILLU
( Indonesian, b.1969 )
Unification of Self #6 112 x 150cm Acrylic on Canvas With a certificate of authenticity from gallery
NT$ 140,000-180,000 US$ 4,600-5,900
伊多．皮露 Unification of Self #6 壓克力 畫布 附畫廊開立之原作保證書
238
ZHONG CHENG 中誠
「如果上帝是一種植物，那麼我們是他的花」 --- 伊多．皮露 伊多．皮露出生於印尼，擅長使用「點」、「油漆塗料」轉移的絕活， 創作側重於精神和人與神之間的關係。 "If God is a plant, then we are His Flowers"
---Edo Pillu
Using a unique technique of dots and paint transfer, Edo Pillu focuses his paintings on spirituality and the relationship between man and God.
a. b.
132 WANG LONGSHENG
王龍生
( Chinese, b.1944 )
踏雪慢行
Snow Walk
1990 油彩 畫布 a. 簽名：王龙生 1990.6 b. 簽名：王龙生 1990.7
36 x 32.5cm (2) Oil on Canvas a. Signed Wang Long-Sheng in Chinese, dated 1990.6 b. Signed Wang Long-Sheng in Chinese, dated 1990.7
NT$ 140,000-220,000 US$ 4,600-7,200
王龍生生於中國四川，川西風景是他作畫 的主要題材，鄉間小路更是他心中重要情 節的皈依，他的風景畫作品中沒有譁眾取 寵的圖樣，反而是那種細膩的筆觸，沉著 和諧的色調，靜謐優雅的氛圍深深吸引著 我們，王龍生是位虔誠的村語守望者，他 對川西的風景有著極深的情感，因此他透 過畫面中瀰漫的蕭寂感，拓展我們想像的 空間，讓我們在他的畫中去感悟生活。
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133 HUANG YAOTANG ( Taiwanese, b.1948 )
Goodbye South #1 60 x 160cm Mixed Media on Canvas Signed on the reverse: Huang and titled Goodbye South #1 in English, dated 2006
NT$ 160,000-240,000 US$ 5,200-7,800
黃耀堂 再見南方 #1 2006 綜合媒材 畫布 背後簽名：Huang 2006 "Goodbye South" #1
黃耀堂出生於澎湖，70 年代就旅居歐洲，目前定居於比利 時。黃耀堂的作品常常可看見這種顏色的粒狀突起物，這 些粒狀突起物代表青銅器上的乳丁紋，黃耀堂想如果能將 青銅器融入作品中，便能讓更多人了解中華文化，因此這 也成為黃耀堂獨特的創作特色。黃耀堂的作品能讓人感受 到抽象的詩意，但又有某種蘊藏的豐富力量在滋長，他擅 長將簡單的塗鴉文化融合東方書法，在作品中常常隱約可 見書法的痕跡，水墨筆觸，隱約地透露出濃厚的東方文化。
134 SUN YUNSHENG ( Chinese, 1918-2000 )
Autumn Scenery 42.5 x 112cm Ink and Color on Paper Inscribed and Signed Sun Yun-Sheng in Chinese With two seals of the artist
NT$ 120,000-200,000 US$ 3,900-6,500
孫雲生 秋色山嵐幽居 1980 彩墨 紙本 款識：庚申秋日 九月五日 松仁兄雅正 孫雲生家瑞 鈐印：孫家瑞 ( 白文 )、雲生 ( 朱文 )
孫雲生因家學淵源，深受書香薰陶，自幼便隨叔父啟蒙 習畫、從母習誦近體詩，涵養中國古典文學底蘊，曾先 後受業於邵逸軒、胡佩衡、王雪濤、秦仲父等諸位名家， 著手勾摹古人名蹟，遍臨宋、元、明、清各家，奠定畫 藝深厚基礎。求學期間對於傳統與近代美術皆能融會貫 通，師古而不泥古。歲逢弱冠之年，拜入張大千門下， 以大風堂弟子身分學藝，自此追隨張大千 47 年有餘， 師徒情誼深厚，大千居士斷然以其為大風堂傳人。孫雲 生常繪以山水、花井題材，筆法精純老練，尤善渲染。 此幅《秋色山嵐幽居》承襲張大千潑彩技法，並融合傳 統與現代的筆法氣息，將石青、石綠、赭石等重色潑灑、 渲染，加以墨色層層相疊，揮灑出山嵐雲霧，綠意悠然 的浮光掠影之景，伴隨深淺墨色交映，並參以元人亂麻、 解索、捲雲皺法，筆意恣肆，風采莊秀雋雅。
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135 CHANG WANCHUAN ( Taiwanese, 1909-2003 )
魚與鍋
Still Life - Fish and Pot
油彩 木板 簽名：CHANG 万
24 x 33.5cm Oil on Board Signed Chang in English and Wan in Chinese With a certificate of authenticity from gallery
NT$ 80,000-160,000 US$ 2,600-5,200
242
張萬傳
ZHONG CHENG 中誠
附畫廊開立之原作保證書
張萬傳，出生於日治時期的台北縣淡水鎮，執筆繪畫 八十餘年的光陰，有著飄浪、典麗，與豪邁的生命藝 術。初期赴日，入川瑞學校與本鄉繪畫研究院，深受 日籍畫家鹽月桃甫開放、多元的藝術見解與思維影響， 畫風傾心於野獸派的豪放、率性筆觸，返台加入台陽 美協，後退出與陳德旺等組成 MOUVE 美協，推動台 灣造型美術，堅稱「學習、創作，是生命中最值得 熱烈追求的兩件事」，後受巴黎畫派的影響，並融 入原鄉意識，堪稱是台灣第一代接觸西方油彩的畫家 中，能真正知覺並掌握油彩魅力、質感，將情感與畫 筆完全結合的佼佼者，不愧其名有「萬世流傳」的寓 意。
136 WANG XINFENG
王信豐
( Taiwanese, b.1952 )
沙丘雲行
Clouds Over the Dunes
2013 壓克力 畫布 簽名：王信豐
100 x 65cm Acrylic on Canvas Signed Wang Xin-Feng in Chinese ILLUSTRATED: "Rivers of Taiwan – Wang Xin-Feng", THE 201 ART，Taichung, Taiwan, 2014, page 58-59
圖錄： 《臺江永痕 王信豐 /2014》，THE 201 ART 順天建築文化藝術中心， 台灣臺中，2014 年，第 58-59 頁
早期王信豐以水墨描繪細緻風景 畫為主，1998 年開始利用壓克力 將風景畫的意境拓展開。《沙丘 雲行》作品以硬邊單純的線條色 塊，劃分出天和地空間的折疊， 畫面雖是簡單，用色單一，但藝 術家卻將表象的「景」轉化為具 有思想的「境」，使得整張作品 充滿靈魂，生動而意趣。
NT$ 180,000-260,000 US$ 5,900-8,500 MODERN AND CONTEMPOR ARY ART
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137 LIANG YIFENG ( Taiwanese, b.1937 )
The Lady Plays with Moon Guitar 160 x 300cm Oil on Canvas Signed Liang in English and Yu-Feng in Chinese, dated 2014 With a photo of the artist and the artwork
NT$ 500,000-600,000 US$ 16,300-19,600
梁奕焚 月琴配美人 2014 油彩 畫布 簽名：LIANG 奕焚 2014 附藝術家與作品之合影
梁奕焚，來自台灣彰化，畢業於台北師範藝術科， 為洞悉藝術，使出渾身解數，求得良師—李仲生， 是當時難得的台灣抽象藝術代表，其解構學院制式 的繪畫觀念，影響梁奕焚往後的藝術創作，媒材當 然不僅限於水彩、油畫、水墨、臘染、陶藝，且使 用日常生活、台灣民俗、及原住民的生活為題材， 風格大膽、線條粗獷、色彩強烈，全然反應他另類 的鮮明個性。他的紐約行，讓他真正成為一位專職 創作的藝術家。
244
ZHONG CHENG 中誠
MODERN AND CONTEMPOR ARY ART
245
138 LIANG YIFENG
梁奕焚
( Taiwanese, b.1937 )
少女與吉他
A Girl Who Plays Guitar
2010 油彩 畫布 簽名：LIANG 奕焚 2010
150 x 150cm Oil on Canvas Signed Liang in English and Yu-Feng in Chinese, dated 2010 ILLUSTRATED: "Liang Yi-fen Fine Works Retrospective", Top Art, Taipei, Taiwan, 2014, color illustrated, no. 93"
圖錄： 《梁奕焚精品回顧展》 台灣台北，2014，彩色圖版，編號 16 附藝術家與作品之合影
With a photo of the artist and the artwork
NT$ 260,000-320,000 US$ 8,500-10,500
246
ZHONG CHENG 中誠
梁弈焚認為現實的美，與藝術表現上的 美是截然不同的，藝術是一種創造，從 自然出發；因此他的畫中的人物很常以 黑色的皮膚來呈現，畫中的角色，顏色 的運用，協調且不違和，整幅畫作線條 簡約，用色大膽，鄉土情懷在他的作品 中有形或無形地自然流露。
139 ALFRED BASTIEN
巴斯天
( Belgian, 1873-1955 )
蘇尼安森林
The Sonian Forest
油彩 畫布 簽名：A Bastien
70 x 90cm Oil on Canvas Signed A. Bastien in French PROVENANCE: Aquire from Horta Auction, Belgium
巴斯天為比利時印象派的代表畫家之一，透過豐富筆 觸的堆疊，將光線灑落的愜意從畫面中流淌而出，並 著重於影的改變、時間的更迭，以靜謐的生命氣息， 賦予典雅又厚實的色調，延伸而成以光源和環境為核 心的現代寫生。
來源： 比利時 Horta 拍賣會
NT$ 220,000-320,000 US$ 7,200-10,500
MODERN AND CONTEMPOR ARY ART
247
140 ALFRED BASTIEN ( Belgian, 1873-1955 )
深山綠林
Forest
油彩 畫布 簽名：A Bastien
70 x 90.5cm Oil on Canvas Signed A. Bastien in French
NT$ 220,000-320,000 US$ 7,200-10,500
248
巴斯天
ZHONG CHENG 中誠
題材多取於日常的比利時印象派畫家—巴斯 天，因其熟捻的技法，曾為比利時國王亞爾 佩一世作畫，爾後於一戰期間，雖被徵招入 伍，仍創作出多幅戰爭作品，享譽「戰爭藝 術家」之稱，可見其對生活中事事物物的熱 忱。此幅《深山綠林》中光影和時間的變化， 也在他的筆下，微妙映像。
141 ALFRED BASTIEN
巴斯天
( Belgian, 1873-1955 )
兔子與靜物
Stilleven - Nature Morte
油彩 畫布 簽名：A Bastien
100 x 80cm Oil on Canvas Signed A. Bastien in French PROVENANCE: De Vuyst Kunstgalerij, Belgium
來源： De Vuyst Kunstgalerij，比利時
印象派藝術作為現代繪畫的起點，對於描繪光線 和物體，維妙維肖，巴斯天在這一波浪潮中，將 視覺所感，以純熟的古典技法一一呈現。巴斯天 《兔子與靜物》中，清楚可見其慣用的暖色調及 粗曠筆觸，並以較為鬆散的構圖，營造出更為生 動的焦點畫面。
NT$ 220,000-320,000 US$ 7,200-10,500
MODERN AND CONTEMPOR ARY ART
249
142 LIU GUOSHU ( Chinese, b.1919 )
重慶山城
Mountain City, Chongqing
1983 油彩 紙本 簽名：國樞 1983
39.5 x 54cm Oil on Paper Signed Guo-Shu in Chinese, dated 1983 ILLUSTRATED: "The Second-Generation Oil Painter - Liu Guoshu", Caves Art Center, Taipei, Taiwan, 1995, color illustrated, No.57, page 75 With a certificate of authenticity from gallery
NT$ 80,000-160,000 US$ 2,600-5,200
250
劉國樞
ZHONG CHENG 中誠
圖錄： 《中國第二代油畫家 劉國樞畫集》， 敦煌藝術中心，台灣台北，1995 年， 彩色圖版，編號 57，第 75 頁 附畫廊開立之原作保證書
有川美油畫之父之稱的劉國樞，善於捕捉自 然的特性並加以發揮，劉國樞對繪畫的探索 是建立在長期客觀的觀察，捕捉昇華其特 行，擅長以瀟灑的筆觸堆疊，線條流暢生 動，畫面極具豐富的空間感及濃郁的生活氣 息。如同此作品，劉國樞的作品風格鮮明寫 實，但又有種獨特的輕盈感，重慶的山城 在他的畫筆下彷彿活過來般，有種生動的靈 氣，也是這種特有的風格，更加奠定了他在 中國油畫史上的地位。
143 LIU GUOSHU
劉國樞
( Chinese, b.1919 )
治河工地炊事員
Cook
1974 油彩 畫布 簽名：國樞 1974
54.5 x 39cm Oil on Canvas Signed Guo-Shu in Chinese, dated 1974 ILLUSTRATED: "The Second-Generation Oil Painter - Liu Guoshu", Caves Art Center, Taipei, Taiwan, 1995, color illustrated, No.20, page 38 With a certificate of authenticity from gallery
圖錄： 《中國第二代油畫家 劉國樞畫集》， 敦煌藝術中心，台灣台北，1995 年， 彩色圖版，編號 20，第 38 頁
劉國樞，師承著名油畫家唐一禾，曾擔任 過西南美專西畫科主任、四川美術學院教 授、重慶美專副校長等職務。一生從事美 術教育改革事業，為培植新一代美術人才， 有著滴水穿石的堅毅心念，故被讚譽為中 國西南後方藝術教育貢獻第一人。而劉國 樞的作品，也以鮮明的寫實風格備受關注。 觀《治河工地炊事員》一畫，深厚的寫實 畫作功力，變化出靈巧暢快的筆觸，構成 獨特的輕盈感，與主體相互呼應，使得作 品富有人文氣息，亦涵蓋人物的神韻。
附畫廊開立之原作保證書
NT$ 80,000-160,000 US$ 2,600-5,200 MODERN AND CONTEMPOR ARY ART
251
144 JU MING
夫妻雞
Couple
彩墨 紙本 簽名：朱銘 藝術家鈐印
25.5 x 25.5cm Ink and Color on Paper Signed Ju Ming in Chinese With one seal of the artist PROVENANCE: Chinese American Private Collection
NT$ 80,000-160,000 US$ 2,600-5,200
252
朱銘
( Taiwanese, b.1938 )
ZHONG CHENG 中誠
來源： 旅美華僑收藏
在諸多朱銘的創作題材中，因自幼成長於尋常農家，故 「雞」對朱銘而言有著極為特殊的情感存在，論起「養 雞」，朱銘可是有一肚子的養雞經，他養的烏骨雞並不 是為了要吃，他把那些雞當成了朋友，是為了陪伴自己。 對朱銘來說，藝術是一種修行，而修行是自生活中來， 朱銘心喜有如此「雞」友人的陪伴，且能參與雞隻的生 命歷程，之於朱銘而言，實為「生活」的一環。朱銘對 於土地、人間的眷戀，毫不掩飾地呈現在其創作上，因 而他的作品多具有濃郁的鄉土風格與民間氣息。《夫妻 雞》粗細有節的墨線勾勒出雞的造型，雙雞虛實相映， 生動有趣
145 LEE KUMO
( Chinese, b.1941 )
The Happy Family 69 x 99.5cm Ink and Color on Paper Inscribed and Signed Lee Ku-Mo in Chinese, dated 1990 in the Chinese sexagenary cycle With three seals of the artist
李穀摩出身在草屯山區，童年時期幫忙家人耕 作放牛，在大自然的懷抱中成長，秉持著平實 的創作理念，他認為藝術與生活原本就應該緊 密地結合在一起，因此他的書畫作品大多是以 生活中可見的事、物為題材，他能書、能畫。 此作品《闔家歡樂》，呈現溫暖、祥和，他的 畫風獨特，自然純樸，平淡卻有含蓄的生命力， 感受另一種怡然自在的農村體驗。
NT$ 120,000-240,000 US$ 3,900-7,800
李轂摩 闔家歡樂 1990 彩墨 紙本 款識：闔家歡樂 修烈先生雅正 庚午中秋 李轂摩 藝術家鈐印：轂 ( 朱文 )、摩 ( 朱文 )、厚德載福 ( 白文 )
MODERN AND CONTEMPOR ARY ART
253
146 CHEN TINGSHIH
意志 #13
Will #13
1981 版畫 3/50 簽名：Chen Ting-Shih，Will #13，3/50
60 x 60cm Lithograph, 3/50 Signed Chen Ting-Shih in English, titled Will #13 and numbered 3/50
NT$ 160,000-240,000 US$ 5,200-7,800
254
陳庭詩
( Chinese, 1916-2002 )
ZHONG CHENG 中誠
147 CHEN TINGSHIH
陳庭詩
( Chinese, 1916-2002 )
紅蓮
Red Lotus
1994 彩墨 紙本 款識：甲戊三月 陳庭詩 鈐印：長樂老人 ( 白文 )、陳庭詩 ( 朱文 )
68.5 x 44cm Ink and Color on Paper Inscribed and Signed Chen Ting-Shih in Chinese, dated 1994 in the Chinese sexagenary cycle With two seals of the artist
NT$ 100,000-200,000 US$ 3,300-6,500
進入 70 年代後，陳庭詩逐漸減少版畫創作，轉向 水墨畫的探索。風格清麗成熟，超脫現代而回歸質 樸，語境更為純淨老練、直剖內心。其筆墨鎔鑄其 抽象版畫的創造語法，同時也生發出極富感染力的 運筆。《紅蓮》描繪初發的荷花，含苞待放、初綻 芬芳，色澤鮮嫩，在陳庭詩的墨色點點的藝術世界 中更顯情意綿綿、巍峨流長。觀看畫作仿若渴聞 悠蓮清香，香遠益清、亭亭淨植。陳庭詩用渾樸的 筆觸，勾勒出新荷萌發的溫潤氣性，背景留駐的其 大塊純白演繹的是飄渺無際的蒼穹。陳庭詩墨韻款 款，失語的他，在瑰麗富饒的心靈世界裡揮灑筆 墨，演奏一曲大聲無書的天籟之歌。
MODERN AND CONTEMPOR ARY ART
255
148 DENNIS HWANG
( Chinese-American, b.1941 )
Nude
Nude
1989 水墨 壓克力 紙本 簽名：Huang 89
92.5 x 59.5cm Ink and Acrylic on Paper Signed Huang in English, dated 1989 PROVENANCE: Private Collection, Asia Christie's Hong Kong, Asian 20th Century Art, Day Sale, 27 November 2011, Lot 1258
NT$ 140,000-220,000 US$ 4,600-7,200
256
黃志超
ZHONG CHENG 中誠
來源： 亞洲私人收藏 香港佳士得，二十世紀亞洲藝術，日 拍，2011 年 11 月 27 日，Lot 1258
黃志超是紐約新素材的表現派畫家，他的 作品融合東西文化衝突，但同時也不受拘 束。如同此作品，筆觸恣意揮灑豪邁不矯 揉，畫中女人跪坐在樹下，僅以幾筆紅色 的筆刷繪製而成，但背景的群山則以非現 實的色彩呈現，雖然色彩鮮豔，但也帶點 中國水墨的風格，整個空間有點超現實的 感覺，彷彿樹下的女人在邀請我們進入她 的世外桃源。
149 LU RONGCHEN
呂榮琛
( Taiwanese, b.1963 )
雨日
Raining Day
2005 油彩 畫布 簽名：榮琛 2005 背面簽名：2005，Lu Rong Chen， 25P，雨日
61 x 81cm Oil on Canvas Signed Rong-Chen in Chinese, dated 2005 Signed on the reverse: Lu Rong-Chen in English, titled Raining Day in Chinese, dated 2005, sized 25P
呂榮琛曾說「創作是生活和品味的 總和。」 他透過內心的感受，將正與 反的力量、美與醜的氣質，以狂傲揮灑 的筆觸，點綴溫柔的深思，並細膩雕 琢。
NT$ 120,000-240,000 US$ 3,900-7,800
MODERN AND CONTEMPOR ARY ART
257
150 HSIEH HSIAODE ( Taiwanese, b.1940 )
觀湖四季
Seasons Landscape
2011 水彩 紙本 簽名：2011 謝孝德
79 x 110cm Watercolor on Paper Signed Hsieh Hsiao De in Chinese, dated 2011 ILLUSTRATED: "Hsieh-Hsiao-De Fine Works Retrospective", Top Art, Taipei, Taiwan, 2014, color illustrated, no. 104
NT$ 60,000-100,000 US$ 2,000-3,300
258
謝孝德
ZHONG CHENG 中誠
圖錄： 《謝孝德精品回顧展》，台灣台北， 2014，彩色圖版，編號 104
此幅《觀湖四季》作品以藍、紫為主色調 的大色塊渲染手法呈現，後方曲線柔軟的 山巒交疊起伏，層次分明，又有山嵐繚繞 其中。
151 HSIEH HSIAODE
謝孝德
( Taiwanese, b.1940 )
江上獨釣
Landscape of Riverside
2011 水彩 紙本 簽名：2011 謝孝德
78 x 110cm Watercolor on Paper Signed Hsieh Hsiao De in Chinese, dated 2011
NT$ 50,000-100,000 US$ 1,600-3,300
謝孝德，畢業於國立台灣師範大學美術學系。此 幅作品，小漁船飄盪在寧靜的河上，綠色的沙洲 趁著後方的遠山，讓整幅畫表現出的空間感非常 遼闊。
MODERN AND CONTEMPOR ARY ART
259
152 HU NIENTSU ( Chinese, b.1927 )
Landscape 91 x 36cm Ink on Paper Inscribed and Signed Hu Nien-Tsu in Chinese With two seals of the artist
NT$ 60,000-100,000 US$ 2,000-3,300
胡念祖 溪山行旅 1966 水墨 紙本 款識：靜遠先生、一民女士雅正 丙午春寫溪山 行旅於壽中 益陽胡念祖 藝術家鈐印：胡念祖印 ( 白文 )、梅居家莊 ( 白文 )
胡念祖，字心原，號桃花江遊子，又號石牛老牧， 奉國畫大師黃君璧為師，研習山水畫藝，並得溥 心畬指點北宗山水畫法，嗣後開創自己獨特的風 格，曾與好友孫家勤、喻仲林合組畫室，由臺靜 農取名為「麗水精舍」，成為台灣首創的工作畫 室，彼此相互切磋畫藝，貢獻於水墨教育。 胡念祖創作理念為朦朧看世界、意象寫山河，不 重形似、加求神韻，領悟出墨韻與筆韻首重氣韻， 吸取現代創作概念同時也保持著傳統筆墨精神。 胡念祖追求水墨現代化，擺脫筆墨舊有的束縛， 因此常在作畫時大膽潑灑，概括描繪出山水概貌 後，再仔細地加以收拾，讓前潑的墨與後加的筆 渾然天成的融為一體。胡念祖保有傳統水墨手 法，融合現代繪畫技巧，仍能使畫面和諧平順， 實屬不易。
260
ZHONG CHENG 中誠
153 HSING YUN
( Chinese, b.1927 )
Calligraphy 67 x 16cm (2) Ink on Paper Signed Hsing Yun in Chinese, dated 2007 With two seals of the artist
NT$ 40,000-80,000 US$ 1,300-2,600
釋星雲 五言聯 2007 水墨 紙本 款識：二○○七年 星雲 鈐印：星雲 ( 朱文 )、佛像印
星雲，俗名李國深，法號悟彻，信徒尊其為星 雲大師。江蘇江都人，十二歲於南京棲霞山寺 禮志開上人出家，一生弘揚人間佛教，並獲得 「中華文化人物 」終身榮譽獎。常云「空，
是最豐富的」，故「若真修道人，不見世 間過」可見其對歡喜與融和、同體與共生、平 等與和平、尊重與包容等的理念。
MODERN AND CONTEMPOR ARY ART
261
154 WANG XUETAO ( Chinese, 1903-1982 )
Intoxicated in the Flower Shade 89.5 x 46cm Ink on Paper Inscribed and Signed Xuetao in Chinese With two seals of the artist PROVENANCE: Chinese American Private Collection ILLUSTRATED: "Chinese Flower-Bird Painting Master: Wang Xuetao", People's Fine Arts Publishing House, China, 2008, page 67
NT$ 140,000-220,000 US$ 4,600-7,200
王雪濤 醉花蔭 水墨 紙本 款識：雪濤寫於瓦壺齋 藝術家鈐印：遲園 ( 白文 )、王雪濤印 ( 朱文 ) 來源： 旅美華僑早期收藏 圖錄： 《中國花鳥畫大師：王雪濤畫集》，人民美術出版社， 中國，2008 年，第 67 頁 釋文： 若真脩道人，不問世間過。 現代著名的花鳥畫家－王雪濤，原名庭鈞，號遲園，河 北成安人。初以自然為師，再經西畫的學習，逐步鍛煉 對造型和色彩的靈敏度，曾受教於陳師曾、蕭謙中、湯 定之、王夢白等諸位前輩，後遠學陳淳、華喦的清雋瀟 灑，上追徐渭、陳淳，並以明代院體畫的狀物精微、色 澤鮮麗，豐富傳統的小寫意畫技巧，練就以速寫強化默 記形象的畫藝。王雪濤作品尤擅靈巧多變的筆墨，堪稱 「以色助墨、以墨顯色，色墨結合」，能準確地描繪 運動中種種花姿鳥態，掌握轉瞬即逝的機趣，表現與時 俱新的美感，一舉擺脫明清制式的花鳥畫，其 60 餘年不 倦，主張「師法造化而抒己之情，物我一體，學先 人為我所用，不斷創新」。
262
ZHONG CHENG 中誠
155 CHENG MAOHUANG
曾茂煌
( Taiwanese, b.1934 )
節
Festival
1982 油彩 畫布 簽名：茂煌 1982.6
89 x 71.5cm Oil on Canvas Signed Mao Huang 1982. 6 ILLUSTRATED: "Cheng Mao-Huang 80th Birthday Retrospective Exhibition", Top Art, Taipei, Taiwan, 2014, color illustrated, no. 67
曾茂煌，深根台灣鄉土、題材深入鄉村田野， 畫面總是流淌對鄉土的關懷與熱愛。此幅 《節》，描繪日常生活的平凡物品，對畫面 配置的處理十分精彩，色彩也賓主分明、鮮 明活潑，雖然對比卻不感突兀，造型沉穩滄 著，散溢著懷舊、溫暖之氛圍
圖錄： 《曾茂煌 80 回顧展》， 台灣台北，2014，彩色 圖版，編號 67
NT$ 100,000-200,000 US$ 3,300-6,500
MODERN AND CONTEMPOR ARY ART
263
156 ZAO WOUKI
( Chinese-French, 1921-2013 )
Limitd Orchid Porcelain 直徑 Diameter Φ 25cm (2) Watercolor on Porcelain Signed on the reverse: 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$ 140,000-220,000 US$ 4,600-7,200
趙無極 蘭花 1986 水彩 陶瓷 簽名：無極 ZAO 86 備註： 此瓷盤背面為法國知名陶瓷工作室 l' atelier ségriès 製作署款資料及 BSN 慶祝企業二十 周 年 紀 念 賀 詞。 為 趙 無 極 1986 年 為 慶 祝 BSN( 曾 是 法 國 玻 璃 及 食 品 王 國 )， 成 立 二十週年 (1966-1986) 所繪製限量抽象蘭花 瓷盤。 《蘭花》繪於 1986 年，並由法國深具代表 性的知名陶瓷工作室 l' atelier ségriès 製作。l' atelier ségriès 專門生產 17 世紀或 18 世紀風格 的西洋古陶瓷，以手工製作著稱，力求精緻 完美。曾與知名精品法國愛馬仕和紐約的蒂 芬妮合作陶瓷工藝。 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 c 趙無極
264
ZHONG CHENG 中誠
157 CHIHO AOSHIMA
青島千穗
( Japanese, b.1974 )
小鳥與舞妓
The Little Bird and Maiko
2008 水彩 紙本 簽名：Chiho
23 x 22.7cm Watercolor on Paper Signed Chiho in English
青島千穗因擅於使用插畫軟體創作出許多顯影、輸出作品或數位動畫作 品，並以身為與科技並進的藝術家而持續受到關注。作品常見日式妖怪、 墓園亡靈，與異界的對話成為藝術家主要的創作改念。《小鳥與舞妓》 小兒精巧的標誌性外型風格表露無遺，身著舞妓服飾的女孩乘於鳥兒背 上，雖是色彩鮮豔並搭以童趣的繪圖手法，卻在斑駁的背景襯托之下產 生視覺恐慌的距離感。雖是虛無飄渺，卻是人性深層的黑暗面，如同那 些受傳統禮教束縛的舞妓笑容底下，所追尋鳥兒般的自由自在的慾望。
NT$ 160,000-320,000 US$ 5,200-10,500
MODERN AND CONTEMPOR ARY ART
265
158 HSIEH HSIAODE ( Taiwanese, b.1940 )
淡水教堂
The Church in Dan-shuei
2011 彩墨 紙本 簽名：2011 謝孝德
78 x 110cm Ink and Color on Paper Signed Hsieh HsiaoDe in Chinese, dated 2011
NT$ 50,000-100,000 US$ 1,600-3,300
266
謝孝德
ZHONG CHENG 中誠
《淡水教堂》是把水墨渲染的意境與 水彩結合。紅色教堂在後方群山襯托 下，顯閒逸恬靜。
159 HSIEH HSIAODE
謝孝德
( Taiwanese, b.1940 )
日月潭之美
Landscape in Sun Moon Lake
2013 油彩 畫布 簽名：2013 HSIEH HSIAODE
70.5 x 89.5cm Oil on Canvas Signed Hsieh HsiaoDe in English, dated 2013 ILLUSTRATED: "Hsieh-Hsiao-De Fine Works Retrospective", Top Art, Taipei, Taiwan, 2014, color illustrated, no. 78
圖錄： 《謝孝德精品回顧展》，台灣台北，2014，彩色圖版，編號 78 附藝術家與作品之合影
With a photo of the artist and the artwork
NT$ 90,000-120,000 US$ 2,900-3,900
MODERN AND CONTEMPOR ARY ART
267
160 SU CHIANAN
街景寫生
Street View
油彩 畫布 簽名：C.N.SH
28.8 x 32.5cm Oil on Canvas Signed C.N.SH in English PROVENANCE: Chinese American Private Collection
NT$ 50,000-100,000 US$ 1,600-3,300
268
蘇嘉男
( Taiwanese, b.1936 )
ZHONG CHENG 中誠
來源： 旅美華僑早期收藏
161 TSAI YUNCHENG
蔡雲程
( Chinese-Philipino, 1929-2009 )
夜曲
Nocturne
2001 油彩 紙板 簽名：CHUA HU 2001 呈
76 x 54cm Oil on Paper Signed CHUA HU in English, Cheng in Chinese and dated 2001
附畫廊開立之原作保證書 With a certificate of authenticity from gallery
NT$ 100,000-200,000 US$ 3,300-6,500
MODERN AND CONTEMPOR ARY ART
269
162 HUA QING
( Chinese, b.1962 )
Orangutan 38(L) x 38(W) x 70(H)cm Resin Signed Hua Qing in Chinese, dated 2009, numbered 4/8
NT$ 320,000~500,000 US$ 10,500-16,300
華慶 紅猩猩 2009 樹脂 簽名：华庆 2009 4/8
華慶的「紅猩猩 」已經成為他極具代 表性的思維表達符號，牠有著人猿寬闊 的頭顱和健壯的身體，但眼中卻閃爍著 人類智性的目光。《紅猩猩》牠蹲坐 在有出現愛因斯坦公式的底盤上，華 慶認為「E=MC² 是說出一個很客觀的
真理，而《猩猩》主體形象代表一 個不確定的和感性的東西，暗示人 到底有沒有理性？牠無非就包含了 這樣一個暗示，這裡只是把人的理 性與動物進行了暗示性的對比。」 牠仰望天空，似乎猩猩主要是在探討人 類案萬物之間的關係，特別是在反思人 類文明的進展及生存的意義，探求人類 文明之初的共同性，再以此來反觀當代 中外社會文明進步的現狀及其面對的危 機。觀看華慶的作品，我們能感受到預 言般的人類進化史，和一種簡單而又複 雜的思辨，韻味無窮。
270
ZHONG CHENG 中誠
163 QIU JIONGJIONG ( Chinese, b.1977 )
Wandering 112 x 72cm Ink and Color on Paper Signed and inscribed on the reverse: Qiu Jiong-jiong and titled in Chinese, 112x72cm, Ink and color on paper With one seal of the artist PROVENANCE: Star Gallery, Beijing Christie's Hong Kong, Asian Contemporary Art, Day Sale, 23 November 2014, Lot 0653 Private Collection, Asia
NT$ 220,000-320,000 US$ 7,200-10,500
邱炯炯 游吟圖 2011 彩墨 紙本 畫背簽名：紙本水墨設色，2011， 112 x 72cm，游吟圖，邱炯炯 藝術家鈐印 來源： 星空間，北京 香港佳士得，亞洲當代藝術，日拍，2014 年 11 月 23 日，Lot 0653 亞洲私人收藏 邱炯炯 1977 年生於四川，三歲時跟著爺爺 到川劇團表演川劇，五歲即開始畫畫，但 從未真正接受任何正統美術學院的教導， 也曾被美術老師說他基本上就是個色盲， 然而邱炯炯並未因此感到沮喪。於 18 歲時 輟學，並隻身到北京成了藝術家，那時的 他過著自我流放的生活，以一種靜態的方 式，獨自隱匿的生活度過了他的青春。邱 炯炯喜於描幕人物肖像，特別是生動有氣 場的角色，如此幅《游吟圖》運用層疊斑 駁的色彩效果，誇張變形和朦朧的筆觸來 處理，調侃詼諧的人物形象若隱若現。藝 術家特別的人生經歷與成長歷程，令其作 品有著他人所沒有的深沉抑鬱氛圍，進而 造就了他個人獨有的藝術風格。
MODERN AND CONTEMPOR ARY ART
271
164 HUANG YAN
中國山水紋身二套
Chinese Landscape Series - Tattoo
1999 彩色照片 10/12 簽名：《中國山水紋身二套》之四 10/12 1999 黄岩
51 x 61.5cm Chromogenic Print, 10/12 Signed Huang Yan and titled in Chinese, dated 1999, numbered 10/12
NT$ 100,000-150,000 US$ 3,300-4,900
272
黃岩
( Chinese, b.1966 )
ZHONG CHENG 中誠
黃岩，生於吉林，畢業於長春師範學院，其作品卻 堪稱中國當代中，最具代表性的前衛藝術，體現 於生活之中，打造出他無可取代的藝術商標，更名 揚北京、香港、上海、倫敦、柏林、紐約、巴黎、 阿姆斯丹及米蘭等地。
165 WU GUANZHONG
吳冠中
( Chinese, 1919-2010 )
虎
Tiger
1994 版畫 40/60 簽名：吳冠中 一九九四 40/60
69 x 138cm Lithograph, 40/60 Signed Wu Guanzhong in Chinese, dated 1994, numbered 40/60
吳冠中的藝術在祖國、在故鄉、在家園、在自己的心底，有著對人、 事、物的概括，飽含對生命的熱愛。作為二十世紀現代中國繪畫的 代表畫家之一，追求物質生活的低點、創作藝術的高點，對人生有 著夢一般的理想。
NT$ 180,000-280,000 US$ 5,900-9,200
MODERN AND CONTEMPOR ARY ART
273
166 ZAO WOUKI
( Chinese-French, 1921-2013 )
Etching with aquatint, 1970 59.5 x 39.5cm Lithograph, 3/99 Signed Wou-Ki in Chinese and Zao in English, dated 1970, numbered 3/99
274
ZHONG CHENG 中誠
ILLUSTRATED: "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, page 126, No.210
NT$ 180,000-260,000 US$ 5,900-8,500
趙無極 Etching with aquatint, 1970 1970 版畫 3/99 簽名：3/99 無極 ZAO 70 圖錄： 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995》，Edition Heede & Moestrup( 法 國出版 )，1994 年，第 126 頁，編號 210
167 ZAO WOUKI
( Chinese-French, 1921-2013 )
Limitd Orchid Porcelain 直徑 Diameter Φ 25cm (2) Watercolor on Porcelain Signed on the reverse: 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$ 140,000-220,000 US$ 4,600-7,200
趙無極 蘭花 1986 水彩 陶瓷 簽名：無極 ZAO 86 備註： 此瓷盤背面為法國知名陶瓷工作室 l' atelier ségriès 製作署款資料及 BSN 慶祝企業二十 周 年 紀 念 賀 詞。 為 趙 無 極 1986 年 為 慶 祝 BSN( 曾 是 法 國 玻 璃 及 食 品 王 國 )， 成 立 二十週年 (1966-1986) 所繪製限量抽象蘭花 瓷盤。 《蘭花》繪於 1986 年，並由法國深具代表 性的知名陶瓷工作室 l' atelier ségriès 製作。l' atelier ségriès 專門生產 17 世紀或 18 世紀風格 的西洋古陶瓷，以手工製作著稱，力求精緻 完美。曾與知名精品法國愛馬仕和紐約的蒂 芬妮合作陶瓷工藝。 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 c 趙無極
MODERN AND CONTEMPOR ARY ART
275
168 YAYOI KUSAMA ( Japanese, b.1929 )
Citroille(II) 44 x 50.5cm Lithograph, A.P. Signed Yayoi Kusama in English, titled Citrouille (II) in English, dated 2000, numbered A.P.
276
ZHONG CHENG 中誠
ILLUSTRATED: "All Prints of KUSAMA YAYOI 1979-2011", ABE PUBUSHING LTD, Japan, February 2005, page 168, No.283
NT$ 250,000-400,000 US$ 8,200-13,100
草間彌生 南瓜 (II) 2000 版畫 A.P. 簽名：A.P. Citrouille (II) 2000 Yayoi Kusama 圖錄： 《草間彌生全版画 1979-2011》，阿部出版株式會社， 日本，2011 年，第 168 頁，編號 283
169 ANTONI TÁPIES ( Spanish, 1923-2012 )
Untitled 108 x 34.5cm ( 圖 ) 118.5 x 39cm ( 含簽名 ) Lithograph, H.C. 10/15 Signed Tàpies in Spanish, numbered H.C. 10/15
NT$ 160,000-200,000 US$ 5,200-6,500
安東尼奧．達比埃斯 無題 版畫 H.C. 10/15 簽名：H.C. 10/15 Tàpies
安東尼奧 ‧ 達比埃斯，於 1923 年出生於西 班牙巴塞隆納，安東尼奧可說是非傳統媒體 畫作的先鋒，他在其創作中加入的元素，使 作品完全顛覆傳統創作方式，安東尼奧在其 作品創作中紀錄了他個人的世界觀，因此他 的抽象作品中常帶有神祕與宗教性的色彩在 其中，而他帶有東方思想修為的作品，為當 代藝術創造了一個新的氣象。
MODERN AND CONTEMPOR ARY ART
277
170 CHU TEHCHUN
( Chinese-French, 1920-2014 )
Triumph Win 81 x 64cm Lithograph, 3/150 Signed Chu Teh-Chun both in Chinese and English, numbered 3/150
278
ZHONG CHENG 中誠
ILLUSTRATED: “CHU THE-CHEN the Graphic Work 2000-2002” , Hoke Art, Taipei, Taiwan, 2003, page 46-47
NT$ 140,000-220,000 US$ 4,600-7,200
朱德群 凱旋歸 2002 版畫 3/150 簽名：3/150 朱德群 CHU TEH-CHUN 圖錄： 《龍在西方 迤邐東還─朱德群石版畫 2000-2002》，霍克國際藝術股份有限公 司，台北，2003 年，第 46-47 頁
171 CHU TEHCHUN
朱德群
( Chinese-French, 1920-2014 )
無題
Untitled
版畫 80/90 簽名：朱德群 Chu Teh-Chun
66 x 50cm Lithograph, 80/90 Signed Chu Teh-Chun both in English and Chinese
NT$ 140,000-220,000 US$ 4,600-7,200
MODERN AND CONTEMPOR ARY ART
279
172 YAYOI KUSAMA
南瓜
Pumpkin
2005 版畫 162/380 簽名：162/380 PUMPKIN 2005 Yayoi Kusama
14 x 20cm Screenprint, 162/380 Signed Yayoi Kusama and Titled Pumpkin in English, dated 2005, numbered 162/380 ILLUSTRATED: "All Prints of KUSAMA YAYOI 1979-2011 ", ABE PUBUSHING LTD, Japan, February 2005, page 200, No.352 NOTE: Print for Specially Bound Edition YAYOI KUSAMA: PRINT WORKS
NT$ 180,000-260,000 US$ 5,900~8,500
280
草間彌生
( Japanese, b.1929 )
ZHONG CHENG 中誠
圖錄： 《草間彌生全版画 1979-2011》，阿部出版株式會社， 日本，2011 年，第 200 頁，編號 352 備註： 『草間彌生版畫集』特裝版添加附件
173 YAYOI KUSAMA
草間彌生
( Japanese, b.1929 )
無限的網 (YBL)
Infinity Nets (YBL)
2004 版畫 35/40 簽名：35/40 Infinity Nets (YBL) 2004 Yayoi Kusama
47 x 37cm Lithograph, 35/40 Signed Yayoi Kusama in and titled Infinity Nets (YBL) in English, dated 2004, numbered 35/40 ILLUSTRATED: "All Prints of KUSAMA YAYOI 1979-2011 ", ABE PUBUSHING LTD, Japan, February 2005, page 186, No.324
圖錄： 《草間彌生全版画 1979-2011》，阿部出版株式會 社，日本，2011 年，第 186 頁，編號 324
NT$ 160,000-240,000 US$ 5,200-7,800 MODERN AND CONTEMPOR ARY ART
281
174 TAKASHI MURAKAMI ( Japanese, b.1962 )
a. From the perceived debris of the universe, we are still yet unable to reach the stage of nirvana. b. The road to illumination stretches too far ahead. How can I fend off the crashing waves of earthly desires? I am there in a mournful beast. The husk of humanity, too cruel. c. Initiate the speed of cerebral synapse at free will. 70 x 82cm (3) a. Lithograph, 220/300 b. Lithograph, 160/300 c. Lithograph, 228/300 a. Signed M in English, numbered 220/300 b. Signed M in English, numbered 160/300 c. Signed M in English, numbered 228/300
NT$ 100,000-150,000 US$ 3,300-4,900
村上隆 a. 感知宇宙碎片仍無法成涅槃 b. 道路太遠如何避塵自我野獸人性的殘酷 c. 將自由地觸動腦中速度 a.2008 b.2008 c.2007 a. 版畫 220/300 b. 版畫 160/300 c. 版畫 228/300 a. 簽名：M, 220/300 b. 簽名：M, 160/300 c. 簽名：M, 228/300
a. b. c.
282
ZHONG CHENG 中誠
175 TAKASHI MURAKAMI ( Japanese, b.1962 )
a. Kaikai with Moss b. Kiki with Moss 69 x 69cm (2) a. Lithograph, 28/300 b. Lithograph, 207/300 a. Signed M in English, numbered 28/300 b. Signed M in English, numbered 207/300
NT$ 60,000-80,000 US$ 2,000-2,600
村上隆 a.Kaikai with Moss b.Kiki with Moss 2004 a. 版畫 28/300 b. 版畫 207/300 a. 簽名：M, 28/300 b. 簽名：M, 207/300
a. b.
MODERN AND CONTEMPOR ARY ART
283
176 TAKASHI MURAKAMI ( Japanese, b.1962 )
a. Flowerball Brown b. Kansei Abstraction c. Flower Ball Red 3D The Magic Flute 直徑 Diameter Φ 70cm (3) a. Lithograph, 30/300 b. Lithograph, 116/300 c. Lithograph, 47/300 a. Signed M in English, numbered 30/300 b. Signed M in English, numbered 116/300 c. Signed M in English, numbered 47/300
NT$ 90,000-120,000 US$ 2,900-3,900
村上隆 a. 花球 茶色 b. 澗聲 抽象 c. 花球 紅 (3D) 魔笛 2010 a. 版畫 30/300 b. 版畫 116/300 c. 版畫 47/300 a. 簽名：M, 30/300 b. 簽名：M, 116/300 c. 簽名：M, 47/300
a. b. c.
284
ZHONG CHENG 中誠
177 YUE MINJUN
岳敏君
( Chinese, b.1962 )
你好 培根
How are You Bacon
2000 版畫 12/60 簽名：你好、培根， 12/60，Yue Minjun，2002
77 x 55cm Lithograph, 31/60 Signed Yue Minjun in Engliah, titled in Chinese, dated 2000, numbered 31/60
NT$ 100,000-150,000 US$ 3,300-4,900
MODERN AND CONTEMPOR ARY ART
285
178 YAYOI KUSAMA ( Japanese, b.1929 )
Infinity Nets (WR) 47 x 37cm Lithograph, 40/40 Signed Yayoi Kusama in and titled Infinity Nets (WR) in English, dated 2004, numbered 40/40
286
ZHONG CHENG 中誠
ILLUSTRATED: “All Prints of KUSAMA YAYOI 19792011", ABE PUBUSHING LTD, Japan, February 2005, page 186, No.323"
NT$ 160,000-240,000 US$ 5,200-7,800
草間彌生 無限的網 (WR) 2004 版畫 40/40 簽名：40/40 Infinity Nets (WR) 2004 Yayoi Kusama 圖錄： 《草間彌生全版画 1979-2011》，阿部出版株式 會社，日本，2011 年，第 186 頁，編號 323
179 YAYOI KUSAMA ( Japanese, b.1929 )
Night 45.4 x 52.8cm Screenprint, 6/100 Signed Yayoi Kusama in English, titled in Japanese, dated 1989, numbered 6/100
ILLUSTRATED: "All Prints of KUSAMA YAYOI 1979-2011 ", ABE PUBUSHING LTD, Japan, February 2005, page 81, No.123
NT$ 200,000-280,000 US$ 6,500-9,200
草間彌生 夜 1989 版畫 6/100 簽名：6/100 夜 1989 Yayoi Kusama 圖錄： 《草間彌生全版画 1979-2011》，阿部出 版株式會社，日本，2011 年，第 81 頁， 編號 123
MODERN AND CONTEMPOR ARY ART
287
a. b.
180 CHEN KE
a. 拾貝者
a. The Shell Seekers b. Getting Warm by the Fire
b. 烤火
a. 53 x 35cm b. 60 x 38.5cm a. Lithograph, 71/88 b. Lithograph, 71/88 a. Signed Ke in Chinese, dated 2012, numbered 71/88 b. Signed Ke in Chinese, dated 2012, numbered 71/88 PROVENANCE: Star Gallery, Beijing
NT$ 100,000-200,000 US$ 3,300-6,500
288
陳可
( Chinese, b.1978 )
ZHONG CHENG 中誠
2012 a. 版畫 71/88 b. 版畫 71/88 a. 簽名：可 71/88 2012 b. 簽名：71/88 可 2012 來源： 星空間，北京
181 WEI JIA
韋嘉
( Chinese, b.1975 )
不要動
Don't Move
2003 木刻 版畫 10/20 簽名：10/20 II Don't Move Lithograph 韋嘉 03'
50 x 73cm Lithograph, 10/20 Signed Wei Jia in Chinese, titled Don't Move in English, inscribed lithograph, dated 2003 and numbered 10/20 PROVENANCE: Star Gallery, Beijing
來源： 星空間，北京
NT$ 70,000-100,000 US$ 2,300-3,300
MODERN AND CONTEMPOR ARY ART
289
182 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$ 2,600-4,900
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。
290
ZHONG CHENG 中誠
183 MARC CHAGALL
馬克 ‧ 夏卡爾
「藝術家的可敬之處在於他負有讓這世界
( Russians, 1887-1985 )
馬戲表演
不斷令人驚艷的責任。在這漫長守夜中，
Circus Performance
版畫 128/500 簽名：Marc Chagall
他必須經常改變刺激他人的方式；但是在
73 x 53cm Lithograph, 128/500 Signed Marc Chagall in French
這漫長守夜中，他本身也在努力抵抗不斷 襲來的睡意。」
－馬克‧夏卡爾
NT$ 50,000-100,000 US$ 1,600-3,300
MODERN AND CONTEMPOR ARY ART
291
184 YANG SANLANG
楊三郎
( Taiwanese, 1907-1995 )
雪山遠眺
Snow Scene
1995 版畫 102/240 簽名：102/240 1995 S.Yang
64.5 x 112cm Lithograph, 102/240 Signed S. Yang in English, dated 1995, numbered 102/240
附楊三郎美術館開立之原作保證書 With a certificate of authenticity from Yang San Long Art Museum
NT$ 100,000-110,000 US$ 3,300-3,600
292
ZHONG CHENG 中誠
185 YANG SANLANG
楊三郎
( Taiwanese, 1907-1995 )
旭
Rising Sun
1992 版畫 25/EA 簽名：25/EA 旭 1992 S.Yang
75 x 84.5cm Lithograph, 25/EA Signed S. Yang in English, titled in Chinese, dated 1992, numbered 25/EA
附楊三郎美術館開立之原作保證書 With a certificate of authenticity from Yang San Long Art Museum
NT$ 80,000-90,000 US$ 2,600-2,900
MODERN AND CONTEMPOR ARY ART
293
186 YANG SANLANG
楊三郎
( Taiwanese, 1907-1995 )
高山曉日
Nepal Peak
1992 版畫 233/237 簽名：233/237 高山曉日 1992 S.Yang
72.5 x 63cm Lithograph, 233/237 Signed S. Yang in English, titled in Chinese, dated 1992, numbered 233/237
附楊三郎美術館開立之原作保證書 With a certificate of authenticity from Yang San Long Art Museum
NT$ 60,000-70,000 US$ 2,000-2,300
294
ZHONG CHENG 中誠
a. b.
187 HSIAO CHIN
蕭勤
( Taiwanese, b.1935 )
a. 再生之始 -4
a. Linizio Della Rinascita - 4 b. Nuvola Rossa
b. 紅雲
a. 88 x 127cm b. 98.5 x 139cm a. Lithograph, 22/50 b. Lithograph, 34/50 a. Signed Hsiao in English and Chin in Chinese, numbered 22/50 b. Signed Hsiao in English and Chin in Chinese, numbered 34/50
a. 版畫 22/50 b. 版畫 34/50 a. 簽名：22/50 Hsiao 勤 b. 簽名：34/50 Hsiao 勤
NT$ 120,000-200,000 US$ 3,900-6,500
MODERN AND CONTEMPOR ARY ART
295
188 HSIAO CHIN
Il Bicchiere Di Giada
Il Bicchiere Di Giada
2001 版畫 26/50 (4) 簽名：26/50 Hsiao 勤 ( 每件版畫 )
50 x 35cm(4) ( 版畫 Prints) 54 x 37cm ( 木盒 Wood Case) Lithograph, 26/50 (4) Signed Hsiao in English and Chin in Chinese, numbered 26/50 (each piece)
NT$ 80,000-150,000 US$ 2,600-4,900
296
蕭勤
( Taiwanese, b.1935 )
ZHONG CHENG 中誠
a. b. c. d.
189 WALASSE TING
丁雄泉
( Chinese-American, 1929-2010 )
a. 鸚鵡
a. Parrots with Flowers b. Grape Juicy Lady c. Hidden Smiles d. Woman in Flowers
b. 紫艷女子
a. 52 x 65cm b. 50.5 x 74cm c. 53 x 73.5cm d. 51 x 71.5cm a. Lithograph, 63/200 b. Lithograph, 196/200 c. Lithograph, 173/200 d. A.P. a. Signed Ting in English, numbered 63/200 b. Signed Ting in English, numbered 196/300 c. Signed Ting in English, numbered 173/200 d. Signed Ting in English, dated 1981, numbered A.P.
NT$ 120,000-200,000 US$ 3,900-6,500
c. 花扇女郎 d. 金髮女郎與鮮花 a. 1983 b. 1981 c. 1981 d. 1981 a. 版畫 63/200 b. 版畫 196/200 c. 版畫 173/200 d. 版畫 A.P. a. 簽名：63/200 Ting b. 簽名：196/300 Ting c. 簽名：173/200 Ting d. 簽名：A.P. Ting 81
MODERN AND CONTEMPOR ARY ART
297
陳庭詩 CHEN
TINGSHIH (1916-2002)
038
081
生於中國福建。1948年來臺，年幼失聰反使其更專注於創作，三十餘歲活躍於美術團體 如五月畫會、現代版畫會及現代眼畫會等。曾多次參與歐美亞等地海外聯展，並定期參 與五月畫會展覽及多項個人展覽。1970年，作品《蟄》獲韓國東亞日報「第一屆國際版 畫雙年展」首獎，同年榮獲中華民國第八屆畫學會金爵獎。1976年赴美國科羅拉多州政 府議會大廈設計紀念華工移民開拓的大幅鑲嵌玻璃畫〈慶祝美國建國二百週年〉，並在 美居住兩年。其版畫作品廣受海內外美術館及私人機構所收藏，如：洛克斐勒基金會、 辛辛那提美術館、國立臺灣美術館等。近期展覽包括：「大律希音—陳庭詩紀念展」 (2002，台灣台北，市立美術館)。
001
Born in Fujian, China. Chen lost his hearing at early age, on the contrary, he focus on his art more. Chen left China for Taiwan in 1948 and has participated in various artistic circles such as the Fifth Moon Group, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the Fifth Moon Group, on top of regular solo shows. In 1970, Chen was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. His works can be found in major museums such as Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts. “Sound of Rarity- the Retrospective Exhibition of Chen TingShih” has held in Taipei Fine Arts Museum, September 2002. 146
147
金勤伯 JIN
QINBO (1910-1998)
張萬傳 CHANG
WANCHUAN (1909-2003)
135 002
生於中國浙江吳興，世居上海及北平。本名開業，後改名勤伯，號繼藕、景北，齋 名「倚桐閣」、「雲水居」。金勤伯的大伯父金城是清末著名書畫家及收藏家，其 認為金勤伯在藝事上具有天份，值得教誨，十四歲起便開始親授各項畫科，以古人 工筆著手，學習精工手法。1921年在大伯金城推薦下加入「中國畫學研究會」，並 連續六年參加在北平中國畫學的國畫公展。1928年，十八歲伯父過世改從身為花 卉名家的姑母金章學畫，得姑母真傳。1929年十九歲的金勤伯考入燕京大學生物 系。1937年經由湖社師兄陳緣督推介給時任北京輔仁大學美術系主任的溥伒，受聘 為代課教師，後曾轉往上海藝專任教，從此走上教書生涯。1946年再度赴美深造， 取得生化碩士學位後，即全心朝向繪畫興趣發展。於1949年渡海來台，寓居台北青 田街一日式平房。1950年參加第五屆台灣省全省美展獲國畫部第四名。1951年參 加第六屆台灣省全省美展獲國畫部第二名。1957年起連續擔任多屆台灣省全省美展 國畫部評審委員。1959年9月應美國國務院之邀，赴美國羅德島設計學院（Rhode Island School of Design）講學一年，並舉辦「金勤伯國畫展」。 Born in Zhejiang, China. Nephew of Jin Cheng. His father, Jin Qiong-lin, was a collector. Grown in prominent industrialist family. Jin Qin-Bo graduated from Yan-Jing University with BA in liberal arts in 1933. In 1937, Jin caught in Beijing by Japanese occupation. In 1947, His father sent him to England and France for further study. Then in 1949, he moved to Taiwan. In 1940, He joined faculty of Nan Yang Normal University with Pu Ru and Huang Jun-Bi. Jin went to Rhode Island School of Design as Visiting professor in 1959. In early 1960s, He taught in Iowa City, where his painting showed influence of abstract expressionism. Later he taught in New Asia College. Chinese University of Hong Kong and returned to Taiwan in 1966, where he taught in several colleges. In 2004, Jin held solo exhibition in National History Museum, Taipei.
298
ZHONG CHENG 中誠
003
生於台灣台北。中學時代跟隨石川欽一郎習畫，1929年入倪蔣懷籌組之「臺灣繪 畫研究所」，後1930年赴日留學，進入川端畫學校及本鄉繪畫研究所研習西畫。 1938年返台後曾加入台陽美術學會，退出之後與陳德旺等人組成「行動美術會」。 曾任教於廈門美術學校、國立藝術專科學校油畫科，以及臺灣建國中學、延平中學 與國立藝專。其作品曾多次入選東京第一美展、日本春陽會展、府展特選、台展 等；1954年首次於台北舉辦個展，1966赴日本舉行個展，1971年再度舉辦個展於 台北中山堂。1980年創立台北美術會並任會長。其作品廣為藝術機構與私人藏家所 珍藏。 Born in Danshui, Taiwan. Studied painting under Ishikawa Kinichiro while he was in high school. In 1929, he went to Japan to study at the Kawabata Painting Institute and Hongoo Art Institute. Zhang returned to Taiwan in 1938 and joined the Taiyang Fine Arts Association. After his withdrawal from the Association, he formed the MOUVE paintings at the Amoy Fine Arts College in China and Taiwan National Art College. His Works have been selected by 1st art exhibition of Tokyo. He taught in department of oil at Shiamen University and Institution of National art. In 1980, he formed Art Museum of Taipei and Appointed as Chairman. His works were collected wildly by many art institutions and private collectors.
洪瑞麟 HONG
JUILIN (1912-1996)
于右任 YU
YUJEN (1878-1964)
004 005
125
生於台灣臺北，父親擅詩畫，自小受其影響。1927年進入石川欽一郎及倪蔣懷的台 灣繪畫研究所，後在陳植棋鼓勵下赴日，1930年入川端畫學校的本鄉繪畫研究所， 1931年考入帝國美術學校（今武藏野大學）。1938年返台入倪蔣懷經營之礦場工 作，直至退休，其一生與礦工為伍，但從不間斷繪畫，被稱譽為「礦工畫家」。 1939年以「坑內工作」入選特展，1954年組紀元美術會，對於非主流美術活動貢 獻良多。1980年赴美定居，並至歐洲各地旅遊寫生，1987年洪瑞麟藝術工作室成 立，1996年12月逝世於美國。
生於中國陝西，原名伯循。現代詩人、書法家。1903年（清光緒29年）舉人。 1906年追隨孫中山來台灣，加入同盟會。1910年曾與宋教仁等辦《民力報》。 1912年任南京臨時政府交通部次長。曾致力反對袁世凱稱帝的野心。1918年返陝 西，任靖國軍總司令。後曾任上海大學校長等；1931年後長期任國民政府監察院 院長。1964年台灣病故。擅長書法，得力於《鄭羲碑》《石門銘》精於筆法，善 草書，以碑入草，尤以唐代懷素的小草千字文用功甚勤，造詣甚深。用心佈白。曾 創標準草書社，並出版月刊，編撰《標準草書》。著有《右任文存》《右任詩存》 等。其作品典藏於台北市立美術館、高雄市立美術館、台北歷史博物與于右任書法 藝術館等。
Born in Taipei,Taiwan. He ever followed Kinichiro Ishikawa to study painting in 1927 and decided to leave for Japan in 1930. He entered successively the Taiwan Painting Institute and the Imperial Fine Arts School in Tokyo. In 1938, he found a job with the Jui-fang Coal Mining Company to make a living. The working miners subsequently became a key inspiration for Hung. He had participated in the Taiwan Exhibition. The Hung Rui-Lin Art Studio was founded in 1987. Hung was dead of myocardial infraction in 1996.
巴斯天 ALFRED
006
Born in Shaanxi, China. He is modern poet and calligrapher. In 1903, he is a candidate of provincial examinations. In 1906, Yu followed the Sun Yet-sen to Taiwan to join the United League. In 1910,Yu founded " Financial resources of the people reported "with Song Jiao Ren. In 1912, he served as Ministry of Communications of Nanjing Provisional Government. He have committed oppose Monarchy ambitions.In 1918, he returned to Shannxi and he became the supreme of Nation-Pacifying Army at Shaanxi. Then he served as Shanghai University Presidents and The president of the Control Yuan Republic of the National Government. In 1964,he died in Taiwan. He is good at calligraphy especially Cursive that mixed inscription into the cursive. He learned from Huai Su's calligraphy. His works are collected in Taipei Fine Art Museum, Kaohsiung Museum of Fine Art, National Museum of History and Yu Yujen's Calligraphy Museum.
BASTIEN (1873-1955)
039
012
040
139
生於比利時。巴斯天是比利時印象派的藝術家。1897年贏得 Godecharle基金會獎學金並進入巴黎藝術學院。1927年進入比利時 皇家學院任教爾後擔任藝術學院院長。巴斯天為吳作人和沙耆的指導 教授，在早於兩人留學之前他已經被公認是比利時印象派的代表畫家 之一。曾為比利時國王亞爾佩一世作畫。其中《騎馬肖像》和《花籃 與水果盤》等作品在1934、1935年間「比利時現代繪畫展」巡迴展 出於上海及南京，此一展覽被國外藝術史家看作20世紀前期在華舉行 的最大規模歐洲畫展。在他執教的班上曾同時有過11個不同國籍的學 生，吳作人就是其中之一，戰後曾隨恩師參與創作周長150餘米的戰場 全景壁畫。 Born in Belgian. Bastien was a Belgian Impressionism artist.. He won the Prix Godecharle in 1897 which helped him he enroll in the École Nationale Supérieure des Beaux-Arts Paris. After that, he enrolled in the Académie 140 Royale des Beaux-Arts in Brussels in 1927. Before Wu Zuo Ren and Sha Qi went studying abroad as his students, he had already been recognized as one of the representative impressionist in the Belgian, and had painted for the King of Belgium. The "Horse Riding Portrait" and" Flowers and Fruit Bowl" and other works had been exhibited in series of "the Belgian Modern Painting Exhibition" in Shanghai and Nanjing from 1934 to1935. "The Belgian Modern Painting Exhibition” is seen as the largest European exhibition by the foreign art historians in China in the early 20th century. He had coached 11 students of different nationalities in the same class. And Wu Zuoren was one of the 11 students; after the war, Wu joined his teacher, Bastien, and participated in the creation of the battlefield panorama murals of 150 meters perimeter.
141
MODERN AND CONTEMPOR ARY ART
299
曾海文（唐海文） TANG
HAIWEN (1927-1991)
013
007
014
生於中國福建。自幼隨祖父學習書法。1937年抗日戰爭爆發後，舉家遷居越南，後受藝術熱忱之驅使，於1948 年赴巴黎自修遊學，長期旅居並揚名於國外。其作品透過純熟的線條運用，跨越東西技法呈現中國傳統哲思，於 1955年舉辦首次個人展覽後，持續旅行、展覽於各地，足跡遍及歐美大陸，包含：摩洛哥拉巴特烏達易斯博物館 （1959）、瑞典斯德哥爾摩密德索馬花文化中心（1965）、法國沙波多隆聖十字修院博物館（1972）、法國尼斯 彭雪德博物館（1980）、法國維特埃城堡維特埃藝術博物館（1984）、法國巴黎拉丁美洲館（1987）、丹麥阿爾 圖斯美術館（1995）、摩納哥海洋生態博物館（1996）等。唐海文終其一生以獨特的藝術視野與作品結交異地同 好，1991年逝世後，台北市立美術館於1997年為其舉辦「作品回顧展」；同年，日本東京資生堂基金會也舉行「唐 海文個展」；法國巴黎亞洲藝術館於2002年為其舉行大型回顧展，完整地呈現其繪畫風貌。其作品為多所法國現代 美術館及私人收藏，包括巴黎現代美術館及賽努希爾博物館。 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.
300
ZHONG CHENG 中誠
015
溥心畬 PU
RU (1896-1963)
臺靜農 TAI
生於安徽省霍邱縣葉家集鎮。著名作家、文學評 論家。原名傳嚴，字伯簡，20年代初改名為靜 農，晚號靜者，筆名有青曲、孔嘉、釋耒等。幼 承庭訓，讀經史，習書法，中學後入北京大學國 文系旁聽，後北京大學研究所國學門肄業，奠 定了國學基礎。早年是“未名社”成員，1925 年春初識魯迅，後兩人關系密切，友誼深厚。 1927年後，任教於輔仁大學、廈門大學、山東 大學及齊魯大學等。抗戰後，舉家遷四川，任職 國立編譯館。1946年赴台，後任台灣大學中文 系教授。台靜農治學嚴謹，在文學、藝術、經史 等多種領域均涉之甚深，並以人格耿介、文章書 畫高絕馳名。其書法廣泛涉獵金文、刻石、碑版 和各家墨跡，篆、隸、草、行、楷諸體皆精。亦 擅篆刻、繪畫。有《靜農論文集》、《靜農書藝 集》、《台靜農散文集》、《台靜農短篇小說 集》等行世。
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生於中國北京，為中國近代著名書畫家之一。本名愛新覺羅．溥儒，字心畬，滿族 宗室，與清皇帝溥儀為堂兄弟。1912年清朝覆亡後，隱居北京西山戒臺。1924年 重返恭王府，1925年與滿足畫家共創「松風畫社」，1930年偕妻子羅清媛舉行首 次畫展而知名。1934年起任教於北平藝術專科學校(今中央美術學院)、杭州藝術專 科學校(今中國美術學院)。1949年移居台灣，任教於台灣省立師範學院(今臺灣師範 大學)，並於台北臨沂街開設畫室「寒玉堂」。1954年《寒玉堂畫論》一書獲得教 育部第一屆美術獎。1955年受韓國漢城大學頒贈名譽法學博士後赴日旅居。30年 代中期與張大千齊名，並譽「南張北溥」，又與吳湖帆並稱「南吳北溥」，與黃君 璧、張大千以「渡海三家」齊名。 Born in Beijing, China. He also known as Pu Xinyu , was a painter and calligrapher. He is a member of the Manchu imperial family, born near the end of the Qing Dynasty. Puru was reputed to be as talented as the artist Chang Dai-chien. In Taiwan, Puru made a living by selling paintings and calligraphy works during the first months of his arrival in Taipei. He was appointed in October 1949 as a professor of the Fine Arts Department of the National Taiwan Normal University. In 1959, he held a two weeks long art exhibition in the National Museum of History with 318 works on display.
黃君璧 HUANG
JINGNONG (1902-1990)
JUNBI (1898-1991)
生於中國廣東。字君翁，原名韞之，號君 璧，南海祿舟人，中國著名畫家。成長於藏 有豐盛古董、字畫的富裕環境。年少時就讀 於家中的私館，1912年始學西洋畫，師事理 瑤屏。後於1919年畢業於廣東公學，喜觀 賞、收藏字畫。17歲時拜李瑤屏為師習畫， 1921年經李瑤屏推薦，任教於廣州培正中 學，開始繪畫教學之路。1922年於楚庭美 術院研究西畫。1927年又任廣州市立美術 專科學校教務長。1937年任徐悲鴻主持的 中央大學美術系教授，兩人共同執教長達11 年。1949年遷居台灣，任台灣師範學院(今 台灣師範大學)藝術系教授、主任。多次在台 北、加拿大、美國、新加坡、南韓舉辦個人 畫展。1968年獲紐約聖若望大學學質獎章。 擅長畫山水，傳統功底深厚，經歷了現代中 國畫的繼承、演變、革新的過程。他從學中 國畫之日起就兼學西畫，是一位兼通西畫的 中國畫家，西方藝術界稱其為「中國新古典 派」，與張大千、溥心畬同被尊稱為「渡海 三家」。
009
劉其偉 LIU
Born in Anhui, China. A well-known writer and literary critic long-term concentrated study of Chinese classical literature. history and art. profound knowledge each with a unique academic ideas. In his early years, he was an “Unnamed community members” affiliated with Lu Xun. He had taught at Fu Jen Catholic, Qilu, Shandong, Xiamen Zhu University and Sichuan Jiangjin Women's Teachers College. In his late years, he was a professor of National Taiwan University and a book writer. His calligraphy medium ranged from ink inscriptions, Stele, Beiban and other ink mediums. He is also good at carving, painting. Before the out break of the War of against Japan, he taught at Fu Jen Catholic University, Shandong University. After the war, he went to Taipei and became the professor and chairman of the National Taiwan University.
CHIWEI (1912-2002)
016 124
010
Born in Guangdong, China. He was a famous modern artist adept at landscape painting. He once studied under Li Yao-ping to learn Chinese drawing and then entered Chu-ting Art Institute to learn western painting. He graduated from Guangdong Public School in 1919. He once initiated a school to teach painting and therefore was respected as teachers with many good pupils. He is regarded as a very indispensable artist and educator in the history of the Chinese art in the 20th century. Huang Junbi enjoyed equal fame with Xu Beihong and Chang Dai-Chien and had good friendship with them. The three artists are of great influence to the orientation of the modern Chinese painting art. It greatly influenced the development of his art to Taiwan after his arrival on the island in 1949. He not only made a combination between the traditional ink and the Taiwan landscape but also explored a new space for the ink painting ground.
生於中國福建，原名劉福盛。1920年移居日本，先後畢業於日本神戶英語神學院以 及東京鐵道教習學院。1945年來台，1949年開始自修水彩畫並於1951年舉辦首次 個人水彩展。1962年獲中國畫學會第一屆水彩畫家金爵獎，1996年獲中國文藝協 會「文藝獎章」，2001年獲文建會第四屆「文馨獎」金獎及特別獎，2002年獲總 統頒發「褒揚令」。其水彩畫和油畫作品受到臺灣人的喜愛。在臺灣畫壇尊稱他為 「劉老」，有畫壇老頑童之稱。近期展覽有：「80年回顧展」（1990，台灣台中， 台灣省立美術館）、「巴布亞原始藝術展─劉其偉的新幾內亞行」（1994，台灣台 中，國立自然科學博物館）、「探索90─劉其偉捐贈展」（2001，台灣台中，國立 臺灣美術館）、「劉其偉歐亞繪畫巡迴展」（2001，愛爾蘭，詹姆斯喬艾思文化中 心）。著有《現代藝術研究基本理論》、《水彩技巧與創作》及《台灣土著文化藝 術》等書。 Liu was born in Fujian, China, his given name was Liou Fu-Sheng. He immigrated to Japan in 1920. He began to study watercolor painting by himself in 1949. Liu held his first exhibition in 1951. In 1962, he was awarded First Prize in watercolors by the Art Society of China in Taiwan in 1962. His watercolor and oil paintings are most popular in Taiwan where he was called Liou Lao as a respectful name. The other name: Wua Tan Lao Wan Tong which describes his playfulness of his personality. He has published extensively, including “The Theory of Modern Painting”, “Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”.
MODERN AND CONTEMPOR ARY ART
301
陳景容 CHEN
CHINGJUNG (b.1934)
陳銀輝 CHEN
YINHUI (b.1931)
017
生於台灣彰化。國立台灣師大藝術美術系畢業後，赴日留學，先後畢業於武藏野美 術大學、東京學藝大學及東京藝術大學壁畫研究所，擅長油畫、素描、版畫、嵌 畫、濕壁畫。回台後，先後任教於國立藝專、文化大學及師範大學，1977-1996年 擔任師大美術系專任教授，現為師大名譽教授。曾獲頒四次文馨獎、吳三連文藝獎 以及中華民國學會金爵獎。曾應聘為全國美展審查委員。出版有28本美術相關著 作。著名展覽包括：「中華民國現代藝術展覽」(1975，法國巴黎)、「法國秋季沙 龍」（1988）、「存在與意象：陳景容創作四十年展」(1997，台灣，台北市立美 術館)、「台灣畫家國家美術協會S.N.B.A.聯展」(2003，法國巴黎，羅浮宮)、「陳 景容個展」(2006，台灣台北，國立歷史博物館)、「陳景容創作五十年回顧展」 (2009，台灣台北，國父紀念館)。 Born in Nantou, Taiwan. Chen graduated from National Taiwan Normal University Arts Faculty, continue further study in Japan, 1960 graduated from Japan Musashino University. After his return to Taiwan, he became the chairman of the Fine Art Department of the National Academy of Arts. In 1975 Chen travel to Paris to participate in the World Convention of Fine Art Education, and then received the Golden Goblet Award from the Chinese Painting Society. Exhibitions were held frequently both nationally and internationally. In 1997, "Being and images:40years of Chen Ching-jung's vision" in Taipei Fine Arts Museum. In 2006“Chen Ching-jung Solo Exhibition” in National Museum of History,Taipei. In 2009," 50years of Chen Ching-jung's Retrospection" at National Dr. Sun Yat-sen Memorial Hall, Taipei. Chen also serves as a judge for the Taiwan National Fine Art Exhibitions.
龎 均 PANG
JIUN (b.1936)
018
037
生於台灣嘉義，國立台灣師範大學美術系畢業，曾任國立台灣師範大學美術研究 所教授。1961年獲扶輪社獎章，並任全省美展、北市美展、全國美展籌備委員 和審查委員。曾獲「金爵獎」、「中山文藝創作獎」、「吳三連藝術獎」、「楊 三郎獎」、「林本源中華文化教育獎」。著名展覽包括：「烏拉圭國際雙年展」 （1975）、「法國秋季沙龍展」（1991）、「法國現代藝術展」（1994）、 「五十年回顧展」（1995，全省美展）、「繽紛兩岸」(2000，台灣，國泰世華藝 術中心)、陳銀輝個展（2002，台灣，國泰世華藝術中心）、「大師風華」(2004， 台灣，國泰世華藝術中心) 、「形色音韻—陳銀輝八十回顧展」（2009，台灣，台 北市立美術館）。 Born in Jiayi, Taiwan, Chen graduated from Taiwan Normal University in 1954. He used to teach in the graduate school of National Taiwan Normal University Fine Art department. In 1961, he won a Rotary Club Medal. He was also an organization member and an examining member of the Provincial Art Exhibition, Taipei City Art Exhibition and National Art Exhibition. He once won the Golden Belt Award, Chungshan Literary Prize Award, Wu SanLien Award, Yang Sanlang Award and the Lin Ben Yuan China Culture Education Prize”. The exhibitions include: “flourishing two shores” and collection of bank, Cathay United gallery, 2000; “Chen Yin Hui Solo Exhibition”, Cathay United Gallery, 2002; “Master Grace” the oil painting association exhibition, Cathay United Gallery, 2004; “The Rhythm of Forms and Colors – Yin Huei Chen: A Retrospective Exhibtion”, Taipei Fine Arts Museum, 2009.
黃銘昌 HUANG
MINGCHANG (b.1952)
022 019
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生於中國上海。為中國第一代油畫家龐薰琹之子。龎均11歲時即於上海舉行首度個 展，18歲畢業於北京中央美術學院，自此開始專業創作的藝術生涯，並致力倡導中 國現代藝術運動。1980年遷居香港，1987年定居台灣，並任教於國立台灣藝術專 科學校，期間個展三十餘次，並出版多部油畫技法、寫生哲學等相關書籍，對台灣 的人文及藝術教育貢獻卓著。其作品廣為兩岸三地多處知名博物館、美術館及藝術 學院所典藏，並列入英國劍橋世界名人錄(IBC)「伍佰第一」之列。 Born in ChangShu, Chiangsu. His father Pang Hsun-chin was a master painter. When he was 18, he graduated from the Central Academy of Fine Arts in Beijing. Throughout his life, he endeavored in promoting the movement of modern art. When he was 11, he left Mainland China. In 1987, he moved to Taiwan and taught at the National Taiwan Junior College of Arts. During his teaching career, Pang had also held his solo exhibitions more than thirty times and then served as the judge of the 44th national Art Exhibition (Oil Painting Category) in 1989. His artworks were collected by many world-renowned museums, art colleges and private collectors at home and abroad.
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ZHONG CHENG 中誠
生於台灣花蓮，畢業於中國文化大學美術系，1977年赴法國，並進入國立高等巴黎 美術學院深造。1984年畢業獲高等油畫文憑，同時作品被巴黎市政府文化部收藏。 留法期間，其作品多次參加重要聯展：如「法國秋季沙龍展」（1979），「紅山 （Montrouge）沙龍展」（1980、1982），巴黎大皇宮「國際當代藝術展FIAC」 （1983）等。1985年返國定居，任教於國立藝術學院，並於1985年及1991年舉辦 個展。黃氏曾獲第三屆雄獅新人獎（1978），擅長以細緻的筆法描繪鄉間田野景 象，深受藝評及美術館和海內外私人藏家的喜愛。是台灣90年代接續鄉土寫實詩 情，而又賦以大格局式觀照的畫家，一貫保持著藝術本質的純粹性。於2000年應邀 參加北京、上海「20世紀中國油畫展」及2001年台北、台中「台灣美術百年展」， 作品經常在歐、美、加等地展出。2010年作品參加北京「改造歷史：2000-2009年 的中國新藝術」大展及兩岸繪畫界聯合舉辦的「百年華人繪畫大觀」世界巡迴大 展。 Born in Hualien, Taiwan. Huang graduated from the Fine Art Department at the Chinese Culture University. In 1977, he went to France to continue his study at the École nationale supérieure in Paris, from which he received a diploma in oil painting in 1984. In the same year, one of his paintings was acquired by the Cultural Affairs Division of the City Hall of Paris. He participated in many Exhibition Salons while in Paris, and upon his return to Taiwan in 1985 became as instructor in the National Institute of Art. In 1985 and 1991, he participated in the Exhibition of the 25th Montrouge Salon in France, and in 1990, in the Three Hundred Years of Taiwan Art exhibition at the National Museum of Art in Taichung. HUANG prefers countryside scenery and specializes in meticulously detailed landscapes. He participated in the Exhibition of 20th Century Chinese Painting shown at the Beijing and Shanghai Art Museum, as well as A Hundred Years of Taiwan Art at the National Museum of Art in Taichung in 2001. Huang was awarded the 3rd Lion New Artist Award in 1978, and his works are in the permanent collection of the Paris City Government Cultural Affairs Department, the Taipei National Museum of Art and the Taiwan Museum of Art in Taichung. He attended RESHAPING HISTORY-China Youth New Art in Beijing and A Century of Chinese Paintings World Tour Exhibition in 2010.
朱 銘 JU
MING (b.1938)
070 020
021 062
071
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生於台灣苗栗。早期向李金川學習木刻，其後與楊英風學現代雕塑。1976年獲選台灣十大青年， 並獲頒國家文藝獎，2004年獲頒九十三年行政院文化獎，亦為台灣對文化界人士所頒發的最高榮 譽獎項，2007年獲頒第十八屆「福岡亞洲文化獎─藝術文化獎」。朱氏的作品「鄉土」、「太 極」和「人間」系列廣受歡迎，舉辦過多次國際性展覽，如：太極系列（1997，巴黎梵登廣 場）。黃永松曾如此評析朱銘的創作：「他原先的鄉土題材是『台灣』的，『太極』是『中國』 的，到了『人間』是『國際』的」，足以見證朱銘一路創作的演變與越發國際化的觀點。他的作 品被世界各大城市美術館、教育機構和政府珍藏，臺灣地區計有：台北市立美術館、國立台灣美 術館、高雄市立美術館、朱銘美術館等。1999年朱銘美術館在臺北縣金山鄉開幕。
Born in Miaoli, Taiwan. Ju began studying sculpture with Lee Chinchun in early year. He proceeded to learn modern sculpture under Yuyu Yang. Ju was chosen as one of ten outstanding youths in Taiwan in 1976 and also presented with a National Cultural Award in recognition of his artistic accomplishments. His works of Series “Nativist”, “Taichi” and “Living World” are most popular and have been collected by museums, educational institutions and government worldwide. Huang Yong Song comment on his creations: The three series “Nativist”, “Taichi” and “Living World” is an obvious evolution of broadening subject- from Taiwan to China then from China to world. In December 1997, his works were exhibited abroad in Place Vendome, Paris. Ju even established The Ju Ming Museum in Chinshan, Taipei in 1999. In the year of 2006, a Series of Taichi solo exhibition was held and received great admiration in Beijing. These abroad exhibitions reach step to step to international stage. Not only honored with the “Cutural Award” in 2004, his dedication of art also won him another medal- “Fukuoka Asia Cultural Award – Art and Culture Medal”.
MODERN AND CONTEMPOR ARY ART
303
羅發輝 LUO
FAHUI (b.1961)
張 杰 ZHANG
JIE (b.1963)
023
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1983年的作品「童年」由中國美術館收藏；1993年作品「陽光 普照」被台灣山美術館收藏；2004年作品「玫瑰2001-NO.5」被上海美術館收藏。 近期展覽有：「漂浮的慾望」(2006年，中國美術學院美術館)、「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」(2006，中國上海，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，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)。 Born in Chongqing, China, Luo graduated from the Oil Painting Dept. of Sichuan Fine Arts Institute, presently as the professor of 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 in 1983 “childhood” is in the collection of the National Art Museum of China. “Sunshine Everywhere”, a piece he made in 1993, is part of the collection of The Mountain Museum in Taiwan. His 2004 work “Rose 2001-No.5” is among the collection of Shanghai Museum of Fine Arts. In 2006 he participated in “Imagery of Mt.Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours. China and Germany. He also held “Floating Desire- Luo Fahui's Oil Painting Exhibition” in the gallery of Chinese Institute of Fine Arts in Hangzhou; “Red Mountains＆Green Water: Sino-Germany Art Traveling Exhibition”, Lübeck Gallery＆Speyer Museum, Germany, 2007. “Moved by Vision” Shanghai Museum of Fine Arts, 2008. “Fairyland” Dolores Desierra Gallery, Madrid Spain, 2008. “Chine-Nouvelles Visions”, La Maison LOO, Paris, France,2009.
權奇秀 KWON
KISOO (b.1972)
024
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；曾四次榮獲省優秀作品獎。許多作品 曾赴美國、日本、香港、台灣、加拿大、南斯拉夫、土耳其、剛果等國家和地區展 出，作品曾參加臺灣蘇富比和國內大型拍賣會，受到廣泛好評並被許多博物館和收 藏家收藏。 Born in Chongqing, China, and graduated from the Sichuan Fine Arts Academy Oil Painting Department in 1988, presently as the professor of Sichuan Fine Arts Academy, the member of Chinese Artist Association, the vice-chairman of Chongqing Culture Development Research board. His works were selected by the 3rd of Asia and Europe art Biennale, the 7th National Art Exhibition, the 50th anniversary of Chinese oil painting commemorate lectures, the 1st Annual Chinese Oil Painting Exhibition, the 1st China Landscape Painting Exhibition and other nationwide art exhibitions and receive the province outstanding prize. Works are exhibited at US, Japan, Hong Kong, Taiwan, Canada, Yugoslavia, Turkey, Congo…., And also participate in Sotheby's Taiwan and the domestic auctions. His works were collected by many museums and the collectors worldwide.
奈良美智 YOSHITOMO
NARA (b.1959)
026 025
生於韓國。1998年畢業於漢城弘益大學碩士。創作範圍涵括繪畫、雕塑、和錄像。 他最為人熟知的就是經常出現在作品裡的Dongguri (咚古力)，擬人化的造型， 由簡約而充滿象徵性的黑色線條所組成，是一種充滿隱喻的、簡約的、機械化的 現代主義思維與圖像。1996年入選第十五屆韓國藝術大賞決賽。近年個展包括： 「四季」（2008，Parkryusook藝廊，首爾，韓國）、「Who’s Dongguri?」 （2008，形而上畫廊，台北，台灣）、「黑色森林」（2006，藝術公園(Artpark) 藝廊，首爾，韓國）、「權奇秀動畫」（2005，Paik HaeYoung藝廊，首爾， 韓國）、「哇!這是一朵花!」（2002，魚藝廊，首爾，韓國）、「1998個展」 （1998，Kwanhoon藝廊，首爾，韓國）。 Born in Korea. Kwon's works in a wide range of media, including painting, sculpture and video. He is primarily known for his creation of Dongguri, a character that frequently appears in his work. The human-shaped figure formed by symbolized and purified black lines, is a mechanic and simplified image and thought of modernization full of metaphor. Selected for The 15th Grand Art Exhibition of Korea Finalist in 1996.Solo Exhilarations: “4 Seasons”, Parkryusook Gallery, Seoul, 2008; “Who's Dongguri?”, Metaphysical Art Gallery, Taipei, Taiwan, 2008; “Black Forest”, Artpark Gallery, Seoul, 2006; “Kwon, Ki Soo-Animation”, Paik Hae Young Gallery, Seoul, 2005; “A Red Fountain”, Gallery Fish, Seoul, 2004; “Wow, This Is A Flower!”, 'Congdu' In An Annex To The Woljon Art Center, Seoul ; Gallery Fish, Seoul, 2002; “The Show 1998”, Kwanhoon Gallery, Seoul, 1988.
304
ZHONG CHENG 中誠
101
生於日本青森縣弘前市，現居於東京。早期的作品以插畫性質為多，但在1980年 代後期即發展出他以小人頭像為主的風格；奈良美智對於大頭和大眼型的小人相當 著迷，他的特色在於塑造各種帶有情感的眼神，其中最著名的是斜視的眼神（有人 說是代表憤怒，有人則說是代表了邪惡）。在1990年代後期，他也開始創作立體作 品，並採用不同媒材拼組的方式。今日他的作品已被許多博物館收藏，如紐約現代 藝術博物館和洛杉磯當代藝術博物館等。 Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artists is infatuated with subjects with big heads and big eyes; he is well known in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today his works are in collection of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other wellknown museums in the world.
姚瑞中 YAO
JUICHUNG (b.1969)
楊識宏 YANG
CHIHUNG (b.1947)
115
029
076
生於台灣台北，1994年國立藝術學院（國立台北藝術大學）美術系理論組畢業，曾 代表台灣參加1997年威尼斯雙年展、2005年橫濱三年展以及2009年亞太三年展， 海內外聯展百餘次，也曾從事過小劇場、電影、美術史教學、藝術評論、策展等 工作。個展：「忘德賦」（2008，日內瓦）；「所有一切都將成為未來的廢墟」 （2006，台北）；「極樂天堂」（2003，英國）。作品曾被台北市立美術館、高 雄市立美術館、國立台灣美術館、澳洲昆士蘭美術館、美國康乃爾大學美術館、法 國國家圖書館以及許多國內外私人單位典藏。
生於台灣桃園，畢業於國立台灣藝專。1979年移居美國紐約至今，1987年在台北 出版美術論述著作《現代美術新潮》，1989年獲紐約州州長頒發「傑出亞裔藝術家 獎」，1991年應邀為香港中環廣場大廈製作三幅巨畫。1997年接受訪問，內容收 錄於日本比尼斯公司製作發行之錄影帶─《現代美術與美國》。2004年出版攝影 集《台灣文化人攝影紀事》，同年榮膺國立台灣藝術大學傑出校友。創作及展覽至 今，在台北、香港、北京、漢城、倫敦、紐約、芝加哥等地舉辦五十餘次個展及兩 百多次聯展。近期個展：「象由心生」（2004，台灣台北，國立歷史博物館）、 「楊識宏個展」 (2007，中國北京，中國美術館)、「楊識宏個展」(2008，美國紐 約，中國廣場) 、「雕刻時光─楊識宏個展」(2009，台灣台北，國父紀念館)。作 品廣獲國內外藝術機構、企業及私人收藏。
Born in 1969 in Taipei. He graduated from The National Institute of The Arts (Taipei National University of the Arts) with a degree in Art Theory. In 1997, he represented Taiwan in "Facing Faces - Taiwan" at the Venice Biennale and took part in the International Triennale of Contemporary Art Yokohama in 2005. He also participated in numerous other large international exhibitions. Apart from working in the fields of theatre and film, he has taught art history, wrote art criticisms and curated exhibitions. He held solo exhibitions, "Wonderful" (2008, Geneva); "Everything will Fall into Ruin" (2006, Taipei); "Elysium" (2003, UK). His works have been collected by the Taipei Fine Arts Museum, Taipei, Taiwan; the Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan; the National Taiwan Museum of Fine Arts, Taichung, Taiwan; Queensland Art Gallery, Brisbane, Australia; Herbert F. Johnson Museum of Art Collection, Cornell University, USA; Bibliothèque National de France, Paris (French National Library, Paris), and many private collectors.
Born in Taoyuan, Taiwan, and graduated from National Taiwan College of Art at 1968. Yang immigrated to New York from 1979 till now. Yang won the Asian Artist Award by New York City Major at 1989. In 1991, Yang was invited to execute three giants paintings at Hong Kong Central Plaza Building. He was interviewed by the video produced by a Japan company. He published the photography in 2004, and won goodness schoolfellow of National Taiwan University of Art. Yang has held 50 major solo-art exhibitions and 200 more group shows at U.S. , Britain and Asia. Recent selected solo exhibitions: In 2004, solo exhibition “The Images of the Mind” at National Museum of History, Taipei, Taiwan. 2007 solo exhibition in National Art Museum of China, Beijing, China. In 2008, solo exhibition at China Square, New York. In 2009“CHIHUNG YANG─ Sculpting in Time” at National Dr. Sun Yat-sen Memorial Hall, Taipei. Yang's works are included in Asia, U.S. museum and private collections.
鄭在東 ZHENG
吳學讓 WU
027
ZAIDONG (b.1953)
030
生於台灣台北。畢業於台北世界新聞專科學校。鄭在東活躍於1980與1990年代的 台灣藝壇，作品風格是由人性的深層面出發。自1980年起，作品多次於國內外參 與展出，如：美國文化中心、台北市立美術館、歷史博物館等，1992年榮獲雄獅 美術創作獎。現今工作室設立於上海，成為第一位正式轉往上海發展的台灣藝術 家。近年的展覽包括：「新形象—中國當代繪畫廿年」(2001，中國北京、上海、 四川、廣東美術館) 、「巴黎-北京」(2002，法國巴黎，Espace Cardin藝術中心) 、「超越界線」(2004，中國上海，滬申畫廊)、「鄭在東、周春芽、劉煒三人展」 (2004，中國上海，滬申畫廊)、「高山流水」(2004，中國，上海美術館)、「鄭在 東水墨展」(2006，香港漢雅軒)、「浮生邈邈─鄭在東個展」(2009，台灣台北， 紫藤廬)。 Born in Taipei, Taiwan. Zheng graduated from the Taipei World Vocational School of Journalism. Active in the Taiwan art world during the 1980’s and 1990’s, he created gloomy and reminiscent oil paintings. Since 1980s he held many exhibitions in Taiwan and overseas like American Cultural Center, Taipei Fine Art Museum, Taiwan National Museum of History. He received the Shiung-Shih Award for Creativity in 1992. Zheng relocated to Shanghai and became the first Taiwanese artist who develops his career in Shanghai. Recent selected exhibitions: “New Image- 20 years of Chinese Contemporary Painting”, Beijing, Shanghai, Sichuan and Guangdong Art Museums, 2001;“Paris-Beijing”at Espace Pierre Cardin, Paris in 2002; “Cross the Limit” and “Zheng Zaidong, Zhou Chunya and Liu Wei” at Shanghai Hushen Gallery,2004; “Mountain and the River”, Shanghai Art Museum, 2004; “Ink Paintings by Cheng Zai-Tung” at Hanart TZ Gallery, Hong Kong in 2006; “Zheng Zaidong Exhibition” at Wistaria Tea House, Taipei in 2009.
HSUEHJANG (1924-2013)
生於中國四川。別號退伯，1948 年畢 業於國立杭州藝專，師承林風眠、潘天 壽、李可染等名家，為國際著名當代水 墨畫家、美術教育家，現旅居美國加 州。1984年榮獲中華民國畫學會繪畫教 育金爵獎，1985年獲頒中國文藝協會國 畫繪畫金質獎章，為蔣勳讚譽為開創當 代水墨新格局之先驅。曾與劉國松等人 創辦中國現代水墨畫會。1970年首次於 美國佛羅里達國際畫廊舉辦個展，自此 於國內外舉辦多次著名個展：「吳學讓 個展」(1989，台灣台北， 國立歷史博 物館)、「吳學讓七十回顧展」(1994， 台灣，台北市立美術館)、「從傳統到現 代—吳學讓彩墨畫展」 (1996，台灣台 中，台灣省立美術館)、「故國神遊—吳 學讓八十回顧展」、「故國神遊—吳學 讓八十回顧展」(2004， 台北台北，國 立歷史博物館)、「千年墨韻揮灑古今— 吳學讓水墨畫個 展」（2009，名山藝術 台北館、竹科館）、「吳學讓中國水墨 畫展」(2010，中國、上海劉海粟美術 館)。
031
Born in Sichuan, China. He graduated from National Hangzhou Academic Art College in 1984 ,and learned the painting skill under the Contemporary Chinese ink paintings of master Lin Fengmian、Pan Tianshou、Li Keran. Currently resides in California, USA. Recipient of ROC Chinese Painting Association Golden Award in painting education in1984 and Golden Award from Chinese Writers’ and Artists’ Association for painting in 1985. His work has been in display in Europe, America and Asia. Chiang Hsun called him the pioneer of the modern Chinese painting. In 1970, he had a first solo exhibition in Florida National Gallery, USA. Solo exhibitions: “Solo Exhibition” National Museum of History, Taipei, 1989; “Wu Hsueh-Jang Retrospective Exhibition at 70”, Taipei Fine Art Museum, Taiwan, 1994; “From Tradition to Modern—Xuerang Wu's color Chinese painting” Taiwan Museum of Art, Taichung, Taiwan, 1996; “Wu Hsueh-Jang Solo Exhibition— Millennium of Harmony, Expressing the past and the present’, Mingshan Art Taipei and Hsinchu Locations, Taiwan, 2009. MODERN AND CONTEMPOR ARY ART
305
蕭 勤 HSIAO
CHIN (b.1935)
069
028 126
127
187
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)。
188
Hsiao was born in Shanghai, China. His father Hsiao Yumei, was an important composer in modern music in China. After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei. He also studied drawing under Chu Tehchun. In 1955, he received a scholarship from Spain government. In 1959, his first solo show in Italy, and he moved to Milan. In 1961, he promoted international “Punto Art Exercise”. In 1996, he works as the professor at Tainan National College of Arts. He was invited to “The 7th Bi-Yearly Architecture Exhibition of Venice” in 2000. He was award National cultural and art prize in 2002. In 2005, he was conferred by the Italian President C. A. Ciampi the honorable title of “Kinght of Itlian Solodarity Star”; "Glory to the Source, A retrospective exhibition of Hsiao Chin" National Art Museum of China, 2006, Beijing, China.
306
ZHONG CHENG 中誠
趙澤修 LINUS
ZAO (b.1930)
吳榮賜 WU
032
生於中國山東濟南。1955年畢業於台北國立師大藝術系，赴美後入紐約帕爾遜美術 學院獲藝術碩士，1959年至1964年間在東京映動畫廠及好萊塢迪斯尼動畫片廠工 作。1965返台在台北創「澤修美術製作所」，為台灣動畫片先驅，有「台灣卡通之 父」、「台灣華特迪士尼」之稱。第一部製作的動畫為1968年的《石頭伯的信》及 1969年《龜兔賽跑》。1971至2003年任夏威夷大學美術教授及自由畫家。1960年 至今，曾在各地展出水彩畫，如日、韓、加、家、澳洲、巴西、中、台各地等，獲 獎頗多。其水彩畫題材豐富，對雨、雪、山、水更為鍾情，常把「一瞬」之間的燦 爛和輝煌把握入畫，揮筆不拘法則；凡聚散藏露，疏密呼應，將有限變為無限，淋 漓灑脫的把詩意、哲理、情思貫入畫的深處。
JUNGTZU (b.1948)
生於台灣南投。師從福州名師傅潘德，後 為著名建築學者、美學家漢寶德先生賞識 指導，逐步嶄露於藝壇。1982年獲任「台 北縣佛具雕刻工會」理事長，2005年擔 任「臺灣泥塑彩繪藝術傳習計畫」指導教 師，2006年應邀至紐西蘭進行木雕創作， 2010年邀任佛光山「佛陀紀念館」石雕藝 術總監。1986「吳榮賜首次木雕個展」於 台北春之藝廊舉辦，往後受邀聯展、個展 足跡遍及海內外，著名個展包含：「吳榮 賜木雕展」(1990，臺灣臺北，行政院文 化建設委員會文建藝廊)、「吳榮賜木雕學 藝二十年成果展」(1990，南投縣立文化 中心)、「三國風雲系列～吳榮賜木雕展」 （1991，比利時蒙特瑪琍皇家博物館）、 「三國風雲系列～吳榮賜木雕展」(1991， 法國巴黎，郭安博物館)、「吳榮賜木雕 033 展」(1999，哥斯大黎加，DR. Rafael Angel Cadero n Guardia歷史博物館)、 「甲骨文木雕展」(2003，臺灣臺北，101大樓)、「吳榮賜木雕展」(2008，臺灣， 佛光山台北道場、亞洲大學、台中民俗公園)。
Born in Jinan, Shan Dong, Linus Zao graduated from the Art Department of National Taiwan Normal University and later received masters from the Parsons Art Academy. He worked at the Tokyo Animation Studio and Disney Hollywood from 1959 to 1964. He returned to Taipei in 1965 and founded the “Linus Art Studio”; he is a pioneer of Taiwanese animation and known as the “father of Taiwanese cartoon” and “Taiwan's Walter Disney”. His first animation was “Uncle Stone's Letter” in 1968 and “Tale of a Turtle And a Rabbit” in 1969. From 1971 to 2003, he taught at the University of Hawaii and freelance painter. From 1960 till today, he exhibited at many places such as Japan, Korea, Canada, Australia, Brazil, China and Taiwan and won numerous awards. His water paintings are rich in theme and especially fond of the rain, snow, mountains and water. He often incorporated “the moment” into his paintings, his brushstrokes are liberal. His art works are poetic, philosophical and full of affection.
Born in Nantou, Taiwan. Wu first took up his apprenticeship with a master sculptor Fu Panteh. Later, he was appreciated and recommended by renowned architect, art critic, Han Paoteh, since when Wu has entered the art scene and aspired to be a top-notch sculptor. He was selected to be the Chairman of Taipei County Buddhist Crafts Association in 1982, invited to New Zealand do the wood craving creation in 2006, and then served as Stone Caring Art Director of Buddha Memorial Center in 2010. Wu held his first solo exhibition in Taipei at Spring Gallery in 1986, since then, Wu's works have traveled as far as Hong Kong, Singapore, Belgium and France, gaining a great deal of media attention and general acclaim. His solo exhibitions includes: “Wu Jungtzu Wood Craving Exhibition”, Taipei, Council for Cultural Affairs, 1990; “Wu Jungtzu 20th Years Wood Craving Achievements Exhibition”, Cultural Center of Tainan County, 1990; “Three Kingdom Period- Wu Jungtzu Wood Craving Exhibition”, Paris, France, Arts et traditions populaires d'Asie, 1991;” Wu Jungtzu Wood Craving Exhibition”, Republic of Costa Rica, 1999;” Oracle Bone Script Wood Craving Exhibition”, Taiwan, Taipei 101, 2003;” Wu Jungtzu Wood Craving Exhibition”, Taiwan, Fo Guang Shan Taipei Vihara, Asia University, Taiwan and Taichung Folk Park, 2008.
陳正雄 CHEN
蕭 一 HSIAO
CHENGHSIUNG (b.1942)
034
生於台灣台南。十四歲於北港佛像店做學徒，自此開啟其雕塑生涯。現為日本 新構造社雕刻部會員，也是中華雕塑學會會員。至今獲獎無數，包括南美展市 長獎（1970、1978）、年南美展柏川獎（1979）、第六屆吳三連先生文藝獎 （1983）、日本新構造展雕刻大賞（1989）等。著名展覽包括：「日本新構造會 員努力賞」(1984，日本)、「三義木雕博物館開館展」(1990，台灣苗栗，三義木 雕博物館)、「個展」(1987，台灣台北，國立歷史博物館)、「國際藝術博覽會」 (2003，韓國首爾)、「上海藝術博覽會」（2007，中國上海）。台灣國立美術館、 台北市立美術館與高雄市立美術館皆有典藏其作品。 Born in Tainan, Chen started his woodcarving career as an apprentice at the age of 14, and then went for an intern tour around Taiwan's local temples. He is the member of Japan Shinkouzou Art Association, Sculpture Division as well as The Sculpture Society of Taiwan. He has won many awards which include: Mayor's Award of Tainan Art Exhibition （1970、1978）, Wu SanLien Award（1983）and Sculpture Award of Shinkouzou Exhibition. Exhibition: “Great Effort Award of the Sinkouzou Exhibition”, Japan, 1987; “Solo Exhibition”, “Sanyi Wood Sculpture Museum Opening Exhibition”, Sanyi Wood Sculpture Museum, Miaoli, Taiwan, 1990; “Solo Exhibition”, National Museum of History, 1987; “International Art Fair”, Seoul, Korean, 2003; “Shanghai Art Fair”, Shanghai, China, 2007. Chen's works are collected by National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, and Taipei Fine Arts Museum.
YI (1956-2006)
035
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年於春之藝廊舉辦首次個展。1987年台中文化中心個展。1992年受邀 於新加坡國際藝術展。他的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。1997年首次嘗試以不鏽鋼金屬 線作為創作媒材，1998年更嘗試鐵雕創作。近年潛居台北縣三芝鄉山間創作，仍以 人物的木刻創作為多。作品風格樸拙洋溢，造型多變，極富禪意。 Boin in Chiayi, Taiwan. Hsiao started off as an apprentice to craftsmen at Buddhist and Taoist temples around southern Taiwan in 1973 and later he started to create freely instead of traditional sculptures in 1977. In 1981, His first solo exhibition was held in Spring Gallery. After then, his art is also frequently in galleries and art centers. Selected exhibitions: “Art Galleries Fair R.O.C. Solo Exhibition”, International Art Fair, Singapore, 1992; “The Progress of Taiwan Modern Sculpture V─Wood Carving”, Gate Gallery, Taipei, 1996. His various and talented sculptures shows with simple and unadorned quality to express a Zen style.
MODERN AND CONTEMPOR ARY ART
307
林之助 LIN
CHIHCHU (b.1917)
切利尼 BENVENUTO
義大利文藝復興時期的金匠、畫家、雕塑家、戰士和 音樂家，亦為作家及美術理論家。受到羅馬教皇、佛 羅倫斯大公、法國國王的高度評價。他是風格主義雕 塑中裝飾派的代表人物，在當時主張恢復雕塑作品中 英雄氣概的唯一藝術家。十六世紀二、三十年代作為 珠寶工藝師在教皇宮廷裡工作，出色的掌握了文藝復 興時期小型雕像的傳統。1540年他應邀前往法國。 1545年回佛羅倫斯後完全獻身于雕塑工作，其創作探 索超出了佛羅倫斯風格主義流派追求的範圍。以米開 朗基羅的思想作為依據，力圖解決雕塑 在空間中擴 大形體的動態，同時在欣賞時可以採取環形巡視的形 式。如1548年他創作的《柯西莫一世胸像》就是針對 這一課題所作努力的例子。晚年的切利尼遭到宮廷冷 遇，故獻身于文學和理論工作。
036
生於台灣台中，1928年及赴日求學。1939年畢業於東京帝國美術學校。擅長膠彩 畫，林氏於第五及第六屆合展均獲得特選第一名。其作品並多次入選全省美展，台 陽美展等，繼「台展三少年」，成為台灣最傑出的膠彩畫家。1946年任職台中師範 學校，並受聘為省展評審委員達三十六年之久。1982年林之助正式將日據時代習稱 的「東洋畫」改名為「膠彩畫」，並組織台灣膠彩畫協會，致力於推動台展「膠彩 畫部」的發展。1985年進而在東海大學開課，將膠彩畫特別的創作方式，傳授給新 一代的台灣人。1974年當選台灣省文藝作家協會常務理事。1982年籌組台灣省膠 彩畫協會受任為理事長並於1989年應聘為全省美展評議委員。林之助的個性溫和謙 虛，中晚年後鍾愛花鳥題材的繪畫。 Born in Taichung, Taiwan. Lin went studying in Japan in 1928. He graduated from the Imperial Fine Arts School in Tokyo in 1939. Excelling in the use of gouache and minerals, Lin acquired the 1st prize consecutively in the 5th and 6th Taiwan Art Exhibition. His works have been selected many times in the Provincial Fine Arts Exhibition, Taiyang Fine Arts Exhibition and Lin serves as judge as well. Lin's art was praised as one of the most important Glue-Pigment Painters succeeding the Three Youths of the Taiwan Exhibition. Since 1946, he had served as a teacher at Taichung Normal College and occupied as an adjudicator of Provincial Fine Arts Exhibition for 36 years. In 1982, Lin gave a name of "Glue-Pigment Painting" instead of "Japanese Painting," and organized the Taiwan Glue-Pigment Painting Association in order to help forward its development. Lin has been modest and amiable and showed much favor to the follower and bird subjects since his middle age.
沙 耆 SAD
CELLINI (1500-1571)
043
Born in Florence, Italy. Cellini was an Italian goldsmith, sculptor, draftsman, soldier and musician, who also wrote a famous autobiography. He was one of the most important artists of Mannerism. At the age of 16, Benvenuto was exiled from Florence following a brawl. He then wandered between Bologna, Pisa and Rome and studied in goldsmiths' workshops. His talent as an artisan came to the attention of Pope Clemente VII, who in 1529 appointed him head of the papal workshop. In 1535 in Venice he met Jacopo Sansovino, who taught him the technique of casting. 1540 found him in Fontainebleau, at the court of François I, along with Rosso Fiorentino and Francesco Primaticcio. Three years later he forged the Saliera "table monument" for King François. In 1554 in Florence he created his masterpiece "Perseo", located in the shade of the loggia of the Orcagna dei Lanzi. In 1571, he died in Florence. He is buried in the Church of Santa Maria Novella.
JI (1914-2005)
041 042 111
生於中國浙江。原名沙引年。早年在上海昌明藝專、上海美專、杭州藝專和中央大學藝術系習畫九載。 1937年在徐悲鴻推薦下赴比利時皇家美術學院深造，並在寫實派畫家巴思天(A. Bastien)院長的指導下， 以出色的成績兩度獲得比利時皇家美術學院優秀美術金質獎。1940年與畢卡索(Picasso)等名畫家一起參 加展覽會；1942年其作品《吹笛女》於柏蒂畫廊美術館展覽，並獲皇室所收藏；2001年「沙耆七十年作品 回顧展」在中國美術館、上海美術館和台北歷史博物館展出。 Born in Zhejian, China. Originally named Sha Yinnian, Sa studied painting for nine years in Shanghai Changming College of Arts, Shanghai Art School, Hangzhou College of Arts and Department of Arts in Central University. In 1937, he went to seek advanced study in Belgium Royal Institute of Fine Arts on the recommendation of Xu BeiHong, , and in 1942 his "Flautist" was shown at the Petite Galerie and acquired by the royal family. Sa conducted a systematic study on traditional European paintings. He has held exhibitions with famous Modernistic painters like Picasso and immediately became well known in Europe. In 2001, “Sad Ji Seventy-year Retrospective” was held in National Art Museum of China, Shanghai Art Museum and National Museum of History. 112
308
ZHONG CHENG 中誠
艾 軒 AI
XUAN (b.1947)
龐茂琨 PANG
MAOKUN ( b.1963 )
044
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.
葉永青 YE
YONGQING (b.1958)
045
生於中國重慶，1977年至1988年就讀於四川美術學院，並獲油畫專業碩士學位， 現為四川美術學院副院長、重慶美術家協會副主席，重慶畫院院長，中國美術家 協會理事，中國美術家協會油畫藝委會委員,中國油畫學會理事。作品多次參加國 內外的藝術展覽，並被海內外多個藝術機構以及私人收藏。代表作品有《蘋果熟 了》、《彩虹悄然當空》、《一個鋪滿黃金的夏天》、《模糊系列》、《虛擬時光 系列》、《巧合系列》、《光耀系列》等。 Born in Chongqing, China. He graduated from the Sichuan Fine Arts Institute High School in 1981 and from the Sichuan Fine Arts Institute Oil Painting Department in 1985. Pang received his master's degree in 1988. Currently Pang is the Vice President of Sichuan Fine Arts Institute, professor of oil painting at Sichuan Fine Arts Institute, Vice Chairman of the Chongqing Artists Association, Advisory Board Member at the China Artists Association, Member of the China Artists Association Oil Painting Council, Advisory Board Member at the China Oil Painting Society and President of Chongqing Painting Academy. His works are exhibited and collected in and out ofChina. His representative works include Apples are Ripe, The Rainbow is Silently Above, A Golden Summer, Blur Series, Virtual Time Series, Coincidence Series, Shining Brightly Series and etc.
楊 述 YANG
SHU (b.1965)
046
生於中國昆明，畢業於四川美術學院繪畫系，現任四川美術學院教授。曾在北 京、上海、新加坡、英國倫敦、德國慕尼克、德國奧格斯堡、美國西雅圖等地舉 辦個展。重要聯展：「中國現代藝術大展」(1989，中國)、「中國當代藝術文獻 資料展」(1991，中國)、「後89中國新藝術展」(1993，香港、澳大利亞)、「中 國藝評家年度提名展」(1994，中國北京 )、「中國！」(1996，德國)、「首屆 學術邀請展」、「首屆上海美術雙年展」(1996，中國上海)、「20世紀中國油 畫大展」(2000，中國北京)、「中國藝術三年展」(2002，中國廣州 )、「開放 時代」(2003，中國北京)、「中國當代藝術展」(2004，愛爾蘭，現代美術館)、 「塗你個鳥」（2005，中國上海，張江藝術館）、「單飛」（2006，中國成都， 藍色空間藝廊）、「畫個鳥」（2007，中國北京，方音空間）、「一隻憂傷的 鳥」（2007，韓國首爾，阿特塞帝畫廊）、「畫鳥：矛盾與現實」（2008，美 國紐約，中國廣場）、「迷途症：葉永青藝術之旅」（2008，香港，香港藝術中 心）、「布拉格雙年展」（2009，捷克布拉格）、「畫．塗–葉永青精品收藏展」 （2009，台灣台北，寒舍空間）。其作品被中國美術館等藝術機構收藏。 Born in Kun Ming, China, Ye graduated in 1982 from the Oil painting department, Sichuan academy of Fine arts, Chongqing. He held many international solo exhibitions in Beijing, Shanghai, Singapore, London, Munich, Augsburg, Seattle, and etc. Selected exhibitions: “Chinese Contemporary Art Exhibition”, Beijing, 1989; “the Literature Exhibition of Chinese Contemporary Art”, 1991; “Post-89 of Chinese Contemporary Art”, Australia and Hong Kong, 1993 ; “The Annual Nominated Exhibition of China Art Critics”, Beijing, 1994; “China!”, Germany, Austria, Poland, Denmark; “1st Biannual Invited Exhibition”, Beijing; and “1st Shanghai Biennial”, 1999; “20th Century Chinese Oil Painting Exhibition”, Beijing, 2000; “Chinese Art Triennial”, Guangzhou, 2002; “Open the time”, Beijing, 2003; “Chinese Contemporary Art Exhibition”, Irish Museum of Modern art, 2004; “Prague Biennale”, Prague, 2009.Ye's works are collected by the National Art Museum of China and other Art Institute.
047
生於中國重慶，1985年進入四川美術學院研究所，1988年畢業後留任於四川美 院。著名展覽包括：「生活的片段」個展（2001，香港）、「行而上2005」 （2005，中國，上海美術館）、「重慶辣椒2006」（2006，中國，青島市美術 館）、「意象武夷──中德兩國藝術家首次面對面互動」創作國際巡迴展、「從西 南出發」當代藝術展（2007，中國，廣州美術館）、「貴州雙年展」（2007）、 「我的蘋果」（2007，中國，北京美術館），作品被中國美術館等藝術機構及歐洲 私人所收藏。 Born in Chingqing, China. First learning oil painting in 1975, and enrolled the graduate school of Sichuan Academy of Fine Arts in 1985, teaching after graduation. Yang was held a solo exhibition “Snatch of Life” in Hong Kong in 2001. Recent group exhibitions: “Metaphysics 2005”, Shanghai Museum of Fine Arts; 2005; “Chongqing chilli 2006”, Qingdou Museum of Art, 2006; “Set off From Southwest”, Guangzhou Museum of Fine Arts, “Quaizhou Biennial”, 2007. His works have been collected by many Museums of China, Hong Kong, Singapore US and Europe.
MODERN AND CONTEMPOR ARY ART
309
邱亞才 CHIU
048
YATSAI (1949-2013)
068
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。1981與1982年連續兩年榮 獲全省美展油畫第一名。近年個 展及參展：「上海－臺北 風華再 現」(2001，中國，上海美術館 新館)、「信仰的打造－黃銘哲立 體作品個展」(2001，台灣，臺 北市立美術館)、第十六屆全國美 術展覽(2002)、「璀璨風華2003 臺灣藝術珠寶展」(2003，台灣 台北，國立歷史博物館)、「板塊 位移」(2004年，美國紐約．456 畫廊)、黃銘哲個展「面對現實」 (2005，台灣台北，印象畫廊)、 「非常厲害—設計中的藝術•藝術 中的設計」(2005，台灣台北，當 代藝術館)。
108
生於台灣宜蘭。1979年在台北美國文化中心舉辦首次個展，1984年在香港漢雅軒 畫廊展出成功後，便陸續參與許多大型展覽，包括：「The Minds I」（1987， 美國紐約，亞洲藝術中心）、「現代水墨展」（1988，台灣台北，國立歷史博物 館）、「台灣美術三百年」（1989，台灣台中，國立台灣美術館）、「畢卡索， 達利與邱亞才等聯展」（1995，瑞士，薩加拉畫廊）、「朱銘、邱亞才雙人展」 （1999，瑞士藝術博覽會）、「朱銘、邱亞才雙人展」（2001，美國紐約，萬玉 堂）、「台灣八十年代新表現主義回顧展—鄭在東、陳來興、邱亞才」（2004，台 灣台中，靜宜大學藝術中心）以及於2006年參加新加坡、上海、北京藝術博覽會 等。邱氏以肖像畫著名，作品洋溢一種文人典雅氣息，深受其早年從軍時涉獵歷史 經典創作的影響。 Born in Yilan,Taiwan. Chiu's first solo exhibition was held at the American Cultural Center, Taipei in 1979. He has participated in many grand exhibitions overseas since the successful “The New Painters from Taiwan” exhibition at Hanart TZ Gallery, Hong Kong1984. His work has been shown at significant museums and galleries including: “The Minds I”, Asia Art Center, New York, 1987; Taiwan National Museum of History, Taipei, 1988; In 2004, his works were shown in the Art Center of Provence University “The 80's of Taiwan NeoExpressionistic retrospective exhibition.” Chiu is noted for his elegant portraits of literary quality, which were strongly influenced by his studies and knowledge of Eastern and Western classics and history during his military service.
詹金水 JAN
黃銘哲 HUANG
CHINSHUI (b.1953)
049
077
Born in Yilan, Taiwan. He went to study at Reeds University, England in 1976 after his first solo exhibition in provincial museum. In 1978, he signed on with Semions Gallery (USA) as his agent. For two successive years in 1981 and 1982, he won the first prize in oil painting in the Taiwan Provincial Fine Arts Exhibition. His works have been exhibited all over the world since 1981. Exhibitions: “Shanghai- Taipei, Huang Mingzhe solo Show”, Shanghai Art Museum, 2001; “16th National Art Exhibitions”, 2002; “The 2003 Exhibition of Artistic Jewelry from Taiwan”, National Museum of History, 2003; “Blocks shifting 6 Contemporary Artists”, 456 Gallery, New York, 2004; “Face the Reality”, Impressions Art Gallery; “Well Done! The Art of Design World”, Museum of Contemporary Art, Taipei, 2005.
林憲茂 LIN
055
SHIENMAO (b.1955)
079
050
生於台灣苗栗。擅長油畫。1984年入選台北市美術當代抽象畫展，1986年國立藝 專美術科畢業。1987年曾獲第十一屆油畫展金牌獎，1988年獲邀參加東京亞細亞 美術大展，1989年獲教育部文藝創作獎油畫金牌獎，台陽美展優選，同年前往歐洲 自助旅遊。著名展覽包括：「詹金水個展」（1988，大家藝術中心）、「詹金水 個展」（1990，台灣台北，印象畫廊）、「詹金水個展」（1991，台灣台北，印 象畫廊）、「詹金水個展」（1992，台灣台北，愛力根畫廊）、「中國當代藝術 大展」（1997，中國上海）、「境高無界—2008精選新作」（2008，台灣台南， 亞帝畫廊）。出版三本個人畫集，作品為國立藝術學院（今國立台北藝術大學）收 藏。 Born in Miaoli, Taiwan. Jan Chinshui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published three exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today's Taipei University of the Arts).
310
ZHONG CHENG 中誠
生於台灣台中。出身醫生世家，自小無拜師學畫，為自學型成功畫家。1988-1993 年分別前往東南亞及北、中、南歐旅行寫生，足跡遍及歐洲、中美洲等40餘國， 2007年成為中興新村駐村藝術家 。曾榮獲全省美展優選（1980、1983、1984）、 全國青年創作獎（1981）、雄獅新人獎優選（1983）。1977年，首次於台中美國 新聞處舉辦個展，其後著名個展包括：「個展」（1981，台中市立文化中心）、 「德國首屆國際藝術節個展」（1996，波羅的海城市）、「巡迴個展」（1997， 德鴻畫廊、台中鼎峰藝術中心、台北國際世貿藝術博覽會）、「風華再現」個展 （2006，南投文化中心）等。至今參與展覽逾五十次。 Born in Taichung, Taiwan. Lin was born in a doctor's family. He is a successful self-study artist for learning painting without teachers’ instruction. From 1988 to 1993, Lin traveled morn than 40 counties in the world to paint. He devoted himself fully to art, and became the artist-in-residence in Chunghsing Village in 2007. Awards: Optimization of the Provincial Art Exhibition, 1980, 1983, 1984; Creative Award by the National Youth, 1981; Lions rookie award selection, 1983. The first solo exhibition was held in Taichung United States Information Service Solo exhibition, and he has later held more than 19 solo exhibitions and participated in morn than 30 group exhibitions so far.
楊三郎 YANG
SANLANG (1907-1995)
生於台灣台北。先後在日本京都美術學校以及日本關西美術學院習畫。作品 《靜物》榮獲第三屆台展特選；1932年入選法國巴黎秋季沙龍。1933年返台 後，全心投入推展臺灣美術教育。曾榮獲1986年國家文藝獎、1992年行政院 文化獎。著名展覽包括：「楊三郎油畫個展」(1973，台灣台北，國立歷史博 物館)、「楊三郎油畫個展」(1983，台灣台北，國立歷史博物館)、「楊三郎近 作展」(1995，台灣台北，國父紀念館)、「楊三郎繪畫藝術研究展」（1997， 台灣台中，台灣省立美術館展出）、楊三郎逝世四週年「楊三郎繪畫特展」 （1999，台灣台北，國立故宮博物院）。 Born in Taipei, Taiwan, Yang went to Japan in 1923 then studied painting at the school of Fine arts in Kyoto and Kansai Academy of Art. In 1929, his work “still life” won the first prize of the 3rd Taiwan Exhibition. In 1931, he went to France with Liu Chishiang and his works were selected for the Autumn Salon in Paris in 1932. He contributed himself to art education after returning Taiwan. Yang received a special national art award in 1986 and cultural award by Government of Executive in 1992. “Fifty Years of Studying Art” at the Provincials Museum in 1973 and “Oil Paintings by Yang SanLang” in 1979,and “Retrospective Exhibition of Yang San-Lang's Painting” in 1983 at the National Museum of History. Yang received a special national art award in 1986 for this great contribution to the Taiwanese art world.
185
064
186
051
109
楊英風 YUYU
184
YANG (1926-1997)
054
052 053
生於台灣宜蘭。曾進修於日本東京學校建築系、北平輔仁大學美術系及國立台灣師 範大學藝術系，後前往義大利羅馬藝術學院學習雕塑。1964至1966年間，獲頒義 大利奧林匹克繪畫金章獎、雕塑銀章獎與第二屆世界和平文化藝術大獎。著名的 展覽包括：「楊英風個人展覽」 (1991，新加坡)、「楊英風一甲子工作紀錄展」 (1993，台灣，省立美術館)、「楊英風’94個展」(1994，美國紐約，第特利)、 「楊英風景觀雕塑特展」(1996，英國倫敦，皇家雕塑家協會之邀)、「楊英風大 乘景觀雕塑展」 (1997，日本，箱根雕刻之森)、「楊英風紀念展」(2005，台灣高 雄，市立美術館)、「楊英風父子創作展」－楊英風「大器．遇合」與楊奉琛「五行 再生」藝術展 (2010，中國北京，中國美術館)。
Yang was born in Yilan, Taiwan. He studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibition in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d’ Artee Cuture Abano. He was also awarded the World Peace Prize for Culture and Arts by the Roc's Literature and Arts Society. Exhibition: “Stainless Steel Sculpture Exhibition”, National Museum of Singapore, 1991; “Yu Yu Yang, Six Years Record Exhibition”, National Taiwan Museum of Fine Arts, 1993; “Yu Yu Yang ’94 Solo Exhibition”, New York, 1994; “Minds, Collided - Yuyu YANG”and “Revival of Five Elements - Feng-Chen Yang's Solo Exhibition”, National Art Museum of China, Beijing, 2010.
MODERN AND CONTEMPOR ARY ART
311
安 卓 ENDRO (b.1983)
費以復 FEI
YIFU (1913-1982)
056 130 057
生於印尼日惹。1998年至2001年間於日惹藝術交流協。2001年於日惹印尼藝術學 校(ISI)進行藝術研究。為當代藝術家，活耀於印尼日惹。近年展覽包括：「LIFE IS AMAZING」［2011，綠色藝術空間］、「BAZAAR ART FAIR」（2011，太平洋 皇宮，雅加達，印尼）、「PSEUDO AGONY」（2010，Galeri畫廊，雅加達， 印尼）、「seni rupa bersama ACTION `01」（2010，塔曼文化中心，日惹， 印尼）、「印度希望之八位藝術家」（2010，不一藝術，香港）、「日惹藝術博 覽會」（2009，塔曼文化中心，日惹，印尼）、「日惹藝術」（2006，日惹，印 尼）、「關懷地震．日惹」（2006，Girang Gallery，日惹，印尼）。 Born in Yogyakarta, Indonesia. A contemporary artists in Yogyakarta, Indonesia. Then he studied in Indonesian Institute of the Arts in 2001. Selected exhibitions: "LIFE IS AMAZING", Green Art Space, 2011; “BAZAAR ART FAIR”, Pacific Palace, Jakarta, Indonesia; "PSEUDO AGONY", Galeri Canna, Jakarta ; “seni rupa bersama ACTION `01”, Taman Budaya, Jogjakarta ; “EIGHT PROMISING INDONESIAN ARTIST”, EDGE Gallery, Hong Kong, 2010 ; “Jogja Art Fair 2 ( JAF )”, Taman Budaya, Jogjakarta, 2009 ; “Art for Jogja”, TBY, Yogyakarta, 2006; “Peduli Gempa Yogyakarta”, Girang Gallery, Yogyakarta, 2006.
陳二夫 CHEN
ERFU (b.1965)
生於中國江蘇，原名費彝復。自小喜愛繪畫，曾拜畫家沈柏文學習中國畫；1936 年畢業於蘇州美專西畫系，擅長油畫，師事呂斯百、顏文樑。歷任勵志社總社美術 科幹事、上海行知藝術學校教員、中央美術學院華東分院教師、浙江美術學院油畫 系副主任、副教授。其作品曾獲華京美展三等獎。近期展覽包括：「費以復個展」 （1997，台灣台中、高雄敦煌藝術中心）、「費以復‧老油畫回顧展」(2009，台 灣台北，敦煌畫廊)、「光陰的印紀」－費以復回顧展（2010，台灣台北，敦煌藝 廊）。 Born in Jiangsu, China, studied in Suchou Art Institute, Department of Western Painting, Fei's talent is appreciated by the headmaster Yen Wenliang, and was taught by Lu Sibai in person. Taught at Central Art Academia in 1953, and was appointed to the director of the Zhejiang Art Association, the consultant of the Oil Paintings Research Society and the member of the China Art Association. Recent exhibition: “ Fei, Yi-Fu solo exhibition”, Caves Gallery in Taichung and Kaohsiung, 1997; “Fei, Yi-Fu: Old Oil Painting Retrospective”, Caves Gallery in Taipei, 2009; ““Fei, Yi-Fu Retrospective”, Caves Gallery in Taipei, 2010.
黃柏仁 HUANG
POREN (b.1970)
058
生於中國江蘇。幼時受到父親及著名畫家陳大羽的影響，學習書法與寫意中國畫， 1989年畢業於蘇州絲綢工學院（現為蘇州大學藝術學院）；後進入江南畫院，結識 劉海栗，亞明等前輩畫家，期間曾遊歷雲南、西藏、新疆、蒙古及著名江南文化古 鎮，創作深受啟發。其畫作屢次入選著名展覽並獲獎，作品《日落印象》入選全國 和平環境藝術作品大展，獲優秀作品獎；《詩意》入選屈原杯海內外書畫大賽，獲 二等獎；《太湖風情》之（一）選送加拿大參加國際風景畫大展，獲銀獎；《水天 堂》第三次選送加拿大國際風景畫展，獲特別獎；《歲月》慶祝香港回歸藝術作品 展，獲內地傑出畫家獎，並為香港藝術家聯合會收藏；《烏鎮大院》之（八）榮獲 蘇州市美術作品展一等獎。曾參與2008、2009年臺北國際藝術博覽會；2009年上 海藝術博覽會；2010年北京國際藝術博覽會、上海藝術博覽會以及上海臺北雙城文 化創意產業博覽會等。著名作品包含水鄉系列、月季花系列、古鎮老宅系列等，皆 廣泛為各界著名人士所收藏。 Born in Jiangsu, China. Chen Erfu is a renowned painter enthusiastically working south of Yangtze. He graduated from the Art College of Suzhou University in 1989, where he was guided by Misters Zhoa Wuji and Chen Qizhang, both Art Masters. He now is a professional painter and president of Jiangnan Art Academy. He is a member of the Australian Association of Scholars and Notables, and is also a member of the Chinese Association of Artists. He has exhibited many times at home and abroad extensively and has won many awards in Canada, China and Hong Kong. His renowned works include Yangtze River Series, Chinese Rose Series and Historic Towns Series, and all of them are widely collected by celebrities in each fields.
312
ZHONG CHENG 中誠
059
生於台中，台灣。1989年復興商工雕塑組畢業，1999年中部美展雕塑類第一名 及市長獎，參加台北國際藝術博覽會；2001年，雕痕情深木雕展，苗栗木雕博物 館，以及同年的奧地利格拉茲國際雕塑展；2002年，台灣第一屆國際袖珍雕塑展； 2004年，其作品《木馬》受台中縣立文化中心典藏；2005年，於台中縣立文化中 心舉行「狗札記．黃柏仁雕塑展」，及出版《鐵木叢林．狗札記作品集》；2006 年，作品《狗札記之快樂時光》為國立台灣美術館購藏；2007年參加台北國際藝術 博覽會。 Born in Taichung, Taiwan. Huang Po-Ren graduated from department of sculpture of FuHsin Trade & Art School. He won first prize and major's award of art exhibition in central Taiwan Flying 99 and participated Art Taipei International Fair. 2001, "Emotion of Track" sculpture exhibition, Sculpture Museum of Miaoli. 2002, the irst international mini sculpture exhibition in Taiwan. 2004, "Wood Horse" was collected by Taichung County Culture Center. 2005, "Note of Dogs", the artist's solo exhibition in Taichung County Culture Center, which also published Iron Wood Forest. Note of Dogs in the same year. 2006, "Happy Time of the Note of Dogs" was collected by National Taiwan Museum of Fine Arts. 2007, participated Art Taipei International Fair.
陳心懋 CHEN
XINMAO (b.1954)
陳煥禎 CHEN
060
HUANZHEN (b.1966)
061
出生於中國上海，1987年畢業於南京藝術學院美術系，獲碩士學位。個展：「陳心 懋首度個展」(1991，英國，牛津大學文化中心)。聯展：「全國青年美術作品展」 (1981)；「第三屆青年美術作品展」(1989，上海)；「為公平世界的藝術」巡迴展 (1992，英國)；「中國當代藝術文獻資料」(1994，上海)；「上海現代美術作品 展」(1995，德國)；雙年展「20+1」(1998，上海，中國、東京，日本)；「德國杜 塞爾多夫藝術展」(1999，德國)；「國際水墨雙年展」(2000)；「洛杉磯國際美術 雙年展」(2000，關山月美術館，美國)；「水墨在途-上海新水墨大展」(2007，朱 屺瞻藝術館、上海現代美術館)。
生於台灣台北。為國立台灣藝術大學藝術學士 、國立台灣藝術大學美術研究所碩 士。陳煥禎獲獎、展覽經驗俱豐，曾獲第57至59屆全國美展雕塑類優選，2007年 獲大墩獎雕塑類第一名， 同年獲高雄獎優選－雕塑類首獎，2009年獲第11屆中國 全國美展優秀獎。近年重要個展：「意象抒情」陳煥禎雕塑個展(2004，台北縣藝 文中心)、北莊藝術中心常態展(2005-2008)、「都市心靈空間」雕塑個展(2007， 台灣台北，國父紀念館德明藝廊)、「凝視」 (2009，台灣台北，飛皇藝術中心)、 「我心深處」陳煥禎雕塑個展(2010，台北縣藝文中心藝文館)。其作品為龍華科技 大學藝文中心、台灣大學附設醫院、國父紀念館、新北市政府等機構典藏。
Born in Shanghai, China. Graduated in 1987 from NanJing Academy of fine Arts with master degree. Solo exhibition: “Culture Center of University of Oxford”, UK, 1991. Group Exhibition: “National Young Artists Exhibition”, 1989; “Art for a Peace World”touring exhibition, UK, 1992; “The Literature Exhibition of Chinese Contemporary Art”, Shanghai, 1994; “Shanghai Contemporary Art Exhibition”, Germany, 1995; “Shanghai Biennial” ; “20+1” exhibition, Tokyo, Japan, 1998; “Dusseldorf Art Exhibition ”, Germany, 1999.; “International Traditional Chinese Painting Biennial”, Shenzhen; “Los Angeles International Biennial”, USA, 2000.; “A way of Chinese Ink -2007 Shanghai New Chinese Ink Exhibition”, Zhu QiZhon Art Museum and Shanghai Duolun Museum of Modern Art.
Born in Taiwan, Chen graduated from National Taiwan Art University. Solo exhibition: “Sculpture Exhibition” Sun Yet-San Memorial Hall De-Ming Gallery, 2007; National Taiwan University Hospital Hallway invitation exhibition; Taipei County Art Center, 2004. Group Exhibitions: “Impression and the New Impression sculpture exhibition”, 2003; “Famous Artists Excellent Art Works Exhibition”, 2004 and 2005; Taipei County Artist Exhibition, 2007. Chen was invited to enroll the Taiwan Worldwide Chinese Art Creative Association Annual 2006. Awards: The 16th Taiwan Art Exhibition, Golden Dragon of Sculpture. The 57th-59th Taiwan Art Exhibition- Sculpture Section, Excellent Prize; Feiyao 99 Taiwan Sculpture Exhibition, Award; The 23th Taipei City Art Exhibition. His work was collected by Longhua Science Technology Art Center.
洪 凌 HONG
劉玖通 LIU
LING (b.1955)
JIUTONG (b.1977)
067 066
生於北京。1979年畢業於北京首都師範學院美術系，專長油畫。1985年入中央美 術學院油畫系研習班，目前為中央美術學院油畫系副教授。油畫作品曾參加第七屆 全國美展、首屆中國油畫展、第一與第二屆中國油畫年展，以及1994美術批評家年 度提名展等展覽，並多次獲獎，1995年在香港舉辦個人展覽。1997年參加第47屆 義大利威尼斯雙年展。作品《秋草》為中國美術館收藏。 Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there. His oil paintings have been exhibited in the first and second annual exhibition of "Chinese Oil Paintings" and the "1994 Critics Nomination Exhibitions." Hong has won many awards for his art. A solo exhibition was held in Hong Kong in 1995. He also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.
生於中國陝西。2000年畢業于西安美術學院，1999年至2003年於北京創作與生 活，2004年轉至上海定居，2006年建立個人工作室。2005年於逸致畫廊舉辦個人 作品展，2006年參加上海藝術博覽會，2007年參加滬港藝術交流展，同年於頂盛 美術館舉辦個人展覽，2011參予奧畫廊舉辦之「閃爍瑩夏」聯展。劉玖通作品以抽 象形式展現磅礡氣魄，同時又深蘊內斂氣質，深受國內外藏家喜愛，為上海之新銳 藝術家。 Born in Shaanxi, China, He graduated from Xi'an Fine Arts University in 2000. From 1999 till 2003 he lived in Beijing and then moved to Shanghai in 2004. He established his personal studio in 2006. Since first solo exhibition held in 2005, Liu has been participating actively in many shows. He attended the Shanghai Contemporary in 2007, and the Summer Jewel Group Exhibition in New Gallery on OLD BAILEY in 2011. He held solo exhibitions at Top Gain Gallery in 2007. Liu's works were presented in the abstract form, featuring the grandeur atmosphere, yet containing the humble temperament, which makes them appreciated by collectors at home and abroad.
MODERN AND CONTEMPOR ARY ART
313
廖繼春 LIAO
CHICHUN (1902-1976)
出生於台中豐原。1922年台北師範學校畢業後 返鄉任教，次年北上台北學習素描，1924年與 陳澄波赴日，考取東京美術學校圖畫師範科。 1927年畢業返國，擔任台南長老教會中學校 教員，同年獲第一屆台展特選，並與畫友創立 「赤島社」，其後多次入選帝展及台展等大型 美術展覽。1934年與原「赤島社」社友再組 「台陽美術協會」，於1937年舉辦首度個展。 光復前後先後於台南地區擔任教職及代理校 長，1947年受聘任教台灣省立師範學院（今國 072 立師範大學）至退休。1954年於台北市成立廖 繼春畫室，1957年鼓勵學生成立五月畫會，並於1962年應邀加入畫會。1960年代 以後曾多次出國訪問舉辦展覽，1964年獲中華民國畫學會金爵獎，1970年於國立 台灣美術館舉辦個展，同年獲中山學術文藝創作獎。此前，廖繼春的藝術成就已備 受肯定，曾獲中國畫會中國畫金盃獎及孫逸仙基金文獻獎。1976年因癌症病逝於台 北。同年，國立歷史博物館舉辦「廖繼春遺作展」。2002年，台北故宮博物館舉 辦「廖繼春百歲紀念展」。台北文化基金會為紀念廖繼春而設立「廖繼春油畫創作 獎」，以表揚在油畫藝術有突出成就的畫家。廖氏一生藝術創作與教學並行不輟， 畫作靈活運用色彩，色彩斑斕瑰麗，節奏明快，明朗而有深度，歡悅中又見抒情。 Born in Taichung, Liao first graduated from the Taipei Normal School in 1922. He proceeded to study at the Tokyo Fine Arts College and returned to Tainan to teach after graduating in 1927. During the same year, Liao co-founded the “Ruddy-Island Association” and was awarded to paint at the first Taiwan Art Exhibitions. He continued to exhibit at imperial Exhibitions and Provincial Art Exhibitions and co-founded the “Taiyang Art Association” in 1934. In 1947, Liao took up a teaching position at the Taiwan Normal College (now National Taiwan Normal University) where he remained until his retirement. He also founded his own studio in Taipei in 1954. In 1957, the “Fifth Moon Association” was founded under his encouragement and support; he joined the association in 1962. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yatsen Foundation's Literary Awards. From 1960s onwards, Liao was frequently invited to various venues as a visiting artist and held numerous exhibitions abroad. He held his last solo exhibition at the National Taiwan Arts Museum in 1970 before dying of lung cancer in 1976. The National Museum of History in Taipei held a solo exhibition of his works that year in dedication of his life. In 2002, the National Palace Museum in Taipei held a grand memorial exhibition in celebration of his 100th birthday. The Taipei Culture Foundation commemorates Liao by annually awarding the Liao Jichun Oil Painting Award, a scholarships awarded to outstanding oil painters.
郭振昌 KUO
JENCHANG (b.1949)
生於台灣彰化。畢業於文化大學美 術系，曾在李仲生畫室習畫。近年 個展：「偶然與巧合」（2003）、 「18羅漢個展」（2005）、「郭 振昌2008年漂亮個展」（2008， 台灣台北，大趨勢畫廊）、「圖騰 與禁忌」個展（2008，台灣，台 北市立美術館）、「Float浮動」 個展（2009，台灣台北，亞洲藝 術中心）。作品獲日本原美術館、 國立台灣美術館、台北市立美術 館、高雄市立美術館等及國內外人 士收藏。1994年，作品《桃花源 記》獲選入美國藝術雜誌《Art in America 1994年度當代藝術精選 200件-作品幻燈片全集》，供歐美 各大學美術教學研究之用。 Born in Lukang, Taiwan. Kuo graduated from the Fine Arts Department of the Chinese Culture University, and studied under Li Zhongsheng. Solo exhibitions: “HAPPENSTANCE”, Taipei, 2003; “18 LOHANS”, 2005;“J.C. Kuo's 2008 Solo Exhibition: Am I A Beauty I Am A Beauty”, 2008, all in Main Trend Gallery, Taipei; “Totem and Taboo”, Taipei Fine Arts Museum, Taipei, Taiwan, 2008; “Float”, ASIA art center, Taipei, Taiwan, 2009. In 1994, art work “New Paradise” has been selected in “Art in America's 1994 Slides Survey of Contemporary Art” by Art in America.
314
ZHONG CHENG 中誠
073
葉子奇 YEH
TZUCHI (b.1957)
074
出生於台灣花蓮。畢業於文化大學美術系西畫組，1987年8月葉子奇赴美，1989 年獲頒美國紐約市立大學布魯克林學院藝術研究所碩士(MFA)，並在紐約生活創 作。2006年返回花蓮定居。作品曾多次參與國際性聯展，曾舉辦「紐約個展」 （1989，紐約，格林威治區，衛斯貝斯畫廊)，「鄉愁在浴室中，對話與獨白」 （1994，臺灣臺北，誠品畫廊），「走過風景的心情1988-1996」（1997，臺灣 臺北，家畫廊）、「風景，台灣」（2000，臺灣臺北，帝門藝術中心）、「獨 白—離鄉之遠近1989-2004」(2004，臺灣臺北，誠品畫廊)、「走過風景的心情」 （2007，臺灣臺北，誠品畫廊）、「風景‧台灣」（2009，臺灣臺北，誠品畫 廊）等個人展覽。作品廣為國內外藝術機構及私人收藏。 Born in Hualian, Taiwan. Yeh graduated from Fine Art Department of Chinese Culture University and entered military service. In 1982, he is a member of R.O.C Painting Society, and organized 101 art-group. In 1983, Yeh held exhibition of 101 art-group and set up his own studio. In 1987, Yen entered Brooklyn College of the City University of New York, lived and worked in New York. He has participated in many important exhibitions in Taiwan and overseas. His recent solo exhibitions include the "Monologue – the Near and Far Away from Home", 2004, Eslite Gallery, Taipei, Taiwan; "Through the Landscape of the Mind", 2007, Eslite Gallery, Taipei, Taiwan; "Landscape Taiwan"2009, Eslite Gallery, Taipei, Taiwan. Some of his paintings were collected by art institutes and private collectors around the world.
劉國松 LIU
KUOSONG (b.1932)
彭自強 PEN
TZUCHIANG (b.1960)
094
075
生於中國安徽。1949年定居台灣，1956年畢業於台灣師範大學美術系，隨即創立 「五月畫會」，發起現代藝術運動。1961年間，感慨當代一味模仿西方畫風與思 潮，故倡導中國畫的現代化。自1965年起，劉國松已在世界各地展出個展八十餘 次；1959年參加巴西「聖保羅國際雙年展」、法國「巴黎青年雙年展」；1963年 發明粗筋棉紙－劉國松紙，並藉此創造出自我獨特畫風；1968年當選台灣「十大 傑出青年」；參與美國俄亥俄州馬瑞埃塔學院藝術中心「主流’68」國際美展，並 獲「傑出畫家獎」；1985年首次應法國「五月沙龍」之邀，作品於巴黎大皇宮展 出；1991年獲李仲生現代繪畫文教基金會「現代繪畫成就獎」。近期展覽包括： 「宇宙心印－劉國松七十回顧展」（2002）、「宇宙心印：劉國松繪畫一甲子」 （2009，臺灣臺北，國父紀念館）、「劉國松創作大展-八十回眸」（2011，中國 北京，中國美術館）。 Born in Anhui, Liu moved to Taiwan in 1949. He graduated from the Fine Arts Department of National Taiwan Normal University in 1956. He is the founder of the “Fifth Moon Art Association”, and the leader of Chinese contemporary painting movement. His works have been exhibited more then 80 times around the world since 1965. He has held several academic positions, including the Dean of the Fine Arts Department at Hong Kong Chinese and Tainan National University of Arts. Liu's works are widely housed by museum and art originations all over the world. Recent exhibitions: “The universe in the mind: a retrospective of Liu, Kuo-Sung”, 2002; “The Universe in the Mind: Master LiuKuosung Painting 60 Years Retrospective Exhibition”, 2009, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan; “A Creation Exhibition by Liu Guosong —Looking back at 80”, The National Art Museum of China, Beijing, China.
陳文希 CHEN
WENHSI (1906-1992)
生於中國廣東省揭陽縣，1948年移居 新加坡，1992年逝於新加坡。中學畢 業後，前往上海美術專科學校專攻美 術，後因故轉校新華藝術專科學校，受 教于潘天壽等名師，四年後，學成回鄉 娶妻，然後往汕頭中學教美術，還組織 春陽畫社，教導有志於藝術的年輕人。 文希年輕時期便展現其藝術天分，先後 在汕頭、廣州、香港、上海等城市舉 行個展；1937年南京舉行的中國第二 次全國美展，更受到徐悲鴻的賞識和 讚揚，同年，英國畫室雜誌所刊選的當 代中國十大畫家作品中，他也被列為 080 之一。1948年，因緣由而遠道下南洋 參加展覽，未料就此定居下來，先後任 教於華僑中學、南洋美專，逢假期閒暇便往東南亞各地旅行，收集畫材，其中又以 巴厘島和爪哇的民土風情，讓他靈感充沛。1968年從新加坡教育界退休後，他便全 心全力的從事創作，曾在中國、臺灣、馬來西亞、日本、澳州、紐西蘭、香港等地 舉辦過三十余次個展。1975年，新加坡大學為了表揚他對美術的貢獻，特別頒發以 「名譽博士」榮銜，為首位當地畫家獲得此榮譽。此外，1964年時獲得新加坡總統 尤索夫授予公共服務勳章，1980年得臺灣歷史博物館頒發金章，1987年則得亞細 安文化及傳播獎。 Born in Baigong in Guangdong province,China. When Chen After graduation from secondary school, Chen Wen Hsi decided to study full-time in fine art at the Shanghai College of Art in 1928. After In 1947 He left China, and since then he continued to have solo exhibitions in other parts of Asia: Shanghai (1931, 1933), Guangzhou (1932, 1936), Saigon (1948), Hong Kong (1949), Bangkok – Kuala Lumpur (1949), and Bangkok-Singapore (1950). In 1937, he received recognition and praise of Chinese painter Xu Beihong at the second Chinese National Art Exhibition in Nanjing. In the same year, an English arts magazine elected him as one of contemporary China's ten greatest artists. In 1948, Chen arrived and settled in Singapore, where he originally planned to stay for not more than three months. In Singapore, he proceeded to teach art at The Chinese High School (1949– 1968) and the Nanyang Academy of Fine Arts (1951–1959). In June 1955, Chen took part in a seven-artist group exhibition organised by the Singapore Art Society.In 1968, Chen retired from teaching, and decided to concentrate on drawing. Between 1923 and 1992, he conducted 38 one-man exhibitions in Singapore and other countries such as China, Taiwan, Malaysia, Japan, Australia, New Zealand and Hong Kong. After his death in 1992, Chen was awarded a posthumous Meritorious Service Medal.
078
生於中國四川重慶。自幼習水墨畫，長大後專攻水彩，中體西用，在水彩的世界展 現水墨的張力，時而雲氣萬千，時而風淡雲輕，在水彩的領域自成一格，實有名家 之氣。 彭自強的畫給人一種強烈的張力，彷彿能將觀賞者的情緒帶入畫中，他天生本能有 著導演般銳利的觀察力與創造力，用他的方式盡情揮灑著屬於他的迷彩世界。近幾 年作品大多以平劇人物、交響樂、芭蕾舞、風景、人物做為創作主題，畫作風格筆 觸大膽灑脫，不拘泥小節，表情生動，展現超強之生命力。 Born in Taipei. Pen studio was established in 1988. He has held 12 individual exhibitions during 1988-1990. Prizes and past exhibitions include “ The 18th Taipei Art Exhbition”, “ 54th Tai-Yang Exhibition, western painting award”, 1991; The work “Tainan Fishing Port” was on the cover of Reader's Digest in July, 1996. Other solo exhibition include: 2000 G. Zen Art Gallery in Kaohsiung, and aquapelle painting exhibition at Northern Banker Art Center in Taipei. In 2002 aquapelle painting at ORME Gallery.
黃磊生 HUANG
LEISHENG (1928-2011)
082
083
生於廣東台山。自幼因母親影響，喜好書畫古籍，1949年從趙少昂習畫，是嶺南 畫派第三代傑出代表之一。曾獲日本「亞洲青年畫展」水墨畫首獎、美國「費里 斯 曼」藝術獎金，以及台灣省文藝作家協會「中興文藝獎章」。一生培育無數畫壇 新秀，也將中華文化之美傳播至西方。喜愛走入自然，將對自然景物的感知化為創 作。繪畫技法中西兼具，作品不僅具有嶺南的艷麗色彩及含蓄潤厚的墨色，也展現 獨特的空間構圖，風格呈現多采多姿的繪畫性和活潑濃郁的氛圍。 Born in Taishan, Guangdong. As a child, through his mother's influence, he came to love old books and paintings. Starting in 1949, he began studying painting under Zhao Shao’ang who was one of the most outstanding third-generation artists of the Lingnan School of painting. He won First Prize in ink painting in Japan's “Asian Youth Artists” exhibition, a Friedman Arts Scholarship in the USA, and the Chung-HsingArts and Litherature Prize from the Taiwan Provincial Writers and Artists Association. Through his career he culcivated untold numbers of emerging artists and was active in promoting Chinese culture to the West. A nature-lover, he transformed his sensitivity for natural things into works of art. His paintings combine Chinese and Western techniques and feature the brilliant colors and strong suggestion of moisture that is characteristic of Lingnan school painting. They also exhibit distinctive spatial compositional arrangement and a lush, lively style.
MODERN AND CONTEMPOR ARY ART
315
席德進 SHIY
DEJINN (1923-1981)
084
086
085
087
088
089
090
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.
316
ZHONG CHENG 中誠
093
092
091
趙無極 ZAO
WOUKI (1921-2013)
095
156
166
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。
朱德群 CHU
167
Born in Beijing, China. Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988) and graduated in 1941. In 1948, he went with his wife Lan-lan to Paris to live on the same block in Montparnasse where the classes of Émile Othon Friesz took place. His earliest exhibitions in France were met with praise from Miró and Picasso. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing's China Art Gallery. His work is found in major public collections such as the Musée d'art moderne in Paris.
TEHCHUN (b.1920-2014)
128 096
生於中國江蘇。1941年畢業於杭州藝專，在學期間，其創作深受潘天 壽與吳大羽影響。1944至1949年任教於南京中央大學工學院，1951至 1955年任教於臺灣師範學院。1955年移居法國，1957年獲巴黎春季沙 龍銀牌獎，並於法國當地舉行多次個人展覽。1987年於國立歷史博物館 舉行回顧展，1997年法國政府授予法蘭西學院藝術院士榮銜，2001年在 巴黎及韓國舉辦個展。2003年為上海大劇院進行大幅創作，2008年適逢 八十八大壽，在台北國立歷史博物館舉辦回顧展。對於中國書畫技法與 古典詩詞的喜愛，讓朱德群能夠遊刃有餘地將書法水墨詩意靈活融匯在 畫布之上。
170
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Born in Jiansu, China. Chu graduated in 1941 from Hangzhou School of Fine Arts. During this time, his creation was under influence of Pan Tienshou and Wu Dayu. In 1955, Chu immigrated to France, and won silver prize of Paris Salon de Printemps in 1957. He held several solo exhibitions in Pairs. The National Museum of History in Taiwan organized a solo show for the artist in 1987. In addition, The French Institute recognized Chu's contribution to the arts by selecting him as a member of the Academy of Fine Arts in 1997. His solo exhibitions were hold in Paris and Korea. Chu completed Symphony Festive, a work commissioned by the Shanghai Grand Theatre in 2003. In his 88th birthday, year of 2008, a retrospective exhibition was held in National Museum of History in Taipei. One of the most distinguished Chinese modern abstract painters of this century, Chu Tehchun delicately transforms traditional Chinese paintings into modern oils on canvas.
MODERN AND CONTEMPOR ARY ART
317
周春芽 ZHOU
CHUNYA (b.1955)
097
100 098
生於中國四川。1982年畢業於四川美術學院，1988年取得德國卡塞爾美術學院自由藝術系的碩士學位。1980年作品入 選第二屆全國青年美展二等獎，日後開始參加多項展覽。近年重要個展包括：「周春芽個人作品展」（2002，挪威， 314國際藝術中心；義大利，特蘭托現代當代藝術博物館）、「周春芽個展」（2010，中國，上海美術館）。曾參與的 聯展包括：「周春芽」 (1997，香港，香港藝術中心)、「後八九中國新藝術展」（澳洲雪梨當代藝術館等）、「首屆上 海雙年展」(1996，中國上海，上海美術館)、「那麼中國呢？」(2002，巴黎，龐畢度中心) 、「首屆中國當代藝術雙年 展」(2005，法國，蒙彼利埃市)、「亞洲火紅─Chaney家族亞洲藝術品展」(2007，美國，休斯頓美術館) 、北京今日 美術館「花間記」以及「綠狗」(2008，印尼，國家藝廊)。 Born in Chongqing, Sichuan, China. ZHOU graduated from Sichuan Academy of Fine Arts in 1982. In 1988, he received his MFA from Gesamthochschule, Kassel, Germany. During that time, Zhou's style began to move towards a more metaphysical approach that incorporated Neo-Expressionistic elements. Zhou has held solo exhibitions at The Museum of Modern and Contemporary Art of Trento and Rovereto (MaTR), Italy in 2002; 314 International Art Center, Bergan, Norway in 2002, “Solo Exhibition”, Shanghai Art Museum, China,2010.Selected group exhibitions include “China's New Art: Post-1989”, Hong Kong Arts Centre, Museum of Contemporary Art, Sydney etc, from 1993 to 1997; “The First Shanghai Biennale, 1996; “Alors, La Chine!”, The Pompidou Center, Paris, 2002; “First Contemporary Art of China Biennale”, Montpellier, France, 2005; “Red Hot! Asian Art from the Chaney Family Collection”, Huston Museum of Fine Arts, USA, 2007; “Blooming Stories Paintings＆ Sculptures by ZHOU Chunya”, Beijing Today Art Museum, China, 2007; “Green Dog”, Indonesia National Gallery, 2008. 099
亞米．海因 JAIME
HAYON (b.1974)
100
生於西班牙，求學期間攻讀工業設計，1977年至2014年間，在Benetton的傳播研 究中心擔任設計部門創意總監其間，因其作風活潑、趣味、怪誕，更讓他成為部門 的靈魂人物，透過工作也接觸到時裝、插畫、攝影等各方面的頂尖人物，也因此培 養出他大膽、熱情的風格，並讓他在藝術與工業設計間找到雙向的溝通。他的作品 大膽鮮明，也有點難易預測且超脫現實，不斷為人們帶來奇幻與驚奇的設計。亞米 海因活潑多變的設計，讓人感覺永遠活力充沛，驚喜不斷，早在2006年就被西班牙 政府封為最具才能的年輕藝術家，將西班牙人對生命熱情與獨到美感表露無遺。 Born in Madrid, Spain. Majored in industrial design. Between 1977 to 2014 he became the leading figure at Fabric the Benetton-funded design and communication academy. Through his line of work. Hayon came in contact with talents around the world specializing in fashion illustration and photography, therefore cultivate his bold , and enthusiasm style, and let him find the two –way communication between art and industrial design. His works is bold and bright, also a little difficulty to predict and escapist, bring people to the fantasy and amazing design constantly. The Spanish Cultural Department also recognized Hayon as the most talented young artist. Today continues to surprise with his diverse design revealing the love for life and beauty embraced by the Spanish.
318
ZHONG CHENG 中誠
展 望 ZHAN
WANG (b.1962)
102
生於北京。1988年畢業於中央美術學院雕塑系，1995年中央美術學院研究生班結 業。現任中央美術學院雕塑系教授，工作與居住在北京。中國著名當代藝術家之 一，也是第一個作品被美國紐約大都會藝術博物館永久收藏的中國藝術家，更是第 一屆藝術與設計大獎賽候選人，曾多次參加威尼斯雙年展等國際當代藝術大展。 1990年開始從事超寫實主義雕塑創作，1991年參加新生代藝術展，1992年參加當 代青年雕塑家邀請展，1995年參加北京─柏林藝術交流展，批評家年度提名入選， 1997年參加東京97中國當代藝術展，同年參加「移動的城市」亞洲當代藝術巡迴 展。作品曾被收入《世界雕塑全集．東方部分》、《中國美術五十年》、《中國美 術全集》等，發表學術論文《觀念性雕塑─物質化的觀念》。 Born in Beijing, China. Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. He is known for being a contemporary Chinese sculptor, however, he is also known in other art forms such as: installations, photography and video. In 1990, he started creating sculptures of Pure Realism. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics. In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in "Moving Cities" Asian Contemporary Art Exhibition Tour. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore, etc.
梁 銓 LIANG
QUAN ( b.1948 )
103
WEI (b.1965)
104
生於中國上海，畢業於浙江美術學院，先後擔任中國美術學院教授，與深圳畫院國 家一級美術師。聯展經歷：2011年「道法自然：中國抽象藝術展」，上海當代藝術 館，上海；2010年「改造歷史：中國青年新藝術邀請展」，今日美術館，北京； 2010年「大象無形：抽象藝術十五人展」，中國美術館，北京；2010年「當代藝 術學術邀請展」，湖北美術館，湖北；2009年「水墨當下：上海新水墨大展」，上 海多倫美術館，上海；2008年「第二屆上海當代藝術館文獻展：夢蝶」，上海當代 藝術館，上海；2005年「八五致敬」，上海多倫美術館，上海；1998年上海雙年 展。 Born in Shanghai, China. He graduated from Chekiang College of Fine Arts, and then served as professor at Chinese College of Fine Arts and national fine artist at Shenzhen Arts Institute. Selected recent group exhibitions include: 2011 "Tao of Nature: 2011 Chinese Abstract Art Exhibition", Museum of Contemporary Art, Shanghai; 2010 "Reshaping History: China Art from 2000 to 2009", Today Art Museum, Beijing; 2010 "The Promise of the Invisible: Abstract Paintings from 15 Artists", The National Art Museum of China, Beijing; 2010 "Academic Inviting Exhibition of Contemporary Abstract Art", Hubei Museum of Art, Hubei; 2009 "Contemporary Ink Painting: Shanghai New Ink Painting Art Exhibition", Shanghai Duolun Museum of Modern Art; 2008 "Shanghai MOCA Envisage: Butterfly Dream", Museum of Contemporary Art, Shanghai; 2005 "Tribute to 85", Shanghai Duolun Museum of Modern Art, Shanghai; 1998 Shanghai Biennial.
薛 松 XUE
劉 煒 LIU
SONG (b.1965)
生於中國安徽，畢業於上海戲劇學院 舞臺美術系，現居上海。近年個展： 「薛松個展」(2001，英國，倫敦當 代中國畫廊)、「薛松」(2001，香 港，世界畫廊)、「不搭界」(2002， 中國上海，香格納畫廊)、「薛松作 品展」(2003，中國上海，奧迪媒體 中心)、「薛松新作品展」(2004， 中國上海，香格納畫廊)、「薛松」 (2004，香港，世界畫廊)、「薛松個 展」(2005，英國，倫敦當代中國畫 廊)、「薛松個展」(2006，中國北 京，帝門藝術中心)。參與的國際聯 展包括：「巴黎—北京」(2002，法 國巴黎，Escape Pierre Cardin)、 105 「行而上2002上海抽象藝術展」 (2002，中國上海，上海美術館)、 「？無關現實！2004中國當代藝 術」(2004，中國上海，劉海粟美術館)、「限制與自由」(2005，中國武漢，美術 文獻藝術中心)、「麻將」(2005，瑞士，波爾尼美術館)、「85致敬2005-1985」 (2007，中國上海，多倫現代美術館)、「中國當代社會藝術展」(2008，俄羅斯莫 斯科，俄羅斯國家美術館)、「回首˙解構經典—薛松作品展」(2009，中國上海，上 海美術館)、「薛松“新海派繪畫“」(2013，新加坡，MOCA當代美術館)。其作 品為世界許多重要機構及私人藏家所收藏。 Born in Anhui, China. In 1988, Xue Song graduated from the Stage Art Department of the Shanghai Theatre Academy. Now live in Shanghai. Recent solo exhibitions: “Ver Da GaXue Song 2002 Fashion Series”, ShanghART, Shanghai, 2002; “Xue Song Newworks”, The Scenery And Fashion of Today, ShanghART, Shanghai, 2003; “Xue Song”, Galerie du Monde, Hong Kong, 2004; “Xue Song Solo Show”, Chinese Contemporary Art Gallery, London , UK, 2005; “Xue Song Solo Exhibition”, Dimensions Art Center, Beijing, 2006. Recent group Exhibitions: “Paris- Pekin”, Escape Pierre Cardin, Pairs, France; “Metaphysics 2002”, Shanghai Art Museum, Shanghai, 2002; “?untelated to reality!, Shanghai Abstract Art”, Liu Haisu Art Museum, Shanghai, 2004; “Limitation and Freedom”, Wuhan Literature Art Center; “Mahjong”, Switzerland; “ 85 Salute 2005-1985”, Shanghai Duolun Museum of Modern Art; 2007, “Chinese Contemporary - Society Art Exhibition”, Russia National Art Museum Mosco; 2008 “ Foire Internationale d'Art Contemporain” Paris; 2009, “Classic-Xue Song Works Exhibition”, Shanghai Art Museum.
生於中國北京。1989年畢業於中央美術學院版畫系，現居北京。1994年參加「第 45屆威尼斯雙年展」、「第22屆聖保羅雙年展」、澳大利亞「毛澤東走 向波普」 展；1995年參加德國「中國新藝術展」；1996年參加德國「中國！」展；1998年 參加德國柏林「中國製造—中國當代藝術展」；1999年參 加舊金山「新千年的新 現代主義」展；2000年參加雪梨「中國的新面孔展」；2001年於巴黎Loft畫廊舉辦 個展。 Born in Beijing. Graduated from Central Academy of Fine Arts in 1989, majoring in printing. Currently lives in Beijing. "Attended the 45th Venice Biennial", "the 22nd Saint Paul Biennial" and "Mao, Toward Pop" Exhibition, Australia in 1994; attended "Chinese New Artist Exhibition", Germany in 1995; attended "China!" Exhibition, Germany in 1996; attended "Made in China-Contemporary Chinese Art" Exhibition, Berlin, Germany in 1998; attended "New Modernism in New Millennium" Exhibition, San Francisco in 1999. Attended "New Faces in China" Exhibition, Sydney in 2000. Held solo exhibition at Loft Art Gallery, Paris in 2001.
潘德海 PAN
DEHAI (b.1956)
生於中國遼寧。1982年畢業於東北師範大學美術系。 1986年參與西南藝術研究群體，1989年獲「第七屆全 國美展」獎項。現任雲南藝術學院美術學院講師。著 名個展包含：「潘德海個展」(1994，中國北京，歌德 學院)、「頭髮越來越少—潘德海個人畫展」(2001，香 港，少勵畫廊)、「潘德海個人畫展」(2007，北京)。 近年聯展：「現實，今天和明天」(1996，中國，北 京國際藝苑)、「2000藝術展」(1999，法國，亞克迪 爾)、「亞洲當代藝術展」(2000，英國倫敦)、「男孩女 孩」(2001，新加坡斯民藝苑)、「中國當代藝術巡展」 (2002-2004，德國杜依欺斯堡美術館、義大利羅馬當代 藝術博物館)，「貴州雙年展」(2004，中國，貴州師大 美術館)、「溫暖—中國當代藝術精英展」(2005，上海 106 虹橋畫廊)、「緣分的天空」(2005，深圳美術館)、「聞 香識女人」(2005，北京、上海、香港)、「激醒—中法 藝術的碰撞與融合」(2005，北京中國美術館)、「共用之土—雲南當代藝術邀請 展」(2006，南京四方美術館)、「共同連線」(2006，北京華藝沙藝術中心)、「國 際藝術博覽會」（2006，北京）、「藝術與收藏」(2007，北京保利博物館)、「從 新具像到新繪畫」(2007，北京唐人藝術中心)、「從西南出發」(2007，北京，廣 東美術館)。 Born in Liaoning, China, he graduated from the Fine Art Department, Northeast Normal University. He Organized and participated in Southwest Art Research Group in 1986. In 1989, Pan won an award in the 7th National Art Exhibition. Currently he served as a lecturer of Fine Arts College, Yunnan Arts University. Renowned solo exhibitions:“Pan De Hai Solo Exhibition”, Goethe Institute, Beijing, 1994;“Receding Hairline”Solo Exhibition, Schoeni Art Gallery, Hong Kong, 2001; Pan De Hai Solo Exhibition, Beijing Poly Art Museum, 2007. Recent group exhibitions:“Reality, Today, and Tomorrow”, International Art Gallery, Beijing, 1996;“2000 Asia Exhibition”France, 1999;“Asian Contemporary Art Exhibition”, Contemporary Art Gallery, London. 2000;“Girls and Boys”, Soobin Art Int'l Gallery, Singapore, 2001;“Chinese Contemporary Art Exhibition”, Germany Duisburg Art Gallery, Germany,“Contemporary Art Museum”, Roman Contemporary Art Museum, Italy, 20022004;“Gui Zhou Biennale”, Guizhou Normal University Fine Art Museum, Guiyang, 2004;“Awakening: La France Mandarin-The French Influence on Chinese Art, National Art Museum of China, Beijing, 2005;“Scent of a Woman”Beijing, Shanghai, Hong Kong, 2005;“The Preordained Relationship Sky”Shenzhen Art Museum, Shenzhen, 2005;“Land of Warmth”Red Bridge Gallery, Shanghai, 2005;“Beijing International Art Exposition”, Beijing, 2006;“Create in Yun Nan”Yun Art Gallery, Kun Ming, 2006;“International Art Exposition”Vanessa Art Center, Beijing, 2006;“2006 Yun Nan Contemporary Art Invitational”Square Gallery of Contemporary, Nanjing, 2006;“Viewing From Afar”Oriental Vista Art Collections, Shanghai, 2006;“Set Up from Southwest”Guangdong Art Museum, 2006;“From New Figurative Image to New Painting”, Tang Contemporary Art Center, Beijing, 2006;“Art and Collection”Poly Art Museum, 2007. MODERN AND CONTEMPOR ARY ART
319
唐志岡 TANG
ZHIGANG (b.1959)
陳 進 CHEN
107
CHIN (1907-1998)
110
生於中國雲南。1989年於解放軍藝術學院油畫系畢業後，曾為解放軍政治部繪製 文宣畫作。曾參加重要個展與聯展有：2008年「北京—雅典：中國當代藝術」， 希臘；2007年「永不長大：唐志剛1977-2007」回顧展，Hyundai doArt畫廊，北 京；2005年「唐志剛：中國童話」漢雅軒，香港；2004年 「唐志剛」，納瓦哈畫 廊，巴黎，「軍械庫展」，現代畫廊，紐約；2003年「從中國來：藝術」，雅加達 國立畫廊，印尼；2002年巴塞爾國際藝術博覽會；2000年「中國前衛藝術展」， 德拉維萊特博物館，巴黎，「兒童開會」，漢雅軒，香港；1999-2000年「瞬間︰ 中國當代藝術」，芝加哥大學藝術博物館，芝加哥。 Born in Yunnan, China, after graduating from the Department of Oil Painting in 1989, he serviced as a propaganda painter for the Political Department of the Army. Notable solo and group exhibitions: 2008 "Beijing - Athens, Contemporary Art from China", Greece; 2007 "Never Grow Up, Tang Zhigang: 1977-2007, Retrospective", Hyundai doArt Gallery, Beijing; 2005 "Chinese Fairytale", Hanart TZ Gallery, Hong Kong; 2004 "Tang Zhigang", Galerie Enrico Navarra, Paris, "The Army Show", New York; 2003 "From China with Art", National Gallery of Jakarta, Indonesia; 2002 Basel International Art Fair, Basel; 2000 "Chinese Avant-garde Exhibition", De La Vilette Museum, Paris, "Children Meeting", Hanart T Z Gallery, Hong Kong; "Moment: Chinese Contemporary Art", University of Chicago Art Centre, Chicago.
阿 曼 PIERRE FERNANDEZ ARMAN (1928-2005)
生於台灣新竹。陳進是光復前台灣著名畫家當中唯一的女性，被譽為「閨秀畫家的 代表性人物」。她中學時期美術成績優異，得到當時日籍美術老師鄉原古統的賞 識，畢業後並接受老師的建議，遠赴日本考入東京女子美術學校就讀。1927年，以 一年級的三件學期作品《姿》、《罌粟》、《朝》參加第一屆台展東洋畫部，均獲 入選。並與林玉山、郭雪湖共獲「台展三少年」之美譽。1934年，以大姐陳新為模 特兒所繪製的《合奏》入選日本第十五回帝展，成為第一位入選帝展的台灣女畫家 並寫下九次入選帝展的輝煌紀錄，同時亦是第一位擔任台展審查委員的女性。陳進 執著一生，對藝術的追求與忠誠一直延續至今。她以其細膩獨到的慧眼，仔細觀察 周遭的人、事、物，並反映在她畫筆之下。陳進不僅在台灣畫壇上叱吒風雲，同時 也深受日本美術館的青睞，為此，台北市立美術館聯合日本三家美術館，開辦了一 場別具意義的陳進百歲紀念展。 Born in Hsinchu, Taiwan. Chen Jia is the only female painter before Taiwan recovery and praised as "Representative figures of painter who good at young lady's theme." she was outstanding in art in secondary school for this reason her teacher Gobala Kodoo who was Japanese suggested her went to Japanese Painting Department of the Tokyo Girls College of Art. In 1927, her work was selected, along with that of Lin Yu-shan and Kuo Hsuehhu, to be shown at the first Taiwan Fine Arts Exhibition. Chen won 15th Empire Exhibition in 1934 and she was the first woman who be selected Empire Exhibition. A brilliant record of nine selected for the Empire Exhibition. And she also served as first female examiner of Taiwan Fine Art Exhibition. She persistent the pursuit and loyalty of art of life continue today. Chen had a special points of view about word surrounding us and reflected it to her works. Therefore Taipei Fine Arts Museum united three museums of Japan to held a solo exhibition of his works that year in dedication of his life.
畢卡索 PABLO
RUIZ PICASSO (1881-1973)
113
生於1928年法國尼斯，是少數仍在世即被寫入西洋藝術史的藝術家之一。1949 年轉入羅浮美術館附屬藝術學校攻讀考古及東方藝術，1960年和一群藝術家、史 學家、藝評家共同簽屬「新寫實主義宣言」。1967年代表法國參加蒙特婁世界博 覽會，1974年在全美巡迴展出，1981年創作大件的「牆與工具」作品，1982年 回顧展在全歐洲巡迴展出，1984年受法國總統之邀，製作銅製的法國國旗堆疊， 放置在巴黎愛麗舍王宮。重要展覽：「第一次雕塑個展」（1959，義大利米蘭， apollinaire 畫廊）、「首次美國個展」（1961，美國紐約，Cordier Warren藝 廊）、「新寫實主義」（1962，美國紐約、洛杉磯）、「個展」（1964，荷蘭 阿姆斯特丹，Stedelijk博物館）、「阿曼回顧展」（1973，美國紐約，Andrew Crispo畫廊）、「神與女神」（1986，巴黎、紐約、多倫多）、「台北國際藝術博 覽會-主題展」（1996，台灣）。 Born Armand Pierre Fernandez in Nice, France, Arman enrolled as a student at the École du Louvre in Paris in 1949, where he concentrated on the study of archaeology and oriental art. In 1951, Arman became a teacher at the Bushido Kai Judo School. In October 1960, along with many young artists, historians and art critics at that time, Arman founded the group Nouveau réalisme, the group of young artists defined themselves as bearing in common their "new perspective approaches of reality". He was selected as representative of France to attend the Exposition Universelle de Montréal Expo 67 at Montréal, Canada in 1967. In 1991, President Mitterrand awarded him the Honorary Knighthood in Palais de I’Elysee. Exhibition: "Mostra Personale di Arman", Galerie Apollinaire, Milan, Italy, 1959; "Arman", Cordier-Warren Gallery, New York, USA, 1961; "Arman, Montages", Dwan Gallery, Los Angeles, California., USA, 1962; "Arman", Stedelijk Museum, Amsterdam, Holland, 1964;“Arman: Retrospective”, Andrew Crispo Gallery, New York, USA, 1973;“Arman: Gods and Goddesses”, New York, USA, Paris, France, Toronto, Canada; Arman: The Exhibition of International Sculpture Master, Modern Art Gallery, Taiwan, R.O.C., 1996.
320
ZHONG CHENG 中誠
114
生於西班牙南部的馬加拉，1985年進入巴薩隆納的隆哈美術學校。其父於該校任 教。1987年作品「科學與慈善」或馬德里全國美展榮譽獎，後來又在馬拉加得到該 金牌獎。27歲布拉克第一次舉行立體派畫作展。1912年與布拉克合作紙貼畫，發 展出合成立體主義。1954年開始創作德拉克洛瓦的「阿爾及利亞女人」變奏系列。 1957年畫委拉斯蓋茲「宮女」變奏40餘張。1959年做馬內「草地上的午餐」變奏 系列。1963年繪製「畫家與模特兒」系列。同年巴塞隆納的畢加所美術館開幕。 「畢卡索大型回顧展」（1966，巴黎皇宮，巴黎）。1973年4月8日於坎城的慕瞻 市去世，享年92歲。 Born in Malaga in southern Spain on 1881 October 25th. He went into Haroun School of Fine Arts in Barcelona in which his father was teaching. His works “Science and Charity” in 1987 won Honorary Award in Madrid National Art exhibition and then won Golden Award in Malaga. In 1908, he held his first cubism painting exhibition when he was 27. In 1912, he cooperated with Braque to do cut paper fragments, which develops into cubism. Form 1954 he began to create variation series of Delacroix's “Algeria woman”. In 1959, he created variation series of Manet's Lunch on the Grass. He painted a series of “Painter and Models” and the muse Picasso in Barcelona opened. 「Grand retrospective exhibition of Picasso」(1966, Grand Place, Paris). He died in Mougins near Canners on 8th, April, 1973 in 92 years old.
張義雄 CHANG
YOSHIO (b.1914)
何肇衢 HO
CHAOCHU (b.1931)
120
121
生於台灣嘉義。1928年至1940年間就讀於日本，先後在武藏野美術大學、關西美 術學校、東京川端畫學校及東京美術學校苦讀12年。畢業後在北京停留兩年半多， 台灣光復後返台，於80年代始定居巴黎至今。先後在「台陽美展」中獲3次首獎， 於「春季沙龍」受賞，並入選「秋季沙龍」，是台灣首位獲法國政府「藝術家年 金」的畫家。曾應邀舉辦「張義雄80回顧展」(1994、台灣台北、市立美術館)、 「張義雄90回顧展」（2004，台灣台北，歷史博物館）。 Born in Jiayi, Taiwan, studied in Japan between 1928 and 1940, spending 12 years at Ueno University of Fine Art, Kansai school of Fine Art, Tokyo Kawada Painting School and Tokyo School Fine Art. Upon graduation, he stayed in Beijing for two and a half years, and returned to Taiwan after Taiwan Retrocession, and then moved to Janpan in 1960 and subsequently to Paris in 1980 where he resides to this day. He won three successive top prizes at the “Tai Yang Art Exhibition” and was honored at the Spring Saloon, and nominated at the Autumn Saloon, and was the first Taiwanese painter to receive the Artists Annuity “from the French Government. In1994, Chang was invited to stage a “Chang Yixiong 80th Retrospective Exhibition” at the Taipei Municipal Museum of Fine Art. “Chang Yixiong 90th Retrospective” was held in 2004 at the National Museum of History, Taipei, Taiwan.
唐 雲 TANG
YUN (1910-1993) 生於中國浙江杭州，字俠塵，別號大石、 藥翁、藥城、藥塵、老藥，成為畫家後改 名為唐雲。畫室名大石齋、山雷軒。藝術 造詣頗高，篆刻於浙派，不墨守和家成 法，追求平正勻稱，自幼酷愛詩畫擅畫花 鳥、山水、人物，歷任新華藝專、上海 美專國畫系教授、上海博物館鑑定委員、 上海中國畫院畫師、代院長、名譽院長， 中國美術家協會上海分會副主席。作品有 《棉花稻谷》、《朵朵葵花向太陽》等。 出版有《唐雲畫集》等。 Born in Hangzhou, Zhejiang, China. Tang was a painter known for his flower and bird subjests, landscapes and portraits. In his early career, Tang served as an apprentice to a number of traditional artists and taught painting in middle schools. After moving to Shanghai, he continued to teach at the Xinhua Art Training School and the Shanghai Fine Art Training School.
122
生於台灣新竹。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。曾任中華民國油畫學會常務理事、台陽美術協會、 中國畫學會、中國美術協會會員，並自全省美展第二十三屆起擔任油畫部評審委 員（1978）。曾獲8次省展前3名，其後獲獎計有：1971年法國坎城第6屆國際展 國家榮譽獎、1982年東京亞細亞現代美術展國際獎、1984年中山文藝基金會油畫 創作獎、1992年林本源中華文化教育獎等。曾舉行數十次個展：「個人油畫展」 (1989，臺灣臺北，愛力根畫廊)、「何肇衢油畫展」(1989，臺灣臺北，國立歷史 博物館)、「何肇衢油畫展」(1990，台灣台中，雅特藝術中心)、「何肇衢油畫展」 (1991，臺灣臺中，雅特藝術中心)、「跨越立體、放眼現代三位中堅的歷程－賴傳 鑑、何肇衢、陳銀輝」(1992，臺灣台北，愛力根畫廊)、「何肇衢歷年油畫創作」 (2001，臺灣，巴黎台北新聞文化中心)、「返鄉回顧展」（2003，臺灣，新竹文化 局）。 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.
蕭進興 HSIAO
CHINHSING (b.1953)
123
生於台灣嘉義布袋，畢業於國立藝術專科學校美術科國畫組及國立台灣藝術大學造 型藝術研究所畢業。作品曾獲第10屆全國美展國畫第一名、第37屆全省美展屏東縣 政府獎、台北市美展第2名、舉辦過個展20餘次、國內外聯展百餘次。藝專時期師 承傅狷夫、蘇峰男老師，足跡遍及台灣各角落、山川百岳以及原住民部落，甚至中 國各地，到處寫生作畫。其作品多以水墨、膠彩等為顏料，並擅以重彩結合濃墨， 表現寫實的山林質地。 Hsiao Chinhsing, from Bu Dai, Chia Yi, Taiwan, graduated from Taiwan University of Arts majoring in traditional painting, he also completed his education in graduate school majoring in synthetic arts. He received first place in the 10th National Chinese Painting Exhibition, and the government awarded also awarded him in the 37th National Contest of Art Exhibition in Pin Dong. Furthermore, he received second place in Taipei national Contest of Art Exhibition. He had held more than twenty solo exhibitions and hundreds of national and international joint exhibitions. He was apprenticed to Fu Chuan-fu and Su Feng Nan; he visited countless cities and tribal societies in Taiwan and China for aesthetic inspirations. Most of his mediums contain ink drawings and gouche. Hisao Chinghsing is also known for his skillful technique in layering heavy pigments and inks to depict the realistic stucture of landscapes.
MODERN AND CONTEMPOR ARY ART
321
林明弘 MICHAEL
LIN (b.1964)
伊多．皮露 EDO
PILLU (b.1969)
129
生於日本東京，現於台北及巴黎兩地工作及居住。1990年於洛衫磯的歐帝斯藝術中 心帕森設計學院完成藝術學士學位；1993年於加州巴沙狄那藝術中心設計學院取 得藝術碩士。個展：2003年，東京宮，當代創作場所，法國巴黎；2004年，PS1當 代藝術中心，美國紐約州長島；2005年，布魯塞爾藝術博覽會，塔尼藝廊，比利 時；維也納美術館，奧地利維也納。聯展：2001年，「第49屆威尼斯雙年展」，台 灣館，義大利威尼斯；2004年，「花卉力量．里耳2004」，里耳美術館，法國里 耳；2005年，「靜默的典雅東方」，森美術館，日本東京；「蒙帕里耶∕中國：第 一屆中國當代藝術雙年展」，法國蒙帕里耶；2006年，「聖日耳曼散步」，花神咖 啡館，法國巴黎；2007年，「莫斯科當代藝術雙年展」，俄羅斯莫斯科 Michael Lin was born in 1964, Taiwan. He currently lives and works in Taipei and Paris. He attained a bachelor's degree of art from the Otis Art Institute of Parsons School of Design, in Los Angeles in 1990, and obtained master's degree of art from the Art Center College of Design in Pasadena, California. Solo exhibitions: 2003, Palais de Tokyo, Site de Creation Contemporaine, Paris, France ; 2004, Grind, PS1 Contemporary Art Center, Long Island City, N.Y., USA; 2005, Brussels Art Fair, Belgium and Kunsthalle Wien, Vienna, Austria. Group exhibitions: 2001, "49th Biennial of Venice", Taiwan Pavilion, Venice, Italy; 2004, "Flower Power/Lille", Palais des Beaux Art, Lille, France; 2005, "The Elegance of Silence: Contemporary Art from East Asia", Mori Art Museum", Tokyo, Japan; "Montpellier-Chine: 1st Biennale Internationale d'Art Contemporain Chinois de Montpellier", Montpellier, France; 2006, "Parcour de Saint German", Café de Flore, Paris, France; 2007, "Moscow Biennial of Contemporary Art", Moscow, Russia.
王龍生 WANG
LONGSHENG (b.1944)
131
出生於印尼萬隆，1990至1997年間就讀於印尼日惹藝術學院美術系。作品多元， 包括繪畫，雕塑，攝影，行為藝術，和裝置藝術等。曾於國內外藝廊與美術館舉辦 多次個展，包含英國倫敦的薩奇美術館，展出經驗豐富。另外入圍藝術獎眾多，諸 如菲利普莫里斯獎，主權藝術獎。 Born in Bandung, Indonesia. Edo Pillu's education was at Indonesian Institute of the Arts from 1990-1997, Fine art departement, Yogyakarta. His work includes painting, sculpture, photography, performance art, and installations. He has numerous solo exhibitions in Indonesia and abroad, as well as shortlisted as finalist for many art awards such as Phillip Morris Award, Sovereign Art Award, among others. And he has had several gallery and museum exhibitions, including at the The Saatchi Gallery.
黃耀堂 HUANG
YAOTANG (b.1948)
133 132
生於中國四川。1965年畢業於四川美術學院附中，現為川音成都美術學院客座教 授。其作品經常入選參展，並多次獲獎。1981年作品《 陽光下》參加「四川及全 國建黨六十周年紀念美展」獲得金獎，次年入選法國巴黎春季沙龍展；1984年參 加「第六屆全國美展」，作品《寄托》獲優秀獎；1987年參加「四川第二屆油畫 展」，作品《秋菊之二》獲「金秋杯」獎，同時入選「中國第一屆油畫展」。近年 個展包含：「蜀之情－王龍生油畫展」（2001，新加坡，斯民藝苑）、「王龍生畫 展」（2005，中國四川，重慶美術館），並出版畫冊《王龍生畫選》、「王龍生畫 展」（2005，美國波士頓）。作品《山村晨霧》為中國美術館收藏。 Born in Sichuan, China. Wang graduated from the preparatory school of Sichuan Academy of Fine Arts, and now serves as a professional painter and visiting professor of Chengdu Academy of Fine Arts. His works have often been selected for renowned exhibitions and won plenty of rewards as well. Exhibitions in which he has participated included: “The National Fine Arts Exhibition held in Celebration of the Sixtieth Anniversary of The Communist Party of China”, 1981, at which 'In Sunshine' was awarded a gold prize; the Salon du Printemps, Paris ,1982; “The 6th National Arts Exhibition” , 1984, at which “Jituo” was awarded a prize of excellence; “Small Chinese Oil Paintings”, Syria; “Contemporary Chinese Oil Painting”, New York, 1986; “The 2nd Oil Painting Exhibition of Sichuan Province and the 1st Chinese Oil Painting Exhibition” , 1987; “The 3rd National Oil Painting Exhibition”, 2003 and “The 10th National Arts Exhibition”. The artwork “Early Morning Fog in a Mountain Village” has been collected by The National Art Museum of China.
322
ZHONG CHENG 中誠
出生於台灣澎湖。黃耀堂70年代開始旅居歐洲，目前定居比利時。畢業於東海大 學，1975年前往英格蘭進入利物浦大學攻取建築碩士。1977年首次個展於布魯 塞爾ANNEVANHORENBEECK畫廊。 1987年聯展於比利時布魯塞爾GALERIEDE PRET D'OEUVRE'。 1999年在台灣首次個展於高雄山美術館。出版有《黃耀堂畫 集》1999年8月山美術館。多次參加國際性現代繪畫展覽，並且是華人藝術家在比 利時相當活躍的當代藝術家。 Born in Penghu, Taiwan. Huang studied architecture at Tunghai University, Taiwan, and later, at the University of Liverpool, England, where he received his Master's Degree of Architecture in 1975. He came to Brussels in 1976 and has since worked as architect, designer and artist. Huang has lived in Brussels for over 30 years. Huang creates art that strives to build bridges between East and West cultures.
孫雲生 SUN
YUNSHENG (1918-2000)
王信豐 WANG
XINFENG (b.1952)
134
生於中國北平，原籍河北寧河縣，又名家瑞。1938年畢業於華北學院藝術教育系， 畢業後考上外總廳（相當於書現在的警政署），官至行政處處長。由於家學淵源， 九歲從叔父啟蒙習畫，自幼便修臨王羲之、歐陽修、蘇軾、歐陽洵等名家書法，並 隨母親習誦近體詩。先後受業於諸位名家，1936年在父親協助推薦下，拜入張大千 門下，師生情誼濃厚，被張大千斷然以其為大風堂傳人。1948年來台，曾任職國立 台灣師範大學、國立藝術專科學校，並多次舉辦個人畫展。1976年榮獲中華民國畫 學會國畫金爵獎。 Sun Yunsheng, also named Chia Rei, was born in Beiping Zhen, China. He was originally from Hebei, Ninghe County, graduated from North China Institute art education department, he soon received acceptance to the national police agency and became the head of Administration Division. Sun Yunsheng had received proper education; he learned his aesthetic practice from his uncle since the age of nine. He was also instructed by multiple eminent calligraphers including Wang Xizhi, Ouyang Xiu, Su Shi, and Ouyang Xun, as well as his own mother. After apprenticed to various respectful artists, he started following Zhang Daqian through the introduction of his father in 1936. Sun Yunsheng exploited his talent when he and Zhang Daqian developed a deep friendship; he later received recognition as the descendent of Da Feng Tang. In 1948, he moved to Taiwan and taught at the National Taiwan Normal University and National Taiwan University of Art. After holding multiple individual exhibitions, he received the Gold Nobility award from The Art Society of China in the year of 1976.
梁奕焚 LIANG
YIFENG (b.1937)
136
生於台灣高雄，1973年畢業於東方工專美工科。早期王信豐多以自然風景為主題的 水墨畫為繪畫重心，已嶄露不凡風格。年過不惑之際，王氏進一步以台灣本土歷史 故事入畫。長年醉心於水墨畫，自1998年開始，嘗試運用複合媒材，研究壓克力顏 料，並遴選補捉自己最熟悉的故鄉高屏溪身影，流露出對台灣土地的深切情感。其 作曾榮獲1972年台陽美展水墨佳作，並蒙國立台灣美術館、高雄市立美術館典藏。 主要展覽包括： 1997年「火燒島紀行」，台北市立美術館，台北，台灣；2006年 「島嶼之歌」, 高雄市立美術館，高雄，台灣。 Born in Kaohsiung, Taiwan ,Wang Hsin-feng graduated from Department of Arts and Crafts, Tung Fang Design Institute in 1973. Wang used to focus on landscape ink painting theme with extraordinary style in his early years. Over Wang's forty, the artist furthermore started to add Taiwanese history element into his works.After concentrating on ink painting for many years, Wang Hsin-feng began to make use of multiple media since 1998. He did research on acrylic and chose Kaoping River as the main theme in his paintings which reveals Wang's strong sense of belonging to his motherland, Taiwan. Wang's ink painting was awarded from Tai-Yang Art Exhibition. Wang Hsin-feng's works were also collected by magnificent art institutions such as National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts.Selected exhibitions:“Record of The Trip to The Island of Fire” Taipei Fine Art Museum, Taipei, Taiwan, 1997;“Songs of the Island” Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2006.
劉國樞 LIU
GUOSHU (b.1919)
137 138
生於台灣彰化。畢業於台北師範藝術科。1958-1963年從李仲生先生研究現代藝 術，曾任中部美術協會會員。中華民國現代版畫會員。中華民國雕塑學會會員。 1982年發起創立現代眼畫會。1985年任李仲生現代藝術文教基金會理事。1987年 設繪畫工作室於紐約蘇活區。他的畫作先後創作出五百號、一千號甚至二千號作 品，獲得收藏家及畫廊的青睞，大量收藏他的創作。梁奕焚於紐約創作，在東方與 西方的衝擊下，創作獨樹一格，極具東方地域特殊風格。 Born in Changhua, Liang graduated from National Taiwan Normal University in 1957. Since then, he has engaged in many art activities and associations. At the age of 21, Liang studied modern art with Lee Chung-Sheng. Rich colors and fluent brush marks are the most recognizable characteristic in his paintings. Liang explores the possibility of free-style art form that is beyond the descriptions of East, West, modern, or tradition. When Liang was selected into The Biena Internaional de Sao Paulo, he has participated frequently in many other local and international exhibitions. Till now, he has already participated over 150 exhibitions, and more than 5000 of his works are collected.
142
143
生於中國四川。中國第二代油畫家。1938年考入武昌藝術專科學校。1948年應聘 為西南美術專科學校西畫科主任。1950年後分別任教於西南人民藝術學院及四川 美術學院，1979年任四川美院繪畫系副主任、 1986年轉任重慶職工美專副校長。 亦為中國美術家協會會員，美協四川分會常務理事。劉國樞畢生致力於美術教育， 化育眾多英才，「四川畫派」中的重要畫家如羅中立、高小華、程叢林、何多苓、 周春芽、朱毅勇等人皆受劉國樞教授之親自指導，為中國西南地區藝術教育貢獻良 多。 Born in Sichuan, China, Liu is the second generation of oil painting artist. He was admitted to the Wu Chang Academy of Fine Arts in 1938, and was invited to serve as the Director of the Department of Western Painting at Southwest Fine Art School in 1948. He taught at Southwest People Academy of the Arts and Sichuan Academy of Fine Arts since 1950s, also became a member of China Artists Association and acted as a managing director of its Sichuan branch during this period. Liu devoted himself to art education and training the new generation of art elites in China, renowned artist like Luo Zhongli, Gao Xiaohua, Cheng Conglin, He Duoling, Zhou Chunya and Zhu Yiyong were instructed directly by Liu Guoshu.
MODERN AND CONTEMPOR ARY ART
323
李轂摩 LEE
KUMO (b.1941)
黃志超 DENNIS
HWANG (b.1941)
145
生於台灣南投縣草屯人，農耕世家，性情純真樸實，細膩生動的書畫風格在田園 野趣的創作中嶄露無疑。曾舉辦「走過書畫半世紀」(2009)、「一波三折屋漏留 痕-七十回顧展」(2010，高雄文化中心)、「百年百幅」(2011，台中市立港區藝術 中心)、「自在 從心所欲」(2013，中華文化總會)等逾20次個展。曾參與「海華藝 術季三人聯展」(1989，舊金山、巴黎)、「海峽兩岸當代水墨繪畫聯展」(1992， 臺灣美術館)、「亞細亞美術招待展」(1994，韓國)、「華東六省一市府協聯展」 (2003，江西)、「傳統與實驗-雙年展」(2006，河創時書法藝術基金會)等數十個聯 展。 Born in Caotun Township, Nantou County, Taiwan. He became a professional and active artist at a very young age and ever since has established himself as one of the iconic figures in the ink painting field of Taiwan. At the end of 1975, together with more than ten painters from Nantou region, Ku-mo Lee decided to establish Nantou County Art Association. He served that position for 12 years as a result of term renewal. Ever since, various activities held by the Association as well as juror invitations of art exhibitions of different places followed one after another. Lee has enjoyed various international exhibitions.
呂榮琛 LU
RONGCHEN (b.1963)
148
生於中國湖南，為紐約新素材的表現派畫家。1961年起於國內外舉辦個展十餘次、 聯展多次。早期以蠟染材料及版畫技術表現抽象超現實畫風，並著有《蠟染藝術》 一書。1971年應美國國務院及亞洲藝術協會之邀，赴美訪問。1972年定居紐約 後，創作與當時西方繪畫思潮結合。18年來由於懷鄉及念舊的因素，逐步自我調 適，開始以東方人的眼光來看世界，把東西文化的衝突和矛盾轉化成作品的內涵， 達到具有中國特性而又有世界共通風格的藝術作品。 Born in Hunan. Hwang is an expressionist painter in New York. In this period, he used batik and graphic techniques in an abstract surrealistic style, and wrote a book, The Art of Batik. Since 1961, Hwang has held over solo exhibitions and many group shows both in Taiwan and abroad. In 1971, he was invited by the U.S. State Department and the Asian Arts Association to visit the United States. One year later he moved to New York. Hwang has been influenced by Western thought and uses the tension between East and West in conceptualizing his work.
胡念祖 HU
生於湖南省益陽縣，字心原，號石牛老牧，又號桃 江遊子。1946年入南京美專攻讀國畫選科，1948年 師承國畫大師黃君璧研習山水畫藝，次年隨黃師來 台；1951年受聘於台灣省立師範學院 (今國立台灣 師範大學)藝術系助教，並受教於溥心畬研究北宗山 水；1959年任教於國立台灣藝術專科學校（今國立 台灣藝術大學）。1966年，首次舉行個人畫展於中 國郵報畫廊。1971年赴美國定居，並於1973 年入 美國紐約藝術學生聯合學院進修， 專攻山水創作並 推廣文化藝術，期間更獲杜威大學頒發榮譽藝術博 士殊榮，享譽國際。1988年返國，專攻水墨山水創 作。其作品多次獲選出國參加各項重要國際展覽： 「中日現代畫展」（1971、1972，日本，東京）、 「74年美國水彩畫展」（1974，美國，密蘇里 州，春田博物館）、「紐約當代中國藝術家聯展」 （1985，美國，紐約）。
149
呂榮琛1963年出生於台灣屏東。1987年畢業於台灣文化大學美術系。1993年首次 個展於巴黎第八區 BOULAKIA RIVE DROlTE 畫廊。2003年巴黎ART FAN 展覽。 2005年台灣新苑畫廊個展。 2006年巴黎 ART FAN 展覽。台灣現代藝術空間聯展． 巴黎 LANSBERG 畫廊聯展。2007年巴黎 LEE 畫廊個展。巴黎 ST GERMAL DES PRES 現代藝術個展。香港現代藝術博覽會。 Born in Taitung, Taiwan. He graduated from Chinese Culture University-Taiwan, major in Fine arts. In 1993, he had his first solo exhibition at BOULAKIA RIVE DROITE gallery in 8th district in Paris. In 2003, he exhibited in Paris ART FAN. In 2004, he had solo exhibition at Shin Yuen gallery in Taiwan. In 2006 he again exhibited in Paris ART FAN, united exhibition in Taiwan modern art space and attended Paris LANSBERG gallery exhibition. In 2007 he had solo exhibition in LEE gallery, Paris. He is having a solo exhibition in Paris ST. GERMAL DES PRES modern art. He is attending Hong Kong Modern Art Fair.
324
ZHONG CHENG 中誠
NIENTSU (b.1927)
152
Born in Hunan, China. In 1946, Hu was admitted to the Nanking College of Fine Arts majoring in Chinese Painting. In 1948, he studied Chinese landscape painting under the master painter, Huang Chun-Pi, and in the following year, he came to Taiwan with Huang. In 1951, he became a teaching assistant at the Taiwan Province Normal College (now the National Taiwan Normal University), where he also studied Chinese Northernschool landscape painting under Pu Hsin-yu. In 1959, Hu started teaching at the National College of Fine Arts (now the National Taipei University of Arts). He later resigned from his teaching post to concentrate in his landscape paintings. Hu has held more than a hundred exhibitions in Taiwan and abroad. He received an honorary doctorate of arts from Dewey University in the US where he also exhibited his works, marking a new page in EastWest exchange.
謝孝德 HSIEH
HSIAODE (b.1940)
150
151
158
生於台灣桃園。謝孝德堅持具像藝術，將機械文明取代眼睛無法瞬間捕捉的概念，一直是他創作的 信念。1965年畢業於國立台灣師範大學美術系後隨即留校任教。1973至1974年間旅居法國巴黎並 於羅浮宮藝術學院作研究，後返國撰寫《新寫實主義》一書，成為台灣倡導新寫實主義的開創人。 現任國立台灣師範大學美術系研究所。在國內獲得獎項：台陽展、省展、全國展均獲得首獎多次， 曾於日本、美國及台港等地舉辦個展，作品獲國立歷史博物館、國立台灣藝術教育館、台北市立美 術館、國立台灣美術館、高雄市立美術館收藏，並屢獲獎項，包括1971年參加法國康城國際雙年展 獲國家獎，1979年參加英國克里夫蘭國際素描展獲優秀獎，於1982及1983年被英國世界名人錄列 為世界名人之一。 Born in Taoyuan, Taiwan. Hsieh insist in figurative. Using Mechanical civilization replace to the image that eye can not catch. After he graduated from Department of Fine Arts, National Taiwan Normal University, he served as the teacher in NTNU. From 1973 to 1974, he traveled in Paris and researched in Ecole du Louvre. Then he went back to Taiwan. He wrote the "Neorealism" and became the founder of Taiwan Neorealism. Won awards in the Taiwan: Hsieh won First Place Award of Tai-Yang Prize and Taiwan Provincial Fine Arts Exhibition several times, and displayed solo exhibition in Japan, American, Hong Kong and Taiwan. His works are collected in Nation Museum of History, Nation Taiwan Arts Education Center, Taipei Fine Arts Museum, Nation Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts. From 1982 to1983, Hsieh was classified as one of world celebrities by British word. 159
釋星雲 HSING
YUN (b.1927) 生於中國江蘇江都（在今揚州市），俗名 李國深，漢傳佛教出家僧侶，為臨濟宗第 四十八代傳人，尊稱為星雲法師。佛光山 開山宗長，國際佛光會的創辦人。現任國 際佛光會世界總會長、世界佛教徒友誼會 榮譽會長。1949年初遷居臺灣。曾主編 《人生》月刊、《今日佛教》、《覺世》 旬刊等佛教刊物。1967年創辦佛光山，致 力推廣文化、教育、慈善等事業，先後在 世界各地創設的寺院道場達200所以上、佛 教學院設立16所，並創辦普門中學、南華 大學、佛光大學、美國西來大學推廣社會 教育，及創辦人間福報、人間衛視。1985 年卸下佛光山宗長一職，之後於1992年創 辦國際佛光會，2003年起為聯合國非政府 組織正式成員。除宗教領袖身份外，星雲 法師為中國國民黨黨員，曾任黨務顧問、 中央常務委員、中央評議委員。
Born in in Jiangsu province in China. Hsing Yun is a Chinese Buddhist monk and the founder 153 of the Fo Guang Shan, a large new religious movement, as well as the affiliated Buddha's Light International Association. Hsing Yun is known for his "Humanistic Buddhism" philosophy employed by the Fo Guang Shan order, which utilizes Buddhism to fit the needs of a modern world. He has opened monasteries, universities and schools around the world as well as engaging in religious dialogue amongst other Buddhist sects and religious faiths. In Taiwan, Hsing Yun is notable for his activity in political affairs, particularly on the One-China policy as well as government legislation supported by the Kuomintang, and is often criticized for his views by those in favor of Taiwan independence and religious figures. He was a figure of interest during the 1996 United States campaign finance controversy involving then-U.S. Vice President Al Gore and a visit to Hsi Lai Temple, the U.S. branch of Hsing Yun's organization.
王雪濤 WANG
XUETAO (1903-1982)
154
生於河北成安，原名庭鈞，號遲園。1918年入直隸高等師范附設手工圖畫科，畢業 後曾在中學任教。1922年入北京藝術專科學校，初入西畫系，後轉國畫系，1926 年畢業後留校任助教、講師。抗戰期間，北平淪陷，辭去教職，專事繪畫創作。 1954年任中國畫研究會常務理事，被聘為中央美術學院民族美術研究所副研究員。 1955年參加籌備北京中國畫院工作，1957年任該院畫師、院務委員會委員，1980 年任北京畫院院長。曾任中國美術家協會理事，美協北京分會副主席，北京市第七 屆人大代表，北京市第五屆政協常務委員，中國農工民主黨中央聯絡委員會委員及 北京市委委員 。 Born in Cheng'an, Hebei province. He attended both Baoding Zhili Teachers College and Peking College of Arts and studied painting under Qi Baishi, Wang Mengbai, and Chen Banding. Wang was adept in small scale idea-sketch Chinese painting and in painting natural subjects such as flowers, birds and insects. He enjoyed using small subjects in his paintings, but whatever he portrayed, he was able to brilliantly capture the essence of the subject. He won favorable comments from critics of numerous exhibitions. He was a member of the Federation of Chinese Artists and a Director of the Beijing Art Gallery.
MODERN AND CONTEMPOR ARY ART
325
曾茂煌 CHENG
MAOHUANG (b.1934)
青島千穗 CHIHO
AOSHIMA (b.1974)
157
155
生於臺灣新竹。1956年畢業於省立師範專科學校。1968年作品榮獲全省教員美展 油畫優選，自此益發努力創作，1970年代間，曾氏的作品榮獲多項重要美術獎，數 度於省展、台陽美展、全國油畫展，台陽美術展及台北市美展中奪得優選，其中更 獲第三十八及四十屆台陽美展油畫金牌獎。1981年在省立博物館舉行首次個展，其 後陸續舉辦個展與回顧展，1988年作品《鄉趣》為國立台灣美術館收藏。 Born in Hsinchu, Taiwan. Cheng graduated from the Taiwan Provincial Hsinchu Provincial Normal College. He won a prize of excellence at the Taiwan Teacher Art Show in 1968, which encouraged him to devote himself to create oil paintings. In the 1970s, Cheng's works has won many important awards, including the Golden Prizes of the 38th and 40th Taiyang Fine Arts Exhibition. He held the first solo exhibition at Nation Taiwan Museum in 1981, and his work “Rustic Fun” has been collected by Taiwan Museum of Art by1988.
蘇嘉男 SU
CHIANAN (b.1936)
生於日本東京，是日本土生土長的年輕藝術家，她將日本的傳統文化和現代流行藝 術結合，其鮮豔的色彩、明確的線條和淚CG的繪畫風格，深深受到村上隆「超扁 平」理論影響；非美術科班出身的青島千穗，作品常以與靈界對話為主題，以不拘 泥於傳統藝術表現手法，以電腦繪圖展現她個人獨特的世界。近幾年，青島千穗也 在嘗試各種不同型態的藝術表現，數位製作、雕塑到直接以畫筆呈現的方式，並且 在國際藝術舞台初露端倪。青島千穗的作品以能完美融合環境和社會所為人稱道。 由於她獨特的風格，從日本當前流行的漫畫到傳統的卷軸繪畫，都能游刃有餘地呈 現。 Born in Tokyo Japan, Chiho is a Japanese pop artist and member of Takashi Murakami's Kaikai Kiki Collective. Aoshima graduated from Department of Economics, Hosei University, Tokyo. She held a residency at Art Pace, San Antonio, Texas in 2006. She taught herself how to use Illustrator and began to fall in love with the medium. After participating in her first show, Murakami's Tokyo Girls Bravo, she began to work in Murakami's factory. Aoshima's work has garnered international renown with a number of high profile projects. She collaborated with Issey Miyake in 2003, with her artwork featured in the spring/summer collection. In 2004, she was invited to participate in the 54th Carnegie International at the Carnegie Museum of Art, Pittsburgh, where she unveiled her largest wallpaper piece to date, measuring 106 feet (32.5m ) in length by 15 feet (4.8m ) in height. In May 2005, as part of the Little Boy project, her ecologically-themed “City Glow” and “Paradise” series covered ad spaces throughout the Union Square subway station in New York, greeting commuters as they passed. In a solo show in 2005, Aoshima presented both her first sculptural work and a 5-screen 7-minute animation piece.
蔡雲程 TSAI
YUNCHENG (1929-2009)
160 161
生於台灣台北。從事繪畫至今已六十多年，受楊三郎和劉啟祥等前輩畫家指導，更 受到陳澄波的畫作薰陶感染，讓他對嘉義鄉土有種特殊的情感，大多數的畫作都是 以嘉義地區的風 景作為題材。畫展足跡遍及台灣、大陸、日本各地。也曾經為中華 民國油畫學會監事、台陽美術協會會員、南部美術協會會員。繪畫風格粗獷有力， 厚塗的顏料充滿 肌理效果也層層地堆砌出他對畫作的一種執著。 Born Chiayi, Taiwan. He was learning under the Old Taiwanese Masters like Yang San-Lan, Liu Chi-Xian and was greatly inspired by Chen Cheng-Po, the great Taiwanese painter who makes him particularly bounded with his homeland, Chiayi, the most depicted subjects in Su's paintings. Su had been widely traveled in Taiwan, China and Japan. He was once a director of R.O.C Oil Painting Society; a member of Taiyang Art Society and etc. His painting style is strong and rough; thick layers show the texture of the color and his persistence in art.
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ZHONG CHENG 中誠
生於中國福建。10歲隨家人移居菲律賓，跟隨東南亞名師習畫，29歲參加菲律賓全 國美術金牌獎，始引起國際注目。創立藍色畫派，使用代表寧靜、深邃致遠的藍色 基調創作，繪畫獨具風格。七十年代起開始在美國紐約、洛杉磯、法國巴黎等地舉 辦畫展。1990年獲頒美國愛因斯坦國際學術基金會和平獎，是目前唯一獲此殊榮的 華裔藝術家，1996年獲法國盧本斯國際藝術節獎章。被英國劍橋國際名人傳記協會 列入世界名人錄，半個世紀以來獲獎無數。 Born in Fujian, China. Tsai immigrated to Philippine along with family at ten years old and studied the painting under famous Southeast Asia teachers. He won the champion in Philippines fine arts competition at age 29. From this time on, he begins as a budding artist in artistic world. He is the famous artist using a brush with blue paint, become one and the only found of the Blue School. After 1970s, he holds the exhibitions in places such as New York, Los Angeles, and Paris. Tsai was awarded the “1990 Albert Einstein International Academy Foundation Peace Award”, and 1996 Medal from Centen-Aire Peter Paul Rubens International Festival Paris, France. His name has been included in several major publications of “The International Who's who”, International Biography Center, Cambridge, England, and since half century has won award innumerably.
華 慶 HUA
QING (b.1962)
邱炯炯 QIU
JIONGJIONG (b.1977)
162
生於中國安徽。1981年畢業於安徽省藝術學校，1986年取得中央工藝美術學院學 位，後組織「圓明圓畫派」，於北京從事前衛藝術活動。曾旅居維也納、南斯拉 夫、斯洛伐克、台灣、中國等地，並於當地參予、舉辦展覽。曾參予「移動的社 會主義」(2006，中國北京)、「動物兇猛」(2008，中國北京)、「台北國際藝術博 覽會」(2008)、「新加坡藝術博覽會」(2008)、「橋藝術博覽會」(2008，紐約)、 「亞洲藍點」(2008，韓國，首爾藝術中心)、「中國當代藝術2」(2008，荷蘭阿姆 斯特丹)、「天行健—中國當代藝術前沿展」(2008，中國北京)、「香港國際藝術 展」(2009)、「藝術北京博覽會」(2010)等國際性展覽。近年個展包含：「華慶— 人的寓言」(2007，新加坡)、「人的奧義書」(2008，中國北京)、「華慶個展」 (2008，香港)、「思維的魔力—華慶2009」(中國北京)、「我思故我在—2010華慶 新作展」(2010，臺北)。
163
生於中國四川樂山。邱炯炯在兩歲開始畫畫，三歲開始表演川劇，在少年時代就確 立了藝術家的夢想，但是從未受到正統美術學院的改造，18歲輟學即成為職業藝術 家，現居北京。豐富的人生經歷使得邱炯炯的作品有著異於同齡藝術家的深沉感。 邱炯炯說他最感興趣的題材包括人物和臘肉，其中又以人物肖像最為引人注目：層 疊斑駁的效果中， 調侃詼諧的人物形象若隱若現。他擺脫了一般的肖像處理方法， 用誇張變形和朦朧的筆觸在對象與觀眾之間造成隔膜。
Born in Anhui, China, Hua graduated from Anhui College of Art in 1981 and Central Academy of Arts and Design in 1986. He then organized the “Yuanmingyuan School”, and performing the avant-garde activities and creations in Beijing. He once travelled and exhibited in Vienna, Yugoslavia, Slovakia, Taiwan, and China, experiencing diverse cultures. Solo Exhibitions: 2010 "I Think, Therefore I Am" – 2010 Exhibition of Recent Works by Hua Qing, Taipei; 2009 "Magic of Thinking", Beijing; "Hua Qing Solo Exhibition", Hong Kong; 2008 "The Upanishad of Human Beings", Beijing ; 2007 Art Space of Life Science Library Academia Sinca. Important group exhibitions: 2010 "Art Beijing", Beijing; 2009 "ART HK 09", Hong Kong; 2008 "Art Taipei 2008", Taipei; "Art Singapore 2008", Singapore; "Bridge Art Fair", New York, U.S.A; "Blue Dot Asia" Art Fair, Seoul Art Center, Seoul, Korea; "China Now Now 2", Amsterdam, Holland; 2007 "The Power of The Universe-An Exhibition of the Frontier of Contemporary "Chinese Art", Beijing; "Wild Beast", Beijing; 2006 "The Moving Socialism", Beijing.
Born in Sichuan, China. Qiu Jiongjiong began painting at age two, at three he began performing local opera (his grandfather was a famous Sichuanese Opera performer). He established his dream of being an artist when he was young, then at 18 years old, he resigned for school to devote himself fulltime to art. In 1994, he enrolled in Beijing Oriental Culture and Art School. He now lives and works in Beijing. He held the solo exhibition in New York in 2008, which has first time shown his works outside of China. His solo exhibitions also including, "Volunteer" (2005, Shanghai); "Enlightenment Exhibition"(2003, Shanghai). His main group exhibitions: "Get It Louder" (2007, Guangzhou, Shanghai, Beijing, Chengdu); "Naughty Kids: the Chinese New Generation Born After 1970" (2006, Beijing) and "Youth Spirit - Chinese Young Artist Exhibition" (2004, Shenzhen).
黃 岩 HUANG
吳冠中 WU
YAN (b.1966)
164
生於吉林省吉林市，是中國當代最具代表性的先鋒藝術家之一。即使身為前衛派中 國藝術家，黃岩的作品中仍大量出現傳統中國水墨畫，並巧妙地將山水畫及花鳥 畫，結合在不同材質、樣式的載體上，形成獨一無二的創作特色。黃岩以極其前衛 的方式，讓中國山水與無數現代物件crossover；他認為藝術家理應探索傳統與現 代社會之間的關聯，而當代藝術應傳達這層關連，正如同人類是自然循環的一部 份，人與自然之間應維持和諧。在他藝術漫遊的狀態裡，與其說他在創作藝術，還 不如說他是在實踐觀念藝術；因為他的藝術作品裡，同時注入了中國古代的禪宗精 神，和現代社會的關懷。 Born in Jilin Province, China. He is combines painting, photography, and sculpture to explore modes of narrative and landscape, as well as other traditional forms of artistic representation in contemporary China. In his several series, he evokes the traditional art of Chinese landscape painting with a contemporary twist: He has made his career at the outer limits of Chinese landscape painting. Huang melds historical Chinese culture with new art forms, alluding to the body and performance art of the Chinese avant-garde. he artists underscores the enduring connection between Chinese people and their artistic heritage‚ which, ironically, has always ranked humans a distant second to nature. As well as shaking that tradition out of cliched complacency, He has exhibited his work in London, Chicago, New York, Beijing, Milan, Berne, Hong Kong, and other sites around the world, and currently lives and works in Beijing.
GUANZHONG (1919-2010)
165
生於中國江蘇。1942年畢業於國立藝術專科學校，1946年考取公費留學，1947年 入法國巴黎國立高等美術學院。1948年作品參加巴黎春季沙龍展和秋季沙龍展。吳 冠中1950年返國，先後任教於中央美術學院、清華大學建築系、北京藝術學院、中 央工藝美術學院。1991年，法國文化部授予其法國文藝最高勳位，1993年榮獲巴 黎市金勳章，2000年入選法蘭西學院藝術院通訊院士，是首位獲此殊榮的中國籍藝 術家，也是法蘭西學院成立近二百年來第一位獲此職位的亞洲人。吳冠中在美術創 作和美術教育上取得了巨大成就，其致力於油畫民族化和中國畫現代化的探索，繪 畫風格除反映中國繪畫的特點，也呈現東西方藝術的匯合，在海內外享有極高的聲 譽。 Wu Guan-Zhong was born in Jiangsu Province, China, in 1919, and graduated from National College of Art in Hangzhou. In 1947 Wu traveled to Paris to study at the École National Supérieure des Beaux Arts on a government scholarship, and then participated in The Paris Spring and Autumn Salon Exhibition. Since his coming back to China from 1950, he has lectured at numerous major art colleges. Recently, he was honored “ officier de l’Ordre des Arts et des Lettres” from the French Ministry of Culture (1991), “Gold Medal” from the Paris Municipal Government (1993); and lastly, the Corresponding member of Academie des Beaux-Arts de l’lnstitut de France (2000), which is the first Chinese artist to be awarded with this title in 200 years of establishment of the institute. Wu Guan-Zhong obtains great achievements on not only art creation, but education as well. He dedicates himself to explore and integrate oil painting and Chinese painting's characteristics. As a result, Wu receives a respectful standing in international art field.
MODERN AND CONTEMPOR ARY ART
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草間彌生 YAYOI
KUSAMA (b.1929)
172 168
179
生於日本長野縣松本市。於京都市立工藝美術學校主修日本畫，1956年移居美國紐約，並 開始展露她前衛的藝術創作才華。草間的作品曾於海內外多家著名藝術機構展出，1998年 至1999年於東京當代藝術館、美國沃克藝術中心、紐約現代藝術館和洛杉磯縣立藝術館巡 迴「草間彌生回顧展」；1999年於紐約惠特尼美國藝術館舉辦「美國世紀」。近年著名展 覽有：日本札幌當代藝術館展覽（2004）、「愛之夏，迷幻世紀的藝術」（2005，英國， 利物浦泰德美術館）、「50/60年代國際先鋒藝術」（2006，法國，聖安提雅現代美術 館）、「IDOL!」（2006，日本神奈川，橫濱藝術館）、「草間彌生．愛之點．點之戀」 （2007，德國，慕尼克現代美術館）及「草間彌生個展」（2010，台灣台北，非畫廊）。 Born in Matsumoto, Japan, and major in Japanese painting at Kyoto Fine Arts School of Craftsmanship. Kusama moved to New York City in 1957, and started to show her outstanding talent in avant-garde art. Selected exhibitions include, “Kusama's Retrospective”, Museum of Contemporary Art in Tokyo, Walker Art Center Minneapolis, MOMA New York and Country Museum of Art Los Angeles, 1998-1999; “American Century”, Whitney Museum of Art, New York, 1999; Museum of Contemporary Art, Sapporo, 2004; “Summer of Love- Art of the psychedelic Era”, Tate Liverpool, Liverpool, 2005; “International Avant-Garde of the 50s and 60s”, Musee d'Art Moderne, Saint-Etienne, France, “IDOL!”, Yokohama Museum of Art, Kanagawa, Japan, 2006; “Yayoi Kasama, Dots Obsession , Love transformed into Dots”, Haus der Kunst, Munich, Germany, 2007, “ Solo Exhibition” Non-gallery, Taipei, 2010.
村上隆 TAKASHI
173
178
MURAKAMI (b.1962)
生於日本東京。1993年取得東京藝術大學博士學 位。現為日本當代職業藝術家、「KaiKai KiKi」 藝術經紀公司負責人。作品形式多元，從卡漫插 圖、服飾配件、到時尚精品等皆可見其作品。曾 與路易斯威登合作，2010年9月更於法國凡爾賽 宮舉辦大型回顧展，成功跨足藝術創作與商業行 銷，享有極高國際知名度。著名個展包括：「妖 獸召喚？火力全開？回復？全滅？」（2001， 日本，東京都現代美術館）、「村上隆個展」 （2002，法國，巴黎卡地亞當代藝術基金會）、 「村上隆大型回顧展」（2007，美國，洛杉磯當 代藝術館）。 Born in Tokyo, Takashi Murakami received P.h.D of Tokyo National University of Fine Arts and Music in 1993. He is a professional artist and the Representative of “KaiKai KiKi”. His works range widely from manga, clothes and accessories, to fashion design products. Once collaborated with Louis Vuitton and had a retrospective in Chateau de Versailles in France on September 2010. He is successful in combining the art and commerce, which won him a great awareness and popularity among the world. Solo Exhibitions: “Summon monsters? Open the door? Heal? Or die?”, Museum of Contemporary Art, Tokyo, 2001; “Kaikai Kiki: Takashi Murakami”, fondation Cartier, Paris, 2002; "©MURAKAMI", Museum of Contemporary Art, Los Angeles, CA, 2007.
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ZHONG CHENG 中誠
安東尼奧．達比埃斯 ANTONI
TÁPIES (1923-2012)
岳敏君 YUE
MINJUN (b.1962)
生於西班牙巴塞隆納，原追隨其父親學習法律，後 來自學成為畫家，轉而成為進入繪畫創作。達比埃 斯可以說是非傳統媒體畫作的先鋒，在創作中加入 其他原素，完全顛覆傳統創作方式，為當代藝術創 造了一片新的天地，他可以說是西班牙繼畢卡索、 達利及米羅之後最出名的藝術家。達比埃斯創作態 度嚴謹，視材料為獨特的語言形式；他雖然沒有固 定的宗教信仰，但他東方化的思想修為，可在他的 抽象畫裡發現詩意般的理性略見一二。 Born in Barcelona, Spain. Antoni was a Spanish painter, sculptor and art theorist, who became one of the most famous European artists of his generation. Tàpies studied at the German School of Barcelona. After studying law for 3 years, he devoted himself from 1943 onwards only to his painting. In 1945 Tàpies began experimenting with more rinse materials. He would mix oil paint with whiting. At this time he also became increasingly interested in philosophy, especially that of Sartre as well as Eastern thought. He became known as one of Spain's most renowned artists in the second half of the 20th century. His abstract and avant-garde works were displayed in many major museums all over the world. In 1954 Tàpies married Teresa Barba Fabregas. Together they had three children Antoni, Miguel and Clara. He lived mainly in Barcelona and was represented by the Galerie Lelong in Paris and the Pace Gallery in New York. Tàpies died February 6, 2012. His health had been suffering since 2007.
169
陳 可 CHEN
KE (b.1978)
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生於中國黑龍江省。1985年畢業於河北師範大學美術系。自1987年參加河北省展覽館舉辦 的「S造型藝術展」起，他的作品持續在全世界重要大城市展出。曾參與聯展包括：「新形 象－中國當代繪畫藝術二十年」(2001，巡迴中國北京、上海、廣東、四川)、「上海雙年 展」（2004、2008，中國，上海美術館）、「沙丘雕塑－法國／中國」（2004，法國， 龐珀洛訥海灘）。近期個展包含：「岳敏君作品展－處理」（2002，中國北京，世方藝術 中心）、「複製的偶像：岳敏君作品 2004-2006」（2006，中國深圳，何香凝美術館）、 「尋找恐怖主義分子」（2006，中國，北京公社）、「岳敏君：標誌性笑容」（2007，美 國紐約，昆斯美術館）、「岳敏君：尋找藝術」（2007，中國，北京公社）、「岳敏君： 西元3009年之考古發現」（2009，中國北京，今日美術館）。作品廣為世界各大博物館及 私人機構收藏。 Born in Daqing, Heilongjing, China. Yue graduated in 1985 from Hebei Normal University. He has show his works in exhibitions around the world since “S Plastic Art Exhibition” in Hebei Exhibition Hall in 1987. Selected exhibition: “Toward a New Image-Twenty Years of Contemporary Chinese Painting”, a traveling exhibition in Beijing, Shanghai, Guangzhou and Chengdu, 2001; “Shanghai Biennale”, China, Shanghai Art Museum, 2004, 2008; “L'art a la plage FRANCE/CHINE”, France, plage de Pampelonne, 2004. Solo Exhibition: “Yue Minjun: Manipulation”, Beijing, One World Art Center, 2002; “The Reproduction of Idols: Yue Minjun 2004-2006”, China, Shenzhen, He Xiangning Art Museum, 2006; “Looking for Terrorists”, China, Beijing Commune, 2006, “Yue Minjun and the Symbolic Smile”, New York, U.S.A, Queens Museum, 2007; “Yue Minjun: Looking for Art” China, Beijing Commune, 2007; “Yue Minjun: The Archaeological Discovery in A.D. 3009”, Beijing, Today Art Museum, 2009. Yue's works are widely collected by museums and private collectors overseas.
韋 嘉 WEI
JIA (b.1975)
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生於四川省通江。2002年畢業於四川美術學院油畫系。2005年畢業於四川美術學 院油畫系碩士學位。現工作生活於北京。2001年獲第一屆成都雙年展學生特展「新 秀獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂畫廊舉辦「和你在一起， 永遠不孤單」個展。陳可是一位很有代表性的藝術家，她的作品由動畫、漫畫帶動 美學，從虛擬世界裡的情愛和真實人生的情感密切互動，由數位影像呈現的鮮亮色 光，構成變換多端的視覺造型。她用繽紛絢奇的想像來為我們營造一個大家的卡通 新世界。 Born in Tongjiang, Sichuan Province, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with an MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001. In 2007, She held the exhibition "With you, I will never feel lonely" at Beijing Star Gallery and Milano Marella Gallery. Chen Ke is a representative artist. Her artworks derive aesthetics from animation and cartoons, closely connecting the affection in the virtual world with real life. The digital images from her painting demonstrates bright and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.
生於中國四川成都，1995年畢業於四川美術學院附中，2002年畢業於中國美術學 院研究生同等學力課程班。韋嘉的繪畫保持著青春繪畫的特徵，但在繪畫主題上， 他實際上已經開始「後青春」的表現領域，韋嘉的繪畫主題基本上包括日常的現實 性和日常幻想兩個基本主題。這種向文人畫的圖像特徵和宗教式的自我感知靠近的 傾向，近年在韋嘉的繪畫中初現輪廓。並非真正意義的宗教主題，而只是接近宗教 的感知。70後藝術的自我圖像處在一種「虛空」狀態，在韋嘉的近作中具有代表 性。主要在於這一代無意識地被賦予「清空」的使命，即徹底清空過去時代的自我 和藝術的歷史影響，在一個消費社會成長的背景下，開始自我參照意義上的自我圖 像的表現。這種「虛空化」的自我圖像表現為一種圖像的超驗性和無意義性兩個主 要特徵。 Born in Chengdu, Sichuan, China. He graduated from the high school afiliated to the Sichuan Fine Arts Institute in 1995. In 2002 he gradu- ated from the Central Academy of Fine Arts with a postgraduate degree equivalent to a master's degree. Though Wei Jia's paintings still retain the features of youth paintings, he has begun to enter into a new ield of artistic expression, post-youth painting. In his works, Wei has frequently used the reality and sur- reality of daily life as two motifs. His recent works display his conscious efforts to integrate the image characteristics of literati painting and the spiritual verve of a religious self-perception. Of course what Wei really wants to express in his works is just a quasireligious experience, not religious theme. The self image of the post -1970s generation of artists of China presents a "void" state, which typically is relected in Wei's recent works. This is primarily due to the fact that the post -1970s generation of artists of China have unintentionally been given a mission of "emptying", that is, to completely empty the historic impact of past self and art on artists. MODERN AND CONTEMPOR ARY ART
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傑夫．孔斯 JEFF
KOONS (b.1955)
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生於美國約克，賓夕法尼亞州，美國當代著名普普藝術家之一，擅長大膽地運用 俗艷地圖像或造型創作，有「俗艷王子(Kitsch)」之稱。先後畢業於芝加哥藝術學 院和馬德里藝術學院。成名前為生活曾短暫從事金融工作，1980年代在紐約East Village舉辦展覽，開始受到注目。2007年時作品《懸掛之心》曾在紐約拍出2600 多萬美元的高價紀錄，更是拍賣場上作品最具價值的在世藝術家。昆斯借鑒了杜象 的挪用與拿來主義，讓精美的現代商品絲毫不損地轉入藝術狀態，勇於挑戰傳統美 學。被認為是繼安迪．沃荷之後最重要的普普藝術家。2008年在法國凡爾賽宮舉辦 第一次回顧展，同年於芝加哥當代美術館展出十，打破博物館遊客參觀紀錄。2009 年在英國倫敦的蛇形畫廊舉辦首次專題展「傑夫．孔斯：大力水手系列」。作品廣 為美國、英國等多處現當代美術館和藝術機構收藏。 Born in York, Pennsylvania. He is an American artist known for his reproductions of banal objects. He lives and works in both New York City and his hometown of York, Pennsylvania. Jeff Koons rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era. Since a 1980 window installation at the New Museum of Contemporary Art in New York, Koons' work has been widely exhibited internationally in solo and group exhibitions. Considered as his first retrospective in France, the 2008 exhibition of 17 Koons sculptures at the Chateau de Versailles also marked the first ambitious display of a contemporary American artist organized by the chateau. The May 31 – September 21, 2008 Koons retrospective at the Museum of Contemporary Art, Chicago , which was widely publicized in the press, broke the museum's attendance record with 86,584 visitors.
丁雄泉 WALASSE
TING (1929-2010)
生於中國江蘇，為國際聞名的詩人藝術家。青年時曾入上海 美術專科學校就讀，1946年遷居香港。1952年前往法國發 展並結識眼鏡蛇畫派成員。1960年移居紐約，發展出新畫 風，成為美國普普藝術家一員。2001年起定居於荷蘭阿姆斯 特丹。曾出版《一分人生》詩集，內容涵括多位美國及歐洲 藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學 金，並出版以女性為題材的情色素描與繪畫書籍《朱唇》。 丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊； 其色彩鮮豔之作品廣為各大博物館收藏，包括美國大都會美 術館，紐約現代美術館及古根漢美術館等。 Born in Jiangsu, China. Ting enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris where he formed close relationships with members of the CoBra group. Later, he immigrated to New York, where he became involved with Pop artists. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.
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馬克．夏卡爾 MARC
CHAGALL (1887-1985)
生於俄國。1907年到聖彼得堡斷斷續續學 習了三年，最後投入巴克斯特門下的藝術 學校。1910年隻身前往法國。在法國，他 受到後印象派、表現主義、立體派等思潮 影響，並於1914年在名為《突擊》的畫廊 裡舉行了第一次個展。1917年俄國十月革 命，夏卡爾出任維傑布斯克地區藝術人民 委員，著手在當地創辦美術學院和博物館 的計畫。1923年到二次大戰爆發時，夏卡 爾待在巴黎並為《死靈魂》《欲言》《聖 經》蝕刻系列製作插圖。1946年在紐約現 代藝術博物館舉辦大型回顧展後，美國開 始擁抱夏卡爾。在1948到1985年夏卡爾 定居在法國且去世之前的這段時間，他最 有名的作品為紐約大都會歌劇院新館製作 的兩個大型壁畫。「超現實主義」一詞據 說是阿波利奈爾（Apollinaire）為形容夏 183 卡爾的作品所創造的；而畢卡索則評論夏 卡爾：「從馬蒂斯以後，他是唯一真正懂 得色彩的人。」夏卡爾一生創舉無數在西 洋藝術史中占有一席之地，名聲更響徹國際藝壇，作品也為世界頂級藏家與博物館 爭相蒐藏。 Born in Russia. In1907 Chagall learned intermittently for three years in St. Petersburg, and finally learned from Leon Bakst's art school. Chagall went alone to France in 1910.In France he was influence by Post-Impressionism, Expressionnisme, Cubism, and so on. Der Sturm was displayed in first solo exhibition in 1914. October Revolution of1917, Chagall served as the People's Commissariat of Art of Vitebsk and he planned to establish museum and gallery. From 1923 to the outbreak of the Second World War, Chagall stayed in Paris to produce metal etching for novel cover that are Dead Souls, Bible and Fable. After the Museum of Modern Art held the Chagall's retrospective, American begin to embrace Chagall. From 1948 to 1985 that he dead, his well-known works are two fresco paintings in Metropolitan Opera House. Surrealist term Apollinaire said Surréalisme to be created to describe the works of Chagall. Picasso commented Chagall: "After Matisse , he was the only one who really know what is color." Works by Warhol are chased and collected by many top-notch collectors around the world.
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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ZHONG CHENG 中誠
participate in the auction by phone. The prospective buyer should request such arrangements prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. H.Currency converter The currency converter will be utilized at the auction. Errors may occur in the operation of the currency converter and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom. I.Video or digital images There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. J.Auctioneer's discretion The auctioneer reserve the absolute right to reject any bid, push for bids at his own discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. K.Successful bids and risk transfer Under the discretion of the auctioneer, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer means the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot but not its title (including frames or glass where relevant) passed to the buyer at the expiration of seven working days from the date of the sale or on collection by the buyer if earlier. ■ After the auction A. Buyer's premium The Buyer shall pay the hammer price plus the buyer's premium to the Company and any applicable taxes. For hammer price below NT$20,000,000 (included), the buyer's premium shall be calculated at 18% of the hammer price. For hammer price higher than NT$20,000,000, the first NT$20,000,000 should be calculated at 18%, and the rest of amount shall be 12%. B. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the R.O.C. government or elsewhere). The Buyer shall be responsible for paying any applicable taxes as required by the law. C. Payment a.The Buyer should provide his name and permanent address to the Company upon the successful bid. All payments due (including the hammer price, buyer's premium and any applicable taxes) shall be paid within 7 days after the auction. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment is made other than NT dollars, the buyer shall pay the related expense incurred, including bank charges and foreign exchange service fees. b. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer's Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. c. It is Zhong Cheng's policy to request any new clients or purchasers preferring to make a cash payment to provide proof of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card or driver's licence) and confirmation of permanent address. Thank you for your cooperation. d. Cheques and drafts should be made payable to Zhong Cheng's. Although personal and company cheques drawn in NT dollars on Taiwan Cooperative Bank is accepted, you are advised that property will not be released until such cheques have cleared unless you have a pre-arranged Cheque Acceptance Facility. Forms to facilitate this are available from the Finance Department in Zhong Cheng. Bank transfers should be made to: TAIWAN COOPERATIVE BANK. FU HSIN BRANCH Swift No. : TACBTWTP091 Beneficiary name: ZHONG CHENG AUCTIONS CO., LTD. Beneficiary account number (13 digits): 0914 665 003801 * Please include your name and invoice number with your instructions to your bank.
D. Storage Storage and handling charge may apply. E. Collection, packing and shipping Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). The Company will provide shipping company upon the buyer’s request and do not accept any liability if any damage occurred by the shipping company. F. Remedies for non-payment or non-collection of purchases The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: a. An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, we have the right of charging also 1% selling price (including of harmmer price and the commission) multiplied by the numbered of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. b. The Company reserves the right to refuse the Buyer to make on behalf of others, bids in any future auctions and/or to require a deposit from the Buyer before accepting any future bids made by the Buyer. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: c. To take legal action to the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such legal action based on a total claim. d. To cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. e. To arrange a public or private re-sale of the Lot. If the reselling price is lower than the payment, the differences and other expenses incurred shall be responsible by the Buyer. G. No collection of the purchases The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the item, regardless payment is made or not. Such storage cost will be borne by the Buyer. H. Export permit Unless otherwise agreed by the Company in written, the process of applying the export permit does not affect the Buyer's responsibility to make the payments within 7 days. If the Buyer requests the Company to apply the export permit on his or her behalf, the Company is entitled to charge the related expenses. ■ The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. ■ Return of payments for forgery If the Lot is considered as a forgery by the Buyer, the Buyer should inform the Company in written notice within 14 days. The written comment should under the following condition and the transaction will be cancelled and payments made will be returned to the Buyer. It is unnecessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer does not reserve the right to claim interests under any circumstances. A.The written report (produce evidence) should be provided by two individual experts and agreed by the Company. B.The Buyer must return the Lot to the Company within the following 21 days and the condition of the item must be the same as on the auction day. C.The Buyer has absolute right to the Lot and the Lot is free from the third party rights of claims. D.The Company will refund to the Buyer any amount paid to the Company after receiving the amount returned by the Seller.
II. The Seller
■ Zhong Cheng as the agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lots is the agreement by and between the Buyer and the Seller. ■ Expenses The Seller shall bear costs relating to the following:
a.Packing if the Lot and shipping to the Company for the action b.Any applicable shipping insurance c.The packaging and shipping if the item is delivered back to the Seller. d.Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e.Any applicable custom duties f.Catalogue illustrations g.Any repairs made to the Lot as per prior agreement with the Seller h.Framing and mounting i.Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations. j.Any independent professional opinions which the Company deems proper. k.Collect 50% of the insured amount as part of the general expenses of the Company in the event the Lot is not successfully auctioned l.The storage of the Lot after the auction (if applicable) m.The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided. n.Any marketing and promotional expenses ■ Insurance coverage to be arranged by the Company a.Unless otherwise agreed by the Company, the Lot will be automatically insured under the Company art relic policy in the amount as deemed appropriate by the Company undertakes to be successfully during the auction. b.The Company will collect 1% of the hammer price from the seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder any legal responsible for any legal responsibilities incurred therefrom. c.The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller's risk upon the expiry of 7 days. d.We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions or weather. 4.No insurance purchased by the Seller and risk transfer If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments and the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim without any conditions. ■ Commitments made by the Seller with respect to the Lot a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above mentioned, the Seller must guarantee, if requested, to identify fully the Company and/ or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. d. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising here from, whether caused by the Lot or the auction proceeds. ■ Auction arrangements a.The Company has its discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. The Company reserves the right to withdraw the lot without obtaining the consent of the Seller. b.If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller. ■ Auction rules a.The Company will auction the item according to the Reserve. The Reserve may not be higher than the minimum of the estimates set in the catalogue. The Company is entitled to auction the item at a price lower than the Reserve, If the lot is sold according to the above principle, the Company is responsible to pay the Seller the difference between the closing price and the Reserve. b.The seller may not increase the price of sale without fair reasons, nor
participate in the bidding of his/her/its auction item(s), however, Zhong Cheng is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. ■ After the auction a. Settlement After the payment is made by the Buyer, unless the Company receives a notice claiming such auction item is a forgery (as defined in the Agreement), the Company will pay the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Forgery If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in the Agreement) or stolen good or involved in any illegality within ten (10) days after the auction date, the Company may decide upon its sole discretion as follows: (1) If the Buyer does not pay the payable payment in full yet, the Company has the rights to withdraw the transaction; (2) If the Buyer has paid the payable payment in full, the Company may return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company's decision and handling in accordance with this Lot and make any claim or allegation; (3) The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three days of such notification. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Unsuccessfully auctioned items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$1,000 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 60 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction. ■ Photographs and display The Company owns the copyright in all images, illustration and written material produced by or for the Company's relating to a lot including he contents of this catalogue, is and shall remain at all times the property of the Company and shall it be used by the Buyer, nor by anyone else, without the Company's prior consent. ■ Tax The payments payable by the Seller to the Company does not include any commodity or service tax or any other value added tax (whether imposed in the Taiwan or elsewhere). The Buyer should be responsible for paying such taxes pursuant to the tax rates and time provided by the law if there is any such applicable tax. If the Company is commissioned by the Seller to auction in Taiwan, the Company must pay the income tax for the Seller pursuant to the R.O.C. laws.
III.Terms of definition
Some of the phrases commonly seed herein are defined as follows: 1.“Buyer” means the highest bidder accepted by the auctioning party. 2.“Hammer price” means the highest bid with respect to one particular auction item accepted by the auctioning party. 3.“Buyer's premium” means the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in this Agreement. 4.“The Reserve” means the lowest price agreed by the Company and Seller. price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Forgery If the Buyer convinces the Company that the Lot is a forgery (as defined in the Agreement) within 14 days following the auction day, then (1) If the Buyer has not paid all or part of the payment, the Company is entitled to call of the transaction and/or (2) If the Company at that time has paid all or part of the payments payable to the Seller, the Seller must return all the payments made to the Company if requested. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Unsuccessfully auctioned items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$300 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction.
IV. Terms applicable to both the Buyer and the Seller
1. Copyright The copyright of all the images, photographs and written material in connection with the Lot belongs to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent form the Company. 2. Notices All the notices distributed according to the Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed as received on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the R.O.C. laws. The Buyer and Seller shall submit to the exclusive jurisdiction of the Taiwanese court for the interests of the Company. 5. Any discrepancy between the Chinese and English version of this Terms and Conditions of Business, the Chinese version shall prevail.
MODERN AND CONTEMPOR ARY ART
333
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，競投者將為代第三人行事之代 理人，而該第三人為本公司所接受者，否則競投者將被 視為買家而須承擔個人法律責任。 6.委託競投 書面競投且經本公司確認，本公司將盡適當努力代其競 投。如本公司就某一拍賣品而收到多個委託競投之相等 競投價，而在拍賣時此等競投價乃該拍賣品之最高競投
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ZHONG CHENG 中誠
價，則該拍賣品會歸其委託競投最先送抵本公司之人。 除非在競投時有其他委託，此項書面競投的執行是本公 司的免費服務。本公司不會對因未能執行之書面競投， 或在當中出現任何錯誤或遺漏負任何責任。 7.電話競投 如準買家於拍賣前與本公司完成競投前相關作業，本公 司將盡適當努力聯絡競投者，使其能以電話參與競投， 但在任何情況下，如未能聯絡，本公司對賣家或任何準 買家均不負責任何責任。 8.貨幣兌換顯示版 拍賣會上，本公司會使用貨幣兌換顯示版，匯率按拍賣 日當天銀行開市時向本公司報出之一個月期貨匯率計 算。然而競投仍會以新台幣進行。該貨幣兌換顯示版在 操作時難免會出現錯誤。買家因依賴貨幣兌換顯示版(而 非因以新台幣競投)而蒙受之任何損失，本公司概不負 責。 9.錄映影像 在若干拍賣中會有影像投射，有關操作上的失誤或影像 素質參差不齊之情況，本公司不負任何責任。 10.拍賣官之決定權 拍賣官具有絕對決定權，亦即有權拒絕任何競投、以其 決定之方式推動出價、將任何兩件或多件拍賣推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣 品合併，與如遇有誤差或爭議，將拍賣品重新拍賣。如 在拍賣後有任何爭議，將會以本公司的拍賣紀錄為依 歸。 11.成功競投與風險移轉 在拍賣官之決定權下，下槌即顯示對最高競投價之接 受，亦即為賣家與買家之成功拍賣合約之訂立。拍賣品 之風險及責任，不包括其所有權(包括框架及玻璃)，在 成交日起七個工作天期滿或在買家於期滿前提取該物品 時，拍賣品與風險責任轉移到買家。 拍賣後 1.買家支付之服務費 買家除支付落槌價外，另須支付服務費予本公司。落槌 價於新台幣貳仟萬元(含)以下者，服務費率以18%計算； 超過新台幣貳仟萬元的部分，服務費率以12%計算。 2.稅項 買家支付本公司之所有款項均不包括任何貨物稅、服務 稅或其他增值稅。（不論由台灣政府或別處所徵取）。 如有任何相關稅項產生，買家須負責按有關法律所規定 之稅率及時間繳付稅款。 3.付款 a.成功拍賣後買家須向本公司提供其姓名及永久地址。 如遇要求，亦需提供付款銀行之詳情。買方需於拍賣日 期後七天內悉數支付所有交易款項（包含落槌價、拍賣 支付之酬金，以及任何適用之增值稅）。 b.買家如未向本公司支付所應付之全部款項，則不能取 得拍賣品之所有權，即使本公司已將拍賣品交付予買家 亦然。如支付予本公司之款項為新台幣以外之貨幣，本 公司將向買家收取所產生之任何外匯費用，這包括銀行 收費與兌換貸幣之規費及匯差。以新台幣以外之貸幣付 款予本公司之匯率，依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 c.中誠之政策是要求選擇以現金付款之任何新客戶或買 家提供身份證明(通過出示帶有照片並由政府發出之證 明，如護照、身分證或駕駛執照)並確認固定地址。多謝 合作。 d.支票及匯票請以中誠為抬頭人。雖然以合作金庫銀行 台幣開出之個人及公司支票均獲接納，惟敬請留意，除 非 閣下已預先安排支票受納設施，否則本公司須待支票
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兌現後方會將 閣下所購得之物品交付。如欲作出是項安 排，請向中誠之財務部索取表格辦理。 銀行轉帳須存入以下戶口： 合作金庫銀行 復興分行(006) 帳戶名稱：中誠國際藝術股份有限公司 帳戶號碼：0914-717-237961 *閣下向銀行發出指示時請附上 閣下之名稱及發票號 碼。 4.包裝及搬運 搬運及包裝已購拍賣品時，本公司將善盡責任處理。惟 七天期滿後或自領取時起，拍賣品風險全由買家承擔。 本公司可在買方要求下提供承運廠商資料，但並不負任 何法律責任。 a.不付款或未領取之已購拍賣品補救辦法 如買家未在七天內付款，本公司即有權行使下述一項或 多項權利或補救辦法： (1)在拍賣日期後超過七天仍未付款，則按不超過台灣銀 行基本利率加10%之年利率收取整筆欠款之利息。此外 本公司可同時按日收取依賣價（含佣金）1%計算之違約 金。將買家未付之款項，用以抵銷本公司或其他附屬公 司在任何其他交易中欠下買家之款項。 (2)在將來的任何拍賣中，有權拒絕買家或由他人代其所 作出之競投，或在接受其任何競投前先收取買家一筆保 證金。如買家未有在三十五天內付款，本公司除上述者 外，另有權採取下列措施： i.代賣家針對買家進行法律程序，追討整筆欠款，連同此 項以悉數賠償為基準之法律程序之訴訟費。 ii.取消同一次或任何其他拍賣中買家競投得之拍賣品或 任何其他售予買家之拍賣品之交易。 iii.安排將拍賣品公開或私下重售，如重售所得價格較 低，就差額連同因買家未有付款而引致之任何費用一併 向買家索償。 b.未領取已購之拍賣品 如已購得之拍賣品未能在成功拍賣七天內領取，不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。 c.出口許可證 (1)除本公司另有書面同意外，買家希望申請出口許可 證，並不影響買家在七天內付款之責任，亦不影響本公 司對延遲付款收取利息之權利。 (2)如買家要求本公司代為申請出口許可證，本公司有權 收取增值稅與其他相關費用。 (3)如買家不管需要有出口許可證之事實而作出付款，本 公司並無責任退還買家因此產生之利息與其他已產生之 費用。 5.本公司之法律責任 本公司有責任在第六條所列之情況退還款項予買家。除 此之外，不論賣家或本公司，或本公司任何僱員或代理 人，對任何拍賣品之作者、來歷、日期、年代、歸屬、 真實性或出處之陳述，或任何其他說明之誤差，任何拍 賣品之任何毛病或缺陷，均不負有任何責任。買家、本 公司、本公司之僱員或代理人，均無就任何拍賣品作出 任何保證。任何種類之任何擔保，均不包含在本條之 內。 6.交易取消 買方如認定拍賣品係為膺品，需於拍定售出日起十四個 工作天內，以書面通知本公司，且須符合下列條件，始 得取消交易，並將其支付本公司之款項無息全數退回， 並不得請求其他賠償。 a.由三位獨立專家提出書面說明（出示證據），並經本 公司認可。 b.買家應於拍定售出日起二十一個工作天內，將購得之
拍賣品退回本公司，且本公司收到該拍賣品時，該拍賣 品之狀況需與拍賣當日相同。 c.買家對該拍賣品擁有絕對所有權，並未在該拍賣品上 設定任何債權，且與任何第三人之索償無涉。 d.賣家需繳回相關費用後，本公司始得退還買家。
Ⅱ. 賣家 代理人 中誠國際藝術有限公司（以下稱本公司）作為賣家代理 人，賣家拍賣品的成交合約，則為買家與賣家之間的合 約。
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相關費用 1.賣家需負責與下述項目有關之相關費用： a.將拍賣品包裝並運予本公司作拍賣。 b.任何適用之運送保險。 c.如拍賣品交回賣家其包裝與付運。 d.受保於本公司之藝術精品保單〈下文另有解釋〉 e.任何適用之關稅。 f.目錄插圖費用。 g.預先與賣家協定之對拍賣作品做出之任何修整。 h.裝框、裱畫之費用。 i.本公司相信為擬定目錄說明須由外界專家做出之鑑定。 j.本公司相信為適當之任何外界專家意見。 k.拍賣品拍賣後之儲存〈如適用〉 l.本公司之行政費用，成功拍賣或未能成交，數目為因閣 下而引致之一切費用支10%。 m.任何市場推廣費用。 2.拍出者，本公司自「拍定價」中扣除依「規定比率」 計算之佣金，因未能拍出而私下議價者亦同。
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保險 1.除非與本公司另有協定，否則拍賣品將自動受保於本 公司藝術精品保險單，保額為本公司當時認為適當者。 然而保額並非本公司承諾拍賣品會成功拍賣之款額。 2.本公司將向賣家收取落槌成交價之百分之一作為保險 費，未成交則收取委託底價之百分之一作為保險費。如 由本公司安排運送，本公司將向賣家收取額外款項，作 為運送保險費。在賣家的要求下，本公司可提供承運廠 商資訊予賣家，惟本公司不承擔任何有關方面之法律責 任。 3.拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能 成功拍賣，逾期後風險全由賣家承擔。 4.由蛀蟲、空氣或氣候轉變對拍賣品造成之損壞，本公 司概不承擔法律責任。
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賣家不購買保險之風險移轉 如賣家特別指示本公司毋須為拍賣品購買保險，風險全 由賣家承擔，直至買家付清款項為止。賣家須保障本公 司、本公司之僱員與代理人，以及買家（如適用）免負 因拍賣品而針對本公司、本公司之僱員與代理人，以及 買家索償之賠償責任，而不論索償產生之任何原因。
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賣家就拍賣品所作之承諾 1.賣家為拍賣品之唯一物主，具備將所有權轉讓予買家 之無限制權利，並與一切第三人權利或索償（包括版權 索償）無涉； 2.賣家已遵守一切與拍賣品之進出口有關之法律或其他 方面之規定，並已將過去任何第三人未能遵守此等規定 以書面通知本公司； 3.賣家已將其所知之有關拍賣品任何重大修改以及第三 人就拍賣品之所有權、狀況或歸屬以書面通知本公司。 4.如上述1-3項，有任何不確實之處，賣家須應要求保證 完全償還本公司及/或買家一切因之而引起之索償、費用
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之或開支，而不論是因拍賣品還是因拍賣收益而引起。 拍賣安排 1.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見 書、拍賣地點與方式、讓何人進場競投以及競投價之接 受、是否應尋求專家意見，以及將物品合併或分開拍賣 等均有完全之決定權，本公司在未徵得賣方同意下有權 撤回拍賣品。 2.如本公司或賣家撤回拍賣品，本公司得收取賣家委託 底價40%之費用，另加一筆相等於拍賣品按保險值成功 拍賣本公司應得之服務費之款項，以及任何適用之增值 稅與保險費和其他開支。
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拍賣守則 1.本公司將會參照底價將拍賣品拍賣。底價不得高於目 錄所印估價之下限。如競投價不能達到底價，本公司在 任何情況均不負有任何責任。但本公司有權將拍賣品以 低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將 有責任向賣家支付成交價與底價之差額。 2.賣家不得隨意哄抬價格，不得參與競標標的作品，亦 不得聘請任何人代賣家參與競標，但本公司有權代賣家 以不超過底價之價格參與競標。
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成功拍賣後 1.結算 在買家付款後，除非本公司收到通知該拍賣品為膺品 （如本交易條款界定者），否則，本公司會於成功拍賣 日期後六十天，將一筆相等於成交價扣除賣家應支付所 有費用之款項支付賣家。如遇買家延遲付款，則本公司 將在買家付款後七天內支付賣家。如因任何理由而使本 公司在買家付款前即已付款予賣家，則本公司即獲得拍 賣品之完整之擁有權與所有權。但在本公司因拍賣品為 膺品而被迫向買家收回拍賣品下，賣家方須將已收取之 拍賣款項退還予本公司。除賣家另有書面指示外，本公 司以新台幣付款。如賣家要求以新台幣以外之貨幣付 款，本公司將向賣家收取所產生之任何外匯費用。但如 屬買家匯入其他貨幣時，本公司有權以其他貨幣支付。 若賣家要求轉換成新台幣支付，本公司將向賣家收取所 產生之任何外匯費用。 2.買家不付款 如買家在拍賣日期後七天內未有支付應付之全部款項， 本公司即有權代賣家就付款、貯存與保險而協定特別條 款，並採取本公司認為需要的任何步驟以向買家收取其 應付之款項。但本公司並無責任支付賣家款項，亦無責 任代賣家採取任何法律行動。本公司將與賣家討論採取 適當行動以向買家追討拍賣款額。 3.膺品 如在拍賣日期後十日內，經買家提出證明並經本公司認 同該拍賣品為膺品（如本業務規定界定者），則(1)如買 家尚未支應付之全部款項，本公司有權取銷交易。(2)如 買家已支付款項時，本公司得無條件退還買家交付之拍 賣落槌價（本公司得扣除因此所致之費用及相關處理費 用）予買方時，而拍賣品將由本公司退回賣家或送交司 法單位處理，賣方不得異議，或對本公司主張任何權利 或請求。 (3)如本公司屆時已支付賣家全部或部份應付款 項，賣家須三天內無條件將該款項悉數退還本公司。在 後一情況下，本公司將行使留置權，有權留置屬於賣家 之任何物品以作為應退還款項之擔保品。 4.未能成功拍出之拍賣品 任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或 因任何理由而撤回拍賣，在本公司發出通知，要求賣家 領回拍賣品三十五天內，賣家必須領回拍賣品。任何此 等拍賣品如在三十五天過期後仍未領回，每天每件將徵
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收貯存費新台幣壹仟元整，並加收貯存期間產生之保險 費用。任何此等拍賣品如在拍賣日期後或上述通知日期 後六十天內（以較早日期為準）未被領回，本公司可決 定是否將該拍賣品進行處置。處置包括將拍賣品移往第 三人之貨倉，開支費由賣家承擔，與將該拍賣品按本公 司認為適當之條款（包括有關估計與底價之條款）公開 拍賣。本公司其後會將拍賣所得扣除所有相關費用後支 付予賣家。 任何拍賣品如在拍賣中收回或未能成功拍賣，本公司獲 授權在拍賣後的二個月內作為賣家之獨家代理人，按賣 家可收取之淨款額（即扣除賣家應付之一切費用後之款 額），私下出售拍賣品，或按本公司與賣家另行同意之 較低價格私下出售。在此情況下，賣家就該拍賣品而對 本公司所負有之責任，與拍賣品成功拍賣時相同。 圖片與圖示 本公司對拍賣品之圖示、錄影或將拍賣品複製影像具有 非排他性之權利。此等影像一切權利均屬本公司所有， 且本公司有權以任何適合之方式使用。
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其他事項 1.稅項 賣家支付予本公司之所有款項不包括貨物稅、服務稅或 其他增值稅(不論由台灣或別處所徵收)，如有任何相關 之稅項產生，賣家須依據有關法律規定之稅率及時間繳 付稅款。
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Ⅲ. 本規定所用詞彙之意義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙如 下： 1.「買家」：指本拍賣公司所接受之出價最高者。 2.「落槌價」：指本拍賣公司就一拍賣品而接受之最高 出價之價款。 3.「買家支付之服務費」：指買家按落槌價之某一百分 比而支付之費用。 4.「底價」：指本公司與賣家協定之最低價格。 5.「膺品」：指拍賣品構成模仿，模仿之原構想及其整 體執行均具有欺詐意圖，就拍賣品作者、來歷、年代、 時期、文化或來源進行欺騙，而對此等事項之正確描述 並未在目錄之描述上反映出來，而拍賣品在拍賣當日之 價值，遠低於按照目錄之描述所應有之價值。按此定 義，任何拍賣品均不會因為有任何損壞及/或任何形式之 修整（包括重新上漆）而成為膺品。
Ⅳ. 買家與賣家均適用之條件 1.版權 與拍賣品有關之一切影像、圖示與書面材料之版權，屬 於本公司之財產。未徵得本公司事先書面同意，買家或 任何人均不得使用。 2.通知 根據本交易條款發出之通知，均須以書面發出。如採用 郵遞發出，則在付郵後第二個工作天即當作已由收件人 收妥；如收件人在海外，則為付郵後第五個工作天。 3.可分割性 如本交易條款有任何部份遭任何法院認定無效、不合法 或不可強制執行，則該部分可不予理會，而本交易條款 之其他部份在法律許可之最大範圍內須繼續有效及可強 制執行。 4.法律及管轄權 本交易條款依據中華民國法律規限，本交易條款之解釋 與效力均適用台灣法律。為本公司之利益而言，賣家與 買家須服從台灣法院之排他性管轄權。
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Modern And Contemporary Art
14 June 2015