中誠國際藝術2017年秋季拍賣目錄 by 中誠藝術拍賣

ZHONG CHENG

中誠 2017 秋季拍賣會現代與當代藝術 12 月 17 日 14:30

MODERN AND CONTEMPOR ARY ART

ZHONG CHENG 中誠

ZHONG CHENG MODERN AND CONTEMPORARY ART 2017 AUTUMN AUCTION

MODERN AND CONTEMPOR ARY ART

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MODERN AND CONTEMPORARY ART

LOT 101-281 DECEMBER 17TH 2017

MODERN AND CONTEMPOR ARY ART

KAWS (BRIAN DONNELLY) KAWS ( 布萊恩．唐納利 )

著名美國布魯克林藝術家 KAWS，作為藝術與商業跨界合作的成

「KAWS：始於終點」不僅是近期在世界範圍內最重要的研究性

功典範，善於將塗鴉、設計與藝術進行跨界結合，正逐步建立起

巡展，亦是亞洲首次大規模階段性回顧展，更深度剖析藝術家近

一座龐大的藝術王國，而長達 20 年間行走在當代藝術和街頭流

二十年來多元的藝術創作，透過素描可以更深入了解 KAWS 的創

行文化之間，並在全球藝術市場和潮流世界引發狂熱關注，使

作過程，繪筆細膩、構想脈絡清晰；余德耀美術館亦特別規劃一

KAWS 成為潮流藝術殿堂級一代教父。

個空間，展出他過去與不同品牌和名人結合的創作，例如 Nike、

橫跨塗鴉、波普藝術以及消費文化，KAWS 作為藝術家，其潛在才能及引領潮流鋒芒畢露，作品更充滿熱議，從流行文化及動畫中萃取元素，包括海綿寶寶、及史努比、藍精靈、辛普森一家等作；逐漸形成其在平面繪畫、素描和雕塑創作上獨特的藝術

等。此次展覽完整呈現藝術家 20 年以來的創作，讓大眾看見 KAWS 不斷用新的模式和媒材突破表現，但始終忠於他最原始獨特的風格。

語言，而 KAWS 式的風格注入潮流中，更大受歡迎，其 Bape、

如今，他所創作的超大型雕塑、以及強調線條與色彩的繪畫被大

Undercover 等等品牌聯名企劃，吸睛單品甫推出就秒殺售罄。

眾所熟知。其創作的形象融合當下流行的卡通人物元素，這些具

亞洲地區的首個大型個人作品回顧展「KAWS: WHERE THE END STARTS 始於終點」，展覽完整呈現一系列雕塑、壓克力畫作、素描草稿、玩具、聯名設計的創意行銷廣告等；此檔展覽之中， KAWS 的超大型「同伴」系列雕塑作品正是本次的亮點之一，《Resting Place》、《Passing Through》、《BFF》、《Clean Slate》、作品無比可愛生動有趣，他在壓克力媒材的畫作表現，鮮豔亮麗吸睛，帶有設計感的利落線條、與細膩的完整度，藝術家清楚表達其獨創的風格。

Calvin Klein、DKNY，與名模 Kate Moss 美國藝術家 Keith Haring

ZHONG CHENG 中誠

現化的藝術形像都有著充滿親和力的名字：老友（Chum）、同伴（Companion）、共犯（Accomplice）。而公仔們激發人類共同的情感，或悲傷，或不知所措，或憐憫，或疲倦，或害羞，皆是對人性探索的說明。這些形象通過幽默的呈現方式，投射出我們感同身受的情感與境遇，並得以從中受到極大的鼓勵與勇氣。

MODERN AND CONTEMPOR ARY ART

ZHONG CHENG 中誠

Uniqlo UT Line 藝術總監 NIGO ( 左 ) 與藝術家 KAWS ( 右 ) NIGO (left) current creative director of Uniqlo’s UT Line with artist KAWS (right)

101 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion: Five Years Later (Glow in the Dark) 38x16x11.5cm Painted cast vinyl, edition of 500 Signed Trademerk © KAWS..04 MEDICOM TOY 2004 CHINA in English

NT$ 60,000-100,000 US$ 2,000-3,300 KAWS ( 布萊恩．唐納利 ) 同伴：五年後（螢光版） 2004 彩繪搪膠限量 500 版簽名：註冊商標 © KAWS..04 MEDICOM TOY 2004 CHINA

九零年代末期，KAWS 進軍玩偶界，並與日本著名潮流玩具公司 MEDICOM TOY 合作，繼 1999 年同伴系列亮相，在五年後推出了長大的 COMPANION ！雖與原設計不同，卻是大眾較為熟悉的版本；不僅身高拉長，歲月的痕跡也刻畫在其中，此件滿色鵝黃，只以深色標記了經典「XX」，色調明亮予人更加親近可愛的觀感。

MODERN AND CONTEMPOR ARY ART

a. b.

102 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Astro Boy (2) 37.6x16.2x14cm (2) a.Mixed Media, painted cast vinyl, edition of 500 b.Mixed Media, painted cast vinyl, edition of 300 Signed Trademerk © Tezuka Productions Designed by KAWS MEDICOM TOY 2012 CHINA in English (2) EXHIBITION:

″KAWS,″ Mary Boone Gallery, New York, U.S.A, 2013 ″KAWS@PAFA,″ Pennsylvania Academy of the Fine Arts, Philadelphia, U.S.A, 2013 ″Beautiful Losers,″ Cincinnati Contemporary Art Center, Ohio, U.S.A., 2009 ″OriginalFake,″ Bape Gallery, Tokyo, Japan, 2003

NT$ 100,000-180,000 US$ 3,300-6,000

ZHONG CHENG 中誠

KAWS ( 布萊恩．唐納利 )

當 KAWS 遇上手塚治虫筆下的原子小金

原子小金剛 (2)

剛，雙方擦出了十分可愛的火花！此對

2013 (2) a. 綜合媒材搪膠限量 500 版 b. 綜合媒材搪膠限量 300 版簽名：註冊商標 © Tezuka Productions Designed by KAWS MEDICOM TOY 2012 CHINA (2) 展覽：「KAWS」，瑪莉 ‧ 布恩畫廊，美國紐約，2013 「KAWS@PAFA」，賓州美術館，美國賓州，2013 「Beautiful Losers」，辛辛那提當代藝術中心，美國俄亥俄州， 2009 「OriginalFake」，安逸猿畫廊，日本東京，2003

ASTRO BOY KAWS version 作品，是以耳熟能詳日本經典動漫人物原子小金剛為原形，KAWS 加以翻玩添上標誌性骨頭、與叉叉雙眼，在手套、腳部上亦有記號，而害羞的靦腆表情，更多添了幾分諧趣而成為不可錯過炙手可熱的收藏！

103 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Dissected Companion: Resting Place (Black) 23x22.5x30cm Mixed Media, painted cast vinyl, edition of 500 Signed Trademerk © KAWS..13 MEDICOM TOY 2013 CHINA in English

KAWS ( 布萊恩．唐納利 )

1974 年出生在美國紐澤西的藝術家 KAWS，本

同伴解剖 ( 休息處 ) ( 黑 )

名 Brian Donnelly，畢業於紐約視覺藝術學院，

2013 綜合媒材搪膠限量 500 版簽名：註冊商標 © KAWS..13 MEDICOM TOY 2013 CHINA

並曾短暫任職於迪士尼 (Disney)，擅長以塗鴉式結合二次創作，並且發表出一系列符號特徵鮮明的「X X」。最初，KAWS 由街頭塗鴉、自由創作者的身分闖出名號，後接受到街頭那些混亂而隨性的元素能量，使 KAWS 有意識的將所感受的文化、視覺衝擊等蓬勃生命力，繪出自己的符號語言。

NT$ 40,000-80,000 US$ 1,300-2,700

MODERN AND CONTEMPOR ARY ART

104 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Dissected Companion: Resting Place (Gray) 23x22.5x30cm Mixed Media, painted cast vinyl, edition of 500 Signed Trademerk © KAWS..13 MEDICOM TOY 2013 CHINA in English

NT$ 40,000-80,000 US$ 1,300-2,700

ZHONG CHENG 中誠

KAWS ( 布萊恩．唐納利 )

2013 年 MTV 音樂獎，KAWS 以《同伴》形象重

同伴解剖 ( 休息處 ) ( 灰 )

新設計了 MTV Moonman 獎杯，以及與 Kanye

2013 綜合媒材搪膠限量 500 版簽名：註冊商標 © KAWS..13 MEDICOM TOY 2013 CHINA

West、Pharrell Williams 等名人合作，其引領當下潮流、與在時尚流行領域的創造性啟發和影響力甚鉅，成名之後的 KAWS 經常受到各方邀請，在倫敦、紐約、東京等地開設個人畫展，繼續創作 KAWS 的「惡搞」風格，同時也推出個人作品集。

105 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Dissected Companion: Resting Place (Brown)

KAWS ( 布萊恩．唐納利 )

此系列《同伴解剖 ( 休息處 )》以同模、不同色，

同伴解剖 ( 休息處 ) ( 棕 )

造型也是以最初藝術家使用的經典角色：米老

2012 綜合媒材搪膠限量 500 版簽名：註冊商標 © KAWS..13 MEDICOM TOY 2013 CHINA

鼠。由灰階至高彩度，搭配切開一半裸露內臟的造形，單膝彎曲、雙手向後撐地；以一種輕鬆姿態呈現，形成強烈視覺觀感，十分地具有玩味性質。

23x22.5x30cm Mixed Media, painted cast vinyl, edition of 500 Signed Trademerk © KAWS..13 MEDICOM TOY 2013 CHINA in English

NT$ 40,000-80,000 US$ 1,300-2,700

MODERN AND CONTEMPOR ARY ART

106 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion: Passing Through (Black) 30x19x12cm Mixed Media, painted cast vinyl, edition of 500 Signed Trademerk © KAWS..13 MEDICOM TOY 2013 CHINA in English EXHIBITION:

″KAWS·Ups and Downs,″ Nerman Museum of Contemporary Art, Kansas U.S.A., October 25th, 2013 - February 16th, 2014 ″A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita,″ Newcomb Art Museum at Tulane University, New Orleans U.S.A., September 9th, 2015 - January 3rd, 2016

NT$ 60,000-100,000 US$ 2,000-3,300 KAWS ( 布萊恩．唐納利 ) 同伴 ( 經過 ) ( 黑 ) 2013 綜合媒材搪膠限量 500 版簽名：註冊商標 © KAWS..13 MEDICOM TOY 2013 CHINA 展覽：「KAWS‧ 上上下下」，諾曼當代美術館，美國堪薩斯，2013 年 10 月 25 日至 2014 年 2 月 16 日「共享空間：KAWS,、卡爾 ‧ 威瑟姆、五木田智央」，杜蘭大學紐柯姆美術館，美國紐奧良，2015 年 9 月 9 日至 2016 年 1 月3日

KAWS，1974 年美國新澤西州出生畢業於紐約視覺藝術學院，自 1990 年代開始在街頭廣告上進行塗鴉，以其獨樹一格的大膽創作行徑而成名。曾經為美國迪士尼公司創作動畫，1999 年設計的玩具公仔更被紐約當代美術館收為館藏，此後多次受邀前往法國巴黎及日本澀谷舉辦個展。

ZHONG CHENG 中誠

107 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion: Passing Through (White) 30x19x12cm Mixed Media, painted cast vinyl, edition of 500 Signed Trademerk © KAWS..13 MEDICOM TOY 2013 CHINA in English EXHIBITION:

NT$ 60,000-100,000 US$ 2,000-3,300 KAWS ( 布萊恩．唐納利 ) 同伴 ( 經過 ) ( 白 ) 2013 綜合媒材搪膠限量 500 版簽名：註冊商標 © KAWS..13 MEDICOM TOY 2013 CHINA 展覽：「KAWS‧ 上上下下」，諾曼當代美術館，美國堪薩斯，2013 年 10 月 25 日至 2014 年 2 月 16 日「共享空間：KAWS,、卡爾 ‧ 威瑟姆、五木田智央」，杜蘭大學紐柯姆美術館，美國紐奧良，2015 年 9 月 9 日至 2016 年 1 月3日

此系列《KAWS 同伴 ( 經過 )》作品，是以卡通人物米老鼠為雛本，白手套、裸身配上短褲，渾圓的體態，另加 KAWS 的特定符號 XX，這些可愛的外表吸引了目光，卻也因它的神態所困惑；雙膝合攏，身姿前傾倚坐於台階，兩手掩面的模樣，像極了日常所會歷經的悵然神情，有點不知所措、害羞，氛圍予以人們疏離感。

MODERN AND CONTEMPOR ARY ART

108 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion: Passing Through (Brown) 30x19x12cm Mixed Media, painted cast vinyl, edition of 500 Signed Trademerk © KAWS..13 MEDICOM TOY 2013 CHINA in English EXHIBITION:

″KAWS·Ups and Downs,″ Nerman Museum of Contemporary Art, Kansas, U.S.A., October 25th, 2013 - February 16th, 2014 ″A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita,″ Newcomb Art Museum at Tulane University, New Orleans, U.S.A., September 9th, 2015 - January 3rd, 2016

NT$ 60,000-100,000 US$ 2,000-3,300 KAWS ( 布萊恩．唐納利 ) 同伴 ( 經過 ) ( 棕 ) 2013 綜合媒材搪膠限量 500 版簽名：註冊商標 © KAWS..13 MEDICOM TOY 2013 CHINA 展覽：「KAWS‧ 上上下下」，諾曼當代美術館，美國堪薩斯，2013 年 10 月 25 日至 2014 年 2 月 16 日「共享空間：KAWS,、卡爾 ‧ 威瑟姆、五木田智央」，杜蘭大學紐柯姆美術館，美國紐奧良，2015 年 9 月 9 日至 2016 年 1 月 3 日

現居布魯克林的藝術家 KAWS，在 1996 年剛由紐約藝術學院畢業後的一年，首次前往東京遂深受佈滿街頭的卡通人物給震懾，遂而以這些虛構人物進攻藝術圈以及大眾，吸引藝、企界紛紛與之合作。 KAWS 模糊了藝術、塗鴉、商品的分界，同時實體現 POP ART 之精神，翻轉了我們對藝術文化的想像，不再是神聖不可親近。

ZHONG CHENG 中誠

109 KAWS (BRIAN DONNELLY) X ROBERT LAZZARINI ( American, b.1974 ) & ( American, b.1965 )

Distorted Companion (3) 21.5x10.5x8cm (3) Mixed Media, painted cast vinyl, edition of 1000 (3) Signed KAWS / LAZZARINI 2010 MEDICOM TOY CHINA in English (3)

KAWS ( 布萊恩．唐納利 ) X ROBERT LAZZARINI

貌似存於 2D 空間恣意的融散變形，但絕非

扭曲同伴 (3)

術家 Robert Lazzarini 合作的同伴系列－扭

2011 (3) 綜合媒材搪膠限量 1000 版 (3) 簽名：KAWS / LAZZARINI 2010 MEDICOM TOY CHINA (3)

曲 (DISTORTED COMPANION)。Robert 的

以後製拉一拉圖形這麼輕鬆，此些詼諧幽默的小玩偶為 2011 年推出，與紐約視覺藝

一貫風格即擅將物件扭曲化，結合 KAWS 經典同伴造形，形態各異，如同在異次元世界舞動身軀、閃躲似得，極富樂趣。

NT$ 50,000-100,000 US$ 1,700-3,300

MODERN AND CONTEMPOR ARY ART

a. b.

110 KAWS (BRIAN DONNELLY) ( American, b.1974 )

a. Pinocchio & Jiminy Cricket b. Joe Kaws Snoopy a. 26x13.5x13cm b. 20x11x16cm Mixed Media, painted cast vinyl edition of 500 (2) a. Signed Trademerk © Disney KAWS.. MEDICOM TOY 2010 CHINA in English Signed Trademerk © Disney MEDICOM TOY KAWS.. in English b. Signed Trademerk © 2010 PNTS – 2011 PNTS produced by SPECIAL PROJECT CONSULTING Designed by KAWS MEDICOM TOY 2010 CHINA in English

NT$ 80,000-160,000 US$ 2,700-5,300

ZHONG CHENG 中誠

KAWS ( 布萊恩．唐納利 )

KAWS 青少年時期對塗鴉藝術有著極大興

a. 皮諾丘與吉明尼蟋蟀 b. 史努比

趣，1991 年始在紐約街頭進行塗鴉，特色

a. 2010 b. 2012 綜合媒材搪膠限量 500 版 (2) a. 簽名：註冊商標 © Disney KAWS.. MEDICOM TOY 2010 CHINA 簽名：註冊商標 © Disney MEDICOM TOY KAWS.. b. 簽名：註冊商標 © 2010 PNTS – 2011 PNTS produced by SPECIAL PROJECT CONSULTING Designed by KAWS MEDICOM TOY 2010 CHINA

「塗鴉怪盜」之名不脛而走。並曾於 1995

為在廣告海報上塗鴉作為二次創作，使其年在大都會人壽 MetLife 廣告看版上，創作史努比獲得迴響；此組可愛卡通角色，集結史努比與皮諾丘經典造型，相當值得入手收藏！而卡通角色是 KAWS 的靈感泉源，包括米老鼠 Mickey Mouse、藍精靈 The Smurfs、辛普森家庭 The Simpsons、海綿寶寶 SpongeBob、史努比 Peanuts 等都曾受到翻玩，親切感油然而生。

a. b.

111 KAWS (BRIAN DONNELLY) ( American, b.1974 )

a. BFF (Black) b. Companion Plush Doll (Clean Slate Version) a. 47x19x11.8cm b. 42.3x21x11cm a. Polyester, 2981/3000 b. Polyester, edition of 1000 a. Signed KAWS in English, numbered 2981/3000 b. Signed KAWS in English

KAWS ( 布萊恩．唐納利 )

KAWS 以獨特普普風藝術風格創作眾多內容

a. BFF (Black) b. 同伴 (Clean Slate 版 )

豐富且極具影響力的作品。此組作品一件是

a. 2016 b. 2015 a. 聚酯纖維 2981/3000 b. 聚酯纖維限量 1000 版 a. 簽名：KAWS.. 2981/3000 b. 簽名：KAWS..

「KAWS：BFF 暗黑版」的限量絨毛布偶；另

與知名香港 AllRightsReserved 合作推出全新的一件《CLEAN SLATE》則是「COMPANION」系列作品的延續。他將創作想法融合，並以軟性絨毛娃娃取代一貫的塑膠公仔，刷新塑像作品以往的形象，得意之餘更添趣味性。

NT$ 30,000-50,000 US$ 1,000-1,700

MODERN AND CONTEMPOR ARY ART

YAYOI KUSAMA 草間彌生談起草間彌生，不難與「圓點」、「南瓜」等造型意象作聯想，已高齡 88 歲的她曾是一名精神疾病患者、迄今仍是，如她所言：「如果沒有藝術，我應該早已自殺」。出生富裕家庭，但其對藝術的熱愛之情是被禁止的；當時日本社會習俗的枷鎖、待女性的不平等…致使她斷然前往更為自由熱烈的國家。1957 年，越洋至紐約的女性藝術家仍是少之又少，但她需要更甚開闊的世界以便回應熱情的心，赴美近二十年的時間，浸潤於普普藝術等當代藝術思潮下，創作許多大型、前所未有的創作，風格更是標新立異，憑著色彩鮮明的網格、重複性圓點符號襲捲當代藝術市場，更與安迪 ‧ 沃荷、克拉斯 ‧ 奧爾登堡等當代藝術大師合作、聯展，待 1973 年歸國後社會予以她「前衛女王」的封號實是當之無愧。自 1979 年釋出第一張絲網版畫以來，草間彌生至今已經發行逾 400 種，各類不同大小、主題的版畫形式，目的即是為了能讓藝術走入社會，而非高不可攀的奢侈品。在包覆蔓延的波點、長滿毛邊的不規則形體和模樣奇趣的南瓜下，透析草間彌生的迷樣幻象，既是複雜的圖像意識、也是簡練的視覺意象，在兩者的衝擊之下共構一方巧妙平衡。媒材方面遍及繪畫、版畫、雕塑、裝置，儘管被普遍歸類為普普藝術的一分子，多元的美學風格卻無法以一言蔽之，甚至定位她；涉略廣泛的她是演員、是作家，更是一位無拘束既熱情的女性主義者。2017 年 10 月一棟矗立東京新宿的草間彌生美術館就此亮相，新宿作為她的次居地，為返日後落根的城市，每日工作室、療養院兩點一線的往返創作，更解釋了她能擁有今日至高的藝術成就，即在於持續不懈、堅持她的「草間藝術」。

ZHONG CHENG 中誠

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

MODERN AND CONTEMPOR ARY ART

112 YAYOI KUSAMA ( Japanese, b.1929 )

a. Flower (1) b. Flower (2) c. Flower (3) 28.4x23cm (3) a. Lithograph, 22/50 b. Lithograph, 36/50 c. Lithograph, 16/50 a. Numbered 22/50, dated 1992, titled in English and Chinese, signed Y. Kusama in English b. Numbered 36/50, dated 1992, titled in Chinese, signed Y. Kusama in English c. Numbered 16/50, dated 1992, titled in Chinese, signed Y. Kusama in English ILLUSTRATED:

″Yayoi Kusama Prints 1979-2011,″ ABE Publishing LTD., Tokyo Japan, 2011, Page 104, No. 163~165

NT$ 550,000-900,000 US$ 18,200-29,900 草間彌生 a. 花 (1) b. 花 (2) c. 花 (3) 1992 (3) a. 版畫 22/50 b. 版畫 36/50 c. 版畫 16/50 a. 簽名：22/50 1992 Flower 花 (1) Y. Kusama b. 簽名：36/50 1992 花 (2) Y. Kusama c. 簽名：16/50 1992 花 (3) Y. Kusama 圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 104 頁，圖 163~165

a. b. c.

ZHONG CHENG 中誠

113 YAYOI KUSAMA ( Japanese, b.1929 )

Pumpkin MY 36.5x44.2cm Screenprint, 45/110 Numbered 45/110, titled in Japanese and English, dated 1999, signed Yayoi Kusama in English

草間彌生南瓜 MY 1999 絲網版畫 45/110 簽名：45/110 かぼちゃ MY 1999 Yayoi Kusama 圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 153 頁，圖 258

ILLUSTRATED:

″Yayoi Kusama Prints 1979-2011,″ ABE Publishing LTD., Tokyo Japan, 2011, Page 153, No. 258

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 400,000-550,000 US$ 13,300-18,200

MODERN AND CONTEMPOR ARY ART

114 YAYOI KUSAMA ( Japanese, b.1929 )

Dancing Pumpkin (YBL) 39.5x56.3cm Screenprint, 82/120 Numbered 82/120, titled in Japanese and English, dated 2004, signed Yayoi Kusama in English ILLUSTRATED:

″Yayoi Kusama Prints 1979-2011,″ ABE Publishing LTD., Tokyo Japan, 2011, Page 185, No. 320 With a certificate of authenticity from gallery

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

ZHONG CHENG 中誠

草間彌生跳舞南瓜 (YBL) 2004 絲網版畫 82/120 簽名：82/120 ダンスかぼちゃ YBL 2004 Yayoi Kusama 圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 185 頁，圖 320 附畫廊開立之原作保證書

115 YAYOI KUSAMA ( Japanese, b.1929 )

Dress 53x45.6cm Lithograph, 35/70 Numbered 35/70, titled in Japanese, dated 1982, signed Yayoi Kusama in English ILLUSTRATED:

草間彌生洋裝 1982 版畫 35/70 簽名：35/70 ドレス 1982 Yayoi Kusama 圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 16 頁，圖 8

″Yayoi Kusama Prints 1979-2011, ″ ABE Publishing LTD., Tokyo Japan, 2011, Page 16, No. 8

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

MODERN AND CONTEMPOR ARY ART

116 YAYOI KUSAMA ( Japanese, b.1929 )

花

Flowers

1985 版畫 88/100 簽名：88/100 FLOWERS 1985 Yayoi Kusama

45.5x53cm Lithograph, 88/100 Numbered 88/100, titled in English, dated 1985, signed Yayoi Kusama in English ILLUSTRATED:

″Yayoi Kusama Prints 1979-2011,″ ABE Publishing LTD., Tokyo Japan, 2011, Page 56, No. 83

NT$ 280,000-380,000 US$ 9,300-12,600

草間彌生

ZHONG CHENG 中誠

圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 56 頁，圖 83

117 YAYOI KUSAMA ( Japanese, b.1929 )

Eyes Flying in the Sky 76x56cm Screenprint, 35/120 Numbered 35/120, titled in Japanese, dated 2006, and signed YAYOI KUSAMA in English ILLUSTRATED:

″Yayoi Kusama Prints 1979-2011,″ ABE Publishing LTD., Tokyo Japan, 2011, Page 201 Korean and Japanese and Chinese Contemporary Prints Work The screenprint published by KPAPC (Korea Print Art Promotion Committee)

草間彌生空中飛舞的眼睛 2006 絲網版畫 35/120 簽名：35/120 空を飛ぶ目 2006 YAYOI KUSAMA 圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 201 頁收錄於『韓·日·中現代版畫集』由『社團法人韓國版畫美術振興會』出版

NT$ 220,000-360,000 US$ 7,300-11,900 MODERN AND CONTEMPOR ARY ART

118 YAYOI KUSAMA ( Japanese, b.1929 )

女人

Women

2006 絲網版畫 35/120 簽名：35/120 WOMEN 2006 YAYOI KUSAMA

76x56cm Screenprint, 35/120 Numbered 35/120, titled and signed YAYOI KUSAMA in English, dated 2006 ILLUSTRATED:

″Yayoi Kusama Prints 1979-2011,″ ABE Publishing LTD., Tokyo Japan, 2011, Page 201 Korean Japanese and Chinese Contemporary Prints Work The screenprint published by KPAPC (Korea Print Art Promotion Committee)

NT$ 220,000-360,000 US$ 7,300-11,900

草間彌生

ZHONG CHENG 中誠

圖錄：《草間彌生全版画 1979‐2011》，阿部出版株式會社，日本東京，2011 年，第 201 頁收錄於『韓·日·中現代版畫集』由『社團法人韓國版畫美術振興會』出版

119 YAYOI KUSAMA ( Japanese, b.1929 )

At Nanko Lake 27.2x24.2cm Enamel on Paperboard Signed YAYOI KUSAMA in English, dated 1978

「草間彌生的無限的網能夠強而有力地包圍整個宇宙，更何況是地球。過去四十年來我不斷在做著這一張無限的網，將來也會繼續。草間彌生是不可能改變的。」

--- 草間彌生

享譽國際，日本現存國寶級藝術家之一的草

《在南湖》以金、銀帶點暗灰色調的釉料暈

間彌生，自 1957 年前往美國紐約開始，數

染整個畫面，由上方與下方向畫中蔓延的網

十載的藝術創作奉獻，企圖藉由作品的細微

狀猶如隔開了一條銀河渠道，色料在光線下

之處，誠實地傳達、紀錄與承載自身的過

的點點光輝，彷彿海面與月光相互交映，絲

去，及那纏繞許久卻又無法擺脫的夢靨。自

絲寧靜，卻又深黯洶湧，透過不斷增生的交

NT$ 600,000-1,000,000 US$ 19,900-33,200

幼便患有神經系精神障礙的草間彌生，常為

錯網絡，鋪展出一無限延伸的小宇宙，營造

幻聽、幻視所苦，目光觸及之事物皆籠罩著

出富有神秘韻味的節奏和既脆弱而又不羈的

巨型的「網」與無限的「斑點」，她以此作

感官效果，捕捉下了浩瀚的規模與無限的空

草間彌生

為創作的元素，疾病使其所見世界景物彷彿

間。似而錯綜複雜的心理意涵，隱約重申了

隔著一層斑點狀的網，環繞著宇宙空間，同

草間彌生揮之不去的幻覺，柔美的情節構

時也代表著她的生命。對她而言，藝術是一

圖，帶出潛意識中的不安定成份。

With a registration card issued by Yayoi Kusama Studio

在南湖 1978 瓷釉紙板簽名：YAYOI KUSAMA 1978

種自救，更是一種自我消融，並試圖藉此治療內心的創傷，而無限延伸的「網」及「斑點」也成了草間的經典象徵。

附草間彌生工作室開立之原作保證卡 MODERN AND CONTEMPOR ARY ART

120 LU HSIENMING ( Taiwanese, b.1959 )

Taipei Scenery 44.5x78cm Mixed Media on Canvas Signed on the reverse: Lu HsienMing in Chinese

NT$ 150,000-250,000 US$ 5,000-8,300

ZHONG CHENG 中誠

陸先銘

1982 年畢業於中國文化大學美術系，在學時與同儕合組「台

台北風景

北畫派」，1993 年任會長。他從變化中的現實生活環境取材，

綜合媒材畫布背面簽名：陸先銘

以台北大都會此起彼落的高架橋為主題的系列創作：施工中的鋼骨鐵梁、到處伸展蔓延的高架陸橋…等。結構性的展現台灣社會特有的強韌生命力，藉著精鍊的造型選取、色彩安排，紀錄著共同回憶，陸先銘的都會寫實作品，創造了獨具個人特色的鮮明風格。

121 KUO WEIKUO ( Taiwanese, b.1960 )

The Corner of Consciousness 73x91cm Oil on Canvas Signed on the reverse: Kuo Wei-Kuo and title in Chinese, sized 73x91cm, dated 2000.3

郭維國

中國文化大學美術系畢業，曾參展第八屆亞洲國際美展及

意識樂園的一角

1994 年與 1996 年參加臺北市立美術館舉行之雙年展，

2000 油彩畫布背面簽名：郭維國意識樂園的一角 73x91cm 2000.3

更獲頒美國 Freeman 基金會亞洲藝術首獎，翌年赴美國 Vermont Studio Center 駐村創作。郭維國運用他擅長的寫實技巧，以自身為模特兒，利用隱喻、曖昧、戲謔的表現手法，扮相出在現實生活中無法扮演的角色，並出現在不同背景的場域，進而發掘出潛藏在內心晦暗的自己。此作《意識樂園的一角》瀰漫著多愁善感的陰柔特質，刻

NT$ 300,000-500,000 US$ 10,000-16,600

劃出中年男子企圖揭開自己「偽裝」的表象及探索潛意識中真實的自我。獨特詭異的灰紫色調營造劇場裡超現實的表現，畫面中所滲出的不安、壓抑與束縛感，彷彿述說著自己生命的經驗與記憶，散發出近乎自我嘲諷的訊息。

MODERN AND CONTEMPOR ARY ART

122 CHIU YATSAI ( Taiwanese, 1949-2013 )

具有迷人優雅的特質，使人聯想到義大利畫家莫迪尼亞里呈現的孤絕意識，同時藉由畫筆直探身埋人類理性面具下的卑微、傲慢、頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的

Man Gazing

頹靡氛圍。邱亞才對文學、藝術熱愛與追求，體味中國歷史、莎士比亞、杜斯妥也夫斯基

80x64cm Oil on Canvas Signed Ya-Tsai in Chinese

為例，在輕細線中，賦予銳利觀察並捕捉神韻。他的繪畫以單純取勝，素面的情景中，強

NT$ 900,000-1,200,000 US$ 29,900-39,800

1949 年生於台灣宜蘭。邱亞才在台灣寫人物畫的藝術家中獨樹一幟，他所繪畫的文人肖象，

等大師筆下的人物性格，對人性的深刻觀察，豐富繪畫中人物的深度。以中國古代顧愷之調人物的表情，拉長輪廓表露的優雅氣質，有東方人文的特色，自信而孤傲地讓觀者無法避開畫中人物的眼神。《凝望的男子》表情岸然的男子，未經過刻意的筆觸線條修飾，表現出些許自大、傲慢、輕蔑，抑或是脆弱、落寞、疏離等等的複雜情緒。邱亞才罕見地以厚塗技法刻畫出渾厚感

邱亞才

性有力的肌理，同時採用平塗色面組合為背景，將人的造型簡化至最俐落的線條形式，呈

凝望的男子

現陰鬱文人畫氣息。邱氏有意不賦予畫中人物太多的面部表情，因為他認為人的表情變化

1995 油彩畫布簽名：亞才

無常，捉摸不定，相反的，他想要捕捉的是人物的內在性情和氣質。人物精煉的特質，同

ZHONG CHENG 中誠

時反映出其對於每位複雜角色的主觀陳述，相較於他筆下的女子畫像，其彩筆下的男性，展現出另一種深沉的抒情，質樸而不顯粗糙，溫淳且不失細膩。

123 HUANG MINGCHE ( Taiwanese, b.1948 )

Cheers Wine Glass Series No. 9 300x100cm Oil on Canvas Signed on the reverse: Titled in Chinese, dated 2013, sized 300x100, numbered 9/10, signed Che in Chinese

NT$ 850,000-1,600,000 US$ 28,200-53,100 黃銘哲將進酒系列 9 2013 油彩畫布背面簽名：將進酒 2013 300X100 9/10 哲

黃銘哲生於台灣宜蘭，叛逆的他喜歡在畫布上冒險，他的畫多半是以隱喻、象徵的方法在撰寫他的「自傳」。曾赴歐美遊學，返台後 1981 與 1982 年連續兩年榮獲全省美展獎項，作品獲各公立美術館典藏。畫風從早期演變到現在從心所欲，他總是不斷地開創繪畫性的可能性，藝術家說：「在寂寞的流浪中，我更感受藝術和人生的真諦，我慢慢步入人心靈的探討，步入另一種新階段的探索。」畫中極簡獨特明亮的大眼，象徵自身存在，亦凝視著觀賞者的存在，極為精鍊的點線面架構，用色純粹而飽含勁道，是黃銘哲展出來的藝術風貌。黃銘哲喜歡用豔麗的色彩進行創作，他的藝術與人總是一致，命運的過程都在創作上留下步步軌跡，他說：「我的藝術每一步都可以追溯到我對生命體會的轉變。」《將進酒系列 9》簡潔俐落的線條，透過適當的手法具體化其想像，讓他的藝術存在真實與夢境之間。抽象的象徵性手法，將各種表現形式徹底解體，賦予作品難以言喻的情緒經驗，及意味深長的閱讀空間。《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，仍然可感受到他戰鬥力十足，企圖心旺盛的出征。

MODERN AND CONTEMPOR ARY ART

124 YANG SHU

楊述

四川美院出身的楊述善於運用大量的純抽象元素及標記、符號、

( Chinese, b.1965 )

無題 38

漢字、字母等建構其對於靜物的見解與表達，曾自述：「色彩和

Untitled No. 38

2008 壓克力畫布簽名：2008 述

筆觸是繪畫的語言，意有所指的是觀者與作品的關係。」於《無題 38》中若大若小的不勻稱線條筆觸營造了一種無聲的音樂性效

90x70cm Acrylic on Canvas Dated 2008, signed Shu in Chinese ILLUSTRATED:

″Unkown Pleasures-Yang Shu,″ Z-art Center, 2008, Page 46

NT$ 160,000-240,000 US$ 5,300-8,000

ZHONG CHENG 中誠

果，強力的節奏感取向不僅構成、呈現了區域的和諧樣貌，同時亦豐富緊湊的層次與散發無窮意境。張江當代藝術館館長李旭曾

圖錄：《未知的快感 - 楊述》，張江當代藝術館， 2008，第 46 頁

如此評言楊述：「楊述以痛快淋漓地揮灑視覺元素表現，讓我們在都市生活的緊張壓力下獲得片刻的釋放和安寧。」

125 YE YONGQING ( Chinese, b.1958 )

Depressed Person 65.5x53.5cm Acrylic on Canvas Signed Ye Yong Qing in Chinese and English, dated 2009

NT$ 600,000-1,200,000 US$ 19,900-39,800

葉永青

葉永青為地區性團體「西南藝術群體」成員之一，與毛旭輝、周春芽、

苦悶者

張曉剛等人於 1986 年集結而成。他們訴求「應當從形式與內容上所觸

2009 壓克力畫布簽名：叶永青 Ye YongQing 2009

及，靈魂所體驗到的現實，以及藝術家自身的靈魂和命運」；宣言摒棄傳統對於地區的刻板印象，諸如鄉土、民族風情等觀念，在「85 新潮」中最具影響力。此波 85 熱潮是由上世紀 80 年代各地區的藝術青年揭竿而起，藉由自發組織展覽，發起新思維，最後躍升為美術運動主體。葉永青出生雲南昆明，畢業於四川美術學院，研讀期間校內學風不甚活躍，同儕皆追求最具歡迎的鄉土題材，如「苦、舊」之物，與之格格不入；因此他迫切地尋找一種非主流創作模式，並接近於內心情感的自我反射，冀求朦朧而詩意的心相。藝評家高名潞言：「他是群體中兼具沉思與直覺素質的藝術家」。他使用簡易墨瓶和眉筆，創造一種綜合性的原創符號，超脫了情緒專注在結構意識中；此幅人像單純、不帶色彩，細細遵循內心意識所繪出，實耐人尋味。

MODERN AND CONTEMPOR ARY ART

126 ZHANG NIAN ( Chinese, 1964-2016 )

Nest - Chinese Dream No. 11 130.3x162cm Oil on Canvas Signed Zhang Nian in Chinese and English, dated 2007 Signed on the reverse: titled in Chinese, sized 162x130.3cm, signed Zhang Nian in Chinese and English, dated 2007 ILLUSTRATED:

張念

張念 1988 年畢業於中央工藝美術學院，受四川美院和中

巢 - 中國之夢 No. 11

央工藝美院的寫實技法薰陶，其在「中國現代藝術大展」

2007 油彩畫布簽名：張念 Zhang Nian 2007 背面簽名：巢 - 中國之夢 No. 11 162x130.3cm 張念 Zhang Nian 2007

的行為作品「等待」（孵蛋）為代表之作。1997 年，張

圖錄：《等待 - 張念》，湖南美術出版社，中國湖南，2007 年 12 月，第 136-137 頁

念開始重新思考藝術本質，以探索回歸自身的藝術語言、歷史的軌跡與圖像，其重要性是藝術家追尋的創作本源，「巢」、「蛋」為主題進行創作，已成為張念為人所知的代表符號，「巢」與「蛋」寓意為長久的孕育孵化與破殼而出的希望。藝術家希冀透過大眾熟知的形象，表達一代眾人的集體記憶，並將歷使透過自身的語彙與形式表達。張念《巢 - 中國之夢》一作，「鳥巢」主題是以北京奧運體育館為景觀，在經濟與文化象徵上，皆是這一代人歷歷在目，而印象甚深的集體記憶，在藝術家營造的人、鳥、

″Wait-Zhang Nian,″ Hunan Fine Arts Publishing House, Hunan China, 2007, Page 136-137

天地、建物之組成畫面裡，有微小的人影，及返巢或振翅

NT$ 500,000-700,000 US$ 16,600-23,200

機體建物與內蘊的形象，將其代之為畫作主體意象的核心。

飛翔的鳥群，結構鋼材構成有力，筋骨之橫列氣勢雄偉，建物和天地上下並置均衡了畫面，張念的「鳥巢」裡的無《巢 - 中國之夢》所孕育的不僅僅是一著名地標，其象徵性的社會精神，孵化的亦是眾人的理想，期待更嶄新的明天振翅高飛。

ZHONG CHENG 中誠

127 CAO XIAODONG ( Chinese, b.1961 )

Topography 120x120cm Oil on Canvas Signed on the reverse: title and Cao XiaoDong in Chinese, sized 120x120cm, dated 1993

NT$ 400,000-600,000 US$ 13,300-19,900 曹小冬地形 1993 油彩畫布背面簽名：地形曹小冬 120x120cm, 1993

中國當代藝術界之中，作為「85 新潮」「紅色．旅」的主要成員之一，曹小冬以「超現實主義」藝術風格著稱，強調線條的秩序與結構的均勻，曹小冬作品帶有個人的內在記憶，對時間流逝的歷史滄桑感描繪，突顯時代與個體的精神氣質。藝術家從不斷實驗中追尋繪畫的本質，其在藝術語彙的探索，豐富了中國當代藝術的表現，從傳統歷史汲取養分，為現代社會找尋精神的依歸。誠如朱其所說：「曹小冬用製圖學的科學圖像的特徵，嘗試超越繪畫圖像在宗教、歷史和文化上的象徵性，回到一種圖像自身的個人意義的創造。」曾為《文化考古活動》撰寫札記，曹小冬對於歷史和時間的流逝多所著墨，《地形》帶向觀者穿越過時光的隧道，在世界的另一頭引發對歷史的想像，時空交錯而俯視鳥瞰下的都市叢林，緩緩流向遠方的河流，從而反映出藝術家對歷史的追思。於九○年代末期，曹小冬地畫面逐漸轉向，不再是矩陣一般的狀態，彷彿是以科學儀器檢視城市的切片，冷調的色感中透著理性的氣質，局部放大的畫面呈現格狀的網絡，仿若仍可見到點狀與消融的基調一脈相承。九○年代後，曹小冬在極簡主義的框架下，以點的不斷繁衍，最終營造出極多的意向，而畫面沉鬱渾厚的色調，凝滯了時空的擴散，將自我融化於宇宙間的大氣，融以西方抽象極簡、及與中國抽象隱逸等文化取向，以極多的形態往內收斂，並與遠方的點狀排列奇妙地結合在超現實的空間之中。

MODERN AND CONTEMPOR ARY ART

128 YUAN XIAOFANG

袁曉舫

( Chinese, b.1961 )

英隼 - 飛行計畫

″F-16″ Flying Plan

1997 油彩畫布簽名：曉舫 xiaofang 1997

160x120cm Oil on Canvas Signed Xiao Fang in Chinese and English, dated 1997 ILLUSTRATED:

圖錄：《袁曉舫：複數空間》，湖南美術出版社，中國湖南，2006，第 45 頁

″Yuan Xiao Fang: Plurality Space,″ Hunan Fine Arts Publishing House, Hunan China, 2006, Page 45

NT$ 550,000-750,000 US$ 18,200-24,900

袁曉舫生於中國湖北，畢業於湖北

銳地省思能力，具備勇於突破的精

美術學院國畫系，並任教於湖北美

神與足以推進時代的創造力。

術學院。曾參與的聯展包括：「首屆廣州雙年展」、「中國油畫年展」、首屆「中國油畫學會展」、「當代油畫藝術展」（1997，中國上海）、第十三屆「亞洲國際藝術展」（1998，馬來西亞，國家美術館）、第十四屆「亞洲國際藝術展」（1999，日本，福岡美術館）、「東北亞 ( 中、日、韓 ) 及第三世界美術展」、「重新洗牌—當代藝術展」、第十六屆「亞洲國際藝術展」（2001，中國，廣東美術館）、「首屆廣州當代藝術三年展 - 重新解讀」、「麻將―席克收藏展」（2005，瑞士，伯恩美術館）、「AIAA 亞洲國際藝術展」、「TAF 臺北國際藝術博覽會」、「共振—2007 中國當代油畫邀請展」(2007，中國，深圳美術館 )。袁曉舫身為積極地反映時空背景當代藝術家，對於中西文化碰撞的深刻反思，表現出對環境之敏

ZHONG CHENG 中誠

袁氏透過獨特的藝術語彙，《英隼飛行計畫》將以往的青綠山水及備具未來感的飛機形象，在此巧妙融合成同質性高的文化符號，試圖捕捉現今全球化與社會的本質面貌，隱喻性的象徵或許是袁曉舫前瞻性的宣示，透過特有的形式將之表露與呈現。「袁曉舫的作品『飛行計畫』當中，作者不但巧妙地將抽象的文化矛盾轉變成了具體可感的形象，也機智地揉進現代人微妙而複雜的心理感受。柔美的青綠山水格外醒目，與飛機的冷凝鐵硬正好形成了強烈的視覺反差；見物不見人的畫面，令人感受到人的迷惘與方向的迷失。」---《複數空間》。藝術家挪用青綠山水既有文化符號，山水與戰機因上下並置而形成一種特殊的關係，突顯東方及其傳統文化在全球化時代的特殊遭遇。

MODERN AND CONTEMPOR ARY ART

129 LIU JIUTONG ( Chinese, b.1977 )

Jianganan Scenery No. 1 100x210cm Oil on Canvas Signed Liu Jiu-Tong, Shanghai, in Chinese 2010 Signed on the reverse: sized 100x210cm, signed Liu Jiu-Tong, Shanghai in Chinese, 2010

NT$ 850,000-1,200,000 US$ 28,200-39,800 劉玖通印象江南 ( 一 ) 2010 油彩畫布簽名：刘玖通上海 2010 背面簽名：100x210cm 刘玖通上海 2010

劉玖通自 1977 年生於陝西綏德，走過黃沙路漫漫，培養出無畏風沙的豪情之志；2000 年於西安美術學院畢業後，初期歷經自我的追尋與摸索，1999 年至 2003 年於北京創作與生活；爾後，鑒於滬上地區的經商蓬勃與發達，轉至上海定居並建立起個人工作室、作為現職藝術家，逐漸塑形了自我的定位。其獨特優美的意境在當代藝術領域中備受推崇，深受中外好評，作品曾入選「法國巴黎當代國際藝術評選展」、「米蘭當代藝術大展」，並於世界各地舉辦多次個展，廣獲佳評。追隨著趙無極、朱德群等等先驅之輩的腳步，劉玖通抽象的語彙秉持著中國書畫形神的本，以東方水墨「以白計黑」的空間留存，將「抽象性」置入城市的輪廓之中，北宋山水大家郭熙有云：「畫者當以此意造，而鑒者又當以此意窮之。

ZHONG CHENG 中誠

此之謂不失其本意。」並說「境界已熟，心乎以應，方始縱橫中度，左右逢源。」闡述畫面中「意」的重要，意到則氣隨，

《印象江南一》渾厚色料堆疊，層層積累出行遊江南多年，

人與自然、情與景隨即合一。留白致使空間昇華，予以觀者

透出濛濛煙霧，映照出劉玖通之於城市的熱切所嚮，他自說：

至多的想像；劉玖通藉由富含東方寓意的抽象畫，展現出山

「創作是來自生活的軌跡」，由藝術家「城市心境」、「水

水畫悠悠千年的深厚底蘊。

鄉系列」等一窺旅行的痕跡；整作似是寫形卻是寫意，如此

全圖尺幅甚大，氣勢沉雄，劉玖通擅長以肌理的表現，結合書法線性力度、水墨筆法的抑揚頓挫。油料於畫布上游移，筆勢縱橫錯落，顯露幾分輕鬆快意，熟稔表現了基本功的深厚，以及對於這一城市的觀察；以暖調做為基底，烘染江河煙雲繚繞，光影聚焦於畫面中心，點點色彩分配的細膩，房

與之觀有所感；有別於兒時成長的乾燥遍土，此般氛圍氤氳

的虛與實像矇住了眼，不過我們實際的想像畫面，悄悄地從心底油然而生，表露出抽象藝術的主要精神：由普世經驗內化成為自己的見解。抽象藝術的美存在於「在似與不似之間，不似之似」，我們隨藝術家的步伐，走向抽象繪畫更多的可能。

舍齊聚、人聲熙攘、船舶歸鄉，流瀉出北方男兒對於生活次要居所的一股柔情。

MODERN AND CONTEMPOR ARY ART

130 LIU JIUTONG ( Chinese, b.1977 )

Jianganan Scenery No. 3 130x208cm Oil on Canvas Signed Liu Jiu-Tong, Shanghai, in Chinese, 2011 Signed on the reverse: sized 130x208cm, signed Liu Jiu-Tong, Shanghai, in Chinese, 2011

NT$ 1,100,000-1,500,000 US$ 36,500-49,800 劉玖通印象江南 ( 三 ) 2011 油彩畫布簽名：刘玖通上海 2011 背面簽名：130x208cm 刘玖通上海 2011

劉玖通，1977 年出生於陜西，畢業於西安美術學院，深厚的藝術底蘊加入獨道精練的思維，深受國際藝壇青睞，多次於世界各地舉辦個展；從陜西輾轉至北京，最終至上海紮根，年輕的他已累積豐富的文化經歷，而後浸潤在海派文化之中，蓬勃興盛的氛圍，促成他澎湃的生命氣息。他主要以抽象的語彙，闡述東、西文化的精神性，時而大器、時而有理，皆不羈而行，展現出豪放性格。「藝術是無法脫離傳統跟本性的，單純是想把東、西方最美好的藝術形式融合在一起，將這些元素完整地結合起來，造就了一種屬於自己的藝術表現方式。」

--- 劉玖通

《江南印象三》更甚趨抽象，切真顯示了藝術家不可勝數的創作，致使這樣的抽象表現又如此的具體，此份映像了他濃厚的情誼至畫面中；以自身的經驗將之「再自然化」，觀之、而不言之、投之入畫，將注意力從普世經驗移轉至藝術的規則和定律本身，持東方水墨的底蘊，雜揉西方藝術技巧，兩相輝映，巧妙地結合並彰顯自己的根本：不脫離傳統。油料隨刮刀盡情飛來躍去，使得平表肌理宛若山勢層巒疊嶂，是劉玖通作畫一貫的情緒揮灑，全幅以暗紫色作基調，悄悄點一抹藍，如泉湧，如堅實的韌性，象徵他對自身的期許，其餘之處濡沫大量的黑，層疊出具像感，份量而紮實地存在；暗夜的迷人之處，聚焦在中心，潑灑點點色料，幾處燈火闌珊，熙熙攘攘，可見他的小心經營，「小橋、人家、流水」以景託情，寓情於景，在景情的交融中構成一種愁苦幽幽的意境，詩性散溢，足具動容。

ZHONG CHENG 中誠

「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

MODERN AND CONTEMPOR ARY ART

131 HUNG YI ( Taiwanese, b.1970 )

Heir of the Dragon 64x20x20cm Paint on Glass Fiber Signed Hung-Yi in Chinese, dated 2008.09.01 With a certificate of authenticity from gallery

NT$ 340,000-450,000 US$ 11,300-14,900 洪易龍的傳人 2008 彩繪玻璃纖維簽名：洪易 20080901 附畫廊開立之原作保證書

「在洪易的作品中，可以感受到強烈的台灣味道。來自民間文化與日常生活的轉化，將藝術家對於土地的觀察與情感，揉合於造形之中，那些看來有些粗野卻決對可愛的事物，正是洪易傳達『藝術生活化』理想的使者。洪易這件作品「龍的傳人」，近似台灣民間廟宇的俗麗色彩，以及變造自日常生活的各種形象，使得洪易的立體作品極為可親，在流暢的造型線條下，睜大眼睛、露齒而笑的怪物們充滿喜感，也極富生命力。」 --- 摘錄自《帝國大反擊 - 二部曲長驅直入》

（正面）（背面）

ZHONG CHENG 中誠

「希望藝術能帶給社會快樂的能量，透過一件件充滿歡樂、喜悅的作品，傳遞屬於洪易的感性創造力。」

132 HUNG YI ( Taiwanese, b.1970 )

Snail 78x65x30cm Baked Enamel on Steel Sheet, 6/9 Signed Hung-Yi in Chinese, numbered 6/9, dated 2013 With a certificate of authenticity from gallery

--- 洪易

洪易

洪易的作品中總是帶有濃厚的鄉土色彩，風格造型幽默趣味，

蝸牛

立體雕塑創造的歡樂世界，極具親切和正面能量，帶給社會

2013 鋼板烤漆 6/9 簽名：洪易 6/9 2013

喜悅與幸福感。以鋼板烤漆的圓融多彩現代媒材，創造出在地化的強烈活潑風格，而鮮豔吸睛的作品帶出美好與歡愉的氛圍，而適合擺置於戶外空間的雕塑，與現代建築和周邊地景相互映襯，更希望藉此宣揚這片土地的可愛和多元變化。

附畫廊開立之原作保證書

蝸牛一步一腳印地邁步前行，象徵安居樂業，而蝸牛更是幸福的寓意，據說在美洲客人臨別時，由主人送之以蝸牛，有著「慢慢走，一路平安」的祝福。在繁忙的都市叢林中，不妨欣賞大自然的慢活者―「蝸牛」。蝸牛不急不徐而堅定地踏出每一步，

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

安然自在有著屬於自己的步調，在忙碌生活亦不忘樂當蝸牛體會慢活，耐心並帶著堅持不懈腳踏實地的精神，踏實地邁出人生坦途。

MODERN AND CONTEMPOR ARY ART

133 HUNG YI ( Taiwanese, b.1970 )

Money Frog 74x85x86cm Baked Enamel on Steel Sheet, 3/9 Signed Hung-Yi in Chinese, numbered 3/9, dated 2010

NT$ 500,000-800,000 US$ 16,600-26,500 洪易金錢蛙 2010 鋼板烤漆 3/9 簽名：洪易 3/9 2010

「美工科畢業的洪易，非但沒有成為他『學歷不如人』的負面因素，反而是他貼近生活、親近民眾的重要資產；經歷將近十年的創業經驗，他嘗試以各式結合藝術空間與複合餐飲的手法，展現了他『生活即藝術、藝術即生活』的主張。洪易的思想成就了今日的洪易。」

--- 國立成功大學歷史學系教授蕭瓊瑞

洪易畢業於美術設計科系，然而洋溢無限想像與自由氣息的獨特風格，卻是美學體制之外的異數。在以藝術家作為人生職志之前，洪易已經歷經過十多年精彩的漂浪人生。他曾開過九家諸如 Pub、泡沫紅茶等複合餐飲之類的食店，而這些繁囂擾攘、送往迎來，細瑣而沸揚的市井生活，成為日後創作生涯中取之不盡的豐沛養分與靈感。因此他的作品是絕對入世，飽含了熱情澎湃與日常隨意的溫暖童趣。他的藝術語彙坦白而直接，從不故作艱深的矯揉作態，也從不聲嘶力竭地批判撻伐，只傳達最直覺單純的歡樂、溫暖與愉悅。洪易的作品多以鋼板烤漆拋光製成，外表乍看之下色彩斑斕，造形憨態可掬，但在一層層經過精密焊接、拋光、烤漆上色的作品裡，內含了洪易這些年藝術創作內裡的崢嶸。一片片的符號，一個個漢字，意喻著人們的人生願望，也有著洪易笑看人生的藝術態度，有批判，有嘲諷，亦有雙關語。此件《金錢蛙》取「金瞻」之吉祥的象徵，以蛙作為題材，嘴銜金幣，外表覆刻傳統符號，不著痕跡地與傳統民俗產生聯想與聯結，展現圓融且可愛的造型線條，獨特的藝術巧思也令觀者會心一笑、喜愛動容。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

134 WU HAO

吳昊

出生南京，1951 年進入李仲生畫室習畫，是東方畫會創辦

( Taiwanese, b.1931 )

水果

人之一。畢業於中央工藝學院裝飾藝術設計系，1988 年進入法國巴黎國立高等美術學院，2001 年獲得法蘭西國立造

Fruit

1991 油彩畫布簽名：吳昊 1991

24x33cm Oil on Canvas Signed Wu Hao in Chinese, dated 1991

NT$ 80,000-120,000 US$ 2,700-4,000

ZHONG CHENG 中誠

型藝術學院最高等學位。而後與霍剛、蕭勤、夏陽、歐楊文苑等人發起「東方畫會」。吳昊特別強調線條的重要性，靈感得自於東方「水墨工筆白描」的技法。此幅《水果》透過高彩度與暖色調的相互輝映成就飽實的美感與恬靜自適的溫潤意境。

135 CHEN YINHUI ( Taiwanese, b.1931 )

Crab 32x41cm Oil on Canvas Signed Yin in Chinese and CHEN in English, dated 1986

陳銀輝

陳銀輝 1931 年生於嘉義，自幼即表現出繪畫天份，就讀嘉義

螃蟹

中學時，受到吳學讓先生的啟蒙，兼及傳統水墨與現代水彩的

1986 油彩畫布簽名：銀 CHEN 86

學習，從而奠定深厚的繪畫基礎。就讀台灣師範學院藝術系之際，在廖繼春、趙春翔等多位老師的指導與影響下，於色彩、線條與思想之引發，使其另闢蹊徑，汲取出獨有的繪畫形式與風格。陳銀輝擅長靜物描繪，色彩構思與運用，以及線條繁複與單薄的拿捏，皆來自於他對畫面結構的熟稔及敏銳度，每筆落下都能注入強勁力道於畫作之中。

NT$ 180,000-260,000 US$ 6,000-8,600

MODERN AND CONTEMPOR ARY ART

136 CHANG YIHSIUNG ( Taiwanese, 1914-2016 )

Roses 46.3x38.3cm Oil on Canvas Dated 1995, signed CHANG. Y. in English

NT$ 240,000-340,000 US$ 8,000-11,300 張義雄玫瑰花 1995 油彩畫布簽名：-95- CHANG. Y.

張義雄是台灣前輩畫家的重要代表之

以繪畫創作為人生職志的他，窮其一生

一。1914 年出生於嘉義市仕紳家庭，

所創作的花果靜物、街景與異國風景

十歲時親見陳澄波作畫，因而受到啟

等，不僅是對日常生活風情的紀錄，也

蒙，也在陳澄波的鼓勵下赴日本學習，

是禮讚生命的真實表現，以及表達對於

曾就讀於關西美術學院、武藏野美術大

物象的形式探索。他勇於嘗試創新，不

學、川端畫學校等。二戰結束後返台，

論何種風格，其構圖、造型與色彩的統

張義雄雖然生活困苦，但他仍積極創

整性，以及畫面質感的肌理表現，都能

作，於省展與台陽美展屢次獲獎，1987

表現出個人獨具的特色。此幅《玫瑰花》

年更成為台灣首位獲頒法國藝術家年金

反樸回歸到最初的寫實藝術語彙，沉穩

的殊榮。

內斂，成為畫家筆下的濃郁述說，使觀者能夠感受其筆觸，悸動著藝術心靈。

ZHONG CHENG 中誠

137 LIOU CHIHSIANG ( Taiwanese, 1910-1998 )

Little Girl 41.2x32cm Oil on Canvas Signed C.Liou. in English

劉啓祥

劉啓祥是台灣老輩著名畫家，筆觸寬大開朗，色調淡雅清爽。

小女孩

居於畫面中心的《小女孩》面部表情與眼神的刻劃，神形兼

油彩畫布簽名：C.Liou

備，帶著些許憂鬱，似是凝視，似是沉思，在靜止中透出幾分動感。色調以暖色系為主，色感雋永，表現內在的活力，使畫面充滿生活激情與深刻的感染力。

NT$ 150,000-300,000 US$ 5,000-10,000

MODERN AND CONTEMPOR ARY ART

138 LIOU CHIHSIANG ( Taiwanese, 1910-1998 )

Rock 45.5x53cm Oil on Canvas Signed C.Liou. in English Signed on the reverse: Liou Chi-Hsiang and title in Chinese ILLUSTRATED:

″Taiwan Fine Arts Series 11 - LIOU CHIHSIANG,″ Artist Publishing Co., Taipei Taiwan, 1993, Page 245

NT$ 250,000-350,000 US$ 8,300-11,600

ZHONG CHENG 中誠

劉啓祥

劉啓祥是台灣國寶級前輩畫家，是最早到法國學習繪畫的

岩

台灣人之一。作品多取材自平凡生活，大膽自在的筆觸和

1978 油彩畫布簽名：C.Liou 背面簽名：劉啓祥岩

明朗的色彩在其中取得和諧的統一，優雅靜謐是其作品風格。早期以群像及人物畫為主，60 年代中期作以風景寫生居多，至晚年，回歸自然，常以居家隨手可得的題材入畫，此時期多靜物作品。《岩》創作於 1978 年，畫面重岩疊嶂、突起兀立，藝術家使用油彩敷色於畫面上，營造出濃厚密

圖錄：《臺灣美術全集第 11 卷劉啓祥》，藝術家出版社，臺灣台北，1993 年，第 245 頁

實的視覺效果。岩上塗抹著紅褐色系筆痕的蠕動，與遠景蔚白天空及湛藍海景形成強烈對比，給予觀者看似浮動又寧滯不已的獨特氛圍之感。

139 KINICHIRO ISHIKAWA

石川欽一郎

石川欽一郎是台灣近代美術史的重要推手，28 歲遠

( Japanese, 1871-1945 )

潮來水鄉

赴英國學習英國傳統水彩畫法，接受正統英國水彩畫技法，從此確立自我風格，36 歲赴台灣擔任總督府

Water Village

彩墨絹本簽名：潮來水鄉欽一郎鈐印：欽 ( 朱文 )

26.5x42cm Ink and Color on Silk Titled and signed Chin-Yi-Lang in Chinese With one seal of the artist

NT$ 250,000-350,000 US$ 8,300-11,600

翻譯官並兼任國語學校美術教官，52 歲受志保田校長邀請來台任教台北師範美術教師。石川欽一郎在台灣推廣水彩畫貢獻卓越，栽培許多的台灣青年，開啟台灣學子西洋美術文化的視野，大力提攜後進，像倪蔣懷、陳澄波、楊啟東、藍蔭鼎、洪瑞麟、李澤藩等人，在石川欽一郎的帶領下成為台灣藝術的先鋒，因此博得「台灣美術啟蒙之父」。石川欽一郎一生創作無數，作品以水彩為多，此幅《潮來水鄉》澄澄綠水，澹澹其波；靜謐之處停泊一葉單舟，樹影婆娑在蒼茫景色之中，輕薄通透的色彩烘染全圖，未加過分地區分界線，僅以簡筆勾勒幾處樹木曲伸，舉足輕重間取得巧妙平衡，布局穩健，設色淡雅清麗，光線和空氣揉合出的氤氳氛圍變幻無窮，直顯其中，呈現出大自然恢宏的沉靜之色，實為動人。

MODERN AND CONTEMPOR ARY ART

140 YANG SANLANG ( Taiwanese, 1907-1995 )

Autumn Scenery 27.8x35.5cm Oil on canvas mounted on board Signed S. Yang in English

NT$ 250,000-300,000 US$ 8,300-10,000

ZHONG CHENG 中誠

楊三郎

楊三郎畢生追尋藝術之美，在台灣前輩藝術家中聲望崇高。曾負笈

秋色

至日本及法國留學，進入關西美術學院，其後更入選法國秋季沙

油彩畫布裱於木板簽名：S. Yang

龍。回台後熱誠於推動台灣藝術，偕同顏水龍、陳澄波、李梅樹等美術界巨擘創立了「台陽美術協會」，策劃籌備藝文展覽，網羅當時首屈一指的藝術家，成功推動了「台灣新美術運動」，此後楊三郎更有台灣美術發展之父的美譽。《秋色》調性溫暖之餘，冷色的處理亦十分巧妙地彰顯了季節聲息，繪筆悠然游移在畫面，用筆如寫書帶有抑揚頓挫，乾溼兼具，層層油料疊加更顯自然萬物的蓊鬱，活靈且活現，豐富的色彩變化，為畫面注入生命力，表現天地萬物大美。

141 SHEN CHETSAI ( Taiwanese, b.1926 )

Vase of Flowers 45.5x33.5cm Oil on Canvas Dated 1987, signed Che-Tsai in Chinese Signed on the reverse: title and Shen Che-Tsai in Chinese, dated 1987

NT$ 240,000-300,000 US$ 8,000-10,000

沈哲哉

生於台南，就讀中學時便以油畫入選「臺陽美展」，1942

花

年入選府展和第六屆台展。雖然未曾進入藝術學校，但因

1987 油彩畫布簽名：1987 哲哉背面簽名：花沈哲哉 1987

受過廖繼春及郭柏川的指導，他的設色觀念和素描基礎均甚扎實。沈哲哉的繪畫就與他的生活一樣，沒有諷刺社會的寫實題材與畫面，因天性喜好浪漫與美好的事物，作品總散發出抒情唯美的氣息。此幅《花》形態唯美的線條和無形卻又豐富無比的色域展現瓶花的華美與豐饒，繽紛迷濛的效果詮釋出花卉如夢幻般的寧靜之美，透過高彩度及豐富的層次變化，細膩而自然的流露出畫家的內心情感。

MODERN AND CONTEMPOR ARY ART

142 ZHU CHUNLIN ( Chinese, b.1968 )

Confront．Confidence 160x90cm Oil on Canvas Dated 2012, signed Chun-Lin in Chinese

NT$ 900,000-1,800,000 US$ 29,900-59,700 朱春林面對 ‧ 信心 2012 油彩畫布簽名：2012 春林

靜觀朱春林的畫作，常於其中感受到氣象萬

陽光，不熱烈也不張揚，明亮中不乏溫度，

千的深壑幽遠，隱藏在寫實藝術的筆下，背

純淨淡雅，或許是由這些莘莘學子勃然的生

後通常有抽象意識正在作用，而這樣的意識

命氣息中所感知，純真且直接。他以寫實與

思維，正是一位藝術家濃縮了自身的生活經

寫生作為基礎美學的開端，由平實的生活中

驗與智慧，並同時反映至紙上的抒發；正如

找尋富有靈性而動人的事物，忠實地面對生

朱春林自述：「繪畫與其他藝術形式一樣，

活，闡揚對未來的理想盼望，進而創造出具

不過是一種載體，我們試圖通過繪畫來思考

有感染力的作品。

人生、智慧，永恆的問題，目的乃是讓思想昇華，提升生命的境界，同時也對觀賞者帶來視覺愉悅和精神享受。」由此一來，藝術創作呈現出的多樣性和美學立場，就有主、客體中陳述與物件的相應合。朱春林由日常的反思、生活環境的修養淬煉成自己的一式美學主張，筆下的寫實人物有著寧靜致遠的感染張力，正如藝術家本身不與張揚、恬靜柔和的性格不謀而合。

ZHONG CHENG 中誠

生經驗的基礎下，人物形神具色，鮮活亦呈現一股篤實氣象；朱春林除了在繪畫中體現中國國畫「道法自然」、「天人合一」的精神境界，也透析了謝赫六法之精要－「氣韻生動」、「經營位置」…等，套用在他的油畫表現上，亦是道理。在這些抽象的概念下，寫實繪畫中的色塊、線條及筆觸皆是透過布局安排，被有機地整合、無形的存在於具像

朱春林 1968 年出生中國安徽，修習於中央

藝術之中，種種元素決定了畫面的靈魂；因

美院油畫系，而後進入同院的高級研修班，

此觀者能在朱氏的極寫實的筆下感知靜穆、

現任職於中國藝術研究院、北京藝術設計學

安寧的遐思，儘管是單調平凡的人物表現，

院。朱春林一生追求平靜，亦強調至善真美；

亦能在一片平靜池水激起層層波瀾；設色沉

於美院畢業後，不追求過分的目標、遠大的

實清新，細緻的筆法呈現出少女自信優雅的

理想，而是進入了學校任教，謙虛仁讓的性

面容，觀之且淺嚐其中寧遠詩意，完整反映

格亦從中體現了教學相長之意義。投身教育

了作者自身內心的平和及理想，實為動人。

的過程中仍潛心創作，朱氏的畫中總有一抹

此見人物位居中軸而坐，結構平穩，鑒於寫

MODERN AND CONTEMPOR ARY ART

143 HUANG KUENPO ( Taiwanese, b.1974 )

Still Life III 80x80cm Oil on Canvas Signed Huang in English and Kuen-Po in Chinese, dated 2010 Signed on the reverse: Huang KuenPo and title in Chinese, sized 80x80cm, dated 2010

NT$ 150,000-300,000 US$ 5,000-10,000

ZHONG CHENG 中誠

黃坤伯

黃坤伯，生於台灣桃園，畢業於台灣師範大學美術

靜 ‧ 物 III

系研究所，曾榮獲全國美展獎項、中華民國版畫學

2010 油彩畫布簽名：Huang 坤伯 2010 背面簽名：黃坤伯「靜 ‧ 物」III 80x80cm 2010

會全國版畫展榮譽獎、第六屆百號油畫大展第二名，作品獲台南奇美博物館、高雄市立美術館、台中台灣美術館等地典藏。《靜物 ‧III》清朗淨雅充滿禪意的氛圍，簡約凝結而抽離了紛擾的喧嘩，僅留予置中的構圖而澄澈的內心場域。

144 SAD JI ( Chinese, 1914-2005 )

Portrait 56x44cm Oil on Canvas mounted on Board Signed Sad-Ji in Chinese, dated 1989

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

沙耆

沙耆初時習畫於杭州西湖藝專，師從徐悲鴻，受其所薦，

女子肖像

後而遠赴比利時皇家藝術學院深造，授業於巴斯天。後半

1989 油彩畫布裱於木板簽名：沙耆一九八九

生受精神疾病所苦，卻未因此而失去了藝術創作的光輝，其畫作中集結印象派、野獸派、表現主義及抽象主義之大成，自出機杼，吸引著觀者的目光，亦使他有了「中國梵谷」的稱號。《女子肖像》中刻畫出女子舉手投足間的動態凝結，同時亦反映了沙耆對於人像的深刻觀察與了解，進而呈現出強烈的臨場感與生命力，為剎那時刻留下永恆印象。

MODERN AND CONTEMPOR ARY ART

145 GEORGE CHANN ( Chinese-American, 1913-1995 )

Abstract 50x40cm Oil on Canvas Signed GEO. CHANN in English

NT$ 260,000-360,000 US$ 8,600-11,900 陳蔭羆抽象油彩畫布簽名：GEO. CHANN

陳蔭羆 1913 年生於中國廣東，少年時期即隨父

George Chann was born in Guangdong, China in the year of 1913 and later

徙美，1934 年獲洛杉磯奧迪斯藝術學院（Otis

moved to the United States during his teens. Awarded with a full scholarship

Institute of Art）全額獎學金，接受正規堅實的素描、

by the Otis Institute of Art in Los Angeles in 1934, he attended the school to

寫實油畫訓練，並以優異成績獲得學士及碩士學

began stringent training in sketching and realistic oil painting. He graduated

位，西方藝術造詣甚深。四○年代即以草根階層

with a bachelor's and a master's degree later and has fostered a strong

的寫實肖像作品，受洛杉磯郡立美術館館長麥堅

attainment in western arts. During the 40s, he was recognized by the curator

尼（Roland J. McKinney）的賞識，先後在美國著名的博物館、美術館、畫廊舉辦個展，深獲重要媒體的讚譽。1942 年的《舊金山紀事報》（San Francisco Chronicle）曾記載：「陳蔭羆那感情充沛的兒童與成人畫像，已經達到無懈可擊的境界。他十分成功地表達了模特兒的憂愁、沉思與渴望」，讓陳蔭羆來到他藝術生涯的第一個高峰。陳蔭羆探索現代化的繪畫表現方式，以傳統的再現與自動性技法精練的自由揮灑，堆疊出對於古

of the Los Angeles County Museum of Art, Roland J,. McKinney, for his grass root realistic painting and later held personal exhibitions continuously in many well-known museums, museums of fine arts, and galleries, and was deeply appreciated by important press media; San Francisco Chronicle has written back in 1942: ″George Chann's rich-of-emotion portraits of children and adults have a reached an absolute perfection; he has so successfully conveyed the melancholiness, pondering, and desire.″ The artist explores modern painting method, and freely and precisely disposes the revivals of conventions and automatism and thus builds up a line of imaginations of the patterns and lines of the ancient characters.

老文字的符號和線條的想像，《抽象》在流動的

The image of ″Abstract″ rhythmically dances among the flowing colors,

色彩塗佈間，使畫面呈現韻律地舞動，而充滿有

full of elaborated scenes and fun. As an early immigrant, George Chann's

機的華燦豐美意趣。做為一個早年移居的異鄉人，

abstract paintings stemmed from the seeking and exploring of the ″Chinese

陳蔭羆的抽象繪畫根源自「中國經驗」的追尋和

experiences,″ and yet he has taken up the for ward-looking thinking

挖掘，但他融合西方現代創作的前進思惟，不斷

pattern of the western modern creativity, and hence the ever-lasting self-

超越。汲取了雙方養分的陳氏，終發展出他獨特

transcending. Having absorbed both the western and eastern elements,

的抽象藝術，顯影與確立了他自身的文化身份。

he has finally extended his distinct abstract art and affirmatively and vividly established the cultural identity of himself.

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

146 GEORGE CHANN ( Chinese-American, 1913-1995 )

Vase of Flowers 50x40cm Oil on Canvas Signed GEO. CHANN in English

NT$ 100,000-180,000 US$ 3,300-6,000

ZHONG CHENG 中誠

陳蔭羆

陳蔭羆早年於奧提斯藝術學院接受嚴謹的素描與寫實風

瓶花

格為基礎的訓練，《瓶花》雖以西方的油彩表現，卻能

油彩畫布簽名：GEO. CHANN

自其中感受出東方美學的細膩，如其所言：「中國畫家用心靈作畫，西方畫家則用眼睛作畫。」柔淡的漸層背景襯托主體使視覺上和諧融洽，瑰麗色彩保持本身的純度和明度，在微妙的光線變化下，單純化形態顯現畫中永恆不變的立體空間，氣韻清新雅致，抒情而浪漫。

a. b.

147 ZHU CHUNLIN

朱春林

( Chinese, b.1968 )

a. 佳音 b. 雛菊

a. Good Tidings b. Daisy

2013 (2) a. 版畫 8/20 b. 版畫 9/20 a. 簽名：8/20 2013.2.1 春林 b. 簽名：9/20 2013.2.1 春林

a. 61.5x37cm b. 61x30cm a. Lithograph, 8/20 b. Lithograph, 9/20 a. Numbered 8/20, dated 2013.2.1, signed Chun-Lin in Chinese b. Numbered 9/20, dated 2013.2.1, signed Chun-Lin in Chinese

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

148 YU YOUREN ( Chinese, 1878-1964 )

Cursive Script Calligraphy 134.5x33.3cm Ink on Paper Inscribed and signed Yu You-Ren in Chinese With one seal of the artist

NT$ 260,000-360,000 US$ 8,600-11,900 于右任草書屬法水墨紙本款識：子雲先生于右任鈐印：右任 ( 朱文 ) 釋文：蓬生麻中，不扶自直，白沙在泥，與之皆黑。此司馬遷《史記》中語也。

于右任精於書法，其首創「標準草書」，更被譽為當代草聖，其草書將魏碑和小草書打通成一片，為碑學闢出一番新境界。觀其書法，字字皆能彰顯書如其人的瀟灑脫俗，造詣非凡。曾自言：「我感到每個字都有他的神妙處，但是，這種神妙，只有在寫草書時才有，若是寫其他字體，便失去了那種豪邁、奔放的逸趣。」《草書屬法》精氣內蓄，墨酣力足，予人以飽滿渾厚的感覺，揮灑自如的文字有如圖形般，優遊自在地組合，走筆如畫，酣暢淋漓，盡能展現于右任灑脫大氣之書寫。

ZHONG CHENG 中誠

149 YU YOUREN ( Chinese, 1878-1964 )

Cursive Script Calligraphy 142.5x38.5cm Ink on Paper Inscribed and signed Yu You-Ren in Chinese With one seal of the artist

NT$ 340,000-420,000 US$ 11,300-13,900 于右任題關右寺壁詩水墨紙本款識：棨錚先生正于右任鈐印：右任 ( 朱文 ) 釋文：欲掛衣冠神武門，先尋水竹渭南村。卻將舊斬樓蘭劍，買得黃牛教子孫。

于右任原名伯循，為近現代重要書法家、大政治家。早年以臨摹書帖為多，而後投入於蒐羅碑拓並專研碑體，其書風迥異於民初略僵硬的碑學書法，而充滿疏朗開闊的胸襟與行氣，其後更推廣草書的標準化與現代化，可為居功厥偉。嚴謹的結構與章法與樸實自然的運筆，都成為于右任雄健的風格，因而譽滿四海。其交遊往來者多，故贈與友人之書法作品頗豐。《題關右寺壁詩》中颯爽的行書磅礡大氣，而曾受東坡喜愛的題壁詩滿溢田園樸實之感，洗去官場肅穆氣息，而歸隱淡泊之志更令人心神嚮往。

MODERN AND CONTEMPOR ARY ART

150 TAI JINGNONG ( Taiwanese, 1902-1990 )

Calligraphy 131x34.5cm Ink on Paper Inscribed and signed Jing-Nong in Chinese With one seal of the artist

NT$ 200,000-300,000 US$ 6,600-10,000 臺靜農書法水墨紙本款識：澄心堂主人清正靜農鈐印：澹臺靜農 ( 白文 ) 釋文：莽莽乾坤醉未醒，停杯岸幘數殘星。笙歌轉眼繁華夢，都向蓮花漏裏聽。

臺靜農，本姓澹臺，字伯簡，幼承庭訓，讀經史，習書法，與魯迅、陳獨秀交情深厚。其《書法》以草書與行書混用，行雲流水又見雄健剛強，在細膩筆法下，別開蹊徑，自成一格。蔣勳曾稱其筆勢：「動勢的狂辣向往晚明，線條的起落和移動則來自于漢隸北碑，是頗為復雜的綜合。」率真又不失細膩的筆法，一如其性格，剛健狂狷與寬厚慈祥並存其中，單純而真誠。

ZHONG CHENG 中誠

151 WALASSE TING ( Chinese-American, 1929-2010 )

Guilin Scenery 50x68cm Acrylic on Paper With one seal of the artist

丁雄泉

丁雄泉，為國際聞名的詩人藝術家，於藝壇素有「採花大盜」

桂林山水

之盛名，其繪畫結合傳統水墨寫意勾勒，並受抽象主義繪畫

壓克力紙本鈐印：採花大盜 ( 朱文 )

手法的影響，形成獨特燦爛的繪畫藝術。亮麗的色彩、顏料的不羈多變、自由的揮灑及形象，並擁有豐沛的藝術內涵，散發抽象氣息，這些特質於丁雄泉作品中皆清晰可見，其絢

附畫廊開立之原作保證書

爛大膽的畫風之下，隱含濃厚的東方精神，藝術家於簡筆勾勒形象後，敷以燦爛瑰麗的色彩，描繪青翠山水的嫵媚，渲

With a certificate of authenticity from gallery

染大地的豐沛生機。

NT$ 700,000-800,000 US$ 23,200-26,500

寫意東方精神，流暢的線條勾勒出奇偉的崇山峻嶺，作品色

其作品繽紛多彩，視覺語言強烈而鮮明，《桂林山水》蘊含彩斑斕翠綠，奇峰樹立，更揮灑出有別於主流畫風之外的特殊風格。丁雄泉一生忠於自我的感受，率真豪邁，用顏色表現出奔放歡愉，流露出對生命的熱情與狂喜。飽和的色彩，來表現大地的氣息，色與色之間的對比呼應，色塊間自然滲透混合，融洽協調的清閒愜意，此般充滿田園式的風光情趣，映射出藝術家難得的恬適與清幽。

MODERN AND CONTEMPOR ARY ART

152 WALASSE TING ( Chinese-American, 1929-2010 )

Lying Nude 39x47cm Acrylic on Xuan Paper mounted on Canvas With one seal of the artist With a certificate of authenticity from gallery

NT$ 450,000-600,000 US$ 14,900-19,900 丁雄泉躺臥的裸女 1989 壓克力宣紙裱於畫布鈐印：採花大盜 ( 白文 ) 附畫廊開立之原作保證書

手持船票即遠赴巴黎的他，不畏窮苦隨即展現自身的獨道之姿，以東方墨韻在 1954 年即舉辦第一次的個展，引發轟動。依循表現主義、眼鏡蛇畫派等別出一格的形式作風，丁雄泉因而走向斑斕多彩、自由奔放的藝術歷程。隨世界潮流的走向，二戰之後丁氏輾轉赴美，成功搭上紐約第一波抽象表現主義、普普藝術運動，與當時同處紐約、抽象表現的藝術家們，如安迪沃荷等，共同浸盈在自由的藝術氛圍中；無拘無束的創作形式正符合他心性，其中以色彩的點點線線作為表述內在思緒的盡情揮灑，因其極富童趣詼諧風格與美國大眾文化不謀而合，自此大放異彩。70 年代投入美女、女體創作，濃烈筆調及盎然繽紛的色彩，丁雄泉如其人的豪爽性格，亦真誠的透過繪畫展現其情感。比照它幅女性姿勢大膽、性情豪放的作品，《躺臥的裸女》一頭靛藍秀髮帶點抑鬱神色，以穠纖之姿臥身倘徉於翠綠之中，行舉顯得內斂。如同丁氏自述，他的繪畫「很東方」，恣意勾勒出伏伏落落的墨線繪敘於宣紙，皴擦疊染成幽深廣博的綠意，點綴些許沉穩的紫，淌洩一股娟麗秀雅的風韻，實是展現出了東方韻致之美。

ZHONG CHENG 中誠

「巴黎美女如雲，依舊春風，依舊花枝，我山雨欲來風滿樓，落花水面皆文章。」

--- 丁雄泉

MODERN AND CONTEMPOR ARY ART

153 YUYU YANG ( Taiwanese, 1926-1997 )

Seagull 60x41x36cm Bronze, 17/20 Signed Yin-Feng in Chinese, dated 1967, numbered 17/20 With a certificate of authenticity from gallery

NT$ 100,000-200,000 US$ 3,300-6,600 楊英風海鷗 1967 銅雕 17/20 簽名：英風 67 17/20 附畫廊開立之原作保證書

楊英風於民國五十年代於豐年雜誌擔任美術編輯期間，曾親赴霧峰故宮博物院考察，臨摹了許多古代雕塑，深入研究殷商銅器上的紋飾，並進一步將殷商紋飾轉化應用於作品之上。此件《海鷗》是以一種較為簡化的手法表現出海鷗凌越於海浪之上的飛翔英姿，符號化的簡化線條勾勒出海鷗的型態，而下方則採用殷商銅器上常見的迴紋加以轉化表現出波瀾翻滾的狀態，使作品在現代簡約中又透出一種屬於中國藝術的況味。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

154 ENDRO ( Indonesian, b.1983 )

One Big Dream with You 120x100cm Oil on Canvas Signed Endro in English, dated 2015 Signed on the reverse: Endro and title in English, sized 100x120, oil on canvas With a certificate of authenticity from gallery

NT$ 140,000-240,000 US$ 4,600-8,000

ZHONG CHENG 中誠

安卓

安卓注視著人類心中最深層的夢境，那些朦朧

夢想與你同行

而模糊的樣子，是我們終日期盼卻又因著困境

2015 油彩畫布簽名：Endro 2015 背面簽名：Endro one big dream with you 100x120 oil on canvas

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。《夢想與你同行》中流動的思想瞬間被藝術家以精神性與心靈領悟與反芻般的狀態記錄下來，那不僅是滴流的當下，更是內心開展與變換的各種元素而

附畫廊開立之原作保證書

交疊出的某種樣貌。

MODERN AND CONTEMPOR ARY ART

155 ENDRO ( Indonesian, b.1983 )

Together Reaching For a Dream 200x300cm Oil on Canvas Signed Endro in English, dated 2015 Signed on the reverse: Endro and title in English, oil on canvas, sized 200x300, dated 2015

NT$ 360,000-480,000 US$ 11,900-15,900 安卓一起夢想 2015 油彩畫布簽名：Endro 2015 背面簽名：Endro together reaching for a dream oil on canvas 200x300 2015

生於印尼日惹，1998 年至 2001 年間於日惹藝術交流協會進行藝術研究，2001 年於日惹印尼藝術學校 (ISI) 進行藝術研究。為當代藝術家，活躍於印尼日惹。安卓的繪畫主題環繞著夢想和願望，並且善於利用模糊的背景與超現實細膩的寫實手法，加之明亮鮮豔的色彩變化，企圖尋求一種幻覺與現實的親近關係，以期將藝術內在的生命衝動對客觀世界做主觀化的關照。《一起夢想》中，安卓使用純色彩之間自然過渡的鮮明對比，突顯出畫面的層次感與空間感，營造出朦朧夢幻的絕美意境，藉此激發人們無窮的想像。前景比翼相偎的鳥隻，象徵著藝術家自身對於親密感情的投射；後景鮮花鮮豔欲滴、誇張綻放，透露的是其對於美好事物的追求與對人生的自我闡述，如詩如夢，從酣暢淋漓的筆觸變換中，讓人體會一種形色交互變幻的美感。而細緻鮮明的水滴環繞畫面，就像環繞在理想與慾望之間，令人分不清是現實抑或夢境，亦真亦假的幻夢之象，一切都模糊不清，就像夢想和遠景一樣。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

156 CHEN CHENGHSIUNG ( Taiwanese, b.1942 )

Lotus Guanyin 68x28x24cm Wood (One Work Only) Signed Chen Cheng-Hsiung in Chinese, dated 2008 With a certificate of authenticity from gallery

NT$ 650,000-1,000,000 US$ 21,600-33,200 陳正雄蓮華觀音 2008 牛樟木 ( 僅此一件 ) 簽名：陳正雄 2008 附畫廊開立之原作保證書

出生台南。鑽研雕刻近六十年，從深刻領略土地人文後，發展出獨特的風格，作品融合中國傳統、台灣佛雕、日本一刀雕及西方人體寫實於一爐，是近代東方將雕刻藝術集大成之第一人。於 1983 年獲「第六屆吳三連文藝獎」，1989 年更榮獲日本「雕刻大賞」之殊榮。《蓮華觀音》手持楊枝淨瓶，腳踏蓮華，面容慈藹沉靜，其姿儀悠閒自在，既神聖又慈祥的流露出肅穆莊嚴之氣度，可敬可親，以脫俗自在的姿態呈現善的本質，顯示聖潔、淳淨的菩提之心。陳正雄一刀一鑿將木頭靈魂帶入具體的形象之中，透過木頭的溫潤質感、刻鑿傳神的神情體現了蓮華觀音關愛眾生的慈悲情懷，細膩的衣裳皺褶、蓮花細部紋理如實呈現，展現出無窮的美學細節，刀斧在材料表面造成的結構意義，以及所產出的光影效果增添了雕塑與觀者情感觸動的連繫，雕塑作品一如藝術家本人，質樸自然又深具感染力。

ZHONG CHENG 中誠

157 CHEN CHENGHSIUNG

陳正雄

國內當代雕刻藝術家中，陳正雄無疑是一位為庶民

( Taiwanese, b.1942 )

自信

眾生創作的傑出藝術家，他直接簡潔、質樸自然地刻畫出庶民生命，也雕刻出自己的創作生命和成

Confidence

1998 銅 7/12 簽名：陳正雄 1998 12-7

90x55x59cm Bronze, 7/12 Signed Chen Cheng-Hsiung in Chinese, dated 1998, numbered 12-7 With a certificate of authenticity from gallery

就。其雕刻風格富含寫實的刀法與細膩的情感，一刀、一鑿慢慢將木頭靈魂解放，表現出具有張力、情感與溫度的作品。《自信》一作中可見陳氏用外

附畫廊開立之原作保證書

在嫻熟的刀法，傳達出雕刻對象內在的精神，質樸自然且細膩的人體線條，將東方人含蓄、優雅、堅毅與隱忍等特質順勢傳達而出，生動且令人動容。

NT$ 400,000-500,000 US$ 13,300-16,600

MODERN AND CONTEMPOR ARY ART

158 LIOU CHIHSIANG

劉啟祥

劉啟祥上公學校時受到美術老師的啟發，遂而開

( Taiwanese, 1910-1998 )

海邊

起繪畫的興趣。畢業後赴日求學，於 1928 年考入東京文化學院美術部洋畫科。1932 年與同窗

Seaside

1987 油彩畫布簽名：C.Liou 87

45.5x53cm Oil on Canvas Signed C.Liou. in English, dated 1987 ILLUSTRATED:

"Taiwan Fine Arts Series 11 - LIOU CHIHSIANG," Artist Publishing Co., Taipei Taiwan, 1993, Page 250

NT$ 250,000-350,000 US$ 8,300-11,600

ZHONG CHENG 中誠

好友楊三郎共赴歐洲習畫。1950 年代開始創作與自然景色相關寫生作品，採定點多次創作方式，並運用他所擅長的繪畫語言、畫面肌理與色

圖錄：《臺灣美術全集第 11 卷 - 劉啟祥》，藝術家出版社，臺灣台北，1993 年，第 250 頁

調豐富變化，重疊交替拓展出深入而開闊的視野。

159 LIOU CHIHSIANG

劉啟祥

劉啟祥上公學校時受到美術老師陳庚金的賞識，引發其學習繪畫的

( Taiwanese, 1910-1998 )

海景

興趣。畢業後即赴日就學，於 1928 年考入東京文化學院美術部洋畫科。1932 年與同窗好友楊三郎共赴歐洲習畫，以《紅衣》作品

Ocean

1985 油彩畫布簽名：C.Liou 85

60.5x72.5cm Oil on Canvas Signed C.Liou. in English, dated 1985 ILLUSTRATED:

"Taiwan Fine Arts Series 11 - LIOU CHIHSIANG," Artist Publishing Co., Taipei Taiwan, 1993, Page 175, Picture 127

NT$ 500,000-700,000 US$ 16,600-23,200

入選巴黎秋季沙龍，在國際藝壇間開始嶄露頭角。返台後，籌組「高雄美術研究會」、「台灣南部美術協會」，培育後進不遺餘力，對於推動南部美術發展有極大貢獻。

圖錄：《臺灣美術全集第 11 卷劉啟祥》，藝術家出版社，臺灣台北，1993 年，第 175 頁，圖127

劉啟祥性格安靜溫和內向，繪畫技法細膩而綿密，這種善解人意的個性也呈現於畫面上對周遭人物與環境濃郁的感情，從早年對愛妻細膩的讚美，鄉里農婦的勞動頌，到戰後遍訪群山，探索台灣山脈、海岸的精神與豔陽風采，他以自身成長的台灣為立足點，拓展出深入而開闊的藝術視野高度，也表達出其對於台灣這塊土地的珍惜愛護與寬容接納。此幅《海景》色彩與光影的變化表現俐落，畫面通過線的濃淡、剛柔、粗細、疏密的組合，色的冷暖、深淺、厚薄、虛實的變化，使其豐富多彩而不失典麗表現；寫意筆觸刻劃近景岩石，嶙峋礁岩陽剛雄渾的視覺映象，與遠景的蔚藍天空形成剛柔相濟的特色表現，流露出大自然最巧奪天工的景緻藝術，自然真實且深刻雋永，同時濃郁的暖色調亦為台灣遼闊壯麗的海岸風光作了最佳的理解。

MODERN AND CONTEMPOR ARY ART

160 YANG SANLANG ( Taiwanese, 1907-1995 )

Tianshan 45.5x53cm Oil on Canvas Signed S. Yang in English

NT$ 550,000-800,000 US$ 18,200-26,500 楊三郎天山油彩畫布簽名：S. Yang

楊三郎畢生追尋藝術之美，於藝壇中聲望崇高，是台灣極其重要的藝術家。曾離鄉背井、負笈至日本及法國留學，其後更入選法國秋季沙龍。楊三郎熱誠於推動台灣藝術，偕同顏水龍、陳澄波、李梅樹等美術界巨擘創立「台陽美術協會」，策劃籌備藝文展覽，網羅當時首屈一指的藝術家，成功推動了「台灣新美術運動」的發展，此後，楊三郎更有「台灣美術發展之父」的美譽。誠以雙眼如實所見所繪，大自然在光影的變化下煥采生輝，以金黃光燦的色調大面積刷出《天山》的雄偉壯闊，綴以藍白均衡了畫面的構成。綜覽全景，在藝術家厚實筆觸和絕佳色感塗佈下，植披翠綠疏朗，蔥鬱獨特的色調相互交錯，得以品味熟練技法所創造出的畫面深度與自然風貌。絢爛的光線與色彩，使觀者感受無盡的熱情；而提高彩度的效果，使其表現的印象派畫風更於富麗。大自然下的景物最能喚起楊三郎的內心悸動，而他的熱情如陽光般的綻放，渾厚一筆一觸畫出心中的風景。藝術家追求自然界的奧妙，探索生命中的感動，從實地寫生中，運用奔放的筆觸，將高山雄壯氣勢呈現出來。楊三郎在天空背景中表現精采的層次感，近景微妙的變化為畫中注入了幾許秋天的氣息。楊三郎一生奉行注重戶外寫生，著重日光、時序下的光影變化，更以大自然為師，用心揮動彩筆採擷大自然孕育出來千變萬化，輔以其厚實的寫生功底，踏出獨到、捕捉自然光影及充滿動態張力的繪畫之路。他始終誠信一個人若「置身大自然中，彼此將不斷產生相互的交流和觸動，這種直接的體驗，非實地置身其中，絕無他法可以代替。」而楊氏對於藝術推動更是不遺餘力，獲頒象徵藝術最高榮耀的「國家文化勳章」，其捕捉大自然瞬間感動的生命力、空間上的層次運用，得以透過作品深刻表現藝術家豐富的內在心靈。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

161 HUNG JUILIN ( Taiwanese, 1912-1996 )

Vase of Flowers 53x45.8cm Oil on Board Dated 1954.6, signed J.L. Hung in English

NT$ 600,000-800,000 US$ 19,900-26,500 洪瑞麟瓶花 1954 油彩木版簽名：1954.6. J. L. Hung

洪瑞麟為台灣早期赴日學習西洋繪畫的重要前輩藝術家之一。曾接受石川欽一郎老師的指導，在「台灣繪畫研究所」與張萬傳、陳德旺等人同學，學習素描。回到台灣，瑞芳煤礦工作，自此開始以礦工作為創作題材，建立出與眾不同的繪畫風格，又稱「礦工畫家」。此幅《瓶花》以寫實風格的油畫為主軸，深刻的筆觸與線條，詮釋出唯美內斂的靜物之美。花瓣用色輕柔，被瓶身襯托出淡雅的氣息，無疑給了濃厚的寧靜，在靜待下的綻放是有朝氣與自信的。透過筆觸及色彩真切流露出畢生堅忍性情與有感而發的情感，彷彿可感受到當下的氛圍存在，同時也讓觀者能更強烈地感受到生命在時間中的靜謐消逝和一種「逝者如斯」的對生命的感懷。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

162 KINICHIRO ISHIKAWA

石川欽一郎

石川欽一郎謂為「台灣美術啟蒙之父」，於日治時期

( Japanese, 1871-1945 )

富士山

委任來臺，任教台北師範學校，近乎二十年期間投身美術教育，一生作育英才。他尤其鍾愛寫生，經常以

Mount Fuji

水彩紙本簽名：ISHIKAWA KIN 鈐印：欽 ( 朱文 )

38.3x45.7cm Watercolor on Paper Signed ISHIKAWA KIN in English With one seal of the artist

NT$ 400,000-500,000 US$ 13,300-16,600

自然景致及民俗古蹟為主軸；依隨自然的變幻莫測，抓住霎時而走的光影斑斕，並強調時間的重要性，因此石川的作畫速度迅疾，亦展現了其熟稔媒材特性的深厚底蘊，將水與顏彩的揮灑淋漓盡致；濃淡乾濕之筆點點繪敘，繁盛草木呼之而出，隱身其中的一處人家旁矗繽紛落櫻，卻不喧賓奪主。石川將一己之情寄於富士山之中，清新脫俗亦高不可攀；通透而明麗的色彩變化貫穿其創作，雲深之處典雅悠逸的情誼自適淌洩而出。

ZHONG CHENG 中誠

163 YEH HUOCHENG ( Taiwanese, 1908-1993 )

Sea Scenery 45.5x53cm Oil on Canvas Signed Huo-Cheng in Chinese

葉火城

1908 年出生於台中豐原，1928 年畢業於台北第二師範學校，畢

海景

業後長期從事於教育工作，作育無數英才。擅長風景油畫，最喜

油彩畫布簽名：火城

描繪岩石、山崖及海景，尤在岩石的處理上有其獨到之處，加上用色多樣豐富，被譽為「岩石之父」。構圖嚴謹，筆調輕怡而不浮華，真誠表達心中嚮往的永恆之境及沉穩動人的誠摯情感。

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

MODERN AND CONTEMPOR ARY ART

164 LIN SHIENMAO ( Taiwanese, b.1955 )

Alishan Mountain Sunrise 53x65cm Oil on Canvas Signed Shien-Mao in English, dated 2015 Signed on the reverse: Shien-Mao in English and Chinese, dated 2015 With a certificate of authenticity signed by the artist

NT$ 160,000-220,000 US$ 5,300-7,300 林憲茂阿里山日出 2015 油彩畫布簽名：Shien Mao 2015 背面簽名：Shien Mao 2015 林憲茂附藝術家親簽保證書

林憲茂擺脫醫生世家的禁錮，突破籓籬、自學繪畫，秉著堅強的意志力走上藝術創作的路途，曾多次入選省展及舉辦多場個展，足跡遍及歐美、中南美、俄羅斯等 40 餘國，並在德國、日本、韓國、中國、香港等做國際交流展，也曾任台灣中部美術協會、國際藝術協會等之評審。畫家曾如此描述其創作意念：「當同一形式的畫法到達某一階段，思考方式無形中就會開始轉變，我想，一個繪畫方式的轉變，是出自於一個理念的改變，之後表達方式隨之改變，雖然觀賞者或許看到的好像是我不意中的揮灑筆觸，卻是我經過一番思慮過後的理念表達。」《阿里山日出》畫面光線氤氳灑落，光明與陰影恰如其分地調和，平塗的藍色和白色塗料巧妙地突顯山勢背景，亮系色彩則為大地生機盎然之景做出最好的詮釋，阿里山之大美就此不言而喻。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

165 LIN SHIENMAO ( Taiwanese, b.1955 )

Serissa 72.5x60.5cm Oil on Canvas Signed Shien-Mao in English, dated 2015 Signed on the reverse: Lin Shien-Mao in English and Chinese, dated 2015 With a certificate of authenticity signed by the artist

NT$ 220,000-280,000 US$ 7,300-9,300 林憲茂滿天星 2015 油彩畫布簽名：Shien Mao 2015 背面簽名：Shien Mao 2015 林憲茂附藝術家親簽保證書

「藝術不一定是美，有時候我喜歡怪異荒誕的解放，我也喜歡能夠挑動人的視覺神經的藝術效果。」

--- 林憲茂林憲茂是一位才華洋溢的藝術家，在心靈層面追求不斷的提升與契合，並依循著生活體驗，將其感悟融入於作品之中，隨著時間的流逝對於美的歷練再加以進化，並以他獨有的抒情感知，鋪陳出個人內在精神與美感經驗。《滿天星》瀟灑揮筆，見其花色卻不見其形，豐盈聚集、飽滿盛放，灑脫中卻帶有柔和感，其大膽用色亦顯露浪漫綺麗之風格。藝術家以卓越的繪畫技巧加上執著的態度，創作出許多暢快淋漓的作品。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

166 LIN SHIENMAO ( Taiwanese, b.1955 )

Carp Series 97x162cm Oil on Canvas Signed Shien-Mao in English, dated 2015 Signed on the reverse: Lin Shien-Mao in English and Chinese, dated 25.08.2015 With a certificate of authenticity signed by the artist

NT$ 900,000-1,200,000 US$ 29,900-39,800 林憲茂鯉漾系列 2015 油彩畫布簽名：Shien Mao 2015 背面簽名：Shien Mao 25.08.2015 林憲茂附藝術家親簽保證書

林憲茂的繪畫在細膩靈動的表現技巧之下，充滿情感與精神上的審美和諧韻律，而輕柔朦朧的畫面，更使觀者優游神往於鯉漾的豐沛生命力，與悠揚的生機。豐富的色彩及生動的線條，讓自由奔放的筆觸捕捉光影的動態美感，整體呈現出具有獨立的審美形式，並以湧動疊身，襯托鯉漾之情。而喜愛藝術的林憲茂，為了走向創作的道路，花了大半生時光寫生，足跡遍及各大洲，以廣闊的視野與詩意的繪畫，將內心的情感表露於抽象的色料光影間，「在一種潛意識的狀態下，釋放被理性埋沒的真實感情；尋求自我根源性的回歸。」林憲茂如是說。鯉魚之漾和諧的靈動與生機，在繪畫中解放了一切形體的侷限，展現超脫的靈動生命力。《鯉漾系列》「鯉」和「利」有「得利」美好寓意，晶瑩水花中強勁有力的生命漾動，將生命波折動盪，化作筆下蘊含詩意形象，錦鯉靜伏波光粼粼水面之下，斑斕色彩月光照映，渲染出如潑墨般美感，將畫家對人生的眷慕情愫，在如夢似幻清澈水面，留予明月凝視羣魚之中。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

167 WANG YUNHE ( Chinese, 1939-2007 )

Revolving Rain 78.5x53.5cm Watercolor on Paper Signed Yun-He in Chinese, dated 2000

NT$ 380,000-480,000 US$ 12,600-15,900 王雲鶴驟雨迴韻 2000 水彩紙本簽名：云鶴 2000

王雲鶴致力於西畫創作，崇尚以神寫形、美在天趣，是其藝術感悟和創作宗旨，歷任上海海風油畫會會長、上海華夏書畫院副院長、上海電視台動畫製片廠副廠長，而其作品廣為中國美術館、上海美術館、劉海粟美術館、及海內外收藏家收藏。《驟雨迴韻》朦朧雅致，瀰漫著微雨輕拂城市的氣息，輕柔而如夢似幻，劉海粟美術館展序寫道：「他的畫筆將上海的千嬌百媚，婀娜多姿，清新活潑，宏觀豁達，繁榮律動等等的景象表現得淋漓盡致。」而藝術家善以抽象與具象相互為用，以彩筆捕捉城市裡剎那間的美感，在此展露無遺，車水馬龍的城市裡，午後的驟雨洗刷世事的塵埃，而內心所見的心象風景更為清亮而有韻致，都市畫面縱橫交錯的線條，疏密的色塊並置與交疊，揮灑自然而頗具迴環輪轉的韻律，在城市裏穿梭流動不息。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

168 WANG YUNHE ( Chinese, 1939-2007 )

City Scene 54x75.5cm Watercolor on Paper Signed Yun-He in Chinese, dated 2004

NT$ 380,000-480,000 US$ 12,600-15,900 王雲鶴恢弘城市心像 2004 水彩紙本簽名：云鶴 2004

王雲鶴生於中國浙江，後遷居上海，自幼跟隨教會英籍教師習畫，一生致力於西畫創作，作品風格創新，氣勢非凡，於藝壇被稱為「畫城市中國第一人」。其「畫即心象，畫如其人。」在疏密有致的筆觸間，展現獨具時代氣息的都市情懷。在棋羅密佈的網格之中，《恢弘城市心像》源自藝術家情感的流露，「我對上海的街道、建築、生活、節奏，情有獨鍾，從外灘至南京路、從黃浦江到蘇州河、從南市老城廂到西區的林蔭道。我畫都市題材，終於發現了適合我，也適合表現上海的繪畫形式、語彙，用點、線、面、色塊交織出一幅幅都市交響曲。」澎湃恢弘而大器的格局、繁榮似錦而富有韻律的集結，將大城市繽紛的點滴匯聚成心頭活水，王雲鶴彩繪鋪陳清朗地都市意象，頗富有活力與朝氣。

100

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

101

169 JU MING ( Taiwanese, b.1938 )

Guangong 61x32x30.5cm Bronze, 25/30 Signed Ju Ming in Chinese, numbered 25/30 With a certificate issued by the Non-profit Organization of Ju Ming Culture and Education Foundation

NT$ 1,400,000-2,000,000 US$ 46,400-66,400 朱銘關公青銅 25/30 簽名：朱銘 25-30 附財團法人朱銘文教基金會作品鑑定報告書

「朱銘的成就，其時還不只在於他的作品所呈現的懾人力量和美感，重要的是，他比當世任何一位華裔雕塑家，更睿智地發現他自身的文化傳統，是創造一種有效語言的自然、甚至可說是必然的泉源，而這語言，是當代的，也是中國的。」 --- 牛津大學美術史學家蘇立文 (Michael Sullivan)

目。早年在父親帶領下向雕刻師傅李金川拜

習達到成就，一定要用這種修行的方法，讓自己的本性發揮在作品上面。」朱銘從生活中汲

師，學習傳統廟宇雕刻與繪畫，踏入了木雕世

取各種生命經驗的想像，順其自然，培養創作

界習得精湛熟練的木雕技巧；30 歲時毛遂自

的生活習慣，同時經營本性自我開發，融會貫

薦向楊英風為師，並承續了楊英風的創作精髓

通、隨心所欲，順而發展出其自身獨有的雕刻

與現代雕塑概念，再融合傳統民間木雕深厚底

藝術語彙。

朱銘為舉足輕重的東方藝術大師，深受國際矚

蘊與現代雕塑概念，從中體會自然萬物、大氣運行的力道與蘊涵，內化為個人思想體系後，表諸於創作上。創作上勇於嘗新，作品剛毅中流露著綿延氣韻，沉穩持重，擁有豐厚的質感與量感。

102

ZHONG CHENG 中誠

關公在整個華人世界中，廣受推崇，進而成為一種信仰與精神象徵。其忠誠、氣節、激揚人間之義，凝聚成一種堅毅不摧的力量，因而成為重情重諾的人物象徵。此件《關公》形塑人物氣態英姿，表面棱角轉折而委婉，當中的幾

如同修行般，「藝術即修行」是朱銘對於創作

何平面元素更使得作品具有生動之感，幾何塊

的體悟，也是他的畢生信仰，曾自言：「藝術

面之前後交疊，充滿厚重體量感及立體感；而

不是臨到要畫的時候才開始構思、想一想才做

刀擢鑿刻的線條表現之處，流暢自然，絲毫不

一樣，這樣是做不起來的。一定要從最根柢的

見刻意修飾的痕跡，與此同時也著重表情及動

地方徹底改變，我稱之為『移轉工程』，也就

作的刻劃，更以豐富的肌理語彙，塑造出神態

是古人所謂的『脫胎換骨』。藝術無法通過學

生動富有力量的藝術形象。

MODERN AND CONTEMPOR ARY ART

103

170 JU MING ( Taiwanese, b.1938 )

Living World Series – Swimming 105x69x26cm Stainless Steel, 2/8 Signed Ju Ming in Chinese, dated 2009, numbered 2/8 With a certificate of authenticity from Kalos Gallery

NT$ 1,200,000-1,800,000 US$ 39,800-59,700 朱銘人間系列 - 游泳 2009 不銹鋼 2/8 簽名：朱銘 09 2/8 附真善美畫廊開立之原作保證書

朱銘在藝術創作的領域之中，融會傳統技術與現代雕塑的精神，以具人文情懷、又具生活情調的創造者姿態，將其充滿旺盛創造力的謬思刻劃，人物形象活潑，蘊藏著質樸淳厚的生命本真。藝術家在寫實與抽象間轉換、於理性與感性中展現姿態，《人間系列－游泳》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裡，以細膩的感觸琢磨，將女子柔性婉約、動姿透過朱銘精湛功力刻畫出來，極具自然生動的立體感。朱銘《人間系列－游泳》展現了在不鏽鋼材質創作的新思考、新表現。透過不鏽鋼表面反射白皙光澤的特性，更顯曼妙、輕盈。此系列作品，朱銘巧妙結合了細膩的表體質感且富有戲劇性的動作，讓雕塑體感與材質特性彼此呼應，將愉快氣息注入人像裡，優雅的動作瞬間，凝結住艷陽下歡愉玩水情緻。《人間系列－游泳》以細膩的處理方法傳達出，不鏽鋼經過打磨、拋光後特有的優雅線條及冷冽光澤，顯現出人體細膩膚質與優美線條。藝術家善於發揮各種材質的特性，不僅具有很強的現代感，繼承中國傳統雕刻精髓，創造出與自然渾然一體的精神境界。朱銘以較為現代感的觀點，用之以詮釋出對現代女性的想像，大方的舉手投足間展露出健美的身體線條，充分地散發自信與生動的肢體語言。朱銘透過多樣的材質、富有趣味的形式，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、所體會到之風華絕代繽紛形色人間。

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MODERN AND CONTEMPOR ARY ART

105

171 HUANG BINHONG ( Chinese, 1865-1955 )

Couplet Calligraphy 147.5x27.3cm (2) Ink on Paper Inscribed and signed Bin-Hong in Chinese With three seals of the artist

NT$ 1,200,000-1,800,000 US$ 39,800-59,700 黃賓虹篆書七言聯 1946 水墨紙本款識：丙戌賓虹集古籀書鈐印：冰上鴻飛館 ( 朱文 )、黃質賓虹 ( 白文 )、黃山山中人 ( 朱文 ) 釋文：平章蘭蕙香千畹，寢饋圖書富百城。

黃賓虹為近代山水書畫名家，生於浙江金華，曾任上海博物館董事、故宮古物鑑定委員，以及任教杭州國立藝專。後任中國美術家協會華東分會副主席，近現代繪畫史上，有「南黃北齊」之說，可見其地位崇高，黃賓虹對於傳統藝術文化領域貢獻良多，兼長詩文、書法，且工金石文字、篆刻，在山水畫自成一家外；對金石學研究深入，書法用筆如作篆籀，剛健洗練、遒勁有力，而行筆謹嚴之處，亦頗有縱橫奇峭之趣。奠基於傳統之上，進而融鑄自身學養風格，是承先啟後的一代大師。而黃賓虹的書法源自致力於璽印文字刻印與考據，《賓虹草堂璽印釋文》序文中王福庵寫道：「先生嘗謂以古璽印與卜辭、金文、古陶、木簡相印證，更明籀篆嬗變之跡，經籍迻寫之源，觸類旁通，時多弋獲」旁引博徵諸多銘文，是以「融天機於自得，會群妙於一心」的集古籀書之大成，其字古拙淡雅，並頗具自然植枝延展的枯瘦之美，內蘊質樸率真、透露出飽含詩書的氣韻，筆法五筆「平、圓、留、重、變」運筆平緩、圓融渾厚、迴留沉著、字質穩重、變化古法等，皆可見黃賓虹之藝術思想理論通古用今，而更增字裏行間詩書煥發的神采，轉折亦具枯藤墜石之險趣，其道：「吾嘗以山水作字」自年少時期即勤臨碑帖、鐘鼎銘文，道法自然而清逸，剛勁鐵骨內具，成就其書法奇絕而內美的風貌。

106

ZHONG CHENG 中誠

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

172 HU CHUNGHSIEN,CHANG DAQIAN, TAI JINGNONG, MI SOU ( Taiwanese, 1912-1989 ) ( Taiwanese, 1899-1983 ) ( Taiwanese, 1902-1990 ) ( Taiwanese, 1897-1987)

Composite Picture a. 50.3x40.3cm b. 50.3x40.5cm c. 50.3x40.1cm d. 50.3x41cm e. 40.5x50.5cm f . 50.8x40.5cm Photograph on Gelatin Silver Print (6) a. b. c. d. e. f. Inscribed in Chinese a. c. d. e. f. With two seals of the artist b. With three seals of the artist

NT$ 700,000-1,000,000 US$ 23,200-33,200

胡崇賢張大千臺靜農米叟胡崇賢攝影集錦 b. 1982 e. 1982 銀鹽相紙 (6) a. 款識：千年老幹屈如鐵一夜東風都作花胡崇賢攝臺靜農題以明人句鈐印：臺靜農 ( 白文 )、靜者 ( 朱文 ) b. 款識：摩耶精舍影娥池上江梅初放崇賢兄賞讚不止為攝影留念題奉建華老友補辭七十一年壬戌元月大千弟張爰鈐印：崇賢 ( 朱文 )、張爰 ( 白文 )、大千居士 ( 朱文 ) c. 款識：疏影橫斜暗香浮動胡崇賢攝臺靜農題書龍坡鈐印：臺靜農 ( 白文 )、靜者 ( 朱文 ) d. 款識：摩耶精舍清供胡崇賢攝製臺靜農題書龍坡丈室鈐印：臺靜農 ( 白文 )、靜者 ( 朱文 ) e. 款識：蠟梅水仙品在百花之上台灣於此品黃山谷詩云山礬弟梅是兄即指蠟梅也崇賢攝此後人如見故友可感也人生兩甲子合年立春双千載難逢日嘉年最吉祥米叟定山時年八十六鈐印：柳厂 ( 朱文 )、定山 ( 朱文 ) f. 款識：蠟蒂團赭玉文英簇綘綃秋來結佳果珍味不須調胡崇賢設製題以白陽詩靜農鈐印：臺靜農 ( 白文 )、靜者 ( 朱文 ) MODERN AND CONTEMPOR ARY ART

107

173 WANG LINYI ( Chinese, 1908-1997 )

Struggle 27x38.7x17.5cm Bronze Signed Wang Lin-Yi in Chinese EXHIBITION: ''Cross-Strait Sculpture Exchange Exhibition,'' Taipei Taiwan, 1993 With two photos of the artist and artwork

NT$ 1,200,000-1,500,000 US$ 39,800-49,800

108

ZHONG CHENG 中誠

王臨乙奮力銅簽名：王臨乙展覽：「海峽兩岸雕塑藝術交流展」，台灣台北，1993 年附藝術家與作品之合影

王臨乙，生於上海，為近代雕塑家及中國美術教育家，對於開拓現代雕塑藝術、美術教學，貢獻良多，曾任中央美院教授及系主任。早年 1927 曾在南京中央大學藝術系隨徐悲鴻學畫，後赴法國里昂美術學校，1931 年進入巴黎高等美術學院雕塑家 Bauchard 的工作室學習。在返國後，致力於美術教育，北平藝專、重慶藝專、中央美院皆有其執教陶冶的痕跡。在 20 世紀，遠赴西洋的雕塑家熟習肖像塑造、及紀念碑建造的方法，藝術家對於古典寫實之雕塑的引進，和均衡的美學精神加以融入中國近現代雕塑之中，而王臨乙對於傳統雕塑的深研、與民間藝術的傳承不遺餘力，從莊嚴塑像到走入生活的樸實工匠作品，巧妙的融合自古希臘到法國浪漫主義的人文精神，更展顯東方深厚素樸的簡練底蘊，而如藝術家恬淡的性格一般，彰顯人性的光輝與豐富的精神世界。在雕塑藝術創作上引進西學、融匯傳統，以及參與大型浮雕的製作，借鑑了中國傳統壁畫和浮雕的藝術表現手法，王臨乙在大型作品計畫的參與更是建樹頗豐。此件《奮力》作品充分表現了力量與聯結的造型，動勢之間展現合作團結的奮力之美，質樸的創作手法未經過多雕飾，而自然平實的傳達人們奮力勞作的日常之景，是藝術形式、日常內容、人類情感的綜合表現，雕刻呈現對材料的洞識、生活的體察、社會的訊息和命運的見解，表現人們群聚活動，詮釋他們內心的聯結、情感的觸動。身為是中國第一代雕塑家，王臨乙參與過大型紀念碑浮雕的創作，而他與妻子王合內長達六十年的婚姻，更是充滿傳奇色彩，感人至深。藝壇佳偶賢伉儷對中國古代雕塑的鑽研，以及對中西藝術融合的努力，令人稱道。在法學習期間，王臨乙潛心鑽研，可謂深諳西方雕塑藝術精髓，而在中國古代藝術方面，尤對塑俑與漢代石刻的研究，有極高的造詣，雕塑作品可作為中西雕塑融合的典範。藝術家以嚴謹的造型、準確的結構，生動地表現出日常樸實的形象，以沉穩的手法和結構，整體造型具有東方質樸的神韻，並融入深厚西方古典寫實雕塑的藝術風格。

藝術家王臨乙、王合內夫妻與作品合照 Artist Wang Linyi and his wife

MODERN AND CONTEMPOR ARY ART

109

174 XU GUOFENG

許國峰

( Taiwanese, 1951-2006 )

正氣

Righteousness

1992 銅 ( 僅此一件 ) 簽名：國峰 '92

90x55x50cm Bronze (One Work Only) Signed Guo-Feng in Chinese, dated 1992 ILLUSTRATED:

''Xu Guo-Feng's Sculpture Exhibition,'' Taichung City Cultural Center, Taichung Taiwan, 1993, Page 19 ''The Selection of Taiwan Woodcarving Master,'' Sculpture Art Publishing House, Taichung Taiwan, 1995, Page 456

圖錄：《許國峰雕刻展》，台中市立文化中心，台灣台中，1993 年，第 19 頁《台灣木雕名家選輯》，雕塑藝術出版社，台灣台中，1995，第 456 頁

NT$ 550,000-650,000 US$ 18,200-21,600

許國峰十四歲拜師朱銘，出師後自立門戶，從事雕刻二十七年。朱銘稱他是所有弟子中最有「藝術家」氣息者，兩人情誼深厚。曾任中部雕塑協會會員、台中市露天雕塑大展籌備委員、前三采藝術中心主任等。在中部美展、全省美展、合陽美展等國內具有權威性的美展中得獎。尤其是全省美展中獲獎的「牽豬哥」作品，更是膾炙人口；也舉辦過個展，功力備受肯定。許國峰的作品從朱銘傳統木雕的學習中奠下相當扎實的技法，憑著天份與努力孕育出屬於自己獨特的創作面貌與風格。最讓人感動的就是人物的表情刻劃細膩，表現了雕刻藝術的精髓－「傳神」，對於內心的神思，拿捏恰到好處，此件《正氣》在他的雕刻創作下，顯得特別傳神，神情總使觀者覺得維妙維肖，彷彿就是耳熟能詳的人一般。許國峰的作品總能在樸實無繁中自成一格，彷彿為素材注入一股寧靜而蓄勢待發的生命力。尤在線條、平面、質地、顏色以及動態的處理上，更是自然地表現出流暢感，以毫不生硬且內斂成熟的雕塑手法，使作品在視覺與觸覺之間，達成一種完美的感知平衡。同時也帶給觀者視覺上的象徵符號與線索，賦予每件作品涵納不同詮釋的樂趣與自由。

110

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

111

175 WU HSUEHJANG ( Taiwanese, 1923-2013 )

Orchid and Stone 68.5x45cm Ink and Color on Paper Inscribed in Chinese With three seals of the artist PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua ILLUSTRATED:

''Paintings By Wu Hsueh-Jang 1946-1993,'' Tunghai University, Taichung Taiwan, 1994, Page 16

吳學讓春蘭壽石 1988 彩墨紙本款識：春蘭末了夏蘭開萬事催人莫要獃閱盡榮枯是盆盎幾回拔去幾回栽戊辰之冬退白於遲悟軒鈐印：我蜀人也 ( 朱文 )、吳學讓 ( 白文 )、退伯 ( 朱文 ) 來源：席德進基金會創會董事長盧精華收藏圖錄：《吳學讓七十回顧展》，東海大學，台灣台中，1994 年，第 16 頁

EXHIBITION:

''International Ink Painting Exhibition,'' National Museum of Taiwan History, Tainan Taiwan, 1982

NT$ 650,000-800,000 US$ 21,600-26,500

展覽：「國際水墨畫聯展」，國立臺灣歷史博物館，台灣台南， 1982 年

吳學讓的創作風格轉折約略可以分為幾個階段，首先是

而吳學讓之《春蘭壽石》力求突破傳統水墨之技法，兼

在古典風格的接續與改造上：早期以傳統題材為主的創

善工筆與寫意，以線描筆法應物象形，加之雙鉤填彩畫

作，除了展現出其自身在寫意山水、花卉、工筆花鳥、

法，形塑強勁有力、內蘊質樸的線條，蘭花或含苞或綻

草蟲等各科兼備外，其他無論是篆刻或書法，也在在顯

放，蘭葉流暢而柔軟，對比一旁的雅石寫意畫法，姿態

示出他對於傳統長期以來深刻的浸淫與體會，而如此深

奇峭、欹毫逼真，整體畫面設色清雅，濃淡對應相趣，

厚的基礎對日後邁向現代之路，有著極大的影響。其次，是六○年代初所進行的現代性的嘗試與挑戰：從 1967 年前後起，開始由純然的傳統逐漸擺向現代，運用了幾何圖形來暗示具體物象，並且融合書法性的線條與篆刻佈白的構圖，開啟了他一系列半抽象的「新派繪畫」。為增加創作語彙的豐富度，吳氏始終未排斥其他非傳統技法的大膽試驗，由此開闢出九○年代後，統和生命經驗

112

筆韻生靈活潑又典雅芬芳。整幅畫作略染墨色，渾然天成，留白處配以詩句書法，更能顯示藝術家其文人的內在韻涵與個人繪畫風格。同為杭州藝專的同窗好友席德進曾如此讚賞他：「吳學讓有很深厚的國畫基礎，不管是工筆、白描、山水、花鳥，都在他十餘年的鍛鍊之下，達到相當精湛的水準。……最難能可貴的是形成了自己

的第三階段創作：在此時期，他創作吸取的靈感，上溯

的思想，找到了表現自己語言的符號，擺脫古人，把自

至中國商周青銅銘文與新石器彩陶蛙文的圖騰飾紋之上，

己提升到一個成功的畫家之列。」吳氏融會傳統與現代，

藉此將離家大半世紀而積醞內心的深沉情感，在這從心

勇於在其中找出屬於自己的水墨創作語彙，不僅擺脫了

所欲之年一股腦兒地傾洩而出，凝聚在大尺幅的原始圖

古人的禁錮，也為其自身發展而出的「東方幾何」繪畫

文創作上，畫風深奧精緻，讓人難忘。

風格走出了一條創新的康莊大道。

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

113

176 WU HSUEHJANG

吳學讓

( Taiwanese, 1923-2013 )

盼

Hope

彩墨壓克力紙本簽名：退伯鈐印：吳 ( 朱文 )

45x69cm Ink and Color, Acrylic on Paper Signed Tui-Bo in Chinese With one seal of the artist PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua ILLUSTRATED:

''Journey of Native Land Through Dreams - A Retrospective of Hsueh-Jang Wu at the Age of Eightieth,'' National Museum of History, Taipei Taiwan, 2004, Page 153 EXHIBITION:

''Journey of Native Land Through Dreams - A Retrospective of Hsueh-Jang Wu at the Age of Eightieth,'' National Museum of History, Taipei Taiwan, June 4th - July 15th, 2004

來源：席德進基金會創會董事長盧精華收藏圖錄：《故國神遊：吳學讓八十回顧展》，國立歷史博物館，台灣台北，2004 年，第 153 頁展覽：「故國神遊：吳學讓八十回顧展」，國立歷史博物館，台灣台北，2004 年 6 月 4 日至 7 月 15 日

NT$ 450,000-550,000 US$ 14,900-18,200

在戰後迄今的台灣水墨畫壇中，吳學讓可說是一位極少見、能兼擅傳統、寫生與現代風格的藝術家，如此豐富而多元的創作閱歷，反映其開闊包容的人生觀與藝術哲學，超越偏狹的個人主義、國族主義與文化中心主義。吳學讓在不斷接觸、吸收、實驗、融合及轉化的多重過程中，確立現代繪畫的創作方向，並藉此超越自我，綜觀其一生的繪畫經歷，可看作是一種具循環性、周而復始的創作再生過程，透過傳統、寫生與現代等不同風格手法時而並立、時而交融，最終就像是滾雪球般，匯聚成堅實、多層次及形象鮮明的個人風格。吳學讓在傳統的中國畫底蘊之下有很深厚的基礎，從進入杭州藝專時師承潘天壽和鄭午昌等名師開始，專研國畫技法，後又受吳昌碩及傅抱石等名家的影響，因而在花鳥、草蟲、鱗介、山水、工筆或寫意創作，均有一氣呵成的流暢表現。而於 1967 年開始受到現代藝術潮流的衝擊和中國畫現代化運動的鼓勵，在繪畫思想上起了很大的轉變，不僅嘗試以書法、篆刻及金石、碑版、青銅器紋飾、銘文表現於畫面上，力求突破並

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營造出一種不同於西方的現代趣味的個人風格，同時還創造了

此幅《盼》中，鳥隻形象經由藝術家的抽象化，再以書法的線

幾種符號來表現現代人與社會家庭種種人際關係，其又喜好以

條和篆刻的布局原理，組成或方、或圓、或角的整體結構，表

禽鳥各種姿態來象徵人類，因而呈現出一種幻想與幽默感的作

達了一種原始的古典的裝飾趣味。大小胖瘦不一的鳥隻，以勁

品，建立起了他強烈的個人畫風。

樸的墨線勾勒出來，時而相互重疊，時而相互依靠，藉由兒童繪畫中的擬人法、透明法、誇張法、排列法等方式交織出溫馨

關於新繪畫的創作與變化，吳學讓曾如此自白：「我對傳統

愉悅的畫面與情趣；在重疊交錯的塊面中或賦以色彩，或染以

的花鳥已感到厭倦，在多年的教畫中，我對兒童畫發生了興

淡墨，讓這個溫暖的動物家庭與天地自然融合為一。吳學讓一

趣。……借用了這種想法，發展成一個最簡單的形來構成、組

生中輾轉奔波，歷經無數漂泊與親情、土地離散的痛苦，而這

合，加以變化，漸漸走上了這個路子。」吳學讓一路從省立嘉

些痛苦不僅並未對其造成負面影響，更積極備轉化成藝術創作

義中學、花蓮師範、花蓮女中、桃園中學、台北女子師範，至

的動能，豐富了作品中的人文內涵，如其杭州藝專的同窗好友

應聘東海大學美術系教授，一生孜孜不倦，不僅造就了許多美

席德進所言：「吳學讓幻想的童話世界中，充滿了家庭的歡樂。

術英才，同時師範學校中的美術教育的現場亦激發出他對於藝

那些鳥兒家族，擬人般地表現出牠們是一個社會，相互的關聯。

術的純真性想法，遂開起其水墨畫的現代化改革之路，以及自

以他的愛心，天生的善良本性，純潔的胸懷，創造了他畫中的

我風貌的形塑改變。而兒童純真原始的元素汲取，也正是吳學

角色，因此，他也借這個有形的繪畫，來傳達他內心的信息。」

讓在繪畫創作上趨於反璞歸真的最大表現，於是家庭、童趣等

吳氏對於家人相偎相依、永不分離的親情聯繫，以及對家庭價

等的這些題材，成為其抒發筆墨情懷的昇華。

值的根本信念與此同時亦彰顯無遺。

MODERN AND CONTEMPOR ARY ART

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177 WU HSUEHJANG

吳學讓滿庭芳香

( Taiwanese, 1923-2013 )

1989 彩墨紙本款識：己巳元月退伯鈐印：吳氏 ( 朱文 )、退伯之印 ( 白文 )、美意延年 ( 白文 )

Aroma of Fresh Flowers 46x69cm Ink and Color on Paper Inscribed and signed Tui-Bo in Chinese With three seals of the artist

來源：席德進基金會創會董事長盧精華收藏

PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 450,000-550,000 US$ 14,900-18,200

「對吳學讓而言，『傳統』」非但不是沉重、欲棄之而後快的包袱，反倒成為他創作上的滋養和不斷前進的動力來源，這雖與他的水墨養成背景有關，但卻也構成了其後在水墨創新上的基本主調。在傳統領域上曾經扎下如此深厚的根基，卻不妨礙其跳脫既有窠臼、另闢蹊徑的勇氣與決心，如此藝術家風範，在古典的傳承和再造上，吳學讓是難得的。」 --- 東海大學美術系副教授李思賢吳學讓，字退伯，身為他的同儕好友的藝術家席德進曾如此對此與他開玩笑說：「我進，你退！」而吳學讓則徐徐地回應：「我這是以退為進。」讓席德進愣在當場，成為藝壇趣聞。吳學讓於 1924 年生於四川，長於耕讀之家，自幼學養淵博、繪畫功底深厚，就讀杭州藝專時期便立志以水墨創作做為終生職志，是台灣少數曾請益過於黃賓虹、溥心畬、潘天壽、傅抱石、李可染、鄭午昌、諸樂三、陳之佛，吳茀之等名師的藝術家。吳學讓始終延續著水墨美學的底蘊，同時堅持著開拓藝術新局的決心，悠遊於傳統與現代、古典與抽象，世人皆有目共睹其藝術上的成就。不僅如此，他為台灣美術界默默耕耘、貢獻四十餘年，受教弟子萬餘人，都公認他教學誠悃、認真、踏實、樂於協助學生，是台灣當代及受學生愛戴與推崇的美術教育學家。《滿庭芳香》品味高雅，香溢綻放，吳氏先以淡彩描繪再以濃墨粗筆鉤劃線條厚重有勁的書法線條，紮實而有力地把水仙架構起來，繁繁複複密集的墨線，與一列淡雅的花朵相映成趣，雖然畫的只是兩叢水仙，但卻穩斂而蒼潤，與《春蘭壽石》(Lot175) 相較，一工筆、一寫意，一精斂、一粗放，雖是完全不同的外相與風格，但用筆之簡練，墨韻之溫厚，造形之優雅則是一致的。吳學讓的學長、書畫大家張光賓也曾如此稱讚吳學讓之繪畫技藝：「退伯藝業最神妙的工夫，是勒設色。得自陳雪翁及其高弟鄧白的指授。次為寫意花鳥，融匯了吳茀之、諸樂三、高冠華，以至潘天壽各師長的精要，是吳昌碩一脈中後起俊秀，更有『出藍』的成就。山水畫在杭州的最後兩年，曾親傳鄭午昌、黃賓虹兩大師的筆硯。冶明秀與蒼渾於一爐，雖不常作；若惲正叔一樣，但落筆則不同凡響。」

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178 WU HSUEHJANG ( Taiwanese, 1923-2013 )

吳學讓香荷臨風 1987 彩墨紙本款識：香遠益清臨風漫霧丁卯之秋退白於東海鈐印：吳學讓 ( 白文 )、吳退伯 ( 朱文 )

Blossoming Lotus 46.7x70cm Ink and Color on Paper Inscribed in Chinese With two seals of the artist

來源：席德進基金會創會董事長盧精華收藏

PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 450,000-550,000 US$ 14,900-18,200

謙沖氣和、知理退讓的藝壇耆宿吳學讓，1948 年畢業於名聞遐邇的杭州藝專國畫科，畢業後不久便被校長推薦到台灣來工作，在台灣任教半世紀，對於藝術界與美術教育圈影響深遠。綜觀吳學讓一生創作軌跡，有傳統寫意工筆，有現代抽象表現，其成就均歸於年輕時所紮下的堅實根底，以及晚年不拘泥古典框架，敢於衝破傳統的勇氣。吳學讓所展現的，除了靈動活潑的創造力外，更為無數藝術後輩，立下無懼於新世紀挑戰的最佳典範。隋朝杜公瞻《詠同心芙蓉詩》：「灼灼荷花瑞。亭亭出水中。一莖孤引綠。雙影共分紅。色奪歌人臉。香亂舞衣風。名蓮自可念。況復兩心同。」荷之花開時，婀娜多姿，嫵媚動人，它的風韻一向被文人墨客推為知己，歷代畫家為它閒情寄寫，執著不倦地為它寫真傳神。如宋代吳炳的出水芙蓉、枯荷鵲鴿；明代徐渭的墨荷，陳洪綬的荷花鴛鴦；清代朱耷、石濤、任拍年以及近現代吳昌碩、齊白石等的荷花精作如林，流傳至今。雖然各個畫家手法不同，但目的卻一致，皆在於將文人之美好的道德品格寄託在荷蓮上，亦讚頌其「出淤泥而不染，濯清蓮佈滿妖」的高貴品性與清高廉潔。東海大學美術系副教授李思賢：「吳學讓的傳統工筆畫作娟秀典雅、意馨芬芳，山水鉅力萬鈞、氣勢撼人，而寫意花卉又錯落有致，帶有濃重晚清吳昌碩一脈海派的筆韻。工筆、寫意、山水、花鳥，無所不精的本事，說他是傳統畫科裡的全才實不為過。」吳學讓的創作方向以古法為基礎，試圖從寫生著手，突破傳統構圖，營造雅緻之氣，而雙鉤填彩的工筆設色法，更是他最常見的繪畫表現形式，於杭州藝專習作的深厚水墨畫基礎，在此幅《香荷臨風》一展盡出。遒勁有力的墨骨線條，營造出起承轉折的變化筆意，鉤勒出荷花及荷葉的造型，墨色深淺依序罩染荷葉，在濃重的墨彩中，略施赭墨配以粉紅荷花。吳學讓一筆畫出荷之清新綽約盛開風貌，雖是秋季寫生繪畫之作品，卻也令觀者仿若置身於熱情的夏日豔晴時刻，畫中寧靜、悠閒之氛圍，筆趣橫生，構圖空靈，實屬難得的佳作。

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MODERN AND CONTEMPOR ARY ART

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179 SHIY DEJINN ( Taiwanese, 1923-1981 )

Cyclamen 45x49.5cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1979 With two seals of the artist PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 650,000-900,000 US$ 21,600-29,900 席德進仙客來 1979 彩墨紙本簽名：席德進一九七九鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 ) 來源：席德進基金會創會董事長盧精華收藏

「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

「仙客來」秋冬起即開花，花期可延續至翌年春末，花盛色艷，而仙客來其名巧妙，有「仙客翩翩而至」的美好寓意，喜慶吉祥，深受人們喜愛。而此幅席德進筆下的《仙客來》，成於 1979 年，其設色濃豔飽滿、枝葉繁茂，殷紅的花朵熾烈如火，襯著水氣淋漓的綠葉，色澤對比鮮明亮麗，同時又極富詩意，深刻反映其天然純粹的情致，也呈現出生氣蓬勃的自然姿態。

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MODERN AND CONTEMPOR ARY ART

121

180 SHIY DEJINN ( Taiwanese, 1923-1981 )

Begonia 137.5x34.5cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese With three seals of the artist PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 700,000-1,000,000 US$ 23,200-33,200 席德進海棠花彩墨紙本簽名：席德進鈐印：席德進印 ( 白文 )、席氏書畫 ( 白文 )、四川南部縣人 ( 白文 ) 來源：席德進基金會創會董事長盧精華收藏

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

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181 SHIY DEJINN ( Taiwanese, 1923-1981 )

Nantou Jioujiou Peaks 57x76cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1979 PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 1,800,000-2,500,000 US$ 59,700-82,900 席德進南投九九峰 1979 水彩紙本簽名：席德進 1979 來源：席德進基金會創會董事長盧精華收藏

「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》「九九峰」位於南投草屯境內，諸峰獨立，尖山嶙峋，綿延壯麗，為南投名景，也是席德進特別偏愛的寫生地點。完成於 1979 年的《南投九九峰》，山巒蒼鬱，直聳入雲，構圖單純卻極富變化，雄偉壯闊的山峰層次井然，呈現出豪情瀟灑的天地氣象，也正是藝術家內心真實的反映。使用水彩作畫，簡便亮麗，頗符合中國水墨氣韻與毛筆運勢的精神，但水彩畫易學難精，成就者寥寥可數。而在這《南投九九峰》之中，席德進熟練地應用水彩顏料匯合時的浸散效果，讓畫面盡顯天地山色的勃然浩渺，天地的大美在他的畫筆下楚楚動人、光輝燦爛，深刻地喚醒了人們對鄉野自然的脈脈含情。

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182 SHIY DEJINN ( Taiwanese, 1923-1981 )

The Farm Beneath Puli Mountains 65x110cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1980 PROVENANCE:

The Shiy De-Jinn Foundation Director Lu Ching-Hua

NT$ 2,800,000-3,500,000 US$ 92,900-116,100 席德進埔里叢鑾下的農莊 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收藏

「我渴慕鄉土的氣息，我生長在農家，我永遠屬於她。」 --- 席德進此幅《埔里叢鑾下的農莊》成於 1980 年，用色濃重，山巒壯麗，拔地而起，宏偉之至。遠方橫曳的山巒遞嬗、嶺脈嶙峋，筆法迅疾而渾然天成，不見絲毫雕飾的痕跡，並擁有中國山水畫氤氳綿延的氣韻，詩意朦朧。而層疊的翠巒底下，座落著古厝農舍，磚紅色的極富古意，呈現出鄉間野村間的高逸情懷和質樸情趣，訴說著著藝術的溫淳、山中歲月的靜謐與悠然。席德進對於台灣民間藝術與古式建築十分厚愛，他曾耗時多年親力探尋，以田野調查形式埋頭研究、深入鄉間，並以畫筆、文字記錄各式建築形態，創作出非常多兼具藝術與建築史料價值的精彩作品，對於台灣建築的研究有相當大的貢獻。席德進曾說道：「臺灣古屋是我汲取不盡的靈感泉源，它指引著我會畫的道路，向藝術領域探索。」其中，他對於古屋那飛揚的曲線造型、空間結構的佈置，以及花砌磚牆、窗櫺設計等更是著迷，此幅《埔里叢鑾下的農莊》中的瓦舍，線條筆觸粗獷強勁、筆力萬鈞，表現勃發的生命能量，每一筆勾勒與直線，都是席德進深厚書法功底的呈現，也散溢著悠揚動人的鄉土情懷與對台灣風情的深刻愛戀。

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183 YUYU YANG

楊英風

( Taiwanese, 1926-1997 )

飛龍在天

Flying Dragon

1990 不銹鋼 7/9 簽名：90 楊英風 7/9

220x130x160cm Stainless Steel, 7/9 Dated 1990, signed Yang Yin-Feng in Chinese, numbered 7/9 ILLUSTRATED:

"Yuyu Yang Corpus Volum I," Artist Publishing Co., Taipei, 2015, Page 316 - 317 (different edition)

圖錄：《楊英風全集 - 第一卷》，藝術家出版社，台灣台北， 2005，第 316-317 頁 ( 另一版本 ) 附財團法人楊英風藝術教育基金會開立之原作保證書

With a certificate of authenticity from Yu Yu Yang Foundation

NT$ 3,000,000-4,000,000 US$ 99,500-132,700

楊英風是眾所皆知台灣現代雕塑的大師之一，生前創作舉凡繪畫、版畫、雕塑、景觀規劃等等，面向極為廣泛且作品無數。其中最為人所知的即是在各種公共空間所現地製作的大型雕塑作品，加上楊英風極為熱衷於推廣研究「景觀」與「藝術」之間的各種連結關係，以及其身為一位虔誠的佛教徒之故，對於（尤其是）北魏時期大佛造像、佛家哲學的領悟等等，使其作品從命名至造型，皆充滿了對於環境、宇宙、生命、自然等等要件的圓融轉譯。楊英風最為知名的作品，大多都是尺幅巨大的景觀公共藝術，並在其後以不定量的版數複製小件作品。此《飛龍在天》是其創作生涯後半段，以不鏽鋼作為材質的傑作之一，原件於 1990 年由中華航空出資、台北燈會邀請製作（現已移至苗栗西湖度假村），是一條長達三十一點五公尺的巨龍，本作為其小尺寸的少量版數版本。無論是大尺寸的原件或小尺寸的複本，《飛龍在天》都以不鏽鋼「光滑」、「銳利」、「明亮」的特質，簡化古典美學中「龍」的造型，將其文化造型的象徵性減至最低之後，專注於飛龍「向上」所產生的動態美感，我們在《飛龍在天》裡看不到熟悉的龍麟、龍尾甚至龍鬚，僅僅只需靠圓融精煉的「龍首」帶動視覺，輔以不鏽鋼予人具有力道的特質，由基座的迂迴盤旋而後扶搖直上，便能清楚感受到「飛龍」何以「在天」的舞動美感。易經言：「飛龍在天，利見大人」，以歷史和社會的角度來看，1990 年的《飛龍在天》期許了國家對於社會的高度發展，在大環境飛騰底下能更重視人民的期望，而今日小尺幅的《飛龍在天》在收藏家手中，透過美學與歷史的交互賞析，也可以帶來個人對於「氣場」與「飛騰」的不同意義與期待。

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YUYU YANG 楊英風

Yu Yu Yang is one of the most famous sculptors in Taiwan, he was prolific in painting, graphic painting, sculptures, and landscape planning. Among all, the best known is the large scale sculptures in numerous public areas. Yu Yu Yang was also a passionate advocate for studying various relationships between "landscape" and "art". Known as a devoted Buddhist, the influence of his realization of Buddhist sculptures from the North Wei dynasty and Buddhist philosophy can be seen in the naming and form of his artwork. He provided a complete translation for the environment, universe, life and nature. Yu Yu Yang's most famous artworks are mostly large scale scenery public art and the numerous miniature copies. "Flying Dragon" was created during the latter part of his career, it was made of stainless steel. It was founded by China Airlines and produced by the Taipei Lantern Association (now relocated to Xihu Resort, Miaoli). A huge dragon with a length of 31.5 meters, it is one of the few limited editions made in a smaller scale. Regardless of the original size or copy version, "Flying Dragon" composes of characteristics such as "smooth", "sharp" and "bright". Simplifying from the classical dragon design and minimizing the cultural symbol, the artist focuses on the "uplifting" movement of the flying dragon. The familiar dragon scale armor, the tail and even the whiskers cannot be seen, viewers can only see the visual effect of the dragon head. Along with the strength presented by stainless steel, intertwining upwards from the base, viewers can experience the momentum aesthetics of the dragon. Quoting from the Yijing: "while the dragon soars in the sky, meeting a great person will be advantageous", and from a historical and social perspective, "Flying Dragon" from the 1990s answered to the highly developed society. Only under such a great environment, the government will care more about the people's expectations. The miniature "Flying Dragon" can also bring a different meaning and anticipation for a personal "chi" and "soaring" through appreciation of aesthetics and history.

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184 CHEN CHENGPO

陳澄波台南新樓

( Taiwanese, 1895-1947 )

Hsinglou, Tainan 45x52.5cm Oil on Canvas Dated 1932 and signed Cheng-Po in Chinese Signed on the reverse: titled in Chinese, sized 10F, dated 1932 ILLUSTRATED:

''Surging Waves─Chen Cheng-Po's 120th Birthday Anniversary Touring Exhibition, Tainan,'' Tainan City Government, Tainan Taiwan, 2014, Page 241 "Taiwan Fine Arts Series No.1 - CHEN CHENG PO," Artist Publishing Co., Taipei Taiwan, 1992, Page 93 EXHIBITION:

''Surging Waves─Chen Cheng-Po's 120th Birthday Anniversary Touring Exhibition, Tainan,'' Xinying Culture Center, Koxinga Museum, Tainan Municipal Cultural Center, National Museum of Taiwan Literature, Tainan Taiwan, January 18th - March 30th, 2014

1932 油彩畫布簽名：一九三二澄波背面簽名：台南新樓 10F 1932 圖錄：《澄海波瀾─陳澄波百二誕辰東亞巡迴大展臺南首展》，臺南市政府，台灣台南，2014，第 241 頁《台灣美術全集第 1 卷：陳澄波》，藝術家出版社，台灣台北，1992，第 93 頁展覽：「澄海波瀾─陳澄波百二誕辰東亞巡迴大展臺南首展」，新營文化中心、鄭成功文物館、臺南文化中心、國立臺灣文學館，台灣台南，2014 年 1 月 18 日至 3 月 30 日

NT$ 9,800,000-15,000,000 US$ 325,100-497,700

「作為東方人，畫作也必須是東方的。即便使用西方的顏料，在題材與畫風需傳遞東方氣氛。」 --- 陳澄波

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「澄海波瀾 - 陳澄波百二誕辰東亞巡迴大展」台南，北京，上海，東京，台北 (2014) "Chen Cheng-Po 120th Anniversary East-Asia Toured Exhibition" Tainan, Beijing, Shanghai, Tokyo, Taipei (2014)

CHEN CHENGPO 陳澄波

陳澄波是 20 世紀連接日本、上海以及台灣的重要油畫畫家。他自東京美術學校習得對於東方繪畫傳統的重視，並於 1926 年以畫作《嘉義街外》入選日本最高美術競賽「帝展」，為台籍藝術家之第一人。日後更與上海及留法畫家接觸進而開始將東方繪畫傳統的技巧與畫題融入西洋體裁，為油畫注入新生命而創造一個屬於台灣的畫作。他的繪畫色彩細膩，注入人文風情，注重傳統中國水墨技法，融合西洋大膽色彩運用，一如其所具質樸熱情之個性，是一位不可多得的藝術家。陳澄波現代繪畫風格之形成，和 1930 年代上海「新派」繪畫有著密切關係。自 1929 年東京美術學校西畫研究科畢業後，陳澄波便應邀前往上海任教，先後擔任上海新華藝專、昌明藝專等校西畫科系教授兼主任，及上海藝苑繪畫研究會名譽教授等職，畫風因此逐而產生變化，朝向現代主義、野獸派、超現實主義等之傾向，在人物或風景作品不難發現逐漸出現「中國畫」或「東方化」的轉向問題，陳澄波對於如此之變化也曾自述：「我因一直住在上海的關係，對中國畫多少有些研究。其中特別喜歡倪雲林與八大山人兩位的作品。倪雲林運用線描只

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整個畫面生動，八大山人則不用線描，而表現偉大的擦筆技法。我近年的作品便受這兩人影響而發生大變化。我的畫面所要表現的，便是線條的動態，並且以擦筆使整個畫面活潑起來，或者說是，言語無法傳達的，某種神祕力滲透入畫面吧！」〈台灣文藝 27(1935.7)，第 124~125 頁〉由此可知，這是陳澄波對西方的傾慕轉向回歸東方主體認同的一種巨大轉變之證據，在此種思想轉變的基礎之下，進而形塑出不再是西方的模仿，而是具有「東方情緒」藝術特質的嶄新風貌。「新樓」此一建築位於臺南市長榮女中校園內，長榮女中是早期長老教會興辦的女校，建築極具美感，而此地也是陳澄波於臺灣定點作畫第三多的場景，僅次於嘉義公園及淡水，這是緣於他的好友廖繼春在此任教，陳澄波為了躲避二次大戰戰火故選擇避居於此作畫。《台南新樓》一作中可見陳澄波採用平視視角描繪建築周邊景致，畫面色彩鮮艷奔放，景物精簡而造型別緻，使觀者彷若置身於艷夏的臺南之中。景象前後次序分明，清晰可讀，漩渦式筆觸描繪如茵草地與灌木，營造出數大便是美之美感。陳澄波轉化了八大山人的皴擦和梵谷的塗刷方式，一方面讓筆觸連續呈弧形進行，一方面運筆劃過濃厚的顏料產

陳澄波〈自畫像〉1927 油彩畫布 Chen Cheng-Po "Self Portrait" 1927, Oil on Canvas

生筆觸痕跡，使擦筆的效果更能顯示線條隱約之存在。曾自言：「一筆一筆地使線條隱沒在筆觸之間，而創造線與筆觸相輔相成的表現法。」他對弧形筆觸呈現的偏好，有一部分來自於對雷諾瓦作品中線性動態所得的靈感，陳澄波將那種流動的暗示性、圓潤的筆觸，大量運用在樹木的呈現上。貢布里奇 (E.H.Gombrich) 在他所寫的《藝術的故事》對梵谷有這樣一段描寫：「梵谷要用他的畫來表現他的感覺，如果扭曲變形可以幫助他臻至這個目的，他變化加以應用。」同樣的扭曲變形出現在梵谷的作品中，也出現在陳澄波的畫作中這種繪畫手法全憑畫家主觀的感受和對畫面所希冀的要求。陳澄波畫作中看似「不求逼真的視覺畫面」，是來自於其以感覺的表達方式去轉換日常視界的物象所造成的效果。《台南新樓》配合

Lot 184

著樹叢蜷曲的行進，同時與上方皴擦之藍天相映，濃潤飽和，暢快淋漓，同時也表現植物生長的方向性，流露出微風穿梭在空氣中的痕跡，使整張畫面結構堅實而不失流動之感，大自然的律動感及源源不絕的生命力亦躍然紙上。陳澄波曾表明自己的創作態度：「將實物理智性地，說明性地描繪出來的沒有什麼趣味。即使畫得很好也缺乏震撼人心的偉大力量。任純真的感受運筆而行，盡力作畫的結果更好。至少我是這樣想的。」「純真浪漫」是陳澄波的本質，也是他創作的最大特質，其純真的心、堅韌的草根性格，以及燃燒生命的激情，使他能忠於體內那股原始的自發潛能，最終也突破學院的束縛，發展出那無人能及的迷人繪畫語彙。陳澄波在新舊美術思潮的碰撞中，匯融中西文化並提出己見，激盪出耀眼的藝術光芒，奠定了他在美術發展史上一個獨特且重要位置。

陳澄波，嘉義遊園地 ( 嘉義公園 )，1937，油彩、畫布，130 x 162 cm，國立臺灣美術館典藏 Chen Cheng Po, Chiayi Recreation Area, 1937, Oil on canvas, 130x162 cm, National Taiwan Museum of Fine Art

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Hsinglou is a building located in Tainan City's Chang Jung Girls' High School, a girls-only school founded by the Presbyterian Church in Taiwan in the late 1800s. The building boasts impressive aesthetic beauty while being surrounded by an area recognized as Chen Cheng-Po’s third most painted Taiwanese scenic spot, trailing only Chiayi Park and Tamsui. The story behind this location is Chen’s good friend Liao Chi-chun taught at the school, and Chen painted this art piece when he sought refuge here in order to escape the bombs raining down on Taiwan during World War II. When viewing "Hsinglou, Tainan" one can take in how Chen Cheng-Po used a street level view to portray the building and its surrounding sights. The painting's colors are bright and bold whereas the uniquely-shaped scenery is rather unadorned. Simply put, this painting's effects make viewers feel as if they have been transported to Tainan on a gorgeous summer day. The sequence of objects in the front and back is clear, making it easy to understand the painting. The spiraling nature of Chen’s brushstrokes portray the lush green grass and bushes, creating a brilliant combination of exquisite aesthetic details. Chen transforms Bada Shanren’s sharp brushstrokes and van Gogh’s broad brushstrokes, as Chen's brushwork displays continuous curves while also leaving traces of his brushstrokes, which can be seen due to the thick amount of paint he left on the canvas. The effect of his brushwork is that it displays the faint existence of lines. Chen once said, "Stroke after stroke I make lines that gradually vanish among the brushstrokes, creating a mode of expression where lines and brushstrokes complement one another." His preference for showcasing curved brushstrokes was partly inspired by the linear-style of Renoir’s art, as Chen frequently used these subtle and smoothly flowing brushstrokes when portraying trees. In his book The Story of Art, E.H. Gombrich described van Gogh, writing that the Dutch painter seeks to use his paintings as a way of expressing his feelings, and distorting shapes helped accomplish his objectives, for he was able to apply these transformations to his work. This distortion of shapes that appears in the artwork of van Gogh is also present in the techniques Chen used in his paintings. In short, this painting style relies exclusively on the painter's subjective feelings and what he wants to see in the canvas’s scene. Therefore, the reason Chen Cheng-Po’s painting appears to not seek to present a lifelike scene originates from him utilizing his feelings to express a transformation of everyday objects. In Chen's "Hsinglou, Tainan", the twists and turns of the vegetation below is contrasted by the blue sky above that was painted on with sharp brushstrokes. The plants are lush and replete with nutrients, the ambience is carefree and unrestrained, and the plants appear to be growing while the traces of a breeze blowing through can be seen. This all gives the scene a solid structure without sacrificing the feeling of fluidity, as the rhythm of nature and its unfailing vitality are vividly present on this canvas.

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185 HSIAO CHIN ( Taiwanese, b.1935 )

La Forza Occulta 100x86cm Acrylic on Canvas Signed Hsiao Chin in Chinese, dated 2010 Signed on the reverse: Hsiao Chin in Chinese, dated 2010, titled in Chinese and Italian, sized 100x86cm With a certificate of authenticity signed by the artist

NT$ 800,000-1,500,000 US$ 26,500-49,800 蕭勤潛能 2010 壓克力畫布簽名：蕭勤 10 背面簽名：蕭勤 2010 潛能 La forza occulfa 100x86cm 附藝術家親簽保證書

「對我來說，我的畫屬於中國的抑或是世界性的，已無太大意義。我已在嘗試超越這些界限，作些沒有思想界線、沒有技巧界限的繪畫。我覺得我祇是一個『傳達者』，而不為我曾是個『獨創的表現者』。」 --- 蕭勤蕭勤 1935 年生於中國上海，是當今深入內在精神，以藝術體悟生命探討的畫家之一，亦是台灣 1950 年代著名「東方畫會」成員之一。他具宏觀視野及跨文化豐富經驗，從東方至西方，又從西方回歸東方，經由文化的融會貫通及內化，將西方現代主義融合跨入東方精神中，勘探東方精神性和靈性造化的藝術，並與西方當代藝術愉悅的交會及知性的對話。蕭勤早期自塞尚而克利的後印象派入門，後短暫受西班牙異國文化衝擊形成非形象藝術，遷居米蘭後又一轉變為「道」時期，融會道家思想與印度玄學，自然而然地順勢導向二元論發展，重新發現現代繪畫的本質。而這些創作軌跡都使藝術家歸向一個最終的目的，也就是藉以了解自我所賴以依存的這個「宇宙」，以及「自我」這樣一個在宇宙中的「存有」。如此的「宇宙觀」是對於「無限境界」探索與「天人合一」之追尋與探索，蕭勤如是說：「我始終捕捉『一』，並將其成熟變成『一切』。」繪畫中那些曲線、原點等等簡易的造形語彙，看似靜極永恆不動，實則流動不懈、向四面八方滾動，營造出一種充滿二元對立又二元和諧的宇宙空間。《潛能》一作中光與暗潛伏相映，蒼潤流動的筆觸及色彩浮動，如同源源不絕的長河，在畫布上綿延不息，彷彿一股強大上昇的帶動能量，帶來永不絕望的希望。下方紅色色塊流淌延展，正是象徵著「地」，與上方的大片天互相輝映，說明天地永恆對立且相依。蕭勤用其繪畫裡的視覺語言，將文學性的思想，翻譯成他的創作：「藝術創作是在傳達心靈成長的訊息及過程，宇宙的大能量是我創作中源源不絕的重要靈感。」其內在的精神世界與遼闊無垠的宇宙時空連結，將他的東方世界觀注入更多的人間情感。

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186 HSIAO CHIN ( Taiwanese, b.1935 )

L'universo No. 2 145x145cm Oil on Canvas Signed Hsiao Chin in Chinese, dated 1963 Signed on the reverse: titled in Italian, signed Hsiao Chin in Chinese, dated 1963

NT$ 1,900,000-2,500,000 US$ 63,000-82,900

140

ZHONG CHENG 中誠

蕭勤宇宙 No. 2 1963 油彩畫布簽名：蕭勤 1963 背面簽名：I' universo No. 2 蕭勤 1963

HSIAO CHIN 蕭勤

蕭勤受純粹人文主義的父親及虔誠基督徒的母親影響，

畫團體―「東方畫會」，目的在促進國內低靡的現代藝

自說幼時便在極哲理實際和神祕學的混合體中成長，於

術運動，此些初始會員亦被稱作東方藝壇「八大響馬」；

心理潛移默化了兩種特質傾向，也因為如此，導向他日

然鑑於社會制度，未有如期順利，遂轉向參考當時另

後探求宇宙、生命那樣的空無之像，帶有特殊使命感，

一「五月畫會」以「展覽」的方式組織，東方畫展終在

精神意識、思想的宏揚，一生懸繫他的藝術之路，誠如

1957 年合宜合法展出，此次亦為臺灣首次國內外藝術

昔日在安東街的畫室，李仲生與蕭勤的對談：「現代藝

家聯合盛舉，此舉啟發台灣畫壇走向全新階段，別具意

術的創作意識，必須從瞭解個人開始，而想要瞭解個

義。

人，要盡量思考與開拓自己的世界，尤其是自己內心的世界。不瞭解自己、自己的感受，便無法找出自己的道路。」也因此蕭勤的作品充滿了強烈的生命之感，甚至

作為「非定形藝術」的耕耘者，1961 年於米蘭發起龐

觀者亦可自他的作品中尋找其生命的軌跡歷程。

日本雕刻家吾妻兼治郎及東方成員李元佳等人共同耕

圖 (Punto) 運動，和義大利畫家卡爾代拉拉 (Calderara)、耘，企圖以哲學、靜觀內省層面出發，宣言：「觀念的

1935 年蕭勤出生上海，後舉家隨國民政府遷台，父親

純粹性及創作的理由，是在於瞭解在無限中之有限的條

蕭友梅作為中國現代音樂最重要的啟蒙者，培育了第一

件，其思想的現實性及對生命真諦之領悟。」對於此他

代重要音樂工作者，身處充盈古典樂、藝術工作者的環

闡釋：「人之於無限的宇宙，便是有限的存在，並將思

境，經驗下濡染蕭勤不僅於藝文也在語言的表現上特有

維的領悟作先聲而傳遞予群眾。」這恰恰回應了李仲生

天分，對於日後留學西國、周遊國際任教起了很大的幫

往昔的諄諄教誨。種種生命的不可及加上受印度、西藏

助。天將降大任於斯人也，或許受任宇宙之應，蕭勤幼

的神秘哲理，堅定蕭勤探尋「定」、「永續」等等無垠

年不如童話，歷經雙親早逝並與胞妹拆散、分別接手於兩位姑姑的庇蔭，儘管得到了很多資源，但對於身份轉

宇宙的玄想，歷觀各時期的風格，實緊繫此一思想，並加入東方書畫、語言符號、禪意精神元素。

變的巨大衝擊，始終盤踞在幼小的心靈，他只許將自身投其所好，遵循內心所向，步步引領蕭氏完成先天予以

藝術家自言：「人生每個不同的階段一直都不停地在輪

他的「任務」－作為一名精神先知及其思想的代言者。

迴著，離開了這裡，還有另一處空間，像似一個圓般，

受教於現代繪畫之父李仲生名門李下，集結其中皆是臺灣早期藝術運動先驅。蕭勤不甘限於學院制度，李氏所採以手眼協調、獨立的研究式教學深得其意，且那樣的非主流作法在那樣的時代下更具意義；其弱冠之際徵選上留學西班牙的機會後，對於現代繪畫新思潮的掌握至此開啟，亦為當時聯合報的專欄作家，化為國際與臺灣藝文資訊的重要橋梁。

那是一種非時間性、非物質性的境界。」此幅《宇宙 No.2》作於 1963 年，此階段為創作的一高峰，亦為重要的轉折點，結束了對中國傳統繪畫的著墨，取而代之，以方圓、平衡或廣大的空白為元素，運用其極簡的造型，打造神秘的宇宙及幽廣的想像空間；萬象更新的黃、生命靈動的紅、孕育眾生的藍，三種鮮明紮實的色彩作為主角，以自動性技法營造無垠空間的幻像；回歸了初始追求繪畫的鮮麗瑰彩，越是純粹的畫面越能彰顯

同時蕭勤亦與李氏門下眾生發起許多台灣現代繪畫運

他非具象藝術之精神，且隨著圓的流轉恆常，生息將永

動，包括李元佳、夏陽、吳昊、歐陽文苑、霍剛、陳道

不停歇；顧往蕭勤一生創作，也因其撇開制式且傳統的

明、蕭明賢等人，其中最具革命性即為首個華人抽象繪

思想，故造就了非凡的藝術成就。

MODERN AND CONTEMPOR ARY ART

141

187 YANG CHIHUNG ( Taiwanese, b.1947 )

Like A Dream 170.2x221cm Acrylic on Canvas Signed on the reverse: Chihung Yang and title in English, dated 2007 ILLUSTRATED:

"YANG CHIHUNG - Recent Paintings," China Square, New York, U.S.A., 2008, Page 32 - 33

142

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

143

YANG CHIHUNG 楊識宏身為戰後台灣美術史時代轉折的標竿，楊識宏獨特而不可或缺的存在，是當代華人最重要的抽象表現主義藝術家，以創作為志業，並受國際藝壇矚目成為焦點，而 Discovery 更於 2013 年底首度推出華人藝術家的節目專輯《華人藝術紀》，聚焦紀錄藝術家的創作歷程。受美術專科紮實的訓練，楊氏對於人文思潮的引介及關懷，灌注予作品濃厚的文學特質與底蘊。楊識宏在創作生涯之中，累積蘊釀豐碩的藝術成果，藝術家緊扣生命意義的探索，歷經不同階段的創作歷程，楊識宏的藝術生涯概分為「具象與抽象的辯證」、「複製時代的美學」、「新表現主義」、「植物的象徵與抒情」、「有機的抽象表現」，以畫筆遊走於意識與潛意識間，將自然時序變換的流動凝縮為瞬間，試圖在畫布內層置入時間的意象，將無形的時間具體而微地刻鑿；其在亞洲藝術界的代表性地位，成為當代華人抽象表現主義備受矚目的藝壇焦點。依照心中的思緒與探索，冷靜審視藝術思潮，多次歷經風格的轉變，楊識宏的創作正豐富著藝術史，對於世界的詮釋以自身的語彙來決定創作的演變，作品強烈有力的線條、變化多端的肌理表現、細膩動人的色彩選擇、深邃幽微的光影變化揮灑於畫布，楊識宏對生命的深沉思索與持續發展的創作表現，深刻而動人。藝術家先輩賴傳鑑即道：「楊識宏以筆觸刷痕 (Brush Work) 刷出豪放的、抽象的表現，而畫面的結構則越來越簡略，想像的空間則越來越廣闊。這種大膽應用中國書法以及水墨畫技法的筆觸，逐漸發展成為飄逸的寫意表現，而我們也看到了他的成長至老成，感情與哲理的融合與表達。」透過詩性的傳達，恍若輕煙朦朧，淡雅《如夢》以空靈通透的設色布局，展顯疏朗地畫意心境，夢裡恍惚不知身是客，深邃幽遠淡泊飄逸，「形神兩是幻，夢寤俱非實」浮現於眼前的意象，以筆勢帶出似真非真的輪廓，穿梭於虛實午夜夢迴中的閃爍片刻，覺時尋索卻早已渾忘。浩蕩魂悸魄動的夢境移轉之際，藝術家以心靈之眼捕捉內在世界的精神性，對於生命體悟的豁達暢放，透過繪畫留存如夢短暫的此時彼刻，人生天地之間，若白駒之過隙，忽然而已；渺渺茫茫暈染的色料，流淌著世間萬象，靜觀其流轉不息。

144

ZHONG CHENG 中誠

「在我們的生活中，時光荏苒，卻看不見也摸不著，然而它像地心引力一樣，雖無形無體卻是真實存在的。我希望像有個有造型能力的雕刻家一樣，試圖將無形的時間雕琢鏤刻，留下一些具體而微的斧鑿痕跡。我的創作猶如在雕刻時光，作品是最具體的存證。廢寢忘食、苦心孤詣無非是為了留下真實的一點、一滴、一筆、一劃。」 --- 楊識宏

MODERN AND CONTEMPOR ARY ART

145

"Throughout our lives, time flies like an arrow, invisibly and intangibly, and yet just like gravity, it is indeed existent. I wish there was a sculptor with a shaping ability who tried to chisel and sculpt out the formless time and then leave unfanciful traces of sculpting behind. My creations are just like sculpting time, which are the best evidences of its existence. I had worked wholeheartedly without resting or faring in attempt to maintain every truest spot, drop, stroke, and wipe." --- Yang Chi-Hung

146

ZHONG CHENG ä¸čŞ

T h r o u g h o u t h i s c r e a t i n g c a r e e r, h e h a s garnered a fruitful artistic attainment; the artist's explorations were tightly linked to the meanings of life and went through different stages which could be generally divided into "The Arguments of Actuality and Abstractionism,""The Aesthetics of the Era of Copying," "The New Expressionism," "The Symbolism and Lyricism of Plants'," "The Organical Abstract Expressionism." His painting strokes lingered between consciousness and subconsciousness, condensing the changes of time into one moment and implanting the symbols of time into the canvases. He stands for a representative status in Asia's art circle and has become the focus of the lime lights as an abstract expressionist in the contemporar y Chinesespeaking world. Through the poetic expressions which are steamy as light fogs, the graceful work "Like A Dream" has a spiritually clear design and coloring which fluently convey the painter's mindset, making viewers wander into a dream-like world and lose sense of their self-awareness - the creation is prefund in meaning yet light in its image, and thus arouses the impression that neither the image or the spirit is real and that neither the dream or the reality existent. The strokes brought out the halfreal-and-half-unreal outline which take the minds of viewers wander through the glittery moments of an unrealistic midnight’s dream-like world and make them totally forget about their explorations in the realm of art. During the dream-like moments while viewers’ souls thrill and tremble, the spirituality of the inner world and his open-heartedness toward lives captured by the eye of the soul were conveyed through the paintings, and the flash-like moments were thereby retained, revealing the underlying meaning that life passes like a racing horse. The dimly painted colors are seemingly symbolizing all earthly things and silently sitting aside watching all objects and matters in this world.

「永恆的當下楊識宏近作展」東京日本上野之森美術館 (2015) "Eternal Present: Yang Chihung Recent Paintings" Tokyo, Japan, Ueno no Mori Museum of Art

MODERN AND CONTEMPOR ARY ART

147

188 YANG CHIHUNG ( Taiwanese, b.1947 )

Emerald 88x116cm Acrylic on Canvas Signed on the reverse: Chihung Yang and title in English, dated 2012

NT$ 800,000-1,000,000 US$ 26,500-33,200

「在物象與心象的拔河拉鋸中，楊識宏從容遊於兩界之間；他沉默寡言，卻又熱情如火，在文字中、在畫面上，宣洩著深邃而孤獨的告白：他的作品充滿著粗獷原始的造型與線條，但偏偏他的畫面，又洋溢著優雅、文明的光輝與色彩。」 --- 國立成功大學歷史系所教授蕭瓊瑞

148

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

149

YANG CHIHUNG 楊識宏

楊識宏是一位具有高度統合能力的藝術家，他的創作力

昆德拉所提及的賦調的影響，二律背反如白天黑夜、善

歷程立基於生命探索的主軸，不僅橫跨東西文化、縱橫

惡、生死、美醜、具象與抽象等，都是一體兩面，生活

傳統與現代，更能在優雅與粗獷、雄勁與典麗之間取得

中對立或對比的東西，以及它們之間協調的平衡點都是

平衡。千禧年後的作品，加入潛意識與意識間的游離，

楊識宏繪畫創作中的養分汲取，因此無法將其畫面中的

予人以更自由、放縱的感受。同時，楊識宏的創作歷程，

表現定義為抽象或具象，反而比較像是種神祕的結合體，

也始終和台灣現代藝術的發展，保持密切的聯繫，透過

一如生命本身一樣。

其創作歷程的重整，也映現台灣現代藝術發展的軌跡；而以長期定居紐約的身分，楊識宏的創作思維與表現，也成為國際藝壇中一個引人矚目的存在，這是戰後台灣美術發展特殊且成功的案例。

以運動感的傳遞為特色，凝重的下筆力道將黑、綠、褐色彼此不斷交疊，如同我們在高空飛行中望向窗外的雲層湧動，大氣奔騰，形象的變幻快速的颶風。在畫面中，

楊識宏的創作分為六大時期，一開始 1960-1975 年「具

時有隱約的山水雲氣的意象與自然萬物並時具動的構圖

象自我」時期，這位藝術家的養成先從自我認同開始摸

關係。他的用筆雖使用的是西方之壓克力顏料，但也具

索，一步一步把他關注的範圍擴大，並增加新的視覺語

有中國書法用筆運墨的機杼意趣，對於書法中的虛實飛

彙。1976-1980 年的「複製時代」，他以線條、色塊批

白、點線迷離，有極好的控制能力，達到一種極有力度

判機器複製時代裡文明的建構造成人的疏離。他在 1981-

而又令人舒適的視覺平衡，而畫面亦在多層次的綠色統

1988 年「文明考古」時期的作品則表現出更寬宏的視野，

調之下呈現出多元而豐富的視覺變化。馬諦斯說過：「素

以「後現代主義」畫風描繪考古文物般的圖像，在畫面上並置多種圖形暗喻，斑斕、散發神祕的輝光，關懷人

描（drawing）和繪畫（painting）是一樣的，只不過素描使用較少的媒材。」中國書畫嚴格來說屬於素描而非繪

類整體文化的命運。1989-1997 年「植物美學」時期是

畫，線條長期以來即是東方的特性，楊識宏將此項特色

他轉往內在探求所謂「真實」的開始，他所描繪的植物

融會在西方媒材中，彰顯靈動灑脫的線條書寫，加上其

在自然環境中同時受到滋養與威脅，因而展現多種生命

身上那份來自東方的文化背景，作品自然而然透露出東

樣態。接著 1998-2010 年為「有機抽象」時期，他已使

方式的禪味，更能不受侷限地遊走於色彩之上，自適奔

自己走入內心自然的狀態，不僅隱約留有植物的形象，

放而不流於張狂誇張，畫筆中所凝練的情感亦帶有東方

更出現了愈多張力與層次的抽象表現。2011 年後「東方

文化的內斂與沉穩。

詩學」時期對於抽象創作的形式已得心應手，作品開展了奔放雄渾的不同創新格局。

150

《翡翠的聯想》創作於 2012 年，以黑色性的書寫為基調，

楊識宏曾自述：「我覺得意識流的創作理念像是銳利的

楊識宏在創作生涯中歷經了這些風格轉變，由其逐年漸

兩面刃，一面剖開水墨畫堅韌的皴法枷鎖，一面剖開西洋繪畫窒悶的唯物史觀美學。」楊氏將其對於中國書法

增的生命體會，可觀出藝術家的創作語彙從「物象」到

的理解轉化為抽象藝術的用筆泉源，並保持這一藝術趣

「心象」，再從「心象」到「意象」的脈絡發展。「我

味的內在穩定性，同時試圖在生活的基礎上呈現某種內

的作品中的一筆、一劃、一個顏色就是一個『象』，這

心的想像與視野，這使得他的藝術在中國的主觀性與西

個『象』也許是『心象』，不是肉眼查覺到的外在世界。」

方的客觀性之間尋求一種「外師造化，中得心源」的抽

高更說過：『我為了看，而把眼睛閉起來。』點出了現

象性平衡。「對我來說，我所領受到真正中國古老文化

代繪畫的精神──向內觀照。我假藉外在自然的形，表

的養分相當稀薄，所以我創作的泉源就只有從『生活』

現內在的自然，呈現出的這種心象，要說具象也可以，要抽象也可以，大概正好介於兩者之間。」如同米蘭 ·

裡去汲取了。我關心的是我所生活的這個時空座標上的

ZHONG CHENG 中誠

現實。」

189 JU MING

朱銘

( Taiwanese, b.1938 )

太極起勢

Taichi Spin Kick

1991 銅雕 18/20 簽名：朱銘 '91 18-20

50x34x28cm Bronze, 18/20 Signed Ju Ming in Chinese, dated 1991, numbered 18/20

附真善美畫廊開立之原作保證書

With a certificate of authenticity from Kalos Gallery

NT$ 2,800,000-4,000,000 US$ 92,900-132,700

氣勢磅礡－快意大作「太極」系列，朱銘以具體物質的

念下，雕刻操作過程能擺脫理性思維，展現動勢和創作

抽象表現，將東方文化傳統，轉譯為跨語言、跨國界的

直覺。因此，朱銘將雕刻的劈、砍、剝、裂操作提升到

藝術創作。朱銘在創作過程中與自然的互動，一展洗鍊

如文人書畫的大寫意層次和氣韻，肯定了雕刻藝術不單

美感，雕塑姿態散發出均衡的韻律，隱約的暗示出如幻

單僅是匠法，還如書畫一般，能表達深厚的藝術意義和

的動感，質樸的肌理和線條構築去蕪存菁的身形，仍然

傳統文化底蘊。朱銘其太極創作的意境，代之展現的是

保有青銅內蘊的質地與特色。蓄勢待發的架勢顯其懾人

他內觀修養的行為紀錄，無論是靜與動，作品都能在剛

的精神，一氣呵成，造型簡潔有力，技法將太極拳「靜、

毅中流露出平和的氣韻，太極系列以穩如泰山的姿態、

定、鬆、沉」的力量展現，《太極起勢》舉手投足間充

散發出均衡的動態韻律，心手合一，將自己的感受到的

滿張力氣勢，起身的動態展現出柔中帶剛的內涵，不疾

精神貫穿於作品之中，展現大器與生命力度的張力。

不徐沉穩持重，剛毅中流露出平和的氣韻，融合傳統與現代精髓展現出深厚的東方精神。

粹，這些因緣，促成「太極系列」概念的形成，在朱銘

此件作品《太極起勢》，將太極姿態中的輕巧靈動，瀟

眼中，「太極系列」是他自己風格的起點，而其所要表

灑飄逸展露無疑，此一動作要訣在於安定，簡鍊大氣的

達的那份生命力，由內而外呈現，朱銘強調：「修行不

手法分割出各個主要的塊面，極具動勢，使整體的平衡

是宗教道場裡的高妙玄理，而是平常生活中日日的體悟

調和恰到好處，左右手一收一放、圓轉自如；右腳沉、左腳抬，動靜之間可見自在，在這件作品當中，可以領

與實踐。一般人聽到『修』，以為是像苦行僧那樣，其實不是，而是很平常的，生活中的點點滴滴。」在藝術

略那即將爆發的力量，太極系列為亞洲藝壇奠下斐然名

勞動中體會善心，在藝術工作中體會無我，這樣的人間

聲，享譽國際。

修行，就是他所謂的「藝術即修行」。這是朱銘的美學

太極講究在手、眼、身、法、步間的抱元守一；表現出蓄勢待發的動作狀態，以慢打快、以靜制動，似前又後、既收且放的內蘊動能，以「速度」、「直覺」創作之理

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藉由學太極拳的親身感受，朱銘體認藝術中最簡單的純

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體悟，更是他的人生信仰。大刀闊斧的劈鑿之中，創作時的速度與力量，以視覺的型態轉化成作品的動態與力度，作品的氣度與生命力復返回歸中國美學「天人合一」的思維，不疾不徐，沉穩持重。

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190 JU MING ( Taiwanese, b.1938 )

Taichi Series 56.5x43x36.5cm Bronze, 6/10 Signed Ju Ming in Chinese, numbered 6/10, dated 1995 With a certificate of authenticity signed by the artist

NT$ 2,300,000-3,200,000 US$ 76,300-106,200 朱銘太極系列 1995 銅 6/10 簽名：朱銘 6/10 '95 附藝術家親簽保證書

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馬諦斯 < 背面 II-IV> 1930 年作美國華盛頓赫希杭博物館藏 Henri Matisse, "Back II–Back IV" c 1930 Hishhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, USA

JU MING 朱銘

朱銘 1938 年出生苗栗通宵，自小即輟學四處打工以便分擔家計。束髮之年，在父親的鼓勵下拜師民間廟宇雕刻家李金川，從零一點一滴累積經驗；隨李金川的腳步，以寫實雕刻作功夫，習得「粗中帶細」的技法原則，亦領會了神像雕刻需掌握形神之韻的要則。題材可由媽祖、關公等神像擴及鄉土題材，此時的精雕著墨、姿態捕捉、鄉土關懷等無形間也反映在後期創作之表現。出師之途，輾轉基隆、大甲等地以販賣雕刻佛像和工藝品維生，已逾而立年的朱銘拋開了外在的束縛與功名，回歸初心進入了楊英風的門下，與過去截然不同的經驗下，不僅是由寫實進入抽象範圍抑或為曾接受學院的訓練，種種過程皆是磨練了朱銘精神思維必然的轉變，「須摒棄雜念、天人合一、崇尚簡樸」是楊英風授予他的原則，同時朱銘也開始嘗試且重視多元媒材，理解材料的肌理是雕塑藝術密不可分的一環。「如果說從傳統木雕到『鄉土』系列，朱銘是放棄了精緻光滑的民俗趣味；那麼從『鄉土』到『功夫』系列，朱銘則是再進一步放棄了刀雕的修飾，回到更原始的劈、剝與鋸切的手法。由於這種更具力動，且形體愈趨簡拙的取向，也使朱銘的雕刻藝術，徹底脫離題材的說明性與象徵性，進入一種純粹形式的精神性與造型性，這正是朱銘現代雕塑的真正建立與完成。」 --- 自蕭瓊瑞〈劈剝太極—朱銘的現代雕塑〉朱氏初期的作品，仍舊以極寫實主義的手法來進行創作，處於摸索期間的他，顯得在抽象化與寫實兩種路線之間搖擺不定，抽象化的程度不足，以至於殘留的寫實主義仍顯其中。對於由寫實進入抽象領域的朱銘，實為一大挑戰，面對的第一步即「簡化雕塑形式」，將繁冗過多的解釋去除，時至今日，儘管遇到藝壇的反面聲浪，在追逐自我定位偶有迷失，朱銘仍潛心開發新語彙；抽離傳統雕刻的寫實風格而轉入寫形寫神，把動作精簡至抽象的運動形體。創作歷程中，「太極」系列作為轉型期的階段，由此可見許多細膩的變化，共同見證朱銘藝術境界的發展。 1976 年開始出現的「太極系列」，大膽地進一步遠離具象，以創作更甚抽象的作品：「抽象的雕塑才是真正的創作，模仿現實有什麼意思呢？」朱銘如此談到他的理念。楊英風教授他最重要的在於觀念的調整，以往講就細微、光滑的木刻手法，

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Taichi Series

賽維羅 < 木頭與鎖鏈 > 1960 年作美國紐約惠特尼博物館藏 Mark di Suvero, "Wood and Chains" 1960, Whitney Museum of American Art, New York, USA

今日力圖保有材質本身的溫度、肌理，以及透過刀斧轉形成的速度感和韻味，領略東方文化「意到筆不到」的道理，劈鑿之中，保留了自然的切面與紋理，以簡潔的塊面形構出動態，一伸一拉之間展現了完美平衡，氣度、力度亦隨動勢流傳，展現太極天人合一的精神。朱銘已經從他過去的地方鄉土區域超越了，藝術家總是不斷地追求突破，不再拘泥過去經驗、前人的觀念、媒材的限制等等，已期達到他人無可預料的「驚喜」。「太極拳的最高境界是鬆、沉，講究內勁、聚力，是穩重而凝聚的一種拳術。拳法表面上是模倣動物、植物、空氣三種自然要素，不會有任何偽裝、裝飾、做假的姿態或外表，它們本身的存在就是一種最自然的狀態，進一步說，太極拳要模仿的是自然界之間那種互相有關係、互相幫助的『和諧』，於是我發現太極與我的藝術精神有相同相通的本質；所以我刻太極拳，我打太極拳，亦就是想通過它，去達成人與自然結合的完美表現。」 --- 朱銘太極拳可以解釋為一種動與靜的運轉，變換之際，精神需與肉身相合一、感受天地萬物的訊息並且接受它；即是靜中求動、動裡養靜。朱銘自修練太極拳過程中悟道太極「內外相合」的精髓，心手相合，才能內外合一氣、渾然至天成；如此的領悟促成朱銘「太極系列」概念的形成，也因此可由它的作品中顯現一種形而上的力量和精神，使得它的太極人物皆未有個別的面向；似動非靜的姿態，延伸出朱銘對於太極拳的熟稔，亦也巧妙捉住了霎時間的姿態，藉著清爽俐落的大刀闊斧，打造鮮明既靈動的神韻，自然體現東方「氣韻生動」之精神。

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191 JU MING ( Taiwanese, b.1938 )

Taichi Series 88x46x53cm Bronze, 6/8 Signed Ju Ming in Chinese, dated 1995, numbered 6/8 With a certificate of authenticity from gallery

NT$ 3,900,000-5,000,000 US$ 129,400-165,900 朱銘太極系列 2006 銅 6/8 簽名：朱銘自 '95 6/8 附畫廊開立之原作保證書

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太極系列

JU MING 朱銘

朱銘堪稱 20 世紀最傑出的雕塑家，他用木材、青銅、不鏽鋼、保利龍等多元的素材，傳達出他的藝術觀與文化概念。朱銘於而立之年時放棄穩定豐厚的高薪，毅然北上拜楊英風為師，從工藝雕刻正式踏入藝術雕塑的領域，這個人生的轉捩點，也使他從一位「工藝師」蛻變成一位「藝術家」。在八年的學習期間中，楊英風曾建議身體羸弱的朱銘修習太極養生、強健體魄，而領悟力極高的朱銘，便在學習中悟得太極「內外相合」的精髓，並從中體會出許多思想及心靈上的奧妙。他將自然萬物、大氣運作的力道與內蘊內化成個人的藝術語彙，進而創作出一系列氣勢磅礡的《太極》雕塑，其寫意簡潔的抽象運動形體，和渾然天成的氣韻展現，透散出一股浩然之氣，日本京都國立近代美術館館長河北倫明也說道：「朱銘是有重量感的，這點和日本近代雕刻家相同；朱銘是有動感的，這也和日本近代雕刻家相同。但是日本雕刻家中卻沒有人像朱銘一樣兼具兩種特性。」 1976 年朱銘在國立歷史博物館舉行首次個展時，主要展品雖以鄉土路易斯 < 構圖 > 1913 年作英國倫敦泰特博物館藏 Percy Wyndham Lewis, "Composition" 1913, Tate Museum, London, UK

題材及民間耳熟能詳的歷史人物為主，但此時「太極」系列已經滋生，理念也已形成，蓄勢而待發。當時台灣鄉土運動仍方興未艾，朱銘決然選擇將鄉土題材暫時放下，開始投入太極系列的探索，卻也引此招致背離鄉土的質疑。即便如此，老師楊英風見了「太極」系列則給予了高度的肯定，並為其辯解：「今天朱銘已經從他自己過去的鄉土區域性的感受中超越了，從太極拳的演練而帶進了太極的天人合一的境界，他的胸襟已經打開，這點從他刀劈木材的氣魄裡已表明得常清楚。」「太極系列」不只為朱銘建立新的雕塑創作思維高度，同時也為東方的雕塑藝術開展一片新天地，之前那先漫天的質疑，也在朱銘於國際間大鳴大放之際，自然就冰解雲散了。

亨利 ‧ 摩爾 < 人像 No.5> 銅雕倫敦肯伍德別墅 Henry Moore, "Two Piece Reclining Figure No.5", bronze sculpture, Kenwood House, London

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「太極」一詞源自於《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。太極本意，本就

Taichi Series

有陰陽二氣、二元對立而又渾然一體之概念，二者相生相長，以繁衍無限、派生萬物。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。對於太極拳之精神延展成雕塑作品，朱銘曾如此自述：「太極拳的最高境界是鬆、沉，講求內勁、聚力，是穩重而凝斂的一種拳術。我的作品，就是想愈簡單愈好，最好顯不出一絲造作的技巧，而只抓住精神把太極拳的韻律感表現出來。」鬆，表現的世精神性的自信自在，而沉，則是渾厚穩實的象徵，由自身意念自發，借力使力，朱銘不僅掌握了太極拳的精神所在，更融會自己的生命哲學，實踐在質材的體認與想像，終使掙脫傳統雕塑的禁錮，成就太極系列作品的絕佳自由性。《太極系列》以陰陽平衡、相生相剋、相輔相成的概念展現作品的氣度與生命力。除了簡化形體外，朱銘有意識地以「氣」、「韻」、「生」、「動」構成其創作的基本元素，將其在作品精神所追求的「神與意」、「意與氣」、「氣與勁」、「動與靜」、「開與合」、「轉與承」等淋漓展現在作品舉手投足之中，氣流幻化成氣韻，在動靜之間再現對比。同時，幾何平面和物體之不同組合、轉換起伏，線條與線條之間的牽引互動，結合成為運動著的人體形象，更能帶動觀賞者視點的跳躍變化，向觀者傳達出更為強烈的動感聯想，感受到習武者練習太極時的靈動韻律。《太極系列》質樸的肌理和線條構築了去蕪存菁的人物形象，洗鍊的美感由內而外體現天人合一的精神，達到神似而非形似的境界，並融合出中國傳統文化底蘊與現代藝術語言。朱銘創作「太極系列」的目標，不是刻板為單一招式造象，不是招式的「形」，而是呈現從一個動作到另一個動作的「轉變之間」，蓄勢待發一刻的節奏韻律和動勢，這正好呼應太極追求無定形無定相，達致身體自由運動的精神。牛津大學美術史學家蘇立文 (Michael Sullivan) 曾就此論述朱銘：「就在學習太極的過程中，朱銘領悟了身、心、力量的來源與制衡，以及天人合一、物我兩忘的哲理，而使他的作品臻於泰然的精神境界。……朱銘浸淫於雕塑藝術多年，技巧嫻熟，再加上恆久練習太極拳所練就的內在自律精神，使他的作品栩栩如生之餘，亦予人和諧、永恆之感。」

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192 LI CHEN

李真天界山水

( Taiwanese, b.1963 )

2001 銅 5/8 簽名：Li Chen 5/8 鈐印：李真

Landscape in Heaven 82x53x45cm Bronze 5/8 Signed Li Chen in English, numbered 5/8 With one seal of the artist ILLUSTRATED:

"Li Chen 1992-2002 Sculpture," Asia Art Center, 2004, Page 78-79 "Li Chen in 52nd Venice Biennale- Energy of Emptiness," Asia Art Center, 2007, Page104-107 "TOP 10 Chinese Contemporary Sculpture Exhibition," Asia Art Center, 2007, Page 51 "Li Chen- In Search of Spiritual Space,"Asia Art Center, 2008, Page 31-51

圖錄：《李真雕塑 1992-2002》，亞洲藝術中心，2004 年，第 78、79 頁《李真第 52 屆威尼斯雙年展──虛空中的能量》，亞洲藝術中心，2007 年，第 104-107 頁《中國當代雕塑十人展》，亞洲藝術中心，2007 年，第 51 頁《李真中國美術館個展──尋找精神的空間》，亞洲藝術中心，2008 年，第 31-35 頁

EXHIBITION:

"Li Chen - In Search of Spiritual Space," National Taiwan Museum of Fine Arts, National Art Museum of China, Beijing, April 29th-May 11th With a certificate of authenticity from gallery

展覽：「李真：中國美術館個展 ‧ 尋找精神的空間」，中國美術館，中國北京，2008 年 4 月 29 日 - 5 月 11 日附畫廊開立之原作保證書

NT$ 3,000,000-3,600,000 US$ 99,500-119,400

"The greatness of art lies in 'sharing', while the accomplishment of art lies between 'reality and virtuality'. I am not merely creating a sculpture, but happiness and something enjoyable." --- Li CHEN

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1963 年生於雲林，是極受矚目的當代藝術家。其雕塑創作融入佛學以及道家精神，同時結合當代思惟，形塑出既富含禪意又創新的「虛空」美學。自 2000 年起，陸續於紐約、哥本哈根、巴黎、北京等多個國際重要城市展出，私人及公共收藏遍佈全世界，更於 2007 年成為首位於威尼斯雙年展舉辦個展的華人藝術家。此作為藝術家「大氣神遊」系列，運用墨色生漆的手法，並在銅雕藝術中展現出「按金」、「按銀」的獨創技巧。李真更受邀於今年坎城影展上成為首位展出的藝術家。鎔鑄東方佛像的精美凝鍊與當代的簡潔純粹，光滑質材的觸覺感知，圓潤的體態饒富興味。右手捧著代表物質的金山，左手拿著喻為精神的銀海，隱喻凡世豐饒的物質生活，省思生命的寓意濃厚，與墨黑銅雕所呈現出素淨之感產生強烈對比。臻至空靈的東方氣韻，樸質而厚實的散逸開展。飽滿的身軀蘊藏福相，圓融的神情使觀者不自覺踏入虛空中，自發性的構築出完滿的精神性空間。「大氣神遊」系列中，看似「既重又輕」的銅雕，隱含道家「精、氣、神」的意象本質，強烈的氣場穿透，超脫凡俗。李真曾言：「藝術的偉大在於『分享』，藝術的成就在『真實與虛幻』之間。我不只在做雕塑，我在創造幸福，創造一種讓人享受的東西。」其創作展現了合宜的靜謐狀態，如他所言，在有形與無形中，帶領觀者反璞歸真，於自在溫潤的美學裡豐厚生命。 Li Chen's sculpture combines the Buddhist and Taoist philosophy, as well as contemporary ideology. He is the first Chinese artist to host a solo exhibition in Venice Biennial in 2007. This piece combines the intricacy of Buddhist statutes and contemporary simplicity, while the sleek texture and the plump figure intrigue. The gold mountain represents the material world, while the sea of silver represents the spiritual realm, a reflection toward the materialistic mundane contrasted by the unadorned darkness of the bronze. The plump body and peaceful expression draw the viewers into a meditative state of nothingness. His work appears to be in a perfect state of tranquility. Between the form and formless, he leads the viewers back to the beginning, to be nourished within beauty.

MODERN AND CONTEMPOR ARY ART

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193 WALASSE TING ( Chinese-American, 1929-2010 )

Spring Flowers 102x132.5cm Acrylic on Canvas Signed on the reverse: signed Ting and inscribed "green mountain side nobody are too much orchids, overgrows, overflow, overhand & overjoy, overlie, overgay" in English, dated 1970

丁雄泉春光花漾 1970 壓克力畫布背面簽名：Ting 70 green mountain side nobody are too much orchids, overgrows, overflow, overhand & overjoy, overlie, overgay 來源：丹麥私人收藏

PROVENANCE:

Private Collection, Denmark

NT$ 2,500,000-3,500,000 US$ 82,900-116,100

丁雄泉生於中國江蘇，青年時曾入上海美術專科學校就讀，1946 年遷居香港。後前往歐洲藝壇闖蕩，1960 年前後移居紐約，發展出新畫風，成為美國普普藝術家一員，在瞬息萬變的國際藝壇中，展現其特立獨行的獨特風格，繪畫作品充滿了繽紛多彩的美女與花卉，有「採花大盜」之稱號，受新具象繪畫、超寫實藝術、普普藝術、觀念藝術與極限藝術的啟發與刺激，而抽象主義繪畫手法的影響，與丁雄泉自身性格完美的融合，逐步的形成其獨特燦爛的繪畫藝術，他的作品充滿了繽紛多彩的花草，視覺語言強烈而鮮明。隨心所欲的塗抹純色，色彩鮮明而大膽，喜於用彩筆歌頌下筆，如揮刀展現飛揚快速酣暢淋漓，情感豐沛蘊含東方精神且極具爆發力，作品色彩斑斕動感，1960 年丁雄泉移民紐約，與多位知名藝術家結為好友，成為美國當代藝術界活躍的一份子，此時紐約的舞台熱鬧非凡，抽象表現主義繪畫風格正勁，而波普藝術運動已華麗登場。受到藝術潮流影響，丁雄泉的繪畫表現手法受到顯著的沖擊與改變，除了原有的水墨現條，加入了滴流、波灑的技巧，單色逐漸轉為明麗的彩色、改用鮮明的壓克力彩，就在紐約蘇荷這個當代藝術起源地，丁雄泉到達了自己第一個創作巔峰，幻化成絢麗之色彩映入眼簾。「我的畫全是從大自然裡學來的，花朵、鸚鵡，甚至西瓜，顏色都鮮豔生動。要學，就學人廣闊的胸懷，學接受太陽的光彩。」丁雄泉如是說。《春光花漾》繽紛華麗躍動的色彩，整幅畫面於激昂勁道貫注筆意，迸裂暴發潑灑而下，斑斕的五彩大地春光如詩，綻放鮮妍盛開的迷情花漾，大膽繽紛如揮刀般的下筆，豐沛的情感豐富畫面層次，繪畫展現飛揚、神來之筆的張力，隱含東方精神且極富暴發力，展現了狂狷豪邁與絢麗色彩。伴隨著與生俱來的創作本能，不受世俗的框架所限，丁氏揮毫如勁風驟雨，如泉噴湧出汩汩濃亮艷麗之色，以充沛的能量與激情，憑豪情壯志闖盪出自身的瑰麗天地。「丁雄泉在激情抽象的創作過程階段後，趨於穩健找尋更適切的個人的視覺路徑，這段時期的繪畫，以從容豐盛的色彩反覆探索為對象，表現手法仍然貫徹筆意與氣勢感動的速度前進，激情高亢宛轉的詩畫共鳴，用以揮、灑、摔、線描、涓滴、潑灑和開闊的大塊面色調。繽紛華麗躍動的色彩，展現藝術家率真而純粹的原形世界。」──藝評家劉永仁（轉載自台灣台北市立美術館發行之 2010 年 11 月丁雄泉回顧展覽場刊。）以炫麗的色彩與大膽的表達方式著稱的丁雄泉，敏銳而從生活中尋求靈感，使用純粹的艷麗色彩、流暢且不受拘束的線條、絢爛繽紛，成為他的作品相當具有代表性的特色，呈現在他的畫作中：「在開始作畫的數周前，一定要先將生命、自然美麗和人類精神混合在一起，直到你的血液飛奔直升時，那時你會見畫不見筆，只見世界不見圖畫，只見愛不見自己。」丁雄泉卸掉一切偽裝世故、赤裸裸地擁抱生命、享受生命之極真，因而極純，以濃烈的純色來架構結構與背景，強烈的呈現內心澎湃的思維情緒，進一步而揮灑大筆表現，其渾然天成的藝術才情、熱愛奔放的自由心性，塑成丁氏不羈而奔放自由的性格。

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ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

167

WALASSE TING 丁雄泉

Immigrated to New York in 1960, artist Walasse Ting

As the art critic, Yung Jen Liu, said, "After the creation

made friends with many renowned artists and became

stage of passionate and abstract style, Walasse Ting

anactive member in the contemporary art scene of

tended to steady search for more individual vision path

America. In the busy New York art circle at that time,

of his own. During this creation period, he aimed to

the painting style of abstract expressionism became

explore creation by using calming and luscious color

a dominant trend while POP art movement just made

repeatedly. For his methods of expression, his brush still

its debut. Influenced by the art trend, Ting's painting

went with concentrated implicit meanings and speed of

technique was evidently changed. Besides his original ink

staggering and moving feeling, arousing the resounding

strokes, he brought dripping and spilling techniques into

poetic resonance between the elements. His techniques

his painting in which monochrome has been gradually

include dispersing, sprinkling, throwing, strokes,

replaced with bright acrylic color. In Soho, New York, the

dripping, spilling, and a broad hue of large painting

birthplace of contemporary art, artist Ting reached his

surface areas. Through gorgeous throbbing color, the

first creative peak, miraculously transforming his artwork

artwork presents the artist's sincere and pure authentic

into stunning brilliant color that came into audience's

inner world." (Quoted from the brochure of Nov., 2010

view when they see Ting's painting. Artist Ting said,

volume, Expression to Resplendent Color: Walasse

"Regarding my painting, I always learn from the mother

Ting Retrospective Exhibition, issued by Taipei Fine Arts

nature, such as flowers, parrots, and even watermelons

Museum, Taiwan)

of which appearance is colorful and vivid. If you want to learn something, you just learn from human being having a big heart and learn to take the glory of sun."

and bold creative expression found inspiration from daily life with his keen observation. The gorgeous pure colors

In Spring Flowers, the colorful and vibrantly throbbing

and smooth unfettered lines shown in his painting form

colors of the whole scene burst, break out, and spill

the distinguishing feature of Ting's paintings. Ting once

down with the implicit meanings concentrated through

said, "Several weeks before starting painting, you must

painter’s wild impassioned strengths. The multicolored

blend life, natural beauty and human spirit together.

ear th shines with poetic spring scener y and fresh

Until the feeling sends the blood pulsing through your

beautiful intriguing blossoms. Ting's brush moves boldly

veins, you will elevate to another level, seeing the

and flourishingly like wielding a sword, with abundant

painting without seeing the brush, seeing the world

emotions enriching the layer of painting. This painting

without seeing the painting, seeing love without seeing

shows tensions of a flying stroke of genius, ardent heroic

yourself." Because Ting abandoned all guises, embraced

generosity and brilliant and magnificent color, implying

life, enjoyed the reality of life, he became purified. He

the oriental spirit and full of explosiveness. With his

composed his painting with saturated color, strongly

own innate and supermundane talent of creation, Ting's

expressing his surging thought and emotions and thereby

brush strengths are like violent storms and water of

making himself further brush actively. His nature-born

heavy bright gorgeous color upwelling from a spring.

talent and unrestrained mind shaped his uninhibited and

With his plentiful energy and passion, noble emotions

free-spirited character.

and ambitions, he finally carved out a niche of his own.

168

Artist Ting who is well-known for using gorgeous color

ZHONG CHENG 中誠

「在這裡有三座花園中。第一座花園，花草樹木生機盎然、蓬勃地滿布於遼闊的戶外，踏過青草綠地的門檻，你就跨進第二座花園，是異國情調的繽紛，宇宙間各種色彩的花朵，四季不斷的開放。而第三座花園，是藝術家丁雄泉所獨自擁有的，世間萬物都聽從他的使喚。」 ──丁雄泉之女丁迷雅

MODERN AND CONTEMPOR ARY ART

169

194 XUE SONG ( Chinese, b.1965 )

Two Tigers 150x160cm Mixed Media on Canvas Signed Xue Song in Chinese Signed on the reverse: titled in Chinese, sized 150x160cm, Xue Song in Chinese and English, dated 2012 With a certificate of authenticity signed by the artist

NT$ 1,200,000-1,800,000 US$ 39,800-59,700 薛松雙虎圖 2012 綜合媒材畫布簽名：薛松背面簽名：雙虎圖 150x160cm 薛松 Xue Song 2012 附藝術家親簽保證書

薛松於 1965 年出生中國安徽，當時那樣的生活步調與諸葛亮一言有幾分相似：「非澹泊無以明志，非寧靜無以致遠。」如此成就了薛氏無驚不擾、淡泊恬靜、為人忠厚的性格。求學時於上海戲劇學院修讀舞臺美術，其間水墨畫、油畫分別師承張培楚、李山、陳均德等藝術家，薛松深受啟發，致使溫文的他勇於將繪畫媒材、方式製造更多可能。薛松道：「我想突破中國傳統，並超越西方現代主義，說來容易，想要做到可就非常困難。」他虔心發揚東方之美，素雅既醇厚的特質；亦懷廣納之見，素日汲取西方藝術的資訊流而非一致排外，反思如何運用一己之力，將廣博歷史與現代觀點兩相結合。

170

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

171

XUE SONG 薛松

薛松命性火旺，曾遭遇多次火災，一次學校宿舍的祝融之災將他幼時至異鄉求學的畫作、用具全遭火勢狠狠吻遍，眼望滿屋灰燼，儘管傷心，卻也從光火中發現了新起點。薛松將火噬後殘餘的書頁一一整頓，開始試驗將燒焦紙片和灰燼拼貼重組，企望擁有新回憶，當時對於他的風格形成，便有了一個輪廓。他日後亦言，他真正的創作始於 80 年代，原因是他對自己初期的作品，並不以為意，認為皆是隨著潮流走罷了，並未有屬於自己的調性，幾般苦苦追尋自己的獨特，恰恰在機緣下萌芽，此時便作為他的「試筆時期」。做為上海的異鄉客，薛松以更尖銳明亮的眼光透析了上海這座大城的突飛猛進，藉由藝術家的一幅幅作品累積，觀者便可以覺察，他試圖將城市步調、受到的刺激暗流實踐在畫布上，因而被歸類為「新海派」藝術的一員。當時深受西方抽象表現藝術浪潮影響，薛松力圖中國現代繪畫的改革，突破傳統再賦新生，不求只是做表現，而是將生活經驗「行動化」，親身發掘滬上城市的點點面面。新海派藝術由字面上聯想到海、京二派的故有印象，與傳統海派相比，他們的視野更為開闊，勇於創新，代表了日漸國際化的上海城市文化特質，具有鮮明的當代性，不僅發揚了上海的兼容並蓄，同時更以批判角度從傳統中尋求創新。此品《雙虎圖》尺幅大而方，近幾年好以描摩動物，象徵強壯有力的雙虎，姿態俯臥、神情伶俐貌似蓄勢待發；大量鋪張牡丹花，胭紅粉白、喜滿洋溢，另加墨線勾勒、筆力剛勁生動，吉祥喜氣；薛松藉由火燒文本的碎痕，引出歷史的意涵，原有的圖像也經歷再生，從原意義被釋放、賦予新意；初時善用廢墟保存的物件，而後乾脆親自著手焚燒，且有意識地尋找目標再另尋可以燃燒的媒材，經由「解構再重組」的方式，系統化的進行。

172

ZHONG CHENG 中誠

許多觀者將薛松列為普普藝術的範疇，原因在於他多

Compared with the traditional haipai, New haipai artists

半以大眾熟悉的「作品」著手進行，如可口可樂經典

with broader insight tend to bravely innovate. They

瓶罐、瑪麗蓮夢露等，主題風格多元鮮明，藉由大量

represent the cultural features of Shanghai City gradually

複製、標籤化的物件，創構荒誕又真實的圖像；觀者

internationalized and bear the clear contemporaneity in

亦可憑藉各自的觀點去做聯想和詮釋，既引人注目，

the contemporary Chinese art world. New haipai artists

也最一目了然，輪廓在焚燒後帶點矛盾又無違和的氛圍，完美製造出戲劇般的效果，淌洩鮮明的時代印記；

not only develop the eclectic style of Shanghai City but also seek to acquire innovation from a critical viewpoint.

薛松一滅昔日混屯、調性越趨純熟，獨特語彙在廣大

In recent years, Xue is keen on portraying animals. In

藝術洪流占有一席之位。

this large square painting Two Tigers, it symbolizes two

As an outsider in Shanghai, Xue analyzes Shanghai City of which development grows by leaps and bounds with his sharper and brighter vision. By observing this artwork, the audience can perceive that the artist attempt practicing the city pace and stinging undercurrent of the city he received on his painting. Thus, artist Xue is categorized as a member of the new "Shanghai School" of Chinese painting (new haipai 新海派; literally new "Shanghai style"). Seeing China art world deeply

strong and powerful tigers gearing up for something in the prone position. Extravagantly scattered peonies mixed with rouge, pink, and white are brimming with happiness. Additionally, outlined ink lines show the powerful, vigorous and vivid strengths that generate auspicious and happy atmosphere. Xue Song uses shatter scars of burned text to acquire its historic connotation. The original image is also regenerated and liberated from its original meaning, being given new meanings. Artist Xue initially used objects from

inf luenced by Western Abstract Expressionism at

preserved ruins as his art material. After some time, he

that time, Xue aspired to reform the modern Chinese

decided to produce the burned material by himself to

painting, to break with tradition, and to give new life to

create art material like ashes and fragments of burned

tradition. His faith is not simply about art performance but

paper edges, and so on. Furthermore, he consciously

mobilization of daily experiences and personal discovery

begins to find the target that can be used as his burned

of the face of Shanghai city. Literally, "New haipai art"

material. By methods of deconstruct plus recombination,

would make people think of the well-known haipai in

Artist Xue has already formed a unique systematical

contrast to "Jingpai(京派; Beijing School or Beijing style)".

creation pattern of his own in the art world.

MODERN AND CONTEMPOR ARY ART

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174

ZHONG CHENG 中誠

ZHOU CHUNYA 周春芽

「在我的生活與創作中，『真實』這件事對我而言很重要，所謂『真實』就是我們的本性、本質與慾望，而這樣的人性，是超越時代、制度、地域的。只要是人，都會有其本質與趨向，就像愛情在殘酷的戰爭中，仍會自然地存在，否則人就不會繁殖、生長；猶如大自然也是順其本性、規律地生長。換言之，藝術與人的本質、自然都息息相關。」 --- 周春芽

周春芽，被喻為當代中國藝術領域裡，對色彩掌握度最完整精確、最自由無拘的藝術家。在中西古今、無常與永恆的糾結與衝撞中，周春芽以其極具個人特色的濃墨重彩，盡情地揮灑西方的自由狂放和東方傳統筆墨中的性靈自然，將兩者融為一體，臻至一個完美的平衡。縱觀周春芽數十年來的藝術歷程，他始終抱持著迥異於同時代藝術家的繪畫觀念。1980 年間，四川美術學院掀起了後來被稱為「傷痕美術」的繪畫潮流。當周春芽的同儕如羅中立、程叢林、何多苓等人，將目光投注在以畫筆描繪、撫平文革時期所帶來的悲劇性主題與歷史傷痛之時，周春芽卻並未被這股洪流所裹挾，反而感到自身與「傷痕美術」戲劇性的敘事傾向格格不入，他曾自述：「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。」（劉淳，〈觀念比手藝更重要：周春芽訪談錄〉，《藝術 . 人生 . 新潮 : 與四十一位元中國當代藝術家對話》，2003 年）年輕的周春芽不僅偏離於「傷痕美術」的主流之外，也迴避了充滿政治語彙的宏大歷史命題。他把藝術的目光投放至四川紅原 - 若爾蓋大草原的藏族聚集區，他被風吹草低見牛羊的遼闊草原、藏族居民們粗獷樸質的生活情調深深吸引，創作出《藏族新一代》、《剪羊毛》等一系列原始而豪邁的作品。 1986 至 1989 年間，周春芽懷著對西方藝術的憧憬與追求，展開於德三年的留學生涯，當時德國新表現主藝風靡歐洲，其濃烈斑斕的色彩、強烈的情緒渲染力令他震撼，然而絕對西方式的生活體驗卻激發了他對自身傳統文化的眷戀與熱情，他回首向中國傳統文化中尋找靈感，開始系統地研究古代人文繪畫，他嘗回憶：「在元四家、八大、董其昌的圖示形態中找到了我的興趣點，這是我繪畫生涯的重要轉折點：我決心走出一條出人意料的全新之路。」。講究山水精神「山石」系列，以及其後作為山石變奏的「太湖石」系列便如斯而生，那變幻莫測的色彩，佐以文人傳統逸趣，成功詮釋出一種介於新表現主義、中國水墨的大寫意之間的藝術語彙，完成了周春芽獨樹一幟、深刻契合自我氣質的表現性風格。

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1994 年，周春芽以德國牧羊犬「黑根」作為創作母題，筆下的「綠狗」系列以黑根為原型茁壯，終於脫出、昇華，擁有了自己的脾性與靈魂。有的狂野歡愉、有的迷惘笨拙、有的孤苦伶仃，卻全擁有如出一轍的填實質感、豐沛的生命力，瀰漫著原始衝擊之感。直至黑根的病逝離去，藝術家再次處於實驗與轉變的時期。 2005 年三月，周春芽在成都龍泉山遊玩時，春季裡桃花滿山怒放，繁茂如火，藝術家被桃花的「野」、「豔」，以及勃發不羈的生命能量深深吸引，於此之後，一朵朵絢爛旖旎的桃花，不再是「綠狗」身邊柔美、溫煦的陪襯角色，反而成為他一個重要的創作母題。冶豔旺盛桃花，躍身為畫布上的要角，在周春芽的畫布上肆無忌憚地綻放，用斑斕的色彩張揚地展現著激情與浪漫。一反《詩經．周南．桃夭》中「桃之夭夭，灼灼其華，之子于歸，宜其室家。」裡柔情款款的傾訴、待嫁新娘的含羞喜悅，周春芽筆下的桃花，鮮活美好的春天，是無法壓抑的情懷，更的是原始的自然本能、情慾中最真誠的衝動與嚮往，但最重要的是從心而發，決不矯揉造作，周春芽曾在訪問中談及：「桃花可以豔麗，可以野性，就我的心情去創作，所以各有不同趨向。」而此幅《彼岸桃花》，創作於 2011 年，無疑是桃花系列臻至成熟、令人震撼代表作。史詩般的尺幅，只見如火似霞的春桃迎面襲來，蒼勁昂然的枝椏延展舒張，其間朵朵碩大、艷勃的桃花肆無忌憚地噴薄怒放，充斥著野性本能，周春芽毫不掩飾的為當下釋出力道極具的書寫性繪畫語彙，其景既極盡情慾撩人之致，又迴盪著一股宏遠的氣勢。藝術家周春芽 Artist Zhou Chunya

《彼岸桃花》綠野疊嶂，朝氣蓬勃，夾岸鋪張的桃花林，在湛藍天空、澄澈流水的映襯之下，極顯華豔招搖、明艷動人。花朵的美好，象徵著生命中最絢爛的青春年華，旺盛、奔放，對一切美好的讚頌。《彼岸桃花》的用色艷勃渾厚，粗獷的線條在畫布上肆意流淌，周春芽暢快淋漓的刷抹，在筆法造型的實驗中揮灑個人性情，更展現出呼之欲出的生命能量。他曾經說過：「我的畫都是關於激情和浪漫的，慾望是人類的一個組成部份，是我們與生俱來的東西。更重要的是，我們對性的感情和慾望都是活力的體現，象徵著全盛時期的生命。」周春芽從個人的情感經驗出發，把構成、筆觸，以至色彩肌理、創作母題都完美結合，強勁而不失於紊亂、放縱而不流於塗鴉，煥發出自成一種全新的藝術譜系。他從不刻意迎合時代潮流，始終忠於自己想法地進行創作，他從獨特的藝術視角出發，與誠懇的態度、扎實的基礎，以及富於表現主義意味的色彩和運筆方式，煥發出獨樹一幟的藝術語系。雖然創作母題不斷更迭，但周春芽的畫筆永遠誠摯自然、撩動人心，以飛揚怒放的顏料呼應著他真純熱情的生命美學。周春芽用畫筆譜寫最純粹的詩句，用一幅幅的精品撼動著每個駐足於畫前的心靈，這位當代藝術大家這樣說：「藝

周春芽的畫室 Zhou Chunya in his studio

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術家從他的角度理解一切事情，這是人生中最有意思的事情」。

Zhou Chunya is described as the master of precise color

the peach trees come into full bloom with vigorous and upright

control and the freest artist on Chinese’s contemporary art

branches extending. The delicate booming peach blossom

scene. Facing the tie and collision between impermanence and

full of feral instinct gushes and blooms. Zhou Chunya has his

eternity at all times and in all countries, Zhou paints and merges

painting represent the moment with forceful graphological

the Western insanity and freedom and the spiritual nature of

painting lexis undisguisedly. The scene is extremely titillating

traditional Eastern ink painting with his unique generous color

while lingers with a vast and far-reaching manner.

style to his content, finding the perfect balance between both.

In the scene of Peach Blossom, verdurous mountains and

Zhou Chunya traveled to Longquan Shan in March, 2005. It

peaks rising one upon another are imbued with vitality. The

was the season when peach trees came into full bloom. Over

blue sky and clean stream set the peach trees lining up along

hills, acres of peach trees paraded acres of peach blossoms,

the banks off well, making the them more splendid, stunning

radiant and lush. When Zhou saw the radiant peach blossoms

and moving. The flower’s glory flourishes and symbolizes the

bloom, he was deeply attracted by the thriving life energy of the

brightest youth, praising all beauty in the world. In the painting,

wild and glamorous peach blossom. After the trip, the gorgeous

the colors used by the artist are glamorous, flourishing and

enchanting peach blossom is no longer a soft and warm foil

vigorous and the rough lines flow on the canvas wantonly.

for the green dog in his painting; instead, peach blossoms

Zhou paints to his heart's content and sprinkles with his own

have become one of his critical creation motifs from then on,

temperament in his experiment of brushstrokes form, showing

blooming unrestrainedly in Zhou’s paintings. The gorgeous

the life energy vividly portrayed.

color of peach blossoms proudly shows feeling of passion and air of romance under Zhou’s brush.

Zhou once said, "My paintings are all about passion and romance. I think desire is an important component part of

This painting, peach blossom, was created in 2011 and

humankind and nature-born. More importantly, our feelings

undoubtedly the matured and breathtaking masterpiece among

and desire toward sex are the embodiments of vitality. They

Zhou’s peach blossom series. In this epic large-scale painting,

symbolize the heyday of human life."

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195 ZHOU CHUNYA ( Chinese, b.1955 )

Blossoming Peach 200x250cm Oil on Canvas Dated 2011, signed Zhou Chunya in Chinese and English EXHIBITION:

''2011 Chengdu Biennale,'' Chengdu Eastern Music Park, Chengdu China, September 29th - October 30th, 2011 With a certificate of authenticity signed by the artist

NT$ 32,000,000-40,000,000 US$ 1,061,700-1,327,100 周春芽彼岸桃花 2011 油彩畫布簽名：2011 周春芽 Zhou Chunya 展覽：「2011 年成都雙年展」，成都東區音樂公園，中國成都，2011 年 9 月 29 日至 10 月 30 日附藝術家親簽保證書

"In my life and creation, truth is very important for me. This so-called truth means our nature, essence, and desire. Such humanity goes beyond time, systems, and areas. Every human being that exists either exists by himself, by his own essence or nature and tendency as love still exists in cruel wartime; otherwise, human won’t reproduce and grow up. Similarly, nature also has it's own law and power. In other words, art is closely connects with human’s essence and mother nature." --- Zhou Chunya, artist

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196 ZHOU CHUNYA

周春芽

( Chinese, b.1955 )

桃花系列

Peach Blossom Series

2014 彩繪銅 7/12 簽名：周春芽 Zhou Chunya 7/12

70x80x50cm Painted Bronze , 7/12 Signed Zhou Chun-Ya in Chinese and English, numbered 7/12

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 3,000,000-4,500,000 US$ 99,500-149,300

從上世紀 70 年代末以後的中國當代藝術發展的脈絡

此件《桃花系列》為「桃花源」系列的藝術延伸，作品

來看，周春芽歷經了文革後的開放，一路自「傷痕美

介於雕塑與裝置之間，周春芽運用傳統文人畫符號進而

學」、「鄉土繪畫」、「85 新潮美術」，漸而轉變在

創造新的造型，透過保留銅材的紋路和肌理，以多樣

90 年代以降「太湖石」、「綠狗」、「桃花」等系作

化、不拘束的造型美感，盡顯而出桃花灼灼之表現性，

品，創作風格不斷轉折變化，反映當下卻又力求突破既

不管是寫實或是寫意，皆透過內在思想和外在形式的結

往，成功融入中國文人畫傳統元素和西方新表現主義藝

合，展現一種獨特的和諧之美；同時，在形態及表現

術運動美學，是中國當代藝術家之中，極其少數，從

手法上，周春芽這種藝術形式在觀感上直接而更有「觸

語言到精神狀態，都最為趨近於傳統中國之人。而周春

感」，使得「桃花源」系列當中經常感受到的重量感、

芽曾於 2005 年第一次開始雕塑創作，當時的題材是綠

縱深感又得到了昇華。《桃花系列》具有中國文人筆墨

狗，2007 年亦開始嘗試玻璃鋼的桃樹作品，用不鏽鋼材料焊接成的桃樹落盡了葉子和果實，銅雕的桃花則是 2013 年開始創作。談及銅雕作品的創作，周春芽如此表示：「藝術家沒有固定的創作方式，任何表現材料都是媒介，關鍵是思想、題材。對於畫家而言，雕塑是一種新的嘗試，無論

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寫意所獨有的韻味，但通過西化了的「表現主義」的語言風格，既保存了古人的「溫和」與「內向」，更表現出了中國文化特有的淒迷感，而同時在色彩的運用、和形式上與西方現代主義接軌使得作品更加厚重起來。評論家漆瀾評價周春芽的作品：「桃花表現出形體感、量感、質感並賦予塑像以勃發的生命力。周春芽再次展示了他在審美上的平衡點。他不會單邊的去修飾，不會

是從色彩關係到立體結構都是一次挑戰，所以我從來不

把作品打磨的光鮮誘人，很多地方留下了反美學的修

敢稱自己是雕塑家。」周春芽透過在繪畫與雕塑間的轉

辭，其形態存在於緊張和抗辯的語境中。這是美和醜的

化，將平面與立體兩個命題合而為一，表現出「繪」與「塑」一體融合。不同與一般的雕塑作品，周春芽的雕

臨界點，看似精心創作，但又展現出漫不經心的舒坦和自由。」在周春芽平面立體化、立體平面化乃至平面立

塑保留了手感和靈性，他拒絕打磨，完全展現出「畫筆」

體互為表裡的辯證過程中，可以見到其創作表現中安然

留過的痕跡，具有手感的流動性。栩栩如生、冶艷奔放

地邁開「我自有我法」的創新之路，憑借著熱情與敏銳

的桃花雕塑作品，就像一個紀念物，深刻刻劃出藝術家

知覺，從自身文化傳統中取樣，創新陳述自我生命的新

的意念表現自由。

語彙，亦展現出中西並融的藝術結晶。

ZHONG CHENG 中誠

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MODERN AND CONTEMPOR ARY ART

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

ALIVE AND KICKING (Rose Gold Version) Action figure: 11x22x8cm (32), cabinet: 190x160x60cm Copper alloy, Gold plating, Rose-gold plating, tainted Mahogany 2/8 EXHIBITION:

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

NT$ 5,000,000-7,000,000 US$ 165,900-232,200 周春芽 X JAIME HAYON ALIVE AND KICKING ( 玫瑰金版 ) 2012 銅合金鍍金鍍玫瑰金桃花心木 2/8 展覽：「周春芽 +Jaime Hayon 展現爆發生命力」，成都當代美術館，中國成都， 2012 年 10 月 24 日至 11 月 3 日「台北國際藝術博覽會」，台北世貿中心，台灣台北，2013 年 11 月 8 日至 11 月 11 日

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ZHOU CHUNYA X JAIME HAYON

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

周春芽於 1955 年起，試著以他心愛的德國牧羊犬「黑根」作為繪畫的創作主題，周春芽在其身上找到了動物散發出的狂野之美與天生的活力，非常的直接而原始，於是於日後就此開啟了「綠狗」這個經典的當代藝術形象。周春芽曾說：「我畫綠狗，實際上不是只在畫綠狗──只是一個媒介，一扇把人引向廣闊世界的窗戶。所以，任何藝術作品都要體現藝術家本人的思想、觀念。」與此同時，周春芽理解與兼納德國表現主義和中國傳統繪畫的書寫性，逐步吸收、轉、畫，也於往後的各系列作品，成功發酵成熟。自 2008 年起，MOT/ARTS 推動了三次「ART FOR THE MASSES」的大型跨界合作計畫，邀請當代許多藝術家與設計大師，演繹一種「全新藝術收藏型態」，將藝術家的原創作品經過衍生開發和設計，構成新的作品方式及其呈現方式。「ALIVE」以生命力為訴求，期盼賦予觀者不同的生活憧憬，而「KICKING」則是在充滿生命力般的狀態下，加入更多爆發力的展現，希冀提供觀者更多的衝擊與感動。藝術家之原創作品通過這樣的衍生過程，將觸角伸入日常生活中的細節，形成了一種新的立體呈現型態，推動了更為廣泛的藝術收藏風潮。在《ALIVE AND KICKING》中，周春芽不僅再現張狂綠狗的各種姿態，揮別濃豔的綠蘊生命力，更以柔麗唯美、耀眼高貴的玫瑰金色為狗兒帶來與眾不同的新鮮感受，展現

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原慾蔓生而出的蓬勃生機。狗兒或跳、靜、轉、憩、凝

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

之種種生命力，透過周春芽的 32 座金狗演繹著。收藏

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

外櫃則是透過西班牙鬼才設計師 Jaime Hayon 以木紋質

a copper-zinc alloy and rose gold makes the dog shimmer

感表現，木紋訴說著生命的痕跡及它的文化累積涵養，

in each of its confident postures. In the past, Zhou Chunya

細膩活潑的線條表現，呈現沉著卻帶有些許跳躍之感。

involuntarily chose green to interpret the vibrant and

Jaime Hayon 的作品總能帶給人幸福、愉悅、驚奇的感

explosive force of life. Regardless of whether it is jumping,

受，並且具有強烈的識別度，其優雅細緻的圓弧曲線之

still, turning, resting, or fixing its eyes on the viewer, the

設計語彙，就像是帶有生生不息的生命力，更能表達出

energy of these gold dog can be seen in 32 versions.

自身對於生命的熱情豐沛綻放，也令觀者得以真實地直

The patterns seen and felt on the wooden exterior of

視這股蠢蠢欲動的生命力量。

this piece's cabinet are the work of Spanish designer

Since 2008, MOT/ARTS has launched three large-scale interdisciplinary cooperative projects successively for ART FOR THE MASSES, inviting contemporary artists and designers to present their vision of a better tomorrow. In

and eclectic genius Jaime Hayon. The standing cabinet inspired by a classical treasure cabinet, was made by a fine, Italian carpenter. With quality mahogany and delicate luster, it was hand-made with traditional methods.

every project, the interdisciplinary collision of imagination

Jamie’s designs are always delightful, amusing, and

and creativity always inspire amazing new forms. The

unexpected. Known for his highly distinctive work, he

project ART FOR THE MASSES of MOT/ARTS refer to a

gracefully designed the elegant arcs and curves while the

brand new way of art collection. Artist’s original works are

"language of his design" still embodies a sense of vitality

explored and transformed into something new through

that will never stop breathing. Unlike his past designs,

design and presented in a different manner. In 2012, MOT/

Jamie expresses a great sense of transparency through

ART invites Chinese contemporary artist Zhou Chunya

the glass of the cabinet, from which Zhou Chunya’s

and Spanish designer Jaime Hayon.

golden dog catches everyone’s eye.

The "ALIVE" in ALIVE and Kicking signifies the force of life. It vibrates and flourishes because of desires, emotions, passions and dreams. The libido’s drive and impulse of instinctual emotion allow life itself to overcome all odds to pursue its dreams and desire. "KICKING" is an explosive force surges with the vibration of life. When people confront vitality and desire honestly, the passionate and excited drive and momentum of life also burst forth. Life that vibrates with desire brings a surging explosive force with its robust power and is welcomed in a more exciting and lively way. Artist’s original works stretches into the details of life, shaping a new kind of three-dimensional presentation and encouraging a broader scope of are collection. In "Alive and Kicking", Zhou Chunya not only recreates the many expressions and postures of his untamed green

MODERN AND CONTEMPOR ARY ART

189

198 CAI GUOQIANG ( Chinese, b.1957 )

Project for Extraterrestrials No.9: Fetus Movement II (set of four) three works: 56x76cm, plastic bag: 31.5x22cm Gunpower and Ink on Paper, chromogenic print and plastic bag used by artist to carry gunpower, edition of 15 Titled and signed Cai Guo-Qiang in Chinese and English, numbered 5/15

蔡國強為外星人做的計畫第九號：胎動 II ( 一組四件 ) 1992 火藥爆破水墨紙本彩色相紙藝術家用作盛裝爆破火藥的透明塑膠袋鏡框限量 15 件簽名：《Project for Extraterrestrials No.9 胎動 II - 記錄 , 編集》 5/15 蔡國強 Cai Guo-Qiang 來源：香港佳士得，2013 春季拍賣會，拍品編號 127

PROVENANCE:

Christie's Hong Kong, 2013 Spring Auction, Lot 127 ILLUSTRATED:

"Clouds: Power of Asian Contemporary Art," Soka Art Center, Beijing China, 2010, Page 96-97 EXHIBITION:

"Clouds: Power of Asian Contemporary Art," Soka Art Center, Beijing China, 2010

圖錄：《雲端：亞洲當大藝術大展》，索卡藝術中心，中國北京， 2010 年，第 96-97 頁展覽：「雲端：亞洲當大藝術大展」，索卡藝術中心，中國北京， 2010 年

NT$ 800,000-1,500,000 US$ 26,500-49,800

蔡國強 1958 年生於中國福建泉州，畢業於上海戲劇學院

與對立原理』。換句話說，火藥的真正本性對應的是人

舞台美術系。1980 年代時他悠遊於實驗藝術的世界裡。

類從進化開始以來所擁有的力量和精神，也反映著宇宙

1986 年赴日求學並在那裡生活了九年。這段期間的體驗

本身的特徵。來自這種精神契合的靈感進行的創作，使

深深的影響了他的藝術創作方向。1995 年他受邀前往美

火藥不再單純的是一種創作手段。」

國紐約皇后區的 P.S.1 藝術中心創作一年，之後便定居紐約。其氣勢輝煌、理念鮮明的大型爆破作品和裝置藝術震動國際藝壇，曾獲得日本文化設計獎、威尼斯雙年展本尼斯獎、國際金獅獎，以及美國歐伯特藝術獎，同時連續獲英國藝術雜誌 ArtReview 評選列為全球藝術界最具影響力的百大名人之一，堪稱是世紀之交最具國際聲譽與地位的華人藝術家。

190

《為外星人做的計畫第九號：胎動 II》創作於 1992 年，當時在日本的蔡國強接觸了後物派主義藝術的影響，與當時許多日本藝術家一樣，開始對預言與圖像的藝術題材感到興趣，與此同時卻也自覺身為外來者的他，就像是這片新土地的外星人，進而促使他的轉變，試圖去超越狹隘的東西方比較，以一種更大的語境及融會方式開展更廣大的藝術範疇，於是「為外星人作的計畫」系列

身為當代藝術家，蔡國強不但勇於胡思亂想，更是一位

油然而生。《為外星人做的計畫第九號：胎動 II》中火藥

起而行的強勢實踐者。他的爆發力不只是來自火藥，更

的爆破焦痕和墨色在紙上氤氳拓展，就像子宮內的胚胎

來自他恣意不羈的創意奔流、切中要害的溝通力道，以

逐漸成長，往四方八面擴散，既神秘靈動，又變化莫測。

及固執的浪漫信念。蔡國強的藝術突破表現在他用道家

而作品中的相紙記錄，就像是超音波照一般，映照出火

和非西方的人文主義的折衷修辭中，他亦曾如此闡述關

藥爆炸那瞬間，為作品的誕生做了一次永恆的留存。如

於火藥繪畫的意義：「我提出了一個關於宇宙的概念，

同生命有起有滅，藝術作品亦有破有立，毀滅中存在著

它基於人類和自然之間基本的、原始的關係，例如：『借

重生，在這些二元極端之間，是藝術家贈予我們的迷幻

用自然力』、『人─藝術─自然合一』和『陰陽的共存

醉人之美。

ZHONG CHENG 中誠

「無論是在時間上還是在空間上，火藥爆炸的運動都產生了混亂，宇宙向我們逼近，永恆就誕生了。在短暫的混亂之後，作品從我們的視域中消失了，它以光速朝向宇宙空間飛去，去與另一個觀眾見面。生命和藝術要超越它們的限制，並無限地開拓自己。」 --- 蔡國強

MODERN AND CONTEMPOR ARY ART

191

CAI GUOQIANG 蔡國強 1957 年生於福建泉州的蔡國強，畢業於上海戲劇學院舞臺美術系，1986 年赴日本留學。蔡國強的藝術足跡幾乎遍及所有

灰燼。」為了避禍，眼睜睜望著火焰沿著手工紙抄的紋理蔓延，紙灰餘燼隨著青煙緩緩飄散夜空中，花火飽含著傳統文

的國際大展，並且在眾多世界著名的藝術殿堂舉辦超過三十

人的血淚，又帶著幾許璀璨的魔幻美感，那「霎那」即逝的

次個展。他曾獲 46、48 屆威尼斯雙年展大獎，亦曾於 2012

美感也就此諭示了蔡國強對煙花的酖溺以及影響其日後的創

年更獲得美國藝術勳章以及高松宮殿下記念世界文化賞，其

作模式。爾後，蔡國強藉由火藥草圖及其概念上相關的爆破

藝術成就備受國際肯定。除了在世界許多重要美術館和國際

計畫傳遞出他的思維：通過介入自然力，創作是能將藝術家

活動中發表作品外，蔡國強也跨領域與科學家、服裝設計

與觀者同原始和現代的混亂狀態聯繫起來，這一混亂的狀態

師、建築師、作曲家、舞蹈家、電影導演等合作，例如他於

則是在爆破的一瞬間呈現，而作品同時也表現出蔡國強對於

2008 年擔任北京奧林匹克開閉幕式核心創意小組成員以及

物質與能量之間關係的興趣。在他的作品裡，物質（即火藥）

視覺特效藝術總設計。他的藝術表現領域涉及裝置藝術、行

爆炸轉化為能量，並以另外一種形式恢復物質狀態（燒焦的

為藝術、觀念藝術、多媒體藝術等當代最為前衛性的藝術範

物體），從這個意義上而言，它們是包括時間、過程和轉變

圍，成為國際當代藝術領域中最受矚目和最具開拓性的藝術

的紀錄。

家之一，並且連續多年被英國權威藝術雜誌《ArtReview》評為世界藝術界最有影響力的一百位人物之一。

192

除此之外，蔡國強亦有一部分作品使用火藥在紙上做的繪畫，這種「火藥畫」在他還是學生的時候就開始嘗試了，當

蔡國強通過火藥爆炸的方式創作，這構成了當代藝術表達形

蔡國強八○年代初在上海戲劇學院時，已經開始尋找一些特

式的一種新媒介。對蔡國強而言，他對材料和過程的選擇

別的工具來創作，他便想到用「火」畫畫的念頭，一開始他

之所以意義重大，是因為它不屬於一般的東西方藝術形式類

使用容易控制的工具來製作，但他感覺畫面仍然太受他的控

型，且他的作品擺脫了與任何特定藝術史傳統脈絡的直接關

制，不久他發現用火藥作畫的方法。火藥具有將所有重壓的

連。而藝術家對於火花的迷戀與鍾情，可回溯於年少時與父

東西一舉彈開的爆發性威力，另一方面，紙張雖然看起來極

親為了躲避文革的迫害之往事，蔡國強於一次的訪談中提到：

為柔軟，卻能將光與熱吸附在自身之中，在火藥已消失無蹤

「父親是 1949 年中國解放後的古籍書店經理，他的收入全化

之後，留下來的痕跡展現了一種已變化的展新物質。而爆炸

成了一本又一本的善本珍藏，那些蘊含著傳統水墨、書法的

後在紙質上留下各種各樣的偶然效果，促使畫面變成了一種

善本紙頁，大多數卻在文革的夜裡，伴隨著火光化為青煙、

「主動性」的呈現，進而開啟了藝術家和畫面之間的某種生

ZHONG CHENG 中誠

動的對話。對於如此創作方式，蔡國強這樣表示：「爆炸在你自己的最核心處產生一股強烈的感受。雖然你可以任意安排炸藥，但是你卻無法控制炸藥本身。這會使你獲得一種巨大的自由感。」蔡國強的創作像是希臘神話裡的伊卡洛斯，有著執拗和天真，那些煙花的炸裂，是焚毀前片刻綻放的美感，短短的瞬間在神奇感發生時自然成為傳奇。虎與鷹，自古就是名家繪畫表現的題材，牠們不僅是自然界頂端的王者，更是英勇與膽魄的象徵。魏晉大畫家張僧繇、唐代之吳道子、李漸以及宋代包鼎父子、明代趙廉、戴進等均以畫虎著稱於世，畫中虎之形態勇猛壯碩，精力磅礴，精純逼真；而明清至近代亦有畫鷹之名士，像是明代之林良、清代之朱耷、郎世寧，以及書畫大家齊白石、徐悲鴻等，皆

《不合時宜：舞台二》展於荷蘭，克勒勒 – 米勒博物館， 2012 年 Installation View of Inopportune: Stage Two at Kröller – Müller Museum, The Netherlands, 2012

《不合時宜：舞台二》展於北亞當斯，馬州當代美術館，2004 年 Installation View of Inopportune: Stage Two at MASS MOCA, North Adams,2004

對鷹之翱翔振翅、雄赳氣昂之姿做出生動地描繪。而虎與鷹的圖像在蔡國強的創作中並不陌生，如 2004 年與 2012 年於美國馬州當代美術館及荷蘭克勒勒 - 米勒美術館曾展出的《不合時宜：舞台二》，此件裝置藝術呈現九隻凌空的老虎，面融僵硬，身體扭曲、渾身中箭，這件作品是藝術家對 911 事件的反思，體現人與自然之間的暴力，和人與人間的暴力。爾後，蔡國強也承襲中國傳統，融匯火藥媒材創作，使得老虎和鷹的圖式在其藝術詞彙中表現出他與自我、與大自然及整個宇宙的持續對話的一部分。此幅《虎與鷹》展現出蔡國強駕馭火藥在紙上表現力量、能量和吸引力的爐火純青的藝術水準。藝術家突破中國以形寫

and international events, Cai also conducts interdisciplinary collaborations with scientists, fashion designers, architects, composers, dancers and film directors. For instance, he was the art director in charge of visual effects, and a member of the core creative team for the closing ceremony of the 2008 Summer Olympics in Beijing. He works on the most Avantgarde, including installation art, performance art, conceptual art, and multi-media art. Among the contemporary artists, he is one of the most recognized and pioneering. He was consistently chosen by Art Review magazine as one of the most influential people in the circle of art.

意的繪畫技法，以火藥爆破的突發性產生抽象的軌跡意象，

Tiger and Eagle demonstrates Cai's masterful control and

左下方放射性的殘灰線條展現虎之勇猛張揚威唬，若干火藥

artistry over the power, energy and appeal of gunpowder on

燃盡之褐調色塊噴灑壯麗，就像虎型蟠踞伺伏，王者之氣令

paper. He broke free from the traditional Chinese painting

人震懾不已；右上鷹形迴繞振翅，火藥的爆破力均勻衝向周

philosophy of capturing the spirit with form, while creating

圍四方，發展出令人難以置信的能量轉變，紙上一竦勁身意

abstract images with the spontaneity of explosives. Lines

欲搏鬥猛虎，雙目側視威猛下馴，線條環軸逼真可摘，形象

formed with ashes radiate from the lower left, like a tiger roaring

生動如真鷹呼之欲出。蔡國強嘗試以火藥爆炸的偶然效果推

with fierceness. Blocks of spectacular brown from the burnt

翻保守的造型慣例，通過這樣的偶然性與魔幻性素材，不僅

gunpowder surge, as though a crouching tiger is emanating

在空間時間炸出一條通道，同時也破除人類心牆的藩籬，使

stunning royal magnificence. On the upper right, the eagle

歷史與文化，理性與非理性，別人與自我，均得以在此調和

circles with wings wide spread. Forces from the exploding

交會。一如中國當代重要的藝術評論家與策劃人費大為的評

gunpowder blast evenly in all directions. The energy transforms

述：「綜觀他 ( 蔡國強 ) 的全部創作，表面上他是走了一條

into the inconceivable. The eagle is ready to combat, eyeing

與西方當代藝術完全不同的道路，甚至是在玩弄中國傳統文化，但這個遊戲的結果卻是出其不意地打開了一條創造的自由通道，為九○年代的當代藝術帶來一股新鮮空氣。」

ferociously at the tiger below. The image is so real that it was as if a genuine eagle is coming alive. Cai attempts to abandon the conservative approaches by creating form with spontaneous explosion. The serendipitous and mesmerizing medium blasts

Cai Guo-Qiang was born in Quanzhou, Fujian Province in 1957.

a tunnel through time and space, while tearing down barriers

He graduated from the Department of Theater Art, Shanghai

between human hearts, where history and culture, sense and

Theater Academy and left for Japan for further education

sensibility, as well as self and other encounter. Contemporary

in 1986. He had attended almost all major international

ar t critic and curator from China, Fei Dawei once said,

awards and held over 30 solo exhibitions in world renowned

"Examining Cai's entire body of works comprehensively, it

institutions. He won major titles at the 46th and 48th Venice

appears that he took a path utterly different from contemporary

Biennale. In 2012, he was awarded the National Medal of

Western art, even mocking Chinese tradition. However, the

Arts from the United States as well as Praemium Imperiale in

playful game unexpectedly initiated a path to freedom, bringing

Japan. . In addition to showcasing his work in top art museums

a breath of fresh air to contemporary art in the 90s."

MODERN AND CONTEMPOR ARY ART

193

199 CAI GUOQIANG ( Chinese, b.1957 )

Tiger and Eagle 300x400cm Gunpower and Ink on Paper Titled in Chinese, and signed Cai Guo-Qiang in Chinese and English, dated 2005 PROVENANCE:

Sotheby's Hong Kong, 2013 40th Anniversary Evening Sale, Lot 63 EXHIBITION:

''Cai Guo-Qiang,'' Eslite Gallery, Taipei Taiwan, December, 2005

NT$ 23,000,000-36,000,000 US$ 763,100-1,194,400 蔡國強虎與鷹 2005 火藥爆破水墨紙本簽名：《虎與鷹》蔡國強 Cai Guo-Qiang 2005 來源：香港蘇富比，2013 亞洲四十年夜拍，拍品編號 63 展覽：「蔡國強」，誠品畫廊，台灣台北，2005 年 12 月

「我喜歡用火藥進行創作時的危險性，這令我激動不已。使用不同的火藥成分，會出現不同的爆破速度，發出不同的聲響，並創造出不同程度的壯觀景象。這種難以預測的變化令人著迷。也許，正是我對這種危險的熱衷使我運用這樣怪異的方式作畫……。」 ──蔡國強

194

ZHONG CHENG 中誠

200 ZHAN WANG ( Chinese, b.1962 )

Artificial Rock A-63 49x52.5x33cm Stainless Steel, 1/4 Titled A-63, and signed Zhan Wang in Chinese, dated 2007, numbered 1/4 With a certificate of authenticity signed by the artist

NT$ 1,400,000-2,600,000 US$ 46,400-86,300 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。

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201 GAO XINGJIAN

高行健

( Chinese-French, b.1940 )

隆冬

Midwinter

2005 水墨紙本簽名：Gao XingJian 2005

75.2x58.3cm Ink on Paper Signed Gao Xing-Jian in English, dated 2005

NT$ 650,000-800,000 US$ 21,600-26,500

高行健水墨之作，融以東方意境傳統與西方抽象繪畫，遊走於現代主義美學、當代人們存有與虛無的課題之中，精神性繪畫表現出美學詩學的融合。飽含水墨與流動的墨色層次變化，其明暗色調呈現心象與心境，渾沌而虛實相生的意境，時空凝結而循環反覆，無邊無際開展高遠廣闊的世界，帶來水墨禪畫嶄新的清新自然之美。1987 年高行健應邀赴德國從事繪畫創作，後在巴黎定居；1992 年，榮獲法國政府頒發的「藝術與文學騎士勳章」。2000 年，因小說《靈山》、《一個人的聖經》等著作，高行健成為首位獲得諾貝爾文學獎的中文作家。高行健其超然的藝術性不僅展現於文學創作，更富於繪畫表現。《隆冬》一作著筆於當下時空的氛圍，交映觀者之心靈畫面。墨色變化渲染出闊然天地，綴以孤枝迎立於皚皚漫雪，形塑出寓言式的對比張力；無論為「滄海一粟」，抑或若「天地一沙鷗」，此幅生命之觀，皆飄渺而堅韌、虛幻卻真實。高行健的水墨作品懷有文學般的敘事美感，總是境隨情轉、畫由心生，獨具禪意的自然景觀，凸顯其細膩敏銳的心思，以及超然灑脫的生命感悟。 Gao Xinjian's ink paintings infused oriental sense of tradition with the western abstract style of painting ; his works wandered back and forth from the modernist aesthetics to the real or unreal conundrum, expressing the infusion of both the visual and poetic aesthetics. Fulfilled with ink and flowing contracts of layers, the bright and darks colors present the mood and mindset of the artist. And with the chaotic, halftrue-and-half-untrue scenario, time has frozen and started to repeat its cycles, expanding into a limitless world and bringing a brand-new fresh and natural beauty of ink painting of the spirit of Zen thereby. During the year of 1986, Gao Xinjian accepted the invitation to work in Germany for painting and then later settled in Paris. In 1992, he was honored with the Ordre de Arts et des Lettres awarded by the French government. During the year of 2000, he became the first Chinese Nobel Prize laureate in literature. His superb artistry did not just exhibit in his literary compositions but also in his painting creations. "Midwinter," for example, was created due to the atmosphere around the artist at the time of its creation, and hence the spiritual scenario reflected on the viewers. The changes of the inks were smudged into endless skyline and land, and is embellished with a lone-standing tree branch in a pale-white snowfield and thereby shapes up an intense contrast. Both the Chinese proverb "a drop in the ocean" or the parable reflected by the well-known novel "Jonathan Livingston Seagull" are reflected in this painting. The perspective toward life it reveals is humble yet resilient, unreal yet somewhat still realistic. Go Xinjin's ink paitings are incorporated with lyrical aesthetics that resemble those in literature; they are always changing in accord to the artist's mood and inspired by his mindset, and the distinctively Zen-ful natural scenes have further enforced the artist's delicate and sensitive mind and his free and easy life perspective.

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202 JEAN MICHEL BASQUIAT

尚．米榭．巴斯奇亞

( American ,1960-1988 )

查理一世

Charles the First

2004 版畫 H.C. 19/20 簽名：H.C. 19/20

154.9x121.9cm Lithograph, H.C. 19/20 Numbered H.C. 19/20 With a certificate of authenticity signed by artist's father Gerard Basquiat on the reverse The screenprint printed and published by David DeSanctis Carr Fine Art

作品背面附藝術家父親 (Gerard Basquiat) 親簽之原作保證卡版畫由 David DeSanctis Carr Fine Art 印製及出版

NT$ 1,000,000-1,800,000 US$ 33,200-59,700

「從 17 歲開始，我就知道自己將來會成名。我想起自己心中的英雄人物：查理．帕克、吉米．漢德里克等，我對於人們成名的方式，有一種充滿浪漫的幻想。」 --- 巴斯奇亞童年時期的尚．米榭．巴斯奇亞生於紐約布魯克林，其父母鼓勵他對於藝術創作的天分，並在他車禍入院期間贈予（Gray's Anatomy）格雷解剖學一書，影響巴斯奇亞至深，高中時進入曼哈頓的都會實驗學校，但就此輟學於街頭展開漂泊創作生涯，其新表現主義與塗鴉藝術遍布下城－ SAMO 曾引起一陣風潮，而被《藝術論壇雜誌》（Artforum Magazine）譽為（The Radiant Child）而廣受注目的他，先後參與超前衛畫家聯展、惠特尼雙年展，並受安迪沃荷賞識，而結下合作友誼的創作火花。其創作內容包含英雄主義、解剖學、塗鴉和大量的文字，隨興而不羈流洩而出的爵士搖擺節奏，緩緩而低沉的吟奏出《查理一世》Charlie Parker 充滿薩克斯風的醉人旋律，而沉浸在酒精與毒品渾沉的迷幻藍調，以驚人的（Cherokee）一曲震驚樂壇，在 34 歲驟逝嘎然而止他的迷人演出，巴斯奇亞英雄惜英雄而相互輝映的感慨，在作品上留下如夢般的囈語與呢喃。而巴斯奇亞的視覺表現與技法，深受 Yves Klein、Jackson Pollock、Cy Tombly 等藝術家影響；呈現對於城市生活的見聞所感、內心的吶喊與掙扎，在童稚樸拙的心靈與生活種種狂潮席捲下，藝術家以充滿情感與渲染力的筆觸，帶出對人生的詰問與觸動人心的自白，「國王，英雄與街頭」式的詩句，道盡短暫而燦爛藝術家人生的喧囂與孤寂。

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204

ZHONG CHENG 中誠

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205

KAWS 出生美國紐澤西州，原名 Brian Donnelly，90 年

態而能更加貼近大眾的日常生活，藉以激發藝術形式

代後期 Kaws 開始投入設計生產限量版玩具，更一炮打

的可能，進而創造獨一無二的藝術作品。

響全球玩具藝術收藏界的熱潮。KAWS 最初的創作手法是撕下街頭的海報，帶回家之後再進行視覺符號的「再製」創作，爾後延續此創作想法，接受日本玩具公司 Medicom Toy 的合作邀請，開創出許多現今被視為經典的設計原型作品。

比原先的廣告更受人注目。自 90 年代開始，KAWS 將自己的作品製成玩具公仔，在湯姆 ‧ 衛塞爾曼（Tom Wassermann）與克拉斯 ‧ 歐登伯格（Claes Oldenburg）等藝術家的強烈啟發下，他也開始創作不

1991 年 KAWS 開始在街頭進行塗鴉，成名之後的

同的公仔款式。搭著公仔風潮，同時也與許多知名品

Kaws 經常受到各方邀請，在倫敦、紐約、東京等地開

牌合作，如 Nike、DC、Ape、Vans、Uniqlo 等。

設個人畫展，KAWS 最有名的就是翻玩其他卡通角色所推出的公仔，將眼睛的部分劃上兩個大ＸＸ，頭部變成骷顱，耳朵有兩個大骨頭，日本大師手塚治虫的原子小金剛以及迪士尼的米奇亦被 KAWS 顛覆，自此

1999 年，KAWS 與日本品牌 realmad HECTIC 以及 Bounty Hunter 合作的小型乙烯基玩具《同伴》在流行藝術的商業圈引起了潮流，KAWS 隨後製作的《同

KAWS 因而聲名大噪，聞名於世。

伴》之數種衍生版本更在世界各地的美術館展出。因

成功的跨界合作，於公仔創作世界中開創一種不流俗

影響，穿上了與米奇相同的褲子與白手套，骷髏頭原

的新意。在公仔創作之外，KAWS 更與多家品牌服飾

先是令人畏懼的形象，經由 KAWS 的翻玩，轉變成具

合作與聯名，企圖讓大眾能更親近他的設計與創作。

有幽默感的簡單人偶造型，將流行文化的內涵展露無

跨界與各領域之國際大師的合作，以藝術生活化為概

遺，公仔的價值自商業性範疇被帶進入藝術殿堂中，

念，趣味的公仔造型，藝術家將街頭流行與藝術結合，

KAWS 的創作可謂是代表藝術圈承先啟後的象徵。

透過具有高識別度的創作元素，使藝術脫離精品的型

206

KAWS 獨特的風格，繪製於廣告看板上的塗鴉，反

ZHONG CHENG 中誠

KAWS 曾為迪士尼創作，同伴公仔的衣著元素也受其

203 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion (Black) 125x33x50cm Fiber Reinforced Plastics, Edition of 100 Signed Trademerk © KAWS,,07 in English on the bottom of right foot, and signed MEDICOM TOY 2007 MADE IN CHINA in English on the bottom of left foot

NT$ 700,000-900,000 US$ 23,200-29,900 KAWS ( 布萊恩．唐納利 ) 同伴 ( 黑色 ) 2007 纖維增強塑料限量 100 件簽名：註冊商標 © KAWS,, 07 ( 右腳底 ) MEDICOM TOY 2007 MADE IN CHINA ( 左腳底 )

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204 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Dissected Companion (Black) 125x33x50cm Fiber Reinforced Plastics, Edition of 100 Signed Trademerk © KAWS,,08 in English on the bottom of left foot, and signed MEDICOM TOY 2008 MADE IN CHINA in English on the bottom of right foot

NT$ 700,000-900,000 US$ 23,200-29,900 KAWS ( 布萊恩．唐納利 ) 解剖同伴 ( 黑色 ) 2008 纖維增強塑料限量 100 件簽名：註冊商標 © KAWS,, 08 ( 左腳底 ) MEDICOM TOY 2008 MADE IN CHINA ( 右腳底 )

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205 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion (Brown) 125x33x50cm Fiber Reinforced Plastics, Edition of 100 Signed Trademerk © KAWS,,07 in English on the bottom of right foot, and signed MEDICOM TOY 2007 MADE IN CHINA in English on the bottom of left foot

NT$ 700,000-900,000 US$ 23,200-29,900 KAWS ( 布萊恩．唐納利 ) 同伴 ( 棕色 ) 2007 纖維增強塑料限量 100 件簽名：註冊商標 © KAWS,, 07 ( 右腳底 ) MEDICOM TOY 2007 MADE IN CHINA ( 左腳底 )

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206 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Dissected Companion (Brown) 125x33x50cm Fiber Reinforced Plastics, Edition of 100 Signed Trademerk © KAWS,,09 in English on the bottom of left foot, and signed MEDICOM TOY 2009 MADE IN CHINA in English on the bottom of right foot

NT$ 700,000-900,000 US$ 23,200-29,900 KAWS ( 布萊恩．唐納利 ) 解剖同伴 ( 棕色 ) 2009 纖維增強塑料限量 100 件簽名：註冊商標 © KAWS,, 09 ( 左腳底 ) MEDICOM TOY 2009 MADE IN CHINA ( 右腳底 )

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207 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Companion (Gray) 125x33x50cm Fiber Reinforced Plastics, Edition of 100 Signed Trademerk © KAWS,,07 in English on the bottom of right foot, and signed MEDICOM TOY 2007 MADE IN CHINA in English on the bottom of left foot

NT$ 700,000-900,000 US$ 23,200-29,900 KAWS ( 布萊恩．唐納利 ) 同伴 ( 灰色 ) 2007 纖維增強塑料限量 100 件簽名：註冊商標 © KAWS,, 07 ( 右腳底 ) MEDICOM TOY 2007 MADE IN CHINA ( 左腳底 )

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208 KAWS (BRIAN DONNELLY) ( American, b.1974 )

Dissected Companion (Gray) 125x33x50cm Fiber Reinforced Plastics, Edition of 100 Signed Trademerk © KAWS,,09 in English on the bottom of left foot, and signed MEDICOM TOY 2009 MADE IN CHINA in English on the bottom of right foot

NT$ 700,000-900,000 US$ 23,200-29,900 KAWS ( 布萊恩．唐納利 ) 解剖同伴 ( 灰色 ) 2009 纖維增強塑料限量 100 件簽名：註冊商標 © KAWS,, 09 ( 左腳底 ) MEDICOM TOY 2009 MADE IN CHINA ( 右腳底 )

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奈良美智

YOSHITOMO NARA

奈良美智生於日本青森縣弘前市，1987 年畢業於日本愛知縣立藝術大學，取得碩士學位。隨後他負笈德國杜塞道夫藝術學院，於完成學業後於當地生活了 12 年之久，並移居至美國進行當代藝術的創作、並兼任教授，現今歸國並居住於東京。 1980 年代後期由先前的插畫性質，發展出以小人頭像為主的風格；著迷於大眼、大頭小人物的奈良美智，最大的特色在於其帶有冷漠、斜視、憤怒大眼的小女孩，似是以沉默的語言控訴對社會的不滿；也因作品帶有濃厚隱匿式的氛圍，一躍成為當代藝術的一環。1990 年代後期開始創作立體作品，將畫面的小人物走出畫布，以不同媒材拼組的方式而成大型立體雕塑；今日其筆下不屑世俗的小人物皆成為各大拍賣的寵兒，亦被國內外博物館所收藏，如紐約當代藝術博物館等。大眼睥睨模樣的小女孩眼神中充滿著靈魂，表現出來的反叛精神和憤世嫉俗的態度，與奈良美智熱衷於龐克搖滾音樂文化是不謀而合的；在成長環境下以及年輕時曾至世界各地探索，面臨了戰爭與和平的課題，他將憤慨失落的情緒化作藝術性的表徵，提倡和平。村上隆曾公開評論：「奈良所擁有的是超越藝術，召喚民眾聚集起來的吸引力—一股不流血革命的能力」，奈良美智把訊息凝聚在簡練的線條形式中，透過童趣的圖像傳遞，誠實批露自身的經歷，幽默、詼諧、諷刺，藝術家藉由筆下可愛的人物傳達出自己內心的聲音，進而予以社會及世界帶來一股鮮明的力量。

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209 YOSHITOMO NARA ( Japanese, b.1959 )

Mellow Girl

2009 木刻版畫 29/50 簽名：29/50 な 09

46x46cm Woodcut, 29/50 Numbered 29/50, signed Na in Japanese, dated 2009

NT$ 200,000-360,000 US$ 6,600-11,900

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210 YOSHITOMO NARA

奈良美智

( Japanese, b.1959 )

Flashlight Girl

2004 版畫 A.P. 2/9 簽名：A.P. 2/9 な 2002-04

48x38cm Lithograph A.P., 2/9 Numbered A.P., signed Na in Japanese, dated 2002-2004

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

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211 YOSHITOMO NARA ( Japanese, b.1959 )

Backwards Forwards

2012 木刻版畫 4/50 簽名：4/50 2012 な

42x29.5cm Woodcut, 4/50 Numbered 4/50, dated 2012, signed Na in Japanese

NT$ 420,000-550,000 US$ 13,900-18,200

216

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奈良美智

212 YOSHITOMO NARA ( Japanese, b.1959 )

《Project Doggy Radio》是奈良美智近年來除個人畫作之外唯一的藝術項目，也是奈良美智於 2012 年開始，由日本橫濱開始的世界巡迴展中最先曝光的展品。《Project Doggy Radio》出自於奈良美智對於藝術與生活結合的想法，經過長時間的思考，

Doggy Radio x Rimowa

由手稿到手模的製作，完整呈現「想讓小狗在房間內跑進跑出」的初衷。介面與

Doggy Radio: 38x34x23cm, case: 45x40x30cm Fiberglass, Aluminum, 145/200

收音機、擴大機、另可連接 iPod、AUX 及藍芽音樂輸出，並由香港玩具創作公司

With a Certificate of authenticity signed by artist

內部技術由台灣 SAYERS STUDIOS 設計（Yamaha Lab 獨家音樂系統協力），可做 HOW2WORK 完成外觀製作，而內部 YAMAHA Lab 特調環繞音響能讓小狗肚子的喇叭清楚地播放音樂，採用雙重數位訊號處理器 (Dual DSPs)，搭配 Yamaha Lab 獨家專

NT$ 240,000-360,000 US$ 8,000-11,900

利揚聲技術，材質選料各式纖維及羊毛等物質組合而成精密震膜，確保聲音品質，

奈良美智

載無線傳輸音樂 (Bluetooth) 功能，造型可愛時尚，操作簡單，使用便捷。

小狗音響 x Rimowa 行李箱

《Projet Doggy Radio》後期加入「能將牠帶著走吧？！」的念頭，呼應著生活與旅行、

2011 玻璃纖維鋁鎂合金 145/200

降低失真率。透過輕撫小狗下巴即可調整音量大小，而經由觸轉小狗鼻頭則可調整收音機頻道，項圈上按鈕能調整音源輸出 (FM/Radio Wireless/USB IN/AUX IN)，亦搭

藝術結合，委託德國 RIMOWA 製作的行李箱也應運而生，共同完成奈良美智的創作理想：「藝術與音樂甚至旅行的結合，終有生活化的實現可能。」

附藝術家親簽之原作保證卡

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213 YOSHITOMO NARA

奈良美智

奈良美智的特色，在於塑造各種帶有情感的

( Japanese, b.1959 )

a. 小森子 b. Life is Only One

眼神，創作的源起全來自於他訪港時，看

a. Mini Mori Girl b. Life is Only One

a. 2012 b. 2015 a. 樹脂木材塑料版數：1000 b. 陶瓷盤 ( 共三件 ) b. 背面簽名：な

成為奈良美智的代言人；而在香港舉辦的

a. 11x8.2x8.2cm b. Diameter Ø 17cm (3) a. Resin, Wood, Plastic, edition of 1000 b. Porcelain (Three pieces) b. Signed on the reverse: Na in Japanese b. EXHIBITION:

''Life is Only One: Yoshitomo Nara,'' Asia Society Hong Kong Center, Hong Kong, China, March 6th - July 26th, 2015

b. 展覽：「無常人生：奈良美智」，亞洲協會香港中心麥禮賢夫人藝術館，中國香港， 2015 年 3 月 6 日至 7 月 26 日

NT$ 30,000-60,000 US$ 1,000-2,000

a. b.

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ZHONG CHENG 中誠

見一位可愛而邪惡的小女孩，從此「她」大型個展「無常人生」，其中《Life Is Only One ！》有著對生命無常之慨，而多了一份對人生的思索與溫暖。而《小森子》迷你小樹的身影圓潤可愛，散發著快樂的療癒氛圍，象徵回歸單純、平靜的自然之境。

214 TOM WESSELMANN

湯姆．衛塞爾曼

( American ,1931-2004 )

露露

Lulu

1982 版畫 49/250 簽名：Wesselmann 82 49/250

46x66.5cm Lithograph, 49/250 Signed Wesselmann in English, dated 1982, numbered 49/250

NT$ 150,000-240,000 US$ 5,000-8,000

MODERN AND CONTEMPOR ARY ART

219

215 ZHAO SHAOANG ( Chinese, 1905-1998 )

Calligraphic Couplet 132x32cm (2) Ink on Paper Inscribed and signed Shao-Ang in Chinese With three seals of the artist

NT$ 200,000-300,000 US$ 6,600-10,000 趙少昂書法對聯 1989 水墨紙本款識：己巳夏五月，趙少昂於蟬嫣室，時年八十五鈐印：我之為我自有我在 ( 朱文 )、趙 ( 朱文 )、少昂 ( 白文 ) 釋文 : 綠竹漫侵行徑裡，飛花故落舞筵前。

1905 年生於廣東，字叔儀，曾於嶺南畫派大師高奇峰創辦之美術學習館習畫，與黎雄才、關山月、楊善深並稱為第二代嶺南畫派四大名家。擅長繪畫花鳥與走獸，其作品繼承嶺南畫派的傳統，革新中國畫的主張和「融匯古今，折衷中外」的藝術宗旨。《書法對聯》中的行草書寫體，形神兼備，筆墨奇肆，不僅同時汲取外國繪畫的表現形式，亦注重師法造化，充分發揮書法用筆的表現力，獨具風格。

220

ZHONG CHENG 中誠

216 YANG SHANSHEN ( Chinese, 1913-2004 )

Calligraphic Couplet 136.6x33.5cm (2) Ink on Paper Signed Shan-Shen in Chinese With one seal of the artist

NT$ 100,000-200,000 US$ 3,300-6,600 楊善深草書七言聯水墨紙本款識：善深鈐印：善深 ( 朱文 ) 釋文：酒常知節狂言少，心不能清亂夢多。

生於中國廣東，字柳齋，香港畫家，被譽為「嶺南畫派最後一位大師」。其書法喜用枯筆渴墨、似草亦隸，起伏跌宕，既古意盎然又具現代感。楊善深秉承嶺南畫派的創新精神，融貫中外；作品構思新穎，雄放而不失秀雅，形成獨特的個人風格。

MODERN AND CONTEMPOR ARY ART

221

217 YANG SHANSHEN ( Chinese, 1913-2004 )

Calligraphic Couplet 137x33cm (2) Ink on Paper Inscribed and signed Shan-Shen in Chinese With one seal of the artist

NT$ 100,000-200,000 US$ 3,300-6,600 楊善深行書七言聯 1990 水墨紙本款識：庚午冬日善深書於春風草堂鈐印：善深 ( 朱文 ) 釋文：精神到處文章生，學問深時意氣平。

著名中國美術史家暨書法家黃苗子評楊善深之書法：「渾厚華滋，外師造化以融畫入書勝﹔下筆則吊詭馳驟，虎躑龍騰，以氣態雄杰勝﹔縱橫揮洒，如萬歲枯藤，以勁健郁蒼勝。」楊善深的書法結體開張縱橫、雄渾天成，將篆、隸、行、楷融會在一起，使行楷書中增添高古蒼拙之趣。

222

ZHONG CHENG 中誠

218 CHENG SHIFA ( Chinese, 1921-2007 )

Calligraphic Couplet 96x22.5cm (2) Ink on Paper Signed Cheng Shi-Fa in Chinese With two seals of the artist

NT$ 80,000-160,000 US$ 2,700-5,300 程十髮草書五言聯水墨紙本款識：程十髮書鈐印：中立不倚 ( 朱文 )、寒枝 ( 白文 ) 釋文：雲霧出海曙，梅柳度江春。

程十髮，原名程潼，1938 年進入上海美術專科學校習畫，1984 年起任上海中國畫院院長。在水墨畫、連環畫、年畫、插畫、插圖等方面均有一定造詣，除此之外亦工書法。此《草書五言聯》筆鋒遒健、一氣呵成，振筆收尾之處展現縱橫飄逸的行雲流水氣勢，可見程氏書法造詣之優美熟練之態。

MODERN AND CONTEMPOR ARY ART

223

219 CHENG SHIFA ( Chinese, 1921-2007 )

Calligraphic Couplet 134x33.5cm (2) Ink on Paper Inscribed and signed Cheng Shi-Fa in Chinese With three seals of the artist

NT$ 100,000-200,000 US$ 3,300-6,600 程十髮七言對聯 1991 水墨紙本款識：辛未首夏集唐人詩句程十髮鈐印：三釜書屋 ( 朱文 )、程潼之印 ( 朱文 )、十髮 ( 白文 ) 釋文：煙開蘭葉香風暖，鶯囀皇州春色闌。

程十髮生於上海松江，1938 年進入上海美術專科學校，曾任華東人民美術出版社創作員，留有許多連環畫作品，並參與中國畫院籌備事務，出任院長。此《七言對聯》書寫春色爛漫的鳥語花香，兼具視、聽與嗅覺撫觸而來，五感酣暢，好不快意，心曠而神怡。

224

ZHONG CHENG 中誠

細節圖

220 LONG CHINSAN ( Taiwanese, 1892-1995)

Lakeside Scenery 18.5x144cm Paper Inscribed in Chinese With one seal of the artist

NT$ 120,000-280,000 US$ 4,000-9,300

郎靜山

郎靜山的集錦攝影，仿國畫、重意境、師古法，

湖山攬勝

在形式上模仿傳統國畫，以中國傳統繪畫藝術

鏡片紙本款識：湖山攬勝集錦。本幅首用法國巴壁頌樹石之上亭榭，在韓國所攝。韓亭用大陸古制甚雅，自此接含鄱嶺山坡豎以八德園上界三峰之石，其他樹木株自碧瑤山中，遠處山峰取之于黃山西海偏左。另一石上小築為模型之作，石基又為法國名勝處也。最後乃京陵後湖之畔，第一亭中高士為余客八德園時大千先生持書端生，乃攝得之。余二經寒暑構圖既竟請求延濤先生韻美畫意。而先篇幅籍掩余集錦之鳩拙。壬戌夏九十一叟郎靜山並記。鈐印：郎靜山 ( 朱文 )

為媒介和熟練的黑白灰三色，描繪豐富多姿的黑白意蘊，融神氣韻為一體。而題材和主題意趣，則多取自古畫、古詩詞，因此郎靜山的集錦攝影是中國繪畫風格和攝影技法的統一，既是陽剛美和柔韌美的交融，又是自然美和藝術美的結合。既具有個人的藝術風格，又有著鮮明的民族特色。正如美國攝影學會會長甘乃第 (Kennedy) 所指出的：「郎先生為中國人，並且又研究中國繪畫，所以他是以中國繪畫的原理，應用到攝影上的第一個人。」

全圖

MODERN AND CONTEMPOR ARY ART

225

a. b.

221 LONG CHINSAN ( Taiwanese, 1892-1995)

a. In Mountain b. Couplet Calligraphy a. 37.5x29.5cm b. 127.5x31.3cm (2) a. Photograph on Gelatin Silver Print b. Ink on Paper a. Inscribed and signed Long Chin-San in Chinese With one seal of the artist b. Inscribed and signed Long Chin-San in Chinese With three seals of the artist

NT$ 140,000-240,000 US$ 4,600-8,000

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ZHONG CHENG 中誠

郎靜山

郎靜山一生致力於攝影藝術超過九十餘年從未

a. 坐看雲起時

間斷，參與整個二十世紀中國及世界攝影之發

b. 行書五言聯

展，歷史地位無出其右。郎靜山以「詩、書、

b. 1993 a. 銀鹽相紙 b. 水墨紙本 a. 款識：坐看雲起時靜山集錦鈐印：郎靜山 ( 朱文 ) b. 款識：癸酉百零三叟郎靜山鈐印：水之嵩 ( 朱文 )、百三之年 ( 朱文 )、郎靜山 ( 白文 )

畫、影」四絕斐聲藝壇，擅長書畫、鍾愛書法及攝影技術的研究，直到百歲高齡，仍然耳聰目明、筆力穩健。畢生致力推廣攝影，其「集錦攝影」不僅融會東方精神，更結合了西方寫實特點，創造獨有的攝影語言「影畫合一」，打破攝影與繪畫在媒材上的差異性，體現平面視覺藝術的共通性。此外，郎靜山自小學習書法，尤喜王羲之書風，經常提筆疾書，行雲流水，因而在書法作品中亦能見其曠達無爭之意境風格。

222 CHEN TINGSHIH ( Taiwanese, 1916-2002 )

Will #23 92x92cm Lithograph, 2/40 Titled and signed Chen Ting-Shih in English, numbered 2/40, dated 1985

陳庭詩意志 #23 1985 版畫 2/40 簽名：WILL#23 2/40 Chen TingShih 1985

NT$ 160,000-200,000 US$ 5,300-6,600

MODERN AND CONTEMPOR ARY ART

227

223 PENG KUANJUN ( Taiwanese, b.1961 )

Overjoyed 72x30x76cm Bronze, Lazurite, AP2 Dated 2006, signed Kuan-Jun in Chinese, numbered AP2 ILLUSTRATED:

"Peng Kuan-Jun 2008 Sculpture Exhibition," Caves Gallery, Taipei Taiwan, 2008, Page 22 With a certificate of authenticity from gallery

NT$ 160,000-240,000 US$ 5,300-8,000 彭光均眉飛 2006 銅琉璃 AP2 簽名：2006 光均 AP2 圖錄：《春在枝頭彭光均 2008 雕塑展》，敦煌畫廊，台灣台北，2008 年，第 22 頁附畫廊開立之原作保證書

1961 年生於台灣新竹，1990 年畢業於台北藝術大學，1992 年獲「第四屆台北縣美展」雕塑類第一名、「第十三屆全國美展雕塑類」第一名， 1994 年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎，是台灣中生代雕塑家。2010 年彭光均的作品已在台北、上海、馬來西亞藝博會及北京世紀翰墨畫廊展出並受到許多藏家的喜愛與收藏。彭光均的人體銅雕一向以體態優美的女性造型及不可思議的表層上色著稱，其更致力研發一系列在銅表面加色處理的程式，令白色，淡褐色甚至紅都可附著在作品上，這使初次欣賞其作的觀者，可能要親手觸摸表層才會意外的發覺到實際上使用的媒材是銅。《眉飛》在線條、平面、質地、顏色以及動態的處理上展現優柔美妙的平衡性，不僅可看出多樣化的材質相容映襯，尤展現的是女性優雅的身姿美感。

228

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

229

224 HUANG MINGCHE ( Taiwanese, b.1948 )

Flying 111x36x6cn Fiberglass, Iron, edition of 8 With a certificate of authenticity signed by the artist

NT$ 250,000-350,000 US$ 8,300-11,600 黃銘哲起飛 2000 玻璃纖維鐵總版數：8 附藝術家親簽保證書

黃銘哲的烤漆金屬雕塑作品跨入了三維空間的領域，為其兩維空間的作品的延伸。《起飛》是一件懸浮於半空中的作品，站在既薄且互補的金屬底座上，加上明亮的紅單色烤漆後，不成比例和不對稱圓弧狀身體呈現出光滑表面，具有光澤且賞心悅目 . 雕塑頂端有著特殊的延伸，又薄又尖且稍微變形的納粹黨徵，但在古代的佛教徒和印度文教文化中，卻是幸運、福氣，繁榮或勝利的象徵。黃銘哲的雕塑為其二維空間作品自然的發展，也展現出他的多才多藝，以及對社會的關懷。

230

ZHONG CHENG 中誠

225 LIU KUOSUNG

劉國松

劉國松，生於安徽，遷台後進入師範大學美術

( Taiwanese, b.1932 )

四季系列瓷盤 - 春芽、夏林、秋陽、冬雪

系，在東方美學薰陶與西方藝術思潮、繪畫技法

Four Season Porcelain Plates

1999 彩墨瓷盤 (4) 簽名：劉國松一九九九鈐印：劉 ( 朱文 )、國松 ( 白文 )

術新觀念技巧的引入，建立中國繪畫的新傳統，

Diameter Ø23cm (4) Ink and Color on Porcelain Plates (4) Signed Liu Kuo-Sung in Chinese, dated 1999 With eight seals of the artist

NT$ 100,000-150,000 US$ 3,300-5,000

的激盪下，走上繪畫革新的道路；致力於歐美藝劉國松深受傳統哲學思想重視人與自然和諧的宇宙觀影響，師法自然、講求氣韻；在東方與西方、傳統與現代之間，以水墨繪寫出天地自然的靈動、抽象詩意境界的迷離邈遠，深具時代性與獨特性。本系列創作瓷盤為 1999 年限量發行，四季如詩在藝術家筆下呈現各具風姿的韻情，嬌柔明媚的春芽、蓊鬱蒼蒼的夏林、暖拂溫煦的秋陽、皚皚映照的冬雪，感受大自然散發獨特魅力與風采，在瑰麗自然中領略天地大美與徜徉藝術家獨有風格之中。

MODERN AND CONTEMPOR ARY ART

231

226 LEE KUANGYU ( Taiwanese, b.1954 )

Gesture of Bliss 49x15x15cm (including base) Bronze, 9/20 Signed Kuang-Yu in Chinese, numbered 9/20

NT$ 100,000-180,000 US$ 3,300-6,000 李光裕拈花微笑銅 9/20 簽名：光裕 9/20

1954 年生於台灣高雄，國立藝專雕塑刻畢業，1983 年西班牙國立馬德里大學美術學院碩士班畢業。曾獲西班牙文化部五大藝術學院獎，並多次入選西班牙秋季沙龍。李光裕的雕塑創作從傳統中賦予新意，將禪與道的心性修養融入生活中並與創作相結合，將生命深度延深至無限的空間中。

232

ZHONG CHENG 中誠

227 JU MING

朱銘

朱銘揉合傳統木雕技法與現代藝術抽象概念，在「人間

( Taiwanese, b.1938 )

人間系列 (2)

系列」中，呈現出富於哲思的雕刻精神。對人生百態的呈現，隨心所欲地創作，展現出人世間各種不同的面貌。

Living World Series (2)

1986 (2) 木雕 (2) 簽名：朱銘 '86.9.11 附畫廊開立之原作保證書

舒坦的恣意風情，「人間的出現，意味著朱銘藝術觸覺

a. 24x6x4cm b. 21.5x6.7x4.2cm Wood (2) Signed Ju Ming in Chinese, dated 1986.9.11

以自然的原貌樸拙地造型，雕刻出生動的人物，直覺而靈動頗具巧思的下刀，保留原木的紋理，添上幾許快意與技巧的更上層樓。這些作品結合了傳統木刻技法與現代抽象理念，教人讚嘆不已。」--- 英國藝評家房義安（Ian

With a certificate of authenticity from gallery

Findlay）如是說，洋溢輕鬆活潑的氣息，展顯現代雕刻

NT$ 400,000-500,000 US$ 13,300-16,600

自由而更貼近生活的一面，透過藝術家擷取人物的神態韻致，《人間系列 (2)》使世間眾生得以盡情展現。

a. b. b.

MODERN AND CONTEMPOR ARY ART

233

228 JU MING ( Taiwanese, b.1938 )

Living World Series 58.8x27x35cm (including base 12cm) Pottery, Glaze Signed Ju Ming in Chinese, dated 2003 With a certificate issued by the Non-profit Organization of Ju Ming Culture and Education Foundation

NT$ 700,000-800,000 US$ 23,200-26,500 朱銘人間系列 1982-1986 陶土釉料簽名：朱銘 2003 附財團法人朱銘文教基金會作品鑑定報告書

朱銘師事楊英風，卻走出了和老師完全不一

以一種極為入世的眼光，與真人同高（甚至

樣的路。在奠定了台灣現代雕塑地位、大受

更小）的比例，細碎而綿長的、材質多樣化

國際好評的《太極系列》後期，朱銘突破了

的產出，以「藝」帶出「意」，用更加樸質

自我的格局，創造了新一批的雕塑作品《人

的角度貼近觀眾的心理。因此，除了美術

間系列》，如同其在創作自述裡所言，「我

館，我們更可以在臺北街頭發現《人間系

認為必須刻一些生活的東西……『人間』比

列》的蹤跡。而自《人間系列》最早期的「三

較生活化，製作態度也比較接近現代雕刻的理念—隨興而自由。」正因人間百態，朱銘

軍」以全彩呈現開始，《人間系列》發展至

運用了各種不同的媒介，如木雕、海綿、青

僅僅以白色，或甚至直接呈現材質本身的顏

瞳、陶土、保麗龍、不鏽鋼等等材質，來刻

色，使作品更能被觀者專注於本體的造型與

畫世間各行各業、喜怒哀樂皆有所不同的各

動態（此件人間系列作品即為陶土捏製）。

式人物。

234

ZHONG CHENG 中誠

後期，朱銘更捨棄了對於顏色的再現使用，

眾生本來即有百態，對朱銘而言，顏色到最

如果說《太極系列》是對於人精神性的動態

後只是人與人之間的不同包裝，唯有透過

掌握與簡化，「意」大於「藝」（工藝），

觀察與深刻的創作，方能將世上形形色色

尺幅巨大以利掌握和呈現「無形」的天地精

「人」的本質，以他們最純粹的樣貌，透過

髓，那《人間系列》就是回歸到現實本身，

修行般的一斧一鑿，從材質之中解放出來。

MODERN AND CONTEMPOR ARY ART

235

229 LU RONGCHEN ( Taiwanese, b.1963 )

Silver Lake 61x73cm Oil on Canvas Signed Rong-Chen in Chinese, dated 1993 Signed on the reverse: Lu Rong Chen, Paris in English dated 1993, sized 73x60cm and 20F, titled in Chinese With a photo of authenticity signed by artist

NT$ 80,000-120,000 US$ 2,700-4,000

236

ZHONG CHENG 中誠

呂榮琛

旅法二十載的呂榮琛，曾與畫家趙無極、朱德群

湖光

相互交流切磋，其畫風亦受多種流派影響，承襲

1993 油彩畫布簽名：榮琛 1993 背面簽名：Lu Rong Chen Paris 1993 73x60cm 20F 湖光

了上一代東方抽象畫家的抽象潛質，同時融和自身經歷的深厚積澱，呂榮琛曾言：「創作是我生活和品味的總和。」觀其作品，隱匿在幽黯湖中的一絲微光，線條交錯，呈現出光與影的交錯脈動，濃厚的油彩堆疊，自然流露出心之所嚮，畫家擅長於和諧中顯現出迷離魔幻之意境，東西方

附藝術家親簽之作品照片

交融間營造絢麗悸動人心的美，藉以傳達出更深一層的象外之境。

230 LU RONGCHEN ( Taiwanese, b.1963 )

Green 81x116cm Oil on Canvas Signed Rong Chen in English, dated 1993 Signed on the reverse: Lu Rong Chen, Paris, in English, dated 1993, sized 50P and 116x81cm, titled in Chinese

呂榮琛

呂榮琛以藝術為志業，匯集不同形式的藝

綠意

術精華，傳承前輩東方抽象開拓的境界，

1993 油彩畫布簽名：Rong Chen 1993 背面簽名：Lu Rong Chen 1993 Paris 50P 116x81cm 綠意

由之發展心性的表現與感動。透過內心的感受，以揮灑的筆觸，點綴溫柔的深思，呂榮琛曾如此自述：「創作是生活和品味的總和。」《綠意》呈現流動的油性、水性及光、影

附藝術家親簽之作品照片

交替，順勢表現出宇宙自然、與內心交感而成的波瀾壯闊交響詩歌，以及汩汩湧動

With a photo of authenticity signed by artist

的生命和詩意。在自然現象與內心和諧律

NT$ 200,000-300,000 US$ 6,600-10,000

動中，斑斕色彩盡顯繽紛意境，同時富涵自由的抽象語彙，給予觀者一種沁入心脾的清新之感，彷若幽林深處輕透靈動的綠意生機一傾而出。

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237

231 LU RONGCHEN ( Taiwanese, b.1963 )

A Purple Movement 130x162cm Oil on Canvas Signed Rong-Chen in Chinese, dated 2013 Signed on the reverse: Lu Rong Chen in Chinese and English, dated 2013, oil on canvas, sized 100F and 162x130cm, titled in Chinese

呂榮琛紫色的樂章 2013 油彩畫布簽名：榮琛 2013 背面簽名：呂榮琛 2013 油畫 100F 162x130cm Lu Rong Chen 紫色的樂章

NT$ 400,000-600,000 US$ 13,300-19,900

生於屏東，因對於藝術的熱切所往，90

Lu Rong-Chen was born in Pingtung, Taiwan. He moved to Paris in the

年代隻身前往法國巴黎的呂榮琛，將旅法

90's to pursue his passion for art. He transferred nearly twenty years

二十餘年所習所聞，映實入畫中，呂氏自

of knowledge and experiences overseas into his work. He once said,

述：「藝術的魔力在於沉醉其中的生活質

"the magic of art can be felt when one is immersed in the quality of life,"

感」，花都的姿色以及豐盈多彩的文化，致使其流連於其中，創作即是生活和品味

the beauty of the floral city and its rich culture, would quickly absorbs

的總合；傳承前輩所開拓的境界，雖是以具像寫實為來源，但受 60 年代抒情抽象的啟發，筆下所繪卻盡是情感的匯集。《紫色的樂章》全幅結構穩重，光影交織下共譜悠揚樂章，熟稔地運用特有水染及乾濕的技法，筆下油料隨之起舞，從結構裡面找尋心靈的圖像和夢境，誠藝術家自言：「我無法去解釋在我畫面上的一點、一行、一面紅是代表什麼，只知對內心是一種和諧韻律和快感」，過程中既為沉澱

one’s mind. Creation is a combination of lifestyle and taste; during his time in Paris, he learned from artist and mentor Zao Wou-Ki, together they prolonged the wisdoms explored by painters of the past, although their inspiration was mostly from realism, they were more influenced by the Lyrical Abstraction of the 1960s. Behind Lu's brushstrokes are rich sentiments and emotions. The composition of "A Purple Movement" convey a strong and solid structure. The interplay of light and shadow performs a piece of harmonious melody. The painter skillfully incorporated wet and dry-brushworks, the magnificent colors dances to the harmony of his paintbrush, in search of spiritual imageries and dreams. The artist said, "I cannot explain the purpose of a dot, line or a red surface in my painting, but I do know that it

後的產物、抑是即興的瀟灑抒發，紛呈色

is a harmonious rhythm and sensation to my heart." The creative process

彩實屬呂榮琛生活中的吉光片羽，濃縮其

is the result of reflection, it it a spontaneous and unrestraint manifestation.

中，予以觀者無限遐思。

The colorful presentation is a concentrated treasured fragment of Lu RongChen’s life, allowing the viewers infinite reveries.

238

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

239

232 LEE LIANG ( Chinese, b.1985 )

Wandering Man 150x120cm Oil on Canvas Titled and signed Lee Liang in Chinese, dated 2016.8 Signed on the reverse: Titled in Chinese, sized 120x150cm, Oil on Canvas, signed Lee Liang in Chinese, dated 2016.8, with one painted seal of the artist With a photo of the artist and artwork

NT$ 400,000-600,000 US$ 13,300-19,900 李梁雲遊者 2016 油彩畫布簽名：云游者李梁 2016.8 背面簽名：云游者 120x150cm 布面油画李梁 2016 年 8 月藝術家鈐印附藝術家與作品之合影

畢業於中央美術學院油畫系學院，後又取得碩士學位。李梁是中國當代具備個人風格與意象的藝術家，他的作品富有詩意般的想像，不斷在生活中累積和發掘新的主題，透過獨特的油畫技法使畫面迷濛而濃烈，細膩的筆觸卻帶有厚重的真實感，在審美與敘事兩者兼具。《雲遊者》畫面中突出虛幻抽象的意向景觀，花團既柔軟又堅實、其光澤既絢麗又沉靜。花團在空間中伸展蜷曲，懸浮在主角前方，若即若離，看似互相吸引卻又彼此隔離著，蘊含著多重隱喻性的意義。李梁將自身情感投入畫作，輾轉映照於作品中，藉此如夢境般的場景，回歸他內心最真誠的深處。

240

ZHONG CHENG 中誠

MODERN AND CONTEMPOR ARY ART

241

233 JAN CHINSHUI ( Taiwanese, b.1953 )

Village in the Mist 116x91cm Oil on Canvas Signed Chin-Shui in Chinese, dated 2007 Signed on the reverse: 50F, titled and signed Jan Chin-Shui in Chinese, dated 2007

NT$ 300,000-450,000 US$ 10,000-14,900

242

ZHONG CHENG 中誠

詹金水

生於苗栗，畢業自國立藝專美術科西畫

靈山飄渺

組。屢次獲得美展優選獎，亦曾榮獲第

2007 油彩畫布簽名：金水 2007 背面簽名：50F 靈山飄渺詹金水 2007 年

11 屆全國油畫展金牌獎。90 年代起開始遊歷中國邊疆，使致詹金水對西藏的山水，尤其是對雪景有特別的感覺，其作品在意境與技法的掌握上，都有獨到之處，西藏的宗教精神與山水意境，深深影響著詹金水，他的創作也表現得自然而貼切。

234 JAN CHINSHUI ( Taiwanese, b.1953 )

Ice Mountain Valley 162x112cm Oil on Canvas Signed Chin-Shui in Chinese, dated 2007 Signed on the reverse: 100P, titled and signed Jan Chin-Shui in Chinese, dated 2007

詹金水

詹金水層層深入探索繪畫的核心、光影與

冰谷絕峰

水氣雲煙變化，使得畫面隱含著大自然的

2007 油彩畫布簽名：金水 2007 背面簽名：100P 冰谷絕峯詹金水 2007 年

生命力，與宇宙的律動。在《冰谷絕峰》展現出西藏千仞山壁的震撼，冰原流瀑的壯觀美景一一在他的作品中呈現，流暢的色面及豐富的質地，不僅使畫面張力更加飽滿綺麗，同時最難得的是渾然天成、絲毫不見造作的技法，完全沒有斧鑿的痕跡。

NT$ 420,000-600,000 US$ 13,900-19,900

MODERN AND CONTEMPOR ARY ART

243

235 LILY (YU LI)

栗子 ( 余麗 ) 般若心經彼岸花

( Chinese, b.1979 )

Heart Sutra 140x180cm Oil on Canvas Signed Lily in English, dated 2008.6 Signed on the reverse: Title and Lily in Chinese, sized 180x140cm, dated 2008

2008 油彩畫布簽名：lily 2008.6 背面簽名：般若心經彼岸花栗子 180x140cm 2008

NT$ 380,000-450,000 US$ 12,600-14,900

1979 年生於中國湖北，2003 年畢業於湖

於面紗之下。此作畫面氤氳朦朧，身心放鬆

北美術學院油畫系，2007 年獲湖北美術學

的女子游浮於水波中，不自覺將觀者引進脫

院當代繪畫語言碩士，並於 2003 年於省油

離現實的夢幻境界之中；周圍高雅靜謐的氛

畫展獲得優秀作品獎。栗子的作品講述愛的

圍，是藝術家闡述著對包容萬物的宇宙的理

多面與邪惡。在畫面形式和思想間建立起一

解，以及對自身對於內心潛意識的省思。在

種轉換與平衡。簡單而純淨，微藍淡紫的色

時空中悠遠的沉靜與難以言喻的神祕感之

調中隱約滲透著人的苦難。在冷調子的氛圍

間，觀者對於畫面的厚實肌理與多層次的情

中，幽靈般的形象吸引著我們去探索其中深

境，更讓人對畫作中的秘境為之嚮往。整體

遠的地方。

畫面和緩協調，一氣呵成、自然而然，亦可

栗子的作品向來是詮釋學式的，筆下的女人主體時常象徵著她的心靈：女人的性感隱藏

244

ZHONG CHENG 中誠

看出栗子作為藝術家對自已藝術走向的成熟掌控。

MODERN AND CONTEMPOR ARY ART

245

236 HSU WENJUNG ( Taiwanese, b.1964 )

Autumn Scenery 60.4x96.2cm Ink and Color on Paper Inscribed and signed Hsu WenJung in Chinese With three seals of the artist

許文融

1964 年出生於彰化。許文融自國立台灣藝術大學畢業

蒼茫秋景

後，後又前往美國取得 ST. Louis Fontbonne 學院藝術碩

1990 彩墨紙本款識：歲次庚午孟秋於臺中許文融寫意鈐印：許 ( 白文 )、文融 ( 朱文 )、戲墨 ( 朱文 )

士學位。多次舉辦個人創作展覽及參加各項公辦展覽競賽，曾累膺 4 年全省美展第一名及獲得全國大專美展、國軍文藝金像獎、金獅獎等競賽首獎多次，並取得全省美展永久免審查殊榮，更於 2002 年當選全國十大傑出青年，同年亦獲吳三連文藝獎中山文藝創作獎殊榮。創作除水墨、墨彩更觸及於雕塑，致力以近代西方的美學概念，融合東方藝術，體現我方文化的深厚氣韻。

NT$ 260,000-350,000 US$ 8,600-11,600

許氏善於以敏銳觀察力經營畫面，多以孕育其所生長的土地作抒懷，此品同是屬他早期風格，墨寫田園鄉間的風光旖旎；部局平穩紮實，前景牛隻邁步奔馳，濃墨或點或染，精熟表現水牛形態；中景一望，久觀而無忘之，細細皴染的秋芒隨風而舞，層疊敷墨一片銀白芒花，如有白雪紛紛，視線隨心而轉，淡青一抹遠方綠意，筆法悠然自適、景色蘊緻動人；一掃秋日消愁，繪出寶島樸實而和樂的一景，極盡幽遠雅逸之趣。

246

ZHONG CHENG 中誠

237 WANG SOYING ( Taiwanese, b.1934 )

Water Lily 80.5x65.5cm Oil on Canvas Signed S.Y.WANG in English Signed on the reverse: Wang So-Ying in Chinese, dated 1989

NT$ 250,000-360,000 US$ 8,300-11,900

王守英

生於彰化，畢業於臺北師範藝術科。曾獲得 1972

睡蓮

年全省美展第一名，27 屆省展省政府獎，及 1978

1989 油彩畫布簽名：S.Y.WANG 背面簽名：王守英 1989

年中興文藝獎章。王守英繪畫常使用獨特的「透明打底」手法，也就是進行色彩罩染，使兩種顏色通過視覺調和產生第三種顏色，光線深沉極具有珠寶般光澤。《睡蓮》中不僅表現物象的質感和厚實感，讓畫面更具穿透性，並且更富流動感和朦朧的趣味，自然地呈現作品的深度與層次。藝評家謝里法亦如此評述王守英之作：「色彩很有溫度感，構圖很自然開放，這是他最大的特色。」

MODERN AND CONTEMPOR ARY ART

247

238 XIE CHENAN ( Chinese, b.1982 )

Woman Hold Flowers 90x50cm Oil on Canvas Signed xie chen an in English, dated 2010

NT$ 150,000-300,000 US$ 5,000-10,000 謝郴安抱花的女子 2010 油彩畫布簽名：xie chen an 2010

謝郴安畢業於廣州美術學院，作為中國新生代藝術家，參展經驗及獲獎無數，如 2012 北京雙年展等。其一貫風格採極寫實的表現手法繪敘各方女子樣貌；全幅微醺光影聚焦主體，神情姿態刻劃精妙既鮮明，展現他對於人物獨到的理解力及表現力，流洩一股寂然氛圍。

248

ZHONG CHENG 中誠

239 LIU GUOSHU ( Chinese, b.1919 )

Chuanxi Town 72.5x91cm Oil on Canvas Signed Guo-Shu in Chinese, dated 2005 Signed on the reverse: Titled and signed Liu Guo-Shu in Chinese

劉國樞

劉國樞，1919 年生於中國四川，擅長油畫，

川西小鎮

1945 年畢業於武昌藝術專科學校，為中國第二

2005 油彩畫布簽名：國樞 2005 背面簽名：川西小鎮劉國樞

代油畫家。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，亦為中國美術家協會會員。畢生從事教育改革，為培植新一代的美術人才不遺餘力。《川西小鎮》以細膩的筆觸堆疊，

附藝術家與作品合影之原作保證書

純樸的風氣在他的畫筆下呈現出豐富的空間感及濃郁的生活氣息，展現出真摯的情感與藝術的感

With a certificate of authenticity including a photo of the artist with the artwork

染力。

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

MODERN AND CONTEMPOR ARY ART

249

240 CHEN CHENGHSIUNG ( Taiwanese, b.1942 )

Win the First Prize 76x57x50cm Stainless Steel, 5/12 Signed Chen Cheng-Hsiung in Chinese, dated 2003, numbered 5/12 With a certificate of authenticity from gallery

NT$ 260,000-360,000 US$ 8,600-11,900 250

ZHONG CHENG 中誠

陳正雄

1942 年生於台南，14 歲在北港佛像店當學徒，自此開

奪標

啟其雕塑生涯。現為日本新構造社雕塑部會員，亦是中

2003 不鏽鋼 5/12 簽名：陳正雄 2003 5/12

華雕塑學會會員。創作迄今獲獎無數，包括南美展市長獎、日本新構造展雕刻大賞等。陳正雄創作題材眾多，在形象寫實上更顯得自由灑脫。作品《奪標》細膩的刻畫出鮮活、動勢的人像，保留刀斧在材質表面造成的結

附畫廊開立之原作保證書

構意義，產生的光影效果表現出勇往直前的決勝精神，完整詮釋其內心情感的互動。

241 CHEN CHENGHSIUNG ( Taiwanese, b.1942 )

Sprint 72x75x43cm Stainless Steel, 4/12 Signed Chen Cheng-Hsiung in Chinese, dated 2004, numbered 4/12

陳正雄

陳正雄十四歲開始拜師學藝，從民間的傳統雕刻出發，

衝刺

在多年的琢磨下，成為一位台灣傑出的雕刻家。他的

2004 不鏽鋼 4/12 簽名：陳正雄 2004 4/12

刀工和創作自成一格，融合唐山師傅、台灣佛像、日本一刀雕及西方寫實的雕刻特色，以紮實的技巧、質樸自然的寫實風格，詮釋他所體悟的世界。透過作品《衝刺》利用熟稔的刀法一筆一劃的形式傳達對生命

附畫廊開立之原作保證書

竭盡全力、勇往直前的人生態度，底蘊深厚，將自己的人生感悟與態度轉化為雕刻藝術。

With a certificate of authenticity from gallery

NT$ 260,000-360,000 US$ 8,600-11,900 MODERN AND CONTEMPOR ARY ART

251

242 YIN JUN ( Chinese, b.1974 )

Crying 150x150cm Oil on Canvas Signed Yin Jun in Chinese, dated 2008.2 Signed on the reverse: Titled in English, oil on canvas, sized 150x150cm, dated 2008, signed Yin Jun in Chinese

252

尹俊生於中國四川，1992 年畢業於德陽美術學院。曾參展第十二屆中國國際藝術博覽會、青年藝術家作品展，於荷蘭韓國當地畫廊亦曾展出作品，現活躍於中國北京。尹俊在來到北京之後，始找尋主題具有當代都會性，反映人生特質的作品，如同初來乍到人世間的生命，伴隨著震天價響的一聲泣，開始在人世間的迷走，隨著人們的悲喜交集眾生相，藝術家展開一幅幅「泣」系列之作。作品中圓圓的頭、大大的嘴，涕泗縱橫彷彿耳聞泣聲，《哭泣》符號化的構圖，形成畫面強烈的視覺衝擊力。而螢光色與時髦前衛的打扮，銘記時下都會生活的場域。以嫁接手法，兒童的身軀中用最初的表達形式

NT$ 500,000-650,000 US$ 16,600-21,600

「哭泣」，勾勒出了成人世界裏的生命樣態，在人浮於事的意念裡流轉，

尹俊

透過局部強調的造型、和刻意放大的視覺效果，強烈而直接的穿透畫

哭泣

布，傾向更直率而真切的表達，透過情緒的傳遞消弭了人與人之間疏離

2008 油彩畫布簽名：尹俊 2008.2 背面簽名：Crying oil on canvas 150x150cm 2008 尹俊

的隔閡。尹俊作品之中獨有的穿透特質，向當代社會提出高頻而引起注

ZHONG CHENG 中誠

諧趣戲謔中隱含對人生的情感與百感交集。

目的發問，人生荒謬亦然是啼笑皆非，使作品透著「大珠小珠落一臉，夢啼妝淚紅滿面」的逗趣。

243 LIANG YIFENG

梁奕焚

《賞畫》全幅鋪張暖色調，胭粉、赭紅搭配相得益

( Taiwanese, b.1937 )

賞畫

彰，一襲鈷藍裝束跳脫，感觀衝擊之下亦巧妙彰顯一家之主的不凡，梁奕焚典型的黝黑膚色更襯其濃麗姿

Watching The Painting

2015 油彩畫布簽名：LIANG 奕焚 2015

160x300.5cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2015

色。一如既往的鮮明風格實屬梁奕焚獨到的個人語彙，融匯東方民俗情調，運用飽和明麗的色彩、中國書畫柔美簡約的線感及平鋪直述的表現手法，形塑質

附藝術家與作品之合影

樸、簡單的繪畫人生。

With a photo of the artist and artwork

NT$ 480,000-600,000 US$ 15,900-19,900

MODERN AND CONTEMPOR ARY ART

253

244 FU YU

付豫

付豫，畢業於中國藝術研究院油畫創

( Chinese, b.1982 )

日記系列 - 初 96 班同學錄 2 ( 一組三件 )

作研究工作室，舉辦個展：「對話—

Diary Series - The 96th Session Classmates Record No. 2 (set of three)

2010 (3) 油彩畫布 (3) 簽名：付豫 2010 年于小屋 (3)

啾啾一年級：付豫作品展」於上海、

160x55cm (3) Oil on Canvas (3) Signed Fu Yu in Chinese, dated 2010 (3)

NT$ 150,000-250,000 US$ 5,000-8,300

254

ZHONG CHENG 中誠

付豫個展」、「賦予 ‧ 瞳話世界—— 北京展出。作品獲中國當代畫廊、虹灣藝術館、牆美術館、上海多倫美術館等收藏。《日記系列》以童趣而拙稚的筆觸，帶出人們記憶裡青澀的中學生活，其情感氛圍既懷舊又顯清新。

245 HUANG YUWEN ( Taiwanese, b.1981 )

Liberation 150.5x126cm Gouache on Chun Paper

黃郁雯

出生台南，畢業於東海大學研究所，主修膠彩

解放

畫。其擅以一社會觀察者的角色將所感所聞，

2008 膠彩壯紙

以詼諧嘲諷的方式呈現，經常性地圍繞兩大主軸「文化」及「慾望」。擬人化的青蛙作為象徵性的「人物」貫穿在畫面中，運用膠彩輕透明麗的特性，製造更甚撲朔迷離的微妙氛圍。

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

MODERN AND CONTEMPOR ARY ART

255

246 LEE CHIMAO ( Taiwanese, b.1925 )

Nine Monkeys 69x138cm Ink on Paper Inscribed and signed Lee Chi-Mao in Chinese With three seals of the artist With two photos of the artist and artwork

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

256

ZHONG CHENG 中誠

李奇茂

李奇茂曾任國立藝專美術科專任教師，獲第五

代代封侯圖

屆全國美展金尊獎、第十屆中國文藝協會美術

水墨紙本款識：采風堂主人于台北李奇茂鈐印：三羊開泰 ( 朱文 )、李奇茂八十後作 ( 朱文 )、采風堂 ( 朱文 )

獎。於 1973 年獲教育部文化局頒發文化貢獻獎殊榮。其非凡的成就使至美國聖荷西大學設立「李奇茂教授藝術基金會」，美國舊金山市更訂於每年十一月二十九日為李奇茂日，成為中華民國獲榮譽之第一人。李奇茂畫風大器開

附藝術家與作品之合影

闊，直截了當下筆一氣呵成，自然順勢表現動物與吉祥寓意的喜氣主題，而《代代封侯圖》靈活鮮動的猴群們矯健身手，輕功了得，快意酣暢的筆墨生動自然。

247 YIN QI ( Chinese, b.1962 )

「其實我無時無刻不是在畫人，只不過我是用物品、樹、空間，哪怕是空氣來代替人的存在，或者說，在我的身體之外產生另一個身體，把人變成一個能量場；氣。」 --- 尹齊

Interior - Fish No. 2 180x210cm Oil on Canvas Signed on the reverse: Titled in Chinese, dated 2007, signed Yin Qi in Chinese and English, sized 210x180cm

尹齊生於中國北京，畢業自中央美術學院。1989 至 1991 年赴巴黎美術學院深造，1996

NT$ 650,000-750,000 US$ 21,600-24,900

歡在廚房裡兜轉，對於空間的迷戀在作品中表露無遺，留法時深受哲學薰陶，藝術家是如

尹齊

至 1997 年就讀於巴黎高等藝術造型研究所。目前定居及工作於北京、巴黎。其作品曾於中國與歐洲多處舉行展覽，如 2004 年於西班牙巴塞隆納、法國依蘇登博物館、法國眉馬克當代藝術中心等地，及 2005 年之北京個展，現為中國國家畫院研究員。尹齊自幼就喜此詮釋：生活的真，是平淡；宇宙的真，是寂靜。藝術家對於物質的紋理展現細膩而冷靜的描繪，純粹而靜謐的擺置，《室內 - 魚之二》散發的簡練光影氛圍，使觀者凝視亦虛亦實而朦朧的畫面，客觀而理性的審視尹齊營造的空

室內 - 魚之二

間，情感被極度的收斂，彷彿一切無機的存在僅只是生活場域的一隅，藝術家以肌理塗刷

2007 油彩畫布背面簽名：室內 - 魚之二 2007 尹齊 210x180cm YINQI

出的臺面，將時空凝結在畫面之中，杳無人煙的神秘與光線對比的處理，尹齊卻是以不在場的出席，滲出獨有的內斂氣質。觀看其作品，色調簡潔、物質顏料被塑造成簡練而帶有空間感的畫面，將觀者的感官引領進入了一個藝術家創造視覺風景。一切物質都是可以觀賞，是藝術家的視覺哲學。

MODERN AND CONTEMPOR ARY ART

257

248 LIN SHUKAI

林書楷

林書楷，畢業於北藝大美術創作碩士，曾擔任「435 駐村藝術

( Taiwanese, b.1983 )

聖台灣

家」、「寶藏巖駐村藝術家」，近年於台灣公立美術館展覽紀錄頗豐，如國美館「台灣美術雙年展」、北美館「製造 X 意義」

Saint Taiwan

2012 綜合媒材紙本簽名：林書楷 2012

79.5x110.5cm Mixed Media on Paper Signed Lin Shu-Kai in Chinese, dated 2012

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

258

ZHONG CHENG 中誠

展出。《聖台灣》以毛筆蘸壓克力顏料，結合東方文人書寫的繪畫行為，將其熟悉的古蹟建築物勾勒成想像中的聚落。藝術家成長於古都台南，透過細膩而有機的延展方式，來描繪出想像中的島嶼和城市。

249 YU PENG ( Taiwanese, 1955-2014 )

Untitled 99x57.6cm Mixed Media mounted on Board Signed Yu Peng in Chinese With one seal of the artist

NT$ 60,000-100,000 US$ 2,000-3,300 于彭無題綜合媒材裱於木板簽名：于彭鈐印：于彭之印 ( 白文 )

于彭的藝術創作多元，包含了水墨、版畫、油畫、粉彩、素描、陶藝等，風格率真獨特。他先後跟隨陳亦耕及李奇茂等老師學畫，之後亦發展出獨有的水墨風格，筆觸奇特且揮灑自如。他以嚴謹的手法以及水墨的語言延續古代山水的境界，兼具緊密與疏離的特質。畫中花花草草象徵典型世界，完整而帶有朦朧感，突破傳統的繪畫風格，使的作品帶有強烈的現代感。

MODERN AND CONTEMPOR ARY ART

259

a. b. c. d.

250 PIERRE FERNANDEZ ARMAN ( French, 1928-2005 )

The Violin (4) a. 57x98.5cm b. 76x55.5cm c. 76x55.5cm d. 75.5x55.3cm a. Lithograph, 34/150 b. Lithograph, 66/150 c. Lithograph, 92/150 d. Lithograph, 42/150 a. Numbered 34/150, signed Arman in English b. Numbered 66/150, signed Arman in English c. Numbered 92/150, signed Arman in English d. Numbered 42/150, signed Arman in English

NT$ 100,000-180,000 US$ 3,300-6,000

260

ZHONG CHENG 中誠

費爾戴儂．阿曼小提琴 (4) a. 版畫 34/150 b. 版畫 66/150 c. 版畫 92/150 d. 版畫 42/150 a. 簽名：34/150 Arman b. 簽名：66/150 Arman c. 簽名：92/150 Arman d. 簽名：42/150 Arman

251 ALFRED BASTIEN

阿佛雷德•巴斯天

生於 19 世紀末期的比利時印象派畫家阿佛雷德．

( Belgian, 1873-1955 )

瓶花

巴斯天，執教於布魯塞爾皇家美術學院，而他與東方藝壇甚有淵源，因與徐悲鴻的匪淺交情，吳

Vase of Flowers

油彩木板簽名：A·Bastien

48.5x38.3cm Oil on Board Signed A·Bastien in English

NT$ 70,000-140,000 US$ 2,300-4,600

作人、沙耆也因幸得入名門習畫；此幅構圖規正、題材鮮明，藝術家擅以捕捉燁然光影變化，用色瑰麗明亮、純透，暗景襯托出花朵的鮮嫩欲滴，用筆精確雅緻，細細展現了靜物與時間的關係，攝人的恬靜美景盡在筆下。

MODERN AND CONTEMPOR ARY ART

261

252 WU JIHCHIN ( Taiwanese, b.1971 )

The Beating of Life 91x117cm Oil on Canvas Signed on the reverse: Titled in Chinese, signed Chin in English and Wu Jih-Chin in Chinese, dated 2013

NT$ 220,000-380,000 US$ 7,300-12,600

吳日勤

「我是一個在台灣出生的狂熱藝術創造者。我選擇的是：真實

生命的跳動

的為台灣這塊土地貢獻，呈現屬於吳日勤式生活於當下，且與

2013 油彩畫布背面簽名：生命的跳動 Chin 13 吳日勤

在地環境而發展成的個人藝術語彙，確立我的核心藝術思想及人生終極使命。」 ---吳日勤

在台灣藝術大學主修書法水墨畫，而後赴美國舊金山藝術大學攻讀研究所，並在英國東倫敦大學完成創作藝術博士學位。 2015 年代表台灣獲選德國 Artoll 國際藝術機構之最佳受邀藝術家獎。《生命的跳動》由高彩原色的恣意揮灑，加上「得意忘形」的東方書寫線條，畫出看不見的內心風景，記錄著生命不可磨滅的情懷。

262

ZHONG CHENG 中誠

253 CHEN JIUNWEI ( Chinese, b.1967 )

Situation, Captain 146x114cm Oil on Canvas Signed Chen Jiun-Wei in Chinese, dated 2007 Signed on the reverse: Titled in Chinese, sized 146x114cm, signed Chen Jiun-Wei in Chinese, dated 2007, Xian Academy of Fine Arts, Oil Painting Department, 710065

陳君魏

陳君魏，1989 年考入西安美術學院油

境遇．船長

畫系，1993 年畢業後留校任教，現為

2007 油彩畫布簽名：陈君魏 2007 背面簽名：《境遇、船長》 146x114cm 陈君魏 2007 年西安美術學院油畫系 710065

西安美術學院油畫系講師。曾獲得臺灣

附畫廊開立之原作保證書

山藝術文教基金會羅中立油畫獎學金，作品多次參加全國美術展覽。此幅《境遇 ‧ 船長》塑造既具體又超現實的圖像，以象徵、冷寂的手法和不尋常的物象組合，曲折表達個人藝術情懷和感觸。

With a certificate of authenticity from gallery

NT$ 200,000-300,000 US$ 6,600-10,000 MODERN AND CONTEMPOR ARY ART

263

254 YANG YUNLONG ( Chinese, 1919-1993 )

Zhoushan Fishing Port 76x105.5cm Watercolor on Paper mounted on Board Signed Yun-Long in Chinese, dated 1999.10 With one seal of the artist

NT$ 40,000-80,000 US$ 1,300-2,700

264

ZHONG CHENG 中誠

楊雲龍

出生浙江無錫，曾就讀於國立藝專，於兩岸各地

舟山漁港

舉辦多次展覽。全幅設色清麗脫俗，結構嚴謹卻

1999 水彩紙本裱於木板簽名：雲龍 99.10 鈐印：龍

不失流暢之氣，大氣且開闊；描摹漁船滿載歸來，並陳停泊在地區港灣，藝術家透過了近景視角，一連透析了海港的綿延至遠方氤氳山色，東海風情盡在藝術家的繪筆之下。

255 TIAN XIAOCHI ( Chinese, b.1966 )

Red Bow 69.2x138cm Ink and Color on Paper Signed Yi-Bu in Chinese With one seal of the artist

田小赤

田小赤，藝名蓮池、乙卜。1966 年出生於吉林長

紅蝶圖

春，1994 年畢業於吉林藝術學校，現居北京宋莊

2016 彩墨紙本簽名：乙卜鈐印：乙卜印信 ( 白文 )

畫家村。田小赤創作能量源於自然，他曾說過：「作為一個藝術家，把你的藝術還給自然多少，你的藝術就有多大。」層出不窮的靈感，使其創作題材多元化，每一筆似無心的渲染卻透著灑脫的人生態度。

附畫廊開立之原作保證書

With a certificate of authenticity from gallery

NT$ 200,000-360,000 US$ 6,600-11,900

MODERN AND CONTEMPOR ARY ART

265

256 ZAO WOUKI ( Chinese-French, 1921-2013 )

Lithograph, 1968 50x65cm Lithograph, 114/120 Numbered 114/120, signed Zao Wou-Ki in Chinese and English, inscribed LITHO PAYS A6C 75-35 Signed on the reverse: Rose of Verk in English ILLUSTRATED:

"ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937 ~ 1995," Edition Heed & Moestrup, Copenhagen, 1994, Page 109

NT$ 80,000-160,000 US$ 2,700-5,300 266

ZHONG CHENG 中誠

趙無極 Lithograph, 1968 1968 版畫 114/120 簽名：114/120 無極 ZAO ; ZAO wou ki LITHO PAYS A6C 75-35 背面簽名：Rose of Verk 圖錄：《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937 ~ 1995》，Edition Heed & Moestrup( 法國出版 )，1994 年，第 109 頁

257 ZAO WOUKI

趙無極

( Chinese-French, 1921-2013 )

Composition 2006

2006 版畫 51/90 簽名：無極 ZAO 51/90

75.5x56.5cm Lithograph, 51/90 Signed Zao Wou-Ki in Chinese and English , numbered 51/90

NT$ 100,000-160,000 US$ 3,300-5,300

MODERN AND CONTEMPOR ARY ART

267

258 ZAO WOUKI ( Chinese-French, 1921-2013 )

a. Orchid b. Epitaph Karl Amadeus Hartmann a. Diameter Ø 25cm b. 47.5x37.5cm a. Watercolor on Porcelain b. Lithograph, 10/100 a. Signed Wou-Ki in Chinese and Zao in English, dated 1986 b. Numbered 10/100, signed Wou-Ki in Chinese and Zao in English, dated 1964 a. NOTE: Edited for the BSN group during its twentieth anniversary in 1986 Workshops Segries Moustiers.

NT$ 100,000-180,000 US$ 3,300-6,000

趙無極 a. 蘭花 b. 卡爾．阿瑪迪烏斯．哈特曼墓誌銘 a. 1986 b. 1964 a. 水彩陶瓷 b. 版畫 10/100 a. 簽名：無極 ZAO 86 b. 簽名：10/100 無極 ZAO 64 a. 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。

268

ZHONG CHENG 中誠

259 CHU TEHCHUN

朱德群

( Chinese-French, 1920-2014 )

無題

Untitled

2005 版畫 E.A. 簽名：朱德群 CHU TEH-CHUN

65x88cm Lithograph, E.A. Signed CHU TEH-CHUN in Chinese and English ILLUSTRATED:

''CHU TEH-CHUN: The Graphic Work 2000-2008,'' Hoke Art Co., Taipei Taiwan, 2008, Page 35

圖錄：《朱德群石版畫》，霍克國際藝術股份有限公司，台灣台北，2008 年，第 35 頁

NT$ 100,000-180,000 US$ 3,300-6,000

MODERN AND CONTEMPOR ARY ART

269

260 LIU CHIWEI ( Taiwanese, 1912-2002 )

Fox 34.1x48.2cm Mixed Media on Canvas mounted on Paper Signed Liu Chi-Wei in Chinese phonetic alphabet, dated 1986 in Suzhou Code

NT$ 160,000-200,000 US$ 5,300-6,600

270

ZHONG CHENG 中誠

劉其偉

劉其偉的水彩與油畫作品深受許多藏家的喜愛，

狐狸

台灣畫壇泛稱他為「劉老」。1932 年畢業於日

1986 綜合媒材畫布紙本簽名：ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 〡〩〨〦

本神戶英語神學院，1949 年開始自修水彩畫，並於 1951 年舉辦首次個人水彩展。他總是以開闊的胸襟看待每一種生命，透過他的筆觸詮釋出令人感動、微笑的自然視界，此作《狐狸》呈現出原始生命的氣味以及野生動物神秘的靈敏性，充分展現出他駕馭視覺形式的能力。

261 JU MING ( Taiwanese, b.1938 )

a. Calligraphy b. Living World Series a. 22.5x67cm b. 34x24cm a. Ink on Paper b. Lithograph, 97/100 a. Signed Ju Ming in Chinese With one seal of the artist b. Signed Ju Ming in Chinese, dated 1993, numbered 97/100

NT$ 60,000-100,000 US$ 2,000-3,300 朱銘 a. 盡興即可 b. 人間系列 b. 1993 a. 水墨紙本 b. 版畫 97/100 a. 款識：朱銘鈐印：朱銘 b. 簽名：朱銘 '93 97/100

朱銘除創作雕塑之外也悠遊於拼貼、水墨、書法等平面創作，在這些作品中發揮水墨繪畫的美學精神。《盡興即可》是水墨紙本作品，以簡馭繁，筆筆疏朗一如藝術家樸質的個性，神韻瀟灑靈動，流暢運筆下可見及韌性，道出盡興即可的豁達人生觀。

MODERN AND CONTEMPOR ARY ART

271

262 HSU LIHSIEN ( Taiwanese, b.1947 )

Prosperity Throughout the Years 82x70x25cm Marble

NT$ 150,000-250,000 US$ 5,000-8,300

272

ZHONG CHENG 中誠

許禮憲

許禮憲，國立臺灣藝術專科學校美術科雕塑組畢

年年有餘

業，曾任中華民國雕塑學會理事長、全國美展雕

大理石

塑評審委員，1971 年迄今從事美術相關工作及創作。其創作方式以多樣材質詮釋不同的生命面貌，用單純的線面掌握光影的關係。《年年有餘》以材質紋路進行詮釋，魚身豐厚的量感和細膩的線條宛若優游水中，輕快自然，流暢而擺動生命的禮讚。

263 JU MING

朱銘

藝術家的授權之下，朱銘美術館依據 1975 年創

( Taiwanese, b.1938 )

太極系列 - 單鞭下勢

作之「太極系列－單鞭下勢」作品，以 1：1.5 之比例縮小複製而成，為朱銘的太極系列作品中，

Taichi Series - Single Whip

2015 不飽和聚酯樹脂碳酸鈣油性色母 273/300

18.2x28.5x14.4cm Unsaturated Polyester Resin, Calcium Carbonate, Oil Color Paste, 273/300 With a certificate of limited reproduction issued by Ju Ming Museum

NT$ 120,000-150,000 US$ 4,000-5,000

最負盛名之作。在精湛工法雕刻下，呈現宏大氣魄與生動立體感，通過大塊面積切割披鑿，充分流露出蓄勢待發的智勇情狀，於氣沉丹田似沉靜

附朱銘美術館開立之限量複製品保證書

的外表下蘊藏巨大能量。匠心獨具呈現出武者內斂的神情，進而在創作中由「形」轉至「意」。太極系列在朱銘的體悟下，從有形到無形，兼備形似與神似，傳承起傳統美學中天人合一的思維。

MODERN AND CONTEMPOR ARY ART

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264 SHEU TZUKUEY

許自貴

1956 年生於高雄，1980 年自國立台灣師範大學

( Taiwanese, b.1956 )

生之力

美術系畢業，1988 年獲得美國紐約普拉特學院藝術研究所碩士學位。曾任全省美展雕塑類評審委

The Power of Life

1984 油彩畫布簽名：T.K. SHEU 1984

73x91cm Oil on Canvas Signed T.K. SHEU in English, dated 1984

NT$ 100,000-150,000 US$ 3,300-5,000

274

ZHONG CHENG 中誠

員、台北市立美術館審議委員、台南科技大學美術系所教授兼藝術學院院長等。此件《生之力》創作於 1984 年，公牛圓眼睜睨，俯首拔腿而奔，無畏迎風，而身上所繪之圓球蘊含各種奇幻的想像，能量似呼之引爆，在具象及意象的表現上，皆展現了生命力量的強韌及磅礡之感。

265 SHEU TZUKUEY ( Taiwanese, b.1956 )

Proud Goat 195x41x38cm Paper Pulp Titled in Chinese and English, signed T.K. Sheu in English and Kuey in Chinese, dated 1999

NT$ 250,000-500,000 US$ 8,300-16,600 許自貴驕傲的公羊 1999 紙漿簽名：驕傲的公羊 Proud Goat T.K. Sheu 1999 貴

轉化大自然的生物，許自貴將之映照自身，創作敘述道：「在表現形式上是藉由它（獸）產生另一個我的幻化分身，像是一個自我映照的形式，藉以反省『我』作為一個人之中不完美的、無奈可悲的部分。融入不斷變化的生物形體及色彩，突顯了人類生命的有限、無奈與不和諧的狀態。」作品突顯的是人性之中存在不斷衝突掙扎的事實。

MODERN AND CONTEMPOR ARY ART

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266 HSIEH HSIAODE

謝孝德

謝孝德 1965 年畢業於國立台灣師範大學美術系。

( Taiwanese, b.1940 )

淡水教堂與觀音山

謝氏倡導新寫質主義，將國畫潑墨山水渲染的意境結合西洋的透視觀點融入其作品中。《淡水教

Danshui Church and Kuanyin Mountain

2015 油彩畫布簽名：2015 HSIEH HSIAODE

90.8x116.5cm Oil on Canvas Signed Hsieh Hsiao De in English, dated 2015 With a photo of the artist and artwork

NT$ 200,000-300,000 US$ 6,600-10,000

276

ZHONG CHENG 中誠

堂與觀音山》細描近景教堂與遠景觀音山，山景蓊鬱凝深，教堂寫實清新，構築出一幅幽邃靜謐的湖光風景，映入眼簾令人心怡神悅。

附藝術家與作品之合影

267 CHENG MAOHUANG

曾茂煌

曾茂煌自小成長於新竹農村，那裡的山丘與田園

( Taiwanese, b.1934 )

田園風光

風光給予他深刻的影響。畢業於台灣省立師範專科學校，師承廖德政、張義雄，受到兩位老師啟

Pastoral Scenery

2010 油彩畫布簽名：茂煌 2010.10

72.5x91cm Oil on Canvas Signed Mao-Huang in Chinese, dated 2010.10

蒙，對繪畫產生濃烈興趣。他對周遭事物觀察入微，繪畫風格多為故鄉的情感抒發。《田園風光》洋溢濃稠的在地情懷，並善用畫刀技巧將青翠的山丘與秀麗的田園景色，自然流暢的表現出來。

NT$ 60,000-100,000 US$ 2,000-3,300

MODERN AND CONTEMPOR ARY ART

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268 LEE WANCHUAN

李萬全

1958 年生於台灣台北，1977 年進入師大美術系

( Taiwanese, b.1958 )

關山遠眺

開始在李石樵畫室習畫；接著到美國接受教育，獲得布魯克林學院美術碩士學位，隨後搬到法國

Guanshan Scenery

1995 油彩畫布簽名：万全 95

60.6x72.7cm Oil on Canvas Signed Wan-Chuan in Chinese, dated 1995 With a certificate of authenticity from gallery

巴黎學習歐洲藝術，並於 2003 年獲得法國沙龍展「永久免審查會員」的最高榮耀。他從大自然中找尋繪畫題材，運用光線與色彩變動相對關係

附畫廊開立之原作保證書

連結其內心感受，讓物體個別特質與整體架構上形成微妙的和諧感，在平凡的題材裡透過不斷內省的心靈表達出特有的個人風貌，使表達層次更

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

278

ZHONG CHENG 中誠

為豐富與多樣性。

269 MIN XIWEN

閔希文

閔希文生於中國江蘇，師承杭州藝專，受業於吳

( Chinese, 1918-2013 )

靜物

大羽等名師，在學期間接觸西方印象主義、現代藝術理論的薰陶，帶給藝術家極大的啟發。《靜

Still Life

2004 油彩畫布簽名：閔希文二〇〇四年

51x61cm Oil on Canvas Signed Min Xi-Wen in Chinese, dated 2004

物》明朗的色調與清恬淡雅的美感，和藝術家禪意的精神相互輝映，而顯脫俗寂然之美。

附藝術家與作品之合影

With a photo of the artist and artwork

NT$ 70,000-140,000 US$ 2,300-4,600

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279

270 LIANG YIFENG ( Taiwanese, b.1937 )

a. Nude b. Meditation a. 72.5x60.5cm b. 116.5x91cm a. Oil on Canvas b. Oil on Canvas a. S igned Liang in English and Yi-Feng in Chinese, dated 2005 b. S igned Liang in English and Yi-Feng in Chinese, dated 2015 b. With a photo of the artist and artwork

NT$ 60,000-120,000 US$ 2,000-4,000 梁奕焚 a. 裸女 b. 靜思 a.

a. 2005 b. 2015 a. 油彩畫布 b. 油彩畫布 a. 簽名：LIANG 奕焚 2005 b. 簽名：LIANG 奕焚 2015 b. 附藝術家與作品之合影

畢業於台北師範藝術科，曾向現代繪畫大師李仲生習畫。梁奕焚擁有自己獨特的語彙，風格辨識度高，且創作量大，題材遍及童年記憶、日常生活、台灣民俗以及原住民的生活，其中又以「黑美人」系列最為人所熟知。

280

ZHONG CHENG 中誠

271 LIANG YIFENG

梁奕焚

梁奕焚 1937 年生於彰化，台北師範藝術科畢，

( Taiwanese, b.1937 )

悠閒美人

其「黑美人」系列畫作為著名系列。《悠閒美人》畫作質樸簡約，筆下的人物呈現出一種怡然的態

Leisurely Beauty

2014 油彩畫布簽名：LIANG 奕焚 2014

116.5x91cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2014

度，融匯現代與原始藝術創作風格，在生活中精神性體悟中發現生活中的真善美。

附藝術家與作品之合影

With a photo of the artist and artwork

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

MODERN AND CONTEMPOR ARY ART

281

272 LIANG YIFENG

梁奕焚

梁奕焚的創作風格，頗具東方地域特殊風情，帶

( Taiwanese, b.1937 )

瓶花靜物

有原始而神祕的氣息，《瓶花靜物》筆觸厚實，藝術家大膽自由奔放的熱情，簡練造型搭配鮮明

Vase of Flowers

2005 油彩畫布簽名：LIANG 奕焚 2005

53x35.5cm Oil on Canvas Signed Liang in English and Yi-Feng in Chinese, dated 2005

NT$ 60,000-100,000 US$ 2,000-3,300

282

ZHONG CHENG 中誠

的色彩，火紅花朵映襯而出，頗有反璞歸真原初的藝術語彙。

273 SKLARENK ANDREI ( Russian, b.1963 )

Man With Flute 110x60cm Oil on Canvas Signed СКЛАРЕН in Russian

NT$ 100,000-150,000 US$ 3,300-5,000 斯克拉林科 ‧ 安德列吹風笛的男子 2006 油彩畫布簽名：СКЛАРЕН

俄羅斯當代藝術家斯克拉林科 ‧ 安德列出生 1963 年，畢業於列賓美術學院，師從畫家葉列梅耶夫，現任職於列賓美術學院。其熱衷描摹社會及百姓的真實百態，運用繽紛幻象的裝飾性色彩，採取近似插畫意象的平面結構，創造了童話般的戲劇張力，時時予人爽朗、詼諧的盎然趣味。

MODERN AND CONTEMPOR ARY ART

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274 ZHANG HEPING ( Chinese, b.1964 )

Music Series No. 3 – Love 102x78cm Oil on Canvas Signed He-Ping in Chinese, dated 2003 Signed on the reverse: Titled and signed Zhang He-Ping in Chinese, sized 102x78cm, dated 2002

NT$ 50,000-100,000 US$ 1,700-3,300

284

ZHONG CHENG 中誠

張和平

1964 年生，畢業於山東藝術學院，為中國美術家

音樂系列之三：戀

協會會員。作品曾於紐約等地展覽，亦被收藏於

2003 油彩畫布簽名：和平 2003 年背面簽名：《音乐系列之三 . 戀》張和平 102x78cm 2002 年

馬來西亞美術館。張和平的油畫色彩強烈附有韻味，抓住物件的神韻並襯托線條的流動性，不過分強調「量」和「質」，反之重視「境」的營造，抽象間帶有具像的塊面順勢而成，表現出一種純粹的藝術美。

275 ZHANG KAI

張凱

( Chinese, b.1985 )

卡拉瓦喬的貓

Cat of Caravaggio

2009 版畫 6/69 簽名：卡拉瓦喬的貓 6/69 張凱 Zhang Kai

90.5x89cm Lithograph, 6/69 Titled in Chinese, numbered 6/69, signed Zhang Kai in Chinese and English

NT$ 30,000-60,000 US$ 1,000-2,000

MODERN AND CONTEMPOR ARY ART

285

276 HSIEH HSIAODE

謝孝德

謝孝德為台灣倡導新寫實主義的開創人，創作堅

( Taiwanese, b.1940 )

淡水湖光

持具象藝術，擅長素描、油畫、水彩，《淡水湖光》將雲霧輕繞的山嵐與澄藍的水面交互相映，以透

Tamkang Landscape

2011 水彩紙本簽名：2011 謝孝德

78.5x110cm Watercolor on Paper Dated 2011, signed Hsieh Hsiao-De in Chinese

NT$ 50,000-100,000 US$ 1,700-3,300

286

ZHONG CHENG 中誠

視觀點融入其作品中，並結合國畫潑墨山水渲染的意境，典雅閑適的湖光山色沁人心脾，舒適而快意。

277 HSIEH HSIAODE

謝孝德

謝孝德倡導新藝術運動，於創作後期，逐漸潛心

( Taiwanese, b.1940 )

農村

發展寫意水彩，渲染一幅幅清新的自然風光。《農村》以野趣之美為題材，呈現溫暖、祥和的明媚

Countryside

2011 水彩紙本簽名：2011 謝孝德

79x110.5cm Watercolor on Paper Dated 2011, signed Hsieh Hsiao De in Chinese

風光，畫風自然純樸，彷彿遠離塵囂，感受怡然自在的鄉間體驗。

NT$ 50,000-100,000 US$ 1,700-3,300

MODERN AND CONTEMPOR ARY ART

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278 PARK SEOBO ( Korean, b.1931 )

描法 No. 2 – 06

Ecriture No. 2 – 06

2006 版畫 35/99 簽名：35/99 ECRITURE No. 2-06 S.B. Park 2006

76x55.5cm Lithograph, 35/99 Numbered 35/99, titled and signed S.B. Park in English, dated 2006

NT$ 80,000-160,000 US$ 2,700-5,300

288

朴栖甫

ZHONG CHENG 中誠

279 PARK SEOBO

朴栖甫

( Korean, b.1931 )

描法 No. 1 – 06

Ecriture No. 1 – 06

2006 版畫 35/99 簽名：35/99 ECRITURE No. 1-06 S.B. Park 2006

76x55cm Lithograph, 35/99 Numbered 35/99, titled and signed S.B. Park in English, dated 2006

NT$ 80,000-160,000 US$ 2,700-5,300

MODERN AND CONTEMPOR ARY ART

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280 LIU CHIWEI

劉其偉

「石膏像只是訓練準確及明暗，使二次元的

( Taiwanese, 1912-2002 )

吉羊

平面產生三次元的錯覺空間，這並不十分重

石雕 55/900 簽名：ㄌ一ㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 55/900

要，但如果把速寫練好了，線條才是繪畫的

Lucky Sheep 20x15x11 cm Stone, 55/900 Signed Liu Chi-Wei in Chinese phonetic alphabet, numbered 55/900

NT$ 30,000-50,000 US$ 1,000-1,700

韻律真正組織要素。」 ---劉其偉

羊在民間來說是吉祥好運的象徵，劉其偉用幾何塊面與線條以及白色主體相互呼應，以神氣活現的姿態，呈現別於一般風格的中國風，整件作品的白色方塊融入其中，令人愛不釋手。

290

ZHONG CHENG 中誠

281 WALASSE TING ( Chinese-American, 1929-2010 )

a. Grape Flavor b. Two Girls c. Erotic Composition - Red Hair Lady d. Black Nude with Flowers a. 55x74cm b. 53x73cm c. 43x58cm d. 47.5x69.5cm a. Lithograph, 83/200 b. Lithograph, 172/200 c. Lithograph, 16/80 d. Lithograph, 89/100 a. Numbered 83/200, signed Ting in English b. Numbered 172/200, signed Ting in English c. Numbered 16/80, signed Ting in English, dated 1979 d. Numbered 89/100, signed Ting in English, dated 1979

NT$ 100,000-180,000 US$ 3,300-6,000 丁雄泉 a. 葡萄風味 b. 雙嬌 c. 嬌豔紅髮 d. 黑色的裸體女人與花 a. 1981 b. 1979 c. 1979 d. 1979 a. 版畫 83/200 b. 版畫 172/200 c. 版畫 16/80 d. 版畫 89/100 a. 簽名：83/200 Ting b. 簽名：172/200 Ting c. 簽名：16/80 Ting 79 d. 簽名：89/100 Ting 79

a. b. c. d.

MODERN AND CONTEMPOR ARY ART

291

KAWS BRIAN

DONNELLY (b.1974)

101

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105

103

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204

ZHONG CHENG 中誠

108

110

205

出生美國紐澤西州，原名為Brian Donnelly。1996年畢業於紐約視覺藝術學院美術插畫學系。曾短暫作為自由漫畫家任職於迪士尼，更參閱製作過知名卡通「101 忠狗」、「阿德日記」、「拽妹黛薇兒」。90年代後期Kaws開始投入設計生產限量版玩具，更一炮打響全球玩具藝術收藏界的熱潮。1991年開始在街頭進行塗鴉，1999年Kaws在巴黎開畫展，同時推出作品集Kaws Exposed，日本雜誌也大力推薦，同年Kaws與realmad HECTIC和Bounty Hunter合作推出首隻以米老鼠為藍本的Figure，名為Kaws Companion，更被放在紐約SOHO區的紐約新當代藝術館內展出。成名之後的Kaws經常受到各方邀請，在倫敦、紐約、東京等地開設個人畫展，繼續創作Kaws的「惡搞」風格，同時也推出個人作品集。近期展覽：「CLEAN SLATE．刷新展」(2014，中國香港，海港城海運大廈露天廣場)、「KAWS: BFF」(2016，泰國曼谷，Central Embassy)、「KAWS:始於終點」 (2017，上海，余德耀美術館)。

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Born in New Jersey, USA. Brian Donnelly is currently best known as the artist KAWS. He graduated from the School of Visual Arts in New York with a Bachelor of Fine Arts in illustration in 1996. After graduation, KAWS briefly worked for Disney as a freelance animator painting backgrounds. He also contributed to the animated series “101 Dalmatians ”, “Daria and Doug ”. In the late 90s, KAWS began to design and produce limited edition vinyl toys, he was an instant hit with the global art toy-collecting community, especially in Japan, where the genre is well respected and widespread. In the same year, KAWS, realmad HECTIC and Bounty Hunter collaborated in creating “KAWS Companion, ” inspired by Mickey Mouse, the sculpture was first displayed at the New Museum in SOHO, New York. Kaws was later invited for solo painting exhibition in London, New York, Tokyo and more. He continues to work on the brand KAWS as well as creating more personal works. Recent exhibitions include: “CLEAN SLATE ” (2014, Shanghai Times Square, China), “KAWS: BFF ” (2016, Central Embassy, Thailand); “KAWS: Where the End Starts ” (2017, Yuz Museum, Shanghai).

草間彌生 YAYOI

KUSAMA (b.1929)

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生於日本長野縣松本市。於京都市立工藝美術學校主修日本畫，1956年移居美國紐約，並開始展露她前衛的藝術創作才華。草間的作品曾於海內外多家著名藝術機構展出。草間彌生是在世最重要的日本女性藝術家，她的藝術難以歸類，創作媒介包括繪畫、雕塑、影像、裝置藝術、環境藝術、行為藝術，還會寫小說和設計時裝，美學風格遍及極簡主義、普普藝術、女性主義藝術等。1999年於紐約惠特尼美國藝術館舉辦「美國世紀」。近年展覽：2013年起，展開長期的《夢我所夢》（A Dream I Dreamed）亞洲巡迴展覽，更在2015年於台中國立美術館、高雄市立美術館展出，吸引大批民眾慕名而來。「我永遠的靈魂 My Eternal Soul」（2017，東京，國立新美術館）。

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Born in Matsumoto, Japan, Yayoi Kusama majored in Japanese painting at the Kyoto Fine Arts School of Craftsmanship. She moved to New York City in 1956, since then, she held many exhibitions to present her avant-garde style ever since. Yayoi Kusama is currently the most important non-deceased female artist in Japan. Her artistic approach is like no others, and working in multi-media including painting, sculpture, films, installation, environmental and performance art. She even writes novels and engage in fashion design. Her aesthetic style is most similar to Minimalism, POP art and Feminist art. Important exhibitions include: “American Century ” (1999, Whitney Museum of Art, New York). Starting in 2013, her longterm exhibition “A Dream I Dreamed ” toured all of Asia; in 2015, the exhibition arrived in Taiwan and was shown in National Taiwan Museum of Fine Arts. The result was very well received and her aesthetic creativity became an international sensation. “My Eternal Soul ” (2017, Tokyo, the National Art Center).

MODERN AND CONTEMPOR ARY ART

293

陸先銘 LU

HSIENMING (b.1959)

郭維國 KUO

WEIKUO (b.1960)

120

生於臺灣臺北。1982年畢業於中國文化大學美術系。歷任華岡現代藝術協會、台北畫派會長及悍圖社社長。曾獲第六屆雄獅美術新人獎首獎(1981)、中華民國現代美術新展望優選(1988)、台北現代美術雙年展首獎(1992)以及第二屆廖繼春油畫創作獎首獎(2002)。陸先銘曾於各國美術館與畫廊展覽，次數累積逾百次，紀錄經驗俱豐。著名展覽計有：「意念．程式．感官的對話-陸先銘、何孟娟雙個展」(2009，台灣基隆，基隆市文化局)、「城市隨筆」(2010，台灣台北，大未來畫廊)、「雙城記─「浮城過影」(2015，台灣台北，台北當代藝術館) 、「跳格子—藝術銀行接力展」(2016，台灣台中，國立台灣美術館)、「硬蕊／悍圖」、「從過去到未來」 (2017，台灣台中，國立台灣美術館)，作品廣為德國路德維國際藝術論壇、臺北市立美術館、臺灣省立美術館、高雄市立美術館、國立歷史博物館等各國美術機構與私人藏家收藏。 Born in Taipei, Taiwan, Lu received the B. A. in Fine Art from Chinese Culture University. He has been the Chairman of the Hua Kung Art Association, the director of the Taipei Painting Art Group, and the chairman of the Hantoo Art Group. Once won the New Talent Award of Hsiung-Shih Fine Arts in 1981, the First Prize of the Taipei Biennale of Contemporary Art in 1992, and the First Prize of Liao Chi-Chun Oil Painting Award. Lu has held numerous exhibitions in the art institutes and galleries around the world, and has joined over one hundred exhibitions through these years. Famous exhibitions included: “The Dialogue Between Thought Program Sense ” (2009, Taiwan, Keelung City Cultural Affairs Bureau); “Urban Memoir ” (2010, Taipei, Lin & Lin Gallery); “Hopscotch – Art Bank Relay Exhibition ” (2016, Taichung, National Taiwan Museum of Fine Arts); “Hardcore Rally with Hantoo Art Group ”, “From the Past to the Future ” (2017, Taichung, National Taiwan Museum of Fine Arts). Lu’s works are widely collected by private collector and art institutes such as Ludwig Forum for the International Art, Germany, Taipei Fine Arts Museum, Taiwan Museum of Art, Kaohsiung Museum of Fine Arts, National Museum of History Republic of China etc.

邱亞才 CHIU

YATSAI (1949-2013)

121

生於臺北。中國文化大學美術系畢業。參展紀錄：1984年第一屆中華民國現代繪畫新展望、1992年第八屆亞洲國際美展及1994年及1996年參加臺北市立美術館舉行之雙年展， 2000年獲頒美國Freeman基金會亞洲藝術首獎，翌年赴美國Vermont Studio Center駐村創作，2002年於臺北大未來畫廊舉辦「暴喜圖」個展，2004年於國立臺北藝術大學綜合展覽廳舉辦「暴喜四十」，2005年於臺北大未來畫廊舉辦「暴喜圖之柳暗花明」，2006年於臺北市立美術館舉辦「暴喜圖─柳暗與花明」，「雙城記─萬園有靈郭維國個展」2015年於台北當代藝術館展出，2017年於國立台灣美術館舉辦「硬蕊／悍圖」聯展，以集會的姿態、歷史回返與社群的當代。 Born in Taipei, Kuo graduated at Taipei Chinese Culture University in 1984. At the same year he participated in “1st Modern Painting Exhibition ”. Kuo was invited to show his artwork at “The Eighth Asian International Exhibition ” traveling to Indonesia and Japan. In 1994 and 1996 his works were showed in the Biennale exhibition at the TFAM. Kuo won the first prize of Asian Art Award by Freeman Foundation in 2000 and went to Vermont Studio Center as visiting artist for two months then in 2001. Recent solo exhibitions: “Diagram of Commotion and Desire ”, Lin & Keng Gallery, Taipei, 2002; “Diagram of Commotion and Desire 40 ”, National Taipei University of Art, 2004; Lin & Keng Gallery, 2005; Taipei Fine Art Museum, 2006. “A Tale of Two Cities – Kuo Wei-kuo Exhibition: Gardens of Spirits ” was held at Museum of Contemporary Art, Taipei, in 2015, “Hardcore Rally with Hantoo Art Group ”, at the National Taiwan Museum of Fine Arts, Taichung, 2017.

黃銘哲 HUANG

MINGCHE (b.1948)

122

生於台灣宜蘭。1979年在台北美國文化中心舉辦首次個展，1984年在香港漢雅軒畫廊展出成功後，便陸續參與許多大型展覽，包括：「The Minds I」（1987，美國紐約，亞洲藝術中心）、「現代水墨展」（1988，台灣台北，國立歷史博物館）、「台灣美術三百年」（1989，台灣台中，國立台灣美術館）、「畢卡索，達利與邱亞才等聯展」（1995，瑞士，薩加拉畫廊）、「朱銘、邱亞才雙人展」（1999，瑞士藝術博覽會）、「朱銘、邱亞才雙人展」（2001，美國紐約，萬玉堂）、「台灣八十年代新表現主義回顧展—鄭在東、陳來興、邱亞才」（2004，台灣台中，靜宜大學藝術中心）、「邱亞才個展」(2009，台灣台北，旻谷藝術中心)。邱氏以肖像畫著名，作品洋溢一種文人典雅氣息，深受其早年從軍時涉獵歷史經典創作的影響。 Chiu Ya-Tsai was born in Yilan, Taiwan. His first solo exhibition was held by Taipei American Cultural Center in 1979. He participated in many grand exhibitions oversea since his success at “The New Painters from Taiwan ” exhibition held by Hong Kong Hanart TZ Gallery in 1984. His work has been shown at significant museums and galleries including: “The Minds I ” (1987, New York, Asia Art Center); “Contemporary Ink Exhibition ” (1988, Taipei, National Museum of History); “300 Years of Art in Taiwan ” (1989, Taichung, National Taiwan Museum of Fine Arts); “Picasso, Dali and Chiu Ya-Tsai Group Exhibition ” (1995, Switzerland); “Ju Ming and Chiu Ya-Tsai Exhibition ” (1999, Switzerland Art Fair); “Ju Ming and Chiu Ya-Tsai Exhibition ” (2001, New York, Wanyu Tang); “The 80’s of Taiwan NeoExpressionist Retrospective Exhibition- Zheng Zai-Dong, Chen Lai-Hsing and Chiu Ya-Tsai ” (2004, Taichung, Providence University Art Center); “Chiu Ya-Tsai Solo Art Exhibition ” (2009, Taipei, Ming Art Gallery). Chiu is known for his elegant portraits, strongly influenced by his studies of Eastern and Western classics during his military service.

294

ZHONG CHENG 中誠

123

224

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

楊述 YANG

SHU (b.1965)

葉永青 YE

生於中國重慶，1985年進入四川美術學院研究所，1988年畢業後一直在「非具象繪畫」領域進行探索，並留任於四川美院。1995年獲贊助在荷蘭Rijks-akdemie 藝術學院進修一年。楊述用街頭塗鴉，以抽象的方式賦予符號圖案，快速的作畫方式造就自我的獨特風格。也是重慶器• Haus空間(Organhaus Art Space)的創辦人之一。重慶器•Haus空間已成為中國西部最為重要和活躍的國際藝術實驗場域。著名展覽包括：「未知的快感」楊述個展（2008，中國上海，張江現代藝術館）、「顧雄楊述藝術展」（2008，中國北京，天安時間當代藝術中心）、「雨 &光」楊述個展（2014，四川成都，千高原藝術空間）、「楊述」（2016，四川成都，千高原藝術空間）、「心的暗面」楊述個展（2016，中國北京，ArtDepot 藝術倉庫），作品被中國美術館等藝術機構及歐洲私人所收藏。

125

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Yang Shu was born in Chongqing, China. He enrolled in the MFA program at Sichuan Academy of Fine Arts in 1985. After graduating in 1988, he remained to teach at the school, where he continued to explore the non-figurative artistic style. In 1995, he received a scholarship to study Fine Arts at the Rijks Akdemie in Ireland. Yang Shu used the style of graffiti and abstract expression to create unique symbols, and working fast also became his signature style. Yang Shu is one of the founder of Organhaus Art Space in Chongqing, the institute soon became one of the most important and international art space in western China. His important exhibitions include: “Unknown Pleasure: Yang Shu Solo Exhibition ” (2008, Shanghai, Z-art Center); “Gu Xiong, Yang Shu Art Exhibition ” (2008, Beijing, Tian An Time Contemporary Art Center); “Rain and Light: Yang Shu Exhibition ” (2014, Chengdu, Thousand Plateaus Art Space); “Yang Shu ” (2016, Chengdu, Thousand Plateaus Art Space); “The Dark Side of the Heart: Yang Shu Solo Exhibition ” (2016, Beijing, Art Depot). His artworks can be seen in the permanent collection of art museums and institutes in China and European private collection.

張念 ZHANG

YONGQING (b.1958)

NIAN (1964-2016)

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：「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)、「布拉格雙年展」（2009，捷克布拉格）、「鄉土、傷痕、西南魂─四川美院作品展」(2014，台灣台北，國立歷史博物館)。近期重要個展則有：「時間的小偷預言&碎片」(2014，中國上海，龍門雅集)、「藏在草間」(2014，中國北京，艾米李畫廊)、「鍍金時代─葉永青的遊走」(2015，中國北京，亞洲藝術中心)、「芊子園續篇」(2016，中國上海，龍門雅集)。其作品被中國美術館等藝術機構收藏。 Ye Yong Qing was Born in Kunming, China, he graduated from the Oil painting department of Sichuan academy of Fine arts in 1982, Chongqing. He held many international solo exhibitions in Beijing, Shanghai, Singapore, London, Munich, Augsburg, Seattle, and more. Important exhibitions include: “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); “Home, Scars, West South Soul – Sichuan Art Academy Exhibitions ” (2014, Taipei, National Palace Museum). Recent exhibitions: “The Time Thief – Prophecies & Fragments Ye Yongqing Works 2010-2014 ” (2014, Shanghai, Longman Art Gallery); “Hidden in the Grass ” (2014, Beijing, Amy Lee Gallery); “Gilded Age- The Wandering of Ye Yongqing ” (2015, Beijing, Asia Art Center); “Timeless Contemporary ” (2016, Shanghai, Longman Art Gallery) His works can be found in the collections of many important art institutes in China.

曹小冬 CAO

XIAODONG (b.1961)

126

生於中國四川，1988年畢業於中央工藝美術學院，2016因罹患癌症去世。1989 年在「中國現代藝術大展」的行為作品「等待」（孵蛋）為其代表作。著名個展包括：「移動的記憶」（2006，上海，東大名創庫）、「光芒時刻」（2006，北京，今日美術館），以及2008年奧迪汽車在北京今日美術館為他舉辦盛大的個展。曾參與展覽：「移動的社會主義—當代藝術展」（2006，北京，798時態空間）、「2006中國當代藝術文獻展」（2006，北京，中華世紀壇美術館）、「從西南出發」（2007，廣州，廣東美術館）、「1980年代—溫普林中國前衛藝術檔案展」（2009，上海，多倫現代美術館）、「未曾呈現的聲音─威尼斯雙年展」（2013，義大利，軍械庫展場）、「微觀的世界」張念個展（2014，北京，樹下畫廊）、「實驗地帶—關於藝術的討論方式」第二屆南京國際美術展（2015，江蘇，南京國際展覽中心）。作品廣獲亞洲、美國、英國、瑞士、丹麥等藝術機構、企業及私人收藏。 Born in Sichuan, China, Zhang Nian graduated from Central Industrial Art Institute in 1988. He passed away from cancer in 2016. His signature work “Waiting ” was exhibited in the “Chinese Modern Art Exhibition ” in 1989. Other important exhibitions include: “Moving Memories ” (2006, Beijing, Dondaming Art Center); “Radiant Moment ”(2006, Beijing, Today Art Museum); “Socialist Movement- Contemporary Art Exhibition ” (2006, Beijing, 789 Model Space); “2006 Chinese Modern Art ” (2006, Beijing, Beijing World Art Museum); “Starting from SouthWest ” (2007, Guangzhou, Guangzhou Museum of Art); “1980s- Chinese Avant-Garde Exhibition ” (2009, Shanghai, Duolun Museum of Modern Arts); “Voice of the Unseen – Venice Biennale ” (2013, Italy, Tesa alle Nappe, Tese di San Cristoforo); “Microscopic World: Zhang Nian Solo Exhibition ” (2014, Beijing, Tree Gallery); “The 2nd NJIAF Exhibition ” (2015, China, Nanjing International Exhibition Center). His art is widely celebrated across the globe, they can be found in the collection of major art foundations, corporates and private collections.

127

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

295

袁曉舫 YUAN

XIAOFANG (b.1961)

生於中國湖北。畢業於湖北美術學院國畫系，現任教於湖北美術學院；曾參與的聯展包括：「首屆廣州雙年展」（1992）、「麻將─席克收藏展」（2005，瑞士，伯恩美術館）、「AIAA亞洲國際藝術展」 (2006，香港)、「TAF臺北國際藝術博覽會」(2006，臺灣)、「共振—2007中國當代油畫邀請展」(2007，中國，深圳美術館) 、「都市鏡像—當代藝術展」（2008，深圳）、「波動—中國—南非藝術家聯展」（2008，開普敦）、「墨非墨——中國當代水墨展」（2009，深圳、費城）、「混合—中法當代藝術展」（2010，武漢）、「回顧與展望 —— 湖北油畫藝術展」（2011，武漢）、「山水-寂靜之詩— 中國當代藝術展」（2011，盧瑟恩）、「第八屆中國獨立影像年度展」（2011，南京）、「紙·上—2016當代藝術邀請展」（2016，深圳）。

劉玖通 LIU

128

Yuan Xiao Fang was born in Hubei, China. He graduated from Hubei Institute of Fine Arts with a bachelor degree in traditional Chinese painting, and he is currently teaching at the institute. He participated in joint exhibitions including: “1st Guangzhou Biennial ” (1992), “Mahjong- Chinese Contemporary Art collections Off West Show ” (2005, Switzerland, Bern Art Museum), “Asia International Arts & Antiques Fair ” (2006, Hong Kong), “Taipei Art Fair ” (2006, Taiwan), “Resonance 2007- Contemporary Oil Painting Exhibition ” (2007, Shengzhen Museum of Contemporary Art, China), “City Mirror: Contemporary Art Exhibition ” (2008, Shengzheng), “Volatility- Chinese Artists Exhibition, South Africa ” (2008, Cape Town), “Ink or Not Ink- Chinese Contemporary Ink Exhibition ” (2009, Shengzheng, Philadelphia), “Mix- Contemporary China France Art View ” (2010, Wuhan), “Review and Prospect- Hubei Oil Paintings Art Exhibition ” (2011, Wuhan), “Shanshui- Poetry Without Words- Chinese Contemporary Art Exhibition ” (2011, Lucern), “8th China Independent Film Festival ” (2011, Nanjing.); “Paper. Top – 2016 Contemporary Art Invitation Exhibition ” (2016, Shenzen).

洪易 HUNG

131

YI (b.1970)

132

生於台灣台中，明道中學美工科畢業。作品風格獨特，顏色豐富、奇異線條、大膽的律動、活潑的生命力讓人感到喜悅。主要展覽：「雕塑、自然與建築、現代與過去經驗」第六屆Racconigi國際雕塑雙年展（2010，義大利杜林，Racconigi 皇家行宮）；「CIGE中藝博國際畫廊博覽會」（2010，中國北京，中國國際貿易中心）；「ART TAIPEI台北國際藝術博覽會」（2010，台灣台北，世貿一館）；「喜相逢」福祿壽國際雙年展（2010，台灣彰化，福興穀倉）；「麗臨台灣」桃園國際機場二期航站區公共藝術（2011，台灣桃園）；「洪易個展─動物派對」（2013，台灣台北）；「花漾動物嘉年華」個展(2015，美國舊金山市政廣場)、「裙襬搖搖高爾夫球賽—洪易裝置藝術展」(2015，默塞德湖高爾夫球場，美國舊金山)；「洪易快樂動物派對裝置藝術展」(2017，台灣新北市)。 Hung Yi was born in Taichung, Taiwan, he graduated from Mingdao Junior High School, majored in Fine Arts. His artistic style in vivid and unique: rich with intricate curves and audacious design, transcends a joyful spirit. Main exhibitions: “Life in the World ”, Dimension Endowment of Art, Taipei, 2004; the 6th Racconigi International Sculpture Biennial (2010, Italy Cuneo); exhibited in CIGE (2010, Beijing, China); Art Taipei (2010, Taipei, Taiwan), “Joyful Reunion ” 2010 International Art Biennial (2010 Chuanhua, Taiwan); “Welcome to Taiwan ” Public Art, Taiwan International Airport Terminal 2, (2011, Taoyuan, Taiwan); "Hung Yi Solo Exhibition-Animal Party " (2013, Yuan Shan Park Area, Taipei Expo Park, Taipei, Taiwan); “Fancy Animal Carnival ” (2015, San Francisco Civic Center); “Swinging Skirts LPGA 2015 Installation Art Exhibition ” (2015, Lake Merced Golf Club, San Francisco, U.S.A); “Hong Yi Happy Animal Party Art Installation Exhibition ” (2017, New Taipei).

296

ZHONG CHENG 中誠

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，2012年由克緹文教基金會舉辦劉玖通個展「得江山助」，同年於台北歐西緹藝術空間舉辦有「周錫瑋x劉玖通」雙聯展，2013年「東方抽象」劉玖通個展則分別於中國美術館及大唐西市博物館開展。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。

129

130

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 his first solo exhibition in 2005, Liu has been active in the art scene. He attended the Shanghai Contemporary in 2007, and the Summer Jewel Group Exhibition in New Gallery on OLD BAILEY in 2011. In 2012, his solo show was held at Kelti Cultural Foundation titled “Inspiration of the Land ”, and in the same year Taipei Osti Art Gallery held “Zhou Xiwei & Liu Jiutong ”. In 2013, “Eastern Abstraction ” exhibition was held by both Beijing National Art Museum of China and Great Tang Dynasty West Market Museum in Xi’an China. Liu’s abstract paintings feature grandeur atmosphere meanwhile displaying humble temperaments. He is greatly appreciated by oversea and domestic collectors, and is recognized as Shanghai’s sharp, new talent.

吳昊 WU

133

JIUTONG (b.1977)

HAO (b.1931)

生於中國南京，後遷居台灣。 1950年受教於李仲生，為東方畫會創辦人之一，也曾擔任中華民國版畫學會董事長、「財團法人李仲生現代繪畫文教基金會」董事長、全國美展及全省美展評審委員等職。1972年榮獲中華民國畫學會「金爵獎」、1979年於第六屆英國國際雙年版畫展獲「爵主獎」。吳昊參展紀錄豐富，包含巴黎雙年國際青年藝展、第八屆國際版畫展、義大利國際藝 134 術家展、義大利國際版畫展、英國第六屆國際雙年版畫展、香港大會堂中國版畫家聯展、米蘭中國現代畫家十人展等。更曾受邀舉辦「版畫及素描個展」(1973，德國)、「吳昊四十年創作展」 (1994，台灣台北，台北市立美術館)、「吳昊的繪畫歷程展」(1997，台灣台中，台灣省立美術館)、等個展。近期舉辦的個展則有：「吳昊2010個展」(2010，台灣高雄，新思惟人文空間)、「繁華的獨白－吳昊個展」(2012，台灣台中，月臨畫廊)、「吳昊版畫展」(2013，台灣台北，關渡美術館) 、「版面‧對話」臺美版畫交流展(2016，台灣台北，紐約臺灣書院)。 Wu Hao was born in Nanjing, China, he later immigrated to Taiwan. Taught by artist Li Zhong-Sheng in 1950, along with the other students they founded the “Ton Fan Group ”. He took the post of chairman for the Taiwanese Printmaking Society, president for the Li Zhong Sheng Foundation, and served as the appraisal committee member for the National Art Exhibition of the Republic of China. He won the Golden Pitcher Award by Art Society of Taiwan in 1972 and received the “Duke Award ” from the 6th British International Print Biennial in 1979. He exhibited in the International Paris Youth Biennial, 8th International Printmaking Exhibition, International Italy Artists Fair, International Italy Printmaking Exhibition, 6th British International Biennial, Hong Kong City Hall Chinese Printmakers Exhibition, Milan-Chinese Contemporary Artist Exhibition and many more. His solo exhibitions include: “Wu Hao Prints and Sketch Solo Exhibition ” (1973, Germany); “Wu Hao 40 Years of Creation ” (1994, Taiwan, Taipei Fine Arts Museum); “Wu Hao Solo Exhibition ” (1997, Taichung, National Taiwan Museum of Fine Arts); “Wu Hao 2010 Solo Exhibition ” (2010, Kaohsiung, Sincewell Gallery) and more. Recent exhibitions include: “Wu Hao 2010 Solo Exhibition ” (2010, Kaohsiung, Sincewell Gallery); “Luxurious MonologueWu Hao Solo Exhibition ” (2012, Taichung, Moon Gallery); “Wu Hao Printmaking Exhibition ” (2013, Taipei, Kuandu Museum of Fine Arts); “Dialogue on Printmaking: The Taiwan-US Exchange Exhibition ” (2016, Taipei, Kuandu Museum of Fine Arts).

陳銀輝 CHEN

YINHUI (b.1931)

張義雄 CHANG

135

生於台灣嘉義。自幼即表現出繪畫天份，就讀嘉義中學時，受到吳學讓先生的啟蒙，兼及傳統水墨與現代水彩的學習，從而奠定深厚的繪畫基礎。國立台灣師範大學美術系畢業，曾任國立台灣師範大學美術研究所教授。於1995年自師大退休後，慨然捐出其退休金，成立「陳銀輝油畫創作獎學金」，以鼓勵學生努力創作，培育藝術界後進不遺餘力。1961年獲扶輪社獎章，並任全省美展、北市美展、全國美展籌備委員和審查委員。曾獲「金爵獎」、「中山文藝創作獎」、「吳三連藝術獎」、「楊三郎獎」、「林本源中華文化教育獎」。展覽：「形色×交響──陳銀輝油畫創作展」（2013，台北，中華文化總會）、「陳銀輝84回顧展」（2014，台北，國父紀念館中山國家畫廊）、「陳銀輝、楊淑貞雙個展」（2015，台中，凡亞藝術空間）。 Born in Jiayi, Taiwan, Chen Yin Hui graduated from National Taiwan Normal University in 1954, where he later taught the MFA program. He won the Rotary Club Medal in 1961 and took the post of judge and organizer for the Provincial Art Exhibition, Taipei City Art Exhibition and National Art Exhibition. After retiring in 1995, he funded the Chen YinHui Oil Painting Scholarship to inspire and encourage students pursuing an art education. He won many awards in his lifetime including the Golden Belt Award, Chungshan Literary Prize Award, WuSanLien Award, Yang Sanlang Award and the Lin Ben Yuan China Culture Education Prize. His recent exhibitions include: “The Rhythm of Forms and Colors – Yin Huei Chen: A Retrospective Exhibition ” (2009, Taipei Fine Arts Museum); “Forms x Orchestra: Chen Yin-Hui Oil Painting Exhibition ” (2013, Taipei, General Association of Chinese Culture); “Chen Yin-Hui 84 Years: A Retrospective ” (2014, Taipei, National Dr. Sun Yat-sen Memorial Hall); “Chen Yin-Hui, Yang Su-Jang Double Solo Exhibition ” (2015, Taichung, Fun Year Art Gallery).

劉啓祥 LIOU

CHIHSIANG (1910-1998)

137

YIHSIUNG (1914-2016)

生於台灣嘉義。幼年師承油畫大師陳澄波。 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，1951年起，張義雄的作品連續4年獲全省美展文協獎或主席獎，於 80年代定居其一生嚮往的巴黎。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。更曾獲總統頒發象徵文化最高榮譽獎的中華民國景星勳章。其藝術成就於法、日藝壇獲得極高肯定，更為台灣國寶級藝術家之一。曾應邀舉辦「張義雄80回顧展」(1994、台灣台北、市立美術館)、「張義 136 雄90回顧展」（2004，台灣台北，歷史博物館）、「生命的禮拜天：張義雄百歲回顧展」（2013，台灣台中，國立台灣美術館）、「張義雄百年特展」（2015，台灣台北，哥德藝術中心）、「義想巴黎張義雄特展」（2016，台灣台北，心晴美術館）。 Chang Yihsiung was born in Jiayi, Taiwan. He received artistic training from artist Chen Cheng-Po since a young age. From 1928 to 1940 he studied in Japan, receiving twelve years of education from Ueno University of Fine Art, Kansai school of Fine Art, Tokyo Kawada Painting School and Tokyo School of Fine Arts. After graduation, he lived in Beijing for two and a half years, later returning to Taiwan after Retrocession. Since 1951, Chang Yihsiung has received awards from the Provincial Art Exhibition and The Chairman Awards for four consecutive years. In 1980s he moved to Paris where he resides till this day. Other than a three-time winner for the “Tai-Yang Art Exhibition ”, Chang received invitation to the Spring Salon and was nominated for the Autumn Salon; furthermore, he was the first Taiwanese painter to receive Artist Annuity from the French Government. Moreover, he received the highest form of honor- ROC of Brilliant Star from the president of Taiwan. His artistic success is celebrated by the art field of French and Japan, and he is even recognized as the national treasure-level artist of Taiwan. His exhibitions includes: “Chang Yihsiung 80 Years Retrospective Exhibition ” (1994, Taipei Fine Arts Museum), “Chang Yihsiung 90 Years Retrospective Exhibition ” (2004, Taiwan National Museum of History); “The Sunday of Life: A Centennial Retrospective of Chang Yi-Hsiung ” (2013, Taichung, National Taiwan Museum of Fine Arts); “Chang Yi-Hsiung 100 Years Special Exhibition ” (2015, Taipei, Goethe Art Center); “Imagine Paris: Chang Yi-Hsiung Special Exhibition ” (2016, Taipei, Wellington Collection Art Museum).

石川欽一郎 KINICHIRO ISHIKAWA (1871-1945)

138 139

158

159

生於台灣台南，1923年赴日留學，就讀東京青山學院中學部；1930年畢業於東京文化學院美術系。回台後於1932年舉辦首次個展，同年與楊三郎一起前赴法國留學，1933年以《紅衣少女》入選巴黎秋季沙龍；1935年在東京舉行個展，作品曾獲日本「二科賞」最高榮譽獎，二戰後回台，於1941年接受台陽美術協會邀請成為其會員，並於1952年創立「高雄美術研究會」。劉啓祥生前曾多次在台灣及海外均舉辦個展及回顧展，為台灣美術界先驅。近期展覽：「南台灣‧優雅‧浪漫－劉啓祥紀念回顧展」(2016，台北，拓樸藝術) Born in Tainan, Taiwan, Liou went to Japan for abroad study in 1923, studied in Tokyo Aoyama Gakuin High School Department. Liu was graduated from Arts Initiative Tokyo, Department of Fine Arts. After he came back to Taiwan in 1932 he had his first solo exhibition, and went to France for abroad study with Yang San-Lang in the same year. Liou had won the "Ni Ka Shou " as the highest honor in Japan, came back to Taiwan and joined Taiyang Art Association during the WWII, founded Kaohsiung Art Research Group in 1952. Liou had held many solo and retrospective exhibitions locally and internationally. His recent exhibition includes “South of Taiwan: Elegant, Romantic- Liou Chi-Hsiang Retrospective Exhibition ” (2016, Taipei, Top Gallery).

162

生於日本靜岡。1888年入日本帝國遞信省東京電信學校，師小代為重學習西洋畫， 1889年開始接受淺井忠及川村清雄繪畫指導，1891年加入明治美術會，並曾留學英國研習水彩。1907年被派任至臺灣，兼任台北師範學校圖畫科教師。石川欽一郎兩度來台，前後共達19年，期間投身臺灣西畫啟蒙與教育，素有「台灣美術啟蒙之父」之稱號。早期在臺曾發起藝術文化月例會，後期來臺積極推廣水彩畫，在《臺灣日日新報》、《臺灣時報》、《臺灣教育》發表大量的畫作與文章，並指導「七星畫會」、「臺灣水彩畫會」、「基隆亞細亞畫會」與各種美術講習會等。石川欽一郎作育英才、提攜後進，於1920年代臺灣畫壇深具吸引力，學生有李石樵、倪蔣懷、藍蔭鼎、李澤藩等人。在台期間促成官辦競賽性美展的成立，同時擔任審查員，這項傳統歷經80餘年，深植臺灣文化藝術並使之發揚光大。 Kinishiro Ishikawa was born in Shizuoka, Japan, he came to Taiwan in 1907 when he was allocated to serve as a translator for the Taiwanese Government, and teach at the Taipei Normal University. Within 19 years, his dedicated himself fully to teach and cultivate the first generation of artists in Taiwan, thus he was awarded the title of “Torchbearer of Modern Taiwanese Western Art. ” He was the founder of Arts and Culture Monthly Meetings, and promoted watercolor paintings in Taiwan. Multiple journals have published his artworks and articles as he is also an active participant in various art related conferences. He was one of the most influential artist in the 1920s and reached remarkable achievements in cultivating potential younger artists at the time, including Lee Shih Chiao, Ni Jiang Huai, Ran In-Ting, Li Ze Fan and many others. During his time in Taiwan, he also promoted the establishment of many government-run art contests and served as the official judge. This tradition lasted for more than 80 years, in results the aesthetic side of Taiwan was cultivated and flourished because of Kinishiro Ishikawa.

MODERN AND CONTEMPOR ARY ART

297

楊三郎 YANG

SANLANG (1907-1995)

140

沈哲哉 SHEN

160

1907年生於台灣台北。先後在日本京都美術學校以及日本關西美術學院習畫。作品《靜物》榮獲第三屆台展特選；1932年赴法研習繪畫，其作品屢次獲選於台展、日本春陽展，在畫壇上漸露頭角。1933年返台後，全心投入推展臺灣美術教育。曾榮獲1986年國家文藝獎、1992年行政院文化獎。著名展覽包括：「經典大展」 (2010，印象畫廊，臺北，臺灣) 、「100年的世紀盛宴—楊三郎回顧展」(2011，尊彩藝術中心，臺北，臺灣) 、「100年國寶藝術家特展」(2011，印象畫廊，臺北，臺灣) 、「楊三郎紀念展」(2014，印象畫廊，臺北，臺灣)、「島嶼拾光—日治時期台灣藝術家特展」(2017，豐邑文教基金會，臺中，臺灣)。 Born in Taipei, Taiwan in 1907, Yang Sanlang studied painting at the school of Fine arts in Kyoto and Kansai Academy of Art. His artwork Still Life won first place at the Taiwan Exhibition and the Japanese Chuyan Exhibition, since then his recognition established. In 1933, he devoted himself to promoting art education upon returning to Taiwan. In 1986, he won the National Cultural Awards, and in1992, received a special awards from the Government Executive for his dedication to Aesthetics. His recent exhibitions include:“Classic Exhibition ” (2010, In Sian Gallery, Taipei); “100 Years Century Feast – Yang Sanlang A Retrospective” (2011, Liang Gallery, Taipei); “100 Years National Treasure Artists Special Exhibition ” (2011, In Sian Gallery, Taipei); “Yang Sanlang Remembrance Exhibition ” (2014, In Sian Gallery, Taipei). “Island and Light: Japanese Occupied Period Taiwanese Artist Special Exhibition ” (2017, Fong-Yi Art Gallery, Taichung)

朱春林 ZHU

CHUNLIN (b.1968)

142

147

Zhu Chun Lin was born in Anhui in 1968. He graduated from the Oil Painting Department at the Central Academy of Fine Arts in 1992. From 2000-2003 he studied in the first advanced oil painting researcher class in CAFA. In April, 2005, he transferred to China Art Research Institution. He was a lecturer at the Beijing Art Design College, and director of the Chinese Oil Painting Department at the China Art Research Institute. He participated in numerous exhibitions include: the “New Cup – Chinese Oil Painting Exhibition, ”(1994) “the 1st Chinese Oil Painting Still Life Exhibition ” (2003); Bronze Medal in “the 80th Anniversary Exhibition ” (2004); “Contestant and Specialist – The First Oil Painting Advanced Workshop – Central Academy of Fine Arts ” (2004), “Chinese Realism Painters Group Exhibition ” (2004). Recent solo exhibitions include: “Chinese Realist Painters – Zhu Chun Lin Work Exhibitions ” (2016, Taipei, ELSA Art Gallery); “Zhu Chun Lin Solo Exhibition ” (2013, Taipei, ELSA Art Gallery).

ZHONG CHENG 中誠

141

出生於台灣台南。曾受業於廖繼春及郭柏川學習繪畫。就讀中學時，作品曾入選府展、台陽展， 1943年以水彩畫《明倫堂》入選第六屆「臺灣總督府美術展覽會」，歷年來作品獲得諸多大獎並舉辦多次個展。畫作有著抒情唯美的氣息，對色彩敏感度極高的沈哲哉，擅長以簡潔的構圖搭配魔術般的色彩，帶給觀者寧靜雅致的感動。曾獲任中國油畫學會金爵獎、國立歷史博物館金章獎等榮譽。1995年國立台灣美術館舉辦《沈哲哉七十回顧展》，2013年「師生緣父子情」沈哲哉師生聯展於臺南文化中心展出。2017年最新展覽為：「曼妙多彩─沈哲哉的繪畫世界」 (台灣雲林，景陽藝文中心)。 Shen Che Tsai was born in Tainan, Taiwan. He studied painting under artist Liao Chi-Chun and Guo Po Chuan. During high school, his paintings were selected for the Palace Fine Exhibition and Taiyang Fine Arts Exhibition. His paintings embody poetic and sentimental ambience. Highly sensitive to colors, Shen uses clean and simple compositions paired with magical color transition to bring viewers a sentimental, tranquil, elegant, and delicate sensation. The China Oil Paintings Association and National Museum of History in Taiwan have awarded him with gold medals. In 1995, he held a solo exhibition in National Taiwan Museum of Fine Arts. In 2013, he participated in the “Joint Exhibition by Shen Che-Tsai and Students ” at the Tainan Municipal Cultural Center. His most recent exhibition “Colors of Shen Che-Tsai’s Painting World” (2017, Soka Culture, Yunlin)

黃坤伯 HUANG

1968年生於安徽桐城。1992年畢業於中央美術學院油畫系，2000-2003年就讀於中央美術學院油畫系首屆高級研修班。2005年4月調入中國藝術研究院美術創作院。曾任職北京藝術設計學院講師、中國藝術研究院中國油畫院教學部主任。參展及獲獎：1994年「新鑄杯—中國油畫精品展」，獲優秀獎；首屆「中國油畫靜物展」。1997年「中國油畫肖像藝術百年展」；「走向新世紀．中國青年油畫展」獲獎。2001年「建黨八十周年美術作品展」；「研究與超越．小幅油畫作品大展」。 2003年第三屆「中國油畫展」。2004年第十屆「全國美展」獲銅獎。2004年5月「同修與殊相—中央美院首屆油畫高級研修班作品展」；2004年起參加「中國寫實畫派聯展」，成為中國寫實畫派成員。近期個展有：「中國寫實畫派-朱春林作品展」(2016，台灣台北，雲清藝術中心)、「靜謐之在」個展(2013，台灣台北，雲清藝術中心)。

298

CHETSAI (b.1926)

KUENPO (b.1974)

生於台灣桃園，1998年畢業於台灣藝術學院美術系，2006年畢業於台灣藝術學院造形藝術研究所藝術創作碩士班，現任台灣藝術大學美術系、書畫系兼任講師。曾獲獎項：1997年第9屆奇美藝術人才培訓獎、1998年第12屆「南瀛美展」版畫類首獎、第6屆「聯邦美術新人獎」優選獎、2004年第16屆奇美藝術人才培訓獎、第17屆「南瀛美展」油畫類首獎暨「南瀛獎」、2007第六屆百號油畫大展第二名、 2008年第20屆台北縣美展版畫類（北縣組）第一名。曾參與的展覽包括：九十年代「類古典」油畫聯展（2001年，台灣台 143 北，大趨勢畫廊）、超寫實畫派－細密繪畫的魅力（2002年，台灣高雄，名展藝術空間）、第29回全國大學版畫展（2004年）、日本東京町田市立國際版畫美術館、「靜室、密影」三人聯展（2005年，台灣嘉義，鐵道藝術村）、台北國際藝術博覽會（2008，台灣台北，世貿一館）、第12屆上海藝術博覽會（2008，中國上海，世貿商城）。近期個展有：「品東西」油畫個展(2012，台灣台北，師大德群畫廊)、「品東西Part II」個展(2012，台灣台北，雲清藝術中心)、「漾態-20年創作歷程展」(2014，台灣台北，雲清藝術中心)。 Born in Taoyuan, Taiwan, Huang graduated from National Taiwan University of Arts in 1998, and received master diploma of National Taiwan University of Arts in 2006. Now he is professor in National of Arts. He has won many artistic prizes: “The 9th Chimei Art” (1997, Artist cultivation), “The 17th NanYing Art Exhibitions ” Oil Painting 1st prize. Jointed exhibitions: “Classic Oil Painting exhibitions ”, Taipei, Taiwan, 2001; “International Printmaking Invitational Exhibition ” ,2001, Zhongzheng Art Gallery, Taipei; “Surrealism— the Charm of Fine Painting Exhibition ”, 2002, Mingzhan Art Space, Gaoxiong; “The 29th Nationwide College Printmaking Exhibition ”, 2004, Machida Municipal International Printmaking Museum in, Tokyo; “Art Taipei 2008 ”, Taipei World Trade Center, Taiwan, 2008; “the 12th Shanghai Art Fair ”, Shanghai MART, China, 2008. Recent Solo exhibitions include: “Huang KunBo Oil Painting Solo Exhibition ” (2012, Taipei, The-Chun Art Gallery); “Huang KunBo Oil Painting Solo Exhibition Part II ” (2012, Taipei, ELSA Art Gallery); “The 20 Years Retrospective of Huang Kun-Bo ” (2014, Taipei, ELSA Art Gallery).

沙耆 SAD

JI (1914-2005)

陳蔭羆 GEORGE

144

生於中國浙江。原名沙引年。早年在上海昌明藝專、上海美專、杭州藝專和中央大學藝術系習畫九載。師從著名畫家徐悲鴻。1937年在徐悲鴻推薦下赴比利時皇家美術學院深造，並在寫實派畫家巴思天(A. Bastien)院長的指導下，以出色的成績兩度獲得比利時皇家美術學院優秀美術金質獎。1940年，與畢卡索等歐洲著名畫家一起參加比利時布魯塞爾阿特利亞蒙展覽會。後多次在畢底格拉美術館等地舉辦個人畫展。1942年其作品《吹笛女》於畢底格拉美術館展覽，並獲皇室所收藏。 1945年底，旅行歐洲（英國、荷蘭等國）寫生。展覽：「魔鬼與天使的交響詩：沙耆回顧展」（2010，台灣台北，敦煌畫廊）、「孤寂的綻放-向大師致敬˙沙耆百年紀念展」（2014，台灣桃園，卡門畫廊）、「志願無倦——沙耆早年油畫藝術展」（2014，杭州，浙江西湖美術館） Born in Zhejian, China. Originally named Sha Yinnian, Sadji studied painting for nine years in Shanghai Changming College of Arts, Shanghai Art School, Hangzhou College of Arts and Department of Arts in Central University. In 1937, he went to seek advanced study in Belgium Royal Institute of Fine Arts on the recommendation of Xu BeiHong, , and in 1942 his artwork titled "Flautist " was shown at the Petite Galerie and acquired by the royal family. In 1945, Sadji conducted a systematic study on traditional European paintings. He held exhibitions with famous Modernistic painters like Picasso and became well known in Europe. Main Exhibition includes “Devils and Angels Symphonic Poem: Sadji Retrospective Exhibition ” (2010, Taipei, Caves Gallery); “100 Years of Sadji ” (2014, Taoyuan, Carmine Gallery); “Sadji’s Early Oil Painting Exhibition ” (2014, Hangzhou, Zhejiang Provincial Museum).

于右任 YU

YOUREN (1878-1964)

生於中國廣東。1934年進入美國洛杉磯奧蒂斯藝術學院就讀，師事布魯克及維色卡。就學期間因成績優異獲全額獎學金，並於1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展。 1942-1946年間陸續於美國各大城市舉辦展覽。 1947-1949年返回中國，於廣州市文獻館及上海舉 145 146 辦個展。1950年返美，並開始研究抽象畫，於1969-1973年間應南加州帕撒狄納美術館之邀舉行個展，展出 50件抽象作品，其作品為聖地牙哥博物館及美國數個市立美術館珍藏。陳蔭羆的繪畫風格大體可粗分為社會寫實與抽象表現二階段，且明確地以五十年代為分野。此兩階段天淵之別的創作形式與內涵，各自代表了西方美術中古典與現代的典型。近年展覽：「陳蔭羆藝術展」（2014，台灣台北，耿畫廊）、「幻境之外」—世紀抽象作品聯展（2014，台灣台北，日升月鴻畫廊）、「陳蔭羆個展」（2014-2015，台灣台北，大未來林舍畫廊）。 Born in Guangdong, China, Chann entered the Otis Institute of Arts in Los Angeles and was taught by Alexander Brook in 1934. His outstanding marks were rewarded with a full scholarship at the institute, where he also received his master’s degree in 1940. His first solo exhibition was held the following year at the California Art Club in Los Angeles, and since then many more solo exhibitions was held in different cities within the U.S. from 19421946. From 1947 to 1949 he returned to China and exhibited at the Public Archives Museum in Guangzhou and Shanghai. In 1950, he yet again returned to the US and was focused in abstract painting. During the year of 1969-1973, fifty of his abstract paintings were exhibited at the Pasadena Fine Arts Museum; the works are now in the collection of San Diego Museum of Art and other major art institutes. George Chann’s artistic style can be generally differentiated into two stages: social realism and abstract expressionism, separated as pre and post 1950s. The two stages differs in form and implications, yet each representing a classical and modern beauty of Western aesthetics. Recent exhibitions include: “George Chann Art Exhibition ” (2014, Taipei, Tina Keng Gallery); “Beyond Wonderland- Centurial Abstract Painting Joint Exhibition ” (2014, Taipei, Ever Harvest Art Gallery); “George Chann Solo Exhibition ” (2014-2015, Taipei, Lin Lin Gallery).

臺靜農 TAI

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。2017年國立故宮博物院舉辦「自然生姿態─于右任書法特展」。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。

148

149

Born in Shaanxi, China. Yu You-Ren was a modern poet and calligrapher. In 1903, he was a candidate for the provincial examinations. In 1906, Yu followed Sun Yet-Sen to Taiwan to join the United League. In 1910, he founded "Financial Resources of the People Report " with Song Jiao Ren. In 1912, he served as Ministry of Communications of Nanjing Provisional Government. He opposed the Monarchy ambitions. In 1918, he returned to Shannxi and became the supreme commander of National Pacifying Army. He was also the president of Shanghai University and Control Yuan Republic of the National Government. In 1964, he passed away in Taiwan. Inspired by Huai Su's calligraphy works, Yu wrote inscriptions in exceptional cursive calligraphy. In 2017, the National Palace Museum held “Graced by Nature: A Special Exhibition of Yu Yu-Ren’s Calligraphy. ” His works are acquired by the Taipei Fine Arts Museum, Kaohsiung Museum of Fine Art, National Museum of History and Yu You-Ren's Calligraphy Museum.

CHANN (1913-1995)

JINGNONG (1902-1990) 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。臺靜農治學嚴謹，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。

150

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.

MODERN AND CONTEMPOR ARY ART

299

丁雄泉 WALASSE

TING (1929-2010)

151

152

193

生於中國江蘇，為國際聞名的詩人藝術家。青年時曾入上海美術專科學校就讀，1946年遷居香港。1952年前往法國發展並結識眼鏡蛇畫派成員。 1960年前後移居紐約，發展出新畫風，成為美國普普藝術家一員。2001年起定居於荷蘭阿姆斯特丹。曾出版《一分人生》詩集，內容涵括多位美國及歐洲藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學金，並出版以女性為題材的情色素描與繪畫書籍《朱唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊，其色彩鮮豔之作品廣為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館等。展覽：「丁雄泉回顧展－從狂狷豪邁到絢麗色彩」（2010，台灣台北，台北市立美術館）、「採花記－丁雄泉個展」（2011，中國北京，索卡藝術中心）、「生生不息－丁雄泉版畫精品大展」（2011，台灣高雄，新思惟人文空間）、「彩像萬境」丁雄泉、陳流、鄒操聯展（2014，台灣台中，現代畫廊）、「丁雄泉：採花大盜」回顧展（2016，法國巴黎，賽努奇博物館）、「丁雄泉：色彩交響曲」個展（2017，中國香港，藝倡畫廊）。 Born in Jiangsu, China, Wallace Ting was enrolled in Shanghai School of Arts. He moved to Hong Kong in 1946. Then he moved to Paris in 1952, where he formed close relations with members of the “Cobra Art group ”. In 1960, he immigrated to New York, where he became involved with Pop artists. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published “Red Mouth ”, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam and published a collection of poems titled “1 Cent Life ” surrounding the original prints of many American and European artists. Ting exhibited all around the world, also published numerous art catalogues. His vibrant paintings and lithographs are widely collected by museums including: Metropolitan Museum in New York, MoMA, Guggenheim Museum and many more. Important exhibition: “From Heroic Expression to Resplendant Color: Walasse Ting Retrospective Exhibition ” (2010, Taiwan, Taipei Fine Art Museum); “The Floral Journal- Walasse Ting Solo Exhibition ” (2011, Beijing, Soka Art Center); “Walasse Ting prints Exhibition ” (2011, Kaohsiung, Sincewell Gallery); “Kaleidoscope- Walasse Ting, Chen Liu, Zou Cao Exhibition ” (2014, Taichung, Modern Art Gallery); “Walasse Ting: Le voleur de fleurs ” (2016, France, Musée Cernuschi-Musée de la ville de Paris); “Walasse Ting: A Symphony of Colour ” (2017, China, Alisan Fine Arts).

楊英風 YUYU

YANG (1926-1997)

153

安卓 ENDRO (b.1983)

183

生於台灣宜蘭。曾進修於日本東京學校建築系、北平輔仁大學美術系及國立台灣師範大學藝術系，後前往義大利羅馬藝術學院學習雕塑，受業於季安保理（Pictro Giampoli），並獲推薦加入義大利錢幣徽章雕塑家協會，成為台灣早年少數的銅章雕塑家。1964至1966年間，獲頒義大利奧林匹克繪畫金章獎、雕塑銀章獎與第二屆世界和平文化藝術大獎。早期作品有人文主義的風格，後期則以現代主義的抽象組合造型、不銹鋼材質和中國式的藝術思維聞名於世。展覽：「無相無形─楊英風與造像藝術」(2011，馬來西亞，佛光山東禪美術館)、「呦呦英華～楊英風藝術研究中心十二年特展」(2011-2012，台灣新竹，交大藝文空間)、「太初‧有道─ 楊英風展」(2014，中央研究院)、「天人合一‧台灣雕塑界的指導者-楊英風精品回顧展」(2014，台灣台北，拓樸藝術)、「2015城南藝事重慶南站楊英風‧楊奉琛龍系列雕塑展」(2015，楊英風美術館)、「大器．遇合－楊英風、楊奉琛父子雕塑展」(2016，國父紀念館)。 Yu Yu Yang was born in Yilan, Taiwan. He enrolled in the Architecture program at the Tokyo Art School, Fine Arts program at Fu Jen University in Beijing, and Sculpture department at the National Academy of Art in Rome, where he studied under the supervision of Pictro Giampoli. Recommended by Giampoli, Yang became the first Taiwanese member to join the “Italian Association for Bronze Coin Making Artists. ” During 1964-1966, he held exhibitions in Italy and was awarded with gold in painting and silver medal in sculpture at the Olimpiadi d’ Artee Cuture Abano. He also won the World Peace Prize from the Culture and Arts by the Roc's Literature and Arts Society. His recent exhibitions include: “Yu Yu Yang Sculptural Art Exhibition ” (2011, Malaysia, Fo Guang Shan Art Museum); “Yu Yu Yang Research Center 12 Years Special Exhibition ” (2011-2012 Hsinchu, National Chiao Tung Art Center); “Yu Yu Yang Solo Exhibition ” (2014, Sinica Academy); “Heaven and Earth – The Mentor of Taiwanese Sculpture: Yu Yu Yang Retrospective ” (2014, Taipei, Top Art); “2015 Cheng-Nan Art Matters: Chongqing South Station - Yuyu Yang, Yang Dragon Series Exhibition ” (2015, Yu Yu Yang Museum, Taiwan) “Minds Collided: Exhibition of Yu Yu Yang and Arthur Yang ” (2016, Sun Yat-sen Memorial Hall, Taiwan).

300

ZHONG CHENG 中誠

281

154

155

生於印尼日惹。1998年至2001年間於日惹藝術交流協會進行藝術研究。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。近期展覽包括：「LIFE IS AMAZING」［2011，綠色藝術空間］、「BAZAAR ART FAIR」（2011，太平洋皇宮，雅加達，印尼）、「Colors of Love」個展（2014，藝術前線畫廊，新加坡）、「2014年新加坡藝術博覽會」（2014，新達城新加坡會展中心，新加坡）、「台北國際當代藝術博覽會」（2014~2015，台北喜來登大飯店，台北，台灣）、「Art Expo Malaysia」（2015，馬來西亞藝術展覽館，馬來西亞）、「 Affordable Art Fair」（2015~2016，F1 Pit Building，新加坡）（2016，香港會議展覽中心，香港）。 Born in Yogyakarta, Indonesia, from 1998-2001 Endro was an active member of the contemporary art scene in Yogyakarta. He studied in Indonesian Institute of the Arts in 2001, and later devoted his life the artist path. Recent exhibitions include: "LIFE IS AMAZING " (2011, Green Art Space); “BAZAAR ART FAIR ” (2011, Pacific Palace, Jakarta, Indonesia). “Colors of Love ” Solo Exhibition (2014, Art Front Gallery); “2014 Singapore Art Fair ” (2014, Suntec Singapore International Convention and Exhibition Center); “Taipei International Contemporary Art Fair ” (2014-2015, Taipei Sheraton Hotel, Taiwan); “Art Expo Malaysia ” (2015, Maytrade Exhibition and Convention Center, Malaysia); “Affordable Art Fair ” (2015-2016, F1 Pit Building, Singapore); (2016, Hong Kong Exhibition and Convention Center).

陳正雄 CHEN

156

CHENGHSIUNG (b.1942)

157

240

洪瑞麟 HUNG

JUILIN (1912-1996)

241

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）、南美展柏川獎（1979）、第六屆吳三連先生文藝獎（1983）、日本新構造展雕刻大賞（1989）等。著名展覽包括：「日本新構造會員努力賞」 (1984，日本)、「三義木雕博物館開館展」(1990，台灣苗栗，三義木雕博物館)、「個展」(1987，台灣台北，國立歷史博物館)、「國際藝術博覽會」(2003，韓國首爾)、「刀鋒入木」（2012，苗栗三義）、「生之痕木雕創作個展」(2013，台中，鶴軒藝術) 、「陳正雄回顧展:1953-2013」(2014，台北市立美術館)(2014，上海中華藝術館)、「陳正雄2015木雕新作展」(2015，台中，鶴軒藝術)、「烽火大戰─陳正雄創作個展」(2016，台中，鶴軒藝術)。台灣國立美術館、台北市立美術館、高雄市立美術館與國家歷史博物館皆有典藏其作品。

161

生於台灣臺北。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。展覽：「原鄉譜曲—洪瑞麟逝世周年紀念展」(1997，國立歷史博物館)、「台灣嬉遊記」(2011，台北，尊彩藝術中心)、「生命永遠的讚頌」(2012，台北，阿波羅畫廊)

Chen Cheng Hsiung was born in Tainan, Taiwan, at the tender age of fourteen, he began his wood-carving career as an apprentice in a local temple, where he created Buddhist sculptures. He is currently a member of the Japan Shinkouzou Art Association, and The Sculpture Society of Taiwan. He has won many awards including: “Mayor’s Award of Tainan Art Exhibition ” (1970、1978); “Wusanlien Award ”(1983); “Sculpture Award of Shinkouzou Exhibition ” (1989, Japan). His important exhibitions include: “Award of the Sinkouzou Exhibition ” (1984, Japan); “Solo Exhibition ” (1987, Taipei, National Taiwan Museum of History); “Sanyi Wood Sculpture Museum Opening Exhibition ” (1990, Taiwan, Sanyi Wood Sculpture Museum); “International Art Fair ” (2003, Seoul, Korea); “Wood Sculpture Exhibition ” (2013, Sanyi Sculpture Society); “Life and Scar: Wood Sculpture Solo Exhibition ” (2013, Taichung, Ho Ho Arts), “Chen Cheng Hsiung Retrospective Exhibition: 1953-2013 ” (2014, Taipei Fine Arts Museum, Taiwan) (2014, China Art Mseum, Shanghai); “Chen Cheng Hsiung Wood Craft Exhibition ” (2015, Taichung, Ho Ho Art); “Flames of War- Bronze Sculptures by Chen Cheng Hsiung ” (2016, Taichung, Ho Ho Art). His works can be seen in the collection of National Taiwan Fine Arts Museum, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts and National Museum of History.

Hung Jui-Ling was born in Taipei, Taiwan. He enrolled in Kinichiro Ishikawa and Ni JiangHuai’s Painting Research Group in Taiwan in 1927. With the encouragements from artist Chen Chih-Chi he decided to travel to Japan in 1930 and enrolled in Kawabata Academy of Painting. In 1931 he successfully entered the Imperial Fine Arts School in Tokyo. In 1938, he found a job at the Jui-Fang Coal Mining Company, he remained at the company until retirement. Miners became an inspiration in his art and a subject he often returns to; thus, he was later known as the “Miners Painter. ” In 1939, his work “Working in Mine ” was nominated in 1954 by the Era of Fine Arts Association. Throughout his life, he contributed to many non-mainstream art activities and events. He moved to the United States in 1980, and often traveled across Europe to sketch. In 1987, he established his own art studio. He passed away in December, 1996. Important exhibitions include: “The Tone of His Homeland- Hung Jui-Ling Exhibition ” (1997, National Museum of History); “Happy Travel in Taiwan ” (2011, Taipei, Liang Gallery); “Hung Jui-Ling, the Mining Painter’s 100th Anniversary Exhibition ” (2012, Taipei, Apollo Art Gallery).

葉火城 YEH

林憲茂 LIN

HUOCHENG (1908 - 1993)

SHIENMAO (b.1955)

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生於台灣台中。台北第二師範學校畢業，曾任國民學校教員及校長，南亞塑膠工業股份有限公司美術顧問，明志工專設計科主任。自1927年起，作品多次入選台展及府展，最終獲得「全省美展」永久免審殊榮。1959年擔任全省美展審查委員（第14 屆至27屆），1965年任私立明志工專董事，1974年創立中華民國油畫學會並赴歐旅遊作畫。1979年前往泰國、菲律賓、新加坡、香港等地作畫，創立葫蘆墩美術研究會。曾任台陽美術協會會員、中國美術家協會會員、中華民國油畫學會理事長。 2013及2014在台中美術家資料館展出「敘景寫物-葉火城與豐原班油畫展」。 Yeh Huo Cheng was born in Taichung, Taiwan. He graduated from the Taipei Second Normal College, and later became a professor and principal at the school, he also took the post of consultant at the Nan Ya Plastics Corp and the director position for Mingchi Institute of Technology. Since 1927, his paintings were frequently selected for the Taiwan Exhibition, Taiwan Governor-General Exhibition, Provincial Art Exhibition, and receive the exceptional honor to exhibit freely without trial. In 1959, he was part of the jury committee for the 14th and 27th Provincial Fine Arts Exhibition. In 1974 he founded the Republic of China Oil Painting Association, and travelled to Europe to pursuit inspirations. In 1979, he visited Thailand, Singapore, Hong Kong and other countries to create; he later founded the “Gouard Art Society ”. He was a member of the Taiyang Fine Art Association, Chinese Artists Association and ROC Oil Painting Association. From 2013 to 2014, the Taichung Artist Research Institute exhibited “Yeh Huo-Cheng Oil Painting Solo Exhibition ”.

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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。目前為臺灣藝術研究院之決策委員暨院士。曾榮獲全省美展優選（1980、1983、1984）、全國青年創作獎（1981）、雄獅新人獎優選（1983）。1977年，首次於台中美國新聞處舉辦個展，其後著名個展包括：「個展」（1981，台中市立文化中心）、「德國首屆國際藝術節個展」（1996，波羅的海城市）、「巡迴個展」（1997，德鴻畫廊、台中鼎峰藝術中心、台北國際世貿藝術博覽會）、「風華再現」個展（2006，南投文化中心）、「林憲茂油畫創作展」（2013，台中台灣大道市政大樓）等，2014年應邀紐約黃氏藝廊第24次個展，2015年參展於紐約及漢普敦、廈門等藝術博覽會，2016年參加洛杉磯5人聯展等，至今參與展覽逾百餘次。 Born in Taichung, Taiwan. Lin Shien-Mao was born into a family of doctors. He is a successful self-taught artist. From 1988 to 1993, he traveled to more 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. Currently a member of the Taiwan National Exhibition Committee for Arts. He won many awards including the following: Optimization of the Provincial Art Exhibition, 1980, 1983, 1984; Creative Award by the National Youth, 1981; Lions Art Award Selection, 1983. His first solo exhibition was held in the United States News Centre in Taichung. Lin had participated in more than fifty exhibitions. His important exhibitions include “Solo Exhibition ” (1981, Taichung Cultural Affairs Burea); “Germany’s 1st National Art fair Solo Exhibition ” (1996, Baltic Sea City); “Toured Solo Exhibition” (1997, Der-Horng Art Gallery, Taichung Peak Gallery, Taipei International Art Fair); “Solo Exhibition ” (2006, Nantou Cultural Affairs Bureau); “Lin Shien-Mao Oil Painting Exhibtion ” (2013, Taichung), 2015 ArtExpo New York, 2015 Hampttons Art Fair, 2015 Xiamen Art Fair, 2016 Invited by L.A. Artcore Union Center Show.

MODERN AND CONTEMPOR ARY ART

301

王雲鶴 WANG

YUNHE (1939-2007)

黃賓虹 HUANG

原名懋直，原籍安徽歙縣，1865年出生於浙江金華。幼年喜愛繪畫，課餘之暇兼習篆刻，臨摹家藏的沈庭瑞（樗崖）山水冊。1949年後任中國美術家協會華東分會副主席、中央美術學院華東分院教授。1953年被任命為中央美院民族美術研究所所長。他的技法，行力於李流芳、程邃、弘仁等，但也兼宋、元各家。其畫風與豐富多變的筆墨，蘊含著深刻的民族文化精神與自然內在的美學取向。他有著自己的畫學理論建構，其金石篆刻、詩文、書法、文字學等也頗有建樹，是一位「不能僅以畫史目之」的學者。代表作品：畫作《山居煙雨》、《黃山湯口》等，編有《黃賓虹畫語錄》，並與鄧實合編《美術叢書》。

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生於中國浙江，後遷居上海，自幼跟隨教會英籍教師習畫。一生致力於西畫創作，作品風格創新，氣勢非凡，被稱為「畫城市中國第一人」。歷任上海海風油畫會會長、上海華夏書畫院副院長、上海電視台動畫製片廠副廠長。一生舉辦過數十次國內外個展及聯展，作品廣為中國美術館、上海美術館、劉海粟美術館、市政府、紀念館、美術單位、展覽中心及海內外企業與收藏家收藏；1998年起數十餘幅於佳士得、蘇富比、北京、上海、台北拍賣公司拍賣成交。主要畫集包括《王雲鶴油畫精品典藏集》、《王雲鶴水彩畫集》、《上海油畫22家作品集》、《亞洲水彩畫名家叢書-王雲鶴》、《中國當代美術-中國水彩畫集》、《中國水彩畫集-王雲鶴》等。 Wang Yun-he was born in Zhejing, China. He studied watercolor and oil painting under an English artist. His recent work depicts the city of Shanghai, through the use of swift brushwork and dramatic colors, he successfully captures the energy of the city. He earned the title of “The First City Painter of China. ” He was the president of the Shanghai Landscape Oil Painting Association, vice principle of the Shanghai Painting and Calligraphy Academy and vice director of the Shanghai TV Animation Production Group. He has held and participated in dozens of exhibitions abroad. His works are acquired by the National Art Museum of China, Shanghai Art Museum, Liu Haisu Art Gallery, City Hall, Memorial Hall, Art Foundations, Exhibition Center and the important individual and cooperate private collections. Since 1998, his paintings were successfully sold by Christies, Sotheby’s, Shanghai and Taipei Auction houses. His works are included in the publication: “Wang Yun-He Selection of Oil Painting ”, “Wang Yun-He Watercolor Series ”, “Selected Works of 22 Shanghai Oil Painters ”, “Asian Watercolor Masters Series ”, “Chinese Modern Fine Arts Album of Chinese Watercolor Painting ” and more.

王臨乙 WANG

LINYI (1908-1997)

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生於中國上海。為中國現代雕塑藝術與現代雕塑教學的開拓者之一。1927年於南京中央大學藝術系隨徐悲鴻學畫，次年赴法國里昂美術學校、巴黎高等美術學院學習，曾獲全法國美術學校速寫獎金。1935年返回中國，歷任北平藝術專科學校教授、重慶藝術專科學校教授兼雕塑系主任、北平藝術專科學校教授兼雕塑系主任、中央美術學院教授兼雕塑系主任、教研室主任，並曾擔任中央美術學院雕塑創作室及北京建築雕塑工廠顧問。1954年參予首都天安門人民英雄紀念碑浮雕設計創作，完成作品《五卅運動》；其他著名作品包含：《孫中山紀念碑設計》、《大禹浮雕》、大型浮雕群像《民族大團結》、人民英雄紀念碑浮雕《五卅慘案》等。 Born in Shanghai, China. Wang is a renowned sculptor and art educationist of modern sculpture. In 1927, he studied at the Art Department of The Central University in Nanjing, and was instructed by Xu Bai Hong. He furthered his study twice at Université de Art Lyon and the École Nationale Supérieure des Beaux-Arts in Paris. In 1935, Wang Linyi began to teach in Natinal Beiping Art School as professor and head of the Sculpture Department at Chongqing Art School. In 1946, he was professor and head of the Sculpture Department of National Beiping Art School, and later professor and head of the Sculpture Department of the Central Academy of Fine Arts. He also took part in the embossment design of the Monument to the People's Heroes at Tiananmen Square of Beijing. His representative works include “Sun Yun Sen Memorial Statue ” design, “Embossment of Dayu ”, “Chinese Nations Unification Embossment ” and “May 30th Campaign embossment ” on the Monument to the People's Heroes and so on.

302

ZHONG CHENG 中誠

BINHONG (1865-1955)

171

許國峰 XU

Formerly known as Mao-Zhi, as a native of Anhui She Province, Huang Bin-Hong was born in 1965 in Zhejiang Jinghua. He studied painting at an early age, when he is not in school, Huang would often imitates the family collection of Shen Tingrui’s landscape paintings. In 1949, he was appointed as the vice chairman of the Chinese Artist Association East branch, he also took the post of professor at the Central Academy of Fine Arts, China; and in 1953, became the head of the research department. His painting style showed the influence of the earlier painters Li Liu-Fang, Cheng Sui, Cheng Zheng-Kui and Kun Can. He is considered one of the last innovators in the literati style of painting and is noted for his freehand landscapes. Huang advocated studying the Tang and Song works “to trace the past, in order to initiate the future. ” He wrote “Huafa Yaozhi ” (Principles of Paintings), he also wrote poetry, literature, and worked as a publisher and editor of a variety of art books and journals.

GUOFENG (1951-2006)

許國峰十四歲拜師朱銘，出師後自立門戶，從事雕刻二十七年。朱銘稱他是所有弟子中最有「藝術家」氣息者，兩人情誼深厚。曾任中部雕塑協會會員、台中市露天雕塑大展籌備委員、前三采藝術中心主任等。許國風將青少年時代游刃於木頭與刻刀之間，藝術天份加上個人努力，以不到三十歲之齡，即得到多項美展的第一名及優選，三十多年前曾在台中舉辦過個展：「將被遺忘的行業」，作品有農業社會的「牽豬哥」、坐轎子等，功力倍受藝壇肯定。他的作品常見達摩、鍾馗、羅漢、竹林七賢、蘇東坡等人物出現，或許與他崇尚自然，不刻意經營的個性有關。 Xu Guo-Feng studied under the instructions of Ju Ming since he was fourteen years 174 old. He later established himself as a professional artist, and was a devoted sculptor for twenty-seven years. Ju Ming praised him as one of the most “artistic” student he ever had; the two remained very close friends. He was an active member of the Taichung Sculptor Association, committee member of the Taichung City Outdoor Sculpture Exhibition, previous director of Sun-Tsai Art Center and more. Xu Guo-Feng’s distinctive style combined with artistic talent and hard work earned him first prize and special nomination in many competitions before the age of thirty. Thirty years ago he held a solo exhibition in Taichung, titled “The to Be Forgotten Industries ” within the works are depiction of workers that belongs to agricultural background. In one of the works, a “Pig Herder ” is sitting in a wheelchair. His artworks were praised by the art world, and characters such as Dharma, Zhong Kui, Luohan, Su Dongpo and more often appear in his artwork; perhaps out of his respect for nature, and down to earth persona.

朱銘 JU

MING (b.1938)

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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年於國立歷史博物館舉辦首次個展，創作了〈同心協力〉等以台灣鄉土為題材且又富含生命力的木雕作品。其後，朱銘融合文化精神與太極招式的「太極系列」作品，更確立了朱銘在雕塑界的地位。1997年應邀至法國巴黎中心的梵登廣場展出。1999年朱銘美術館在臺北縣金山鄉開幕，使其作品與自然環境相互呼應。2004年獲頒九十三年行政院文化獎，亦為台灣對文化界人士所頒發的最高榮譽獎項。朱銘的作品被世界各大城市美術館、教育機構和政府珍藏，其善於發揮各種材質的特性，不僅具有很強的現代感，而且繼承了中國傳統雕刻的精髓，創造出一種與自然渾然一體的精神境界。近期展覽：「刻畫人間」朱銘雕塑大展（2014，香港，香港藝術館）、「探材．拓藝－2016年朱銘典藏展」(2016，台灣新北，朱銘美術館)、「寫意日常－朱銘的水墨人間」(2017，臺灣新北，朱銘美術館)。 Born in Miaoli, Taiwan, Ju Ming began his artistic training with Lee Chinchun, and was later educated in modern sculptures by artist Yu Yu Yang. The National Museum of History held Ju Ming’s first solo exhibition in 1976, featuring the work “Together ” along with other wooden sculptures surrounding the theme of traditional Taiwanese heritage. Ju Ming conveyed the essence of the east and empowerment through his most prominent “Taichi Series ”, which secured his status in the international art world. He exhibited at the Paris Vendome Exhibition Center in 1997 and established the Ju Ming Museum in Chishan, Taipei in 1999. He won the 93rd Ministry of Culture Annual Award in 2004. His works can be found in the collections of major museums, educational foundations, and governmentowned collections. His recent exhibitions include: “Portrayed World ” Ju Ming sculpture exhibition (2014, Hong Kong Museum of Arts) and “The Great Expedition: 2016 Exhibition of Ju Ming’s Collection ” (2016, New Taipei Province, Ju Ming Museum); “Free Handing the World – Ju Ming’s Living World of Ink ” (2017, Hsinchu, Ju Ming Art Museum).

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MODERN AND CONTEMPOR ARY ART

303

胡崇賢 HU

CHUNGHSIEN (1912-1989)

民國元年(1912)年出生，小學時代學習攝影，曾任蘇州早報記者，並開設「珊瑚攝影社」從事人像攝影工作。1937年進「勵志社」攝影股，1940年成為蔣中正委員長之侍從攝影官，直到1975年蔣總統過世為止，期間長達35年，深得蔣總統與夫人之信任與賞識。他的藝術攝影獲得郎靜山及張大千賞識，晚年與張大千合作為摩耶精舍荷花、梅花攝影，曾三度舉辦攝影展，張大千於其作品上題詩、題字多達百餘幅。1983年張大千逝世，美國洛杉磯太平洋亞洲博物館舉辦張大千畫展與胡崇賢攝影摩耶精舍荷花與梅花聯展，達到其攝影生涯的巔峰。 Born in 1912, Hu Chung-Hsien started photography in elementary school. He later became a reporter for the Suzhou Morning News, and founded the “Coral Photography Agency ” that specialized in human portraiture. He entered “Inspiration Group ” photography stock in 1937, and became the official photographer for Chiang Kai-Shek, the president of the Republic of China. Because, he was highly valued and trusted by the president and First Lady, he served the post for over thirty-five years, until the president’s passing in 1975. His work also received high praise from artist Long Chinsan and Chang Daqian. In 1980, Chang Daqian invited Hu to his garden, where Hu took several photos of his plum blossoms and lotus. Chang admired these photographs so much that he made poems and wrote on the pictures to praise how beautifully Hu captured the essence of these flowers. Pacific Asia Museum in California, held “Adobe of Illusions- The Garden of Chang Daqian ” in 1983 - the year of Chang Daqian’s passing, featuring the work of Hu Chung-Hsien, where he achieve exposure and fame.

張大千 CHANG

DAQIAN (1899-1983)

生於中國四川。年幼時，跟隨母親學習繪畫，對畫藝奠下基礎。青年時隨兄到日本 (京都)，專攻繪畫，又研究染織工藝。回中國後曾從李瑞清與曾熙習詩文書畫。喜臨摹清初四僧作品。善畫山水、花卉、人物，且尤擅畫荷花。工筆寫意，俱臻妙境，30年代即與齊白石齊名，並稱「南張北齊」。40年代歸蜀，脫略石濤、八大山人之初獷，蹤及唐寅、沈周等細潤之路。曾赴敦煌3年，臨摹敦煌壁畫，畫風轉變，被譽為「畫中李白」。50年代棲身海外，先赴印度展出書畫，此後便旅居阿根廷、巴西、美國等地，並在世界舉辦個人畫展。被西方藝壇稱為「東方之筆」，與西方畢卡索齊名。曾榮獲紐約國際藝術學會的金牌獎，被推選為「全世界當代第一大畫家」並被世界輿論稱之為「當今最負盛譽的中國畫大師」，張大千晚年仍從事中國畫的開拓與創新。1983年逝世，完成其一生最後一幅畫作《廬山圖》，台北故居捐給國立故宮博物院成立「張大千先生紀念館」。 Chang Daqian was born in Sichuan, China. His mother began his artistic training at an early age. As a young adult he followed his brother to Kyoto to learn drawing and textile dyeing technique. Returning to China, he studied traditional painting from well-known calligraphers and painters Li Ruiqing and Zeng Xi. As a firm believer in Buddhism, he is an expert in depicting elements of nature, such as landscape, portraits and flowers especially lotus. In 1930s, Chang was equally acclaimed as Qi Baishi, they were referred as the masters of opposite region "South Chang, North Qi. " After a three-year quest to imitate murals and sculptures of Dunhuang cave, his style took a drastic transition. He was known as the "Li Bai of Painting. " In the 1950s, Chang was mostly oversea, he first arrived in India to exhibit his painting, then lived in Argentina, Brazil, and then U.S where he exhibited his work. The western art scene honor Chang Daqian with the name "Oriental Brush " his fame comparable to Picasso. He received a gold medal from the International Society of Arts. He was also elected for “First of the International Contemporary Painter ”, and given the title “The World's Most Prestigious Contemporary Chinese Painter ”. In his twilight years, he still engaged in the exploration and innovation of Chinese painting. He passed away in 1983, completing his last and final work titled “The Mountain of Lu ” the work is now available for viewing at the “Chang Daqian Residence ” a donation from the National Palace Museum.

米叟(陳定山) MI SOU(CHEN DINGSHAN) (1897-1987) 米叟，字蝶野，又字小蝶，四十歲改字定山，浙江省杭州市人，擅畫，善詩文。曾任杭州市修志館館長、上海書畫協會創辦人、也是上海中國美術協會發起人。陳定山先生的書法初學黃山谷，後學虞永興，而後禇河南用功最深，故其根基深厚紮實。早年書法灑脫遒麗、線條勁健；晚年則是古拙樸茂、蒼勁老辣。在詩文與詞章方面皆極具精緻而自成風格。1951年陳定山與李超哉、陳子和、王壯為等藝術家在國立歷史博物館舉行「十人書展」之首展，之後每年都會在史博館展出，並曾在美國聖若望大學展出，後其因老成凋謝而書展中斷。著有《清明五百年畫派概論》、《近百年名家畫傳》、《定山居士詩文集》等。 Chen Ding-Shan was born in Zhejiang Province, Well versed in painting and poetry, he took the post of curator at the Shao-Zhi Museum, and founded the Shanghai Calligraphy Association and Chinese Art Association. Chen first studied the calligraphy style of artist Huang Shan-Gu and later the style of Yu Yong-Xing, however he was influenced the most by calligrapher Chu He-Nan. Upon studying the style of the masters, he established a solid foundation for himself. His early calligraphy style is free-spirited with flowing lines, whereas his later style is vigorous and heavy. In poetry, his choice of words are refined and characterized with his own distinct flair. In 1951, Chen Ding-Shen exhibited in “Ten Book Fair ” at the National History Museum along with other artists including Lee ChaoZai, Chen Zi-He, Wang Chuang-Wei and more. He continued to exhibit every year at the National Museum of History, as well as St. John’s University. Due to old age, the annualexhibition eventually came to an end. Today, he is the author of “Qing Ming Five Hundred Years of Art Movements, ” “Recent Hundred Years of Famous Painting, ” “Ding Shang Poetry Collection ” and many more.

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ZHONG CHENG 中誠

吳學讓 WU

HSUEHJANG (1923-2013)

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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：「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」(2004，台北，國立歷史博物館)、「吳學讓中國水墨畫展」(2010，中國、上海劉海粟美術館)、「吳學讓個展」(2012，洛杉磯‧ 美國，洛杉磯喜瑞都圖書館)、「真水無香-吳學讓書畫紀念展」(2015，台北‧台灣，國立歷史博物館)、「線性•符號•東方幾何—吳學讓藝術特展」(2017，台灣台中，國立臺灣美術館)。

席德進 SHIY

Born in Sichuan, China. He graduated from National Hangzhou Academic of Arts in 1984, and was taught by renowned Chinese painters Lin Fengmian、Pan Tianshou、Li Keran and more. As a well known Contemporary ink painter and art educator, Wu currently resides in California, USA. He received first place in painting competition held by both ROC Chinese Painting Association in 1984, and Chinese Writer’s and Artist’ Association in 1985. Scholar Chiang Hsun even gave Wu the honorary title of “Pioneer of the Modern Chinese Painting. ” Along with Liu Kuo Song and other artist they founded the Modern Ink Painting Society. He held his first solo exhibition in the United States at the Florida National Gallery in 1970. Other important solo exhibitions include: “From Tradition to Modern – Wu Hsueh Jang Ink Painting Exhibition ” (1996, Taichung, National Taiwan Museum of Fine Arts); “Journey of Native Land through Dreams- A Retrospective of Wu Hsueh Jang at the age of Eightieth ” (2004, Taipei, National Museum of History); “Wu Hsueh Jang Chinese Ink Painting Exhibition ” (2010, China, Liu Haisu Art Gallery); “Wu Hsueh Jang Solo Exhibition ” (2010, USA, Cerritos Public Library); “A Memorial Exhibition of Wu Hsueh Jang Paintings and Calligraphy ” (2015, Taipei, National Museum of History); “Linearity, Symbols, Eastern Geometry: Wu Hsueh Jang Art Exhibition ” (2017, Taichung, National Taiwan Museum of Fine Arts).

DEJINN (1923-1981)

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生於中國四川。1941於成都省立技藝專科學校習畫，接受龎薰琹指導素描；1945進入重慶國立藝專，受教於林風眠，1948年遷台任教於省立嘉義中學。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。1975年獲得中山文藝創作獎。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、臺北龍門畫廊、臺北與高雄美國新聞處等多處舉辦個展，近期展覽：「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)、「化絢麗為真樸 ─ 席德進的繪畫世界」於台灣創價學會至善藝文中心展出(2016)。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。

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Shiy Dejinn was born in Sichuan, China. He started attending Chengdu Provincial Technical College in 1941, where he was learned from artist Pang Xunqin. In 1945 he enrolled in Chongqing National Art College, and was taught by master Lin Fengmian. In 1948, he moved to Taiwan to teach at the Provincial Secoundary School. In 1957 he held his first solo exhibition in Taipei. His work “Selling Geese ” won the Brazil Sao Paulo Biennale Award. In 1962, Shiy Dejinn and Liao Chichun received invitations from the U.S. State Department to visit America. He later continued his travel to Europe, where he was inspired to create more. During this period, he held solo exhibitions in Washington, Paris and Hong Kong. In 1966, he returned to Taiwan to teach at Tamkang University and National Taipei Normal University. In 1975 he he won the Chungshan Literary Prize Award. For the rest of his life, he dedicated fully to promote and research Art in Taiwan. He frequently held solo exhibitions at the Taipei Artist Gallery, Taipei Longmen Gallery, Taipei and Kaohsiung United Stated Information Office. His late exhibitions include: “Ode to Formosa: Exhibition in Commemoration of the 30th Anniversary of the Deceased Master Shiy De-jinn ” (2011, Nation Taiwan Museum of Fine Arts); “Beauty into Truth: Shiy De-Jinn’s World of Painting ” (2016, Taiwan Soka Assoiciation, Zhi Shan Art Center). Publications include: “Shiy Dejinn Sketch Series ”, “The Echo of Shi Dejinn ”, “Into the European and American Art Scene: Shiy Dejinn ” “Shiy Dejinn Art Catalogues ” and more.

MODERN AND CONTEMPOR ARY ART

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陳澄波 CHEN

CHENGPO (1895-1947)

蕭勤 HSIAO

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生於台灣嘉義。畢業於台灣總督府國語學校師範科(今台北市立教育大學)，師事石川欽一郎而開啟對西洋美術的視野。1923年赴日本東京美術學校就讀，爾後進入研究科專攻西畫。留日期間作品數次入選帝展，為油畫類別中的台灣首位獲獎者，留日期間亦多次返台舉辦個展。1929年至1933年間居留中國任教並擔任多項大型展覽評審委員；1931年以作品《清流》獲選代表中國參加芝加哥博覽會；1933年返台定居，1934年創辦台陽美術協會，光復後曾任嘉義市第一屆參議會委員，1947 年3月25日受二二八事件之政治迫害而遭槍決。1979年雄獅美術月刊社籌畫「陳澄波紀念展」、1994年「陳澄波百年紀念展」分別於台北市立美術館及嘉義市文化中心展出。

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。 1956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 185 186 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：「大能量」個展(2013，台灣台北，大未來林舍畫廊)。「蕭勤永恆能量」個展 (2013，台灣高雄，荷軒新藝空間)。「蕭勤無限能量」個展(2013，郭木生文教基金會)。「八十能量－蕭勤回顧展」(2015，台灣台中，國立台灣美術館)、「新能量終點亦為起點─蕭勤個展」(2016台灣台北，耿畫廊)。

Born in Chiayi, Taiwan. Chen studied at the Teaching Department of the Taipei Japanese School in 1931 and started to explore Western art under Kinichiro Ishikawa’s instruction(1871-1945). In 1923, Chen went to Japan and studied at the Tokyo Fine Art Institute where he became the first Taiwanese artist whose works was accepted into the Imperial College of Fine Arts. In honor of his recognition as a modernist oil painter, he was invited in 1929 to be one of the judges for the very First National Art Exhibition that included a large number of works in what was described as “the Western style ”. In 1931, one of his paintings “The Brook ” was selected to participate in The Chicago World Trade Fair. After the war began in 1932, Chen returned to Taiwan in 1933. Chen co-founded The Taiyang Fine Atrs Association in 1934. Chen devoted himself to painting until his death in 1947. In 1979, his first retrospective was shown in Taipei. Chen’s two major memorial exhibitions were held in 1992 and 1994 respectively.

Hsiao Chin was born in Shanghai, China. His father Hsiao Yumei was an important modern music composer in China. After moving to Taiwan in 1949, Hsiao enrolled in the Fine Arts Department at the National Taiwan Normal University in 1951. He was a student of Chu Teh-Chun; his works were often selected for International Exhibitions. In 1956, he received a scholarship from the government of Spain. He held his first solo show in Italy in 1959, and soon moved to Milan. He worked in Paris, London, New York and many other countries. In 1961, he promoted the “Punto Art Movement ” and he also founded the “Sun International Art Movement ” in 1978 and the “In formalism Art Group ” in 1989. He taught at the Tainan National College of Arts in 1996, and was invited to “The 7th Biennial Architecture Exhibition of Venice ” in the year 2000. He was awarded the National Cultural and Art prize in 2002. In 2005, he was conferred by the Italian President C. A. Ciampi the honorable title of “Knight of Italian Star of Solidarity ”. Recent exhibitions include: "Glory Source- A retrospective Exhibition of Hsiao Chin " (2006, Beijing, National Art Museum of China); “Hsiao Chin Retrospective Exhibition ” (2008, Italy, Parma University); “Hsiao ChinUnlimited Journey Retrospective Exhibition ” (2009, Milan); “Novel Energy: The End is the Beginning Hsiao Chin Solo Exhibition ” (2016, Tina Keng Gallery, Taipei).

楊識宏 YANG

李真 LI

CHIHUNG (b.1947)

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Yang Chihung was born in Taoyuan, Taiwan, he graduated from National Taiwan College of Arts in 1968. He is one of the most important abstract expression painter of Asia. He immigrated to New York from 1979. In 2004 he published a photography series titled “Taiwan Culture and People Photography Journal. ” In the same year, he was honored by National Taiwan College of Art for Successful Alumni. His held many exhibitions from Taipei, Hong Kong, Beijing, Han City, London, New York, Chicago to many other locations. He held over fifty solo exhibitions and more than two hundred group exhibitions. His recent exhibitions include: “Painting 40 Years ” (2010, Taipei Fine Arts Museum); “Existing Passageway ” (2011, Beijing Asian Art Center); “Thought Space ” (2012, Taipei Asia Art Center); and most recent exhibition “The Poetics of Polyphony: Yang Chihung Gallery ”(2014, Asian Art Center) presenting the “Time Scar ” and “Modern Perspective ” series; “Eternal Present- Yang Chihung Recent Work Exhibition ” (2015, Ueno Royal Museum); the last Asian abstract artist who exhibited here, was great master Chu Teh-Chun in 2007- “Great Abstraction- Chu Teh-Chun Work Exhibition. ” In 2016, Asia Art center held “1960 – The Origin of Taiwan’s Modern Art ” featuring Yang’s works. His paintings can be found in national and international museum as well as many important private collections. ZHONG CHENG 中誠

CHEN (b.1963)

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生於台灣桃園，1968年畢業於國立台灣藝專。最重要的華人抽象表現主義藝術家之一。1979年移居美國紐約至今。2004年出版攝影集《台灣文化人攝影紀事》，同年榮膺國立台灣藝術大學傑出校友。創作及展覽至今，在台北、香港、北京、漢城、倫敦、紐約、芝加哥等地舉辦五十餘次個展及兩百多次聯展。曾舉辦個展有：《繪畫40年》(2010 ,國立台灣美術館)、《通道存在的》(2011,北京亞洲藝術中心)、《思維空間》(2012 ,台北亞洲藝術中心)以及《複調的詩學－楊識宏個展》(2014 ,亞洲藝術中心年度大展)於台北一館與二館空間舉辦，分別以「時光刻痕」、「當代視域」呈現他不同時期的創作軌跡；近期2015年也於東京舉辦了「永恆的當下-楊識宏近作展」(2015，上野之森美術館)，此為繼2007年朱德群「大象無形—朱德群作品展」後，重要的抽象表現主義華人藝術家在此展出，以及2016年在亞洲藝術中心展出「1960-台灣現代藝術的濫觴」等展覽。其作品廣獲國內外藝術機構、企業及私人收藏。

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CHIN (b.1935)

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生於台灣雲林。早期製作傳統佛像就有特殊表現，其後李真融入自我攝心之情感，涉略佛學、道家等經典，更結合當代思維使其雕塑作品上有著創新的突破，呈現既古典又現代的面貌。個展：「新東方精神」(2008，中國北京)、「李真：精神‧身體‧ 靈魂」(2009，新加坡，新加坡國家美術館) 、「夜光盈昃－《天燧》」(2010，上海，上海藝術博覽會國際當代藝術展) 、「大氣：李真台灣大型雕塑首展」(2011，台北，中正紀念堂) 、「造化之《不生不滅》：千歲與草民」(2012，西雅圖，弗萊伊美術館) 、「李真2013巴黎凡登廣場大型雕塑個展」 (2013，巴黎，凡登廣場) 、「華人藝術紀─李真文獻展」(2014，台北，亞洲藝術中心) 、「荒徒─李真凡夫系列首展」(2014，北京，亞洲藝術中心) 、「『世』一場自願非願的遊浮－李真個展」(2017，台北，台北當代藝術館)。

Born in Yunlin, Taiwan, Li Chen used to create traditional religious statues in his early years. His combination of emotional sentiments, leanings of Buddhism, Taoism and other classics, allows his creation to achieve a breakthrough in the genre of contemporary art sculptures. The appearance of his sculptures are presented in both classical and innovation manner. His main exhibitions include: Exhibition: "New Oriental Spirit " (2008, Beijing, China); "Li Chen: Mind ‧ Body ‧ Soul " (2009, Singapore, Singapore National Gallery); "Noctilucent - Tian Suei '' (2010, Shanghai, Shanghai Art Fair International Contemporary Art Fair); "Li Chen the First Sculpture Exhibition " (2011, Taipei, Chiang Kai-shek Memorial Hall); "No Birth No Death " (2012, Seattle, Frye Art Museum); "Li Chen 2013 Paris Vendome Sculpture Exhibition " (2013, Paris, Place Vendôme), "Chinese art ─ Ji Li Zhen literature Exhibition " (2014, Taipei, Asia Art Center); "Shortage-Li Zhen Bono First Exhibition Series " (2014, Beijing, Asia Art Center), "Being: In/Voluntary Drift- Li Chen Solo Exhibition, " (2017, MOCA, Taipei).

周春芽 ZHOU

CHUNYA (b.1955)

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生於中國四川。1982年畢業於四川美術學院，1988年取得德國卡塞爾美術學院自由藝術系的碩士學位。1980年作品入選第二屆全國青年美展二等獎，日後開始參加多項展覽。他的作品結合了中國「文人畫」的傳統元素和西方新表現主義藝術運動中的美學，而作品系列包括「山石」、「花」、「桃花」和著名的「綠狗」等。重要個展包括：「周春芽個展」（2010，中國，上海美術館）、「周春芽新作展」（2013，中國，南京藝術學院）。曾參與的聯展包括：「周春芽」 (1997，香港，香港藝術中心)、「後八九中國新藝術展」（澳洲雪梨當代藝術館等）、「首屆上海雙年展」(1996，中國上海，上海美術館)、「那麼中國呢？」(2002，巴黎，龐畢度中心) 、「首屆中國當代藝術雙年展」(2005，法國，蒙彼利埃市)、「亞洲火紅─Chaney家族亞洲藝術品展」(2007，美國，休斯頓美術館)、北京今日美術館「花間記」以及「綠狗」(2008，印尼，國家藝廊)。2013年獲任第六屆成都雙年展學術委員主任。2015年「桃花繪─周春芽銅雕藝術展」於上海震旦博物館展出，同年10月於澳門藝術博物館展出「始終是開始──周春芽作品（2015）」，「內在風景—羅中立、周春芽、袁慶一作品展」於2016年3月展於上海虹橋當代藝術館。

蔡國強 CAI

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Born in Sichuan, China, Zhou Chunya graduated from Sichuan Academy of Fine Arts in 1982. In 1988, he received his MFA from Gesamthochschule, Kassel, Germany. In 1980, he received second place for the 2nd National Youth Exhibition. His important exhibitions include: “Zhou Chunya Solo Exhibition ” (2002, Bergan, Norway, 314 International Art); “Solo Exhibition ” (2010, China, Shanghai Art Museum); “Zhou Chunya New Works ” (2013, China, Nanjing University of Art). Group exhibitions include: “Zhou Chunya ” (1997, China, Shanghai Art Museum); “Alors, La Chine! ” (2002, Paris, Pompidou Center); “First Contemporary Art of China Biennial ” (2005, France, Montpellier); “Red Hot! Asian Art from the Chaney Family Collection ”(2007, Huston Museum of Fine Arts, USA); “Blooming Stories: Paintings & Sculptures by Zhou Chunya ”, (2007, China, Beijing Today Art Museum); “Green Dog ” (2008, Indonesia National Gallery). In 2003, he was selected as the 6th Biennial Academic Committee Director. In 2015 “Peach Blossom: Zhou Chunya Sculpture exhibition ” was presented at the Shanghai Aurora Museum. During December of the same year, Macau Museum of Art held a solo exhibition in his honor, titled “Always Begin- Zhou Chunya Paintings ” (2015); “The Inner Landscape – Luo Zhongli, Zhou Chunya, Yuan Ching Exhibition ” (2016, Shanghai Hongqiao Contemporary ArtMuseum).

GUOQIANG (b.1957)

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生於中國福建。1985年畢業於上海戲劇學院舞台設計系。曾旅居日本近十年，後定居於紐約至今。在國際藝壇上，廣受藝評及策展人的重視，名聲斐然，屢獲殊榮，作品廣受現今國際知名的藝術機構和私人藏家所收藏，許多展覽也引起廣大迴響。其中知名的國際大展包括：「爆炸事件－中央公園上空的光輪」(2003，美國紐約，亞洲協會美術館)，近期大型個展：「蔡國強在屋頂：透明紀念碑」(2006，美國紐約，大都會美術館)，是首位於該館展出的華人藝術家、「蔡國強: 撞牆」(2006，德國柏林，德意志古根漢美術館； 2011，新加坡，國立博物館)、「I want to Believe」(2008，中國北京，中國美術館；美國紐約，所羅門古根漢美術館)、「泡美術館」(2009，臺灣，台北市立美術館) 、「遠行」(2010，美國，休斯頓美術館)永久展出、「我的繪畫故事」(2016，荷蘭) 是為首次回顧展，以及「繪畫的精神」(2017，西班牙，普拉多美術館) 。並於2017年完成由奧斯卡導演所拍攝歷時20年的計劃《天梯》記錄片；蔡國強也曾擔任北京2008年奧運開幕及閉幕儀式核心創意小組的成員之一暨視覺特效設計總監。

Born in Quanzhou City, Fujian Province, China. Trained in stage design, he graduated from the Shanghai Drama Institute from 1985. While living in Japan from 1986 to 1995, Cai first explored the properties of gunpowder in his drawings. He quickly achieved international prominence during his stay in Japan and his works which show a wide variety of symbols, narratives, traditions and materials such as feng shui, Chinese medicine, dragons, roller coasters, computers, vending machines and gunpowder, were shown widely around the world. Recently, His works were shown at the Asia Society in New York (2003), “Cai Guo-Qiang on the Roof: Transparent Monument ” (2003, New York, Metropolitan Museum of Art); “Head On ” (2006, Deutsche Guggenheim, Berlin, Germany; 2011, Singapore National Museum of History) He was the first Asian artist to display at the Berlin Guggenheim. “I Want to Believe ” (2008, Beijing, National Art Museum of China (organized in collaboration with the Solomon R. Guggenheim Museum, New York); “Cai Guo-Qiang: Hanging Out in the Museum ” (2009, Taiwan, Taipei Fine Arts Museum); “Cai Guo-Qiang: Odyssey ” (2010, Houston, Museum of Fine Arts, permanent gunpowder drawing installation); “Cai Guo-Qiang: My Stories of Painting ” (2016, Netherlands, Bonnefanten Museum); “The spirit of Painting ” (2017, Madrid, Prado Museum). In 2017, his “Sky Ladder ” documentary film was completed. The artist also performed as a committee member responsible for the creativity of the Opening and Closing Ceremonies of the Beijing 2008 Olympic Games and is also the Chief visual designer of the event. MODERN AND CONTEMPOR ARY ART

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薛松 XUE

展望 ZHAN

SONG (b.1965)

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生於中國安徽，畢業於上海戲劇學院舞臺美術系，現居上海。近年個展：「薛松個展」(2005，英國，倫敦當代中國畫廊)、「薛松個展」(2006，中國北京，帝門藝術中心)、「回首．解構經典—薛松作品展」(2009，中國上海，上海美術館)、「薛松“新海派繪畫“」(2013，新加坡，MOCA當代美術館)、「基因圖譜—薛松1995 - 2014作品展」(2014，香港，季豐軒畫廊)。參與的國際聯展包括：「限制與自由」(2005，中國武漢，美術文獻藝術中心)、「麻將」(2005，瑞士，波爾尼美術館)、「85致敬2005-1985」(2007，中國上海，多倫現代美術館)、「中國當代社會藝術展」(2008，俄羅斯莫斯科，俄羅斯國家美術館)、「薛松、魏光慶—中國波普藝術展」(2015，舊金山，太平洋博物館)、「氣韻之道——薛松，徐宏明作品展」(2016，中國上海藝博畫廊)。其作品為世界許多重要機構及私人藏家所收藏。 Born in Anhui, China, Xue Song graduated from the Stage Art Department of the Shanghai Theatre Academy. He currently lives in Shanghai. Recent solo exhibitions: “Xue Song Solo Show ” (2005, UK, Chinese Contemporary Art Gallery, London); “Xue Song Solo Exhibition ” (2006, Beijing, Dimensions Art Center); “Return: Deconstructing Classics ” (2009, Shanghai, China, Shanghai Museum of Arts); “Xue Song: New Ocean Movement ” (2013, Singapore, Museum of Contemporary Art); “DNA: Zue Song 1995-2014 Works Exhibition ” (2014, Shanghai, Lee Funghan Gallery). Recent group Exhibitions: “Limitation and Freedom ” (2005, China, Wuhan Literature Art Center); “Mahjong ” (2005, Switzerland); “85 Salute 2005-1985 ” (2007, China, Shanghai Duolun Museum of Modern Art); “Chinese Contemporary - Society Art Exhibition ”(2008, Russia National Art Museum Mosco); “ Foire Internationale d'Art Contemporain ”(2009, Paris); “Xue Song & Wei Guangqing: China Pop ” (2015, San Francisco, Pacific Heritage Museum); “Works of Xue Song and Hsu Hung-Ming Exhibition ” (2016, Shanghai Art Fair Gallery). Xue Song’s works are in the collection of many important private and public institutes.

奈良美智 YOSHITOMO

WANG (b. 1962)

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。近期個展：「無 200 所遁形」(2012，北京，長征空間畫廊)、「應形」(2014，北京，長征空間畫廊)、「暫時都不是」(2014，上海，華僑城當代藝術中心)，以及2017年於龍美術館舉辦「展望：境象」。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》。 Zhang Wang was born in Beijing, China, he graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree in 1995, he later remained at the school to teach in the Sculpture Department and is currently living in Beijing. As one of the renowned contemporary sculptor, he was the first Chinese artist whose work was acquired into the permanent collection of Metropolitan Museum of Art in New York. Furthermore, he was nominated as one of the candidate for the 1st Grand Prix of Art and Design Exhibition, and participated in the Venice Biennial multiple times. He began creating sculptures in the style of hyper-realism in 1990. He participated in the New Generation Art Exhibition (1991); Contemporary Youth Sculpture Invitational Exhibition (1992); Beijing- Berlin Art Exchange Exhibition (1995); Exhibition of Works Nominated by Chinese Art Critics (1995); Chinese Contemporary Art Exhibition in Tokyo (1997). In the same year he participated in “Moving City ” – Asian Contemporary Art Toured Exhibition. His recent exhibitions include: “Form of the Formless ” (2012, Beijing, Long March Space); “Morph ” (2014, Beijing, Long March Space); “Nothing for the Time Being ” (2014, Shanghai, OCT Contemporary Art Terminal). “Zhang Wang: Forms in Flux ” (2017, China, Long Museum). His works were published in “World Sculptures: Eastern Selection ”, “50 Years of Chinese Fine Arts ”, “The Complete Treasury of Chinese Fine Arts ” and more. He has issued an academic dissertation titled “Conceptual Sculpture- The Idea of Materialization. ”

NARA (b.1959)

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生於日本青森縣弘前市，畢業於日本愛知縣立藝術大學，並取得碩士學位，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。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。主要個展：「繼續走」（2000，芝加哥當代藝術博物館，美國）、「誰奪去了小寶寶」（2002， CNEAI，沙圖，法國）、「從我的抽屜深處」（2004-2005，日本韓國巡回展覽）、「奈良美智：大智若愚」（2010，亞洲協會美術館，紐約，美國）。作品被許多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝術博物館。

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Born in Hirosaki city, Aomori, Japan, Yoshitomo Nara completed his M.F.A degree at Aichi Prefectural University of Fine Arts and Music. He graduated from Kunstakademie Düsseldorf in Germany, and remained in Köln for the next seven years. Currently working in Tokyo, Nara is listed as one of the most influential contemporary artists in Japan among artists like Tadao Ando, Takashi Murakami and Issey Miyake. His early works consist of mostly illustration, until the late 1980s when his first sulky-girl portraits materialized. It became his distinctive style to portray these seemingly innocuous children, with oversized heads and big saucer eyes. They are cunningly cute yet corrosive. These characters embrace the

experiences of anxiety and fear. Their sneak sidelong glances and grimace knowingly, hinting at some secret transgression or imagined subversion. In late 1990s, he began to create three dimensional work, incorporating a collage of different media. His important solo exhibition includes: “Walk On ” (2000, Museum of Contemporary Art Chicago, USA); “Who Snatched the Babies ” (2002, CNEAI, Chatou, France); “From the Depth of My Drawer ” (2004-2005, Japan and Korea); “Yoshitomo Nara: Nobody’s Fool ” (2010, Asia Society Museum, New York, USA). Today his works are in the collection of MoMA New York and MoCA Los Angeles and many other well-known museums in the world.

ZHONG CHENG 中誠

高行健 GAO

XINGJIAN (b.1940)

生於中國江西。為知名劇作家、小說家、畫家、導演，1980年代末前往歐洲，現為法國公民。 1985年在北京與雕塑家尹光中舉辦泥塑繪畫展，開始受到海內外媒體的關注。1988年定居巴黎。 1992年榮獲法國政府頒發的藝術與文學騎士勳章。1998年參加羅浮宮第十九屆國際古董與藝術雙年展。2000年小說《靈山》、《一個人的聖經》等著作，高行健成為首位榮獲諾貝爾文學獎的中文作家。2002年榮獲法國榮譽軍團騎士勳章。他的文學和繪畫皆具刻骨銘心的洞察力和語言的豐富機智。以水墨創作為主的作品表達了內省的深邃，風格簡約意喻深遠、扣人心弦，在具象與抽象之間，黑白對比的畫面深具空靈飄逸之感。榮獲2000年諾貝爾文學獎，並因此成為首位 201 獲得諾貝爾文學獎的華語作家。近年展覽：「夢境邊緣－高行健個展」（2013，台灣台北，亞洲藝術中心台北二館）、「高行健作品展－墨光」（2016，香港中環，藝倡畫廊）、「呼喚文藝復興：高行健個展」（2016，台灣台北，亞洲藝術中心台北一館、二館）、「遠矚巨海，回眸靈山─高行健與師大圓夢特展」（2017，台灣台北，臺灣師範大學文薈廳）。 Gao Xin Jian was born in Jiangxi, China. He is a playwright, novelist, painter, director, and now a French citizen. In 1985, he held an exhibition with sculptor Yin Guang Zhong soon later he began to receive attention from international art media. He’s been living in Paris since 1988, where he was later awarded the “Chelavier de l’Ordre des Arts et des Lettres ” in 1992. His works were selected for the 19th Internationale des Antiquaires Biennale at the Louvre in 1998. In the year 2000, Gao was the recipient for the Nobel Prize in Literature for “Soul Mountain ” and “One Man’s Bible ” which also made him the first Chinese writer to receive such honor. Two years later, he was given the title “Chavelier de la Légiond Honneur ” for his contribution to France. His linguistic and artistic expression is simple but rich of meaningful wisdom. Between concrete and abstraction, within the black and white scenery is filled with sublime spirituality. His recent exhibition includes: “The Edge of Reality- Gao Xing Jian Solo Exhibition ” (2013, Taipei, Asia Art Center); “Layers of Lights, Ink in Mind: Gao Xing Jian Solo Exhibition ” (2016, Alisan Fine Arts); “Calling for a New Renaissance: Gao Xing Jian Solo Exhibition ” (2016, Taipei, Asia Art Center), “Overlooking the Sea, Looking back Soul Mountain – Gao Xingjian and NTNU ” (2017, National Taiwan Normal University, Taipei, Taiwan).

湯姆‧衛塞爾曼 TOM WESSELMANN (1931-2004)

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著名的波普藝術家。1931年生於辛那提市郊，24歲以前所受的藝術教育，僅來自八、九年級時的每週一節美術課，退役後，他回到辛那提大學學習心理學並上藝術課，開始在漫畫雜誌上發表作品。1960年代中期，衛塞爾曼的作品成為大膽波普藝術的代名詞，擅於將圖形以及大型圖像拼貼，以揭示其標誌性的風格。衛塞爾曼喜歡把在廣告裏常見的裸婦繪製到畫布上，並配上浴室或家具等，做出「結合繪畫」的效果。後以《美國人大裸體》而成名，其擅長放大人體的局部而進行描繪，從人體的各個部分尋找線條和語言詞彙，其創造的裸體變得越隨意和平面，形體的感覺就越虛幻。透過以人體的各部分作為繪畫題材的運用，複雜形狀圖案繪畫和在室內畫中生活物品的獨特使用，以及某些商業技巧在繪畫中的首次創造性表達。在衛塞爾曼的作品中，他處理的不僅是現實世界，更是理性的現實世界。 Renowned pop artist, Tom Wesselmann was born in 1931 in the suburbs of Cincinnati. Up until 24 years old, his art education was merely his weekly art classes in grade eight and nine. After serving in the war, he returned to University of Cincinnati to study psychology and Academy of Cincinnati for arts. At the same time he began contributing cartoons to comic in magazines. Mid-1960, Tom Wesselmann’s works became a profound figure and representation of pop art and culture. He was known for his stylized collages of large images and lively shapes. He would re-illustrate images of nude women from advertising prints onto his canvas and create a “combined art ” with the correspondence to room decors and furniture. The “Great American Nude” first brought to the attention of the world. As he painted, he enlarged the scales of certain human body parts and searched for meanings and representations through their language and lines. The more spontaneous and flat the forms, the more abstract they become. Using human body parts as topics, he had incorporated images with intricate patterns and everyday objects that inspired him. In terms, he was able to express creatively within his composition through his skills and means of work. Tom Wesselmann not only investigated the surface of real world but the rationality within.

尚．米榭．巴斯奇亞 JEAN MICHEL BASQUIAT (1960-1988)

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生於美國紐約。巴斯奇亞以紐約塗鴉藝術家的身分獲得大眾認識，後來成為一位成功的1980年代表現主義藝術家。1980年之後巴斯奇亞開始參加畫展。1981年詩人藝術家瑞內.裡卡德在美國〈藝術論壇雜誌〉以光芒四射的孩子的標題介紹巴斯奇亞，而這成為他藝術生涯的催化劑。1982年參加國際策展人歐利瓦策劃的義大利、美國超前衛畫家聯展，先後入選惠特尼雙年展、德國檔大展，開始和安迪‧沃荷往來及合作。1988年巴斯奇亞因服用藥物過量去世，其作品至今仍深深影響著當代的藝術家，而且價值不斐。其作品主題經常圍繞著自傳、黑人英雄、漫畫與卡通、解剖學、塗鴉，以及和塗鴉有關的象徵符號。 Born in New York, America. Basquiat was an American artist. He began as an obscure graffiti artist in New York City in the late 1970s and evolved into an acclaimed Neo-expressionist and Primitivist painter by the 1980s. From 1980 onwards, Basquiat started to take part in art exhibitions and in 1981, the poetartist Rene Ricard introduced Basquiat in Anforum Magazine with a major article entitled "The Radiant Child ".In 1982, he was featured in the international show Trasavanguardia: Italic/America curated by Achille Monito Oliva and was also invited to exhibit in the Whitney Biennial and Germany's Documenta.Basquiat's subjects were typically autobiographical, centering around black heroes, characters from comics and cartoons, anatomy, graffiti, and graffiti-related signs and symbols such as the royal crown, and the copyright mark.

趙少昂 ZHAO

SHAOANG (1905-1998) 1905年生於廣東廣州，本名垣，字叔儀。15歲入嶺南畫派大師高奇峰創辦的私立美術學館學畫，與黎雄才、關山月、楊善深並稱為第二代嶺南畫派四大名家。1929年參加第一次全國美展，1930年參加比利時萬國博覽會，獲頒金牌獎。曾任教於廣州市立美術學校中國畫系、國立中央大學、國立藝專學校、廣州大學美術科等。趙氏擅長繪畫花鳥蟲魚、人物走獸、山水風景，尤以花鳥畫揚名國際， 1965年和1967年分別參加倫敦泰雍美術館舉辦之「全世界繪鳥名家畫展」和「全世界走獸名家畫展」，受到一致好評。作品在美國舊金山、洛杉磯、華盛頓、波士頓、芝加哥、夏威夷及加拿大、西德、澳洲等三十多處地方展出。

Zhao Shao-Ang, alias Shuyi was born in Guangdong province in 1905. At the early age of fifteen, he began studying painting from the famous Lingnan painter, Gao Qifeng at his private art school along with artist like Li Xiong-Cai, Guan Shan-Yue. And Yang ShanShen, they called themselves the second generation of 215 leading Lingnan painters. In 1929, he participated in the National Art Exhibition for the first time. In 1930, he was awarded a gold medal at the Brussels International World Fair in Belgium. He was the head of the Chinese Painting Department at the Guangzhou Art Institution, and professor at the National Central University, National Art Academy, and Fushan Art Academy. He is an expert in portraying nature in his work such as flowers and birds, wilderness, and landscape. He is especially renowned for his paintings of flowers and birds series. In 1965 and 1967, he participated in “Birds by Renowned Artists Exhibition ” and “Wilderness by Renowned Artists Exhibition ” at the Tate Modern Museum in London, where he received acknowledgment and positive reviews. His works are exhibited in San Francisco, Los Angeles, Washington, Boston, Chicago, Hawaii, Canada, Westdeutschland, Australia, and thirty other countries.

MODERN AND CONTEMPOR ARY ART

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楊善深 YANG

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SHANSHEN (1913-2004)

程十髮 CHENG

生於中國廣東省臺山赤溪。字柳齋，香港畫家，被譽為「嶺南畫派最後一位大師」。1930年移居香港，1933年開始從事繪畫，與「嶺南三傑」之一的高劍父結識，開展悠長的師友關係。1935年留學日本，入京都堂本美術專科學校，隨堂本印象學畫。1941年香港淪陷，避居澳門。與高劍父、馮康侯等成立「協社畫會」。1945年回港定居，在廣州成立「今社畫會」。1970年在港成立「春風畫會」，並獲台灣中華學術研究所頒贈哲士頭銜。1988年移居加拿大溫哥華，嗣後常往來溫哥華、香港兩地。1999年獲香港藝術發展局頒授「視藝終身成就獎」。晚年曾將巨作《千年松樹》贈予中國北京人民大會堂。2000年，他以其精湛藝術成就和貢獻獲香港特別行政區政府頒授銀紫荊星章。楊善深的繪畫，不但表現形式與高劍父有許多共通的地方，而藝術思想亦深受高劍父的影響，因此畫風也是以嶺南畫派為基礎而發展起來的。動物、花鳥、人物、山水均是他筆下的題材。 Yang Shan-Shen was born in Chiqi, Guangdong Province. He was considered the “Last Masters of the Lingnan School ” In 1930, he moved to Hong Kong and in 1933, he began to paint professionally. He was greatly influenced by Gao Jianfu, the masters of the Lingnan School, he provided guidance to Yang and the two form a strong friendship. In 1935, he travelled to Japan and enrolled in the Domoto Art Institute in Kyoto, where he studied with the well-known painter Domoto Insho. In 1941, due to the Chaos in Hong Kong, he moved to Macau. Alongside Gao Jianfu and Feng Kanghou, they established the “Painting Association. ” In 1945, he returned to Hong Kong, and established the “Today Society Painting Association ” in Guangzhou. In 1970, he established the “Spring Wind Painting Association ” in Hong Kong, and was awarded an honorary degree from the Chinese Academic Research Institute. Since 1988, he spent most of his time in Vancouver and Hong Kong. In 1999, he was awarded “Fellowship for Achievement in Visual Arts ” by the Hong Kong Art Development Council. In his late years, Yang donated a masterpiece “Pine and Moon ” to the Great Hall of the People in Beijing, China. In 2000, with his superb achievement and contribution to the arts, he was awarded a SBS from the Government of Hong Kong Special Administrative Region. Yang’s work has been extensively exhibited in Hong Kong, China and overseas.

郎靜山 LONG

218

219

SHIFA (1921-2007)

生於中國上海。程十髮原名程潼，字十髮。1938年進入上海美術專科學校實習繪畫。中華人民共和國成立後，進入華東人民美術社任美術創作員，創作大量的連環畫作品。1957年參與籌建上海中國畫院，轉向專門國畫創作，在1984年出任上海中國畫院院長。1957年國畫《歌唱祖國的春天》獲全國青年美展一等獎。1980年於日本東京、大阪舉行個人展覽。1986年被列入英國康橋國際名人傳記中心所編《世界名人錄》。1989年聘為全國七屆美展中國畫評委。1991年《程十髮全家畫展》在上海美術館舉行；1995年先後於澳門市政廳、上海美術館舉辦《程十髮作品回顧展》。1996年將家藏 122 件古字畫捐獻給國家；1998年赴加拿大舉辦《程十髮捐贈藏畫展》；1999年舉辦《程十髮、程多多父子繪畫、攝影展》；2000年在比利時舉辦《程十髮、姚逸之師生國畫展》。 Born in Shanghai, China. Cheng Shifa's originally named is Cheng Tung. In 1938, he enrolled in the Shanghai Fine Arts School to learn painting. After the founding of the People's Republic of China, he entered in Shanghai People's Fine Arts Publishing House to serve as art creation members. And he created a large number of comics works. In 1957, he involved in building the Shanghai Chinese Painting Institute, turned to the creation of specialized Chinese painting. In 1984, he served as the president of the Shanghai Chinese Painting Institute. In 1980, he held solo exhibition in Japan. In 1986, he was included in the who is who in England. In 1989, he was appointed to judge of the Seventh of Chinese painting of National Art Exhibition of the Republic of China. In 1995, he held Cheng Shifa retrospectives in Shanghai Art Museum and in Edifício do Leal Senado. In 1999, he held exhibitions that about paintings and photography with his son.

CHINSAN (1892-1995)

220

生於中國江蘇。從李靖蘭老師學習繪畫、攝影及暗房技巧。1931年以作品《柳絲下的搖船女》（又稱《柳蔭輕舟》）入選日本國際攝影沙龍；1934年又以個人第一件「集錦攝影」作品《春樹奇峰》入選英國攝影沙龍，後逐漸於國際沙龍嶄露頭角。郎靜山一生有不少創舉，其中最為人稱道的該屬「集錦攝影法」，郎氏具備之深厚的國畫造詣與修養，將國畫中的畫理與攝影技巧融合為一，為其贏得了「影中有畫，畫中有影」的讚譽，而顯得別具風格。郎氏對推動現代中國攝影藝術有卓越的貢獻，入選世界各國攝影展覽作品達千件之多，曾出版多本個人攝影集，更被二十餘個世界級攝影學會和團體推舉為名譽會員和研究員，其作品廣為海內外重要美術館及私人珍藏。展覽：「名家‧名流‧名士」郎靜山逝世廿週年攝影紀念展（2015，台灣台北，國立歷史博物館）、「山水之域」郎靜山攝影展（2016，台灣台北，國立臺灣藝術大學有章藝術博物館）、「大師的美學態度」郎靜山攝影藝術特展（2017，台灣台北，北投文物館）。 Long Chinsan was born in Jiang Su, China. He learned painting, photography and darkroom techniques from artist Li Jing Lan. In 1931, his photograph “Woman seated under the Willows ” was nominated by the Japanese International Photography Salon. In 1934, his first Collective Photography work titled “Spring Tree ” was also nominated by the British Photography Salon where he gained global recognition. Throughout his life, Long Chinsan created numerous innovative breakthrough, with “Collective Photography Style ” being the most prominent one. Long manipulated his images through advance darkroom techniques, the results, strongly resembles traditional Chinese ink-paintings in essence and composition. He soon attained the honorary appraisal of “Picture within the painting, painting within the picture. ” Long has made tremendous contribution to Chinese contemporary photography. More than thousands of his works were nominated by international exhibitions, and multiple publications of his works were made. Furthermore, over twenty world-class photography group and academy, has named Long their honorable member and research topic. In present day, his works can be found in museums and important private collections. Recent exhibitions include: “Celebrities, Celebrities – Celebrates the Twentieth Anniversary of the Death of Long Chin San ” (2015, Taipei, National Museum of History); “In the Realm of Landscape – Long Chin San Photography Exhibition ” (2016, Taipei, Art Museum of National Taiwan University); “Master’s Attitude towards Aesthetics Photographs from Long Chin San Special Exhibition ” (2017, Taipei, Beitou Museum).

310

ZHONG CHENG 中誠

221

陳庭詩 CHEN

TINGSHIH (1916-2002)

彭光均 PENG

222

生於中國福建。1948年來臺，年幼失聰反使其更專注於創作。歷任五月畫會、現代版畫會、國際藝術協會會員、台灣中部雕塑學會評議員、現代眼畫會會長。是台灣現代藝術發展先趨之一。是全方位的藝術家，其金石、詩書、字畫樣樣精通，甘蔗版畫、水墨、壓克力彩畫、鐵雕十項全能，晚年獨居台中太平，熱衷鐵雕藝術創作。曾多次參與歐美亞等地海外聯展，並定期參與五月畫會展覽及多項個人展覽。 1959年起連續五屆受邀參展巴西聖保羅雙年展，1970年獲得韓國版畫雙年展首獎，並於1999年受邀參加在西班牙、法國巡展的「二十世紀金屬雕刻家大展」，與法國雕塑大師塞薩、畢卡索等同堂發表。是少數列名<二十世紀美術史>的亞洲藝術家（Art of the 20th century法國著名藝評家Ferrier著）。近期展覽：「玄機─陳庭詩現代藝術創作展」（2014，台灣新竹，交大藝文空間）。「無盡的探索-陳庭詩名作與修護研究展」(2016，臺灣高雄，正修科技大學)、「晝夜新生─陳庭詩現代藝術法國巡迴展(臺灣行前展)」(2017，臺灣台東，台東美術館)。

KUANJUN (b.1961)

生於台灣新竹。畢業於台北藝術大學， 1992年獲得第十三屆全國美術展雕塑類第一名，1994年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎。著名展覽包括：「得意忘象」(1994，台灣高雄，杜象藝術空間)、「得意忘象」 (1994，台灣台北，彩田藝術空間)、「探囊取物」(1998，台灣台中，首都藝術中心)、個展（1999，台灣新竹，敦煌藝術中心）、個展（2000，台灣花蓮，維納斯藝術中心）、個展（2001，台灣高雄，福華沙龍）、「不可思議」個展（2003，台灣臺北，觀想藝術中心）、個展（2005，台灣，新竹縣文化局）、「草動雲湧」個展（2007，台灣新竹，智邦藝術基金會）、「春在枝頭-彭光均 223 2008雕塑展」（2008，台灣台北，敦煌畫廊）、「纖語香腮」個展（2009，台灣台北，威廉當代藝術空間）、個展（2010，台灣台北，威廉藝術空間）、個展（2013，台灣台北，威廉藝術沙龍）。高雄市立美術館典藏其作品「妙」。

Born in Fujian, China, Chen Ting-Shih lost his hearing at a young age, thus enabled him to develop extraordinary concentration. Chen moved to Taiwan in 1948 and was an active member in various art circles including Fifth Moon Group, Modern Graphic Art Association and Modern Eyes Group. He participated in numerous exhibitions in Europe, United States, Asia and other oversea regions. He regularly exhibits along side Fifth Moon Group and held many solo shows. Since 1959, Chen was invited to exhibit at the Sao Paulo Biennial for five consecutive years. In 1970, he was awarded First Prize at the 1st International Biennial Exhibition of Prints in Seoul, Korea. In 1999, he exhibited in Spain and France at the “Metal Sculptor of the 20th Century Exhibition ” alongside Cezanne, Picasso and other renown artists. He was also one of the few artists to be mentioned by the renowned French art historian Ferrier, in his book “Art of the 20th Century ”. His recent exhibition includes: “Mystery- Chen Ting-Shih Modern Art Exhibition ” (2014, Taipei, Taiwan); “Chen Ting-Shih Contemporary Art Exhibition ” (2017, Taiwan, Taitung Art Museum).

Peng Kuan Jun was born in Hsinchu, Taiwan. He graduated from Taipei National University of Arts in 1990. He received First Prize at the 13th National Art Exhibition Sculpture Group in 1992. Later, in 1994, he was also awarded at the Taipei Fine Art Museum Biennial Exhibitions, and received first place again at the Taipei City Sculpture Art Exhibition Sculpture Group. His solo exhibitions include: “Peng Kuang Jun Exhibition” (1994, Kaohsiung, Un Duchamp) (1994, Taipei, Tsai Tian Art Center); “Peng Kuan-Jun Solo Exhibition” (1998, Taichung, Capital Art Center); “Peng Kuan-Jun Solo Exhibition ” (2000, Hualian, Venus Art Center); “Solo Exhibition ” (2001, Kaohsiung, Howard Salon); “Unbelievable Solo Exhibition ” (2003, Taipei Guan Xiang Art Gallery); “Solo Exhibition ” (2005, Hsinchu County Government Cultural Affairs Bureau); “Solo Exhibition ” (2007, Hsinchu, Accton Gallery); “Pang Kuan-Jun 2008 Sculpture Exhibition ” (2008, Taipei, Art Caves), “Solo Exhibition ” (2009, Taipei, William Gallery); “Solo Exhibition ” (2010, Taipei, William Gallery); “Solo Exhibition ” (2013, Taipei, William Gallery). Kaohsiung art museum also acquired his work “Wonderful ”.

劉國松 LIU

李光裕 LEE

KUOSUNG (b.1932)

225

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：「劉國松創作大展-八十回眸」（2011，中國北京，中國美術館）、「一個東西南北人-劉國松80回顧展」（2012，台中，國立台灣美術館）、「革命．復興-劉國松繪畫大展」（2014，台北，國立歷史博物館）、「再造新境」劉國松典藏展（2015，台北，心晴美術館）、「劉國松」個展（2015，新加坡，當代美術館）、「蒼穹之韻—劉國松水墨藝術展」（2016，上海，中華藝術宮）、「劉國松現代水墨傳承展」（2017，台北，國立國父紀念館）。 Born in Anhui, China, Liu Kuo-Sung moved to Taiwan in 1949. He graduated from the Fine Arts Department of National Taiwan Normal University in 1956. He is the founder of the “Fifth Moon Art Association, ” and the leader of Chinese contemporary painting movement. His works have been exhibited more then eighty times around the world since 1965. He has held several academic positions, including the Dean of the Fine Arts Department at Hong Kong Chinese and Tainan National University of Arts. Liu’s works are widely housed by museum and art organizations internationally. Recent exhibitions include: “A Creation Exhibition by Liu Guosung —Looking back at 80 ” (2011, The National Art Museum of China, Beijing, China); “A person from East, West, South, North – Liu Kuo-Sung 80 years Retrospective ” (2012, Taichung, National Taiwan Museum of Fine Arts); “Recreating New Territory- Liu Kuo-Sung Exhibition ” (2015, Taipei, XQ Art Museum); “Liu Kuo-Sung Solo Exhibition ” (2015, Singapore, Contemporary Art Museum); “Echo of the Universe – Ink Art of Liu Kuo Song ” (2016, Shanghai, China Art Museum); “Exhibition of Liu Kuo-Song: Contemporary Ink Painting Exhibition ” (2017, Taipei, Sun Yat-sen Memorial Hall).

KUANGYU (b.1954)

生於臺灣高雄。1975年畢業於國立台灣藝專雕塑科；1982年自西班牙聖費南度皇家藝術學院畢業， 1983年獲西班牙國立馬德里大學美術學院碩士學位，返國後任教於國立藝術學院美術系至今。留學期間，曾獲西班牙文化部五大藝術學院獎，並多次入選西班牙秋季沙龍，1971年獲第31回中日文化交流展書道「特選賞」，（東京都美術館）。重要展覽：「李光裕雕塑首展」（1992，臺灣臺北，悠閒藝術中心）、「黑色之光」李光裕雕塑個展（1999，臺灣臺中，敦煌藝術中心）、「境界抒情」李光裕雕塑個展（1999，臺灣臺北郭木生文教基金會）、「空身幻影」李光裕雕塑回顧展 (2011，國立台灣美術館)、「山隱」李光裕雕塑個展（2011，月臨畫廊，台中台灣）、「心靈空間」（2012，采泥藝術）、「藝術博覽會」（2013，澳門、台中、高雄、台北）、「空山－李光裕2014 新作個展」（2014，采泥藝術）、「有無之際─ 李光裕大型個展」第57屆威尼斯雙年展台灣同步展 (2017，台灣台北、台南，采泥藝術、耘非凡美術館)。 Lee Kuang-Yu was Born in Kaohsiung, Taiwan. He 226 graduated from the Department of Sculpture of National Taiwan University of Arts in 1975. In 1982, he was graduated from Real Academia de Bellas Artes de San Fernando of Madrid, and completed his masters degree at the Facultad de Bellas Artes de la Universidad Complutense de Madrid in 1983. After returning to Taiwan, he taught at the Department of Fine Arts in National Taiwan University of Arts. When he was studying abroad, Lee was selected for Spanish Salon de otoño and Coin Sculptures exhibition. In 1971, he won an award from the 31st Chinese and Japanese Cultural Exchange Exhibition (Tokyo Metropolitan Arts Museum). His important exhibitions include: “Lee Kuangyu First Sculpture Exhibition ” (1992, Taipei, Nou Gallery); “Lee Kuang-Yu Solo Exhibition ” (1999, Taichung, Moon Gallery); “Spiritual Space ” (2012, Chini Gallery); “Art Fair ” (2013, Macau, Taichung, Kaohsiung, Taipei); “Lee Kuang-Yu 2014 New Works Solo Exhibition ” (2014, Chini Gallery). “To Have and Have Not- Lee Kuang-Yu Solo Exhibition ” at the 57th Venice Biennial Exhibition and in Taiwan (2017, Taipei, Tainan, Chin Ni Gallery, Paolo Rondelli).

MODERN AND CONTEMPOR ARY ART

311

呂榮琛 LU

RONGCHEN (b.1963)

229

李梁 LEE

230

LIANG (b.1985)

231

232

1963年出生於台灣屏東。1985年於台北成立工作室。1987畢業於中國文化大學美術系。1990年出國深造，開啟了專業經理人、策展人、藝術家等多重身份的生涯。 1993年首次個展於巴黎第八區 BOULAKIA RIVE DROlTE 畫廊。隨後在法國、香港與台灣台北、高雄、屏東舉辦多次聯展與個展。近期展覽：「呂榮琛2013個展」（2013，高雄，荷軒新藝空間）、「黑色的溫存呂榮琛個展」（2015，高雄，琢璞藝術中心）、「心靈．夢境呂榮琛收藏展」（2015，台北，首都藝術中心）、「夏日之戀呂榮琛收藏展」（2015，台中，景薰樓333藝廊）、「光之詩篇--呂榮琛個展」(2016，台中，景薰樓333藝廊)。 Lu Rong-Chen was born in Pintung, Taiwan, he established his work studio in 1985, before graduating from Chinese Culture University in 1987 with a Fine Arts degree. In 1990, he travelled to Paris and worked as a professional art dealer, curator and artist. His first solo exhibition was held at BOULAKIA RIVE DROITE gallery in Paris in 1993. His recent exhibitions include: “Lu Rongchen 2013 Solo Exhibition ” (2013, Kaohsiung, Lotus Art Gallery); “Lu Rongchen Solo Exhibition ”(2015, Kaohsiung, J.P. Art Center); “Spiritual Dreamlands: Lu Rongchen collection exhibition ” (2015, Taipei, Capital Art Center); “Lu Rongchen Collection Exhibition ” (2015, Taichung, JSL 333 Art Gallery); “Psalmody of Light: Rong Chen Lu ” (2016, Taichung, JSL 333 Art Gallery).

詹金水 JAN

CHINSHUI (b.1953)

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Born in Miaoli, Taiwan, Jan Chinshui attended the Taipei Contemporary Abstract Art Exhibition in 1984. He graduated from the Fine Arts Department of National Taiwan Academy of Arts in 1986. He was awarded first prize in the 11th National Fine Arts Exhibition in 1987. In 1988, he attended Tokyo Yaxiya Fine Arts Exhibition; received Golden Literature & Art Prize from the Ministry of Education in 1989, Merit Award from Zhen Yin Art Exhibition, and traveled independently to Europe. His well-known exhibitions: “Jan Chinshui. Solo Exhibition ” (1988, Dachia Art Center), “Jan Chinshui. Solo Exhibition ” (1990, InSian gallery, Taipei, Taiwan), “Jan Chinshui. Solo Exhibition ” (1991, InSian gallery, Taipei, Taiwan), “Jan Chinshui. Solo Exhibition ” (1992, Galerie Elegance, Taipei, Taiwan), “Chinese Modern Ink Paintings Exhibition ” (Shanghai, China), “Solo Exhibition of Ink Painting ” (Artyart, Tainan, Taiwan). He has published three exhibition catalogues that could be found in the public collection of the Taipei National Taiwan University of Arts. “Pristine SpiritJan Chin Shui. Solo Exhibition ” (2013, in Capital Art Center, Taipei); “Between the Cloud of Water: Jan Chin Shui and Li Wei Guang ” (2014, Taiwan, Ying Chuan Gallery); “Jan Chin Shui and Wu Ding Xian Exhibition ” (2016, Hsinchu, Famous Crown Art Museum). ZHONG CHENG 中誠

Lee Liang is an up and coming artist born in Luoyang, China currently working in Beijing. He was accepted into Central Academy of Fine Art in 2003 with a scholarship when he presented his oil painting titled “Young Women ”. In 2004, he transferred from fundamental program to oil painting major. His painting “Still Life ” was awarded with Best Color, and even nominated for Best Works of 2005- Central Academy of Fine Arts, the painting was later acquired by a gallery. As a professional artist, Li Liang explained “Art is not a matter beauty, it should be a reflection of daily life”, thus he hopes to portray the most earnest feelings, and reality of life though his artworks. Solo exhibition includes: “FragranceCAFA outstanding graduates Li Liang, Wan Liang Exhibition ” (2011, Beijing, Exclamation Art Space); “Inner Truth- Li Liang Exhibition ” (2012, Taipei); “The Intention- Li Liang Oil Painting Exhibition ” (2015, Beijing, IWC Art Space), “Li Liang Solo Exhibition ” (2016, Beijing, 798 Art Gallery).

栗子(余麗) LILY

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，2013年詹金水個展「靜觀山水」在首都藝術中心舉辦、「雲水之間」詹金水‧李偉廣聯展（2014，台灣台北，穎川畫廊）、「詹金水，吳丁賢雙個展」（2016，台灣新竹，名冠藝術館）。

312

生於中國洛陽，新銳藝術家，現居住於北京。2003年考入中央美術造型學院基礎部，獲得中央美術學院獎學金，發表油畫作品〈女青年全身像〉。2004年進入中央美術學院油畫系，2005年再次獲得中央美術學院獎學金，作品〈靜物〉獲得油畫系畫室開放日最佳色彩獎，並入選為中央美術學院2005年度優秀作品，後被畫廊收藏。現為職業畫家。李梁：「藝術不是美醜問題，而是生活的鏡像。」因此在畫作中，其急切地盼望能夠直接表達出最真實的感受，與最真實的生活。個展：「暗香—中央美術學院優秀研究生李梁，萬嶺作品展」(2011，北京，感嘆號藝術空間)、「內心的真實—李梁作品展」(2012，臺北)、「意向—李梁油畫作品展」 (2015，北京，萬國藝術空間)、「無常行旅」李梁個人作品展 (2016，北京，798 先聲畫廊)。

(YU LI) (b.1979)

235

生於中國湖北。2003年畢業於湖北美術學院油畫系，2007年畢業於湖北美術學院當代繪畫語言碩士。2003年於省油畫展獲優秀作品獎。著名展覽包括：「放任自流-當代藝術五人展」（2007）、「Liberalismo當代藝術展」(2007，羅馬，義大利)、「聚沙塔—2007中國新銳繪畫獎」(2007，中國北京，炎黃藝術館)、「中國當代藝術藝術八人展」(2009，義大利，拉齊奧切納美術館)、「阿修羅」當代藝術展(2010，中國上海)、「影子的影子」(2013，中國北京)、「浮沉」(2014，中國香港)、「栗子、郭子雙個展」(2015，中國廣東，橋舍畫廊)、「第五類森林」個展 (2016，中國廣東，e當代美術館) 、「蕭條與供給」第三屆南京國際美展(2016，中國南京，百家湖藝術公館) 、「時間的複現」作品展（2017，中國北京，築中美術館）。 Lily was born in Hubei, China. She graduated from the oil painting Department at the Hubei Institute of Fine Arts in 2003, and completed her Masters degree in 2007. She won the prize from “Provincial Oil painting Exhibition ” in Wuhan, 2003. Her well known exhibitions include: “Five of Contemporary Art ”, “LIberalismo Contemporary Art Exhibition ”, Rome, Italy, “Gathering- New Artists of China 2007 ”, Yenhuang Art Museum, Beijing, 2007; “Eight China Contemporary Artists Exhibition ”, 2009, Italy; “Asura ” Contemporary Art Exhibition, 2010, Shanghai; “The Shadow of Sense, ” 2013, Beijing; and “Mysteries/Lizi’s Solo Exhibition, ” 2014, Hong Kong, “Li Tzu and Guo Tzu Exhibition ” (2015, Guangdong, China, Bridge Gallery) “The Fifth forest- Li Tzu Solo Exhibition ” (2016, Guangdong, China, E Contemporary Museum). “Historicode: Scarcity & Supply ” (2016, The 3rd Nanjing International Art Festival, Baijia Lake Museum); “Representation of Time ” (2017, Beijing, Zuzhong Art Museum).

許文融 HSU

WENJUNG (b.1964)

生於台灣彰化。畢業於國立台灣藝術大學、ST. Louis Fontbonne 碩士畢業，現任國立台灣藝術大學及建國科技大學教授兼美術文物館館長。曾獲無數獎項：全國大專國畫第一名、第43、45、46 屆全省美展國畫類第一名(1983)、獲中山文藝創作獎(1997)、榮獲中興文藝獎章(1998)，奪下第25屆吳三連文藝創作獎(2003)。個人 236 展覽有：「台灣風物圖卷」特展 (2010，中國福建，廈門美術館)、「個展」(2012，中國，上海壹號美術館、香港藝術中心)、「穿越極限─許文融創作展」(2014，台灣彰化，彰化縣立美術館)、「一曲高山流水─許文融創作展」 (2016~2017，台灣台中、高雄，港區藝文中心、佛光山佛陀紀念館)、「東方文人新美學：許文融創作展」(2016，台灣台中，長榮桂冠酒店)。其作品於台灣省立美術館、台北市立美術館、台中市立文化中心、高雄市立文化中心等地個展二十餘次。曾獲邀參展美國、法國、日本等地，國內外聯展數次。作品為台北市立美術館、國立台灣美術館等單位典藏。 Hsu Wen Jung was born in Changhua, Taiwan. He graduated from National Taiwan University of Arts, and completed his masters at the St. Louis Fontbonne University. He is a professor of the Art Department at the National Taiwan University of Arts and Chienkuo Technology University, as well as the Director of the school’s art museum. He received countless awards including: First place in the National Competition for Traditional Chinese Paintings for Colleges, First place for the 43rd, 45th and 46th Provincial Competition for Traditional Chinese Paintings Competition, Sun Yat Sen Academic and Cultural Foundation Award (1997), ZTE Literary and Artistic Award (1998), and First Prize in Wu Sanlian Literary and Artistic Creation Award (2003). His Solo exhibition include “Taiwan Scenery” (2010, Xiaman, Fujian Museum of Arts); “Solo Exhibition ” (2012, China, Shanghai Yi Art Museum, Hong Kong Arts Center) “Pass Through Limitations: Hsu Wen-Jung Exhibition ” (2014, Taiwan, Chunghua Provincial Museum of the Arts); “Hsu Wen-Jung Solo Exhibition ” (2016~2017, Taichung City Seaport Art Center, Fo Guang Shan Buddha Museum); “Hsu Wen-June Exhibition ” (2016, Taichung, Evergreen Hotel). His works can be seen at the National Taiwan Museum of Arts, Taipei Fine Arts Museum, Taichung Cultural Center and Kaohsiung Cultural Center. He received invitation to exhibit in the United States, France, Japan and more. His works are in the permanent collection of the National Taiwan Museum of Arts and Taipei Fine Arts Museum.

謝郴安 XIE

CHENAN (b.1982)

1982年生於湖南省桂陽縣。2006年畢業於廣州美術學院，2007年加入80畫派；在廣州從事油畫創作至今，現任教於廣東美術學院附中，廣東青年畫院畫家。展覽經歷:聯展「鐫美流花——廣東畫院50年作品特展」（2009年，廣東美術館）「第11屆全國美展油畫展」（2009年，武漢湖北藝術館）「人與人——八零畫派寫實作品展」（2008年，北京新北京畫廊）「第三屆廣東當代油畫藝術展」（2008年，廣東省博物館）「原點——2007中國當代藝術邀請展」（2007年，深圳格灃藝術機構）「精神與品格——中國當代寫實油畫研究展」（2006年，上海松江新城泰唔士鎮美術館、上海美術館、中國美術館）。「廣東當代油畫十六人展」（2006年，上海奧塞畫廊）。曾獲羅中立獎學金入圍作品展、第六屆廣東美術學院王嘉廉獎學金獲獎作品展。 Xie Chen An was born in Hunan Province in 1982, he graduated from Guangzhou Academy of Fine 238 Arts in 2006. In 2007, he joined the 80 Art Group, and been creating oil paintings ever since. He is currently teaching at the Guangdong Academy of Fine Arts, and Guangdong Youth Art School. Exhibition records include: Group exhibition “The Lasting Classic: 50 Anniversary of Guangdong Art Institute ” (2009, Guangdong Art Institute); “The 11th National Oil Painting Art Exhibition ” (2009, Wuhan, Hubei Art Museum); “People to People – Realism Oil Painting Exhibition of 80’s ” (2008, New Beijing Gallery); “The 3rd Guangdong Contemporary Oil Painting Exhibition ” (2008, Guangdong Provincial Museum); “Origin – 2017 Chinese Contemporary Art Invitation Exhibition ” (2007, Shenzhen Ge Feng Art Institution); “Spirituality and Personality – Chinese Contemporary Neo-Realist Painting Exhibition ” (2016, Shanghai Songjian Art Museum, Shanghai Art Museum, Museum of Fine Arts China); “Guangdong Contemporary Oil Painting -16 Artist Exhibition ” (2006, Shanghai Author Gallery). He also won the Luo Zhongli Scholarship Nomination Exhibition, and the 6th Guangdong Art Academy Charles B. Wang Scholarship.

王守英 WANG

SOYING (b.1934)

237

生於鹿港，畢業於臺北師範藝術科，作品浪漫抒情，彷彿優雅抒情的樂章使人醉心，即使營造出浪漫的情境，筆觸卻穩重嚴謹，重要展覽：王守英個展（1979，臺北阿波羅畫廊）；王守英個展（1992年，臺北歷史博物館）；王守英個展（1989，臺北高格畫廊）；王守英個展（1992，日本木阪Galerie Moustache）；王守英個展（1995，臺北亞洲藝術中心）；王守英個展（2000，台中景薰樓藝文中心）；創作個展（2001，國泰世華藝術中心）；王守英創作個展（2006，國泰世華藝術中心）；「靜觀自然—王守英畫展」（2014，國立台灣美術館）。 Wang Soying was born in Lu Gang, Taiwan. He graduated from the Fine Arts Department of Taipei Normal School. His painting style is romantic and often resembles the impressionist style. However, each brushstroke are precise and careful. His important solo exhibitions include: Apollo Art Gallery, Taipei (1979); National Museum of History, Taipei (1992); Elegant Gallery, Taipei (1989); Galerie Moustache, Japan (1992); Asian Art Center, Taipei (1995); JSL Gallery, Taichung (2000); Cathy Art Center (2001); Cathy Art Center (2006); “Observing the Nature in Silence: Paintings by Wang Shou-Ying ” (2014, National Taiwan Museum of Fine Arts).

劉國樞 LIU

GUOSHU (b.1919)

239

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。畫作《紅軍在川北》、《飛奪瀘定橋》由中國人民革命軍事博物館收藏；《春江水暖》參加紐約中國當代油畫展，為美國人士收藏。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。展覽：「劉國樞油畫回顧展」（2011，重慶，中國三峽博物館）、「純美的年代」中國前輩油畫展（2012，台北，敦煌藝術中心）、「畫殿中梁」劉國樞、王大同、張方震、夏培耀四教授畫展（2013，重慶，獨立映像藝術空間）。 Liu Guo-Shu was born in Sichuan, China, he is a second generation of oil painting artist. He was enrolled into Wu Chang Academy of Fine Arts in 1938, and later became the head of the Western Painting department in Southwest Fine Art School in 1948. He taught at Southwest People Academy of the Arts and Sichuan Academy of Fine Arts since 1950s. He is an active member of the China Artists Association and took the role of managing director at the Sichuan branch. His painting “Red Army in Northern Sichuan ” and “Flying from Luding Bridge ” are acquired by the Military Museum of the Chinese People’s Revolution. Liu devoted his entire life to improve artistic education, he trained the next generation of elite artists in China including Luo Zhongli, Gao Xiaohua, Cheng Conglin, He Duoling, Zhou Chunya and Zhu Yiyong. Important exhibitions: “Liu Guo-Shu Oil Painting Retrospective Exhibition ” (2011, Chongqing China Three Gorges Museum); “The Age of Shear Beauty: Chinese Old Masters Oil Painting Exhibition ” (2012, Caves Art Center, Taipei); “Pillars of the Art Circle: Painting Art Exhibition of Art Professors ” (2013, Chongqing Independent & Image Art Space, China).

MODERN AND CONTEMPOR ARY ART

313

尹俊 YIN

JUN (b.1974)

梁奕焚 LIANG

YIFENG (b.1937)

270 243

242

生於中國四川。1992年畢業於德陽美術學院。著名展覽包括：「第十二屆中國國際藝術博覽會」（2005，中國北京）、「首屆宋莊文化藝術節」（2005，中國北京）、「青年藝術家作品展」（2005，中國北京）、「北京首屆當代職業藝術家繪畫聯展」（2006，中國北京）、「藝術家中的另類」（2006，中國北京，9藝術空間）、「來自宋莊」─中國當代藝術展（2006，荷蘭）、尹俊個展（ 2007 ，韓國，URBANART GALLERY ）、尹俊個展（2007 ，荷蘭，KERSEBOOM GALLERY ）、「哭泣的力量」（2008，中國北京，八大畫廊）、「時代印記─ 亞洲當代藝術群展」(2011，台灣台南，索卡藝術中心)、尹俊個展(2011，中國北京，八大畫廊)、「Art021藝術博覽會」(2013，中國上海，洛克·外灘源)。

生於台灣彰化。畢業於台北師範藝術科。1958-1963年從李仲生先生研究現代藝術，曾任中部美術協會會員。中華民國現代版畫會員、中華民國雕塑學會會員。於1965年入選巴西聖保羅國際雙年展。1982年發起創立現代眼畫會、中華民國現代畫學會，1985年任李仲生現代藝術文 271 272 教基金會理事。1987年設繪畫工作室於紐約蘇活區。他的畫作先後創作出五百號、一千號甚至二千號作品，獲得收藏家及畫廊的青睞，大量收藏他的創作，被收藏的畫作將近五千幅。梁奕焚於紐約創作，在東方與西方的衝擊下，創作獨樹一格，極具東方地域特殊風格。近年展覽：「看與不看‧想與非想」（2013，台東美術館）、「梁奕焚創作個展」（2014，台中，韋瑞畫廊）、「中西融合‧台灣黑美人－梁奕焚精品油畫展」（2015，台灣台北，拓樸藝術）、「現當代藝術收藏展」（2016，台灣新竹，名冠藝術館）、「嘿。美人─永不凋謝的花朵」（2016，台灣台中，道禾六藝文化館）。

Born in Sichuan, China, Yin Jun graduated from Deyang Fine Arts Academy in 1992. His recent exhibitions include: “The 12th China International Art Exposition ” (2005, Beijing); “The First Songzhuang Culture and Art Festival ” (2005, Beijing); “Group Exhibition of Works by Young Artists ”, (2005, Beijing); “The First Group Exhibition of Works by Professional Contemporary Artists ”(2006, Beijing); “An Alternative Artist Solo Exhibition of Oils by Yin Jun ”(2006, 9 Art Space, Beijing); “Painters from Songzhuang – Contemporary Chinese Art Exhibition ” (2006, Ireland, Kerseboom Gallery); “Yin Jun Solo Exhibition ” (2007, Korea, URBANART Gallery); “The Power of Crying ” (2008, Beijing, Pata Gallery); “Emblem of Time ” (2011, Tainan, Soka Art Center); “Yin Jun Solo Exhibition ” (2011, Beijing, Pata Gallery); “Art021 Art Fair ” (2013, Shanghai, Rockbund).

Born in Changhua, Taiwan, Liang graduated from National Taiwan Normal University in 1957. From 1958-1963 he studied under the instruction of Li Chung-Sheng to research Contemporary Art. He was a member of the Taichung Art Association, Republic of China Contemporary Print Art Group, and Taiwan Sculpture Association. In 1965, he helped organized the Li Chung-Sheng Art Foundation. In 1987, he had his own painting studio in New York. Rich colors and fluent brush marks are the most recognizable characteristic in his paintings. His recent exhibitions include: “Seeing and Not Seeing, Thinking but Not Thinking ” (2013, Taiwan, Taitung Museum of Arts); “Liang Yifeng Solo Exhibition ” (2014, Taichung, Wei Rei Gallery); “East and West united: Taiwanese Black Beauty- Liang Yi Feng Oil Painting Exhibition ” (2015, Taipei, Top Art Gallery); “Modern and Contemporary Art Collection Exhibition ” (2016, Hsinchu, Sunny Art Gallery); “Black Beauty: The Flower that Never Withered Away ” (2016, Taichung, Natural Way Six Arts Cultural Center).

付豫 FU

黃郁雯 HUANG

YU (b.1982)

YUWEN (b.1981)

244

1982年出生於山西臨汾，2006年畢業於成都美術學院油畫系，2009年畢業於中國藝術研究院油畫創作研究工作室。現為職業畫家。曾多次參與各大聯展：杭州當代藝術博覽會(杭州，世紀翰墨畫廊)、藝術廣東青年藝術家推薦展(2010，廣州，錦漢展覽中心)、GREEN當代藝術展(2009，北京，中國國際貿易中心)、「感+性—— 青年藝術家油畫作品聯展」(2008，杭州，世界藝術網)、首屆70後藝術家邀請展 (2007，杭州、德國漢堡，金彩畫廊、德國中國當代畫廊)、持續猜想當代藝術展 (2005，成都，四川成都美院)。作品被中國當代畫廊、德國虹灣藝術館、北京牆美術館等機構收藏。 Fu Yu was born in 1982 in Sanxi. He graduated from the Oil Painting Department of Chengdu Art Academy in 2006, and received his M.F.A from the China Fine Arts Academy in 2009. Currently a professional artist, he participated in multiple international group exhibitions including: “Hangzhou Contemporary Art Fair ” (Hangzhou, Hanmo Gallery); “Guangdong Young Artist Recommendation Exhibition ” (2010, Guangdong, Jin Han Exhibition Center); “Green Contemporary Art Exhibition ” (2009, Beijing, China International Trade Center); “Young Artist Oil Painting Exhibition ” (2008, Hangzhou, World Art Lib); “The First Post 70’s Artist Invitation Exhibition ” (2007, Hangzhou, Germany, Jin Cai Gallery, Germany and China Contemporary Gallery); “Contemporary Art Exhibition ” (2005, Chengdu Art Academy). His works are currently in the collection of Chinese Contemporary Gallery, German Hongwan Art Museum, Beijing Wall Art Museum and more.

314

ZHONG CHENG 中誠

245

1981 年出生於台南。東海大學美術系研究所膠彩組畢業，2008年獲中華民國工筆畫學會第三屆工筆畫金筆獎入選；2009年善立基金會美術獎學金；2009年屏東美展水墨膠彩類入選。於2010年以《清明上河圖-台灣現代版》膠彩畫作獲「高雄獎」首獎的肯定。以膠彩作畫，但在內容取材上的運用則融合了年輕世代的想像與作法，作品中常可見其借用擬人化青蛙的形象，用以嘲諷的繪畫方式來表達台灣都市現代人的生活態度與價值觀。得獎紀錄有：2008 年第九屆磺溪美展水墨膠彩類優選、2009年屏東美展水墨膠彩類入選。 Huang Yu-Wen was born in Tainan in 1981. He graduated from the Fine Arts Department of Tunghai Art University. In 2008, he was nominated for the 3rd Republic of China Fine Brushwork. He received a scholarship in 2009, and was nominated for the Pingtung Ink Color Art Exhibition. In 2010, his “Along the River During Qingming Festival – Taiwan Contemporary Version ” received First Prize in the Kaohsiung Awards. His artworks translate the mindsets of young generation, in his artwork, people are often depicted as frogs; as a sarcastic approach towards present day values and the attitude of modern-day people. His other award includes the 9th Sangxi Ink-Color Art Exhibition (2009).

李奇茂 LI

CHIMAO (b.1925)

尹齊 YIN

生於安徽渦陽。自復興崗大學美術系畢業，是韓國檀國大學文學博士。於家鄉期間，曾與陸化石習畫；來臺後，入政工幹校美術系，師事梁鼎銘昆仲。1956年畢業後，於1959年出任母校教職工作； 1976年，擔任國立藝專美術科專任老師及科主任。於1971年，接受國立歷史博 246 物館的特約，創作百幅有關「國父畫傳」及「史蹟」題材的描繪。1977年，獲韓國檀國大學設立「李奇茂畫伯獎學金」；在1987年，獲美國舊金山市訂定11月29 日為「李奇茂日」。曾榮獲第五屆全國美展金尊獎、第一、四屆國軍新文藝美術金像獎、第十屆中國文藝協會美術獎、第二屆中山學術文化創作美術獎。1973年獲教育部文化局頒發文化貢獻獎以及榮獲中央總裁蔣中正先生頒文化貢獻獎。於多國美術館、畫廊、文化中心等舉辦個展。近年展覽：「抒情．水墨．愛」李奇茂特展（2012，台灣，北投梅庭）、「話左話右」李奇茂書畫創作展（2013，台灣，國立臺灣藝術大學）、「鄉野．豪情」李奇茂水墨展（2014，台北，中華文化總會）、「李奇茂水墨新思維校園特展」（2016，台北，輔仁大學輔仁藝廊）。 Born in Woyang, Anhui, Li Chimao graduated from Department of Fine Arts, Fu Hsing Kang College, and has a PhD in Literature from Dankook University in South Korea. Back home, he learned painting from Lu Hua-shih; after coming to Taiwan, he entered the Department of Fine Arts at Fu Hsing Kang College, and studied under the Liang Tingming brothers. After he graduated in 1956, Li became a lecturer at Fu Hsing Kang College in 1959. In 1976, Li became a full-time instructor and director of Department of Fine Arts, National Academy of Arts. In 1971, Li was invited by National Museum of History to create one hundred paintings for “The Pictorial Biography of Dr. Sun Yat-sen ” and “History. ” In 1977, Li was honored by Dankook University with the establishment of “Li Chimao Painting Scholarship. ” In 1987, San Francisco City recognized him by designating November 29 as “Li Chimao Day. ” Li has won the Gold Award at the Fifth National Taiwan Fine Arts Exhibition, Gold Award at the First and Fourth National Soldiers’ New Arts and Culture Awards, the Tenth Chinese Writers’ and Artists’ Association Fine Arts Award, and the Second Zhongshan Arts Award. In 1973, Li received award from Bureau of Cultural Affairs, Ministry of Education, that recognized his cultural contributions, and was also honored with a Cultural Contribution Award by President Chiang Kai-shek. He has held solo exhibitions at museums, galleries, and cultural centers in various countries. His recent exhibitions include: “Expressiveness, Ink Painting, Love ” Li Chimao Special Exhibition (2012, Taiwan, Beitou Plum Garden), “Transfiguring Intent ” Li Chimao Painting and Calligraphy Exhibition (2013, Taiwan, National Taiwan University of the Arts), and “Land on Sentiments – An Exhibition of Li Chimao’s Ink Paintings ” (2014, Taipei, The General Association of Chinese Culture). “Li Chimao: New Thinking of Painting and Calligraphy Campus Special Exhibition ” (2016, Taipei, FJU Art Gallery at the Fu Jen University Art Institue).

林書楷 LIN

SHUKAI (b.1983)

QI (b.1962)

247

生於中國北京，1987年畢業自中央美術學院，後任職於該校附屬中學。1989至 1991年赴巴黎美術學院深造，1996至1997年就讀於巴黎高等藝術造型研究所。目前定居及工作於北京、巴黎。其作品曾於中國與歐洲多處舉行展覽，如2004年於西班牙巴塞隆納、法國依蘇登博物館、法國眉馬克當代藝術中心等地。參加的聯展則有：「第十屆全國美展」（2004，北京）、「北京雙年展」(2005)、「展開的現實主義」（2006，台灣台北）。主要個展有：「記憶‧痕跡」(2005，中國北京，索卡藝術)、「The Phantoms Of Artists」(2005，韓國首爾，CAIS)、「生活在別處」(2007，台灣台北，索卡藝術)、「尹齊2008」(2008，中國北京、韓國首爾，新北京畫廊、學古齋畫廊)、「置」(2015，中國北京，索卡藝術)。 Born in 1962 in Beijing, China, Yin Qi graduated from the Central Academy of Fine Arts in 1987, and taught at the affiliated high school after graduation. He later resumed his studies of art at the École Nationale Supérieure des Beaux-arts in Paris from 1989 to 1991 and at the Institute de Haute Etude en Arts Plastiques from 1996 to 1997. He now resides and works in Beijing and Paris. His solo exhibitions were common both in China and many places in Europe such as Spain (2004, Barcelona); France, Issodum Museum and Meymac Contemporary Art Center (2004). He also participated in group shows, such as "The 10th National Art Exhibition " (2004, Beijing); "Beijing Biennale " (2005); "Spreading Realism " (2006, Taipei). Important exhibitions include: “Memory, Scar ” (2005, Beijing, Soka Art Center); “The Phantoms of Artists ” (2005, Seoul, CAIS); “Life is Elsewhere ” (2007, Taipei, Soka Art Center); “Yin Qi 2008 ” (2008, Beijing, Seoul, New Beijing Gallery, Hakgojae Gallery); “Place ” (2015, Beijing, Soka Art Center).

于彭 YU

PENG (1955-2014)

248

畢業於國立台北藝術大學美術學系繪畫組，後研習於美術創作碩士班，2010擔任新北「台灣板橋435國際藝術村駐村藝術家」、2013台北「寶藏巖國際藝術村駐村藝術家」、2013柏林「GlogauAIR藝術村駐村藝術家」；展覽紀錄：「不頑之抗」VT非常廟藝文空間(2012，台灣台北)；「台越藝術家交流計畫」(2012， ZeroStation，越南)；「台灣美術雙年展-新台灣壁畫隊蓋白屋在國美館」(2012，國立台灣美術館，台灣)；「東京藝術博覽會」(2014，東京國際會議廳，日本)；「兩岸青年藝術家在誠品╱台北：拾荒花園」(2014，誠品畫廊，台灣)；「起步檔－東亞青年當代藝術作品展」(2014，朝代畫廊台灣)；「製造X意義」(2015，台北市立美術館，台灣)；「夢‧棲地」館藏青年藝術主題展(2015，國立台灣美術館，台灣)；「極限風景」(2017，心動藝術空間，台灣)。 After graduating from the Fine Arts Department at the Taipei National University of the Arts, Lin Shu-Kai remained at the school for his Master’s degree also in Fine Arts. In 2010, he participated in the “New Taipei City Banqiao 435 Artists-in-Residence Program. ” In 2013, he took part in “Taipei’s Artist Village- Treasure Hill ” and “GlogauAIR Artists-inResidence Program ” in Berlin. His exhibition records include: “Asynchronous States- AIA Asia in Independent Asia ” (2013, VT ARTSALON, Taipei); “Taiwan-Vietnam Artist Exchange Plan ” (2012, ZeroStation, Vietnam); “Taipei Biennial Exhibition – Formosa Wall Painting Group ” (2012, National Taiwan Museum of Fine Arts, Taiwan); “Tokyo Art Fair ” (2014, Tokyo Convention Center, Japan); “Cross-Strait Young Artists/ Taipei: The Lost Garden ” (2014, Eslite Gallery, Taiwan); “Ease Asian Contemporary Youth Artist’ Art Works Collected Exhibition- The Starting Gear ” (2014, Dynasty Gallery, Taiwan); “Make Sense ” (2015, Taipei Fine Arts Museum, Taiwan); “Dreams, Habitation: Young Art Collection Exhibition ” (2015, National Taiwan Museum of Fine Arts, Taiwan); “Limitless Landscapes ” (2017, Art Influence, Taiwan).

249

生於臺灣臺北。自小對泥塑及傳統皮影戲產生濃厚興趣，影響其日後繪畫創作。由於不甘被傳統學院派囿限，故從未曾接受正統學院美術教育，先後跟隨陳亦耕、鄧國清及李其茂等老師學畫。 22歲時成為全台第一位街頭畫家，26歲赴希臘及中國遊歷，後開始思索文化定位問題。1980 年於台北舉辦首次個展，後參與國內外展覽達二十餘次。近年個展包括：「如花美眷似水流年 ──于彭專展」（2005，中國北京，果園）、「草堂計畫－桂蔭廬」（2007，中國北京，三尚藝術中心）、「永康記遊粉彩素描個展」（2009，台北，紫藤廬文化基金會）、「神遊者」（2010，杭州，三尚當代藝術館）、「我的山海經──于彭個展」(2014，台南，加力畫廊)、「雲根未斷落凡來─再見于彭紀念展」（2015，台北，紫藤廬文化基金會）。其作品為世界各國主要美術館及畫廊收藏，包括香港藝術館、台北市立美術館、舊金山亞洲藝術博物館、國立台灣美術館、紐約大都會美術館、波士頓博物館以及大英博物館等。

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

MODERN AND CONTEMPOR ARY ART

315

費爾戴儂‧阿曼 PIERRE FERNANDEZ ARMAN (1928-2005)

阿佛雷德‧巴斯天 ALFRED BASTIEN (1873-1955)

250

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：「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）、「阿曼雕塑展」(1991，東京)、「阿曼：1955-1991年回顧展」（1992，紐約）、「阿曼：紙上作品」（20002001，德國科布倫茨）、「給阿曼的稱頌」（2006，紐約）、「阿曼」（20102011，巴黎）。 Armand Pierre Fernandez was born in 1928 in Nice, France. He enrolled in École de Louvre, Paris in 1949, where he studied archaeology and oriental art. In 1960, he signed a manifesto that aligned him with Restany, Klein and other artists, they formed a new movement named “Nouveau Réalisme. ” In 1967, he entered the Exposition Universelle de Montréal representing France. In 1974, his works were shown all over America. In 1981, he created a large-scale wall relief sculptures made out of tools and utensils. In 1982, his retrospective “Parade of Object ” toured throughout Europe. In 1984, he received a commission from the French President, for a bronze flag accumulation titled “À la Republique/Hommage a la Revolution de 1789 ” for the Elysee Palace in Paris. Important exhibitions include: “Gods and Goddesses ” (1986, Paris, New York, Toronto); “Art Taipei ” (1996, Taiwan); “Arman Sculpture Exhibition ” (1991, Tokyo); “Arman 19551991 Retrospective Exhibition ” (1992, New York); “Arman Works on Paper ” (2000-2001, Koblenz, Germany); “A Tribute to Arman ” (2006, New York); “Arman ” (2010-2011, Paris).

吳日勤 WU

JIHCHIN (b.1971)

251

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

陳君魏 CHEN

JIUNWEI (b.1967)

252

出生於台灣，主修書法水墨，於美英二國完成藝術研究所學位，吳日勤旅居紐約、北京和倫敦十多年，呈現屬於藝術家當下在地發展的個人藝術語彙，確立了核心藝術思想及人生使命，作品以台灣為主體的當下影像書寫；以各式媒材所形成的當下，經由直覺之手，儘可能用一次性筆觸，所表達繪寫而成的影像書寫，表達作者當下內心直覺潛意識之造型指涉。展覽經歷：「台灣書寫－主體認同與書寫指涉」（2015，醉美畫廊，臺灣臺南）、「綠色隧道奇幻異想」（2015，臺南文化創意園區，臺南臺灣）、「Artoll 藝術組織」（2015，Artoll 歐洲藝術組織，德國伯格罕）、「線條在畫布上跳舞」（2015，白月光畫廊，臺灣臺北）、「底蘊」（2016，原顏藝術，臺灣臺中）、「內心風景」吳日勤回國創作個展（2017，臺灣藝術大學）。作品獲美國紐約亞洲藝術美術館、舊金山藝術大學、及歐亞多國私人收藏。 Wu Jih-Chin was born in Taiwan, he specializes in calligraphy and traditional ink painting. Wu completed his MFA in U.S. and U.K., and has lived abroad in New York, Beijing, and London for more than 10 years, where he has exhibited personal artistic vocabularies that reflect his local development at the time, and determined his core artistic principle and mission in life. His works are the “image writing ” and Taiwan is the subject; these “image writing ” are created with instinctive brushstrokes that recreate the moments in time and convey the sub consciousness of the author. His past exhibitions include: “Calligraphy of Taiwan ” (2015, Aglow Space Gallery, Tainan, Taiwan), “Green Mangrove Tunnel ” (2015, Taiwan Cultural and Creative Park, Tainan, Taiwan), “Kondensat ” Solo Expo by Chin Wu (2015, ArToll Kunstlabor, Bedburg-Hau, Germany), “Line Dancing on Canvas ” (2015, Moonlight Art, Taipei, Taiwan), and “Inner Secret of Painting ” (2016, UYart, Taichung, Taiwan); “Wu Jih Chin Returned Solo Exhibition ” (2017, National Taiwan University of Arts). His works are collected by Museum of Asian Art in New York, Academy of Art University in San Francisco, as we as private collectors in various European and Asian countries.

316

ZHONG CHENG 中誠

253

生於中國陝西。現為西安美術學院油畫系講師，作品多次參加美術展覽，並被國內外美術機構和私人收藏。1989年考入西安美術學院油畫系，1992年參加全國美術學院學生優秀素描大展，1993年畢業後留校任教。2004年「美術文獻提名展」獲提名獎；曾參展「寫意中國·當代油畫藝術邀請展」(2001，西安)；；「轉向《當代美術家》邀請展」(2003，重慶)；「攜手新世紀第三屆中國油畫展」(2003，北京)；「共享·刷新」西安繪畫藝術展(2004，西安)。以及「94· 油畫沙龍展」、第三屆「中國體育美術作品展」；並曾獲台灣山藝術文教基金會羅中立油畫獎學金。作品除編入大型專業文獻畫冊外，多發表於《現代藝術》、《藝術當代》、《畫刊》、《當代美術家》、《藝術界》、《中國油畫》、《美苑》等專業雜誌。

Born in Shanxi, China, Chen Jiun-Wei is currently a lecturer in the Department of Oil Painting at the Xian Academy of Fine Arts. Chen has participated in numerous art exhibitions, and his works have been collected by art institutions and private collectors both in China and overseas. Chen was admitted to the Department of Oil Painting, Xian Academy of Fine Arts in 1989. In 1992, he participated in National Art Academy Students’ Drawing Exhibition. He graduated in 1993, and remained with the academy as a faculty member. In 2004, Chen was nominated to the Fine Arts Document Nomination Exhibition. He participated in “Contemporary Oil Painting Invitation Exhibition ” (2001, Xian), “Change of Direction—Contemporary Artists Invitation Exhibition ” (2003, Chongqing), “Embracing the New Century: Third China National Exhibition of Oil Paintings ” (2003, Beijing), “Sharing-Renewing ” Xian Paintings Exhibition (2004, Xian), “1994 Oil Paintings Salon, ” and “Third Works of Arts Exhibition of Chinese Sports. ” Chen was the recipient of the Luo Zhongli Oil Painting Scholarship by Mountain Arts, Culture, and Education Foundation in Taiwan. Not only have his works been compiled into major professional documentary albums, they have also been featured by professional magazines including “Modern Art, ” “Art Contemporary, ” “Pictorial, ” “Contemporary Artists, ” “Leap Magazine, ” “Chinese Oil Paintings, ” and “Meiyuan. ”

楊雲龍 YANG

YUNLONG (1919-1993)

田小赤 TIAN

XIAOCHI (b.1966)

255

254

楊雲龍生於江蘇無錫。擅長水彩畫，美術教育。1936年入蘇州美專，1937年入國立杭州藝專，後去湖南沅陵國立藝專，1942年自國立藝專西畫系畢業。曾任江蘇師範學院、南京師範大學美術系副教授、教授，江蘇省美協水彩畫藝委會主任。擅長行草書，潛心攻隸篆，後亦得到書壇泰斗趙樸初老師和啟功老師的賞識和讚許。《水彩畫》獲得國家級優秀教材一等獎。作品曾選赴日本、新加坡、港、澳、台參展，深受廣大書法愛好者及海外華人的喜愛和收藏。出版有《水粉畫技法》、《水彩畫》、《楊雲龍水彩畫集》等。 Yang Yunlong was born in Jiangsu. He is recognized for his watercolor works, and artistic education. In 1936 he enrolled in Suzhou Academy of Fine Arts, in 1937 he entered National Hangzhou Art Institute; and continued his education at the Hunan Yuanling National Art Institute and graduated in 1942 from the Western Painting Department. He used to teach at Suzhou Academy of Fine Arts, and took the post as associate professor at Nanjing Normal University. He was also the director of Jiansu Provincial Watercolor Art Exhibition Committee. He excelled in cursive calligraphy and studied Li Zhuan intensively, his works were praised by renowned calligrapher Zhao Pu-Chu and Kai Gong. His work “Watercolor Painting ” won First Prize in National Outstanding Teaching Materials. His works were selected for exhibitions in Japan, Singapore, Hong Kong, Macau and Taiwan. His publications include: “Water Painting Techniques ”, “Water Painting ”, “Yang Yunlong Watercolor Series ” and more.

趙無極 ZAO

生於中國吉林，又名乙卜、別名蓮池。畢業於吉林藝術學院，曾於1996年任教於吉林藝術學院附中，吉林省美術家協會會員，1999年至今從事美術創作，現居北京市通州區宋莊鎮畫家村。田小赤參加過許多聯展、各展，其中包括：全國美展 (2002)、吉林省美術家大展 (2003)、吉林省青年藝術家大展 (2004)、「首屆宋莊繪畫大展」(2006)、宋莊藝術節 (2006)、「走出宋莊」三地循環展（北京、上海、山東，2007）「當代藝術聯展」(北京，798藝術區)；曾參加宋莊文化藝術節「相約宋莊」、「當聲」五人展、「當代水墨進行」個人作品展(北京博愛努畫廊)； 2008年舉辦「文化交流」乙卜個人水墨作品展(澳大利亞)；參加「朋友·厚薄」二人作品展(北京A區藝術中心)；2009年「象由心生」乙卜個人水墨展（宋莊林雅軒畫廊）。田小赤認為：愛是藝術家的原始動力，是藝術的基石。 Tian was born in Jilin, China, and is also known as Yibu or Lianchi. He graduated from Jilin College of Arts, and taught at Affiliated Senior High School of Jilin College of Arts in 1996. Tian is a member of Jilin Province Artists Association. Tian began creative career in 1999, and now resides in Songzhuang Artists Village in Tongzhou District, Beijing. He has participated in numerous joint exhibitions and held many solo exhibitions, including National Fine Arts Exhibition (2002), Jilin Province Artists Exhibition (2003), Jilin Young Artists Exhibition (2004), “First Songzhuang Paintings Exhibition ” (2006), Songzhuang Art Festival (2006), “Out of Songzhuang ” Exhibition Tour (Beijing, Shanghai, Shandong, 2007), and Joint Exhibition of Contemporary Arts (Beijing, 789 Art District). Tian also participated in Songzhuang Cultural and Art Festival “A Date in Songzhuang, ” and “Contemporary Sounds ” Five Artists Joint Exhibition. He held “Course of Contemporary Ink Painting ” Solo Exhibition (Rebueno Gallery, Beijing), and “Artist Exchange—Yibu Solo Ink Painting Exhibition ” (Australia, 2008). He partook in “Friends – Thickness ” Joint Exhibition (A-District Art Center, Beijing). He held “The Look Comes from Within ” Solo Exhibition (Gallery Lin Ya Xuan, Beijing) in 2009. Tian believes that “Love is the original motivation of artists, and the foundation of art. ”

WOUKI (1921-2013)

256

生於中國北京。1941年畢業於杭州藝專，曾任該校講師，受業於林風眠（1900-1991）、吳大羽（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。2016年，在江蘇省南通博物苑舉辦了「浩渺行無極，春風歸故里—趙無極2016中國版畫展」，這是他去世後的首次大型回顧展。2017 年於亞洲大學現代美術館推出「無極之美：趙無極回顧展」。其在第二次世界大後，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。

257

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Zao Wou-Ki was born in Beijing, China, he studied at the Hangzhou National College of Art under the instructions of artist Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). Upon graduating, Lin strongly encouraged his students to pursuit an artistic career in France. Thus, in 1948, Zao and his wife moved to Paris. During 1959 to 1965, he held annual solo exhibition at the New York Kootz Gallery. In 1970, he was considered the most successful Chinese painter living in France. In 1981, his works were displayed at the Galeries Nationals du Grand Palais and he won “Commandeur de la lgiond Honneur ”. In 2002, he was selected as an honorable member of the Academie Francaise. His work can be found in Musée d'art Moderne in Paris and other public and private collections. From 1993 to 1995, he was invited to exhibit in Taipei and Kaohsiung Art Museum. In 1994, Zao was awarded the Premium Imperial Award of Painting in Japan. A more recent retrospective show took place in 1998 that toured three major museums from Shanghai Museum of Arts, Beijing's Chinese Art Museum to Guangdong Museum of Arts. In 2016, the Nantong Museum in China presented an exhibition of prints and illustrated books by the artist. In 2017, the Asia University of Modern Art presents “Infinites of Zao Wou-Ki ” retrospective exhibition. After WWII, Zao Wou-Ki is considered to be one of the most influential artist of Parisian art movement, as well as the most successful Chinese painter of today.

MODERN AND CONTEMPOR ARY ART

317

朱德群 CHU

TEHCHUN (1920-2014 )

259

生於中國江蘇。1941年畢業於杭州藝專，在學期間，其創作深受潘天壽與吳大羽影響。1944至1949年任教於南京中央大學工學院，1951至1955年任教於臺灣師範學院。1955年移居法國，1957年獲巴黎春季沙龍銀牌獎，並於法國當地舉行多次個人展覽。1987年於國立歷史博物館舉行回顧展，1997年法國政府授予法蘭西學院藝術院士榮銜；2001年在巴黎及韓國舉辦個展；2003年為上海大劇院進行大幅創作；2006年獲頒歐洲傑出人才獎；2008年適逢八十八大壽，在台北國立歷史博物館舉辦回顧展；2014年於巴黎逝世，享年94歲；2016年《紙上藝術展》在巴黎中國文化中心開幕，作品涵蓋從幼年習作直至去世前各個階段的作品。由於對中國書畫技法與古典詩詞的喜愛，讓朱德群能夠遊刃有餘地將書法水墨詩意靈活融會在畫布之上，成就其畫作中東西交融之逸趣。

CHIWEI (1912-2002)

生於中國福建，原名劉福盛。1920年移居日本，先後畢業於日本神戶英語神學院以及東京鐵道教習學院。1945年來台， 1949年開始自修水彩 260 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 280 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。2017在東海藝術中心舉行「追隨大師的足跡—劉其偉教授紀念展」。

Born in Jiansu, China, Chu Teh-Chun graduated from the Hangzhou School of Fine Arts in 1941 where he was strongly influenced by artist Pan Tienshou and Wu Dayu. From 1944 to 1949, he taught at the Nanjing Central University, he continued to teach from 1951 to 1955 at the Taiwan Normal University. After immigrating to France in 1955, he received a Silver Award at the Paris Salon du Printemps in 1957. He held many solo exhibitions in Europe ever since. In 1987, the National Museum of History in Taiwan organized a retrospective exhibition in his honor. In 1997, he was inducted into the prestigious L’Institute de France, as a member of the Beaux-Arts and ten years later named Officier de l’Ordre national du Merite by the President of France. Since 2001, he held many solo exhibitions in both Paris and Korea. In 2003, he completed a large-scale mural titled “Symphony Festive ” commissioned by the Shanghai Grand Theatre. In 2006, he received a Gold Medal of Merit in Luxembourg. In 2008, the National Museum of History held another retrospective exhibition in his honor. In 2014, the artist passed away at the age of ninety-four. In 2016, the Centre Culturel de Chine held “Chu Teh-Chun Exhibition: Works on Paper ” displaying works from all stages of the artist’s life. Today, Chu Teh-Chun is recognized as one of the most distinguished Chinese abstract painter of the century.

Liu Chi Wei was born in Fujian, China, his original name was Liou Fu-Sheng. After immigrating to Japan in 1920, he enrolled in Kobe English Mission School and the National Railway Technical College in Tokyo. He moved to Taiwan in 1945 and began to learn watercolor through self-teaching, by 1951 he held his first solo exhibition. In 1962, he received First Place in watercolor from the Art Society of China. In 1996, he won the Honorary Art Medal from Chinese Writer’s and Artist’s Association. In 2001, he received gold and an honorary medal from the 4th Wen Xin Award. In 2002, he was rewarded by the president of Taiwan. His watercolor and oil paintings are deeply loved and respected by the people of Taiwan, they gave him the respectful and playful title of “Liu Lao ” referring to his child at heart persona. His exhibitions include: “80 Years Retrospective Exhibition ” (1990, Taichung, National Taiwan Museum of Fine Arts); “Explore 90 – Liu Chi Wei Charity Exhibition ” (2001, Taichung, National Taiwan Museum of Fine Arts); “Liu Chi Wei Europe to Asia Tour Exhibition ” (2001, Ireland, James Joyce Center). He has published extensively including “The Theory of Modern Painting ”, “Watercolor Techniques and Compositions ”, “Aboriginal Art and Culture in Taiwan ” and more. In 2017, his works were exhibited in “Following the Footsteps of the Master: Liu Chi Wei Professor Memorial Exhibition ” at Tunghai University.

許禮憲 HSU

許自貴 SHEU

LIHSIEN (b.1947)

262

許禮憲生於台灣台北，曾任國立花蓮師範學院雕塑教師、中華民國雕塑學會理事長、評議委員、全國美展雕塑評審委員、洄瀾美展評審委員、花蓮縣立文化中心石藝博物館諮詢委員。其融合漢代玉雕與埃及雕刻的創作方式，用單純的線面掌握光影的關係，以多樣的材質詮釋不同的生命面貌，曾獲花蓮 1997國際石雕創作營獎項、高雄市95國際雕刻營「生命跡象一成長之二」獲獎；作品於台灣公立之美術館皆獲典藏。展覽紀錄：「愛在大地—許禮憲作品展」(2013，台灣花蓮)；藝術家認為，雕塑之重點，在於造型、結構的要求與材料美感的表現。雕塑是三度空間的遊戲，美感隨著光線與角度不同而變化。雖是無生命的物體，卻能因環境的轉換而產各種感覺。雕塑創作之媒材至為廣泛，幾乎涵蓋所有材質，有無限的可能。

Hsu Lih-Sien was born in Taipei, Taiwan. He took the post of professor in the Sculpture Department at National Hualian University of Education. He was the chairman of the Republic of China Sculpture Society, jury member of the National Art Exhibition Sculpture Review Committee, member of the Hualian Art Exhibition, and consultant at the Hualian County Stone Sculptural Museum. Hsu’s artwork embodies distinctive characteristics inspired by Han Dynasty Jade and Ancient Egyptian sculptures. His lines and surfaces emphasize the effects of light and shadows, with multi-medium he successfully conveys the many appearances of life. He won the 1997 Hualian International Stone Sculpture competition, his work “The Signs of Life – Growing No.2 ” was also awarded at the 95th Kaohsiung International Sculpture Camp, currently acquired by Taiwan Public Art Museum. Exhibition includes: “Love of the Land- Hsu Lih-Hsien Art Work Exhibition ” (2013, Hualian, Taiwan). The artist believes the harmonious relationship between style, form and medium are the key elements in sculpture. Sculpture is similar to a three-dimensional game, its aestheticism is ever-changing with the direction of lights and different angles. Although a sculpture is a lifeless form, it can transform the surrounding environment. The artist worked in multimedium to welcome endless possibilities.

318

劉其偉 LIU

ZHONG CHENG 中誠

TZUKUEY (b.1956)

264

生於台灣高雄，國立台灣師範大學美術系畢業。1988年於美國紐約普拉特學院藝術研究所畢業。曾任華岡藝校校長、全省美展雕塑類評審委員、國立台南藝術學院碩士學位考試委員、全省美展油畫類評審委員、台北市立美術館審議委員、台南市文化基金會執行長等。曾參與的聯展有：2008年台北國際藝術博覽會、2009年馬來西亞藝術博覽、2011年上海藝術博覽會等。近期個展則有：「BeaChe－許自貴2011個展」(2011，台灣台南，東門美術館)、「禽牲時代─2010許自貴個展」(2010，台灣台北，黎畫廊)。作品為許多重要機構所收藏，如台北市立美術館、國立台灣美術館、高雄市立美術館等。

265

Sheu Tzu-Kuey was born in Kaoshiung, he graduated from the Fine Arts Department of Taiwan National Normal University. In 1988, he graduated from the master’s program at New York’s Pratt Institute. He was the principle of Hua-Kang Art School, committee member of the Provincial Art Exhibition, member of the Tainan National University of the Arts Master’s Degree Examination Committee, jury member of the Oil Painting Selection in the Provincial Art Exhibition, member of the Taipei Fine Arts Museum Committee, director of the Tainan Culture Foundation and more. He participated in 2008 Taipei Art Fair, 2009 Malaysia Art Fair and 2011 Shanghai Art Fair. Recent exhibitions include: “BeaChe- Sheu TzuKuey 2011 Solo Exhibition ” (2011, Tainan, Licence Art Gallery); “Time of Monster- Sheu TzuKuey 2010 Solo Exhibition ” (2010, Taipei, Lee Gallery). His works are acquired by many important institutions such as Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Art Museum and more.

謝孝德 HSIEH

266

HSIAODE (b.1940)

276

曾茂煌 CHENG

277

生於台灣桃園﹔謝孝德堅持具像藝術，將機械文明取代眼睛無法瞬間捕捉的概念，一直是他創作的信念。1965年畢業於國立台灣師範大學美術系後隨即留校任教， 1973至1974年間旅居法國巴黎並於羅浮宮藝術學院作研究，後返國撰寫《新寫實主義》一書，成為台灣倡導新寫實主義的開創人；現任國立台灣師範大學美術系研究所。在國內獲得獎項：台陽展、省展、全國展均獲得首獎多次，曾於日本、美國及台港等地舉辦個展，作品獲國立歷史博物館、國立台灣藝術教育館、台北市立美術館、國立台灣美術館、高雄市立美術館收藏，並屢獲獎項，包括1971年參加法國康城國際雙年展獲國家獎，1979年參加英國克里夫蘭國際素描展獲優秀獎，於 1982及1983年被英國世界名人錄列為世界名人之一。展覽：「謝孝德寫意造境精品展」(2012，國立新竹生活美學館)、「遊情寫意」精品典藏展(2014，國立彰化生活美學館)、「筆成神境」謝孝德水彩個展(2015，台中，韋瑞畫廊)、「山映水境」 (2016，台中，韋瑞畫廊)。 Born in Taoyuan, Taiwan, Hsieh Hsiao-De was devoted to the figurative style. Upon graduating from the Department of Fine Arts at the National Taiwan Normal University, he remained in the institute to teach. From 1973 to 1974, he traveled to Paris and did research on the Art School of Louvre. When he returned to Taiwan. He published a book titled “Neorealism ” thus became the founder of Neorealism in Taiwan. Hsieh won numerous awards in Taiwan. He received First Place in the Tai-Yang Art Awards, and also receiving multiple awards from the Taiwan Provincial Fine Arts Exhibition. He held solo exhibition in Japan, American, Hong Kong and Taiwan. His works are collected in Nation Museum of History, Nation Taiwan Arts Education Center, Taipei Fine Arts Museum, Nation Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts. His exhibitions include “Hsieh Hsiao-De Poetic Scenery Special Works Exhibition ” (2012, National Hsinchu Art Museum); “Travel Literature: Hsieh Hsiao-De Special Works Exhibition ” (2014, National Chuanghua Art Museum); “Hsieh Hsiao-De Watercolor Painting Solo Exhibition ” (2015, Taichung, Wei Rei Gallery); “Mountain Reflection upon Water – Hsieh Hsiao-De ” (2016, Taichung, Wei Rei Gallery).

李萬全 LEE

MAOHUANG (b.1934)

WANCHUAN (b.1958)

268

1958年生於台北，1977 年進入師大美術系，並於李石樵畫室習畫，1986年自美國紐約市立大學布魯克林學院取得碩士學位。1988年起開始旅居法國，2000~2004 年間多次於「法國國家沙龍展」參展，並於2003年獲得法國沙龍展「永久免審查會員」的最高榮耀，之後又成為法國專業藝術家會員、魁比克藝術家會員。曾多次參加國際性沙龍展與聯展，作品亦於美國、法國、比利時、荷蘭等地展出。近期展覽為：「李萬全油畫展」(2008~2016，台北，千活藝術中心)、個展(2014，新竹，新竹縣文化局美術館)、個展(2014，高雄，高雄醫學大學)、個展(2014，高雄，中山大學西灣畫廊)、「Bonjour Printemps 法之春行旅」(2015，台北，阿波羅畫廊)。 Lee Wan-Chuan was born in Taipei in 1958. He studied in the Department of Fine Arts at the National Taiwan Normal University, the same year he started art training with artist Lee Shih-Chiao. In 1986, he obtained his M.F.A from NYU. Starting from 1988 he resided in France. During 2000-2004, he often participated in the Salon de Salon de Ecole Française. In 2003, he was selected as a permanent Member of Associate by the Salon de la Société Nationale des Beaux Arts. He also became a member of Syndicat National des Artistes Professionnels and member of Le Cercle des Artistes Peintres et Sculpteurs du Quebec. He often participated in international salon and group exhibitions, his works were exhibited worldwide from U.S, France, Belgium, Nederland and more. His recent exhibitions include “Lee Wan-Chuan Oil Painting Exhibition ” (2008-2016, Taipei, Art & Julia); “Solo Exhibition ” (2014, Taiwan, Hsinchu County Cultural Center); “Solo Exhibition ” (2014, Taiwan, Kaohsiung Medical University); “Solo Exhibition ” (2014, Kaohsiung, National Sun Yat-sen University Art Center); “Boujour Printemps ” (2015, Taipei, Apollo Art Gallery).

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生於臺灣新竹，1956年畢業於省立師範專科學校。1968年作品榮獲全省教員美展油畫優選，自此益發努力創作，1970年代間，曾氏的作品榮獲多項重要美術獎，數度於省展、全國油畫展、台陽美術展及台北市美展中奪得優選，其中更獲第三十八及四十屆台陽美展油畫金牌獎。1981年在省立博物館舉行首次個展，其後陸續舉辦個展與回顧展，1988年作品《鄉趣》為國立台灣美術館收藏；多次遠赴歐洲、東歐、美國、日本等美術館考察，目前為專業畫家，分別在美國、台北兩地作畫的習慣，使其作品揉合東西雙方的浪漫。近期個展與聯展：「曾茂煌經典回顧展」 (2015，拓樸藝術藝廊)、「大地之歌」—風景油畫展(2015，雅逸藝術中心)。 Born in Hsinchu, Taiwan, Cheng Mao-Huang graduated from the Taiwan Provincial Hsinchu Provincial Normal College in 1956. He was awarded at the Taiwan Teacher Art Show in 1968, and was later encouraged to pursuit an artistic career. In 1970s, his works has won many important awards, including fires place in the 38th and 40th Taiyang Fine Arts Exhibition, National Oil Painting Exhibition Awards, and Taipei City Art Exhibition Award. He held his first solo exhibition at Nation Taiwan Museum in 1981, and his paintings have been in the museum’s collection since. He visited art museums of many countries including Europe, Middle East, America and Japan for inspiration. He works has an art studio in Taiwan and the US. His most recent exhibitions include: “Cheng Mao-Huang: A Retrospective ”(2015, Top Art Gallery); “A Song of Nature: Oil Painting Exhibition ” (2015, Julia Gallery).

閔希文 MIN

XIWEN (1918-2013)

269

生於中國江蘇。歷任上海戲劇學院舞台美術系副教授、教授，為中國美術家協會會員。1934年進入蘇州美專製版科，1941年自杭州國立藝專畢業並留校任教，師承吳大羽、方幹民、蔡威廉。1948年協助方幹民於上海創辦「中華藝術研究會」。其分別於1982、1987及1990年在中央美術學院舉辦個人展覽；1998年赴美國紐約舉辦個展；1995年首度於臺灣臺北舉行個展；2004年上海戲劇學院特別為其舉辦「閔希文油畫近作展」。其作品多次赴日本、美國、俄羅斯、新加坡、科威特等地展出，並為海內外收藏家珍藏。曾在各類美術專刊上發表論文，出版有《閔希文畫集》、《海上油畫續集》等。閔希文的創作融匯了許多的現代藝術流派，塞尚與初期立體派、馬諦斯和野獸派都對他的繪畫有著極大的影響。 Min Xi-Wen was born in Jiangsu, China. He taught in the department of Stage Art at the Shanghai Theater Academy, and was a member of the Chinese Artists Association. He began his artist training by studying print-making at Suzhou Academy in 1934, where he was instructed by Wu Da-Yu, Fang Gan-Ming, and Cai Wei-Lian. Min graduated in 1941 and remain at the school to teach art. In 1948, he assisted Fang Gan-Min to establish the Chinese Art Research Society. In 1982, 1987 and 1990, he held solo exhibitions at the Central Academy of Fine Arts. In 1998, he exhibited his artworks in New York. His art first appeared in Taiwan in 1955. In 2004, Shanghai Theater Academy specially presented “Min Xi-Wen Recent Oil Painting Exhibition. ” His artworks exhibited in Japan, United States, Russia, Singapore, Guraine and more. His wrote many essays that were published in art magazine, he also published “Min Xi-Wen Art Series ” and “On Sea Oil Painting Series ” and more. Min Xi-Wen’s works were strongly influenced by Contemporary art, Impressionism and Fauvist. He especially admire the work of Cezanne and Matisse.

MODERN AND CONTEMPOR ARY ART

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斯克拉林科‧安德列 SKLARENK ANDREI (b.1963)

張和平 ZHANG

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斯克拉林科‧安德列為俄羅斯的當代藝術、風俗畫家，畢業於俄羅斯列賓美術學院，師從畫家葉列梅耶夫，現任列賓美術學院副教授、俄羅斯美術家協會會員。深受俄羅斯現代藝術傳統的影響，描繪人民與社會的現狀樣貌，充滿情感的深刻體驗，以平面構成近距離的截取生活場景，畫面透過獨特的裝飾性色彩，達到豐富與戲劇化的色調。展覽紀錄：「美就是生活-斯克拉林科‧安德列繪畫作品展」 (2007，北京，中國美術館)；「安德烈繪畫作品展」(2008，荷蘭)。曾獲《北京國際博覽會》首次頒發給國外藝術家的「優秀作品獎」；2008年作品《美麗的瞬間》、《男人和女人》油畫)、《告別》獲中國美術館收藏。

1964年出生，畢業於山東藝術學院，中國美術家協會會員。作品雖被歸類西方油畫，但他不特別強調重量和質地，卻很重視「境」的營造，對於「像」的畫龍點睛之處，襯托線條的流動性，挾持在左右的氣場讓畫面附有聲色，用點、線、色等的變化一種純粹的藝術美。1994年應邀參加馬來西亞、新加坡中國風情油畫展，作品《草原之ㄧ，之二》被馬來西亞美術館收藏。2003年在北京國際藝莞美術館舉辦個人油畫展覽，作品《花卉系列之三》入選第三屆中國油畫精選作品展和精品集，《水鄉》系列入選當代油畫家百人作品集。2007年參加北京國際博覽會以及2008 年在台灣台中長榮桂冠酒店展覽。

Sklarenk Andrei is a Russian contemporary artist and folk painter. He graduated from the Repin State Academic Institute of Painting in Russia. He was a student of artist Oleg Arkadievich Eremeev, presently the vice professor of Repin State Academic Institute and member of the Russian Art Association Committee. He is deeply influenced by his heritage; through contemporary artistic expression he conveys sentimental views of our presentday society. He creates close up of familiar daily life adorned with unique and vibrant colors, the result is a dramatic and vivid image. Exhibitions records include: “Beauty is the Life- Exhibition of Sklarenk Andrei ” (2007, Beijing, the National Art Museum of China); “Sklarenk Andrei Painting Exhibition ” (2008, Ireland). His work was awarded at the Beijing International Art Fair. In 2008, his oil painting “The Beautiful Instance, ” “Man and Woman ” and “Goodbye ” are now in the permanent collection at the National Art Museum of China.

Born in 1964, Zhang He-Ping graduated from Shandong University of Arts, and served as a member of the Chinese Artists Association. His paintings are often categorized as western oil painting, yet he does not emphasize on capturing realism or a complete composition, instead his aim is to create “ambience. ” His style is characterized with free-flowing lines, spontaneity, and bold color theory. In 1994, he was invited to participate in the “Chinese Atmospheric Oil Painting Exhibition ” held in Malaysia and Singapore. His work “Grass Field One, Two ” was acquired by the National Visual Arts Gallery of Malaysia. In 2003, he held a solo exhibition at the Beijing International Plaza Museum, his work “Flower Series No.3 ” was nominated for the 3rd Chinese Oil Painting Featured Exhibition. Furthermore, his series “Water Village ” was published in the book “100 Contemporary Oil Painter. ” His artworks were shown at the Beijing Art Fair in 2007, and Taichung Eva Air Hotel exhibition in 2008.

張凱 ZHANG

朴栖甫 PARK

KAI (b.1985)

275

生於中國山西，1985年畢業於山西師範大學美術學院。曾多次參與國際聯展與藝博會，如「Ingrandimento」第55屆威尼斯國際藝術雙年展平行展(2013，義大利威尼斯)、「威尼斯雙年展平行展未來通行證」(2011，義大利威尼斯)、「Art Central藝術博覽會」(2015，中國香港，藝·凱旋藝術空間)、「台北國際藝術博覽會」(2014，台灣台北，藝·凱旋藝術空間)、「藝術登陸新加坡」(2011，新加坡)。主要個展則有：「把我的世界留在這—張凱作品展」(2013，中國北京，藝·凱旋藝術空間)、「請帶著我一起飛—張凱個展」(2011，台灣台北，台北寒舍藝術中心)、「斷續的夢-張凱個展」(2008，中國北京，凱旋新銳藝術空間)。 Zhang Kai was born in Sanxi China, he graduated from Sanxi University of Fine Arts in 1985. He participated in multiple international group exhibitions and art fair. Including “Ingrandimento – 55th Venice Biennale Exhibition ” (2013, Venice, Italy); “Universe in Universe- Venice Biennale Exhibition ” (2011, Venice, Italy); “Art Central ” (2015, Hong Kong, Triumph Art Space); “Taipei Art Fair ” (2014, Taipei, Triumph Art Space); “Art Landing in Singapore ” (2011, Singapore). His important solo exhibition includes: “Let My World Remain Here – Zhang Kai Solo Exhibition ” (2013, Beijing, Triumph Art Space); “Take Me Flying –Zhang Kai Solo Exhibition ” (2011, Taipei, Humble House Art Center); “Continuous Dream- Zhang Kai Solo Exhibition ” (2008, Beijing, Triumph Art Space).

320

HEPING (b.1964)

ZHONG CHENG 中誠

SEOBO (b.1931)

首爾出生，弘益大學美術系繪畫專業畢業， 2000年獲頒弘益大學榮譽博士學位，1962~97 年任弘益大學美術系教授，是韓國近代藝術史中最重要的藝術家之一。現任栖甫藝術文化基金會總裁。曾多次參與國際大展：1963 年「第三屆巴黎雙年展」，1965年「第八屆聖保羅雙年展」，1975 278 279 年「第十三屆聖保羅雙年展」。2002年美國洛杉磯「ACE畫廊個展」。近年展覽有：「台北國際藝術節」（2010，台北，泉水邊畫廊）、「韓國前衛的先行者：記錄他的60年」（2011，韓國釜山，釜山大都會藝術博物館）、個展（2012，韓國大邱，大邱美術館）、「多倫多藝術博覽會2012」（2012，多倫多，泉水邊畫廊）、個展（2014，首爾，東大門時尚設計廣場）、「書寫理論」（2014，巴黎，貝浩登畫廊）。作品於世界各地重要的美術館展出，包括韓國首爾國立當代美術館、新加坡美術館、德國柏林東亞藝術博物館及日本東京市立現代美術館。同時亦被許多公私立重要單位典藏，如韓國首爾國立當代美術館、韓國首爾三星集團美術館、日本東京現代美術館、日本福岡市立美術館及法國FNAC私人收藏。 Park Seo-bo was born in Seoul, he graduated from the Fine Arts department of HongIk University and received an honorary doctorate from the same institution in 2000. From 1962-97, he continued to teach at the institution. Park is one of the most important Contemporary artist in Korea. He is also the president of Seo-Bo Arts and Cultural Foundation. He entered many important exhibitions including: “The 3rd Biennale de Paris ” (1963, France); “The 8th Biennale de Sao Paulo ” (1965, Brazil); “The 13th Biennale de Sao Paulo ” (1975, Brazil); “Ace Gallery Solo Exhibition ” (2002, LA). Recent exhibitions include: “Taipei Art Fair ” (2010, Small Beauty Gallery); “Park, Seo-Bo, a Forerunner of Korean Avant-garde: Record His 60 Years ” (2011, Busan Metropolitan Art Museum, Korea); “Solo Exhibition ” (2012, Dasgu Art Museum, Korea); “Toronto Art Fair ” (2012, Small Beauty Gallery); “Solo Exhibition ” (2012, DDP, Seoul); “Ecriture ” (2014, Galerie Perrotin, France). His works exhibited in many important institutions including: Busan Metropolitan Museum, Singapore Art Museum, Museum of East Asian Art Berlin and Museum of Contemporary Art Tokyo. His work are acquired by Leeum Samsung Museum of Art, Museum of Contemporary Art Tokyo, Fukuoka Art Museum and the private collection of FNAC group.

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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ZHONG CHENG 中誠

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，在本公司拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。

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拍賣前 1.鑑定物品本公司鄭重建議，準買家應於拍賣進行之前親自鑑定有興趣競投之物品。本公司就任何拍賣品及拍賣證明文件之真偽，均不對買家作任何保證。 2.拍品狀況之重要注意事項請準買家注意，在儘可能的範圍內，目錄中對於拍賣品特性之描述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疵與不完整。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣品狀態不作任何承諾或保證。 3.符號表示以下為小目錄所載符號之說明ｏ保證項目拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家佣金。 4.目錄說明本公司於目錄中或有狀態陳述對任何拍賣品之作者、來歷、日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引參考，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應為拍賣品會成功拍賣價格之依據或拍賣品作其他用途之價值陳述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及/或修整資料。此等資料僅作為指引參考，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 5.買家之責任有關物品狀況及目錄說明所提述事項，買家有責任自行查明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確認自身對於該物品感到滿意。

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拍賣時 1.買方應繳之營業稅依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符號之編號者），若係於中國民國境外取貨，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

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外其他貨幣繳付，請買方核實繳付當日匯率，折合所繳付之等值貨幣計算。 3.拒絕入場拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣。 4.競投之前作出登記準買家在作出競投前，必須填妥及簽署登記表格，並提供身分證明。準買家應注意，本公司亦有權要求對買家作出信用核查，亦有權對買家收取一定成數之保證金。 5.競投者為買家除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 6.委託競投書面競投且經本公司確認，本公司將盡適當努力代其競投。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之人。除非在競投時有其他委託，此項書面競投的執行是本公司的免費服務。本公司不會對因未能執行之書面競投，或在當中出現任何錯誤或遺漏負任何責任。準買家如希望確保競投成功，應親自出席競投。 7.電話競投如準買家於拍賣前與本公司完成競投前相關作業，本公司將盡適當努力聯絡競投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無法參加電話競投，本公司對賣家或任何準買家均不負責任何責任。 8.貨幣兌換顯示版拍賣會上，本公司會使用貨幣兌換顯示板，匯率轉換顯示板僅供參考。然而競投仍會以新台幣進行。該貨幣兌換顯示版在操作時難免會出現錯誤。買家因依賴貨幣兌換顯示版(而非因以新台幣競投)而蒙受之任何損失，本公司概不負責。 9.錄映影像在若干拍賣中會有影像投射，有關操作上的失誤或影像素質參差不齊之情況，本公司不負任何責任。 10.拍賣官之決定權拍賣官具有絕對決定權，亦即有權拒絕任何競投、以其決定之方式推動出價、將任何兩件或多件拍賣推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，與如遇有誤差或爭議，將拍賣品重新拍賣。 11.成功競投與風險移轉在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家之成功拍賣合約之訂立。拍賣品之風險及責任，不包括其所有權(包括框架及玻璃)，在成交日起七個工作天期滿或在買家於期滿前提取該物品時，拍賣品與風險責任轉移到買家。拍賣後 1.買家支付之服務費買家除支付落槌價外，另須支付服務費予本公司。落槌價於新台幣貳仟萬元(含)以下者，服務費率以20%計算；超過新台幣貳仟萬元的部分，服務費率以12%計算。 2.稅項買家支付本公司之所有款項均不包括任何貨物稅、服務稅或其他增值稅。（不論由台灣政府或別處所徵取）。如有任何相關稅項產生，買家須負責按有關法律所規定之稅率及時間繳付稅款。 3.付款 a.成功拍賣後買家須向本公司提供其姓名及永久地址。如遇要求，亦需提供付款銀行之詳情。買方需於拍賣日期後七天內悉數支付所有交易款項（包含落槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。

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b.買家如未向本公司支付所應付之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，本公司將向買家收取所產生之任何外匯費用，這包括銀行收費與兌換貸幣之規費及匯差。以新台幣以外之貸幣付款予本公司之匯率，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兌現後方會將閣下所購得之物品交付。如欲作出是項安排，請向中誠之財務部索取表格辦理。銀行轉帳須存入以下戶口：合作金庫銀行復興分行(006) 帳戶名稱：中誠國際藝術股份有限公司帳戶號碼：0914-717-237961 *閣下向銀行發出指示時請附上閣下之名稱及發票號碼。 4.包裝及搬運搬運及包裝已購拍賣品時，本公司將善盡責任處理。惟七天期滿後或自領取時起，拍賣品風險全由買家承擔。本公司可在買方要求下提供承運廠商資料，但並不負任何法律責任。 a.不付款或未領取之已購拍賣品補救辦法如買家未在七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： (1)在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1%計算之違約金。將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下買家之款項。 (2)在將來的任何拍賣中，有權拒絕買家或由他人代其所作出之競投，或在接受其任何競投前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者外，另有權採取下列措施： i.代賣家針對買家進行法律程序，追討整筆欠款，連同此項以悉數賠償為基準之法律程序之訴訟費。 ii.取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品之交易。 iii.安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付款而引致之任何費用一併向買家索償。 b.未領取已購之拍賣品如已購得之拍賣品未能在成功拍賣七天內領取，不論是否已付款，本公司將安排貯存事宜，費用由買家承擔。 c.出口許可證 (1)除本公司另有書面同意外，買家希望申請出口許可證，並不影響買家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 (2)如買家要求本公司代為申請出口許可證，本公司有權收取增值稅與其他相關費用。 (3)如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買家因此產生之利息與其他已產生之費用。 5.本公司之法律責任本公司有責任在第六條所列之情況退還款項予買家。除此之外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之僱員或代理人，不論是明示或暗示均無 MODERN AND CONTEMPOR ARY ART

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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. 膺品/贓物之退款如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。但如： a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見，或 b.證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退款： (1)買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關拍賣品乃膺品之詳細理由及證據；且 (2)買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況應維持與拍賣當日相同，不得有任何損壞；及 (3)送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第三人之索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證拍賣品是否屬於贗品結果與買家出示證據相衝突者，應以本公司驗證結果為準。

Ⅱ. 賣家代理人中誠國際藝術有限公司（以下稱本公司）作為賣家代理人，賣家拍賣品的成交合約，則為買家與賣家之間的合約。

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相關費用 1.賣家需負責與下述項目有關之相關費用： a.將拍賣品包裝並運予本公司作拍賣。 b.任何適用之運送保險。 c.如拍賣品交回賣家其包裝與付運。 d.受保於本公司之藝術精品保單〈下文另有解釋〉 e.任何適用之關稅。 f.目錄插圖費用。 g.預先與賣家協定之對拍賣作品做出之任何修整。 h.裝框、裱畫之費用。 i.本公司相信為擬定目錄說明須由外界專家做出之鑑定。 j.本公司相信為適當之任何外界專家意見。 k.拍賣品拍賣後之儲存〈如適用〉 l.本公司之行政費用，成功拍賣或未能成交，數目為因閣下而引致之一切費用之10%。 m.任何市場推廣費用。 2.拍出者，本公司自「拍定價」中扣除依「規定比率」計算之佣金，因未能拍出而私下議價者亦同。

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保險 1.除非與本公司另有協定，否則拍賣品將自動受保於本公司藝術精品保險單，保額為本公司當時認為適當者。然而保額並非本公司承諾拍賣品會成功拍賣之款額。 2.本公司將向賣家收取落槌成交價之百分之一作為保險費，未成交則收取委託底價之百分之一作為保險費。如由本公司安排運送，本公司將向賣家收取額外款項，作為運送保險費。在賣家的要求下，本公司可提供承運廠

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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。賣家不購買保險之風險移轉如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至買家付清款項為止。賣家須保障本公司、本公司之僱員與代理人，以及買家（如適用）免負因拍賣品而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任，而不論索償產生之任何原因。

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賣家就拍賣品所作之承諾 1.賣家為拍賣品之唯一物主，具備將所有權轉讓予買家之無限制權利，並與一切第三人權利或索償（包括版權索償）無涉； 2.賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第三人未能遵守此等規定以書面通知本公司； 3.賣家已將其所知之有關拍賣品任何重大修改以及第三人就拍賣品之所有權、狀況或歸屬以書面通知本公司。 4.如上述1-3項，有任何不確實之處，賣家須應要求保證完全償還本公司及/或買家一切因之而引起之索償、費用之或開支，而不論是因拍賣品還是因拍賣收益而引起。

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拍賣安排 1.本公司對目錄內拍賣品之描述與圖示方式、作品估價、鑑定意見書、拍賣地點與方式、讓何人進場競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完全之決定權，本公司亦擁有無須賣方同意即可撤回拍賣品之權利。 2.如本公司或賣家撤回拍賣品，本公司得收取賣家委託底價40%之費用，另加一筆相等於拍賣品按保險值成功拍賣本公司應得之服務費之款項，以及任何適用之增值稅與保險費和其他開支。

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拍賣守則 1.本公司將會參照底價將拍賣品拍賣。底價不得高於目錄所印估價之下限。如競投價不能達到底價，本公司在任何情況均不負有任何責任。但本公司有權將拍賣品以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成交價與底價之差額。 2.賣家不得以自己或第三人名義隨意哄抬價格，不得參與競標標的作品，亦不得聘請任何人代賣家參與競標，唯本公司有權代理賣家以不超過底價之價格參與競標。

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成功拍賣後 1.結算在買家付款後，除非本公司收到通知該拍賣品為膺品（如本交易條款界定者），否則，本公司會於成功拍賣日期後六十天，將一筆相等於成交價扣除賣家應支付所有費用之款項支付賣家。如遇買家延遲付款，則本公司將在買家付款後七天內支付賣家。如因任何理由而使本公司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣款項退還予本公司。除賣家另有書面指示外，本公司以新台幣付款。如賣家要求以新台幣以外之貨幣付款，本公司將向賣家收取所產生之任何外匯費用。但如屬買家匯入其他貨幣時，本公司有權以其他貨幣支付。若賣家要求轉換成新台幣支付，本公司將向賣家收取所產生之任何外匯費用。 2.買家不付款如買家在拍賣日期後七天內未有支付應付之全部款項，本公司即有權代賣家就付款、貯存與保險而協定特別條款，並採取本公司認為需要的任何步驟以向買家收取其

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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，買家使本公司相信或懷疑該拍賣品為膺品（如本業務規定界定者）或贓物或涉及任何不法情事者，本公司得自行決定，則 a.如買家尚未支應付之全部款項，本公司有權取銷交易；及/或 b.如買家已支付款項時，本公司得無條件退還買家交付之拍賣落槌價（本公司得扣除因此所致之費用及相關處理費用）予買方時，而拍賣品將由本公司退回賣家或送交司法單位處理，賣方不得異議，或對本公司主張任何權利或請求。 c.如本公司屆時已支付賣家全部或部份應付款項，賣家並應於本公司通知後，於三天內無條件將該款項悉數退還本公司。在本項規定之a. b. c.三種情況下，賣家應於十日內付清相關退還款、基本支出費用，及賠償本公司因此所致之所有損失、損害及相關費用等。逾期退還、給付者，賣家應另外支付按不超過臺灣銀行放款利率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1％計算之違約金。本公司亦得自行選擇將賣家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下賣家之款項，賣家絕無異議。且，本公司將行使留置權，將在本公司控制下之屬於賣家之任何物品留置作應退還款項之擔保品。 4.未能成功拍出之拍賣品任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，在本公司發出通知，要求賣家領回拍賣品三十五天內，賣家必須領回拍賣品。任何此等拍賣品如在三十五天過期後仍未領回，每天每件將徵收貯存費新台幣壹仟元整，並加收貯存期間產生之保險費用。任何此等拍賣品如在拍賣日期後或上述通知日期後六十天內（以較早日期為準）未被領回，本公司可決定是否將該拍賣品進行處置。處置包括將拍賣品移往第三人之貨倉，開支費由賣家承擔，與將該拍賣品按本公司認為適當之條款（包括有關估計與底價之條款）公開拍賣。本公司其後會將拍賣所得扣除所有相關費用後支付予賣家。任何拍賣品如在拍賣中收回或未能成功拍賣，本公司獲授權在拍賣後的二個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費用後之款額），私下出售拍賣品，或按本公司與賣家另行同意之較低價格私下出售。在此情況下，賣家就該拍賣品而對本公司所負有之責任，與拍賣品成功拍賣時相同。圖片與圖示本公司對拍賣品之圖示、錄影或將拍賣品複製影像具有非排他性之權利。此等影像一切權利均屬本公司所有，且本公司有權以任何適合之方式使用，賣家絕無異議。

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其他事項 1.稅制 a.標的成交後，賣家委託者應提供護照、身份證、公司登記資料等符合中華民國稅法規定與稅捐機關要求的各項證明文件，或開立統一發票給本公司。 b.委託者如屬台灣公司法人，請以落槌價或委託底價(如委託底價高於落槌價)內含5%營業稅開立統一發票給本公司。 c.委託者如為台灣個人或於課稅年度居住台灣滿183天之外籍人士，其能提供符合中華民國稅法規定與稅捐機關要求的身份證明文件與相關資料予本公司者，應自行辦理年度所得稅申報。委託者於申報所得稅時，如能提出交易時之成交價額及成本費用之證明文件者，其財產交易所得之計算，依法核實認定。其未能提出計算所得之證明文件者，則應以落槌價或委託底價(如委託底價高於

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落槌價)之6%作為財產交易所得併入年所得中申報綜合所得稅。 d.委託者如為不符合上述之外籍人士，本公司將依法代扣落槌價或委託底價 (如委託底價高於落槌價)之3%。作為拍出後之所得稅，由本公司代為申報並繳交稅捐單位。如稅捐單位調整稅率，本公司得根據新訂稅率計算稅款並代扣及申報。 2.電氣及機械部件拍賣品如含有任何電氣或機械部件，賣家須負責確保此等部件處於安全操作狀況。賣家須全部償還本公司一切因賣家違反上述保證及擔保而引起之損害、索價、費用或開支。另有特殊附加條件對此等項目適用，有關條件可向本公司索取。

Ⅲ. 本規定所用詞彙之意義在下列規定中，某些常用詞彙需加以解釋。此等詞彙如下： 1.「買家」：指本拍賣公司所接受之出價最高者。 2.「落槌價」：指本拍賣公司就一拍賣品而接受之最高出價之價款。 3.「買家支付之服務費」：指買家按落槌價之某一百分比而支付之費用。 4.「底價」：指本公司與賣家協定之最低價格。 5.「膺品」：指拍賣品構成模仿，模仿之原構想及其整體執行均具有欺詐意圖，就拍賣品作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義，任何拍賣品均不會因為有任何損壞及/或任何形式之修整（包括重新上漆）而成為膺品。

Ⅳ. 買家與賣家均適用之條件 1.智慧財產權與拍賣品有關之一切影像、圖示與書面材料之相關智慧財產權(包括但不限於著作權、專利等)，於任何時候均屬於本公司之財產及所有。未得本公司事先書面同意，賣家、買家或任何人均不得使用。 2.通知 a.根據本交易條款發出之通知，均須以書面發出。如採用郵遞發出，則在付郵後第二個工作天，即視為收件人已合法收受；如收件人在海外，則為付郵寄出後第五個工作天，視為收件人已合法收受。 b.本公司根據本業務規則、委託授權書或買家所提供之聯絡資料對賣家或買家發出之通知，凡已依據委託授權書後附或買家所提供資料上所載的地址、電子郵件地址或傳真號碼統稱「聯絡方式」)以書面發出該通知者，均視為該通知已有效發出。若賣家或買家之聯絡方式有變更時，應立即以書面通知本公司。 3.可分割性 a.如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執行，則該部分可不予理會，而本業務規則之其他條款仍繼續有效及可強制執行。 b.本業務規則第二條買家條款項下之各條款，專屬適用本公司與買家間法律關係，賣家不得主張適用。本業務規則第三條賣家條款項下之各條款，專屬適用於本公司與賣家間法律關係，買家不得主張適用。 4.本業務規則同時存在中文及英文版本，如二版本內容有所歧異，應以中文版條文為準。 5.本業務規則得隨時由本公司修改，買方及賣方均同意遵守修改後之業務規則。 6.法律及管轄權本交易條款依據中華民國法律規限，本交易條款之解釋與效力均適用台灣法律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。

The following provisions are entered into by and between Zhong Cheng Auctions (hereinafter referred to collectively as “the Company”), as the auctioneer, and the Seller (hereinafter the “Seller”). The Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”). Both the Buyer and the Seller shall review and accept all provisions hereunder.

I.The Buyer ■ Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made and between the Seller, through the agency of the Company, and the Buyer.

Before the auction A. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. we provide no guarantees to the buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates. B. Important Notice The descriptions of auction items will mention obvious defects of the items as much as possible; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not guarantee that the Lots on auction are in good working condition and the description in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a Prospective Buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of face, not for representations or warranties. C. Symbol Key The following key explains the symbol you may see inside the small catalogue. ｏGuaranteed Property

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The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium. D. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and conditional reports or certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lot or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. E. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying him/herself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgments or estimation independently regarding the Lot.

■ At the auction A. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. B. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. C. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of the auction. The Company has full discretion, to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. D. Registration Before Bidding A Prospective buyer must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. E. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. F. Absentee Bids The Company will make reasonable effort to bid for the prospective buyers who instruct us to bid on their behalf by using the form attached the catalogue. Written bids form should be delivered to the Company prior to the auction. If we receive written bids on a particular lot for identical amounts, and the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with it. The prospective Buyer should attend the auction in person if they wish to ensure a successful bid. G. Telephone Bids The Company will make reasonable efforts to contact the bidder so he/she may participate in the auction by phone if the prospective buyer should request such arrangements prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. H. Currency Conversion Board The currency converter board will be utilized at the auction. The currency conversion board is not absolutely reliable and it is for reference only. The auction will be conducted in New Taiwanese dollars. Errors may occur in the operation of the currency converter board and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom. I. Video or Digital Images There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. J. Auctioneer’s Discretion The auctioneer reserves the absolute right to reject any bid, push for bids at his own discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. K. Successful Bids and Risk Transfer Under the discretion of the auctioneer, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer means the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot but not its title (including frames or glass where relevant) passed to the buyer at the expiration of seven working days from the date of the sale or on collection by the buyer if earlier.

MODERN AND CONTEMPOR ARY ART

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■ After the auction A. Buyer’s Premium The Buyer shall pay the hammer price plus the buyer’s premium to the Company and any applicable taxes. For hammer price below NT$20,000,000 (included), the buyer’s premium shall be calculated at 20% of the hammer price. For hammer price higher than NT$20,000,000, the first NT$20,000,000 should be calculated at 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 (1) The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, buyer’s premium and any applicable taxes) shall be paid within 7 days after the auction. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment is made other than NT dollars, the buyer shall pay the related expense incurred, including bank charges and foreign exchange service fees. (2) If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate 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. (3) It is Zhong Cheng’s policy to request any new clients or purchasers preferring to make a cash payment to provide proof of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card or driver’s license) and confirmation of permanent address. Thank you for your cooperation. (4) Cheques and drafts should be made payable to Zhong Cheng’s. Although personal and company cheques drawn in NT dollars on Taiwan Cooperative Bank is accepted, you are advised that property will not be released until such cheques have cleared unless you have a pre-arranged Cheque Acceptance Facility. Forms to facilitate this are available from the Finance Department in Zhong Cheng.

Bank transfers should be made to: TAIWAN COOPERATIVE BANK. FU HSIN BRANCH Swift No. : TACBTWTP091 Beneficiary name: ZHONG CHENG AUCTIONS CO., LTD. Beneficiary account number (13 digits): 0914 665 003801 * Please include your name and invoice number with your instructions to your bank.

D. Storage Storage and handling charge may apply. E. Collection, Packing and Shipping Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). The Company will provide shipping company upon the buyer’s request and do not accept any liability if any damage occurred by the shipping company. F. Remedies for Non-Payment or Non-Collection of Purchases The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, we have the right of charging also 1% selling price (including of harmmer price and the commission) multiplied by the numbered of delayed days as fine for the default. The payment

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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. (2) The Company reserves the right to refuse the Buyer to make on behalf of others, bids in any future auctions and/or to require a deposit from the Buyer before accepting any future bids made by the Buyer. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (3) To take legal action to the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such legal action based on a total claim. (4) To cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (5) To arrange a public or private re-sale of the Lot. If the reselling price is lower than the payment, the differences and other expenses incurred shall be responsible by the Buyer. G. No Collection of the Purchases The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the item, regardless payment is made or not. Such storage cost will be borne by the Buyer. H. Export Permit Unless otherwise agreed by the Company in written, the process of applying the export permit does not affect the Buyer’s responsibility to make the payments within 7 days. If the Buyer requests the Company to apply the export permit on his or her behalf, the Company is entitled to charge the related expenses. ■ The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein.

Return of payments for forgery The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: A. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or B. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of a catalogue or a procedure unreasonably expansive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer’s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit. The Buyer must return the Lot to the Company within 14 days following the said notice and the condition of the item must be the same as on the auction day and without damage. (2) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern and third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who received the original invoice on which such Buyer’s name is recorded from the Company when the Lot is sold. Such buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by

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the Buyer.

II. The Seller

■ Zhong Cheng as the agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lots is the agreement by and between the Buyer and the Seller. ■ Expenses The Seller shall bear costs relating to the following: a. Packing if the Lot and shipping to the Company for the action b. Any applicable shipping insurance c. The packaging and shipping if the item is delivered back to the Seller. d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e. Any applicable custom duties f. Catalogue illustrations g. Any repairs made to the Lot as per prior agreement with the Seller h. Framing and mounting i.Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations. j. Any independent professional opinions which the Company deems proper. k. Collect 50% of the insured amount as part of the general expenses of the Company in the event the Lot is not successfully auctioned l. The storage of the Lot after the auction (if applicable) m. The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided. n. Any marketing and promotional expenses ■ Insurance coverage to be arranged by the Company a. Unless otherwise agreed by the Company, the Lot will be automatically insured under the Company art relic policy in the amount as deemed appropriate by the Company undertakes to be successfully during the auction. b. The Company will collect 1% of the hammer price from the seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder any legal responsible for any legal responsibilities incurred therefrom. c. The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller’s risk upon the expiry of 7 days. d. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions or weather. 4. No Insurance Purchased by the Seller and Risk Transfer If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments and the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim without any conditions.

Commitments made by the Seller with respect to the Lot a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above mentioned, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. d. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising here from, whether caused by the Lot or the auction proceeds.

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Auction arrangements a. The Company has absolute discretion over the description

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of the auction in the catalogue, display layouts, estimate price, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. The Company reserves the right to withdraw the lot without obtaining the consent of the Seller. b. If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller. Auction rules a. The Company will auction the item according to the Reserve Price. The Reserve may not be higher than the minimum of the estimates set in the catalogue. The Company is entitled to auction the item at a price lower than the Reserve, If the lot is sold according to the above principle, the Company is responsible to pay the Seller the difference between the closing price and the Reserve. b. The seller may not increase the price with his own or other third parties’ names, nor participate in the bidding of his/her auction item(s) with his own or other third parties’ name, however the Company is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. ■

■ After the auction a. Settlement After the payment is made by the Buyer, unless the Company receives a notice claiming such auction item is a forgery (as defined in the Agreement), the Company will pay the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from. b. Non-Payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Counterfeits If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) or stolen good or involved in any illegality within ten (10) days after the auction date, the Company may decide upon its sole discretion as follows: (1) If the Buyer does not pay the payable payment in full yet, the Company has the rights to withdraw the transaction; (2) If the Buyer has paid the payable payment in full, the Company may return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company’s decision and handling in accordance with this Lot and make any claim or allegation; (3) The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three days of such notification, and shall pay the Company fees and expanses, and any and all losses, damages or related expanses and fees. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Bank of Taiwan plus ten percent (10%) per annum. In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensation for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries payment due to the Seller in other transactions. d. Unsuccessfully Auctioned Items Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the

Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$1,000 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 60 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction. ■ Photographs and display The Company owns the copyright in all images, illustration and written material produced by or for the Company’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of the Company and shall it be used by the Buyer, nor by anyone else, without the Company’s prior consent. The company is entitled to use such images in any manner it deems appropriate, and the Seller can not object. ■ Other Matters a. Taxes (1) The Seller shall provide passport, ID, company registration document or other necessary document or invoices to the Company for tax filing according to the tax laws of the Republic of China (Taiwan) or requirements of competent revenue agency. (2) If the Seller is a Taiwanese company (or other types of legal entity except for individual), the Seller shall issues an invoice amounting the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) with the 5% VAT included in such amount. (3) If the Seller is an individual who has domicile in Taiwan and resides in Taiwan, or who has no domicile in Taiwan but resides in Taiwan for a period of more than 183 days during a taxable year, and the Seller can provide sufficient and appropriate evidence for such standing to the Company, the Seller shall include the income derive from the transaction in the annual consolidated income tax report. The income amount will be the actual profit if the Seller can provide evidence of the sell prices as well as the original cost for obtaining such item(s). Where no sufficient evident of actual profit could be provided, the Seller shall include in the income tax report an income of 15% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) as the income derived from such property transaction. (4) Where the Seller is not Taiwan resident as described above, Seller agrees that the Company deducts 3% from the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) as income tax to the competent revenue agency according to the tax laws of the Republic of China (Taiwan). The amount to be deducted and filled with competent revenue agency by the Company shall be subject to change once the applicable tax rate is adjusted. b. Electrical and Mechanical Parts The Seller must be responsible for maintaining the safe operating condition of the electrical and mechanical parts of the Lots. The Seller must compensate the Company all damages, the claims, costs and expenses arising out of any violation of the said guarantee and warranty by the Seller. There are other special additional conditions apply to this provision. The relevant conditions are available at the Company.

cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is for less than the value it should have according to the description in the catalogue, Therefore, no auction item will become a forgery as a result of any damage and/or any repairing in any manner (including repaints).

IV. Terms applicable to both the Buyer and the Seller

1. Intellectual Property Rights Intellectual property rights, photographs (including but without limitations, the copyright or patent) of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer, Seller or any person may not use such items without obtaining prior written consent from the Company. 2. Notices a. All the notices distributed according to the Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. b. Any written consultations, inquiries, and notification (hereinafter “communication”) made by Zhong Cheng Auction to the Mandator concerning matters as outlined in the Agreement will be deemed sufficient if the communication is made in writing and sent to that other party in accordance with that other party’s address, e-mail address or fax number as listed in this Agreemenet (the “contact information”). The Mandator shall notify Zhong Cheng in writing where there is a change in the contact information. 3. Severability a. If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. b. The condition of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply. 4. This Agreement is entered in to the parties in English and Chinese, If there is any conflict with two versions, the Chinese version shall prevail. 5. This agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer and the Seller agree to obey the revision or modification. 6. Jurisdiction The Transaction Agreement are governed under the R.O.C. law and the interpretation and effect of the Rules shall be subject to the laws of Republic of China. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of Taiwan Taipei District Court as the first instance for the interests of the Company.

III.Terms of definition

Some of the phrases commonly seed herein are defined as follows: 1. “Buyer” means the highest bidder accepted by the auctioning party. 2. “Hammer price” means the highest bid with respect to one particular auction item accepted by the auctioning party. 3. “Buyer’s Premium” means the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in this Agreement. 4. “The Reserve” means the lowest price agreed by the Company and Seller. 5. “Forgery” means the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to

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