Poly Auction Hong Kong | Spring Auctions 2019 | Modern and Contemporary Art

MODERN AND CONTEMPORARY ART

現當代藝術 HONG KONG 31 MARCH 2019 香港 2019 年 3 月 31 日

101

102

KAWS ( A M E R I CA N , B . 1 974) Ups and Downs

KAWS ( A M E R I CA N , B . 1 974) Ups and Downs

KAWS 上上下下

KAWS 上上下下

Executed in 2013 screenprint edition: 13/100 87.8 x 57.4 cm. (34 1/2 x 22 1/2 in.) editioned, signed and dated '13/100 KAWS..13' (bottom)

Executed in 2013 screenprint edition: 13/100 87.8 x 57.4 cm. (34 1/2 x 22 1/2 in.) editioned, signed and dated '13/100 KAWS..13' (bottom)

Provenance

Provenance

Private Collection, Asia

Private Collection, Asia

2013 年作 絲網 版畫 版數：13/100 款識：13/100 KAWS..13（底部）

2013 年作 絲網 版畫 版數：13/100 款識：13/100 KAWS..13（底部）

來源

來源

亞洲 私人收藏

亞洲 私人收藏

HK$ 60,000 - 120,000

HK$ 60,000 - 120,000

US$ 7,700 - 15,400

US$ 7,700 - 15,400

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103 KAWS ( A M E R I CA N , B . 1 974) Untitled KAWS 無題

Executed in 2006 diamond dust on screenprint edition: 8/50 50.5 x 50.5 cm. (20 x 20 in.) editioned, signed and dated '8/50 KAWS..06' (bottom)

2006 年作 鑽石粉 絲網 版畫 版數：8/50 款識：8/50 KAWS..06（底部）

Provenance

直接得自於藝術家 蘇富比 香港 2017年10月1日 編號720 現藏者購自上述拍賣

Acquired directly from the artist Sotheby's Hong Kong, 1 October 2017, Lot 720 Acquired from the above sale by the present owner

來源

HK$ 120,000 - 200,000 US$ 15,400 - 25,600 Modern and Contemporary Art

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104 JEFF KOONS ( A M E R I CA N , B . 1 9 5 5 ) Ballon Rabbit (Red) 傑夫．昆斯 氣球兔（紅色）

Executed in 2017 porcelain with high-gloss glazing sculpture edition: 910/999 14 x 20 x 29 cm. (5 1/2 x 7 3/4 x 11 1/2 in.) signed, inscribed, editioned and titled 'Jeff Koons LIMITED EDITION/FINE PORCELAIN 910/999' 17 JEFF KOONS BALLOON RABBIT' (bottom)

2017 年作 瓷 釉彩 雕塑 版數：910/999 款識：Jeff Koons LIMITED EDITION/FINE PORCELAIN 910/999' 17 JEFF KOONS BALLOON RABBIT（底部）

Provenance

亞洲 私人收藏

來源

Private Collection, Asia 附 法國 Bernardaud Edition Limitée 開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Bernardaud Edition Limitée, France.

HK$ 100,000 - 200,000 US$ 12,800 - 25,600 4

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105 JEAN-MICHEL BASQUIAT ( A M E R I CA N , 1 9 6 0 -1 9 8 8) Flexible 尚．米榭．巴斯基亞 靈活

Executed in 2016 screenprint edition: 25/85 148 x 110.5 cm. (58 1/4 x 43 1/2 in.) editioned '25/85' (lower right); signed, dated and editioned by the Basquiat Foundation administrators 'Lisane Basquiat Jeanine Heriveaux 5/13/16 25/85' (label on the reverse)

2016 年作 絲網 版畫 版數：25/85 款識：25/85（右下）；Lisane Basquiat Jeanine Heriveaux 5/13/16 25/85 （畫背標簽） 來源

美國 紐約 私人收藏

Provenance

Private Collection, New York, USA

附 美國 紐約 Flatiron Editions開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Flatiron Editions, New York, USA.

HK$ 350,000 - 550,000 US$ 44,900 - 70,500 Modern and Contemporary Art

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106 JEAN-MICHEL BASQUIAT ( A M E R I CA N , 1 9 6 0 -1 9 8 8) Liberty 尚．米榭．巴斯基亞 自由

Executed in 2017 screenprint edition: 33/50 56.4 x 76.2 cm. (22 1/4 x 30 in.) editioned '33/50' (lower right); signed and dated by the Basquiat Foundation administrators 'Lisane Basquiat Jeanine Heriveaux 12/7/17' (on the reverse)

2017 年作 絲網 版畫 版數：33/50 款識：33/50（右下）；Lisane Basquiat Jeanine Heriveaux 12/7/17（畫 背）

Provenance

美國 紐約 私人收藏

來源

Private Collection, New York, USA 附 美國 紐約 Flatiron Editions開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Flatiron Editions, New York, USA.

HK$ 120,000 - 180,000 US$ 15,400- 23,100 6

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107 JEAN-MICHEL BASQUIAT ( A M E R I CA N , 1 9 6 0 -1 9 8 8) Olympic 尚．米榭．巴斯基亞 奧林匹克

Executed in 2017 screenprint edition: 33/50 56 x 76.5 cm. (22 x 30 in.) editioned '33/50' (lower right); signed and dated by the Basquiat Foundation administrators 'Lisane Basquiat Jeanine Heriveaux 12/7/17' (on the reverse)

2017 年作 絲網 版畫 版數：33/50 款識：33/50（右下）；Lisane Basquiat Jeanine Heriveaux 12/7/17（畫 背）

Provenance

美國 紐約 私人收藏

來源

Private Collection, New York, USA 附 美國 紐約 Flatiron Editions開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Flatiron Editions, New York, USA.

HK$ 120,000 - 180,000 US$ 15,400 - 23,100 Modern and Contemporary Art

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108 YOSHITOMO NARA ( JA PA N ES E , B . 1 9 5 9) Untitled 奈良美智 無題

Painted in 2003 coloured pencil on paper 21.3 x 30.5 cm. (8 1/2 x 12 in.)

2003 年作 彩色鉛筆 紙本

Provenance

美國 洛杉磯 Blum & Poe畫廊 亞洲 私人收藏

Blum & Poe Gallery, Los Angelas, USA Private Collection, Asia Literature

Yoshitomo Nara: The Complete Works Volume 2–Works on Paper, Bijutsu Shuppan Sha, Tokyo, Japan, 2011 (illustrated, plate D-2003-115, p. 208).

HK$ 480,000 - 680,000 US$ 61,500 - 87,200

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來源

出版

《奈良美智：作品全集 第2卷—紙本作品》美術出版社 東京 日本 2011年 （圖版，第D-2003-115圖，第208頁）

Modern and Contemporary Art

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109 YOSHITOMO NARA ( JA PA N ES E , B . 1 9 5 9) Unknown (Q) 奈良美智 未知（Q）

Painted in 1996 ink and coloured pencil on paper 20.5 x 14.6 cm. (8 x 5 3/4 in.) signed in Japanese; dated ''96.' (lower right); inscribed 'YN-0003' (on the reverse)

1996 年作 墨水 彩色鉛筆 紙本 款識：なら'96.（右下）；YN-0003（畫背）

Provenance

日本 東京 小山登美夫畫廊 美國 洛杉磯 私人收藏 亞洲 私人收藏

Tomio Koyama Gallery, Tokyo, Japan Private Collection, Los Angeles, USA Private Collection, Asia

HK$ 280,000 - 480,000 US$ 35,900 - 61,500 10

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來源

張 凱

ZHANG KAI

童話

迪亞哥．維拉斯奎茲《穿藍色衣服的特麗莎公主》1659年作 奧地利 維也 納 藝術史博物館藏 Diego Velázquez, Infanta Margarita Teresa in a Blue Dress , 1659, Collection of Kunsthistorisches Museum, Wien, Austria Lot 110

「張凱的作品如同他本人一樣，似乎來自一個美麗的童話世界，恬靜中透出典雅的氣質。在張凱營造出的童話世界裡充滿了浪漫的美學意蘊， 儘管其中也有一份憂傷的成份，但是其作品中顯現出對待美麗的嚴肅態度卻十分鮮明，這種嚴肅的態度來源於張凱質樸和真誠的繪畫觀。 張凱不在意藝術是否完全與現實相吻合的通常意 感依附，這一點使藝術家得以悠然於自我 張凱對待古典繪畫的膜拜是虔誠的， 典繪畫，並以此進行再構，對內容 世界裡超群的想像結果。正是作 才使得張凱的童話語境得以 張凱始終如一地在作品中

義，他關心的只有他個人世界裡的視覺故事和情 空間並十分嚴肅的對待他的每一份體驗。 其作品的視覺構成幾乎完全來源於古 的置換和挪移則是藝術家個人精神 品樣式和內容之間的高度統一 完美呈現。 編撰他的童話夢想，無所

謂隱喻什麼特別概念，

也無所謂製造什麼時代

觀念，其嚴肅的繪畫態

度足以把他的童話世界

不斷持續。」 ─劉兆武〈嚴肅的童話〉 “Zhang Kai’s work, just like of quietness and elegance from a wonderland. It is implication in the world is a trace of sadness. in his painting is the serious beauty, and it is root in the Kai’s artistic values.

Zhang Kai doesn’t put emphasis the ordinary meanings of the reality, stories and emotional attachments in feeling of easiness in the self-space and, experience. The visual elements in Zhang Kai’s and then reframes the basic elements since he substitution and transformation are the harvest of the context comes true due to the intense combination with style

himself, displays the figure that seems to have come full of romantic aesthetic he created though there However, what is reflected attitude distinctively to the sincere and pristine of Zhang on whether the art would meet what he concerns is the visible his inner world. This allows an artist a enables him to be serious about to every work are mostly based on classical painting, conducts devout method to worship them. The artist’s fantastic personal inner world. The fairy-tale and content.

Zhang Kai consistently keeps his fairy-tale dream in the productions, regardless of the particular concept of metaphor or manufacturing concept of era. His serious attitude is enough to enable his fairy tale world to go on forever.”

- Liu Zhaowu, “The Solidification of Poetry and the Solemnity of Fairy Tales”

Modern and Contemporary Art

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110 ZHANG KAI (C H I N ES E , B . 1 9 8 5 ) Little Princess 張凱 小公主

Painted in 2009 oil on canvas 59.5 x 50.5 cm. (23 1/2 x 20 in.) signed and dated 'ZK 09' (lower centre)

2009 年作 油彩 畫布 款識：ZK 09（中下）

Exhibited

2013年1月19日-2月28日「把我的世界留在這兒—張凱個展」藝．凱旋畫廊 北京 中國

China, Beijing, Triumph Gallery, Leave My World Here: Zhang Kai Solo Exhibition, 19 January-28 February, 2013.

HK$ 240,000 - 360,000 US$ 30,800 - 46,200 12

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111 ZHANG KAI (C H I N ES E , B . 1 9 8 5 ) Hello My Memory 張凱 你好我的記憶

Painted in 2012 oil on canvas 80 cm. (31 1/2 in.) in diameter signed 'ZK' (lower centre)

2012 年作 油彩 畫布 款識：ZK（中下）

Provenance

亞洲 私人收藏

Private Collection, Asia Exhibited

China, Beijing, Triumph Gallery, Leave My World Here: Zhang Kai Solo Exhibition, 19 January-28 February, 2013.

來源

展覽

2013年1月19日-2月28日「把我的世界留在這兒—張凱個展」藝．凱旋畫廊 北京 中國

HK$ 260,000 - 360,000 US$ 33,300 - 46,200 Modern and Contemporary Art

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112 AYAKO ROKKAKU ( JA P E N ES E , B . 1 9 82) Untitled 六角彩子 無題

Painted in 2015 acrylic on canvas 120.5 x 190.3 cm. (47 1/2 x 75 in.) dated '2015'; signed in Japanese (lower right)

2015 年作 壓克力 畫布 款識：2015 ロッカクアヤコ（右下）

Provenance

荷蘭 阿姆斯特丹 Delaive 畫廊 現藏者購自上述畫廊

Galerie Delaive, Amsterdam, Netherlands Acquired from the above gallery by the present owner

來源

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

「我是盡力回到兒時的心境和初衷來作畫的，每個人小時候都有過不加思考，只是拼命塗寫 畫畫的經歷，觀眾看了我的畫，可能會回憶起那時的心境吧。」

─六角彩子 "When I'm painting, I try to get in touch with the way I felt as a child-to get back to my starting point, if you like. Everyone goes through a stage of being totally into drawing and painting when they are small. Children can get completely absorbed in their pictures. I think maybe my pictures help to remind people of how they felt back then."

- Rokkaku Ayako 14

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Modern and Contemporary Art

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113 JIA AILI (C H I N ES E , B . 1 979) Dolly! Dolly! 賈藹力 多莉！多莉！

Painted in 2008 oil on paper, in frame painted by the artist 84 x 58.5 x 3 cm. (33 x 23 x 1 1/2 in.) signed and dated 'JAL 2008' (lower right)

2008 年作 油彩 紙本 藝術家手繪框 款識：JAL 2008（右下）

Provenance

中國 北京 站台中國當代藝術機構 現藏者購自上述畫廊

Platform China Contemporary Art Institute, Beijing, China Acquired from the above gallery by the present owner Exhibited

來源

展覽

2008年8月30日-10月12日「微妙」站台中國當代藝術機構 北京 中國

China, Beijing, Platform China Contemporary Art Institute, Subtlety, 30 August-12 October, 2008.

HK$ 400,000 - 500,000 US$ 51,300 - 64,100

2008年8月著名策展人凱倫．史密斯在站台中國策展了名為「微 妙」的聯展，以當代社會議題引發的議題為創作出發點，此次上拍 作品《多莉！多莉！》(Lot 113) 則是當時參展作品之一。1996年人 類第一隻成功複製的哺乳動物多莉誕生，但存活時間僅為7年，是一 般羊壽命的一半。賈藹力以此社會題材為思考點，直接以IKEA的現 成畫框為媒材，運用充滿速度感的筆觸描繪出多莉的樣貌，靠近框 架處逐漸虛化，透出了IKEA印刷品的字樣，藝術家獨一無二的手繪 與工業社會大量製造的裝飾品在此交會，《多莉！多莉！》跳脫了 傳統繪畫與裝置、現成物作品的分類，賈藹力以媒材的特殊性加深 了作品所欲傳達的多重內容與象徵意義。畫裡的羊眼神天真無辜充 滿靈性，脖子繞著的繩子一直延伸到畫框上面，體現了生命與科學 發展下的種種衝突和限制，述說了藝術家對人類科技文明進步所帶 來的與社會倫理道德之衝突的思考與控訴。

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In August 2008, the renowned curator Karen Smith curated a joint exhibition inspired by the issues in contemporary society of that time, titled "Subtlety" at Platform China Contemporary Art Institute. Dolly! Dolly! (Lot 113) was one of the works exhibited. In 1996, Dolly the sheep became the first successful cloning of a mammal in human history. Dolly lived only to the age of seven, which is half of a sheep's normal lifespan. Jia Aili applied this social topic as a starting point, used IKEA's ready-made picture frames as a medium, and utilised brisk brushstrokes to depict the image of Dolly. The picture blurs towards the frame edges and reveals the inprints on IKEA's products. The artist combines unique hand-painting and industrially mass-produced decorations in this single work of art. Dolly! Dolly! cannot be classified as a traditional painting, an installation or a ready-made. The specificity of medium applied by Jia Aili in this work deepens its diverse content and symbolic meaning. The sheep's eyes in the painting portray a sense of innocence and are full of spirituality. The rope around her neck extends beyond the frame, reflecting the conflicts and limitations which accompany the development of life and science. The work exemplifies the artist's concerns and objections upon the moral conflicts generated by technological advancements in the ever developing human civilization.

Modern and Contemporary Art

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陳 可 敏感的神經 CHEN KE

不同於飽受社會巨大變革影響的老一輩中國

壓力和內心深深的孤獨感帶來的苦澀。陳可創

當代藝術家，成長過程中歷經國際多重文化

作中標誌性的小女孩被置於畫面正中央，這個

強烈衝擊的「八零後」更加善於迎接並吸納

常常被看做是藝術家內心自我投射的人物形象

新鮮事物。他們以追求自由、釋放自我的鮮

以略帶不安與拘束的姿態靜靜佇立，雙手緊握

明個性將更加直觀的藝術語言帶入到自己的

於胸前，唇部微微張開、欲言又止，而與觀眾

創作中，更加強調個人符號、充滿幽默玩味

最直觀交流的雙眼被白色布條緊緊蒙住；這個

性。生於70年代末尾的陳可，以成熟精細的

充滿自我懷疑，懼怕與外界交流的姿態，似乎

筆觸，將其略帶憂傷的思緒與記憶通過超現

正是當時陳可內心孤寂與對新環境迷茫的真實

實的畫面呈現於觀者面前，在「卡通一代」

寫照。然而所有指向內部與自我的肢體信號與

藝術家中尤為突出。

頭頂彷彿開枝散葉般蔓延出的不計其數的螢光 色觸角，在視覺上形成了收與放的鮮明對比，

2005-2006年是陳可藝術生涯轉折的重要階 段，彼時的她，第一次跳離自己生活與成長 了近30年的舒適圈—四川，毅然踏上了「北 漂」的征途。北京陌生的環境對陳可來說充滿 了機遇與挑戰，她在自傳中提到「…走在兩邊 高大的廠房裏，就覺得自己的渺小…一切都得 重頭開始…」。在這個多元廣袤、一切都被放 大的城市裏，她的迷茫、不安與自我質疑漸漸 蛻變為了心境上的成長與創作風格的豐富與 成熟，《敏感的神經》(Lot 114) 正是這個時 期藝術家不斷的自我辯證歷程中極具特色的 代表作品。畫面的青灰色背景，有如北京迷迷 雷內．馬格利特《戴禮帽的男人》1964年作 René Magritte, Man in a Bowler Hat , 1964

濛濛的空氣，彷彿映射著藝術家因為大城市的

Unlike China's elder generation who experienced a changing society through Cultural Revolution, those who were born in the 80s received many cultural shocks while growing up, and were more open and accepting towards new things from around the world. They pursuit freedom, disconstrain themselves and bring more intuitive artistic language into their works. Their artworks emphasize individualism with humour and playfulness. Born in the late 70s, Chen Ke developed a mature and fine brushstroke which was always hinted with sorrow, presented in the surreal scenes of her works. She is especially outstanding amongst her peers of the "Cartoon Generation" in China.

2005-2006 was the turning point for Chen's artistic career. She left Sichuan, the comfort zone where she has lived for more than 30 years, and moved to Beijing.

For her, the new environment was unfamiliar yet filled with opportunities and challenges. As she once mentioned in her autobiography,"... I felt insignificant while walking among those gigantic factories… I had to reposition myself and restart…" Within this cosmopolis where everything was magnified, both Chen's character and her art manifested through a journey of confusion, anxiety and self-questioning, her works of this time developed a more mature and diversified quality. Sensitive Nerve (Lot 114) is an iconic piece created during this time. The

這些光亮的、柔軟的枝節，像是藝術家豐富思 緒的敏感神經，又或許是與外界交互信息的紐 帶，試圖在一切交流渠道被封鎖的同時從另一 角度建立起與觀者的某種聯繫，這正是陳可內 心渴望突破與周圍環境生疏感的內心獨白。畫 面對於細節的描繪和情緒的精準把握是藝術家 逐漸邁向創作成熟期的最佳印證，內容上衝突 性與平衡感的相互作用更開啟了未來走向更多 元創作的開端。《敏感的神經》述說的是陳可 年輕時面對社會內心最真實，最柔軟的情緒， 同時也為一代或許在新環境中迷茫的年輕人找 到了精神出口。

blue-gray background alludes to the smoggy sky of Beijing, and also reflects the artist's bitterness from the pressure and loneliness of living in a big city. Chen's iconic protagonist, often referred to as the artist's self avatar, is quietly standing in the center with a sense of uncertainty and restraint. Her hands are held together tightly, lips slightly open, as if to speak but restrained from doing so.

Blindfolded by a piece of white cloth, disrupting her only direct connection with the viewer. The self-questioning, anti-social stance of the figure is an authentic portrayal of Chen's loneliness and confusion caused by the new environment.

However, countless neon antennas reached out from the top of her head, creating a strong visual impact in contrast to her appearant introvert physical stance. These luminous, soft antennas are arguably the best indication of the artist's complex thoughts and "sensitive nerves". This only channel to connect with the outside world was probably Chen Ke's inner monologue of seeking a breakthrough. In this painting, every detail is captured with precision and the artist was confident in creating conflicts within the scene, reflecting a stage of personal artistic maturity. Sensitive Nerve expresses Chen's most sincere and softest emotions when facing an unfamiliar environment in her youth; in a way, and comfort youngsters whenever they feel lost in a new place.

Modern and Contemporary Art

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114 CHEN KE (C H I N ES E , B . 1 978) Sensitive Nerve 陳可 敏感的神經

Painted in 2006 oil on canvas 160 x 160 cm. (63 x 63 in.) titled, inscribed and signed in Chinese; inscribed, dated, titled and signed '160 x 160 cm 2006 "Sensitive Nerve" Oil on canvas 160 x 160 cm Chen Ke 2006' (on the reverse) Provenance

Private Collection, Europe Exhibited

Italy, Milan, Primo Marella Gallery, With You, I Will Never Feel Lonely, 18 January-23 February, 2008.

Italy, Milan, Palazzo Reale, China: the Contemporary Rebirth, 11 December, 20097 February, 2010.

Literature

Chen Ke, Kehrer Verlag, Heidelberg, Germany, 2009 (illustrated, p. 63).

Cina Rinascita contemporanea, Federico Motta Editore, Milan, Italy, 2009 (illustrated, p. 195).

HK$ 600,000 - 800,000 US$ 76,900 - 102,600

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2006 年作 油彩 畫布 款識：“敏感的神經”布上油畫 160 x 160 cm 陳可 2006 "Sensitive Nerve" Oil on canvas 160 x 160 cm Chen Ke 2006（畫背） 來源

歐洲 私人收藏 展覽

2008年1月18日-2月23日「和你在一起，永遠不孤單」 瑪蕊樂畫廊 米蘭 義大利 2009年12月11日-2010年2月7日「中國：當代的新生」米蘭王宮 米蘭 義大利 出版

《陳可》Kehrer Verlag 海德堡 德國 2009年（圖版，第63頁） 《中國：當代的新生》Federico Motta出版社 米蘭 義大利 2009年（圖版， 第195頁）

Modern and Contemporary Art

21

115 YUAN YUAN (C H I N ES E , B . 1 973) Rearwindow I 袁遠 後窗 壹

Painted in 2012 oil on canvas 153.6 x 59 cm. (60 1/2 x 23 1/4 in.) titled, dated and signed 'Rearwindow I 2012 Y.yuan.; signed in Chinese (on the reverse) Provenance

ShanghART Gallery, Shanghai, China Private Collection, Amsterdam, Netherlands Exhibited

China, Shanghai, ShanghART H-Space, Yuan Yuan: Imagined Memory- A Home From Home-2012 Glenfiddich Artists in Residence Programme, 30 November, 2012-13 January, 2013.

2012 年作 油彩 畫布 款識：《Rearwindow》I 袁遠 2012 Y.yuan.（畫背） 來源

中國 上海 香格納畫廊 荷蘭 阿姆斯特丹 私人收藏 展覽

2012年11月30日-2013年1月13日「袁遠：賓至如歸–2012年格蘭菲迪藝術 家駐村項目」香格納H空間 上海 中國

HK$ 220,000 - 320,000 US$ 28,200 - 41,000

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116 YUAN YUAN (C H I N ES E , B . 1 973) Stable Table 袁遠 平穩的桌子

Painted in 2014 oil on linen 200 x 84.9 cm. (78 3/4 x 33 1/2 in.) signed, titled and dated 'Y.yuan.<Stable Table> 2014 2014'; titled and signed in Chinese (on the reverse); signed and dated 'Y.yuan 2014' (side of the canvas) Provenance

ShanghART Gallery, Shanghai, China Private Collection, Amsterdam, Netherlands 2014 年作 油彩 亞麻布 款識：Y.yuan.<Stable Table> 2014《平穩的桌子》袁遠 2014（畫背）; Y.yuan 2014（畫布側邊） 來源

中國 上海 香格納畫廊 荷蘭 阿姆斯特丹 私人收藏

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

Modern and Contemporary Art

23

D I N G Y I

丁 乙 城市景觀

「整個上海城市化的進程非常快速，它的強 度也非常震撼，當時，我希望我的作品能夠 跟現實有某種關聯，我創作了一系列螢光顏 色的作品來對應城市化的話題。」

─丁乙

1986年丁乙首次使用印刷時套色的座標精準細線「十字」，作為 繪畫創作的唯一元素，脫離任何具體形象的描繪，回歸最原始的線 條組構。「從符號的單一性上，我是一個極簡主義藝術家；但是從 創作的深度和創作所投入的時間，我完全不是一個極簡主義的藝術 家，所有的作品都是經歷漫長的過程和漫長的考驗，沒有辦法簡， 唯一的簡只是思想的簡」。 1990年代晚期，上海的高度發展使城市面目一新，新建的摩天高樓 與色彩斑斕的霓虹燈，改變城市的色彩風貌，五光十色強烈的視覺 衝擊，使丁乙開始使用絢爛的螢光色，直觀的反映城市的新容顏。 「螢光色是一個被塑造的顏色，它是跟自然沒有關係的顏色。但這 個顏色更加地刺激、更加地閃耀，更加地能夠讓人感受到這個城市 所眩目的這一面。」創作於2008年的《十示 2008-15》(Lot 117) 螢光色系的重複「十示」展現上海旺盛的生命活力，從「十」衍生 出「米」甚至是帶有方框「米」，更豐富的符號書寫，使丁乙畫面 更具有層次性。丁乙運用色彩的深淺變化作為對空間密度的探索， 畫面以中心向四周發散的區塊性深色布局，暗示上海非單一核心發 展，而是多處共榮的城市現況，同時丁乙採用一種俯瞰的視角呈現 不受限定的透視效果，隱喻日新月異的都市化進程，使得畫面具有 某種宏觀的敘事特性。 《十示 2008-15》延續早期炭筆的創作媒材風格，不同質地的 「十」、「米」規律地排序，丁乙更進一步透由顏色彩度的落差強 化物質特性，不同的反光強度創造明滅晃蕩的錯覺，透過藝術家嫻 熟對畫面規律的排列，創造疏密空間有序的城市光景，潛伏於其中 無數的光點，一明一滅瞬息變化的片段，是丁乙將光影瞬間感官的 刺激以平面畫布呈現的例證。《十示 2008-15》集結丁乙數十年對 於「十」的研究，他始終堅持以最原始的繪畫語彙，伴隨文明發展 與時間的推移，關注時代變遷對社會環境的影響，作品隱含社會發 展中的文化形態不同面貌的進程，於當代的繪畫語境中呈現抽象風 景，紀錄中國改革開放後社會的遞變。

In the late 1990s, Shanghai was developing at an unprecedented speed, new skyscrapers, colourful neon lights were coming out everyday, making the city shine with its new appearance. Those bright, colourful visual elements has inspired Ding Yi to employ gorgeous fluorescent colours onto his canvas, to echo with this new appearance of the city. "Fluorescence is an artificial colour, it has nothing to do with nature. But, this colour is more stimulating and radiant. It can make people sense the dazzling aspects of this city." Created in 2008, Appearance of Crosses 2008-15 (Lot 117), exhibits the vitality of Shanghai through the repetition of crosses.

Drawing the Chinese character of " 米 " from " 十 ", and even " 米 " with a square frame, adds one more layer of complexity to Ding Yi's works. Ding Yi uses changing colour tones to explore spatial density. The dark coloured blocks of the picture are disseminated from the center, suggesting that Shanghai is not developed from a single core but a connection of many co-prosperous cities. While Ding Yi uses an overlooking perspective to present an unrestricted view, serving as a metaphor for the ever-changing urbanization process, which enables the picture to display macroscopic narrative characteristics.

Appearance of Crosses 2008-15 serves as a continuation of his earlier series using charcoal pencil. With a texture, the " 十 " and " 米 " are regularly sorted. Ding Yi further strengthens object properties using differences in colour depth. Differences in reflective intensity create the illusion of flickering and swaying. Through the artist's skillful arrangement of the regularity of the picture, he creates an orderly urban scene consisting of dense spaces. Lurking within countless spots of light, the flickering fragments of rapid change serve as testament to Ding Yi's presentation of the sensations of light and shadow across a flat canvas. Appearance of Crosses 2008-15 gathers decades of research by Ding Yi on " 十 ". He always adheres to the most original language of painting. Along with the development of civilization and the passage of time, he focuses on changes in the social environment. His works imply the process of different cultural forms amidst social development. Presenting abstract landscapes in the context of contemporary painting, they record the evolution of society after China's reform and opening up.

1.

"I was so shocked by the rapid speed of urbanisation of Shanghai. At that time, I hoped that my work can somehow connect with real-life matters, so I created a series with fluorescent colours to echo with such urbanisation."

- Ding Yi In 1986, Ding Yi started to use the printing coordinates to create the precise lines as the sole element in his "crosses". Instead of depicting image of any specific objects, he returned to the most original idea of pure composition of lines. "With the symbolic uniformity, I might be regarded as a minimalist artist. But, from the perspective of creation intuition and time invested in creation, I am not a minimalist artist at all. All of my works undergo a long process of planning and takes a long time for execution.

There is no way to simplify this process. The only simplicity is found in the simplicity of thought."

2.

1. 維克多．瓦沙雷利《星體》1959-1961年作 英國 倫敦 泰特現代美術館藏 Victor Vasarely, Supernovae , 1959–1961, Collection of Tate Modern, London, UK 2. 布里奇特．萊利《猶豫》1964年作 英國 倫敦 泰特不列顛博物館藏 Bridget Riley, Hesitate , 1964, Collection of Tate Britain, London, UK

Modern and Contemporary Art

25

117 DING YI (C H I N ES E , B . 1 9 62) Appearance of Crosses 2008-15 丁乙 十示 2008-15

Painted in 2008 crayon and charcoal on canvas 120 x 100 cm. (47 1/4 x 39 1/4 in.) signed and dated 'Ding Yi 2008' (lower right); titled, signed and dated '"Appearence of Crosses 2008-15" Ding Yi 2008.' (on the reverse)

2008 年作 蠟筆 炭筆 畫布 款識：Ding Yi 2008（右下）；"Appearance of Crosses 2008-15" Ding Yi 2008.（畫背）

Provenance

亞洲 私人收藏

Private Collection, Asia

HK$ 800,000 - 1,200,000 US$ 102,600 - 153,800

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來源

Modern and Contemporary Art

27

118 QIU XIAOFEI (C H I N ES E , B . 1 97 7 ) Anamnesis 仇曉飛 既往症

Painted in 2009 oil on canvas 120.2 x 100.5 cm. (47 1/2 x 39 1/2 in.) titled, inscribed and signed in Chinese; titled, inscribed and dated '(anamnesis) 100 cm x 120 cm 2009' (on the reverse)

2009 年作 油彩 畫布 款識：《既往症》(anamnesis) 100 cm x 120 cm 布上油畫 仇曉飛 2009 （畫背）

Provenance

中國 香港 當代唐人藝術中心 佳士得 香港 2015年5月31日 編號199 現藏者購自上述拍賣

Tang Contemporary Art, Hong Kong, China Christie's Hong Kong, 31 May 2015, Lot 199 Acquired from the above sale by the present owner

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

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來源

Modern and Contemporary Art

29

WANGGUANGLE

王光樂 光之讚頌

「這是一個關於時間的故事。」

—王光樂 2000年畢業於中央美院的王光樂，是青年藝

的手和腳也被光斑模糊了邊界。物的隱退，

術團體N12的創始人之一，在中國70後年輕

「無」的境界，更彰顯神秘性，強烈的精神

藝術家中具有舉足輕重的地位。

內核，及王光樂對精神性一以貫之的追求。

時間年輪的光之讚頌

《光．影．手》是王光樂創作風格上承上啟 下的轉折之作，同年他已開始「水磨石」系

「光」是貫穿王光樂早期創作的核心元素，

列的創作，作為一個階段的結束，《光．影

他通過描繪照入工作室地面與牆壁的光線，

．手》有著極為重要的代表意義。

將難以觸碰的無形與質地堅實的結構有機結 合，原本凝固的靜態室內空間在午後陽光的

維度的創作方法論

加入下被賦予了時間的維度。

如果說早期「午後」系列中的形式化表達還留

《光．影．手》(Lot 119) 從上部俯視的第一 角度描繪了光透過窗欄而形成的規律斑點， 均勻的鋪灑在站在藤椅上的藝術家的雙腳與 一只手上。這個瞬間的原型來自於王光樂在 工作室時無心拍下的一張照片，半年後，他 用顏料將這個意外卻又浪漫的一刻再現於畫 布之上。畫面中，手與腳的對話充滿儀式 感，時間、空間與光都在瞬間被定格。敘事 性和抒情性，空間與時間，光與物（藝術家

有一些傳統學院派的具象蹤跡，那麼從「水磨 石」開始，王光樂的作品就走向了觀念。他的 創作漸漸摒棄了一切可被具象化的描繪對象— 「光線」、「工作室」，用更抽象的主題與純 粹的創作手法取而代之；而後的「壽漆」系列 則是藝術家從過去的生活體驗中汲取靈感，借 由觀念化的形式凸顯創作過程的時間意識。在 一步一步趨向純粹的過程中，王光樂的創作獲 得了前所未有的自由。

的手腳）一同成為主角，但籐椅已被光斑幾

王光樂不斷強調創作過程本身以一以貫之的禪

近消解，背景單純得幾乎只剩下光，藝術家

宗為脈絡，著重將形而下的「修禪」與形而

1.

30

Lot 119

poly auction hong kong

Lot 120

2.

上的「悟道」糅合以達到作品的內在統一。在最終作品的呈現上，並 未落入過去西方抽象藝術中「有意味的形式」，他的畫面剔除了敘事 性與感情色彩，簡單而純粹。2006年，王光樂從「壽漆」系列衍生 出更極簡、更冷峻的「無題」系列。藝術家以一種儀式感的自律以一 天兩次的頻率，遵從外輪廓逐漸縮小的規律，在畫布上施加顏料，最 終呈現矩形結構由外到內縮減，色調卻逐漸變深的形態。畫面既有因 顏料越來越厚帶來的結構上雕塑般的由下自上的立體感，同時兼具色 彩過渡帶來的由外而內的空間縱深感。他以完成時的年月日直接命名 每件畫作，彷彿是對最終成果的一種宣言式的總結，這也是藝術家秉 承自己觀念性創作核心思想的最佳佐證。《090906》(Lot 120) 中，

「…也就是說，內容變得不重要了，所有的 這些空間、內容、時間都會過去的，只有這 個過程最有意思也最重要… 」

畫布之內的空間由外緣的白漸漸過渡到紅，直至最中心深不見底的暗

—王光樂

紅，遠遠看去，好似一團向外發散、沒有邊界的光暈，走近時，大到 彷彿要將人吞噬的畫面似乎具有了一種神奇的力量，如同正在邁入美 國抽象表現主義大師羅斯科所打造的教堂與場域，正在邀請觀者一同 深入探索這個未知的無盡空間。 雖然難以看到任何直接的「光」的痕跡，時間卻是王光樂創作不變 的主線，他用越來越純粹具體的圖像語彙暗示時間緩緩的流逝。在 這毫無雜質的美中，人們彷彿能感受到時間延綿不絕的力量。

1. 弗蘭克．斯特拉《灰色擾亂》1968-1969年作 美國 紐約 古根漢美術館藏 Frank Stella, Grey Scramble , 1968-1969, Collection of Guggenheim Museum, New York, USA 2. 詹姆斯．特瑞爾《培雷火山》2014年作 James Turrell, Pelée , 2014

Modern and Contemporary Art

31

王光樂

WANG GUANGLE

PORTRAYING TIME

"This is a story about time."

- Wang Guangle

Wang Guangle graduated from the Central Academy of Fine Arts in 2000. As one of the founders of the youth art group N12, he holds a significant position among post-70s young artists in China.

A praise for the passage of time through light "No matter where you live, no matter what your style is, we share one thing in common, that is time. Whether you like it or not, time passes away."

- Wang Guangle In Wang Guangle's early creations, "Light" has always been his main focus.

By depicting the light beams that broke into his studio floor and walls, he organically integrates formlessness and intangibility with a solid structure. With the afternoon sunlight shining through, the still and rigid indoor space has been gifted with the dimension of time.

Artist Portrait (Lot 119) is painted from a top-down perspective, portraying the orderly light spots that were projected onto the feet and left hand of the artist, who was standing on a rattan chair. This is a glimpse of a casual moment, as the image was a photograph accidentally taken by the artist himself pressing the camera shutter while working in the studio. After six months, the artist decided to reproduce this image using oil paints. As the hand and feet create their own dialogue filled with a ritualistic bond, all sense of time, space, and light are frozen instantly. The narration, the sentiment, the space and time, and the light and the objects (i.e., the artist's hand and feet) all become the subjects. However, the rattan chair stands at the background and the outlines of the artist's hand and feet are blurred that almost dissolves. The retreat of the object to nonexistence emphasises the sense of mystery, the strong spiritual core of Wang's work, and his persistent pursuit of spirituality. Artist Portrait is a piece created when Wang was changing his creative style. In the same year, he started his Terrazo series.

Thus, it is a significant representative work that marks the end of his previous style.

inspiration from his personal experiences, using conceptualisation to foreground the sense of time. During the process of reaching purity, Wang's creations achieved unprecedented freedom.

Wang constantly emphasises the concept of Zen in his process of creation.

He stresses the integration of physical Zen and metaphysical consciousness to achieve internal unity in his works. In the presentation of the final works, he did not fall into the concept of creating meaningful forms as some of the Western Abstract Expressionists. Rather, his pictures are void of narration and sentiment; they are simple and pure. In 2006, Wang created the simpler and colder Untitled series as a continuation of his Coffin Paint series, which included ritualistic practices of self-discipline. The artist has restricted himself to apply pigments to the canvas twice in a day, tracing along the outer edges towards the inner, to produce a reclining rectangular structure, but the colour tone were gradually deepening as the form travels further from the edges. Due to layering of the pigment, the thickening surface of the canvas presents a sculpture-like structure, gives out a sense of tridimensional. At the same time, it conveys spatial depth brought by the colours shading from outside in. Wang names these works by directly using the date of completion, as if announcing that the process comes to an end. This is also the best indication of the artist's focus on conception.

In 090906 (Lot 120), the space of the canvas gradually changes from white, at the edges, to red, and then to a deep mahogany at the center that is seemingly unfathomable. Viewed from afar, it is like a halo emitting lights outward. When coming up close, the overwhelming size of the image confronts the viewers immediately, as if the space is about to swallow them. The image is conveyed with power, viewers were invited to explore this unknown and endless space as if they were entering the Chapel of American abstract expressionist Mark Rothko.

Although Wang's later work no longer portrays light, time has always been Wang's form. He uses the gradually purified language of concrete images to imply the its gradual passing. In this pure beauty, people can feel the endless power of time.

Dimensions and its Creative Methodology "…in other words, the content is not important any more. All the space, content, and time will pass. Only the process is most interesting and most important…"

- Wang Guangle If one says that Wang's early Afternoon series still contains some traces of traditional academic training, then since the beginning of his Terrazo series, the artist has committed himself to shift towards pure conception. He has gradually abandoned to depict any definable subjects in his works, such as "light" and "studio space". Instead, they were replaced by more abstract forms through his more concise techniques. In the later Coffin Paint series, the artist obtained

美國 休斯頓 羅斯科教堂 The Rothko Chapel, Houston, USA

Modern and Contemporary Art

33

119 WANG GUANGLE (C H I N ES E , B . 1 976) Artist Portrait 王光樂 光．影．手

Painted circa 2002 oil on canvas 88.5 x 124 cm. (34 3/4 x 48 3/4 in.) titled, inscribed and signed in Chinese; inscribed and dated '88.5 x 124 cm 2003' (on the reverse) Provenance

Private Collection, Asia Poly Auction Hong Kong, 6 April 2015, Lot 248 Acquired from the above sale by the present owner

HK$ 650,000 - 850,000 US$ 83,300 - 109,000

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約 2002 年作 油彩 畫布 款識：《光．影．手》布上油畫 88.5 x 124 cm 2003 王光樂（畫背） 來源

亞洲 私人收藏 保利 香港 2015年4月6日 編號248 現藏者購自上述拍賣

Modern and Contemporary Art

35

120 WANG GUANGLE (C H I N ES E , B . 1 976) 090906 王光樂 090906

Painted in 2009 acrylic on canvas 280 x 180.3 cm. (110 1/4 x 71 in.) titled and inscribed '090906 280 x 180 cm'; inscribed and signed in Chinese (on the reverse) Provenance

Poly Auction Hong Kong, 6 April 2015, Lot 249 Acquired from the above sale by the present owner

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700

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2009 年作 壓克力 畫布 款識：090906 布上丙烯 280 x 180 cm 王光樂（畫背） 來源

保利 香港 2015年4月6日 編號249 現藏者購自上述拍賣

Modern and Contemporary Art

37

劉 韡

LIU WEI

用視覺呈現秩序

「同一個東西可以用雕塑、錄像和電影各種

劉韡作為市場關注度最高的中國當代藝術家之一，其創作媒介與題材

形式，就找一個最適合，在同一個內容上再

期中國當代藝術史上最重要的藝術行動之一—「後感性」的藝術家當

調節它們的感覺，如繪畫就是用作調節自己

種感官的延伸，也是最基礎的心理感覺和生理感覺而非理性的解讀。

十分廣泛，包括繪畫、影像、雕塑、裝置等，同時他又作為20世紀末 中的旗幟性角色。「後感性」藝術家通過作品與觀者的交流是基於一 無論以何種媒介，劉韡的創作觀念通過他非常強烈以及風格化的視覺

感覺的一種東西。」

語言傳達出來，使觀者能夠感知並捕捉到他創作中圍繞的所謂某種秩

—劉韡

序，呈現出了他對於純粹的形式感以及秩序感的思考和探索。 劉韡的繪畫作品最為直觀的感受就是構圖的嚴謹與色彩的和諧，充 滿了多層次的複雜性，之所以能夠有如此觀感其本質就是藝術家心

中難以用語言所表達出的秩序之美。綜觀劉韡近十年的作品會發

《三明治No.6》(Lot 122) 創作於2014年，畫面由無數的縱向直線與

現，劉韡在這一時期的創作極具張力，在繪畫方面「天安門」系列

層層疊疊的顏色構成。看起來像是經過數碼化的縱向線條在畫布排

與「三明治」系列有著優雅和諧的美感；在裝置與雕塑方面的風格

開，形成複雜且有秩序的結構；不同飽和度的顏色橫向延伸，顏色

卻有著粗獷的力量感，藝術家的視覺語彙是如此的豐富，使得作品

的排列非常緊密，沒有絲毫空隙的一層壓向一層，如三明治一般，

之間看似關聯不多，卻共同有著「秩序感」的內核，且在宏觀的創

看似簡單明瞭，卻自成系統。整張畫面看起來如同是影片的時間軸

作上達到了美與暴力的平衡。

被縮小成的每一幀，當藝術家選擇抽離了具體內容，只留下物化的

創作於2009年的《場域》(Lot 121) 是劉韡創作中較為少見的帶有 抽象氣息的具象作品，藝術家曾解釋《場域》屬於「天安門」系列 作品，但相較於《天安門》中明確的地點描述，《場域》除了相同 的路燈外跳脫了建築物與場景的描述，4.4米寬的畫面簡潔，色彩

形式，則「美」的本身也因形式而產生新的意涵。藝術家透過「三 明治」的隱喻折射出了社會現實，同時又給出了他心中的解決方 案，那就是—秩序，作品中所呈現的秩序感是他對這個社會的憧憬 與希冀。

豐富，構圖嚴謹有序，顯得冷靜而抽離。樹叢、路燈與天空反差強

對於一個「永遠要去挑戰所有的既有觀念」的藝術家來說，試圖單

烈，藝術家將光影及景深抽離成色塊與線條，非常俐落且理智，同

純用語言文字去闡釋劉韡的創作並非易事，因為他的作品本身就是

時極富動感。畫中對天空的描寫尤為精彩，紅色的天空應出層次非

極致純粹的視覺性體現。劉韡的作品無論是繪畫抑或是雕塑、裝

常豐富的光影，使得畫面整體的時間感呼之欲出。藝術家取材於生

置，其展現的都是一種井井有條的、精密的形式感，但其創作核心

活中常見的風景，卻是經過計算機精確的設計製作出圖像，而後根

卻並不是形式主義的，藝術家通過深刻的思考以及嚴謹的呈現過

據放大而產生的新的像素來重新調整排列，描繪出抽離的幾何色

程，忠於內心地去表達他心中對於「現實」以及「秩序」的感受。

塊，這使得人們面對畫中似曾相識的場景，卻給人感覺難以分辨虛 擬與現實，且有一種遙遠的陌生感。

"If the same object can be presented through various forms, such as sculpture, video, and film, then I would find the most suitable one and adjust the sensations of the content. Painting, for example, is a means to adjust my feelings."

- Liu Wei

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劉 韡

LIU WEI

Visualization of Order

Liu Wei is one of the most notable contemporary Chinese artist. The diversity of his themes are matched by the variety of his creative media, which include painting, video, sculpture, and installation. He is the representative figure for one of the most critical art movements of Chinese contemporary art in the late 20th century—Post-Sensibility. The interaction between works by Post-Sensibility artists and their viewers are often conducted through an extension of the senses, which is not a rational interpretation but a fundamentally psychological and physiological sensation. Regardless of the media, Liu's creative concepts are expressed through his visual language, which is strong and full of personal style.

The viewer can feel and capture a certain sense of order surrounding his works, one that reflects his thinking and exploration behind pure form and order.

The most direct feeling one gets from Liu's painting is the vigorous composition and the harmony of the colours amidst complex layers. The essence of the complexity lies behind the beauty in the order that the artist cannot express through words. Looking back at Liu's work produced in the last decade, one will discover that his works are filled with tension. Tian'anmen series and Sandwiches series both present with a sense of elegance and harmony. By contrast, his installation works and sculptures express a sense of brutal power. The visual language of Liu is so rich that, although his works seem unrelated from the outset, they share a common sense of order. Macroscopically, his creations achieve a balance between elegance and brutality.

Created in 2009, Field (Lot 121) is a rare figurative work by Liu Wei with hints of abstraction. The artist once described Field as part of the Tian'anmen series, but in contrast to the locational clarity of Tiananmen, Field does not provide any indication of specific architecture or scenery, apart from the similar street lights.

The 4.4m wide painting shows a clear and orderly structure with vibrant colours, which creates a sense of calmness and detachment. The bushes and streetlights depicts a strong contrast with the sky. The artist abstracted the light and shadows and the depth of field into colour blocks and lines, which seem neat, rational, yet extremely dynamic. The depiction of the sky is especially outstanding. The red sky echoes light and shadow with rich layers, creating a particularly engaging sense of time within the whole painting. The artist adopted a common and mundane scene, but he precisely calculated the design and produced images that were later enlarged, creating new pixels for rearrangement. The detached geometrical colour blocks provide the viewer with a scene that feels somewhat familiar, but cannot determine whether it is real or illusionary, ultimately creating a sense of distanced strangeness.

Sandwiches No. 6 (Lot 122) was created in 2014. It is composed of numerous vertical lines and layers of colours. The vertical lines look digitalised upon the canvas, forming a complex but orderly structure. Colours of varied saturation expand horizontally. The arrangement of colour is tight, without gaps, one layer pressing onto the next. Like a sandwich, it seems simple but abides by its own system. The whole work looks like a video whose timeline is compressed. When the artist chose to detach the concrete content and leave only the objectified form, "beauty" itself derives a new meaning through the form. Through "Sandwich" and its underlying metaphor, the artist reveals the realistic society, and provides his solution—order. The sense of order presented in this work represents his longing and hope towards this society.

To an artist who always challenges established concepts, it is difficult to use plain words to interpret his creations, in that his works are extremely pure representations of the visual. Liu's work, be they paintings, sculptures, or installations, present an organized and precise form; however, the core of his creative concept is not formalism. Rather, his profound thinking and a rigorous presentation process portrays his feelings towards reality and order with sincerity.

艾爾斯沃茲．凱利《光譜 I》1953年作 美國 舊金山 舊金山現代藝術博物館藏 Ellsworth Kelly, Spectrum I , 1953, Collection of San Francisco Museum of Modern Art, San Francisco, USA

Modern and Contemporary Art

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121 LIU WEI (C H I N ES E , B . 1 972) Field 劉韡 場域

Painted in 2009 oil on canvas 180.3 x 442.2 cm. (80 x 174 in.)

Provenance

Galerie Hussenot, Paris, France Collection of Guy and Myriam Ullens de Schooten Sotheby's Hong Kong, 4 April 2016, Lot 767 Acquired from the above sale by the present owner Exhibited

France, Paris, Galerie Hussenot, Liu Wei: The Forgotten Experience, 10 October12 November, 2009.

2009 年作 油彩 畫布 來源

法國 巴黎 Hussenot畫廊 蓋伊·尤倫斯和米莉恩．尤倫斯收藏 蘇富比 香港 2016年4月4日 編號767 現藏者購自上述拍賣 展覽

2009年10月10日-11月12日「被遺忘的經驗」Hussenot 畫廊 巴黎 法國

HK$ 2,800,000 - 3,600,000 US$ 359,000 - 461,500

劉韡《天安門》2009-2010 年作 佳士得 香港 2015年11月28日 成交價：6,640,000港元 Liu Wei, Tiananmen , 2009-2010, Christie's Hong Kong, 28 November 2015, Sold for HK$ 6,640,000

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Modern and Contemporary Art

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122 LIU WEI (C H I N ES E , B . 1 972) Sandwiches No. 6 劉韡 三明治 No. 6

Painted in 2014 oil on canvas 180 x 220 cm. (70 3/4 x 86 1/2 in.) signed in Chinese; signed and dated 'Liuwei 2014' (on the reverse)

2014 年作 油彩 畫布 款識：劉韡 Liuwei 2014（畫背）

Exhibited

2015年1月11日-2月1日「製新一處—居然．丹蒙首屆當代藝術新年展」 居然頂層設計中心 北京 中國

China, Beijing, Easyhome Sino-Italy Top Design Center, Easy Home．Diamond-The First Contemporary Art New Year Exhibition, 11 January-1 February, 2015.

HK$ 1,800,000 - 2,600,000 US$ 230,800 - 333,300

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Modern and Contemporary Art

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王廣義

WANG GUANGYI 時代浪潮敘事

作為中國新藝術運動的重要參與者之一，王廣義於1984年在浙江美 術學院油畫系畢業。此時正值中國「85新潮」美術運動，這次美術運 動是中國當代藝術史中第一次全國性大規模的先鋒藝術運動，標誌著 中國當代藝術的開端及重要轉折點，對中國當代藝術的發展影響極為 深遠，同時確立了中國當代藝術與國際藝壇之間的格局及關係。 九十年代，西方流行文化開始陸續進入剛剛開始改革開放的中國， 在時代更替、文化交流的大潮席捲而來的背景下，王廣義開始了 「大批判」系列的創作，「大批判」系列將文化大革命時期的宣傳 海報及西方現代消費商品二者結合，創造出諷刺而具有戲劇張力的 效果。在「大批判」系列中，西方消費文化和中國當代改革開放後 仍存留的文化背景形成尖銳的衝突，正如王廣義所說，「在我看 來，我在『大批判』系列想表達的觀點，就是西方文化與社會主義 意識型態之間的敵對觀念。」 《大批判系列：迷你庫伯》(Lot 123) 創作於2006年，「迷你庫伯」 最初由英國汽車公司BMC及其承繼公司在1959年至2000年期間生 產，成為六七十年代西方轎車文化的指標之一。MINI的字樣被擺在 畫面的正中上方。畫面中紅黃為主要色調，紅黃二色也正是中國國 旗及黨徽等的象徵顏色。如同文革時期的宣傳海報畫面一般，一群 工農兵手捧大字報，手中高舉「小紅書」，彷彿正在向遠處吶喊。 畫面底部否定意味的英文「NO」，似乎在暗示對西方潮流文化的 拒絕。畫面上可見一些散落分佈的數字，藝術家曾解釋，最初在創 作時並沒有主觀上想賦予畫面中的數字任何意義，後來隨著時間推 移，逐漸隱含「數字化時代」的含義。《大批判系列：迷你庫伯》 雖在高聲吶喊對西方文化侵入的反對，然而同時也代表著當代改革 開放與中西文化交流勢不可擋，這一趨勢對有著傳統文化信仰的中 國造成的強大衝擊。藝術家對於傳統思想及新進流行的西方思想批 判及思考，提醒著大眾對日益變化的文化環境的審視，是中國當代 藝術探討的重要課題之一。王廣義具有標誌性的諷刺批判創作風 格，使其成為「中國政治波普之父」，也是最早在國際藝壇上發聲 的藝術家之一，在中國當代藝術史上有著不可磨滅的地位。

1.

2.

In 1984, Wang Guangyi graduated with a degree in Oil Painting from the China Academy of Art (formerly Zhejiang Academy of Art), and became one of the most prominent figure in the "85 New Wave" art movement of the 1980s Chinese art scene (a pioneer national art movement in Chinese contemporary history which marked the beginning of a new era); the movement had deeply influenced the direction of Chinese contemporary art, and helped in establishing its position Internationally.

Western Pop Culture entered and penetrated the society of newly-reformed and opened China in the 90s. Amidst a new generation and a wave of cultural exchange, Wang Guangyi launched The Great Criticism series. The Great Criticism series merges the propaganda posters from the Cultural Revolution with modern Western commercial goods, playing upon the effects of irony and dramatic tension. In The Great Criticism series, Western consumer culture and the cultural background of the newly-reformed and opened China generated a strong level of conflict. As Wang Guangyi said, "From my perspective, the point that The Great Criticism series is trying to convey is the hostile attitude between Western culture and socialist ideology."

1. 工農兵宣傳海報 Propaganda poster of workers, peasants and soldiers.

2. 羅伊．利希滕斯坦《哇！》1963年作 英國 倫敦 泰特現代美術館藏 Roy Lichtenstein, Whaam! , 1963, Collection of Tate Modern, London, UK

Great Criticism Series: Mini-Cooper (Lot 123) was created in 2006. Originally manufactured by the British Motor Corporation (BMC) and its contracted companies from 1959 to 2000, the Mini-Cooper became one of the representative figure of western automobile culture in the 60s and 70s. The logo "MINI" is placed at the centre of the image with predominant tones of red and yellow. These two colours present an obvious allusion to the Chinese

national flag and Chinese Communist Party emblem.

Just like a propaganda poster from the period of Cultural Revolution, a group of workers, peasants, and soldiers carry large texted posters, while raising "The Little Red Book" (a book of quotations from Chairman Mao Tse-tung), as if they were shouting into the distance. The word "NO", placed at the bottom of the image is probably suggesting a rejection of western Pop Culture. Numbers are scattered within the pictorial space, yet the artist once explained that no intentions were made to give the numbers any meaning when they were first been introduced onto the canvas. However, as time progressed, they slowly carry the hidden meaning that signifies Digital Era. Even though Great Criticism Series: MiniCooper explicitly cries out a rejection of the invasive influences of western culture, it also conveys the bitter inevitability of cultural interaction between the Western and Chinese under the scheme of opening and reform. This trend created a huge, and lasting, impact on a nation that held on to its traditional beliefs. The artist's critique and reflection upon the interaction between the traditional values, and the fresh and trendy western mind-set, encourages and reminds the public to contemplate upon the constantly shifting cultural environment. This remains incredibly relevant in contemporary society, and is one of most significant topics of discussion in Chinese contemporary art. The symbolic sarcasm and critical artistic style of Wang Guangyi made him "the Father of Chinese Political Pop Art". He also was the first artist to directly express opinions on the international art scene, creating a powerful legacy in the history of Chinese contemporary art.

Modern and Contemporary Art

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123 WANG GUANGYI (C H I N ES E , B . 1 9 5 7 ) Great Criticism Series: Mini-Cooper 王廣義 大批判系列：迷你庫伯

Painted in 2006 oil on canvas 300.1 x 199.7 cm. (118 1/4 x 78 1/2 in.) dated and signed '2006 Wang Guang Yi'; signed in Chinese (on the reverse)

2006 年作 油彩 畫布 款識：2006年Wang Guang Yi 王廣義（畫背）

Provenance

直接得自於藝術家 中國 北京 私人收藏 美國 紐約 私人收藏

Acquired directly from the artist Private Collection, Beijing, China Private Collection, New York, USA

HK$ 1,100,000 - 2,000,000 US$ 141,000 - 256,400

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來源

Modern and Contemporary Art

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124 LI SHAN (C H I N ES E , B . 1 9 42) Yellow Double Mao 李山 黃色雙面毛澤東

Executed in 1995 acrylic and collage on canvas 40.1 x 42 cm. (15 3/4 x 16 1/2 in.) signed and inscribed in Chinese; signed and dated 'li shan 1995' (lower right)

1995 年作 壓克力 拼貼 畫布 款識：李山 li shan 1995 紐約（右下）

Provenance

直接得自於藝術家 美國 邁阿密 私人收藏 美國 紐約 私人收藏

Acquired directly from the artist Private Collection, Miami, USA Private Collection, New York, USA

HK$ 120,000 - 180,000 US$ 15,400 - 23,100 50

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來源

125 PAN DEHAI (C H I N ES E , B . 1 9 5 6) The Laborer Series - Tiananmen 潘德海 勞動者系列─天安門

Painted in 2007 oil on canvas 170.5 x 201 cm. (67 1/4 x 79 1/4 in.) signed in Chinese; dated '2007' (on the reverse)

2007 年作 油彩 畫布 款識：潘德海 2007（畫背）

Literature

《潘德海》藝．凱旋藝術空間 北京 中國 2008年（圖版，第47頁）

出版

Pan Dehai, Triumph Art Space, Beijing, China, 2008 (illustrated, p. 47).

HK$ 200,000 - 300,000 US$ 25,600 - 38,500 Modern and Contemporary Art

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126 LIU YE (C H I N ES E , B . 1 9 6 4) Composition with Square No. 2 劉野 方格子的構圖2號

Painted in 1998 acrylic on canvas 24.3 x 24 cm. (9 1/2 x 9 1/2 in.) dated and signed '98 YE' (middle right)

1998 年作 壓克力 畫布 款識：98 YE（右中）

Provenance

藝術家自藏 印尼 雅加達 私人收藏 西泠印社 杭州 2011年7月16日 編號848 現藏者購自上述拍賣

來源

Collection of the artist Private Collection, Jakarta, Indonesia Xiling Yinshe Hangzhou, 16 July 2011, Lot 848 Acquired from the above sale by the present owner

展覽

Exhibited

2015年5月1日-6月28日「梳理貳：尋找東方印」索卡藝術中心 北京 中國

China, Beijing, Soka Art Beijing, Looking for the Mark of China, 1 May-28 June, 2015.

出版

Literature

Looking for the Mark of China, Soka Art Beijing, Bejing, China, 2015 (illustrated, p. 31).

Liu Ye, Catalogue Raisonné 1991-2015, Hatje Cantz Verlag, Ostfildern, Germany, 2015 (illustrated, p. 279).

HK$ 1,500,000 - 2,000,000 US$ 192,300 - 256,400

「我的畫基本上是屬於我的個人生活。童年 在我來說，是一個黃金年代，我的畫在許多 方面反映我童年時的夢想和幻想。」

─劉野

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《梳理貳：尋找東方印》索卡當代藝術有限公司 北京 中國 2015年（圖版， 第31頁） 《劉野全集 1991-2015》Hatje Cantz出版 奧斯特菲爾德爾恩 德國 2015年 （圖版，第279頁）

Modern and Contemporary Art

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LIU YE

劉 野 並非童話

Lot 126

故事的開始

板，是藝術家此階段反覆使用的標誌性元素，

遊離於現實與夢境中的哲學思辨

劉野出生於60年代的北京，父親是一位兒童

它的簡潔工整，冷峻靜謐，為視覺上的平衡與

王爾德曾說：「所有的藝術都是表象與象徵

文學作家，常常將當時被視為禁書的路易斯． 卡羅和安徒生的童話故事帶給他閱讀，那一個 個天馬行空卻又暗含成人世界中幽默與隱喻的 小劇場在童年劉野的心中埋下了充滿想像力的 種子，隨著他的漸漸成長，這種對心中夢幻樂 園的迷戀在他的腦海中不斷生根發芽，並最終

嚴謹秩序感做出了鋪陳。「我也想解決單純 的問題」，這是將蒙德里安理性創作理念深植 心中的劉野進行畫面佈局時的思維邏輯。在 《方格子的構圖2號》這個超現實時空里，四 個卡通形象、具有天使雙翅的小女孩如同國際 象棋中的棋子一般靜靜佇立，不知名的光線從

以圖像的語言呈現在他的畫布之上。

畫面的左方斜射進來，照亮了她們正面抬頭仰

自我探索的童話旅程

上，二維平面瞬間被注入勃勃的生機與動感。

望的面龐，並將這四個小小的身影投射在地面

90年代初期，經德國留學四年剛剛歸國的劉

小女孩們身著格外亮眼的紅色短裙，面帶民

野，選擇與當時充滿政治嘲諷的藝壇主流保持

國樣式的圓形墨鏡，充滿來自古老東方文化玩

一定距離，以構圖嚴謹的哲學性卡通畫面堅

世不恭的戲謔，在打破畫面中冷靜色彩建立起

持了回歸個人的主張。雖身上不可避免的帶有

的沉寂調性的同時，又點睛一般構建起更深一

集體主義烙印的遺留，但對西方藝術家蒙德里

層的秩序與平衡。然而這個由重複元素堆疊所

安、維梅爾、保羅．克利等的崇敬使得藝術家

傳達出空前統一感的怪誕場面，卻被小女孩們

在東西方文化的矛盾語境中逐漸開拓出了一條

細看下並不一致的姿態而打破，她們的雙臂

忠於自我、獨一無二的藝術道路。

或是張開、或是環抱胸前、又或是指向天空念

《方格子的構圖2號》(Lot 126) 有著劉野作品 中罕見的菱形尺幅，背景中頗有荷蘭黃金時 代所流行的室內裝潢異曲同工之感的黑白格地

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念有詞，好似在戲劇舞臺中認真出演著一齣獨 幕戲，畫面也由此真正展現出情緒上的靈活張 力，是劉野簽名式幽默在理性框架內的最終釋 放。

的共存」，而劉野在其創作中也從未停止追 求表面意義與隱匿內容間的理想平衡，正如 他所說：「我對童話故事和哲學有著同樣的 熱情。」。《方格子的構圖2號》正是這樣一 個富含兩面性的藝術家個人界域；一方面， 藝術家通過植根於現實經驗的觀察，以精準 嚴密的構圖，對西方現代主義傳統的表達致 敬，同時，代表人類縮影的天使形象的介入 為場景創造出了一層視覺謎面，又拉開了與 現實生活的距離；這個看似通俗易懂的輕鬆 場景，在劉野細膩的筆下，這一個個面帶微 笑的小小身軀散發出生動的色彩。藝術家將 所有符號化元素，在有限的畫布空間內精密 排列，構成視覺與情感上富有超現實意味的 記憶點，為觀眾提供了一個進行反覆思辨的 心靈窗口。 皮耶．蒙德里安《畫面第四號：紅、灰、藍、 黃、黑的菱形畫》1925年作 美國 華盛頓 美國 國家美術館藏 Piet Mondrian, Tableau No. IV: Diamond Painting in Red, Grey, Blue, Yellow, and Black , 1925, Collection of National Gallery of Art, Washington, D.C., USA

劉 野

LIU YE

NOT FAIRY TALE

"Most of my painting pertains to my personal life. I had a happy and memorable childhood, in many ways, my painting reflects the dreams and fantasies I had ever since my childhood."

- Liu Ye Where the Story Begins Liu Ye was born in Beijing in the 1960s. His father was a writer of children's literature, who often brought books by Lewis Carroll and Hans Christian Anderson's Fairy Tales, the books which were at the time banned from government, to his son. Those fairy tales with hidden adult humor and metaphors for life were like small theatrical plays that keep on playing within young Liu Ye's wild imagination. As time pass by, those thoughts were growing like sprout, they germinate in his mind and finally became the artist's unique language of artistic expression which he shows on canvas.

A Journey of Self-Exploration In the early 1990s, Liu Ye returned to China after his four years of art study in Germany; by then, he chose to deliberately kept away from the political sarcasm en vogue in the Chinese art world and rather focused on what he believed to be more important for an artist-self-exploration. While traces of collectivism inevitably show their mark in his work, his long-time admiration for western artists like Mondrian, Vermeer, Paul Klee and others has helped him to gradually open up a unique artistic style by drawing cartoonish figures with rigorous compositions and philosophical metaphors; he was true to himself within a paradoxical context between Oriental and Western cultures.

The canvas of Composition with Square No. 2 (Lot 126) is rhombus, which unusual for a Liu Ye's work. The black and whote tiled floor at the background assembles the typical interior floor design of "Dutch Golden Age" households.

There were several paintings of the artist of this period which also employed the use of these composition-they are simple, delicate, with calm feeling, and they help in building up the base line for the visual balance and a rigorous sense of order in the tableau. "Yes, I want to solve simple problems," with Mondrian's rational creative concept deeply rooted in his mind, this statement of the artist best addresses his logic behind his canvas structure. Composition with Square No. 2 displays a surreal scene, where people could not sense time and location, within there, four girls were depicted in a cartoonish style. With angel wings on their back, they were standing upright, quietly, as if they were like chesses on board. An unidentifiable light source beams from the left, lighting up the girls' faces that are turning upwards looking at the viewer, and projects the shadows of these four tiny figures on the ground. The two-dimensional plane is suddenly imbued with an abundance of vitality and motion. Dressed in particularly eye-catching red mini-skirts, the little girls are wearing round sunglasses (a

characteristic facial ornament that was popular during the Republic of China period), fully conveying cynical playfulness in the vein of ancient oriental culture, strikingly adding a deeper layer of order and balance while breaking the low-key ambiance created through the calm hues in the tableau. However, this strange scene of unusual union, conveyed through the accumulative effect of repetitive elements, is disrupted by the girls' inconsistent gestures upon closer scrutiny.

With some arms open wide, some crossed, or one even pointed upwards. With their mouths murmuring, they seem to be seriously involved in a one-act play on a theater stage. The painting thus expresses a strong animated emotional tension, which represents the final liberation of the artist's emblematic humor within set rules.

Philosophical Enquiry Roaming between Reality and Dreamland According to Wilde, "all art is at once surface and symbol", similarly, Liu Ye never ceases to pursue the ideal balance between seeking superficial meaning and implicit content in his art. Like he said, "I have equal passion for stories and philosophy." Composition with Square No. 2 precisely incarnates the artist's personal realm that is full of duality. On the one hand, Liu Ye deploys a precise and vigorous composition by means of observation rooted in real experiences, thus paying homage to the representation of Western Modernist tradition. On the other hand, the intervention of the angel-like figures which epitomises the human form creates a visual enigma for the scene and detaches it from real life. While the nonchalant scene seems mundane and easy to grasp, the tiny bodies with smiles exude lively colours through the artist's subtle brushstroke.

Liu Ye carefully deploys all the elements into signs upon the limited space of the canvas, creating points of recollection that are somewhat surreal, both visually and emotionally, thus presenting a mental window for thought and analysis to the viewer.

約翰內斯．維米爾《音樂課》1662-1665年作 英國 溫莎 溫莎城堡藏 Johannes Vermeer, The Music Lesson , 1662-1665, Collection of The Windsor Castle, Windsor, UK

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維克多．瓦沙雷利 V I C TOR V A S A R E L Y

「形狀是色彩表現的基礎，而色彩同時也成 就了形態的建構。」

—維克多．瓦沙雷利 1965年，美國紐約現代美術館舉辦名為「眼睛的反應」展覽引起了 學界及公眾的關注，展出作品均通過幾何圖形的變化及色彩運用而 帶給觀者視覺刺激，歐普藝術的概念正源自於此。維克多．瓦沙雷 利在1950年代發表了系列文章，論述如何在藝術創作中運用光學現 象而造成特殊的視覺感受，並已創作實踐而影響深遠，被譽為歐普 藝術之父。歐普藝術以抽象主義為基底，不注重表達感情和情緒， 其發展更可追溯到二十世紀初期由義大利興起的未來主義，以及德 國的包豪斯，是現代藝術史上極為重要的藝術運動之一。 「這是冰冷且屬於大腦的藝術？不是的─它是一種純淨的藝術，或 是說，注入了極深的靈性，以晶體或原子般精密組織及建立而成的 藝術。瓦沙雷利作品的結構是極其豐富的，以特殊的元素排列，製 造出那些有特色、具有刺激性以及最終引起觀者共振觀感的作品。 這也是動態藝術之特徵，也正是瓦沙雷利創造了這一名詞。他沒有

Lot 127

將色彩及形態分開思考，但是將二者作為一個整體的統一運用…」 ─瑪律塞．佐瑞《維克多．瓦沙雷利》 維克多．瓦沙雷利1930年來到法國巴黎定居，就此展開個人的藝 術探索及理念建構。當時歐洲的抽象藝術有兩大方向：一是俗稱的 「冷抽象」，一般運用幾何形式建構畫面；另一相對應的則為「抒 情抽象」，著重運用色彩、筆觸等表達主觀情感。瓦沙雷利在冷抽 象的系統之下，透過色彩及幾何圖形的傳達「空間」與「動感」。

的姿勢，畫面雖依據理性排列，卻以色彩和幾何圖形洋溢著活潑靈 動的韻律感。瓦沙雷利在作品《小丑》中，精妙地使用圖形及色彩 及其間所形構的關係，將現實世界的題材透過自己的感知再現於畫 布上，正如他所說：「所有都在這裡了，空間性、持續性、微粒及 波動、關係和場域。我的藝術再次將自然轉換，而這一次是純粹物 理性的，使得觀者對世界有物理上的完整感知」。瓦沙雷利帶領觀 者以他的方式重新理解世界。

早期多以黑白二色進行創作，早在三四十年代，其代表作《斑馬》 便為確立歐普藝術流派的第一幅作品。而後，瓦沙雷利開始在其創 作之中加入彩色，以進一步探索色彩、形體與空間的立體感及運動 感之關係。 創作於其巔峰時期的《小丑》(Lot 127) 為瓦沙雷利色彩及形態運用 技法集大成之作，畫面背景及主體的勾勒完全使用幾何圖形：大小 不一，色彩各異，亦或彷彿經過扭曲的方形。這些色塊在棕黃色背 景下由四周到中心、由深褐色至紅、橘與黃色逐漸變化，明度與彩 度的對比之應用在這裡達到了極致，紅色色塊與邊緣的灰色調方塊 對比使畫面出現向中心運動之效果，且造成一種三維突出的視覺感 受。主角的輪廓通過方塊之間冷暖色調的衝突勾勒而出，均通過藝 術家精心計算，在視覺上建構小丑身軀的立體感以及四肢搖擺舞動

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1. 皮耶．蒙德里安《作品 編號2/構成 編號七》1913年作 美國 紐約 所羅 門．古根海姆博物館藏 Piet Mondrian, Tableau No. 2/Composition No. VII , 1913, Collection of Solomon R. Guggenheim Museum, New York, USA 2. 維克多．瓦沙雷利《斑馬》1932-1942年作 佳士得 倫敦 2017年3月7日 成交價：485,000 英鎊 Victor Vasarely, Zebras , 1932-1942, Christie's London, 7 March 2017, Sold for GBP 485,000

1.

2.

"Every form is a base for colour, every colour is the attribute of a form."

- Victor Vasarely In 1965, The Museum of Modern Art held "The Responsive Eyes" exhibition, which captivated the attention of the public and the art world. The exhibited works provided the viewers with visual stimulation through geometric changes and colour application. And that forms the foundation of OP Art. In the 1950s, Victor Vasarely published a series of articles on how to use optical effects in artworks to create special visual experiences, and by putting that into his artistic practices, he is regarded as the father of OP Art. OP Art is based on Abstractionism and does not focus on expressing emotions or sentiments.

Its development dates back to Futurism, which originated in Italy in the early twentieth-century, as well as from the influence of Bauhaus in Germany. It is one of the most prominent art movements in modern art history.

"Is it a cold and cerebral art? No-a purified art, rather, marked with a deep spirituality, ordered and built as is the crystal or the atom. A great richness of invention appears in Vasarely's structures, in which the special arrangement of the elements produces that characteristic, irritating, and finally appealing vibration. For here everything contributes to the kinetic form (la plastique cinĂŠtique), a term of which he is in fact the inventor. He does not consider forms and colors separately, but as a form-color whole, which has become a plastic Unityâ&#x20AC;Ś" -Vasarely by Marcel Joray In 1930, Victor Vasarely settled down in Paris, and began his personal artistic exploration and conceptual construction. At that time, abstract art in Europe was heading in two major directions: one is commonly known as "Cold Abstraction", which generally uses geometric shapes to construct pictures; while the other one is "Lyrical Abstraction", which focuses on the use of colours and brushstrokes to express subjective emotions. Under the cold abstraction system, Vasarely

conveys "space" and "motion" through colour and geometry. In the initial phases of development, most of the works were created in black and white. As early as the 1930s and 40s, Vasarely's signature work, Zebra, was the first of its kind to establish the genre of OP Art. Later, Vasarely began to add colour to his creations, and furthered the exploration of the relationship between colour, shape, and space.

Created at the peak time of his artistic career, Harlequin (Lot 127) serves as a masterpiece of Vasarely's use of colour and form. The contours of the background and subject are completely comprised of geometric shapes: they resemble twisted squares of varying colours and sizes. These patches gradually change from brown to red, orange, and yellow on a brown-yellow background, culminating into a contrast between brightness and saturation.

The contrast between the red blocks and the gray squares of the edges gives the canvas an effect of moving towards the center, creating a prominent threedimensional visual sensation. The outline of the protagonist is highlighted by the conflict between the warm and cold colours of the squares. The artist's careful calculations visually construct the three-dimensionality of the clown's body and the posture of the limbs swinging and dancing. The colours and geometric shapes are filled with a lively and dynamic rhythm. In his work, Harlequin, Vasarely exquisitely utilises shapes and colours, and the relationships they form to project his own perceptions of real-world themes onto the canvas. As he said, "Everything is there: Space, Persistence, Corpuscles and Waves, Relations and Fields. My art transfers Nature once again, this time that of pure physics, in such a way as to enable a physical understanding of the world." Vasarely leads the viewers to form a new understanding of the world through his eyes.

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127 VICTOR VASARELY ( H U N GA R I A N , 1 9 0 6 -1 9 97 ) Harlequin 維克多．瓦沙雷利 小丑

Painted circa 1987 acrylic on canvas 232.3 x 160.5 cm. (91 1/2 x 63 1/4 in.) signed 'vasarely-' (lower centre)

約 1987 年作 壓克力 畫布 款識：vasarely-（中下）

Provenance

Ketterer 慕尼黑 1996年12月2日 編號134 德國 私人收藏 Ketterer Kunst GmbH 慕尼黑 2014年12月6日 編號843 歐洲 私人收藏 歐洲 私人收藏

Ketterer Munich, 2 December 1996, Lot 134 Private Collection, Germany Ketterer Kunst GmbH Munich, 6 December 2014, Lot 843 Private Collection, Europe Private Collection, Europe

來源

附 皮埃爾．瓦沙雷利所開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Pierre Vasarely. 此作將收錄於由藝術家基金會正在編纂的《維克多．瓦沙雷利作品集》 The work will be included in the artist's forthcoming catalogue raisonné prepared

by Foundation Vasarely.

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800

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喬 治 ． 康 多 G E OR G E C O N D O

「我一直都堅信融匯各種風格的重要，即便 從最初的創作，我已經開始代換任何及所有 藝術史參考文獻中採用的語彙，最後形塑成 一個我的獨有圖像。人們可以尋著各種路線 圖前進，但最終落點在一個完全未知的地 方。」

─喬治．康多

喬治．康多出生於1957年的美國，他在大學主修音樂理論和藝術 史，出於對龐克搖滾的熱愛，他在1979年的一次樂團活動上認識 了對音樂有著同樣喜好的尚．米榭．巴斯奇亞，這也促使他搬去紐 約，從而展開對藝術的追尋之旅。東村是紐約反文化的中心，也是 紐約藝術和康多藝術生涯的發源地，康多曾在1980年初期於安迪． 沃荷的工作室短暫打工，當時他雖然才20歲出頭，卻已在東村數家 畫廊舉辦過展覽。之後他頻繁的來往於歐洲和美國之間，與多家國 際畫廊合作，逐漸嶄露頭角。 康多在1980年代與巴斯奇亞及凱斯．哈林共同代表了紐約藝術的新 興力量，他的作品在首次展覽便銷售一空，甚至連沃荷都在不知道康 多曾是他員工的情況下收藏了幾件。他的繪畫時而糅合歐洲傳統技 巧和波普藝術理念的繪畫風格，就如同他所說的：「我喜歡西洋古典 油畫，所以我就是要畫它們。」康多延續了肖像繪畫自林布蘭、畢卡 索、培根等人傳承下來的精神，以真實維度的視覺經驗去詮釋一個虛 幻的觀念，容納詼諧、嘲諷、致敬等元素的方式，他稱之為「人工寫 實」。保利香港是次有幸徵得三件康多的油畫創作，其中兩件創作於 80年代的早期作品，讓我們得以一窺藝術家的完整創作歷程，其中 2007年作的《夢境》(Lot 129) 更是藝術家極其豐富、集數十年藝術生 涯於一身的大成之作。 1983年是康多相當繁忙的一年，他短暫搬去洛杉磯舉辦了他在當地 的首次個展，並在回到紐約後不久便首次踏上他所憧憬的歐洲土地。 該年作的《無題》(Lot 130) 是藝術家早期受沃荷波普藝術影響的一件 大尺幅之作，他融合自身文化源頭的印地安圖騰，將其與美國傳統節 日的聖誕樹形象合併，形成一個存在於波普印象和真實維度之間的混

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合體，而這也就是藝術家所注重的人工寫實概

不同的、非連貫的時刻裡，性格裡的各種心理狀

念。康多在色彩表現上，選擇以紅和綠作為主

態。」《異形頭像》是康多對於傳統肖像畫的一

要搭配，採用了聖誕節的代表性顏色，但因缺

次全新闡釋，他借鑒了立體派的形象表現並在其

乏了物體和空間光線性的描寫，更加強了藝術

中注入了心理狀態的個人詮釋，將內在層面的複

家創作理念的人工性。在圖騰後方的平塗背景

雜性提升至全新的高度。

下隱藏著一個人體的線條，空洞、骷髏似的眼 神和左手中所持的戰錘，在看似歡樂的題材下 隱匿了一絲戾氣，人像右手位於圖騰桿的後方 就像是要將其提起的姿態，影射了印地安和新

畢卡索對於康多的影響深遠且有非凡意義，康 多自認為他的風格可稱作「心理立體主義」， 比如說：「畢卡索在一個平面上同時詮釋了四

移民幾世紀前的緊張情緒。

個不同視角的小提琴，而我作的不過是顯現它

1989年作《異形頭像》(Lot 128) 參照了分析性立

層層堆疊的多重人像，怪誕的臉孔塑造、扭曲

體派對於空間的解析，被分割而重新組合的背

的肢體形象，彷彿讓觀者直入畫中人物心靈，

景以平塗色塊形成分離，如同拼圖的謎題式排列

與同共遊虛幻夢境。「夢」的視覺本質通常

突出了主角的神祕感，其細長的肢體和充滿張力

具有高度的幻想性，往往將不同對象和地點融

的四根手指彷彿訴說著自身非自然的身份。它的

合在一起，反映出人的記憶和生活體驗，人們

頭顱結構扭曲，以二度空間的多視角交錯，兩隻

透過夢境可以通往潛意識與各式幻想。康多在

眼睛被分至馬蹄形頭顱的兩側尾端，一紅、一

形象的不穩定性表述上下了許多功夫，從畫面

綠呈現出各自別異的心靈狀態。身上著用的黃

主角變形誇張的圖像和荒誕的組構可以看得出

綠橫間條紋T恤在形象上揶揄了畢卡索的穿著風

他受象徵主義和表現主義的影響。人物暴露的

格，同樣的條紋衣物也時常出現在畢卡索的畫

唇齒、眼窩和軀體彷彿將現實剖開般地給出暗

中。就像他所說的：「我想在觀者面前打破一種

示，深層心理中的焦慮狀態緩緩地溢出畫面。

『鏡像』，讓觀眾能一次全面地看見肖像人物在

康多注重人物心靈上極致的情感表現，他將所

Lot 128

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們的心理狀態。」2007年作的《夢境》中描繪

1.

1. 巴勃羅．畢卡索《坐在搖椅上的裸女》 1956年作 澳洲 雪梨 新南威爾斯畫廊藏 Pablo Picasso, Femme nue à la chaise à bascule , 1956, Collection of the Art Gallery of New South Wales, Sydney, Australia 2. 巴勃羅．畢卡索《亞維農的少女》1907年 作 美國 紐約 現代藝術博物館藏 Pablo Picasso, Les Demoiselles d'Avignon , 1907, Collection of The Museum of Modern Art, New York, USA

2.

有潛在的心理狀態同時在一張臉龐上釋放，裸

回應主題，以更加激烈的情緒與相異動態表述

露的形象使得反差和張力顯得更加強烈，營造

潛意識中的欲望和壓力。《亞維農的少女》可

出扣人心弦的官能畫面。

說是畢卡索確立嶄新繪畫語言的一座里程碑，

康多製造畫面上衝突的方式不單是心理式的， 也得益於他對樂理的研究。他說：「我喜歡研 究巴哈線性結構及對位結構的編曲，然後將那 些旋律與不和諧的音韻轉錄成圖像和繪畫。」 這也說明了他在對比色的運用和構圖線條上的

透過向這轉折時期的關鍵代表作致敬，康多同 樣整理了數十年以來藝術的個人經驗總結。無 論是構圖的豐富性或者結構、色彩的完整性， 《夢境》可說是康多在藝術歷程與多元探索上 又一次強而有力的印證。

差異性。《夢境》以大紅色為背景，飽和的色

康多的繪畫是由線條、色彩、形體交織所形成

彩為畫面帶來一種動態、不安定的隱喻，人物

其獨有的時間性，而非單純組織現有的空間維

著色從中心女性正常的膚色開始，從面容綠色

度。他藉由一個極其人為的方式描繪自然存在

的變異開始往外擴散，連同下方帶紫色、藍色

的型態，廣泛而深遠地帶給觀者複雜的心理寓

的臉孔和左方具有強烈個性的鮮黃色人體一起

意。在全球化影響和世代交替的因素下，視覺

相互爭奇鬥艷，試圖激發觀者的心理共鳴，後

文化的普及達到前所未有的高度，康多的繪畫

方人物交叉的手臂以簡約線條描邊勾勒，更

語言確實走在時代的最尖端，使他成為現今最

加深了藝術家來回游走於現實與心靈疆界的

炙手可熱的當代藝術家之一，如果說我們對其

藝術風格。有趣的是，《夢境》在人物肢體形

怪誕的視覺語言產生異樣的共鳴，那是否代表

象、色階的調和、甚至於畫中人數都與畢卡索

我們生活周遭的各類文化，本質跟康多筆下的

的《亞維農的少女》相仿，畫面中一人半遮臉

世界同樣如此瘋狂和荒謬？或許在藝術家天才

龐、立體主義表現的野性臉孔以及手臂交錯於

心性下摧毀圖像結構後再重組的性質，才是他

腦後的肢體語言也如出一轍。《夢境》則彷彿

期許社會邁向進步的根本理論。

Lot 129

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128 GEORGE CONDO ( A M E R I CA N , B . 1 9 5 7 ) Unidentified Head 喬治．康多 異形頭像

Painted in 1989 oil on canvas 60.9 x 50.5 cm. (24 x 20 in.) titled, signed and dated 'unidentified head condo 89' (on the reverse)

1989 年作 油彩 畫布 款識：unidentified head condo 89（畫背）

Provenance

美國 紐約 佩斯畫廊 美國 私人收藏 佳士得 紐約 2011年3月10日 編號115 美國 私人收藏 歐洲 私人收藏

Pace Gallery, New York, USA Private Collection, USA Christie's New York, 10 March 2011, Lot 115 Private Collection, USA Private Collection, Europe

HK$ 1,100,000 - 1,600,000 US$ 141,000 - 205,100

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來源

Modern and Contemporary Art

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129 GEORGE CONDO ( A M E R I CA N , B . 1 9 5 7 ) The Dream 喬治·康多 夢境

Painted in 2007 oil on canvas 81.1 x 71.2 cm. (32 x 28 in.) dated '07' (upper left); signed and dated 'condo 07' (on the reverse)

2007 年作 油彩 畫布 款識：07（左上）；condo 07（畫背）

Provenance

美國 紐約 Luhring Augustine 畫廊 美國 私人收藏 歐洲 私人收藏

Luhring Augustine Gallery, New York, USA Private Collection, USA Private Collection, Europe

HK$ 4,000,000 - 5,000,000 US$ 512,800 - 641,000

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來源

Modern and Contemporary Art

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"I had always believed in synthesizing things ever since the very beginning and I began to interchange languages from any and all art historical references in order to arrive at a singular image that could only be mine.

One can see the various roadmaps taken, but end up in a completely unchartered place."

- George Condo

喬 治 ． 康 多 G E OR G E C O N D O

Born in the 1957 United States, George Condo majored in music theory and art history in college.

In light of his passion in Punk Rock, he met JeanMichel Basquiat, who also shares the same interest, at a band event in 1979. It was the encounter that motivated him to move to New York and begin a journey of artistic pursuit. East Village was the centre of counter-culture in New York, and also the birthplace of New York's art scene and Condo's artistic career. In the early 1980s, Condo temporarily worked part-time in Andy Warhol's studio. As early as in his early twenties, he had held exhibitions in several galleries in East Village. He went on to frequently travel between Europe and the U.S. to collaborate with many international galleries, gradually emerging in the art world.

法蘭西斯．培根《以受難為題的三張習作》約 1944年作 英國 倫敦 泰特不列顛美術館藏 Francis Bacon, Three Studies for Figures at the Base of a Crucifixion , c. 1944, Collection of Tate Britain, London, UK

In the 1980s, Condo together with Basquiat and Keith Haring represented the emerging force of the New York art scene. He sold every single work in his very first exhibition. Even Warhol collected some pieces without knowing the artist to have worked for him. His paintings sometimes combined traditional techniques from Europe and style in the vein of Pop Art, attesting to his words, "I like Old Master paintings, so I'm just going to paint them." In continuing the spirit of portraiture passed down from Rembrandt, Picasso, Bacon, etc., Condo interprets some eerie concept through visual experience drawn from reality by containing elements of humour, sarcasm, homage, and such, an approach he coined as Artificial Realism. In this auction, Poly Auction Hong Kong is honoured to

present three oil paintings by the artist. Two of them early works painted in the 1980s, allowing of a closer look at the artist's complete career. In particular, The Dream (Lot 129) painted in 2007 is the artist's tour de force which is extremely rich and synthesizes decades of his artistic career.

For Condo, 1983 was a rather busy year. He moved to Los Angeles briefly and held his first local solo exhibition. After which, he returned to New York shortly before stepping on, for the first time, the land of Europe he longed for. Untitled (Lot 130) painted that same year in Condo's early career is a large-scale piece influenced by Warhol's Pop Art. He combines Indian totems drawn from his own cultural root with the image of Christmas tree drawn from the traditional American holiday to create a mixture existing between Pop impression and the realm of reality, incarnating the concept of Artificial Realism he emphasises. In terms of colour expression, red and green emblematic of the Christmas are chosen to be main matching colours. Yet the absence of depiction of objects and light in the space further enhances the artificiality of Condo's creative concept. Against the flatly-coloured background behind the totem is a hidden contour of a body with a skull-like haloed eye and a war hammer held in the left hand, implying a gleam of violence underneath the seemingly merry subject. The figure's right hand is behind the totem pole; the gesture seems like raising the pole, alluding to the nervous tension between the Indians and new immigrants centuries back.

Modern and Contemporary Art

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Lot 128

Unidentified Head (Lot 128) painted in 1989 refers to the spatial analysis of Analytical Cubism. The sliced and recombined background is divided through flatly coloured areas. The puzzle-like enigmatic deployment further expresses the protagonist's mysterious air.

His slender members and four fingers full of tension seem to relate his unnatural identity. The structure of the skull is distorted, caught in an intersection made of multi-perspectives of two-dimensional space. The two eyes are separated respectively to the ends of two sides of the u-shaped skull; one is red and the other green, they represent diverse mental states. In terms of image, the figure wears a T-shirt in yellow and green stripes, a mockery of Picasso's dressing style; similar clothes in stripes are also recurrent in the latter's paintings. As Condo put it, "I want to crack the 'mirror' in front of them and have a viewer see his personality in many different psychological states from various non-sequential moments, all at once." Unidentified Head is Condo's advancement in interpreting traditional portraiture. He refers to the Cubist representation of forms while imbuing a personal rendition of mental state, elevating inner complexity to an unprecedented level.

The influence of Picasso on Condo is profound and particularly significant. Condo considers his own style Psychological Cubism. He took an example, "Picasso painted a violin from four different perspectives at one moment. I do the same with psychological states." Painted in 2007, The Dream depicts

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superimposed figures piled in layers. Through the eerie formation of the visages and the distorted forms of members, the viewer seems to directly enter the characters' psyches and tour in the dream world with them. In general, the visual nature of "dream" is highly illusionary. Often combining different characters in multiple locations, it reflects human memory and life experience, and through dream, one can approach the subconscious as well as all sorts of fantasies. Condo devoted a great amount of effort in order to present the destabilization of the image. The protagonists' deformed, exaggerated images and awkward constructions reveal influences of Symbolism and Expressionism. The figures' exposed lips and teeth, eye sockets and bodies seem to provide hints like dissecting reality, through which, anxious states deep within the psyches slowly exude from the picture. By releasing all latent psychological states on the same visages, Condo pays attention to extreme emotional expression of the characters' minds. The naked bodies enhance the contrast and the tension, thus creating a sensational picture that is intriguing but also sensual at the same time.

The way that Condo fabricates pictorial clashes is not only psychological but also benefits from his investigation in music theory. He said that "I love to study the linear or contrapuntal compositions of Bach and transcribe that kind of melodic and dissonant notation into drawing and painting."

This also demonstrates the differences in his use of

畢卡索穿著橫間條紋T恤 Picasso in striped t-shirt

contrasting colours and compositional lines. Against a scarlet backdrop, the saturated colours of The Dream bring forth dynamic and uncanny metaphors to the picture. In terms of colouration, starting from the woman's natural skin colour at the centre, a mutation starts to spread outwards from the green of the face which competes for attention with the purplish and bluish visage below and the bright yellow body who exposes a strong character to the left, attempting to trigger the viewer's mental resonance. The crossed arms of the figure behind are sketched with simple lines, enhancing the artist's style wavering between boundaries of reality and psyche. Interestingly, the limbs' shapes, the harmony of colour scales and even the number of characters in The Dream are all in accordance to those in Picasso's Les Demoiselles d'Avignon. So is the body language: a character's face half-covered, the others' wild visages painted in Cubist manner with one's arms crossed behind the head. As for The Dream, it seems to correspond with its subject matter, interpreting unconscious desire and pressure through ever stronger emotion and diverse motions. Les Demoiselles d'Avignon is arguably the milestone in Picasso's establishment of a brand new artistic language. By paying homage to the key iconic work of a turning period, Condo also sums up his personal experience through the decades of his artistic career. The compositional richness, structural completeness and colours of The Dream strongly attest to Condo's diverse explorations in his ongoing journey of art.

In Condo's painting, lines, colours and shapes are interwoven into particular temporality rather than simply organized in existing spatial dimensions. He depicts naturally existing shapes through a very personal way, conveying complex mental connotation to the viewer in a wide and profound language.

Due to the impact of globalization and factors of generation alteration, visual culture has become unprecedentedly widespread. Condo's painting language is indeed cutting-edge, making him one of the most renowned contemporary artists in our time. If Condo's visually challenging language arouses strange resonance in us, could it be that the essence of various cultures in our daily life is as crazy and absurd as the world depicted by him? Perhaps only the quality recombined after images' structures are destroyed through the artist's genius mind comes to incarnate the essential theory he holds in expecting the society to move forward.

130 GEORGE CONDO ( A M E R I CA N , B . 1 9 5 7 ) Untitled 喬治．康多 無題

Painted in 1983 oil on canvas 173 x 122.3 cm. (68 x 48 1/4 in.)

1983 年作 油彩 畫布

Provenance

美國 紐約 Pat Hearn畫廊 美國 紐約 Vrej Baghoomian畫廊 佳士得 紐約 2006年11月16日 編號448 美國 紐約 私人收藏 蘇富比 紐約 2012年11月14日 編號307 美國 私人收藏 美國 私人收藏 歐洲 私人收藏

Pat Hearn Gallery, New York, USA Vrej Baghoomian Gallery, New York, USA Christie's New York, 16 November 2006, Lot 448 Private Collection, New York, USA Sotheby's New York, 14 November 2012, Lot 307 Private Collection, USA Private Collection, USA Private Collection, Europe

HK$ 1,000,000 - 1,500,000 US$ 128,200 - 192,300

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來源

Modern and Contemporary Art

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「顏色是藝術創作中最重要的媒介，而我們從來不真正看見我 們所見。在變換的光源之下，甚至在不同的心情之下去接近色 彩，產生的觀感也是每分鐘在變換。而在最後，對色彩的探究 便是對我們自我的詰問。」

─約瑟夫．亞伯斯

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約瑟夫．亞伯斯 J OS E F A L B E RS

1.

2.

二十世紀初期，第一次世界大戰結束後，重視傳統美學的古典主義

鹽的晶體中，我們每天都能使用到的鹽，但我們仍需要用顯微鏡才

建築和設計，在四處革命的社會背景之下變得不合時宜，現代工業

能看到…總而言之，我還是認為方形是人類的產物，而這個想法，

設計領域迎來一次全新的革命運動，也就是包豪斯。包豪斯最初是

使我異常興奮。」

當時德國建築師沃爾特．格羅佩斯成立的一所設計學院。而後包豪 斯更是發展成為現代藝術及設計中最重要流派之一，以形隨功能和 少即是多的設計創作原則與二十世紀現代藝術重要流派極簡主義及

除了對正方形的極致探究及運用，《向方形致敬》同時可見藝術家 對色彩應用的深入挖掘，探討觀者與色彩之間的關係。亞伯斯認為

奧普藝術的誕生及發展息息相關。

因明度，色調和色相的不同，大自然中的顏色是無窮盡的，更是無

約瑟夫．亞伯斯1920年進入包豪斯設計學院學習玻璃繪畫，而後由

必需瞭解顏色是有欺騙性」在其環境色不同時，色彩所傳達出張力

於其出色表現，受聘為包豪斯學校的教師。1950年起擔任耶魯大

與情感可以完全不同。畫面外圍是冷色調的墨綠色，中間是偏橘的

學設計系主任。除了是影響了幾代藝術家的偉大教育家，亞伯斯更

深黃色，再中間則是較淺的黃色。在冷色調的墨綠色對比之下，橘

是二十世紀冷抽象體系之下最重要的藝術家之一。由於其對極簡主

黃顯得更為沉穩收斂，而中心的黃色方塊則更為出跳，冷暖色調的

義的推進，及作為美國奧普藝術最著名的先驅藝術家，亞伯斯作品

對比映襯，使得畫面有種前後推移的空間移動感。畫面中正方形邊

為泰特美術館、大都會藝術博物館、古根漢姆美術館等世界頂尖美

緣線條之間的比例也是經過藝術家精心思考排佈後得出的。可以三

術館所收藏，早在1955年便受邀參加第一屆卡塞爾文獻展，更是於

個正方形看到上邊寬下邊窄，兩邊距離均等，形成重心下壓的視覺

1971年大都會藝術博物館便為其舉辦了個人特展，可見亞伯斯於西

效果。且三個正方形邊緣之間的距離由外向內增大，暗示了面積上

方藝術史地位之顯赫。

的變化而產生收放的視覺感受，同時以每個正方形間細微差異的筆

法用語言形容的，只能由觀者自行體會。「為了有效的使用顏色，

觸構成變化，透露出藝術家對於每處細節的精心構思。 1950年代末期，亞伯斯開始創作「向方形致敬」系列，這也是藝術 家一生中的代表之作。此次上拍作品《向方形致敬》(Lot 131) 正是

亞伯斯對色彩的應用及理論探索影響了而後幾代的藝術家及藝術流

藝術家在1962年創作的「向方形致敬」系列之一。「向方形致敬」

派發展，作品《向方形致敬》全面地呈現了色彩與直線間的精確呼

系列均以大小的正方形色塊進行疊加或排列，通過對冷暖色彩色調

應關係，是藝術家兼具有系統性、秩序性、實驗性的融會貫通之

的精密分析及運用，將顏色以或衝突或相互映襯的方式呈現於畫面

作，是藏家們能一窺西方現代大師頂級作品的契機，實屬難得。

中，以追求色彩純粹的表現力。在眾多的幾何圖形線條中，亞伯斯 對正方形有近乎偏執般的獨特偏愛。「長久以來，圓形彷彿總是愚 弄我，使我不知它到底是否靜止還是運動，如果一個圓形在滾動， 由於它的線條，你是看不見的。相對的，方形則誠實多了，我可以 知道它就停留在四條邊界線的其中一條之上，通常是作為基準的水 準方向那條。同時，我認為方形是人類的產物，因為你無法在自然 界中看到一個方形。但後來糾正了自己的想法，因為正方形存在於

1. 包豪斯建築學院 The Bauhaus School of Architecture 2. 約瑟夫．亞伯斯《在綠色框中向方形致敬》1963年作 美國 紐約 大都會 藝術博物館藏 Josef Albers, Homage to the Square in Green Frame, 1963, Collection of The Metropolitan Museum of Art, New York, USA

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約瑟夫．亞伯斯 J OS E F A L B E RS

In the early twentieth-century, it was just after World War I, traditional theories and aesthetics in architecture and design became obsolete, and the modern industrial design field ushered in a new revolutionary movement, namely Bauhaus. Even though Bauhaus was initially founded by the German architect Walter Gropius as a design college, it has then evolved to become one of the most important schools in Modern art and design. Characterised by its principle of "form follows function" and "less is more", Bauhaus is closely related to the birth and development of Minimalism and Op Art in the twentieth century.

Josef Albers went to the Bauhaus School of Design in 1920 to learn glass painting, and was later employed as a teacher at the Bauhaus School due to his outstanding performance. In 1950, Albers became the chair of the Department of Design at Yale University. In addition to being a great teacher who has influenced generations of artists, Albers is also one of the most important Geometric Abstraction artists of the twentieth-century. As an advocate of Minimalism and one of the most famous pioneering artists of Op Art, Albers' work is collected by world renowned galleries such as Tate Modern, the Metropolitan Museum of Art, the Guggenheim Museum, and other internationally recognised art institutions. In 1955, Albers was invited to participate in the first Kassel Documenta, and in 1971 he held a solo exhibition at the Metropolitan Museum of Art, which address his prominent status in the history of Western art.

In the late 1950s, Albers began to create his signature Homage to the Square series. The work included in this season's sale is a painting Albers created in 1962 as part of his Homage to the Square series. Homage to the Square series utilises different sized squares which are stacked or placed within one another.

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Through the precise analysis and application of cold and warm tones, colours are presented on the canvas in a conflicting or reciprocally contrasting manner to pursue a pure expression of colour. Amongst the numerous geometric lines, Albers was specially addicted to squares. "I have known for a long time that a circle always fools me by not telling me whether it's standing still or not. And if a circle circulates you don't see it. The outer curve looks the same whether it moves or does not move. So the square is much more honest and tells me that it is sitting on one line of the four, usually a horizontal one, as a basis. And I have also come to the conclusion that the square is a human invention, which makes it sympathetic to me. Because you don't see it in nature. As we do not see squares in nature, I thought that it is man-made.

But I have corrected myself. Because squares exist in salt crystals, our daily salt. We know this because we can see it in the microscope... I still like to believe that the square is a human invention. And that tickles me.

So when I have a preference for it then I can only say excuse me."

In addition to the ultimate exploration of the square form and incorporation of squares in his paintings, Homage to the Square (Lot 131) is also a good demonstration of the artist's in-depth exploration of colour applications and examines the relationship between viewers and colours. Albers believes that because of the differences in brightness, tone and hue, nature possesses infinite amount of colours that cannot simply be described in words. They can only be experienced by the viewers. "In order to use colour effectively it is necessary to recognize that colour deceives continually." The tensions and emotions conveyed by colours can be completely different according to the changes in environment.

The outskirts of the canvas harbour a cold dark green with a dark orange-yellow in the middle, and a lighter yellow is set in the center. In contrast with the cool green tone, the orange-yellow colour appears more calm and stable, while the yellow square at the centre appears to jump out. The contrast of warm and cold tones gives the canvas a fluid sense of spatial movement. The proportions between the lines at the edges of the squares were also drawn after careful consideration by the artist. For all three squares, it can be seen that the top edge is wider while the bottom is narrower, with equal distance between the two sides, forming a visual effect of a pressing center of gravity.

The distance between the edges of the three squares increases from the outside to the inside, suggesting a change in area, thereby producing a visual sense of retraction. At the same time, the minuscule changes

in the strokes of each square reveal the artist's careful construction of each detail.

Albers' application and theoretical exploration of colour have influenced the development of artists and art schools of later generations. Homage to the Square provides a comprehensive representation of an intricate relationship between colour and line. Integrated with Albers' systematic, orderly, and experimental style, Homage to the Square is a rare opportunity for collectors to get a glimpse into the exceptional work of Western modern masters.

瓦西里．康丁斯基《顏色習作．方形及同心圓》 1913年作 德國 慕尼黑 倫巴赫美術館藏 Vassily Kandinsky, Color Study, Squares with Concentric Circles , 1913, Collection of Len bachhaus Museum, Munich, Germany

Colour is the most relative medium in art, and that we never really see what we see.

All neighboring means which occur every minute different, not only in changing light but also by our changing moods. And in the end, the study of colour again is a study of ourselves.

- Josef Albers

131 JOSEF ALBERS (G E R M A N , 1 8 8 8 -1 976) Homage to the Square 約瑟夫．亞伯斯 向方形致敬

Painted in 1962 oil on masonite 46 x 46 cm. (18 1/4 x 18 1/4 in.) signed and dated 'A62' (lower right)

1962 年作 油彩 纖維板 款識：A62（右下）

Provenance

法國 巴黎 Denise René畫廊 義大利 私人收藏 佳士得 巴黎 2017年6月7日 編號6 英國 私人收藏 歐洲 私人收藏

Galerie Denise René, Paris, France Private Collection, Italy Christie's Paris, 7 June 2017, Lot 6 Private Collection, UK Private Collection, Europe

來源

附藝術家基金會所開立之原作認證書 The work is to be sold with registration of the archive of the Josef and Anni Albers Foundation.

The work will be included in the artist's forthcoming catalogue raisonné prepared by the Josef and Anni Albers Foundation.

HK$ 2,000,000 - 4,000,000 US$ 256,400 - 512,800

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此作將收錄於由藝術家基金會正在編纂的《約瑟夫・亞伯斯作品集》

Modern and Contemporary Art

79

羅伯特·印第安納 RO B E RT I N D I A N A

20世紀50年代晚期，羅伯特．印第安納選

的藝術生涯中最重要，也是至今都為全世界

「希望」，藝術家以看似最簡單，但也是最

擇移居紐約這個匯聚藝界精英、促進多元化

所知與追捧的「LOVE」系列作品，藉此奠定

具個人代表性的方式表達了自己對的當下社

思想迸發的世界級藝術樞紐，正如很多同時

了他在美國普普藝術家中不可撼動的地位以

會發展的美好願景。HOPE這個簡短的詞組

期的藝術家一樣，他受到了時下消費主義和

及對後輩的影響力。

在印第安納的詮釋下所蘊含的強大力量早已

流行文化的強烈影響，並決定以此為靈感源 泉進行藝術創作。在一些最初的符號性疊塗

「我想讓世界充滿希望」

創作後，印第安納以被大眾強調與追捧的美

2008年，已達80歲高齡的印第安納，早已

國式符號文化為根基，選取了世界公認最飽 含情感的、經他多年反復斟酌理解的單詞：

移居小島過著清靜遠離世俗紛爭的隱居生

活。這位與其他普普藝術家相較頗為與世無

LOVE（愛），並結合19世紀美國乾草公司印

爭的老人，以與《LOVE》十分相似的排列

刷模板的字體呈現形式，創作出了此後在他

組合創作了《HOPE》，「HOPE」的直譯為

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超越了其簡單抽象的外觀，它彷彿一劑可以 治癒一切的靈藥，成為當時美國甚至全世界 的民眾希望的寄託標籤，正如印第安納所闡 述：「我想要幫助下一代定義未來的方向， 《HOPE（希望）》的出現正合時宜」。

2.

1.

In the late 1950s, Robert Indiana moved to New York City, a global hub where the world's art elites would gather and introduce a diverse range of new ideas and concepts. Similar to those by many artists from that era, Indiana's works were strongly inspired by Consumerism and Pop Culture. After his early iconographies and serigraphs, Indiana selected the world's most emotion infused word based on the highly pursued and emphasized American iconography of pop culture after years of repeated consideration - LOVE. He sampled the font and presentation of American Hay Company typography in the 19th century, and created the most iconic works of his career - the LOVE series, which is wellknown and praised all over the world. The series established not only his position among American artists, but also his influence on the following generations.

"I'd like to cover the world with hope"

文字符號的藝術性隱喻

塑外觀紅色的色調靈感取自於Phillip 66汽油公司的消防車（他的父

In 2008, 80-year-old Indiana had been living a secluded life, isolating himself from the mundane world while living on a small island. The old man, who stood on a relatively undisputed position among other Pop Artists, created the HOPE series in a very similar layout with his iconic LOVE. The artist expressed his vision of modern society in the simplest yet most representative way. Under Indiana's interpretation, the power of the word has surpassed its short, simple appearance. It is seen as a prescription to cure everything, as well as an icon of the American people, and even the people around the world. Similar to what Indiana stated "I wanted to help name and empower the next generation and I felt that HOPE encompassed the needs of our time."

親曾於美國經濟大蕭條時期被調入這家公司），是印第安納對父親

Metaphor of Iconography

《HOPE》(Lot 132) 圍繞印第安納「文字視覺化」的創作理念，將 「H」、「O」、「P」、「E」四個字母上下排列，這個四方形的 對稱整體消解了單詞僅作為訊息傳遞符號原有意義，被賦予新的生 命與含義。雕塑中被斜置的右上方字母「O」，彷彿承載著「HOPE （希望）」這個單詞本身的含義，在原本平靜穩定的框架下用活潑 戲謔的姿態遙指遠方，那是遙不可及的未來與近在咫尺的希望。雕

緬懷與追憶的最佳印證，而立體字母內側簡潔純粹的白，與紅色形 成視覺上冷暖的衝撞與情緒上熱烈與平靜的融合，「HOPE」四個字 母在這樣的映襯下更富靈性，彷彿在向觀者傳遞一種訊息—文字所 蘊含的能量不可小覷。印第安納的雕塑完成了將原本只表現於二維 空間的理念引入三維立體的蛻變，從視覺上以更富感染力的形態喚 起人們內心對美好的祈願。現如今，這個標誌性的藝術符號已作為 地標遍佈全世界，成為跨越無論種族、年齡、性別的普世符號。 印第安納曾說：「在某種程度上，我關注的是作品本身…所使用單 詞的原本含義即為這件作品最好的詮釋與定義…」，《HOPE》抽象 的結構下所蘊含的詩意與敘事性像一首抒情的唱曲，不斷提醒著人 們：永遠不要失去希望。

1. 羅伯特．印第安納正在創作《HOPE》繪畫 Robert Indiana working on HOPE 2. 羅伯特．印第安納《HOPE》雕塑於紐約第六大道 The sculpture HOPE by Robert Indiana on the 6th Avenue in New York

HOPE (Lot 132) is based on Indiana's verbal-visual creative concept. He stacked "HO" and "PE" to form a square-shaped symbol. The symmertical solid structure eliminates the original meaning as a word to give the work a new life and message. The tilted letter "O", which was on the top right corner of the structure, playfully leans at a 45-degree angle, and is pointing towards outside, which symbolizes that the future might be at far distance but hope is always close at hand. The red colour painted at the surface of the sculpture is from the fire engines of the Phillips 66 Company (Indiana's father was assigned to this company during The Great Depression), which was a homage to Indiana's father. The pale white colour painted on the inner side of the stereoscopic letters establishes a visual contrast with red colour's warm tone, fusing emotions of passion and serenity. The artist's interpretation makes the word "HOPE" more spiritual, sending a message to its viewers to never underestimate the power of a simple word. By making the painting into a sclupture, Indiana sculptures has transformed a strictly two-dimensional flat concept into the three-dimensional visual one, which visually inspires viewers through a more engaging and impactful form. The iconic art symbol has become a landmark all over the world, and carries a healing power for people of all race, age and gender.

As Indiana has asserted, "In a sense, I got down to the subject matter of my work... the subject is defined by its expression in the word itself..." The poetic meanings and narratives under the abstract structure of HOPE are like a song that constantly reminds people they should never lose hope.

Modern and Contemporary Art

81

132 ROBERT INDIANA ( A M E R I CA N , 1 928 -20 1 8) Hope (Red/White) 羅伯特．印第安納 希望（紅/白）

Executed in 2009 painted aluminium sculpture edition: 3/9 46 x 22.8 x 45.6 cm. (18 x 9 x 18 in.) signed, dated, and editioned '©R. INDIANA 2009 III/IX' (bottom) one seal of the artist

2009 年作 彩繪鋁 雕塑 版數：3/9 款識：©R. INDIANA 2009 III/IX（底部） 藝術家鈐印

Provenance

來源

Acquired directly from studio of the artist Rosenbaum Gallery, Bal Harbour, USA Private Collection, Europe

直接得自於藝術家工作室 美國 保羅哈博 Rosenbaum畫廊 歐洲 私人收藏

This work is to be sold with a certificate of authenticity issued by Rosenbaum Contemporary, Bal Harbour, USA.

附 美國 保羅哈博 Rosenbaum Contemporary所開立之原作保證書

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800

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Modern and Contemporary Art

83

133 SAM FRANCIS ( A M E R I CA N , 1 923 -1 9 9 4) Untitled (SFP61-1049) 山姆．弗朗西斯 無題（SFP61-1049）

Painted circa 1961-1992 acrylic on canvas, laid on cardboard 61 x 90 cm. (24 x 35 1/2 in.) signed and inscribed 'Sam Francis DEL 3912' (on the reverse) A stamp of The Sam Francis Estate (on the reverse)

約 1961-1992 年作 壓克力 畫布 裱於紙板 款識：Sam Francis DEL 3912（畫背） 藝術家基金會印章（畫背）

Provenance

私人收藏 荷蘭 阿姆斯特丹 Delaive畫廊 歐洲 私人收藏

Private Collection Gallery Delaive, Amsterdam, Netherlands Private Collection, Europe Literature

Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, University of California Press, Berkeley, USA, 2011 (illustrated, plate SFF.1851).

來源

出版

《山姆．弗朗西斯油畫集1946-1994》加州大學出版社 伯克利 美國 2011年 （圖版，第SFF.1851圖） 附 美國 帕薩迪納 山姆．弗朗西斯基金會所開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Sam Francis Foundation, Pasadena, USA.

HK$ 500,000 - 700,000 US$ 64,100 - 89,700 山姆．弗朗西斯在其五十餘年的藝術生涯中遊歷駐足東西方各國， 他將自己的所見所感化為融合西方表現特質與東方氣韻的獨特藝術 語言，通過帶有強烈抒情色彩的抽象表現形式呈現給大眾，也因 此早年即獲得了世界頂尖藝術機構例如紐約現代藝術博物館等的青 睞，是北美當代最偉大的抽象表現藝術家之一。 《無題（SFP61-1049）》(Lot 133) 創作於1961至1992年，長達30 年之久的創作歷程是藝術家對於畫面構成反覆斟酌的結果，珍貴性 可見一斑。它與弗朗西斯向來大膽張揚的用色的以及蘊含飽滿情緒 奔放瀟灑的潑墨效果有著完全不同的風格：橫置的白色長方形空間 的左上角，似東方傳統卷軸墨繪的淡藍色暈染墨點以瀟灑隨意的姿 態向畫布其餘方向緩緩發散開來，為畫面整體營造出一種中國水墨 畫獨有的情緒鋪陳；在這樣的基調之上，具有西方個性的小塊斑斕 色點以更高的密度和情緒張力飛舞發散，他們從源頭處的亮黃逐漸 過渡到橘，繼而變為深藍，最終在靠近畫布另一端逐漸變為黑色。 這些或大或小，或發散或凝聚的光點，在畫布上形成了一種富有動 感的絕妙平衡，是波洛克潑墨畫的一種富有禪意的簡化與聚合。方 寸之間，兩種性格色點的重合為純白的二維空間構建起豐富的層次 感，而顏色的「存在」與畫布上大面積的刻意「留白」形成了意 識與情感上的呼應。弗朗西斯從70年代起便開始創作一種僅在畫 框邊緣進行人為創造，中心刻意留空的「邊框畫」，這是藝術家通 過冥想式的運用筆刷和色彩，創造出的一種具有「偶發性」特質的 抽象山水圖景。藝術史學家兼現代藝術博物館的前館長彼得．賽爾 茲曾描述：「…那種白是一種光源，時刻以寧靜和沉思填充著畫面 中心…」；而這種表象上的「虛空」，是藝術家基於對佛教禪宗的 篤信為觀者打造的一片駐足凝思的場域，正如弗朗西斯本人所說： 「這些畫作中間的空間是為你而留的。」 弗朗西斯從未停止通過富有力量感的色彩記錄光影，他在有限空間 內以一種東方禪思的視角，通過在「有」與「無」之間構築的平衡 啟發多元文化融合的世界觀。

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Sam Francis travelled across the East and the West for more than half a decade during his artistic career. He transformed his sights and feelings into a unique artistic language that integrated Western expressive characteristics with Oriental qualities. His work presents to the viewer abstract forms with strong lyrical abstraction features. With such unique qualities, his works are collected by the world's most recognisable art institutions, such as New York Museum of Modern Art, etc., and himself is one of the most admired contemporary abstract artists in North America.

Untitled (SFP61-1049) (Lot 133) was created during the years from 1961 to 1992, it is a result of the artist's repeated consideration upon the intricacies of pictorial composition over the long, 30-year span. Unlike his common practice of using bold, audacious colours and unrestrained splashed-paint effect with full emotion, the style of this work is innovative and refreshing: on the upper left corner of the horizontal white rectangular-shaped plane, there are tinted lightblue dots gradually scattering across the canvas in a randomised way, mimicking the traditional Eastern ink scroll paintings in both technique and its unique ambience. Furthermore, tiny colourful dots with a Western personality flutter and disperse with density and emotional tension. Their colour gradually transit from bright yellow to orange, then to dark blue, and eventually to black at the opposite corner of the canvas. These large or small, divergent or condensed spots of light form a wonderful dynamic and lyrical balance within the canvas, with the essence of Pollock's drip paintings. Inside this limited space, the colour dots with two distinct personalities overlap to create layering in this twodimensional space. The "existence" of colours and the large area of deliberate "blankness" on the canvas, form a conscious and emotional dialogue. Since the 1970s, Francis had been creating a series of "frame painting", in which he deliberately left the center of the canvas empty and only drew colour at the border. The artist constructs an abstract landscape that embodies "coincidental" properties through the meditative use of brushes and colours. Peter Selz, an art historian and former curator of the Museum of Modern Art, once described: "...that kind of white is a light source, which constantly fills the center of the picture with tranquility and meditation." The "nothingness" in this image is a field of meditation created by the artist for the viewer based on his belief in Zen Buddhism. As Francis himself said, "The space in the center of these paintings is reserved for you."

Francis never ceased to record the appearance and movement of light and shadow through his powerful colours. Within limited physical space, he enlightens and promotes a world view of multicultural integration through the balance between "existence" and "nothingness" drawn from Eastern meditations of Zen.

Modern and Contemporary Art

85

134 INOUE YU-ICHI ( JA PA N ES E , 1 9 1 6 -1 9 8 5 ) Gen 井上有一 幻

Painted in 1980 ink on Japanese paper 107.5 x 174.5 cm. (42 1/4 x 68 3/4 in.) one seal of the artist

1980 年作 水墨 和紙 鈐印：有

Provenance

日本 京都 藏丘洞畫廊

Zokyudo Gallery, Kyoto, Japan Literature

Yu-ichi [Yu-ichi INOUE]: Catalogue Raisonné of the works 1949-1985 Vol. 3, UNAC Tokyo, Tokyo, Japan, 1998 (illustrated, plate 80029, p. 290).

來源

出版

《井上有一全書業：1949-1985第三卷》UNAC Tokyo 株式會社 東京 日本 1998年（圖版，第80029圖，第290頁） 附海上雅臣親題之作品描述及編號標籤，編號為CR 80029；及80292

This work is to be sold with two labels signed by Unagami Masaomi stating the work description and number as CR 80029; & 80292.

HK$ 230,000 - 320,000 US$ 29,500 - 41,000 86

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135 INOUE YU-ICHI ( JA PA N ES E , 1 9 1 6 -1 9 8 5 ) Tetsu 井上有一 徹

Painted in 1960 paste ink on Japanese paper 145.3 x 174.5 cm. (57 1/4 x 68 3/4 in.)

1960 年作 漿狀水墨 和紙

Provenance

日本 京都 藏丘洞畫廊

Zokyudo Gallery, Kyoto, Japan Literature

Yu-ichi [Yu-ichi INOUE]: Catalogue Raisonné of the works 1949-1985 Vol. 1, UNAC Tokyo, Tokyo, Japan, 1998 (illustrated, plate 60041, p. 176).

來源

出版

《井上有一全書業：1949-1985第一卷》UNAC Tokyo 株式會社 東京 日本 1998年（圖版，第60041圖，第176頁） 附海上雅臣親題之作品描述及編號標籤，編號為CR 60041

This work is to be sold with a label signed by Unagami Masaomi stating the work description and number as CR 60041.

HK$ 350,000 - 500,000 US$ 44,900 - 64,100 Modern and Contemporary Art

87

136 INOUE YU-ICHI ( JA PA N ES E , 1 9 1 6 -1 9 8 5 ) Ren 井上有一 蓮

Painted in 1963 ink on Japanese paper 120.3 x 171.5 cm. (47 1/4 x 67 1/2 in.)

1963 年作 水墨 和紙

Provenance

日本 京都 藏丘洞畫廊

Zokyudo Gallery, Kyoto, Japan Literature

Yu-ichi [Yu-ichi INOUE]: Catalogue Raisonné of the works 1949-1985 Vol. 1, UNAC Tokyo, Tokyo, Japan, 1998 (illustrated, plate 63001, p. 272).

來源

出版

《井上有一全書業：1949-1985第一卷》UNAC Tokyo 株式會社 東京 日本 1998年（圖版，第63001圖，第272頁） 附海上雅臣親題之作品描述及編號標籤，編號為CR 63001

This work is to be sold with two labels signed by Unagami Masaomi stating the work description and number as CR 63001.

HK$ 300,000 - 500,000 US$ 38,500 - 64,100 88

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137

138

YASUO SUMI ( JA PA N ES E , 1 925 -20 1 5 ) Untitled

HIROSHI SUGIMOTO ( JA PA N ES E , B . 1 9 4 8) Sam Eric, Pennsylvania

鷲見康夫 無題

杉本博司 山姆·艾瑞克劇院，賓夕法尼亞

Executed in 1978 gelatin silver print edition: 20/25 42 x 54.5 cm. (16 1/2 x 21 1/2 in.) signed and inscribed 'Hiroshi Sugimoto 202' (lower right); one embossed seal: title, dated, editioned and inscribed 'Sam Eric Pennsylvania 1978 20/25 202' Provenance

Sonnabend Gallery, New York, USA Acquired from the above gallery by the present owner Exhibited

Korea, Seoul, Samsung Museum of Art, Hiroshi Sugimoto, 5 December, 201323 March, 2014 (alternate edition exhibited).

Literature

Hiroshi Sugimoto: Theaters, Takaaki Matsumoto, New York, USA, 2016 (illustrated, p.29).

1978 年作 銀鹽相紙 版數：20/25 款識：Hiroshi Sugimoto 202（右下）； 鋼印：Sam Eric Pennsylvania 1978 20/25 202 Painted in 2008 mixed media on canvas 101.7 x 67.2 cm. (46 x 26 1/2 in.) signed in Japanese; signed 'y.sumi' (lower left); inscribed and signed in Japanese; signed 'y.sumi' (on the reverse) 2008 年作 綜合媒材 畫布 款識：鷲見y.sumi（左下）；作品 鷲見康夫 y.sumi（畫背）

來源

美國 紐約 索納班畫廊 現藏者購自上述畫廊 展覽

2013年12月5日-2014年3月23日「杉本博司」三星美術館 首爾 韓國（展覽 為另一版數） 出版

《杉本博司：劇院》松本設計出版社 紐約 美國 2016年（圖版，第29頁）

HK$ 60,000 - 80,000

HK$ 150,000 - 250,000

US$ 7,700 - 10,300

US$ 19,200 - 32,100 Modern and Contemporary Art

89

139 WANG KEPING (C H I N ES E , B . 1 9 4 9) Twisted Female 王克平 扭曲的女子

wood sculpture 40 x 25 x 42.5 cm. (15 3/4 x 9 3/4 x 16 3/4 in.) signed in Chinese; signed 'K' (bottom)

木雕 雕塑 款識：王K（底部）

Provenance

直接得自於藝術家 中國 香港 10 Chancery Lane畫廊 美國 紐約 私人收藏

Acquired directly from the artist 10 Chancery Lane, Hong Kong, China Private Collection, New York, USA

HK$ 120,000 - 180,000 US$ 15,400- 23,000 90

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來源

140 GU WENDA (C H I N ES E , B . 1 9 5 5 ) Mythos of Lost Dynasties H Series #8 谷文達 遺失的王朝H系列第八號

Painted circa 2002 ink on paper 96.4 x 59.5 cm. (38 x 23 1/2 in.) titled 'H'; titled and signed in Chinese (middle left) two seals of the artist

約 2002 年作 水墨 紙本 款識：H 八 文達（左中） 藝術家鈐印

Provenance

直接得自於藝術家 美國 紐約 私人收藏

Acquired directly from the artist Private Collection, New York, USA

來源

HK$ 100,000 - 150,000 US$ 12,800 - 19,200 Modern and Contemporary Art

91

141 XU BING (C H I N ES E , B . 1 9 5 5 ) Book from the Sky 徐冰 析世鑒

Executed in 1989 woodblock print edition: 1/1 175 x 97 cm. (69 x 38 1/4 in.) inscribed, editioned, signed and dated '10-1 1/1 Xu Bing 1989'; titled and signed in Chinese (lower right) one seal of the artist Provenance

Acquired directly from the artist Jack Tilton Fine Art, New York, USA Private Collection, New York, USA 1989 年作 木刻 版畫 版數：1/1 款識：10-1 1/1 析世鑒 徐冰 Xu Bing 1989（右下） 鈐印：徐 來源

直接得自於藝術家 美國 紐約 Jack Tilton Fine Art畫廊 美國 紐約 私人收藏

HK$ 120,000 - 180,000 US$ 15,400 - 23,100

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142

143

QIU ZHIJIE (C H I N ES E , B . 1 9 6 9) Dictionary Series

NATEE UTARIT ( T H A I , B . 1 970) Untitled (Reason & Monsters Project)

邱志傑 辭典系列

納堤．尤塔瑞 無題（理性與怪獸系列）

Painted circa 1995 ink on paper 233.8 x 91.5 cm. (92 x 36 in.) six seals of the artist Provenance

Painted in 2005 oil and woodstain on canvas 69.8 x 100.5 cm. (27 1/2 x 39 1/2 in.) signed and dated 'Natee Utarit 05' (on the reverse) PROVENANCE

Valentine Willie Fine Art, Kuala Lumpur, Malaysia Acquired from the above gallery by the present owner

Private Collection, New York, USA 約 1995 年作 水墨 紙本 藝術家鈐印 來源

2005 年作 油彩 木材染劑 畫布 款識：Natee Utarit 05（畫背） 來源

美國 紐約 私人收藏

馬來西亞 吉隆坡 Valentine Willie Fine Art 現藏者購自上述畫廊

HK$ 60,000 - 80,000

HK$ 100,000 - 150,000

US$ 7,700- 10,300

US$ 12,800 - 19,200 Modern and Contemporary Art

93

彭 薇

PENG WEI

福壽如意

彭薇在傳統水墨畫的題材與技法中，以當代視角與創作媒介為國畫

曆朝黃緙絲十二章「福壽如意」袞服。袞服是萬曆皇帝祭祀時所

注入了一絲實驗性的色彩，她的作品從遺石、華服與繡履等，無不

穿，織有十二章紋，即「山、龍、華、蟲、日、月、星辰、宗彝、

體現了自身獨特的藝術語言。她鍾情於中國古典的工筆技法，同時

藻、火、黼、黻和粉米。」，這些圖案都是意在提醒皇帝要明察秋

也在畫作中融入了人們所熟知的傳統水墨畫的載體以及筆墨規則的

毫，為天下蒼生謀福祉。彭薇對這件華麗的袞服進行了同比例、同

思考，繼而創作有著別具一格的審美洞察力的當代作品。陳丹青曾

尺寸的精準描繪，值得一提的是，這件袞服於北京明十三陵的定陵

評價彭薇「錦繡」系列「兼具中國畫的古典雅趣和後現代的符號性

出土時經歷了嚴重的碳化，使得布料殘缺不全，藝術家選擇參照剛

簡潔」，與中國傳統水墨如出一轍的是對於技法的注重，她對顏色

出土時的「原來面貌」而去描繪，而非參考經過專業修復團隊進行

以及水墨的掌握都十分精細嚴謹，除此之外她的作品中又帶有著某

復原以及複製的版本去補全缺失的部分。其用色沒有選擇明度較高

種「戲謔」與「重構」的味道，在如此自由的表達方式裡，我們可

的黃色，而是利用明度較低帶有一些透明感的顏色來描繪這件距今

以看到傳統與當代理念的奇妙化學反應，傳統文本與當代觀念在她

約有500年歷史的文物，畫面中的袞服隱隱泛青，藝術家用細膩的筆

的作品中得到了和諧的統一。

觸描繪出這件袞服於明代皇陵中留存數百年後重現的面貌。在彭薇

本幅畫作是「錦繡」系列的《福壽如意》(Lot 144)，繪就的是明萬

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的筆下，這件珍貴華美的萬曆帝袞服帶有著時間的印記，彷彿訴說 著那久遠年代的故事，意境高古。由此可見彭薇的藝術創作有一種

「很多人問我為何想到用鞋履、衣服作為藝 術載體，我說我不是想出來的，而是突然遇 到這個主題，它遇到了我，我撞到了它。」

—彭薇

"There were many people who asked me why I used shoes and clothes for the making of my art. I claimed that actually it was not my intentional idea. These subject just came across me. It ran into me, and I bumped into it."

- Peng Wei

明顯的「戀舊」情結，她從傳統服飾入手，以這種懷古的方式去追 尋已逝去的時空，與她在技法中強調的下筆時機所體現出的時間感 得到了巧妙的呼應。彭薇在「錦繡」系列中追求克制與含蓄，通過 一種精細又清新的「挪用」與「再構圖」的方法來重新定義傳統服 飾以及圖飾紋樣，她流暢地運用細膩的工筆以及傳統中國書畫水墨 的暈染，將古文物重新詮釋，賦予它們在當代時空的嶄新意義。

With the themes and techniques of traditional ink painting, Peng Wei injects a touch of experimental colour into Chinese paintings using contemporary perspectives and creative media. Her works utilise stone, Chinese wardrobes, and embroidery to present a unique artistic language. With a fondness for classical Chinese meticulous painting techniques, she also incorporates the forms and rules of traditional ink painting to create contemporary works with unique aesthetic insights. Chen Danqing once commented that Peng Wei's Samite series features both the ancient elegance of Chinese painting, and the symbolic simplicity of post-modernism. With the focus similar to traditional Chinese ink painting, Peng has a special emphasis upon her technique. Her mastery of colour and ink is extremely fine and detailed. In addition, her works employ a particular sensation of "playfulness" and "reconstruction". With such a free method of expression, we can observe a wonderful interplay between traditional and contemporary ideas. Traditional texts and contemporary concepts in her works are harmoniously united.

This painting, Happiness, Longevity and Satisfaction Symbolizing Robe (Lot 144) of the Samite series depicts the Kesi Twelve pattern "Happiness, Longevity and Satisfaction" Imperial Robe from the Wanli period (late Ming dynasty). Worn by the Wanli Emperor during ceremonies, the Imperial Robe is interwoven with the symbols of the Kesi Twelve Pattern: sun, moon, seven-star constellation, mountain, fu pattern, axe head, dragon, flowery creatures, seaweed, sacrificial cup, flames and grain. These patterns are intended to remind the emperor to observe the many details of the world to serve the greater good. Peng Wei provides a precise replica of this gorgeous costume. This Imperial Robe suffered serious carbonisation during its unearthing at Dingling Mausoleum in the Ming Tombs of Beijing, resulting in an incomplete presentation. The artist chose to refer to the "original appearance" when it was first unearthed instead of the version restored and replicated by the professional team to complete the missing part. Instead of vibrant yellow, she employs a more settle yellow tone along with a touch of transparency to depict this 500 year-old cultural relic with a subtle blue tone. The artist uses delicate brush strokes to depict an appearance of the Imperial Robe that emphasises its existence over hundreds of years since the Ming dynasty. Under Peng Wei's brush, this precious and gorgeous Imperial Robe of the Wanli Emperor bears the imprints of time, as if narrating the story of a distant age. From this, it can be seen that Peng Wei's artworks are with nostalgic characters. Starting with traditional costumes, she pursues a distant time and space through this sense of nostalgia. Her emphasis upon the placement, both spatial and temporal, of the brushstrokes resonates with this sense of time. In her Samite series, Peng Wei pursues re-straint and subtlety.

Through an elegant, yet novel level of appropriation and recomposition, she redefines traditional costumes and patterns. Seamlessly, she utilises meticulous brushwork along with the smudges of traditional Chinese painting to reinterpret ancient artifacts, and provides them with a new meaning in this contemporary time and space.

黃緙絲十二章「福壽如意」袞服 明代 中國 北京 定陵博物館藏 Kesi Happiness, Longevity & Satisfaction Imperial Robe, Ming dynasty, Collection of Dingling Museum, Beijing, China

Modern and Contemporary Art

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144 PENG WEI (C H I N ES E , B . 1 974) Happiness, Longevity and Satisfaction Symbolizing Robe 彭薇 福壽如意 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 2005 ink and colour on paper 160 x 250 cm. (63 x 98 1/2 in.) signed and inscribed in Chinese; dated '2005' (lower right) one seal of the artist

2005 年作 水墨 設色 紙本 款識：彭薇 2005年畫（右下） 鈐印：薇

Exhibited

2007年9月19日-10月2日「雲裳—彭薇畫展」萬玉堂畫廊 香港 中國

China, Hong Kong, Plum Blossoms Gallery, Woven Clouds: Peng Wei's Recent Paintings, 19 September-2 October, 2007.

出版

Literature

Woven Clouds: Peng Wei's Recent Paintings, Plum Blossoms Gallery, Hong Kong, China, 2007 (illustrated, unpaginated).

Peng Wei Works, Tina Keng Gallery, Taipei, Taiwan, 2010 (illustrated, pp. 82-83).

HK$ 1,000,000 - 1,500,000 US$ 128,200 - 192,300

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展覽

《雲裳—彭薇畫展》萬玉堂畫廊 香港 中國 2007年（圖版，無頁碼） 《彭薇》耿畫廊 台北 台灣 2010年（圖版，第82-83頁）

Modern and Contemporary Art

97

劉 煒

LIU WEI

新文人畫

在人物刻畫上採用漫畫式的滑稽形象，誇大 的肌肉線條、奇裝異服和各種歪七扭八的臉 部形象，搭配小品似的閒散情趣，給人一種 結合潑皮、幽默、諷刺和荒謬的古怪感受。 藝術家用了揶揄和變形的圖象刺激觀者， 將之帶入更深的思索。「醜美」在此是藝術 家對於現實社會的評語，劉煒形象化了魯迅 所言「紅腫之處，艷若桃李；潰爛之時，美 如醴酪」中那屬於中國近代社會的「腐敗之 美」，低俗，虛偽，人們卻也打死不肯睜眼 直視其不堪，反倒欣賞其美的荒誕現象。 栗憲庭曾針對「玩世現實主義」的藝術家評 論道：「人及其個性、私生活還得不到社 會普遍尊重時，無形的壓力仍然對他們構成 一種自覺不自覺的心理負擔，這使他們的藝 術充滿了既嘲笑社會又嘲笑自己的痞氣和幽 默。」《京城艷婦圖》表達了劉煒在那個時 代背景下最為真實的生存狀態和直覺感受， 透過他的畫筆，後人得以一窺當時藝術家的 心境和對於現實社會的直觀情緒。劉煒以紙 本創作的各種可能性，深刻探討了其在當代 語境下的生命力，紙所包含的中國傳統文化 內涵在他的筆下有了嶄新的延續，劉煒與紙 碰撞的結果也是傳統銜接當代的絕妙縮影。 他在90年代中期後逐漸離開符號象徵的束 縛，也表示了他走出「玩世現實主義」的限 制，《京城艷婦圖》不僅是早期的創作精 華，更是劉煒「玩世現實主義」最具中國傳 Lot 145

統元素及內涵的罕見作品。

1.

劉煒於1989年從北京中央美術學院版畫系

他的抒寫式筆觸，深刻表達出當代價值觀的

畢業，隨後他和方力鈞於1991年在北京外

混亂情緒。

交公寓一同舉辦的畫展引起了栗憲庭的關 注。也正因為這個展覽，栗憲庭提出了「玩 世現實主義」的概念，為劉煒的藝術生涯起 到了關鍵的推進作用。當時26歲的劉煒在畫 布上表現「革命家庭」系列，符號的選擇與 他軍人世家的背景有著緊密的關聯性，畫中 各種政治隱喻和玩世不恭的態度，配合他獨 特的用筆方式，使他得到了「才情畫家」的 稱號。同一時期所創作的紙本作品，則是以 情色作為主題，因媒材的特殊性更加彰顯了

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劉煒的《京城艷婦圖》(Lot 145) 為一組七件 的紙上作品，分別創作於1989及1993年， 也是他畢業以及首次參加威尼斯雙年展的同 年。劉煒這個時期的紙本創作被栗憲庭歸納 於「新文人畫」，同輩藝術家則被他稱之為 「潑皮群」，這些作品有著肆意誇張的文 人墨戲線條，畫面中佈滿東倒西歪的題款字 體和東拼西湊的題畫詩，豔俗的紅、綠色 系彩墨更加深了他主題「性」的詮釋。劉煒

1. 唐寅《王蜀宮妓圖》明代 中國 北京 故宮博 物院藏 Tang Yin, Court Ladies in the Shu Palace , Ming dynasty, Collection of The Palace Museum, Beijing, China 2. 周昉《簪花仕女圖》唐代 中國 瀋陽 遼寧省 博物館 Zhou Fang, Court Ladies Wearing Flowered Headdresses , Tang dynasty, Collection of the Liaoning Provincial Museum, Shenyang, China

ĺ&#x160;&#x2030;â&#x20AC;&#x192; ç&#x2026;&#x2019;

Lot 145

LIU WEI

New Literati Painting

2.

Liu Wei graduated from the Department of Print-making of the Central Academy of Fine Arts in Beijing in 1989. Later, his joint exhibition with Fang Lijun held in Beijing Diplomatic Apartment in 1991 attracted Li Xianting's attention. And that has inspired Li Xianting to propose "Cynical Realism", a new concept in Chinese contemporary scene, which set off the starting point of Liu Wei's artistic career.

At the age of twenty-six, the artist created the Revolutionary Family series. The choice of symbols was closely related to his military family heritage. He was granted the title of "The Talented Painter" through a combination of unique technique, various political metaphors and the cynical attitude that his paintings present. Rather, works on paper that were created in the same period takes on themes of eroticism. The particularity of the material further highlights his touches of narrative style, and profoundly expresses the chaotic mood of contemporary values.

Created in 1989 and 1993 respectively, Liu Wei's Beauties from Peking (Lot 145) is a set of seven pieces of paintings on paper. It is also during these two years in which he graduated from the Central Academy of Fine Arts in Beijing, and participated in the Venice Biennale for the first time. Paintings on paper created by Liu in this period were summarised by Li Xianting as "New Literati Paintings", while his peers were called "Hooligan Groups". These works embody literati ink strokes with a refreshing recklessness and exaggeration, the pictures are filled with inscription fonts lying on all sides and patchworks of title poems for paintings. The colourful ink in flamboyant red and green deepened the thematic interpretation of "sex". In portraying his characters, Liu Wei employs humorous and comic-like imagery with exaggerated body contours, wearing exotic costumes and posing various facial expressions. Combined with the casual touches of a sketch, the artwork portrays a strange and complex aura that combines irony, absurdity and a brutal sense of humor. Liu utilises images of ridiculous distortions to provoke viewers, thus bring them into a deeper way of

thinking. Here, "ugly-beauty" is the artist's comment upon society. Liu has made what Lu Xun said into a piece of iconography: "Swollen with redness, beautiful as plums and peaches; while rotting away, one still sees oneself as beautiful as the sweet wine and cheese." This belongs to the notion of the "decadent beauty" in modern Chinese society; it is filled with vulgarity and hypocrisy. Nonetheless, people stubbornly refuse to be confronted with this extremity. Instead, they establish an absurd phenomenon of attempting to find and appreciate its 'beauty'.

Li Xianting once commented on artists of "Cynical Realism": "In a time when people and their personalities and private lives are not commonly respected by the society, the invisible pressure still constitutes a conscious and unconscious psychological burden on them, which filled their art creations with rogue temperament and humor that mocks the society and the artists themselves."

Beauties from Peking expresses the most realistic state of life in modern society, and Liu Wei's intuitions as an artist under the backdrop of that era. Through his paintings, future generations have the opportunity to glimpse into the mind of an artist who lived during that time, and his honest emotional responses towards such a reality. Liu profoundly explored the vitality in the contemporary context with the various possibilities of paper-based paintings. The traditional Chinese cultural connotations of using paper as a medium has been inherited and gifted with new possibilities in his paintings. The result of the collision between Liu Wei and his artistic creation on paper is also a wonderful microscope emblem of the convergence between the traditional and modern creation. He managed to gradually free himself from the restrictions of representative symbols, which also indicated his breakthrough from the limitations of "Cynical Realism".

Beauties from Peking is not only a masterpiece of his early career, but also the best representative of his Cynical Realism style, and a rare piece that embodies traditional Chinese elements and connotations.

Modern and Contemporary Art

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145 LIU WEI (C H I N ES E , B . 1 9 6 5 ) Beauties from Peking 劉煒 京城艷婦圖

Painted in 1989; &1993 a set of seven mixed media on paper 1. 44 x 18 cm. (17 1/4 x 7 in.); 2. 34 x 32 cm. (13 1/2 x 12 1/2 in.); 3. 39 x 38 cm.

(15 1/4 x 15 in.); 4. 27 x 20 cm. (10 3/4 x 7 3/4 in.); 5. 54 x 42 cm. (21 1/4 x 16 1/2 in.); 6. 21 x 26 cm. (8 1/4 x 10 1/4 in.); & 7. 50 x 33 cm. (19 3/4 x 13 in.)

1. five seals of the artist; 2. five seals of the artist; 3. seven seals of the artist; 4. nine seals of the artist; 5. eight seals of the artist; 6. six seals of the artist; & 7. five seals of the artist

1989 年作；及 1993 年作 綜合媒材 紙本（一組共七件） 藝術家鈐印

Provenance

1993年「劉煒個展」克里斯畫廊 費城 美國 1996年「劉煒」RCCA藝術中心 紐約 美國

China Guardian Beijing, 21 November 2009, Lot 120 Acquired from the above sale by the present owner Exhibited

USA, Philadelphia, Creese Gallery, Solo Exhibition of Liu Wei, 1993.

USA, New York, RCCA Arts Centre, Liu Wei, 1996.

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800

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來源

中國嘉德 北京 2009年11月21日 編號120 現藏者購自上述拍賣 展覽

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桂林

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Modern and Contemporary Art

101

李 真

LI CHEN

天界山水

「我不只在做雕塑，我在創造幸福，創造一 種讓人享受的東西。」

李真作為最具代表性的當代華人雕塑家之一，其大型戶外展覽曾在台 北中正紀念堂、新加坡國家美術館與巴黎凡登廣場舉行，在亞洲各地 乃至歐洲皆得到熱烈迴響。李真在現代雕塑教育的背景之下成長，因 緣際會之下從事傳統民藝的創作，也是這一特殊經歷影響了其創作的 理念和元素，使得傳統文化與民間精神始終深紮於李真的作品之中。 以西方的當代雕塑形構，揉合東方傳統哲思於一體，渾圓黑色的身 軀，祥和的面部表情，再加之以銀或金點綴，已成李真個人獨特風格 的代表。李真創造的雕塑身軀大多為黑色，正如他所說「通常我們看 到黑色的物質，總是沉重的。當你打坐或者閉上眼睛的時候，黑色卻 是最輕的。但重要的是在表像之外的內心語言。」黑色原本給人以下 沉重實之感，但通過李真的手，這裡的黑色圓融完滿，既充滿了精神 的能量而又輕盈靈動，賦予雕塑空靈之美。 李真創作之根基來自於東方傳統哲學精神，儒家思想中有「比德說」 一說，即是將大自然中的山水對比代表人類的美好品德。以孔子為代 表的儒家相信大自然與人是相通一致的，《論語》中有「知者樂水， 仁者樂山。知者動，仁者靜。知者樂，仁者壽」，儒家學說中的山水 觀正對應中華民族的美好品格，《天界山水》(Lot 146) 的創作意念根 基也正是建立於這一傳統精神之上，人物腳踏兩朵祥雲，張口微笑著 的人物左手托著「銀海」，右手拿著「金山」，除了傳統儒家的山水 觀文化，金銀更寓意富足吉祥，有圓滿而喜樂之感。

「天燧是一種儀式，『盈昃』才是它真正的 生命。」

─李真 2009年，李真從嘈雜的外界回到家中寧靜的佛堂，點燃一根許久 未用的蠟燭，這難得的獨自安靜時光啟發起藝術家創作「天燧」系 列，《追燭》(Lot 147) 也最為體現藝術家創作此系列的靈感來源。 燭火，是人類文明起源最重要元素之一，人因有火而能生熱、能取 食，而後有了生生不息的生命延續。所以說，火是人類平安、神 聖、智慧和幸福的代表，對人類的意義歷久而彌新。《追燭》中祥 雲繞身的人物以特別碩大的右腳支撐身體，後腳揚起，身軀前傾， 雙手作出托住燭臺的姿勢，彷彿在空中追逐心中的一盞明燈。藝術 家將雕塑的下肢處理得較為粗大，而頭及手部則相對細小，加之前

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的化身，小心翼翼珍惜生命的每個美好時刻。 李真以《天界山水》提出高速發展的社會中人類與自然之間關係的

─李真

102

傾的姿勢，雕塑整體線條顯得更為流暢，托著燭光的主角彷如我們

反思，而《追燭》則表現出人們在繁華忙碌的都市生活中對內心寧 靜祥和心態之追求。縱觀李真的藝術創作，在汲取東方哲學、宗 教、美學的特點基礎上，將自己的精神領悟注入作品中，不斷地反 思突破，以自己獨特的創作詞彙，在視覺上融入西方現代造型藝術 美學，表達出對現代社會生活的種種反思與詰問。

146 LI CHEN (C H I N ES E , B . 1 9 6 3) Landscape in Heaven 李真 天界山水

Executed in 2001 bronze sculpture edition: 8/8 107 x 91 x 164 cm. (42 x 35 3/4 x 64 1/2 in.) signed and editioned 'Li Chen 8/8' (lower back) one carved seal of the artist

2001 年作 銅雕 雕塑 版數：8/8 款識：Li Chen 8/8（下背） 藝術家手刻鈐印：李真

Exhibited

2007年6月11日-11月21日「虛空中的能量：第52屆威年斯雙年展」義大利 未來展望美術館 威尼斯 義大利（展品為另一尺寸、版數） 2008年4月29日-5月11日「尋找精神的空間」中國美術館 北京 中國（展品 為另一尺寸、版數） 2009年9月17日-12月9日「李真：精神．身體．靈魂」新加坡美術館 新加坡 （展品為另一尺寸、版數） 2011年11月6日-12月4日「大氣—李真台灣大型雕塑首展」中正紀念堂及自 由廣場 台北 台灣（展品為另一尺寸、版數） 2013年9月2-29日「既重又輕—李真2013巴黎凡登廣場大型雕塑個展」凡登 廣場 巴黎 法國（展品為另一尺寸、版數）

Italy, Venice, Telecom Italia Future Centre, Energy of Emptiness, 52nd Venice Biennale, 11 June-21 November, 2007 (alternate sized version and edition exhibited).

China, Beijing, National Museum of China, In Search of Spiritual Space, 29 April-11 May, 2008 (alternate sized version and edition exhibited).

Singapore, Singapore Art Museum, Li Chen: Mind Body Spirit, 17 September-9 December, 2009 (alternate sized version and edition exhibited).

Taiwan, Taipei, Chiang Kai-shek Memorial Hall and Freedom Square, Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, 6 November-4 December, 2011 (alternate sized version and edition exhibited).

France, Paris, Place Vendôme, Li Chen's Major Sculpture Solo Exhibition, 2-29 September, 2013 (alternate sized version and edition exhibited).

Literature

Li Chen: Oriental Sculpture Spiritual Journey, Asia Art Center, Taipei, Taiwan, 2006 (alternate sized version and edition illustrated, cover).

Li Chen: Energy of Emptiness 2007 Solo Exhibition at 52nd International Art Exhibition-La Biennale di Venezia, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2007 (alternate sized version and edition illustrated, pp. 104-107).

Li Chen: In Search of Spiritual Space 2008 Solo Exhibition at National Art Museum of China, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2008 (alternate sized version and edition illustrated, pp. 30-37, 170, 174 & 176).

Li Chen: Mind. Body. Spirit, Li Chen Solo Exhibition at Singapore Art Museum, Singapore Art Museum, Singapore, 2009 (alternate sized version and edition illustrated, pp. 138, 150 & 153-154).

Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2012 (alternate sized version and edition illustrated, pp. 28 & 80-81).

Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendome Paris, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2014 (alternate sized version and edition illustrated, pp. 65 & 84-85).

展覽

出版

《李真—大氣神遊》亞洲藝術中心 台北 台灣 2006年（圖版為另一尺寸、版 數，封面） 《李真—虛空中的能量：第52屆威尼斯雙年展》亞洲藝術中心 台北 台灣 2007年（圖版為另一尺寸、版數，第104-107頁） 《李真—尋找精神的空間：中國美術館個展》亞洲藝術中心 台北 台灣 2008 年（圖版為另一尺寸、版數，第30-37、170、174及176頁） 《李真—精神．身體．靈魂：2009新加坡美術館個展》新加坡美術館 新加 坡 2009年（圖版為另一尺寸、版數，第138、150及153-154頁） 《李真—大氣︰李真台灣大型雕塑首展》亞洲藝術中心 台北 台灣 2012年 （圖版為另一尺寸、版數，第28及80-81頁） 《李真—既重又輕︰2013巴黎凡登廣場大型雕塑個展》亞洲藝術中心 台北 台灣 2014年（圖版為另一尺寸、版數，第65及84-85頁） 附台灣 台北 亞洲藝術中心開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei, Taiwan.

HK$ 1,800,000 - 3,000,000 US$ 230,800 - 384,600

另一角度 alternative view

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Modern and Contemporary Art

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ć?&#x17D;â&#x20AC;&#x192; ç&#x153;&#x; The Pursuer LI CHEN

"Behind the Beacon series is a ceremonial process; the essence lies in Yinze-the full or diminishing glory of the sun and the moon."

his arms and holds a candleholder; the gesture seems to imply the pursuit of an internal bright light in the air. The legs rendered rather sturdy and the relatively small head and slim arms along with the forward-inclining posture contribute to the overall smoothness of the sculpture's outlines. The protagonist holding candlelight seems to embody ourselves who carefully cherish each beautiful moment in life.

- Li Chen

With Landscape in Heaven, Li Chen suggests reflections on relationships between man and Nature in a society of accelerated development. As for The Pursuer, it expresses man's pursuit of a tranquil and peaceful state of mind in prosperous and busy urban life. Li Chen's artmaking is based on qualities drawn from oriental philosophy, religion and aesthetics; the artist imbues his own spiritual comprehension into his works and persistently meditates and breaks through. With his particular creative vocabulary, Li Chen visually integrates aesthetics of western modern plastic arts, conveying various reflections and interrogations towards modern social life.

As one of the leading Chinese contemporary sculptors, Li Chen's works have been exhibited in Chiang Kai-shek Memorial Hall and Freedom Square in Taipei, Singapore Art Museum and Place Vendome in Paris, etc., and that have helped him to become a world wide acclaimed artist across Asia and Europe. Having received professional academic training, together with experiences in creating traditional folk arts, Li Chen had found his unique language in art making, which had organically fused the traditional culture and spirit of folk art. Based on western contemporary frameworks, together with the integration of oriental philosophy, Li Chen's signature figures are with round dark bodies, peaceful facial expression and always come with silver or gold as highlights. With most of them of black-coloured bodies, he explained, "Looking at black things usually makes people feel lumber-some or serious. But if one closes his eyes, black colour carries the lightest weight. Yet the most important thing is the mental language beyond appearance." Although black originally implies downwardness and solidness, Li Chen's hands render it into something well-rounded and complete, full of spiritual energy while seemed lightweight and animated, endowing an ethereal beauty to the sculpture.

The root of Li Chen's creation lies in the traditional philosophical spirit of the East. There is a saying in Confucianism that "the doctrine of analogy of virtue", which precisely compares landscape in Nature to refined virtues representative of man. There is a belief in Confucianism that Nature and Man are connected.

In Confucian Analects, it was written "the wise find pleasure in water; the virtuous find pleasure in mountain. The wise are active; the virtuous are tranquil.

The wise are happy; the virtuous are long-lived." The concept of landscape in Confucianism precisely corresponds to the refined character of Chinese people.

The artistic concept of Landscape in Heaven (Lot 146) is also rooted in and constructed on such a traditional spirit. The smiling figure with both feet on two auspicious clouds holds "silver ocean" in his left hand and "gold mountain" in his right hand. In addition to signifying the culture and point of view of landscape suggested by traditional Confucianism, gold and silver further connote abundance and luck with a sense of perfection and joy.

In 2009, Li Chen returned to the tranquil worshipping hall at home, as an escape from the outside tumultuous world. By igniting a long-time unused candle, he felt a precious moment of tranquil solitude, and that later became the inspiration of the Beacon series. The Pursuer (Lot 147) best incarnates the source of inspiration for the series. Candlelight was one of the key factors of the genesis of human civilization. It is the source of heat and allows human beings to cook, enabling humankind to pass down generations. Fire then becomes the totem for safety, holiness, wisdom and happiness. Surrounded by auspicious cloud, the protagonist of The Pursuer supports his body with his significantly huge right leg while raising his left leg behind. lnclining his body forwards, the figure stretches

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"I'm not only making sculptures, I'm creating a concrete form for happiness, which people can sense and feel."

- Li Chen

147 LI CHEN (C H I N ES E , B . 1 9 6 3) The Pursuer 李真 追燭

Executed in 2010 bronze sculpture edition: 3/8 145 x 59 x 65 cm. (57 x 23 1/4 x 25 1/2 in.) dated, signed and editioned '2010 Li Chen 3/8' (lower back) one carved seal of the artist Exhibited

China, Beijing, National Museum of China, In Search of Spiritual Space, 28 April-11 May, 2008 (alternate sized version and edition exhibited).

Taiwan, Taipei, Chiang Kai-shek Memorial Hall and Freedom Square, Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, 6 November-4 December, 2011 (alternate sized version and edition exhibited).

France, Paris, Place Vendôme, Li Chen's Major Sculpture Solo Exhibition, 2-29 September, 2013 (alternate sized version and edition exhibited).

Literature

The Beacon Series When Night Light Glimmers, Asia Art Center, Taipei, Taiwan, 2010 (alternate sized version and edition illustrated, pp. 70-77).

Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, Taiwan, 2012 (alternate sized version and edition illustrated, pp. 114-115 & 204-205).

Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendôme Paris, Asia Art Center, Taipei, Taiwan, 2014 (alternate sized version and edition illustrated, pp. 16-17, 32, 62-63, 73 & 106-107).

This work is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei, Taiwan.

2010 年作 銅雕 雕塑 版數：3/8 款識：2010 Li Chen 3/8（下背） 藝術家手刻鈐印：李真 展覽

2008年4月28日-5月11日「尋找精神的空間」中國美術館 北京 中國（展品 為另一尺寸、版數） 2011年11月6日-12月4日「大氣－李真台灣大型雕塑首展」中正紀念堂 台北 台灣（展品為另一尺寸、版數） 2013年9月2-29日「李真2013巴黎凡登廣場大型雕塑個展」凡登廣場 巴黎 法國（展品為另一尺寸、版數） 出版

《李真─天燧系列：夜光盈昃》亞洲藝術中心 台北 台灣 2010年（圖版為另 一尺寸、版數，第70-77頁） 《李真─大氣︰李真台灣大型雕塑首展》亞洲藝術中心 台北 台灣 2012年 （圖版為另一尺寸、版數，第114-115及204-205頁） 《李真─既重又輕︰2013巴黎凡登廣場大型雕塑個展》亞洲藝術中心 台北 台灣 2014年（圖版為另一尺寸、版數，第16-17、32、62-63、73及106107頁） 附台灣 台北 亞洲藝術中心開立之原作保證書

HK$ 1,000,000 - 2,000,000 US$ 128,200 - 256,400 108

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周春芽 形色之舞 ZHOU CHUNYA

Lot 149

「色彩不是擺放或塗抹在物體上的裝飾，色彩本身就具有一種神祕的力量感，在畫布上奔 涌、流淌，那顏色是活的，它刺激、助推著你的想像和書寫！」

─周春芽

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身的中國傳統文化底蘊以及視覺經驗讓畫中各元素自然而然的去連 結。主題性上，周春芽塑造了一個超現實的場景，他將內心的風景 重組並置入畫面，在代表他情感層面的嫣紅桃花後方延伸的湖面是 他首次在繪畫中具體詮釋「水」這個元素的嶄新嘗試，純淨的水藍 色平衡了前景所帶來視覺刺激的嬌媚色彩，達到天人合一的哲學觀 念。而畫面上方的湖心亭和兩旁衍生出的淡紫色太湖石群皆代表了 中國傳統文化中極為重要的審美符號，在豐富了空間層次的同時， 更使作品承載了深邃的文化意蘊。 周春芽在經歷後印象主義和表現主義洗禮後產生對自身文化的追 求，他醉心於發掘當代繪畫的語言詮釋文人傳統的奧妙。他常走 訪江南的園林，也曾提到特別鍾愛蘇州獅子林，《桃花風景系列 2006—蘇州桃花》裡的湖心亭跟太湖石群與獅子林內的即有異曲同 工之妙，畫面充斥豐富的形態和複雜結構所帶來的視覺張力，藝術 家富有表現性的靈動筆觸帶著強大的自信，他解釋道：「中國的江 南園林是柔性的、有機形的，是畫出來的，就像毛筆的筆尖，勾、 皴、擦、點、染，充滿了繪畫的語言層次感… …江南園林或許啟發 了我的繪畫語言，包括筆觸形態，這在我早期的山水、石頭作品中 有痕跡，人工化的又充滿教養感的園林景觀，曾經在相當長一段時 間中是我表現的興趣點。」相比之前形態張揚、充滿爆發力的直接 表述，此時周春芽繪畫關注的不僅僅是技巧和情感的顯現，畫面中 所傳遞出的信息層面更加的豐富、廣泛。他透過傳統文化的借鏡與 承襲，梳理自身經歷淵源，衍生出飽含寓意的細膩畫面。汲取文人 傳統與表現主義風格的展現，周春芽在《桃花風景系列2006—蘇州 桃花》中達到了絕佳的平衡點，這樣的方式在當代藝術的領域中獨 樹一格，甚至與西方畫壇相比也毫不遜色。如此散發著熾烈情懷和 1.

勃勃生機的迷人風景，正是周春芽「桃花」系列的魅力所在。

桃之夭夭，灼灼其華－文人趣味和內在情感的交匯激盪 周春芽對於繪畫性的追求和過人的創造力讓他探索出獨特的繪畫語 言，他被認為是對色彩把握最好的中國當代藝術家之一，刺激的反 自然色彩運用強調視覺上的衝擊力，畫面和心理的反差讓人情不自 禁沉浸在其中。周春芽在2005年開啟了「桃花」系列，他筆下的桃 花可說是情緒與物象融合的產物，藉由桃花探討情慾的同時，他也 希望能在自己的藝術中展現人類與大自然旺盛的生命力。 2006年作的《桃花風景系列2006—蘇州桃花》(Lot 149) 可說是「桃 花」系列的代表作，不但構圖疏密得宜，恣意淋漓的筆法更是一氣 呵成，營造出渾然天成的流動感。周春芽在遠景的處理上將輪廓消 融，從而解構具象的畫面，呈現出一種模糊的效果，在增加了語言 上曖昧性的同時，更突顯出有著清晰焦距的桃花、枝幹和湖心亭， 最大程度的強調了畫面的主題性。相較於近期所創作的「桃花」，

2.

這樣注重於單點透視的方式只見於早期作品，除了十分珍稀可貴之 外，更是難得層次感豐富的上乘之作。 周春芽在《桃花風景系列2006—蘇州桃花》的構圖方式上踏出了極 為關鍵的突破，跟先前「它山之石」、「綠狗」等系列迥異的是， 他首度跳脫詮釋單一物件或主題的固有方式，並將焦點打散，以本

1. 亨利．馬諦斯《梅花，綠色背景》1948年作 Henri Matisse, Plum Blossoms, Green Background , 1948 2. 仇英《桃源仙境圖》（局部）明代 中國 天津 天津博物館藏 Qiu Ying, Fairyland of Peach Blossoms (detail), Ming dynasty, Collection of the Tianjin Museum, Tianjin, China

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「我並沒有像國畫家那樣在材質 屬性和圖形程式上去理解，而 是按照我的表現意圖去尋找那些 令我覺得陌生又能帶來驚喜的東 西，我在肌理和質感上花費了很 大的工夫，近似於強迫症似的去 捕捉和玩味那些潛藏在石頭自然 屬性中的視覺因素。」

─周春芽

1.

2.

1. 蘇州留園冠雲峰 Cloud-Crowned Peak, The Lingering Garden, Suzhou

形質冠今古，氣色通晴陰－當代審美下的文化傳承 周春芽在2011年一次上海之行，決定開始詮釋豫園的園林景觀，

2. 吳冠中《獅子林》1988年作 Wu Guanzhong, Lion Woods , 1988

他說：「完全是個意外，在我走進那個園林的那一刻我決定畫 它！」周春芽在90年代經過雅安上里的石頭和「紅石」系列，便

3. 恩斯特．路德維希．克爾希納《採石場》約1923年作 Ernst Ludwig Kirchner, Steinbruch bei Wildboden , c. 1923

與石頭結下了不解之緣，園林景觀中的太湖石本身自然鑿成的痕 跡跟藝術家熟悉的表現性在理念上不謀而合。反覆研究之下，他 發現紫色可以很好地表現石頭的陰影部份，便在新系列中，大量 運用紫色，透過誇張色彩的提煉，製造出衝突、動盪的色感，營 造一種若即若離的詭譎和神祕感。濃郁的色塊將優美、典雅的園 林景觀轉化為一種厚重、卻又秩序井然的形象。 2015年作的《太湖石與花》(Lot 148) 作為「園林」系列的一個 衍生，並未完整將園林景緻納入畫面，反之，周春芽將所有情感 濃縮，回歸早期純色、異空間似的背景，將略帶紫色太湖石置於 畫面的正中央。「那些石頭本身看起來就很豐富，不只是形態和 結構，它自身已經是有背景和文化內涵的石頭… …因此用怎樣 的色澤、肌理、質地和構圖去表現這種豐富，我是費了腦筋的。 我其實是用了反向的修辭去體現那種不可捉摸的厚重和神祕，用 充滿變換的書寫筆觸去實現塑造的體量感，用一種錯覺感去置換 對象物體的真實感，遠看非常真實、實在，連細節肌理都高度逼 真，但湊近一看，恍然大悟，語言其實非常簡括、輕鬆。」周春 芽如是說。太湖石在傳統美學的審視下既可作為環境的衍生也可 獨立完整的審美，他將古典概念化，萃取了其中內涵，傳承了歷 史價值。 周春芽結合東方文人氣質和西方表現技巧的風格在《太湖石與 花》中得以全然展現，揉合中國文人畫的筆墨意趣，鵝黃淡雅的 背景色調恰到好處的襯托出山石崎嶇的造型和粉、紫牡丹的雍容 華貴，駕輕就熟的色彩和鬆動、精確的筆觸掌控可說是集他藝術 歷程之大成。周春芽的畫筆穿行在石頭形體的縫隙中，早期山石 那古典、沉穩的棕褐色與現今紫色濃烈而富含情感張力的油彩表 現相互交織，錯落有致的筆觸在色彩的堆疊中深化了太湖石的 量感與其表面的紋脈肌理，不僅承載了玩石傳統中對「奇」與 「怪」的審美觀，更成為抒發胸臆的一種媒介，讓觀者不由自主 的去感受他激昂的內在情緒。

3.

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148 ZHOU CHUNYA (C H I N ES E , B . 1 9 5 5 ) Taihu Stone and Flowers 周春芽 太湖石與花

Painted in 2015 oil on canvas 200 x 150 cm. (78 3/4 x 59 in.) dated and signed in Chinese (lower right)

2015 年作 油彩 畫布 款識：二〇一五周春芽（右下）

Provenance

亞洲 私人收藏

Private Collection, Asia Exhibited

China, Macau, Museu de Arte de Macau, Zhou Chunya–New Works 2015, 17 October, 2015-3 January, 2016.

HK$ 2,400,000 - 3,200,000 US$ 307,700 - 410,300

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來源

展覽

2015年10月17日-2016年1月3日「始終是開始—周春芽作品2015」澳門藝術 博物館 澳門 中國

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"Colours are not ornaments placed or painted on the surface of objects.

As they run and flow through the canvas, they are conveyed with hidden power. Colours are alive, stimulating as they encourage people's imagination willingness to express oneself."

- Zhou Chunya

周春芽

DANCING IN FORMS AND COLOURS

The peach tree beams in flaming red, How brilliant are its flowers: The intersection and agitation of emotions and interest of literatis The pursuit of painterly and outstanding creativity of Zhou Chunya allows him to discover a unique artistic language. He is considered as one of the best Chinese contemporary artists in mastering colours. His use of bright, vivid colours emphasises visual impact, and the contrast between visual and emotional representations creates an irresistible atmosphere for viewers to immerse into the artwork. Zhou started the Peach Blossom series in 2005. By fusing emotions into the the visible objects, Zhou is expressing erotic feelings as well as discovering the exuberant vitality of human and nature in his Peach Blossoms.

The Peach Blossoms Series 2006-Suzhou Peach Blossoms (Lot 149) can be identified as a masterpiece of Peach Blossom series, as it not only display wellbalanced composition, but also creates a feeling of natural flow from the artist's smooth brush strokes. In dealing with long-range perspective, Zhou intentionally blurs the outlines of the concrete objects, deconstructing figuration in order to deliver a misty effect, and this also helps in attracting audiences' attention towards the main focus of the painting - the blossoms, stems and the Mid-Lake Pavillion, and all these together has enabled the artist to express an amative language. Such single-perspective method is only seen in Zhou's earlier works, with its richness in texture and coherence of all the elements, making this a superior piece with great significance.

Zhou Chunya achieved a significant breakthrough in composition in Peach Blossoms Series 2006-Suzhou Peach Blossoms. Unlike his previous Stone Hills series and Green Dog series, for the first time, he abandoned his common practice of interpreting a single object or theme, but has dispersed his focus.

By employing his abundant Chinese cultural heritage and visual experience, he organically fused all the elements harmoniously within the painting. Zhou created a surreal scene where he reconstructed and reintegrated the landscape in his mind. There is a lake behind the vivid red peach blossoms, and this marks the first time that Zhou has incorporate "water" in his

works. The pure blue of water sets a good balance with the charming, visually stimulant colours in the foreground, to echo with the philosophical concept of "Nature Unity". The Mid-Lake Pavilion at the top of the image and lavender Taihu Lake Stones extending from the two sides are important aesthetic symbols in Chinese traditional culture, they enriched the image to a spatial level, and also empower the artwork to convey a profound cultural implication.

Zhou Chunya's pursuit of his own culture occurred after he was exposed to Post-Impressionism and Expressionism. He is fascinated by the insightful discovery of contemporary artistic language interpreting scholar traditions. He often strolled through Jiangnan gardens, as he mentioned, he was addictive to the Lion Forest Garden-one of the most famous Suzhou gardens. The Mid-Lake Pavilion and Taihu Lake Stones in the Peach Blossoms Series 2006-Suzhou Peach Blossoms share similarities with the ones in Lion Forest Garden. The image is full of visual tension brought by rich forms and complex structures. The artist's expressive and spiritual brushstroke is accompanied by a strong confidence.

He explained, "From the perspective of a painter, the style of gardens in Jiangnan is soft and gentle, and organic. It seems that they were painted by a Chinese brush with the techniques of outlining, rubbing, scratching, dotting and dyeing, showing layers of images like a painting… , …Jiangnan gardens may have inspired my painting language, including the form of brush strokes, which can be found in my early paintings of landscapes and stones. The artificial and civilized garden scenery has been an interest for me for a long time." Compare with the flamboyant and explosively blunt expression delivered through his focus on techniques and emotions, Zhou began to infuse deeper thoughts within his creations. By borrowing from and inheriting traditional culture, and adding a personal touch, Zhou has delivered a delicate, meaningful image. Absorbing scholar tradition and display of expressionism, Zhou achieved an extraordinary balance in Peach Blossoms Series 2006-Suzhou Peach Blossoms, making himself distinctive among contemporary artists. The blazing emotion and exuberant vitality in the image is what makes Zhou's Peach Blossom series attractive.

徐渭《花竹》明代 台灣 台北 國立故宮博物院藏 Xu Wei, Flowers and Bamboo , Ming dynasty, Collection of the National Palace Museum, Taipei, Taiwan

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"I did not seek to understand it from the angle of the materials' properties and patterns of imagery like a Chinese painter; instead, I followed my expressive intent to find things that felt unfamiliar and might bring surprises. I exerted a lot of energy on surfaces and texture, obsessively capturing and ruminating on the natural properties and visual elements of the rocks."

- Zhou Chunya

Integrating the style of Chinese literati paintings, the light yellow background cleverly accentuates the shape of the rugged mountain and the graceful pink and purple peonies. The appropriate use of colour, with loose, but accurate, brushstrokes can be identified as remarkable achievement. Zhou's brushstrokes travel between the space between the stones. The seattled brown colour of his earlier practices and the emotional purple colour intertwine with each other, altogether they display the weight and surface texture of Taihu Stones. Afterall, the painting doesn't only inherit the strange and odd aesthetics in the traditional study of stones, but it also becomes a medium to express one's inner feelings and overwhelms the viewers with his passion and excitement.

1.

Tangibility connects past and present, Ambience penetrates bright and gloom--The cultural inheritance of contemporary aesthetic.

A trip to Shanghai in 2011 has inspired Zhou Chunya to depict Yuyuan Garden. He said, "It was absolutely autonomous. The moment I walked into that garden, I decided to draw it!" All the stones that Zhou drew like the stones from Shangli Town in Ya'an and Red Stone series in the 90s set forth a close bond between him and his depicted subject. The naturally chiseled marks on the Taihu Lake Stones from the garden scenery happen to coincide methodologically with the artist's familiarity in expression. With continuous study, he found purple as the most suitable colour in showing the true the shade of the rock, and began to use its extensively. Through extracting the dramatic colour to establish distinct and chaotic tonalities, a mysterious and fluid atmosphere is created. The rich colour block transfers the beautiful and elegant garden into a heavy, yet organized image.

Taihu Stone and Flowers (Lot 148) was created in 2015, it was deemed as an extension of the Garden series. Instead of depicting the entire garden landscape, Zhou Chunya condensed all emotions to return to his earlier background of pure colour and alternative dimension, placing the purple hued Taihu Lake Stones at the center of the image. "Those stones look meaningful not only in forms and structures, but also in historical background and culture… …I thought very hard about how to use colours, textures, and composition to show this richness. I actually adopted reverse rhetoric to represent its untouchable magnitude and mystery, used strokes full of variations to achieve the impact of size, and employed a sense of illusion to substitute the sense of reality of the object. They look real from afar; even the texture details seem to be true; while a close look of the paintings would make you realise the painting language is abstract and concise." Zhou said. Taihu Lake Stones can be viewed, under the traditional aesthetic scope, as a derivative of the environment or its own aesthetics.

He conceptualises the classical, extracts its connotation and inherits the historical value.

Zhou Chunya's combination of the eastern scholar aura with western expressionist techniques is thoroughly portrayed in the Taihu Stone and Flowers.

2.

1. 蘇州獅子林 The Lion Forest Garden, Suzhou 2. 陳洪綬《梅花山鳥》（局部）明代 台灣 台北 國立故宮博物院藏 Chen Hongshou, Plum Blossoms and Wild Bird (detail), Ming dynasty, Collection of the National Palace Museum, Taipei, Taiwan

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149 ZHOU CHUNYA (C H I N ES E , B . 1 9 5 5 ) Peach Blossoms Series 2006 - Suzhou Peach Blossoms 周春芽 桃花風景系列2006—蘇州桃花

Painted in 2006 oil on canvas 200 x 250 cm. (78 3/4 x 98 1/2 in.) dated and signed '2006 zhou chunya'; signed in Chinese (lower right)

2006 年作 油彩 畫布 款識：2006周春芽zhou chunya（右下）

Provenance

中國 上海 滬申畫廊 現藏者購自上述畫廊

Shanghai Gallery of Art, Shanghai, China Acquired from the above gallery by the present owner Exhibited

China, Shanghai, Shanghai Gallery of Art, Solo Exhibition of Zhou Chunya, 23 April14 May, 2006.

China, Beijing, Today Art Museum, Blooming Stories-Zhou Chunya's Painting and Sculpture Exhibition, 3-23 March, 2007.

Literature

Special Number of Track Art · Monograph · Zhou Chunya 1, Track Art Publishing Centre, Beijing, China (illustrated, pp. 62-63).

Blooming Stories, Sichuan Publishing Group Company Limited, Chengdu, China, 2007 (illustrated, p. 56).

Contemporary Artist Series Volumn 2 · Zhou Chunya: The Spring of New Paintings, Sichuan Art Publishing Company, Chengdu, China, 2007 (illustrated, p. 81).

Zhou Chunya, Timezone 8 Limited, Shanghai, China, 2010 (illustrated, pp. 476477).

HK$ 7,500,000 - 10,000,000 US$ 961,500 - 1,282,100

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來源

展覽

2006年4月23日-5月14日「生命、桃花、藝術—周春芽首次國內個展」滬申 畫廊 上海 中國 2007年3月3-23日「花間記－周春芽繪畫雕塑作品展」今日美術館 北京 中國 出版

《藝術跟蹤特輯．個人專輯．周春芽卷》藝術跟蹤出版中心 北京 中國 2006 年（圖版，第62-63頁） 《花間記》四川出版集團、四川美術出版社 成都 中國 2007年（圖版，第56 頁） 《當代藝術家叢書第二輯．周春芽：新繪畫的春天》四川美術出版社 成都 中國 2007年（圖版，第81頁） 《周春芽》東八時區 上海 中國 2010年（圖版，第476-477頁）

何多苓 俄羅斯情懷 HE DUOLING

己的感知化為筆下具體的圖景—「俄羅斯森林」系列誕生了：那 裡有被俄羅斯人民視作「母親」的浩瀚森林，有從歷史中走出的 那些令他難以忘懷的俄羅斯文學巨匠，更有藝術家四十餘載創作 生涯的思索與總結。 與多數正襟危坐的名人肖像相比，《俄羅斯森林（黃金時代）普 希金．自由》(Lot 150) 中的這位俄國黃金時代最著名的浪漫主義詩 人，正放鬆地背靠在一顆高大的樹旁，他雙臂環抱於胸前，若有 所思的看向遠方。這個看似平淡真實的場景——俄羅斯名人於森林 中，是藝術家將兩個不同場景的蒙太奇進行的「拼貼畫」式組合的 獨有靈感；在何多苓的筆下，歷史名人被冠以一種浪漫的敘事性， 他（們）代表的是一種無絕對指向性的情感化形象，不再遙不可 及。何多苓口中這位「我的普希金」彷彿正在向觀眾述說藝術家創 作生涯中對回歸生命本真的如一堅持，和內心從未改變的面對世界 時柔軟的情愫。何多苓或許正是出於對內心世界情感的堅守，以及 經年之後對創作與技法的不斷審視，《俄羅斯森林（黃金時代）普 希金．自由》中，描繪主體人物輪廓的線條在漸漸歸於平淡和單純 的色調中逐步消解，普希金的形象與身後的森林風景交融後散髮出 一種和諧一致的情緒論調，畫面整體呈現一種低飽和度的和諧朦朧 感，質樸的同時盡顯蒼茫。詩人彷彿正在從包容的森林中走來，又 將自己的自由意志帶到森林中去，吟唱那首耳熟能詳的詩歌： 1.

情感治癒「傷痕」 20世紀70年代末，隨著文化大革命正式宣告結束，人們開始從神 化的政治理論體系中回歸真實，發自內心的重新審視與理解世界的 原貌。一部揭露時代的小說—《傷痕》，一時間轟動全國，使飽經 心靈創痛的人民潸然淚下。在這個講求務實、回歸本真的時代，藝 術家作為社會結構中的精神先驅，承擔起了帶領人民找回自我、重 建價值的重任。彼時正處青年時期的何多苓，以其充滿人文主義的 抒情現實作品，成為「傷痕美術」極其重要的一員。

生命．本真．回歸 縱觀何多苓的創作，似乎從來沒有離開過「人」這個不變的母 題，但畫面中的熟悉面孔或來自歷史的面龐，從不僅僅是需要被 記錄下來的「肖像」或是等待被藝術家描繪的「對象」；當他看 到成長於不同環境下的每個人內心深處那些相似的迷惘與孤獨， 他筆下的人物就蛻變為一種抽離出原本場景的象徵載體，串聯出

假如生活欺騙了你， 不要悲傷，不要心急！ 憂鬱的日子里須要鎮靜： 相信吧，快樂的日子將會來臨！ 心兒永遠嚮往著未來； 現在卻常是憂鬱。 一切都是瞬息，一切都將會過去； 而那過去了的，就會成為親切的懷戀。 ─普希金《假如生活欺騙了你》

一條藝術家在時間的漫漫長河中歷經的感性軌跡。 蘇聯文化在何多苓這一代人的心中有著長久不可磨滅的深遠影 響，2014年，何多苓踏上了去往俄羅斯的旅途，這個腦海中念 念不忘的國家也終於以真實具體的面貌呈現在他的面前，他將自

1. 何多苓正在創作《俄羅斯森林（黃金時代）普希金．自由》 He Duoling working on The Russian Forest Series (Golden Age) Pushkin Freedom 2.《俄羅斯森林（黃金時代）普希金．自由》畫稿 Sketch of The Russian Forest Series (Golden Age) Pushkin Freedom

森林中的一草一木，露出難掩的點點春光：寒冬褪去，溫暖正在悄 然而至，自由也終將跟隨這位偉人腦海中樂觀堅強的人生態度—插 上翅膀，飛向遠方。

感性從未離開 在何多苓的藝術裏，我們似乎很難抓到任何與極速變換的紛繁世界 相關聯的任何線索，並不是「傷痕」把他留在了那個年代，而是他 骨子裏那股略帶憂傷的氣質與從未遺失的真摯感情，將一幕幕零散 卻又自成一格的片段相連接，構築出一首延綿不斷的抒情詩。

「……在何多苓的世界裏，俄羅斯變得越來 越清晰，以至於，那些人物不再是遠方的偶 像，而是朝他走來，變得跟他眼前所有真實 的東西一樣…」

─藝術策展人．許晟

2.

"â&#x20AC;ŚIn the world of He Duoling, Russia became more and more vivid, so much so that the characters are no longer remote icons but a real subject in front of him, even walking toward himâ&#x20AC;Ś"

- Xu Sheng, curator

阿爾弗萊德．西斯萊《春天裡的小草堆》1880年作 英國 倫敦 泰特現代美 術館藏 Alfred Sisley, The Small Meadows in Spring , 1880, Collection of Tate Modern, London, UK

Feeling Cures the "Scar" Toward the end of the 1970s when the Cultural Revolution formally ended and the Gang of Four being destroyed, people began to move away from a system based on a political theory of deification and to return to reality. They faithfully re-examined and understood the original features of the world. A novel revealing the situation of the era-The Scar, suddenly shocked the country, moving the traumatized people into tears. In the era of pragmatism and seeking truth, artists as spiritual pioneers in the social structure took up the important responsibility of leading the populace to introspect and re-establish values. A young man at the time, He Duoling became an important player of "Scar Art" with his lyric realistic works full of humanistic spirit.

Life．Truth．Return In general, He Duoling's work seems to always revolve around the same motif of "human being". Yet the familiar visages in his paintings or those from historical are much more than "portraits" or "objects" to be recorded and await the artist's depiction. The artist sees the similar confusion and solitude deep inside everyone growing up in a different context; the characters born from his brush are transformed into a kind of symbolic vehicles detached from their original contexts. They are linked into a sensitive trace gone through by the artist along the long stream of time.

The Soviet culture left an indelible, profound impact in the minds of people from He Duoling's generation. In 2014, the artist embarked a journey in Russia. The country that had preoccupied him since long time was finally in front of him in reality. He turned his perception into concrete landscape through his brush, giving birth to The Russian Forest series: There are immense forests, regarded as "mother" by the Russian people; historically great writers who were so memorable, moreover, the artist's thoughts and synthesis of his creative career of more than four decades.

Compared to portraitures of famous figures sitting in all seriousness, in The Russian Forest Series (Golden Age) Pushkin Freedom (Lot 150), the most renowned Romanticist poet of Russia's Golden Era leans on a big tree in a relaxed manner. Arms crossed in front of the chest, he looks to the distance ponderingly. The seemingly ordinary yet realistic scene, a Russian personality in a forest, actually comes from the artist's particular inspiration of making a montage of two different scenes. His paintbrush endows historical figures with a Romanticist narrative; the latter represent a kind of images imbued with emotion without any definite indication, no longer remote and inapproachable.

"My Pushkin", in He Duoling's term, seems to tell the viewer about the artist's insistence on steadily returning to true nature of life during his artistic career, as

well as the constant tender sentiment in facing the world. Perhaps due to the artist's steadfast on the sentiments of his inner world and incessant examination on creation and technique over the years, the contour outlining the protagonist in The Russian Forest Series (Golden Age) Pushkin Freedom is gradually dissolved among tones which slowly become simple and pure. Pushkin's image and the forest landscape behind are merged, exuding an emotional tone in perfect harmony. The entire tableau presents some barely saturated harmony and vagueness, appearing rustic yet hazy at the same time. The poet seems to walk near from the generous forest and also brings his free will into it, while chanting that familiar poem:

If by life you were deceived, Don’t be dismal, don’t be wild!

In the day of grief, be mild: Merry days will come, believe.

Heart is living in tomorrow; Present is dejected here.

In a moment, passes sorrow; That which passes will be dear.

- Pushkin, If by Life You Were Deceived Grass and trees in the forest all disclose evident bits of the spring's splendor.

As the harsh winter fades, warmth quietly arrives. And freedom would finally accompany the positive and strong attitude of life in the great man's mind: endowed with wings and flying to the distance.

Sensitivity Still Remains In He Duoling's art, it seems difficult to capture any clue related to the fastchanging bustling world. It is not the "scar" that attaches him to that era.

Rather, the somewhat melancholic vein and sincere emotion in him always remain, connecting the dissociated yet individual fragments one after another, composing an ever-lasting lyric poem.

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150 He Duoling (C H I N ES E , B . 1 9 4 8) The Russian Forest Series (Golden Age) Pushkin Freedom 何多苓 俄羅斯森林（黃金時代）普希金．自由

Painted in 2017 oil on canvas 200 x 150 cm. (78 3/4 x 59 in.)

2017 年作 油彩 畫布

Provenance

亞洲 私人收藏

Private Collection, Asia Exhibited

China, Changsha, Tan Guobin Contemporary Art Museum, 2017 Art Changsha, 16 December, 2017-26 February, 2018.

China, Xi'an, Xi'an Art Museum, Gaze of Samsara-He Duoling Solo Exhibition, 30 June-12 September, 2018.

China, Hong Kong, Poly Gallery Hong Kong, The Art of Determination, 27 September-11 October, 2018.

Literature

He Duoling: Gaze of Samsara, HDL Museum, Chengdu, China, 2018 (illustrated, p. 186).

HK$ 5,800,000 - 7,800,000 US$ 743,600 - 1,000,000

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來源

展覽

2017年12月16日-2018年2月26日「2017藝術長沙」譚國斌當代藝術博物館 長沙 中國 2018年6月30日-9月12日「山水光氣—何多苓個展」西安美術館 西安 中國 2018年9月27日-10月11日「頑固的藝術」保利香港藝術空間 香港 中國 出版

《山水光氣》何多苓美術館 成都 中國 2018年（圖版，第186頁）

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「在毛焰的作品前面，人們能夠隱隱的發覺，作品背後晃動著的那個敏感、細膩、內斂、聰慧、 孤傲、焦慮的影子。超脫和願望和現實的渴望膠結在一起，在這裡，毛焰的個人情緒、個人願望 已經轉化為某種人性的普遍性，他本人成了他者，通過作品，毛焰被自己物件化了。就這一點 說，他的精神性顯著地呈現出來，個體轉化為普遍─成為某種氣質、某種類型的存在。」

—李小山 〈毛焰的執著〉

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MAO YAN

毛 焰 情感氤氳 毛焰自幼跟隨父親習畫，耳濡目染下形成對

獲得了複雜的表述」。《女子肖像》(Lot 151)

藝術強烈的興趣與追求。因此對於他來說，

正是毛焰這個時期創作歷程的風格演繹論

藝術不僅僅是一種職業，而更是一種生命中

證，此一階段性的革新，更是激發出1999年

堅定不移的信念。自中央美院的求學時期

後「湯瑪斯」系列著重於筆觸表現的灰色調

開始，毛焰對西方古典主義便有著濃厚的情

肖像風格。

結，包括西班牙的戈雅、德國的丟勒及荷蘭 的維米爾，都是毛焰心中崇敬及創作的指標 方向，也正是此時對西方古典及傳統語言的 敬畏及迷戀，形成他往後創作中紮實的寫實 功底與精神源泉。藝評家栗憲庭曾讚歎道： 「毛焰的作品放在歐洲任何博物館的大師作

《女子肖像》創作於1995年，畫面主角為毛 焰當時的一位女學生，在灰色調抽象背景的 襯托下，中心是如花般綻放的棕黃色塊，居 中的女子望向一側，清秀的臉龐上神情謹慎 而略帶緊張，細膩的臉部線條與色調經過精

品前，都毫不遜色。」

心安排，有如在一束柔和的光源照射下，折

1991年毛焰於中央美院畢業之後，並沒有追

秀特質。正如栗憲庭所說：「毛焰作品的精

隨同儕的腳步留在北京，而在因緣際會之下

彩之處，是他獨特的筆觸塑造對象尤其是臉

前往六朝古都─南京，從此毛焰開始了一系

部所用的明暗斑駁的技巧。才給人一種神經

列以周邊好友為原型的肖像畫，具底蘊深厚

質的敏感和緊張感，彷彿每一個小筆觸都是

的古都南京和這裡靜謐的城市特色與毛焰繪

一個神經末梢，在一明一暗的班駁中流露出

畫中流露出的傳統格調有著天然的契合，也

不安，疑慮和心跳過速。」毛焰善於擷取外

使其跳脫如北京等大都市的政治經濟主題，

在表面的特質，進一步彰顯人物的內在精神

而沉下心來以純粹尖銳的筆法專心刻畫身邊

與性格。觀者彷彿可以感知到畫中女子細緻

平凡人物的情緒與思想，毛焰將自己的敏銳

入微的內心世界，畫面的每個角落都充滿了

與張揚寄予在九十年代的肖像畫中，這一系

表情。

列也成為他最為人所知的代表作品，使其成

射出主角五官的盈動明暗，更凸顯女性的纖

為中國最炙手可熱的當代藝術家之一。

毛焰曾如此評論自己的肖像畫：「我的『人

毛焰曾說：「總體而言，1994-1995年對我

果的東西，所以，對我來說，人物是一個挖

來講也是一個分水嶺時期。」此階段的藝術

掘不盡的主題，我會就此一直考慮下去。」

家，從90年代前期對古典主義細膩造型與筆

《女子肖像》因此可視為他與內心的自我對

觸的側重，而轉為對主體靈性表現的追求；

話，畫中充滿情緒的女子同時也是藝術家心

更將多餘的背景物抽離畫面，純化色調，使

中多重內心思緒世界之呈現。在背景的烘托

用豐富而具流動性的筆觸呈現空間色彩的豐

下，她似乎如花綻放般的尖銳張揚，又似中

富層次性，從而突出畫面的主體人物。如李

性灰階色彩般的深沉脆弱，藝術家剝去外

小山所談到的作品特徵：「人的外形在他 [毛

在，將人之靈魄呈現於畫面之上，作品以特

焰] 那裡退居到次要的地位，精神的質地成為

殊的形構、筆觸及色調處理手法，使普羅大

他的主旨。他要挖掘人性中最隱蔽最細微的

眾在日常生活下所產生之共生情緒及細微感

部分，將它們提煉為視覺的衝擊。毛焰故意

觸在這里得到感知與共鳴。

物』常常能表達出我正在思考，但還沒有結

不去描繪衣著，故意抹去人的外表的時代特 徵，因此人變成了符號，個性變成了共性， 形象不再局限形象本身，而成為一種普遍意 義上人的靈性。個體的人進入了普遍的人， 物的存在演化成形而上的存在。毛焰由此提 升了自己藝術的品格，從貌似簡單的做法中

毛焰《X的畫像》1996年作 北京保利 2017年6月4日 成交價： 10,120,000 人民幣 Mao Yan, The Portrait of X , 1996, Poly International Beijing, 4 June 2017, Sold for RMB 10,120,000

Modern and Contemporary Art

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151 MAO YAN (C H I N ES E , B . 1 9 6 8) Portrait 毛焰 女子肖像 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1995 oil on canvas 99 x 99 cm. (39 x 39 in.) signed and dated 'Maoyan 1995.5' (lower centre)

1995 年作 油彩 畫布 款識：Maoyan 1995.5（中下）

Provenance

亞洲 私人收藏（直接得自於藝術家） 亞洲 私人收藏 保利 北京 2007年11月30日 編號883 現藏者購自上述拍賣

Private Collection, Asia (acquired directly from the artist) Private Collection, Asia Poly International Beijing, 30 November 2007, Lot 883 Acquired from the above sale by the present owner Exhibited

USA, New York, Cooper Union, Chinese Modern Oil Painting, 1995.

USA, Los Angeles, Overseas Modern Newspaper Art Museum, Chinese Modern Oil Painting, 1995.

來源

展覽

1995年「中國當代油畫展」柯柏聯盟學院 紐約 美國 1995年「中國當代油畫展」中國僑報美術館 洛杉磯 美國

HK$ 4,500,000 - 6,500,000 US$ 576,900 - 833,300

「我的繪畫是具有肖像屬性，但是所有東西都是一個載體，如果說 只是一個簡單的肖像畫，對於我來說，是沒有任何意義的。我的興 趣和願望就是在這個裡面，從這裡去提煉哪怕一點點東西。我自己 的真情實感，是我覺得最為精彩的概念。」

─毛焰 "My painting pertains to portraiture. But all things carry a message.

Those simple portrait merely does not mean anything to me. My interest and wish lie underneath, from where I distill even the least. I experience my truest emotions to be the most intriguing idea."

- Mao Yan 132

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133

of a subject's spirituality. Moreover, he removed unnecessary details at his background, purified the tonality, and employed vivid and flowing strokes to represent the rich gradation of colours in space, thus foregrounding the main figures in the tableaux. In respect to the characteristics of Mao's works, Li Xiaoshan wrote, "In his [Mao Yan's] works, human forms are relegated to an inferior place while spiritual quality becomes the gist. He wants to dig into the most secret and subtle parts of human nature and refine them into visual impacts. Mao Yan deliberately avoids depicting details of clothes. In obliterating characteristics of the times shown through appearances, the artist manages to turn the figure of people to become a symbol; their personality converges, image is no longer merely an image in itself but becomes human spirituality in a universal sense. An individual man is integrated into a universal person; existence of things evolves into metaphysical existence. In this way, the artist raises the dignity of his art, obtaining complex representation from seemingly simple approaches."

Portrait (Lot 151) precisely interprets and demonstrates the style in this period of Mao Yan's artistic career. Such a periodic reform further inspired the grayish portraiture of the Thomas series starting from 1999 and provided a foregrounded for his brushwork expression.

Portrait was painted in 1995, with the protagonist as one of Mao's female students at the time. She was standing against the grayish abstract background within the scene, the center presents a rust-coloured area that was in a shape of blossoming flowers. The woman in the middle looks aside with a somewhat nervous and discreet expression. The carefully arranged lines and tones of her face seem to be under a soft beam that reflects the shifting light and shade upon the heroine's features, further expressing her graceful femininity. As Li Xianting put it, "The intriguing part of Mao Yan's work lies in his particular brushwork with which he creates figures, especially the technique of light and dark mottles on the face…. Lending a neurotic sensitivity and nervousness, as if each tiny stroke is a nerve ending, disclosing uncanniness, doubt and fast heart-beating through light and dark mottles." Mao Yan excels in capturing external features to further express the subject's inner spirit and character. The viewer seems to be able to perceive the subtle inner mind of the woman in the picture; each corner of the tableau carries an abundance of expression.

Mao Yan learned to paint with his father since childhood, and that experience had motivated him to pursue a career in becoming an artist. For Mao Yan, art is not merely a profession, but rather an unwavering belief in life. Ever since his school years at the Central Academy of Fine Arts, Mao Yan has been extremely infatuated with western Classicism. Spanish artist Goya, German master Dürer and Dutch painter Vermeer were among the icons he admired; their art was the beacon of his artistic orientation. It was also during that time in which his awe and infatuation for western classicist and traditional languages formed the base of the solid realistic skills and spiritual source for his future art-making. Art critic Li Xianting once said, "Put in front of masterpieces in any museum in Europe, Mao Yan's works never appear inferior."

In talking about his portraits, Mao Yan said, "My 'man-figures' often express what I am thinking about but have not yet reached an answer. So, for me, people are an inexhaustible subject. I will continue to think this way." Therefore, Portrait can be regarded as his internal dialogue with himself. The woman with abundant emotions in the picture also incarnates the intricate universe of thoughts within the artist. Juxtaposed with the backdrop, she seems keen and audacious like blossoming flowers. Meanwhile, she also looks profound and fragile as she was depicted in grayish tones. By peeling off the apparent surface, the artist presents the truth of human soul through his paintings. The composition, brushwork and tones of the work altogether allows viewers to perceive and resonate with the universal emotions and subtle feelings originated from their daily life.

After graduating from the Central Academy of Fine Arts in 1991, Mao Yan did not stay in Beijing with his peers, but settled in the ancient capital of the six dynasties-Nanjing by chance. And since then, he began to make a series of portraits with his close friends as models. The city Nanjing, as an ancient capital, is with its profound cultural essence, as well as its tranquil quality, naturally corresponded with the traditional touch exuded from Mao Yan's painting. This also encouraged his shift away from political and economical subjects found in metropolises like Beijing, and calmly devoted to depicting sentiments and thoughts of ordinary people around him through precise brushwork. The artist integrates this enthusiasm and audacity in the portraits he made in the 1990s.

The series also became his most renowned representatives, making him one of the most famous contemporary artists in China.

Mao Yan once stated, "Looking as a whole picture, the period between 1994 and 1995 was a turning point that was pivotal for the change of my style" In this period, the artist shifted from emphasising subtle forms and strokes of Classicism in the first half of the 1990s, to seeking representation

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盧西安．弗洛伊德《路易莎》1998年作 Lucian Freud, Louisa , 1998

ZHANG XIAOGANG

張曉剛 生生不息

記憶回溯：探索個人情感表達的延綿絲線

息之愛》，隔年所作《生生息息．明天將要來臨》(Lot 152) 以畫面

張曉剛，一個以一張張嚴肅冰冷表情下隱藏中國政治發展進程中那

預示了未來與美好之可期，藝術家通過更加多元的用色平衡，是糅

段暗流湧動歷史真實記憶的人物面相，通過帶有個人符號化的標誌 性表現方式呈現而為現今社會所廣泛熟知的中國當代藝術巨匠，在 他30餘年的藝術創作歷程中，以一種抒情浪漫的敘事基調，從自我 為起點，歷經夢境構築和血緣脈絡延伸了「記憶」與「失憶」的矛 盾主線，為一代經歷過集體夢想而後幻滅、對生命意義產生追問的

合中國山水概念性表達與西方中世紀宗教元素的圖式之大成；畫面 內容既是他對早期創作手法與人生思考的一種總結，同時在用色、 符號語言的選擇中又埋下了藝術家後期最為人熟知表現手段的伏 筆，是張曉剛藝術創作生涯中經歷不斷反省而後逐漸找出全新創作 語言的承上啟下經典之作。

中國人搭建了情感宣洩與共鳴的出口。 而當我們沿著歷史的痕跡，追溯至張曉剛創作生涯之初，藝術家一 以貫之的那條從未進入主流價值體系的個人化表達脈絡卻開始日漸 清晰：在20世紀80年代中國當代藝術的啟蒙時期，「鄉土寫實主 義」及「傷痕美術」因其對現實批判的特質在經歷過「文革」洗禮 的社會大環境下已蔚然成風；此時的張曉剛，卻選擇糅合及對比他 所了解的中國傳統文化與當時令他執迷的西方現代主義，基於個人 生存體驗，以內在化的意向表達，專注於創作「帶有表現主義情緒 的現代藝術作品」。他與毛旭輝、潘德海等藝術家組成了「新具象

「我從地獄中逃出來，去向『神』的世界 漫遊，試圖尋找生與死之謎的本質，尋找 一種具有包容性的恆定的藝術規律。」

─張曉剛〈自述與手記〉

團體」，投入「85新潮」美術的運動中。而貫穿他整個八十年代藝 術歷程中的那些帶有超現實氣質的創作，也無疑證實了藝術家作為 一位時代先行者，勇於對他所認定的那些帶有「偽現代」影子的所 謂主流文化提出大膽質疑批判：「我總認為，藝術首先應當是個人

錯亂記憶創造的視覺迷宮 《生生息息．明天將要來臨》創作於1989年初的冬春交際之時，

的，然後才是公共的。」

內容上雖延續了《生生息息之愛》中的神話、宗教和歷史題材主

聯結自然與靈魂的信仰「彼岸」

不僅影射此時藝術家心境更加積極樂觀，也呼應了標題「明天將要

對自己複雜內心世界那些低沈和悖謬的聲音的忠誠，使得張曉剛的

來臨」。畫中好似原始族人的形象，被置於一個概括鄉土自然圖

藝術創作從一開始就與任何具有社會統一幻象性的趨勢格格不入。

景與簡化的超現實未知時空裏，形成一個怪誕、卻似乎暗含生命啟

80年代初時那次由於極差的身體狀態而對生死最直觀的真實體驗與

示的夢境。畫中主角的造型頗具意大利文藝復興前期喬托宗教畫的

經歷，促使他圍繞生存及生命議題進行了一段探索。在走出這段充

意味—前景中一位手勢略帶某種宗教儀式莊重感的「女神」，以充

滿死亡沈重氣息（被藝術家稱為「魔鬼時期」）的狀態後，與東方

滿超然堅定的眼神平視前方，面對觀眾向前行走，環繞她頭上黑白

神秘主義的接觸讓他將注意力放在原始文化以及宗教藝術上。他通

相間的小圖式是藝術家此階段題材作品中經常出現、為畫面增添宗

過一系列富含西方宗教神話與東方老莊無為思想元素的內心獨白，

教神秘感的「陰陽果」，所有的符號化隱喻都似乎在暗示她把春

邁向「彼岸時期」（「夢幻時期」）。1988年，他以生、死、愛這

天帶來、一切生靈即將復甦；畫面左邊身披僧袍的男子輕輕閉著雙

題，卻去除了畫面中的蕭索之意，樹木綠葉茂盛、場景開闊明亮，

相對獨立卻又內在關聯的主題創作出一部宏大的三聯作—《生生息

1.

136

Lot 152

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2.

3.

眼，以毫無戒備的安詳的身姿蜷縮休憩的他

級對立下的平衡。雖然這類圖示在藝術家創

正在等待新生的降臨、並與萬物一同甦醒；

作歷程中僅佔據極其短暫的一瞬，但卻是一

在不遠的後方，一位手持風箏的男子形象正

個承上啟下的重要時間節點，《生生息息．

背對著觀眾，他正專注的風箏線那端，彷彿

明天將要來臨》不僅承襲了藝術家此階段對

耶穌受難終將得到靈魂釋放走向天堂解脫的

自身思考的總結，更是今後將描繪主體回歸

瞬間。畫中三位主角的平面化描繪，似乎是

到更純粹的人物，並走向高度符號化和象徵

藝術家對寫實主義的有意偏離，以此加深人

化開端的一個暗示。

物內在連接所代表的生死輪迴，而構造了全 新的前、中及遠景的縱深感。這是關於萬物 「生生息息」的美麗預示，是藝術家的「生 命之流」，他的「明天」，或許也是我們的 「明天」都將紛然而至。 畫面中看似不經意散落的物件—象徵死亡的 祭祀用羊頭，繡有雲南愛伲人生命圖騰的地 毯，和那些或長青或正在萌芽的小樹混合在 一起的錯亂世界，共同營造了一個關於愛、 生命與死亡超度的的神話；這種隱喻符號的 介入也始終貫穿張曉剛的創作歷程—後期作 品中出現的書本、手電筒等富含某種記憶喚 醒性質的日常小物件，都由此處萌發誕生。 藝術家以蒙太奇拼貼般的突兀形式組合這一 幕離奇、矛盾的景象，正是他孜孜不倦尋找 夢境中「彼岸」的過程。評論家巫鴻曾說此 階段張曉剛在譜寫「有關人類主題的一則寓 1. 芙烈達．卡蘿《森林中的兩個裸女》1939年作 Frida Kahlo, Dos desnudos en el bosque (La tierra misma) , 1939

言」， 通過對生命與死亡問題的理性審視， 重構了一個具有古典象徵主義人神符號對應 的生活世界。藝術家敏感而有節制的線條描

2. 奧迪隆．雷東《黑色太陽》約1900年作 大都會 藝術博物館藏 紐約 美國 Odilon Redon, The Black Sun , c. 1900, Collection of The Metropolitan Museum of Art, New York, USA

繪的那一個個消瘦卻又堅韌的軀體，是其此

3. 張曉剛《生生息息之愛》1988年作 蘇富比香港 2011年4月3日 成交價：79,060,000港幣 Zhang Xiaogang, Eternal Love , 1988, Sotheby's Hong Kong, 3 April 2011, Sold for HK$ 79,060,000

平化的色彩平塗表象之下，創造了新表現主

階段受法國象徵主義畫家奧迪隆．雷東啟發 下的一種嘗試，他將情緒爆發刻意隱藏在扁

「我們實際上是處在一個無處躲藏的充滿瘋 狂和病態的世界裏 … 通過描繪生命的悲劇和 死亡的壯麗，揭示存在的荒誕和神秘。」 —張曉剛〈自述與手記〉

由史到詩—意識形態的回歸與重構 古羅馬哲學家塞內卡曾說：「除了時間，我 們一無所有」，而在張曉剛的創作歷程中， 那條從未隨時間改變的內心獨白式主線是他 延綿不斷、始終如一的創作信仰。當90年代 到來，藝術家的「血緣」系列實現了語言表 達結構上由個人到公共，象徵內容上從古典 的人神到現代人內在與外在探討的轉變；他 通過更加深層的挖掘自己，最終表達出屬於 整體的觀念，「彼岸世界已離他越來越遠， 而此岸世界就在眼底。」他的畫面儘管在呈 現上經歷了由自然生活轉向虛擬空間，最終 將真實場景進行虛擬重構的繁雜歷程，但卻 在細節處—那些總是相似的或睜大或凝視的 雙眼中，詮釋著對於個體生命反思的不變主 題。這些關於存在與生命意義的探討，彷彿 正在暗暗指引在永恆的記憶與不斷的失憶中 徘徊的「我」與「我們」。

義與西方傳統古典、形象寫實與虛幻內容兩

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〇 152 ZHANG XIAOGANG (C H I N ES E , B . 1 9 5 8) Eternity．Tomorrow is Coming 張曉剛 生生息息．明天將要來臨

Painted in 1989 oil on canvas 99 x 79 cm. (39 x 31 in.) signed in Chinese (lower Left)

1989 年作 油彩畫布 款識：曉剛（左下）

Exhibited

1989年8月「慶祝中華人民共和國成立四十週年四川省美術作品展覽」四川 省美術館 成都 中國 2007年6月30日-7月30日「1976-2006鄉土現代性到都市烏托邦：四川畫派 學術回顧展」中外博藝畫廊 北京 中國

China, Chengdu, Sichuan Art Museum, Celebrating the 40th year Establishment of People's Republic of China-Art Works of Sichuan, August, 1989.

China, Beijing, Sino-Foreign Boyi Gallery, A Retrospective of The Sichuan School From 1976-2006: Rural Modernity to Urban Utopia, 30 June-30 July, 2007.

Literature

Painter, vol. 11, Hunan Fine Arts Publishing House, Changsha, China, 1990, (illustrated, p. 4).

"Thoughts on the other side of Zhang Xiaogang's Eternity", Oriental Art Classics, Issue 9, Henan Academy of Arts, Zhengzhou, China, 2008 (illustrated, p. 48).

Zhang Xiaogang: Disquieting Memories, Phaidon Press Limited, London, UK, 2015 (illustrated, plate 24, p. 51).

Zhang Xiaogang: Works, Documents and Researches 1981-2014 I, Sichuan Fine Arts Publishing House, Chengdu, China, 2016 (illustrated, plate 83, p. 145).

HK$ 9,000,000 - 12,000,000 US$ 1,153,800 - 1,538,500

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展覽

出版

《畫家》第11期 湖南美術出版社 長沙 中國 1990年（圖版，第4頁） 〈張曉剛《生生息息》的彼岸之思〉《東方藝術》第九期 河南省藝術研究院 鄭州 中國 2008年（圖版，第48頁） 《張曉剛：困擾的記憶》Paidon出版社 倫敦 英國 2015年（圖版，第24圖， 第51頁） 《張曉剛：作品、文獻與研究1981-2014 I》四川美術出版社 成都 中國 2016 年（圖版，第83圖，第145頁）

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張曉剛 ETERNITY

ZHANG XIAOGANG

intuitive and real experience of life and death which prompted him to explore issues of existence and life. Recovering from the extremely tough and deathly situation (namely "Demon" period according to the artist), he turned to focus on producing a series of religious themed paintings through his exploration upon the topic of Oriental Mysticism. Through a series of inner soliloquy filled with elements of Western religions and myths as well as "inaction" thinking of Lao Zi and Zhuang Zi of the East, the artist marched toward "The Other Shore (Dream)" period. In 1988, Zhang Xiaogang made the grand triptych titled Eternal Love with each canvas focus on one subjects among Life, Death and Love respectively. The next year, he created Eternity．Tomorrow is Coming (Lot 152), a tableau with faith of a beautiful future, where he employed more diverse chromatic balance.

The latter represents a grand synthesis integrating conceptual representation of Chinese landscape and elements drawn from Western medieval religious iconography. Its content sums up his early artistic approach and thought about life. Moreover, the artist's choices of palette and symbolic language implicitly indicated the most renowned approach later in his career, making the work a classic connecting his early and later endeavour through a brand new language attained after incessant reflection.

1.

Retracing Memory: ExplorATION ALONG the Extending Thread of Expressing Personal Emotion Works by Zhang Xiaogang represent cold and grave faces behind which are hidden undercurrents of real memory of a certain historic period in China's political developing process. For the social public today, he has become a widely known contemporary art master for his iconic and personal approach based on symbolization. For more than three decades of artistic career, the artist composes a paradoxical axis linking bloodline to "memory" and "amnesia" based on a lyric and romantic narration, thus constructing outlets of emotional release and empathy for the generation of Chinese people questioning the meaning of life after the disillusion in creating a collective dream.

Yet in tracing back to the origin of Zhang Xiaogang's art-making along historic imprints, we gradually perceive better the artist's consistent personalized expressional context which always exists beyond the mainstream. In the enlightenment period of China's contemporary art in the 1980s, "Rustic Realism" and "Scar Art", for their criticism of reality, have become en vogue in the general social context which underwent the Cultural Revolution. At the time, however, Zhang Xiaogang opted for merging and contrasting the traditional Chinese culture as he understood it and the Western modernism preoccupying him by then. Based on personal experience of existence, the artist concentrated on making "modern artworks imbued with Expressionist sentiments" through internalized representation of attempt. Together with artists like Mao Xuhui and Pan Dehai, among others, they founded "New Figurative Group" and devoted to "85 New Wave Movement" in China. And the rather Surrealistic works he has been creating in his career throughout the 1980s unquestionably attested to his status as a pioneer ahead of the times, and his audacity to criticize and interrogate the so-called mainstream culture he held to be somehow "falsely modernist". For Zhang Xiaogang, "I always think art should be personal in the first place and then public."

"I escaped from Hell and roamed in 'God's' realm, trying to explore the nature of the enigma about life and death, looking for a tolerant and constant artistic rule."

- Zhang Xiaogang, Autobiography and Notes Visual Labyrinth Created from Disrupted Memory Eternity．Tomorrow is Coming was made in 1989 early spring. Despite its continuation of subjects of Eternal Love : myth, religion and history, the painting is devoid of the desolation of the previous piece and rather represents flourishing foliage and an open, bright scene. This alludes to the more positive mental state of the artist while corresponding with the title, Tomorrow is Coming . The figures looking like primitives are deployed in a surreal and unknown space-time

The "Other Shore"-Linking Nature and Soul Remaining faithful to the muffled and absurd sounds in his complex inner sphere, Zhang Xiaogang has been, since the very start of his artistic career, incompatible with any trend imbued with illusionary quality of social union.

Plagued by physical illness in the early 1980s, the artist went through extremely

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2.

3.

that epitomizes countryside landscape, creating a weird dream-world which, however, seems to imply inspiration about life. Protagonists in the tableau are stylized in a way rather similar to that of Giotto's religious paintings during the first half of Italian Renaissance. The gesture of a "goddess" in the foreground seems somewhat solemn like in a religious ceremony. With extremely detached and resolute eyes, she looks horizontally toward the front, walking forward while facing the viewer. The small black and white symbols surrounding her head, also known as "Yin Yang fruits", are recurrent in Zhang Xiaogang's works on similar subjects from this period, adding religious mystic air to the picture.

All the symbolized metaphors seem to indicate that she brings the spring and all beings are about to revive. The man in a frock at the left side gently closes his eyes; huddling and resting in his peaceful posture without any precaution, he is waiting for the rebirth and revival with all beings. Not far behind at the backdrop, a male figure holding a kite stands with his back to the viewer. His attention is focused on the kite: a instance imitates crucifixion of Jesus, his soul heading Heaven. The flattened depiction of the three protagonist seems to indicate the artist's conscious veer away from Realism, thus deepening the life-death reincarnations represented through the figures' inner links and creating a brand new depth among the foreground, the middle ground and the background. This is a beautiful indication about "eternity" of all beings, representing the artist's "current of life". His "tomorrows", which might also be ours, are close at hand.

1. 張曉剛《血緣：大家庭第2號》1993年作 蘇富比 香港 2012年4月2日 成交價 ： 52,180,000港幣 Zhang Xiaogang, Bloodline-Big Family No.2 , 1993, Sotheby's Hong Kong, 2 April 2012, Sold for HK$ 52,180,000 2. 張曉剛與《生生息息．明天將要來臨》 Zhang Xiaogang with Eternity．Tomorrow is Coming 3. 喬托．迪．邦多納《牧羊人中的約阿希姆》1303-1305年作 義大利 帕多瓦 斯克羅威 尼禮拜堂藏 Giotto di Bondone, Joachim among the Shepherds , 1303-1305, Collection of Scrovegni Chapel, Padova, Italy

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Lot 152

Objects with certain symbolic incations were scattering on the ground of the scene, the goat head as sacrifice symbolizing death, the rugs with embroidered totems of life of the Aini people from Yunnan, together with the disordered world where evergreens and budding trees are mixed, come to create a myth about love, life and releasing souls from purgatory. Such intervention of metaphoric symbols are also recurrent throughout Zhang Xiaogang's career. It also led to the genesis of the small ordinary things of reminiscence in the artist's later works, including books, torches, etc. He composed the odd and incongruous scenes with abrupt forms like collages of montage, which precisely incarnated the process of his tireless search for "The Other Shore" in dream. According to critic Wu Hung, Zhang Xiaogang in this period was composing a fable about the subject of man; through a rational investigation on questions of life and death, he reconstructed a sphere of life with correspondences between symbols of man and gods of Classical Symbolism. The skinny yet firm bodies come from the artist's attempt inspired by French Symbolism painter Odilon Redon.

By consciously covering the bursting emotion under the painted planar surface of flattened colours, the artist created balances between Neo Expressionism and Western traditional Classicism, as well as realistic depiction and illusory content. Although such iconography existed rather briefly in the artist's entire

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creative process, it represented a vital temporal juncture linking his previous and later phases. Not only did Eternity．Tomorrow is Coming inherit the artist's conclusion of reflection on his self, it also indicated his return to and concentration on people as subject of depiction, as well as the emblematic beginning of higher extents of symbolization.

which seem incongruous to the viewer in terms of form of expression, the details-widely open or staring eyes-seem to always revolve around reflection on the life of an individual. The explorations about existence and meaning of life seem to implicitly guide the "me" and the "us" who linger in eternal memory and constant amnesia.

"We actually live in a morbid and extremely crazy world with nowhere to hide ourselves...I reveal the absurdity and mystery of existence by depicting life's tragedy and death's grandeur."

- Zhang Xiaogang, "Autobiography and Notes"

From History to Poetry: Ideological Return and Reconstruction According to Roman Philosopher Seneca, "Nothing is ours, except time." In Zhang Xiaogang's artistic career, the axis of inner soliloquy which remains over time is his ever-lasting and persistent artistic faith. Into the 1990s, he carried out, in his Bloodline series, shifts from the personal to the public in terms of structure of language expression, from classical exploration of man and gods to exploring modern man's internal and external worlds in terms of symbolic content. By digging deeper into his self, "the world at the other shore is becoming more and more distant from him, while the one at this shore now coming to his eyes."

Although his paintings go through extreme mutations

保羅．高更《黃色的基督》1889年作 美國 水牛城 奧爾布賴特-諾克斯美術館藏 Paul Gauguin, The Yellow Christ , 1889, Collection of the Albright-Knox Art Gallery, Buffalo, USA

153 LUO ZHONGLI (C H I N ES E , B . 1 9 4 8) Waiting 羅中立 等待

oil on paper 54.2 x 39.2 cm. (21 1/4 x 15 1/2 in.) signed 'Luo.' (lower left); post-signed by artist

油彩 紙本 款識：Luo.（左下）；藝術家補簽名

Literature

《羅中立．故鄉組曲》四川出版集團、四川美術出版社 成都 中國 2006年 （圖版，第211頁）

Luo Zhongli．Homeland Portraits, Sichuan Publishing Group Company Limited, Sichuan Art Publishing Company, Chengdu, China, 2006 (illustrated, p. 211).

出版

附台灣 高雄 漢鄉畫廊開立；及林明哲親簽之原作保證書 This work is to be sold with certificates of authenticity issued by Han Shiang Gallery, Kaohsiung, Taiwan; & signed by Lin Ming Che.

HK$ 150,000 - 200,000 US$ 19,200 - 25,600

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LUO ZHONGLI

羅中立 魂牽鄉土

一往情深的鄉土魂

尚．弗朗索瓦．米勒《拾穗者》1857年作 法國 巴黎 奧賽美術館藏 Jean-François Millet, The Gleaners , 1857, Collection of Musee d'Orsay, Paris, France

「文革」期間，羅中立以知青身份被分配到

從「人文」到「人道」—圍繞寫實主 義的情感反思

荒涼貧瘠的四川大巴山，在這裡生活學習的

羅中立認為，農村是他事實上的故鄉，因而

七年間，與當地農民緊密頻繁的接觸使得他

他的創作雖然如同一面鏡子般細緻而客觀的

對獨特地域傳統文化的了解日漸深入，並對

反射了其所處時代社會中隱藏的痛苦與矛

農民產生了真摯而深厚的感情，由此，將大

盾，卻從未喪失飽滿的情感。1984年，羅中

巴山農民生活形態與人際互動呈獻給更多觀

立被公派至比利時安特衛普皇家美術學院學

眾的想法便深深的根植於藝術家的內心。進

習歐洲古典油畫，在創作技法更加成熟的同

入四川美院學習後的1980年，藝術家創作生

時，漸漸發展出獨具本土民俗特性的繪畫語

涯中里程碑式的寫實鉅作《父親》誕生。這

言。他此階段的創作，在母題上雖仍舊圍繞

件褪去政治圖解的枷鎖，使農民形象回歸純

大巴山農民，具體內容卻由特寫肖像逐漸轉

真樣貌的《父親》是中國藝術史上劃時代的

換至側重鄉村平凡的生活場景。藝術評論家

標桿，更是為藝術家日後創作的提供了風格

費新碑說：「他從一個具有理性認知、關心

與精神內核的雙重導向，此後的羅中立，無

社會問題的人文主義畫家，轉向一個富於感

論繪畫手法與表達形式的變化，以一種苦行

情，關注人生處境的人道主義畫家。」

僧般的態度與堅持，將「大巴山」這個他發 自內心熱愛的主題貫穿他的創作生涯。

《推磨的農婦》(Lot 154) 為羅中立1993年 所作，畫面以粗獷的筆觸與極具表現力色調

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Lot 153

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真實的再現了一個農村婦女勞作中的情景：在「石磨盤」這個中國

證。藝術家摒棄了細緻入微的描繪手段，以黃、棕、紅定義了畫面

千年農耕文明中沿用至今的重要發明前，她一隻手正在將需要脫殼

的情緒基調，加以粗獷的線條勾勒出前景描繪主體，而背景裏的天

的穀物掃進加工口，另一隻手推著控制桿向前轉動，而在她使用這

空，蜿蜒曲折的山野小徑，甚至茅草屋上方盤旋的飛鳥更是將此情

厚重器物辛勤勞作的同時，還身背著一名學齡兒童，如此高密度的

此景下的情感烘托得淋漓盡致。藝術家對於不同情節場景都有獨

體力工作，在彼時科技尚未發達的中國農村，是極其常見的景象。

到的處理，他大膽的表現主義手法在《等待》(Lot 153) 中更為直

畫面中的年輕母親勞作的步伐堅韌而有力，雙眼和背後的孩子一同

觀，畫面中那位頭戴草帽與長巾的女子站在水中，右手輕輕扶起頭

專注於石磨盤之上；這個極其平凡場景中淋漓盡致展現自己質樸生

巾，讓自己的視線能夠更清晰的企及遠方，她的目光所至，似乎是

活方式的小人物，在羅中立充滿人文關懷的刻畫中，散發出最耀眼

河的對岸那片美麗的田野，又或許是與她相同，每日辛勤勞作的丈

的樸實與真摯，是中國勞動人民在艱苦環境下仍保持堅強不屈韌性

夫。藝術家大膽的使用了帶有厚重質感的綠色為主調，將日常生活

的真實寫照。這位年輕母親的身後，藝術家用日常物件構築起了極

的一瞥以極強視覺衝擊力帶入觀者面前，黑色的粗線條勾勒出了畫

典型的中國農村風貌，田地、稻草人，土坯房等元素他們真實而鮮

中女人的形體，並以鮮艷的紅色與藍色聚焦觀者的注意。背景中水

活——在緩緩向前的時間的洪流中靜靜佇立，遙望著樸實的主人公

牛，草堆等鄉村元素的刻畫，雖只寥寥數筆，卻足以充分展現鄉村

以堅定的姿態面對世間的紛雜。在羅中立的畫布上，我們彷彿能體

文化的精髓。

會法國畫家米勒對日常生活的抒情讚頌，同時又富有比利時畫家布 魯蓋爾的那種率真與粗獷的情緒論調。

羅中立是第一位以「赤裸裸的真實」從一而終記錄中國鄉村的藝術

樸實日常的視覺化表現

日，農民也仍舊是中國社會文化構成中不可或缺的中堅力量，藝術

90年代後的羅中立，筆觸日漸大膽粗獷，他的畫面也因而開始從

家以「鄉村與城市的溝通者」的角色將大巴山農民的喜怒哀樂、悲

對鄉村生活的精細勾勒過渡到更加誇張的原始表現主義風格。《推

歡離合呈獻給都市中因忙碌節奏早已忽略掉生活最原始本質的你

磨的農婦》不僅在題材上有別於《父親》時期，前景人物與背景 環境的全新刻畫方式更是其跳脫照相寫實主義邁向風格化的最佳佐

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家，並以此影響了張曉剛、毛旭輝等藝術家的早期創作。時至今

我。他的作品在提供給人們緬懷與回味質樸民情與風土的同時，也 在不斷提醒觀眾回歸初心，重新認識生活。

A Heart Set in the Countryside

Visualising the Unadorned Life

During the Cultural Revolution, Luo Zhongli was considered a "zhiqing", or an "educated youth," and was sent down to the barren Daba Mountains in Sichuan, where he lived for seven years. During that time, he had frequent and close contact with local farmers. He gradually gained a profound understanding of the traditional culture developed in the unique local landscape, and he developed sincere and deep feelings for the farmers. As a result, he longed to present the farmers' lives and interactions in the Daba Mountains to more viewers. After he studied at the Sichuan Fine Art Institute, in 1980, he composed his realist work Father, which set a milestone in his creative career. In this piece free of the yoke of politics, restoring the farmers' image to their pure form, Father is a groundbreaking work in Chinese art history. Moreover, it also served as a multifaceted model for the artist's later works, in terms of both style and spirit. From then on, Luo maintained the attitude and perseverance of a religious ascetic in his painting techniques and forms of expression. The theme of the Daba Mountains that he dearly loved was carried throughout his artistic career.

After the 1990s, Luo's brushstrokes gradually became bold and rough. The pictures he portrayed transitioned from detailed depictions of country life to a more exaggerated, primitive expressionist style. Countrywoman portrays a theme different from that of the Father period, and the depiction of the characters in the foreground and the background environment are also proof of the deviation of his style from photorealism to a more personal approach.

The artist abandoned meticulous depiction, and instead, used yellow, brown, and red to set up a emotional base tone. He used coarse strokes to outline the foreground and the subjects. In the background, the sky, the meandering mountain paths, and the birds circling on the cottage fully expresses the emotions of this setting. The artist tailored different approach in expressing different scenes. His bold expressionist techniques becomes apparent in Waiting (Lot 153). A woman wearing a straw hat and a long scarf was standing in water, her right hand was lifting her headpiece. Her gaze seems to be directed across the river, perhaps upon the beautiful field, or it could be her husband, who, like her, works hard every day. The artist boldly uses a thick-textured green as the dominant colour, which presents a glimpse of this mundane scene to the viewers in an extremely strong and visually impactful manner. The thick black lines depict the shape of the woman in the painting, and bright red and blue are used to seize the viewer's attention. In the background, although elements such as water buffalos and haystacks are executed with only a few brief strokes, they fully express the essence of country culture.

From humanism to humanitarian—an emotional introspection surrounding realism Luo considered the countryside his real homeland. Although his creations are like mirrors that comprehensively and objectively reflect the pain and ambiguities hidden in the society of his time, his works have never lacked emotion. In 1984, Luo was sent to The Royal Academy of Fine Arts, Antwerp, Belgium under government-sponsored scholarship to study classical European oil painting. As his creative skills matured, he gradually developed a painting language that fuses Western technique with Chinese folk culture. Despite a consistent focus upon the farmers in the Daba Mountains, the actual depiction had gradually changed from portraits to the ordinary scenes of daily life in the farming village. As the art critic Fei Xinbei stated, "Luo transformed from a humanistic painter who had rational understanding of and concerns about social problems, to a humanitarian painter who was filled with emotions and cared about the predicaments in life."

Countrywoman (Lot 154) was created in 1993, the picture used rough strokes and expressive colour tones to vividly represent a working countrywoman.

In front of a stone grinding wheel, a critical invention in China's thousandyear farming culture, she uses one hand to swipe in the grain that needs to be husked, and the other hand pushes the control bar to rotate the wheel forward.

Even as she labours with this heavy device, she carries a school-aged child on her back. This kind of tough working conditions were common in the Chinese remote farming countryside of the time, making the work a highly representative depiction of real-life matters. Within this scene, this young mother is labouring with firm and powerful steps. Both her and the child's eyes are gazing at the stone grinding wheel. In this mundane scene, the commoner's modest way of life is thoroughly presented by Luo. His depiction is full of humanitarian concerns, and shines a spotlight upon their sincerity and honesty. These are authentic depictions of the working class in China, who remain strong and unyielding despite the tough environment. Behind this young mother, the artist uses daily life objects to construct a typical scene in the Chinese countryside. Vivid and realistic elements such as the farmland, scarecrows, and mud brick houses stand still in the steadily flowing stream of time. These mundane objects watch the simple characters from afar, those who stand firm and face the miscellaneous hassles of life. From Luo's paintings, the viewer can sense similar feelings that French painter Jean-Francois Millet delivers in his works , as well as the direct and unrefined emotional discourse of Belgian painter Bruegel Pieter.

Luo was the first artist to record the lifes of farmers in Chinese countryside, and upheld this unaltered depiction throughout his career, and has influenced artists such as Zhang Xiaogang, Mao Xuhui in their early careers. Today, farmers are still an indispensable backbone supporting the structure of Chinese social culture, and the artist has assumed the role of communicator between the country and the city. Luo Zhongli brings the joys and sorrows of farmers in the Daba Mountains to the people in the city, those who have been caught up in the busy, fast-paced urban life and forgotten their true selves. His works provide people sources to recall the sentiments of the simple folk, reminding viewers to return to their origins and become reacquainted with life.

1. 奧斯卡．柯克西卡《自畫像》1917 年作 德國 烏波塔爾 海德博物館藏 Oskar Kokoschka, Self-portrait , 1917, Collection of Von der Heydt-Museum, Wuppertal, Germany 2. 文森特．梵谷《壁爐旁煮飯的農婦》1885年作 美國 紐約 大都會藝術博物 館藏 Vincent van Gogh, Peasant Woman Cooking by a Fireplace , Collection of the Metropolitan Museum of Art, New York, USA 2.

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154 LUO ZHONGLI (C H I N ES E , B . 1 9 4 8) Countrywoman 羅中立 推磨的農婦 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1993 oil on canvas 109 x 109 cm. (43 x 43 in.) signed 'luozhongli'; signed in Chinese (lower right); signed in Chinese; inscribed '110 x 110' (on the reverse)

1993 年作 油彩 畫布 款識：luozhongli羅中立（右下）；《推磨的農婦》110 x 110（畫背） 來源

Provenance

中國嘉德 北京 2006年11月22日 編號64 現藏者購自上述拍賣

China Guardian Beijing, 22 November 2006, Lot 64 Acquired from the above sale by the present owner

展覽

Exhibited

France, Paris, Salon de Printemps, 1993.

Serbia, Belgrade, Museum of Yugoslavia, Luo Zhongli Solo Exhibition, 1993.

Taiwan, Taipei, Shin Kong Gallery, Luo Zhongli Solo Exhibition, 1993.

China, Beijing, National Art Museum of China, Luo Zhongli Solo Exhibition, 1994.

Belgium, Brussels, Royal Museums of Art and History, Luo Zhongli Solo Exhibition, 9 September-8 October 1995.

Literature

Luo Zhongli, Royal Museums of Art and History, Brussels, Belgium, 1996 (illustrated, p. 57).

The Selection of Contemporary Artists' Oil Painting & Sculpture, Zhejiang Fine Arts Publishing House, Hangzhou, China (illustrated, p. 43).

HK$ 3,000,000 - 5,000,000 US$ 384,600 - 641,000

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1993年「巴黎春季沙龍—中國現代藝術展」巴黎 法國 1993年「羅中立個展」南斯拉夫歷史博物館 貝爾格勒 塞爾維亞 1993年「羅中立個展」新光美術館 台北 台灣 1994年「羅中立個展」中國美術館 北京 中國 1995年9月9日-10月8日「羅中立個展」皇家藝術與歷史博物館 布魯塞爾 比利時 出版

《羅中立》皇家藝術與歷史博物館 布魯塞爾 比利時 1996年（圖版， 第57頁） 《當代名家油畫雕塑精選》浙江人民美術出版社 杭州 中國（圖版， 第43頁）

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155 LENG JUN (C H I N ES E , B . 1 9 6 3) Megranate 冷軍 石榴 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 2003 oil on canvas 35 x 30 cm. (13 3/4 x 11 3/4 in.) signed in Chinese; dated '03.9' (lower right)

2003 年作 油彩 畫布 款識：冷軍03.9（右下）

Provenance

泓盛 上海 2006年12月20日 編號 97 現藏者購自上述拍賣

Hosane Shanghai, 20 December 2006, Lot 97 Acquired from the above sale by the present owner

HK$ 700,000 - 1,000,000 US$ 89,700 - 128,200

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來源

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冷 軍

LENG JUN

石榴

Leng Jun is one of the most outstanding contemporary artists of hyperrealism.

Through extremely fine and meticulous oil painting techniques, he depicts various details that even a camera cannot fully capture. Viewers seem to be able to experience the sensations and feelings of the artist directly through the painting, and form varying perceptions with each and every encounter.

Lot 155

冷軍是當代最為傑出的超寫實主義藝術家之一，透過極其細膩的油 畫技巧，刻畫出相機也無法完整紀錄的種種細節，觀者彷彿能透過 畫面，直接感受到冷軍所觀與所感，對於每一次的觀看產生不同的 感受。 《石榴》(Lot 155) 呈現冷軍典型的靜物構圖，在生鏽的鐵盒角落 裡放著兩顆石榴，藝術家在精細刻畫的前景後，僅以黑色作為背景 和諧地襯托出畫面重點。細膩的筆觸栩栩如生的呈現兩顆橘色石榴 的紋路色澤以及鏽蝕鐵盒的細節，忠實地突顯相異材質的衝突與並 存。作品畫面與布局有別於傳統寫實作品的元素，冷軍從選定主題 起始即是創作發想，如其所說的 「我不喜歡按照一般的靜物那樣 擺」可見一斑。鏽蝕鐵盒象徵工業化的發展，石榴作為果實表達了 生命的概念，這樣的對比或許暗示著人類文明與科技雖持續進步， 但終將有所耗損與發展極限，盒中的石榴卻依然豐潤鮮活，仿若意

Megranate (Lot 155) is a classic still life painting by Leng Jun, the two Megranate lying in the corner of a rusted metal box is painted with precise detail in the foreground, and accentuated by the monochrome black background in a harmonious manner. Intricate brushstrokes bring to life the patterns on skin of the two orange pomegranates, and the materiality of the rusted metal box. The two textures, although contrasting, are portrayed realistically in coexistence.

The composition of the work differentiates from traditional paintings of still life, and Leng's creativity can be seen from his choice of subject matter. As he states, "I dislike positioning objects in the ordinary manner". The rusty metal box symbolises industrialisation, and the pomegranate was a suggestion of life. With such combination, the artist is telling the audience that even though culture and technology may continue to develop, but people will inevitably face limitations as a result of exhaustion of resources. The pomegranates in the box remain vibrant and lively, suggesting that life will always persist to produce the fruit of our efforts. This depiction reveals Leng's attention and interest in the contemporary conditions of our society, and an understanding of reality that has been projected on canvas.

Leng Jun adopts a hyper-realistic style in composing Megranate to encourage thought upon the properties of object, and a reflection of post-industralised society. Within the composition, Leng not only portrays the appearance of objects, but also consist of a deep understanding of the visual phenomena. The viewer may unleash their imagination far beyond the limitations of realism.

指生命的不屈不撓而終究碩果累累，這是他對現代人生存狀態的關 注，也是藝術家對真實的理解和表現，並透過畫布實踐。 冷軍以超寫實的手法建構《石榴》的畫面，藉此引導出對物體性質 對比的思辨，並表達對後工業時代的一種反思。在纖毫畢現的構圖 中，不僅是客觀呈現事物的外在樣貌，更蘊含冷軍對於物象的深刻 理解，令觀者展開無限的想像，而遠遠超越了寫實的極限。

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雅各．梵瓦斯卡培《靜物及水果》1675年作 美國 華盛頓 國家美術館藏 Jacob van Walscapelle, Still Life with Fruit , 1675, Collection of the National Gallery of Art, Washington D.C., USA

H S I A YA N

夏 陽 都市之鳥

Lot 156

「我們在藝術上，必須要先看整個的情況，才能捉住那個時代的實 在，而藝術正是不斷地在追求這個實在。」 ─夏陽 夏陽是東方畫會的領軍人物之一，跟隨李仲生習畫，提倡現代繪畫 並身體力行之典範。「人」一直是夏陽藝術脈絡的主角，巴黎時期 的「毛毛人」轉換成旅居紐約發展出的「飄飄人」系列，作品映現 出藝術家在不同階段漂泊不定的宿命。1970年代初期受到紐約照相 寫實的影響，大部分藝術家畫出紐約繁華的街景，夏陽則以觀察者 視角，如同按下相機的慢速快門，記錄下人群的動態樣貌。將「毛 毛人」的概念連接照相寫實主義進行變化，醞釀出他獨樹一幟的巔 峰之作，「飄飄人」系列就此誕生。 《都市之鳥，之八》(Lot 156) 屬夏陽旅居紐約時期發展之系列。夏 陽堅信：「我們要發展中國自己的繪畫系統，尤其要使民族的況味 寄寓其中」。在他細膩描繪的環境背景下，運用中國藝術特有的線 條營造動勢，勾勒正在行動的鴿子樣貌。夏陽試圖在平面空間帶入 流動性，甚而成功捕捉時間流逝的美感，鴿子飄倏地穿過寫實的紐 約街景，動靜之間，就此形成畫面張力。冷酷的畫面色調，如同在 高度發展的社會，必然存在的共同感；鴿子猶如藝術家本人，身處 在一個陌生的都市裡，不安和焦躁真實反映在畫面中，這也真切顯 示藝術家生活遇到的磨練，造就了他的藝術成就。 夏陽不斷創新與自我突破，保留中國藝術的內涵，廣納西方各種藝 術表現手法，乃至超越個人及族群。獨創的慢速快門手法，在《都 市之鳥，之八》的每一細節都達到精細入微，抱持著創作的初衷： 「繪畫及即人生，人生即繪畫的最單純願望」，一生體悟化為筆下 的真情，蔓延於每件作品間。 格哈德．里希特《米蘭大教堂廣場》1968年作 Gerhard Richter, Cathedral Square, Milan , 1968

"In art creation, the whole picture must be grasped before we can capture the reality of a particular era. And art creation is about the constant pursuit of that reality."

- Hsia Yan Hsia Yan studied art with Lee Chun-Shan and is one of the leading figures in the Eastern Art Group (Tung Fang Hua Hui). His work reflects modern techniques and is an advocate of the modern painting style. 'People' has always been the major subject of Hsia Yang's artistic creations. The Fuzzy Figures created when he was in Paris has been transformed into a series of Floating Figures developed in New York. The works reflect the inescapable destiny of the artist drifting back and forth, from place to place at different stages. In the early 1970s, influenced by the Photorealism movement prevalent in New York, most artists painted the bustling and prosperous streetscape. However, Hsia Yan chose to record the dynamics of the crowd from an observer's perspective, and created works that mimicked a photograph taken with slow shutter speed. His integration of the 'Fuzzy Figures' concept with the photorealistic techniques, gave birth to his unique creation of the Floating Figures series.

City Bird #8 (Lot 156) is a piece created by Hsia Yan when he was in New York. Hsia Yan firmly believes: "We want to establish China's own painting system, especially for it to be representative and embedded within the spirit of the nation". With the backdrop of his delicately depicted scenery, the adoption of the characteristic strokes of Chinese art creates a sense of momentum and movement upon the pigeons. Hsia tried to bring liquidity into surfaces, and even succeeded in capturing the beauty of the passage of time. The pigeons fluttered through the realistically depicted New York street scene. The sharp contrast between the static background and the movements of the pigeon create tension in the picture. The cold tone of the picture indicating the highly developed society is deemed to stimulate resonance in the viewers. The pigeons are like the artist himself, wandering in a strange city. A sense of restlessness and anxiety are reflected in the painting, indicating the challenges and torment the artist faced in real life, which became an inspiration for his artistic creations and spurred his achievement.

Hsia Yan continues to exceed his own achievements through innovation.

He retains the connotation of Chinese art while absorbing various Western artistic expressions and techniques. His artistic style surpasses the concept of individuals, and even of a certain ethnic group. The unique and original slowshutter method expressed every detail of City Bird #8 with subtlety and intricacy.

He adheres to the original intention of the creation: "Painting is about life and life is about painting". With this simple desire in his heart, he infused his lifetime experiences into the brush in hand, and expressed his true enthusiasm and humor in every one of his artworks.

Modern and Contemporary Art

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156 HSIA YAN (C H I N ES E , X I A YA N G , B . 1 9 32) City Birds #8 夏陽 都市之鳥，之八

Painted in 1989 oil on canvas 102 x 142.5 cm. (40 1/4 x 56 in.) signed and dated 'YAN HSIA 89' (lower right); signed, titled, dated and inscribed 'Yan Hsia "City Birds #8" 1989 oil on canvas 40" x 56"' (on the reverse)

1989 年作 油彩 畫布 款識：YAN HSIA 89（右下）；Yan Hsia "City Birds #8" 1989 oil on canvas 40" x 56"（畫背）

Provenance

何明福舊藏 亞洲 私人收藏

Former Collection of Ming-Fu Ho Private Collection, Asia Literature

Hsia Yan: Retrospective of Hsia Yan from 1954 to 1994, Taipei Fine Arts Museum, Taipei, Taiwan, 1994 (illustrated, p. 75).

Hsia Yan, Unitas Publishing Co Ltd., Taipei, Taiwan, 2002 (illustrated, unpaginated).

HK$ 550,000 - 850,000 US$ 70,500 - 109,000

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來源

出版

《夏陽：1954-1994：創作四十年回顧展》台北市立美術館 台北 台灣 1994 年（圖版，第75頁） 《夏陽》聯合文學出版社 台北 台灣 2002年（圖版，無頁碼）

Modern and Contemporary Art

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157 YEH TZUCHI (C H I N ES E , Y E Z I Q I , B . 1 9 5 7 ) Fukuyama Tribe - Northern Taiwan 葉子奇 福山部落．北台灣

Painted in 2018-2019 oil over tempera on linen 71.3 x 107 cm. (28 x 42 ¼ in.) signed in Chinese; dated '2018-'19' (lower right)

HK$ 450,000 - 650,000 US$ 57,700 - 83,300

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2018-2019 年作 油彩 蛋彩 亞麻布 款識：子奇 2018-'19（右下）

Modern and Contemporary Art

157

158 LUO ERCHUN (C H I N ES E , LO E RC H U N , 1 9 3 0 -20 1 5 ) A Village Entrance 羅爾純 村口

Painted in 1990 oil on canvas 61 x 73 cm. (24 x 28 3/4 in.) signed in Chinese; dated '90' (lower right); titled and inscribed in Chinese (on the reverse) Provenance

Private Collection, Asia

HK$ 200,000 - 300,000 US$ 25,600 - 38,500 158

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1990 年作 油彩 畫布 款識：爾純 90（右下）；村口 羅爾純畫展（畫背） 來源

亞洲 私人收藏

159 LUO ERCHUN (C H I N ES E , LO E RC H U N , 1 9 3 0 -20 1 5 ) Peaceful Summer 羅爾純 夏日的寧靜

Painted in 1991 oil on canvas 38 x 54 cm. (15 x 21 1/4 in.) signed in Chinese; signed 'LUO LUO ER CHUN' (lower left)

1991 年作 油彩 畫布 款識：爾純LUO LUO ER CHUN（左下）

Provenance

亞洲 私人收藏

來源

Private Collection, Asia

HK$ 100,000 - 200,000 US$ 12,800 - 25,600 Modern and Contemporary Art

159

160

161

LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) Households with Bridge and Boat

LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) The Starting Point of Dunhuang

羅爾純 小船拱橋人家

羅爾純 敦煌的起點

Painted in 1992 oil on canvas 50 x 60.5 cm. (19 3/4 x 23 3/4 in.) signed 'Luo-'; signed in Chinese (lower left)

Painted in 1992 oil on canvas 50 x 60.5 cm. (19 3/4 x 23 3/4 in.) signed 'Luo-'; signed in Chinese (lower left)

Provenance

Provenance

Private Collection, Asia

Private Collection, Asia

1992 年作 油彩 畫布 款識：Luo-爾純（左下）

1992 年作 油彩 畫布 款識：Luo-爾純（左下）

來源

來源

亞洲 私人收藏

亞洲 私人收藏

HK$ 120,000 - 200,000

HK$ 120,000 - 200,000

US$ 15,400 - 25,600

US$ 15,400 - 25,600

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LUO ERCHUN

羅爾純 至純盡美 「羅爾純的作品都從不被動地描摹對象，他總 是訴諸於主觀性的表達，以色彩之『眼』捕 捉生命之『魂』，在大刀闊斧中畫出『我』 對形象的感受。在這個意義上，他的藝術接 近於表現主義，充滿了創造的激情，充滿了 繪畫性的美感。使我們面對他的作品時，能 夠充分領略筆觸、色彩、線條這些繪畫因素 以及飽滿的形象所給予我們的喜悅。」

—賈方舟

1984年羅爾純與詹建俊在畫室合影，背景為《望》(Lot 162) Luo Erchun and Zhan Jianjun in their studio in 1984 with Visiting (Lot 162) as background

羅爾純的繪畫具有濃厚的自我情感抒發，以真實的生活體驗為題，

非常讚賞，他認為您的作品自成一體，有獨特的風格，在美國一定

注入主觀的情緒，他汲取西方現代藝術中色彩精髓，著重展現光色

會很受歡迎…」並且希望爾後羅爾純能夠定期於美國舉辦個展，加

表現，運用強烈色彩與自由的筆觸，對物象的色彩與型態進行誇飾

強兩國之間文化交流。《望》早在當時獲得了國際畫廊的關注，認

與變異，體現生命激情，於中國藝術史上熔煉出獨特且濃烈的個人

為足以作為中國當代藝術的代表，源於作品有別於羅爾純過去專注

風采，如同蘇立文在《二十世紀的中國畫和藝術家》中評論：「羅

單一人物神情捕捉，而是著重於以中國傳統農村生活為題，描寫人

爾純教授的油畫一掃中國油畫畫壇幾十年的沉悶空氣，以他明亮的

際關係的生存狀態，罕見的群體人物構圖，展現當時農村真實生活

色彩很自然的『變形手法』創造出『極鮮明的個人風格』。」羅爾

與人與人之間互動的情感，作品充分體現農村時代，富有強烈中國

純以嶄新的藝術觀點，親身實踐，打破封閉式的傳統規則，反叛傳

濃厚民族精神和文化特色。

統的表現主義風格，成功開創出自由且獨特的創作語彙。

《望》以不同色調的紅色塊交織突顯遠近的次序關係，運用色彩的

故鄉湖南的紅土丘陵提供羅爾純豐沛的創作靈感，他強調審美主體

結構來替代明暗變化，表現空間的延伸性。他自己曾說：「我喜歡

的情感與直覺領悟，以鮮明的色彩及敏銳且大膽的用色表現能力，

從它們的縱向造型和紅土丘陵的橫向起伏線條中去找尋形式和情

成為八十年代鄉土畫派的重要代表。賈方舟說；「能夠標示這一風

感的交匯點。」畫面中山巒橫向的起伏走勢，呼應著直式構圖的鋪

格的最早作品是以他的家鄉（湖南湘鄉）為主題的紅土，兒時常常

成，從前景佇立的群聚居民們，至中景簡約的屋舍，最遠處呼應著

玩耍的紅土地既是揮之不去的視覺記憶，也為他個人化的色彩傾向

遼闊的天際，垂直的結構與橫向的山巒線交匯，展現趣味和生機，

找到了源頭。」《望》(Lot 162)、《夏日的寧靜》(Lot 159)、《小船

使畫面富有節奏感，在形式元素的變化中跌宕有致。

拱橋人家》(Lot 160) 隨心所欲賦予風景主觀的用色，體現藝術家從 記憶中提煉的情境，羅爾純以極大自由度的色彩調配，一以貫之延 續對鄉土主題的關注，畫面充滿鄉土氣息包含深刻的人文關懷，紀 錄從中國農業社會過渡至工業文明的歷史關鍵時刻，為初始萌芽的

陶咏白曾於《生命激情的變奏—羅爾純與其藝術》中提及：「畫中的 屋，也是七歪八斜，在稚拙的趣味中滲透著生活的質樸與淳厚。」羅 爾純不單在用色有獨到見解，對物體的線條造型也有獨特的處理，一

鄉土藝術思潮，在色彩掌握的運用上推進至一個嶄新的維度。

方面承襲印象派藝術家，因為光線的介入，使空氣顫動與色彩閃爍，

罕見的早期鉅作《望》創作於1984年，同年即入選「第六屆全國美

年學習傳統書畫的經驗，使他畫面充盈寫意的成分，在以神寫形的發

展」，作品受到觀眾熱烈迴響，羅爾純於1998年自述《我的50年繪

展下逐漸刻意放大物體的本質特性，進而演化成的「變形手法」。

畫生活》提到此作，被《美術》和天津《畫廊》予以發表介紹，收

《村口》(Lot 158) 與《敦煌的起點》(Lot 161) 刻意扭曲的屋舍與樹木

錄《中國油畫》畫冊中，而美國知名赫夫納畫廊經營者也因此作認

線條，超越傳統美學中對「寧方勿圓」對於直線塑形的要求，直達心

識羅爾純，1987年不單邀請《望》與《鳳凰古城》於美國紐約「中

靈的語言狀態，生動傳遞具有生命感的瞬間。

造成物象動態的視覺效果，因此發展出顫動線條，而另一方面由於早

國當代油畫展」展出，甚至通過秘書來信「赫夫納先生對您的作品

Modern and Contemporary Art

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羅爾純

LUO ERCHUN

RAVISHING PURITY

"The works by Luo Erchun never passively portray a subject. Instead, he always resorts to subjective expressions that capture the 'soul' of life through the 'eye' of colour.

Boldly, he paints his feelings towards the image of 'self'. In this sense, his art lies close to expressionism, filled with creative passion and the beauty of painting. When viewing his works, we can fully appreciate the joy that he gains through the elements that construct a picture, such as brushwork, colours, and lines, as well as the painting as a whole."

- Jia Fangzhou With the expression of personal emotions, the paintings by Luo Erchun reflect his real life experiences. Injected with subjective emotions, he draws upon the essence of the use of colours in Western modern art, while emphasising the expression of light using strong contrast and free-hand brushstrokes.

Exaggerating and manipulating the colour and shape of objects, he was expressing his passion for life, while forging a unique and strong personal style amidst the history of Chinese art. As Michael Sullivan noted in Art and Artists of Twentieth-Century China: "Professor Luo Erchun's works have swept away the relatively doom air of Chinese oil paintings over the last few decades, and created a 'very distinctive personal style' through his 'deformation technique'".

With a novel artistic perspective and personal stylistic execution, he breaks apart traditional rules, rebelling against the style of traditional Expressionism and successfully creating a free yet unique creative vocabulary.

The red-clay hills in Hunan Province is a source of creative inspiration for Luo Erchun. Using vivid colours through a sharp and bold brushstroke, he emphasised the emotional and intuitive comprehension of aesthetic subjects, and became an important figure of the native painting movement in the 1980s.

Jia Fangzhou said, "The Red Clay of his hometown (Xiangxiang, Hunan) play as an important element that inspire Luo's early creations,. The Red-Clay ground where he often played within since his childhood serves as both a lingering visual memory for him, as well as the reason behind his inclination towards particular

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Lot 162

colours." For Visiting (Lot 162), Peaceful Summer (Lot 159), and Households with Bridge and Boat (Lot 160), the artist painted freehand with a subjective choice of colours, signaling a recollection from the his memory. With a great level of liberty in matching colours, Luo Erchun continues to focus on native themes.

Filled with the humanistic local culture, his images record the key moment during which Chinese agricultural society transitioned to an overly industrialized civilisation. Serving as the roots for native art, the trend has advanced to a new dimension through his masterful use of colour.

The rarely-seen early masterpiece Visiting was created in 1984. And at the year it was finished, the painting has been nominated for "The 6th China National Exhibition of Fine Arts", where it received lots of praise from the academic and the general public. Luo Erchun mentioned this work in his autobiography, My Life of Painting over the 50 Years, in 1998, It was also introduced by Art and Gallery (Tianjin), as well as included in the Chinese Oil Painting catalogue.

The renowned Hefner gallery in America also came across the works of Luo Erchun by this painting. In 1987, Luo was not only invited to exhibit Visiting and Fenghuang County at the "Contemporary Chinese Oil Paintings" exhibition in New York, but also received a letter from the secretary stating that, "Mr. Hefner is very appreciative of your work. He believes that your work is selfcontained and features a unique, recognisable style. It will definitely become popular in the United States..." Furthermore, he hoped that Luo Erchun could

1.

2.

regularly hold solo exhibitions in the United States to help in facilitating the culture exchange between the two countries. At the time, Visiting received growing attention from international galleries, and was regarded as the characteristic representation of Chinese contemporary art. This stemmed from the fact that Luo Erchun no longer focused on capturing a single expression as he did in the past, but instead, focused on depicting traditional life in the countryside of China, as well as interpersonal relationships and rarely seen social group compositions. These presented the sentiments of life and the interaction between people in rural areas at the time. As a wholesome reflection of the rural era, the work embodies the national spirit and cultural characteristics of China.

1. 文森．梵古《深谷》1889年作 美國 波士頓 波士頓美術館藏 Vincent van Gogh, Ravine , 1889, Collection of Museum of Fine Arts Boston, Boston, USA 2. 埃貢．席勒《田野風景（克羅伊茨貝格近克 魯姆洛夫）》1910年作 阿爾貝蒂娜博物館 維 也納 奧地利 Egon Schiele, Field landscape (Kreuzberg near Krumau) , 1910, Collection of The Albertina Museum, Vienna, Austria

Visiting utilises a mixture of different shades of red colour blocks to highlight the sense of order between near and far, while replacing changes in light and dark with compositions of colour to convey an extension of space. Luo once said, "I enjoy seeking the intersection and interrelation between form and emotion among the vertical and horizontal shapes together with the undulating lines of the red clay hills." The rising and falling horizontal lines of the mountains in his picture reflect the layout of such composition.

From the group of residents standing in the foreground to the minimalistic houses in the middle of the scene, the furthest distance reflects

the horizon of the vast sky. The vertical structure and horizontal mountain ranges intersect, presenting a sense of energy and vitality that provides a rhythm pulse to the picture along with changes in its formal elements.

Tao Yongbai once mentioned in The Variation of Life Passion-Luo Erchun and His Art: "The houses in the painting are twisted and messy. Amidst a juvenile sense of fun, there also permeates the simplicity and honesty of life." Luo Erchun not only provides unique insights into the use of colour, but also executes a special treatment of the lines and shapes of the object. On one hand, he is an artist who has learned from Impressionism-creating a dynamic visual effect that display the vibrating air and the flickering colour caused by light, on the other hand, his techniques learnt through the study of traditional Chinese painting and calligraphy has filled his canvas with Chinese concept of Xieyi (expression of the spirit), he had deliberately magnifies the essential characteristics of the object under the development of a "divine format", evolving into the "deformation technique". A Village Entrance (Lot 158) and The Starting Point of Dunhuang (Lot 161) deliberately twists the houses and trees, transcending the requirements of using straight lines in the traditional aesthetics of "Ning Fang Wu Yuan (using a straight line to shape forms and draw edges and corners)", achieving a spiritual vocabulary, and vibrantly conveying a fleeting moment of liveliness.

Modern and Contemporary Art

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162 LUO ERCHUN (C H I N ES E , LO E RC H U N , 1 9 3 0 -20 1 5 ) Visiting 羅爾純 望 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1984 oil on canvas 191 x 180 cm. (75 1/4 x 70 3/4 in.) inscribed, signed and titled in Chinese; inscribed '5/8' (on the stretcher)

1984 年作 油彩 畫布 款識：北京 羅爾純《望》中央美院 5/8 羅爾純（畫背內框）

Provenance

美國 紐約 赫夫納畫廊 蘇富比 紐約 2007 年 9 月 20 日 編號 94 現藏者購自上述拍賣

Hefner Galleries, New York, USA Sotheby's New York, 20 September 2007, Lot 94 Acquired from the above sale by the present owner Exhibited

China, China's 6th Fine Arts Exhibition, 1984.

USA, New York, The Harkness House, Contemporary Oil Paintings from the People's Republic of China, 1-23 April, 1987.

Literature

Art, Issue 202, People's Fine Arts Publishing House, Beijing, China, 1984 (illustrated, p. 37).

A Study of Third-Generation Chinese Oil Painters, Luo Erchun, Guangxi Arts Publishing House Co. Ltd., Nanning, China, 2001 (illustrated, p. 26).

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700

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來源

展覽

1984年「第六屆全國美展」 中國 1987年4月1-23日「中國當代油畫展」哈克尼斯藝術大廈 紐約 美國 出版

《美術》第202期 人民美術出版社 北京 中國 1984年（圖版，第37頁） 《中國第三代油畫家研究．羅爾純》廣西美術出版社 南寧 中國 2001年 （圖版，第 26 頁）

Modern and Contemporary Art

165

163 YAN PING (C H I N ES E , B . 1 9 5 6) We Dance Again No. 1 閆平 我們再舞之一

Painted in 1994 oil on canvas 140 x 120.5 cm. (55 x 47 1/2 in.) signed and dated 'YP. 1994' (lower left)

1994 年作 油彩 畫布 款識：YP. 1994（左下）

Provenance

亞洲 私人收藏

Private Collection, Asia Literature

Yan Ping, People's Fine Arts Publishing House, Beijing, China, 2006 (illustrated, pp. 14-15).

Chinese Oil Painting Master．Yan Ping, Hubei Fine Arts Publishing House, Wuhan, China, 2007 (illustrated, p. 9).

HK$ 280,000 - 380,000 US$ 35,900 - 48,700 166

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來源

出版

《閆平》人民美術出版社 北京 中國 2006年（圖版，第14-15頁） 《中國油畫名家．閆平》湖北美術出版社 武漢 中國 2007年（圖版，第9頁）

164 SANYU (C H I N ES E , C H A N G Y U , 1 8 9 5 -1 9 6 6) Kiki on the Chair 常玉 坐在椅子上的琪琪

ink on paper 36.3 x 26 cm. (14 1/4 x 10 1/4 in.)

水墨 紙本

Provenance

美國 私人收藏

來源

Private Collection, USA 附衣淑凡開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Rita Wong. 此作將收錄於由衣淑凡正籌備編纂的《常玉素描與水彩作品編年集》 This work will be included in the artist's forthcoming catalogue raisonné of Sanyu's drawings and watercolours prepared by Rita Wong.

HK$ 180,000 - 260,000 US$ 23,100 - 33,300

Modern and Contemporary Art

167

165 SANYU (C H I N ES E , C H A N G Y U , 1 8 9 5 -1 9 6 6) Sitting Woman 常玉 坐姿女子

ink on paper 27 x 20.5 cm. (10 1/2 x 7 3/4 in.)

水墨 紙本

Provenance

尚．克勞德．希耶戴舊藏 美國 私人收藏

Former Collection of Jean-Claude Riedel Private Collection, USA

來源

附衣淑凡開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Rita Wong. 此作將收錄於由衣淑凡正籌備編纂的《常玉素描與水彩作品編年集》 This work will be included in the artist's forthcoming catalogue raisonné of Sanyu's drawings and watercolours prepared by Rita Wong.

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 168

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166 SANYU (C H I N ES E , C H A N G Y U , 1 8 9 5 -1 9 6 6) Nude 常玉 裸女

ink on paper 42.5 x 25.5 cm. (16 1/2 x 9 3/4 in.)

水墨 紙本

Provenance

尚．克勞德．希耶戴舊藏 美國 私人收藏

Former Collection of Jean-Claude Riedel Private Collection, USA Literature

Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (USB flash drive, illustrated, plate D0344).

來源

出版

《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年（隨身 碟方式附錄，圖版，第 D0344 圖）

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 Modern and Contemporary Art

169

167 SANYU (C H I N ES E , C H A N G Y U , 1 8 9 5 -1 9 6 6) Fish Urn with Flowers 常玉 魚紋罐花

Painted in the 1920-1930s ink and watercolour on paper 27.5 x 22.5 cm. (10 3/4 x 8 3/4 in.) signed in Chinese; signed 'SANYU' (lower right)

1920-1930 年代作 水墨 水彩 紙本 款識：玉 SANYU（右下）

Provenance

蘇富比 台北 1997年4月13日 編號15 現藏者購自上述拍賣

Sotheby's Taipei, 13 April 1997, Lot 15 Acquired from the above sale by the present owner Literature

Sanyu: Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (illustrated, plate W179, p. 257).

HK$ 600,000 - 800,000 US$ 76,900 - 102,600

二十世紀初期巴黎的蒙帕納斯咖啡店和大茅屋學院為藝術家薈萃之 地，常玉1920年代初期即投身於此，感染旺盛的創作氣息。龎薰琹 在〈格朗特歇米歐爾 [大茅屋學院音譯]〉一文曾回憶當時的經歷： 「在蒙巴爾拿斯的兩年活動，所學到的東西，是在任何學校中學不 到的。……病後我往往和常玉同來，他是用毛筆畫速寫，很多人認 識他，他一來很多人圍著他，坐在他周圍，模特兒的動作好，他畫 模特兒。他往往畫他周圍的人，他專畫全身女像，最多也只用十分 鐘左右。最有趣的是他把周圍的人，不管是男的女的，年輕的或中 年人都畫成是女的裸體，沒有人提抗議，相反受到極大歡迎。」 《坐在椅子上的琪琪》(Lot 164) 、《坐姿女子》(Lot 165) 和《裸 女》(Lot 166) 可見常玉對於輪廓形體的簡約，將線條的功能發揮到 極致，一切表達直接訴諸於書法的流暢性，回歸了中國傳統最為基 礎的線條語言。 據目前現有的出版文獻顯示，常玉的靜物水彩作品僅有不到二十 件，《魚紋罐花》(Lot 167) 不僅在主題上極為珍貴罕見，畫面中 的魚藻罐更是極為難得在其作品中出現的中國瓷器。畫面中的黃色 菊花經過簡化呈現了平面化的特徵，常玉以白描線條勾勒與填彩， 充滿了古典質樸的意趣，同時作為常玉油畫創作中最常出現的題 材，在傳統中具有深刻的文人象徵與代表意義，與罐中的魚藻紋樣 相映成趣。然而不同於菊花的孤高，「魚藻」一詞起源於《詩經》 中的《小雅．魚藻》：「魚在在藻，有頒其首。王在在鎬，豈樂飲 酒。」，自宋代開始作為具有吉祥寓意的紋樣，而後衍生出「桃花 流水鱖魚肥」、「鯉魚躍龍門」等意涵。《魚紋罐花》因此在簡單 的靜物組構中，不僅可見常玉早期創作中對於物象的歸納，其中對 於自然的隱喻和人文傳統意象的挪用，更成為貫穿他往後創作的中 心思想。

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來源

出版

《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年 （圖版，第W179 圖，第257頁）

In the early twentieth century, the cafes of Montparnasse and the Académie de la Grande Chaumière in Paris were clustered with artists. Sanyu was a frequent visitor to these two places in the early 1920s and devoted himself to the exuberant artistic atmosphere. In his essay titled "Atelier de la Grande Chaumière," Pang Xunqin recalled his experience by then: "the two years at Montparnasse were remarkable since I've learned things that were not taught at school…Recovered from the illness, I often went there together with Sanyu.

He sketched with a Chinese ink brush. Popular among the local, he was always surrounded by crowds watching his creation when he came in. He depicted the model when the posture of the model was right. He preferred to take people around him as the subject and whole body female figure was his strong suit, which took no more than ten minutes for him to finish. The most interesting thing was that he painted the people around him, whether male or female, young or middle-aged, into naked women, which was protested by none and greatly appreciated on the contrary." The simplicity in Sanyu's depictions on outline and form was delicately expressed in works like Kiki on the Chair (Lot 164), Sitting Woman (Lot 165) and Nude (Lot 166). In these works, the function of line was brought to the utmost while all expressions directly appeal to the fluidity of Chinese calligraphy, returning to the most basic language of lines in Chinese traditions.

According to the latest literatures, there are fewer than 20 pieces of watercolour works on "still life" by Sanyu. Fish Urn with Flowers (Lot 167) is not only rare and valuable in terms of the theme, but also in its depicted subject since Chinese porcelain seldom appeared in Sanyu's repertoire, thus making the fish algae urn extremely precious. The yellow chrysanthemum in the picture has been simplified to present a flattened quality. Sanyu outlines the contour and fills the colours in between, giving the painting a taste of classic and simplicity. At the same time, as the most frequently seen subject in the creation of Sanyu's oil paintings, the yellow chrysanthemum has profound and representative meanings in traditional literati works and is presented in harmony with the pattern of the fish algae on the urn. However, unlike the solitary and arrogance of chrysanthemum, the word "fish algae" originated from Psalms Minor: Fish Algae in the Book of Songs, the poem reads: "The fishes are there, there among the pondweed, showing their large heads. The king is here, here in Hao, at ease and happy, while he drinks." Since Song dynasty, it has been used as a symbol with auspicious meaning, and later derived connotations such as "Peach blossom drifting with flowing water that hidden fat mandarin fishes" and "a fish leaping over the dragon gate". Therefore, in the simple still life structure presented in the Fish Urn with Flowers, not only can we see the generalization of the object in Sanyu's early creation, but also the embodiment of natural metaphor and the employment of traditional humanistic image, which has become the centripetal idea throughout his later creation.

Modern and Contemporary Art

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168 LÉONARD TSUGUHARU FOUJITA ( JA PA N ES E- F R E N C H , 1 8 8 6 -1 9 6 8) Portrait of Keiko Kishi 藤田嗣治 岸惠子肖像畫

Painted circa 1960 pen on paper 24 x 18 cm. (9 1/2 x 7 in.) signed and inscribed 'Foujita Pour Dominique Cannes' (lower right); inscribed, signed and dated 'KeiKo Kishi epouse du Metteur en scence Yves CiAMPi Foujita Festival du Cannes 1960' (on the reverse) Provenance

Former Collection of The Family of Dominique Vernay Private Collection, France 約 1960 年作 鋼筆 紙本 款識：Foujita Pour Dominique Cannes（右下）；KeiKo Kishi epouse du Metteur en scence Yves CiAMPi Foujita Festival du Cannes 1960（畫背） 來源

多米尼．維克內家屬舊藏 法國 私人收藏

HK$ 30,000 - 50,000 US$ 3,800 - 6,400 172

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左：多米尼．維克內；右：岸惠子（畫中女子） Left: Dominique Vernay; Right: Keiko Kishi (model of the work)

藤 田 嗣 治

LÉONARD TSUGUHARU FOUJITA

藤田嗣治作為二十世紀初「巴黎畫派」中最

對空間進行過多的細節描繪，而是利用不同

特別的藝術家之一，他別具一格的創作手

層次的白色和灰色打造出一個如夢似幻的場

法、細膩的線條、浪漫的色彩以及作品中獨

景。將畫中女子置於這樣一個空間，使畫面

特的東方審美使其成功進入巴黎藝術圈的核

的主體顯得更為突出。畫中女子慵懶的臥在

心，並成為在當時最具成就的亞洲藝術家。

鬆軟的枕頭上，佔據著畫布的大部分，立體

藤田嗣治的裸女肖像畫自1920年代出現後，

而鮮明，構圖上極大的借鑒了西方古典肖像

成為藤田筆下最為常見的題材之一，畫中裸

畫的創作。藤田受傳統日本畫使用礦物顏料

女聖潔、空靈，眼神時常溫柔中透著一絲神

的啟發，會先在畫面上以白色滑石粉鋪底，

秘，藝術家常常融合西方古典女神的姿態，

再調以他獨特的「藤田白」，形成不同的透

卻從氣質上透露出濃厚的東方韻味。

明度和明暗創造出更多層次的白色，不僅加 強了畫面的縱深感，如此繪就的背景與充滿

1922年的法國春季沙龍，藤田嗣治創作的 《裸臥的琪琪》驚艷了整個巴黎，他筆下的 當時被稱作「蒙帕納斯的女王」的琪琪，以 「肌膚若冰雪，綽約若處子」的姿態出現在 畫中，至此藤田嗣治以「藤田白」在巴黎藝 術圈聲名大噪。縱觀藤田的創作，他在1920 年代尤其喜愛描繪裸女，並且專注於描繪人 藤田嗣治《裸卧的琪琪》1922 年作 法國 巴黎 巴黎現代藝術博物館藏 Léonard Tsuguharu Foujita, Nu couché à la toile de Jouy , 1922, Collection of Musée d'art Moderne, Paris, France

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體的肌理和質感，創作於1927年的《側躺的 少女》(Lot 169) 就創作於這個時期。畫中裸 女肖像處於極簡的空間之下，藝術家有意不

表現性的人物相互輝映，人物與背景的虛實 呼應已超脫具象與寫實， 同時擺渡觀者於現 實與夢境之間，盡顯畫作的空靈意境。藤田 在裸女肖像這一題材中，為更加凸顯畫中女 子以「象牙般的白色」繪就的乳白色如嬰孩 一般的細膩肌膚，因此藤田對於空間細節的 描寫著墨不多，更注重的是利用不同灰階的 白色打造豐富的層次，使畫面主人公更加的 立體和突出。藤田的線條則來自於他幼時書 法的訓練，且掌握日本傳統畫師做人物畫時

1.

2.

對人像的精準描繪。他透過蜿蜒靈動的工筆

著自己在美學上的傳承與突破。同樣來自東

線條勾勒出了女子柔和細膩的身軀，區別於

方的常玉在同一時期的裸女作品也使用極簡

軀體的線條，藤田對於女子頭髮的描繪堪稱

的線條來勾勒人物的輪廓。在這一時期，他

是他東洋工筆技法極致的體現，棕金色的髮

筆下的裸女多以簡潔有力的白描線條勾勒輪

絲纖毫畢現，極為流暢並表現出髮絲如雲般

廓，其飽滿的情緒、書法般流暢灑脫的筆法

輕盈的動態感。藤田吸取西方古典繪畫中的

描繪出女性身軀的千種情緒、萬種風情。也

明暗法與暈塗法，為畫中女子的皮膚暈出細

由此可見練達的線條、簡明的色彩是那一時

膩過渡灰階，打造出柔和細膩的陰影，加強

期兩位東方藝術家在化繁為簡的探索中所做

了人物膚白勝雪的美感，同時使人物輪廓更

出的不同嘗試。藤田嗣治在這一時期的裸女

加靈動立體。畫中女子唇如櫻、眉如黛，眼

人物畫中不僅體現了他對西方藝術題材與技

神清澈，凝望遠方，帶有一絲純真和迷茫。

法的嫻熟掌握，更為日本畫的傳承與突破作

藝術家用至純的色彩、至精的用筆展示了他

出了完美的示範，他巧妙地平衡了東西方的

心目中的完美。

兩種截然不同的審美，並用他特有的東方情

藤田嗣治的畫中，無不體現著東方特有的審

1. 愛杜爾．馬奈《奧林匹亞》1856年作 法國 巴黎 奧賽美術館藏 Edouard Manet, Olympia , 1856, Collection of Musée d'Orsay, Paris, France 2. 皮埃爾．奥古斯特．雷諾阿《裸體習作》 1910年作 私人收藏 Pierre-Auguste Renoir, Study of a Nude Woman , 1910, Private Collection

思征服了巴黎。

美觀，以及對日本傳統繪畫技法的傳承。東

1910年代末期，藤田嗣治在二十世紀初的巴

方自古喜愛肌膚白皙，膚如凝脂的美人，唐

黎嶄露頭角，1917年首次於巴黎歇龍畫廊

代白居易形容楊貴妃是「雪膚花貌」，而日

創辦個展，畢卡索斷言「今後兩三年內，藤

本藝妓更是會以白粉塗面，白是東方對「極

田嗣治將位居於馬蒂斯於畢卡索之間，其作

致美」的解讀。「我們的祖先鈴木春信、喜

品將備受矚目。」在而後直到二戰爆發前的

多川哥麿都曾描繪過婦人的肌膚。我既為日

十年裡，他一躍成為巴黎藝壇最耀眼的「巴

本人，理應踏著先人的足跡，去描繪人的肌

黎的寵兒」，他對白色的巧妙運用被讚譽為

膚。」藤田嗣治對於這種審美觀顯然非常認

「絕妙的乳白色」，其作品也因此廣泛地被

同，他筆下的獨特的象牙般的白皙肌膚不僅

世界頂級美術館收藏，是次上拍的《側躺的

象徵著少女純潔無瑕的形象，同時亦體現藝

裸女》就創作於藤田在巴黎最為耀眼的「黃

術家內心對純真的嚮往。他調和獨特的油彩

金時期」。藤田嗣治獨特的創作風格、聖潔

顏料，創作裸女潔白無暇的肌膚質感，加上

空靈的裸女作品注定與群星閃耀的「巴黎畫

傳統浮世繪纖細的墨線，如此將日本傳統技

派」一樣，是20世紀東西方藝術史上最為精

法與西方古典主義的題材與構圖融合，尋求

彩的一頁。

Modern and Contemporary Art

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藤 田 嗣 治

LÉONARD TSUGUHARU FOUJITA

With innovative techniques, delicate lines, romantic colours, together with the fusioning of Eastern aesthetic, Tsuguharu Foujita has successfully became one of the most outstanding Asian artists among the Paris School of the 20th century.

Since its appearance in the 1920s, the portraiture of naked women became one of Foujita's most recurrent subjects. The female nudes in his paintings look holy, ethereal, their tender eyes often reveal a hint of mystery. The artist frequently incorporated postures and gestures typical of Western classical goddesses, yet conferred his subjects with Oriental charm.

At the Salon d'Automne of 1922, Foujita's painting Nu couché à la toile de Jouy amazed the art scene of Paris. The woman he portrayed, Kiki, was then known as the "Queen of Montparnasse", and in this painting, she looks gracefully virginal, her skin icy and white as snow. From then on, "Foujita's white" came to fame among the art circle of Paris. Looking at his creations, it is clear that, throughout the 1920s, Foujita was particularly fond of depicting naked women, with a focus on how to recreate the texture of human skin. The 1927 work Jeune femme allongée au torse nu (Lot 169) was created during this period. Here, the naked girl is resting in a space with simple structure, where the artist intentionally omitted some details, but instead created a dreamlike scene by using different

1.

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layers of white and grey. Inside such an empty space, the girl's body looks even more prominent: lazily lying on a soft pillow, her body occupies most of the canvas. Three-dimensional and distinctive, this composition is a clear reference to classical western portrait. Inspired by the mineral pigments used in traditional Japanese paintings, Foujita would first lay a layer of white powder on the canvas as a foundation of the whole painting, then mix it with his unique "Foujita's white", which formed different transparencies and shading effects, creating multiple layers of white. This technique not only gives the whole image more depth, but allows the background and the extremely expressive female figure to form a stronger contrast. The emptiness and echoes conveyed by the character and background already transcend both representation and realism, leaving the viewer to wonder between reality and dream, and revealing the concept of intangibility. To make the girl's naked body stand out even more, Foujita painted it in "ivory", making her skin milky white, delicate and smooth as of a baby. Therefore, he did not focus on any spatial details that he sought was rather irrelevant, but paid more attention in using different greyscale whites to create multiple layers at the background, so that the character appears as more solid and prominent. Foujita's technique in drawing lines was advanced during his childhood study of traditional calligraphy, by following the traditional Japanese

painters, he has mastered in depicting human figure in a precise way, and through sinuous and flexible brush lines, he vividly depicted the soft and delicate female body. Unlike in the silhouette, Foujita's depiction of women's hair can be regarded as the superlative embodiment of his Oriental brushwork technique: the golden brown hair looks extremely detailed and smooth, light to the touch as dynamically floating clouds. Foujita adopted the chiaroscuro and sfumato techniques of Western classical painting, creating transitioning tones of grey on the skin of the girl, which forms a soft and delicate shadow that intensifies the beauty of her snow-white skin, making her figure look more solid and dynamic.

The woman in the painting has plump cherry lips and perfectly shaped ink-black eyebrows, her eyes are gazing far away, hinting a glimpse of innocence, as well as confusion. The pure colours and refined brushwork used by the artist show his ideal of perfection.

All of Foujita's paintings reveals the Eastern aesthetics in beauty, and at the same time shows traces inherited from the Japanese traditional painting techniques.

Since ancient times, people from the East have been favouring women with a smooth skin glossy like tone of skin colour. (In ancient China) the Tang poet Bai Juyi described Yang Guifei, Emperor Xuan Zong's favourite lady, as: "the beauty of a flower, her skin was white as snow". In Japan, geishas paint their face with white powder, to show their fascination in white as what they deem as the "ultimate beauty". "Both our predecessors, for example, Suzuki Harunobu and Kitagawa Utamaro, had a fascination in women's skin. As a Japanese myself, I feel like following their footsteps and have some focus on expressing beautiful skin." And it is obvious from his paintings that Foujita had the same fascination, the ivory-white skin he created not only symbolizes the purity of the girl, but also reflects the artist's yearning for innocence. In expressing the white and flawless skin texture of a naked woman, Foujita blended oil paint himself which

were then combined with the traditional ukiyoe style fine ink line, so as to fuse Japanese traditional techniques with Western classical composition, seeking his own aesthetic inheritance and breakthrough. In those years, another artist of the East, Sanyu have also incorporated delicate lines to outline the profile when depicting nude women body. During this period the naked women in his works had mostly been outlined with a concise and powerful technique; his extremely emotional, freehand calligraphy-like brushwork was able to bring out all the charms of the female body. It also can be noticed how, in that era, the concise lines and simple colours are the different attempts of two Eastern artists to turn complexity into simplicity. Foujita's naked women portraits of these years not only embody his mastery of Western subjects and techniques, they also are the perfect demonstration of his inheritance and breakthrough from the Japanese painting techniques. He skillfully balanced the two distinct Western and Eastern aesthetics, seducing Paris with his unique Oriental sentiment.

Foujita made his mark in the early 20th century Paris at the end of the 1910s.

In 1917 he held his first solo exhibition at the Galerie Chelon. Picasso had then declared: "in the next two or three years, Foujita will rank between Matisse and Picasso, and his works will attract lot of attention". Within the 10 years before the outbreak of World War II, he had successfully became one of the most favoured artists in Paris, and his skillful use of the colour white was praised as "the marvelous milky white". His works had been widely collected by world-class art galleries, and the creation of Jeune Femme Allongée au Torse Nu marked the climax of Foujita's dazzling "golden age" in Paris. Foujita's unique creativity, as well as his portraits of the innocent naked women, are destined to become the most exciting chapter in the history of both Eastern and Western 20th century art, shining as bright as the star of the Paris School.

1. 常玉《花毯上的側臥裸女》1930年代作 Sanyu, Nude on Tapestry , 1930s Lot 169

Modern and Contemporary Art

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169 LÉONARD TSUGUHARU FOUJITA ( JA PA N ES E- F R E N C H , 1 8 8 6 -1 9 6 8) Jeune femme allongée au torse nu 藤田嗣治 側躺的少女

Painted in 1927 oil on canvas 50 x 61 cm. (19 3/4 x 24 in.) signed in Japanese; signed and dated 'Foujita 1927' (middle right)

1927 年作 油彩 畫布 款識：嗣治 Foujita 1927（右中）

Provenance

法國 私人收藏 蘇富比 紐約 2016年5月10日 編號250 瑞秀樓收藏

Private Collection, France Sotheby's New York, 10 May 2016, Lot 250 Collection of Ruey Hsiu Lou

來源

此作將收錄於由希薇．布伊森正籌備編纂的《藤田嗣治作品編年集》 This work will be included in the artist's forthcoming catalogue raisonné prepared

by Sylvie Buisson.

HK$ 3,000,000 - 5,000,000 US$ 384,600 - 641,000

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Modern and Contemporary Art

179

吳大羽

吳大羽一生艱苦，因戰亂而動盪不安，但這並未磨滅他的志向。吳

WU DAYU

大羽作為第一代最重要的現代藝術拓荒者之一，他在1922至1927

色韻

年留法，返國後隨即擔任杭州國立藝術院西畫系主任，與林風眠共 事，他視藝術教學為終身職志的宏願，教導出了吳冠中、趙無極、 朱德群等在華人藝術史上舉足輕重的藝術家。他早期的繪畫風格有 塞尚浪漫主義畫風的影子，同樣也受到印象派和立體派的影響。而

「對形體的恭順，無益於掌握形象。美的出

在1960年重回上海美術專科學校教油畫之際，他的畫風產生了較大

現在形象和心象之間。」

為半抽象卻又無比和諧，晚期抒情抽象的風格代表了吳大羽一生堅

的變化，複雜、鮮豔的用色，輕快、充滿動感的筆觸，從具象轉化 持不懈、不屈不撓的生命精神。

─吳大羽

《無題5》(Lot170) 約創作於1980年，原為藝術家家屬舊藏，作品尺 幅精巧，觀其顏色、結構、律動、輕重等因素，皆能充分感受到藝 術家透過繪畫來表達個人哲思，進而追求更高生命真諦的理想。正 所謂「具象者體現現實物象，抽象者掌握物象特徵」，吳大羽寥寥 幾筆便帶出畫面中心上方一隻展翅飛翔的鳥兒，看似簡單的形象， 卻需要長時間沉澱與自省。左右兩側分別以白色、黃色油彩作為突 顯主景結合普魯士藍和墨綠的花鳥基底，對立的純粹色階將主要形 象趨於畫面中心，透過藝術家強悍的筆勢震動，充滿速度感的筆觸 成形，彷彿音樂聲響，節奏感在藝術家被抑鬱的情感中爆發，盡顯 勢象之美。 吳大羽曾論：「…示露到人眼目的，祇能限於隱晦的勢象，這勢象 之美，冰清月潔，含著不具形質的重感，比諸建築的體勢而抽象 之，又像樂曲傳影到眼前，盪漾著無音響的韻致，類乎舞蹈美的留 其姿動於靜止，似佳句而不予其文字，他具有各種藝術門面的彷 彿…」他的繪畫著眼於深層次的思考，《無題5》中隱約乍現的視覺 片段，使得畫面空間帶有時間性，與觀者產生視覺經驗上的互動與 交錯。如他所說：「形的變動，力的變動，達到勢的階段；變動包 括時間、空間。勢隨形象變；事實上形象結構之外，也有勢，時間 不會停留，藝術也不要停留。」吳大羽對「勢象之美」的研究，從 用筆、賦形、彩度、結構到氣韻的建立，他藉由手中的畫筆，一步 步地將「勢」融入於形象中，最終達到心靈的大徹大悟，就像他說 的：「畫需要的是領悟，不是畫筆上的技巧，不要去畫物的外形， 需要的是超脫。」 據吳大羽學生的閔希文所憶：「冠中來信問：『大未來畫廊』寄了 羽師晚年五十六幅彩照來，我們只知羽師生前僅存八幅作品在上海 油雕院，怎能一下出現這麼多？令人既驚喜又疑慮。我託老同學張 功慤去羽師家探問，證實是羽師留下的遺作，外人全然不知。」吳 大羽早期作品多數已不復存在，他在古稀之年卻還能活出生命中最 炙熱的色彩，探索藝術內在的真諦。他充滿熱情與生命力的精神得 以在畫作中存留下來，能如此留下一批珍罕的傳世之作，實為世人 之所幸。吳大羽追求的中西融合之道，在他晚年碩然綻放，媲美野 獸派那熱情奔放的用色可見他對於色彩學研究的造詣，大膽遊走在 對比色之間，卻又能精準的相容協調。視覺上的衝擊，在色彩、線 條、物象、筆觸的律動間誕生出一個個抽象的世界。雖限於狹小的 閣樓而無法繪製大型作品，但他回歸繪畫的本質，同時融會西方抽 象和中國意象於畫布上，咫尺之間卻大氣磅礡、抒情述志，充滿生 命流動之美。就像他所說的：「繪畫即是畫家對自然的感受，亦是

瓊．米歇爾《和弦II》1986年作 英國 倫敦 泰特不列顛美術館藏 Joan Mitchell, Chord II , 1986, Collection of Tate Britain, London, UK

宇宙間一剎那的真實。」這也是吳大羽感動人心的力量所在。

Modern and Contemporary Art

181

吳大羽

WU DAYU

Rhythm of Colour

"Obedience for forms does no good in capturing images.

Beauty appears when physical likeness and mental imageries fuse together."

- Wu Dayu

Wu Dayu have lived a turbulent life, as it was a time of war and chaos, but that have never obliterated his dedication and passion as a pioneering artist, he was one of the most prominent figure among the first generation artists in Modern Chinese Art scene. Wu travelled to France between 1922 and 1927 to study Western painting techniques and returned back to China afterwards. He was then nominated as the director of the Western painting department of China Academy of Art in Hangzhou, working together with other great art masters of the time such as Lin Fengmian. With the ambition in art education as his life-long vocation, many of his students were the most prominent figures in the history of Chinese modern art, including Wu Guanzhong, Zao Wou-Ki, Chu Teh-Chun, among others. Wu Dayu's early works were of a style thats in a vein of Cezanne's Romanticism and was influenced by Impressionism and Cubism. Yet when he returned to teach oil painting at the Shanghai Art Academy in 1960, his painting style has changed drastically. He employed a complex and bright palette, performed a lively and rather dynamic strokes. However, his shift from figurative to the semi-abstract style was perfectly harmonious. Wu's later lyrical abstract style represented his forever persistent and unyielding spirit towards life.

choreographed beauty leaves its gesture still, like refined, yet wordless, phrases.

It seems to reflect facets of various arts…" His painting emphasises profound thinking. The faintly discernible visual fragments in Untitled 5 endow temporality to the pictorial space, creating interactions and intersections with the viewer's visual experience. As Wu once noted, "Changes in form and changes in strength produce the inner energy of the painting; those include changes in time and space. Inner energy follows from the images, but in fact, such energy also exists outside the structure of those images. Time never stops moving, and art should never stop moving either." Wu's investigation on "the beauty of inner energy of forms" ranges from brushstroke, form, Chroma and structure to creating rhythmic vitality. Through the brush in his hand, Wu gradually integrated "inner energy" into images, finally attaining the utmost awareness, attesting to his words, "Painting requires comprehension rather than technique through the

Untitled 5 (Lot 170) was created around the 1980s, petit in size, it belongs to the former collection of the artist's family. In examining its elements including colour, structure, vibration, light and heavy strokes, one can fully grasp the artist's presentation of personal philosophical thinking that lie beneath, before further seeking the ideal of ultimate truth in life. This precisely exemplifies "the figurative embodies actual forms; the abstract captures their characteristics." With just few strokes, Wu Dayu was depictingto convey a bird spreading its wings high up at the centre of the canvas. The seemingly simple image required extended periods of self-reflection and the accumulation of ideas. At the left and the right sides, a backdrop of white and yellow accentuates the bird and flowers in the main scene, which are tinted with Prussian blue and dark green. The opposing colour blocks further draw attention to the centre of the image and its main subject.

The artist's fiercely vibrating brushstrokes form a speedy symphony of strokes.

A sense of rhythm bursts out of the artist's repressed emotions and thoroughly manifests the beauty of forms. Wu Dayu stated, "…what can be presented to the eyes is limited to implicit forms. Such beauty of forms of inner energy is clear as ice and bright as the moon, containing an immaterial heaviness.

Abstract when being compared to energy of architectural masses, it is also like a song delivered before the eyes, setting forth soundless charm and grace. Its 1.

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Lot 170

2.

brush. Rather than drawing the forms of things, what matters is detachment."

1. 瓦西裡．康定斯基《即興創作27（對公園的 愛II）》1912年作 美國 紐約 大都會藝術博物 館藏 Wassily Kandinsky, Improvisation 27 (Garden of Love II) , 1912, Collection of The Metropolitan Museum of Art, New York, USA 2. 威廉．德．庫寧《無題》1976年作 美國 紐 約 大都會藝術博物館藏 Willem de Kooning, Untitled , 1976, Collection of The Metropolitan Museum of Art, New York, USA

Wu Dayu's student Min Xi-wen recalled, "Guanzhong had once wrote to me, saying that Lin & Keng Gallery sent 56 colour photos of Professor Wu's later paintings. To our knowledge that during his lifetime, there were only eight works of him left at the Painting and Sculpture Academy in Shanghai. How come so many works suddenly appeared? This is surprising but also doubtful. I asked old schoolmate Chang Kung-cheuh to check with Professor Wu's family and confirmed the works to be his posthumous pieces.

Nobody knew, except his family." Most of Wu Dayu's early works no longer exist. Yet he managed to live through his late years with the most passionate colours in his seventies, exploring the inner truth of art. His spirit full of passion and vitality thus remained in his paintings. It is indeed fortunate for us to be able to preserve the precious works passed down through generations. The method integrating Chinese and

western elements pursued by Wu came to full bloom in his later years. His passionate and free palette, with a quality never inferior when compared with works

by Fauvism, shows his erudition in chromatics. While audaciously moving among contrasting colours, the artist accurately rendered them in a compatible harmony. The visual impacts of colours, lines, object forms and vibration of strokes gave birth to abstract worlds one after another. Confined by his narrow attic and unable to make large paintings, the artist returned to the essence of painting. At the same time, he integrated western abstraction with Chinese imagery upon the canvas. Within a tiny space lies magnificent momentum, and contains the artist's emotion and ambition, full of the flowing beauty of life. As Wu said, "Painting shows how the painter feels about nature and also, it is a frozen moment of truth within the universe." The vitality of Wu Dayu's paintings ultimately lies in their ability to touch and move one's heart.

Modern and Contemporary Art

183

170 WU DAYU (C H I N ES E , 1 9 03 -1 9 8 8) Untitled 5 吳大羽 無題5

Painted circa 1980 oil on canvas, mounted on paperboard 37 x 26 cm. (14 1/2 x 10 1/4 in.)

約 1980 年作 油彩 畫布 裱於紙板

Provenance

台灣 台北 大未來畫廊 亞洲 私人收藏 蘇富比 香港 2015年10月4日 編號1008 現藏者購自上述拍賣

Lin & Keng Gallery, Taipei, Taiwan Private Collection, Asia Sotheby's Hong Kong, 4 October 2015, Lot 1008 Acquired from the above sale by the present owner

來源

展覽

Exhibited

2007年11月17日-12月30日「吳大羽個展」大未來畫廊 北京 中國

China, Beijing, Lin & Keng Gallery, Wu Dayu Exhibition, 17 November-30 December, 2007.

出版

Literature

Wu Dayu, Lin & Keng Gallery, Taipei, Taiwan, 2006 (illustrated, p. 157).

Works of Representatives of Shanghai Artists in the Century: Wu Dayu, Shanghai Shu Hua Publishing House, Shanghai, China, 2013 (illustrated, p. 77).

Works of Wu Dayu, People's Fine Arts Publishing House, Beijing, China, 2015 (illustrated, p. 52).

HK$ 5,500,000 - 7,500,000 US$ 705,100 - 961,500

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《吳大羽》大未來畫廊 台北 台灣 2006年（圖版，第157頁） 《海派百年代表畫家系列作品集：吳大羽》上海書畫出版社 上海 中國 2013年（圖版，第77頁） 《吳大羽作品集》人民美術出版社 北京 中國 2015年（圖版，第52頁）

Modern and Contemporary Art

185

朱德群

CHU TEH-CHUN

永恆的東方之光

Lot 171

學貫中西 融會貫通 縱觀朱德群的創作歷程，杭州藝專的學藝經歷在其身上有著深刻的 烙印，初窺西方現代藝術的先鋒理念，而後更是因吳大羽所教誨的 繪畫要注意「宇宙間一剎那的真實」的啟發，加之其幼時浸潤在 中國傳統文化之中，由此奠定了朱德群繪畫融匯中西的創作基調。 1955年朱德群赴法，在斯塔埃爾回顧展中受到了強烈的衝擊，其 創作風格灑脫自由，遊走於具象與抽象來去自如，如此靈活多變、 不受束縛的風格深深地震動以及激勵了初到西方的朱德群，藝術家 也由此開始了多變的抽象創作歷程。此次上拍的兩件作品分別為早 期東方傳統與西方色彩結合的關鍵之作，以及晚期成熟風格的集大 成，中間跨越了四十年的歲月，完整闡述了他不同時期的風格遞變 與重要革新。1968年的《第282號》(Lot 171) 正值藝術家融會唐

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宋山水與西方抽象表現主義的重要時期，書法線條更加靈性化且收 放自如，構圖張弛有度、大開大閤，色彩方面也體現出對媒材的掌 控，運用中國傳統山水畫中的渲染呈現繁複多變的空間形構；《平 靜的山谷》(Lot 172) 則創作2007年，正值藝術家於千禧年之後又 一次創作的高峰期，經歷了近一個世紀對藝術的探索，他的作品展 現出了一種更為空靈寫意的風格。正如他自己所言「我一直在追求 將西方的傳統色彩與現代抽象藝術中的自由形態結合成陰陽和合之 體，成為無窮無盡的宇宙想像」。

祥瑞明黃 東方氣韻 基於藝術家與生俱來的東方意識，以及幼時家學在傳統文化方面的 啟蒙，藝術家於60年代曾到台北故宮欣賞范寬大作，唐宋山水雄渾

的氣勢觸動了藝術家對於中國傳統文人山水

自然的時間與勢態轉化為極具動感的色彩與

畫的深遠情懷，也因此對唐宋文人山水作品

線條。由《第282號》可以窺見60年代末期

也進行了回溯與總結。中國傳統山水畫家通

藝術家利用顏色與明暗製造光影，開啟了70

過對大自然的體察與領悟，直抒胸臆，躍然

年代的將「光」的運用作為主要表現手法的

紙上，重「意」不重形，如此思想與西方現

先聲。藝術家追求道家「物我兩忘」之超然

代繪畫理念不謀而合，這也使得藝術家開始

境界，更神遊於古典音樂以及中國古典詩詞

在創作風格上進行更深層次的探索與轉型。

深處取得靈感與共鳴，身心靈與自然的融入

60年代中期後的朱德群，延續了50年代中

與和諧激發靈感迸出，畫筆繪就「宇宙間一

後期的對抽象表現主義的探索，藝術家的線

剎那的真實」可謂快意瀟灑、一氣呵成。

條愈發的灑脫，逐漸地擺脫了在探索時期強 烈銳利的剛性線條，轉化為剛柔並濟、講究 「抑揚頓挫」的書法式線條。在色彩方面藝 術家因受北宋山水的感召，開始嘗試在畫布 上創造出水墨暈染的感覺，由此可見他對媒 材的精確的掌控力以及油彩的巧妙運用，每 一次落筆都是如此的恰如其分，在畫布上營

2. 尼古拉．德．斯塔埃爾《景觀》1953年作 葡萄牙 里斯本 古伯金漢博物館藏 Nicolas de Staël, Paysage , 1953, Collection of Calouste Gulbenkian Museum, Lisbon, Portugal

1.

蘭西土地之後，迅速與西方繪畫接軌，繼而 完成了由具象寫實向抽象表現的過渡，因其 深厚的東方情懷和中國傳統文化根基使得他 對於唐宋山水的領悟頗深，從而開始了將東 方哲學融入西方抽象表現主義的繪畫手法之

造出一個虛實呼應、深邃蒼茫的空間。

中，繼而探索出獨特的個人風格。在《第282

《第282號》中，畫面的上方與下方大面積的

作品中典型的富有動感的「山水之氣韻」，

使用明黃色，明暗過渡間似雲又似風，顯示

他汲取靈感於山水、詩詞與音樂，提煉自然

出極強的流動感，如此明亮柔和的色彩彷彿

風景入抽象，承襲東方寫意與西方抒情抽象

天地之間的祥瑞之氣。畫面的重心以赭色與

技法共融，色彩的冷暖濃淡各異其趣，激蕩

橘色勾勒出重岩疊嶂的山巒，小面積白色的

蜿蜒的線條順勢疾走，筆墨點染間，山石崢

點染好似山間的一汪汪清泉，且以飛白的方

嶸，水波不驚，亦動亦靜，極具張力，營造

式更加凸顯畫面中光影的對比，更具氣韻。

出獨特的詩畫交響。

深棕色與墨黑的線條交錯並陳，遒勁灑脫的

1. 米芾《盛制帖》北宋 中國 北京 故宮博物院藏 Mi Fu, Calligraphy , Northern Song, Collection of the Palace Museum, Beijing, China

朱德群在杭州藝專扎實的基礎使得他踏上法

號》中，我們可以看到藝術家60年代後期

線條不受畫幅的限制無限延展，好似米芾書

光影流轉 視覺交響

法中的蒼茫，形成了深邃雄偉的詩意空間。

1990年代的朱德群已享譽國際，在東西方

畫面中晶瑩的綠色以橫刷或塊面暈染圍繞著

兩種文化的結合中已經探索了四十餘載，對

中心，以輕盈的跳躍方式出現，好像雨後剛

色彩與明暗的處理富有更多變化， 對自然

剛放晴之後瀰漫在山間的微微霧靄，藝術家

宇宙的「寫意」愈加大氣磅礴，在這一時

在甜美的暖色中注入點綴般的冷色，使得畫

期，他更加注重了對光源與光影的探索，利

面用色更加平衡。藝術家營造出的光影氛圍

用明暗對照，抑或是不同明度的顏色來描述

蘊含著無限的氣韻，在靜止的畫布之上將大

光線的轉折與層次，他畫作之中的高亮光點

2.

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Lot 172

彷彿畫布之間跳躍的寶石，時而是刺破黑暗的一道強光，時而是

超脫物象 追求心相

於幽冥之中透露一絲微光。1997年朱德群以高票當選法蘭西藝術

唐朝司空圖在他的《論二十四詩品》中評論詩詞的至高境界是：

院終身院士，並於1999年授勛，成為了法蘭西學院在成立兩百年 來首位華裔的終身院士，於千禧年之後，朱德群的藝術創作又達 到了一段高峰。 《平靜的山谷》作於2007年，此時八十高齡的朱德群仍壯心不已， 於是我們可以看到晚期創作中所洋溢的一種樂觀積極情緒。畫面下 方以墨黑與深藍為底，黑色透露出山谷土地之厚重，藍色的筆觸若 隱若現提現山谷之幽深與神秘。天空運用大面積的綠色，絢麗異 常，好像極地夏夜變幻莫測的極光照亮了山谷，與寂靜的山谷形成 強烈的反差，而畫面中心的片狀色塊以及星星點點的明黃色製造出 高亮區域，反襯出濃暗處的深邃，使畫面更加通透生動，層次分 明。藝術家筆觸愈加快速，筆鋒也更為寬闊，由此繪就的塊面則能 更好的描繪出光影的流動性，畫中的韻律使人聯想到康定斯基的 「視覺的音樂」，充滿著節奏感與空間深度。

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「超乎象外，得其環中」，這句話用來評價朱德群的話也非常恰如 其分，我們在朱德群的畫中經常見到的宏大的敘事、飽滿的情緒皆 來自於藝術家對「象」的領悟，頗有幾分「道，可道，非常道。」 的意味。他的畫中沒有「形」的束縛，但卻能從色彩之中感受到 「形」的存在，我們從畫面之中可以立刻捕捉到藝術家想要去描繪 的蘊含著無限生機的自然。藝術家非常重視視覺印象以及心靈體 驗，正如他的「精神導師」范寬所言「與其師於人者，未若師之 物；與其師之物，未若師於心」。他以「虛已待物」的胸懷觀照 中國傳統文化，在繪畫中體驗「獨與天地精神往來」的境界，在 「觀」與「畫」中實現精神的轉換。也正因藝術家如此重視對心靈 體驗的描繪，使得他的作品衝破了東西方文化的藩籬，超越了語言 與地域的限制，如那些恢宏的音樂、偉大的詩歌一樣，使得每一位 觀者都可以在其畫作中找到共鳴！

朱德群

CHU TEH-CHUN Eternal Light of the East

Lot 171

A Studied Mastery of China and the West

倫勃朗．哈爾曼松．凡．萊因《綁架歐羅巴》 1632年作 美國 洛杉磯 蓋蒂博物館藏 Rembrandt Harmenszoon van Rijn, The Abduction of Europa , 1632, Collection of The J. Paul Getty Museum, Los Angeles, USA

An overview of Chu Teh-Chun's creative career reveals how much his early period at the Hangzhou Academy of Art left its mark. It was there that he got his first glimpse of the avant-garde concepts of Western modernism, and then, under the inspirational instruction of Wu Dayu, he was inculcated with the idea that painting should capture "one moment of the truth of the universe." This, in addition to his upbringing immersed in Chinese traditional culture, established the foundation for the creative merging of East and West that characterised his paintings.

In 1955 he travelled to France, where a Nicolas de Staël retrospective had a tremendous impact on him. Chu, newly arrived in the West, was shaken by de Staël's incisive but free style, his easy movement between figuration and abstraction, and his flexibility and freedom from restrictions; from that point on, Chu engaged in his own variegated exploration of abstraction. In this Spring sale, Poly Auction Hong Kong presents two Chu Teh-Chun works, one a key early-period work, which blends Eastern tradition with Western use of colour, and the other, an accomplished work representing the mature style of his late period. The two works, apart 40 years, provide a complete overview of his stylistic transitions over this period and the significant innovations they embodied. No. 282 (Lot 171), from 1968, derives directly from the critical period in which he drew on the landscape painting of the Tang and Song dynasties, as well as the Abstract Expressionism of the

West. In the easy control of his calligraphic lines Chu communicates spirituality; his free, open composition balances tension and relaxation; and the work's colour also exhibits Chu's control of the medium.

The washes of colour, borrowed from traditional Chinese landscape painting, present a complex and varied spatial structure. Paisible Vallon (Lot 172) dates from 2007, and represents the artist entering a new creative peak just after the millennium. Having undergone the artistic explorations of the previous century, his work now displays openness and lyricism.

As Chu Teh-Chun described it, "I have always been pursuing an integration of the traditional colours of the West, and the free forms of its modern abstract art, into a harmonious entity of balanced yin and yang, to create an endless universe of imagination."

Eastern Spirit and Auspicious Yellow Given the artist's innate Eastern consciousness and his introduction to traditional culture as a boy, it was natural that during the 1960s he would travel to the National Palace Museum in Taipei to view the great works of Fan Kuan. The tremendous power of such Tang and Song landscapes engendered great feeling in the artist for China's tradition of literatipainter landscapes, and he undertook to retrace and summarise such works for himself. In traditional Chinese landscape painting, the artist would observe and gain insight into nature, and then directly and vividly express his feelings on the painting paper.

The emphasis was on meaning or "idea," rather than on accurate forms-an outlook which actually

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171 CHU TEH-CHUN (C H I N ES E- F R E N C H , Z H U D E Q U N , 1 920 -20 1 4) No. 282 朱德群 第282號 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1968 oil on canvas 97 x 130 cm. (38 1/4 x 51 1/4 in.) signed in Chinese; signed and dated 'CHU TEH-CHUN. 68.' (lower right); signed, titled and dated 'CHU, TEH-CHUN No 282 1968'; signed in Chinese (on the reverse) Provenance

Collection of the artist Private Collection, New York, USA Christie's Hong Kong, 27 November 2011, Lot 1120 Acquired from the above sale by the present owner The authenticity of the art work has been confirmed by Fondation Chu Teh-Chun.

HK$ 7,000,000 - 10,000,000 US$ 897,400 - 1,282,100

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1968 年作 油彩 畫布 款識：朱德群 CHU TEH-CHUN. 68.（右下）；CHU, TEH-CHUN 朱德群 No 282 1968（畫背） 來源

藝術家自藏 美國 紐約 私人收藏 佳士得 香港 2011年11月27日 編號1120 現藏者購自上述拍賣 此作品已經朱德群基金會確認

172 CHU TEH-CHUN (C H I N ES E- F R E N C H , Z H U D E Q U N , 1 920 -20 1 4) Paisible Vallon 朱德群 平靜的山谷

Painted in 2007 oil on canvas 81 x 100 cm. (32 x 39 1/4 in.) signed in Chinese; signed and dated 'CHU TEH-CHUN. 07.' (lower right); titled, signed and dated "Paisible Vallon" CHU TEH-CHUN. 2007.'; signed in Chinese (on the reverse) Provenance

Marlborough Gallery, London, UK Private Collection, Asia Exhibited

China, Beijing, National Agricultural Exhibition Center, Art Beijing, 30 April-3 May, 2013.

2007 年作 油彩 畫布 款識：朱德群 CHU TEH-CHUN. 07.（右下）；"Paisible Vallon" CHU TEH-CHUN. 朱德群 2007.（畫背） 來源

英國 倫敦 瑪勃洛畫廊 亞洲 私人收藏 展覽

2013年4月30日-5月3日「藝術北京」全國農業展覽館 北京 中國

HK$ 1,800,000 - 2,600,000 US$ 230,800 - 333,300

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corresponds well with Western modernist ideas about painting, and caused Chu Teh-Chun to engage in deeper stylistic exploration and transformation. In the mid and late 1960s, Chu continued on exploring Abstract Expressionism he had begun during the latter part of the '50s, but his lines now showed greater ease and naturalness, gradually losing some of their earlier hard-edged sharpness. Exhibiting both strength and suppleness, they displayed more of the rhythmic cadences stressed in calligraphy. In his use of colour, he responded to the artists of the Northern Song by attempting to create, on his canvases, a sense of spreading halos of colour specific in ink wash techniques, demonstrating both ingenuity and a precise awareness and control of the qualities of the oil medium. Each brushstroke creates the exact effect, producing on the canvas a resonance between the presence and absent, and a profoundly deep and mystical space.

關仝《關山行旅圖》五代 台灣 台北 國立故宮 博物院藏 Guan Tong, Traveling in Mountains , Five dynasties, Collection of the National Palace Museum, Taipei, Taiwan

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In No. 282, bright yellow occupies large areas at the top and bottom of the canvas, while the wonderfully fluid transitions between darker and lighter areas suggest the movements of wind or clouds. Such bright and yet soft colours seem to cast an auspicious aura between the regions of heaven and earth.

The centre of gravity in No. 282 lies in the repeated lines of rocks and cliffs that outline a mountain range in orange and yellow. Smaller areas of white hint at gushing mountain springs, and these open, streaky whites accentuate the contrasts of light and shadow in the work to add a further distinctive character. There are interwoven lines in black and dark brown, their strong, easily flowing contours extending beyond the boundaries of the canvas to form a deep and majestic space with great poetry, like the misty landscapes of Song calligrapher Mi Fu. Shimmering greens, light and bouncing, are brushed in horizontally or spread in washes around the centre of the composition, like mists filling the mountains just after a rain has cleared, and Chu's injection of this cooler colour into the surrounding warm, sweet colours helps maintain colouristic balance.

The atmosphere of light and shadow thus created exerts tremendous charm, transforming a specific time and pose of nature on the static canvas into a dynamic, moving play of lines and colours. In No. 282, we can see how by the late '60s, the artist was using colour and dark and light contrasts to suggest light and shadow, paving the way for the period during the 1970s in which portraying "light" would become his central expressive technique. Chu is aiming towards the Taoist spirit of forgetting the boundaries of oneself and others, while finding inspiration and echoes in the worlds of classical music and Chinese poetry. Inspiration gushes forth from the harmonious integration of mind, body, and nature, and the brush reveals "one moment of the truth of the universe," in a confident and joyous work of great unity.

Chu Teh-Chun's solid foundation from the Hangzhou Academy of Art meant that, after setting foot on French soil, he quickly connected to Western painting, in which he subsequently completed his transition from figurative realism to abstract expressiveness. His deeply Eastern outlook and his grounding in traditional Chinese culture gave him great insight into the landscapes of Tang and Song, inspiring him to blend Eastern philosophy with the techniques of Western Abstract Expressionism, and ultimately, to arrive at his unique, personal style.

No. 282 embodies the typical dynamic "landscape" conception we find in Chu Teh-Chun's work of the late '60s, its inspiration derived from landscapes, poetry, and music, its natural scenic elements refined and abstracted. Blending the Eastern impressionistic styles he inherited with the techniques of Western lyrical abstraction, Chu provides an ideal mixture of warm and cool tones, varying densities, and surging, snaking lines; towering cliffs emerge from among his ink-like washes of colour, yet the feeling remains serene, its tensions ideally poised between movement and stillness. The result is an exceptional creation, a symphony of poetry and light.

Flowing Light and Shadow in a Visual Symphony By the 1990s Chu Teh-Chun was already an internationally renowned artist. He had already explored for more than 40 years on the topic of merging of Eastern and Western cultures, finding ever greater possibilities in his handling of both colour and of light and shadow. His impressionistic treatments of nature took on greater scale and grandeur, and during this period, he laid even greater stress on exploring light sources and contrasts between light and shadow. Using contrasts of bright and dark or the differing brightness of colours to describe the layering and refraction of light, the illuminated points of light in his paintings have now become jewels that dance across the canvas, sometimes sending out shafts of light to pierce the darkness, or perhaps merely a shimmering glow appearing from a mysterious remoteness. In 1997, Chu was overwhelmingly voted to become a lifetime fellow in the French Académie des Beaux-Arts, the first ethnically Chinese artist to be so honoured during its two-century history.

After receiving this honour, Chu's art entered a new creative peak following the turn of the millennium.

Paisible Vallon dates from 2007, when the 80-yearold Chu Teh-Chun was still healthy, and in it we can see how his late work radiates a mood of positive optimism. Black and dark blue tones form a base at the bottom of the composition, the black suggesting the breadth of the land in the valley while the elusive blue hues convey a sense of depth and mystery.

A large area of green, both beautiful and unusual, forms the sky, as if the fleeting night-time auroras of

the polar summer night illuminate the valley, while contrasting strongly with the quietness of the valley itself. Swathes of colour at the centre and the scattered specks of bright yellow, create a region of brightness, further setting off the depth of the darker areas and adding even greater vividness, transparency, and layering. The artist's brushstrokes here are faster, the brush tip wider, allowing for blocks of colour to better capture the flow of light and shadow; the cadences of this painting evoke associations with the "visual music" of Kandinsky, full of rhythmic movement and spatial depth.

Mental Imagery Transcending Physical Likeness Tang dynasty's Si Kongtu, in Twenty-Four Poetic Styles, wrote that "Moving beyond the physical image, we reach the centre of the circle," a sentence that is useful in assessing some aspects of Chu Teh-Chun's work. The sense of grand narratives and bursting emotions that we find in his work comes from the artist's understanding of "the image," with more than a hint of "the Tao that can be told is not the eternal Tao." For often there are no real "shapes" in his paintings, yet we can sense the existence of shapes through the flow, and from his compositions we can immediately grasp the sense he wants to convey of nature's infinite vitality. The artist attached great importance to both visual impression and to accompanying mental experience, and as his "spiritual mentor," the great artist Fan Kuan, said, "Rather than learning from man, try to learn from things, but rather than learning from things, seek to learn from the heart." With the humility of "emptiness waiting for form," he absorbed traditional Chinese culture, and in his painting he experienced the realm of "an independent association with the spirit of heaven and earth." Between "absorbing" and "painting," he accomplished a transformation of the spirit.

It was because of his concern with conveying the spiritual level of experience that the artist could break through the barriers between Eastern and Western cultures, transcending all differences in language and geographical region. And as with those great works of music or epic poetry, every viewer of Chu TehChun's paintings will find something in them that resonates with their own hearts!

瓦西里．康定斯基《藍色繪畫》1944年作 美國 紐約 古根漢姆博物館藏 Vasily Kandinsky, Blue Painting , 1944, Collection of the R. Guggenheim Museum, New York, USA

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CHEONG SOO PIENG

鐘泗濱 光耀南洋

「我不特意尋找或創作風 格，它是藝術家將情況和智 慧的表現，它是內存的記憶 和不同想法和情緒結合成的 創造力量。」

─鍾泗濱

1.

鍾泗濱出生於廈門，曾就讀於當地的美術專

173) 即是此時期代表作，超越自然主義的直

科學校；1936年畢業後，赴上海進修。但由

觀表達風景記憶，以流動性的油彩創造瞬息萬

於戰爭關係，學業被迫終止，隨後移居新加

變的光影，朦朧多變的色彩層次，形塑出具有

坡。過去在中國鍾泗濱學習書畫，著重神韻

深度的空間感。鐘泗濱從觀察大自然景色的感

中的意境與精神，爾後擔任南洋藝術學院講

悟，連結自我主觀經驗，延伸出未知的想像空

師，則與西方現代主義接軌。在創作中不斷

間，使作品體現《老子》所言：「惚兮恍兮，

吸納西方式的語彙，成為融合中國寫意美學

其中有像，惚兮恍兮，其中有物」中若有似無

的完美代表。 1952 年劉抗與陳文希、陳宗

的形象。

瑞、鍾泗濱，結伴至峇里島采風，此行奠定 四人在「南洋畫派」中決定性的地位。而其 中鍾泗濱更是南洋畫派中的奠基者、實踐者

2.

和傳播者，被視為南洋畫派之首、現代主義

1. 透納《一百個戰士英雄》約1800-1810年作 英國 倫敦 泰特不列顛美術館藏 J. M. W. Turner, The Hero of a Hundred Fights , c. 1800–1810, Collection of Tate Britain, London, UK 2. 牧谿《漁村夕照圖》南宋 日本 東京 根津美 術館藏 Mu XI, Fishing Village, Bathed in Sunset Glow , Southern Song, Collection of Neze Museum, Tokyo, Japan

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《奇異》以橘紅的色彩為畫面的主要基調， 懸空的圓形是構圖的主要核心，作為光源照 亮周圍一片寂靜的黑暗，以細膩的明暗對比

畫派的代表。

表現空間的結構性，延續鐘泗濱於歐洲時期

1961年下旬，鐘泗濱辭去教職，成為一個職業

油彩轉化為水墨般流動感的技法，在畫布上

藝術家，並且於同年十月前往歐洲遊歷，首次

呈現水墨的擴散渲染，運用色彩濃淡之間產

親身接觸西方藝術大師的真跡，強烈的衝擊性

生多變的層次，創造出微妙的空間組構。鐘

引領他朝現代主義發展，並從此展開具有代表

泗濱有意識遊走於兩種媒材之間特性，企圖

性的抒情抽象風格。儘管這樣的純粹抽象系列

於西方的抽象風格中展現東方文人寫意抒情

僅僅於1962-1963年間創作，作品數量相當稀

的意境，在中國美學的底蘊基礎上，結合西

少，但卻是標示鐘泗濱從南洋畫派轉為現代主

方的形式光影與色彩美學的論點，成為從傳

義的關鍵轉折點。創作於1963年《奇異》(Lot

統走向現代的最佳例證 。

觀摩透納作品所領悟的薄油技法，他將厚重

1.

鐘泗濱對於不同媒材的探索一直保持高度興趣，從50年的木雕版畫 至60年代晚期「金屬」系列，綜合媒材的運用不僅使平面作品增加 立體的浮雕感，同時藉由異材質的組構增添畫面趣味性與質感。創 作於1981年的《馬來男孩與山羊》(Lot 174) 是藝術家歷經數十載對

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非油彩媒材探索後再次回歸繪畫的經驗總結，鐘泗濱使用點描法鋪 陳大自然背景以顯示蓬勃的生命氣息，而十字網紋茅草頂的木作建 築傳遞質樸溫潤的原始性，他以相異密度的紋理、多層次的區塊搭 建畫面，區分異材質間的質地屬性，成為藝術家對材質長期研究的 集大成。鐘泗濱從平面到現成物挪用，最終回歸平面繪畫，《馬來 男孩與山羊》不僅包含對於物件材質差異性刻畫，同時也於平面空 間搭建多重的立體視覺。 1979年後鐘泗濱鑽研北宋山水，回歸中國傳統使他晚期的作品中 流露「天人合一」人與自然和諧的靜謐氛圍。《馬來男孩與山羊》 畫面依舊是南洋題材，然而相對於早期對於人物強烈民族性格的誇 張表現，此時鐘泗濱更加重視自然與人之間的關係，不再僅注重人 物神態的描繪，而是增添許多對周圍環境的關注。《馬來男孩與山 羊》在構圖上特意將前景的人物比例縮小，以強調宏偉壯碩的山水 意境，遠處的山峰與茂密的枝幹不再僅是陪襯作用，儼然成畫作重 點之一，佇立於高架建築的鳥兒與覓食的山羊與畫面主人翁融洽的 相處，反映藝術家晚期對於人與自然間的關係思考。鐘泗濱歷經50 年代受現代主義發展出的立體派與野獸派，至60年代旅歐後的抒情 抽象，過渡到金屬浮雕時期，最後到晚期對傳統文化中人文關係思 考。《馬來男孩與山羊》可說集結鐘泗濱一生中多變風格的成果， 在借鑒西方現代主義的過程中，充分體現中華文化的底蘊。

1. 董其昌《仿古山水圖冊》（局部）明代 中國 北京 故宮博物院藏 Dong Qichang, Landscapes after Old Masters (detail), Ming dynasty, Collection of The Palace Museum, Beijing, China 2. 米芾《春山瑞松圖》（局部）北宋 台灣 台北 國立故宮博物院藏 Mi Fu, Spring Mountains and Auspicious Pines (detail), Northern Song, Collection of the National Palace Museum, Taipei, Taiwan

Modern and Contemporary Art

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173 CHEONG SOO PIENG (S I N GA P O R E A N , 1 9 1 7-1 9 8 3) Strangeness 鐘泗濱 奇異

Painted in 1963 oil on canvas 81.7 x 102 cm. (31 3/4 x 40 1/4 in.) signed in Chinese (lower right); titled, signed and dated 'Strangeness SooPieng 1963' (on the reverse)

1963 年作 油彩 畫布 款識：亖賓（右下）；Strangeness SooPieng 1963（畫背） 來源

Provenance

新加坡 私人收藏（直接得自於藝術家家屬） 亞洲 私人收藏

Private Collection, Singapore (acquired directly from the artist's family) Private Collection, Asia

展覽

Exhibited

Singapore, National Museum Art Gallery, Cheong Soo Pieng Retrospective, 11-27 November, 1983 (work title included in the exhibition list).

Taiwan, Taipei, Asia Art Center, Cheong Soo Pieng: A Centenary Celebration in Taiwan, 11 November-31 December, 2017.

Literature

Soo Pieng, Straits Commercial Art Co, Singapore, 1963 (illustrated in black & white, pp. 8-9).

The Story of Cheong Soo Pieng, Oxford Graphic Printers, Singapore, 2015 (illustrated, p. 88).

This work is to be sold with certificate of authenticity signed by the artist's daughter, Cheong Leng Guat issued by Artcommune Gallery Pte Ltd.

HK$ 1,800,000 - 2,800,000 US$ 230,800 - 359,000

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1983年11月11-27日「鐘泗濱回顧展」新加坡博物館 新加坡（作品名稱於展 覽清單提及） 2017年11月11日-12月31日「鐘泗濱百歲冥誕台灣回顧展」亞洲藝術中心 台北 台灣 出版

《泗濱》海峽商業畫廊 新加坡 1963年（黑白圖版，第8-9頁） 《鍾泗濱》牛津圖形印刷 新加坡 2015年（圖版，第88頁） 附新加坡 集菁藝社開立之藝術家女兒鐘靈月親簽原作保證書

Modern and Contemporary Art

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鐘泗濱

CHEONG SOO PIENG GLORY OF NANYANG

Lot 173

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"I do not search for it (style) consciously or create it deliberately... It is a way of bringing order and intelligence to what an artist is doing. It is a memory marker and also a means of connecting different ideas and emotions, fusing them into a creative force."

- Cheong Soo Pieng Born in Xiamen, Cheong Soo Pieng went to a local art school to study fine arts and graduated in 1936. He then went to Shanghai to pursue further study.

However, due to the war, he was forced to suspend his studies and moved to Singapore. At the time when Cheong Soo Pieng lived in China, he studied the techniques in traditional Chinese calligraphy and painting, with a focus on the mood and spirit that lie underneath each charming scene. Later, Cheong has became a lecturer in the Nanyang Academy Of Fine Arts in Singapore, and started to fuse his style with Western modernism. By absorbing Western vocabulary into his artistic creation, Cheong Soo Pieng has become the master of connecting and integrating the spirits of Chinese and Western culture. In 1952, Cheong Soo Pieng traveled to Bali with artists Liu Kang, Chen Wen Hsi and Chen Chong Swee, and were aiming at exploring local folk culture. And this trip have marked their decisive place in the Nanyang art style. Among the four, Cheong

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Soo Pieng, who was the founder, practitioner and distributor, is regarded as the most important figure who would lead Modern paintings.

In late 1961, Cheong Soo Pieng resigned his job as a teacher to become a professional artist. In October of the same year, he travelled to Europe and began his first encounter with the works of Western art masters. This experience had a strong influence on his development towards modernism, from which he developed a signature style of Lyrical Abstraction. His purely abstract works was created between 1962 and 1963, and produced only a limited number of works.

However, they marked a key turning point in Cheong Soo Pieng's transition from Nanyang painting to modernism. Created in 1963, Strangeness (Lot 173) is the masterpiece of this period. Transcending the intuitive expressions of the scenic memories of naturalism, a changing of light and shadow is created with the fluidity of oil, and the obscurely shifting colours construct a sense of depth. From observations of the natural scenery, Cheong Soo Pieng links his own subjective experiences and extends an unknown space for imagination, enabling the works to reflect the seemingly lack of image mentioned in Laozi, "Evasive and elusive!

And yet It contains within Itself a Form. Elusive and evasive! And yet It contains within Itself a Substance. Shadowy and dim! And yet it contains within Itself a Core of Vitality."

The dominate colour tone of Strangeness is orange. The hanging circle is the core of the composition, which serves as a light source to illuminate the silent, surrounding darkness, as well as expresses the structural space through a delicate contrast between light and dark. Extending on the thin oil technique that Cheong Soo Pieng founded in his works during his time in Europe, his technique transforms heavy oil paint into an ink-like flow. Across the canvas, the diffusion of ink is presented, and the layers of colour are used to create a subtle spatial composition. Cheong Soo Pieng consciously wanders between the characteristics of the two media, attempting to present the artistic conception of Eastern literati into the abstract style of the West. By combining Western

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forms of light, shadow, and colour on a basis of Chinese aesthetics, he provides a superb example of moving from tradition to modernity.

Cheong Soo Pieng is always fascinated in the exploration among different media.

From woodblock prints during the 1950s to the Metal series in the late 1960s, the use of synthetic media not only added a three-dimensional relief to planar works, but also a level of amusement and texture through the composition of different materials. Created in 1981, Malay Boys with Goat (Lot 174) is a summary of the artist's experience of returning to painting after decades of exploring non-oil painting mediums. Cheong Soo Pieng uses the technique of stipple to build up a scene of nature as the backdrop, suggesting the vigorous vitality of human life. The cross netting and thatched the log cabin conveys a simple and gentle sense of primitiveness. He constructs the picture through using different densities of pigment textures and multi-layered structural blocks.

To explore the difference between the texture of various materials then became the artist's long-term practice. Through Cheong Soo Pieng's art career, he has experienced the switch of focus from two-dimensional to ready-made objects, and eventually returned back to planar paintings, Malay Boys with Goat not only exhibit the artist's experiment among the characteristics between materials, but also build-up three-dimensional visuality in a planar space.

After 1979, Cheong Soo Pieng studied the landscape paintings of Northern Song, and such return to Chinese traditions enabled his later works to display a harmonious and tranquil atmosphere between nature and humankind, often known as "Nature and Man in One". Malay Boys with Goat still features a Nanyang style. However, compared to his early works that exaggerates strong ethnic features of the characters, Cheong Soo Pieng pays more attention to the relationship between nature and people. For Malay Boys with Goat, the relative scale of people in the foreground has been deliberately reduced to emphasise how magnificent the landscape was. The distant peaks and dense branches are no longer just backdrops, but became key parts of the painting.

Lot 174

The birds standing on the elevated buildings, the foraging goats, and the people, were all set in a harmonious atmosphere, reflecting the artist's thoughts and investigation upon the relationship between man and nature in the later stages of his career. Through Cheong Soo Pieng's artistic career, he has experienced the the art world's development from the Cubism and Fauvism in the 1950s, to Lyrical Abstraction in the 1960s, and then "Metal Relief" period and finally examined relationships between human culture. We may conclude that Malay Boys with Goat bring together the achievements of Cheong Soo Pieng's various stylistic experiments throughout his life. By drawing from elements of Western modernism, he thoroughly reflects the essence of Chinese culture.

1. 克勞德．莫內《倫敦，國會大廈》1904年作 法國 巴黎 奧賽美術館藏 Claude Monet, London, Houses of Parliament , 1904, Collection of Musée d'Orsay, Paris, France 2. 保羅．西涅克《戈瓦里》1896年作 英國 伍斯特 伍斯特藝術博物館藏 Paul Signac, Golfe-Juan , 1896, Collection of Worcester Art Museum, Worcester, UK

Modern and Contemporary Art

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174 CHEONG SOO PIENG (S I N GA P O R E A N , 1 9 1 7-1 9 8 3) Malay Boys with Goat 鐘泗濱 馬來少年與羊

Painted in 1981 oil on canvas 109.5 x 85 cm. (43 x 33 1/2 in.) signed in Chinese; dated '1981' (lower left)

1981 年作 油彩 畫布 款識：亖賓 1981（左下）

Provenance

亞洲 私人收藏 蘇富比 香港 2014年10月5日 編號 1020 現藏者購自上述拍賣

Private Collection, Asia Sotheby's Hong Kong, 5 October 2014, Lot 1020 Acquired from the above sale by the present owner Exhibited

Taiwan, Taipei, Asia Art Center, Cheong Soo Pieng: A Centenary Celebration in Taiwan, 11 November-31 December, 2017.

Literature

Soo Pieng, Summer Times Publishing, Singapore, 1983 (illustrated, plate 7, unpaginated).

The Story of Cheong Soo Pieng, Oxford Graphic Printer, Singapore, 2015 (illustrated, p. 188).

HK$ 3,000,000 - 4,000,000 US$ 384,600 - 512,800

喬治．秀拉《捷克島的星期天下午》1884-1886年作 美國 芝加哥 芝加哥藝術博物館藏 Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte , 1884-1886, Collection of The Art Institute of Chicago, Chicago, USA

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來源

展覽

2017年11月11日-12月31日「鐘泗濱百歲冥誕台灣回顧展」亞洲藝術中心 台北 台灣 出版

《泗濱》Summer Times出版社 新加坡 1983年（圖版，第7圖，無頁碼） 《鍾泗濱》牛津圖形印刷 新加坡 2015年（圖版，第188頁）

Modern and Contemporary Art

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阿凡迪

A FF A N D I

鬥雞

緣起峇里

上的它們是主人男子氣概的化身，為了主人的社會地位，奮起搏

出生於印尼西爪哇的阿凡迪，於荷蘭殖民鼎盛時期成長，一生以民

鬥。美國人類學家克里福特．吉爾茲曾形容：「鬥雞過程中，人與

族獨立為信仰，企圖通過自己的創作破除當地以西方文化為主導的 社會現狀。他在1939年首次造訪峇里後，彷彿終於找到了心中那片 令他創作靈感迸發的桃花源，並在其之後的藝術生涯中不斷嘗試通 過自己獨特的方式刻畫在這裡的一切。可以說，峇里文化與阿凡迪 之間互相影響的力量是密不可分的：一方面，藝術家將親身體驗的 地域文化通過畫筆記錄下來展現給世人，成為這座小島當時珍貴的 原生態文明不可多得的歷史參考；同時，藝術家創作的成長歷程與

獸、善與惡、自我與本我、激昂男性創造力與放縱獸性毀靈力所融 合而成的一幕─憎惡、殘酷、暴力、死亡的血戰。」阿凡迪觀察到 了鬥雞熾烈氣氛下所蘊含的深遠並且多層次的民族傳統文化，借鑒 西方現代主義技法，以極富表現性的配色與筆觸為畫布前的觀眾生 動呈現這一場獨具東方韻味的對決儀式。

色彩與質感承載的情緒迸發

技法的發展脈絡在其對相似母題不斷的重復描繪中清晰可見。

《鬥雞》(Lot 175) 中，兩隻意氣風發的雄雞交鬥正酣，阿凡迪用明亮

情緒碰撞的感官盛宴

浴血奮戰的高昂情緒生動的呈現於畫布之上，它們緊咬的嘴與錯落的

峇里的人文風貌與傳統，從歷史延續下來的種種儀式、寺廟節慶等

姿態，或許正在暗示畫外人現場難分伯仲的焦灼戰況。畫面右上角

傳統習俗中可見一斑，其中最具代表性的便是峇里鬥雞。這項傳統 歷史悠久的民間活動對每一代峇里人來說都充滿難以抗拒的魔力： 山野田地中由人群臨時圍起而形成的鬥雞場，彷彿一個微縮的社 會，所有人的目光都聚焦於兩隻面對面進行生死角逐的雄雞，戰場

的白色與黃色勾勒出鬥雞根根分明的羽毛，將雄雞盤旋飛舞的形態與

男子的目光聚精會神、雙唇張大，右手更是伸入畫面中央好似正要將 鬥雞抓起，用盡全力鼓舞代表自己的戰士在這場角逐中贏得榮光；而 畫面左側的男子眉頭緊鎖，嘴角緊閉，顯現出他對這場重要賽事走向 謹慎的思考，彷彿正在試圖尋找壓制對手的突破關鍵，這兩名男子所 顯示出的神態和動作讓觀者對這場鬥雞幕後最真實的明爭暗鬥了然於 心。畫面的上下邊緣粗獷卻內含某種秩序的深色線條，是熙熙攘攘、 因下注而聚精會神觀戰的群眾。觀眾們的形象雖未被具象化表達，但 線條波瀾起伏的流動正是他們與自己心中的王者的姿態一齊律動，心 情跟隨場內戰況而起起伏伏的最佳寫照。 藝術家自1950年代通過逐漸摸索而形成的用手指直接塗抹擠在畫 布上顏料的創作方式，將這轉瞬即逝的一刻凝固於畫布之上，厚塗 油彩的質地與奔放的曲線迸發出的令人血脈噴張、極具感染力的能 量，不禁讓人想起梵谷的後印象主義風格。然而不同於大多數梵谷 描繪的靜態場景與物體，阿凡迪的畫面中多了一份生動與激情，他 強有力的表現主義手法彷彿在邀請觀者親臨這如火如荼的場景，並 隨著畫面充滿的張力獲得直擊心靈的震撼觀感。藝術家調色板上對 紅與綠、黑與白這些強烈對比顏色的偏愛，在視覺上將觀者的目光 牢牢鎖定在誓死拼殺的兩位主人公身上，同時也在感官上進一步將 情緒密度縮緊，深究其根源，似乎是在暗指當時的印尼作為新興民 族國家的政治張力。 《鬥雞》是阿凡迪最擅長的標誌性創作母題與最為人熟知的經典繪 畫技法淋漓盡致的呈現，動物交戰所迸發的熱情張力與觀戰人類的 緊張情緒相互交織，爆發的表現力下不失耐人尋味的豐富故事性。 這位藝壇巨匠將畢生所秉承的價值觀深深植入於自己的創作中，啟 發後世對美學表現以及社會責任的深度思考。

愛德華．孟克《吶喊》1893年作 挪威 奧斯陸 國家美術館藏 Edvard Munch, The Scream , 1893, Collection of The National Gallery, Oslo, Norway

Modern and Contemporary Art

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阿凡迪

A FF A N D I Cocks Fighting

Bali - where everything begins Born in West Java of Indonesia, Affandi grew up under the peak of Dutch colonization, and he has firmly developed a life-long belief of cultural independence.

He attempted to break through the Western cultural dominance of his society within his creations. In 1939, Affandi visited Bali for the first time, and this trip has reawakened his creative inspiration and artistic motivation. He has then depicted everything in Bali with his own unique style throughout his artistic career. The relationship between Balinese culture and Affandi is reciprocal yet inseparable. On one hand, the artist has recorded all the local culture he has experienced and showed to the world with his canvas which became a rare and significant point of reference as a part of the island's history. On the other hand, the artist's repetitive depiction of similar themes of Bali brings clarity upon the growing path of his artistic style and techniques.

A sensual feast of clashing emotions From various traditional rituals and temple celebrations that have been passed down in

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generations, one can easily observe how traditional and conservative local Balinese culture is. Among these, the most famous would be Tajen, or cockfighting. This folk activity has a long history, and have never ceased its popularity. The wantilan, or cockfighting arena, is a temporary site which is often set at a random rural open-air area, the stage is naturally formed by a group of people gathering to form a circle, with the two fighting cocks at the center.

Regardless of its temporality, the battlefield is like a miniature of the local society. With everyone gazing at the two fighting roosters, which are the emotional sustenance of their owners, they were battling for life or death. As the American anthropologist Clifford Geertz once wrote, "In the cockfight, man and beast, good and evil, ego and id, the creative power of aroused masculinity and the destructive power of loosened animality fuse in a bloody drama of hatred, cruelty, violence, and death."Affandi has closely observed the profound connotation and social sociological matters conveyed by the atmosphere of the zealous cockfighting. He used western modernist techniques with expressive colours and strokes to present to the viewer on canvas this unique oriental dueling ritual.

文森特．梵谷《桑棗樹》1889年作 美國 帕薩 迪納 諾頓西蒙美術館藏 Vincent van Gogh, The Mulberry Tree , 1889, Collection of Norton Simon Museum, Pasadena, USA

Lot 175

Burst of emotions embodied by colour and texture of the paint In Cocks Fighting (Lot 175), two roosters are fighting like a raging fire. Affandi adapts pale white and yellow colour to depict their fine feather, vividly expressing the tension of the fight. The beaks of the two cocks are tightly shut and with their staggering postures, the artist is hinting at a close match. There is a man, at the top right corner, who is watching the match attentively, with his arms extending widely and lips open. There, his right hand was trying to reach towards the center to participate in the fight, madly cheering for his fighter to win him glory in the battle. In contrast, the other man standing on the left was expressing completely different emotions, he was frowning, with his mouth tightly shut, seemingly concerned about the situation and was trying to find the key to suppress the opponent. The facial expressions and movements of these two men reveal to the viewer actual conflicts beyond the cockfight. Rough, deep coloured bold lines at the top and bottom edges of the painting are indicating the concentrated bustling audience, whom mostly have put their bet on one of the cocks. Although they were not depicted in precise detail, the artist's flowing and swirling lines were the best indication of the mood within the fight yard.

Using fingers instead of paint brush has became the Affandi's common practice since the 1950s, and by doing this with the thick oil paint, he has captured the fleeting moment of cockfight, displaying infectious emotions. The thick texture of oil paints and the free curves generate an infatuated energy that is reminiscent of Vincent van Gogh. However, unlike most of van Gogh's paintings which record the nature, Affandi conveys more vividness and passion. His strong and powerful expressionist technique seemingly invites the viewers into the heated scene, and they are confronted by the explosive energy of the picture. The artist favoured highly contrasting colours such as red and green, or black and white. Visually, he draws the viewer's gaze to the two fighting cocks, and simultaneously heightens the emotional tension created by the sensual experience. The source of this tension may be reflective of political tensions at the time, specifically of Indonesia's emergence as a nation.

Cocks Fighting features Affandi's commonly revisited theme, and it is a prime example of his reowned painting technique. The enthusiasm and tension sparked by animal fights is intertwined with the tension of the audience, and this explosive representation lacks none of the richness of a storytelling narrative.

This artistic master rooted his value system deep into his creations, inspiring later generations to ponder deeply upon its aesthetic representations, as well as their social responsibilities.

Modern and Contemporary Art

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175 AFFANDI ( I N D O N ES I A N , 1 9 07-1 9 9 0) Cocks Fighting 阿凡迪 鬥雞

Painted in 1961 oil on canvas 97 x 117.4 cm. (38 1/4 x 46 in.) signed and dated 'AF 1961' (lower right)

1961 年作 油彩 畫布 款識：AF 1961（右下）

Provenance

亞洲 私人收藏

Private Collection, Asia Literature

Affandi Vol. II, Bina Lestari Budaya Foundation, Singapore, 2007 (illustrated, p. 114).

HK$ 1,600,000 - 2,600,000 US$ 205,100 - 333,300

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來源

出版

《阿凡迪第二冊》比娜．萊達利．布達亞基金會 新加坡 2007年 （圖版，第114頁）

Modern and Contemporary Art

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林風眠 雋永的詩意

LIN FENGMIAN

「許多人認為林風眠是中國現代繪畫的開拓 者，是成功地實踐了『融合中西』理想的藝 術家。他的『融合中西』，不是著眼繪畫技 巧層面，不是著眠於社會思想層面，而在審

林風眠1919年參與留法勤工儉學運動後，以巴黎的藝術院校為榜

美層面的融合。他『融合』並沒有使中國繪

樣，針對中國當時藝術狀況提出了「介紹西洋藝術，整理中國藝 術，調和中西藝術，創造時代藝術」的辦學宗旨，創立了國立藝術 院（後改為國立杭州藝專）。作為跨時代的先驅者，他以自身創作 具體實踐他所提倡的中西繪畫調和融合，在藝術理論與教育中對後 世產生重要而深遠的影響，為中國現代藝術的啟蒙導師。是次春 拍，保利香港將呈現兩件林風眠精品：約1950至1960年代作的《花 園中靜坐的仕女》(Lot 177) 源自於一英國重要私人收藏，該藏家的 父輩為一位船長，於1965年一次上海之行經由英國領事的引薦而直

畫進入另一種範型，而是擴展和豐富了中 國繪畫的審美天地。還沒有另一個當代畫 家，以個人的創作開闢出如此多樣的審美境 界。」

接向藝術家求得此件作品；1963年作的《山居秋色》(Lot 176) 則為

─藝術評論家，水天中

難得具有出版紀錄的作品，構圖和色彩均屬早期的典型風格代表， 在林風眠傳世作品中實屬少見。

古典造型和現代空間解析的交匯 林風眠自身對於傳統文化的執著以及從西方現代藝術所萃取的養 分，成為他容納中西道路上的基石。他受到立體派空間概念的影 響，借鑒了畢卡索、馬諦斯、布拉克的藝術軌跡，以此為入門之 徑，尋求中國繪畫嶄新的局面。林風眠分析立體主義，將幾何分 割、重疊後的表現方式在《花園中靜坐的仕女》中無所不在的 「方」與「圓」隱約展露。人物充滿動感的造型、畫面右下方的方 形坐毯以及後方充滿韻律感的修長葉片錯落白紫漸層的紫藤花，皆 表現出構圖中人、事、物的關係借鑒了塞尚的空間構成手法。但不 同於晚期作品中常見的構圖形式，異化的空間感跳脫出傳統思維以 擺件、家飾和瓶花所佈置的場景，此處的仕女好比置身於盧梭那原 始、純真的花園，林風眠簡化葉面造型的概念化規則與盧梭精準、 鉅細靡遺的風格卻大相逕庭，兩者在幻想空間的架構重疊既微妙又 和諧，產生了東西文化交流所帶來的嶄新秩序。 源自於敦煌石窟飛天造型的「仕女」可說是林風眠最具代表性的經 典題材之一，他同樣參照了民間剪紙、皮影戲的造型，融合中國傳 統與民俗技藝，以高古游絲描綜合平塗區分輪廓的技法修飾出此 作中古裝仕女那纖細柔軟的修長體態。如同他說的：「人體的線條 是流動的，把線畫活起來！」林風眠對於人物線條的精準掌控，簡 練而有力，盡顯其筆墨功力。從柳葉式的黑色眼睛亦可看出巴黎畫 派對林風眠造型上也有一定程度的影響，與莫迪里亞尼的人物表現 有著異曲同工之妙，然而沒有顯露情感的面容和靜止的佛像端坐姿 態，異於西方著重於感官的情緒描寫，更加深了東方古典中溫柔婉 約的氣質塑造。 畫面捕捉了女子靜坐的一瞬間，身後的逆向黃光隱約透過中心人物

化的構圖上顯現藝術家對於調和中西的獨到見解。水墨在宣紙上的 透明感本身就富有空靈、飄逸的神韻，林風眠以白色水粉的細線在 色塊上形成半透明質感的薄紗，色彩與淡墨交織產生了豐富的光影 層次與空間深度，完成了畫面美感的平衡與調和。林風眠曾說過： 「一個藝術家沒有像一把火在燃燒的激情，是畫不好畫的。」他落 筆前的每個細節都經過大量練習與分析，才得以達到《花園中靜坐 的仕女》中線條力量均衡、造型流暢精確、豐富多彩的美感。他富 有表現性的筆觸和柔韌有力的線條，結合中國傳統繪畫和書法的基 礎，在西方現代藝術理念中將中國現代藝術推前，實踐了他「調和 中西」的藝術理念。

身上平塗的重彩，與藍綠主色調起到強烈的對比，形成一種虛幻的 空間效果。林風眠活用了同色系的中間色調，以漸層的方式來表現 出人物的立體感，這樣的方式同樣源自於敦煌壁畫的啟發，在平面

顧愷之《女史箴圖》（局部）六朝 英國 倫敦 大英博物館藏 Gu Kaizhi, The Admonitions Scroll (detail), Six dynasties, Collection of The British Museum, London, UK

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「從小我就習慣於接近自然，對樹木崖石、河水，它們縱然不會說話，但我總離不開它們， 可以說是對它們很有感情，不管怎樣的景色，也許看來最平淡的東西，在平原上幾株樹、幾 間小屋、一條河、鐵路旁邊的一溝水、水裡有的有水草或荷葉，我永遠不會感到厭倦。」

─林風眠

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外師造化，中得心源－色彩與光線的自然韻律

彩的運用上作出突破，更引入光影變化的理論概念。他說：「繪

1963 年作的《山居秋色》是林風眠改革中國傳統山水畫的代表作，

畫上單純的描寫，應以自然現象為基礎，單純的意義，並不是繪畫

他的風景畫在50年代之後日趨成熟，率性、粗獷的筆觸和冷暖交織 的色調是他在這個時期的明顯特色。「細細體味自然的生趣，是修 養自己感覺的最好辦法」，林風眠在生活中追求對自然的感悟，再

中所流行的抽象的寫意畫－文人隨便幾筆技巧的戲墨－可以代表， 是向複雜的自然物象中，尋求它顯現的性格質量和綜合的色彩表 現。」除了用色方式受到西方現代主義的影響，林風眠豐滿的構圖

將以投射畫中，以心造境，創出有詩性情調的自然意境。

也和中國追求虛實相生的意境相輔相成，不過他更在意色彩、光線

構圖上林風眠選擇以單點透視法拆解前景、中景和遠景，層層的

就如同他一生努力不懈地穿梭於中西兩方的關聯性，既衝突但卻得

堆疊營造出空間深度。在遠方氤氳的灰藍雲彩下是成排的山巒，

以調和，在自然的美感下開闢出新的天地。

交織所帶來時間、空間的複雜變化。林風眠筆下墨色和水粉的協奏

其下的翠綠樹海蔓延到了中景轉變成橘色、黃色相間的高聳林 木，厚塗水粉在相近色調加疊下製造出肌理、光影之美，盡帶秋 風蕭瑟感，藝術家對於自然界中音樂性的描寫，在色階變化中顯 現，奏出抒情、和諧的旋律。中景內以水粉在重彩上突顯半透明 質感來詮釋山村屋舍幾何造型，前景山丘和草地的顏色和墨色混 合，黃綠調和的半透明色調形似水面倒影，以色彩光線的轉移來 營造詩畫般的情緒。 林風眠對於自然意境的追求，並不限於中國傳統山水畫中拆解元素 來組合搭配的方式，他追求東西方繪畫觀念的並駕齊驅，除了在色

保羅．塞尚《聖維克多山》約1902-1906年作 美國 紐約 大都會藝術博物 館藏 Paul Cézanne, Mont Sainte-Victoire , c. 1902-1906, Collection of The Metropolitan Museum of Art, New York, USA

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林風眠

LIN FENGMIAN

TIMELESS POETRY

Lot 177

Many people believe that Lin Fengmian was a pioneer of modern Chinese painting, an artist who succeeded at realizing the ideal of a fusion of Eastern and Western art. But his fusion of East and West was not a question of technique, nor was it concerned with social outlook, but instead, took place at the level of aesthetics. His fusion did not push Chinese painting into new stylistic areas, but rather, expanded and enriched its aesthetic possibilities. No other contemporary painter has opened up such diverse aesthetic territories with his individual creativity.

- Shui Tianzhong, art critic

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After participating in the Chinese work-study program in France in 1919, Lin Fengmian set out objectives targeting Chinese art education based on the system of Parisian art colleges. Those objectives involved "introducing Western art, reorganising Chinese art, harmonising Chinese and Western art, and creating art for our own era," and on that basis, he established the National Academy of Art (later renamed the National Hangzhou Academy of Art). As a pioneer and a transitional figure between eras, Lin embodied in his own work the ideals he espoused regarding harmonising and merging Chinese and Western art. As a theorist, an educator, and an enlightened instructor guiding Chinese modern art, he had far-reaching influence on later generations. For this spring sale, Poly Auction Hong Kong will present two well inherited works of Lin Fengmian: Seated Lady in the Garden (Lot 177), dating from the 1950s-60s, acquired from an important British private collection. The collector's father was a captain who, when passing by Shanghai in 1965, purchased this work directly from the artist through a referral by the British Consulate. Village in Autumn (Lot 176), from 1963, is a rare Lin Fengmian work with a literature record; its colour and composition are representative of the artist's early creative process, and is a truly remarkable piece in Lin Fengmian's repertoire

The Crossing of Classically-Shaped Forms and Modern Spatial Deconstruction The cornerstones of Lin's motivation to blend Eastern and Western art were his allegiance to traditional culture, and his ability to absorb elements from Western modern art. Influenced by the spatial concepts of the Cubists, he drew on the work of Picasso, Matisse, and Braque as a starting point from which to seek a new kind of Chinese painting. Indications of Lin's analytical Cubism can be found in the square and circular forms seen throughout Seated Lady in the Garden, as the artist breaks forms into overlapping geometric shapes. From the dynamism

of the figure, the square rug at the lower right, to the rhythmic flurry of long leaves against the white and violet shades of the wisteria, Lin borrows Cézanne's methods of building up space in the relationship between the central figure and her surroundings. Unlike later-period works in which the alienated spaces of his compositions have departed from the traditional placement of objects, ornaments, and vases, the female figure here seems situated in the same kind of primitive and pure garden as in Rousseau; Lin Fengmian's conceptualized leaves, however, differ from Rousseau's precise and detailed depictions. Yet a new kind of interchange between East and West can be found in the way that both structure their fantastical spaces subtly and harmoniously through repetition and overlapping figures.

The theme of traditional courtly ladies, the presentation of the motif based on the graceful, flying figures in the Dunhuang caves, is a classic, representative subject in Lin Fengmian's depictions. Drawing from the folk craft in paper-cutting and shadow-puppet theatre, Lin merged China's traditional and folk arts with his own "lofty archaic gossamer thread" in mixture of establishing contours through separation of colour scheme, to present the slim and slender figure in ancient costume. He once said, "The lines of the human figure are flowing—make them come alive!" The practiced, firm, and precise control of the lines in Lin's human subjects demonstrate his outstanding skill with brush and ink. In her leaf-shaped eyes we also see an echo of Modigliani's approach to portraying his subjects, and some degree of influence from the "Paris School". Yet, the impassive face of his model and her Bodhisattva-like pose differ from the Western focus on expressive facial features, deepening the sense of a classical Eastern grace and reserve on the part of this character.

Lin captures this peacefully posed woman in a fleeting moment, backlit by yellow light that suffuses the dark, flat areas of colour in her figure, and contrasts strongly with the principal blue-green tones of the painting to create the sense of an illusory space. Lin employs medium tones in a single color series and creates weight and mass through the gradual transition of shades, a method also inspired by the paintings of the Dunhuang caves. The flattened compositional spaces of this painting, also portrays the artist's unique approach upon combining the Eastern and Western. The transparency of ink on Chinese xuan paper creates a light and spare gracefulness, and Lin employs fine white lines over blocks of colour to form gauzy, semi-transparent textures. The interweaving of colour and lightly applied ink produces rich layers of light, shadow, and spatial depth, balancing and harmonising the aesthetics of the composition. Lin once said, "An artist who does not have passion like a raging fire will not paint well."

Only his habit of practicing and analysing every detail before putting brush to paper could produce the balanced strength of the lines in Seated Lady in the Garden, along with its fluid, precise forms and rich sense of colour. Expressive brushwork and soft, supple lines, melded with the techniques of Chinese traditional painting and calligraphy, advanced Chinese painting with modern,

亨利．盧梭《林中散步的婦人》1905年作 美國 費城 巴恩斯基金會藏 Henri Rousseau, Femme se promenant dans une forêt exotique , 1905, Collection of The Barnes Foundation, Philadelphia, USA

Western concepts, and achieving in this work his ideal of "harmonising" Chinese and Western art.

Learn from Nature, Capture the Heart-the Natural Rhythms of Colour and Light Village in Autumn, from 1963, is a representative work showing how Lin Fengmian reformed Chinese landscape painting. His landscape paintings endeavoured greater maturity after the 1950s; willful and rough brushwork, along with mixtures of warm and cool colours, were the hallmarks of his style during this period. "Developing a fine appreciation of life in nature is the best way of cultivating your feelings," he said. Lin sought insights into nature through living, and projected these insights onto his work, allowing subjective feelings to inform his paintings, and produce natural scenes with conceptions full of poetic feeling.

In terms of composition, Lin chooses a single-point perspective, dividing the scene into foreground, middle ground, and distant view, and uses their layered progression to produce spatial depth. Blue-grey mists in the distance enfold a mountain range, while jade-green forests extend from there to the middle ground, where lofty trees spread yellow and orange leaves. Lin's thickly applied gouache builds up to create beautiful light, shadows, and textures, while the artist's musical presentation suggests the rustling of the leaves in the chilly fall wind. His shifting colour scales create a melodically lyrical and harmonious feel.

Gouache in the middle ground over heavy colour produces a semi-transparent effect in the shaping of the village dwellings. The colours of the small hills and grassy areas of the foreground blends with the black tones, while semitransparent yellow-green tones suggest the reflective surface of the water, creating a poetic atmosphere from their shifts in colour and light.

In pursuing conceptions of nature in his paintings, Lin Fengmian did much more than deconstruct and rearrange the elements of traditional Chinese paintings.

He sought a paralleled union of Eastern and Western concepts, leading to breakthroughs in the use of colour and introducing theoretical ideas about changes in light and shadow. Lin said, "Simple portrayals in paintings should be based upon natural phenomena. The meaning of simplicity is not the popular idea of lyrical abstraction. That can easily be accomplished by a few strokes of a literati painter's brush. It means that in the complex phenomena of nature we seek the character, weight, and overall colour that nature displays." In addition to the influence of Western modernism on his use of colour, Lin Fengmian's rich compositions support the Chinese concept of the interdependence of form and emptiness. But his real concern was with the complex expressions of time and space resulting from his interweaving of light and colour. The interplay of inks and guoache in Lin Fengmian's work mirror his lifetime of tireless integration between Chinese and Western forms, sometimes clashing yet capable of being harmonised, through which he discovered new regions of natural beauty.

"I've loved getting close to nature ever since I was a boy.

Trees, cliffs, and rivers can't speak, but I have so much feeling for them that I just can't leave them. Regardless of the scene, even things that look ordinary, such as a few trees on a plain, several small buildings, a river, a ditch full of water next to a railway, which might have waterweeds or lotuses in it-I will never tire of any of these things."

- Lin Fengmian

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176 LIN FENGMIAN (C H I N ES E , 1 9 0 0 -1 9 9 1 ) Village in Autumn 林風眠 山居秋色

Painted in 1963 ink and colour on paper 67.5 x 68.4 cm. (26 1/2 x 27 in.) signed in Chinese (lower right) one seal of the artist

1963 年作 水墨 設色 紙本 款識：林風眠（右下） 鈐印：林風瞑印

Provenance

亞洲 私人收藏

Private Collection, Asia Literature

Leader of Chinese Modernism Art: Lin Fengmian, Asia Pacific Art Promotions Ltd., Taipei, Taiwan, 1999 (illustrated, pp. 258 & 296).

HK$ 1,500,000 - 2,500,000 US$ 192,300 - 320,500

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來源

出版

《中國現代主義繪畫的先驅者：林風眠》加拿大亞太國際藝術顧問有限公司 台北 台灣 1999年（圖版，第258及296頁）

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177 LIN FENGMIAN (C H I N ES E , 1 9 0 0 -1 9 9 1 ) Seated Lady in the Garden 林風眠 花園中靜坐的仕女

Painted circa 1950-1960s ink and colour on paper 69.5 x 66.5 cm. (27 1/4 x 26 in.) signed in Chinese (lower left) one seal of artist

約 1950-1960 年代作 水墨 設色 紙本 款識：林風眠（左下） 鈐印：林風眠印

Provenance

英國 私人收藏（1965年原藏者之父母於上海直接得自於藝術家） 佳士得 香港 2013年11月24日 編號103 現藏者購自上述拍賣

Private Collection, UK (acquired directly from the artist by the parents of owner in Shanghai, 1965) Christie's Hong Kong, 24 November 2013, Lot 103 Acquired from the above sale by the present owner

HK$ 2,200,000 - 3,200,000 US$ 282,100 - 410,300

中國 安西 榆林窟 第15窟 唐代 飛天 Figure of Flying Apsara, Tang dynasty, Cave 15, Yulin Caves, Anxi, China

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來源

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風箏不斷線

〇 178

UNBROKEN LINE

WU GUANZHONG (C H I N ES E , 1 9 1 9 -20 1 0) Black Pines 吳冠中 黑松

Painted in 1992 oil on canvas 73.1 x 60.1 cm. (28 3/4 x 23 3/4 in.) signed and dated in Chinese (lower right)

1992 年作 油彩 畫布 款識：荼 九二（右下） 展覽

Exhibited

France, Paris, Musée Cernuschi, Recent Ink & Brush Works, Oil Paintings and Sketches by Wu Guanzhong, 20 November, 1993-2 January, 1994.

Literature

Recent Works by Wu Guanzhong 92', Yan Gallery, Hong Kong, China, 1992 (illustrated, p. 24).

Contemporary Chinese Artist - Recent Ink & Brush Works, Oil Paintings and Sketches by Wu Guanzhong, Musée Cernuschi, Paris, France; L'Atelier Productions, Singapore, 1993 (illustrated, p. 91).

Chinese Modern and Contemporary Master-Wu Guanzhong, Chin Hsiu Cultural Enterprises, Taipei, Taiwan; & People's Fine Arts Publishing House, Beijing, China, 1994 (illustrated, p. 172).

Wu Guanzhong-A Selection of 128 Fine Works, L'Atelier Productions, Singapore, 1996 (illustrated, p. 97).

The Landscape of Life-Wu Guanzhong's Album In Art III, SDX Joint Publishing Company, Beijing, China, 2003 (illustrated, p. 29) Collected Works of Wu Guanzhong I, People's Fine Arts Publishing House, Beijing, China, 2003 (illustrated, pp. 170-171).

The Complete Works of Wu Guanzhong, Vol. IV, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 35).

HK$ 8,000,000 - 12,000,000 US$ 1,025,600 - 1,538,500

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1993年11月20日-1994年1月2日「吳冠中水墨新作、油畫及素描展」塞努奇 博物館 巴黎 法國 出版

《吳冠中92' 新作選》一畫廊 香港 中國 1992年（圖版，第24頁） 《吳冠中水墨新作，油畫及素描》塞努奇藝術博物館 巴黎 法國；藝達作坊 新加坡 1993年（圖版，第91頁） 《中國近現代名家畫集—吳冠中》錦繡文化企業 台北 台灣；人民美術出版 社 北京 中國 1994年（圖版，第172頁） 《吳冠中精品選集》藝達作坊 新加坡 1996年（圖版，第97頁） 《生命的風景：吳冠中藝術專集 III卷》生活．讀書．新知 三聯書店 北京 中國 2003年（圖版，第29頁） 《吳冠中作品收藏集I》人民美術出版社 北京 中國 2003年（圖版， 第170-171頁） 《吳冠中全集—第四卷》湖南美術出版社 長沙 中國 2007年（圖版， 第35頁）

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吳冠中

WU GUANZHONG

黑松

「從生活中來的素材和感受，被作者用減法、 除法或別的法，抽象成了某一藝術形式，但 仍須有一線聯繫著作品與生活中的源頭。風 箏不斷線才能把握觀眾與作品的交流。 」

─吳冠中 「歲寒，然後知松柏之後凋也。」經冬不凋的松樹被稱之為「歲寒 三友」之一，其堅韌耐寒的品格受文人雅士們喜愛，認為是高尚氣 節與品質的象徵，歷來被文人墨客謳歌讚頌，抒發胸臆。而遒勁屹 立百年的老樹，長久以來對吳冠中都具有深刻的情懷，其中「色黝 黑，腰桿直」的松樹，其頂風傲雪堅挺不拔的風姿多次成為吳冠中 筆下的主角，《黑松》(Lot 178) 樹株傲然挺立的枝幹矗立於畫面 中心，樹梢以線段牽引成舞動的枝椏，張牙舞爪的盤踞畫面上方， 群聚成茂密的松林，錯落於林間五彩的小色塊，像是簇簇垂掛的松 針與松果，五彩斑斕交錯於一團墨黑之間。經由長期思考沉澱的視 覺演繹，《黑松》傲骨的軀幹不單體現松樹本質的特性，同時亦反 映藝術家對於人生的嚮往，驗證蒙德里安在《繪畫的新造型手段》 裡提到：「真正的抽象藝術家有意識地在美的情感中感覺到抽象 性。」吳冠中在繪畫與對景物描繪的過程中，吳冠中直抒胸臆寄托 自身強心鐵骨，獨立超然對藝術追求的執著。 吳冠中在《黑松》中著眼於強調形象特色的局部的特寫鏡頭造景， 緊緊捉住大自然的形態淋漓盡致展現其特徵。畫面中心是「亂立無 行次，高下亦不齊」前後錯落交織的四棵松樹，沿襲石濤於《苦 瓜和尚畫語錄》言：「吾寫松柏古槐古檜之法，如三五株，其勢似 英雄起舞，俯仰蹲立，蹁躚排宕。」對寫樹章法的探究。吳冠中不 單重視每棵樹的體態性格，更著眼於樹群之間的呼應，生動有致參 差高下的排列，墨黑與灰色的線性結構，蘊含了樹枝轉折的變化動 勢，遊走的線條時而交纏時而分離，筆順間牽引無數隱含著東方書 法筆墨裡的抑揚、頓挫的線條使畫面產生流動感的旋律空間，同時 也體現樹木的舞動性，使畫面充滿輕巧的節奏與韻律感。

折線條間，點與線的交錯和竄動，於大塊狀體積下，構成空間虛實 交錯的鋪陳。《黑松》體現吳冠中經於物象的抽象概括後，把握色 點、線條與塊面的整體造型功能，回歸物體最為原始的幾何形狀， 在油彩創作中運用線條，將東方線條與西方塊面結合為獨特嶄新的 形式語言，豐富的空間層次表達，達到他致力探索油畫民族化的創 作理念。

康丁斯基說：「線是點移動的軌跡，是點的結果，點的運動產生非 穩定，非封閉的點，從靜態跳到動態。」《黑松》繽紛而跳耀的細 碎紫、綠色塊在畫面中心四散，攀附於曲折的線條，最底層襯墊 著黑色塊狀樹林，進一步運用線條的流動性打破塊狀面積的沉重， 創造石濤所言；「黑團團里墨團團，黑墨團中天地寬。」《黑松》 以點、線、面的構成，建構一個多重層次的世界，在充滿動勢的曲

趙之謙《墨松圖》1872年作 中國 北京 故宮博物院藏 Zhao Zhiqian, Ink Pine , 1872, Collection of The Palace Museum, Beijing, China

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吳冠中

WU GUANZHONG BLACK PINES

1.

Lot 178

"Artists can extract materials and feelings from daily life into a certain art through reduction, or elimination, or other methods. But there still has to be a thread that connects the piece of art work with their origins in daily life. The connection between the spirit of work and feelings of the audience should be like a kite with an unbroken string."

- Wu Guanzhong

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"Now the weather is cold, and we see that the pines and the cypresses hold the longest lifespan." Pines, which remain fresh through the hard cold winter, are called by the Chinese as one of the "Three Friends of Winter " (namingly pines, bamboo, plums), and were loved by the literati for their ability to endure cold weather. Taking them as symbols of noble character and integrity, they became a symbol through which literati used in expressing their (similar) quality in personality. Such tough trees also had deep appeal for Wu Guanzhong, who made pines, with their "darker colours and straight trunks" the subject of many paintings in which he portrayed their strong, unyielding character. In Black Pines (Lot 178), the proudly erect trunks stand at the center of the painting, as finer lines lead outward towards the gracefully dancing tips of their branches that occupy the upper and outer segments of the work.

This dense clump of pines, set in the midst of the small blocks of colour representing the colourful forest and the sets of hanging pine cones and needles, are themselves set against a darker black background. After a long period of considering his visual interpretation of these trees, the proud trunks of Wu's Black Pines not only embody the essential character of the trees themselves; they also reflect the artist's own aspirations towards life, testifying to what Mondrian once said, in "Neo-Plasticism in Pictorial Art", that "A real abstract artist consciously feels abstraction in his emotion upon beauty." In his depiction of subjects, Wu Guanzhong directly poured out his deepest feelings, projecting into his paintings his own strength and his lofty, independent pursuit of what he thought to be the best in art.

1. 石濤《採菊圖》（局部）1672年作 中國 北京 故宮博物院藏 Shi Tao, Chrysanthemum (detail), 1672, Collection of The Palace Museum, Beijing, China 2. 古斯塔夫．克林姆《白樺樹1》1903年作 德 國 德累斯頓 德累斯頓國家藝術館藏 Gustav Klimt, Beech Forest I , 1903, Collection of Staatliche Kunstsammlung Dresden, Dresden, Germany

In Black Pines, Wu Guanzhong focus on a close-up partial view, capturing the natural features of the scene incisively. At the center of the painting, four pines intertwine and "stand in random disorder, and uneven in height as well." As Shi Tao wrote in Monk Bitter Gourd's Analects on Painting, "When I paint pines and cypresses, or the scholar tree or juniper, I take three or five; in their poses they stride like heroes, rising above or crouching down, bold,

powerful, and free." Wu's method of depicting trees involved stressing the posture and character of each individual tree, while also attending to the interactions between them, vividly depicting the jagged unevenness in their heights. Wu's structure of black and grey lines conveys the twisting, turning dynamic of their trunks, while the wandering lines sometimes weave together and sometimes separate. His lines, in their pauses and turns, move in cadences similar to those of Eastern calligraphy to produce a flowing, melodic feel, while embodying the dancing movement of the trunks. The result fills his composition with a sense of graceful rhythm and harmonious motion.

According to Kandinsky, "the geometric line is the track made by a moving point; that is, its product. It is here that the leap from static to dynamic occurs."

Scattered, ragged fragments of green and purple colour spread through the center of Black Pines. The winding lines climb along the trunk, supporting at the bottom the black forms of the trees, while in other cases the flowing quality of coloured lines breaks through the heaviness of the dark blocks of colour. As Shi Tao said, "Within the blocks of black are deeper, inky blocks, and within these black, inky blocks, heaven and earth spread out in all their breadth." The points, lines, and planes that structure Black Pines create a multi-layered world. The dynamically curving lines, the interlacing of points and lines within these large volumes and masses, produce an interwoven presentation of positive and negative spaces. Black Pines embodies Wu Guanzhong's brilliance in presenting abstract, generalized objects and his grasp of the functions of points, lines, and planes in the overall modeling of the work. He returns to the most fundamental geometric shapes of objects, and within the oil medium, employs lines to unite Eastern linear characteristics with Western colour blocks, creating a unique and new formal language. His rich expression of spatial layering achieves the creative goals for which he strove, to promote nationalistion of oil painting in China.

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179 WU GUANZHONG (C H I N ES E , 1 9 1 9 -20 1 0) Pondside Households (Hometown) 吳冠中 池塘人家（故鄉） PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1996 oil on board 61.4 x 46 cm. (24 1/4 x 18 in.) signed in Chinese; dated '96' (lower left); titled and signed in Chinese; dated '1996' (on the reverse)

1996 年作 油彩 木板 款識：荼96（左下）；故鄉吳冠中1996（畫背） 來源

Provenance

保利 香港 2013年10月6日 編號 14 現藏者購自上述拍賣

Poly Auction Hong Kong, 6 October 2013, Lot 14 Acquired from the above sale by the present owner

出版

Literature

The Complete Works of Wu Guanzhong, Vol. IV, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 167).

HK$ 7,000,000 - 10,000,000 US$ 897,400 - 1,282,100

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《吳冠中全集─第四卷》湖南美術出版社 長沙 中國 2007年（圖版， 第167頁）

Modern and Contemporary Art

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吳冠中

WU GUANZHONG

池塘人家（故鄉）

「自從塞尚覺察物象均可分析其幾何形體的基本構成，到布 拉克突出塊面組建畫面，繪畫展示了塊面在表現中的魅力。 中國傳統繪畫的法寶是線和點渲染也只是線和點的侍從。學 西方法畫，入手便離不開塊面之運用。我畫過大量江南題材 的油畫，在白牆黑瓦的塊面間搏鬥，在桃柳飄搖的線之穿插 中徬徨。泊來的立體塊面，祖傳的筆墨點線，都不曾奴我， 卻為我奴役了。」

—吳冠中

保羅．塞尚《加爾達納》1886年作 美國 紐約 大都會藝術博物館藏 Paul Cézanne, Gardanne , 1886, Collection of The Metropolitan Museum of Art, New York, USA

水鄉撫育吳冠中的童年，因此成年後他跑遍江

舍、黑色屋簷與白色牆面，以簡約的幾何形狀

南的村鎮，以此景致追求他對於形式美的嚮

造型，運用塞尚幾何形體分析的理論，利用交

往。「當我嚴格、準確地畫下對象，便失去屋

錯的塊狀和層次關係創造空間深度。吳冠中曾

宇參差，錯綜複雜之人家密集感。於是須緊

評論塞尚：「用錐形、圓形、球體等幾何形因

張地捕獲黑、白塊面之跳躍，大塊小塊之對

素建造形象，像結晶體一般組成堅實的體。他

照與呼應，紅、綠色彩之分布，點、線之鑲

運用色彩的冷暖轉折造型，完全拋棄了靠明暗

嵌……。」《池塘人家（故鄉）》(Lot179) 便

渲染的古老手法。」《池塘人家（故鄉）》表

是這段話的具體寫照。畫面中鄰水人家的屋

現吳冠中成功的將西方繪畫的塊面構成，轉介

Modern and Contemporary Art

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1.

2.

至對江南水鄉的東方情思描寫，以西方現代主義對於物象的分析和解

而是運用景物的不同穿透性構成均稱而靈活的幾何結構美感，相較

構，轉化為作者主觀情感與自然的相互交融。

過去畫面更顯得活潑。吳冠中曾於《百代宗師一僧人—談石濤藝 術》談論過對石濤創作的感想，「山石林木間有幾間大大的房屋，

1974年吳冠中開始嘗試水墨創作，80年代水墨技巧逐漸臻熟，水墨 中的寫意因子逐漸滲透至以油彩為媒材的表現之中，而90年代的作品 簡潔、概括的寫意傾向就更加鮮明。《池塘人家（故鄉）》簡化了風 景的寫實細節，「其中白牆、黑瓦、黑門窗之間的各式各樣的、疏密 相間的黑白幾何形，構成了具有迷人魅力的形式美。」吳冠中逐漸脫 離物象外觀的刻畫，轉向反映構成美的內在因素與條件，突出風景蘊 藏的幾何抽象美感，注意畫面韻律、意境、精神感悟，體現中國的傳 統山水畫強調藝術家的自我主觀，以寫意的自然景致，反射藝術家情

不僅為了點綴屋子有人在享閑居之樂，更關鍵的著眼點在於，房屋 的塊面之形與山石林木的線組織間的對照與變化，共同構成了新穎 多樣的畫面。」他認為石濤活潑的構圖，將大自然繪寫成一幅幅具 有獨自個性的肖像畫，此段評論不僅是對石濤的讚賞，同時也是吳 冠中秉持的創作理念，他以中國傳統山水的元素，在構圖上援用靈 活的形式，呈現自然風景「可游可居」景觀，重現了中國傳統文化 所追求，人與自然契合無間、「天人合一」的美好願景。

感粹煉的凝聚，在自然景觀的客觀重現下，注入東方山水寫意情境， 體現90年代吳冠中穿梭於油畫與水墨兩種媒材，在西方與中國兩種美 學體系互相牽引與追尋，「水陸兼程」的絕佳範例。 90年代吳冠中對《石濤畫語錄》熟讀精通後，將石濤尊奉為「現 代繪畫之父」，對於「古人之鬚眉不能長我之眉目」，反對承襲前 人的囿限，必須創造自己的繪畫語言，貫徹於吳冠中往後的創作理 念。其中石濤對繪畫構圖的方式，深刻影響吳冠中90年代後構圖 思維，他反對程式化的山水結構因而提出：「分疆三疊兩段，偏要 突手作用，才見筆力，即入千峰萬壑，俱無俗跡。」石濤認為不可 拘泥於三疊兩段的章法中，必須要敢於突破，不落俗套，靈活運用 地、樹、山三者，從而構成主中有賓，賓中有主的豐富結構。《池 塘人家（故鄉）》依傍山巒的樓房，臨水而建，屋舍的倒影依稀， 湖水映照出波光粼粼的倒影，虛實交錯，於是空間便出現一種跳躍 變化的節奏感，畫面的層次復迭，不單只是強調單一主體的型態，

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1. 保羅．塞尚《普羅旺斯的房子：愛思塔克的附近的里亞爾山谷》約1883 年作 美國 華盛頓特區 國家畫廊藏 Paul Cézanne, Houses in Provence: The Riaux Valley near L'Estaque , c. 1883, Collec-tion of National Gallery of Art, Washington, D.C., USA 2. 夏圭《溪山清遠圖》（局部）南宋 台灣 台北 國立故宮博物院藏 Xia Gui, Remote View of Streams and Hills (detail), Southern Song, Collection of the National Palace Museum, Taipei, Taiwan

吳冠中

P OND SIDE HOUSE HOLDS (HOMETOWN)

"The charm of colour blocks has been apparent ever since Paul Cézanne sensed that objects could be analysed in terms of constituent geometric structures, and Georges Braque began using colour blocks to construct images. The magic of traditional Chinese painting has always been found in its lines and points, and even colour-wash techniques are just their subsidiary. But in Western painting, everything begins with colour blocks. In my many oil paintings of the Jiangnan region, I struggled with the blocks of white walls and black roofs, and I hesitated over the lines of swaying willows.

I've never been a slave to neither the colour blocks I borrow from the West, nor the Chinese dots and lines I've inherited. Instead they are slaves in the labour of my art."

- Wu Guanzhong

Lot 179

Wu Guanzhong grew up in wateryown, and later, as he roamed through Jiangnan, it was scenes from these villages that embodied his search for beauty of form in painting. "When I try to strictly, accurately paint what I see, I lose the uneven jumble of the houses and the complex patterns of people crowded altogether. Therefore I strain to capture the leaps of those blocks of white and black, the echoes and resonances between the large blocks and the small, and how to inlay the patterns of red and green lines and points...." Wu's observations are reflected in his Pondside Households (Hometown) (Lot 179), as he lays out the houses at the bank side, the black rooftops and the white walls in simplified, geometrical forms. Using Cézanne's method of geometrical analysis, he employs overlapping blocks of colour and layering relationships to create spatial depth. Wu Guanzhong once said of Cézanne that "Building images from basic geometric elements such as cones, circles, and spheres, he formed solid objects with crystal-like structures. Shifting between warm and cool tones in his colours, he completely does away with old methods that depended on light and shadow." Pondside Households (Hometown), a scene from the water villages of the Jiangnan region, shows how successfully Wu Guanzhong introduced Western methods of structuring paintings with blocks of colour into the Eastern ambience and presentation of such a work. The analysis and deconstruction of Western modernism are transformed here into unification of the artist's subjective feelings with nature.

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In 1974 Wu began experimenting with ink-wash painting, and as his impressionistic ink techniques matured during the '80s, they began to find their way into his works in the oil medium. By the 90s, the clean, simple, and abstract character of these impressionistic techniques became ever clearer. In Pondside Households (Hometown), Wu simplifies the realistic elements of the painting's scenery: "Among them, it was the various types of black and white geometrical shapes in the white walls and the black doors, windows, and roofs, and their varied spacing, that could produce that intensely appealing beauty of form." He gradually departed from exact depiction of external details, turning instead toward reflecting the inner factors that produce beauty, highlighting the hidden charm of geometrical abstraction within a scene. He brought out harmonious rhythms, artistic conceptions, and awareness of spirit, embodying in his paintings the idea of the artist's personal, subjective view that was so important in traditional Chinese landscape painting. His freestyle depictions of natural scenes reflect the artist's refined, concentrated emotions, and within his objective reproduction of these natural scenes, Wu injects the impressionistic elements of Eastern landscape painting. Wu once referred to himself as an "amphibian" painter due to his equal facility with the "watery" medium of inks and the more "dry" medium of oils. Pondside Households (Hometown) perfectly embodies the artist's way of moving between the ink and oil mediums in the '90s, and how both Western and Chinese approaches influenced his work, making it a brilliant example of his dual approach.

1. 馬遠《梅石溪鳧圖》南宋 中國 北京 故宮博 物院藏 Ma Yuan, Plum Blossoms above Rocks and Wild Ducks , Southern Song, Collections of The Palace Museum, Beijing, China 2. 王蒙《具區林屋圖》（局部）元代 台灣 台北 國立故宮博物院藏 Wang Meng, Forest Chamber Grotto at Juqu (detail), Yuan dynasty, Collection of the National Palace Museum, Taipei, Taiwan 3. 巴勃羅．畢卡索《山坡上的房子》1909年 作 德國 柏林 貝格魯恩博物館藏 Pablo Picasso, Houses on the Hill , 1909, Collection of Berggruen Museum, Berlin, Germany

2.

In the 1990s, having read and studied Shi Tao's Discussions on Painting, Wu Guanzhong proclaimed Shi Tao "the father of modern painting." Shi Tao opposed continuing to pass on the restrictive rules of earlier eras, saying that "the beards and eyebrows of the ancients won't grow on my face."

The idea that an artist must create his own painting vocabulary became a part of Wu Guanzhong's creative outlook. Shi Tao's ideas about composition influenced Wu's thinking on the subject in the '90s; Shi Tao had opposed formulaic, structured depictions of landscapes, and said, "Dividing the border, three folds, two sections â&#x20AC;&#x201C; you must simply extend your hand and work, so you can see the energy of the brushstrokes, and eliminate whatever is common and vulgar from your rows of mountain peaks and valleys." Shi Tao did not believe in following the "three

folds, two sections" concept of dividing a landscape; he believed you must have the courage to innovate, to be unconventional, to make imaginative use of land, forests, and mountains, in order to create a rich composition with main and subsidiary points of interest. In Pondside Households (Hometown), multistory dwellings are set against the mountains and built to the edge of the pond, their misty reflections appearing on its clear, gleaming surface. Clear forms mix with suggested outlines in a rhythmic pattern of change across the space of the painting; its various layers emphasise its single subject, while the penetration of the other scenic objects into the space creates a balanced and vivid geometric beauty, often with a livelier feel than Wu's earlier compositions. In A Monk, A Great Scholar of a Hundred GenerationsOn the Art of Shi Tao, Wu Guanzhong discussed his feelings about Shi Tao's work: "Among the mountains, rocks, and forest there are several large dwellings, suggesting people within enjoying a life of peace and quiet. But an even more interesting point is the way in which the blocked-out forms of the houses and the lines of the boulders and forests echo each other, and together, create a novel and varied composition." Wu Guanzhong believed that Shi Tao's lively compositions painted nature as a series of portraits, each with their own individual character, and Wu's commentary, beyond praising Shi Tao's art, sets out the principles that Wu Guanzhong himself held. With elements of traditional Chinese landscape painting, the flexible forms of Wu's compositions present views of natural scenery in which one can roam or one can live, reproducing the traditional ideals of Chinese culture-a vision of man in harmony with nature.

3.

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風箏不斷線 UNBROKEN LINE

180 WU GUANZHONG (C H I N ES E , 1 9 1 9 -20 1 0) Banyans and the Sea 吳冠中 榕樹與海 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1987 ink and colour on paper 95.5 x 112.5 cm. (37 1/2 x 44 1/4 in.) two seals of the artist

1987 年作 水墨 設色 紙本 鈐印：冠中寫生、八十年代

Exhibited

1989年7月10日-8月19日「吳冠中—一個當代中國藝術家巡展」舊金山中華 文化中心 舊金山 美國 1989年9月24日-11月19日「吳冠中—一個當代中國藝術家巡展」伯明罕美術 館 伯明罕 美國 1990年1月21日-3月4日「吳冠中—一個當代中國藝術家巡展」斯賓塞美術館 堪薩斯 美國 1990年4月3日-5月29日「吳冠中—一個當代中國藝術家巡展」赫爾伯特． 強森美術館 伊薩卡 美國 1990年9月8日-11月4日「吳冠中—一個當代中國藝術家巡展」底特律美術館 底特律 美國 1997年5月10日-7月13日「吳冠中畫展」國立歷史博物館 台北 台灣 1997年7月19日-9月14日「吳冠中個展」山美術館 高雄 台灣 2009年7月25日-9月13日「墨韻—中國當代水墨展」山藝術．北京林正藝術 空間 北京 中國 2014年4月25日-5月25日「收藏有藝事」中正紀念堂 台北 台灣

USA, San Francisco, Chinese Culture Center of San Francisco, Wu Guanzhong: A Contemporary Chinese Artist, 10 July-19 August, 1989.

USA, Birmingham, Birmingham Museum of Art, Wu Guanzhong: A Contemporary Chinese Artist, 24 September-19 November, 1989.

USA, Kansas, Spencer Museum of Art, Wu Guanzhong: A Contemporary Chinese Artist, 21 January-4 March, 1990.

USA, Ithaca, Herbert F. Johnson Museum of Art, Wu Guanzhong: A Contemporary Chinese Artist, 3 April-29 May, 1990.

USA, Detroit, Detroit Institute of Arts, Wu Guanzhong: A Contemporary Chinese Artist, 8 September-4 November, 1990.

Taiwan, Taipei, National Museum of History, Exhibition of Wu Guanzhong Paintings, 10 May-13 July, 1997.

Taiwan, Kaohsiung, Mountain Arts Museum, Exhibition of Wu Guanzhong Paintings, 19 July-14 September, 1997.

China, Beijing, Mountain Art Foundation+Frank Lin Art Center, Rhythm of Ink, 25 July-13 September, 2009.

Taiwan, Taipei, National Chiang Kai-shek Memorial Hall, The Joy of Collecting Art: Lin Ming-Che's Art Collection, 25 April-25 May, 2014.

Literature

Wu Guanzhong: A Retrospective, Hong Kong Arts Centre, Hong Kong, China, 1987 (illustrated, plate 100, unpaginated).

Wu Guanzhong: A Contemporary Chinese Artist, Chinese Culture Foundation of San Francisco, San Francisco, USA, 1989 (illustrated, plate 34, p. 105).

Wu Guanzhong's Personal Selection of Paintings, The Oriental Press, Beijing, China, 1992 (illustrated, p. 96).

Han Mo Series A21 Wu Guanzhong-Ancient City, Han Mo Xuan Publishing Co., Ltd., Hong Kong, China, 1997 (illustrated, p. 84).

Exhibition of Wu Guanzhong Paintings, National Museum of History, Taipei, Taiwan, 1997 (illustrated, p. 77).

Mountain Art, No. 87, Outstanding Culture Publishing Co. Ltd., Kaohsiung, Taiwan, 1997 (illustrated, p. 73).

Works Selection of Chinese Contemporary Art I–Wu Guanzhong, Mountain Arts Museum, Kaohsiung, Taiwan, 1997 (illustrated, p. 89 & back cover).

The Landscape of Life - Wu Guanzhong's Album In Art II, SDX Joint Publishing Company, Beijing, China, 2003 (illustrated, pp.140-141) The Complete Works of Wu Guanzhong Vol. VI, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 124).

Rhythm of Ink, Mountain Art Foundation+Frank Lin Art Center, Beijing, China, 2009 (illustrated, p. 145).

The Joy of Collecting Art: Lin Ming-Che's Art Collection, Artist Publishing, Taipei, Taiwan, 2014 (illustrated, p. 214).

HK$ 6,000,000 - 10,000,000 US$ 769,200 - 1,282,100

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出版

《吳冠中回顧展》香港藝術中心 香港 中國 1987年（圖版，第100圖， 無頁碼） 《吳冠中畫展》舊金山中華文化基金會 舊金山 美國 1989年（圖版， 第34圖，第105頁） 《吳冠中自選畫集》東方出版社 北京 中國 1992年（圖版，第96頁） 《名家翰墨叢刊中國近代名家書畫全集21 吳冠中/故城》翰墨軒出版有限公 司 香港 中國 1997年（圖版，第84頁） 《吳冠中畫展圖錄》國立歷史博物館 台北 台灣 1997年（圖版，第77頁） 《山藝術雜誌》No. 87 傑出文化出版有限公司 高雄 台灣 1997年（圖版， 第73頁） 《中國當代藝術選集1—吳冠中》山美術館 高雄 台灣 1997年（圖版， 第89頁及封底） 《生命的風景：吳冠中藝術專集 II卷》生活．讀書．新知 三聯書店 北京 中國 2003年（圖版，第140-141頁） 《吳冠中全集—第六卷》湖南美術出版社 長沙 中國 2007年（圖版， 第124頁） 《墨韻》山藝術．北京林正藝術空間 北京 中國 2009年（圖版，第145頁） 《收藏有藝事》藝術家出版社 台北 台灣 2014年（圖版，第214頁）

WU GUANZHONG

吳冠中 榕樹與海 「六十年江湖生涯，老樹最是莫逆之 交。濱江的大榕樹，偏體垂掛著氣根， 蓬頭散髮，永葆婆娑風範。」

—吳冠中〈說樹〉

1.

創作於1987年《榕樹與海》(Lot 180) 取材於

作的主要手段，數量和質量頗有壓倒油畫之

吳冠中熟悉的老樹，聳立於岸邊的大榕樹。多

趨勢……四十餘年的油畫功力倒做了水墨畫

角度的取景，源自於寫生多年來的習慣，藝術

的墊腳石。」歷經十多年的不斷演繹，創

家試圖以不同切入點描繪各局部的精彩，營造

作於1980年代末的《榕樹與海》可說體現

一個充滿寫意的想像視野。從高處俯瞰巨石，

他此階段著重情感與畫面共鳴的情緒特徵，

提供觀賞彎曲木根攀附大石的視角，而水平直

如同〈風景寫生回憶〉中提到：「我作風景

視無法一眼望盡的枝幹延伸觀者對大樹的想

畫往往是先有形式，先發現具形象特色的對

像。在構圖方面《榕樹與海》以局部近景參天

象，再考慮其在特定環境中的意境。」《榕

大樹矗立正中央，向四周伸展枝幹，與垂掛的

樹與海》連續曲折的樹枝與從天而降的氣根

氣根交織遠處波光粼粼的海面，吳冠中刻意以

線段，為藝術家受景物激發靈感所展現的張

緊張的節奏鋪成近景的空間，密實的水波紋隨

力表現，而碩大塊狀的巨石盤踞於畫面的底

空間的過渡逐漸紓緩開，一方面營造遼闊的海

部顯其厚實，四散的彩點點綴其間，吳冠中

岸線，一方面前實後虛與疏密相間的構圖，增

拆解真實「形體」的枷鎖，以點、線、面的

加畫面強烈的層次性。無論是多重角度的取景

元素重構山水風景，昇華生活場景中具體形

或虛實交錯的構圖，體現吳冠中80年代從油

象，強調形式元素，展現線條、結構之間的

畫轉向水墨發展後，對於線性表現嫻熟的掌握

純粹，將主觀情感與客觀風景聯繫，捕捉形

能力，堪稱此時期代表作。

象表達意境，預示90年代下一個階段的抽象 風格表現。

1970年代晚期在油畫創作之餘，吳冠中開 1. 李成、王曉《讀碑窠石圖》北宋 日本 大阪 大阪市立美術館藏 Li Cheng and Wang Xiao, Reading The Memorial Stele , Northern Song, Collection of Osaka City Museum of Fine Arts, Osaka, Japan 2. 傑克遜．波洛克《第23號》1948年作 英國 倫敦 泰特現代美術館藏 Jackson Pollock, Number 23 , 1948, Collection of Tate Modern, London, UK

始專研水墨畫，面對歷代傳承下的傳統思

吳冠中〈老樹〉：「我愛老樹，不是為了珍

維，他以創新的筆法與表現形式，擺脫筆墨

視它的年輪，說穿了是愛其形象蒼勁之美。

的限制與墨守陳規的構圖，以半抽象的手法

我跑到海南島、鼓浪嶼、西雙版納、南寧尋

萃取風景中描繪對象的本質，在陸路行走多

找大榕樹，那虬曲的軀幹，層層垂掛的氣

年的積澱下，轉乘水路，使其藝術生涯進入

根，可以讓寫實的畫家無窮無盡的探索，可

階段性高峰時期，「80年代水墨成了我創

以予抽象派繪畫以不盡的啟發。」《榕樹與

2.

「國畫也好，西畫也好，學著學著，我越來 越發現它們之間藝術規律的共同性。於是， 我想建造一座橋，是東方和西方，人民和專 家，具象和抽象之間的橋。」

—吳冠中

海》中枝幹與氣根交織曲線與直線之間複雜的關係，充滿氣勢美感 的草書式運筆，飛舞流轉的墨線，呈現樹幹彎曲的姿態，以一揮而 就的速度，施加錯落其間從天而降的直線，吳冠中刻意局部取景強 調曲線與直線相互交織後空間的秩序，《榕樹與海》恰如其分運筆 融合書法中筆畫間的節奏與韻律，體現明代書法家趙宧光於《寒山 帚談》所言：「 直則剛，曲則柔，折則剛，轉則柔。」《榕樹與 海》大面積扭轉的線條穿行畫面的主幹表現曲線之媚柔，而右上半 小區塊強勁有力垂掛的細根掌握陽剛之氣，曲與直之間的和諧分 寸，如同剛與柔調節，使畫面產生均衡的整體美感。正如吳冠中於 〈曲〉中說：「繪畫中離不開曲線和直線，但毋需曲線板和三角 板，因那曲線和直線並非絕對意義上的曲與直，而彼此間有著相互 滲透的微妙關係。……書法寫一橫，一波三折，繪畫中的直線有時 仿屋漏之痕，屈曲伸延。柔中有剛，曲線綿延中隱隱受控於橫直線 的秩序，否則易流於油滑。大師、工匠、民間藝人，在創造美感中 對把握曲直之間的分寸，心有靈犀一點通，這個分寸確實成為美醜 的分界線。」 《榕樹與海》畫面便充份表現了老樹靈動的神韻，吳冠中從構圖、 形式與線條呈現東方風景的蘊含寫意韻律，以簡約的線條，含括 海、石、樹三者間充滿動勢曲折姿態，打造一種跌宕起伏的節奏和 韻律感，將其感知淬鍊為對景物的半抽象表達，在東方與境中表現 西方抽象藝術的形式語言，實現藝術家「中國畫現化代」理念。

吳冠中

WU GUANZHONG

BANYANS AND THE SEA

Lot 180

Lot 178

"Old trees have been some of my best friends during my 60-year career as an artist who is always wandering around. Great banyans at the riverside lean over me and send out their aerial roots, as their rich and disheveled foliage sways above me."

- Wu Guanzhong, "Trees"

The subject of Banyans and the Sea (Lot 180), which dates from 1987, presents a grand example of this species with which Wu Guanzhong was so familiar. Wu's custom, after many years of painting from life, was to depict a scene from several different angles, presenting details in an eye-catching manner and creating imaginative visions full of lyrical feeling. In Banyans and the Sea, the viewer looks down on a great boulder from an elevated vantage point, so as to take in the curved roots climbing across its surface; such a view holds greater appeal for the imagination than would a direct horizontal view that lacks the full sweep of the trunk and branches. The composition of Banyans and the Sea is based on closeup views of this towering tree, centrally placed on the canvas, while its branches span outward and its aerial roots weave their way above the rippling surface of the sea. Wu deliberately laid out the foreground in tight, compact rhythms.

Closely packed wavelets on the ocean gradually spread out with distance to create the sense of a broad shoreline, while the contrasting densities of the solid foreground and the vague, rippling ocean depict further layering. Wu's multifaceted composition, his mix of forms and empty space, display the proficient, expressive way with lines he had developed by the time he turned from oils to the ink medium in the 80s, making Banyans and the Sea a strong representative work from this period.

Apart from executing oil paintings in the 1970s, Wu Guanzhong also began experimenting with the ink medium. Confronting the long, inherited tradition of ink painting, he created innovative brushwork styles and forms of expression.

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1.

Breaking free from traditional restrictions and outmoded styles of composition, he captured the essence of natural scenes in a semi-abstract style.

After the accumulated experience of his overland travels through the years, a fresh focus on China's waterways brought his art to a new level: "Inkwash became my principal medium in the 80s. My ink works were overtaking my oils, both in terms of quantity and quality....My more than 40 years of work in the oil medium, in fact, became a steppingstone toward my ink works." Having refined his ink painting style over the previous decade, Wu Guanzhong's Banyans and the Sea portrays a unique style of his work during this period, where emotion resonates with the pictorial space. As he wrote in "Memories of Painting Nature from Life", "Painting natural scenes, I typically first find a form; I discover elements that serve as images, and then I consider an overall concept that fits that specific environment."

The lines of the twisting, stretching trunks and branches and the downward-shooting roots embody the dramatic tension that inspired Wu to paint this scene. The blocky, massive form of the great boulder occupies the bottom of the composition, while dots of coloured ink spread across its surface. Wu bursts apart the fetters of actual forms, reconstructing his landscape scenes using dots, lines, and planes, sublimating concrete images from everyday scenes into something entirely new. By emphasizing the formal elements and conveying the purity of lines and structures, Wu connects subjective feelings to objective landscape scenes. He captures images and develops a unique conception that anticipates abstraction in his next stylistic phase in the 90s.

In "Old Trees", Wu Guanzhong wrote, "I love old trees, not because I place value on the number of

2.

tree rings but, speak in truth, because I love their rough, yet beautiful appearance. I went to Hainan, Kulangsu, Xishuangbanna, and Nanning, looking for these old Banyan trees. A realist painter can explore those twisting trunks and the layers of aerial roots forever, and painters of the abstract schools can find great inspiration too."

In the twisting trunks and branches of Wu's banyans, in the vertical reach of their aerial roots, and in the complex relationships of their straight and curving lines, Wu Guanzhong employs brushwork with all the energy and beauty of Chinese cursive calligraphy. His black lines float and soar as he outlines the twisting posture of the trees in decisive strokes. In choosing to depict the straight lines that drop down from above, Wu Guanzhong is deliberately emphasizing the spatial effects created by the interweaving of those straight lines with the more curved ones. Banyans and the Sea also conveys the rhythms and the pleasing proportions of calligraphic brushstrokes, embodying the words of the Ming dynasty calligrapher Zhao Yiguang, who wrote in Han Shan Zhou Tan that "The straight line is strong, and the curved one soft; the broken line is strong, and the bending line is again soft." Much of the painting's space is occupied by the twisting lines that run through the trunks of the trees, expressing the softness of curved lines. The smaller areas with the straight lines of the fine, tough hanging roots express a more masculine atmosphere. The straight and the curved are harmonised, achieving a pleasing, beautiful balance between strength and softness. As Wu Guanzhong wrote in "Curvature", "Painting will always be constructed by curved and straight lines, but you don't need a triangle or a French curve tool to make them, because none of them fit the exact curving of curved or straight.

Instead, they subtly become part of each other....A horizontal calligraphy stroke may have its own twists and turns, and a straight line in a painting may sometimes be like the stains from a leaky roof, crooked but extending into a straight line. There is strength in softness, and a curved line, as it extends, must subtly conform to the order of a horizontal stroke if it is not to become too uncontrolled.

Whether you're a great master, a craftsman, or a folk artist, you have to have the same aesthetic mentality with regard to the right degree of control over curved lines. Getting it right marks the dividing line between beauty and ugliness."

Banyans and the Sea conveys the otherworldly grace of these old trees as Wu's composition, with his forms and lines, displays the Eastern ideal of scenic painting with its rhythmic, impressionistic character.

He captures in his simplified lines the sense of writhing and twisting movement in the sea, rocks, and trees, and the free, natural undulations of their forms. As Wu refines and melds his perceptions into this semi-abstract depiction, the Western vocabulary of abstract forms expressed in it are a realization of the artist's concept of "the modernisation of Chinese painting".

1. 皮耶．蒙德里安《灰色的樹》1911年作 荷蘭 海牙 海牙市立美術館藏 Piet Mondrian, Gray Tree, 1911, Collection of Gemeentemuseum den Haag, Hague, Netherlands 2. 趙佶《草書千字文》（局部）宋代 中國 瀋陽 遼寧省博物館藏 Zhao Ji, Thousand-character Essay in Cursive Script (detail), Song dynasty, Collection of Liaoning Provincial Museum, Shenyang, China

Modern and Contemporary Art

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風箏不斷線

〇 181

UNBROKEN LINE

WU GUANZHONG (C H I N ES E , 1 9 1 9 -20 1 0) Guilin 吳冠中 桂林

Painted 1977-1996 oil on board (diptych) each: 42.5 x 44 cm. (16 3/4 x 17 1/4 in.) overall: 42.5 x 88 cm. (16 3/4 x 34 3/4 in.) signed in Chinese; dated '96' (lower left); titled and signed in Chinese; dated '1977-96' (on the reverse)

1977-1996 年作 油彩 木板（雙聯作） 款識：荼 96（左下）；桂林 吳冠中 1977-96（畫背）

Exhibited

出版

China, Beijing, National Art Museum of China, 1999 Wu Guanzhong Art Exhibition, 1999.

《吳冠中藝術展作品集》廣西美術出版社 南寧 中國 1999年（圖版， 第122-123頁） 《畫外話—吳冠中卷》人民文學出版社 北京 中國 1999年（圖版， 第31-32頁） 《吳冠中—山水屐痕》廣西美術出版社 南寧 中國 2003年（圖版， 第85頁） 《吳冠中作品收藏集I》人民美術出版社 北京 中國 2003年（圖版， 第228-229頁） 《文心獨白》山東畫報出版社 濟南 中國 2006年（圖版，第223頁） 《吳冠中全集—第四卷》湖南美術出版社 長沙 中國 2007年（圖版， 第174-175頁） 《吳冠中文叢．文心畫眼》團結出版社 北京 中國 2008年（圖版， 第206頁） 《吳冠中畫集 下卷》江西美術出版社 南昌 中國 2008年（圖版， 第306-307頁） 《看日出 吳冠中老師66封信的世界》中國建築工業出版社 北京 中國 2011年（圖版，第139頁）

Literature

Wu Guanzhong Exhibition Catalogue, Guangxi Fine Arts Publishing House, Nanning, China, 1999 (illustrated, pp. 122-123).

The Dialogues Outside of the Paintings-Wu Guanzhong, People's Literature Publishing House, Beijing, China, 1999 (illustrated, pp. 31-32).

Wu Guanzhong-Shan Shui Ji Hen, Guangxi Fine Arts Publishing House, Nanning, China, 2003 (illustrated, p. 85).

Wu Guanzhong Connosseurs' Choice I, People's Fine Arts Publishing House, Beijing, China, 2003 (illustrated, pp. 228-229).

Wen Xin Du Bai (Written by Wu Guanzhong), Shandong Graphic Newspaper Publishing House, Jinan, China, 2006 (illustrated, p. 223).

The Complete Works of Wu Guanzhong, Vol. IV, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, pp. 174-175).

Wu Guanzhong Book Series．Wen Xin Hua Yan, Tuan Jie Press, Beijing, China, 2008 (illustrated, p. 206).

Wu Guanzhong Painting Collection Vol.II, Jiangxi Fine Arts Publishing House, Nanchang, China, 2008 (illustrated, pp. 306-307).

Watching Sunrise-Wu Guanzhong's World in 66 Letters, China Construction Industry Press, Beijing, China, 2011 (illustrated, p. 139).

HK$ 20,000,000 - 30,000,000 US$ 2,564,100 - 3,846,200

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1999年「一九九九年吳冠中藝術展」中國美術館 北京 中國

吳冠中

WU GUANZHONG

桂林

「爬上桂林疊彩山，秀麗江山盡收眼底， 看山前，看山後，層次分明，卻亦朦朧。 大山懷抱人家村落，藏鮮艷色塊於黑壓壓 的深谷中，景色宜人，風光入畫。但果真 要在畫幅中表現此江山勝景，導遊人探 幽，則僅寫生某一角落只觀其一斑，不見 全豹。我一味想捕獲全豹，便前、後、 左、右、山上山下各種視角形象構建畫

刪繁就簡，將複雜的事物歸納、錘煉成單純、素靜，提供觀者窺 探藝術家經過陸續的風格轉折後對桂林景色的抒寫與感知。 70年代基於寫生的創作方法，吳冠中的用色傾向大自然的真實重

面，兩日之工專心於構建、繪寫，那是

現，翠綠的山林與村落間白牆黑瓦，是藝術家基於環境色彩的如 實再現，然而隨著他對於寫生取材依賴的降低，吳冠中的用色逐

七十年代中期。 」

漸注入自我的想像，開始90年代對色彩視覺新的領悟。《桂林》

—吳冠中

畫面中五彩繽紛的小屋，以天青、粉紅、鵝黃、赭紅濃麗的色調 的小點，錯落點綴於山谷間，豔麗不規則的小色塊，切割畫面成 為細小的單位面積，看似隨性的排列，藉由明、暗、疏、密的空 間關係，暗藏嚴謹的空間結構，如同塞尚所認為：「線是不存在 的，明暗也不存在，存在色彩之間的對比。物象的體積是從色調 準確的相互關係中表現出來。」《桂林》體現吳冠中此時對色彩

1972年，吳冠中偕妻子去貴陽探望岳母，途經桂林時，便因美 景邁不開腳步，停留在陽朔山寫生。爾後吳冠中數度來到桂林， 進行多次寫生采風，桂林的風光成為吳冠中的重要畫題，以不同 媒材和風貌出現於藝術家不同階段的作品中，其中創作於19771996年的《桂林》(Lot 181)，歷經二十年的歲月沉澱，橫跨吳 冠中70年代專注於油畫，藉西方油畫色感表達中國情意的風景景 觀，實現「油畫民族化」的理想。至80年代由於開拓彩墨，使中 國水墨寫意情懷流淌於風景油畫創作，達到了「中國畫現代化」 的突破。最終90年代則達到藝術家所說的「水陸兼程」，《桂 林》匯集藝術家經年累月的心血結晶，代表了吳冠中一生對中西 美學探索所樹立的典範。 1977年吳冠中於寫生時完成《桂林》初稿，1996年重新改筆， 他曾於《畫眼》中提到：「90年代翻閱這幅《桂林江山》（即 《桂林》），明悟畫面過於囉嗦，破壞了整體腔調，於是重施刀 筆，調整色彩，在減法中經營畫面，居然再現了20年前所探尋的 桂林江山。 」90年代吳冠中在風景畫類的探索和技藝已經達到 圓融成熟的新高度，此幅作品在70年代的寫生基礎上，在創作中

配置與空間體積更嫻熟的掌握，透過色彩的對應、動態的筆觸， 調整顏色與位置以達均衡之美，形成如音符般時急時緩的旋律， 輕快層次律動感，一方面直觀的抒發吳冠中的心象風景與情緒感 受，另一方面吳冠中借用西方的美學經驗，以色塊的對比關係， 營造畫面虛與實的相對空間，連結東方傳統哲學的宇宙觀，揭示 中西美學本質上相通的意涵。 水墨畫寫意的因子伴隨吳冠中70年代開始的水墨創作，逐步的滲 透於油畫之中，日趨意象的風格引導藝術家半抽象表現的開端。 有別於早期對於景物細膩的刻畫，此時吳冠中轉向「肇自然之 性，成造化之功。」追求明代徐渭於《書夏圭山林圖卷》題跋： 「觀夏圭此畫，蒼潔曠迥，令人舍形而悅影。」寫意不寫形的藝 術主張，屏棄了對具體事物客觀的描述，經過對於物象的抽象概 括後，把握色點、線條與塊面的整體造型功能。《桂林》幾何元 素的組構中蘊含深刻的文化內涵，反映藝術家所言：「關鍵是要 分析對象的形式特點，突出其形式中的抽象的特點。『美』的因 素和特色總潛藏在具象之中，要撥開具象中掩蓋了 『美』的蕪雜 部分，使觀眾驚喜美之顯露。」《桂林》見證了吳冠中在形式抽

1.

象美感與中國美學精神的融合，同時代表他對風景描繪的提升和邁

吳冠中從70年代開始即對桂林反覆描寫，顯示了藝術家對於此景之

進，也直接啟導後來的「風箏不斷線」理論與美學發展。

喜愛，《桂林》相較於早期作品明顯已經過藝術家去除不必要的寫

《桂林》依山巒起伏的屋舍以塊狀造型交錯，色塊看似隨意率性的 散落，實則嚴謹縝密的考慮，創造了明快躍動的畫面節奏，讓人想 到後印象派的塞尚，而吳冠中表現群山峭拔和村落房屋體積量感 的手法又可見中國傳統畫裡面的點、染、皴、擦等豐富筆觸。墨綠 與灰棕色彩主導著畫面，配合上 白、黃、紅、黑等不斷變化的色 塊，傳達出人文與自然景象交錯的生機盎然。吳冠中〈繪畫的形式

生細節，轉化為更為精煉的形式元素組構，作為「桂林」系列的集 大成，吳冠中在對於景物的取、捨、提煉和概括後，這不僅是西方 現代主義對於物象的分析和解構，更是中國傳統山水畫中人在自然 遊歷後，轉化為作者主觀情感與自然的相互交融，充分見證了吳冠 中二十年間創作風格的遞嬗，完整書寫他縱橫於油彩與水墨的突破 與成就。

美〉：「我常喜歡畫鱗次櫛比、密密麻麻的城市房屋或參差錯落的 稠密山村，美就美在鱗次櫛比和參差錯落。」《桂林》畫面中蘊含 的色面層次及結構美感，造成了一種跌宕起伏的節奏和韻律感，營 造了吳冠中所追尋「鱗次櫛比和參差錯落」的形式美。 為表現具體物象的真實感，吳冠中早期經常使用「搬家寫生」嫁接 不同視角的構圖，達到主觀世界與客觀世界碰撞的交集。70 年代 「桂林」系列的構圖，多將畫面以「一層地、二層樹、三層山」的 「三疊式」傳統架構。90年代吳冠中放棄現場寫生的習慣，一來因 為創作方式的改變，也因其長年對中國傳統 山水畫的鑽研，「我吸 收的中國古畫中的構圖特色，就是取很多個景組成一個大場面，結 合古畫與油畫的優點，使畫面呈現感人的形象、色彩與壯麗的空間 感。」90年代吳冠中創作一系列的俯視構圖，以環繞式場景展現雄 偉的壯麗感。始於70年代的《桂林》採取雙聯形式，更見橫幅構圖 之開闊與宏偉氣勢，一方面保留早期創作中巍峨的叢山峻嶺，另一 方面隨著藝術家經年累月對桂林景致的掌握下，意圖變化與創新，

2.

以散點透視進行佈局，三足鼎立的雄偉山勢，將由右下往左上斜傾 的村落環抱，中景呈現出貫穿前後的曲線，斜對角線的「之」字形 構圖使繁密的景觀彷彿隨著右邊江面無限延伸，使得作品主體更為 突出，令人聯想到元代倪瓚「一河兩岸」的布局，景物由遠至近迎 面蜿蜒而來，引人入勝。

1. 屈鼎《夏山圖》宋代 美國 紐約 大都會博物館藏 Qu Ding, Summer Mountains , Song dynasty, Collection of The Metropolitan Museum of Art, New York, USA 2.埃貢．席勒《克魯姆洛夫風景》1910-1916年作 Egon Schiele, Landscape at Krumau , 1910-1916

Modern and Contemporary Art

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WU GUANZHONG

吳冠中 G U I L I N

Lot 181

"Climbing up Guilin's Die Cai Hill, I take in the beautiful panoramic view of the country before my eyes. The atmosphere is hazy, but the layers from the front to the back of the mountains are clear. The large mountain embraces the houses of the village, while blocks of bright color are hidden within the darkness of the valley. This pleasing scenery is my subject. But since I want to paint this great landscape, it's easy to get too remote, to just paint one small corner, to paint one spot rather than the whole leopard. But I'm definitely after the whole thing, so I construct my painting from images from all around-left, right, mountaintop, valley, and various views-and I spent two days of work just to construct this scene and paint it. That was during the mid-'70s."

- Wu Guanzhong 李可染《灕江勝境圖》1977年作 Li Keran, Li River Landscape , 1977

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In 1972, Wu Guanzhong and his wife travelled to Guiyang to visit his motherin-law. Passing through Guilin, they were stunned by the beauty of its scenery and could not resist staying to paint from life. Wu Guanzhong returned to Guilin numerous times in the following years, frequently painting from life. Being portrayed with various media and styles throughout different stages of Wu's lifetime, the landscape of Guilin has become an important subject of his work.

Among of them, Guilin (Lot 181), dating from the 1977-1996, encapsulates two decades ideas and thought. In the 19'70s, he focused on the oil medium, expressing scenic views with a Chinese sensibility by means of the colours of Western oils, in order to achieve "nationalization of oil painting." As he developed his freehand with coloured inks in the '80s, freer flowing of the inkwash styles entered his landscape paintings in oil, achieving breakthroughs in modernizing Chinese painting. Both his skills in ink and oil paintings have finally reached a level of maturity in the '90s, becoming an "amphibian" painter, as he calls himself. Guilin is a summation of the artist's accumulated experience over those years, an emblematic work representing his lifetime of exploration in both Eastern and Western aesthetics.

Wu completed an initial draft of Guilin in 1977, painting from life, and in 1996, he decided to tackle the painting again. In The Painter's Eye, he wrote, "In the '90s I looked at this Guilin Mountains and Streams (now Guilin), and I clearly saw that the composition was too busy, which ruined the overall atmosphere. So I took out my brushes and palette knives and reworked the canvas by reducing the clutter, and surprisingly, the Guilin mountains and streams that I had been exploring 20 years earlier reappeared." By the '90s, Wu's technical ability and his exploration of the landscape genre had already brought him to a new level of maturity and control, and beginning with this work, painted from life in the '70s, he sought to find simplicity and eliminate its overly complex aspects. Complex objects were summarized, abstracted and refined into simple, quiet shapes;

viewers are given a glimpse of how the artist, after undergoing a series of stylistic changes, later responded to this Guilin scene and gave it lyrical expression in this painting.

During the '70s, Wu Guanzhong's interest in painting from life meant that his colours tended to realistically reflect the actual colours of nature. Jade green forests, or the white walls and black tiles of the villages, were reproduced faithfully in terms of colour. As he came to rely less on painting from life, however, his colour reflected a greater degree of personal imagination, leading him toward new realizations about colour and visual effects in the '90s. The colourful cottages in Guilin appear in small, dense spots of colour in azure, pink, eider-down yellow, and red ochre that spread throughout the valley.

These rich, irregularly-shaped small colour blocks divide the pictorial space into small units of area which seem randomly placed, yet their contrasting levels of darkness, brightness, and density in spacing actually hide a rather rigorous spatial structure. CĂŠzanne once pointed out that "Lines don't actually exist in nature, and neither do contrasts of light and shadow. What exists are contrasts between colours. The weight and mass of objects is expressed through accurate relationships between colours." Guilin exhibits Wu Guanzhong's highly proficient grasp of colour relationships and spatial volume during this period. With his dynamic brushstrokes and the echoes between these colours, Wu's positioning of colours achieves a wonderfully balanced beauty, like a melody that sometimes pauses and other times surges ahead. The light, rhythmic movement of these layers of colour show the artist, on the one hand, giving voice to his intuitive, mental imagery and his emotional reaction. In another respect, we also see him using his knowledge of Western aesthetics in his contrasting blocks of colour to create relationships that define positive and negative spaces. This in turn connects to a traditional Chinese sense of cosmology, illustrating how certain aesthetic meanings essentially belong to both East and West.

Modern and Contemporary Art

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Lot 181

The lyrical elements of ink-wash painting accompanied Wu Guanzhong's work throughout the ''70s as he explored that medium, but gradually also penetrated into his oil works. His more imagistic style guided the artist towards the beginning of his semi-abstract expressions. By contrast with his earlier, detailed depictions of scenic objects, Wu now turned toward the ancient idea of "Awaken the spirit within nature to accomplish the work of creation." The Song painter Xu Wei, in Notes on the Handscroll of Mountains and Streams by Xia Gui, noted that "Viewing this painting by Xia Gui, the skies are clean and open, and we abandon real forms and delight instead in their impressions." The notion of painting impressions rather than forms means abandoning objective depictions of concrete objects, and by abstracting and generalizing objects, to grasp the overall modeling of dots of colours, lines and blocks. The structuring of geometrical elements in Guilin hides a deep cultural meaning, reflecting the ideas of the artist, "The key lies in analyzing the special features of the forms that you paint, and to highlight the abstract features of their forms. The elements and features of 'beauty' are always beneath within figuration. You have to peel away those miscellaneous aspects of figuration that cover up the 'beauty,' and the viewer enjoys having it revealed." Guilin testifies Wu Guanzhong's blend of the abstract beauty of form with the spirit of Chinese aesthetics. At the same time, it represents a further advance and elevation of his abilities in depicting scenic landscapes, and it led directly toward the later theories and aesthetic developments tied in with his notion that "a kite with an unbroken string."

The houses in Guilin follow the rise and fall of the mountain, their blocks of colour seemingly about randomly and casually. In fact they have been

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carefully and meticulously considered, to create a vivid and pulsating pictorial rhythm reminiscent of the Post-Impressionist Cézanne. At the same time, Wu Guanzhong's method of expressing the weight and volume of the mountains, their height, and the houses also reveals the kind of brushwork found in traditional Chinese paintings with their dots and smears and their broken or rubbing strokes. Dark green and grey-brown dominate the picture, with constantly changing smaller blocks of white, yellow, red, and black interspersed among them, conveying a bustling vitality in the mixture of humanity and nature. In "Beauty of Form in Painting", Wu Guanzhong wrote, "I often like to paint houses in a city, densely packed row on row, or the dense clusters of mountain villages. Their beauty lies exactly in that kind of uneven scattering." The composition of Guilin embodies just this kind of layered colour and beauty of structure, creating free, rhythmic movement and the beauty of form that Wu found in that "uneven scattering."

To capture a sense of realism in concrete objects, Wu Guanzhong used what he called his "moving house" (depict from life) technique, in which he grafted together compositions from different points of view, until his subjective world intersects and mixes with the objective one. Wu's series of Guilin compositions from the '70s were based on the traditional "threelayer" formulation of "land as base, trees on top, and final layer of mountains." During the '90s, Wu gave up painting from life, partly because his creative style was changing, and partly because after so many years of studying traditional Chinese landscape painting, "I had absorbed the essential features of composition in ancient paintings, which is to combine a number of smaller scenes into one grand scene. I combine

1. 吳冠中《灕江之濱（一）》1977年作 Wu Guanzhong, By the Side of the Li River (I) , 1977 2. 倪瓚《容膝齋圖》元代 台灣 台北 國立故宮 博物院藏 Ni Zan, Rongxi Studio , Yuan dynasty, Collection of the National Palace Museum, Taipei, Taiwan

the way in which, in traditional Chinese landscape painting, the artist surveys a natural scene and then transforms it into a blend of subjective, personal emotion with the natural world. Guilin testifies to the progression of Wu Guanzhong's ideas over a 20-year period, a work fully revealing of all his breakthroughs and accomplishments, in both the oil and the ink-wash medium.

1.

the advantages of ancient landscapes and oil paintings, so that my paintings present moving images, colours, and a grand and beautiful space." Wu painted a number of compositions during the '90s representing views from high vantage points, presenting grand, beautiful views that sweep all around the given scene.

The Guilin began in the '70s is a diptych, spreading out with the openness and grandeur of a horizontal scroll painting. It preserves the sense of lofty mountain ranges from earlier paintings, while reflecting his growing experience with the scenes of Guilin and his intent to focus on change and innovation. Using a multipoint perspective to lay out his composition, majestic mountains rise up in three points, surrounded by the city that rises in a diagonal from lower right to upper left. The middle section shows a curved line running from front to back, the diagonal "z" shape composition seeming to extend, following the river, into the far distance on the right, which by contrast further highlights the main subject of the painting. This approach recalls the Yuan dynasty painter Ni Zan and his "one river, two shorelines" approach, creating appealing compositions as the scenery winds toward us from the distance along the river.

The fact that Wu Guanzhong painted Guilin scenes so many times, beginning in the '70s, was a sign of his love for this scenery. Guilin shows that the artist, by contrast with his earlier paintings, eliminates unnecessary details of those painted-from-life scenes and producing an even more refined structure from the formal elements. As a great conclusion to his series of Guilin paintings, this painting shows Wu Guanzhong consciously selecting, rejecting, and then refining and abstracting the elements of the scene, an essentially Western, modernist approach to the analysis and deconstruction of a scene. It is also an example of 2.

Modern and Contemporary Art

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182 HONG LING (C H I N ES E , B . 1 9 5 5 ) Snowscape No.3 洪凌 穹雪之三

Painted in 2004 oil on canvas 250 x 150 cm. (98 1/2 x 59 in.) signed in Chinese; dated '04.8' (middle left)

2004 年作 油彩 畫布 款識：洪凌04.8（左中）

Literature

《洪凌—山水精神》河北教育出版社 石家莊 中國 2006年（圖版， 第137頁）

Hong Ling: Spirit of Landscape, Hebei Education Press, Shijiazhuang, China, 2006 (illustrated, p. 137).

出版

HK$ 750,000 - 1,200,000 US$ 96,200 - 153,800

洪凌與《穹雪之三》 Hong Ling with Snowscape No.3

科班出身、接受過扎實學院訓練的洪凌，雖出生於大城市北京，內 心卻渴望超脫世俗且嚮往寧靜。最終，洪凌於1992年離開北京，來 到皖南黃山腳下，花費數年打造了自己的庭院，定居於此，以山水 叢林滋養自己的生活及創作。正如他所說，「把自身的整體生命融 入、回歸於自然。」此時，洪凌獨特的個人繪畫詞彙風格已逐漸形 成，筆下有起伏連綿不絕的山脈峻峰，也有因朝暉夕陰，四季變換 而引起的風雨雲霧變化。遠觀其勢，有北方大山之雄渾氣勢，再近 看其質，可見山林樹木紋路的細膩變化，或流水霧氣的溫潤質感。 《穹雪之三》(Lot 182) 創作於2004年，在構圖上沿用南宋馬遠「馬 一角」的巧思構圖。畫面被一分為二，畫面中山林被置於畫面前 景，上方則留出較大面積的空曠天色，一空一滿，以「留白」的手 法表現遼遠的空間感及蔥鬱的詩意，給觀者留下無限遐思。藝術家 以不同筆觸和肌理勾勒出山林的脈絡，再加之雪白素裹，天空的藍 色反射到地面，於是山林白色的雪景中也透出淡淡的藍色微光，與 上方深藍的天空相互映襯，連綿蒼茫一片，使觀者彷彿沉浸於「萬 樹松蘿萬朵銀」的無窮天地之中，空靈而幽靜美好。

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Having received professional training, Hong Ling had adapted comprehensive techniques to paint. Though he was born in Beijing - the gigantic cultural and social hub of China, his eager to escape from the secular lifestyle and and wish for a life of peace and solitude has never ceased. In 1992, Hong Ling left Beijing and arrived at the foot of Huangshan Mountain in southern Anhui. He spent several years building his own courtyard and settled there, cultivating his life and art with mountains and rivers. As he stated, his ideal was to "Incorporate your whole life into a return to nature." At this time, Hong Ling's had gradually formed his unique personal painting vocabulary and style. He had, using his brushes, to depict the undulating mountain peaks under different weather and seasons. When viewing his paintings from afar, there is a feeling of the majestic momentum of the mountains; and when comes closer up, the delicate changes in the forest trees, and the warm texture of the mist is revealed. Created in 2004, Snowscape No.3 (Lot 182) utilizes the ingenious composition of "One Corner Ma" by Ma Yuan from the Southern Song. The picture has been divided into two parts: the mountain forest in the foreground of the picture, and the area of blankness in the upper section at the background to represent sky. Concepts of fullness and vacancy are utilised to expresses a sense of space and lush poetry, incorporating upon the Chinese tradition of "blankness", and allowing the viewer to delve into their limitless imaginations. The artist sketches the veins of the mountains using different brushstrokes and textures, and the blue hues of the sky reflects upon the snow-covered ground. The mountain and the white snow glow with a blue hint, resonating with the dark blue sky above, and create a flowing endless sight. The vast sky invites viewers to be immersed in the boundless ethereal and secluded world of "trees in full blossom of clouds".

Modern and Contemporary Art

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「到2000年……我已經在黃山生活近10年了，其間對自然有了更多體 悟。比如油畫比較注重外在表達，水有倒影，山有遠近，樹有體積和投 影。但中國哲學認為投影會隨時間、光線這些不固定因素變化，只是生 命流轉的記號，還不屬於那個『真』。中國畫看重的是生命本身。而生 命是有呼吸的，中國畫也注重呼吸，所以我們是把畫當作生命看待，讓 氣息在畫面裡流動、貫通。我雖然創作材料是油畫，但努力把這種山水 精神和生命觀放進畫面。」

─洪凌 "By 2000….I already lived on Huangshan for nearly ten years. From this experience, I gained much insight into nature. For example, oil paintings place a greater focus on external expressions-water features reflections, mountains have distance, trees have volume and projection. However, Chinese philosophy states that projections will always change along with non-fixed factors, such as time and light. These are only signifier of the circulation of life, however, and do not belong to any 'truth'. Chinese painting is about life itself, and life is always breathing. Chinese painting also pays attention to breathing. As a result, we view painting as life, and let the breath flow through the picture. Although I create oil paintings, I try to inject this type of landscape spirit and life perspective into my paintings."

- Hong Ling

183 SU XIAOBAI (C H I N ES E , B . 1 9 4 9) Kaogong 81 蘇笑柏 考工81

Executed in 2008 oil and lacquer on linen and tile 49.5 x 24 cm. (19 1/2 x 9 1/2 in.) signed and titled 'Xiaobai 81'; titled in Chinese (on the reverse)

2008 年作 油彩 大漆 麻布 瓦片 款識：Xiaobai 考工81（畫背）

Literature

《蘇笑柏》大未來林舍畫廊 台北 台灣 2011年（圖版，第59頁）

出版

Su Xiaobai, Lin & Keng Gallery, Taipei, Taiwan, 2011 (illustrated, p. 59). 附台灣 台北 大未來林舍畫廊開立之藝術家親簽原作保證書 This work is to be sold with a certificate of authenticity signed by the artist and issued by Lin & Lin Gallery, Taipei, Taiwan.

HK$ 80,000 - 120,000 US$ 10,300 - 15,400 Modern and Contemporary Art

261

SU XIAOBAI

蘇笑柏 剛柔並濟 「繪畫絕對是一段觸發感知、尋找真實的過 程。」

—蘇笑柏 上世紀八十年代，蘇笑柏在接近不惑之年時，毅然決定離開央美油 畫系前往德國杜塞爾多夫藝術學院深造，彼時的他渴望掙脫學院派 的桎梏，在異國尋求更多元的視角和發展的可能性，藝術家在經歷 文化衝突以及思想的蛻變之後，於1999年歸國旅程中在福建發現了 他之後最為癡迷的媒材—大漆，並於2004年之後開始用大漆進行創 作。蘇笑柏曾說：「大漆作為顏料在我的繪畫中得到使用，在媒材 特性上並不具備特殊的含義，與弘揚中華民族傳統瑰寶毫無關係。 它只是一種繪畫過程中的染色而已。使用大漆作色，也不基於任何 新奇的想法，只是源於我的一次試驗，即如何把繪畫中的色彩佈置 得更好」。蘇笑柏的大漆作品是非敘事性的，他希望呈現的是媒材 本身的力量與肌理，因此作品是純粹視覺性與精神性的，大漆作為 一種古老的顏料，在藝術家的筆下成為一種媒介─連接觀者走進藝 術家抽象表達的背後是一種蒼茫無盡的東方意涵。 《雲夢》(Lot 184) 以大面積的紅色與墨黑色為底，畫面之中透著 一種古樸深邃的美感，油漆的疊加與裂變所產生的肌理與層次感， 以及作為過渡色的朱紅形成了既分裂又融匯的對比，畫作背後的精 神張力呼之欲出。藝術家在深沉的色調之上覆蓋以小面積的白色色 塊，如果說紅色與黑色的厚重代表著蒼茫扎實的土地，那這些白色 則為一縷雲煙，輕盈縹緲。整張畫面剛柔並濟，藝術家對大漆這種 古老媒材的運用，使得它發揮出了獨有滄桑古樸的美感。《雲夢》 跨越東西方文化，融蘇笑柏的人生感悟於畫布之上，他在技術上利 用大漆在色彩與透明度上的特性，進一步探索媒材與繪畫之間的 關係，也因此賦予了這個媒材全新的呈現方式。在《考工81》(Lot 185) 中，藝術家致力於尋找純粹至誠的畫面空間，他捨棄了傳統意 義上的描繪，而是專心於營造一個簡潔、純淨同時又富有變化的畫 面，畫面以黑色與紅色的大色塊作為呈現方式，雖不見任何物像， 但顏色與形式的純粹美學卻能引發觀者直接的審美感受。 戰國時期《韓非子》中記載：「禹做祭器，黑漆其外而朱畫其 內。」大漆是中國最古老的植物塗料，最為古老的漆器也可以作為 「漆」的生命體延續至今，因此漆的存在是超越物質本身的，歷經 千年，卻依然是我們文化中的一種符號。蘇笑柏以純粹的創作理 念，利用簡潔抽象的構圖，將東方古老的媒材融入西方的繪畫語彙 之中，碰撞出兼具傳統與時代性的嶄新面貌。

"Painting is definitely a process of triggering perception and finding the truth."

- Su Xiaobai

Reaching his 40s in the 1980s, Su Xiaobai was determined to leave the Oil Painting department of the China Central Academy of Fine Arts to study at the Kunstakademie Dusseldorf in Germany. Eager to break the academic shackles at the time, he sought more diverse perspectives and possible personal development abroad. Having gone through cultural conflicts and transformation in mind set, the artist discovered what later became the medium of his infatuation-Chinese lacquer in Fujian during his trip back to China in 1999 and began to, in 2004, create works based on the medium. Su Xiaobai said, "Used as paint in my art, Chinese lacquer does not imply any particular meaning in terms of medium characteristics. Neither does it have anything to do with propagating Chinese people's traditional treasure. It's just a kind of dye in the painting process. The use of Chinese lacquer as colour is not based on some novel idea, but simply resulted from an experiment I conducted on how to better arrange the colours in painting." Su Xiaobai's works with Chinese lacquer does not provide a narrative. What he wants to represent is the power and texture of the medium itself. Therefore, the works are purely visual and spiritual. As an ancient paint, Chinese lacquer becomes a medium through the artist's paintbrush.

It brings the viewer into the artist's abstract expression, behind which lies a boundless and infinite oriental connotation.

The underlying layer of A Dream Behind the Cloud (Lot 184) is composed of large red and dark black areas, disclosing an ancient, simple and profound beauty to the image. The texture and sense of layering generated through superimpositions and fissions of paint form a splitting, yet integrating contrast to the bright red as a transitional colour; the spiritual tension behind the painting becomes rather evident. The artist adds small white areas on the dark hues. While the thick and heavy red and black represent vast and solid land, the white areas represent a thread of ethereal and lightweight mist, making the whole picture strong but also soft. Due to the artist's unique approach in using the ancient medium of Chinese lacquer, the paint comes to exude a unique ancient and simple beauty tinged with vicissitudes. A Dream Behind the Cloud traverses eastern and western cultures, with Su Xiaobai's feeling and reflection of life integrated onto the canvas. In terms of technique, he made use of Chinese lacquer's qualities in terms of colour and transparency to further explore relationships between the medium and painting, thus endowing a brand new form of representation to the medium. In Kaogong 81 (Lot 185), the artist strives to find a pure and honest pictorial plane. He abandoned sketching in the traditional sense, and instead, focused upon creating a simplistic, untainted and simultaneously fluid image. The painting is dominated by two large red and black colour blocks without any object imagery, which fixates a pristine aesthetic of colour and form, and evokes an unequivocal experience of visual beauty for the viewers.

In Han Feizi from the Warring States Period, it was written, "In making sacrificial

vessels, Yu painted the outside black and the inside bright red." Chinese lacquer is the most ancient herbal paint in China. Originated from the ancient times, lacquer ware is a living entity of "paint" has withheld the passing of time.

Therefore, the existence of the paint extends beyond the material itself, and remains a symbol in our culture even after thousands of years. Starting from a pure artistic idea, Su Xiaobai employs a succinct and abstract composition and integrates the ancient medium of the East into the language of western painting; the collision gives birth to a new expression implying both tradition and characteristics of the new era.

海倫．弗蘭肯特爾《改革》1976年作 美國 舊金山 舊金山藝術博物館藏 Helen Frankenthaler, Crusades , 1976, Collection of Fine Arts Museums of San Francisco, San Francisco, USA

Modern and Contemporary Art

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184 SU XIAOBAI (C H I N ES E , B . 1 9 4 9) A Dream Behind the Cloud 蘇笑柏 雲夢

Executed in 2006 oil and lacquer on linen and board 192.8 x 170 cm. (76 x 67 in.) signed 'Xiaobai' (lower right)

2006 年作 油漆 大漆 麻布 木板 款識：Xiaobai（右下）

Provenance

天衡 上海 2014年12月31日 編號577 現藏者購自上述拍賣

Tianheng Shanghai, 31 December 2014, Lot 577 Acquired from the above sale by the present owner Literature

Su Xiaobai, Lin & Keng Gallery, Taipei, Taiwan, 2011 (illustrated, p. 13).

HK$ 1,000,000 - 1,500,000 US$ 128,200 - 192,300

264

poly auction hong kong

來源

出版

《蘇笑柏》大未來林舍畫廊 台北 台灣 2011年（圖版，第13頁）

Modern and Contemporary Art

265

185 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) May 1; May 2; May 3; & May 4 林壽宇 五月一日；五月二日；五月三日；及五月四日

1.

2.

3.

4.

Executed in 1971 a set of four, two screenprints on paper and acetate edition: 56/70; 27/70; 23/70; & 44/70 each: 51 x 51 cm. (20 x 20 in.)

1. May 1: editioned and signed '56/70 lin' (bottom) 2. May 2: editioned and signed '27/70 lin' (bottom) 3. May 3: editioned and signed '23/70 lin' (bottom) 4. May 4: editioned and signed '44/70 lin' (bottom)

HK$ 150,000 - 350,000 US$ 19,200 - 44,900 266

poly auction hong kong

1971 年作 兩件絲網版畫於紙本及膠片（一組共四件） 版數：56/70；27/70；23/70；及44/70 款識： 1.《五月一日》：56/70 lin（底部） 2.《五月二日》：27/70 lin（底部） 3.《五月三日》：23/70 lin（底部） 4.《五月四日》：44/70 lin（底部）

186 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) Spring; Summer; Autumn; & Winter 林壽宇 春；夏；秋；及冬

Executed in 1966 a set of four screenprints edition: 7/10 each: 52.5 x 60 cm. (20 3/4 x 23 1/2 in.)

1. Spring: titled, dated, inscribed, editioned and signed 'Spring 1966 proof 7/10 Richard Lin 1966' (bottom) 2. Summer: titled, dated, inscribed, editioned and signed 'Summer 1966 proof 7/10 Richard Lin 1966' (bottom) 3. Autumn: titled, dated, inscribed, editioned and signed 'Autumn 1966 proof 7/10 Richard Lin 1966' (bottom) 4. Winter: titled, dated, inscribed, editioned and signed 'Winter 1966 proof 7/10 Richard Lin 1966' (bottom) Provenance

Acquired directly from the artist by the present owner

1.

Exhibited

1. Spring: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010.

2. Summer: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010 (alternate edition exhibited).

3. Autumn: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010.

4. Winter: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010 (alternate edition exhibited).

Literature

Homeage to the Master: One is Everything: 50 Years of Work of Richard Lin, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, pp. 166-169).

2.

1966 年作 絲網 版畫（一組共四件） 版數：7/10 款識： 1.《春》：Spring 1966 proof 7/10 Richard Lin 1966（底部） 2.《夏》：Summer 1966 proof 7/10 Richard Lin 1966（底部） 3.《秋》：Autumn 1966 proof 7/10 Richard Lin 1966（底部） 4.《冬》：Winter 1966 proof 7/10 Richard Lin 1966（底部） 來源

現藏者直接得自於藝術家 展覽

1.《春》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 市立美術館 高雄 台灣 2.《夏》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 市立美術館 高雄 台灣（展品為另一版數） 3.《秋》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 市立美術館 高雄 台灣 4.《冬》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 市立美術館 高雄 台灣（展品為另一版數）

3.

出版

《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 2010年（圖版，第166-169頁）

HK$ 250,000 - 350,000 US$ 32,100 - 44,900

4.

Modern and Contemporary Art

267

187 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) Gestural Drawing 林壽宇 示意素描

Painted in 1964 acrylic on paper 56 x 71 cm. (22 x 28 in.) one embossed seal: LIN

1964 年作 壓克力 紙本 鋼印：LIN

Provenance

現藏者直接得自於藝術家

Acquired directly from the artist by the present owner Exhibited

Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010.

Literature

Homeage to the Master: One is Everything: 50 Years of Work by Richard Lin, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, p. 121).

HK$ 250,000 - 350,000 US$ 32,100 - 44,900 268

poly auction hong kong

來源

展覽

2010年5月15日-9月26日「一即一切：林壽宇50年創作展」高雄市立美術館 高雄 台灣 出版

《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 2010年（圖版，第121頁）

188 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) Work on Paper 林壽宇 紙上作品

Executed in 2008 mixed media on paper 39.6 x 55 cm. (15 1/2 x 21 3/4 in.) signed and dated 'Lin 2008' (lower right)

2008 年作 綜合媒材 紙本 款識：Lin 2008（右下）

Exhibited

2010年5月15日-9月26日「一即一切：林壽宇50年創作展」高雄市立美術館 高雄 台灣

Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010.

Literature

Homeage to the Master: One is Everything: 50 Years of Work by Richard Lin, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, p. 221).

展覽

出版

《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 2010年（圖版，第221頁）

HK$ 240,000 - 450,000 US$ 30,800 - 57,700

Modern and Contemporary Art

269

189 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) Work on Paper 林壽宇 紙上作品

Painted in 1957 oil on paper 52.1 x 63.8 cm. (20 1/2 x 25 in.) signed and dated 'Lin Show yu 1957' (lower right)

1957 年作 油彩 紙本 款識：Lin Show yu 1957（右下）

Provenance

現藏者直接得自於藝術家

Acquired directly from the artist by the present owner Exhibited

Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010.

Literature

Homeage to the Master: One is Everything: 50 Years of Work by Richard Lin, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, p. 93).

HK$ 250,000 - 350,000 US$ 32,100 - 44,900 270

poly auction hong kong

來源

展覽

2010年5月15日-9月26日「一即一切：林壽宇50年創作展」高雄市立美術館 高雄 台灣 出版

《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 2010年（圖版，第93頁）

RICHARD LIN

林壽宇 大道至簡

1966年胡安．米羅拜訪林壽宇工作室後說：「在白色的世界中，無

林壽宇不同於其他藝術家從具象逐漸邁入抽象繪畫脈絡，他初始的

人能比的上你。」對白色爐火純青的發揮，使「白色」系列成為林

風格即以抽象抒情開始。創作於1957年「日月」系列中的《紙上作

壽宇享負盛名的代表作。今次我們從他創作生涯的萌芽處，1958年

品》(Lot 189) 演繹日、月宇宙運行的軌跡，一揮而就的速度筆觸源

首次正式舉行個人展覽之罕見抽象表現鉅作，至饒富禪意的早期紙

於長年來書法的學習，以厚薄的油彩交迭，說明林壽宇對東方觀點

本，銜接60年代至70年代於國際美術史留下重要份量的「白色」系

中宇宙永恆的求索。 而1964年的《示意素描》(Lot 187) 饒富禪意的

列，一路梳理到1984年後藝術家宣稱繪畫已死，以複合媒材為元素

簡筆畫，肆意將油彩赤裸的擠壓於平面，未經抹平的油彩，膏狀的

的拼貼作品，一系列完整作品創作年代跨越半世紀的時間，囊括林

質地附著紙面造成立體的肌理效果，展現林壽宇開始對立體浮雕感

壽宇藝術生涯各個重要階段，清晰的架構此位時代巨匠，不同時期

的關注，他將雕塑的視覺效果體現於平面繪畫的語言，於二維平面

對藝術理念不斷更迭的主張。

上討論立體的空間維度，建構新的藝術體驗。

趙無極將中國山水意念轉化為抽象繪畫，朱德群以色彩的律動傳遞

1950年代末期，時值抽象表現主義巔峰，林壽宇深受羅斯科的繪畫

傳統詩曲的視覺旋律，而林壽宇提煉中國文化的哲學思想，在作品

感召，他說：「羅斯科畫面裡大塊的色彩，彷彿來自很遠很遠，悠

體現老莊思想中「無為」的價值核心，運用西方冷抽象的繪畫語言

揚不斷的大鼓聲沉、渾厚，在心裡來回不停激盪著。」羅斯科著重

將中國哲學形象化，並成為首位入選德國卡塞爾文件展的華人，其

精神內涵表現，力圖運用有限的色彩與形狀，無焦點的繪畫構圖，

對二十世紀華人戰後美術史篇章的重要性可謂不言而喻。

使觀者浸淫其中，與創作融為一體的大色域繪畫，帶領林壽宇從飽

Modern and Contemporary Art

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含情感的筆觸中，進入對簡單形與色構成的追求，《15-7-58》(Lot 190) 將情緒筆觸抽離，僅使用大色塊為創作的基本單位元素，巨大 的畫幅、無中心焦點的結構，將觀者的視線環繞於畫面之中，使觀 看的臨場經驗成為視覺體驗的一環，如同羅斯科所言：「我畫大幅 畫，因為我要創造一種親切的氣氛。一幅大畫是一種直接的交流，

「一旦色彩超出顏料的可能性，它就會展現 一個人的行為世界，涉及特定的時間、特定 的事件，以及他是如何審視時間和事件的。

它把你帶進畫中。」 《15-7-58》以赭紅背景鋪墊，林壽宇縝密控制塗色力道，隱藏筆刷 的運行軌跡，畫布上的色彩層次節奏來自不同次數疊加所產生的不 同透光性所導致，相近色調細微差異的色面使畫面營造安寧神聖的

我的色彩是一種經驗性的色彩，它和某天的 光線有關，和整個人的精神狀態有關。」

—馬克·羅斯科

冥想空間。 「從1958年起他就開始發展一系列黑、白色調混搭的大塊面重疊創 作，在畫布有限的框架中，應用著色調接近但表面肌理與質感有著 維妙差異的色面搭疊，進行畫布上層深、淺對比的排列，極工整的 線條與邊框，成為畫面中引導心靈平和的地平線。」 — 羅潔尹〈一即一切：林壽宇50年創作展〉 《15-7-58》在單色背景之上，疊加瘦長黑色長方形，墨黑的塊狀彷 彿是自然發光體，上下兩側透出微光，打亮赭紅的畫布中間段，由 左到右橫跨完整畫面，清晰俐落的邊界線，有別於羅斯科色塊間運 用油彩稀釋互相滲透的流動性，使顏色之間微妙的過渡，產生朦朧 柔和的邊界。筆直明確的邊際線，將畫面穩定工整的平分為水平區 塊，源於其建築系背景的學習，簡約利索的幾何圖形，與完美的比 例切割原則，不僅是對大師羅斯科的致意，同時預示林壽宇朝低限 主義風格發展的重要線索。

1960 年代林壽宇開始「白色」系列，前期焦點關注正方形大塊面積 組合之間的結構關係，而隨著時間的推演，大面積的區域逐漸區分 為多重的幾何方形，1960年代末期「白色」系列進入成熟期，他開 始以畫刀作畫，將白色層層疊疊達到「白分五色」，如同中國文人 水墨畫中墨分五彩境界。在整體的白色佈局中，只見「白中白」的 無限延伸，驗證他於1968年一次歐洲展覽訪談中提及，其藝術理具 有濃厚的老莊思想， 「天地萬物生於有，有生於無。」「白色」系 列建構多重空間的無限延伸，述說宇宙太虛的本體，表現東方哲學 中宇宙空間的內涵性。

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1. 馬克．羅斯科《棕色上的黑色》1959年作 英國 倫敦 泰特現代美術館藏 Mark Rothko, Black on Maroon , 1959, Collection of Tate Modern, London, UK 2. 皮耶．蒙德里安《巴黎：白色、黑色與紅的組成》1936年作 美國 紐約 現代藝術博物館藏 Piet Mondrian, Composition in White, Black, and Red. Paris , 1936, Collection of the Museum of Modern Art, New York, USA 1.

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1964年，林壽宇以方形塊狀疊堆的浮雕繪畫，入選德國卡塞爾第三

1970年代立體現成物逐漸消失於林壽宇的畫面之中，取而代之除了

屆文件展，成為此國際重要展覽的首位華人藝術家。而 1966年創作

較為複雜的色階，也因為前一年一家人搬遷至倫敦郊區，與大自然

的《春；夏；秋；及冬》(Lot 186) 更以數量不等的方形色塊描繪季

生活使為其作品添加不同色彩。大自然的色彩如紅、黃甚至綠，清

節的屬性，幾何多重並列的方塊呈現林壽宇脫離抽象抒情的開端。

新點綴於極簡的畫布之上。《致Katya》(Lot 191) 在白色塊下端未

而《五月一日；五月二日；五月三日；及五月四日》(Lot 185) 這套

勾勒完全的黃色線段，刻意留白的比例是林壽宇經過精確計算的架

版畫每件作品皆由兩部分組成，除了底層的白色絲網版畫，上層透

構，呈現具有理性的結構性與空間構成，為穩定的節奏感增添韻律

明片上的壓克力色條是手工一件件黏貼，展現了豐富的層次變化與

的變化。

藝術家細膩、嚴謹的思維。同時，這兩套版畫的另一版次皆是英國 泰特美術館中的典藏，見證了西方的重要美術館機構對於林壽宇在 藝壇地位的認可 。 藝評家王秀雄曾說：「林壽宇簡直把自己限定於長方形和白色的最簡 要素內，譜出最大的律動和最豐富的白色層次。這一種豐富的白色層 次和長方形的反覆，所構成的內涵是如此的緊湊和多樣。」《三三》 (Lot 192) 經過精密的理性切割，層層漸進的白色越往上疊加面積越縮 小，最後在帶有黑色、黃色的線段上結束，儘管畫面隱藏了空間的深 度，但卻在遞進的過程中創造了無限的空間。擁有厚度的淺灰色壓克 力版，做為兩個乳白方形色階間的銜接，使光源的介入立體物件呈現 陰影的效果，實體物質的存在加強畫面空間意識，超越平面的限制， 立體浮雕感擺弄觀眾的真實視覺於幻覺、現實與超現實之間的微妙切 換，林壽宇讓二維平面的繪畫與具有三維空間的現成品之間建立起有 機的協調關係，在形體轉化之下建立嶄新的空間秩序。

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Lot 191

據目前可查閱的公開文獻，林壽宇曾以女兒Katya為題創作過三件 作品，其中包含一件現存於英國米德爾斯堡現代美術館藏品，「我 的每件作品具有紀念性的，每件作品都描繪一個故事和描寫一個 人。」《致Katya》是藝術家對女兒綿密情感的釋放，紀念著他們一 起擁有的生活記憶，而本件創作於1970年《致Katya》為其他同名系 列作品中，年代最早且尺寸最大的一件，作為此系列的開端，更想 必對於林壽宇而言包含著更加原始與純粹的情感。

1. 林壽宇與Katya Lin Richard Lin and Katya Lin 2. 本．尼科爾森《1937 六月（繪畫）》1937年作 英國 倫敦 泰特現代美 術館藏 Ben Nicholson, June 1937 (painting) , 1937, Collection of Tate Modern, London, UK

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190 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) 15-7-58 林壽宇 15-7-58

Painted in 1958 oil on canvas 122 x 215 cm. (48 x 84 3/4 in.) inscribed, titled and signed '84 x 48 15-7-58 LIN SHOW YU' (on the reverse)

1958 年作 油彩 畫布 款識：84 x 48 15-7-58 LIN SHOW YU（畫背）

Provenance

現藏者直接得自於藝術家

Acquired directly from the artist by the present owner

HK$ 5,000,000 - 8,000,000 US$ 641,000 - 1,025,600

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來源

Poet Roman said, "Richard Lin not only absorbed the West's emphasis on 'consciousness' and 'concept' in his forms and symbols, but also always strictly adhered to the 'implications' and 'moods' favoured in the East. In the full performance of the creative spirit of humankind, this comes close to an ideal that is worthy of attention."

191 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) For Katya 林壽宇 致Katya

Painted in 1970 oil on canvas 63.8 x 63.5 cm. (24 3/4 x 24 3/4 in.) signed, titled, dated and inscribed 'RICHARD LIN ''FOR KATYA'' SPRING 1970 25'' x 25'' oil/canvas' (on the reverse)

1970 年作 油彩 畫布 款識：RICHARD LIN ''FOR KATYA'' SPRING 1970 25'' x 25'' oil/ canvas（畫背）

Provenance

佳士得 台北 1999年4月18日 編號47 現藏者購自上述拍賣

Christie's Taipei, 18 April 1999, Lot 47 Acquired from the above sale by the present owner

HK$ 1,800,000 - 2,800,000 US$ 230,800 - 359,000

來源

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詩人羅門說：「林壽宇不但在形式與符號中 吸納了西方所偏重的『意識』與『觀念』， 而且更始終堅持東方所偏持的『玄念』與 『意境』。這在人類創作精神全面統合的表 現上，應是更接近理想與值得重視的。」

1984年林壽宇宣稱「繪畫已死」至此封筆不再作畫，轉向雕塑與裝 置藝術。創作於2008年的《紙上作品》(Lot 188) 運用煙盒中的錫 箔紙與紙片等現成物為材料作為立體造型的發想，再落實為大型裝 置藝術的實驗。林壽宇60年代的「浮雕繪畫」於平面中延展至三度

Lot 187

空間，晚年最終從牆面走向地面，搭建起建築立體空間。如同鄭芳 和：「建築與藝術是一體兩面，《道德經》第十一章云：『有之以 為利，無之以為用。』建築是實用性的，是有；藝術是非實用性， 是無。林壽宇以建築的實用性，建構藝術的非實用性，在建築與藝 術的有無之間轉換、架接，正顯示他的藝術由絕對轉向『可變的開 始』。」林壽宇一生的創作理念契合老莊思想的「空」與「無」透 過有限的色彩和極簡的形體，以西方的抽象語言，建構秩序性的幾 何關係，將東方哲學的意涵具象化於空間中，代表著藝術家對宇宙 萬物及自己內心的自省與詰問。繼趙無極、朱德群為首的抽象表現 主義後開創另一篇章，以不同風格的抽象形式，共同於二十世紀的 華人現代藝術史中，為中國傳統美學精神重新注入新的養分並發揚 光大。

Lot 188

林壽宇《致Katya》1974年作 英國 米德爾斯堡 米德爾斯堡現代藝術學院藏 Richard Lin, For Katya , 1974, Collection of Middlesbrough Institute of Modern Art, Middlesbrough, UK Lot 189

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林壽宇

RICHARD LIN ART THROUGH SIMPLICITY

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In 1966, when Joan Miro visited Richard Lin at his studio, she commented, "In the world of white, you are without equal." Because of Lin's adept use of white, his White series became the representative work that marked his artistic achievement and worldwide fame. In this Spring Sale, Poly Auction Hong Kong have traced back to the nascence of his creative life in 1958, to include one of his early, rarely seen abstractionist work that was featured in his first solo exhibition; paper works based on the concept of Zen; the remarkable works of the White series produced in the 60-70s; and mixed-media collage works executed after 1984, when the artist claimed that painting was dead. This entire series spans across half a century and covers each important stage in Lin's artistic career, bringing clarity upon the structure of the artistic ideals of this great master through different periods.

1.「一即一切：林壽宇50年創作展」展覽現場 Exhibition view of "One is Everything: 50 Years of Work by Richard Lin" 2. 卡齊米爾．馬列維奇《黑圓圈》1915年作 俄羅斯 聖彼得堡 俄羅斯國家美術館藏 Kazimir Malevich, Black Circle , 1915, Collection of State Russian Museum, St. Petersburg, Russia

Zao Wou-Ki has uncovered the concepts that lie beneath Chinese landscape paintings through his abstract works; Chu Teh-Chun utilised the rhythm of colours to convey the visual melody of traditional Chinese poetry; Lin, however, extracted philosophical thinking from the core of traditional Chinese culture, presenting the concept of "inaction" in Laozi and Zhuangzi through the language of western cold

abstractionism. He was the first Chinese included in the Kassel "Documenta" in Germany, which marks his importance in post-war Chinese art scene.

Unlike other artists whose artistic context always transform from figurative to abstraction, Lin's artistic career began with lyrical abstraction straight away.

His Works on Paper (Lot 189) of the Sun Moon series in 1957 depicts the trajectories of the sun and the moon in the universe. The expressive, skillful brushstrokes was the best indication of the skills he built up after years of study on traditional Chinese calligraphy. The conversion between thick and thin oil paint reveals Lin's pursuit of the eternal universe from his oriental perspective. His 1964 Gestural Drawing (Lot 187) contains simple strokes with the concept of Zen. He freely pressed the oil paint onto the paper, the unflattened oil paste was stucking on the surface of the paper, creating a texture of three-dimensional.

This represents a kind of prelude to his later pursuit of "relief" painting effects on flat surfaces, embodying visual effects like those of sculpture but within the vocabulary of painting on a planar surface.

Lin's ability to examine spatial dimensions within a two-dimensional pictorial surface allowed him to construct a new kind of artistic experience.

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"I use colours that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colours are not colours that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity."

- Mark Rothko

In the late 1950s, abstractionism was best rewarded and respected. Lin was profoundly influenced by Mark Rothko's paintings. He stated, "Looking at the large colour blocks in Rothko's paintings is like listening deep sound of large drums coming from far, far away, and that sound echoes in my heart." Rothko emphasised the representation of the spirit and content. He restricted himself to only use a few colours and shapes to compose gigantic paintings with no focal point, creating an immersive experience for the viewer. Walking into a painting of large blocks of colours, the viewer and the canvas finally merge into one. Lin was led from strokes full of emotion to the pursuit of simple shapes and colours.

In 15-7-58 (Lot 190), he refrained himself from using emotional strokes, instead, only employed large colour blocks as the basic elements in his creations. This large-scale painting of a structure without a focal point leaves the viewer's eyes to wander around the picture, and the on-site viewing experience becomes pure visual sensation. As Rothko said, "The reason I paint large canvases is that I want to be intimate and human." 15-7-58 lays down maroon as the base colour of the background, and Lin precisely controlled the force with which he applied the colour to hide any trace of brush strokes. The layers of colours and the rhythm on the canvas originate from different and multiple overlapping layers, resulting in different degrees of translucence. The colour fields, slightly varied in tone, create a tranquil and holy space for meditation.

"In 1958, he started developing a series of works with large black and white colour blocks. Within the limited space on canvas, he arranged colour fields with similar tones but slightly different textures to show contrasts in their translucence. He uses extremely neat lines and frames to create a horizon within the picture, which leads to the peace of mind."

- Luo Jieyin "One is Everything: 50 Years of Work by Richard Lin"

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1. 卡齊米爾．馬列維奇《黑與紅方塊》1915 年作 美國 紐約 現代藝術博物館藏 Kasimir Malevich, Black Square and Red Square , 1915, Collection of the Museum of Modern Art, New York, USA 2. 馬克．羅斯科《棕色上的黑色》1959年作 英國 倫敦 泰特現代美術館藏 Mark Rothko, Black on Maroon , 1959, Collection of Tate Modern, London, UK

On 15-7-58, a black, rectangular-shaped belt was crossing the single-coloured background from left to right, with its top and bottom emitting light, it seemed to be naturally luminous, and that lights up the middle section of the maroon canvas. The clear and neat edges make the work to differ from the fluid effect and the blurry boundaries that Rothko creates on his canvas by using diluted oil paints to penetrate each colour block. Lin used to major in architecture, and thats the reason for him to employ neat geometric lines with clear boundary to divide the canvas with optimal ratios, creating balanced horizontal zones, it could be regarded as homage to Rothko and a hint of his artistic focus gradually shifting towards minimalism.

In the 1960s, Lin started his White series. In the early stage, his focus was on the structural relationships between the arrangement of large squares. As time went by, those large areas have been divided further into different rectangular shapes. In the late 1960s, the White series reached its stage of maturity. Lin started to use palette knives, stacking the whitecoloured pigments onto each other, creating "five shades of white," just as the five different degrees of ink shades in traditional Chinese ink paintings. In the arrangement of those whites, the concept of "white on white" extends beyond boundaries, which reinforce his earlier statement at an interview for an exhibition in Europe in 1968, about Taoism beening his main artistical focus: All things under heaven sprang from It as existing (and named); that existence sprang from It as non-existent (and not named). The White series constructs the endless extension of multi-dimensional space, depicting the core of the universe and showing the content of the space of the universe in Eastern philosophy.

In 1964, Richard Lin's "relief" paintings, built up by square blocks, was selected to be shown in the "Documenta III" held in Kassel, Germany, making

him the first Chinese artist to be included in this Internationally recognised show. The 1966 worksSpring; Summer; Autumn; & Winter (Lot 186), employ varying numbers of square coloured blocks, through which he delineates his attribution to different season. The geometric juxtaposition of multiple square shapes marks Lin's departing from lyrical abstraction, as well as the start of his White series.

The set of prints May 1; May 2; May 3; & May 4 (Lot 185) each consist of two parts - a base layer of white silkscreen print, and an upper layer consisting acrylic colour strips on a transparent plate. Each of these were made by hand, producing rich layering effect and demonstrates the artist's meticulous, rigorous attitude towards the making of his work. Another edition of each of these sets of prints belonged to the collection of Tate Modern, which shows the recognition and appreciation of the artist's work in Western art scenes.

Art critic Frank S.H. Wang once said, "Lin has limited himself to the absolute simplest elements of rectangles and shades of white, but with these he has composed the greatest rhythms and the richest white layers. Within these rich layers of white and repeated rectangles, he structures these implications, which are so compact and yet so diverse."

In Three Three (Lot 192), the canvas space has been precisely divided under the artist's rational planning and calculation, the white shades are diminishing as the layers build up, and finally ends at a straight line of black and yellow. Although the picture obscures spatial depth, but a boundless space is created during the process of building up. A light grey acrylic plate with visible thickness is bridging up the two milk-white rectangular colour scales. As the light source have created shadows for the three-dimensional objects, and the existence of concrete objects strengthens the spatial consciousness of the image. This work exceeds the restriction of a two-dimensional plane, and the

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Cheng Fang-Ho once stated, "Architecture and art are two sides of the same coin. And Chapter 11 of Tao Te Ching have stressed: what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness. Architecture is practical, so it 'existence'. Art is impractical, so it is 'nothingness.' Lin used the practicality of architecture to construct the impractical theory underlie in art. His transfer and connection between the 'existence' and 'non-existence' between architecture and art reflects that his art shifted from absolute to the beginning of mutability."

With his restricted colour palette and minimalist forms, Richard Lin constructs orderly geometric relationships with the Western language of abstraction. He transforms the meanings of Eastern philosophy into concrete representations in space, images that stand for the artist's introspection and questioning of the universe and his own heart.

Following the Abstract Expressionism exemplified by such artists as Zao Wou-Ki and Chu Teh-Chun, Lin's work could be deemed as the start of a new era. All with different styles, these great masters of Chinese modern art in the 20th century helped to carry forward traditional Chinese aesthetics in the international art scene.

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sense of three-dimensional embossing manipulates the viewer's vision, alternating among illusion, reality, and the surreal. Lin built up a harmonious relationship between two-dimensional painting and ready-mades that occupies three-dimensional space. Through the transformation of form, he established a brand-new spatial order.

When it comes to 1970s, three-dimensional readymade forms had gradually disappeared on Lin's canvas, and were replaced by more complex colour blocks. The year before, Lin's family had moved to the suburb of London, the experience of residing in the nature was probably the main reason why colours start to appear in Lin's works. Natural colours such as red, yellow, and even green refreshed his minimaliststyle canvas. Within For Katya (Lot 191), there was a partially drawn yellow line at the bottom of the white colour block. And such blank was left intentionally through Lin's careful calculation, altogether they present a space that is both rational and spatial, with rhythm sensation.

According to the open literature sources, Lin has

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named three of his creations that were related to with his daughter Katya, one of which is now in the collection of the Middleborough Institute of Modern Art, Great Britain. "My works are souvenirs. Each depicts a story or commemorates somebody." For Katya depicts the artist's deep love for his daughter, commemorating the life they once shared. Among his other works with the same name, For Katya, created in 1970, was the first ever produced and the largest.

As it marks the beginning of this series, this work must contain the most primitive and purest affection of Richard Lin. In 1984, Lin proclaimed, "Painting is dead" and stopped to execute any canvas works, instead, he turned his focus toward sculpture making. Work on Paper (Lot 188), executed in 2008 incorporated ready-made materials such as tin foil and the paper found in cigarette packs as an inspiration, and they serve as the blue print for his larger installations.

Painting Relief, created in the 1960s has expanded from surface plane to three-dimensional space and finally, in the artist's late years, transferred from wall to the floor, forming an architectural form. Just as

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1. 德國卡塞爾「第三屆文件展」展覽專輯封面 暨封底 Cover of the exhibition catalogue of "Documenta Ⅲ" 2. 德國卡塞爾「第三屆文件展」展覽圖錄對林 壽宇與作品的介紹 Introduction of Richard Lin and his works of the exhibition catalogue of "Documenta Ⅲ" 3. 艾格尼絲．馬丁《無題第5號》1975年作 美國 紐約 現代藝術博物館藏 Agnes Martin, Untitled Number 5 , 1975, Collection of The Museum of Modern Art, New York, USA

192 RICHARD LIN (C H I N ES E- B R I T I S H , L I N S H OW-Y U , 1 9 3 3 -20 1 1 ) Three Three 林壽宇 三三

Executed in 1968-1969 oil and aluminum on canvas 101 x 112 cm. (39 3/4 x 44 in.) signed, titled, dated and inscribed 'RICHARD LIN ''THREE THREE'' 1968-1969 40'' x44'' 101.6cm.x111.8 cm. RICHARD LIN ''THREE THREE'' 1968-1969 44''x40''' (on the stretcher); signed, dated and inscribed 'RICHARD LIN 19681969 40x44' (on the reverse) Provenance

Sotheby's Taipei, 17 October 1999, Lot 138 Acquired from the above sale by the present owner

HK$ 4,000,000 - 6,000,000 US$ 512,800 - 769,200

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1968-1969 年作 油彩 鋁 畫布 款識：RICHARD LIN ''THREE THREE'' 1968-1969 40''x44'' 101.6cm. x111.8 cm. RICHARD LIN ''THREE THREE'' 1968-1969 44''x40''（畫背內 框）；RICHARD LIN 1968-1969 40x44（畫背） 來源

蘇富比 台北 1999年10月17日 編號138 現藏者購自上述拍賣

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193 HSIAO CHIN (C H I N ES E , X I AO Q I N , B . 1 9 3 5 ) RH-65 蕭勤 RH-65

Painted in 1960 oil on canvas 80.3 x 100.4 cm. (31 3/4 x 39 1/2 in.) dated and signed in Chinese; dated and signed '60 HSIAO' (lower right); signed, titled and dated 'HSiAO CHiN "RH-65" 1960'; signed in Chinese (on the reverse) This work is to be sold with a certificate of authenticity signed by the artist.

HK$ 180,000 - 280,000 US$ 23,100 - 35,900 290

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1960 年作 油彩 畫布 款識：五 60 HSIAO 勤（右下）；HSiAO CHiN "RH-65" 1960 蕭勤（畫背） 附藝術家親簽之原作保證書

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HSIAO CHIN (C H I N ES E , X I AO Q I N , B . 1 9 3 5 ) li Giardino viola

HSIAO CHIN (C H I N ES E , X I AO Q I N , B . 1 9 3 5 ) Tempesta Solare-3 (Solar Storm)

蕭勤 紫色花園

蕭勤 太陽風暴 3

Painted in 1998-2008 acrylic on canvas 70 x 90 cm. (27 1/2 x 35 1/2 in.) signed, dated, titled and inscribed 'Hsiao 1998-2008 "li Giardino viola" 70 x 90 cm.'; signed and titled in Chinese (on the reverse) Literature

Hsiao Chin．Eternal Energy, Lotus Art Gallery, Kaohsiung, Taiwan, 2014 (illustrated, p. 44).

Painted in 1988 acrylic on canvas 90 x 70 cm. (35 1/2 x 27 1/2 in.) signed 'Hsiao'; signed and dated in Chinese (middle right); titled, inscribed and dated 'Tempesta Solare-3 Acrilico su tela 90 x 70 cm 1988' (on the reverse) This work is to be sold with a photo of authenticity signed by the artist.

1998-2008 年作 壓克力 畫布 款識：Hsiao勤 1998-2008 「紫色花園」"li Giardino viola" 70 x 90 cm（畫背） 出版

《蕭勤．永恆能量》荷軒新藝空間 高雄 台灣 2014年（圖版，第44頁）

1988 年作 壓克力 畫布 款識：Hsiao 勤 八八.（右中）；Tempesta Solare-3 Acrilico su tela 90 x 70 cm 1988（畫背） 附藝術家親簽之原作照片

HK$ 120,000 - 220,000 US$ 15,400 - 28,200

HK$ 120,000 - 180,000 US$ 15,400 - 23,100 Modern and Contemporary Art

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196 LIU GUOSONG (C H I N ES E , L I U K U O - S U N G , B . 1 9 32) Emerging Light 劉國松 現出了光

Painted in 1972 ink and colour on paper 36.5 x 91.5 cm. (14 1/4 x 35 3/4 in.) signed and dated in Chinese (lower right) two seals of the artist Provenance

Former Collection of The Denver Art Museum, Denver, USA Private Collection, USA 1972 年作 水墨 設色 紙本 款識：劉國松 一九七二（右下） 鈐印：劉、益都劉國松印 來源

美國 丹佛 丹佛美術館舊藏 美國 私人收藏

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

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Modern and Contemporary Art

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劉國松

LIU GUOSONG 現代山水圖景

Lot 197

1961年劉國松正式從西畫回歸中國水墨的創作。劉國松深感民族性

們未曾成為主要焦點。1969年隨著阿姆斯壯登陸月球後，人類開

及民族文化傳統之重要，從此放棄已經運用純熟的油畫材料，改採

始對太空宇宙有前所未有的新認識，因而使太陽與月亮成為劉國松

中國傳統的水墨表現，雖在形式上為西方的抽象繪畫，但實際上的

「太空系列」的創作主軸。《太空系列─日之運行》(Lot 197)中五

概念可說承接了林風眠等藝術家的水墨畫改革主張。在技法上，劉

個平行的太陽在天空等距排列，藝術家似乎暗示著時間的推移和太

國松認為，書法所表現的線條性質與肌理是有限的，為了表現作品

陽的水平軸線平行，背景的飽和橘色象徵著如日中天，下方的地球

的效果，不應以毛筆為唯一的表現工具，因而在數十年的藝術鑽研

以水拓技法鋪陳了多樣的抽象塊面與色彩，劉國松巧妙運用了硬邊

中開發許多新材料和新技法。例如：拓墨、撕紙筋、水拓法等代替

幾何造型與水拓具流動性的不規則形狀之間的對立，影射了太陽與

毛筆來表現出特殊效果，這並非放棄傳統筆法的運用，而是將筆墨

地球間隔著億萬公里的距離，在這周而復始的循環中，太陽普照大

形式進入更深層的美學意涵探討，使筆意完全融入水墨的表現中，

地與萬物，因而生機勃勃、璀璨紛陳。劉國松以繼承自中國固有文

拓展畫面節奏、韻律及氣韻的追尋。

化的宇宙哲學觀，將自然現象與大地萬物並置，紅日的幾何形體與

著名的藝術史學者蘇立文曾說：「他 [劉國松] 認為必須在自己的 傳統中追根溯源，找出身為中國人以這種特殊方法作畫的原由。正

色域的概念雖來自西方抽象表現主義，卻以漸層擴散的光暈籠罩大 地，表現出圓融飽滿、生意盎然的畫境。

如較早時在巴黎的趙無極一般，劉國松在中國書法的筆潤中發現抽

《太空系列─日之運行》地球的表層將畫面一分為二，上半部是

象藝術的根源。書法的筆潤向來不僅是形式的表現，其中還含蘊超

被五個紅太陽佔據著的浩瀚宇宙，而另一半則是廣闊無垠的地球

乎形式的意義。在哲學的層面上，書法的筆潤飾天地之間磅礡氣勢

表面，橫幅的畫面延展視覺的廣度，對稱的畫面彷彿沒有開始與

的表現。劉國松的水墨畫看來不論多麼抽象，卻始終還有山水的意

盡頭，時間與空間在此因而永恆。畫面下半部的地球表面，是人類

味。」如創作於1972年的《現出了光》(Lot 196)，恰介於劉國松

與太空關係轉變的證明，由於登入太空後，視角由以往對太陽的仰

「狂草抽象」與「太空」系列的轉折期，前景以濃墨與飛白筆觸創

望，改成從宇宙回望地球。靜止的地球，環繞著運行的太陽，將具

造了近在眼前的山頭，隔著山嵐霧靄為皴擦與水拓法的淡墨色塊，

時間移動的太陽運轉納入一個畫面，結合觀者感到的時序變化和中

畫面左上的白色光暈可能為日或為月，藝術家以不透明的白色詮釋

國固有觀念中宇宙的恆動與消長，更象徵《詩經》中「緇緇鳴雁，

強烈光源，觀者直視畫面時因而感受題名「現出了光」，在抽象形

旭日始旦」萬物生機蓬勃的預兆。即便受到西方科技突破的啓發，

式元素和具象場景的切換與組構中，劉國松不僅以自身的技法改革

劉國松仍不忘對傳統文化的回溯，如同他說：「反傳統的目的，是

取得平衡，更開拓了往後水墨持續不斷的突破與革新。

為了創造一個更新的傳統，使舊有的優點得以發揚，並非是虛無的

早在人類登入月球前，劉國松的作品已經出現圓形的幾何圖案，但 如同中國傳統山水畫，日與月在畫面中僅僅扮演著點綴的角色，它

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為反叛而反叛，他有著一更積極的意義，那就是創造。所以，在我 個人的藝術生命中，認識傳統即是反傳統的一個過程，為達到創造 的一種準備。」

In 1961, Liu Guosong's style has formally moved away from Western painting and returned to Chinese ink-wash. His deep awareness of the importance of nationality as well as cultural traditions urged him to abandon oil-a medium he was skilled in and opted for the ink-wash expression of the Chinese tradition.

Although the form pertained those in western Abstract painting, the concept was arguably a continuation of reforming ink-wash painting advocated by artists like Lin Fengmian. In terms of technique, Liu Guosong held that the linear quality and texture represented through Chinese calligraphy was limited; in order to adequately express effects in a work, the artist should go beyond the brush as the sole tool of expression. Thus, he innovated several new materials and techniques during his decades of artistic investigation, including ink rubbing, tearing fibers from paper, water rubbing, etc., to replace brush and express certain effects. However, rather than abandoning traditional brushwork, they incarnates deeper aesthetic exploration on forms of ink and brushwork, completely merging the spirit of the latter into ink-wash expression, thus expanding rhythm and cadence of the tableau and further pursuing artistic essence.

According to renowned art historian Michael Sullivan, "He [Liu Guosong] thought that he must seek his roots within his own tradition in order to find out the reason why Chinese painters painted in such unique ways. Similar to Zao WouKi when he was in Paris earlier on in his life, Liu Guosong discovered the origin of abstract art through the moisture of the brush within Chinese calligraphy.

More than just expressions of forms, such moisture of brush carry significance beyond forms. Philosophically, the moisture of brush in calligraphy expresses the superb dynamism between heaven and earth. No matter how abstract Liu Guosong's ink paintings may seem, they still possess impressions of landscape."

Emerging Light (Lot 196) created in 1972, during the artist's transitioning phase between his Abstract Wild Cursive and Space series: thick-ink and flying-white strokes in the foreground compose the hilltops nearby; behind the mountain cloud and mist are blocks in diluted ink painted through wrinkle method and water rubbing. As for the upper left part, the white aura might represent the Sun or the Moon. The artist interpreted strong light sources with opaque white. The title Emerging Light refers to the viewer's feeling in staring at the painting. Liu Guosong not only obtained balance among shifts and constructions of abstract, formal elements and concrete scenes with his own technique, but further inaugurated incessant breakthrough and innovation on ink-wash for the future.

Long time before the first man landed on the Moon, Liu Guosong had started to paint geometrical circles in his works. Yet in the customs of traditional Chinese landscape painting, the Sun and the Moon are not the focus but only for ornamentation. In 1969, Neil Armstrong landed on the Moon, opening a brand

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new understanding of the universe. The Sun and the Moon thus became the axis of Liu Guosong's Space series. In Space Series-Path of the Sun (Lot 197), five suns are arranged parallel with each other with equal intervals in the sky. The artist seems to suggest the passage of time is parallel with the sun's horizontal axis.

The saturated orange colour symbolizes the suns in the mid-sky; the Earth below involves various abstract blocks and colours deployed through water rubbing. Liu Guosong brilliantly exploits the contrast between hard-edge abstract shapes and the irregular fluid shapes made through water rubbing, alluding to the hundreds of millions kilometers between the Sun and the Earth. In the recurrent cycles, the Sun keeps on shining on the land at all things, generating animated vitality and vivid diversity. By inheriting the cosmic philosophy inherent in Chinese culture, Liu Guosong juxtaposes natural phenomena and all beings on Earth.

Although abstract shapes of the red suns and the idea of colour gamut are drawn from Abstract Expressionism of the West, the land is shrouded in a halo spreading through gradation, representing a well-rounded and complete state of painting full of vitality.

In Space Series-Path of the Sun, the picture is divided into two by the Earth's surface. The upper part shows an immense universe occupied by five red suns while the part below represents the vast and boundless surface of the Earth.

The horizontal format further widens and extends the vision. There seems to be no starting point or ending in the symmetric picture; time and space here thus become eternal. The Earth's surface on the lower part is proof of the artist's shift in man's relation towards the outer space. Having explored the outer space, man's perspective is no longer towards the Sun facing up, but instead now facing down towards the Earth from a point in the universe. The static Earth revolves around the turning Sun; the Sun's movement involves the passing of time, and thus this process is integrated into the picture. The viewer can feel seasons change as well as the permanent motion, decline and growth of the universe; ideas that are inherent to Chinese traditions. Furthermore, this symbolizes the strong vitality of all things, like the description, "The dark wide goose cries. The sun rises," written in The Book of Odes. Although being inspired by a breakthrough in Western technology, Liu Guosong continues to trace back to traditional Chinese culture, as he stated, "The aim of countering tradition is to create a new tradition that exerts existed qualities. Rather than revolt just to revolt in a nihilistic way, involving a deeper meaning of creation. Therefore, in my own artistic life, understanding tradition is a process of countering the traditions; it is a preparation to create."

1. 范寬《溪山獨釣圖》南宋 美國 華盛頓 弗利爾美術館藏 Fan Kuan, Fishing Alone in a Mountain Stream , Southern Song, Collection of The Freer Gallery of Art, Washington D.C., USA 2. 阿道夫．戈特利布《日蝕》1952年作 西班牙 馬德里 索菲亞王后國家藝 術中心博物館藏 Adolph Gottlieb, Eclipse , 1952, Collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain Lot 196

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197 LIU GUOSONG (C H I N ES E , L I U K U O - S U N G , B . 1 9 32) Space Series - Path of the Sun 劉國松 太空系列—日之運行

Painted in 2014 ink and colour on paper 77.4 x 207.7 cm. (31 1/2 x 81 3/4 in.) signed in Chinese; dated '2014' (lower centre) one seal of the artist This work is to be sold with a certificate of authenticity signed by the artist and issued by Soka Art Center, Taipei, Taiwan.

2014 年作 水墨 設色 紙本 款識：劉國松 2014 鈐印：一個東西南北人 附台灣 台北 索卡藝術中心開立之藝術家親簽原作保證書

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700

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Modern and Contemporary Art

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198 QIU DESHU (C H I N ES E , B . 1 9 4 8) Fissuring 仇德樹 裂變

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Painted in the 2000s acrylic on paper, laid on canvas (pentaptyph) each: 147.3 x 46.5 cm. (58 x 18 1/4 in.); overall: 147.3 x 232.5 cm. (58 x 91 1/2 in.)

1. signed in Chinese (lower right) one seal of the artist 2. signed in Chinese (lower left) one seal of the artist 3. signed in Chinese (lower left) one seal of the artist 4. signed in Chinese (lower right) one seal of the artist 5. signed in Chinese (lower left) one seal of the artist

2000 年代作 壓克力 紙本 裱於畫布（五聯作） 款識： 1. 德樹（右下） 藝術家鈐印 2. 德樹（左下） 藝術家鈐印 3. 德樹（左下） 藝術家鈐印 4. 德樹（右下） 藝術家鈐印 5. 德樹（左下） 藝術家鈐印

Provenance

現藏者直接得自於藝術家

Acquired directly from the artist by the present owner Exhibited

Taiwan, Taipei, Taipei Fine Arts Museum, Open Flexibility: Innovative Contemporary Ink Art, 10 October, 2009-17 January, 2010.

HK$ 280,000 - 360,000 US$ 35,900 - 46,200 298

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來源

展覽

2009年10月10日-2010年1月17日「開顯與時變－創新水墨藝術展」台北市 立美術館 台北 台灣

199 YANG CHIHUNG (C H I N ES E , YA N G S H I H O N G , B . 1 9 47 ) Leap 楊識宏 躍進

Painted in 2014 acrylic on canvas 71.5 x 162 cm. (28 1/4 x 63 3/4 in.) signed, titled and dated 'Chihung Yang Leap ©2014' (on the reverse)

2014 年作 壓克力 畫布 款識：Chihung Yang Leap ©2014（畫背）

HK$ 220,000 - 320,000 US$ 28,200 - 41,000 Modern and Contemporary Art

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200 CHUANG CHE (C H I N ES E , B . 1 93 4) Untitled 莊喆 無題

Painted in 1981 oil and acrylic on canvas 100.5 x 127 cm. (39 1/2 x 50 in.) dated '81'; signed in Chinese (lower right)

1981 年作 油彩 壓克力 畫布 款識：81 莊喆（右下） 附美國 紐約 David Findlay Jr. Fine Art畫廊開立之原作保證書

This work is to be sold with a certificate of authenticity issued by David Findlay Jr. Fine Art, New York, USA.

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 300

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201 PANG JIUN (C H I N ES E , PA N G J U N , B . 1 9 3 6) The Kakis are Ripe 龎均 柿子熟了

Painted in 2018 oil on canvas 97 x 130 cm. (38 1/4 x 51 1/4 in.) signed in Chinese; dated '2018' (lower right) one painted seal of the artist

2018 年作 油彩 畫布 款識：龎均 2018（右下） 藝術家手繪鈐印：均

Provenance

亞洲 私人收藏

來源

Private Collection, Asia

HK$ 420,000 - 820,000 US$ 53,800 - 105,100 Modern and Contemporary Art

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P A N G J I U N

龎 均 柿子熟了

Lot 201

龎均擅於將東方美學的文人情思巧妙地結合西方油彩的表現性，以 展現中國文化獨有的意境，同時也不失西方現代主義的特質，為東 方繪畫創造了嶄新風格與高度。從小受古典音樂和詩詞薰陶的他， 透過純熟的寫生技巧，營造「詩中有畫，畫中有詩」之情境，樹立 個人風格。他對於顏色的掌握十分敏感，熱衷運用大膽、強烈的色 彩，保留畫面厚重的油彩強調筆觸肌理，將美感、趣味和生命力與 他的藝術修養完美結合。 龎均的創作源自於生活題材或是走遍江山南北的寫生經歷，第一時 間用繪畫記錄下體悟和情感，將所見之美納進畫布。《柿子熟了》 (Lot 201) 採用柔和的黃色為背景，運用源自傳統書畫的黑色線條勾 勒果實的輪廓，柿子時而青綠、時而橘紅，在強烈對比下增添畫面 的活力。畫面中粗細交疊的樹枝從斜角延伸，彷彿清風拂過，熟透 的柿子便會掉落。龎均以細枝椏暗示了無限延伸的景深與空間感， 在有限的畫布中譜出和諧的韻律，調和了畫面之間冷暖色調的對比 關係。 龎均創作的不同之處在於他不過分強調物象的形似和寫實，在自由 和概念化間取得平衡，《柿子熟了》遠看是具象的作品，近看則帶 有幾何抽象的組構，如同他自述：「我寫生不求寫實，而是創作， 畫山不必真似山，畫水亦不必真似水，江山不如畫。」即是龎均獨 樹一幟的畫風。

牧谿《六柿圖》宋代 日本 京都 大德寺龍光院藏 Mu Xi, Six Persimmons , Song dynasty, Collection of Daitoku-ji, Kyoto, Japan

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Pang Jiun has the ability to ingenuously unite the aesthetics of the Eastern literati with the expressions of Western oil paintings. Through such, he reveals the unique ambience of Chinese culture, as well as the characteristics of Western modernism, which brings paintings of the oriental to a new creative pinnacle.

Nurtured by classical music and poetry from a young age, Pang Jiun establishes his personal style and the ancient scholar ideal of "there is painting in poetry just as there is poetry in painting" through his proficient technique of life paintings.

His grasp upon the use of colours is especially delicate, and is fond of employing daring and vibrant colours. Further, he retains the heaviness of the image through oil, and emphasises the texture of brushstrokes to integrate his artistic upbringing with aesthetics, amusement and vitality.

Pang Jiun's creations draws inspiration from everyday subject matters, or his life drawing experiences travelling across lands far and wide. He would record his experiences and emotions in the moment, and bring the beauty of his sights onto the canvas. The Kakis are Ripe (Lot 201) employs a warm yellow as the background, and uses traditional black outlines to sketch out the shape of the fruit. Some of the kakis are grass green, some others are more orangey, this contrast in colour adds a layer of playful energy to the painting. Branches of different thickness weave diagonally across the canvas, and, it seems, if a gust of wind brushed past, the plump kakis will drop from the branches. Pang Jiun extended the slender branches to create a sense of bottomless depth and spatiality. Upon a limited and static canvas, he composed a harmonious balance between the warm and cool tones.

The distinctiveness of Pang Jiun's paintings arise from the balance he created between freedom and conceptualism, rather than over exaggerating the details of the objects. The Kakis are Ripe seem concrete from afar, but reveals a composition employing geometric abstraction up close. Like he said, "I draw from life, not to depict what is real, but to create something new. To draw a mountain does not necessarily have to look like a mountain, to draw a lake does not necessarily have to look like a lake. Mountains and lakes are inferior to drawings."

WALASSE TING

丁雄泉 採花大盜 生命是一場盛宴 丁雄泉生活地如其畫作一般活色生香，外放灑脫，他這種強烈的慾 望同時也體現在其作品之上，他喜好用鮮豔大膽的色彩和揮灑寫意 的筆觸，不拘泥於細微形態的方式來描繪筆下之人和物。這樣肆意 的筆法除了來自東方的寫意精神，同時可見當時眼鏡蛇畫派的構型 理論。 女人、馬、動物及靜物等都是丁雄泉筆下常見之題材。而女人則是 眾所皆知的丁雄泉之摯愛題材。他自號「採花大盜」或「風流先 生」，自詡是女性美真正的擷英者。以強烈鮮活的色彩及大膽出挑 的造型歌頌女人的靈肉之媚與柔。《香草味》(Lot 203) 作為描繪 女體之代表之作，女體側躺著，懷抱花簇，身邊彩色的背景使其彷 彿置身於鮮豔的花叢中。「每一次我看見美麗的女人就會聯想到鮮 花，鮮花的美使我愛，使我新鮮。我畫上的女人、貓、鮮花、鳥， 都在表現新鮮，在新鮮中藏著美。」對丁雄泉而言，女體之優美唯 有鮮花蝴蝶可相稱，畫面大量採用鮮艷的黃、綠、藍色塊，高純度 的色塊相互衝擊，畫面呈現出平面化卻極具衝擊感。再加之藝術家 隨性大氣的筆觸，畫中的裸女在鮮花映襯下愈發鮮活，性感、慵 懶，一如香草口味的甜膩與撩人。《花園中的貓》(Lot 205) 運用純

《一吻一吻》(Lot 204) 同樣創作於1970年代中期，畫面中的兩位女 子頭髮一紅一藍，用色及構型都極為大膽，螢光色的紅、黃、藍、 橙構成女子的身軀髮膚，再在空間內加入抽象元素，畫面豐富、雀 躍而又強烈，正是生氣勃勃色彩明艷的丁雄泉風格！《鯊魚》(Lot 202) 則是藝術家創作中少見的大尺幅描繪動物的作品，畫面中一隻 碩大的鯊魚，只見其前額細長，眼神銳利，以不可擋之勢正從海面 躍起，尾部濺起水花，栩栩如生氣勢十足，有如藝術家充滿銳氣的 的自我形象。畫面的構型以大塊的色墨及簡潔的線條勾勒出來，對 應了原始藝術粗獷簡約之主體表現手法，使得作品純真而表現出充 盈的力量。《鯊魚》題材在丁雄泉作品中非常少見，且具有上海美 術館著錄，是市場上難得一見之佳作。

度極高的色彩形成強烈的對比，丁雄泉以迅捷有力的蠟筆筆觸勾勒 出花園中草叢及貓身的明暗。牠曲蜷著彷似休息，卻又眼神靈動， 似乎下一秒便要縱身躍入旁邊的花草叢中，實為丁雄泉動物主題作 品中極具代表性之作。

Life is a feast Walasse Ting lived his life just like his paintings - splendid and wild. Depicting his passion and desire through his artworks, he used bright, bold colours and swaying brushstrokes to draw figures and objects without stickling subtle details.

His arbitrary brushstrokes draw from an Eastern freehand spirit, as well as concepts of CoBrA art.

Women, horses, animals and still objects are common themes in Ting's artwork.

His love to depict women is particularly well-known. He even nicknamed himself the "Flower Thief" or "Mr. Ladies' Man", claiming to be a collector of female beauty. He praised the feminine spirit, boldly presenting glamorous bodies using intense colours and striking poses. Vanilla Flavor (Lot 203) is his most iconic portrait of female body. The woman in the picture lies on her side, holding a flower bouquet in her arms. The vibrant background seems to place her amidst a sea of colourful flowers. "I think of fresh flowers every time I see a beautiful woman. The beauty of fresh flowers is rejuvenating to me. All those women, cats, flowers and birds in my paintings represent a sense of freshness and the beauty hidden within it." For Walasse Ting, fresh flowers and butterflies are the only suitable objects for the elegance of female body. In Vanilla Flavor, the artist has incorporated large blocks of bright yellow, green and blue, these colour blocks create high contrast, making the flat surface an extremely lively one to look at. With the artist's wild brushstrokes, the fresh flowers accentuate the liveliness of the naked women. She is sexy, relaxed, just as sweet and alluring

as the flavour of vanilla. In the Cat in the Garden (Lot 205), a sense of conflict is created by highly-saturated contrasting colours, Walasse Ting has used crayon to depict the figure of a cat, resting among the grass. The cat, seems at rest at first glance, but when looking closely, his eyes are gazing at the viewer, as if he is going to jump outside the frame, all the elements form a representative work for Walasse Ting's work.

Similar to Vanilla Flavor, A Kiss, A Kiss (Lot 204) was created in the mid-70's. The two ladies in the painting have red and blue hair, respectively. In the bold use of colours and composition, neon red, yellow, blue and orange colours compose the bodies, hair and skin of the ladies. The addition of abstract elements present a level of richness, excitement and intensity that are all typical of the dazzling and vibrant Walasse Ting style. Shark (Lot 202) is a rare piece of artwork by Ting in its large-scale depiction of an animal subject. The giant shark in the painting has a long, thin forehead with sharp eyes. It leaps out of the water surface with an unstoppable momentum and makes huge splashes with its tail. The energetic and lifelike shark may be the artist's self-portrait. The composition of the picture is depicted through large areas of ink and simplistic outlines, which corresponds to the crude expression of primitive art, and present a straight-forward image filled with energy. The theme of Shark is one that is very rare among the works of Walasse Ting. Collected by the Shanghai Art Museum, it is considered a rare and outstanding work of Walasse Ting on the market.

Modern and Contemporary Art

303

202 WALASSE TING (C H I N ES E-A M E R I CA N , D I N G X I O N G Q UA N , 1 92 9 -20 1 0) Shark 丁雄泉 鯊魚

acrylic on paper 128.5 x 249 cm. (50 1/2 x 98 in.) one seal of the artist Provenance

Private Collection, Singapore (acquired directly from the artist) Poly Auction Hong Kong, 4 April 2016, Lot 135 Acquired from the above sale by the present owner Literature

A Very Hot Day, Shanghai Art Museum, Shanghai, China, 1997 (illustrated, p. 339). 壓克力 紙本 鈐印：採花大盜 來源

新加坡 私人收藏（直接得自於藝術家） 保利 香港 2016年4月4日 編號135 現藏者購自上述拍賣 出版

《好熱的天》上海美術館 上海 中國 1997年（圖版，第339頁）

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

304

poly auction hong kong

Modern and Contemporary Art

305

203 WALASSE TING (C H I N ES E-A M E R I CA N , D I N G X I O N G Q UA N , 1 92 9 -20 1 0) Vanilla Flavor 丁雄泉 香草味

Painted in 1975 acrylic on canvas 102 x 66 cm. (40 1/4 x 26 in.) titled, signed and dated 'Vanilla flavor ting 75' (on the reverse)

1975 年作 壓克力 畫布 款識：Vanilla flavor ting 75（畫背）

Provenance

佳士得 香港 2010年5月30日 編號1350 現藏者購自上述拍賣

Christie's Hong Kong, 30 May 2010, Lot 1350 Acquired from the above sale by the present owner

HK$ 320,000 - 500,000 US$ 41,000 - 64,100

306

poly auction hong kong

來源

Modern and Contemporary Art

307

204 WALASSE TING (C H I N ES E-A M E R I CA N , D I N G X I O N G Q UA N , 1 92 9 -20 1 0) A Kiss, A Kiss 丁雄泉 一吻一吻

Painted in 1974 acrylic and crayon on paper 71.5 x 111.5 cm. (28 1/4 x 44 in.) titled, signed and dated 'A Kiss, A Kiss ting 74' (on the reverse)

1974 年作 壓克力 蠟筆 紙本 款識：A Kiss, A Kiss ting 74（畫背）

Provenance

蘇富比 香港 2016年10月3日 編號 5108 現藏者購自上述拍賣

Sotheby's Hong Kong, 3 October 2016, Lot 5108 Acquired from the above sale by the present owner Literature

Red Mouth Series 1-Walasse Ting 1973-1977 Acrylic & Oil Pastel on Western Paper, Longmen Art Project, Shanghai, China, 2012 (illustrated, pp. 65 & 85).

來源

出版

《紅唇系列1—丁雄泉 1973-1977 丙烯 蠟筆 西洋紙上作品》龍門雅集 上海 中國 2012年（圖版，第65及85頁） 附美國 紐約 丁雄泉遺產檔案庫開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Walasse Ting Estate Archive, New York, USA.

HK$ 300,000 - 600,000 US$ 38,500 - 76,900

308

poly auction hong kong

205 WALASSE TING (C H I N ES E-A M E R I CA N , D I N G X I O N G Q UA N , 1 92 9 -20 1 0) Cat in the Garden 丁雄泉 花園中的貓

Painted in 1978 acrylic and crayon on cardboard 59 x 90.4 cm. (23 1/4 x 35 1/2 in.) titled, signed and dated 'Cat in the garden ting 78 april 25' (on the reverse)

1978 年作 壓克力 蠟筆 紙板 款識：Cat in the garden ting 78 april 25（畫背）

Provenance

亞洲 私人收藏

來源

Private Collection, Asia 附美國 布魯明頓 OriginalArtBroker.com及Griffin畫廊開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by OriginalArtBroker. com and Griffin Gallery, Bloomington, USA.

HK$ 120,000 - 240,000 US$ 15,400 - 30,800

Modern and Contemporary Art

309

206 CHIU YA-TSAI (C H I N ES E , Q I U YACA I , 1 9 4 9 -20 1 3) Gentleman 邱亞才 紳士

Painted in 1993 oil on canvas 91 x 73 cm. (35 3/4 x 28 3/4 in.) signed in Chinese; dated '93' (lower left)

HK$ 160,000 - 260,000 US$ 20,500 - 33,300 310

poly auction hong kong

1993 年作 油彩 畫布 款識：亞才93（左下）

207 JU MING (C H I N ES E , Z H U M I N G , B . 1 9 3 8) Taichi Series 朱銘 太極系列

Executed in 1995 bronze sculpture edition: 1/10 23 x 18.5 x 31 cm. (9 x 7 x 12 1/4 in.) signed in Chinese; editioned and dated '1/10 '95' (lower back) This work is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

1995 年作 銅雕 雕塑 版數：1/10 款識：朱銘 1/10 '95（下背） 附台灣 台北 真善美畫廊開立之原作保證書

HK$ 200,000 - 300,000 US$ 25,600 - 38,500

另一角度 alternative view

Modern and Contemporary Art

311

208 JU MING (C H I N ES E , Z H U M I N G , B . 1 9 3 8) Taichi Series - Sparring 朱銘 太極系列—對打

Executed in 1994 two bronze sculptures edition: 8/20; & 18/20 32 x 16 x 25 cm. (13 x 6 1/4 x 9 3/4 in.); & 25 x 18.5 x 30 cm. (9 3/4 x 7 x 11 3/4 in.) signed in Chinese; editioned and dated '8/20 '94' (bottom); & signed in Chinese; editioned and dated '18/20 '94' (lower back) These works are to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

1994 年作 銅雕 雕塑（共兩件） 版數：8/20；及18/20 款識：朱銘 8/20 '94（底部）；及朱銘 18/20 '94（下背） 附台灣 台北 真善美畫廊開立之原作保證書

HK$ 500,000 - 800,000 US$ 64,100 - 102,600

另一角度 alternative view

312

poly auction hong kong

Modern and Contemporary Art

313

209 JU MING (C H I N ES E , Z H U M I N G , B . 1 9 3 8) Taichi Series - Preparation for Underarm Strike 朱銘 太極系列—十字手

Executed in 1995 bronze sculpture edition: 2/7 34 x 20.7 x 37 cm. (13 1/4 x 7 3/4 x 14 1/2 in.) signed in Chinese; editioned and dated '2/7 '95' (lower back)

1995 年作 銅雕 雕塑 版數：2/7 款識：朱銘 自 2/7 '95（下背） 附台灣 台北 真善美畫廊開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

HK$ 240,000 - 340,000 US$ 30,800 - 43,600

另一角度 alternative view

314

poly auction hong kong

Modern and Contemporary Art

315

210

211

LE NANG HIEN ( V I E T N A M ES E , 1 92 1 -20 1 4) Woman with Cat

NGUYEN TRUNG ( V I E T N A M ES E , B . 1 9 4 0) Girl with Flower

黎能賢 女子與貓

阮忠 執花少女

Painted in 1990 ink and gouache on silk 59 x 39.7 cm. (23 1/4 x 15 1/4 in.) signed and dated 'NANG HIEN 1990' (upper right) one seal of the artist

Painted in 1974 oil on canvas 80 x 65 cm. (31 1/2 x 25 1/2 in.) signed and dated 'ng Trung 74' (lower left)

Provenance

Private Collection, France

Provenance

Private Collection, France 1990 年作 水墨 水粉 絹本 款識：NANG HIEN 1990（右上） 藝術家鈐印

1974 年作 油彩 畫布 款識：ng Trung 74（左下）

來源

來源

法國 私人收藏

法國 私人收藏

HK$ 40,000 - 60,000

HK$ 40,000 - 60,000

US$ 5,100 - 7,700

US$ 5,100 - 7,700

316

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212

213

NGUYEN TRUNG ( V I E T N A M ES E , B . 1 9 4 0) Girl

MAI TRUNG THU ( V I E T N A M ES E , 1 9 0 6 -1 9 80) Enfant (Self Portrait)

阮忠 少女

梅忠恕 孩童（自畫像）

Painted in 1974 oil on canvas 79 x 79 cm. (31 1/4 x 31 1/4 in.) signed and dated 'ng Trung 74' (lower left)

Painted in 1971 ink and gouache on silk in original frame painted by the artist 15 x 5 cm. (6 x 2 in.) signed 'MAI THU'; dated in Chinese (upper centre) one seal of the artist Provenance

Provenance

Private Collection, France

Private Collection, France 1974 年作 油彩 畫布 款識：ng Trung 74（左下）

1971 年作 水墨 水粉 絹本 藝術家手繪原框 款識：MAI THU 七十一年（中上） 藝術家鈐印

來源

來源

法國 私人收藏

法國 私人收藏

HK$ 40,000 - 60,000

HK$ 100,000 - 200,000

US$ 5,100 - 7,700

US$ 12,800 - 25,600 Modern and Contemporary Art

317

214 MAI TRUNG THU ( V I E T N A M ES E , 1 9 0 6 -1 9 80) L'été 梅忠恕 盛夏

Painted in 1976 ink and gouache on silk in original frame painted by the artist 25 x 10 cm. (9 3/4 x 4 in.) signed 'MAI THU'; dated in Chinese (lower left) one seal of the artist

1976 年作 水墨 水粉 絹本 藝術家手繪原框 款識：MAI THU 七十六年（左下） 藝術家鈐印

Provenance

法國 私人收藏

Private Collection, France

HK$ 200,000 - 400,000 US$ 25,600 - 51,300

318

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來源

Modern and Contemporary Art

319

215

216

GEORGE CHANN (C H I N ES E-A M E R I CA N , C H E N Y I N P I , 1 9 1 3 -1 9 9 5 ) Ballet Girl

T'ANG HAYWEN (C H I N ES E- F R E N C H , TA N G T H E N P H U O C, 1 92 7-1 9 9 1 ) Compositions

陳蔭羆 芭蕾舞女孩

曾海文 構成

1.

2.

Painted circa 1970 two ink on paper (diptych) 1. each: 29.7 x 21 cm. (11 1/2 x 8 1/4 in.) overall: 29.7 x 42 cm. (11 1/2 x 16 1/2 in.); & 2. each: 70 x 50 cm. (27 1/2 x 19 3/4 in.) overall: 70 x 100 cm. (27 1/2 x 39 1/2 in.)

Provenance

Azur Enchères Cannes, 28 October 2017, Lot 8; & Lot 36 Acquired from the above sale by the present owner oil on canvas 46.2 x 35.9 cm. (18 1/4 x 14 1/4 in.) signed 'GEO.CHANN' (lower right)

The works will be included in the catalogue raisonée preparing by the T'ang Haywen Archives and Philippe Koutouzis, and numbered as MDENS-KY-36 & LDIKW-26.

Provenance

Private Collection, Los Angeles, USA Private Collection, Asia 油彩 畫布 款識：GEO.CHANN（右下） 來源

約 1970 年作 水墨 紙板（兩件雙聯作） 來源

Azur 拍賣 坎城 2017年10月28日 編號 8；及編號 36 現藏者購自上述拍賣

美國 洛杉磯 私人收藏 亞洲 私人收藏

此拍品將被收入由曾海文檔案庫及Philippe Koutouzis編寫的曾海文作品全集 中，編號為MDENS-KY-36；及LDI-KW-26

HK$ 50,000 - 80,000

HK$ 50,000 - 100,000

US$ 6,400 - 10,300

US$ 6,400 - 12,800

320

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217

218

CHEN TING-SHIH (C H I N ES E , C H E N T I N G S H I , 1 9 1 6 -20 02) Day and Night; & Day and Night #36

ZAO WOU-KI (C H I N ES E- F R E N C H , Z H AO WU J I , 1 920 -20 1 3) Arbrisseaux

陳庭詩 晝與夜；及晝與夜#36

趙無極 林間

1.

2.

Executed in 1975; & 1976 two lithographs edition: 33/90; & 425/500 1. 71.3 x 51.2 cm. (28 x 20 in.); & 2. 84.1 x 62.5 cm. (33 x 24 in.)

1. Day and Night: titled, editioned, signed and dated 'Day and Night 33/90 Chen Ting-Shih 1975' (bottom) 2. Day and Night #36: titled, editioned, signed and dated 'Day and Night #36 425/500 Chen Ting-Shih May 1976' (bottom) one seal of the artist Literature

2: Speechless Great Talent: Chen Ting Shih Posthumous Artwork, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2003 (illustrated, plate AP00009, p. 268).

Day and Night, Providence University Art Center, Taichung, Taiwan, 2008 (illustrated, p. 43).

1976；及 1975 年作 石版 版畫（共兩件） 版數：33/90；及425/500 款識： 1.《晝與夜》：Day and Night 33/90 Chen Ting-Shih 1975（底部） 2.《晝與夜#36》：Day and Night #36 425/500 Chen Ting-Shih May 1976 （底部） 鈐印：陳 出版

2：《大器無言－陳庭詩遺作彙編》國立台灣美術館 台中 台灣 2003年（圖 版，第AP00009圖，第268頁） 《晝與夜：陳庭詩版畫中的天地觀》靜宜大學藝術中心 台中 台灣 2008年 （圖版，第43頁）

Executed in 1951 etching with burin edition: 18/50 21.7 x 26.5 cm. (8 1/4 x 10 1/4 in. ) editioned and signed '18/50 ZAO'; signed in Chinese (bottom) Provenance

Private Collection, Asia Literature

Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 60, p. 46).

1951 年作 推刀 蝕刻 版畫 款識：18/50 無極ZAO（底部） 來源

亞洲 私人收藏 出版

《趙無極版畫集 1937-1995》Heede & Moestrup出版社 哥本哈根 丹麥 1994年（圖版，第60圖，第46頁）

HK$ 30,000 - 60,000

HK$ 40,000 - 80,000

US$ 3,800 - 7,700

US$ 5,100 - 10,300 Modern and Contemporary Art

321

219

220

ZAO WOU-KI (C H I N ES E- F R E N C H , Z H AO WU J I , 1 920 -20 1 3) Untitled; & Untitled

ZAO WOU-KI (C H I N ES E- F R E N C H , Z H AO WU J I , 1 920 -20 1 3) Untitled

趙無極 無題；及無題

趙無極 無題

2.

1.

Executed in 1954; & 1957 etching, lithographs edition: 56/120; & edition of 120 15.8 x 10.5 cm. (6 x 4 in.); & 15.8 x 13.2 cm. (6 x 5 in.)

1. Untitled: editioned, signed and dated '56/120 ZAO 54'; signed in Chinese (bottom) 2. Untitled: signed in Chinese; signed and dated 'ZAO 57' (bottom) Literature

1. Zao Wou-Ki Les estampes 1937-1974, Arts et Metiers Graphiques, Paris, France, 1975 (illustrated in black and white, plate 95, p. 59).

Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 92, p. 64).

2. Zao Wou-Ki Les estampes 1937-1974, Arts et Metiers Graphiques, Paris, France, 1975 (illustrated in black and white, plate 114, p. 68).

Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 112, p. 74).

1954 年作 ; 及 1957 年作 蝕刻 版畫；及石版 版畫 版數：56/120；及 總版數：120 款識： 1.《無題》：56/120 無極 ZAO 54（底部） 2.《無題》：無極 ZAO 57（底部）

Executed in 1974 lithograph edition: E.A. 43.5 x 61 cm. (17 x 24 in.) editioned, signed and dated 'E.A. ZAO 74'; signed in Chinese (bottom) Provenance

Private Collection, USA Literature

Zao Wou-Ki Les estampes 1937-1974, Arts et Métiers Graphiques, Paris, France, 1975 (illustrated in black and white, plate 253, p. 139).

Zao Wou-Ki: The Graphic Work, A Catalogue Raisonne 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 252, p. 143).

1974 年作 石版 版畫 版數：藝術家試版 款識：E.A. 無極 ZAO 74（底部） 來源

出版

1.《趙無極版畫集1937-1974》Arts et Métiers Graphiques 年（圖版，第95圖，第59頁） 《趙無極版畫集1937-1995》Edition Heede & Moestrup 1994年（圖版，第92圖，第64頁） 2.《趙無極版畫集1937-1974》Arts et Métiers Graphiques 年（圖版，第114圖，第68頁） 《趙無極版畫集1937-1995》Edition Heede & Moestrup 1994年（圖版，第112圖，第74頁）

巴黎 法國 1975 哥本哈根 丹麥 巴黎 法國 1975 哥本哈根 丹麥

美國 私人收藏 出版

《趙無極版畫集》Arts et Métiers Graphiques 巴黎 法國 1975年（黑白圖 版，第253圖，第139頁） 《趙無極版畫集 1937-1995》Edition Heede & Moestrup 哥本哈根 丹麥 1994年（圖版，第252圖，第143頁）

HK$ 60,000 - 80,000

HK$ 30,000 - 50,000

US$ 7,700 - 10,300

US$ 3,800 - 6,400

322

poly auction hong kong

221

222

LIU YE (C H I N ES E , B . 1 9 6 4) Chorus

YUE MINJUN (C H I N ES E , B . 1 9 62) Smile-ism No. 12; & Smile-ism No. 7

劉野 合唱團

岳敏君 微笑主義 No. 12；及微笑主義 No. 7

1.

Executed in 2001 silkscreen on canvas edition: 92/100 54.3 x 70 cm. (21 1/2 x 27 1/2 in.) editioned, signed and dated '92/100 liuye 2001'; signed in Chinese (bottom)

2.

Literature

Executed in 2006 two lithographs edition: 41/45; & 24/45 1. 110.2 x 90.2 cm. (43 1/2 x 35 1/2 in.); & 2. 80.2 x 110.2 cm. (31 1/2 x 43 1/2 in.)

1. Smile-ism No. 12: editioned and signed '41/45 yueminjun' (bottom); & 2. Smile-ism No. 7: editioned and signed '24/45 yueminjun' (bottom)

Liu Ye: Red Yellow Blue, Schoeni Art Gallery, Hong Kong, China, 2004 (illustrated, p. 44).

Provenance

Provenance

Private Collection, New York, USA

Private Collection, New York, USA 2001 年作 絹印 畫布 版數：92/100 款識：92/100 liuye 野 2001（底部） 美國 紐約 私人收藏

2006 年作 石版 版畫（共兩件） 版數：41/45；及 24/45 款識： 1.《微笑主義 No. 12》：41/45 yueminjun（底部） 2.《微笑主義 No.7》：24/45 yueminjun（底部）

出版

來源

《劉野：紅、黃、藍》少勵畫廊 香港 中國 2004年（圖版，第44頁）

美國 紐約 私人收藏

HK$ 40,000 - 60,000

HK$ 20,000 - 40,000

US$ 5,100- 7,700

US$ 2,600- 5,100

來源

Modern and Contemporary Art

323

223

224

TAKASHI MURAKAMI ( JA PA N ES E , B . 1 9 62) We are Destined to Meet Someday! But for Now, We Wander in Different Dimensions; & DOB: Myxomycete

TAKASHI MURAKAMI ( JA PA N ES E , B . 1 9 62) Panda Family and Me; & I Met a Panda Family 村上隆 熊貓家族與我；及我遇見了熊貓家族

村上隆 我們有一天終將會遇見！只是現在我們仍徘徊 於不同維度；及 DOB：粘菌

1.

1.

2.

2.

Executed in 2016; & 2017 two offset lithographs edition: 77/300; & 75/300 each: 68 x 68 cm. (26 3/4 x 26 3/4 in.)

1. We are Destined to Meet Someday! But for Now, We Wander in Different Dimensions: titled, dated, signed and editioned '®We are Destined to Meet Someday! But for Now, We Wander in Different Dimensions ©2016 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 77/300' (bottom) 2. DOB: Myxomycete: titled, dated, signed and editioned '®DOB: Myxomycete ©2017 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 75/300' (bottom) 2016 年作；及 2017 年作 膠印 版畫（共兩件） 版數：77/300；及 75/300 款識： 1.《我們有一天終將會遇見！只是現在我們仍徘徊於不同維度》： ®W e are Destined to Meet Someday! But for Now, We Wander in Different Dimensions ©2016 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 77/300（底部） 2.《DOB：粘菌》：®DOB: Myxomycete ©2017 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 75/300'（底部）

HK$ 10,000 - 20,000 US$ 1,300 - 2,600 324

poly auction hong kong

Executed in 2013 two offset lithographs edition: 52/300; & 198/300 each: 50 x 50 cm. (19 1/2 x 19 1/2 in.)

1. Panda Family and Me: titled, dated, signed and editioned '®Panda Family and Me ©2013 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 52/300' (bottom) 2. I Met a Panda Family: titled, dated, signed and editioned '®I Met a Panda Family ©2013 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 198/300' (bottom) 2013 年作 膠印 版畫（共兩件） 版數：52/300；及198/300 款識： 1.《熊貓家族與我》：®Panda Family and Me ©2013 Takashi Murakami/ Kaikai Kiki Co., Ltd All Right Reserved. 52/300（底部） 2.《我遇見了熊貓家族》：®I Met a Panda Family ©2013 Takashi Murakami/ Kaikai Kiki Co., Ltd All Right Reserved. 198/300（底部）

HK$ 10,000 - 20,000 US$ 1,300 - 2,600

225

226

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Seeking the Soul

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Buried in a Flower Garden

草間彌生 靈魂之求索

草間彌生 埋藏於花園

© YAYOI KUSAMA © YAYOI KUSAMA

Executed in 2012 etching embossing screenprint edition: H.C. 3/5 61 x 72.5 cm. (24 x 28 1/4 in.) editioned, dated and signed 'H C 3/5 2012 yayoi Kusama'; titled in Japanese (bottom)

Executed in 2011 etching embossing screenprint edition: H.C. 3/5 37.8 x 45.3 cm. (14 1/2 x 17 3/4 in.) editioned, dated and signed 'H C 3/5 2011 yayoi Kusama'; titled in Japanese (bottom)

Provenance

Provenance

Private Collection, Japan

Private Collection, Japan

Literature

Literature

Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 388, p. 223).

Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 370, p. 212).

This work has been confirmed by the Yayoi Kusama Studio as original print.

This work has been confirmed by the Yayoi Kusama Studio as original print.

2012 年作 蝕刻壓印 絲網 版畫 版數：H.C. 3/5 款識：H C 3/5 魂を求めて 2012 yayoi Kusama（底部）

2011 年作 蝕刻壓印 絲網 版畫 版數：H.C. 3/5 款識：H C 3/5 花園にうずもれて 2011 yayoi Kusama（底部）

來源

來源

日本 私人收藏

日本 私人收藏

出版

出版

《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 （圖版，第388圖，第223頁）

《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 （圖版，第370圖，第212頁）

經藝術家工作室確認此拍品為原作版畫

經藝術家工作室確認此拍品為原作版畫

HK$ 100,000 - 200,000

HK$ 60,000 - 120,000

US$ 12,800 - 25,600

US$ 7,700 - 15,400 Modern and Contemporary Art

325

227

228

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Flower Bloomed in My Heart

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Mushrooms TZXT

草間彌生 花朵綻放於我心

草間彌生 蘑菇TZXT

© YAYOI KUSAMA

© YAYOI KUSAMA

Executed in 2011 etching embossing screenprint edition: H.C. 3/5 45.5 x 38 cm. (17 3/4 x 15 in.) editioned, dated and signed 'H C 3/5 2011 yayoi Kusama'; titled in Japanese (bottom)

Executed in 2012 etching edition: H.C. 3/5 45 x 52.5 cm. (17 3/4 x 20 1/2 in.) editioned, titled, dated and signed 'H.C. 3/5 MUSHROOMS TZXT 2012 yayoi Kusama' (bottom)

Provenance

Provenance

Private Collection, Japan

Private Collection, Japan

Literature

Literature

Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 372, p. 213).

Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 393, p. 228).

This work has been confirmed by the Yayoi Kusama Studio as original print.

This work has been confirmed by the Yayoi Kusama Studio as original print.

2011 年作 蝕刻壓印 絲網 版畫 版數：H.C. 3/5 款識：H C 3/5 花は心の中で咲いた 2011 yayoi Kusama（底部）

2012 年作 蝕刻 版畫 版數：H.C. 3/5 款識：H.C. 3/5 MUSHROOMS TZXT 2012 yayoi Kusama（底部）

來源

來源

日本 私人收藏

日本 私人收藏

出版

出版

《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 （圖版，第372圖，第213頁）

《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 （圖版，第393圖，第228頁）

經藝術家工作室確認此拍品為原作版畫

經藝術家工作室確認此拍品為原作版畫

HK$ 70,000 - 140,000

HK$ 80,000 - 150,000

US$ 9,000 - 17,900

US$ 10,300 - 19,200

326

poly auction hong kong

229 YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Girls AAA 草間彌生 女孩AAA

© YAYOI KUSAMA

Executed in 2011 screenprint edition: H.C. 3/5 53 x 65 cm. (20 3/4 x 25 1/2 in.) edtioned, titled, dated and signed 'H.C. 3/5 girls AAA 2011 yayoi Kusama' (bottom) Provenance

Private Collection, Japan

2011 年作 絲網 版畫 版數：H.C. 3/5 款識：H.C. 3/5 girls AAA 2011 yayoi Kusama（底部） 來源

日本 私人收藏 出版

Literature

《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 （圖版，第362圖，第206頁）

Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 362, p. 206).

經藝術家工作室確認此拍品為原作版畫

This work has been confirmed by the Yayoi Kusama Studio as original print.

HK$ 100,000 - 200,000 US$ 12,800 - 25,600 Modern and Contemporary Art

327

230 YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Pumpkins 草間彌生 南瓜

© YAYOI KUSAMA

Executed in 2002 a set of five ceramic sculptures edition: 114/130 each: 10.5 x 9 x 8 cm. (4 1/4 x 3 1/2 x 3 1/4 in.) signed, dated and editioned 'yayoi Kusama 2002 114/130' (bottom of each)

2002 年作 陶瓷 雕塑（一組共五件） 版數：114/130 款識：yayoi Kusama 2002 114/130（每件底部）

Provenance

美國 私人收藏

來源

Private Collection, USA 附日本 大阪 FMR有限公司開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan.

HK$ 180,000 - 280,000 US$ 23,100 - 35,900 328

poly auction hong kong

231 YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Pumpkins 草間彌生 南瓜

© YAYOI KUSAMA

Executed in 2002 a set of five ceramic sculptures edition: 126/130 each: 9.5 x 9.3 x 8 cm. (3 1/2 x 3 1/2 x 3 in.) signed, dated and editioned 'yayoi Kusama 2002 126/130' (bottom of each)

2002 年作 陶瓷 雕塑（一組共五件） 版數：126/130 款識：yayoi Kusama 2002 126/130（每件底部）

Provenance

美國 私人收藏

來源

Private Collection, USA 附日本 大阪 FMR有限公司開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan.

HK$ 180,000 - 280,000 US$ 23,100 - 35,900 Modern and Contemporary Art

329

232 YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) Pumpkins 草間彌生 南瓜

© YAYOI KUSAMA

Executed in 2002 a set of five ceramic sculptures edition: 103/130 each: 7.3 x 7.3 x 8.8 cm. (2 3/4 x 2 3/4 x 3 1/2 in.) signed, dated and editioned 'yayoi Kusama 2002 103/130' (bottom of each)

2002 年作 陶瓷 雕塑（一組共五件） 版數：103/130 款識：yayoi Kusama 2002 103/130（每件底部）

Provenance

美國 私人收藏

來源

Private Collection, USA 附日本 大阪 FMR有限公司開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan.

HK$ 160,000 - 260,000 US$ 20,500 - 33,300 330

poly auction hong kong

233 YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) High-heel with Bow (Gold) 草間彌生 蝴蝶結高跟鞋（金）

© YAYOI KUSAMA

Executed in 2013 a set of two porcelain sculptures edition: H.C. 3/5 each: 8 x 22 x 15 cm. (3 1/4 x 8 1/2 x 6 in.) editioned, inscribed, signed and dated 'HC 3/5 L yayoi Kusama 2013' (bottom of the left) editioned, inscribed, signed and dated 'HC 3/5 R yayoi Kusama 2013' (bottom of the right)

2013 年作 瓷 雕塑（一組共兩件） 版數：H.C. 3/5 款識： HC 3/5 L yayoi Kusama 2013（左鞋底部） HC 3/5 R yayoi Kusama 2013（右鞋底部） 來源

日本 私人收藏

Provenance

Private Collection, Japan

附日本 大阪 FMR有限公司開立之原作保證書

This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan.

HK$ 120,000 - 150,000 US$ 15,400 - 19,200 Modern and Contemporary Art

331

234 YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9) High-heel with Bow (Silver) 草間彌生 蝴蝶結高跟鞋（銀）

© YAYOI KUSAMA

Executed in 2013 a set of two porcelain sculptures edition: H.C. 4/5 each: 8 x 22 x 15 cm. (3 1/4 x 8 1/2 x 6 in.) editioned, inscribed, signed and dated 'HC 4/5 L yayoi Kusama 2013' (bottom of the left) editioned, inscribed, signed and dated 'HC 4/5 R yayoi Kusama 2013' (bottom of the right)

2013 年作 瓷 雕塑（一組共兩件） 版數：H.C. 4/5 款識： HC 4/5 L yayoi Kusama 2013（左鞋底部） HC 4/5 R yayoi Kusama 2013（右鞋底部） 來源

日本 私人收藏

Provenance

Private Collection, Japan This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan.

HK$ 120,000 - 150,000 US$ 15,400 - 19,200 332

poly auction hong kong

附日本 大阪 FMR有限公司開立之原作保證書

235 YOSHITOMO NARA ( JA PA N ES E , B . 1 9 5 9)

1. Life is Only One; 2. Mini Mori Girl; 3. Mori Girl Candle; 4. Abandoned Puppy in the Fountain; 5. The Aomori Dog (White & Blue); 6. Pupcup; 7. Shinning Doggy (White); & 8.

My Sweet Dog 奈良美智 1. 無常人生；2. 小森子；3. 森女孩蠟燭；4. 被 遺棄在井里的小狗；5. 青森犬（白色及青色）；6. 夢遊小狗 杯；7. 燈光小狗（白色）；及8. 我的甜蜜小狗

Executed in 2012-2015; 2013; 2017; 2003-2015; 2017; 2003; 2015; & 2005 1. a set of three porcelain plates; 2. mixed media; 3. wax candle; 4. mixed media; 5. two PVC; 6. plastic motor; 7. mixed media; & 8. mixed media 1. 17 cm. (7 in.) in diameter x 2.2 cm. (3/4 in.); 2. 3.2 x 2.5 x 8.5 cm. (1 1/4 x 3/4 x 3 1/4 in.); 3. 10 x 9.5 x 24 cm. (4 x 3 1/2 x 9 1/2 in.); 4. 9 x 9 x 10.5 cm. (3 1/2 x 3 1/2 x 4 in.); 5. each: 8 x 16 x 19 cm. (3 1/4 x 6 1/4 x 7 1/2 in.); 6. 18 x 18 x 22.5 cm. (7 1/4 x 7 1/4 x 8 3/4 in.); 7. 6.2 x 3.5 x 5 cm. (2 1/4 x 1 1/4 x 2 in.); & 8. 31 x 12.5 x 19 cm. (12 1/4 x 4 3/4 x 7 1/2 in.)

2012-2015 年作；2013 年作； 2017 年作；2003-2015 年作；2017 年作； 2003 年作；2015 年作；及 2005 年作 1. 瓷盤（一組共三件）；2. 綜合媒材；3. 蠟燭；4. 綜合媒材；5. 聚氯乙烯 （共兩件）；6. 注液翻模塑料；7. 綜合媒材；及8. 綜合媒材

HK$ 15,000 - 25,000 US$ 1,900 - 3,200

5.

6.

1.

3.

2.

8.

Lot 235

4.

7.

236 YOSHITOMO NARA ( JA PA N ES E , B . 1 9 5 9) Cosmic Girls (Eyes Opened; & Eyes Closed) 奈良美智 宇宙女孩（睜眼；及閉眼） Executed in 2008 a set of two offset lithographs edition of 500 each: 67.5 x 48.7 cm. (26 1/2 x 19 1/4 in.)

2008 年作 石版 版畫（一組共兩件） 總版數：500

HK$ 30,000 - 50,000 US$ 3,800 - 6,400

Lot 236

237 TAKASHI MURAKAMI ( JA PA N ES E , B . 1 9 62)

MURAKAMI X COMPLEXCON KAIKAI & KIKI 村上隆 MURAKAMI X COMPLEXCON KAIKAI & KIKI Executed in 2018 a set of two vinyl multiples 1. Kaikai: 13.5 x 8.5 x 23 cm. (5 x 3.5 x 9 in.); & 2. Kiki: 13.5 x 9 x 19.5 cm. (5 x 3 x 7.5 in.)

2018 年作 乙烯基（一組共兩件）

Lot 237

1.

2.

HK$ 20,000 - 30,000 US$ 2,600 - 3,800 Modern and Contemporary Art

333

238 TAKASHI MURAKAMI ( JA PA N ES E , B . 1 9 62)

MURAKAMI X COMPLEXCON DOBTOPUS BY BAIT X SWITCH (A; & B) 村上隆 MURAKAMI X COMPLEXCON DOBTOPUS BY BAIT X SWITCH（A；及B） Executed in 2017 two vinyl multiple sculptures A: edition of 400; B: edition of 800 36 x 29 x 26.5 cm. (14 1/4 x 11 1/2 x 10 1/2 in.); & 34 x 22 x 24 cm. (13 1/2 x 8 3/4 x 9 1/2 in.)

2017 年作 乙烯基 雕塑（共兩件） A：總版數：400； B：總版數：800

2.

1.

Lot 238

HK$ 20,000 - 50,000

239

US$ 2,600 - 6,400

TAKASHI MURAKAMI ( JA PA N ES E , B . 1 9 62)

MURAKAMI X COMPLEXCON MR. DOB (Gold; & Original) 村上隆 MURAKAMI X COMPLEXCON MR. DOB（黃金； 及經典） Executed in 2016 two vinyl multiple sculptures Gold: edition of 250; Original: edition of 750 each: 28.5 x 19.5 x 23 cm. (11 ¼ x 7 ¾ x 9 in.) inscribed '© TM/KK COMPLEXCON BAIT SWITCH' (bottom of each) 2016 年作 乙烯基 雕塑（共兩件） 黃金：總版數：250； 經典：總版數：750 款識：© TM/KK COMPLEXCON BAIT SWITCH（每件底部）

HK$ 20,000 - 40,000

Lot 239

1.

2.

240 KAWS ( A M E R I CA N , B . 1 974) Chum (White; & Transparent) KAWS 密友（白；及透明）

US$ 2,600 - 5,100

Executed in 2002 two vinyl multiples White: 324/500 Transparent: 621/1000 1. White: titled, editioned and inscribed 'CHUM 500/324 :CHUM..©KAWS..02' (bottom) each: 19 x 10.5 x 32 cm. (7 1/2 x 4 x 12 1/2 in.)

2. Transparent: titled, editioned and inscribed 'CHUM 1000/0621 :CHUM..©KAWS..02' (bottom) 2002 年作 乙烯基（共兩件） 白：324/500； 透明：621/1000 款識: 1. 白：CHUM 500/324 :CHUM..©KAWS..02'（底部） 2. 透明: CHUM 1000/0621 :CHUM..©KAWS..02'（底部）

HK$ 10,000 - 20,000 1.

Lot 240

334

poly auction hong kong

2.

US$ 1,300 - 2,600

241 KAWS ( A M E R I CA N , B . 1 974) The Twins (Brown; Black; & Pink) KAWS 雙胞胎（棕；黑；及粉） Executed in 2006 three sets of vinyl multiples each: 7 x 6 x 20.5 cm. (2 3/4 x2 1/4 x 8 in.)

2006 年作 乙烯基（共三組）

Lot 241

HK$ 28,000 - 38,000 US$ 3,600 - 4,900

242 KAWS ( A M E R I CA N , B . 1 974)

BFF (Black; Pink; & Blue); & Seeing/Watching KAWS 永遠最好的朋友（黑；粉；及藍）；及觀看 Executed in 2017; & 2018 three vinyl multiples; plush each: 14.5 x 8.5 x 33.5 cm. (5 3/4 x 3 1/4 x 13 1/4 in.); & 33 x 9.5 x 38 cm. (13 x 3 3/4 x 15 in.)

2017 年作；及 2018 年作 乙烯基（共三件）；及毛絨公仔

HK$ 10,000 - 20,000

Lot 242

US$ 1,300 - 2,600

243 KAWS ( A M E R I CA N , B . 1 974)

Companion (Together) (Black; Grey; & Brown) KAWS 同伴（一起）（黑；灰；及棕） Executed in 2018 three sets of vinyl multiples each: 24.1 x 14.9 x 29.2 cm. (9 1/2 x 5 1/2 x 11 1/2 in.)

Lot 243

244 KAWS ( A M E R I CA N , B . 1 974)

Companion (Passing Through) (Black; Grey; & Brown); & Small Lie (Brown; Grey; & Black) KAWS 同伴（穿過）（黑；灰；及棕）；及小謊言（棕； 灰；及黑）

2018 年作 乙烯基（共三組）

HK$ 15,000 - 25,000 US$ 1,900 - 3,200

Executed in 2018; & 2017 six vinyl multiples each: 13 x 12.5 x 27.5 cm. (5 x 5 x 10 ¾ in.); & each: 19 x 12 x 30 cm. (7 1/2 x 4 3/4 x 11 3/4 in.)

2018；及 2017 年作 乙烯基（共六件）

HK$ 15,000 - 30,000 US$ 1,900 - 3,800

Lot 244

Modern and Contemporary Art

335

245 KAWS ( A M E R I CA N , B . 1 974)

Companion (Grey; Brown; Black; Brown (Dissected); Black (Dissected); Grey (Dissected); & Red (Dissected); Red) KAWS 同伴（灰；棕；黑；棕（解剖）；黑（解剖）； 灰（解剖）；紅（解剖）；及紅） Executed in 2016 eight vinyl multiples each: 12.7 x 7.6 x 27.9 cm. (5 x 3 x 11 in.)

Lot 245

2016 年作 乙烯基（共八件）

246

HK$ 30,000 - 60,000

KAWS ( A M E R I CA N , B . 1 974)

US$ 3,800 - 7,700

Clean Slate (Grey; Black; & Brown) KAWS 盡棄前嫌（灰；黑；及棕） Executed in 2018 three vinyl multiples each: 18.5 x 16 x 36 cm. (7 x 6 1/4 x 14 1/4 in.)

2018 年作 乙烯基（共三件）

HK$ 12,000 - 22,000 US$ 1,500 - 2,800

Lot 246

247 KAWS ( A M E R I CA N , B . 1 974)

Clean Slate (Black; Grey; & Brown); Companion (Passing Through) (Grey; Black; & Brown); & Companion (Together) (Brown; Grey; & Black) KAWS 盡棄前嫌（黑；灰；及棕）；同伴（穿越）（灰；黑；及棕）；及同伴（在一起）（棕；灰；及黑）

2.

Lot 247

Executed in 2018 nine vinyl multiples each: 13 x 12.5 x 27.5 cm. (5 x 5 x 10 3/4 in.); 18.5 x 16 x 36 cm. (7 x 6 1/4 x 14 1/4 in.)

24.1 x 14.9 x 29.2 cm. (9 1/2 x 5 1/2 x11 1/2 in. )

HK$ 22,000 - 32,000 US$ 2,800 - 4,100 336

poly auction hong kong

3.

1.

2018 年作 乙烯基（共九件）

248 KAWS ( A M E R I CA N , B . 1 974) x H A J I M E SO R AYA M A ( JA PA N ES E , B . 1 9 47 )

No Future Companion (Silver Chrome; & Black Chrome) KAWS X 空山基 沒有未來的伴侶（銀鉻；及黑鉻）

1.

Executed in 2008 two metallized plastic sculptures edition: 51/500; & 197/500 each: 18.5 x 18.5 x 31.5 cm. (7 x 7 3/4 x 12 1/4 in.)

1. No Future Companion (Silver Chrome): inscribed, signed, editioned and dated 'OriginalFake® KAWS.. Sorayama EDITION 51/500 MEDICOM TOY 2008 MADE IN CHINA' (engraved on the bottom) 2. No Future Companion (Black Chrome): inscribed, signed, editioned and dated 'OriginalFake® KAWS.. Sorayama EDITION 197/500 MEDICOM TOY 2008 MADE IN CHINA' (engraved on the bottom)

2.

2008 年作 鍍金屬塑膠 雕塑（共兩件） 版數：51/500；及 197/500 款識： 1.《沒有未來的伴侶》（銀鉻）：OriginalFake® KAWS.. Sorayama EDITION 51/500 MEDICOM TOY 2008 MADE IN CHINA（底部） 2.《沒有未來的伴侶》（黑鉻）：OriginalFake® KAWS.. Sorayama EDITION 197/500 MEDICOM TOY 2008 MADE IN CHINA（底部）

HK$ 100,000 - 150,000 US$ 12,800 - 19,200 Modern and Contemporary Art

337

249 HAJIME SORAYAMA ( JA PA N ES E , B . 1 9 47 )

Future Mickey (Retro) ; & (Color) 空山基 未來的米奇（（復古）；及（彩色））

1.

Executed in 2004 two metallized plastic sculptures edition: 1/1000; & AP each: 20 x 26 x 32.5 cm. (7 3/4 x 10 1/4 x 12 1/2 in.)

1. Future Mickey (Retro): inscribed and editioned 'TOMY® MADE IN CHINA ©Disney LIMITED EDITION 1/1000'; & 2. Future Mickey (Color): inscribed and editioned 'TOMY® MADE IN CHINA ©Disney LIMITED EDITION AP'

HK$ 30,000 - 50,000 US$ 3,800 - 6,400 338

poly auction hong kong

2.

2004 年作 鍍金屬塑膠 雕塑（共兩件） 版數：1/1000；及藝術家試版 款識： 1.《未來的米奇（復古）》：TOMY® MADE IN CHINA ©Disney LIMITED EDITION 1/1000；及 2.《未來的米奇（彩色）》：TOMY® MADE IN CHINA ©Disney LIMITED EDITION AP

250

251

KAWS ( A M E R I CA N , B . 1 974) x B E @ R B R I C K

KAWS ( A M E R I CA N , B . 1 974) x B E @ R B R I C K

Dissected (Black) (1000%; 400%; & 100%) KAWS X 積木熊 解剖（黑）（1000%； 400%；及100%）

Dissected (Grey) (1000%; 400%; & 100%) KAWS X 積木熊 解剖（灰）（1000%； 400%；及100%）

Executed in 2011 three vinyl multiples 1000%: 34 x 24.5 x 72 cm. (13 1/4 x 9 1/2 x 28 1/2 in.); 400%: 13 x 10 x 29 cm. (5 x 4 x 11 1/2 in.); & 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.)

Executed in 2010 three vinyl multiples 1000%: 34 x 24.5 x 72 cm. (13 1/4 x 9 1/2 x 28 1/2 in.); 400%: 13 x 10 x 29 cm. (5 x 4 x 11 1/2 in.); & 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.)

2011 年作 乙烯基（共三件）

2010 年作 乙烯基（共三件）

HK$ 40,000 - 60,000

HK$ 40,000 - 60,000

US$ 5,100 - 7,700

US$ 5,100 - 7,700

Lot 250

Lot 251

252

253

KAWS ( A M E R I CA N , B . 1 974) x B E @ R B R I C K

BE@RBRICK

Dissected (Brown) (1000%; 400%; & 100%) KAWS X 積木熊 解剖（棕）（1000%； 400%；及100%） Executed in 2009 three vinyl multiples 1000%: 34 x 24.5 x 72 cm. (13 1/4 x 9 1/2 x 28 1/2 in.); 400%: 13 x 10 x 29 cm. (5 x 4 x 11 1/2 in.); & 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.)

2009 年作 乙烯基（共三件）

International Love Heart (1000%; 400%; & 100%) 積木熊 International Love Heart（1000%； 400%；及 100%） Executed in 2009; 2007; & 2007 three vinyl multiples 1000%: 35.5 x 24 x 71.5 cm. (14 x 9 1/2 x 28 1/4 in.); 400%: 12 x 11 x 28 cm. (4 3/4 x 4 1/4 x 11 in.); & 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.)

2009；2007； 及 2007 年作 乙烯基（共三件）

HK$ 40,000 - 60,000 US$ 5,100 - 7,700

HK$ 65,000 - 120,000 US$ 8,300 - 15,400

Lot 252 Lot 253

Modern and Contemporary Art

339

254 BANKSY ( B R I T I S H , B . 1 975 ) Flying Ballons Girl 班克斯 氣球女孩

Executed in 2018 polystone multiple 14.8 x 19 x 54.2 cm. (5 1/2 x 7 1/2 x 21 1/4 in.)

2018 年作 寶麗石粉樹脂

HK$ 8,000 - 12,000 US$ 1,000 - 1,500

255 BANKSY ( B R I T I S H , B . 1 975 )

Bucket on the Head (White; & Original) 班克斯 頭戴鐵桶（白；及經典） Executed in 2017 two polystone multiples each: 26 x 12.5 x 38.5 cm. (10 1/4 x 4 3/4 x 15 in.)

2017 年作 寶麗石粉樹脂（共兩件）

HK$ 10,000 - 20,000 US$ 1,300 - 2,600

256 BANKSY ( B R I T I S H , B . 1 975 ) Suicide Man (White; & Original) 班克斯 自殺的人（白；及經典）

Executed in 2017 two polystone multiples each: 21 x 21 x 41.5 cm. (8 1/4 x 8 1/4 x 16 1/4 in.)

2017 年作 寶麗石粉樹脂（共兩件）

HK$ 12,000 - 22,000 US$ 1,500 - 2,800 340

poly auction hong kong

257

258

BANKSY ( B R I T I S H , B . 1 975 )

BANKSY ( B R I T I S H , B . 1 975 )

Executed in 2016 two polystone multiples each: 18.5 x 12 x 35.5 cm. (7 x 4 3/4 x 13 3/4 in.)

Executed in 2017; & 2018 two polystone multiples each: 34 x 9.5 x 39 cm. (13 1/2 x 3 1/2 x 15 1/4 in.)

2016 年作 寶麗石粉樹脂（共兩件）

2017；及 2018 年作 寶麗石粉樹脂（共兩件）

HK$ 15,000 - 30,000

HK$ 10,000 - 20,000

US$ 1,900 - 3,800

US$ 1,300 - 2,600

Monkey Sign (Black; & White) 班克斯 掛牌的猴子（黑；及白）

Flower Bomber (Original Version; & Concrete Version) 班克斯 擲花者（白版；及黑版）

END OF SALE Modern and Contemporary Art

341

LOT 197 局部 DETAIL

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