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AUTUMN AUCTION 2009 TAIPEI


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III


羅芙奧台北 2009 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2009 TAIPEI Modern and Contemporary Asian Art

AUCTION

拍賣日期/地點 2009年12月6日(日) 下午 2:30 至 8:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

Sunday, December 6, 2009, 2:30pm – 8:30pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan  

預展日期/地點

PREVIEWS

台中 2009年11月7日(六)至 11月8日(日) 下午 1:00 至 7:00 由鉅藝術中心(月光流域大樓) 台中市公正路83號1樓

Taichung

香港 2009年11月28日(六)至 11月29日(日)上午 10:00至 下午 7:00 香港君悅酒店(君悅廳 & 君寓) 香港灣仔港灣道1號

Hong Kong

台北 2009年12月4日(五)至 12月5日(六) 上午 10:00 至 下午 7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

Taipei

MODERN

&

CONTEMPORARY

Saturday, November 7 – Sunday, November 8, 2009, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Saturday, November 28 – Sunday, November 29, 2009, 10:00am – 7:00pm Grand Hyatt Hong Kong – Salons & The Residence 1 Harbour Road, Wanchai, Hong Kong Friday, December 4 – Saturday, December 5, 2009, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

ART

拍賣目錄每本售價:NT$2,000 This auction catalogue: NT$2,000 per copy

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羅芙奧台北 2009 秋季拍賣會服務部門及連絡人

藝術品諮詢專家 副總經理 傅斐郡 電話:+886 2 2708 9868 轉 888 電子信箱:flora_fu@ravenelart.com

副總經理

註一:如您無法親臨拍賣現場,可以電話投 標方式競標;亦可利用附在此目錄後面之書 面標單競投。 註二:鑑於拍賣現場電話有限,欲以電話投 標方式競標的投標者,請於拍賣前24小時通 知我們為您安排,尤其對需用外國語言服務 之投標者。

取貨及運輸事宜 台灣 吳博峯 電話:+886 2 2708 9868 轉 885 電子信箱:tommy_wu@ravenelart.com

中國

陳惠黛 電話:+886 2 2708 9868 轉 889 電子信箱:odile_chen@ravenelart.com

目錄訂閱

張丹丹 電話:+86 10 5820 6151/52 電子信箱:dina_zhang@ravenelart.com

業務協理

台灣、香港

香港、亞洲、歐美

林慧菁 電話:+886 2 2708 9868 轉 886 電子信箱:maggie_lin@ravenelart.com

林依潔 電話:+886 2 2708 9868 轉 182 電子信箱:kate_lin@ravenelart.com

曾其瑢 電話:+886 2 2708 9868 轉 883 電子信箱:sophie_tseng@ravenelart.com

業務經理

中國

李冬莉 電話:+86 10 5820 6151/52 電子信箱:lydia_li@ravenelart.com

謝冷玉 電話:+86 10 5820 6151/52 電子信箱:judy_xie@ravenelart.com

姜耀偉 電話:+886 2 2708 9868 轉 904 電子信箱:enzo_jiang@ravenelart.com

其它地區

台灣

曾其瑢 電話:+886 2 2708 9868 轉 883 電子信箱:sophie_tseng@ravenelart.com

林慧菁 電話:+886 2 2708 9868 轉 886 電子信箱:maggie_lin@ravenelart.com

本目錄開放各界訂閱,詳細訂閱辦法,請參 照目錄之說明或請洽上述聯絡人。

電話書面競標聯絡人

香港 徐莉 電話:+852 6048 8777 電話:+886 2 2708 9868 轉 186 電子信箱:daisy_xu@ravenelart.com 何杏淇 電話:+852 6048 8777 電子信箱:elaine_holt@ravenelart.com

註一:所有拍品在貨款結清後,即可取貨; 買家請儘早通知安排取貨事宜,以利倉庫存 貨流通和集中安排辦理,本公司接受個人及 公司支票付款,惟需在兌現後始能提貨。恕 不接受信用卡和旅行支票付款。其他各項貨 品可在羅芙奧辦公室提領,上班時間為週一 至週五上午9:30至下午6:30。 註二:我們的專業行政部門可為您建議或安 排最適當的運輸方式。

付款事宜 詹美芳 電話:+886 2 2708 9868 轉 682 電子信箱:mei_chan@ravenelart.com 有關付款詳細事宜,說明於本目錄後,如您 需要更進一步的諮詢,請洽上述聯絡人。

中國 張丹丹 電話:+86 10 5820 6151/52 電子信箱:dina_zhang@ravenelart.com

其它地區 陳惠黛 電話:+886 2 2708 9868 轉 889 電子信箱:odile_chen@ravenelart.com

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羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況說明書,惟準買家需注意拍品均是 以「當時認定」之狀況賣出,相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。


RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS Vice President

Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: flora_fu@ravenelart.com

Vice President Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com

Senior Manager Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggie_lin@ravenelart.com

Manager China Lydia Li Tel: +86 10 5820 6251/52 Email: lydia_li@ravenelart.com

PHONE BIDS AND WRITTEN BIDS Taiwan Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggie_lin@ravenelart.com

Hong Kong Daisy Xu Tel: +852 6048 8777 Tel: +886 2 2708 9868 ext. 186 Email: daisy_xu@ravenelart.com Elaine Holt Tel: +852 6048 8777 Email: elaine_holt@ravenelart.com

China Dina Zhang Tel: +86 10 5820 6151/52 Email: dina_zhang@ravenelart.com

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the bidding forms attached at the back of the auction catalogue to tender your bid. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION Taiwan, Hong Kong

Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: kate_ lin@ravenelart.com

China Judy Xie Tel: +86 10 5820 6151/52 Email: judy_xie@ravenelart.com

International Sophie Tseng Tel: +886 2 2708 9868 ext. 883 Email: sophie_tseng@ravenelart.com The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

PAYMENT Mei Chan Tel: +886 2 2708 9868 ext. 682 Email: mei_chan@ravenelart.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

International Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com

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COLLECTION AND SHIPPING Taiwan Tommy Wu Tel: +886 2 2708 9868 ext. 885 Email: tommy_wu@ravenelart.com

China Dina Zhang Tel: +86 10 5820 6151/52 Email: dina_zhang@ravenelart.com

Hong Kong, Asia, Overseas Sophie Tseng Tel: +886 2 2708 9868 ext. 883 Email: sophie_tseng@ravenelart.com Enzo Jiang Tel: +886 2 2708 9868 ext. 904 Email: enzo_jiang@ravenelart.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of credit cards and traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.


目次 / Contents

藝術家索引 / Index

2

A

羅芙奧秋季拍賣會

Sale Information 3

AHN Sung Ha AI Xuan Yoshitaka AMANO

羅芙奧之服務

安誠河 艾軒 天野喜孝

024 059 212, 218

蓋伯瑞.博瑞多

227

CAI Guo Qiang CHANG Chen-yu CHANG Chih-cheng Chang-Ling George CHANN CHAO Chung-hsiang CHEN Liu CHEN Shuxia CHEN Te-wang CHENG Tsai-tung CHIU Ya-tsai CHOI So-Young CHU Teh-chun

蔡國強 張振宇 張志成 常陵 陳蔭羆 趙春翔 陳流 陳淑霞 陳德旺 鄭在東 邱亞才 崔素榮 朱德群

CHUA Hu CHUANG Che

蔡雲程 莊喆

140 088 004, 117, 120 137 032, 047 063, 064, 141 126, 132 015 048 016 012, 021, 067, 135, 221 005 040, 041, 051, 053, 054 104 065 068, 096

方力鈞 俸正傑 傅慶豊

138 156 013, 109

高瑀 朱沅芷

128 037, 052, 061, 097, 098 107

韓湘寧 韓婭娟 何森 洪凌 蕭筑方 黃鋼 黃柏仁 洪東祿 洪易 黃炫升 黃楫 黃銘哲

022 129 150 077 083 075, 079, 222 113 191, 198 114 192 168, 193 006, 011, 027, 163

B

Ravenel Services

Gabriel BARREDO

C 5

藝術家索引

Index 7

亞洲現代與當代藝術

Modern and Contemporary Asian Art 348

藝術家簡歷

Artist Biographies 395

委託競投表格

Absentee Bid Form 397

F 業務規則

FANG Lijun FENG Zhengjie Alixe FU

Transaction Agreement

G GAO Yu Yun GEE

H HAN Hsiang-ning HAN Yajuan HE Sen HONG Ling HSIAO Chu-fang HUANG Gang HUANG Po-ren HUNG Tung-lu HUNG Yi HWANG Hyun Seung HWANG Jyi Michell HWANG

J JAN Chin-shui 詹金水 JENG Jun-dian 鄭君殿 JI Dachun 季大純 JIA Gang 賈剛 JIANG Jianqiu (Lao JIANG) 蔣建秋(老蔣) JIAO Xingtao 焦興濤 JU Ming 朱銘 JUNG Jae Ho

5

鄭在祜

017, 090 014 145 143 081, 174 177 028, 029, 043, 056, 057 105, 106 025


藝術家索引 / Index Bhagat SINGH SONG Yonghong SU Wong-shen SUI Jianguo SUN Lisha SUN Yuntai

K Ai KATO & Makoto AIDA Izumi KATO KIM Byung Jin KIM Duck Yong Natsuko KITAMURA J. C. Kuo KUO Wei-kuo Yayoi KUSAMA Budi KUSTARTO KWON Ki Soo KWON Kyung Yup

加藤愛 & 會田誠 加藤泉 金炳真 金德龍 北村奈津子 郭振昌 郭維國 草間彌生 布迪.庫斯塔托 權奇秀 權慶燁

207, 208 216 182, 204 187 209 199 093 183, 211 225 023, 196, 197, 200 186, 188

李惠林 李在孝 李在先 李二男 李民中 李佑林 雷雙 李真 李暉 李繼森 李山 梁平正 廖繼春 廖一百 廖堉安 連建興 林建榮 林風眠 林海容 林文強 劉楓華&劉勇 劉國松 劉煒 盧昊 陸先銘

185 112 170, 184 202 001 194 119 111, 115 161 136 139, 144 108 038, 049 172 084 008, 092, 094 110 035, 101 134 165 173 066 078 123, 124 019, 162

毛旭輝 松浦浩之

154 213, 219

白南準 龐均 戴迪.鮑

201 050 224

清滕.屋帕玳伊

226

王廣義 王凱 王克平 汪志傑 魏樂唐 魏禎宏 吳冠中

148, 157, 158 130 176 070 220 085 034, 100

夏俊娜 向京 忻海州 徐冰 徐毛毛

076 160 142 146, 147, 151 082

山口藍 山本麻友香 楊識宏 楊登雄 楊靜 楊茂林 楊仁明 楊三郎 楊少斌 楊英風 葉子奇 李桓權 尹坤 尹朝陽 尹鍾錫 岳敏君

210 214, 217 086, 166 071, 089, 164, 167 131 020 190 031, 044, 091 074 042, 180, 181 003, 026, 169 203 133 155 195 159

ZAO Wou-ki ZHANG Hongtu ZHAO Gang ZHOU Chunya

趙無極 張宏圖 趙剛 周春芽

ZHU Shijie ZHU Yan

朱士傑 朱岩

036, 039, 055, 099, 103 045 122 072, 073, 149, 152, 153 175 116 127

U W WANG Guangyi WANG Kai WANG Keping WANG Zhijie John WAY Xavier WEI WU Guanzhong

X XIA Junna XIANG Jing XIN Haizhou XU Bing XU Maomao

Y Ai YAMAGUCHI Mayuka YAMAMOTO YANG Chihung YANG Din YANG Jing YANG Mao-lin YANG Ren-ming YANG San-lang YANG Shaobin Yuyu YANG Tzu-chi YEH YI Hwan Kwon YIN Kun YIN Zhaoyang YOON Jongseok YUE Minjun

Z

Q QI Zhilong QU Guangci

祁志龍 瞿廣慈

125 178

Ayako ROKKAKU

六角彩子

171

S SANYU SHI Lei SHIN Young-Mi Keisuke SHIROTA SHIY De-jinn

002, 007, 009 205 215 018, 033, 046, 069, 095

Chintan UPADHYAY

P PAIK Nam June PANG Jiun Deddy PAW

戴海鷹 高木まどか 田尾創樹 丁雄泉

T

M MAO Xuhui Hiroyuki MATSUURA

223 087 010 179 080 118

TAI Hoi Ying Madoka TAKAGI Soju TAO Walasse TING

L LEE Hye-Rim LEE Jae-hyo LEE Jaesun LEE Lee Nam LEE Ming-chung LEE Woo Lim LEI Shuang LI Chen LI Hui LI Jisen LI Shan LIANG Ping-cheng LIAO Chi-chun LIAO Yibai LIAO Yu-an LIEN Chien-hsing LIN Chien-jung LIN Fengmian LIN Hairong LIN Wen-chiang LIU Fenghua & LIU Yong LIU Kuo-sung LIU Wei LU Hao LU Hsien-ming

巴哈哥特.西恩 宋永紅 蘇旺伸 隋建國 孫立沙 孫雲台

常玉 石磊 申英美 城田圭介 席德進

030, 060, 102 121 189 206 058, 062

6


001

LEE Ming-chung (Taiwanese, b. 1961)

Flowers 1994 Oil on canvas 60 x 72 cm Signed on the reverse Lee Ming-chung in Chinese, dated 1994 and titled Flowers in Chinese

NT$ 90,000-160,000 US$ 2,800-4,900 HK$ 21,000-38,000

李民中 花 1994 油彩 畫布 60 x 72 cm 簽名畫背:李民中 1994 花


002

TAI Hoi Ying

(Chinese-French, b. 1946)

Janela Aberta (Open Window) 1985-1986 Oil on panel 60 x 80 cm Signed lower left Tai in English and dated 85-86

NT$ 80,000-120,000 US$ 2,400-3,700 HK$ 19,000-28,000

8

戴海鷹 半開窗戶 1985-1986 油彩 木板 60 x 80 cm 簽名左下:Tai 85-86


003

Tzu-chi YEH

(Taiwanese, b. 1957)

Magnolia 1997-1998 Tempera and oil on linen 25 x 80.5 cm Signed lower right Tzu-chi in Chinese and dated 1997-98

NT$ 160,000-260,000 US$ 4,900-8,000 HK$ 38,000-61,000

葉子奇 木蘭花 1997-1998 卵彩 油畫 亞麻布 25 x 80.5 cm 簽名右下:子奇 1997-98


004

CHANG Chih-cheng (Taiwanese, b. 1954)

Lilies 1997 Oil on canvas 65 x 45 cm Signed on the reverse CHANG Chih-cheng in Chinese and English, dated 1997, size 15M, media oil on canvas and titled Liles in Chinese

NT$ 70,000-100,000 US$ 2,100-3,100 HK$ 16,000-24,000

10

張志成 百合 1997 油彩 畫布 65 x 45 cm 簽名畫背:張志成 CHANG CHIH-CHENG 1997 15M 油畫畫布 百合


005

CHOI So Young

崔素榮

(Korean, b. 1980)

無題

Untitled 2006 Mixed media, denim, collage 51.5 x 54 cm PROVENANCE: Cais Gallery, Seoul

This painting is to be sold with a certificate of authenticity issued by Cais Gallery, Seoul.

NT$ 160,000-260,000 US$ 4,900-8,000 HK$ 38,000-61,000

2006 綜合媒材 丹寧布 拼貼 51.5 x 54 cm 來源: 首爾Cais畫廊 附Cais畫廊開立之原作保證書


006

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Figure 1988 Oil on canvas 52 x 45 cm Signed lower right Che in Chinese and dated 1988 Signed on the reverse Che in Chinese and dated 1988

NT$ 70,000-140,000 US$ 2,100-4,300 HK$ 16,000-33,000

黃銘哲 人物 1988 油彩 畫布 52 x 45 cm 簽名右下:哲 1988 簽名畫背:哲 1988

007

TAI Hoi Ying

(Chinese-French, b. 1946)

Janela (Window) 1985-1986 Oil on panel 60 x 80 cm Signed lower right Tai in English and dated 85-86

NT$ 80,000-120,000 US$ 2,400-3,700 HK$ 19,000-28,000

戴海鷹 窗 1985-1986 油彩 木板 60 x 80 cm 簽名右下:Tai 85-86

12


008

LIEN Chien-hsing (Taiwanese, b. 1962)

The Path to Childhood 1995 Oil on canvas 53 x 72.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 1995 Signed on the reverse 1995, titled The Path to Childhood in Chinese and signed Lien Chienhsing in Chinese

NT$ 180,000-280,000 US$ 5,500-8,600 HK$ 42,000-66,000

連建興 童鄉路 1995 油彩 畫布 53 x 72.5 cm 簽名左下:連建興 1995 簽名畫背:1995 童鄉路 連建興


009

TAI Hoi Ying

(Chinese-French, b. 1946)

Interior 1985-1986 Oil on panel 60 x 80 cm Signed lower left Tai in English and dated 85-86

NT$ 80,000-120,000 US$ 2,400-3,700 HK$ 19,000-28,000

14

戴海鷹 室內 1985-1986 油彩 木板 60 x 80 cm 簽名左下:Tai 85-86


010

SU Wong-shen (Taiwanese, b. 1956)

Front Door and Back Yard (A set of 2) 1994 Oil on canvas 35 x 25 cm (x2) Signed lower right Su Wong-shen in Chinese and dated 1994

蘇旺伸 This painting is to be sold with a certificate of authenticity issued by Willian Contenporay Art Space, Taipei.

NT$ 120,000-180,000 US$ 3,700-5,500 HK$ 28,000-42,000

前門與後院(二件一組) 1994 油彩 畫布 35 x 25 cm (x2) 簽名右下:1994 蘇旺伸 附威廉當代藝術空間開立之作品保證書


011

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Nude 1986 Oil on canvas 53 x 65 cm Signed left edge Che in Chinese Signed on the reverse Che in Chinese and dated 1986

NT$ 160,000-260,000 US$ 4,900-8,000 HK$ 38,000-61,000

16

黃銘哲 裸女 1986 油彩 畫布 53 x 65 cm 簽名左側:哲 簽名畫背:哲 1986


012

CHIU Ya-tsai

(Taiwanese, b. 1949)

Gentleman 1992 Oil on canvas 80 x 64 cm Signed lower left Chiu Ya-tsai in Chinese and dated 92'

NT$ 220,000-350,000 US$ 6,700-10,700 HK$ 52,000-82,000

邱亞才 男仕 1992 油彩 畫布 80 x 64 cm 簽名左下:92' 邱亞才


013

Alixe FU

(Taiwanese, b. 1961)

Homme et femme nus 1990 Oil on canvas 100 x 80 cm Signed lower left Alixe Fu in English and dated 90

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

18

傅慶豊 裸男裸女 1990 油彩 畫布 100 x 80 cm 簽名左下:Alixe Fu 90


014

JENG Jun-dian

鄭君殿

(Taiwanese, b. 1963)

流.石.枝 1994 油彩 畫布 90 x 90 cm 簽名畫背:鄭君殿 1994 流.石.枝

Stream, Stone, Branches 1994 Oil on canvas 90 x 90 cm Signed on the reverse Jeng Jun-dian in Chinese, dated 1994 and titled Stream, Stone, Branches in Chinese EXHIBITED: Ten Ways of Studying Taiwanese Fine ArtsJeng Jun-dian Solo Exhibition, Fairmate Art Gallery, Taipei, Sep. 24-Oct. 9, 1994

ILLUSTRATED: Ten Ways of Studying Taiwanese Fine ArtsJeng Jun-dian Solo Exhibition, Fairmate Art Gallery, Taipei, 1994, color illustrated, cover page

展覽: 「閱讀台灣美術的十種方法─鄭君殿個 展」,飛元藝術中心,台北,展期1994年9 月24日至10月9日

NT$ 280,000-400,000 US$ 8,600-12,200 HK$ 66,000-94,000

圖錄: 《閱讀台灣美術的十種方法─鄭君殿》,飛 元藝術中心,台北,1994,彩色圖版,封面 作品


015

CHEN Shuxia (Chinese, b. 1963)

陳淑霞

Rest ILLUSTRATED: Chen Shu Xia, Hebei Education Publishing House, Heibei, 2002, color illustrated, p. 53

2001 油彩 畫布 120 x 180 cm 簽名左上:淑霞 2001.11 簽名畫背:《栖》布面油畫 120 x 180 cm 2001 陳淑霞

NT$ 280,000-350,000 US$ 8,600-10,700 HK$ 66,000-82,000

圖錄: 《陳淑霞》,河北教育出版社,河北, 2002,彩色圖版,頁53

2001 Oil on canvas 120 x 180 cm Signed upper left Shuxia in Chinese and dated 2001.11 Titled on the reverse Rest in Chinese, media oil on canvas, size 120 x 180 cm, dated 2001 and signed Chen Shuxia in Chinese

20


016

CHENG Tsai-tung

鄭在東 花竹扶疏之一:春

(Taiwanese, b. 1953)

2007 壓克力 畫布 120 x 120 cm 簽名左下:鄭在東 '07

Flowers and Bamboo Series - Spring 2007 Acrylic on canvas 120 x 120 cm Signed lower left Cheng Tsai-tung in Chinese and dated '07

ILLUSTRATED: Cheng Tsai-tung, Lin & Keng Gallery, Taipei, 2007 color illustrated

展覽: 「鄭在東個展—流連野水之煙」,大未來畫 廊,台北,展期自2007年7月7日至7月30日

EXHIBITED: Cheng Tsai-tung, Lin & Keng Gallery, Taipei, July 7-30, 2007

NT$ 350,000-550,000 US$ 10,700-16,800 HK$ 82,000-129,000

圖錄: 《鄭在東作品集─流連野水之煙》,大未來 畫廊,台北,2007,彩色圖版


017

JAN Chin-shui (Taiwanese, b. 1953)

詹金水

Autumn Landscape 1998 Mixed media on canvas 97 x 130 cm Signed lower left Chin shui in Chinese and dated 1998 Signed on the reverse Jan Chin-shui and titled Autumn Landscape in Chinese, dated 1998 and size 60F

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秋山溪壑

ILLUSTRATED: Time Within Landscape, Ravenel Fine Art Ltd., Taipei, 2007, color illustrsted, pp. 70-71

1998 綜合媒材 畫布 97 x 130 cm 簽名左下:金水 1998 簽名畫背:60F 詹金水 1998年 秋山溪壑

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

圖錄: 《山水光陰》,睿芙奧股份有限公司, 台北,2007,彩色圖錄,頁70-71


018

Walasse TING

(Chinese-American, b. 1929)

My Girlfriend 1979 Acrylic on canvas 62 x 77 cm Titled on the reverse My Girlfriend, signed Ting in English and dated 79

NT$ 650,000-850,000 US$ 19,900-26,000 HK$ 153,000-200,000

丁雄泉 我的女朋友 1979 壓克力 畫布 62 x 77 cm 簽名畫背:My Girlfriend Ting 79


019

LU Hsien-ming (Taiwanese, b. 1959)

Taipei Landscape IX 1994 Oil on canvas 120 x 120 cm

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This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 350,000-550,000 US$ 10,700-16,800 HK$ 82,000-129,000

陸先銘 台北風景 IX 1994 油彩 畫布 120 x 120 cm 附大未來畫廊開立保證書


020

YANG Mao-lin (Taiwanese, b. 1953)

Yun Mountain Memorandum M9222 1992 Oil on canvas 116.5 x 73 cm Inscribed center MADE IN TAIWAN in English

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

楊茂林 圓山紀事 M9222 1992 油彩 畫布 116.5 x 73 cm 款識中央:MADE IN TAIWAN


021

CHIU Ya-tsai

(Taiwanese, b. 1949)

Intellectual Oil on canvas 116 x 91 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 450,000-650,000 US$ 13,800-19,900 HK$ 106,000-153,000

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邱亞才 書生 油彩 畫布 116 x 91 cm 簽名右下:邱亞才


022

HAN Hsiang-ning

韓湘寧

(Taiwanese, b. 1939)

西百老匯 1983 壓克力 畫布 112 x 168 cm 簽名畫背:HN HAN 1983

Facade West Broadway 1983 Acrylic on canvas 112 x 168 cm Signed on the reverse HN HAN in English and dated 1983 EXHIBITED: H.N. Han: A Retrospective 1961-1993, Taipei Fine Arts Museum, Taipei, April 30 – June 12, 1994

ILLUSTRATED: H . N . H a n : A R e t ro s p e c t i v e 1 9 6 1 - 1 9 9 3 , Taipei Fine Arts Museum, Taipei, 1994, color illustrated, p. 80

展覽: 「韓湘寧作品回顧展 (1961-1993)」,台北 市立美術館,台北,展期自1994年4月30日 至6月12日

NT$ 550,000-650,000 US$ 16,800-19,900 HK$ 129,000-153,000

圖錄: 《韓湘寧作品回顧展 (1961-1993)》,台北 市立美術館,台北,1994,彩色圖錄,頁80


023

KWON Ki Soo (Korean, b. 1972)

Red River with Flowers Flame 2009 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Han character and English, dated 2009

NT$ 550,000-850,000 US$ 16,800-26,000 HK$ 129,000-200,000

權奇秀 繁花盛開的紅河流 2009 壓克力 畫布 130 x 130 cm 簽名畫背:權奇秀 Kwon Ki Soo 2009

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024

AHN Sung Ha (Korean, b. 1976)

Cigarettes 2006 Oil on canvas 135 x 122 cm Titled on the reverse Cigarettes in Korean and signed Ahn Sung Ha in Korean, media Oil on canvas, size 135 x 122 cm and dated 2006

NT$ 650,000-950,000 US$ 19,900-29,100 HK$ 153,000-224,000

安誠河 香菸 2006 油彩 畫布 135 x 122 cm 簽名畫背:「담배」 안성낭 Oil on canvas 135 x 122 cm 2006

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025

Jung Jae Ho (Korean, b. 1970)

City Scape - 4 (diptych) 2008 Oil on panel 113 x 270 cm Titled on the reverse City Scape-4 in English, signed City Scape-4 in Korean and dated 2008 ILLUSTRATED: First Steps: New Art From Korea, Art Seasons, Singapore, 2008, color illustrated, p. 58

NT$ 750,000-1,200,000 US$ 22,900-36,700 HK$ 176,000-282,000

鄭在祜 城市景觀之四(二聯幅) 2008 油彩 木板 113 x 270 cm 簽名畫背:"City Scape - 4" 정재흐 2008 圖錄: 《第一步:韓國新藝術》,季節畫廊,新加 坡,2008,彩色圖版,頁58

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026

Tzu-chi YEH

(Taiwanese, b. 1957)

Yan-Ming Mountain in June 2007-2009 Tempera and oil on linen 86 x 127 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2007-09

NT$ 950,000-1,500,000 US$ 29,100-45,900 HK$ 224,000-353,000

葉子奇 六月的陽明山 2007-2009 卵彩 油彩 亞麻布 86 x 127 cm 簽名右下:葉子奇 2007-09

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027

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Water Buffalos 1975 Oil on canvas 111 x 162 cm Signed lower left Che in Chinese and dated 1975

NT$ 1,200,000-2,200,000 US$ 36,700-67,300 HK$ 282,000-518,000

黃銘哲 牧童與水牛 1975 油彩 畫布 111 x 162 cm 簽名左下:哲 1975

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028

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1995 Bronze sculpture, edition no. 5/20 50(L) x 30(W) x 50(H) cm Engraved Ju Ming in Chinese, numbered 5/20 and dated '95 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation-Juming Museum.

NT$ 3,000,000-4,000,000 US$ 91,700-122,300 HK$ 706,000-941,000

朱銘 太極系列 1995 銅雕 5/20 50(長) x 30(寬) x 50(高) cm 簽名雕刻:朱銘 5/20 '95 附財團法人朱銘文教基金會─朱銘美術館 開立作品鑑定報告書

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029

JU Ming

(Taiwanese, b. 1938)

Taichi Series - The Arch 1995 Bronze sculpture, edition no. 17/20 64(L) x 29(W) x 49(H) cm Engraved Ju Ming in Chinese, numbered 17/20 and dated '95

NT$ 2,600,000-3,400,000 US$ 79,500-104,000 HK$ 612,000-800,000

朱銘 拱門 1995 銅雕 17/20 64(長) x 29(寬) x 49(高) cm 簽名雕刻:朱銘 17/20 '95

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030

SANYU (CHANG Yu) (Chinese-French, 1901-1966)

Small Fish 1962 Oil on cardboard 23 x 18 cm Inscribed on the reverse à Pamela in French, signed S. Y. and dated Christmas 1962 PROVENANCE: Pamela Forrest, Paris Sotheby's Sale, Taipei, Oct. 20, 1996, lot. 13c

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

常玉 小魚 1962 油彩 紙板 23 x 18 cm 題識及簽名畫背:à Pamela noël 1962 S. Y. 來源: 彭美拉.芙羅斯收藏,巴黎 蘇富比,台北1996年10月20日秋季拍賣, 編號13c

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常玉生於1901年的四川,家境富裕,原習中 國書畫,因蔡元培提倡「勤工儉學」,1921 年常玉隨著這股熱潮前往巴黎學習藝術,開 啟了他一生漂流異鄉的不歸路。 初到巴黎的常玉繪畫仍深具中國水墨特色, 及至後來的素描、水彩、油畫、雕塑及設計 圖案等,內容相當豐富;主要創作題材包含 裸女、靜物及風景動物等,早期作品以粉色 及白色為主,用色溫馨較少變化,及至中晚 期,用色更趨厚重深沉,原以動物為主的溫 馨氣氛,變成以大地為主題,動物僅是附屬 於天地之間的「渺滄海之一粟」罷了! 常玉從早期意氣風發,充滿鬥志,後來歷經 家道中落,藝術之途發展不順遂,思念家鄉 卻無法衣錦還鄉,一個人孤獨地在巴黎 奮 鬥,卻得不到迴響,心中的孤獨落寞,在晚 年的創作中表露無遺!1966年瓦斯中毒意外 死于巴黎的常玉,一生的坎坷與傳奇及他的 藝術創作,留給後人無限懷念與感歎!

on a transient road from which he would never return to China. Sanyu’s paintings still had a lot of Chinese ink-and-wash characteristics in the early days in Paris. Later his artistic forms became diverse from sketching, watercolor, and oil painting to sculpture. The main subjects of his paintings were nudes, still life, landscape, and fish among others. The early works were mostly in pink and white, and the colors were cozy with little change. He tended to use darker and thicker colors in the middle and late period. The subjects also changed from cozy animals to mother earth. Fish are only a tiny drop in the ocean of the world!

這張小畫,原收藏者十餘年前購自蘇富比公 司,大筆刷出的水紋裡,有三隻優遊的小紅 魚,玲瓏可愛,在這樣的一方小池水中,還 是有些淡淡的倜倀。

Beginning with tremendous enthusiasm and morale at the beginning of his career, Sanyu struggled on a rough road of art as his family declined. He yearned for his hometown but was unable to return gloriously. He struggled in Paris, lonely without any responses. And his late works show his loneliness so clearly. Sanyu died in a gas poisoning accident in 1966. His struggles, legends and art works left endless yearnings and sighs for the following generations.

Sanyu was born in Sichuan in 1901 into a rich family. He studied Chinese painting and calligraphy and after Cai Yuanpei’s called for a work-study program, Sanyu went to Paris to study the art movement there. He had stepped

This small painting comes from a collector who bought it from Sotheby's a decade ago. Three small red fishes are swimming in the flowing water, so delicate and cute. But some slight melancholy still shows in this small pond of water.


031

YANG San-lang (Taiwanese, 1907-1995)

Seaport c. 1978 Oil on canvas 50 x 60.5 cm Signed lower right S. Yang in English

NT$ 900,000-1,400,000 US$ 27,500-42,800 HK$ 212,000-329,000

楊三郎 海港 約1978 油彩 畫布 50 x 60.5 cm 簽名右下:S. Yang

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032

George CHANN

(Chinese-American, 1913-1995)

Abstract 1950s-1970s Mixed media on canvas 135 x 86 cm Signed lower right GEO. CHANN in English PROVENANCE: Previously owned by Richard McInnes, of Reno, Nevada, a longtime friend of George Chann. (Mr. McInnes was responsible for getting George Chann to give 229 of his religious paintings to the Crystal Cathedral in Garden Grove, California in 1993.) This painting is to be sold with a certificate of authenticity signed by Janet Chann, George Chann's daughter.

NT$ 950,000-1,500,000 US$ 29,100-45,900 HK$ 224,000-353,000

陳蔭羆 抽象 1950年代至70年代 綜合媒材 畫布 135 x 86 cm 簽名右下:GEO. CHANN 來源: 原為陳蔭羆故友李察.麥金尼斯舊藏,內華 達州雷諾市。(李察.麥金尼斯曾於1993促 使陳蔭羆捐贈229件宗教繪畫給加州Garden Grove的水晶大教堂。) 附陳蔭羆之女珍妮.陳開立之作品保證書

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033

Walasse TING

(Chinese-American, b. 1929)

Soft Wind Pass Sunshine 1969 Acrylic on canvas 145 x 179 cm Titled on the reverse Soft Wind Pass Sunshine in English, signed Ting in English and dated 1969

NT$ 1,400,000-2,000,000 US$ 42,800-61,200 HK$ 329,000-471,000

丁雄泉 輕風越過陽光 1969 壓克力 畫布 145 x 179 cm 簽名畫背:Soft Wind Pass Sunshine Ting 1969

丁雄泉的繪畫風格經過幾次演變。在巴黎 期間的作品表達出水墨逸趣的東方氣質; 隨後於1958年抽象表現主義最高峰時抵達 紐約,很快地與抽象表現主義畫家山姆. 法蘭西斯、普普藝術家維塞爾曼、歐登伯 格等結交,其作品開始深受抽象表現主義 及普普藝術影響。 此幅作品便是他來到紐約之後的早期畫布 作品之一。看到紐約的五光十色,一改巴 黎時期的陰暗風格,這時期的作品除了原 有的水墨線條外,加上了粗曠的滴流和潑 灑,單色逐漸轉為明麗的彩色,並改用鮮 明的壓克力顏料,形象也從抽象改為半具 象。漸漸地,他的知名度遍及歐美,當時 紐約的丁雄泉和巴黎的趙無極常被相提並 論,被推舉為在世華人畫家中知名度最高 的兩位。才氣縱橫的他,以豪放不羈的風 采,跨越了國界,成為享譽國際藝壇的中 國畫家。在世界各大城市的現代美術機 構:如美國紐約現代美術館、大都會美術 館、費城美術館,芝加哥藝術協會、底特 律藝術協會、波士頓美術館;英國泰德畫 廊;巴黎東方藝術博物館、台北市立美術 館、上海美術館、香港藝術館等都可見其 作品。

After several evolutions, Ting’s painting style grew its own unique features. His paintings during the Paris period denote the water-ink oriental temperament. In 1958, at the peak moment of abstract expressionism, he arrived

48

in New York, where he soon befriended Sam Francis, Tom Wesselmann, and Claes Oldenburg. His paintings began to be influenced by abstract expressionism and pop art. “Soft Wind Pass Sunshine” was one of his early canvas paintings after his arrival in New York. The colorfulness of New York replaced the gloomy style of the Paris period. At this stage, his works, besides the original water-ink lines, had coarse drops and flows; in addition, the single color changed to bright colors, vivid acrylic paint was used, and the abstract image became a semi-representational image. Gradually, his reputation spread to Europe and the US. At that time, Walasse Ting in the New York and Zao Wou-ki in the Paris were often mentioned together and were recognized as the two most famous Chinese painters alive. His talents and uninhabited charm overcome cultural barriers and made him the renowned Chinese painter in the international artistic community. Many modern fine arts institutions in major cities in the world, such as MoMA, The Metropolitan Museum of Art, the Philadelphia Museum of Art, Art Institute of Chicago, the Detroit Institute of Arts, Museum of Fine Arts, Boston, Tate Gallery, London, Paris Museum of Oriental Art, Taipei Fine Arts Museum, Shanghai Art Museum, and Hong Kong Museum of Art, all have collected his works.


033


034

WU Guanzhong (Chinese, b. 1919)

Wisteria 1956 Watercolor on paper 28 x 39 cm Signed lower right Tu in Chinese and dated 1956 ILLUSTRATED: Wu Guanzhong-Watercolour and Gouache Paintings, Sin Hua Gallery, Singapore, 1990, no. 5 The Painting Collection of Wu Guanzhong, P G publishing Pte Ltd., Singapore, 1991, no. 2 Discussion on Wu Guanzhong-Selected Papers on Wu Guanzhong, Guangxi Fine Arts Publishing House, Guangxi, 1999, p. 134

NT$ 2,000,000-3,000,000 US$ 61,200-91,700 HK$ 471,000-706,000

吳冠中 紫藤 1956 水彩 紙本 28 x 39 cm 簽名右下:荼 56 圖錄: 《吳冠中水彩—粉彩畫》,新華美術中心, 新加坡,1990,圖版編號5 《吳冠中畫集》,P G出版私人有限公司, 新加坡,1991,圖版編號2 《談論吳冠中─吳冠中論文選集》,廣西美 術出版社,廣西,1999,頁134

1950年代初,吳冠中曾兩度任教建築系,水 彩畫乃該系重要的課程,他在1950年代中期 開始發表一系列以北京風貌為題材的水彩 畫,包括舊建築及街頭景色,本幅即當時作 品之一。畫中取景乃中山公園茶座。中山公 園屬旅遊景點,也是不少文藝界人士聚晤之 處,圖中「來今雨軒」即當時舉行展覽地點 之一,張大千、善子昆仲曾先後於此展覽。 吳冠中創作此幅作品時,時空背景已有轉 變,他曾經寫道:「寫北京中山公園茶座。 50年代人人工作繁忙,茶座冷清清」。畫中

50

紫藤盛放爬滿棚架,茶座卻冷清寥落,只剩 三兩茶客,是當時環境使然。寫意之餘,別 具一番清幽雅致,畫中情韻與文人畫境有氣 息相通處。 1950–1970年代,吳冠中力圖將歐洲油畫描 繪自然的直觀生動性、色彩的豐富細膩性, 與中國傳統藝術精神、審美理想融合在一 起。從1970年代起,吳冠中漸漸兼事中國畫 創作,他運用中國傳統材料工具表現現代精 神,並探求中國畫的革新。他的水墨畫構思 新穎,章法別致,善於將詩情畫意透過點、 線、面的交織,表現詩情畫意。

In the early 1950s, Wu Guanzhong twice taught at the Department of Architecture, in which watercolor is an important course. Then in the mid-50s, he produced a series of watercolor paintings on the theme of Beijing’s buildings and streets. This piece of the cafe in Zhongshan Park was drawn at that time. Zhongshan Park is a tourist attraction, a gathering place for literary and art circles. The pavilion “Laijinyu” was an exhibition hall at that time, where the brothers Zhang Daqian and Zhang Shanzi had exhibitions. When Wu Guanzhong created this piece, the climate had changed. He described the painting as “Drawing at the teahouse in Beijing Zhongshan Park. In the 1950s, people were busy with their work, so the teahouse had very few visitors.” In the watercolor, the thriving screen wisteria climbed all over its supporting frame, while the teahouse was nearly empty and quiet, with only a couple of visitors at that time. Besides its meaning, this painting is unique for its elegance and serenity, and for the harmony of its charm with the Chinese scholars. From the 1950s to 1970s, Wu Guanzhong delicates to combine the natural and vivid features and rich colors in the European oil paintings with the spirit of traditional Chinese art as well as aesthetic ideals. From the 1970s onwards, Wu Guanzhong gradually took up Chinese painting, in which he applied traditional Chinese materials and tools to express a modern spirit, and to make innovations in Chinese paintings. His waterink works are novel in theme, delicate in composition and uniquely adept at expressing poetic thoughts through point, line and surface.


035

LIN Fengmian (Chinese, 1900-1991)

Dawn (Hills & Cabins in Autumn) 1970s Ink and color on paper 40 x 50 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Artist Magazine (issue no. 33), The Artist Publishing, 1983, color illustrated, p. 10 Gu Zhu Jun ed.,The Collected Works of Lin Fengmian Part II of II, Tianjin People Fine Arts Publishing House, Tianjin, 1994, color illustrated, no. 159 (incorrect size) Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 15, p. 10

NT$ 2,300,000-4,000,000 US$ 70,300-122,300 HK$ 541,000-941,000

林風眠 晨曦(秋山小屋圖) 1970年代 彩墨 紙本 40 x 50 cm 簽名左下:林風眠 鈐印:林風瞑印 來源: 三槐堂收藏,香港 圖錄: 《美術家》雜誌33期,美術家出版社,香 港,1983,彩色圖版,頁10 顧祝君編,《林風眠全集》(下卷)(中國 繪畫大師作品集系列),天津人民美術出版 社,天津,1994年10月,彩色圖版,編號 159(畫題為《晨曦》,尺寸誤植) 周衛明編,《藝苑掇英第七十二期 三槐堂 藏現代書畫專輯》,上海人民美術出版社, 上海,2004,彩色圖版,編號15,頁10

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林風眠自信成熟之作《晨曦》(秋山小屋 圖),應為1977年抵達香港時期之後所繪。 藝評家郎紹君曾經指出,林風眠上海時期以 燦爛秋景或回憶西湖為母體的優美抒情為主 要特色,即使色調凝重,風格強勁,側重 於描繪一種寧靜安詳的意境。而香港時期的 風景在風格上與前期雖有所重複,但某些題 材與風格技法上,卻是先前未有,其中的典 型莫過於黃山風景,和與黃山風格近似的作 品,為晚期風景畫的主要代表。 《晨曦》(秋山小屋圖)一作畫家把山峰畫 成尖利的三角形,可看出立體派的影響;黑 色線條紛披具拙趣,設色豐富、強烈、奔 放,豔麗的黃、藍、橙紅,以及點染的玫瑰 色,光影變化是由西畫轉換而來;整幅畫作 的筆觸老辣、堅毅、蒼渾,尤其描寫山嵐籠 罩的氤氳空間,仍有水墨表現的透明感,三 兩小屋隱身林間,閒適優雅,無論景物、風 格和畫法,都成為林風眠借景抒懷的載體。

Lin Fengmian’s mature work “Dawn” (Hills & Cabins in Autumn) was composed after his arrival in Hong Kong in 1977. Art critic Lang Shaojun commented that Lin Fengmian’s Shanghai period featured bright autumn scenes or his recollections of the beautiful West Lake. The tone is solemn and the style strong, focusing on creating a quiet and peaceful mood. His works during his Hong Kong period retain his style from the earlier period, but made major breakthroughs in theme and some style techniques. The typical example is the landscape of Yellow Mountain and other similar works, which is his main style of landscape in the late period. In “Dawn” (Hills & Cabins in Autumn), the artist depicts the hills as sharp triangles, where the impact of Cubism can be observed. The fascinating black lines create a complex scene. The rich colors are strong and lively with bright yellow, blue, orange-red, and rose. The change of light and shadow is borrowed from Western artistic techniques. The whole painting is endowed with a touch of power, energy, and vigor. In particular, among the hills shrouded space, the transparency of ink painting can still be sensed, with several cabins hiding in the woods, creating a relaxed and elegant atmosphere. Both the features and painting techniques were the media through which Lin Fengmian expressed his feelings.


036

ZAO Wou-ki

(Chinese-French, b. 1921)

Lotus Flowers 1952 Oil on canvas 38 x 46 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse Lotus Flowers in English EXHIBITED: Zao Wou-Ki, Galerie nationale du Jeu de Paume, Paris, Oct 14-Dec 7, 2003 Grand Opening Exhibition, Lin & Keng Gallery, Beijing, 2007 ILLUSTRATED: Zao Wou-Ki, Galerie nationale du Jeu de Paume, Paris, 2003, color illustrated, p. 73 Abstract China, Lin & Keng Gallery, Beijing, 2007 Zao Wou-ki, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 34 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 3,600,000-4,800,000 US$ 110,100-146,800 HK$ 847,000-1,129,000

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趙無極 蓮花 1952 油彩 畫布 38 x 46 cm 簽名右下:無極 ZAO 題識畫背:Lotus Flowers 展覽: 「趙無極」,網球場國家畫廊,巴黎,展期 自2003年10月14日至12月7日 2007年大未來畫廊北京開幕展 圖錄: 《趙無極》,網球場國家畫廊,巴黎, 2003,彩色圖版,頁73 《2007抽象中國》,大未來畫廊,北京, 2007 《趙無極》,大未來畫廊藝術有限公司, 台北,2005,彩色圖版,頁34 附大未來畫廊開立之原作保證書


037

Yun GEE

(Chinese, 1906-1963)

Frost in Central Park c. 1940 Oil on canvas 50 x 65 cm Signed lower left Yun Gee in English PROVENANCE: Sotheby's Sale, Hong Kong, Oct. 27, 2003, no. 367 Acquired directly from the above by the current owner EXHIBITED: Experiences of Passage: The Paintings of Yun Gee and Li-lan, Lin & Keng Gallery, Beijing, Nov. 15-Dec. 16, 2008 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 3,800,000-6,000,000 US$ 116,200-183,500 HK$ 894,000-1,412,000

朱沅芷 中央公園冬景 約1940 油彩 畫布 50 x 65 cm 簽名左下:Yun Gee 來源: 2003年10月27日蘇富比拍賣,香港,編號367 現有收藏者得自上述來源 展覽: 「行旅生涯—朱沅芷與朱禮銀之繪畫」, 大未來畫廊,北京,展期2008年11月15日 至12月16日 附大未來畫廊開立之原作保證書

朱沅芷是二十世紀初期重要的華人現代美術 家,儘管當時美國族群歧見仍深,他的藝術 成就卻耀眼,多次參加美術館展出,與歐美 前衛藝術家分庭抗禮。他的第一次紐約時期 作品《工業之輪在紐約》參加1932年紐約現 代美術館)一次壁畫聯展,成為最受矚目作 品之一;多次入選法國沙龍展,在歐美主流 畫廊展出。華盛頓的賀胥宏美術館曾購藏他 的五幅畫作,紐約的惠特尼美術館、加州的 奧克蘭美術館、北卡羅萊納大學的衛德史本 美術館等均有朱沅芷畫作的收藏。甚至巴黎 的龐畢度中心也收藏有他親繪的一幅肖像 畫。 其實朱沅芷若非遇上1929年經濟大蕭條,以 及1939年的歐戰爆發等,一連串經濟的打擊 等際遇,朱沅芷大可在歐美藝壇大放異彩, 然而時運不濟,晚期抑鬱以終,其成就應當 不僅止於此。

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朱沅芷1906年出生於廣東省,15歲時赴美 國依親。初抵舊金山時,他見識一個全然 陌生新奇的世界,進入加州美術學校(現為 舊金山藝術學院)學習。他曾在中國學習水 彩畫,臨摹大師書畫,但他更嚮往認識西方 藝術大師,透過參觀博物館與畫廊,大開眼 界。1924年在舊金山現代畫廊的個展十分成 功,並且受到從法國來旅行的穆哈特親王與 王妃(Prince and Princess Murat)注意,結 為好友,還邀約他到巴黎尋求發展。於是, 1927年朱沅芷前往巴黎,那是一個新舊文化 並存的都市,飽覽博物館、教堂與聖殿,他 在此得到尊重,認為法國文化與中國氣質相 近,很快融入藝術圈,結識聞人,並舉辦多 次畫展。 1929年紐約股市崩盤,引發全球經濟恐慌與 蕭條,朱沅芷在巴黎的發展受到阻礙,轉而 返回美國等待機會。他除了努力發展藝術事 業,也往來於東西岸持續參與華人社會藝文 活動,繪製政治諷刺漫畫,還加入美國政 府的「工作促進會」(WPA Easal Painter's Project)計畫,協助藝文人士渡過經濟恐慌 的年代。1936年再度隻身前往法國,希望重 拾巴黎美好時光。紐約藝壇傾向保守,歐洲 藝壇比較能理解他的藝術,確實他在巴黎可 謂如魚得水,然而好景不常,歐戰爆發,不 得已只好重返美國,抵達紐約時為1939年10 月23日。朱沅芷儘管經濟困頓,同時也是一 位愛國畫家與人道主義關懷者,多年間積極 以藝術作品募款捐助中國抗日活動。而為了 生計,1941年再度投入「工作促進會」計 畫,在紐約市立美術館教授風景繪畫。 本拍品《中央公園冬景》作於1940年左右, 朱沅芷剛從巴黎返回紐約之際。當時他曾住 在曼哈頓東67街,靠近麥迪遜大道交口,為 期約半年。後來因無力負擔房租,搬遷至


格林威治(Greenwich Village)。居住上東 期間,常與當時交往5年的女友海倫(Helen Wimmer, 1919-2004)相偕中央公園散步。 這段時間他繪了幾幅中央公園寫生圖畫。兩 人於1942年結縭,隔年生下女兒朱禮銀。此 時他積極創作,舉辦畫展藉以捐助戰爭的中 國孤兒,創作力旺盛。就畫風而言,《中央 公園冬景》屬於為第二次紐約時期,個人風 格十分成熟,延伸巴黎時期和諧、感性色 調,但陰暗對比強烈,更顯深沈憂鬱。畫中 背景高樓聳立,幾何狀的建築,光亮與陰暗 對比強烈,顯示都會的現實冷峻;前景幾株 光禿枝幹張揚,分割面空間,與後方的高樓 相映襯,中景林木染上霜紅,紅男綠女裹著 厚重大衣,並肩閒適散步,為蕭瑟的城市風 景增添幾分暖意。《中央公園冬景》,反映 了藝術家受現實所迫,但幸有愛情為伴的心 境,整體作品色彩和諧、結構緊湊,為紐約 時期難得一見的佳作。

Yun Gee is an important Chinese contemporary artist in the early 20th century. In his time, he made dazzling artistic achievements despite deep racial discrimination in the United States. His works were displayed at various art exhibitions and stood up to those of avantgarde Euro-American artists as equals. “Wheels: Industrial New York”, a piece of work during the New York Period, received widespread public attention at a mural exhibition in the New York Museum of Modern Art (MoMA) in 1932 and was repeatedly selected into the salon exhibitions in France, to be put on display in European and USA major galleries. The Hirshhorn Museum in Washington, DC acquired five of his paintings, and the Whitney Museum in New York, the Oakland Museum in California, the Weatherspoon Gallery of Art, the University of North Carolina among others have Yun Gee’s paintings in their collections. The Center Pompidou in Paris has one of his portraits. In fact, were it not for the Great Depression in 1929, the outbreak of war in Europe in 1939 and a series of economic problems, Yun Gee could have made greater achievements in EuropeanAmerican art circles. Misfortune, however, befell him and he spent his last years in depression.

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朱沅芷《聖日耳曼教堂》 羅芙奧2007年春季拍賣會,編號067,1460萬台幣成交 Yun Gee, Saint-Yuanzhi-en-Laye c. 1936-1938, oil on canvas, 73 x 51 cm Ravenel Spring Auction 2007, lot 067, US$ 442,089 sold

Yun Gee was born in Guangdong Province in 1906, and went to the United States for a family reunion at the age of 15. He came upon a wholly strange new world in Los Angeles and continued his study in the California School of Fine Arts (now San Francisco Art Institute). When he was in China, he used to learn water painting from Chinese masters, but he was more inclined to get acquainted with Western art masters and had his vision broadened by visiting numerous museums and art galleries. His personal exhibition in the Los Angeles Modern Gallery in 1924 proved to be a great success, and through which he met Prince and Princess Murat who were then on a trip from France. At their invitation, Yun Gee went to Paris in 1927 and was able to enjoy the sight of museums, churches and temples in this city of both ancient and modern cultures. As French culture fits the Chinese temperament well, he was soon accepted into artistic circles, and got to know important persons, and held a series of exhibitions.

In 1929, the New York stock market crashed, leading to a global economic depression and public panic. Yun Gee’s career in Paris was impaired and he came back to America to wait for future opportunities. In addition to painting, he also traveled between the east and west coasts to promote art and social activities in Chinese societies. He produced political satirical cartoons, and participated in the American government’s “WPA Easel Painter’s Project” which aimed to help artists and scholars through the hard times. In 1936, he again went to France alone in the hope of regaining good times in Paris. Compared to the relatively conservative New York art circles, the Europeans were better at comprehending his art and where he enjoyed popularity. Yet good times never last long. WWII soon broke out, compelling him to return to the United States on Oct. 23rd, 1939. Despite his straitened circumstances, Yun Gee was a patriotic painter and humanitarian philanthropist, who for years held exhibitions to collect money for anti-Japanese activities. In order to earn a living, he joined the “WPA Easel Painter’s Project” again in 1941, teaching landscape painting in the Museum of the City of New York. “Frost in Central Park” was composed around 1940, when Yun Gee came back to New York from Paris. He was living on 67th Street in East Manhattan, near the junction of Madison Avenue. He lived there for about half a year before he had to move to Greenwich Village because of a lack of money to pay his rent. During his stay on the Upper East Side, he often took a stroll in Central Park with his partner Helen, who had been with him for five years. The scenery there inspired him to produce several realistic paintings. He married Helen in 1942 and his daughter Li-lan was born the year after. During this period he was quite active in creation and held various exhibitions to raise money for Chinese orphans in the war. The style of “Frost in Central Park” can be categorized into Yun Gee’s second phase during the period of his stay in New York. By this time he had formed a mature individual style while maintaining his harmonious and emotional tone from Paris. There was, however, more contrast between


light and dark, more a sense of melancholy. The high-rise buildings in the background are in geometric shapes, and the strong contrast between light and dark helps to show a solemn reality. In the forefront, several large bare branches separate the space of the scene, and in the background high-rise buildings rise in the distant view. In the middle of the painting, some trees are tinted with red frost. A man in red and a lady in green, wrapped in heavy coats, are strolling shoulder to shoulder, adding a touch of warmth to the bleak urban landscape. “Frost in Central Park” reflects the artist’s mood as he was fortunate to have found love and company in his straitened circumstances. Harmonious in color and compact in structure, the complete work is a rare masterpiece from the period of his stay in New York.

朱沅芷《工業之輪在紐約》 1932,油彩 畫布,212 x 120 cm 朱禮銀女士收藏 Yun Gee, Wheels: Industrial New York 1932, oil on canvas, 212 x 120 cm Collection Li-lan


038

LIAO Chi-chun (Taiwanese, 1902-1976)

Gueishan Island 1960 Oil on canvas, mounted onto board 27 x 40.5 cm Inscribed on the reverse for Lin Chao-chu as a souvenir, signed Liao Chi-chun in Chinese and dated 1960 PROVENANCE: Ancient collection of Lin Chao-chu, the artist’s brother-in-law (a memory gift from the artist for Lin’s immigration to Japan in the 1960s) ILLUSTRATED: The Precusory Artists Masterpieces of Taiwan (III), Respectable Art Center, Taipei, 2000, color illustrated, pp. 54-55

NT$ 6,000,000-9,000,000 US$ 183,500-275,200 HK$ 1,412,000-2,118,000

廖繼春 龜山島 1960 油彩 畫布 裱於木板 27 x 40.5 cm 簽名畫背:留給林朝楚保藏 一九六○年 廖繼春畫 來源: 藝術家妻舅林朝楚舊藏(林朝楚為藝術家妻 子林瓊仙之弟,1960年代移民日本前得自藝 術家贈與,作為留念) 圖錄: 《台灣前輩畫家的藏寶圖—參》,尊彩國際 藝術有限公司,台北,2000,彩色圖版, 頁54-55

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廖繼春是台灣第一代西畫家,早在日本研習 時,就曾多次入選「帝展」。他不僅擁有可 觀的繪畫資歷與創作成就,更以常春的創作 活力,贏得後輩的敬重。他在台灣畫壇能夠 持續昂首闊步半個多世紀,憑仗的還是個人 創作上的實力和表現。 藝評家林惺嶽說,「廖繼春的繪畫天賦,猶 如一股噴湧不息的泉流,順乎其然的隨著時 代變動的起伏與曲折,潺潺地暢流著。在承 先啟後的意義上,展示了富有啟發性的楷 模。」因而讚賞廖繼春的藝術是跨越時代鴻 溝的彩虹。 他不僅擅長用色,也用色大膽,這件《龜山 島》全畫籠罩在濃烈的廖繼春的粉紅色調 中,讓人激賞不已。觀畫的同時,彷彿聽得 見他作畫時,沙沙作響的急促筆觸,他的心 跳和血液也都好像還存在在畫面裡似的。

Liao Chi-chun was one of the first generation of Western artists in Taiwan. When he was studying in Japan, his works were repeatedly selected for the “Empire Exhibition”. He boasted not only his rich experience and creative achievements in painting, but also his everlasting vitality of innovative concepts, which was adored by the younger generation. Thanks to Liao’s performance and competence in painting, he remained quite famous in Taiwan’s art circle for more than half a century. Lin Hsin-yueh, an art critic, said that “Liao’s genius for painting is just like flowing spring water. It flows naturally with the ups and downs of his times, continuously. During the transitional period, Liao acted as an inspiring model.” Because of that, he regarded Liao’s works of art as a rainbow bridging the gap of the era. Liao was not only good at mastering colors, but also used some rare colors. This art piece, “Gueishan Island” with the strong Liao-pink is spread in the whole painting, which was really exciting. When people see the picture, they might hear the sound of his strokes rustling during the painting. Liao’s heartbeat and blood also seem to be contained in the drawing.


039

ZAO Wou-ki

(Chinese-French, b. 1921)

Petit pont et l'eau coule (Small Bridge over the Stream) 1955 Oil on canvas 46 x 55 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 55 Signed on the reverse ZAO WOU KI in French, titled Petit pont et l'eau coule in Chinese and French, dated 1955 ILLUSTRATED: Zao Wou-Ki, Lin & Keng Gallery, Inc., Taipei, 2005, color illustrated, p. 52

NT$ 5,800,000-9,000,000 US$ 177,400-275,200 HK$ 1,365,000-2,118,000

趙無極 小橋流水 1955 油彩 畫布 46 x 55 cm 簽名右下:無極 ZAO 55 簽名畫背:ZAO WOU-KI Petit pont et l'eau coule 1955 小橋流水 圖錄: 《趙無極》,大未來畫廊藝術有限公司, 台北,2005,彩色圖版,頁52

《小橋流水》作品為趙無極1955年的典型非 具象風格,畫背上留有他的簽名以及親手題 寫的中文畫題。「小橋流水」,一詞予人的 印象應該是屬於中國江南特有的情調。趙無 極雖然出生自北京,卻成長於上海,青春時 期的六年給了杭州,在西湖畔的杭州藝專學 習繪畫。小橋流水,代表著江南文化、文人 品味的象徵,而在離鄉多年的藝術家內心 裡,或許就是對青春時代與文化母國的美好 懷想吧。

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趙無極早期的作品從塞尚(Cézanne)、畢 卡索(Picasso)過渡到克利(Paul Klee)的 風格,一路努力研究荷蘭、法國和義大利的 古典繪畫,古老建築與教堂壁畫,在在令他 視野大開。尤其是1951年在瑞士伯恩參觀了 克利的個展,深深感受到克利長期浸淫東方 文化,又精於發揮日耳曼民族特色,兩種互 為矛盾的文化在創作中得以巧妙結合。而且 克利的畫幅儘管不大,但因善於營造空間, 小小的畫面卻顯得遼闊無比。在他多重空間 的小小符號中,誕生了一個世界,讓趙無極 驚奇不已。經由克利的啟發,趙無極找到一 條藝術融合的途徑,在歐洲重新發現中國。 他從大自然著手造型解碼,草木樹石,風土 水火,留心大自然裡所留下的痕跡線索。中 國古文造字,不正是一種從具象轉譯過來的 符號嗎?克利指引了他一條路徑,但不能沿 用或模仿,淪為了二流的克利。於是,靜 物、花、動物從趙無極的畫布間消失了, 1954年之後他脫離了具象,畫面上只剩下符 號,謎一般的符號轉化為形體,形體自成一 個空間。趙無極的繪畫是他的日記,私密的 情感往往也顯現在畫布間,他的畫裡逐漸預 見了兩年多後與妻子蘭蘭決裂的危機,他內 在焦躁、不耐,在探索的過程,一再地重 畫、毀畫,心裡的印記開始浮現,他的繪畫 開始活了起來,頑強的意志就要克服創作的 瓶頸。 1955年作品《小橋流水》即是創作於破繭而 出的階段,漩渦般的思緒撼動著畫家,感傷 的趙無極思念起家鄉的一切—中國的詩詞, 父親的花園,亭台樓閣,小橋流水。當他構 思《小橋流水》作品時,內心湧現的是符號 意象,還是元曲作家馬致遠的《 天淨沙— 秋思》——「枯藤老樹昏鴉,小橋流水人 家, 古道西風瘦馬。夕陽西下,斷腸人在 天涯。」畫面以藍色為主調,連綿的線條如 緩緩流過的河流,更深的色彩堆疊成視覺的 焦點,它是銜接的橋樑,串起畫家與文化母 國、年少歲月的記憶,背景空間有淡淡的歷 史斑駁感,帶有黃昏時分的迷人情調。


趙無極《黑壓壓的人群》 1955,油彩 畫布,116 x 89 cm 匹茲堡卡內基學院收藏 ZAO Wou-ki, Foule noire 1955, oil on canvas, 116 x 89 cm Museum of Art, Carnegie Institute, Pittsburgh

可以說1955年是趙無極從非具象進入抽象 畫的重要轉捩點,巨大的繪畫能量、創意 與藝術性備受學術肯定,幾家世界級美術館 都有典藏此年份的趙無極畫作:例如英國泰 德畫廊的《暴風雨前夕》、巴黎國立現代美 術館龐畢度中心的《火災》、紐約古根漢美 術館的《強風》、匹茲堡卡內基學院的《黑 壓壓的人群》、明尼阿波里斯沃克藝術中心 的《分裂的山》、里約熱內盧現代美術館的 《陽光照樓台》,還有原為哈佛大學佛格美 術館館藏但於2009年5月釋出於市場的《我 們倆》,甚至2008年秋季在經濟受挫時,拍 賣市場仍拍出天價的《向杜甫致敬》作品都 是創作於1955年的作品,畫家一年的創作量 不過十餘幅,足見想在藝術市場能尋得此一 年份作品自然益加彌足珍貴。

“Small Bridge over the Stream” is a typical non-figurative painting by Zao Wou-ki from 1955, with his signature and Chinese title handwritten on the back of the painting. The term “small bridge over the stream” reminds one of the scene that is particular to Jiangnan, China. Though born in Beijing, Zao Wouki grew up in Shanghai and spent six years

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of his youth in Hangzhou, studying painting at Hangzhou National College of Art by the West Lake. A small bridge over the stream is a symbol of Jiangnan culture and scholarly taste; but in the heart of the artist, it also carries a beautiful old memory from his youthful days and his cultural motherland. Zao’s early works showed the influence of Cézanne, Picasso, and Paul Klee. The study of the classical paintings, ancient buildings, and church wall paintings in Holland, France, and Italy greatly expanded his horizon. His visit to the solo exhibition by Klee in Bern, Switzerland, in 1951, impressed Zao deeply with the skillful combination of the two conflicting cultures: Oriental culture and the Germanic culture. Klee’s painting scale is not big, but Klee is great at creating space, enriching the limited size of the canvas with spacious and majestic content. Out of the small signs in his multiple layers of space, a world comes into being, which is a marvel for Zao Wou-ki. Inspired by Klee, Zao has found a way of artistic integration, re-discovering China in Europe. Zao encodes the natural elements of grass, trees, rocks, and water, paying close attention to the traces of nature. And ancient Chinese characters are signs that have evolved from representational images. Klee showed Zao

a direction; but instead of merely imitating Klee and therefore being reduced to a secondclass follower of Klee, Wou-ki removed all static objects, flowers, and animals from his canvas. From 1954 on, he completely got rid of representational images and only signs or symbols are left in his painting. The riddlelike signs are transformed into different forms, which constitute a space. For Zao Wou-ki, paintings are his diary, disclosing personal and private emotions. His paintings gradually foresaw the crisis of a breakdown with his wife Lan-Lan two years later. With anxiety, worry, and impatience, he continued to explore, painting, re-painting, and destroying his paintings, until the imprint in his heart emerged, his paintings began to revive, and his strong will overcame the bottleneck in his creation. And this painting of “Small Bridge over the Stream” in 1955 was created at this stage. A swirl of thoughts shook the artist, and with sentimentality, Zao Wou-ki thought of everything back in his hometown— Chinese poetry, his father’s garden, the pavilions and corridors, and the small bridge over the stream. When composing the work of “Small Bridge over the Stream”, what emerged in his mind were iconic images and the poem “Meditations in Autumn” by Ma Zhiyuan (c.1260-1335), the famous verse writer in the Yuan Dynasty: “Withered vine, old tree, crows at dusk, tiny bridge, flowing brook, and cottages, ancient road, bleak wind, bony steed. The sun sinking west, A heart-torn traveler at the end of the world.” The painting is dominated by the color blue; lasting lines are the flowing stream, and the darker colors form the focus of the eye. Like a bridge, the painting connects the painter with the cultural motherland and good old memories. The dim trace of history in the background conveys the charm of the dusk.

趙無極《火災》 1954-1955,油彩 畫布,130 x 195 cm 巴黎國立現代美術館龐畢度中心收藏 ZAO Wou-ki, L’incendie 1954-1955, oil on canvas, 130 x 195 cm Centre Georges Pompidou, Musée national d’art moderne, Paris

It may well be said that the year 1955 was an important transition point for Zao’s paintings from nonfigurative art to abstract art, with

tremendous painting energy, innovative ideas and artistic talent that has won universal academic recognition. Several world-class art museums have collected paintings by Zao Wou-ki dating to the year 1955, including “Avant l’orage” (Before the Storm) in the Tate Gallery in London, “L’incendie” in Centre Georges Pompidou, “Mistral” in The Solomon R. Guggenheim Museum, “Foule noire” in the Carnegie Institute, “Montagne dechirée” in the Minneapolis The Walker Art Center, “Pavillon ensoleillé” in the Museum of Modern Art, Rio de Janeiro, and “Nous Deux”, which was originally collected by Harvard University, Fogg Art Museum but later released to the market in May 2009, and “Hommage à Tou Fu”, which was sold at a sky-high price even with the economic setback in the autumn of 2008, all these are paintings of the year 1955. An artist can create no more than a dozen paintings every year; therefore, it is unimaginably rare and precious if one can own a painting dating to the year 1955.

趙無極《暴風雨前夕》 1955,油彩 畫布,92 x 73 cm 英國泰德畫廊收藏 ZAO Wou-ki, Avant l’orage 1955, oil on canvas, 92 x 73 cm The Tate Gallery, London


040

CHU Teh-chun

(Chinese-French, b. 1920)

Composition No. 166 1964 Oil on canvas 90 x 146 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 64 PROVENANCE: Acquired from the artist by the previous owner, end of 1960s

NT$ 8,500,000-10,000,000 US$ 259,900-305,800 HK$ 2,000,000-2,353,000

朱德群 構圖 No. 166 1964 油彩 畫布 90 x 146 cm 簽名右下:朱德群 CHU TEH-CHUN 64 來源: 原收藏者1960年代末直接得自藝術家

1955年離開台灣前往巴黎發展的朱德群, 初期仍以具象風格創作,創作過幾幅人物 肖像,寫實技法細膩,參加春季沙龍展獲 得獎項。不久,具象畫愈畫愈少,全部心 思精神轉而投入抽象畫研究,狂熱的創作 讓藝術評論家激賞,1958年開始在巴黎 的畫廊發表抽象畫,同時有多家畫廊產生 興趣,後來他與專門展出抽象藝術的勒讓 特畫廊(G a l e r i e L e g e n d r e)簽下六年的 合同,生活有了保障,得以專心繪畫。 而勒讓特畫廊的藝術主任巴聶(M a u r i c e Panier)眼光精準,1944年曾為過康丁斯基 (Kandisky)在法國舉辦個展,鼓舞他的晚 年時光。他讚美朱德群是善於運用顏色的 畫家,油畫構圖嚴謹。 1960年時朱德群在巴黎已經確立了地 位,代表遠東藝術家參加巴黎夏邦提耶畫 廊(G a l e r i e C h a r p e n t i e r)的國際性畫展 「巴黎畫派」(Ecole de Paris),才華深 受肯定。1950年後期畫作,結合書法線 條,紅、綠、藍、黑,構成的色塊,結 實有力,可以看出抽象畫家史塔耶爾(d e S t a ë l)的深刻影響。1960年代,朱德群的 油畫以寬橫幅構圖居多,描繪多以單一色 為背景,畫面上有雲山煙樹之感,詩情畫 意與中國山水畫可謂一脈相承。多位藝評 家指出朱德群的畫是詩與畫的結合,詩人 作家兼藝術評論家夏布朗(J e a n-F r a n ç o i s Chabrun)在1960年的《快訊週刊》中就曾 以「二十世紀的宋朝畫家」形容朱德群。 曾任1985年巴黎雙年展主席的喬治.布達 伊(Georges Boudaille),在1963年3月號 法國的《西馬斯》(Cimaise)雜誌專欄中 曾如此介紹朱德群的藝術︰「朱德群的繪 畫承接巴黎畫派優秀抽象畫派藝術家之經

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驗,其形式純粹是西方的,但是他的繪畫 卻轉向自身的本源。…純屬於他自己的是 其構圖中特有的東方含蓄之氣氛,一種細 膩的詩情畫意油然而生,迴繞在畫面的景 象,及其暗喻的激情,歷久不散,分佈在 深切的和諧中。…職業畫家的朱德群在巴 黎畫派中,由於他豐富的繪畫經驗及完全 掌握的技巧,而形成一個特殊的例子,並 能挺立在當前藝術潮流中。」 1964年創作的《構圖No. 166》是朱德群第 166號抽象畫作品,抽象藝術家通常不為作 品命題,避免給觀者先入為主的影響,因 此常採取編號或創作日期代替畫題。195859年起,朱德群除了取法文畫題之外,也 為油畫作品編號,後來連題目都省去,直 接以編號取代。不過大約到了1970年前 後,因編號排序太多,自己也不易記得, 他開始為畫作再取一個極富詩意的題目, 畢竟詩詞文字也是抽象的,他認為應該不 會妨礙觀者的自由解讀,反而更能親近畫 家所欲營造的空間。 《構圖No. 166》作品採取海景型的構圖, 淡色暈染的背景帶有中國山水畫的意象, 筆刷橫掃過畫面,切割出上下的空間。重 色堆砌處,有山巒連綿之形勢,細筆飛動 間,如輕風搖曳之韻律,整幅畫面呈現水 天共一色的迷人風景圖式。此外,彩度較 高的紅、藍、綠等色塊,為單色圖畫增添 顏色,使得畫面結構更有層次感。1962年 之後,因為代理畫廊風格轉向,朱德群進 入幾年的沈潛,為畫家在巴黎生活最刻骨 銘心的時期,儘管收入不豐,生活困頓, 但卻是畫家內心最清明、藝術最純粹的階 段,1960年代的作品量稀有,但多屬難得 的精品。


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and quite exceptional case amid the trends of present painting…”

When Chu Teh-chun left Taiwan for Paris to develop his career in 1955, his early style was still figurative having drawn several portraits with delicate realistic and factual painting skills. Chu attended the Salon des artistes français (the Salon for French artists) and was awarded a prize. Soon after, he drew less and less representational paintings becoming absorbed in abstract. His enthusiastic compositions were recognized by artistic commentators. He started to exhibit his abstract paintings in galleries in Paris in 1958, many of them showing interest in his works. Later Chu signed a six-year contract with Galerie Legendre which focused on abstract paintings. Thus, he managed to make ends meet and was able to concentrate on painting. The keen eyed Maurice Panier, artistic director of Galerie Legendre, who arranged a solo exhibition for Kandisky in France, give Chu generous encouragement. He recognized Chu Teh-chun as “un coloriste” (a colorist) of thoughtful composition for oil paintings. By 1960, Chu Teh-chun had established his reputation in Paris. As a representative of the Far East artists, he entered the international art exhibition of “Ecole de Paris” held by Galerie Charpentier, and his talent was fully recognized in that exhibition. His paintings late in 1950 were full of strength and were painted with calligraphic lines and color patches of red, green, blue and black. The paintings reflect the profound impact on Chu of the abstract painter de Staël. In the 1960s, Chu Teh-chun’s oil paintings were mostly landscapes of singlecolor background with clouds surrounding mountains and mist around trees. This poetic and artistic scenery conception derives from Chinese mountain-water paintings. Several art critics pointed out that Chu Teh-chun’s paintings were the combination of poetry and scenery. Jean-François Chabrun, the poet, writer and art critic, praised Chu Teh-chun as a “ Peintre Song du XXe siècle (20th Century Song Painter)” in “L’Express” in 1960.

The painting “Composition No.166” painted in 1964 was Chu Teh-chun’s 166 th abstract painting. Abstract artists usually leave their works without a title to avoid preconceived understandings of their art. They give their compositions numbers or dates of creation. From 1958-59, Chu Teh-chun gave his oil paintings numbers and French names. Then later, he simply omitted titles and replaced them entirely with numbers. Around 1970 he found himself puzzled by so many numbers, so he started to use poetic titles since, after all, poetic verses were also abstract. He believed poetic names wouldn’t obstruct viewers’ freedom of understanding. On the contrary, a good title may help viewers to get closer to the atmosphere which he as a painter had tried to create.

朱德群《源》1965 油彩 畫布 CHU Teh-chun, La source 1965, oil on canvas, 120 x 60 cm

Georges Boudaille, former chairman of the Paris Biannual Exhibition, presented Chu Teh-chun’s art in a column in Vol.3 (March) of “Cimaise” in 1963: “…The form is determinedly Western, directly inherited from the experience of the best abstract painters of the Ecole de Paris. But he diverts it from its original purpose. …What properly belongs to him is the discreetly oriental atmosphere pervading his compositions. A subtle, but penetrating scent of poetry develops from the deep harmony between the sight offered and the emotion suggested… Chu Teh-chun remains a professional painter even within the ‘Ecole de Paris’; his craftsmanship and his mastery of the technique have made of him an extraordinary

The painting “Composition No. 166” adopts the composition of an ocean view. The light-colorfilled and smudged background has the feature and style of Chinese mountain-water paintings. The sweep of the brush horizontally separates the canvas into upper and lower spaces. The overlapped colors form endless mountains; the thin lines constitute rhythms as if a gentle breeze. The painting shows a fascinating landscape of water blending with sky where color patches of red, blue and green add charm to the single dominant color, enriching the hierarchies of the structure of the picture. A change in style of the gallery agency in 1962 brought about a low point for Chu Teh-chun for some years. This is a forgettable period for Chu in Paris. A difficult life and low income, however, never influenced his work as a purehearted and clear-minded painter. His paintings in the 1960s were less in quantity, but greatly superior in quality.


041

CHU Teh-chun

(Chinese-French, b. 1920)

Evocation hivernale C (Reminiscence of Winter) 1988 Oil on canvas 195 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 88.

Titled on the reverse "Evocation hivernale C", signed CHU TEH-CHUN in English and Chinese, dated 1988 EXHIBITED: Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum, June 23-July 10, 2007 ILLUSTRATED: Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 214

NT$ 30,000,000-40,000,000 US$ 917,400-1,223,200 HK$ 7,059,000-9,412,000

朱德群 雪景—冬之回憶 1988 油彩 畫布 195 x 130 cm 簽名右下:朱德群 CHU TEH-CHUN 88. 簽名畫背:"Evocation hivernale C" CHU TEH-CHUN 朱德群 1988 展覽: 《大象無形—朱德群作品展》,上野之森美 術館,東京,展期自2007年6月23日至7月10日

朱德群的「雪景系列」被形容為神來之筆, 儘管他早年曾有白色調的抽象圖畫,但從未 如1985-1989年間完成的「雪景系列」作品 教人驚嘆,更成就出個人生涯的重要里程 碑。那段機遇緣起於一份對自然美景的悸 動,充滿詩情與回憶的結合。 1985年一次飛往日內瓦的班機上,途經阿 爾卑斯山,朱德群突然被窗外景色吸引,白 雪皚皚覆蓋的高峰大地,山巔雲霧瀰漫,美 不勝收。尤其是白色變化無窮—雲霧之白、 霜雪之白,層次分明,充滿變化,中國唐詩 的意象突然湧現心中。回程乘火車時再遇阿 爾卑斯山暴風雪的壯觀景象,又是另一番驚 喜,這趟發現之旅啟發他創作出雋永的冬日 雪景系列。 法國知名藝評家皮耶.卡班(P i e r r e C a b a n n e)曾寫過︰「真實的繪畫來自回 憶」。朱德群以自身回憶譜寫出一幅抒情的 圖畫,而這些繪畫具有中國傳統山水的精 神,可以將人帶入一個新的世界。觀者藉由 他的筆法、用色和結構,也展開一趟精神 遨遊。皮耶.卡班和朱德群相識多年,這 位1967年撰寫《杜象訪談錄》的作者,道 出自然山水對朱德群藝術的啟發:「朱德群 的繪畫也是一種旅行,更好的說法,那是穿 越想像國度,反映在作品裡的遠遊,從中國 出發,然後征服全世界。儘管他不是描繪某 些真實場景,而是各種現象對於他的啟示, 比如說尼加拉瓜瀑布;或乘著飛機越過大 海,高山;暴風雪裡疾掠過阿爾卑斯山;或 是巴黎萬桑森林的冬日,凡此種種感受啟發 了《寒》及雙聯作《剛與柔》裡冷寒的藍、 粉狀的灰與白。他無須以現實證明自身對 自然的熱愛,之於他,一切都如花朵綻放 般,循序漸進地開展了。他的國度名稱即是 繪畫,正如石濤所寫『闢混沌者,舍一畫 而誰耶』?」( 皮耶.卡班,〈朱德群的畫:抒發 心性,讚美自然〉,《朱德群畫展目錄》(上海博物館,

圖錄: 《大象無形—朱德群作品展》,上野之森 美術館,東京;台灣馨昌股份有限公司, 台北,2007,彩色圖版,頁214

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2000),頁17)

楚戈(Chu Ko)曾說「朱德群是用油畫畫 出中國水墨畫精神的大師」,已故前故宮

博物院副院長李霖燦也說「朱德群和趙無 極都用油彩畫水墨畫」。他們的東方文化 特色,在西方藝壇獨樹一幟。兩人中西兼 修,雅好詩詞文藝,其出身背景有極大助 力。他們都畢業於杭州藝專,受到校長林 風眠的影響,多方吸收新知,既有優異的 西方素描寫實功力,又擅長書法水墨畫。 尤其中國詩詞對朱德群的繪畫有深刻的影 響,文化的修養潛移默化,自然而然也融 入創作中。朱德群曾說:「東西融合不是 東西拼湊,而是思想的融合。我是在中國 受的教育,所以我的油畫是具有中國詩意 的抽象畫。我比較傾向於唐宋時代的藝術 意境。」 此幅《雪景—冬之回憶》作品創作於1988 年,描繪大地一片滄茫、雪花飛濺的景 象。構圖令人聯想到中國畫的「立軸」 形制,「立軸」能傳達高遠、深遠的山 水境界。在朱德群的「雪景系列」作品 裡,《雪景—冬之回憶》的直幅構圖非常 稀有,它表現了皚皚山巒的蒼闊與雄渾之 美。當畫家在創作此畫時,應是不自覺地 融入了中國美術的傳承。探究其原因,應 與1986年朱德群返台參加藝術座談會,見 到心儀已久的宋畫真蹟有關。來台其間, 他特別請託學生輩宋龍飛安排,在當時台 北故宮博物院院長秦孝儀的特准下,由李 霖燦陪同在觀畫室飽覽了范寬的《谿山行 旅圖》、郭熙的《早春圖》、李唐的《萬 壑松風圖》三幅鎮院之寶、曠世巨作。 有緣親眼目睹三幅宋代名畫,瞭悟筆墨之 微妙處,足見對朱德群的後期創作深具意 義。李霖燦在朱德群返回巴黎前夕,特別 還把收藏多年的《谿山行旅圖》複製品贈 與同窗友,成就一段佳話。從《雪景—冬 之回憶》一畫來看,巨幅結構一氣呵成, 奔放自由的筆刷,儘管以冷色調為主,但 情感真切而熱烈,整幅作品宛如一曲譜寫 冬季的華麗交響樂章。「雪景系列」寄託 了藝術家歷盡滄桑後體認中華文化的根源 的追求,年近古稀仍努力創作,藝術再創 巔峰成就。


memory.” The lyric paintings of Chu Tehchun are also pictures from his memory. His paintings reflect the spirit of traditional Chinese mountain–water paintings. They guide us to a brand-new world. From his brushwork, use of color and structure, viewers can enjoy a spiritual journey. Pierre Cabanne and Chu Teh-chun knew each other for many years. This author of the 1967 “Entretiens avec Marcel Duchamp” (Interviews with Marcel Duchamp) pointed out the inspiration of natural mountains and waters to Chu Teh-chun’s paintings: “Chu Tehchun’s painting is also a journey,a great hike through an imaginary country so his work is reflection. With a starting point in China he has conquered the entire world, yet he doesn’t paint places, but phenomena which are suggested to him. Niagara falls, for example, or what he feels when he sees the 朱德群《冬之呈現(二)》 horizon at sea, mountains, a view 羅芙奧2007春季拍賣會,編號070 ,5380萬台幣成交 of the alps in a snowstorm from CHU Teh-chun, Présence hivernale II a flight, or winter in the Bois de 1987, oil on canvas, 130 x 195cm Vincennes, which inspires the cold Ravenel Spring Auction 2007, lot 070 US$ 1,629,069 sold blues, grays and white powdery presence of winter, or the duality of frozen fluid. But he did not need reality to test his desire for nature, and all is resolved In 1985 on his way to Geneva by air, Chu in his inner self in a progressive development Teh-chun was suddenly attracted by the like a succession of revelations; his realm is fantastic Alpine scenery outside the window, called painting, ‘The brush is used to remove mountain peaks and lands covered in white chaos.’” according to a quotation from Shitao snow and surrounded by fog, and the (Pierre Cabanne, “Chu Teh-chun: A Painter of Effusion and changeable and clearly structured white colors Celebration” Chu Teh-chun Exhibition Catalogue, Shanghai of cloud and fog, of snow and frost. All of a Museum, 2000, p. 17) sudden an image from Chinese poems in the Tang Dynasty appeared in his mind. On his return journey by train, he was once again [Original Text in French] surprisingly inebriated by the totally different (Le peinture de Chu Teh-chun est aussi un magnificent snowstorms of the Alps. These voyage, mieux une randonée à travers le pays journeys of discovery inspired him to create imaginaire dont son oeuvre est le reflet. Partie the beautiful and meaningful Snow "Scenes de Chine elle a conquis la planète entière; Series". pourtant il ne peint pas de lieux, mais ce que les phénomènes lui suggèrent, les chutes du Pierre Cabanne, the famous French art critic Niagara par exemple, ou qu’il ressent devant once wrote: “A real painting results from l’horizon marin, des montagnes, le survol des The “Snow Scenes Series” of Chu Teh-chun were regarded as a stroke of genius. His early white-tone abstract paintings were never as astonishing and marvelous as the “Snow Scenes Series” composed from 1985 to 1989. The series was a milestone in Chu Teh-chun’s career. That opportunity started from a throb on the natural beauty and resulted in poetic and memorial achievement.

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Alpes en avion dans une tempête de neige, ou l’hiver sur le bois de Vincennes qui lui inspire les bleus froids, les gris et les blancs poudreux de Présence hivernale, ou le diptyque de Fluides cristaux. Mais il n’a pas besoin de la réalité pour éprouver son désir de nature, tout se résout chez lui en un épanouissement progressif come une succession d’éclosions; son pays se nomme peinture. «Le pinceau sert à faire sortir les formes du chaos» écrivait Shitao.) (Pierre Cabanne, “Chu Teh-chun: Une peintiure d’effusion et de celebration”, Chu Teh-chun exhibition catalogue, Shanghai Museum, 2000, p. 17)

Chu Ko once said that “Chu is a master who has used oil painting to express the spirit of Chinese ink-wash painting”. Li Lin-tsan, former associate director of the Taipei’s Palace Museum also said: “Chu Teh-chun and Zao Wou-ki both use oil paint to create ink-wash paintings.” Their Eastern cultural features are unique in Western artistic circles. Both artists studied Chinese and Western art and both are keen on poetry and art. Their early backgrounds were of great help to their paintings. They both graduated from Hangzhou National College of Art, and both were influenced by the great master Lin Fengmian. They absorbed an extensive array of new knowledge not only Western realistic and factual sketching skills, but also calligraphy and ink-wash painting. Chu Tehchun’s paintings were especially influenced by Chinese poetry. A literary refinement was gradually and naturally infused into his paintings. Chu Teh-chun said: “The combination of Oriental and Western culture should not be a simple mixture, but the integration of minds and ideas. I received my education in China, so my oil paintings are abstract paintings with a Chinese poetic spirit. I’m inclined to the artistic atmosphere of the Tang and Song Dynasty.” This painting “Evocation hivernale C” (Reminiscence of Winter) painted in 1988 depicts a vast and misty land with snow blustering about. The painting reminds

viewers of a “vertical scroll” in Chinese painting. A “vertical scroll” conveys a farreaching feeling of mountains and water. In Chu Teh-chun’s “Snow Scenes Series”, the portrait orientation of “Evocation hivernale C” was rarely seen. It shows the magnificence and grandness of mountains. When he was composing this picture, he certainly added Chinese artistic elements unconsciously. This was perhaps related to the fact that he had returned to Taiwan for an artistic seminar in 1986, and saw the original Song-Dynasty paintings which he had longed for. While in Taiwan, he asked his student Song Longfei to make an arrangement for him to see the paintings with the special approval of Chin Hsiao-yi, the Director of the National Palace Museum, Taipei. Accompanied by Li Lin-tsan, Chu feasted on the view of “Travelers Among Mountains and Stream” by Fan Kuan, “Early Spring” by Kuo Hsi and “Wind in Pines Among a Myriad of Valleys” by Li Tang. The three paintings are treasures of the museum and masterpieces of their times. This opportunity to view three great original paintings from the Song Dynasty gave Chu Teh-chun the opportunity to understand the subtle skills of ink and brush drawing. This experience was significant for Chu’s later paintings. Before he returned to Paris, Li Lintsan gave his collection of duplicate “Travelers Among Mountains and Streams” collection to Chu, which is a much told story. The painting “Evocation hivernale C” is a wonderful symphony of a winter season, with a large structure without any letup, with free and powerful brushwork, with cool color tone, sincere and passionate feelings. The “Snow Scenes Series” reflects the artist’s steadfast pursuit of the roots of Chinese culture after his setbacks and hard times. Chu Teh-chun endeavored to improve his art creation in his seventies and reached a new artistic peak.


042

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

Advent of the Phoenix II 1970 Stainless steel, edition no. 9/10 74(L) x 58(W) x 94(H) cm Engraved Ying-feng in Chinese, dated '70, Osaka and numbered 9/10 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 1,000,000-1,800,000 US$ 30,600-55,000 HK$ 235,000-424,000

楊英風 鳳凰來儀(二) 1970 不鏽鋼 9/10 74(長) x 58(寬) x 94(高) cm 簽名雕刻:英風 '70 大阪 9/10 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證書

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043

JU Ming

(Taiwanese, b. 1938)

Taichi Series Mid 1980s Bronze sculpture, edition no. 8/30 50(L) x 26.9(W) x 29(H) cm Engraved Ju Ming in Chinese and numbered 8/30 on the bottom This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation-Juming Museum.

NT$ 2,000,000-3,000,000 US$ 61,200-91,700 HK$ 471,000-706,000

朱銘 太極系列 1980年代中期 銅雕 8/30 50(長) x 26.9(寬) x 29(高) cm 簽名雕刻底部:朱銘 8/30 附財團法人朱銘文教基金會─朱銘美術館 開立作品鑑定報告書

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044

YANG San-lang (Taiwanese, 1907-1995)

Sunny Mount Jade Oil on canvas 60.5 x 72.5 cm Signed lower left S. Yang in English

NT$ 1,800,000-2,200,000 US$ 55,000-67,300 HK$ 424,000-518,000

楊三郎 玉山暖日 60.5 x 72.5 cm 油彩 畫布 簽名左下:S. Yang

楊三郎一生奉行印象派,注重戶外寫生、講 究日光、時序下的光影變化,在台灣前輩藝 術家中聲望地位崇高,對於藝術的推動更是 不其餘力,創立「台陽美術協會」,獲頒當 年象徵藝術最高榮耀的「國家文化勳章」。 在所熟知的華人世界大師當中其捕捉大自然 瞬間感動的生命力、空間上的層次運用,及 透過作品深刻表現藝術家豐富的內在心靈, 是其他藝術家所不及的。 壯年開始,楊三郎的作品題材以自然界為 主,特別是「山」與「樹」交會出的山林原 野,為畫家所鑽研探尋的「藝術境界」。而 此件以《玉山暖日》為題的作品象徵藝術家 對於「藝術原鄉」的追尋與探求。透過楊三 郎的畫筆繪出如玉山暖日般時序有致、明暗

交織,在稜界起伏間譜出簡潔率性、細緻嚴 謹的山巒和諧奏鳴。

Throughout his life, Yang San-lang has been devoted to impressionism. He focuses on outdoor sketching and the variation of light and shadow in sunshine and at different times of the day. Highly renowned among “senior artists” in Taiwan, Yang San-lang spares no efforts to promote the development of art. He established the Tai-Yang Fine Arts Association, and was granted the National Order of Culture, the supreme glory in the Taiwan art world. Among all the well-known Chinese world masters, Yang San-lang is unparalleled for his acuity in grasping the transient, touching, and dynamic moments of nature, his deployment of spatial hierarchy, and ability in expressing rich and profound emotions in his artistic work. From his mid life, Yang San-lang’s works have focused on nature, especially landscapes of forest and mountain, which have become his artistic realm. “Sunny Mount Jade” represents the artist’s pursuit and exploration of the “origin of art”. Each brush stroke depicts the time sequence and the interweaving light and shade of sunshine in Jade Mountain, playing the simple, straightforward, rigorous and sophisticated rhythm of harmony in the waving curves of the mountain.

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045

ZHANG Hongtu (Chinese, b. 1943)

Ni Zan - Monet No. 5 2005 Oil on canvas 151.5 x 86 cm Singed lower left Hongtu in Chinese and dated 2005.9 in Chinese With several hand painted seals of the artist

NT$ 1,600,000-2,400,000 US$ 48,900-73,400 HK$ 376,000-565,000

張宏圖 倪瓚—莫內 No. 5 2005 油彩 畫布 151.5 x 86 cm 簽名左下:宏圖 O五年九月 手繪鈐印:張;宏圖;也姓鄭;我行我素; 東張西望;偏要風馬牛;不在此山中及宏圖 再製

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046

Walasse TING

(Chinese-American, b. 1929)

Red Horse c. 1988 Acrylic on canvas 152.5 x 183 cm Signed on the reverse Ting and titled, inscribed III A. Hadali for Magaret Francis PROVENANCE: Estate of Sam Francis

NT$ 1,600,000-2,600,000 US$ 48,900-79,500 HK$ 376,000-612,000

丁雄泉 紅馬

此作品正來自於法蘭西斯家族的收藏,畫 背有題獻給山姆.法蘭西斯妻子馬格麗特 的文字。飽滿明亮的紅色小馬快樂的飛馳 於繽紛的花叢和湛藍的天空間,整件作品 歡欣鼓動,跳躍的筆觸和鮮明的配色讓整 張作品充滿動感與奔放能量。丁雄泉曾說 過,「我的畫像蜜糖一樣色彩都是透明 的」。

The most outstanding characteristic of Ting’s art is his depiction of beautiful animals, flowers, and belles in nature using bright, lively, and vivid colors. His enchanting and magic world is a feast for the senses and invites the audience to share his passion and enthusiasm for nature.

丁雄泉最大的個人特色,即以光輝明亮、 活潑新鮮的色彩描述大自然中的美麗動 物、花及女人。他誘人的、魔幻的世界是 感官享受之一,吸引觀眾分享他對自然界 的熱情。

In Paris, Walasse Ting befriended Pierre Alechinsky and Karel Appel of the CoBrA art group, and his painting style was deeply influenced by them. Soon he found that New York had replaced Paris as the gathering place for important painters. So he packed up and, at the peak moment of abstract expressionism in 1959, returned to New York, where he soon befriended Sam Francis, Tom Wesselmann, and Claes Oldenburg. They met frequently and held exhibitions together. Walasse Ting and Sam Francis became life-long friends.

丁雄泉在巴黎與眼鏡蛇畫派的阿勒辛 斯基(P i e r r e A l e c h i n s k y)、阿貝爾 (K a r e l A p p e l)結為莫逆之後,畫風也 深受他們的影響。沒多久他發現,紐約 已取代巴黎成為重量級畫家的集中地, 於是再度收拾行囊,於1958年在抽象表 現主義最高峰時抵達紐約,很快地又與 法蘭西斯(S a m F r a n c i s)、維塞爾曼 (Tom Wesselmann)、歐登伯格(Claes Oldenburg)等結交,互動頻繁並曾一同作 展,更自此與法蘭西斯成為終生好友。

“Red Horse” belonged to Sam Francis’s estate. Ting inscribed "for Magaret Francis" on the reverse of the painting. Magaret Francis is the widow of Sam Francis. The healthy and bright red horse gallops joyously among the colorful flowers and the emerald sky. The whole painting is filled with life and energy, and the jumpy brush and the fresh colors make the work dynamic and vigorous. Ting once said “my paintings are like sugar, where colors are all transparent”.

約1988 壓克力 畫布 152.5 x 183 cm 簽名畫背:III A. Hadali Ting for Magaret Francis 來源:美國抽象畫家山姆.法蘭西斯家族舊藏

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047

George CHANN

(Chinese-American, 1913-1995)

Color Splash Oil on canvas, collage 132 x 134 cm Signed lower left GEO. CHANN in English

NT$ 1,200,000-2,200,000 US$ 36,700-67,300 HK$ 282,000-518,000

陳蔭羆 魅力四射 油彩 畫布 拼貼 132 x 134 cm 簽名左下:GEO. CHANN

華人中較早期的抽象畫家大多成熟於海 外,而定居於美國的陳蔭羆即為其中之 一,其抽象藝術生涯則在穩固的寫實風格 後開展,抽象藝術在當時,也就是50年代 左右,無論在歐洲或是美國,皆已有相當 的歷史及其追隨者,陳蔭羆在1947到1950 年在中國的生活經驗,則讓他的抽象步伐 走的更具獨特面貌,也將屬於中國文明元 素,如甲骨文、書法、碑帖等,用非拘泥 的方式探討及演繹。 此幅《魅力四射》,其標題似乎即在暗示我 們,在一片亮黃色中透出的筆觸,是符號與 否,都是某種意義的載體,誠如塞.湯布利 透過畫筆激動地述說神話故事,陳蔭羆用熱 烈的情緒勾勒出腦海中感受到的視覺韻律, 其想望的城市過往、調性或是一座舊城所承 襲的人類文明,此種陳述性質令此抽象畫作 散發出關懷的意旨,也道出藝術家對所從事 的事物之初衷及其本身溫暖性格。

Most of the early Chinese abstract painters have their skills developed over sea, George Chann who had settled in the United States is one of them, his abstract painting style were

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established after his realistic practices. During that time, the 50s, abstract art already had their history and developments in both United States and Europe; however, Chann’s living experiences in China during 1947 to 1950 has added extra unique characters to his abstract paintings. In his paintings, he also discussed and presented Chinese cultural elements such as inscriptions on bones or tortoise shells, calligraphy and the book of stone rubbings by taking an undefined route. “Color Splash” as the title of this piece implies, those bright yellow brush strokes, no matter they are symbols or not, carry a meaning, a message. Just like Cy Twombly tells those great mythology stroke by stroke on the canvas, Chann painted those visual rhythms in his heart with passion, such as the longing for the city of the old days, or an ancient one which passed on human civilizations. This kind of narrative property has made his abstract paintings having a will of carrying, they also tell the original intention of the things which the artist wanted to do, as well as the mildness within his characteristics.


048

CHEN Te-wang (Taiwanese, 1910-1984)

Still Life with Roses 1983-1984 Oil on canvas 45 x 52 cm ILLUSTRATED: Wang Wei Guang, Taiwan Fine Arts Series No. 15: Chen Te-wang, Artist Publishing Co. Ltd., Taipei, October, 1995, color illustrated, no. 59, p. 111; black-and-white illustrated, p. 262 The Collection of Taiwanese Fine Arts 2000 Taiwanese Arts Part II, The Association of Collectors in South Taiwan, 2000, p. 136

NT$ 2,000,000-3,000,000 US$ 61,200-91,700 HK$ 471,000-706,000

陳德旺 玫瑰花與靜物 1983-1984 油彩 畫布 45 x 52 cm 圖錄: 王偉光,《台灣美術全集 15:陳德旺》, 藝術家出版社,台北,1995,彩色圖版, 編號59,頁111;黑白圖版,頁262 《台灣美術典藏2000台灣藝術 第二部》, 南台美術收藏聯誼會,2000,頁136

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陳德旺先去天津念書,再轉去東京習畫。在 日本12年,他只游走於各大畫塾之中自由地 學習,而不願進入美術學校。陳德旺獨特的 個性從年輕時就與眾不同。回台後,畫畫、 畫展、教畫就是陳德旺的生活;退休後更全 力放在繪畫上,終其一生始終如一。他生前 只要一拿起畫筆,立刻就有如墜入色彩、靈 性、思想及空間的大海中,完全的忘我。而 他對於自己作品的要求,也幾達苛刻的地 步。雖然留下的作品並不多,但這種對藝術 虔敬誠懇的態度,實為現代少有的典範。 玫瑰花與靜物是陳德旺很重要的題材之一, 他採用象徵性手法,以暗示代替描寫,透露 內心未可知的神秘訊息,其渾然的氣魄與細 膩的詩情,在深厚的古典基礎上開出璀璨的 浪漫之花。這位真誠的藝術家以純淨無瑕的 心靈,全力投入繪畫研習與製作,以苦行僧 的腳步,走出深具價值的人生。

At the beginning Chen Te-wang went to Tianjin to take courses, then he moved to Tokyo to study painting. He did not want to enter the fine art colleges but only preferred to travel

among famous painting schools to study freely. Chen Te-wang’s very unique character began to show clearly at a young age. After returning to Taiwan, painting, exhibiting, and teaching were just all his life. And this persisted unaltered through his life. Each day, as long as he picked up his paintbrush, he would immediately fall into an ocean of colors, spiritualism, thoughts and space, and forgot all completely. Also he took a nearly harsh attitude to his own works. Although he left only a few works, his devout and sincere attitude to art had built a real rare model for modern generations. Roses and still life were one of the most important subjects for Chen Te-wang. He used implication instead of description with symbolism to express unknown mysterious inward messages. Harmonious grandeur and delicate poetic feelings burst forth from dazzling romantic flowers on a deep classic foundation. The sincere artist put all of himself into his paintings with a pure heart. He made a life of enduring value with the steps of an ascetic monk.


049

LIAO Chi-chun (Taiwanese, 1902-1976)

The Landscape of Tamshui 1962 Oil on canvas 24.5 x 33.5 cm Signed lower left Chi chun in Chinese and dated 1962.3 Titled, inscribed and dated on the reverse The Landscape of Tamshui, as gift to Prof. Chen Chiung-hui from Department of Pediatrics, National Taiwan University, College of Medicine, Liao Chi-chun, March 20, 1962 PROVENANCE: East Gallery, Taipei ILLUSTRATED: Collection of Taiwanese Fine Arts 2000 Taiwanese Arts Part II, The Association of Collectors in South Taiwan, 2000, p. 36

NT$ 2,600,000-3,400,000 US$ 79,500-104,000 HK$ 612,000-800,000

廖繼春 淡水江山風景 1962 油彩 畫布 24.5 x 33.5 cm 簽名左下:繼春 1962.3 簽名畫背:淡水江山風景 贈台大小兒科 陳 炯暉教授 廖繼春呈上 民國五十一年三月 二十日 來源: 東之畫廊,台北 圖錄: 《台灣美術典藏2000台灣藝術 第二部》, 南台美術收藏聯誼會,2000,頁36

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廖繼春被稱為台灣的野獸派畫家,鮮麗的色 彩,濃郁的詩情,是他作品的魅力所在。風 景是他最擅長的題材,但他後來作畫已不以 寫生為唯一的依據,他把目睹的景物,以感 觸濾過,再予以造型化,因此他的顏色是鮮 明的,敘情的,而造形是經過抽象簡化的, 從色彩的運用與肌理,可以看出他變形以及 抽象的過程,是循著造形的思考逐次構成。 淡水風景,是廖繼春最愛的題材之一,這件 作品尺幅雖然不大,卻非常精采,從畫面上 可以看見,他快速的筆觸,幾筆就抓住了觀 音山、房屋和船隻的形貌,用的色彩都很鮮 麗,而天光水色,則是廖繼春最讓人讚賞的 淡淡的粉紅色。這些樸直的筆觸和色彩,彷 彿就是畫家本人的化身,雖已是近半個世紀 之前的作品,依然繼續讓無數喜愛藝術的人 們受到感動。

Liao Chi-chun was regarded as a fauvist in Taiwan. The charm of his works lie in the gorgeous colors and strong poetic flavor. He mastered landscape painting far better than others. Liao’s paintings in his later years were not only sketches from nature, but featured what he had seen with an emotional filtration, so the colors he used were bright and gentle. The features were abstracted and simplified. From the selection of the colors and strokes, the transformation and the process of abstraction could be conceived. Following Liao’s thoughts about the features, final figures came flowing. Landscapes of Tamshui were Liao’s favorite theme. This painting is not of large size, but quite enchanting. Merely a few rapid strokes reflect the appearance of Guanyin Mountain, the houses and the boats. The colors used are all very bright. The sky and the waters are painted light pink which received most praise for Liao. The straight strokes and clear colors seem to be the embodiment of the artist himself. Although the painting was created almost half a century ago, it still keeps touching countless people who are keen on art.


050

PANG Jiun

(Taiwanese, b. 1936)

The Best Scenery in the World 2007 Oil on canvas 182 x 259 cm Signed lower right Pang Jiun in Chinese and dated 2007 With one seal of the artist Signed on the reverse PANG Jiun in Chinese and English, dated 2007, size 182 x 259 cm, titled "The Best Scenery in the World" in Chinese and size 200P

NT$ 2,500,000-3,600,000 US$ 76,500-110,100 HK$ 588,000-847,000

龐均 甲天下 2007 油彩 畫布 182 x 259 cm 簽名右下:龐均 2007 手繪鈐印:均 簽名畫背:龐均 PANG JIUN 2007 182 x 259 cm 〈甲天下〉〈200P〉

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051

CHU Teh-chun

(Chinese-French, b. 1920)

Mirroir de l'illusion 2004 Oil on canvas 81 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 04 Titled on the reverse "MIRROIR DE L'ILLUSION" in French and signed CHU TEH-CHUN in English and Chinese, dated 2004 ILLUSTRATED: Pierre-Jean Rémy, Chu Teh-chun, Edtions de La Différence, Paris, 2006, color illustrated, p. 268

NT$ 2,600,000-3,600,000 US$ 79,500-110,100 HK$ 612,000-847,000

朱德群 鏡之幻象 2004 油彩 畫布 81 x 100 cm 簽名右下:朱德群 CHU TEH-CHUN 04 簽名畫背:"MIRROIR DE L'ILLUSION" CHU THE-CHUN 朱德群 2004 圖錄: 皮耶-尚.雷米,《朱德群》,拉迪佛羅思 出版社,巴黎,2006,彩色圖版,頁268 朱德群早期有過二十年的具象創作經驗, 從青少年時期在杭州藝專習畫開始,即感 染了當時的大時代氣息,也因此對於中國傳 統文化藝術的因子與西方藝術風潮的灌溉, 產生了相互融溶的包容性。中國傳統書畫、 歐洲古典繪畫和現代抽象藝術,都從不同方 面影響了朱德群至今的藝術道路。在朱德群 的抽象畫當中,音樂、色彩、書法、光源等 等都是不可或缺的表現元素,他熟練的將這 些元素以巧妙的方式結合,從中國詩畫的視 覺觀點,彌補西方色彩理論的生硬,演繹出 一幅又一幅滿溢中國文人情思、內涵豐富的 畫作,不只是風景或一個抽象形式,而是賦 予蓬勃生命力並具有神秘內涵的一個嶄新的 藝術領域。朱德群對抽象表現主義繪畫的貢

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獻,在於加入了優雅、舒暢、灑脫的筆致, 表現了大自然的生命流動,他將中國文化精 神貫注於個性化的繪畫語言之中,為中國繪 畫傳統增添了活力。 這幅於2004年創作的《鏡之幻象》,朱德 群用令人心服的線條從不精確中畫出性格 來,使幻想變成完美無缺,很驚奇的是在他 的畫面上沒有西方線條的透視,而從遠處看 主題,出現好幾個定點,相疊相重替換著, 配置在不同階度的平面上,靈活的把書法水 墨詩意融會起來的那份流暢寄放移植於畫布 上,賦予色光,使畫面淋漓地耀動璀璨起 來。

Back in the early days, Chu Teh-chun had about twenty years of concrete creation experiences, when he was learning in Hangzhou National Academy of Art he was affected by the atmosphere of that era, with the elements from Chinese traditional arts and the irrigation from western art trends, he lined both. Traditional Chinese paintings, classic European paintings and contemporary abstract arts all have affection on Chu’s art. Music, colors, calligraphy, and lights are essential elements in his abstract paintings, he skillfully merged all these elements, from traditional Chinese poetic point of view, atoning the stiffness from western art theories, and further creates several cultural and cultivated paintings, not just a picture of a landscape or a form of abstract, Chu pushed art to a brand new region that is lively and mystic. His contributions on abstract expressionism paintings is his using graceful, mild and degage brush strokes, which brings up the life and force of nature, he poured Chinese culture spirits in his own characteristic painting language, vitalized the Chinese painting tradition. “Mirroir de i'illusion” was created in 2004; Chu adopted convincing lines to paint characteristics from uncertainty, makes illusions perfect, we cannot see western transparency in the picture, but if we view from afar, we may discover certain still spots replacing each other, arranged on a plane of different degrees, Chu cleverly blended the feel of calligraphy onto the canvas, with lights and colors given, made the whole picture look alive.


052

Yun GEE

(Chinese-American, 1906-1963)

Portrait of Miss Ellen c. 1940 Oil on panel 60.5 x 40.5 cm Signed lower left Yun Gee in English EXHIBITED: Experience of Passage: The Paintings of Yun Gee and Li-lan, Lin & Keng Gallery, Beijing, Nov. 15-Dec. 16, 2008 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 2,500,000-3,600,000 US$ 76,500-110,100 HK$ 588,000-847,000

朱沅芷 愛倫小姐畫像 約1940 油彩 木板 60.5 x 40.5 cm 簽名左下:Yun Gee 展覽: 「行旅生涯—朱沅芷與朱禮銀之繪畫」,大 未來畫廊,北京,展期自2008年11月15日至 12月16日 附大未來畫廊開立之原作保證書

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除了街景、公園風景之外,朱沅芷經常創作 人物畫,他的人物畫有一類是描繪親友故 舊,或是自畫像,還有一類則以歷史人物如 老子、莊子、貴妃等,或是1940年前後的裸 女系列。 此次拍品《愛倫小姐畫像》,整幅畫中五 官亦以穩定的線條繪就,眼睛、鼻子和嘴 部的描繪,刻劃出一位年輕女子的神韻。人 物的形體與背景融為一體,讓人有畫面消失 了,只見到畫中的靈魂。更能被畫中豐富的 色彩深深所吸引,然後又從顏色裡發現生命 的靈魂,潛入了心靈底層,最後反而忘卻了 顏色!無論如何,朱沅芷的人物畫總是淡漠 的、飄渺的,畫中藏著孤獨的靈魂,那正是 畫家艱難生命的寫照。

As well as creating street scenes and park views, Yun Gee often composed portraits, often depicting his relatives, friends and acquaintances, sometimes self-portraits, and sometimes historical figures such as Lao Tzu, Chuang Tzu and some superior imperial concubines. Around 1940 he produced portraits of naked women. Drawn with smooth and steady lines, “The Portrait of Miss Allen” captures the charm of a young lady by carefully depicting her eyes, nose and mouth. The shape of the woman is so integrated with the setting that it gradually seems to have disappeared, leaving only the soul of the painting. Deeply attracted by the rich colors at first sight, the viewer comes to discover the soul in the figure and finally forgets all about the colors as his thoughts grope with the tender part of the heart. Usually, Yun Gee’s portraits depict a lonely soul with a light, misty touch, which is a true portrayal of the painter’s arduous life.


053

CHU Teh-chun

(Chinese-French, b. 1920)

Sans titre 1976 Oil on canvas 116 x 89 cm Signed lower right Chu Teh-chun in English and Chinese Signed on the reverse Chu Teh-chun in English and Chinese, titled Sans titre and dated 15.11.1976 This painting is to be sold with a certificate of authenticity signed by the artist's wife, Ching-Chao Chu.

NT$ 3,500,000-5,000,000 US$ 107,000-152,900 HK$ 824,000-1,176,000

朱德群 構圖 1976 油彩 畫布 116 x 89 cm 簽名右下:朱德群 CHU TEH-CHUN 簽名畫背:C H U T E H-C H U N 朱德群 15.11.1976 附藝術家之妻朱陳景昭簽名之原作保證書

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巴黎著名評論家夏布朗評價朱德群為 「二十世紀的宋代畫家」,此一稱謂頗富 意涵。朱德群本人對於宋代藝術尤感敬 意,認為宋代的范寬、李唐或者其他畫 家,其筆下的山水極富抽象意涵。宋代藝 術之偉大,在於其師法自然,卻不受自然 之約束,以達內化交融,天人合一,心境 合一之境界。深刻領悟宋代大師賦予的精 神境界,朱德群成功地將中國傳統山水的 意境,融入現代繪畫的內涵,嶄新而獨特 的風格,受到法國藝壇的肯定。 歷經1950、1960年代各種風格的探索、書 寫的表現,1970年代的朱德群繪畫天地更 為開闊,他筆下的自然已幻化為一種「心 象」,光線穿越的細微變化,使畫面充滿 濕潤的韻律,如水墨畫一般,呈現出一種 詩化的自然。 此幅《構圖》即為朱德群1970年代的作 品。作品選用藝術家最為偏愛的藍色,這 孕育最初的生命的原始海洋的顏色親切而 富有詩意,以大排筆刷出,呈現出優美的 肌理效果,豐富而細膩的畫面,傳遞出深 邃而神秘的東方情愫,又如樂曲悠揚於耳 際,若隱若現。

The famous French critic, Jean-François Chabrun, deemed Chu Teh-chun as “Peintre Song du XXe siècle, (Twentieth Century Song Dynasty Painter)”. This title suggests lots of meanings. Chu Teh-chun himself has showed special respect for Song Dynasty art. He has always thought that the landscapes painted by artists, such as Fan Kuan, Li Tang, and others, are full of abstract features. The essence of art in the Song Dynasty lay in the natural painting skills, which reached a height of unity with nature. In addition, the techniques were not limited to nature so that they got a perfect internal and external blending. Chu successfully mingles Chinese traditional landscape painting with modern painting under his profound comprehension of the masters’ spirits in the Song Dynasty. His style is noble and unique, which receives admiration from the French artistic sector.

After researching various styles and calligraphy performances in the 1950s and 1960s, Chu Teh-chun broadened his painting field in the 1970s. Nature in his paintings has magically become mental imagery. The subtle changes of light and shade cause the whole picture to be filled with a moist rhythm, just like a wash painting, showing a poetic nature. This painting “Sans titre” was composed by Chu Teh-chun in the 1970s. The artist chose his favorite blue color as his main tint. It is friendly and poetic because blue is the original color of the sea, which bred the lives on earth. The artist mainly used bold stokes in order to show the effect of a beautiful texture. The rich and delicate painting conveys a mysterious and abstruse Eastern emotion, just like a piece of melody with musical notes rising and falling on the ear, partly hidden and partly visible.

朱德群《埋沒的一生》 羅芙奧2008年春季拍賣會,編號045,472萬台幣成交 CHU Teh-chun, 15.10.1976 1976, oil on canvas, 100 x 73.5 cm Ravenel Spring Auction 2008, lot 045, US$ 155,238 sold


054

CHU Teh-chun

(Chinese-French, b. 1920)

Resonance des lumières (Resonance of Light) 1989 Oil on canvas 162 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 89 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled Resonance des lumières in French and dated 1989 EXHIBITED: Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum, Tokyo, June 23 - July 10, 2007 ILLUSTRATED: Solo Exhibition of Chu Teh-Chun, Thin Chang Corporation, Tapei, 2007, color illustrated, p. 221

NT$ 8,000,000-10,000,000 US$ 244,600-305,800 HK$ 1,882,000-2,353,000

朱德群 甦醒的光 1989 油彩 畫布 162 x 130 cm 簽名右下:朱德群 CHU TEH-CHUN 89 簽名畫背:CHU TEH-CHUN 朱德群 "Resonance des lumières" 1989 展覽: 「大象無形─朱德群作品展」,上野之森美 術館,東京,展期2007年6月23日至7月10日 圖錄: 《大象無形─朱德群作品展》,台灣馨昌株 式會社,台北,2007,彩色圖版,頁221

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朱德群生於文人世家,自幼研習書法,早年 師從林風眠、潘天壽、吳大羽等大家,之後 遠赴法國接受西方藝術思想的浸潤。歷經數 十年的探索,朱德群以深厚文化的底蘊,結 合西方傳統繪畫與抽象藝術表現,融入中國 書畫技藝與觀念,終創造出卓爾不群的獨特 藝術語境。而在他眾多精彩作品中,光線無 疑成為作品的要角與主題。

distinct and unique artistic context with solid cultural deposits. He combined traditional Western painting with nonobjective expression and integrated techniques and concepts of Chinese calligraphy and painting into his works. In many of his wonderful works, light undoubtedly became an important role and theme.

朱德群自稱他的「光」來自於林布蘭,光源 不僅決定了畫面的色彩與結構,其表現更呈 現出萬千變化。他筆下的光時而向上綻放, 形成珠寶般璀璨於夜空;時而在極簡而富有 張力的畫面中令人驚嘆;時而又呈現出古典 莊嚴與神聖教人仰望。

Chu Teh-chun claimed that “light” in his painting was from Rembrandt, and the light source not only determined the color and structure of the painting, but its expression also presented infinite changes. The light under his painting brush would sometimes bloom upwards to form a jewel-like brightness in the night sky, while sometimes it would astonish people for a brief and tension filled moment in his paintings, now and then it would also show a classical solemn holiness, which is adored by the people.

《甦醒的光》一作創作於1980年代後期,此 一時期藝術家的風格更為成熟,繽紛的色 彩,可謂氣定神閒。此幅作品濃郁而溫暖的 大地色系佈滿畫面,如狂草般飛騰的線條營 造出深度的空間,亮麗的黃色與橘色穿梭其 間,令人感受得到空氣與光線的韻律與生命 的躍動,呈現出萬物甦醒的精彩瞬間。

Chu Teh-chun was born in a literate family, and learned calligraphy in his childhood. In his early years, he studied under the tutelage of such great masters as Lin Fengmian, Pan Tianshou and Wu Dayu among others. Later he went to France and accepted the edification of Western art concept. After decades of exploration, Chu Teh-chun finally created a

The masterpiece, “Resonance des lumières” was painted in the late 1980s, which is the period when the style of the artist was more mature and colorful, with great composure. This masterpiece is filled with rich and warm earth tones with soaring wild calligraphic lines which have created a deep space. Bright yellow and orange colors shuttling among the painting create the rhythm of air and light, as well as the vivacity of life, presenting a wonderful moment of everything revived on the earth.


055

ZAO Wou-ki

(Chinese-French, b. 1921)

Oiseaux volent partout (Birds Fly Everywhere) 1952 Oil on canvas 81 x 100 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse Oiseaux volent partout in French and dated 7. 1952 PROVENANCE: Galerie Pierre Loeb, Paris Fuji Television Gallery, Tokyo Art Gallery Atorie, Niigata Private collection, Asia EXHIBITED: Zao Wou-ki – peinture, encres de Chine, Fukuoka Art Museum, Fukuoka, 1981 ILLUSTRATED: Zao Wou-ki – peinture, encres de Chine, Fukuoka Art Museum, Fukuoka, 1981, color illustrated, no. 1

NT$ 26,000,000-40,000,000 US$ 795,100-1,223,200 HK$ 6,118,000-9,412,000

趙無極 處處聞啼鳥 1952 油彩 畫布 81 x 100 cm 簽名右下:無極 ZAO 畫背簽名:Oiseaux volent partout 7. 1952 來源︰ 皮耶.洛布畫廊,巴黎 富士電視畫廊,東京 藝廊工作室,新瀉 私人收藏,亞洲 展覽︰ 「趙無極油畫水墨展」,福岡市美術館,福 岡,1981 圖錄: 《趙無極油畫水墨》,福岡市美術館,福 岡,1981,彩色圖版,編號1

雲遊四海自古是中國文人增進見聞的方法, 遊歷名山大川藉以參透哲理,現代畫家自然 也期待走覽博物館、探訪各地人文景觀與自 然風光,尋找靈感激盪的好素材。抵達巴黎 已三年,趙無極能靠畫維生,在經濟無虞的 情況下,趙無極暫時擱下畫筆,到歐洲各城 市去旅行。1951-52年間他遊歷西班牙、義 大利、荷蘭、德國、比利時與瑞士等國,尤 其在義大利停留時間最久,細心觀察歐洲城 市的建築,有助於構思畫裡的空間佈局。而 地中海獨專有的色調和想像力,也成為靈感 的泉源。回到巴黎之後,他創作了一批結合 風景、建築和大自然等主題的繪畫。 詩人兼藝評家亨利.米修(Henri Michaux)在1952年趙無極紐約首次個展的 畫冊序言中寫道:「欲露還掩、似斷還連, 線條隨興遊走,描繪出遐思的脈動,這是趙 無極喜歡的。驀然間,畫面躍動著一片中國 城鎮鄉村特有的喜氣,又是歡騰愉悅,又是 滑稽突梯,在一團符號中。」 (趙無極與梵思 娃,《趙無極自畫像》,藝術家雜誌社,台北,1992年1

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當時雕塑 大師傑克梅第(Giocometti)的工作室和他 相鄰,也提過特別喜歡趙無極「畫中有一種 潦草顫動的東西」。

月15日初版,1996年1月15日再版,頁103)

所謂「一團符號」,從具象轉化為非具象, 那是得自克利(Paul Klee)繪畫的啟發。 1951年趙無極在瑞士伯恩參觀克利的畫展, 克利畫裡運筆自由與輕盈靈動的詩意令人驚 嘆,這種神祕的詩意與受文人畫薰陶的他可 謂氣味相投。回到法國之後,趙無極參透其 中的奧妙,除了克利的符號,嘗試在畫裡融 入米芾(1051-1107)、王維(八世紀)與 倪瓚(1301-1374)的文人畫意境。旅行地 中海城市期間,拜占庭藝術、埃及藝術,以 及教堂壁畫的象徵性,為趙無極後來開創出 的東方風格起了不小的助力。 1950年代初期趙無極精心研究,苦思如何 以平面透視表現空間,如何佈局對象等。藝 術評論家馬歇索(Daniel Marchesseau)認 為,「他找到一種東方纖細筆劃和西方古典 建築結構相結合的畫路」刺繡般的線條結構 形成趙無極個人的獨特風格,此一階段對於 後來轉型抒情抽象發展具有關鍵性意義。 油畫作品《處處聞啼鳥》完成於1952年7 月,趙無極甫自歐洲列國旅遊歸來。在畫中 有纖細的線條所勾勒出的繁忙船隻,自在漫 步的人與動物,以及無所不在的飛鳥,宛如 正進行著一場歡樂的嘉年華,很自然地令人 聯想到威尼斯的風情。描寫的物象被簡化為 線條符號,接近單色調的灰棕色,細膩營造 詩意的空間,那是畫家透過記憶攫取所創造 出的內在風景。 藝術評論家雷馬利(Jean Meymarie)曾風 趣地以「繪畫神經系統」形容1950年代初 期趙無極作品的簡潔架構,不論濃重、尖銳 或優柔的線條皆能同時存在,融合精緻與堅 毅,呈現出多變的效果。觀者透過畫面線條 的指引,彷彿走進寬闊的天地,那裡沒有 疆界的限制。在平面化的透視空間裡,處處 都有象徵自由飛翔的鳥兒,含蓄、輕盈、和 諧,接近童稚樸簡的佈局,趙無極譜寫出一 個美好的世界。


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while concealing, breaking down and making the lines shake, tracing, wandering, walking detours and squiggles with a dreamer’s spirit, this is what Zao Wou-ki likes and suddenly, with the same festive air which animates the Chinese countryside and towns, the painting appears quivering, joyous and a little amusing with an orchard of signs." At that time, the studio of sculptor Giocometti was adjacent to his own, and he also mentioned that he was very fond of Zao Wou-ki “It is a trembling squiggly quotation”.

米芾《書法》 Callgraphy of Mi Fu (1051-1107)

Travelling had always been a way for Chinese scholars to experience new sights; by visiting famous mountains and rivers, Chinese scholars perceived and understood the philosophy of life. Similarly, modern painters are interested in visiting museums, exploring human landscapes and natural scenes for inspiration. During the first 3 years after arriving in Paris, Zao Wou-ki made his living through painting; After 3 years, financially more stable, he travelled around Europe for looking for new inspirations. Between 1951 and 1952, he visited Spain, Italy, Holland, Germany, Belgium, and Switzerland; staying an extended time in Italy, studying buildings of European cities, which was helpful for constructing the spatial layout in his paintings. And the colors and imagination that are particular to the Mediterranean became a source of inspiration for him. After returning to Paris, he created a large number of paintings of landscapes, buildings, and nature. The poet and art critic, Henri Michaux, wrote in the preface of the catalogue at the first exhibition in New York in 1952, "Showing

The “An orchard of signs”, the conversion from representational image to nonrepresentational image, was the inspiration of Paul Klee’s paintings. In 1951, when he visited the painting exhibition of Paul Klee in Bern, Switzerland, Zao Wou-ki marveled at the poetic feeling of freedom, lightness, and vividness of the paintings and such mysterious poetic feeling was readily embraced by him. After his return to Paris, Zao studied and perceived the secret in it and tried to integrate the poetic atmosphere of Mi Fu (1051-1107), Wang Wei (8th Century), and Ni Tsan (1301-1374) with the signs of Klee. In addition, during his visit to Mediterranean cities, Byzantium art, Egyptian art, and the symbolism of church wall paintings all had some influence on the oriental style of his paintings. In the early 1950s, Zao painstakingly studied the expression of space through perspective on plain images and the composition of objects. The art critic Daniel Marchesseau says, “He refound a voice for his brush, between delicate orientalism and classic architecture.” The embroidery-like line structure constitutes the unique style of his paintings. This stage is of key significance for his later transition to expressive and abstract painting style. “Oiseaux volent partout” was completed in July 1952, when Zao returned from his tour in Europe. The painting uses slender

lines to depict busy boats, men and animals promenading at leisure, and the omnipresent flying birds, all of which constitute a joyful carnival, reminiscent of Venice. In this painting, objects are simplified into lines and signs in grey brown. The carefully designed poetic space is the landscape created by the artist from the repository of his memory. Art critic Jean Meymarie once wittily describes the brief structure of Zao’s workings in the early 1950s as “graphic nervous system”, where different styles of lines, dark and light, sharp and soft, coexist in sophisticated and solid union and present a varying effect. Guided by the lines of the painting, the viewer walks into an immense world that has no borders. In the plane perspective, birds fly freely, lightly, and harmoniously. The closeto-childish layout by Zao Wou-ki depicts a beautiful world.

保羅.克利《魚兒上鉤》 1920,油彩 水彩 紙本,31 x 32.5 cm 倫敦泰德美術館藏 Paul Klee, They’re Biting 1920, drawing and oil on paper, 31 x 32.5 cm Collection of Tate Gallery, London


056

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Raise Hands 1995 Bronze sculpture, edition no. AP 3/10 67.7(L) x 43.4(W) x 64(H) cm Engraved on the reverse Ju Ming in Chinese, numbered AP 3/10 and dated '95 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation-Juming Museum.

NT$ 3,600,000-4,600,000 US$ 110,100-140,700 HK$ 847,000-1,082,000

朱銘 太極系列—提手 1995 銅雕 自3/10 67.7(長) x 43.4(寬) x 64(高) 簽名雕刻背面下方:朱銘 自3/10 '95 附財團法人朱銘文教基金會─朱銘美術館 開立作品鑑定報告書

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057

JU Ming

(Taiwanese, b. 1938)

Chess (32 pieces) 1987 Bronze sculpture, edition of 30 Chess: 28.5(L) x 28.5(W) x 13.5(H) cm (set of 16 pieces, total 2 sets) Chess board: 97(L) x 80(W) x 5(H) cm Engraved Ju Ming in Chinese (all pieces) PROVENANCE: Jin Ling Gallery, Taipei This artwork is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,300,000-2,500,000 US$ 39,800-76,500 HK$ 306,000-588,000

朱銘 象棋(一套32件) 1987 銅雕 限量版次 30 28.5(長) x 28.5(寬) x 13.5(高) cm (一盒16 隻棋子,共兩盒) 97(長) x 80(寬) x 5(高) cm (棋盤) 簽名雕刻:朱銘(每件皆有) 來源: 金陵藝廊,台北 附藝術家親筆簽名之作品保證書


058

SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

Hong Kong Harbor

PROVENANCE: Sotheby's Hong Kong, Oct. 31, 1999, lot 181

1975 Ink and color on paper 24.5 x 32.5 cm Signed upper right Shiy De-jinn, Hong Kong and dated Thanksgiving Day 1975

NT$ 100,000-180,000 US$ 3,100-5,500 HK$ 24,000-42,000

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香江帆影 1975 彩墨 紙本 24.5 x 32.5 cm 簽名右上:一九七五年 感恩節於香港 席德進 來源: 蘇富比香港拍賣,1999年10月31日,編號181


059

AI Xuan

(Chinese, b. 1947)

A Portrait of Ning Xiaoqing 2007 Charcoal on paper 26 x 37 cm Titled lower left A Portrait of Ning Xiaoqing in Chinese, signed Ai Xuan in Chinese and dated 2007.10

Titled on the reverse A Portrait of Ning Xiaoqing in Chinese, signed Ai Xuan in Chinese and dated 2007. 10

NT$ 120,000-220,000 US$ 3,700-6,700 HK$ 28,000-52,000

艾軒 寧曉青肖像 2007 炭筆 紙本 26 x 37 cm 簽名左下:寧曉青 艾軒 2007.10 簽名畫背:寧曉青肖像 艾軒 2007年


060

SANYU (CHANG Yu) (Chinese-French, 1901-1966)

Nude Charcoal and ink on paper 43 x 27 cm Signed lower right Yu in Chinese and SANYU in French

NT$ 160,000-220,000 US$ 4,900-6,700 HK$ 38,000-52,000

常玉 裸女 炭筆 紙本 43 x 27 cm 簽名右下:玉 SANYU

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061

Yun GEE

(Chinese-American, 1906-1963)

Landscape with Pine Tree c. 1932 Ink on paper 23.5 x 18 cm Signed lower right Yun Gee in English

朱沅芷 PROVENANCE: Ancient collection of Helen Gee, the artist's wife Sotheby's sale, Taipei, Oct.17, 1999, lot 32

NT$ 200,000-350,000 US$ 6,100-10,700 HK$ 47,000-82,000

高山聽松 約1932 墨 紙本 23.5 x 18 cm 簽名右下:Yun Gee 來源: 藝術家之妻朱海倫舊藏 蘇富比台北拍賣,1999年10月17日,編號32


062

SHIY De-jinn

(Taiwanese, 1923-1981)

Coastal Mountains at Dawn, Taiwan 1979 Ink and color on paper 64 x 100 cm Signed lower right Shiy De-jinn in Chinese and dated 1979

NT$ 200,000-350,000 US$ 6,100-10,700 HK$ 47,000-82,000

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席德進 湖山曉色 1979 彩墨 紙本 64 x 100 cm 簽名右下:席德進 1979


063

CHAO Chung-hsiang (Chinese, 1910-1991)

Couple 1979 Acrylic, ink and color on paper, mounted onto board 48 x 45 cm Signed upper right Chung-hsiang in Chinese and Chao in English, dated 79

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

趙春翔 佳偶 1979 壓克力 彩墨 紙本 裱於木板 48 x 45 cm 簽名右上:春翔 Chao 79


064

CHAO Chung-hsiang (Chinese, 1910-1991)

Celebrating Life's Cycles Acrylic, ink and color on paper, mounted onto board 45 x 45 cm Signed upper right Chung-hsiang in Chinese and Chao in English

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

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趙春翔 循環不息 壓克力 彩墨 紙本 裱於木板 45 x 45 cm 簽名右上:春翔 Chao


065

CHUA Hu (TASI Yun-cheng)

(Chinese-Philipino, 1929-2009)

蔡雲程

Manila Small Bridge 1970 Oil on fiberboard 60 x 60 cm Signed on the reverse CHUA HU in English, Cheng in Chinese and dated 1970 ILLUSTRATED: Album of Chua Hu, Chinese Art Publishing Company, Hong Kong, 2005, color illustrated, p. 21 (categorized in 60's)

馬尼拉小橋風景 1970 油彩 纖維板 60 x 60 cm 簽名畫背:CHUA HU 呈 -1970This painting is to be sold with a picture of the artist taken with the artwork.

NT$ 300,000-500,000 US$ 9,200-15,300 HK$ 71,000-118,000

圖錄: 《蔡雲程畫集》,中國藝術出版社,香港, 2005,彩色圖版,頁21(歸類為六十年代時 期) 附藝術家與作品合影照片


066

LIU Kuo-sung (Taiwanese, b. 1921)

Changes in the Sun 1969 Ink and color on paper 80 x 70 cm Signed lower right Liu Kuo-sung and dated 1969 in Chinese With one seal of the artist Signed on the reverse Liu Kuo-sung in Chinese, titled Changes in the Sun in Chinese, dated 1969, size 80 x 70 cm

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

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劉國松 日之銳變 1969 彩墨 紙本 80 x 70 cm 簽名右下:劉國松 一九六九 鈐印右下:一個東南西北人 簽名畫背:劉國松作 日之銳變 1969 80 x 70 cm


067

CHIU Ya-tsai

(Taiwanese, b. 1949)

Man in Red Oil on canvas 142 x 87 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 700,000-900,000 US$ 21,400-27,500 HK$ 165,000-212,000

邱亞才 凝視的紅衣男子 油彩 畫布 142 x 87 cm 簽名左下:邱亞才


068

CHUANG Che (Taiwanese, b. 1934)

Abstract Landscape 1980 Oil on canvas 128 x 100 cm Signed lower right Chuang Che in Chinese Dated on the reverse 8051

NT$ 450,000-600,000 US$ 13,800-18,300 HK$ 106,000-141,000

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莊喆 抽象山水 1980 油彩 畫布 128 x 100 cm 簽名右下:莊喆 題識畫背:8051


069

Walasse TING

(Chinese-American, b. 1929)

Reclining Lady with Fan Acrylic on rice paper 97 x 177.5 cm With one seal of the artist

NT$ 700,000-950,000 US$ 21,400-29,100 HK$ 165,000-224,000

丁雄泉 持扇美人 壓克力 紙本 97 x 177.5 cm 鈐印:採花大盜


070

WANG Zhijie (Chinese, b. 1931)

Roses Mixed media on canvas, mounted onto panel 62 x 80 cm Signed lower right Wang.Z.J. in English

NT$ 450,000-650,000 US$ 13,800-19,900 HK$ 106,000-153,000

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汪志傑 玫瑰 綜合媒材 畫布裱於木板 62 x 80 cm 簽名右下:Wang.Z.J.


071

YANG Din

(Chinese, b. 1958)

Paysage III 1994 Oil on canvas 160 x 160 cm Signed lower right Yang Din in French Signed on the reverse Yang Din in French, titled Paysage III in French, dated 1994.3.

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

楊登雄 風景之三(白葉) 1994 油彩 畫布 160 x 160 cm 簽名右下:Yang Din 簽名畫背: Yang Din 1994.3. "Paysage III"


072

ZHOU Chunya (Chinese, b. 1955)

Lily 1998 Oil on canvas 72.5 x 60.5 cm Signed lower right ZHOU CHUNYA in Chinese and English, dated 1998 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 950,000-1,600,000 US$ 29,100-48,900 HK$ 224,000-376,000

周春芽 百合 1998 油彩 畫布 72.5 x 60.5 cm 簽名右下:1998 周春芽 ZHOU CHUNYA 附藝術家簽名之原作保證書

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1990年代起,周春芽開始「花卉」系列 的創作。花卉題材一直是中國傳統文人樂 於表現的內容,而在周春芽的手法下有了 嶄新詮釋。《百合》作品中,周春芽以西 方的寫生方法將中國傳統繪畫語言融入其 中,最重要的是採用完全不同的技巧,即 以大筆觸的表現手法,充分展示大膽、粗 放的表現主義風格。在周春芽的畫中,傳 統的中國主題—花卉在西方繪畫技巧的光 環下折射出迷人光彩,實現了中西兩種繪 畫語言的完美融合。此外,周春芽的大膽 用色與其大筆觸的表現手法更是相得益 彰,色彩與構圖均給人奔放神秘之感,這 種新穎、大膽的藝術創作達到了奇異的效 果。在周春芽看來,這種「離經叛道」的 作品形態正好契合了他的天性,並以他 的放肆詮釋了傳統文人繪畫「溫和、內 向」。

As early as the beginning of 1990, Zhou Chunya had begun the creation of his "Flower" series. Flowers have been a traditional motif for Chinese artists to express in their works. Zhou

Chunya recreates this concept in his “Flower” series. In the work "Lily", Zhou Chunya has integrated the language of traditional Chinese painting with western sketching. Most importantly is that he has adopted a totally different technique. He has used the expression technique of liberal strokes, fully demonstrating his bold and broad style of expressionism. In Zhou Chunya's painting, flowers, the traditional Chinese theme, presents charming glory under the aura of Western painting skill, realizing a perfect integration of Chinese and Western painting languages. Additionally, Zhou Chunya's bold color application and his expression mode of liberal strokes complete each other. Both color and composition present a bold and mysterious sense. Such innovative and bold artistic creation has reached an extraordinary effect. In Zhou Chunya's view, form and color of such nonmainstream works align with his disposition. With his uninhibited traits he constructs traditional humanistic paintings that are "warm and introvert".


073

ZHOU Chunya (Chinese, b. 1955)

Lilies 2000 Oil on canvas 100 x 80 cm Signed lower right ZHOU CHUNYA in Chinese and English, dated 2000

NT$ 1,200,000-1,800,000 US$ 36,700-55,000 HK$ 282,000-424,000

周春芽 香水百合 2000 油彩 畫布 100 x 80 cm 簽名右下:2000 周春芽 ZHOU CHUNYA

從德國留學回國後,1990年代周春芽開始創 作具有中國傳統文化內涵的繪畫。《百合》 是2000年周春芽在山石、瓶花、綠狗等主題 後的成熟嘗試。藝術家簡單佈局百合花的姿 態,且充分發揮油畫的材質特性,豐富的細 節與肌理置換了筆墨的柔緩抒情,繁複錯落 的體積結構,改變了文人畫平面的視覺特 性。 周春芽一直在尋求與大自然更加親密和自發 的關係,以便能夠捕捉其最為本質的形式和 表現。周春芽描畫的花卉用筆極為精練,如 同八大山人畫中的一尾魚,一塊石,一隻 鳥,一筆不多,一筆不少。著名評論家殷雙 喜評價周春芽:「將宋元古典山水的意象與 西方繪畫框式取景奇特地組合起來,具有了 一種跨越人文地理與歷史文化的超然氣息, 使人們猶如進入宇宙洪荒、天地蒼茫的夢幻 境界。」

After returning from his studies in Germany, Zhou Chunya began to create works with traditional Chinese cultural connotation in the early 1990s. "Lilies" created in 2000, is one of his mature series of work after his achievement

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of the famous rock, vase and green dog series. The way of his expression has totally changed the graphic perspective approach by the traditional scholars. The simplicity of the composition of the lilies has fully executed in the oil-painting medium; the rich detail of oil has replaced the softness of the ink strokes. Zhou Chunya has been seeking a more intimate and spontaneous relationship with the nature, so as to capture the essence of the most essential forms and expressions. His proficient painting technique, gaining strength from surrounding space can be compared the to famous artist, Ba Da (i.e. Zhu Da), who painted a fish, a rock, a bird – with exact number of strokes, no more or less. Shuangxi Yin, a well-known critic, appraised Zhou Chunya with the comments, "(His paintings) have peculiarly combined classical landscape imagery in Song and Yuan dynasties with frame structure in western paintings, which produced an overriding atmosphere spanning human geography and historical culture, and making people seemed like to enter the universe of prehistoric heaven and the realm of fantasy."


074

YANG Shaobin (Chinese, b. 1963)

Shadow 2006 Oil on canvas 122 x 151 cm Titled on the reverse Shadow in Chinese, YANG SHAOBIN in Chinese and English

NT$ 1,100,000-1,800,000 US$ 33,600-55,000 HK$ 259,000-424,000

楊少斌是所謂玩世現實主義運動的領導人 物。1963年出生於河北省唐山市,1983年畢 業於河北輕工業學校美術系。1991年遷居北 京圓明園藝術村,四年後在藝術家群聚的近 郊通縣落腳,成立畫室。 作為那一世代藝術家的代表,楊少斌在畫布 呈現摔角和打鬥的暴力狀態。帶有末世啟示 的語調,楊少斌的繪畫描繪打鬥本身,表面 上似乎是身體的交戰,猶如畫中形象企圖激 烈地超越自身,這些作品帶有政治控訴暗示 的意圖,但他們所形成的暴力,使人聯想到 更寬更深的寓意。 強納森.古德曼

楊少斌 陰影 2006 油彩 畫布 122 x 151 cm 簽名畫背:2006-2《陰影》YANG SHAOBIN 楊少斌

Yang Shaobin is a leading painter in the movement called Cynical Realism. Born in 1963 in Tangshan, Hebei Province, he graduated from Hebei's Polytechnic University in 1983. In 1991, he moved to the Beijing artist village of Yuanmingyuan, and four years later, he chose a studio in Tongxian, a suburb of Beijing where many Chinese artists now live. As a m a jo r, rep res en ta tive a r tis t o f h is generation, Yang became known for his sprawling canvases depicting figures in violent states of wrestling and fighting. Apocalyptic in tone, Yang's paintings portray a struggling self, seemingly at war with its body, as if the figure were attempting to violently transcend itself. One is tempted to see the works as indicative of political complaint, but their overarching violence suggests a broader, even an allegorical, reading. - Jonathan Goodman

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075

HUANG Gang (Chinese, b. 1961)

Star and Box 2007 Mixed media on board 150 x 150 cm Signed lower right Huang Gang in English and Chinese, dated 2007 Exhibited: Art Shanghai, Shanghaimart, Shanghai, April 18-22, 2007 This piece is to be sold with a certificate of authenticity issued by Modern Art Gallery, Taichung.

NT$ 1,200,000-2,200,000 US$ 36,700-67,300 HK$ 282,000-518,000

黃鋼 五星與箱子 2007 綜合媒材 木板 150 x 150 cm 簽名右下:Huang Gang 黃鋼 2007 展覽: 「上海春季藝術沙龍」,上海世貿商城, 上海,展期自2007年4月18日至22日 附現代藝術空間開立之原作保證書

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076

XIA Junna

(Chinese, b. 1971)

Insect Lovers 1995 Oil on canvas 162 x 130 cm Signed lower right XJN in English and dated 95/12 ILLUSTRATED: Drawing World of Xia Junna, Liaoning Fine Arts Press, February, 2003, color illustrated, p. 13 Li Fang ed., Estheticism-Celebrated Female Painters Series, Yang Liu Qing Painting Publishing, Tianjin, 2005, color illustrated, p. 140

NT$ 1,600,000-2,800,000 US$ 48,900-85,600 HK$ 376,000-659,000

這位出生於1970年代的年輕畫家,創作擁有 鮮明成熟的個人風格。她的繪畫帶有一股濃 厚的異國情調,而其豐富精巧的用色則摻雜 著一份詩意的裝飾和女性的溫婉。夏俊娜的 少女圖,似乎總在有意無意中傳遞著一種寧 靜平和的氣息。 《窗前》繪於1995年,以她喜歡的少女為 創作主題,在濕潤朦朧的油彩中畫出一個 拿捕蟲網的女孩。夏俊娜曾經說:「太標致 的眉清目秀的女人不入我的畫, 我筆下的 美女都有一張歪長的臉,因為我畫的不是肖 像畫。」她也解釋這種對於面貌模糊化的處 理,是為了避免太過清楚搶眼的臉龐會讓觀 眾忽略畫面的整體感覺。夏俊娜的作品在中 性調中仍然充滿了甜美,顛覆了過去的甜 美,而將中西的審美觀點嫁接在一起的創作 方式,讓她的畫作呈現出近似象徵主義或超 現實主義般的神秘氛圍。

1995 油彩 畫布 162 x 130 cm 簽名右下:XJN 95/12

藝術家毛焰也曾說:「夏俊娜在孜孜不倦地 描繪美麗少女的同時,似乎總是將她們置於 現實的場景之外,即使是富麗的光芒,也來 自那些無名的花草,原本無謂的場景,卻被 安排得情趣盎然。她把自己圈定在一個較為 恬靜的空間裡,無意糾纏於時尚的觀念之 中,獨享一種快樂明朗的繪畫。」

圖錄: 《夏俊娜的繪畫世界》,遼寧美術出版社, 瀋陽,2003,彩色圖版,頁13 李放著,《唯美至上—著名女油畫家系列》, 天津楊柳青畫社,天津,2005,彩色圖版, 頁140

This young painter, having the bright and mature individual style in her creations, was born in 1970's. Her paintings possess rich exoticism and her usage of colors jumbled a poetic sentiment decoration and

夏俊娜 窗前(昆蟲愛好者)

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feminine gentleness together. In Xia Junna's lady paintings, it seems always having the intention or no intention to transmit one kind of tranquil gentle breath. in Xia's lady paintings. This painting, "Insect Lovers" was created in 1995. She used lady as the subject. Xia once said, "The lady who is so beautiful or has delicate features won't appear in my painting. All beautiful ladies which I paint have a crooked and long face, because what I draw isn't portrait painting." she also explained that the blurry faces are meant to let the audience seeing the whole picture, but not to be misled by a detailed portrait. Xia Junna's works moved with neutrality but still fill delightful and has overthrown the past delight. Her creative way to combine the aesthetic view of both East and West lets her paintings present the mystical atmosphere which nearly like what the symbolism or the surrealism have. Artist, Mao Yan also said: "When Xia Junna makes efforts to depict the beautiful lady, she often seems to put them out of the realistic scene. Even the gorgeous lights were coming from the flowers and grasses. The scene is arranged with fun and excitement. She puts herself in a relatively quiet space, having no intention to be involved in fashionable concepts. She enjoys a kind of bright and happy painting by herself."


077

HONG Ling (Chinese, b. 1955)

Mid-Spring 2008 Oil on canvas 120 x 190 cm Signed lower left Hong Ling in Chinese and dated 08

NT$ 1,700,000-2,500,000 US$ 52,000-76,500 HK$ 400,000-588,000

洪凌 仲春 2008 油彩 畫布 120 x 190 cm 簽名左下:洪凌 08

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078

LIU Wei

(Chinese, b. 1965)

Flowers 2006 Oil on canvas 50 x 50 cm Signed upper left Liu Wei in Chinese and English, dated 2006, titled center left FLOWERS in Chinese and English

NT$ 2,800,000-3,800,000 US$ 85,600-116,200 HK$ 659,000-894,000

劉煒 花兒 2006 油彩 畫布 50 x 50 cm 簽名左上:劉煒 Liu Wei 2006 款識左方:花兒 FLOWERS

「玩世現實主義」代表人物之一的劉煒, 畢業於中央美術學院版畫系。長久以來, 劉煒一直以其標誌性的筆觸和構圖顛覆 著觀賞者的審美習慣。其作品主要涉及風 景、花朵、鳥、兒童、軍人等主題。劉煒 對藝術創作總是追求新鮮的嘗試,有時信 手拈來的做法,巧妙地把隨心所欲的藝術 命題發揮得淋漓盡致。他不喜歡重複自 己,曾經說過:「一批東西做完,我以後 永遠不會做一樣的。」藝術評論家栗憲庭 也以「才情畫家」讚譽劉煒。 作品《花兒》創作於2006年,為藝術家近期 作品的主要表現題材。他詮釋出花朵造型的 隨性而多變,色彩以及筆法表現,構築出難 以形容的細膩和美感。對葉子的表現,則徹 底體現了他狂野不羈的性格。藝術家將流 動、細碎的筆觸任意塗抹,使畫面充滿了生 機和力量。

Liu Wei, who graduated from the printmaking department of the Central Academy of Fine Arts, is one of the leading representatives of

134

Cynical Realism. For a long time Liu Wei has always overturned the aesthetic habits of viewers with his symbolic painting and composition way. Most of his works are deal with landscapes, flowers, birds, children, soldiers and matters like these. Liu Wei is always pursuing new attempts of art creation. Sometimes he makes it easily and causally to exert freewheeling art issues vividly in a very subtle way. He doesn't like to repeat himself and once said, “ I will never do the same thing after they're done.” The art critic Li Xianting also praises Liu Wei as a “talented painter”. The work “Flowers” was created in 2006. It is the main representative subject of the artist recently. Indescribably exquisiteness and beauty has been made during his interpreting of the causal and fickle shapes of flowers, colors, and painting styles. However, the representations of leaves show his wild character thoroughly. The artist paints freely in a trickling and gentle way to make the picture full of vitality and power.


079

HUANG Gang (Chinese, b. 1961)

Rotation of Sun and Moon (Diptych) 2007 Mixed media on board 200 x 200 cm Signed lower right Huang Gang in English and Chinese, dated 2007 EXHIBITED: Revolving the Golden Imprint Huang Gang, Ping Art Space, Taipei, Aug. 3-Sep. 5, 2008 ILLUSTRATED: Revolving the Golden Imprint Huang Gang, Ping Art Space, Taipei, 2008, color illustrated, p. 9 & p. 104 This painting is to be sold with a certificate of authenticity issued by Ping Art Space, Taipei.

NT$ 3,200,000-4,600,000 US$ 97,900-140,700 HK$ 753,000-1,082,000

黃鋼 轉動日月(二聯幅) 2007 綜合媒材 木板 200 x 200 cm 簽名右下:Huang Gang 黃鋼 2007 展覽: 「黃鋼:轉動黃金印記」,藏新畫廊, 台北,自2008年8月23日至9月5日 圖錄: 《黃鋼:轉動黃金印記》,藏新藝術有限公 司出版,台北,2008,頁9與頁104 附平藝術空間開立之原作保證書

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作為上個世紀1960年代出生的藝術家,經歷 的歷史變遷和社會背景構成了創作的一條線 索。黃鋼從2002年開始不斷地創作抽象畫。 他將抽象藝術引導到強調社會性、批判性, 遠離了強調色彩、線條等藝術語言的視覺與 心理作用;他的作品超越純粹抽象,用東方 的抽象語言延展了抽象繪畫的意義。 在黃鋼的作品中最顯著的是他對藏經刻板的 運用,畫家將材料作為一種載體,利用挪用 和拼貼,再加入藝術家的油畫語言。隱喻一 種特殊的文化符號。此幅作品材料自西藏的 印版經,構圖取材於藏傳佛教中的曼陀羅為 形式,是一種佛教的宇宙觀。畫面中的佛經 刻版彷彿沉澱了僧侶們的靈修,傳達出佛教 的信念。表述了畫家對西藏藏民生活和佛教 的文化,也表明了藝術家對於中國傳統文化 和藏文化的一種態度,一種虔誠的相互溝 通,一種對中國傳統文化的尊重。

Taking the social change and background in this period as a clue, Huang Gang, born in the 1960s, has embarked on the creation of abstract art painting since 2002. His paintings show his shift of emphasis away from the usually accepted visual and psychological effect of artistic languages such as color and line art to the social and critical function of abstract paintings. His works go beyond purely abstract art, extending its function through the use of Eastern abstract language. Huang Gang’s works are notable for his apt diversion and collage of Buddhist scripture boards, which he uses as carriers and symbols of special cultural meanings, and completed with his oil painting skills. As to this painting, it expresses the Buddhist world view, with the Tibetan Buddhist scripture board as material and a Tibetan mandala as its form. The Buddhist scripture board seems to be precipitated by the spiritual practice of Buddhism monks and conveys Buddhism faith. This painting spells out, firstly, the artist’s attitude toward not only Tibetan life and Tibetan culture, but also Chinese traditional culture and Tibetan culture; secondly, the devoutness to communicate; and thirdly, the respect for Chinese traditional culture.


080

SUN Lisha

(Chinese, b. 1984)

Net No. 2 2007 Oil on canvas 100 x 80 cm Signed lower right Sun Lisha in Chinese and dated 2007.7

NT$ 90,000-160,000 US$ 2,800-4,900 HK$ 21,000-38,000

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孫立沙 網之二 2007 油彩 畫布 100 x 80 cm 簽名右下:孫立沙 2007.7


081

JIANG Jianqiu (Lao JIANG) (Chinese, b. 1972)

Mr. Red - Fight No. 1 2007 Acrylic on canvas 100 x 80 cm Signed on the reverse Lao Jiang in Chinese and English, media Acrylic on canvas in English and size 80 x 100 cm, dated 2007.10

NT$ 100,000-200,000 US$ 3,100-6,100 HK$ 24,000-47,000

蔣建秋(老蔣) 紅先生─戰鬥之一 2007 壓克力 畫布 100 x 80 cm 簽名畫背:老蔣 Lao Jiang Acrylic on canvas 80 x 100 cm 2007.10 《紅先生》一題取自知名搖滾歌手崔健的 同名曲。藝術家老蔣最初以F L A S H動漫 的形式,賦予崔健替身「紅先生」各種形 象,包括Q版、老年版。圖像內容有飛奔 的列車、悠長的胡同、魅惑女郎、心形紅

太陽,還有經典遊戲《超級瑪麗》所搆成 的後現代場景。油畫作品《紅先生—戰鬥 No1》的原型,即是來自藝術家FLASH版本 系列的圖像。 "Mr. Red" is named after the title of a song by Cui Jian, a rock and roll star. Jiang initially incarnated Mr. Red, his alter-ego, in various cartoon flash images, such as cartoon Mr. Red and aged Mr. Red, which contain the galloping train, long alleys, charming girls, heart-shaped sun and the post-modern scenes created by the classic Super Mario. The prototype of "Mr. Red - Flight No.1", the oil painting work, originates from the images in the flash versions.


082

XU Maomao (Chinese, b. 1979)

In That Distant Place 2005 Oil on canvas 170 x 120 cm Signed lower right Xu Maomao in Chinese and dated 05.8 Titled on the reverse In That Distant Place in

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Chinese and size 120 x 170 cm This painting is to be sold with a certificate of authenticity issued by DuBang Contemporary Space, Miaoli, Taiwan.

NT$ 160,000-280,000 US$ 4,900-8,600 HK$ 38,000-66,000

徐毛毛 在那遙遠的地方 2005 油彩 畫布 170 x 120 cm 簽名右下:徐毛毛 05.8 簽名畫背:在那遙遠的地方 120 x 170 附杜邦當代空間開立之原作保證書


083

HSIAO Chu-fang (Taiwanese, b. 1980)

Biting Ear 2007 Acrylic on canvas 227 x 182 cm

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

蕭筑方 咬耳朵 2007 壓克力 畫布 227 x 182 cm


084

廖堉安

LIAO Yu-an

無理的邀約之二

(Taiwanese, b. 1979)

2007 壓克力 畫布 162 x 130 cm 簽名畫背:廖堉安 Liao Yu An

Impolite Invitation No.2 2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Liao Yu An in Chinese and English EXHIBITED: Fondile Without Tenderness 2008 Yu-an Liao Solo Exhibition, Asia Art Center, Taipei, Dec. 20, 2008 - Jan. 18, 2009

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ILLUSTRATED: Fondile Without Tenderness: 2008 Yu-an Liao Solo Exhibition, Asia Art Center Co.,Ltd., Taipei, 2009, color illustrated, p. 71

NT$ 200,000-300,000 US$ 6,100-9,200 HK$ 47,000-71,000

展覽: 「不溫柔的愛撫—2008廖堉安個展」,亞洲 藝術中心,台北,展期2008年12月20日至 2009年1月18日 圖錄: 《不溫柔的愛撫—2008廖堉安個展》,亞洲 藝術中心有限公司,台北,2009,彩色圖 版,頁71


085

Xavier Wei (WEI Chen-hung) (Taiwanese, b. 1966)

My Friends in Paris (triptych) 2004 Oil on canvas 80 x 40 cm (x3)

NT$ 220,000-350,000 US$ 6,700-10,700 HK$ 52,000-82,000

魏禎宏 我的巴黎朋友們(三聯作) 2004 油彩 畫布 80 x 40 cm (x3)


086

YANG Chihung (Taiwanese, b. 1947)

Still Life 1990-1991 Oil on canvas 76 x 101.5 cm Signed lower left C. Yang in English and dated 90 Signed on the reverse Chihung Yang in English, titled Still Life in English and dated 1990-1991

NT$ 160,000-240,000 US$ 4,900-7,300 HK$ 38,000-56,000

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楊識宏 靜物 1990-1991 油彩 畫布 76 x 101.5 cm 簽名左下:C. Yang 90 簽名畫背:Chihung Yang Still Life 1990-1991


087

SONG Yonghong (Chinese, b. 1966)

The Bath of Consolation 2003 Oil on canvas 80 x 100 cm Signed on the reverse Song Yong Hong in Chinese and English, dated 2003

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

宋永紅 慰藉之浴 2003 油彩 畫布 80 x 100 cm 簽名畫背:宋永紅 2003 Song Yong Hong


088

CHANG Chen-yu (Taiwanese, b. 1957)

張振宇

The Moral Toys

1993 油彩 畫布 100 x 130 cm 簽名左下:振宇 '93 簽名畫背:張振宇 一九九三 道德玩具

1993 Oil on canvas 100 x 130 cm Signed lower left Chen-yu in Chinese and dated '93 Signed on the reverse Chang Chen-yu in Chinese, dated 1993 in Chinese and titled The Moral Toys in Chinese

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道德玩具

ILLUSTRATED: Chen-Yu Chang Retrospect on Neo-Humanism 1975-1994, Chen-Yu Chang's Studio, Taipei, 1994, color illustrated, no. 51

NT$ 220,000-350,000 US$ 6,700-10,700 HK$ 52,000-82,000

圖錄: 《張振宇 1975-1994 新人文主義作品集》, 張振宇工作室,台北,1994,彩色圖版,編 號51


089

YANG Din

(Chinese, b. 1958)

Paysage III 1993 Oil on canvas 162 x 114 cm Signed lower right Yang Din in French Signed on the reverse Yang Din in French and dated 1993. 11, titled Paysage III in French

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

楊登雄 風景之三(樹) 1993 油彩 畫布 162 x 114 cm 簽名右下:Yang Din 簽名畫背:Yang Din 1993. 11 "Paysage III" 93


090

JAN Chin-shui (Taiwanese, b. 1953)

The Daylight 2005 Mixed media on canvas 120 x 162 cm Signed lower right Chin-shui in Chinese and dated 2005 Signed on the reverse Jan Chin-shui in Chinese, dated 2005, size 100F and titled The Daylight in Chinese ILLUSTRATED: Time Within Landscape, Ravenel Fine Art Ltd., Taipei, 2007, color illustrsted, pp. 138-139

NT$ 550,000-650,000 US$ 16,800-19,900 HK$ 129,000-153,000

詹金水 天光 2005 綜合媒材 畫布 120 x 162 cm 簽名右下:金水 2005 簽名畫背:詹金水 2005年 100F 天光 圖錄: 《山水光陰》,睿芙奧股份有限公司, 台北,2007,彩色圖錄,頁138-139

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091

YANG San-lang (Taiwanese, 1907-1995)

Paysage Oil on canvas 45.5 x 53 cm Signed lower left S. Yang in English

NT$ 850,000-1,200,000 US$ 26,000-36,700 HK$ 200,000-282,000

楊三郎 風景 油彩 畫布 45.5 x 53 cm 簽名左下:S. Yang

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092

LIEN Chien-hsing (Taiwanese, b. 1962)

Water's Edge 1995 Oil on canvas 89.5 x 145.5 cm Signed lower right Lien Chien-hsing in Chinese and dated 1995 Dated on the reverse 1995, size 80M, signed Lien Chien-hsing in Chinese and titled Water's Edge in Chinese ILLUSTRATED: C.H. Lien, Cherng Piin Gallery, Taipei, 1995, color illustrated, p. 43

NT$ 800,000-1,600,000 US$ 24,500-48,900 HK$ 188,000-376,000

連建興 淨心池畔Ⅱ 1995 油彩 畫布 89.5 x 145.5 cm 簽名右下:連建興 1995 簽名畫背:1995 80M 連建興 歡喜浴佛 圖錄: 《連建興》,誠品畫廊,台北,1995,彩色 圖版,頁43

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093

KUO Wei-kuo (Taiwanese, b. 1960)

Red Curtain 2002 Oil on canvas 130 x 97 cm Signed lower left Kuo's in English and dated 2002.10 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei. EXHIBITED: The Era of Contention: Contemporary Taiwanese Visual Culture, Cornell University Herbert F. Johnson Museum of Art (cooperated with Taipei Fine Arts Museum), Ithaca, New York, April – August, 2004 ILLUSTRATED: Diagram of Commotion and Desire – Towards a Bright Start From the Deep Forest, Kuo WeiKuo, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 45 Wu Chia-chi, A Study of the “Diagram of Commotion and Desire” by Kuo Wei-Kuo, (master thesis), Institute of Art Studies, NCKU, Tainan, Taiwan, 2007, color illustrated, no. 29

NT$ 850,000-1,500,000 US$ 26,000-45,900 HK$ 200,000-353,000

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郭維國 紅色布簾 2002 油彩 畫布 130 x 97 cm 簽名左下:Kuo's 2002.10 附大未來畫廊開立之原作保證書 展覽: 「正言世代展:台灣當代視覺文化」(台北 市立美術館合作),康乃爾大學強生美術 館,紐約,展期2004年4月至8月 圖錄: 《暴喜圖:柳暗花明—郭維國》,大未來畫 廊,台北,2005,彩色圖版,頁45 吳家綺,《郭維國暴喜圖系列之研究》(碩 士論文),國立成功大學藝術研究所, 台南,台灣,2007,彩色圖版,編號29


094

LIEN Chien-hsing (Taiwanese, b. 1962)

Hidden Dance, Love Song 2001 Oil on canvas 97 x 145.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 2001 Titled on the reverse Hidden Dance, Love Song in Chinese, size 80P, dated 2001 and signed Lien Chien-hsing in Chinese ILLUSTRATED: Lien Chien Hsing - Lonely Earth, Eslite Gallery, Taipei, 2001, color illustrated

NT$ 1,100,000-1,800,000 US$ 33,600-55,000 HK$ 259,000-424,000

連建興 隱舞情歌 2001 油彩 畫布 97 x 145.5 cm 簽名左下:連建興 2001 簽名畫背:隱舞情歌 80P 2001 連建興 圖錄: 《連建興—寂寞樂土》,誠品畫廊,台北, 2001,彩色圖版

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095

Walasse TING

(Chinese-American, b. 1929)

Do You Like My Tiger Cat? 1985 Acrylic on canvas 71 x 100 cm Titled on the reverse Do you like my tiger cat? in English, signed Ting in English and dated 1985

NT$ 1,200,000-2,200,000 US$ 36,700-67,300 HK$ 282,000-518,000

丁雄泉 喜歡我的虎斑貓嗎? 1985 壓克力 畫布 71 x 100 cm 簽名畫背:Do you like my tiger cat? Ting 1985

丁雄泉的作品,常有著親暱淺白的命名,如 對著想像中的好友絮絮叨叨。真切又滿溢的 情感是註冊商標,歡迎觀者直闖他最眷戀的 感官世界。他認為,女人的身上沒有直線, 全是美麗的線條。藝術家用創作垂涎生命的 青春,希望藉此攫取生命最風光的時刻。 此幅為丁雄泉仕女畫中難得一見的畫布媒材 ,以書法筆觸勾勒輪廓,以繽紛飽滿的壓克 力彩平塗線條內的空間。兩個女子抱著一隻 虎般貓,貓跟女人一樣眼神迷濛,表情溫馴 而色彩斑瀾。如丁氏一貫風格,盡量讓畫面 以全體簇擁的方式呈現,散發如夏日般的喧 鬧與豐盈。他的作品常出現鸚鵡、貓或馬、

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孔雀、錦鯉;對這樣的安排,丁雄泉說只因 牠們都是美麗的動物,就如他最愛描繪的花 和女人。換言之,形相本身的美貌,是他將 之入畫的主要關鍵。過度的學理剖析並不適 用於丁雄泉的藝術。視覺的歡愉、滿溢而出 的色相,以純粹的感官世界洗滌現代人過於 複雜的心境。

Walasse Ting’s oil paintings often have a straightforward and lovely name, like a friend talking to you. Genuine and full emotions are his registered trademark, leading the audience directly into his deepest sensory world. According to Ting, there are no straight lines on a female body; all are beautiful lines and curves. The artist worships the youth of life using his artistic creation, in the hope of seizing the most beautiful moment of life. This oil painting uses canvas as the media, which is rare and precious among his belle paintings. The calligraphic brush depicts the contoured outline and the full and rich acrylic colors fill the space encircled by the lines. Two young belles hold a pair of tiger cats in their arms; the cats and the belles have similar misty eyes, tame and colorful. In typical Walasse Ting style, the whole image is presented, conveying hustle and affluence in summer. Frequently seen in his paintings are parrots, cats, horses, peacocks, or golden carp; and Ting explains this is because they are all beautiful animations, just like the flowers and belles he likes best to paint. In other words, beautiful appearance is the focus in his paintings. Excessive theoretic analysis is not suitable for Ting’s art. A visual feast, an overflowing beauty, and a pure sensory world cleanse the overly complex mentality of modern people.


096

CHUANG Che (Chinese, b. 1934)

Mist-covered Waters 2006 Oil on canvas 168 x 168 cm Signed lower right Chuang Che in Chinese and dated 2006

NT$ 1,500,000-2,500,000 US$ 45,900-76,500 HK$ 353,000-588,000

莊喆 煙波浩瀚 2006 油彩 畫布 168 x 168 cm 簽名右下:2006 莊喆

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097

Yun GEE

(Chinese-American, 1906-1963)

Horses Oil on canvas 72 x 59 cm Signed lower left Yun Gee in English PROVENANCE: Acquired directly from the artist by the previous owner who was the artist's dentist in New York. Sotheby's Hong Kong, May 1, 2005, lot 31

NT$ 4,200,000-5,200,000 US$ 128,400-159,000 HK$ 988,000-1,224,000

朱沅芷 群馬 油彩 畫布 72 x 59 cm 簽名左下:Yun Gee 來源: 原藏者為朱沅芷紐約牙醫,直接得自藝術家 本人。 蘇富比香港拍賣,2005年5月1日,編號31

作為二十世紀早期海外華人藝術家研究現代 前衛藝術理論最為深入的一人,朱沅芷在異 域開闢繪畫天地,成為中國近現代美術運動 史邁向現代化進程中極為關鍵的角色。在 二十世紀初期華人備受歧視的艱困環境中, 他以對藝術的執著與敞開擁抱世界的胸襟, 始終超前於他的時代。 從舊金山、巴黎到紐約,懷著對立體派、野 獸派、共色主義、未來主義和社會寫實主義 等現代藝術理論的濃厚興趣,朱沅芷迅速吸 收最前衛的藝術形式,展開不同階段的繪畫 風格,融合對於色彩與結構的探索,創作出 足以表現個人風格的作品。他作品的技巧儘 管現代,但他鄙視同胞因崇洋而離棄傳統, 嘗試將中國傳統融入西方現代藝術中。 《群馬》原收藏者居住於紐約,為朱沅芷的 牙醫。畫面以傳統中國畫的構圖展開,前景 的馬兒姿態各異,輕盈的線條與豐富的色彩 展露出馬兒旺盛的生命活力,與遠景的房屋 與田野渾然一體,營造出分外閒適、優雅的 畫面空間。據朱沅芷女兒朱禮銀女士回憶, 儘管生活困頓,父親依舊堅持匯錢回到中 國,並表演音樂與舞蹈、舉辦展覽義賣為故 鄉的水患災民募款,展現人道關懷,瞭解藝 術家不為人知的另一面,讓我們對於藝術家 更為感佩。

As a 20th century early overseas Chinese artist, who was dedicated to the study of the theory of modern avant-garde art, Yun Gee started his own painting career in foreign fields, and became a leading person in the shift from Chinese artistic campaign history to modernization. Under the circumstances of the discrimination against the overseas Chinese in

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the early 20th century, Yun Gee embraced the whole world with his persistence in art, and was successfully ahead of the times. From San Francesco to Paris and to New York, with a keen interest in Cubism, Fauvism, Synchronism, Futurism and Social Realism, Yun Gee learnt from the most modern forms of art, and then started diverse stages of painting styles. Yun Gee created personally characterized paintings with a mixture of the discovery of colors and structures. Although Gee’s skills were quite advanced, he despised his fellow countymen who worshiped everything foreign and abandoned tradition. Yun Gee tried to add Chinese traditional elements into western modern art. The original holder of “Horses” was Yun Gee’s dentist, who lived in New York. The traditional Chinese composition creates a casual, elegant atmosphere scene. In the near view, the horses show various postures, the light stokes and the various colors reveal the vitality of the horses. Together with the houses and fields in the distant view, the painting forms a unified entity, and creates an exceptionally leisurely and elegant image space. As Yun Gee’s daughter Lilan recorded, despite the difficulties in life, her father still persisted in remitting money back to China. In order to raise money for the victims who suffered from floods in his homeland, Yun Gee held exhibitions at charity bazaars and performed music and dance as well. All these reflected the great care and the unknown side of the artist, who was respected even more by the people.


098

Yun GEE

(Chinese, 1906-1963)

Adam and Eve 1939 Oil on canvas 75 x 63 cm Signed lower left Yun Gee in English EXHIBITED: Experiences of Passage: The Paintings of Yun Gee and Li-lan, Lin & Keng Gallery, Beijing, Nov. 15-Dec. 16, 2008 ILLUSTRATED: Experiences of Passage: The Paintings of Yun Gee and Li-lan, Lin & Keng Gallery, Inc., Taipei, 2008, color illustrated, pp. 78-79 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 4,200,000-5,600,000 US$ 128,400-171,300 HK$ 988,000-1,318,000

朱沅芷 亞當與夏娃 1939 油彩 畫布 75 x 63 cm 簽名左下:Yun Gee 展覽: 「行旅生涯—朱沅芷與朱禮銀之繪畫」, 大未來畫廊,北京,展期2008年11月15日 至12月16日 圖錄: 《行旅生涯—朱沅芷與朱禮銀之繪畫》,大 未來畫廊藝術有限公司,台北,2008,彩色 圖版,頁78-79 附大未來畫廊開立之原作保證書

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099

ZAO Wou-ki

(Chinese-French, b. 1921)

30.11.74 1974 Oil on canvas 60 x 73 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse 30.11.74, signed ZAO WOU-KI in French and size 60 x 73 cm ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 465, p. 342 Pierre Daix, Zoo Wou-ki, l'oeuve 1935-1993, Ides et Calendes, Berne, 1994, color illiustrated, p. 124

NT$ 7,800,000-11,000,000 US$ 238,500-336,400 HK$ 1,835,000-2,588,000

趙無極 30.11.74 1974 油彩 畫布 60 x 73 cm 簽名右下:無極ZAO 簽名畫背:ZAO WOU-KI 30.11.74 60 x 73 cm

《30.11.74》為趙無極1974年完成的作品, 粉色大地筆觸舒緩悠揚,深色處層次分明 斑斕,畫布間蘊藏溫潤真摯的情緒。此時 他逐漸地走出喪妻的哀痛,結識了梵思娃 (Françoise Marquet)他未來的人生伴侶。 此時的筆觸已不見1960年代那般激越高亢 的風格,對色彩的掌握益加沈穩、內斂, 纖維線條的痕跡仍舊保留,弧狀的線條則 帶有毛筆柔性的特色,整體佈局轉趨輕盈 開闊,不禁讓我們聯想起中國水墨的留 白,除非深諳水墨精神的華人,無法完成 如此輕盈飄逸的繪畫空間。 多位藝評家皆認為,1973年起趙無極進入 了另一個藝術的階段。自中國探親歸來、 「重拾水墨畫創作」無疑是關鍵性的影 響。趙無極在自傳中提起這一段轉變的過 程:「我知道,從1973年開始,我的畫 風變了,因為我的朋友常常這麼說,尤其 常常這麼寫,也許這時我成熟了,過去累 積的努力,有了成果。一切都變得容易多 了。我也知道,我愈來愈愛畫,愈來愈有 話要說,也愈來愈怕自我重複。我畫我的 生活,但也想畫一個眼睛看不見的空間、 一個夢的空間,一個使人永遠感覺和諧的 所在,即使用的是充滿矛盾力量的不安的 形式。每一幅畫,從最小的到最大的,都 是這夢的空間的一部份。」(參閱趙無極、梵思 娃著、劉俐譯《趙無極自畫像》,藝術家出版社,台北, 1992初版,頁147)

圖錄: 尚.雷馬利,《趙無極》,藝術圈出版社, 巴黎,1986,黑白圖版,編號465,頁342 皮耶.戴,《趙無極:1935-1993作品》,意 得與卡蘭德,伯恩,1994,彩色圖版,頁124

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1948年趙無極抵達法國,初期為避免有取 巧之嫌,擔心掉入所謂的中國水墨趣味, 加以對於油畫的狂熱,使他完全遺棄了水 墨畫。1972年趙無極遭逢巨變,妻子美琴

病逝,哀痛逾恆根本無心作畫。當畫家面 對油畫布,本需要做足準備,需要高度的 專注力,當時他沒法思考或繼續作畫。然 而,繪畫同時也是療癒心靈的最佳良方, 尤其是他曾經最熟悉的信手塗塗畫畫。偶 然間他拿起了毛筆紙墨,童年時的經驗竟 然慢慢浮現,毛筆的柔軟,紙與墨的相互 溫潤、包容,恢復了趙無極繪畫的力量, 雖然此次的水墨經驗很短暫,內心深處仍 有稍許疑慮。不過,當再次面對畫布時, 他已重新找回內在的平靜,也發現新的作 畫方式,再次擴展了他的繪畫天地。因 此,1973年以後的油畫,竟也產生不同以 往的溫潤情調。 1974年開始,中國水墨畫對趙無極而言 不再僅止於是一種技巧的磨練,或是無法 作油畫時的休息、消遣,他掃除了記憶裡 曾有的罣礙疑慮。重拾中國水墨,豐富 了趙無極原本早已成熟的繪畫形式,色 彩更富麗明亮,光影線條柔和,恢復寬 闊的畫幅,在油畫裡添加了水墨的暈染 感,追求更高遠細膩的和諧感。可以說, 《30.11.74》是一幅寧靜的心靈風景,趙 無極藉著繪畫也走進了另一段新的生命旅 程。 此時趙無極的人生進入成熟階段,中國易 理、老莊思想,屈原、李白、杜甫的詩 意,乃至於米芾、范寬的山水畫,他再度 歸夢於年輕時代接受的民族文化素養,在 巴黎他溝通了中西藝術的差異,使其諧和 成為開人眼界的新視覺語彙,他畢生用心 經營,彩繪出高妙的抽象藝術,終於使自 己成為享譽國際的華人抽象藝術宗師。


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open, reminding us of the “leaving empty” in Chinese water-ink paintings. It takes a Chinese artist that knows the water-ink spirit well to create such a light, smooth, flowing painting. Many art critics consider that, Zao Wou-ki began another art stage after 1973. After he visited relatives and returned from China, his paintings “Regain the creation from ink painting”, and his visit obviously had a clear impact on his future work. Zao Wou-ki says in his autobiography: “I know that from 1973 my paintings changed because my friends often told me and especially wrote to me about it. Maybe I had matured, the point where all my experiences came together, where everything became easy, after many efforts and unremitting work? I know for certain that I loved to paint more and more, that I had more and more to express, with constant fear of repeating myself. I painted my own life but I was also searching to paint an invisible place, a dream place, a place where one feels always in harmony, even with faced with contrary forms and agitations.” (Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions Fayard, 1988 pp. 157-158)

北宋畫家范寬《谿山行旅圖》 絹本‧淺設色 畫軸,206.3 x 103.3 cm 現藏於台北國立故宮博物院 FAN K'uan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm Collection National Palace Museum, Taipei

The painting “30.11.74” was created by Zao Wou-ki in 1974: the pink land has smooth and lasting strokes, the deep colors have a clear hierarchy, and the whole canvas conveys warm and genuine feelings. At this period, Zao gradually walked out of the sorrow for the loss of his wife and was getting to know Françoise Marquet, his future wife. His paintbrush at the time was no longer as excited and highpitched as in the 1960s; instead, he had a more steady and mature command of colors and a reserved means of tracing lines. The arching lines have a special softness from the brush and the overall layout becomes light and

In 1948, Zao arrived in France. For fear of being considered as opportunistic by using the so-called Chinese water-ink influences, and because of his passion for oil paintings, Zao completely abandoned water-ink painting. In 1972, his wife May passed away. Because of his great sorrow, Zao could not focus on painting. Oil painting requires sufficient preparation and highly focused attention, Zao was unable to think or continue with painting. However, when he accidentally picked up a writing brush and ink, childhood memories emerged in his heart and the softness of the brush, the gentleness and interactivity of the paper and ink brought back his strength and faith in life. It was a short moment, leaving still some worry and concern unsoothed in the depth of his hearth. However, when confronting an oil painting canvas again, he had recovered his serenity inside and discovered a new painting method, expanding once again his painting horizon. Therefore, Zao’s oil paintings from 1973 on have an unprecedented warmth and gentleness.

From 1974, Chinese water-ink painting was no longer a mere technique for Zao Wouki or a relaxation or time killer when he was unable to focus on oil painting. By then, he had eliminated all concerns and doubts about Chinese water-ink painting. Picking up Chinese water-ink painting again, he enriched his already-mature painting form, with more bright colors and soft lines of light and shade, a spacious painting canvas, and water-ink smudges in oil painting, as he sought a higher and finer sense of harmony. It may be said that “30.11.74” is a tranquil mental landscape. Through painting, Zao Wou-ki has started a new journey of life. By this time, Zao Wou-ki entered into a mature stage of his life: from the “Book of Changes”, the Taoism ideas of Lao-Tse and Chuang Tzu, the poetry of Qu Yuan, Li Bai, and Du Fu, and the landscape paintings of Mi Fu and Fan Kuan, once again, he immersed himself in Chinese culture. In Paris, he perceived and bridged the difference between Chinese and Western art, combining the two harmoniously to become an eye-opening visual language. Throughout his life, he has been pursuing and exploring the lofty and supreme abstract art, finally making himself the most renowned Chinese abstract art master in the world.

米芾《書法》 Callgraphy of Mi Fu (1051-1107)


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WU Guanzhong (Chinese, b. 1919)

The Flying White of Waterfalls 1983 Ink and color on paper 70 x 140 cm With two seals of the artist EXHIBITED: Wu Guanzhong: A Contemporary Artist of China, The Chinese Culture Foundation of San Francisco, an itinerant museum exhibition in San Francisco, Birmingham, Kansas, Saint Johns, 1989-1990 ILLUSTRATED: The Complete Works of Wu Guanzhong Vol.V, Hunan Fine Arts Publishing House, Changsha, 2007, Hunan, color illustrated, pp. 256-257

NT$ 6,000,000-9,000,000 US$ 183,500-275,200 HK$ 1,412,000-2,118,000

吳冠中 飛白 1983 彩墨 紙本 70 x 140 cm 鈐印右下:吳冠中 鈐印左上:八十年代 展覽: 「吳冠中─一個當代中國藝術家」,美國舊 金山中華文化基金會,美國舊金山、伯明 翰、堪薩斯、聖約翰、底特律五市博物館巡 迴展,1989到1990年 圖錄: 《吳冠中全集5》,湖南美術出版社, 長沙,2007,彩色圖版,頁256-257

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吳冠中的畫作多以中國的民族、地域風格、 特色為題材,並將這些題材以獨特的繪畫語 言─點、流動的線、與塊面連接起來,表達 自己對故鄉的眷戀之情。吳冠中曾說:「藝 術只能在純真無私的心靈中誕生,只能在自 己的土壤裡發芽。」憑著「從自己傳統的根 基上發出新枝」的信念,融入西方抽象的即 興與自動性特質,以及個人對審美的造型要 求,創作出屬於個人風格強烈的繪畫。 吳冠中在《飛白》中特別關注視覺要素的 自律性,水彩紙紙面的自然紋路,將繪畫 過程處理成一種天然的繪畫肌理,畫家用筆 果斷、俐落,製造出類似書法飛白的效果。 畫家將黑白關係與色彩關係的整體對比,系 統化地展現出自然界的內在結構。運動中的 線條不斷地自我增殖,它們在顫動中互相跟 隨,在空間中運動,產生了變動不拘的形 態。吳冠中將對現實與自然的提煉,轉化為 感覺的昇華,過程間藉由結構形式的簡化, 實現作品本身的內在協調與美感。

Wu’s paintings incorporate the features and characteristics of traditional arts in China; he uses a special painting language - dots, flowing lines, and planes - to connect his themes and express his love for the motherland. Wu said that: “Art can only be born in a pure and unselfish soul and germinate in its own soil.” “Growing new branches from traditional roots”, integrating abstract improvisation and spontaneity, Wu created paintings with a strong personal style.

In “The Flying White of Waterfall”, Wu paid special attention to the self-discipline of visual elements: during the painting process, he resorts to the natural texture of water-color paper as a natural painting medium. He uses a firm and decisive brush to create an effect similar to the technique of leaving white space in each stroke in calligraphy. The artist uses the contrast between black and white and other colors to systematically present the intrinsic structure of nature: the lines in motion continuously propagate themselves and they chase each other, move in space and form a dynamic style. Wu promotes abstraction from reality and nature and transforms it to a sublime sense. The simplifying of the structure allows the internal harmony and beauty of the painting to burst forth.


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LIN Fengmian (Chinese, 1900-1991)

Still Life, Figure, Fish, Cactus c. 1977 Ink and color on paper 68 x 68 cm Signed center left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhu Pu ed., Modern Artists Theory, Work, Biography: Lin Fengmian, Xue Lin Publishing, Shanghai, 1988, black-and-white illustrated, no. 121 (with the title of “Still Life") Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 20, p. 13

NT$ 8,500,000-12,000,000 US$ 259,900-367,000 HK$ 2,000,000-2,824,000

林風眠 魚盤仙人掌靜物 約1977 彩墨 紙本 68 x 68 cm 簽名左下:林風眠 鈐印左下:林風瞑印 來源: 三槐堂收藏,香港 圖錄: 朱樸編著,《現代美術家畫論.作品.生 平—林風眠》,學林出版社,上海,1988, 黑白圖版,編號121(原畫題為《靜物》) 周衛明編,《藝苑掇英第七十二期:三槐堂 藏現代書畫專輯》,上海人民美術出版社, 上海,2004,彩色圖版,編號20,頁13

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林風眠一生的繪畫題材以風景、戲劇人物、 仕女、花鳥、靜物為主,其中靜物畫的留世 數量較少,然其繪畫形式卻是林風眠最率性 的表現,有人稱之為林風眠「最洋派」的創 作。雖然古埃及墓穴、古希臘藝術曾出現以 宗教或寓言形式存在的靜物圖畫,然而「靜 物畫」在西方藝術史中仍屬於一項新的繪 畫門類,17世紀時才確立,經過荷蘭畫家 的努力,19世紀中期產生變革,後來在19世 紀末的印象派、象徵主義,以及20世紀的野 獸派、表現主義、超現實主義等流派的推波 助瀾下後,靜物畫異彩紛呈。而中國美術裡 靜物畫的類別也不顯著,中國繪畫傳統比較 重視 山水,所謂靜物畫通常歸類於花鳥畫範 疇,描寫花卉蟲草鳥獸等自然景物;西方靜 物畫講求對象物的寫實描寫,對象物未必是 活的,死去的禽鳥魚獸也是畫家描繪的對 象,中西觀念大不相同。 身為20世紀中國最重要的美術教育家,林 風眠受到西方藝術的啟迪甚早。1919年他 以勤工儉學名義,先後留學法國、德國,在 歐洲生活六年之久。他曾進入迪戎美術學院 (Ecole des beaux arts de Dijon)學習,受到 院長楊西斯(Ovid Yencesse, 1869-1947)的 鼓勵與賞識。後來又進入巴黎高等美術學院 柯蒙(Ecole des Beaux-Arts de Paris, l’atelier de Cormon)的畫室,學習寫實的技巧。楊 西斯則建議他要多方擴展所學,尤其是中 國民族藝術的研究,因此林風眠旅法期間 跑遍各大博物館,最常流連的是巴黎東方 藝術博物館(Musée Guimet)與陶瓷博物館 (Musée national de la Céramique)。20世紀 西方現代大師如馬蒂斯(Matisse)等都在吸 收和借鑑東方藝術,而林風眠身為中國人, 尤其體認民族藝術之可貴,曾為歐洲博物館 收藏的中國的雕刻、工藝品、繪畫,對他後 來的藝術產生深刻的影響。而遊學柏林期間 接觸北歐表現主義,亦豐富其油畫創作形 式。 創作於1977年左右的《魚盤仙人掌靜物》作 品,結合靜物畫與戲劇人物兩大主題,融入

中國民間藝術與西方立體主義的風格,採方 形佈局,方中有圓,乃是林風眠繪畫格體的 顯現。此畫全以毛筆畫就,筆法精練,色彩 鮮豔,構圖豐富,為林風眠靜物畫的經典特 色。墨色氳染的全黑背景,挪借中國歷史悠 久的工藝美學—漆畫特質,造型採用平面 化,佈局講究均衡。窗幔的圖案斑斕,帶有 野獸派的近東遺風,藉其位置暗示出畫面空 間,既寫意又現代感十足。 左方的戲劇人物,採用多重三角形的組合, 有如民間剪紙藝術的造型用以描繪仕女的衣 飾,連仕女的鼻、頸項都呈現三角形,而人 物在黑色背景中呈現有如皮影戲的造型趣 味。根據文獻照片,林風眠上海時期南昌路 的住所,牆上曾貼有類似的戲劇人物造型圖 片,他特別將此戲劇融入到此幅靜物畫中。 右方的仙人掌比例刻意誇大,豐盛的新綠恣 意綻放,圓形的造型則與左方的三角造型戲 偶形成對話,同時也呼應了畫面中下方的黑 白魚盤。盤子是圓形,盤腳卻是呈三角形, 即使雙魚的造型也採圓形與三角並用,形成 既衝突又平衡的趣味。 根據現有的文獻資料,林風眠採取仕女、魚 盤、仙人掌靜物等元素、類似構圖的畫作共 有兩幅,一幅出現在1979年雄獅美術圖書公 司出版、席德進撰寫《改革中國畫的先驅 者—林風眠》一書第75頁,畫題為《靜物》 (尺寸不明),仕女的紋飾與盤子形狀略有 不同,兩幅畫應為同時期姊妹作。而另一幅 就是此次的拍品《魚盤仙人掌靜物》,知名 林風眠收藏家香港三槐堂主人收藏多年,其 圖片曾刊印於1988年呂蒙寫序、朱樸編著的 《現代美術家畫論.作品.生平—林風眠》 一書,圖版編號121,書中的畫題也是取名 為《靜物》。呂蒙也是畫家出身,與林風眠 是莫逆知交,曾擔任上海林風眠藝術研究會 的首任會長,多次為林風眠畫集出版作序, 而朱樸則是曾擔任副會長。該書收錄的圖版 數量不多,《魚盤仙人掌靜物》的重要性可 見一斑。


Lin Fengmian’s paintings throughout his life were mainly landscapes, opera characters, lady figures, flowers, birds and still lifes. Lin’s still lifes are quite rare but they reflect the most straightforward part of Lin Fengmian’s character. His still lifes are considered to be his “most western” compositions. “Still life” as an art form has existed since ancient times, from the tomb art of ancient Greece and Egypt where it appeared in the form of religious and fable representations, In modern Western art history “Still Life” became established in the 17th century, and thanks to the efforts of Dutch painters, it was much improved in the mid-19th century. Subsequently influenced by impressionism and symbolism in the late 19th century, and by fauvism, expressionism, surrealism and others in the 20th century, “Still Life” became far more colorful and splendid. “Still Life” is not a prominent category in Chinese art. Traditional Chinese paintings mainly concentrate on mountains and water. Chinese “Still Life” usually falls to the concept of “flowers and birds”, which depicts flowers, insects, grass, birds, animals and other natural beings and objects. Western “Still Life”, however, highlights realistic and factual description of objects, which don’t have to be living; Inanimate objects may also be represented in Western paintings. This reflects a value difference between Chinese and Western paintings. As the most significant art educator in the 20th century in China, Lin Fengmian had been inspired by Western art early in his career. From 1919, he lived and studied in Europe

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first France then Germany on a work-study basis. He studied in the Ecole des Beaux-Arts de Dijon, where his talent was recognized and encouraged by Ovid Yencesse (1869-1947), Director of the Ecole. Later, Lin studied at Ecole des Beaux-Arts de Paris in “l’atelier de Cormon”, Corman’s Art Studio, where he learned realistic painting skills. Yencesse suggested that Lin should broaden his field of study, especially in traditional Chinese arts. For this reason, Lin shuttled back and forth between various large museums. Lin most frequently visited Musée Guimet of Eastern Art and Musée National de la Céramique, the national museum of ceramics. Western modern masters such as Matisse were also learning and absorbing from ideas and concepts from Eastern art. Lin Fengmian, as a Chinese, cherished the value of traditional art. The Chinese carvings, art and crafts, and drawings collected by European museums deeply influenced Lin’s later art compositions. In addition, northern European expressionism, which Lin embraced when he was travelling and studying in Berlin enriched the diversity of his oil paintings. The painting “Still Life, Figure, Fish, Cactus”, painted around 1977, combines the two major themes of still life and figure. It integrates Chinese traditional art and Western cubism. Lin’s square arrangement with round shapes in the picture fully displays Lin’s painting style. It was painted with Chinese brush. The succinct brushmanship, fresh colors and rich composition constitute the typical features of Lin Fengmian’s still life paintings. The inkpainted black background is borrowed from the character of lacquer painting, a traditional Chinese handicrafts art with a long history. The two-dimensional formative design, the balanced arrangement, the colorful fauvistic patterned


window-curtains, the Near-East style, and the space implied by the position of the curtains, all reflect the freehand style of traditional Chinese brushwork and the modern style of Western paintings. The female figure on the left is composed of multiple triangles, including her accessories and clothes, which are of traditional Chinese paper cutting. Even her nose and neck are triangular. The figure shows interesting shadow patterns with black background. According to documentary photos, similar pictures of such a figure were hung on the wall of Lin’s residence on Nanchang Road when he lived in Shanghai. Lin particularly refers the figure in this still life to that image on his wall. The proportion of the cactus on the right is deliberately magnified to emphasize the verdure color and vitality of the plant. The round shapes on the right respond to the triangles on the left, and echo the round black-and-white fish plate in the middle. The plate is round-shaped with a triangular leg. The two fish are composed of circles and triangles, forming an interesting contradiction and balance. According to current documentation, there are two paintings of similar composition where Lin Fengmian selected the elements of female figure, fish plate and cactus. One a p p e a r s o n P. 7 5 i n “ L i n Fengmian, Innovation Pioneer of Chinese Painting” (written by Shiy De-jinn, and published by Hsiung Shih Art Book Pte. Ltd), titled as “Still Life” (unknown size). The pattern of the women’s clothes and the shape of the plates

are slightly different. These two paintings are probably twin paintings composed at the same period. “Still Life, Figure, Fish ,Cactus” in the auction belonged for many years to the owner of San Huai House in Hong Kong, who is a well-known collector of Lin Fengmian works. A photo of this painting, plate 121, appears in “Modern Artists Theory, Work, Biography: Lin Fengmian” in 1988 with a preface by Lü Meng and compiled by Zhu Pu. It is titled “Still Life”. Lü Meng was also born into an artist’s family, and was Lin Fengmian’s confidant. He was the first President of the Shanghai Lin Fengmian Art Research Association. Lü wrote the preface of many of Lin’s albums. Zhu Pu was the VicePresident of the Association. Not many of Lin’s paintings are collected in this book, and thus the significance of this painting:“Still Life, Figure, Fish, Cactus” is clearly emphasized.


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SANYU (CHANG Yu) (Chinese-French, 1901-1966)

Vase of Flower with Blue Ground 1956 Oil on canvas 72.4 x 46.4 cm Signed lower right Yu in Chinese in a square and SANYU in English

《藍底瓶花》一作完成於1956年,這是一 幅難得有畫家同時標記年代、簽名及題寫 地址的作品,原始畫背上簽有「常玉。沙 坑街28號,巴黎,1956」的法字字樣。我 們無法臆測常玉是否有意在何處發表這幅 作品,因而慎重其事地填寫上詳細的畫作 說明,特別是他所居住的工作室地址。根 據衣淑凡女士所編寫的畫家〈生平年表〉 (參考2001年出版《常玉油畫全集》,頁62-72) ,

PROVENANCE: Parke Bernet sale, c. 1970 (former name of Sotheby's) Collection of Ken Ferris & Amy Schor Ferris (Amy Schor's mother  acquired directly  from the above auction) Sotheby's Sale, Hong Kong, Oct. 28, 2001, lot 30

1943年之後常玉遷居巴黎第十四區的沙坑 街,一直到1966年生命結束。而從1943、 1944、1945、1947、1948、1954、1955、 1956年歷屆的「獨立沙龍」展覽目錄裡, 可以尋見常玉作品參展的記錄,書上的文 字都會寫道「常玉。沙坑街28號」以及歷 次參展的作品題目。 1948至1950年其間常玉前往紐約尋求發 展,中斷了在巴黎的展覽,然而遠渡重洋 並未為他帶來經濟上的改善。畫家生前八 年的1956年最後一次參加獨立沙龍展覽之 後,似乎不再積極參與當時巴黎最前衛的 展覽之一。生活困頓潦倒,畫作銷售的失 利,本想靠乒乓網球發跡的美夢也宣告破 碎了。一人離開故鄉寄居藝術之都達四十

在百家爭鳴的巴黎畫派中,常玉的繪畫遺 世獨立,一個幾乎被人遺忘的名字,直至 20世紀後期終於找到知音,他的一批晚期 花卉作品現在保存在台灣的國立歷史博物 館,成為華人世界重要的瑰寶。2004年巴 黎東方博物館以「身體語言」為題,展出 百餘幅常玉的創作,將這位來自中國的藝 術家介紹給國際藝壇。

常玉 藍底瓶花

來源: 帕克博耐特拍賣,約1970(蘇富比前身) 肯.費瑞斯與愛咪.索爾.費瑞斯收藏(愛 咪.索爾的母親購自上述拍賣) 蘇富比拍賣,香港,2001年10月28日, 編號30

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從書香世界富家子弟,到飄零異鄉的落魄 畫家,繁華與空寂的強烈對比,在常玉的 繪畫裡我們看出不可言說心境。尤其1950 年代之後的花卉靜物畫,可說道盡了繁 華落盡後的悽愴寂寞。花卉的題材是常玉 終生最主要的題材,有人從常玉的花卉看 到中國文學名著《紅樓夢》的盪氣迴腸。 同為旅法的藝術家熊秉明曾以「盆、魂、 痕、昏」《紅樓夢》書中〈白海棠詩〉的 四個韻腳,形容常玉小小盆栽的孤獨、 寂寞、沈湎與耽溺。而美學家蔣勳則從他 的的花卉裡聯想到,賈府四千金的名字組 合「元迎探惜」(元春、迎春、探春、惜 春),被後人解讀的「原應嘆息」,暗示 著春去春回,美好花季無法長存,絕美的 短暫,令人嘆息。 常玉的繪畫和生命的確留予後人無限低 吟,1956年的《藍底瓶花》風格簡潔洗 鍊,不以多重色彩鋪陳豐華,僅以藍白兩 色即能展現花的清艷,頗有中國水墨的極 簡味道。淨白的瓶身採取中國瓷瓶的形 制,在滄茫的深藍背景裡昂然直立,崚嶒 的枝葉如海底的珊瑚,晶瑩透亮,隨波浪 輕輕搖曳。《藍底瓶花》所呈現的是瀟灑 的常玉及其孤芳自賞的心境。自幼受過東 方書畫的薰陶,常玉擅長疏密有致的線條 勾勒,兼採中西形式構成,單色調的層層 敷染,融入現代繪畫的質感。常玉一生在 巴黎追求西方自由開放的藝術空氣,但他 的血脈流淌的,自始至終仍是東方文人的 傲氣,這種精神在他的後期花卉作品更是 展露無疑,其中他所 開創的個人風格,後 人全然無法仿效。

NT$ 30,000,000-40,000,000 US$ 917,400-1,223,200 HK$ 7,059,000-9,412,000

1956 油彩 畫布 72.4 x 46.4 cm 簽名右下:玉 SANYU

年,卻淪落到傢具店鋪描繪圖案及兼零工 維生,內心的鄉愁和惆悵可想而知。


“Vase of Flowers with Blue Ground” was completed in 1956. It is one of the rare works by Sanyu that come complete with signature, address and date, which were all written on the back of the original painting as follows: “SANYU, 28 Rue de Sablière, Paris, 1956”. We can only make conjectures as to whether Sanyu had any intention of publishing this picture anywhere-this would explain why he went to the trouble of providing all the abovementioned details, in particular the address of his studio, which was also the place where he lived. According to the Biographies of Painters compiled by Rita Wong (cf. Sanyu-A Catalogue Raisonné of Oil Paintings, pp. 62-72, which was published in 2001),

Sanyu moved to the Rue de Sablière in the 14th arrondissement of Paris in 1943, where he would have his residence until the end of his life in 1966. In the exhibition catalogues of the Salon de Indépendants for the years 1943, 1944, 1945, 1947, 1948, 1954, 1955 and 1956, we find records of works by Sanyu on show, all with the notation “SANYU, 28 Rue de Sablière”, and a list with the titles of his works that were on display through the years. Between 1948 and 1950, Sanyu went to New York to search for new creative outlets, which led to a hiatus in his Paris exhibitions. Yet his trip to the United States did by no means improve Sanyu’s financial fortunes. After his last participation in a Salon de Indépendants exhibition (1956), it seems that Sanyu no longer showed an active interest in being part of one of the most avant-garde showcase events of the time. He hit hard times, his paintings no longer sold well, and his dreams of making a career as a table tennis player also came to nothing. After having spent forty years far away from home, all on his own in the Capital of Arts, he eventually came down so much in the world that he had to work as a technical drawer and take other odd jobs at a furniture store. We can easily imagine

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the frustration and sadness in his heart, and his nostalgia about his native country. Coming from a wealthy, renowned family, Sanyu must have felt keenly the stark contrast with his later lonely days as an impoverished painter down on his luck in a foreign country. In his oeuvre, we can sense some of the artist’s poignant mood. In particular his flower stills of the 1950s and later are brimming with the forlorn desolation that follows when one falls from the heights of a careless life in prosperous circumstances. Flowers were probably the most important single motif in Sanyu’s work, and some people have detected the heartrending spirit of the famous classical Chinese novel Honglou Meng (The Dream of the Red Chamber) in his flower paintings. One of his compatriots and fellow painters in France, the native Chinese artist Xiong Bingming, once took the four rhyme words of the “Ode to the Baihaitang”, a poem in the Honglou Meng, “pen, hun, hen, hun” to describe the isolation and loneliness, but also the self-indulgence and over-indulgence in drink and other vices that were all characteristic of Sanyu, this “small transplanted bonsai” under strange skies. And aesthetician Jiang Xun was inspired by Sanyu’s flower stills to make another association: if you take the names of the four daughters of the once powerful and prosperous Jia household in the novel Honglou Meng (Yuanchun, Yingchun, Tanchun and Xichun, the second element in all the names being identical, meaning “spring”) and combine them into a sentence of similar-sounding characters, you end up with something like “There’s truly good reason to heave a heavy sigh”, an allusion to the fact that spring comes and goes, and that the beautiful season of blossoming flowers is always short-spring as an eternal metaphor for the ephemeral quality of extraordinary beauty. This interpretation by some readers of the novel came to Jiang’s mind when pondering the sad fate of

常玉《青花盆與菊》 羅芙奧2004秋季拍賣會,編號133 ,2037萬台幣成交 SANYU Potted Flowers in a Blue and White Jardiniere

Oil on masonite, 91x62 cm Ravenel Autumn Auction 2004, lot 133 NT$ 20,370,000 sold

Sanyu. Sanyu’s life and work certainly had and has the power to deeply move his posterity. The painting “Vase of Flowers with Blue Ground” from 1956 gives evidence of his succinct style: no multiple layers of variegated colors to express some kind of brilliant splendor, but only dry slabs of blue and white which yet completely suffice to bring out the flower’s refined elegance. The simplicity of style is rather reminiscent of traditional Chinese ink and wash painting. The shape and form of the vase, painted in pure white, also is that of conventional Chinese porcelain vases,

rising proudly against the background of deep blue that seems to be stretching on forever like a vast ocean. In this “marine” ambience, the stalks and leaves are floating like corals at the bottom of the sea, sparkling and translucent as they sway gently with the movement of the water. We can say that “Vase of Flowers with Blue Ground” amply conveys both Sanyu’s dashing and unrestrained personality and his sense of aloofness from a world that does not know how to properly appreciate his talent. Having been exposed to Oriental painting and calligraphy since his early childhood, Sanyu excels at the execution of supple and graceful lines of varying shape that are interwoven with a fine sense for spacing and composition. Cleverly blending the formal principles of Eastern and Western art, Sanyu applies dry monochromatic layers but infuses them with the substance and significance of modern painting. Sanyu spent almost his entire life in Paris in pursuit of the more liberal and uninhibited ways of Western art, yet it was still the blood of a Chinese scholar-painter that was pumping through his veins. It is this proud spirit of the Eastern literati that is fully displayed in his later flower stills, works in which Sanyu finds his definitive and unique style that remains inimitable to this day. Among the many different schools and styles of painting competing with each other in Paris, Sanyu remained independent and aloof in his approach. For some time, his name was almost completely forgotten, yet there has been a strong revival in the appreciation of his art since the late 20th century. A number of his late flower paintings are currently kept at the National Museum of History in Taiwan, precious gems of the Chinese world. In 2004, the Musée des Arts Asiatique Guimet held an exhibition under the title “L’écriture du corps” featuring more than one hundred of Sanyu’s works, introducing his oeuvre to an international audience.


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ZAO Wou-ki

(Chinese-French, b. 1921)

17. 4. 64 1964 Oil on canvas 114 x 162 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French and titled 17.4.64 ILLUSTRATED: J e a n L e y m a r i e, Z a o Wo u - K i, E d i c i o n e s Poligrafa S.A., Barcelona, Documentation by Françoise Marquet, 1978, black-and-white illustrated, no. 342 Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 356, p. 328

NT$ 46,000,000-62,000,000 US$ 1,406,700-1,896,000 HK$ 10,824,000-14,588,000

趙無極 17.4.64 1964 油彩 畫布 114 x 162 cm 簽名右下:無極 ZAO 簽名畫背:ZAO WOU-KI 17.4.64 圖錄: 尚.雷馬利,《趙無極》,與梵思娃.馬凱 文獻研究,波利格拉法出版社,巴塞隆納, 1978,黑白圖版,編號342 尚.雷馬利,《趙無極》,藝術圈出版社, 巴黎,1986,黑白圖版,編號 356,頁328

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趙無極,一位擅長在繪畫中藏詩的藝術家, 他的繪畫也容易打動詩人的心,多年來研究 趙無極藝術的專書圖冊不少,其中不少歐洲 的藝評賞析都出自詩人藝評家之手。趙無極 的創作抒情抽象繪畫,以西方的油彩完成潑 墨山水的意境,創新所謂文人畫的視野,在 中外皆起共鳴,他更是華人現代抽象藝術首 推的大師人物。唐代詩人王維(八世紀)以 詩入畫,首度提出「詩中有畫,畫中有詩」 的觀念。到了宋朝,蘇軾(1037-1101)、 黃庭堅(1045-1105)、米芾(1051-1107) 父子,以王維文人畫理論基礎,以書法入 畫,實踐水墨畫的發展。而蘇軾的「士人 畫」又將文人畫更趨成熟、往前邁一大步。 北宋的山水畫對自然山水懷抱崇高的理想, 當畫家在畫山水時,不在意寫實技巧,而是 開闢一個可以冥想、遨遊的虛空。趙無極其 一生的創作軌跡,可謂一位現代新文人畫 家,而他終其一生遊歷世界,見證數十載的 時代脈動,其藝術影響力尤其在今日世界仍 有可貴的回饋。 無極,他的名字有浩瀚無窮的奧義,是中國 道家觀念裡萬物的伊始、萬物的依歸。而他 的抽象繪畫也正反映出對宇宙萬物的觀點。 有評論家形容他是一位飄浪的藝術家,應與 他出生自文化中國,生活在藝術巴黎有關。 他的身體在有形的世界遷徙,而他的心靈也 在東方與西方之間擺渡,歷經傳統與創新的 反思沈澱,因為生命中種種的遭遇與追尋, 而使得趙無極的繪畫能夠跨越世俗的疆界, 給予觀者一種淬勵後的美的感受。 繪畫正是趙無極的人生里程的記錄,無論地 理的遷徙,到心靈的追尋,皆為其一生的藝 術留下影響。趙無極1921年出生於歷史悠久 的北京,趙家書香世界,為宋朝皇族後裔。 而 他幼時遷居南通,爾後上海。家學淵源之 故,極早接觸書畫與文學,培養藝術人文的 涵養。14歲離開上海到了杭州,考進中國南 方重要的藝術學府—杭州藝專,期間學習素

描、國畫與西洋繪畫理論,在師長林風眠 (1900-1991)、潘天壽(1897-1971)、吳 大羽(1903-1988)的指導下六年間完成繪 畫基礎的養成。1941年年方20的趙無極,因 為戰亂之故,家庭與學校都避難四川重慶, 路途上屢遇挫折,但未曾消減創作的欲望。 他在重慶舉辦了生平的第一次個展,也參加 中國現代繪畫的重要聯展,和前輩藝術家 關良(1900-1986)、丁衍庸(1902-1978) 及李仲生(1912-1984)發表創作。1945年 戰爭結束,回到上海的家,也回到杭州的校 園。 20世紀初期的中國極不寧靜,軍閥割據、內 外交戰、飢餓蕭條,幼時的趙無極慶幸家境 富裕,但仍親眼目睹時代的動盪流離。二次 世界大戰之後,中國更是處於一個紛擾的時 期,歷史的因素迫使人類大規模的遷徙逃 難,生命處於極度的不安全感。而伴隨著身 心的交迫衝突,就趙無極的記憶裡,繪畫是 可以遠離諸多紛亂的避難所。而對繪畫的莫 大熱愛與日俱增,繪畫的空間才是他心靈的 真正依歸。他知道此時留在中國不可能全心 的畫畫,於是1948年在父親的同意下,他帶 著妻子離開,到法國追求自由創作的理想。 那年搭乘的郵輪,三十年前亦曾載著他的恩 師林風眠到法國展開西畫探索。前人開荊闢 棘指引捷徑,此時他也恭逢歐洲抽象繪畫運 動盛會,不久即成為歐洲藝壇出色的新巴黎 畫派一員。 初抵巴黎時,趙無極仍以具象繪畫為主題, 清新素雅的色調。他的具象畫裡有風景、建 築和大自然,皆是生活裡可見的景物,雕塑 家傑克梅第(Jacometti)的畫室和他比鄰而 居,他非常欣賞趙無極繪畫裡的具象部份一 種潦草、顫動的感覺。而這種帶給傑克梅第 讚賞的功夫,也是自幼早已嫻熟的筆墨書寫 了。1950年代初期畫中間雜著線條和符號, 逐漸簡化為抽象的圖騰,脫離了 敘事性的描 寫,形成詩意的自由空間。1954年之後,趙


影響繪畫色彩的細膩變化。而1964年藝評家 史奈德(Pierre Schneider)邀請15位當代藝 術家參加「超規格繪畫」畫展,趙無極是其 中一位。此時因應美國藝壇偏愛大幅畫的風 潮,趙無極在繼續歐洲人偏愛的小畫之餘, 也開始創作大尺幅繪畫,開創格局盛大的經 典作品。

趙無極《19. 7. 63》 羅芙奧2007秋季拍賣會,編號071,4876萬台幣成交 ZAO Wou-ki, 19. 7. 63 1963, oil on canvas, 114 x 75 cm Ravenel Autumn Auction 2007, lot 071, US$ 1,511,235 sold

無極的繪畫受中國漢代拓片、甲骨文字的啟 發,在畫作中加入草書的影響,融入石濤、 八大的意境,以及美國行動繪畫的直率,漸 漸開展出屬於趙無極個人風格的抽象繪畫。 趙無極曾說塞尚(Cézanne)啟發了他了解 中國的自然,西畫讓他更容易接近中國傳統 藝術的精髓。他說別人服膺於一種傳統, 他則服膺於兩種傳統。因為中西兩種文化 的衝擊,使得趙無極能恣意揮灑,交匯出更 豐富的創作空間。1960年代,趙無極自言繪 畫有了飛快的進展,前所未有的旺盛創造 力。1963年他的新畫室竣工,那是一處隱密 的空間,依照他的設計開窗位置,光線自北 方來,能夠掌握色彩的密度,不致於使日光

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1964年趙無極的創作力尤為旺盛,此時作 品帶有畫家內在的狂烈激情。儘管他已在 藝壇上備受矚目,幾年前分別和美國庫茲 畫廊(Kootz Gallery)以及法國一流畫廊 法蘭西畫廊(Galerie de France)簽訂定期 畫展的合約,更和法國首位文化部長馬勒 侯(Malraux)交誼甚深,受其鼓勵入籍法 國。但由於當時妻子美琴身體孱弱,舊疾復 發,焦慮非常的趙無極常把繪畫當作情緒宣 洩的出口。繪畫有時是心靈的避難所,但碰 觸藝術時,畫室往往也是意志與情感的競技 場,尤其面對大畫布時,人不可能置身其 外,必須完全的投入。本幅拍品《17.4.64》 即是此一階段的代表作,畫中風雲變化萬 千,飛揚的線條彷如風馳電掣,為趙氏不可 多得的極品。 《17.4.64》一畫以1960年代特有的古銅 黃褐色為基調,橫幅巨大的空間裡,畫家 的思緒在其間奔流,豐富色階的顫動、纖 細敏感的線條躍動,輕盈、濃烈並重。情 感原來仍是低迴纏綿的水流,但瞬時河海 翻騰,洶湧澎湃,衝擊著觀者的心靈。儘 管面對內在的恐懼,精神的苦悶,趙無極 以其熱愛和諧、自由的意志,為他筆下的 作品賦予向上升揚的精神,其色彩、光影 空間都能掌握得奧妙,此時畫風因繪畫元 素多元而產生富麗之感。趙無極出生自悠 久歷史的中國,其繪畫內蘊藏著文化的傳 承,以及古老歷史的軌跡,相較於同代歐 美抽象畫家,書畫的傳統,讓他擁有更富 足的背景元素。文人墨戲,高山、漁隱, 數百年中國繪畫大師借畫寓情,不在描繪 實景實物,而是書寫內在微觀。趙無極不 也是懷抱崇高理想,在異鄉的畫室內,為 自己開闢一處可以冥想遨遊的山水空間。

此幅自信又多感的繪畫鉅作裡,傳達變幻無 窮的想像世界。猶如法國知名藝評家亨利. 米修(Henri Michaux)對趙無極此階段繪畫 的溢美之詞,他寫道:「趙無極的繪畫,其 巨大的維度裡,與沛然情感幅員等量齊觀, 擴大轉換成為大地的強力假想。大自然,為 趙無極帶來一個大地形成之初的輝煌時期。 翩翩飄逸,混沌朦朧,飛舞昇騰,籠罩著畫 面。不言而喻,趙無極的繪畫給人以美的享 受。」 (摘自1970年克羅德.華編輯之《趙無極》再版 序言) 趙無極以現代的方式,具體真實的呈現 精神藝術的偉大遺產,面對巨變的時代,讓 人重拾尊嚴,激昂出開放向上的自由意志。

Zao Wou-ki is an artist who is good at hiding poems in his paintings. So his paintings can move poets very easily. Many books and compilations study Zao Wou-ki’s art and among them, many of the reviews and appreciations come from poetic art reviewers. Zao Wou-ki's works are full of lyricism and abstraction. He uses Western oil paints to form splashed-ink landscapes creating views which seem to have been painted by a poet. His art resonates both at home and abroad. He is a leading master of Chinese abstract art in modern times. The poet Wang Wei (8th Century) in the Tang Dynasty introduced poems into his paintings and created “paintings in poetry and poetry in paintings” for the first time. By the time of the Song Dynasty, based on the theory of literary paintings, Su Shi (1037-1101), Huang Tingchien (1045-1105), Mi Fu (1051-1107) and his son, added calligraphy to their paintings developing ink and wash paintings. Su Shi’s “scholar paintings” made “literary paintings” take a big step ahead and become more established. The landscape paintings of the Northern Song Dynasty cherish lofty ideals of landscape. When painting landscape, the artists didn’t care about realistic skills but creating a void for traveling meditation. Examining the entire life creations of Zao Wou-ki, we can say


he is a new modern literary painter. And he has been traveling around the world in a lifetime to witness the pulse movement of the times in decades. His art influence still gives a valuable feedback in today’s world. The name Wou-ki in Chinese evokes a meaning that is both mysterious and full of grandeur. The Chinese characters mean the beginning and returning of the world in Chinese Taoism. Zao's abstract paintings reflect his opinions on the cosmic inventory. Some critics describe him as a dislocated artist. That is mostly because he was born into Chinese culture but lives in the art world of Paris. Just as his body has been relocated in the real world, so his soul swings between East and West. He has gone through self-examinations and the culminations of tradition and creation. His experiences and pursuits in life have made Zao Wou-ki step across the boundaries of social worlds and enable him to show his audience a sense of beauty. His paintings record the milestones of his life. Both his geographical movements and his spiritual  pursuits influence his art style. Zao Wou-ki was born in 1921 in Beijing, a city with a long history. Zao's family was very cultural. They are royal descendants from the Song Dynasty. He lived in Nan Tong as a child and then moved to Shanghai. His erudite ancestral family gave Zao the chance to come into contact with calligraphy, painting and literature, and enabled him to cultivate a culture of art and the humanities. He moved from Shanghai to Hangzhou when he was 14, and entered a key art school in the south-Hangzhou National College of Art . During this period he learned theories of line drawing, Chinese painting, and Western painting. Studying for six

years he acquired a deep foundation in painting under the tutelage of renowned masters, Lin Fengmian (1900-1991), Pan Tianshou (18971971), and Wu Dayu (1903-1988). When he was 20 years old, he, his family and the school moved to Chongqing, Sichuan to escape from war. These frustrations never lessened his desire for creation. He held his first solo exhibition in Chongqing, and also attended important group exhibitions of Chinese modern paintings showing works with his seniors Guan Liang (1900-1986), Ding Yanyong (1902-1978), and Li Chun-shan (1912-1984). When the war ended in 1945, Zao went back to Shanghai and school in Hangzhou. China was restless at the beginning of the twentieth century: the country was torn apart by warlords, wars raged inside and out, starvation and depression were everywhere. Though Zao Wou-ki came from a rich family, he saw the unrest with his own eyes. China was in an even more restless period after the Second World War. People moved on mass to escape disaster. The general populace lived excessively anxious and insecure lives. With constant conflict and suffering of body and soul,

趙無極《4. 4. 85》 羅芙奧2007春季拍賣會,編號068,1億1820萬台幣成交 ZAO Wou-ki, 4. 4. 85 1985, oil on canvas, 97 x 195 cm Ravenel Spring Auction 2007, lot 068, US$ 3,579,107 sold

painting became a refuge to escape to from the endless turmoil in Zao Wou-ki's memory. His passion for painting grew with each passing day, and painting was the real refuge for his soul. He knew that it was out of the question to stay safely to paint in China. So in 1948, with the agreement of his father, he left with his wife to pursue the ideal of creating freely in France. The ship he took that year was also the one that had taken his respected teacher Lin Fengmian to France to explore Western painting 30 years before. His predecessor had beaten a short track through brambles and thorns, and now Zao was meeting the pageant of European abstract painting  with respect. Soon he would become a standout member of the New Paris School in the European art scene. Zao Wou-ki still used figurative paintings as subjects in his early years in Paris. His paintings had fresh, simple but elegant tones and were involved with landscape, architecture, and nature, things which could be seen in real life. The studio of sculptor Jacometti was next to Zao's, and Jacometti appreciated a kind of squiggly and quivering feel  in the figurative part of Zao Wou-ki's paintings. This skill was Zao’s good calligraphy foundation from his childhood. From the beginning of the 1950s, Zao mixed lines and signs in his paintings which he later simplified into abstract totems generally. His paintings moved away from narrative description to creating poetic free spaces. After 1954, his paintings were influenced and enlightened by Chinese rubbings from the Han Dynasty and oracle bone inscriptions. He used cursive script influences in his paintings to blend into the poetic imagery of Shi Tao (1641-1718) and Ba Da (c.16261705), combined  with the frankness of American action painting. His abstract style became defined.


abundant painting elements. Zao Wou-ki was born in China with its long history. Compared with European abstract painters at the same time, Zao’s cultural heritage, and ancient historic tracing in his paintings give him more abundant background elements. Over hundreds of years, Chinese painting masters used literary devices and ink plays, high mountains, and fishing in seclusion to express themselves in their paintings. They were not painting real landscapes but expressing their innermost microcosms. Zao Wou-ki also cherishes a grand ideal to open a space for himself to meditate freely in the studio on the foreign land.

Zao Wou-ki once said that it was Cézanne who enlightened him to get to know the nature of China, and Western paintings which allowed him to get more close to the soul of Chinese traditional art. He said that others obeyed one tradition, but he obeyed two. And the conflict between Chinese and Western cultures made Zao Wou-ki use his brush to sweep and dash freely to create a more luxuriant creation space. In the 1960s, according to Zao Wou-ki, his art experienced unprecedented fast development and a thriving creativity in his paintings. His new studio was built in 1963. It was a special place, and according to his design for the windows, the light came from the north, which made him control the density of colors so that the sun could not influence the delicate changes of his painting colors. In 1964, art critic Pierre Schneider invited 15 contemporary artists  to attend an exhibition "Peinture hors dimensions", and Zao Wou-ki was one of them. At that time, the American art scene was dominated by large-scale paintings. So while continuing to work on the small-scale paintings that Europe preferred, Zao Wou-ki began to create large scale paintings making large classic works. “17.4.64” is based on a copper-colored yellow brown tone that was only characteristic in the 1960s.The painter's thoughts are rushing in the large space with abundant quivering color gradation and slight sensitive  jumping lines. Both lightness and heaviness show in the painting. The emotion is like circuitous windings at this moment but instantaneously the seas are rising and surging to strike the hearts of people watching. Though facing fear in his

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趙無極《5. 12. 69》 羅芙奧2006秋季拍賣會,編號060,9093萬台幣成交 ZAO Wou-ki, 5. 12. 69 1969, oil on canvas, 194 x 96 cm Ravenel Autumn Auction 2006, lot 060, US$ 2,813,428 sold

heart and depression in his soul, Zao Wouki still uses his harmoniousness-loving free will to give an upward spirit to his painting. He has mastered the secret of color and lightshadow space. His style looks splendid with

He painted an ever-changing imagined world in this confident and emotional painting. The famous French art critic Henri Michaux showed his appreciation for Zao Wou-ki’s paintings of this period. He wrote, “In Zao Wou-ki’s paintings, of gigantic dimensions, in proportion to the extent of his feelings, there are – magnifying transfer – ever increasingly powerful assumptions of earth. Enormous masses, when the time comes, must gain height. This nature recreates for Zao Wou-ki a splendid geological period. Here predominate levitations, mixing, upheaval. It is well-known that Zao Wou-ki’s canvases have a particular virtue: they are beneficent.” (refer to the preface, Zao Wou-ki, edited by Claude Roy, second revision, published in

Zao Wou-ki uses a modern way to display a grand heritage of spiritual art concretely and veritably. Facing an age full of great change, this painting enables the watchers to find dignity again and spirit up an open and upward free will.

1970)


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CHU Teh-chun

(Chinese-French, b. 1920)

Force d'âme 2004-2005 Oil on canvas 195 x 456 cm (Quadtych) Signed lower right CHU TEH-CHUN in Chinese and English, dated 2004-05 Titled on the reverse Force d'âme in French, CHU TEH-CHUN in English and Chinese, dated 2004-05, QUADRIPTYQUE in English and Chinese EXHIBITED: C h u Te h - c h u n , S h a n g h a i A r t M u s e u m , Shanghai, October 12 - November 10, 2005 ILLUSTRATED: Chu Teh Chun, Shanghai Bookstore Publishing House, Shanghai, 2005, color illustrated, pp. 106-107 P i e r r e - J e a n R é m y, C h u Te h - C h u n , L a Différence, Paris, 2006, color illustrated, pp. 286-287 Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, pp. 370-371

NT$ 28,000,000-42,000,000 US$ 856,300-1,284,400 HK$ 6,588,000-9,882,000

朱德群 意志堅強 2004-2005 油彩 畫布 195 x 456 cm (四聯幅) 簽名右下:朱德群 CHU TEH-CHUN 2004-05 簽名畫背:"F o r c e d'â m e" "意志堅強" CHU TEH-CHUN 朱德群 2004-05 四連作 (QUADRIPTYQUE) 展覽: 「朱德群近作展」,上海美術館,上海,展 期自2005年10月12日至11月10日 圖錄: 《朱德群》,上海書店出版社,上海, 2005,彩色圖版,頁106-107 皮耶-尚.雷米,《朱德群畫集》,拉迪 夫羅斯出版社,巴黎,2006,彩色圖版, 頁286-287 《大象無形—朱德群作品展》,上野之森 美術館,東京;台灣馨昌股份有限公司, 台北,2007,彩色圖版,頁370-371

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朱德群的畫作具有高度精神性,構圖徬若磅 礡而出的宇宙,其所引起的審美感受異常宏 觀,直達人性的精神本源。前法國文化部部 長雅克.朗(Jacques Lang)指出,朱德群 的作品傳達出身為宇宙中唯一主人的空靈感 受。此幅四聯作《意志堅強》是2004-2005 年間的作品,可視為兩百年來首位華裔法 蘭西學術院院士晚年代表作之一。畫面中依 稀可見其潛藏其中、湧動不息的靈魂。朱德 群極愛藍色, 2005年肖小蘭女士為上海美 術館策劃的「朱德群近作展」,展場內深深 淺淺的藍,遠看像一片海洋。朱德群認為, 顏色中最富有表現力的就是藍色。藍色的包 容、凝練,可以將內心的力量在畫布上發揮 到極致。 朱德群1920年出生於江蘇,1941年畢業於 國立杭州藝專(今中國美術學院),師承林 風眠。林風眠認為中西繪畫的融合要義在於 「形式與情緒之表達」,這對朱德群影響深 遠,讓他繼承師後踏上西方新世界,也讓他 到了巴黎馬上被抽象繪畫吸引,進而展開一 生探索抽象繪畫的旅程。初始學習以西方的 眼睛觀察對象物,試圖以「非」或「去」的 哲學,將自然剝離、簡化外部世界、慢慢體 會到抽象的內涵不在抽離,而是對「外部世 界」的「肯定」。而後內化和交融,「心」 與「境」合一,使其深知回到中國文化的養 分中找尋創作內涵與動機。漸漸地,由描寫 對象進而內化對象,於是他開始訴說存於心 底的自然。 擅長書法藝術之故,用筆、筆觸的表現,一 直是朱德群的油畫特色之一。他謹記古代畫 家的格言,用毛筆令世事從渾沌中脫穎而 出。他的筆觸無所忌憚,大筆刷出濕潤的韻 律,在畫面上形成優美、富涵力度的肌理。 光線的運用,讓他的作品有一種古典氣勢, 像古典繪畫般的莊嚴、神聖(朱德群自稱他 的「光」來自於林布蘭的啟發)。他的光線 除了具有光源的性質外,也與印象派相關。 光線決定了畫面的色彩和結構,形成色暈 的交輝和意境的生成。閔希文認為,「朱德 群七十年代之後許多作品中的『光』可視為 中國傳統文化中『陰』與『陽』的關係……

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『光』已從『光源』散落開來,撒到畫面的 每一個角落,使世界在『陰』與『陽』的互 補中獲得生機。同時,這些『光』還以『留 白』的方式創造了空間,它在『空無』中放 飛人的想像,在『無』中催生了『有』—— 朱德群將中國的智慧與西方的眼睛有機地結 合在一起,在一個有限的空間中創 造了無 限。」 巴黎評論家夏布朗(J e a n-F r a n ç o i s Chabrun)評論朱德群為20世紀的「宋代畫 家」,此評價讓世人看到朱德群在「中體西 用」、 「西體中用」的辯正中一個巧妙而 獨特的切入點。閔希文認為,「 表面看, 他以西方之『體』(眼睛)來駕馭中國之 『用』(智慧),實質卻是以中國之『體』 (智慧)來調動西方之『用』(眼睛)。在 這裡,『西方的眼睛』是他的形式,『中國 的智慧』是他的內涵,他以西方之『眼睛』 來把握和認識這個世界,而以中國之『智 慧』來充實和豐富這個世界。因此,朱德群 的作品仍然是油畫(不僅是材料上的),在 這一點上他已超越了整 個中國當代油畫中的 『融合主義』取向,甚至已超越了傳統的 『體用論』,而讓我們看到了中國藝術新 的希望和可能。」(參考:閔希文,〈旅法著名抽 象畫家朱德群〉,《烽火藝程》,中國美術學院出版社, 1998年4月版;《朱德群》,上海書店出版社,上海, 2005,彩色圖版,頁106-107〔原標題為法 文〕)

Paintings of Chu Teh-chun are highly spiritual. The composition of his works is like a great universe. They enhance the imagination of the sense of beauty, sometimes the imagination reaches deep inside. The former French Minister of Culture, Jacques Lang once pointed out that, Chu’s works express a feeling of loneliness; a feeling like, you are the only creature in the whole world. This 4 panel work “Force d’âme” was created during 2004-2005. It can be seen as one

of the most important works of Chu’s late age. We can feel his lively soul in the painting. Chu Teh-chun loves the color blue. There were plenty of blue paintings in the exhibition named “The Recent Works of Chu Teh-chun”, curated by Ms. Xiao Xiaolan in 2005. When people saw the paintings from far away, the exhibition venue looked like an ocean. Chu believes that, the most expressive color is blue. It can be used to express the power inside his mind. Chu Teh-chun was born in Juangsu in 1920. He graduated from Hangzhou National College of Art (the former China Academy of Art) in 1941. His teacher was Lin Fengmian. Lin believed that the point of combining the style of Chinese and Western painting is to emphasis “the expression of form and emotion”. This influenced Chu Teh-chun deeply, and influenced him to go to the West to explore the new world. After he went to Paris, he was attracted by abstract paintings immediately. As a result, he started his journey of exploring abstraction. In the beginning, he learned to use a western perspective to observe the environment. For example, he tried to simplify the outside world. Gradually, he realized that the meaning of abstraction is not deduction, or simplification.

It should be a positive attitude towards the outside world. After his true understanding of the outside world, he knew he had to get back to Chinese culture to find out the motivation for his creativity. As a result, he changed his style from illustrating the true outside world, to expressing the imagination of Mother Nature. Since he was well versed in calligraphy, one of the characteristics of his paintings is the use of brush strokes. He remembered the words from ancient painters, saying that the function of a brush is to make things stands out from a chaotic world. His brush has a fluid rhythm, creating beautiful, powerful lines on the paintings. On the other hand, his use of light makes his works look classical. (He said the light in his paintings is inspired by Rembrandt.) His use of light is also influenced by Expressionism. The light decides the arrangement of color and structure in his paintings, it constructs the atmosphere of the images. His fellow artist, Min Xiwen once said, “The light in Chu Teh-chun's works can be seen as the expression of Yin and Yang. It also creates spaces in the paintings. He uses Chinese wisdom to fulfill the physical world.” The Paris Critic, Jean-François Chabrun said Chu Teh-chun is a Song-Dynasty Painter in the Twentieth Century. It points out the specialty of Chu’s paintings as a theory of “Western and Eastern style combined”. Min Xiwen believes that, “We can see a new pathway from Chu Teh-chun’s Paintings.” (References: Min Xiwen, Chu Teh-chun The Famous Abstract Painter, Chu Teh-chun Living in France, A Shining Artistic Career of Art, Press of China Academy of Art Press, April, 1998; Chu Teh-chun, Shanghai Bookstore

朱德群《復興的氣韻》 2003,油彩 畫布,430 x 730 cm 上海歌劇院收藏 CHU Teh-chun, Symphonie Festive 2003, oil on canvas, 430 x 730 cm, Shanghai Opera House, Shanghai

Publishing House, Shanghai, 2005, graphic version, pp. 106-107)


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JU Ming

(Taiwanese, b. 1938)

Taichi Duo 1990 Wooden sculpture 61(L) x 28(W) x 59(H) cm Engraved Ju Ming in Chinese and dated '90

NT$ 9,000,000-15,000,000 US$ 275,200-458,700 HK$ 2,118,000-3,529,000

朱銘 雙人太極 1990 木雕 61(長) x 28(寬) x 59(高) cm 簽名雕刻:朱銘 '90

朱銘,1938年生於苗栗通宵,幼時家貧, 15歲時拜雕刻師李金川為師,開始雕刻生 涯。31歲進入楊英風門下學習後,朱銘逐 漸從一個雕刻匠師蛻變成為藝術家。這段 期間的創作多為鄉土題材,卻遂漸朝向現 代雕塑發展。他從最早的傳統寫實,至後 期的較抽象理念的表現,材質由木雕至複 合媒材的多樣性運用,其作品不斷蛻變, 面貌十分多元。 由於老師楊英風曾建議他學習太極以強健 體魄,朱銘從練習過程中悟出太極的精 神,並將之內化成為創作題材。1970年代 開展的太極雕塑系列,為他在亞洲藝壇奠 下聲名。朱銘在厚重的木材上表現出太極 拳的柔美之處,造型以寫意為主,並以量 塊呈現中國太極拳的架勢,刀法雄健有 力,在凹凸處皆超脫匠人的斧鑿而能達到 極致。 這件木雕雙人太極,尺幅不大,簡約流 暢,朱銘已經不拘泥於招式的表現,只想 太極的精神,看似簡單,卻爆發出驚人的 能量。

Ju Ming was born in Tongxiao Town, Miaoli County in 1938. A child from a poor family, the sculpting master Li Jinchuan became his teacher when he was 15 and thus he began his lifelong career of sculpting. At the age of 31, he became a student of Yuyu Yang and gradually grew from an ordinary sculptor into an artist craftsman. During this period he mostly took local scenery as his theme, but was already groping his way toward modern sculpture. From the earliest tradition of realistic creation to the expression of considerable

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abstract concepts in his late period, from wood sculpture to the diversified application of materials, his work was perpetually changing with a diversified outlook. Following his teacher Yuyu Yang’s advice, Ju Ming began to learn Taichi for physical fitness. During the practice, he realized the spirit of Taichi and used it as an inspiration for his work. His Taichi sculpture series in the 1970s earned a reputation for him in Asian art circles. Using thick wood to show the gentleness of Taichi boxing, he applied freehand modeling and blocks to show the power and vigor of Taichi. His technique was skillful and overwhelming, displaying the delicacy of the art at every stroke of sculpting. This wood sculpture “Taichi Duo” is delicate in size and simple in structure. Ju Ming was not rigidly confined to the expression of the Taichi moves, but rather focused on the spirit of Taichi. As a result, the seemingly simple posture actually implies an amazing burst of energy.


106

JU Ming

(Taiwanese, b. 1938)

Taichi Series (A pair) 1995 Bronze sculpture, edition no. AP 4/10 Left: 30(L) x 19.7(W) x 38.7(H) cm Right: 28(L) x 21(W) x 32.8(H) cm Engraved Ju Ming in Chinese, numbered AP 4/10 and dated '95 (left) Engraved Ju Ming in Chinese, numbered AP 4/10 and dated '95 (right) This Sculpture is to be sold with a certificate signed by the Artist.

NT$ 2,300,000-3,400,000 US$ 70,300-104,000 HK$ 541,000-800,000

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朱銘 太極系列(一對) 1995 銅雕 自4/10 左:30(長) x 19.7(寬) x 38.7(高) cm 右:28(長) x 21(寬) x 32.8(高) cm 簽名雕刻:自4/10 '95 朱銘(左) 簽名雕刻:朱銘 自4/10 '95(右) 附藝術家親筆簽名之原作保證書


107

Yun GEE

(Chinese-American, 1906-1963)

Couple Walking Created in 1932 Bronze sculpture, edition of 7 13(L) x 6(W) x 48(H) cm Engraved on the base Yun Gee in English, dated 1932 New York in English PROVENANCE: Lin & Keng Gallery, Taipei EXHIBITED: The Art of Yun Gee, Taipei Fine Arts Museum, Taipei, March 25 - June 14, 1992 ILLUSTRATED: The Art of Yun Gee, Taipei Fine Arts Museum, Taipei, 1992, color illustrated, p. 136

NT$ 750,000-1,000,000 US$ 22,900-30,600 HK$ 176,000-235,000

朱沅芷 並行漫步 1932 銅雕(限量7件) 13(長) x 6(寬) x 48(高) cm 簽名雕刻底座:Yun Gee 32 New York 來源: 大未來畫廊,台北 展覽: 「朱沅芷作品展」,台北市立美術館, 台北,展期自1992年3月25日至6月14日 圖錄: 《朱沅芷作品展》,台北市立美術館, 台北,1992,彩色圖版,頁136

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《並行漫步》銅雕作品曾參加1992年台北市 立美術館舉辦的「朱沅芷作品展」,台灣美 術史學者王德育曾讚美此作品的開創與前衛 性格,他寫道:「朱沅芷受立體主義影響而 表現最淋漓盡致者是他的少數雕刻,1932年 所作由木刻翻鑄的青銅作品《並行漫步》即 為一例。在此,我再三強調,此時立體主義 尚未妥當的介紹給紐約觀眾,立體主義式的 作品為紐約觀眾視為前衛作品。」 (摘自王德 育〈朱沅芷一九三六年前的生平暨藝術〉一文,《朱沅芷 作品展》目錄,台北市立美術館,1992,頁45)

The bronze “Couple Walking” had been exhibited at the exhibition of “The Art of Yun Gee”, organized by Taipei Fine Arts Museum in 1992. Art Historian, David Teh-yu Wang, made positive comments on its creativity and originality, “Under a stronger Cubist influence on Gee at the time is most clearly shown in one of the rare sculptures made by Gee, ‘Couple Walking’, from 1932, a bronze cast made from the original wood sculpture. However, I would like to reiterate the fact that Cubism was yet to be properly introduced to New Yorkers, and works in Cubist manner were regarded avant-garde by New Yorkers.” (refer to ‘Yun Gee Retrospective His Life and Art Before 1936’ by David Tehyu Wang, catalogue of “The Art of Yun Gee”, Taipei Fine Arts Museum, 1992, p. 19)


108

LIANG Pin-cheng (Taiwanese, b. 1958)

Triangular Fertile Land No. 1 2006 Mixed media, wood 72(L) x 68(W) x 134(H) cm Signed Liang Pin-cheng in Chinese and dated 2006 ILLUSTRATED: La Mo 2006, Nature Create, Taipei, 2006, color illustrated, pp. 9-10

NT$ 240,000-280,000 US$ 7,300-8,600 HK$ 56,000-66,000

梁平正 一號三角沃土 2006 綜合媒材 木雕 72(長) x 68(寬) x 134(高) cm 簽名:梁平正 2006 圖錄: 《藍墨作品集》,創意坊開發有限公司, 台北,2006,彩色圖版,頁9-10

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梁平正開啟一種新的木雕視覺感,顛覆了傳 統木雕的形體描繪,有別於西方雕塑的原型 理論,而以寫意的造型及觀念轉換,傳達作 品裡的對話。梁平正,1958年出生於台灣屏 東,自小對於自然、神話、原住民文化便有 著深厚的興趣,對山林更有獨特的情感。 1983年仍就讀文化大學美術系時更一舉拿 下雄師美術新人獎首獎,在當時誠屬難得。 畢業後赴美國紐約大學深造,開拓眼界。回 國後對於原生材質的變異,從單一材質到多 種材質的試驗,結合木雕與不鏽鋼的雕塑作 品,呈現媒材的多樣變化,堪稱為跨時代的 新觀念。 作品《一號三角沃土》透過破壞與重建,提 出一種翻轉、倒置與挖空心思的想法,不拘 泥於材質,又超越材質的限制,開啟了當代 雕塑的新觀點。梁平正曾自述其創作心跡: 「原野大地上的一片沃土,孕育著人類無盡 的優質生命,當繁華落盡、物換星移之後在 有形的物質世界中,藝術家透過摸索、探尋 及創造─讓作品超越時間,留在每一個人的 心裡。」

Liang Ping-cheng created a new woodcarving visual effect eschewing conventional Western woodcarving techniques. Instead he borrowed a vision and viewpoint more aligned to traditional Chinese painting. Born in Pingtung,

Taiwan, in 1958, Liang Ping-cheng has always been deeply interested in nature, myths, and Taiwanese aboriginal culture with a special affection for mountains and forests. In 1983 when he was still a student in the Department of Art, Chinese Culture University, he won first prize in the Hsiung Shih New Artist Prize, which was rare for student at that time. After graduation, he pursued further study in New York University. On returning to Taiwan, he experimented with the evolution of the texture of Taiwanese aboriginal works especially from single to multiple textures. He also combined woodcarving with stainless steel sculpture, creating a diversification of media, which is recognized as a new concept of the new age. “Triangular Fertile Land No.1”, through destruction and reconstruction, introduces the idea of overturn and inversion, breaking through the constraints of the material and texture, and initiating a new perspective in modern sculpture. Liang explains his own creation concept as: “the fertile soil breeds the endless life of humanity; when prosperity perishes, as time passes by, in the visible material world, the artist explores, seeks, and creates, making his works surpass the constraint of time and leave a lasting memory in the heart of everybody.”


109

Alixe FU

(Taiwanese, b. 1961)

Breasts 1995-1997 Fiberglass 36(L) x 31(W) x 41(H) cm Signed Alixe FU in English, dated '95-'97 and titled Breasts in Chinese

NT$ 160,000-260,000 US$ 4,900-8,000 HK$ 38,000-61,000

傅慶豊 雙乳 1995-1997 玻璃纖維 36(長) x 31(寬) x 41(高) cm 簽名:Alixe FU '95-'97 Alixe FU 199741 雙乳

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110

LIN Chien-jung (Taiwanese, b. 1970)

Conversation Series No. 1 2008 Fiberglass, mixed media, edition no. 2/3 Figure: 50(L) x 80(W) x 105(H) cm Egg: 149(L) x 126(W) x 46(H) cm Signed Lin Chien-jung in English and numbered 2/3

NT$ 400,000-500,000 US$ 12,200-15,300 HK$ 94,000-118,000

林建榮 對話系列之一 2008 玻璃纖維 綜合媒材 2/3 燈泡人:50(長) x 80(寬) x 105(高) cm 荷包蛋:149(長) x 126(寬) x 46(高) cm 簽名:Lin Chien-jung 2/3


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LI Chen

(Taiwanese, b. 1963)

Pure Land 1998 Bronze sculpture, edition no. 33/99 45(L) x 16(W) x 27(H) cm Engraved Li Chen in Chinese, numbered 33/99 EXHIBITED: Li Chen in 52nd Venice Biennale – Energy of Emptiness, Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 (Similar version) ILLUSTRATED: Li Chen Energy of Emptiness 52nd International Art Exhibition - La Biennale de Venezia, Asia Art Center Co.,Ltd., Taipei, 2007, color illustrated, pp. 30-41 (Similar version) This piece is to be sold with a certificate of authenticity issued by Asia Art Center Co. Ltd., Taipei

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

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李真 無憂國土 1998 銅雕 33/99 45(長) x 16(寬) x 27(高) cm 簽名雕刻:李真 33/99 展覽: 「第52屆威尼斯國際藝術雙年展—尋找精神 的空間.虛空中的能量:李真雕塑展」,未 來展望美術館,威尼斯,展期自2007年6月 10日至11月21日(另一尺寸版本) 圖錄: 《李真-虛空的能量:第52屆威尼斯國際 藝術雙年展》,亞洲藝術中心有限公司, 台北,2007,彩色圖版,頁30-41(另一尺 寸版本) 附亞洲藝術中心有限公司開立之作品保證書


112

LEE Jae-hyo (Korean, b. 1970)

0121-1110=109 2009 Chestnut wood (unique) 100(L) x 41(W) x 100(H) cm Titled 0121-1110=109 ILLUSTRATED: Return to Nature: Lee Jae-Hyo, Ever Harvest Art Gallery, Taipei, 2009, color illustrated, pp. 22-23

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

李在孝 0121-1110=109 2009 木雕 栗木(單一件) 100(長) x 41(寬) x 100(高) cm 題款:0121-1110=109 圖錄: 《李在孝─反璞歸真》,日升月鴻畫廊, 台北,2009,彩色圖版,頁22-23


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HUANG Po-ren (Taiwanese, b. 1970)

The New World 2009 Bronze sculpture, edition no. 3/8 63(L) x 49(W) x 45(H) cm Initialed PR in English, dated 2009, and numbered 3/8

成長於台中大甲著名的木雕世家,黃柏仁從 小耳濡目染,雕刻如同吃飯一樣是生活中再 自然不過的一部分。然而他並不想繼承父業 成為另一位木雕師傅,內心對創作與對精神 美感的強烈渴望引領他走上了藝術創作之 路。

新大陸

《新大陸》一作將來自於不同生活圈的土狗 與熊貓加以聯結,讓牠們打破故有藩籬,以 嶄新的合作模式創造未來。黃柏仁以其一貫 簡潔充滿力量的造型,充分顯示土狗與熊貓 的活力與積極。這件作品具有明快亮眼的當 代特質,同時展現受到儒家思想啟發的深厚 底蘊,是黃柏仁「狗札記」系列極為出色的 作品。

2009 銅雕 3/8 63(長) x 49(寬) x 45(高) cm 簽名:2009. PR 8-3

As the son of a renowned woodcarving master, Huang Po-ren acquired carving skills and

NT$ 400,000-600,000 US$ 12,200-18,300 HK$ 94,000-141,000

黃柏仁

202

three-dimensional concept in the very early age. However, he was not content to be another successful woodcarver. His innate artistic gift and desire for creation drove him to explore the art world and became an outstanding sculptor. With delicate lines and sheer facets, Huang Po-ren rendered pithy forms of his subjects. Complexity was abandoned to bring out the spirit and characters of the creatures. Looking deeper into Huang Po-ren’s works, we realized that Confucianism is the basic principle that runs through his recent works. The idea of Confucianism emphasizes cultivating one’s moral character, which is then extended to accomplish a good household, a good nation, and finally achieve a peaceful world.


114

Hung Yi

(Taiwanese, b. 1970)

Great Duck 2008 Lacquered steel 140(L) x 73(W) x 135(H) cm Signed Hung Yi in Chinese and dated 2008

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

洪易 大鴨 2008 鋼板烤漆 140(長) x 73(寬) x 135(高) cm 簽名:洪易 2008

204


115

LI Chen

(Taiwanese, b. 1963)

Avalokitesvara 1999 Bronze sculpture, edition no. 15/30 49(L) x 23(W) x 41(H) cm Engraved Li Chen in Chinese and English, numbered 15/30 The piece is to be sold with a certificate of authenticity issued by Asia Art Center Co. Ltd., Taipei

NT$ 650,000-750,000 US$ 19,900-22,900 HK$ 153,000-176,000

李真 大士 1999 銅雕 15/30 49(長) x 23(寬) x 41(高) cm 簽名雕刻:李真 Li Chen 15/30 附亞洲藝術中心有限公司有限公司開立之作 品保證書


116

ZHU Shijie

(Chinese, 1900-1990)

Landscape 1934 Oil on canvas 28.5 x 17.5 cm Signed lower right Shijie in Chinese

NT$ 80,000-160,000 US$ 2,400-4,900 HK$ 19,000-38,000

朱士傑 風景 1934 油彩 畫布 28.5 x 17.5 cm 簽名右下:N.Y 士傑

206


117

CHANG Chih-cheng (Taiwanese, b. 1954)

A Voyager 2009 Oil on canvas 65 x 95 cm Signed lower right CHANG in English Signed on the reverse CHANG CHIH-CHENG in Chinese and English, dated 2009, Beijing in Chinese, media oil on canvas, size 96 x 65 cm, titled A Voyager in Chinese

NT$ 160,000-260,000 US$ 4,900-8,000 HK$ 38,000-61,000

張志成 旅行者 2009 油彩 畫布 65 x 95 cm 簽名右下:CHANG 簽名畫背:張志成 CHANG CHIH-CHENG 2009 北京 油畫畫布 96 x 65 公分 旅行者


118

SUN Yuntai

(Chinese, 1913-2005)

Landscape with Green Cloud 1995 Oil on canvas 45 x 53 cm Signed lower left Sun Yuntai in Chinese and dated 1995

NT$ 140,000-220,000 US$ 4,300-6,700 HK$ 33,000-52,000

208

孫雲台 綠雲千里 1995 油彩 畫布 45 x 53 cm 簽名左下:孫雲台 1995


119

LEI Shuang (Chinese, b. 1950)

Flourishing Love 1995 Oil on canvas 43.5 x 36.5 cm Signed lower left Lei Shuang in Chinese and dated 95 Titled on the reverse Flourishing Love in Chinese

NT$ 120,000-220,000 US$ 3,700-6,700 HK$ 28,000-52,000

雷雙 戀之春華 1995 油彩 畫布 43.5 x 36.5 cm 簽名左下:雷双 95 簽名畫背:戀之春華


120

CHANG Chih-cheng (Taiwanese, b. 1954)

Face of Childhood

張志成

2006 Oil on canvas 80 x 100 cm Signed lower left CHANG in English and dated 06 Signed on the reverse CHANG Chih-cheng in Chinese and English, dated 2006, Beijing studio798, media oil on canvas, size 80 x 100 cm, titled Face of Childhood in Chinese

2006 油彩 畫布 80 x 100 cm 簽名左下:CHANG 06 簽名畫背:張志成 CHANG CHIH-CHEN 2006 Beijing 798畫室 油畫 畫布 80 x 100 公分 童年

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童年

This Painting is to be sold with a certificate of authenticity issued by DuBang Contemporary Space, Miao-Li, Taiwan.

NT$ 180,000-280,000 US$ 5,500-8,600 HK$ 42,000-66,000

附杜邦當代空間開立之原作保證書


121

SHI Lei

(Chinese, b. 1980)

石磊

Text of Dissuasion EXHIBITED: Shi Lei, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, p. 17

1997 油彩 畫布 160 x 180 cm 簽名右下:石磊 1997 簽名畫背:《尋找我們的規範》160 x 180 cm 石磊 1997

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

圖錄: 《石磊》,季豐美術出版社,香港,2007, 彩色圖版,頁17

1997 Oil on canvas 160 x 180 cm Signed lower right Shi Lei in Chinese and dated 1997 Titled on the reverse Text of Dissuasion in Chinese, size 160 x 180 cm, Shi Lei in Chinese and dated 1997

尋找我們的規範


122

ZHAO Gang (Chinese, b. 1961)

Mao 2006 Oil on canavs 60 x 80 cm Signed on the reverse GANG ZHAO in English and dated 06

NT$ 120,000-180,000 US$ 3,700-5,500 HK$ 28,000-42,000

212

趙剛 毛澤東 2006 油彩 畫布 60 x 80 cm 簽名畫背:GANG ZHAO 06


123

LU Hao

(Chinese, b. 1969)

Home in Memory No. 12 2006 Oil on canvas 130 x 110 cm Titled on the reverse Home in Memory No. 12 in Chinese, signed Lu Hao in Chinese, size 110 x 130 cm and dated 2006

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

盧昊 記憶中的家之十二 2006 油彩 畫布 130 x 110 cm 簽名畫背:110 x 130 cm 記憶中的家之十二 盧昊 2006


124

LU Hao

(Chinese, b. 1969)

Home in Memory No. 9 2006 Oil on canvas 110 x 130 cm Titled on the reverse Home in Memory No. 9 in Chinese, size 110 x 130 cm, signed Lu Hao in Chinese and dated 2006

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

214

盧昊 記憶中的家之九 2006 油彩 畫布 110 x 130 cm 簽名畫背:110 x 130 c m 記憶中的家之九 盧昊 2006


125

QI Zhilong

(Chinese, b. 1962)

Red Guard 1995 Oil on canvas 35 x 27 cm Signed on the reverse Qi Zhilong in Chinese and dated 1995

NT$ 240,000-350,000 US$ 7,300-10,700 HK$ 56,000-82,000

祁志龍 紅衛兵 1995 油彩 畫布 35 x 27 cm 簽名畫背:祁志龍 1995


126

CHEN Liu

陳流 破碎的天空

(Chinese, b. 1973)

The Segmented Series 2002 Acrylic on canvas 140 x 110 cm Initialed lower right CL and dated 2002.5 Signed on the reverse The Segmented Series in Chinese, dated 2002.5, media acrylic on canvas, size 140 x 110 cm, signed Chen Liu in Chinese

216

ILLUSTRATED: Em inent Chinese Ar tist Chen L iu - T he Celestial, Ping Art Space, Taipei, 2008, color illustrated, p. 27

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

2002 壓克力 畫布 140 x 110 cm 簽名右下:CL 2002.5 簽名畫背:"破碎的天空" 布面丙烯 2002年5 月 140 x 110 cm 作者:陳流 圖錄: 《中國當代名家系列:陳流─天降大任》, 藏新藝術有限公司,台北,2008,彩色圖 版,頁27


127

ZHU Yan

朱岩 他很偉大之二

(Chinese, b. 1982)

He is Great No. 2 2008 Oil on canvas 160 x 150 cm Signed lower right Zhu Yan in English and dated 2008

ILLUSTRATED: Zhu Yan, HuaRen Contemporary Art Museum, Chongqing, 2008, color illustrated

2008 油彩 畫布 160 x 150 cm 簽名右下:Zhu Yan 2008

NT$ 350,000-550,000 US$ 10,700-16,800 HK$ 82,000-129,000

圖錄: 《朱岩》,華人當代美術館,重慶,2008, 彩色圖版


128

GAO Yu

(Chinese, b. 1981)

Unexpected Love, Devil Bean, Jewel Heart, Book Ghost 2007 Acrylic on canvas 20(L) x 20(W) x 8.5(D) cm (x4) Titled on the reverse Unexpected Love in Chinese, size 20 x 20 x 8.5 cm, media acrylic on canvas, dated 2007 and signed Gao Yu in Chinese Titled on the reverse Devil Bean in Chinese, size 20 x 20 x 8.5 cm, media acrylic on canvas, dated 2007 and signed Gao Yu in Chinese

218

高瑀 Titled on the reverse Jewel Heart in Chinese, size 20 x 20 x 8.5 cm, media acrylic on canvas, dated 2007 and signed Gao Yu in Chinese Titled on the reverse Book Ghost in Chinese, size 20 x 20 x 8.5 cm, media acrylic on canvas, dated 2007 and signed Gao Yu in Chinese

NT$ 350,000-550,000 US$ 10,700-16,800 HK$ 82,000-129,000

意外的愛、魔豆、寶石心、書鬼 2007 壓克力 畫布 20(長) x 20(寬) x 8.5(深) cm (x4) 簽名畫背: 《意外的愛》20 x 20 x 8.5 cm 布面丙烯 2007 高瑀 《魔豆》20 x 20 x 8.5 cm 高瑀 2007 布面丙烯 《寶石心》20 x 20 x 8.5 cm 布面丙烯 2007 高瑀 《書鬼》20 x 20 x 8.5 cm 布面丙烯 2007 高瑀


129

HAN Yajuan (Chinese, b. 1980)

The Flower Alley 2006 Oil on canvas 100 x 100 cm Signed lower right HAN YA JUAN in English and dated 2006 Titled on the reverse The Flower Alley in Chinese, media oil on canvas in Chinese, size 100 x 100 cm, signed Han Ya Juan in Chinese and dated 2006

NT$ 450,000-550,000 US$ 13,800-16,800 HK$ 106,000-129,000

韓婭娟 花間道 2006 油彩 畫布 100 x 100 cm 簽名右下:HAN YA JUAN 2006 簽名畫背:花間道 布面油畫 100 x 100 cm 韓婭娟 2006


130

WANG Kai

(Chinese, b. 1980)

Flawless 2009 Oil on canvas 140 x 200 cm Titled on the reverse Flawless in English , Wang Kai in Chinese, size 140 x 200 cm and dated 2009

NT$ 350,000-550,000 US$ 10,700-16,800 HK$ 82,000-129,000

220

王凱 無瑕 2009 油彩 畫布 140 x 200 cm 簽名畫背:《無瑕》王凱 140 x 200 cm 2009


131

YANG Jing

楊靜

(Chinese, b. 1976)

We Do Nothing 2004 Oil on canvas 170 x 130 cm Dated lower left 2004 and signed Yang Jing in English

我們什麼也沒做 EXHIBITED: Exit Festival, Créteil Maison des Arts, Paris, March 8-17, 2009

2004 油彩 畫布 170 x 130 cm 簽名左下:2004 Yang Jing

NT$ 450,000-550,000 US$ 13,800-16,800 HK$ 106,000-129,000

展覽: 「出口藝術節」,克提爾藝術之家,巴黎, 展期自2007年3月8日至17日


132

CHEN Liu

(Chinese, b. 1973)

The Celestial Battle - Pike and Broadax 2007 Oil on canvas 140 x 200 cm Signed lower right Chen Liu in Chinese and dated 2007.5 ILLUSTRATED: Eminent Chinese Ar tist Chen L iu - T he Celestial, Ping Art Space, Taipei, 2008, color illustrated, pp. 76-77 This painting is to be sold with a certificate of authenticity issued by Ping Art Space, Taipei.

NT$ 450,000-650,000 US$ 13,800-19,900 HK$ 106,000-153,000

陳流 天空界對打系列之長矛與大釜 2007 油彩 畫布 140 x 200 cm 簽名右下:陳流 2007.5 圖錄: 《中國當代名家系列:陳流─天降大任》, 藏新藝術有限公司,台北,2008,彩色圖 版,頁76-77 附平藝術空間開立之原作保證書

222


133

YIN Kun

(Chinese, b. 1969)

Chinese Baby 2007 Oil on canvas 150 x 180 cm Signed lower right Yin Kun in Chinese and dated 2007.4

224

尹坤 Titled on the reverse CHINESE BABY in English, media oil on canvas, size 150 x 180 cm and dated 2007.3

NT$ 260,000-450,000 US$ 8,000-13,800 HK$ 61,000-106,000

中國寶貝 2007 油彩 畫布 150 x 180 cm 簽名右下:尹坤 2007.4 簽名畫背:C H I N E S E B A B Y O I L O N CANVAS 150 x 180 cm 尹坤 2007.3


134

LIN Hairong (Chinese, b. 1975)

Red Star Shining Forever 2007 Oil on canvas 150 x 150 cm Signed lower right Lin Hairong in Chinese and dated 2007 May in Chinese

Titled on the reverse Red Star Shining Forever in Chinese, size 150 x 150 cm, media oil on canvas, dated 2007 and signed Lin Hairong in Chinese

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

林海容 閃閃紅星酷萬代 2007 油彩 畫布 150 x 150 cm 簽名右下:林海容 丁亥年五月 簽名畫背:閃閃紅星酷萬代 150 x 150 cm 布面油畫 2007年 林海容


135

CHIU Ya-tsai

(Taiwanese, b. 1949)

A Decent Man 1993 Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

226

邱亞才 This painting is to be sold with a certificate of authenticity issued by Goethe Art Center, Taichung.

NT$ 500,000-650,000 US$ 15,300-19,900 HK$ 118,000-153,000

性情中人 1993 油彩 畫布 130 x 97 cm 簽名右下:邱亞才 附哥德藝術中心開立之原作保證書


136

李繼森

LI Jisen

(Chinese, b. 1970)

Cloud over the Horizon 2007 Oil on canvas 180 x 150 cm Signed lower right Li Jisen in Chinese and English, dated 2007.8

天邊的雲 ILLUSTRATED: Eminent Chinese Artist, Li Jisen - Great Ambition, Ping Art Space, Taipei, 2008, color illustrated, pp. 76-77

NT$ 550,000-650,000 US$ 16,800-19,900 HK$ 129,000-153,000

2007 油彩 畫布 180 x 150 cm 簽名右下:李繼森 2007.8 Li Jisen 圖錄: 《中國當代名家系列:李繼森─志在千 里》,藏新藝術有限公司,台北,2008, 彩色圖版,頁76-77


137

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh Weapons Junk 2006 Oil on canvas 162.5 x 129.5 cm Titled on the reverse Pork Belly Series - Flesh Weapons - Junk in Chinese, Chang-Ling in Chinese and dated 2006

NT$ 220,000-280,000 US$ 6,700-8,600 HK$ 52,000-66,000

常陵 五花肉系列—肉兵器—帆船 2006 油彩 畫布 162.5 x 129.5 cm 簽名畫背:五花肉系列—肉兵器 帆船 常陵 2006

從『五花肉』系列作品來看,由「肉兵器」 衍伸肉戰爭之創作思考概念是藝術家返回記 憶的庫房,挖掘根源以對應於現實環境的挫 折,將孩童時代對於戰爭玩具喜好的甜蜜單 純慾望,以再現的方式表達成年後於海外求 學時面對異國文化下的衝撞反思,這些以玩 具手槍、飛機、坦克車和潛水艇為主體的 『肉兵器』,在由不同深色累積滲透出來的 多層次背景烘托下,營造出一種由肉體堆疊 出的異樣血紅世界;象徵慾望的柔軟肉體成 了血腥的戰爭殺人工具,記憶中的西洋玩具 不再只是玩樂中的打殺,反而更顯得殺氣騰 騰,在一片血肉模糊的構圖下,隱喻出藝術 家對來自於西方強勢文化殖民下的自覺與抵 禦,並從自我的意識源頭開始,揪出這個時 代大多數台灣人在文化認同上的盤根錯節與 糾葛,像是在一片漆黑的殺戮戰場上,對於 看不見的異國文化展開絕地反擊,進行文化 主體的追尋,只是在伸手不見五指的暗色世 界裡,常陵以略帶挑釁與冒險意味的探索向 前衝撞,總讓人覺得有股恐懼的暗流汩汩流 出。 (節錄自胡朝聖〈肉身世界裡的大千山水〉一文)

The “Pork Belly” Series extends from flesh weapons to the war of the flesh. The artist

228

reaches back to his childhood memories and explores his reaction to setbacks. By presenting the sweet and pure desire for war games in childhood, the artist examines and questions the cultural conflicts confronted by overseas students in adulthood. Set against a multi-hierarchical background of different shades, these flesh weapons of toy guns, aircrafts, tanks, and submarines create an abnormally blood-red world piled up with flesh and bodies. The soft flesh that symbolizes desire and lust becomes bloody man-slaughtering tools in war; and Western toys in the memory are no longer toys but become homicidal weapons. This construction of mutilated flesh suggests the artist’s consciousness of and resistance against Western cultural colonialism and depicts, from his own origin of consciousness, the complexity of cultural recognition by the majority of Taiwanese in this era. As if on a pitch-black battlefield, the artist fights a desperate war against invisible alien cultures and pursues the cultural subject. However, this helpless and adventurous exploration in the shade makes one feel the trickle of fear. (Quoted from The World in the Flesh, by Hu Chao-sheng)


方力鈞 無題(三件一組) 138

FANG Lijun (Chinese, b. 1963)

Untitled (A set of 3) 2000 Woodblock print 122 x 81 cm (x3) Signed lower right Fang Lijun in Chinese and dated 2000.6.15, numbered 60/60 (left) Signed lower right Fang Lijun in Chinese and dated 2000.5.5, numbered 29/65 (center) Signed lower right Fang Lijun in Chinese and dated 2000.6.25, numbered 44/65 (right) EXHIBITED: Cinesi: Artisti fra Tradizione e Presente, Potenza Pinacoteca Provinciale, Italy, April June 2004

230

ILLUSTRATED: Li Luming ed., Fang Lijun, Hunai Fine Arts Publishing House, Changsha, China, 2001, illustrated, pp. 196-199 Fang Lijun, the artist’s catalogue, Beijing, 2002, pp. 196-199 Stone Face - China's First Group Printing Exhibition, Art Now Gallery, Beijing, 2004, illustrated, pp. 23-32 Cinesi: Artisti fra Tradizione e Presente, Potenza Pinacoteca Provinciale, Italy, April June 2004, (2000.6.15 illustrated as frontispiece to color plates section and p. 61)

NT$ 400,000-500,000 US$ 12,200-15,300 HK$ 94,000-118,000

2000 木刻版 紙 122 x 81 cm (x3) 簽名右下:2000.6.15 60/60 方力鈞 (左) 簽名右下:2000.5.5 29/65 方力鈞 (中) 簽名右下:2000.6.25 44/65 方力鈞 (右) 展覽: 「中國人:介於傳統與現在的藝術家」,波 坦察市立美術館,義大利,2001年4月至6月 圖錄: 李路明編,《方力鈞》,湖南美術出版社, 長沙,中國,2001,圖版,頁196-199 《方力鈞》,藝術家目錄,北京。2002,圖 版,頁196-199 《板起面孔:中國現在藝術第一次版畫聯 展》,現在畫廊,北京,2004,黑白圖版, 頁23-32 《中國人:介於傳統與現在的藝術家》,波 坦察市立美術館,義大利,2001年4月至6月 (2000.6.15刊插圖與頁61)


139

LI Shan

(Chinese, b. 1942)

Rouge Series - Mao 2005 Acrylic on canvas, collage 51 x 40.5 cm Signed on the reverse Li Shan in Chinese and English, dated 2005

NT$ 650,000-850,000 US$ 19,900-26,000 HK$ 153,000-200,000

李山 胭脂系列—毛澤東 2005 壓克力 畫布 拼貼 51 x 40.5 cm 簽名畫背:李山 Li Shan 2005年


140

CAI Guo Qiang (Chinese, b. 1957)

Man, Eagle, and Eye in the Sky, (Siwa, Egypt) No. 16 & No. 18 2003 Gunpowder on cardboard and artist book in signed wooden box 56 x 28.5 x 3 cm (x2) (gunpowder drawing) 67 x 53 x 12 cm (x2) (wooden box) Signed on the wooden box Cai in Chinese, Cai Gua Qiang in English, dated 2003, titled Man, Eagle and Eye in the Sky, Siwa, Egypt in Chinese and English

No.16

NT$ 500,000-700,000 US$ 15,300-21,400 HK$ 118,000-165,000

蔡國強 天空中的鷹、眼睛和人們(錫瓦,埃及) No. 16 & No. 18 2003 火藥 瓦楞紙板;藝術家簽名木盒圖書 56 x 28.5 x 3 cm (x2)(眼睛草圖) 67 x 53 x 12 cm (x2)(木盒) 簽名木盒:天空中的鷹,眼睛和人們 錫 瓦,埃及 蔡 Cai Guo Qiang 2003 Man, Eagle and Eye in the Sky Siwa Egypt

No.18

232


141

CHAO Chung-hsiang

趙春翔

(Chinese, 1910-1991)

Love You Forever 1970 Ink and color on paper, mounted onto canvas 68.5 x 67 cm Titled lower right Love You Forever in Chinese, signed Chung-hsiang in Chinese and Chao in English, New York in Chinese and dated 70

ILLUSTRATED: Chao Chung-hsiang, Alisan Fine Arts Limited, Hong Kong, 1997, black-andwhite illustrated, no. 98, p. 142 NT$ 500,000-750,000 US$ 15,300-22,900 HK$ 118,000-176,000

何日君再來 1970 彩墨 紙本裱於畫布 68.5 x 67 cm 簽名右下:何日君再來 春翔 Chao 紐約 70 圖錄: 《趙春翔》,藝倡藝廊,香港,1997,黑白 圖版,編號98,頁142


142

XIN Haizhou (Chinese, b. 1966)

Look, Nothing No. 8 2007 Oil on canvas 200 x 125 cm Signed upper right Xin Haizhou in Chinese and English, dated 2007.10

NT$ 750,000-950,000 US$ 22,900-29,100 HK$ 176,000-224,000

忻海洲 白,哪的事兒啊 2007 油彩 畫布 200 x 125 cm 簽名右上:忻海洲 Xin Haizhou 2007.10

234


143

JIA Gang

(Chinese, b. 1974)

Chess 2007 Oil on canvas 150 x 200 cm Signed lower right Jia Gang in Chinese and dated 2007

NT$ 700,000-900,000 US$ 21,400-27,500 HK$ 165,000-212,000

賈剛 對峙 2007 油彩 畫布 150 x 200 cm 簽名右下:2007 賈剛


144

LI Shan

(Chinese, b. 1942)

Rouge Series - Double Mao 2005 Oil on canvas, collage 50 x 40 cm Signed on the reverse Li Shan in Chinese and English, dated 2005

NT$ 600,000-700,000 US$ 18,300-21,400 HK$ 141,000-165,000

李山 胭脂系列—雙重毛澤東 2005 油彩 畫布 拼貼 50 x 40 cm 簽名畫背:李山 Li Shan 2005年

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145

JI Dachun

(Chinese, b. 1968)

Why the New Marriage Guerrilla Don't Go to the Battlefield? 1999 Mixed media on canvas 140 x 109 cm Titled on the reverse Why the New Marriage Guerrilla Don't Go to the Battlefield in Chinese, dated 1999, signed Dachun in Chinese and size 140 x 109 cm

NT$ 800,000-950,000 US$ 24,500-29,100 HK$ 188,000-224,000

季大純 為什麼游擊隊員新婚免赴戰場 1999 綜合媒材 畫布 140 x 109 cm 簽名畫背: 《為什麼游擊隊員新婚免赴戰場》1999年 大純制 140 x 109 cm


146

XU Bing

(Chinese, b. 1955)

New English Calligraphy XB-029 Nursery Rhymes Six: The Cat and the Fiddle 2003 Ink on paper 46 x 70 cm Signed lower right XU BING in English With a seal of the artist Quotation content: The cat and the fiddle Hey diddle diddle The cat and the fiddle The cow jumped over the moon The little dog laughed to See such sport and the dish ran Away with the spoon Nursery Rhymes Six Xu Bing

NT$ 800,000-1,100,000 US$ 24,500-33,600 HK$ 188,000-259,000

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徐冰 新英文書法—兒歌六:貓咪和小提琴 2003 水墨 紙 46 x 70 cm 簽名右下:XU BING 鈐印:XU BING 引文翻譯: 貓咪和小提琴 嘿!快搖、快搖 貓咪和小提琴 母牛跳向月亮 小狗哈哈笑 看到碟子離開 湯匙無影無蹤 兒歌六 徐冰


147

XU Bing

(Chinese, b. 1955)

New English Calligraphy - Nursery Rhymes Five: Jack and Jill 2003 Ink on paper 46 x 70 cm Signed lower right XU BING in English With a seal of the artist QUOTATION CONTENT: Jack and Jill Went up the hill To fetch a pail of water Jack fell down And broke his crown And Jill came tumbling after Nursery Rhymes Five Xu Bing

NT$ 800,000-1,100,000 US$ 24,500-33,600 HK$ 188,000-259,000

徐冰 新英文書法—兒歌五:傑克和吉兒 2003 水墨 紙 46 x 70 cm 簽名右下:XU BING 鈐印:XU BING 引文翻譯: 傑克和吉兒 爬到山坡去 想提一桶水 傑克跌倒 打破頭 吉兒跟著滾下去 兒歌五 徐冰


148

WANG Guangyi (Chinese, b.1957)

Dell 2005 Oil on canvas 60 x 70 cm Signed on the reverse Wang Guangyi in English and Chinese, dated 2005

NT$ 800,000-1,100,000 US$ 24,500-33,600 HK$ 188,000-259,000

王廣義 戴爾 2005 油彩 畫布 60 x 70 cm 簽名畫背:2005 Wang Guangyi 王廣義

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利用文革時期的圖片和形象,結合西方消費 主義知名品牌,王廣義為我們生活中的符號 角色,以及它們控制我們的力量提出頗具諷 刺又寓意甚深的問題。共產主義宣傳畫意識 形態的力量,結合西方商標品牌的刺激吸引 力,似乎在暗示,人民在權威操縱鋪天蓋地 的宣傳畫面前是無能為力的。 王廣義還提出了一些關於藝術家角色的重要 議題。文革期間,藝術家唯一的作用,就是 繪製數百萬張繪畫的宣傳畫,為傳達四人幫 指示意識形態而服務。不過,藝術家對於社 會事件應該更具批判性,事實上藝術家需要 批判的眼光檢視社會、權力及權力所造成的 影響。

the seductive attraction of Western branding seems to suggest that people are at the mercy of overpowering images wielded by a higher authority. Wang also examines important questions concerning the role of an artist. During the Cultural Revolution, an artist’s only role was to portray the ideological dictates of the Gang of Four in the billions of propaganda posters produced. However, an artist should take a much more critical approach towards events in society, and indeed the artist needs to critically examine society, power, and the wielding of that power.

戴爾的商標印在畫的左上角, 黑色的背景 和白色的字體和神秘的宣傳畫人物形成強烈 的對比。背景、人物/符號、以及傳達的訊 息,一切都呈現著鮮明的對比。但它們的作 用又是一致的,那就是它們都是各自意識形 態系統的傳達者。

Two revolutionary figures take center stage in the picture. A leader, passing on the ideology to a follower who will be entrusted to impose the beliefs on the general population is an almost godlike figure as he’s portrayed from a low perspective common to the ubiquitous propaganda posters. The seriousness in the faces of both protagonists, and their clasped hands as the young follower receives his assignment suggests that they are dealing with a life or death matter, which indeed they were. The Chinese characters for Gang of Four clearly displayed on the young man’s armband clearly indicating that he is a red guard. The red background is both suggestive of all things communist, but also suggests spilt blood, which is too often a part of enforced ideologies.

Juxtaposing images and icons from the Cultural Revolution with major brand names from Western Consumerism, Wang poses deep and ironic questions about the role of symbols in our lives, and the power they have over us. The combination of the ideological power of Communist propaganda images and

The brand name Dell is stamped in the top left hand corner, it’s black background and white form almost in violent contrast to the esoteric nature of the propaganda figures. Everything is in sharp contrast, backgrounds, figures/symbols, and messages. But both sets of images share the same role, messengers of their respective ideological systems.

這幅畫的主題是兩個文革時期人物的形象: 一位領導正在向下屬傳達思想體系,下屬將 受命把這些信仰強加於人民, 而領導在無處 不在的宣傳畫中被描述成神一般的角色,兩 位主角的表情都十分嚴肅,下屬接受了任務 後,兩人緊握的雙手顯示出正在進行的事情 攸關重大,而的確如此。年輕人佩戴的清晰 顯現的中國四人幫臂章標誌說明很明顯他是 個紅衛兵。紅色背景也暗示著一切都屬共產 主義,但同時也暗示著流血,在強加意識形 態的進程中時有發生。


山石畫法是傳統山水畫中重要之門類,勾、 皴、擦、染、點五個步驟,山石的形態、山 石的構造,決定了不同的表現手法,進而形 成不同風格與流派。山水畫家長期觀察自然 現象提煉出筆法符號,將中國山石圖像塑造 得深邃曼妙。效法古代文人生活態度,周春 芽偶而也會花些時間飲茶、聽古箏、品古 韻,偕友探討藝術和人生。周春芽希望能以 一種「自然」的基本方法,僅用寥寥數筆, 在畫中將複雜的生活有力的表現出來。

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ZHOU Chunya (Chinese, b. 1955)

Mountain Stones 1994 Oil on canvas 60 x 50 cm Signed lower right Zhou Chunya in Chinese and dated 1994

NT$ 850,000-1,000,000 US$ 26,000-30,600 HK$ 200,000-235,000

周春芽 山石 1994 油彩 畫布 60 x 50 cm 簽名右下:1994 周春芽

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1989年周春芽德國留學三年歸國,此後將中 國傳統的古典山水意象和西方繪畫技法融合 在一起,在1990年代創作出一系列具中國傳 統內涵的作品。「山石」系列中,力度和筆 法的處理,以及大膽用色,使畫增加異彩, 進而重新詮釋了傳統山水。面貌相異,色彩 和傳統大不相同,彷彿傳統山水上有一層增 生物,暗示出模糊的天然本性。 周春芽筆下的色彩和形體,洋溢著他的情感 表達,無論是山還是水,乃至大千萬物,都 在他的筆下揮灑自如,正是由於他融合古典 山水意象和 西方繪畫技法,超越人文地理和 歷史文化的範疇,突破傳統山水畫的色彩表 達,在德國表現主義的洗禮後,情緒熱烈得 以進而擴展,帶人進入一種超自然的夢幻境 地。

The brushwork for mountain rock is a very important category for Chinese traditional landscape paintings. It has five approaches in respect to tick, crimple, rub, dye and dot. The form and the structure of mountain rock decide the expression of the painting methods, and in turn, different styles and genres are formed. The historical observation of natural phenomena by ancient painters has

reined a set of writing symbols, depicting the traditional Chinese rocks in a profound miracle. Following similar lifestyle of ancient scholars, Zhou Chunya likes to spend some time drinking tea, listening to zither, appreciating ancient rhyme, discussing art and life. Zhou Chunya has a desire to use merely a few strokes to depict the complex life forcibly in a "natural" basic way. Zhou Chunya came back from his further education of 3 years in Germany in 1989. Afterward he began to combine the spirits of traditional Chinese landscape paintings with western painting skills to create a series of artworks featuring traditional Chinese connotations in the 1990s. His unique application of force and painting skills, combined with his bold application of colors make his paintings stunningly unique in representing traditional landscape in a new way. The big difference in presentation and coloring seems to apply a tier of addition to the traditional landscape, implying the obscure matter of nature. Under the influences of Germany Expressionism, Zhou Chunya expresses his feelings and emotions with colors and shapes. Landscape and everything come out naturally from his casual and elegant moves of hands. It is because he has combined the spirit of traditional Chinese landscape paintings with western painting skills to break through the limits of traditional representation of colors, so as to extend the expression of strong emotions and bringing people into a supernatural dreamland that goes beyond cultures and history.


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HE Sen

(Chinese, b. 1968)

Smoking Series 2004 Oil on canvas 150 x 150 cm Signed lower left HE SEN in English and Chinese, dated 2004

NT$ 950,000-1,100,000 US$ 29,100-33,600 HK$ 224,000-259,000

何森 抽菸女子 2004 油彩 畫布 150 x 150 cm 簽名右下:HE SEN 2004 何森

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151

XU Bing

(Chinese, b. 1955)

New English Calligraphy - Poem of Bei Dao (A pair) 2008 Ink on paper 153.5 x 38 cm (x2) Signed Xu Bing in English and dated 2008 With two seals of the artist QUOTATION CONTENT: "The Answer" Poem of Bei Dao Debasement is the password of the base Nobility the epitaph of the noble Xu Bing Two thousand and eight

NT$ 1,500,000-2,500,000 US$ 45,900-76,500 HK$ 353,000-588,000

徐冰 新英文書法—北島詩句(一對) 2008 水墨 紙 153.5 x 38 cm (x2) 簽名:XU BING 2008 鈐印:XU 鈐印:BING 引文翻譯: 『回答』 北島詩句 卑鄙是卑鄙者的通行證 高尚是高尚者的墓誌銘 徐冰 2008

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北島是中國知名當代詩人,祖籍浙江湖州, 1949年生於北京。著有詩集《太陽城劄 記》、《北島詩選》、《北島顧城詩選》 等。從1970年代開始創作以來,一直是中國 當代詩歌先行者。清醒的思辨與直覺思維產 生的隱喻、象徵意象相結合,是北島詩顯著 的藝術特徵,具有高度概括力的悖論式警 句,造成了北島詩獨有的振聾發聵的藝術力 量。北島的作品已被譯成二十多種文字出 版。代表作包括作於1976年的《回答》,其 中的「卑鄙是卑鄙者的通行證,高尚是高尚 者的墓誌銘」已經成為中國新詩名句。在美 國,其作品由Zephyr Press出版。曾多次獲 諾貝爾文學獎提名。是當今影響最大,也最 受國際承認的中國詩人。 作品《新英文書法—北島詩句》是著名藝術 家徐冰為一項非營利文學活動所捐贈的作 品。內容取自中國當代著名詩人、數次獲諾 貝爾文學獎提名的北島先生《回答》—詩的 名句。這兩句詩在八十年代曾膾炙人口、傳 誦一時,至今仍激勵著無數文學青年。聞名 世界的著名藝術家徐冰用獨創的新英文書法 創作了這幅作品。新英文書法自問世以來, 一直受到廣泛關注,世界各大博物館及重要 藏家爭相收藏。完美的藝術形式與深邃的詩 歌內涵,藝術界與文學界的兩位巨擘結合在 一起,將使這幅作品成為世人矚目之作。

Bei Dao is a modern poet in China. His roots were in Huzhou, Zhejiang Province. Bei was born in Beijing. He has published the poetry anthologies: “Extracts of the Sun City”, “The Collection of poems of Bei Dao”, “The Collection of Poems of Bei Dao and Gu Cheng”. Since he began writing in the 1970s, Bei has always been the frontrunner in Chinese modern poetry. The metaphor, together with

the combination of symbol and image, created by his clear mind and intuition constitutes the obvious artistic features of Bei Dao. His poems own unique artistic strength which force people rethink their values. There are paradox epigrams with brief expressions inside his poems. His works have been translated and published in more than 20 languages. "The Answer" in 1976 is his masterpiece and “Debasement is the password of the base; nobility the epitaph of the noble.” has become a renowned Chinese aphorism. In the USA, the poem of Bei Dao were published by Zephyr Press. His works were nominated for the Nobel Prize several times. He is the most influential Chinese poet who is widely-accepted by the international community. The work “New English Calligraphy - Poem of Bei Dao” was donated by the famous artist Xu Bing for a nongovernmental literary activity. The content was the well-known sentence from poem "The Answer" written by Bei Dao, who has been nominated for the Nobel Prize several times. These two sentences were in everyone’s mouth in the 1980s, and even now inspire many young people who are interested in literature. The world-famous artist Xu Bing used his specially created kind of calligraphy to compose this picture. Since the release of the New English Calligraphy, it received much public attention, many major museums around the world and some important collectors scrambled to have it in their own collection. The perfect artistic form and the deep intention of the poems, the combination of the great masters from the artistic circle and the literary circle enable this composition to be an eyecatching one.


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ZHOU Chunya (Chinese, b. 1955)

Heigen 1995 Oil on canvas 72 x 60 cm Signed lower right Zhou Chunya in Chinese and dated 1995

NT$ 2,500,000-3,600,000 US$ 76,500-110,100 HK$ 588,000-847,000

周春芽 黑根 1995 油彩 畫布 72 x 60 cm 簽名右下:1995 周春芽

1994年朋友送給畫家周春芽一條叫做「黑 根」的德國牧羊犬,狗與人越熟悉,彼此 彷佛都能心領神會,默契十足。周春芽記憶 與黑根相處的點滴︰「牠小時候與我同睡一 床,一起吃飯散步。我畫畫時,它在一旁注 視我。我想,與其畫那些距離遠的東西,還 不如畫身邊的事物。於是,黑根成為我畫中 的主角。」黑根很快成為周春芽的模特兒, 是他最鍾愛的繪畫主題之一。

some memories of when Heigen and he were together, “When it was a little dog, it slept, walked and had meals together with me. He stayed by my side watching me when I painted. So I would rather paint him that was near me than other things that were far away. So Heigen became the leading actor of my paintings.” And soon Heigen became a model for him and one of his beloved painting subjects .

用黑色畫的黑根,更像是書寫畫家的一篇生 活日記。黑根的稟性讓周春芽心情愉悅,幾 幅命名為《平頂上玩耍的黑根》、《跑動的 黑根》和《站立的黑根》等畫作,就表明畫 家與愛犬的情感互動。1995年創作的《黑 根》,油畫筆觸如書畫中枯枝山石的皴法, 承接了周春芽1990年代在山石與花卉題材 的探索。散開的筆鋒皴擦、拖曳,交替著順 筆、逆鋒、側鋒,使整幅畫面生氣勃勃,呈 現出藝術家心境上的回歸—輕鬆愉快,自然 樸實的心路歷程。

The black painting of Heigen was more like a diary that showed the artist’s real life. Heigen’s natural disposition made him very happy. Paintings called Heigen Played on the Flat Top, Running Heigen, Standing Heigen and so on showed the emotional connections between the artist and his beloved dog. Heigen was painted in 1995. The style of painting, which carried on from Zhou Chunya’s exploration of rock and flower subjects in 1990s, was just like the textural stroke of wood and rocks in painting and calligraphy. The scattered strokes are dragging, wrinkling and rubbing, with brush in sequence inverse, and aside, and make the whole painting filled with energy. It shows a return of the artist’s mood—an easy and natural journey of the heart filled with pleasure and simplicity.

A friend sent Zhou Chunya a German shepherd dog named Heigen as a gift in 1994. The more familiar it became with people, the more understanding it had of people. It seemed that they can understand each other even without saying anything at all. Zhou Chunya recalled

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153

ZHOU Chunya (Chinese, b. 1955)

Roses 1994 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1996

NT$ 2,800,000-3,800,000 US$ 85,600-116,200 HK$ 659,000-894,000

周春芽 紅玫瑰 1994 油彩 畫布 100 x 80 cm 簽名右下:1996 周春芽

周春芽十分喜歡植物和動物,因為他喜歡它 們的純潔。花卉物語有多種含義,桃花象徵 著春天的到來,而玫瑰花的圖像則象徵著愛 情的開始等等。周春芽一直在尋求與大自然 更加親密和自發的關係,以便能夠捕捉其最 為本質的形式和表現,於是利用各種自然物 語,將原始到甚至野蠻的性愛活力轉化為非 常高雅與複雜的外觀。在周春芽的筆下,新 表現主義的技法與中國傳統的筆墨意趣、繪 畫構成、畫面主題融合為一體,無不滲透著 獨特的抒情與浪漫。

roses are a symbol of love. Zhou Chunya had been seeking a more intimate and spontaneous relationship with nature in order to capture the most essential forms and ways of expression, so he uses a variety of natural substances, and materializes them in a primitive or even brutal way into very elegant and sophisticated forms. With his brushes, the new doctrine of the technique, the charm of traditional Chinese paintings, the composition, and the theme, are all permeated with a unique romance.

這是畫於1994年的一件花卉作品,造型與色 彩已被抽象化,色彩的堆疊、渲染、塗抹與 色調交織的繪畫語言,畫面整體採用獨特的 對角線式構圖,色彩明快,技法嫻熟。畫中 大朵大朵的盛開著的玫瑰花與枝幹糾纏一 起,景象在畫家筆下代表著性愛的本質。蘊 含了畫家對生命的體驗和思索。

In this painting of a flower in 1994, the style and color have been abstracted, the painting language is embodied by the heaping and applying of colors with hues, and the picture takes a unique diagonal-type composition, complete with bright colors and ripe techniques. The large roses in full bloom and entangled branches represent the nature of love and sex, bearing the artist's thoughts and understanding on life.

周春芽的藝術融合表現主義與中國傳統繪畫 於一體,他畫中的色彩和形體,乃至大千世 界都無區別地表達出藝術家的情感經驗。無 論是樹木花草,或動物、人物,都在作者揮 灑自如的筆下呈現出輕鬆恣意而又若有所思 的意境。

Zhou Chunya is very fond of plants and animals for their purity. There are many meanings conveyed by flowers, for example, peach flowers symbolize the arrival of spring, while

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Z h o u ’s w o r k s a r e a c o m b i n a t i o n o f expressionism and traditional Chinese painting in one. The color and shape, and even the boundless world are applied to convey the artist's emotion and experience. The trees and plants, animals, or characters under the author's brushes show the artist’s ease and artistic pension.


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MAO Xuhui (Chinese, b. 1956)

Inclined Scissors in Black and White 2007 Oil on canvas 180 x 250 cm Titled on the reverse Inclined Scissors in Black and White and signed Mao Xuhui in Chinese, size 180 x 250 cm and dated 2007 EXHIBITED: Intimate Trend-Painting from Sichuan and Taiwan, Kuandu Museum of Fine Arts, Taipei National University of the Arts, Taipei, July 4 Sep. 7, 2008 ILLUSTRATED: Intimate Trend-Painting from Sichuan and Taiwan, Kuandu Museum of Fine Arts, Taipei National University of the Arts, Taipei, 2008, color illustrated, pp. 32-33

NT$ 2,700,000-3,600,000 US$ 82,600-110,100 HK$ 635,000-847,000

毛旭輝 黑白剪刀—斜放 2007 油彩 畫布 180 x 250 cm 簽名畫背:《黑白剪刀.斜放》180 x 250 cm 毛旭輝 2007 展覽: 「親潮─兩岸架上繪畫新流向」,國立台北 藝術大學關渡美術館,台北,展期2008年7 月4日至9月7日 圖錄: 《親潮─兩岸架上繪畫新流向》,國立台北 藝術大學關渡美術館,台北,2008,彩色圖 版,頁32-33

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1993 年,毛旭輝的身體狀況出現了一些危 機,在他生病期有很多藥罐、藥水、煙灰 缸、藥片還有剪刀都放在桌子上,出於對線 條與形體的特殊敏感性,剪刀強烈地出現在 藝術家的視野中,最後成為藝術家表達自己 情緒的真正出口。這正如藝術家自己的解 釋:「有時我也把剪刀作為一怪異的符號來 使用,將它拼貼在各種現實生活的場景中, 以表達我的某種憤怒和不安的情緒,通過這 樣的階段之後,我現在畫剪刀已用不著去想 權力的問題,我更加關注於剪刀的造型因素 上,一把剪刀的造型會使人聯想到剪刀的功 能,其實現在我以為,重要的不是去談論它 (剪刀)要去剪掉一些什麼,而是這個造型 的感覺—它的意義—形的意義—它作 為造形而不是實際意義的那種效果。確切地 說,我畫的不是剪刀,而是一些剪刀的造 型。」 ( 摘自1998年〈關於「剪刀系列」的反省〉一文 )

Mao Xuhui was not well in 1993. During his illness, a lot of gallipots, potions, ashtrays, pills, and scissors were put on the table. A special sensitivity to the lines and shapes made the scissors burst into the artist's sight intensively and finally became the real way out to express himself. As the artist explained, “Sometimes I also use scissors as a weird sign. I patch it into scenes of real life to express some anger and anxiety. After going through stages like this, I no longer need to think about the questions of power when painting scissors. I pay more attention to the shaping factors. The design of a pair of scissors makes a functional association, but now in my opinion, it is not important to talk about what the scissors cut, but the feelings of the design--its meaning--meanings of the shape--Not the function but the shape effects. To be precise, I'm not painting scissors but some designs of scissors.” ("Reflections about the Scissors Series", 1998) .


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YIN Zhaoyang (Chinese, b. 1970)

Me 2007 Oil on canvas 180 x 150 cm Signed lower right Zhaoyang in Chinese and dated 2007

NT$ 3,200,000-4,200,000 US$ 97,900-128,400 HK$ 753,000-988,000

尹朝陽 我 2007 油彩 畫布 180 x 150 cm 簽名右下:朝陽 2007

美國記者愛德格.斯諾的《紅星照耀中國》 一書中,〈毛澤東在陝北〉的影像照片可說 是一張傳世之作。它拍攝於1936年的保安。 當時43歲的毛澤東,頭戴紅星八角帽,神采 奕奕。因對於中國人民的某種特殊意義,毛 的形象根植幾代中國人的心中。1970年出生 的尹朝陽也是如此。 尹朝陽曾經敘述過自己對毛的敬仰。所以在 一系列的作品中,他用毛、紅旗、天安門等 形象,將革命以浪漫主義方式理想地拼貼著 自己人生歷程的熱情和夢想。但此時畫面是 帶有渾濁的紅色,並不是鮮紅。它是藝術家 某種情緒的暈染—追憶著一位偉人,一個 偉大時代的失去。也很難說,不是藝術家對 自己風華正茂「黃金時代」的追憶。 仔細看,那堅定的眼神並不是來自毛,而 是藝術家自己的臉龐。在與藝術評論家朱 其的訪談中,尹朝陽笑著說,那代表了一種 參與。「我當時想只有以這樣一種態度才能 表達我一種情緒,這也是當時埋了一個小小 的伏筆,或者挖了一個陷阱一樣,猛一看是 毛,仔細去看的話,會發現是我。」(尹朝陽 訪談之二)

Among the illustrations of "Red Star Over China" by the American reporter Edgar Snow, "Mao Zedong in Shanbei" is a picture that can live through the ages. It was shot in Yan'an in 1936. Mao Zedong, 43 at the time, is wearing

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an octagonal cap with red stars, and he is clearly in high spirits. This image of Mao has been deeply ingrained in the hearts of several Chinese generations. Yin Zhaoyang, who was born in 1979, has also been deeply impressed. Yin Zhaoyang has expressed his admiration for Mao. That is why he puts Mao, red flags, Tiananmen and revolutionary images such as these into his artistic works, and uses a romantic way to match the revolution to his own passions and dreams. When painting this picture, Yin decided not to chose a bright color but muddy red a shading which represents the mood of the artist at the time of painting--to reminisce about a great man, and the loss of a great generation. It is difficult to say if it is also a reminiscence about the artist's own golden age when he was in full bloom and vigor. When studied carefully, you can see that the unwavering eyes of the work are not Mao’s but the artist’s himself. During an interview with art critic Zhu Qi, Yin Zhaoyang laughed and said that it presented a kind of participation. “At that time I thought that I could only express my mood in this attitude and it was also a small foreshadowing making at that time. Or it is like a trap: It looks like Mao at first sight, but if studied carefully, you will find it is me.” (The Second Interview of Yin Zhaoyang)


156

FENG Zhengjie (Chinese, b. 1968)

Chinese Portrait Series 2008 Oil on canvas 210 x 210 cm Signed lower right FENG ZHENG JIE in Chinese and English, dated 2008

NT$ 3,800,000-5,800,000 US$ 116,200-177,400 HK$ 894,000-1,365,000

俸正傑 中國肖像系列 2008 油彩 畫布 210 x 210 cm 簽名右下:俸正傑 FENG ZHENG JIE 2008 和艷俗藝術以及波普藝術不一樣,雖然還是 使用現成圖像,但是這些圖像的原型已經不 重要了。重要的是俸正傑已經發展出一種依 據當代的視覺經驗建立起來的圖像方式。他 們看起來像那些誇張的照片構圖和造型,但 是卻是用人工的方式來想像和構造出來的。 在這些創作的過程中,藝術家放棄了道德判 斷。如果艷俗藝術以反諷為精神核心,那麼 俸正傑的精神核心是通過借用商業文化和大 眾文化的方式發展出一種新的審美趣味和圖 像處理方式,通過模仿、仿造和改寫,揭示 出當代商業圖像的生產機制。 摘錄自皮力〈超越艷俗〉一文,《俸正傑》個展目錄,瑪 蕊樂畫廊,2005年11月至12月

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…Different from Gaudy and Pop art, while Feng Zhengjie employs ready-made images, the antitype of these images is not important at all. It is important that Feng Zhengjie has developed a form of image according to contemporary visual experience. The works look like exaggerated photographs related to fashion, but are imagined and constructed artificially. During the period of creation, the artist abandons ethical judgment. If Gaudy Art is spiritually centered on irony, then Feng Zhengjie’s spiritual core is to develop a new aesthetic interest and means of processing images by borrowing from commercial culture and popular culture, to achieve a new form of contemporary commercial images through imitation. - Excerpt from the essay “Transcending Meretriciousness” by Pi Li, translated by Karen Smith, first published in the catalogue “Feng Zhengjie” on the occasion of his solo exhibition at Marella Gallery (November-December 2005).


157

WANG Guangyi (Chinese, b. 1957)

Great Criticism Series - Channel V 2002 Oil on canvas 120 x 150 cm Signed on the reverse Wang Guang Yi in Chinese and English, dated 2002

NT$ 4,000,000-6,000,000 US$ 122,300-183,500 HK$ 941,000-1,412,000

王廣義 大批判系列─Channel V 2002 油彩 畫布 120 x 150 cm 簽名畫背:王廣義 2002年 Wang Guang Yi

1990年代末,王廣義創作了「大批判」系 列。王廣義對於文化大革命宣傳招貼以及 西方品牌中的肖像崇拜提出了質疑。以刻畫 軍人、工人和農民的偶像形象,王廣義把這 些形象與一些世界最著名的品牌名稱並列排 放,啟發觀眾對消費文化的觀察。 《大批判系列—Channel V》主要刻畫了大 量的年輕無產階級學生、軍人、工人和農 民,他們都是革命的英雄,穿著傳統的革命 裝束,充滿熱情地聚集在一起,揮舞著他們 的小紅本書。他們在集會中狂熱地呼喊,而 他們微笑和歡快的臉龐看上去完全無害。集 會的發言人並不在台上,而Channel V的品 牌似乎是這群擁擠的人群的焦點。藝術家的 批判似乎顯而易見:一個空虛而腐敗的體系 極易被其他體系所取代。 王廣義的油畫採用了波普藝術的「平面風 格」,採用相同的單色以獲得突出的效果。 紅色背景代表了共產主義,同時也暗示了血 和流血。畫中人物以尖銳的單色刻畫,身著 相同的帶有毛主席衣領和紅色勳章的黃色制 服。覆蓋著整個畫布的範本化、重複數位進 一步暗示了同一性的概念及個性的缺失。 王廣義對於共產主義制度的評論是深沉而深 刻的。在文化大革命中成長,王廣義切身地 體會到無所不能的領袖所具有的權力和權 威。人群臉上狂熱的表情將被他們對西方品 牌的崇拜所取代。

Wang created his “Great Criticism“ series in the late 1990s. In the series, Wang is raising questions about dominance and icon-worship, both in Cultural Revolution propaganda posters and Western Brands. Taking iconic images of soldiers, laborers and peasants, Wang provokes us to look more closely at what we are seeing,

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through juxtaposing these figures with some of the world’s most recognizable brand names. The image we are left with is emblematic of China’s contemporary struggle, grappling with its past while figuring out its future. “Great Criticism Series – Channel V” is dominated by a large group of young proletarian students, soldiers, workers and peasants, the heroes of the revolution. Dressed in traditional revolutionary garb, they are massed together enthusiastically waving their Little Red Books. They are ecstatically shouting out at a rally, and their smiling, cheerful faces seem totally benign. The speaker at the rally is off stage, and the large V of the brand ‘Channel V’ seems to be the center of focus of the teeming masses. The criticism seems to be implicit one corrupt and empty system is in danger of being replaced by another. Wang paints in the ‘flat style’ of Pop Art, and employs the same monochromatic colors to great effect. The red background is both suggestive of all things communist as well as a much deeper meaning of blood and blood spilt. The figures are drawn in sharp monochromatic outlines and they are all wearing the same yellowish uniforms with Mao collars and red badges. The concept of uniformity and lack of individuality is further enhanced by the stenciled repeated numbers all over the canvas. Wang’s critique of the legacy of the communist system is profound and deep. He grew up under the Cultural Revolution and knew at first hand the power of an omnipotent ruler. The mass hysteria of that time as shown in the faces of the crowd is about to replaced by mass adulation of Western brands.


158

WANG Guangyi (Chinese, b. 1957)

Coca Cola (triptych) 2005 Oil on canvas 120 x 450 cm Signed lower center Wang Guang Yi in English and Chinese, dated 2005

NT$ 9,000,000-12,000,000 US$ 275,200-367,000 HK$ 2,118,000-2,824,000

王廣義 可口可樂(三聯幅) 2005 油彩 畫布 120 x 450 cm 簽名中下:2005年 Wang Guang Yi 王廣義 2005年

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王廣義1956年出生於黑龍江省的哈爾濱,在 文革中度過了他的成長歲月,對他的藝術 創作產生了深遠的影響。1976年文革結束, 他開始接受教育,在1977年進入浙江美院, 1984年畢業。畢業時,他深受美國都會文化 中波普藝術的影響,以平板風格及這一風格 的單色調顏色為起點,王廣義的第一幅作品 展現了普通人的日常生活。 十年文革過後,1977年中國向世界敞開大 門,當代藝術得以蓬勃發展。各種思想紛紛 由國外引入,曾經被迫為文革宣傳的藝術家 們,特別渴望創作及自由表達。他們熱切歡 迎西方的前衛藝術,以此來表達個性,社會 關注內心世界和藝術家與社會關係。

但是這些紅色從來都和血腥毫無關聯。在這 之後,王廣義在帆布上創作了一個西方品牌 名稱,就是把來自於兩個不同系統的一些圖 示融合在一起,提出了深刻的問題。權威人 士們也很難反對這些倍受尊敬的形象。雖然 不很贊同這位當代藝術家具有諷刺意味的弦 外之音,但卻無法否定這種藝術形式。 繼「大批判系列」之後,王廣義想要回歸到 他自己所說的那種「最初始的狀態」。 他 寫道:「從概念上來說,這個回歸原始表 現方式的過程對我來說,是回到最初意識形 態的世界觀,它在我最初接受教育的時候就 一直指導著我的思想,並且影響了之前我所 學到的一些對待問題的看法。事實上,也可

1989年,當代藝術的時代似乎到來,前 衛藝術作品首次被批准在北京國家博物 館展出。這是當時藝術界的盛事,對其 作品藝術性的認可。但是,災難接踵而 至,在展會開幕式上,一位藝術家在現 場開槍。展覽隨即關閉。當權者開始公 開敵視藝術家們,警告不再寬容任何批 評,迫使藝術家轉入地下。藝術家社團 走向破裂,思考並尋找新的方向。1989 年6月,更惡劣的事件席捲了天安門。經 受打擊之後,整個社會趨於平靜。過去 十年的激情和能量遽然而止。如果要生 存,就要保持安靜! 在此後的兩年裡,整個藝壇變得沉寂。 開放地探索當代社會、個人的人際關 係,或是批判腐敗的官僚和社會體系, 這樣的事情已經銷聲匿跡,因為這些行 為會導致那些當權者的強烈反對。藝術 家們耗費兩年時間來反思、反省,他們 思考了怎樣表達他們內心最關注的東 西,並且把權威者的憤怒透過他們的畫作表 現出來。漸漸地,藝壇在1990年代早期又逐 步復甦。然而對於焦慮、憤怒、批判,還有 對於腐敗體系的直接評論已經不見蹤影,取 而代之的是調侃和諷刺。諷刺的「政治波 普」和調侃的「玩世現實主義」應運而生。 在這段時間,王廣義開始創作著名的「大批 判系列」,這個系列源自於他早期平面波普 藝術作品。王廣義從「文化大革命」的社會 主義藝術海報中選取元素,這些海報讚頌了 英雄們,還讚美了一些行為,它們出自一些 理想化的形象:毛澤東主義、士兵、工人和 農民。繪製圖像時,都採用單色背景,通常 使用紅色,以此暗示了它的共產主義成分,

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深黑色的背景強調了宣傳海報中毫不妥協 的革命英雄人物形象。這幅作品中主要的 形象是一位年輕的革命女戰士,彎曲著膝 蓋,帶著步槍。這個姿勢看上去有點威脅的 意思,也很危險。她把槍瞄準了人群中的某 一個人,此刻,我們是否親眼見證了一場處 決呢?兩邊的兩群人似乎都沉浸在各自的活 動裡,沒有人注意到可能將要發生的暴力事 件。這種對人物形象的曝光處理增加了整個 畫面的緊張氣氛。 可口可樂的商標則用單色來描繪,並且是已 經褪色的感覺。這種灰藍色的色調顯得厚重 而壓抑。灰藍色很諷刺地佔據了整幅作品, 它集中在中心的位置,從而延伸到下面的場 景。作為西方消費主義的象徵,商標似 乎和下方那個危險的場面形成了鮮明的 對比。 在王廣義早期的「大批判」系列中, 「可口可樂」失去了它暖暖的喜氣。這 幅作品中,他似乎把更多精力地集中在 對真理和大自然的力量的檢閱。革命形 象的圖示產生的視覺誘惑,以及無人不 知的西方商標(可口可樂),都無法掩 蓋真實的大自然力量,及其腐敗與破壞 的能力。

王廣義《路易威登》 羅芙奧2009年春季拍賣會,編號088,88萬5000台幣成交 WANG Guangyi, Louis Vuitton

2003, oil on canvas, 40 x 50 cm Ravenel Spring Auction 2009 Taipei, lot 088, US$ 27,064 sold

以這麼說,我現在做的所有工作都和『回歸 原始』這個想法有關,將事物最大限度地簡 化。以前,我從沒這樣想過,但現在跟隨著 我自己成長發展的軌跡,我意識到這對於一 個藝術家而言,是如此關鍵。」 (《王廣義: 英雄主義的神話》漢雅軒,香港,2004年出版,頁5)可 口可樂三聯畫便是王廣義在這段新時期的作 品。 自2004到2005年,這種大尺幅的三聯畫是王 廣義持續關注的事物的成熟表現,也是對於 權力的象徵和行使霸權主義的關注。最赤裸 裸的「可口可樂」形象飽含張力,它充滿了 對於圖示真正意義的探索。

Born in 1956, in Harbin, Heilongjiang Province in 1956, Wang spent his formative years growing up under the Cultural Revolution, an event which has had a profound influence on his art. Denied an education until the Cultural Revolution had ended in 1976, he entered the Zhejiang Academy of Art in 1977, and he graduated from there in 1984. After graduating Wang was immensely influenced by the ‘Pop Art’ of urbane American Culture. Taking the ‘flat style’ and monochromatic colors of this style as a starting point, Wang began to produce his first works, studies of ordinary people in everyday activities. As China opened its doors to the world in 1977 after 10 years of the Cultural Revolution, the contemporary art scene exploded. As ideas and concepts flowed in from abroad, artists who had been starved of originality and freedom of expression, as they were forced to produce Propaganda art for the Cultural Revolution,


eagerly embraced avant-garde Western artistic styles as they sought ways to express their individuality, their social concerns, their inner world and their relationship to society. In 1989, it seemed the coming of age for Contemporary art had arrived, when the first exhibition of avant-garde works was allowed at the National Museum in Beijing. It was a major moment in the lives of all living artists, the validation of their work as art. But disaster was to strike. At the exhibition opening an installation artist fired live shots from a gun. The exhibition was immediately closed down. The authorities now became openly hostile to contemporary artists warning them that criticism would not be tolerated, and forcing them underground. The artistic community was devastated. They spent the next few months trying to figure out what direction to take. In June 1989, and even worse blow was to fall with Tiananmen Square. After the crackdown, the whole of society became quiet. The energy, passion and joie de vivre of the previous decade ended abruptly. If you were to survive, you needed to be quiet. The art world became very silent for the next two years. A realization had descended that openly exploring contemporary society, individual relationships with it, or criticizing corrupt authorities or the communist system would unleash a fierce backlash from those in power. Artists spent the 2 years in introspection, reflection, and contemplation of how to express their inner most concerns with drawing down the wrath of the authorities. Slowly art began to reappear in the early 1990s. Gone was the open expression of anguish, anger, criticism, and direct commentary on a corrupt system. Instead, in a society that doesn’t like open criticism, a Chinese answer was found. Instead open anger and anguish were replaced by irony and humor. ‘Political Pop’, which took the road of irony and ‘Cynical Realism’, which took the path of humor were born.

At this time, Wang began to produce his famous “Great Criticism Series”, which grew out of his flat pop art earlier works. Wang borrowed iconic images from the socialist art posters of the Cultural Revolution which extolled the heroic nature and actions of the idealized figures of Maoism, soldiers, laborers and peasants. He painted them against a monochromatic background usually red with all its communist overtones but even more so its associations with blood. Wang then blazoned a Western brand name across the canvas, thus juxtaposing iconic symbols of two very different systems, raising very profound questions. The authorities could hardly

王廣義《大批判—VOLVO》 羅芙奧2005年秋季拍賣會,編號066,693萬台幣成交 WANG Guangyi, Great Criticism - VOLVO

2004, oil on canvas, 200 x 300 cm Ravenel Autumn Auction 2005, lot 066, US$ 206,989 sold

object to its most revered images and artistic style being adopted by a contemporary artist notwithstanding its ironic overtones. After the Great Criticism series Wang wanted to return to what he calls “the original state of condition.” “Conceptually speaking, this process of returning to the original expression has meant for me a return to the original ideological worldview that guided my earliest educational experience, and, by extension, to the earliest views on the questions of form that were imparted to me. In fact, it could be said that all the work I am now doing is related to this idea of going back to the original,

and reducing things to their essentials. In the past, I never thought this way, but now I am following the trajectory of my own growth of development, I realize that is very important for an artist” [Wang Guangyi: The Legacy of Heroism, Hanart TZ Gallery, Hong Kong, 2004, p. 5]. The triptych CocaCola is a work from this new period. From 2004/2005, this large-scale triptych is a mature expression of Wang’s major ongoing concerns, the power of symbols and the hegemony they wield. Stripped down to bare essentials “Coca Cola” is a dramatic and tension filled exploration of the true meaning of symbols. The dark black background highlights the starkly drawn, hardlined figures of revolutionary heroes from the propaganda posters. The work is dominated by a young revolutionary female soldier bent on one knee, rifle aiming. The pose is sinister and menacing. Are we witnessing an execution as she points her gun at one of the groups of people? The two groups of people on either side seem to be lost in their respective activities unaware of the violence that seems about to break forth. The depiction of the figures in X-ray form adds to the sinister and tension laden scene. The Coca Cola logo is likewise depicted in monochromatic washed out color. Its grayish-blue hue is subdued and heavy. It ironically dominates the entire work as it stands centre stage over the unfolding scene below. As a symbol of Western Consumerism it seems to stand in stark contrast to the sinister scene being enacted below it. “Coca Cola” has lost the warm playfulness of Wang’s earlier works in the “Great Criticism” series. In this work Wang seems to be much more focused on examining the true meaning and nature of power. The visual seductiveness of the iconic revolutionary figures and the ubiquitous Western logos should not hide from us the true nature of power and its ability to corrupt and destroy.


159

YUE Minjun (Chinese, b. 1962)

Contemporary Terracotta Warriors Series No. 6 2005 Bronze sculpture, edition no. 9/25 45.7(L) x 61(W) x 287.7(H) cm Engraved Yue Minjun in English, titled No. 6, dated 2005 and numbered 9/25 EXHIBITED: Yue Minjun and the Symbolic Smile, Queens Museum of Art, New York, Oct. 14, 2007-Jan. 6, 2008 ILLUSTRATED: Melissa Chiu, Chinese Contemporary Art 7 Things You Should Know, AW Asia, New York, 2008, color illustrated, p. 94

NT$ 4,000,000-5,000,000 US$ 122,300-152,900 HK$ 941,000-1,176,000

岳敏君 現代兵馬俑系列之六 2005 銅雕 9/25 45.7(長) x 61(寬) x 287.7(高) cm 簽名雕刻:Yue Minjun No. 6 9/25 2005

岳敏君於2000年開始發表「現代兵馬俑」 系列雕塑創作,靈感來自1974年被陝北農 夫發現的秦陵巨大雕塑群。兵馬俑容貌乍看 相同,細看各有變化,然而冷漠表情卻是一 致的,兵馬俑的出土是中國雕塑藝術一大發 現。岳敏君借用封建歷史的結束,探討集體 與個體之平衡關係,以一組組完全相同張口 大笑的自我形象,顛覆新的英雄主義與偶像 崇拜。 岳敏君說道︰「它對應了秦始皇的兵馬俑, 產生了對歷史的反諷和幽默。所有的雕塑形 象應用我一貫的作風以我自己為模特,表現 自我成為偶像,通過的是不斷重複和大量生 產,量的增加能夠產生質的飛躍。同時,能 噴發出巨大的能量。尤其是這些傻呼呼的沒 有頭腦的傻笑人,在視覺上具有很強的破 壞力量,這些人同時也是容易被驅使和容 易上當的人。但我並不是一個悲觀的人,我 只是對生活採取一種無奈和放棄的態度。這 些傻笑人有他們自身的問題,(這些問題是 我的問題的放大),同時他們也是富有情感 的人,他們是活著的人,他們深深的感覺到 了什麼,所以大笑不止。」 (摘錄藝術家創作自 述)

展覽: 「岳敏君和他的符號化笑容」,皇后美術 館,紐約,展期自2007年10月14日至2008年 1月6日 圖錄: 招穎思,《中國當代藝術:你該知道的七 件事》,AW A s i a,紐約,2008,彩色圖 版,頁94

264

Yue Minjun started to create his “Contemporary Terracotta Warriors” sculpture series in 2000. The series is inspired by the terracotta warrior sculptures, which evoke great wonder, which were discovered in the area of the Qin Tombs in 1974 by a peasant from North Shaanxi. The warriors all look the same at first glance, but differences are apparent if they are observed carefully. They share the same reserved and aloof facial expressions. The Terracotta Warriors were a great discovery in China’s field of sculpture art. Yue Minjun explores the balanced relationship between collective and individual through the ending of the history of feudal society. He overturns the new heroism

and idolatry by creating groups of figures with uniform self-images, each with a laughing face and wide opened mouth. Yue Minjun’s terracotta warrior sculptures demonstrate a blend of historical implications and the potency of the self-image. These figures are reminiscent of ideological aesthetics found in older Chinese art. Their exaggerated limbs and large heads give the sculptures a touch of modernity. These sculptures are made of bronze, and stand in an apex or circle formation. They represent a unified force, the power of the self-image, and the many contradictions that contemporary China faces as it continues to develop in the twenty-first century. Yue Minjun’s work portrays his own likeness; figures and faces leering, laughing and enjoying life. Although Yue Minjun’s characters are always smiling, they also convey a sense of irony.


160

XIANG Jing (Chinese, b. 1968)

End (A pair) 2002 Fiberglass, edition no. 1/6 65(L) x 55(W) x 165(H) cm Signed Xiang Jing in Chinese, dated 2002 and numbered 6-1 (1 of group) Signed Xiang Jing in Chinese, dated 2002 and numbered 6-1 (2 of group) ILLUSTRATED: Xiang Jing, Shanghai Bookstore Publishing House, Shanghai, 2006, color illustrated, p. 55 This pair of sculptures is to be sold with a certificate of authenticity issued by Asia Art Center Co. Ltd, Taipei.

NT$ 2,600,000-3,800,000 US$ 79,500-116,200 HK$ 612,000-894,000

向京 盡頭(一對) 2002 玻璃纖維 1/6 65(長) x 55(寬) x 165(高) cm (x2) 簽名:向京 2002 6-1 (1 of group) 向京 2002 6-1 (2 of group) 圖錄: 《向京》,上海書店出版社,上海,2006, 彩色圖版,頁55 附亞洲藝術中心有限公司開立之作品保證書

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161

LI Hui

(Chinese, b. 1977)

Buddhist Altar 2004 Acrylics, neon lamp, stainless steel, edition no. 5/8 180(L) x 38.5(W) x 45(H) cm Signed Li Hui in Chinese and English, numbered 5/8

NT$ 3,500,000-4,500,000 US$ 107,000-137,600 HK$ 824,000-1,059,000

李暉 佛龕 2004 壓克力 霓虹燈 不鏽鋼 5/8 180(長) x 38.5(寬) x 45(高) cm 簽名:李暉 Li Hui 5/8

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162

LU Hsien-ming (Taiwanese, b. 1959)

Opportunities Oil on canvas 61 x 73 cm Signed on the reverse Lu Hsien-ming in Chinese

NT$ 120,000-260,000 US$ 3,700-8,000 HK$ 28,000-61,000

270

陸先銘 先機 油彩 畫布 61 x 73 cm 簽名畫背:陸先銘


163

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Woman Oil on canvas 65 x 52.5 cm Signed lower right Che in Chinese

黃銘哲 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 140,000-200,000 US$ 4,300-6,100 HK$ 33,000-47,000

女人 油彩 畫布 65 x 52.5 cm 簽名右下:哲 附藝術家簽名原作保證書


164

YANG Din

(Chinese, b. 1958)

Lily Pond 1991-1992 Oil on canvas 92 x 90 cm Signed lower right Yang in French and dated 91 Signed on the reverse Yang Din in French and dated 1992 II

NT$ 140,000-260,000 US$ 4,300-8,000 HK$ 33,000-61,000

272

楊登雄 荷塘 1991-1992 油彩 畫布 92 x 90 cm 簽名右下:Yang 91 簽名畫背:Yang Din 1992 II


165

LIN Wen-chiang (Taiwanese, b. 1943)

Worker Oil on canvas 65 x 80 cm Signed lower right Wen-chiang in Chinese

NT$ 140,000-220,000 US$ 4,300-6,700 HK$ 33,000-52,000

林文強 勞動者 油彩 畫布 65 x 80 cm 簽名右下:文強


166

YANG Chihung (Taiwanese, b. 1947)

Looking into the Subconscious 1986 Mixed media on canvas 56.5 x 76 cm Signed lower right C. Yang in English and dated '86

NT$ 120,000-220,000 US$ 3,700-6,700 HK$ 28,000-52,000

274

楊識宏 潛意識之追索 1986 綜合媒材 畫布 56.5 x 76 cm 簽名右下:C. Yang '86


167

YANG Din

(Chinese, b. 1958)

Poésie 2007 Oil on canvas 100 x 81 cm Signed lower right Yang Din in French Titled on the reverse Poésie in French, dated 2007 and size 100 x 81 cm

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

楊登雄 月光曲 2007 油彩 畫布 100 x 81 cm 簽名右下:Yang Din 簽名畫背:Yang Din "Poésie" 2007 100 x 81 cm


168

HWANG Jyi

(Taiwanese, b. 1953)

Player 1995-1999 Oil on canvas 130 x 130 cm Signed upper left Jyi in Chinese and dated 1995-1999 Titled on the reverse Player in Chinese, Huang Jyi in Chinese and dated 1995-1999

NT$ 500,000-600,000 US$ 15,300-18,300 HK$ 118,000-141,000

276

黃楫 玩物者 1995-1999 油彩 畫布 130 x 130 cm 簽名左上:楫 1995-1999 簽名畫背:玩物者 黃楫 1995-1999


169

Tzu-chi YEH

(Taiwanese, b. 1957)

Taiwanese Dog 2002-2004 Tempera and oil on linen 89 x 127 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2002-'04

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

葉子奇 一隻台灣的狗 2002-2004 卵彩 油彩 亞麻布 89 x 127 cm 簽名右下:葉子奇 2002-'04


170

LEE Jaesun (Korean, b. 1971)

Parade (I) 2007 Fire resistant material on canvas, adhesive, coffee, ink, carbon stick 130 x 160 cm Signed upper right Lee Jaesun in Korean and dated 20070914 Signed on the reverse Parade (I) in Korean, dated 2007 and size 160 x 130 cm

NT$ 550,000-650,000 US$ 16,800-19,900 HK$ 129,000-153,000

278

李在先 走(I) 2007 防火塗料 白乳膠 咖啡 墨色 炭精條 畫布 130 x 160 cm 簽名右上:20070914 이자선 簽名畫背:가다(I) 2007年 160 x 130 cm


171

Ayako ROKKAKU (Japanese, b. 1982)

Untitled 2008 Acrylic on canvas 101 x 153 cm Signed lower right Ayako Rokkaku in Japanese and dated 2008

NT$ 500,000-650,000 US$ 15,300-19,900 HK$ 118,000-153,000

六角彩子 無題 2008 壓克力 畫布 101 x 153 cm 簽名右下:2008 ロッカクアヤコ


172

LIAO Yi-pai (Chinese, b. 1971)

Unlimited Ideas, Humble Actions 2008 Stainless steel, edition no. 1/8 39(L) x 26(W) x 49(H) cm

NT$ 220,000-280,000 US$ 6,700-8,600 HK$ 52,000-66,000

280

廖一百 致虛極 守靜篤 2008 不鏽鋼 1/8 39(長) x 26(寬) x 49(高) cm


173

LIU Fenghua & LIU Yong (Chinese, b. 1956 & b. 1971)

New Terracotta Warrior 2009 Acrylic on ceramic (unique) 17(L) x 15(W) x 59(H) cm Signed Liu FengHua, Liu Yong in English and dated 2009 No. 2

NT$ 140,000-180,000 US$ 4,300-5,500 HK$ 33,000-42,000

劉楓華&劉勇 新兵馬俑 2009 壓克力 陶器 (單一件) 17(長) x 15(寬) x 59(高) cm 簽名:2009 No. 2 Liu FengHua, Liu Yong


174

JIANG Jianqiu (Lao JIANG) (Chinese, b. 1972)

Mr. Red - the End 2007 Fiberglass, edition no. 3/8 Toy Boy: 31(L) x 22(W) x 16(H) cm Pillar: 35(L) x 35(W) x 180(H) cm Signed Lao Jiang in Chinese and English, numbered 3/8 and dated 2007.9 (toy boy) Signed Lao Jiang in Chinese, numbered 3/8 and dated 2007.9 (pillar)

NT$ 260,000-350,000 US$ 8,000-10,700 HK$ 61,000-82,000

蔣建秋(老蔣) 紅先生─盡頭 2007 玻璃纖維 3/8 公仔:31(長) x 22(寬) x 16(高) cm 柱子:35(長) x 35(寬) x 180(高) cm 簽名:老蔣 Lao Jiang 3/8 2007.9 (公仔) 簽名:老蔣 3/8 2007. 9 (柱子)

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175

ZHOU Chunya (Chinese, b. 1955)

Shouting 2007 Bronze, edition no. 3/8 20(L) x 20(W) x 32(H) cm Engraved ZHOU CHUNYA in English and numbered 3/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 106-107

NT$ 450,000-550,000 US$ 13,800-16,800 HK$ 106,000-129,000

周春芽 吶喊的黑根 2007 銅雕 3/8 20(長) x 20(寬) x 32(高) cm 簽名雕刻:ZHOU CHUNYA No: 3/8 圖錄: 《花間記》,四川美術出版社,成都, 2007,彩色圖版,頁106-107


176

WANG Keping (Chinese, b. 1949)

Untitled Wooden sculpture 18(L) x 22(W) x 42(H) cm Engraved bottom Wang in Chinese and K in English

NT$ 650,000-850,000 US$ 19,900-26,000 HK$ 153,000-200,000

王克平 無題 木雕 18(長) x 22(寬) x 42(高) cm 簽名雕刻底部:王 K …王克平挑戰所有風格概念—他的藝術取法 自然。他的藝術語彙在具象雕塑世界中仍然 神祕未知。我們不要忘記,蒙德里安曾在冬 日凝視樹枒時發現了幾何抽象。 …王克平聲明:「我在我的雕刻中尋找中國 古代原始藝術的源頭,我走的越遠,越接近 我的現代藝術觀念。」 至於我,我要聲明,王克平是極稀少數有能 力影響當代藝術演變的藝術家之一。 - 摘錄自巴黎麥約美術館策展人伯特朗.羅侃〈王克平復興 雕刻〉一文,《王克平》目錄

…Wang Keping steps outside of all notions of style – his art is dictated by nature. His artistic vocabulary is still unknown to the world of figurative sculpture. Let us not forget that Mondrian found geometric abstraction when contemplating tree branches in winter. …Wang Keping declares: “In my sculpture, I strive to find that which is universally in primitive Chinese form and the further I go to the origins of this art, the close I am to my idea of contemporary art.” As for me, I declare that Wang Keping is one of the few artists with the capacity to change the evolution of contemporary art. - Excerpts from his essay for the “Wang Keping” catalogue; Bertrand Lorquin, Curator of the Maillol Museum, Paris

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177

JIAO Xingtao (Chinese, b. 1970)

Double Mint Fiberglass, edition no. 2/6 117(L) x 100(W) x 110(H) cm Signed Jiao Xingtao in Chinese and numbered 2/6

NT$ 850,000-950,000 US$ 26,000-29,100 HK$ 200,000-224,000

焦興濤 綠箭 玻璃纖維 2/6 117(長) x 100(寬) x 110(高) cm 簽名:焦興濤 2/6


178

QU Guangci (Chinese, b. 1969)

Pig Farmer 2006 Bronze sculpture, edition no. 3/7 55(L) x 55(W) x 52(H) cm Signed on the base Guangci in Chinese, dated 2006 and numbered 7-3

NT$ 700,000-850,000 US$ 21,400-26,000 HK$ 165,000-200,000

瞿廣慈 牧豬人 2006 銅雕 3/7 55(長) x 55(寬) x 52(高) cm 簽名台座:廣慈 2006 7-3

286


179

Sui Jianguo (Chinese, b. 1956)

Slave 2001 Bronze sculpture, edition no. 4/8 27(L) x 19(W) x 69.5(H) cm Engraved Sui Jianguo in English

NT$ 850,000-950,000 US$ 26,000-29,100 HK$ 200,000-224,000

隋建國 奴隸 2001 銅雕 4/8 27(長) x 19(寬) x 69.5(高) cm 簽名雕刻:Sui Jianguo


180

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

Return to the Beginning 1986 Stainless steel, edition no. 17/20 72(L) x 60(W) x 78(H) cm Engraved on th base Yuyu Yang in Chinese and English, Yang YF in English, dated '86 and numbered 17/20 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

楊英風 回到太初 1986 不鏽鋼 17/20 72(長) x 60(寬) x 78(高) cm 簽名雕刻台座:'86 呦呦楊英風 Yuyu YANG Yang YF, 17/20 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證書

288


181

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

Evolution 1972 Bronze, edition no. 11/30 42(L) x 35(W) x 81.5(H) cm Engraved lower reverse Ying-feng in Chinese, dated '72, Taipei in Chinese, numbered 11/30 ILLUSTRATED: Yuyu Yang's Collection Vol.1, Art venue Publishing, Taipei, 2005, p. 232 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 800,000-1,400,000 US$ 24,500-42,800 HK$ 188,000-329,000

楊英風 有容乃大 1972 青銅 11/30 42(長) x 35(寬) x 81.5(高) cm 簽名雕刻後側下方:英風 '72 台北 11/30 圖錄: 《楊英風全集》第一卷,藝術家出版社, 台北,2005年,頁232 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證書

290


182

KIM Byung Jin (Korean, b. 1974)

Apple Drawing 2 Steel wire (unique) 30(L) x 30(W) x 38(H) cm

NT$ 80,000-120,000 US$ 2,400-3,700 HK$ 19,000-28,000

金炳真 繪蘋果之二 鐵 金屬線(單一件) 30(長) x 30(寬) x 38(高) cm

292


183

Yayoi KUSAMA (Japanese, b. 1929)

草間彌生

Repetition B,T,Z

1996 壓克力 畫布 照片拼貼 23 x 16 cm 簽名畫背:YAYOI KUSAMA 1996 レペテ ション B,T,Z

1996 Acrylic on canvas, photo collage 23 x 16 cm Signed on the reverse YAYOI KUSAMA in English, dated 1996 and titled Repetition in Japanese, and B,T,Z in English

重複

PROVENANCE: Moma Gallery, Fukuoka, Japan

NT$ 140,000-240,000 US$ 4,300-7,300 HK$ 33,000-56,000

來源: 日本福岡Moma畫廊


184

LEE Jaesun (Korean, b. 1971)

Two Women with One Eye Closed 2007 Fire resistant material on canvas, adhesive, coffee, ink, carbon stick 40 x 68.5 cm Titled on the reverse Two Women with one Eye Closed in Korean, size 68.5 x 40 cm, dated 2007.8.29 and signed Lee Jae Sun in English

NT$ 70,000-100,000 US$ 2,100-3,100 HK$ 16,000-24,000

李在先 閉一邊眼的兩個女人 2007 防火塗料 白乳膠 咖啡 墨色 炭精條 畫布 40 x 68.5 cm 簽名畫背:한쪽눈올 감고 앗는 두여자 68.5 x 40 cm 2007年8月29日 Lee Jae Sun

185

LEE Hye-Rim (Korean, b. 1963)

Candyland Digital print, edition of 5 Diameter 70 cm EXHIBITED: Fictitious Reality: Asian Contemporary Image Exhibition, Chen Ling Hui Contemporary Space, Taipei, Aug. 29 - Oct. 11, 2009

NT$ 90,000-160,000 US$ 2,800-4,900 HK$ 21,000-38,000

李惠林 甜心地 數位輸出 限量5件 70 x 70 cm (直徑) 展覽: 「虛擬真實:亞洲當代影像展」,陳綾蕙當 代空間,台北,展期2009年8月29日至10月 11日

294


186

Kwon Kyung Yup (Korean, b. 1975)

LOVE 2008 Oil on canvas 97 x 162 cm Signed on side Kwon Kyung Yup in Korean

NT$ 120,000-200,000 US$ 3,700-6,100 HK$ 28,000-47,000

權慶燁 愛 2008 油彩 畫布 97 x 162 cm 簽名側邊:컨경엽


187

KIM Duck Yong (Korean, b. 1961)

Grain - Peaches 2004 Mixed media on wood 35(L) x 83(W) x 4(D) cm With one seal of the artist With one seal of the artist on the reverse

NT$ 140,000-220,000 US$ 4,300-6,700 HK$ 33,000-52,000

296

金德龍 木紋系列—桃子 2004 綜合媒材 木板 35(長) x 83(寬) x 4(深) cm 鈐印左下:龍 畫背鈐印:龍


188

Kwon Kyung Yup (Korean, b. 1975)

Bloodshot 2008 Oil on canvas 161.5 x 130 cm Signed on side Kwon Kyung Yup in Korean

NT$ 140,000-240,000 US$ 4,300-7,300 HK$ 33,000-56,000

權慶燁 紅眼睛 2008 油彩 畫布 161.5 x 130 cm 簽名側邊:컨경엽


189

SHIN Young-Mi (Korean, b. 1979)

Cactus 2006 Acrylic on panel 100 x 55 cm EXHIBITED: Another Home, Cais Gallery, Hong Kong, April 27-June1, 2007 This painting is to be sold with a certificate of authenticity issued by Cais Gallery, Hong Kong.

NT$ 140,000-240,000 US$ 4,300-7,300 HK$ 33,000-56,000

申英美 仙人掌 2006 壓克力 木板 100 x 55 cm 展覽: 「另一個家」,Cais畫廊,香港,展期2007 年4月27日至6月1日 附香港Cais Gallery開立之原作保證書

298


190

YANG Ren-ming (Taiwanese, b. 1962)

New Plants in the Water Pool 1993 Oil on canvas 80 x 100 cm Signed lower right Yang Ren-ming in Chinese Titled on the reverse New Plants in the Water Pool in Chinese, dated 1993, size 100 x 80 cm, media oil on canvas and signed Yang Ren-ming in Chinese

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

楊仁明 水池中的新植物 1993 油彩 畫布 80 x 100 cm 簽名右下:楊仁明 簽名畫背:水池中的新植物 1993 100 x 80 cm 油.布 楊仁明


191

HUNG Tung-lu (Taiwanese b. 1968)

Bounty Hunter No. 1 2002-2006 Type-C print, edition no. 5/8 94 x 125 cm Signed bottom Hung Tung Lu in English, titled Bounty hunter-1 in English, edition numbered 5/8 and dated 2002-2006

NT$ 140,000-220,000 US$ 4,300-6,700 HK$ 33,000-52,000

300

洪東祿 賞金獵人之一 2002-2006 數位輸出 相紙 5/8 94 x 125 cm 簽名下方:Bounty hunter-1 5/8 Hung Tung Lu 2002-2006


192

HWANG Hyun Seung (Korean, b. 1980)

Sweet (2008 No. 20) 2008 Oil on canvas 145.5 x 112.1 cm Signed on the reverse Hwang Hyun Seung in Korean, titled Sweet in English, size 112.1 x 145.5 cm, media oil on canvas, dated 2008 No. 20 Signed Korea Hwang Hyun Seung in English

NT$ 240,000-350,000 US$ 7,300-10,700 HK$ 56,000-82,000

黃炫升 甜蜜 (2008 No. 20) 2008 油彩 畫布 145.5 x 112.1 cm 簽名畫背:Sweet 112.1 x 145.5 cm Oil on Canvas 2008 no. 20 Korea Hwang Hyun Seung


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HWANG Jyi

(Taiwanese, b. 1953)

A Man in Front of a Black and White Portrait 1995-1996 Oil on canvas 130 x 162 cm Signed lower right Jyi in Chinese and dated 1995-96 Titled on the reverse A Man in Front of a Black and White Portrait in Chinese, Hwang Jyi in Chinese and dated 1995-96

NT$ 700,000-900,000 US$ 21,400-27,500 HK$ 165,000-212,000

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黃楫 在黑白畫像前的男人 1995-1996 油彩 畫布 130 x 162 cm 簽名右下:楫 1995-96 簽名畫背:在黑白畫像前的男人 黃楫 1995-96


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LEE Woo Lim (Korean, b. 1972)

Dream 2003 Oil on canvas 130 x 162 cm Titled on the reverse Dream in Korean and Han character, dated 2003, LEE-WOO-LIM in Korean, English and Han character

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

李佑林 夢 2003 油彩 畫布 130 x 162 cm 簽名畫背:옹(夢) 2003 이우림 LEE-WOO-LIM 李佑林


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YOON Jongseok (Korean, b. 1970)

Net Hanging Down the Concealed Inside - Pattern of Dot 2008 Acrylic on canvas 97 x 162 cm Signed on side Yoon Jongseok in English and dated 2008

NT$ 450,000-650,000 US$ 13,800-19,900 HK$ 106,000-153,000

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尹鍾錫 隱藏的垂網─點的圖案 2008 壓克力 畫布 97 x 162 cm 簽名側邊:Yoon Jongseok 2008


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KWON Ki Soo (Korean, b. 1972)

Dongguri 2009 Acrylic on canvas 117 x 91 cm Signed on the reverse KWON Ki-soo in Han character and English, dated 2009

NT$ 450,000-550,000 US$ 13,800-16,800 HK$ 106,000-129,000

權奇秀 當咕尼 2009 壓克力 畫布 117 x 91 cm 簽名畫背:權奇秀 KWON Ki-soo 2009


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KWON Ki Soo (Korean, b. 1972)

4 Seasons - Brown 2008 Acrylic on canvas 162 x 130 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2008 This painting is to be sold with a certificate of authenticity issued by Park Ryu Sook Gallery, Seoul.

NT$ 600,000-800,000 US$ 18,300-24,500 HK$ 141,000-188,000

權奇秀 四季—棕 2008 壓克力 畫布 162 x 130 cm 簽名畫背:權奇秀 Kwon Ki Soo 2008 附首爾朴麗淑畫廊保證書

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HUNG Tung-lu

(Taiwanese, Donglu HONG, b. 1968)

Pretty Solider: Sailor Moon Lynn Minmay Street Fighter: Chun Li Evangelion: Ajanami Rei 1999 Type-C print, edition no. 6/8 121 x 96 cm x 4 (image) 128 x 102 cm x 4 (with frames) EXHIBITED: Close to Open, 48th Venice Biennale: The Taiwan Pavillion Exhibition, Venice, 1999 The Darker Side of Playland - Childhood Imagery from the Logan Collection, San Francisco Museum of Modern Art, San Francisco, 2000 From Iconoclam to Neo-Iconolatry: Taiwan's Contemporary Art in the Post-Martial Law Era, Eslite Gallery, Taipei, June 2001; Chinese Information and Culture Center, New York; Manhattanville College, New York, 2001 Full Frontial: Contemporary Asian Artists from the Logan Collection, Denver Museum, Denver, Colorado, 2003 Fiction@Love, Museum of Contemporary Art Shanghai, Shanghai, 2006 ILLUSTRATED: Mei Dean-e etc., Lin Hsiao-yun & Wang Ping-hua ed., Flux and Imagines: Taiwanese Contemporary Art in 1990s, S-An Cultural Foundation & Ecus Culture Publishing, Taipei, 2001, color illustrated, pp.126-128 & p. 162 Li Wei-jing, Portraits of Young Artists, Artist Publishing, Taipei, 2002, color illustrated, pp. 32-34 Hsieh Tung-shan, Contemporary Art in Taiwan, Artist Publishing, Taipei, 2002, color illustrated, no. 132 & 133, pp. 131-132 Fiction@Love, Museum of Contemporary Art, Shanghai, 2006, color illustrated, pp. 15-16

NT$ 700,000-800,000 US$ 21,400-24,500 HK$ 165,000-188,000

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洪東祿 美少女戰士、林明美、春麗、凌波玲 1999 數位輸出 相紙 6/8 121 x 96 cm x 4 (影像) 128 x 102 cm x 4 (含框) 展覽: 「意亂情迷—台灣藝術三線路」,第48屆威 尼斯雙年展,威尼斯,1999 「遊樂場的陰暗面—羅根夫婦收藏展」,舊 金山現代美術館,舊金山,2000 「從反聖像到新聖像:後解嚴的台灣當代藝 術」,誠品畫廊,台北;紐約文化中心台北 畫廊,紐約;紐約州曼哈頓村學院,2001 「正面全裸:羅根收藏之當代亞洲藝術家 展」,丹佛美術館,丹佛,科羅拉多州, 2003 「虛擬@愛」,上海當代藝術館,上海, 2006 圖錄: 梅丁衍等著,林小雲、王品驊主編,《流變 與幻形:當代台灣藝術.穿越九○年代》, 世安文教基金會、木馬文化,台北,2001, 彩色圖版,頁126-128與頁162 李維菁,《程式不當藝世代18》,藝術家出 版社,台北,2002,彩色圖版,頁32-34 謝東山主編,《1980-2000台灣當代藝 術》,藝術家出版社,台北,2002,彩色圖 版,編號132、133,頁131-132 《虛擬@愛》,上海當代藝術館,上海, 2006,彩色圖版,頁15-16


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J. C. KUO (KUO Jen-chang) (Taiwanese, b. 1949)

Saint Taiwan - Floating 1997 Acrylic on canvas, wooden sculpture 170(L) x 95(W) x 7.5(D) cm Signed bottom Kuo Jen-chang in Chinese, JC. KUO in English and dated '97

NT$ 850,000-950,000 US$ 26,000-29,100 HK$ 200,000-224,000

郭振昌 聖台灣─飄然 1997 壓克力 畫布 木雕 170(長) x 95(寬) x 7.5(深) cm 簽名下方:郭振昌 '97 JC. KUO

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200

KWON Ki Soo (Korean, b. 1972)

Blow Off Day - Silver 2008 Acrylic on canvas 194 x 130 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2008

NT$ 650,000-950,000 US$ 19,900-29,100 HK$ 153,000-224,000

權奇秀 放天空─銀 2008 壓克力 畫布 194 x 130 cm 簽名畫背:權奇秀 Kwon Ki Soo 2008

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201

Nam June Paik

(Korean-American, 1932-2006)

TV Rabbit 1999 Video installation 66(L) x 64(W) x 119(H) cm Signed lower left PAIK in English and dated '99

NT$ 2,900,000-3,600,000 US$ 88,700-110,100 HK$ 682,000-847,000

白南準 電視天線兔 1999 錄像裝置 66(長) x 64(寬) x 119(高) cm 簽名左下:PAIK '99

韓裔美國藝術家白南準被譽為「錄像藝術 之父」,他不僅是影像藝術、多媒體藝術 的先驅,開創科技與藝術結合的先河,其 影響力可與20世紀藝術家波依斯(J o s e p h Boyce)、杜象(Marc Duchamps)、安迪 沃荷(Andy Warhol)齊名。 白南準1950年代留學日本及德國,修習音樂 及哲學。在德國期間受到美國前衛音樂家約 翰.凱吉(John Cage)的影響至深,啟發 他往電子科技藝術之路發展。1963年白南準 首度以黑白電視作為媒材,經過藝術改造完 成首件電視裝置藝術。白南準是一位跨越文 化的藝術家,兼容東西文化的特質,他出生 於韓國首爾,在日本接受古典音樂與哲學啟 蒙,後來又活躍於德國前衛藝術圈,定居於 紐約後,往來於世界參與美術展覽。 《電視天線兔》是一件電視錄像裝置,內容 包括一台老式電視櫃,1990年代使用的LD 彩色電視錄像,及象徵電視天線的兔子銅 雕。因岔開的造型如兔耳,所以電視天線的 英文俗稱「TV Rabbit」,白南準在此將天 線化為實體的金屬兔,展現幽默感。富有歷 史感的日常現成物,混雜傳統與現代、東方 與西方文化對比的聲光,化身為一件具有多 元人文涵養的多媒體藝術裝置。

Nam June Paik, a Korean-born American artist, is known as “The Father of Video Art”. He played a very important role in leading the video

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and multi media arts; combining technology and video art together. His impact on the visual art world can be compared to that of 20th century artists such as Joseph Boyce, Marc Duchamps and Andy Warhol. In the 1950’s, Nam June Paik was educated in Japan and Germany in music and philosophy. D u r i n g h i s s t u d i e s i n G e r m a n y, h e w a s influenced by the American avant-garde music composer John Cage, with whom he began his path in the electronic arts. In 1963, he used black and white TV as a media to create his first video installation. He is truly an international artist, a mixture of Eastern and Western cultures, born in Seoul, Korea, enlightened in classical music and philosophy in Japan, active in German avant-garde art circles and finally settling down in New York. He travelled the world participating in many exhibitions. “TV Rabbit” is a video installation. It is made up of an old style TV cabinet, a 1990’s LD color video recorder, and a sculpture of a rabbit that represents TV antenna. As the antenna look like the ears of a rabbit, it is named “TV Rabbit”. Nam June Paik has animated the antenna as a metallic rabbit, showing a humorous side to his creation. The piece is a multi media installation based on a historical object, while merging old and new cultures, and creating a contrast of East and West.


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LEE Lee Nam (Korean, b. 1969)

Mini Digital 8 Fold Screen 2 2009 5 minutes video installation, painted plastic with LED screens, edition no. 3/10 86(L) x 27(W) x 29(H) cm This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 350,000-450,000 US$ 10,700-13,800 HK$ 82,000-106,000

李二男 迷你數位屏風之二 2009 五分鐘錄像裝置 3/10 86(長) x 27(寬) x 29(高) cm 附藝術家親筆簽名之原作保證書

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YI Hwan-Kwon (Korean, b. 1974)

Untitled 2001 Painted fiberglass, edition no. 2/3 14(L) x 14(W) x 70(H) cm Signed lower reverse Yi Hwan-kwon in Korean, dated 01 and numbered 2/3

NT$ 550,000-650,000 US$ 16,800-19,900 HK$ 129,000-153,000

李桓權 無題 2001 玻璃纖維著色 2/3 14(長) x 14(寬) x 70(高) cm 簽名後側下方:01 이한컨 2/3


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金炳真

KIM Byung Jin

神秘的盛開

(Korean, b. 1974)

Mysterious Blossom

鐵 金屬線(單一件) 200 x 200 cm

Steel wire (unique) 200 x 200 cm

ILLUSTRATED: Drawing a Space Kim Byung-Jin, Ganna Art Gallery, Seoul, 2008, color illustrated, pp. 8-9

展覽: 「畫一個空間:金炳真」,仁寺藝術中心, 首爾,展期2008年2月27日至3月4日

EXHIBITED: Drawing a Space Kim Byung-Jin, INSA Art Center, Seoul, Feb. 27-Mar. 4, 2008

NT$ 280,000-450,000 US$ 8,600-13,800 HK$ 66,000-106,000

圖錄: 《畫一個空間:金炳真》,加那畫廊,首 爾,2008,彩色圖版,頁8-9

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Madoka TAKAGI (Japanese, b. 1983)

E-little 004 2008 Acrylic, clay, papier-mache (unique) 37(L) x 45(W) x 86(H) cm Signed left sole Madoka in English This sculpture is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 140,000-260,000 US$ 4,300-8,000 HK$ 33,000-61,000

高木まどか 小人偶 2008 壓克力 黏土 混凝紙漿(單一件) 37(長) x 45(寬) x 86(高) cm 簽名左腳鞋底:Madoka 附東京樁畫廊所開立之原作保證書


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城田圭介

Keisuke SHIROTA

距離感 N0. 25

(Japanese, b. 1975)

A Sense of Distance No. 25 2007 Acrylic on canvas, color photograph, collage 80 x 117 cm Titled on the reverse A SENSE OF DISTANCE #25 in English, dated 2007 and signed Shirota in English

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EXHIBITED: Fictitious Reality: Asian Contemporary Image Exhibition, Chen Ling Hui Contemporary Space, Taipei, Aug. 29 - Oct. 11, 2009

NT$ 90,000-180,000 US$ 2,800-5,500 HK$ 21,000-42,000

2007 壓克力 畫布 彩色照片 拼貼 80 x 117 cm 簽名畫背:A SENSE OF DISTANCE #25 2007 Shirota 展覽: 「虛擬真實:亞洲當代影像展」,陳綾蕙當 代空間,台北,展期2009年8月29日至10月 11日


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Ai KATO & Aida MAKOTO

(Japanese, b. 1975 & 1965)

Ai-chan Bonsai (Pine) at Japanesestyle Restaurant 2008 Lambda print, edition no. 2/10 87 x 125 cm Signed on the reverse Kato Ai in Japanese and English, Makoto Aida in Japanese and English, dated 2008 and numbered 2/10

NT$ 120,000-180,000 US$ 3,700-5,500 HK$ 28,000-42,000

加藤愛 & 會田誠 小愛盆栽(中國燈籠草)日式餐廳 2008 數位輸出 2/10 87 x 125 cm 簽名畫背:加藤愛 Kato Ai 會田誠 Makoto Aida 2008年 2/10


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Ai KATO & Aida MAKOTO

(Japanese, b. 1975 & 1965)

Ai-chan Bonsai (Pine) in the Garden 2008 Lambda print, edition no. 2/10 95 x 68 cm Signed on the reverse Kato Ai in Japanese and English, Makoto Aida in Japanese and English, dated 2008 and numbered 2/10

NT$ 120,000-180,000 US$ 3,700-5,500 HK$ 28,000-42,000

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加藤愛 & 會田誠 小愛盆栽(松)庭園中 2008 數位輸出 2/10 95 x 68 cm 簽名畫背:加藤愛 Kato Ai 會田誠 Makoto Aida 2008年 2/10


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Natsuko KITAMURA (Japanese, b. 1982)

Cat 2008 Acrylic on panel, wooden sculpture 65 x 100 cm, size 6(L) x 14(W) x 9(H) cm (cat)

北村奈津子

NT$ 160,000-280,000 US$ 4,900-8,600 HK$ 38,000-66,000

2008 壓克力 木板 木雕 畫作尺寸:65 x 100 cm 小貓尺寸:6(長) x 14(寬) x 9(高) cm


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Ai YAMAGUCHI (Japanese, b. 1977)

Ganryuukotobuki 2000 Acrylic on oke tub Diameter 21cm Thickness 7.5cm Signed bottom ai in English and dated 2000

NT$ 160,000-240,000 US$ 4,900-7,300 HK$ 38,000-56,000

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山口藍 丸龍壽 2000 壓克力 橡木盆 直徑:21cm 厚度:7.5cm 簽名盆底:ai 2000


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Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1992 Acrylic on canvas 16 x 23 cm Signed on the reverse YAYOI KUSAMA in English, dated 1992 and titled Pumpkin in Japanese

草間彌生 This painting is to be sold with an art work registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 280,000-350,000 US$ 8,600-10,700 HK$ 66,000-82,000

南瓜 1992 壓克力 畫布 16 x 23 cm 簽名畫背:YAYOI KUSAMA 1992 かぼちや 附草間彌生工作室開立之作品登錄卡


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Yoshitaka AMANO (Japanese, b. 1952)

Candy Girl S12 2008 Automotive paint on aluminum panel 50 x 50 cm

NT$ 350,000-550,000 US$ 10,700-16,800 HK$ 82,000-129,000

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天野喜孝 甜心女孩 S12 2008 汽車漆 鋁板 50 x 50 cm


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Hiroyuki MATSUURA (Japanese, b. 1964)

F'Language (Face it) 2009 Acrylic on canvas 35 x 35 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2009.3.28

松浦浩之 This painting is to be sold with a certificate of authenticity issued by Tokyo Gallery, Tokyo.

NT$ 400,000-500,000 US$ 12,200-15,300 HK$ 94,000-118,000

面對它 2009 壓克力 畫布 35 x 35 cm 簽名畫背:Hiroyuki Matsuura 2009.3.28 附東京畫廊開立之原作保證書


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Mayuka YAMAMOTO (Japanese, b. 1964)

Egg 2006 Oil on canvas 130 x 97 cm Titled on the reverse Egg in English, signed Mayuka in English and dated 2006 EXHIBITED: Mayuka Yamamoto Solo Exhibition, Gallery Tsubaki, Tokyo, Nov. 6-Nov. 18, 2006

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

山本麻友香 蛋 2006 油彩 畫布 130 x 97 cm 簽名畫背:Egg Mayuka 2006 展覽: 「山本麻友香展」,樁畫廊,東京,展期自 2006年11月6日至11月18日

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215

Soju TAO

(Japanese, b. 1977)

Apples 2007 Mixed media on canvas, collage 198 x 149 cm Signed on the reverse Soju Tao in English and dated 2007

NT$ 650,000-750,000 US$ 19,900-22,900 HK$ 153,000-176,000

田尾創樹 蘋果 2007 綜合媒材 畫布 拼貼 198 x 149 cm 簽名畫背:2007 Soju Tao


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Izumi KATO (Japanese, b. 1969)

Moku (Silent Woman) 2001 Oil on canvas 145.5 x 89.4 cm Titled on the reverse Moku in Japanese, dated 2001, size 145.5 x 89.4 cm (80M) and media Oil on canvas

NT$ 750,000-850,000 US$ 22,900-26,000 HK$ 176,000-200,000

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加藤泉 沉默的女子 2001 油彩 畫布 145.5 x 89.4 cm 簽名畫背:モク 2001 145.5 x 89.4 cm (80M) Oil on canvas


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Mayuka YAMAMOTO

山本麻友香

(Japanese, b. 1969)

Pool 2006 Oil on canvas 162 x 162 cm Titled on the reverse Pool in English, signed Mayuka in English and dated 2006

水池 PROVENANCE: Gallery Tsubaki, Tokyo

NT$ 850,000-950,000 US$ 26,000-29,100 HK$ 200,000-224,000

2006 油彩 畫布 162 x 162 cm 簽名畫背:Pool Mayuka 2006 來源: 椿畫廊,東京


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Yoshitaka AMANO (Japanese, b. 1952)

Gatchaman - June the Swan Automotive paint on aluminum panel 140(L) x 100(W) x 10(D) cm

NT$ 700,000-1,100,000 US$ 21,400-33,600 HK$ 165,000-259,000

天野喜孝 科學小飛俠─珍珍 汽車漆 鋁板 140(長) x 100(寬) x 10(深) cm

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Hiroyuki MATSUURA (Japanese, b. 1964)

Sleep Flying 2006 Acrylic on canvas 162 x 162 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2006.10.6 EXHIBITED: Ultra New Visions, Eslite Gallery, Taipei, Apr. 7-Apr. 29, 2007 ILLUSTRATED: Ultra New Visions Hiroyuki Matsuura, Eslite Corporation, Taipei, 2007, color illustrated, pp. 18-19 2007 Hiroyuki Matsuura Catalogue, Tokyo Gallery + Beijing Tokyo Art Projects, Tokyo, 2007, color illustrated, p. 36

NT$ 1,600,000-2,400,000 US$ 48,900-73,400 HK$ 376,000-565,000

松浦浩之 夢境飛翔 2006 壓克力 畫布 162 x 162 cm 簽名畫背:Hiroyuki Matsuura 2006.10.6

松浦浩之原先擔任平面設計師,因一種「百 分之百按照自己想法」的欲望,而開始投入 創作。卡通造型、平塗繽紛的色彩,帶有隱 喻及令人莞爾的幽默是松浦浩之作品的獨特 風格。松浦浩之作品中繽紛炫目的光澤及變 幻多端的視覺造型,源自於動畫與漫畫所帶 動的新世紀美學,他運用伴隨多數人成長的 「動漫新美學」,憑藉著平面設計師本具有 的技巧,將虛擬國度中的「角色」一一拉 出,創造出既純粹又可愛的世界。 本作品松浦浩之的《夢境飛翔》曾於2007年 誠品畫廊「松浦浩之個展」中展出。松浦浩 之說:「『他們』擁有著壓克力的肌膚,想 要和我們擁有同樣的生命」。松浦浩之以 「他們」這些角色為題,將故事性融入作品 中,讓觀者欣賞作品時能有無限的想像空 間,更因觀者的想像,賦予畫中角色獨一無 二的生命。

展覽: 「松浦浩之個展」,誠品畫廊,台北,展期 2007年4月7日至4月29日

松浦浩之認為這些角色是一種能超越語言的 圖像,會隨著數位化時代的腳步而逐漸進 化,進而成為世界性的存在。可以超越成人 與孩童、男人與女人、人類所構築的無形城 牆,甚至可以代替世界的共通語言。

圖錄: 《超—新視野:松浦浩之》,誠品股份有限 公司,台北,2007,彩色圖版,頁18-19 《2007松浦浩之目錄》,東京畫廊+北京東 京藝術工程,東京,2007,彩色圖版,頁36

Matsuura began as a graphic designer. He began his own creations from a desire to “do in his own way absolutely”. His special styles include cartoons, diverse flat-painting colors,

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and a kind of metaphoric humor that makes people amused involuntarily. The dazzling and diverse shine and variety of visual styles come from the aesthetics driven by the animation and cartoons of the new century. He uses the New Aesthetics of Comics and Animation which grow with most people, and the natural techniques of a graphic designer to draw out “characters” in a fictitious kingdom one by one to create a pure and lovely world. This "Sleep Flying" of Matsuura was shown at the “Hiroyuki Matsuura Solo Exhibition” in Eslite Gallery in 2007. Matsuura said, “‘They’ have acrylic skin and want to live a life like us.” Matsuura uses ‘they’ as the subject to blend the stories into the works, and make boundless imagination space for people looking at the work. It is the imaginations of the watching people that give a one and only life to the characters in the paintings. In Matsuura’s opinion, these characters are kinds of images that can surpass language. They will make a gradual evolution following the steps of the digital times to be a worldwide existence. They can surpass the dimmateriality walls built by adults, children, men and women and all human beings. They can even replace the common language of the world.


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John WAY

魏樂唐 抽象

(Chinese-American, b. 1921)

Abstract 1996 Oil on canvas 77 x 57 cm Signed lower right John Way in English and dated 96

336

ILLUSTRATED: John Way, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 228

1996 油彩 畫布 77 x 57 cm 簽名右下:John Way 96

NT$ 220,000-350,000 US$ 6,700-10,700 HK$ 52,000-82,000

圖錄: 《魏樂唐八十回顧》,上海美術館,上海, 2001,彩色圖版,頁228


221

CHIU Ya-tsai

(Taiwanese, b. 1949)

Blue Youth 1989 Oil on canvas 133 x 77 cm Signed lower left Chiu Ya-tsai in Chinese and dated 89

NT$ 650,000-800,000 US$ 19,900-24,500 HK$ 153,000-188,000

邱亞才 藍色青年 1989 油彩 畫布 133 x 77 cm 簽名左下:邱亞才 89


222

HUANG Gang (Chinese, b. 1961)

Tribute Vase 2003 Mixed media on board 83.5 x 125 cm Signed lower right Huang Gang in English and Chinese, dated 2003

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 129,000-176,000

338

黃鋼 供養寶瓶 2003 綜合媒材 木板 83.5 x 125 cm 簽名右下:Huang Gang 黃鋼 2003


223

SINGH Bhagat (Indian, b. 1965)

Peacock with Red Lotus 2009 Acrylic on canvas 122 x 92 cm Signed lower right BHAGAT SINGH in English and dated 09

Signed lower right on the reverse BHAGAT SINGH in English, titled Peacock With Red Lotus in English, media oil and size 4 x 3 ft.

NT$ 220,000-350,000 US$ 6,700-10,700 HK$ 52,000-82,000

巴哈哥特.西恩 孔雀與紅蓮 2009 壓克力 畫布 122 x 92 cm 簽名右下:BHAGAT SINGH - 09 簽名畫背:BHAGAT SINGH PEACOCK WITH RED LOTUS OIL, 4 X 3 ft.


224

Deddy PAW

(Indonesian, b. 1963)

Weapon Series No. 4 2008 Oil on canvas 140 x 250 cm Signed lower left PAW in English and dated 2008 Titled on the reverse WEAPON SERIES #4 in English, dated 2008, media Oil on canvas and size 140 x 250 cm ILLUSTRATED: Deddy Paw Say It With Apple, Art Seasons Pte Ltd., 2009, color illustrated, p. 27

NT$ 200,000-300,000 US$ 6,100-9,200 HK$ 47,000-71,000

戴迪.鮑 武器系列之四 2008 油彩 畫布 140 x 250 cm 簽名左下:PAW 2008 簽名畫背:"WEAPON SERIES #4" 2008, Oil on canvas 140 x 250 cm 圖錄: 《戴迪.鮑—以蘋果說出》,季節畫廊有限 公司,2009,彩色圖版,頁27

340


342


225

Budi KUSTARTO (Indonesian, b. 1972)

Cinnamon Raisin and Ice Cream 2008 Oil on canvas 179.5 x 300 cm Signed lower right BUDI KUSTARTO in English and dated 2008 Signed on the reverse BUDI KUSTARTO in English and dated 2008

NT$ 1,700,000-2,500,000 US$ 52,000-76,500 HK$ 400,000-588,000

布迪.庫斯塔托 肉桂葡萄冰淇淋 2008 油彩 畫布 179.5 x 300 cm 簽名右下:BUDI KUSTARTO 2008 簽名畫背:BUDI KUSTARTO 2008


226

Chintan UPADHYAY (Indian, b. 1972)

Flirting with Reality 2008 Painted fiberglass, wood board (unique) 58(L) x 60(W) x 102(H) cm

NT$ 1,200,000-1,800,000 US$ 36,700-55,000 HK$ 282,000-424,000

清滕.屋帕玳伊 現實的挑逗 2008 玻璃纖維著色 木板(單一件) 58(長) x 60(寬) x 102(高) cm

清滕·屋帕玳伊出生於1972年,其藝術作 品,深受印度鄉村傳統藝術及電腦生成技術 的影響,表達了生長於傳統社會但卻處在全 球化過程中的藝術家所面臨及思考的社會及 文化問題。屋帕玳伊最初的夢想是成為一名 科學家,但最終選擇成為了藝術家,因為對 他來說,藝術可以探索現代生活的核心問 題:身份的缺失、民族文化與外來文化的雜 交融合、基因工程、消費主義與商業化等 等。 「設計師嬰兒」是屋帕玳伊的第一個關鍵形 象作品,塑造出一位理想化的小男嬰;屋帕 玳伊探索認同議題以及在越來越同質化的社 會所出現 的疏離感。屋帕玳伊出生於印度鄉 村,然後在科技發達的現代社會中成長。他 的作品反映了生活在充滿困惑及混亂的社會 中所面臨與經歷的衝突分歧。在「設計師嬰 兒」這幅作品中,屋帕玳伊刻畫了一群科技 生成的嬰兒,他們的皮膚為傳統的印度縮微 技術及圖像所覆蓋,對傳統藝術以及每個嬰 兒的複製形式的原始性及身份提出質疑。在 現代社會中已經難以找尋到真實或核心的身 份,因為我們已經在日益發達的商業化和商 品化發展中變得疏離與陌生。 屋帕玳伊經常提出的一個主要問題是對於 「複製」的憂慮:不僅僅是基因工程技術本 身,更重要的是我們每個人都在全球化發展 中失卻了個性,成為彼此的附製品,當我們 屈從於商業化和同質化的聖壇時,不知不覺

344

中我們失去了自己的文化傳統。《現實的挑 逗》體現了屋帕玳伊的所有焦慮。嬰兒臉上 變形的表情告訴觀眾現實難以接受。眼睛上 方象徵魔鬼尖角的掛衣鉤,強化了略帶邪惡 情,暗示著嬰兒面對現實所受到的震撼和恐 慌。與其目睹事物的真實狀態,不如垂掛大 衣遮住雙眼。 嬰兒試圖以一種更加愉快的狀態自我複製, 使整幅作品顯得詭異驚恐。在變形的複製 中,嬰兒有了兩個多餘的頭和不對稱的四 肢,而身體則覆蓋在印度傳統縮微的狩獵場 景中:攜帶著槍支劍戟的捕獵者們顯得龐大 而邪惡,他們悄悄地接近並 狩獵野豬和群 鴨。這幅作品暗示我們在日益功利和失去個 性的世界中業已淪為獵物,我們將經歷一切 扭曲與變形以重新製造或複製自我,而無法 看清這個殘酷及充滿狡詐的現實世界,在這 樣的現實中,我們的個性或自我毫無價值。 我們將在現實的幻滅中試圖展現一張假裝快 樂的臉龐,卻不能正面現實生活中真實的疏 離與淡漠。

Chintan Upadhaya, born in 1972, creates artistic works that are influenced by the traditional art of rural India, the production techniques of computers, and imbued with the social and cultural questions and concerns of the artist growing up in a traditional society but very much part of a globalized world. Originally wanting to be a scientist, Upadhyay instead chose to be an artist because he felt that art would allow him to examine key issues of modern life, loss of identity, cultural hybridization, genetic engineering, consumerism and commercialization. He began his art with a key image the "Designer Baby", an idealized male baby which allowed him explore issues of identity and alienation in an increasingly homogenized world. Born in rural India, but raised in a modern technologically advanced society, Upadhyay’s works reflect the dichotomy he experiences in living in an apparently confusing and mixed up world. His technologically

created babies have their skin covered in traditional Indian miniature techniques and iconography, questioning the originality and identity not just of the traditional art but the cloned form of each baby. In the modern world a true or essential identity is impossible to find, as we are increasingly alienated by commoditization and commercialization, and we become detached, alienated and isolated. One of the key concerns that Upadhyay comments on is cloning. Not just genetic engineering but also the fact that we are all becoming clones as a result of globalization, which is forcing us to lose our cultural traditions and identity as we bow before the altar of commercialization and thus homogenization. “Flirting with Reality” embodies all of Upadhyay’s concerns as the contorted expression on the baby’s face tells us that reality is too difficult to accept or deal with. The slightly demonic expression, enhanced by the coat hooks, which resemble devil’s horns, on the eyes, tells us that the baby is shocked and horrified when it tries to face reality. It’s far better to hang coats over our perception than to see the true state of things. The figure appears both haunted and hunted as it tries to clone itself in a more happy state. In a contorted cloning effort it produces two more heads and misaligned limbs as it tries to find a happy clone. The body is covered in hunting scenes from the Indian miniature tradition. The hunters with guns and spears are large and sinister, as they stalk their prey both boar and ducks. This work suggests that we too are prey for an increasingly utilitarian and depersonalized world and that we will go through any contortions to reinvent or clone ourselves rather than see reality for what it is a cruel and manipulative world that places no value on our individuality or self-identity. We will in self-delusion try to present a happy face rather than confront the true alienation of modern life.


227

Gabriel BARREDO (Philipino, b. 1957)

Swaying Tree of Life 1 2008 Rubber, fibergalss aluminum, metal with electrical installation (unique) 63(L) x 65(W) x 230(H) cm ILLUSTRATED: Gabriel Barredo: Visions, Soka Art Center, Taipei, 2008, color illustrated, pp. 41-42

NT$ 700,000-900,000 US$ 21,400-27,500 HK$ 165,000-212,000

蓋伯瑞.博瑞多 晃動的生命之樹 1 2008 橡膠 玻璃纖維 鋁 金屬 電動裝置(單一件) 63(長) x 65(寬) x 230(高) cm 圖錄: 《蓋伯瑞.博瑞多:幻像》,索卡藝術中心, 台北,2008,彩色圖版,頁41-42

346


Lots 003, 026, 169 Lots 002, 007, 009 Lot 001

LEE Ming-chung (Taiwanese, b. 1961)

TAI Hoi Ying (Chinese-French, b. 1946)

Tzu-chi YEH (Taiwanese, b. 1957)

Born in Taipei. he was studied in the Fine Arts Department of Chinese Culture University from 1981 to 1985. In 2006, he graduated from Taipei National University of the Arts, Graduate School of Fine Arts, MFA. From 1994-2005, his artworks,“The Ant with Diamond Eyes”, “Please Stop Playing Tricks on Fool’s Day” and “An Evening just after Raining”, were collected respectively by the Taipei Fine Arts Museum, DEOA and National Taiwan Museum of Fine Arts. Selected Group Exhibitions: “Hometowns and Flowing - Three Generations of Taiwanese Art” (2004,USA); “Scylla and Charybdis in Love: The Challenges Facing Contemporary Taiwanese Artist” (2005, Taipei, Taichung, Korea); “Macro Vision, Micro Analysis, Multiple Reflections-Contemporary Art in Taiwan since 1987” (2006, Taichung); he has held numerous solo exhibitions in Taiwan.

Born in Guangdong and immigrated to Hong Kong in 1962. He went to France in the autumn of 1970 and was educated in Ecole Superieure des Arts Appliques for 2 years. In 1975 he had the first individual exhibition and then was constantly invited to various other art shows. After 1990s when new art form keeps on changing and confuses the idea and notion of beauty, Tai’s personal insitence to people for its sincerity.

Born in Yuli, Hualien in 1957, Yeh held his undergraduate study at the National Taiwan Academy of Arts in 1977 and graduated from the Fine Arts Department, Chinese Culture University in 1981. He acquired his master’s degree from Fine Arts Graduate School, Brooklyn, City University of New York, USA in 1989. His works were often seen in local and foreign personal and joint exhibitions, including personal exhibitions held at the Taipei American Culture Center in 1987 and the Westbeth Gallery, NY in 1989. He attended the Asian Youth Art Exhibition in Hong Kong in 1980 and was invited by Alternative Museum to attend the Invitational Joint Exhibition “The Day of Death” in 1989 and 1990.

李民中 (台灣,1961年生)

戴海鷹 (華裔法籍,1946年生)

葉子奇 (台灣,1957年生)

生於台北。1981-1985年就讀中國文化大學美術系。 2006年畢業於台北藝術大學美術創作研究所碩士班。 1994-2005,其作品《有鑽石眼睛的螞蟻》、《在魚仁 結請時停止胡鬧》和《一個下雨後的傍晚》分別被台 北市立美術館、帝門教育基金會和國立台灣美術館收 藏。聯展:「原鄉與流轉─台灣三代美術」(2004, 美國);「愛之維谷─台灣當代繪畫的迴旋曲式」 (2005,韓國);「巨視.微觀.多重鏡反─台灣當代 藝術特展」(2006,台中)。並多次在台灣舉辦個人展 覽。

廣東人,1962年移居香港,1970年秋天抵達法國,戴海 鷹在巴黎藝術學院修習了二年,並進入七七版畫工作 室;1975年舉辦第一次個展,此後不斷獲邀參加各類展 出。1990年代後期當新的藝術形式不斷地改變,割裂著 人們對美的看法,戴海鷹的「堅持」自然流露了真誠的 芳香。

1957年生於花蓮玉里,1977年國立藝專肄業,1981年中 國文化大學美術系西畫組畢業。1989年獲美國紐約市立 大學布魯克林藝術研究所碩士。作品多次參加國內外個 展及聯展。包括1987年於台北美國文化中心、1989年於 紐約衛斯貝斯畫廊個展。1980年參加香港舉行的亞洲青 年畫展。1989及1990年均獲邀參加紐約替代美術館「死 亡之日」邀請展。

348


Lots 006, 011, 027, 163 Lots 004, 117, 120 Lot 005

Michell HWANG (HWUNG Ming-che) (Taiwanese, b. 1948)

CHANG Chih-cheng (Taiwanese, b. 1954)

CHOI So-Young (Korean, b. 1980)

Born in Taipei, he graduated from the National College of Arts (now the National Taiwan University of Arts) Western Painting Department. Enlightened by his mentor Li Shih-chiao, he studied under the guidance of professors Hung Jui-lin and Chen Ching-jung. After graduation, Chang taught as an instructor; he also held numerous exhibitions, individually and jointly. He fully translates human figures and still objects onto flat surfaces by using a limited number of colors and elements to form bold yet delicate visual effects.

Born in Busan Korea, Choi graduated from Dong Eui University in Busan. Choi first earned recognition at the Soho Exhibition of The Six Seers in Busan, 2000. Choi’s works have subsequently been exhibited at a range of major local and international exhibitions, such as “City and Art - Time and Space” in the Busan Metropolitan Art Museum in 2001; “True Landscape” in 2003, and “Traveling Art Museum” in 2004, in the National Museum of Contemporary Art, Gwacheon Choi was also selected in 2004 to participate in the International Art Fair in San Francisco, the Art Chicago Fair in Chicago and the Art Miami Basel Fair. Choi’s works have been acquired by many local and international private collectors and institutes.

Born in Taiwan. First solo exhibition, Taiwan Provincial Museum: Pursued advance study in Europe and USA, 1976 to 1980. Solo exhibition “The King’s Dream”, National Taiwan Museum of Fine Arts, Taipei; “Nightmare”, Taipei Fine Arts Museum, “Dignified Symbol” collected by the Museum, 1995. Established Hwang Ming-che 3-D Art Workshop, 1996. “From Construction to Deconstruction and Back to Construction: Hwang Ming-che Solo Exhibition”, Forum of Creativity in Art held by Kaoshiung Museum of Fine Arts, 1998. Hwang’s 3-D artwork collected by the Museum. Solo Exhibition, “Shanghai-Taipei”, Shanghai Fine Arts Museum, “A Group of Women in East Taipei” collected by the Museum, 2001. “Construction of Belief,” Solo 3-D Artwork Exhibition, Taipei Fine Arts Museum, Taipei, 2001. “The Multiform Nineties: Taiwan’s Art Branches Out”, Taipei Fine Arts Museum, 2004. Arario Beijing, 2006, Solo Exhibition, National Art Museum of China, Beijing; 798 Beijing Art Center, Beijing, 2007; “Flower and Hammer”, Main Trend Gallery, Taipei; Commercial spokesperson of Volkswagen Phaeton Series, designed gifts for VW’s new car owners.

張志成 (台灣,1954年生)

崔素榮 (韓國,1980年生)

黃銘哲 (台灣,1948年生)

台灣台北人。1978年畢業於國立藝專美術科西畫組,曾 受李石樵老師啟蒙,藝專期間,受洪瑞麟,陳景容教授 指導,畢業後曾任教職工作,曾多次於國內舉行聯展與 個展。作品風格多以人體與靜物為其表現特色,喜以限 量的造型元素與色像,在平面上展現出豐厚紮實卻細緻 的色彩效果。

生於韓國釜山。畢業於釜山的東義大學。崔素榮於2000 年起於釜山的「六位先知者」展覽中,作品展現過人的 才華,深獲肯定。接著陸續受邀於國際以及國內的重要 展覽中展出作品,如:2001年「城市、藝術與空間 」於 釜山城美術館;2003年「真實的風景畫 」與2004年「旅 行的美術館 」於韓國國立當代美術館中展出。另外在 2004年間,進而在舊金山國際藝術博覽會,芝加哥藝術 博覽會及巴塞爾邁阿密藝術博覽會展出。崔素榮的作品 廣為國際私人藏家及機構所典藏。

1948年生於台灣,1976年至1980年首度油畫個展於台灣 省立博物館,同年遊學於歐美。1992年應邀於國立美術 館舉行個展—「國王的夢」,並典藏作品。1995年台北 市立美術館個展—「夢魘」,並典藏作品《尊嚴的符 號》。1996年成立「黃銘哲立體作品工作室」。1998年 高雄市立美術館「創作論壇」—「從結構、解構、再結 構的黃銘哲」個展,並典藏立體作品。2001年上海美術 館新館,「上海—台北風華再現」個展,並典藏作品 《東區的一群女人》;台北市立美術館,「信仰的打 造」黃銘哲立體作品個展。2004年「立異—九○年代台 灣美術發展」台北市立美術館。2006年本位.面對,第 一接觸在北京,李錫奇 VS 黃銘哲;「超驗的中國」阿 拉里奧開幕聯展,阿拉里奧北京藝術空間。2007年北京 中國美術館個展;北京798亞洲藝術中心個展 。2008年 黃銘哲個展《花與鐵鎚》台北大趨勢畫廊;為福斯汽車 旗艦車款Phaeton廣告代言;並為福斯汽車打造藝術品作 為其交車禮。

349


Lots 008, 092, 094

Lot 010

Lots 012, 021, 067, 135, 221

LIEN Chien-hsing (Taiwanese, b. 1962)

SU Wong-shen (SU Wang-shen) (Taiwanese, b. 1956)

CHIU Ya-tsai (Taiwanese, b. 1949)

Born in 1962 in Keelung, Taiwan. He graduated from the Western Painting Section of the Art Department of the Chinese Culture University, Taiwan. In 1984, he was selected for the first annual Republic of China Modern Painting Outlook Exhibition. In 1987, he joined the group exhibition of the award-winners of the Shiy Dejinn Award. In 1989, he joined a largescale exhibition of the Taipei Painting Association organized by the Taipei Fine Arts Museum. In 1992, he became the representative artist of Cherng Piin Gallery (Eslite Gallery). Lien Chien-hsing first came to prominence in the 80s with his superb Realistic technique. In the 90s, using different pictures, he has created Realistic works recalling images from his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism, combined with a subconscious, mysterious shadow to become a unique kind of "magical realism".

Born in Chiayi, Taiwan. Su Wong-shen currently works and lives in Kaohsiung. He graduated from the Fine Arts Department of Chinese Culture University. Su's first solo exhibition was held in the American Culture Center in Taipei. He held another solo exhibition in the Taipei Fine Arts Museum in 1988 and continued to exhibit extensively thereafter in both solo and group exhibitions. Su's early work in the 1980s was abstract and it was only in the 1990s that he moved to more realist work. Most of his recent work uses dogs as a metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

Chiu was born in 1949 in Yi-lan on the east coast of Taiwan. A loner and an underachiever in school, he began his mandatory military service and at the same time began to read. Beginning with Chinese history and progressing to the classics of Western literature in translation for example the masterpieces of Shakespeare and Dostevsky, he was inspired by tales of heroes and began to write and paint. Chiu's portraits of Taiwan's modernday literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almond-shaped eyes. Elegant androgynouslooking men and women with elongated, oval faces are shown seated or standing in partial profile. The subjects appear to be lonely, even melancholic, but controlled and self-possessed. In the 1980s, Chiu persevered with his literary and artistic works in a well-known cultural salon “Wisteria” in Taipei. His paintings have been widely exhibited in Spring Gallery (Taipei), the National Museum of History and the Taiwan Museum of Art.

連建興 (台灣,1962年生)

蘇旺伸 (台灣,1956年生)

邱亞才 (台灣,1949年生)

台灣基隆人。中國文化大學美術系西畫組畢業。1984年 獲得第一屆中華民國現代繪畫新展望入選。1987年席德 進繪畫大獎得獎畫家聯展。1989年參加台北市立美術館 舉辦之台北畫派大展。1992年起為誠品畫廊代理畫家。 連建興在1980年代以超寫實技巧嶄露頭角,1990年代藉 不同的既成圖像,並置合成出屬於他個人童年生活記憶 幻景的寫實作品,個人色彩濃厚。他的作品畫面中隱隱 自然滲出的思愁,融合著潛意識的神秘陰影,反省轉化 成獨具一格的「魔幻寫實主義」 。

台灣嘉義人,目前居住於高雄。1979年畢業於文化大學 美術系。1985年首次個展於美國文化中心,1988年台北 市立美術館個展,歷年舉辦多次個展及聯展。其作品從 早期切割畫面的構成,至近期以「狗」為隱喻手法,表 現當今社會現象。收藏機構:台北市立美術館、國立台 灣美術館等。

1949年生於宜蘭縣,非學院派畫家,自幼對正規學業不 感興趣,退伍後才開展對文字藝術的追求,以及對人性 的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基等 大師巨著的閱讀經驗,豐富其往後繪畫中的人物深度。 邱亞才筆下的台灣現代文人肖像,受唐代繪畫的影響頗 深,如人物的鉤狀鼻、杏眼,鵝蛋臉,身材頎長纖瘦, 雌雄莫辯,主題上傾向於孤寂、憂鬱、內斂而沈靜。 1980年代他經常於台北知名文化沙龍「紫藤廬」一隅創 作,以成無數畫作及小說。作品曾於台北春之藝廊、歷 史博物館及省立美術館等處展出。以肖像畫著稱,藉由 畫筆直嘆身埋人類理性面具下的卑微、傲慢、頹廢與脆 弱,細膩優雅中洋溢著文人感懷落寞的頹靡氛圍。

350


Lot 015

Lots 013, 109

Lot 014

Alixe FU (Taiwanese, b. 1961)

JENG Jun-dian (Taiwanese, b. 1963)

CHEN Shuxia (Chinese, b. 1963)

Born in Yunlin, Taiwan in 1961, he graduated from the Chinese Culture University in Taipei. Since his first individual exhibition in 1983 in Taipei, he has had many individual shows in Taiwan, France, Japan and New York. He has been living and working in France since 1987. In 1991, he was given a studio in Auvers-surOise by the French Ministry of Culture. His solo exhibitions include: 2002, “Vegetable Man, Animal Man I”, Miyabi Gallery, Nagoya (Japan); 2003, “XVI Nagoya Contemporary Art Fair”, Gallery Miyabi, Nagoya, Japan; 2004, “Vegetable Man, Animal Man III” in Blois Chateau and Museum, Blois, France.

Born in Kimen, graduated from National Institute of the Arts (the former Taipei National University of the Arts). Important solo exhibitions include: “Jeng Jundian Works 2004-2008” (2008, Eslite Gallery, Taipei), “The Body and the Nature” (2004, Marlborough Gallery, New York), “City and Scenery”, (2005, Marlborough Gallery, New York).

Born in Zhejiang Province, Chen was graduated from the Central Academy of Fine Arts in 1987, currently is the associate professor of art education department of Central Academy of Fine Arts. She had won the silver award in the China Annual Oil Painting exhibition and 3rd place in the 9th national art exhibition; her works are collected by National Art Museum of China, Hong Kong University Museum and Art Gallery, Shenzhen Art Museum, Tianjin Teda Museum of Fine Arts and International Yi Yuan Art Museum. She started to held exhibitions nationally and internationally since 1991 and received great feedbacks, this year, she had The Virtual and the Actual: Chen Shuxia Oil Paintings Exhibition in Shanghai Art Museum and in the National Art Museum of China in Beijing, she also participated in the “magery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours”.

傅慶豊 (台灣,1961年生)

鄭君殿 (台灣,1963年生)

陳淑霞 (中國,1963年生)

1961年出生台灣雲林,畢業於中國文化大學美術系。 1983年在台北首次個人畫展,隨後在巴黎、紐約、北 京、法國、日本、台灣等地個展。1987年以藝術家身份 旅居法國, 1991年獲法國巴黎西北郊三十公里梵谷村國 家永久畫室。 傅慶豊曾舉辦過的個人展覽包括:2002 年「植物人、動物人I」,美雅畫廊,名古屋,日本; 2003年「X V I屆名古屋當代藝術博覽會個展」美雅畫 廊,日本; 2004年「植物人、動物人III」布洛斯古堡美 術館,布洛斯市,法國。

1963年生於金門,1987年畢業於國立藝術學院(現國立 台北藝術大學)。重要個展包括:「鄭君殿作品20042008」(2008年誠品畫廊,台北)、「身體與自然」 個展(2004年瑪博洛畫廊,紐約)、「城市與風景」 (2005年瑪博洛畫廊,紐約 )。

生於中國浙江省,1987年畢業於中央美術學院,現任北 京藝術設計學院副教授,曾獲中國油畫年展銀獎及第九 屆全國美展銅獎,在中國美術館、香港大學美術館、深 圳美術館、天津泰達美術館及國際藝苑美術館均有其畫 作收藏。1991年起即陸續於國內、外舉辦展覽,屢獲好 評,今年除了在上海美術館、北京中國美術館舉辦虛實 兩境-陳淑霞油畫展,也參加中、德國舉辦「意象武夷 -中德兩國藝術家首次面對面互動創作」國際巡迴展。

351


Lots 017, 090

Lots 018, 033, 046, 069, 095

CHENG Tsai-tung (Taiwanese, b. 1953)

JAN Chin-shui (Taiwanese, b. 1953)

Walasse TING (Chinese-American, b. 1929)

Born in Taipei, and graduated from the World College of Journalism and Communications in Taipei. Active in the Taiwan art world during the 1980’s and the 1990’s, he created gloomy and reminiscent oil paintings. He held many exhibitions in Taiwan and abroad at places like the American Cultural Center, Taipei Fine Arts Museum, National Museum of History and received the Hsiung-Shih Award for Creativity in 1992. After the turn of the century, Cheng Tsai-tung relocated his studio to Shanghai to view the sights of Jiangnan and to capture their eternal beauty on canvas, and in turn became the first Taiwanese artist to formally develop his career in Shanghai.

Born in Miao-li, Taiwan. Jan Chin-shui graduated from the Fine Arts Department of the National Taiwan Academy of Arts. He was awarded first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published four exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today’s Taipei University of the Arts).

Born in Wuxi, Jiangsu, China, but raised in Shanghai where, by his own account, he first began painting on sidewalks. Ting ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he formed close relationships with members of the CoBra group. In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists. He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

鄭在東 (台灣,1953年生)

詹金水 (台灣,1953年生)

丁雄泉 (華裔美籍,1929年生)

台灣台北人。台北世界新聞專科學校畢業,活躍於二十 世紀80、90年代的台灣藝壇,以惆悵的傷逝與懷舊的文 人油畫,創作一系列膾炙人口的作品。1980年多次在海 內外舉辦個展及聯展:包括美國文化中心、台北市立美 術館、歷史博物館等。1992年榮獲雄獅美術創作獎。新 世紀之後,他將工作室遷往上海,親臨記憶中的江南, 繪寫亙古的千山萬水,成為台灣藝術家正式轉往上海發 展的第一位。

台灣苗栗人。專業畫家,擅長油畫。1986年國立藝專美 術科畢業。1987年曾獲第十一屆全國油畫展金牌獎, 1989年獲教育部文藝創作獎油畫金牌獎。1997年參加上 海舉辦之中國當代藝術大展。出版有四本個人畫集。作 品收藏機構有國立藝術學院(今國立台北藝術大學)。

江蘇無錫人。成長背景在上海,自食其力,在街頭作 畫。曾入上海美術專科學校學習,1946年遷居香港。 1952年前往巴黎,期間和眼鏡蛇畫派成員結為好友。 1960年移居紐約,發展出新畫風,成為美國普普藝術家 一員。出版一本名為《一分人生》的詩集,內容並包括 了多位美國及歐洲藝術家的版畫原作。1977年獲得古根 漢紀念基金會的獎助學金,並出版了一本以女性為題材 的情色素描與繪畫書籍,名為《紅唇》。丁雄泉的展覽 遍及世界各地,同時亦出版許多著作與畫冊。2001年起 定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物 館收藏,包括美國大都會美術館,紐約現代美術館及古 根漢美術館等。

Lot 016

352


Lot 022

Lots 019, 162 Lot 020

HAN Hsiang-ning (Chinese-American, b. 1939)

LU Hsien-ming (Taiwanese, b. 1959)

YANG Mao-lin (Taiwanese, b. 1953)

Born in Taipei in 1959, he graduated from the fine art department of the Chinese Culture University in Taipei. His solo exhibitions include: “Blue Tremble” in Chiaug Ren Gallery, Taipei, 1985; “City Aesthetics” in Taiwan Art Gallery, Taipei, 1993; “Bold Design” in Impressions Art Gallery Part II, Taipei, 1998. Since 1982, he has participated in joint exhibitions frequently, such as, “Pusan Youth Biennial” in 1987, “The Contemporary Art of Taiwan”, Museum of Contemporary Art, Sydney, Australia in 1995, “Taiwan- Present Art”, Ludwig Forum of International Art, Ludwig, Germany in 1996, and “The Odyssey of Art in Taiwan, 1950-2000” in the National Art Museum of China, Beijing in 2006. Awards: Hsiungshih Awards for New Artist, first prize, 1981; Taipei Biennial, first prize, 1992; Liao Chih-chun Award, first prize of oil painting, 2002.

Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first solo exhibition at the Taipei Fine Arts Museum; in 1990 he participated in the Taiwan Art Museum Exhibition “300 years of Taiwan Art”; in 1995 his works were included in the “Exhibition of Taiwanese Art” in Rome. Yang Mao-lin's works represent a segment of Taiwanese history and build up time/space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since the 1990s, he has criticized Taiwanese social phenomena under the long-term influence of American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and was well received by international art critics and collectors.

Born in Chongqing, 1939. In 1960, Han Hsiang-ning graduated from the Art Department of National Taiwan Normal University and joined the Fifth Moon Group. In 1961, he was selected for the Biennale International of Sao Paolo. He migrated to New York City in 1967 and joined the O.K. Harris Works of Art from 1971 to1984. Han has participated in important exhibitions at many museums including the Museum de Arte Moderna in Sao Paulo, Musée d’Arte Moderne in Paris, Museum of Recklinghausen in Germany, the Tokyo Metropolitan Art Museum, The Brooklyn Museum in New York, The Art Institute of Chicago, Whitney Museum of American Art, and Hirshhorn Museum in Washington D.C.. Han has served as visiting artist for The School of Chicago Institute of Art, and artist-instructor for N.Y.U. graduate art program.

陸先銘 (台灣,1959年生)

楊茂林 (台灣,1953年生)

韓湘寧 (華裔美籍,1939年生)

台灣台北人。1982年畢業於文化大學美術系。1993年任 「台北畫派」會長。1985年加入宣言以歷史的再閱讀、 美術史的再閱讀、表徵大眾文化價值為目標的藝術團體 「台北畫派」。陸先銘的個展為1985年嘉仁畫廊的「藍 色驚悸」、1993年台灣畫廊的「都市美學」、1998年的 「悍圖」等。從1982年起即經常參與聯展,韓國「中韓 現代美術交流展」、日本「第六屆亞洲國際美展」、 「1992台北現代美術雙年展」、「台灣美術新風貌」 等。得獎經歷:1981年曾獲第六屆美術新人獎首獎、 1992年台北現代美術雙年展首獎及2002年廖繼春油畫創 作獎首獎等。

1953年生於彰化。1979畢業於台北文化大學美術 系,1985年為台北畫派創始成員並推選為第一任會 長。1991年榮獲第一屆雄獅美術創作新人獎。展覽 紀錄豐富,如:1987年第一次個展於台北市立美術 館,1990參加台灣省立美術館舉辦的「台灣三百年 作品展」,1995年於義大利羅馬舉行的「台灣當代 藝術展」等。於楊茂林的作品中,我們可以看到對 台灣歷史的片斷及多元時空的交錯,其作品以批 判,顛覆的手法對台灣歷史事件作一另類省思。 1990年代之後,從美國、日本文化影響,創作「文 化篇」系列作品,嘗試多媒體與裝置創作,掌握時 代脈動,呈現今日社會文化面向。1990年代獲國際 邀展不斷,1999年以《熱蘭遮紀事》等早期作品參 加第四十八屆威尼斯國際藝術雙年展,受到國際藝 評家與收藏家的注意。

生於重慶市,原籍湖南省湘潭縣,1960年畢業於台灣師 大藝術專修科,同年加入「五月畫會」。1961年參加巴 西聖保羅國際雙年展,並入選巴黎國際青年雙年展。 1964年出席日本東京第四屆國際版畫展。1966年首次於 台北國立藝術館舉行個展。1967年移民美國紐約,1971 年至1984年間,以照相寫實風格而成為O.K.哈里斯畫廊

353

的經紀畫家。經常往來紐約與台北工作、展覽。主要展 覽有聖保羅現代藝術館、巴黎現代美術館、德國瑞克林 浩森美術館、惠特尼美術館、華盛頓特區赫胥宏美術 館、台北市立美術館舉行回顧展等。曾應邀擔任芝加哥 藝術學院客座教授,以及紐約大學研究所工作室個別指 導。


Lot 025

Lots 023, 196, 197, 200

Lot 024

KWON Ki Soo (Korean, b. 1972)

AHN Sung Ha (Korean, b.1976)

JUNG Jae Ho (Korean, b. 1970)

Kwon Ki Soo was born in 1972 in Young-ju, Korea. He attained his B.F.A. and M.F.A. from Hongik University, Seoul, in 1996 and 1998 respectively. He has held various solo exhibitions including “The Show 1998” at Kwan Hoon Gallery (1998) and “A Red Fountain” at Gallery Fish (2004) in Seoul. He has also participated in numerous notable group exhibitions, including throughout Seoul, such as “Pleasure Factory” at the Seoul Museum” of Art (2003), “The Elegance of Silence: Contemporary Art From East Asia at the Mori Art Museum in Japan (2004), “Traveling Art Museum” at the National Museum of Contemporary Art in Korea (2004), as well as “Listening 2004 N.Y”. at the Jacob Javits Convention Center in New York (2004).

Born in 1976, Korea. Ahn SungHa graduated from the Department of Painting at Hongik University in 2001, and proceeded to attain her MFA at the same university in 2004. Her works have been presented in solo exhibitions at the Seoul Arts Center (2004) and Insa Art Center (2007). She has also participated in various group exhibitions, including the “Grand Art Exhibition of Korea” at the National Museum of Contemoporary Art (2001, Kwachun); “Korean Young Artists Biennale 2002” at Daegu Arts Center (2002, Daegu); “Korean Women Artists” at Vasby Art Hall (2005, Sweden); “1st Seoul Young Artists Biennale” at the Seoul Museum of Art (2006, Seoul); and “Illusion/Disillusion” at Seoul Museum of Art (2006, Seoul). Ahn has received numerous awards, including the “Nationwide University Fine Arts Festival Bronze Statue in 2000”, “Grand Art Exhibition of Korea Special Prize” from the National Museum of Contemporary Arts in 2002, and “Joong-Ang Fine Arts Competition Excellent Statue” from Ho-Am Gallery in 2002.

Jung Jae Ho got a B. F. A. and a M. F. A. in 1996 and 1999 in Se-Jong University, Korea. After that he completed his study from San Francisco Art Institute in 2002. He teaches in Se-Jong University at present. Selected solo exhibitions including: “Euphoria” (Seoul, 2007), “Made” (Goyang Art Studio Gallery, 2006), “Sweet World” (Seoul, 2005). Selected group exhibitions including: “First Steps - New Art From Korea” (Beijing, 2008), “Flowers” (Seoul, 2007), “Korea Art Festival” (London, 2006).

權奇秀 (韓國,1972年生)

安誠河 (韓國,1976年生)

鄭在祜 (韓國,1970年生)

1972年生於韓國。1996年於弘益大學獲得美術文學士學 位,1998年在本校獲得美術碩士學位。他舉辦過的個展 包括1998年首爾寬勳美術館畫廊舉辦的「展覽1998」和 2004年魚畫廊的「紅色水泉」。他參與過的重要團體 展,當中包括2003韓國美術館的「快樂工廠」、2004年 森美術館的「沉默的優雅-東亞近代美術」、2004韓國 國立近代美術館的「遊歷美術博物館」和2004年美國紐 約賈維茲會議中心的「傾聽紐約2004」等。

1973年生於韓國,2001年畢業於韓國弘益大學繪畫專 業,於2004年完成碩士學位。分別在2004和2007年,在 韓國首爾藝術中心和仁寺藝術中心舉辦過個人展覽,另 參加多次國際展覽,如「韓國盛大畫展」(2001,韓 國)、「2002韓國新世代藝術家雙年展」(2002,韓 國)、「韓國女藝術家作品展」(2005,瑞士)、「幻 覺或覺醒」(2006,韓國)、「第1屆首爾新世代藝術 家雙年展」(2006,韓國)。她榮獲許多獎項,其中包 括2000年全國性大學美術銅獎,2002年韓國盛大畫展特 別獎,以及 2002年中央美術大賽傑出雕像獎等。

鄭在祜於1996年及1999年先後拿到韓國世宗大學學士 和碩 士學位,隨後2 002年畢 業於 舊金 山 藝 術學 院, 目前任教於韓國世宗大學。重要個展包括:「心情愉 快」(首爾,2007年)、「製作」(高陽藝術工作室, 2006年)、「甜美世界」(首爾,2005年)。重要聯展 有:「第一步—韓國新藝術」(北京,2008年)、「花 朵」(首爾,2007年)、「韓國藝術節」(倫敦,2006 年)。

354


Lots 028, 029, 043, 056, 057, 105, 106

Lots 031, 044, 091 Lots 030, 060, 102

JU Ming (Taiwanese, b. 1938)

SANYU (CHANG Yu) (Chinese-French, 1901-1966)

YANG San-lang (Taiwanese, 1907-1995)

Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Yang (1926-1997), a master sculptor, from 1968 to 1976. Ju was chosen as one of the Ten Outstanding Young Persons in Taiwan in 1976, a recognition given each year to ten young men and women in any field of endeavor. He was presented with a National Cultural Award in recognition of his artistic accomplishments. His most famous Series are the “Nativist”, the “Taichi” and the “Living World”. In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in Chin-shan, Taipei County in 1999. Ju Ming's work can be found in major public collections at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts and Juming Museum.

Born in 1901, Sichuan. Sanyu attended the Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first wave of Chinese artists to study there. Unlike most of his contemporaries, Sanyu decided to remain in Paris. Since 1925, Sanyu exhibited his work regularly at the Paris salons and in local galleries. Before World War II, Sanyu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an exhibition of his work. Since Sanyu's death in Paris in 1966, the National Museum of History in Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of Sanyu, the National Museum of History held a grand exhibition of over 129 oil paintings. In 2004, the Musée National des Arts Asiatiques-Guimet held a restrospective show of Sanyu’s 60 works.

Born in Taipei, Taiwan. Yang moved to Japan in 1923 where he studied at the school of Fine Arts and Crafts in Kyoto. He was then transferred to the Western Painting Programme in the Kansai Art Academy. He returned to Taiwan in 1927, and founded the Ruddy Island Association together with Ni Chiang-huai and Liao Chi-chun. In 1929, he won the first prize of the Taiwan Exhibition. Yang went to France in 1931 where he studied European paintings in the museums. In the following year, his works were selected for the Autumn Salon in Paris. In 1934, he together with Chen Cheng-po, and Liao Chichun established the Taiyang Art Association. Yang had numerous solo shows and received many awards from important art exhibitions including : “Fifty Years of Studying Art” at the Provincial Museum in 1973 and “Oil Paintings by Yang San-lang” in 1979, and “Retrospective Exhibition of Yang San-lang's Paintings” in 1983 at the National Museum of History. Yang received a special national art award in 1986 for his great contribution to the Taiwanese art world.

朱銘 (台灣,1938年生)

常玉 (華裔法籍,1901-1966)

楊三郎 (台灣,1907-1995)

出生於台灣苗栗。1953-1957年從李金川學習木刻, 1968-1976年從楊英風(1926-1997)學習現代雕塑,以 純樸的天性、卓越的才華,將過去賴以維生的木雕工 藝,逐次提升為富有生命意味的藝術創作。作品廣泛而 深切地感動了國人,已漸受西方社會矚目。曾獲選十大 傑出青年,獲頒國家文藝獎章。著名的作品有鄉土系 列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵 登廣場盛大展出其著名的太極系列。1999年於朱銘美術 館成立於台北縣金山鄉。主要收藏機構:台北市立美術 館、國立台灣美術館、高雄市立美術館、朱銘美術館 等。

生於四川,少年時就讀上海美術學校,1919年至日本 留學,1920年轉赴法國留學,成為中國最早期的留法 學生之一,之後留居巴黎。1925年起,其作品屢見於巴 黎的沙龍美展及各大畫廊。二次大戰前曾回到中國,後 轉至紐約生活兩年。1948年,紐約現代美術館替他舉辦 個展。在其1966年於巴黎逝世後,台北國立歷史博物館 曾分別於1978、1984、1990年共舉辦三次他的回顧展, 2001年常玉百歲冥誕時,歷史博物館又展出常玉百歲紀 念大展,2004年6月巴黎國立居美東方美術館舉辦常玉 回顧展,展出60餘件作品。足見其作為海外華人藝術家 在中國畫壇的重要性。主要收藏機構有:台北國立歷史 博物館、中國美術館等。

生於台北,1923年赴日本留學,首先進入京都美術工藝 學校。後轉入關西美術學院西洋畫科,受嚴格的學院派 教育。1927年回台灣,和倪蔣懷、廖繼春創辦「赤島 社」。1929年榮獲台灣美術展覽會特選第一名。楊氏於 1931年赴法國留學,並潛心研究歐洲諸大博物館所藏名 畫,次年他的作品入選法國秋季沙龍。1934年返台,並 在教育會館舉行個展,同年秋季與陳澄波、廖繼春等人 組成「台陽美術協會」。楊氏舉行過多次個展,並多次 在台灣美術展上獲獎。其中比較重要的展覽有1973年和 1983年分別在國立歷史博物館舉行的「楊三郎油畫個 展」和「楊三郎油畫回顧展」。1995年,國父紀念館舉 行「楊三郎近作展」楊氏以其在畫壇上卓越的成就,曾 於1986年榮獲國家文藝特別貢獻獎。

355


Lots 034, 100

Lots 032, 047

George CHANN (Chinese-American, 1913-1995)

Lots 035, 101

WU Guanzhong (Chinese, b. 1919)

LIN Fengmian (Chinese, 1900-1991)

Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master’s degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles. More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

Born in Yixing, Jiangsu. Wu Guanzhong’s training in Western art began at the Hangzhou National College of Art in 1936 under Lin Fengmian (1900-1991). After his graduation in 1942, he obtained a teaching position at the National Chung-ching University. He then traveled to France where he spent the next four years studying oil painting under Professor Jean Souverbie (1891-1981) at the Ecole Nationale Supérieure des Beaux Arts and the ateliers of André Lhote (1885-1962) and Othon Frieze (1879-1949). He is currently a professor at the Central Academy of Fine Arts and Crafts. He has painted in oil since 1950, even during the Cultural Revolution. His international fame is evident in two recent exhibitions of his traditional oil paintings at the Chinese Culture Foundation of San Francisco (1989-90) and the British Museum in London (1993). Hong Kong Museum of Art and National Museum of History in Taipei held solo exhibitions of Wu’s work in 1995 and in 1997 respectively.

Born in Guangdong, China. Lin Fengmian went to France to study painting in 1918. During his 4-year stay, he studied in Dijon and Paris. Upon Cai Yuanpei's invitation, Lin returned to China in 1926 and became president of the Beijing Academy of Fine Arts. He was also responsible for setting up the Hangzhou National Academy of Art (formely known as Hangzhou National College of Art). Lin is one of the most influential artists and teachers of that time. In 1952, Lin retired from teaching and devoted his energies to painting. In 1977, he moved to Hong Kong where he lived until his death. His ninety years retrospective exhibition was held in the National Museum of History, Taipei in 1989. In 2000, Shanghai Art Museum and Sun Yat Sen Memorial Hall of Taipei both held a commemorative exhibition of Lin's 100th year.

陳蔭羆 (華裔美籍,1913-1995)

吳冠中 (中國,1919年生)

林風眠 (中國,1900-1991)

生於廣東,12歲中學畢業,1934年進入美國洛杉磯奧蒂 斯藝術學院就讀,師事布魯克及維色卡。就學期間因成 績優異獲全額獎學金,並於1940年取得美術碩士學位, 次年於洛杉磯加州藝術俱樂部舉行首次個展。19421946年間陸續於美國各大城市舉辦展覽。1947-1949年 返回中國,個展於廣州市文獻館及上海。1950年返美, 並開始研究抽象畫,於1969-1973年間應南加州帕撒狄 納美術館之邀舉行個展,展出50件抽象作品,其作品被 聖地牙哥博物館及美國數個市立美術館永久珍藏。

生於江蘇。1936年進入國立杭州藝專,在林風眠的指導 下開始研習繪畫。1942年畢業後,在國立重慶大學執 教。1946年獲教育部獎學金赴法國留學。在法國四年期 間,曾就讀於巴黎的國立高等美術學校,師從蘇弗爾比 (1891-1981)教授學習油畫,並入洛特(1885-1962) 和佛里茲(1879-1949)畫室進修。同時在羅浮宮研習 美術史。1950年回到中國後,先後在中央美術學院,清 華大學及北京藝術學院任教,現為中央工藝美術學院教 授。吳氏數十年間持續進行油畫創作,即使在文化革命 中亦未曾中斷。1989年三藩市中華文化基金會舉辦個展 及1992年在倫敦大英博物館舉辦個展,其作品受到世界 的重視,1995年香港藝術館以及1997年台北國立歷史博 物館亦為其舉辦講座及個展。

廣東梅縣人。1918年參加政府勤工儉學政策赴法留學, 分別在第戎及巴黎習畫。1926年應蔡元培之邀回國任國 立北平藝專校長。1928年在杭州創辦國立藝術院,後來 改名杭州藝專,經常撰文宣傳中西藝術結合的創作經驗 及理論,是當時中國最有影響力的畫家及美術教育家, 趙無極、吳冠中、席德進等人皆為其學生。1952年自教 職退休專事繪畫,文革期間被貶抑為黑畫家,被拘入獄 達四年之久。1977年後旅居香港,繼續創作不輟,直至 1991年病逝。1989年,國立歷史博物館為其舉行九十回 顧展。自1999年上海美術館、台北國父紀念館分別舉辦 「林風眠百歲誕辰紀念展」。

356


Lots 038, 049 Lots 036, 039, 055, 099, 103 Lots 037, 052, 061, 097, 098, 107

ZAO Wou-ki (Chinese-French, b. 1921)

Yun GEE (Chinese-American, 1906-1963)

LIAO Chi-chun (Taiwanese, 1902-1976)

Born in Beijing, Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). After his graduation in 1941, he remained at the College to teach. He held his first solo exhibition in Chung Ching in the same year. He emmigrated to Paris in 1948. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. Taipei Fine Arts Museum and the Kaohsiung Museum of Fine Arts organized an exhibition of his works in 1993 and 1995 respectively. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing’s China Art Gallery. Zao’s compelling abstract paintings have won him international fame and his paintings are much sought after. His work is found in major public collections such as the Musée d’art moderne in Paris.

Born in Guangdong, China. Yun Gee enrolled in the San Francisco Art Institute when he moved to San Francisco in 1921. In 1925, he studied at the California School of Fine Art under Gottardo Piazzoni and Otis Oldfield. He had his first solo exhibition in 1926, where he met his first patrons, the Prince & Princess Achilles Murat, who encouraged him to go to France. Gee had several solo exhibitions during his stay in Paris. In 1932, Gee was invited to participate in the exhibition “Murals by American Painters and Photographers”. He spent the next phase of his life traveling between New York City and Paris before he passed away at the age of 57. In 1968, the Robert Scholkopf Gallery in New York held a retrospective of his works, reviving Gee’s memory after he had been forgotten for many years.

Born in Taichung. After graduating from Taipei Normal School in 1922, Liao Chi-chun studied in Japan at the Tokyo Fine Arts School. While in Japan, Liao was strongly influenced by contemporary developments in Western art. Liao was a co-founder of both the Ruddy Island Association and the Taiyang Fine Arts Association. He was also an art professor at National Taiwan Normal University until his retirement in 1973. In 1957, he encouraged his students to form the Fifth Moon Group in Taiwan. In 1962 he toured Europe and the United States at the invitation of the USA State Department. Later, he changed to a new art style in pink color and his distinguishing characteristic became mature. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yat Sen Foundation’s Literary Awards. He passed away in Taipei in 1976. The Liao family donated several of Liao’s paintings to the Taipei Fine Arts Museum.

趙無極 (華裔法籍,1921年生)

朱沅芷 (華裔美籍,1906-1963)

廖繼春 (台灣,1902-1976)

生於北京,趙無極在國立杭州藝專師承林風眠(19001991)與吳大羽(1903-1988),於1941年畢業於杭州 藝專,同年在重慶舉行首次畫展,並留校任助教。1948 年往巴黎深造,並結交不少歐洲藝術界人士。從1959至 1965年曾在紐約庫茲畫廊舉行每年一次的個展,1970年 代時趙無極成為巴黎最傑出的中國畫家。於1993和1995 年應邀在台北及高雄市立美術館展覽。1994年獲得日本 天皇美術獎。1998年更經由法國文化部策劃其回到中國 上海博物館、北京中國美術館、廣東美術館舉辦回顧 展;2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在 中國現代藝術家中首推趙無極在西方的藝術成就最高, 而其作品更廣為世界著名的博物館,如法國國家現代美 術館、舊金山現代美術館等美術館及私人企業機構所珍 藏。

生於廣東。15歲時赴美依親,不久便進入舊金山藝術學 院,1925年進入加州美術學校習畫,受教於皮亞佐尼與 歐特斯·歐菲德,並與後者成為好友。1926年協助華人在 舊金山成立現代藝廊,同時舉行首次個展。其才華也因 此獲得法國親王穆哈特夫婦的賞識,而鼓勵他前往巴黎 發展,駐巴黎期間舉行多次個展,1932年應邀參加紐約 現代美術館的壁畫展。1963年病逝於紐約。1968年紐約 羅博·蕭柯夫畫廊為其舉行遺作展,使其藝術再度受到世 人矚目。至今,世界各地已舉行過多次回顧展,其中包 括台北市立美術館。朱沅芷的繪畫受亦師亦友的歐菲德 影響甚大,如立體派、未來派及達達主義,而其作品表 現共色主義的風格,並被認為是一位現代主義的畫家。

生於豐原,1922年台北師範學校畢業,後赴日本就讀於 東京美術學校,1927年畢業後返台。深受當時西方美術 風潮所影響,活躍於各項展覽及多個組織,為「赤島 社」及「台陽美協」的發起人之一。並任教於國立台灣 師範大學及中國文化大學美術系。1957年鼓勵支持學生 成立「五月畫會」,為台灣現代藝術催生。1962年應邀 赴歐美考察,此後畫風真淳,色彩活潑華麗卻和諧適 意,粉紅色大量出現,發展出特殊個人風格。其作品曾 獲中山學術文藝創作獎及中國畫金爵獎。1976年病逝台 北。1997年廖氏家屬為體現廖繼春畢生奉獻美術教育之 精神,於1997年捐贈一批代表作與台北市立美術館,同 時由民間企業贊助設置廖繼春紀念獎助金,以鼓勵從事 油畫創作與藝術理論研究之後進,遺愛在人間。

357


Lots 040, 041, 051, 053, 054, 104

Lots 042, 180, 181

Lot 045

CHU Teh-chun (Chinese-French, b. 1920)

Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)

ZHANG Hongtu (Chinese, b. 1943)

Born in 1920 in Jiangsu, China. In 1935, he passed the examination for Hangzhou National College of Art, which at the time had Lin Fengmian as its director. In 1949, he came to Taiwan. In 1951. he taught at the Taiwan Normal University. In 1954, he held his first solo exhibition at the Taipei Chung Shan Hall. In 1955, he went to France to further his studies. In 1957, he won the Silver Award at the Paris Salon du Printemps. In 1969, he entered the Tenth Sao Paolo Biennial International Exhibition in Brazil. In 1982, he held a solo exhibition at the André Moreau Contemporary Art Studio in le Havre in France. In 1987, the National Museum of History held a solo exhibition of his works, his first one in Taiwan since leaving thirty-two years before. In 1997, he was inducted into the prestigious L’Institute de France, as a member of the Beaux-Arts.

Born in I-lan, Taiwan. Yang studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibitions in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d'Arte e Cultura Abano Terme in 1966. He was also awarded the World Peace Prize for Culture and Arts by the ROC's Literature and Arts Society. In 1991 Yang held a Stainless Steel Sculpture Exhibition in the National Museum of Singapore.

Born in Gansu, China, Zhang graduated from the Affiliated Senior High School of the Central Academy of Fine Arts and the Central Academy of Arts and Design. In 1982, he settled down in the United States. Zhang reinterprets the masterpieces of traditional Chinese painting and calligraphy with western colors and brush marks. He reserves the composition and wide horizon of traditional Chinese landscape painting fully with western painting techniques and starts the conversations between past and present, east and west with his own paint brush. He frees himself boldly from the traditional Chinese and western aesthetics and provides the viewers with a whole new visual experience from an objective perspective.

朱德群 (華裔法籍,1920年生)

楊英風 (台灣,1926-1997)

張宏圖 (中國,1943年生)

生於江蘇省,1935年考入國立杭州藝專,當時林風眠任 校長。1949年來台。1951年任教於台灣師範學院。1954 年於台北中山堂舉辦首次個展。1955年赴法國深造。 1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第 十屆雙年展。1982年於法國勒哈佛之昂特馬侯現代美術 館舉辦個展。1987年國立歷史博物館舉辦個展,亦為他 離台十二年後第一次畫展。1997年當選法蘭西學院藝術 院士。他的繪畫充滿詩意的氣質,用色兼容沈穩奔放, 線條飛騰有如狂草,具有東方藝術的細膩與西方繪畫濃 厚而重的色彩,極具中國水墨山水與書法的逸趣。他的 抽象繪畫是一種自然的流露,顫動的、熱情的,是一種 抒情的奉獻,低聲傾訴生命的奧祕。

生於台灣宜蘭縣,曾進修於日本東京美術學校建築系, 北平輔仁大學美術系及國立台灣師範大學藝術系,其後 又習雕塑於義大利羅馬藝術學院。1964至1966年間於義 大利各大城市舉辦巡迴個展。1966年曾獲義大利奧林匹 克繪畫金章獎及雕塑銀章獎。其後又獲頒第二屆世界和 平文化藝術大獎。1991年應新加坡之邀作個人展覽。

出生於中國甘肅。張宏圖畢業於北京中央美術學院附 中、中央工藝美術學院,1982年到美國定居。張宏圖將 中國古代名家的經典字畫,以西方大師的用色及筆觸重 新詮釋,運用西畫畫法很好地保留了中國傳統山水畫的 構圖及遼闊視野,讓古與今、東方與西方借著畫家的彩 筆展開對話,大膽跳脫了傳統中西方的美學,以客觀的 角度提供觀者一種全新的視覺體驗。

358


Lots 058, 062 Lot 050 Lot 048

CHEN Te-wang (Taiwanese, 1910-1984)

PANG Jiun (Taiwanese, b. 1936)

SHIY De-jinn (Taiwanese, 1923-1981)

Born in Taipei, Chen studied painting with Yenge Momoko when he was young. He attended the Dadaocheng Institute of Western Painting in 1927 and was taught by Kinichiro Ishikawa. From 1929 to 1940, he went to Japan and studied art at Hongu Art Institute and Nika Art Institute. Upon returning to Taiwan he joined the Taiyang Fine Art Association with several other artists. Chen was not a prolific artist, he spent most of his time researching art and perfecting his own creations. Chen died in Taipei, 1984.

Born in Shanghai, Pang graduated from the Beijing Central Art Institute. For the next sixteen years, Pang’s works were widely exhibited in China. He has held solo exhibitions in Hong Kong Arts Centre since 1980 and also participated in the Biennial Exhibition of Contemporary Chinese Art in Hong Kong. Pang has also been a strong force in promoting fine arts education and has published books such as “Techniques for Oil Painting.” Pang’s name has been included in several major publications of Who’s Who in the Contemporary Art World. Pang’s works are held in numerous private and museum collections, including the Chinese Art Museum and Chinese History Museum in China, the Museum of Art in Mexico and the Taipei Fine Arts Museum, Taiwan.

Born in 1923, Sichuan, China. At the age of five, he began learning to draw. In 1948, he graduated from the Hangzhou National College of Art. He carried on from his teacher Lin Fengmian. After graduation, he moved to Taiwan to teach at the provincial Chiayi High School. In 1957, he held his first solo exhibition. In 1962, together with Liao Chi-chun, he accepted an invitation of the U.S. State Department to visit the United States. Afterward, he went to France to study in Paris for three years. After his return to Taiwan, he taught at the Tamkang University architecture department and National Taiwan Normal University. In1975, he won the Chungshan Literary Prize Award. Shiy De-jinn was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art. His favorite subject matter was old-style traditional Taiwan architecture. He traveled all over the villages and counties of Taiwan seeking inspiration. His works richly display Taiwan's folk scenes and customs.

陳德旺 (台灣,1910-1984)

龐均 (台灣,1936年生)

席德進 (台灣,1923-1981)

1910年2月生於台北市。幼年曾隨鹽月桃甫習畫。1927 年在大稻埕洋畫研究所受教於石川欽一郎。1929至1940 年間前往日本,先後就學於本鄉繪畫研究所、川端畫 學校及二科會研究所等。回台後參加台陽美協,並與 畫友創立Mouve美術家團體(後改名為台灣造型美術協 會)。陳氏創作態度嚴謹,作品無多。1984年逝於台 北。

出生於上海。畢業於北京中央美術學院。1954-1980年 間參加七次全國美術展覽,八次北京美術展覽。80年代 起在香港藝術中心舉行個展,及「當代香港藝術雙年 展」,深獲好評。龐氏於藝術創作之餘,並積極推廣藝 術教育,著作《油畫技法哲學》等。1994年納入大陸出 版之《中國當代藝術界名人錄》,次年並列入《英國劍 橋世界名人錄》。龐氏作品廣為海內外美術館及私人珍 藏,包括:中國美術館、中國歷史博物館、墨西哥博物 館、台北市立美術館等。

生於四川,五歲開始習畫。1948年畢業於杭州藝專,師 承林風眠。畢業後遷台任教於省立嘉義中學。1957年舉 辦首次個展。1962年與廖繼春同應美國國務院之邀訪 美,之後赴法國巴黎進修三年,回台後任教於淡江大學 建築系及師範大學。1975年獲中山文藝創作獎。席德進 以抒情風格的水彩畫著稱,並受到普普,歐普等現代藝 術思潮的影響。他最喜歡的題材是老式的傳統台灣建 築,曾遍遊台灣各鄉鎮尋找靈感,其畫作充分表現台灣 的風土民情。

359


Lot 059

Lots 063, 064, 141

Lot 065

CHAO Chung-hsiang (Chinese, 1910-1991)

CHUA Hu (TSAI Yun-cheng) (Chinese-Philipino, b. 1929)

Born in Zhejiang, graduated from the Central Fine Arts Institute Attached Middle School in 1967, presently is Beijing Art Academy’s specialty painter. Since 1980, Ai Xuan work has attended the national art exhibition many times, won an award at the 1981 2nd session of national youth art exhibition. He participated in the 2nd session of Asian fine arts in Japan, the 18th session of international fine arts in Paris in 1986, and received honors from both. He went to US in 1987 to hold a solo exhibition and to study. His works deeply attains the high praise; commentaries appeared in the New York Times, the Wall Street Journal, the Christianity word newspaper and the Art News magazine. Art News called described him as “a rising star”, “United Press International” also made the correlation report. In 1998, he returned to Beijing, his works besides collected by the Chinese art museum, also collected by private collectors and museums in US, Singapore, Hong Kong, Taiwan, Germany, Canada and Japan.

From 1932 to 1939, Chao studied at Henan Normal School followed by the Hangzhou National Academy of Art where he was awarded 16 prizes. Chao’s early work has been collected by his tea-chers Lin Fengmian and Teng Gu. In 1939, his works were exhibited in the first National Art Exhibition where he won a prize in watercolor. In 1956, Chao received a scholarship to Spain where he later became a permanent member of the National Art Association of Spain. He moved to USA in 1958 and devoted the next three decades to exploring and developing his own artistic style. While living in USA, Chao met his American contemporaries such as Roy Lichtenstein (1923-1997) and Mark Rothko (19031970). In 1965, he held a solo exhibition and lecture at the Guggenheim Museum. In 1980, he returned to Taipei for a solo exhibition and 4 years later, decided to establish an art studio there. From 1984 to his death in 1991, Chao traveled frequently between New York, Taipei, China and Hong Kong in his search for artistic fulfillment.

Born in 1929, Fujian, China. He migrated to Philippine along with the family at ten years old and studied the painting from the Southeast Asia famous teacher. He majors in Fine arts at college. In his 29 years old, he won the champion in Philippines fine arts competition. From this time on, he begins as a budding artist in artistic world. After 1970s, he holds the exhibitions in places such as American New York, French Paris, and American Los Angeles. His name has been included in several major publications of “The International Who’s who”, International Biography Center, Cambridge, England, and since half century has won an award innumerably. He is the famous artist using a brush with blue paint, become one and the only found of the Blue School.

艾軒 (中國,1947年生)

趙春翔 (中國,1910-1991)

蔡雲程 (華裔菲律賓籍,1929年生)

浙江人。1967年畢業於中央美術學院附中,現為北京畫 院專職畫家。自1980年以來,艾軒的作品多次參加全國 美展,在1981年的第二屆全國青年美展上獲獎。1986年 參加在日本舉行的第二屆亞洲美術展及巴黎舉行的第 十八屆國際美術展並榮獲榮譽。1987年赴美國舉行個展 及研習。作品深獲好評,《紐約時報》、《華爾街日 報》、《基督教緘言報》及《藝術新聞雜誌》均有評 論,《藝術新聞》稱之為「一顆上升的星」,「合眾國 際社」也做了相關報導。1998年返回北京,作品除被中 國美術館收藏外,還被美國、新加坡、香港、台灣、德 國、加拿大和日本的私人及博物館收藏。

1932至1939年間就讀於河南省第一師範學校藝術系及國 立杭州藝專,期間曾經榮獲16項獎項,其作品亦被林風 眠(1900-1991)與滕固兩任校長收藏,1939年參加南 京第一屆全國美展,並獲人物水彩畫獎。1956年因獲西 班牙皇家美術協會會員而遷居西班牙。趙春翔於1958年 移居美國,往後三十年中探索並發展新的繪畫風格,並 結識同時期美國藝術家如李奇登斯坦(1923-1997)與 羅斯科(1903-1970)等人。1963年,代表中華民國參 加紐約古根漢美術館舉行個展及演講。往後數年,趙春 翔在美國各家畫廊及博物館等地舉行展覽及演講活動; 1980年返台舉行個展,並於1984年成立個人畫室。1991 年病逝於台灣。作品廣受各地私人與美術館收藏,如古 根漢美術館、紐約大都會美術館及台北市立美術等。

生於中國福建,10歲隨家人移居菲律賓,師從東南亞名 師學畫,並在大學主修美術,29歲參加菲律賓全國美術 比賽奪冠,從此在藝壇嶄露頭角。1970年代起,陸續在 美國紐約、法國巴黎、美國洛杉磯等地舉辦畫展,曾被 英國康橋國際名人傳記協會列入世界名人錄,半個世紀 以來獲獎無數,他擷取了以藍色為主題的油畫創作,創 立了「藍色畫派」,在繪畫世界獨樹一幟。

AI Xuan (Chinese, b. 1947)

360


Lot 070 Lot 066

Lots 068, 096

LIU Kuo-sung (Taiwanese, b. 1932)

CHUANG Che (Taiwanese, b. 1934)

WANG Zhijie (Chinese, b.1931)

Born in Chinchou, Shandong, he graduated from the National Normal University art department, and initiated the Fifth Moon Group, arduously promoting the Taiwan modern art movement. When he was twenty seven years old, he deeply felt the importance of national characteristics and cultural traditions, he was like a man on a mission, to find for twentieth century Chiniese drawing a new tradition to be spared no effort, and gave brush ink in traditional Chinese paintings a new definition, and promoted the theory of “texture with the brush”. This kind of Chinese traditional painting doesn’t need a pen to be painted, although receiving criticism at the time, at present, including mainland painters, critics as well as art historians, have all accepted this idea. Liu Kuo-sung also puts to this kind of theory the implemention with, in his individual practices, innovating with the color and ink techniques for more than 30 years, creating many kinds of different forms and individual styles.

Born in Beijing, Chuang's father was a great calligrapher, who was the vice-director of the National Palace Museum in Beijing, Chuang was introduced to art by his father when he was little. He moved to Taiwan in 1948. After graduating from Taiwan National Normal University in 1958, Chuang taught at Tunghai University. He joined the Fifth Moon Group and actively pushed the modernization of Chinese painting. On receiving a scholarship from the Rockefeller Foundation, he left Taiwan and settled in Ann Arbor, Michigan. In 1988, he moved to New York, concentrated on his abstract paintings, and was invited by the Taipei Fine Arts Museum to hold a solo exhibition in 1992. Chuang's works have been exhibited widely and housed by many local and foreign museums and private collectors.

Wang Zhijie, a native of Jingde, Anhui Province, was born in Beijing. He graduated from the Fine Arts Department of Shanghai Yu Cai College in 1953, and graduated as the first graduate student in 1955 to stay as a teacher. His works were showed in the Seven Nations of Europe and Soviet Russia. He also attended the National Fine Arts Exhibition and received an award. In 1980 he transferred to Shanghai Painting Institute and Studio of Oil Painting and Sculpture. In 1983, he took charge of building the Art Department of East China Normal University and serviced as the department head. In 1990 he was assigned by Ministry of Culture to visit Paris, France, later he lived there and entered the Academy of Fine Arts. His works are oil painting “Quicksand River in the Front of Saimosaimu Thousand Buddha Caves” (received the Silver Medal of National Fine Arts Exhibition and collected by National Art Museum of China), the acrylic painting “Father of Iceberg- Muztagata “, “Dried Up River Under the Muztagata”, “Under the Gaochang City”, “Beauty in the Front of the Holy Sepulchre” and so on.

劉國松 (台灣,1932年生)

莊喆 (台灣,1934年生)

汪志傑 (中國,1931年生)

山東青州人,國立台灣師範大學藝術系畢業,為五月畫 會創始之一,倡導台灣現代藝術運動不遺餘力。劉國松 自14歲開始學習傳統國畫,大學二年級後轉為專心研究 西洋近代繪畫及現代藝術理論,27歲時深感民族性及民 族文化傳統之重要,一種使命感與責任心促使他為創建 廿世紀中國繪畫的新傳統不遺餘力,給予國畫傳統中的 皴法及「筆墨」一種新的意義,並倡導「革筆的命」的 理論,這種畫國畫不一定要用筆的見解,當時雖受到批 判,但到現在,包括大陸在內的畫家,評論家以及美術 史家都已接受此一觀念。劉國松並將此種理論付諸實 行,在其個人創作實踐中,創新水墨的皴法和技巧, 三十餘年來,已創造了多種不同形式的個人風格。現任 東海大學美術系所專任教授。

生於北京,其父親莊嚴為已故名書法家暨前北京故宮博 物院副院長,莊自小培養出熱愛中國藝術興趣。1948年 遷居台灣,1958年畢業於國立師範大學美術系,加入五 月畫會,積極參與中國繪畫現代畫運動。1966年獲美國 洛克斐勒基金會的贊助,赴美考察國際當代藝術之發 展,後返台任教於東海大學。1973年移居美國密西根 州,於1988年遷居紐約,專注於抽象繪畫之創作,1992 年應台北市立美術館邀請回國舉辦個展,也曾多次在國 際展覽中出現,作品廣為國內外美術館及私人珍藏。

生於中國北京,祖籍安徽旌德。1947年畢業於上海育才 學校美術系。1953年為首屆中央美術學院畢業生,並於 1955年為首屆研究生畢業,留校任教。作品曾赴歐洲七 國及蘇聯巡迴展出及參加全國美展並獲獎。1980年調入 上海畫院、油畫雕塑創作室。1983年負責創建上海華東 師範大學藝術系,並任該系系主任、教授。1990年由文 化部派遣赴法國巴黎訪問,後旅居法國,為法國藝術家 協會會員。作品有油畫《賽摩賽姆千佛洞前的流沙河》 (獲第六屆全國美展銀質獎章,為中國美術館收藏),丙 烯畫《冰山之父—穆士塔格峰》、《穆士塔格峰下乾涸 河谷》,《高昌城下》、《聖墓前的女郎》等。作品曾 在日本、美國、西歐各國及台灣、香港等地展出。

361


Lot 074 Lots 071, 089, 164, 167

Lots 072, 073, 149, 152, 153, 175

YANG Din (Chinese-French, b. 1958)

ZHOU Chunya (Chinese, b. 1955)

YANG Shaobin (Chinese, b. 1963)

Born in Shantou (Guangzhou), China. He lives and works in Paris since 1980. He graduated from L’Ecole Nationale Superieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He was a professor at ASDASCS center in Clairvaux, France. Since 1990, he has held solo exhibitions in France, Belgium, the Netherlands, Taipei, Hong Kong and Macau. Awarded First Prize at the Aube Art Fair organized in Troyes, France.

Born in 1955 in Chengdu, Sichuan Province. Zhou Chunya graduated from the Department of Oil Painting of the Sichuan Institute of Fine Arts in 1982. Zhou also graduated from the Fine Arts College of German Kassel University. He currently works as an artist at the Chengdu Academy of Painting in Sichuan. Zhou's works have been shown at "The Documentary Exhibition of Chinese Contemporary Art" (Beijing, 1991), "China Experience" (Chengdu, 1993), "China's New Art - Post '89" (Hong Kong, 1993), "The Annual Exhibition of Art Critics Nomination" (Beijing, 1994), "China!" (Bonn, 1996) and "The Shanghai Biennial" (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum.

Born in Tangshan, Hebei Province, China. He graduated from the Hebei Light Industry Institute in 1983 and moved into the artist village at Yuanmingyuan, Beijing in 1991. In 1995, Yang relocated to Tongxian, in the suburbs of Beijing. In 2000, he won the prize for Contemporary Chinese Art Awards (CCAA). His selected exhibitions: “First Exhibition of Professional Artists” (China, 1992); “Faces Behind the Bamboo Curtain Works by Yue Minjun and Yang Shaobin” (1994, Hong Kong); “China!” (1996, Berlin); “the History of Chinese Oil Painting: From Realism to Post-Modernism” (1997, Brussels); “Venice Biennale” (1999, Italy); “Portraits of Contemporary China” (2000, France); “Art Forum Berlin” (2001, Germany); “First Guangdong Triennale: Reinterpretation, Ten years of Experimental Chinese Art” (2002, Guangdong); “Prague Biennale” (2005, Czech Republic).

楊登雄 (華裔法籍,1958年生)

周春芽 (中國,1955年生)

楊少斌 (中國,1963年生)

出生於中國廣東汕頭市。1980年起定居法國巴黎。1987 年畢業於巴黎國家高等藝術學院。1993-94年於克雷佛 教育中心擔任美術老師。自1990年起,曾於法國、比利 時、荷蘭、台北、香港、澳門等地舉行個展。1987年獲 法國特羅瓦省歐柏藝術藝術沙龍獎。

四川成都人。1982年畢業於四川美術學院油畫系。1988 年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現 在為成都畫院專職畫家。1980年作品入選第二屆全國青 年美展獲二等獎。1982年參加紐約中國當代油畫展, 1984年參加香港四川油畫展,同年參加前進中的中國青 年畫展。1987年舉辦個人畫展於德國杜塞道夫,1988年 於奧地利林茨舉辦個人畫展,同年參加德國比勒費爾德 國際五人作品展。1992年入選「廣州九十年代藝術雙年 展」獲學術獎。1993年參加香港「後八九中國新藝術 展」,同年與葉永青、張曉剛等舉辦中國新經驗展。 1996年應邀參加第一屆上海雙年展。作品為奧地利林茨 美術館典藏。

生於河北省唐山市,1983年畢業於河北輕工業學校美術 系,1991年遷入圓明園畫家村,1995年定居於北京通縣 小堡村,2000年獲CCAA中國當代藝術獎。曾參加的展 覽:「首屆中國職業藝術家聯展」(1992,中國); 「竹簾後的臉——楊少斌、岳敏君畫展」(1994,香 港);「中國!」(1996,德國);「中國油畫的歷 史:從現代主義到後現代主義」(1997,比利時); 「48屆威尼斯國際藝術雙年展」(1999,義大利); 「當代中國肖像」(2000,法國);「柏林藝術博覽 會」(2001,德國);「十年回顧首屆廣東三年展: 廣 東美術館」 (2002,中 國) ; 「布 拉格 雙 年 展」 (2005,捷克)。

362


Lot 077

Lots 075, 079, 222

Lot 076

HUANG Gang (Chinese, b. 1961)

XIA Junna (Chinese, b. 1971)

HONG Ling (Chinese, b. 1955)

Born in Beijing in 1961, he graduated from the Central Industrial Art Institute. During the 80's, paintings with a Tibet theme were extremely popular; people loved the pureness, the mystery, and the nature of Tibet, which is not yet polluted by civilization. Huang Gang became interested in the culture, religion, and art of Tibet, and started his own Tibet classical drawing artware collection, studies society, religion, philosophy background which this kind of art produced. He created the Tibet writing series work afterwards, but he is a different artist, he used an unprecedented artistic way to carry on the creation. Huang Gang’s works were exhibited many times in the world. Solo exhibitions were held in Germany, France, Switzerland, the US and Hong Kong, and had enormous success. He obtained different cultural contextual views from different countries and high praise.

Born in Inner Mongolia, 1971. In 1984, she attended Weihai No.2 Middle School and studied portrait painting with Cong Jian Zi, who introduced her to a certain field of art. She graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts. Her work “Autumn” won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Her works were also shown at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, she joined “China Young Oil Painting” Exhibition in Beijing. In 1998, she joined “Century-Female Art Exhibition” and won a collector award. In 2000, she joined “Twentieth Century China Oil Painting Exhibition”, “Youngs Series Exhibition”. Beijing Evening News used “Six Main Courses in Grant Banquet of Centurial Oil Painting” as the title and commend her as the most representative painter in China. Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize Xia’s historic significance in inheriting from centurial Oil painting. Her paintings are collected by private collectors at home and abroad in recent years.

Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there. His oil paintings have been exhibited in the first and second annual exhibition of “Chinese Oil Paintings” and the “1994 Critics Nomination Exhibitions.” Hong has won many awards for his art. A solo exhibition was held in Hong Kong in 1995. He also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.

黃鋼 (中國,1961年生)

夏俊娜 (中國,1971年生)

洪凌 (中國,1955年生)

1961年出生中國北京,畢業於中央工藝美術學院。1980 年代在中國內地以西藏題材創作藝術作品十分流行,人 們大都熱衷於表現這裡神奇而未被現代文明污染的壯美 的自然環境、獨特的風土人情,黃鋼於那時開始對西藏 文化、宗教、藝術產生濃厚興趣,開始了西藏古典繪畫 藝術品的收藏,研究這種藝術產生的社會、宗教、哲學 背景。之後創作了西藏文字系列作品,但他是以一種不 同於其他藝術家,前所未有的藝術方式進行創作。黃鋼 的藝術作品在世界各地多次展覽。在德國、法國、瑞 士、美國等國家及香港舉辦過個人展覽,並獲得極大成 功。得到了不同國家不同文化背景的關注、認同和高度 評價。

出生於內蒙古,1984年就讀於威海市第二中學,師從美 術啟蒙老師叢建子先生學習國畫人物,初步接觸繪畫藝 術。1995年畢業於中央美術學院油畫系,畢業創作獲 得中央美術學院優秀獎和日本岡松家族獎學金。作品 《秋》獲「95第三屆中國油畫年展」銀獎。1996年參加 「上海美術雙年展」,「北京中國當代藝術展」。1997 年參加「中國青年油畫展」及「中國藝術大展」。1998 年參加「世紀-女性」藝術展,獲收藏家獎。2000年參 加「二十世紀中國油畫展」,北京晚報也以「百年油畫 盛宴的六道大菜」為題,把夏俊娜提為中國最有時代代 表性的畫家。台北的《藝術新聞》雜誌以「從李鐵夫到 夏俊娜」來概括百年油畫的歷史承繼性,其作品被海內 外私人廣為收藏。

雲南白族人,1955年生於北京。1979年畢業於北京首都 師範學院美術系,專長油畫。1985年入中央美術學院油 畫系研習班,目前為中央美術學院油畫系副教授。油畫 作品曾參加第七屆全國美展、首屆中國油畫展、第一與 第二屆中國油畫年展,以及1994美術批評家年度提名展 等展覽,並多次獲獎,1995年在香港舉辦個人展覽。 1997年參加第47屆義大利威尼斯雙年展。作品《秋草》 為中國美術館收藏。

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Lot 078

Lot 080

Lots 081, 174

LIU Wei (Chinese, b. 1965)

SUN Lisha (Chinese, b. 1984)

JIANG Jianqiu (Lao JIANG) (Chinese, b. 1972)

Born in Beijing. Graduated from Central Academy of Fine Arts in 1989, majoring in printing. Currently lives in Beijing. “Attended the 45th Venice Biennial”, “the 22nd Saint Paul Biennial” and “Mao, Toward Pop” Exhibition, Australia in 1994; attended “Chinese New Artist Exhibition”, Germany in 1995; attended “China!” Exhibition, Germany in 1996; attended “Made in ChinaContemporary Chinese Art” Exhibition, Berlin, Germany in 1998; attended “New Modernism in New Millennium” Exhibition, San Francisco in 1999. Attended “New Faces in China” Exhibition, Sydney in 2000. Held solo exhibition at Loft Art Gallery, Paris in 2001.

Born in Shijiazhuang, Hebei, She entered into Central Academy of Fine Arts in 2004. Her major exhibitions are: 2007 “Gathering Sandcastles - Chinese New Generation Artists Award Exhibition”, Beijing; 2006 “On the Road - Oil Painting Exhibition”, Beijing; 2004 “Beijing Impression So Wonderful - New Year’s Art Exhibition of Young Artists”, Beijing. In 2005 her photographic work won the Award of Excellence in Epson International Imaging Contest.

Born in Anhui Provenance, China. He graduated from The Fine Arts School of China Central Academy of Fine Arts in 1991 and Print Making Department of China Central Academy of Fine Arts in 1995. He is known for these exhibitions: 2001 “Loft New Media Art Festival”, Beijing; 2002 “Long March - A Walking Visual Display”, Beijing; 2005 “The Game of being Low and Shallow: The Rising of the Cartoon Generation Contemporary Art Exhibition”, Beijing; 2005 “Art of the Post 70s: The Chinese Generation after the Market Reform”, Beijing; 2005 “Bad Boy’s Sky”, Beijing; 2007 “Exit Entrance”, Beijing.

劉煒 (中國,1965年生)

孫立沙 (中國,1984年生)

蔣建秋 (老蔣) (中國,1972年生)

生於中國北京。1989年畢業於中央美術學院版畫系,現 居北京。1994年參加「第45屆威尼斯雙年展」、「第22 屆聖保羅雙年展」、澳大利亞「毛澤東走向波普」展; 1995年參加德國「中國新藝術展」;1996年參加德國 「中國!」展;1998年參加德國柏林「中國製造—中國 當代藝術展」;1999年參加舊金山「新千年的新現代主 義」展;2000年參加雪梨「中國的新面孔展」;2001年 於巴黎Loft畫廊舉辦個展。

中國河北石家莊人,女性藝術家。2004年考入中央美術 學院。主要展覽有:2004年「北京印象」;2006年「在 路上油畫作品展」,北京;2006年「太美好-青年藝術 家新年作品鑒賞展」,北京; 2007 年「聚沙塔-中國 新銳繪畫展」,北京。2005年攝影作品參加愛普生國際 影像大賽獲優秀獎。

中國安徽人,1991年畢業於中央美術學院附中,1995年 畢業於中央美術學院版畫系。重要展覽有: 2001年「北 京藏庫新媒體藝術節展覽,北京; 2002年參加「長征— 一個行走中的視覺展示」巡迴展覽;2005年「低和淺的 遊戲:漫畫一代的崛起」,北京; 2005年「70後藝術— 市場改變中國後的一代」,北京;2005年「壞孩子的天 空」,北京;2007年「出口—入口」藝術展,北京。

364


Lot 082

Lot 083

Lot 084

XU Maomao (Chinese, b. 1979)

HSIAO Chu-fang (Taiwanese, b. 1980)

Liao Yu-an (Taiwanese, b. 1979)

Born in Xinjiang Province, Xu graduated from Xi’an Academy of Art in 2002. He held solo exhibition “Wonderland” at One and J. Gallery in Seoul, Korea in 2007. He attended “Ideal of A New Generation – the Chinese New Generation” at He Xiangning Art Museum in Shenzhen; He participated in Beijing Star Gallery’s “Next Station, Cartoon?” exhibition and “Post 70s The Generation Changed By the Market” exhibition organized by Shenzhen He Xiangning Art Museum respectively in 2006; Beijing Star Gallery’s “Naughty Kids” exhibition and “Wonderland–Xu Maomao & Wang Ting” exhibition in 2007.

Hsiao Chu-fang graduated from Graduate institute of Plastic Arts, Tainan National University of the Arts in 2008. Selected Solo exhibition including: “It occurred to me that…the solo exhibition of Hsiao Chu-fang” (Tainan, 2006), “Line Show, the Solo Exhibition of Hsiao Chufang” (Taipei, 2007). Important awards including: the prize of S-An Cultural Foundation in 2004, 2007 and the Taipei Art Prize 2007.

Born in Taipei in 1979 and won the “Taipei Arts Award” in 2003, Liao Yu-an is a promising young artist in contemporary art. The making of his art is a deeply personal one, and the theme of alienation and isolation is beautifully described in his artworks. Liao has set about making art that begans as a voyage of self-exploration and self-discovery and is now a comment on the society in which he lives. He made for himself a theater of possibilities that has embraced deeply personal moments of his life and his insecurities, as well as some astute observation on the society in which he finds himself as a young artist. Being an emerging artist, Lao Yu-an already had several solo exhibitions., which including “I think what I am” ( Shin Leh Yu-an Art Space,Taipei , 2003) “Perplexity” (Absolutely SPP, Kaohsiung, 2004), “Drowse” (Butchart International Contemporary Art Space, Taipei, 2007), “Death Pretentious” (IT Park, Taipei, 2007), “Fondle Without Tenderness” (Asia Art Center, Taipei, 2008)

徐毛毛 (中國,1979年生)

蕭筑方 (台灣,1980年生)

廖堉安 (台灣,1979年出生)

生於新疆。2002年畢業於西安美術學院。2007年在韓國 首爾One and J.畫廊舉辦「童話」個展。2004年參加「少 年心氣—中國新銳繪畫展」;2005年參加「下一站,卡 通嗎?」畫展、「70後藝術:市場改變中國之後的一 代」畫展;2006年參加「壞孩子的天空」畫展、「童 話—徐毛毛與王婷」畫展。

台灣嘉義人2008年畢業於國立台南藝術大學造形藝術研 究所。重要個展有:「它曾經在我身上發生…蕭筑方個 展」(台南,2006);「線條秀-蕭筑方個展」(台 北,2007)。重要獲獎有:2007年及2004年世安美學 獎、2007台北美術獎優選。

廖堉安生於台北市。2005年畢業於國立台南藝術大學造 形藝術研究所。廖的作品以自身形象與心理狀態為創作 題材,對都會人群的生活型態和人際互動關係的進行一 系列的描摹。他畫作中的人物之間瀰漫著濃稠的「疲憊 感」,溝通成為一種艱澀的行動,軟弱地再一次去嘗試 接觸與對話,而疲憊彷彿是個共通的經歷,凝聚著矛盾 而疏離的情感,靜靜的發散。儘管是一位藝術界的新 秀,但是廖堉安已經舉辦過多場個展,2003年的「自 以為是…」於台北的新樂園藝術空間;2004年的「Perplexity 不知所措」於高雄的新濱碼頭舉辦。2007年「假 寐」在台北的布查國際當代藝術空間以及「活殺自在之 術?」於伊通公園舉辦。2008年「不溫柔的愛撫」於亞 洲藝術中心。

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Lot 085

Lots 086, 166

Lot 087

Xavier WEI (WEI Chen-hung) (Taiwanese, b. 1966)

YANG Chihung (Taiwanese, b. 1947)

Born in Chaiyi, Taiwan, he graduated from fine arts department of Tung Hai University in 1989. He got the Diplome National Superieur d’Arts Plastiques avec les Felicitations du jury in Ecole National Superieur des Beaux-Art, Paris. Important Exhibitions include “The Black Forest” in Taipei Fine Art Museum in 1998, and the group exhibition in The Modern and Contemporary Art museum in Liege, Belgium. His work has been collected by National Taiwan Museum of Fine Arts in 2008.

Born in Taoyuan, Yang Chihung graduated from the fine arts department of the National Taiwan College of Arts in 1968. In 1976, he traveled to the United States, where he studied at Pratt Institute. From 1978 to 1979 he taught at the Taiwan Art College. He emigrated to the United States in 1979. His art was exclusively represented by Siegel Contemporary Art in New York between 1984 and 1987 and in 1987 by Michael Wallis. More than twenty one-man exhibitions were held for his works in the United States, Taiwan and Hong Kong. In addition, he was participated in many important exhibitions in Taiwan and abroad.

Born in Quyang, Hebei in 1966, originally from Shanxi, graduated from the Department of Printmaking, Zhejiang Academy of Fine Arts in 1988, taught at the Beijing Art & Craft College in 1988, and currently a professional artist. Attended New York MOMA “Chinese Modern Art Exhibition” in 1998, and San Francisco Limn Gallery “Chinese Modern Art Exhibition” in 1999.

魏禎宏 (台灣,1966年生)

楊識宏 (台灣,1950年生)

宋永紅 (中國,1966年生)

生於台灣嘉義市,1989畢業於東海大學美術系。1995 於 巴黎國立高等美術學院獲法國國家高等造型藝術文憑及 評審團獎 。重要展覽有1998年底於台北市立美術館發表 「黑森林」個展、2000年於比利時列日現代及當代美術 館的群展外。2008年獲國立台灣美術館典藏作品。

出生於台灣桃園,楊識宏於1968年畢業於國立藝術專美 術科。1976年赴美國,並進入紐約普拉特版畫中心研究 版畫。1978至1979年在國立藝專美術科任教,隨後於 1979移居美國。自1984至1987年他是紐約西葛畫廊的專 屬畫家。楊氏在美國、台灣及香港舉行二十多次個展, 並數次參加海內外重要美術展覽。

生於河北曲陽,祖籍山西,1988年畢業於浙江美術學院 版畫系,1988年任教於北京市工藝美術學校,現為職業 藝術家。1998年參加美國紐約現代美術館「中國現代藝 術展」,1999年參加美國舊金山Limn畫廊「中國當代藝 術展」。

SONG Yonghong (Chinese, b. 1966)

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Lot 088

Lot 093

Lot 108

CHANG Chen-yu (Taiwanese, b. 1957)

KUO Wei-kuo (Taiwanese, b. 1960)

LIANG Ping Cheng (Lan Mo) (Taiwanese, b. 1956)

Born in Taichung, graduated in B. F. A. National Normal University in Taipei, Taiwan in 1979. His landmark exhibitions as follow: first solo exhibition in Appollo Gallery, Taipei, 1980; Solo exhibition in museum of State University of New York in 1987; Solo exhibition in Taipei East Gallery, 1989; Solo exhibition in Contemporary Gallery, Taipei; 1992, solo exhibition in New Trends Gallery, Taichung; “Neo- Humanism” solo exhibition in Taipei Fine Arts Museum, 1994.

Born in Taipei, Taiwan. Kuo was the winner of the Lion Arts Rookie Prize in 1983, the 8th “Modern Painting Prize of Li Zhong-Sheng Foundation” in 2003, and the “Liao Chi-chun Oil Painting Award” in 2005, and has organized 8 solo exhibitions since 1993. Starting with the “Diagram of Commotion and Desire” in 1998, Kuo has explored his dark dreams in his four chronological exhibitions, “From the Deep Forest 1997-1999, Faint Dawn 2000-2002, Enlightenment 2003-2005”, and “Towards a Bright Start 2006”, by digging out the soul from the depths to re-discover the light of hope. These four chronological series touch audiences when their eyes meet the author’s.

Born in Pingtung, Taiwan. In 1983, he won the 8th Hsiung Shih New Artist Prize. Graduated from the Fine Arts Department of Chinese Culture University. Past exhibitions include: “Deep-Consciousness Series oil painting individual exhibition” (American Institute, Taiwan, 1987), “Flying-Land Series, individual exhibition” (Galerie Pierre, Taichung, 2002), “Fertile-Land Series, individual exhibition” (Herb 24 home Museum, Eslite Bookstore, Xinyi, Taipei, 2006)

張振宇 (台灣,1957年生)

郭維國 (台灣,1960年生)

梁平正 (藍墨) (台灣,1958年生)

生於台灣台中。1979年畢業於師大美術系並在師大藝廊 舉辦個展。重要個展如下:1980年阿波羅畫廊首次個 展,1987年紐約州立大學美術館個展,阿波羅畫廊第三 次個展;1989年台北東之畫廊個展,1991年台北時代畫 廊個展,1992新展望畫廊個展,1994年台北市立美術館 「新人文主義歷程展」。

生於台灣台北。1983年獲雄獅美術新人獎優選。2003年 為第八屆「李仲生基金會現代繪畫獎」得主。2005年獲 廖繼春油畫創作獎。1993年起至今已舉辦8次個展。郭 維國自1998年起發表了「暴喜圖」之後,展開「柳暗 1997-1999」、「熹微2000-2002」、「豁然2003-2005」 及「花明2006」四個階段,傾向於在灰暗如夢的場域探 索,不吝地掏盡躲在深處的自我,漸漸進入到心底對下 一個光亮晨曦的嚮往心境。透過精采的脈絡串連,提供 觀者與作者眼神交會時瞬間觸動的滿足感。

出生於台灣屏東,1982年參與創立「笨馬藝術團體」, 1983年獲第八屆雄獅美術新人獎。1985年畢業於文化美 術系。歷年展覽有:「深意識系列油畫個展」(美國在 台協會,台灣,1987年);「飛行系列雕塑個展」(臻 品藝術中心,台中,2002年);「沃土系列個展」(信 義誠品草本24 Home Museum,台北,2006年)。

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Lot 110

Lots 111, 115

Lot 112

LIN Chien-jung (Taiwanese, b. 1970)

LI Chen (Taiwanese, b. 1963)

LEE Jae-hyo (Korean, b. 1970)

Born in 1970 in Taichung, Taiwan, Lin Chien-jung graduated from the Department of Fine Arts of Tunghai University in 1993, and received his master’s degree in 1998 from the Graduate Institute of Plastic Arts of Tainan National University of the Arts. He lives and works in Taichung as a Lecturer in the Department of Interior and Landscape at Feng Chia University. He has won fellowships to join as residence artist in “The Gasworks Artists’ Studio” (London) and the “ARCUS Project 2004” (Ibaraki, Japan) in 2002 and 2004 respectively. His solo exhibitions include “Omen to Leave” (2000, Taipei); “Lin Chien-Jung Solo Exhibition” (2000, Taipei); “z Z Z” (2003, Taipei); “Hell-O” (2004, Japan). Some of the group shows he joined are: “Very Fun Park - Contemporary Art from Taiwan” (2001, Australia); “Art of the “E” Generation in Taiwan” (2005, Taichung); “Licensing International Show – Art in Taiwan” (2005, New York); “ART TAIPEI 2005”; “Hualien International Stone Sculpture Festival – Exhibition of Future Sculpture” (2005, Hualien, Taiwan).

Li Chen was born in Taiwan, in 1963. He has extraordinary performance in molding the traditional Buddhist sculptures. Later he infused emotion of the heart into the works and studied a variety of Confucian, Buddhist, and Taoist scriptures, and even instilled new contemporary thoughts, which provided a new creativity to Li Chen’s sculptures. Solo Exhibitions:2007 “52nd International Art Exhibition – La Biennale di Venezia”, Venice, Italy (Asia Art Center), 2005 “Li Chen Sculpture” Taipei Art Fair, Taiwan (Asia Art Center), 2003 Series of “Spiritual Journey Through The Great Ether” Michael Goedhuis Gallery, New York, U.S.A; International Group Exhibitions: 2004 “OPENASIA” 7th International Exhibition of Sculptures and Installations, Venice, Italy. 2007 “A Truth Beyond the Real – 14 Chinese Contemporary Artists” Doosan Art Center, Seoul, Korea.

Born in 1970, Korea. Lee Jae-hyo graduated from Hongik University as a BFA in Plastic Arts in 1992. He received numerous awards including, “Grand Prize Winner of Osaka Triennial” (1998, Japan), “Kim SaeJung Young Artist Prize” (2000, Korea), “Sculpture in Woodland Award” (2002, Ireland), “Pize of Excellence of Hyogo International Competition of Painting” (2005, Korea), and “Prize of Excellence of 2008 Olympic Landscape Sculpture Contest” (2008, Beijing). His works has been shown in several solo exhibitions in Seoul, Tokyo, Beijing, and New York. The artist also participated in various group exhibitions, such as the “Young Korean Artist Exhibition” (2000, Korea), “Association of Asian Contemporary Sculpture” (2001, Korea), “Out of Wood” (2003, Korea), “Vibration” (2005, Korea), “Art Canal” (2006, Switzerland), “Art Basel” (2006, USA), “Five Space & I” (2007, Korea), and “Opening of the 10th Municipal Museum of Art” (2008, Korea).

林建榮 (台灣,1970年生)

李真 (台灣,1963年生)

李在孝 (韓國,1970年生)

1970年生於台灣台中,1993年畢業於東海大學美術系, 1998年畢業於國立台南藝術大學造形藝術研究所,現 為逢甲大學建築系及室內/景觀設計系兼任講師,居 住台中。曾於2002年獲選為英國倫敦蓋斯沃克藝術工 作室的駐村藝術家,後於2004年赴日參加日本茨城縣 的阿庫斯駐村藝術家計畫。發表過的個展有「離鄉的 預感」(2000,台北)、「林建榮個展」(2000,台北)、 「z Z Z」(2003,台北)、「地獄-O」(2004,日本)。也 參加過眾多聯展,例如:「台灣當代藝術展�粉樂町」 (2001,澳洲)、「E術誕生—台灣藝術新秀展」(2005, 台中)、「2005紐約國際授權展—Art in Taiwan台灣館」 (2005,美國)、「2005台北國際藝術博覽會」、「花蓮 國際石雕藝術季-未來雕塑主題展」(2005,花蓮)。

雕塑家李真,1963年出生,早期製作傳統佛像就有特殊 表現。其後李真融入自我攝心之情感,涉略佛學、道家 等經典,更結合當代思維使其雕塑作品上有著創新的突 破,呈現既古典又現代的面貌。個展:2007受邀於「第 52屆威尼斯雙年展 – 虛空中的能量」個展;2006年台北 國際藝術博覽會 「李真雕塑展」(亞洲藝術中心);2005 年台北國際藝術博覽會 「李真雕塑展」(亞洲藝術中 心);2003 美國紐約古豪士畫廊「大氣神遊」。國際大 型展覽:2004 義大利威尼斯第七屆國際雕塑及裝置大展 -「OPENASIA」;2007年韓國首爾「世事而非–14位中 國藝術家對真實形象的變異及探索」韓國斗山藝術中心 策劃。

1973年生於韓國,1992畢業於韓國弘益大學造型藝術專 業,獲得藝術學士學位。他榮獲許多獎項,其中包括 「大阪三年展大獎」(1998,日本)、「金大中青年藝 術家獎」(2000,韓國)、「林地雕塑大獎」(2002, 愛爾蘭)、「兵庫縣國際繪畫競賽優勝獎」(2002,日 本)、「2008奧林匹克景觀雕塑競賽優勝獎」(2008, 北京)。於 1996開始在東京、紐約、首爾、北京等 地舉辦過12次個展,也參加過多次群展,包括「韓國 青年藝術家展」(2000,韓國)、「亞洲當代雕塑聯 展」(2001,韓國)、「運河藝術博覽會」(2006, 瑞士)、「五個空間&我,Moran美術館」(2007,韓 國)、「第10屆釜山市立美術館開幕展」(2008,韓 國)。

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Lot 113

Lot 114 Lot 116

HUANG Po-ren (Taiwanese, b. 1970)

HUNG Yi (Taiwanese, b. 1970)

Zhu Shijie (Chinese, 1900-1990)

Born in Taichung, Taiwan. Huang Po-ren graduated from the department of sculpture of Fu-Hsin Trade & Art School. He won first prize and a major award in the art exhibition in central Taiwan “Flying 99” and participated in the Art Taipei International Fair. 2001, “Emotion of Track” sculpture exhibition, Sculpture Museum of Miaoli. 2002, the first international mini sculpture exhibition in Taiwan. 2004, “Wood Horse” was collected by Taichung County Culture Center. 2005, “Note of Dogs”, the artist’s solo exhibition in Taichung County Culture Center, which also published “Iron Wood Forest”. “Note of Dogs” in the same year. 2006, “Happy Time of the Note of Dogs” was collected by National Taiwan Museum of Fine Arts. 2007, he participated in the Art Taipei International Fair.

Born in 1970, Taichung. He was once an owner of 9 restaurants, and at the age of 30, decided to live his life as an artist when he was nominated as the artist of “Stock 20 in Taichung Railway Station” (2002). His work is inspired by his surroundings and life experiences. The artist uses a lot of bright primary colors his works are bold and lively, which clearly represent the local Taiwanese culture. Hung Yi’s major solo exhibitions include the “Art in Taiwan, Interesting Taiwan” (2004, Taipei), “Life in the World” (2002, Taipei), and “Meet Hung Yi” (2008, Taipei). Besides works shown in exhibitions, his works can also be seen in many public art locations.

Zhu Shijie was born in Guangzhou and learned traditional Chinese, flower and bird, and landscape paintings from Yan Chunsheng and Fan Shaoyun in 1912. In 1918, he decided to try oil painting. In 1922, along with two other artists Yan Wenliang and Hu Cuizhong, He established the Suzhou Academy of Fine Arts. In 1985, he was invited to exhibit all of his major works from his lifetime in Beijing. 9 works including “Jing Gangshan Mountain” and “Small Wharf at Dongting Lake” have been collected by the National Art Museum of China in Beijing. Jiangsu Fine Arts Museum also collected his work “Casting Net”. He used to teach in Eastern China College of Art, the former Nanjing Academy of Fine Arts.

黃柏仁 (台灣,1970年生)

洪易 (台灣,1970年生)

朱士傑 (中國,1900-1990)

1970年出生於台中,台灣。1989年復興商工雕塑組畢 業,1999年中部美展雕塑類第一名及市長獎,參加台北 國際藝術博覽會;2001年,雕痕情深木雕展,苗栗木雕 博物館,以及同年的奧地利格拉茲國際雕塑展;2002 年,台灣第一屆國際袖珍雕塑展;2004年,其作品《木 馬》受台中縣立文化中心典藏;2005年,於台中縣立文 化中心舉行「狗札記.黃柏仁雕塑展」,及出版《鐵木 叢林.狗札記作品集》;2006年,《狗札記之快樂時 光》為國立台灣美術館購藏;2007年參加台北國際藝術 博覽會。

1970年生於台中,曾開設九間風格獨特的餐廳,在他 三十歲那年,毅然走向藝術家這條路。2000年獲選為 「20號倉庫—鐵道藝術網絡台中站」駐站藝術家。洪易 的作品風格、靈感皆來自他的週遭環境與生活經驗,從 廟宇文化探掘台灣的原生色彩,大膽活潑並充滿愉悅 感。他的雕塑作品經常使用紅黃藍綠等強烈的原色;自 發性以及原生性的創作風格十分具有台灣獨特的視覺意 象。流暢的線條、奔放的色彩、充滿活力的快樂感及敘 述式構圖是洪易作品的特定標誌。他的重要個展包括 「普羅眾生」(2002,台北)、「台灣有藝術,台灣有意 思」(2004,台北)、「偶遇洪易」(2008,台北)。除多 次參與國內外展覽之外,更能在許多公共藝術中,看見 洪易深具絢麗活力的作品。

朱士傑生於廣州。1912年跟隨畫家顏純生、樊少雲學習 國畫兼攻花鳥與山水。1918年作自製的油畫顏料試作油 畫。1922年與顏文樑和胡粹中兩位畫家共同創建蘇州美 術學校。1985年應邀於北京展出他的生平創作,其中 《井岡山》、《洞庭小船埠》等九幅作品,已為北京中 國美術館收藏,江蘇美術館也收藏了他的《撒網》。曾 任教於華東藝專,即現在的南京藝術學院。

369


Lot 118

Lot 121

Lot 119

SUN Yuntai (Chinese, 1913-2004)

LEI Shuang (Chinese, b. 1950)

SHI Lei (Chinese, b. 1961)

Born in Hwanghsien, Shandong, China, Sun Yuntai went to Russia in 1931, and entered the Moscow Russian aristocrat painter Pakistan Knoff’s studio to learn to paint. He conducted many teacher-and-student joint exhibitions during the 30’ and 50’. He conducted his solo exhibitions in Moscow and Tokyo. In 1943, with the company of his teacher, they evaded to Heilongjiang. During the 50’ and 60’, there were about 20 of his works collected by Diaoyutai State Guesthouse in Beijing. Meanwhile, with Fu Baoshi, and Guan Shanyue, they attained invites to paint for the Great Hall of the People in Beijing. During that time, Sun Yuntai completed his huge oil painting Forest. And during the Great Cultural Revolution in 1965, he was criticized, and lived in seclusion. After he returned to China, he conducted his first solo exhibition within decades at Howard Hotel in Taipei in 1992, and received brilliant feedbacks. In 1993 he held a second solo exhibition in Hong Kong, and published the Sun Yuntai oil painting album.

Born in Changsha, Hunan, China. Lei Shuang is currently a professional artist at the Henan Sculpture and Painting Academy. She majored in Chinese and graduated in Henan. In 1989, she enrolled in the Central Academy of Fine Art for studying oil painting. From 1991, she began to hold solo exhibitions and flowers were her main subject matter. In Chinese Art, flowers are the very familiar subjects. But Lei Shuang endows them with profound depth and subtlety, giving us a new perspective. Lei Shuang’s flowers are presented to us in a seemingly simple tableau that causes the viewer to pause for thought. A beautiful vision to be enjoyed, Lei Shuang’s flowers also have the power to make one contemplate about larger issues in life. Public collections: National Art Museum of China (Beijing) and WCA (USA).

Born in 1961 in Dezhou city of Shandong Province, China, Shi Lei graduated from the Arts Department of Hebei Normal University in 1985, and began working at the Institute of Mural Painting and Sculptural Arts. In 1991, he completed his master degree studies at the Hubei Fine Arts Academy, and afterwards worked in Hubei Provincial Fine Arts Academy. In 1995, he worked as a researcher in the Fine Arts College of South China Normal University, and is now a professor in the same college. His exhibitions include: “First Annual National Oil Painting Exhibition” (Beijing, 1991); “Contemporary Chinese Oil Painting Exhibition” (Hong Kong, 1994); “Asia International Fine Art Exhibition” ( Japan, 1999); “Chinese Contemporary Art Exhibition” (Italy, 2000); “City Ecology—Contemporary Art Exhibition” (Poland, 2002); “In Honor of ’85—Contemporary Art Exhibition” (Shanghai, 2005) and “Chinese Contemporary Art Annual Exhibition” (Beijing, 2006).

孫雲台 (中國,1913-2004)

雷雙 (中國,1950年生)

石磊 (中國,1961年生)

中國山東省黃縣人。1931年赴俄羅斯,入莫斯科白俄貴 族畫家洛巴諾夫畫室習畫。30-50年代多次舉辦師生聯 展。個展於莫斯科和日本東京,享譽盛名。1943年偕同 恩師洛巴諾夫避居黑龍江。50-60年代先後有20多幅作 品被北京釣魚台國賓館收藏。同時與傅抱石,關山月大 師獲邀為北京人民大會堂繪製作品。孫雲台繪製完成巨 幅油畫作品〈森林〉。1965年文化大革命被批判,隱 居。1992年在臺北福華飯店舉辨返中國後第一次個展, 轟動畫壇。1993年在香港藝術中心舉辦第二次個展。在 香港出版《孫雲台油畫選》。

湖南長沙人,女性藝術家。目前任河南省雕塑書畫院畫 師。畢業於河南中文系,1989年考入中央美術學院油畫 系創作研究班,1991年畢業。1988年首次個展於上海科 技大學畫廊,後來經常舉辦展覽於上海、台灣,1998年 中國美術館油畫個展。其作品取材以花為主,對中國藝 術來說,花是極為熟悉的題材,但是雷雙卻賦予其新意 表現出不加修飾的低沈心境,雷雙的花帶來的思想矛盾 與感情壓抑,遠超過了視覺上的賞心悅目,激發思考很 多花草以外的問題。作品收藏機構有中國美術館、美國 婦女藝術會議等。

1961年生於中國山東省德州市,1985年畢業於河北師範 大學美術系後,於石家莊壁畫雕塑研究所任創作員。 1991年獲湖北美術學院碩士學位,並到湖北省美術院任 美術師,1995年於(廣州)華南師範大學美術研究所 任副研究員,現為該校美術學院教授。其參與展覽包 括:1991年首屆「中國油畫年展」(北京)、「中國油 畫展」(1994,香港)、「亞洲藝術展」(1999,日 本)、「中國當代繪畫展」(2000,義大利)、「城市 生態-中國當代藝術展」(2002,波蘭)、「85’致敬 ─當代藝術展」(2005,上海)、「中國當代藝術年鑒 展」(2006,北京)等。

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Lot 122

Lot 125

Lots 123, 124

ZHAO Gang (Chinese, b. 1961)

LU Hao (Chinese, b.1969)

QI Zhilong (Chinese, b. 1962)

Born in Beijing, he graduated from New York Vassar College, USA in 1984; and from New York Bard College in 1998 with a master’s degree. As a professional painter, his works took part in the “Stars Art Exhibition” launched by the National Art Museum of China in Beijing in 1980; “The Chinese Avant-Garde Art Exhibition” in New York in 1986; “Stars: the Tenth Year” in Paris in 1989; “The Door Art Exhibition” in New York and Long Island in 1990; an exhibition in New York Volpato Gallery in 1991 and an exhibition in Philadelphia in 1998. In addition to these, he has held solo exhibitions in New York Volpato Gallery in 1989 and 1990, in Paris in 1991 and Beijing Court Yard Gallery in 1999.

Born on February 9, 1969 in Beijing, China. 1992, Graduated from the Central Academy of Fine Arts, Beijing, China. Solo Exhibitions: 2006 Xin Dong Cheng Space for Contemporary Art, Beijing, China Arario, Seoul, South Korea. He Xiangning Art Museum, Shenzhen, China. Kwai Fung Hin Art Gallery, Hong Kong, China. 2005, Goedhuis Contemporary, New York, U.S.A. Beijing Art Now Gallery, Beijing, China. Tokyo Gallery, Tokyo, Japan. 1996, “Experimental Inks”, Yun Feng Art Gallery, Beijing, China. 1995, “Experimental Inks”, International Art Gallery, Holiday Inn Crown Plaza, Beijing, China. Collective Exhibitions: 2006, “Mahjong China Contemporary Art from the Sigg Collection”, Museum of Contemporary Art, Hamburg, Germany; Pusan Biennale, South Korea.

Born in Hohhot, Inner Mongolia in 1962, Qi graduated from the Central Academy of Fine Arts in Beijing in 1987. His works have been showed in prestigious exhibitions at home and abroad, selected shoes include Art Asia ‘95 at the Convention aand Exhibition Center in Hong Kong (1995); The Masses Model at Beijing Art Museum in Beijing (1996) the Shanghai International Art Fair in Shanghai (2000); the Chicago Art Fair 2002 in the United States (2002) and Le Printemps de Chine at CRAC Alsac Altkirch, France (2004). Recently, Qi has held solo exhibitions in international locations including Hong Kong, Switzerland and Australia.

趙剛 (中國,1961年生)

盧昊 (中國,1969年生)

祁志龍 (中國,1962年生)

出生於中國北京。1984年畢業於美國紐約瓦薩爾學院, 1998年畢業於紐約巴德學院,並獲碩士學位。現為職業 畫家。作品曾參加1980年在北京中國美術館舉辦的「星 星」畫展,1986年在美國紐約舉辦的「中國前衛藝術 展」,1989年在法國巴黎舉辦的「星星:十年」藝術 展,1990年在紐約及長島舉辦的「門」藝術展,1991年 紐約沃爾帕畫廊舉辦的展覽以及1998年費城鵬畫廊舉辦 的展覽。此外曾於1989年、1990年在紐約沃爾帕畫廊, 1991在法國巴黎,1999年在北京四合苑畫廊舉辦個展。

出生於中國北京。1992年,畢業於中國中央美術學院。 個展:2006年,「盧昊個展」,程昕東國際當代藝術空 間,北京,中國。「盧昊個展」,阿拉里奧畫廊,首 爾,韓國。何香凝美術館,深圳,中國。季豐軒畫廊, 香港,中國;2005年,個展,古德豪斯當代畫廊,紐 約,美國。個展,北京現在畫廊,北京,中國。個展, 東京畫廊,東京,日本;1996年,「個人實驗水墨畫 展」,北京雲峰畫廊,中國;1995年,「個人實驗水墨 畫展」,北京國際藝苑美術館,中國。群展:2006年, 「麻將—中國當代藝術席克收藏展」,漢堡當代美術 館,德國。「釜山雙年展」,釜山,韓國。

1962年出生於內蒙古呼和浩特,1987年畢業於北京中央 美術學院。他曾參與海內外許多知名展覽,包括「1995 亞洲藝術展」(香港國際會議展覽中心,1995年)、 「大眾樣板」(北京藝術博物館1996年)、「上海藝術 博覽會」(上海,2000年)、「芝加哥藝術博覽會」 (美國,2002年),以及「中國的春天」(法國阿爾奇 斯萊因當代藝術中心,2004年)。祁志龍最近也分別在 香港、瑞士及澳洲等地舉辦個展。

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Lots 126, 132

Lot 127

Lot 128

CHEN Liu (Chinese, b. 1973)

ZHU Yan (Chinese, b. 1982)

GAO Yu (Chinese, b. 1981)

Born in 1973 in Kunming, Chen Liu graduated from the Central Art & Crafts College in 1996, in which year he won the first prize of Ikuo Hirayama Award, and is now a professor in the Yunnan Academy of Fine Arts. His works have been published in Chenliu Water Color Paintings (2001) and Segment, Chenliu Art Works (2004); and he has shown his works in several exhibitions such as his solo exhibitions “Watercolor Paintings of Chen Liu” (2004, Kunming) and “Segments—Oil Paintings of Chen Liu” (2004, Kunming); “Contemporary Tradition—Invitational Exhibition of Chinese Artists” (2006, Milan); “International Contemporary Art Fair 2007” (Hong Kong); “Asian Contemporary Art Fair 2007” (New York); and in the recent group exhibition “I’m Ready” (2008, Taipei).

Born in 1982 in Hebei, China, Zhu Yan graduated from the Oil Painting Department of Tianjin Academy of Fine Arts, and taught afterwards at the Affiliated High School of Tianjin Academy of Fine Arts. He now lives in Beijing working as a professional artist. He has participated in exhibitions including “The 1st Contemporary Art Exhibition of Coast Terminal” (2007, Beijing); “MULPA 798 – Mind + Body” (2007, Beijing); “Art Space” (2008, USA). And he has recently held his solo exhibition “Zhu Yan” at Can Art Center in Beijing (2008).

Born in Guizhou, Gao Yu graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor’s degree. In 2006, he held “Specimen” a solo exhibition in Beijing; and in 2007, a solo exhibition “Five Elements Mountain” in Beijing. He attended the exhibition known as “Ideal of A New Generation–the Chinese New Generation” in He Xiangning Art Museum, Shenzhen in 2004; in 2005 he took part in “The Self-Made Generation - A Retrospective of New Chinese Painting” exhibition in Zendai Moma, Shanghai, “Post 70s - The Generation Changed By the Market” exhibition co-organized by Shanghai Mingyuan Art Center and Beijing Today Art Museum and “Next Station, Cartoon?” exhibition coorganized by Star Gallery and Shenzhen He Xiangning Art Museum; in 2006 he attended “Beyond Experience: New China” exhibition held by Beijing Arario Gallery and Star Gallery’s” “Naughty Kids” exhibition; he participated in Nokia’s art works creation known as “Fashion! The Top One is Prism!” .

陳流 (中國,1973年生)

朱岩 (中國,1982年生)

高瑀 (中國,1981年生)

1973年生於中國昆明,1996畢業於中央工藝美術學院裝 飾藝術系裝飾繪畫專業,於1996榮獲中央工藝美術學 院「平山鬱夫獎」一等獎,目前則是任教於雲南藝術 學院美術學院油畫系。出版過多本畫冊,如《陳流水 彩畫集》(2001)、《片斷——破碎的天空陳流作品集》 (2004)。繼2004在雲南昆明舉辦的個展「陳流水彩畫 展」、「片斷—陳流油畫作品展」,另參加多次國際 展覽,如「當代的傳統—中國畫家邀請展」(2006,米 蘭);「2007國際當代藝術博覽會」(2007,香港);「亞 洲當代藝術展覽2007」(2007,紐約);「我準備好了」 (2008,台北)。

1982年生於河北唐山,於2005年畢業自天津美術學院油 畫系,並於畢業後曾於天津美術學院附屬中學任教, 目前則居住在北京,為職業藝術家。曾參加的展覽包 括「東岸碼頭首屆當代藝術展」(2007,北京)、「物 波798心與身」(2007,北京)、「Art Space」(2008,美 國);以及近期在北京燦藝術中心舉辦的「朱岩」個人 展 (2008)。

生於中國貴州。2003年畢業於四川美術學院,獲學士學 位。2006年在北京舉辦個展「標本」,2007年在北京舉 辦個展「五行山」。2004年參加深圳何香凝美術館舉辦 的「少年心氣—中國新銳繪畫」展; 2005年參加上海證 大現代藝術館舉辦的「自我造局—中國當代繪畫」展、 上海明園藝術中心聯合北京今日美術館舉辦的「70後藝 術:市場改變中國之後的一代」畫展、北京星空間聯合 深圳何香凝美術館舉辦的「下一站,卡通嗎?」畫展; 2006年參加北京阿拉里奧畫廊舉辦的「超驗的中國」畫 展、北京星空間舉辦的「壞孩子的天空」畫展;2007參 加諾基亞「時尚,角度至上」主題創作。

372


藝術家簡歷

Lot 130

Lot 129

Lot 131

HAN Yajuan (Chinese, b. 1980)

WANG Kai (Chinese, b. 1980)

Yang Jing (Chinese, b. 1976)

Han Yajuan was born in Qingdao, 1980. She graduated from the Oil Painting Department of China Academy of Fine Arts with a Bachelor’s Degree and started to work in Basic Education Centre of Visual Art College of China Academy of Fine Arts. She continued her education in 2005 in the Oil Painting Department of the same Academy for a Master’s Degree. She held her solo exhibition “Milk·Sugar Life” in Art Beatus Gallery in HK in 2006. In her works, people often see a lovely little milch cow with spots all over the body, and the cow is as thick as thieves with girls. The cow is a bit like a pet of girls. If the cow does not appear in the painting, the spots would surely be found in girls’ clothing. In Han Yajuan’s works, the cow is a quite of a symbolic meaning of gender, representing female, the young generation of girls. Her work with the representation of young women actually shows the young generation’s dreams of life.

Born in 1980, Shandong, China, he graduated from Oil Painting Department, Central Academy of Fine Arts in 2003. His major solo exhibitions are: 2008 “Salad Days”, SOKA Art Center, Taipei; 2006 “The Chinese Mona Lisa”, Paris; 2001 “Wang Kai, Shandong Institute of Fine Arts”, Shandong. His joint exhibitions include: 2008 “Flowery Spring”, Hebei, The “Third Beijing International Art Biennale”, Beijing; 2007 “China’s Atmosphere”, Beijing, “Gathering Sandcastles, 2007 Chinese New Generation Artists Award Exhibition”, Beijing; 2006 “The Art Exhibition of Modern China”, Japan; 2005 “The Second Beijing International Art Biennale”, Beijing, “Exhibition of China’s Modern Art”, Korea.He has won the “Excellence Award” in National Art Exhibition of 2004 and the Award of Mary Art.

Born in Beijing, Yang graduated from the attached school of Central Academy of Fine Arts in 1996 and graduated from Mural department of Central Academy of Fine Arts in 2000. She h as taken part in distinguished collective shows “N12” at the Gallery of Central Academy of Fine Arts in Beijing in 2003 and 2004. Her works participated in “Chinese Modern Art Exhibition of Fresh Artists”, Beijing Sanhe Arts in 2004, and “Get It Louder” tour exhibitions in Shenzhen, Beijing and Shanghai in 2005. Her work “Puppet Carnival” participated in “Fiction@Love” exhibition, Seoul, Korea in 2006.

韓婭娟 (中國,1980年生)

王凱 (中國,1980年生)

楊靜 (中國,1976年生)

1980年生於中國青島。2002年畢業於中國美術學院油畫 系,學士學位,2004年工作於中國美術學院視覺藝術學 院基礎教學中心,2005年中央美術學院油畫系,攻讀碩 士。2006 年在香港精藝軒舉辦「奶.糖生活」個展。在 韓婭娟的作品中常常能找到一個與女孩們親密無間的、 可愛的、渾身斑點的小奶牛。它有點像女孩們的小寵 物,如果小奶牛暫時不在場,女孩們的衣著或服飾中肯 定有它的斑點出現。它是韓婭娟作品中的具有性別象徵 意義的符號,代表女性,代表一代年輕女孩。韓婭娟的 作品以年輕女性為代表言說的其實是這一代年輕人的生 活夢想。

1980年生於中國山東,2003年畢業於中央美術學院油畫 系。主要個展有:2001年「王凱」,山東美術學院; 2006年「中國的蒙娜麗莎」,巴黎;2008年「一場青 春」,台北索卡藝術中心。主要群展有:2005年「中國 美術之今日展」,韓國、「第二屆北京國際美術雙年 展」,北京;2006年「現代中國美術展」,日本;2007 年「中國氣氛」,北京、「聚沙塔—2007中國新銳繪畫 展」,北京;2008年「Flowery Spring」,河北、「第三 屆北京國際雙年展」,北京。曾獲得2004年第十屆全國 美展優秀獎、馬利藝術獎。

出生於中國北京,1996年畢業於中央美術學院附中, 2000年畢業於中央美術學院壁畫系。2003年及2004參加 北京中央美術學院畫廊「N12」展覽,2004年北京三合 藝術中心「中國當代藝術新人展」,2005年參加「大聲 展」深圳、北京、上海巡迴展,2006年作品《偶的嘉年 華》參加韓國首爾「虛擬@愛」展覽。

373


Lot 133 Lot 134

Lot 136

YIN Kun (Chinese, b. 1969)

LIN Hairong (Chinese, b. 1975)

LI Jisen (Chinese, b. 1970)

Born in Deyang, Sichuan in 1969, Yin Kun graduated from the Sichuan Apa Normal Junior College Fine Arts Department in 1992. He went to Beijing in 1993 and became a free painter. His works participated in several domestic and international exhibitions, and wildly collected by collectors all over the world. Yin Kun is a wise, sensitive, and active young artist, painting is an outlet or a record of his life, emotion, and his sensitive and nervousness. His work involves different social levels, through modern people’s ignorance towards certain social abnormal phenomena, promulgates the question the key and the root. Yin Kun pays attention to the contemporary person's survival experience and the reality feelings, absorbed the artistic forms and pictures such as pop, absurd realism, kitsch to transmit one kind of direct, incisive message. The gorgeous picture color is for the purpose of arousing some hopes and the optimistic life manner.

Born in Heilongjiang, She graduated from Department of Fine Arts, Henan Normal University in 1999 and received her Master Degree from Sichuan Fine Arts Institute in 2006 and now lives and works in Chongqing. She has ever held his solo exhibitions as follows: 2007 “Lin Hairong”, Shanghai; 2006 “Attitudes”, Brussels, “Lin Hairong”, Shanghai. Her major joint exhibitions include: 2007 “Scope”, New York, “Arts & Antiques Fair”, Brussels, “Southwest China Contemporary Art Studio Exhibition” , Shanghai; 2006 “Art Beijing”, Beijing, “Up & Raising Shine Art Space”, Shanghai; 2005 “Meiyuan cup National Fine Art Student Contest”, Liaoning; 2004 “ Dragonair Emerging Chinese Artist Awards (DECAA) Art Scene Warehouse”, Shanghai.

Born in 1970, Tianjin, China, Li Jisen graduated from the Tianjin Academy of Fine Arts, and studied in the Central Academy of Fine Arts in 1994, specializing in oil painting. The artist has shown his works in numerous exhibitions, among which are the “Third China National Oil Painting Exhibition” (2003, Beijing); “The Art of Time—Movado Touring Exhibition in 10 cities in China” (2005); “The Flying Moth” (2005) and “Power of Faith” (2006) solo exhibitions; the “Extraordinary Men – Group Exhibition of Contemporary Chinese Art” (2006, Beijing); the “Touched by the Color” solo exhibition (2007, Beijing); the “Asian Contemporary Art Fair 2007” (New York); the “Symbol & Metapho” solo exhibition (2008, Korea); and the group exhibition “I’m Ready” in Taipei (2008).

尹坤 (中國,1969年生)

林海容 (中國,1975年生)

李繼森 (中國,1970年生)

1969年生於四川省德陽。1992年畢業於四川阿壩師範專 科學校美術系。1993年到北京成為自由畫家。其作品多 次參加國內外大展,多件作品被海內外人士收藏。尹坤 是一位有才智、敏感、積極的年輕藝術家,畫畫是他對 生活、情感、敏感和神經質部分的宣洩或是記錄。其作 品涉及到廣泛的社會層面,描述當代人對某些社會異常 現象的普遍漠視,揭示問題的關鍵和根源。尹坤關注當 代人的生存體驗和現實感受,吸收了波普、玩世現實主 義、艷俗等藝術形式及圖片等藝術語言傳達出一種直接 的、尖銳的訊息;艷麗的畫面色彩旨在喚起一些希望和 樂觀的生活態度。

生於黑龍江。1999年畢業於河南師範大學美術系,2006 年畢業於四川美術學院獲碩士學位。現工作生活於重 慶。曾舉辦的個展有:2006年「閑看庭前花開落」, 布魯塞爾、「林海容作品展」,上海;2007年「林海 容作品展」,上海。參加的聯展有:2004年「港龍航 空中國新銳畫家飛揚大獎展」,上海;2005年「美苑杯 --全國高等美術院校作品展」,遼寧;2006年「藝術 北京」,北京;2006年「攀升的力量」,上海;2007 年「Scope」,紐約、「藝術與古董博覽會」,布魯塞 爾、「西南當代藝術家工作室邀請展」,上海。

1970年生於天津,畢業於天津美術學院,於1994年繼續 在中央美術學院油畫系進修。曾參加無數展覽,如「攜 手新世紀—中國第三屆油畫展」(2003,北京);「瑞 士摩凡陀時間的藝術—中國十城市巡展」(2005); 「飛蛾的故事」個人油畫作品展(2005);「中國國際 畫廊博覽會」(2006);「觸及心色」個展 (2007,北 京);「2007亞洲當代藝術博覽會」(紐約);「象徵 與隱喻」油畫作品展 (2008,韓國);以及「我準備好 了」台北聯展 (2008)。

374


Lot 138

Lot 137

Lots 139, 144

Chang-Ling (Taiwanese, b. 1975)

FANG Lijun (Chinese, b. 1963)

LI Shan (Chinese, b. 1942)

Born in Hualien County, Taiwan. Chang-Ling graduated from L’Ecole Nationale des Beaux-Art de Bourge in 2000, in which year he was admitted into the Ecole Nationale Superieure des Beaux-Art de Paris and studied under Christian Boltansky, Jean-Luc Vilmout and Jean-Marc Bustamant. In 2004, he held art group “COLOCOLOC” in Paris and established an art publication “Le Couteau de Paris”. His major solo exhibitions are as follow: “Unnatural Exhibition” (2004, Hsinchu, Taiwan); “The First Flower of the Streaky Pork” (2005, Taipei); “Hair Follicle” (2005, Taipei); “Streaky Pork Series: Epoch-Making” (2007,Taipei); “Flesh Landscape in Garden” (2007, Geneva, Switzerland); “Pork Belly Flesh Series - Flesh Weapons” (2007, Taipei).

Born in Handan, Hebei Province, he graduated from the Print Dept of the Central Institute of Fine Arts in 1989, Current: Lives and Works in Beijing. Group Exhibitions: 1989 “China Avant-Garde Art Exhibition, National Art Museum”, China; 1993 “China Avant-garde”, Germany; 1994 “The 22nd International Biennale of San Paulo”, Brazil; 1995 “The 1st Kwangju Biennale”, Korea; 1999, “Open Boundary: the 48th Venice Biennale”, Italy; 2002 “The Power of Image”, China. Solo Exhibitions: 1995, “Fang Lijun”, France; 1998 “Fang Lijun”, the Netherlands; “Fang Lijun”, USA; 2000 “Fang Lijun”, Singapore; 2001 “Fang Lijun, Asian Fine Arts”, Germany; 2004 “Fang Lijun”, Germany.

Li shan graduated in 1968 from the Shanghai Drama Academy. His paintings have demonstrated a strong Expressionist vocabulary since the 1970s, and since then have shown increasingly Primitivist tendencies, including the incorporation of sexual imagery-a taboo subject in Maoist era painting. His Primal Beginnings series are intense expressions of the emotional turmoil, In 1988 Li Shan created his Mona Lisa series, a combination of lotus flower imagery from popular paintings and images of the Mona Lisa, which seeks to demonstrate the expressive power of allegorical symbols embedded in vulgarized images. This theme becomes stronger and clearer in his recent Rouge Series, in which the artist uses huge canvases, finely detailed airbrush technique and hermaphroditic images to create a climate of emotional unease and to express the sense that people have been “neutered” by the combined social effects of knowledge, language and authority. Li Shan is one member of “New Art From China: Post-1989” and become internationally known as his Political Pop style.

常陵 (台灣,1975年生)

方力鈞 (中國,1963年生)

李山 (中國,1942年生)

常陵生於台灣花蓮,2000年畢業於法國國立步矩藝術學 院,同年進入法國國立巴黎高等藝術學院,師事波坦斯 基,韋勒蒙及布斯塔蒙,2004年畢業於法國國立巴黎高 等藝術學院。2003年成立COLOCOLOC藝術團體於巴 黎,2004年創辦《巴黎小刀藝術報》於巴黎。個展: 2004年,「非自然個展」於台灣國立交通大學藝文空 間,新竹;2005年「五花肉之第一花」個展,一票票人 畫廊,台北;「毛囊展」個展於關渡自強284,台北; 2007年「五花肉系列-開天闢地」,也趣畫廊,台北; 「肉-花園一遊」,蕾達畫廊邀請個展,日內瓦,瑞 士;「五花肉系列-肉兵器」,關渡美術館,台北。

1963年生於河北邯鄲,1989年畢業於中央美術學院,現 居於北京。其作品多次參加國內外重要展覽:1989年 「中國現代藝術大展」,北京;1993年「中國前衛藝術 展」,柏林;1994年「聖保羅雙年展」,巴西;1995年 「光州雙年展」,韓國;1999年「開放的邊界第48屆威 尼斯雙年展」,義大利;2002年「圖像就是力量展」, 何香凝美術館,深圳。並曾在法國巴黎、荷蘭阿姆斯 特丹、美國紐約、日本東京等地舉辦了多次個人展: 1995年 「方力鈞作品展」,巴黎;1998年「方力鈞作品 展」,荷蘭;「方力鈞作品展」,美國; 2000 年「方 力鈞作品展」,新加坡;2001年 「方力鈞亞洲當代藝 術」,德國;2004年「方力鈞」,德國。

1942年生於黑龍江。1968年畢業於上海戲劇學院。1970 年代以來,其繪畫顯示了一種強烈的表現語彙,自此持 續展現樸素主義的傾向,包括在毛澤東時代仍為繪畫禁 忌的性圖像拼組。他的「初始」系列描寫深藏人類內心 的情感波動。1988年李山創造「蒙娜麗莎」系列,從通 俗圖畫擷取蓮花圖樣,再結合蒙娜麗莎的影像,尋求揭 露出寓言象徵嵌入粗俗圖像時的表現張力。這個主題在 「胭脂帝國」系列表現得更強烈,他使用巨大畫布、細 膩的筆法以及雌雄同體的影像,創造出一種情緒不安氛 圍,藉以表達面對知識、語言和權力合而為一的社會效 應,人們的中性特質。李山也是中國藝壇「後九八中國 新藝術」的成員之一,以政治波普風格走紅國際,目前 定居上海。

375


Lot 143 Lot 140 Lot 142

CAI Guo Qiang (Chinese, b. 1957)

XIN Haizhou (Chinese, b. 1966)

JIA Gang (Chinese, b. 1974)

Born in 1957 in Quanzhou, Fujian, China. Cai graduated from the Shanghai Drama Institute in 1985, specializing in Stage Design. Cai now lives in New York. Cai is highly recognized by the international art world for his achievement in art. He was awarded the Golden Lyon Prize at “The 48th Venice Biennial” (1999); “Hiroshima Art Award” (2007, Japan); and he was appointed as committee member for the creativity of the Opening and Closing Ceremonies of the Beijing 2008 Olympic Games and chief visual designer. His works are in collections of world-famous art institutions and enterprises, such as Guggenheim Museum in New York, Metropolitan Museum of Art (New York), Venice Naval History Museum (Italy), Deutsche Bank collections (Germany) and Issey Miyake (Tokyo). The long list of Cai’s exhibitions includes the traveling exhibition “Inside Out: New Chinese Art” (1998), “International Currents in Contemporary Art” (1999, Spain); Whitney Museum of American Art “Biennial Exhibition” (2000, N.Y.); and he held solo exhibitions at world-wide famous art institutions such as Smithsonian Institute (2004, Washington D.C.); Metropolitan Museum of Art (2006, N.Y.); Deutsche Guggenheim (2006, Berlin).

Born in 1966, Chengdu, he graduated in 1989 from Department of Printmaking, Sichuan Fine Arts Institute and now teaches there. He has attended the following major exhibitions: 2001 “Chongqing Chilies”, Kassel; 2000 “Gate of the Century: 1979-1999 Chinese Art Invitation Exhibition”, Chengdu; 1999 “1999 Exhibition of China’s Contemporary Art”, San Francisco; 1997 “Mirage of Reality - Exhibition of Xin Haizhou Sketch”, Hong Kong; 1995 “From Realism to Postmodernism Oil Painting Exhibition of Contemporary China”, Brussels; 1994 “Oil Painting Exhibition of Contemporary China”, Beijing; 1993 “Post 1989 - New Art Exhibition of China”, Hong Kong; 1992 “ The First Biennale Exhibition of Art in 1990s”, Guangzhou; 1991 “I Don’t Want to Play Cards with Cézanne”, California; 1989 “Exhibition of China’s Modern Art”, Beijing.

Born in Liaoning, China, Jia graduated from the Academy of Arts and Design in Tsinghua University in 2001, and participated in the “Young and Bold – Exhibition of the new acts in the China art scene”; 2007, “Gestures”, Beijing New Age Gallery; “The Age of Pluralism, Being Persistent”, New Age Gallery, Beijing and Taichung.

蔡國強 (中國,1957年生)

忻海洲 (中國,1966年生)

賈剛 (中國,1974年生)

1957年生於中國福建泉州,1985年畢業於上海戲劇學院 舞台設計系。曾旅居日本多年,後於紐約定居至今。其 藝術成就備受國際藝壇重視,名聲斐然,屢獲殊榮包括 威尼斯第48屆雙年展「國際榮譽-金獅獎」(1999)、 「廣島藝術獎」(2007,日本廣島),並受委任為2008 年奧運開幕與閉幕儀的核心創意小組成員暨視覺設計總 監。其作品廣為國際知名藝術機構及藏家所收藏,如紐 約古根漢美術館、紐約大都會美術館、義大利威尼斯海 軍歷史博物館、德意志銀行藏館以及日本東京三宅一生 等企業。蔡國強參加過的展覽不計其數,如全球巡迴展 出的「蛻變與突破:中國新藝術」(1998)、「當代藝 術的國際新潮」(1999,西班牙)、惠特尼美國藝術雙 年展(2000,紐約);也曾多次在國際知名藝術機構舉 辦個展,如華盛頓史密松博物館聯辦的「蔡國強–旅行 者」(2004)、紐約大都會美術館 (2006)、德國柏林 古根漢美術館(2006)。

1966年生於成都。1989年畢業於四川美術學院版畫系, 現任教於四川美術學院 。參加的主要展覽有:1989 年「中國現代藝術展」,北京;1991年「不與塞尚玩 牌」,美國加州;1992年「廣州首屆九十年代藝術雙年 展」,廣州;1993年「後89中國新藝術展」,香港; 1994年「中國當代油畫展」,北京;1995年「從現實 主義到後現代主義-中國當代油畫展」,布魯塞爾; 1997年「現實的幻影-忻海州素描展」,香港。1999 年「1999中國當代藝術展」,舊金山;2000年「世紀 之門:1979-1999年中國藝術邀請展」,成都;2001年 「重慶辣椒」,德國卡塞爾。

出生於中國遼寧,2001年畢業於清華大學美術學院, 2004年「少年心氣—中國新銳繪畫展」;2007年,「姿 態」,北京新時代畫廊;「多元世代,固執己見」,新 時代畫廊,北京、台中。

376


Lots 148, 157, 158 Lot 145

Lots 146, 147, 151

JI Dachun (Chinese, b. 1968)

XU Bing (Chinese, b. 1955)

WANG Guangyi (Chinese, b. 1957)

Born in Jiangsu, China, 1968. In 1993, Ji Dachun graduated from the Central Academy of Fine Arts with a B.A. (Oil Painting). This year, he was invited to participate in “the First Oil Painting Biennial of China” and later took part in Chinese Contemporary Union Show in 1998, Shanghai. At the same time, his instinctive style engaged the attention of overseas market. In 1997, he attended “Exceptional Realism” Show in the House of World Cultures, Berlin, Germany. In 1999, BASE gallery in Tokyo held his first solo exhibition. Among young Chinese artists, he has an obviously unique style. Not withstanding the multiplicity of art world, Ji Dachun’s work combines an intuitive understanding of human nature with a strong technique.

Born in Chongqing, grew up in Beijing. Xu Bing graduated from the Central Fine Arts Institute Print Department in 1981, and stay teaching in school, attained the Master of Arts degree from central fine arts institute in 1987. Went to America in 1990, and settled down in New York. Participates in many important international contemporary fine arts display several times, like the 45th Venice Biennale, Museum of Modern Art in New York, the San Francisco Museum of Modern art, the Tokyo International Vision Transmission Center, New York PS1 and so on. In 1999 he obtained the American cultural circle highest prize-MacArthur Fellow.

Born in 1957, Wang Guangyi graduated from the Zhejiang Academy of Fine Arts in 1984. He is currently a full-time artist in Beijing and his works were shown at “The 1st Biennale Art Exhibition” (Guangzhou, 1992), “China’s New Art Post-1989” (Hong Kong, 1993), “Passaggio a Oriente - The 45th Venice Biennial” (1993), “22nd International Biennial of Sao Paulo” (Brazil, 1994) “New Asian Art” (Tokyo and Fukuoka, 1995), “China!” (Bonn, 1996), “The Asia-Pacific Contemporary Art Triennial” (Queensland, 1996), “Inside Out” (New York and San Francisco, 1998-99), “20th Century Chinese Oil Painting Exhibition” (Beijing, 2000) and “New Images: 20 Years of Chinese Contemporary Art” (Beijing and Shanghai, 2000-01). His paintings have been collected by the Kunst Museum, Ludwig, Germany and the Asia & Pacific Art Museum, U.S.A.

季大純 (中國,1968年生)

徐冰 (中國,1955年生)

王廣義 (中國,1957年生)

1968年生於江蘇,1993年畢業於中央美術學院,翌年受 邀參加「首屆中國油畫雙年展」,1998年參加上海劉海 栗美術館之「中國當代畫家聯展」。除了來自國內的肯 定,其特立風格同樣引起海外市場的注目,1997年季大 純於德國柏林世界文化宮「其他的現代藝術展」中展 出,1999年則在東京BASE畫廊舉行個展。新一代華人 藝術家群中,季大純以紮實技法的基礎堅持自我風格, 在瞬息萬變的藝術領域中,更顯其穩健無華,簡練大度 的寬厚風範。2001年應邀參加成都國際藝術雙年展。

重慶人。長於北京。1981年畢業於中央美術學院版畫 系,留校任教。1987年獲中央美術學院文學碩士學位。 1990年赴美,並定居紐約。多次參加許多重要國際當代 美術展覽,如第45屆威尼斯雙年展、紐約現代美術館、 舊金山現代美術館、東京國際視覺傳達中心,紐約PS1 等。1999年獲得美國文化界最高獎-麥克阿瑟獎。

中國哈爾濱人,是中國波普藝術最早的實驗者之一。 1984年畢業於浙江美術學院(今中國美術學院)油畫 系,現居北京,職業畫家。作品曾展出於1992年廣州第 一屆雙年展、1993年香港「後八九中國前衛藝術」、 1993年第45屆威尼斯雙年展、1994年巴西聖保羅國際雙 年展、1995年日本福岡亞洲新藝術展、1996年德國波昂 藝術館「中國展」、1996年澳洲亞太當代藝術三年展、 1998-99年紐約亞洲文化中心與舊金山現代美術館「蛻 變突破:中國新藝術」巡迴展、2000年北京「20世紀中 國油畫展」及「新形象:當代繪畫20年」巡迴展等。主 要作品收藏機構有美國加州亞太藝術博物館、德國路德 維美術館、馬德里蒂森美術館、成都上河美術館、舊金 山現代美術館、瀋陽東寧美術館等。

377


Lot 154

Lot 150

Lot 155

HE Sen (Chinese, b. 1968)

MAO Xuhui (Chinese, b. 1956)

YIN Zhaoyang (Chinese, b. 1970)

Born in 1968 in Yunnan, China, He Sen graduated from Sichuan Academy of Fine Arts in 1989. He now lives and works in Chengdu, China. His works were shown in many international exhibitions, including solo exhibitions held by the Piltzer Gallery (2002, Paris); by Marella Contermporary Art (2003, Milan); “Shadow” (2004, Beijing). He also participated in group shows such as “New York Asia International Art Fair”(2002); “China Avant Garde”(2004, Jakarta, Indonesia); “New Perspectives in Chinese Painting”(2004, Milan); “Beijing, Chongqing, Shanghai - Painting and Photography” (2004, Munich).

Born in Chongqing City, China, Mao Xuhui graduated in 1982 from the Yunnan Arts University, Art Department, majoring in oil painting, where he stayed teaching after graduation; and he is now a member of the Yunnan Oil Painting Association, and Vice-Chairman of the Yunnan Oil Painting Society. Since the opening up of China’s reformation, modern and contemporary Western art has taken root in China, and Mao Xuhui is one of the artists that has most assimilated and manifested Western art to its utmost, which makes him unique among his fellow artists.

Born in Henan, graduated from the Central Institute of Fine Arts in Beijing, Department of The Printmaking, now resides in Beijing. Yin is an artist who selects the pulse of an era as his subject. His solo exhibitions include “Myth” (2001, Beijing Art Museum) and “Utopia” (2004, Beijing Central Art Museum). Group exhibition he had participated includes “Gruelty of Youth Painting” (2002, Shanghai DDM Warehouse and Beijing Yan Huang Art Museum), “Images Image Exhibition” (2003, Shenzhen Art Museum), and “The Power of Personality - a travelling exhibition of progressive art”.

何森 (中國,1968年生)

毛旭輝 (中國,1956年生)

尹朝陽 (中國,1970年生)

1968年生於中國雲南,1989年畢業自四川美術學院師範 系,現定居與工作於成都。其作品曾於海內外個展展 出,如皮爾策畫廊舉辦的「何森個人作品展」(2002, 巴黎)、米蘭馬蕊樂畫廊個展 (2003)、「如影隨形」 (2004,北京)。另外,其參加過的聯展有紐約國際亞 洲藝術博覽會(2002)、「中國前衛藝術展」(2004, 印尼雅加達)、「中國繪畫新景觀」(2004,米蘭)、 「北京、重慶、上海—繪畫與攝影」(2004,德國慕尼 黑)等展覽。

出生於中國西南地區的重慶市,1982年畢業於雲南藝術 學院美術系油畫專業,1996年在母校同系任教,現為雲 南油畫藝術委員會委員及雲南油畫學會副主席。中國改 革開放以來,隨著西方現當代藝術在中國的本土化,他 是眾多藝術家中將西方現當代藝術吸收消化得最徹底的 一位,也是行進得最深遠的一位,在同一代藝術家中是 絕無僅有的。

生於河南,畢業於北京中央美術學院版畫系,現居北 京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的 個展有2001年「神話」(北京藝術博物館)和2004年 「烏托邦」(北京中央美術館)。曾參加的群展有: 2001年成都雙年展、 2002年上海東大名藝術創庫和北 京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美術館 的「圖像的圖像展」及「個性力量-新銳藝術巡迴展」 等。

378


Lot 156

Lot 159

Lot 160

FENG Zhengjie (Chinese, b. 1968)

YUE Minjun (Chinese, b. 1962)

XIANG Jing (Chinese, b. 1968)

Born in Sichuan Province, China, he graduated in 1992 from the Fine Arts Education Dept. of the Sichuan Academy of Fine Arts, BFA. Graduated in 1995 from the Oil Painting Dept. of the Sichuan Academy of Fine Arts, MFA. Currently lives and works in Beijing, China. Important Solo Exhibitions: “Recounting of Skin” (1996, China); “Coolness” (2001, Canada); “Paintings of Feng Zhengjie” (2002, Lithuania); “Regards vers l’Est, Regards vers l’Ouest” (2003, France) ; “Kitsch as a Face Of Chinese Society” (2004, Singapore); “Paintings of Feng Zhengjie” (2005, France); “Paintings of Feng Zhengjie” (2006, China); “New Works of Feng Zhengjie” (2007, USA).

Yue Minjun was born in Hei Longjiang Province. Studied in Fine Art Department of Hebei Normal University in 1985, joined “S Plastic Art Exhibition” in Hebei Provincial Exhibition Hall; “Summer Palace Painters Exhibition” in 1992, “China Oil Painting Exhibition-From Realism to Post-Realism” in Belgium, 1995; “China” in Germany and “Basel Art Fair” in Swiss, 1996; “5000+10 Chinese Art” in Spain, London, Berlin, 1998; “48th Venice Biennial” and “Fourteen Chinese Artists Exhibition” in France, 1999; “Red Ocean” Sponsored by China Modem Art Gallery in London, Britain, 2000.

Born in Beijing. Xiang was graduated from the Affiliated Senior High School of Central Academy of Fine Arts in 1988. In 1995, she got her Master Degree from the department of sculpture of Central Academy of Fine Art in 1995, also participated in a four artist joint art exhibition held by Beijing Contemporary Art Museum on March same year. Her graduation portfolio Amulet had won the 1st prize from Central Academy of Fine Art graduation portfolio exhibition and also from Japan Matsuoka Foundation, her work has been collected by Central Academy of Fine Art. In the same year, she participated the exhibition of Chinese Female Artists held my China National Museum of Art, also the “Century: A Female Art Exhibition” and “Subaudition: An Art Exhibition” at the same place in 1998. The next year, she participated the 2nd “Artistic tour before the end of the century” exhibition held by The New Dimension– he Only Place for Art, her work was chosen by the 9th “National Art Exhibition” and had won the award of excellence.

俸正傑 (中國,1968年生)

岳敏君 (中國,1962年生)

向京 (中國,1968年生)

生於四川。1992年畢業於四川美院美術教育系,獲學士 學位。1995年畢業於四川美院油畫系,獲碩士學位。現 工作生活於北京。重要個展:「皮膚的敘述」(1996, 中國);「酷」,(2001,加拿大);「俸正傑作品展」 (2002,立陶宛);「東張西望」(2003,法國); 「豔俗─是中國社會的一張臉」(2004,新加坡); 「俸正傑作品展」(2005,法國);「俸正傑作品展」 (2006,日本);「俸正傑新作展」(2007,美國)。

1962年生於黑龍江。1985年就讀於河北師範大學美 術系,1987年參加河北省展覽館舉辦的「S造型藝術 展」;1992年參與「圓明園畫家作品展」;1995年參加 在比利時舉辦的「中國油畫展-從現實主義到後現實主 義」;1996年參與在德國舉辦的「中國」展及參加瑞士 舉行的「巴塞爾藝術博覽會」;1998年參與在西班牙、 倫敦、柏林舉辦的「5000+10中國藝術」展;1999年參 加「48屆威尼斯雙年展」及參加在法國舉辦的「十四位 中國藝術家展」;2000年參加英國倫敦中國當代藝術畫 廊所舉辦的「紅色的海洋」展覽。

出生於北京。1988年畢業於中央美術學院附中。1995年 畢業於中央美術學院雕塑系。1995年參加北京當代美術 館舉辦的三月四人展。畢業作品《護身符》等獲中央美 院畢業生作品展一等獎及日本松岡家族基金會一等獎, 作品被中央美院收藏。同年參加中國美術館舉辦的中華 女畫家邀請展。1998年參加中國美術館「世紀.女性藝 術展」、「弦外之音畫展」。1999年作品參加北京新 時空-ART專遞空間舉辦的「世紀末藝術之旅.第二回 展」,作品入選「第九屆全國美展」並獲優秀獎,作品 《一杯冰水》等五件作品參加成都現代藝術館舉辦的 「中國當代雕塑邀請展」,作品《我的娃娃》等九件作 品參加劉海粟美術館舉辦的「海平線-2000繪畫雕塑邀 請展」。2001年,作品《禁閉》、《冰涼的水》等四件 作品參加在成都現代藝術館舉辦的 「架上樣板-第一屆 成都雙年展」。作品曾在《當代藝術:女性與藝術的生 態自述》、《藝術家》、《典藏》等刊物發表,並被海 內外機構及私人收藏。

379


Lot 161

Lot 165 Lots 168, 193

LI Hui (Chinese, b. 1977)

LIN Wen-chiang (Taiwanese, b. 1943)

HWANG Jyi (Taiwanese, b. 1953)

Li Hui was born in Beijing. From 1998 to 2003, he studied in the department of sculpture of Central Academy of Fine Arts. He won the Third Prize in “PE Sculpture Exhibition of New Beijing, Great Olympic”. In 2003, his works participated in “Beijing Biannual Exhibition”. At the same year, his work “Renewing Jeep- Smooth Current and Counter Current” won the Golden medal in the competition of “Dalian Golden Cup” held by China Sculpture Website. His work “Acupoints” participated in the exhibition of Shiseido Gallery, Tokyo in 2004. His works are Shiseido highly praised by collectors all over the world.

Born in Nantou, Taiwan in 1943, Lin Wen-chiang received traditional art training at the National Taiwan Academy of Arts (now National Taiwan University of Arts) and teachings from artists including Wu Dongcai, Yang San-lang, Hong Jui-lin, Chang Wan-chuan. Lin received the Gold Medal honor at the National Art Exhibition in 1977. In 1980, he left for Paris, France, to further his art studies at Académie de la GrandChanmiére; there he revamped previous knowledge of canvas making as well as the proper use of color. Works were selected multiple times at the French Salon d’autumn and others. His unencumbered style allowed him to break through convention, and chose subjects to emphasize Taiwan ‘s people, culture, and heritage.

Born in Chiayi in 1974. Works by Hwang Jyi were shown in the 1989 L'Ecole Nationale Supérieures des Beaux-Arts exhibition in Paris, and he later won first prize in the National Fine Arts Exhibition. Hwang Jyi's works, often in the nature of surrealist epics, can be seen as a kind of personal creative journal, with strong sensory impact created through presentation of multi-layered dimensions. They stand as unique stylistic achievements in modern Taiwanese art.

李暉 (中國,1977年生)

林文強 (台灣,1943年生)

黃楫 (台灣,1953年生)

出生於中國北京,1998-2003年就讀於中央美院雕塑 系。2001年作品獲「新北京新奧運-體育雕塑展」三等 獎,2003年作品參加北京「北京雙年展週邊展」,同年 作品《改裝吉普-順流逆流》榮獲「中國雕塑網2003年 大連金和杯全國畢業生作品大賽」一等獎,作品《穴 相》2004年參加日本資生堂畫廊邀請展,其作品廣受各 地收藏家喜愛。

生於台灣南投,1968年國立藝專接受傳統訓練,受教於 吳棟材、楊三郎、洪瑞麟、張萬傳等前輩。1977年獲全 國美展金牌獎。1980年起遠赴法國巴黎大茅屋工作室畫 院研習進修;到法國後,從畫布製作到顏料的正確使用 法,皆重新作探討與研究。作品多次入選法國秋季沙龍 及在阿基斯但國際美展中獲獎。風格不受侷限,屢作突 破,對作品體裁選擇多表現台灣人文、歷史之脈動和記 載,透過藝術形式表達,試圖對生命的意義作理解。可 稱為中堅輩畫家佼佼者之一。

生於台灣嘉義。其作品曾入選1989年巴黎高等美術學院 美展,而後又獲得第七屆全國美展首獎。其作品可謂是 一種個人的日記形式創作,畫中帶有超現實史詩的內 涵,充滿多層次時空交替的感官接觸,為台灣當代藝術 中別樹一格的風格。

380


Lot 171 Lots 170, 184

Lot 172

LEE Jaesun (Korean, b. 1971)

Ayako ROKKAKU (Japanese, b. 1982)

LIAO Yibai (Chinese, b. 1971)

Born in 1971. Lee Jaesun graduated from Kyungsung University, majoring in Korean painting. In 2000, She did advanced studies in Wall Painting in the Department of Fine Art of the Central Academy, and completed her master’s studies in 2003. She has shown his works in many exhibitions including “2007 Art Taipei” (2007, Taipei); “Art Beijing 2007” (2007, Beijing). She has held various solo exhibitions such as “Solo Exhibition” at Gallery Guang in Sejong Center, Seoul and “The Works of Lee Jaesun” at Gallery J. Chen (2008, Taipei).

Born in 1982 in Chiba, Japan, Ayako Rokkaku has never received any academic art education but learned to paint on her own. She started her career in painting in 2002, and her works are already common in many art fairs in Japan. Rokkaku has mastered her own painting technique. She applies acrylic paint on cardboard sheets with her bare hands. Adolescent children are the main subjects in her work, and are mostly illustrated from closeup. Rokkaku has won the prestigious Akio Goto Prize at Geisai # 9. Her works appeared in many solo exhibitions like shows held by Gallery Delaive (2007, Holland); by Gallerie Moderne (2007, Denmark); by Galerie Teo (2007, Tokyo); by Gallerie Wild (2008, Germany); Juliana Gallery (2008, Korea). And she has joined several international art fairs such as “Art Cologne” (2007, Holland); “Shanghai Art Fair 2007”; “Art Singapore 2007”; “Art Fair Tokyo 2008”; “Art Amsterdam” (2008); “Art Taipei 2008”.

Born 1971, Jiang An, Sichuan, China. Lives and works in Beijing and Chongqing, China. 2001-2005 Lecturer, Department of Art Design, College of Art, Chongqing University 1997 Graduated from Sichuan Academy of Fine Arts (SIFA). Important art exhibition: 1996 “Personal Experience Exhibition”, Chongqing, China. 1998 “Urban Personality Exhibition”, Chongqing, China. 2002 “China International City Sculpture Exhibition & Symposium”, Beijing, China. 2003 “Wuyeshen New Documentary Exhibition of China”, Guangzhou, China. 2004 “MIP TV Cannes Program Fair”, France. 2005 “On Going Contemporary Art Show”, Haikou, China. 2006 “New Improvement Academy Invitation Exhibition”, Guangdong, China. 2007 “Burning”, Beijing, China. 2008 “Germinators”, New York.

李在先 (韓國,1971年生)

六角彩子 (日本,1982年生)

廖一百 (中國,1971年生)

1971年生,女性藝術家。1995年畢業於慶星大學校韓國 畫專業,2000年中央美術學院壁畫系,並於2003年完 成碩士學位。其作品參加過台北藝術博覽會(2007, 台北)、北京藝術博覽會(2007,北京),並舉辦過 多次個展,包括世宗文化會館別館G u a n g畫廊的個展 (2006,首爾)及Gallery J. Chen的李在先個展(2008, 台北)。

1982年出生於日本千葉,六角彩子從未上過任何藝術學 校,其畫作技巧與本領皆為自學,並從2002年起正式開 啟其繪畫創作之路,目前已在日本的許多藝術節上展出 了作品。六角彩子的繪畫技巧上已自成一派。她空手運 用丙烯酸樹脂漆在紙板上作畫;其畫作的主題是青少 年兒童,大部分從近距離進行描繪。 六角彩子曾在日 本「第9屆藝祭藝術節」上獲頒極具聲望的「後藤明男 賞」獎。於2007年分別在荷蘭(德萊夫畫廊)、丹麥 (現代繪畫畫廊)、日本(Teo畫廊)等地舉辦個展, 2008年則在德國(Wild畫廊)、韓國(朱莉亞娜畫廊) 舉辦個展。另外也參加過許多重要的國際藝術展,如 2007年的「科隆國際藝術展」(荷蘭)、上海、新加坡 藝術博覽會;2008年的東京、阿姆斯特丹、台北藝術博 覽會。

1971年生於中國四川江安;1991年畢業於四川美術學院 附中;1997年畢業於四川美術學院油畫系第三工作室; 2001-2005年任教於重慶大學人文藝術學院;現居北 京。主要展覽有:1996年「個人經驗展」,重慶;1998 年「都市人格展」,重慶;2002年「北京國際城市雕塑 藝術展」,北京;2003年「五葉神中國新紀錄影展」, 廣東;2004年「M I P T V 法國坎城節目交易展」,法 國;2005年「進行時當代藝術展」,海南;2006年「新 改良-學術邀請展」,廣東;2007年「燃—廖一百個 展」,北京;2008年「雷達之下」,美國。

381


Lot 177 Lot 173

Lot 176

LIU Fenghua & LIU Yong (Chinese, b. 1956 & b. 1971)

WANG Keping (Chinese, b. 1949)

JIAO Xingtao (Chinese, b. 1970)

Born in Beijing in 1949, he is one of the founders of the first non-conformist artist’s group “The Stars” (Xing Xing) which was formed in 1979 during the poet-cultural revolution “Beijing Spring”. He has been living in Paris since 1984. Wang’s creative language is plain and simple, he uses woods as materials, adapts their natural shapes to present the natural forms of human, however he also wanted it to be unnatural, therefore he pour his expressions into his works along with natural materials, and the result is amazing as if it came part of the natural world, the work itself explains all. His works are collected by Villes de Paris, Paris, France; The Olympic Sculpture Park, Seoul, Korea; Modern Art Museum, Taipei, Taiwan; and Aidekman Art Center, Boston. Solo exhibitions he held in New York, Paris, and London reflect his more serious and modest attitude after his moving to Paris, he continues to have conversations with art traditions originated from different places, and he’s full of confidence and strength.

Born in Chengdu, Sichuan in 1970, Jiao graduated from Sichuan Academy of Fine Arts. Now works and lives in Chongqing. He participated in various exhibitions, including: “Shanghai Jingwen Art Exhibition”, Shanghai; “Beijing International Urban Sculpture Exhibition”, China National Museum, Beijing, 2002; “Chongqing Art Museum opening exhibition - Intensely Interesting Arts”, Chongqing; “Beijing 1st International Art Biannual Exhibition”, China National Museum, Beijing; “10 Art Academy joint Exhibition”, Academy of Fine Arts, Tsinghua University, Beijing; “Japan Oita International Sculpture Exhibition”, Japan, 2004; “The 2nd Chengdu Biannual Exhibition”, Chengdu Modern Art Gallery, Chengdu, 2005; “Contemporary Art Almanac Exhibition of China”, The Art Museum of the China Millennium, Beijing, 2006; “New South-West Contemporary Painting Exhibition 1985-2007”, Guangdong Museum of Art, Guangzhou, 2007.

劉楓華&劉勇 (中國,1956年生;1971年生)

王克平 (中國,1949年生)

焦興濤 (中國,1970年生)

兩人為夫婦。夫劉楓華1956年生於河北。1982年畢業於 中央戲劇學院舞台美術系。其作品參加過個展:「失落 的文明」(1999,北京)、「處境」(1999,北京); 以及多次聯展「墨水與紙」(2003,法國)、「當代權 衝藝術展」(2004,北京)、「城市與身體─當代藝 術展」(2005,北京)、「軍械庫藝術展」(2006, 紐約)、「第11屆北京國際藝術博覽會」(2008,新加 坡)

1949年生於中國北京,1979 加入由北京藝術工作者成立 的「星星畫會」,成為活躍成員。1984年定居於法國至 今。王克平的創作語言是簡單自然,以木頭為材料,以 其自然形式表現人的自然形態,既是用自然又要打破自 然,把自己的表達加進去,最後作品處理又渾然天成, 讓作品解釋作品。巴黎市政府、首爾奧林匹克公園、 台灣省立美術館、波士頓 Aidekman 藝術中心,都有收 藏他的作品,前後於紐約、巴黎、倫敦等各地畫廊的個 展,更反映出移居法國讓王克平以一種更嚴謹和內斂的 態度,繼續與源自他方的藝術傳統對話,充滿著自信和 力量。

1970年出生於四川成都,1996年畢業於四川美術學院。 現工作、生活於重慶。曾參與的展覽有:「上海精文 藝術大展」,上海;2002年「北京國際城市雕塑邀請 展」,北京;「重慶美術館開館系列展之-耐人尋味的 藝術」,重慶;2003年「北京首屆國際美術雙年展」, 中國美術館,北京;「全國十所美術院校作品展」,清 華大學美術學院,北京;2004年日本大分國際雕塑展 「日本朝蒼文夫紀念館」,日本;2005年「第二屆成都 雙年展」,成都現代藝術館,成都;2006 年「首屆中 國當代藝術年鑒展」,中華世紀壇現代藝術館,北京; 2007 年「從西南出發-西南當代藝術展1985-2007」,廣 東美術館,廣州等。

A couple. Husband Liu Fenghua born in 1956 in Hebei, he graduated from the Central Academy of Fine Arts, Art Department in 1982. His works have been shown in solo exhibitions “Lost Culture” (1999, Beijing);”Environment” (1999, Beijing); and group shows in “Ink and Papers” (2003, France)”; “Quanchong Modern Art Exhibition” (2004, Beijing)”; “City’s Body, Beijing” (2005, Beijing); “The Armory Show” (2006, New York); “11th Beijing International Art Exposition” (2008, Singapore). Wife Liu Yong born in 1971 in Shenyang, China, in 1996, she graduated from the Shanghai Drama Institute. her works “Terra-cotta Warriors and Horses” were selected by many exhibitions such as “Quanchong Modern Art Exhibition” (2004, Beijing); “City’s Body, Beijing” (2005, Beijing); “London Art Festival” (2006, Britain); “The Armory Show” (2006, New York); “Milan International Modern Art Exhibition” (2007, Italy); Liu Fenghua - Liuyong Works Exhibition” (2007, Beijing).

妻劉勇,1971年生於東北瀋陽。1996年畢業於上海戲劇 學院舞台美術系。劉勇的作品《新兵馬俑》曾參加過多 次聯展,如「當代權衝藝術展」(2004,北京)、「城 市與身體-當代藝術展」(2005,北京)、「倫敦藝 術節」(2006,英國)、「軍械庫藝術展」(2006, 紐約)、「米蘭國際當代藝術博覽會」(2007,義大 利)、「劉楓華、劉勇作品展」(2007,北京)。

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Lot 178

Lo 179

Lots 182, 204

QU Guangci (Chinese, b. 1969)

SUI Jianguo (Chinese, b. 1956)

KIM Byung Jin (Korean, b. 1974)

A native of Shanghai, he graduated from the Affiliated High School of the Zhejiang Academy of Fine Art in 1989. In 1994 he received his bachelor’s degree from the Department of Sculpture at the Central Art Academy, then a master’s degree in 1997. The artist is currently a teacher in the Sculpture Studio at the School of Fine Art, Shanghai Normal University. His 1993 piece “Mother” was entered in the “National Commemoration of Comrade Mao’s Lecture at the Yan-an Art and Literature Workshop - 65th Anniversary Art Exhibition” where it won an outstanding work award. The 1994 piece “Street” participated in the “1994 Central Art Academy Graduate Exhibition” organized by the Central Art Academy display gallery and won a second rank award and was added to the academy’s collection. His work “Wang Family Well” won the gold medal for the Beijing district in the “8th National Art Exhibition”, then went on to win the grand prize at the “8th National Outstanding Artwork Exhibition”.

Born in 1956, Qingdao, Shandong, China, he is now the Professor and Dean of Sculpture Department, Central Academy of Fine Arts. He received his Bachelor Degree in 1984 from the Fine Arts Department, Shandong Institute of Fine Arts and was conferred with his Master Degree in 1989 from Sculpture Department, Central Academy of Fine Arts. His major solo exhibitions are: 2007 “Speeding up – Sui Jianguo Space Video Arario – Beijing; 2005 “Sui Jianguo –The Sleep of Reason”, San Francisco; 1999 “Clothes Veins Study – Exhibition of Work by Sui Jianguo”, Beijing; 1997 “You Meet the Shadow of Hundred Years – Exhibition of Work by Sui Jianguo”, Melbourne; 1995 “Deposit and Fault- Exhibition of Work by Sui Jianguo”, New Delhi; 1994 “Exhibition of Work by Sui Jianguo”, Taipei.

Born in 1974, Seoul. Kim Byung Jin graduated from the Sculpture Department and proceeded his MFA studies in Sculpture at the Suwon University College of Arts. He held his two solo exhibitions, “Drawing a Space” in Korea in year 2008 and 2009. The artist also participated in various group exhibitions, including “Korea-China Contemporary Sculpture Exchange” (2007, China), “Korea’s Enterprising Artists’ SpeakingOut” (2007, Korea), “Commemorating Exhibition Opening Cheonggyecheon Art Studio” (2007, Korea), “Korea International Art Fair” (2008, Korea), “Seoul Open Art Fair” (2008, Korea), and “Living Design Fair” (2009, Korea).

瞿廣慈 (中國,1969年生)

隋建國 (中國,1956年生)

金炳真 (韓國,1974年生)

出生於上海。1989年畢業於浙江美術學院附中,1994年 畢業於中央美術學院雕塑系,獲學士學位。1997年畢業 於中央美術學院雕塑系,獲碩士學位,現為上海師範大 學藝術學院雕塑工作室教師。1993年作品《母》參加中 國美術館舉辦的「全國紀念毛澤東同志在延安文藝座談 會上的講話—六十五周年美術作品展」,並獲優秀作品 獎。1994年作品《街道》參加中央美術學院陳列館舉辦 的「94中央美術學院畢業生作品展」獲二等獎,並被中 央美術學院收藏。作品《王府井》獲「第八屆全國美 展」北京地區金獎,並入選「第八屆全國美展優秀作品 展」獲大獎。1995年作品《黃昏》、《姿態》參加當代 美術館舉辦的「95國際青年美術家交流展」。1997年研 究生畢業作品《西藏組雕》獲「97中央美術學院畢業生 作品展」二等獎及日本岡松家族基金會二等獎,作品為 中央美術學院收藏。1999年作品《天路》參加中國美術 館舉辦的「第九屆全國美展」,獲頒銅獎。

1956年生於山東青島,現為中央美術學院雕塑系主任、 教授。1984年畢業於山東藝術學院美術系,獲學士學 位。1989年畢業於中央美術學院雕塑系,獲碩士學位。 現為中央美術學院雕塑系主任、教授。重要個人展覽 有:2007年「大提速—隋建國空間影像作品展」,北 京;2005年「隋建國—理性的沉睡」,三藩市;1999年 「衣紋研究—隋建國作品展」,北京;1997年「世紀的 影子—隋建國作品展」,墨爾本;1996年「隋建國作品 展」,香港;1995年「沉積與斷層—隋建國作品展」, 新德里;1994年「隋建國作品展」,台北。

1974年生於韓國首爾,畢業於水原大學美術學院雕刻 專業學士和碩士學位。分別在2008年和2009年,在韓 國舉辦過2次個展「繪畫空間」,另參加過多次群展, 如 「中韓當代雕刻交流」 (2007,中國)、「韓國進取藝 術家」(2007,韓國)、「清溪川藝術工作室開幕展覽」 (2007,韓國)、「韓國國際藝術展」(2008,韓國)、 「首爾藝術展」(2008,韓國);「生活設計展」(2008, 韓國)。

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Lot 183, 211

Lot 185

Lots 186, 188

Yayoi KUSAMA (Japanese, b. 1929)

LEE Hye-Rim (Korean, b. 1963)

KWON Kyung Yup (Korean, b. 1975)

Born on 22nd, March, 1929. She was called the classic artist stll alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-courier artistic creation which takes a dominant place. She once held exhibition with some current brillant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, he got acousma and heteroptics because she was ill. When she was in America, it was the period of radicalness. And from then on her arts stayed in the state of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

Lee Hye-Rim was born in Seoul, graduated from Ewha Women’s University with a Bachelor of Music (Voice) in Seoul. She got a Bachelor’s degree of Fine Art in The University of Auckland, New Zealand in 2003. Selected solo exhibitions includes: “Boom Boom: Super Heroine Super Beauty, 24 HR Art: The NT Centre for Contemporary Art” (2007, Darwin, Australia); “Candyland” (2006, Auckland); “Powder Room” (2005, Auckland). Selected group exhibitions includes: “Mirror States” (2008, Sydney); “The New Media Festival 07” (2007, Miami); “Off Loop ’06” (2006, Busan Biennale).

Born in 1975, Korea. Kwon Kyung Yup began exhibitions after winning Special Prize at Danwon Arts Festival in 2006. He participated in various group exhibitions, including “Korea International Art Fair”, “Alternative Space Team Preview” (2007, Korea), “Next ART” (2008, Korea), and “MicroART69 - Hear” (2008, Korea).

草間彌生 (日本,1929年生)

李惠林 (韓國,1963年生)

權慶燁 (韓國,1975年生)

草間彌生被稱為日本現存的經典藝術家,出生於日本長 野縣松本市,在1956年移居美國紐約市,並開始展露她 佔有領導地位的前衛藝術創作。曾與當代卓越的藝術家 如安迪.沃荷、克勒斯.歐登柏格、賈斯培.瓊斯一起 聯展。現居住在日本東京。她的藝術實踐非常廣泛:繪 畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和 音樂。她十歲患病導緻幻聽幻視。在美期間正值激進主 義時期,此後她的藝術停留在激進、商業和反思的層面 上。她認為網狀結構象徵富有生機的生命本質。1966年 的充滿神秘感的《無限鏡屋》的裝置作品反映了一種生 命力的無限廣博以及不可把握性。她對自己的藝術經曆 描述為:分解和積聚,增值和破碎,是對自己的湮沒和 對無形宇宙的回想。返日後用多種形式和材料探索無止 境的網狀結構。她的藝術中所蘊含的獨特的感知經驗和 不可觸摸的神秘。

出生於南韓首爾市,1985畢業於首爾梨花女子大學,音 樂學士(聲樂)。2003 畢業於紐西蘭奧克大學Elam美 術學院美術學士。現居於紐約與紐西蘭奧克市。重要 個展有「Boom Boom超級英雌與美女,二十四小時藝 術—北部當代藝術中心」 (2007 ,澳洲達爾文市)、 「糖果世界」(2006,紐西蘭奧蘭市)、「化妝間」 (2 005,紐 西蘭奧克蘭市) 。重要群 展有 「鏡述 」 (2008,雪梨)、「2007年新媒體節」(2007,邁阿 密)、「外環」(2006,釜山雙年展)。

1975年生於韓國。權慶燁繼2006年獲得「Danwon藝術 節特別獎」開始參加展覽,其中包括「韓國國際藝術 展」(2007,韓國);「下一輪」(2008,韓國); 「替代空間團隊預展」(2008,韓國)。

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Lot 187

Lot 190 Lot 189

KIM Duck Yong (Korean, b. 1961)

SHIN Young-Mi (Korean, b. 1979)

YANG Ren-ming (Taiwanese, b. 1962)

Kim Duck Yong graduated in Painting from Seoul University and obtained a master’s degree in Painting from Seoul National University in 1992. He was awarded the Donga Art Festival Award in 1996 and the Award for Outstanding Artist at MANIF Seoul International Art Fair in 2002. He exhibited his works at the Korean Culture and Art Foundation and the National Museum of Contemporary Art, Korea as he participated in Grand Art Exhibition of Korean in 1995.

Shin was born in 1979 and graduated from the Fine Arts Department and preceded her MFA studies in Fine Arts at Kookmin University. Important solo exhibitions include “Hidden Dreams” (2004, Soeul), “Ah! ... Mr. Narcissus,” (2004, Soeul). Important group exhibitions include “Competition” (2004, Seoul Art Gallery) “Anticipation 2005” (2005, Seoul), “Imaginary Diet” (2003, Seoul)

Born in Kaohsiung, Taiwan, Yang graduated from the Department of Fine Art Oil Paintings, Chinese Culture University in 1985; he also received the Hsiung Shih New Artist award in the same year. In 1988 he studied abroad in France. After his return in 1994 he held the “New Plants Grown from Black Water” exhibition in Galerie Pierre, Taichung. He had a solo exhibition in the Grigny Culture Center in France, held “Between Imagination and Reality” exhibition in the American Cultural Center, Taipei; Triennial exhibition in Daejeon, Korea; Biannual exhibition in Taipei Fine Arts Museum; “The Educated Man” dual solo exhibition in Chicago Gallery; and “New Plants Grown from Black Water”, the 8th Fukuoka Asian Art Museum international art exhibition.

金德龍 (韓國,1961年生)

申英美 (韓國,1979年生)

楊仁明 (台灣,1962年生)

金德龍於1992年獲得韓國漢城大學美術學院的藝術碩 士學位。於1996年榮獲東亞藝術獎,於2002年獲首爾 Manif藝術博覽會的傑出藝術家獎。他曾於韓國文化藝 術基金會及韓國國立現代美術館展出,並參加1995年的 韓國大藝術展。

申英美1979年出生,畢業於國民大學美術系大學部和研 究所。重要個展有(暗藏的夢想)(2004,首爾)、 (啊!…那西斯先生)(2004,首爾)。重要聯展如於 首爾美術館的(競爭)(2004,首爾)、(預期2005) ( 2005 ,首爾)、 於省谷美術 館的 (虛構 的 飲食) (2003,首爾)。

台灣高雄人,1985畢業於文化大學美術系西畫組,同年 獲選雄獅新人獎。1988 赴法研習。回台後1994年於臻 品藝術中心舉辦個展「從黑水長出來的新植物」,期間 舉辦法國葛里尼文化中心個展、台北美國文化中心個展 「在想像與現實之間」、韓國大田三年展、台北市立美 術館雙年展、芝加哥畫廊博覽會雙個展「知識份子」、 日本第八屆福岡亞細亞國際美展「從黑水長出來的新植 物」等。

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Lot 194 Lots 191, 198

Lot 192

HUNG Tung-lu (Taiwanese, b. 1968)

Hwang Hyun Seung (Korean, b. 1980)

Lee Woo Lim (Korean , b. 1972)

Graduated from National Tainan College of Art Graduate Institute of Plastic Arts, Hung had major exhibitions in Taipei Fine Arts Museum, I-Tong Park, Contemporary Art Museum of Italy, and Hall-Ottawa Gallery in Canada. He was invited to participate in several international exhibitions: Venice Biennial (1999), 3les Recontres internationales de la Photographie, Arles (2000), Taipei Biennial (2000), Arco (2001) and Shanghai Biennale (2004). His work is collected by China Century Foundation in Paris, Marco Noire in Italy and Taipei Fine Arts Museum. His work “Virtuality Is Reality” from the “Nirvana” image series is an actual practice of totally digitalized virtual arts. Hung currently lives and works in Shanghai.

Hwang Hyun Seung obtained his BFA from Sangmyung University in Seoul. He has participated different group exhibitions: “UN World Peace Art Exhibition”, Danwon Gallery, Seoul, 2006; “Art Singapore 2007”; “First Steps – New Art from Korea”, Art Seasons, Singapore, 2008 etc..

Lee intentionally arranges figures, clothes, landscapes, light and shade, to represent his own story and psychological drama. His work appears figurative, yet blends the visible with some imaginative elements, departing from realism. Each object, while delicately and crisply rendered, is not placed in a consistent context but linked to each other fictitiously. Lee Woo-Lim’s work is an evocation of the spirituality of modern people derived from their secret, mystic contact with nature.

洪東祿 (台灣,1968年生)

黃炫升 (韓國,1980年生)

李佑林 (韓國,1972年生)

1999年畢業於國立台南藝術學院造形藝術研究所。2002 年在北美館、伊通公園、義大利當代美術館、加拿大魁 北克大學渥太華分校藝術中心畫廊均有個展。多次參 加國際當代藝術大展,如1999年「第48屆威尼斯雙年 展」、2000年法國阿爾國際攝影節、2000年「台北雙年 展」、2001年「西班牙拱之大展」、2004年「上海雙年 展」等。作品亦被巴黎中國世紀基金會、義大利馬可. 諾瓦畫廊、台北市立美術館等收藏。其創作《涅盤》影 像系列《虛擬即真實》,是全數位化虛擬藝術的一種實 踐。目前生活及創作於上海。

黃炫升生於1980年,於首爾的祥明大學取得學士學位, 曾參加過不同的聯展,2006年,首爾丹旺藝廊的「世界 和平藝術展」;2007年「新加坡藝術博覽會」;2008 年,新加坡季節畫廊的「第一步─韓國新藝術」展等。

李佑林1972年出生。透過人體、服裝、景色、光與影呈 現自己的故事和心靈舞臺。他的作品以象徵手法呈現並 結合超脫現實之外的異想元素。畫作中的物體優美且清 新,看似無關聯性的擺放實則環環相扣。李佑林的作品 可視為靈性的感召,宛如現代人與大自然神秘地連結。

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Lot 195

Lot 201

Lot 199

J. C. KUO (KUO Jen-chang) (Taiwanese, b. 1949)

Nam June PAIK (Korean, 1932-2006)

Born in 1970 in Seo-cheon Chung-nam, Korea, YOON Jongseok graduated from Hannam University in 2000. Solo exhibitions: “Firing of Aerial Time” (1998, Seoul); “Pure Contradiction” (Seoul, 2002); “Drawing” (2006, Italy).He has also shown his works in many group exhibitions including “Korean Youth Artists Art Festival” (2001, Seoul); “Exchange Exhibition between Korea and Japan” (2001, Japan); “Korean Dream” (2002, France); “International Art Fair in China” (2005, Beijing).

Kuo born in Lukuang in 1949, graduated from the Department of Fine Arts, Chinese Culture University in 1973 and learned how to paint at the Li Chun-shan Studio during 1968-73. Sponsored by Asia Foundation, USA during 1974-79, he devoted himself to researching Taiwan folk arts and participated in practical fieldwork. Influenced by Pop Art in the 70’s, he formed an unique personal creative style in the 80’s-the combination of Han-Tang figures and totems or symbols of Chinese folk arts as well as a strong western vocabulary. In the 90’s he expanded to landscape paintings and Chinese classical fairytales. His works are collected by the Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, and the Hara Museum of Contemporary Art, Japan.

He was born in Seoul in 1926, he received B.A. in art history at Tokyo National University, Japan in 1956. Afterwards he went to Germany and majored in music history at Munich University in 1958. Since 1963 he participated in Fluxus movement, and had his solo exhibition at Galeria Bonino, New York in 1965.Since then, he had his retrospective exhibition at Whitney Museum, New York (1982) and produced “The More the Better” for 1988 Seoul Olympics. He exhibited at Venice Biennale 1993 in German section and won the Golden lion, and was awarded the Asian Culture prize in Fukuoka, Japan in 1995. He was included in the “World’s Top 100 Artists” selected by the German magazine Focus in 1996, and “Top 100 Artists” by Germany’s Capital in 1997.

尹鍾錫 (韓國,1970年生)

郭振昌 (台灣,1949年生)

白南準 (韓國,1932-2006)

1970年生於韓國舒川忠南。2000年畢業於韓南大學美 術學院。尹鍾錫舉辦過多次個展,如「飄忽飛行時 的火焰」(1998,首爾)、「純然的對比」(2002, 首爾)、「繪畫」(2006,義大利)。他的作品也曾 參加過多次聯展,包括:「韓國青年藝術家藝術節」 (2001,首爾)、「韓日交流展」(2001,日本)、 「 韓 國 夢」 ( 20 0 2, 法 國)、 「中 國國際 藝術 節」 (2005年,北京)。

1949年生於彰化鹿港,1973年中國文化大學美術系畢 業。1968~73年入李仲生畫室習畫。1947~79年間曾獲美 國亞洲基金會贊助,投入台灣民俗藝術研究,並實際參 與民間田野調查工作。1970年代因受到普普藝術影響, 1980年代出現擷取中國漢唐時期人物造型及中國民間藝 術圖騰符號結合強烈的西方語彙,形成獨特的個人創作 風格。而後1990年代擴大至山水風景及中國古典神話。 其作品獲台北市立美術館、高雄市立美術館、國立台灣 美術館及日本原美術館等收藏。

白南準出生於1926年首爾市。他於1956年畢業於東京國 立大學的藝術史系,兩年後前往德國幕尼黑大學主修音 樂史。從1963年起開始參加福魯克薩斯運動,於1965年 於紐約波尼諾畫廊舉辦個展、1982年紐約惠尼美術館 舉辦回顧展、1988年為首爾奧林匹克製作了《越多越 好》。他於1993年在威尼斯雙年展的德國館中參展並 獲得金獅獎,並於1995年獲日本福岡的亞洲文化獎。 1996年他被德國雜誌《聚焦》選為「世界前一百位藝術 家」,於1997年被德國首都選為「德國前一百位藝術 家」。

YOON Jongseok (Korean, b. 1970)

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Lot 202

Lot 203

Lot 205

LEE Lee Nam (Korean, b. 1969)

Yi Hwan Kwon (Korean, b. 1974)

Madoka TAKAGI (Japanese, b. 1983)

Born in 1969 in Damyang, Korea, Lee Lee Nam graduated from Chosun University in 1995, majoring in sculpture and afterwards completed his master’s studies in Yonsei University in 2005. Now he is a professor in the Sichuan Fine Arts Institute. He was awarded Special Award of the Grand Art Exhibition in 1997; Grand Prize for 8th Gwangju Shinsegae Art Competition in 2005; Special Award, Artist of the Year/ 2005 Award, Youth Artist of the Year. He has shown his works in many exhibitions including “Seoul International Media Art Biennale” (2006, Seoul); “Beijing International Art Fair” (2007, Beijing); “New York International Art Fair” (2007, New York). He also held a solo exhibition “Myth Inside Monitor - Lee Lee Nam” at Metaphysical Art Gallery (2008, Taipei).

Yi Hwan Kwon was born in Seoul, Korea. He graduated from the Environmental Sculpture Department and proceeded his MFA studies in Environmental Sculpture at the Kyungwon University. Yi has participated in numerous notable group shows throughout Korea, including “Porfolio2005” at the Seoul Museum of Art in 2005. Yi has also received numerous awards, including the “Superior Prize” at the 10th Korean Figurative Sculpture Exhibition in 1999.Yi Hwan-Kwon first photographs his subjects then crushes the image through computer graphics. The end product is one that wavers between the two-dimensional and three-dimensional forms, the realistic and fictional.

Born in 1983 in Tokushima, Japan. IIDA Kiriko graduated from Printmaking Course, Department of Painting, Tama Art University, M.A in 2008. She has shown her works in many exhibitions including “Gallery Tsubaki GT2” (2007, Tokyo); “Marginality” (2008, Taipei).

李二男 (韓國,1969年生)

李桓權 (韓國,1974年生)

高木まどか (日本,1983年生)

1969年生於韓國潭陽。1995年畢業於韓國朝鮮大學美術 學院雕塑藝術系,2005年取得韓國延世大學視覺傳達研 究所碩士學位,現任四川美術學院教授。他曾獲得1997 年韓國藝術大展特別獎、2005年第八屆光州新世界藝術 大賽首獎及2005年青年藝術家特別獎。其作品曾於多次 聯展展出,包括「首爾國際媒體藝術雙年展」(2006, 首爾)、「北京國際藝術博覽會」(2007,北京)、 「紐約國際藝術博覽會」(2007,紐約);以及於形 而上畫廊舉辦個展「李二男�影像神話」(2008,台 北)。

李桓權出生於韓國首爾,畢業於暻園大學環境雕塑系學 士與碩士學位。他曾參加多項著名聯展,包括2005年首 爾美術館「首爾青年美術展」。也榮獲許多獎項,包括 1999年於「第十回韓國人物雕刻大展中獲優秀獎。李桓 權先為雕塑對象拍照,接著用電腦軟體將之變形。最後 創作出界於二度空間和三度空間、介於真實和虛構的雕 塑成品。

高木まどか,1983年出生於日本德島縣,2008年畢業於 多摩美術大學繪畫系版畫專業。其作品參加過多次展 覽,如樁畫廊「GT2」(2007,東京)、也趣畫廊「邊 緣性」(2008,台北)等。

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Lot 209

Lot 206

Lots 207, 208

Keisuke SHIROTA (Japanese, b. 1975)

Ai KATO & Makoto Aida (Japanese, b. 1984 & b. 1965)

KITAMURA Natsuko (Japanese, b. 1982)

Born in 1975 in Kanagawa, Japan. SHIROTA Keisuke graduated from Tokyo National University of Fine Arts and Music, Faculty of Fine Arts in 2001, and received his master’s degree in 2003. He participated in various exhibitions, including: “Tokyo Art University Graduation Work Exhibition” (2003, Tokyo); “Shell Art Award” (2004, Tokyo); “A Sense of Distance” (2004, Tokyo); “VOCA 2005” (2005, Tokyo); “Overlap” (2006, Seoul); “Young Japanese Landscape” (2007, Vienna); “Group Exhibition of Lee Wonchul, Shirota Keisuke and Wang Fenghua” (2007, Taipei); “Fictitious Reality: Asian Contemporary Image Exhibition” (2009, Taipei).

Born in 1984 in Tokyo. “Kyupin”(2009, Tokyo) is her first solo exhibition. Her works have also been shown in various exhibitions including Aichan-Bonsai “Villa Yurinso Special Open: Aida Makoto / Ozawa Tsuyoshi / Yamaguchi Akira” (2005, Okayama) “Nishiogi Biennale” (2005, Tokyo); Live- painting “Natural Hi!! Ai Madonna project”; “Japan Week 2007 in Warszawa”; “Tokyo Contemporary Art Fair” (2007, Tokyo); “Tokyo Nonsense” (2008, LA); “Jiji” (2008, Tokyo); “Eyes & Curiosity 5 – Japanese Contemporary Art” (2008, Taipei).

城田圭介 (日本,1975年生)

加藤愛&會田誠 (日本,1984年生;1965年生)

北村奈津子 (日本,1982年生)

城田圭介,1975年出生於日本神奈川縣,2001年畢業於 日本國立東京藝術大學美術系,並於2003年取得藝術碩 士的學歷。參加過的展覽有「東京藝術大學畢業聯展」 (2003,東京)、「Shell藝術獎」(2004,東京)、 「距離的意識」(2004,東京)、「VOCA現代美術展 望2005」(2005,東京)、「重疊」(2006,首爾)、 「年輕的日本風景」(2007,維也納)、「李原喆、城 田圭介、王風華聯展」(2007,台北),以及「虛擬真 實:亞洲當代影像展」(2009,台北)。

加藤愛,1984年出生於日本東京。「K Y U P I N展」 (2009,東京)為首次的個展,加藤愛的作品亦參加過 多次展覽,包括:小愛盆栽「平成17年春,大原美術館 有隣莊特別公開-會田誠、小澤剛、山口晃」(2005, 岡山)、「西荻雙年展」(2005,東京)、現場創作 「嗨!自然。愛—瑪丹娜計劃」(2007,東京)、「華 沙2007年日本週」(2007,東京)、「東京當代藝術博 覽會」(2007,東京)、「東京毫無道理」(2008,洛 杉磯)、「時時」(2008,東京)、「大開眼界5-日 本當代藝術」(2008,台北)。

北村奈津子,1982年出生於日本宮城縣,2006年畢業於 多摩美術大學油畫科。舉辦過多次個展如「夢想退休 之後經營牧場的男子與他的房間」(2004,東京)、 「農業家:以蘆筍為題」(2006,東京)、「懸掛」 (2008,東京)、「游泳池」(2009,東京)。以及群 展如「藝術@土澤 藝術節」(2006,岩手)、「藝術 在堂島」(2007,大阪)、「町田市民醫院藝術計劃」 (2007-2008,東京)、「搖擺不定的生活藝術的交叉 點─新進藝術家的觀點」(2009,福島)。

Aida born in Niigata, in 1965, he lives and works in Chiba at present. He got a B.F.A. and a M.F.A. in 1989 and 1991 respectively from Tokyo National University of Fine Arts and Music. Selected solo exhibitions: “I’m working on huge paintings in Beijing” (2009, Beijing), “I’m Iwaki of Mizuma Art Gallery !!” (2008, Tokyo), “Picture of Mountain Stream and others” (2006, New York). Selected group exhibitions “Mangamania Comic-Kultur in Japan 1800-2008” (2008, Frankfurt, Germany), “All About Laughter: The Role of Humor in Contemporary Art” (Mori Art Museum, Japan, 2007)

會田誠出生於日本新瀉,於1989年和1991年獲得東京國 立美術音樂大學學士和碩士學位,目前工作生活於日本 千葉縣。重要個展包括:「我在北京畫大畫」(2009, 北京)、「我是三瀦畫廊的岩鬼」(2008,東京)、 「山水畫與其他」(2006,紐約)。重要聯展有:「漫 畫迷 在日本的漫畫文化 1800-2008」(德國,法蘭克 福,2008)、「笑話的全貌:看現代藝術的幽默規則」 (東京森美術館,2007)。

389

Born in 1982 in Miyagi Prefecture, Japan. Kitamura Natsuko graduated from the Tama University of Arts in 2006, completion of the Painting Course, and majoring in Oil-Painting. She has held various solo exhibitions including “A Retired Man with a Dream of Owning a Farm, and his Room” (2004, Tokyo); “Agri-house: Focus on Asparagus ” (2006, Tokyo); “Hanging” (2008, Tokyo); “Swimming Pool” (2009, Tokyo); and group shows in “Art@Tsuchizawa Artfestival” (2006, Iwate); “Art in Dojima,” (2007, Osaka); “Machida Hospital Art Project” (2007-2008, Tokyo); “Swaying Life Crossroads of Arts - Visions of a New Generation of Artists” (2009, Fukushima).


Lot 210

Ai YAMAGUCHI (Japanese, b. 1977)

Lots 212, 218

Lots 213, 219

Yoshitaka AMANO (Japanese, b. 1952)

Hiroyuki MATSUURA (Japanese, b. 1964)

Yamaguchi was bron in 1977. Since participating in the Hiropon Show in LA (1998), Yamaguchi has participated in number of group exhibitions both at home and abroad. These include Tokyo Girls Bravo held in Harajuku Nadiff, Tokyo, Japan; Officina Asia held at Galleria d’Arte Moderna in Bologna, Italy in 2004 as well as various other exhibitions whichhave been held in venues throughot Japan and the USA. Selected solo exhibitions including “Kamuro” held in Kanazawa, Japan in 2000; Sukutoko at Roberts & Tilton in LA and “Oyasumi” at Shaheen Contemporary in Cleveland, USA in 2003 and 2004 respectively. The work by Yamaguchi offered this sale consists of five exquisite lithograph prints, each depicting young kimono-clad girls. These girls occupy a fantasy world, which is rooted in the exceptional history and traditions of Edo Japan’s “floating world”. Ai Yamaguchi’s works are truly timeless; they draw on both classical Japanese themes and contemporary styles. The artist’s first American gallery show, “Sukutoko” (Roberts & Tiltion, LA, 2003) was an instant sellout and earned her work reviews in Art in America and the cover of Giant Robot Magazine.

Born in 1952 in Shizuoka, Japan, he joined the early Japanese anime movement in 1967, working on character design for a number of Japanese TV programs, including the series “Time Bokan”, “Tekkaman”, “Gatchaman” and “Honey Bee”. Amano has won several prestigious awards including the Seiun Award in 19831986 and the Dragon Con Award and the Eisner Award in 2000. Amano has exhibited his art in prestigious museums and galleries worldwide since 1989, including the Orlean Museum of Art in France, Tokyo’s Uenonomori Museum, The Angel Orensanz Foundation in New York, and the Barbican Centre in London.

Born in Tokyo, Japan. He started to work as a graphic designer: advertising, packaging, binding and logo design in 1984. And the artist started to produce “Poster+Package+Skateboad” designS using “character illustration” themes. Exhibitions: 2007, “aniManga”, VIA07 Festival international, France. 2007, “Ultra New Visions”: Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, Taiwan. 2006, “Super Acrylic Skin, Mirai projects” solo exhibition, Stockholm, Sweden. 2006, “Japanimation!”, Beijing Tokyo Art Projects, Beijing, China. 2005, “Super Acrylic Skin”, Hiroyuki Matsuura Solo Exhibition, Tokyo Gallery, Tokyo, Japan.

山口藍 (日本,1977年生)

天野喜孝 (日本,1952年生)

松浦浩之 (日本,1964年生)

生於1977年。1998年她在洛杉磯參加了「美少女戰士 展」後,在國內外參與多項藝展,包括2004年東京原宿 新藝術書店(Nadiff)舉辦的「東京女生萬歲」展,同年 在義大利波隆納現代藝術中心舉辦的「亞洲藝術營」以 及其他在日本與美國舉行的多項藝展。山口藍個展包括 2000年在日本金澤市的「花魁貼身丫環展」,2003年 洛杉磯羅伯茲與提爾登藝廊所舉辦的「Sukutoko- 蝕 刻版畫展」,以及在克里夫蘭夏馨當代藝術中心所舉辦 的「晚安」展等。是次拍賣山口藍的作品是五張精緻的 蝕刻版畫,每一幅畫上都印有穿著和服的女孩。這些女 孩存在於一個神奇的世界,充滿了江戶日本傳統與歷史 之紫嫣紅的浮世聲色。藝術家運用了傳統的風格,加上 一些當代的時代感。山口藍獨特的作品在美國與亞洲 地區均受到收藏家的注目,更在她第一個美國畫廊展 覽「Sukutoko-蝕刻版畫展」(羅伯茲與提爾登畫廊 , 2003年於洛杉磯)大獲好評,並成為美國《鐵甲人》雜 誌的封面。

1952年出生於日本靜岡縣。1967年開始從事日本早期動 畫製作,為日本電視節目設計角色,包括《救難小英 雄》及《宇宙騎士》、《科學小飛俠》及《小蜜蜂》 等。其優異表現也讓他得到許多知名的獎項:2000年的 惡龍多媒體大會獎及艾斯納獎,及1983到1986年連續四 屆的星雲賞。1989年起,多次在國際藝術機構舉辦個 展,例如:法國奧荷朗美術館、東京上野之森美術館、 紐約安琪.奧倫桑基金會、倫敦巴比肯中心。

出生於日本東京,松浦浩之自1984年開始從事平面設計 師的工作,設計廣告、出版、包裝、裝訂等事項,從 1999年起,開始創作以「角色圖案」為題材的「海報 +包裝+滑板」設計。展覽:2007年「動漫展」,VIA 07 國際影城,法國;2007年,「新異術」,松浦浩之 個展,誠品畫廊,台北,台灣;2006年,「超級丙烯外 衣」個展,「未來計畫」個展,斯德哥爾摩,瑞典; 2006年,「日本動漫!」,北京東京藝術工程,北京, 中國;「超級丙烯外衣」,松浦浩之個展,東京畫廊, 東京,日本。

390


Lots 214, 217

Lot 215

Lot 216

Mayuka YAMAMOTO (Japanese, b. 1964)

Soju Tao (Japanese, b. 1977)

Izumi KATO (Japanese, b. 1969)

Born in 1964 in Okayama, Japan, Yamamoto received her master degree at Masashino Art University in Tokyo in 1990, and joined the Japanese Government Overseas Study Program for Artist to continue her studies in London until 1999. Her works have been shown in several solo shows held by Gallery Tsubaki, Japan since 1993– 2006, and her recent solo show “Deer Boy and Other infants” was held by Canvas International Arts gallery in Amsterdam (2007). She also participated in group shows as “Korean International Art Fair” (2004–2007); “Young Japanese Painting” (2007, Amsterdam).

Born in 1977 in Tochigi, Japan. He now lives and works in Kyoto and Tokyo. Soju Tao graduated from the Chelsea college of Art and Design, London, UK in 2002, and graduated from the Slade School of Fine Art, London, UK with a Master degree in 2003. His works have been shown in solo exhibitions “Okame Pro” (2006, Tokyo); “Project N30 Soju Tao” (2007, Tokyo); and He also participated in various exhibitions, including: “Whispers Behind the Wall” (2006, New York); “Not only A but also B” (2007, Washington D.C); “Chanel Project: Mobil Art Exhibition (2009, Paris/London/Tokyo/Hong/ Kong/Moscow/LA /NY/Taipei”).

Born in 1969 in Shimane Prefecture, Japan. Izumi Kato graduated from the Department of Oil painting, Musashino Art University in 1992. Her works have been shown in solo exhibitions “Hadaka No Hito” (2005, Tokyo); “Izumi Kato” (2005, Italy); “Moku” (2007, Tokyo); “Dear Humans” (2007, Tokyo); “The Riverhead” (2008, Tokyo); and group shows in “Venice Biennale 52nd International Art Exhibition” (2007, Italy); “MOT Annual 2007-From a World as Large as Life” (2007, Tokyo); “Art Scope 2007/2008-Faces of Existence” (2008, Tokyo); “Neoteny Japan─from Takahashi Collection” (2009, Tokyo); “Long Season” (2009, Taipei).

山本麻友香 (日本,1964年生)

田尾創樹 (日本,1977年生)

加藤泉 (日本,1969年生)

1964年出生於日本岡山縣,於1990年於武藏野美術大學 碩士畢業後,以日本文化廳藝術家研究員身分赴英國研 修至1999年返回日本。其作品自1993年起定期於日本椿 畫廊舉辦多場個展(1993-2006),近期也在荷蘭畫布 國際藝術畫廊舉辦個展「鹿男孩與其他孩童」(2007, 阿姆斯特丹)。較近期的聯展則是參加過「韓國國 際藝術博覽會」(2004-2007)、「日本年青畫作」 (2007,阿姆斯特丹)。

田尾創樹,1977年出生於日本栃木縣,目前居住於日本 京都與東京。2002年畢業於倫敦雀兒喜美術與設計學 院,並於2003年取得倫敦斯雷德美術學校美術碩士。田 尾創樹曾多次舉辦個展,如「Okame Pro展」(2006, 東京)、「Project N 30 田尾創樹」(2007,東京)。以 及多次群展,如「牆後的呢喃」(2006,紐約)、「不 只是A也是B」(2007,華盛頓特區)、「香奈兒當代 藝術活動:流動藝術展覽」(2008,巴黎/倫敦/香港/ 莫斯科/洛杉磯/紐約/台北)。

加藤泉,1969年出生於日本島根縣,1992年畢業於日 本武藏野美術大學造形部油畫科。其作品參加過多 次個展「裸體的人」(2005,東京)、「加藤泉展」 (2005,義大利)、「默」(2007,東京)、「給人 們」(2007,東京)、「河源」(2008,東京)。以及 群展如「第52屆威尼斯雙年展」(2007,義大利)、 「MOT2007年展—等比例的約定」(2007,東京)、 「藝術領域2007/2008—面對存在」(2008,東京) 、 「日本年輕藝術—高橋收藏展」(2009,東京)、「長 季」(2009,台北)。

391


Lot 224

Lot 220

Lot 223

John WAY (Chinese-American, b. 1921)

Bhagat SINGH (Indian, b. 1965)

Deddy PAW (Indonsian, b. 1963)

Born in Shanghai. Way has held his own shows in Shanghai since 1937. From 1951 his works have been selected to show at the Hong Kong Art Club Annual Exhibition for five consecutive years. Way settled down in Boston in 1956, where he studied abstract painting in the West. Throughout the 1960s Way had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT’s Art Museum in 1968. In 1965, his work was showed alongside other well-acclaimed contemporary artists including Hans Hartung and Andy Warhol, in a joint exhibition “Painting Without a Brush” held at the Accademia del Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum.

Born in 1965 in New Delhi, India, Bhagat Singh graduated from the National Islamic University in 1990, majored in Painting, and afterwards completed his master program in 1992. His works have been shown in solo exhibitions “B/W Drawing show” (2000, New Delhi); “Celebrating Nature” (2006, New Delhi & Kolkata); and group shows in “Naturescape”(2006, New Delhi); “Summer Art Show” (2006, India); “Art Fair India” (2007, New Delhi); “49th National Exhibition of Art” (2007, New Delhi). He was awarded for Best Entry Award in “All India W/C Art Exhibition” (2004, New Delhi); and “All India Annual Art Exhibition” Drawing Section Award (2005, New Delhi) among his other awards and achievements in art.

Born in Magelang, Central Java, 1963, he studied at Faculty of Visual Arts, Jakarta Arts Institute (19992005), School of Design Interstudi Jakarta (1994-1995) and Pusat Grafica Indonesia Jakarta (1990-1991). He received several awards for Best Artistic & Best Poster in Festival Teater Jakarta in 1998 and the 1st winner News Paper Design Competition for National Event in 1994, 1996 and 1998. He has participated in many joint exhibitions.

魏樂唐 (華裔美籍,1921年生)

巴哈哥特.西恩 (印度,1965年生)

戴迪.鮑 (印尼,1963年生)

出生於上海,1937年起即於上海畫廊展出,1951年起連 續5次入選香港美術協會年展。1956年移居美國,並專 心投入抽象繪畫,為當代華人藝術家中最早專研抽象繪 畫者之一。1960年代起曾在波士頓舉行多項展覽,包括 1960年在納思畫廊及1968年在麻省學院藝術館之個展, 並入選1965年波士頓現代美術館之「不用畫筆的畫作」 聯展,參展畫家包括國際著名的當代畫大師如哈同及安 迪沃荷等。其作品為美國史丹佛美術館及舊金山美術館 等典藏。

1965年生於印度新德里,巴哈哥特.西恩於1990年畢業 於印度國立伊斯蘭大學繪畫系,並於1992年取得碩士 學位。其作品曾參加個展「B/W繪畫展」(2000,新德 里)、「慶祝自然」(2006,新德里、加爾各答);以 及多次聯展「自然發展」(2006,新德里)、「夏季藝 術展」(2006,印度)、「印度藝術展」(2007,新德 里)、「第49屆全國藝術展」(2007,新德里)。巴 哈哥特.西恩也曾獲頒多次獎項,如「全印度W/C藝術 展」最佳作品獎(2004,新德里)、「全印度年度藝術 展」繪畫獎(2005,新德里)等藝術成就獎項。

1963年出生於爪哇中部的馬格朗,1999年至2005年就讀 於雅加達藝術學院視覺藝術系,1994年至1995年就讀於 雅加達的設計學院,1990年至1991年於雅加達製圖學 校。1998年曾於雅加達戲劇節獲得最佳藝術及最佳海報 的殊榮,1994、1996及1998年皆獲得印尼國內報紙紙張 設計競賽第一名,過去並曾參與許多聯展。

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Lot 225

Lot 226

Lot 227

Budi KUSTARTO (Indonesian, b. 1972)

Chintan UPADHYAY (Indian, b. 1972)

Gabriel BARREDO (Philipino, b. 1957)

Born in 1972 in Karang, West Java, Indonesia, Kustarto graduated from the Sculpture Department of Indonesia Institute of Art in 2003. He has held solo exhibitions “Budi” (2005, Jakarta) and “Hetero: Green” (2006, Semarang, Indonesia). He participated in group shows “CP Open Biennale” (2003, Jakarta); Yogyakarta Biennale VIII “Here & Now” (2006, Indonesia); Jakarta Art Biennale 2006 “Beyond the Limits and its Challenges”; “Soka’s View – Southeast Asian Contemporary Art” (2007, Beijing; Taipei). He has been given the Phillip Morris awards in 1998 and 2001 in Jakarta.

Chintan Upadhyay was born in Rajasthan, India. He lives and works in Mumbai currently. Solo exhibitions: “Conkers Installation Project” at Spike Island, Bristol, UK, 2004; “I Want to Be an International Artist”, solo performance, Seoul Art Center, Korea, 2006; “Tentuaa Dabaa Do (Kill Her)”, Jawahar Kala Kendra, Jaipur, India, 2007. Selected group exhibitions: “KAAM”, Arts India Gallery, New York; “Bombay Maximum City, Lille 3000”, Lille, France, 2006; “Here & Now: Contemporary Voices from India”, Grosvenor Gallery, London, 2007; “Have You Eaten Yet? - 2007 Asian Art Biennale”, National Taiwan Museum of Arts, Taichung, Taiwan.

Born in 1957 in Manila, Philippines, Gabriel Barredo now resides in Manila. He has held solo exhibitions as Philippine Representative to the “Sao Paolo Biennale” (1993, Singapore); “Anima & Persona” (1999, Manila); and group exhibitions “Soka’s view” Southeast Asian Contemporary Art (2007, Taipei); “13th Asian International Art Exhibition” (1998, Kuala Lumpur). In addition, the artist is awarded for “1994 Ten Outstanding Artists – Diwa Ng Sining Awards” ; and “Art Association of the Philippines Annual Competition for Sculpture”, Gold medal, in 1981.

布迪.庫斯塔托 (印尼,1972年生)

清滕.屋帕玳伊 (印度,1972年生)

蓋伯瑞.博瑞多 (菲律賓,1957年生)

1972年生於印尼西爪哇的卡朗,2003年畢業於印尼藝術 學院雕刻系。曾舉辦個展「布迪」(2005,雅加達), 以及「同性:綠」(2006,印尼三寶壟)。參加過的聯 展有:「C P雙年展開幕展」(2003,雅加達)、「感 同身受」日惹雙年展VIII (2006,日惹,印尼)、「超 越,限制與挑戰」雅加達雙年展 (2006)、「索卡新觀 點—東南亞藝術展」 (2007,北京、台北)。也曾於 1998年和2001年,於雅加達獲頒飛利浦.摩里斯藝術 獎。

清滕.屋帕玳伊於1972年出生在拉賈斯坦邦,印度,目 前於孟買工作及居住。其個展如下:2004年,「康克士 裝置計劃」,英國布里斯托,2006年「我想要成為一位 國際級藝術家」,個人行為藝術,韓國首爾藝術中心; 2007年,「殺了她」,加瓦哈.卡拉.肯德拉,印度齊 浦爾。聯展:2006年,「卡姆」,紐約印度美術館; 「孟買最大城市,里拉3000」,法國里拉;2007年, 「此時此刻:來自印度的當代發聲」,倫敦哥斯浮尼爾 畫廊;「食飽未?─2007亞洲藝術雙年展」,國立台灣 美術館,台灣台中。

1957年生於菲律賓馬尼拉,現定居於馬尼拉。曾舉辦多 次個人展,如「聖保羅雙年展」菲律賓代表 (1993,新 加坡)、「生命與角色」(1999,馬尼拉);以及團體 展「索卡新觀點」東南亞當代藝術展 (2007,台北)、 「13屆亞洲國際藝術展」(1998,吉隆坡);並曾榮獲 「十大傑出藝術家之一Diwa Ng Sining獎」(1994)、 「菲律賓藝術協會雕刻藝術年度競賽」(1981) 金獎等 多項殊榮。

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下述規則,為本公司作為拍賣公司與賣家訂立合約,亦作為賣家之代理人 與買家訂立合約之條款。買家及賣家務須細讀各項規則。買家請特別留意 第5條,其對本公司之法律責任作了限定。 Ⅰ.買家 1. 羅芙奧(以下稱本公司)作為代理人 作為拍賣人,本公司以作為賣方代理人之身分行事。除另行協定外,在本 公司之拍賣中成功拍賣之物品,即產生賣家通過本公司之代理與買家達成 之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議,準買家應於拍賣進行之前親自鑑定其有興趣競投之物 品。本公司除就膺品(如本業務規則第Ⅲ項所界定者)作出之證明外,不 對買家作任何保證。 b. 拍品狀況之重要注意事項 請準買家注意,在可能的範圍內,目錄中對於拍賣品特性上之描述,皆已 提及顯著的損壞,惟不包括所有的缺陷、瑕疪與不完整。羅芙奧恕無保證 任何拍賣腕錶處於良好運作狀態,同時目錄中任何拍賣品之描述皆不應視 為如此。對任何拍賣品之描述亦不應視作表示其無經過重整或修理,亦不 應視作對拍賣品狀態或保存情況的陳述。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏,並不代表拍賣品是為良好狀態、運作正常或可享有免費 修復或更換機件。 本公司鄭重建議,準買家在拍賣進行之前,對於有興趣競投之拍賣品狀況 應經由親自檢閱,如果準買家無法對拍品進行檢閱,本公司基於服務至上 的原則,將非常樂於應客戶之要求提供拍品特性與狀況之意見,惟本公司 並不是專業鐘錶修復者,因此任何在目錄中所列出的陳述是為純粹本公司 的主觀意見。 務請注意,多數防水錶的錶殼已被開啟並檢查其運轉狀態及類型,因此不 應假定其仍為防水狀態。建議買家應在使用前安排經由具資格的鐘錶匠檢 查該等手錶。 務請注意,拍買品早前的修復工作或許已經導致原廠零件的更換,因此我 們不保證任何拍賣品的單一組成零件之確實性。所有的拍品一致以「現 狀」售出。本公司對於任何拍出之狀態不作代表或保證,除非另有註明, 否則將不提供保單。 c. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年代、 尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述,或另行 對此等方面之口頭或書面陳述,均僅屬意見之陳述,不應依據為確實事實 之陳述。目錄圖示亦僅作為指引而已,不應作為任何拍賣項目之依據,藉 以決定其顏色或色調,或揭示其缺陷。拍賣價格之估計,不應依據為拍賣 品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 許多拍賣品基於其年代或性質,使其未能有完美之狀況,目錄內有些說明 或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引 而已,如未有提述此等資料,亦不表示拍賣品並無缺陷或修整,如已提述 特定缺陷,亦不表示並無其他缺陷。 d. 買家之責任 有關物品之狀況以及目錄說明所提述之事項,買家有責任弄清楚並確使自 己感到滿意。 3. 拍賣時 a. 買方應繳之營業稅 依據中華民國法律規定,凡進口藝術品由買方在台取貨者,買方需繳交 「落槌價」百分之五的(加值)營業稅。此等進口藝術品(目錄內有*符 號之編號者),若係於中華民國境外交付買方,並由羅芙奧處理相關之運 貨事宜,則買方無須支付營業稅。買方若欲於中華民國境外取貨,應於拍 賣日後兩個工作天內以書面通知本公司。 b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價,僅為參考依據。本拍賣會須

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以新台幣結算,買方如須以新台幣之外其他貨幣繳付,請買方核實繳付當 日匯率,折合所繳付之等值貨幣計算。 c. 拒絕入場 拍賣於本公司之場地進行,或於本公司為拍賣而具有控制權之場地進行, 本公司具有完全之決定權,可行使權利拒絕任何人進入拍賣場地或參與拍 賣。 d. 競投之前作出登記 每一準買家在作出競投之前,必須填妥及簽署登記表格,並提供身分證 明。準買家應注意,本公司通常會要求對買家作出信用核查。 e. 競投者為買家 除非登記時已書面協定,競投者將為代第三人行事之代理人,而該第三人 為本公司所接受者,否則競投者將被視為買家而須承擔個人法律責任。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投,本公司將盡 適當努力代其競投,但代為競投指示須於拍賣前送抵本公司。如本公司 就某一拍賣品而收到多個委託競投之相等競投價,而在拍賣時此等競投價 乃該拍賣品之最高競投價,則該拍賣品會歸其委託競投最先送抵本公司之 人。委託競投之承擔受拍賣時之其他承諾所限,而拍賣進行之情況可能使 本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之 免費服務,如未能按委託作出競投,本公司將不負任何法律責任。準買家 如希望確保競投成功,應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排,本公司將盡適當努力聯絡競投者, 使其能以電話參與競投,但在任何情況下,如未能聯絡,本公司對賣家或 任何準買家均不負任何責任。 h. 匯率轉換顯示板 在有些拍賣中,會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開 市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。 匯率轉換顯示板並非時常可靠,不論是顯示板所示之拍賣品編號或是新台 幣競投價之相等外匯,其準確程度均可能會出現非本公司所能控制之誤 差。買家因依賴匯率轉換顯示板(而非因以新台幣競投)所導致而蒙受之 任何損失,本公司概不負責。 i. 錄映影像 在有些拍賣中會有影像投射,但其操作或會出現錯誤。不論影像是否與成 功拍賣之拍賣品相配合,或是翻版影像之質素,本公司對買家均不負任何 責任。 j. 拍賣官之決定權 拍賣官具有絕對決定權,有權拒絕任何競投、以其決定之方式推動出價、 將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併,以及如遇有誤 差或爭議,將拍賣品重新拍賣。 k. 成功競投 在拍賣官之決定權下,下槌即顯示對最高競投價之接受,亦即為賣家與買 家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 (1)買家除支付落槌價外,另須支付服務費予本公司,落槌價於新台幣 貳仟萬元以下者含貳仟萬元以20%計算。 (2)落槌價於新台幣貳仟萬元以上者分為二級,其中新台幣貳仟萬元以 20%計算,超過新台幣貳仟萬元之部份以12%計算。 b. 稅項 買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值稅 (不論由台灣政府或別處所徵收)。如有任何此等稅項適用,買家須負責 按有關法律所規定之稅率及時間繳付此稅款。


c. 付款 成功拍賣後,買家須向本公司提供其姓名及永久地址。如遇要求,亦須提 供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項(包含落 槌價、拍賣支付之酬金,以及任何適用之增值稅)。即使買家希望將拍賣 品出口並需要(或可能需要)出口許可證,此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項,則不能取得拍賣品之所有權,即 使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以 外之貨幣,本公司將向買家收取所引致之任何外匯費用。這包括銀行收費 與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率,依 拍賣日現場公佈之匯率(台灣銀行),並以本公司就此兌換率而發出之憑 證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定,否則本公司將暫時保留已成功拍賣之拍賣 項目,直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間, 由成功拍賣日期起為期七天將受保於本公司之保險,如屆時拍賣品已被領 取,則受保至領取時為止。七天期滿後或自領取時起(以較早者為準), 拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意,七天期滿後或自領取時起,拍賣品之風險全由買家 承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門可作為買家之代理人,代為安排付運。雖然在特別要求 下本公司可介紹承運人,但本公司在此方面不負任何法律責任。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款,本公司即有權行使下述一項或多項權利或補救 辦法: (1)在拍賣日期後超過七天仍未付款,則按不超過台灣銀行基本利率加 10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依 賣價(含佣金)1%計算之違約金。將買家未付之款項,用以抵銷 本公司或其他附屬公司在任何其他交易中欠下買家之款項。 (2)對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置 權,並在給予買家有關其未付之欠繳之14天通知後,安排將該物品 出售並將收益用以清償該未付之欠款。 (3)如買家因多項不同之交易而欠下本公司數筆款項,將所付之款項用 以清償就任何特定交易而欠下之任何款項,而不論買家是否指示用 以清償該筆款項。 (4)在將來的任何拍賣中,拒絕買家作出或由他人代其作出之競投, 或在接受其任何競投之前先收取買家一筆保證金。如買家未有在 三十五天內付款,本公司除上述者外,另有權: (5)代賣家針對買家進行法律程序,以追討整筆欠款,連同此項以悉數 賠償為基準之法律程序之訴訟費。 (6)取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予 買家之拍賣品之交易。 (7)安排將拍賣品公開或私下重售,如重售所得價格較低,就差額連同 因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣後七天內領取,則不論是否已付款,本 公司將安排貯存事宜,費用由買家承擔。而只在所引起之貯存、搬運、保 險及任何其他費用,連同欠本公司之所有其他款項付清後,方可領取已購 拍賣項目。

5. 本公司之法律責任 本公司有責任在第6條所列之情況下退還款項予買家。除此之外,不論賣 家或本公司,或本公司任何僱員或代理人,對任何拍賣品之作者、來歷、 日期、年代、歸屬、真實性或出處之陳述,或任何其他說明之誤差,任何 拍賣品之任何毛病或缺陷,均不負有任何責任。買家、本公司、本公司之 僱員或代理人,均無就任何拍賣品作出任何保證。任何種類之任何擔保, 均不包含在本條之內。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品,則交易將取消,已付之款項則退還 予買家。但如:a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者或 專家普遍接納之意見,或清楚表明意見有抵通告符合當時學者或專家普 遍接納之意見,或清楚表明意見有牴觸之處,或b.證明拍賣品為膺品之方 法,只是一種在目錄出版前仍未普遍獲接納使用之科學程序,或是一種在 拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程 序,則本公司無論如何並無責任退還任何款項。此外,買家只在滿足下述 條件下方可獲得退款: (1)買家必須在拍賣日起十日內以書面通知本公司,說明買家認為有關 拍賣品乃膺品; (2)買家隨後必須在十四天內將拍賣品送還本公司,而其狀況與拍賣當 日相同;及 (3)送還拍賣品後,買家須盡快出示證據,足以使本公司確信拍賣品乃 膺品,買家並可將拍賣品之良好所有權轉讓予本公司,而與任何第三人之 索償無涉。在任何情況下,本公司均毋須向買家支付多於買家就有關拍賣 品而支付之款項,而買家亦不能索取利息。 本擔保之利益不能轉讓,完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有,該名買家並須自拍賣後一直保持拍賣品擁有人之身分, 而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學 程序或其他程序確定拍賣品並非膺品,不論該程序在拍賣當日是否已使用 或已在使用。 本條件不適用於硬幣、獎牌、珠寶及畫。 II.買家與賣家均適用之條件 1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權,於任何時候均屬於本 公司之財產。未得本公司事先書面同意,買家或任何人均不得使用。 2. 通知 根據本業務規則發出之通知,均須以書面發出。如採用郵遞發出,則在付 郵後第二個工作天即當作已由收件人收妥;如收件人在海外,則為付郵後 第五個工作天。 3. 可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執 行,則該部分可不予理會,而本業務規則之其他部份在法律許可之最大範 圍內須繼續有效及可強制執行。 4. 法律及管轄權 本業務規則受中華民國法律規限,本業務規則之解釋與效力均適用台灣法 律。為本公司之利益而言,賣家與買家須服從台灣法院之排他性管轄權。

賣方業務規則請參閱羅芙奧藝術網站 http://www.ravenelart.com

i. 出口許可證 除本公司另有書面同意外,買家希望申請出口許可證之事實,並不影響買 家在七天內付款之責任,亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證,本公司有權向其收回與此項申請 有關之付出款項及零碎開支連同任何有關之增值稅。 如買家不管需要有出口許可證之事實而作出付款,本公司並無責任退還買 家因此而引致之任何利息或其他開支。

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Transaction Agreement

The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company. I. The Buyer 1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the wristwatches on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact. Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use. Please note: The restoration of the items on auction may have resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts. All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. d. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions. 3. In the auction Sales Tax Payable by the Buter a. The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel in writing within two business days following the auction day if he desires to

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collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. e. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. h. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. i. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. j. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. k. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 20,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price. (2) For hammer price higher than NT$ 20,000,000, the first NT$ 20,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any


commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim. (6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected. i. Export permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his

behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. 6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. The aforementioned does not apply to coins, medals, jewelry and paintings. II. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company. 2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.

Please refer to our website for seller’s transaction agreement. http://www.ravenelart.com

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Ravenel Autumn Auction 2009 Taipei 羅芙奧台北2009秋季拍賣會  

Modern and Contemporary Asian Art 亞洲現代與當代藝術

Ravenel Autumn Auction 2009 Taipei 羅芙奧台北2009秋季拍賣會  

Modern and Contemporary Asian Art 亞洲現代與當代藝術

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